The Night Winds Howl E-Book

Frederick Cowles

• Herausgeber: Librorium Editions
• Kategorie: Abenteuer, Thriller, Horror
• Sprache: Englisch

Veröffentlichungsjahr: 2023

Beschreibung

I have, as you well know, always had a sincere admiration for your work and consider you to be a great literary craftsman. These facts alone would make your name at the head of this dedicatory letter appropriate. But it is as a token of our friendship I ask you to accept this book which, with all its failings, may amuse you.
The late Dr Montague Rhodes James once told me that his ghost stories—in my opinion the best of their kind—were written, in the first place, solely for the amusement of himself and his friends. Fortunately, he was persuaded to give them to the general public, and, in doing so, made many new friends.
An author who can amuse himself with his own stories has a fair chance of entertaining other people. But a ghost story is a thing apart. Its success depends upon a physical reaction termed a shudder, and this type of tale is judged by a standard outside the realms of ordinary literary criticism.

Leseprobe

THE NIGHT WINDS HOWL

FREDERICK COWLES

© 2023 Librorium Editions

ISBN : 9782385740603

CONTENTS:

… Dedication

… Epigraph

Rendezvous

The House of the Dancer

Wood Magic

Twisted Face

June Morning

The Witch-finder

The Florentine Mirror

The Vampire of Kaldenstein

Lavender Love

The Mask of Death

King of Hearts

Voodoo

The Little Saint of Hell

Confession

The Lamasery of Beloved Dreams

The Cadaver of Bishop Louis

Out of the Darkness

The Lover of the Dead

The Caretaker

Gypsy Violin

Death in the Well

Retribution

Lady of Lyonnesse

Rats

To Neil Bell

My Dear Bell,

I have, as you well know, always had a sincere admiration for your work and consider you to be a great literary craftsman. These facts alone would make your name at the head of this dedicatory letter appropriate. But it is as a token of our friendship I ask you to accept this book which, with all its failings, may amuse you.

The late Dr Montague Rhodes James once told me that his ghost stories—in my opinion the best of their kind—were written, in the first place, solely for the amusement of himself and his friends. Fortunately, he was persuaded to give them to the general public, and, in doing so, made many new friends.

An author who can amuse himself with his own stories has a fair chance of entertaining other people. But a ghost story is a thing apart. Its success depends upon a physical reaction termed a shudder, and this type of tale is judged by a standard outside the realms of ordinary literary criticism.

The man who first aroused my interest in ghosts was, curiously enough, a Benedictine monk. It was he who, when I was about seventeen years old, persuaded me to read the works of Algernon Blackwood. Delightful hours spent with Jimbo and John Silence were my initiation into the realms of occult fiction, and I was soon reading everything about ghosts I could lay my hands upon. Nothing came amiss, from the ghost scenes in the Greek tragedies to the stories of Le Fanu and Richard Middleton; from Calmet’s Traité sur les Apparitions des Esprits to the more recent learned works of Montague Summers; from Ennemoser’s History of Magic to the ever-green thriller Dracula. Before long I began to try my hand at the composition of stories of the ‘shocker’ variety, and at least three of the tales included in my previous book of ghost stories were written before I was twenty.

I am not sure that the writing of this sort of yarn does much to enhance an author’s reputation. One distant relative of mine, who received a copy of The Horror of Abbot’s Grange for a Christmas present, when she was probably expecting a pair of bed-socks or a knitted scarf, wrote to me in the following terms: ‘I always thought you had a nasty mind and now I am sure of it. You ought to be locked up for writing such a beastly book.’

One dear lady, to whom I was introduced at a party in London, said she had read the book and I didn’t look a bit like the kind of person she had imagined me to be. I think she expected a sinister old man with a black beard, dressed in a slouch hat and a long cloak.

Another reader naively inquired if all the stories in the book were based upon my own experiences. He was rather put out when I exclaimed, ‘God forbid!’

I do believe in ghosts, but I have come to the conclusion that invented ghost stories are far more thrilling than those founded upon fact. Some time ago I toyed with the idea of compiling a book of true stories of the occult and got so far as to invite contributions. I received nearly two hundred letters, all relating strange experiences. But only five of them contained anything really exciting, and these would require a few imaginative touches to make them readable.

As you know that I am neither sinister nor old, I am sure you will accept this book for what it is—a collection of stories written as entertainment with the underlying hope that some of them may cause the reader to shudder.

Will you also accept this dedication as an expression of my grateful appreciation of your many friendly kindnesses to me?

Yours ever,

Frederick Cowles

Worsley August 1938

The Night Wind Howls

When the night wind howls in the chimney cowls, and the bat in the moonlight flies

And inky clouds, like funeral shrouds, sail over the midnight skies—

When the footpads quail at the night-bird’s wail, and black dogs bay at the moon,

Then is the spectres’ holiday—then is the ghosts’ high-noon!

Sir W. S. Gilbert

Rendezvous

Carlos Juan Sanchez was in a sorry plight. The prison cell was far from comfortable for one who was used to the open prairie, and the flies were troublesome. To make matters worse Carlos was mortally afraid. For five years he had lived the life of a bandit prince. In his own estimation he was the greatest robber Mexico had ever known, and it had seemed impossible that he should ever be captured, although successive governments had placed a high price upon his head. As usual a woman was at the root of the trouble and had caused his downfall. It had been very foolish of him to play around with Doretea when Lucia was about, for Lucia, by virtue of the fact that she had been his mistress for over three years, had come to look upon him as her personal property. But who would have thought that the little spitfire had it in her to betray him to the authorities, to lead the soldiers to his secret retreat in the mountains, and even to stand by and laugh as he was arrested! True, faithful Lorenzo had stabbed the traitress to the heart before a soldier’s bullet had laid him low, but that was small consolation to Carlos who could have done it just as well himself had he been free.

And that very day the court had met, and men and women had glibly testified against him. In the face of such overwhelming evidence his own lawyer found it impossible to present a defence, and Carlos Juan Sanchez, robber and outlaw, had been condemned to be hanged by the neck at eight o’clock on the morning of May the nineteenth.

Already he felt the noose being slipped over his head, and the burning agony as the rope tightened about his windpipe. Surely there must be some way of escape? He must have some friend left who could open the path to freedom. But Lorenzo was dead, Doretea was probably locked behind convent walls, and those of his band who had escaped were outlaws in the mountains or, by this time, had crossed the frontiers. It seemed a hopeless situation, and yet Carlos was afraid to die.

He threw himself upon the hard bed and watched the spiders on the ceiling. In the distance a man was singing a song about love. He also could sing of love if the shadow of death were taken away. With an impatient gesture he brushed the flies from his face, and then spread a handkerchief over his head. The cell was hot and stuffy, and, in spite of his mental torture, he was dog-tired after the gruelling hours in the dock. He sank into a fitful doze, and the gaoler, peeping through the grille to see that all was well, was greeted by the low rumble of the bandit’s snores.

It was dusk when Carlos awakened to find that the handkerchief had slipped from his face and he was no longer alone. A priest, in the black habit of one of the religious orders, was sitting by the bed. The man’s face was buried in the depth of his cowl and, in any case, it was too dark to make out more than the shadowy outline of the figure. Carlos, as became a true bandit, hated religion and all its ministers, and even the fear of death was not going to send him snivelling back to the fairy tales of childhood.

‘What in the name of hell do you want?’ he demanded aggressively. ‘I did not ask for a priest.’

‘I know, my son,’ was the answer in a dull, lifeless voice. ‘You did not ask for a priest: you do not need a priest. That is why I am here.’

‘Well, get out,’ ordered the bandit. ‘You needn’t think that because I am going to die I shall grovel to God and delight your ears with a confession of all my misdeeds.’

‘There is no occasion to do that,’ replied the priest. ‘I happen to know most of them already.’

‘You know what I have done!’ Carlos could not keep the ring of pride from his voice. ‘Ah! Perhaps you were in the court this morning. But even there many things were not mentioned, for the simple reason that dead men cannot tell tales.’

‘For example,’ said the quiet, toneless voice, ‘there was none to tell how you tortured an old man called Ricardo Mosello, in an endeavour to discover where he had hidden the gold he did not possess. Do you remember the white-hot irons with which you seared his flesh? And then you buried him in the sand, leaving only his face uncovered, for the ants to finish off the work you had begun. That was a nasty piece of work, Señor Carlos.’

‘How do you know all this?’ the surprised prisoner demanded in a hoarse, quavering voice.

‘I know many things, my friend. There was a girl—Marta Mercado was her name, I think. She loved you and was a faithful creature. Yet you grew tired of her and lusted for other women. A knife put an end to poor Marta’s life, and the man who did the deed was paid by you.’

The bandit sprang from the bed and stood shivering before the black figure. ‘Stop! Stop!’ he cried. ‘You know too much. Were you with me in the mountains, or has some fool told you these tales in the confessional?’

‘I was never with you in the way you mean, Carlos Juan Sanchez, and no lips have whispered to me of your crimes. Shall I go on? Shall I remind you of the bank you raided at Durango and of the fate of the cashier? Shall I bring back to your memory the child you killed at Tampico and the bleeding stumps of arms, lifted to plead for mercy, after you had hacked off her little hands?’

‘It is enough,’ groaned the unhappy Carlos. ‘It is enough. Leave me, for I see you know all the secrets of my heart.’ The sweat was rolling in great drops down his face and his limbs were trembling with fear.

‘Yet, my friend,’ went on the dull voice, ‘I have come to serve you. Is there no way in which I can help you at this time?’

‘Only one,’ answered the frightened bandit, recovering a little of his bravado. ‘I want to escape from this place.’

‘It can be done,’ said the priest. ‘But what have you to offer in return?’

‘Anything within reason,’ was the eager reply. ‘Listen. I have a secret cache in the hills and will give you all the gold and jewels I have hidden away.’

‘Gold and jewels do not interest me,’ answered the dark stranger. ‘There was once a man whom I assisted to escape death at the very foot of the gallows. But he had a soul, Señor Carlos, and you lost yours long ago.’

‘Enough of this talk of souls, Father. You trade in souls and I trade in gold. Get me out of this prison and I will give you anything I possess.’

‘You can give me nothing. You cannot bestow the things you have already lost. And yet I will be kind to you. I will take you away from this place and you shall enjoy, once again, the company of many of your old friends.’

‘Bless you, Father,’ sobbed the bandit. ‘I don’t know how you will manage it, but you inspire me with confidence. Can we get away now?’

‘No, not now. I will come for you at eight o’clock on the morning of the nineteenth of May.’

‘But why leave it until then?’ Carlos stammered. Suddenly he realised the significance of the date and hour. ‘You can’t leave it until then,’ he screamed. ‘That is the hour I am to be hanged.’

‘Just so! Just so!’ answered the toneless voice as the dark figure slowly disappeared.

The House of the Dancer

Michael Brett, dilettante and young man about town, idly glanced through the invitation cards on his desk. The Dowager Lady Kendall requested the pleasure of Mr Brett’s company at dinner on the 19th: Mrs Jowitt was giving a dance on the 21st: and there was an exhibition of water-colours by that queer chap Garston during the first week in May. A smaller card slipped through his fingers and fell to the floor. He lazily retrieved it and saw with interest that it was an invitation to attend an exhibition of miniatures to be held that very day on behalf of some hospital charity. Now, Michael Brett had a passion for miniatures and had already achieved something of a reputation as a connoisseur. He saw that the show was being held at Lady Parsons’ house in Park Lane, and made up his mind to look in.

About three o’clock he presented himself at the imposing mansion and was ushered into the drawing-room which was already full of people. The miniatures had been arranged in cases round the walls, and so great was the throng that it was impossible for the moment to get near the exhibits. Michael chatted with Sir James Stafford, handed Lady Parsons a cheque for her charity, and promised a well-known actress to attend the first night of her new show.

Tea was served shortly after his arrival and most of the visitors left the cases in favour of the tea-wagons. This gave Brett his opportunity to examine the exhibits. On the whole they were rather a mediocre lot, uncatalogued and arranged in haphazard fashion. He passed quickly over indifferent specimens of the work of Ross, Thorburn, and Cosway, but lingered over a charming little thing by Flatman. He was turning away when Sir James Stafford called his attention to an exceptionally small miniature displayed in the dark corner of a case near the door.

‘What do you think of this, Brett? Looks like seventeenth century Flemish work to me, but I can’t place it as the style of any known artist.’

Michael bent over the case in a disinterested manner, but almost immediately gave an excited cry. The miniature was a most delicate piece of work, and the face of the woman pictured on the ivory was the loveliest he had ever seen. The artist had caught the amazing beauty of his subject. Her black hair curled over white brows, and the intensely black eyes, heavily lashed, seemed to gleam as if they were alive.

‘This is the work of a master,’ exclaimed Michael. ‘May we examine it more closely?’

Lady Parsons’ secretary had the key of the case and at once hastened forward to unlock it. The men reverently inspected the miniature, but could discover no trace of the artist’s signature or mark.

‘Excuse me, gentlemen,’ volunteered the secretary, ‘but that exhibit is the property of Mrs Raymond Miller, and I think she is hoping to dispose of it.’

‘Mrs Miller of Tewkesbury?’ asked Sir James.

‘Yes, Sir James. She is not here this afternoon, but I am sure she is in town. Perhaps Lady Parsons has her address. I will see.’

‘Umph!’ grunted Sir James, turning to Michael again. ‘I knew the Millers were in pretty low water, but I didn’t know things were so bad that they had to think of selling their heirlooms. Of course old Miller ran through most of the money before he died, and there are the two children.’

‘Are you thinking of making an offer for the miniature?’ asked Michael. There was an excited tremor in his voice for he knew that, by hook or by crook, he must secure this exquisite piece of work for himself.

He sighed with relief when the baronet replied, ‘Not I, my boy. I haven’t any spare cash to throw away on miniatures by unknown artists.’

Presently the secretary came hurrying back with the information that the exhibit was definitely for sale and that Mrs Miller was staying at the Cosmopolitan. Brett thanked her and, as soon as he could politely do so, bade farewell to his hostess and left the house. It was barely half-past four, so he called a taxi and drove round to the Cosmopolitan Hotel. A page-boy took his card to Mrs Miller’s room, and within a few minutes Michael was shaking hands with the lady. In the cool, palm lounge he explained the reason for his visit.

‘Oh, yes! The miniature,’ exclaimed Mrs Miller. ‘We have quite a number of them, but I think that is the only one of any value. You know, Mr Brett, with two growing children it is sometimes difficult for a widow to cope with the financial situation. My daughter is coming out this year and I thought that if I could sell the miniature the money would help to replenish her wardrobe.’

‘Of course, of course,’ mumbled Brett, somewhat embarrassed by these confidences. ‘And what price are you thinking of asking for it?’

‘I have been advised not to accept less than three hundred guineas. It is true that the artist is unknown, but the work is of exquisite charm. It has also a certain sentimental value, although, of course, that is not a commercial consideration.’

‘I will buy it if you will allow me,’ said Brett without hesitation. ‘The cheque shall be dispatched to you as soon as I get back to my flat.’

Mrs Miller beamed upon him and promised to obtain the miniature from Lady Parsons and have it delivered to him that same evening.

‘And now,’ said Michael, ‘perhaps you will tell me all you know about the picture?’

‘Willingly. There is some sort of a legend attached to it. The portrait is said to be that of Valerie de Brisson, a Flemish dancer who lived in the later days of the seventeenth century. She was a very bad character and had many lovers. She had a very pleasant way of arranging for each lover in turn to be removed by his successor, and the method she favoured was strangling. According to the story she sold her soul to the devil and, in exchange, received the secret of eternal youth. Only one of her lovers escaped from her toils and he was a Miller—an ancestor of my late husband’s. He met her in Paris and followed her to Brussels and Bruges. When he discovered her true character he fled, and with him he carried away the miniature. There is a letter of hers at Tewkesbury. I have never read it, but perhaps you would like to have it as you are to possess the painting.’

‘I should indeed,’ agreed Michael.

‘I will send it to you within a few days. I believe it was written after John Miller returned to England and contains a threat of what may happen if he does not return the miniature.’

Brett thanked her for the information, and they parted with mutual expressions of goodwill. Within an hour the miniature of Valerie de Brisson was delivered into his hands.

Having no engagement until after dinner Michael finished his meal before he examined his new possession. Then he tenderly opened the case and gazed, once again, upon that lovely face. Surely mortal woman could never have possessed such unutterable beauty! And yet there was something sinister in her very loveliness. The eyes held a wicked glint, the mouth had a cruel twist. He wanted to kiss that red mouth, to twine his fingers in those black curls. He raised the miniature to his lips and then, with a self-conscious laugh, closed the case.

The function Michael attended that night lasted until the early hours of the morning and, feeling the effects of the close atmosphere of the ballroom, he decided to walk home. As he was crossing the road to the main door of the building in which his flat was situated he casually glanced up at the window of his study. To his amazement the room seemed to be illuminated by a dull red glow, and upon the drawn blind was the shadow of a woman’s figure.

The lift was not working, so Michael rushed up the stairs and entered his flat. There was no light in the study and only a few smouldering cinders in the grate. He searched the rooms, but there was no trace of the presence of any woman.

‘Imagination does play some queer tricks,’ he said aloud as he retired to bed. He was quickly asleep, but Valerie de Brisson haunted his dreams. Her face hung over him, and the red lips held an invitation to kiss them. Instead he bent his head to kiss her hands, only to find, to his horror, that they were dripping with blood.

II

Three days later a letter arrived from Mrs Miller enclosing a document brown with age. This was the letter written by Valerie de Brisson to her former lover.

By that time the dancer had become an obsession with Michael Brett. Thoughts of her filled his waking hours, and at night his dreams were haunted by her face. He had been to the British Museum and had searched through many musty volumes to find some reference to her. Only in one book, an old French biographical dictionary, was she mentioned, and even then it was just a brief entry.

VALERIE DE BRISSON (1662–1698). Flemish dancer and courtesan. Accused of witchcraft at Bruges in 1698, but disappeared before she could be brought to trial. Never heard of again.

Michael’s hand shook with excitement as he unfolded the letter Valerie had written with her own hands to the lover who had fled from her charms. It was in French and he scribbled out a translation on his blotting-pad.

You have taken that which holds a part of me and so I shall be with you in life and in death. You, alone of all my lovers, have escaped the penalty—but only for a time. Because you have loved this body of mine there shall be no peace for you in the grave. The centuries will pass, but in the end you will pay the price.

V. DE B.

A strange letter, and what did that first sentence mean? Surely it must refer to the miniature! Brett took the little portrait from its case and examined it closely. The frame was of twisted gold, decorated with a black line. He searched in a drawer for a strong magnifying glass and, having found it, held it over the miniature. The features were even more lovely, but the eyes were certainly wicked. Suddenly he noticed something peculiar about the black line on the frame. It was a fine plait made up of strands of hair—Valerie de Brisson’s hair. You have taken that which holds a part of me. So that was what she had meant! The frame contained a few twisted hairs from the head of the world’s loveliest woman.

As he made this discovery Michael became conscious of someone bending over his shoulder, and something lightly touched his cheek. He put up his hand and felt a soft face. As in a dream he saw a dark head lean over him and felt warm lips upon his mouth. In a moment he was alone again, but he knew that in a brief second he had become the lover of a woman who had been dead for nearly three hundred years.

From that day began a series of strange events. It started when Michael’s manservant, who did not live on the premises, asked if the lady was staying at the flat. When pressed to explain himself the man declared that he had seen a lady with black hair standing by the desk in the study on more than one occasion. Of course Brett denied all knowledge of the visitor, but he could see the servant did not believe him.

Then he himself saw the woman. On returning from a theatre he was removing the key from the door of the flat when he turned and saw her standing by the entrance to the study. Just for a moment she regarded him with her great black eyes, and then she was gone. Strangely enough he was not at all disturbed. It seemed quite natural for her to be there.

And then it began to get about that Michael Brett had a woman living with him. One person had seen her looking out of a window; another had seen her shadow on the blind; and yet another declared he had visited the flat when Michael was out and had glimpsed the lady passing across the hall. To all these stories Brett turned a deaf ear.

The crisis came when, on entering the study one evening, he saw her bending over the desk. She disappeared at once, but on the blotting-pad was a note, written on paper that was certainly centuries old:

Tu me trouveras en Bruges. Il y a une maison en la rue Queue de Vache. J’y serai.

V. DE B.

The following morning, after a visit to his bankers, Michael Brett caught the boat-train from Victoria. He was in Bruges the same evening.

III

If you know Bruges at all you will remember the rue Queue de Vache, a street of sixteenth century houses with, at the foot of the Pont Flamand, the charming bay-windowed dwelling of Herman van Oudvelde, who was Dean of Goldsmiths in 1514.

Along this street of ancient houses Michael Brett wandered on the morning after his arrival. He gazed carefully at each building, and at last gave a cry of satisfaction. Over the door of one crumbling mansion was a carving representing two ballet shoes.

Stopping an old man who was passing, Michael inquired, ‘To whom does that house belong?’

The fellow made a furtive sign of the cross, and replied, ‘I believe it to be the property of Duval the notary, but it is an evil place and he cannot find a tenant for it. We call it the House of the Dancer, and it is said that, many years ago, it was the home of a sinful creature called Valerie de Brisson. The devil carried her away, so I have heard, but her spirit still haunts the house.’

‘And where can I find M. Duval?’

‘His office is in the rue des Pierres, near the cinema.’

Thanking the old man for the information Brett hurried to the rue des Pierres, where he had no difficulty in finding the office of M. Duval. The notary was very surprised when the young man announced his business.

He wished to rent the House of the Dancer in the rue Queue de Vache. Well, it could be done, but the building had been uninhabited for years. Yes, it was in a fairly good state of repair, and contained a little furniture. Perhaps monsieur would care to inspect the property? Michael intimated that he would, and the little Belgian struggled into his coat. Soon they were mounting the dark staircase of the house.

‘The ground-floor rooms are quite empty now,’ said M. Duval. ‘The caretaker used to occupy them, but I ceased to employ her about three years ago. The house was at one time considered to be something of a showplace, but it no longer attracts visitors. There is some good furniture upstairs.

He ushered his client into a large room, panelled in oak, and thickly carpeted. It contained a fine bedstead and several pieces of seventeenth century furniture.

‘I believe this room is much the same as it was when Valerie de Brisson occupied it,’ he said. ‘This is the very bed in which she must have slept in her lovers’ arms, and here is her desk.’

The lawyer named a reasonable figure, and went on to explain that, although he had dispensed with the services of the caretaker, the woman still cleaned the place weekly. Her home was only two doors away, and doubtless she could be persuaded to undertake domestic duties for M. Brett, if he so desired.

Michael made a note of the woman’s address, and agreed to rent the house for a year. He asked if he might take possession that day and Duval raised no difficulties. The notary inquired about furniture for the other rooms and was assured that for the present at any rate, Michael would use only the bedroom. They returned to the lawyer’s office and the agreement was drawn up and signed.

Michael then fetched his bag from the hotel where he had spent the night, ordered bed linen from one shop and food from another, and arranged with the former caretaker of the house to attend for a few hours daily and keep the place tidy. Three o’clock was chiming from the Belfry as he turned the key in the ponderous lock and took possession of the House of the Dancer.

The large room on the first floor seemed alive with her presence, almost as if she were still there. In fact he knew that she actually was there, and felt no surprise to see her standing by the wall. As he advanced towards her she receded from him until she had passed through the panelling. He smiled, for he knew she would come again.

The furniture held his attention. The bed had actually been occupied by her! Perhaps she had sat at the desk when the unknown artist had painted her miniature! The quill was probably the one she had used when writing letters to her lovers—possibly she had used it to pen that strange note to John Miller. And there was a tiny dagger—a toy that might have served her for a paper-knife.

A hammering on the door interrupted his thoughts. His several purchases had arrived, and for the next hour he was occupied in preparing the room. He made up the bed, lit a fire in the large grate, and stored the foodstuffs in a cupboard.

Early in the evening the old woman arrived and offered to make a meal for him. She proved a garrulous person and Michael let her ramble on. She had actually lived in the house for five years until M. Duval, for reasons of economy, had decided to dispense with her services.

‘Of course you know, monsieur, that the place is haunted by the ghost of a dancer who lived here hundreds of years ago?’ she inquired.

‘I know there is a story to that effect,’ replied Brett.

‘It is quite true,’ she went on. ‘I have often seen her in this very room, but she never did me any harm. It is said she disappeared in a mysterious manner. Nobody saw her leave the house and yet she could never be found. Some say the devil carried her away so that the priests should not burn her as a witch. Others declare there is a secret room in which she is still hiding.’

At last the meal was ready and the old lady served it and went home. Michael was left to his own devices. He ate some of the food, drank a little wine, and then drew a chair up to the fire. Hardly had he settled down when he heard the rustle of silk and, on glancing up, saw her standing with one arm resting on the mantelpiece. He sprang to his feet and went to embrace her, but his arms only encircled the cold stone. She was back again as soon as he had resumed his seat, and her laughing eyes mocked him. Then he heard her voice, and it seemed to come from far away.

‘So you are my new lover,’ she said. ‘I think I shall like you and make you happy. One day you shall hold me in your arms.’

‘Let it be tonight, Valerie,’ he stammered.

‘No, it cannot be. There is still something that must be done before I may belong to you.’

‘Tell me what it is and it shall be done at once. I cannot wait for you much longer: this suspense is agonising.’

‘Never have I taken a new lover while a former lover of mine was alive. Death is the price to be paid by those who love Valerie de Brisson.’

‘I am not afraid of death if first I may hold you in my arms,’ he pleaded. ‘No other lover can be alive today for you left this world over two hundred years ago.’

‘Yet there was one who took some part of me away with him and thought to escape the debt he had incurred. Until he comes again I cannot give myself to you. In three lives he has escaped the penalty, and now you must bring him to me.’

‘His name. Tell me his name!’ cried Michael.

The figure of the dancer began to fade and, like a whisper from the distant past, Brett heard her utter a name—‘John Miller’.

IV

It was a simple matter for Brett, on his return to England, to make an excuse for calling upon Mrs Miller at Tewkesbury. He also found it easy to strike up a friendship with her son, John. The boy, a charming lad of nineteen, was obviously flattered by Michael’s interest in him, and the two soon grew very intimate. Brett told the young man of the house in Bruges, and suggested they should spend a week or so there in September. John eagerly agreed and the necessary arrangements were quickly made.

As soon as they entered the house in the rue Queue de Vache, John exclaimed, ‘I have a strange feeling that I have been here before.’

‘Perhaps you have,’ replied Michael, and he laughed in a queer way.

The old woman had not been informed of their arrival so Brett decided to go along to her house and arrange for her to prepare breakfast in the morning. He left young Miller sitting before the fire.

He was absent for about half an hour, and on his return the boy met him at the door with excitement all over his face.

‘Tell me, Michael,’ he cried, ‘who is the lovely lady that lives in this house. I know I have met her before and she said something about paying a penalty for the past. I tried to make her explain what she meant, but she laughed and slipped away through some hidden door in the panellng.’