The last she saw of the glowing girl, she was saying something to the man she’d called Konrad. Then Tessa’s meshback popped it and they took off toward the city. “Good-bye, Fontaine,” Chevette shouted, but she doubted he ever heard her.
Remembering the night of a hill fire above the sharehouse, the birds in the brush all around the house waking in the dark, sensing it. All their voices.
And now through the plywood patchwork overhead she hears it too:
the drumming of conflagration. 247 60. RATS KNOW FONTAINE knows the bridge is burning when he looks out and sees a rat streak past, toward Oakland. Then another, and a third. Rats know, and the bridge rats are held to be most knowing of all, through having been hunted so thoroughly by the bridge’s host of feral cats and by innumerable equally feral children armed with slingshots cobbled from aircraft aluminum and surgical tubing. These bridge slingshots are lethal not only to rats, their users favoring balls of dense damp clay, a trick held over from the Middle Ages and not to be underestimated.
Fontaine watches the rats flash past and sighs. He has a fire ax here, somewhere, salvage from a tug sank in China Basin in 2003, and an extinguisher too, but he can’t imagine these will be of much use, although chopping a hole in the back wall and falling into the bay is a possibility. He wonders if there actually are sharks there, as the bridge children like to believe. He knows for a fact there are mutant fish, warped, it is said, by oxides leaching off the piers of the cable towers.
But Fontaine has survived many disasters, both municipal and marital, and there is in him that which believes, against all odds or hope, that all will simply, somehow, be well. Or that in any case there is usually not much to be done about certain things, or in any case not by him.
So, now, rather than digging through the closet, where he remembers, possibly, putting that fire ax, he picks up his push broom and begins tidying the front of the shop, sweeping as much of the glass as possible into a single drift beside the door. Glass, he reflects, sweeping, is one of those substances that takes up relatively little space until you break it. But it is also, he recalls being told, if considered over truly cosmic stretches of time, a liquid. All the glass in every pane in every window, everywhere, is in the infinitely slow process of melting, sagging, sliding down, except it would be unlikely that any one pane survive the millennia required to be reduced to a solid puddle.
While outside the rats are being joined by fleeing humans, as diverse a company of them as only the bridge can offer. He hopes that 24.8 Clarisse and the children are safe; he’s tried to phone, but no answer, and there seemed little point in leaving a message, under the circumstances.
He looks back and sees Rydell’s hologram girlfriend kneeling beside the bunk, talking to the boy. Beside the boy sits the professor who had borrowed the Kit Gun, and they strike Fontaine just then as a family group, unlikely perhaps but not without warmth. Fontaine has lived long enough with technological change that he really doesn’t question the why or what of the girl: she is like a game program that comes out and sits in your room, he thinks, and some people would like that just fine.
Now he comes to an obstacle in his sweeping: the butchered Another One dolls in their puddle of consensual silicone. At least none of them are talking now. It looks terrible, cruel, when he pushes the broom up against them, amid shards of glass, so he leans the broom against the counter, fishes one from the glass by its limp arms. He carries the faux Japanese baby outside and stretches it on its back in front of the shop. The others follow, and he is laying out the last when a fat woman, fleeing heavily toward Treasure Island, clutching what appears to be a bedsheet-load of wet laundry, notices what he is doing and starts to scream. And screams all the way out of sight, and can still be heard as he turns back into the shop, thinking of Tourmaline, his first wife.