1

The Gilmer brothers were a couple of fussy and pernickety old bachelors of a rather retiring, not to say timid, disposition. There was grey in the pointed beard of John, the elder, and if any hair had remained to William it would also certainly have been of the same shade. They had private means. Their main interest in life was the collection of violins, for which they had the instinctive flair of true connoisseurs. Neither John nor William, however, could play a single note. They could only pluck the open strings. The production of tone, so necessary before purchase, was done vicariously for them by another.

The only objection they had to the big building in which they occupied the roomy top floor was that Morgan, liftman and caretaker, insisted on wearing a billycock with his uniform after six o’clock in the evening, with a result disastrous to the beauty of the universe. For “Mr. Morgan,” as they called him between themselves, had a round and pasty face on the top of a round and conical body. In view, however, of the man’s other rare qualities—including his devotion to themselves—this objection was not serious.

He had another peculiarity that amused them. On being found fault with, he explained nothing, but merely repeated the words of the complaint.

“Water in the bath wasn’t really hot this morning, Morgan!”[212]

“Water in the bath not reely ’ot, wasn’t it, sir?”

Or, from William, who was something of a faddist:

“My jar of sour milk came up late yesterday, Morgan.”

“Your jar sour milk come up late, sir, yesterday?”

Since, however, the statement of a complaint invariably resulted in its remedy, the brothers had learned to look for no further explanation. Next morning the bath was hot, the sour milk was “brortup” punctually. The uniform and billycock hat, though, remained an eyesore and source of oppression.

On this particular night John Gilmer, the elder, returning from a Masonic rehearsal, stepped into the lift and found Mr. Morgan with his hand ready on the iron rope.

“Fog’s very thick outside,” said Mr. John pleasantly; and the lift was a third of the way up before Morgan had completed his customary repetition: “Fog very thick outside, yes, sir.” And Gilmer then asked casually if his brother were alone, and received the reply that Mr. Hyman had called and had not yet gone away.

Now this Mr. Hyman was a Hebrew, and, like themselves, a connoisseur in violins, but, unlike themselves, who only kept their specimens to look at, he was a skilful and exquisite player. He was the only person they ever permitted to handle their pedigree instruments, to take them from the glass cases where they reposed in silent splendour, and to draw the sound out of their wondrous painted hearts of golden varnish. The brothers loathed to see his fingers touch them, yet loved to hear their singing voices in the room, for the latter confirmed their sound judgment as collectors, and made them certain their money had been well spent. Hyman, however, made no attempt to conceal his contempt and hatred for the mere collector. The atmosphere of the room fairly pulsed with these opposing forces of silent emotion when Hyman played and the Gilmers, alternately writhing and admiring, listened. The occasions, however, were not frequent. The Hebrew only came by invitation, and both brothers made[213] a point of being in. It was a very formal proceeding—something of a sacred rite almost.

John Gilmer, therefore, was considerably surprised by the information Morgan had supplied. For one thing, Hyman, he had understood, was away on the Continent.

“Still in there, you say?” he repeated, after a moment’s reflection.

“Still in there, Mr. John, sir.” Then, concealing his surprise from the liftman, he fell back upon his usual mild habit of complaining about the billycock hat and the uniform.

“You really should try and remember, Morgan,” he said, though kindly. “That hat does not go well with that uniform!”

Morgan’s pasty countenance betrayed no vestige of expression. “’At don’t go well with the yewniform, sir,” he repeated, hanging up the disreputable bowler and replacing it with a gold-braided cap from the peg. “No, sir, it don’t, do it?” he added cryptically, smiling at the transformation thus effected.

And the lift then halted with an abrupt jerk at the top floor. By somebody’s carelessness the landing was in darkness, and, to make things worse, Morgan, clumsily pulling the iron rope, happened to knock the billycock from its peg so that his sleeve, as he stooped to catch it, struck the switch and plunged the scene in a moment’s complete obscurity.

And it was then, in the act of stepping out before the light was turned on again, that John Gilmer stumbled against something that shot along the landing past the open door. First he thought it must be a child, then a man, then—an animal. Its movement was rapid yet stealthy. Starting backwards instinctively to allow it room to pass, Gilmer collided in the darkness with Morgan, and Morgan incontinently screamed. There was a moment of stupid confusion. The heavy framework of the lift shook a little, as though something had stepped into it and then[214] as quickly jumped out again. A rushing sound followed that resembled footsteps, yet at the same time was more like gliding—someone in soft slippers or stockinged feet, greatly hurrying. Then came silence again. Morgan sprang to the landing and turned up the electric light. Mr. Gilmer, at the same moment, did likewise to the switch in the lift. Light flooded the scene. Nothing was visible.

“Dog or cat, or something, I suppose, wasn’t it?” exclaimed Gilmer, following the man out and looking round with bewildered amazement upon a deserted landing. He knew quite well, even while he spoke, that the words were foolish.

“Dog or cat, yes, sir, or—something,” echoed Morgan, his eyes narrowed to pin-points, then growing large, but his face stolid.

“The light should have been on.” Mr. Gilmer spoke with a touch of severity. The little occurrence had curiously disturbed his equanimity. He felt annoyed, upset, uneasy.

For a perceptible pause the liftman made no reply, and his employer, looking up, saw that, besides being flustered, he was white about the jaws. His voice, when he spoke, was without its normal assurance. This time he did not merely repeat. He explained.

“The light was on, sir, when last I come up!” he said, with emphasis, obviously speaking the truth. “Only a moment ago,” he added.

Mr. Gilmer, for some reason, felt disinclined to press for explanations. He decided to ignore the matter.

Then the lift plunged down again into the depths like a diving-bell into water; and John Gilmer, pausing a moment first to reflect, let himself in softly with his latch-key, and, after hanging up hat and coat in the hall, entered the big sitting-room he and his brother shared in common.

The December fog that covered London like a dirty blanket had penetrated, he saw, into the room. The[215] objects in it were half shrouded in the familiar yellowish haze.

2

In dressing-gown and slippers, William Gilmer, almost invisible in his armchair by the gas-stove across the room, spoke at once. Through the thick atmosphere his face gleamed, showing an extinguished pipe hanging from his lips. His tone of voice conveyed emotion, an emotion he sought to suppress, of a quality, however, not easy to define.

“Hyman’s been here,” he announced abruptly. “You must have met him. He’s this very instant gone out.”

It was quite easy to see that something had happened, for “scenes” leave disturbance behind them in the atmosphere. But John made no immediate reference to this. He replied that he had seen no one—which was strictly true—and his brother thereupon, sitting bolt upright in the chair, turned quickly and faced him. His skin, in the foggy air, seemed paler than before.

“That’s odd,” he said nervously.

“What’s odd?” asked John.

“That you didn’t see—anything. You ought to have run into one another on the doorstep.” His eyes went peering about the room. He was distinctly ill at ease. “You’re positive you saw no one? Did Morgan take him down before you came? Did Morgan see him?” He asked several questions at once.

“On the contrary, Morgan told me he was still here with you. Hyman probably walked down, and didn’t take the lift at all,” he replied. “That accounts for neither of us seeing him.” He decided to say nothing about the occurrence in the lift, for his brother’s nerves, he saw plainly, were on edge.

William then stood up out of his chair, and the skin of his face changed its hue, for whereas a moment ago it[216] was merely pale, it had now altered to a tint that lay somewhere between white and a livid grey. The man was fighting internal terror. For a moment these two brothers of middle age looked each other straight in the eye. Then John spoke:

“What’s wrong, Billy?” he asked quietly. “Something’s upset you. What brought Hyman in this way—unexpectedly? I thought he was still in Germany.”

The brothers, affectionate and sympathetic, understood one another perfectly. They had no secrets. Yet for several minutes the younger one made no reply. It seemed difficult to choose his words apparently.

“Hyman played, I suppose—on the fiddles?” John helped him, wondering uneasily what was coming. He did not care much for the individual in question, though his talent was of such great use to them.

The other nodded in the affirmative, then plunged into rapid speech, talking under his breath as though he feared someone might overhear. Glancing over his shoulder down the foggy room, he drew his brother close.

“Hyman came,” he began, “unexpectedly. He hadn’t written, and I hadn’t asked him. You hadn’t either, I suppose?”

John shook his head.

“When I came in from the dining-room I found him in the passage. The servant was taking away the dishes, and he had let himself in while the front door was ajar. Pretty cool, wasn’t it?”

“He’s an original,” said John, shrugging his shoulders. “And you welcomed him?” he asked.

“I asked him in, of course. He explained he had something glorious for me to hear. Silenski had played it in the afternoon, and he had bought the music since. But Silenski’s ‘Strad’ hadn’t the power—it’s thin on the upper strings, you remember, unequal, patchy—and he said no instrument in the world could do it justice but our[217] ‘Joseph’-the small Guarnerius, you know, which he swears is the most perfect in the world.”

“And what was it? Did he play it?” asked John, growing more uneasy as he grew more interested. With relief he glanced round and saw the matchless little instrument lying there safe and sound in its glass case near the door.

“He played it—divinely: a Zigeuner Lullaby, a fine, passionate, rushing bit of inspiration, oddly misnamed ‘lullaby.’ And, fancy, the fellow had memorized it already! He walked about the room on tiptoe while he played it, complaining of the light——”

“Complaining of the light?”

“Said the thing was crepuscular, and needed dusk for its full effect. I turned the lights out one by one, till finally there was only the glow of the gas logs. He insisted. You know that way he has with him? And then he got over me in another matter: insisted on using some special strings he had brought with him, and put them on, too, himself—thicker than the A and E we use.”

For though neither Gilmer could produce a note, it was their pride that they kept their precious instruments in perfect condition for playing, choosing the exact thickness and quality of strings that suited the temperament of each violin; and the little Guarnerius in question always “sang” best, they held, with thin strings.

“Infernal insolence,” exclaimed the listening brother, wondering what was coming next. “Played it well, though, didn’t he, this Lullaby thing?” he added, seeing that William hesitated. As he spoke he went nearer, sitting down close beside him in a leather chair.

“Magnificent! Pure fire of genius!” was the reply with enthusiasm, the voice at the same time dropping lower. “Staccato like a silver hammer; harmonics like flutes, clear, soft, ringing; and the tone—well, the G string was a baritone, and the upper registers creamy and mellow[218] as a boy’s voice. John,” he added, “that Guarnerius is the very pick of the period and”—again he hesitated—“Hyman loves it. He’d give his soul to have it.”

The more John heard, the more uncomfortable it made him. He had always disliked this gifted Hebrew, for in his secret heart he knew that he had always feared and distrusted him. Sometimes he had felt half afraid of him; the man’s very forcible personality was too insistent to be pleasant. His type was of the dark and sinister kind, and he possessed a violent will that rarely failed of accomplishing its desire.

“Wish I’d heard the fellow play,” he said at length, ignoring his brother’s last remark, and going on to speak of the most matter-of-fact details he could think of. “Did he use the Dodd bow, or the Tourte? That Dodd I picked up last month, you know, is the most perfectly balanced I have ever——”

He stopped abruptly, for William had suddenly got upon his feet and was standing there, searching the room with his eyes. A chill ran down John’s spine as he watched him.

“What is it, Billy?” he asked sharply. “Hear anything?”

William continued to peer about him through the thick air.

“Oh, nothing, probably,” he said, an odd catch in his voice; “only—— I keep feeling as if there was somebody listening. Do you think, perhaps”—he glanced over his shoulder—“there is someone at the door? I wish—I wish you’d have a look, John.”

John obeyed, though without great eagerness. Crossing the room slowly, he opened the door, then switched on the light. The passage leading past the bathroom towards the bedrooms beyond was empty. The coats hung motionless from their pegs.

“No one, of course,” he said, as he closed the door and came back to the stove. He left the light burning in[219] the passage. It was curious the way both brothers had this impression that they were not alone, though only one of them spoke of it.

“Used the Dodd or the Tourte, Billy—which?” continued John in the most natural voice he could assume.

But at that very same instant the water started to his eyes. His brother, he saw, was close upon the thing he really had to tell. But he had stuck fast.

3

By a great effort John Gilmer composed himself and remained in his chair. With detailed elaboration he lit a cigarette, staring hard at his brother over the flaring match while he did so. There he sat in his dressing-gown and slippers by the fireplace, eyes downcast, fingers playing idly with the red tassel. The electric light cast heavy shadows across the face. In a flash then, since emotion may sometimes express itself in attitude even better than in speech, the elder brother understood that Billy was about to tell him an unutterable thing.

By instinct he moved over to his side so that the same view of the room confronted him.

“Out with it, old man,” he said, with an effort to be natural. “Tell me what you saw.”

Billy shuffled slowly round and the two sat side by side, facing the fog-draped chamber.

“It was like this,” he began softly, “only I was standing instead of sitting, looking over to that door as you and I do now. Hyman moved to and fro in the faint glow of the gas logs against the far wall, playing that ‘crepuscular’ thing in his most inspired sort of way, so that the music seemed to issue from himself rather than from the shining bit of wood under his chin, when—I noticed something coming over me that was”—he hesitated, searching for words—“that wasn’t all due to the music,” he finished abruptly.[220]

“His personality put a bit of hypnotism on you, eh?”

William shrugged his shoulders.

“The air was thickish with fog and the light was dim, cast upwards upon him from the stove,” he continued. “I admit all that. But there wasn’t light enough to throw shadows, you see, and——”

“Hyman looked queer?” the other helped him quickly.

Billy nodded his head without turning.

“Changed there before my very eyes”—he whispered it—“turned animal——”

“Animal?” John felt his hair rising.

“That’s the only way I can put it. His face and hands and body turned otherwise than usual. I lost the sound of his feet. When the bow-hand or the fingers on the strings passed into the light, they were”—he uttered a soft, shuddering little laugh—“furry, oddly divided, the fingers massed together. And he paced stealthily. I thought every instant the fiddle would drop with a crash and he would spring at me across the room.”

“My dear chap——”

“He moved with those big, lithe, striding steps one sees”—John held his breath in the little pause, listening keenly—“one sees those big brutes make in the cages when their desire is aflame for food or escape, or—or fierce, passionate desire for anything they want with their whole nature——”

“The big felines!” John whistled softly.

“And every minute getting nearer and nearer to the door, as though he meant to make a sudden rush for it and get out.”

“With the violin! Of course you stopped him?”

“In the end. But for a long time, I swear to you, I found it difficult to know what to do, even to move. I couldn’t get my voice for words of any kind; it was like a spell.”

“It was a spell,” suggested John firmly.

“Then, as he moved, still playing,” continued the[221] other, “he seemed to grow smaller; to shrink down below the line of the gas. I thought I should lose sight of him altogether. I turned the light up suddenly. There he was over by the door—crouching.”

“Playing on his knees, you mean?”

William closed his eyes in an effort to visualize it again.

“Crouching,” he repeated, at length, “close to the floor. At least, I think so. It all happened so quickly, and I felt so bewildered, it was hard to see straight. But at first I could have sworn he was half his natural size. I called to him, I think I swore at him—I forget exactly, but I know he straightened up at once and stood before me down there in the light”—he pointed across the room to the door—“eyes gleaming, face white as chalk, perspiring like midsummer, and gradually filling out, straightening up, whatever you like to call it, to his natural size and appearance again. It was the most horrid thing I’ve ever seen.”

“As an—animal, you saw him still?”

“No; human again. Only much smaller.”

“What did he say?”

Billy reflected a moment.

“Nothing that I can remember,” he replied. “You see, it was all over in a few seconds. In the full light, I felt so foolish, and nonplussed at first. To see him normal again baffled me. And, before I could collect myself, he had let himself out into the passage, and I heard the front door slam. A minute later—the same second almost, it seemed—you came in. I only remember grabbing the violin and getting it back safely under the glass case. The strings were still vibrating.”

The account was over. John asked no further questions. Nor did he say a single word about the lift, Morgan, or the extinguished light on the landing. There fell a longish silence between the two men; and then, while they helped themselves to a generous supply of whisky-and-soda[222] before going to bed, John looked up and spoke:

“If you agree, Billy,” he said quietly, “I think I might write and suggest to Hyman that we shall no longer have need for his services.”

And Billy, acquiescing, added a sentence that expressed something of the singular dread lying but half concealed in the atmosphere of the room, if not in their minds as well:

“Putting it, however, in a way that need not offend him.”

“Of course. There’s no need to be rude, is there?”

Accordingly, next morning the letter was written; and John, saying nothing to his brother, took it round himself by hand to the Hebrew’s rooms near Euston. The answer he dreaded was forthcoming:

“Mr. Hyman’s still away abroad,” he was told. “But we’re forwarding letters; yes. Or I can give you ’is address if you’ll prefer it.” The letter went, therefore, to the number in Königstrasse, Munich, thus obtained.

Then, on his way back from the insurance company where he went to increase the sum that protected the small Guarnerius from loss by fire, accident, or theft, John Gilmer called at the offices of certain musical agents and ascertained that Silenski, the violinist, was performing at the time in Munich. It was only some days later, though, by diligent inquiry, he made certain that at a concert on a certain date the famous virtuoso had played a Zigeuner Lullaby of his own composition—the very date, it turned out, on which he himself had been to the Masonic rehearsal at Mark Masons’ Hall.

John, however, said nothing of these discoveries to his brother William.

4

It was about a week later when a reply to the letter came from Munich—a letter couched in somewhat offensive[223] terms, though it contained neither words nor phrases that could actually be found fault with. Isidore Hyman was hurt and angry. On his return to London a month or so later, he proposed to call and talk the matter over. The offensive part of the letter lay, perhaps, in his definite assumption that he could persuade the brothers to resume the old relations. John, however, wrote a brief reply to the effect that they had decided to buy no new fiddles; their collection being complete, there would be no occasion for them to invite his services as a performer. This was final. No answer came, and the matter seemed to drop. Never for one moment, though, did it leave the consciousness of John Gilmer. Hyman had said that he would come, and come assuredly he would. He secretly gave Morgan instructions that he and his brother for the future were always “out” when the Hebrew presented himself.

“He must have gone back to Germany, you see, almost at once after his visit here that night,” observed William—John, however, making no reply.

One night towards the middle of January the two brothers came home together from a concert in Queen’s Hall, and sat up later than usual in their sitting-room discussing over their whisky and tobacco the merits of the pieces and performers. It must have been past one o’clock when they turned out the lights in the passage and retired to bed. The air was still and frosty; moonlight over the roofs—one of those sharp and dry winter nights that now seem to visit London rarely.

“Like the old-fashioned days when we were boys,” remarked William, pausing a moment by the passage window and looking out across the miles of silvery, sparkling roofs.

“Yes,” added John; “the ponds freezing hard in the fields, rime on the nursery windows, and the sound of a horse’s hoofs coming down the road in the distance, eh?” They smiled at the memory, then said good night, and[224] separated. Their rooms were at opposite ends of the corridor; in between were the bathroom, dining-room, and sitting-room. It was a long, straggling flat. Half an hour later both brothers were sound asleep, the flat silent, only a dull murmur rising from the great city outside, and the moon sinking slowly to the level of the chimneys.

Perhaps two hours passed, perhaps three, when John Gilmer, sitting up in bed with a start, wide-awake and frightened, knew that someone was moving about in one of the three rooms that lay between him and his brother. He had absolutely no idea why he should have been frightened, for there was no dream or nightmare-memory that he brought over from unconsciousness, and yet he realized plainly that the fear he felt was by no means a foolish and unreasoning fear. It had a cause and a reason. Also—which made it worse—it was fully warranted. Something in his sleep, forgotten in the instant of waking, had happened that set every nerve in his body on the watch. He was positive only of two things—first, that it was the entrance of this person, moving so quietly there in the flat, that sent the chills down his spine; and, secondly, that this person was not his brother William.

John Gilmer was a timid man. The sight of a burglar, his eyes black-masked, suddenly confronting him in the passage, would most likely have deprived him of all power of decision—until the burglar had either shot him or escaped. But on this occasion some instinct told him that it was no burglar, and that the acute distress he experienced was not due to any message of ordinary physical fear. The thing that had gained access to his flat while he slept had first come—he felt sure of it—into his room, and had passed very close to his own bed, before going on. It had then doubtless gone to his brother’s room, visiting them both stealthily to make sure they slept. And its mere passage through his room had been enough to wake him and set these drops of cold perspiration upon his skin.[225] For it was—he felt it in every fibre of his body—something hostile.

The thought that it might at that very moment be in the room of his brother, however, brought him to his feet on the cold floor, and set him moving with all the determination he could summon towards the door. He looked cautiously down an utterly dark passage; then crept on tiptoe along it. On the wall were old-fashioned weapons that had belonged to his father; and feeling a curved, sheathless sword that had come from some Turkish campaign of years gone by, his fingers closed tightly round it, and lifted it silently from the three hooks whereon it lay. He passed the doors of the bathroom and dining-room, making instinctively for the big sitting-room where the violins were kept in their glass cases. The cold nipped him. His eyes smarted with the effort to see in the darkness. Outside the closed door he hesitated.

Putting his ear to the crack, he listened. From within came a faint sound of someone moving. The same instant there rose the sharp, delicate “ping” of a violin-string being plucked; and John Gilmer, with nerves that shook like the vibrations of that very string, opened the door wide with a fling and turned on the light at the same moment. The plucked string still echoed faintly in the air.

The sensation that met him on the threshold was the well-known one that things had been going on in the room which his unexpected arrival had that instant put a stop to. A second earlier and he would have discovered it all in the act. The atmosphere still held the feeling of rushing, silent movement with which the things had raced back to their normal, motionless positions. The immobility of the furniture was a mere attitude hurriedly assumed, and the moment his back was turned the whole business, whatever it might be, would begin again. With this presentment of the room, however—a purely imaginative one—came another, swiftly on its heels.[226]

For one of the objects, less swift than the rest, had not quite regained its “attitude” of repose. It still moved. Below the window curtains on the right, not far from the shelf that bore the violins in their glass cases, he made it out, slowly gliding along the floor. Then, even as his eye caught it, it came to rest.

And, while the cold perspiration broke out all over him afresh, he knew that this still moving item was the cause both of his waking and of his terror. This was the disturbance whose presence he had divined in the flat without actual hearing, and whose passage through his room, while he yet slept, had touched every nerve in his body as with ice. Clutching his Turkish sword tightly, he drew back with the utmost caution against the wall and watched, for the singular impression came to him that the movement was not that of a human being crouching, but rather of something that pertained to the animal world. He remembered, flash-like, the movements of reptiles, the stealth of the larger felines, the undulating glide of great snakes. For the moment, however, it did not move, and they faced one another.

The other side of the room was but dimly lighted, and the noise he made clicking up another electric lamp brought the thing flying forward again—towards himself. At such a moment it seemed absurd to think of so small a detail, but he remembered his bare feet, and, genuinely frightened, he leaped upon a chair and swished with his sword through the air about him. From this better point of view, with the increased light to aid him, he then saw two things—first, that the glass case usually covering the Guarnerius violin had been shifted; and, secondly, that the moving object was slowly elongating itself into an upright position. Semi-erect, yet most oddly, too, like a creature on its hind legs, it was coming swiftly towards him. It was making for the door—and escape.

The confusion of ghostly fear was somehow upon him so that he was too bewildered to see clearly, but he had[227] sufficient self-control, it seemed, to recover a certain power of action; for the moment the advancing figure was near enough for him to strike, that curved scimitar flashed and whirred about him, with such misdirected violence, however, that he not only failed to strike it even once, but at the same time lost his balance and fell forward from the chair whereon he perched—straight into it.

And then came the most curious thing of all, for as he dropped, the figure also dropped, stooped low down, crouched, dwindled amazingly in size, and rushed past him close to the ground like an animal on all fours. John Gilmer screamed, for he could no longer contain himself. Stumbling over the chair as he turned to follow, cutting and slashing wildly with his sword, he saw halfway down the darkened corridor beyond the scuttling outline of, apparently, an enormous—cat!

The door into the outer landing was somehow ajar, and the next second the beast was out, but not before the steel had fallen with a crashing blow upon the front disappearing leg, almost severing it from the body.

It was dreadful. Turning up the lights as he went, he ran after it to the outer landing. But the thing he followed was already well away, and he heard, on the floor below him, the same oddly gliding, slithering, stealthy sound, yet hurrying, that he had heard weeks before when something had passed him in the lift and Morgan, in his terror, had likewise cried aloud.

For a time he stood there on that dark landing, listening, thinking, trembling; then turned into the flat and shut the door. In the sitting-room he carefully replaced the glass case over the treasured violin, puzzled to the point of foolishness, and strangely routed in his mind. For the violin itself, he saw, had been dragged several inches from its cushioned bed of plush.

Next morning, however, he made no allusion to the occurrence of the night. His brother apparently had not been disturbed.[228]

5

The only thing that called for explanation—an explanation not fully forthcoming—was the curious aspect of Mr. Morgan’s countenance. The fact that this individual gave notice to the owners of the building, and at the end of the month left for a new post, was, of course, known to both brothers; whereas the story he told in explanation of his face was known only to the one who questioned him about it—John. And John, for reasons best known to himself, did not pass it on to the other. Also, for reasons best known to himself, he did not cross-question the liftman about those singular marks, or report the matter to the police.

Mr. Morgan’s pasty visage was badly scratched, and there were red lines running from the cheek into the neck that had the appearance of having been produced by sharp points viciously applied—claws. He had been disturbed by a noise in the hall, he said, about three in the morning, a scuffle had ensued in the darkness, but the intruder had got clear away....

“A cat or something of the kind, no doubt,” suggested John Gilmer at the end of the brief recital. And Morgan replied in his usual way: “A cat, or something of the kind, Mr. John, no doubt.”

All the same, he had not cared to risk a second encounter, but had departed to wear his billycock and uniform in a building less haunted.

Hyman, meanwhile, made no attempt to call and talk over his dismissal. The reason for this was only apparent, however, several months later when, quite by chance, coming along Piccadilly in an omnibus, the brothers found themselves seated opposite to a man with a thick black beard and blue glasses. William Gilmer hastily rang the bell and got out, saying something half intelligible about feeling faint. John followed him.[229]

“Did you see who it was?” he whispered to his brother the moment they were safely on the pavement.

John nodded.

“Hyman, in spectacles. He’s grown a beard, too.”

“Yes, but did you also notice——”

“What?”

“He had an empty sleeve.”

“An empty sleeve?”

“Yes,” said William; “he’s lost an arm.”

There was a long pause before John spoke. At the door of their club the elder brother added:

“Poor devil! He’ll never again play on”—then, suddenly changing the preposition—“with a pedigree violin!”

And that night in the flat, after William had gone to bed, he looked up a curious old volume he had once picked up on a second-hand bookstall, and read therein quaint descriptions of how the “desire-body of a violent man” may assume animal shape, operate on concrete matter even at a distance; and, further, how a wound inflicted thereon can reproduce itself upon its physical counterpart by means of the mysterious so-called phenomenon of “re-percussion.”

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