Snow Crash (17 page)

18

He's there an hour ahead of schedule. He was shooting for half an hour early, but once he gets a load of Compton—he's heard stories about the place, of course, but my God—he starts driving like a maniac. Cheap, nasty franchises all tend to adopt logos with a lot of bright, hideous yellow in them, and so Alameda Street is clearly marked out before him, a gout of radioactive urine ejected south from the dead center of L.A. Jason aims himself right down the middle, ignoring lane markings and red lights, and puts the hammer down.

Most of the franchises are yellow-logoed, wrong-side-of-the-tracks operations like Uptown, Narcolombia, Caymans Plus, Metazania, and The Clink. But standing out like rocky islands in this swamp are the Nova Sicilia franchulates—beachheads for the Mafia's effort to outduel the overwhelmingly strong Narcolombia.

Shitty lots that even The Clink wouldn't buy always tend to get picked up by economy-minded three-ringers who have just shelled out a million yen for a Narcolombia license and who need some real estate, any real estate, that they can throw a fence around and extraterritorialize. These local franchulates send most of their gross to Medellín in franchising fees and keep barely enough to pay overhead.

Some of them try to scam, to sneak a few bills into their pocket when they think the security camera isn't watching, and run down the street to the nearest Caymans Plus or The Alps franchulate, which hover in these areas like flies on road kill. But these people rapidly find out that in Narcolombia, just about everything is a capital offense, and there is no judicial system to speak of, just flying justice squads that have the right to blow into your franchulate any time of day or night and fax your records back to the notoriously picky computer in Medellín. Nothing sucks more than being hauled in front of a firing squad against the back wall of the business that you built with your own two hands.

Uncle Enzo reckons that with the Mafia's emphasis on loyalty and traditional family values, they can sign up a lot of these entrepreneurs before they become Narcolombian citizens.

And that explains the billboards that Jason sees with growing frequency as he drives into Compton. The smiling face of Uncle Enzo seems to beam down from every corner. Typically, he's got his arm around the shoulders of a young wholesome-looking black kid, and there's a catch phrase above: T
HE
M
AFIA
—
YOU
'
VE GOT A FRIEND IN
T
HE
F
AMILY
! and R
ELAX
—
YOU ARE ENTERING A
M
AFIA
W
ATCH NEIGHBORHOOD
! and U
NCLE
E
NZO FORGIVES AND FORGETS
.

This last one usually accompanies a picture of Uncle Enzo with his arm around some teenager's shoulders, giving him a stern avuncular talking-to. It is an allusion to the fact that the Colombians and Jamaicans kill just about everyone.

N
O WAY
, J
OS
é! Uncle Enzo holding up one hand to stop an Uzi-toting Hispanic scumbag; behind him stands a pan-ethnic phalanx of kids and grannies, resolutely gripping baseball bats and frying pans.

Oh, sure, the Narcolombians still have a lock on coca leaves, but now that Nippon Pharmaceuticals has its big cocaine-synthesis facility in Mexicali nearly complete, that will cease to be a factor. The Mafia is betting that any smart youngster going into the business these days will take note of these billboards and think twice. Why end up suffocating on your own entrails out in back of some Buy 'n' Fly when you can put on a crisp terracotta blazer instead and become part of a jovial familia? Especially now that they have black, Hispanic, and Asian capos who will respect your cultural identity? In the long term, Jason is bullish on the Mob.

His black Oldsmobile is a fucking bullseye in a place like this. It's the worst thing he has ever seen, Compton. Lepers roasting dogs on spits over tubs of flaming kerosene. Street people pushing wheelbarrows piled high with dripping clots of million-and billion-dollar bills that they have raked up out of storm sewers. Road kills—
enormous road kills—road kills so big that they could only be human beings, smeared out into chunky swaths a block long. Burning roadblocks across major avenues. No franchises anywhere. The Oldsmobile keeps popping. Jason can't think of what it is until he realizes that people are shooting at him. Good thing he let his uncle talk him into springing for full armor! When he figures that one out, he actually gets psyched. This is the real thing, man! He's driving around in his Olds and the bastards are shooting at him, and it just don't matter!

Every street for three blocks around the franchise is blocked off by Mafia war wagons. Men lurk on top of burned tenements carrying six-foot-long rifles and wearing black windbreakers with MAFIA across the back in five-inch fluorescent letters.

This is it, man, this is the real shit.

Pulling up to the checkpoint, he notes that his Olds is now straddling a portable claymore mine. If he's the wrong guy, it'll turn the car into a steel doughnut. But he's not the wrong guy. He's the right guy. He's got a priority job, a heap of documents on the seat next to him, wrapped up tight and pretty.

He rolls the window down and a top-echelon Mafia guardsman nails him with the retinal scanner. None of this ID card nonsense. They know who he is in a microsecond. He sits back against his whiplash arrestor, turns the rearview mirror to face himself, checks his hairstyle. It's not half bad.

“Bud,” the guard says, “you ain't on the list.”

“Yes, I am,” Jason says. “This is a priority delivery. Got the papers right here.”

He hands a hard copy of the Turfnet job order to the guard, who looks at it, grunts, and goes into his war wagon, which is richly festooned with antennas.

There is a very, very long wait.

A man is approaching on foot, walking across the emptiness between the Mafia franchise and the perimeter. The vacant lot is a wilderness of charred bricks and twisted electrical conduit, but this gentleman is walking across it like Christ on the Sea of Galilee. His suit is perfectly black. So is his hair. He doesn't have any guards with him. The perimeter security is that good.

Jason notices that all the guards at this checkpoint are standing a little straighter, adjusting their ties, shooting their cuffs. Jason wants to climb out of his bullet-pocked Oldsmobile to show proper respect to whoever this guy is, but he can't get the door open because a big guard is standing right there, using the roof as a mirror.

All too quickly, he's there.

“Is this him?” he says to a guard.

The guard looks at Jason for a couple of seconds, as though he can't quite believe it, then looks at the important man in the black suit and nods.

The man in the black suit nods back, tugs on his cuffs a little bit, squints around him for a few moments, looking at the snipers up on the roofs, looking everywhere but at Jason. Then he steps forward one pace. One of his eyes is made of glass and doesn't point in the same direction as the other one. Jason thinks he's looking elsewhere. But he's looking at Jason with his good eye. Or maybe he isn't. Jason can't tell which eye is the real one. He shudders and stiffens like a puppy in a deep freeze.

“Jason Breckinridge,” the man says.

“The Iron Pumper,” Jason reminds him.

“Shut up. For the rest of this conversation, you don't say anything. When I tell you what you did wrong, you don't say you're sorry, because I already know you're sorry. And when you drive outta here alive, you don't thank me for being alive. And you don't even say goodbye to me.”

Jason nods.

“I don't even want you to nod, that's how much you annoy me. Just freeze and shut up. Okay, here we go. We gave you a priority job this morning. It was real easy. All you had to do was read the fucking job sheet. But you didn't read it. You just took it upon yourself to make the fuckin' delivery on your own. Which the job sheet explicitly tells you not to do.”

Jason's eyes flick in the direction of the bundle of documents on the seat.

“That's crap,” the man says. “We don't want your fucking documents. We don't care about you and your fucking franchise out in the middle a nowhere. All we wanted was the Kourier. The job sheet said that this delivery was supposed to be made by one particular Kourier who works your area, name of Y.T. Uncle Enzo happens to like Y.T. He wants to meet her. Now, because you screwed up, Uncle Enzo don't get his wish. Oh, what a terrible outcome. What an embarrassment. What an incredible fuckup, is what it is. It's too late to save your franchise, Jason The Iron Pumper, but it might not be too late to keep the sewer rats from eating your nipples for dinner.”

19

“This wasn't done with a sword,” Hiro says. He is beyond astonishment as he stands and stares at Lagos's corpse. All the emotions will probably come piling in on him later, when he goes home and tries to sleep. For now, the thinking part of his brain seems cut loose from his body, as if he has just ingested a great deal of drugs, and he's just as cool as Squeaky.

“Oh, yeah? How can you tell?” Squeaky says.

“Swords make quick cuts, all the way through. Like, you cut off a head or an arm. A person who's been killed with a sword doesn't look like this.”

“Really? Have you killed a lot of people with swords, Mr. Protagonist?”

“Yes. In the Metaverse.”

They stand for a while longer, looking at it.

“This doesn't look like a speed move. This looks like a strength move,” Squeaky says.

“Raven looks strong enough.”

“That he does.”

“But I don't think he was carrying a weapon. The Crips frisked him earlier, and he was clean.”

“Well, then he must have borrowed one,” Squeaky says. “This bug was all over the place, you know. We were keeping an eye on him, because we were afraid he was going to piss Raven off. He kept going around looking for a vantage point.”

“He's loaded with surveillance gear,” Hiro says. “The higher he gets, the better it works.”

“So he ended up here on this embankment. And apparently the perpetrator knew where he was.”

“The dust,” Hiro says. “Watch the lasers.”

Down below, Sushi K pirouettes spastically as a beer bottle caroms off his forehead. A bundle of lasers sweeps across the embankment, clearly visible in the fine dust being drawn out of it by the wind.

“This guy—this bug—was using lasers. As soon as he came up here—”

“They betrayed his position,” Squeaky says.

“And then Raven came after him.”

“Well, we're not saying it's him,” Squeaky says. “But I need to know if this character”—he nods at the corpse—“might have done anything that would have made Raven feel threatened.”

“What is this, group therapy? Who cares if Raven felt threatened?”

“I do,” Squeaky says with great finality.

“Lagos was just a gargoyle. A big hoover for intel. I don't think he did wet operations—and if he did, he wouldn't do it in that get-up.”

“So why do you think Raven was feeling so jumpy?”

“I guess he doesn't like being under surveillance,” Hiro says.

“Yeah.” Squeaky says. “You should remember that.”

Then Squeaky puts one hand over his ear, the better to hear voices on his headset radio.

“Did Y.T. see this happen?” Hiro says.

“No,” Squeaky mumbles, a few seconds later. “But she saw him leaving the scene. She's following him.”

“Why would she want to do that!?”

“I guess you told her to, or something.”

“I didn't think she'd take off after him.”

“Well, she doesn't know that he killed the guy,” Squeaky says. “She just phoned in a sighting—he's riding his Harley into Chinatown.” And he begins running up the embankment. A couple of Enforcers' cars are parked on the shoulder of the highway up there, waiting.

Hiro tags along. His legs are in incredible shape from sword fighting, and he manages to catch up to Squeaky by the time he reaches his car. When the driver undoes the electric door locks, Hiro scoots into the back seat as Squeaky is going into the front. Squeaky turns around and gives him a tired look.

“I'll behave,” Hiro says.

“Just one thing—”

“I know. Don't fuck around with Raven.”

“That's right.”

Squeaky holds his glare for another second and then turns around, motions the driver to drive. He impatiently rips ten feet of hard copy out of the dashboard printer and begins sifting through it.

On this long strip of paper, Hiro glimpses multiple renditions of the important Crip, the guy with the goatee whom Raven was dealing with earlier. On the printout, he is labeled as “T-Bone Murphy.”

There's also a picture of Raven. It's an action shot, not a mug shot. It is terrible output. It has been caught through some kind of light-amplifying optics that wash out the color and make everything incredibly grainy and low contrast. It looks like some image processing has been done to make it sharper; this also makes it grainier. The license plate is just an oblate blur, overwhelmed by the glow of the taillight. It is heeled over sharply, the sidecar wheel several inches off the ground. But the rider doesn't have any visible neck; his head, or rather the dark splotch that is there, just keeps getting wider until it merges into his shoulders. Definitely Raven.

“How come you have pictures of T-Bone Murphy in there?” Hiro says.

“He's chasing him,” Squeaky says.

“Who's chasing whom?”

“Well, your friend Y.T. ain't no Edward R. Murrow. But as far as we can tell from her reports, they've been sighted in the same area, trying to kill each other,” Squeaky says. He's speaking with the slow, distant tones of someone who is getting live updates over his headphones.

“They were doing some kind of a deal earlier,” Hiro says.

“Then I ain't hardly surprised they're trying to kill each other now.”

Once they get to a certain part of town, following the T-Bone and Raven show becomes a matter of connect-the-ambulances. Every couple of blocks there is a cluster of cops and medics, lights sparkling, radios coughing. All they have to do is go from one to the next.

At the first one, there is a dead Crip lying on the pavement. A six-foot-wide blood slick runs from his body, diagonally down the street to a storm drain. The ambulance people are standing around, smoking and drinking coffee from go cups, waiting for The Enforcers to get finished measuring and photographing so that they can haul the corpse to the morgue. There are no IV lines set up, no bits of medical trash strewn around the area, no open doc boxes; they didn't even try.

They proceed around a couple of corners to the next constellation of flashing lights. Here, the ambulance drivers are inflating a cast around the leg of a MetaCop.

“Run over by the motorcycle,” Squeaky says, shaking his head with the traditional Enforcer's disdain for their pathetic junior relations, the MetaCops.

Finally, he patches the radio feed into the dashboard so they can all hear it.

The motorcyclist's trail is now cold, and it sounds like most of the local cops are dealing with aftermath problems. But a citizen has just called in to complain that a man on a motorcycle, and several other persons, are trashing a field of hops on her block.

“Three blocks from here,” Squeaky says to the driver.

“Hops?” Hiro says.

“I know the place. Local microbrewery,” Squeaky says. “They grow their own hops. Contract it out to some urban gardeners. Chinese peasants who do the grunt work for 'em.”

When they arrive, the first authority figures on the scene, it is obvious why Raven decided to let himself get chased into a hop field: It is great cover. The hops are heavy, flowering vines that grow on trellises lashed together out of long bamboo poles. The trellises are eight feet high; you can't see a thing.

They all get out of the car.

“T-Bone?” Squeaky hollers.

They hear someone yelling in English from the middle of the field. “Over here!” But he isn't responding to Squeaky.

They walk into the hop field. Carefully. There is an enveloping smell, a resiny odor not unlike marijuana, the sharp smell that comes off an expensive beer. Squeaky motions for Hiro to stay behind him.

In other circumstances, Hiro would do so. He is half Japanese, and under certain circumstances, totally respectful of authority.

This is not one of those circumstances. If Raven comes anywhere near Hiro, Hiro is going to be talking to him with his katana. And if it comes to that, Hiro doesn't want Squeaky anywhere near him, because he could lose a limb on the backswing.

“Yo, T-Bone!” Squeaky yells. “It's The Enforcers, and we're pissed! Get the fuck out of there, man. Let's go home!”

T-Bone, or Hiro assumes it is T-Bone, responds only by firing a short burst from a machine pistol. The muzzle flash lights up the hop vines like a strobe light. Hiro aims one shoulder at the ground, buries himself in soft earth and foliage for a few seconds.

“Fuck!” T-Bone says. It is a disappointed fuck, but a fuck with a heavy undertone of overwhelming frustration and not a little fear.

Hiro gets up into a conservative squat, looks around. Squeaky and the other Enforcer are nowhere to be seen.

Hiro forces his way through one of the trellises and into a row that is closer to the action.

The other Enforcer—the driver—is in the same row, about ten meters away, his back turned to Hiro. He glances over his shoulder in Hiro's direction, then looks in the other direction and sees someone else—Hiro can't quite see who, because The Enforcer is in the way.

“What the fuck,” The Enforcer says.

Then he jumps a little, as though startled, and something happens to the back of his jacket.

“Who is it?” Hiro says.

The Enforcer doesn't say anything. He is trying to turn back around, but something prevents it. Something is shaking the vines around him.

The Enforcer shudders, careens sideways from foot to foot. “Got to get loose,” he says, speaking loudly to no one in particular. He breaks into a trot, running away from Hiro. The other person who was in the row is gone now. The Enforcer is running in a strange stiff upright gait with his arms down to his sides. His bright green windbreaker isn't hanging correctly.

Hiro runs after him. The Enforcer is trotting toward the end of the row, where the lights of the street are visible.

The Enforcer exits the field a couple of seconds ahead of him, and, when Hiro gets to the curb, is in the middle of the road, illuminated mostly by flashing blue light from a giant overhead video screen. He is turning around and around with strange little stomping footsteps, not keeping his balance very well. He is saying, “Aaah, aaah” in a low, calm voice that gurgles as though he badly needs to clear his throat.

As The Enforcer revolves, Hiro perceives that he has been impaled on an eight-foot-long bamboo spear. Half sticks out the front, half out the back. The back half is dark with blood and black fecal clumps, the front half is greenish-yellow and clean. The Enforcer can only see the front half and his hands are playing up and down it, trying to verify what his eyes are seeing. Then the back half whacks into a parked car, spraying a narrow fan of head cheese across the waxed and polished trunk lid. The car's alarm goes off. The Enforcer hears the sound and turns around to see what it is.

When Hiro last sees him, he is running down the center of the pulsating neon street toward the center of Chinatown, wailing a terrible, random song that clashes with the bleating of the car alarm. Hiro feels even at this moment that something has been torn open in the world and that he is dangling above the gap, staring into a place where he does not want to be. Lost in the biomass.

Hiro draws his katana.

“Squeaky!” Hiro hollers. “He's throwing spears! He's pretty good at it! Your driver is hit!”

“Got it!” Squeaky hollers.

Hiro goes back into the closest row. He hears a sound off to the right and uses the katana to cut his way through into that row. This is not a nice place to be at the moment, but it is safer than standing in the street under the plutonic light of the video screen.

Down the row is a man. Hiro recognizes him by the strange shape of his head, which just gets wider until it reaches his shoulders. He is holding a freshly cut bamboo pole in one hand, torn from the trellis.

Raven strokes one end of it with his other hand, and a chunk falls off. Something flickers in that hand, the blade of a knife apparently. He has just cut off the end of the pole at an acute angle to make it into a spear.

He throws it fluidly. The motion is calm and beautiful. The spear disappears because it is coming straight at Hiro.

Hiro does not have time to adopt the proper stance, but this is fine since he has already adopted it. Whenever he has a katana in his hands he adopts it automatically, otherwise he fears that he may lose his balance and carelessly lop off one of his extremities. Feet parallel and pointed straight ahead, right foot in front of the left foot, katana held down at groin level like an extension of the phallus. Hiro raises the tip and slaps at the spear with the side of the blade, diverting it just enough; it goes into a slow sideways spin, the point missing Hiro just barely and entangling itself in a vine on Hiro's right. The butt end swings around and gets hung up on the left, tearing out a number of vines as it comes to a stop. It is heavy, and traveling very fast.

Raven is gone.

Mental note: Whether or not Raven intended to take on a bunch of Crips and Enforcers singlehandedly tonight, he didn't even bother to pack a gun.

Another burst of gunfire sounds from several rows over.

Hiro has been standing here for rather a long time, thinking about what just happened. He cuts through the next row of vines and heads in the direction of the muzzle flash, running his mouth: “Don't shoot this way, T-Bone, I'm on your side, man.”

“Motherfucker threw a stick into my chest, man!” T-Bone complains.

When you're wearing armor, getting hit by a spear just isn't such a big deal anymore.

“Maybe you should just forget it,” Hiro says. He is having to cut his way through a lot of rows to reach T-Bone, but as long as T-Bone keeps talking, Hiro can find him.

“I'm a Crip. We don't forget nothing.” T-Bone says. “Is that you?”

“No,” Hiro says. “I'm not there yet.”

A very brief burst of gunfire, rapidly cut off. Suddenly, no one is talking. Hiro cuts his way into the next row and almost steps on T-Bone's hand, which has been amputated at the wrist. Its finger is still tanged in the trigger guard of a MAC-11.

The remainder of T-Bone is two rows away. Hiro stops and watches through the vines.

Raven is one of the largest men Hiro has seen outside of a professional sporting event. T-Bone is backing away from him down the row. Raven, moving with long confident strides, catches up with T-Bone and swings one hand up into T-Bone's body; Hiro doesn't have to see the knife to know it is there.