Again I did not catch Miss Haldin's words. It was Laspara's voice once more.
"Peter Ivanovitch? He's retired for a moment into the other room. We are all waiting for him." The great man, entering at that moment, looked bigger, taller, quite imposing in a long dressing-gown of some dark stuff. It descended in straight lines down to his feet. He suggested a monk or a prophet, a robust figure of same desert-dweller—something Asiatic; and the dark glasses in conjunction with this costume made him more mysterious than ever in the subdued light.
Little Laspara went back to his chair to look at the map, the only brilliantly lit object in the room. Even from my distant position by the door I could make out, by the shape of the blue part representing the water, that it was a map of the Baltic provinces. Peter Ivanovitch exclaimed slightly, advancing towards Miss Haldin, checked himself on perceiving me, very vaguely no doubt; and peered with his dark, bespectacled stare. He must have recognized me by my grey hair, because, with a marked shrug of his broad shoulders, he turned to Miss Haldin in benevolent indulgence. He seized her hand in his thick cushioned palm, and put his other big paw over it like a lid.
While those two standing in the middle of the floor were exchanging a few inaudible phrases no one else moved in the room: Laspara, with his back to us, kneeling on the chair, his elbows propped on the big-scale map, the shadowy enormity in the corner, the frankly staring man with the goatee on the sofa, the woman in the red blouse by his side—not one of them stirred. I suppose that really they had no time, for Miss Haldin withdrew her hand immediately from Peter Ivanovitch and before I was ready for her was moving to the door. A disregarded Westerner, I threw it open hurriedly and followed her out, my last glance leaving them all motionless in their varied poses: Peter Ivanovitch alone standing up, with his dark glasses like an enormous blind teacher, and behind him the vivid patch of light on the coloured map, pored over by the diminutive Laspara.
Later on, much later on, at the time of the newspaper rumours (they were vague and soon died out) of an abortive military conspiracy in Russia, I remembered the glimpse I had of that motionless group with its central figure. No details ever came out, but it was known that the revolutionary parties abroad had given their assistance, had sent emissaries in advance, that even money was found to dispatch a steamer with a cargo of arms and conspirators to invade the Baltic provinces. And while my eyes scanned the imperfect disclosures (in which the world was not much interested) I thought that the old, settled Europe had been given in my person attending that Russian girl something like a glimpse behind the scenes. A short, strange glimpse on the top floor of a great hotel of all places in the world: the great man himself; the motionless great bulk in the corner of the slayer of spies and gendarmes; Yakovlitch, the veteran of ancient terrorist campaigns; the woman, with her hair as white as mine and the lively black eyes, all in a mysterious half-light, with the strongly lighted map of Russia on the table. The woman I had the opportunity to see again. As we were waiting for the lift she came hurrying along the corridor, with her eyes fastened on Miss Haldin's face, and drew her aside as if for a confidential communication. It was not long. A few words only.
Going down in the lift, Natalia Haldin did not break the silence. It was only when out of the hotel and as we moved along the quay in the fresh darkness spangled by the quay lights, reflected in the black water of the little port on our left hand, and with lofty piles of hotels on our right, that she spoke.
"That was Sophia Antonovna—you know the woman?..."
"Yes, I know—the famous..."
"The same. It appears that after we went out Peter Ivanovitch told them why I had come. That was the reason she ran out after us. She named herself to me, and then she said, 'You are the sister of a brave man who shall be remembered. You may see better times.' I told her I hoped to see the time when all this would be forgotten, even if the name of my brother were to be forgotten too. Something moved me to say that, but you understand?"
"Yes," I said. "You think of the era of concord and justice."
"Yes. There is too much hate and revenge in that work. It must be done. It is a sacrifice—and so let it be all the greater. Destruction is the work of anger. Let the tyrants and the slayers be forgotten together, and only the reconstructors be remembered.''
"And did Sophia Antonovna agree with you?" I asked sceptically.
"She did not say anything except, 'It is good for you to believe in love.' I should think she understood me. Then she asked me if I hoped to see Mr. Razumov presently. I said I trusted I could manage to bring him to see my mother this evening, as my mother had learned of his being here and was morbidly impatient to learn if he could tell us something of Victor. He was the only friend of my brother we knew of, and a great intimate. She said, 'Oh! Your brother—yes. Please tell Mr. Razumov that I have made public the story which came to me from St. Petersburg. It concerns your brother's arrest,' she added. 'He was betrayed by a man of the people who has since hanged himself. Mr. Razumov will explain it all to you. I gave him the full information this afternoon. And please tell Mr. Razumov that Sophia Antonovna sends him her greetings. I am going away early in the morning—far away.'"
And Miss Haldin added, after a moment of silence—"I was so moved by what I heard so unexpectedly that I simply could not speak to you before.... A man of the people! Oh, our poor people!"
She walked slowly, as if tired out suddenly. Her head drooped; from the windows of a building with terraces and balconies came the banal sound of hotel music; before the low mean portals of the Casino two red posters blazed under the electric lamps, with a cheap provincial effect.—and the emptiness of the quays, the desert aspect of the streets, had an air of hypocritical respectability and of inexpressible dreariness.
I had taken for granted she had obtained the address, and let myself be guided by her. On the Mont Blanc bridge, where a few dark figures seemed lost in the wide and long perspective defined by the lights, she said—
"It isn't very far from our house. I somehow thought it couldn't be. The address is Rue de Carouge. I think it must be one of those big new houses for artisans."
She took my arm confidingly, familiarly, and accelerated her pace. There was something primitive in our proceedings. We did not think of the resources of civilization. A late tramcar overtook us; a row of fiacres stood by the railing of the gardens. It never entered our heads to make use of these conveyances. She was too hurried, perhaps, and as to myself—well, she had taken my arm confidingly. As we were ascending the easy incline of the Corraterie, all the shops shuttered and no light in any of the windows (as if all the mercenary population had fled at the end of the day), she said tentatively—
"I could run in for a moment to have a look at mother. It would not be much out of the way."
I dissuaded her. If Mrs. Haldin really expected to see Razumov that night it would have been unwise to show herself without him. The sooner we got hold of the young man and brought him along to calm her mother's agitation the better. She assented to my reasoning, and we crossed diagonally the Place de Theatre, bluish grey with its floor of slabs of stone, under the electric light, and the lonely equestrian statue all black in the middle. In the Rue de Carouge we were in the poorer quarters and approaching the outskirts of the town. Vacant building plots alternated with high, new houses. At the corner of a side street the crude light of a whitewashed shop fell into the night, fan-like, through a wide doorway. One could see from a distance the inner wall with its scantily furnished shelves, and the deal counter painted brown. That was the house. Approaching it along the dark stretch of a fence of tarred planks, we saw the narrow pallid face of the cut angle, five single windows high, without a gleam in them, and crowned by the heavy shadow of a jutting roof slope.