The voice was talking a language I didn't understand at all that went up and down the scale like atonal music.

"Sounds like Chinese," Pop whispered, giving me a nudge.

"It _is_ Chinese. Mandarin," the screen responded instantly in the purest English--at least that was how I'd describe it. Practically Boston. "Who are you? And where is Grayl? Come in, Grayl."

I knew well enough who Grayl must be--or rather, have been. I looked at Pop and Alice. Pop grinned, maybe a mite feebly this time, I thought, and gave me a look as if to say, "_You_ want to handle it?"

I cleared my throat. Then, "We've taken over for Grayl," I said to the screen.

"Oh." The screen hesitated, just barely. Then, "Do any of 'you' speak Mandarin?"

I hardly bothered to look at Pop and Alice. "No," I said.

"Oh." Again a tiny pause. "Is Grayl aboard the plane?"

"No." I said.

"Oh. Incapacitated in some way, I suppose?"

"Yes," I said, grateful for the screen's tactfulness, unintentional or not.

"But you have taken over for him?" the screen pressed.

"Yes," I said, swallowing. I didn't know what I was getting us into, things were moving too fast, but it seemed the merest sense to act cooperative.

"I'm very glad of that," the screen said with something in its tone that made me feel funny--I guess it was sincerity. Then it said, "Is the--"

and hesitated, and started again with "Are the blocks aboard?"

I thought. Alice pointed at the stuff she dumped out of the other seat.

I said. "There's a box with a thousand or so one-inch underweight steel cubes in it. Like a child's blocks, but with b.u.t.tons in them. Alongside a box with a parachute."

"That's what I mean," the screen said and somehow, maybe because whoever was talking was trying to hide it, I caught a note of great relief.

"Look," the screen said, more rapidly now, "I don't know how much you know, but we may have to work very fast. You aren't going to be able to deliver the steel cubes to us directly. In fact you aren't going to be able to land in Atlantic Highlands at all. We're sieged in by planes and ground forces of Savannah Fortress. All our aircraft, such as haven't been destroyed, are pinned down. You're going to have to parachute the blocks to a point as near as possible to one of our ground parties that's made a sortie. We'll give you a signal. I hope it will be later--nearer here, that is--but it may be sooner. Do you know how to fight the plane you're in? Operate its armament?"

"No," I said, wetting my lip.

"Then that's the first thing I'd best teach you. Anything you see in the haze from now on will be from Savannah. You must shoot it down."

CHAPTER 5

_And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night._

--Dover Beach, _by Matthew Arnold_

I am not going to try to describe point by point all that happened the next half hour because there was too much of it and it involved all three of us, sometimes doing different things at the same time, and although we were told a lot of things, we were seldom if ever told the why of them, and through it all was the constant impression that we were dealing with human beings (I almost left out the "human" and I'm still not absolutely sure whether I shouldn't) of vastly greater scope--and probably intelligence too--than ourselves.

And that was just the _basic_ confusion, to give it a name. After a while the situation got more difficult, as I'll try to tell in due course.

To begin with, it was extremely weird to plunge from a rather leisurely confab about a fairy-tale fellowship of non-practicing murderers into a shooting war between a violet blob and a dark red puddle on a shadowy fluorescent map. The voice didn't throw any great shining lights on this topic, because after the first--and perhaps unguarded--revelation, we learned little more of the war between Atla-Hi and Savannah Fortress and nothing of the reasons behind it. Presumably Savannah was the aggressor, reaching out north after the conquest of Birmingham, but even that was just a guess. It is hard to describe how shadowy it all felt to me; there were some minutes while my mind kept mixing up the whole thing with what I'd read long ago about the Civil War: Savannah was Lee, Atla-Hi was Grant, and we had been dropped spang into the middle of the second Battle of the Wilderness.

Apparently the Savannah planes had some sort of needle ray as part of their armament--at any rate I was warned to watch out for "swinging lines in the haze, like straight strings of pink stars" and later told to aim at the sources of such lines. And naturally I guessed that the steel cubes must be some crucial weapon for Atla-Hi, or ammunition for a weapon, or parts for some essential instrument like a giant computer, but the voice ignored my questions on that point and didn't fall into the couple of crude conversational traps I tried to set. We were to drop the cubes when told, that was all. Pop had the box of them closed again and rigged to the parachute--he took over that job because Alice and me were busy with other things when the instructions on that came through--and he was told how to open the door of the plane for the drop (you just held your hand steadily on a point beside the door), but, as I say, that was all.

Naturally it occurred to me that once we had made the drop, Atla-Hi would have no more use for us and might simply let us be destroyed by Savannah or otherwise--perhaps _want_ us to be destroyed--so that it might be wisest for us to refuse to make the drop when the signal came and hang onto those myriad steel cubes as our only bargaining point.

Still, I could see no advantage to refusing _before_ the signal came.

I'd have liked to discuss the point with Alice and maybe Pop too, but apparently everything we said, even whispered, could be overheard by Atla-Hi. (We never did determine, incidentally, whether Atla-Hi could _see_ into the cabin of the plane also. I don't believe they could, though they sure had it bugged for sound.)

All in all, we found out almost nothing about Atla-Hi. In fact, three witless germs traveling in a cabin in an iron filing wasn't a bad description of us at all. As I often say of my deductive faculties--think--shmink! But Atla-Hi (always meaning, of course, the personality behind the voice from the screen) found out all it wanted about us--and apparently knew a good deal to start with. For one thing, they must have been tracking our plane for some time, because they guessed it was on automatic and that we could reverse its course but nothing else. Though they seemed under the impression that we could reverse its course to Los Alamos, not the cracking plant. Here obviously I did get a nugget of new data, though it was just about the only one.

For a moment the voice from the screen got real unguarded--anxious as it asked, "Do you know if it is true that they have stopped dying at Los Alamos, or are they merely broadcasting that to cheer us up?"

I answered, "Oh yes, they're all fine," to that, but I couldn't have made it very convincing, because the next thing I knew the voice was getting me to admit that we'd only boarded the plane somewhere in the Central Deathlands. I even had to describe the cracking plant and freeway and gas tanks--I couldn't think of a lie that mightn't get us into as much trouble as the truth--and the voice said, "Oh, did Grayl stay there?" and I said, "Yes," and braced myself to do some more admitting, or some heavy lying, as the inspiration took me.

But the voice continued to skirt around the question of what exactly had happened to Grayl. I guess they knew well enough we'd b.u.mped him off, but didn't bring it up because they needed our cooperation--they were handling us like children or savages, you see.

One pretty amazing point--Atla-Hi apparently knew something about Pop's fairy-tale fellowship of non-practicing murderers, because when he had to speak up, while he was getting instructions on preparing the stuff for the drop, the voice said, "Excuse me, but you sound like one of those M. A. boys."

Murderers Anonymous, Pop had said some of their boys called their unorganized organization.

"Yep, I am," Pop admitted uncomfortably.

"Well, a word of advice then, or perhaps I only mean gossip," the screen said, for once getting on a side track. "Most of our people do not believe you are serious about it, although you may think that you are.

Our skeptics (which includes all but a very few of us) split quite evenly between those who think that the M. A. spirit is a terminal psychotic illusion and those who believe it is an elaborate ruse in preparation for some concerted attack on cities by Deathlanders."

"Can't say that I blame the either of them," was Pop's only comment. "I think I'm nuts myself and a murderer forever." Alice glared at him for that admission, but it seemed to do us no damage. Pop really did seem out of his depth though during this part of our adventure, more out of his depth than even Alice and me--I mean, as if he could only really function in the Deathland with Deathlanders and wanted to get anything else over quickly.

I think one reason Pop was that way was that he was feeling very intensely something I was feeling myself: a sort of sadness and bewilderment that beings as smart as the voice from the screen sounded should still be fighting wars. Murder, as you must know by now, I can understand and sympathize with deeply, but war?--no!

Oh, I can understand cultural queers fighting city squares and even get a kick out of it and whoop 'em on, but these Atla-Hi and Alamos folk seemed a different sort of cat altogether (though I'd only come to that point of view today)--the kind of cat that ought to have outgrown war or thought its way around it. Maybe Savannah Fortress had simply forced the war on them and they had to defend themselves. I hadn't contacted any Savannans--they might be as blood-simple as the Porterites. Still, I don't know that it's always a good excuse that somebody else forced you into war. That sort of justification can keep on until the end of time.

But who's a germ to judge?

A minute later I was feeling doubly like a germ and a very lowly one, because the situation had just got more difficult and depressing too--the thing had happened that I said I'd tell you about in due course.

The voice was just repeating its instructions to Pop on making the drop, when it broke off of a sudden and a second voice came in, a deep voice with a sort of European accent (not Chinese, oddly)--not talking _to_ us, I think, but to the first voice and overlooking or not caring that we could hear.

"_Also_ tell them," the second voice said, "that we will blow them out of the sky the instant they stop obeying us! If they should hesitate to make the drop or if they should put a finger on the b.u.t.ton that reverses their course, then--_pouf!_ Such brutes understand only the language of force. _Also_ warn them that the blocks are atomic grenades that will blow them out of the sky too if--"

"Dr. Kovalsky, will you permit me to point out--" the first voice interrupted, getting as close to expressing irritation as I imagine it ever allowed itself to do. Then both voices cut off abruptly and the screen was silent for ten seconds or so. I guess the first voice thought it wasn't nice for us to overhear Atla-Hi bickering with itself, even if the second voice didn't give a d.a.m.n (any more than a farmer would mind the pigs overhearing him squabble with his hired man; of course this guy seemed to overlook that we were killer-pigs, but there wasn't anything we could do in that line just now except get burned up).