Although he had refused to look at it since the day he had staggered in, half-dead from terror and exhaustion, Leverett perfectly recalled where he had flung his notebook. He retrieved it from the back of a seldom used file, thumbed through the wrinkled pages thoughtfully. These hasty sketches reawakened the sense of foreboding evil, the charnel horror of that day. Studying the bizarre lattice patterns, it seemed impossible to Leverett that others would not share his feeling of horror that the stick structures evoked in him.
He began to sketch bits of stick lattice work into his pencil roughs. The sneering faces of Allard's degenerate creatures took on an added shadow of menace. Leverett nodded, pleased with the effect.
* * *
Some months afterward a letter from Brandon informed Leverett he had received the last of the Allard drawings and was enormously pleased with the work. Brandon added a postscript:
For God's sake Colin - What is it with these insane sticks you've got poking up everywhere in the illos! The damn things get really creepy after awhile. How on earth did you get onto this?
Leverett supposed he owed Brandon some explanation. Dutifully he wrote a lengthy letter, setting down the circumstances of his experience at Mann Brook - omitting only the horror that had seized his wrist in the cellar. Let Brandon think him eccentric, but not madman and murderer.
Brandon's reply was immediate:
Colin,
Your account of the Mann Brook episode is fascinating - and incredible!
It reads like the start of one of Allard's stories!
I have taken the liberty of forwarding your letter to Alexander Stefroi in Pelham.
Dr Stefroi is an earnest scholar of this region's history - as you may already know. I'm certain your account will interest him, and he may have some light to shed on the uncanny affair.
Expect 1st volume, Voices from the Shadow, to be ready from the binder next month. The proofs looked great.
Best
Scotty
The following week brought a letter postmarked Pelham, Massachusetts:
A mutual friend,
Prescott Brandon, forwarded your fascinating account of discovering curious sticks and stone artefacts on an abandoned farm in upstate New York. I found this most intriguing, and wonder if you recall further details? Can you relocate the exact site after 30 years? If possible, I'd like to examine the foundations this spring, as they call to mind similar megalithic sites of this region. Several of us are interested in locating what we believe are remains of megalithic construction dating back to the Bronze Age, and to determine their possible use in rituals of black magic in colonial days.
Present archaeological evidence indicates that ca. 1700-2000 BC there was an influx of Bronze Age peoples into the Northeast from Europe. We know that the Bronze Age saw the rise of an extremely advanced culture, and that as sea-farers they were to have no peers until the Vikings. Remains of a megalithic culture originating in the Mediterranean can be seen in the Lion Gate in Mycenae, in Stonehenge, and in dolmens, passage graves and barrow mounds throughout Europe. Moreover, this seems to have represented far more than a style of architecture peculiar to the era. Rather, it appears to have been a religious cult whose adherents worshipped a sort of earth-mother, served her with fertility rituals and sacrifices, and believed that immortality of the soul could be secured through interment in megalithic tombs.
That this culture came to America cannot be doubted from the hundreds of megalithic remnants found - and now recognized - in our region. The most important site to date is Mystery Hill in N.H., comprising a great many walls and dolmens of megalithic construction - most notably the Y Cavern barrow mound and the Sacrificial Table (see postcard). Less spectacular megalithic sites include the group of cairns and carved stones at Mineral Mt., subterranean chambers with stone passageways such as at Petersham and Shutesbury, and uncounted shaped megaliths and buried 'monk's cells' throughout this region.
Of further interest, these sites seem to have retained their mystic aura for the early colonials, and numerous megalithic sites show evidence of having been used for sinister purposes by colonial sorcerers and alchemists. This became particularly true after the witchcraft persecutions drove many practitioners into the western wilderness - explaining why upstate New York and western Mass have seen the emergence of so many cultist groups in later years.
Of particular interest here is Shadrach Ireland's 'Brethren of the New Light,' who believed that the world was soon to be destroyed by sinister 'Powers from Outside' and that they, the elect, would then attain physical immortality. The elect who died beforehand were to have their bodies preserved on tables of stone until the 'Old Ones' came forth to return them to life. We have definitely linked the megalithic sites at Shutesbury to later unwholesome practices of the New Light cult. They were absorbed in 1781 by Mother Ann Lee's Shakers, and Ireland's putrescent corpse was hauled from the stone table in his cellar and buried.
Thus I think it probable that your farmhouse may have figured in similar hidden practices. At Mystery Hill a farmhouse was built in 1826 that incorporated one dolmen in its foundations. The house burned down ca. 1848-55, and there were some unsavory local stories as to what took place there. My guess is that your farmhouse had been built over or incorporated a similar megalithic site - and that your 'sticks' indicate some unknown cult still survived there. I can recall certain vague references to lattice devices figuring in secret ceremonies, but can pinpoint nothing definite. Possibly they represent a development of occult symbols to be used in certain conjurations, but this is just a guess. I suggest you consult Waite's Ceremonial Magic or such to see if you can recognize similar magical symbols.
Hope this is of some use to you. Please let me hear back.
Sincerely,
Alexander Stefroi
There was a postcard enclosed - a photograph of a 4V2-ton granite slab, ringed by a deep groove with a spout, identified as the Sacrificial Table at Mystery Hill. On the back Stefroi had written:
You must have found something similar to this. They are not rare - we have one in Pelham removed from a site now beneath Quabbin Reservoir. They were used for sacrifice - animal and human - and the groove is to channel blood into a bowl, presumably.
Leverett dropped the card and shuddered. Stefroi's letter reawakened the old horror, and he wished now he had let the matter lie forgotten in his files. Of course, it couldn't be forgotten - even after thirty years.
He wrote Stefroi a careful letter, thanking him for his information and adding a few minor details to his account. This spring, he promised, wondering if he would keep that promise, he would try to relocate the farmhouse on Mann Brook.
Spring was late that year, and it was not until early June that Colin Leverett found time to return to Mann Brook. On the surface, very little had changed in three decades. The ancient stone bridge yet stood, nor had the country lane been paved. Leverett wondered whether anyone had driven past since his terror-sped flight.
He found the old railroad grade easily as he started downstream.
Thirty years, he told himself - but the chill inside him only tightened. The going was far more difficult than before. The day was unbearably hot and humid. Wading through the rank underbrush raised clouds of black flies that savagely bit him.
Evidently the stream had seen severe flooding in the past years, judging from piled logs and debris that blocked his path. Stretches were scooped out to barren rocks and gravel. Elsewhere gigantic barriers of uprooted trees and debris looked like ancient and mouldering fortifications. As he worked his way down the valley, he realized that his search would yield nothing. So intense had been the force of the long ago flood that even the course of the stream had changed. Many of the drywall culverts no longer spanned the brook, but sat lost and alone far back from its present banks. Others had been knocked flat and swept away, or were buried beneath tons of rotting logs.
At one point Leverett found remnants of an apple orchard groping through weeds and bushes. H
e thought that the house must be close by, but here the flooding had been particularly severe, and evidently even those ponderous stone foundations had been toppled over and buried beneath debris.
Leverett finally turned back to his car. His step was lighter.
A few weeks later he received a response from Stefroi to his reported failure:
Forgive my tardy reply to your letter of 13 June.
I have recently been pursuing inquiries which may, I hope, lead to the discovery of a previously unreported megalithic site of major significance. Naturally I am disappointed that no traces remained of the Mann Brook site. While I tried not to get my hopes up, it did seem likely that the foundations would have survived. In searching through regional data, I note that there were particularly severe flashfloods in the Otselic area in July 1942 and again in May 1946. Very probably your old farmhouse with its enigmatic devices was utterly destroyed not very long after your discovery of the site. This is weird and wild country, and doubtless there is much we shall never know.
I write this with a profound sense of personal loss over the death two nights ago of Prescott Brandon. This was a severe blow to me - as I am sure it was to you and to all who knew him. I only hope the police will catch the vicious killers who did this senseless act - evidently thieves surprised while ransacking his office. Police believe the killers were high on drugs from the mindless brutality of their crime.
I had just received a copy of the third Allard volume, Unhallowed Places. A superbly designed book, and this tragedy becomes all the more insuperable with the realization that Scotty will give the world no more such treasures.
In Sorrow,
Alexander Stefroi
Leverett stared at the letter in shock. He had not received news of Brandon's death - had only a few days before opened a parcel from the publisher containing a first copy of Unhallowed Places. A line in Brandon's last letter recurred to him - a line that seemed amusing to him at the time:
Your sticks have bewildered a good many fans, Colin, and I've worn out a ribbon answering inquiries. One fellow in particular - a Major George Leonard - has pressed me for details, and I'm afraid that I told him too much. He has written several times for your address, but knowing how you value your privacy I told him simply to permit me to forward any correspondence. He wants to see your original sketches, I gather, but these overbearing occult-types give me a pain. Frankly, I wouldn't care to meet the man myself.
"Mr Colin Leverett?"
Leverett studied the tall lean man who stood smiling at the doorway of his studio. The sports car he had driven up in was black and looked expensive. The same held for the turtleneck and leather slacks he wore, and the sleek briefcase he carried. The blackness made his thin face deathly pale. Leverett guessed his age to be late 40 by the thinning of his hair. Dark glasses hid his eyes, black driving gloves his hands.
"Scotty Brandon told me where to find you," the stranger said.
"Scotty?" Leverett's voice was wary.
"Yes, we lost a mutual friend, I regret to say. I'd been talking with him just before… But I see by your expression that Scotty never had time to write."
He fumbled awkwardly. "I'm Dana Allard."
"Allard?"
His visitor seemed embarrassed. "Yes - H. Kenneth Allard was
my uncle."
"I hadn't realized Allard left a family," mused Leverett, shaking the extended hand. He had never met the writer personally, but there was a strong resemblance to the few photographs he had seen. And Scotty had been paying royalty checks to an estate of some sort, he recalled.
"My father was Kent's half-brother. He later took his father's name, but there was no marriage, if you follow."
"Of course." Leverett was abashed. "Please find a place to sit down. And what brings you here?"
Dana Allard tapped his briefcase. "Something I'd been discussing with Scotty. Just recently I turned up a stack of my uncle's unpublished manuscripts." He unlatched the briefcase and handed Leverett a sheaf of yellowed paper. "Father collected Kent's personal effects from the state hospital as next-of-kin. He never thought much of my uncle, or his writing. He stuffed this away in our attic and forgot about it. Scotty was quite excited when I told him of my discovery."
Leverett was glancing through the manuscript - page on page of cramped handwriting, with revisions pieced throughout like an indecipherable puzzle. He had seen photographs of Allard manuscripts. There was no mistaking this.
Or the prose. Leverett read a few passages with rapt absorption. It was authentic - and brilliant.
"Uncle's mind seems to have taken an especially morbid turn as his illness drew on," Dana hazarded. "I admire his work very greatly but I find these last few pieces… Well, a bit too horrible. Especially his translation of his mythical Book of Elders."
It appealed to Leverett perfectly. He barely noticed his guest as he pored over the brittle pages. Allard was describing a megalithic structure his doomed narrator had encountered in the crypts beneath an ancient churchyard. There were references to "elder glyphics" that resembled his lattice devices.
"Look here," pointed Dana. "These incantations he records here from Alorri-Zrokros's forbidden tome: 'Yogth-Yugth-Sut-Hyrath-Yogng' - Hell, I can't pronounce them. And he has pages of them."
"This is incredible!" Leverett protested. He tried to mouth the alien syllables. It could be done. He even detected a rhythm.
"Well, I'm relieved that you approve. I'd feared these last few stories and fragments might prove a little too much for Kent's fans."
"Then you're going to have them published?"
Dana nodded. "Scotty was going to. I just hope those thieves weren't searching for this - a collector would pay a fortune. But Scotty said he was going to keep this secret until he was ready for art announcement." His thin face was sad.
"So now I'm going to publish it myself- in a deluxe edition. And I want you to illustrate it."
"I'd feel honoured!" vowed Leverett, unable to believe it.
"I really liked those drawings you did for the trilogy. I'd like to see more like those - as many as you feel like doing. I mean to spare no expense in publishing this. And those stick things…"
"Yes?"
"Scotty told me the story on those. Fascinating! And you have a whole notebook of them? May I see it?"
Leverett hurriedly dug the notebook from his file, returned to the manuscript.
Dana page through the book in awe. "These things are totally bizarre - and there are references to such things in the manuscript, to make it even more fantastic. Can you reproduce them all for the book?"
"All I can remember," Leverett assured him. "And I have a good memory. But won't that be overdoing it?"
"Not at all! They fit into the book. And they're utterly unique. No, put everything you've got into this book. I'm going to entitle it Dwellers in the Earth, after the longest piece. I've already arranged for its printing, so we begin as soon as you can have the art ready. And I know you'll give it your all."
He was floating in space. Objects drifted past him. Stars, he first thought. The objects drifted closer.
Sticks. Stick lattices of all configurations. And then he was drifting among them, and he saw that they were not sticks - not of wood. The lattice designs were of dead-pale substance, like streaks of frozen starlight. They reminded him of glyphics of some unearthly alphabet - complex, enigmatic symbols arranged to spell… what? And there was an arrangement - a three-dimensional pattern. A maze of utterly baffling intricacy…
Then somehow he was in a tunnel. A cramped, stone lined tunnel through which he must crawl on his belly. The dank, moss-slimed stones pressed close about his wriggling form, evoking shrill whispers of claustrophobic dread.
And after an indefinite space of crawling through this and other stone lined burrows, and sometimes through passages whose angles hurt his eyes, he would creep forth into a subterranean chamber. Great slabs of granite a dozen feet across formed the walls and ceiling of this buried ch
amber, and between the slabs other burrows pierced the earth. Altar-like, a gigantic slab of gneiss waited in the centre of the chamber. A spring welled darkly between the stone pillars that supported the table. Its outer edge was encircled by a groove, sickeningly stained by the substance that clotted in the stone bowl beneath its collecting spout.
Others were emerging from the darkened burrows that ringed the chamber - slouched figures only dimly glimpsed and vaguely human. And a figure in a tattered cloak came toward him from the shadow - stretched out a claw-like hand to seize his wrist and draw him toward the sacrificial table. He followed unresistingly, knowing that something was expected of him.
They reached the altar and in the glow from the cuneiform lattices chiselled into the gneiss slab he could see the guide's face. A mouldering corpse face, the rotted bone of its forehead smashed inward upon the foulness that oozed forth…
And Leverett would awaken to the echo of his screams…
He'd been working too hard, he told himself, stumbling about in the darkness, getting dressed because he was too shaken to return to sleep. The nightmares had been coming every night. No wonder he was exhausted.
But in his studio his work awaited him. Almost fifty drawings finished now, and he planned another score. No wonder the nightmares.
It was a gruelling pace, but Dana Allard was ecstatic with the work he had done. And Dwellers in the Earth was waiting. Despite problems with typesetting, with getting the special paper Dana wanted - the book only waited on him.
Though his bones ached with fatigue, Leverett determinedly trudged through the greying night. Certain features of the nightmare would be interesting to portray.
The last of the drawings had gone off to Dana Allard in Petersham, and Leverett, fifteen pounds lighter and gut-weary, converted part of the bonus check into a case of good whiskey. Dana had the offset presses rolling as soon as the plates were shot from the drawings. Despite his precise planning, presses had broken down, one printer quit for reasons not stated, there had been a bad accident at the new printer - seemingly innumerable problems, and Dana had been furious at each delay. But the production pushed along quickly for all that. Leverett wrote that the book was cursed, but Dana responded that a week would see it ready.
The Mammoth Book of Zombies Page 12
