The Greatest Works of Fergus Hume - 22 Mystery Novels in One Edition. Fergus Hume

top of the wall and leapt inside, clearing the bushes. He stole across the lawn and stepped over the flower-bed, carefully avoiding making any marks. He had the bottle of poison with him, but was apparently quite ignorant how he was to introduce it into the house, but on looking through the parting of the curtains he saw the glass with the drink on the table. Guessing that Madame Midas was in bed and would probably drink during the night, he put his hand through the curtains and poured all the poison into the glass, then noiselessly withdrew. He jumped over the wall again, put on his overcoat, and thought he was safe, when he found M. Vandeloup was watching him and had seen him in all his actions. Vandeloup, whose subtle brain immediately saw that if Madame Midas was dead he could throw the blame on Kitty and thus get rid of her without endangering himself, agreed to keep silent, but made Jarper give up the bottle to him. When Jarper had gone Vandeloup, a few yards further down, met Villiers, but supposed that he had just come on the scene. Villiers, however, had been watching the house all night, and had also been watching Meddlechip’s. The reason for this was he thought his wife was at the ball, and wanted to speak to her. He had followed Kitty and Mrs Riller down to St Kilda by hanging on to the back of the brougham, thinking the latter was his wife. Finding his mistake, he hung round the house for about an hour without any object, and was turning round the corner to go home when he saw Jarper jump over the wall, and, being unseen in the shadow, overheard the conversation and knew that Jarper had committed the crime. He did not, however, dare to accuse Jarper of murder, as he thought it was in Vandeloup’s power to denounce him as the assassin of Pierre Lemaire, so for his own safety kept quiet. When he heard the truth from Kitty in the prison he would have denounced the Frenchman at once as the real criminal, but was so bewildered by the rapid manner in which Vandeloup made up a case against him, and especially by the bottle being produced out of his pocket—which bottle Vandeloup, of course, had in his hand all the time—that he permitted him to escape. When he left the gaol, however, he went straight to the police-office and told his story, when a warrant was immediately granted for the arrest of Jarper. Kilsip took the warrant and went down to St Kilda to Mrs Villiers’ house to see her before arresting Jarper; but, as before described, Jarper came down to the house on business from the bank and was arrested at once.

      Of course, there was great excitement over the discovery of the real murderer, especially as Jarper was so well known in Melbourne society, but no one pitied him. In the days of his prosperity he had been obsequious to his superiors and insolent to those beneath him, so that all he gained was the contempt of one and the hate of the other. Luckily, he had no relatives whom his crime would have disgraced, and as he had not succeeded in getting rid of Madame Midas, he intended to have run away to South America, and had forged a cheque in her name for a large amount in order to supply himself with funds. Unhappily, however, he had paid that fatal visit and had been arrested, and since then had been in a state of abject fear, begging and praying that his life might be spared. His crime, however, had awakened such indignation that the law was allowed to take its course, so early one wet cold morning Barty Jarper was delivered into the hands of the hangman, and his mean, pitiful little soul was launched into eternity.

      Kitty was of course released, but overwhelmed with shame and agony at all her past life having been laid bare, she did not go to see Madame Midas, but disappeared amid the crowd, and tried to hide her infamy from all, although, poor girl, she was more sinned against than sinning.

      Vandeloup, for whom a warrant was out for the murder of Lemaire, had also disappeared, and was supposed to have gone to America.

      Madame Midas suffered severely from the shocks she had undergone with the discovery of everyone’s baseness. She settled a certain income on her husband, on condition she never was to see him again, which offer he readily accepted, and having arranged all her affairs in Australia, she left for England, hoping to find in travel some alleviation, if not forgetfulness, of the sorrow of the past. A good woman—a noble woman, yet one who went forth into the world broken-hearted and friendless, with no belief in anyone and no pleasure in life. She, however, was of too fine a nature ever to sink into the base, cynical indifference of a misanthropic life, and the wealth which she possessed was nobly used by her to alleviate the horrors of poverty and to help those who needed help. Like Midas, the Greek King, from whence her quaint name was derived, she had turned everything she touched into gold, and though it brought her no happiness, yet it was the cause of happiness to others; but she would give all her wealth could she but once more regain that trust in human nature which had been so cruelly betrayed.

Epilogue.

       The Wages of Sin

       Table of Contents

      Such a hot night as it was—not a breath of wind, and the moon, full orbed, dull and yellow, hangs like a lamp in the dark blue sky. Low down on the horizon are great masses of rain clouds, ragged and angry-looking, and the whole firmament seems to weigh down on the still earth, where everything is burnt and parched, the foliage of the trees hanging limp and heavily, and the grass, yellow and sere, mingling with the hot, white dust of the roads. Absolute stillness everywhere down here by the Yarra Yarra, not even the river making a noise as it sweeps swiftly down on its winding course between its low mud banks. No bark of a dog or human voice breaks the stillness; not even the sighing of the wind through the trees. And throughout all this unearthly silence a nervous vitality predominates, for the air is full of electricity, and the subtle force is permeating the whole scene. A long trail of silver light lies on the dark surface of the river rolling along, and here and there the current swirls into sombre, cruel-looking pools—or froths, and foams in lines of dirty white around the trunks of spectral-looking gum trees, which stretch out their white, scarred branches over the waters.

      Just a little way below the bridge which leads to the Botanical Gardens, on the near side of the river, stands an old, dilapidated bathing-house, with its long row of dressing-rooms, doorless and damp-looking. A broad, irregular wooden platform is in front of these, and slopes gradually down to the bank, from whence narrow, crazy-looking steps, stretching the whole length of the platform, go down beneath the sullen waters. And all this covered with black mould and green slime, with whole armies of spiders weaving grey, dusky webs in odd corners, and a broken-down fence on the left half buried in bush rank grass—an evil-looking place even in the daytime, and ten times more evil-looking and uncanny under the light of the moon, which fills it with vague shadows. The rough, slimy platform is deserted, and nothing is heard but the squeaking and scampering of the water-rats, and every now and then the gurgling of the river as it races past, as if it was laughing quietly in a ghastly manner over the victims it had drowned.

      Suddenly a black shadow comes gliding along the narrow path by the river bank, and pauses a moment at the entrance to the platform. Then it listens for a few minutes, and again hurries down to the crazy-looking steps. The black shadow standing there, like the genius of solitude, is a woman, and she has apparently come to add herself to the list of the cruel-looking river’s victims. Standing there, with one hand on the rough rail, and staring with fascinated eyes on the dull muddy water, she does not hear a step behind her. The shadow of a man, who has apparently followed her, glides from behind the bathing-shed, and stealing down to the woman on the verge of the stream, lays a delicate white hand on her shoulder. She turns with a startled cry, and Kitty Marchurst and Gaston Vandeloup are looking into one another’s eyes. Kitty’s charming face is worn and pallid, and the hand which clutches her shawl is trembling nervously as she gazes at her old lover. There he stands, dressed in old black clothes, worn and tattered looking, with his fair auburn hair all tangled and matted; his chin covered with a short stubbly beard of some weeks’ growth, and his face gaunt and haggard-looking—the very same appearance as he had when he landed in Australia. Then he sought to preserve his liberty; now he is seeking to preserve his life. They gaze at one another in a fascinated manner for a few moments, and then Gaston removes his hand from the girl’s shoulder with a sardonic laugh, and she buries her face in her hands with a stifled sob.

      ‘So this is the end,’ he said, pointing to the river, and fixing his scintillating eyes on the girl; ‘this is the end of our lives; for you the river—for me the hangman.’

      ‘God help me,’ she moaned, piteously; ‘what else