It was in this atmosphere of mutual satisfaction that the day's work ended. Dusk was falling and the lanterns had been carried on to the terrace to complete the clearing of the tiles. Another of the workmen was already chipping rust from the great sweep of the balcony. It made an ugly sound in the dusk and was re-echoed from the dark woods below. As they finished and carried the tools back into the house for the night, there was a faint rustling in the underbrush at the back of the house down by the water mill. Angele was the only one to hear it; she strained her eyes down to the orchard below and thought she could see the faintest shadow slip into the dark shade of the old trees at the end of the orchard.
Probably a cat. There were lots of them haunting the lanes down near The Grey House. Big, grey brutes they were, and sometimes she heard them howling sadly in the dusk when she and Philip went out. The big door of the house shrieked, as though annoyed at the intrusion into the long silence of forty years, when they left. Outside, on the small terrace in front of The Grey House, where Philip intended to lay tiles and build a small garage later, the employer and the employed congratulated one another and there was much shaking of hands.
Then Philip insisted on buying everyone a drink at the first cafe they came across. All parted with mutual expressions of goodwill and it was quite dark when Philip and Angele had got back to their hotel. He was resolved to make a good start the next day and had asked the electricity people to come in at nine o'clock. The workmen would arrive at twelve and with luck and sufficient illumination they could make a good start on clearing the Great Hall.
The following morning the electricity employees surprisingly arrived almost at the specified hour; The Grey House was opened again and around midday a jubilant Philip was allowed to pull the master switch and the Great Hall was flooded with light. Much of the house would need re-wiring and Philip had many special schemes for heating and outdoor floodlighting, but that would come later.
For the moment, naked bulbs and trailing lengths of flex were draped all over the house in order to give the workmen good light to work by. Philip hoped also to have two great picture windows opened up in the stonework of the Great Hall to let light into the building during daytime.
This, and a number of other anomalies puzzled him and he resolved to look up the history of the de Menevals in the great historical library in the City Museum, when time would afford. That opportunity did not arise until the next year; in the meantime Philip and his wife, with their team of workmen, followed by the interest of M. Gasion, M. Morceau and later, the architect, went at the work of restoration with enthusiasm.
But strangely, the progress of the first day wasn't repeated. One of the workmen went sick the second afternoon and, assuredly, the stench from the floor of the Great Hall was such as to turn a strong stomach; Philip got round that with buckets of hot water and disinfectant and after a while they cleared some of the miasma which seemed to hang around the old foundations.
Lorry load after lorry load of malodorous rubbish left for the city tip and even the sick workman, who returned to duty the next day, had to admit there had been a great improvement. But there was something which made Angele vaguely uneasy, though Philip seemed as blind to the atmosphere of the place as ever. He was puzzled at the inordinate number of lights and flex positions the workmen were obliged to insist on, especially when working among the noisome rafters and complained that the cost of electricity and bulbs would soon gross the total cost of the house if things went on that way.
Yet Angele understood perfectly the feelings of the workmen and marvelled again at the insensitivity of her husband to the atmosphere; especially as his name as an author had been largely made through the description of just such situations. About a week after the renovation of the house had begun the workmen were still clearing the upper storey and Pierre expected an early start to the roof repairs; Philip had been delighted with some unusual finds among the debris of centuries. A curiously marked ring, evidently belonging to a man of rank; a sword hilt, a tankard with a strange inscription in the Latin tongue and some porcelain jars and containers for which none of them could assign any known use.
Philip took them back to his hotel for cleaning and said he would use them for decorating the house when restoration was complete. One afternoon one of the workmen came to Philip with a bizarre object he had found in one of the upper rooms. It was a long instrument with a spike of very old metal on one end of it; the other end was a sort of whip or switch. The thongs were made of wire, stained with the rust of centuries.
A learned Abbe from the City University, with whom Philip had become great friends, was visiting The Grey House on the afternoon in question. Monsignor Joffroy turned quite pale, Angele noticed.
"May I see?" he asked, taking the whip from Philip with unseemly haste. He drew him on to one side. The good Abbe looked worried.
"I do not wish to alarm you, my friend, but this is an unclean thing," he said, almost fiercely.
"See," He pointed out an inscribed tablet on the shaft of the instrument. "These are the arms of the de Menevals. We have a locked room of the Musee d'Antiquites at the University, devoted to such relics of the sadistic de Menevals. If you would permit me, I will see it is deposited for safe keeping. It is not fit that such mementoes should be allowed in the outside world."
He crossed himself and Angele could not repress a shudder. Though inclined to be amused, Philip could not but be impressed by the earnestness and deadly seriousness of Monsignor Joffroy's manner and he readily assented to his friend's request.
"I should like to hear something of the history of the de Menevals from you, some time," he said. "It would make good material for some of my books."
The Abbe laid his hand on Philip's arm and looked steadily into his eyes.
"Believe me, my friend, such things are not for books - or rather for books of your sort. Your essays in the macabre, admirable and successful as they are, are children's nursery tales compared with the things that went on in the chateau above - now no more, praise be to God."
A few minutes later the Monsignor excused himself, made his farewells to Angele and returned to the university; he left behind him a somewhat thoughtful Philip and a thoroughly disturbed Angele. Sensibly, Philip said nothing to Pierre and the workmen and to M. Gasion, whom he met for an occasional glass of cassis at the latter's home, he was guarded; he made no comment on the curious whip, but discussed some of the other finds which the workmen had made. He did learn one thing about the de Menevals from the inscription on the tankard, but of this he said nothing, even to Angele.
She herself had one more unusual experience on the afternoon of the same day as Monsignor Joffroy's visit. She was alone on the terrace at dusk; she was no longer afraid of the low tinkling of water, to which she had become accustomed and even the mist did not affect her with uneasiness. She was trimming branches of an old tree which overhung the balcony.
This was now almost complete, wanting only a few final touches and, with an electric light above the glazed double doors, was taking on an unaccustomed elegance. She had gone down to Philip to ask him about something and when she came back the last glow of the fading sun was sinking behind the mountain. She was overcome by the melancholy of the scene and had remained seated while her gaze played over the terrain spread out so enticingly before her. It was while she was so occupied that she felt rather than saw a faint, dark shadow steal out from one orchard tree and disappear behind another.
Why she did the next thing she was not quite sure; but on some obscure impulse she suddenly stooped, picked up a large bundle of chopped branches from the tree, stepped noiselessly to the edge of the balcony and hurled the mass of wood and foliage through the air into the orchard below. The bundle fell where she had aimed, quite by chance, and with a sharp, almost frightening crash into the tree beneath which the shape had melted.
More branches fell to the ground and from the midst of the splintered wood something dark and long launched itself like a str
eak through the orchard; the creature poised and jumped up on to the edge of an outbuilding of the water mill. As far as she could judge, Angele saw a huge, grey cat. It had enormous yellow eyes that flickered with anger in the dusk. It looked back over its shoulder at her reproachfully and then disappeared into the bushes.
A moment later she heard a stealthy swish as it vanished and was evidently making its way through the dark trees at the back of the orchard. More startled than alarmed she left the terrace rather hurriedly for the welcome shelter of the house, which now blazed with lights from every room.
The next day Monsignor Joffroy was dining with them on the terrace of their hotel and Angele mentioned the cat. It was the first time she had spoken of it. Philip seemed only mildly interested but the effect on the Abbe was electric. His hand twitched and his glass of cognac soaked the table cloth. There was a flurry of apologies and in the midst of mopping up, Angele felt the Abbe's eyes fixed on her.
"There is no such animal, Madame," he said with terrible emphasis.
"Oh, come now, Monsignor," Philip laughed good-naturedly. "There's nothing so remarkable about that. There are dozens of cats around the lanes leading to The Grey House. I've seen 'em myself."
The Abbe continued to look at the girl. "Nevertheless, I must insist, there is no such animal. A trick of the light…"
Angele did not press the point and a moment or two later the conversation passed on to other topics. But she felt the Abbe's eyes on her from time to time during the evening, and she read concern in their friend's eyes.
The house was making excellent progress. As the autumn colours deepened and the melancholy around The Grey House gradually gave way to orderliness and a more modern atmosphere, Angele's unease subsided. The couple had arranged to leave for England in November as planned and would return in April, when the main architectural changes would be made and Philip would be on hand to supervise and give advice. They were due to depart on the following Tuesday, and in the meantime wandered about the house, idly watching the workmen and planning even more grandiose effects for the spring.
The architect they had finally engaged, Roget Frey, was thoroughly in accord with Philip's ideas and he had been enthusiastic about the designs the gifted young man had produced. Philip knew he could trust him to realize the effect he wanted. The house was to be a blend of ancient and modern, with every comfort, yet the medieval atmosphere was to be retained, particularly in the Great Hall and in the rooms above it.
The roof was more than half finished and two great picture windows had been punched into the ancient stonework high up in the eastern wall of the Great Hall, more than thirty feet above the fireplace.
Philip had ideas about these windows and he didn't want to reveal his special plans to Angele or the workmen until their return; Roget had worked out a fine design for his piece de resistance and he was convinced his house would be a showplace for his. friends if the final result was only half as spectacular as his designs.
The work to be done in the winter would be long and arduous and Philip was glad they would be in the comfort of their London flat; there was no heating in The Grey House as yet and the wind and rain on that exposed ledge would find them totally unprepared. Pierre had promised that all would be up to schedule by spring, and in the warmer weather he and Angele could work out the elegant details, the central heating and style of radiators, the furnishings the curtains and the hundred and one other things that would make The Grey House a masterful blend of old and new.
In the meantime Pierre and his men were to finish the roof; prepare and glaze new windows; install the central heating plant; build a garage and terrace in front of the house; scrape and plaster the interior walls and line the Great Hall with oak panelling. Philip could imagine the stupendous effect the whole thing would have when it was finished; he strolled around the house in a delighted daze, noting the fine new staircases, the cedar handrails in the modern parts of the house and the start already made in creating a streamlined kitchen for Angele.
The whole of the upper storey had yet to be converted into several rooms; there was much to be done. But he was glad he had given his confidence to Pierre and Roget. They would see that the work had a quality seldom seen nowadays. The men had already made a start on the interior of the Great Hall and their scaffolding and lights lined the walls at a dizzy height from the flagged floor; another gang was at work on the roof outside and the place resembled a great, humming factory.
A striking contrast to the mist-haunted ambience of their first sight of the place. Philip was pacing about on the terrace, smoking a pipe, and picturing himself writing a new series of novels of the macabre in this evocative atmosphere. He had two novels coming out shortly, but he would have to get down to some hard work in England in the coming winter. Then he would return to The Grey House and by late summer would be well back in his stride.
His publisher was pleased with the consistency of his output and he had no doubt that the quiet surroundings here would contribute a great deal to his writing. If only Angele liked the place a little better… Still, she had seemed more pleased with the house lately and he felt that when she saw the new kitchen and all the latest gadgets he proposed to install for her, she would be as delighted with The Grey House as he.
His musings were suddenly interrupted by a startled cry.
It came from the direction of the Great Hall and in a few moments more he heard the sharp noise of running footsteps on the stone floor. It was Pierre.
"Monsieur!" There was a hard excitement in the voice, but no alarm. He quickened his own steps towards the builder. The couple met at the entrance of the Great Hall and an instant later Philip was sharing Pierre's excitement.
The workmen had been scraping down the wall of the Great Hall over the fireplace, preparatory to re-plastering; Philip had long pondered a centrepiece which would provide a striking point for the eye in this chamber and now he had the answer. Beneath the layers of old plaster on the surface of the ancient wall, a painting had begun to reveal itself.
When Philip arrived, two workmen were engrossed in clearing away an area which appeared to depict a man's blue waistcoat with gold gilt buttons. Philip joined them on the scaffolding and studied the painting, as it began to appear, with mounting excitement. Pierre seized a paint brush and a can of water and started clearing another area; the four men worked on.
The rest of the house was silent, Angele and Monsignor Joffroy having gone for a walk and the men on the roof having a temporary break from their labours.
After an hour, a painting of unique and demoniac nature had emerged; viewing it from the floor of the Great Hall by the brilliant electric light which the workman held to illuminate it, Philip was jubilantly aware of having found his centrepiece - remarkably appropriate in view of his profession as a novelist of the macabre - and yet at the same time he could not help having serious doubts as to the effect it might have on his visitors.
The radiant colours were unblurred by their long sojourn under the whitewash of an earlier age and the painting really stood out remarkably. It depicted a singularly sinister old man, in a grey tricorn hat and blue coat with gold buttons. His knee breeches were caught in with gold cords and his black shoes had silver gilt buckles. He was pushing his way through some sort of dark, wet undergrowth with concentrated ferocity. In his arms and hanging head downwards as he dragged her into the darkling bushes was a young girl.
She was stark naked, her pink body, depicted with pitiless detail by the unknown painter of obvious genius, streaked with gouts of blood where the brambles had gashed her. Her eyes were closed, either in death or a faint, it was impossible to tell, and her long gold hair dragged through the wet grass. It was difficult to convey the hideous effect this painting of diabolical brilliance had upon the viewer.
In the old man's left hand, held towards the observer, was the curious spiked whip which Philip had seen in this very house not so many weeks before. The workmen were still busy washing away the cover
ing whitewash from the bottom right hand corner of the picture and their backs obscured the details from Philip's view. He strode about the floor of the hall, trying to get a better perspective.
At the very bottom of the painting was an enamelled coat of arms with a Latin inscription underneath, which he would have translated later. He was no scholar and would ask Monsignor Joffroy what he made of it. As the workmen again began their interminable hammering upon the roof above his head, the footsteps of the Abbe himself were heard upon the entrance stair.
His face was pale in the light of the electric lamps and he seemed to stagger and made a warding off gesture with his hand, as he caught sight of the painting, which the workmen had now finished uncovering.
"For the love of God, Monsieur," he cried harshly. "Not this horror…"
Amazed, Philip ran to meet him but a startled shriek from the stairhead above interrupted the projected dialogue. Monsignor Joffroy, remarkably agile for his late middle-age, was even before Philip on the stair. The two men were just in time to save Angele as she fell fainting to the stone floor.
"Let us get her out of this hall," the priest whispered, his head close to Philip's, as they began to lift her. He waved off the alarmed workmen who were swarming down the scaffolding. "Nothing, nothing at all. Just a fainting fit - Madame was merely startled by the painting."
Half an hour later, Philip re-entered the hall. Angele, pale and distraught, had returned to the hotel, driven by Roget Frey, who had called to see the work in progress. Finally calm, she had refused to say what was the cause of her alarm and had attributed it to the shock of seeing the painting in such vivid detail.
Viewed from the top of the stairs, it did strike one with terrific effect, Philip had to admit, pausing at the spot where Angele had stood. But even his stolid materialism had begun to crack with what he had learned in the past few minutes. Monsignor Joffroy, before leaving to comfort Angele, had advised him to have the painting effaced, or bricked over.
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