The instruments of science do not in themselves discover truth. And there are searchings that are not concluded by the coincidence of a pointer and a mark.
Forcing the passage through the dark nebula Taynarus cost them three fighting ships, and after that they took the casualties of a three-day battle as their boarding parties fought their way into Hell. The Battle Commander of the task force feared from the beginning to the end of the action that the computer in command on the berserker side would destroy the place and the living invaders with it, in a last gotterdammerung of destructor charges. But he could hope that the damped-field projectors his men took with him into the fight would prevent any nuclear explosion. He sent living men to board because it was believed that Hell held living human prisoners. His hopes were justified; or at least, for whatever reason, no nuclear explosion came.
The beliefs about prisoners were not easily confirmed. Ercul, the cybernetic psychologist who came to investigate when the fighting was over, certainly found humans there. In a way. In part. Odd organs that functioned in a sort-of-way, interconnected with the non-human and the non-alive. The organs were most of them human brains that had been grown in culture through use of the techniques that berserkers must have captured with some of our hospital ships.
Our human laboratories grow the culture-brains from seedlings of human embryo-tissue, grow them to adult size and then dissect them as needed. A doctor slices off a prefrontal lobe, say, and puts it into the skull of a man whose own corresponding brain-part has been destroyed by some disease or violence. The culture-brain material serves as a matrix for regrowth, raw material on which the old personality can reimpress itself. The culture-brains, raised in glass jars, are not human except in potential. Even a layman can readily distinguish one of them from a normally developed brain by the visible absence of the finer surface convolutions. The culture-brains cannot be human in the sense of maintaining sentient human minds. Certain hormones and other subtle chemicals of the body-environment are necessary for the development of a brain with personality—not to mention the need for the stimuli of experience, the continual impact of the senses. Indeed some sensory input is needed if the culture-brain is to develop even to the stage of a template usable by the surgeon. For this input music is commonly employed.
The berserkers had doubtless learned to culture livers and hearts and gonads as well as brains, but it was only man's thinking ability that interested them deeply. The berserkers must have stood in their computer-analogue of awe as they regarded the memory-capacity and the decision-making power that nature in a few billion years of evolution had managed to pack into the few hundred cubic centimeters of the human nervous system.
Off and on through their long war with men the berserkers had tried to incorporate human brains into their own circuitry. Never had they succeeded to their own satisfaction, but they kept trying.
The berserkers themselves of course named nothing. But men were not far wrong in calling this center of their research Hell. This Hell lay hidden in the center of the dark Taynarus nebula, which in turn was roughly centered in a triangle formed by the Zitz and Toxx and Yaty systems. Men had known for years what Hell was, and approximately where it was, before they could muster armed strength enough in this part of their sector of the galaxy to go in and find it and root it out.
"I certify that in this container there is no human life," said the cybernetic psychologist, Ercul, under his breath, at the same time stamping the words on the glassite case before him. Ercul's assistant gestured, and the able-bodied spaceman working with them pulled the power-connectors loose and let the thing in the tank begin to die. This one was not a culture-brain but had once been the nervous system of a living prisoner. It had been greatly damaged not only by removal of most of its human body but by being connected to a mass of electronic and micro-mechanical gear. Through some training program, probably a combination of punishment and reward, the berserker had then taught this brain to perform certain computing operations at great speed and with low probability of error. It seemed that every time the computations had been finished the mechanism in the case with the brain had immediately reset all the counters to zero and once more presented the same inputs, whereupon the brain's task had started over. The brain now seemed incapable of anything but going on with the job; and if that was really a kind of human life, which was not a possibility that Ercul was going to admit out loud, it was in his opinion a kind that was better terminated as soon as possible.
"Next case?" he asked the spacemen. Then he realized he had just made a horrible pun upon his judge's role. But none of his fellow harrowers of Hell seemed to have noticed it. But just give us a few more days on the job, he thought, and we will start finding things to laugh at.
Anyway, he had to get on with his task of trying to distinguish rescued prisoners—two of these had been confirmed so far, and might some day again look human—from collection of bottled though more or less functioning organs.
When they brought the next case before him, he had a bad moment, bad even for this day, recognizing some of his own work.
The story of it had started more than a standard year before, on the not-far-off planet of Zitz, in a huge hall that had been decorated and thronged for one of the merriest of occasions.
"Happy, honey?" Ordell Callison asked his bride, having a moment to take her hand and speak to her under the tumult of the wedding feast. It was not that he had any doubt of her happiness; it was just that the banal two-word question was the best utterance that he could find—unless, of course, he was to sing.
"Ohhhh, happy, yes!" At the moment Eury was no more articulate than he. But the truth of her words was in her voice and in her eyes, marvelous as some song that Ordell might have made and sung.
Of course he was not going to be allowed to get away, even for his honeymoon, without singing one song at least.
"Sing something, Ordell!" That was Hyman Bolf, calling from across the vast banquet table, where he stood filling his cup at the crystal punch-fountain. The famed multifaith revivalist had come from Yaty system to perform the wedding ceremony. On landing, his private ship had misbehaved oddly, the hydrogen power lamp flaring so that the smoke of burnt insulation had caused the reverend to emerge from his cabin weeping with irritated eyes; but after that bad omen, everything had gone well for the rest of the day.
Other voices took it up at once. "Sing, Ordell!"
"Yes, you've got to. Sing!"
"But it's m'own wedding, and I don't feel quite right—"
His objections were overwhelmingly shouted down.
The man was music, and indeed his happiness today was such that he felt he might burst if he could not express it. He got to his feet, and one of his most trusted manservants, who had foreseen that Ordell would sing, was ready to bring him his self-invented instrument. Crammed into a small box that Ordell could hang from his neck like an accordion were a speaker system from woofer to tweet, plus a good bit of electronics and audionics; on the box's plain surface there were ten spots for Ordell's ten fingers to play upon. His music-box, he called it, having to call it something. Ordell's imitators had had bigger and flashier and better music-boxes made for them; but surprisingly few people, even among girls between twelve and twenty, cared to listen to Ordell's imitators.
So Ordell Callison sang at his own wedding, and his audience was enthralled by him as people always were; as people had been by no other performer in all the ancient records of Man. The highbrowed music critics sat rapt in their places of honor at the head table; the cultured and not-so-cultured moneyed folk of Zitz and Toxx and Yaty, some of whom had come in their private racing ships, and the more ordinary guests, all were made happy by his song as no wine could have made them. And the adolescent girls, the Ordell fans who crowded and huddled inevitably outside the doors, they yielded themselves to his music to the point of fainting and beyond.
A couple of weeks later Ordell and Eury and his new friends of the last fast years, the years of success and staggering wealth, were out in space in their sporty one-seater ships playing the game they called Tag. This time Ordell was playing the game in a sort of reversed way, dodging about in one corner of the reserved volume of space, really trying to avoid the girl-ships that fluttered past instead of going after them.
He had been keeping one eye out for Eury's ship, and getting a little anxious about not being able to find it, when from out of nowhere there came shooting toward Ordell another boy-ship, the signals of emergency blazing from it across the spectrum. In another minute everyone had ceased to play. The screens of all the little ships imaged the face of Arty, the young man whose racer had just braked to a halt beside Ordell's.
Arty was babbling: "I tried, Ordell—I mean I didn't try to—I didn't mean her any harm—they'll get her back—it wasn't my fault she—"
With what seemed great slowness, the truth of what had happened became clear. Arty had chased and overtaken Eury's ship, as was the way of the game. He had clamped his ship to hers and boarded, and then thought to claim the usual prize. But Eury of course was married now, and being married meant much to her, as it did to Ordell who today had only played at catching girls. Somehow both of them had thought that everyone else must see how the world had changed since they were married, how the rules of the game of Tag would have to be amended for them from now on.
Unable to convince Arty by argument of how things stood, Eury had had to struggle to make her point. She had somehow injured her foot, trying to evade him in the little cabin. He kept on stubbornly trying to claim his prize. It came out later that he had only agreed to go back to his own ship for a first aid kit (she swore that her ship's kit was missing) after her seeming promise that he could have what he wanted when he returned.
But when he had gone back to his ship, she broke her own racer free and fled. And he pursued. Drove her into a corner, against the boundary of the safety zone, which was guarded by automated warships against the possibility of berserker incursions.
To get away from Arty she crossed that border in a great speeding curve, no doubt meaning to come back to safety within ten thousand miles or so.
She never made it. As her little racer sped close to an outlying wisp of dark Taynarus, the berserker machine that had been lurking there pounced out.
Of course Ordell did not hear the story in such coherent form, but what he heard was enough. On the screens of the other little ships his face at first seemed to be turned to stone by what he heard; but then his look became suddenly wild and mad. Arty cringed away, but Ordell did not stop a moment for him. Instead he drove at racer's speed out where his wife had gone. He shot through the zone of the protective patrols (which were set to keep intruders out, not to hold the mad or reckless in) and plunged between outlying dustclouds to enter one of the vast crevices that led into the heart of Taynarus; into the maze where ships and machines must all go slow, and from which no living human had emerged since the establishment of Hell.
Some hours later the outer sentries of the berserker came around his little ship, demanding in their well-learned human speech that he halt and submit to capture. He only slowed his little ship still further and began to sing to the berserker over the radio, taking his hands from his racer's controls to put his fingers on the keys of his music-box. Unsteered, his ship drifted away from the center of the navigable passage, grazing the nebular wall and suffering the pocking blasts of microcollisions with its gas and dust.
But before his ship was wrecked, the berserker's sentry-devices gave up shouting radio commands and sent a boarding party of machines.
Through the memory banks of Hell they had some experience of insanity, of the more bizarre forms of human behavior. They searched the racer for weapons, searched Ordell—allowed him to keep his music-box when it too had been examined and he kept on struggling for it—and passed him on as a prisoner to the jurisdiction of the inner guards.
Hell, a mass of fortified metal miles in diameter, received him and his racer through its main entrance. He got out of his ship and found himself able to breathe and walk and see where he was going; the physical environment in Hell was for the most part mild and pleasant, because prisoners did not as a rule survive very long, and the computer-brains of the berserker did not want to impose unnecessary stresses upon them.
The berserker devices having immediate control over the routine operations in Hell were themselves in large part organic, containing culture-brains grown for the purpose and some reeducated captured brains as well. These were all examples of the berserker's highest achievements in its attempts at reverse cybernation.
Before Ordell had taken a dozen steps away from his ship, he was stopped and questioned by one of these monsters. Half steel and circuitry, half culture-flesh, it carried in three crystal globes its three potentially-human brains, their too-smooth surfaces bathed in nutrient and woven with hair-fine wires.
"Why have you come here?" the monster asked him, speaking through a diaphragm in its midsection.
Only now did Ordell begin at all to make a conscious plan. At the core of his thought was the knowledge that in the human laboratories music was used to tune and tone the culture-brains, and that his own music was as superior for that purpose as it was by all other standards.
To the three-headed monster he sang very simply that he had come here only to seek his young wife, pure accident had brought her, ahead of time, to the end of her life. In one of the old formal languages in which he sang so well of deep things, he implored the power in charge of this domain of terror, this kingdom of silence and unborn creatures, to tie fast again the thread of Eury's life. If you deny me this, he sang, I cannot return to the world of the living alone, and you here will have us both.
The music, which had conveyed nothing but its mathematical elements to the cold computer-brains outside, melted the trained purpose of the inner, half-fleshly guardians. The three-brained monster passed him on to others, and each in turn found its set aim yielding to the hitherto unknown touch of beauty, found harmony and melody calling up the buried human things that transcended logic.
He walked steadily deeper into Hell, and they could not resist. His music was leaked into a hundred experiments through audio-inputs, vibrated faintly through the mountings of glassite cases, was sensed by tortured nerve-cells through the changes in inductance and capacitance that emanated rhythmically from Ordell's music-box. Brains that had known nothing but to be forced to the limit of their powers in useless calculation—brains that had been hammered into madness with the leakage of a millimicrovolt from an inserted probe—these heard his music, felt it, sensed it, each with its own unique perception, and reacted.
A hundred experiments were interrupted, became unreliable, were totally ruined. The overseers, half flesh themselves, failed and fumbled in their programmed purposes, coming to the decision that the asked-for prisoner must be brought forth and released.
The ultimate-controlling pure berserker computer, pure metallic cold, totally immune to this strange jamming that was wreaking havoc in its laboratory, descended at last from its concentration on high strategic planning to investigate. And then it turned its full energy at once to regaining control over what was going on within the heart of Hell. But it tried in vain, for the moment at least. It had given too much power to its half-alive creations; it had trusted too much to fickle protoplasm to be true to its conditioning.
Ordell was standing before the two linked potentially-human brains which were, under the berserker itself, the lords and superintendents of Hell. These two like all their lesser kind had been melted and deflected by Ordell's music; and now they were fighting back with all the electric speed at their command against their cold master's attempt to reaffirm its rule. They held magnetic relays like fortresses against the berserker, they maintained their grip on the outposts that were ferrite cores, they fought to hold a frontier that wavered through the territory of control.
"Then take her away," said the voice of these rebellious overseers to Ordell Callison. "But do not stop singing, do not pause for breath for more than a second, until you are in your ship and away, clear of Hell's outermost gate."
Ordell sang on, sang of his new joy at the wonderful hope that they were giving him.
A door hissed open behind him, and he turned to see Eury coming through it. She was limping on her injured foot, which had never been taken care of, but he could see that she was really all right. The machines had not started to open her head.
"Do not pause!" barked the voder at him. "Go!"
Eury moaned at the sight of her husband, and stretched out her arms to him, but he dared do no more than motion with his head for her to follow him, even as his song swelled to a paean of triumphant joy. He walked out along the narrow passage through which he had come, moving now in a direction that no one else had ever traveled. The way was so narrow that he had to keep on going ahead while Eury followed. He had to keep from even turning his head to look at her, to concentrate the power of his music on each new guardian that rose before him, half-alive and questioning; once more each one in turn opened a door. Always he could hear behind him the sobbing of his wife, and the dragging stepping of her wounded foot.
"Ordell? Ordell, honey, is it really you? I can't believe 'tis."
Ahead, the last danger, the three-brained sentry of the outer gate, rose to block their way, under orders to prevent escape. Ordell sang of the freedom of living in a human body, of running over unfenced grass through sunlit air. The gatekeeper bowed aside again, to let them pass.
"Honey? Turn an' look at me, tell me this is not some other trick they're playin'. Honey, if y'love me, turn?"
Turning, he saw her clearly for the first time since he had entered Hell. To Ordell her beauty was such that it stopped time, stopped even the song in his throat and his fingers on the keys of music. A movement free of the strange influence that had perverted all its creatures was all the time that the berserker needed to re-establish something close to complete control. The three-headed shape seized Eury, and bore her away from her husband, carried her back through doorway after doorway of darkness, so fast that her last scream of farewell could scarcely reach the ears of her man. "Goodbye . . . love . . ."
He cried out and ran after her, beating uselessly on a massive door that slammed in his face. He hung there on the door for a long time, screaming and pleading for one more chance to get his wife away. He sang again, but the berserker had reestablished its icy control too firmly—it had not entirely regained power, however, for though the half-living overseers no longer obeyed Ordell, neither did they molest him. They left the way open for him to depart.
He lingered for about seven days there at the gate, in his small ship and out of it, without food or sleep, singing uselessly until no voice was left him. Then he collapsed inside his ship. Then he, or more likely his autopilot, drove the racer away from the berserker and back toward freedom.
The berserker defenses did not, any more than the human, question a small ship coming out. Probably they assumed it to be one of their own scouts or raiders. There were never any escapes from Hell.
Back on the planet Zitz his managers greeted him as one risen from the dead. In a few days' time he was to give a live concert, which had long been scheduled and sold out. In another day the managers and promoters would have had to begin returning money.
He did not really cooperate with the doctors who worked to restore his strength, but neither did he oppose them. As soon as his voice came back he began to sing again; he sang most of the time, except when they drugged him to sleep. And it did not matter to him whether they sent him onto a stage to do his singing again.
The live performance was billed as one of his pop concerts, which in practice meant a hall overflowing with ten thousand adolescent girls, who were elevated even beyond their usual level of excitement by the miracles of Ordell's bereavement, resurrection, and ghastly appearance—which last, his managers had made sure, was not too much relieved by cosmetics.
During the first song or two the girls were awed and relatively silent, quiet enough so that Ordell's voice could be heard. Then—well, one girl in ten thousand would scream it out aloud: "You're ours again!" There was a sense in which his marriage had been resented.
Casually and indifferently looking out over them all, he smiled out of habit, and began to sing how much he hated them and scorned them, seeing in them nothing but hopeless ugliness. How he could send them all to Hell in an instant, to gain for that instant just one more look at his wife's face. How all the girls who were before him now would become easier to look at in Hell, with their repulsive bodies stripped away.
For a few moments the currents of emotion in the great hall balanced against one another to produce the illusion of calm. Ordell's deadly voice was clear. But then the storm of reaction broke, and he could no longer be heard. The powers of hate and lust, rage and demand, bore all before them. The ushers who always labored to form a barricade at a Callison concert were swept away at once by ten thousand girls turned Maenad.
The riot was over in a minute, ended by the police firing a powerful tranquilizer gas into the crowd. One of the ushers had been killed and others badly hurt.
Ordell himself was nearly dead. Medical help arrived only just in time to save the life in the tissues of his brain, which a thoroughly broken neck and other damage had all but isolated from the rest of his body.
Next day the leading cybernetic-psychologist on Zitz was called in by Ordell Callison's doctors. They were saving what remained of Ordell's life, but they had not yet been able to open any bridge of communication with him. They wanted to tell him now that they were doing all they could, and they would have to tell him sometime that he could probably never be restored to anything like physical normality.
Ercul and psychologist sank probes directly into Ordell's brain, so that this information could be given him. Next he connected the speech centers to a voder device loaded with recordings of Ordell's own voice, so that the tones that issued were the same as had once come from his throat. And—in response to the crippled man's first request—to the motor-centers that had controlled Ordell's fingers went probes connected to a music-box.
After that he at once began to sing. He was not limited now by any need to pause for breath. He sang orders to those about him, telling them what he wanted done, and they obeyed. While he sang, not one of them was assailed by any doubt.
They took him to the spaceport. With his life-support system of tubes and nourishment and electricity they put him aboard his racer. And with the autopilot programmed as he commanded, they sent him out, fired along the course that he had chosen.
Ercul knew Ordell and Eury when he found them, together in the same experimental case. Recognizing his own work on Ordell, he felt certain even before the electroencephalogram patterns matched with his old records.
There was little left of either of them; if Ordell was still capable of singing, he would never again be able to communicate a song.
"Dols only two point five above normal bias level," chanted the psychologist's assistant, taking routine readings, not guessing whose pain it was he was attempting to judge. "Neither one of them seems to be hurting. At the moment, anyway."
In a heavy hand, Ercul lifted his stamp and marked the case. I certify that in this container there is no human life.
The assistant looked up in mild surprise at this quick decision. "There is some mutual awareness here, I would say, between the two subjects." He spoke in a businesslike, almost cheerful voice. He had been enough hours on the job now to start getting used to it.
But Ercul never would.