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Passages from The Final Count

Pages from The Final Count that stand on their own, chosen for how they read today. The text is in the public domain.

When a friend's idea is so strange you start diagnosing him.

I think it was at that moment that I first began to entertain doubts as to Robin’s sanity. Not that people dining near would have noticed anything amiss with him: his voice was low-pitched and quiet. But the whole idea was so utterly far-fetched and fantastic that I couldn’t help wondering if his brilliant brain hadn’t crossed that tiny bridge which separates genius from insanity. I knew the hideous loathing he had always felt for war: was it possible that continual brooding on the idea had unhinged him?
— The Final Count, H. C. McNeile (1926)

The sound old houses make when you are listening for something worse.

It was an eerie sort of noise, such as you may hear sometimes in old houses in the country when the wind is blowing. Creak, shuffle, thud—creak, shuffle, thud, and every now and then a sort of drumming noise such as a man’s heels might make against woodwork. For a while we stood listening, and once it seemed to me that the blind bulged outwards with the pressure of something behind it.
— The Final Count, H. C. McNeile (1926)

The poison that needs no needle, and the expert who doubts it exists.

“Now there is another tiny class of poisons—it is really a subdivision of the second class—of which, frankly, we know very little. Some expert toxicologists are even inclined to dismiss them as legendary. I’m not sure that I myself didn’t belong to their number until this morning. Evidence is in existence—but it is not reliable—of the use of these poisons by the Borgias, and by the Aztecs of Mexico. They were reputed to kill by mere external application, without the necessity of a puncture in the skin. They were supposed to generate some strange shattering force, which killed the victim by shock. Now that is absurd: no poison can kill unless it reacts point-blank on the heart. In other words, a puncture is necessary, and this class supplies its own punctures.
— The Final Count, H. C. McNeile (1926)

Why some people can give us an order and meet no resistance.

Looking back on things now after the lapse of many months, one of the strangest things to me is the habit of unquestioning obedience to Drummond into which I dropped at once. If someone tells me to do a thing, my nature as a general rule impels me to do the exact reverse. In the Army I never took kindly to discipline. And yet when Drummond gave an order I never questioned, I never hesitated. I mention this fact merely to emphasise the peculiar influence he had on people with whom he came in contact, and the extraordinary personality which he tried to obscure by an air of fatuous nonsense.
— The Final Count, H. C. McNeile (1926)

The moment a spider stops being a phobia and becomes a monster.

And I don’t wonder. Even now, though eighteen months have passed, my skin still creeps as I recall that moment. If the dead thing below had been horrible, what words can I use for the living? As with many spiders, the female was larger than the male, and the thing which stood on its six great legs about a yard from her feet looked the size of a puppy. It was squat and utterly loathsome, and as Drummond with the poker in his hand dashed towards it, it scuttled under the bed, hissing loudly.
— The Final Count, H. C. McNeile (1926)

What it looks like when a cliff starts giving up its secrets.

At last he stopped for good, and I saw him beckoning to us to come and join him. He was actually on the edge of the cliff, and when I reached his side and passed over, I very nearly gave the show away in my surprise. Not twenty feet below us a man’s head was sticking out of the face of the cliff. We could see it outlined against a dim light that came from inside, and he was paying out something hand over hand. At first I couldn’t see what it was. It looked like a rope, and yet it seemed singularly stiff and inflexible.
— The Final Count, H. C. McNeile (1926)

The costume that tells you the person inside has stopped being human.

It was the figure of a man clothed from head to foot in a rubber garment. His legs were encased in what looked like high fishing waders: his body and hands were completely covered with the same material. But it was his head that added the finishing touch. He wore a thing that resembled a diver’s helmet, save that it was much less heavy and clumsy. Two pieces of glass were fitted for his eyes, and just underneath there was a device to allow him to breathe.
— The Final Count, H. C. McNeile (1926)

The sound of an engine and a man laughing at the same time.

It sounded like a motor bicycle being ridden over undulating ground, or a distant aeroplane on a gusty day. It was the drone of an engine—now loud, now almost dying away, but all the time increasing in volume. Shout after shout of mad laughter came from Gaunt, and once he rushed dancing into the room with arms outstretched above his head.
— The Final Count, H. C. McNeile (1926)

The terrifying calm of a man sorting stolen jewels after a killing.

I watched him with a sort of dazed fascination as he lit a cigar. Then he began to examine through a lens the great heap of precious stones in front of him. And after a while the thought began to obsess me that he was not human. His complete air of detachment: his amused comments when he discovered that a beautiful tiara was only paste: above all the languorous indifference of the girl who only an hour before had witnessed an act of wholesale murder made my head spin.
— The Final Count, H. C. McNeile (1926)

An airship at dusk, lit up like a promise.

The evening was calm and still as we motored into the aerodrome. Great flaring arc lights lit up everything with the brightness of day: whilst above our heads, attached to the mooring mast, floated the graceful vessel, no longer dark and sinister as we had seen her the night before, but a blaze of light from bows to stern.
— The Final Count, H. C. McNeile (1926)

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