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Anthony Trent, Master Criminal
Anthony Trent, Master Criminal
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Anthony Trent, Master Criminal

What interested Anthony Trent most of all was a collection of letters signed “N.G.” and written on the stationery of a very exclusive club. It was a club to which Drummond did not belong.

The first letter was merely a request that Drummond meet the writer in the library of the athletic club where Anthony Trent had seen him.

The second was longer and spelled a deeper distress.

“It’s impossible in a case like this,” wrote “N.G.,” “to get any man I know well to endorse my note. If I could afford to let all the world into my secret, I should not have come to you. You know very well that as I am the only son your money is safe enough. I must pay this girl fifty thousand dollars or let my father know all about it. He would be angry enough to send me to some god-forsaken ranch to cut wild oats.”

The third letter was still more insistent. The writer was obviously afraid that he would have to beg the money from his father.

“I have always understood,” he wrote, “that you would lend any amount on reasonable security. I want only fifty thousand dollars but I’ve got to have it at once. It’s quite beyond my mother’s power to get it for me this time. I’ve been to that source too often and the old man is on to it. E.G. insists that the money in cash must be paid to her on the morning of the 18th when she will call at the house with her lawyer. I am to receive my letters back and she will leave New York. Let me know instantly.”

The next letter indicated that William Drummond had decided to lend “N.G.” the amount but that his offer came too late.

“I wish you had made up your mind sooner,” said “N.G.” “It would have saved me the devil of a lot of worry and you could have made money out of it. As it is my father learned of it somehow. He talked about the family honor as usual. But the result is that when she and her lawyer call at ten on Thursday morning the money will be there. No check for her; she’s far too clever, but fifty thousand in crisp new notes. As for me, I’m to reform. That means I have to go down town every morning at nine and work in my father’s brokerage business. Can you imagine me doing that? I blame you for it, Drummond. You are too cautious by a damn sight to please me.”

Anthony Trent was thus put into possession of the following facts. That a rich man’s son, initials only known, had got into some sort of a scrape with a girl, initials were E.G., who demanded fifty thousand dollars in cash which was to be paid at the residence of the young man’s father. The date set was Thursday the eighteenth. It was now the early morning of Tuesday the sixteenth.

Trent had lists of the members of all the best clubs. He went through the one on whose paper N.G. had written. There were several members with those initials. Careful elimination left him with only one likely name, that of Norton Guestwick. Norton Guestwick was the only son and heir of a very rich broker. The elder Guestwick posed as a musical critic, had a box in the Golden Horseshoe and patronized such opera singers as permitted it. Many a time Anthony Trent had gazed on the Guestwick family seated in their compelling box from the modest seat that was his. Guestwick had even written a book, “Operas I Have Seen,” which might be found in most public libraries. It was an elaborately illustrated tome which reflected his shortcomings as a critic no less than his vanity as an author. A collector of musical books, Trent remembered buying it with high hopes and being disgusted at its smug ineffectiveness.

He had seldom seen Norton in the family box but the girls were seldom absent. They, too, upheld the Arts. Long ago he had conceived a dislike for Guestwick. He hated men who beat what they thought was time to music whose composers had other ideas of it.

Turning up a recent file of Gotham Gossip he came upon a reference to the Guestwick heir. “We understand,” said this waspish, but usually veracious weekly, “that Norton Guestwick’s attention to pretty Estelle Grandcourt (née Sadie Cort) has much perturbed his aristocratic parents who wish him to marry a snug fortune and a girl suited to be their daughter-in-law. It is not violating a confidence to say that the lady in question occupies a mansion on Commonwealth avenue and is one of the most popular girls in Boston’s smart set.”

While many commentators will puzzle themselves over the identity of the dark lady of the immortal sonnets, few could have failed to perceive that E.G. was almost certain to be Estelle Grandcourt. Sundry tests of a confirmatory nature proved it without doubt. He had thus two days in which to make his preparations to annex the fifty thousand dollars. There were difficulties. In these early days of his adventuring Anthony Trent made no use of disguises. He had so far been but himself. Vaguely he admitted that he must sooner or later come to veiling his identity. For the present exploit it was necessary that he should find out the name of the Guestwick butler.

He might have to get particulars from Clarke. But even Clarke’s help could not now be called in and it was upon this seemingly unimportant thing that his plan hinged. In a disguise such as many celebrated cracksmen had used, he might have gained a kitchen door and learned by what name Guestwick’s man called himself. Or he might have found it out from a tradesman’s lad. But to ask, as Anthony Trent, what might link him with a robbery was too risky.

Unfortunately for Charles Newman Guestwick his book, which had cost Trent two dollars and was thrown aside as worthless, supplied the key to what was needed.

It was the wordy, garrulous book that only a multi-millionaire author might write and have published. The first chapter, “My Childhood,” was succeeded by a lofty disquisition on music. Later there came revelations of the Guestwick family life with portraits of their various homes. The music room had a chapter to itself. Reading on, Anthony Trent came to the chapter headed, rather cryptically, “After the Opera.”

“It is my custom,” wrote the excellent Guestwick, “to hold in my box an informal reception after the performance is ended. My wide knowledge of music, of singers and their several abilities lends me, I venture to say, a unique position among amateurs.

“We rarely sup at hotel or restaurant after the performance. In my library where there is also a grand piano – we have three such instruments in our New York home and two more at Lenox – Mrs. Guestwick and my daughters talk over what we have heard, criticizing here, lauding there, until a simple repast is served by the butler who always waits up for us. The rest of the servants have long since retired. My library consists of perhaps the most valuable collection of musical literature in the world.

“I have mentioned in another chapter the refining influence of music on persons of little education. John Briggs, my butler, is a case in point. He came to me from Lord Fitzhosken’s place in Northamptonshire, England. The Fitzhoskens are immemoriably associated with fox-hunting and the steeple-chase and all Briggs heard there in the way of music were the cheerful rollicking songs of the hunt breakfast. I sent him to see Götterdämmerung. He told me simply that it was a revelation to him. He doubted in his uneducated way whether Wagner himself comprehended what he had written.”

There were thirty other chapters in Mr. Guestwick’s book. In all he revealed himself as a pompous ass assured only of tolerance among a people where money consciousness had succeeded that of caste. But Anthony Trent felt kindly toward him and the money he had spent was likely to earn him big dividends if things went well.

Caruso sang on the night preceding the morning on which Estelle Grandcourt was to appear and claim her heart balm. This meant a large attendance; for tenors may come and go, press agents may announce other golden voiced singers, but Caruso holds his pride of place honestly won and generously maintained. It had been Trent’s experience that the Guestwicks rarely missed a big night.

It was at half past nine Anthony Trent groaned that a professional engagement compelled him to leave the Metropolitan. He had spent money on a seat not this time for an evening of enjoyment, but to make certain that the Guestwicks were in their box.

There was Charles Newman Guestwick beating false time with a pudgy hand. His lady, weighted with Guestwick jewels, tried to create the impression that, after all, Caruso owed much of his success to her amiable patronage. The two daughters upheld the Guestwick tradition by being exceedingly affable to those greater than they and using lorgnettes to those who strove to know the Guestwicks.

Mr. John Briggs, drinking a mug of ale and wondering who was winning a light weight contest at the National Sporting Club, was resting in his sitting-room. He liked these long opera evenings, which gave him the opportunity to rest, as much as he despised his employer for his inordinate attendance at these meaningless entertainments. He shuddered as he remembered “The Twilight of the Gods.”

At ten o’clock when Mr. Briggs was nodding in his chair the telephone bell rang. Over the wire came his employer’s voice. It was not without purpose that Anthony Trent’s unusual skill in mimicry had been employed. As a youth he had acquired a reputation in his home town for imitations of Henry Irving, Bryan, Otis Skinner and their like.

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