I - I'm very much obliged, of course." And he proceeded to follow them, thinking in his heart, "But it's bad form, all the same, to force an obligation on a fellow."
CHAPTER V
Leon strode ahead as if he knew exactly where he was going; the sobs of Madame were still faintly audible, and no one uttered a word. A dog barked furiously in a courtyard as they went by; then the church clock struck two, and many domestic clocks followed or preceded it in piping tones. And just then Berthelini spied a light. It burned in a small house on the outskirts of the town, and thither the party now directed their steps.
"It is always a chance," said Leon.
The house in question stood back from the street behind an open space, part garden, part turnip-field; and several outhouses stood forward from either wing at right angles to the front. One of these had recently undergone some change. An enormous window, looking towards the north, had been effected in the wall and roof, and Leon began to hope it was a studio.
"If it's only a painter," he said with a chuckle, "ten to one we get as good a welcome as we want."
"I thought painters were principally poor," said Stubbs.
"Ah!" cried Leon, "you do not know the world as I do. The poorer the better for us!"
And the trio advanced into the turnip-field.
The light was in the ground floor; as one window was brightly illuminated and two others more faintly, it might be supposed that there was a single lamp in one corner of a large apartment; and a certain tremulousness and temporary dwindling showed that a live fire contributed to the effect. The sound of a voice now became audible; and the trespassers paused to listen. It was pitched in a high, angry key, but had still a good, full, and masculine note in it. The utterance was voluble, too voluble even to be quite distinct; a stream of words, rising and falling, with ever and again a phrase thrown out by itself, as if the speaker reckoned on its virtue.
Suddenly another voice joined in. This time it was a woman's; and if the man were angry, the woman was incensed to the degree of fury. There was that absolutely blank composure known to suffering males; that colourless unnatural speech which shows a spirit accurately balanced between homicide and hysterics; the tone in which the best of women sometimes utter words worse than death to those most dear to them. If Abstract Bones-and-Sepulchre were to be endowed with the gift of speech, thus, and not otherwise, would it discourse. Leon was a brave man, and I fear he was somewhat sceptically given (he had been educated in a Papistical country), but the habit of childhood prevailed, and he crossed himself devoutly. He had met several women in his career. It was obvious that his instinct had not deceived him, for the male voice broke forth instantly in a towering passion.
The undergraduate, who had not understood the significance of the woman's contribution, pricked up his ears at the change upon the man.
"There's going to be a free fight," he opined.
There was another retort from the woman, still calm but a little higher.
"Hysterics?" asked Leon of his wife. "Is that the stage direction?"
"How should I know?" returned Elvira, somewhat tartly.
"Oh, woman, woman!" said Leon, beginning to open the guitar-case. "It is one of the burdens of my life, Monsieur Stubbs; they support each other; they always pretend there is no system; they say it's nature. Even Madame Berthelini, who is a dramatic artist!"
"You are heartless, Leon," said Elvira; "that woman is in trouble."
"And the man, my angel?" inquired Berthelini, passing the ribbon of his guitar. "And the man, M'AMOUR?"
"He is a man," she answered.
"You hear that?" said Leon to Stubbs. "It is not too late for you. Mark the intonation. And now," he continued, "what are we to give them?"
"Are you going to sing?" asked Stubbs.
"I am a troubadour," replied Leon. "I claim a welcome by and for my art. If I were a banker could I do as much?"
"Well, you wouldn't need, you know," answered the undergraduate.