William Gibson - Zero history

Milgrim swallowed. “So who’s Foley?

“The designer. You can’t make uniforms without a designer. He was at Parsons, the New School for Design.”

“In New York?”

“Kind of doubt he fit in. But never mind him. Michael Preston Gracie’s who I’m after.”

“The major? I don’t understand what it is he’s done.”

“Crimes that involve lots of official acronyms. Crimes that would take me all night to explain accurately. I hunt in an underbrush of regulations. But the good thing about these guys, for me, is that the smaller the transgression, the sloppier they’ll handle it. I watch the underbrush for twigs they’ve broken. That was Dermo, in this case.”

“Dermo?”

“D-R-M-O. Defense Reutilization and Marketing Offices. They sell off old equipment. He manipulates old Army buddies. Illegally. Equipment’s sold on to foreign entities, be they companies or governments. ICE notices a shipment, all curiously shiny-new. No ITAR violations but they note the shiny, the new. I look into it, turns out those radios were never meant to be sent to DRMO at all. Look a little closer and the DRMO buy wasn’t right either. See he’s involved in lots of these purchases, lots of contracts. Nothing huge, but the money seriously adds up. Those pants of yours look to me like the start of a legitimization phase. Like he’s started listening to lawyers. Might even be a money-laundering angle there. What did I tell you his name was?”

“Gracie.”

“First name?”

“Peter.”

“I’ll give you a mnemonic: Elvis, Graceland.”

“ ‘Elvis, Graceland’?”

“Preston, Gracie. Presley, Graceland. What’s his name?”

“Preston Gracie. Mike .”

She smiled.

“What am I supposed to do with this?”

“Tell Bigend.”

“But then he’ll know about you.”

“Only as much as you tell him. If we were back in the States, I’d play this another way. But you’re my only resource here, and I’m out of time. Tell Bigend there’s this hard-ass federal agent who wants him made aware of Gracie. Bigend has money, connections, lawyers. If Gracie fucks with him, let’s make sure he knows who to fuck back at .”

“You’re doing what Bigend does,” Milgrim said, more accusingly than he intended. “You’re just doing this to see what happens .”

“I’m doing it,” she said, “because I find myself in a position to. Maybe, somehow, it’ll cause Michael Preston Gracie to fuck up. Or get fucked up. Sadly, it’s just a gesture. A gesture in the face of the shitbird universe, on behalf of my ongoing frustration with its inhabitants. But you need to tell Bigend, fast.”

“Why?”

“Because I’ve got Gracie’s flight schedule on APIS, via CBP. He’s on his way here. Atlanta by way of Geneva. Looks like he’s laying over for a meeting there, four hours on the ground. Then he’s into Heathrow.”

“And you’re leaving?”

“It’s a piss-off, but yeah. And my kids and husband miss me. I’m homesick. I guess it’s time.” She put down her spoon, switching to chopsticks. “Tell Bigend. Tonight.”

Thanks for meeting on such short notice,” said Meredith Overton, seated in the armchair directly beneath the rack of narwhale tusks. She wore a tweed jacket that might have come from Tanky amp; Tojo, if they cut things for women. She’d phoned on Hollis’s way back from her meeting with Bigend, in the strange, high, surgically clean silver pickup driven by Aldous, one of the tall black minders.

“It’s perfect timing,” Hollis said. “I’ve just seen him. He’d be delighted to have a team of Blue Ant researchers look for your shoes.”

“Provided I give him the identity of the Gabriel Hounds designer.”

“Yes,” said Hollis.

“I can’t,” said Meredith. “That’s why I’m here.”

“You can’t?”

“Sorry. Attack of conscience. Well, not an attack. My conscience is in fairly decent shape. That’s the problem. I was trying to do a run around it, because I want my shoes. George and I were up all night, discussing it, and it became apparent that it’s just not something I’m willing to do. George agrees, of course. As much as he wants your advice about working with Inchmale.”

“He has that,” Hollis said. “I thought I’d made that clear, in Paris. I’m a one-woman sisterhood that way. Counseling the stricken.”

Meredith smiled. The Italian girl arrived with coffee. It was something like the cocktail hour now, Hollis supposed, and the room, while not crowded, was filling with a peculiar murmur, leaning by undetectable increments toward the later evening’s full rout. “That’s kind of you,” Meredith said. “Do you know Japan?”

“Tokyo, mainly. We played there. Huge venues.”

“I went there when I was putting my second season together. The first season, all the shoes had been leather. I was more comfortable with that. For the second season, I wanted to do some in fabric. A classic summer sneaker. I needed some kind of artisanal canvas. Dense, long-wearing, but a great hand. Special.”

“Hand?”

“How it feels, to the touch. Someone had suggested I talk to this couple in Nagoya. They had an atelier there, above a little warehouse on the outskirts of a place called Ichinomiya. I can tell you that because they’re no longer there. They were making jeans there, in deadstock fabric from a mill in Okayama. Depending on the length of the roll, they might get three pairs of jeans, they might get twenty, and once the roll was gone, it was gone. I’d heard they’d also been buying canvas from that same mill, Sixties stuff. I wanted to see it and, if it was good, talk them into selling me a few rolls. They’d tried it for jeans, but it was too heavy. They were lovely people. There were stacks of samples of their jeans. Old photographs of American men in workwear. All of their machines were vintage, except the one they used for riveting. They had a German Union Special chain-stitching machine. A 1920s belt-loop machine.” She smiled. “Designers become machine nerds. Machines define what you can do. That and finding the right operators for them.” She added sugar to her black coffee, stirred it. “So I’m up in the loft, very top of the building, where they had these rolls of canvas, on shelves, lots of them. They’re all different, the light’s not great, and I realize I’m not alone. The Japanese couple are downstairs, on the second floor, making jeans, and they haven’t said anything about anyone else being there. I can hear the machines they’re using. Below them, there’s a place that makes cardboard cartons. They have machines too, a sort of distant thumping undertone. But I can hear a woman singing, like she’s singing to herself. Not loud. But close. From toward the back of the building. Up in the loft, with me. The jeans people haven’t said anything about anybody else, but they barely speak English. Absolute focus on their work. They make two or three pairs a day, just the two of them. Self-taught. So I put the roll I’m looking at back on the shelf. Old metal shelves, about four feet deep, and I follow the sound of her singing.” She took a sip of her coffee. “And at the very back of the loft, there’s light, good light, over a table. Actually it’s a hollow-core door, on a couple of big cardboard cartons. She’s working on a pattern. Big sheets of tissue, pencils. Singing. Black jeans, a black T-shirt, and one of those jackets you’re wearing. She looks up, sees me, stops singing. Dark hair, but she’s not Japanese. Sorry, I say, I didn’t know anyone was here. That’s okay, she says, American accent. Asks me who I am. I tell her, and tell her I’m there to look at canvas. What for? Shoes, I tell her. Are you a designer? Yes, I say, and show her the ones I’m wearing. Which are my shoes, from the first season, cowhide, from the Horween factory, Chicago, big white vulcanization, like deck shoes, but really they’re like the very first skate shoes, the ones the first Vans took off from. And she smiles at me, and steps out from behind the table, so I can see she’s wearing them, the same shoes, my shoes, but in the black. And she tells me her name.”