K Jeter: Infernal Devices

Disregarding the gloom, the Brown Leather Man was already intently peering at the jumble of devices, poking at the various mechanisms with one long brown finger and bending closer to examine the assemblages of gears. Disaster threatened as one cliff-face of brass wheels tottered at his prodding inspection, a disembodied mannikin's head looking down from above in the manner of a Red Indian stalking an explorer in the rude deserts of America.

A lensless telescope swung on its pivot away from Brown Leather as he probed deeper into the mechanical morass. "Are you finding anything of interest?" I called from my place at the bench.

The silence of his back turned to me was his only reply. A bit nettled, I lifted the lamp and carried it towards him, the yellow circle cast around my feet, more to benefit my own curiosity than to aid his search.

Holding the lamp aloft, I peered over the Brown Leather Man's shoulder, the light gleaming from the fuscous curve of his skull. Some involved meshing of gears and cogwheels, frozen in stopped Time, lay exposed before him, his extended forefinger probing like a surgeon's scalpel into a brass cadaver. So intent was he upon this post-mortem de artifice that he seemed scarcely aware of my presence behind him.

A sudden snap of thin metal breaking, and my odd client lurched backwards, knocking me over and sending the lantern flying from my hand. The light was not extinguished, coming to rest propped against the leg of the workbench, but the immediate area where the Brown Leather Man stood and I undignifiedly sat was darkened.

Enough light was reflected from the banked clutter of metal for me to look up and see what had happened. A coiled spring in the apparatus Brown Leather had been investigating now dangled crazily in air in front of him, one jagged end bobbing like a jack's head. The spring had apparently broken under his prodding and snapped sharply enough to inflict a wound on him. Indeed, I could see him with one hand clutching his opposite forearm to stanch the flow of blood from a jagged gash above his wrist.

I scrambled to my feet, moved by natural sympathy and the prospect of the damages to which I might be liable.

"My God, sir, you're hurt!" I cried, bending forward to minister to his wound. Dismayed, I saw the damp spatter of his blood upon the stone floor and the nearest brass device.

He jerked the injured limb away from me. "It is nothing," he said. "Do not worry of it." His actions belied his words; still clutching his forearm, he hastily retreated up the passage to the front of the shop, with myself close behind.

Before gathering up his hat and gloves from the counter, he clumsily fished a coin from his coat pocket and pressed it into my hand. A shiny wetness seeped between the brown fingers clamped to his forearm. "A payment on account," he said, his narrow eyes locking once more on to mine. "For your work to be done yet."

Then he was gone, the shop door slamming behind him, and the clatter of hooves on cobbles and a hansom cab's wheels fading into the street's constant murmur.

"Lord, I told you he were a mad one, didn't I? Just didn't I!"

I looked around and saw Creff watching from the stairway, one hand again clutching the dull kitchenknife. Without looking at the coin that the Brown Leather Man had handed me – the flash of silver and its familiar weight assured me of its being a crown – I slipped it into my waistcoat pocket. "There's a bit of mess in the workroom," I said. "Some blood on the floor-"

Creff's eyes widened as though inflated by his sharp intake of breath.

"An accident," I assured him. "Nothing but a broken watch spring. Would you be so kind as to clean it up?"

A few moments later, as I stood behind the counter examining the device left behind by my morning's visitor, with an odd premonitory unease staying my hand from lifting the lid, a shout came from the workroom. Creff appeared in the passageway, wadded rag in hand.

"There's no blood here." He sounded annoyed, as if having discovered a jest played on him. "It's all wet, right enough, but there's no blood."

"You must be mistaken," I said. "In the back, by my father's old things."

"See for yourself, then,"

I followed him down the steps. In the workroom, by the brass wall of my father's creations, where I had seen the jagged edge of metal tear the brown skin, I knelt down on the stone floor. Creff held the lantern above, illuminating the spattered wetness from my client's wound.

Even before I touched it, a faint scent traced across my nostrils, evoking memories of childhood: the aunt who raised me, and our visits to the seashore at Margate. I dabbed a finger at one of the spots. The fluid on my fingertip was perfectly clear, rather than the thick scarlet I had expected. Curious, I tasted it.

Not blood, but brine. As I knelt upon a stone floor in the heart of London, memories of sand and wheeling gulls deepened, unlocked by the sharp, vivid tang of sea water.

I have returned from my regular morning perambulation. Long acquaintance with my father's devices, and the eliminative functions of a dog grown old even before he became my companion in travail and peril, have made my habits as rigidly timed as those mechanical figures that parade in and out of the faces of certain Bavarian clock towers.

In a smoke-darkened courtyard branching off my route, a group of children in tattered smocks, bare feet as black as the street grime they skipped upon, sang and played a simple hand-clapping game. The dog barked, as though to join in their shrill, innocent glee, but a chill settled around my own heart as I made out the words that accompanied their criss-crossing dirty arms and slapping palms.

Georgie's fiddle

Georgie's clock,

Georgie sets him in the dock;

With his bow

And ladies low,

Georgie's fiddle and clock!

The children ran off, laughing and shouting rude gibes at the man who gazed after them with stricken expression. Painful memories, evoked by the childish song, marched behind my creased brow as, dog at heel, I retraced my steps homeward. The game's jingling rhymes were, no doubt, a decaying echo of those street ballads – complete unto infamous detail! – that first sprang up when my affairs came under the eye of public attention. I recalled the horrid evening, when I, thinking I had at last been returned to safety and anonymity, stopped at the perimeter of a crowd assembled to listen to an itinerant singer. Within minutes, I had realised that, to the tune of "Hail, Smiling Morn," a bawdy account of my recent perils was being related to the audience. Above their heads a coloured board had swayed on the end of a pole, with an artful caricature of my own face leering at maidens swooning to my supposed violin-playing; one ladylike hand had been depicted by the artist as trembling to touch the exaggerated clock-winding key into which a private section of my anatomy had been transformed. The sight of this villainous depiction in the hands of the balladeer's accomplice had staggered me backwards; the nearest faces had turned towards me and had spotted the resemblance between me and the demon fiddler on the placard; across dizzy-heaving streets I had been forced to flee before a general hubbub could arise. Shortly after, I had decamped to my new residence and hidey-hole, in a less populous district where my alleged crimes might go unnoticed against the backdrop of the inhabitants' grey squalor.

Having returned to my desk and pen, the dog once more at his somnolent station by the coal-grate, I strive to banish the singing, mocking voices from my thoughts. To no avail: they form a constant obbligato to the actual words and tones I seek to conjure from the past.

The day on which the Brown Leather Man first made an appearance in my life would have remained memorable for that alone. That he should be followed by other visitors, who would prove to be equally significant, illustrates that principle best described as the Superfluity of Events.