Part 23

I returned post-haste to Welmingham to secure a copy of the forged entry. It was night. As I approached the church, a man stopped me, mistaking me for Sir Percival Glyde. A light in the vestry showed to me that Sir Percival had anticipated my discovery and had secretly visited the church for the purpose of destroying the evidences of his crime. But a terrible fate awaited him. Even as I approached the church, a huge tongue of flame shot up into the night sky. As I rushed forward I could hear the baronet vainly seeking to escape from the vestry. The lock was hampered, and he could not get out. I tried to force an entry, but by the time the flames were under control the end had come. We found the charred remains of the man who had walked through life as Sir Percival Clyde lying by the door.

The mystery was now unravelled, and I was free to marry my darling. The only other point that seemed to need clearing up was the parentage of the unfortunate Anne Catherick. That was elucidated by Mrs. Catherick herself. The father of Anne was Philip Fairlie, the father of Laura--a fact that accounted for the extraordinary likeness between the two girls. But though our tribulations seemed to be at an end, we had yet to establish the identity of Laura, and to deal with Count Fosco.

To Miss Halcombe the count had written a letter expressive of his admiration, and begging her, for her own sake, to let matters be. I knew the count was a dangerous enemy, who would not hesitate to employ murder if necessary to gain his ends, but I was determined to re-establish the identity of Laura. Miss Halcombe's journal afforded me a clue. I found there a statement that on the occasion of his first visit to Black-water Park the count had been very concerned to know whether there were any Italians in the neighbourhood. Without hoping that anything would result from the manoeuvre, I followed the count one night, in the company of my friend, Professor Pesca, to the theatre. The professor did not recognise Fosco, but when the count, staring round the theatre, focussed his glasses on Pesca, I saw a look of unmistakable terror come over his countenance. He at once rose from his seat and left the place. We followed.

The professor was very grave, and it was quite a different man to the light-hearted little Italian that I knew who related to me a strange

## chapter in his life. As a young man, Pesca had belonged to, a secret

society for the removal of tyrants. He was still a member of the society, and could be called upon to act at any time. The count had also been a member of the society, and had betrayed its secret. Hence his terror of seeing Pesca.

I immediately made use of the weapon that had been placed in my hand. I went boldly to Fosco's house, and offered to effect his escape from England in return for a full confession of his share in the abduction of Lady Glyde. He threatened to kill me, but realising that I had him at my mercy, consented to my terms.

This confession completely established the identity of Laura and she was publicly acknowledged by Mr. Frederick Fairlie. Laura and I had been married some time before and we were now able to set off on our honeymoon. We visited Paris. While there, I chanced to be attracted by a large crowd that surged round the doors of the Morgue. Forcing my way through, I saw, lying within, the body of Count Fosco. There was a wound exactly over his heart, and on his arm were two deep cuts in the shape of the letter "T"--the symbol of his treason to the secret brotherhood.

When we returned to England, we lived comfortably on the income I was able to earn by my profession. A son was born to us, and when Frederick Fairlie died, it was Marion Halcombe, who had been the good angel of our lives, who announced the important change that had taken place in our prospects.

"Let me make two eminent personages known to one another," she exclaimed, with all her easy gaiety of old times, holding out my son to me: "Mr. Walter Hartright--the heir of Limmeridge House."

* * * * *

HUGH CONWAY

Called Back

Hugh Conway, the English novelist, whose real name was Frederick John Fargus, was born December 26, 1847, the son of a Bristol auctioneer. His early ambition was to lead a seafaring life, and with this object he entered the school frigate Conway--from which he took his pseudonym--then stationed on the Mersey. His father was against the project, with the result that Conway abandoned the idea and entered his parent's office, where he found ample leisure to employ himself in writing occasional newspaper articles and tales. His first published work was a volume of poems, which appeared in 1879, and achieved a moderate success. But Hugh Conway is chiefly known to the reading public for his famous story "Called Black." The work was submitted to a number of publishers before it was finally accepted and published, in 1884. Attracting little notice at first, it eventually made a hit, and within five years 350,000 copies were sold. Several other works appeared from Conway's pen in rapid succession, but none of them attained the popularity of "Called Back." Hugh Conway died at Monte Carlo on May 15, 1885.

_I.--A Blind Witness_

I was young, rich, and possessed of unusual vigour and strength. Life, you would think, should have been very pleasant to me. I was beyond the reach of care; I was as free as the wind to follow my own devices. But in spite of all these advantages, I was as helpless and miserable as the poorest toiler in the country.

For I was blind, stone blind!

The dread disease that robbed me of my sight had crept on me slowly through the years, and now I lay in my bedroom in Walpole Street, with my old nurse, Priscilla Drew, sleeping on an extemporised bed outside my door to tend and care for me.

It was a stifling night in August. I could not sleep. Despair filled my heart. I was blind, blind, blind! I should be blind for ever! So entirely had I lost heart that I began to think I would not have performed at all the operation which the doctors said might give me back the use of my eyes.

Presently a sudden, fierce longing to be out of doors came over me. It was night, very few people would be about. Old Priscilla slept soundly. I rose from my bed, and, dressing myself with difficulty, crept, cautious as a thief, to the street door. The street, a quiet one, was deserted. For a time I walked backwards and forwards up the street. The exercise filled me with a peculiar elation. By carefully counting my footsteps, I gauged accurately the position of my house. At last, I decided to return, and opening the door, I entered and climbed the stairs. The atmosphere of the place struck me as strange and unfamiliar. I felt for a bracket which should have been upon the wall, that I had often been warned to avoid knocking with my head. It was not there. I had entered the wrong house.

As I turned to grope my way back, I heard the murmur of voices. I made my way in the direction of these sounds to seek for assistance. Suddenly, there fell upon my ears the notes of a piano and a woman's voice singing.

Music with me was an absorbing passion. I listened enthralled, placing my ear close to the door from behind which the sound proceeded. It was a song that few amateurs would dare to attempt, and I waited eagerly to hear how the beautiful voice would render the finale. But I never heard that last movement.

Instead of the soft, sweet, liquid notes of passionate love, there was a spasmodic, fearful gasp succeeded by a long, deep groan. The music stopped abruptly, and the piercing cry of a woman rang out. I threw open the door and rushed headlong into the room. I heard an oath, an exclamation of surprise, and the muffled cry of the woman. I turned in the direction of that faint cry. My foot caught in something, and I fell prostrate on the body of a man. Before I could rise a strong hand gripped my throat and I heard the sharp click of a pistol lock.

"Spare me!" I cried. "I am blind, blind, blind!"

I lay perfectly still, crying out these words again and again.

A strong light was turned on my eyes. There was no sound in the room save the muffled cry of the woman. The hands at my throat were released, and I was ordered to stand up. Some elementary tests of my blindness were tried, and I was told to give an account of my presence in the house. My story seemed to satisfy the man who questioned me. I was bidden to sit in a chair. I could hear the sound of men carrying a heavy burden out of the room. Then the woman's moans ceased. A voice at my side bade me drink something out of a glass, enforcing the demand with a pistol at my temple. A heavy drowsiness came over me, and I sank into unconsciousness.

When I came to myself I was in my own bed in my own room, having been found, apparently in a state of helpless intoxication, lying in a street some distance from where I lived.

_II.--Not for Love or Marriage_

Two years elapsed. The operation had given me back the use of my eyes. I was in the city of Turin with a friend. The sight of a beautiful face lured my companion and myself into the cathedral of San Giovanni. It was the face of a young girl of about twenty-two; a face of entrancing beauty. Seated with my friend, I watched her until she rose and left with her companion, an old Italian woman. For a moment I caught a look of her dark, glorious eyes as she mechanically crossed herself with holy water. There was a dreamy, far-away look in them, a look that seemed to pass over one and see what was behind the object gazed at.

We followed her out of the cathedral and saw the old woman speak to a middle-aged, round-shouldered, bespectacled man of gentlemanly appearance.

"Do English gentlemen stare at their own countrywomen in public places like this?" said a voice at our elbows.

I turned to see a tall man of about thirty standing just behind us. His face, with its heavy moustache, sneering mouth, and darkened, sullen eyes, was not a pleasant one, and his impudent question annoyed me. My friend, with a few sharp retorts, delivered to him a crushing snub, and the man turned away, scowling. We saw him cross the road to the middle-aged man who had been speaking to the old Italian woman and her charge. And then we, too, went our way.

The girl's face haunted me, but we never saw her again in the city of Turin.

Some weeks later, when I was wandering through London, I suddenly came upon her in the company of her old nurse. I tracked her to her lodgings and there engaged rooms myself. An accident to the nurse, whose name I discovered was Theresa, gave me an opportunity of introducing myself. The girl spoke to me, but her voice and her manner was strangely apathetic. She seemed never to know me unless I spoke to her, and then, unless I asked questions, our conversation died a natural death. To make love to her seemed impossible, and yet I loved her passionately.

At last, by aid of bribes, I managed to secure the qualified assistance of Theresa. She promised to place my proposals before the girl's guardian. Of Pauline herself--such was the girl's name--Theresa would say nothing. When I asked her if she thought the girl cared for me, she replied mysteriously and enigmatically.

"Who knows? I do not know--but I tell you the _signorina_ is not for love or marriage."

Theresa fulfilled her part of the bargain, and I received a visit from the middle-aged man I had seen in Turin. His name was Manuel Ceneri. His sister had married Pauline's father, an Englishman, March by name. He consented readily to my marriage with Pauline on one condition. I was to ask no questions, seek to know nothing of her birth and family, nothing of her early days.

Pauline was called into the room. I took her hand. I asked her to be my wife.

"Yes, if you wish it," she replied softly, without even changing colour.

She did not repulse me, but she did not respond to my affection. She remained as calm and undemonstrative as ever.

At Dr. Ceneri's strange urgency, Pauline and I were married two days later.

_III.--Calling Back the Past_

"Not for love or marriage!"

I learned all too soon the meaning of Theresa's words. Pauline, my wife, my love, had no past. Slowly at first, then with swift steps, the truth came home to me. The face of the woman I had married was fair as the morn; her figure as perfect as that of a Grecian statue; her voice low and sweet; but the one thing which animates every charm--the mind--was missing. Memory, except for the events of the moment before, she had none. Of all emotion she was incapable. She was sweet and docile, but her whole existence was a negative one. Such was Pauline, my wife.

When I was convinced of the truth, I placed her in charge of Priscilla and hastened to Geneva to seek an explanation from Ceneri. I should never have found the doctor had not chance thrown me in the way of the very Italian we had met outside the cathedral of San Giovanni. Knowing that he knew Ceneri, I spoke to him. At first he refused to have anything to do with me, but when I mentioned Pauline's name, he asked me what concern I had with her.

"She is my wife," I replied.

"Your wife!" he shouted. "You lie!"

I rose furiously, and bade him choose his words more carefully. After a few moments he apologised, asking me whether Ceneri knew of our marriage. "Traditore," I heard him whisper fiercely to himself when I replied in the affirmative.

After some further remarks, he consented to take me to Dr. Ceneri, telling me that his name was Macari. My interview with the doctor was somewhat unsatisfactory. Pauline had had a shock, but the nature of that shock he refused to disclose. Macari, before her illness, had imagined himself in love with her, and was furious at my marriage. One thing, however, the doctor told me, just as I left, which partially explained his consent to our union. He had been her guardian, and the fortune of £50,000 to which she was entitled he had spent in the cause of Italian freedom. Though he had betrayed his trust, he considered the cause justified the act; but he had been glad, none the less, to make her some compensation by marrying her to a wealthy Englishman.

When I left Dr. Ceneri, I met Macari lurking outside. He declared that in a few weeks he would come to England and explain much that Ceneri had left unsaid.

Several months later he kept his promise. Ceneri, he told me, had been arrested in St. Petersburg for participation in some anarchist plot, and was on his way to Siberia. Of his own personal history he discoursed at length. His name, it appeared, was really March, and he was Pauline's brother. In common with his sister, he had been robbed by Ceneri of his fortune.

He asked to see his sister, but when they met, Pauline showed no recollection of him. He called often, and she watched him, I noticed, with an eager, troubled look. One night, after dinner, as he described how, in a battle, he had killed a white-coated Austrian, he seized a knife from the table, and illustrated the downward blow with which he had saved his own life. I heard a deep sigh behind me, and turning, I saw Pauline in a dead faint. I carried her to her room. When she came to herself again, or rather when she rose in her bed and turned her face to mine, I saw in her eyes, what, by the mercy of God, I shall never again see there.

With eyes fixed and immovable, and dilated to their utmost extent, she rose and passed out of the room. I followed her. Swiftly she passed out of the house into the street, and without the slightest hesitation, turning at right angles, moved swiftly up a long, straight road. After turning once more she stopped at a three-storeyed house. Going up to the door, she laid her hand upon it. I tried to lead her gently away, but she resisted. What was I to do? The house was an empty one. I paused. Once before my latch-key had opened a strange door. Would it open this one? I tried it. It fitted exactly.

Without waiting for me, Pauline ran in ahead. I shut the door. All was darkness. I could hear Pauline moving about on the first floor. I followed her, and, striking a match, found myself in a room with folding-doors. It was furnished, but the dust lay deep everywhere. Pauline stood in the middle of the room, holding her head in her hands, striving, it seemed, to remember something. I entered the back room with the candle I had found. There was a piano there. Something induced me to sit down at it and to play the first few notes of the song I had heard that terrible night.

A nervous trembling seemed to seize Pauline. She crossed the floor towards me, and I made room for her at the piano. With a master hand she played brilliantly the prelude of the song of which I had struck a few vagrant notes. I waited breathlessly, expecting her to sing. Suddenly she started wildly to her feet and, uttering a wild cry of horror, sank into my arms. I laid her on a sofa close by. As I held her there, a strange thing happened.

The room beyond the folding-doors was lit with a brilliant light. Grouped round a table were four men. One of them was Ceneri, the other Macari. The third man was a stranger to me. These three men were looking at a fourth man--a young man who appeared to be falling out of his chair, clutching convulsively the hilt of a dagger, the blade of which had been buried in his heart, clearly by Macari, who stood over him.

I cannot explain this vision. I only saw it when I held Pauline's hand. When I let her hand drop the scene vanished. You may call it cataleptic, clairvoyant, anything you will; it was as I relate.

_IV.--Seeking the Truth in Siberia_

Macari called on me the day after this strange scene to ask me about the memorial to Victor Emanuel.

"Before I consent to help you," I said, "I must know why you murdered a man three years ago in a house in Horace Street."

He sprang to his feet and grasping my arm, looked intently into my eyes. I saw that he recognised me in spite of the great change that blindness makes in a face.

"Why should I deny the affair to an eye-witness? To others I would deny it fast enough. Now, my fine fellow, my gay bridegroom, my dear brother-in-law, I will tell you why I killed that man. He had insulted my family. That man was Pauline's lover!"

He saw what was in my face as I rose and walked towards him.

"Not here," he said hastily, "what good can it do here--a vulgar scuffle between two gentlemen?"

"Go," I cried, "murderer and coward. Every word you have spoken to me has been a lie, and because you hate me you have to-day told me the greatest lie of all."

He left me with a look of malicious triumph in his face. I knew he lied, but how could I prove that he lied? Only Ceneri could tell me the truth. He was in Siberia, and, mad as the scheme seemed, thither I determined to go to get the whole truth from his lips.

I exerted all the influence I possessed. I spent money freely, and with a special passport signed by the Czar himself, which placed all the resources of the Russian police at my disposal, I passed across Russia into Siberia. At last, after travelling thousands of miles, I came up with the gang of wretched prisoners in which the doctor was. Showing my papers to the officer in command, I was taken at once to the awful prison-house. I had him brought to me in a private room, and placed before him food and drink.

"I want to ask you some questions," I said, "questions which you alone can answer."

"Ask them. You have given me an hour's release from misery. I am grateful."

"The first question I have to ask is--who and what is that man Macari?"

Ceneri sprang to his feet. "A traitor! a traitor!" he cried.

It was Macari who had betrayed him. Macari was no more Anthony March, the brother of Pauline, than I was, and Pauline had never had a lover in the sense in which Macari had used the word.

Pauline was an innocent as an angel. The lie I had come so far to destroy had dissolved. There was one other question I had to ask. Who was the man Macari had killed, and what had he to do with Pauline? Ceneri's face turned ashen as I asked him the question. It was some moments before he understood that I was the man who had stumbled into the room. Then he told me all.

The murdered man was Anthony March, the brother of Pauline. As he had already confessed, Ceneri had spent all the trust-money of which he was guardian for Pauline and her brother, in the cause of Italian freedom. When the young man grew up, the time drew near when Ceneri must explain all and take the consequences. The evil day was delayed by providing him with money. That money ran out. Ceneri and the two other men, fearful of the consequences to all of them, decided upon a plan to silence Anthony. He was to be lured to the house in Horace Street, and to leave it as a lunatic in charge of a doctor and keepers. But Macari ruined the plot. He was in love with Pauline, and Anthony had spoken contemptuously of such a match for his sister. A few insolent words at the house in Horace Street, and the passionate Italian's knife had found its way into the young man's heart. It was Ceneri who had saved my life when I stumbled upon the scene. The third sharer in the tragedy, who had drowned Pauline's shrieks in a sofa cushion, had since died raving mad in a cell. That was the story.