Jan. 20—I cannot yet believe fully in the supernatural, yet I fear none the less that I am lost. The business is too much for me. Just before noon today that devil appeared outside the window and repeated its beating operations; but this time in series of three. When I went to the window it flew off out of sight. I still have resolution enough to take one more defensive step. Removing both window-screens, I coated them with my sticky preparation—the one I used in the inkwell—outside and inside, and set them back in place. If that creature attempts another tattoo, it will be its last!
Rest of the day in peace. Can I weather this experience without becoming a maniac?
Jan. 21—On board train for Bloemfontein.
I am routed. The thing is winning. It has a diabolic intelligence against which all my devices are powerless. It appeared outside the window this morning, but did not touch the sticky screen. Instead, it sheered off without lighting and began buzzing around in circles—two at a time, followed by a pause in the air. After several of these performances it flew off out of sight over the roofs of the city. My nerves are just about at the breaking-point, for these suggestions of numbers are capable of a hideous interpretation. Monday the thing dwelt on the figure five; Tuesday it was four; Wednesday it was three; and now today it is two. Five, four, three, two—what can this be save some monstrous and unthinkable counting-off of days? For what purpose, only the evil powers of the universe can know. I spent all the afternoon packing and arranging about my trunks, and now I have taken the night express for Bloemfontein. Flight may be useless, but what else can one do?
Jan. 22—Settled at the Orange Hotel, Bloemfontein—a comfortable and excellent place—but the horror followed me. I had shut all the doors and windows, stopped all the keyholes, looked for any possible chinks, and pulled down all the shades—but just before noon I heard a dull tap on one of the window-screens. I waited—and after a long pause another tap came. A second pause, and still another single tap. Raising the shade, I saw that accursed fly, as I had expected. It described one large, slow circle in the air, and then flew out of sight. I was left as weak as a rag, and had to rest on the couch. One! This was clearly the burden of the monster’s present message. One tap, one circle. Did this mean one more day for me before some unthinkable doom? Ought I to flee again, or entrench myself here by sealing up the room?
After an hour’s rest I felt able to act, and ordered a large reserve supply of canned and packaged food—also linen and towels—sent in. Tomorrow I shall not under any circumstances open any crevice of door or window. When the food and linen came the black looked at me queerly, but I no longer care how eccentric—or insane—I may appear. I am hounded by powers worse than the ridicule of mankind. Having received my supplies, I went over every square millimeter of the walls, and stopped up every microscopic opening I could find. At last I feel able to get real sleep.
[Handwriting here becomes irregular, nervous, and very difficult to decipher.]
Jan. 23—It is just before noon, and I feel that something very terrible is about to happen. Didn’t sleep as late as I expected, even though I got almost no sleep on the train the night before. Up early, and have had trouble getting concentrated on anything—reading or writing. That slow, deliberate counting-off of days is too much for me. I don’t know which has gone wild—Nature or my head. Until about eleven I did very little except walk up and down the room.
Then I heard a rustle among the food packages brought in yesterday, and that daemoniac fly crawled out before my eyes. I grabbed something flat and made passes at the thing despite my panic fear, but with no more effect than usual. As I advanced, that blue-winged horror retreated as usual to the table where I had piled my books, and lit for a second on Moore’s Diptera of Central and Southern Africa. Then as I followed, it flew over to the mantel clock and lit on the dial near the figure 12. Before I could think up another move it had begun to crawl around the dial very slowly and deliberately—in the direction of the hands. It passed under the minute hand, curved down and up, passed under the hour hand, and finally came to a stop exactly at the figure 12. As it hovered there it fluttered its wings with a buzzing noise.
Is this a portent of some sort? I am getting as superstitious as the blacks. The hour is now a little after eleven. Is twelve the end? I have just one last resort, brought to my mind through utter desperation. Wish I had thought of it before. Recalling that my medicine case contains both of the substances necessary to generate chlorine gas, I have resolved to fill the room with that lethal vapour—asphyxiating the fly while protecting myself with an ammonia-sealed handkerchief tied over my face. Fortunately I have a good supply of ammonia. This crude mask will probably neutralise the acrid chlorine fumes till the insect is dead—or at least helpless enough to crush. But I must be quick. How can I be sure that the thing will not suddenly dart for me before my preparations are complete? I ought not to be stopping to write in this journal.
Later—Both chemicals—hydrochloric acid and manganese dioxide—on the table all ready to mix. I’ve tied the handkerchief over my nose and mouth, and have a bottle of ammonia ready to keep it soaked until the chlorine is gone. Have battened down both windows. But I don’t like the actions of that hybrid daemon. It stays on the clock, but is very slowly crawling around backward from the 12 mark to meet the gradually advancing minute-hand.
Is this to be my last entry in this journal? It would be useless to try to deny what I suspect. Too often a grain of incredible truth lurks behind the wildest and most fantastic of legends. Is the personality of Henry Moore trying to get at me through this blue-winged devil? Is this the fly that bit him, and that in consequence absorbed his consciousness when he died? If so, and if it bites me, will my own personality displace Moore’s and enter that buzzing body when I die of the bite later on? Perhaps, though, I need not die even if it gets me. There is always a chance with tryparsamide. And I regret nothing. Moore had to die, be the outcome what it will.
Slightly later.
The fly has paused on the clock-dial near the 45-minute mark. It is now 11:30. I am saturating the handkerchief over my face with ammonia, and keeping the bottle handy for further applications. This will be the final entry before I mix the acid and manganese and liberate the chlorine. I ought not to be losing time, but it steadies me to get things down on paper. But for this record, I’d have lost all my reason long ago. The fly seems to be getting restless, and the minute-hand is approaching it. Now for the chlorine. . . .
[End of the journal]
On Sunday, Jan. 24, 1932, after repeated knocking had failed to gain any response from the eccentric man in Room 303 of the Orange Hotel, a black attendant entered with a pass key and at once fled shrieking downstairs to tell the clerk what he had found. The clerk, after notifying the police, summoned the manager; and the latter accompanied Constable De Witt, Coroner Bogaert, and Dr. Van Keulen to the fatal room.
The occupant lay dead on the floor—his face upward, and bound with a handkerchief which smelled strongly of ammonia. Under this covering the features shewed an expression of stark, utter fear which transmitted itself to the observers On the back of the neck Dr. Van Keulen found a virulent insect bite—dark red, with a purple ring around it—which suggested a tsetse-fly or something less innocuous. An examination indicated that death must be due to heart-failure induced by sheer fright rather than to the bite—though a subsequent autopsy indicated that the germ of trypanosomiasis had been introduced into the system.
On the table were several objects—a worn leather blank-book containing the journal just described, a pen, writing-pad, and open inkwell, a doctor’s medicine case with the initials “T. S.” marked in gold, bottles of ammonia and hydrochloric acid, and a tumbler about a quarter full of black manganese dioxide. The ammonia bottle demanded a second look because something besides the fluid seemed to be in it. Looking closer, Coroner Bogaert saw that the alien occupant was a fly.
It seemed to be some sort of hybrid with vague tsetse affiliations, bu
t its wings—shewing faintly blue despite the action of the strong ammonia—were a complete puzzle. Something about it waked a faint memory of newspaper reading in Dr. Van Keulen—a memory which the journal was soon to confirm. Its lower parts seemed to have been stained with ink, so thoroughly that even the ammonia had not bleached them. Possibly it had fallen at one time into the inkwell, though the wings were untouched. But how had it managed to fall into the narrow-necked ammonia bottle? It was as if the creature had deliberately crawled in and committed suicide!
But the strangest thing of all was what Constable De Witt noticed on the smooth white ceiling overhead as his eyes roved about curiously. At his cry the other three followed his gaze—even Dr. Van Keulen, who had for some time been thumbing through the worn leather book with an expression of mixed horror, fascination, and incredulity. The thing on the ceiling was a series of shaky, straggling ink-tracks, such as might have been made by the crawling of some ink-drenched insect. At once everyone thought of the stains on the fly so oddly found in the ammonia bottle.
But these were no ordinary ink-tracks. Even a first glance revealed something hauntingly familiar about them, and closer inspection brought gasps of startled wonder from all four observers. Coroner Bogaert instinctively looked around the room to see if there were any conceivable instrument or arrangement of piled-up furniture which could make it possible for those straggling marks to have been drawn by human agency. Finding nothing of the sort, he resumed his curious and almost awestruck upward glance.
For beyond a doubt these inky smudges formed definite letters of the alphabet—letters coherently arranged in English words. The doctor was the first to make them out clearly, and the others listened breathlessly as he recited the insane-sounding message so incredibly scrawled in a place no human hand could reach:
“SEE MY JOURNAL—IT GOT ME FIRST—I DIED—THEN I SAW I WAS IN IT—THE BLACKS ARE RIGHT—STRANGE POWERS IN NATURE—NOW I WILL DROWN WHAT IS LEFT—”
Presently, amidst the puzzled hush that followed, Dr. Van Keulen commenced reading aloud from the worn leather journal.
Out of the Aeons
Written in 1933 with Hazel Heald
Originally published in Weird Tales, April 1935
(Ms. found among the effects of the late Richard H. Johnson, Ph.D., curator of the Cabot Museum of Archaeology, Boston, Mass.)
It is not likely that anyone in Boston—or any alert reader elsewhere—will ever forget the strange affair of the Cabot Museum. The newspaper publicity given to that hellish mummy, the antique and terrible rumours vaguely linked with it, the morbid wave of interest and cult activities during 1932, and the frightful fate of the two intruders on December 1st of that year, all combined to form one of those classic mysteries which go down for generations as folklore and become the nuclei of whole cycles of horrific speculation.
Everyone seems to realise, too, that something very vital and unutterably hideous was suppressed in the public accounts of the culminant horrors. Those first disquieting hints as to the condition of one of the two bodies were dismissed and ignored too abruptly—nor were the singular modifications in the mummy given the following-up which their news value would normally prompt. It also struck people as queer that the mummy was never restored to its case. In these days of expert taxidermy the excuse that its disintegrating condition made exhibition impracticable seemed a peculiarly lame one.
As curator of the museum I am in a position to reveal all the suppressed facts, but this I shall not do during my lifetime. There are things about the world and universe which it is better for the majority not to know, and I have not departed from the opinion in which all of us—museum staff, physicians, reporters, and police—concurred at the period of the horror itself. At the same time it seems proper that a matter of such overwhelming scientific and historic importance should not remain wholly unrecorded—hence this account which I have prepared for the benefit of serious students. I shall place it among various papers to be examined after my death, leaving its fate to the discretion of my executors. Certain threats and unusual events during the past weeks have led me to believe that my life—as well as that of other museum officials—is in some peril through the enmity of several widespread secret cults of Asiatics, Polynesians, and heterogeneous mystical devotees; hence it is possible that the work of the executors may not be long postponed. [Executor’s note: Dr. Johnson died suddenly and rather mysteriously of heart-failure on April 22, 1933. Wentworth Moore, taxidermist of the museum, disappeared around the middle of the preceding month. On February 18 of the same year Dr. William Minot, who superintended a dissection connected with the case, was stabbed in the back, dying the following day.]
The real beginning of the horror, I suppose, was in 1879—long before my term as curator—when the museum acquired that ghastly, inexplicable mummy from the Orient Shipping Company. Its very discovery was monstrous and menacing, for it came from a crypt of unknown origin and fabulous antiquity on a bit of land suddenly upheaved from the Pacific’s floor.
On May 11, 1878, Capt. Charles Weatherbee of the freighter Eridanus, bound from Wellington, New Zealand, to Valparaiso, Chile, had sighted a new island unmarked on any chart and evidently of volcanic origin. It projected quite boldly out of the sea in the form of a truncated cone. A landing-party under Capt. Weatherbee noted evidences of long submersion on the rugged slopes which they climbed, while at the summit there were signs of recent destruction, as by an earthquake. Among the scattered rubble were massive stones of manifestly artificial shaping, and a little examination disclosed the presence of some of that prehistoric Cyclopean masonry found on certain Pacific islands and forming a perpetual archaeological puzzle.
Finally the sailors entered a massive stone crypt—judged to have been part of a much larger edifice, and to have originally lain far underground—in one corner of which the frightful mummy crouched. After a short period of virtual panic, caused partly by certain carvings on the walls, the men were induced to move the mummy to the ship, though it was only with fear and loathing that they touched it. Close to the body, as if once thrust into its clothes, was a cylinder of an unknown metal containing a roll of thin, bluish-white membrane of equally unknown nature, inscribed with peculiar characters in a greyish, indeterminable pigment. In the centre of the vast stone floor was a suggestion of a trap-door, but the party lacked apparatus sufficiently powerful to move it.
The Cabot Museum, then newly established, saw the meagre reports of the discovery and at once took steps to acquire the mummy and the cylinder. Curator Pickman made a personal trip to Valparaiso and outfitted a schooner to search for the crypt where the thing had been found, though meeting with failure in this matter. At the recorded position of the island nothing but the sea’s unbroken expanse could be discerned, and the seekers realised that the same seismic forces which had suddenly thrust the island up had carried it down again to the watery darkness where it had brooded for untold aeons. The secret of that immovable trap-door would never be solved. The mummy and the cylinder, however, remained—and the former was placed on exhibition early in November, 1879, in the museum’s hall of mummies.
The Cabot Museum of Archaeology, which specialises in such remnants of ancient and unknown civilisations as do not fall within the domain of art, is a small and scarcely famous institution, though one of high standing in scientific circles. It stands in the heart of Boston’s exclusive Beacon Hill district—in Mt. Vernon Street, near Joy—housed in a former private mansion with an added wing in the rear, and was a source of pride to its austere neighbours until the recent terrible events brought it an undesirable notoriety.
The hall of mummies on the western side of the original mansion (which was designed by Bulfinch and erected in 1819), on the second floor, is justly esteemed by historians and anthropologists as harbouring the greatest collection of its kind in America. Here may be found typical examples of Egyptian embalming from the earliest Sakkarah specimens to the last Coptic attempts of the eighth century; mumm
ies of other cultures, including the prehistoric Indian specimens recently found in the Aleutian Islands; agonised Pompeian figures moulded in plaster from tragic hollows in the ruin-choking ashes; naturally mummified bodies from mines and other excavations in all parts of the earth—some surprised by their terrible entombment in the grotesque postures caused by their last, tearing death-throes—everything, in short, which any collection of the sort could well be expected to contain. In 1879, of course, it was much less ample than it is now; yet even then it was remarkable. But that shocking thing from the primal Cyclopean crypt on an ephemeral sea-spawned island was always its chief attraction and most impenetrable mystery.
The mummy was that of a medium-sized man of unknown race, and was cast in a peculiar crouching posture. The face, half shielded by claw-like hands, had its under jaw thrust far forward, while the shrivelled features bore an expression of fright so hideous that few spectators could view them unmoved. The eyes were closed, with lids clamped down tightly over eyeballs apparently bulging and prominent. Bits of hair and beard remained, and the colour of the whole was a sort of dull neutral grey. In texture the thing was half leathery and half stony, forming an insoluble enigma to those experts who sought to ascertain how it was embalmed. In places bits of its substance were eaten away by time and decay. Rags of some peculiar fabric, with suggestions of unknown designs, still clung to the object.
Just what made it so infinitely horrible and repulsive one could hardly say. For one thing, there was a subtle, indefinable sense of limitless antiquity and utter alienage which affected one like a view from the brink of a monstrous abyss of unplumbed blackness—but mostly it was the expression of crazed fear on the puckered, prognathous, half-shielded face. Such a symbol of infinite, inhuman, cosmic fright could not help communicating the emotion to the beholder amidst a disquieting cloud of mystery and vain conjecture.
H.P. Lovecraft: The Complete Fiction Page 179