Чарли Андерс - Six Months, Three Days, Five Others

How was I going to play that, in a way that preserved the integrity of Horace and his innocent love of sportsmanship? In fact—I reflected, as I raised a baseball and prepared to hurl it at the shaved head of the red bandana standing on the nearest corner in front of a shuttered florist—that might be the reason why people root for the comic hero after all: the haplessness. This fresh white baseball was emblazoned with a slogan about bringing back the greatest game, and the story called for Horace to toss them out as a promotional thing, and to hit a militia member in the head purely by accident. So it was important for the story that I not look as though I were aiming. But I also couldn’t afford to miss. Horace is a good person who just wants to bring joy to people, and he gets caught up in a bad situation, and the moment you think Horace brought this on himself through meanness or combativeness, that’s the moment you stop pulling for him.

The baseball hit the teenager in the jaw, over the neatly tied red cloth that looked too big for his skinny neck, and he whipped around and fired off a few shots with his Browning Hi Performance, while also texting his comrades with his free hand.

I tried to wear a convincing look of friendly panic, like I hadn’t meant to wake a thousand sleeping dogs with one stray baseball, and danced around on the front of the hot dog so hard I nearly fell under the wheels. I slipped and landed on my crotch on the very tip of the hot dog, then pulled myself back up, still trying to toss out promotional baseballs and spread goodwill, and it occurred to me for the first time that I had spent so much time worrying that I was going to hurt someone by accident, it never even occurred to me that I would finally reach a point where I would decide to cause harm on purpose.

Our hot dog had red bandanas chasing us, with two motorcycles and some kind of hybrid electric Jeep. I had no idea if anybody was still shooting at me, because I couldn’t see anyone aiming a gun from where I stood on one foot and I couldn’t see any bullets hitting anything—

—until a bullet hit me in the thigh just as the hot dog swerved without slowing and we released the blow-up dolls in their makeshift baseball uniforms. The blow-up dolls flew behind us, and I saw one of them hit a motorcyclist right where the red bandana tucked under his round white helmet, so that he lost his grip on his handlebars and went somersaulting, and I felt the blood seeping through my pants like maybe it had missed the bone but hit an artery and I was cursing myself for forgetting to bring a giant comedy bottle of ketchup to squirt at people, because ketchup is like fake blood only more cheerful, when Ricky Artesian climbed on top of the third car of the five that were now chasing us and held up a big flatscreen TV that read “YOU MADE YOUR CHOICE ROCK TIME TO PAY.” And another bullet tore through my side just as the hot dog made another sharp turn and we disappeared into the tunnel from the abandoned Back Bay T extension project.

The hot dog came to a stop in a dark hutch Xed in by fallen rusted steel girders, just as one of our bready tires gave out and the whole vehicle slumped on one side, and our support crew set about camouflaging the Wienermobile with rocks and planks. Janelle climbed out of the cab and came over to show me the vumble, the insane number of hits we were getting right now and the footage, in a loop, of me hurling baseballs at the red bandanas.

Janelle noticed that I was pissing blood from my leg and my side, and started trying to get me to lie down. Just then a message came through from Sally, who was still masterminding the filming from a remote location: « “theyre not taking the bait.” » The bandanas were staying on their side of the line and not trying to chase us into the army barricades like we’d hoped.

I slipped out of Janelle’s grasp—easy when you’re as slick as I was, just then—and leapt onto Zapp’s bicycle. Before anybody could try to stop me, I was already pedaling back up the ramp the way we’d come, past the people trying to seal and camouflage the entry to the tunnel, leaping from darkness into the light of day. I raced close enough to Ricky Artesian to make eye contact and hurl my last baseball—absolutely coated at this point with my own blood—at his pinstripe-suited torso. And then I spun and tore off in the direction of Storrow Drive again, not looking back to see if anyone was following me, racing with my head down, on the ramp that led up to the Turnpike.

My phone thrummed with messages but I ignored it. I was already reaching the top of the ramp, all thoughts of Horace Burton, and lovable fall guys in general, forgotten. The checkpoint was a collection of pale blobs at ground level, plus a swarm of men and women with scorpion heads rushing around tending their one statuesque mecha and a collection of mustard-colored vehicles. My eyesight was going, my concentration going with it, and my feet kept sliding off the pedals, but I kept pedaling nonetheless, until I was close enough to yank out my last limited edition promotional baseball, pull my arm back and then straighten out with the hardest throw of my life.

Then I wiped out. I fell partway behind a concrete barrier as Ricky and the other bandanas came up the ramp into the line of fire. I saw nothing of what came next, except that I smelled smoke and cordite and glimpsed a man with the red neck-gear falling on his hands and rearing back up, before I crawled the rest of the way behind my shelter and passed out.

When I regained consciousness, I was in a prison camp, where I nearly died, first of my wounds and later of a fiendish case of dysentery like you wouldn’t believe. I never saw Sally again, but I saw our last movie, once, on a stored file on someone’s battered old Stackbook. (This lady named Shari had saved the edited film to her hard drive before the Internet went futz, and people had been copying Ballpark Figure on thumb drives and passing it around ever since, whenever they had access to electricity.)

The final act of Ballpark Figure was just soldiers and red bandanas getting drilled by each other’s bullets until they did a terrible slamdance, and I have to say the film lost any of its narrative thread regarding Horace Burton, or baseball, or the quest to restore professional sports to America, not to mention the comedy value of all those flailing bodies was minimal at best.

The movie ended with a dedication: “To Rock Manning. Who taught me it’s not whether you fall, it’s how you land. Love, Sally.”

Bruce Grinnord parked aslant in his usual spot and ran inside the DiZi Corp headquarters. Bruce didn’t check in with his team or even pause to glare at the beautiful young people having their toes stretched by robots while they sipped macrobiotic goji-berry shakes and tried to imagine ways to make the next generation of gadgets cooler-looking and less useful. Instead, he sprinted for the executive suite. He took the stairs two or three at a time, until he was so breathless he feared he’d have a heart attack before he even finished throwing his career away.

DiZi’s founder, Jethro Gruber— Barron’s Young Visionary of the Year five years running—had his office atop the central spire of the funhouse castle of DiZi’s offices, in a round glass turret. Looking down on the employee oxygen bar and the dozen gourmet cafeterias. If you didn’t have the key to the private elevator, the only way up was this spiral staircase, which climbed past a dozen Executive Playspaces, and any one of those people could cockblock you before you got to Jethro’s pad. But nobody seemed to notice Bruce charging up the stairs, fury twisting his round face, even when he nearly put his foot between the steps and fell into the Moroccan Spice Café.