William Gibson - Spook Country

“It’s the lack of detail that I like,” said Inchmale. “Early Disney.”

Bobby removed the helmet, brushing his forelock aside. “That’s not Alberto, though. That’s because you wanted it yesterday. If you left Alberto on it, he’d skin it up like something out of a horror movie.” He put the helmet on the table. They were outside the bar on Mainland, where she’d first gone with Inchmale and Heidi, the night she’d come back with them.

“These Bollards,” Odile asked, stressing the second syllable, “they have seen it?”

“Just a frame-grab,” Inchmale said. He had had the idea, when Hollis and Odile told him about Bobby Chombo deserting the locative artists of L.A., and about Alberto losing his River, of his going to Bobby with a video proposal from the Bollards. The song was called “I’m the Man Who Shot Walt Disney,” Inchmale’s favorite of the material he was to produce for them in L.A. Bobby would direct, and the video would jump a platform, introducing locative art to a wider audience while helmets like Hollis’s were still in the beta-test stage. In order to make certain that Bobby picked up his abandoned obligations in L.A., Inchmale had pretended to be a particular fan of Alberto’s. With Odile as go-between, things had come together very quickly, and they’d managed to make it necessary for Bobby to get everyone else’s work back up on new servers, which he’d already done.

Heidi had gone back to the mysteries of her Beverly Hills marriage, leaving Odile initially disconsolate. Successfully sorting the geohacking issues of at least a dozen artists with Bobby seemed to have taken care of that, though. Hollis assumed that this had afforded the French curator some kind of major status-jump, something good to take home. Not that Odile showed any particular desire to do that. She was still living at Bigend’s, sharing the place with him, while Hollis was at the Four Seasons in the room next to Inchmale’s.

Bobby’s video for the Bollards, with Philip Rausch’s enthusiastic approval, had become part of her still-unwritten article for Node.

She’d decided, after her breakfast at Beenie’s, to tell Bigend that she’d been held captive, albeit very gently and politely, between leaving Bobby’s place and being returned there. It was a scenario that the old man had provided, without intending to; it was what he’d said they’d do if she were unable to accept his terms. Blindfolded, turned over to an unknown third party, and held at an unknown location until Garreth had returned to take her back to Bobby’s. No idea what they had done, that night. Since Bobby didn’t know exactly what they had done either, and since he hadn’t been privy to her agreement with the old man, she didn’t have to worry about him telling Bigend she was lying. And lying about this to Bigend was something she’d decided she just had to do.

And Bigend, for his part, was making that curiously easy. He seemed, with the advent of his zillion-dollar Chinese car commercial, to have put his foray into the secret world on the back burner. If indeed it was still on the stove. She assumed he’d take advantage of having met Bobby, sooner if not later, and extract whatever bits and pieces of the puzzle Bobby might have, but that was not her business. A part of her business, henceforth, she’d decided, would be to be that chimney brick behind which the old man had chosen to hide the secret of what he’d done.

Which apparently was still very much a secret, as nothing at all had appeared anywhere about a truck being seized as it entered Idaho from Canada. They had told her to expect that, though. The whole business had to play out initially in spook country, and might well remain there for a very long time, and that was why he’d entrusted her with it in the first place.

“Ollis,” Odile was saying, behind her, “you must look at Eenchmale’s willy.”

“I don’t think so,” she said, turning, to discover a picture of the beautiful Angelina holding a drooling baby Willy Inchmale on a patio in Buenos Aires. “He’s bald enough,” she said, “but where’s the beard?”

“He’s mad for percussion,” said Inchmale, tossing off the last of his own piso. “And tits.”

Hollis reached across for the helmet. Soon, very soon, she’d have to give Inchmale her answer on the Chinese car commercial. That was why they were all up here, in this spring that became daily more ridiculously beautiful, rather than in Los Angeles, where Inchmale had his Bollards temporarily on hold. He wanted to do it. He was a father now, he said, a provider, and if it took “It’s Hard to Be One” selling Chinese cars to do that, so be it.

For her part, she still couldn’t say.

She put the helmet on, turned it on, and looked up, to where Alberto’s giant cartoon rendition of the Mongolian Death Worm, its tail wound through the various windows of Bigend’s pyramidal aerie like an eel through the skull of a cow, waved imperially, tall and scarlet, in the night.

THANKS TO:

Susan Allison

Norm Coakley

Anton Corbijn

Claire Gibson

Eileen Gunn

Johan Kugelberg

Paul McAuley

Robert McDonald

Martha Millard

R. Trilling

Jack Womack