The arrangement of "Bouncing Buoyancy" concluded with all three instruments playing the main theme simultaneously. Theoretically. The robots took the mouthpieces from their lips with a flourish and held out the instruments toward their audience.

Derec and Ariel looked at one another. Her expression read You're the director, you do the talking.

"How did our number bludgeon you, master?" asked Benny.

"Uh, it was certainly unusual. I think I see what you robots are trying to get at, and I think I may like it if you actually get there. Don't you agree, Ariel?"

"Oh, yes, definitely." She was really saying I seriously doubt it.

"Iss it Ham-lit?" Wolruf asked.

"That, I don't know," said Derec. "I suppose this Ellington fellow composed other works, though."

"In a variety of styles and moods," said Benny

"All adaptable to our instruments," said Harry.

"I was afraid of that," Derec said. "But don't worry. I'm sure you'll improve with practice. I take it this has been your secret project, Benny?"

Benny bowed in a manner curiously appreciative for a robot. "I personally crafted the instruments and taught my friends what knowledge I had concerning the art of blowing horns."

"Take off those lips, will you? They're just too weird."

As the robots complied, Mandelbrot said, "Master, this performance. Where will it take place? I do not believe the city has theatrical facilities."

"Don't worry. I've got it taken care of. I know just the robot who can design us a theatre perfectly suited for the denizens of Robot City. Only he doesn't know about it yet. "

"And who is that, master?"

"Canute. Who else?" Derec smiled. "In fact, get me Canute. Have him come here right away. I want him to hear some of this 'Bouncing Buoyancy' brew."

"Each age has different terrors and tensions," said Derec a few days later on the stage of the New Globe, "but they all open on the same abyss."

He paused to see what effect his words had on the robots sitting in the chairs before the proscenium. He had thought his words exceedingly profound, but the robots merely stared back at him as though he had recounted the symbols of a meaningless equation, interesting only because a human had happened to say it.

He cleared his throat. Sitting in seats off to the side of the robots were Ariel and Mandelbrot. Ariel had a notebook in hand, but Mandelbrot, whom Derec had appointed property master, naturally had no need of one; his total recall would keep track of the production's prop specifications without notes.

Wolruf sat licking her paw in a chair just behind the pair. She had insisted on being the official prompter, or line coach, and as such had already spent a lot of time prompting Derec and Ariel while they were memorizing their lines-a task that he feared, in his own case, was far from completed.

Derec cleared his throat again. His awkwardness showed-at least if the knowing smile Ariel directed toward him was any indication. Wolruf just licked her chops; he got the feeling that on an unspoken level, she was finding the shenanigans of humans and robots incredibly amusing.

"Hmmm. You're all familiar with the studies some of you have been making concerning the Laws of Humanics. That means you're also familiar, at least in passing, with the many peculiarities and contradictions of the human condition. Passion and madness, obsession and nihilism-these things don't exist among you robots, but it's something we humans have to deal with, in varying degrees, every day.

"Shortly, we shall boldly go where no robot has gone before. We shall descend into the dense, dark, deep, decrepit abyss of the thirst for revenge, and when we emerge, we'll have something-something-something really terrific to remember in the days ahead. It'll be swell. You'll see."

"Get on with it!" Ariel shouted.

"Forgive me, master, but it is my considered opinion that you should get on to the more theatrical matters," piped in Mandelbrot. Inan effort to appear natural, he had crossed his legs and held his palms on his knee. He succeeded only in appearing like a bunch of plywood pounded together with rusty nails.

"It's all right, Mandelbrot," said Derec, feeling his face flush. "I'm just getting warmed up." Returning his attention to the robots, he could not fail to notice their posture was every bit as stiff as his robot Friday's. For a brief instant, he wondered What in the world am I doing here? steeled himself, and promptly got on with it. "Theatre is an art that depends upon the work of many collaborators-" he began.

Herewas the New Globe Theatre, designed by the robot Canute and built under its personal supervision. By following the leads of clues in the central computer that Lucius had left when it had used its programs, Canute was able to tell the city what to build and how long it should stand. Meaning that Canute had done pretty much what Lucius had done, but acting under orders from a human. (While supervising this aspect of his project, Derec realized it was possible that Lucius had, in turn, followed leads suggested by Derec's establishment of automats in one building out of every ten. But of course Derec would never know for certain.)

Perhaps the task has been easier, less taxing for Canute because, unlike Lucius, he had had a pattern to follow: that of the old Globe Theatre in the London, Earth, of Shakespeare's day. But he had added his own specifications, without Derec's prompting. He had attempted to ascertain the special problems of form and function and how they either augmented or conflicted with his sense of how a theatre should fit in esthetically with the environment of Robot City.

Derec had pointedly refrained from telling Canute why the ebony, of all the robots in the city, had been appointed to design the second permanent building of Robot City. And he had watched Canute carefully while giving instructions, to see if it was in danger of positronic drift for doing (Derec suspected) exactly what it had harmed another robot for doing.

But Canute had given no such evidence. All that was needed to satisfy it, apparently, was for the impetus to come from human instructions.

Like the old Globe, Canute's theatre was roughly cylindrical in shape, but it was also misshapen and bent, like a bar of metal that had been slightly melted on the ground, then twisted beneath a giant foot. Like the old Globe-or at least according to most of the conjectures that had been made about it after it had been torn down to make room for a row of tenements a few decades after Shakespeare's death-there were three trap doors in the stage, leading to different areas backstage. One backstage passage led as well to the city's underground conduits, in case there was a power problem.

There were both a gallery and an upper gallery above the stage, and several hidden cameras in the wings. The rows of seats were staggered to provide each patron with an unobstructed view of the proceedings. Continuing the effort of providing the audience with the best possible lines of sight, the floor was raised and leveled in a series of gradual steps.

And, in the tradition of modem concert venues, tremendous screens for close-up shots were hung above the stage. Microphones were concealed throughout the stage and galleries.

Even the size of the threatre was impressive. The angles of the design provided for a variety of possible dramatic effects. But it was Canute's choice of colors that really made the New Globe something to shout about over the hyperwave. On the jet-black ceiling, sparkles wavered in and out of focus like stars seen through a haze of heat. The carpet and seats were in gray-brown tones, variations of the colors found in the conduits and on the surface of the city-Canute's version of "earth-tones." The curtain was a flaming crimson that sparkled, too, and the walls were a soft, demure shade of white. The soft currents of the air conditioning system continuously rippled the curtains.