Then, in one terrible instant, Jones completely lost the power to draw a breath. The leather belt he had seized for Rogers' further strapping fell from his limp hands, and a spasm of shivering convulsed him from head to foot. He might have known the place would drive him mad as it had driven Rogers-and now he was mad. He was mad, for he now harbored hallucinations more weird than any which had assailed him earlier that night. The madman was bidding him hear the splashing of a mythical monster in a tank beyond the door--and now, God help him, he did hear it!
Rogers saw the spasm of horror reach Jones' face and transform it to a staring mask of fear. He cackled.
"At last, fool, you believe! At last you know! You hear It and It comes! Get me my keys, fool--we must do homage and serve It!"
But Jones was past paying attention to any human words, mad or sane. Phobic paralysis held him immobile and half conscious, with wild images racing fantasmagorically though his helpless imagination. There was a splashing. There was padding or shuffling, as of great wet paws on a solid surface. Something was approaching. Into his nostrils, from the cracks in that nightmare plank door, poured a noisome animal stench like and yet unlike that of the mammal cages at the zoological gardens in Regent's Park.
He did not known where Rogers was talking or not. Everything real had faded away, and he was a statue obsessed with dreams and hallucinations so unnatural that they became almost objective and remote from him. He thought he heard a sniffing or snorting from the unknown gulf beyond the door, and when a sudden baying, trumpeting noise assailed his ears he could not feel sure that it came from the tightly bound maniac whose image swam uncertainly in his shaken vision. The photograph of that accursed, unseen wax thing persisted in floating through his consciousness. Such a thing had no right to exist. Had it not driven him mad?
Even as he reflected, a fresh evidence of madness beset him. Something, he thought, was fumbling with the latch of the heavy padlocked door. It was patting and pawing and pushing at the planks. There was a thudding on the stout wood, which grew louder and louder. The stench was horrible. And now the assault on that door from the inside was a malign, determined pounding like the strokes of a battering-ram. There was an ominous cracking--a splintering--a welling fetor--a falling plank--a black paw ending in a crab-like claw. . . .
"Help! Help! God help me! . . . Aaaaaaa! . . ."
With intense effort Jones is today able to recall a sudden bursting of his fear-paralysis into the liberation of frenzied automatic flight. What he evidently did must have paralleled curiously the wild, plunging flights of maddest nightmares; for he seems to have leaped across the disordered crypt at almost a single bound, yanked open the outside door, which closed and locked itself after him with a clatter, sprung up the worn stone steps three at a time, and raced frantically and aimlessly out of that dark cobblestoned court and through the squalid streets of Southwark.
Here the memory ends. Jones does not know how he got home, and there is no evidence of his having hired a cab. Probably he raced all the way by blind instinct--over Waterloo Bridge, along the Strand and Charing Cross and up Haymarket and Regent Street to his own neighborhood. He still had on the queer melange of museum costumes when he grew conscious enough to call the doctor.
A week later the nerve specialists allowed him to leave his bed and walk in the open air.
But he had not told the specialists much. Over his whole experience hung a pall of madness and nightmare, and he felt that silence was the only course. When he was up, he scanned intently all the papers which had accumulated since that hideous night, but found no reference to anything queer at the museum. How much, after all, had been reality? Where did reality end and morbid dream begin? Had his mind gone wholly to pieces in that dark exhibition chamber, and had the whole fight with Rogers been a fantasm of fever? It would help to put him on his feet if he could settle some of these maddening points. He must have seen that damnable photograph of the wax image called "It," for no brain but Rogers' could ever have conceived such a blasphemy.
It was a fortnight before he dared to enter Southwark Street again. He went in the middle of the morning, when there was the greatest amount of sane, wholesome activity around the ancient, crumbling shops and warehouses. The museum's sign was still there, and as he approached he saw that the place was still open. The gateman nodded in pleasant recognition as he summoned up the courage to enter, and in the vaulted chamber below an attendant touched his cap cheerfully. Perhaps everything had been a dream. Would he dare to knock at the door of the workroom and look for Rogers?
Then Orabona advanced to greet him. His dark, sleek face was a trifle sardonic, but Jones felt that he was not unfriendly. He spoke with a trace of accent.
"Good morning, Mr. Jones. It is some time since we have seen you here. Did you wish Mr. Rogers? I'm sorry, but he is away. He had word of business in America, and had to go. Yes, it was very sudden. I am in charge now--here, and at the house. I try to maintain Mr. Rogers' high standard--till he is back."
The foreigner smiled--perhaps from affability alone. Jones scarcely knew how to reply, but managed to mumble out a few inquiries about the day after his last visit. Orabona seemed greatly amused by the questions, and took considerable care in framing his replies.
"Oh, yes, Mr. Jones--the 28th of last month. I remember it for many reasons. In the morning--before Mr. Rogers got here, you understand--I found the workroom in quite a mess. There was a great deal of--cleaning up--to do. There had been--late work, you see. Important new specimen given its secondary baking process. I took complete charge when I came.
"It was a hard specimen to prepare--but of course Mr. Rogers had taught me a great deal. He is, as you know, a very great artist. When he came he helped me complete the specimen--helped very materially, I assure you--but he left soon without even greeting the men. As I tell you, he was called away suddenly. There were important chemical reactions involved. They made loud noises--in fact, some teamsters in the court outside fancy they heard several pistol shots--very amusing idea!
"As for the new specimen--that matter is very unforutnate. It is a great masterpiece--designed and made, you understand, by Mr. Rogers. He will see about it when he gets back."
Again Orabona smiled.
"The police, you know. We put it on display a week ago, and there were two or three faintings. One poor fellow had an epileptic fit in front of it. You see, it a trifle--stronger--than the rest. Larger, for one thing. Of course, it was in the adult alcove. The next day a couple of men from Scotland Yard looked it over and said it was too morbid to be shown. Said we'd have to remove it. It was a tremendous shame--such a masterpiece of art--but I didn't deel justified in appealing to the courts in Mr. Rogers' absence. He would not like so much publicity with the police now--but when he gets back--when he gets back--."
For some reason or other Jones felt a mounting tide of uneasiness and repulsion. But Orabona was continuing.
"You are a connoisseur, Mr. Jones. I am sure I violate no law in offering you a private view. It may be--subject of course, to Mr. Rogers' wishes--that we shall destroy the specimen some day--but that would be a crime."
Jones had a powerful impulse to refuse the sight and flee precipitately, but Orabona was leading him forward by the arm with an artist's enthusiasm. The adult alcove, crowded with nameless horrors, held no visitors. In the farther corner a large niche had been curtained off, and to this the smiling assistant advanced.
"You must know, Mr. Jones, that the title of this specimen is 'The Sacrifice to Rhan-Tegoth.' "
Jones started violently, but Orabona appeared not to notice.
"The shapeless, colossal god is a feature in certain obscure legends which Mr. Rogers had studied. All nonsense, of course, as you've so often assured Mr. Rogers. It is supposed to have come from outer space, and to have lived in the Arctic three million years ago. It trated its sacrifices rather peculiarly and horribly, as you shall see. Mr. Rogers had made it fiendishly life-like--even to the face of the vic
tim."
Now trembling violently, Jones clund to the brass railing in front of the curtained niche. He almost reached out to stop Orabona when he saw the curtain beginning to swing aside, but some conflicting impulse held him back. The foreigner smiled triumphantly.
"Behold!"
Jones reeled in spite of his grip on the railing.
"God!--great god!"
Fully ten feet high despite a shambling, crouching attitude expressive of infinite cosmic malignancy, a monstrosity of unbelievable horror was shown starting forward from a cyclopean ivory throne covered with grotesque carvings. In the central pair of its six legs it bore a crushed, flattened, distorted, bloodless thing, riddled with a million punctures, and in places seared as with some pungent acid. Only the mangled head of the victim, lolling upside down at one side, revealed that it represented something once human.
The monster itself needed no title for one who had seen a certain hellish photograph. That damnable print had been all too faithful; yet it could not carry the full horror which lay in the gigantic actuality. The globular torso--the bubble-like suggestion of a head--the three fishy eyes--the foot-long proboscis--the bulging gills--the monstrous capillation of asp-like suckers--the six sinuous limbs with their black paws and crab-like claws--God! the familiarity of the black paw ending in a crab-like claw! . . .
Orabona's smile was utterly damnable. Jones choked, and stared at the hideous exhibit with a mounting fascination which perplexed and disturbed him. What half-revealed horror was holding and forcing him to look longer and search out details? This had driven Rogers mad . . . Rogers, supreme artist . . . said they weren't artificial. . . .
Then he localized the thing that held him. It was the crushed waxen victim's lolling head, and something that it implied. This head was not entirely devoid of a face, and that face was familiar. It was like the mad face of poor Rogers. Jones peered closer, hardly knowing why he was driven to do so. Wasn't it natural for a mad egotist to mold his own features into his masterpiece? Was there anything more that subconscious vision had seized on and suppressed in sheer terror?
The wax of the mangled face had been handled with boundless dexterity. Those punctures--how perfectly they reproduced the myriad wounds somehow inflicted on that poor dog! But there was something more. On the left cheek one could trace an irregularity which seemed outside the general scheme--as if the sculptor had sought to cover up a defect of his first modelling. The more Jones looked at it, the more mysteriously it horrified him--and then, suddenly, he remembered a circumstance which brought his horror to a head. That night of hideousness--the tussle--the bound madman--and the long, deep scratch down the left cheek of the actual living Rogers. . . .
Jones, releasing his desperate clutch on the railing, sank in a total faint.
Orabona continued to smile.
Through the Gates of the Silver Key
by H. P. Lovecraft and E. Hoffmann Price
Written Oct 1932-Apr 1933
Published July 1934 in Weird Tales, Vol. 24, No. 1, p. 60-85.
Chapter One
In a vast room hung with strangely figured arras and carpeted with Bonkhata rugs of impressive age and workmanship, four men were sitting around a document-strewn table. From the far corners, where odd tripods of wrought iron were now and then replenished by an incredibly aged Negro in somber livery, came the hypnotic fumes of olibanum; while in a deep niche on one side there ticked a curious, coffin-shaped clock whose dial bore baffling hieroglyphs and whose four hands did not move in consonance with any time system known on this planet. It was a singular and disturbing room, but well fitted to the business then at hand. For there, in the New Orleans home of this continent's greatest mystic, mathematician and orientalist, there was being settled at last the estate of a scarcely less great mystic, scholar, author and dreamer who had vanished from the face of the earth four years before.
Randolph Carter, who had all his life sought to escape from the tedium and limitations of waking reality in the beckoning vistas of dreams and fabled avenues of other dimensions, disappeared from the sight of man on the seventh of October, 1928, at the age of fifty-four. His career had been a strange and lonely one, and there were those who inferred from his curious novels many episodes more bizarre than any in his recorded history. His association with Harley Warren, the South Carolina mystic whose studies in the primal Naacal language of the Himalayan priests had led to such outrageous conclusions, had been close. Indeed, it was he who - one mist-mad, terrible night in an ancient graveyard - had seen Warren descend into a dank and nitrous vault, never to emerge. Carter lived in Boston, but it was from the wild, haunted hills behind hoary and witch-accursed Arkham that all his forebears had come. And it was amid these ancient, cryptically brooding hills that he had ultimately vanished.
His old servant, Parks - who died early in 1930 - had spoken of the strangely aromatic and hideously carven box he had found in the attic, and of the indecipherable parchments and queerly figured silver key which that box had contained: matters of which Carter had also written to others. Carter, he said, had told him that this key had come down from his ancestors, and that it would help him to unlock the gates to his lost boyhood, and to strange dimensions and fantastic realms which he had hitherto visited only in vague, brief, and elusive dreams. Then one day Carter took the box and its contents and rode away in his car, never to return.
Later on, people found the car at the side of an old, grass-grown road in the hills behind crumbling Arkham - the hills where Carter's forebears had once dwelt, and where the ruined cellar of the great Carter homestead still gaped to the sky. It was in a grove of tall elms near by that another of the Carters had mysteriously vanished in 1781, and not far away was the half-rotted cottage where Goody Fowler, the witch, had brewed her ominous potions still earlier. The region had been settled in 1692 by fugitives from the witchcraft trials in Salem, and even now it bore a name for vaguely ominous things scarcely to be envisaged. Edmund Carter had fled from the shadow of Gallows Hill just in time, and the tales of his sorceries were many. Now, it seemed, his lone descendant had gone somewhere to join him!
In the car they found the hideously carved box of fragrant wood, and the parchment which no man could read. The silver key was gone - presumably with Carter. Further than that there was no certain clue. Detectives from Boston said that the fallen timbers of the old Carter place seemed oddly disturbed, and somebody found a handkerchief on the rock-ridged, sinisterly wooded slope behind the ruins near the dreaded cave called the Snake Den.
It was then that the country legends about the Snake Den gained a new vitality. Farmers whispered of the blasphemous uses to which old Edmund Carter the wizard had put that horrible grotto, and added later tales about the fondness which Randolph Carter himself hid had for it when a boy. In Carter's boyhood the venerable gambrel-roofed homestead was still standing and tenanted by his great-uncle Christopher. He had visited there often, and had talked singularly about the Snake Den. People remembered what he had said about a deep fissure and an unknown inner cave beyond, and speculated on the change he had shown after spending one whole memorable day in the cavern when he was nine. That was in October, too - and ever after that he had seemed to have a uncanny knack at prophesying future events.
It had rained late in the night that Carter vanished, and no one was quite able to trace his footprints from the car. Inside the Snake Den all was amorphous liquid mud, owing to the copious seepage. Only the ignorant rustics whispered about the prints they thought they spied where the great elms overhang the road, and on the sinister hillside near the Snake Den, where the handkerchief was found. Who could pay attention to whispers that spoke of stubby little tracks like those which Randolph Carter's square-toed boots made when he was a small boy? It was as crazy a notion as that other whisper - that the tracks of old Benijah Corey's peculiar heelless boots had met the stubby little tracks in the road. Old Benijah had been the Carters' hired man when Randolph was young; but he had died thirty years
ago.
It must have been these whispers plus Carter's own statement to Parks and others that the queerly arabesqued silver key would help him unlock the gates of his lost boyhood - which caused a number of mystical students to declare that the missing man had actually doubled back on the trail of time and returned through forty-five years to that other October day in 1883 when he had stayed in the Snake Den as a small boy. When he came out that night, they argued, he had somehow made the whole trip to 1928 and back; for did he not thereafter know of things which were to happen later? And yet he had never spoken of anything to happen after 1928.
One student - an elderly eccentric of Providence, Rhode Island, who had enjoyed a long and close correspondence with Carter - had a still more elaborate theory, and believed that Carter had not only returned to boyhood, but achieved a further liberation, roving at will through the prismatic vistas of boyhood dream. After a strange vision this man published a tale of Carter's vanishing in which he hinted that the lost one now reigned as king on the opal throne of Ilek-Vad, that fabulous town of turrets atop the hollow cliffs of glass overlooking the twilight sea wherein the bearded and finny Gniorri build their singular labyrinths.
It was this old man, Ward Phillips, who pleaded most loudly against the apportionment of Carter's estate to his heirs - all distant cousins - on the ground that he was still alive in another time-dimension and might well return some day. Against him was arrayed the legal talent of one of the cousins, Ernest K. Aspinwall of Chicago, a man ten years Carter's senior, but keen as a youth in forensic battles. For four years the contest had raged, but now the time for apportionment had come, and this vast, strange room in New Orleans was to be the scene of the arrangement.
Lovecraft's Fiction Volume IV, 1932-1936 Page 10
