Halting State Read Free

stole the whatever, there’ll be a logfile somewhere with their thumbprints on file. (Which from your point of view is good because it makes detection and wrap-up a whole lot easier. The warm glow of a case clean-up beckons.) As the doors open, you ask, “What exactly happened? From the beginning, please. In your own time.”
    “I’d just come out of the post-IPO debrief meeting with Marcus and Barry, they’re our CEO and CTO. We were in a three-way conference call with our VC’s investment liaison team and our counsel down south when Linda called me out—she’s in derivatives and border controls—because there was something flaky going down in one of the realms we manage for Kensu International. It’s in the prestige-level central bank for Avalon Four. There was a guild of Orcs—in a no-PvP area—and a goddamn dragon, and they cleaned out the bank. So we figured we’d call you.”
    The lift stops, and you stare at Wayne Richardson, Marketing Director, in mild disbelief. The jargon can wait for later, that’s what your interview log is for: But one name in particular rings a bell because Mary says Davey’s been pestering her for an account. “Avalon Four? Isnae that a game ?”
    He swallows and nods. “It’s our main cash cow.” The doors slide open on an underground corridor. The roof is ribbed with huge concrete beams painted in thick splashes of institutional cream, and it’s startlingly cold. There are bleached-pine doors on either side, a cable duct winding overhead, and posters on the walls that say LOOSE LIPS SINK SHIPS . For a moment you wonder if you’ve blundered into some kind of live-action role-playing thing, a cold-war re-enactment maybe: but just then your phone chimes at you that it’s gone off-line.
    “Uh, Sarge?” asks Bob.
    “I know,” you mutter. You must be too far underground, or they’re not carrying public bandwidth, or something. You force yourself to take it easy. “The signal in here’s poor: I’ll probably end up having to use a pen,” you warn Richardson, pulling out your official evidence phone. “So I may havtae back up or slow down a wee bit. Begin statement. On scene”—you rattle off the reference in the corner of your eye—“attending to Wayne Richardson, Marketing Director.”
    He leads you down the passage towards an open doorway through which you can hear raised voices, people with posh accents interrupting each other animatedly. The doorway is flanked by two potted rubber plants, slightly wilted despite the daylight spots focussed on them. “Ahem.” You clear your throat, and the conversation in the boardroom dribbles into incontinent silence as you stick your head round the door. Behind you, Bob’s got both his handcams out as well as his head cam, and he’s sweeping the room like a cross between the Lone Gunman and a star-crazed paparazzo: It’s policing, but not as your daddy knew it. You’re going to have to have a word with the lad afterwards, remind him he’s a cop, not a cinematographer.
    There’s a fancy table in the middle of the room, made of a transparent plastic that refracts the light passing through it into a myriad of clashing rainbows, and there’s a lot of light—it may be a cave down here, but these yins have LED daylight spots the way papes have candles. The chairs around the table are equally fancy: They look like they belong in a squadron of fighter jets, except ejector seats don’t usually come with castors and a gas strut suspension. Shame about the way their occupants are letting them down, though. There’re six of them. Two slimy wee maggots in ten-thousand-euro suits are clogging up the end of the table wi’ their status-symbol tablets: They’re the ones that were yammering at each other until they saw you. No ties; maybe it’s a dress code thing. There’s a lass in a suit, too, but she’s too young to be a decision maker. Secretarial/Admin, you guess. And then there’s the other guys who are, frankly, geeks.