Victoria Hathaway was a WASP from New York; calendar age eighty-seven, apparent age just under thirty. She looked like holo stars wished they looked—but there was a coldness in her eyes and mouth that made Jay think of her as a long sleek shiny pair of scissors, with a carefully trimmed little tuft of pubic hair just at the place where the blades joined. Most of her money was said to be in real estate, on and off Terra, and she was famous for both her ruthlessness and her absolute lack of any vestige of a sense of humor—though no one dared mention the latter quality to her face.
Grijk Krugnk was by far the ugliest of the lot, a Slav of some kind from Votoskojek who was sixty-six and looked fiftyish. He was built like a power plant, but not as pretty, so obviously a brute that many had found him fatally easy to underestimate. His wealth sprang from power generation, most of it spaceborne. Oddly, he was the only one of the five whose English was utterly unaccented, like a cronkite’s. He handled himself in free-fall as well as Amin, but made less of a point of it. His complexion must have been ruddy on earth; in zero gee his face looked like a tomato.
Each of the five had a personal bodyguard, and all but Chen had an additional companion as well. These latter were introduced, but Jay didn’t bother to remember any of the names; they were obviously AIs with a pulse. The killers were not introduced, as it might have distracted them. Chen’s bodyguard seemed to be the only one with any extensive space experience: Jay noticed that he watched feet as well as hands. That made his boss the smartest of the five uips.
“Is there anything you would like to tell us about the work we are about to see, Mr. Sasaki? Mr. Porter?” Birla asked, snapping Jay out of his reverie. Rand let him take it.
“No, sir,” he said. “If it doesn’t speak for itself, then nothing I could say will help. Shall we go in?”
Perhaps taking their cue from Tokugawa’s introduction, the five uips entered the theater in alphabetical order. Once inside, things got briefly complicated again.
This piece, Spatial Delivery, had been staged for proscenium performance, rather than in the sphere. That is, it was designed so that the audience used only half of the available “seating” area, strapping their backs to a common hemisphere, and the piece was performed against the backdrop of the other half. This cut audience capacity in half, but was a lot easier to choreograph and shape than a spherical piece which had to look good from all possible angles at once.
But if five people sit against a hemisphere, and keep pretending that there is a local vertical, then some of them must sit “above” others.
After a few seconds of backing and filling, the five decided face was more important than up and down, and solved the problem by making a puffball, like a two-dimensional version of Colly’s beloved angelfish. Lesser mortals filled in the gaps between them in whatever orientation suited them. Jay sat with Rand and his family in the center. He saw Eva nearby, and waved; she waved back.
The house lights dimmed, Rand’s overture began, and Jay forgot anything as trivial as trillionaires.
The first half went very well. Emerging from his warm fog to the realization that he must make small talk during the intermission was like being dumped from a snug bed into an icy vacuum.
And indeed it developed that the intermission chatter of uips was every bit as inane and clumsy as that of the mere vips Jay was used to. They all liked it so far, of course, and said so—but for all the wrong reasons, some that Jay would never have thought of in a million years. Intermissions always made Jay wish he had taken up engineering, or any trade where the customer’s wishes were possible to fathom. Talking to civilians usually reminded him forcefully that no artist ever succeeds save by dumb luck. Since he believed the purpose of art was to communicate, this tended to depress him slightly.
Five minutes before the end of the interval, he excused himself from the gathering, saying that he needed to check something with his technician backstage. Rand seized the opportunity to accompany him, ignoring his wife’s brief look of dismay, and they jaunted back into the empty theater together.
There were four “wings,” short cylindrical tunnels of invisibility created by Rand’s shaping gear, at the four cardinal points of the terminator that divided audience from stage. Dancers seemed to materialize as they entered, vanish as they exited. Knowing that two of the wings would be blocked by knots of dancers nerving themselves up to go on for the second act, Jay and Rand picked one of the other two at random.
And nearly got themselves shot by trigger-happy guards. “Jesus, folks, relax,” Jay said. “There won’t even be anybody out there to protect for another five minutes yet. Why don’t you safety those damned things until then? I don’t want you drilling one of my dancers on their way to the can.” Shaking his head, he passed on until he came to the tech hole, which was located at the farthest point of the theater, so that its one-way glass looked out past the dancers toward the audience. In fact, he and Rand had nothing to accomplish here; Nika had this piece on tracks by now. The tech hole was simply the nearest place to hide for a few minutes.
Not wanting to risk being shot again, he paused at the door and touched the intercom button. “It’s me and Rand, Nika,” he said. “Coming in.”
The door opened on horror.
Five bodies, drifting limp in free-fall crouch. Jack-in-the-box effect made them move toward him as the door swung open. Nika was one of them. A barely perceptible bitter odor preceded them; Jay could not identify it but knew it was trouble. “Oh, shit,” Rand said behind him.
“Hold your breath,” he snapped, and leaped into the hole. The room’s air system had already scavenged up most of the bitter gas, but who knew how much it took to immobilize a man?
He did not have time to find out if any of the floating bodies were alive; more urgently he needed to know who was missing. Sure enough, the worst possible: the Shimizu’s man. His brain raced. The assassin had planned to kill from here, firing through the one-way glass into the house. At Jay’s announcement he had bolted out one of the other two doors from the hole—seconds ago. His only move now was to cut through another six-pack somehow, enter the theater through one of the four wings, leave by the audience entrance, and try to kamikaze whomever his intended victim was out in the foyer. But which wing? Presumably he knew which two were mobbed with dancers; he had been hanging out in the hole. And if Nika had had her mikes hot… he knew which wing was guarded by a six-pack who had just been told to safety their weapons. By Jay! The son of a bitch could have circled around behind them while they were gaping in the open door of the hole…
“Make an announcement,” he brayed at Rand, and pointed to Nika’s board and mike.
“What do I say?”
“Run for your fucking lives!” He left the hole at full thruster power.
He began deep breathing as he left the hole—can’t have too much oxygen in a crisis—but within seconds he held his breath again as he detected more of that bitter smell ahead. The assassin had had a second gas-bomb—and kept it to use where it would do him the most good. As Jay came around the curve he saw the six-pack he had passed moments earlier, drifting with the air-currents. He wanted to decelerate to a stop and peer cautiously into that magic tunnel before entering it—but he was traveling so fast he’d have had to overshoot it and beat back, and he just didn’t have the time. Instead he threw himself into a power turn and rocketed right into it at max acceleration.
That probably saved his life. The assassin was still in the tunnel, waiting to scrag Jay the moment his head showed. But Jay arrived like a right hook, smashing solidly into him before he could fire. They recoiled from each other violently, and the assassin lost his grip on his weapon, a hand laser. But there was no gravity to take it away; it kept station with him as he tumbled, and he grabbed it again on the second flailing try.