The Horror in the Museum (41 page)

Rogers saw the spasm of horror reach Jones’s 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 phantasmagorically through his helpless imagination. There
was
a splashing. There
was
a 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 know now whether 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 foetor—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 dank 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 neighbourhood. 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 phantasm 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 open. The gateman nodded in a 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 twenty-eighth 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 has 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 unfortunate. 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 is 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 shewn. Said we’d have to remove it. It was a tremendous shame—such a masterpiece of art—but I didn’t feel 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 has studied. All nonsense, of course, as
from outer space, and to have lived in the Arctic three million years ago. It treated its sacrifices rather peculiarly and horribly, as you shall see. Mr. Rogers had made it fiendishly life-like—even to the face of the victim.”

Now trembling violently, Jones clung 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 shewn 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 that 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 localised 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 mould 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.

Hazel Heald

The Orange Hotel stands in High Street near the railway station in Bloemfontein, South Africa. On Sunday, January 24, 1932, four men sat shivering from terror in a room on its third floor. One was George C. Titteridge, proprietor of the hotel; another was police constable Ian De Witt of the Central Station; a third was Johannes Bogaert, the local coroner; the fourth, and apparently the least disorganised of the group, was Dr. Cornelius Van Keulen, the coroner’s physician.

On the floor, uncomfortably evident amidst the stifling summer heat, was the body of a dead man—but this was not what the four were afraid of. Their glances wandered from the table, on which lay a curious assortment of things, to the ceiling overhead, across whose smooth whiteness a series of huge, faltering alphabetical characters had somehow been scrawled in ink; and every now and then Dr. Van Keulen would glance half-furtively at a worn leather blank-book which he held in his left hand. The horror of the four seemed about equally divided among the blank-book, the scrawled words on the ceiling, and a dead fly of peculiar aspect which floated in a bottle of ammonia on the table. Also on the table were an open inkwell, a pen and writing-pad, a physician’s medical case, a bottle of hydrochloric acid, and a tumbler about a quarter full of black oxide of manganese.

The worn leather book was the journal of the dead man on the floor, and had at once made it clear that the name “Frederick N. Mason, Mining Properties, Toronto, Canada”, signed in the hotel register, was a false one. There were other things—terrible things— which it likewise made clear; and still other things of far greater terror at which it hinted hideously without making them clear Ór even fully believable. It was the half-belief of the four men, fostered by lives spent close to the black, settled secrets of brooding Africa, which made them shiver so violently in spite of the searing January heat.

The blank-book was not a large one, and the entries were in a fine handwriting, which, however, grew careless and nervous-looking toward the last. It consisted of a series of jottings at first rather irregularly spaced, but finally becoming daily. To call it a diary would not be quite correct, for it chronicled only one set of its writer’s activities. Dr. Van Keulen recognised the name of the dead man the moment he opened the cover, for it was that of an eminent member of his own profession who had been largely connected with African matters. In another moment he was horrified to find this name linked with a dastardly crime, officially unsolved, which had filled the newspapers some four months before. And the farther he read, the deeper grew his horror, awe, and sense of loathing and panic.

Here, in essence, is the text which the doctor read aloud in that sinister and increasingly noisome room while the three men around him breathed hard, fidgeted in their chairs, and darted frightened glances at the ceiling, the table, the thing on the floor, and one another:

Touching punishment of Henry Sargent Moore, Ph.D., of Brooklyn, New York, Professor of Invertebrate Biology in Columbia University, New York, N.Y. Prepared to be read after my death, for the satisfaction of making public the accomplishment of my revenge, which may otherwise never be imputed to me even if it succeeds.

January 5, 1929—I have now fully resolved to kill Dr. Henry Moore, and a recent incident has shewn me how I shall do it. From now on, I shall follow a consistent line of action; hence the beginning of this journal.