Амброз Бирс - We, Robots

Then, "Guns!"

The artist, with one boot on, thought to look at his watch, and went to it hopping.

"Half an hour from dawn," he said. "You were right about their attacking, after all…"

The war correspondent came out of the tent, verifying the presence of chocolate in his pocket as he did so. He had to halt for a moment or so until his eyes were toned down to the night a little. "Pitch!" he said. He stood for a space to season his eyes before he felt justified in striking out for a black gap among the adjacent tents. The artist coming out behind him fell over a tent-rope. It was half-past two o’clock in the morning of the darkest night in time, and against a sky of dull black silk the enemy was talking searchlights, a wild jabber of searchlights. "He’s trying to blind our riflemen," said the war correspondent with a flash, and waited for the artist and then set off with a sort of discreet haste again. "Whoa!" he said, presently. "Ditches!"

They stopped.

"It’s the confounded searchlights," said the war correspondent.

They saw lanterns going to and fro, near by, and men falling in to march down to the trenches. They were for following them, and then the artist began to feel his night eyes. "If we scramble this," he said, "and it’s only a drain, there’s a clear run up to the ridge." And that way they took. Lights came and went in the tents behind, as the men turned out, and ever and again they came to broken ground and staggered and stumbled. But in a little while they drew near the crest. Something that sounded like the impact of a very important railway accident happened in the air above them, and the shrapnel bullets seethed about them like a sudden handful of hail. "Right-ho!" said the war correspondent, and soon they judged they had come to the crest and stood in the midst of a world of great darkness and frantic glares, whose principal fact was sound.

Right and left of them and all about them was the uproar, an army-full of magazine fire, at first chaotic and monstrous and then, eked out by little flashes and gleams and suggestions, taking the beginnings of a shape. It looked to the war correspondent as though the enemy must have attacked in line and with his whole force—in which case he was either being or was already annihilated.

"Dawn and the dead," he said, with his instinct for headlines. He said this to himself, but afterwards, by means of shouting, he conveyed an idea to the artist.

"They must have meant it for a surprise," he said.

It was remarkable how the firing kept on. After a time he began to perceive a sort of rhythm in this inferno of noise. It would decline—decline perceptibly, droop towards something that was comparatively a pause—a pause of inquiry. "Aren’t you all dead yet?" this pause seemed to say. The flickering fringe of rifle-flashes would become attenuated and broken, and the whack-bang of the enemy’s big guns two miles away there would come up out of the deeps. Then suddenly, east or west of them, something would startle the rifles to a frantic outbreak again.

The war correspondent taxed his brain for some theory of conflict that would account for this, and was suddenly aware that the artist and he were vividly illuminated. He could see the ridge on which they stood and before them in black outline a file of riflemen hurrying down towards the nearer trenches. It became visible that a light rain was falling, and farther away towards the enemy was a clear space with men—"our men?"—running across it in disorder. He saw one of those men throw up his hands and drop. And something else black and shining loomed up on the edge of the beam-coruscating flashes; and behind it and far away a calm, white eye regarded the world. "Whit, whit, whit," sang something in the air, and then the artist was running for cover, with the war correspondent behind him. Bang came shrapnel, bursting close at hand as it seemed, and our two men were lying flat in a dip in the ground, and the light and everything had gone again, leaving a vast note of interrogation upon the night.

The war correspondent came within bawling range. "What the deuce was it? Shooting our men down!"

"Black," said the artist, "and like a fort. Not two hundred yards from the first trench."

He sought for comparisons in his mind. "Something between a big blockhouse and a giant’s dish-cover," he said.

"And they were running!" said the war correspondent.

" You’d run if a thing like that, with a searchlight to help it, turned up like a prowling nightmare in the middle of the night."

They crawled to what they judged the edge of the dip and lay regarding the unfathomable dark. For a space they could distinguish nothing, and then a sudden convergence of the searchlights of both sides brought the strange thing out again.

In that flickering pallor it had the effect of a large and clumsy black insect, an insect the size of an ironclad cruiser, crawling obliquely to the first line of trenches and firing shots out of portholes in its side. And on its carcass the bullets must have been battering with more than the passionate violence of hail on a roof of tin.

Then in the twinkling of an eye the curtain of the dark had fallen again and the monster had vanished, but the crescendo of musketry marked its approach to the trenches.

They were beginning to talk about the thing to each other, when a flying bullet kicked dirt into the artist’s face, and they, decided abruptly to crawl down into the cover of the trenches. They had got down with an unobtrusive persistence into the second line, before the dawn had grown clear enough for anything to be seen. They found themselves in a crowd of expectant riflemen, all noisily arguing about what would happen next. The enemy’s contrivance had done execution upon the outlying men, it seemed, but they did not believe it would do any more. "Come the day and we’ll capture the lot of them," said a burly soldier.

"Them?" said the war correspondent.

"They say there’s a regular string of ’em, crawling along the front of our lines… Who cares?"

The darkness filtered away so imperceptibly that at no moment could one declare decisively that one could see. The searchlights ceased to sweep hither and thither. The enemy’s monsters were dubious patches of darkness upon the dark, and then no longer dubious, and so they crept out into distinctness. The war correspondent, munching chocolate absent-mindedly, beheld at last a spacious picture of battle under the cheerless sky, whose central focus was an array of fourteen or fifteen huge clumsy shapes lying in perspective on the very edge of the first line of trenches, at intervals of perhaps three hundred yards, and evidently firing down upon the crowded riflemen. They were so close in that the defender’s guns had ceased, and only the first line of trenches was in action.

The second line commanded the first, and as the light grew the war correspondent could make out the riflemen who were fighting these monsters, crouched in knots and crowds behind the transverse banks that crossed the trenches against the eventuality of an enfilade. The trenches close to the big machines were empty save for the crumpled suggestions of dead and wounded men; the defenders had been driven right and left as soon as the prow of this land ironclad had loomed up over the front of the trench. He produced his field-glass, and was immediately a centre of inquiry from the soldiers about him.

They wanted to look, they asked questions, and after he had announced that the men across the traverses seemed unable to advance or retreat, and were crouching under cover rather than fighting, he found it advisable to loan his glasses to a burly and incredulous corporal. He heard a strident voice, and found a lean and sallow soldier at his back talking to the artist.