Dream Women

by Wilkie Collins

The First Narrative: Introductory Statement of the Facts by Percy Fairbank

I

"Hullo, there! Hostler! Hullo-o-o!"

"My dear! why don't you look for the bell?"

"I have looked—there is no bell."

"And nobody in the yard. How very extraordinary! Call again, dear."

"Hostler! Hullo, there! Hostler-r-r!"

My second call echoes through empty space, and rouses nobody—produces, in short, no visible result. I am at the end of my resources—I don't know what to say or what to do next. Here I stand in the solitary inn yard of a strange town, with two horses to hold, and a lady to take care of. By way of adding to my responsibilities, it so happens that one of the horses is dead lame, and that the lady is my wife.

Who am I?—you will ask.

There is plenty of time to answer the question. Nothing happens; and nobody appears to receive us. Let me introduce myself and my wife.

I am Percy Fairbank—English gentleman—age (let us say) forty—no profession—moderate politics—middle height—fair complexion—easy character—plenty of money.

My wife is a French lady. She was Mademoiselle Clotilde Delorge—when I was first presented to her at her father's house in France. I fell in love with her—I really don't know why. It might have been because I was perfectly idle, and had nothing else to do at the time. Or it might have been because all my friends said she was the very last woman whom I ought to think of marrying. On the surface, I must own, there is nothing in common between Mrs. Fairbank and me. She is tall; she is dark; she is nervous, excitable, romantic; in all her opinions she proceeds to extremes. What could such a woman see in me? what could I see in her? I know no more than you do. In some mysterious manner we exactly suit each other. We have been man and wife for ten years, and our only regret is, that we have no children. I don't know what you may think; I call that—upon the whole—a happy marriage.

So much for ourselves. The next question is—what has brought us into the inn yard? and why am I obliged to turn groom, and hold the horses?

We live for the most part in France—at the country house in which my wife and I first met. Occasionally, by way of variety, we pay visits to my friends in England. We are paying one of those visits now. Our host is an old college friend of mine, possessed of a fine estate in Somersetshire; and we have arrived at his house—called Farleigh Hall—toward the close of the hunting season.

On the day of which I am now writing—destined to be a memorable day in our calendar—the hounds meet at Farleigh Hall. Mrs. Fairbank and I are mounted on two of the best horses in my friend's stables. We are quite unworthy of that distinction; for we know nothing and care nothing about hunting. On the other hand, we delight in riding, and we enjoy the breezy Spring morning and the fair and fertile English landscape surrounding us on every side. While the hunt prospers, we follow the hunt. But when a check occurs—when time passes and patience is sorely tried; when the bewildered dogs run hither and thither, and strong language falls from the lips of exasperated sportsmen—we fail to take any further interest in the proceedings. We turn our horses' heads in the direction of a grassy lane, delightfully shaded by trees. We trot merrily along the lane, and find ourselves on an open common. We gallop across the common, and follow the windings of a second lane. We cross a brook, we pass through a village, we emerge into pastoral solitude among the hills. The horses toss their heads, and neigh to each other, and enjoy it as much as we do. The hunt is forgotten. We are as happy as a couple of children; we are actually singing a French song—when in one moment our merriment comes to an end. My wife's horse sets one of his forefeet on a loose stone, and stumbles. His rider's ready hand saves him from falling. But, at the first attempt he makes to go on, the sad truth shows itself—a tendon is strained; the horse is lame.

What is to be done? We are strangers in a lonely part of the country. Look where we may, we see no signs of a human habitation. There is nothing for it but to take the bridle road up the hill, and try what we can discover on the other side. I transfer the saddles, and mount my wife on my own horse. He is not used to carry a lady; he misses the familiar pressure of a man's legs on either side of him; he fidgets, and starts, and kicks up the dust. I follow on foot, at a respectful distance from his heels, leading the lame horse. Is there a more miserable object on the face of creation than a lame horse? I have seen lame men and lame dogs who were cheerful creatures; but I never yet saw a lame horse who didn't look heartbroken over his own misfortune.

For half an hour my wife capers and curvets sideways along the bridle road. I trudge on behind her; and the heartbroken horse halts behind me. Hard by the top of the hill, our melancholy procession passes a Somersetshire peasant at work in a field. I summon the man to approach us; and the man looks at me stolidly, from the middle of the field, without stirring a step. I ask at the top of my voice how far it is to Farleigh Hall. The Somersetshire peasant answers at the top of his voice:

"Vourteen mile. Gi' oi a drap o' zyder."

I translate (for my wife's benefit) from the Somersetshire language into the English language. We are fourteen miles from Farleigh Hall; and our friend in the field desires to be rewarded, for giving us that information, with a drop of cider. There is the peasant, painted by himself! Quite a bit of character, my dear! Quite a bit of character!

Mrs. Fairbank doesn't view the study of agricultural human nature with my relish. Her fidgety horse will not allow her a moment's repose; she is beginning to lose her temper.

"We can't go fourteen miles in this way," she says. "Where is the nearest inn? Ask that brute in the field!"

I take a shilling from my pocket and hold it up in the sun. The shilling exercises magnetic virtues. The shilling draws the peasant slowly toward me from the middle of the field. I inform him that we want to put up the horses and to hire a carriage to take us back to Farleigh Hall. Where can we do that? The peasant answers (with his eye on the shilling):

"At Oonderbridge, to be zure." (At Underbridge, to be sure.)

"Is it far to Underbridge?"

The peasant repeats, "Var to Oonderbridge?"—and laughs at the question. "Hoo-hoo-hoo!" (Underbridge is evidently close by—if we could only find it.) "Will you show us the way, my man?" "Will you gi' oi a drap of zyder?" I courteously bend my head, and point to the shilling. The agricultural intelligence exerts itself. The peasant joins our melancholy procession. My wife is a fine woman, but he never once looks at my wife—and, more extraordinary still, he never even looks at the horses. His eyes are with his mind—and his mind is on the shilling.

We reach the top of the hill—and, behold on the other side, nestling in a valley, the shrine of our pilgrimage, the town of Underbridge! Here our guide claims his shilling, and leaves us to find out the inn for ourselves. I am constitutionally a polite man. I say "Good morning" at parting. The guide looks at me with the shilling between his teeth to make sure that it is a good one. "Marnin!" he says savagely—and turns his back on us, as if we had offended him. A curious product, this, of the growth of civilization. If I didn't see a church spire at Underbridge, I might suppose that we had lost ourselves on a savage island.

II

Arriving at the town, we had no difficulty in finding the inn. The town is composed of one desolate street; and midway in that street stands the inn—an ancient stone building sadly out of repair. The painting on the sign-board is obliterated. The shutters over the long range of front windows are all closed. A cock and his hens are the only living creatures at the door. Plainly, this is one of the old inns of the stage-coach period, ruined by the railway. We pass through the open arched doorway, and find no one to welcome us. We advance into the stable yard behind; I assist my wife to dismount—and there we are in the position already disclosed to view at the opening of this narrative. No bell to ring. No human creature to answer when I call. I stand helpless, with the bridles of the horses in my hand. Mrs. Fairbank saunters gracefully down the length of the yard and does—what all women do, when they find themselves in a strange place. She opens every door as she passes it, and peeps in. On my side, I have just recovered my breath, I am on the point of shouting for the hostler for the third and last time, when I hear Mrs. Fairbank suddenly call to me:

"Percy! come here!"

Her voice is eager and agitated. She has opened a last door at the end of the yard, and has started back from some sight which has suddenly met her view. I hitch the horses' bridles on a rusty nail in the wall near me, and join my wife. She has turned pale, and catches me nervously by the arm.

"Good heavens!" she cries; "look at that!"

I look—and what do I see? I see a dingy little stable, containing two stalls. In one stall a horse is munching his corn. In the other a man is lying asleep on the litter.

A worn, withered, woebegone man in a hostler's dress. His hollow wrinkled cheeks, his scanty grizzled hair, his dry yellow skin, tell their own tale of past sorrow or suffering. There is an ominous frown on his eyebrows—there is a painful nervous contraction on the side of his mouth. I hear him breathing convulsively when I first look in; he shudders and sighs in his sleep. It is not a pleasant sight to see, and I turn round instinctively to the bright sunlight in the yard. My wife turns me back again in the direction of the stable door.

"Wait!" she says. "Wait! he may do it again."

"Do what again?"

"He was talking in his sleep, Percy, when I first looked in. He was dreaming some dreadful dream. Hush! he's beginning again."

I look and listen. The man stirs on his miserable bed. The man speaks in a quick, fierce whisper through his clinched teeth. "Wake up! Wake up, there! Murder!"

There is an interval of silence. He moves one lean arm slowly until it rests over his throat; he shudders, and turns on his straw; he raises his arm from his throat, and feebly stretches it out; his hand clutches at the straw on the side toward which he has turned; he seems to fancy that he is grasping at the edge of something. I see his lips begin to move again; I step softly into the stable; my wife follows me, with her hand fast clasped in mine. We both bend over him. He is talking once more in his sleep—strange talk, mad talk, this time.

"Light gray eyes" (we hear him say), "and a droop in the left eyelid—flaxen hair, with a gold-yellow streak in it—all right, mother! afair, white arms with a down on them—little, lady's hand, with a reddish look round the fingernails—the knife—the cursed knife—first on one side, then on the other—aha, you she-devil! where is the knife?"

He stops and grows restless on a sudden. We see him writhing on the straw. He throws up both his hands and gasps hysterically for breath. His eyes open suddenly. For a moment they look at nothing, with a vacant glitter in them—then they close again in deeper sleep. Is he dreaming still? Yes; but the dream seems to have taken a new course. When he speaks next, the tone is altered; the words are few—sadly and imploringly repeated over and over again. "Say you love me! I am so fond of you. Say you love me! say you love me!" He sinks into deeper and deeper sleep, faintly repeating those words. They die away on his lips. He speaks no more.

By this time Mrs. Fairbank has got over her terror; she is devoured by curiosity now. The miserable creature on the straw has appealed to the imaginative side of her character. Her illimitable appetite for romance hungers and thirsts for more. She shakes me impatiently by the arm.

"Do you hear? There is a woman at the bottom of it, Percy! There is love and murder in it, Percy! Where are the people of the inn? Go into the yard, and call to them again."

My wife belongs, on her mother's side, to the South of France. The South of France breeds fine women with hot tempers. I say no more. Married men will understand my position. Single men may need to be told that there are occasions when we must not only love and honor—we must also obey—our wives.

I turn to the door to obey my wife, and find myself confronted by a stranger who has stolen on us unawares. The stranger is a tiny, sleepy, rosy old man, with a vacant pudding-face, and a shining bald head. He wears drab breeches and gaiters, and a respectable square-tailed ancient black coat. I feel instinctively that here is the landlord of the inn.

"Good morning, sir," says the rosy old man. "I'm a little hard of hearing. Was it you that was a-calling just now in the yard?"

Before I can answer, my wife interposes. She insists (in a shrill voice, adapted to our host's hardness of hearing) on knowing who that unfortunate person is sleeping on the straw. "Where does he come from? Why does he say such dreadful things in his sleep? Is he married or single? Did he ever fall in love with a murderess? What sort of a looking woman was she? Did she really stab him or not? In short, dear Mr. Landlord, tell us the whole story!"

Dear Mr. Landlord waits drowsily until Mrs. Fairbank has quite done—then delivers himself of his reply as follows:

"His name's Francis Raven. He's an Independent Methodist. He was forty-five year old last birthday. And he's my hostler. That's his story."

My wife's hot southern temper finds its way to her foot, and expresses itself by a stamp on the stable yard.

The landlord turns himself sleepily round, and looks at the horses. "A fine pair of horses, them two in the yard. Do you want to put 'em in my stables?" I reply in the affirmative by a nod. The landlord, bent on making himself agreeable to my wife, addresses her once more. "I'm a-going to wake Francis Raven. He's an Independent Methodist. He was forty-five year old last birthday. And he's my hostler. That's his story."

Having issued this second edition of his interesting narrative, the landlord enters the stable. We follow him to see how he will wake Francis Raven, and what will happen upon that. The stable broom stands in a corner; the landlord takes it—advances toward the sleeping hostler—and coolly stirs the man up with a broom as if he was a wild beast in a cage. Francis Raven starts to his feet with a cry of terror—looks at us wildly, with a horrid glare of suspicion in his eyes—recovers himself the next moment—and suddenly changes into a decent, quiet, respectable serving-man.

"I beg your pardon, ma'am. I beg your pardon, sir."

The tone and manner in which he makes his apologies are both above his apparent station in life. I begin to catch the infection of Mrs. Fairbank's interest in this man. We both follow him out into the yard to see what he will do with the horses. The manner in which he lifts the injured leg of the lame horse tells me at once that he understands his business. Quickly and quietly, he leads the animal into an empty stable; quickly and quietly, he gets a bucket of hot water, and puts the lame horse's leg into it. "The warm water will reduce the swelling, sir. I will bandage the leg afterwards." All that he does is done intelligently; all that he says, he says to the purpose.

Nothing wild, nothing strange about him now. Is this the same man whom we heard talking in his sleep?—the same man who woke with that cry of terror and that horrid suspicion in his eyes? I determine to try him with one or two questions.

III

"Not much to do here," I say to the hostler.

"Very little to do, sir," the hostler replies.

"Anybody staying in the house?"

"The house is quite empty, sir."

"I thought you were all dead. I could make nobody hear me."

"The landlord is very deaf, sir, and the waiter is out on an errand."

"Yes; and you were fast asleep in the stable. Do you often take a nap in the daytime?"

The worn face of the hostler faintly flushes. His eyes look away from my eyes for the first time. Mrs. Fairbank furtively pinches my arm. Are we on the eve of a discovery at last? I repeat my question. The man has no civil alternative but to give me an answer. The answer is given in these words:

"I was tired out, sir. You wouldn't have found me asleep in the daytime but for that."

"Tired out, eh? You had been hard at work, I suppose?"

"No, sir."

"What was it, then?"

He hesitates again, and answers unwillingly, "I was up all night."

"Up all night? Anything going on in the town?"

"Nothing going on, sir."

"Anybody ill?"

"Nobody ill, sir."

That reply is the last. Try as I may, I can extract nothing more from him. He turns away and busies himself in attending to the horse's leg. I leave the stable to speak to the landlord about the carriage which is to take us back to Farleigh Hall. Mrs. Fairbank remains with the hostler, and favors me with a look at parting. The look says plainly, "I mean to find out why he was up all night. Leave him to Me."

The ordering of the carriage is easily accomplished. The inn possesses one horse and one chaise. The landlord has a story to tell of the horse, and a story to tell of the chaise. They resemble the story of Francis Raven—with this exception, that the horse and chaise belong to no religious persuasion. "The horse will be nine year old next birthday. I've had the shay for four-and-twenty year. Mr. Max, of Underbridge, he bred the horse; and Mr. Pooley, of Yeovil, he built the shay. It's my horse and my shay. And that's their story!" Having relieved his mind of these details, the landlord proceeds to put the harness on the horse. By way of assisting him, I drag the chaise into the yard. Just as our preparations are completed, Mrs. Fairbank appears. A moment or two later the hostler follows her out. He has bandaged the horse's leg, and is now ready to drive us to Farleigh Hall. I observe signs of agitation in his face and manner, which suggest that my wife has found her way into his confidence. I put the question to her privately in a corner of the yard. "Well? Have you found out why Francis Raven was up all night?"

Mrs. Fairbank has an eye to dramatic effect. Instead of answering plainly, Yes or No, she suspends the interest and excites the audience by putting a question on her side.

"What is the day of the month, dear?"

"The day of the month is the first of March."

"The first of March, Percy, is Francis Raven's birthday."

I try to look as if I was interested—and don't succeed.

"Francis was born," Mrs. Fairbank proceeds gravely, "at two o'clock in the morning."

I begin to wonder whether my wife's intellect is going the way of the landlord's intellect. "Is that all?" I ask.

"It is not all," Mrs. Fairbank answers. "Francis Raven sits up on the morning of his birthday because he is afraid to go to bed."

"And why is he afraid to go to bed?"

"Because he is in peril of his life."

"On his birthday?"

"On his birthday. At two o'clock in the morning. As regularly as the birthday comes round."

There she stops. Has she discovered no more than that? No more thus far. I begin to feel really interested by this time. I ask eagerly what it means? Mrs. Fairbank points mysteriously to the chaise—with Francis Raven (hitherto our hostler, now our coachman) waiting for us to get in. The chaise has a seat for two in front, and a seat for one behind. My wife casts a warning look at me, and places herself on the seat in front.

The necessary consequence of this arrangement is that Mrs. Fairbank sits by the side of the driver during a journey of two hours and more. Need I state the result? It would be an insult to your intelligence to state the result. Let me offer you my place in the chaise. And let Francis Raven tell his terrible story in his own words.