Isaac Asimov: The Complete Robot

"Did it happen near here?" I asked, anxiously.

"No… Near Cooksville. But, goodness, read about it yourself if you- What happened to Giuseppe?"

I welcomed the diversion. Giuseppe was waiting patiently for me to complete the repaint job. His windshield had been replaced.

After she left, I snatched up the transcript. There was no doubt about it. The doctor reported he had been running and was in a state of totally spent exhaustion. I wondered for how many miles the bus had played with him before the final lunge. The transcript had no notion of anything like that, of course.

They had located the bus and identified it by the tire tracks. The police had it and were trying to trace its ownership.

There was an editorial in the transcript about it. It had been the first traffic fatality in the state for that year and the paper warned strenuously against manual driving after night.

There was no mention of Gellhorn's three thugs and for that, at least, I was grateful. None of our cars had been seduced by the pleasure of the chase into killing.

That was all. I let the paper drop. Gellhorn had been a criminal. His treatment of the bus had been brutal. There was no question in my mind he deserved death. But still I felt a bit queasy over the manner of it.

A month has passed now and I can't get it out of my mind.

My cars talk to one another. I have no doubt about it anymore. It's as though they've gained confidence; as though they're not bothering to keep it secret anymore. Their engines rattle and knock continuously.

And they don't talk among themselves only. They talk to the cars and buses that come into the Farm on business. How long have they been doing that?

They must be understood, too. Gellhorn's bus understood them, for all it hadn't been on the grounds more than an hour. I can close my eyes and bring back that dash along the highway, with our cars flanking the bus on either side, clacking their motors at it till it understood, stopped, let me out, and ran off with Gellhorn.

Did my cars tell him to kill Gellhorn? Or was that his idea?

Can cars have such ideas? The motor designers say no. But they mean under ordinary conditions. Have they foreseen everything!'

Cars get ill-used, you know.

Some of them enter the Farm and observe. They get told things. They find out that cars exist whose motors are never stopped, whom no one ever drives, whose every need is supplied.

Then maybe they go out and tell others. Maybe the word is spreading quickly. Maybe they're going to think that the Farm way should be the way all over the world. They don't understand. You couldn't expect them to understand about legacies and the whims of rich men.

There are millions of automatobiles on Earth, tens of millions. If the thought gets rooted in them that they're slaves; that they should do something about it… If they begin to think the way Gellhorn's bus did…

Maybe it won't be till after my time. And then they'll have to keep a few of us to take care of them, won't they? They wouldn't kill us all.

And maybe they would. Maybe they wouldn't understand about how someone would have to care for them. Maybe they won't wait.

Every morning I wake up and think, Maybe today…

I don't get as much pleasure out of my cars as I used to. Lately, I notice that I'm even beginning to avoid Sally.

Niccolo Mazetti lay stomach down on the rug, chin buried in the palm of one small hand, and listened to the Bard disconsolately. There was even the suspicion of tears in his dark eyes, a luxury an eleven-year-old could allow himself only when alone.

The Bard said, "Once upon a time in the middle of a deep wood, there lived a poor woodcutter and his two motherless daughters, who were each as beautiful as the day is long. The older daughter had long hair as black as a feather from a raven's wing, but the younger daughter had hair as bright and golden as the sunlight of an autumn afternoon.

"Many times while the girls were waiting for their father to come home from his day's work in the wood, the older girl would sit before a mirror and sing-"

What she sang, Niccolo did not hear, for a call sounded from outside the room: "Hey, Nickie."

And Niccolo, his face clearing on the moment, rushed to the window and shouted, "Hey, Paul."

Paul Loeb waved an excited hand. He was thinner than Niccolo and not as tall, for all he was six months older. His face was full of repressed tension which showed itself most clearly in the rapid blinking of his eyelids. "Hey, Nickie, let me in. I've got an idea and a half. Wait till you hear it." He looked rapidly about him as though to check on the possibility of eavesdroppers, but the front yard was quite patently empty. He repeated, in a whisper, "Wait till you hear it."

"All right. I'll open the door."

The Bard continued smoothly, oblivious to the sudden loss of attention on the part of Niccolo. As Paul entered, the Bard was saying. "… Thereupon, the lion said, 'If you will find me the lost egg of the bird which flies over the Ebony Mountain once every ten years, I will-' "

Paul said, "Is that a Bard you're listening to? I didn't know you had one."

Niccolo reddened and the look of unhappiness returned to his face. "Just an old thing I had when I was a kid. It ain't much good." He kicked at the Bard with his foot and caught the somewhat scarred and discolored plastic covering a glancing blow.

The Bard hiccupped as its speaking attachment was jarred out of contact a moment, then it went on: "-for a year and a day until the iron shoes were worn out. The princess stopped at the side of the road…"

Paul said, "Boy, that is an old model," and looked at it critically.

Despite Niccolo's own bitterness against the Bard, he winced at the other's condescending tone. For the moment, he was sorry he had allowed Paul in, at least before he had restored the Bard to its usual resting place in the basement. It was only in the desperation of a dull day and a fruitless discussion with his father that he had resurrected it. And it turned out to be just as stupid as he had expected.

Nickie was a little afraid of Paul anyway, since Paul had special courses at school and everyone said he was going to grow up to be a Computing Engineer.

Not that Niccolo himself was doing badly at school. He got adequate marks in logic, binary manipulations, computing and elementary circuits; all the usual grammar-school subjects. But that was it! They were just the usual subjects and he would grow up to be a control-board guard like everyone else.

Paul, however, knew mysterious things about what he called electronics and theoretical mathematics and programing. Especially programing. Niccolo didn't even try to understand when Paul bubbled over about it.

Paul listened to the Bard for a few minutes and said, "You been using it much?"

"No!" said Niccolo, offended. "I've had it in the basement since before you moved into the neighborhood. I just got it out today-" He lacked an excuse that seemed adequate to himself, so he concluded, "I just got it out."

Paul said, "Is that what it tells you about: woodcutters and princesses and talking animals?"

Niccolo said, "It's terrible. My dad says we can't afford a new one. I said to him this morning-" The memory of the morning's fruitless pleadings brought Niccolo dangerously near tears, which he repressed in a panic. Somehow, he felt that Paul's thin cheeks never felt the stain of tears and that Paul would have only contempt for anyone else less strong than himself.

Niccolo went on, "So I thought I'd try this old thing again, but it's no good."

Paul turned off the Bard, pressed the contact that led to a nearly instantaneous reorientation and recombination of the vocabulary, characters, plot lines and climaxes stored within it. Then he reactivated it.