'Isn't all this just a little fanciful, Villiers? I suppose the poor fellow had made an imprudent marriage, and, in plain English, gone to the bad.'
'Well, listen to this.' Villiers told Clarke the story he had heard from Austin.
'You see,' he concluded, 'there can be but little doubt that this Mr. Blank, whoever he was, died of sheer terror; he saw something so awful, so terrible, that it cut short his life. And what he saw, he most certainly saw in that house, which, somehow or other, had got a bad name in the neighbourhood. I had the curiosity to go and look at the place for myself. It's a saddening kind of street; the houses are old enough to be mean and dreary, but not old enough to be quaint. As far as I could see most of them are let in lodgings, furnished and unfurnished, and almost every door has three bells to it. Here and there the ground floors have been made into shops of the commonest kind; it's a dismal street in every way. I found Number 20 was to let, and I went to the agent's and got the key. Of course I should have heard nothing of the Herberts in that quarter, but I asked the man, fair and square, how long they had left the house, and whether there had been other tenants in the meanwhile. He looked at me queerly for a minute, and told me the Herberts had left immediately after the unpleasantness, as he called it, and since then the house had been empty.'
Mr. Villiers paused for a moment.
'I have always been rather fond of going over empty houses; there's a sort of fascination about the desolate empty rooms, with the nails sticking in the walls, and the dust thick upon the window-sills. But I didn't enjoy going over Number 20, Paul Street. I had hardly put my foot inside the passage before I noticed a queer, heavy feeling about the air of the house. Of course all empty houses are stuffy, and so forth, but this was something quite different; I can't describe it to you, but it seemed to stop the breath. I went into the front room and the back room, and the kitchens downstairs; they were all dirty and dusty enough, as you would expect, but there was something strange about them all. I couldn't define it to you, I only know I felt queer. It was one of the rooms on the first floor, though, that was the worst. It was a largish room, and once on a time the paper must have been cheerful enough, but when I saw it, paint, paper, and everything were most doleful. But the room was full of horror; I felt my teeth grinding as I put my hand on the door, and when I went in, I thought I should have fallen fainting to the floor. However, I pulled myself together, and stood against the end wall, wondering what on earth there could be about the room to make my limbs tremble, and my heart beat as if I were at the hour of death. In one corner there was a pile of newspapers littered about on the floor, and I began looking at them; they were papers of three or four years ago, some of them half torn, and some crumpled as if they had been used for packing. I turned the whole pile over, and amongst them I found a curious drawing; I will show it you presently. But I couldn't stay in the room; I felt it was overpowering me. I was thankful to come out, safe and sound, into the open air. People stared at me as I walked along the street, and one man said I was drunk. I was staggering about from one side of the pavement to the other, and it was as much as I could do to take the key back to the agent and get home. I was in bed for a week, suffering from what my doctor called nervous shock and exhaustion. One of those days I was reading the evening paper, and happened to notice a paragraph headed: "Starved to Death." It was the usual style of thing; a model lodging-house in Marylebone, a door locked for several days, and a dead man in his chair when they broke in. "The deceased," said the paragraph, "was known as Charles Herbert, and is believed to have been once a prosperous country gentleman. His name was familiar to the public three years ago in connection with the mysterious death in Paul Street, Tottenham Court Road, the deceased being the tenant of the house Number 20, in the area of which a gentleman of good position was found dead under circumstances not devoid of suspicion." A tragic ending, wasn't it? But after all, if what he told me were true, which I am sure it was, the man's life was all a tragedy, and a tragedy of a stranger sort than they put on the boards.'
'And that is the story, is it?' said Clarke musingly.
'Yes, that is the story.'
'Well, really, Villiers, I scarcely know what to say about it. There are, no doubt, circumstances in the case which seem peculiar, the finding of the dead man in the area of Herbert's house, for instance, and the extraordinary opinion of the physician as to the cause of death; but, after all, it is conceivable that the facts may be explained in a straightforward manner. As to your own sensations, when you went to see the house, I would suggest that they were due to a vivid imagination; you must have been brooding, in a semiconscious way, over what you had heard. I don't exactly see what more can be said or done in the matter; you evidently think there is a mystery of some kind, but Herbert is dead; where then do you propose to look?'
'I propose to look for the woman; the woman whom he married. She is the mystery.'
The two men sat silent by the fireside; Clarke secretly congratulating himself on having successfully kept up the character of advocate of the commonplace, and Villiers wrapt in his gloomy fancies.
'I think I will have a cigarette,' he said at last, and put his hand in his pocket to feel for the cigarette-case.
'Ah!' he said, starting slightly, 'I forgot I had something to show you. You remember my saying that I had found a rather curious sketch amongst the pile of old newspapers at the house in Paul Street? Here it is.'
Villiers drew out a small thin parcel from his pocket. It was covered with brown paper, and secured with string, and the knots were troublesome. In spite of himself Clarke felt inquisitive; he bent forward on his chair as Villiers painfully undid the string, and unfolded the outer covering. Inside was a second wrapping of tissue, and Villiers took it off and handed the small piece of paper to Clarke without a word.
There was dead silence in the room for five minutes or more; the two men sat so still that they could hear the ticking of the tall old-fashioned clock that stood outside in the hall, and in the mind of one of them the slow monotony of sound woke up a far, far memory. He was looking intently at the small pen-and-ink sketch of the woman's head; it had evidently been drawn with great care, and by a true artist, for the woman's soul looked out of the eyes, and the lips were parted with a strange smile. Clarke gazed still at the face; it brought to his memory one summer evening long ago; he saw again the long lovely valley, the river winding between the hills, the meadows and the cornfields, the dull red sun, and the cold white mist rising from the water. He heard a voice speaking to him across the waves of many years, and saying, 'Clarke, Mary will see the God Pan!' and then he was standing in the grim room beside the doctor, listening to the heavy ticking of the clock, waiting and watching, watching the figure lying on the green chair beneath the lamplight. Mary rose up, and he looked into her eyes, and his heart grew cold within him.
'Who is this woman?' he said at last. His voice was dry and hoarse.
'That is the woman whom Herbert married.'
Clarke looked again at the sketch; it was not Mary after all. There certainly was Mary's face, but there was something else, something he had not seen on Mary's features when the white-clad girl entered the laboratory with the doctor, nor at her terrible awakening, nor when she lay grinning on the bed. Whatever it was, the glance that came from those eyes, the smile on the full lips, or the expression of the whole face, Clarke shuddered before it in his inmost soul, and thought, unconsciously, of Dr. Phillips's words, 'the most vivid presentment of evil I have ever seen.' He turned the paper over mechanically in his hand and glanced at the back.
'Good God! Clarke, what is the matter? You are as white as death.'
Villiers had started wildly from his chair, as Clarke fell back with a groan, and let the paper drop from his hands.
'I don't feel very well, Villiers, I am subject to these attacks. Pour me out a little