He stands blinking in the entry passage, gaping at the throngs of placid dinosaurs arrayed in a huge semicircle around the naked woman who stands beside the wreckage of the mobile module. For a moment he is unable to speak.

  "Anne?" he says finally. "What in God's name—"

  "You'll never understand," I tell him. I give the signal. Belshazzar rumbles forward. Sarber screams and whirls and sprints for the airlock, but a stegosaur blocks the way.

  "No!" Sarber cries, as the tyrannosaur's mighty head swoops down. It is all over in a moment.

  Revenge! How sweet!

  And this is only the beginning. Habitat Vronsky lies just 120 kilometers away. Elsewhere in the Lagrange belt are hundreds of other habitats ripe for conquest. The earth itself is within easy reach. I have no idea yet how it will be accomplished, but I know it will be done and done successfully, and I will be the instrument by which it is done.

  I stretch forth my arms to the mighty creatures that surround me. I feel their strength, their power, their harmony. I am one with them, and they with me.

  The Great Race has returned, and I am its priestess. Let the hairy ones tremble!

  THE GROTTO OF THE DANCING DEER

  Clifford D. Simak

  Luis was playing his pipe when Boyd climbed the steep path that led up to the cave. There was no need to visit the cave again; all the work was done, mapping, measuring, photographing, extracting all possible information from the site. Not only the paintings, although the paintings were the important part of it. Also there had been the animal bones, charred, and the still remaining charcoal of the fire in which they had been charred; the small store of natural earths from which the pigments used by the painters had been compounded a cache of valuable components, perhaps hidden by an artist who, for some reason that could not now be guessed, had been unable to use them; the atrophied human hand, severed at the wrist (why had it been severed and, once severed, left there to be found by men thirty millennia removed?); the lamp formed out of a chunk of sandstone, hollowed to accommodate a wad of moss, the hollow filled with fat, the moss serving as a wick to give light to those who painted. All these and many other things, Boyd thought with some satisfaction; Gavarnie had turned out to be, possibly because of the sophisticated scientific methods of investigation that had been brought to bear, the most significant cave painting site ever studied perhaps not as spectacular, in some ways, as Lascaux, but far more productive in the data obtained.

  No need to visit the cave again, and yet there was a reason the nagging feeling that he had passed something up, that in the rush and his concentration on the other work, he had forgotten something. It had made small impression on him at the time, but now, thinking back on it, he was becoming more and more inclined to believe it might have importance. The whole thing probably was a product of his imagination, he told himself. Once he saw it again (if indeed he could find it again, if it were not a product of retrospective worry), it might prove to be nothing at all, simply an impression that had popped up to nag him.

  So here he was again, climbing the steep path, geologist's hammer swinging at his belt, large flashlight clutched in hand, listening to the piping of Luis who perched on a small terrace, just below the mouth of the cave, a post he had occupied through all the time the work was going on. Luis had camped there in his tent through all kinds of weather, cooking on a camper's stove, serving as self-appointed watch-dog, on alert against intruders, although there had been few intruders other than the occasional curious tourist who had heard of the project and tramped miles out of the way to see it. The villagers in the valley below had been no trouble; they couldn't have cared less about what was happening on the slope above them.

  Luis was no stranger to Boyd; ten years before, he had shown up at the rock shelter project some fifty miles distant and there had stayed through two seasons of digging. The rock shelter had not proved as productive as Boyd initially had hoped, although it had shed some new light on the Azilian culture, the tag-end of the great Western European prehistoric groups. Taken on as a common laborer, Luis had proved an apt pupil and as the work went on had been given greater responsibility. A week after the work had started at Gavarnie, he had shown up again.

  "I heard you were here," he'd said. "What do you have for me?"

  As he came around a sharp bend in the trail, Boyd saw him, sitting cross-legged in front of the weather-beaten tent, holding the primitive pipe of his to his lips, piping away.

  That was exactly what it waspiping. Whatever music came out of the pipe was primitive and elemental. Scarcely music, although Boyd would admit that he knew nothing about music. Four notes would it be four notes? he wondered. A hollow bone with an elongated slot as a mouthpiece, two drilled holes for stops.

  Once he had asked Luis about it. "I've never seen anything like it," he had said. Luis had told him, 'You don't see many of them. In remote villages here and there, hidden away in the mountains."

  Boyd left the path and walked across the grassy terrace, sat down beside Luis, who took down the pipe and laid it in his lap.

  "I thought you were gone," Luis said. 'The others left a couple of days ago."

  "Back for one last look," said Boyd.

  'You are reluctant to leave it?"

  'Yes, I suppose I am."

  Below them the valley spread out in autumn browns and tans, the small river a silver ribbon in the sunlight, the red roofs of the village a splash of color beside the river.

  "It's nice up here," said Boyd. 'Time and time again, I catch myself trying to imagine what it might have been like at the time the paintings were done. Not much different than it is now, perhaps. The mountains would be unchanged. There'd have been no fields in the valley, but it probably would have been natural pasture. A few trees here and there, but not too many of them. Good hunting. There'd have been grass for the grazing animals. I have even tried to figure out where the people would've camped. My guess would be where the village is now."

  He looked around at Luis. The man still sat upon the grass, the pipe resting in his lap. He was smiling quietly, as if he might be smiling to himself. The small black beret sat squarely on his head, his tanned face was round and smooth, the black hair close-clipped, the blue shirt open at the throat. A young man, strong, not a wrinkle on his face.

  'You love your work," said Luis.

  "I'm devoted to it. So are you, Luis," Boyd said.

  "It's not my work."

  'Your work or not," said Boyd, "you do it well. Would you like to go with me? One last look around."

  "I need to run an errand in the village."

  "I thought I'd find you gone," said Boyd. "I was surprised to hear your pipe."

  "I'll go soon," said Luis. "Another day or two. No reason to stay but, like you, I like this place. I have no place to go, no one needing me. Nothing's lost by staying a few more days."

  "As long as you like," said Boyd. 'The place is yours. Before too long, the government will be setting up a caretaker arrangement, but the government moves with due deliberation."

  'Then I may not see you again," said Luis.

  "I took a couple of days to drive to Roncesvalles," said Boyd. 'That's the place where the Gascons slaughtered Charlemagne's rearguard in 778."

  "I've heard of the place," said Luis.

  "I'd always wanted to see it. Never had the time. The Charlemagne chapel is in ruins, but I am told masses are still said in the village chapel for the dead paladins. When I returned from the trip, I couldn't resist the urge to see the cave again."

  "I am glad of that," said Luis. "May I be impertinent?"

  'You're never impertinent," said Boyd.

  "Before you go, could we break bread once more together? Tonight, perhaps, I'll prepare an omelet."

  Boyd hesitated, gagging down a suggestion that Luis dine with him. Then he said, "I'd be delighted, Luis. I'll bring a bottle of good wine."

  Holding the flashlight centered on the rock wall, Boyd bent to examine the rock more closely. He had not imagined it; he had been right. Here, in this particular spot, the rock was not solid. It was broken into several pieces, but with the several pieces flush with the rest of the wall. Only by chance could the break have been spotted. Had he not been looking directly at it, watching for it as he swept the light across the wall, he would have missed it. It was strange, he thought, that someone else, during the time they had been working in the cave, had not found it. There'd not been much that they'd missed.

  He held his breath, feeling a little foolish at the holding of it, for, after all, it might mean nothing. Frost cracks, perhaps, although he knew that he was wrong. It would be unusual to find frost cracks here.

  He took the hammer out of his belt and, holding the flashlight in one hand, trained on the spot, he forced the chisel end of the hammer into one of the cracks. The edge went in easily. He pried gently and the crack widened. Under more pressure, the piece of rock moved out. He laid down the hammer and flash, seized the slab of rock and pulled it free. Beneath it were two other slabs and they both came free as easily as the first. There were others as well and he also took them out. Kneeling on the floor of the cave, he directed the light into the fissure that he had uncovered.

  Big enough for a man to crawl into, but at the prospect he remained for the moment undecided. Alone, he'd be taking a chance to do it. If something happened, if he should get stuck, if a fragment of rock should shift and pin him or fall upon him, there'd be no rescue. Or probably no rescue in time to save him. Luis would come back to the camp and wait for him, but should he fail to make an appearance, Luis more than likely would take it as a rebuke for impertinence or an American's callous disregard of him. It would never occur to him that Boyd might be trapped in the cave.

  Still, it was his last chance. Tomorrow he'd have to drive to Paris to catch his plane. And this whole thing was intriguing; it was not something to be ignored. The fissure must have some significance; otherwise, why should it have been walled up so carefully? Who, he wondered, would have walled it up? No one, certainly, in recent times. Anyone, finding the hidden entrance to the cave, almost immediately would have seen the paintings and would have spread the word. So the entrance to the fissure must have been blocked by one who would have been unfamiliar with the significance of the paintings or by one to whom they could have been commonplace.

  It was something, he decided, that could not be passed up. He would have to go in. He secured the hammer to his belt, picked up the flashlight and began to crawl.

  The fissure ran straight and easy for a hundred feet or more. It offered barely room enough for crawling, but other than that, no great difficulties. Then, without warning, it came to an end. Boyd lay in it, directing the flash beam ahead of him, staring in consternation at the smooth wall of rock that came down to cut the fissure off.

  It made no sense. Why should someone go to the trouble of walling off an empty fissure? He could have missed something on the way, but thinking of it, he was fairly sure he hadn't. His progress had been slow and he had kept the flash directed ahead of him every inch of the way. Certainly if there had been anything out of the ordinary, he would have seen it.

  Then a thought came to him and slowly, with some effort, he began to turn himself around, so that his back rather than his front, lay on the fissure floor. Directing the beam upward, he had his answer. In the roof of the fissure gaped a hole.

  Cautiously, he raised himself into a sitting position. Reaching up, he found handholds on the projecting rock and pulled himself erect. Swinging the flash around, he saw that the hole opened, not into another fissure, but into a bubble like cavity small, no more than six feet in any dimension. The walls and ceiling of the cavity were smooth, as if a bubble of plastic rock had existed here for a moment at some time in the distant geologic past when the mountains had been heaving upward leaving behind it as it drained away a bubble forever frozen into smooth and solid stone.

  As he swung the flash across the bubble, he gasped in astonishment. Colorful animals capered around the entire expanse of stone. Bison played leapfrog. Horses cantered in a chorus line. Mammoths turned somersaults. All around the bottom perimeter, just above the floor, dancing deer, standing on their hind legs, joined hands and jigged, antlers swaying gracefully.

  "For the love of Christ!" said Boyd.

  Here was Stone Age Disney.

  If it was the Stone Age. Could some jokester have crawled into the area in fairly recent times to paint the animals in this grotto? Thinking it over, he rejected the idea. So far as he had been able to ascertain, no one in the valley, nor in the entire region, for that matter, had known of the cave until a shepherd had found it several years before when a lamb had blundered into it. The entrance was small and apparently for centuries had been masked by a heavy growth of brush and bracken.

  Too, the execution of the paintings had a prehistoric touch to them. Perspective played but a small part. The paintings had that curious flat look that distinguished most prehistoric art. There was no background no horizon line, no trees, no grass or flowers, no clouds, no sense of sky. Although, he reminded himself, anyone who had any knowledge of cave painting probably would have been aware of all these factors and worked to duplicate them.

  Yet, despite the noncharacteristic antics of the painted animals, the pictures did have the feeling of cave art. What ancient man, Boyd asked himself, what kind of ancient man, would have painted gamboling bison and tumbling mammoths? While the situation did not hold in all cave art, all the paintings in this particular cave were deadly serious conservative as to form and with a forthright, honest attempt to portray the animals as the artists had seen them. There was no frivolity, not even the imprint of paint-smeared human hands as so often happened in other caves. The men who had worked in this cave had not as yet been corrupted by the symbolism that had crept in, apparently rather late in the prehistoric painting cycle.

  So who had been this clown who had crept off by himself in this hidden cavern to paint his comic animals? That he had been an accomplished painter there could be no doubt. This artist's techniques and executions were without flaw.

  Boyd hauled himself up through the hole, slid out onto the two-foot ledge that ran all around the hole, crouching, for there was no room to stand. Much of the painting, he realized, must have been done with the artist lying flat upon his back, reaching up to the work on the curving ceiling.

  He swept the beam of the flashlight along the ledge. Halfway around, he halted the light and jiggled it back and forth to focus upon something that was placed upon the ledge, something that undoubtedly had been left by the artist when he had finished his work and gone away.

  Leaning forward, Boyd squinted to make out what it was. It looked like the shoulder blade of a deer; beside the shoulder blade lay a lump of stone.

  Cautiously, he edged his way around the ledge. He had been right. It was the shoulder blade of a deer. Upon the flat surface of it lay a lumpy substance. Paint? he wondered, the mixture of animal fat and mineral earths the prehistoric artists used as paints? He focused the flash closer and there was no doubt. It was paint, spread over the surface of the bone which had served as a palette, with some of the paint lying in thicker lumps ready for use, but never used, paint dried and mummified and bearing imprints of some sort. He leaned close, bringing his face down to within a few inches of the paint, shining the light upon the surface. The imprints, he saw, were fingerprints, some of them sunk deep the signature of that ancient, long-dead man who had worked here, crouching even as Boyd now crouched, shoulders hunched against the curving stone. He put out his hand to touch the palette, then pulled it back. Symbolic, yes, this move to touch, this reaching out to touch the man who painted but symbolic only; a gesture with too many centuries between.

  He shifted the flashlight beam to the small block of stone that lay beside the shoulder blade. A lamp hollowed-out sandstone, a hollow to hold the fat and the chunk of moss that served as a wick. The fat and wick were long since gone, but a thin film of soot still remained around the rim of the hollow that had held them.

  Finishing his work, the artist had left his tools behind him, had even left the lamp, perhaps still guttering, with the fat almost finished had left it here and let himself down into the fissure, crawling it in darkness. To him, perhaps, there was no need of light. He could crawl the tunnel by touch and familiarity. He must have crawled the route many times, for the work upon these walls had taken long, perhaps many days.

  So he had left, crawling through the fissure, using the blocks of stone to close the opening to the fissure, then had walked away, scrambling down the slope to the valley where grazing herds had lifted their heads to watch him, then had gone back to grazing.

  But when had this all happened? Probably, Boyd told himself, after the cave itself had been painted, perhaps even after the paintings in the cave had lost much of whatever significance they originally would have held one lone man coming back to paint his secret animals in his secret place. Painting them as a mockery of the pompous, magical importance of the main cave paintings? Or as a protest against the stuffy conservatism of the original paintings? Or simply as a bubbling chuckle, an exuberance of life, perhaps even a joyous rebellion against the grimness and the simplemindedness of the hunting magic? A rebel, he thought, a prehistoric rebel an intellectual rebel? Or, perhaps, simply a man with a viewpoint slightly skewed from the philosophy of his time?

  But this was that other man, that ancient man. Now how about himself? Having found the grotto, what did he do next? What would be the best way to handle it? Certainly he could not turn his back upon it and walk away, as the artist, leaving his palette and his lamp behind him, had walked away. For this was an important discovery. There could be no question of that. Here was a new and unsuspected approach to the prehistoric mind, a facet of ancient thinking that never had been guessed.

 

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233