The Umbrella Man and Other Stories Read online

  She looked up at him, still holding the burning match in one hand, the big slow eyes settling on his face, resting there a moment, moving away again, slow and contemptuous. She bent her head and blew out the match, but continued to hold the unlighted cigarette in her fingers.

  “I’m sorry, my dear,” Pratt said, “but I simply cannot have smoking at table.”

  She didn’t look at him again.

  “Now, let me see—where were we?” he said. “Ah, yes. This wine is from Bordeaux, from the commune of St. Julien, in the district of Médoc. So far, so good. But now we come to the more difficult part—the name of the vineyard itself. For in St. Julien there are many vineyards, and as our host so rightly remarked earlier on, there is often not much difference between the wine of one and wine of another. But we shall see.”

  He paused again, closing his eyes. “I am trying to establish the ‘growth,’” he said. “If I can do that, it will be half the battle. Now, let me see. This wine is obviously not from a first-growth vineyard—nor even a second. It is not a great wine. The quality, the—the—what do you call it?—the radiance, the power, is lacking. But a third growth—that it could be. And yet I doubt it. We know it is a good year—our host has said so—and this is probably flattering it a little bit. I must be careful. I must be very careful here.”

  He picked up his glass and took another small sip.

  “Yes,” he said, sucking his lips, “I was right. It is a fourth growth. Now I am sure of it. A fourth growth from a very good year—from a great year, in fact. And that’s what made it taste for a moment like a third—or even a second-growth wine. Good! That’s better! Now we are closing in! What are the fourth-growth vineyards in the commune of St. Julien?”

  Again he paused, took up his glass, and held the rim against that sagging, pendulous lower lip of his. Then I saw the tongue shoot out, pink and narrow, the tip of it dipping into the wine, withdrawing swiftly again—a repulsive sight. When he lowered the glass, his eyes remained closed, the face concentrated, only the lips moving, sliding over each other like two pieces of wet, spongy rubber.

  “There it is again!” he cried. “Tannin in the middle taste, and the quick astringent squeeze upon the tongue. Yes, yes, of course! Now I have it! The wine comes from one of those small vineyards around Beychevelle. I remember now. The Beychevelle district, and the river and the little harbour that has silted up so the wine ships can no longer use it. Beychevelle . . . could it actually be a Beychevelle itself? No, I don’t think so. Not quite. But it is somewhere very close. Château Talbot? Could it be Talbot? Yes, it could. Wait one moment.”

  He sipped the wine again, and out of the side of my eye I noticed Mike Schofield and how he was leaning further and further forward over the table, his mouth slightly open, his small eyes fixed upon Richard Pratt.

  “No. I was wrong. It is not a Talbot. A Talbot comes forward to you just a little quicker than this one; the fruit is nearer the surface. If it is a ‘34, which I believe it is, then it couldn’t be Talbot. Well, well. Let me think. It is not a Beychevelle and it is not a Talbot, and yet—yet it is so close to both of them, so close, that the vineyard must be almost in between. Now, which could that be?”

  He hesitated, and we waited, watching his face. Everyone, even Mike’s wife, was watching him now. I heard the maid put down the dish of vegetables on the sideboard behind me, gently, so as not to disturb the silence.

  “Ah!” he cried. “I have it! Yes, I think I have it!”

  For the last time, he sipped the wine. Then, still holding the glass up near his mouth, he turned to Mike and he smiled, a slow, silky smile, and he said, “You know what this is? This is the little Château Branaire-Ducru.”

  Mike sat tight, not moving.

  “And the year, 1934.”

  We all looked at Mike, waiting for him to turn the bottle around in its basket and show the label.

  “Is that your final answer?” Mike said.

  “Yes, I think so.”

  “Well, is it or isn’t it?”

  “Yes, it is.”

  “What was the name again?”

  “Château Branaire-Ducru. Pretty little vineyard. Lovely old château.

  Know it quite well. Can’t think why I didn’t recognize it at once.”

  “Come on, Daddy,” the girl said. “Turn it round and let’s have a peek. I want my two houses.”

  “Just a minute,” Mike said. “Wait just a minute.” He was sitting very quiet, bewildered-looking, and his face was becoming puffy and pale, as though all the force was draining slowly out of him.

  “Michael!” his wife called sharply from the other end of the table. “What’s the matter?”

  “Keep out of this, Margaret, will you please.”

  Richard Pratt was looking at Mike, smiling with his mouth, his eyes small and bright. Mike was not looking at anyone.

  “Daddy!” the daughter cried, agonized. “But, Daddy, you don’t mean to say he guessed it right!”

  “Now, stop worrying, my dear,” Mike said. “There’s nothing to worry about.”

  I think it was more to get away from his family than anything else that Mike then turned to Richard Pratt and said, “I’ll tell you what, Richard. I think you and I better slip off into the next room and have a little chat.”

  “I don’t want a little chat,” Pratt said. “All I want is to see the label on that bottle.” He knew he was a winner now; he had the bearing, the quiet arrogance of a winner, and I could see that he was prepared to become thoroughly nasty if there was any trouble. “What are you waiting for?” he said to Mike. “Go on and turn it round.”

  Then this happened: the maid, the tiny, erect figure of the maid in her white-and-black uniform, was standing beside Richard Pratt, holding something out in her hand. “I believe these are yours, sir,” she said.

  Pratt glanced around, saw the pair of thin horn-rimmed spectacles that she held out to him, and for a moment he hesitated. “Are they? Perhaps they are, I don’t know.”

  “Yes, sir, they’re yours.” The maid was an elderly woman—nearer seventy than sixty—a faithful family retainer of many years’ standing. She put the spectacles down on the table beside him.

  Without thanking her, Pratt took them up and slipped them into his top pocket, behind the white handkerchief.

  But the maid didn’t go away. She remained standing beside and slightly behind Richard Pratt, and there was something so unusual in her manner and in the way she stood there, small, motionless and erect, that I for one found myself watching her with a sudden apprehension. Her old grey face had a frosty, determined look, the lips were compressed, the little chin was out, and the hands were clasped together tight before her. The curious cap on her head and the flash of white down the front of her uniform made her seem like some tiny, ruffled, white-breasted bird.

  “You left them in Mr. Schofield’s study,” she said. Her voice was unnaturally, deliberately polite. “On top of the green filing cabinet in his study, sir, when you happened to go in there by yourself before dinner.”

  It took a few moments for the full meaning of her words to penetrate, and in the silence that followed I became aware of Mike and how he was slowly drawing himself up in his chair, and the colour coming to his face, and the eyes opening wide, and the curl of the mouth, and the dangerous little patch of whiteness beginning to spread around the area of the nostrils.

  “Now, Michael!” his wife said. “Keep calm now, Michael dear! Keep calm!”

  When, about eight years ago, old Sir William Turton died and his son Basil inherited The Turton Press (as well as the title), I can remember how they started laying bets around Fleet Street as to how long it would be before some nice young woman managed to persuade the little fellow that she must look after him. That is to say, him and his money.

  The new Sir Basil Turton was maybe forty years old at the time, a bachelor, a man of mild and simple character who up to then had shown no interest in anything at all except his collection