self-righteous.”
Douglas blushed deep red, but said nothing at all.
Eliza looked uncomfortable.
Joshua drew in his breath, but found that he had nothing to say, either.
It was Ballin who spoke. “You give Mr. Stoker too much credit, and too much blame, Mr. Paterson. His work is very fine. He has created a story that will no doubt entertain readers for decades to come, but he is far from the first to use the ancient figure of the vampire as a literary device. But perhaps Stoker’s novel will be even more successful than John Polidori’s
The Vampyre
, published eighty years ago. Polidori’s vampire, Lord Ruthven, was actually based upon his illustrious patient, Lord Byron.”
“I think we very safely presume there is no truth in that,” Joshua put in.
Ballin smiled at him. “I agree, unequivocally. However, the history of the vampire, real or imagined, goes back even beyond the ancient Greek to the Hebrew, and the blood-drinking Lilith. The pedigree is not perhapsrespectable, but it is certainly rooted in mankind’s knowledge of good and evil, and what may become of a human soul when darkness is chosen over light.”
Alice was fascinated. The color in her cheeks had heightened, and her eyes were brilliant.
“You know!” she whispered. “You understand. The evil is real.” She turned to Joshua. “You are right, Mr. Fielding: We haven’t caught the essence of the novel yet. I am so grateful to you for not humoring me and letting me go ahead with something so much less than good, let alone true. We must work harder. Perhaps Mr. Ballin will help us?”
Lydia looked at Alice, then at Douglas, and her face registered a gamut of emotions. Caroline thought she saw in it more compassion than anything else. Was it for Douglas, or for Alice? Or had she misread it altogether? Perhaps it was only fear, and a degree of embarrassment?
“If I may be of assistance, without intruding, then I would be honored,” Ballin replied, first to Alice, then to Joshua.
Caroline watched Joshua, uncertain of what she read in his eyes. Was it amusement, desperation, or awarenessof his own inadequacy to mend a situation that had run away from him like a bolting horse?
“Have you any experience in stagecraft, Mr. Ballin?” he asked.
Ballin hesitated, for the first time Caroline had seen since he had stepped through the front door out of the storm and into the light and the warmth.
“I think I should leave that to you, Mr. Fielding.” He bowed his black head very slightly. “I can speak only of the legend of the vampire, and what it says of mankind.”
“Legend is just what it is,” Netheridge agreed. “Like all that Greek nonsense about gods and goddesses always squabbling with each other, and changing shape into animals, and whatever.”
“Ah,” Ballin sighed. “Metamorphosis. What a wonderful idea: to change completely, at will, into something else. Such an easy dream to understand.”
“Not if it’s wolves and bats.” Lydia shuddered. “Why would anyone want to turn into such a thing?”
“To escape, of course,” Ballin told her. “It is always to escape. Bats can fly, can steer themselves without sight, moving through the darkness at will.”
Mercy gave a cry, almost a strangled scream.
“Stop playing to the gallery,” Lydia muttered. She said it under her breath, but Caroline heard her quite clearly. She wondered who else had. James looked pale. Joshua was exasperated.
The evening was clearly going to be a very long one.
t did not end as Caroline expected, although looking back on it, perhaps she should have. She was standing at the top of the stairs speaking to Eliza about further pieces for the stage that they might use when a nerve-jangling scream ripped through the silence, instantly followed by another, and then silence.
A door flew open along the landing and James burst out, his hair wild, his shirt half-undone. He stared at Caroline and Eliza, then swiveled around to face the opposite