ARTHUR MACHEN Ultimate Collection: The Greatest Occult & Supernatural Classics in One Volume (Including Translations, Essays & Autobiography). Arthur Machen

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СКАЧАТЬ of the hand, the sign of the mano in fica. That gesture is now only used by Italians. So you see that what appeared the most obscure feature in the case turns out to be illuminant.’

      ‘Yes, quite so. And the flint knife?’

      ‘That is very simple. The man found the thing in Italy, or possibly stole it from some museum. Follow the line of least resistance, my dear fellow, and you will see there is no need to bring up primitive man from his secular grave beneath the hills.’

      ‘There is some justice in what you say,’ said Dyson. ‘As I understand you, then, you think that your Italian, having murdered, Vivian, kindly chalked up that hand as a guide to Scotland Yard?’

      ‘Why not? Remember a murderer is always a madman. He may plot and contrive nine-tenths of his scheme with the acuteness and the grasp of a chess-player or a pure mathematician; but somewhere or other his wits leave him and he behaves like a fool. Then you must take into account the insane pride or vanity of the criminal; he likes to leave his mark, as it were, upon his handiwork.’

      ‘Yes, it is all very ingenious; but have you read the reports of the inquest?’

      ‘No, not a word. I simply gave my evidence, left the court, and dismissed the subject from my mind.’

      ‘Quite so. Then if you don’t object I should like to give you an account of the case. I have studied it rather deeply, and I confess it interests me extremely.’

      ‘Very good. But I warn you I have done with mystery. We are to deal with facts now.’

      ‘Yes, it is fact that I wish to put before you. And this is fact the first. When the police moved Sir Thomas Vivian’s body they found an open knife beneath him. It was an ugly-looking thing such as sailors carry, with a blade that the mere opening rendered rigid, and there the blade was all ready, bare and gleaming, but without a trace of blood on it, and the knife was found to be quite new; it had never been used. Now, at the first glance it looks as if your imaginary Italian were just the man to have such a tool. But consider a moment. Would he be likely to buy a new knife expressly to commit murder? And, secondly, if he had such a knife, why didn’t he use it, instead of that very odd flint instrument?

      ‘And I want to put this to you. You think the murderer chalked up the hand after the murder as a sort of “melodramatic Italian assassin his mark” touch. Passing over the question as to whether the real criminal ever does such a thing, I would point out that, on the medical evidence, Sir Thomas Vivian hadn’t been dead for more than an hour; That would place the stroke at about a quarter to ten, and you know it was perfectly dark when we went out at 9.30. And that passage was singularly gloomy and ill-lighted, and the hand was drawn roughly, it is true, but correctly and without the bungling of strokes and the bad shots that are inevitable when one tries to draw in the dark or with shut eyes. Just try to draw such a simple figure as a square without looking at the paper, and then ask me to conceive that your Italian, with the rope waiting for his neck, could draw the hand on the wall so firmly and truly, in the black shadow of that alley. It is absurd. By consequence, then, the hand was drawn early in the evening, long before any murder was committed; or else — mark this, Phillipps — it was drawn by some one to whom darkness and gloom were familiar and habitual; by some one to whom the common dread of the rope was unknown!

      ‘Again: a curious note was found in Sir Thomas Vivian’s pocket. Envelope and paper were of a common make, and the stamp bore the West Central postmark. I will come to the nature of the contents later on, but it is the question of the handwriting that is so remarkable. The address on the outside was neatly written in a small clear hand, but the letter itself might have been written by a Persian who had learnt the English script. It was upright, and the letters were curiously contorted, with an affectation of dashes and backward curves which really reminded me of an Oriental manuscript, though it was all perfectly legible. But — and here comes the poser — on searching the dead man’s waistcoat pockets a small memorandum book was found; it was almost filled with pencil jottings. These memoranda related chiefly to matters of a private as distinct from a professional nature; there were appointments to meet friends, notes of theatrical first-nights, the address of a good hotel in Tours, and the title of a new novel — nothing in any way intimate. And the whole of these jottings were written in a hand nearly identical with the writing of the note found in the dead man’s coat pocket! There was just enough difference between them to enable the expert to swear that the two were not written by the same person. I will just read you so much of Lady Vivian’s evidence as bears on this point of the writing; I have the printed slip with me. Here you see she says: “I was married to my late husband seven years ago; I never saw any letter addressed to him in a hand at all resembling that on the envelope produced, nor have I ever seen writing like that in the letter before me. I never saw my late husband using the memorandum book, but I am sure he did write everything in it; I am certain of that because we stayed last May at the Hotel du Faisan, Rue Royale, Tours, the address of which is given in the book; I remember his getting the novel ‘A Sentinel’ about six weeks ago. Sir Thomas Vivian never liked to miss the first-nights at the theatres. His usual hand was perfectly different from that used in the note-book.”

      ‘And now, last of all, we come back to the note itself. Here it is in facsimile. My possession of it is due to the kindness of Inspector Cleeve, who is pleased to be amused at my amateur inquisitiveness. Read it, Phillipps; you tell me you are interested in obscure inscriptions; here is something for you to decipher.’

      Mr. Phillipps, absorbed in spite of himself in the strange circumstances Dyson had related, took the piece of paper, and scrutinized it closely. The handwriting was indeed bizarre in the extreme, and, as Dyson had noted, not unlike the Persian character in its general effect, but it was perfectly legible.

      ‘Read it aloud,’ said Dyson, and Phillipps obeyed.

      ‘“Hand did not point in vain. The meaning of the stars is no longer obscure. Strangely enough, the black heaven vanished, or was stolen yesterday, but that does not matter in the least, as I have a celestial globe. Our old orbit remains unchanged; you have not forgotten the number of my sign, or will you appoint some other house? I have been on the other side of the moon, and can bring something to show you.”’

      ‘And what do you make of that?’ said Dyson.

      ‘It seems to me mere gibberish,’ said Phillipps; ‘you suppose it has a meaning?’

      ‘Oh, surely; it was posted three days before the murder; it was found in the murdered man’s pocket; it is written in a fantastic hand which the murdered man himself used for his private memoranda. There must be purpose under all this, and to my mind there is something ugly enough hidden under the circumstances of this case of Sir Thomas Vivian.’

      ‘But what theory have you formed?’

      ‘Oh, as to theories, I am still in a very early stage; it is too soon to state conclusions. But I think I have demolished your Italian. I tell you, Phillipps, again the whole thing has an ugly look to my eyes. I cannot do as you do, and fortify myself with cast-iron propositions to the effect that this or that doesn’t happen, and never has happened. You note that the first word in the letter is “hand”. That seems to me, taken with what we know about the hand on the wall, significant enough, and what you yourself told me of the history and meaning of the symbol, its connection with a world-old belief and faiths of dim far-off years, all this speaks of mischief, for me at all events. No; I stand pretty well to what I said to you half in joke that night before we went out. There are sacraments of evil as well as of good about us, and we live and move to my belief in an unknown world, a place where there are caves and shadows and dwellers in twilight. It is possible that man may sometimes return on the track of evolution, and it is my belief that an awful lore is not yet dead.’

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