Jay wished someone would solve brain-cloning. “Colly, excuse me; Sergei, give me both of them; Andrew, Francine, I can’t talk for long right now, but…” His mind raced. “… uh, today’s a wrap. We’ll do the tech rehearsal tomorrow at noon; first dress after supper; final run-through will have to be the afternoon of the performance.”
“Are you sure, Boss?” Francine asked. “We could do the tech tonight—cancel the pony show.”
“No,” Jay said. “After something like this, the cabaret show is essential. I won’t be there, but trust me: you’ll never have a better house. They’ll cheer themselves hoarse, and tip like Shriners. Everybody needs to celebrate still being alive”—well, almost everybody…—“and not being trapped in a swimming pool for three days. I’ve got to go; I’ll leave my notes from this afternoon with your AIs later and talk with you tomorrow. Off.”
“Calls waiting, Jay: Katherine Tokugawa, Evelyn Martin, Eva Hoffman… and another just coming in, Duncan Iowa.”
“Suffering Jesus! Flush Iowa and Martin, tell Eva I’ll call her back, refuse all further calls, and give me Kate. Greetings, Tokugawa-sama—some excitement, eh? I know why you’re calling, and don’t worry: we’ll be ready when the bell rings—”
By the time he had given his boss every reassurance he could counterfeit and gotten her off the phone, he was back home. Once inside, he turned Colly over to the White Rabbit; it checked, learned that Room Service was not yet back on-line, and led her off to Jay’s personal pantry, glancing irritably at its pocket watch, for the stiff peanut-butter and jelly it knew she required. Jay took a deep breath—
—let it out; took another—
—thought longingly of a drink, and retracted all the furniture in his living room, and began to dance. And kept on dancing, ricocheting around the room in great energy-wasting leaps and landings and spins and recoveries, until his body was as exhausted as his brain. He poured all his fear and confusion and guilt and anger into the dance… his irritation with his beloved brother, for picking now to be betrayed… his sneaking sympathy for the bitch who had picked now to put the horns on his brother… his heartbreak for the small child who was about to become a helpless leaf in a storm she would not understand for years…
When he finally stopped, Colly’s applause startled him. He had not been aware of her watching, hadn’t thought to censor what his body was saying. But she was not disturbed by his dance, only impressed; her applause was sincere. She was oblivious to her doom.
They ended up napping in each other’s arms.
17
Nova Dance Theatre
The Shimizu Hotel
22 January 2065
Early on in the dance, Eva knew she was in good hands, and relaxed.
You couldn’t always tell, that early. Sometimes a serious dance was over before you had decided whether you liked it or not. Every piece must, along with what it actually conveys, explain to you the rules by which it is meant to be judged, and sometimes that subtext can take as long to grasp and evaluate as the work itself. For that very reason, Eva had avoided seeing any rehearsals, so she could assess the finished work fairly. But a minute or so into Kinergy, she stopped praying that her friend’s work wouldn’t bomb, and became lost in it. Jay and his brother had meshed well, for the second time: this piece, despite its origins in the turgid head of Pribhara, was even better than Spatial Delivery had been.
It was not as cerebral as that piece, nor as simple. For one thing, it was staged in the sphere rather than in proscenium, so it had to work in any direction. The stage was bare: apparently none of the standard vector-changing hardware of free-fall dance was going to be used tonight… which meant the dancers were going to work harder. The piece’s title was another clue. Spatial Delivery had been a single pun, based on a long-obsolete term—but Kinergy was a cascade of overlapping ones—synergy/kinetic energy/kinship energy/kin urge—all primal concepts of the human universe, as old as DNA and as unlikely to ever become dated. It had opened, in fact, with two chains of six dancers unwinding from a double helix in a sudden burst of illumination. The musical accompaniment that appeared as they separated was likewise timeless: the tones of its individual voices did not precisely match any classical instrument, but neither did they sound electronic. The music they made together was difficult to categorize; one could have imagined such music being played at just about any time in history. The dancers were costumed as neutrally as possible, in unitards that matched their complexions, with hoods that masked their diversity of hair styles and colors, and with oversized wings and disguised thrusters.
Nor did the ensuing choreography seem to contain any period or style “flags” in its movement vocabulary—not even those characteristic to its creator. Eva was familiar with most of Jay’s work, and might not have identified this as his if she hadn’t been told: he had managed to transcend his own limitations.
Ordinarily, for instance, he hated unisons, referred to them as “redundancies,” and tended to use them as little as possible—but once his two chains of dancers had separated into twelve individuals, they spent several minutes dancing in unison, changing only in their dynamic relation to one another, like birds altering their formation in flight.
Eva slowly realized that the piece did have an unavoidable period flag: since the dancers were weightless, the dance had to belong to the twenty-first century. Few of its sweeping movements could have been performed any earlier in history, on Terra, without the help of special effects. But as that realization came to her, Rand’s shaping began, and cut the piece adrift in time again. The audience facing her on the far side of the theater went away; the dancers were now flying in a blue Terran sky that went on forever, peppered with slow-moving clouds. The sun, its brilliance tempered to a tolerable level by an intervening cloud, was directly opposite Eva, so her subconscious decided that she was lying on her back, mere thousands of meters above Terra, about to fall, an effect so unsettling that she grabbed for her seatmate. (Glancing briefly around, she noticed that many others were doing the same—but not those who were spaceborn.) But the clouds and dancers did not recede, she did not “fall”; before long she relaxed and accepted the fact that she could float in a gravity field, that she was simply lying on a cloud. She resumed watching the dance.
How old is the concept of fairies? Of winged humans who play among the clouds? These dancers played with the clouds, buzzing them, bursting through them, batting them to and fro like fluffy beachballs. A sextet formed, grabbed each other’s ankles and made a great circle just in time for a cloud to thread it in stately slow motion. Another group at the opposite end of the theater seemed to echo the phrase, but contracted as the cloud was passing through their circle and pinched it into two clouds; the sextet broke into two trios, and each took one of the cloudlets to play with. The remaining six formed a puffball, like fish in the pool, with a cloud at their center; it slowly expanded outward through them, moving up their torsos, and became a translucent wispy sphere around them, then a globe of water, swirling with surface tension. All six came apart from each other and burst the bubble: it popped with a comical moist sound and sent droplets cascading in all directions like a cool firework blossoming. The ones coming toward Eva vanished just before arriving.
She was delighted. The simple beauty of weightlessness, which became prosaic for every Shimizu resident through daily familiarity, was made magical again by the setting. In this context, the dancers seemed somehow more than (or was it less than?) weightless; they seemed to be nearly massless as well, ethereal. They could meet at high speed without apparent impact, change vector so that it seemed to be their will rather than thrusters which caused the change, bounce from a cloud as easily as penetrate it, pivot on a passing breeze.