Howard Phillips Lovecraft and Hazel Heald

“ Coward—you could never face the dimensional shambler whose hide I put on to scare you—the mere sight of it alive, or even the full-fledged thought of it, would kill you instantly with fright! Iä! Iä! It waits hungry for the blood that is the life!"
Rogers, propped against the wall, swayed to and fro in his bonds.
"See here, Jones—if I let you go will you let me go? It must be taken care of by Its high priest. Orabona will be enough to keep It alive—and when he is finished I will make his fragments immortal in wax for the world to see. ”

“ Jones did not know which he feared most to do—turn on his flashlight or stay in the dark while the thing crept upon him. This thing was different, he felt profoundly, from the other terrors of the evening. His fingers and throat worked spasmodically. Silence was impossible, and the suspense of utter blackness was beginning to be the most intolerable of all conditions. Again he cried out hysterically—"Halt! Who goes there?"—as he switched on the revealing beam of his torch. Then, paralyzed by what he saw, he dropped the flashlight and screamed—not once but many times. ”

“ The carvings of the gigantic masonry—high walls and peculiar vaulting overhead—were mainly symbolic, and involved both wholly unknown designs and certain hieroglyphs darkly cited in obscene legends. Over the throne loomed the same dreadful symbol which was now painted on the workroom wall above the padlocked plank door. Jones darted a nervous glance at the closed portal. Assuredly, Rogers had been to strange places and had seen strange things. Yet this mad interior picture might easily be a fraud—taken from a very clever stage setting. One must not be too credulous. ”

“ The proximity of the numberless waxen shapes began to get on Jones' nerves more and more as the quarter-hours wore on. He knew the museum so well that he could not get rid of their usual images even in the total darkness. Indeed, the darkness had the effect of adding to the remembered images certain very disturbing imaginative overtones. The guillotine seemed to creak, and the bearded face of Landru—slayer of his fifty wives—twisted itself into expressions of monstrous menace. ”

“ Rogers paused, felt around in his desk, and produced an envelope of good-sized photographic prints. Extracting one and laying it face down before him, he handed the rest to Jones. The set was certainly an odd one: ice-clad hills, dog sledges, men in furs, and vast tumbled ruins against a background of snow—ruins whose bizarre outlines and enormous stone blocks could hardly be accounted for. One flashlight view showed an incredible interior chamber with wild carvings and a curious throne whose proportions could not have been designed for a human occupant. ”

“ I shall feed you with blood, and you shall feed me with power. Iä! Shub-Niggurath! The Goat with a Thousand Young!"
In an instant all the terrors of the night dropped from Jones like a discarded cloak. He was again master of his mind, for he knew the very earthly and material peril he had to deal with. This was no monster of fable, but a dangerous madman. It was Rogers, dressed in some nightmare covering of his own insane designing, and about to make a frightful sacrifice to the devil-god he had fashioned out of wax. ”

“ Ask Orabona what he thinks, too."
Rogers bared his teeth in wild-beast fashion.
"Must be going now, eh? Afraid, after all! Afraid, for all your bold talk! You say the effigies are only wax, and yet you run away when I begin to prove that they aren't. You're like the fellows who take my standing bet that they daren't spend the night in the museum—they come boldly enough, but after an hour they shriek and hammer to get out! Want me to ask Orabona, eh? You two—always against me! You want to break down the coming earthly reign of It!"
Jones preserved his calm. ”

“ Electrified with a pure loathing which conquered his mounting disgust, Jones sprang with a cry.
"You damned sadist—you madman—you do a thing like this and dare to speak to a decent man!"
Rogers dropped the burlap with a malignant sneer and faced his oncoming guest. His words held an unnatural calm.
"Why, you fool, do you think I did this? What of it? It is not human and does not pretend to be. To sacrifice is merely to offer. I gave the dog to It. What happened is It's work, not mine. It needed the nourishment of the offering, and took it in Its own way. ”

“ Stephen Jones, as a leisurely connoisseur of the bizarre in art, had sought out Rogers himself in the dingy office and workroom behind the vaulted museum chamber—an evil-looking crypt lighted dimly by dusty windows set slit-like and horizontal in the brick wall on a level with the ancient cobblestones of a hidden courtyard. ”

“ 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 . ”

“ The leaning, decrepit buildings—once dwellings but now largely shops and warehouses—were very ancient indeed. Some of them were of a gabled type seeming to go back to Tudor times, and a faint miasmatic stench hung subtly about the whole region. Beside the dingy house whose basement held the museum was a low archway pierced by a dark cobbled alley, and this Jones entered in a vague wish to find the courtyard behind the workroom and settle the affair of the dog comfortably in his mind. ”

“ Surviving elder gods—nameless sacrifices—the other than artificial nature of some of the alcove horrors—all the usual boasts, but uttered in a tone of peculiarly increasing confidence. Obviously, Jones reflected, the poor fellow's madness was gaining on him. From time to time Rogers would send furtive glances toward the heavy, padlocked inner door at the end of the room, or toward a piece of coarse burlap on the floor not far from it, beneath which some small object appeared to be lying. ”

“ 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. ”

“ It can't stand up in there—too tall—has to sit down or crouch. Let me get my keys—we must let It out and kneel down before it. Then we will go out and find a dog or cat—or perhaps a drunken man—to give It the nourishment It needs."
It was not what the madman said, but the way he said it, that disorganized Jones so badly. The utter, insane confidence and sincerity in that crazed whisper were damnably contagious. Imagination, such a stimulus, could find an active menace in the devilish wax figure that lurked unseen just beyond the heavy planking. ”

“ Then suddenly he began trying to keep the hideous images he had formerly been trying to banish. He tried to keep them because they were giving place to still more hideous ones. In spite of himself his memory began reconstructing the utterly non-human blasphemies that lurked in the obscurer corners, and these lumpish hybrid growths oozed and wriggled toward him as though hunting him down in a circle. ”

“ That and more, for instead of Orabona it will be one of high degree who has doubted you. You shall crush and drain him, with all his doubts, and grow strong thereby. And ever after among men he shall be shown as a monument to your glory. ”

“ Orabona, he understood, lived in separate quarters in the same house.
At eleven Jones found Rogers waiting by the basement door in Southwark Street. Their words were few, but each seemed taut with a menacing tension. They agreed that the vaulted exhibition room alone should form the scene of the vigil, and Rogers did not insist that the watcher sit in the special adult alcove of supreme horrors. The showman, having extinguished all the lights with switches in the workroom, locked the door of that crypt with one of the keys on his crowded ring. ”

“ Others have backed out—you have that chance. And I suppose a pounding on the outer door would always bring a constable. You may not like it so well after a while—you'll be in the same building, though not in the same room with It."
As they left the rear door into the dingy courtyard, Rogers took with him the piece of burlap—weighted with a gruesome burden. Near the center of the court was a manhole, whose cover the showman lifted quietly, and with a shuddersome suggestion of familiarity. Burlap and all, the burden went down to the oblivion of a cloacal labyrinth. ”

“ In the center of the room was a large melting-furnace used to prepare the wax for molding, its fire-box topped by a huge iron container on hinges, with a spout which permitted the pouring of melted wax with the merest touch of a finger.
Other things in the dismal crypt were less describable—isolated parts of problematical entities whose assembled forms were the phantoms of delirium. At one end was a door of heavy plank, fastened by an unusually large padlock and with a very peculiar symbol painted over it. ”

“ Any man who could imagine and construct the incredibly life-like things that he had produced was not far from actual greatness. He had the fancy of a Sime or a Doré joined to the minute, scientific craftsmanship of a Blatschka. ”

“ He carries a pistol all the time to protect himself—fool, as if there were human protection against It! If I ever see him draw that pistol, I'll strangle him. He wanted me to kill It and make an effigy of It. But I've stuck by my plans, and I'm coming out on top in spite of all the cowards like Orabona and damned sniggering skeptics like you, Jones! I've chanted the rites and made certain sacrifices, and last week the transition came. The sacrifice was—received and enjoyed!"
Rogers actually licked his lips, while Jones held himsef uneasily rigid. ”

“ It is starving down there beyond that door, and if It dies the Old Ones can never come back. Hei! Hei! Let me go!"
Jones merely shook his head, though the hideousness of the showman's imaginings revolted him. Rogers, now staring wildly at the padlocked plank door, thumped his head again and again against the brick wall and kicked with his tightly bound ankles. Jones was afraid he would injure himself, and advanced to bind him more firmly to some stationary object. ”

“ It needed the nourishment of sacrifice, for It was a god. Of course I couldn't get It the sort of sacrifices which It used to have in Its day, for such things don't exist now. But there were other things which might do. The blood is the life, you know. Even the lemures and elementals that are older than the earth will come when the blood of men or beasts is offered under the right conditions."
The expression on the narrator's face was growing very alarming and repulsive, so that Jones fidgeted involuntarily in his chair. ”

“ 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 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." ”

“ The longest-living author of this work died in 1961, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 62 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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