"These aren't them," Lars said, retaining the sketches.

"These aren't? Then what are they? They look like designs to me." Pete twisted his head, extended his neck, piston-wise, to peer.

Lars said, "From Peep-East. Miss Topchev's." Pete's opposite number in Bulganingrad or New Moscow—the Soviets had two design-engineering firms available, the typical overlapping duplication of a monolithic society—had the task of rendering these to their next step.

"Can I see them?"

Lars passed them to Pete, who put his nose almost against the flat, glossy surfaces, as if suddenly nearsighted. He said nothing for a time as he turned from one to the next, and then he snarled, sat back, hurled the stack of pics onto the desk. Or nearly onto it. The stack fell to the floor.

Pete, stretching, picked them up, respectfully straightened them until they were precisely even, one with the next, and set them down on the desk, demonstrating that he had meant no incivility. "They're terrible," he said.

"No," Lars said. No more so than his own, actually. Pete's loyalty to him, as a person, made a puppet out of Pete's jaws; friendship wagged the big man's tongue, and although Lars appreciated this he preferred to see the record set straight. "They can go into plowshare. She's doing her job." But of course these sketches might not be representative. The Soviets had a notorious reputation for managing to traduce KACH. The planet-wide police agency was fair game for the Soviets' own secret police, the KVB. It had not been discussed at the time Don Packard had produced the sketches, but the fact was just this: the Soviets, onto the presence of a KACH agent at their weapons fashion designs level, probably showed only what they cared to show, and held the rest back. That always had to be assumed.