Even at the take-off he missed. As far as I could see, he made no attempt to save himself with his hands. He just went down out of the field of my vision. There was an awful silence; then, from far below …
* * * * *
They weren't the men on the lower stages who moved first. The men above went a little way down, and then they too stopped. Presently two of them descended, but by a distant way. They returned, with two bottles of brandy, and there was a hasty consultation. Two men drank the brandy off there and then—getting on for a pint of brandy apiece; then they went down, drunk.
I, Hopkins tells me, had got down on my knees in the crane cab, and was jabbering away cheerfully to myself. When I asked him what I said, he hesitated, and then said: "Oh, you don't want to know that, sir," and I haven't asked him since.
What do you make of it?
BENLIAN
I
It would be different if you had known Benlian. It would be different if you had had even that glimpse of him that I had the very first time I saw him, standing on the little wooden landing at the top of the flight of steps outside my studio door. I say "studio"; but really it was just a sort of loft looking out over the timber-yard, and I used it as a studio. The real studio, the big one, was at the other end of the yard, and that was Benlian's.
Scarcely anybody ever came there. I wondered many a time if the timber-merchant was dead or had lost his memory and forgotten all about his business; for his stacks of floorboards, set criss-crosswise to season (you know how they pile them up) were grimy with soot, and nobody ever disturbed the rows of scaffold-poles that stood like palisades along the walls. The entrance was from the street, through a door in a billposter's hoarding; and on the river not far away the steamboats hooted, and, in windy weather, the floorboards hummed to keep them company.
I suppose some of these real, regular artists wouldn't have called me an artist at all; for I only painted miniatures, and it was trade-work at that, copied from photographs and so on. Not that I wasn't jolly good at it, and punctual too (lots of these high-flown artists have simply no idea of punctuality); and the loft was cheap, and suited me very well. But, of course, a sculptor wants a big place on the ground floor; it's slow work, that with blocks of stone and marble that cost you twenty pounds every time you lift them; so Benlian had the studio. His name was on a plate on the door, but I'd never seen him till this time I'm telling you of.