The Mystery of 31 New Inn, R. Austin Freeman [iphone ebook reader .TXT] 📗

will? A totally blind man cannot draw up his will at all. But if he has eyesight sufficient to enable him to write out and sign a will, mere defective vision will not lead him to muddle the provisions. Yet something of this kind seemed to be in Thorndyke's mind, for now I recalled the question that he had put to the porter: "When you read the will over in Mr. Blackmore's presence, did you read it aloud?" That question could have but one significance. It implied a doubt as to whether the testator was fully aware of the exact nature of the document that he was signing. Yet, if he was able to write and sign it, surely he was able also to read it through, to say nothing of the fact that, unless he was demented, he must have remembered what he had written.

Thus, once more, my reasoning only led me into a blind alley at the end of which was the will, regular and valid and fulfilling all the requirements that the law imposed. Once again I had to confess myself beaten and in full agreement with Mr. Marchmont that "there was no case"; that "there was nothing in dispute." Nevertheless, I carefully fixed in the pocket file that Thorndyke had given me the copy that I had made of his notes, together with the notes on our visit to New Inn, and the few and unsatisfactory conclusions at which I had arrived; and this brought me to the end of my first morning in my new capacity.

"And how," Thorndyke asked as we sat at lunch, "has my learned friend progressed? Does he propose that we advise Mr. Marchmont to enter a caveat?"

"I've read all the documents and boiled all the evidence down to a stiff jelly; and I am in a worse fog than ever."

"There seems to be a slight mixture of metaphors in my learned friend's remarks. But never mind the fog, Jervis. There is a certain virtue in fog. It serves, like a picture frame, to surround the essential with a neutral zone that separates it from the irrelevant."

"That is a very profound observation, Thorndyke," I remarked ironically.

"I was just thinking so myself," he rejoined.

"And if you could contrive to explain what it means—"

"Oh, but that is unreasonable. When one throws off a subtly philosophic obiter dictum one looks to the discerning critic to supply the meaning. By the way, I am going to introduce you to the gentle art of photography this afternoon. I am getting the loan of all the cheques that were drawn by Jeffrey Blackmore during his residence at New Inn—there are only twenty-three of them, all told—and I am going to photograph them."

"I shouldn't have thought the bank people would have let them go out of their possession."

"They are not going to. One of the partners, a Mr. Britton, is bringing them here himself and will be present while the photographs are being taken; so they will not go out of his custody. But, all the same, it is a great concession, and I should not have obtained it but for the fact that I have done a good deal of work for the bank and that Mr. Britton is more or less a personal friend."

"By the way, how comes it that the cheques are at the bank? Why were they not returned to Jeffrey with the pass-book in the usual way?"

"I understand from Britton," replied Thorndyke, "that all Jeffrey's cheques were retained by the bank at his request. When he was travelling he used to leave his investment securities and other valuable documents in his bankers' custody, and, as he has never applied to have them returned, the bankers still have them and are retaining them until the will is proved, when they will, of course, hand over everything to the executors."

"What is the object of photographing these cheques?" I asked.

"There are several objects. First, since a good photograph is practically as good as the original, when we have the photographs we practically have the cheques for reference. Then, since a photograph can be duplicated indefinitely, it is possible to perform experiments on it which involve its destruction; which would, of course, be impossible in the case of original cheques."

"But the ultimate object, I mean. What are you going to prove?"

"You are incorrigible, Jervis," he exclaimed. "How should I know what I am going to prove? This is an investigation. If I knew the result beforehand, I shouldn't want to perform the experiment."

He looked at his watch, and, as we rose from the table, he said:

"If we have finished, we had better go up to the laboratory and see that the apparatus is ready. Mr. Britton is a busy man, and, as he is doing us a great service, we mustn't keep him waiting when he comes."

We ascended to the laboratory, where Polton was already busy inspecting the massively built copying camera which—with the long, steel guides on which the easel or copy-holder travelled—took up the whole length of the room on the side opposite to that occupied by the chemical bench. As I was to be inducted into the photographic art, I looked at it with more attention than I had ever done before.

"We've made some improvements since you were here last, sir," said Polton, who was delicately lubricating the steel guides. "We've fitted these steel runners instead of the blackleaded wooden ones that we used to have. And we've made two scales instead of one. Hallo! That's the downstairs bell. Shall I go sir?"

"Perhaps you'd better," said Thorndyke. "It may not be Mr. Britton, and I don't want to be caught and delayed just now."

However, it was Mr. Britton; a breezy alert-looking middle-aged man, who came in escorted by Polton and shook our hands cordially, having been previously warned of my presence. He carried a small but solid hand-bag, to which he clung tenaciously up to the very moment when its contents were required for use.

"So that is the camera," said he, running an inquisitive eye over the instrument. "Very fine one, too; I am a bit of a photographer myself. What is that graduation on the side-bar?"

"Those are the scales," replied Thorndyke, "that shows the degree of magnification or reduction. The pointer is fixed to the easel and travels with it, of course, showing the exact size of the photograph. When the pointer is opposite 0 the photograph will be identical in size with the object photographed; when it points to, say, × 6, the photograph will be six times as long as the object, or magnified thirty-six times superficially, whereas if the pointer is at ÷ 6, the photograph will be a sixth of the length of the object, or one thirty-sixth superficial."

"Why are there two scales?" Mr. Britton asked.

"There is a separate scale for each of the two lenses that we principally use. For great magnification or reduction a lens of comparatively short focus must be used, but, as a long-focus lens gives a more perfect image, we use one of very long focus—thirty-six inches—for copying the same size or for slight magnification or reduction."

"Are you going to magnify these cheques?" Mr. Britton asked.

"Not in the first place," replied Thorndyke. "For convenience and speed I am going to photograph them half-size, so that six cheques will go on one whole plate. Afterwards we can enlarge from the negatives as much as we like. But we should probably enlarge only the signatures in any case."

The precious bag was now opened and the twenty-three cheques brought out and laid on the bench in a consecutive series in the order of their dates. They were then fixed by tapes—to avoid making pin-holes in them—in batches of six to small drawing boards, each batch being so arranged that the signatures were towards the middle. The first board was clamped to the easel, the latter was slid along its guides until the pointer stood at ÷ 2 on the long-focus scale and Thorndyke proceeded to focus the camera with the aid of a little microscope that Polton had made for the purpose. When Mr. Britton and I had inspected the exquisitely sharp image on the focusing-screen through the microscope, Polton introduced the plate and made the first exposure, carrying the dark-slide off to develop the plate while the next batch of cheques was being fixed in position.

In his photographic technique, as in everything else, Polton followed as closely as he could the methods of his principal and instructor; methods characterized by that unhurried precision that leads to perfect accomplishment. When the first negative was brought forth, dripping, from the dark-room, it was without spot or stain, scratch or pin-hole; uniform in colour and of exactly the required density. The six cheques shown on it—ridiculously small in appearance, though only reduced to half-length—looked as clear and sharp as fine etchings; though, to be sure, my opportunity for examining them was rather limited, for Polton was uncommonly careful to keep the wet plate out of reach and so safe from injury.

"Well," said Mr. Britton, when, at the end of the séance, he returned his treasures to the bag, "you have now got twenty-three of our cheques, to all intents and purposes. I hope you are not going to make any unlawful use of them—must tell our cashiers to keep a bright look-out; and"—here he lowered his voice impressively and addressed himself to me and Polton—"you understand that this is a private matter between Dr. Thorndyke and me. Of course, as Mr. Blackmore is dead, there is no reason why his cheques should not be photographed for legal purposes; but we don't want it talked about; nor, I think, does Dr. Thorndyke."

"Certainly not," Thorndyke agreed emphatically; "but you need not be uneasy, Mr. Britton. We are very uncommunicative people in this establishment."

As my colleague and I escorted our visitor down the stairs, he returned to the subject of the cheques.

"I don't understand what you want them for," he remarked. "There is no question turning on signatures in the case of Blackmore deceased, is there?"

"I should say not," Thorndyke replied rather evasively.

"I should say very decidedly not," said Mr. Britton, "if I understood Marchmont aright. And, even if there were, let me tell you, these signatures that you have got wouldn't help you. I have looked them over very closely—and I have seen a few signatures in my time, you know. Marchmont asked me to glance over them as a matter of form, but I don't believe in matters of form; I examined them very carefully. There is an appreciable amount of variation; a very appreciable amount. But under the variation one can trace the personal character (which is what matters); the subtle, indescribable quality that makes it recognizable to the expert eye as Jeffrey Blackmore's writing. You understand me. There is such a quality, which remains when the coarser characteristics vary; just as a man may grow old, or fat, or bald, or may take to drink, and become quite changed; and yet, through it all, he preserves a certain something which makes him recognizable as a member of a particular family. Well, I find that quality in all those signatures, and so will you, if you have had enough experience of handwriting. I thought it best to mention it in case you might be giving yourself unnecessary trouble."

"It is very good of you," said Thorndyke, "and I need not say that the information is of great value, coming from such a highly expert source. As a matter of fact, your hint will be of great value to me."

He shook hands with Mr. Britton, and, as the latter disappeared down the stairs, he turned into the sitting-room and remarked:

"There is a very weighty and significant observation, Jervis. I advise you to consider it attentively in all its bearings."

"You mean the fact that these signatures are undoubtedly genuine?"

"I meant, rather, the very interesting general truth that is contained in Britton's statement; that physiognomy is not a mere matter of facial character. A man carries his personal trademark, not in his face only, but in his nervous system and muscles—giving rise to characteristic movements and gait; in his larynx—producing an individual voice; and even in his mouth, as shown by individual peculiarities of speech and accent. And the individual nervous system, by means of these characteristic movements, transfers its peculiarities to inanimate objects that are the products of such movements; as we see in pictures, in carving, in musical execution and in handwriting. No one has ever painted quite like Reynolds or Romney; no one has ever played exactly like Liszt or Paganini; the pictures or the sounds produced by them, were, so to speak, an extension of the physiognomy of the artist. And so with handwriting. A particular specimen is the product of a particular set of motor centres in an individual brain."

"These are very interesting considerations,