The Door to Saturn
could be seen that the speck was the Alcyone, which descended till it almost touched the glowing plain. Then this picture disappeared abruptly, to be succeeded by a view of the roof of the Babel-like building on which the Alcyone had been drawn down. Here, with an optical instrument which resembled a periscope, one of the metal-sharded entities was peering at the red vault, which now seemed to become diaphanous, revealing the ether-ship beyond in space.
    “Good Lord!” said Roverton in an awed voice. “That was how they saw us coming. That optical instrument must have been a sort of long-range X-ray apparatus.”
    Even as he spoke, the picture faded. An enormous chamber was now disclosed, in which stood a labyrinthine mechanism of shining cubes and lozenges ramifying from a tall central cone of black, lusterless metal. The roof of the chamber became transparent, revealing the diaphanous vault of the heavens and the vessel itself once more as it still hung in outer ether. A dozen of the globe-headed people were grouped around the mechanism and were adjusting certain of its parts. Then one of them pulled a spiral lever, and a beam of some indescribable color, visible only for a moment, shot upward from the cone until it reached the space-vessel and curved around it like a grappling-hook. Then the Alcyone was seen to descend through a clear shaft in the vault, and was drawn down to the roof of the building in which the cone-mechanism was located.
    “Well, that’s plain enough,” commented Volmar. “He—or it—is showing us how we were captured. The cone-machine must be the generator of some force that is infinitely more powerful than gravitation, though probably akin to it. Amazing—but the pictures themselves are even more astounding, for they must be thought-images rendered visible by the lens-apparatus attached to that creature’s forehead. Who ever dreamed of a moving-picture machine capable of using the mind itself for a film?”
    Other views now succeeded the one of the space-vessel’s capture. They were plainly meant to depict the manner of hospitality which would be shown to the earthlings during their sojourn on the red planet: for the figures of Volmar and his crew were conspicuous in all of them, and were represented in the act of visiting many of the Babelian towers and viewing all sorts of mechanical wonders and marvellous plant or animal forms as they travelled throughout the world with their compulsory hosts. They were afterwards to remember and recognize many of these scenes. In one of them, a prodigious open shaft in the ground was shown, with people ascending and descending by thousands; and the impression was somehow conveyed that the shaft penetrated the entire diameter of the world, perhaps from pole to pole; and that those who sank into it at one end would arise to the surface at the other. Hundreds of titan towers, which apparently took the place of cities on the red world, were also shown; and the realm-wide agricultural fields, botanical gardens of forest-like extent, and breeding-pens of inconceivably monstrous animals, were likewise flashed on the wall together with many interior glimpses of the life led by this unique race.
    Then, in rapid alternation, came another series of scenes that were plainly historical, and which seemed to unfold the chronicles of the red world from remotest time. The beings who were shown in the first of them were not sharded in metal; though they displayed forms that were recognizably similar, with all the features of the globe-headed type, they possessed a more usual integument of hairless animal skin. The world in which they lived was vaulted with a greenish sky, in which the sun Polaris burned like any other solar luminary. It was a fertile and flourishing world; and the long epochs of its evolution, and the evolution of its peoples, were rapidly hinted in brief flashes. Anon, a period of racial and planetary decadence was denoted; the seas dried up, the

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