“So I wrote a long letter to my marketing and financial agent in New York, and cooked up a plan to have the boy summoned there for an indefinite time. I had the agent write him that our affairs absolutely required one of us to go East, and of course my illness made it clear that I could not be the one. It was arranged that when Denis got to New York he would find enough plausible matters to keep him busy as long as I thought he ought to be away.
“The plan worked perfectly, and Denis started for New York without the least suspicion; Marceline and Marsh going with him in the car to Cape Girardeau, where he caught the afternoon train to St. Louis. They returned about dark, and as McCabe drove the car back to the stables I could hear them talking on the veranda—in those same chairs near the long parlour window where Marsh and Denis had sat when I overheard them talk about the portrait. This time I resolved to do some intentional eavesdropping, so quietly went down to the front parlour and stretched out on the sofa near the window.
“At first I could not hear anything, but very shortly there came a sound as of a chair being shifted, followed by a short, sharp breath and a sort of inarticulately hurt exclamation from Marceline. Then I heard Marsh speaking in a strained, almost formal voice.
“‘I’d enjoy working tonight if you’re not too ttied.’
“Marceline’s reply was in the same hurt tone which had marked her exclamation. She used English as he had done.
“‘Oh, Frank, is that really all you care about? Forever working! Can’t we just sit out in this glorious moonlight?’
“He answered impatiently, his voice shewing a certain contempt beneath the dominant quality of artistic enthusiasm.
“‘Moonlight! Good God, what cheap sentimentality! For a supposedly sophisticated person you surely do hang on to some of the crudest claptrap that ever escaped from the dime novels! With art at your elbow, you have to think of the moon—cheap as a spotlight at the varieties! Or perhaps it makes you think of the Roodmas dance around the stone pillars at Auteuil. Hell, how you used to make those goggle-eyed yaps stare! But no—I suppose you’ve dropped all that now. No more Atlantean magic or hair-snake rites for Madame de Russy! I’m the only one to remember the old things— the things that came down through the temples of Tanit and echoed on the ramparts of Zimbabwe. But I won’t be cheated of that remembrance—all that is weaving itself into the thing on my canvas —the thing that is going to capture wonder and crystallise the secrets of 75,000 years….’
“Marceline interrupted in a voice full of mixed emotions.
“‘It’s you who are cheaply sentimental now! You know well that the old things had better be let alone. All of you had better look out if ever I chant the old rites or try to call up what lies hidden in Yuggoth, Zimbabwe, and R’lyeh. I thought you had more sense!
“‘You lack logic. You want me to be interested in this precious painting of yours, yet you never let me see what you’re doing. Always that black cloth over it! It’s of me—I shouldn’t think it would matter if I saw it….’
“Marsh was interrupting this time, his voice curiously hard and strained.
“‘No. Not now. You’ll see it in due course of time. You say it’s of you—yes, it’s that, but it’s more. If you knew, you mightn’t be so impatient. Poor Denis! My God, it’s a shame!’
“My throat went suddenly dry as the words rose to an almost febrile pitch. What could Marsh mean? Suddenly I saw that he had stopped and was entering the house alone. I heard the front door slam, and listened as his footsteps ascended the stairs. Outside on the veranda I could still hear Marceline’s heavy, angry breathing. I crept away sick at heart, feeling that there were grave things to ferret out before I could safely let Denis come back.
“After that evening the tension around the place was even worse than before. Marceline had always lived on flattery and fawning, and the shock of those few blunt words from Marsh was too much for her temperament. There was no living in the house with her any more, for with poor Denis gone she took out her abusiveness on everybody. When she could find no one indoors to quarrel with she would go out to Sophonisba’s cabin and spend hours talking with the queer old Zulu woman. Aunt Sophy was the only person who would fawn abjectly enough to suit her, and when I tried once to overhear their conversation I found Marceline whispering about ‘elder secrets’ and ‘unknown Kadath’ while the negress rocked to and fro in her chair, making inarticulate sounds of reverence and admiration every now and then.
“But nothing could break her dog-like infatuation for Marsh. She would talk bitterly and sullenly to him, yet was getting more and more obedient to his wishes. It was very convenient for him, since he now became able to make her pose for the picture whenever he felt like painting. He tried to shew gratitude for this willingness, but I thought I could detect a kind of contempt or even loathing beneath his careful politeness. For my part, I frankly hated Marceline! There was no use in calling my attitude anything as mild as mere dislike these days. Certainly, I was glad Denis was away. His letters, not nearly so frequent as I wished, shewed signs of strain and worry.
“As the middle of August went by I gathered from Marsh’s remarks that the portrait was nearly done. His mood seemed increasingly sardonic, though Marceline’s temper improved a bit as the prospect of seeing the thing tickled her vanity. I can still recall the day when Marsh said he’d have everything finished within a week. Marceline brightened up perceptibly, though not without a venomous look at me. It seemed as if her coiled hair visibly tightened about her head.
“‘I’m to be the first to see it!’ she snapped. Then, smiling at Marsh, she said, ‘And if I don’t like it I shall slash it to pieces!’
“Marsh’s face took on the most curious look I have ever seen it wear as he answered her.
“‘I can’t vouch for your taste, Marceline, but I swear it will be magnificent! Not that I want to take much credit—art creates itself —and this thing had to be done. Just wait!’
“During the next few days I felt a queer sense of foreboding, as if the completion of the picture meant a kind of catastrophe instead of a relief. Denis, too, had not written me, and my agent in New York said he was planning some trip to the country. I wondered what the outcome of the whole thing would be. What a queer mixture of elements—Marsh and Marceline, Denis and I! How would all these ultimately react on one another? When my fears grew too great I tried to lay them all to my infirmity, but that explanation never quite satisfied me.”
IV.
“Well, the thing exploded on Tuesday, the twenty-sixth of August. I had risen at my usual time and had breakfast, but was not good for much because of the pain in my spine. It had been troubling me badly of late, and forcing me to take opiates when it got too unbearable; nobody else was downstairs except the servants, though I could hear Marceline moving about in her room. Marsh slept in the attic next his studio, and had begun to keep such late hours that he was seldom up till noon. About ten o’clock the pain got the better of me, so that I took a double dose of my opiate and lay down on the parlour sofa. The last I heard was Marceline’s pacing overhead. Poor creature—if I had known! She must have been walking before the long mirror admiring herself. That was like her. Vain from start to finish—revelling in her own beauty, just as she revelled in all the little luxuries Denis was able to give her.
“I didn’t wake up till near sunset, and knew instantly how long I had slept from the golden light and long shadows outside the long window. Nobody was about, and a sort of unnatural stillness seemed to be hovering over everything. From afar, though, I thought I could sense a faint howling, wild and intermittent, whose quality had a slight but baffling familiarity about it. I’m not much for psychic premonitions, but I was frightfully uneasy from the start. There had been dreams—even worse than the ones I had been dreaming in the weeks before—and this time they seemed hideously linked to some black and festering reality. The whole place had a poisonous air. Afterward I reflected that certain sounds must have filtered through to my unco
nscious brain during those hours of drugged sleep. My pain, though, was very much eased; and I rose and walked without difficulty.
“Soon enough I began to see that something was wrong. Marsh and Marceline might have been riding, but someone ought to have been getting dinner in the kitchen. Instead, there was only silence, except for that faint distant howl or wail; and nobody answered when I pulled the old-fashioned bell-cord to summon Scipio. Then, chancing to look up, I saw the spreading stain on the ceiling—the bright red stain, that must have come through the floor of Marceline’s room.
“In an instant I forgot my crippled back and hurried upstairs to find out the worst. Everything under the sun raced through my mind as I struggled with the dampness-warped door of that silent chamber, and most hideous of all was a terrible sense of malign fulfilment and fatal expectedness. I had, it struck me, known all along that nameless horrors were gathering; that something profoundly and cosmically evil had gained a foot-hold under my roof from which only blood and tragedy could result.
“The door gave at last, and I stumbled into the large room beyond—all dim from the branches of the great trees outside the windows. For a moment I could do nothing but flinch at the faint evil odour that immediately struck my nostrils. Then, turning on the electric light and glancing around, I glimpsed a nameless blasphemy on the yellow and blue rug.
“It lay face down in a great pool of dark, thickened blood, and had the gory print of a shod human foot in the middle of its naked back. Blood was spattered everywhere—on the walls, furniture, and floor. My knees gave way as I took in the sight, so that I had to stumble to a chair and slump down. The thing had obviously been a human being, though its identity was not easy to establish at first; since it was without clothes, and had most of its hair hacked and torn from the scalp in a very crude way. It was of a deep ivory colour, and I knew that it must have been Marceline. The shoe-print on the back made the thing seem all the more hellish. I could not even picture the strange, loathsome tragedy which must have taken place while I slept in the room below. When I raised my hand to wipe my dripping forehead I saw that my fingers were sticky with blood. I shuddered, then realised that it must have come from the knob of the door which the unknown murderer had forced shut behind him as he left. He had taken his weapon with him, it seemed, for no instrument of death was visible here.
“As I studied the floor I saw that a line of sticky footprints like the one on the body led away from the horror to the door. There was another blood-trail, too, and of a less easily explainable kind; a broadish, continuous line, as if marking the path of some huge snake. At first I concluded it must be due to something the murderer had dragged after him. Then, noting the way some of the footprints seemed to be superimposed on it, I was forced to believe that it had been there when the murderer left. But what crawling entity could have been in that room with the victim and her assassin, leaving before the killer when the deed was done? As I asked myself this question I thought I heard fresh bursts of that faint, distant wailing.
“Finally, rousing myself from a lethargy of horror, I got on my feet again and began following the footprints. Who the murderer was, I could not even faintly guess, nor could I try to explain the absence of the servants. I vaguely felt that I ought to go up to Marsh’s attic quarters, but before I had fully formulated the idea I saw that the bloody trail was indeed taking me there. Was he himself the murderer? Had he gone mad under the strain of the morbid situation and suddenly run amok?
“In the attic corridor the trail became faint, the prints almost ceasing as they merged with the dark carpet. I could still, however, discern the strange single path of the entity who had gone first; and this led straight to the closed door of Marsh’s studio, disappearing beneath it at a point about half way from side to side. Evidently it had crossed the threshold at a time when the door was wide open.
“Sick at heart, I tried the knob and found the door unlocked. Opening it, I paused in the waning north light to see what fresh nightmare might be awaiting me. There was certainly something human on the floor, and I reached for the switch to turn on the chandelier.
“But as the light flashed up my gaze left the floor and its horror— that was Marsh, poor devil—to fix itself frantically and incredulously upon the living thing that cowered and stared in the open doorway leading to Marsh’s bedroom. It was a tousled, wild-eyed thing, crusted with dried blood and carrying in its hand a wicked machete which had been one of the ornaments of the studio wall. Yet even in that awful moment I recognised it as one whom I had thought more than a thousand miles away. It was my own boy Denis—or the maddened wreck which had once been Denis.
“The sight of me seemed to bring back a trifle of sanity—or at least of memory—in the poor boy. He straightened up and began to toss his head about as if trying to shake free from some enveloping influence. I could not speak a word, but moved my lips in an effort to get back my voice. My eyes wandered for a moment to the figure on the floor in front of the heavily draped easel—the figure toward which the strange blood-trail led, and which seemed to be tangled in the coils of some dark, ropy object. The shifting of my glance apparently produced some impression in the twisted brain of the boy, for suddenly he began to mutter in a hoarse whisper whose purport I was soon able to catch.
“‘I had to exterminate her—she was the devil—the summit and high-priestess of all evil—the spawn of the pit—Marsh knew, and tried to warn me. Good old Frank—I didn’t kill him, though I was ready to before I realised. But I went down there and killed her— then that cursed hair—’
“I listened in horror as Denis choked, paused, and began again.
“‘You didn’t know—-her letters got queer and I knew she was in love with Marsh. Then she nearly stopped writing. He never mentioned her—I felt something was wrong, and thought I ought to come back and find out. Couldn’t tell you—your manner would have given it away. Wanted to surprise them. Got here about noon today—came in a cab and sent the house-servants all off—let the field hands alone, for their cabins are all out of earshot. Told McCabe to get me some things in Cape Girardeau and not bother to come back till tomorrow. Had all the niggers take the old car and let Mary drive them to Bend Village for a vacation—told ‘em we were all going on some sort of outing and wouldn’t need help. Said they’d better stay all night with Uncle Scip’s cousin, who keeps that nigger boarding-house.’
“Denis was getting very incoherent now, and I strained my ears to grasp every word. Again I thought I heard that wild, far-off wail, but the story had first place for the present.
“‘Saw you sleeping in the parlour, and took a chance you wouldn’t wake up. Then went upstairs on the quiet to hunt up Marsh and … that woman!’
“The boy shuddered as he avoided pronouncing Marceline’s name. At the same time I saw his eyes dilate in unison with a bursting of the distant crying, whose vague familiarity had now become very great.
“‘She was not in her room, so I went up to the studio. Door was shut, and I could hear voices inside. Didn’t knock—just burst in and found her posing for the picture. Nude, but with that hellish hair all draped around her. And making all sorts of sheep’s eyes at Marsh. He had the easel turned half away from the door, so I couldn’t see the picture. Both of them were pretty well jolted when I shewed up, and Marsh dropped his brush. I was in a rage and told him he’d have to shew me the portrait, but he got calmer every minute. Told me it wasn’t quite done, but would be in a day or two—said I could see it then—she—hadn’t seen it.
“‘But that didn’t go with me. I stepped up, and he dropped a velvet curtain over the thing before I could see it. He was ready to fight before letting me see it, but that—that—she—stepped up and sided with me. Said we ought to see it. Frank got horribly worked up, and gave me a punch when I tried to get at the curtain. I punched back and seemed to have knocked him out. Then I was almost knocked out myself by the shriek that—that creature—gave. She’d drawn aside the hangings herself, and had
caught a look at what Marsh had been painting. I wheeled around and saw her rushing like mad out of the room—then I saw the picture.’
“Madness flared up in the boy’s eyes again as he got to this place, and I thought for a minute he was going to spring at me with his machete. But after a pause he partly steadied himself.
‘“Oh, God—that thing! Don’t ever look at it! Burn it with the hangings around it and throw the ashes into the river! Marsh knew —and was warning me. He knew what it was—what that woman— that leopardess, or gorgon, or lamia, or whatever she was—actually represented. He’d tried to hint to me ever since I met her in his Paris studio, but it couldn’t be told in words. I thought they all wronged her when they whispered horrors about her—she had me hypnotised so that I couldn’t believe the plain facts—but this picture has caught the whole secret—the whole monstrous background!
“‘God, but Frank is an artist! That thing is the greatest piece of work any living soul has produced since Rembrandt! It’s a crime to burn it—but it would be a greater crime to let it exist—just as it would have been an abhorrent sin to let—that she-daemon—exist any longer. The minute I saw it I understood what—she—was, and what part she played in the frightful secret that has come down from the days of Cthulhu and the Elder Ones—the secret that was nearly wiped out when Atlantis sank, but that kept half alive in hidden traditions and allegorical myths and furtive, midnight cult-practices. For you know she was the real thing. It wasn’t any fake. It would have been merciful if it had been a fake. It was the old, hideous shadow that philosophers never dared mention—the thing hinted at in the Necronomicon and symbolised in the Easter Island colossi.
“‘She thought we couldn’t see through—that the false front would hold till we had bartered away our immortal souls. And she was half right—she’d have got me in the end. She was only—waiting. But Frank—good old Frank—was too much for me. He knew what it all meant, and painted it. I don’t wonder she shrieked and ran off when she saw it. It wasn’t quite done, but God knows enough was there.
The Horror in the Museum Page 25
