«Like to tell me why it was you skidded then, exactly, sir?» The police officer was looking him straight in the eye while pulling out a notebook.
«Well, as I said,» explained Richard, «the roads are slippery because of the mist, and, well, to be perfectly honest,» he suddenly found himself saying, in spite of all his attempts to stop himself, «I was just driving along and I suddenly imagined that I saw my employer throwing himself in front of my car.»
The officer gazed at him levelly.
«Guilt complex, officer,» added Richard with a twitch of a smile, «you know how it is. I was contemplating taking the weekend off.»
The police officer seemed to hesitate, balanced on a knife edge between sympathy and suspicion. His eyes narrowed a little but didn't waver.
«Been drinking, sir?»
«Yes,» said Richard, with a quick sigh, «but very little. Two glasses of wine max. Er… and a small glass of port. Absolute max. It was really just a lapse of concentration. I'm fine now.»
«Name?»
Richard gave him his name and address. The policeman wrote it all down carefully and neatly in his book, then peered at the car registration number and wrote that down too.
«And who is your employer then, sir?»
«His name is Way. Gordon Way.»
«Oh,» said the policeman raising his eyebrows, «the computer gentleman.»
«Er, yes, that's right. I design software for the company.
WayForward Technologies II.»
«We've got one of your computers down the station,» said the policeman. «Buggered if I can get it to work.»
«Oh,» said Richard wearily, «which model do you have?»
«I think it's called a Quark II.»
«Oh, well that's simple,» said Richard with relief. «It doesn't work. Never has done. The thing is a heap of shit.»
«Funny thing, sir, that's what I've always said,» said the policeman. «Some of the other lads don't agree.»
«Well, you're absolutely right, officer. The thing is hopeless. It's the major reason the original company went bust. I suggest you use it as a big paperweight.»
«Well, I wouldn't like to do that, sir,» the policeman persisted.
«The door would keep blowing open.»
«What do you mean, officer?» asked Richard.
«I use it to keep the door closed, sir. Nasty draughts down our station this time of year. In the summer, of course, we beat suspects round the head with it.»
He flipped his book closed and prodded it into his pocket.
«My advice to you, sir, is to go nice and easy on the way back. Lock up the car and spend the weekend getting completely pissed. I find it's the only way. Mind how you go now.»
He returned to his car, wound down the window, and watched Richard manoeuvre his car around and drive off into the night before heading off himself.
Richard took a deep breath, drove calmly back to London, let himself calmly into his flat, clambered calmly over the sofa, sat down, poured himself a stiff brandy and began seriously to shake.
There were three things he was shaking about.
There was the simple physical shock of his near-accident, which is the sort of thing that always churns you up a lot more than you expect.
The body floods itself with adrenaline, which then hangs around your system turning sour.
Then there was the cause of the skid — the extraordinary apparition of Gordon throwing himself in front of his car at that moment. Boy oh boy. Richard took a mouthful of brandy and gargled with it. He put the glass down.
It was well known that Gordon was one of the world's richest natural resources of guilt pressure, and that he could deliver a ton on your doorstep fresh every morning, but Richard hadn't realised he had let it get to him to such an unholy degree.
He took up his glass again, went upstairs and pushed open the door to his workroom, which involved shifting a stack of BYTE magazines that had toppled against it. He pushed them away with his foot and walked to the end of the large room. A lot of glass at this end let in views over a large part of north London, from which the mist was now clearing. St Paul's glowed in the dark distance and he stared at it for a moment or two but it didn't do anything special. After the events of the evening he found this came as a pleasant surprise.
At the other end of the room were a couple of long tables smothered in, at the last count, six Macintosh computers. In the middle was the Mac II on which a red wire-frame model of his sofa was lazily revolving within a blue wire-frame model of his narrow staircase, complete with banister rail, radiator and fuse-box details, and of course the awkward turn halfway up.
The sofa would start out spinning in one direction, hit an obstruction, twist itself in another plane, hit another obstruction, revolve round a third axis until it was stopped again, then cycle through the moves again in a different order. You didn't have to watch the sequence for very long before you saw it repeat itself.
The sofa was clearly stuck.
Three other Macs were connected up via long tangles of cable to an untidy agglomeration of synthesisers — an Emulator II+ HD sampler, a rack of TX modules, a Prophet VS, a Roland JX 10, a Korg DW8000, an Octapad, a left-handed Synth-Axe MIDI guitar controller, and even an old drum machine stacked up and gathering dust in the corner — pretty much the works. There was also a small and rarely used cassette tape recorder: all the music was stored in sequencer files on the computers rather than on tape.
He dumped himself into a seat in front of one of the Macs to see what, if anything, it was doing. It was displaying an «Untitled» Excel spreadsheet and he wondered why.
He saved it and looked to see if he'd left himself any notes and quickly discovered that the spreadsheet contained some of the data he had previously downloaded after searching the World Reporter and Knowledge on-line databases for facts about swallows.
He now had figures which detailed their migratory habits, their wing shapes, their aerodynamic profile and turbulence characteristics, and some sort of rudimentary figures concerning the patterns that a flock would adopt in flight, but as yet he had only the faintest idea as to how he was going to synthesise them all together.
Because he was too tired to think particularly constructively tonight he savagely selected and copied a whole swathe of figures from the spreadsheet at random, pasted them into his own conversion program, which scaled and filtered and manipulated the figures according to his own experimental algorithms, loaded the converted file into Performer, a powerful sequencer program, and played the result through random MIDI channels to whichever synthesisers happened to be on at the moment.
The result was a short burst of the most hideous cacophony, and he stopped it.
He ran the conversion program again, this time instructing it to force-map the pitch values into G minor. This was a utility he was determined in the end to get rid of because he regarded it as cheating.
If there was any basis to his firmly held belief that the rhythms and harmonies of music which he found most satisfying could be found in, or at least derived from, the rhythms and harmonies of naturally occurring phenomena, then satisfying forms of modality and intonation should emerge naturally as well, rather than being forced.
For the moment, though, he forced it.
The result was a short burst of the most hideous cacophony in G minor.
So much for random shortcuts.
The first task was a relatively simple one, which would be simply to plot the waveform described by the tip of a swallow's wing as it flies, then synthesise that waveform. That way he would end up with a single note, which would be a good start, and it shouldn't take more than the weekend to do.
Except, of course, that he didn't have a weekend available to do it in because he had somehow to get Version 2 of Anthem out of the door sometime during the course of the next year, or «month» as Gordon called it.