The voice ceased. The book faded, and there swam into view a mass of tumbled ruins. The ages had pitted the man-carved rocks with cracks and scars; the bas-relief figures were scarcely recognizable. I was reminded of certain ruins I had seen in Yucatan.
The camera swung down. The ruins seemed to grow larger. A yawning hole gaped in the earth.
Beside me Keene said, “The site of a ruined temple. Watch, now.”
The effect was that of moving forward into the depths of a subterranean pit. For a moment the screen was in darkness; then a stray beam of sunlight rested on an idol that stood in what was apparently an underground cavern. A narrow crack of light showed in the roof. The idol was starkly hideous.
I got only a flashing glimpse, but the impression on my mind was that of a bulky, ovoid shape like a pineapple or a pine-cone. The thing had certain doubtful features which lent it a definitely unpleasant appearance; but it was gone in a flash, dissolving into a brightly lighted drawing-room, thronged with gay couples.
The story proper began at that point. None of the actors or actresses was known to me; Keene must have hired them and worked secretly in his house. Most of the interiors and a few of the exteriors seemed to have been taken in this very canyon. The director had used the “parallel” trick which saves so much money for studios yearly. I’d often done it myself. It simply means that the story is tied in with real life as closely as possible; that is, when I had a troupe working up at Lake Arrowhead last winter, and an unexpected snowfall changed the scene, I had the continuity rewritten so that the necessary scenes could take place in snow. Similarly, Keene had paralleled his own experiences—sometimes almost too closely.
The Nameless told of a man, ostracized by his fellows because of his fanatical passion for the morbid and bizarre, who determined to create a work of art—a living masterpiece of sheer weirdness. He had experimented before by directing films that were sufficiently unusual to stir up considerable comment. But this did not satisfy him. It was acting—and he wanted something more than that. No one can convincingly fake reaction to horror, not even the most talented actor, he contended. The genuine emotion must be felt in order to be transferred to the screen.
It was here that The Nameless ceased to parallel Keene’s own experiences, and branched out into sheer fantasy. The protagonist in the film was Keene himself, but this was not unusual, as directors often act in their own productions. And, by deft montage shots, the audience learned that Keene in his search for authenticity had gone down into Mexico, and had, with the aid of an ancient scroll, found the site of a ruined Aztec temple. And here, as I say, reality was left behind as the film entered a morbid and extraordinary phase.
THERE was a god hidden beneath this ruined temple—a long-forgotten god, which had been worshipped even before the Aztecs had sprung from the womb of the centuries. At least, the natives had considered it a god, and had erected a temple in its honor, but Keene hinted that the tiling was actually a survival, one of the “offthrows of the universe,” unique and baroque, which had come down through the eons in an existence totally alien to mankind. The creature was never actually seen on the screen, save for a few brief glimpses in the shadowed, underground temple. It was roughly barrel-shaped, and perhaps ten feet high, studded with odd spiky projections. The chief feature was a gem set in the thing’s rounded apex—a smoothly polished jewel as large as a child’s head. It was in this gem that the being’s life was supposed to have its focus.
It was not dead, but neither was it alive, in the accepted sense of that term. When the Aztecs had filled the temple with the hot stench of blood the thing had lived, and the jewel had flamed with unearthly radiance. But with the passage of time the sacrifices had ceased, and the being had sunk into a state of coma akin to hibernation. In the picture Keene brought it to life.
He transported it secretly to his home, and there, in an underground room hollowed beneath the house, he placed the monster-god. The room was built with an eye for the purpose for which Keene intended it; automatic cameras and clever lighting features were installed, so that pictures could be shot from several different angles at once, and pieced together later as Keene cut the film. And now there entered something of the touch of genius which had made Keene famous.
He was clever, I had always realized that. Yet in the scenes that were next unfolded I admired not so much the technical tricks—which were familiar enough to me—as the marvelously clever way in which Keene had managed to inject realism into the acting. His characters did not act—they lived.
Or, rather, they died. For in the picture they were thrust into the underground room to die horribly as sacrifices to the monster-god from the Aztec temple. Sacrifice was supposed to bring the thing to life, to cause the jewel in which its existence was bound to flare with fantastic splendor. The first sacrifice was, I think, the most effective.
The underground room in which the god was hidden was large, but quite vacant, save for a curtained alcove which held the idol. A barred doorway led to the upper room, and here Keene appeared on the screen, revolver in hand, herding before him a man—overall-clad, with a stubble of black beard on his stolid face. Keene swung open the door, motioned his captive into the great room. He closed the barred door, and through the grating could be seen busy at a switchboard.
Light flared. The man stood near the bars, and then, at Keene’s gesture with his weapon, moved forward slowly to the far wall. He stood there, staring around vaguely, dull apprehension in his face. Light threw his shadow in bold relief on the wall.
Then another shadow leaped into existence beside him.
It was barrel-shaped, gigantic, studded with blunt spikes, and capped by a round dark blob—the life-jewel. The shadow of the monster god! The man saw it. He turned.
Stark horror sprang into his face, and at sight of that utterly ghastly and realistic expression a chill struck through me. This was almost too convincing. The man could not be merely acting.
But, if he was, his acting was superb, and so was Keene’s direction. The shadow on the wall stirred, and a thrill of movement shook it. It rocked and seemed to rise, supported by a dozen tentacular appendages that uncoiled from beneath its base. The spikes—changed. They lengthened. They coiled and writhed, hideously worm-like.
It wasn’t the metamorphosis of the shadow that held me motionless in my chair. Rather, it was the appalling expression of sheer horror on the man’s face. He stood gaping as the shadow toppled and swayed on the wall, growing larger and larger. Then he fled, his mouth an open square of terror. The shadow paused, with an odd air of indecision, and slipped slowly along the wall out of range of the camera.
But there were other cameras, and Keene had used his cutting-shears deftly. The movements of the man were mirrored on the screen; the glaring lights swung and flared; and ever the grim shadow crawled hideously across the wall. The thing that cast it was never shown—just the shadow, and it was a dramatically effective trick. Too many directors, I knew, could not have resisted the temptation to show the monster, thus destroying the illusion—for papier-mache and rubber, no matter how cleverly constructed, cannot convincingly ape reality.
At last the shadows merged—the gigantic swaying thing with its coiling tentacles, and the black shadow of the man that was caught and lifted, struggling and kicking frantically. The shadows merged—and the man did not reappear.
Only the dark blob capping the great shadow faded and flickered, as though strange light were streaming from it; the light that was fed by sacrifice, the jewel that was—life.
BESIDE me there came a rustle. I felt Ann stir and move closer in the gloom. Keene’s voice came from some distance away.
“There were several more sacrifice scenes, Haviland, but I haven’t patched them in yet, except for the one you’ll see in a moment now. As I said, the film isn’t finished.”
I did not answer. My eyes were on the screen as the fantastic tale unfolded. The pictured Keene was bringing another victim to his cavern, a short,
fat man with sleekly pomaded black hair. I did not see his face until he had been imprisoned in the cave, and then, abruptly, there came a close-up shot, probably done with a telescopic lens. His plump face, with its tiny mustache, leaped into gigantic visibility, and I recognized Andy Worth.
It was the missing columnist, but for the first time I saw his veneer of sophistication lacking. Naked fear crawled in his eyes, and I leaned forward in my seat as the ghastly barrel-shaped shadow sprang out on the wall. Worth saw it, and the expression on his face was shocking. I pushed back my chair and got up as the lights came on. The screen went blank.
Arnold Keene was standing by the door, erect and military as ever. He had a gun in his hand, and its muzzle was aimed at my stomach.
“You had better sit down, Haviland,” he said quietly. “You too, Miss Howard. I’ve something to tell you—and I don’t wish to be melodramatic about it. This gun”—he glanced at it wryly—“is necessary. There are a few things you must know, Haviland, for a reason you’ll understand later.”
I said, “There’ll be some visitors here for you soon, Keene. You don’t think I’d neglect normal precautions!”
He shrugged. “You’re lying, of course. Also you’re unarmed, or you’d have had your gun out by now. I didn’t expect you until tomorrow night, but I’m prepared. In a word, what I have to tell you is this: the film you just saw is a record of actual events.”
Ann’s teeth sank into her lip, but I didn’t say anything. I waited, and Keene resumed.
“Whether you believe me or not doesn’t matter, for you’ll have to believe in a few minutes. I told you something of my motive, my desire to create a genuine masterpiece of weirdness. That’s what I’ve done, or will have done before tomorrow. Quite a number of vagrants and laborers have disappeared, and the columnist, Worth, as well; but I took care to leave no clues. You’ll be the last to vanish—you and this girl.”
“You’ll never be able to show the film,” I told him.
“What of it? You’re a hack, Haviland, and you can’t understand what it means to create a masterpiece. Is a work of art any less beautiful because it’s hidden? I’ll see the picture—and after I’m dead the world will see it, and realize my genius even though they may fear and hate its expression. The reactions of my unwilling actors—that’s the trick. As a director, you should know that there’s no substitute for realism. The reactions were not faked—that was obvious enough. The first sacrifice was that of a clod—an unintelligent moron, whose fears were largely superstitious. The next sacrifice was of a higher type—a vagrant who came begging to my door some months ago. You will complete the group, for you’ll know just what you’re facing, and your attempt to rationalize your fear will lend an interesting touch. Both of you will stand up, with your hands in the air, and precede me into this passage.”
All this came out tonelessly and swiftly, quite as though it were a rehearsed speech. His hand slid over the wall beside him, and a black oblong widened in the oak paneling. I stood up.
“Do as he says, Ann,” I said. “Maybe I can——”
“No, you can’t,” Keene interrupted, gesturing impatiently with his weapon. “You won’t have the chance. Hurry up.”
We went through the opening in the wall and Keene followed, touching a stud that flooded the passage with light. It was a narrow tunnel that slanted down through solid rock for perhaps ten feet to a steep stairway. He herded us down this, after sliding the panel shut.
“It’s well hidden,” he said, indicating metal sheathing—indeed, the entire corridor was lined with metal plates. “This lever opens it from within, but no one but me can find the spring which opens it from without. The police could wreck the house without discovering this passage.”
That seemed worth remembering, but of little practical value at the moment. Ann and I went down the stairway until it ended in another short passage. Our way was blocked by a door of steel bars, which Keene unlocked with a key he took from his pocket. The passage where we stood was dimly lighted; there were several chairs here; and the space beyond the barred door was not lighted at all.
KEENE opened the door and gestured me through it. He locked it behind me and turned to Ann. Her face, I saw, was paper-white in the pale glow.
What happened after that brought an angry curse to my lips. Without warning Keene swung the automatic in a short, vicious arc, smashing it against Ann’s head.
She saw it coming too late, and her upflung hand failed to ward off the blow. She dropped without a sound, a little trickle of blood oozing from her temple. Keene stepped over her body to a switchboard set in the rock wall.
Light lanced with intolerable brilliance into my eyes. I shut them tightly, opening them after a moment to stare around apprehensively. I recognized my surroundings. I was in the cave of sacrifice, the underground den I had seen on the screen. Cameras high up on the walls began to operate as I discovered them. From various points blinding arc-lights streamed down upon me.
A gray curtain shielded a space on the far wall, but this was drawn upward to reveal a deep alcove. There was an object within that niche—a barrel-shaped thing ten feet high, studded with spikes, and crowned with a jewel that pulsed and glittered with cold flame. It was gray and varnished-looking, and it was the original of Keene’s Aztec god.
Somehow I felt oddly reassured as I examined the thing. It was a model, of course, inanimate and dead; for certainly no life of any kind could exist in such an abnormality. Keene might have installed machinery of some sort within it, however.
“You see, Haviland,” Keene said from beyond the bars, “the thing actually exists. I got on the trail of it in an old parchment I found in the Huntington Library. It had been considered merely an interesting bit of folk-lore, but I saw something else in it. When I was making Ape of God in Mexico I discovered the ruined temple, and what lay forgotten behind the altar.”
He touched a switch, and light streamed out from the alcove behind the thing. Swiftly I turned. On the wall behind me was my own shadow’, grotesquely elongated, and beside it was the squat, amorphous patch of blackness I had seen on the screen upstairs.
My back was toward Keene, and my fingers crept into my pocket, touching the metal paperweight I had dropped there earlier that evening. Briefly I considered the possibility of hurling the thing at Keene, and then decided against it. The bars were too close together, and the man would shoot me at any sign of dangerous hostility.
My eyes were drawn to the shadow on the wall. It was moving.
It rocked slightly, and lifted. The spikes lengthened. The thing was no longer inanimate and dead, and as I swung about, stark amazement gripping me, I saw the incredible metamorphosis that had taken place in the thing that cast the shadow.
It was no longer barrel-shaped. A dozen smooth, glistening appendages, ending in flat pads, supported the snake-thin body. And all over that grayish upright pole tentacles sprouted and lengthened, writhing into ghastly life as the horror awakened. Keene had not lied, and the monstrous survival he had brought from the Aztec temple was lumbering from the alcove, its myriad tentacles alive with frightful hunger!
Keene saved me. He saw me standing motionless with abysmal fear in the path of that gigantic, nightmare being, and realizing that he was being cheated of his picture, the man shouted at me to run. His hoarse voice broke the spell that held me unmoving, and I whirled and fled across the cave to the barred door. Skin ripped from my hands as I tore at the bars.
“Run!” Keene yelled at me, his shallow eyes blazing. “It can’t move fast! Look out——”
A writhing, snake-like thing lashed out, and a sickening musky stench filled my nostrils. I leaped away, racing across the cave again. The arc-lights died and others flared into being as Keene manipulated the switchboard. He was adjusting the lights, so that our shadows would not be lost—so that in the climax of The Nameless the shadow of that ghastly horror would be thrown on the cave wall beside me.
IT WAS an infernal game of tag we p
layed there, in those shifting lights that glared down while the camera lenses watched dispassionately. I fled and dodged with my pulses thundering and blood pounding in my temples, and ever the grim shadow moved slowly across the walls, while my legs began to ache with the strain. For hours, perhaps, or eons, I fled.
There would come brief periods of respite when I would cling to the bars, cursing Keene, but he would not answer. His hands flickered over the switchboard as he adjusted the arc-lights, and his eyes never paused in their roving examination of the cave. In the end it was this that saved me.
For Keene did not see Ann stir and open her eyes. He did not see the girl, after a swift glance around, get quietly to her feet. Luckily she was behind Keene, and he did not turn.
I tried to keep my eyes away from Ann, but I do not think I succeeded. At the last moment I saw Keene’s face change, and he started back; but the chair in Ann’s hands crashed down and splintered on the man’s head. He fell to his knees, clawing at the air, and then collapsed inertly.
I was on the far side of the cave, and my attention was momentarily diverted from the monster. I had been watching it from the comer of my eye, expecting to be able to dodge and leap away before it came too close; but it lumbered forward with a sudden burst of speed. Although I tried to spring clear I failed; a tentacle whipped about my legs and sent me sprawling. As I tried to roll away another smooth gray coil got my left arm.
Intolerable agony dug into my shoulder as I was lifted. I heard Ann scream, and a gun barked angrily. Bullets plopped into the smooth flesh of the monster, but it paid no attention. I was lifted through a welter of coiling, ropy tentacles, until just above me was the flaming jewel in which the creature’s life was centered.
Remembrance of Keene’s words spurred me to action; this might be the monster’s vulnerable point. The paperweight was still in my pocket, and I clawed it out desperately. I hurled it with all my strength at the shining gem. And the jewel shattered!
Collected Fiction Page 29