William Gibson: All Tomorrow's Parties

And sees it drawn in, drawn infinitely away, into that place where Harwood is going; drawn by the mechanism of inversion itself, and then it is gone.

And Laney is going too, though not with Harwood.

'Gotcha, Laney says, to the dark in his fetid box, down amid the subsonic sighing of commuter trains and the constant clatter of passing feet.

And finds himself in Florida sunlight, upon the broad concrete steps leading up to the bland entrance to a federal orphanage.

A girl named Jennifer is there, his age exactly, in a blue denim skirt and a white T-shirt, her black bangs straight and glossy, and she is walking, heel to toe, heel to toe, arms outstretched for balance, as if along a tightrope, down the very edge of the topmost step.

Balancing so seriously.

As if, were she to fall, she might fall forever.

And Laney smiles, to see her, remembering the orphanage's smells: jelly sandwiches, disinfectant, modeling clay, clean sheets…

And the cold is everywhere, now, somewhere, but he is home at last.

FONTAINE, wielding the ax now, reflects that he has lived quite a long time and yet this experience is new: to lift the heavy head above his own and bring it down against the shop's rear wall, the plywood booming. He's a little surprised at how it simply bounces off, but with his next swing he's reversed the head, so that the sharp, four-inch spike, rather than the blade, contacts the wall, and this digs most satisfyingly in, and on a third blow penetrates, and he redoubles his efforts.

'Need us some air, he says, as much to himself as to the two seated on his bunk, the gray-haired man and the boy with his head down, lost in the helmet again. To look at these two, you'd think there was no problem, that the bridge wasn't burning.

Where'd that hologram girl go?

Still, this chopping is getting somewhere, though his arms are already aching. Hole there the size of a saucer, and getting bigger.

No idea what he'll do when he's got it big enough, but he likes to keep busy.

And this is the way it always is, for Fontaine, when he knows that things are bad, very bad indeed, and very likely over. He likes to keep busy.

CHEVETTE climbs through the hatch in the roof of Skinner's room to find Rydell kneeling there in his Lucky Dragon security bib, but the critical factor here is the man from the bar, the one who shot Carson, who's got a gun pressed into Rydell's ear and is watching her, and smiling.

He's not much older than she is, she thinks, with his black buzz cut and his black leather coat, his scarf wrapped just so, casual but you know he takes time with it, and she wonders how it is people get this way, that they'll stick a gun in someone's ear and you know they'll use it. And why does it seem that Rydell finds people like that, or do they find him?

And behind him she can see a plume of water arcing higher than the bridge, and knows that that must be from a fireboat, because she's seen one used when a pier on the Embarcadero burned.

God, it's strange up here, now, with the night sky all smoke, the flames, lights of the city swimming and dimmed as the smoke rolls. Little glowing red worms are falling, winking out, all around her, and the smell of burning. She knows she doesn't want Rydell hurt but she isn't afraid. She just isn't now, she doesn't know why.

Something on the roof beside her and she sees that it's a glider up on its own little frame, staked to the asphalt-coated wooden roof with bright sharp spikes.

And other things piled beside it: black nylon bags, what she takes to be bedding. Like someone's ready to camp here, if they need to, and she understands the buzz-cut boy wanted to be covered, if he had to stay, to hide. And it comes to her that probably he's responsible for the burning of the bridge, and how many dead already, and he's just smiling there, like he's glad to see her, his gun in Rydell's ear.

Rydell looks sad. So sad now.

'You killed Carson, she heard herself say.

'Who?

'Carson. In the bar.

'He was doing a pretty good job putting your lights out.

'He was an asshole, she said, 'but you didn't have to kill him.

'Fortunately, he said, 'it isn't about who's an asshole. If it were, our work would never be done.

'Can you fly this? Pointing at the glider.

'Absolutely. I'm going to take this gun out of your ear now, he said to Rydell. He did. She saw Rydell's eyes move; he was looking at her. The boy with the buzz cut hit him in the head with the gun. Rydell toppled over. Lay there like a big broken doll. One of the glowing red worms fell on his stupid pink bib, burned a black mark. 'I'm going to leave you here, he said. He pointed the gun at one of Rydell's legs. 'Kneecap, he said.

'Don't, she said.

He smiled. 'Lay down over there. By the edge. On your stomach. The gun never moved.

She did as she was told.

'Put your hands behind your head.

She did.

'Stay that way.

She could watch him out of the corner of her eye, moving toward the glider. The black fabric of its simple triangular wing was catching a breeze now, thrumming with it.

She saw him duck under the kite-like wing and come up within the carbon-fiber framework extending beneath it. There was a control-bar there; she'd seen people fly these on Real One.

He still had the gun in his hand but it wasn't pointed at Rydell.

She could smell the asphalt caked on the roof. She remembered spreading it with Skinner on a hot windless day, how they heated the hard bucket of tar with a propane-ring.

The world Skinner had helped build was burning now, and she and Rydell might burn now with it, but the boy with the buzz cut was ready to fly.

'Can you make it to the Embarcadero with that?

'Easily, he said. She saw him shove the gun into the pocket of his black coat and grip the bar with both hands, lifting the glider. The breeze caught at it. He walked into the wind, reminding her somehow of a crow walking, one of those big ravens she'd grown up seeing, in Oregon. He was within a few feet of the edge now, the side of Skinner's room that faced China Creek. 'You and your friend here caused me a great deal of trouble, he said, 'but you're either going to burn to death or asphyxiate now, so I suppose we're even. He looked out, stepped forward.

And Chevette, without having made any conscious decision at all, found herself on her feet, moving, drawing the knife Skinner had left for her. And ripping it down, as he stepped from the edge, through the black fabric, a three-foot slash, from near the center and straight out through the trailing edge.

He never made a sound, then, as he went fluttering down, faster, spinning like a leaf, until he struck something and was gone.

She realized that she was standing at the very edge, her toes out over empty air, and she took a step back. She looked at the knife in her hand, at the pattern locked there by the beaten links of motorcycle chain. Then she tossed it over, turned and went to kneel beside Rydell. His head was bleeding, from somewhere above the hairline. His eyes were open, but he seemed to be having trouble focusing.

'Where is he? Rydell asked.

'Don't move your head, she said. 'He's gone.

The breeze shifted, bringing them smoke so thick the city vanished. They both started to cough.

'What's that sound? Rydell managed, trying to crane his neck around.

She thought it must be the sound of the fire, but it resolved into a steady drumming, and she looked out to see, just level with her, it seemed, the block-wide impossible brow of a greasy-gray bulklifter, OMAHA TRANSFER painted across it in letters thirty feet high. 'Jesus Christ, she said, as the thing was upon them, its smooth, impossibly vast girth so close she might touch it.