I switched off the implant behind my ear, so that I could check up on what the Agents were doing. But they were still standing back and waiting for me to deal with things.
"It's me, Clarrie," I said to her. "It's Tom. Your little brother."
The Agent nearest me stiffened slightly and inclined its head towards me, as if I had half-reminded it of something.
"I reckon you've had enough adventure for one day, my dear/' I told my sister, flicking my implant on again to shut the Agents out of my sight. "Enough for one day, don't you agree? Don't mind the Agents. I've brought the car for you. I've come to take you home."
She let me lead her to the car and help her inside. She was in a very bad state, trembling, bloodless, befuddled, her injured foot swollen to nearly twice its normal size. I was glad I had thought to bring a rug for her, and a flask of hot cocoa, and a bottle of brandy.
That strange moon-faced creature, Lily, a human soul inside a cartoon, followed us over and stood anxiously watching. "Is she alright?" she asked. "She's gone so strange. What is it that's the matter with her?"
"Yes, she'll be alright. She's just old and tired," I told her, shutting the passenger door and walking round the car to get in myself.
I flipped off my implant, cutting off Lily and the sights and sounds of Piccadilly Circus. In the dark dead space, the four Agents were silhouetted in the beam of my headlights. They had moved together and were standing in a row. I had the odd idea that they wished they could come with us, that they wished that someone would come to meet them with rugs and brandy and hot cocoa.
I got my sister comfortable and started up the car. I was going to drive like she always did without being able to see the consensual traffic. I didn't like doing it. I knew how arrogant it must seem to the consensuals and how much they must resent it—it was things like that, I knew, that gave us Outsiders a bad name —but I just couldn't risk a broken axle on the way home on top of everything else.
"Really we're no different when you come to think of it," said Clarrie after a while. Her implant was off and she looked out at abandoned streets as lonely as canyons on some lifeless planet in space. "That's the physical world out there, that's physical matter. But we're not like that, are we? We're patterns. We're just patterns rippling across the surface."
"Have a bit more brandy, Clarrie," I told her, "and then put the seat back and try to get some sleep. It's going to be some time before we get back."
She nodded and tugged the rug up around herself. Her implant switched itself on and she saw a taxi swerve to avoid us and heard the angry blast of its horn. Briefly the busy night life of the Consensual Field was all around her. Then it was gone.
"Just the same," she said sleepily. "Just like the lights in Piccadilly Circus."
* * *
In the Quake Zone
David Gerrold
David Gerrold has been a hardworking and highly acclaimed professional in several different fields since the sixties. As a screenwriter, he produced the screenplay for one of the most famous of all of the episodes of the original Star Trek, "The Trouble with Tribbles." He later produced a book about the experience, The Trouble with Tribbles, as well as a study of the show, The World of Star Trek, and two Star Trek novels, Encounter at Far Point and The Galactic Whirlpool. He won both Hugo and Nebula Awards in 1995 for his story "The Martian Child." His many SF novels include the well-known The Man Who Folded Himself, as well as When Harlie Was One, A Matter for Men, A Rage for Revenge, A Season for Slaughter, The Middle of Nowhere, The Voyage of the Star Wolf, Space Skimmer, Star Hunt, Yesterday's Children, A Covenant of Justice, A Day for Damnation, Blood and Fire, The Martian Child, Chess with a Dragon, Under the Eye of God, Jumping off the Planet, Bouncing off the Moon, and Leaping to the Stars. His short fiction has been collected in With a Finger in My I. As editor, he has produced the anthologies Protostars, Generation, Science Fiction Emphasis, Alternities, and Ascents of Wonder. In addition to the Star Trek study, his nonfiction includes Worlds of Wonder: How to Write Science Fiction and Fantasy. His most recent books are a new novel, Child of Earth, and a new collection, Alternate Gerrolds.
In the intricate and subtle story that follows, where all is mutable and nothing is certain or solid or imperishable, he gives a whole new meaning to the expression on shaky ground…
* * *
The day after time collapsed, I had my shoes shined. They needed it.
I didn't know that time had collapsed, wouldn't find out for years, decades —and several months of subjective time. I just thought it was another local timequake.
Picked up a newspaper—The Los Angeles Mirror, with its brown-tinted front page—and settled into one of the high-backed, leather chairs in the Hollywood Boulevard alcove. There were copies of the Herald, the Examiner, and the Times here as well, but the Mirror had Pogo Possum on the funny pages. "Mighty fine shoes, sir," Roy said, and went right to work. He didn't know me yet. I snapped the paper open.
I didn't have to check the papers for the date, this was late fifties, J already knew from the cars on the boulevard, an ample selection of Detroit heavy-iron; the inevitable Chevys and Fords, a few Buicks and Oldsmobiles, the occasional ostentatious Cadillac, a few Mercurys, but also a nostalgic scattering of others, including DeSoto, Rambler, Packard, Oldsmobile, and Studebaker. Not a foreign care to be seen, just a bright M&M flow of chrome-lined monstrosities growling along, many of them two-toned. The newer models had nascent tailfins, the evocation of jet planes and rocketships, giddy metal evolution, the hallmark of a decade and an industrial dead end.
The Mirror and The Examiner both disappeared late '58, maybe early '59, if I remembered correctly, the result of a covert deal by the publishers. Said Mr. Chandler to Mr. Hearst, I'll shut down my morning paper if you'll shut down your afternoon. "Let us fold our papers and go."
A new Edsel cruised by—right, this was '58. But I could already smell it. The Hollywood day felt gritty. The smog was thick enough to taste. The Hollywood Warner's theater had another Cinerama travelogue —the third or fourth, I'd lost track. I was tempted; not a lot of air-conditioning in this time zone. A dark old theater, cooled by refrigeration, I could skip the sweltering zenith. But, no —I might not have enough time.
The papers reported that timefaults had opened up as far north as Porter Ranch, popping Desi and Lucy seven years back into the days of chocolate conveyer belts and Vitameatavegamin: as far east as Boyle Heights where ten years were lost and the diamond-bright DWP building disappeared from the downtown skyline, along with the world famous four-level freeway interchange; as far south as Watts, they only rattled off a couple years, but it set back the construction of Simon Rodilla's startling graceful towers; and all the way west to the Pacific Ocean. Several small boats and the Catalina Ferry had disappeared, but a sparkling new Coast Guard Cutter from 1963 had chugged into San Pedro. The big red Pacific Electric streetcars were still grinding out to the San Fernando Valley. I wondered if I'd have a chance to ride one before the aftershocks hit.
Caltech predicted several days of aftershocks and the mayor was advising folks to stay close to home if they could, to avoid further discontinuities. The Red Cross had set up shelters at several high schools for those whose homes had disappeared or were now occupied by previous or subsequent inhabitants.
Already the looters and collectors from tomorrow were flocking to the boulevard. Most of them were obvious, dressed in jeans and T-shirts, but they gave themselves away by their stare-gathering unkempt haircuts and beards, their torn jeans and pornographic T-shirts. They'd be stripping the racks at World Book and News, buying every copy they could find of Superman, Batman, Action, and especially Walt Disney's Comics with the work of legendary Carl Barks. And MAD magazine too; the issues with the Freas covers were the most valuable. Later, they'd move west, hitting Collector's Books and Records and Pickwick's as well. The smart ones would have brought cash. The smartest ones would have brought year-specific cash. The dumb ones would have credit cards and
checkbooks. Not a lot of places took credit cards yet, none of them recognized Visa or MasterCard. And nobody took checks anymore; not unless they were bank-dated; most of the stores had learned from previous timequakes.
The Harris Agency—there was no Ted Harris, but he had an agency—was just upstairs of the shoeshine stand; upstairs, turn left and back all the way to the end of the hall, no name on the glass, no glass. The door was solid pine, like a coffin-lid, and painted green for no reason anyone could remember, except an old song, "What's that happenin behind the green door… ?" The only identification was a small card that said by appointment only. That wasn't true, but it stopped the casual curiosity seekers. My key still worked, the locks wouldn't be changed until 1972; there was no receptionist, the outer office was filled with cardboard file boxes and stacks of unfiled folders. Two typists were cataloging, they glanced up briefly. If I had a key, I belonged here.
Georgia was still an intern, working afternoons; she'd started when she was a student at Hollywood High, half a mile west and a couple blocks south. Now she was taking evening courses in business management at Los Angeles City College, over on Vermont, a block south of Santa Monica Boulevard. A few years from now, she'd be a beautiful honey-blonde, but she didn't know that yet and I wasn't going to risk a bad first impression by speaking out of turn. I pretended I didn't know her. I didn't, not yet.
I brushed past, into the cubby we called a conference room. More old paper and two old women. Pinched-faced and withered, they might have been the losers in a Margaret Hamilton look-alike contest. Sooner or later, one of them was probably going to demand, "Who killed my sister? Was it you?!"
Opened my wallet, started to flash my card, but the dustier of the two waved it off. "I recognize you. Wait. Sit." But I didn't recognize her. I probably hadn't met her yet. Some younger iteration of her had known an older iteration of me. I wondered how well. I wondered if I would remember this meeting then. The other woman left the room without saying a word. Just as well; some folks get uncomfortable around time-ravelers. Not travelers—ravelers. The folks who tend the tangled webs.
I sat. A dark mahogany table, thick and heavy. A leather chair, left over from the previous occupant of this office, someone who'd bellied up early in the thirties. She disappeared into a back room, I heard the scrapeof a wooden footstool, the sound of boxes being moved on shelves, a muffled curse, very unladylike. A moment later, she came back, dropped a sealed manila envelope on the table in front of me. I slid it over, turned it around, and scanned the notations. Contract signed in 1971, back-shifted to '57. Contract due date 1967. It had only been sitting here a year, and the due date was still nine years away.
A noise. I looked up. She'd put a bottle on the table and a stubby glass. I turned the bottle. It said Glenfiddich. I didn't recognize the name. I gave her the eyebrow. She said, "My name's Margaret. Today's the day you acquire this taste. You'll thank me for it later. Take as much time as you need to read the folder, but leave it here. Here's a notepad if you need to copy out anything. That contract's not due for nine years, so the best you can do today is familiarize yourself, maybe do a little scouting. There's an aftershock due tomorrow morning, about 4:30 a.m.; go to West Hollywood and it'll bounce you closer to the due date. Oh, wait—one more thing." She disappeared again, this time I heard the sounds of keys jingling on a ring. A drawer opened, stuff was shuffled around, the drawer was closed. She came back with a cash box and an old-fashioned checkbook. "I can only give you three hundred in time-specific cash, but it'll still be good in '67. There's a bank around the corner, you've got two hours until it closes, I'll give you a check for another seven hundred. You can pick up more in '67. But be careful, your account doesn't get fat for awhile. How's your ID?"
In the past, my personal past, I'd renewed my driver's license as quickly as I could after every quake, but a DL expires after three years, a passport is good for ten. The lines at the Federal Building were usually worse than the DMV, especially in a broken time zone, but except for a gap of three years in the early 70s, I had valid passports from now until the mid-eighties.
"I'm good," I nodded. I signed my name and today's date to the next line on the outside of the envelope, then broke the wax seal. It was brittle; it had been sitting on the shelf for a year, waiting for today, and who knows how long before it got to this time zone. I didn't have a lot of curiosity, most of my cases were small-timers. The big stuff, the famous stuff, most of that went to the high-profile operations, the guys on Wilshire Boulevard, some downtown, some in Westwood. There was a lot of competition there—stop Sirhan from killing RFK, catch Manson before he and the family move into the Spahn movie ranch, apprehend the Hillside Stranglers, find out who killed the Black Dahlia, help O.J. find the killers of Ron and Nicole… and so on.
The thing about the high-profiles, those were easy cases. The victims were known, so were the perps. The big agencies had a pretty good idea of the movements of their targets long before the crimes occurred. But most of the laws had been written before time began unraveling and the justice system wasn't geared for prevention, only after-the-fact cleanup.
Then one hot night in an August that still hasn't happened. Charles "Tex" Watson gets out of the car up on Cielo Drive and someone puts a carbon-fiber crossbow bolt right through his neck, even before he gets the gun out of his jacket. The girls start shrieking and two more of them take bolts, one of them right through the sternum, Sexie Sadie gets one in the head. The third girl, the Kasabian kid, goes screaming down the hill, and some redheaded kid in a white Nash Rambler nearly runs her down, never knowing that the alternative was having his brains splashed across the front seat of his parents' car. I didn't do it, but I knew the contract, knew who'd paid for it. Approved the outcome.
That was the turning point. After that, the judicial system learned to accommodate itself to preventive warrants, and most of the worst perps will be safe in protective custody weeks or even months before they have a chance to commit their atrocities. The question of punishment becomes one of pre-rehabilitation —is it possible? When can we let these folks back out on the streets? If ever. Do we have the right to detain someone on the grounds that they represent potential harm to others, even if no crime has been committed? The ethical questions will be argued for three decades. I don't know yet how it resolves, only that an uneasy accommodation will finally be achieved —something to the effect that there are no second chances, it's too time-consuming, pun intended; a judicial review of the facts, a signed warrant, and no, they don't call it pre-punishment. It's terminal prevention.
Meanwhile, it's the big agencies that get the star cases —save Marilyn and Elvis, save James Dean and Buddy Holly, Natalie Wood, Sal Mineo, Mike Todd, Lenny Bruce, RFK and Jimmy Hoffa. Stop Ernest Hemingway from sucking the bullet out of his gun and keep Tennessee Williams from choking to death on a bottle cap. Save Mama Cass and Jimi Hendrix and Jim Morrison and Janis Joplin and John Lennon. And later on, Karina and Jo-Jo Ray. And Michael Zone. Kelly Breen. Some of those names don't mean anything yet, won't mean anything for years; the size of the up-front money says everything—but we don't get those cases. The last one we bid on was Ramon Novarro, beaten to death with his own dildo by a couple of hustler-boys, and we didn't get that job either; later on, after the Fatty Arbuckle thing, and that was a long reach back anyway, all of those cases went through the Hollywood Preservation Society, funded by the big studios who had investments to protect.
No, it's the other cases, the little ones, the unsolved ones that fall through the cracks—those are the ones that keep the little agencies going. Most families can't afford five or six figure retainers, so they come to the smaller agencies, pennies in hand, desperate for help. "My little girl disappeared in June of'61, we don't know what happened, nobody ever found a trace." "I want to stop the man who raped my sister." "My girlfriend had a baby. She says it's mine. Can you stop the conception?" "My boyfriend was shot next November, the police have no clue." "I was abused by my stepfather when
I was a child. Can you keep my mom from ever meeting him?"
There were a lot of amateurs in this business —and more than a few do-it-yourselfers too. But most folks don't like to go zone-hopping; it's not a round-trip. You don't want to end up someplace where you have no home, no family, no job. Just the same, some people try. Sometimes people clean up their own messes, sometimes they make bigger ones. Some things are better left to the professionals.
The Harris Agency had three or six or nine operatives, depending on when you asked. But some of them were the same operative, inadvertently (or maybe deliberately) time-folded. Eakins was a funny duck, all three of him, all ages. The Harris Agency didn't advertise, didn't have a sign on the door, didn't even have a phone, not a listed one anyway; you heard about it from a friend of a friend. We took the jobs that people didn't want to talk about, and sometimes we handled them in ways that even we didn't talk about.
You knocked on the door and if you knocked the right way, they'd let you in. Georgia would sit you down in the cubby we called a conference room, and if she liked your look, she'd offer you coffee or tea. If she didn't trust you, it would be water from the cooler. Or nothing. She conducted her interviews like a surgeon removing bullet fragments, methodically extracting details and information so skillfully you never knew you'd been incised. Most cases, she wouldn't promise anything, she'd spend the rest of the day, maybe two or three days, writing up a report, sending an intern down to the Central Library or the Times' morgue to pull clippings. She'd pull pages out of phone directories, call over to the Wilcox station to get driver's license information (if available), and even scanned the personal ads in the L.A. Free Press a couple times. For the most part, a lot of what the outer office staff did was "clipping service" —pulling out data before, during, and after the events; the more complete the file, the easier the job. Working with Margaret, the jobs were usually easy. Usually, not always.
The Year's Best Science Fiction: Twenty-Third Annual Collection Page 144
