The Windup Girl (7 page)

As smoke streams into the still air, filling the office once again, Hock Seng prays. He prays that the factory will not close, and that his bribes will bring the new line equipment through the bamboo curtain without difficulty. That the foreign devil Mr. Lake will lose his head and trust him too much, and that the cursed safe will open and reveal its secrets to him.

Hock Seng prays for luck. Even an old Chinese yellow card needs luck.

3

Emiko sips whiskey, wishing she were drunk, and waits for the signal from Kannika that it is time for her humiliation. A part of her still struggles against it but the rest of her—the part that sits with her midriff-baring mini-jacket and tight
pha sin
skirt and a glass of whiskey in her hand—doesn't have the energy to fight.

And then she wonders if she has it backwards, if the part that struggles to maintain her illusions of self-respect is the part intent upon her destruction. If her body, this collection of cells and manipulated DNA—with its own stronger, more practical needs—is actually the survivor: the one with will.

Isn't that why she sits here, listening to the throb of beating sticks and the wail of
pi klang
as girls writhe under glow worms and men and whores shout their encouragement? Is it because she lacks the will to die? Or because she is too stubborn to allow it?

Raleigh says that all things come in cycles, like the rise and fall of the tides along the beaches of Koh Samet, or the rise and fall of a man's prick when he has a pretty girl. Raleigh slaps his girls on their bare bottoms and laughs at the jokes of the new wave
gaijin
and tells Emiko that whatever they want to do with her, money is money, and nothing is new under the sun. And perhaps he is right. Nothing that Raleigh demands has not been demanded before. Nothing that Kannika conceives to hurt her and make her cry out is truly different. Except that she draws cries and moans from a windup girl. This, at least, is novelty.

Look! She is almost human!

Gendo-sama used to say that she was more than human. He used to stroke her black hair after they had made love and say that he thought it a pity New People were not more respected, and really it was too bad her movements would never be smooth. But still, did she not have perfect eyesight and perfect skin and disease- and cancer-resistant genes, and who was she to complain? At least her hair would never turn gray, and she would never age as quickly as he, even with his surgeries and pills and ointments and herbs that kept him young.

He had stroked her hair and said, "You are beautiful, even if you are New People. Do not be ashamed."

And Emiko had snuggled into his embrace. "No. I am not ashamed."

But that had been in Kyoto, where New People were common, where they served well, and were sometimes well-respected. Not human, certainly, but also not the threat that the people of this savage basic culture make her out to be. Certainly not the devils that the Grahamites warn against at their pulpits, or the soulless creatures imagined out of hell that the forest monk Buddhists claim; not a creature unable to ever achieve a soul or a place in the cycles of rebirth and striving for Nirvana. Not the affront to the Q'ran that the Green Headbands believe.

The Japanese were practical. An old population needed young workers in all their varieties, and if they came from test tubes and grew in crèches, this was no sin. The Japanese were practical.

And isn't that why you sit here? Because the Japanese are so very practical? Though you look like one, though you speak their tongue, though Kyoto is the only home you knew, you were not Japanese.

Emiko puts her head in her hands. She wonders if she will find a date, or if she will be left alone at the end of the night, and then wonders if she knows which she prefers.

Raleigh says there is nothing new under the sun, but tonight, when Emiko pointed out that she was New People, and there had never been New People before, Raleigh laughed, and said she was right and special and who knows, maybe that meant anything was possible. And then he slapped her bottom and told her to get up on stage and show how special she was going to be tonight.

Emiko traces her fingers through the wetness of bar rings. Warm beers sit and sweat wet slick rings, as slick as girls and men, as slick as her skin when she oils it to shine, to be soft like butter when a man touches her. As soft as skin can be, and perhaps more so, because even if her physical movements are all stutter-stop flash-bulb strange, her skin is more than perfect. Even with her augmented vision she barely spies the pores of her flesh. So small. So delicate.
So optimal.
But made for Nippon and a rich man's climate control, not for here. Here, she is too hot and sweats too little.

She wonders if she were a different kind of animal, some mindless furry cheshire, say, if she would feel cooler. Not because her pores would be larger and more efficient and her skin not so painfully impermeable, but simply because she wouldn't have to think. She wouldn't have to know that she had been trapped in this suffocating perfect skin by some irritating scientist with his test tubes and DNA confetti mixes who made her flesh so so smooth, and her insides too too hot.

Kannika grabs her by the hair.

Emiko gasps at the sudden attack. She searches for help but none of the other patrons are interested in her. They are watching the girls on stage. Emiko's peers are servicing the guests, plying them with Khmer whiskey and pressing their bottoms to their laps and running their hands over the men's chests. And anyway, they have no love for her. Even the good-hearted ones—the ones with
jai dee,
who somehow manage to care for a windup like herself—will not step in.

Raleigh is talking with another
gaijin,
smiling and laughing with the man, but his ancient eyes are on Emiko, watching for what she will do.

Kannika yanks her hair again. "
Bai!
"

Emiko obeys, climbing down from her bar stool and tottering in her windup way toward the circle stage. The men all laugh and point at the Japanese windup and her broken unnatural steps. A freak of nature transplanted from her native habitat, trained from birth to duck her head and bow.

Emiko tries to distance herself from what is about to happen. She is trained to be clinical about such things. The crèche in which she was created and trained had no illusions about the many uses a New Person might be put to, even a refined one. New People serve and do not question. She moves toward the stage with the careful steps of a fine courtesan, stylized and deliberate movements, refined over decades to accommodate her genetic heritage, to emphasize her beauty and her difference. But it is wasted on the crowd. All they see are stutter-stop motions. A joke. An alien toy. A windup.

They have her strip off her clothes.

Kannika flicks water onto her oiled skin. Emiko glistens with water jewels. Her nipples harden. The glow worms twist and writhe overhead, sending out phosphorescent mating light. The men laugh at her. Kannika slaps her hip and makes her bow. Slaps her ass hard enough to burn, tells her to bow lower, to make obeisance to these small men who imagine themselves to be the vanguard of some new Expansion.

The men laugh and wave and point and order more whiskey. Raleigh grins from his place in the corner, the fond elder uncle, happy to teach these newcomers—these small corporate men and women high on fantasies of multinational profiteering—the ways of the old world. Kannika motions that Emiko should kneel.

A black-bearded
gaijin
with the deep tan of a clipper ship sailor watches from inches away. Emiko meets the man's eyes. He stares intently, as if he is examining an insect under a magnifying class: fascinated, and yet also repulsed. She has the urge to snap at him, to try to force him to look at her, to see her instead of simply evaluating her as a piece of genetic trash. But instead she bows and knocks her head against the teak stage in subservience while Kannika speaks in Thai and tells them Emiko's life story. That she was once a rich Japanese plaything. That she is theirs now: a toy for them to play with, to break even.

And then she grabs Emiko's hair and yanks her up. Emiko gasps as her body arches. She catches a glimpse of the bearded man staring in surprise at the sudden violent gesture, at her abasement. A flash of the crowd. The ceiling with its glow worm cages. Kannika drags her further back, bending her like willow, forcing her to thrust her breasts out to the crowd, to arch further still, to spread her thighs as she struggles not to topple sideways. Her head touches the teak of the stage. Her body forms a perfect arc. Kannika says something and the crowd laughs. The pain in Emiko's back and neck is extreme. She can feel the crowd's eyes on her, a physical thing, molesting her. She is utterly exposed.

Liquid gushes over her.

She tries to rise, but Kannika presses her down and dumps more beer in her face. Emiko gags and splutters, drowning. Finally Kannika releases her and Emiko jerks upright, coughing. Liquid foams down her chin, spills down her neck and breasts, trickles to her crotch.

Everyone is laughing. Saeng is already offering the bearded man a fresh beer, and he is grinning and tipping Saeng and everyone is laughing at how Emiko's body twitches and jerks now that she is in a panic, coughing the liquid from her lungs. She is nothing but a silly marionette creature now, all stutter-stop motion—herky-jerky
heechy-keechy—
with no trace of the stylized grace that her mistress Mizumi-sensei trained into her when she was a girl in the crèche. There is no elegance or care to her movements now; the telltales of her DNA are violently present for all to see and mock.

Emiko continues coughing, almost retching at the beer in her lungs. Her limbs twitch and flail, giving everyone a chance to see her true nature. Finally she gets a full breath. Controls her flailing movements. She reverts to stillness, kneeling, waiting for the next assault.

In Japan she was a wonder. Here, she is nothing but a windup. The men laugh at her strange gait and make faces of disgust that she exists at all. She is a creature forbidden to them. The Thai men would happily mulch her in their methane composting pools. If they met her or an AgriGen calorie man, it is hard to say which they would rather see mulched first. And then there are the
gaijin.
She wonders how many of them claim membership in the Grahamite Church, dedicated to destroying everything that she represents: her affront to niche and nature. And yet they sit contentedly and enjoy this humiliation of her even still.

Kannika grabs her again. She has disrobed now and has a jadeite cock in her hands. She shoves Emiko down, pushing her onto her back. "Hold her hands," she says, and the men reach out eagerly, grip her wrists.

Kannika pries her legs wide and then Emiko cries out as Kannika takes her. Emiko turns her face aside, waiting out the assault, but Kannika sees her avoidance. She pinches Emiko's face in one hand and forces her to show her features so that the men can see the effect of Kannika's ministrations.

The men urge Kannika on. Begin to chant. Count in Thai.
Neung! Song! Sam! Si!

Kannika indulges them with a building rhythm. The men sweat and watch and shout for more for the price of their admission. More men are holding her down, hands on her ankles and wrists, freeing Kannika for her abuse. Emiko writhes, her body shaking and jerking, twitching in the ways that windups do, in the ways that Kannika excels at bringing out. The men laugh and comment on the freakish movements, the stutter-stop motions, flash-bulb strange.

Kannika's fingers join the jade between Emiko's legs, play at Emiko's core. Emiko's shame builds. Again she tries to turn her face aside. Men are gathered around, close, staring. More crowd behind, straining for a glimpse. Emiko moans. Kannika laughs, low and knowing. She says something to the men and increases her tempo. Her fingers play in Emiko's folds. Emiko moans again as her body betrays her. She cries out. Arches. Her body performs just as it was designed—just as the scientists with their test tubes intended. She cannot control it no matter how much she despises it. The scientists will not allow her even this small disobedience. She comes.

The audience roars approval, laughing at the bizarre convulsions that orgasm wrings from her DNA. Kannika gestures at her movements as if to say, "You see? Look at this animal!" and then she is kneeling above Emiko's face and hissing to Emiko that she is nothing, and will always be nothing, and for once the dirty Japanese get what is coming to them.

Emiko wants to tell her that no self-respecting Japanese would do these things. Wants to tell her that all Kannika plays with is a disposable Japanese toy—a triviality of Japanese ingenuity, like Matsushita's disposable cellulose handlegrips for a cycle-rickshaw—but she has said it before and it only makes things worse. If she remains silent the abuse will end soon.

Even if she is New People, there is nothing new under the sun.

* * *

Yellow card coolies crank at wide-bore fans, driving air through the club. Sweat drips from their faces and runs in gleaming rivulets down their backs. They burn calories as quickly as they consume them and yet still the club bakes with the memory of the afternoon sun.

Emiko stands beside a fan, letting it cool her as much as she can, pausing in her labors of ferrying drinks for customers and hoping that Kannika will not catch sight of her again.

Whenever Kannika gets hold of her, she drags her out to where the men can all examine her. Makes her walk in the traditional Japanese windup way, emphasizing the stylized motions of her kind. Makes her turn this way and that, and the men joke about her aloud even as they silently consider buying her once their friends have gone away.

In the center of the main room, men invite young girls in their
pha sin
and cropped jackets out onto the dance floor and make slow turns around the parquet as the band plays Contraction mixes, songs that Raleigh has dredged from his memory and translated for use on traditional Thai instruments, strange melancholy amalgamations of the past, as exotic as his children with their turmeric hair and their wide round eyes.