'You're wet,' he said.
'I know. I was asleep.'
He looked at me curiously for a moment. 'I couldn't reach you on the phone.'
'That's because it's not connected.'
How can I explain Daniel? He was a professional researcher, like me, and we had seen each other so many times in the British Library, the National Archive Centre, the newspaper collection at Colindale, and elsewhere, that we began to talk. There is a camaraderie that grows up among those who work with old books and old papers, largely, I suspect, because we understand that we are at odds with the rest of the world: we are travelling backwards, while all those around us are still moving forward. I must admit that I enjoy the sensation. One client might want me to investigate some eighteenth-century deeds, while another might need information on a nineteenth-century toolmaker, but for me the pleasure is the same; it is as if I were entering a place I had once known and then forgotten, and in the sudden light of recognition had remembered something of myself. On certain occasions this had a curious but no less pleasurable sequeclass="underline" I would look up from the books or documents I was reading, and find that the immediate world around me had become both more distant and more distinct. It had become part of the continuing historical process, as mysterious and unapproachable as any other period, and I gazed around me with the same delighted attention that I would give if I suddenly found myself within a sixteenth-century scene. If my work meant that I often viewed the past as my present, so in turn the present moment became part of the past. I have always tended to keep my real feelings to myself, so I had never discussed any of this with Daniel Moore. He would have listened to me with his usual dry attention, his bright eyes resting upon my face, before moving on to some other topic. In any case he saw his work in a different light; it was for him, I suspect, simply an inconspicuous job which he could pursue in solitude. 'I presume,' he said, 'that, as usual, I'm too early?'
I had quite forgotten that I had invited him to explore the house. 'Of course you are. Welcome to Nightmare Abbey.'
'Thank you, Matthew. You do look a little Gothic, after all.' He was staring at my leg, and I realized with horror that I was still wearing the trousers which had been so unexpectedly torn.
'A domestic accident.' I tried to laugh. 'Just give me a minute.'
I left him in the hallway while I rushed upstairs to change, and when I returned he was examining the ground-floor room with his usual sharp, almost scornful, attention. He was a small man, with pale neat features, and he was on tiptoe as he put his hand against one of the walls. 'How old is this house?'
'You tell me. You always give the impression of knowing about such things.'
'At first I would have said eighteenth-century, but I would have been wrong. This room is older. Much older.'
'That's what I felt.'
'Sixteenth-century?'
'Possibile.' I sounded like my mother then, and instantly regretted my tone.
'Of course it's very unusual to find a house of this age in London. Rather a surprise, in fact.' He walked past me into the hallway, and went up to the basement door.
'You can't,' I said. 'It's locked.' But as I spoke, he turned the handle and the door opened. He seemed to have no fear of the darkness below, but I followed him down the stairs more hesitantly. 'Do you think,' I whispered, 'there might be rats?'
'Of course. Enormous ones.' It did not seem peculiar at the time, but there was no smell, no odour of dampness, no suspicion of rotting things. Then something moved softly across my face, and I stumbled backwards with a cry; Daniel laughed, and pulled what was the cord of an electric light.
'Quite a little screamer, aren't we?' The basement room could be clearly seen now, with its stone floor, its whitewashed walls and its shallow alcoves, all seeming to ebb and flow in the sudden light; it covered the whole area of the house, and yet it was completely empty. Daniel had walked over to one of the walls. 'There was a door here, Matthew. Do you see how it has been sealed up?' He turned around, delighted to be in this ancient enclosed space. 'It looks westward, so it must have opened out near the Fleet River.'
'O gliding down with smooth and subtle course.'
'What?' He looked at me in surprise for a moment, but I just shrugged my shoulders. 'Now do you see this?' He pointed to some marks above the door, where the lintel must once have been, and his pale, carefully manicured hands seemed almost transparent against the white wall.
'Aren't they just scratches?'
He examined them more closely, although in fact very little could now be traced. 'No. They look like symbols.'
'Builders' marks.' I put my hand up to my sweating face.
'Do you know what I think? This wasn't a basement at all. This was the ground floor, and it has slowly sunk through the London clay. This old house is descending into the ground.'
*
We were sitting upstairs again, although my sense of what was above or below the ground was now subtly confused, and I was apologizing for having fainted away. I blamed it upon my hunger.
'You didn't faint,' he said. 'You just closed your eyes and leaned against the wall. It was all very restrained.' He was looking at me intently but it was impossible to gauge what, if any, feeling lay behind that steady gaze. 'I do think, Matthew, that we ought to find out who owned this house. It's almost a professional duty.'
'I'm not sure that I want to know.' I was very restless and, rising from my chair, I went over to a side-table which had been pushed beneath one of the narrow windows in this ancient room; it opened on to the west, in the same position as the door in the basement, and through the dusty pane I examined the area of the Fleet River where the Farringdon Road now flowed. My hands were upon the polished wooden table, and I could feel the handle of a drawer; I looked down, opened the drawer, and saw a glass tube lying there. It resembled a test tube from a laboratory, but it was about two feet in length and seemed curiously distorted at the end. I was disgusted by it, and closed the drawer quickly. 'It's very close in here,' I said to Daniel. 'Shall we go for a meal?'
He did not answer, so I turned to face him. He was no longer there. He had vanished, and in a sudden panic I rushed out of the room; only to see him coming down the staircase with a smile of triumph. 'I just had to look around,' he said. 'I did ask permission, but you were miles away.'
'I don't…'
'You were lost somewhere. Looking out of the window. So I took matters into my own hands. Did I hear you say something about going out?'
I looked back at the house as we left, and noticed for the first time that the eighteenth-century façade of the ground floor had been designed as a casing or shell for the sixteenth-century interior. I understood then that it had truly become my responsibility: it was as if some lost creature had come up to me, had attached itself to me, and pleaded silently with me to take care of its quiet life. That, at least, was what I thought at the time.
*
'Ah. Here's the well in Clerkenwell.' We had come out of Cloak Lane, on our way towards the Green, and Daniel had found a clue to the area which I had not seen at all. There was a flight of metal steps, leading down to a circular opening in the ground; there was even a wooden bucket, and a small model of the well as it would have looked five hundred years ago. I had not recognized any of this because it was protected by a thick glass window, and was now part of an office development in the street beside St James's Church. There was a small handwritten notice pinned to the bucket, and I crouched down in order to read it: 'There has been a well on this site since the twelfth century, when it was known as the Clerks' Well. Religious plays were performed on this ground during Advent, since wells were often considered to be emblems of spiritual blessing.' The water of life. And I had a vision of Clerkenwell as a holy place, a land of hills and running streams, where now the water underground was piped into my house.