Fritz Leiber - Our Lady of Darkness

With a surge of strength born of his terror, he tore himself free of the trapping hands. But they had prevented him from rising, with the result that he had only heaved over again through the moonlit pool and lay on his back, threshing and flailing, in its far edge, his head still in shadow.

Papers and chessmen and the ashtray’s contents scattered further and slew. A wineglass crunched as his heel hit it. The dumped phone began to beep like a furious pedantic mouse, from some near street a siren started to yelp like dogs being tortured, there was a great ripping noise as in his dream—the scattered papers churned and rose in seeming shreds a little from the floor—and through it all there sounded deep-throated, rasping screams which were Franz’s own.

His Scholar’s Mistress came twisting and hitching into the moonlight. Her face was still shadowed but he could see that her thin, wide-shouldered body was apparently formed solely of shredded and tightly compacted paper , mottled pale brown and yellowish with age, as if made up of the chewed pages of all the magazines and books that had formed her on the bed, while about and back from her shadowed face there streamed black hair. (The books’ shredded black covers?) Her wiry limbs in particular seemed to be made up entirely of very tightly twisted and braided pale brown paper as she darted toward him with terrible swiftness and threw them around him, pinioning his own arms (and her long legs scissoring about his) despite all his flailings and convulsive kickings while, utterly winded by his screaming, he gasped and mewed.

Then she twisted her head around and up, so that the moonlight struck her face. It was narrow and tapering, shaped somewhat like a fox’s or a weasel’s, formed like the rest of her of fiercely compacted paper constrictedly humped and creviced, but layered over in this area with dead white (the rice paper?) speckled or pocked everywhere with a rash of irregular small black marks. (Thibaut’s ink?) It had no eyes, although it seemed to stare into his brain and heart. It had no nose. (Was this the Noseless One?) It had no mouth—but then the long chin began to twitch and lift a little like a beast’s snout and he saw that it was open at the end.

He realized that this was what had been under the loose robes and black veils of de Castries’s Mystery Woman, who’d dogged his footsteps even to his grave, compact of intellectuality, all paperwork (Scholar’s Mistress indeed!), the Queen of the Night, the lurker at the summit, the thing that even Thibaut de Castries feared, Our Lady of Darkness.

The cables of the braided arms and legs twisted around him tighter and the face, going into shadow again, moved silently down toward his; and all that Franz could do was strain his own face back and away.

He thought in a flash of the disappearance of the gutted old pulp magazines and realized that they, crumbled and torn to bits, must have been the raw material for the pale brown figure in the casement window he’d seen twice from Corona Heights.

He saw on the black ceiling, above the dipping black-haired muzzle, a little patch of soft, harmonious ghostly colors—the pastel spectrum of moonlight, cast by one of his prisms lying in the pool on the floor.

The dry, rough, hard face pressed against his, blocking his mouth, squeezing his nostrils; the snout dug itself into his neck. He felt a crushing, incalculably great weight upon him. (The TV tower and the Transamerica! And the stars?) And filling his mouth and nose, the bone-dry, bitter dust of Thibaut de Castries.

At that instant the room was flooded with bright, white light and, as if it were an injected instant stimulant, he was able to twist his face away from the rugose horror and his shoulders halfway around.

The door to the hall was open wide, a key still in the lock. Cal was standing on the threshold, her back against the jamb, a finger of her right hand touching the light switch. She was panting, as if she’d been running hard. She was still wearing her white concert dress and over it her black velvet coat, hanging open. She was looking a little above and beyond him with an expression of incredulous horror. Then her finger dropped away from the light switch as her whole body slowly slid downward, bending only at the knees. Her back stayed very straight against the jamb, her shoulders were erect, her chin was high, her horror-filled eyes did not once blink. Then when she had gone down on her haunches, like a witch doctor, her eyes grew wider still with righteous anger, she tucked in her chin and put on her nastiest professional look, and in a harsh voice Franz had never heard her use before, she said:

“In the names of Bach, Mozart, and Beethoven, the names of Pythagoras, Newton, and Einstein, by Bertrand Russell, William James, and Eustace Hayden, begone! All inharmonious and disorderly shapes and forces, depart at once!”

As she was speaking, the papers all around Franz (he could see now that they were shredded) lifted up cracklingly, the grips upon his arms and legs loosened, so that he was able to inch toward Cal while violently threshing his half-freed limbs. Midway in her eccentric exorcism, the pale shreds began to churn violently and suddenly were multiplied tenfold in numbers (all restrains on him as suddenly gone) so that, at the end he was crawling toward her through a thick paper snowstorm.

The innumerable-seeming shreds sank rustlingly all around him to the floor. He laid his head in her lap where she now sat erect in the doorway, half-in, half-out, and he lay there gasping, one hand clutching her waist, the other thrown out as far as he could reach into the hallway as if to mark on the carpet the point of farthest advance. He felt Cal’s reassuring fingers on his cheek, while her other hand absently brushed scraps of paper from his coat.

Franz heard Gun say urgently, “Cal, are you all right? Franz!” Then Saul; “What the hell’s happened to his room?” Then Gun again; “My God, it looks like his whole library’s been put to the Destroysit!” but all that Franz could see of them were shoes and legs. How odd. There was a third pair—brown denim pants, and scuffed brown shoes, rather small; of course—Fernando.

Doors opened down the hall and heads thrust out. The elevator doors opened and Dorotea and Bonita hurried out, their faces anxious and eager. But what Franz found himself looking at, because it really puzzled him, was a score or more of dusty corrugated cartons neatly piled along the wall of the hall opposite the broom closet, and with them three old suitcases and a small trunk.

Saul had knelt down beside him and was professionally touching his wrist and chest, drawing back his eyelids with a light touch to check the pupils, not saying anything. Then he nodded reassuringly to Cal.

Franz managed an inquiring look. Saul smiled at him easily and said, “You know, Franz, Cal left that concert like a bat out of hell. She took her bows with the other soloists and she waited for the conductor to take his, but then she grabbed up her coat—she’d brought it onstage during the second intermission and laid it on the bench beside her (I’d given her your message)—and she took off straight through the audience. You thought you’d offended ’em by leaving at the start. Believe me, it was nothing to the way she treated ’em! By the time we caught sight of her again, she was stopping a taxi by running out into the street in front of it. If we’d have been a bit slower, she’d have ditched us. As it was, she grudged us the time it took us to get in.”

“And then she got ahead of us again when we each thought the other would pay the cab driver and he yelled at us and we both went back,” Gun took up over his shoulder from where he stood inside the room at the edge of the great drift of shredded paper and stuff, as if hesitant to disturb it. “When we got inside she’d run up the stairs. By then the elevator had come down, so we took it, but she beat us anyway. Say, Franz,” he asked, pointing, “Who chalked that big star on your wall over the bed?”