The Horror in the Museum (51 page)

The Reverend Silas Atwood droned on in a plaintive monotone about the deceased—about the striking of Death’s sword in the midst of this little family, breaking the earthly tie between this loving brother and sister. Several of the neighbours looked furtively at one another from beneath lowered eyelids, while Sophie actually began to sob nervously. Thorndike moved to her side and tried to reassure her, but she seemed to shrink curiously away from him. His motions were distinctly uneasy, and he seemed to feel acutely the abnormal tension permeating the air. Finally, conscious of his duty as master of ceremonies, he stepped forward and announced in a sepulchral voice that the body might be viewed for the last time.

Slowly the friends and neighbours filed past the bier, from which Thorndike roughly dragged crazy Johnny away. Tom seemed to be resting peacefully. That devil had been handsome in his day. A few genuine sobs—and many feigned ones—were heard, though most of the crowd were content to stare curiously and whisper afterward. Steve Barbour lingered long and attentively over the still face, and moved away shaking his head. His wife, Emily, following after him, whispered that Henry Thorndike had better not boast so much about his work, for Tom’s eyes had come open. They had been shut when the services began, for she had been up and looked. But they certainly looked natural—not the way one would expect after two days.

When Fred Peck gets this far he usually pauses as if he did not like to continue. The listener, too, tends to feel that something unpleasant is ahead. But Peck reassures his audience with the statement that what happened isn’t as bad as folks like to hint. Even Steve never put into words what he may have thought, and crazy Johnny, of course, can’t be counted at all.

It was Luella Morse—the nervous old maid who sang in the choir —who seems to have touched things off. She was filing past the coffin like the rest, but stopped to peer a little closer than anyone else except the Barbours had peered. And then, without warning, she gave a shrill scream and fell in a dead faint.

Naturally, the room was at once a chaos of confusion. Old Dr. Pratt elbowed his way to Luella and called for some water to throw in her face, and others surged up to look at her and at the coffin. Johnny Dow began chanting to himself, “He knows, he knows, he kin hear all we’re a-sayin’ and see all we’re a-doin’, and they’ll bury him that way”—but no one stopped to decipher his mumbling except Steve Barbour.

In a very few moments Luella began to come out of her faint, and could not tell exactly what had startled her. All she could whisper was, “The way he looked—the way he looked.” But to other eyes the body seemed exactly the same. It was a gruesome sight, though, with those open eyes and that high colouring.

And then the bewildered crowd noticed something which put both Luella and the body out of their minds for a moment. It was Thorndike—on whom the sudden excitement and jostling crowd seemed to be having a curiously bad effect. He had evidently been knocked down in the general bustle, and was on the floor trying to drag himself to a sitting posture. The expression on his face was
terrifying in the extreme, and his eyes were beginning to take on a glazed, fishy expression. He could scarcely speak aloud, but the husky rattle of his throat held an ineffable desperation which was obvious to all.

“Get me home, quick, and let me be. That fluid I got in my arm by mistake … heart action … this damned excitement … too much … wait … wait … don’t think I’m dead if I seem to … only the fluid—just get me home and wait … I’ll come to later, don’t know how long … all the time I’ll be conscious and know what’s going on … don’t be deceived….”

As his words trailed off into nothingness old Dr. Pratt reached him and felt his pulse—watching a long time and finally shaking his head. “No use doing anything—he’s gone. Heart no good—and that fluid he got in his arm must have been bad stuff. I don’t know what it is.”

A kind of numbness seemed to fall on all the company. New death in the chamber of death! Only Steve Barbour thought to bring up Thorndike’s last choking words. Was he surely dead, when he himself had said he might falsely seem so? Wouldn’t it be better to wait a while and see what would happen? And for that matter, what harm would it do if Doc Pratt were to give Tom Sprague another looking over before burial?

Crazy Johnny was moaning, and had flung himself on Thorn-dike’s body like a faithful dog. “Don’t ye bury him, don’t ye bury him! He ain’t dead no more nor Lige Hopkins’s dog nor Deacon Leavitt’s calf was when he shot ‘em full. He’s got some stuff he puts into ye to make ye seem like dead when ye ain’t! Ye seem like dead but ye know everything what’s a-goin’ on, and the next day ye come to as good as ever. Don’t ye bury him—he’ll come to under the earth an’ he can’t scratch up! He’s a good man, an’ not like Tom Sprague. Hope to Gawd Tom scratches an’ chokes for hours an’ hours…. “

But no one save Barbour was paying any attention to poor Johnny. Indeed, what Steve himself had said had evidently fallen on deaf ears. Uncertainty was everywhere. Old Doc Pratt was applying final tests and mumbling about death certificate blanks, and unctuous Elder Atwood was suggesting that something be done about a double interment. With Thorndike dead there was no undertaker this side of Rutland, and it would mean a terrible expense if one were to be brought from there, and if Thorndike were not embalmed in this hot June weather—well, one couldn’t tell.
And there were no relatives or friends to be critical unless Sophie chose to be—but Sophie was on the other side of the room, staring silently, fixedly, and almost morbidly into her brother’s coffin.

Deacon Leavitt tried to restore a semblance of decorum, and had poor Thorndike carried across the hall to the sitting-room, meanwhile sending Zenas Wells and Walter Perkins over to the undertaker’s house for a coffin of the right size. The key was in Henry’s trousers pocket. Johnny continued to whine and paw at the body, and Elder Atwood busied himself with inquiring about Thorndike’s denomination—for Henry had not attended local services. When it was decided that his folks in Rutland—all dead now—had been Baptists, the Reverend Silas decided that Deacon Leavitt had better offer the brief prayer.

It was a gala day for the funeral-fanciers of Stillwater and vicinity. Even Luella had recovered enough to stay. Gossip, murmured and whispered, buzzed busily while a few composing touches were given to Thorndike’s cooling, stiffening form. Johnny had been cuffed out of the house, as most agreed he should have been in the first place, but his distant howls were now and then wafted gruesomely in.

When the body was encoffined and laid out beside that of Thomas Sprague, the silent, almost frightening-looking Sophie gazed intently at it as she had gazed at her brother’s. She had not uttered a word for a dangerously long time, and the mixed expression on her face was past all describing or interpreting. As the others withdrew to leave her alone with the dead she managed to find a sort of mechanical speech, but no one could make out the words, and she seemed to be talking first to one body and then the other.

And now, with what would seem to an outsider the acme of gruesome unconscious comedy, the whole funeral mummery of the afternoon was listlessly repeated. Again the organ wheezed, again the choir screeched and scraped, again a droning incantation arose, and again the morbidly curious spectators filed past a macabre object—this time a dual array of mortuary repose. Some of the more sensitive people shivered at the whole proceeding, and again Stephen Barbour felt an underlying note of eldritch horror and daemoniac abnormality. God, how life-like both of those corpses were … and how in earnest poor Thorndike had been about not wanting to be judged dead … and how he hated Tom Sprague … but what could one do in the face of common sense—a dead man was a dead man, and there was old Doc Pratt with his years of
experience … if nobody else bothered, why should one bother oneself? … Whatever Tom had got he had probably deserved … and if Henry had done anything to him, the score was even now … well, Sophie was free at last….

As the peering procession moved at last toward the hall and the outer door, Sophie was alone with the dead once more. Elder At-wood was out in the road talking to the hearse-driver from Lee’s livery stable, and Deacon Leavitt was arranging for a double quota of pall-bearers. Luckily the hearse would hold two coffins. No hurry—Ed Plummer and Ethan Stone were going ahead with shovels to dig the second grave. There would be three livery hacks and any number of private rigs in the cavalcade—no use trying to keep the crowd away from the graves.

Then came that frantic scream from the parlour where Sophie and the bodies were. Its suddenness almost paralysed the crowd and brought back the same sensation which had surged up when Luella had screamed and fainted. Steve Barbour and Deacon Leavitt started to go in, but before they could enter the house Sophie was bursting forth, sobbing and gasping about “That face at the window! … that face at the window! …”

At the same time a wild-eyed figure rounded the corner of the house, removing all mystery from Sophie’s dramatic cry. It was, very obviously, the face’s owner—poor crazy Johnny, who began to leap up and down, pointing at Sophie and shrieking, “She knows! She knows! I seen it in her face when she looked at ‘em and talked to ‘em! She knows, and she’s a-lettin’ ‘em go down in the earth to scratch an’ claw for air…. But they’ll talk to her so’s she kin hear ‘em … they’ll talk to her, an’ appear to her … and some day they’ll come back an’ git her!”

Zenas Wells dragged the shrieking half-wit to a woodshed behind the house and bolted him in as best he could. His screams and poundings could be heard at a distance, but nobody paid him any further attention. The procession was made up, and with Sophie in the first hack it slowly covered the short distance past the village to the Swamp Hollow burying-ground.

Elder Atwood made appropriate remarks as Thomas Sprague was laid to rest, and by the time he was through, Ed and Ethan had finished Thorndike’s grave on the other side of the cemetery—to which the crowd presently shifted. Deacon Leavitt then spoke ornamentally, and the lowering process was repeated. People had begun to drift off in knots, and the clatter of receding buggies and carryalls
was quite universal, when the shovels began to fly again. As the earth thudded down on the coffin-lids, Thorndike’s first, Steve Barbour noticed the queer expressions flitting over Sophie Sprague’s face. He couldn’t keep track of them all, but behind the rest there seemed to lurk a sort of wry, perverse, half-suppressed look of vague triumph. He shook his head.

Zenas had run back and let crazy Johnny out of the woodshed before Sophie got home, and the poor fellow at once made frantically for the graveyard. He arrived before the shovelmen were through, and while many of the curious mourners were still lingering about. What he shouted into Tom Sprague’s partly filled grave, and how he clawed at the loose earth of Thorndike’s freshly finished mound across the cemetery, surviving spectators still shudder to recall. Jotham Blake, the constable, had to take him back to the town farm by force, and his screams waked dreadful echoes.

This is where Fred Peck usually leaves off the story. What more, he asks, is there to tell? It was a gloomy tragedy, and one can scarcely wonder that Sophie grew queer after that. That is all one hears if the hour is so late that old Calvin Wheeler has tottered home, but when he is still around he breaks in again with that damnably suggestive and insidious whisper. Sometimes those who hear him dread to pass either the shuttered house or the graveyard afterward, especially after dark.

“Heh, heh … Fred was only a little shaver then, and don’t remember no more than half of what was goin’ on! You want to know why Sophie keeps her house shuttered, and why crazy Johnny still keeps a-talkin’ to the dead and a-shoutin’ at Sophie’s windows? Well, sir, I don’t know’s I know all there is to know, but I hear what I hear.”

Here the old man ejects his cud of tobacco and leans forward to buttonhole the listener.

“It was that same night, mind ye—toward mornin’, and just eight hours after them burials—when we heard the first scream from Sophie’s house. Woke us all up—Steve and Emily Barbour and me and Matildy goes over hot-footin’, all in night gear, and finds Sophie all dressed and dead fainted on the settin’-room floor. Lucky she hadn’t locked the door. When we got her to she was shakin’ like a leaf, and wouldn’t let on by so much as a word what was ailin’ her. Matildy and Emily done what they could to quiet her down, but Steve whispered things to me as didn’t make me none too easy. Come about an hour when we allowed we’d be goin’ home
soon, that Sophie she begun to tip her head on one side like she was a-listenin’ to somethin’. Then on a sudden she screamed again, and keeled over in another faint.

“Well, sir, I’m tellin’ what I’m tellin’, and won’t do no guessin’ like Steve Barbour would a done if he dared. He always was the greatest hand for hintin’ things … died ten years ago of pneumony.

“What we heard so faint-like’ was just poor crazy Johnny, of course. Taint more than a mile to the buryin’-ground, and he must a got out of the window where they’d locked him up at the town farm—even if Constable Blake says he didn’t get out that night. From that day to this he hangs around them graves a-talkin’ to the both of them—cussin’ and kickin’ at Tom’s mound, and puttin’ posies and things on Henry’s. And when he ain’t a-doin’ that he’s hangin’ around Sophie’s shuttered windows howlin’ about what’s a-comin’ soon to git her.

“She wouldn’t never go near the buryin’-ground, and now she won’t come out of the house at all nor see nobody. Got to sayin’ there was a curse on Stillwater—and I’m dinged if she ain’t half right, the way things is a-goin’ to pieces these days. There certainly was somethin’ queer about Sophie right along. Once when Sally Hopkins was a-callin’ on her—in ‘97 or ‘98,1 think it was—there was an awful rattlin’ at her winders—and Johnny was safe locked up at the time—at least, so Constable Dodge swore up and down. But I ain’t takin’ no stock in their stories about noises every seventeenth of June, or about faint shinin’ figures a-tryin’ Sophie’s door and winders every black mornin’ about two o’clock.