Removing the pins, he tries in vain to tear the hat in two, then crumples it and stuffs it up the drainpipe to which the dog had been tied. He tries to do the same with the dress, but the pipe is too narrow.
He can feel eyes boring into his back. He turns. From a second-floor window two children are staring down at him, and behind them a shadowy third person, taller.
He tries to pull the hat out of the pipe but cannot reach it. He curses his stupidity. With the pipe blocked, the gutter will overflow. Someone will investigate, and the hat will be found. Who would push a hat up a pipe – who but a guilty soul?
He remembers Ivanov again – Ivanov, called Ivanov so often that the name has settled on him like a hat. Ivanov was murdered. But Ivanov was not wearing a hat, or not a woman's hat. So the hat cannot be traced to Ivanov. On the other hand, might it not be Ivanov's murderer's hat? How easy for a woman to murder a man: lure him down an alley, accept his embrace against a wall, and then, at the climax of the act, search his ribs and sink a hatpin into his heart – a hatpin, that leaves no blood and only a pinprick of a wound.
He goes down on his knees in the comer where he tossed the hatpins, but it is too dark to find them. He needs a candle. But what candle would stay alive in this wind?
He is so tired that he finds it hard to get to his feet. Is he sick? Has he picked up something from Matryona? Or is another fit on its way? Is that what it portends, this utter exhaustion?
On all fours, raising his head, sniffing the air like a wild animal, he tries to concentrate his attention on the horizon inside himself. But if what is taking him over is a fit, it is taking over his senses too. His senses are as dull as his hands.
14. The police
He has left his key behind, so has to knock at the door. Anna Sergeyevna opens it and stares in surprise. 'Have you missed your train?' she asks. Then she takes in his wild appearance – the shaking hands, the moisture dripping from his beard. 'Is something wrong? Are you ill?'
'Not ill, no. I have put off my departure. I will explain everything later.'
There is someone else in the room, at Matryona's bedside: a doctor evidently, young, cleanshaven in the German fashion. In his hand he has the brown bottle from the pharmacy, which he sniffs, then corks disapprovingly. He snaps his bag shut, draws the curtain to across the alcove. 'I was saying that your daughter has an inflammation of the bronchi,' he says, addressing him. 'Her lungs are sound. There is also – '
He interrupts. 'Not my daughter. I am only a lodger here.'
With an impatient shrug the doctor turns back to Anna Sergeyevna. 'There is also – I cannot neglect to say this – a certain hysterical element present.'
'What does that mean?'
'It means that as long as she is in her present excited state we cannot expect her to recover properly. Her excitement is part of what is wrong with her. She must be calmed down. Once that has been achieved, she can be back in school within days. She is physically healthy, there is nothing wrong with her constitution. So as a treatment I recommend quiet above all, peace and quiet. She should stay in bed and take only light meals. Avoid giving her milk in any of its forms. I am leaving behind an embrocation for her chest and a sleeping-draught for use as required, as a calmative. Give her only a child's dose, mind you – half a teaspoon.'
As soon as the doctor has left he tries to explain himself. But Anna Sergeyevna is in no mood to listen. 'Matryosha says you have been shouting at her!' she interrupts him in a tense whisper. 'I won't have that!'
'It's not true! I have never shouted at her!' Despite the whispering he is sure that Matryona, behind the curtain, overhears them and is gloating. He takes Anna Sergeyevna by the arm, draws her into his room, closes the door. 'You heard what the doctor said – she is overexcited. Surely you cannot believe every word she says in that state. Has she told you the entire story of what happened here this morning?'
'She says a friend of Pavel's called and you were very rude to him. Is that what you are referring to?'
'Yes – '
'Then let me finish. What goes on between you and Pavel's friends is none of my business. But you also lost your temper with Matryosha and were rough with her. That I won't stand for.'
'The friend she refers to is Nechaev, Nechaev himself, no one else. Did she mention that? Nechaev, a fugitive from justice, was here today, in your apartment. Can you blame me for being cross with her for letting him in and then taking sides with him – that actor, that hypocrite -against me?'
'Nevertheless, you have no right to lose your temper with her! How is she to know that Nechaev is a bad person? How am I to know? You say he is an actor. What about you? What about your own behaviour? Do you act from the heart all the time? I don't think so.'
'You can't mean that. I do act from the heart. Once upon a time I may not have, but now I do – now above all. That is the truth.'
'Now? Why all of a sudden now? Why should I believe you? Why should you believe yourself?'
'Because I do not want Pavel to be ashamed of me.'
'Pavel? Pavel has nothing to do with it.'
'I don't want Pavel to be ashamed of his father, now that he sees everything. That is what has changed: there is a measure to all things now, including the truth, and that measure is Pavel. As for losing my temper with Matryona, I am sorry, I regret it and will apologize to her. As you must know, however' – he spreads his arms wide – 'Matryona does not like me.'
'She does not understand what you are doing here, that is all. She understood why Pavel should be living with us – we have had students before – but an older lodger is not the same thing. And I am beginning to find it difficult too. I am not trying to eject you, Fyodor Mikhailovich, but I must admit, when you announced you were leaving today, I was relieved. For four years Matryona and I have lived a very quiet, even life together. Our lodgers have never been allowed to disturb that.
Now, ever since Pavel died, there has been nothing but turmoil. It is not good for a child. Matryona would not be sick today if the atmosphere at home were not so unpredictable. What the doctor said is true: she is excited, and excitement makes a child vulnerable.'
He is waiting for her to come to what is surely the heart of the matter: that Matryona is aware of what is passing between her mother and himself and is in a frenzy of possessive jealousy. But that, it seems, she is not yet prepared to bring into the open.
'I am sorry about the confusion, sorry about everything. It was impossible for me to leave tonight as I had planned – I won't go into the reasons, they are not important. I will be here for another day or two at most, till my friends help me with money. Then I will pay what I owe and be gone.'
'To Dresden?'
'To Dresden or to other lodgings – I can't say yet.'
'Very well, Fyodor Mikhailovich. But as for money, let us wipe the slate clean between the two of us right now. I don't want to belong to a long list of people you are in debt to.'
There is something about her anger he does not understand. She has never spoken so woundingly before.
He sits down at once to write to Maykov. 'You will be surprised to hear, dear Apollon Grigorevich, that I am still in Petersburg. This is the last time, I hope, that I will need to appeal to your kindness. The fact is, I find myself in such straits that, short of pawning my coat, I have no means of paying for my lodging, to say nothing of returning to my family. Two hundred roubles will see me through.'
To his wife he writes: 'I stupidly allowed a friend of Pavel's to prevail on me for a loan. Maykov will again : have to come to the rescue. As soon as my obligations are settled I will telegraph.'
So the blame is shifted again to Fedya's generous heart. But the truth is, Fedya's heart is not generous. Fedya's heart -