All Tomorrow's Parties bt-3

by William Gibson

  'Bet that one burned your ass, Creedmore said, his eyes slit with spirits. He was a small man, lightly built, but roped with the sort of whipcord muscle that had never seen the inside of a gym. Ditchdigger muscle. What Rydell took to be several layers of artificial tan were wearing off over an inherent pallor. Bleached hair with dark roots was slicked straight back with some product that kept it looking like he'd just stepped out of a shower. He hadn't, though, and he was sweating in spite of the air-conditioning.

  'Well, Rydell said, 'I figured it's her call.

  'What kind of bleeding-ass liberal bullshit is that? Creedmore asked. He pulled the bottle from his waistband and eyed the remaining liquor narrowly, as though he were a carpenter checking a level. It seemed to fail to meet his standards just then, so he returned it to its place behind the commemorative plaque. 'What kind of man are you, anyway?

  Rydell briefly entertained the idea of pulling over on the margin, beating Creedmore senseless, then leaving him there at the side of the five, to get up to San Francisco as best he could. But he didn't and, in fact, said nothing.

  'Pussy-assed attitude like that, that's what's wrong with America today.

  Rydell thought about illegal choke holds, brief judicious constriction of the carotid artery. Maybe Creedmore wouldn't even remember if Rydell put one on him. But it wouldn't keep him under, not that long anyway, and they'd taught Rydell in Knoxville that you couldn't count on how a drunk would react to anything.

  'Hey, Buell, Rydell asked, 'whose car is this anyway?

  Creedmore fell silent. Grew, Rydell felt, restive.

  Rydell had wondered from the start if the car might not be stolen. He hadn't wanted to think about it really, because he needed the ride up to NoCal. A plane ticket would've had to come out of his severance from the Lucky Dragon store, and he had to be extra careful with that until he determined whether or not there was anything to this story of Yamazaki's, that there was money for him to earn, up in San Francisco.

  Yamazaki was deep, Rydell told himself. He'd never actually figured out what it was that Yamazaki did. Sort of a freelance Japanese anthropologist who studied Americans, as near as Rydell could tell. Maybe the Japanese equivalent of the Americans Lucky Dragon hired to tell them they needed a curb check. Good man, Yamazaki, but not easy to say where he was coming from. The last time he'd heard from Yamazaki, he'd wanted Rydell to find him a netrunner, and Rydell had sent him this guy named Laney, a quantitative researcher who'd just quit Slitscan, and had been moping around the Chateau, running up a big bill. Laney had taken the job, had gone over to Tokyo, and Rydell had subsequently gotten fired for, they called it, fraternizing with the guests. That was basically how Rydell had wound up working night security in a convenience store, because he'd tried to help Yamazaki.

  Now he was driving this Hawker-Aichi roadster up the Five, very definitely the designated driver, no idea what was waiting for him up there, and halfway wondering if he weren't about to transport a stolen vehicle across a state line. And all because Yamazaki said that that same Laney, over in Tokyo, wanted to hire him to do some fieldwork. That was what Yamazaki called it, 'fieldwork.

  And that, after he'd talked with Durius, had been enough for Rydell.

  The Lucky Dragon had been starting to get old for Rydell. He hadn't ever gotten along with Mr. Park too well, and when he'd take his break, out back, after the curb check every morning, he'd started to feel really down. The patch of ground the Lucky Dragon had been set down on was sort of scooped out of the foot of the hillside there, and at some point the exposed, nearly vertical cut had been quake-proofed with some kind of weird, gray, rubbery polymer, a perpetual semi-liquid that knit the soil behind it together and trapped whatever was thrown or pressed against it in a grip like summer tar. The polymer was studded with hubcaps, because the place had been a car lot once. Hubcaps and bottles and more nameless junk. In the funk that had started to come over him, out back there on his breaks, he'd collect a handful of rocks and stand there, throwing them, as hard as he could, into the polymer. They didn't make much of a noise when they hit, and in fact they vanished entirely. Just ripped straight into it and then it sealed over behind them, like nothing had happened. And Rydell had started to see that as emblematic of broader things, how he was like those rocks, in his passage through the world, and how the polymer was like life, sealing over behind him, never leaving any trace at all that he'd been there.

  And when Durius would come back to take his own break and tell Rydell it was time to get back out front, sometimes he'd find Rydell that way, throwing those rocks.

  'Hit you a hubcap, man, Durius would advise, 'break you a bottle.

  But Rydell hadn't wanted to.

  And when Rydell had told Durius about Yamazaki and Laney and some money, maybe, to be made up in San Francisco, Durius had listened carefully, asking a few questions, then advised Rydell to go for it.

  'What about job security? Rydell had asked.

  'Job security? Doing this shit? Are you crazy?

  'Benefits, Rydell countered.

  'You tried to actually use the medical coverage they give you here? Gotta go to Tijuana to get it.

  'Well, Rydell had said, 'I don't like to just quit.

  'That's 'cause you got fired from every last job you ever had, Durius had explained. 'I seen your résumé.

  So Rydell had given Mr. Park written notice, and Mr. Park had promptly fired him, citing numerous violations of Lucky Dragon policy on Rydell's part, up to and including offering medical aid to the victim of a one-car collision on Sunset, an act which Mr. Park insisted could have involved Lucky Dragon's parent corporation in costly insurance litigation.

  'But she walked in here under her own power, Rydell had protested. 'All I did was offer her a bottle of iced tea and call the traffic cops.

  'Smart lawyer claim ice tea put her in systemic shock.

  'Shock my butt.

  But Mr. Park had known that if he fired Rydell, the last paycheck would be smaller than if Rydell quit.

  Praisegod, who could get all emotional if someone was leaving, had cried and given him a big hug, and then, as he'd left the store, she'd slipped him a pair of Brazilian GPS sunglasses, with inbuilt phone and AM-FM radio, about the most expensive item Lucky Dragon carried. Rydell hadn't wanted to take them, because he knew they'd turn up missing on the next inventory.

  'Fuck the inventory, Praisegod had said.

  Back in his room over Mrs. Siekevitz's garage, six blocks away and just below Sunset, Rydell had stretched out on his narrow bed and tried to get the radio in the glasses to work. All he'd been able to get, though, was static, faintly inflected with what might have been mariachi music.

  He'd done a little better with the GPS, which had a rocker keypad built into the right temple. The fifteen-channel receiver seemed to have really good lock-on, but the tutorial seemed to have been translated badly, and all Rydell could do was zoom in and out of what he quickly realized was a street map of Rio, not LA. Still, he'd thought, taking the glasses off, he'd get the hang of it. Then the phone in the left temple had beeped, so he'd put the glasses back on.

  'Yeah?

  'Rydell, hey.

  'Hey, Durius.

  'You want a ride up to NoCal tomorrow in a nice new car?

  'Who's going?

  'Name of Creedmore. Knows a guy I know in the program.

  Rydell had had an uncle who was a Mason, and this program Durius belonged to reminded him of that. 'Yeah? Well, I mean, is he okay?

  'Prob'ly not, Durius had said, cheerfully, 'so he needs a driver. This three-week-old 'lectric needs to get ferried up there though, and he says it's fine to drive. You used to be a driver, didn't you?

  'Yeah.

  'Well, it's free. This Creedmore, he'll pay for the charge.

  Which was how Rydell came to find himself, now, driving a Hawker-Aichi two-seater, one of those low-slung wedges of performance materials that probably weighed, minus its human cargo, about as much as a pair of small
motorcycles. There didn't seem to be any metal involved at all, just streamlined foam-core sandwiches reinforced with carbon fiber. The motor was in the back, and the fuel cells were distributed through the foam sandwiches that simultaneously passed for chassis and bodywork. Rydell didn't want to know what happened if you hit something, driving a rig like this.

  It was damn near silent though, handled beautifully, and went like a bat once you got it up to speed. Something about it reminded Rydell of a recumbent bicycle he'd once ridden, except you didn't have to pedal.

  'You never did tell me whose car this is, Rydell reminded Creedmore, who'd just downed the last two fingers of his vodka.

  'This friend of mine, Creedmore said, powering down the window on his side and tossing out the empty bottle.

  'Hey, Rydell said, 'that's a ten-thousand-dollar fine, they catch you.

  'They can kiss our asses good-bye, is what they can do, Creedmore said. 'Sons of bitches, he added, then closed his eyes and slept.

  Rydell found himself starting to think about Chevette again. Regretting he'd ever let the singer get him on the topic. He knew he didn't want to think about that.

  Just drive, he told himself,

  On a brown hillside, off to his right, a wind farm's white masts. Late afternoon sunlight.

  Just drive.

  6. SILENCIO

  SILENCIO gets to carry. He's the smallest, looks almost like a kid. He doesn't use, and if the cops grab him, he can't talk. Or anyway about the stuff.

  Silencio has been following Raton and Playboy around for a while now, watching them use, watching them get the money they need in order to keep using. Raton gets mean when he's needing to use, and Silencio's learned to keep back from him then, out of range of feet and fists.

  Raton has a long, narrow skull and wears contacts with vertical irises, like a snake. Silencio wonders if Raton is supposed to look like a rat who's eaten a snake, and now maybe the snake is looking out through its eyes. Playboy says Raton is a pinche Chupacabra from Watsonville and they all look this way.

  Playboy is the biggest, his bulk wrapped in a long, formal topcoat worn over jeans and old work boots. He has a Pancho Villa mustache, yellow aviator glasses, a black fedora. He is kinder to Silencio, buys him burritos from the stalls, water, cans of pop, one time a big smooth drink made from fruit.

  Silencio wonders if maybe Playboy is his father. He doesn't know who his father might be. His mother is crazy, back in los projectos. He doesn't think Playboy is his father really, because he remembers how he met Playboy in the market on Bryant Street, and that was just an accident, but sometimes he wonders anyway, when Playboy buys him food.

  Silencio sits watching Raton and Playboy use, here behind this empty stall with its smell of apples. Raton has a little flashlight in his mouth so he can see what he is doing. It is the black tonight, and Raton is cutting the little plastic tube with the special knife, its handle longer than its short curved blade. The three of them are sitting on plastic crates.

  Raton and Playboy use the black two, maybe three times in a day and a night. Three times with the black, then they must use the white as well. The white is more expensive, but too much black and they start to talk fast and maybe see people who are not there. 'Speaking with Jesus, Playboy calls that, but the white he calls 'walking with the king. But it is not walking: white brings stillness, silence, sleep. Silencio prefers the white nights.

  Silencio knows that they buy the white from a black man, but the black from a white man, and he assumes this is the mystery depicted in the picture Raton wears on the chain around his neck: the black and the white teardrops swirling together to make roundness; in the white teardrop a small round of black, in the black a small round of white.

  To get the money they talk to people, usually in dark places, so the people are frightened. Sometimes Raton shows them a different knife, while Playboy holds their arms so they cannot move. The money is in little tabs of plastic printed with pictures that move. Silencio would like to keep these when the money is gone out of them, but this is not allowed. Playboy throws them away, after wiping them carefully. He drops them down the slots beside the street. He does not want his fingers to leave marks on them. Sometimes Raton hurts the people, so that they will tell the charms that make money come from the moving pictures. The charms are names, letters, numbers. Silencio knows every charm that Raton and Playboy have learned, but they do not know this; if he told them, they might be angry.

  The three of them sleep in a room in the Mission. Playboy pulls the mattress from the bed and puts it on the floor. Playboy sleeps there, Raton on the other part of the bed. Silencio sleeps on the floor.

  Now Raton has cut the tube and puts half of the black on Playboy's finger. Playboy has licked his finger so the black will stick. Playboy puts the finger in his mouth and rubs the black against his gums. Silencio wonders what it tastes like, but he does not ever wish to speak with Jesus. Now Raton is rubbing his own gums with black, the flashlight forgotten in his other hand. Raton and Playboy look foolish doing this, but it does not make Silencio laugh. Soon they will want to use again, and the black gives them energy to get the money they will need. Silencio knows there is now no money, because they have not eaten since yesterday.

  Usually they find people in the dark places between the big shapes at the foot of Bryant Street, but now Raton thinks the police are watching those places. Raton has told Silencio that the police can see in the dark. Silencio has looked at the eyes of the police, passing in their cars, and wondered how they can see in the dark.

  But tonight Raton has led them out, onto the bridge where people live, and he says they will find money here. Playboy has said he does not like the bridge, because the bridge people are pinche; they do not like outsiders working here. Raton says he feels lucky.

  Raton tosses the empty vial into the darkness, and Silencio hears it hit something, a single small click.

  Raton's snake-eyes are wide with the black. He runs his hand back through his hair and gestures. Playboy and Silencio follow him.

  * * *

  SILENCIO passes the bodega for the second time, watching the man in his long coat, where he sits at his small white table, drinking coffee.

  Raton says it is a fine coat. See the old man's glasses, says Raton: they are made of gold. Silencio supposes Playboy's are made of gold too, but Playboy's have yellow glass. The man's are plain. He has gray hair cut very short and deep lines in his cheeks. He sits alone, looking at the smallest cup of coffee Silencio has ever seen. A doll's cup.

  They have followed the old man here. He has walked in the direction of Treasure Island. This part of the bridge is for the tourists, Playboy says. There are bodegas, shops with glass windows, many people walking.

  Now they are waiting to see which way the old man goes when he finishes his little coffee. If he walks back, toward Bryant, it will be difficult. If he goes on, toward Treasure, Baton and Playboy will be happy.

  It is Silencio's job to tell them when the man leaves.

  Silencio feels the man's eyes on him as he passes, but the man is only watching the crowd.

  * * *

  SILENCIO watches Raton and Playboy follow the man toward Treasure Island.

  They are in the bridge's lower level now, and Silencio keeps looking up to see the bottom of the upper deck, its paint peeling. It reminds him of a wall in los projectos. There are only a few bridge people here. Only a few lights. The man walks easily. He does not hurry. Silencio feels the man is only walking; he has nowhere to go. Silencio feels the man needs nothing: he is not looking for money, to eat or to use. This must be because he already has the money he needs to eat or to use, and this is why Raton and Playboy have chosen him, because they see he has the money they need.

  Raton and Playboy keep pace with the man, but they hang back. They do not walk together. Playboy has his hands in the pockets of his big coat. He has taken off his yellow glasses and his eyes are dark-circled with the look of those who have used the black. H
e looks sad when he is going to get the money to use. He looks like he is paying very close attention.

  Silencio follows them, looking back sometimes. Now it is his job to tell them if someone comes.

  The man stops, looking into the window of a shop. Silencio steps behind a cart piled with rolls of plastic, as he sees Raton and Playboy step behind other things, in case the man looks back. The man doesn't, but Silencio wonders if the man is watching the street in the glass. Silencio has done this himself.

  The man does not look back. He stands with his hands in the pockets of his long coat, looking into the glass.

  Silencio unbuttons his jeans and quietly waters the rolls of plastic, careful that it makes no sound. As he buttons his jeans, he sees the man step away from the window, still moving toward Treasure, where Playboy says there are people who live like animals. Silencio, who knows only dogs and pigeons and gulls, has a picture in his head of dog-toothed men with wings. When Silencio has a picture in his head, the picture doesn't go away.

  Stepping from behind the cart, as Raton and Playboy step out to follow the man, Silencio sees the man turn right. Gone. The man is gone. Silencio blinks, rubs his knuckles against his eyes, looks again. Raton and Playboy are walking faster now. They are not trying to hide. Silencio walks faster too not to be lost and arrives at the place where the man turned. Baton's narrow back goes around that corner, after Playboy, and is gone.

  Silencio stops. Feels his heart beating. Steps forward and looks around the corner.

  It is a space where a shop is meant to be, but there is no shop. Sheets of plastic hang down from above. Pieces of wood, more rolls of plastic. He sees the man.

  The man stands at the back of the space and looks from Playboy to Raton to Silencio. Looks through the round pieces of glass. Silencio feels how still the man is.

  Playboy is walking toward the man, his boots stepping over the wood, the plastic. Playboy says nothing. His hands are still in the pockets of his coat. Raton is not moving but is ready to, and then he takes the knife from where he keeps it and opens it, flicking his wrist that way he practices, letting the man see it.