Virtual Light

Warbaby’s mouth was just open, like he couldn’t believe it.

Rydell was behind Orlovsky when he tried to bring the gun up again, and, well, it was just one of those times.

He side-kicked the Russian about three inches below the back of his knee, that third burst whooping almost straight up as Orlovsky went down.

Freddie tried to grab Chevette Washington, seemed to see the screwdriver for the first time, and just managed to bring his laptop up with both hands. That screwdriver went right through it. Freddie yelped and dropped it.

Rydell grabbed the loose cuff, the one that had been around his wrist, and just pulled.

Opened the passenger-side door of the Patriot and hauled her right in after him. Getting into the driver’s seat, he had a grandstand view of the longhair pounding Svobodov’s bloody face into the hood, all these pieces of rusty junk jumping each time he did it.

Key. Ignition.

Rydell saw Chevette Washington’s phone and the case with the VL glasses fall out of Svobodov’s flak vest. Powered down the window and reached around. Somebody shot the longhair off Svobodov, pop, pop, pop, and Rydell, stomping it in reverse, saw the man from the cop car swinging a little gun around, two-handed. just like they taught you in FATSS. The back of the Patriot slammed into something and Svobodov flew off the hood in a cloud of rusty chain and odd lengths of pipe. Chevette Washington was trying to get out the passenger door, so he had to hang on to the cuff and spin the wheel one-handed, let go of her long enough to shove it into forward and tromp on it, then grab her again.

The passenger door slammed shut as he took it straight for the man with the big smile, who maybe got off one more before he had to get out of the way, fast,

The Patriot was fishtailing in about an inch of water, and he barely missed clipping the back of a big orange waste-hauler pulled up beside a building there.

He caught this one crazy glimpse in the dash-mirror, out the back window: the bridge towering up like something wrapped in seaweed, sky graying now behind it, and Warbaby taking one stiff-legged step, another, raising the cane straight out from his shoulder, pointing it at the Patriot like it was a magic wand or something.

Then whatever came out of the end of Warbaby’s cane took out the Patriot’s back window, and Rydell hung a right so tight it almost tipped them over.

“Jesus” said Chevette Washington, like somebody talking in their sleep, “what are you doing?”

He didn’t know, but hadn’t he just gone and done it?

When the lights went out, Yamazaki fumbled in the dark for his bag. Finding it, he felt through it for his flashlight.

In the white beam, Ski

Yamazaki searched the several shelves above the table-ledge: small glass jars of spices, identical jars containing steel screws, an ancient Bakelite telephone reminding him of the origin of the verb ‘to dial,’ rolls of many different kinds and colors of adhesive tape, twists of heavy copper wire, pieces of what he took to be salt-water tackle, and, finally, a bundle of dusty candle-stubs secured with a rotting rubber band. Selecting the longest of these, he found a lighter beside the green campstove. Standing the candle upright on a white saucer, he lit it. The flame fluttered and went out.

Flashlight in hand, he moved to the window and tugged it more tightly into its deep circular frame.

Now the candle stayed lit, though the flame pulsed and swelled in drafts he could never hope to locate. Returning to the window, he looked out. The darkened bridge was invisible. Rain was driving almost horizontally against the window, tiny droplets reaching his face through cracks in the glass and corroded segments of the supporting lead.

It occurred to him that Ski

24. Song of the central pier

Yamazaki knew that the central pier, the bridge’s center anchorage, had once qualified as one of the world’s largest pinhole cameras. In the structure’s pitch-black interior, light shining in through a single tiny hole had projected a huge image of the underside of the lower deck, the nearest tower, and the surrounding bay. Now the heart of the anchorage housed some uncounted number of the bridge’s more secretive inhabitants, and Ski

Yamazaki crossed to the smooth curve of cable that interrupted the room’s floor. Only an oval segment of it was visible, like some mathematical formula barely breaking a topological surface in a computer representation. He bent to touch it, the visible segment polished by other hands. Each of the thirty-seven cables, containing four hundred and seventy-two wires, had withstood, and withstood now, a force of some million pounds. Yamazaki felt something, some message of vast, obscure moment, shiver up through the relic-smooth dorsal hump. The storm, surely; the bridge itself was capable of considerable mobility; it expanded and contracted with heat and cold; the great steel teeth of the piers were sunk into bedrock beneath the Bay mud, bedrock that had scarcely moved even in the Little Grande.

Godzilla. Yamazaki shivered, recalling television images of Tokyo’s fall. He had been in Paris, with his parents. Now a new city rose there, its buildings grown, literally, floor by floor.

The candlelight showed him Ski

Lime-and-purple diagonals chased themselves across the screen, then faded, revealing some steadycam fragment, the NHK logo displayed in the lower left corner. “—heir-apparent to the Harwood Levine public relations and advertising fortune, departed San Francisco this afternoon after a rumored stay of several days, declining comment on the purpose of his visit.” A long face, horselike yet handsome, above a raincoat’s upturned collar. A large white smile. “Accompanying him” mid-distance shot down an airport corridor, the slender, dark-haired woman wrapped in something luxurious and black, silver gleaming at the heels of her shining boots, “was Maria Paz, the Padanian media personality, daughter of film director Carlo Paz—.” The woman, who looked unhappy, vanished, to be replaced by infrared footage from New Zealand, as Japanese peace-keeping forces in armored vehicles advanced on a rural airport. “—losses attributed to the outlawed South Island Liberation Front, while in Wellington—” Yamazaki attempted to change the cha

James Delmore Shapely had come to the attention of the AIDS industry in the early months of the new century. He was thirty-one years old, a prostitute, and had been HIV-positive for twelve years. At the time of his ‘discovery,’ by Dr. Kim Kutnik of Atlanta, Georgia, Shapely was serving a two hundred and fifty day prison term for soliciting. (His status as HIV-positive, which would automatically have warranted more serious charges, had apparently been ‘glitched.’) Kutnik, a researcher with the Sharman Group, an American subsidiary of Shibata Pharmaceuticals, was sifting prison medical data in search of individuals who had been HIV-positive for a decade or more, were asymptomatic, and had entirely normal (or, as in Shapely’s case, above the norm) T-cell counts.