What's Bred in the Bone

CHAPTER I.

ELMA'S STRANGER

It was late when Elma reached the station. Her pony had jibbed on the way downhill, and the train was just on the point of moving off as she hurried upon the platform. Old Matthews, the stout and chubby-cheeked station-master, seized her most unceremoniously by the left arm, and bundled her into a carriage. He had known her from a child, so he could venture upon such liberties.

"Second class, miss? Yes, miss. Here y'are. Look sharp, please. Any more goin' on? All right, Tom! Go ahead there!" And lifting his left hand, he whistled a shrill signal to the guard to start her.

As for Elma, somewhat hot in the face with the wild rush for her ticket, and grasping her uncounted change, pence and all, in her little gloved hand, she found herself thrust, hap-hazard, at the very last moment, into the last compartment of the last carriage—alone—with an artist.

Now, you and I, to be sure, most proverbially courteous and intelligent reader, might never have guessed at first sight, from the young man's outer aspect, the nature of his occupation. The gross and clumsy male intellect, which works in accordance with the stupid laws of inductive logic, has a queer habit of requiring something or other, in the way of definite evidence, before it commits itself offhand to the distinct conclusion. But Elma Clifford was a woman; and therefore she knew a more excellent way. HER habit was, rather to look things once fairly and squarely in the face, and then, with the unerring intuition of her sex, to make up her mind about them firmly, at once and for ever. That's one of the many glorious advantages of being born a woman. You don't need to learn in order to know. You know instinctively. And yet our girls want to go to Girton, and train themselves up to be senior wranglers!

Elma Clifford, however, had NOT been to Girton, so, as she stumbled into her place, she snatched one hurried look at Cyril Wiring's face, and knew at a glance he was a landscape painter.

Now, this was clever of her, even in a woman, for Cyril Waring, as he fondly imagined, was travelling that line that day disguised as a stock-broker. In other words, there was none of the brown velveteen affectation about his easy get-up. He was an artist, to be sure, but he hadn't assiduously and obtrusively dressed his character. Instead of cutting his beard to a Vandyke point, or enduing his body in a Titianesque coat, or wearing on his head a slouched Rembrandt hat, stuck carelessly just a trifle on one side in artistic disorder, he was habited, for all the world like anybody else, in the grey tweed suit of the common British tourist, surmounted by the light felt hat (or bowler), to match, of the modern English country gentleman. Even the soft silk necktie of a delicate aesthetic hue that adorned his open throat didn't proclaim him at once a painter by trade. It showed him merely as a man of taste, with a decided eye for harmonies of colour.

So when Elma pronounced her fellow-traveller immediately, in her own mind, a landscape artist, she was exercising the familiar feminine prerogative of jumping, as if by magic, to a correct conclusion. It's a provoking way they have, those inscrutable women, which no mere male human being can ever conceivably fathom.

She was just about to drop down, as propriety demands, into the corner seat diagonally opposite to—and therefore as far as possible away from—her handsome companion, when the stranger rose, and, with a very flushed face, said, in a hasty, though markedly deferential and apologetic tone—

"I beg your pardon, but—excuse me for mentioning it—I think you're going to sit down upon—ur—pray don't be frightened—a rather large snake of mine."

There was something so comically alarmed in the ring of his tone—as of a naughty schoolboy detected in a piece of mischief—that, propriety to the contrary notwithstanding, Elma couldn't for the life of her repress a smile. She looked down at the seat where the stranger pointed, and there, sure enough, coiled up in huge folds, with his glossy head in attitude to spring at her, a great banded snake lay alert and open-eyed.

"Dear me," Elma cried, drawing back a little in surprise, but not at all in horror, as she felt she ought to do. "A snake! How curious! I hope he's not dangerous."

"Not at all," the young man answered, still in the same half-guilty tone of voice as before. "He's of a poisonous kind, you know; but his fangs have been extracted. He won't do you any injury. He's perfectly harmless. Aren't you, Sardanapalus? Eh, eh, my beauty? But I oughtn't to have let him loose in the carriage, of course," he added, after a short pause. "It's calculated to alarm a nervous passenger. Only I thought I was alone, and nobody would come in; so I let him out for a bit of a run between the stations. It's so dull for him, poor fellow, being shut up in his box all the time when he's travelling."

Elma looked down at the beautiful glossy creature with genuine admiration. His skin was like enamel; his banded scales shone bright and silvery. She didn't know why, but somehow she felt she wasn't in the least afraid of him. "I suppose one ought to be repelled at once by a snake," she said, taking the opposite seat, and keeping her glance fixed firmly upon the reptile's eye; "but then, this is such a handsome one! I can't say why, but I don't feel afraid of him at all as I ought, to do. Every right-minded person detests snakes, don't they? And yet, how exquisitely flexible and beautiful he is! Oh, pray don't put him back in his box for me. He's basking in the sun here. I should be sorry to disturb him."

Cyril Waring looked at her in considerable surprise. He caught the creature in his hands as he spoke, and transferred it at once to a tin box, with a perforated lid, that lay beside him. "Go back, Sardanapalus," he said, in a very musical and pleasant voice, forcing the huge beast into the lair with gentle but masterful hands. "Go back, and go to sleep, sir. It's time for your nap. … Oh no, I couldn't think of letting him out any more in the carriage to the annoyance of others. I'm ashamed enough as it is of having unintentionally alarmed you. But you came in so unexpectedly, you see, I hadn't time to put my queer pet away; and, when the door opened, I was afraid he might slip out, or get under the seats, so all I could do was just to soothe him with my hand, and keep him quiet till the door was shut to again."

"Indeed, I wasn't at all afraid of him," Elma answered, slipping her change into her pocket, and looking prettier through her blush than even her usual self. "On the contrary, I really liked to see him. He's such a glorious snake! The lights and shades on his back are so glancing and so wonderful! He's a perfect model. Of course, you're painting him."

The stranger started. "I'm painting him—yes, that's true," he replied, with a look of sudden surprise; "but why 'of course,' please? How on earth could you tell I was an artist even?"

Elma glanced back in his face, and wondered to herself, too. Now she came to think of it, HOW did she know that handsome young man, with the charming features, and the expressive eyes, and the neatly-cut brown beard, and the attractive manner, was an artist at all, or anything like it? And how did she know the snake was his model? For the life of her, she couldn't have answered those questions herself.

"I suppose I just guessed it," she answered, after a short pause, blushing still more deeply at the sudden way she had thus been dragged into conversation with the good-looking stranger. Elma's skin was dark—a clear and creamy olive-brown complexion, such as one sometimes sees in southern Europe, though rarely in England; and the effect of the blush through it didn't pass unnoticed by Cyril Waring's artistic eye. He would have given something for the chance of transferring that delicious effect to canvas. The delicate transparency of the blush threw up those piercing dark eyes, and reflected lustre even on the glossy black hair that fringed her forehead. Not an English type of beauty at all, Elma Clifford's, he thought to himself as he eyed her closely: rather Spanish or Italian, or say even Hungarian.

"Well, you guessed right, at any rate," he went on, settling down in his seat once more, after boxing his snake, but this time face to face with her. "I'm working at a beautiful bit of fern and foliage—quite tropical in its way—in a wood hereabout; and I've introduced Sardanapalus, coiled up in the foreground, just to give life to the scene, don't you know, and an excuse for a title. I mean to call it 'The Rajah's Rest.' Behind, great ferns and a mossy bank; in front, Sardanapalus, after tiffin, rolled spirally round, and taking his siesta."

This meeting was a long-wished-for occasion. Elma had never before met a real live painter. Now, it was the cherished idea of her youth to see something some day of that wonderful non-existent fantastic world which we still hope for and dream about and call Bohemia. She longed to move in literary and artistic circles. She had fashioned to herself, like many other romantic girls, a rose-coloured picture of Bohemian existence; not knowing indeed that Bohemia is now, alas! an extinct province, since Belgravia and Kensington swallowed it bodily down, digested, and assimilated it. So this casual talk with the handsome young artist in the second-class carriage, on the Great Southern line, was to Elma as a charming and delightful glimpse of an enchanted region she could never enter. It was Paradise to the Peri. She turned the conversation at once, therefore, with resolute intent upon art and artists, determined to make the most while it lasted of this unique opportunity. And since the subject of self, with an attentive listener, is always an attractive one, even to modest young men like Cyril Waring—especially when it's a pretty girl who encourages you to dilate upon it—why, the consequence was, that before many minutes were over, the handsome young man was discoursing from his full heart to a sympathetic soul about his chosen art, its hopes and its ideals, accompanied, by a running fire of thumb-nail illustrations. He had even got so far in the course of their intimacy as to take out the portfolio, which lay hidden under the seat—out of deference to his disguise as a stock-broker, no doubt—and to display before Elma's delighted eyes, with many explanatory comments as to light and shade, or perspective and foreshortening, the studies for the picture he had just then engaged upon.

By-and-by, as his enthusiasm warmed under Elma's encouragement, the young artist produced Sardanapalus himself once more from his box, and with deftly persuasive fingers coiled him gracefully round on the opposite seat into the precise attitude he was expected to take up when he sat for his portrait in the mossy foreground.

Elma couldn't say why, but that creature fascinated her. The longer she looked at him the more intensely he interested her. Not that she was one bit afraid of him, as she might reasonably have expected to be, according to all womanly precedent. On the contrary, she felt an overwhelming desire to take him up in her own hands and stroke and fondle him. He was so lithe and beautiful; his scales so glistened! At last she stretched out one dainty gloved hand to pet the spotted neck.

"Take care," the painter cried, in a warning voice; "don't be frightened if he springs at you. He's vicious at times. But his fangs are drawn; he can't possibly hurt you."

The warning, however, was quite unnecessary. Sardanapalus, instead of springing, seemed to recognise a friend. He darted out his forked tongue in rapid vibration, and licked her neat grey glove respectfully. Then, lifting his flattened head with serpentine deliberation, he coiled his great folds slowly, slowly, with sinuous curves, round the girl's soft arm till he reached her neck in long, winding convolutions. There he held up his face, and trilled his swift, sibilant tongue once more with evident pleasure. He knew his place. He was perfectly at home at once with the pretty, olive-skinned lady. His master looked on in profound surprise.

"Why, you're a perfect snake-charmer," he cried at last, regarding her with open eyes of wonder. "I never saw Sardanapalus behave like that with a stranger before. He's generally by no means fond of new acquaintances. You must be used to snakes. Perhaps you've kept one? You're accustomed of old to their ways and manners?"

"No, indeed," Elma cried, laughing in spite of herself, a clear little laugh of feminine triumph; for she had made a conquest, she saw, of Sardanapalus; "I never so much as touched one in all my life before. And I thought I should hate them. But this one seems quite tame and tractable. I'm not in the least afraid of him. He is so soft and smooth, and his movements are all so perfectly gentle."

"Ah, that's the way with snakes, always," Cyril Waring put in, with an admiring glance at the pretty, fearless brunette and her strange companion. "They know at once whether people like them or not, and they govern themselves accordingly. I suppose it's instinct. When they see you're afraid of them, they spring and hiss; but when they see you take to them by nature, they make themselves perfectly at home in a moment. They don't wait to be asked. They've no false modesty. Well, then, you see," he went on, drawing imaginary lines with his ticket on the sketch he was holding up, "I shall work in Sardanapalus just there, like that, coiled round in a spire. You catch the idea, don't you?"

As he spoke, Elma's eye, following his hand while it moved, chanced to fall suddenly on the name of the station printed on the ticket with which he was pointing. She gave a sharp little start.

"Warnworth!" she cried, flushing up, with some slight embarrassment in her voice; "why, that's ever so far back. We're long past Warnworth. We ran by it three or four stations behind; in fact, it's the next place to Chetwood, where I got in at."

Cyril Waring looked up with a half-guilty smile as embarrassed as her own.

"Oh yes," he said quietly. "I knew that quite well. I'm down here often. It's half-way between Chetwood and Warnworth I'm painting. But I thought—well, if you'll excuse me saying it, I thought I was so comfortable and so happy where I was, that I might just as well go on a station or two more, and then pay the difference, and take the next train back to Warnworth. You see," he added, after a pause, with a still more apologetic and penitent air, "I saw you were so interested in—well, in snakes, you know, and pictures."

Gentle as he was, and courteous, and perfectly frank with her, Elma, nevertheless, felt really half inclined to be angry at this queer avowal. That is to say, at least, she knew it was her bounden duty, as an English lady, to seem so; and she seemed so accordingly with most Britannic severity. She drew herself up in a very stiff style, and stared fixedly at him, while she began slowly and steadily to uncoil Sardanapalus from her imprisoned arm with profound dignity.

"I'm sorry I should have brought you so far out of your way," she said, in a studied cold voice—though that was quite untrue, for, as a matter of fact, she had enjoyed their talk together immensely. "And besides, you've been wasting your valuable time when you ought to have been painting. You'll hardly get any work done now at all this morning. I must ask you to get out at the very next station."

The young man bowed with a crestfallen air. "No time could possibly be wasted," he began, with native politeness, "that was spent—" Then he broke off quite suddenly. "I shall certainly get out wherever you wish," he went on, more slowly, in an altered voice; "and I sincerely regret if I've unwittingly done anything to annoy you in any way. The fact is, the talk carried me away. It was art that misled me. I didn't mean, I'm sure, to obtrude myself upon you."

And even as he spoke they whisked, unawares, into the darkness of a tunnel.

CHAPTER II.

TWO'S COMPANY

Elma was just engaged in debating with herself internally how a young lady of perfect manners and impeccable breeding, travelling without a chaperon, ought to behave under such trying circumstances, after having allowed herself to be drawn unawares into familiar conversation with a most attractive young artist, when all of a sudden a rapid jerk of the carriage succeeded in extricating her perforce, and against her will, from this awkward dilemma. Something sharp pulled up their train unexpectedly. She was aware of a loud noise and a crash in front, almost instantaneously followed by a thrilling jar—a low dull thud—a sound of broken glass—a quick blank stoppage. Next instant she found herself flung wildly forward into her neighbour's arms, while the artist, for his part, with outstretched hands, was vainly endeavouring to break the force of the fall for her.

All she knew for the first few minutes was merely that there had been an accident to the train, and they were standing still now in the darkness of the tunnel.

For some seconds she paused, and gasped hard for breath, and tried in vain to recall her scattered senses. Then slowly she sank back on the seat once more, vaguely conscious that something terrible had happened to the train, but that neither she nor her companion were seriously injured.

As she sank back in her place, Cyril Waring bent forward towards her with sympathetic kindliness.

"You're not hurt, I hope," he said, holding out one hand to help her rise. "Stand up for a minute, and see if you're anything worse than severely shaken. No? That's right, then! That's well, as far as it goes. But I'm afraid the nervous shock must have been very rough on you."

Elma stood tip, with tears gathering fast in her eyes. She'd have given the world to be able to cry now, for the jar had half stunned her and shaken her brain; but before the artist's face she was ashamed to give free play to her feelings. So she only answered, in a careless sort of tone—

"Oh, it's nothing much, I think. My head feels rather queer; but I've no bones broken. A collision, I suppose. Oughtn't we to get out at once and see what's happened to the other people?"

Cyril Waring moved hastily to the door, and, letting down the window, tried with a violent effort to turn the handle from the outside. But the door wouldn't open. As often happens in such accidents, the jar had jammed it. He tried the other side, and with some difficulty at last succeeded in forcing it open. Then he descended cautiously on to the six-foot-way, and held out his hand to help Elma from the carriage.

It was no collision, he saw at once, but a far more curious and unusual accident.

Looking ahead through the tunnel, all was black as night. A dense wall of earth seemed to block and fill in the whole space in front of them. Part of one broken and shattered carriage lay tossed about in wild confusion on the ground close by. Their own had escaped. All the rest was darkness.

In a moment, Cyril rightly divined what must have happened to the train. The roof of the tunnel had caved in on top of it. At least one carriage—the one immediately in front of them—had been crushed and shattered by the force of its fall. Their own was the last, and it had been saved as if by a miracle. It lay just outside the scene of the subsidence.

One thought rose instinctively at once in the young man's mind. They must first see if any one was injured in the other compartments, or among the débris of the broken carriage; and then they must make for the open mouth of the tunnel, through which the light of day still gleamed bright behind them.

He peered in hastily at the other three windows. Not a soul in any one of the remaining compartments! It was a very empty train, he had noticed himself, when he had got in at Tilgate; the one solitary occupant of the front compartment of their carriage, a fat old lady with a big black bag, had bundled out at Chetwood. They were alone in the tunnel—at this end of the train at least; their sole duty now was to make haste and save themselves.

He gazed overhead. The tunnel was bricked in with an arch on top. The way through in front was blocked, of course, by the fallen mass of water-logged sandstone. He glanced back towards the open mouth. A curious circumstance, half-way down to the opening, attracted at once his keen and practised eye.

Strange to say, the roof at one spot was not a true arc of a circle. It bulged slightly downwards, in a flattened arch, as if some superincumbent weight were pressing hard upon it. Great heavens, what was this? Another trouble in store! He looked again, still more earnestly, and started with horror.

In the twinkling of an eye, his reason told him, beyond the shadow of a doubt, what was happening at the bulge. A second fall was just about to take place close by them. Clearly there were TWO weak points m the roof of the tunnel. One had already given way in front; the other was on the very eve of giving way behind them. If it fell, they were imprisoned between two impassable walls of sand and earth. Without one instant's delay, he turned and seized his companion's hand hastily.

"Quick! quick!" he cried, in a voice of eager warning. "Run, run for your life to the mouth of the tunnel! Here, come! You've only just time! It's going, it's going!"

But Elma's feminine instinct worked quicker and truer than even Cyril Waring's manly reason. She didn't know why; she couldn't say how; but in that one indivisible moment of time she had taken in and grasped to the full all the varying terrors of the situation. Instead of running, however, she held back her companion with a nervous force she could never before have imagined herself capable of exerting.

"Stop here," she cried authoritatively, wrenching his arm in her haste. "If you go you'll be killed. There's no time to run past. It'll be down before you're there. See, see, it's falling."

Even before the words were well out of her mouth, another great crash shook the ground behind them. With a deafening roar, the tunnel gave way in a second place beyond. Dust and sand filled the air confusedly. For a minute or two all was noise and smoke and darkness. What exactly had happened neither of them could see. But now the mouth of the tunnel was blocked at either end alike, and no daylight was visible. So far as Cyril could judge, they two stood alone, in the dark and gloom, as in a narrow cell, shut in with their carriage between two solid walls of fallen earth and crumbling sandstone.

At this fresh misfortune, Elma sat down on the footboard with her face in her hands, and began to sob bitterly. The artist leaned over her and let her cry for a while in quiet despair. The poor girl's nerves, it was clear, were now wholly unstrung. She was brave, as women go, undoubtedly brave; but the shock and the terror of such a position as this were more than enough to terrify the bravest. At last Cyril ventured on a single remark.

"How lucky," he said, in an undertone, "I didn't get out at Warnworth after all. It would have been dreadful if you'd been left all alone in this position."

Elma glanced up at him with a sudden rush of gratitude. By the dim light of the oil lamp that still flickered feebly in the carriage overhead, she could see his face; and she knew by the look in those truthful eyes that he really meant it. He really meant he was glad he'd come on and exposed himself to this risk, which he might otherwise have avoided, because he would be sorry to think a helpless woman should be left alone by herself in the dark to face it. And, frightened as she was, she was glad of it too. To be alone would be awful. This was pre-eminently one of those many positions in life in which a woman prefers to have a man beside her.

And yet most men, she knew, would have thought to themselves at once, "What a fool I was to come on beyond my proper station, and let myself in for this beastly scrape, just because I'd go a few miles further with a pretty girl I never saw in my life before, and will probably never see in my life again, if I once get well out of this precious predicament."

But that they would ever get out of it at all seemed to both of them now in the highest degree improbable. Cyril, by reason, Elma, by instinct, argued out the whole situation at once, and correctly. There had been much rain lately. The sandstone was water-logged. It had caved in bodily, before them and behind them. A little isthmus of archway still held out in isolation just above their heads. At any moment that isthmus might give way too, and, falling on their carriage, might crush them beneath its weight. Their lives depended upon the continued resisting power of some fifteen yards or so of dislocated masonry.