Next, Lionel meticulously described how Holmes observed the gold coin:
As it was a commemorative coin, the tiny scratches on its edge were not caused by circulation wear, but rather by being gripped by a specific tool—such as jeweler's tweezers;
There were tiny specks on one side of the relief, as if lightly corroded by an acidic substance;
The residual scent on the coin's surface came from a certain spice, and a specific type of wood…
Based on these observations, Holmes began his deductions:
The owner of the coin was no ordinary collector, but more likely a doctor or biochemist who frequently handled chemicals;
And had long-term experience living in overseas colonies, as the scents of the spice and wood were specialties from those regions;
The gripping marks on the edge indicated that he often carefully admired this coin, perhaps it was related to an important personal experience or emotional attachment;
Those tiny stains and specks, moreover, hinted that the storage environment was not always ideal, perhaps it had endured a tumultuous journey…
Lionel's narration was logically rigorous and rich in detail, captivating Conan Doyle, who wrote furiously.
This deduction process once again showcased Holmes's extraordinary observational skills and knowledge base.
Just as Holmes had finished his exquisite analysis of the gold coin, and Watson was still marveling, the doorbell rang.
Lionel's narration always maintained a just-right sense of suspense:
"[Just then, an urgent doorbell rang downstairs, followed by Mrs. Hudson, the landlady, ascending the stairs, and her announcement: 'Mr. Holmes, a young lady wishes to see you. She says her name is Mary Morstan.']"
The story thus officially unfolded.
Lionel described in detail the appearance of Miss Mary Morstan.
Her beauty, her elegance, and her anxiety—and, of course, the bizarre commission she brought—
Receiving anonymous pearls every year, and now an invitation letter concerning her missing father.
During the narration, Lionel did not merely advance the plot or portray characters.
Sometimes, Conan Doyle would ask questions due to not understanding a certain plot twist or detail, for example:
"Lyon, why is Miss Morstan made to mention the detail of her father serving in the Indian regiment here? Is this closely related to the main plot later?"
Lionel would patiently pause to explain:
"Very important, Arthur. This is not just character background, but also the core motive of the entire story and the imprint of the era's background.
India, colonial wealth, military secrets… these elements constitute the unique 'exotic flavor' and criminal breeding ground of this case.
Remember, Holmes's cases are often rooted in the various social problems and contradictions brought about by the expansion of the British Empire."
Conan Doyle nodded; as an Englishman, he felt this quite deeply.
In the late 19th century, the vast colonies, whether considered from an economic or social cost perspective, were almost entirely a liability for Britain.
But Britain's upper elite still indulged in the glory of the "empire on which the sun never sets," making the British army rush around tirelessly for those barren lands.
Just two months ago, Britain and Afghanistan had just signed an agreement, ending the Afghan War;
But a few days ago, Parliament again passed a provisional war appropriation of up to 20 million pounds, to deal with the impending war with the Boers.
Not to mention the incessant battles in the Indian princely states.
As an Englishman, Conan Doyle had a very conflicted mindset about this.
In previous discussions, he had heard Lionel explain in detail what "social realist detective fiction" was.
Lionel advocated for placing cases within a realistic social background, revealing social contradictions and human predicaments through criminal motives.
This kind of "detective novel" was, in essence, a branch of realistic fiction, closely related to Lionel's previous works.
"A detective's deductions should not be merely an intellectual game, and criminal motives should not always revolve around insurance money and inheritance."
On this point, Conan Doyle was on the same page as Lionel.
…
When Lionel narrated up to the point where Holmes and Watson were heading to Mr. Bartholomew Sholto's residence, and were about to enter the crime scene, he specifically paused.
Lionel specially emphasized the importance of hidden clues in environmental descriptions:
"Pay attention here, Arthur, we need to describe the environment as they approach the house.
You can write it like this—'…We carefully proceeded along a narrow path, next to a newly painted wooden fence…'"
He looked at Conan Doyle:
"Here, we plant a crucial clue—'creosote.'
It is commonly used for wood preservation, especially in docks, warehouses, and outdoor structures that require moisture and corrosion resistance.
We can't have Holmes, as soon as he enters, merely sniff and immediately declare, 'Ah, this is creosote!'—
That would be unfair to the readers, and also make him seem too 'god-like'."
Conan Doyle mused:
"So, we need to place the clue in advance, in a not-so-obvious way, within the environmental description?"
"Like that newly painted wooden fence just now—it hinted at the presence of 'creosote'."
Lionel nodded approvingly:
"Exactly! Make it one of many environmental details, make it seem like just a part of the background, not specially emphasized.
This way, when Holmes smells and confirms this scent again later in the room, readers will suddenly realize, recalling that seemingly casual description from earlier.
They gain a sense of participation, feeling 'the clue was there all along,' and it also satisfies their intellectual self-recognition.
This is the so-called 'fair play' principle of clues—in excellent detective novels, the author must honestly present all key clues in advance.
It's just that as storytellers, we must cleverly 'hide' them in plain sight."
Conan Doyle's face once again showed a look of sudden realization, as if a new door to the temple of detective fiction writing had opened.
He excitedly jotted down on the margin of his manuscript paper the words "clue fair play—environmental detail hiding—creosote."
In the subsequent narration, Lionel paid even more attention to the application of this technique.
He described the various peculiarities of Mr. Sholto's death scene: the tightly sealed room, the strange weapon, the paper with "The Sign of the Four" written on it, peculiar footprints…
Through Holmes's words, he analyzed step by step the footprints, dust, and window marks, connecting that past, exotic and full of greed and betrayal, closely to the murder case at hand.
The rain outside the window had stopped at some unknown time, dusk was dim, and Edinburgh also seemed about to fall into slumber.
Inside the hotel room, the gas lamp was still lit, illuminating two figures engrossed in creation.
A new Holmes adventure—"The Sign of the Four"—was gradually taking shape on this quiet Scottish night.
Only Conan Doyle knew that what he had learned tonight was far more than just recording a brilliant story.
(End of Chapter)