Down the time-track tumbled Andreson, to land in a
continuum of ghastly matter-and-space reversal--and
find a love that shattered the very laws of life!
[Transcriber's Note: This etext was produced from
Planet Stories Fall 1948.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
The letters on the fly-specked glass were simple, almost dogmatic.
Andreson eyed them with some amusement. Art agents seldom have any
taste, he thought; can't afford to.
The sign repeated, _Special Showing of Surrealist Paintings_, and
declined to offer further information. Andreson started to walk on,
then hovered indecisively. Modern arts of all kinds were his province
in preparation for a doctorate thesis. It wouldn't do to let the
smallest example go by without inspection. He went in.
The improvised gallery was musty with the odor of departed vegetables,
and very cold. Like the sign, the show had been set up with a braggart
simplicity. No programs, no furniture, no eager guides--there were
not even any guards. Andreson wondered what was to stop a thief from
stooping under the heavy rayon rope, which kept the frames out of reach
of curious or greedy fingers, and making off with the whole collection.
With his first look at the paintings themselves, Andreson was blessing
his good daemon fervently for having guided his footsteps. He could not
place the works in any specific category; they certainly were _not_
surrealistic, unless the word had been used in its original meaning of
"super-realistic." The artist had used fantasy for his sources, true
enough, but the results were not the usual shapelessness.
He angled his long body over the rope and inspected the nearest one.
It was a huge canvas, reaching almost to the floor, and it depicted a
building or similar structure like a glistening glass rod, rising from
a forest of lesser rods toward a red sun of almost tangible hotness.
A single figure, man-like, but borne aloft on taut, delicate wings
which suggested a bat rather than a human, floated over the nearest
of the towers. A quick glance revealed that all the paintings but one
contained several of these shapes; the one exception was a field of
stars with a torpedo streaking across it.
His quick glance confirmed another suspicion. The scenes were in
deliberate order, as if attempting a pictorial history of the flying
people. He felt vaguely disappointed. This stuff was garden-variety
fantasy, verging on the conceptions of science-fiction. Still, there
was a magnificent technique behind it all--a blending and effacing
of brush-strokes which made the Dutch look like billboard-splashers,
and a mastery of glaze which made each scene glow like an illuminated
transparency.
This last painting by the door, for instance. It showed the
translucent city again, with approximately the same details--but with
a barely-perceptible dimming of the red sunlight, a single tower
jaggedly shattered, a few other tiny touches, the artist had given it
an atmosphere of almost unbearable desolation. It was the same fabulous
metropolis--but it was tragic, deserted, lost. Peering hopelessly from
the summit of the broken tower was a tiny face, looking directly
upward at Andreson.
He allowed himself an appreciative shudder, and methodically went
around the gallery, following the history the pictures built up. It
seemed commonplace enough: a race of space-travellers who had colonized
the Earth, perhaps some time in the dim past, had built a civilization,
and had finally succumbed to some undepicted doom. What was amazing
was the utterly convincing way the well-worn story was told. It was
real--super-real, indeed, for it commanded more belief and sympathy
than the everyday human tragedies.
Andreson took out his fountain pen and an unopened letter and walked
toward the door. He must get the address of this place and attempt to
locate the artist. John Kimball's inscription on the envelope reminded
him that Johnny, though a scientist, dabbled in the arts and would be
interested. He ripped open the flap, then stopped in mid-stride, ducked
under the rayon cord to look at the spaceship scene.
In many ways this was the most wonderful of the lot. Even a night
sky or a telescope field has no depth; it is merely a black surface
containing spots of light; but the picture surpassed nature. It had a
stereoscopic quality, all the more startling because it was impossible
to ascertain how it was done. Andreson noted with a chuckle that the
agent had placed the paintings in such order that there was a strong
draft blowing toward the picture, as if being drained away into that
awesome vacuum. A strictly phony trick, but clever nonetheless. Curious
in spite of his better instincts, he put out a tentative finger to the
surface of the scene--
The fountain pen clattered to the floor.
He gaped idiotically, and stirred with his finger at the nothingness
where the picture still seemed to be. In his shock-numbed mind two
words burned fiercely:
_It's real._
Ridiculous. Tensely he forced himself to move his hand in deeper,
against the yelling of his nerves. It struck a slight, tingling
resistance, like a curtain of static electricity--and then the blood
was pounding in each finger as if trying to burst through the skin. He
snatched the hand back. There _was_ a vacuum there; cut off from the
room by some unseen force through which the air was leaking rapidly.
Teetering on the edge of panic, he struggled to make better sense
of the facts. The prickly pounding he had felt in his fingers might
well have been electrical and only that, and Johnny Kimball had once
demonstrated for him the "static jet" which might explain the draft of
air. Three-dimensional television, perhaps--
He shook his head. No inventor would set up a demonstration like this,
in an abandoned grocery, without any announcement or literature; nor
would there be likely to be eighteen screens, each one showing a
motionless and quite impossible scene. No; it was insane, but these
garish things were--
Windows.
Into what? Clutching at his frayed emotions, he took a step toward the
next frame. His foot crunched on the forgotten fountain pen. For a
second he flailed in terror at nothing, and then pitched head foremost
over the low ledge.
* * * * *
After a moment the sweet piping spoke again. "You are not hurt. The
mental shock will pass shortly."
Andreson said nothing and stared fixedly at the crimson glow underneath
his eyelids. Physically he was unhurt, but his sanity was precarious.
In his mind, behind the closed lids, it happened over and over again:
the long twisting fall, with the great city spinning and growing
beneath him in a riot of color, and damp hot air gushing past him, the
sudden swooping of the dark figure and the thrum of wings. He tried to
pass out again and awaken on the floor of the gallery, but the cold,
chiming voice jabbed him awake again.
"This is quite real. You are intelligent enough to accept it--stop
thinking like an infant."
The motherly reprimand under such circumstances planted a small germ
of amusement somewhere in his mind, and he grasped it frantically and
began to laugh, still keeping his eyes clenched shut. Even without
seeing its face, he could feel the creature's alarm at his hysteria,
but he allowed the shaking to exhaust him into a sort of calmness. Only
when his breathing had become controlled and even did he allow himself
a second look.
Red sunlight played harshly in upon him through the translucent walls
of the small room, and burned sullenly within the crystal bar which
crossed above his head. One wall was recessed with what seemed to be
bookshelves, and odd articles of furniture stood here and there; but
evidently none of them had been designed for humans, for he was lying
on the smooth floor, his jacket bunched under his head. The cowled
shape still arched over him with Satanic solicitude, black against the
glare, and somehow smaller than he had expected it to be. He hoped that
that cape would not expand into wings--not yet--for his new calm still
stood at the shimmering verge of madness.
"Thank you," he said carefully. "I owe you my life."
The silhouetted head moved as if to dismiss the matter. "Your sudden
appearance in mid-air was startling. We were fortunate that I happened
to be in flight at the time."
With a whispering sound, like the rustling of heavy cloth, the figure
moved out of the direct rays of the sun and settled gracefully against
one of the furniture-like things. The light struck it full, and
Andreson gasped and sat bolt upright.
She was winged, no doubt about that. But the bat-like impression those
wings had given him seemed to have been only a product of distance.
Seen in closeup, the wings were tawny and delicate, and traced with
intricate veins, their ribs were close-set, the webbing like the
sheerest silk. They rose from the girl's back where her shoulderblades
should have been, and at rest curved around her sides and made a
backdrop for her legs and feet.
Except for those gorgeous pinions, which set her off like two great
Japanese fans, she might have been human, or close to it. She no more
suggested the rodent than the goddess Diana would have suggested
a female gorilla. The wings, something about the bony structure
underlying her face, a vague _otherness_ about her proportions--except
for these minute differences she could have passed anywhere for a
strikingly lovely human girl. Her clothing was brief and simple, and
not weighted with ornaments, for she needed free limbs and no useless
baggage for flight.
Andreson realized that he was goggling and rearranged his face as best
he could. She did not seem to take his amazed inspection as anything
but normal, however. "Are you a time-traveller?" she asked, tilted her
head curiously. "We could think of no other explanation. Are you from
our track?"
"I don't know," Andreson confessed. "My trip was accidental, and the
mechanism is a mystery to me." He considered asking about the gallery,
but the girl's questions had already told him it would be fruitless.
He masked his emotions in the mechanism of locating and lighting a
cigarette, while the girl waited with polite patience. It was hard to
forget that there was an obscure doom prophesied--or had it been merely
narrated, as historical fact?--for this exquisite creature and her
whole civilization, and he was determined to say nothing about it until
he knew what he was talking about.
"I discovered in my time a sort of gateway to your time, and to
seventeen other nearly synchronous moments, set up by a scientist
unknown to me. Each of the gates seems to open upon one single specific
instant. For instance: before I fell into the one which brought me
here, I saw a figure I'm sure was yours. And it was motionless above
the city, all the time that I was watching it."
He broke off suddenly. "Wait a minute. If this is another time--well,
suppose you tell me: am I speaking your language, or do you know mine?
Or are you a telepath?"
* * * * *
She laughed, each sound a clear, musical tone, as if she had been
struck by a desire to sing the _Bell Song_. "Don't you know your own
language when you hear it? No, the Varese are not telepathic--few
races are. But a truly telepathic race allied with us has provided our
culture with a good stock of equipment for tapping various parts of the
mind. We use it for education. We simply tapped your language centers
while you were unconscious."
A shadow passed across the glowing wall, and he heard the
already-familiar hum of wings. A moment later a newcomer was outlined
in the sunlight in a low doorway which seemed to open on empty space.
It was a man, this time, a figure almost exactly Andreson's height,
and perhaps a little older, though it was hard to judge. He smiled
unpleasantly at the human, revealing two upper incisors which were
slightly larger than the rest of his teeth, and demanded, "Well, what
time is he?"
"What time are you?" Andreson countered. "We've no record of you in our
history. You could have flourished, died, or moved on a dozen times
without our knowing it--our records go back only three thousand years."
"Well taken," the Varan said, making himself comfortable on one of the
odd "chairs." "We're not native, here, of course. But so far we've
found no mammals on this planet, except a few egg-laying ones that
aren't even entirely warm-blooded yet; so you _must_ be a considerable
distance in our future. Furthermore, you're a time-traveller, which
means that you know more than we do, for time is a problem we have
never broken."
The girl shook her head slowly, all traces of her former laughter
vanished. "It's no use, Atel. He's here by accident, and isn't a
scientist."
"What's the matter?" Andreson said. Both faces looked so somber that he
nearly forgot his own problem. "Are you in trouble?"
"We're at war," the girl said softly. "And we shall probably be
exterminated, all of us, before the year is over."
Andreson remembered again the picture of the deserted city, and despite
the hot sun he felt the same chill.
"This planet you call Earth," Atel said, "has no life on its surface
now with enough intelligence to count up to three. But after we had
been here fifty-three of its years, we discovered that Earth has a
civilization of its own all the same--_inside_."
A dozen legends chased through Andreson's mind at once. "Cave-dwellers
of some sort? It hardly seems credible."
"No, not cave-dwellers. These aren't even solid, and they couldn't live
in caves. They live _in_ the Earth--in the rock itself, and all the
way down to the core. They are--space-beasts. They move through solid
matter just as you and I move through space, and are stopped by space
as we are stopped by a solid wall. In the air, for instance, we're safe
from them, for what is to us a thin gas is for them a viscous, almost
rigid medium. In the oceans, we meet on equal terms; but true solids
are their natural medium."
"How did you discover them?"
"They discovered us," the girl said. "They have besieged the city ever
since the fifty-third year after our landing. They're invisible, of
course, but we can see them as openings in the earth. The openings
change shape as they move, and of course no natural pit does that. In
their own universe, the hollow Earth bounded by its solid atmosphere,
they are flying creatures, and their sense of gravity is the reverse of
ours."
Her clear, fluting voice became steadily duller, losing its inflection
as the tale went on. "Before we came here," she said, "we had
encountered what our scientists call counter-matter--matter of opposite
electrical nature to ours. But this complete inversion of space-matter
relationships was unknown to us. The space-beasts knew about it. They
are bent on driving us from the Earth...."
* * * * *
Andreson felt his mind reeling into hysteria again. It was difficult
enough to accept the spotless, shining glass chamber and the two winged
Varese--but this story of an inside-out universe and its air-treading
masters--if only John Kimball had been the one to hear it--
"Sometimes," Atel said reflectively, "I think the Varese have earned
their defeat. There was a time when we were carrying the fight into the
enemy's own cosmos. But it was their cosmos, not ours, and they knew it
very well! Our change of state, while it enabled us to see our foes,
could not change our mental orientation. We were lost in that hollow
darkness. We could not forget that each great gulf was actually a
mountain, the sudden chasms were buildings we ourselves had built,--and
the things like tiny burrows which kept opening and closing all about
our feet were the footfalls of our brothers. And the space-beasts
swooped upon us, each of them with six tiers of wings muttering
against the solid magma of the Earth, and our weapons were crude and
worthless...."
Andreson's mind tasted the concept and rejected it with a shudder.
"But surely," he said as steadily as he could, "you must have better
weapons, now."
"Oh, yes, we have the weapons. But we are decadent, and have lost the
initiative to be the aggressors. The machines that accomplished the
reversal of state for our ancestors have lain idle for a century in the
bowels of our city. We no longer understand them. We are dying, first
of all, of old age--the space-beasts are the accident that speeds us
along the way. Shall I tell you what we use against them now?"
The girl stirred protestingly. Andreson looked at her, but she would
not return the glance. Atel went on relentlessly.
"Look." From under his tunic he produced a heavy, long metal rod.
"A club? But--I don't see how--"
"It's hollow," Atel said succinctly. "The metal, of course, is useless,
but the vacuum inside is steel-hard to them. Space crushing into space,
and gouts of hard radiation bursting like blood from the contact.
That's all we have now, that and a feeble energising process which
sometimes seals off the foundations of the city. Walls, and clubs! Our
last miserable recourses--and then--
"Then the space-beasts will own the Earth again."