Chapter 11: The Three Laws of Robotics

They sat by the window, where the bustling scene of Fifth Avenue stretched out before them.

As night deepened, the avenue transformed into a sea of neon lights, with cars weaving like streams of light. Under the glow, all traces of poverty seemed to vanish, hidden beneath the brilliance.

It was Asimov’s first time in such an opulent restaurant, and his social anxiety only worsened in this grand setting.

Enni, however, was at ease, like a fish in water. After all, coming from the future, he had seen far grander spectacles.

They took the menus from the waiter and began ordering.

They chose the Oak Room’s signature dishes: smoked beef, truffle foie gras, Rockefeller oysters…

And a bottle of whiskey.

The prices were indeed steep; each dish cost at least two dollars—a day’s hard-earned wage for a laborer.

When Enni and Asimov had eaten their fill and received the bill, they winced; the total came to a hefty $16.20, not including the 10% service charge typical of upscale venues.

That was equivalent to five days’ income for the average person!

“Damn, it’s really not that tasty,” one of them muttered.

“Agreed. Next time, let’s just grab burgers at that White Castle in Brooklyn,” the other replied, their down-to-earth mindset showing.

The two young men, both with humble attitudes, left the restaurant, consoling each other.

Next, they headed to the Apollo Theater on West 42nd Street in Manhattan to watch a movie.

The Apollo stood tall at the street corner, a palace wrapped in neon lights as dusk settled.

Three stories high, its dark red faux-brick exterior was topped with a row of vintage wrought-iron railings. Patrons chuckled and chatted as they came and went, the theater buzzing with life.

Four feature films were showing: Mutiny on the Bounty, Pinocchio, Gone with the Wind, and The Grapes of Wrath.

This was the advantage of a grand Manhattan cinema—offering more choices than smaller theaters that screened only one or two films.

Moreover, a neon sign at the Apollo’s entrance announced “Air Conditioning Available,” a luxury absent from other theaters.

Naturally, tickets here were pricier.

While smaller venues without air conditioning charged about ten cents per ticket, the Apollo’s price was thirty cents—roughly three times as much.

Enni’s wallet was comfortably full, so he wasn’t bothered by the difference.

Having experienced abundance in the future, he had no notion of saving; if you had money, you spent it. You never knew when it might run out, so enjoying the moment was paramount.

“Isaac, which movie do you want to see?” Enni asked.

Having seen far superior films in his time, Enni had already watched all four, so he deferred to Asimov.

Asimov gazed at the giant poster on the second-floor wall advertising Gone with the Wind, featuring enlarged portraits of Clark Gable and Vivien Leigh, the colored ink shimmering under the neon glow.

He hesitated. As a socially anxious science-minded man, this was his first outing to the movies with a friend. Everything felt novel; he wanted to see them all but knew nothing about the stories.

Noticing this, Enni began explaining the films.

“Mutiny on the Bounty is about a naval vessel—the Bounty—where the young officer Byam and first mate Christian lead a rebellion against the captain’s brutal tyranny.”

“Pinocchio tells the tale of a carpenter named Geppetto who creates a wooden puppet called Pinocchio. The puppet is given life by a kind fairy but must undergo many trials before becoming a real boy. A few years ago, Disney released Mickey Mouse and Snow White and the Seven Dwarfs, both well-made, so this animated film should also be good.”

“Gone with the Wind is adapted from the novel by American author Margaret Mitchell, set during the Civil War. It’s a sweeping love story against the backdrop of a turbulent era. The leading actress is quite beautiful.”

“No need to explain The Grapes of Wrath—it’s based on John Steinbeck’s novel set during the Great Depression. The protagonist, Joad, is released from prison to find his hometown desolate, forcing him to take his family westward to work on a farm.”

After hearing the summaries, Asimov deliberated and finally decided, “Let’s watch Pinocchio—it looks lighthearted and fun.”

Enni nodded. Like in the future, during times of social hardship, people preferred light, carefree entertainment over heavy themes.

If it were up to him, though, he’d also consider Gone with the Wind—after all, the heroine was quite captivating.

She had even won the Academy Award for Best Actress this March.

As for Mutiny on the Bounty and The Grapes of Wrath…

Better to pass!

The storyline and effects of Mutiny on the Bounty were too ordinary compared to future films.

And while The Grapes of Wrath was undoubtedly a classic piece of proletarian literature, winning this year’s Pulitzer Prize, and the film adaptation was excellent, its weighty themes didn’t suit a relaxing evening.

They bought two tickets for sixty cents and passed through the revolving doors into the theater.

Inside, several ushers in crimson uniforms guided viewers, their white gloves and brass buttons gleaming.

Enni wasn’t in a rush to take his seat—the film’s opening would show some meaningless cartoon advertisements anyway.

He led Asimov to the lobby counter, where they bought popcorn and cola, each costing five cents.

With snacks in hand, they made their way to the screening hall.

“Sir, this way please,” said a young Italian man with thick eyebrows, deep features, and slicked-back hair, gesturing politely.

Clearly an immigrant youth working to support his family.

For some reason, Enni felt a flicker of familiarity but, with the movie about to start, he didn’t dwell on it. He thanked the young man politely and pushed aside the velvet curtain into the hall.

The dim screening room echoed with the sounds of chairs shifting as the audience settled. The projector’s beam cast a quiet glow on the white screen.

About an hour and a half later, Pinocchio ended.

The animated film sparked inspiration in Asimov.

As they left the theater, he kept talking, “If the carpenter were replaced by a scientist, and Pinocchio by a robot, it could become a science fiction story centered on ‘ethics.’

“I’ve always believed that to make such sci-fi feel authentic, the writer must fully immerse themselves.

“To put it somewhat crudely… just as white people set rules for black people, robots, as lower beings in human society, must obey certain laws and principles.”

Huh? Was this the origin of Asimov’s famous Three Laws of Robotics?

Hearing this, a thought crossed Enni’s mind, and he said,

“You’re absolutely right.”

“If there were such laws, the most important one must be—robots must not harm a human being or, witnessing a human in danger, stand idly by.”

…