The Project Gutenberg eBook of The fearsome touch of death This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The fearsome touch of death Author: Robert E. Howard Release date: July 7, 2023 [eBook #71139] Language: English Original publication: United States: Popular Fiction Publishing Company, 1930 Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK THE FEARSOME TOUCH OF DEATH *** _A Tale of Stark, Unreasoning Terror_ The Fearsome Touch of Death By ROBERT E. HOWARD [Transcriber's Note: This etext was produced from Weird Tales February 1930. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] As long as midnight cloaks the earth With shadows grim and stark, God save us from the Judas kiss Of a dead man in the dark. Old Adam Farrel lay dead in the house wherein he had lived alone for the last twenty years. A silent, churlish recluse, in his life he had known no friends, and only two men had watched his passing. Dr. Stein rose and glanced out the window into the gathering dusk. "You think you can spend the night here, then?" he asked his companion. This man, Falred by name, assented. "Yes, certainly. I guess it's up to me." "Rather a useless and primitive custom, sitting up with the dead," commented the doctor, preparing to depart, "but I suppose in common decency we will have to bow to precedence. Maybe I can find some one who'll come over here and help you with your vigil." Falred shrugged his shoulders. "I doubt it. Farrel wasn't liked--wasn't known by many people. I scarcely knew him myself, but I don't mind sitting up with the corpse." Dr. Stein was removing his rubber gloves, and Falred watched the process with an interest that almost amounted to fascination. A slight, involuntary shudder shook him at the memory of touching these gloves--slick, cold, clammy things, like the touch of death. "You may get lonely tonight, if I don't find anyone," the doctor remarked as he opened the door. "Not superstitious, are you?" Falred laughed. "Scarcely. To tell the truth, from what I hear of Farrel's disposition, I'd rather be watching his corpse than have been his guest in life." The door closed and Falred took up his vigil. He seated himself in the only chair the room boasted, glanced casually at the formless, sheeted bulk on the bed opposite him, and began to read by the light of the dim lamp which stood on the rough table. Outside the darkness gathered swiftly, and finally Falred laid down his magazine to rest his eyes. He looked again at the shape which had, in life, been the form of Adam Farrel, wondering what quirk in the human nature made the sight of a corpse not only so unpleasant, but such an object of fear to many. Unthinking ignorance, seeing in dead things a reminder of death to come, he decided lazily, and began idly contemplating as to what life had held for this grim and crabbed old man, who had neither relatives nor friends, and who had seldom left the house wherein he had died. The usual tales of miser-hoarded wealth had accumulated, but Falred felt so little interest in the whole matter that it was not even necessary for him to overcome any temptation to pry about the house for possible hidden treasure. He returned to his reading with a shrug. The task was more boresome than he had thought for. After a while he was aware that every time he looked up from his magazine and his eyes fell upon the bed with its grim occupant, he started involuntarily as if he had, for an instant, forgotten the presence of the dead man and was unpleasantly reminded of the fact. The start was slight and instinctive, but he felt almost angered at himself. He realized, for the first time, the utter and deadening silence which enwrapped the house--a silence apparently shared by the night, for no sound came through the window. Adam Farrel had lived as far apart from his neighbors as possible, and there was no other house within hearing distance. Falred shook himself as if to rid his mind of unsavory speculations, and went back to his reading. A sudden vagrant gust of wind whipped through the window, in which the light in the lamp flickered and went out suddenly. Falred, cursing softly, groped in the darkness for matches, burning his fingers on the hot lamp chimney. He struck a match, re-lighted the lamp, and glancing over at the bed, got a horrible mental jolt. Adam Farrel's face stared blindly at him, the dead eyes wide and blank, framed in the gnarled gray features. Even as Falred instinctively shuddered, his reason explained the apparent phenomenon: the sheet that covered the corpse had been carelessly thrown across the face and the sudden puff of wind had disarranged and flung it aside. Yet there was something grisly about the thing, something fearsomely suggestive--as if, in the cloaking dark, a dead hand had flung aside the sheet, just as if the corpse were about to rise.... Falred, an imaginative man, shrugged his shoulders at these ghastly thoughts and crossed the room to replace the sheet. The dead eyes seemed to stare at him malevolently, with an evilness that transcended the dead man's churlishness in life. The workings of a vivid imagination, Falred knew, and he re-covered the gray face, shrinking as his hand chanced to touch the cold flesh--slick and clammy, the touch of death. He shuddered with the natural revulsion of the living for the dead, and went back to his chair and magazine. At last, growing sleepy, he lay down upon a couch which, by some strange whim of the original owner, formed part of the room's scant furnishings, and composed himself for slumber. He decided to leave the light burning, telling himself that it was in accordance with the usual custom of leaving lights burning for the dead; for he was not willing to admit to himself that already he was conscious of a dislike for lying in the darkness with the corpse. He dozed, awoke with a start and looked at the sheeted form on the bed. Silence reigned over the house, and outside it was very dark. The hour was approaching midnight, with its accompanying eery domination over the human mind. Falred glanced again at the bed where the body lay and found the sight of the sheeted object most repellent. A fantastic idea had birth in his mind and grew, that beneath the sheet, the mere lifeless body had become a strange, monstrous thing, a hideous, conscious being, that watched him with eyes which burned through the fabric of the cloth. This thought--a mere fantasy, of course--he explained to himself by the legends of vampires, undead, ghosts and such like--the fearsome attributes with which the living have cloaked the dead for countless ages, since primitive man first recognized in death something horrid and apart from life. Man feared death, thought Falred, and some of his fear of death took hold on the dead so that they, too, were feared. And the sight of the dead engendered grisly thoughts, gave rise to dim fears of hereditary memory, lurking back in the dark corners of the brain. At any rate, that silent, hidden thing was getting on his nerves. He thought of uncovering the face, on the principle that familiarity breeds contempt. The sight of the features, calm and still in death, would banish, he thought, all such wild conjectures as were haunting him in spite of himself. But the thought of those dead eyes staring in the lamplight was intolerable; so at last he blew out the light and lay down. This fear had been stealing upon him so insidiously and gradually that he had not been aware of its growth. With the extinguishing of the light, however, and the blotting out of the sight of the corpse, things assumed their true character and proportions, and Falred fell asleep almost instantly, on his lips a faint smile for his previous folly. * * * * * He awakened suddenly. How long he had been asleep he did not know. He sat up, his pulse pounding frantically, the cold sweat beading his forehead. He knew instantly where he was, remembered the other occupant of the room. But what had awakened him? A dream--yes, now he remembered--a hideous dream in which the dead man had risen from the bed and stalked stiffly across the room with eyes of fire and a horrid leer frozen on his gray lips. Falred had seemed to lie motionless, helpless; then as the corpse reached a gnarled and horrible hand, he had awakened. He strove to pierce the gloom, but the room was all blackness and all without was so dark that no gleam of light came through the window. He reached a shaking hand toward the lamp, then recoiled as if from a hidden serpent. Sitting here in the dark with a fiendish corpse was bad enough, but he dared not light the lamp, for fear that his reason would be snuffed out like a candle at what he might see. Horror, stark and unreasoning, had full possession of his soul; he no longer questioned the instinctive fears that rose in him. All those legends he had heard came back to him and brought a belief in them. Death was a hideous thing, a brain-shattering horror, imbuing lifeless men with a horrid malevolence. Adam Farrel in his life had been simply a churlish but harmless man; now he was a terror, a monster, a fiend lurking in the shadows of fear, ready to leap on mankind with talons dipped deep in death and insanity. Falred sat there, his blood freezing, and fought out his silent battle. Faint glimmerings of reason had begun to touch his fright when a soft, stealthy sound again froze him. He did not recognize it as the whisper of the night wind across the window-sill. His frenzied fancy knew it only as the tread of death and horror. He sprang from the couch, then stood undecided. Escape was in his mind but he was too dazed to even try to formulate a plan of escape. Even his sense of direction was gone. Fear had so stultified his mind that he was not able to think consciously. The blackness spread in long waves about him and its darkness and void entered into his brain. His motions, such as they were, were instinctive. He seemed shackled with mighty chains and his limbs responded sluggishly, like an imbecile's. A terrible horror grew up in him and reared its grisly shape, that the dead man was behind him, was stealing upon him from the rear. He no longer thought of lighting the lamp; he no longer thought of anything. Fear filled his whole being; there was room for nothing else. He backed slowly away in the darkness, hands behind him, instinctively feeling the way. With a terrific effort he partly shook the clinging mists of horror from him, and, the cold sweat clammy upon his body, strove to orient himself. He could see nothing, but the bed was across the room, in front of him. He was backing away from it. There was where the dead man was lying, according to all rules of nature; if the thing were, as he felt, behind him, then the old tales were true: death did implant in lifeless bodies an unearthly animation, and dead men did roam the shadows to work their ghastly and evil will upon the sons of men. Then--great God!--what was man but a wailing infant, lost in the night and beset by frightful things from the black abysses and the terrible unknown voids of space and time? These conclusions he did not reach by any reasoning process; they leaped full-grown into his terror-dazed brain. He worked his way slowly backward, groping, clinging to the thought that the dead man _must_ be in front of him. Then his back-flung hands encountered something--something slick, cold and clammy--like the touch of death. A scream shook the echoes, followed by the crash of a falling body. * * * * * The next morning they who came to the house of death found two corpses in the room. Adam Farrel's sheeted body lay motionless upon the bed, and across the room lay the body of Falred, beneath the shelf where Dr. Stein had absent-mindedly left his gloves--rubber gloves, slick and clammy to the touch of a hand groping in the dark--a hand of one fleeing his own fear--rubber gloves, slick and clammy and cold, like the touch of death. *** END OF THE PROJECT GUTENBERG EBOOK THE FEARSOME TOUCH OF DEATH *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.