Wilbur Murphy sat in the Barangipan, watching marionettes performing to xylophone, castanet, gong and gamelan. The drama had its roots in proto-historic Mohenjō-Darō. It had filtered down through ancient India, medieval Burma, Malaya, across the Straits of Malacca to Sumatra and Java; from modern Java across space to Cirgamesç, five thousand years of time, two hundred light-years of space. Somewhere along the route it had met and assimilated modern technology. Magnetic beams controlled arms, legs and bodies, guided the poses and posturings. The manipulator's face, by agency of clip, wire, radio control and minuscule selsyn, projected his scowl, smile, sneer or grimace to the peaked little face he controlled. The language was that of Old Java, which perhaps a third of the spectators understood. This portion did not include Murphy, and when the performance ended he was no wiser than at the start.
Soek Panjoebang slipped into the seat beside Murphy. She wore musician's garb: a sarong of brown, blue, and black batik, and a fantastic headdress of tiny silver bells. She greeted him with enthusiasm.
"Weelbrrr! I saw you watching...."
"It was very interesting."
"Ah, yes." She sighed. "Weelbrrr, you take me with you back to Earth? You make me a great picturama star, please, Weelbrrr?"
"Well, I don't know about that."
"I behave very well, Weelbrrr." She nuzzled his shoulder, looked soulfully up with her shiny yellow-hazel eyes. Murphy nearly forgot the experiment he intended to perform.
"What did you do today, Weelbrrr? You look at all the pretty girls?"
"Nope. I ran footage. Got the palace, climbed the ridge up to the condensation vanes. I never knew there was so much water in the air till I saw the stream pouring off those vanes! And hot!"