Makers (48 page)

One supporter of the group, the outspoken “Death Waits,” a former Disney employee, has been hospitalized for over a week following a savage beating that he claims resulted from his Internet posting about the unhealthy obsession Disney executive Samuel R.D. Page (see previous coverage) bore for the ride.

Everyone needs to unwind now and then, but sources at the hospital where Death Waits lies abed say that he has had no visits from the cult leaders since he took his beating in their service.

No doubt these three have more important things to do—like play catch.

Suzanne said, “Look, you can’t let crazy people set your agenda. If you want to visit this Death kid, you should. If you don’t, you shouldn’t. But don’t let Freddy psy-ops you into doing something you don’t want to do. Maybe he does have a rat in your building. Maybe he’s got a rat at the hospital. Maybe, though, he just scored some stills off a flickr stream, maybe he’s watching new photos with some face-recognition stuff.”

Perry looked up from his screen, still scowling. “People do that?”

“Sure—stalkerware! I use it myself, just to see what photos of me are showing up online. I scour every photo-feed published for anything that appears to be a photo of me. Most of it’s from blogjects, CCTV cameras and crap like that. You should see what it’s like on days I go to London—you can get photographed 800 times a day there without trying. So yeah, if I was Freddy and I wanted to screw with you, I’d be watching every image feed for your pic, and mine, and Lester’s. We just need to assume that that’s going on. But look at what he actually reported on: you went out and played catch and then hugged after your game. It’s not like he caught you cornholing gators while smoking spliffs rolled in C-notes.”

“What does that guy have against us, anyway?”

Suzanne sighed. “Well, at first I think it was that I liked you, and that you were trying to do something consistent with what he thought everyone should be doing. After all, if anyone were to follow his exhortations, they’d have to be dumb enough to be taking him seriously, and for that they deserve all possible disapprobation.

“These days, though, he hates you for two reasons. The first is that you failed, which means that you’ve got to have some kind of moral deficiency. The second is that we keep pulling his pants down in public, which makes him even angrier, since pulling down people’s pants is his job.

“I know it’s armchair psychology, but I think that Freddy just doesn’t like himself very much. At the end of the day, people who are secure and happy don’t act like this.”

Perry’s scowl deepened. “I’d like to kick him in the fucking balls,” he said. “Why can’t he just let us be? We’ve got enough frigging problems.”

“I just want to go and visit this kid,” Lester said, and they were back where they started.

“But we know that this Freddy guy has an informant in the hospital, he about says as much in this article. If we go there, he wins,” Perry said.

Hilda and Lester just looked at him. Finally he smiled and relented. “OK, Freddy isn’t going to run my life. If it’s the right thing to visit this kid, it’s the right thing. Let’s do it.”

“We’ll go after the ride shuts tonight,” Lester said. “All of us. I’ll buy him a fruit basket and bring him a mini.” The minis were Lester’s latest mechanical computers, built inside of sardine cans, made of miniaturized, printed, high-impact alloys. They could add and subtract numbers up to ten, using a hand crank on the side, registering their output on a binary display of little windows that were covered and uncovered by tiny shutters. He’d built his first the day before, using designs supplied by some of his people in Brazil and tweaking them to his liking.

The day was as close to a normal day on the ride as Perry could imagine. The crowd was heavy from the moment he opened, and he had to go back into the depths and kick things back into shape a couple times, and one of the chairs shut down, and two of the merchants had a dispute that degenerated into a brawl. Just another day running a roadside attraction in Florida.

Lester spelled him off for the end of the day, then they counted the take and said good night to the merchants and all piled into one of Lester’s cars and headed for the hospital.

“You liking Florida?” Lester called over the seat as they inched forward in the commuter traffic on the way into Melbourne.

“It’s hot; I like that,” Hilda said.

“You didn’t mention the awesome aesthetics,” Lester said.

Suzanne rolled her eyes. “Ticky-tacky chic,” she said.

“I love it here,” Lester said. “That contrast between crass, overdeveloped, cheap, nasty strip-malls and unspoiled tropical beauty. It’s gorgeous and it tickles my funny bone.”

Hilda squinted out the window as though she were trying to see what Lester saw, like someone staring at a random-dot stereogram in a mall-store, trying to make the three-dee image pop out.

“If you say so,” she said. “I don’t find much attractive about human settlement, though. If it needs to be there, it should just be invisible as possible. We fundamentally live in ugly boxes, and efforts to make them pretty never do anything for me except call attention to how ugly they are. I kinda wish that everything was built to disappear as much as possible so we could concentrate on the loveliness of the world.”

“You get that in Madison?” Lester said.

“Nope,” she said. “I’ve never seen any place designed the way I’d design one. Maybe I’ll do that someday.”

Perry loved her just then, for that. The casual “oh, yeah, the world isn’t arranged to my satisfaction, maybe I’ll rearrange it someday.”

The duty-nurse was a bored Eastern European who gave them a half-hearted hard time about having too many people visit Death Waits all at once, but who melted when Suzanne gave her a little talk in Russian.

“What was that all about?” Perry whispered to her as they made their way along the sour-smelling ward.

“Told her we would keep it down—and complimented her on her manicure.”

Lester shook his head. “I haven’t been in a place like this in so long. The fatkins places are nothing like it.”

Hilda snorted. “More upscale, I take it?” Lester and Hilda hadn’t really talked about the fatkins thing, but Perry suddenly remembered the vehemence with which Hilda had denounced the kids who were talked into fatkins treatments in their teens and wondered if she and Lester should be clearing the air.

“Not really—but more functional. More about, I don’t know, pursuing your hobby. Less about showing up in an emergency.”

Hilda snorted again and they were at Death’s room. They walked past his roommates, an old lady with her teeth out, sleeping with her jaw sagging down, and a man in a body-cast hammering on a video-game controller and staring fixedly at the screen at the foot of his bed.

Then they came upon Death Waits. Perry had only seen him briefly, and in bad shape even then, but now he was a wreck, something from a horror movie or an atrocity photo. Perry swallowed hard as he took in the boy’s wracked, skinny body, the casts, the sunken eyes, the shaved head, the caved-in face and torn ears.

He was fixedly watching TV, which seemed to be showing a golf show. His thumb was poised over a rocker-switch connected to the IV in his arm.

Death looked at them with dull eyes at first, not recognizing them for a moment. Then he did, and his eyes welled up with tears. They streamed down his face and his chin and lip quivered, and then he opened his mouth and started to bawl like a baby.

Perry was paralyzed—transfixed by this crying wreck. Lester, too, and Suzanne. They all took a minute step backward, but Hilda pushed past them and took his hand and stroked his hair and went shhh, shhh. His bawling become more uncontrolled, louder, and his two roommates complained, calling to him to shut up, and Suzanne moved back and drew the curtains around each of their beds. Strangely, this silenced them.

Gradually, Death’s cries became softer, and then he snuffled and snorted and Hilda gave him a kleenex from her purse. He wiped his face and blew his nose and squeezed the kleenex tight in his hand. He opened his mouth, shut it, opened and shut it.

Then, in a whisper, he told them his story. The man in the parking-lot and his erection. The hospital. Posting on the message boards.

The lawyer.

“What?” Perry said, loud enough that they all jumped and Death Waits flinched pathetically in his hospital bed. Hilda squeezed his arm hard. “Sorry, sorry,” Perry muttered. “But this lawyer, what did he say to you?”

Perry listened for a time. Death Waits spoke in a low monotone, pausing frequently to draw in shuddering breaths that were almost sobs.

“Fucking bastards,” Perry said. “Evil, corporate, immoral, sleazy—”

Hilda squeezed his arm again. “Shh,” she said. “Take it easy. You’re upsetting him.”

Perry was so angry he could barely see, barely think. He was trembling, and they were all staring at him, but he couldn’t stop. Death had shrunk back into himself, squeezed his eyes shut.

“I’ll be back in a minute,” Perry said. He felt like he was suffocating. He walked out of the room so fast it was practically a jog, then pounded on the elevator buttons, waited ten seconds and gave up and ran down ten flights of stairs. He got outside into the coolness of the hazy night and sucked in huge lungsful of wet air, his heart hammering in his chest.

He had his phone in his hand and he had scrolled to Kettlewell’s number, but he kept himself from dialing it. He was in no shape to discuss this with Kettlewell. He wanted witnesses there when he did it, to keep him from doing something stupid.

He went back inside. The security guards watched him closely, but he forced himself to smile and act calm and they didn’t stop him from boarding the elevator.

“I’m sorry,” he said to all of them. “I’m sorry,” he said to Death Waits. “Let me make something very, very clear: you are free to use the Internet as much as you want. You are free to tell your story to anyone you want to tell it to. Even if it screws up my case, you’re free to do that. You’ve given up enough for me already.”

Death looked at him with watery eyes. “Really?” he said. It came out in a hoarse whisper.

Perry moved the breakfast tray that covered Death’s laptop, then opened the laptop and positioned it where Death could reach it. “It’s all yours, buddy. Whatever you want to say, say it. Let your freak flag fly.”

Death cried again then, silent tears slipping down his hollow cheeks. Perry got him some kleenex from the bathroom and he blew his nose and wiped his face and grinned at them all, a toothless, wet, ruined smile that made Perry’s heart lurch. Jesus, Jesus, Jesus. What the hell was he doing? This kid—he would never get the life he’d had back.

“Thank you, thank you, thank you,” Death said.

“Please don’t be grateful to me,” Perry said. “We owe you the thanks around here. Remember that. We haven’t done you any favors. All the favors around here have come from you.

“Any lawyer shows up here again representing me, I want you to email me.”

In the car back, no one said anything until they were within sight of the shantytown. “Kettlewell isn’t going to like this,” Suzanne said.

“Yeah, I expect not,” Perry said. “He can go fuck himself.”

Imagineering sent the prototype up to Sammy as soon as it was ready, the actual engineers who’d been working on it shlepping it into his office.

He’d been careful to cultivate their friendship through the weeks of production, taking them out for beers and delicately letting them know that they were just the sort of people who really understood what Disney Parks was about, not like those philistines who comprised the rest of the management layer at Disney. He learned their kids’ names and forwarded jokes to them by email. He dropped by their break-room and let them beat him at pinball on their gigantic, bizarre, multi-board homebrew machine, letting them know just how cool said machine was.

Now it was paying off. Judging from the device he was looking at, a breadbox-sized, go-away-green round-shouldered smooth box that it took two of them to carry in.

“Watch this,” one of them said. He knocked a complicated pattern on the box’s top and a hidden hatch opened out of the side, yawning out and forming a miniature staircase from halfway down the box’s surface to the ground. There was soft music playing inside the box: a jazzy, uptempo futuristic version of When You Wish upon a Star.

A little man appeared in the doorway. He looked like he was made of pipe-cleaners and he took the stairs in three wobbling strides. He ignored them as he lurched around the box’s perimeter until he came to a far corner, then another hatch slid away and the little man reached inside and tugged out the plug and the end of the power-cord. He hugged the plug to his chest and began to wander around Sammy’s desk, clearly looking for an electrical outlet.

“It’s a random-walk search algorithm,” one of the Imagineers said. “Watch this.” After a couple of circuits of Sammy’s desk the little robot went to the edge and jumped, hanging on to the power-cable, which unspooled slowly from the box like a belay-line, gently lowering the man to the ground. A few minutes later, he had found the electrical outlet and plugged in the box.

The music inside stilled and a fanfare began. The trumpeting reached a joyous peak—“It’s found a network connection”—and then subsided into marching-band music. There was a smell like Saran-Wrap in the microwave. A moment later, another pipe-cleaner man emerged from the box, lugging a chunk of plastic that looked like the base of a rocket in an old-timey science fiction movie.

The first pipe-cleaner man was shinnying up the power cable. He crested the desktop and joined his brother in ferrying out more parts. Each one snapped into the previous one with a Lego-like click. Taking shape on the desktop in slow stages, the original, 1955 Tomorrowland, complete with the rocket to the moon, the Clock of the World and—

“Dairy Farmers of America Present the Cow of Tomorrow?” Sammy said, peering at the little brass plaque on the matchbox-sized diorama, which showed a cow with an IV in her hock, watching a video of a pasture. “You’re kidding me.”

“No!” one Imagineer said. “It’s all for real—the archives have all these tight, high-rez three-dee models of all the rides the Park’s ever seen. This is totally historically accurate.”