Maurice Stafford, who had not forgotten his name or how he had returned to London, nor the horror he had left behind in Crickley Hall, was renamed Gordon Pyke.
The Pykes were gloriously happy with their new-found son, who hobbled around on crutches while his injured leg strengthened, and the boy did his best to conceal the unpleasant side of his nature, a task that was not difficult for him over the first few months. But then the nightmares had begun, prompted, he had always felt, by the fresh attacks on the city, this time pilotless rockets sent over from the coasts of Europe by the desperate Germans. The doodlebugs, as the first V-1 rockets were nicknamed, brought hell back to the capital. The drone of their engines was feared, but the silence when the engines cut out and the flying bombs dropped through the sky were feared even more.
Henry Pyke was killed while on duty in a school hall acquisitioned by the ARP when a doodlebug fell on it and completely destroyed the building. Seven other people lost their lives with him.
The nightmares that came to plague young Gordon Pyke were intense and damaging. They made his nerves bad; they made him neurotic and paranoid.
These terrible dreams varied in content but were constant over the years. In one (the first one he had), he is on a train and he can see Magda Cribben's white face outside the window. Her mouth is open but he can't hear her shouts. Her pale fingers claw at the glass as the train begins to move, slowly at first, then picking up speed, leaving Magda behind, her face ugly in its contortions. He is always struck by an acute loneliness as the train leaves the woman far behind. In another, he is standing at the foot of the stairs in Crickley Hall and all the other orphans who had been evacuated with him are higher up, each to a step, and he feels deep shame as they stare down at him, for he knows they are all dead. When they beckon him, silently inviting him to join them on the stairs, he doesn't move. He can't, he's paralysed. So the dead start to come down to him and he can see the emptiness in their eyes, the lifelessness of their corpses; he can smell their decay. In yet another, he is flagellating Augustus Cribben's nude body with a bamboo cane, and as he does so, the skin parts, wounds open, Cribben's abused body becomes raw red meat and no longer recognizable as human. But he can't stop the flogging, he wields the cane until the meat begins to pulp, then disintegrate, and the gore puddles at the feet of the thing that is no longer a man but now a mashed carcass that starts to corrupt and rot and fall away until finally it is nothing more than boneless lumps of flesh in the spreading pool of blood. Even then he cannot stop; he continues to thrash the bloody mounds, and the cane itself becomes red and slippery until it slides from his hand and he falls to his knees in the muck he has created. He always woke up at that point, shivering yet sweaty, clammy, peering round frantically, searching for anything lurking in the darkness of his bedroom. The final nightmare in the cycle of four has him up to his neck in cold water that is as black as the space around him. A circle of dull grey light comes from high above, and when he feels the slimy walls they are circular. Naturally he is frightened in this predicament, but the real fear comes when he realizes there is something in the inky water with him. He can't see it, but he can sense it. As something brittle, like the decayed fingers of a claw, wraps itself round his wrist he starts to scream and it becomes a real, waking scream that seems to rebound off the walls of his room.
Yes, the dreams were bad, for their consistency as much as their nature, but it was the second appearance of the ghost that had him gibbering on the floor of his bedroom, his curled body pushed tightly into a corner, his hand scratching frantically at the wallpaper and his teeth chattering, his eyes bulging.
It was late at night and he was lying in bed, just beginning to doze, hoping that his sleep would be dreamless, when he heard the familiar sound.
Swish-thwack.
He was afraid to open his eyes, but also afraid not to. He could feel the room had become icy and the air was foul, as if a large rat lay dead and mouldering beneath the floorboards.
Swish-thwack.
He forced his eyes open.
Because of his nightmares, he always slept with the ceiling light on, so anything in the room was plainly visible. Only too visible. The figure of Augustus Cribben was coming slowly towards the bed, and this time it was not transparent, it was as firm and solid as when Cribben was alive. Only twin gleams of light could be seen of the shadowed eyes, but the lips plainly moved as if the vision was speaking.
It had to be a ghost, but it looked so real!
The cane came down hard on the bedspread and, impossibly, he saw dust rise from the material. The cane came down again and this time it hit his leg, the one that had been broken by his fall into the cellar, and although the pain was mostly absorbed by the cover, it was still strong enough to release the scream that had struggled to escape him the moment he saw the ghost.
He leapt out of bed and cowered in the corner of the room where he stayed, blubbering, until his adoptive mother burst through the door and ran to kneel beside him. It took Dorothy more than an hour to convince her adoptive son there was nobody else in the room.
His behaviour from then on was alarming. He twitched every time she touched him and shrank away when she tried to take him in her arms and comfort him (now widowed, Dorothy needed comforting herself, especially from the son she had always longed for). Gordon wouldn't speak to her either and he refused to meet her gaze: he hunched his shoulders, leaning over the walking stick he now used (the break in his leg had never healed properly), and his eyes darted craftily as if he had some secret to keep. He became agitated whenever it was time for bed and for three nights running she had to rush into his room, brought there by his dreadful screams. On each occasion she found him huddled in the corner of the well-lit room, his body shaking, his eyes wide.
Only then did Dorothy seek medical help for him and her GP immediately sent the boy for psychiatric treatment.
'They'll soon sort him out,' was the doctor's opinion.
But once in the mental home, Gordon, like Magda Cribben before him, withdrew into himself even more, blocking out the world so that nothing could reach him, especially the lunatics he was forced to share the ward with. He could not escape the ghost, though, nor the nightmare dreams of Crickley Hall, but in time he learnt to control his reaction to them.
When Cribben's ghost now appeared, Gordon would stifle his own screams with a fist to his mouth and a hand over his eyes. The horror was still there, but self-preservation had always been his strength. He wanted to leave this place of mad people and to do so he knew he had to appear inwardly and outwardly normal. He did not care for their drugs and physical restraints.
When the nightmares came, he learned to be still when he awoke from them, not to cry out or complain, to weep silently beneath the bedclothes until repetition hardened him even against tears.