What’s this have to do with Eduardo Cortez? Well, it has to do with the fact that Cortez’s play for control of the Albertine cartel came exactly at the moment of highest density of deaths from Albertine overdose or drug interaction. I refer you back again to the diachronous theory of abuse patterns. See what I mean? The big question is how does Cortez, by his presence, affect the way that Albertine was used? The mixture of the chemical, if it’s even a chemical, certainly didn’t change all that much, had not changed, during the course of the twelve months that it grew into a street epidemic. Can we attribute the differences in abuse patterns to any other factors? Why is it Cortez who seemed to be responsible for the blast intruding into everybody’s memory?
My notes for the magazine are all about skepticism. I knew I was holding Cassandra’s hand now, prostitute in rags, woman with the skeletal body, while she was using the eyedropper, and I know this might seem like a hopeful gesture. Like some good could come out of it all. I heard her sigh. The cage of the elevator, at a crawl, passed a red emergency light on the wall of the shaft. Hookers were always erotic about nonerotic things. Time, for example. The elsewhere of time amok was all over her, like she was coming to memories of a time before prostitution. I was holding her hand. I was disoriented. I checked my watch. I mean I checked what day it was. I had been assigned to the Albertine story for two weeks, according to my Rolex knockoff—which had miraculously survived the electromagnetic pulse—but I could swear that it had just been two days before that I’d been hanging out in the offices of the soft-core porn mag, the offices with the bulletproof glass and the robot receptionist out front. When had I last been back to the supply closet to sleep? When had I last eaten? Wasn’t it last night, the evening with the footsteps in the corridor, and the revelation about the blast? I was holding Cassandra’s hand, because she had this tenuous link to the facts of Albertine, and this seemed like the last chance to master the story, to get it down somehow, instead of being consumed by it.
This is my scoop then. The scoop is that, suddenly, I saw what she was seeing.
Cassandra said, “Watch this.”
Pay close attention. I saw a close-up, in my head I saw it, like from some Web movie, a guy’s arm, a man’s arm, an arm covered with scars, almost furry, it was so hairy, and then a hand pulling tight a belt around a bicep, jamming in a needle, depressing the plunger, a grunt of initial discomfort. Then the voice of the guy, thick accent, maybe a Puerto Rican accent, announcing his threats, “I’m going back to the Lower East Side, and I’m going to cap the motherfucker, see if I don’t.” Definite speech impediment. A problem with sibilance. Then this guy, this dude was looking over at Cassandra, she was in the scene, not in the stairwell, where we were at least theoretically standing, but she was someway associated with Eduardo Cortez. She was his consort. He was taking her hand, there was a connection of hands, a circular movement of hands, and then we were on a street, and I saw Cortez, in Tompkins Square Park, which doesn’t exist anymore, of course, and it was clear that he was searching out a particular white guy, and now, coming through the crowd, here was the guy, looked like an educated man, if you know what I mean, one of those East Village art slumming dudes. Cortez was searching out this guy, kinda grungy, wearing black jeans and a T-shirt, and it was all preordained, and now Cortez had found him.
Lights associated with the thrall of Cassandra’s recollection, phantom lights, auras. The particulars were like a migraine. Things were solarized, there were solar flares around the streetlamps. We were bustling in and around the homeless army of Tompkins Square. I could hear my own panicky breathing. I was in a park that didn’t exist anymore, and I was seeing Cortez, and I was seeing this guy, this white guy, he had that look where one side of his face, the right side, was different from the other side, so that on the right side, he seemed to be melancholy and placid, whereas on the left side of the face, there was the faintest smirk at all times. The left side was contorted and maybe there were scars there, some kind of slasher’s jagged line running from the corner of his mouth to his ear, as if his face too were divided in certain ways, as if his face were a product of erosion, and Cassandra, I guess, was saying, “Let’s not do this, okay? Eduardo? Please? Eduardo? We can fix the problem another way.” Except that at the same moment what she was saying to me, somehow outside of memory, outside of the memory belonging to someone else, she was saying, “Do you understand what you’re seeing?”
I said, “He’s going to—”
“—Kill the guy.”
“And that guy is?”
“Addict Number One.”
“Who?”
“That guy is the first user,” she said. “The very first one.”
“And why is he important?”
Cassandra said, “For the sake of control. You don’t get it, do you?”
“Tell me,” I said.
“Addict Number One is being killed in a memory.”
Something coursed in me like a flash flood. A real perception, maybe, or just the blunt feelings of sympathetic drug abuse. When I tried to figure out the enormity of what Cassandra was telling me, I couldn’t. I couldn’t understand the implications, couldn’t understand why she would tell me, because to tell me was to die, far as I could tell, because Fox was dead, Bob was dead, the Mnemonic X boys had been completely wiped out, probably fifty guys, all disappeared, same day, same time, reporters from my old paper were dead. Chasing the story was to chase time itself, and time guarded its secrets.
“How’s that possible? That’s not possible! How are you going to kill someone in a memory? It doesn’t make any sense.”
“Right. It doesn’t make any sense, but it happened. And it could happen again.”
“But a memory isn’t a place. It’s nowhere but in someone’s head. There’s not a movie running somewhere. You can’t jump up into the screen and start messing with action.”
“Just watch and see.”
I was thinking about the diachronous theory. The pattern of abuse and dispersal was widest and most threatening at the instant of the murder of Addict Number One, I was guessing, which was about to be revealed as a murder, the first and only murder, I hoped, that I ever needed to witness, because even if he was a smirking guy, someone unliked or ridiculed, even if he was just a drug addict, whatever, Addict Number One was a prodigious rememberer. As the first full-scale Albertine addict, I learned later, he had catalogued loads of memories, for example, light in the West Village, which in July is perfect at sunset on odd-numbered streets in the teens and twenties. It was true. Addict Number One had learned this. If you stood on certain corners and looked west in June and July, at dusk, you would see that the City of New York had sunsets that would have animated the great landscape painters. Or how about the perfect bagel? Addict Number One had sampled many of the fresh bagels of the City of New York, and he compiled notes about the best hot bagels, which were found at a place on University and Thirteenth Street. They were large, soft, and warm. Addict Number One devoted pages to the taste of bagel as it went into your mouth.
Sadly, instead of illuminating the life of Addict Number One, it’s my job now to describe the pattern of the dispersal of his brains. The pattern of which was exactly like the pattern of dispersal of radioactive material in lower Manhattan. Cortez held the revolver to the head of Addict Number One, whose expression of complete misunderstanding and disbelief was heartrending, enough so to prove that he had no idea what his murder meant, and Cortez pulled the trigger of the revolver, and Addict Number One fell over like he had never once been a living thing. Fucking punk-ass junky, Cortez intoned. Were the baroque memories of Addict Number One now part of all that tissue, splattered on the dog run in Tompkins Square? Was that a memory, splashed on that retriever there, gunking up its fur, an electrical impulse, a bit of energy withering in a pool of gore in a city park? I saw it, because Cortez saw it, and Cortez gave the memory to Cassandra, who gave it to me: corpus callosum and basal ganglia on the dogs, on the lawn, and scream
ing women, the homeless army drawn up near, gazing, silent, as Addict Number One, slain by a drug dealer in memory only, weltered, gasping. His memories slain with him.
It was like this. Even though the memory was just a memory, its effect was real. As real as if were all happening now. This is like saying that nine-tenths of the universe is invisible, I know. But just bear with me. Cortez’s accomplishment was that, according to Cassandra, he’d learned from informers that Addict Number One was once a real person, with a real past (went to NYU, and his name was Paley, and he wanted to make movies), after which he’d located a picture of Addict Number One by reading an obituary from the time when Addict Number One was already dead.
Must have been pretty tempting to try to fabricate a memory about Addict Number One. Oh yeah, I saw him on the Christopher Street pier that time. Or, I saw him on my way to Forest Hills to visit my grandma. Cortez may have tried this, perhaps a dozen times, skin popping Albertine in an unfurnished room in East Harlem, vainly attempting put a bullet in the head of an imagined encounter with Addict Number One, but no. Cortez had to go through every face in every crowd, all the imagined crowds of which he had ever been a part, every faced passed on Broadway, every prone body on the Bowery, every body in the stands of Yankee Stadium. He shot more, spent most of the money from his bike messenger job on this jones for narrative, and then one day, he was certain.
He was killing roaches in his empty apartment, when he knew. He was prying up a floorboard to look for roaches, and he knew. As certainly as he knew the grid of his city. He’d walked by Addict Number One, one day, when he was sixteen, in Tompkins Square. On his way to a game of handball. He’d walked by him, he knew it. Not someone else, but him, Addict Number One. Guy looked like a faggot, the way Cortez told Cassandra later. All white guys looked like faggots as far as he was concerned, and he’d just as soon kill the punk-ass motherfucker for looking like a faggot as any other reason, although there were plenty of other reasons. Main thing was that if he could figure out a way to kill Addict Number One in his memory, then a whole sequence of events failed, like when Addict Number One hooked up with certain black guys in his neighborhood who had been fronting heroin up until that time, gave to them the correct chemical compound of Albertine, the secrets of the raw materials needed for the manufacture, the apparatus. If Cortez killed his ass this future would not turn out to be the real future. If Cortez killed his ass, then Cortez would control the syndicate.
It would take even more time and money, more time, doping, a solid six months, in fact, in his room, going through that whole sequence of his life, like that time with Eduardo’s neighbor, he told Cassandra. Over and over again, Eduardo had to deal with that drunken fuck neighbor, not even gonna say his name here, Cortez would say to Cassandra, fighting off that memory when the guy, Eduardo’s alleged uncle, in the rubble of an abandoned building, exposed himself to little Eduardo, his droopy uncut penis, fucking guy couldn’t get hard no more, looked like a gizzard, and the uncle drunkenly pronounced that he was lonelier than any man had ever been, didn’t belong in this country, couldn’t go back to the island nation of his birth, no reason for a man to be as lonely as this man, no reason for this surfeiting of loneliness, every day in every way, and would Eduardo just make him feel comfortable for just this one day, just treat him like a loving man, this one time, because he was so lonely, had an aching in his heart that nothing could still, wouldn’t ask again, he swore, and took Eduardo, just a little compadre, just a wisp, couldn’t even lift up an aluminum baseball bat, couldn’t lift a finger against the alleged uncle, took Eduardo for his goddess, you are my priestess, you are my goddess, and now Eduardo vowed that he would never again suffer that way before any man.
The syringe, the eyedropper, the concentric rings of the past. Again and again the uncle would attempt to seduce him. He was willing to go through that, a thousand times if he had to, until he had the gun on his person, in the waistband of his warm-up suit, and he was ready. He was sixteen, with fresh tattoos, and he’d been to mass that morning and he had a gun, and he was going to play handball, and he saw this white faggot in the dog run, and he just walked up to him like they never met. Though in truth it was like Eduardo Cortez knew him inside and out, and Eduardo wanted to make something out of himself, his life that was lost up until then, where he was just a bike messenger, and the desperados of his neighborhood, they were all going to be working for him and if they made one wrong move, he’d throw them off a fucking bridge, whatever bridge is still up, and if they touched the little girls in his neighborhood, that’s another crime, for which he would exact a very high price, a mortal price, and the first priority, the long-term business plan was that Eduardo Cortez would be the guy who would make profits from memories, even if his own memories were bad. That was just how it was going to go, and I saw all this with Cassandra, that Cortez had managed by sheer brute force to murder a memory, splatter a memory like it was nothing at all.
One minute Addict Number One was wandering in the East Village, years before he was an addict, years before there even was an Albertine to cop, and he was thinking about how he was going to get funding for his digital video project, and then, right in front of a bunch of dog walkers, the guy disappeared. This is the story, from the point of view of those who were not in on the cascading of memories. It’s one of the really great examples of public delusion, when you read it on the on-line police records, like I did. Witnessses insist that the victim, first referred to as Caucasian John Doe, later identified as Irving Paley of 433 East 9th St., was present on the scene, along with a Hispanic man in his teens, and then, abruptly, no longer present. “It’s as if he just vanished,” remarked one witness. Others concur. No body located thereafter. Apartment also completely emptied, possibly by assailant. Good thing those records were stored on a server. Since One Police Plaza is dust.
The guys in the smelting factory were all wearing uniforms. They were the uniforms of bike messengers, as if the entire story somehow turned on bike messengers. Bike messenger as conveyor of meaning. There were these courtiers in the empire of Eduardo Cortez, and the lowest echelon was the beat cop, a phalanx of whom were all encircling the building, sending news of anyone in the neighborhood into command central by radio. And then there were the centurions of the empire, the guys in the bike messenger uniforms, wearing the crash helmets of bike messengers. All done up in Lycra, like this was some kind of superhero garb. When the elevator door swung back, it was clear that we had definitely penetrated to the inner sanctum of Eduardo Cortez, as if by merely thinking. And this inner sanctum was inexplicable, comic, and deadly. Sure it was possible that I had now been researching for two weeks, and no longer needed food or sleep in order to do it. Sure, maybe I was just doing a really great job, and, since I was an honest guy who seemed cool and nonthreatening, maybe I was just allowed into places that the stereo-typical Albertine abuser would not ordinarily be allowed. But it seemed unlikely. This was evidently one of the fabled five mansions of Cortez, to which he shuttled, depending on his whim, like a despot from the coca-producing latitudes.
“Eddie,” Cassandra sang out into the low lighting of the smelting factory floor, “I brought him like you said.”
Which one was Eddie? The room was outfitted with gigantic machines, suspension devices, ramrods, pistons thundering, wheels turning, like some fabulous Rube Goldberg future, and there was no center to it, no throne, no black leather sofa with a leopard-print quilt thrown over it, and none of the bike messengers in the room looked like the Cortez of my memory, the Cortez of Tompkins Square Park, on his way to play handball. Maybe he’d had himself altered by a cosmetic surgeon with a drug problem and a large debt. In fact, in scanning the faces of the dozens of bike messengers in the room it seemed that they all looked similar, all of European extraction with brown hair on the verge of going gray, all with blue eyes, a little bit paunchy. Were they robots? Were they street toughs from the bad neighborhoods? They were, it turned out, the surgically altered army
of Eddie Cortez homonyms, who made it possible for him to be in so many places at so many times, in all the fabled five mansions. Eddie was a condition of the economy now, not a particular person.
At the remark from Cassandra, several of the bike messengers gathered in the center of the room. Maybe they were all modified comfort robots, so that Eddie could use them professionally during the day and fuck them later at night. One of them asked, with a blank expression, “His writing any good?”
Cassandra turned to me. “They want to know if you’re a good writer.”
“Uh, sure,” I said, answering to the room. “Sure. I guess. Uh, you wanting me to write something? What do you have in mind exactly?”
More huddling. No amount of time was too lengthy, in terms of negotiation, and this was probably because time was no longer all that important to Cortez and the empire. Time present was now swallowed in the riptide of the past. Since it was now possible that Eddie could disappear, at any moment, like Addict Number One had, when someone else figured out his technique for dealing with the past, he had apparently moved to ensure an eternal boring instant, where everybody looked the same, and where nothing particularly happened. Events, any kind of events, were dangerous. Eddie’s fabled five mansions featured a languid, fixed now. He took his time. He changed his appearance frequently, as well as the appearance of all those around him. That way he could control memories. So his days were apparently taken up with dye jobs, false beards, colored contact lenses, all the shopping for items relating to disguise and imposture and disfigurement.
McSweeney's Mammoth Treasury of Thrilling Tales Page 43