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Louis Tracy
The Strange Case of Mortimer Fenley

The Strange Case of Mortimer Fenley
Louis Tracy

Tracy Louis

The Strange Case of Mortimer Fenley


The Water Nymphs

Does an evil deed cast a shadow in advance? Does premeditated crime spread a baleful aura which affects certain highly-strung temperaments just as the sensation of a wave of cold air rising from the spine to the head may be a forewarning of epilepsy or hysteria? John Trenholme had cause to think so one bright June morning in 1912, and he has never ceased to believe it, though the events which made him an outstanding figure in the "Strange Case of Mortimer Fenley," as the murder of a prominent man in the City of London came to be known, have long since been swept into oblivion by nearly five years of war. Even the sun became a prime agent of the occult that morning. It found a chink in a blind and threw a bar of vivid light across the face of a young man lying asleep in the front bedroom of the "White Horse Inn" at Roxton. It crept onward from a firm, well-molded chin to lips now tight set, though not lacking signs that they would open readily in a smile and perhaps reveal two rows of strong, white, even teeth. Indeed, when that strip of sunshine touched and warmed them, the smile came; so the sleeper was dreaming, and pleasantly.

But the earth stays not for men, no matter what their dreams. In a few minutes the radiant line reached the sleeper's eyes, and he awoke. Naturally, he stared straight at the disturber of his slumbers; and being a mere man, who emulated not the ways of eagles, was routed at the first glance.

More than that, he was thoroughly aroused, and sprang out of bed with a celerity that would have given many another young man a headache during the remainder of the day.

But John Trenholme, artist by profession, was somewhat of a light-hearted vagabond by instinct; if the artist was ready to be annoyed because of an imaginary loss of precious daylight, the vagabond laughed cheerily when he blinked at a clock and learned that the hour still lacked some minutes of half past five in the morning.

"By gad," he grinned, pulling up the blind, "I was scared stiff. I thought the blessed alarm had missed fire, and that I had been lying here like a hog during the best part of the finest day England has seen this year."

Evidently he was still young enough to deal in superlatives, for there had been other fine days that Summer; moreover, in likening himself to a pig, he was ridiculously unfair to six feet of athletic symmetry in which it would be difficult to detect any marked resemblance to the animal whose name is a synonym for laziness.

On the way to the bathroom he stopped to listen for sounds of an aroused household, but the inmates of the White Horse Inn were still taking life easily.

"Eliza vows she can hear that alarm in her room," he communed. "Well, suppose we assist nature, always a laudable thing in itself, and peculiarly excellent when breakfast is thereby advanced a quarter of an hour."

Eliza was the inn's stout and voluble cook-housekeeper, and her attic lay directly above Trenholme's room. He went back for the clock, crept swiftly upstairs, opened a door a few inches, and put the infernal machine inside, close to the wall. He was splashing in the bath when a harsh and penetrating din jarred through the house, and a slight scream showed that Eliza had been duly "alarmed."

A few minutes later came a heavy thump on the bathroom door.

"All right, Mr. Trenholme!" cried an irate female voice. "You've been up to your tricks, have you? It'll be my turn when I make your coffee; I'll pepper an' salt it!"

"Why, what's the matter, Eliza?" he shouted.

"Matter! Frightenin' a body like that! I thought a lot o' suffrigettes were smashin' the windows of the snug."

Eliza was still touchy when Trenholme ventured to peep into the kitchen.

"I don't know how you dare show your face," she cried wrathfully. "The impidence of men nowadays! Just fancy you comin' an' openin' my door!"

"But, chérie, what have I done?" he inquired, his brown eyes wide with astonishment.

"I'm not your cherry, nor your peach, neither. Who put that clock in my room?"

"What clock, ma belle?"

Eliza picked up an egg, and bent so fiery a glance on the intruder that he dodged out of sight for a second.

"Listen, carissima," he pleaded, peering round the jamb of the door again. "If the alarm found its way upstairs I must have been walking in my sleep. While you were dreaming of suffragettes I may have been dreaming of you."

"Stop there a bit longer, chatterin' and callin' me names, an' your bacon will be frizzled to a cinder," she retorted.

"But I really hoped to save you some trouble by carrying in the breakfast tray myself. I hate to see a jolly, good-tempered woman of your splendid physique working yourself to a shadow."

Eliza squared her elbows as a preliminary to another outburst, when the stairs creaked. Mary, the "help," was arriving hurriedly, in curl papers.

"Oh, you've condescended to get up, have you?" was the greeting Mary received.

"Why, it's on'y ten minutes to six!" cried the astonished girl, gazing at a grandfather's clock as if it were bewitched.

"You've never had such a shock since you were born," went on the sarcastic Eliza. "But don't thank me, my girl. Thank Mr. Trenholme, the gentleman stannin' there grinnin' like a Cheshire cat. Talk to him nicely, an' p'raps he'll paint your picter, an' then your special butcher boy will see how beautiful you reelly are."

"Jim don't need tellin' anything about that," said the girl, smiling, for Eliza's bark was notoriously worse than her bite.

"Jim!" came the snorting comment. "The first man who ever axed me to marry him was called Jim, an' when, like a wise woman, I said 'No,' he went away an' 'listed in the Royal Artillery an' lost his leg in a war – that's what Jim did."

"What a piece of luck you didn't accept him!" put on Trenholme.

"An' why, I'd like to know?"

"Because he began by losing his head over you. If a leg was missing, too, there wasn't much of Jim left, was there?"

Mary giggled, and Eliza seized the egg again; so Trenholme ran to his sitting-room. Within half an hour he was passing through the High Street, bidding an affable "Good morning" to such early risers as he met, and evidently well content with himself and the world in general. His artist's kit revealed his profession even to the uncritical eye, but no student of men could have failed to guess his bent were he habited in the garb of a costermonger. The painter and the poet are the last of the Bohemians, and John Trenholme was a Bohemian to the tips of his fingers.

He carried himself like a cavalier, but the divine flame of art kindled in his eye. He had learned how to paint in Julien's studio, and that same school had taught him to despise convention. He looked on nature as a series of exquisite pictures, and regarded men and women in the mass as creatures that occasionally fitted into the landscape. He was heart whole and fancy free. At twenty-five he had already exhibited three times in the Salon, and was spoken of by the critics as a painter of much promise, which is the critical method of waiting to see how the cat jumps when an artist of genius and originality arrests attention.

He had peculiarly luminous brown eyes set well apart in a face which won the prompt confidence of women, children and dogs. He was splendidly built for an out-door life, and moved with a long, supple stride, a gait which people mistook for lounging until they walked with him, and found that the pace was something over four miles an hour. Add to these personal traits the fact that he had dwelt in Roxton exactly two days and a half, and was already on speaking terms with most of the inhabitants, and you have a fair notion of John Trenholme's appearance and ways.

There remains but to add that he was commissioned by a magazine to visit this old-world Hertfordshire village and depict some of its beauties before a projected railway introduced the jerry-builder and a sewerage scheme, and his presence in the White Horse Inn is explained. He had sketched the straggling High Street, the green, the inn itself, boasting a license six hundred years old, the undulating common, the church with its lych gate, the ivy-clad ruin known as "The Castle," with its square Norman keep still frowning at an English countryside, and there was left only an Elizabethan mansion, curiously misnamed "The Towers," to be transferred to his portfolio. Here, oddly enough, he had been rebuffed. A note to the owner, Mortimer Fenley, banker and super City man, asking permission to enter the park of an afternoon, had met with a curt refusal.

Trenholme, of course, was surprised, since he was paying the man a rare compliment; he had expressed in the inn his full and free opinion concerning all money grubbers, and the Fenley species thereof in particular; whereupon the stout Eliza, who classed the Fenley family as "rubbish," informed him that there was a right of way through the park, and that from a certain point near a lake he could sketch the grand old manor house to his heart's content, let the Fenleys and their keepers scowl as they chose.

The village barber, too, bore out Eliza's statement.

"A rare old row there was in Roxton twenty year ago, when Fenley fust kem here, an' tried to close the path," said the barber. "But we beat him, we did, an' well he knows it. Not many folk use it nowadays, 'coss the artful ole dodger opened a new road to the station; but some of us makes a point of strollin' that way on a Sunday afternoon, just to look at the pheasants an' rabbits, an' it's a treat to see the head keeper's face when we go through the lodge gates at the Easton end, for that is the line the path takes."

Here followed a detailed description, for the Roxton barber, like every other barber, could chatter like a magpie; it was in this wise that Trenholme was able to defy the laws forbidding trespass, and score off the seemingly uncivil owner of a historical dwelling.

He little imagined, that glorious June morning, that he was entering on a road of strange adventure. He had chosen an early hour purposely. Not only were the lights and shadows perfect for water color, but it was highly probable that he would be able to come and go without attracting attention. He had no wish to annoy Fenley, or quarrel with the man's myrmidons. Indeed, he would not have visited the estate at all if the magazine editor had not specially stipulated for a full-page drawing of the house.

Now, all would have been well had the barber's directions proved as bald in spirit as they were in letter.

"After passin' 'The Waggoner's Rest,' you'll come to a pair of iron gates on the right," he had said. "On one side there's a swing gate. Go through, an' make straight for a clump of cedars on top of a little hill. There mayn't be much of a path, but that's it. It's reelly a short cut to the Easton gate on the London road."

Yet who could guess what a snare for an artist's feet lay in those few words? How could Trenholme realize that "a pair of iron gates" would prove to be an almost perfect example of Christopher Wren's genius as a designer of wrought iron? Trenholme's eyes sparkled when he beheld this prize, with its acanthus leaves and roses beaten out with wonderful freedom and beauty of curve. A careful drawing was the result. Another result, uncounted by him, but of singular importance in its outcome was the delay of forty minutes thus entailed.

He crossed an undulating park, and had no difficulty in tracing an almost disused path in certain grass-grown furrows leading past the group of cedars. On reaching this point he obtained a fair view of the mansion; but the sun was directly behind him, as the house faced southeast, and he decided to encroach some few yards on private property. A brier-laden slope fell from the other side of the trees to a delightful-looking lake fed by a tiny cascade on the east side. An ideal spot, he thought.

This, then, was the stage setting: Trenholme, screened by black cedars and luxuriant brushwood, was seated about fifty feet above the level of the lake and some forty yards from its nearest sedges. The lake itself, largely artificial, lay at the foot of the waterfall, which gurgled and splashed down a miniature precipice of moss-covered bowlders. Here and there a rock, a copper beech, a silver larch, or a few flowering shrubs cast strong shadows on the dark, pellucid mirror beneath. On a cunningly contrived promontory of brown rock stood a white marble statue of Venus Aphrodite, and the ripples from the cascade seemed to endow with life the shimmering reflection of the goddess.
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