Part 101 (2/2)

”Politics, I think,” he said.

”Hard to remember. Probably wanted to be sure that someone like Wiener wouldn't convince you to quit, switch companies, and hire you again.”

”Not much risk of that now,” Lester said. ”Let's face it, Sammy, I don't actually do anything for the company.”

”Nope. That's right. We're not very good at making use of people like you.”

”Nope.”

”Well, email me your paperwork and I'll shove it around. How much notice are you supposed to give?”

”Three months'.”

”Yowch. Whatever. Just pack up and go home. Gardening leave.”

It had been two years since Lester'd had any contact with Sammy, but it was clear that running Iranian ops had mellowed him out. Harder to get into trouble with women there, anyway.

”How's Iran treating you?”

”The Middle East operation is something else, boy. You'd like it here. The post-war towns all look like your squatter city -- the craziest buildings you ever saw. They love the DiaBs though -- we get the most fantastic designs through the fan channels....” He trailed off. Then, with a note of suspicion: ”What are you going to do now?”

Ah. No sense in faking it. ”Perry and I are going to go into business together. Making kinetic sculptures. Like the old days.”

”No *way*! Perry *Gibbons*? You two are back together? Christ, we're all doomed.” He was laughing. ”Sculptures -- like that toast robot?

And he wants to go into *business*? I thought he was some kind of Commie.”

Lester had a rush of remembrance, the emotional memory of how much he'd hated this man and everything he stood for. What had happened to him over the years that he counted this sneak, this thug, as his colleague? What had he sold when he sold out?

”Perry Gibbons,” Lester said, and drew in a breath. ”Perry Gibbons is the sharpest entrepreneur I've ever met. He can't *help* but make businesses. He's an artist who antic.i.p.ates the market a year ahead of the curve. He could be a rich man a hundred times over if he chose. Commie? Page, you're not fit to keep his books.”

The line went quiet, the eerie silence of a net-connection with no packets routing on it. ”Goodbye, Lester,” Sammy said at length.

Lester wanted to apologize. He wanted *not* to want to apologize. He swallowed the apology and disconnected the line.

When it was time for bed, Suzanne shut her lid and put the computer down beside the sofa. She stepped carefully around the pieces of the Calvinball game that still covered the living room floor and stepped into a pair of slippers. She slid open the back door and hit the switch for the yard's flood-light. The last thing she wanted to do was trip into the pool.

She picked her way carefully down the flagstones that led to the workshop, where the lights burned merrily in the night. There was no moon tonight, and the stars were laid out like a bag of synthetic diamonds arrayed on a piece of black velour in a street market stall.

She peered through the window before she went around to the door, the journalist in her wanting to fix an image of the moment in her mind before she moved in and disturbed it. That was the problem with being a reporter -- everything changed the instant you started reporting on it. By now, there wasn't a person alive who didn't know what it means to be in the presence of a reporter. She was a roving Panopticon.

The scene inside the workshop was eerie. Perry and Lester stood next to each other, cheek by jowl, hunched over something on the workbench. Perry had a computer open in front of him, and he was typing, Lester holding something out of sight.

How many times had she seen this tableau? How many afternoons had she spent in the workshop in Florida, watching them hack a robot, build a sculpture, turn out the latest toy for Tjan's amus.e.m.e.nt, Kettlewell's enrichment? The postures were identical -- though their bodies had changed, the hair thinner and grayer. Like someone had frozen one of those innocent moments in time for a decade, then retouched it with wizening makeup and hair-dye.

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