The black drama

Unlike most actors, I do not consider my memoirs worth the attention of the public. Even if I did so consider them, I have no desire to carry my innermost dear secrets to market. Often and often I have flung aside the autobiography of some famous man or woman, crying aloud: "Surely this is the very nonpareil of bad taste!"

Yet my descendants—and, after certain despairful years, again I have hope of descendants—will want to know something about me. I write this record of utterly strange happenings while it is yet new and clear in my mind, and I shall seal it and leave it among my important possessions, to be found and dealt with at such time as I may die. It is not my wish that the paper be published or otherwise brought to the notice of any outside my immediate family and circle of close friends. Indeed, if I thought that such a thing would happen I might write less frankly.

Please believe me, you who will read; I know that part of the narrative will strain any credulity, yet I am ready with the now-threadbare retort of Lord Byron, of whose works more below: "Truth is stranger than fiction." I have, too, three witnesses who have agreed to vouch for the truth of what I have set down. Their only criticism is that I have spoken too kindly of them. If anything, I have not spoken kindly enough.

Like Peter Quince in A Midsummer Night's Dream, I have rid my prolog like a rough colt. Perhaps, like Duke Theseus, you my readers will be assured thereby of my sincerity.

We, the undersigned, having read the appended statement of Gilbert Connatt, do hereby declare it to be true in substance.

The counterman in the little hamburger stand below Times Square gazed at me searchingly.

"Haven't I seen you somewhere?" he asked, and when I shook my head he made a gesture as of inspiration. "I got it, buddy. There was a guy in a movie like you—tall, thin—black mustache and eyes——"

"I'm not in pictures," I told him, quite truthfully as concerned the moment. "Make me a double hamburger."

"Yes." Then I remembered that I had but fifteen cents, and that double hamburgers cost a dime. I might want a second sandwich. "Make it a single instead."

"No, a double," piped somebody at my elbow, and a short, plump figure climbed upon the next stool. "Two doubles, for me and my friend here, and I'm paying. Gilbert Connatt, at half-past the eleventh hour I run onto you by the luck of the Switzes. I am glad to see you like an old father to see his wandering boy."

I had known that voice of old in Hollywood. Turning, I surveyed the fat, blob-nosed face, the crossed eyes behind shell-rimmed glasses, the thick, curly hair, the ingratiating smile. "Hello, Jake," I greeted him without enthusiasm.

Jake Switz waved at the counterman. "Two coffees with those hamburgers." His strange oblique gaze shifted back to me. "Gib, to me you are more welcome than wine at a wedding. In an uptown hotel who do you think is wondering about you with tears in her eyes as big as electric light bulbs?" He shrugged and extended his palms, as if pleased at being able to answer his own question. "Sigrid Holgar!"

I made no reply, but drew a frayed shirt-cuff back into the worn sleeve of my jacket. Jake Switz continued: "I've been wondering where to get hold of you, Gib. How would you like again to play leading man for Sigrid, huh?"

It is hard to look full into cross-eyes, but I managed it. "Go back to her," I bade him, "and tell her I'm not taking charity from somebody who threw me down."

Jake caught my arm and shook it earnestly. "But that ain't true, Gib. It's only that she's been so successful she makes you look like a loser. Gib, you know as well as you know your own name that it was you that threw her down—so hard she ran like a silver dollar."

I meant that. It hurt to think of Sigrid and myself as we had been five years ago—she an inspired but unsure newcomer from Europe, I the biggest star on the biggest lot in the motion-picture industry. We made a film together, another, became filmdom's favorite lovers on and off screen. Then the quarrel; Jake was wrong, it was Sigrid's fault. Or was it? Anyway, she was at the head of the class now, and I had been kicked away from the foot.

The counterman set our sandwiches before us. I took a hungry bite and listened to Jake's pleadings.

"It would be you doing her and me a favor, Gib. Listen this one time—please, to give Jake Switz a break." His voice quavered earnestly. "You know that Sigrid is going to do a stage play."

"I've read about it in Variety," I nodded. "Horror stuff, isn't it? Like Dracula, I suppose, with women fainting and nurses dragging them out of the theater."

"Nurses!" repeated Jake Switz scornfully. "Huh, doctors we'll need. At our show Jack Dempsey himself would faint dead away on the floor, it's so horrible!" He subsided and began to beg once more. "But you know how Sigrid is. Quiet and restrained—a genius. She wouldn't warm up, no matter what leading man we suggested. Varduk, the producer, mentioned you. 'Get Gilbert Connatt,' he said to me. 'She made a success with him once, maybe she will again.' And right away Sigrid said yes."

I went on eating, then swallowed a mouthful of scalding coffee. Jake did the same, but without relish. Finally he exploded into a last desperate argument.

"Gib, for my life I can't see how you can afford to pass it up. Here you are, living on hamburgers——"

I whirled upon him so fiercely that the rest of the speech died on his open lips. Rising, I tossed my fifteen cents on the counter and started for the door. But Jake yelled in protest, caught my shoulder and fairly wrestled me back.

"No, no," he was wailing. "Varduk would cut my heart out and feed it to the sparrows if I found you and lost you again. Gib, I didn't mean bad manners. I don't know nothing about manners, Gib, but have I ever treated you wrong?"

I had to smile. "No, Jake. You're a creature of instincts, and the instincts are rather better than the reasonings of most people. I think you're intrinsically loyal." I thought of the years he had slaved for Sigrid, as press agent, business representative, confidential adviser, contract maker and breaker, and faithful hound generally. "I'm sorry myself, Jake, to lose my temper. Let's forget it."

He insisted on buying me another double hamburger, and while I ate it with unblunted appetite he talked more about the play Sigrid was to present.

"Horror stuff is due for a comeback, Gib, and this will be the start. A lovely, Gib. High class. Only Sigrid could do it. Old-fashioned, I grant you, but not a grain of corny stuff in it. It was written by that English guy, Lord Barnum—no, Byron. That's it, Lord Byron."

"So the papers say, but they holler 'phony' at their own grandmothers. Varduk is pretty sure. He knows a thing or two, that Varduk. You know what he is going to do? He is getting a big expert to read the play and make a report." Jake, who was more press agent than any other one thing, licked his good-humored lips. "What a bust in the papers that will be!"

Varduk.... I had heard that name, that single name whereby a new, brilliant and mysteriously picturesque giant of the theatrical world was known. Nobody knew where he had come from. Yet, hadn't Belasco been a riddle? And Ziegfeld? Of course, they had never courted the shadows like Varduk, had never refused to see interviewers or admirers. I meditated that I probably would not like Varduk.

"But you'll be in it, Gib. Passes of your own you'll be putting out. Ha! Listen this once while I try to do you good in spite of yourself, my friend. You can't walk out after eating up the hamburgers I bought."

He had me there. I could not muster the price of that second sandwich, and somehow the shrewd little fellow had surmised as much. He chuckled in triumph as I shrugged in token of surrender.

"I knew you would, Gib. Now, here." He wrote on a card. "This is Varduk's hotel and room number. Be there at eight o'clock tonight, to read the play and talk terms. And here."

"Get some clothes, Gib. With a new suit and tie you'll look like a million dollars come home to roost. No, no. Take the dough and don't worry. Ain't we friends? If you never pay me back, it will be plenty soon enough."

He beamed my thanks away. Leaving the hamburger stand, we went in opposite directions.

I did not follow Jake's suggestion exactly. Instead of buying new garments throughout, I went to the pawnshop where I had of late raised money on the remnants of a once splendid wardrobe. Here I redeemed a blue suit that would become me best, and a pair of hand-made Oxfords. Across the street I bought a fresh shirt and necktie. These I donned in my coffin-sized room on the top floor of a cheap hotel. After washing, shaving and powdering, I did not look so bad; I might even have been recognized as the Gilbert Connatt who made history in the lavish film version of Lavengro, that classic of gipsydom in which a newcomer named Sigrid Holgar had also risen to fame....

I like to be prompt, and it was eight o'clock on the stroke when I tapped at the door of Varduk's suite. There was a movement inside, and then a cheerful voice: "Who's there?"

The lock scraped and the door opened. I looked into the handsome, ruddy face of a heavy, towering man who was perhaps a year younger than I and in much better physical condition. His was the wide, good-humored mouth, the short, straight nose of the Norman Scot. His blond hair was beginning to grow thin and his blue eyes seemed anxious.

"Come in, Mr. Connatt," he invited me, holding out his broad hand. "My name's Davidson—Elmo Davidson." And, as I entered, "This is Mr. Varduk." He might have been calling my attention to a prince royal.

I had come into a parlor, somberly decorated and softly lighted. Opposite me, in a shadowed portion, gazed a pallid face. It seemed to hang, like a mask, upon the dark tapestry that draped the wall. I was aware first of a certain light-giving quality within or upon that face, as though it were bathed in phosphorescent oil. It would have been visible, plain even, in a room utterly dark. For the rest there were huge, deep eyes of a color hard to make sure of, a nose somewhat thick but finely shaped, a mouth that might have been soft once but now drew tight as if against pain, and a strong chin with a dimple.

"How do you do, Mr. Connatt," said a soft, low voice, and the mask inclined politely. A moment later elbows came forward upon a desk, and I saw the rest of the man Varduk start out of his protective shadows. His dark, double-breasted jacket and the black scarf at his throat had blended into the gloom of the tapestry. So had his chestnut-brown curls. As I came toward him, Varduk rose—he was of middle height, but looked taller by reason of his slimness—and offered me a slender white hand that gripped like a smith's tongs.

"I am glad that you are joining us," he announced cordially, in the tone of a host welcoming a guest to dinner. "Miss Holgar needs old friends about her, for her new stage adventure is an important item in her splendid career. And this," he dropped his hand to a sheaf of papers on the desk, "is a most important play."

Another knock sounded at the door, and Elmo Davidson admitted a young woman, short and steady-eyed. She was Martha Vining, the character actress, who was also being considered for a rôle in the play.

"Only Miss Holgar to come," Davidson said to me, with a smile that seemed to ask for friendship. "We've only a small cast, you know; five."

"I am expecting one more after Miss Holgar," amended Varduk, and Davidson made haste to add: "That's right, an expert antiquary—Judge Keith Pursuivant. He's going to look at our manuscript and say definitely if it is genuine."

Not until then did Varduk invite me to sit down, waving me to a comfortable chair at one end of his desk. I groped in my pockets for a cigarette, but he pressed upon me a very long and very good cigar.

"I admire tobacco in its naked beauty," he observed with the wraith of a smile, and himself struck a match for me. Again I admired the whiteness of his hand, its pointed fingers and strong sensitivity of outline. Such hands generally betoken nervousness, but Varduk was serene. Even the fall of his fringed lids over those plumbless eyes seemed a deliberate motion, not an unthought wink.

Yet again a knock at the door, a brief colloquy and an ushering in by Elmo Davidson. This time it was Sigrid.

I got to my feet, as unsteady as a half-grown boy at his first school dance. Desperately I prayed not to look so moved as I felt. As for Sigrid, she paused and met my gaze frankly, with perhaps a shade's lightening of her gently tanned cheeks. She was a trifle thinner than when I had last seen her five years ago, and wore, as usual, a belted brown coat like an army officer's. Her hair, the blondest unbleached hair I have ever known, fell to her shoulders and curled at its ends like a full-bottomed wig in the portrait of some old cavalier. There was a green flash in it, as in a field of ripened grain. Framed in its two glistening cascades, her face was as I had known it, tapering from brow to chin over valiant cheekbones and set with eyes as large as Varduk's and bluer than Davidson's. She wore no make-up save a touch of rouge upon her short mouth—cleft above and full below, like a red heart. Even with low-heeled shoes, she was only two inches shorter than I.

"Not a bit," he assured her. Then he saw my awkward expectation and added, with monumental tact for which I blessed him fervently, "I think you know Mr. Gilbert Connatt."

Again she turned to me. "Of course," she replied. "Of course I know him. How do you do, Gib?"

I took the hand she extended and, greatly daring, bent to kiss it. Her fingers fluttered against mine, but did not draw away. I drew her forward and seated her in my chair, then found a backless settee beside her. She smiled at me once, sidewise, and took from my package the cigarette I had forsaken for Varduk's cigar.

A hearty clap on my shoulder and a cry of greeting told me for the first time that little Jake Switz had entered with her.

Varduk's brief but penetrating glance subdued the exuberant Jake. We turned toward the desk and waited.

"Ladies and gentlemen," began Varduk, seriously but not heavily, "a new-found piece of Lord Byron's work is bound to be a literary sensation. We hope also to make a theatrical sensation, for our new-found piece is a play.

"A study of Lord Byron evokes varied impressions and appeals. Carlyle thought him a mere dandy, lacking Mr. Brummel's finesse and good humor, while Goethe insisted that he stood second only to Shakespeare among England's poets. His mistress, the Countess Guiccioli, held him literally to be an angel; on the other hand, both Lamartine and Southey called him Satan's incarnation. Even on minor matters—his skill at boxing and swimming, his depth of scholarship, his sincerity in early amours and final espousal of the Greek rebels—the great authorities differ. The only point of agreement is that he had color and individuality."

"We have here his lost play, Ruthven. Students know that Doctor John Polidori wrote a lurid novel of horror called The Vampire, and that he got his idea, or inspiration, or both, from Byron. Polidori's tale in turn inspired the plays of Nodier and Dumas in French, and of Planché and Boucicault in English. Gilbert and Sullivan joked with the story in Ruddigore, and Bram Stoker read it carefully before attempting Dracula. This manuscript," again he lifted it, "is Byron's original. It is, as I have said, a drama."

His expressive eyes, bending upon the page in the dimness, seemed to shed a light of their own. "I think that neither Mr. Connatt nor Miss Vining has seen the play. Will you permit me to read?" He took our consent for granted, and began: "Scene, Malvina's garden. Time, late afternoon—Aubrey, sitting at Malvina's feet, tells his adventures."

Since Ruthven is yet unpublished, I take the liberty of outlining it as I then heard it for the first time. Varduk's voice was expressive, and his sense of drama good. We listened, intrigued and then fascinated, to the opening dialog in which young Aubrey tells his sweetheart of his recent adventures in wildest Greece. The blank verse struck me, at least, as being impressive and not too stiff, though better judges than I have called Byron unsure in that medium. Varduk changed voice and character for each rôle, with a skill almost ventriloquial, to create for us the illusion of an actual drama. I found quite moving Aubrey's story of how bandits were beaten off single-handed by his chance acquaintance, Lord Ruthven. At the point where Aubrey expresses the belief that Ruthven could not have survived the battle:

At that point, I say, the first surprize comes with the servant's announcement that Ruthven himself has followed his traveling companion from Greece and waits, whole and sound, for permission to present himself.

No stage directions or other visualization; but immediate dialog defines the title rôle as courtly and sinister, fascinating and forbidding. Left alone with the maid-servant, Bridget, he makes unashamed and highly successful advances. When he lifts the cap from her head and lets her hair fall down, it reminds one that Byron himself had thus ordered it among the maids on his own estate. Byron had made love to them, too; perhaps some of Ruthven's speeches in this passage, at least, came wholemeal from those youthful conquests.

Yet the seduction is not a gay one, and smacks of bird and snake. When Ruthven says to Bridget,

awareness rises of a darkling and menacing power. Again, as Aubrey mentions the fight with the bandits, Ruthven dismisses the subject with the careless,

one feels that he fears and spares an enemy no more than a fly. And, suddenly, he turned his attentions to Malvina:

Oscar, husband of the betrayed Bridget, rushes in at this point to denounce Ruthven and draw away his bemused mistress. At a touch from the visitor's finger, Oscar falls dead. Aubrey, arming himself with a club of whitethorn—a sovereign weapon against demons—strikes Ruthven down. Dying, the enchanter persuades Aubrey and Malvina to drag him into the open and so leave him. As the moon rises upon his body, he moves and stands up:

"So ends our first act," he continued in his natural voice. "No date—nor yet are we obliged to date it. For purposes of our dramatic production, however, I intend to lay it early in the past century, in the time of Lord Byron himself. Act Two," and he picked up another section of the manuscript, "begins a century later. We shall set it in modern times. No blank verse now—Byron cleverly identifies his two epochs by offering his later dialog in natural prose. That was the newest of new tricks in his day."

Again he read to us. The setting was the same garden, with Mary Aubrey and her cousin Swithin, descendants of the Aubrey and Malvina of the first act, alternating between light words of love and attentions to the aged crone Bridget. This survivor of a century and more croaks out the fearsome tale of Ruthven's visit and what followed. Her grandson Oscar, Mary's brother, announces a caller.

The newcomer explains that he has inherited the estate of Ruthven, ancient foe of the Aubreys, and that he wishes to make peace. But Bridget, left alone with him, recognizes in him her old tempter, surviving ageless and pitiless. Oscar, too, hears the secret, and is told that this is his grandfather. Bit by bit, the significance of a dead man restless after a century grows in the play and upon the servants. They swear slavishly to help him. He seeks a double and sinister goal. Swithin, image of his great-grandfather Aubrey, must die for that ancestor's former triumph over Ruthven. Mary, the later incarnation of Malvina, excites Ruthven's passion as did her ancestress.

Then the climax. Malvina, trapped by Ruthven, defies him, then offers herself as payment for Swithin's life. Swithin, refusing the sacrifice, thrusts Ruthven through with a sword, but to no avail. Oscar overpowers him, and the demoniac lord pronounces the beginning of a terrible curse; but Mary steps forward as if to accept her lover's punishment. Ruthven revokes his words, blesses her. As the Almighty's name issues from his lips, he falls dead and decaying.

"End of the play," said Varduk. "I daresay you have surmised what rôles I plan for you. Miss Holgar and Mr. Connatt are my choices for Malvina and Aubrey in the first act, and Mary and Swithin in the second. Miss Vining will create the rôle of Bridget, and Davidson will undertake the two Oscars."

"And Ruthven?" I prompted, feeling unaccountably presumptuous in speaking uninvited.

Varduk smiled and lowered his fringed lids. "The part is not too difficult," he murmured. "Ruthven is off stage more than on, an influence rather than a flesh-and-blood character. I shall honor myself with this title rôle."

Switz, sitting near me, produced a watch. We had been listening to the play for full two hours and a half.

Again a knock sounded at the door. Davidson started to rise, but Varduk's slender hand waved him down.

He got up and crossed the floor, walking stiffly as though he wore tight boots. I observed with interest that in profile his nose seemed finer and sharper, and that his ears had no lobes.

Keith Hilary Pursuivant, the occultist and antiquary, was as arresting as Varduk himself, though never were two men more different in appearance and manner. Our first impression was of a huge tweed-clad body, a pink face with a heavy tawny mustache, twinkling pale eyes and a shock of golden-brown hair. Under one arm he half crushed a wide black hat, while the other hand trailed a heavy stick of mottled Malacca, banded with silver. There was about him the same atmosphere of mature sturdiness as invests Edward Arnold and Victor McLaglen, and withal a friendly gayety. Without being elegant or dashing, he caught and held the regard. Men like someone like that, and so, I believe, do women who respect something beyond sleek hair and brash repartee.

Varduk introduced him all around. The judge bowed to Sigrid, smiled at Miss Vining, and shook hands with the rest of us. Then he took a seat at the desk beside Varduk.

"Pardon my trembling over a chance to see something that may have been written by Lord Byron to lie perdu for generations," he said pleasantly. "He and his works have long been enthusiasms of mine. I have just published a modest note on certain aspects of his——"

"Yes, I know," nodded Varduk, who was the only man I ever knew who could interrupt without seeming rude. "A Defense of the Wickedest Poet—understanding and sympathetic, and well worth the praise and popularity it is earning. May I also congratulate you on your two volumes of demonology, Vampyricon and The Unknown that Terrifies?"

"Thank you," responded Pursuivant, with a bow of his shaggy head. "And now, the manuscript of the play——"

Pursuivant bent for a close study. After a moment he drew a floor lamp close to cast a bright light, and donned a pair of pince-nez.

"The words 'by Lord Byron', set down here under the title, are either genuine or a very good forgery," he said at once. "I call your attention, Mr. Varduk, to the open capital B, the unlooped down-stroke of the Y, and the careless scrambling of the O and N." He fumbled in an inside pocket and produced a handful of folded slips. "These are enlarged photostats of several notes by Lord Byron. With your permission, Mr. Varduk, I shall use them for comparison."

He did so, holding the cards to the manuscript, moving them here and there as if to match words. Then he held a sheet of the play close to the light. "Again I must say," he announced at last, "that this is either the true handwriting of Byron or else a very remarkable forgery. Yet——"

Varduk had opened a drawer of the desk and once more he interrupted. "Here is a magnifying glass, Judge Pursuivant. Small, but quite powerful." He handed it over. "Perhaps, with its help, you can decide with more accuracy."

"Thank you." Pursuivant bent for a closer and more painstaking scrutiny. For minutes he turned over page after page, squinting through the glass Varduk had lent him. Finally he looked up again.

"No forgery here. Every stroke of the pen is a clean one. A forger draws pictures, so to speak, of the handwriting he copies, and with a lens like this one can plainly see the jagged, deliberate sketchwork." He handed back the magnifying glass and doffed his spectacles, then let his thoughtful eyes travel from one of us to the others. "I'll stake my legal and scholastic reputation that Byron himself wrote these pages."

"Your stakes are entirely safe, sir," Varduk assured him with a smile. "Now that you have agreed—and I trust that you will allow us to inform the newspapers of your opinion—that Ruthven is Byron's work, I am prepared to tell how the play came into my possession. I was bequeathed it—by the author himself."

We all looked up at that, highly interested. Varduk smiled upon us as if pleased with the sensation he had created.

"The germ of Ruthven came into being one night at the home of the poet Shelley, on the shores of Lake Geneva. The company was being kept indoors by rain and wind, and had occupied itself with reading German ghost stories, and then tried their own skill at Gothic tales. One of those impromptu stories we know—Mary Godwin's masterpiece, Frankenstein. Lord Byron told the strange adventures of Ruthven, and Polidori appropriated them—that we also know; but later that night, alone in his room, Byron wrote the play we have here."

"In one sitting," replied Varduk. "He was a swift and brilliant worker. In his sixteen years of active creative writing, he produced nearly eighty thousand lines of published verse—John Drinkwater reckons an average of fourteen lines, or the equivalent of a complete sonnet, for every day. This prodigious volume of poetry he completed between times of making love, fighting scandal, traveling, quarreling, philosophizing, organizing the Greek revolution. An impressive record of work, both in size and in its proportion of excellence."

Sigrid leaned forward. "But you said that Lord Byron himself bequeathed the play to you."

Again Varduk's tight, brief smile. "It sounds fantastic, but it happened. Byron gave the manuscript to Claire Clairmont, his mistress and the mother of two of his children. He wanted it kept a secret—he had been called fiend incarnate too often. So he charged her that she and the children after her keep the play in trust, to be given the world a hundred years from the date of his death."

Pursuivant cleared his throat. "I was under the impression that Byron had only one child by Claire Clairmont, Mr. Varduk. Allegra, who died so tragically at the age of six."

Varduk shook his curly head. "No, by Lord Byron." He paused and drew a gentle breath, as if to give emphasis to what he was going to add. Then: "I am descended from that son, ladies and gentlemen. I am the great-grandson of Lord Byron."

He sank back into his shadows once more and let his luminous face seem again like a disembodied mask against the dark tapestry. He let us be dazzled by his announcement for some seconds. Then he spoke again.

"However, to return to our play. Summer is at hand, and the opening will take place at the Lake Jozgid Theater, in July, later to come to town with the autumn. All agreed? Ready to discuss contracts?" He looked around the circle, picking up our affirmative nods with his intensely understanding eyes. "Very good. Call again tomorrow. Mr. Davidson, my assistant, will have the documents and all further information."

Jake Switz was first to leave, hurrying to telephone announcements to all the morning newspapers. Sigrid, rising, smiled at me with real warmth.

"So nice to see you again, Gib. Do not bother to leave with me—my suite is here in this hotel."

She bade Varduk good-night, nodded to the others and left quickly. I watched her departure with what must have been very apparent and foolish ruefulness on my face. It was the voice of Judge Pursuivant that recalled me to my surroundings.

"I've seen and admired your motion pictures, Mr. Connatt," he said graciously. "Shall we go out together? Perhaps I can persuade you to join me in another of my enthusiasms—late food and drink."

We made our adieux and departed. In the bar of the hotel we found a quiet table, where my companion scanned the liquor list narrowly and ordered samples of three Scotch whiskies. The waiter brought them. The judge sniffed each experimentally, and finally made his choice.

"Two of those, and soda—no ice," he directed. "Something to eat, Mr. Connatt? No? Waiter, bring me some of the cold tongue with potato salad." Smiling, he turned back to me. "Good living is my greatest pursuit."

He nodded readily. "However, I don't mean that tonight's visit with Mr. Varduk was not something to rouse any man's interest. It was full of good meat for any antiquary's appetite. By the way, were you surprized when he said that he was descended from Lord Byron?"

"Now that you mention it, I wasn't," I replied. "He's the most Byronic individual I have ever met."

"Right. Of course, the physical resemblances might be accidental, the manner a pose. But in any case, he's highly picturesque, and from what little I can learn about him, he's eminently capable as well. You feel lucky in being with him in this venture?"

I felt like confiding in this friendly, tawny man. "Judge Pursuivant," I said honestly, "any job is a godsend to me just now."

"Here's your whisky," he said suddenly, and was silent while he himself mixed the spirit with the soda. Handing me a glass, he lifted the other in a silent toasting gesture. We drank, and then I repeated, "Warn me, you were saying, sir?"

"Yes." He tightened his wide, intelligent mouth under the feline mustache. "It's this play, Ruthven."

His plate of tongue and salad was set before him at this juncture. He lifted a morsel on his fork and tasted it.

"This is very good, Mr. Connatt. You should have tried some. Where were we? Oh, yes, about Ruthven. I was quite unreserved in my opinion, wasn't I?"

"So it seemed when you offered to stake your reputation on the manuscript being genuine."

"So I did," he agreed, cutting a slice of tongue into mouthfuls. "And I meant just that. What I saw of the play was Byronic in content, albeit creepy enough to touch even an occultist with a shiver. The handwriting, too, was undoubtedly Byron's. Yet I felt like staking my reputation on something else."

He paused and we each had a sip of whisky. His recourse to the liquor seemed to give him words for what he wished to say.

"It's a paradox, Mr. Connatt, and I am by no means so fond of paradoxes as was my friend, the late Gilbert Chesterton; but, while Byron most certainly wrote Ruthven, he wrote it on paper that was watermarked less than ten years ago."

The judge would not enlarge upon his perplexing statement, but he would and did play the most genial host I had ever known since the extravagant days of Hollywood. We had a number of drinks, and he complimented me on my steadiness of hand and head. When we parted I slept well in my little room that already seemed more cheerful.

Before noon the following day I returned to Varduk's hotel. Only Davidson was there, and he was far more crisp and to the point than he had been when his chief was present. I accepted the salary figure already set down on my contract form, signed my name, received a copy of the play and left.

After my frugal lunch—I was still living on the money Jake Switz had lent me—I walked to the library and searched out a copy of Contemporary Americans. Varduk's name I did not find, and wondered at that until the thought occurred that he, a descendant of Byron, was undoubtedly a British subject. Before giving up the volume I turned to the P's. This time my search bore fruit:

Pursuivant, Keith Hilary; b. 1891, Richmond, Va., only son of Hilary Pursuivant (b. 1840, Pursuivant Landing, Ky.; Col. and Maj.-Gen., Va. Volunteer Infantry, 1861-65; attorney and journalist; d. 1898) and Anne Elizabeth (Keith) Pursuivant (b. 1864, Edinburgh; d. 1891).

Educ. Richmond pub. sch., Lawrenceville and Yale. A. B., male, 1908. Phi Beta Kappa, Skulls and Bones, football, forensics. LL. B., Columbia, 1911. Ph. D., Oxford, 1922. Admitted to Virginia bar, 1912. Elected 1914, Judge district court, Richmond. Resigned, 1917, to enter army. Major, Intelligence Div., U. S. A., 1917-19, D. S. C., Cong. Medal of Honor, Legion d'Honneur (Fr.). Ret. legal practice, 1919.

Author: The Unknown That Terrifies, Cannibalism in America, Vampyricon, An Indictment of Logic, etc.

Clubs: Lambs, Inkhorn, Gastronomics, Saber.

Hobbies: Food, antiquaries, demonology, fencing.

Protestant. Independent, Unmarried.

Address: Low Haven, RFD No. 1, Bucklin, W. Va.

Thus the clean-picked skeleton of a life history; yet it was no hard task to restore some of its tissues, even coax it to life. Son of a Southern aristocrat who was a soldier while young and a lawyer and writer when mature, orphaned of his Scotch mother in the first year of his existence—had she died in giving him life?—Keith Pursuivant was born, it seemed, to distinction. To graduate from Yale in 1908 he must have been one of the youngest men in his class, if not the youngest; yet, at seventeen, he was an honor student, an athlete, member of an exclusive senior society and an orator. After that, law school, practise and election to the bench of his native community at the unheard-of age of twenty-three.

Then the World War, that sunderer of career-chains and remolder of men. The elder Pursuivant had been a colonel at twenty-one, a major-general before twenty-five; Keith, his son, deserting his brilliant legal career, was a major at twenty-six, but in the corps of brain-soldiers that matched wits with an empire. That he came off well in the contest was witnessed by his decorations, earnest of valor and resource.

"Ret. legal practise, 1919." So he did not remain in his early profession, even though it promised so well. What then? Turn back for the answer. "Ph. D., Oxford, 1922." His new love was scholarship. He became an author and philosopher. His interests included the trencher—I had seen him eat and drink with hearty pleasure—the study hall, the steel blade.

What else? "Protestant"—religion was his, but not narrowly so, or he would have been specific about a single sect. "Independent"—his political adventures had not bound him to any party. "Unmarried"—he had lived too busily for love? Or had he known it, and lost? I, too, was unmarried, and I was well past thirty. "Address: Low Haven"—a country home, apparently pretentious enough to bear a name like a manor house. Probably comfortable, withdrawn, full of sturdy furniture and good books, with a well-stocked pantry and cellar.

I felt that I had learned something about the man, and I was desirous of learning more.

On the evening mail I received an envelope addressed in Jake Switz's jagged handwriting. Inside were half a dozen five-dollar bills and a railway ticket, on the back of which was scribbled in pencil: "Take the 9 a. m. train at Grand Central. I'll meet you at the Dillard Falls Junction with a car. J. Switz."

I blessed the friendly heart of Sigrid's little serf, and went home to pack. The room clerk seemed surprized and relieved when I checked out in the morning, paying him in full. I reached the station early and got on the train, securing a good seat in the smoking-car. Many were boarding the car, but none looked at me, not even the big fellow who seated himself into position at my side. Six years before I had been mobbed as I stepped off the Twentieth Century Limited in this very station—a hundred women had rent away my coat and shirt in rags for souvenirs——

"Would you let me have a match, Mr. Connatt?" asked a voice I had heard before. My companion's pale blue eyes were turned upon me, and he was tucking a trusty-looking pipe beneath his blond mustache.

"Judge Pursuivant!" I cried, with a pleasure I did not try to disguise. "You here—it's like one of those Grand Hotel plays."

"Not so much coincidence as that," he smiled, taking the match I had found. "You see, I am still intrigued by the paradox we discussed the other night; I mean, the riddle of how and when Ruthven was set down. It so happens that an old friend of mine has a cabin near the Lake Jozgid Theater, and I need a vacation." He drew a cloud of comforting smoke. "Judiciously I accepted his invitation to stay there. You and I shall be neighbors."

"Good ones, I hope," was my warm rejoinder, as I lighted a cigarette from the match he still held.

By the time our train clanked out of the subterranean caverns of Grand Central Station, we were deep in pleasant talk. At my earnest plea, the judge discussed Lord Byron.

"A point in favor of the genuineness of the document," he began, "is that Byron was exactly the sort of man who would conceive and write a play like Ruthven."

"With the semi-vampire plot?" I asked. "I always thought that England of his time had just about forgotten about vampires."

"Yes, but Byron fetched them back into the national mind. Remember, he traveled in Greece as a young man, and the belief was strong in that part of the world. In a footnote to The Giaour—you'll find his footnotes in any standard edition of his works—he discusses vampires."

"They may have had more than fancy to father the thought. Not that I do not admire Byron, for his talents and his achievements; but something of a diabolic curse hangs over him. Why," and Pursuivant warmed instantly to the discussion, "his very family history reads like a Gothic novel. His father was 'Mad Jack' Byron, the most sinful man of his generation; his grandfather was Admiral 'Foul-weather Jack' Byron, about whose ill luck at sea is more than a suggestion of divine displeasure. The title descended to Byron from his great-uncle, the 'Wicked Lord,' who was a murderer, a libertine, a believer in evil spirits, and perhaps a practising diabolist. The family seat, Newstead Abbey, had been the retreat of medieval monks, and when those monks were driven from it they may have cursed their dispossessors. In any case, it had ghosts and a 'Devil's Wood.'"

"He certainly was. As a child he carried pistols in his pockets and longed to kill someone. As a youth he chained a bear and a wolf at his door, drank wine from a human skull, and mocked religion by wearing a monk's habit to orgies. His unearthly beauty, his mocking tongue, fitted in with his wickedness and his limp to make him seem an incarnation of the hoofed Satan. As for his sins——" The judge broke off in contemplation of them.

"Perhaps he repented," mused my companion. "At least he seems to have forgotten his light loves and dark pleasures, turned to good works and the effort to liberate the Greeks from their Turkish oppressors. If he began life like an imp, he finished like a hero. I hope that he was sincere in that change, and not too late."

I expressed the desire to study Byron's life and writings, and Pursuivant opened his suitcase on the spot to lend me Drinkwater's and Maurois' biographies, a copy of the collected poems, and his own work, A Defense of the Wickedest Poet.

We ate lunch together in the dining-car, Pursuivant pondering his choice from the menu as once he must have pondered his decision in a case at court. When he made his selection, he devoured it with the same gusto I had observed before. "Food may be a necessity," quoth he between bites, "but the enjoyment of it is a blessing."

That brought on a discussion of the sword as weapon and symbol. My own swordsmanship is no better or worse than that of most actors, and Pursuivant was frank in condemning most stage fencers.

"I dislike to see a clumsy lout posturing through the duel scenes of Cyrano de Bergerac or Hamlet," he growled. "No offense, Mr. Connatt. I confess that you, in your motion-picture interpretation of the rôle of Don Cæsar de Bazan, achieved some very convincing cut-and-thrust. From what I saw, you have an understanding of the sport. Perhaps you and I can have a bout or so between your rehearsals."

I said that I would be honored, and then we had to collect our luggage and change trains. An hour or more passed on the new road before we reached our junction.

Jake Switz was there as he had promised to be, at the wheel of a sturdy repainted car. He greeted us with a triumphant story of his astuteness in helping Elmo Davidson to bargain for the vehicle, broke off to invite Pursuivant to ride with us to his cabin, and then launched into a hymn of praise for Sigrid's early rehearsals of her rôle.

"Nobody in America seems to think she ever made anything but movies," he pointed out. "At home in Sweden, though, she did deep stuff—Ibsen and them guys—and her only a kid then. You wait, Gib, she'll knock from the theater public their eyes out with her class."

The road from the junction was deep-set between hills, and darkly hedged with high trees. "This makes the theater hard to get at," Jake pointed out as he drove. "People will have to make a regular pilgrimage to see Holgar play in Ruthven, and they'll like it twice as well because of all the trouble they took."

Pursuivant left us at the head of a little path, with a small structure of logs showing through the trees beyond. We waved good-bye to him, and Jake trod on his starter once more. As we rolled away, he glanced sidewise at me. His crossed eyes behind their thick lenses had grown suddenly serious.

"Only one night Sigrid and I been here, Gib," he said, somewhat darkly, "and I don't like it."

"Don't tell me you're haunted," I rallied him, laughing. "That's good press-agentry for a horror play, but I'm one of the actors. I won't be buying tickets."

"I won't say haunted, Gib. That means ordinary ghosts, and whatever is here at the theater is worse than ghosts. Listen what happened."

Sigrid, with Jake in attendance as usual, had left New York on the morning after Varduk's reading of Ruthven. They had driven in the car Jake had helped Davidson to buy, and thus they avoided the usual throngs of Sigrid's souvenir-demanding public, which would have complicated their departure by train. At Dillard Falls Junction, Varduk himself awaited them, having come up on a night train. Jake took time to mail me a ticket and money, then they drove the long, shadowy way to the theater.

Lake Jozgid, as most rural New Yorkers know, is set rather low among wooded hills and bluffs. The unevenness of the country and the poverty of the soil have discouraged cultivation, so that farms and villages are few. As the party drove, Varduk suggested an advantage in this remoteness, which suggestion Jake later passed on to Judge Pursuivant and me; where a less brilliant or more accessible star might be ignored in such far quarters, Sigrid would find Lake Jozgid to her advantage. The world would beat a path to her box office, and treasure a glimpse of her the more because that glimpse had been difficult of attainment.

The theater building itself had been a great two-story lodge, made of heavy logs and hand-hewn planks. Some sporting-club, now defunct, had owned it, then abandoned it when fish grew scarce in the lake. Varduk had leased it cheaply, knocked out all partitions on the ground floor, and set up a stage, a lobby and pew-like benches. The upper rooms would serve as lodgings for himself and his associate Davidson, while small out-buildings had been fitted up to accommodate the rest of us.

Around this group of structures clung a thick mass of timber. Sigrid, who had spent her girlhood among Sweden's forests, pointed out that it was mostly virgin and inquired why a lumber company had never cut logs here. Varduk replied that the property had been private for many years, then changed the subject by the welcome suggestion that they have dinner. They had brought a supply of provisions, and Jake, who is something of a cook in addition to his many other professions, prepared a meal. Both Sigrid and Jake ate heartily, but Varduk seemed only to take occasional morsels for politeness' sake.

In the evening, a full moon began to rise across the lake. Sitting together in Varduk's upstairs parlor, the three saw the great soaring disk of pale light, and Sigrid cried out joyfully that she wanted to go out and see better.

"A lantern?" Sigrid repeated. "But that would spoil the effect of the moonlight."

Her new director blew a smooth ring of smoke and stared into its center, as though a message lay there. Then he turned his brilliant eyes to her. "If you are wise, you will do as I say," he made answer.

Men like Varduk are masterful and used to being obeyed. Sometimes they lose sight of the fact that women like Sigrid are not used to being given arbitrary commands without explanation. She fell silent and a little frigid for half an hour—often I had seen her just as Jake was describing her. Then she rose and excused herself, saying that she was tired from the morning's long drive and would go to bed early. Varduk rose and courteously bowed her to the stairs. Since her sleeping-quarters, a cleverly rebuilt wood-shed, were hardly a dozen steps from the rear of the lodge building itself, neither man thought it necessary to accompany her.

Left alone, Varduk and Jake carried on an idle conversation, mostly about publicity plans. Jake, who in the show business had done successfully almost everything but acting, found in his companion a rather penetrating and accurate commentator on this particular aspect of production. Indeed, Varduk debated him into a new attitude—one of restraint and dignity instead of novel and insistent extravagance.

"You're right," Jake announced at length. "I'm going to get the releases that go out in tomorrow's mail. I'll cut out every 'stupendous' and 'colossal' I wrote into them. Good night, Mr. Varduk."

He, too, trotted downstairs and left the main building for his own sleeping-room, which was the loft of an old boathouse. As he turned toward the water, he saw a figure walking slowly and dreamily along its edge—Sigrid, her hands tucked into the pockets of the light belted coat she had donned against possible night chills, her head flung back as though she sought all of the moonlight upon her rapt face.

Although she had wandered out to the brink of the sandy beach and so stood in the open brightness, clumps of bushes and young trees grew out almost to the lake. One tufty belt of scrub willow extended from the denser timber to a point within a dozen feet of Sigrid. It made a screen of gloom between Jake's viewpoint and the moon's spray of silver. Yet, he could see, light was apparently soaking through its close-set leaves, a streak of soft radiance that was so filtered as to look murky, greenish, like the glow from rotting salmon.

Even as Jake noticed this flecky glimmer, it seemed to open up like a fan or a parasol. Instead of a streak, it was a blot. This extended further, lazily but noticeably. Jake scowled. And this moved lakeward, without leaving any of itself at the starting-point.

With its greatening came somewhat of a brightening, which revealed that the phenomenon had some sort of shape—or perhaps the shape was defining itself as it moved. The blot's edges grew unevenly, receding in places to swell in others. Jake saw that these swellings sprouted into pseudopodal extensions (to quote him, they "jellied out"), that stirred as though groping or reaching. And at the top was a squat roundness, like an undeveloped cranium. The lower rays of light became limbs, striking at the ground as though to walk. The thing counterfeited life, motion—and attention. It was moving toward the water, and toward Sigrid.

Jake did not know what it was, and he says that he was suddenly and extremely frightened. Yet he does not seem to have acted like one who is stricken with fear. What he did, and did at once, was to bawl out a warning to Sigrid, then charge at the mystery.

It had stolen into the moonlight, and Jake encountered it there. As he charged, he tried to make out the details; but what little it had had of details in the darkness now went misty, as its glow was conquered in the brighter flood of moonglow. Yet it was there, and moving toward Sigrid. She had turned from looking across the water, and now shrank back with a tremulous cry, stumbling and recovering herself ankle-deep in the shallows.

Jake, meanwhile, had flung himself between her and what was coming out of the thicket. He did not wait or even set himself for conflict, but changed direction to face and spring upon the threatening presence. Though past his first youth, he fancied himself as in fairly tough condition, and more than once he had won such impromptu fist-fights as spring up among the too-temperamental folk of the theater. He attacked as he would against a human adversary, sinking his head between his shoulders and flinging his fists in quick succession.

He got home solidly, against something tangible but sickeningly loose beneath its smooth skin or rind. It was like buffeting a sack half full of meal. Though the substance sank in beneath his knuckles, there was no reeling or retreat. A squashy return slap almost enveloped his face, and his spectacles came away as though by suction. At the same time he felt a cable-like embrace, such as he had imagined a python might exert. He smelled putrescence, was close to being sick, and heard, just behind him, the louder screaming of Sigrid.

The fresh knowledge of her danger and terror made him strong again. One arm was free, and he battered gamely with his fist. He found his mark, twice and maybe three times. Then his sickness became faintness when he realized that his knuckles had become slimy wet.

A new force dragged at him behind. Another enemy ... then a terrible voice of command, the voice of Varduk:

The grasp and the filthy bulk fell away from Jake. He felt his knees waver like shreds of paper. His eyes, blurred without their thick spectacles, could barely discern, not one, but several lumpy forms drawing back. And near him stood Varduk, his facial phosphorescence out-gleaming the rotten light of the creatures, his form drawn up sternly in a posture of command.

The uncouth shapes shrank out of sight. Jake could not be sure whether they found shelter behind bushes and trees or not; perhaps they actually faded into invisibility. Sigrid had come close, stepping gingerly in her wet shoes, and stooped to retrieve Jake's fallen glasses.

"Never mind," he cut her off. "They will threaten you no more tonight. Go to your beds, and be more careful in the future."

This was the story that Jake told me as we drove the final miles to the Lake Jozgid Theater.

He admitted that it had all been a desperate and indistinct scramble to him, and that explanation he had offered next morning when Varduk laughed and accused him of dreaming.

"But maybe it wasn't a dream," Jake said as he finished. "Even if it was, I don't want any more dreams like it."

Jake's narrative did not give me cheerful expectations of the Lake Jozgid Theater. It was just as well, for my first glimpse of the place convinced me that it was the exact setting for a play of morbid unreality.

The road beyond Pursuivant's cabin was narrow but not too bad. Jake, driving nimbly over its sanded surface, told me that we might thank the public works program for its good condition. In one or two places, as I think I have said already, the way was cut deeply between knolls or bluffs, and here it was gloomy and almost sunless. Too, the woods thickened to right and left, with taller and taller ranks of trees at the roadside. Springtime's leafage made the trees seem vigorous, but not exactly cheerful; I fancied that they were endowed with intelligence and the power of motion, and that they awaited only our passing before they moved out to block the open way behind us.

From this sand-surfaced road there branched eventually a second, and even narrower and darker, that dipped down a thickly timbered slope. We took a rather difficult curve at the bottom and came out almost upon the shore of the lake, with the old lodge and its out-buildings in plain view.

These structures were in the best of repair, but appeared intensely dark and weathered, as though the afternoon sky shed a brownish light upon them. The lodge that was now the theater stood clear in the center of the sizable cleared space, although lush-looking clumps and belts of evergreen scrub grew almost against the sheds and the boathouse. I was enough of an observer to be aware that the deep roofs were of stout ax-cut shingles, and that the heavy timbers of the walls were undoubtedly seasoned for an age. The windows were large but deep-set in their sturdy frames. Those who call windows the eyes of a house would have thought that these eyes were large enough, but well able to conceal the secrets and feelings within.

As we emerged from the car, I felt rather than saw an onlooker. Varduk stood in the wide front door of the lodge building. Neither Jake nor I could agree later whether he had opened the door himself and appeared, whether he had stepped into view with the door already open, or whether he had been standing there all the time. His slender, elegant figure was dressed in dark jacket and trousers, with a black silk scarf draped Ascot fashion at his throat, just as he had worn at his hotel in New York. When he saw that we were aware of him, he lifted a white hand in greeting and descended two steps to meet us coming toward him. I offered him my hand, and he gave it a quick, sharp pressure, as though he were investigating the texture of my flesh and bone.

"I am glad to see you here so soon, Mr. Connatt," he said cordially. "Now we need wait only for Miss Vining, who should arrive before dark. Miss Holgar came yesterday, and Davidson this morning."

He nodded his chestnut curls. "A caretaker will come here each day, to prepare lunch and dinner and to clean. He lives several miles up the road, and will spend his nights at home. But we of the play itself will be in residence, and we alone—a condition fully in character, I feel, with the attitude of mystery and reserve we have assumed toward our interesting production. For breakfasts, Davidson will be able to look after us."

"Huh!" grunted Jake. "That Davidson can act, manage, stage-hand, cook—he does everything."

"Almost everything," said Varduk dryly, and his eyes turned long and expressionlessly upon my friend, who immediately subsided. In the daylight I saw that Varduk's eyes were hazel; on the night I had met him at his hotel they had seemed thunder-dark.

"You, too, are considered useful at many things around the theater, Switz," Varduk continued. "I took that into consideration when Miss Holgar, though she left her maid behind, insisted on including you in the company. I daresay, we can depend on you to help Davidson with the staging and so on."

"Oh, yes, sure," Jake made reply. "Certainly. Miss Holgar, she wants me to do that."

"Very good." Varduk turned on the heel of his well-polished boot. "Suppose," he added over his shoulder, "that you take Mr. Connatt up to the loft of the boathouse. Mr. Connatt, do you mind putting up with Switz?"

"Not in the least," I assured him readily, and took up two of my bags. Jake had already lifted the third and heaviest.

We nodded to Varduk and skirted the side of the lodge, walked down to the water, then entered the boathouse. It was a simple affair of well-chinked logs. Two leaky-looking canoes still occupied the lower part of it, but we picked our way past them and ascended a sturdy staircase to a loft under the peaked roof. This had been finished with wall-board and boasted a window at each end. Two cots, a rug, a wash-stand, a table and several chairs made it an acceptable sleeping-apartment.

"This theater is half-way to the never-never land," I commented as I began to unpack.

"I should live so—I never saw the like of it," Jake said earnestly. "How are people going to find their way here? Yesterday I began to talk about signs by the side of the road. Right off at once, Varduk said no. I begged like a poor relation left out of his uncle's will. Finally he said yes—but the signs must be small and dignified, and put up only a day before the show begins."

I wanted to ask a question about his adventure of the previous night, but Jake shook his head in refusal to discuss it. "Not here," he said. "Gib, who knows who may be listening?" He dropped his voice. "Or even what might be listening?"

I lapsed into silence and got out old canvas sneakers, flannel slacks and a Norfolk jacket, and changed into them. Dressed in this easy manner, I left the boathouse and stood beside the lake. At once a voice hailed me. Sigrid was walking along the water's edge, smiling in apparent delight.

We came face to face; I bent to kiss her hand. As once before, it fluttered under my lips, but when I straightened again I saw nothing of distaste or unsteadiness in her expression.

"I haven't seen very much of it yet," I told her. "I want to see the inside of the theater."

She took her hand away from me and thrust it into the pocket of the old white sweater she wore. "I think that I love it here," she said, with an air of gay confession. "Not all of the hermit stories about me are lies. I could grow truly fat—God save the mark!—on quiet and serenity."

"He has more understanding than any other theatrical executive in my experience," she responded emphatically. "He fills me with the wish to work. I'm like a starry-eyed beginner again. What would you say if I told you that I was sweeping my own room and making my own bed?"

Her laughter was full of delight. "You sound as if you mean it, Gib. It is nice to know you as a friend again."

It seemed to me that she emphasized the word "friend" a trifle, as though to warn me that our relationship would nevermore become closer than that. Changing the subject, I asked her if she had swum in the lake; she had, and found it cold. How about seeing the theater? Together we walked toward the lodge and entered at a side door.

The auditorium was as Jake had described it to me, and I saw that Varduk liked a dark tone. He had stained the paneling, the benches, and the beams a dark brown. Brown, too, was the heavy curtain that hid the stage.

"We'll be there tonight," said Sigrid, nodding stageward. "Varduk has called the first rehearsal for immediately after dinner. We eat together, of course, in a big room upstairs."

"May I sit next to you when we eat?" I asked, and she laughed yet again. She was being as cheerful as I had ever known her to be.

"You sound like the student-hero in a light opera, Gib. I don't know about the seating-arrangement. Last night I was at the head of the table, and Varduk at the foot. Jake and Mr. Davidson were at either side of me."

"A gallant note, Mr. Connatt, and one that I hope you can capture as pleasantly for the romantic passages of our Ruthven. By the bye, our first rehearsal will take place this evening."

"So Miss Holgar has told me," I nodded. "I have studied the play rather prayerfully since Davidson gave me a copy. I hope I'm not a disappointment in it."

"I am sure that you will not be," he said kindly. "I did not choose disappointing people for my cast."

Davidson entered from the front, to say that Martha Vining had arrived. Varduk moved away, stiff in his walk as I had observed before. Sigrid and I went through the side door and back into the open.

That evening I kept my promise to find a place by Sigrid at the table. Davidson, entering just behind me, looked a trifle chagrined but sat at my other side, with Martha Vining opposite. The dinner was good, with roast mutton, salad and apple tart. I thought of Judge Pursuivant's healthy appetite as I ate.

After the coffee, Varduk nodded to the old man who served as caretaker, cook and waiter, as in dismissal. Then the producer's hazel eyes turned to Sigrid, who took her cue and rose. We did likewise.

"Shall we go down to the stage?" Varduk said to us. "It's time for our first effort with Ruthven."

We went down a back stairway that brought us to the empty stage. A light was already burning, and I remember well that my first impression was of the stage's narrowness and considerable depth. Its back was of plaster over the outer timbers, but at either side partitions of paneling had been erected to enclose the cell-like dressing-rooms. One of the doors bore a star of white paint, evidently for Sigrid. Against the back wall leaned several open frames of wood, with rolls of canvas lying ready to be tacked on and painted into scenery.

Varduk had led the way down the stairs, and at the foot he paused to call upward to Davidson, who remained at the rear of the procession. "Fetch some chairs," he ordered, and the tall subordinate paused to gather them. He carried down six at once, his long strong arms threaded through their open backs. Varduk showed him with silent gestures where to arrange them, and himself led Sigrid to the midmost of them, upstage center.

"Sit down, all," he said to the rest of us. "Curtain, Davidson." He waited while the heavy pall rolled ponderously upward against the top of the arch. "Have you got your scripts, ladies and gentlemen?"

We all had, but his hands were empty. I started to offer him my copy, but he waved it away with thanks. "I know the thing by heart," he informed me, though with no air of boasting. Remaining still upon his feet, he looked around our seated array, capturing every eye and attention.

"The first part of Ruthven is, as we know already, in iambic pentameter—the 'heroic verse' that was customary and even expected in dramas of Byron's day. However, he employs here his usual trick of breaking the earlier lines up into short, situation-building speeches. No long and involved declamations, as in so many creaky tragedies of his fellows. He wrote the same sort of opening scenes for his plays the world has already seen performed—Werner, The Two Foscari, Marino Faliero and The Deformed Transformed."

Martha Vining cleared her throat. "Doesn't Manfred begin with a long, measured soliloquy by the central character?"

"It does," nodded Varduk. "I am gratified, Miss Vining, to observe that you have been studying something of Byron's work." He paused, and she bridled in satisfaction. "However," he continued, somewhat maliciously, "you would be well advised to study farther, and learn that Byron stated definitely that Manfred was not written for the theater. But, returning to Ruthven, with which work we are primarily concerned, the short, lively exchanges at the beginning are Aubrey's and Malvina's." He quoted from memory. "'Scene, Malvina's garden. Time, late afternoon—Aubrey, sitting at Malvina's feet, tells his adventures.' Very good, Mr. Connatt, take your place at Miss Holgar's feet."

I did so, and she smiled in comradely fashion while waiting for the others to drag their chairs away. Glancing at our scripts, we began:

"Capital, capital," interrupted Varduk pleasantly. "I know that the play is written in a specific meter, yet you need not speak as though it were. If anything, make the lines less rhythmic and more matter-of-fact. Remember, you are young lovers, half bantering as you woo. Let your audience relax with you. Let it feel the verse form without actually hearing."

We continued, to the line where Aubrey tells of his travel-acquaintance Ruthven. Here the speech became definite verse:

Followed the story, which I have outlined elsewhere, of the encounter with bandits and Ruthven's apparent sacrifice of himself to cover Aubrey's retreat. Then Martha Vining, as the maid Bridget, spoke to announce Ruthven's coming, and upon the heels of her speech Varduk moved stiffly toward us.

"Aubrey!" he cried, in a rich, ringing tone such as fills theaters, and not at all like his ordinary gentle voice. I made my due response:

In the rôle of Ruthven, Varduk's interruption was as natural and decisive as when, in ordinary conversation, he neatly cut another's speech in two with a remark of his own. I have already quoted this reply of Ruthven's:

He was speaking the line, of course, without script, and his eyes held mine. Despite myself, I almost staggered under the weight of his glance. It was like that which Aubrey actually credits to Ruthven—lead-heavy instead of piercing, difficult to support.

The rehearsal went on, with Ruthven's seduction of Bridget and his court to the nervous but fascinated Malvina. In the end, as I have synopsized earlier, came his secret and miraculous revival from seeming death. Varduk delivered the final rather terrifying speech magnificently, and then abruptly doffed his Ruthven manner to smile congratulations all around.

"It's more than a month to our opening date in July," he said, "and yet I would be willing to present this play as a finished play, no later than this day week. Miss Holgar, may I voice my special appreciation? Mr. Connatt, your confessed fear of your own inadequacy is proven groundless. Bravo, Miss Vining—and you, Davidson." His final tag of praise to his subordinate seemed almost grudging. "Now for the second act of the thing. No verse this time, my friends. Finish the rehearsal as well as you have begun."

"Wait," I said. "How about properties? I simulated the club-stroke in the first act, but this time I need a sword. For the sake of feeling the action better——"

"Yes, of course," granted Varduk. "There's one in the corner dressing-room." He pointed. "Go fetch it, Davidson."

"This isn't a prop at all," I half objected. "It's the real thing. Won't it be dangerous?"

"Oh, I think we can risk it," Varduk replied carelessly. "Let's get on with the rehearsal. A hundred years later, in the same garden. Swithin and Mary, descendants of Aubrey and Malvina, on-stage."

We continued. The opening, again with Sigrid and myself a-wooing, was lively and even brilliant. Martha Vining, in her rôle of the centenarian Bridget, skilfully cracked her voice and infused a witch-like quality into her telling of the Aubrey-Ruthven tale. Again the entrance of Ruthven, his suavity and apparent friendliness, his manner changing as he is revealed as the resurrected fiend of another age; finally the clash with me, as Swithin.

I spoke my line—"My ancestor killed you once, Ruthven. I can do the same today." Then I poked at him with the sword.

Varduk smiled and interjected, "Rather a languid thrust, that, Mr. Connatt. Do you think it will seem serious from the viewpoint of our audience?"

I did so, but he laughed almost in scorn. "You still put no life into the thrust." He spread his hands, as if to offer himself as a target. "Once more. Don't be an old woman."

Losing a bit of my temper, I made a genuine lunge. My right foot glided forward and my weight shifted to follow my point. But in mid-motion I knew myself for a danger-dealing fool, tried to recover, failed, and slipped.

I almost fell at full length—would have fallen had Varduk not been standing in my way. My sword-point, completely out of control, drove at the center of his breast—I felt it tear through cloth, through flesh——

A moment later his slender hands had caught my floundering body and pushed it back upon its feet. My sword, wedged in something, snatched its hilt from my hand. Sick and horrified, I saw it protruding from the midst of Varduk's body. Behind me I heard the choked squeal of Martha Vining, and an oath from Jake Switz. I swayed, my vision seemed to swim in smoky liquid, and I suppose I was well on the way to an unmasculine swoon. But a light chuckle, in Varduk's familiar manner, saved me from collapsing.

"That is exactly the way to do it, Mr. Connatt," he said in a tone of well-bred applause.

He drew the steel free—I think that he had to wrench rather hard—and then stepped forward to extend the hilt.

"Oh, that?" he glanced down at the blade. "Just a deceit for the sake of realism. You arranged the false-blood device splendidly, Davidson." He pushed the hilt into my slack grasp. "Look, the imitation gore is already evaporating."

She, too, had been horrified by the seeming catastrophe, but she came gamely up to the bit where Mary pleads for Swithin's life, offering herself as the price. Half a dozen exchanges between Ruthven and Mary, thus:

"You will swear so, upon the book yonder?" (Here Ruthven points to a Bible, open on the garden-seat.)

"I know only the power to which I pray. 'Our Father, which wert in heaven——'"

Sigrid, as I say, had done well up to now, but here she broke off. "It isn't correct there," she pointed out. "The prayer should read, 'art in heaven.' Perhaps the script was copied wrongly."

Varduk had frowned a moment, as if perplexed, but he spoke decisively. "As a matter of fact, it's in the original. Byron undoubtedly meant it to be so, to show Mary's agitation."

Sigrid had been reading ahead. "Farther down in the same prayer, it says almost the same thing—'Thy will be done on earth as it was in heaven.' It should be, 'is in heaven.'"

I had found the same deviation in my own copy. "Byron hardly meant Mary's agitation to extend so far," I argued.

"Since when, Mr. Connatt," inquired Varduk silkily, "did you become an authority on what Byron meant, here or elsewhere in his writings? You're being, not only a critic, but a clairvoyant."

I felt my cheeks glowing, and I met his heavy, mocking gaze as levelly as I could. "I don't like sacrilegious mistakes," I said, "and I don't like being snubbed, sir."

Davidson stepped to Varduk's side. "You can't talk to him like that, Connatt," he warned me.

Davidson was a good four inches taller than I, and more muscular, but at the moment I welcomed the idea of fighting him. I moved a step forward.

"Mr. Davidson," I said to him, "I don't welcome dictation from you, not on anything I choose to do or say."

Sigrid cried out in protest, and Varduk lifted up a hand. He smiled, too, in a dazzling manner.

"I think," he said in sudden good humor, "that we are all tired and shaken. Perhaps it's due to the unintentional realism of that incident with the sword—I saw several faces grow pale. Suppose we say that the rehearsals won't include so dangerous-looking an attack hereafter; we'll save the trick for the public performance itself. And we'll stop work now; in any case, it's supposed to be unlucky to speak the last line of a play in rehearsal. Shall we all go and get some rest?"

He turned to Sigrid and offered his arm. She took it, and they walked side by side out of the stage door and away. Martha Vining followed at their heels, while Davidson lingered to turn out the lights. Jake and I left together for our own boathouse loft. The moon was up, and I jumped when leaves shimmered in its light—I remembered Jake's story about the amorphous lurkers in the thickets.

But nothing challenged us, and we went silently to bed, though I, at least, lay wakeful for hours.

When finally I slept, it was to dream in strange, unrelated flashes. The clearest impression of all was that Sigrid and Judge Pursuivant came to lead me deep into the dark woods beyond the lodge. They seemed to know their way through pathless thickets, and finally beckoned me to follow into a deep, shadowed cleft between banks of earth. We descended for miles, I judged in my dream, until we came to a bare, hard floor at the bottom. Here was a wide, round hatchway of metal, like a very large sewer lid. Bidding me watch, Sigrid and the judge bent and tugged the lid up and away. Gazing down the exposed shaft, it was as if I saw the heavens beneath my feet—the fathomlessness of the night sky, like velvet all sprinkled with crumbs of star-fire. I did not know whether to be joyful or to fear; then I had awakened, and it was bright morning.

The air was warmer than it had been the day before, and I donned bathing-trunks and went downstairs, treading softly to let Jake snore blissfully on. Almost at the door of the boathouse I came face to face with Davidson, who smiled disarmingly and held out his hand. He urged me to forget the brief hostility that had come over us at rehearsal; he was quite unforced and cheerful about it, yet I surmised that Varduk had bade him make peace with me. However, I agreed that we had both been tired and upset, and we shook hands cordially.

Then I turned toward the water, and saw Sigrid lazily crawling out into the deep stretches with long, smooth strokes. I called her name, ran in waist-deep, and swam as swiftly as I could, soon catching up. She smiled in welcome and turned on her side to say good-morning. In her brief bathing-suit she did not look so gaunt and fragile. Her body was no more than healthily slim, and quite firm and strong-looking.

"I think that was rather beautiful, I mean about the heavens below your feet," she said. "Symbolism might have something to say about it. In a way the vision was prophetic—Judge Pursuivant has sent word that he will call on us."

"Perhaps the rest was prophetic, too," I ventured boldly. "You and I together, Sigrid—and heaven at our feet——"

"I've been in long enough," she announced suddenly, "and breakfast must be ready. Come on, Gib, race me back to shore."

She was off like a trout, and I churned after her. We finished neck and neck, separated and went away to dress. At breakfast, which Davidson prepared simply but well of porridge, toast and eggs, I did not get to sit next to Sigrid; Davidson and Jake had found places at her left and right hands. I paid what attentions I could devise to Martha Vining, but if Sigrid was piqued by my courtliness in another direction, she gave no sign.

The meal over, I returned to my room, secured my copy of Ruthven and carried it outdoors to study. I chose a sun-drenched spot near the lodge, set my back to a tree, and leafed through the play, underlining difficult passages here and there. I remembered Varduk's announcement that we would never speak the play's last line in rehearsal, lest bad luck fall. He was superstitious, for all his apparent wisdom and culture; yet, according to the books Judge Pursuivant had lent me, so was Lord Byron, from whom Varduk claimed descent. What was the ill-omened last line, by the way?

The final line, as typewritten by Davidson, contained only a few words. My eyes found it:

And no more than that. There was place for a speech after the stage direction, apparently the monster's involuntary cry for blessing upon the brave girl, but Davidson had not set down such a speech.

Amazed and in some unaccountable way uneasy, I walked around the corner of the lodge to where Martha Vining, seated on the door-step, also studied her lines. Before I had finished my first question, she nodded violently.

"It's the same way on my script," she informed me. "You mean, the last speech missing. I noticed last night, and mentioned it before breakfast to Miss Holgar. She has no last line, either."

"Davidson must have made a careless omission," he said. "Of course, there is only one typescript of the play, with carbon copies. Well, if the last line is missing, isn't it a definite sign that we should not speak it in rehearsal?"

He rested his heavy gaze upon me, then upon Martha Vining, smiled to conclude the discussion, and drew back into the hallway and beyond our sight.

Judge Pursuivant arrived for lunch, dressed comfortably in flannels and a tweed jacket, and his performance at table was in healthy contrast to Varduk, who, as usual, ate hardly anything. In the early afternoon I induced the judge to come for a stroll up the slope and along the main road. As soon as we were well away from the lodge, I told him of Jake's adventure, the outcome of the sword-accident at rehearsal, and the air of mystery that deepened around the omitted final speech of the play.

"Perhaps I'm being nervous and illusion-ridden," I began to apologize in conclusion, but he shook his great head.

"You're being nothing of the sort, Connatt. Apparently my semi-psychic intuition was good as gold. I did perfectly right in following this drama and its company out here into the wilderness."

"My friend's cabin in the neighborhood was a stroke of good luck, and I more than half courted the invitation to occupy it. I'll be frank, Connatt, and say that from the outset I have felt a definite and occult challenge from Varduk and his activities."

He chopped at a weed with his big malacca stick, pondered a moment, then continued.

"Your Mr. Varduk is a mysterious fellow. I need not enlarge on that, though I might remind you of the excellent reason for his strange character and behavior."

I stopped in mid-stride and turned to face the judge. He smiled somewhat apologetically.

"I know, Connatt," he said, "that modern men and women think such things impossible. They think it equally impossible that anyone of good education and normal mind should take occultism seriously. But I disprove the latter impossibility, at least—I hold degrees from three world-famous universities, and my behavior, at least, shows that I am neither morbid nor shallow."

"Certainly not," I assented, thinking of his hearty appetite, his record of achievement in many fields, his manifest kindness and sincerity.

"Then consent to hear my evidence out." He resumed his walk, and I fell into step with him. "It's only circumstantial evidence, I fear, and as such must not be entirely conclusive. Yet here it is:

"Byron was the ideal target for a curse, not only personally but racially. His forebears occupied themselves with revolution, dueling, sacrilege and lesser sins—they were the sort who attract and merit disaster. As for his immediate parents, it would be difficult to choose a more depraved father than Captain 'Mad Jack' Byron, or a more unnatural mother than Catherine Gordon of Gight. Brimstone was bred into the child's very soul by those two. Follow his career, and what is there? Pride, violence, orgy, disgrace. Over his married life hangs a shocking cloud, an unmentionable accusation—rightly or not we cannot say. As for his associates, they withered at his touch. His children, lawful and natural, died untimely and unhappy. His friends found ruin or death. Even Doctor Polidori, plagiarist of the Ruthven story, committed suicide. Byron himself, when barely past his first youth, perished alone and far from home and friends. Today his bright fame is blurred and tarnished by a wealth of legend that can be called nothing less than diabolic."

"Yet he wasn't all unlucky," I sought to remind my companion. "His beauty and brilliance, his success as a poet——"

"All part of the curse. When could he be thankful for a face that drew the love of Lady Caroline Lamb and precipitated one of London's most fearful scandals? As for his poetry, did it not mark him for envy, spite and, eventually, a concerted attack? I daresay Byron would have been happier as a plain-faced mechanic or grocer."

I felt inclined to agree, and said as much. "If a curse exists," I added, "would it affect Varduk as a descendant of Byron?"

"I think that it would, and that his recent actions prove at once the existence of a curse and the truth of his claim to descent. A shadow lies on that man, Connatt."

"The rest of the similarity holds," I responded. "The charm and the genius. I have wondered why Miss Holgar agrees to this play. It is archaic, in some degree melodramatic, and her part is by no means dominant. Yet she seems delighted with the rôle and the production in general."

"I have considered the same apparent lapse of her judgment," said Pursuivant, "and came to the conclusion that you are about to suggest—that Varduk has gained some sort of influence over Miss Holgar."

"Perhaps, then, you feel that such an influence would be dangerous to her and to others?"

I scowled at Davidson in surprized protest at his intrusion. Judge Pursuivant did not scowl, but I saw him lift his walking-stick with his left hand, place his right upon the curved handle, and gave it a little twist and jerk, as though preparing to draw a cork from a bottle. Davidson grinned placatingly.

"Please, gentlemen! I didn't mean to eavesdrop, or to do anything else sneaking. It was only that I went for a walk, too, saw the pair of you ahead, and hurried to catch up. I couldn't help but hear the final words you were saying, and I couldn't help but warn you."

"May I amplify? First of all, Varduk certainly does not intend to harm either of you. Second, he isn't the sort of man to be crossed in anything."

"I suppose not," I rejoined, trying to be casual. "You must be pretty sure, Davidson, of his capabilities and character."

Pursuivant leaned on his stick and produced his well-seasoned briar pipe. "It's comforting to hear you say that. I mean, that Mr. Varduk was once a college boy. I was beginning to wonder if he wasn't thousands of years old."

Davidson shook his head slowly. "See here, why don't we sit down on the bank and talk? Maybe I'll tell you a story."

"Very good," agreed Pursuivant, and sat down. I did likewise, and we both gazed expectantly at Davidson. He remained standing, with hands in pockets, until Pursuivant had kindled his pipe and I my cigarette. Then:

"I'm not trying to frighten you, and I won't give away any real secrets about my employer. It's just that you may understand better after you learn how I met him.

"It was more than ten years ago. Varduk came to Revere College as a freshman when I was a junior. He was much the same then as he is now—slender, quiet, self-contained, enigmatic. I got to know him better than anyone in school, and I can't say truly that I know him, not even now.

"Revere, in case you never heard of the place, is a small school with a big reputation for grounding its students hock-deep in the classics."

Pursuivant nodded and emitted a cloud of smoke. "I knew your Professor Dahlberg of Revere," he interjected. "He's one of the great minds of the age on Greek literature and history."

Davidson continued: "The buildings at Revere are old and, you might say, swaddled in the ivy planted by a hundred graduating classes. The traditions are consistently mellow, and none of the faculty members come in for much respect until they are past seventy. Yet the students are very much like any others, when class is over. In my day, at least, we gave more of a hoot for one touch-down than for seven thousand odes of Horace."

He smiled a little, as though in mild relish of memories he had evoked within himself.

"The football team wasn't very good, but it wasn't very bad, either. It meant something to be on the first team, and I turned out to be a fairish tackle. At the start of my junior year, the year I'm talking about, a man by the name of Schaefer was captain—a good fullback though not brilliant, and the recognized leader of the campus.

"Varduk didn't go in for athletics, or for anything else except a good stiff course of study, mostly in the humanities. He took a room at the end of the hall on the third floor of the men's dormitory, and kept to himself. You know how a college dorm loves that, you men. Six days after the term started, the Yellow Dogs had him on their list."

"Oh, there's a bunch like it in every school. Spiritual descendants of the Mohocks that flourished in Queen Anne's reign; rough and rowdy undergraduates, out for Halloween pranks every night. And any student, particularly any frosh, that stood on his dignity——" He paused and let our imagination finish the potentialities of such a situation.

"So, one noon after lunch at the training-table, Schaefer winked at me and a couple of other choice spirits. We went to our rooms and got out our favorite paddles, carved from barrel-staves and lettered over with fraternity emblems and wise-cracks. Then we tramped up to the third floor and knocked loudly at Varduk's door.

"He didn't answer. We tried the knob. The lock was on, so Schaefer dug his big shoulder into the panel and smashed his way in."

Davidson stopped and drew a long breath, as if with it he could win a better ability to describe the things he was telling.

"Varduk lifted those big, deep eyes of his as we appeared among the ruins of his door. No fear, not even surprize. Just a long look, traveling from one of us to another. When he brought his gaze to me, I felt as if somebody was pointing two guns at me, two guns loaded to their muzzles."

"He was sitting comfortably in an armchair," went on Davidson, rocking on his feet as though nervous with the memory, "and in his slender hands he held a big dark book. His forefinger marked a place between the leaves.

"Varduk did not move or speak. He looked, and Schaefer bellowed louder, against a sudden and considerable uneasiness.

"'A very interesting work,' Varduk replied gently. 'It teaches how to rule people.'

"'I doubt if you would like it,' Varduk said, but Schaefer made a grab. The book came open in his hands. He bent, as if to study it.

"Then he took a blind, lumbering step backward. He smacked into the rest of us all bunched behind him, and without us I think he might have fallen down. I couldn't see his face, but the back of his big bull-neck had turned as white as plaster. He made two efforts to speak before he managed it. Then all he could splutter out was 'Wh-what——'"

Davidson achieved rather well the manner of a strong, simple man gone suddenly shaky with fright.

"'I told you that you probably wouldn't like it,' Varduk said, like an adult reminding a child. Then he got up out of his armchair and took the book from Schaefer's hands. He began to talk again. 'Schaefer, I want to see you here in this room after you finish your football practise this afternoon.'

"Schaefer didn't make any answer. All of us edged backward and got out of there."

"No, it isn't. In a way, it's just the beginning. Schaefer made an awful fool of himself five or six times on the field that day. He dropped every one of his passes from center when we ran signals, and five or six times he muffed the ball at drop-kick practise. The coach told him in front of everybody that he acted like a high school yokel. When we finished and took our showers, he hung back until I came out, so as to walk to the dormitory with me. He tagged along like a frightened kid brother, and when we got to the front door he started upstairs like an old man. He wanted to turn toward his own room on the second floor; but Varduk's voice spoke his name, and we both looked up, startled. On the stairs to the third flight stood Varduk, holding that black book open against his chest.

"Schaefer tried to swear at him. After all, here was a frail, pale little frosh, who didn't seem to have an ounce of muscle on his bones, giving orders to a big football husky who weighed more than two hundred pounds. But the swear words sort of strangled in his throat. Varduk laughed. Neither of you have ever heard a sound so soft or merciless.

"Schaefer turned and came slowly to the stairs and up them. When he got level with Varduk, I didn't feel much like watching the rest. As I moved away toward my room, I saw Varduk slip his slender arm through Schaefer's big, thick one and fall into step with him, just as if they were going to have the nicest schoolboy chat you can imagine."

Davidson shuddered violently, and so, despite the warm June air, did I. Pursuivant seemed a shade less pink.

"Here, I've talked too much," Davidson said, with an air of embarrassment. "Probably it's because I've wanted to tell this story—over a space of years. No point in holding back the end, but I'd greatly appreciate your promise—both your promises—that you'll not pass the tale on."

"I had barely got to my own digs when there was a frightful row outside, shouts and scamperings and screamings; yes, screamings, of young men scared out of their wits. I jumped up and hurried downstairs and out. There lay Schaefer on the pavement in front of the dormitory. He was dead, with the brightest red blood all over him. About twenty witnesses, more or less, had seen him as he jumped out of Varduk's window.

"The faculty and the police came, and Varduk spent hours with them, being questioned. But he told them something satisfactory, for he was let go and never charged with any responsibility.

"Late that night, as I sat alone at my desk trying to drive from my mind's eye the bright, bright red of Schaefer's blood, a gentle knock sounded at my door. I got up and opened. There stood Varduk, and he held in his hands that black volume. I saw the dark red edging on its pages, the color of blood three hours old.

"'I wondered,' he said in his soft voice, 'if you'd like to see the thing in my book that made your friend Schaefer so anxious to leave my room.'

"Then he spoke, briefly but very clearly, about certain things he hoped to do, and about how he needed a helper. He said that I might be that helper. I made no reply, but he knew that I would not refuse.

"He ordered me to kneel, and I did. Then he showed me how to put my hands together and set them between his palms. The oath I took was the medieval oath of vassalage. And I have kept my oath from that day to this."

Davidson abruptly strode back along the way to the lodge. He stopped at half a dozen paces' distance.

"Maybe I'd better get along," he suggested. "You two may want to think and talk about what I have said, and my advice not to get in Varduk's way."

With that he resumed his departure, and went out of sight without once looking back again.

Judge Pursuivant and I remained sitting on the roadside bank until Davidson had completely vanished around a tree-clustered bend of the way. Then my companion lifted a heavy walking-boot and tapped the dottle from his pipe against the thick sole.

I shook my head dubiously. My mustache prickled on my upper lip, like the mane of a nervous dog. "If it was true," I said slowly, "how did Davidson dare tell it?"

Pursuivant nodded. "My knowledge of underworld argot is rather limited, but I believe that the correct phrase is 'lay off'. We're being told to do that, and in a highly interesting manner. As to whether or not the story is true, I'm greatly inclined to believe that it is."

I drew another cigarette from my package, and my hand trembled despite itself. "Then the man is dangerous—Varduk, I mean. What is he trying to do to Sigrid?"

"That is what perplexes me. Once, according to your little friend Jake Switz, he defended her from some mysterious but dangerous beings. His behavior argues that he isn't the only power to consider."

The judge held a match for my cigarette. His hand was steady, and its steadiness comforted me.

"That's what we'd better talk about." Pursuivant took his stick and rose to his feet. "Let's get on with our walk, and make sure this time that nobody overhears us."

"You feel that it is Miss Holgar who is threatened. That's no more than guess-work on your part, supplemented by the natural anxiety of a devoted admirer—if you'll pardon my mentioning that—but you are probably right. Varduk seems to have exerted all his ingenuity and charm to induce her to take a part in this play, and at this place. The rest of you he had gathered more carelessly. It is reasonably safe to say that whatever happens will happen to Miss Holgar."

"That we do not know as yet," I began to speak again, but he lifted a hand. "Please let me finish. Perhaps you think that we should do what we can to call off the play, get Miss Holgar out of here. But I reply, having given the matter deep thought, that such a thing is not desirable."

"Not desirable?" I echoed, my voice rising in startled surprize. "You mean, she must stay here? In heaven's name, why?"

"Because evil is bound to occur. To spirit her away will be only a retreat. The situation must be allowed to develop—then we can achieve victory. Why, Connatt," he went on warmly, "can you not see that the whole atmosphere is charged with active and super-normal perils? Don't you know that such a chance, for meeting and defeating the power of wickedness, seldom arises? What can you think of when you want to run away?"

"Handsomely put. All right, then; when you go back to the lodge, tell her what we've said and suggest that she leave."

I shook my head, more hopelessly than before. "You know that she wouldn't take me seriously."

"Just so. Nobody will take seriously the things we are beginning to understand, you and I. We have to fight alone—but we'll win." He began to speak more brightly. "When is the play supposed to have its first performance?"

"Sometime after the middle of July. I've heard Varduk say as much several times, though he did not give the exact date."

Pursuivant grew actually cheerful. "That means that we have three weeks or so. Something will happen around that time—presumably on opening night. If time was not an element, he would not have defended her on her first night here."

I felt somewhat reassured, and we returned from our stroll in fairly good spirits.

Varduk again spoke cordially to Pursuivant, and invited him to stay to dinner. "I must ask that you leave shortly afterward," he concluded the invitation. "Our rehearsals have something of secrecy about them. You won't be offended if——"

"Of course not," Pursuivant assured him readily, but later the judge found a moment to speak with me. "Keep your eyes open," he said earnestly. "He feels that I, in some degree familiar with occult matters, might suspect or even discover something wrong about the play. We'll talk later about the things you see."

The evening meal was the more pleasant for Judge Pursuivant's high-humored presence. He was gallant to the ladies, deferential to Varduk, and witty to all of us. Even the pale, haunted face of our producer relaxed in a smile once or twice, and when the meal was over and Pursuivant was ready to go, Varduk accompanied him to the door, speaking graciously the while.

"You will pardon me if I see you safely to the road. It is no more than evening, yet I have a feeling——"

"And I have the same feeling," said Pursuivant, not at all heavily. "I appreciate your offer of protection."

Varduk evidently suspected a note of mockery. He paused. "There are things, Judge Pursuivant," he said, "against which ordinary protection would not suffice. You have borne arms, I believe, yet you know that they will not always avail."

They had come to the head of the front stairs, leading down to the lobby of the theater. The others at table were chattering over a second cup of coffee, but I was straining my ears to hear what the judge and Varduk were saying.

"Arms? Yes, I've borne them," Pursuivant admitted. "Oddly enough, I'm armed now. Should you care to see?"

He lifted his malacca walking-stick in both hands, grasping its shank and the handle. A twist and a jerk, and it came apart, revealing a few inches of metal. Pursuivant drew forth, as from a sheath, a thin, gleaming blade.

"And a singularly interesting one," elaborated Pursuivant. "Quite old, as you can see for yourself."

Varduk peered. "Yes, I can make it out, though it seems worn." He pursed his lips, then read aloud, very slowly: "Sic pereant omnes inimici tui, Domine. It sounds like Scripture."

"That's what it is, Mr. Varduk," Pursuivant was saying blandly. "The King James Version has it: 'So let all thine enemies perish, O Lord.' It's from Deborah's song—fifth chapter of Judges."

Varduk was plainly intrigued. "A war-like text, I must say. What knight of the church chose it for his battle cry?"

When Varduk returned he called us at once to rehearsal. He was as alert as he had been the night before, but much harder to please. Indeed, he criticized speeches and bits of stage business that had won his high praise at the earlier rehearsal, and several times he called for repetitions and new interpretations. He also announced that at the third rehearsal, due the next day, he would take away our scripts.

"You are all accomplished actors," he amplified. "You need nothing to refresh good memories."

"I'd like to keep my book," begged Martha Vining, but Varduk smiled and shook his head.

When we approached the climactic scene, with Swithin's attempt to kill Ruthven and Mary's attempted sacrifice, Varduk did not insist on stage business; in fact, he asked us flatly to speak our lines without so much as moving from our places. If this was to calm us after the frightening events of the night before, it did not succeed. Everyone there remembered the accidental sword-thrust, and Varduk's seeming invulnerability; it was as though their thoughts were doleful spoken words.

Rehearsal over—again without the final line by Ruthven—Varduk bade us a courteous good-night and, as before, walked out first with Sigrid and Martha Vining. I followed with Jake, but at the threshold I touched his arm.

Varduk and the two women had gone out of sight around the rear of the building. Nobody challenged us as we walked silently in the direction of the road, but I had a sensation as of horrors all around me, inadequately bound back with strands that might snap at any moment.

"What's it about, Gib?" asked Jake once, but at that moment I saw what I had somehow expected and feared to see.

A silent figure lay at the foot of the upward-sloping driveway to the road. We both ran forward, coming up on either side of that figure.

The moon showed through broken clouds. By its light we recognized Judge Pursuivant, limp and apparently lifeless. Beside him lay the empty shank of his walking-stick. His right fist still clenched around the handle, and the slender blade set therein was driven deeply into the loam.

I did not know what to do, but Jake did. He knelt, scooped the judge's head up and set it against his knee, then slapped the flaccid cheeks with his open palm. Pursuivant's eyelids and mustache fluttered.

Jake snorted approvingly and lifted his own crossed eyes to mine. "I guess he's all right, Gib. Just passed out is all. Maybe better you go to Varduk and ask for some brand——"

I doubt if any writer, however accomplished, has ever done full justice to the emotion of terror.

To mention the icy chill at the back-bone, the sudden sinewless trembling of the knees, the withering dryness of throat and tongue, is to be commonplace; and terror is not commonplace. Perhaps to remember terror is to know again the helplessness and faintness it brings.

Therefore it must suffice to say that, as I turned and saw the closing in of those pale-glowing blots of menace, I wanted to scream, and could not; to run, and could not; to take my gaze away, and could not.

If I do not describe the oncoming creatures—if creatures indeed they were—it is because they defied clear vision then and defy clear recollection now. Something quasi-human must have hung about them, something suggestive of man's outline and manner, as in a rough image molded by children of snow; but they were not solid like snow. They shifted and swirled, like wreaths of thick mist, without dispersing in air. They gave a dim, rotten light of their own, and they moved absolutely without sound.

"It's them," gulped Jake Switz beside me. He, too, was frightened, but not as frightened as I. He could speak, and move, too—he had dropped Pursuivant's head and was rising to his feet. I could hear him suck in a lungful of air, as though to brace himself for action.

His remembered presence, perhaps the mere fact of his companionship before the unreasoned awfulness of the glow-shadowy pack that advanced to hem us in, gave me back my own power of thought and motion. It gave me, too, the impulse to arm myself. I stooped to earth, groped swiftly, found and drew forth from its bed the sword-cane of Judge Pursuivant.

The non-shapes—that paradoxical idea is the best I can give of them—drifted around me, free and weightless in the night air like luminous sea-things in still, dark water. I made a thrust at the biggest and nearest of them.

I missed. Or did I? The target was, on a sudden, there no longer. Perhaps I had pierced it, and it had burst like a flimsy bladder. Thus I argued within my desperate inner mind, even as I faced about and made a stab at another. In the same instant it had gone, too—but the throng did not seem diminished. I made a sweeping slash with my point from side to side, and the things shrank back before it, as though they dared not pass the line I drew.

"Give 'em the works, Gib!" Jake was gritting out. "They can be hurt, all right!"

I laughed, like an impudent child. I felt inadequate and disappointed, as when in dreams a terrible adversary wilts before a blow I am ashamed of.

"Come on," I challenged the undefinable enemy, in a feeble attempt at swagger. "Let me have a real poke at——"

"Hold hard," said a new voice. Judge Pursuivant, apparently wakened by this commotion all around him, was struggling erect. "Here, Connatt, give me my sword." He fairly wrung it from my hand, and drove back the misty horde with great fanwise sweeps. "Drop back, now. Not toward the lodge—up the driveway to the road."

We made the retreat somehow, and were not followed. My clothing was drenched with sweat, as though I had swum in some filthy pool. Jake, whom I remember as helping me up the slope when I might have fallen, talked incessantly without finishing a single sentence. The nearest he came to rationality was, "What did ... what if ... can they——"

Pursuivant, however, seemed well recovered. He kicked together some bits of kindling at the roadside. Then he asked me for a match—perhaps to make me rally my sagging senses as I explored my pockets—and a moment later he had kindled a comforting fire.

"Now," he said, "we're probably safe from any more attention of that bunch. And our fire can't be seen from the lodge. Sit down and talk it over."

Jake was mopping a face as white as tallow. His spectacles mirrored the firelight in nervous shimmers.

"I guess I didn't dream the other night, after all," he jabbered. "Wait till I tell Mister Varduk about this."

"Varduk probably knows all about these things—more than we shall ever know," replied the judge. "I rather think he cut short his walk across the front yards so that they would attack me. At any rate, they seemed to ooze out of the timber the moment he and I separated."

He told us, briefly, of how the non-shapes (he liked and adopted my paradox) were upon him before he knew. Like Jake two nights before, he felt an overwhelming disgust and faintness when they touched him, began to faint. His last voluntary act was to draw the blade in his cane and drive it into the ground, as an anchor against being dragged away.

"They would never touch that point," he said confidently. "You found that out, Connatt."

"And I'm still amazed, more about that fact than anything else. How would such things fear, even the finest steel?"

"It isn't steel." Squatting close to the fire, Pursuivant again cleared the bright, sharp bodkin. "Look at it, gentlemen—silver."

It was two feet long, or more, round instead of flat, rather like a large needle. Though the metal was bright and worn with much polishing, the inscription over which Pursuivant and Varduk had pored was plainly decipherable by the firelight. Sic pereant omnes inimici tui, Domine.... I murmured it aloud, as though it were a protective charm.

"As you may know," elaborated Judge Pursuivant, "silver is a specific against all evil creatures."

"That's so," interjected Jake. "I heard my grandfather tell a yarn about the old country, how somebody killed a witch with a silver bullet."

"And this is an extraordinary object, even among silver swords," Pursuivant went on. "A priest gave it to me, with his blessing, when I did a certain thing to help him and his parish against an enemy not recognized by the common law of today. He assured me that the blade was fashioned by Saint Dunstan himself."

Pursuivant smiled, exactly as though we had not lately feared and fought for our lives and souls. His manner was that of a kindly teacher with a dull but willing pupil.

"Saint Dunstan is not as legendary or as feeble as his name sounds. As a matter of fact, he flourished heartily in the Tenth Century—not long before the very real Norman Conquest. He was the stout son of a Saxon noble, studied magic and metal-working, and was a political power in England as well as a spiritual one."

"So the old poem tells, and so the famous painting illustrates," agreed Pursuivant, his smile growing broader. "Dunstan was, in short, exactly the kind of holy man who would make a sword to serve against demons. Do you blame me for being confident in his work?"

"That takes answering." Pursuivant had fished a handkerchief from a side pocket and was carefully wiping the silver skewer. "In the first place, they are extra-terrestrial—supernatural—and in the second, they are noisomely evil. We need no more evidence on those points. As for the rest, I have a theory of a sort, based on wide studies."

"What is it, sir?" I seconded Jake. Once again the solid assurance of the judge was comforting me tremendously.

He pursed his lips. "I've given the subject plenty of thought ever since you, Connatt, told me the experience of your friend here. There are several accounts and considerations of similar phenomena. Among ancient occultists was talk of elementary spirits—things super-normal and sometimes invisible, of sub-human intelligence and personality and not to be confused with spirits of the dead. A more modern word is 'elemental', used by several cults. The things are supposed to exert influences of various kinds, upon various localities and people.

"Again, we have the poltergeist, a phenomenon that is coming in for lively investigation by various psychical scholars of today. I can refer you to the definitions of Carrington, Podmore and Lewis Spence—their books are in nearly every large library—but you'll find that the definitions and possible explanations vary. The most familiar manifestation of this strange but undeniable power is in the seeming mischief that it performs in various houses—the knocking over of furniture, the smashing of mirrors, the setting of mysterious fires——"

"I know about that thing," said Jake excitedly. "There was a house over in Brooklyn that had mysterious fires and stuff."

"And I've read Charles Fort's books—Wild Talents and the rest," I supplemented. "He tells about such happenings. But see here, isn't the thing generally traced to some child who was playing tricks?"

Pursuivant, still furbishing his silver blade, shook his head. "Mr. Hereward Carrington, the head of the American Psychical Institute, has made a list of more than three hundred notable cases. Only twenty or so were proven fraudulent, and another twenty doubtful. That leaves approximately seven-eighths unexplained—unless you consider super-normal agency an explanation. It is true that children are often in the vicinity of the phenomena, and some investigators explain this by saying that the poltergeist is attracted or set in motion by some spiritual current from the growing personality of the child."

"Where's the child around here?" demanded Jake. "He must be a mighty bad boy. Better someone should take a stick to him."

"There is no child," answered the judge. "The summoning power is neither immature nor unconscious, but old, wicked and deliberate. Have you ever heard of witches' familiars?"

"Yes. Also grotesque or amorphous shapes—similar, perhaps, to what we encountered tonight—or disembodied voices and hands. Now we are getting down to our own case. The non-shapes—thanks again, Connatt, for the expression—are here as part of a great evil. Perhaps they came of themselves, spiritual vultures or jackals, waiting to share in the prey. Or they may be recognized servants of a vast and dreadful activity for wrong. In any case they are here, definite and dangerous."

Again I felt my nerve deserting me. "Judge Pursuivant," I pleaded, "we must get Miss Holgar out of here."

"No. You and I talked that out this afternoon. The problem cannot be solved except at its climax."

"I suggest that you go to your quarters. Apparently you're safe indoors, and just now the moon's out from behind the clouds. Keep your eyes open, and stay in the clear. The things won't venture into the moonlight unless they feel sure of you. Anyway, I think they're waiting for something else."

"Oh, I'll do splendidly." He held up the sword of Saint Dunstan. "I'll carry this naked in my hand as I go."

We said good-night all around, rather casually, like late sitters leaving their club. Pursuivant turned and walked along the road. Jake and I descended gingerly to the yard of the lodge, hurried across it, and gained our boathouse safely.

One of the most extraordinary features of the entire happening was that it had so little immediate consequence.

Judge Pursuivant reached his cabin safely, and came to visit us again and again, but never remained after dark. If Varduk knew of the attack by the non-shapes, and if he felt surprize or chagrin that Pursuivant had escaped, he did not betray it. By silent and common consent, Jake and I forbore to discuss the matter between ourselves, even when we knew that we were alone.

Meanwhile, the moon waned and waxed again while we rehearsed our play and between rehearsals swam, tramped and bathed in the sun. Not one of us but seemed to profit by the exercise and fresh air. Sigrid's step grew freer, her face browner and her green-gold hair paler by contrast. I acquired some weight, but in the proper places, and felt as strong and healthy as I had been when first I went from the Broadway stage to Hollywood, eight years before. Even Jake Switz, whose natural habitat lay among theatrical offices and stage doors, became something of a hill-climber, canoeist and fisherman. Only Varduk did not tan, though he spent much time out of doors, strolling with Davidson or by himself. Despite his apparent fragility and his stiffness of gait, he was a tireless walker.

One thing Jake and I did for our protection; that was to buy, on one of our infrequent trips to the junction, an electric flashlight apiece as well as one for Sigrid. These we carried, lighted, when walking about at night, and not once in the month that followed our first encounter with the non-shapes did we have any misadventure.

The middle of July brought the full moon again, and with it the approach of our opening night.

The theatrical sections of the papers—Varduk had them delivered daily—gave us whole square yards of publicity. Jake had fabricated most of this, on his typewriter in our boathouse loft, though his most glamorous inventions included nothing of the grisly wonders we had actually experienced. Several publishers added to the general interest in the matter by sending to Varduk attractive offers for the manuscript of Ruthven, and receiving blunt refusals. One feature writer, something of a scholar of early Nineteenth Century English literature, cast a doubt upon the authenticity of the piece. In reply to this, Judge Pursuivant sent an elaboration of his earlier statement that Ruthven was undoubtedly genuine. The newspaper kindly gave this rejoinder considerable notice, illustrating it with photographs of the judge, Varduk and Sigrid.

On July 20, two days before opening, Jake went out to nail signs along the main road to guide motor parties to our theater. He was cheerfully busy most of the morning, and Sigrid deigned to let me walk with her. We did not seek the road, but turned our steps along the brink of the water. An ancient but discernible trail, made perhaps by deer, ran there.

"I couldn't be otherwise," she cried at once. "Our play is to startle the world—first here, then on Broadway——"

"Sigrid," I said, "what is there about this play that has such a charm for you? I know that it's a notable literary discovery, and that it's pretty powerful stuff in spots, but in the final analysis it's only melodrama with a clever supernatural twist. You're not the melodramatic type."

I saw that I had been impolitic and made haste to offer apology, but she waved it aside.

"What you said might well be asked by many people. The pictures have put me into a certain narrow field, with poor Jake Switz wearing out the thesaurus to find synonyms for 'glamorous'. Yet, as a beginner in Sweden, I did Hedda Gabler and The Wild Duck—yes, and Bernard Shaw, too; I was the slum girl in Pygmalion. After that, a German picture, Cyrano de Bergerac, with me as Roxane. It was luck, perhaps, and a momentary wish by producers for a new young foreign face, that got me into American movies. But, have I done so poorly?"

"And at the first, did I do always the same thing? What was my first chance? The French war bride in that farce comedy. Then what? Something by Somerset Maugham, where I wore a black wig and played a savage girl of the tropics. Then what? A starring rôle, or rather a co-starring rôle—opposite you." She gave me a smile, as though the memory were pleasant.

"Opposite me," I repeated, and a thrill crept through me. "Lavengro, the costume piece. Our costumes, incidentally, were rather like what we will wear in the first part of Ruthven."

"I was thinking the same thing. And speaking of melodrama, what about Lavengro? You, with romantic curly side-burns, stripped to the waist and fighting like mad with Noah Beery. Firelight gleaming on your wet skin, and me mopping your face with a sponge and telling you to use your right hand instead of your left——"

"By heaven, there have been lots of worse shows!" I cried, and we both laughed. My spirits had risen as we had strolled away from the lodge grounds, and I had quite forgotten my half-formed resolve to speak a warning.

We came to a stretch of sand, with a great half-rotted pink trunk lying across it. Here we sat, side by side, smoking and scrawling in the fine sand with twigs.

"There's another reason why I have been happy during this month of rehearsal," said Sigrid shyly.

I felt at once strong and shivery, rather like the adolescent hero of an old-fashioned novel. What I said, somewhat ruefully, was, "If you think so, why have you been so hard to see? This is the first time we have walked or been alone together."

She smiled, and in her own individual way that made her cheeks crease and her eyes turn aslant. "We saw a lot of each other once, Gib. I finished up by being sorry. I don't want to be sorry again. That's why I've gone slowly."

"See here, Sigrid," I blurted suddenly. "I'm not going to beat around the bush, or try to lead up diplomatically or dramatically, but—oh, hang it!" Savagely I broke a twig in my hands. "I loved you once, and in spite of the fact that we quarreled and separated, I've never stopped. I love you right this instant——"

She caught me in strong, fierce arms, and kissed me so soundly that our teeth rang together between lips crushed open. Thus for a second of white-hot surprize; then she let go with equal suddenness. Her face had gone pale under its tan—no acting there—and her eyes were full of panicky wonder.

"I didn't do that," she protested slowly. She, too, was plainly stunned. "I didn't. But—well, I did, didn't I?"

"You certainly did. I don't know why, and if you say so I won't ask; but you did, and it'll be hard to retire from the position again."

After that, we had a lot more to say to each other. I admitted, very humbly, that I had been responsible for our estrangement five years before, and that the reason was the very unmanly one that I, losing popularity, was jealous of her rise. For her part, she confessed that not once had she forgotten me, nor given up the hope of reconciliation.

"Whenever I see you," she replied irrelevantly, "bells begin to ring in my ears—loud alarm bells, as if fires had broken out all around me."

"We're triple idiots to think of love," I went on. "You're the top, and I'm the muck under the bottom."

"You'll be the sensation of your life when Ruthven comes to Broadway," rejoined Sigrid confidently. "And the movie magnets will fight duels over the chance to ask for your name on a contract."

"To hell with the show business! Let's run away tonight and live on a farm," I suggested.

In her genuine delight at the thought she clutched my shoulders, digging in her long, muscular fingers. "Let's!" she almost whooped, like a little girl promised a treat. "We'll have a garden and keep pigs—no, there's a show."

On that doleful commonplace we rose from the tree-trunk and walked back. Climbing to the road, we sought out Jake, who with a hammer and a mouthful of nails was fastening his last sign to a tree. We swore him to secrecy with terrible oaths, then told him that we intended to marry as soon as we returned to New York. He half swallowed a nail, choked dangerously, and had to be thumped on the back by both of us.

"I should live so—I knew this would happen," he managed to gurgle at last. "Among all the men you know, Sigrid Holgar, you got to pick this schlemiel!"

We both threatened to pummel him, and he apologized profusely, mourning the while that his vow kept him from announcing our decision in all the New York papers.

"With that romance breaking now, we would have every able-bodied man, woman and child east of the Mississippi trying to get into our show," he said earnestly. "With a club we'd have to beat them away from the ticket window. Standing-room would sell for a dollar an inch."

"It's a success as it is," I comforted him. "Ruthven, I mean. The house is a sell-out, Davidson says."

That night at dinner, Sigrid sat, not at the head of the table, but on one side next to me. Once or twice we squeezed hands and Jake, noticing this, was shocked and burned his mouth with hot coffee. Varduk, too, gazed at us as though he knew our secret, and finally was impelled to quote something from Byron—a satiric couplet on love and its shortness of life. But we were too happy to take offense or even to recognize that the quotation was leveled at us.

Our final rehearsal, on the night of the twenty-first of July, was fairly accurate as regards the speeches and attention to cues, but it lacked fire and assurance. Varduk, however, was not disappointed.

"It has often been said, and often proven as well, that a bad last rehearsal means a splendid first performance," he reminded us. "To bed all of you, and try to get at least nine hours of sleep." Then he seemed to remember something. "Miss Holgar."

"Come here, with me." He led her to the exact center of the stage. "At this spot, you know, you are to stand when the final incident of the play, and our dialog together, unfolds."

"Yet—are you sure? Had we not better be sure?" Varduk turned toward the auditorium, as though to gage their position from the point of view of the audience. "Perhaps I am being too exact, yet——"

He snapped his fingers in the direction of Davidson, who seemed to have expected some sort of request signal. The big assistant reached into the pocket of his jacket and brought out a piece of white chalk.

"Thank you, Davidson." Varduk accepted the proffered fragment. "Stand a little closer center, Miss Holgar. Yes, like that." Kneeling, he drew with a quick sweep of his arm a small white circle around her feet.

"That," he informed her, standing up again, "is the spot where I want you to stand, at the moment when you and I have our final conflict of words, the swearing on the Bible, and my involuntary blessing upon your head."

Sigrid took a step backward, out of the circle. I, standing behind her, could see that she had drawn herself up in outraged protest. Varduk saw, too, and half smiled as if to disarm her. "Forgive me if I seem foolish," he pleaded gently.

"I must say," she pronounced in a slow, measured manner, as though she had difficulty in controlling her voice, "that I do not feel that this little diagram will help me in the least."

Varduk let his smile grow warmer, softer. "Oh, probably it will not, Miss Holgar; but I am sure it will help me. Won't you do as I ask?"

She could not refuse, and by the time she had returned across the stage to me she had relaxed into cheerfulness again. I escorted her to the door of her cabin, and her good-night smile warmed me all the way to my own quarters.

Judge Pursuivant appeared at noon the next day, and Varduk, hailing him cordially, invited him to lunch.

"I wonder," ventured Varduk as we all sat down together, "if you, Judge Pursuivant, would not speak a few words in our favor before the curtain tonight."

"The management—which means myself—will be busy getting into costume for the first act. You are a scholar, a man whose recent book on Byron has attracted notice. It is fitting that you do what you can to help our opening."

"Oh," said Pursuivant, "if you put it like that—but what shall I tell the audience?"

"Make it as short as you like, but impressive. You might announce that all present are subpenaed as witnesses to a classic moment."

Pursuivant smiled. "That's rather good, Mr. Varduk, and quite true as well. Very good, count on me."

But after lunch he drew me almost forcibly away from the others, talking affably about the merits of various wines until we were well out of earshot. Then his tone changed abruptly.

"I think we know now that the thing—whatever it is—will happen at the play, and we also know why."

"I am to tell the audience that they are 'subpenaed as witnesses.' In other words, their attention is directed, they must be part of a certain ceremony. I, too, am needed. Varduk is making me the clerk, so to speak, of his court—or his cult. That shows that he will preside."

Pursuivant's own pale lips were full of perplexity. "I wish that we could know more before the actual beginning. Yet I, who once prepared and judged legal cases, may be able to sum up in part:

"Something is to happen to Miss Holgar. The entire fabric of theatrical activity—this play, the successful effort to interest her in it, the remote theater, her particular rôle, everything—is to perform upon her a certain effect. That effect, we may be sure, is devastating. We may believe that a part, at least, of the success depends on the last line of the play, a mystery as yet to all of us."

"Wait. The ceremony, as you call it, can't be all evil," I said. "After all, he asks her to swear on a Bible."

I tried to remember. "To tell the truth, I don't know. We haven't used props of any kind in rehearsals—not even the sword, after that first time."

"No? Look here, that's apt to be significant. We'll have to look at the properties."

We explored the auditorium and the stage with a fine show of casual interest. Davidson and Switz were putting final touches on the scenery—a dark blue backdrop for evening sky, a wall painted to resemble vine-hung granite, benches and an arbor—but no properties lay on the table backstage.

"You know this is a Friday, Gib?" demanded Jake, looking up from where he was mending the cable of a floodlight. "Bad luck, opening our play on a Friday."

"Not a bit," laughed Pursuivant. "What's begun on a Friday never comes to an end. Therefore——"

"Oi!" crowed Jake. "That means we'll have a record-breaking run, huh?" He jumped up and shook my hand violently. "You'll be working in this show till you step on your beard."

"I feel," she said excitedly, "just as I felt on the eve of my first professional appearance. As though the world would end tonight!"

"God forbid," I said at once, and "God forbid," echoed Judge Pursuivant. Sigrid laughed merrily at our sudden expressions of concern.

"Oh, it won't end that way," she made haste to add, in the tone one reserves for children who need comfort. "I mean, the world will begin tonight, with success and happiness."

She put out a hand, and I squeezed it tenderly. After a moment she departed to inspect her costume.

"I haven't a maid or a dresser," she called over her shoulder. "Everything has to be in perfect order, and I myself must see to it."

"I think I know why you fret so about her safety," Pursuivant said to me. "You felt, too, that the thing she said might be a bad omen."

Dinnertime came, and Pursuivant and I made a quick meal of it. We excused ourselves before the others—Sigrid looked up in mild astonishment that I should want to leave her side—and went quickly downstairs to the stage.

On the property table lay the cudgel I was to use in the first act, the sword I was to strike with in the second, the feather duster to be wielded by Martha Vining as Bridget, a tray with a wine service to be borne by Davidson as Oscar. There was also a great book, bound in red cloth, with red edging.

"I still can't see," I muttered, half to myself, "how this sword—a good piece of steel and as sharp as a razor—failed to kill Varduk when I——"

"Never mind that sword," interrupted Judge Pursuivant. "Look at this book, this 'Bible' which they've refused to produce up to now. I'm not surprized to find out that—well, have a look for yourself."

On the ancient black cloth I saw rather spidery capitals, filled with red coloring matter: Grand Albert.

"I wouldn't look inside if I were you," warned the judge. "This is in all probability the book that Varduk owned when Davidson met him at Revere College. Remember what happened to one normal young man, ungrounded in occultism, who peeped into it."

"A notorious gospel for witches," Pursuivant informed me. "I've heard of it—Descrepe, the French occultist, edited it in 1885. Most editions are modified and harmless, but this, at first glance, appears to be the complete and infamous Eighteenth Century version." He opened it.

The first phase of his description had stuck in my mind. "A gospel for witches; and that is the book on which Sigrid must swear an oath of renunciation at the end of the play!"

Pursuivant was scowling at the flyleaf. He groped for his pince-nez, put them on. "Look here, Connatt," he said.

I crowded close to his elbow, and together we read what had been written long ago, in ink now faded to a dirty brown:

"And look at this, too," commanded Judge Pursuivant. He laid his great forefinger at the bottom of the page. There, written in fresh blue ink, and in a hand somehow familiar:

Pursuivant closed the book with a loud snap, laid it down on the table, and caught me by the arm.

"Come away from here," he said in a tense voice. "Outside, where nobody will hear." He almost dragged me out through the stage door. "Come along—down by the water—it's fairly open, we'll be alone."

When we reached the edge of the lake we faced each other. The sun was almost set. Back of us, in front of the lodge, we could hear the noise of early arrivals for the theater—perhaps the men who would have charge of automobile parking, the ushers, the cashier.

"I had a sense that it was rotten," I said. "Beyond that, I'm completely at sea."

"I'm not." His teeth came strongly together behind the words. "There, on the flyleaf of a book sacred to witches and utterly abhorrent to honest folk, was written an instrument pledging the body and soul of a baby to a 'coeven'—that is, a congregation of evil sorcerers—for one hundred and fifty years. George Gordon, the Lord Byron that was to be, had just completed his sixth month of life."

"By some sponsor—the one signing the name 'Todlin.' That was undoubtedly a coven name, such as we know all witches took. Terragon was another such cognomen. All we can say of 'Todlin' is that the signature is apparently a woman's. Perhaps that of the child's eccentric nurse, Mistress Gray——"

"This is beastly," I interposed, my voice beginning to tremble. "Can't we do something besides talk?"

Pursuivant clapped me strongly on the back. "Steady," he said. "Let's talk it out while that writing is fresh in our minds. We know, then, that the infant was pledged to an unnaturally long life of evil. Promises made were kept—he became the heir to the estates and title of his grand-uncle, 'Wicked Byron,' after his cousins died strangely. And surely he had devil-given talents and attractions."

"Wait," I cut in suddenly. "I've been thinking about that final line or so of writing, signed with Byron's name. Surely I've seen the hand before."

"You have. The same hand wrote Ruthven, and you've seen the manuscript." Pursuivant drew a long breath. "Now we know how Ruthven could be written on paper only ten years old. Byron lives and signs his name today."

I felt almost sick, and heartily helpless inside. "But Byron died in Greece," I said, as though reciting a lesson. "His body was brought to England and buried at Hucknall Torkard, close to his ancestral home."

"Exactly. It all fits in." Pursuivant's manifest apprehension was becoming modified by something of grim triumph. "Must he not have repented, tried to expiate his curse and his sins by an unselfish sacrifice for Grecian liberty? You and I have been over this ground before; we know how he suffered and labored, almost like a saint. Death would seem welcome—his bondage would end in thirty-six years instead of a hundred and fifty. What about his wish to be burned?"

"Burning would destroy his body," I said. "No chance for it to come alive again."

"But the body was not burned, and it has come alive again. Connatt, do you know who the living-dead Byron is?"

"Of course I do. And I also know that he intends to pass something into the hands of Sigrid."

"He does. She is the new prospect for bondage, the 'other as worthie.' She is not a free agent in the matter, but neither was Byron at the age of six months."

The sun's lower rim had touched the lake. Pursuivant's pink face was growing dusky, and he leaned on the walking-stick that housed a silver blade.

"Byron's hundred and fifty years will end at eleven o'clock tonight," he said, gazing shrewdly around for possible eavesdroppers. "Now, let me draw some parallels."

"Varduk—we know who Varduk truly is—will, in the character of Ruthven, ask Miss Holgar, who plays Mary, a number of questions. Those questions, and her answers as set down for her to repeat, make up a pattern. Think of them, not as lines in a play, but an actual interchange between an adept of evil and a neophyte."

"It's true," I agreed. "He asks her if she will 'give herself up,' 'renounce former manners,' and to swear so upon—the book we saw. She does so."

"Then the prayer, which perplexes you by its form. The 'wert in heaven' bit becomes obvious now, eh? How about the angel that fell from grace and attempted to build up his own power to oppose?"

"Not so loud, Connatt. And then, while Miss Holgar stands inside a circle—that, also, is part of the witch ceremony—he touches her head, and speaks words we do not know. But we can guess."

"It's in an old Scottish trial of witches," said Pursuivant. "Modern works—J. W. Wickwar's book, and I think Margaret Alice Murray's—quote it. The master of the coven touched the head of the neophyte and said that all beneath his hand now belonged to the powers of darkness."

"No hysterics, please!" snapped Pursuivant. "Connatt, let me give you one stark thought—it will cool you, strengthen you for what you must help me achieve. Think what will follow if we let Miss Holgar take this oath, accept this initiation, however unwittingly. At once she will assume the curse that Varduk—Byron—lays down. Life after death, perhaps; the faculty of wreaking devastation at a word or touch; gifts beyond human will or comprehension, all of them a burden to her; and who can know the end?"

"Softly, softly. You know that weapons—ordinary weapons—do not even scratch him."

The twilight was deepening into dusk, Pursuivant turned back toward the lodge, where windows had begun to glow warmly, and muffled motor-noises bespoke the parking of automobiles. There were other flecks of light, too. For myself, I felt beaten and weary, as though I had fought to the verge of losing against a stronger, wiser enemy.

"Look around you, Connatt. At the clumps of bush, the thickets. What do they hide?"

I knew what he meant. I felt, though I saw only dimly, the presence of an evil host in ambuscade all around us.

"Not yet. The moment must be his moment, one hour before midnight. Escape, as I once said, will not be enough. We must conquer."

"As you know, Connatt, I will make a speech before the curtain. After that, I'll come backstage and stay in your dressing-room. What you must do is get the sword that you use in the second act. Bring it there and keep it there."

I heard Sigrid's clear voice, calling me to the stage door. Pursuivant and I shook hands quickly and warmly, like team-mates just before a hard game, and we went together to the lodge.

Entering, I made my way at once to the property table. The sword still lay there, and I put out my hand for it.

"You're being foolish," he told me sharply, and there is hardly any doubt but that I sounded so to him. "What if I told Varduk about this?"

"Go and tell him, if you like. Tell him also that I won't go on tonight if you're going to order me around." I said this as if I meant it, and he relaxed his commanding pose.

I took the weapon and bore it away. In my room I found my costume for the first act already laid out on two chairs—either Davidson or Jake had done that for me. Quickly I rubbed color into my cheeks, lined my brows and eyelids, affixed fluffy side-whiskers to my jaws. The mirror showed me a set, pale face, and I put on rather more make-up than I generally use. My hands trembled as I donned gleaming slippers of patent leather, fawn-colored trousers that strapped under the insteps, a frilled shirt and flowing necktie, a flowered waistcoat and a bottle-green frock coat with velvet facings and silver buttons. My hair was long enough to be combed into a wavy sweep back from my brow.

I emerged. Jake Switz was at my door, and he grinned his good wishes. I went quickly on-stage, where Sigrid already waited. She looked ravishing in her simple yet striking gown of soft, light blue, with billows of skirt, little puffs of sleeves, a tight, low bodice. Her gleaming hair was caught back into a Grecian-looking coiffure, with a ribbon and a white flower at the side. The normal tan of her skin lay hidden beneath the pallor of her make-up.

At sight of me she smiled and put out a hand. I kissed it lightly, taking care that the red paint on my lips did not smear. She took her seat on the bench against the artificial bushes, and I, as gracefully as possible, dropped at her feet.

Applause sounded beyond the curtain, then died away. The voice of Judge Pursuivant became audible:

"Ladies and gentlemen, I have been asked by the management to speak briefly. You are seeing, for the first time before any audience, the lost play of Lord Byron, Ruthven. My presence here is not as a figure of the theater, but as a modest scholar of some persistence, whose privilege it has been to examine the manuscript and perceive its genuineness.

"Consider yourselves all subpenaed as witnesses to a classic moment." His voice rang as he pronounced the phrase required by Varduk. "I wonder if this night will not make spectacular history for the genius who did not die in Greece a century and more ago. I say, he did not die—for when does genius die? We are here to assist at, and to share in, a performance that will bring him his proper desserts.

"Ladies and gentlemen, I feel, and perhaps you feel as well, the presence of the great poet with us in this remote hall. I wish you joy of what you shall observe. And now, have I your leave to withdraw and let the play begin?"

Another burst of applause, in the midst of which sounded three raps. Then up went the curtain, and all fell silent. I, as Aubrey, spoke the first line of the play:

Sigrid and I struck on the instant the proper note of affectionate gayety, and I could feel in the air that peculiar audience-rhythm by which an actor knows that his effort to capture a mood is successful. For the moment it was the best of all possible worlds, to be exchanging thus the happy and brilliant lines with the woman I adored, while an intelligent and sympathetic houseful of spectators shared our happy mood.

But, if I had forgotten Varduk, he was the more imposing when he entered. His luminous pallor needed no heightening to seize the attention; his face was set off, like some gleaming white gem, by the dark coat, stock, cape, books, pantaloons. He spoke his entrance line as a king might speak in accepting the crown and homage of a nation. On the other side of the footlights the audience grew tense with heightened interest.

He overpowered us both, as I might have known he would, with his personality and his address. We might have been awkward amateurs, wilting into nothingness when a master took the stage. I was eclipsed completely, exactly as Aubrey should be at the entrance of Ruthven, and I greatly doubt if a single pair of eyes followed me at my first exit; for at the center of the stage, Varduk had begun to make love to Sigrid.

I returned to my dressing-room. Pursuivant sat astride a chair, his sturdy forearms crossed upon its back.

"Like a producer's dream," I replied, seizing a powder puff with which to freshen my make-up. "Except for the things we know about, I would pray for no better show."

"I gave you a message in my speech before the curtain. Did you hear what I said? I meant, honestly, to praise Byron and at the same time to defy him. You and I, with God's help, will give Ruthven an ending he does not expect."

It was nearly time for me to make a new entrance, and I left the dressing-room, mystified but comforted by Pursuivant's manner. The play went on, gathering speed and impressiveness. We were all acting inspiredly, maugre the bizarre nature of the rehearsals and other preparations, the dark atmosphere that had surrounded the piece from its first introduction to us.

The end of the act approached, and with it my exit. Sigrid and I dragged the limp Varduk to the center of the stage and retired, leaving him alone to perform the sinister resurrection scene with which the first act closes. I loitered in the wings to watch, but Jake Switz tugged at my sleeve.

The space behind the lodge was full of uncertain, half-formed lights that moved and lived. For a moment we peered. Then the soft, larval radiances flowed toward us. Jake slammed the door.

Then Davidson dragged down the curtain, while the house shook with applause. I turned again. Varduk, backstage, was speaking softly but clearly, urging us to hurry with our costume changes. Into my dressing-room I hastened, my feet numb and my eyes blurred.

"I'll help you dress," came Pursuivant's calm voice. "Did Jake show you what waits outside?"

He pulled off my coat and shirt. Grown calm again before his assurance, I got into my clothes for Act Two—a modern dinner suit. With alcohol I removed the clinging side-whiskers, repaired my make-up and brushed my hair into modern fashion once more. Within seconds, it seemed, Davidson was calling us to our places.

The curtain rose on Sigrid and me, as Mary and Swithin, hearing the ancestral tale of horror from Old Bridget. As before, the audience listened raptly, and as before it rose to the dramatic entrance of Varduk. He wore his first-act costume, and his manner was even more compelling. Again I felt myself thrust into the background of the drama; as for Sigrid, great actress though she is, she prospered only at his sufferance.

Off stage, on again, off once more—the play was Varduk's, and Sigrid's personality was being eclipsed. Yet she betrayed no anger or dislike of the situation. It was as though Varduk mastered her, even while his character of Ruthven overpowered her character of Mary. I felt utterly helpless.

In the wings I saw the climax approach. Varduk, flanked by Davidson as the obedient Oscar, was declaring Ruthven's intention to gain revenge and love.

"Get your sword," muttered Jake, who had taken Davidson's place at the curtain ropes. "You're on again in a moment."

I ran to my dressing-room. Pursuivant opened the door, thrust something into my hand.

"It's the silver sword," he told me quickly. "The one from my cane. Trust in it, Connatt. Almost eleven o'clock—go, and God stiffen your arm."

It seemed a mile from the door to the wings. I reached it just in time for my entrance cue—Sigrid's cry of "Swithin will not allow this."

"Let him try to prevent it," grumbled Davidson, fierce and grizzled as the devil-converted Oscar.

"I'm here for that purpose," I said clearly, and strode into view. The sword from Pursuivant's cane I carried low, hoping that Varduk would not notice at once. He stood with folded arms, a mocking smile just touching his white face.

"My ancestor killed you once, Ruthven," I said, with more meaning than I had ever employed before. "I can do so again."

He hurled himself, as though to snatch it from my hand. But I lifted the point and lunged, extending myself almost to the boards of the stage. As once before, I felt the flesh tear before my blade. The slender spike of metal went in, in, until the hilt thudded against his breast-bone.

No sound from audience or actors, no motion. We made a tableau, myself stretched out at lunge, Varduk transfixed, the other two gazing in sudden aghast wonder.

For one long breath's space my victim stood like a figure of black stone, with only his white face betraying anything of life and feeling. His deep eyes, gone dark as a winter night, dug themselves into mine. I felt once again the intolerable weight of his stare—yet it was not threatening, not angry even. The surprize ebbed from it, and the eyes and the sad mouth softened into a smile. Was he forgiving me? Thanking me?...

Sigrid found her voice again, and screamed tremulously. I released the cane-hilt and stepped backward, automatically. Varduk fell limply upon his face. The silver blade, standing out between his shoulders, gleamed red with blood. Next moment the red had turned dull black, as though the gore was a millennium old. Varduk's body sagged. It shrank within its rich, gloomy garments. It crumbled.

The curtain had fallen. I had not heard its rumble of descent, nor had Sigrid, nor the stupefied Davidson. From beyond the folds came only choking silence. Then Pursuivant's ready voice.

"Ladies and gentlemen, a sad accident has ended the play unexpectedly—tragically. Through the fault of nobody, one of the players has been fatally——"

I heard no more. Holding Sigrid in my arms I told her, briefly and brokenly, the true story of Ruthven and its author. She, weeping, gazed fearfully at the motionless black heap.

Jake, leaving his post by the curtain-ropes, had walked on and was leading away the stunned, stumbling Davidson.

I still held Sigrid close. To my lips, as if at the bidding of another mind and memory, came the final lines of Manfred:

"He's gone—his soul hath ta'en its earthless flight—Whither? I dread to think—but he is gone."

*** END OF THE PROJECT GUTENBERG EBOOK THE BLACK DRAMA ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

The Project Gutenberg eBook of The black drama

The Black Drama

THE FULL PROJECT GUTENBERG LICENSE