"Ouch." Pierre winces. The daily news from Earth, modulated onto a lower-powered communication laser, is increasingly bad. On the plus side, Amber is incredibly rich: The goodwill futures leveraged off her dad's trust metric means people will bend over backward to do things for her. And she owns a lot of real estate too, a hundred gigatonnes of rock in low-Jupiter orbit with enough KE to power Northern Europe for a century. But her interstellar venture burns through money – both the traditional barter-indirection type and the more creative modern varieties – about the way you would if you heaped up the green pieces of paper and shoveled them onto a conveyor belt leading to the business end of a running rocket motor. Just holding off the environmental protests over de-orbiting a small Jovian moon is a grinding job. Moreover, a whole bunch of national governments have woken up and are trying to legislate themselves a slice of the cake. Nobody's tried to forcibly take over yet (there are two hundred gigawatts of lasers anchored to the Ring Imperium, and Amber takes her sovereign status seriously, has even applied for a seat at the UN and membership in the EC), but the nuisance lawsuits are mounting up into a comprehensive denial of service attack, or maybe economic sanctions. And Uncle Gianni's retirement hasn't helped any, either. "Anything to say about it?"

"Mmph." Ang looks irritated for some reason. "Wait your turn, they'll be out of the buffer in another couple of days. Maybe a bit longer in the case of the lawyer, he's got a huge infodump packaged on his person. Probably another semisapient class-action lawsuit."

"I'll bet. They never learn, do they?"

"What, about the legal system here?"

"Yup." Pierre nods. "One of Amber's smarter ideas, reviving eleventh-century Scots law and updating it with new options on barratry, trial by combat, and compurgation." He pulls a face and detaches a couple of ghosts to go look out for the new arrivals; then he goes back to repairing sails. The interstellar medium is abrasive, full of dust – each grain of which carries the energy of an artillery shell at this speed – and the laser sail is in a constant state of disintegration. A large chunk of the drive system's mass is silvery utility flakes for patching and replacing the soap-bubble-thin membrane as it ablates away. The skill is in knowing how best to funnel repair resources to where they're needed, while minimizing tension in the suspension lines and avoiding resonance and thrust imbalance. As he trains the patch 'bots, he broods about the hate mail from his elder brother (who still blames him for their father's accident), and about Sadeq's religious injunctions – Superstitious nonsense , he thinks – and the fickleness of powerful women, and the endless depths of his own nineteen-year-old soul.

While he's brooding, Ang evidently finishes whatever she was doing and bangs out – not even bothering to use the polished mahogany door at the rear of the bridge, just discorporating and rematerializing somewhere else. Wondering if she's annoyed, he glances up just as the first of his ghosts patches into his memory map, and he remembers what happened when it met the new arrival. His eyes widen: "Oh shit! "

It's not the film producer but the lawyer who's just uploaded into the Field Circus 's virtual universe. Someone's going to have to tell Amber. And although the last thing he wants to do is talk to her, it looks like he's going to have to call her, because this isn't just a routine visit. The lawyer means trouble.

Take a brain and put it in a bottle. Better: take a map of the brain and put it in a map of a bottle – or of a body – and feed signals to it that mimic its neurological inputs. Read its outputs and route them to a model body in a model universe with a model of physical laws, closing the loop. René Descartes would understand. That's the state of the passengers of the Field Circus in a nutshell. Formerly physical humans, their neural software (and a map of the intracranial wetware it runs on) has been transferred into a virtual machine environment executing on a honking great computer, where the universe they experience is merely a dream within a dream.

Brains in bottles – empowered ones, with total, dictatorial, control over the reality they are exposed to – sometimes stop engaging in activities that brains in bodies can't avoid. Menstruation isn't mandatory. Vomiting, angina, exhaustion, and cramp are all optional. So is meatdeath, the decomposition of the corpus. But some activities don't cease, because people (even people who have been converted into a software description, squirted through a high-bandwidth laser link, and ported into a virtualization stack) don't want them to stop. Breathing is wholly unnecessary, but suppression of the breathing reflex is disturbing unless you hack your hypothalamic map, and most homomorphic uploads don't want to do that. Then there's eating – not to avoid starvation, but for pleasure: Feasts on sautéed dodo seasoned with silphium are readily available here, and indeed, why not? It seems the human addiction to sensory input won't go away. And that's without considering sex, and the technical innovations that become possible when the universe – and the bodies within it – are mutable.

The public audience with the new arrivals is held in yet another movie: the Parisian palace of Charles IX, the throne room lifted wholesale from La Reine Margot by Patrice Chéreau. Amber insisted on period authenticity, with the realism dialed right up to eleven. It's 1572 to the hilt this time, physical to the max. Pierre grunts in irritation, unaccustomed to his beard. His codpiece chafes, and sidelong glances tell him he isn't the only member of the royal court who's uncomfortable. Still, Amber is resplendent in a gown worn by Isabelle Adjani as Marguerite de Valois, and the luminous sunlight streaming through the stained-glass windows high above the crowd of actor zimboes lends a certain barbaric majesty to the occasion. The place is heaving with bodies in clerical robes, doublets, and low-cut gowns – some of them occupied by real people. Pierre sniffs again: Someone (Gavin, with his history bug, perhaps?) has been working on getting the smells right. He hopes like hell that nobody throws up. At least nobody seems to have come as Catherine de Médicis …

A bunch of actors portraying Huguenot soldiers approach the throne on which Amber is seated: They pace slowly forward, escorting a rather bemused-looking fellow with long, lank hair and a brocade jacket that appears to be made of cloth-of-gold. "His lordship, Attorney at Arms Alan Glashwiecz!" announces a flunky, reading from a parchment, "here at the behest of the most excellent guild and corporation of Smoot, Sedgwick Associates, with matters of legal import to discuss with Her Royal Highness!"

A flourish of trumpets. Pierre glances at Her Royal Highness, who nods gracefully, but is slightly peaky – it's a humid summer day and her many-layered robes look very hot. "Welcome to the furthermost soil of the Ring Imperium," she announces in a clear, ringing voice. "I bid you welcome and invite you to place your petition before me in full public session of court."

Pierre directs his attention to Glashwiecz, who appears to be worried. Doubtless he'd absorbed the basics of court protocol in the Ring (population all of eighteen thousand back home, a growing little principality), but the reality of it, a genuine old-fashioned monarchy rooted in Amber's three-way nexus of power, data, and time, always takes a while to sink in. "I would be pleased to do so," he says, a little stiffly, "but in front of all those —"

Pierre misses the next bit, because someone has just goosed him on the left buttock. He starts and half turns to see Su Ang looking past him at the throne, a lady-in-waiting for the queen. She wears an apricot dress with tight sleeves and a bodice that bares everything above her nipples. There's a fortune in pearls roped into her hair. As he notices her, she winks at him.