Makers

“And those are your good points,” she said, taking a sip of coffee. “Goodbye, Freddy.”

PART II

The drive from Orlando down to Hollywood got worse every time Sammy took it. The turnpike tolls went up every year and the road surface quality declined, and the gas prices at the clip-joints were heart-attack-inducing. When Sammy started at Disney Imagineering a decade before, the company had covered your actual expenses—just collect the receipts and turn them in for cash back. But since Parks had been spun off into a separate company with its own shareholders, the new austerity measures meant that the bean-counters in Burbank set a maximum per-mile reimbursement and never mind the actual expense.

Enough of this competitive intelligence work and Sammy would go broke.

Off the turnpike, it was even worse. The shantytowns multiplied and multiplied. Laundry lines stretched out in the parking-lots of former strip-malls. Every traffic-light clogged with aggressive techno-tchotchke vendors, the squeegee bums of the twenty-first century, with their pornographic animatronic dollies and infinitely varied robot dogs. Disney World still sucked in a fair number of tourists (though not nearly so many as in its golden day), but they were staying away from Miami in droves. The snowbirds had died off in a great demographic spasm over the past decade, and their children lacked the financial wherewithal to even think of over-wintering in their parents’ now-derelict condos.

The area around the dead Wal-Mart was particularly awful. The shanties here rose three, even four stories into the air, clustered together to make medieval street-mazes. Broward County had long since stopped enforcing the property claims of the bankruptcy courts that managed the real-estate interests of the former owners of the fields and malls that had been turned into the new towns.

By the time he pulled into the Wal-Mart’s enormous parking lot, the day had heated up, his air-con had conked, and he’d accumulated a comet-tail of urchins who wanted to sell him a computer-generated bust of himself in the style of a Roman emperor—they worked on affiliate commission for some three-dee printer jerk in the shanties, and they had a real aggressive pitch, practically flinging their samples at him.

He pushed past them and wandered through the open-air market stalls, a kind of cruel parody of the long-gone Florida flea-markets. These gypsies sold fabricated parts that could be modded to make single-shot zip guns and/or bongs and/or illegal-gain wireless ante

Finally, he reached the ticket-window in front of the Wal-Mart and slapped down five bucks on the counter. The guy behind the counter was the kind of character that kept the tourists away from Florida: shaven-headed, with one cockeyed eyebrow that looked like a set of hills, a three-day beard and skin ta

“Hi again!” Sammy said, brightly. Working at Disney taught you to talk happy even when your stomach was crawling—the castmember’s grin.

“Back again?” the guy behind the counter laughed. He was missing a canine tooth and it made him look even more sketchy. “Christ, dude, we’ll have to invent a season’s pass for you.”

“Just can’t stay away,” Sammy said.

“You’re not the only one. You’re a hell of a customer for the ride, but you haven’t got anything on some of the people I get here—people who come practically every day. It’s flattering, I tell you.”

“You made this, then?”

“Yeah,” he said, swelling up with a little pigeon-chested puff of pride. “Me and Lester, over there.” He gestured at a fit, greying man sitting on a stool before a small cocktail bar built into a scavenged Orange Julius stand—God knew where these people got all their crap from. He had the look of one of the fatkins, u

“Good work!” he said again in castmemberese. “You should be very proud!”

The proprietor smiled and took a long pull off a straw hooked into the distiller beside him. “Go on, get in there—flatterer!”

Sammy stepped through the glass doors and found himself in an air-conditioned cave of seemingly infinite dimension. The old Wal-Mart had been the size of five football fields, and a cu

Gingerly, he stepped into it. The design was familiar—there had been a glut of these things before the fatkins movement took hold, stair-climbing wheelchairs that used gyro-stabilizers to pitch, yaw, stand and sit in a perpetual controlled fall. The Disney World veterans of their heyday remembered them as failure-prone behemoths that you needed a forklift to budge when they died, but the ride people had done something to improve on the design. These things performed as well as the originals, though they were certainly knock-offs—nohow were these cats shelling out fifty grand a pop for the real deal.

The upholstered seat puffed clouds of dust into the spotlight’s shaft as he settled into the chair and did up his lap-belt. The little LCD set into the control panel lit up and started to play the standard video spiel, narrated in grizzled voice-over.

WELCOME TO THE CABINET OF WONDERS

THERE WAS A TIME WHEN AMERICA HELD OUT THE PROMISE OF A NEW WAY OF LIVING AND WORKING. THE NEW WORK BOOM OF THE TEENS WAS A PERIOD OF UNPARALLELED INVENTION, A CAMBRIAN EXPLOSION OF CREATIVITY NOT SEEN SINCE THE TIME OF EDISON—AND UNLIKE EDISON, THE PEOPLE WHO INVENTED THE NEW WORK REVOLUTION WEREN’T RIP-OFF ARTISTS AND FRAUDS.

THEIR MARVELOUS INVENTIONS EMERGED AT THE RATE OF FIVE OR SIX PER WEEK. SOME DANCED, SOME SANG, SOME WERE HELPMEETS AND SOME WERE MERE JESTERS.

TODAY, NEARLY ALL OF THESE WONDERFUL THINGS HAVE VANISHED WITH THE COLLAPSE OF NEW WORK. THEY’VE ENDED UP BACK IN THE TRASH HEAPS THAT INSPIRED THEM.

HERE IN THE CABINET OF WONDERS, WE ARE PRESERVING THESE LAST REMNANTS OF THE GOLDEN AGE, A SINGLE BEACON OF LIGHT IN A TIME OF DARKNESS.

AS YOU MOVE THROUGH THE RIDESPACE, PLEASE REMAIN SEATED. HOWEVER, YOU MAY PAUSE YOUR VEHICLE TO GET A CLOSER LOOK BY MOVING THE JOYSTICK TOWARD YOURSELF. PULL THE JOYSTICK UP TO CUE NARRATION ABOUT ANY OBJECT.

MOVE THE JOYSTICK TO THE LEFT, TOWARDS THE MINUS-ONE, IF YOU THINK AN ITEM IS UGLY, UNWORTHY OR MISPLACED. MOVE THE JOYSTICK TO THE RIGHT, TOWARD THE PLUS-ONE, IF YOU THINK AN ITEM IS PARTICULARLY PLEASING. YOUR FEEDBACK WILL BE FACTORED INTO THE CONTINUOUS REARRANGEMENT OF THE CABINET, WHICH TAKES PLACE ON A MINUTE-BY-MINUTE BASIS, DRIVEN BY THE ROBOTS YOU MAY SEE CRAWLING AROUND THE FLOOR OF THE CABINET.

THE RIDE LASTS BETWEEN TEN MINUTES AND AN HOUR, DEPENDING ON HOW OFTEN YOU PAUSE.

PLEASE ENJOY YOURSELF, AND REMEMBER WHEN WE WERE GOLDEN.

This plus-one/minus-one business was new to him. It had been a mere four days since he’d been up here, but like so many other of his visits, they’d made major rehabs to their ride in the amount of time it would have taken Imagineering to write a memo about the possibility of holding a design-review meeting.