Tales of St. Austin's, P. G. Wodehouse [motivational novels .TXT] 📗

way it was a masterpiece. Without going into details—I dislike sensational and realistic writing—I may say that I personally was not one of those who required an extra ten minutes to finish their papers. I finished mine at half-past two, and amused myself for the remaining hour and a half by writing neatly on several sheets of foolscap exactly what I thought of Mr Mellish, and precisely what I hoped would happen to him some day. It was grateful and comforting.

At intervals I wondered what had become of Bradshaw. I was not surprised at his absence. At first I had feared that he would keep his word in that matter. As time went on I knew that he would. At more frequent intervals I wondered how I should enjoy being a bankrupt.

Four o'clock came round, and found me so engrossed in putting the finishing touches to my excursus of Mr Mellish's character, that I stayed on in the form-room till ten past. Two other members of the form stayed too, writing with the despairing energy of those who had five minutes to say what they would like to spread over five hours. At last Mellish collected the papers. He seemed a trifle surprised when I gave up my modest three sheets. Brown and Morrison, who had their eye on the form prize, each gave up reams. Brown told me subsequently that he had only had time to do sixteen sheets, and wanted to know whether I had adopted Rutherford's emendation in preference to the old reading in Question II. My prolonged stay had made him regard me as a possible rival.

I dwell upon this part of my story, because it has an important bearing on subsequent events. If I had not waited in the form-room I should not have gone downstairs just behind Mellish. And if I had not gone downstairs just behind Mellish, I should not have been in at the death, that is to say the discovery of Bradshaw, and this story would have been all beginning and middle, and no ending, for I am certain that Bradshaw would never have told me a word. He was a most secretive animal.

I went downstairs, as I say, just behind Mellish. St Austin's, you must know, is composed of three blocks of buildings, the senior, the middle, and the junior, joined by cloisters. We left the senior block by the door. To the captious critic this information may seem superfluous, but let me tell him that I have left the block in my time, and entered it, too, though never, it is true, in the company of a master, in other ways. There are windows.

Our procession of two, Mellish leading by a couple of yards, passed through the cloisters, and came to the middle block, where the Masters' Common Room is. I had no particular reason for going to that block, but it was all on my way to the House, and I knew that Mellish hated having his footsteps dogged. That Thucydides paper rankled slightly.

In the middle block, at the top of the building, far from the haunts of men, is the Science Museum, containing—so I have heard, I have never been near the place myself—two stuffed rats, a case of mouldering butterflies, and other objects of acute interest. The room has a staircase all to itself, and this was the reason why, directly I heard shouts proceeding from that staircase, I deduced that they came from the Museum. I am like Sherlock Holmes, I don't mind explaining my methods.

'Help!' shouted the voice. 'Help!'

The voice was Bradshaw's.

Mellish was talking to M. Gerard, the French master, at the moment. He had evidently been telling him of Bradshaw's non-appearance, for at the sound of his voice they both spun round, and stood looking at the staircase like a couple of pointers.

'Help,' cried the voice again.

Mellish and Gerard bounded up the stairs. I had never seen a French master run before. It was a pleasant sight. I followed. As we reached the door of the Museum, which was shut, renewed shouts filtered through it. Mellish gave tongue.

'Bradshaw!'

'Yes, sir,' from within.

'Are you there?' This I thought, and still think, quite a superfluous question.

'Yes, sir,' said Bradshaw.

'What are you doing in there, Bradshaw? Why were you not in school this afternoon? Come out at once.' This in deep and thrilling tones.

'Please, sir,' said Bradshaw complainingly, 'I can't open the door.' Now, the immediate effect of telling a person that you are unable to open a door is to make him try his hand at it. Someone observes that there are three things which everyone thinks he can do better than anyone else, namely poking a fire, writing a novel, and opening a door.

Gerard was no exception to the rule.

'Can't open the door?' he said. 'Nonsense, nonsense.' And, swooping at the handle, he grasped it firmly, and turned it.

At this point he made an attempt, a very spirited attempt, to lower the world's record for the standing high jump. I have spoken above of the pleasure it gave me to see a French master run. But for good, square enjoyment, warranted free from all injurious chemicals, give me a French master jumping.

'My dear Gerard,' said the amazed Mellish.

'I have received a shock. Dear me, I have received a most terrible shock.'

So had I, only of another kind. I really thought I should have expired in my tracks with the effort of keeping my enjoyment strictly to myself. I saw what had happened. The Museum is lit by electric light. To turn it on one has to shoot the bolt of the door, which, like the handle, is made of metal. It is on the killing two birds with one stone principle. You lock yourself in and light yourself up with one movement. It was plain that the current had gone wrong somehow, run amock, as it were. Mellish meanwhile, instead of being warned by Gerard's fate, had followed his example, and tried to turn the handle. His jump, though quite a creditable effort, fell short of Gerard's by some six inches. I began to feel as if some sort of round game were going on. I hoped that they would not want me to take a hand. I also hoped that the thing would continue for a good while longer. The success of the piece certainly warranted the prolongation of its run. But here I was disappointed. The disturbance had attracted another spectator, Blaize, the science and chemistry master. The matter was hastily explained to him in all its bearings. There was Bradshaw entombed within the Museum, with every prospect of death by starvation, unless he could support life for the next few years on the two stuffed rats and the case of butterflies. The authorities did not see their way to adding a human specimen (youth's size) to the treasures in the Museum, so—how was he to be got out?

The scientific mind is equal to every emergency.

'Bradshaw,' shouted Blaize through the keyhole.

'Sir?'

'Are you there?'

I should imagine that Bradshaw was growing tired of this question by this time. Besides, it cast aspersions on the veracity of Gerard and Mellish. Bradshaw, with perfect politeness, hastened to inform the gentleman that