“A beautiful leg,” she replied; “with a black-currant tart to follow. I ’aven’t forgotten your little likes, sir.”
Eliphalet smiled beatifically.
“You are an excellent good woman,” he said. Then, stretching himself luxuriously, “Yes, there is no doubt at all—it is very good to be back again.”
He cast a loving and possessive eye over the homely surroundings, shook out his table napkin, and drew up a chair to the table, as a king might sit at a banquet.
Probably the reader is wondering what this story is all about, and certainly it might have been a distinct advantage to have begun at the beginning rather than the end. Having committed ourselves so far, however, there is no option but to retrace our steps to a period some three months prior to the foregoing incident.
It was at the conclusion of a long tour that Eliphalet Cardomay received a startling proposal from London that he should appear in the title-part in Oscar Raven’s dramatisation of the Autobiography of Benvenuto Cellini.
For weeks past the production had been boomed in all the dramatic columns, and the advertised cast practically made a corner in the biggest stage stars of the day.
Sir Owen Frazer, Actor-Manager and Knight (with danger of becoming a baronet), was to have appeared as Cellini, and had favoured several reporters with extensive interviews in which he sought to convey to the public mind the depths of his research into Cellini’s character. He had even gone to the length of growing a real beard for the part, rather than relying on the good offices of Mr. Clarkson. Therefore, when at the eleventh hour his voice entirely forsook him, and Harley Street unanimously declared that it would forsake him altogether unless he gave it a rest for a month, consternation in dramatic circles ran very high indeed.
Eight days existed before the much-advertised first night, and the finding of a fitting successor was at once the most baffling and the most urgent affair.