"But more would think you rich."

"I don't know about that-"

"I do," she said. "There are, literally, more humans alive at this moment who have measurably less than you do. You have this sleeping place, you have clothing, I see you have eaten. What is your name?"

"Berry Rydell," he said, feeling a strange shyness. But he thought he at least knew who she was, or was supposed to be. "Look, I recognize you. You're that j.a.panese singer, the one who isn't. . .

I mean, the one who- "Doesn't exist?"

"I didn't say that. I mean, weren't you supposed to be married to that Irish guy, Chinese, whatever? In that band?"

"Yes." She'd stretched out on the bed, on her stomach, hands propping her chin a few inches from the occluded plastic bubble. (Rydell had a flash of that seen from the water below, like the glaucous eye of some behemoth.) "But we did not marry, Berry Rydell."

"How do you know Laney?" he asked her, hoping to bring it around to some footing that he could stand on as well, whatever that might be.

"Laney and I are friends, Berry Rydell. Do you know where he is?"

"Not exactly," Rydell said, which was true.

She rolled over, gorgeous and quite literally glowing, in her incongruous mirroring of what he wore, which looked, on her, like the first and purest expression of some irresistible new fashion, and fixed him with a sorrowful stare. He would, in that moment, have happily and willingly locked eyes with her for however long she wanted and have sat there, effectively, forever. "Laney and I have been separated. I do not understand why, but I must trust that it is for our mutual and eventual good. Who gave you the projector, Berry Rydell?"

"I don't know," Rydell said. "It was shipped here GlobEx, but in Laney's name. Address in

Melbourne, company called Paragon-Asia."

She raised her eyebrows. "Do you know why we are together in San Francisco, Berry Rydell?"

"No," he said, "do you?"

154.

"Laney believes that the world will end soon," she said, and her smile was luminous.

He couldn't help but smile hack. "I think we went through that one when the century rolled over."

"Laney says that that was only a date. Laney says that this is the real thing. But I have not spoken with him in weeks, Berry Rydell. I do not know how much closer we are now, to the nodal point."

155.

BOOMZILLA, with a little s.h.i.t money tonight, debit chip he got off those truck b.i.t.c.hes, goes down to Lucky Dragon. That's where he goes when he gets money, because they got all the s.h.i.t.

Food he likes there, because it's not bridge food; food like on TV, out of a package. And everything: s.h.i.t to look at, the games they got in there. Best place.

Someday he'll have his s.h.i.t together right. He'll live in a house, and it will be clean as Lucky Dragon. All lit up like that, and he'll get those camera balloons like the truck b.i.t.c.hes. Watch everybody's a.s.s and n.o.body f.u.c.k with him.

Gets the chip out, walking up to the front, because if he has it in his hand, shows it to the security, security'!1 let him in. Security wants to know you're a player. Otherwise, you'd steal.

Boomzilla understands that.

Tonight is different. Tonight a big white truck in front of Lucky Dragon. Biggest, cleanest truck he's ever seen. No writing on it, SoCaI plates, couple of securities standing out by it. Boomzilla wonders if this what they bring the new games in? Never seen this before.

So in the doors, holding up his chip, and heads over, like he does, first to the candy.

Boomzilla likes this j.a.p candy that's like a little drug lab. You mix these different parts, it fizzes, gets hot, cools. You do this extrusion-molding thing and watch it harden. When you eat it, it's just candy, but Boomzilla likes making it.

Gets six of those, p.i.s.sed there's no grape, and a couple or two chocos. Spends a good long time by the machine that makes magazines, watching screens, all the different s.h.i.t you can get put in your magazine. Then back to get his noodles, kind you add water and pull the string.

Back there, deciding between beef and chicken, he sees they've unfastened a whole piece of Lucky Dragon wall. Next to GlobEx and the cash machine.

I 156.

37. A LITTLE s.h.i.t MONEY.

So he thinks this is what the white truck is about, some new thing to put in there, and he wonders if it's maybe a game.

White men in white paper suits working on the section of wall.

Watches them, then goes back to the front, shows his s.h.i.t. Checker runs his s.h.i.t over the window that counts, takes Boomzilla's chip and debits it, There goes his s.h.i.t money.

Takes his bag outside and finds a curb to sit on. Pretty soon he'll start making the first candy.

Red one.

He looks past the white truck to the screens there, by the front, and he notices white trucks on half the screens. So all over the world now, these white trucks sitting outside Lucky Dragons, so it must mean something new is being put in all of them tonight.

Boomzilla unseals the candy and studies the multistage but entirely nonverbal instructions.

Gotta get it right.

157.

38. VINCENT BLACK LIGHTNING.

FONTAINE'S shop must be this narrow purple one with its high thin window caulked with enough

silicone to frost a wedding cake. The whole front of the place had been painted the same flat purple, blistered now by sun and rain, and she had some faint memory of its earlier incarnation as something else, used clothing maybe. They'd put that purple over everything: over the droops and gobs of silicone, over the hardware on the old wooden door with its upper panels replaced with gla.s.s.

If this was Fontaine's place, he hadn't bothered naming it, but that was like him. And the few things displayed in the window, under the beam of an antique Tensor, were like him as well: a few old-fashioned watches with their dials going rusty, a bone-handled jackknife someone had polished till it shone, and some kind of huge ugly telephone, sheathed in ridged black rubber. Fontaine was crazy about old things, and sometimes, before, he'd bring different pieces over, show them to Skinner.

Sometimes she'd thought he'd just done that to get the old man started, and then Skinner's own Stories would come out. He hadn't been much for stories, Skinner, but turning some battered treasure of Fontaine's in his hands, he'd talk, and Fontaine would sit and listen, and nod sometimes, as though Skinner's stories confirmed some long-held suspicion.

Made privy to Skinner's past, Fontaine would then handle the objects himself with a new excitement, asking questions.

Fontaine lived in the world of things, it had seemed to her, the world of the things people made, and probably it was easier for him to approach them, people, through these things. If Skinner couldn't tell Fontaine a story about something, Fontaine would make up his own story, read function in the shape of something, read use in the way it was worn down. It seemed to comfort him.

Everything, to Fontaine, had a story. Each object, each fragment comprising the built world. A chorus of voices, the past alive in every- 158.

thing, that sea upon which the present tossed and rode. When he'd built Skinner's funicular, the elevator that crawled like a small cable car up the angled iron of the tower, when the old man's hip had gotten too bad to allow him to easily climb, Fontaine had had a story about the derivation of each piece. He wove their stories together, applied electricity: the thing rose, clicking, to the hatch in the floor of Skinner's room.

Now she stands there, looking into the window, at these watches with their foxed faces, their hands unmoving, and she fears history.

Fontaine will fit her to history in some different way, she knows, and it is a history she has avoided.

Through the thick pane of the door, thick enough to bend light, the way water in a gla.s.s does, she sees that the lights are on in a s.p.a.ce behind the shop. Another door there, not quite closed.

CLOSED/CERRADO says the dog-eared cardboard sign hung inside the gla.s.s on a suction-cup shower hook.

She knocks.

Almost immediately the inner door is opened, a figure silhouetted there against brightness.

"Hey, Fontaine. Chevette. It's me." -

The figure shuffles forward, and she sees that it is in fact him, this angular black man whose graying hair is twisted into irregular branches that hang like the arms of a dusty houseplant in need of water. As he rounds the flat gleam of a gla.s.s-topped counter, she sees that he holds a gun, the old-fashioned kind with the cylinder that turns as the bullets are fired manually, one at a time. "Fontaine? It's me."