I knew who was buying the West End, it seemed. That explained the connection with the New York, anyway.

What it didn't explain was what the hell she wanted with the West End. I knew who; I didn't know why.

More than anything, I needed to know why.

AFTER A MOMENT'S THOUGHT, MY QUESTIONS STARTED multiplying like the output of a runaway do-loop.

Was it really Sayuri Nakada buying the West End, or was it someone else in her household?

If it was she, was she acting alone, or as her family's agent?

How did Paulie Orchid get involved with it? Why use him instead of some more respectable employee? Just how did he fit in?

Why keep everything so damn secret?

Why start so suddenly six weeks back? What had happened then to convince her to buy?

And just like a baby do-loop, I kept coming back to the same place, over and over: Why buy the West End? What did she plan to do with it?

I punched for "hold and meditate," sat back, and watched weirdly distorted humanoids dance along the big wall holoscreen as the com tried to synthesize music images that might help me think. Pointed legs stretched, thickened, and shrank as they lifted in broken rhythms, while stylized arms thrust out horizontally.

I could guess at part of it. It had to be Sayuri Nakada buying; who else had the money? Who else would dare work out of that house?

Even so, I figured that this was not a family operation. That would explain the secrecy and the use of a local small-time operator like Orchid instead of someone who might report back to Grandfather Nakada on Prometheus.

Presumably she had started her project as soon as she thought of it, or at least as soon as she became convinced it was worth doing; that was why it had begun suddenly six weeks earlier. What had convinced her?

Well, I wouldn't know that until I knew what she thought she was doing.

I still needed that one simple answer: Why buy the West End?

My job was to stop whoever was buying the West End from driving out the squatters. I knew now who it was- maybe I didn't have enough evidence for legal proof, but I was pretty sure. To make her stop, though, I had to know why she was doing it in the first place. It wasn't any obvious scam; Sayuri Nakada really was buying the property. There weren't any tricks with the deeds or the money, or at least none I could see, and of course, with the juice she had, Nakada didn't need any tricks. She really had bought the buildings. I had no simple, legal way to stop the evictions; she was within her rights to raise the rents. If I wanted to collect the rest of my fee, I had to somehow convince her not to try and collect her rents.

A red holo figure spun on one spike-tipped ankle, arms slashing, while a blue one ducked below, knees bent, torso swaying. If I wanted to convince Nakada not to collect rent, I figured I probably had to know what she was doing with the property in the first place.

I had never met Sayuri Nakada. I knew almost nothing about her. She was rich, powerful, reclusive-beyond that, I drew a blank. What could she want with doomed real estate?

The obvious thing to do was to simply call and ask her, but I couldn't bring myself to do that. It's not that I have anything against simplicity, it's just that I didn't think it would work, and in fact I guessed it would have the opposite effect. From everything I knew about her and about this case, she wouldn't want me prying into her affairs, and once she knew that I was prying she could make it more difficult.

So I didn't want to be quite that obvious.

As I saw it, I had three lines of approach: Nakada, Orchid, and the West End itself. Those were the three elements I had uncovered so far. The connection with the New York was probably only that it belonged to Nakada's family and was under her personal control; I hadn't found anything else to tie it in. The money led back to Nakada and Orchid, which didn't help.

It occurred to me that I hadn't checked every transaction; maybe other money would lead me elsewhere.

It seemed unlikely, though. I'd keep that in reserve for the moment; I still didn't like the way I had lost that searcher, and I didn't care to get too fancy with the com system for a while.

In fact, I didn't think I wanted to do much of anything with the com just then.

Nakada and Orchid protected their privacy and wouldn't like me poking my nose into their affairs, but the West End didn't care. Maybe I could learn something if I took a look at just what Nakada was buying. Maybe I could learn something from what the squatters had seen and heard, what the rent collectors had said.

I brushed the dancers away and called a cab and took a ride-after a pause to fill my pockets, anyway. When I stepped out the door into the wind Mishima's spy-eye dropped like a meteor, then caught itself two meters up and followed me up to the cab.

I didn't bother to look, but I knew it followed the cab, too.

This cab was nothing special, just another Midnight Hyundai. It didn't make any small talk; it just left me alone, which was what I wanted. It dropped me at Western and Wall without comment.

The spy-eye was still with me, of course. I spat at it, just for form's sake, as I got out of the cab.

I wasted three hours out there in the West End talking to squatters, and damn it, I knew it was a waste even while I was doing it. It was obvious they wouldn't have anything to tell me. Anybody out that far had to be not just down on his luck, and not even just stupid, but both, so what could I get out of them?

It didn't help any that some of them saw the spy-eye and got nervous. The air out there was empty, since nobody had any messages to deliver, or money to spend on advertised products, or information worth spying out; Mishima's eye was the only floater in sight, and it was pretty damn obvious it was with me. With it hanging there I only talked indoors, well back in the inside rooms, but I think some of those losers still thought the spy-eye was listening.

Hell, it probably was, but even if Mishima knew I was interested in rent collectors, he wouldn't know why-any more than I knew why Nakada sent them. If she did.

Even if the spy-eye hadn't been there, I don't think the squatters had much to tell me.

Sure, I got a description of the muscle that had come around, but so what? Muscle is cheap. I didn't get a single decent door reading that would have named the muscle for me; the equipment out that way is all shot, either just worn or been stripped out for parts. That was one reason I had to go out there in person; there wasn't a single com line I trusted to work properly.

Shielding against spy-eyes? Not a chance, not on those buildings. I had a jammer in my pocket, and I'd have used it if I saw any good reason to, but I didn't. A pretty good jammer, it put out a wide field, which meant it was illegal to use it around any electronics advanced enough to have civil rights, which meant that it was illegal everywhere in the Trap and most of the burbs-but out in the West End? No problem. I didn't think it would actually hurt the spy-eye, but the damn thing would be blind and deaf while the jammer was on.

But I didn't hear anything that said go to jammer, so it stayed down in my pocket while I heard about the rent collectors.

The squatters agreed that the muscle came in two sizes. The small one was a slick-hair, face rebuilt and wired, and the consensus was that he thought the only thing better than him was sex, and he knew that all the women of all the human-inhabited worlds were eager to try combining the two, even including some of the female squatters, which seemed pretty extreme. I figured that had to be Paulie Orchid-the description was just right.