Black Wings of Cthulhu

by S. T. Joshi

  Then my eye is drawn back to the pool, which has begun to steam, a grey-white mist rising languidly from off the water (if it is still water). The actress leans yet farther out over the strangely quiescent mere, and I find myself eager to look away. Whatever being the cameraman has caught her in the act of summoning or appeasing, I do not want to see, do not want to know its daemonic physiognomy. Her lips continue to move, and her hands stir the waters that remain smooth as glass, betraying no evidence that they have been disturbed in any way.

  At Rhegium she arrives; the ocean braves,

  And treads with unwet feet the boiling waves...

  But desire is not enough, nor trepidation, and I do not look away, either because I have been bewitched along with all those others who have come to see her, or because some deeper, more disquisitive facet of my being has taken command and is willing to risk damnation in the seeking into this mystery.

  “It is only a moving picture,” dead Thurber reminds me from his seat beside mine. “Whatever else she would say, you must never forget it is only a dream.”

  And I want to reply, “Is that what happened to you, dear William? Did you forget it was never anything more than a dream and find yourself unable to waken to lucidity and life?” But I do not say a word, and Thurber does not say anything more.

  But yet she knows not, who it is she fears;

  In vain she offers from herself to run,

  And drags about her what she strives to shun.

  “Brilliant,” whispers a woman in the darkness at my back, and “Sublime,” mumbles what sounds like a very old man. My eyes do not stray from the screen. The actress has stopped stirring the pool, has withdrawn her hand from the water, but still she kneels there, staring at the sooty stain it has left on her fingers and palm and wrist. Maybe, I think, that is what she came for, that mark, that she will be known, though my dreaming mind does not presume to guess what or whom she would have recognize her by such a bruise or blotch. She reaches into the reeds and moss and produces a black-handled dagger, which she then holds high above her head, as though making an offering to unseen gods, before she uses the glinting blade to slice open the hand she previously offered to the waters. And I think perhaps I understand, finally, and the phial and the stirring of the pool were only some preparatory wizardry before presenting this far more precious alms or expiation. As her blood drips to spatter and roll across the surface of the pool like drops of mercury striking a solid tabletop, something has begun to take shape, assembling itself from those concealed depths, and, even without sound, it is plain enough that the willows have begun to scream and to sway as though in the grip of a hurricane wind. I think, perhaps, it is a mouth, of sorts, coalescing before the prostrate form of Vera Endecott or Lillian Margaret Snow, a mouth or a vagina or a blind and lidless eye, or some organ that may serve as all three. I debate each of these possibilities, in turn.

  Five minutes ago, almost, I lay my pen aside, and I have just finished reading back over, aloud, what I have written, as false dawn gave way to sunrise and the first uncomforting light of a new October day. But before I return these pages to the folio containing Pickman’s sketches and Thurber’s clippings and go on about the business that the morning demands of me, I would confess that what I have dreamed and what I have recorded here are not what I saw that afternoon in the screening room near Harvard Square. Neither is it entirely the nightmare that woke me and sent me stumbling to my desk. Too much of the dream deserted me, even as I rushed to get it all down, and the dreams are never exactly, and sometimes not even remotely, what I saw projected on that wall, that deceiving stream of still images conspiring to suggest animation. This is another point I always tried to make with Thurber, and which he never would accept, the fact of the inevitability of unreliable narrators. I have not lied; I would not say that. But none of this is any nearer to the truth than any other fairy tale.

  AFTER THE DAYS I SPENT IN THE BOARDING-HOUSE IN Providence, trying to bring some semblance of order to the chaos of Thurber’s interrupted life, I began accumulating my own files on Vera Endecott, spending several days in August drawing upon the holdings of the Boston Athenaeum, Public Library, and the Widener Library at Harvard. It was not difficult to piece together the story of the actress’ rise to stardom and the scandal that led to her descent into obscurity and alcoholism late in 1927, not so very long before Thurber came to me with his wild tale of Pickman and subterranean ghouls. What was much more difficult to trace was her movement through certain theosophical and occult societies, from Manhattan to Los Angeles, circles to which Richard Upton Pickman was, himself, no stranger.

  In January ’27, after being placed under contract to Paramount Pictures the previous spring, and during production of a film adaptation of Margaret Kennedy’s novel, The Constant Nymph, rumors began surfacing in the tabloids that Vera Endecott was drinking heavily and, possibly, using heroin. However, these allegations appear at first to have caused her no more alarm or damage to her film career than the earlier discovery that she was, in fact, Lillian Snow, or the public airing of her disreputable North Shore roots. Then, on May 3rd, she was arrested in what was, at first, reported as merely a raid on a speakeasy somewhere along Durand Drive, at an address in the steep, scrubby canyons above Los Angeles, nor far from the Lake Hollywood Reservoir and Mulholland Highway. A few days later, after Endecott’s release on bail, queerer accounts of the events of that night began to surface, and by the 7th, articles in the Van Nuys Call, Los Angeles Times, and the Herald-Express were describing the gathering on Durand Drive not as a speakeasy, but as everything from a “witches’ Sabbat” to “a decadent, sacrilegious, orgiastic rite of witchcraft and homosexuality.”

  But the final, damning development came when reporters discovered that one of the many women found that night in the company of Vera Endecott, a Mexican prostitute named Ariadna Delgado, had been taken immediately to Queen of Angels–Hollywood Presbyterian, comatose and suffering from multiple stab wounds to her torso, breasts, and face. Delgado died on the morning of May 4th, without ever having regained consciousness. A second “victim” or “participant” (depending on the newspaper), a young and unsuccessful screenwriter listed only as Joseph E. Chapman, was placed in the psychopathic ward of LA County General Hospital following the arrests.

  Though there appear to have been attempts to keep the incident quiet by both studio lawyers and also, perhaps, members of the Los Angeles Police Department, Endecott was arrested a second time on May 10th and charged with multiple counts of rape, sodomy, second-degree murder, kidnapping, and solicitation. Accounts of the specific charges brought vary from one source to another, but regardless, Endecott was granted and made bail a second time on May 11th, and four days later, the office of Los Angeles District Attorney Asa Keyes abruptly and rather inexplicably asked for a dismissal of all charges against the actress, a motion granted in an equally inexplicable move by the Superior Court of California, Los Angeles County (it bears mentioning, of course, that District Attorney Keyes was, himself, soon thereafter indicted for conspiracy to receive bribes and is presently awaiting trial). So, eight days after her initial arrest at the residence on Durand Drive, Vera Endecott was a free woman, and by late May she had returned to Manhattan, after her contract with Paramount was terminated.

  Scattered throughout the newspaper and tabloid coverage of the affair are numerous details that take on a greater significance in light of her connection with Richard Pickman. For one, some reporters made mention of “an obscene idol” and “a repellent statuette carved from something like greenish soapstone” recovered from the crime scene, a statue which one of the arresting officer’s is purported to have described as a “crouching, doglike beast.” One article listed the item as having been examined by a local (unnamed) archeologist, who was supposedly baffled at its origins and cultural affinities. The house on Durand Drive was, and may still be, owned by a man named Beauchamp who had spent time in the company of Aleister Crowley during his four-year visit
to America (1914– 1918), and who had connections with a number of hermetic and theurgical organizations. And finally, the screenwriter Joseph Chapman drowned himself in the Pacific somewhere near Malibu only a few months ago, shortly after being discharged from the hospital. The one short article I could locate regarding his death made mention of his part in the “notorious Durand Drive incident” and printed a short passage reputed to have come from the suicide note. It reads, in part, as follows:

  Oh God, how does a man forget, deliberately and wholly and forever, once he has glimpsed such sights as I have had the misfortune to have seen? The awful things we did and permitted to be done that night, the events we set in motion, how do I lay my culpability aside? Truthfully, I cannot and am no longer able to fight through day after day of trying. The Endecotte [sic] woman is back East somewhere, I hear, and I hope to hell she gets what’s coming to her. I burned the abominable painting she gave me, but I feel no cleaner, no less foul, for having done so. There is nothing left of me but the putrescence we invited. I cannot do this anymore.

  Am I correct in surmising, then, that Vera Endecott made a gift of one of Pickman’s paintings to the unfortunate Joseph Chapman, and that it played some role in his madness and death? If so, how many others received such gifts from her, and how many of those canvases yet survive so many thousands of miles from the dank cellar studio near Battery Street where Pickman created them? It’s not something I like to dwell upon.

  After Endecott’s reported return to Manhattan, I failed to find any printed record of her whereabouts or doings until October of that year, shortly after Pickman’s disappearance and my meeting with Thurber in the tavern near Faneuil Hall. It’s only a passing mention from a society column in the New York Herald Tribune, that “the actress Vera Endecott” was among those in attendance at the unveiling of a new display of Sumerian, Hittite, and Babylonian antiquities at the Metropolitan Museum of Art.

  What is it I am trying to accomplish with this catalogue of dates and death and misfortune, calamity and crime? Among Thurber’s books, I found a copy of Charles Hoyt Fort’s The Book of the Damned (New York: Boni & Liveright, December 1, 1919). I’m not even sure why I took it away with me, and having read it, I find the man’s writings almost hysterically belligerant and constantly prone to intentional obfuscation and misdirection. Oh, and wouldn’t that contentious bastard love to have a go at this tryst with “the damned”? My point here is that I’m forced to admit that these last few pages bear a marked and annoying similarity to much of Fort’s first book (I have not read his second, New Lands, nor do I propose ever to do so). Fort wrote of his intention to present a collection of data that had been excluded by science (id est, “damned”):

  Battalions of the accursed, captained by pallid data that I have exhumed, will march. You’ll read them—or they’ll march. Some of them livid and some of them fiery and some of them rotten.

  Some of them are corpses, skeletons, mummies, twitching, tottering, animated by companions that have been damned alive. There are giants that will walk by, though sound asleep. There are things that are theorems and things that are rags: they’ll go by like Euclid arm in arm with the spirit of anarchy. Here and there will flit little harlots. Many are clowns. But many are of the highest respectability. Some are assassins. There are pale stenches and gaunt superstitions and mere shadows and lively malices: whims and amiabilities. The naïve and the pedantic and the bizarre and the grotesque and the sincere and the insincere, the profound and the puerile.

  And I think I have accomplished nothing more than this, in my recounting of Endecott’s rise and fall, drawing attention to some of the more melodramatic and vulgar parts of a story that is, in the main, hardly more remarkable than numerous other Hollywood scandals. But also, Fort would laugh at my own “pallid data,” I am sure, my pathetic grasping at straws, as though I might make this all seem perfectly reasonable by selectively quoting newspapers and police reports, straining to preserve the fraying infrastructure of my rational mind. It’s time to lay these dubious, slipshod attempts at scholarship aside. There are enough Forts in the world already, enough crackpots and provocateurs and intellectual heretics without my joining their ranks. The files I have assembled will be attached to this document, all my “Battalions of the accursed,” and if anyone should ever have cause to read this, they may make of those appendices what they will. It’s time to tell the truth, as best I am able, and be done with this.

  IT IS TRUE THAT I ATTENDED A SCREENING OF A FILM, featuring Vera Endecott, in a musty little room near Harvard Square. And that it still haunts my dreams. But as noted above, the dreams rarely are anything like an accurate replaying of what I saw that night. There was no black pool, no willow trees stitched together from human bodies, no venomous phial emptied upon the waters. Those are the embellishments of my dreaming, subconscious mind. I could fill several journals with such nightmares.

  What I did see, only two months ago now, and one month before I finally met the woman for myself, was little more than a grisly, but strangely mundane, scene. It might have only been a test reel, or perhaps 17,000 or so frames, some twelve minutes, give or take, excised from a far longer film. All in all, it was little more than a blatantly pornographic pastiche of the widely circulated 1918 publicity stills of Theda Bara lying in various risqué poses with a human skeleton (for J. Edward Gordon’s Salomé).

  The print was in very poor condition, and the projectionist had to stop twice to splice the film back together after it broke. The daughter of Iscariot Snow, known to most of the world as Vera Endecott, lay naked upon a stone floor with a skeleton. However, the human skull had been replaced with what I assumed then (and still believe) to have been a plaster or papier-mâché “skull” that more closely resembled that of some malformed, macrocephalic dog. The wall or backdrop behind her was a stark matte-grey, and the scene seemed to me purposefully under-lit in an attempt to bring more atmosphere to a shoddy production. The skeleton (and its ersatz skull) were wired together, and Endecott caressed all the osseous angles of its arms and legs and lavished kisses upon it lipless mouth, before masturbating, first with the bones of its right hand, and then by rubbing herself against the crest of an ilium.

  The reactions from the others who’d come to see the film that night ranged from bored silence to rapt attention to laughter. My own reaction was, for the most part, merely disgust and embarrassment to be counted among that audience. I overheard, when the lights came back up, that the can containing the reel bore two titles, The Necrophile and The Hound’s Daughter, and also bore two dates—1923 and 1924. Later, from someone who had a passing acquaintance with Richard Pickman, I would hear a rumor that he’d worked on scenarios for a filmmaker, possibly Bernard Natan, the prominent Franco-Romanian director of “blue movies,” who recently acquired Pathé and merged it with his own studio, Rapid Film. I cannot confirm or deny this, but certainly, I imagine what I saw that evening would have delighted Pickman no end.

  However, what has lodged that night so firmly in my mind, and what I believe is the genuine author of those among my nightmares featuring Endecott in an endless parade of nonexistent horrific films, transpired only in the final few seconds of the film. Indeed, it came and went so quickly, the projectionist was asked by a number of those present to rewind and play the ending over four times, in an effort to ascertain whether we’d seen what we thought we had seen.

  Her lust apparently satiated, the actress lay down with her skeletal lover, one arm about its empty ribcage, and closed her kohl-smudged eyes. And in that last instant, before the film ended, a shadow appeared, something passing slowly between the set and the camera’s light source. Even after five viewings, I can only describe that shade as having put me in mind of some hulking figure, something considerably farther down the evolutionary ladder than Piltdown or Java man. And it was generally agreed among those seated in that close and musty room that the shadow was possessed of an odd sort of snout or muzzle, suggestive of the prognathous jaw and f
ace of the fake skull wired to the skeleton.

  There, then. That is what I actually saw that evening, as best I now can remember it. Which leaves me with only a single piece of this story left to tell, the night I finally met the woman who called herself Vera Endecott.

  “DISAPPOINTED? NOT QUITE WHAT YOU WERE EXPECTING?” she asked, smiling a distasteful, wry sort of smile, and I think I might have nodded in reply. She appeared at least a decade older than her twenty-seven years, looking like a woman who had survived one rather tumultuous life already and had, perhaps, started in upon a second. There were fine lines at the corners of her eyes and mouth, the bruised circles below her eyes that spoke of chronic insomnia and drug abuse, and, if I’m not mistaken, a premature hint of silver in her bobbed black hair. What had I anticipated? It’s hard to say now, after the fact, but I was surprised by her height, and by her irises, which were a striking shade of grey. At once, they reminded me of the sea, of fog and breakers and granite cobbles polished perfectly smooth by ages in the surf. The Greeks said that the goddess Athena had “sea-grey” eyes, and I wonder what they would have thought of the eyes of Lillian Snow.

  “I have not been well,” she confided, making the divulgence sound almost like a mea culpa, and those stony eyes glanced toward a chair in the foyer of my flat. I apologized for not having already asked her in, for having kept her standing in the hallway. I led her to the davenport sofa in the tiny parlor off my studio, and she thanked me. She asked for whiskey or gin, and then laughed at me when I told her I was a teetotaler. When I offered her tea, she declined.

  “A painter who doesn’t drink?” she asked. “No wonder I’ve never heard of you.”