"It's like a hunger," she said.

"Perhaps we had best conclude this session now."

Their clothing was dry again. A bird began to sing.

"No, wait! Pleasel HI be careful. I want to see more things."

"There is always the next visit," said Render. "But I suppose we can manage one more. Is there something you want very badly to see?"

"Yes. Winter. Snow."

"Okay," smiled the Shaper, "then wrap yourself in that fur-piece...."

The afternoon slipped by rapidly after the departure of his patient. Render was in a good mood. He felt emptied and filled again. He had come through the first trial without suffering any repercussions. He decided that he was going to succeed. His satisfaction was greater than his fear. It was with a sense of exhilaration that he returned to working on his speech.

"... And what is the power to hurt?" he inquired of the microphone.

"We live by pleasure and we live by pain," he answered himself. "Either can frustrate and either can encourage. But while pleasure and pain are rooted in biology, they are conditioned by society: thus are values to be derived. Because of the enormous masses of humanity, hectically changing positions in space every day throughout the cities of the world, there has come into ^ necessary being a series of totally inhuman controls upon •^ these movements. Every day they nibble their way intonew areas—driving our cars, flying our planes, interviewing us, diagnosing our diseases—and 1 cannot even venture a moral judgment upon these intrusions. They have become necessary. Ultimately, they may prove salutary.

"The point I wish to make, however, is that we are often unaware of our own values. We cannot honestly tell what a thing means to us until it is removed from our life-situation. If an object of value ceases to exist, then the psychic energies which were bound up in it are released. We seek after new objects of value in which to invest this—mana, if you like, or libido, if you don't And no one thing which has vanished during the past three or four or five decades was, in itself, massively significant; and no new thing which came into being during that time is massively malicious toward the people it has replaced or the people it in some manner controls. A society, though, is made up of many things, and when these things are changed too rapidly the results are unpredictable. An intense study of mental illness is often quite revealing as to the nature of the stresses in the society where the illness was made. If anxiety-patterns fall into special groups and classes, then something of the discontent of society can be learned from them. Karl Jung pointed out that when consciousness is repeatedly frustrated in a quest for values it will turn its search to the unconscious; failing there, it will proceed to quarry its way into the hypothetical collective unconscious. He noted, in the postwar analyses of ex-Nazis, that the longer they searched for something to erect from the ruins of their lives—having lived through a period of classical iconoclasm, and then seen their new ideals topple as well—the longer they searched, the further back they seemed to reach into the collective unconscious of their people. Their dreams themselves came to take on patterns out of the Teutonic mythos.

"This, in a much less dramatic sense, is happening today. There are historical periods when the group tendency for the mind to turn in upon itself, to turn back, is greater than at other times. We are living in such a period of Quixotism, in the original sense of the term. This is because the power to hurt, in our time, is the power to ignore, to baffle—and it is no longer the exclusive property of human beings—'*A buzz interrupted him then. He switched off the recorder. touched the phone-box.

"Charles Render speaking," he told it.

"This is Paul Charter," lisped the box. "I am headmaster at Dilling."

"Yes?"

The picture cleared. Render saw a man whose eyes were set close together beneath a high forehead. The forehead was heavily creased; the mouth twitched as it spoke.

"Well, 1 want to apologize again for what happened. It was a faulty piece of equipment that caused—"

"Can't you afford proper facilities? Your fees are high enough."

"It was a new piece of equipment. It was a factory defect—"

"Wasn't there anybody in charge of the class?"

"Yes, but—"

"Why didn't he inspect the equipment? Why wasn't he on hand to prevent the fall?"

"He was on hand, but it happened too fast for him to do anything. As for inspecting the equipment for factory defects, that isn't his job. Look, I'm very sorry. I'm quite fond of your boy. I can assure you nothing like this will ever happen again."

"You're right, there. But that's because I'm picking him up tomorrow morning and enrolling him in a school that exercises proper safety precautions."

Render ended the conversation with a flick of his finger. After several minutes had passed he stood and crossed the room to his small wall safe, which was partly masked, though not concealed, by a shelf of books. It took only a moment for him to open it and withdraw a jewel box containing a cheap necklace and a framed photograph of a man resembling himself, though somewhat younger, and a woman whose upswept hair was dark and whose chin was small, and two youngsters between them—the girl holding the baby in her arms and forcing her bright bored smile on ahead. Render always stared for only a few seconds on such occasions, fondling the necklace, and then he shut the box and locked it away again for many months.

Whump! Whump! went the bass. Tchg-tchg-tchga-tchg, the gourds.The gelatins splayed reds, greens, blues, and godawful yellows about the amazing metal dancers.

HUMAN? asked the marquee.

ROBOTS? (immediately below).

COME SEE FOR YOURSELFl (across the bottom, cryptically).

So they did.

Render and Jill were sitting at a microscopic table, thankfully set back against a wall, beneath charcoal caricatures of personalities largely unknown (there being so many personalities among the subcultures of a city of fourteen million people). Nose crinkled with pleasure, Jill stared at the present focal point of this particular subculture, occasionally raising her shoulders to ear level to add emphasis to a silent laugh or a small squeal, because the performers were just too human—the way the ebon robot ran his fingers along the silver robot's forearm as they parted and passed....

Render alternated his attention between Jill and the dancers and a wicked-looking decoction that resembled nothing so much as a small bucket of whiskey sours strewn with seaweed (through which the Kraken might at any moment arise to drag some hapless ship down to its doom).

"Charlie, I think they're really people!"

Render disentangled his gaze from her hair and bouncing earrings.

He studied the dancers down on the floor, somewhat below the table area, surrounded by music.

There could be humans within those metal shells. If so, their dance was a thing of extreme skill. Though the manufacture of sufficiently light alloys was no problem, it would be some trick for a dancer to cavort so freely— and for so long a period of time, and with such effortlessseeming ease—within a head-to-toe suit of armor, without so much as a grate or a click or a clank.

Soundless ...

They glided like two gulls; the larger, the color of polished anthracite, and the other, like a moonbeam falling through a window upon a silk-wrapped manikin.

Even when they touched there was no sound—or if there was, it was wholly masked by the rhythms of the band, Whump-whump! Tchga-tchg!Render took another drink.

Slowly, it turned into an apache-dance. Render checked his watch. Too long for normal entertainers, he decided. They must be robots. As he looked up again the black robot hurled the silver robot perhaps ten feet and turned his back on her.