The while he did so, I covertly studied our visitor. He lay back in the armchair, his heavy eyelids lowered deceptively. He was a thought overdressed—a big man, dark-haired and well groomed, who toyed with a monocle most unsuitable to his type. During the preceding conversation, I had been vaguely surprised to note Mr. Abel Slattin’s marked American accent.
Sometimes, when Slattin moved, a big diamond which he wore upon the third finger of his right hand glittered magnificently. There was a sort of bluish tint underlying the dusky skin, noticeable even in his hands but proclaiming itself significantly in his puffy face and especially under the eyes. I diagnosed a laboring valve somewhere in the heart system.
Nayland Smith’s pen scratched on. My glance strayed from our Semitic caller to his cane, lying upon the red leather before me. It was of most unusual workmanship, apparently Indian, being made of some kind of dark brown, mottled wood, bearing a marked resemblance to a snake’s skin; and the top of the cane was carved in conformity, to represent the head of what I took to be a puff-adder, fragments of stone, or beads, being inserted to represent the eyes, and the whole thing being finished with an artistic realism almost startling.
When Smith had tossed the written page to Slattin, and he, having read it with an appearance of carelessness, had folded it neatly and placed it in his pocket, I said:
“You have a curio here?”
Our visitor, whose dark eyes revealed all the satisfaction which, by his manner, he sought to conceal, nodded and took up the cane in his hand.
“It comes from Australia, Doctor,” he replied; “it’s aboriginal work, and was given to me by a client. You thought it was Indian? Everybody does. It’s my mascot.”
“Really?”
“It is indeed. Its former owner ascribed magical powers to it! In fact, I believe he thought that it was one of those staffs mentioned in biblical history—”
“Aaron’s rod?” suggested Smith, glancing at the cane.