The Greatest Works of Robert E. Howard: 300+ Titles in One Edition. Robert E. Howard
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marble, a thin perpendicular crack showed and in the crack hung a wisp of silk. In an instant he was bending over it. That shred was from Muriela's torn skirt. The implication was unmistakable. It had been caught in the closing door and torn off as she was borne through the opening by whatever grim beings were her captors. The bit of clothing had prevented the door from fitting perfectly into its frame.
Thrusting his dagger-point into the crack, Conan exerted leverage with a corded forearm. The blade bent, but it was of unbreakable Akbitanan steel. The marble door opened. Conan's sword was lifted as he peered into the aperture beyond, but he saw no shape of menace. Light filtering into the oracle chamber revealed a short flight of steps cut out of marble. Pulling the door back to its fullest extent, he drove his dagger into a crack in the floor, proping it open. Then he went down the steps without hesitation. He saw nothing, heard nothing. A dozen steps down, the stair ended in a narrow corridor which ran straight away into gloom.
He halted suddenly, posed like a statue at the foot of the stair, staring at the paintings which frescoed the walls, half visible in the dim light which filtered down from above. The art was unmistakably Pelishti; he had seen frescoes of identical characteristics on the walls of Asgalun. But the scenes depicted had no connection with anything Pelishti, except for one human figure, frequently recurrent: a lean, white-bearded old man whose racial characteristics were unmistakable. They seemed to represent various sections of the palace above. Several scenes showed a chamber he recognized as the oracle chamber with the figure of Yelaya stretched upon the ivory dais and huge black men kneeling before it. And there behind the wall, in the niche, lurked the ancient Pelishti. And there were other figures, too—figures that moved through the deserted palace, did the bidding of the Pelishti, and dragged unnamable things out of the subterranean river. In the few seconds Conan stood frozen, hitherto unintelligible phrases in the parchment manuscript blazed in his brain with chilling clarity. The loose bits of the patern clicked into place. The mystery of Bit-Yakin was a mystery no longer, nor the riddle of Bit-Yakin's servants.
Conan turned and peered into the darkness, an icy finger crawling along his spine. Then he went along the corridor, cat-footed, and without hesitation, moving deeper and deeper into the darkness as he drew farther away from the stair. The air hung heavy with the odor he had scented in the court of the gong.
Now in utter blackness he heard a sound ahead of him—the shuffle of bare feet, or the swish of loose garments against stone, he could not tell which. But an instant later his outstretched hand encountered a barrier which he identified as a massive door of carved metal. He pushed against it fruitlessly, and his sword-point sought vainly for a crack. It fitted into the sill and jambs as if molded there. He exerted all his strength, his feet straining against the floor, the veins knotting in his temples. It was useless; a charge of elephants would scarcely have shaken that titanic portal.
As he leaned there he caught a sound on the other side that his ears instantly identified—it was the creak of rusty iron, like a lever scraping in its slot. Instinctively action followed recognition so spontaneously that sound, impulse and action were practically simultaneous. And as his prodigious bound carried him backward, there was the rush of a great bulk from above, and a thunderous crash filled the tunnel with deafening vibrations. Bits of flying splinters struck him—a huge block of stone, he knew from the sound, dropped on the spot he had just quitted. An instant's slower thought or action and it would have crushed him like an ant.
Conan fell back. Somewhere on the other side of that metal door Muriela was a captive, if she still lived. But he could not pass that door, and if he remained in the tunnel another block might fall, and he might not be so lucky. It would do the girl no good for him to be crushed into a purple pulp. He could not continue his search in that direction. He must get above ground and look for some other avenue of approach.
He turned and hurried toward the stair, sighing as he emerged into comparative radiance. And as he set foot on the first step, the light was blotted out, and above him the marble door rushed shut with a resounding reverberation.
Something like panic seized the Cimmerian then, trapped in that black tunnel, and he wheeled on the stair, lifting his sword and glaring murderously into the darkness behind him, expecting a rush of ghoulish assailants. But there was no sound or movement down the tunnel. Did the men beyond the door – if they were men—believe that he had been disposed of by the fall of the stone from the roof, which had undoubtedly been released by some sort of machinery?
Then why had the door been shut above him? Abandoning speculation, Conan groped his way up the steps, his skin crawling in anticipation of a knife in his back at every stride, yearning to drown his semi-panic in a barbarous burst of bloodletting.
He thrust against the door at the top, and cursed soulfully to find that it did not give to his efforts. Then as he lifted his sword with his right hand to hew at the marble, his groping left encountered a metal bolt that evidently slipped into place at the closing of the door. In an instant he had drawn this bolt, and then the door gave to his shove. He bounded into the chamber like a slit-eyed, snarling incarnation of fury, ferociously desirous to come to grips with whatever enemy was hounding him.
The dagger was gone from the floor. The chamber was empty, and so was the dais. Yelaya had again vanished.
"By Crom!" muttered the Cimmerian. "Is she alive, after all?"
He strode out into the throne room, baffled, and then, struck by a sudden thought, stepped behind the throne and peered into the alcove. There was blood on the smooth marble where he had cast down the senseless body of Gwarunga – that was all. The black man had vanished as completely as Yelaya.
IV. — THE TEETH OF GWAHLUR
BAFFLED wrath confused the brain of Conan the Cimmerian. He knew no more how to go about searching for Muriela than he had known how to go about searching for the Teeth of Gwahlur. Only one thought occurred to him—to follow the priests. Perhaps at the hiding-place of the treasure some clue would be revealed to him. It was a slim chance, but better than wandering about aimlessly.
As he hurried through the great shadowy hall that led to the portico he half expected the lurking shadows to come to life behind him with rending fangs and talons. But only the beat of his own rapid heart accompanied him into the moonlight that dappled the shimmering marble.
At the foot of the wide steps he cast about in the bright moonlight for some sight to show him the direction he must go. And he found it—petals scattered on the sward told where an arm or garment had brushed against a blossom-laden branch. Grass had been pressed down under heavy feet. Conan, who had tracked wolves in his native hills, found no insurmountable difficulty in following the trail of the Keshani priests.
It led away from the palace, through masses of exotic-scented shrubbery where great pale blossoms spread their shimmering petals, through verdant, tangled bushes that showered blooms at the touch, until he came at last to a great mass of rock that jutted like a titan's castle out from the cliffs at a point closest to the palace, which, however, was almost hidden from view by vine-interlaced trees. Evidently that babbling priest in Keshia had been mistaken when he said the Teeth were hidden in the palace. This trail had led him away from the place where Muriela had disappeared, but a belief was growing in Conan that each part of the valley was connected with that palace by subterranean passages.
Crouching in the deep, velvet-black shadows of the bushes, he scrutinized the great jut of rock which stood out in bold relief in the moonlight. It was covered with strange, grotesque carvings, depicting men and animals, and half-bestial creatures that might have been gods or devils. The style of art differed so strikingly from that of the rest of the valley, that Conan wondered if it did not represent a different era and race, and was itself a relic of an age lost and forgotten at whatever immeasurably distant date the people of Alkmeenon had found and entered the haunted valley.
A great door stood open in the sheer curtain of the cliff, and a gigantic dragon's head was carved about it so that the open door was like the dragon's gaping mouth. The door itself was of carven bronze and looked