He broke contact and walked to the window. The street was packed with people scrambling in every direction, like so many ants moving at random over the ground. Many of them clutched telefax sheets—and the most popular one was the Citizen. Many of them would gape and goggle at kaleidowhirl programs, come evening.
Walton suddenly tightened his fist. In just that way, he thought, Popeek was tightening its hold on the public by capturing the mass media. If Hervey's confidence had any justification in truth, they would own the leading anti-Popeek telefax sheet by tomorrow. With subtle handling over the course of several days, they could swing the slant of Citizen around to a pro-Popeek stand, and do it so surreptitiously that it would seem as though the sheet had never had any other policy.
As for the kaleidowhirl subterfuge—that, Walton admitted, was hitting below the belt. But he had resolved that all would be fair during the current crisis. There would be time enough for morality after war had been averted.
At about 1430 that day, Walton took advantage of a lull in activities to have a late lunch at the Bronze Room. He felt that he had to get away from the confining walls of his office for at least some part of the afternoon.
The Bronze Room had adopted cerise as its color scheme for the day. Walton selected a private room, lunched lightly on baked chlorella steak and filtered rum, and dialed a twelve-minute nap. When the alarm system in the foamweb couch stirred him to wakefulness, he stretched happily, some of the choking tension having been washed out of him.
Thoughtfully, he switched on the electroluminescent kaleidoscope and stared at it. It worked on the same principle as the kaleidowhirl programs beamed over the public video, except that the Bronze Room provided closed-channel beaming of its own kaleidoscopic patterns; tending more to soft greens and pale rose, they were on a higher esthetic plane, certainly, than the jagged, melodramatic purples and reds the video channels sent out for popular consumption.
But it was with a certain new apprehension that Walton now studied the kaleidoscopic pattern. Now that he knew what a dangerous weapon the flashing colors could be, how could he be certain that the Bronze Room proprietors were not flashing some scarcely seen subliminal command at him this very moment?
He turned the set off with a brusque gesture.
The ends justify the means. A nice homily, he thought, which allowed him to do almost anything. It brought to mind the rationale of Ivan Karamazov: without God, everything is permissible.
But both God and Dostoevski seem to be obsolete these days, he reminded himself. God is now a lean young man with an office on the twenty-ninth floor of the Cullen Building—and as for Dostoevski, all he did was write books, and therefore could not have been of any great importance.