William Gibson: All Tomorrow's Parties

And when Durius would come back to take his own break and tell Rydell it was time to get back out front, sometimes he'd find Rydell that way, throwing those rocks.

'Hit you a hubcap, man, Durius would advise, 'break you a bottle.

But Rydell hadn't wanted to.

And when Rydell had told Durius about Yamazaki and Laney and some money, maybe, to be made up in San Francisco, Durius had listened carefully, asking a few questions, then advised Rydell to go for it.

'What about job security? Rydell had asked.

'Job security? Doing this shit? Are you crazy?

'Benefits, Rydell countered.

'You tried to actually use the medical coverage they give you here? Gotta go to Tijuana to get it.

'Well, Rydell had said, 'I don't like to just quit.

'That's 'cause you got fired from every last job you ever had, Durius had explained. 'I seen your résumé.

So Rydell had given Mr. Park written notice, and Mr. Park had promptly fired him, citing numerous violations of Lucky Dragon policy on Rydell's part, up to and including offering medical aid to the victim of a one-car collision on Sunset, an act which Mr. Park insisted could have involved Lucky Dragon's parent corporation in costly insurance litigation.

'But she walked in here under her own power, Rydell had protested. 'All I did was offer her a bottle of iced tea and call the traffic cops.

'Smart lawyer claim ice tea put her in systemic shock.

'Shock my butt.

But Mr. Park had known that if he fired Rydell, the last paycheck would be smaller than if Rydell quit.

Praisegod, who could get all emotional if someone was leaving, had cried and given him a big hug, and then, as he'd left the store, she'd slipped him a pair of Brazilian GPS sunglasses, with inbuilt phone and AM-FM radio, about the most expensive item Lucky Dragon carried. Rydell hadn't wanted to take them, because he knew they'd turn up missing on the next inventory.

'Fuck the inventory, Praisegod had said.

Back in his room over Mrs. Siekevitz's garage, six blocks away and just below Sunset, Rydell had stretched out on his narrow bed and tried to get the radio in the glasses to work. All he'd been able to get, though, was static, faintly inflected with what might have been mariachi music.

He'd done a little better with the GPS, which had a rocker keypad built into the right temple. The fifteen-channel receiver seemed to have really good lock-on, but the tutorial seemed to have been translated badly, and all Rydell could do was zoom in and out of what he quickly realized was a street map of Rio, not LA. Still, he'd thought, taking the glasses off, he'd get the hang of it. Then the phone in the left temple had beeped, so he'd put the glasses back on.

'Yeah?

'Rydell, hey.

'Hey, Durius.

'You want a ride up to NoCal tomorrow in a nice new car?

'Who's going?

'Name of Creedmore. Knows a guy I know in the program.

Rydell had had an uncle who was a Mason, and this program Durius belonged to reminded him of that. 'Yeah? Well, I mean, is he okay?

'Prob'ly not, Durius had said, cheerfully, 'so he needs a driver. This three-week-old 'lectric needs to get ferried up there though, and he says it's fine to drive. You used to be a driver, didn't you?

'Yeah.

'Well, it's free. This Creedmore, he'll pay for the charge.

Which was how Rydell came to find himself, now, driving a Hawker-Aichi two-seater, one of those low-slung wedges of performance materials that probably weighed, minus its human cargo, about as much as a pair of small motorcycles. There didn't seem to be any metal involved at all, just streamlined foam-core sandwiches reinforced with carbon fiber. The motor was in the back, and the fuel cells were distributed through the foam sandwiches that simultaneously passed for chassis and bodywork. Rydell didn't want to know what happened if you hit something, driving a rig like this.

It was damn near silent though, handled beautifully, and went like a bat once you got it up to speed. Something about it reminded Rydell of a recumbent bicycle he'd once ridden, except you didn't have to pedal.

'You never did tell me whose car this is, Rydell reminded Creedmore, who'd just downed the last two fingers of his vodka.

'This friend of mine, Creedmore said, powering down the window on his side and tossing out the empty bottle.

'Hey, Rydell said, 'that's a ten-thousand-dollar fine, they catch you.

'They can kiss our asses good-bye, is what they can do, Creedmore said. 'Sons of bitches, he added, then closed his eyes and slept.

Rydell found himself starting to think about Chevette again. Regretting he'd ever let the singer get him on the topic. He knew he didn't want to think about that.

Just drive, he told himself,

On a brown hillside, off to his right, a wind farm's white masts. Late afternoon sunlight.

Just drive.

SILENCIO gets to carry. He's the smallest, looks almost like a kid. He doesn't use, and if the cops grab him, he can't talk. Or anyway about the stuff.

Silencio has been following Raton and Playboy around for a while now, watching them use, watching them get the money they need in order to keep using. Raton gets mean when he's needing to use, and Silencio's learned to keep back from him then, out of range of feet and fists.

Raton has a long, narrow skull and wears contacts with vertical irises, like a snake. Silencio wonders if Raton is supposed to look like a rat who's eaten a snake, and now maybe the snake is looking out through its eyes. Playboy says Raton is a pinche Chupacabra from Watsonville and they all look this way.

Playboy is the biggest, his bulk wrapped in a long, formal topcoat worn over jeans and old work boots. He has a Pancho Villa mustache, yellow aviator glasses, a black fedora. He is kinder to Silencio, buys him burritos from the stalls, water, cans of pop, one time a big smooth drink made from fruit.

Silencio wonders if maybe Playboy is his father. He doesn't know who his father might be. His mother is crazy, back in los projectos. He doesn't think Playboy is his father really, because he remembers how he met Playboy in the market on Bryant Street, and that was just an accident, but sometimes he wonders anyway, when Playboy buys him food.

Silencio sits watching Raton and Playboy use, here behind this empty stall with its smell of apples. Raton has a little flashlight in his mouth so he can see what he is doing. It is the black tonight, and Raton is cutting the little plastic tube with the special knife, its handle longer than its short curved blade. The three of them are sitting on plastic crates.

Raton and Playboy use the black two, maybe three times in a day and a night. Three times with the black, then they must use the white as well. The white is more expensive, but too much black and they start to talk fast and maybe see people who are not there. 'Speaking with Jesus, Playboy calls that, but the white he calls 'walking with the king. But it is not walking: white brings stillness, silence, sleep. Silencio prefers the white nights.

Silencio knows that they buy the white from a black man, but the black from a white man, and he assumes this is the mystery depicted in the picture Raton wears on the chain around his neck: the black and the white teardrops swirling together to make roundness; in the white teardrop a small round of black, in the black a small round of white.

To get the money they talk to people, usually in dark places, so the people are frightened. Sometimes Raton shows them a different knife, while Playboy holds their arms so they cannot move. The money is in little tabs of plastic printed with pictures that move. Silencio would like to keep these when the money is gone out of them, but this is not allowed. Playboy throws them away, after wiping them carefully. He drops them down the slots beside the street. He does not want his fingers to leave marks on them. Sometimes Raton hurts the people, so that they will tell the charms that make money come from the moving pictures. The charms are names, letters, numbers. Silencio knows every charm that Raton and Playboy have learned, but they do not know this; if he told them, they might be angry.