out in the corridors as i walked along with rube, people passed us, moving to and from offices. they were men and women, mostly young, and whenever one walked by, speaking or nodding to rube, he or she would glance at me curiously. rube was watching me, i saw, smiling a little, and when i looked at him he said, "what do you think you're going to see?" i tried to find an answer but had to shake my head. "i haven't a glimmering, rube." "well, i'm sorry to be so damn mysterious. but it's the director who explains this, not me. and you have to see it before he can explain it." we turned a corner and then another, into a corridor considerably narrower than the others. we turned once more, and now we were walking along a narrow aisle that stretched ahead for a considerable distance. one wall of the aisle was blank. the other was a series of tinted windows through which we could see into what rube told me were instruction rooms. the first three were empty and were fitted out as ordinary classrooms. there were six or eight one-armed wooden chairs in each, the arms widening into writing surfaces; there were blackboards, bookshelves, teachers' desks and chairs. at the fourth window two men were sitting in the same kind of room, one at the desk, the other in a wooden chair facing him, and we stopped to watch. "we can see in, they can't see out," rube said. "everyone knows it; it's just a matter of not disturbing people at work." the man in the student's chair was talking, steadily but with frequent pauses, sometimes rubbing his face in thought. he was about forty, thin and dark, and wore a navy-blue sweater and a white shirt open at the collar. the instructor at the desk was younger and wore a brown tweed sport coat. beside the window on a stainless-steel wall plate was a pair of buttons. rube pushed one and now we could hear the speaking man's voice from a loudspeaker behind a grill over the window. it was a foreign language, and after a dozen seconds or so i thought i recognized it and was about to say so, then i stopped. i'd thought it was french, a language i can recognize, but now i wasn't sure. i stood listening carefully; some of the words were french, i was almost certain, but pronounced not quite correctly. he kept on, fluently enough, the instructor occasionally correcting pronunciation, which the other would repeat a few times before continuing. "is it french?"from the way rube smiled i knew he'd been waiting for the question. "yep. but medieval french; no one has talked like that in four hundred years." he pressed the other button, and the loudspeaker went silent, the man's lips continuing to move, and we walked on. at the next window rube jabbed the speaker button, i heard a stifled grunt and the clash of wood on wood, then i stopped beside him and stood looking into the room. it was completely bare, the walls padded and faced with heavy canvas; in it two men were fighting with bayonet-tipped rifles. one wore the shallow helmet, high-necked khaki blouse, and roll-puttees of a first world war american uniform. the other wore the black boots, gray uniform, and deep flared helmet of the germans. the bayonets were an odd false-looking silver, and i saw that they were painted rubber. the men's faces were shiny with sweat, their uniforms stained at armpits and back, and as we watched they parried and riposted, heaved and shoved, grunting as the rifles clashed. suddenly the german stepped back fast, feinted, sidestepped a counterthrust, and drove his rifle straight into the other's stomach, the rubber bayonet bending double against the khaki. "you're dead, pig of an american!" he yelled, and the other shouted, "hell i am, that's just a little stomach wound!" they both started laughing, jabbing away at each other, and rube stood glaring in at them, muttering, "wrong, wrong, the bastards! an absolutely wrong attitude!" i glanced at him: he looked mean and dangerous, his lips set, eyes narrowed. for a moment longer he stared in silence, then punched the cutoff button hard with his thumb and swung away from the window. a dozen men sat in the next room. most of them wore white carpenter's overalls; a few were in blue jeans and work shirts. beside the desk a man in khaki wash pants and shirt stood pointing with a ruler at a cardboard model which completely covered the desk top. it was a model of a room, one wall missing like a stage set, and the man was pointing to the miniature ceiling. rube pushed the button beside the window. "...painted beams. but only at the highest ceiling points, where it's dark." the ruler moved to a wall. "down here begin real oak beams, and real plaster. mixed with straw; don't forget that, damn it." rube poked the cutoff button, and once more we walked on. the next room was empty of people, but an immense aerial photograph of a town covered three walls from floor to ceiling, and we stopped and looked at it. it had been labeled with a black marking pen: win-field, vermont. restoration in progress, view 9 of eleven, series 14. i looked at rube and he knew i was looking, but he offered no explanation, simply continuing to stare at the big photo, and i silently refused to offer a question. the next two rooms were empty. in the following room the chairs had been shoved back to the walls, and a good-looking girl was dancing the charleston to music from a portable windup phonograph on the desk. a aged" target="_blank">middle-aged stood watching her, beating time with a forefinger. the swaying hem of the girl'standress(woman) came to just above her flying knees, and the waist of her dress wasn't much higher. her hair was cut in what i knew was once called a shingle bob, and she was chewing gum. the older woman was dressed in pretty much the same way, though her skirt was longer.

rube pushed the speaker button, and we heard the fast rhythmical shuffle of the girl's feet, and the thin, ghostly sound of a long-ago orchestra. the music stopped suddenly with an old-fashioned fillip, and the girl stood breathing audibly, smiling at the older woman, who nodded approvingly and said, "good! that was the ant's ankles," and on that neat exit line rube pushed the speaker button, trying not to smile, and we walked on, neither of us saying a word. there were three more rooms, all empty of people, but in the next-to-last a dozen dressmaker's dummies stood ranged beside the instructor's desk. on the seat of one of the chairs lay a pile of white cardboard boxes that looked as though they might contain clothes. again we were walking briskly along skylighted corridors past numbered doors and blackand-white nameplates: d.w. mcelroy; an. burke and helen friedman, accounting; n.o. dempster; file room b. rube was spoken to by, and he replied to, nearly everyone passed; the more often than not dressed informally, wearing sweaters,sportcoats(we) ,sportshirts,altho(men) ughso(were) me wore suits and ties. the women and girls, some very nice-looking, dressed the way they usually do in offices. two men in overalls edged past us, pushing a heavy wooden handcart, trundling a motor or piece of machinery of some sort, partly covered by a tarpaulin. then rube stopped at a door no different from any of the others except that it was labeled with only a number, no nameplate. he opened it, gesturing me in first. a man behind a small desk was on his feet before my foot crossed the threshold; it was a bare little anteroom, the desk and chair and nothing else in it. rube said, "morning, fred," and the man said, "morning, sir." he wore a green nylon zipper jacket, his shirt was open at the neck, and he had no insignia or weapon i could see, but i knew he was a guard: he had the shoulders, chest, neck, and wrists of a powerful man, and the only thing he was doing in here was reading a copy of esquire. set flush in the wall behind the desk was a steel door. it was knobless, and along one edge were three brass keyholes spaced a few inches apart. rube brought out a key ring, selected a key, then walked around the desk, inserted the key in the topmost lock, and turned it. from his watch pocket he took a single key, pushed it into the middle keyhole, and turned. the guard stood waiting beside him, and now the guard inserted a key in the bottom keyhole, turned it and pulled the door open with the key. rube removed his two keys and gestured me in through the open door before him. he followed, and the door swung solidly shut behind us. i heard the multiple click of the locks engaging, and we were standing in a space hardly larger than a big closet, dimly lighted by an overhead bulb in a wire cage. then i saw that we were at the top of a circular metal staircase. rube leading the way, we walked down for maybe ten feet, almost in darkness at first but descending into light; from the last stair we stepped onto a metal-grill floor. except for the metal floor we were in a space very much like the one we had just come from. along two walls ran a narrow unpainted wood shelf; on this lay a dozen pairs of shapeless boots made of inch-thick gray felt. they were awkward-looking things made to come up over the ankles, with buckles like galoshes. rube said, "they pull over your shoes; find a pair that fits well enough so they won'tdrop off." he nodded at a metal door before us. "once we go in, it has to be quiet, quiet, quiet all the way. no loud or sharp sounds, though we can talk softly; the sound seems to go up." i nodded; my pulse, i knew, wouldn't be normal now. what in the hell were we going to see? we fastened the buckles of our boots—they were clumsy and too warm—then rube pushed open the door, a heavy swinging door without knob or lock, and we stepped out, the door swinging shut behind us without a squeak. we were standing on a catwalk, a narrower extension of the metal-grill floor on the other side of the door just behind us. only a waist-high railing of steel rods that seemed too thin to me prevented our falling over the edge. my hand was gripping the top rail far more tightly than necessary, but i couldn't relax it and i didn't feel like walking on, because the catwalk under our feet was part of a vast spider web of metal-grill walks hanging in the air over an enormous block-square, five-story-deep well of space, the walks connecting and interconnecting, converging and angling off into the distance. this great lacy web of narrow metal walkways hung from the roof—which was the underside of the office space we'd just left—by finger-thin metal rods. as we stood there, rube giving me time to accept the necessity of walking out onto the web, i couldn't yet see anything below us except the tops of thick walls which rose up from the floor of the gutted warehouse five stories below to within a foot of the underside of the walkways we stood on. these walls, i could see, divided the great block-square space below us into large irregular-shaped areas. i looked up and saw a mass of air ducts and subduedly humming machinery suspended from the roof; then i glanced back at rube. he was smiling at the look of my face. he said, "i know, it's a shock. just take your time, get used to it. when you're ready, walk on out, anywhere you like." i made myself walk then, maybe ten feet straight ahead, barely able to resist hanging onto the railings, and still unable to look down. for a few feet the walk led straight out from the door we'd come in through. then it angled to the right, and i was aware that we passed over the top of a wall that rose from the floor far below almost to the underside of our walk. as we crossed over this wall, i felt a steady updraft of warmth and heard the hum of exhaust fans overhead. just below the level of the catwalks rows of metal piping hung over the wall tops in places; clamped to them were hundreds of hooded theatrical lights. they seemed to be of every color and shade and of every size; all of them were aimed in groups to converge on specific areas below. i stopped, turned to the side, gripped the railing with both hands, and forced myself to look down. five stories below and on the far side of the area over which we were standing, i saw a small frame house. from this angle i could see onto the roofed front porch. a man in shirt-sleeves sat on the edge of the porch, his feet on the steps. he was smoking a pipe, staring absently out at the brick-paved street before the house. on each side of this house stood portions of two other houses. the side walls facing the middle house were complete, including curtains and window shades. so were half of each gable roof and the entire front walls, including porches with worn stair treads. a wicker baby-carriagestood on the porch of one of them. but except for the complete house in the middle these others were only the two walls and part of a roof; from here i could see the pine scaffolding that supported them from behind. in front of all three structures were lawns and shade trees. beyond these were a brick sidewalk and a brick street, iron hitching posts at the curbs. across the street stood the fronts of half a dozen more houses. on the porch of one lay a battered bicycle. a fringed hammock hung on the porch of another. but these apparent houses were only false fronts no more than a foot thick; they were built along the area wall behind them, concealing the wall. leaning on the rail beside me, rube said, "from where the man on the porch is sitting and from any window of his house or any place on his lawn, he seems to be in a complete street of small houses. you can't see it from here, but at the end of the short stretch of actual brick street he is facing now, there is painted and modeled on the area wall, in meticulous dioramic perspective, more of the same street and neighborhood far into the distance." while he was talking a boy on a bike appeared on the street below us; i didn't see where he'd come from. he wore a white sailor cap, its turned-up brim nearly covered with what looked like colored advertising-and campaign-buttons; short brown pants that buckled just below the knees; long black stockings; and dirty canvas shoes that came up over the ankles. hanging from his shoulder by a wide strap was a torn canvas sack filled with folded newspapers. the boy pedaled from one side of the street to the other, steering with one hand, expertly throwing a folded paper up onto each porch. as he approached the complete house, the man on the porch stood up, the boy tossed the paper, the man caught it, and sat down again, unfolding it. the boy threw a paper onto the porch of the false two-walled house next door, which stood on a corner. then he pedaled around the corner, and—out of sight of the man on the porch now—got off his bike and walked it to a door in the area wall against which the little cross street abruptly ended. he opened the door and wheeled his bike on through it. i couldn't see what lay on the other side of the door, but a man immediately came through it, closing it behind him. then he walked toward the corner putting on a hard-topped, flat-brimmed straw hat with a black band. his white shirt collar was open, his tie pulled down, and he was carrying his suit coat. from five stories above the man's head rube and i watched him stop just short of the corner, shove his hat to the back of his head, sling his suit coat over one shoulder, and bring a wadded-up handkerchief from his back pocket. dabbing at his forehead with the handkerchief, he began to walk tiredly, and turned the corner to move slowly along the brick sidewalk past the man on the porch, who sat reading his paper. "listen," said rube, cupping a hand beside his ear, and i did the same. from far below but clearly enough, we heard the man on the sidewalk say, "evening, mr. mcnaughton. hot enough for you?" the man on the porch looked up from his paper. "oh, hello, mr. drexsler. yeah, it's another scorcher; paper says more of the same tomorrow." still trudging by, a hot tired man on his way home from work, the man on the sidewalk shook his head ruefully. "well, it has to end sometime," he said, and the man on the porch nodded, smiling, and said, "maybe by christmas."the man on the sidewalk turned, cut across the street at an angle, climbed the steps of one of the false fronts across the street, and opened a screen door. "edna!" he called. "i'm home." the screen door slammed behind him, and we watched him climb down a short ladder, duck under the scaffolding behind, and open a door in the wall. he walked through it, and it swung silently closed behind him. in the false front next to this a screen door opened, and a woman walked out onto the porch and picked up the folded newspaper. she unfolded it and stood glancing over the front page; she was wearing an unusually long blue-checked housedress, its hem no more than a foot from the ground. at the sound of her opening screen door, the man on the porch across the street had glanced up momentarily, then gone back to his paper. now, his arms spreading wide, he opened his paper, then folded it back to an inside page. the woman across the street walked back into the false front, carrying her paper. propped in a curtained window beside her front door was a foot-square blue card printed in block letters, and i leaned forward a little, straining to read it. "it says ice," rube said. "on each edge is printed 25, 50, 75, or 100. you set the card in your window so that the number of pounds of ice you want the iceman to deliver when he comes along your street is at the top of the card." i turned to look at rube's face, but he was watching the scene below, forearms on the guardrail, his hands clasped loosely together. i said, "i don't see a camera but i assume you're either making or rehearsing some kind of movie down there." i couldn't help sounding a little bit irritated. "no," said rube. "the man on the porch is actually living in that house. it's complete inside, and a middle-aged woman comes in to cook and clean for him. groceries are delivered every day in a light horse-drawn wagon labeled henry dortmund, fancy groceries. twice a day a mailman in a gray uniform delivers mail, mostly ads. the man is waiting to hear whether he's been hired for any of several jobs he's applied for in the town. presently he'll hear that he's been accepted for one of these jobs. at that point his habits will change. he'll begin going out into the town, to work." rube glanced at me, then resumed his contemplation of the scene below. "meanwhile he putters around the house. waters his lawn. reads. passes the time of day with neighbors. smokes lucky strike cigarettes. from green packages. sometimes he listens to the radio, although in this weather there's lots of static. friends visit him occasionally. right now he'reading a freshly printed copy, done an hour ago, of the town newspaper for september 3, 1926.(s) he's tired; it's been over a hundred down there in the afternoons for the last three days, and in the high eighties even at night. a real indian-summer heat wave with no air conditioning. and if he looked up here right now all he'd see is a hot blue sky." keeping my voice patient, i said, "you mean they're following some sort of script." "no, there's no script. he does as he pleases, and the people he sees act and speak according to the circumstances." "are you telling me that he actually believes he's in a town in—""no, no; not that either. he knows where he is, all right. he knows he's in a new york storage warehouse, in a kind of stage setting. he's been careful never to walk around the corner and look, but he knows that the street ends there, out of his sight. he knows that the long stretch of street he sees at the other end is actually a painted perspective. and while no one has told him so, i'm sure he understands that the houses across the street are probably only false fronts." rube stood upright, turning from the railing to face me. "si, all i can tell you right now is that he's doing his damnedest to feel that he's really and truly sitting there on the porch on a late-summer afternoon reading what calvin coolidge had to say this morning, if anything." "is there actually a town and a street like this?" "oh, yes; a street with houses, trees, and lawns precisely like that, right down to the last blade of grass and the wicker baby-carriage on the porch. you've seen an aerial shot of it; it's called winfield, vermont." rube grinned at me. "don't get mad," he said gently. "you have to see it before you can understand it." we walked on, high up on the spider web under the humming machinery and just above the hundreds and hundreds of lights. we crossed directly over the house with the man on the porch, and it was strange to think that if he should look up here from his paper he wouldn't see us but only an apparent sky. he didn't look, though; just continued reading his paper until the eave of his porch roof cut him from view. angling to the left onto another length of catwalk, we passed over a wall and the area was gone from sight. it was instantly cooler, with a hint of dampness and a feel of rain, and we stopped to stare down. far below lay a section of prairie and through it ran a tiny stream. on the other side of the from where stood grew scattering of thin white-trunked birch trees. these strag(area) glersattheedge(we) ofamuchthic(a) ker woods which stretched up and over the crest of a rise.(were) most of the woods, i realized now, was painted on a wall but it looked very real. almost directly under our feet stood three tepees made of hide and daubed with faded circles, jagged lines, and sticklike figures of men and animals. a thin smoke drifted from the open top of each tepee. before one of them a puppy lay tethered to a peg; he was worrying something held between his paws. as we stared, some of the lights aimed into the area went off one by one—we could just hear the clicks—and the triangular shadows of the tents slowly deepened on the grass of the prairie, and now we could see an occasional spark in the trickles of rising smoke. "i love this one," rube murmured. "montana, about sixty miles from where billings now stands. there are eight people—men and women and one child—in those tepees; all of them full-blooded crow indians. come on." in our felt boots, moving almost soundlessly on the narrow metal grill, we walked on across space, again crossing over a wall. we stopped high above a triangular-shaped area and stood directly over its shortest side facing ahead toward its farthest point. a white stone building rose from the floor almost to our feet. again, it wasn't what it seemed from its front and one side; there were only two walls, supported at their backs by iron-pipe scaffolding. extending outward fromthe base of these walls lay a rough stone pavement. between the cracks of the pavement four men in overalls were planting narrow strips of sod and little clumps of weeds which they took from baskets. the rough slab paving ended in a short grassy slope which led down to what seemed to be an actual river. water flowed there, brown and sluggish, moving along one side of the triangular area toward its point, off ahead. something about this pseudo building of white stone, which ended only a yard or two under our feet, was becoming familiar, and i walked on along the catwalk to where i could get a better view of its front. the side wall along which i walked was flying-buttressed, and then i saw that the front rose into twin square towers. from the sides of the towers projected carved stone figures; one was nearly close enough to reach down and touch. the figures were winged gargoyles and the buttressed wall and twin towers were those of a cathedral; this was notre dame of paris; now i recognized it from movies and photographs. watching my face, rube saw that i understood what we were seeing, and now he pointed across the river. i saw winding dirt roads trailing off into the distances of the other side; a few score of low wooden or stone structures; most of the area was farmland or woods. "medieval paris in the spring of 1451." rube smiled. "it will be, that is, if we ever get the damn thing finished." his arm lifted, his forefinger pointing again, and now, across the river and far ahead, i saw a man in tan cotton pants and blue work shirt streaked with paint—a giant standing before houses and trees that reached no higher than his knees. a palette lay on his left forearm, and he was carefully painting in an extension of the forest, drawn in charcoal on the area wall on the other side of the brown, slow-flowing seine. "hell of a lot more work to be done here," said rube. "every stone of the cathedral to be aged with acid washes and stain; after all, in 1451 it was already several centuries old. in a sense this is our most ambitious project, but i doubt if even danziger really thinks it can work. ready? let's move on." without stopping we walked over an empty area roughly rectangular in shape, one end a little wider than the other. far below two men on hands and knees were marking off the area with strips of cloth tape and with colored chalk. "i don't quite remember what's going in here," rube said, "but i think it will be a field hospital of the aef near vimy ridge, france, 1918." we looked down at a section of a snow-covered north dakota farm in the dead of winter of 1924. the air over it was sharply cold; within half a minute we were shivering. we stood over a denver street corner of 1901; it included a cobbled street with streetcar tracks, and a little grocery store with a tattered awning, into which two overalled men were wheeling supplies. leaning on the rail beside me rube murmured, ''reconstructed from seventy-odd photographs and snapshots, including one magnificently clear stereoscope view. together with lord knows how many present-day, on-the-site measurements. we're not finished yet; they're stocking the store now, everything absolutely authentic to the time. when it's done, it'll be the way it was, you can be certain of that." he glanced at his watch. "there are a few others, but it's time to meet danziger now." we turned to walk back, rube just behind me. "and our new york site doesn't need to be duplicated; we'll catch that after lunch. you hungry? confused? tired and irritable?"i said, "yeah, and my feet hurt."