I needed to get into an engineering office and let these new things soak in through my skin. I had hopes that I could land a job as a junior draftsman.
I knew that they were using powered semi-automatic drafting machines now; I had seen pictures of them even though I had not had one under my hands. But I had a hunch that I could learn to play one in twenty minutes, given the chance, for they were remarkably like an idea I had once had myself: a machine that bore the same relation to the old-fashioned drawing-board-and-T-square method that a typewriter did to writing in longhand. I had worked it all out in my head, how you could put straight lines or curves anywhere on an easel just by punching keys.
However, in this case I was just as sure that my idea had not been stolen, as I was certain that Flexible Frank had been stolen, because my drafting machine had never existed except in my head. Somebody had had the same idea and had developed it logically the same way. When it’s time to railroad, people start railroading.
The Aladdin people, the same firm that made Eager Beaver, made one of the best drawing machines, Drafting Dan. I dipped into my savings, bought a better suit of clothes and a secondhand brief case, stuffed the latter with newspapers, and presented myself at the Aladdin salesrooms with a view to “buying” one. I asked for a demonstration.
Then, when I got close to a model of Drafting Dan, I had a most upsetting experience. Deja vu, the psychologists call it-“I have been here before.” The damned thing had been developed in precisely the fashion in which I would have developed it, had I had time to do so . . . instead of being kidnapped into the Long Sleep.
Don’t ask me exactly why I felt that way. A man knows his own style of work. An art critic will say that a painting is a Rubens or a Rembrandt by the brushwork, the treatment of light, the composition, the choice of pigment, a dozen things. Engineering is not science, it is an art, and there is always a wide range of choices in how to solve engineering problems. An engineering designer “signs” his work by those choices just as surely as a painter does.
Drafting Dan had the flavor of my own technique so strongly that I was quite disturbed by it. I began to wonder if there wasn’t something to telepathy after all.
I was careful to get the number of its first patent. In the state I was in I wasn’t surprised to see that the date on the first one was 1970. I resolved to find out who had invented it. It might have been one of my own teachers, from whom I had picked up some of my style. Or it might be an engineer with whom I had once worked. The inventor might still be alive. If so, I’d look him up someday get acquainted with this man whose mind worked just like mine.
But I managed to pull myself together and let the salesman show me how to work it. He hardly need have bothered; Drafting Dan and I were made for each other. In ten minutes I could play it better than he could. At last I reluctantly quit making pretty pictures with it, got list price, discounts, service arrangements, and so forth, then left saying that I would call him, just as he was ready to get my signature on the dotted line. It was a dirty trick, but all I cost him was an hour’s time.
From there I went to the Hired Girl main factory and applied for a job.
I knew that Belle and Miles were no longer with Hired Girl, Inc. In what time I could spare between my job and the compelling necessity to catch up in engineering I had been searching for Belle and Miles and most especially for Ricky. None of the three was listed in the Great Los Angeles telephone system, nor for that matter anywhere in the United States, for I had paid to have an “information” search made at the national office in Cleveland. A quadruple fee, it was, as I had had Belle searched for under both “Gentry” and “Darkin.”