Pattern Recognition

"Actually I was thinking of Paris."

"I'll meet you there tomorrow, then. I've the use of a client's Gulf-stream. Haven't taken them up on it yet."

"Really there's nothing to discuss. I told you that on Saturday night."

"You got over your difficulties with Dorotea?" He's changing the subject.

"You're changing the subject, Hubertus."

"Bernard said you looked ill, when she first showed you the design."

"You're changing it again. Will I work for you to determine the source of the footage, the identity of the maker or makers? No. I won't."

"Why not?"

That stops her. Because she has an acquired and highly generalized dislike for him? Because she absolutely doesn't trust him? Because she doesn't want to know what the footage is, is about, where it's going, who's behind it? This last is a stretch, because she really does want to know all these things, and has spent a huge amount of time discussing them with other footageheads. No, it's more that footage plus Bigend just seems such a bad idea on the face of it. Not Bigend the man, wearing his cowboy hat wrong, but Bigend the force behind Blue Ant. Bigend the genius at what he does, of these new ways of doing it. Any junction of the two seems dire, to her.

"There's someone I want you to meet," he says. "I had him come into the office, this morning, and Bernard was arranging lunch for the two of you, but you left so quickly."

"Who? What for?"

"He's American. His name is Boone Chu."

"Bunchoo?"

"Boone. As in Daniel. Chu. C-h-u. I think you could do something together. I want to facilitate that."

"Hubertus, please. This is pointless. I've told you I'm not interested."

"I have him on the other line. Boone? Where did you say you were?"

"Outside Camden tube," says a male voice, cheerful, American, "looking toward Virgin."

"You see," says Bigend, "he's right there."

Hang up, Cayce tells herself. She doesn't.

"Parkway, right?" The American voice. "Straight up from the station."

"Hubertus, this is really pointless—"

"Please," Bigend says, "meet with Boone. It can't hurt. If there's no chemistry, you can go to Paris."

Chemistry?

"A vacation. On Blue Ant. I'll have the office arrange the hotel. A bonus for vetting the H and P job. We knew we could rely on you. The client is going to the new logo for the spring line. We'll need you then, of course, to check each intended implementation."

He's doing it again. She realizes that it might actually be easier to meet this man, this Boone, and then go to the airport. She can always avoid Bigend in New York. She hopes.

"Is he still on the line, Hubertus?"

"Right here," says the American voice. "Heading up Parkway."

"Ring twice," she says, and gives him the street number and the number of the flat. Hangs up.

She goes into the kitchen and gets Damien's brand-new German paring knife and a black bin liner, as they call them here. Unlocks the door. It's still there, on the knob. She grits her teeth and bunches the black plastic around it, hiding it. Uses the knife to cut through the black cord. It falls into the bag. She puts the bag on the floor, just outside the door, closes the door, returns the knife to the kitchen. Back to the door. She takes a deep breath, steps outside. Takes the black keys from around her neck and carefully locks the door. Gingerly picks up the black bag, the thing deep within it now, like a dead rat but not as heavy, and descends to the landing, where she stuffs it down behind the stacked fashion magazines waiting to be carted away.

She sits down with her back to the wall and wraps her arms around her knees. The knot is back, and now she realizes, to her considerable a

Back upstairs to deal with that, and things barely under control when she hears the doorbell ring, twice. "Shit. Shit. Fuck…"

Forgetting to relock the door, she goes down.

This will take one minute, if that. She'll apologize for Bigend's having pushed their meeting, but she'll be firm: She isn't going to embark on any Bigend-financed search for the maker of the footage. It's that simple.

The street door is white-painted oak, but the enamel is yellowed, chipped and smudged, pre-reno. The spy-tube set into it hasn't been clean enough to see through since World War II.

She unlocks and opens it.

"Cayce? I'm Boone Chu. Glad to meet you." Extending his hand.

He's still wearing the leather car coat with the faded seams. Right hand extended, his left around the leather handle of the little suitcase, battered and buffed, that she'd noticed a few hours earlier, in Soho.

"Hello," she says, and shakes his hand.

11. BOONE CHU

- /

Boone Chu kicks back cowboy-style, legs crossed, on Damien's new brown couch. "You've worked for Blue Ant before?" He looks somewhat gimlet-eyed now, though maybe she's misreading some Chinese-American nerd thing, an unabashed intensity of focus.

"A few jobs in New York." From her perch on the workstation chair.

"Freelance?"

"That's right."

"Me too."

"What do you do?"

"Systems." He waits a beat. "University of Texas, Harvard, then I had a start-up. Which tanked."

He doesn't sound bitter, though people who say this seldom do, she's noticed, which she finds a little creepy. They generally know better. She hopes he isn't one of those. "I Google you, I get… ?"

"Sound of relatively high-profile start-up, tanking loudly. Certain amount of'white-hat hacker' coverage, before that, but that's media." He looks over at the robot girls propped against the wall, but doesn't ask.

"What was your start-up about?"

"Security."

"Where do you live?"

"Washington state. I've got a cliff on Orcas with a 'fifty-one Airstream propped up against it on railroad ties. It's held together with mold, and something that eats aluminum. I was going to build a house, but now I can't bring myself to spoil the view.''

"You're based there?

"I'm based in this." He toes the child-sized antique suitcase. "Where do you live, Cayce?"

"West One Hundred and Eleventh."

"Actually 1 knew you lived in New York."

"You did?"

"I Googled you."

She hears the kettle start to boil. She's left the whistle off. She gets up. He gets up too and follows her into the kitchen. "Nice yellow," he says.

"Damien Pease."

"Pardon?"

"Pease. Porridge hot. The video director. Know his work?"

"Not offhand."

"It's his flat. What did Bigend offer you, exactly, Boone?" '

"Partnership, he said."

She watches him watching her expression as he speaks.

"With him," he continues. "Whatever that means. He wants me to work with you. To find the person or persons uploading the video clips. We'd have as much as we needed for expenses, but I'm not sure what the payoff might consist of." He has one of those tall, impossibly dense Chinese-guy brush cuts, and a long face that might seem feminine if it weren't tempered, she guesses, by having grown up in Tulsa having to deal with being a Chinese-American named Boone.

"Did he tell you why he wants us to work together? Or why he'd want me at all?" She tosses tea-sub into the pot and pours water over the bags. "Sorry. Forgot to ask if you wanted coffee."

"Tea's fine." He goes to the sink and starts rinsing out two mugs she's left there. Something about his movements reminding her of a chef she'd once dated. The way he briskly refolds the tea towel before using it to dry the mugs. "He said that you don't need to reinvent any wheels."

He puts the mugs down, side by side. "He said that if anyone could figure out where this stuff comes from, it would be you."

"And you?"

"I'm supposed to facilitate. You have an idea, I make it happen."