Met cute, huh? Linda was short and curvy, dark eyes and pursed lips and an hourglass figure that she thought made her look topheavy and big-assed, but I thought she was fabulous and soft and bouncy. She tasted like pepper, and her hair smelled of the abstruse polymers that kept it hanging in a brusque bob that brushed her firm, long jawline.
I'm getting a sunburn, and the pebbles on the roof are digging into my ass. I don't know if I'm going to push the pencil or not, but if I do, it's going to be somewhere more comfortable than this roof.
Except that the roof door, which I had wedged open before I snuck away from my attendants and slunk up the firecode-mandated stairwell, is locked. The small cairn of pebbles that I created in front of it has been strewn apart. It is locked tight. And me without my comm. Ah, me. I take an inventory of my person: a pencil, a hospital gown, a pair of boxer shorts and a head full of bad cess. I am 450' above the summery, muggy, verdant Massachusetts countryside. It is very hot, and I am turning the color of the Barbie aisle at FAO Schwartz, a kind of labial pink that is both painful and perversely cheerful.
I've spent my life going in the back door and coming out the side door. That's the way it is now. When it only takes two years for your job to morph into something that would have been unimaginable twenty-four months before, it's not really practical to go in through the front door. Not really practical to get the degree, the certification, the appropriate experience. I mean, even if you went back to university, the major you'd need by the time you graduated would be in a subject that hadn't been invented when you enrolled. So I'm good at back doors and side doors. It's what the Tribe does for me -- provides me with entries into places where I technically don't belong. And thank God for them, anyway. Without the Tribes, *no one* would be qualified to do *anything* worth doing.
Going out the side door has backfired on me today, though.
Oh. Shit. I peer over the building's edge, down into the parking lot. The cars are thinly spread, the weather too fine for anyone out there in the real world to be visiting with their crazy relatives. Half a dozen beaters are parked down there, methane-breathers that the ESTalists call fartmobiles. I'd been driving something much the same on that fateful Leap Forward day in London. I left something out of my inventory: pebbles. The roof is littered, covered with a layer of gray, round riverstones, about the size of wasabi chickpeas. No one down there is going to notice me all the way up here. Not without that I give them a sign. A cracked windshield or two ought to do it.
I gather a small pile of rocks by the roof's edge and carefully take aim. I have to be cautious. Careful. A pebble dropped from this height -- I remember the stories about the penny dropped from the top of the CN Tower that sunk six inches into the concrete below.
I select a small piece of gravel and carefully aim for the windshield of a little blue Sony Veddic and it's bombs away. I can only follow the stone's progress for a few seconds before my eyes can no longer disambiguate it from the surrounding countryside. What little I do see of its trajectory is disheartening, though: the wind whips it away on an almost horizontal parabola, off towards Boston. Forgetting all about Newton, I try lobbing and then hurling the gravel downward, but it gets taken away, off to neverneverland, and the windscreens remain whole.
I go off to prospect for bigger rocks.
You know the sort of horror movie where the suspense builds and builds and builds, partially collapsed at regular intervals by something jumping out and yelling "Boo!" whereupon the heroes have to flee, deeper into danger, and the tension rises and rises? You know how sometimes the director just doesn't know when to quit, and the bogeymen keep jumping out and yelling boo, the wobbly bridges keep on collapsing, the small arms fire keeps blowing out more windows in the office tower?
It's not like the tension goes away -- it just get boring. Boring tension. You know that the climax is coming soon, that any minute now Our Hero will face down the archvillain and either kick his ass or have his ass kicked, the whole world riding on the outcome. You know that it will be satisfying, with much explosions and partial nudity. You know that afterward, Our Hero will retire to the space-bar and chill out and collect kisses from the love interest and that we'll all have a moment to get our adrenals back under control before the hand pops out of the grave and we all give a nervous jump and start eagerly anticipating the sequel.
You just wish it would *happen* already. You just wish that the little climaces could be taken as read, that the director would trust the audience to know that Our Hero really does wade through an entire ocean of shit en route to the final showdown.
I'm bored with being excited. I've been betrayed, shot at, institutionalized and stranded on the roof of a nuthouse, and I just want the fucking climax to come by and happen to me, so that I can know: smart or happy.
I've found a half-brick that was being used to hold down the tar paper around an exhaust-chimney. I should've used that to hold the door open, but it's way the hell the other side of the roof, and I'd been really pleased with my little pebbly doorstop. Besides, I'm starting to suspect that the doorjamb didn't fail, that it was sabotaged by some malevolently playful goon from the sanatorium. An object lesson or something.
I heft the brick. I release the brick. It falls, and falls, and falls, and hits the little blue fartmobile square on the trunk, punching a hole through the cheap aluminum lid.
And the fartmobile explodes. First there is a geyser of blue flame as the tank's puncture wound jets a stream of ignited assoline skyward, and then it blows back into the tank and *boom*, the fartmobile is in one billion shards, rising like a parachute in an updraft. I can feel the heat on my bare, sun-tender skin, even from this distance.
Explosions. Partial nudity. Somehow, though, I know that this isn't the climax.