The very last person anyone would expect to be a murderer was Mrs. Avis Lardner. Widow of the great astronaut-martyr, she was a philanthropist, an art collector, a hostess extraordinary, and, everyone agreed, an artistic genius. But above all, she was the gentlest and kindest human being one could imagine.
Her husband, William J. Lardner, died, as we all know, of the effects of radiation from a solar flare, after he had deliberately remained in space so that a passenger vessel might make it safely to Space Station 5.
Mrs. Lardner had received a generous pension for that, and she had then invested wisely and well. By late middle age she was very wealthy.
Her house was a showplace, a veritable museum, containing a small but extremely select collection of extraordinarily beautiful jeweled objects. From a dozen different cultures she had obtained relics of almost every conceivable artifact that could be embedded with jewels and made to serve the aristocracy of that culture. She had one of the first jeweled wristwatches manufactured in America, a jeweled dagger from Cambodia, a jeweled pair of spectacles from Italy, and so on almost endlessly.
All was open for inspection. The artifacts were not insured, and there were no ordinary security provisions. There was no need for anything conventional, for Mrs. Lardner maintained a large staff of robot servants, all of whom could be relied on to guard every item with imperturbable concentration, irreproachable honesty, and irrevocable efficiency.
Everyone knew the existence of those robots and there is no record of any attempt at theft, ever.
And then, of course, there was her light-sculpture. How Mrs. Lardner discovered her own genius at the art, no guest at her many lavish entertainments could guess. On each occasion, however, when her house was thrown open to guests, a new symphony of light shone throughout the rooms; three-dimensional curves and solids in melting color, some pure and some fusing in startling, crystalline effects that bathed every guest in wonder and somehow always adjusted itself so as to make Mrs. Lardner's blue-white hair and soft, unlined face gently beautiful.
It was for the light-sculpture more than anything else that the guests came. It was never the same twice, and never failed to explore new experimental avenues of art. Many people who could afford light-consoles prepared light-sculptures for amusement, but no one could approach Mrs. Lardner's expertise. Not even those who considered themselves professional artists.
She herself was charmingly modest about it. "No, no," she would protest when someone waxed lyrical. "I wouldn't call it 'poetry in light.' That's far too kind. At most, I would say it was mere 'light verse.'" And everyone smiled at her gentle wit.
Though she was often asked, she would never create light-sculpture for any occasion but her own parties. "That would be commercialization," she said.
She had no objection, however, to the preparation of elaborate holograms of her sculptures so that they might be made permanent and reproduced in museums of art an over the world. Nor was there ever a charge for any use that might be made of her light-sculptures.
"I couldn't ask a penny," she said, spreading her arms wide. "It's free to all. After all, I have no further use for it myself." It was truer She never used the same light-sculpture twice.
When the holograms were taken, she was cooperation itself. Watching benignly at every step, she was always ready to order her robot servants to help. "Please, Courtney," she would say, "would you be so kind as to adjust the step ladder?"
It was her fashion. She always addressed her robots with the most formal courtesy.
Once, years before, she had been almost scolded by a government functionary from the Bureau of Robots and Mechanical Men. "You can't do that," he said severely. "It interferes with their efficiency. They are constructed to follow orders, and the more clearly you give those orders, the more efficiently they follow them. When you ask with elaborate politeness, it is difficult for them to understand that an order is being given. They react more slowly."
Mrs. Lardner lifted her aristocratic head. "I do not ask for speed and efficiency," she said. "I ask goodwill. My robots love me."
The government functionary might have explained that robots cannot love, but he withered under her hurt but gentle glance.
It was notorious that Mrs. Lardner never even returned a robot to the factory for adjustment. Their positronic brains are enormously complex, and once in ten times or so the adjustment is not perfect as it leaves the factory. Sometimes the error does not show up for a period of time, but whenever it does, u. S. Robots and Mechanical Men, Inc., always makes the adjustment free of charge.
Mrs. Lardner shook her head. "Once a robot is in my house," she said, "and has performed his duties, any minor eccentricities must be borne with. I will not have him manhandled."
It was the worse thing possible to try to explain that a robot was but a machine. She would say very stiffly, "Nothing that is as intelligent as a robot can ever be but a machine. I treat them as people."
And that was that!
She kept even Max, although he was almost helpless. He could scarcely understand what was expected of him. Mrs. Lardner denied that strenuously, however. "Not at all," she would say firmly. "He can take hats and coats and store them very well, indeed. He can hold objects for me. He can do many things."
"But why not have him adjusted?" asked a friend, once.