"No," I said. "Because he could change those as easily as his sex, right?"
"Right. Easier. The only positive means of identification today is genotyping, and he wasn't cooperative enough to leave any of him behind when he killed you. He must have been areal brute, to be able to inflict as much damage on you as he did and not even be cut himself. You were armed with a knife. Not a drop of his blood was found at the scene of the murder."
"Then how do you go about finding him?"
"Fox, I'd have to take you through several college courses to begin to explain our methods to you. And I'll even admit that they're not very good. Police work has not kept up with science over the last century. There are many things available to the modern criminal that make our job more difficult than you'd imagine. We have hopes of catching him within about four lunations, though, if you'll stay put and stop chasing him."
"Why four months?"
"We trace him by computer. We have very exacting programs that we run when we're after a guy like this. It's our one major weapon. Given time, we can run to ground about sixty percent of the criminals."
"Sixty percent?" I squawked. "Is that supposed to encourage me? Especially when you're dealing with a master like my killer seems to be?"
She shook her head. "He's not a master. He's only determined. And that works against him, not for him. The more single-mindedly he pursues you, the surer we are of catching him when he makes a slip. That sixty percent figure is over-all crime; on murder, the rate is ninety-eight. It's a crime of passion, usually done by an amateur. The pros see no percentage in it, and they're right. The penalty is so steep it can make a pauper of you, and your victim is back on the streets while you're still in court."
I thought that over, and found it made me feel better. My killer was not a criminal mastermind. I was not being hunted by Fu-Manchu or Dr. Moriarty. He was only a person like myself, new to this business. Something Fox 1 did had made him sufficiently angry to risk financial ruin to stalk and kill me. It scaled him down to human dimensions.
"So now you're all ready to go and get him?" Isadora sneered. I guess my thoughts were written on my face. That, or she was consulting her script of our previous conversation.
"Why not?" I asked.
"Because, like I said, he'll get you. He might not be a pro but he's an expert on you. He knows how you'll jump. One thing he thinks he knows is that you won't take my advice. He might be right outside your door, waiting for you to finish this conversation like you did last time around. The last time, he wasn't there. This time he might be."
It sobered me. I glanced nervously at my door, which was guarded by eight different security systems bought by Fox 3.
"Maybe you're right. So you want me just to stay here. For how long?"
"However long it takes. It may be a year. That four-lunation figure is the high point on a computer curve. It tapers off to a virtual certainty in just over a year."
"Why didn't I stay here the last time?"
"A combination of foolish bravery, hatred, and a fear of boredom." She searched my eyes, trying to find the words that would make me take the advice that Fox 3 had fatally refused. "I understand you're an artist," she went on. "Why can't you just . . . well, whatever it is artists do when they're thinking up a new composition? Can't you work there in your apartment?"
How could I tell her that inspiration wasn't just something I could turn on at will? Weather sculpture is a tenuous discipline. The visualization is difficult; you can't just try out a new idea like you can with a song, by picking it out on a piano or guitar. You can run a computer simulation, but you never really know what you have until the tapes are run into the machines and you stand out there in the open field
and watch the storm take shape around you. And you don't get any practice sessions. It's expensive.
I've always needed long walks on the surface. My competitors can't understand why. They go for strolls through the various parks, usually the one where the piece will be performed. I do that, too. You have to, to get the lay of the land. A computer can tell you what it looks like in terms of thermoclines and updrafts and pocket-ecologies, but you have to really go there and feel the land, taste the air, smell the trees, before you can compose a storm or even a summer shower. It has to be a part of the land.
But my inspiration comes from the dry, cold, airless surface that so few Lunarians really like. I'm not a burrower; I've never loved the corridors like so many of my friends profess to do. I think I see the black sky and harsh terrain as a blank canvas, a feeling I never really get in the disneylands where the land is lush and varied and there's always some weather in progress even if it's only partly cloudy and warm.
Could I compose without those long, solitary walks? Run that through again: could I afford not to?
"All right, I'll stay inside like a good girl."
I was in luck. What could have been an endless purgatory turned into creative frenzy such as I had never experienced. My frustrations at being locked into my apartment translated themselves into grand sweeps of tornados and thunderheads. I began writing my masterpiece. The working title was A Conflagration of Cyclones. That's how angry I was. My agent later talked me into shortening it to a tasteful Cyclone, but it was always a conflagration to me.
Soon I had managed to virtually forget about my killer. I never did completely; after all, I needed the thought of him to flog me onward, to serve as the canvas on which to paint my hatred. I did have one awful thought early on, and I brought it up to Isadora.
"It strikes me," I said, "that what you've built here is the better mousetrap, and I'm the hunk of cheese."
"You've got the essence of it," she agreed.
"I find I don't care for the role of bait."
"Why not? Are you scared?"
I hesitated, but what the hell did I have to be ashamed of?
"Yeah. I guess I am. What can you tell me to make me stay here when I could be doing what all my instincts are telling me to do, which is run like hell?"
"That's a fair question. This is the ideal situation, as far as the police are concerned. We have the victim in a place that can be watched, perfectly safely, and we have the killer on the loose. Furthermore, this is an obsessed killer, one who cannot stay away from you forever. Long before he is able to make a strike at you we should pick him up as he scouts out ways to reach you."
"Are there ways?"
"No. An unqualified no. Any one of those devices on your door would be enough to keep him out. Beyond that, your food and water is being tested before it gets to you. Those are extremely remote possibilities since we're convinced that your killer wishes to dispose of your body completely, to kill you for good. Poisoning is no good to him. We'd just start you up again. But if we can't find at least a piece of your body, the law forbids us to revive you."
"What about bombs?"
"The corridor outside your apartment is being watched. It would take quite a large bomb to blow out your door, and getting a bomb that size in place would not be possible in the time he would have. Relax, Fox. We've thought of everything. You're safe."
She rung off, and I called up the Central Computer. "CC," I said, to get it on-line, "can you tell me how you go about catching killers?"
"Are you talking about killers in general, or the one you have a particular interest in?"
"What do you think? I don't completely believe that detective. What I want to know from you is what can I do to help?"
"There is little you can do," the CC said. "While I myself, in the sense of the Central or controlling Lunar Computer, do not handle the apprehension of criminals, I am in a
supervisory capacity to several satellite computers. They use a complex number theory, correlated with the daily input from all my terminals. The average person on Luna deals with me on the order of twenty times per day, many of these transactions involving a routine epidermal sample for positive genalysis. By matching these transactions with the time and place they occurred, I am able
to construct a dynamic model of what has occurred, what possibly could have occurred, and what cannot have occurred. With suitable peripheral programs I can refine this model to a close degree of accuracy. For instance, at the time of your first murder I was able to assign a low probability to ninety-nine point nine three percent of all humans on Luna as being responsible. This left me with a pool of 210,000 people who might have had a hand in it. This is merely from data placing each person at a particular place at a particular time. Further weighting of such factors as possible motive narrowed the range of prime suspects. Do you wish me to go on?"
"No, I think I get the picture. Each time I was killed you must have narrowed it more. How many suspects are left?"
"You are not phrasing the question correctly. As implied in my original statement, all residents of Luna are still suspects. But each has been assigned a probability, ranging from a very large group with a value of 10-27 to twenty individuals with probabilities of 13%."
The more I thought about that, the less I liked it.
"None of those sound to me like what you'd call a prime suspect."
"Alas, no. This is a very intriguing case, I must say." "I'm glad you think so."
"Yes," it said, oblivious as usual to sarcasm. "I may have to have some programs re-written. We've never gone this far without being able to submit a ninety percent rating to the Grand Jury Data Bank."
"Then Isadora is feeding me a line, right? She doesn't have anything to go on?"
"Not strictly true. She has an analysis, a curve, that places the probability of capture as near-certainty within one year."
"You gave her that estimate, didn't you?"
"Of course."
"Then what the hell does she do? Listen, I'll tell you right now. I don't feel good about putting my fate in her hands. I think this job of detective is just a trumped-up featherbed. Isn't that right?"
"The privacy laws forbid me to express an opinion about the worth, performance, or intelligence of a human citizen. But I can give you a comparison. Would you entrust the construction of your symphonies to a computer alone? Would you sign your name to a work that was generated entirely by me?"
"I see your point."
"Exactly. Without a computer you'd never calculate all the factors you need for a symphony. But I do not write them. It is your creative spark that makes the wheels turn. Incidentally, I told your successor but of course you don't remember it, I liked your Liquid Ice tremendously. It was a real pleasure to work with you on it."
"Thanks. I wish I could say the same." I signed off, feeling no better than when I began the interface.
The mention of Liquid Ice had me seething again. Robbed! Violated! I'd rather have been gang-raped by chimpanzees than have the memory stolen from me. I had punched up the films of Liquid Ice and they were beautiful. Stunning, and I could say it without conceit because I had not written it.
My life became very simple. I worked—twelve and fourteen hours a day sometimes—ate, slept, and worked some more. Twice a day I put in one hour learning to fight over the holovision. It was all highly theoretical, of course, but it had value. It kept me in shape and gave me a sense of confidence.
For the first time in my life I got a good look at what my body would have been with no tampering. I was born female, but Carnival wanted to raise me as a boy so she had me Changed when I was two hours old. It's another of the contradictions in her that used to infuriate me so much but
which, as I got older, I came to love. I mean, why go to all the pain and trouble of bringing a child to term and giving birth naturally, all from a professed dislike of tampering—and then turn around and refuse to accept the results of nature's lottery? I have decided that it's a result of her age. She's almost two hundred by now, which puts her childhood back in the days before Changing. In those days—I've never understood why—there was a predilection for male children. I think she never really shed it.
At any rate, I spent my childhood male. When I got my first Change, I picked my own body design. Now, in a six-lunation-old clone body which naturally reflected my actual genetic structure, I was pleased to see that my first female body design had not been far from the truth.
I was short, with small breasts and an undistinguished body. But my face was nice. Cute, I would say. I liked the nose. The age of the accelerated clone body was about seventeen years; perhaps the nose would lose its upturn in a few years of natural growth, but I hoped not. If it did, I'd have it put back.
Once a week, I had a recording made. It was the only time I saw people in the flesh. Carnival, Leander, Isadora, and a medico would enter and stay for a while after it was made. It took them an hour each way to get past the security devices. I admit it made me feel a little more secure to see how long it took even my friends to get in my apartment. It was like an invisible fortress outside my door. The better to lure you into my parlor, killer!
I worked with the CC as I never had before. We wrote new programs that produced four-dimensional models in my viewer unlike anything we had ever done before. The CC knew the stage—which was to be the Kansas disneylandand I knew the storm. Since I couldn't walk on the stage this time before the concert I had to rely on the CC to reconstruct it for me in the holo tank.
Nothing makes me feel more godlike. Even watching it in the three-meter tank I felt thirty meters tall with lightning in my hair and a crown of shimmering frost. I walked through the Kansas autumn, the brown, rolling, featureless prairie before the red or white man came. It was the way the real Kansas looked now under the rule of the Invaders, who had ripped up the barbed wire, smoothed over the furrows, dismantled the cities and railroads and let the buffalo roam once more.
There was a logistical problem I had never faced before. I intended to use the buffalo instead of having them kept out of the way. I needed the thundering hooves of a stampede; it was very much a part of the environment I was creating. How to do it without killing animals?
The disneyland management wouldn't allow any of their livestock to be injured as part of a performance. That was fine with me; my stomach turned at the very thought. Art is one thing, but life is another and I will not kill unless to save myself. But the Kansas disneyland has two million head of buffalo and I envisioned up to twenty-five twisters at one time. How do you keep the two separate?
With subtlety, I found. The CC had buffalo behavioral profiles that were very reliable. The damn CC stores everything, and I've had occasion more than once to be thankful for it. We could position the herds at a selected spot and let the twisters loose above them. The tornados would never be totally under our control, they are capricious even when hand-made, but we could rely on a hard ninety percent accuracy in steering them. The herd-profile we worked up was usable out to two decimal points, and as insurance against the unforeseen we installed several groups of flash-bombs to turn the herd if it headed into danger.
It's an endless series of details. Where does the lightning strike, for instance? On a flat, gently rolling plain, the natural accumulation of electric charge can be just about anywhere. We had to be sure we could shape it the way we wanted, by burying five hundred accumulators that could trigger an air-to-ground flash on cue. And to the right spot. The air-to-air are harder. And the ball lightning—oh, brother. But we found we could guide it pretty well with buried wires carrying an electric current. There were going to be range fires—so check with the management on places that are due for a controlled burn anyway, and keep the
buffalo away from there, too, and be sure the smoke would not blow over into the audience and spoil the view or into the herd and panic them . .
But it was going to be glorious.
Six lunations rolled by. Six lunations! 177.18353 mean solar days!
I discovered that figure during a long period of brooding when I called up all sorts of data on the investigation. Which, according to Isadora, was going well.
I knew better. The CC has its faults but shading data is not one of them. Ask it what the fig
ures are and it prints them out in tri-color.
Here's some: probability of a capture by the original curve, ninety-three percent. Total number of viable suspects remaining: nine. Highest probability of those nine possibles: three point nine percent. That was Carnival. The others were also close friends, and were there solely on the basis of having the opportunity at all three murders. Even Isadora dared not speculate—at least not aloud, and to me—that any of them could have a motive.
I discussed it with the CC.
"I know, Fox, I know," it replied, with the closest approach to mechanical despair I have ever heard.
"Is that all you can say?"
"No. As it happens, I'm pursuing the other possibility: that it was a ghost who killed you."
"Are you serious?"
"Yes. The term `ghost' covers all illegal beings. I estimate there to be on the order of two hundred of them existing outside legal sanctions on Luna. These are executed criminals with their right to life officially revoked, unauthorized children never registered, and some suspected artificial mutants. Those last are the result of proscribed experiments with human DNA. All these conditions are hard to conceal for any length of time, and I round up a few every year."
"What do you do with them?"
"They have no right to life. I must execute them when I find them."
"You do it? That's not just a figure of speech?"
"That's right. I do it. It's a job humans find distasteful. I never could keep the position filled, so I assumed it myself."
That didn't sit right with me. There is an atavistic streak in me that doesn't like to turn over the complete functioning of society to machines. I get it from my mother, who goes for years at a time not deigning to speak to the CC.
"So you think someone like that may be after me. Why?"
"There is insufficient data for a meaningful answer. `Why' has always been a tough question for me. I can operate only on the parameters fed into me when I'm dealing with human motivation, and I suspect that the parameters are not complete. I'm constantly being surprised."
"Thank goodness for that." But this time, I could have wished the CC knew a little more about human behavior.
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