‘You’re going to find life very disappointing, my friend.’ Stone shook his head. ‘Very disappointing indeed.’
There was a tense silence in the carriage for a while, and then Rufus Stone, seemingly apologetic, broke it by telling Sherlock stories of his time working in the theatre, and of particular actors who could inhabit a part so well that they seemed to submerge their own personality in the performance. ‘The thing is,’ Stone said, ‘that if you don’t believe that you are an old man, or a woman, or a tramp, then how can you expect anyone else to believe you? Looking the part is just the surface; being the part is the true disguise.’
‘But how do I do that?’ Sherlock asked.
‘If you’re pretending to be sad, try and remember something in your life that made you cry. If you’re meant to be happy, remember something that made you laugh. If you’re meant to be a beggar, then remember being hungry and dirty and tired – if you can.’ He smiled slyly. ‘If you’re pretending to be in love, remember the face of someone you care for. That way your face and your body will naturally fall into the right shapes, without your having to exaggerate for effect. Oh, and always trade on people’s inattention.’
Sherlock frowned. ‘What do you mean?’
‘I mean that people usually see only what they expect to see. They don’t look in detail at every person on the street.’ He closed his eyes for a moment and ran a hand through his hair. ‘How do I put this? It’s like a theatrical backcloth. If you want the audience to believe that a play is set in China, you don’t spend weeks painting a detailed backcloth showing a Chinese palace or a village so realistic that people think they’re actually looking through a big window at the real thing – you sketch out some details, like a curved roof, or some bamboo, and let their minds fill in the rest. Minds are very good at deciding quickly what they’re seeing out of the corner of their eye, based on a couple of things that snag their attention, and then taking a picture from their memory and putting that picture in place of the thing itself. If you want to look like a beggar, then what you don’t want to do is to painstakingly recreate every detail of a beggar’s clothes and hair and face. That will make you stand out. Concentrate on a couple of key things, and then blend into the background. Do you understand what I mean?’
‘I think so.’
Stone gave some more examples, and they talked for a while, but the conversation trailed off into silence and Sherlock found himself gazing out of the compartment window. Towns came and went, fields flashed past, and gradually the landscape began to change from the neatness that Sherlock associated with the south of England to a more rugged, overgrown look. Even the cows began to look different – shaggy and brown, with horns that curved out in front of their heads, rather than black and white and short-haired. Once or twice they crossed bridges over large rivers, and Sherlock found himself remembering the wooden trestle bridge that he and Virginia and Matty had walked across when they were in America, escaping from Duke Balthassar.
Virginia. Even just thinking about her name sent a spasm through his heart. He couldn’t deny that he felt something strong about her that he didn’t feel for anyone else, but he couldn’t characterize it. He didn’t know what the feeling was, or what it meant, and its intensity scared him. He wasn’t used to the idea of someone else being part of his life. He had always been a loner, at school and at home. He hated feeling dependent on someone, but that was the way he was feeling now. He couldn’t imagine a life without Virginia in it, in some way.
The train stopped in Newcastle to take on fresh coal and water. The three of them took the opportunity to stretch their legs on the platform and buy some more food that they could eat from paper bags. This time it was apples wrapped in pastry and cooked until they were piping hot. Steam rose from them just like miniature versions of the steam rising from the train’s engine.
After a while Sherlock headed back to the compartment, even though the train wouldn’t be leaving for a few minutes. There was only so much walking up and down the platform that he could manage. The idea of exercise just for the sake of exercise had never appealed to him. He slumped in the upholstered seat, staring at the opposite wall. Train journeys, he decided, were excruciatingly boring. Sea journeys took longer, but there was more to look at, more to do. Ships had libraries, games rooms, restaurants and the whole entertaining routine of shipboard life. Trains had nothing.
Staring at the wall, counting off the minutes before they left Newcastle, he gradually became aware that he was being watched. It wasn’t anything supernatural that led to that conclusion, no prickling of the neck or shivers down the spine. It was something simpler, more prosaic: a pink and red patch at the edge of his vision that refused to move. A face. Two blue eyes aimed unblinkingly at Sherlock.
Without giving away the fact that he had noticed the watcher by moving his head suddenly, he tried to pick up whatever details he could, but the person’s body was partially hidden behind a pile of crates on a trolley.
When he’d squeezed about as much information out of the scene as he could without making it obvious that he had spotted the watcher, he decided to look properly. With no warning he quickly glanced to his right. Straight into the eyes of a man he thought he recognized.
Sherlock’s heart skipped a beat.
He was the image of Mr Kyte, a man who had been introduced to Sherlock as the actor–manager of a theatre company in Whitechapel but had turned out to be an agent of the Paradol Chamber, and part of a plot to assassinate a Russian prince who was a friend of Mycroft’s. He was a big, bear-like man with a chest the size and shape of a barrel, a mane of red hair that flowed down over his collar and a bushy red beard that hid his throat and fell halfway down his chest like a waterfall of rust. The last time Sherlock had seen Mr Kyte, the man had been engaged in a desperate struggle with Rufus Stone in a carriage in a Moscow street. He had escaped, leaving Rufus bleeding, furious and swearing vengeance.
The skin around Mr Kyte’s eyes and on his cheeks, Sherlock remembered, had been covered with hundreds of small scratches. They had looked strangely like shaving cuts, but in areas where hair did not normally grow. Despite the smeary window between them, Sherlock was close enough that he could see those cuts now. There was no doubt – it was Mr Kyte.
Kyte stared Sherlock in the eye for a long moment. He didn’t smile, or nod, or acknowledge in any way that he had been seen. After a few seconds he slowly drew back, into the shadow cast by a structure in the centre of the platform – a storage area of some kind. Sherlock’s heart was racing, and the air seemed to catch on an obstruction in his chest every time he tried to take a breath.
He had to tell Rufus Stone! He had to tell Mycroft! He didn’t know whether Mr Kyte’s presence indicated that the Paradol Chamber were involved in Amyus Crowe’s disappearance, whether they were following Sherlock because they blamed him for upsetting their plans or whether the whole thing was a complete coincidence, but the fact was that Mr Kyte was there, watching him, watching them, and that meant that things had changed. The situation was not the same as it had been just ten minutes earlier.
A blast from a steam whistle jerked Sherlock’s thoughts back on track. The train was about to go. He started to get up out of his seat, aware that neither Rufus Stone nor Matty had returned, but just then the door to the compartment slid back and Matty entered. He was holding a pork pie in one hand.
‘What’s the matter?’ he asked. ‘You look like you’ve seen a ghost.’