John Woolfolk took the pistol from his pocket and, automatically releasing the safety, moved to the door, opening it with his left hand. The hall was unlighted; he could feel the pressure of the darkness above. The dank silence flowed over him like chill water rising above his heart. He turned, and a dim thread of light, showing through the chink of a partly closed doorway, led him swiftly forward. He paused a moment before entering, shrinking from what might be revealed beyond, and then flung the door sharply open.
His pistol was directed at a low-trimmed lamp in a chamber empty of all life. He saw a row of large black portfolios on low supports, a sewing bag spilled its contents from a chair, a table bore a tin tobacco jar and the empty skin of a plantain. Then his gaze rested upon the floor, on a thin, inanimate body in crumpled alpaca trousers and dark jacket, with a peaked, congested face upturned toward the pale light. It was Lichfield Stope—dead.
Woolfolk bent over him, searching for a mark of violence, for the cause of the other’s death. At first he found nothing; then, as he moved the body—its lightness came to him as a shock—he saw that one fragile arm had been twisted and broken; the hand hung like a withered autumn leaf from its circular cuff fastened with the mosaic button. That was all.
He straightened up sharply, with his pistol levelled at the door. But there had been no noise other than that of the wind plucking at the old tin roof, rattling the shrunken frames of the windows. Lichfield Stope had fallen back with his countenance lying on a doubled arm, as if he were attempting to hide from his extinguished gaze the horror of his end. The lamp was of the common glass variety, without shade; and, in a sudden eddy of air, it flickered, threatened to go out, and a thin ribbon of smoke swept up against the chimney and vanished.
On the wall was a wide stipple print of the early nineteenth century—the smooth sward of a village glebe surrounded by the low stone walls of ancient dwellings, with a timbered inn behind broad oaks and a swinging sign. It was—in the print—serenely evening, and long shadows slipped out through an ambient glow. Woolfolk, with pistol elevated, became suddenly conscious of the withdrawn scene, and for a moment its utter peace held him spellbound. It was another world, for the security, the unattainable repose of which, he longed with a passionate bitterness.
The wind shifted its direction and beat upon the front of the house; a different set of windows rattled, and the blast swept compact and cold up through the blank hall. John Woolfolk cursed his inertia of mind, and once more addressed the profound, tragic mystery that surrounded him.
He thought: Nicholas has gone—with Millie. Or perhaps he has left her—in some dark, upper space. A maddening sense of impotence settled upon him. If the man had taken Millie out into the night he had no chance of following, finding them. Impenetrable screens of bushes lay on every hand, with, behind them, mile after mile of shrouded pine woods.
His plan had gone terribly amiss, with possibilities which he could not bring himself to face. All that had happened before in his life, and that had seemed so insupportable at the time, faded to insignificance. Shuddering waves of horror swept over him. He raised his hand unsteadily, drew it across his brow, and it came away dripping wet. He was oppressed by the feeling familiar in evil dreams—of gazing with leaden limbs at deliberate, unspeakable acts.
He shook off the numbness of dread. He must act—at once! How? A thousand men could not find Iscah Nicholas in the confused darkness without. To raise the scattered and meager neighborhood would consume an entire day.
The wind agitated a rocking chair in the hall, an erratic creaking responded, and Woolfolk started forward, and stopped as he heard and then identified the noise. This, he told himself, would not do; the hysteria was creeping over him again. He shook his shoulders, wiped his palm and took a fresh grip on the pistol.