The Complete Stories, Vol. 1: Final Reckonings

by Robert Bloch

  First Carol Publishing Group Edition I990

  Copyright © 1987 by Robert Bloch

  Indvidual stories were copyrighted in their year of first publication. For details and renewal dates see acknowledgements section.

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  ISBN 0-8065-4144-3

  10 9 8 7 6 5 4 3 2 1

  FINAL RECKONINGS

  Copyright

  Mannikins of Horror

  Almost Human

  The Beasts of Barsac

  The Skull of the Marquis de Sade

  The Bogeyman Will Get You

  Frozen Fear

  The Tunnel of Love

  The Unspeakable Betrothal

  Tell Your Fortune

  The Head Man

  The Shadow from the Steeple

  The Man Who Collected Poe

  Lucy Comes To Stay

  The Thinking Cap

  Constant Reader

  The Pin

  The Goddess of Wisdom

  The Past Master

  Where the Buffalo Roam

  I Like Blondes

  You Got To Have Brains

  A Good Imagination

  Dead-End Doctor

  Terror in the Night

  All on a Golden Afternoon

  Founding Fathers

  String of Pearls

  Acknowledgements

  Mannikins of Horror

  1

  COLIN HAD BEEN MAKING the little clay figures for a long time before he noticed that they moved. He had been making them for years there in his room, using hundreds of pounds of clay, a little at a time.

  The doctors thought he was crazy; Doctor Starr in particular, but then Doctor Starr was a quack and a fool. He couldn't understand why Colin didn't go into the workshop with the other men and weave baskets, or make rattan chairs. That was useful "occupational therapy," not foolishness like sitting around and modeling little clay figures year in and year out. Doctor Starr always talked like that, and sometimes Colin longed to smash his smug, fat face. "Doctor" indeed!

  Colin knew what he was doing. He had been a doctor once: Doctor Edgar Colin, surgeon —and brain surgeon at that. He had been a renowned specialist, an authority, in the days when young Starr was a bungling, nervous interne. What irony! Now Colin was shut up in a madhouse, and Doctor Starr was his keeper. It was a grim joke. But mad though he was, Colin knew more about psychopathology than Starr would ever learn.

  Colin had gone up with the Red Cross base at Ypres; he had come down miraculously unmangled, but his nerves were shot. For months after that final blinding flash of shells Colin had lain in a coma at the hospital, and when he had recovered they said he had dementia praecox. So they sent him here, to Starr.

  Colin asked for clay the moment he was up and around. He wanted to work. The long, lean hands, skilled in delicate cranial surgery, had not lost their cunning —their cunning that was like a hunger for still more difficult tasks. Colin knew he would never operate again; he wasn't Doctor Colin any more, but a psychotic patient. Still he had to work. Knowing what he did about mental disorders, his mind was tortured by introspection unless he kept busy. Modeling was the way out.

  As a surgeon he had often made casts, busts, anatomical figures copied from life to aid his work. It had been an engrossing hobby, and he knew the organs, even the complicated structure of the nervous system, quite perfectly. Now he worked in clay. He started out making ordinary little figures in his room. Tiny mannikins, five or six inches high, were moulded accurately from memory. He discovered an immediate knack for sculpture, a natural talent to which his delicate fingers responded.

  Starr had encouraged him at first. His coma ended, his stupor over, he had been revivified by this new-found interest. His early clay figures gained a great deal of attention and praise. His family sent him funds; he bought instruments for modeling. On the table in his room he soon placed all the tools of a sculptor. It was good to handle instruments again; not knives and scalpels, but things equally wonderful: things that cut and carved and reformed bodies. Bodies of clay, bodies of flesh —what did it matter?

  It hadn't mattered at first, but then it did. Colin, after months of painstaking effort, grew dissatisfied. He toiled eight, ten, twelve hours a day, but he was not pleased—he threw away his finished figures, crumpled them into brown balls which he hurled to the floor with disgust. His work wasn't good enough.

  The men and women looked like men and women in miniature. They had muscles, tendons, features, even epidermal layers and tiny hairs Colin placed on their small bodies. But what good was it? A fraud, a sham. Inside they were solid clay, nothing more—and that was wrong. Colin wanted to make complete miniature mortals, and for that he must study.

  It was then that he had his first clash with Doctor Starr, when he asked for anatomy books. Starr laughed at him, but he managed to get permission.

  So Colin learned to duplicate the bony structure of man, the organs, the quite intricate mass of arteries and veins. Finally, the terrific triumph of learning glands, nerve structure, nerve endings. It took years, during which Colin made and destroyed a thousand clay figures. He made clay skeletons, placed clay organs in tiny bodies. Delicate, precise work. Mad work, but it kept him from thinking. He got so he could duplicate the forms with his eyes closed.

  At last he assembled his knowledge, made clay skeletons and put the organs in them, then allowed for pinpricked nervous system, blood vessels, glandular organization, dermic structure, muscular tissue —everything. And at last he started making brains. He learned every convolution of the cerebrum and cerebellum; every nerve ending, every wrinkle in the gray matter of the cortex. Study, study, disregard the laughter, disregard the thoughts, disregard the monotony of long years imprisoned; study, study, make the perfect figures, be the greatest sculptor in the world, be the greatest surgeon in the world, be a creator.

  Doctor Starr dropped in every so often and subtly tried to discourage such fanatical absorption. Colin wanted to laugh in his face. Starr was afraid this work was driving Colin madder than ever. Colin knew it was the one thing that kept him sane.

  Because lately, when he wasn't working, Colin felt things happen to him. The shells seemed to explode in his head again, and they were doing things to his brain —making it come apart, unravel like a ball of twine. He was disorganizing. At times he seemed no longer a person but a thousand persons, and not one body, but a thousand distinct and separate structures, as in the clay men. He was not a unified human being, but a heart, a lung, a liver, a bloodstream, a hand, a leg, a head —all distinct, all growing more and more disassociated as time went on. His brain and body were no longer an entity. Everything within him was falling apart, leading a life of its own. Nerves no longer coordinated with blood. Arm didn't always follow leg. He recalled his medical training, the hints that each bodily organ lived an individual life.

  Each cell was a unit, for that matter. When death came, you didn't die all at once. Some organs died before others, some cells went first. But it shouldn't happen in life. Yet it did. That shel
l shock, whatever it was, had resulted in a slow unraveling. And at night Colin would lie and toss, wondering how soon his body would fall apart—actually fall apart into twitching hands and throbbing heart and wheezing lungs; separated like the fragments torn from a spoiled clay doll.

  He had to work to keep sane. Once or twice he tried to explain to Doctor Starr what was happening, to ask for special observation—not for his sake, but because perhaps science might learn something from data on his case. Starr had laughed, as usual. As long as Colin was healthy, exhibited no morbid or homicidal traits, he wouldn't interfere. Fool!

  Colin worked. Now he was building bodies—real bodies. It took days to make one; days to finish a form complete with chiseled lips, delicate aural and optical structures correct, tiny fingers and toenails perfectly fitted. But it kept him going. It was fascinating to see a table full of little miniature men and women!

  Doctor Starr didn't think so. One afternoon he came in and saw Colin bending over three little lumps of clay with his tiny knives, a book open before him.

  "What are you doing there?" he asked.

  "Making the brains for my men," Colin answered.

  "Brains? Good God!" Starr stooped.

  Yes, they were brains! Tiny, perfect reproductions of the human brain, perfect in every detail, built up layer on layer with unconnected nerve endings, blood vessels to attach them in craniums of clay!

  "What—" Starr exclaimed.

  "Don't interrupt. I'm putting in the thoughts," Colin said.

  Thoughts? That was sheer madness, beyond madness. Starr stared aghast. Thoughts in brains for clay men?

  Starr wanted to say something then. But Colin looked up and the afternoon sun streamed into his face so that Starr could see his eyes. And Starr crept out quietly under that stare; that stare which was almost--godlike. The next day Colin noticed that the clay men moved.

  2

  "Frankenstein," Colin mumbled. "I am Frankenstein." His voice sank to a whisper. "I'm not like Frankenstein. I'm like God. Yes, like God."

  He sank to his knees before the tabletop. The two little men and women nodded gravely at him. He could see thumbprints in their flesh, his thumbprints, where he'd smoothed out the skulls after inserting the brains. And yet they lived!

  "Why not? Who knows anything about creation, about life? The human body, physiologically, is merely a mechanism adapted to react. Duplicate that mechanism perfectly and why won't it live? Life is electricity, perhaps. Well, so is thought. Put thought into perfect simulacra of humanity and they will live."

  Colin whispered to himself, and the figures of clay looked up and nodded in eerie agreement.

  "Besides, I'm running down. I'm losing my identity. Perhaps a part of my vital substance has been transferred, incorporated in these new bodies. My—my disease—that might account for it. But I can find out."

  Yes, he could find out. If these figures were animated by Colin's life, then he could control their actions, just as he controlled the actions of his own body. He created them, gave them a part of his life. They were him.

  He crouched there in the barred room, thinking, concentrating. And the figures moved. The two men moved up to the two women, grasped their arms, and danced a sedate minuet to a mentally-hummed tune; a grotesque dance of little clay dolls, a horrid mockery of life.

  Colin closed his eyes, sank back trembling. It was true! The effort of concentration had covered him with perspiration. He panted, exhausted. His own body felt weakened, drained. And why not? He had directed four minds at once, performed actions with four bodies. It was too much. But it was real.

  "I'm God," he muttered. "God." But what to do about it?

  He was a lunatic, shut away in an asylum. How to use his power?

  "Must experiment, first," he said aloud.

  "What?"

  Doctor Starr had entered, unobserved. Colin cast a hasty glance at the table, found to his relief that the mannikins were motionless.

  "I was just observing that I must experiment with my clay figures," he said, hastily.

  The doctor arched his eyebrows. "Really? Well, you know, Colin, I've been thinking. Perhaps this work here isn't so good for you. You look peaked, tired. I'm inclined to think you're hurting yourself with all this; afraid hereafter I'll have to forbid your modeling work."

  "Forbid it?"

  Doctor Starr nodded.

  "But you can't —just when I've —I mean, you can't! It's all I've got, all that keeps me going, alive. Without it I'll— "

  "Sorry."

  "You can't."

  "I'm the doctor, Colin. Tomorrow we'll take away the clay. I'm giving you a chance to find yourself, man, to live again —"

  Colin had never been violent until now. The doctor was surprised to find lunatic fingers clawing at his throat, digging for the jugular vein with surgically skilled fingers. He went over backward with a bang, and fought the madman until the aroused guards came and dragged Colin off. They tossed him on his bunk and the doctor left.

  It was dark when Colin emerged from a world of hate. He lay alone. They had gone, the day had gone. Tomorrow they and the day would return, taking away his figures —his beloved figures. His living figures! Would they crumple them up and destroy them, destroy actual life? It was murder!

  Colin sobbed bitterly, as he thought of his dreams. What he had meant to do with his power—why, there were no limits! He could have built dozens, hundreds of figures, learned to concentrate mentally until he could operate a horde of them at will. He would have created a little world of his own; a world of creatures subservient to him. Creatures for companionship, for his slaves. Fashioning different types of bodies, yes, and different types of brains. He might have reared a private little civilization.

  And more. He might have created a race. A new race. A race that bred. A race that was developed to aid him. A hundred tiny figures, hands trained, teeth filed, could saw through his bars. A hundred tiny figures to attack the guards, to free him. Then out into the world with an army of clay; a tiny army, but one that could burrow deeply in the earth, travel hidden and unseen into high places. Perhaps, some day, a world of little clay men, trained by him. Men that didn't fight stupid wars to drive their fellow men mad. Men without the brutal emotions of savages, the hungers and lusts of beasts. Wipe out flesh! Substitute godly clay!

  But it was over. Perhaps he was mad, dreaming of these things. It was over. And one thing he knew: without the clay he would be madder still. Tonight he could feel it, feel his body slipping. His eyes, staring at the moonlight, didn't seem to be a part of his own form any longer. They were watching from the floor, or from over in the corner. His lips moved, but he didn't feel his face. His voice spoke, and it seemed to come from the ceiling rather than from his throat. He was crumpling himself, like a mangled clay figure.

  The afternoon's excitement had done it. The great discovery, and then Starr's stupid decision. Starr! He'd caused all this. He was responsible. He'd drive him to madness, to a horrid, unnamed mentally-diseased state he was too blind to comprehend. Starr had sentenced him to death. If only he could sentence Starr!

  Perhaps he could.

  What was that? The thought came from far away—inside his head, outside his head. He couldn't place his thoughts any more—body going to pieces like this. What was it now?

  Perhaps he could kill Starr.

  How?

  Find out Starr's plans, his ideas.

  How?

  Send a clay man.

  What?

  Send a clay man. This afternoon you concentrated on bringing them to life. They live. Animate one. He'll creep under the door, walk down the hall, listen to Starr. If you animate the body, you'll hear Starr.

  Thoughts buzzing so. . . .

  But how can I do that? Clay is clay. Clay feet would wear out long before they got down the hall and back. Clay ears—perfect though they may be —would shatter under the conveyance of actual sounds.

  Think. Make the thoughts stop buzzing. There is
a way. . . .

  Yes, there was a way! Colin gasped. His insanity, his doom, were his salvation! If his faculties were being disorganized, and he had the power of projecting himself into clay, why not project special faculties into the images? Project his hearing into the clay ears, by concentration? Remodel clay feet until they were identical replicas of his own, then concentrate on walking? His body, his senses, were falling apart. Put them into clay!

  He laughed as he lit the lamp, seized a tiny figure and began to recarve the feet. He kicked off his own shoes, studied carefully, looked at charts, worked, laughed, worked—and it was done. Then he lay back on the bed in darkness, thinking.

  The clay figure was climbing down from the table. It was sliding down the leg, reaching the floor. Colin felt his feet tingle with shock as they hit the floor. Yes! His feet.

  The floor trembled, thundered. Of course. Tiny vibrations, unnoticed by humans, audible to clay ears. His ears.

  Another part of him—Colins actual eyes—saw the little creeping figure scuttle across the floor, saw it squeeze under the door. Then darkness, and Colin sweated on the bed, concentrating.

  Clay Colin could not see. He had no eyes. But instinct, memory guided.

  Colin walked in the giant world. The foot came out, the foot of Colossus. Colin edged closer to the woodwork as the trampling monster came down, crashing against the floor with monstrous vibrations.

  Then Colin walked. He found the right door by instinct—the fourth door down. He crept under, stepped up a foot onto the carpet. At least, the grassy sward seemed a foot high. His feet ached as the cutting rug bit swordblades into his soles. From above, the thunder of voices. Great titans roared and bellowed a league in the air.