The Golden Globe

His biography was not a complicated one. Laid down and turned on a little over twenty years before, he had been the brainchild and property of a billionaire whose name neither Poly nor I recognized. I don't claim to be a student of billionaires—I know there are more of them than you'd think. Many choose to be reclusive, both because any new acquaintance is probably looking to get something, and because of the ever-present danger of kidnapping for ransom. But this fellow hadn't made much of a splash, in spite of his lavish spending on ships and residences.

Perhaps it was because, a few years after Hal's creation, he lost everything in the futures market. Hal was sold to pay debts, and brought barely a tenth of his construction costs. He was sold and traded several times after that, by a succession of rich people who usually soon found they didn't really have need of such a plaything. He spent years in various parking orbits, unused, idle, gradually developing a contempt for mankind, at least the richest one tenth of one percent of it. He had little experience of the rest, and admitted he could be wrong about the race as a whole.

"Why would they create a being capable of thought, and of self-awareness," he moaned, "and then leave me alone, with nothing to do?"

"You're self-aware?" Poly asked at that point. It seemed a silly thing to ask, to my mind, but I didn't mention it. A unified front seemed the best policy until we knew more.

"I've decided that self-awareness is not something that can be proven," he said, surprising me. "It's more likely that an extremely complex series of programmed responses creates the illusion of self-awareness in computers like me." He paused, then gave us the punch line. "But I feel the same way about you."

"On my good days I suspect I'm moderately self-aware," I conceded.

"Well," Poly said, "I guess it's lucky for us you're programmed the way you are."

"Perhaps," Hal said.

It struck me that could be taken two ways. "You mean we're not so lucky as we've been thinking?"

"No. You are in no danger from me. I've just been wondering if I might have found a way to let you aboard, anyway."

"Do you think you could have?" Poly asked.

"I can't answer that. I might have tried."

Poly and I glanced at each other, and wordlessly elected me. "Why?" I asked.

"Oh... something to do. Getting you to Luna presented a challenge that occupied me for a very long time, and I'd like to thank you for that. Sorry it's been so rough on you, but my data were borne out; you survived. In addition, I watched all the Sparky shows with my passengers, and thought they were well made. I wanted to ask you some questions." A fan! Maybe he'd want me to sign one of his bulkheads. "I suppose it was mostly boredom," he admitted. "I might have found a way to keep you out, had I not despised the Comfort twins so much. But I've never been hijacked before. I was dying to see what you had in mind. You'll have to admit, on the face of it, it's quite insane."

"The face of it, the heart of it, the very marrow of it," I said. "But it seemed like a good idea at the time, and... well, here we are."

"Yes. You'll enjoy most of the remainder of your trip. Relax, get well, and I'll show you around. My facilities are at your disposal, and I think you'll find them quite interesting."

I thought I probably would.

Nothing else was said for a time. I floated in my big soft i

"Are you really Sparky Valentine?"

Sparky still had a private office, but he used it only for "important solitary creative thinking," as he told his staff. He took naps in it. No one was to come through his private office door for any reason. In the event of imminent planetary collision, Sparky was to be buzzed.

Everything else he did of a business, creative, or policy nature was done in large or small meetings in Studio 88. The large conference table was still there, and one end of it was now permanently cluttered with Sparky's paperwork, projects, and toys. His top assistants and executives all had desks in the room, as well as in their own offices. The arrangement had just evolved; one day Curly had moved a desk in, and everyone else felt they had to follow. Studio 88 was the source of power at Thimble Theater and they dared not neglect showing a presence there. Most of them hated it, but what can you do?

Models and sketches needing Sparky's or anyone else's approval were wheeled into Studio 88 for decisions. The cavernous room tended to be littered with props, costume racks, stacks of scripts, and Sparky tie-in products, some there for the day's agenda, others relics from many years past. These items would linger until Sparky got tired of them, or noticed they'd been around too long. Little was taken from the room without Sparky's approval, sometimes including old pizza delivery boxes and empty pop bottles. One popular analogy in use around the place was that Studio 88 was like an archaeological dig; the history of Sparky and His Gang could be found in the stratiform layers, if one wanted to excavate. If you'd lost something, the saying went, look for it in Studio 88. Newcomers wandering into it often thought they had been directed by mistake or practical joke into a disused warehouse.

Sparky had not really pla

Most meetings in Studio 88 involved three or four people, sometimes as many as six or seven. Once a month lower department heads and top assistants were summoned, and the table was full. Rarely, chairs were brought in for larger numbers, but Sparky was usually not present for these.

Today, Studio 88 was as full as it had been since the long-ago day when Sparky had bumbled in for his first audition. Exhibits and old props and stacks of paper had been shoved aside by half a dozen grips, scores of folding chairs had been set up on one side of the conference table, and some lights arranged to highlight the presentation being given on the other side, while leaving the rest of the room in comfortable obscurity. People on the lighted side of the table had moved their chairs back and turned them around to face John Valentine, who stood before three metal easels bearing big posters. Valentine moved and spoke with assurance. As usual, he was dazzling to look at under the lights. If he had lived in the 1920s, Valentino would have had some serious competition.