The foreman had pointed out his best man - what was his name? - and, joking with the puzzled machinist, the three bright young men had hooked up the recording apparatus to the lathe controls. Hertz! That had been the machinist's name - Rudy Hertz, an old-timer, who had been about ready to retire. Paul remembered the name now, and remembered the deference the old man had shown the bright young men.

Afterward, they'd got Rudy's foreman to let him off, and, in a boisterous, whimsical spirit of industrial democracy, they'd taken him across the street for a beer. Rudy hadn't understood quite what the recording instruments were all about, but what he had understood, he'd liked: that he, out of thousands of machinists, had been chosen to have his motions immortalized on tape. And here, now, this little loop in the box before Paul, here was Rudy as Rudy had been to his machine that afternoon - Rudy, the turner-on of power, the setter of speeds, the controller of the cutting tool. This was the essence of Rudy as far as his machine was concerned, as far as the economy was concerned, as far as the war effort had been concerned. The tape was the essence distilled from the small, polite man with the big hands and black fingernails; from the man who thought the world could be saved if everyone read a verse from the Bible every night; from the man who adored a collie for want of children; from the man who . . . What else had Rudy said that afternoon? Paul supposed the old man was dead now - or in his second childhood in Homestead.

Now, by switching in lathes on a master panel and feeding them signals from the tape, Paul could make the essence of Rudy Hertz produce one, ten, a hundred, or a thousand of the shafts.

Kurt Vonnegut, Player Piano