This is your monster of the month, a little early because the Venice episode did not come together. Way back in Episode 184 (Major Weir) we discussed a Scottish regio where there were dancing skeletons. They make a return here under the control of the ghost of a suicided German count. I’ve trimmed down the story so it’s just the bit which works for us: basically a pair of atheists spend a night in a haunted castle to debunk it, and trouble ensues.

Thanks to the Librivox team! Statistics eventually.

In Kropfsberg Keep.

Finally they decided that there was no use in sitting up and boring themselves any longer, they had much better rest; so Otto threw himself down on the mattress, falling almost immediately asleep. Rupert sat a little longer, smoking, and watching the stars creep along behind the shattered glass and the bent leads of the lofty windows; watching the fire fall together, and the strange shadows move mysteriously on the mouldering walls.

The iron hook in the oak beam, that crossed the ceiling midway, fascinated him, not with fear, but morbidly. So, it was from that hook that for twelve years, twelve long years of changing summer and winter, the body of Count Albert, murderer and suicide, hung in its strange casing of mediæval steel; moving a little at first, and turning gently while the fire died out on the hearth, while the ruins of the castle grew cold, and horrified peasants sought for the bodies of the score of gay, reckless, wicked guests whom Count Albert had gathered in Kropfsberg for a last debauch, gathered to their terrible and untimely death.

What a strange and fiendish idea it was, the young, handsome noble who had ruined himself and his family in the society of the splendid debauchees, gathering them all together, men and women who had known only love and pleasure, for a glorious and awful riot of luxury, and then, when they were all dancing in the great ballroom, locking the doors and burning the whole castle about them, the while he sat in the great keep listening to their screams of agonized fear, watching the fire sweep from wing to wing until the whole mighty mass was one enormous and awful pyre, and then, clothing himself in his great-great-grandfather’s armor, hanging himself in the midst of the ruins of what had been a proud and noble castle. So ended a great family, a great house.

But that was forty years ago.

He was growing drowsy; the light flickered and flared in the fireplace; one by one the candles went out; the shadows grew thick in the room. Why did that great iron hook stand out so plainly? why did that dark shadow dance and quiver so mockingly behind it?—why— But he ceased to wonder at anything. He was asleep.

It seemed to him that he woke almost immediately; the fire still burned, though low and fitfully on the hearth. Otto was sleeping, breathing quietly and regularly; the shadows had gathered close around him, thick and murky; with every passing moment the light died in the fireplace; he felt stiff with cold. In the utter silence he heard the clock in the village strike two. He shivered with a sudden and irresistible feeling of fear, and abruptly turned and looked towards the hook in the ceiling.

Yes, It was there. He knew that It would be. It seemed quite natural, he would have been disappointed had he seen nothing; but now he knew that the story was true, knew that he was wrong, and that the dead do sometimes return to earth, for there, in the fast-deepening shadow, hung the black mass of wrought steel, turning a little now and then, with the light flickering on the tarnished and rusty metal. He watched it quietly; he hardly felt afraid; it was rather a sentiment of sadness and fatality that filled him, of gloomy forebodings of something unknown, unimaginable. He sat and watched the thing disappear in the gathering dark, his hand on his pistol as it lay by him on the great chest. There was no sound but the regular breathing of the sleeping boy on the mattress.

It had grown absolutely dark; a bat fluttered against the broken glass of the window. He wondered if he was growing mad, for—he hesitated to acknowledge it to himself—he heard music; far, curious music, a strange and luxurious dance, very faint, very vague, but unmistakable.

Like a flash of lightning came a jagged line of fire down the blank wall opposite him, a line that remained, that grew wider, that let a pale cold light into the room, showing him now all its details,—the empty fireplace, where a thin smoke rose in a spiral from a bit of charred wood, the mass of the great bed, and, in the very middle, black against the curious brightness, the armored man, or ghost, or devil, standing, not suspended, beneath the rusty hook. And with the rending of the wall the music grew more distinct, though sounding still very, very far away.

Count Albert raised his mailed hand and beckoned to him; then turned, and stood in the riven wall.

Without a word, Rupert rose and followed him, his pistol in hand. Count Albert passed through the mighty wall and disappeared in the unearthly light. Rupert followed mechanically. He felt the crushing of the mortar beneath his feet, the roughness of the jagged wall where he rested his hand to steady himself.

The keep rose absolutely isolated among the ruins, yet on passing through the wall Rupert found himself in a long, uneven corridor, the floor of which was warped and sagging, while the walls were covered on one side with big faded portraits of an inferior quality, like those in the corridor that connects the Pitti and Uffizzi in Florence. Before him moved the figure of Count Albert,—a black silhouette in the ever-increasing light. And always the music grew stronger and stranger, a mad, evil, seductive dance that bewitched even while it disgusted.

In a final blaze of vivid, intolerable light, in a burst of hellish music that might have come from Bedlam, Rupert stepped from the corridor into a vast and curious room where at first he saw nothing, distinguished nothing but a mad, seething whirl of sweeping figures, white, in a white room, under white light, Count Albert standing before him, the only dark object to be seen. As his eyes grew accustomed to the fearful brightness, he knew that he was looking on a dance such as the damned might see in hell, but such as no living man had ever seen before.

Around the long, narrow hall, under the fearful light that came from nowhere, but was omnipresent, swept a rushing stream of unspeakable horrors, dancing insanely, laughing, gibbering hideously; the dead of forty years. White, polished skeletons, bare of flesh and vesture, skeletons clothed in the dreadful rags of dried and rattling sinews, the tags of tattering grave-clothes flaunting behind them. These were the dead of many years ago. Then the dead of more recent times, with yellow bones showing only here and there, the long and insecure hair of their hideous heads writhing in the beating air. Then green and gray horrors, bloated and shapeless, stained with earth or dripping with spattering water; and here and there white, beautiful things, like chiselled ivory, the dead of yesterday, locked it may be, in the mummy arms of rattling skeletons.

Round and round the cursed room, a swaying, swirling maelstrom of death, while the air grew thick with miasma, the floor foul with shreds of shrouds, and yellow parchment, clattering bones, and wisps of tangled hair.

And in the very midst of this ring of death, a sight not for words nor for thought, a sight to blast forever the mind of the man who looked upon it: a leaping, writhing dance of Count Albert’s victims, the score of beautiful women and reckless men who danced to their awful death while the castle burned around them, charred and shapeless now, a living charnel-house of nameless horror.

Count Albert, who had stood silent and gloomy, watching the dance of the damned, turned to Rupert, and for the first time spoke.

“We are ready for you now; dance!”

A prancing horror, dead some dozen years, perhaps, flaunted from the rushing river of the dead, and leered at Rupert with eyeless skull.

“Dance!”

Rupert stood frozen, motionless.

“Dance!”

His hard lips moved. “Not if the devil came from hell to make me.”

Count Albert swept his vast two-handed sword into the fœtid air while the tide of corruption paused in its swirling, and swept down on Rupert with gibbering grins.

The room, and the howling dead, and the black portent before him circled dizzily around, as with a last effort of departing consciousness[51] he drew his pistol and fired full in the face of Count Albert.

Perfect silence, perfect darkness; not a breath, not a sound: the dead stillness of a long-sealed tomb. Rupert lay on his back, stunned, helpless, his pistol clenched in his frozen hand, a smell of powder in the black air. Where was he? Dead? In hell? He reached his hand out cautiously; it fell on dusty boards. Outside, far away, a clock struck three. Had he dreamed? Of course; but how ghastly a dream! With chattering teeth he called softly,—

“Otto!”

There was no reply, and none when he called again and again. He staggered weakly to his feet, groping for matches and candles. A panic of abject terror came on him; the matches were gone! He turned towards the fireplace: a single coal glowed in the white ashes. He swept a mass of papers and dusty books from the table, and with trembling hands cowered over the embers, until he succeeded in lighting the dry tinder. Then he piled the old books on the blaze, and looked fearfully around.

No: It was gone,—thank God for that; the hook was empty.

But why did Otto sleep so soundly; why did he not awake?

He stepped unsteadily across the room in the flaring light of the burning books, and knelt by the mattress.

So they found him in the morning, when no one came to the inn from Kropfsberg Keep, and the quaking Peter Rosskopf arranged a relief party;—found him kneeling beside the mattress where Otto lay, shot in the throat and quite dead.

Leave a comment