The Empty House

by Неизвестный

  ‘She helped me to undress the first night, and then, instead of leaving the room, she stood looking at me without speaking.

  ‘“What is it?” I inquired.

  ‘“Memsahib,” she said in a whisper, glancing over her shoulder, “may I sleep in your dressing room tonight?”

  ‘I willingly gave her permission, for I saw that the woman’s nerves were unstrung and that she needed companionship. Then I got into bed, and must have been asleep for some hours when I awoke thinking I had heard a shrill voice crying in the compound. I listened, and again it came, a high, beseeching wail. It was certainly the voice of a child, and the awful pleading and despair expressed in the sound was heart-rending. I felt sure some native baby had wandered into the grounds and was calling hopelessly for its mother.

  ‘I lit a candle and went into my dressing room, where to my astonishment, I saw Chunia crouching against the outer door that led into the verandah, holding it fast with both hands as though she were shutting someone out.

  ‘I asked what she was doing, and whether she knew whose child was crying outside. She sprang to her feet and answered sullenly that she had heard no child crying. I opened the door and went out into the verandah, but nothing was to be seen or heard, and I had no reply to my shouts of inquiry; so, concluding that it must have been my fancy, or perhaps some prowling animal, I returned to bed, and slept soundly for the rest of the night.

  ‘The next evening I dined out, and on my return was surprised to hear someone talking in my dressing room. I hurried in, and again found Chunia kneeling in front of the outer door imploring somebody to “go away” at the top of her voice. Directly when she saw me she came towards me excitedly.

  ‘“Oh! Memsahib!” she shrieked, “tell her to go away!”

  ‘“Tell who?” I demanded.

  ‘“Dottie-baba,” she wailed, wringing her hands. “She cries to come to me—listen to her—listen!”

  ‘She held her breath and waited, and I solemnly declare that as I stood and listened with her, I heard a child crying and moaning on the other side of the door. I was mute with horror and bewilderment, while the plaintive cry rose and fell, and then flinging the door open, I held the candle high above my head. There was no need of a light, for the moon was full, but no child could I see, and the verandah was quite empty. I determined to sift the matter to the bottom, so I went to the servants’ quarters and called them all up. But no one could account for the crying of a child, and though the compound was thoroughly searched nothing was discovered. So the servants returned to their houses and I to my verandah, where I found Chunia in a most excited state.

  ‘“Memsahib,” she said, with her fists clenched and her eyes starting out of her head, “will she go away if I tell you all about it?”

  ‘“Yes, yes,” I cried soothingly, “tell me what you like.”

  ‘She silently took my wrist and dragged me into the dressing room, shutting the door with the utmost caution.

  ‘“Stand with your back against it,” she whispered, “so that she cannot enter.”

  ‘I feared I was in the presence of a mad woman, so I did as she bade me, and waited quietly for her story. She walked up and down the room and began to speak in a kind of chant.

  ‘“I did it,” she sang. “I killed the child, little Dottie-baba, and she has followed me always. You heard her cry tonight and last night. The memsahib angered me the day she struck me with the shoe, and then a devil entered into my heart. I asked for leave, and went away, but it was too strong, it drew me back, and it said kill! Kill! I fought and struggled against the voice, but it was useless. So on the second day of my leave I crept back and hid among the bushes till I saw the child alone, and then I took her away and killed her. She was so glad to see me, and laughed and talked, but when she saw the devil in my eyes she grew frightened, and cried just as you heard her cry tonight. I took her little white neck in my hands—see memsahib, how large and strong my hands are—and I pressed and pressed until the child was dead, and then the devil left me. I looked and saw what I had done. I could not unclasp her fingers from my skirt, they clung so tightly, so I took it off and wrapped her in it—”

  ‘The woman stopped suddenly. I had listened in silence, repressing the exclamations of horror that rose to my lips.

  ‘“What did you do then?” I asked. Chunia looked wildly round.

  ‘“I forget,” she murmured; “the river, I ran quickly to the river—”

  ‘Then there came a shriek from the dry, parched lips, and then flinging her arms above her head she fell at my feet unconscious and foaming at the mouth.

  ‘Afterwards Chunia was found to be raving mad, and the doctor expressed his opinion that she must have been in a more or less dangerous state for some months past. I told him of her terrible confession to me, but he said that possibly the whole thing was a delusion on her part.

  ‘I went to see her once after she had been placed under restraint, but the sight was so saddening that I never went again. She was seated on the floor of her prison patting an imaginary baby to sleep, croning the quaint little lullaby that ayahs always use, and when I spoke to her she only gazed at me with dull, vacant eyes, and continued the monotonous chant as though she had not seen me at all.

  ‘And the child you heard crying?’ I ventured to ask.

  ‘“Oh! How can I tell what it was? I don’t know,” she answered with impatient perplexity. “I can’t believe that it was the spirit of little Dot, and yet—and yet—what was it?”

  From East of Suez (1926)

  The Empty House

  Algernon Blackwood

  Certain houses, like certain persons, manage somehow to proclaim at once their character for evil. In the case of the latter, no particular feature need betray them; they may boast an open countenance and an ingenuous smile; and yet a little of their company leaves the unalterable conviction that there is something radically amiss with their being: that they are evil. Willy nilly) they seem to communicate an atmosphere of secret and wicked thoughts which makes those in their immediate neighbourhood shrink from them as from a thing diseased.

  And, perhaps, with houses the same principle is operative, and it is the aroma of evil deeds committed under a particular roof, long after the actual doers have passed away, that makes the gooseflesh come and the hair rise. Something of the original passion of the evil-doer, and of the horror felt by his victim, enters the heart of the innocent watcher, and he becomes suddenly conscious of tingling nerves, creeping skin, and a chilling of the blood. He is terror-stricken without apparent cause.

  There was manifestly nothing in the external appearance of this particular house to bear out the tales of the horror that was said to reign within. It was neither lonely nor unkempt. It stood, crowded into a corner of the square, and looked exactly like the houses on either side of it. It had the same number of windows as its neighbours; the same balcony overlooking the gardens; the same white steps leading up to the heavy black front door; and, in the rear, there was the same narrow strip of green, with neat box borders, running up to the wall that divided it from the backs of the adjoining houses. Apparently, too, the number of chimney pots on the roof was the same; the breadth and angle of the caves; and even the height of the dirty area railings.

  And yet this house in the square, that seemed precisely similar to its fifty ugly neighbours, was as a matter of fact entirely different—horribly different.

  Wherein lay this marked, invisible difference is impossible to say. It cannot be ascribed wholly to the imagination, because persons who had spent some time in the house, knowing nothing of the facts, had declared positively that certain rooms were so disagreeable they would rather die than enter them again, and that the atmosphere of the whole house produced in them symptoms of a genuine terror; while the series of innocent tenants who had tried to live in it and been forced to decamp at the shortest possible notice, was indeed little less than a scandal in the town.

  When Shorthouse arrived to pay a ‘
weekend’ visit to his Aunt Julia in her little house on the seafront at the other end of the town, he found her charged to the brim with mystery and excitement. He had only received her telegram that morning, and he had come anticipating boredom; but the moment he touched her hand and kissed her apple-skin wrinkled cheek, he caught the first waves of her electrical condition. The impression deepened when he learned that there were to be no other visitors, and that he had been telegraphed for with a very special object.

  Something was in the wind, and the ‘something’ would doubtless bear fruit; for this elderly spinster aunt, with a mania for psychical research, had brains as well as will power, and by hook or by crook she usually managed to accomplish her ends. The revelation was made soon after tea, when she sidled close up to him as they paced slowly along the seafront in the dusk.

  ‘I’ve got the keys,’ she announced in a delighted, yet half awesome voice. ‘Got them till Monday!’

  ‘The keys of the bathing-machine, or—?’ he asked innocently; looking from the sea to the town. Nothing brought her so quickly to the point as feigning stupidity.

  ‘Neither,’ she whispered. ‘I’ve got the keys of the haunted house in the square—and I’m going there tonight.’

  Shorthouse was conscious of the slightest possible tremor down his back. He dropped his teasing tone. Something in her voice and manner thrilled him. She was in earnest.

  ‘But you can’t go alone—’ he began.

  ‘That’s why I wired for you,’ she said with decision.

  He turned to look at her. The ugly, lined, enigmatical face was alive with excitement. There was the glow of genuine enthusiasm round it like a halo. The eyes shone. He caught another wave of her excitement, and a second tremor, more marked than the first, accompanied it.

  ‘Thanks, Aunt Julia,’ he said politely; ‘thanks awfully.’

  ‘I should not dare to go quite alone,’ she went on, raising her voice; ‘But with you I should enjoy it immensely You’re afraid of nothing, I know.’

  ‘Thanks so much,’ he said again. ‘Er—is anything likely to happen?’

  ‘A great deal has happened,’ she whispered, ‘though it’s been most cleverly hushed up. Three tenants have come and, one in the last few months, and the house is said to be empty for good now.’

  In spite of himself, Shorthouse became interested. His aunt was so very much in earnest.

  ‘The house is very old indeed,’ she went on, ‘and the story—an unpleasant one—dates a long way back. It has to do with a murder committed by a jealous stableman who had some affair with a servant in the house. One night he managed to secrete himself in the cellar, and when everyone was asleep, he crept upstairs to the servants’ quarters, chased the girl down to the next landing, and before anyone could come to the rescue threw her bodily over the bannisters into the hall below.’

  ‘And the stableman—?’

  ‘Was caught, I believe, and hanged for murder; but it all happened a century ago, and I’ve not been able to get more details of the story.’

  Shorthouse now felt his interest thoroughly aroused but, though he was not particularly nervous for himself, he hesitated a little on his aunt’s account.

  ‘On one condition,’ he said at length.

  ‘Nothing will prevent my going,’ she said firmly; ‘but I may as well hear your condition.’

  ‘That you guarantee your power of self-control if anything really horrible happens. I mean—that you are sure you won’t get too frightened.’

  ‘Jim,’ she said scornfully, ‘I’m not young, I know, nor are my nerves; but with you I should be afraid of nothing in the world!’

  This, of course, settled it, for Shorthouse had no pretensions to being other than a very ordinary young man, and an appeal to his vanity was irresistible. He agreed to go.

  Instinctively; by a sort of subconscious preparation, he kept himself and his forces well in hand the whole evening, compelling an accumulative reserve of control by that nameless inward process of gradually putting all the emotions away and turning the key upon them—a process difficult to describe, but wonderfully effective, as all men who have lived through severe trials of the inner man well understand. Later, it stood him in good stead.

  But it was not until half past ten, when they stood in the hall, well in the glare of friendly lamps and still surrounded by comforting human influences, that he had to make the first call upon this store of collected strength. For, once the door was closed, and he saw the deserted silent street stretching away white in the moonlight before them, it came to him clearly that the real test that night would be in dealing with two fears instead of one. He would have to carry his aunt’s fear as well as his own. And, as he glanced down at her sphinx-like countenance and realized that it might assume no pleasant aspect in a rush of real terror, he felt satisfied with only one thing in the whole adventure—that he had confidence in his own will and power to stand against any shock that might come.

  Slowly they walked along the empty streets of the town; a bright autumn moon silvered the roofs, casting deep shadows; there was no breath of wind; and the trees in the formal gardens by the seafront watched them silently as they passed along. To his aunt’s occasional remarks Shorthouse made no reply; realizing that she was simply surrounding herself with mental buffers—saying ordinary things to prevent herself thinking of extraordinary things. Few windows showed lights, and from scarcely a single chimney came smoke or sparks. Shorthouse had already begun to notice everything, even the smallest details. Presently they stopped at the street corner and looked up at the name on the side of the house full in the moonlight, and with one accord, but without remark, turned into the square and crossed over to the side of it that lay in shadow.

  ‘The number of the house is thirteen,’ whispered a voice at his side; and neither of them made the obvious reference, but passed across the broad sheet of moonlight and began to march up the pavement in silence.

  It was about half-way up the square that Shorthouse felt an arm slipped quietly but significantly into his own, and knew then that their adventure had begun in earnest, and that his companion was already yielding imperceptibly to the influences against them. She needed support.

  A few minutes later they stopped before a tall, narrow house that rose before them into the night, ugly in shape and painted a dingy white. Shutterless windows, without blinds, stared down upon them, shining here and there in the moonlight. There were weather streaks in the wall and cracks in the paint, and the balcony bulged out from the first floor a little unnaturally. But, beyond this generally forlorn appearance of an unoccupied house, there was nothing at first sight to single out this particular mansion for the evil character it had most certainly acquired.

  Taking a look over their shoulders to make sure they had not been followed, they went boldly up the steps and stood against the huge black door that fronted them forbiddingly. But the first wave of nervousness was now upon them, and Shorthouse fumbled a long time with the key before he could fit it into the lock at all. For a moment, if truth were told, they both hoped it would not open, for they were a prey to various unpleasant emotions as they stood there on the threshold of their ghostly adventure. Shorthouse, shuffling with the key and hampered by the steady weight on his arm, certainly felt the solemnity of the moment. It was as if the whole world—for all experience seemed at that instant concentrated in his own consciousness—were listening to the grating noise of that key. A stray puff of wind wandering down the empty street woke a momentary rustling in the trees behind them, but otherwise this rattling of the key was the only sound audible; and at last it turned in the lock and the heavy door swung open and revealed a yawning gulf of darkness beyond.

  With a last glance at the moonlit square, they passed quickly in, and the door slammed behind them with a roar that echoed prodigiously through empty halls and passages. But, instantly, with the echoes, another sound made itself heard, and Aunt Julia leaned suddenly so heavily upon him that he had to take a
step backwards to save himself from falling.

  A man had coughed close beside them—so close that it seethed they must have been actually by his side in the darkness.

  With the possibility of practical jokes in his mind, Shorthouse at once swung his heavy stick in the direction of the sound; but it met nothing more solid than air. He heard his aunt give a little gasp beside him.

  ‘There’s someone here,’ she whispered: ‘I heard him.’

  ‘Be quiet!’ he said sternly. ‘It was nothing but the noise of the front door.’

  ‘Oh! Get a light—quick!’ she added, as her nephew fumbling with a box of matches, opened it upside down and let them all fall with a rattle on to the stone floor.

  The sound, however, was not repeated; and there was no evidence of retreating footsteps. In another minute they had a candle burning, using an empty end of a cigar case as a holder; and when the first flare had died down he held the impromptu lamp aloft and surveyed the scene. And it was dreary enough in all conscience, for there is nothing more desolate in all the abodes of men than an unfurnished house dimly lit, silent, and forsaken, and yet tenanted by rumour with the memories of evil and violent histories.

  They were standing in a wide hallway; on their left was the open door of a spacious dining room, and in front the hall ran, ever narrowing, into a long, dark passage that led apparently to the top of the kitchen stairs. The broad uncarpeted staircase rose in a sweep before them, everywhere draped in shadows, except for a single spot about half-way up where the moonlight came in through the window and fell on a bright patch on the boards. This shaft of light shed a faint radiance above and below it, lending to the objects within its reach a misty outline that was infinitely more suggestive and ghostly than complete darkness. Filtered moonlight always seems to paint faces on the surrounding gloom, and as Shorthouse peered up into the well of darkness and thought of the countless empty rooms and passages in the upper part of the old house, he caught himself longing again for the safety of the moonlit square, or the cosy, bright drawing room they had left an hour before. Then realizing that these thoughts were dangerous, he thrust them away again and summoned all his energy for concentration on the present.