"Then it's true Pickman was light on his feet?" I asked.
She laughed again, and this time there was an unmistakable edge of derision there. She took another long drag on her cigarette, exhaled, and squinted at me through the smoke.
"Mister, I have yet to meet the beast—male, female, or anything in between—that degenerate fuck wouldn't have screwed, given half a chance." She paused, here, tapping ash onto the floorboards. "So, if you're not a fag, just what are you? A kike, maybe? You sort of look like a kike."
"No," I replied. "I'm not Jewish. My parents were Roman Catholic, but me, I'm not much of anything, I'm afraid, but a painter you've never heard of."
"Are you?"
"Am I what, Miss Endecott?"
"Afraid," she said, smoke leaking from her nostrils. "And do not dare start in calling me 'Miss Endecott.' It makes me sound like a goddamned schoolteacher or something equally wretched."
"So, these days, do you prefer Vera?" I asked, pushing my luck. "Or Lillian?"
"How about Lily?" she smiled, completely nonplussed, so far as I could tell, as though these were all only lines from some script she'd spent the last week rehearsing.
"Very well, Lily," I said, moving the glass ashtray on the table closer to her. She scowled at it, as though I were offering her a platter of some perfectly odious foodstuff and expecting her to eat, but she stopped tapping her ash on my floor.
"Why am I here?" she demanded, commanding an answer without raising her voice. "Why have you gone to so much trouble to see me?"
"It wasn't as difficult as all that," I replied, not yet ready to answer her question, wanting to stretch this meeting out a little longer and understanding, expecting, that she'd likely leave as soon as she had what I'd invited her there to give her. In truth, it had been quite a lot of trouble, beginning with a telephone call to her former agent, and then proceeding through half a dozen increasingly disreputable and uncooperative contacts. Two I'd had to bribe, and one I'd had to coerce with a number of hollow threats involving nonexistent contacts in the Boston Police Department. But, when all was said and done, my diligence had paid off, because here she sat before me, the two of us, alone, just me and the woman who'd been a movie star and who had played some role in Thurber's breakdown, who'd posed for Pickman and almost certainly done murder on a spring night in Hollywood. Here was the woman who could answer questions I did not have the nerve to ask, who knew what had cast the shadow I'd seen in that dingy pornographic film. Or, at least, here was all that remained of her.
"There aren't many left who would have bothered," she said, gazing down at the smoldering tip-end of her Gitane.
"Well, I have always been a somewhat persistent sort of fellow," I told her, and she smiled again. It was an oddly bestial smile that reminded me of one of my earliest impressions of her—that oppressive summer's day, now more than two months past, studying a handful of old clippings in the Hope Street boarding house. That her human face was nothing more than a mask or fairy glamour conjured to hide the truth of her from the world.
"How did you meet him?" I asked, and she stubbed out her cigarette in the ashtray.
"Who? How did I meet who?" She furrowed her brow and glanced nervously toward the parlor window, which faces east, toward the harbor.
"I'm sorry," I replied. "Pickman. How is it that you came to know Richard Pickman?"
"Some people would say that you have very unhealthy interests, Mr. Blackman," she said, her peculiarly carnivorous smile quickly fading, taking with it any implied menace. In its stead, there was only this destitute, used-up husk of a woman.
"And surely they've said the same of you, many, many times, Lily. I've read all about Durand Drive and the Delgado woman."
"Of course, you have," she sighed, not taking her eyes from the window. "I'd have expected nothing less from a persistent fellow such as you."
"How did you meet Richard Pickman?" I asked for the third time.
"Does it make a difference? That was so very long ago. Years and years ago. He's dead—"
"No body was ever found."
And, here, she looked from the window to me, and all those unexpected lines on her face seemed to have abruptly deepened; she might well have been twenty-seven, by birth, but no one would have argued if she laid claim to forty.
"The man is dead," she said flatly. "And if by chance he's not, well, we should all be fortunate enough to find our heart's desire, whatever it might be." Then she went back to staring at the window, and, for a minute or two, neither of us said anything more.
"You told me that you have the sketches," she said, finally. "Was that a lie, just to get me up here?"
"No, I have them. Two of them, anyway," and I reached for the folio beside my chair and untied the string holding it closed. "I don't know, of course, how many you might have posed for. There were more?"
"More than two," she replied, almost whispering now.
"Lily, you still haven't answered my question."
"And you are a persistent fellow."
"Yes," I assured her, taking the two nudes from the stack and holding them up for her to see, but not yet touch. She studied them a moment, her face remaining slack and dispassionate, as if the sight of them elicited no memories at all.
"He needed a model," she said, turning back to the window and the blue October sky. "I was up from New York, staying with a friend who'd met him at a gallery or lecture or something of the sort. My friend knew that he was looking for models, and I needed the money."
I glanced at the two charcoal sketches again, at the curve of those full hips, the round, firm buttocks, and the tail—a crooked, malformed thing sprouting from the base of the coccyx and reaching halfway to the bend of the subject's knees. As I have said, Pickman had a flare for realism, and his eye for human anatomy was almost as uncanny as the ghouls and demons he painted. I pointed to one of the sketches, to the tail.
"That isn't artistic license, is it?"
She did not look back to the two drawings, but simply, slowly, shook her head. "I had the surgery done in Jersey, back in '21," she said.
"Why did you wait so long, Lily? It's my understanding that such a defect is usually corrected at birth, or shortly thereafter."
And she almost smiled that smile again, that hungry, savage smile, but it died, incomplete, on her lips.
"My father, he has his own ideas about such things," she said quietly. "He was always so proud, you see, that his daughter's body was blessed with evidence of her heritage. It made him very happy."
"Your heritage . . . " I began, but Lily Snow held up her left hand, silencing me.
"I believe, sir, I've answered enough questions for one afternoon. Especially given that you have only the pair, and that you did not tell me that was the case when we spoke."
Reluctantly, I nodded and passed both the sketches to her. She took them, thanked me, and stood up, brushing at a bit of lint or dust on her burgundy chemise. I told her that I regretted that the others were not in my possession, that it had not even occurred to me she would have posed for more than these two. The last part was a lie, of course, as I knew Pickman would surely have made as many studies as possible when presented with so unusual a body.
"I can show myself out," she informed me when I started to get up from my chair. "And you will not disturb me again, not ever."
"No," I agreed. "Not ever. You have my word."
"You're lying sons of bitches, the whole lot of you," she said, and with that, the living ghost of Vera Endecott turned and left the parlor. A few seconds later, I heard the door open and slam shut again, and I sat there in the wan light of a fading day, looking at what grim traces remained in Thurber's folio.
ctober 24, 1929
This is the last of it. Just a few more words, and I will be done. I know now that having attempted to trap these terrible events, I have not managed to trap them at all, but merely given them some new, clearer focus.
Four days ago, on the morning of October 20th, a
body was discovered dangling from the trunk of an oak growing near the center of King's Chapel Burial Ground. According to newspaper accounts, the corpse was suspended a full seventeen feet off the ground, bound round about the waist and chest with interwoven lengths of jute rope and baling wire. The woman was identified as a former actress, Vera Endecott, née Lillian Margaret Snow, and much was made of her notoriety and her unsuccessful attempt to conceal connections to the wealthy but secretive and ill-rumored Snows of Ipswich, Massachusetts. Her body had been stripped of all clothing, disemboweled, her throat cut, and her tongue removed. He lips had been sewn shut with cat-gut stitches. About her neck hung a wooden placard, on which one word had been written in what is believed to be the dead woman's own blood: apostate.
This morning, I almost burned Thurber's folio, along with all my files. I went so far as to carry them to the hearth, but then my resolve faltered, and I just sat on the floor, staring at the clippings and Pickman's sketches. I'm not sure what stayed my hand, beyond the suspicion that destroying these papers would not save my life. If they want me dead, then dead I'll be. I've gone too far down this road to spare myself by trying to annihilate the physical evidence of my investigation.
I will place this manuscript, and all the related documents I have gathered, in my safety deposit box, and then I will try to return to the life I was living before Thurber's death. But I cannot forget a line from the suicide note of the screenwriter, Joseph Chapman—how does a man forget, deliberately and wholly and forever, once he has glimpsed such sights. How, indeed. And, too, I cannot forget that woman's eyes, that stony, sea-tumbled shade of grey. Or a rough shadow glimpsed in the final moments of a film that might have been made in 1923 or 1924, that may have been titled The Hound's Daughter or The Necrophile.
I know the dreams will not desert me, not now nor at some future time, but I pray for such fortune as to have seen the last of the waking horrors that my foolish, prying mind has called forth.
Donald R. Burleson
Donald R. Burleson's short stories have appeared in Twilight Zone, Fantasy and Science Fiction, Terminal Fright, Cemetery Dance, Deathrealm, Inhuman, and other magazines, and in many anthologies. He is the author of three novels, including Flute Song (Black Mesa Press, 1996) and Arroyo (Black Mesa Press, 1999), and of the short story collection Beyond the Lamplight (Jack o'Lantern Press, 1996). He is a leading authority on H. P. Lovecraft. Among his critical works are H.P. Lovecraft: A Critical Study (Greenwood Press, 1983) and Lovecraft: Disturbing the Universe (University Press of Kentucky, 1990).
e dwell forever in realms of shadow. Strangley complacent, we wander through our weary days as if we understood the texture of our world; yet in all truth we see with the eye of the worm and hear with the ear of the stone, and comprehend nothing. Our understanding is a skimming waterbug that tastes only the surface of a fathomless black sea, while reality, a frightful abyss of ocean-bottom horror, moves silently and darkly through depths beyond our reach, inscrutable, and mocks our ignorance.
Dreams try to tell us things of which we otherwise would know little, purporting to lend a semblance of clarity to our minds, yet I cannot even say when my own dreams, my strange and ever-recurrent night visions, began. "Dreams," I have said, but these visions, I now realize, have constituted one single pervasive dream running like an insane but oddly persistent thread through my life.
I recall waking in childhood with a sense of some striking impression that I could not quite remember, though when the dream came again and again over time I gradually managed to retain more of what I had seen. There seemed to be a consistent pattern to these dreams, but as the vision slowly gathered form it was not relief I felt at being able to remember, but rather a puzzlement as to what these still elusive fragments might mean. It had to do with some forsaken spot in a vast and sun-baked desert, but beyond that I could not be sure of much.
For a time during my adolescence the dreams became less frequent, and in fact I thought I was outgrowing them, too busy with life to concern myself with insubstantial matters. In time the dreams seemed to cease altogether. Growing to manhood in my native Providence, Rhode Island, I settled into mundane but adequate employment at an insurance company and bought a pleasant old house in Benefit Street, expecting to spend my days in simple contentment. I whiled away my evenings reading Proust and Baudelaire and Shakespeare and sometimes strolling along the ancient streets of the city and thinking quiet thoughts. I was at peace, satisfied with my life.
But then the dreams began anew.
I awoke very late one autumn night and struggled to retain a grasp on the ebbing tide of memory as the dream started to slip away. What had it been? Undeniably, it was essentially the vision of my childhood years, though rather more detailed this time. I remembered now a vista of vast and sprawling desert, where great brittle tumbleweeds, like aimless creatures on some distant planet, careened across the arid sand, and spiky yucca leaves and cactus blades pointed skyward in the blinding sun. Behind the scene there seemed to be a kind of subtle rumbling or humming, but I could scarcely be sure; and soon these half-remembered impressions faded, and I fell asleep again.
The next evening the dream was back, and when I woke I lay in the dark thinking about what I had seen. And heard, or almost heard.
Again, the sun-blistered sand had stretched away in all directions, dotted with standing sentries of cholla cactus and great angular yuccas and ragged bunches of mesquite. A warm wind had stirred the yellow earth, and a grumbling suggestion of sound seemed to hover just too low to be heard clearly. But for a moment it had resembled a low-pitched voice, a voice that seemed to be saying something like "Gwai-ti." I could recall no more than that.
Unable this time to sleep again, I walked for hours in the silent streets and felt oddly disoriented. The familiar façades of colonial New England houses with their fanlighted doors and small-paned windows only seemed to make me feel more oddly displaced, as if it were unclear which was reality, the well-known sights of Benefit and Jenckes and College Streets or the windswept desertland of my dream landscape.
I had lived in Providence all my life. I had never seen a desert, except occasionally in photographs. What did I know of cholla cactus or yucca plants or mesquite, or of boundless purple skies— the memory of them came back to me—skies unobstructed by city buildings, vast skies overlooking colossal oceans of sand? Yet I did seem to know of these things.
At work I sometimes found myself staring off into space, preoccupied with the enigma of my dream visions. I began to wonder where this desertland really was, if indeed it really was anywhere. Then when a work associate returned one day from a vacation in Albuquerque, and when I listened to his accounts of the region, it was suddenly and inexplicably clear to me that the desert vistas of my dreams were real, and were to be found somewhere in New Mexico. I really had no way to know that, yet I felt sure I knew.
As time went on, the setting of my dreams became more focused, but I found that this made the dreams more rather than less disturbing, as I could scarcely imagine how I came to know ever more particular detail about a locale of which I should have been wholly uninformed. I had never traveled any further west than Columbus, Ohio, and the American Southwest was only patches of color on a map to me; yet these desert visions were unsettlingly familiar in some surreal way.
Under the glare of a dazzling sun I was looking down at my body—a body now surprisingly brown and muscular and clad only in a sort of rough cloth around the middle—and wondering if I were going mad. How could this be me? As I bent forward to see myself better, locks of long, silky, raven-black hair fell across my eyes, and it was only when I brushed these locks from my face that I glanced up to see the unfamiliar yet somehow oddly familiar figure standing near me on the warm, cactus-dotted sand. He was a medicine man, with a wizened face nearly hidden among a nest of lizardlike wrinkles out of which peered two dark eyes that seemed to hold the secrets of centuries. He was puffing at a great long clay pipe, sending jittery little
clouds of gray smoke out upon the warm air, and as he puffed the pipe he shook a turtle-shell ceremonial rattle and intoned the words—incomprehensible to me on one level of consciousness, but faintly familiar on some other level—the words of an ancient ritual song. He turned as he chanted, sending the smoke and the cryptic words first in one direction and then another, finally coming all the way back around to face me, and as his timeless face turned again in my direction, the final words of the song took form in my mind: "Gwai-ti, Gwai-ti." I awoke with these impressions still fresh in my memory and walked far into the night hours trying either to understand the sounds I had heard or to dispel their memory. I paused among the great black gravestones in St. John's churchyard off Benefit Street and tried to collect my thoughts, finally rousing myself and making my weary way back home with no desire to sleep again. After reading awhile I feel asleep nonetheless, and, so far as I can remember, did not dream.
Taking the next day off from work, I made an appointment to speak with someone who I suspected might possibly be able to tell me something about my mystery: Professor Carlos Armijo at Brown University. His field was the anthropology of the Southwest, and I had heard him lecture once. I doubted that my nocturnal visions would mean anything to him, but it was worth a try.
Black Wings - Tales of Lovecraftian Horror Page 4
