Stolen Souls

When I had formally “interviewed” him upon the financial reforms and other matters regarding which I desired his opinion, I asked to be allowed to see the photographs, and he handed them to me with a smile.

“Doroteita d’Avendaño!” I ejaculated. The features were unmistakable, though the dress was different.

“Are they – er – friends of yours?” the Minister asked, regarding me keenly from beneath his shaggy brows.

“They were – once,” I answered. “Ever since we were at San Sebastian last year I have been endeavouring to trace them.”

“What? Did she add you to her list of victims?” he asked, laughing.

“Well, the plot was scarcely successful, otherwise I should not be here now,” I replied. Then I told him briefly how, after luring me to their villa, the interesting pair had attempted to murder me.

“Extraordinary!” he ejaculated, when I had finished. “Curiously enough, however, your story supplies just the link in the chain of evidence that was missing at their trial.”

“Their trial?” I exclaimed. “Tell me about them.”

“Well, in the first place, the enchantress you knew as Doroteita d’Avendaño was none other than the notorious Liseta Gonzalez, known to the police as ‘The Golden Hand.’”

”‘The Golden Hand’?” I echoed in amazement. I had heard much of the extraordinary career of an adventuress bearing that sobriquet; how she had moved in the best society in Paris and Vienna, and how in the latter city, in a single year, in her character as queen of the demi-monde, she had spent 50,000 pounds, the money of her dupes. Indeed, her adventures had been the talk of Europe.

“Yes,” he continued, smiling at my astonishment. “No doubt you have read in your English newspapers all about the many ingenious frauds she has perpetrated. For the past five years she has been well-known in various characters in Pau, Rome, Paris, and Vienna; her schemes have invariably been successful, and her escape from the police has been accomplished just at the right moment, in a manner almost incredible. But the audacious boldness of a coup she effected a year ago caused her downfall.”

“A year ago?” I said. “Was it during the time I knew her?”

“Yes. While spending the summer at San Sebastian with Mateo Sanchez, – a Bourse adventurer of Madrid, who, under the name of Luis d’Avendaño, passed as her brother, – she conceived, during the Cabinet crisis, a very ingenious scheme for gigantic operations on the Bourse with certain success. The circumstances were remarkable, and your story supplies the facts which have remained until now a mystery. Unaware of the true character of Sanchez, I had employed him as agent in various transactions shortly before the crisis, and he had thus become aware of my intentions to institute certain financial reforms that would affect the Bourse to a considerable extent. ‘The Golden Hand,’ it appears, with her usual shrewdness, pointed out how the knowledge thus acquired would enable him to operate with success, if only he could be certain of my reappointment as Finance Minister, and the pair forthwith carried into effect an ingeniously arranged plan. Apparently you were watched, and, it having been ascertained that, as correspondent of an influential journal, you were a likely person to obtain the very earliest intimation of the formation of the Cabinet, they laid their plans to entrap you.”

“I confess I little dreamed of foul play when I entered the Villa Guipuzcoa,” I observed.

“At the trial it was a mystery how they obtained knowledge of the State secret,” he continued. “But it is now quite plain that on the evening when the portfolios were arranged, they, being aware of the devices to which you would probably resort in order to obtain accurate information, enticed you to their house, and then, having ascertained from your own lips that the Ministry had been formed, resolved to carry out their cunningly-devised scheme. They saw that you were the only member of the public who knew the secret, and if they prevented you from despatching it to London, – whence it was certain to be re-telegraphed here, – it would give them time to get to Madrid on the following morning and operate on the Bourse some hours before the announcement of the new Ministry.”

“She seemed so ingenuous and charming, that I suspected nothing – until – ”

“Until she attempted to murder you – eh?” he said, taking up her portrait, and gazing upon it with a smile. “To say the least, the plot was a most extraordinary one. By your admission that the crisis was at an end, they knew you held a list of the new Ministers, and as you persisted in your endeavour to catch the train to the frontier, it became necessary for them to possess themselves of the list, and silence you, in order to escape to Madrid, and on the opening of the Bourse next day purchase the stock which they knew would rise immediately the official announcement was published. ‘The Golden Hand’ gave you as a souvenir the flower she wore, in the expectation that you would inhale its fatal perfume, as other victims had done.”

“It was very similar to a camellia,” I said. “Has anything been ascertained regarding it?”

“Oh yes. The flower she sometimes wore in her hair, and which appeared rather like a camellia, was at the trial proved to be the Kali Mujah, or death-rose of Sumatra, which is so deadly that its perfume is sufficient to cause unconsciousness, and sometimes even death. It was found that she actually cultivated these flowers, and that on more than one occasion she had used them upon her victims with fatal result. She gave one to you, but you merely placed it in your buttonhole; therefore, just as you were about to depart, her lover gripped you, while she pressed the fatal blossom into your nostrils. Then you lapsed into unconsciousness, and half an hour afterwards the enterprising pair were on their way to Madrid, where, on the following morning, they purchased a quantity of stock, with money secured by your idol Doroteita from one of her dupes, the Comte de Ségonnaux, whose death had been caused by the poisonous blossom in a similar manner to the attempt upon yourself.”

“Were their operations on the Bourse successful?” I asked.

“Entirely so. Unaware of these events, I put forward my financial scheme in the Chamber a month afterwards, with the result that the stock they had secured rose to unparalleled prices, and then they effected a gigantic coup, gaining nearly a million pesetas. But the boldness of the scheme caused their downfall, for the colossal extent of their transactions attracted the attention of the police, the result being that eventually the murder of the Comte de Ségonnaux at Toledo was conclusively proved, and your divinity’s identity with ‘The Golden Hand’ fully established.”

“Were they both tried?” I asked, amazed at his extraordinary story.

“Yes. Mateo Sanchez was found guilty of being an accessory in the assassination of the Comte, and sentenced at the last sitting of the Assize Court to fifteen years’ imprisonment; while the bewitching Liseta, condemned for the murder, is at present serving a life sentence at the convict prison at Barcelona.”

A quarter of an hour later I had wished my genial friend the Minister adieu, and, full of grave reflections, crossed the sunlit Puerta del Sol, carrying in my pocket, as a souvenir of a foolish infatuation, the portrait of “The Golden Hand.”

Chapter Three.

The Masked Circe

The success of “The Masked Circe” in last year’s Royal Academy was incontestable, not only for the intrinsic beauty of the picture, but from the fact that the personal charms of a handsome woman were perpetuated without compromising her features. Woman’s vanity often outruns her natural diffidence, and the consciousness of her great beauty stifles the conscience of modesty.

Visitors to the Academy know the picture. Circe, seated on a throne, with her back to a great circular mirror, presents a half-draped figure of marvellous delicate colouring and beauty of outline. One hand holds aloft a golden wine-goblet, and the other a tapering wand, while upon the tesselated pavement before the daïs purple grapes and yellow roses have been strewn. The black hair of the daughter of Perseis falls in profusion about her bare shoulders, and strays over her breast, but her features are hidden by a half-mask of black silk. The lips, with their arc de cupidon, are slightly parted, disclosing an even row of pearly teeth, and giving an expression of reckless diablerie.

Of the thousands who have gazed upon it in admiration, none knows the somewhat remarkable story connected with it. As I have been closely associated with it, from the day it was outlined in charcoal, until the evening it was packed in a crate and sent for the inspection of the hanging committee, it is perhaps àpropos that I should relate the narrative.

The studio of my old friend, Dick Carruthers, the man who painted it, is on Campden Hill, Kensington, within a few hundred yards of where I reside, and in the centre of an aesthetic artistic colony. We have been chums for years, for on many occasions he has displayed his talent as a black and white artist in illustrating my articles and stories in various magazines. He is a popular painter, and as handsome a man as ever had a picture “on the line.”

Three years ago, when the prologue of this secret drama was enacted, he was in the habit of coming over when the light had faded, to smoke a cigarette and discuss art and literature with me. I was glad of a chat after a hard day’s work at my writing-table, but his companionship had one drawback. He drivelled over a girl he loved, and was forever suggesting that I might take her as a character and drag her into the novel upon which I was engaged.

One day he drew a cabinet photograph carefully from his pocket, and placed it upon the blotting-pad before me.

The girl he loved! Bah! I knew her, though I did not tell him so. She was a dark-haired, pink-and-white beauty that flitted through artistic Bohemia like a butterfly in a hothouse. The sight of the pictured face brought back to me the memory of days long past – of a closed chapter in my life’s history. I remembered the first time I saw Ethel Broughton, fully five years before. She wore a soiled pink wrapper, her satin slippers were trodden down at heel, and she had a bottle of champagne at her elbow. At that time her lover, grandiloquent and impecunious Mr Harry Oranmore, a bad but handsome actor, had been untrue to her, and she, a third-rate actress, who had an ingénue part at a Strand theatre, was reviling him. I had been taken to her house and introduced by a mutual friend, but she scarcely heeded me. Probably she was thinking of Oranmore, for she clasped her slim fingers round her suffering throat, and offered up an occasional sob, following it with a silent but protracted draught from her glass.

The result of this interview was but natural. Dazzled by her beauty, I sympathised with her, endeavoured to cheer her, and concluded by falling violently in love with her. At that time I was writing numbers of dramatic criticisms, and I confess I used what weight my opinions possessed for the purpose of her advancement. It is needless to refer to the smooth and uninterrupted course of our love. Suffice it to say that we were both Bohemians, and that within a year I had the satisfaction of sitting before the footlights, watching her make her début as “leading lady” at a West End theatre, and a few days later of observing her photograph exhibited in shop windows among those of other stage beauties.

But, alas! those halcyon days were all too brief. Suddenly the scales fell from my eyes. A scene occurred between us – and we parted.

To think that sin should lie for years in the blood, just as arsenic does in a corpse!

When I discovered that Dick Carruthers was wasting the very honest and ardent emotions of his heart at this feverish fairy’s shrine, I resolved to take him aside, and, without admitting that I knew her, give him a verbal drubbing. I did so, but he bit his moustache fiercely, and turned upon me.

“She is charming,” he said, “and I love her.”

“Ah! I know the type – ”

“You know nothing, old fellow!” he exclaimed, flushing angrily. “But” – he shrugged his shoulders – “the prejudices of the world count for – what? Nothing at all. The curse of the Philistine is his Philistinism.”

“Very well, Dick, old chap, forget my words,” I said. “I approach your idol in the properly reverential spirit.”

“You shall see her before long.” His gaze grew bright, soft, and vague, as one who catches glimpses of the floating garments of supernatural mysteries. “Ah, she is lovely! Only an artist can appreciate her beauty.”

I saw that words were of no avail. Like Ulysses, he was living in the paradise of Aeaea, heedless of everything under the spell she had cast about him.

One night, not long after I had expressed my sentiments to him regarding his infatuation, I entered his studio, and found his goddess seated by the fire, with her shapely feet upon the fender, sipping kümmel from a tiny glass, and holding a lighted cigarette between her dainty fingers.

Dick flung down his palette, and came forward to introduce me. Her dark eyes met mine, and we tacitly agreed not to recognise each other, therefore we bowed as perfect strangers. As I seated myself, and she poured me out a liqueur, I caught her glancing furtively at me under her long lashes. She had grown even handsomer than when last I had seen her, and was the picture of the romantic Bohemienne. Her dress was of black gauze, through which the milky whiteness of her figure seemed to shine. Yet, as she turned her beautiful face towards me, I was struck by the complete effect of physical and moral frailty that she presented.

She expressed pleasure at meeting me, remarking that she had read my last novel, and had been keenly interested in it.

When I had briefly acknowledged the compliment she paid me, she said —

“One thing always strikes me in reading your stories. Your women are inevitably false and fickle. Perhaps, however, you write from personal experience of the failings of my sex,” she laughed.

Glancing sharply at her, I saw that her eyes did not waver.

“It is true I once knew a woman who proved false and infamous,” I replied, with some emphasis.