He looked round the room, in an apparently perfunctory manner, but in reality with a photographic eye for its every detail, finding that it agreed in every particular with the description which Trent had given him.
There were the cheap lace curtains all along the glazed side which overlooked the short passage leading down to the narrow alley, but they were of so thin a quality, and so scantily patterned, that the mesh did not obstruct the view in any manner, merely rendering it a trifle hazy; for he could himself see from where he stood the window in the side of the house opposite, and, seated at that window, Mrs. Sherman and her daughter, busy at their endless sewing.
And there, too, were the blinds—strong blue linen ones running on rings and cords—with which, as he had been told, it was possible to arrange the light as occasion required. They were fashioned somewhat after the manner of those seen in the studios of photographers—several sectional ones overhead and one long one for that side of the room which overlooked the short passage; and, as showing how minute was Cleek’s inspection for all its seeming indifference, it may be remarked that he observed a peculiarity regarding that long blind which not one person in a hundred would have noticed. That is to say, that, whereas, when one looks at a window from the interior of a room, one invariably finds that the blinds are against the glass, and that the curtains are so hung as to be behind them when viewed from the street, here was a case of the exactly opposite arrangement being put into force; to wit: It was the lace curtains which hung against the window panes and the big blind which was next the room, so that, if pulled down, a person standing within would see no lace curtains at all, while at the same time they would remain distinctly visible to anybody standing without.
If this small discrepancy called for any comment, Cleek made none audibly; merely glanced at the blind and glanced away again, and went on examining the books and the vases of flowers, and continued his apparently aimless wandering about the room.
Of a sudden, however, he did a singular thing, one which was fraught with much significance to Mr. Narkom, who knew the “signs” so well. His wandering had brought him within touching distance of the busy waxworker, who, just at that moment, half turned and stretched forth his hand to pick up a tool which had fallen to the floor, the act of recovering which sent his wrist protruding a bit beyond the cuff of his working-blouse. What Narkom saw was the quick twitch of Cleek’s eye in the direction of that hand, then its swift travelling to the man’s face and travelling off again to other things; and he knew what was coming when his great ally began to pat his pockets and rummage about his person as if endeavouring to find something.
“My luck!” said Cleek, with an impatient jerk of the head. “Not a blessed cigarette with me, Mr. Narkom; and you know what a duffer I am if I can’t smoke when I’m trying to think. I say—nip out, will you, and get me a packet? There!”—scribbling something on a leaf from his notebook and pushing it into the superintendent’s hand—“that’s the brand I like. It’s no use bringing me any other. Look ’em up for me, will you? There’s a good friend.”
Narkom made no reply, but merely left the room with the paper crumpled in his shut hand and went downstairs as fast as he could travel. What he did in the interval is a matter for further consideration. At present it need only be said that had any one looked across the short passage some eight or ten minutes after his departure Narkom might have been seen standing in the background of the room at whose window Mrs. Sherman and her daughter still sat sewing.
Meanwhile Cleek appeared to have forgotten all about the matter which was the prime reason for his presence in the place and to have become absorbingly interested in the business of tableau making, for he plied the old Italian with endless questions relative to the one he was engaged in constructing.
“Jip! You don’t mean to tell me that you make the whole blessed thing yourself, do you—model the figures, group ’em, paint the blessed background, and all?” said he, with yokel-like amazement. “You do? My hat! but you’re a wonder! That background’s one of the best I’ve ever clapped eyes on. And the figures! I could swear that that fellow bursting in with a sword in his hand was alive if I didn’t know better; and as for this dead johnnie here in the foreground that you’re working on, he’s a marvel. What do you stuff the blessed things with? Or don’t you stuff ’em at all?”
“Oh, yes, signor, they are stuffed, all of them. There is a wicker framework covered with canvas; and inside cotton waste, old paper, straw.”