But to-night Mr. Alington had no eye for these enchanting ladies; he sat long and studiously with the report in front of him, his broad, intelligent face alert with his work. From time to time he reached out a firm, plump hand to take a cigarette from a silver box which stood by his telephone, but often he sat with it unlit for ten minutes or so, absorbed in the page; or, again, he would put it down still only half smoked, as he made one of his little calculations, forget about it, and reach his hand out absently for another. In this way before midnight there were some half-dozen in his ash-tray scarcely touched. A spirit-case and a siphon stood on a tray to his right, and an hour before he had mixed himself a mild whisky-and-soda, which he had not yet tasted.
The silver bell of his Sèvres clock had already struck one when he took up the report, folded it carefully, and put it back in its registered envelope. The map, however, he spread out on the table in front of him, and continued to study it very attentively for ten minutes more. That, too, he then put in the envelope, and, leaning back in his chair, lit a cigarette in earnest and smoked it through. He was a little short-sighted, and for reading, particularly at night, he wore gold-rimmed spectacles, which gave him a scholastic, almost a theologian aspect. But these had long ago been pushed up on his forehead; the theologian had evidently some great matter in debate.
At length he rose, still slowly, and stood for a moment in profound thought. Then, with a sudden briskness, as of a man who had made up his mind, he took the envelope, and, putting it into a drawer in his knee-hole table, turned the key upon it.
"It will be one of the very biggest deals," he remarked to himself.
A grand piano by Bechstein stood at the other side of the room, and Bach's St. Matthew Passion Music was open upon it. Mr. Alington took it up and turned over the pages with a loving reverence. He paused a moment, and hummed in his beautiful tenor voice the recitative of "And Peter went out," and then, lighting the candles, played a few crescendo chords, and plunged into the intricacies of the great double chorus of the lightnings and thunders. The sonorous and terrible fugue grew and grew under his deft hands, rising from crescendo to crescendo with its maddened, tumultuous ground-bass. A pause of a bar, and with a great burst he attacked the second part. He sang the air of "the bottomless pit" with full voice, while his hands quivered mistily in the frenzied chromatic accompaniment. The appalling terrors of the music possessed him; he seemed like a man demented. In the last six bars he doubled the bass as if written for pedals, and with the tierce de Picardy finished in a crashing chord.