Meanwhile, it's the big agencies that get the star cases —save Marilyn and Elvis, save James Dean and Buddy Holly, Natalie Wood, Sal Mineo, Mike Todd, Lenny Bruce, RFK and Jimmy Hoffa. Stop Ernest Hemingway from sucking the bullet out of his gun and keep Tennessee Williams from choking to death on a bottle cap. Save Mama Cass and Jimi Hendrix and Jim Morrison and Janis Joplin and John Lennon. And later on, Karina and Jo-Jo Ray. And Michael Zone. Kelly Breen. Some of those names don't mean anything yet, won't mean anything for years; the size of the up-front money says everything—but we don't get those cases. The last one we bid on was Ramon Novarro, beaten to death with his own dildo by a couple of hustler-boys, and we didn't get that job either; later on, after the Fatty Arbuckle thing, and that was a long reach back anyway, all of those cases went through the Hollywood Preservation Society, funded by the big studios who had investments to protect.
No, it's the other cases, the little ones, the unsolved ones that fall through the cracks—those are the ones that keep the little agencies going. Most families can't afford five or six figure retainers, so they come to the smaller agencies, pennies in hand, desperate for help. "My little girl disappeared in June of'61, we don't know what happened, nobody ever found a trace." "I want to stop the man who raped my sister." "My girlfriend had a baby. She says it's mine. Can you stop the conception?" "My boyfriend was shot next November, the police have no clue." "I was abused by my stepfather when I was a child. Can you keep my mom from ever meeting him?"
There were a lot of amateurs in this business —and more than a few do-it-yourselfers too. But most folks don't like to go zone-hopping; it's not a round-trip. You don't want to end up someplace where you have no home, no family, no job. Just the same, some people try. Sometimes people clean up their own messes, sometimes they make bigger ones. Some things are better left to the professionals.
The Harris Agency had three or six or nine operatives, depending on when you asked. But some of them were the same operative, inadvertently (or maybe deliberately) time-folded. Eakins was a funny duck, all three of him, all ages. The Harris Agency didn't advertise, didn't have a sign on the door, didn't even have a phone, not a listed one anyway; you heard about it from a friend of a friend. We took the jobs that people didn't want to talk about, and sometimes we handled them in ways that even we didn't talk about.
You knocked on the door and if you knocked the right way, they'd let you in. Georgia would sit you down in the cubby we called a conference room, and if she liked your look, she'd offer you coffee or tea. If she didn't trust you, it would be water from the cooler. Or nothing. She conducted her interviews like a surgeon removing bullet fragments, methodically extracting details and information so skillfully you never knew you'd been incised. Most cases, she wouldn't promise anything, she'd spend the rest of the day, maybe two or three days, writing up a report, sending an intern down to the Central Library or the Times' morgue to pull clippings. She'd pull pages out of phone directories, call over to the Wilcox station to get driver's license information (if available), and even scanned the personal ads in the L.A. Free Press a couple times. For the most part, a lot of what the outer office staff did was "clipping service" —pulling out data before, during, and after the events; the more complete the file, the easier the job. Working with Margaret, the jobs were usually easy. Usually, not always.
Georgia replaced Margaret in '61, right after Kennedy's election; Margaret retired to a date farm in Indio, as soon as she felt Georgia was ready; she'd managed the agency since '39, never missing a beat. She trained Georgia and she trained her well. The kid had been a good intern, the best, a quick-study; after graduation from Hollywood High, she stayed on full time while she picked up her degree at L.A.C.C. The work wasn't hard, but it was painstaking; Margaret had been disciplined, but Georgia was meticulous. She relished the challenge. Besides, the pay was good and the job was close enough to home that she could walk to work. And at the end of the day, she'd satisfied her spirit of adventure without mussing her hair.
The files demonstrated their differences in approach. Margaret never wrote anything she couldn't substantiate. She wasn't imaginative. But Georgia was always added a page or two of advice and suggestions —her own feelings about the matter at hand. Margaret didn't disapprove. She'd learned to respect Georgia's intuition. I had too.
This envelope was thin, thinner than usual. Inside, there were notes from both, I recognized Margaret' crimped precise handwriting, Georgia's flowing hand. A disappearance. Jeremy Weiss. Skinny kid. Glasses. Dark curly hair. Dark eyes, round face, an unfinished look—not much sense yet what kind of adult he might be. A waiter, an accountant, an unsuccessful scriptwriter. Seventeen and a half. Good home. Good grades. No family problems. Disappears summer of'68, somewhere in West L.A. Not a runaway, the car was found parked on Melrose, near La Cienega. But no evidence of foul play either. Parents plaster the neighborhood with leaflets. Police ask the public for help. The synagogue posts a reward for information. Nothing. Case remains open and unsolved. No clues here. Nothing to go on. The file was a list of what we didn't know.
Two ways to proceed with this one —shadow the kid or intercept him. Shadowing is a bad risk. Sometimes, you're too late7 the perp is too fast, and you end up a witness instead of a hero. Agents have been sued for negligence and malpractice, for not being fast enough or smart enough, for not stopping the murder. Interception is better. But that means keeping the vie from ever getting to his appointment in Samarra. And that means the perp never gets ID'd either.
The easiest interception is a flat tire or even an inconvenient fender-bender. That can delay a person anywhere from fifteen to forty-five minutes. That's usually enough to save a life. Most cases we get are events of opportunity. Take away the opportunity, the event doesn't happen —or it happens to someone else. That's the other problem with preventive interception. It doesn't always stop the bad luck, too often it just pushes it onto the next convenient opportunity. I don't like that.
Give me a case where the perp is known ahead of time, I can get a warrant. I don't have a problem taking down a known bad-boy. I don't have to be nice, I don't have to be neat. And there are times when I really don't want to be. But give me an unsolved case, it's like juggling hand grenades. Sometimes the victim is the real perp. It's messy. You can get hurt.
But this one —I listened for the internal alarm bells —they always go off when something smells wrong; this one felt different, I'm not sure why. I had a hunch, a feeling, an intuition, call it whatever—a sense that this case was merely a loose unraveled thread of something else. Something worse. Like the redheaded kid who didn't die on August 9 was merely a sidebar.
Think about it for a minute. Hollywood is full of manboys. They fall off the buses, naive and desperate. They're easy targets for all kinds of opportunists. Old enough to drive, but not old enough to be street smart. They come for the promise of excitement. Ostensibly, it's the glamour of the boulevard, where the widescreen movies wrap around the audience; it's the bookstores rich with lore, shelves aching with volumes of forgotten years; it's the smoky jazz clubs and the fluorescent record stores and the gaudy lingerie displays; it's the little oddball places where you can find movie posters, scripts, leftover props, memorabilia, makeup, bits and pieces of costumery—they come in from all the surrounding suburbs, looking for the discarded fragments of excitement. Sometimes they're looking for friends, for other young men like themselves, sometimes they're unashamedly looking for sex. With hookers, with hustlers, with each other. With whoever. A few years from now, they'll be looking for dope.
But what they're really looking for is themselves. Because they're unformed, unfinished. And there's nobody to give them a clue because nobody has a clue anymore. Whatever the world used to be, it hasn't finished collapsing, and whatever is going to replace it, it hasn't finished slouching toward Bethlehem. So if they're coming down here to the boulevard to look for themselves, because this looks like the center, because this looks like where it's happ
ening, they're looking in the wrong place; because nobody ever found themselves in Hollywood, no. Much more often, they lose whatever self they had to start with.
You can't save Marilyn and Elvis because they don't exist, they never existed — all that existed was a shitload of other people's dreams dumped on top of a couple of poor souls who'd had the misfortune to end up in front of a camera or a microphone. And you can't save anyone from that. Hollywood needs a warning label. Like that pack of cigarettes I saw up the line. "Caution, this crap will kill you."
Jeremy Weiss wasn't a runaway. He didn't fit the profile. And he didn't end up in a dumpster somewhere, his body was never found. He wasn't a hustler or a druggie. I doubted suicide. I figured he was probably destined for an unmarked grave somewhere up above Sunset Boulevard, maybe in the side of a hill, one of those offshoots of Laurel Canyon that wind around forever, until they finally turn into one-lane dirt scars. Someone he met, a casual pickup, I know where there's a party, or let's go to my place —
So yeah, I could probably save this kid from the Tuesday express, but that wouldn't necessarily stop him from lying down on the tracks again on Wednesday night. Or if not him, then maybe Steve from El Segundo or Jeffrey from Van Nuys. Most of the disappearances went unreported, unnoticed. Not this one, though.
Margaret sat down opposite me. She put a second glass on the table and poured herself a shot, poured one for me.
I knew Margaret only from her work—the files that Georgia had passed me, up the line. Margaret was compulsive; she annotated everything on every case, including newspaper clippings, police reports when she could get them, and occasionally witness interviews. Reading through a file, reading her notes, her advice, her suggestions, it was like having a six-foot invisible rabbit standing behind every moment.
But today was the first time I'd actually met Margaret, and I held my tongue, still gauging what to say. Should I thank her for the cases yet to solve? Did she want to know how these cases would play out? Would it affect her reports if she knew what leads were fruitless and which ones were pay dirt? Do we advance to Go or do we go directly to jail? The real question —should we put warnings into the files? Watch out for Perry, a harmless little pisher, but an expensive one; stay away from Chuck Hunt, the chronovore; don't go near Conway, the bigger thief; and especially watch out for Maizlish, the destroyer.
Should I ask—?
"Don't talk," she said. "There's nothing you have to say that I need to hear. I've already heard it. I'll do the talking here because I have information that you need." She pushed the glass toward me.
I took a sniff. Not bad. Normally, I don't drink scotch. I prefer bourbon. But this was different, sharper, lighter. Okay, I can drink scotch.
"Something's happening," she said.
I waited for her to go on. There's this trick. Don't say anything. Just sit and wait. People can't stand silence. The longer you wait, the more unbearable it becomes. Pretty soon, they have to say something, just to break the silence. Leave an unanswered question in the air and wait, it'll get answered. Unless they're playing the same game. Except Margaret wasn't playing games.
She finished her scotch, neat, put the glass down, and stared across the table at me. "The perps are starting to figure it out." She let that sink in for a moment. "The timequakes. The perps are using public quake maps to avoid capture. Or to commit their crimes more carefully. Bouncing forward, back, sideways. They call it the undertime railway. LAPD has taken down the Manson clan three times now. Each time, earlier. Now they're talking about maybe legalizing preemptive abortion. Just stop them from being born. Nobody's sure yet. The judges are still arguing. The point is, you'll have to be careful. Especially with cases like this where we don't have any information. The perp always knows more about the crime than the investigator. The more the perp knows, the harder the job becomes. If the case gets any publicity, the perp gets dangerous.
"Here's the good news. Caltech has been mapping the timequakes. They've been putting down probes all over the county for thirty years now. We have their most recent chart. The one they didn't make public. It cost us some big bucks and a couple of blow jobs." She unrolled a scroll across the table —it looked like the paperback edition of the Torah, smaller but no less detailed. "It stretches from 1906 all the way to 2111, so far. All of the big quakes and aftershocks are noted, those are the public ones, the ones the perps know. But all of the littler ones are in here too." She tapped the scroll. "This is your advantage.
"Most people don't notice the little tremors, the unnoticeable ones. You know that feeling when you keep thinking it's Monday when it's really Sunday? That's a dayquake. Or when you've been driving for an hour and you can't remember the last ten miles? Or when you've been at work eight hours and you still have seven hours to go? Or when you're out clubbing and suddenly the evening's over before it's really started? Those are all tremors so small you don't even feel them, or if you do notice, you figure it's just you. But Caltech has them charted, has the epicenters noted, can tell you almost to the second how far forward or back each quake bounces. See the arrows? You can chart a time-trajectory from here to forever—well at least up to 2111, depending on which of the local trajectories you choose. They probably have even more complete charts uptime, but we can't get them yet. We expect Eakins to send back copies, but nothing's arrived yet, not this far back. But it should have reached '67 by now. So as soon as you get there, come back to this office. I won't be here, I'm already retired in '67, but Georgia will have what you need. We start bringing her up to speed right after Kennedy's election.
"The point is, this timeline gives you more maneuverability. Protect it like it's gold. If a perp gets it, it'd be a disaster. That's why it's on proof paper. It goes black after twenty minutes' exposure to UV." She rolled it up, slid it into a tube, capped it, and passed it over to me. "Right. Get to the bank, get yourself some dinner, then get out to the quake zone. You've got a reservation at the Farmer's Daughter Motel. That puts you half a block from the epicenter. You can get a good night's sleep. Georgia will see you here in '67."
Picked up some comics at the Las Palmas newsstand and shoved them into my briefcase, I do a little collecting myself, on the fringes, mostly just for my retirement. But not only comics. Barbie dolls, G.I. Joe, Hot Wheels cars, Pez boxes, stuff like that. And I'm saving up for a trip back to '38,1 hope to pick up some IBM stock.
The Farmer's Daughter is better than it sounds. On Fairfax, walking distance from Farmer's Market. Of course, it isn't the Farmer's Daughter yet, but it will be in '67.
I check in, check the room, check the bed, think about a hooker, I have the number of an escort service, they'll be in business for another year or so; but it's not a good idea. There might be a foreshock. Almost certainly, there will be a foreshock. Not fair to the girl.
So I content myself with a nightcap in the bar. It's almost deserted. Just the bartender and me. His name is Hank. I ask him what time he gets off, he thinks I'm hitting on him, he gives me a big friendly grin, but I say, no thanks. Close up and go home. Timequake tonight, an aftershock. He shrugs. He's already been caught in two quakes. He won't even keep a cat now. Everything important, he keeps in a bag by the door. Just like me.
Not a lot of out-of-towners visit L.A. anymore; they don't want to risk the possibility of time-disruption, finding themselves a year or ten away from their families. But some folks deliberately come to L.A., hoping to ride a quake back so they can prevent some terrible event in their lives. Some succeed, some don't. Others have meticulous lists of sporting events and charts of stock fluctuations; they expect to get rich with their knowledge. Some do, some don't.
I fall asleep in front of the TV, watching Jack Paar on The Tonight Show. I wake up and it's the last week of April '67. The smog is the same, the cars are smaller and more teenage; on the plus side, the skirts are a lot shorter. But my old brown suit is out of style. And my car is visibly obsolete —a '56 Chevy. Obvious evidence that I'm a wandering time-raveler.
Caught breakfast in the market, fresh fruit, not too expensive yet, then headed back up to the boulevard. Santa Monica Boulevard was now a tawdry circus of adult bookstores, XXX theaters, and massage parlors. The buildings all looked like garish whores.
Hollywood Boulevard was worse. The stink of incense was almost strong enough to cover the smog. Clothing had turned into costumes, with teens of both sexes wearing tight pants and garish shirts —not quite hippies yet, but almost. The first bell-bottom jeans were showing, the Flower Children were just starting to bloom. The summer of love was about to begin.
Several storefronts had signs for time-tours and maps of the quake-zones; probably a better business than maps to the homes of the stars. I noticed several familiar faces —a small herd of comic book collectors —heading toward the newsstand on Cahuenga; they were probably the first customers of the quake-maps.
Roy was still shining shoes, twelve years older, but just as slick and just as fast. "Shoes look good, Mr. Harris," he said, as I walked in. He called all of us Mr. Harris. Nobody ever corrected him. Maybe it was his way of keeping track. He knew who we were, but he never asked questions, and he never offered advice. He kept his own counsel. But sometimes, he steered the right people to the office and sometimes he turned other folks away. "What you lookin' for ain't up those stairs, mister." Every so often, Georgia would march downstairs and hand him an envelope. She never said why. I assumed that was something else she'd learned from Margaret.
The office had been redecorated; it felt more like Georgia now. All of the typewriters were IBM Selectrics. New lateral filing cabinets, a Xerox photocopier, even a fax machine. The cubby had been painted light blue with white trim and the stacks of boxes and files had disappeared, replaced by dark oak bookshelves. Most of the files had moved into the offices next door, which we'd leased in '61, when the accountant finally died. It'd be another few decades before we would have all that information on hard drives and optical discs. The same heavy mahogany table and leather chairs remained in the center of the room, but looking a lot more worn.
The Year's Best Science Fiction: Twenty-Third Annual Collection Page 42