"All this was generally in the afternoon; for Marceline rose very late, had breakfast in bed, and took an immense amount of time preparing to come downstairs. I never knew of anyone so wrapped up in cosmetics, beauty exercises, hair-oils, unguents, and everything of that kind. It was in these morning hours that Denis and Marsh did their real visiting, and exchanged the close confidences which kept their friendship up despite the strain that jealousy imposed.
"Well, it was in one of those morning talks on the veranda that Marsh made the proposition which brought on the end. I was laid up with some of my neuritis, but had managed to get downstairs and stretch out on the front parlour sofa near the long window. Denis and Marsh were just outside; so I couldn't help hearing all they said. They had been talking about art, and the curious, capricious elements needed to jolt an artist into producing the real article, when Marsh suddenly swerved from abstractions to the personal application he must have had in mind from the start.
"'I suppose,' he was saying, 'that nobody can tell just what it is in some scenes or objects that makes them aesthetic stimuli for certain individuals. Basically, of course, it must have some reference to each man's background of stored-up mental associations, for no two people have the same scale of sensitiveness and responses. We decadents are artists for whom all ordinary things have ceased to have any emotional or imaginative significance, but no one of us responds in the same way to exactly the same extraordinary. Now take me, for instance.'"
"He paused and resumed.
"'I know, Denny, that I can say these things to you because you such a preternaturally unspoiled mind--clean, fine, direct, objective, and all that. You won't misunderstand as an oversubtilised, effete man of the world might.'"
"He paused once more.
"'The fact is, I think I know what's needed to set my imagination working again. I've had a dim idea of it ever since we were in Paris, but I'm sure now. It's Marceline, old chap--that face and that hair, and the train of shadowy images they bring up. Not merely visible beauty--though God knows there's enough of that--but something peculiar and individualised, that can't exactly be explained. Do you know, in the last few days I've felt the existence of such a stimulus so keenly that I honestly think I could outdo myself--break into the real masterpiece class if I could get ahold of paint and canvas at just the time when her face and hair set my fancy stirring and weaving. There's something weird and other-worldly about it--something joined up with the dim ancient thing Marceline represents. I don't know how much she's told you about that side of her, but I can assure you there's plenty of it. She has some marvellous links with the outside.'
"Some change in Denis' expression must have halted the speaker here, for there was a considerable spell of silence before the words went on. I was utterly taken aback, for I'd expected no such overt development like this; and I wondered what my son could be thinking. My heart began to pound violently, and I strained my ears in the frankest of intentional eavesdropping. Then Marsh resumed.
"'Of course you're jealous--I know how a speech like mine must sound--but I can swear to you that you needn't be.'
"Denis did not answer, and Marsh went on.
"' To tell the truth, I could never be in love with Marceline--I couldn't even be a cordial friend of hers in the warmest sense. Why, damn it all, I felt like a hypocrite talking with her these days as I've been doing.
"'The case simply is, that one of her phase of her half hyponotises me in a certain way--a very strange, fantastic, and dimly terrible way--just as another phase half hypnotises you in a much more normal way. I see something in her--or to be psychologically exact, something through her or beyond her--that you didn't see at all. Something that brings up a vast pageantry of shapes from forgotten abysses, and makes me want to paint incredible things whose outlines vanish the instant I try to envisage them clearly. Don't mistake, Denny, your wife is a magnificent being, a splendid focus of cosmic forces who has a right to be called divine if anything on earth has!'
"I felt a clearing of the situation at this point, for the abstract strangeness of Marsh's statement, plus the flattery he was now heaping on Marceline, could not fail to disarm and mollify one as fondly proud of his consort as Denis always was. Marsh evidently caught the change himself, for there was more confidence in his tone as he continued.
"'I must paint her, Denny--must paint that hair--and you won't regret. There's something more than mortal about that hair--something more than beautiful--'
"He paused, and I wondered what Denis could be thinking. I wondered, indeed, what I was really thinking myself. Was Marsh's interest actually that of the artist alone, or was he merely infatuated as Denis had been? I had thought, in their schooldays, that he had envied my boy; and I dimly felt that it might be the same now. On the other hand, something in that talk of artistic stimulus had rung amazingly true; so that the more I pondered, the more I was inclined to take the stuff at face value. Denis seemed to do so, too, for although I could not catch his low-spoken reply, I could tell by the effect it produced that it must have been affirmative.
"There was a sound of someone slapping another on the back, and then a grateful speech from Marsh that I was long to remember.
"'That's great, Denny, and just as I told you, you'll never regret it. In a sense, I'm half doing it for you. You'll be a different man when you see it. I'll put you back where you used to be--give you a waking-up and a sort of salvation--but you can't see what I mean as yet. Just remember old friendship, and don't get the idea that I'm not the same old bird!'
"I rose perplexedly as I saw the two stroll off across the lawn, arm in arm, and smoking in unison. What could Marsh have meant by his strange and almost ominous reassurance? The more my fears were quieted in one direction, the more they were aroused in another. Look at it any way I could, it seemed to be a rather bad business.
"But matters got started just the same. Denis fixed up an attic room with skylights, and Marsh sent for all sorts of painting equipment. Everyone was rather excited about the new venture, and I was at least glad that something was on foot to break the brooding tension. Soon the sittings began, and we all took them quite seriously--for we could see that Marsh regarded them as important artistic events. Denny and I used to go quietly about the house as though something sacred were occurring, and we knew that it was sacred as far as Marsh was concerned.
"With Marceline, though, it was a different matter, as I began to see at once. Whatever Marsh's reactions to the sittings may have been, hers were painfully obvious. Every possible way she betrayed a frank and commonplace infatuation for the artist, and would repulse Denis' marks of affection whenever she dared. Oddly, I noticed this more vividly than Denis himself, and tried to devise some plan for keeping the boy's mind easy until the matter could be straightened out. There was no use in having him excited about it if it could be helped.
"In the end I decided that Denis had better be away while the disagreeable situation existed. I could represent his interests well enough at this end, and sooner or later Marsh would finish the picture and go. My view of Marsh's honour was such that I did not look for any worse developments. When the matter had blown over, and Marceline had forgotten about her new infatuation, it would be time enough to have Denis on hand again.
"So I wrote a long letter to my marketing and financial agent in New York, and cooked up a plan to have the boy summoned there for an indefinite time. I had the agent write him that our affairs absolutely required one of us to go East, and of course my illness made it clear that I could not be the one. It was arranged that when Denis got to New York he would find enough plausible matters to keep him busy as long as I thought he ought to be away.
"The plan worked perfectly, and Denis started for New York without the least suspicion; Marceline and Marsh going with him in the car to Cape Girardeau, where he caught the afternoon train to St. Louis. They returned after dark, and as McCabe drove the car back to the stables I could hear them talking on the veranda--in those same chai
rs near the long parlour window where Marsh and Denis had sat when I overheard them talk about the portrait. This time I resolved to do some intentional eavesdropping, so quietly went down to the front parlour and stretched out on the sofa near the window.
"At first I could not hear anything but very shortly there came the sound of a chair being shifted, followed by a short, sharp breath and a sort of inarticulately hurt exclamation from Marceline. Then I heard Marsh speaking in a strained, almost formal voice.
"'I'd enjoy working tonight if you aren't too tired.'
"Marceline's reply was in the same hurt tone which had marked her exclamation. She used English as he had done.
"'Oh, Frank, is that really all you care about? Forever working! Can't we just sit out here in this glorious moonlight?'
"He answered impatiently, his voice shewing a certain contempt beneath the dominant quality of artistic enthusiasm.
"'Moonlight! Good God, what cheap sentimentality! For a supposedly sophisticated person you surely do hang on to some of the crudest claptrap that ever escaped from the dime novels! With art at your elbow, you have to think of the moon--cheap as a spotlight at the varieties! Or perhaps it makes you think of the Roodmas dance around the stone pillars at Auteiul. Hell, how you used to make those goggle-eyed yaps stare! But not--I suppose you've dropped all that now. No more Atlantean magic or hair-snake rites for Madame de Russy! I'm the only one to remember the ld things--the things that came down through the temples of Tanit and echoed on the ramparts of Zimbabwe. But I won't be cheated of that remembrance--all that is weaving itself into the thing on my canvas--the thing that is going to capture wonder and crystallise the secrets of 75,000 years.'
"Marceline interrupted in a voice full of mixed emotions.
"'It's you who are cheaply sentimental now! You know well that the old things had better be let alone. All of you had better watch out if ever I chant the old rites or try to call up what lies hidden in Yuggoth, Zimbabwe, and R'lyeh. I thought you had more sense!
"'You lack logic. You want me to be interested in this precious painting of yours, yet you never let me see what you're doing. Always that black cloth over it! It's of me--I shouldn't think it would matter if I saw it.'
"Marsh was interrupting this time, his voice curiously hard and strained.
"'No. Not now. You'll see it in due course of time. You say it's of you--yes, it's that, but it's more. If you knew, you mightn't be so impatient. Poor Denis! My God, it's a shame!'
"My throat was suddenly dry as the words rose to an almost febrile pitch. What could Marsh mean? Suddenly I saw that he had stopped and was entering the house alone. I heard the front door slam, and listened as his footsteps ascended the stairs. Outside on the veranda I could still hear Marceline's heavy, angry breathing. I crept away sick at heart, feeling that there were grave things to ferret out before I could safely let Denis come back.
"After that evening the tension around the place was even worse than before. Marceline had always lived on flattery and fawning and the shock of those few blunt words from Marsh was too much for her temperament. There was no living in the house with her anymore, for with poor Denis gone she took out her abusiveness on everybody. When she could find no one indoors to quarrel with she would go out to Sophonisba's cabin and spend hours talking with the queer old Zulu woman. Aunt Sophy was the only person who would fawn abjectly enough to suit her, and when I tried once to overhear their conversation I found Marceline whispering about 'elder secrets' and 'unknown Kadath' while the negress rocked to and fro in her chair, making inarticulate sounds of reverence and admiration every now and then.
"But nothing could break her dog-like infatuation for Marsh. She would talk bitterly and sullenly to him, yet was getting more and more obedient to his wishes. It was very convenient for him, since he now became able to make her pose for the picture whenever he felt like painting. He tried to shew gratitude for this willingness, but I thought I could detect a kind of contempt or even loathing beneath his careful politeness. For my part, I frankly hated Marceline! There was no use in calling my attitude anything as mild as dislike these days. Certainly, I was glad Denis was away. His letters, not nearly so frequent as I wished, shewed signs of strain and worry.
"As the middle of August went by I gathered from Marsh's remarks that the portrait was nearly done. His mood seemed increasingly sardonic, though Marceline's temper improved a bit as the prospect of seeing the thing tickled her vanity. I can still recall the day when Marsh said he'd have everything finished within a week. Marceline brightened up perceptibly, though not without a venomous look at me. It seemed as if her coiled hair visibly tightened around her head.
"'I'm to be the first to see it!' she snapped. Then, smiling at Marsh, she said, 'And if I don't like it I shall slash it to pieces!'
"Marsh's face took on the most curious look I have ever seen it wear as he answered her.
"'I can't vouch for your taste, Marceline, but I swear it will be magnificent! Not that I want to take much credit--art creates itself--and this thing had to be done. Just wait!'"
"During the next few days I felt a queer sense of foreboding, as if the completion of the picture meant a kind of catastrophe instead of a relief. Denis, too, had not written me, and my agent in New York said he was planning some trip to the country. I wondered what the outcome of the whole thing would be. What a queer mixture of elements--Marsh and Marceline, Denis and I! How would all these ultimately react on one another? When my fears grew too great I tried to lay them all to my infirmity, but that explanation never quite satisfied me."
"Well, the thing exploded on Tuesday, the twenty-sixth of August. I had risen at my usual time and had breakfast, but was not good for much because of the pain in my spine. It had been troubling me badly of late, and forcing me to take opiates when it got too unbearable; nobody else was downstairs except the servants, though I could hear Marceline moving about in her room. Marsh slept in the attic next his studio, and had begun to keep such late hours that he was seldom up till noon. About ten o'clock the pain got the better of me, so that I took a double dose of my opiate and lay down on the parlour sofa. The last I heard was Marceline's pacing overhead. Poor creature--if I had known! She must have been walking before the long mirror admiring herself. That was like her. Vain from start to finish--revelling in her own beauty, just as she revelled in all the little luxuries Denis was able to give her.
"I didn't wake up till near sunset, and knew instantly how long I had slept from the golden light and long shadows outside the long window. Nobody was about, and a sort of unnatural stillness seemed to be hovering over everything. From afar, though, I thought I could sense a faint howling, wild and intermittent, whose quality had a slight but baffling familiarity about it. I'm not much for psychic premonitions, but I was frightfully uneasy from the start. There had been dreams--even worse than the ones I had been dreaming in the weeks before--and this time they seemed hideously linked to some black and festering reality. The whole place had a poisonous air. Afterward I reflected that certain sounds must have filtered through into my unconscious brain during those hours of drugged sleep. My pain, though, was very much eased; and I rose and walked without difficulty.
"Soon enough I began to see that something was wrong. Marsh and Marceline might have been riding, but someone ought to have been getting dinner in the kitchen. Instead, there was only silence, except for that faint, distant howl or wail; and nobody answered when I pulled the old-fashioned bell-cord to summon Scipio. Then, chancing to look up, I saw the spreading stain on the ceiling--the bright red stain, that must have come through the floor of Marceline's room.
"In an instant I forgot my crippled back and hurried upstairs to find out the worst. Everything under the sun raced through my mind as I struggled with the dampness-warped door of that silent chamber, and most hideous of all was a terrible sense of malign fulfilment and fatal expectedness. I had, it struck me, known all along that nameless horrors were gathering; that something profoun
dly and cosmically evil had gained a foot-hold under my roof from which only blood and tragedy could result.
"The door gave at last, and I stumbled into the large room beyond--all dim from the branches of the great trees outside the windows. For a moment I could do nothing but flinch at the faint evil odour that immediately struck my nostrils. Then, turning on the electric light and glancing around, I glimpsed a nameless blasphemy on the yellow and blue rug.
"It lay face down in a great pool of dark, thickened blood, and had the gory print of a shod human foot in the middle of its naked back. Blood was spattered everywhere--on the walls, furniture, and floor. My knees gave way as I took in the sight, so that I had to stumble to a chair and slump down. The thing had obviously been a human being, though its identity was not easy to establish at first; since it was without clothes, and had most of its hair hacked and torn from the scalp in a very crude way. It was of a deep ivory colour, and I knew that it must have been Marceline. The shoe-print on the back made the thing seem all the more hellish. I could not even picture the strange, loathsome tragedy which must have taken place while I slept in the room below. When I raised my hand to wipe my dripping forehead I saw that my fingers were sticky with blood. I shuddered, then realised that it must have come from the knob of the door which the unknown murderer had forced shut behind him as he left. He had taken his weapon with him, it seemed, for no instrument of death was visible here.
"As I studied the floor I saw that a line of sticky footprints like the one on the body led away from the horror to the door. There was another blood-trail, too, and of a less easily explainable kind; a broadish, continuous line, as if marking the path of some huge snake. At first I concluded it must be due to something the murderer had dragged after him. Then, noting the way some of the footprints seemed to be superimposed on it, I was forced to believe that it could have been there when the murderer left. But what crawling entity could have been in that room with the victim and her assassin, leaving before the killer when the deed was done? As I asked myself this question I thought I heard fresh bursts of that faint, distant wailing.
The Definitive H.P. Lovecraft: 67 Tales Of Horror In One Volume Page 91