Tiger Cat Part 2

"I have come for the key," I said bluntly, "the key to the cellar door."

"Are you sure you want it?"

"Absolutely! It is my villa and my cellar and my door. I want the key. I want to see what is on the other side of the door."

And then it was that I saw the pupils of her eyes narrow to livid slits.

She looked at me for a second, for five, and then opening a drawer in a cabinet near her chair, she took out the key and handed it to me. It was a tool worthy of the door that it was supposed to open, being fully eight inches long and a pound in weight.

Taking it, I thanked her and said good-bye. Fifteen minutes later I was back, profuse in my apologies: I was temperamental, I explained, and I frequently changed my mind. Whatever was on the other side of the door could stay there, as far as I was concerned. Then again I kissed her hand farewell.

On the side street I pa.s.sed through the door of a locksmith and waited while he completed a key. He was following a wax impression of the original key. An hour later I was on the way back to the villa, with the key in my pocket, a key that I was sure would unlock the door, and I was confident that the lady with the cat eyes felt sure that I had lost all interest in that door and what was beyond it.

The full moon was just appearing over the mountains when I drove my car up to the villa. I was tired, but happy. Taking the candlestick in my hand, which candlestick was handed to me with a deep bow by the old woman, I ascended the stairs to my bedroom. And soon I was fast asleep.

I awoke with a start. The moon was still s.h.i.+ning. It was midnight. I heard, or thought I heard, a deep moaning. It sounded a little like waves beating on a rockbound coast. Then it ceased and was replaced by a musical element that came in certain stately measures. Those sounds were in the room, but they came from far away; only by straining my sense of sound to the utmost could I hear anything.

Slippers on my feet, flashlight in my hand and the key in the pocket of my dressing-gown, I slowly descended the stairs. Loud snores from the servants' room told, or seemed to tell, of their deep slumbers. Down into the cellar I went and put the key into the hole of the lock. The key turned easily--no rust there--the springs and the tumblers had been well oiled, like the hinges. It was evident that the door had been used often. Turning the light on the hinges, I saw what had made my hand black with oil. Earnestly I d.a.m.ned the servants. They knew about the door. They knew what was on the other side!

Just as I was about to open the door I heard a woman's voice singing in Italian; it sounded like a selection from an opera. It was followed by applause, and then a moaning, and one shrill cry, as though someone had been hurt. There was no doubt now as to where the sounds that I heard in my room had come from; they had come from the other side of the door.

There was a mystery there for me to solve. But I was not ready to solve it; so I turned the key noiselessly, and with the door locked, tiptoed back to my bed.

There I tried to put two and two together. They made five, seven, a million vague admixtures of impossible results, all filled with weird forebodings. But never did they make four, and till they did, I knew the answers to be wrong, for two and two had to make four.

Many changes of masters! One after another they came and bought and disappeared. A whitewashed wall. What secrets were covered with that whitewash? A door in a cellar. And what deviltry went on behind it? A key and a well-oiled lock, and servants that knew everything. In vain the question came to me. _What is back of the door?_ There was no ready answer. But, Donna Marchesi knew! Was it her voice that I had heard? She knew almost everything about it, but there was one thing that I knew and she did not. She did not know that I could pa.s.s through the door and find out what was on the other side. She did not know that I had a key.

The next day I pleaded indisposition and spent most of the hours idling and drowsing in my chamber. Not till nearly midnight did I venture down.

The servants were certainly asleep that time. A dose of chloral in their wine had attended to the certainty of their slumbers. Fully dressed, with an automatic in my pocket, I reached the cellar and opened the door. It swung noiselessly on its well-greased hinges. The darkness on the other side was the blackness of h.e.l.l. An indescribable odor came to me, a prison smell and with it the soft half sob, half laugh of sleeping children, dreaming in their sleep, and not happy.

I flashed the light around the room. It was not a room but a cavern, a cave that extended far into the distance, the roof supported by stone pillars, set at regular intervals. As far as my light would carry I saw the long rows of white columns.

And to each pillar was bound a man, by chains. They were resting on the stone floor, twenty or more of them, and all asleep. Snores, grunts and weary sighs came from them, but not a single eyelid opened. Even when I flashed the light in their faces their eyes were shut.

And those faces sickened me; white and drawn and filled with the lines of deep suffering. All were covered with scars; long, narrow, deep scars, some fresh and red, others old and dead-white. At last, the sunken eyelids and the inability to see my flashlight and respond told me the nauseating truth. Those men were all blind.

[Ill.u.s.tration: "Looking eternally into the blackness of his life and chained to a pillar of stone."]

A pleasant sight! One blind man, looking eternally into the blackness of his life, and chained to a pillar of stone--that was bad enough; but multiply that by twenty! Was it worse? Could it be worse? Could twenty men suffer more than one man? And then a thought came to me, a terrible, impossible thought, so horrible that I doubted my logic. But now two and two were beginning to make four. Could those men be the _masters_? They came and bought and left--to go to the cellar and stay there!

"Oh! Donna Marchesi!" I whispered. "How about those cat-eyes? If you had a hand in this, you are not a woman. You are a tiger."

I thought that I understood part of it. The latest master came to her for the key to the cellar, and then, when he once pa.s.sed through the door he never left. She and her servants were not there to welcome me that night, because she did not know that I had a key.

The thought came to me that perhaps one of those sleeping men was George Seabrook. He and I used to play tennis together and we knew each other like brothers. He had a large scar on the back of his right hand; a livid star-shaped scar. With that in mind, I walked carefully from sleeping man to sleeping man, looking at their right hands. And I found a right hand with a scar that was shaped like the one I knew so well.

But that blind man, only a skin-covered skeleton, chained to a bed of stone! That could not be my gay young tennis player, George!

The discovery nauseated me. What did it mean? What _could_ it mean? If the Donna Marchesi was back of all that misery, what was her motive?

Down the long cave-like room I went. There seemed to be no end to it, though many of the columns were surrounded with empty chains. Only those near the door had their human flies in the trap. In the opposite direction the rows of pillars stretched into a far oblivion. I thought that at the end there was the black mouth of a tunnel, but I could not be sure and dared not go that far to explore the truth. Then, out of that tunnel, I heard a voice come, a singing voice. Slipping my shoes off, I ran back near the door and hid as best I could in a dark recess, back of a far piece of stone. I stood there in the darkness, my torch out, the handle of the revolver in my hand.

The singing grew louder and louder, and then the singer came into view.

It was none other than Donna Marchesi! She carried a lantern in one hand and a basket in the other. Hanging the lantern on a nail, she took the basket and went from one sleeping man to another. With each her performance was the same; she awakened them with a kick in the face, and then, when they sat up crying with pain, she placed a hard roll of bread in their blind, trembling, outstretched hand. With all fed, there was silence save for gnawing teeth breaking through the hard crusts. The poor devils were hungry, starving slowly to death, and how they wolfed the bread! She laughed with animal delight as they cried for more.

Standing under the lamp, a lovely devil in her decollete dress, she laughed at them. I swear I saw her yellow eyes, dilated in the semi-darkness!

Suddenly she gave the command,

"Up! you dogs, _up_!"

Like well-trained animals they rose to their feet, clumsily, but as fast as they could under the handicap of trembling limbs and heavy chains.

Two were slow in obeying, and those she struck across the face with a small whip, till they whined with pain.

They stood there in silence, twenty odd blind men, chained against as many pillars of stone; and then the woman, standing in the middle of them, started to sing. It was a well-trained voice, but metallic, and her high notes had in them the cry of a wild animal. No feminine softness there. She sang from an Italian opera, and I knew that I had heard that song before. While she sang, her audience waited silently. At last she finished, and they started to applaud. Shrunken hands beat noisily against shrunken hands.

She seemed to watch them carefully, as though she were measuring the degree of their appreciation. One man did not satisfy her. She went over and dug into his face with long strokes of those long red nails until his face was red and her fingers b.l.o.o.d.y. And when she finished her second song that man clapped louder than any of them. He had learned his lesson.

She ended by giving them each another roll and a dipper of water. Then, lantern and basket in her hands, she walked away and disappeared down the tunnel. The blind men, crying and cursing in their impotent rage, sank down on their stone beds.

I went to my friend, and took his hand.

"George! George Seabrook!" I whispered.

He sat up and cried, "Who calls me? Who is there?"

I told him, and he started to cry. At last he became quiet enough to talk to me. What he told me, with slight variants, was the story of all the men there and all the men who had been there but who had died. Each man had been master for a day or a week. Each had found the cellar door and had come to the Donna Marchesi for the key. Some had been suspicious and had written their thoughts on the wall of their bedroom. But one and all had, in the end, found their curiosity more than they could resist and had opened the door. On the other side they had been overpowered and chained to a pillar, and there they had remained till they died. Some of them lived longer than the rest. Smith of Boston had been there over two years, though he was coughing badly and did not think that he could last much longer. Seabrook told me their names. They were the best blood of America, with three Englishmen and one Frenchman.

"And are you all blind?" I whispered, dreading the answer.

"Yes. That happens the first night we are here. She does it with her nails."

"And she comes every night?"

"Every night. She feeds us and sings to us and we applaud. When one of us dies, she unchains the body, and throws it down a hole somewhere. She talks to us about that hole sometimes and brags that she is going to fill it up before she stops."

"But who is helping her?"

"I think it is the real-estate man. Of course, the old devils upstairs help. I think that they must drug us. Some of the men say that they went to sleep in their beds and woke, chained to their posts."

My voice trembled as I bent over and whispered in his ear, "What would you do, George, if she came and sang, and you found that you were not chained? You and the other men not chained? What would you men do, George?"

"Ask them," he snarled. "Ask them, one at a time. But I know what I would do. I know!"

And he started to cry, because he could not do it the next second; cried from rage and helplessness till the tears ran from his empty sockets.