"And what exactly might you be wanting?" Rummins asked.
For the second time that morning, Mr Boggis explained at some length the aims and ideals of the Society for the Preservation of Rare Furniture.
"We don't have any," Rummins told him when it was over. "You're wasting your time."
"Now, just a minute, sir," Mr Boggis said, raising a finger. "The last man who said that to me was an old farmer down in Sussex, and when he finally let me into his house, d'you know what I found? A dirty-looking old chair in the corner of the kitchen, and it turned out to be worth four hundred pounds! I showed him how to sell it, and he bought himself a new tractor with the money."
"What on earth are you talking about?" Claud said. "There ain't no chair in the world worth four hundred pound."
"Excuse me," Mr Boggis answered primly, "but there are plenty of chairs in England worth more than twice that figure. And you know where they are? They're tucked away in the farms and cottages all over the country, with the owners using them as steps and ladders and standing on them with hobnailed boots to reach a pot of jam out of the top cupboard or to hang a picture. This is the truth I'm telling you, my friends."
Rummins shifted uneasily on his feet. "You mean to say all you want to do is go inside and stand there in the middle of the room and look around?"
"Exactly," Mr Boggis said. He was at last beginning to sense what the trouble might be. "I don't want to pry into your cupboards or into your larder. I just want to look at the furniture to see if you happen to have any treasures here, and then I can write about them in our Society magazine."
"You know what I think?" Rummins said, fixing him with his small wicked eyes. "I think you're after buying the sniff yourself. Why else would you be going to all this trouble?"
"Oh, dear me. I only wish I had the money. Of course, if I saw something that I took a great fancy to, and it wasn't beyond my means, 1 might be tempted to make an offer. But alas, that rarely happens."
"Well," Rummins said, "I don't suppose there's any harm in your taking a look around if that's all you want." He led the way across the yard to the back door of the farmhouse, and Mr Boggis followed him; so did the son Bert, and Claud with his two dogs. They went through the kitchen, where the only furniture was a cheap deal table with a dead chicken lying on it, and they emerged into a fairly large, exceedingly filthy living-room.
And there it was! Mr Boggis saw it at once, and he stopped dead in his tracks and gave a little shrill gasp of shock. Then he stood there for five, ten, fifteen seconds at least, staring like an idiot, unable to believe, not daring to believe what he saw before him. It couldn't be true, not possibly! But the longer he stared, the more true it began to seem. After all, there it was standing against the wall right in front of him, as real and as solid as the house itself. And who in the world could possibly make a mistake about a thing like that? Admittedly it was painted white, but that made not the slightest difference. Some idiot had done that. The paint could easily be stripped off. But good God! Just look at it! And in a place like this!
At this point, Mr Boggis became aware of the three men, Rummins, Bert, and Claud, standing together in a group over by the fireplace, watching him intently. They had seen him stop and gasp and stare, and they must have seen his face turning red, or maybe it was white, but in any event they had seen enough to spoil the whole goddamn business if he didn't do something about it quick. In a flash, Mr Boggis clapped one hand over his heart, staggered to the nearest chair, and collapsed into it, breathing heavily.
"What's the matter with you?" Claud asked.
"It's nothing," he gasped. "I'll be all right in a minute. Please-a glass of water. It's my heart."
Bert fetched him the water, handed it to him, and stayed close beside him, staring down at him with a fatuous leer on his face.
"I thought maybe you were looking at something," Rummins said. The wide frogmouth widened a fraction further into a crafty grin, showing the stubs of several broken teeth.
"No, no," Mr Boggis said. "Oh dear me, no. It's just my heart. I'm so sorry. It happens every now and then. But it goes away quite quickly. I'll be all right in a couple of minutes."
He must have time to think, he told himself. More important still, he must have time to compose himself thoroughly before he said another word. Take it gently, Boggis. And whatever you do, keep calm. These people may be ignorant, but they are not stupid. They are suspicious and wary and sly. And if it is really true-no it can't be, it can't be true.
He was holding one hand up over his eyes in a gesture of pain, and now, very carefully, secretly, he made a little crack between two of the fingers and peeked through.
Sure enough, the thing was still there, and on this occasion he took a good long look at it. Yes-he had been right the first time! There wasn't the slightest doubt about it! It was really unbelievable!
What he saw was a piece of furniture that any expert would have given almost anything to acquire. To a layman, it might not have appeared particularly impressive, especially when covered over as it was with dirty white paint, but to Mr Boggis it was a dealer's dream. He knew, as does every other dealer in Europe and America, that among the most celebrated and coveted examples of eighteenth-century English furniture in existence are the three famous pieces known as "The Chippendale Commodes'. He knew their history backwards that the first was "discovered' in 1920, in a house at Moreton-inMarsh, and was sold at Sotheby's the same year; that the other two turned up in the same auction rooms a year later, both coming out of Raynham Hall, Norfolk. They all fetched enormous prices. He couldn't quite remember the exact figure for the first one, or even the second, but he knew for certain that the last one to be sold had fetched thirty-nine hundred guineas. And that was in 1921! Today the same piece would surely be worth ten thousand pounds. Some man, Mr Boggis couldn't remember his name, had made a study of these commodes fairly recently and had proved that all three must have come from the same workshop, for the veneers were all from the same log, and the same set of templates had been used in the construction of each. No invoices had been found for any of them, but all the experts were agreed that these three commodes could have been executed only by Thomas Chippendale himself, with his own hands, at the most exalted period in his career.
And here, Mr Boggis kept telling himself as he peered cautiously through the crack in his fingers, here was the fourth Chippendale Commode! And he had found it! He would be rich! He would also be famous! Each of the other three was known throughout the furniture world by a special name-The Chastleton Commode, The First Raynham Commode, The Second Raynham Commode. This one would go down in history as The Boggis Commode! Just imagine the faces of the boys up there in London when they got a look at it tomorrow morning! And the luscious offers coming in from the big fellows over in the West End -Frank Partridge, Mallet, Jetley, and the rest of them! There would be a picture of it in The Times, and it would say, "The very fine Chippendale Commode which was recently discovered by Mr Cyril Boggis, a London dealer… " Dear God, what a stir he was going to make!
This one here, Mr Boggis thought, was almost exactly similar to the Second Raynham Commode. (All three, the Chastleton and the two Raynhams, differed from one another in a number of small ways.) It was a most impressive handsome affair, built in the French rococo style of Chippendale's Directoire period, a kind of large fat chest-of-drawers set upon four carved and fluted legs that raised it about a foot from the ground. There were six drawers in all, two long ones in the middle and two shorter ones on either side. The serpentine front was magnificently ornamented along the top and sides and bottom, and also vertically between each set of drawers, with intricate carvings of festoons and scrolls and clusters. The brass handles, although partly obscured by white paint, appeared to be superb. It was, of course, a rather "heavy' piece, but the design had been executed with such elegance and grace that the heaviness was in no way offensive.