London Lavender : $b An entertainmentLucas, E. V. (Edward Verrall)
General
London Lavender : $b An entertainment
Lucas, E. V. (Edward Verrall)
Humorous stories; London (England) -- Social life and customs -- 20th century -- Fiction
These things being accomplished, I was free to bend my mind to the
question of the restitution of the little Verrocchio; and this I had
to work out absolutely alone. I could not even tell Naomi, even
under that elastic understanding which is held to entitle married
people to share secrets entrusted to either, for although I am no
believer in the old saying that no woman can keep a secret, or,
rather, do not believe that a woman is less of an oyster in these
matters than a man, yet I did not wish to burden her with so good a
forbidden mystery. I do not say she would have been embarrassed to
retain it; but even the most cautious of us have a way now and then
of dressing up a friend's confidence vaguely, with several removes,
and so forth, which, though safe enough in some companies, might give
everything away to a clever listener who was acquainted with one's
circle. Anyway I did not tell her.
The only real temptation which I had to break the dead man's
injunction, was to tell Lacey. Lacey would not only have been
useful, but he would have so enjoyed it. I did not even dare to
skirt the subject with him, to get the benefit of his improvisations.
Furley, too, what would he not have given to be in a position to
"film" me (as he calls it) with the famous picture under my arm on
the errand of restitution!
I began--as I guess most criminals do, and I was a kind of inverted
criminal with all a criminal's desire for secrecy--by inventing
elaborate schemes, the cleverest things you ever heard of. But I
gave them all up in favour of the most obvious commonplace
simplicity. Having decided what to do, I waited three months and
then did it. The delay was due to the fear that if I acted at once,
two and two might easily be put together, since Carstairs had left
all his money--no inconsiderable sum--to the National Art Collections
Fund, and a comparison of dates might lead to investigation, and an
interview with the Misses Packer or Mrs. Wiles might educe the fact
of the locked cupboard, and then perhaps there would be a
cross-examination of myself, from which the truth would probably
emerge. At least, so I feared.
I therefore allowed the parcel to remain among my papers--every night
waking up convinced the house was on fire, and never leaving it
without expecting to find only ashes on my return--and at the end of
three months I chose a moment when everyone was out, and in broad day
conveyed the parcel to the cloak-room of that very centre of bustle
and incuriosity, the Piccadilly Circus Tube station, where in the
thick of passengers and chorus girls, I deposited it and paid my
twopence. The boy gave me my ticket without lifting his eyes, and I
again merged with the crowd. I had already printed on a piece of
plain paper an intimation that if the Director of the National
Gallery would send for the parcel concerned, he would not regret the
deed, and this I enclosed with the ticket in an envelope, and dropped
it into the post.
Public-domain text, read in full here on John Shaqi.
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