And in the evening as in the morning the weir placidly murmured, and the river slipped smoothly between the huge jutting buttresses of the Old Bridge; and the thought of the perpetuity of the river, in whose mirror the venerable town was a mushroom, obsessed him, mastered him, and made him as old as the river. He was wonder-struck and sorrow-struck by life, and by his own life, and by the incomprehensible and angering fantasy of Concepcion. His week-end took on the appearance of the monstrous. Then the door opened again, and Concepcion entered in a white gown, the antithesis of her sporting costume of the day before. She approached through the thickening shadows of the room, and the vague whiteness of her gown reminded him of the whiteness of the form climbing the chimney-ladder on the roof of Lechford House in the raid. Knowing her, he ought to have known that, having made him believe that she would not come down, she would certainly come down. He restrained himself, showed no untoward emotion, and said in a calm, genial voice: "Oh! I'm so glad you were well enough to come down."

She sat opposite to him in the window-seat, rather sideways, so that her skirt was pulled close round her left thigh and flowed free over the right. He could see her still plainly in the dusk.

"I've never yet apologised to you for my style of behaviour at the committee of yours," she began abruptly in a soft, kind, reasonable voice. "I know I let you down horribly. Yes, yes! I did. And I ought to apologise to you for to-day too. But I don't think I'll apologise to you for bringing you to Wrikton and this place. They're not real, you know. They're an illusion. There is no such place as Wrikton and this river and this window. There couldn't be, could there? Queen and I motored over here once from Paulle—it's not so very far—and we agreed that it didn't really exist. I never forgot it; I was determined to come here again some time, and that's why I chose this very spot when half Harley Street stood up and told me I must go away somewhere after my cure and be by myself, far from the pernicious influence of friends. I think I gave you a very fair idea of the town yesterday. But I didn't show you the funniest thing in it—the inside of a solicitor's office. You remember the large grey stone house in Mill Street—the grass street, you know—with 'Simpover and Simpover' on the brass plate, and the strip of green felt nailed all round the front door to keep the wind out in winter. Well, it's all in the same key inside. And I don't know which is the funniest, the Russian dancers, or the green felt round the front door, or Mr. Simpover, or the other Mr. Simpover. I'm sure neither of those men is real, though they both somehow have children. You remember the yellow cards that you see in so many of the windows: 'A MAN has gone from this house to fight for King and Country!'—the elder Mr. Simpover thinks it would be rather boastful to put the card in the window, so he keeps it on the mantelpiece in his private office. It's for his son. And yet I assure you the father isn't real. He is like the town, he simply couldn't be real."