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“That’s the tune, hey?” the Doctor asked.

“That’s the tune.”

“Dismal, ain’t it?”

“Ay, it’s that.” His fingers were beating time on the counterpane.

“That’s our new bandmaster. He’s got to teach it to the rest, and you’ve got to hold out till they pick it up. Whew! I’d no idea music could be so dismal.”

“Hush ‘ee, Doctor, do! till he’ve a-done. ‘Tis like rain on blossom.” The last notes fell. “Go you down, Doctor, and say my duty and will he please play it over once more, and Fugler’ll gi’e ’em a run for their money.”

The Doctor went back to the Town Hall and delivered this encore, and M. Trinquier played his solo again; and in the middle of it Mr. Fugler dropped off into an easy sleep.

After this the musicians met every evening, Sundays and weekdays, and by the third evening the Doctor was able to predict with confidence that Fugler would last out. Indeed, the patient was strong enough to be propped up into a sitting posture during the hour of practice, and not only listened with pleasure to the concerted piece, but beat time with his fingers while each separate instrument went over its part, delivering, at the close of each performance, his opinion of it to Mrs. Fugler or the Doctor: “Tripconey’s breath’s failin’. He don’t do no sort o’ justice by that sarpint.” Or: “There’s Uncle Issy agen! He always do come to grief juss there! I reckon a man of sixty-odd ought to give up the bass-viol. He ha’n’t got the agility.”

On the fifth evening Mrs. Fugler was sent across to the Town Hall to ask why the triangle had as yet no share in the performance, and to suggest that William Henry Phippin’s eldest boy, Archelaus, played that instrument “to the life.” M. Trinquier replied that it was unusual to seek the aid of the triangle in rendering the Dead March in Saul. Mr. Fugler sent back word that, “if you came to that, the whole thing was unusual, from start to finish.” To this M. Trinquier discovered no answer; and the triangle was included, to the extreme delight of Archelaus Phippin, whose young life had been clouded for a week past.

On the sixth evening, Mr. Fugler announced a sudden fancy to “touch pipe.”

“Hey?” said the Doctor, opening his eyes.

“I’d like to tetch pipe. An’ let me light the brimstone mysel’. I likes to see the little blue flame turn yellow, a-dancin’ on the baccy.”

“Get ‘n his pipe and baccy, missis,” the Doctor commanded. “He may kill himself clean-off now: the band’ll be ready by the funeral, anyway.”

On the three following evenings Mr. Fugler sat up and smoked during band practice, the Doctor observing him with a new interest. The tenth day, the Doctor was called away to attend a child-birth at Downderry. At the conclusion of the cornet solo, with which M. Trinquier regularly opened practice, the sick man said–

“Wife, get me out my clothes.”

“WHAT!”

“Get me out my clothes.”

“You’re mad! It’ll be your death.”

“I don’t care: the band’s ready. Uncle Issy got his part perfect las’ night, an’ that’s more’n I ever prayed to hear. Get me out my clothes an’ help me downstairs.”

The Doctor was far away. Mrs. Fugler was forced to give in. Weeping, and with shaking hands, she dressed him and helped him to the foot of the stairs, where she threw open the parlour door.

“No,” he said, “I’m not goin’ in there. I’ll be steppin’ across to the Town Hall. Gi’e me your arm.”

Thomas Tripconey was rehearsing upon the serpent when the door of the Town Hall opened: and the music he made died away in a wail, as of a dog whose foot has been trodden on. William Henry Phippin’s eldest son Archelaus cast his triangle down and shrieked “Ghosts, ghosts!” Uncle Issy cowered behind his bass-viol and put a hand over his eyes. M. Trinquier spun round to face the intruder, baton in one hand, cornet in the other.