All Tomorrows Parties
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Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Next page Blinked. A coffee place near Union Square, the kind that had potted plants and hotdesks. An early office crowd was starting to line up for sandwiches. He got up, folded the glasses, tucked them into the inside pocket of his jacket, and picked up his bag. 78 19. INTERSTITIAL CHEVETTE moves past the colorless flame of a chestnut vendor's charcoal fire, powdery gray burning itself down in the inverted, V-nosed hood of some ancient car. She sees another fire, in memory: coke glow of a smith's forge, driven by the exhaust of a vacuum cleaner. Beside her the old man held the drive chain of some extinct motorcycle, folded neatly into a compact mass and fastened with a twist of rusty wire. To be taken in the smith's tongs and placed within the forge. To be beaten, finally, incandescent, into a billet of their strangely grained Damascus, ghosts of those links emerging as the blade is forged, quenched, shaped, and polished on the wheel. Where did that knife go? she wonders. She'd watched the maker craft and braise a hilt of brass, rivet slabs of laminated circuit board and shape them on a belt grinder. The rigid, brittle-looking board, layers of fabric trapped in green phenolic resin, was everywhere on the bridge, a common currency of landfills-. Each sheet mapped with dull metallic patterns suggesting cities, streets. When they came from the scavengers they were studded with components, easily stripped with a torch, melting the gray solder. The components fell away, leaving the singed green boards with their inlaid foil maps of imaginary cities, residue of the second age of electronics. And Skinner would tell her that these boards were immortal, inert as stone, proof against moisture and ultraviolet and every form of decay; that they were destined to litter the planet, hence it was good to reuse them, work them when possible into the fabric of things, a resource when something needed to be durable. She knows she needs to be alone now, so she's left Tessa on the lower level, collecting visual texture with God's Little Toy. Chevette can't hear any more about how Tessa's film has to be more personal, about her, Chevette, and Tessa hasn't been able to shut up about that, 79 or take no for an answer. Chevette remembers Bunny Malatesta, her dispatcher when she rode here, how he'd say "and what part of 'no' is it that you don't understand?" But Bunny could deliver lines like that as though he were a force of nature, and Chevette knows she can't, that she lacks Bunny's gravity, the sheer crunch required to get it across. So she's taken an escalator, one she doesn't remember, to the upper level, and is making her way, without really thinking about it, to the foot of their tower, the wet light having turned to a thin and gusting rain, blowing through the bridge's tattered secondhand superstructure. People are hauling their laundry in, where they've hung it, draped on lines, and there's a general pre-storm bustle that she knows will fade if the weather changes. And so far, she thinks, she's not seen a single face she knows from before, and no one has greeted her, and she finds herself imagining the bridge's entire population replaced in her absence. No, there went the bookstall woman, the one with the ivory chopsticks thrust into her dyed black bun, and she recognizes the Korean boy with the bad leg, rumbling his father's soup wagon along as though it should have brakes. The tower she'd ascended each day to Skinner's plywood shack is bundled in subsidiary construction, its iron buried at the core of an organic complex of spaces appropriated for specific activities. Behind taut, wind-shivered sheets of milky plastic, the unearthly light of a hydroponics operation casts outsize leaf shadows. She hears the snarl o~ an electric saw from the tiny workshop of a furniture-maker, whose assistant sits patiently, rubbing wax into a small bench collaged from paint-flecked oak scavenged from the shells of older houses. Someone else is making jam, the big copper kettle heated by a propane ring. Perfect for Tessa, she thinks: the bridge people maintaining their interstices. Doing their little things. But Chevette has seen them drunk. Has seen the drugged and the mad dive to their deaths in the gray and unforgiving chop. Has seen men fight to the death with knives. Has seen a mother, dumbstruck, walking with a strangled child in her arms, at dawn. The bridge is no tourist's fantasy. The bridge is real, and to live here exacts its own price. It is a world within the world, and, if there be such places between 80 the things of the world, places built in the gaps, then surely there are things there, and places between them, and things in those places too. And Tessa doesn't know this, and it is not Chevette's place to tell her. She ducks past a loose flap of plastic, into moist warmth and the spectrum of grow lamps. A reek of chemicals. Black water pumped amid pale roots. These are medicinal plants, she supposes, but probably not - - drugs in the street sense. Those are grown nearer Oakland, in a sector somehow allotted for that, and on warm days there the fug of resin hangs - - narcotic in the air, bringing an almost perceptible buzz, faint alteration of perception and the will. "Hey. Anybody here?" Gurgle of liquid through transparent tubing. A silt-slimed pair of - - battered yellow waders dangle nearby, but no sign of who hung them there. She moves quickly, her feet remembering, to where corroded aluminum rungs protrude from fist-sized blobs of super-epoxy. The ball-chain zip pulls on Skinner's old jacket jingle as she climbs. These rungs are a back way, an emergency exit if needed. Climbing past the sickly greenish sun of a grow lamp, housed in a corroded industrial fixture, she pulls herself up the last aluminum rung and through a narrow triangular opening. It is dark here, shaded by walls of rain-swolkin composite. • Shadowed where she remembers light, and she sees that the bulb, - above, in this enclosed space, is missing. This is the lower end of - Skinner's "funicular," the little junkyard elevator trolley, built for him by a black man named Fontaine, and it was here that she'd lock her bike in her messengering days, after shouldering it up another, less covert ladder. She studies the cog-toothed track of the funicular, where the grease shows dull with accumulated dust. The gondola, a yellow municipal recycling bin, deep enough to stand in and grasp the rim, waits where it should. But if it is here, it likely means that the current resident of the cable tower is not. Unless the car has been sent in expectation of a visitor, which Chevette doubts. It is better to be up there with the car up. She knows that feeling. Now she climbs wooden rungs, a cruder ladder of two-by-fours, until her head clears the ply and she wirces in wind and silvery light. Sees a gull hang almost stationary in the air, not twenty feet away, the towers of the city as backdrop. The wind tugs at her hair, longer now han when she lived here, and a feeling that she can't name comes hile something she has always known, and she has no interest in climbirg farther, because she knows now that the home she remembers is n longer there. Only its shell, humming in the wind, where once she lay wrapped in blankets, smelling machinist's grease and coffee and fresh-cat wood. Where, it comes to her, she was sometimes happy, in the sense of being somehow complete, and ready for what another day might bring. And knows she is no longer that, md that while she was, she scarcely knew it. She hunches her shoulders, drawing her neck down into the carapace of Skinner's jacket, and imagines heiself crying, though she knows she won't, and climbs back down. 82 -: 20. BOOMZILLA BOOMZILLA sitting on the curb, beside the truck these two bitches say - - they pay him to watch. They don't come back, he'll get some help and strip it. Wants that robot balloon the blonde bitch had. That's fine. Fly - - that shit around. Other bitch kind of biker-looking, big old coat looked like she got it off a dumpster. That one kick your ass, looked like. Where they gone? Hungry now, wind blowing grit in his face, splashes of rain. "Have you seen this girl?" Movie-looking white man, face painted dark like they do down the coast. How they dress when they had time to think about coming here, everything worn out just right. Leather jacket like he's left his old airplane around the corner. Blue jeans. Black T. Boomzilla, he'd puke, anybody try to put him in that shit. Boomzihla know how he going to dress, time he get his shit together. Boomzilla looking at the printout the man holds out. Sees the biker-looking bitch, but dressed better. Boomzilla looks up at the tinted face. See how pale the blue eyes look against it. Something say: cold. Something say: don't fuck with me. Boomzilla thinks: he don't know it's they truck. "She's lost," the man says. You ass is, Boomzilla thinks. "Never seen her." Eyes lean in a little closer. "Missing, understand? Trying to help her. A lost child." Thinks: child my ass; bitch my momma's age. Boomzilla shakes his head. How he does it serious, just a little, side to side. Means: no. The blue eyes swing away, looking for somebody else to show the picture to; swing right past the truck. No click. Man moving off, toward a clutch of people by a coffee stand, holding the picture. Boomzilla watches him go. A lost child himself, he has every intention of staying that way. 83 21. PARAGON ASIA SAN Francisco and Los Angeles seemed more like different planets than different cities. It wasn't the NoCal-SoCal thing, but something that went down to the roots. Rydell remembered sitting with a beer somewhere, years ago, watching the partition ceremonies on CNN, and it hadn't impressed him much even then. But the difference, that was something. A stiff gust of wind threw rain into his face, as he was coming down Stockton toward Market. Office girls held their skirts down and laughed, and Rydell felt like laughing too, though that had passed before he'd crossed Market and started down 4th. This was where he'd met Chevette, where she'd lived. She and Rydehl had had their adventure up here, had met in the course of it, and the end of it had taken them to LA. She hadn't liked LA, he always told himself, but he knew that really wasn't why it had gone the way it had. They had moved down there, the two of them, while Rydell pursued the mediation of what they'd just gone through together. Cops in Trouble was interested, and Cops in Trouble had been interested in Rydell once before, back in Knoxville. Fresh out of the academy, back then, he'd used deadly force on a stimulant abuser who was trying to kill his, the abuser's, girlfriend's children. The girlfriend had subsequently been looking to sue the department, the city, and Rydehl, so Cops in Trouble had decided Rydell might warrant a segment. So they'd flown him out to SoCal, where they were based. He'd gotten an agent and everything, but the deal had fallen apart, so he'd taken ajob driving armed response for IntenSecure. When he'd managed to get himself fired from that, he wound up going up to NoCal to do temp work, off the record, for the local IntenSecure operation there. That was what had gotten him into the trouble that introduced him to Chevette Washington. 84 So when Rydell turned up back in LA with a story to tell, and Chevette on his arm, Cops in Trouble had perked right up. They were moving into a phase where they tried to spin individual segments off into series for niche markets, and the demographics people liked it that Rydell was male, not too young, not too educated, and from the South. They also liked it that he wasn't racist, and they really liked it that he was with this really cute alt-dot kind of girl, one who looked like she could crush walnuts between her thighs. Cops in Trouble had installed them in a small stealth hotel below Sunset, and they had been so happy, the first few weeks, that Rydehl could barely stand to remember it. Whenever they went to bed, it had seemed more like making history than love. The suite was like a little apartment, with its own kitchen and a gas fire, and they'd roll around at night on a blanket on the floor, in front of the fire, with the windows open and the lights out, blue flame flickering low and LAPD gunships drumming overhead, and every time he'd crawl into her arms, or she'd put her face down next to his, he'd known it was good history, the best, and that everything was going to be just fine. But it hadn't been. Rydell had never thought about his looks much. He looked, he'd thought, okay. Women had seemed to like him well enough, and it had been pointed out to him that he resembled the younger Tommy Lee Jones, Tommy Lee Jones being a twentieth-century movie star. And because they'd told him that, he'd watched a few of the guy's movies and liked them, though the resemblance people saw puzzled him. He guessed he'd started to worry though, when Cops in Trouble had assigned a skinny blonde intern named Tara-May Ahlenby to follow him around, grabbing footage with a shoulder-mounted steadicam. Tara-May had chewed gum and fiddled with filters and had generally put Rydell's teeth on edge. He'd known she was feeding live to Cops in Trouble, and he'd started to get the idea they weren't too happy with what was coming through. Tara-May hadn't helped, explaining to Rydehl that the camera added an apparent twenty pounds to anybody's looks, 85 but that, hey, s1re liked him just the way h~ was, ~lI beefy and solid. But she'd kept sugesting he try working out more. Why not go with that girlfriend of yurs, she'd say, she's so buff, it hurs. But Che~tte had never seen the in;ide of a gym in her life; she owed her buf~ess to her genes and a few years she'd spent pounding up and down ~an Francisco hills on a conpetitiom-grade mountain bike, its frame rollel from epoxy and Japanese constriction paper. So now Hydell sighed, coming up on the co-ner of 4th and Bryant, and on Bryanl turning toward the bridge The bag on his shoulder was starting to demonstrate its weight, its cohIusi(n with gravity. Rydeli stopped, sightd again, readjusted the bag. Put t~oughts of the past out of his mind. Just walk NO trouble at all finding that branch of Lucky Uragon. Couldn't miss it, smack in what hal been the middle of Bryant, dead center as you approached the entrance to the bridge. He hadn't been able to s~e it, coming along Bryant, ~ecaus~ it was behind the jumble of old coirrete tank traps they'd dropped thore after the quake, but once you got past those, there it was. He coulc see, walking up to it, that it was m newer model than the one he'd worled in on Sunset. It had fev~er corrers, so there was less to chip off or med repair. He supposed that designing a Lucky Dragon module was ~bout designing something that would hold up under millions of uncaing and even hostile hanth. Ultirrately, he thought, you'd wind up witFsomething hike a seashell, hard and smooth. The storton Sunset had had a finish that a:e graffiti. The gang kids would come and tag it; twenty minute~ later these flat, dark, vaguely crab-like pat:hes of dark blue would come gliding around the corner. Rydell had mver understood how they 'vorke4 and Durius said they'd been deve1o~ed in Singapore. They seemed to be embedded, a few millimeters dowi into the surface, which seas a scrt of non-glossy gel-coat affair, but abe to move around under there. Smart material, he'd heard that called. And they'd glide up to the tag, ~vi-iatever artfully abstract scrawl had been sprayed there to declare fealty or mark territory or swear 86 revenge (Durius had been able to read these things and construct a narrative out of them) and start eating it. You couldn't actually see the crablegs move. They just sort of nuzzled in and gradually the tag started to unravel, de-rez, molecules of paint sucked down into the blue of the Lucky Dragon graffiti-eaters. And once someone had come with a smart tag, a sort of decal they'd somehow adhered to the wall, although neither RydelI nor Durius had been able to figure how they'd done it without being seen. Maybe, Dunus said, they'd shot it from a distance. It was the tag of a gang called the Chupacabras, a fearsome spiky thing, all black and red, insectoid - -' and menacing and, Rydell thought, kind of good-looking, exciting-looking. He'd seen it worn as a tattoo, in the store. The kids who wore it favored those contacts, the kind gave you pupils like a snake's. When the graffiti-eaters came out after it though, it had moved. They'd edge up to it, and it would sense them and move away. Almost too slow to see it happening, but it moved. Then the graffiti-eaters would move again. Durius and Rydell watched it, the first night, get all the way around to the back of the store. It was starting to work its way back around toward the front when they went off shift. Next shift it was still there, and a couple of standard spray-bomb tags as well. The graffiti-eaters were locked on the smart tag and not taking care of business. Durius showed it to Mr. Park, who didn't like it that they hadn't told him before. Rydell showed him where they'd logged it in the shift record when they clocked off, which had just pissed Mr. Park off more. About an hour later, two men in white Tyvek coveralls showed up in an unmarked, surgically clean white van and went to work. Rydell would've liked to watch them get the smart tag off, but there was a run of shoplifters that night and he didn't get to see what they did to it. They didn't use scrapers or solvents, he knew that. They used a notebook and a couple of adhesive probes. Basically, he guessed, they reprogrammed it, messed with its code, and after they left, the graffiti-eaters were back out there, slurping down the latest Chupacabra iconography. This Lucky Dragon by the bridge was smooth and white as a new china plate, Rydell observed, as he came up to it. It looked like a piece 87 of some different dream, fallen here. The entrance to the bridge had a werd unplanned drama to it, and Rydell wondered if there'd been a lot of Ileetings, back in Singapore, about whether or not to put this unit here. Lucky Dragon had some units on prime tourist real estate, and Rydell knew that from watching the Global Interactive Video Column back in LA; there was one in the mall under Red Square, that fancy KDatn branch in Berlin, the big-ass one in Piccadilly, London, but putting one here struck him as a strange, or strangely deliberate, move. The bridge was a dodgy place, safe enough but not "tourist safe." There was a walk-on tourist contingent, sure, and a big one, particularly on this end of the bridge, but no tours, no guides. If you went, you went on your own. Chevette had told him how they repelled evangelicals, and the Salvation Army and any other organized entity, in no untertain terms. Rydell figured that in fact that was part of the draw of the place, that it was unregulated. Autonomous zone, Durius called that. He'd told Rydell that Sunset Strip had started out as one of those, a place between police jurisdictions, and somehow that had set the DNA of the street, which was why, sas you still got hookers in elf hats there, come Christmas. But maybe Lucky Dragon knew something people didn't, he thought. Things could change. His father, for instance, used to swear that Times Square had been a really dangerous place. Rydell made his way through the crowd flowing on and off the bridge and past the Global Interactive Video Column, daydreaming as he did that he'd look up and see the Sunset branch there, with Praisegod beaming sunnily at him from out in front. What he got was some skater kid in Seoul shaking his nuts at the camera. He went in, to be immediately stopped by a very large man with a very broad forehead and pale, almost invisible eyebrows. "Your bag," said the security man, who was wearing a pink Lucky Dragon fanny pack exactly like the one Rydell had worn in LA. As a matter of fact, Rydell's was in the very duffel the guy was demanding. "Please," Rydell said, handing the bag over. Lucky Dragon security 88 |
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