He had kept her right hand in his left hand. Now he released her suddenly. He stood up.
"Let's work first. Eat later. Someone is near us."
He walked briskly over to the little dog-girl, who was still seated on the chair looking at the mandala with open, sleeping eyes. He took her head firmly and gently between his two hands and turned her eyes away from the design. She struggled momentarily against his hands and then seemed to wake up fully.
She smiled. "That was nice. I rested. How long was it—five minutes?"
"More than that," said the Hunter gently. "I want you to take Elaine's hand."
A few hours ago, and Elaine would have protested at the grotesquerie of holding hands with an underperson. This time, she said nothing, but obeyed: she looked with much love toward the Hunter.
"You two don't have to know much," said the Hunter. "You, D'joan, are going to get everything that is in our minds and in our memories. You will become us, both of us. Forevermore. You will meet your glorious fate."
The little girl shivered. "Is this really the day?"
"It is," said the Hunter. "Future ages will remember this night."
"And you, Elaine," said he to her, "have nothing to do but to love me and to stand very still. Do you understand? You will see tremendous things, some of them frightening. But they won't be real. Just stand still."
Elaine nodded wordlessly.
"In the name," said the Hunter, "of The First Forgotten One, in the name of the Second Forgotten One, in the name of the Third Forgotten One. For the love of people, that will give them life. For the love that will give them a clean death and true . . ." His words were clear but Elaine could not understand them.
The day of days was here.
She knew it.
She did not know how she knew it, but she did.
The Lady Panc Ashash crawled up through the solid floor, wearing her friendly robot body. She came near to Elaine and murmured:
"Have no fear, no fear."
Fear? thought Elaine. This is no time for fear. It is much too interesting.
As if to answer Elaine, a clear, strong, masculine voice spoke out of nowhere:
This is the time for the daring sharing.
When these words were spoken, it was as if a bubble had been pricked. Elaine felt her personality and D'joan's mingling. With ordinary telepathy, it would have been frightening. But this was not communication. It was being.
She had become Joan. She felt the clean little body in its tidy clothes. She became aware of the girl-shape again. It was oddly pleasant and familiar, in terribly faraway kinds of feeling, to remember that she had had that shape once—the smooth, innocent flat chest; the uncomplicated groin; the fingers which still felt as though they were separate and alive in extending from the palm of the hand. But the mind—that child's mind! It was like an enormous museum illuminated by rich stained-glass windows, cluttered with variegated heaps of beauty and treasure, scented by strange incense which moved slowly in unpropelled air. D'joan had a mind which reached all the way back to the color and glory of man's antiquity. D'joan had been a Lord of the Instrumentality, a monkey-man riding the ships of space, a friend of the dear dead Lady Panc Ashash, and Panc Ashash herself.
No wonder the child was rich and strange: she had been made the heir of all the ages.
This is the time for the glaring top of the truth at the wearing sharing, said the nameless, clear, loud voice in her mind. This is the time for you and him.
Elaine realized that she was responding to hypnotic suggestions which the Lady Panc Ashash had put into the mind of the little dog-girl—suggestions which were triggered into full potency the moment that the three of them came into telepathic contact.
For a fraction of a second, she perceived nothing but astonishment within herself. She saw nothing but herself—every detail, every secrecy, every thought and feeling and contour of flesh. She was curiously aware of how her breasts hung from her chest, the tension of her belly-muscles holding her female backbone straight and erect—
Female backbone?
Why had she thought that she had a female backbone?
And then she knew.
She was following the Hunter's mind as his awareness rushed through her body, drank it up, enjoyed it, loved it all over again, this time from the inside out.
She knew somehow that the little dog-girl watched everything quietly, wordlessly, drinking in from them both the full nuance of being truly human.
Even with the delirium, she sensed embarrassment. It might be a dream, but it was still too much. She began to close her mind and the thought had come to her that she should take her hands away from the hands of Hunter and the dog-child.
But then fire came . . .
6
Fire came up from the floor, burning about them intangibly. Elaine felt nothing . . . but she could sense the touch of the little girl's hand.
Flames around the dames, games, said an idiot voice from nowhere.
Fire around the pyre, sire, said another.
Hot is what we got, tot, said a third.
Suddenly Elaine remembered Earth, but it was not the Earth she knew. She was herself D'joan, and not D'joan. She was a tall, strong monkey-man, indistinguishable from a true human being. She/he had tremendous alertness in her/his heart as she/he walked across the Peace Square at An-fang, the Old Square at An-fang, where all things begin. She/he noticed a discrepancy. Some of the buildings were not there.
The real Elaine thought to herself, "So that's what they did with the child—printed her with the memories of other underpeople. Other ones, who dared things and went places."
The fire stopped.
Elaine saw the black-and-gold room clean and untroubled for a moment before the green white-topped ocean rushed in. The water poured over the three of them without getting them wet in the least. The greenness washed around them without pressure, without suffocation.
Elaine was the Hunter. Enormous dragons floated in the sky above Fomalhaut III. She felt herself wandering across a hill, singing with love and yearning. She had the Hunter's own mind, his own memory. The dragon sensed him, and flew down. The enormous reptilian wings were more beautiful than a sunset, more delicate than orchids. Their beat in the air was as gentle as the breath of a baby. She was not only Hunter but dragon too; she felt the minds meeting and the dragon dying in bliss, in joy.
Somehow the water was gone. So too were D'joan and the Hunter. She was not in the room. She was taut, tired, worried Elaine, looking down a nameless street for hopeless destinations. She had to do things which could never be done. The wrong me, the wrong time, the wrong place—and I'm alone, I'm alone, I'm alone, her mind screamed. The room was back again; so too were the hands of the Hunter and the little girl.
Mist began rising—
Another dream? thought Elaine. Aren't we done?
But there was another voice somewhere, a voice which grated like the rasp of a saw cutting through bone, like the grind of a broken machine still working at ruinous top speed. It was an evil voice, a terror-filling voice.
Perhaps this really was the "death" which the tunnel underpeople had mistaken her for.
The Hunter's hand released hers. She let go of D'joan.
There was a strange woman in the room. She wore the baldric of authority and the leotards of a traveler.
Elaine stared at her.
"You'll be punished," said the terrible voice, which now was coming out of the woman.
"Wh—wh—what?" stammered Elaine.
"You're conditioning an underperson without authority. I don't know who you are, but the Hunter should know better. The animal will have to die, of course," said the woman, looking at little D'joan.
Hunter muttered, half in greeting to the stranger, half in explanation to Elaine, as though he did not know what else to say:
"Lady Arabella Underwood."
Elaine could not bow to her, though she wanted to.
The surprise came from the li
ttle dog girl.
I am your sister Joan, she said, and no animal to you.
The Lady Arabella seemed to have trouble hearing. (Elaine herself could not tell whether she was hearing spoken words or taking the message with her mind.)
I am Joan and I love you.
The Lady Arabella shook herself as though water had splashed on her. "Of course you're Joan. You love me. And I love you."
People and underpeople meet on the terms of love.
"Love. Love, of course. You're a good little girl. And so right." You will forget me, said Joan, until we meet and love again.
"Yes, darling. Good-by for now."
At last D'joan did use words. She spoke to the Hunter and Elaine, saying, "It is finished. I know who I am and what I must do. Elaine had better come with me. We will see you soon, Hunter—if we live."
Elaine looked at the Lady Arabella, who stood stock still, staring like a blind woman. The Hunter nodded at Elaine with his wise, kind, rueful smile.
The little girl led Elaine down, down, down to the door which led back to the tunnel of Englok. Just as they went through the brass door, Elaine heard the voice of the Lady Arabella say to the Hunter:
"What are you doing here all by yourself? The room smells funny. Have you had animals here? Have you killed something?"
"Yes, Ma'am," said the Hunter as D'joan and Elaine stepped through the door.
"What?" cried the Lady Arabella.
Hunter must have raised his voice to a point of penetrating emphasis because he wanted the other two to hear him, too:
"I have killed, Ma'am," he said, "as always—with love. This time it was a system."
They slipped through the door while the Lady Arabella's protesting voice, heavy with authority and inquiry, was still sweeping against the Hunter.
Joan led. Her body was the body of a pretty child, but her personality was the full awakening of all the underpeople who had been imprinted on her. Elaine could not understand it, because Joan was still the little dog-girl, but Joan was now also Elaine, also Hunter. There was no doubt about their movement; the child, no longer an undergirl, led the way and Elaine, human or not, followed.
The door closed behind them. They were back in the Brown and Yellow Corridor. Most of the underpeople were awaiting them. Dozens stared at them. The heavy animal-human smells of the old tunnel rolled against them like thick, slow waves. Elaine felt the beginning of a headache at her temples, but she was much too alert to care.
For a moment, D'joan and Elaine confronted the underpeople.
Most of you have seen paintings or theatricals based upon this scene. The most famous of all is, beyond doubt, the fantastic "one-line drawing" of San Shigonanda—the board of the background almost uniformly gray, with a hint of brown and yellow on the left, a hint of black and red on the right, and in the center the strange white line, almost a smear of paint, which somehow suggests the bewildered girl Elaine and the doom-blessed child Joan.
Charley-is-my-darling was, of course, the first to find his voice. (Elaine did not notice him as a goat-man any more. He seemed an earnest, friendly man of middle age, fighting poor health and an uncertain life with great courage. She now found his smile persuasive and charming. Why, thought Elaine, didn't I see him that way before? Have I changed?)
Charley-is-my-darling had spoken before Elaine found her wits. "He did it. Are you D'joan?"
"Am I D'joan?" said the child, asking the crowd of deformed, weird people in the tunnel. "Do you think I am D'joan?"
"No! No! You are the lady who was promised—you are the bridge-to-man," cried a tall yellow-haired old woman, whom Elaine could not remember seeing before. The woman flung herself to her knees in front of the child, and tried to get D'joan's hand. The child held her hands away, quietly, but firmly, so the woman buried her face in the child's skirt and wept.
"I am Joan," said the child, "and I am dog no more. You are people now, people, and if you die with me, you will die men. Isn't that better than it has ever been before? And you, Ruthie," said she to the woman at her feet, "stand up and stop crying. Be glad. These are the days that I shall be with you. I know your children were all taken away and killed, Ruthie, and I am sorry. I cannot bring them back. But I give you womanhood. I have even made a person out of Elaine."
"Who are you?" said Charley-is-my-darling. "Who are you?"
"I'm the little girl you put out to live or die an hour ago. But now I am Joan, not D'joan, and I bring you a weapon. You are women. You are men. You are people. You can use the weapon."
"What weapon?" The voice was Crawlie's, from about the third row of spectators.
"Life and life-with," said the child Joan.
"Don't be a fool," said Crawlie. "What's the weapon? Don't give us words. We've had words and death ever since the world of underpeople began. That's what people give us—good words, fine principles, and cold murder, year after year, generation after generation. Don't tell me I'm a person—I'm not. I'm a bison and I know it. An animal fixed up to look like a person. Give me a something to kill with. Let me die fighting."
Little Joan looked incongruous in her young body and short stature, still wearing the little blue smock in which Elaine had first seen her. She commanded the room. She lifted her hand and the buzz of low voices, which had started while Crawlie was yelling, dropped off to silence again.
"Crawlie," she said, in a voice that carried all the way down the hall, "peace be with you in the everlasting now."
Crawlie scowled. She did have the grace to look puzzled at Joan's message to her, but she did not speak.
"Don't talk to me, dear people," said little Joan. "Get used to me first. I bring you life-with. It's more than love. Love's a hard, sad, dirty word, a cold word, an old word. It says too much and it promises too little. I bring you something much bigger than love. If you're alive, you're alive. If you're alive-with, then you know the other life is there too—both of you, any of you, all of you. Don't do anything. Don't grab, don't clench, don't possess. Just be. That's the weapon. There's not a flame or a gun or a poison that can stop it."
"I want to believe you," said Mabel, "but I don't know how to."
"Don't believe me," said little Joan. "Just wait and let things happen. Let me through, good people. I have to sleep for a while. Elaine will watch me while I sleep and when I get up, I will tell you why you are underpeople no longer."
Joan started to move forward—
A wild ululating screech split the corridor.
Everyone looked around to see where it came from.
It was almost like the shriek of a fighting bird, but the sound came from among them.
Elaine saw it first.
Crawlie had a knife and just as the cry ended, she flung herself on Joan.
Child and woman fell on the floor, their dresses a tangle. The large hand rose up twice with the knife, and the second time it came up red.
From the hot shocking burn in her side, Elaine knew that she must herself have taken one of the stabs. She could not tell whether Joan was still living.
The undermen pulled Crawlie off the child.
Crawlie was white with rage. "Words, words, words. She'll kill us all with her words."
A large, fat man, with the muzzle of a bear on the front of an otherwise human-looking head and body, stepped around the man who held Crawlie. He gave her one tremendous slap. She dropped to the floor unconscious. The knife, stained with blood, fell on the old worn carpet. (Elaine thought automatically: restorative for her later; check neck vertebrae; no problem of bleeding.)
For the first time in her life, Elaine functioned as a wholly efficient witch. She helped the people pull the clothing from little Joan. The tiny body, with the heavy purple-dark blood pumping out from just below the rib-cage, looked hurt and fragile. Elaine reached in her left handbag. She had a surgical radar pen. She held it to her eye and looked through the flesh, up and down the wound. The peritoneum was punctured, the liver cut, the upper folds of the large intestine were
perforated in two places. When she saw this, she knew what to do. She brushed the bystanders aside and got to work.
First she glued the cuts from the inside out, starting with the damage to the liver. Each touch of the organic adhesive was preceded by a tiny spray of re-coding powder, designed to reinforce the capacity of the injured organ to restore itself. The probing, pressing, squeezing took eleven minutes. Before it was finished, Joan had awakened, and was murmuring:
"Am I dying?"
"Not at all," said Elaine, "unless these human medicines poison your dog blood."
"Who did it?"
We the Underpeople Page 6
