The Caryatids - Bruce Sterling [44]
The pit suddenly held the skeletal frame of a theater set: couches, a chair.
“Okay,” Glyn told her, “you are a go.”
Radmila dug her reactive slippers into the memory foam. “This pit is good. This place is so state-of-the-art. This is, totally, the hottest rehearsal pit that the Family-Firm has ever built.”
“Just watch your hat,” said Glyn patiently.
Golden footmarks glowed on the floor. Radmila braced herself for performance.
“Whoa,” said Glyn, “I’ve got a bad stress readout from your left ankle.”
“My ankle is fine now!”
“The everyware knows you better than you do,” said Glyn.
Radmila rucked up the hem of her costume. The stage gear protested scrunchily. Kinetic textiles never liked departing from their script.
Radmila flexed her left knee and extended her foot. “Okay, so let me see it. Show me now.”
Narrowly focused beams sprang from the walls and ceiling. They brilliantly painted her leg with projected data. Her bones and ligaments appeared, neatly coded and labeled: “Navicular.” “Cuboid.” “Anterior Talofibular.” The working pieces of the human ankle. What ugly names they had.
Radmila bent at the waist, gripped her extended toes, and rotated the joint. The simulated meat and bones writhed in a lively fashion, very glossy and painterly. Yes, she felt one leftover pang deep in there. One ugly, ankle-sprain pang. “Damn.”
“You’ve overdone it. Let’s cancel your stunt tonight.”
“I can’t cancel my chair stunt!”
“You’re booked for that big hotel opening Monday. They want your full set: your precision jumps, your vaults, all your backup dancers … If you wreck your ankle here tonight, your investors will kill me.”
Radmila’s temper, always sharp before she went on stage, sharpened further. “Am I supposed to publicly appear tonight in the Los Angeles County Furniture Showroom, and deny the public my signature stunting-with-furniture?”
“Oh, is the diva losing her composure?” mocked Glyn.
“We can tape my ankle. That won’t take a minute.”
“Look: Tonight should be simple. You catwalk over to Toddy. You sit on Toddy’s fancy couch. Toddy lectures her public all about historical furniture, and you just listen nicely and be all ingenue about it.”
“I hear your concept,” said Radmila. “Your concept stinks.”
“We’re in a furniture museum! Toddy’s fans are a million years old! They won’t care if you don’t fly around the room like a fairy princess!”
Radmila seethed silently. What a pain Glyn was. No one could pull the rug out from under you like a member of your own family. Glyn understood Montgomery-Montalban family values, nobody knew them better—but Glyn had never taken those values to heart. Because Glyn was a stage technician, not a star. Glyn had no magic.
“Toddy specifically asked me to stunt tonight. At dinner, Toddy asked me in front of everybody. I know that you heard Toddy ask me to stunt.”
“If you’re finally asking me about that idea, well, I think your cheap stunt upstages Toddy at her retirement show.”
“That’s why Toddy wants me to stunt,” said Radmila. “She’s handing it over to me in public tonight, don’t you get that? Toddy is the old school. Toddy’s retiring! Her public’s very sentimental, they love an emo pitch like that!”
“The investors don’t love emo pitches,” Glyn said crisply.
“Think in the long term,” said Radmila, and this was a very Family-Firm thing to say. So Glyn finally had to shut up.
Radmila struggled to compose herself. The last-minute backstage squabble had blown open the gates of her stage fright. Radmila’s fears always attacked her before she went on. Always. She never breathed a word about her fears to anyone, which meant that she felt them more keenly.
What did she have to be so scared about, before a performance? Nothing—but everything. Her stage fright rose within her like a hurricane seeking a center. Her fear and trauma had to fixate on something.
Suddenly, it centered on Toddy.
Yes. She was so afraid of losing Toddy. Toddy was her diva, her coach, her mentor. Without Toddy, she was ugly and useless. She had no