There was a loud cry of astonishment, and, so it seemed, of alarm.
Sharply outlined against the brilliant circle, sharply outlined in a gigantic shape, and standing full in the screen of the light that streamed from the lens of the projector, the spectators saw that Sir William Gouldesbrough was standing. They caught a glimpse of his face. It was a face like the face of a dead man. His arms were whirling in the air like mills, and then as a cry died away in mournful echoes in the high roof of the laboratory, there was a dead sound as the figure of the scientist disappeared and fell out of the circle of light upon the floor.
Upon the screen itself there came a picture. It was the picture of a girl, but of a girl with a face so sweetly tender and compassionate, so irradiated with utter confidence and trust, so pained and yet so tender, that no painter had ever put so wonderful a thing on canvas, and no Madonna in the galleries of the world was more beautiful or more kind.
And the face was one that they all knew well and recognized in a moment. It was the face of one of them, the face of Marjorie Poole, and it was so beautiful because it was painted by an artist whose pictures have never before appealed so poignantly to human eyes—it was painted by despairing Love itself.
At that marvellous sight, a sight which none of those present ever forgot in after life, a strange cry went up into the high-domed roof. It was a cry uttered by many voices and in many keys. There was a gasp of excitement and of fear, shrill women's tones, the guttural of the Teuton, the bass of the startled Englishmen, the high, staccato cry of the Latin, as the French savants joined in it.
But in whatever key the exclamations were pitched, they all blended into something like a wail, a composite, multiple thing, the wail of a company of people who had seen something behind the Veil for the first time in their lives.
The picture glowed and looked out at them in all its ineffable tenderness and glory, and then grew dim, trembled, dissolved, and melted away.
Then upon the screen came words, terrible, poignant words—
"MARJORIE, MARJORIE DEAR, I KNOW THAT YOU ARE NEAR ME, NOW IN BODY AS YOU ARE ALWAYS NEAR ME IN THOUGHTS. I FEEL IT, I KNOW IT, AND EVEN IN THIS CRUEL PRISON, THIS HOPELESS PRISON, WHERE I AM DYING, AND SHALL SHORTLY DIE, I KNOW THAT YOU ARE NEAR ME IN BODY, AND IN THAT SPIRIT YOU ARE ALWAYS MINE AND I AM ALWAYS YOURS. LOVE, IF THE THOUGHTS THAT THEY ARE ROBBING ME OF, IF THE THOUGHTS THAT FILL MY MIND, AND WHICH THOSE TWO FIENDS ARE PROBABLY LOOKING AT AND LAUGHING OVER, HAVE ANY POWER AT ALL, THEN I SEND THEM TO YOU WITH MY LAST EFFORT, IN ONE LAST ATTEMPT TO REACH YOU AND TO SAY THAT I LOVE YOU AND TO SAY GOOD-BYE."
The circle of white light grew dimmer. Faint, eddying spirals of something that seemed like smoke rose up and obscured the words. They saw an ashen vapour of grey creep over the circle, as the shadow of the moon creeps over the sun at an eclipse. Then the circle disappeared finally, and they were left once more in the dark.