Текст книги "The Man in the Picture: A Ghost Story"

Автор книги: Susan Hill

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I was almost enjoying myself, almost relaxed, when it was announced that we were to leave the palazzo and go down into the streets, to parade through the squares to the light of flares, watched by the citizens from all their windows, joined by passers-by – the whole celebration would move out to become part of the city. Apparently this was usual. The people expected it. There was then a great exodus, a rush and general confusion, during which I became separated from my husband. I found myself pushed along among the other revellers, beside a Pulcinello and a priest and a wicked old witch, as we crowded down the great staircase and streamed outside. The torches were flaring. I can see them now, orange and smoking against the night sky. You can see the scene, Dr Parmitter. You have seen it often enough. The light glancing on the dark waters. The waiting gondolas. The crowds pressing forward. The masks. The eyes gleaming. The lights in the other buildings along the Grand Canal. You have seen it all.

What happened next I can barely believe or bring myself to tell. You may dismiss it. Any sane person would. I would not believe it. I do not believe it. But I know it to be true.

We were outside the Palazzo on the landing stage. Some of the crowd had already gone on into the streets on that side of the canal – we could hear the laughter and the cries. People were leaning out of windows now, looking down on us all. The gondolas were lining up waiting to take us out onto the canal, over to the other side, up to the Rialto Bridge ... occasionally they bumped together and rocked and the reflection of their lamps also rocked wildly, sickeningly, in the churning water. I was standing a yard or two from Lawrence when suddenly I heard my name called. Of course, I turned my head. The strange thing was that I responded even though it was my old name I heard, my maiden name. Who here knew my former name? The voice had come from behind me, but when I looked round I saw no one I knew – not everyone was still masked, but every face was strange in one way or another. And then I thought I saw not a face, but only the eyes, of someone I recognized. They were the eyes of Clarissa Vigo, looking out from a white silk mask with silver beads below a great plume of white feathers. How could I know? I knew.

I tried to move through the throng on the landing stage to get closer to her, but someone swung towards me and I had to avoid them or I would have been knocked over. When I looked again the white-masked woman had gone.

The gondoliers were crying out and the water was splashing over the wooden stage and someone was trying to get me to go on board. I would not go alone, of course, I wanted only to go if my husband would too – and indeed, I would infinitely have preferred not to embark on one of the gondolas and slink off across that dark and sinister water. I drew back and then I started to look for Lawrence. I searched for him there, and then I made my way down the side of the building and over the narrow bridge which led into a square. But the revellers had moved far on, I could not even hear them now, and the cobbled square was in almost total darkness. I retreated and now there was panic in my search. Lawrence was not on the landing stage and I was as certain as I could be that he would never have crossed the canal without me. I thought I should return inside the palazzo and look for him there. I was frightened. I had seen the woman, I had heard her whisper my name. I had dreaded this night, this place, and now I was dry-mouthed with fear.

But as I tried to make my way to the open doors of the palazzo, I heard a commotion behind me and then a shout. It was my husband who was shouting to me but I had never heard his voice sound like it. He was shouting in alarm – no, in terror, in horrible fear. I pushed forward and managed to reach the edge of the wooden landing stage. The last gondola laden with revellers was pulling away and I searched it in vain for a glimpse of my husband but there was no one like him or dressed like him. Most of the people had gone. A few stood, apparently uncertain if another gondola would come up and unable to decide if they wanted to go aboard if it did. I went back into the palazzo. The great rooms were deserted apart from some servants who were clearing the last of the feast. I spoke no Italian, but I asked if they had seen my husband and went on asking. They smiled, or gestured, but did not understand. Everyone else had gone. I found my cape and left. I ran through the squares, into the main piazza, ran like a mad demented creature, calling Lawrence’s name. No one was about. A beggar was lying in an alleyway and snarled at me, a dog barked and snapped as I ran past. I reached our hotel in a state of frenzy yet I was sure there might still be an innocent explanation, that Lawrence would be there, waiting. But he was not. I roused the entire hotel, and was in such distress that after pressing a glass of brandy to my lips, the proprietor called the police.

Lawrence was never found. I stayed on in Venice for sixteen days beyond the original date for our departure. The police search could hardly have been more thorough but nothing came to light. No one had seen him, no one else had heard his voice that last time. No one remembered anything. It was concluded that he had accidentally slipped into the canal and drowned but his body was never discovered. He was not washed up. He had simply vanished.

I returned home. Home? This great hollow barren place? But yes, it was my home.

I was in such a state of distress that I fell ill and for two or three weeks the doctors feared for my life. I remember almost nothing of that terrible time but sometimes, in the midst of feverish dreams, I heard my husband crying out, sometimes I felt that he was just beside me, that if I reached out my hand I could save him. All through this time, something would slide towards my conscious mind but then dodge out of my grasp, as happens when a particular name eludes one. Through feverish days and the storms of my nightmares, it was there, just out of reach, this piece of information, this knowledge – I did not even know what it was.

I recovered slowly. I was able to sit up in a chair, then to be taken into the garden room to benefit from the sunshine during the afternoon. I asked time and time again for news of Lawrence but there never was any. My mother-in-law, who had received a double blow in such a few months, was sunk into a profound, silent depression and I barely saw her.

And then I discovered, as I was beginning to feel stronger, that I was expecting a child. My husband was the last of the line and the title would have died out with his death – if indeed he were dead. Now, and if I had a son, title, estates, house, would be secure. I had a reason to live. My mother-in-law rallied too.

The nightmares loosened their hold and became strange dreams with only intermittent horrors. But in the middle of one night I woke suddenly, because what had been hovering just out of reach had come cleanly into my mind. It was not a thought or a name, it was an image, and as I recognized it, I felt icy cold. My hands were stiff so that I could hardly move my fingers but I managed to get into my dressing robe, to find the key in my dressing table and to leave my bedroom, and make my way slowly down the long, dark, silent corridors of the house. The portraits and the sporting prints seemed to loom towards me. The cabinets of artifacts – there are endless collections in this place – gleamed in the light of the small torch I had brought, for I did not want to switch on any lights and, indeed, did not know where half of the switches might be found. Odd shapes, stones and dead birds and moths and bits of bronze, pieces of bone, feathers, even tiny skulls – Lawrence’s family had been travellers, collectors and hoarders, everything came back here to Hawdon and was found a place. I wondered fleetingly how a tiny child would view these old, musty, hideous things. The further I walked down through this little-used end of the house, the stronger was the image in my mind. I felt ill, I felt weak, I felt afraid yet I had no choice but to see this dreadful thing through. If I did so, perhaps I would rid myself of the horrible image once and for all.

There were no sounds at all. My slippered feet barely seemed to make any impression on the long runner of carpet down the middle of the corridor. I had a sensation of being watched and not so much followed as accompanied, as if someone were close to my side the whole way, making sure I did not weaken and turn back. Oh it was a dreadful journey. I shudder when I remember it, as I often, so often, do.

I reached the door of the small sitting room and turned the key. It smelled of old furniture and fabrics which had been sealed in against any fresh air and light. But I did not want to be here with only my torch, and when I found the switch, the two lamps, with their thin light, came on and then I saw the picture again. And as I saw it, I realized that in the mustiness I could smell something else, a hint of something sharp and very distinctive. It took me a second or two to work out that it was paint, fresh oil paint. I looked around everywhere. Perhaps this room was used after all, perhaps one of the servants had been here to repair or repaint something, though I could see no sign of it. Nor were there any painting materials or brushes lying about.

The picture was as I had left it, with its face to the wall, and once I had located it I stood for long moments, hearing my heart pound in my ears and shaking with fear. But I knew that I would never rest until I had satisfied myself that I was in the grip of fancies and nightmares, caused by the shocks, distress and illness I had suffered.

In a single moment of determination, I took hold of the painting, turned it, and then looked at it with wide-open eyes.

At first, it seemed exactly as before. It reminded me starkly of that horrible evening and of the masks and costumes, the noise, the smell, the light from the torches and of losing my husband among the crowd. Some of the costumes and masks were familiar but, of course, they are traditional, they have been on display on such occasions in Venice for hundreds of years.

And then I saw. First, I saw, in one corner, almost hidden in the crowd, the head of someone wearing a white silk mask and with white plumes in the hair and the eyes of Clarissa Vigo. It was the eyes that convinced me I was not imagining anything. They were the same staring, brilliant, malevolent eyes, wishing me harm, full of hatred but also now with a dreadful gloating in them. They seemed to be both looking straight at me, into me almost, and to be directing me elsewhere. How could eyes look in two places at once, at me and at ...

I followed them. I saw.

Standing up at the back of a gondola was a man wearing a black cloak and a tricorn hat. He was between two other heavily masked figures. One had a hand on his arm, the other was somehow propelling him forwards. The black water was choppy beneath the slightly rocking gondola. The man had his head turned to me. The expression on his face was ghastly to see – it was one of abject terror and of desperate pleading. He was trying to get away. He was asking to be saved. He did not want to be on the gondola, in the clutches of those others.

It was unmistakably a picture of my husband and the last time I had seen the Venetian painting, it had not been there– of that I was as sure as I was of my own self. My husband had become someone in a picture painted two hundred years before. I touched the canvas with one finger but it was clean and dry. There was no sign that anything had been painted onto it or changed at all within it at any recent time, and in any case, I could no longer smell the oil paint that had been so pungent moments before.

I was faint with shock and distress, so that I was forced to sit down in that dim little room. I could not explain what had happened or how but I knew that an evil force had caused it and knew who was responsible. Yet it made no sense. It still makes no sense.

One thing I did know, and it was with a certain relief, was that Lawrence was dead – however, wherever, in whatever way dead, whether ‘buried alive’ in this picture or buried in the Grand Canal, he was dead. Until now I had hoped against hope that one day I would receive a message telling me that he had been found alive. Now I knew that no such message could ever come.

I remember little more. I must have made my way back to my room and slept, but the next day I woke to the picture before my eyes again and I made myself go back to look at it. Nothing had changed. In such daylight as filtered between the heavy curtains and half-barred windows of the sitting room, which overlooked an inner courtyard, I saw the painting where I had left it and the face of my husband looking out at me, beseeching me to help him.

She was silent for a long time. I think she had exhausted herself. We sat on opposite one another not speaking, but I felt a closeness of understanding and I wanted to tell her of my own small experiences in the presence of the Venetian picture, of how it often troubled me.

I was wondering if I should simply get up and make my way to my room, leaving any further conversation until the following day when she would be more refreshed, but then the blue eyes were open and on my face as the Countess said, ‘I must have that picture,’ in such a fierce and desperate tone, that I started.

‘I do not understand,’ I replied, ‘how it left your hands and eventually came into mine.’

Her old face crumpled and tears came then, softening the glare of those brilliant blue eyes.

‘I am tired,’ she said. ‘I must ask you to wait until tomorrow. I do not think I have the strength to tell you any more of this terrible story tonight. But I am spurred on by the thought that it will soon be over and I will be able to rest. It has been a long, long search, an apparently hopeless journey but now it is almost at an end. It can wait a few more hours.’

I was unsure exactly what she meant but I agreed that she should rest as long as she wished and that I was at her disposal at any time the next day. She asked me to ring the bell for Stephens, who appeared at once to show me to my room. I took her hand for a moment as she sat, like a little bird, deep in the great chair, and, on a strange impulse, lifted it to my lips. It was like kissing a feather.

I slept badly. The wind blew, rattling the catches every so often, and episodes of the strange story the Countess had told me came back to me and I tried hopelessly to work out some rational explanation for it all. I would have dismissed her as old and with a failing mind had it not been for my own experiences with the picture. I was uneasy in that house and her story had disturbed me profoundly. I knew only too well the fierce power of jealousy which fuels a passion to be avenged. It does not happen very often but when it does and a person has their love rejected and all their future hopes betrayed for another, rage, pride and jealousy are terrible forces and can do immeasurable harm. Who knows that they could not do even these evil supernatural deeds?

But my own part in all of this was innocent. I had nothing to fear from the jilted woman who in any case was presumably long dead, or, I imagined, from the Countess. Yet as I lay tossing and turning through that long night, it seemed as if I was indeed being possessed by something unusual – for there grew in me an absolute determination to keep the Venetian picture. Why I should now so desperately want it, I did not know. It was of value but not priceless. It had caused me some trouble and anxiety. I did not need it. But just as, when I had been approached by the sweating, breathless man after the sale, desperate that I sell it to him for any amount of money I cared to name, I again felt a stubbornness I had never known. I would not sell then, and I would neither sell nor give back the painting to the Countess now. I felt almost frightened of my resolution, which made no sense and which seemed to have taken hold of me by dint of some outside force. For of course she had brought me here to ask for the painting. What other reason could there be? She could not have simply wanted to tell her story to a stranger.

I did not see her until late the following morning and occupied myself by taking a long walk around the very fine parkland and then by enjoying the excellent and I thought little-used library. I met no one other than a few groundsmen and maids cleaning the house and the latter scurried away like mice into holes on seeing me. But a little after eleven the silken-footed Stephens materialized and told me that coffee and the Countess awaited me in the morning room.

He led me there. It was a delightful room, furnished in spring yellows and light greens and with long windows onto the gardens, through which the sun was now shining. It is extraordinary how a little sunshine and brightness will lift both the aspect of any room, and of one’s spirits on entering it. My tiredness and staleness from the sleepless night lifted and I was glad to see the old Countess, looking still small and frail but with rather more colour and liveliness than by the light of evening lamps.

I began to make remarks about the grounds and so on but she cut me short.

There is only a little more to tell. I will complete the story.

I gave birth to a son, Henry. This family has always alternated the names of the male heirs – Lawrence and Henry, for many generations. All was well. I kept the door of the small sitting room locked and the key in its turn locked in my dressing table and from that first terrible night I did not go into it again.

My mother-in-law lived here and my son grew up. Gradually, I became used to my state and to this house as being my home – and naturally I adored my only son, who looked so very like his father.

At his coming-of-age, we gave a great party – neighbours, tenants, staff. That is traditional. It would have been a happy occasion – had it not been for the arrival, with a party from another house, of the woman Clarissa Vigo. When I set eyes on her ... well, you may imagine. But one has to be civil. I was not going to spoil my only son’s most important day.

And so far as I was aware, nothing untoward occurred. The party proceeded. Everyone enjoyed it. My son was a fine young man and took over his duties with pride.

But I had reckoned without the powers of evil. On that evening, Clarissa Vigo took my son. I mean that. She took him by force of persuasion, she seduced him, however you wish to describe what happened. He was lost to me and to everything else here. He was under her influence and her sway and he married her.

Clearly she had been planning this for years. Within six months of that terrible day, my mother-in-law was dead and I had been dismissed from here, given a small farmhouse on the farthest side of the estate and a few sticks of furniture. I had an inheritance of a personal income from my husband which could not be taken from me but otherwise I had nothing. Nothing. This house was barred to me. I did not see my son. Her reign was absolute. And then the plunder began – things were removed, sold, thrown away and other-wise disposed of, things she did not care for, and without a word of protest from my son. She took charge of everything. She had what she had wanted and schemed for, for so many years. In the midst of it all, the Venetian picture was among the things she got rid of and I knew nothing. I knew nothing until later. The final tragedy came five years later. She and my son went out hunting, as they did almost every day throughout the winter. My husband had never hunted – he loathed field sports, though he allowed shooting of vermin on the estate. He was a gentle man but she stamped upon any streak of gentleness there may have been in his son. As they hunted one November day, in jumping a fence in the wood, she fell and was killed outright, and in the crashing fall disturbed a decayed tree, which was uprooted and came down, killing another horseman and injuring my son. He lived, Dr Parmitter. He lived, paralysed in every limb, for seven years. He lived to regret bitterly what he had done, to regret his marriage, to come out from under her possession and to ask me to forgive him. Of course I did so without hesitation and I returned to live here and to care for him until he died.

And I made it my work to restore the house and everything in it to the way it had been and to undo every single change she had made, to throw out every hideous modern thing with which she had filled this place. I brought back the servants she had dismissed. It was my single-minded determination to obliterate her from Hawdon and to leave it in as near the state in which I had first seen it as I could.

I succeeded very well. I was helped by the loyal people here, who flocked back, and by friends and neighbours who sought out so many items and brought them back here, over time.

But one thing I could never trace. The Venetian picture mattered to me because ... because my husband was trapped there. My husband lived – lives, lives – within that picture.

‘I sought after it for years’, the Countess continued, ‘and then it was found for me in an auctioneer’s catalogue. I commissioned someone to attend the sale and buy it for me no matter what it cost. But as you know, things went wrong at the last minute, you bought it because my representative was not there and you would not sell it to him afterwards. That was your privilege. But I was angry, Dr Parmitter. I was angry and distressed and frustrated. I wanted that picture, my picture, and I have continued to want it for all these years. But you had disappeared. We could not trace the buyer of the picture.’

‘No. In those days, I dealt rather a lot and I bid and bought under aliases – all dealers do. The auction houses of course know one’s true identity but they never disclose that sort of information.’

‘You were Mr Thomas Joiner and Mr Joiner was never to be found. And so the matter rested. Of course I continued to hope, and friends and searchers continued to keep their eyes and ears open, but my picture had vanished together with Mr Joiner.’

‘Until you chanced to see my photograph in a magazine.’

‘Indeed. I cannot begin to describe to you my feelings on seeing the picture there – the sense of an ending, the realization that at last, at long last, my husband would in a very real sense return home to me.’

In a macabre comparison, it flashed through my mind that, to the Countess, wanting the picture back was like wanting to receive an urn full of his cremated ashes. Whatever had happened, to her he was as present in the Venetian painting as he would have been in some funereal jar.

‘I invited you here with the greatest of pleasure,’ she said now. ‘And I felt that you had every right to hear the full story and to meet me, to see this place. I could have employed some envoy – and hope that it was a more efficient one than the last time – but that was not the way I wanted to bring about a conclusion to this most important business.’

‘A conclusion?’ I said with feigned innocence. Inside me I could feel determination, that absolute and steadfast steel resolve. It was unlike me. The man you know as Theo Parmitter would most likely have not so much sold back but given back the Venetian painting. But something had possessed me there. I was not the man you knew and know.

‘I mean to have my picture. You may name your price, Dr Parmitter.’

‘But it is not for sale.’

‘Of course it is for sale. Only a fool would refuse to sell when he could name his price. You have been a dealer in pictures.’

‘No longer. The Venetian picture and all the others I have chosen to keep are my permanent collection. I value them quite beyond money. As I said, it is not for sale. I would be happy to provide you with a very good photograph. I would be glad for you to visit me in Cambridge to see it at any time to suit you. But I will never sell.’

Two points of bright colour had appeared on her high cheekbones and two points of brightness in the centre of her already piercing blue eyes. She was sitting upright, straight-backed, her face a white mask of anger.

‘I think that perhaps you do not understand me clearly,’ she said now. ‘I will have my picture. I mean it to come to me.’

‘Then I am sorry.’

‘You do not need it. It means nothing to you. Or only in the sense that it pleases you as a decoration on your wall.’

‘No. It means more than that. You must remember that I have had it for some years.’

‘That is of no consequence.’

‘It is to me.’

There was a long silence, during which she stared at me unflinchingly. Her expression was quite terrifying. She had not struck me in any case as a warm woman, though she had spoken of her sufferings and her feelings and I had sympathized with her. But there was a cold ruthlessness, a passionate single-mindedness about her now which alarmed me.

‘If you do not let me have the picture, you will live to regret your decision, regret it more than you have ever regretted anything.’

‘Oh, there is little in my life that I regret, Countess.’ I kept a tone of lightness and good humour in my voice which I most assuredly did not feel.

‘The picture is better here. It will be quite harmless.’

‘How on earth could it be anything else?’

‘You have heard my story.’

I stood up. ‘I regret that I must leave here today, Countess, and leave without acceding to your request. I found your story interesting and curious and I am grateful to you for your hospitality. I hope you may live out your days in this beautiful spot with the peace of mind you deserve after your sufferings.’

‘I will never have peace of mind, never rest, never be content, until the picture is returned to me.’

I turned away. But as I walked towards the door, the Countess said quietly, ‘And nor will you, Dr Parmitter. Nor will you.’

SEVEN

  OU WILL FEEL better for having told all this to me,’ I said to Theo. He had his head back, his eyes closed, and when he had finished speaking, he had drained his whisky glass and set it down.

It was late. He looked suddenly much older, I thought, but when he opened his eyes again and looked at me there was something new there, an expression of relief. He seemed very calm.

‘Thank you, Oliver. I am grateful to you. You have done me more good than you may know.’

I left him with a light heart and took a turn or two around the college court. But tonight, all was quiet and still, there were no shadows, no whisperings, no footsteps, no faces at any lighted windows. No fear.

I slept at once and deeply, and I remember, as I dropped down into the soft cushions of oblivion, praying that Theo would do the same. I thought it most likely.

I woke in the small hours of the morning. It was pitch black and silent but as I came to, I heard the chapel clock strike three. I was sweating and my heart was racing. I had had no nightmares – no dreams of any kind – but I was in a state of abject fear. I could barely take deep breaths to calm myself. I got up and drank water, lay down again, but immediately, I was seized with the need to go down and check on Theo. The message in my head would not be ignored or dismissed. I rinsed my head under the cold tap and rubbed it vigorously dry to try and get some grip on myself and think rationally, but I could not. I was terrified, not for myself but for Theo. The story he had told me was vivid in my mind and although unburdening himself of it had clearly eased his mind greatly, I sensed that, in some terrible way, it was unfinished, that there would be more strange, dark happenings which made no sense, could not be, yet were.

I could not rest. I went down the dark staircase and along to Theo’s set. All was quiet. I put my head to the door and listened intently but there was no sound at all. I waited, wondering if I should knock, but it was bitterly cold and I had only a thin dressing gown. I turned to go but, as I did so, it occurred to me that Theo might well not lock his door. He was old and unable to move far, and looked after well by the college. I did not know how he would summon help if he were ill and could not reach the telephone.

I reached my hand out to try the door. As I touched it, there was a harsh and horrible cry from within followed by a single loud crash.

I turned the knob and found that the door was indeed unlocked. I pushed my way in and switched on the lights.

Theo was lying on his back in the entrance to the sitting room, in his night clothes. His face was twisted slightly to the left, his mouth looked as if he were about to speak. His eyes were wide open and staring and they had in them a look I will never forget to my dying day, a look of such horror, such terror, such appalled realization and recognition that it was dreadful to see. I knelt down and touched him. There was no breath, no pulse. He was dead. For a second, I assumed that the crash I had heard was of his own fall, but then I saw that on the floor a few yards away from him lay the Venetian picture. The wire, which I knew had been strong and firm the previous evening, was intact, the hook on the wall in its place. Nothing had snapped or broken, sending it crashing down and Theo had not knocked against it, he had not reached it before he fell.

There were two things I knew I had to do. Obviously, I had to call the lodge, wake the college, set the usual business in motion. But before I did that, I had to do another thing. I dreaded it but I would never be able to rest again until I had, and, also, I felt I owed this last favour to my old tutor. I had to find out. I lifted up the picture and took it into the study where I propped it against the bookcase and turned the lamp directly onto it.