Paul arrived at lathe group three, the troublemaker he had come to see. He had been agitating a long time for permission to junk the group, without much luck. The lathes were of the old type, built originally to be controlled by men, and adapted during the war, clumsily, to the new techniques. The accuracy was going out of them, and, as the meter in Katharine's office had pointed out, rejects were showing up in quantity. Paul was willing to bet that the lathe group was ten per cent as wasteful as it had been in the days of human control and mountainous scrap heaps.
The group, five ranks of ten machines each, swept their tools in unison across steel bars, kicked out finished shafts onto continuous belts, stopped while raw bars dropped between their chucks and tailstocks, clamped down, and swept their tools across the bars, kicked out the finished shafts onto ...
Paul unlocked the box containing the tape recording that controlled them all. The tape was a small loop that fed continuously between magnetic pickups. On it were recorded the movements of a master machinist turning out a shaft for a fractional horsepower motor. Paul counted back--eleven, twelve, thirteen years ago, he'd been in on the making of the tape, the master from which this one had been made....
He and Finnerty and Shepherd, with the ink hardly dry on their doctorates, had been sent to one of the machine shops to make the recording. The foreman had pointed out his best man--what was his name?--and, joking with the puzzled machinist, the three bright young men had hooked up the recording apparatus to the lathe controls. Hertz! That had been the machinist's name--Rudy Hertz, an old-timer, who had been about ready to retire. Paul remembered the name now, and remembered the deference the old man had shown the bright young men.
Afterward, they'd got Rudy's foreman to let him off, and, in a boisterous, whimsical spirit of industrial democracy, they'd taken him across the street for a beer. Rudy hadn't understood quite what the recording instruments were all about, but what he had understood, he'd liked: that he, out of thousands of machinists, had been chosen to have his motions immortalized on tape.
And here, now, this little loop in the box before Paul, here was Rudy as Rudy had been to his machine that afternoon--Rudy, the turner-on of power, the setter of speeds, the controller of the cutting tool. This was the essence of Rudy as far as his machine was concerned, as far as the economy was concerned, as far as the war effort had been concerned. The tape was the essence distilled from the small, polite man with the big hands and black fingernails; from the man who thought the world could be saved if everyone read a verse from the Bible every night; from the man who adored a collie for want of children; from the man who ... What else had Rudy said that afternoon? Paul supposed the old man was dead now--or in his second childhood in Homestead.
Now, by switching in lathes on a master panel and feeding them signals from the tape, Paul could make the essence of Rudy Hertz produce one, ten, a hundred, or a thousand of the shafts.
Paul closed the box's door. The tape seemed in good condition, and so were the pickups. Everything, in fact, was as ship-shape as could be expected, considering the antiquity of the machines. There were just going to have to be rejects, and that was that. The whole group belonged in a museum, not a production setup. Even the box was archaic--a vaultlike affair bolted to the floor, with a steel door and lock. At the time of the riots, right after the war, the master tapes had all been locked up in this way. Now, with the antisabotage laws as rigidly enforced as they were, the only protection the controls needed was from dust, cockroaches, and mice.
At the door, in the old part of the building once more, Paul paused for a moment to listen to the music of Building 58. He had had it in the back of his mind for years to get a composer to do something with it--the Building 58 Suite. It was wild and Latin music, hectic rhythms, fading in and out of phase, kaleidoscopic sound. He tried to separate and identify the themes. There! The lathe groups, the tenors: "Fur-razz-ow-ow-ow-ow-ow-ak! ting! Furr-azz-ow-ow ..." The welders, the baritones: "Vaaaaaaa-zuzip! Vaaaaaaa-zuzip!" And, with the basement as a resonating chamber, the punch presses, the basses: "Aw-grumph! tonka-tonka. Aw-grump! tonka-tonka ..." It was exciting music, and Paul, flushed, his vague anxieties gone, gave himself over to it.
Out of the corner of his eye, a crazy, spinning movement caught his fancy, and he turned in his delight to watch a cluster of miniature maypoles braid bright cloth insulation about a black snake of cable. A thousand little dancers whirled about one another at incredible speeds, pirouetting, dodging one another, unerringly building their snug snare about the cable. Paul laughed at the wonderful machines, and had to look away to keep from getting dizzy. In the old days, when women had watched over the machines, some of the more simple-hearted had been found sitting rigidly at their posts, staring, long after quitting time.
His gaze fell upon an asymmetrical heart scratched into the old brick, and in its center, "K.L.-M.W.", and the date, "1931." K.L. and M.W. had taken a liking to one another, then, in the same year that Edison had died. Paul thought again of the fun of showing the old man around Building 58, and suddenly realized that most of the machinery would be old stuff, even to Edison. The braiders, the welders, the punch presses, the lathes, the conveyers--everything in sight, almost, had been around in Edison's time. The basic parts of the automatic controls, too, and the electric eyes and other elements that did and did better what human senses had once done for industry--all were familiar enough in scientific circles even in the nineteen-twenties. All that was new was the combination of these elements. Paul reminded himself to bring that out in his talk at the Country Club that night.
The cat arched her back and clawed at Paul's suit again. The sweeper was snuffling down the aisle toward them once more. It sounded its warning buzzer, and Paul stepped out of its path. The cat hissed and spat, suddenly raked Paul's hand with her claws, and jumped. With a bouncing, stiff-legged gait, she fled before the sweeper. Snatching, flashing, crashing, shrieking machines kept her in the middle of the aisle, yards ahead of the sweeper's whooshing brooms. Paul looked frantically for the switch that would stop the sweeper, but before he found it, the cat made a stand. She faced the on-coming sweeper, her needle-like teeth bared, the tip of her tail snapping back and forth. The flash of a welder went off inches from her eyes, and the sweeper gobbled her up and hurled her squalling and scratching into its galvanized tin belly.
Winded after a quarter-mile run through the length of the building, Paul caught the sweeper just as it reached a chute. It gagged, and spat the cat down the chute and into a freight car outside. When Paul got outside, the cat had scrambled up the side of the freight car, tumbled to the ground, and was desperately clawing her way up a fence.
"No, kitty, no!" cried Paul.
The cat hit the alarm wire on the fence, and sirens screamed from the gate house. In the next second the cat hit the charged wires atop the fence. A pop, a green flash, and the cat sailed high over the top strand as though thrown. She dropped to the asphalt--dead and smoking, but outside.
An armored car, its turret nervously jerking its brace of machine guns this way and that, grumbled to a stop by the small corpse. The turret hatch clanged open, and a plant guard cautiously raised his head. "Everything all right, sir?"
"Turn off the sirens. Nothing but a cat on the fence." Paul knelt, and looked at the cat through the mesh of the fence, frightfully upset. "Pick up the cat and take her to my office."
"Beg your pardon, sir?"
"The cat--I want her taken to my office."
"She's dead, sir."
"You heard me."
"Yessir."
Paul was in the depths again as he climbed into his car in front of Building 58. There was nothing in sight to divert him, nothing but asphalt, a perspective of blank, numbered facades, and wisps of cold cirrus clouds in a strip of blue sky. Paul glimpsed the only life visible through a narrow canyon between Buildings 57 and 59, a canyon that opened onto the river and revealed a bank of gray porches in Homestead. On the topmost porch an old man rocked in
a patch of sunlight. A child leaned over the railing and launched a square of paper in a lazy, oscillating course to the river's edge. The youngster looked up from the paper to meet Paul's gaze. The old man stopped rocking and looked, too, at the curiosity, a living thing in the Ilium Works.
As Paul passed Katharine Finch's desk on his way into his office, she held out his typewritten speech. "That's very good, what you said about the Second Industrial Revolution," she said.
"Old, old stuff."
"It seemed very fresh to me--I mean that part where you say how the First Industrial Revolution devalued muscle work, then the second one devalued routine mental work. I was fascinated."
"Norbert Wiener, a mathematician, said all that way back in the nineteen-forties. It's fresh to you because you're too young to know anything but the way things are now."
"Actually, it is kind of incredible that things were ever any other way, isn't it? It was so ridiculous to have people stuck in one place all day, just using their senses, then a reflex, using their senses, then a reflex, and not really thinking at all."
"Expensive," said Paul, "and about as reliable as a putty ruler. You can imagine what the scrap heap looked like, and what hell it was to be a service manager in those days. Hangovers, family squabbles, resentments against the boss, debts, the war--every kind of human trouble was likely to show up in a product one way or another." He smiled. "And happiness, too. I can remember when we had to allow for holidays, especially around Christmas. There wasn't anything to do but take it. The reject rate would start climbing around the fifth of December, and up and up it'd go until Christmas. Then the holiday, then a horrible reject rate; then New Year's, then a ghastly reject level. Then things would taper down to normal--which was plenty bad enough--by January fifteenth or so. We used to have to figure in things like that in pricing a product."
"Do you suppose there'll be a Third Industrial Revolution?"
Paul paused in his office doorway. "A third one? What would that be like?"
"I don't know exactly. The first and second ones must have been sort of inconceivable at one time."
"To the people who were going to be replaced by machines, maybe. A third one, eh? In a way, I guess the third one's been going on for some time, if you mean thinking machines. That would be the third revolution, I guess--machines that devaluate human thinking. Some of the big computers like EPICAC do that all right, in specialized fields."
"Uh-huh," said Katharine thoughtfully. She rattled a pencil between her teeth. "First the muscle work, then the routine work, then, maybe, the real brainwork."
"I hope I'm not around long enough to see that final step. Speaking of industrial revolutions, where's Bud?"
"A barge was coming in, so he had to get back to work. He left this for you." She handed him a crumpled laundry slip with Bud's name on it.
Paul turned the slip over and found, as he had expected, a circuit diagram for a mouse detector and alarm system that might very well work. "Astonishing mind, Katharine."
She nodded uncertainly.
Paul closed his door, locked it silently, and got a bottle from under papers in a bottom drawer. He blacked out for an instant under the gloriously hot impact of a gulp of whisky. He hid the bottle again, his eyes watering.
"Doctor Proteus, your wife is on the phone," said Katharine on the intercom.
"Proteus speaking." He started to sit, and was distressed to find a small wicker basket in his chair, containing a dead black cat.
"This is me, darling, Anita."
"Hello, hello, hello." He set the basket on the floor gently, and sank into his chair. "How are you, sweetheart?" he said absently. His mind was still on the cat.
"All set to have a good time tonight?" It was a theatrical contralto, knowing and passionate: Ilium's Lady of the Manor speaking.
"Been jumpy all day about the talk."
"Then you'll do it brilliantly, darling. You'll get to Pittsburgh yet. I haven't the slightest doubt about that, Paul, not the slightest. Just wait until Kroner and Baer hear you tonight."
"Kroner and Baer accepted, did they?" These two were manager and chief engineer, respectively, of the entire Eastern Division, of which the Ilium Works was one small part. It was Kroner and Baer who would decide who was to get the most important job in their division, a job left vacant two weeks ago by death--the managership of the Pittsburgh Works. "How gay can a party get?"
"Well, if you don't like that, I have some news you will like. There's going to be another very special guest."
"Hi ho."
"And you have to go to Homestead for some Irish whisky for him. The club hasn't got any."
"Finnerty! Ed Finnerty!"
"Yes, Finnerty. He called this afternoon and was very specific about your getting some Irish for him. He's on his way from Washington to Chicago, and he's going to stop off here."
"How long has it been, Anita? Five, six years?"
"Not since before you got to be manager. That long." She was hale, enthusiastic about Finnerty's coming. It annoyed Paul, because he knew very well that she didn't care for Finnerty. She was crowing, not because she was fond of Finnerty but because she enjoyed the ritual attitudes of friendships, of which she had none. Also, since he'd left Ilium, Ed Finnerty had become a man of consequence, a member of the National Industrial Planning Board; and this fact no doubt dulled her recollections of contretemps with Finnerty in the past.
"You're right about that being good news, Anita. It's wonderful. Takes the edge off Kroner and Baer."
"Now, you're going to be nice to them, too."
"Oh yes. Pittsburgh, here we come."
"If I tell you something for your own good, promise not to get mad?"
"No."
"All right, I'll tell you anyway. Amy Halporn said this morning she'd heard something about you and Pittsburgh. Her husband was with Kroner today, and Kroner had the impression that you didn't want to go to Pittsburgh."
"How does he want me to tell him--in Esperanto? I've told him I wanted the job a dozen different ways in English."
"Apparently Kroner doesn't feel you really mean it. You've been too subtle and modest, darling."
"Kroner's a bright one, all right."
"How do you mean?"
"I mean he's got more insight into me than I do."
"You mean you don't want the Pittsburgh job?"
"I'm not sure. He apparently knew that before I did."
"You're tired, darling."
"I guess."
"You need a drink. Come home early."
"All right."
"I love you, Paul."
"I love you, Anita. Goodbye."
Anita had the mechanics of marriage down pat, even to the subtlest conventions. If her approach was disturbingly rational, systematic, she was thorough enough to turn out a creditable counterfeit of warmth. Paul could only suspect that her feelings were shallow--and perhaps that suspicion was part of what he was beginning to think of as his sickness.
His head was down, his eyes closed, when he hung up. When he opened his eyes, he was looking at the dead cat in the basket.
"Katharine!"
"Yessir."
"Will you have somebody bury this cat."
"We wondered what you wanted to do with it."
"God knows what I had in mind." He looked at the corpse and shook his head. "God knows. Maybe a Christian burial; maybe I hoped she'd come around. Get rid of it right away, would you?"
He stopped by Katharine's desk on his way home and told her not to worry about the glowing jewel on the seventh meter from the bottom, fifth row from the left, on the east wall.
"Beyond help," he said. Lathe group three, Building 58, had been good in its day, but was showing wear and becoming a misfit in the slick, streamlined setup, where there was no place for erratic behavior. "Basically, it wasn't built for the job it's doing anyway. I look for the buzzer to go off any day now, and that'll be the end."
In each meter box, in addition to the instru
ment, the jewel, and the warning lamp, was a buzzer. The buzzer was the signal for a unit's complete breakdown.
2
THE SHAH OF BRATPUHR, spiritual leader of 6,000,000 members of the Kolhouri sect, wizened and wise and dark as cocoa, encrusted with gold brocade and constellations of twinkling gems, sank deep into the royal-blue cushions of the limousine--like a priceless brooch in its gift box.
On the other side of the limousine's rear seat sat Doctor Ewing J. Halyard, of the United States Department of State, a heavy, florid, urbane gentleman of forty. He wore a flowing sandy mustache, a colored shirt, a boutonniere, and a waistcoat contrasting with his dark suit, and wore them with such poise that one was sure he'd just come from a distinguished company where everyone dressed in this manner. The fact was that only Doctor Halyard did. And he got away with it beautifully.
Between them, nervous, grinning, young, and forever apologetic for his own lack of eclat or power, was Khashdrahr Miasma, the interpreter, and nephew of the Shah, who had learned English from a tutor, but had never before been outside of the Shah's palace.
"Khabu?" said the Shah in his high, frail voice.
Halyard had been with the Shah for three days now and was able to understand, without Khashdrahr's help, five of the Shah's expressions. "Khabu" meant "where?" "Siki" meant "what?" "Akka sahn" meant "why?" "Brahous brahouna, houna saki" was a combination of blessing and thanks, and Sumklish was the sacred Kolhouri drink which Khashdrahr carried in a hip flask for the Shah.
The Shah had left his military and spiritual fastness in the mountains to see what he could learn in the most powerful nation on earth for the good of his people. Doctor Halyard was his guide and host.
"Khabu?" said the Shah again, peering out at the city.
"The Shah wishes to know, please, where we are now," said Khashdrahr.
"I know," said Halyard, smiling wanly. It had been khabu and siki and akka sahn until he was half out of his mind. He leaned forward. "Ilium, New York, your highness. We are about to cross the Iroquois River, which divides the town in two. Over there on the opposite bank is the Ilium Works."
The limousine came to a halt by the end of the bridge, where a large work crew was filling a small chuckhole. The crew had opened a lane for an old Plymouth with a broken headlight, which was coming through from the north side of the river. The limousine waited for the Plymouth to get through, and then proceeded.