Текст книги "Haunted"

Автор книги: Charles Michael «Chuck» Palahniuk

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Текущая страница: 4 (всего у книги 23 страниц)

The floor producer is unclipping the radio mike off the back of the man's belt. She's handing it to the slick guy.

And to the old goober, he says, “Good morning, Dad.”

Grabbing the slick guy's hand and shaking it, the goober says, “How's your mom?”

The Nev-R-Run Pantyhose Girl. The girl you leave behind.

Our Miss Blonde stands. She gets to her feet, to give up, go home, fail.

And, taking the radio mike, checking the switch, to make sure it's not hot, the slick guy says, “She's dead.”

She's dead and buried, and he'll never say where. Or, if he does, he'll lie about the city.

And, splash.

His hair and face, cold and wet.

He's covered all over in coffee. Cold coffee. His shirt and tie, ruined. His slick hair washed down across his face.

Our blonde reaches to take the radio mike, and she says, “Thanks for the advice.” She says, “I think this makes me next . . .”

And tons worse than being too blonde, worse than wrecking his slick clothes and hair, our skinny girl has fallen in fucking love with him.

4

In the blue velvet lobby, something comes thudding down the stairs from the shadows of the first balcony. Step by step, the thudding gets louder until it's rumbling, round-dark, rolling down from the dim second floor. It's a bowling ball, thudding down the center of the staircase. Rolling black-silent across the lobby's blue carpet, Sister Vigilante's bowling ball passes Cora Reynolds where he licks his paws, then past Mr. Whittier drinking instant coffee in his wheelchair, then past Lady Baglady and her diamond husband, then the ball knocks, heavy-black, through the double doors, disappearing into the auditorium.

“Packer,” Lady Baglady tells her diamond, “there's something locked in here with us.” Making her voice low, almost a whisper, she asks the diamond, “Is it you?”

That little square of glass you're only supposed to break in the event of a fire, Miss America has already broken it. Every little window framed in red-painted metal with a little hammer hanging next to it on a chain, she breaks the glass and pulls the switch inside. Miss America does this in the lobby. Then in the red-lacquered, Chinese-restaurant-styled promenade with all its carved plaster Buddhas. Then in the Mayan-temple-styled foyer in the basement with its leering carved warrior faces. Then the Arabian Nights gallery behind the second-balcony boxes. Then in the projection booth tucked up against the roof.

Then nothing happens. No bells ring. No one comes to chop through the locked fire doors to rescue her. To rescue us.

Nothing happened, and nothing kept happening.

Mr. Whittier sits on a blue velvet sofa in the lobby, under the glass leaves of a chandelier big as a sparkling gray cloud above him.

Already, the Matchmaker was calling the chandeliers “trees.” The row of them hanging down the center of each long salon or gallery or lounge. He called them orchards of glass grown out of chains wrapped in velvet and rooted in the ceiling.

Each of us seeing our own private at-home reality in these same big rooms.

The Earl of Slander is writing in his notepad. Agent Tattletale, videotaping. Countess Foresight, wearing her turban. Saint Gut-Free, eating.

With her whole arm, Director Denial tosses a fake mouse, and it lands halfway to the auditorium doors. With the other hand, she rubs the shoulder of her throwing arm while the cat, Cora Reynolds, brings the mouse back, his paws raising a rooster tail of boiling dust from the carpet.

Watching them, one arm folded across her chest to support her breasts, one hand twisted around to rub the back of her neck, Mrs. Clark says, “In the Villa Diodati, they had five cats.”

Saint Gut-Free eats instant crêpe Suzette out of a Mylar bag with a plastic spoon.

Shaping her fingernails with an emery board, Lady Baglady watches every dripping pink spoonful move from the bag to his mouth, and she says, “That can't be any good.”

And nothing more happens. More nothing happens.

That's until Miss America comes to stand in the middle of us, saying, “This is illegal.” What Mr. Whittier has done is kidnapping. He's holding people against their will, and that's a felony.

“The sooner you do as you promised,” Mr. Whittier says, “the sooner these three months will go by.”

Throwing the fake mouse, Director Denial says, “What is the Villa Diodati?”

“It's a house on Lake Como,” Lady Baglady tells her fat diamond.

“Lake Geneva,” Mrs. Clark says.

Looking back, it was Mr. Whittier's stand that we're always right.

“It's not a matter of right and wrong,” Mr. Whittier would say.

Really, there is no wrong. Not in our own minds. Our own reality.

You can never set off to do the wrong thing.

You can never say the wrong thing.

In your own mind, you are always right. Every action you take—what you do or say or how you choose to appear—is automatically right the moment you act.

His hand shaking as he lifts his cup, Mr. Whittier says, “Even if you were to tell yourself, ‘Today, I'm going to drink coffee the wrong way . . . from a dirty boot.' Even that would be right, because you chose to drink coffee from that boot.”

Because you can do nothing wrong. You are always right.

Even when you say, “I'm such an idiot, I'm so wrong . . .” you're right. You're right about being wrong. You're right even when you're an idiot.

“No matter how stupid your idea,” Mr. Whittier would say, “you're doomed to be right because it's yours.”

“Lake Geneva?” Lady Baglady says with her eyes closed. Pinching her temples, rubbing them between the thumb and index finger of one hand, she says, “The Villa Diodati is where Lord Byron raped Mary Shelley . . .”

And Mrs. Clark says, “It was not.”

We're all condemned to be right. About everything we can consider.

In this shifting, liquid world where everyone is right and any idea is right the moment you act on it, Mr. Whittier would say, the only sure thing is what you promise.

“Three months, you promised,” Mr. Whittier says through the steam of his coffee.

It's then something happens, but not much.

In that next look, you feel your asshole get tight. Your fingers fly to cover your mouth.

Miss America is holding a knife in one hand. With her other hand, she grips the knot of Mr. Whittier's necktie, pulling his face up toward her own. Mr. Whittier's coffee, dropped, spilled steaming-hot on the floor. His hands hang, shaking, swirling the dusty air at each side.

Saint Gut-Free's silver bag of instant crêpe Suzette drops, spilled out on the cornflower-blue carpet, the sticky red cherries and reconstituted whipped cream.

And the cat runs over for a taste.

Her eyes almost touching Mr. Whittier's, Miss America says, “So I'm right if I kill you?”

The knife, one of the set that Chef Assassin brought in his aluminum suitcase.

And Mr. Whittier looks back into her eyes, so close their lashes touch when they blink. “But you'll still be trapped,” he says, his few gray hairs hanging loose from the back of his skull. His voice choked to a croak by his necktie.

Miss America waves the knife at Mrs. Clark, saying, “What about her? Does she have a key?”

And Mrs. Clark shakes her head, No. Her eyes popped-open wide, but her baby-doll pout still silicone-frozen.

No, the key is hidden somewhere in the building. A place only Mr. Whittier would look.

Still, even if she kills him she's right.

If she sets fire to the building and hopes the firemen will see the smoke and rescue her before we all suffocate—she's right, again.

If she sticks the knife point in Mr. Whittier's milky-cataract eyeball and pops it out on the floor for the cat to bat around—she's still right.

“In the face of that,” Mr. Whittier says, his necktie pulled tight in her fist, his face turning dark red, his voice a whisper, “let's start by doing what we promised.”

The three months. Write your masterpiece. The end.

The chrome wheelchair clatters when he lands, dropped by Miss America's hand. Carpet dust fills the air, and the chair's two front wheels lift off the carpet when he lands so hard. Both Mr. Whittier's hands go to his collar, to pull his tie loose. He leans down to take his coffee cup off the floor. His gray comb-over hairs, hanging straight down, fringe around the sides of his spotted bald head.

Cora Reynolds keeps eating the cherries and cream off the dusty carpet beside Saint Gut-Free's chair.

Miss America says, “This is so not over . . .” And she shakes the blade of the knife at everyone in the lobby. One fast sweep of her arm, a shudder and twitch of her muscles, and the knife is now stuck in the back of a palace chair across the room. The blade buried and humming in blue velvet, the handle still shivers.

From behind his video camera, Agent Tattletale says, “Print it.”

Cora Reynolds, his pink suede tongue still lick-lick-licking the sticky carpet.

The Earl of Slander writes something in his notebook.

“So, Mrs. Clark,” Lady Baglady says, “the Villa Diodati?”

“They had five cats there,” Mr. Whittier says.

“Five cats and eight big dogs,” Mrs. Clark says, “three monkeys, an eagle, a crow, and a falcon.”

It was a summer house party in 1816, where a group of young people spent most days trapped in a house because of rain. Some of them were married, some not. Men and women. They read ghost stories to each other, but the books they had were terrible. After that, they all agreed to write a story. Any sort of scary story. To entertain each other.

“Like the Algonquin Round Table?” Lady Baglady asks the diamond on the back of her hand.

Just a group of friends sitting around, trying to scare each other.

“So what did they write?” Miss Sneezy says.

Those middle-class, bored people just trying to kill time. People trapped together in their moldy-damp summer house.

“Not much,” Mr. Whittier says. “Just the legend of Frankenstein.”

Mrs. Clark says, “And Dracula . . .”

Sister Vigilante comes down the stairs from the second floor. Crossing the lobby, she's looking under tables, behind chairs.

“It's in there,” Mr. Whittier says, lifting a blurred finger to point at the auditorium double doors.

Lady Baglady looks off, sideways, to the auditorium doors where Miss America and the bowling ball have both disappeared. “My late husband and I were experts at being bored,” says Lady Baglady, and she makes us wait as she takes three, four, five steps across the lobby to pull the knife out of the chair back.

Holding the knife, looking at the blade, feeling how sharp with her finger, she says, “I could tell you all about how rich, bored people kill time . . .”

Think Tank

A Poem About Lady Baglady

“It only takes three doctors,” says Lady Baglady, “to make you disappear.”

For the rest of your natural life.

Lady Baglady onstage, her legs are waxed smooth. Her eyelashes, dyed thick-black.

Her teeth bleached bright as her pearls. Her skin, massaged.

Her diamond ring flashes, lighthouse-bright.

Her linen suit, first pinned and chalked, then tucked and trimmed

until it will fit no one else in the world.

All of her, a monument to sitting still

while a team of trained experts toiled long and hard,

for a lot of money.

Onstage, instead of a spotlight, a movie fragment:

A veil of women dragging fur coats. The feeling of silk settles over her face.

On film, the armor of gold and platinum jewelry, warning you

with the red flash of rubies and canary-yellow sapphires.

Lady Baglady says, “It's no fun, having a genius for a father.”

Or a mother or husband or wife, ask anyone. Anyone rich.

Still, she says, it only takes three doctors . . .

Thanks to the Think Tank Sanitarium.

“Really brilliant people,” she says, “they're really most-happy, being . . .

fully committed.”

If Thomas Edison were alive. Madame Curie. Albert Einstein.

Their husbands, wives, sons, daughters would all sign the necessary paperwork.

In an instant.

“To protect their income stream,” says Lady Baglady.

That flow of money from fees and royalties for patents and inventions.

The veil of spa treatments and pedicures, charity balls and opera boxes, wiping

Lady Baglady's smooth face,

she says, “My own father included. For his own good.”

“He was . . . acting out,” she says. “Seeing a younger woman. Wearing a toupee.”

Not sharing the income from his product line. Neglecting his work.

So—three doctors later—there he is:

With all the other genius inventors. Behind locked doors.

Without telephones.

For the rest of his natural life.

From inside her veil of private islands . . . horse shows . . . estate auctions,

Lady Baglady says, “The acorn never does fall far.”

She says, “We're all . . . some kind of genius.

“Just,” she says, “some of us in other ways.”

Slumming

A Story by Lady Baglady

After you give up television and newspapers, the mornings are the worst part: that first cup of coffee. It's true, that first hour awake, you want to catch up with the rest of the world. But her new rule is: No radio. No television. No newspaper. Cold turkey.

Show her a copy of Vogue magazine, and Mrs. Keyes still gets choked up.

The newspaper comes, and she just recycles it. She doesn't even take off the rubber band. You never know when the headline will be:

“Killer Continues to Stalk the Homeless”

Or: “Bag Lady Found Butchered”

Most mornings over breakfast, Mrs. Keyes reads catalogues. You order just one single miracle shoe-tree over the telephone, and every week, for the rest of your life, you'll get a stack of catalogues. Items for your home. Your garden. Time-saving. Space-saving gadgets. Tools and new inventions.

Where the television used to be, there on the kitchen counter, she put an aquarium with the kind of lizard that changes color to match your decor. An aquarium, you flip the switch for the heat lamp and it's not going to tell you another transient wino was shot to death, his body dropped in the river, the fifteenth victim in a killing spree targeting the city's homeless, their bodies found stabbed and shot and set on fire with lighter fluid, the street people panicked and fighting their way into the shelters at night, despite the new tuberculosis. The outbound boxcars packed full. The social advocates claiming the city has put out a hit on panhandlers. You get all this just glancing at a newsstand. Or getting into a cab with the radio turned up loud.

You get a glass tank, put it where the TV used to be, and all you get is a lizard—something so stupid that every time the maid moves a rock the lizard thinks it's been relocated miles away.

It's called Cocooning, when your home becomes your whole world.

Mr. and Mrs. Keyes—Packer and Evelyn—they didn't use to be this way. It used to be not a dolphin died in a tuna net without them rushing out to write a check. To throw a party. They hosted a banquet for people blown apart by land mines. They threw a dinner dance for massive head trauma. Fibromyalgia. Bulimia. A cocktail party and silent auction for irritable bowel syndrome.

Every night had its theme:

“Universal Peace for All Peoples.”

Or: “Hope for Our Unborn Future.”

Imagine going to your senior prom every night for the rest of your life. Every night, another stage set made of South American cut flowers and zillions of white twinkle lights. An ice sculpture and a champagne fountain and a band in white dinner jackets playing some Cole Porter tune. Every stage set built to parade Arab royalty and Internet boy wonders. Too many people made rich fast by venture capital. Those people who never linger on any landmass longer than it takes to service their jet. These people with no imagination, they just flop open Town & Country and say:

I want that.

At every benefit for child abuse, everyone walked around on two legs and ate crème brûlée with a mouth, their lips plumped with the same derma fillers. Looking at the same Cartier watch, the same time surrounded with the same diamonds. The same Harry Winston necklace around a neck sculpted long and thin with hatha yoga.

Everyone climbed in or out different colors of the same Lexus sedan.

No one was impressed. Every night was a complete and utter social stalemate.

Mrs. Keyes's best friend, Elizabeth Ethbridge Fulton Whelps, “Inky,” used to say there's only one “best” of anything. One night, Inky said, “When everyone can afford the best, the truth is, it does look a little—common.”

All the Old Society had gone missing. The more newly minted media barons showed up at any event, the fewer old-money railroad or ocean-liner crowd would.

Inky always said being absent is the new being present.

It's after some cocktail reception for victims of gun violence that the Keyeses walk out to the street. Packer and Evelyn are coming down the art-museum steps, and there's the usual long line of nobodies waiting in fur coats for the parking valets. This is right on the sidewalk, near a bus-stop bench. Sitting on the bench are a wino and a bag lady everyone's trying not to see.

Or smell.

These two, they're not young, dressed in clothes you might find in the trash. Bits of thread showing at every seam, the fabric stiff and blotchy with stains. The bag lady has on tennis shoes flopping open with no laces. Her hair shows through, matted and crushed inside the webbing of a wig, the fake plastic hair as rough and gray as steel wool.

The wino has a knitted brown stocking cap pulled down on his head. He's pawing the bag lady, shoving one hand down the front of her stretch-polyester pants and crawling his other hand up under her sweatshirt. The bag lady, she's twisting inside her clothes, moaning, her tongue rolling around her open lips.

The bag lady, where her sweatshirt is pulled up, her stomach looks flat and tight, her skin massaged pink.

The wino, his baggy sweatpants are tented in front with an erection. The peak of his tent shows a dark spot of wet leaked through.

Packer and Evelyn, they must be the only ones watching these two grope each other. The parking valets run between here and the parking garage down the block. The mob of new money looks at the sweep-second hand go around and around on their diamond watches.

The wino pulls the bag lady's face against the outline in his pants. The bag lady's lips, they crawl around on the dark stain growing there.

The bag lady's lips, Evelyn tells Packer, she knows those lips.

You hear a little sound, the kind of shrill ring that makes everyone waiting for a valet reach into a fur-coat pocket for their cell phone.

Oh my God, Mrs. Keyes says. She tells Packer, That bag lady getting pawed by the wino, that could almost be Inky. Elizabeth Ethbridge Fulton Whelps.

The shrill little ring sounds again, and the bag lady reaches down. She pulls up the bottom of one pant leg, unhemmed and unraveling beige polyester, to show her leg wrapped thick with a dirty elastic bandage. Her lips still on the wino's crotch, from between layers of bandages her fingers take a little black handful.

The shrill ring comes again.

The last Evelyn heard, Inky ran a magazine. Maybe Vogue magazine. She spent half of each year in France, deciding the hemline for next season. She sat ringside at the shows in Milan, and taped a fashion commentary that ran on some cable news network. She stood on red carpets and talked about who wore what to the Academy Awards.

This bag lady on the bus-stop bench, she holds the black object to the side of her gray plastic wig. She fingers it and says, “Hello?” She takes her mouth off the wet bulge in the wino's pants, and she says, “Are you writing this down?” She says, “Lime is the new pink.”

The bag lady's voice, Mrs. Keyes tells her husband, she knows that voice.

She says, “Inky?”

The bag lady slips the little phone back between the bandages around her leg.

“That stinky wino,” Packer says, “that's the president of Global Airlines.”

It's then the bag lady looks up and says, “Muffy? Packer?” The wino's hand still feeling around deep in the front of her stretch pants, she pats the bench beside her and says, “What a nice surprise.”

The bum pulls back his fingers, shiny wet in the streetlight, and he says, “Packer! Come say hello.”

And of course Packer is always right.

Poverty, Inky says, is the new wealth. Anonymity is the new fame.

“Social divers,” Inky says, “are the new social climbers.”

The Jet Set are the original homeless people, Inky says. We may have a dozen homes—each in a different city—but we still live out of a suitcase.

This makes sense, if only because Packer and Evelyn are never on the cutting edge of anything. This whole social season, they've been going to horse shows, gallery openings, and auctions, telling each other all the Old Guard socialites were in detox or having cosmetic surgery.

Inky says, “Whether you do it with a shopping cart or a Gulfstream G550, it's the same instinct. To always be on the move. To not be tied down.”

Anymore, she says, all you need is cash money, and you're sitting on the Opera Steering Committee. You make a hefty donation, and you get a place on the Museum Foundation Board.

You write a check, and that makes you a celebrity.

You get stabbed to death in a hit movie, and you're famous.

In other words: tied down.

Inky says, “Nobodies are the new celebrity.”

The Global Airlines wino, he has a bottle of wine, wrapped in a brown paper bag. The wine, he says, is mixed with equal parts of mouthwash, cough syrup, and Old Spice cologne, and after one drink the four of them go strolling through the dark, through the park, where you'd never go at night.

What you have to love about drinking is, every swallow is an irrevocable decision. You charging ahead, in control of the game. It's the same with pills, sedatives and painkillers, every swallow is a definite first step down some road.

Inky says, “Public is the new private.” She says, if you check into even the most boutique hotel—one of those white-robe places with orchids trembling next to the bidet in a white marble bathroom—even then, chances are a tiny camera is wired to watch you. She says the only place left to have sex is out in the open. The sidewalk. The subway. People only want to watch if they think they can't.

Besides, she says, the entire champagne-and-caviar lifestyle had lost its zap. Taking the Lear jet from here to Rome in six hours, it's made escaping too easy. The world feels so small and played out. Globe-trotting is just the chance to feel bored more places, faster. A boring breakfast in Bali. A predictable lunch in Paris. A tedious dinner in New York, and falling asleep, drunk, during just another blow job in L.A.

Too many peak experiences, too close together. “Like the Getty Museum,” Inky says.

“Lather, rinse, and repeat,” says the Global Airlines wino.

In the boring new world of everyone in the upper-middle class, Inky says nothing helps you enjoy your bidet like peeing in the street for a few hours. Give up bathing until you stink, and just a hot shower feels as good as a trip to Sonoma for a detoxifying mud enema.

“Think of it,” Inky says, “as a kind of poverty sorbet.”

A nice little window of misery that helps you enjoy your real life.

“Join us,” Inky says. The sticky green stain of cough syrup smeared around her mouth, strands of her plastic wig hair sticking to it, she says, “This next Friday night.”

Looking bad, she says, is the new looking good.

She says all the right people will be there. The Old Guard. The best parts of the Social Register. Ten in the evening, under the west-side ramps to the bridge.

They can't, Evelyn says. Packer and her, Wednesday night they're committed to attend the Waltz to End Hunger in Latin America. Thursday is the Aboriginals in Need Banquet. Friday is a silent auction for runaway teen sex workers. These events, with all the polished acrylic awards they hand out, it makes you long for the day when the number-one fear of Americans was public speaking.

“Just go to the midtown Sheraton,” Inky says. “Check into a room.”

Evelyn must make a pug-dog face, because then Inky tells her, “Relax.”

She says, “Of course we don't stay there. Not at a Sheraton. It's only a place to change clothes.”

Anytime after ten on Friday night, she says, under the ramps of the bridge.

Packer and Evelyn Keyes, their first problem is always what to wear. For a man, it looks easy. All he has to do is put on his dinner jacket and his trousers inside out. Put your shoes on the wrong feet. Voilà—you look crippled and crazy.

“Insanity,” Inky would say, “is the new sanity.”

Wednesday, after the hunger waltz, Packer and Evelyn come out of the hotel ballroom and you can hear someone on the street singing “Oh Amherst, Brave Amherst.” In the street, Frances “Frizzi” Dunlop Colgate Nelson is drinking oversized cans of malt liquor with Schuster “Shoe” Frasier and Weaver “Bones” Pullman, the three of them sitting with their dirty pants rolled up and their bare feet in a fountain. Frizzi is wearing her bra on the outside.

Dressing down, Inky says, is the new dressing up.

At home, Evelyn tries on a dozen garbage bags, green and black plastic bags big enough for yard debris, but they all make her look fat. To look good, she settles on a narrow white bag made for upright kitchen trash. It looks elegant, even, snug as a Diane von Furstenberg wrap dress, belted with a melted old electrical cord, a dash of bright safety orange, with the loose wires and plug hanging loose down one side.

This season, Inky says everyone is wearing their wigs backward. Mismatched shoes. Cut a hole in the center of a soiled blanket, she says, wear it as a poncho, and you're ready for a night of fun on the street.

To be safe, the evening they check into the midtown Sheraton, Evelyn takes three suitcases full of army surplus. Yellowed, stretched-out bras. Sweaters thick with balls of lint. She takes a jar of clay facial mask to dirty them up. They sneak down the hotel fire stairs, fourteen flights to a door that opens on a back alley, and they're free. They're nobody. Anonymous. Without the responsibility to run anything.

No one's looking at them, asking for money, trying to sell them something.

Walking to the bridge, they're invisible. Safe in their poverty.

Packer starts to limp a little, from his shoes being on the wrong feet. Evelyn lets her mouth hang open. Then she spits. Yes, the girl taught to never even scratch an itch in public, she spits in the street. Packer sways, bumping against her, and she clutches his arm. He swings her around, and they kiss, reduced to just two wet mouths while the city around them, it disappears.

That first night on the street, Inky comes over with something reeking inside a black patent-leather purse webbed with cracks. It's the smell of low tide on a hot day at the shore. The smell, “It's the new anti-status symbol,” she says. Inside the purse is a cardboard takeout box from Chez Héloise. Inside the box is a fist-sized lump of orange roughy. “Four days old,” Inky says. “Swing it around. The smell beats a bodyguard for keeping people away.”

Stink for privacy, the new way to protect personal space. Intimidation by odor.

You can get used to any smell, she says, no matter how bad. Inky says, “You got used to Calvin Klein's Eternity . . . ?”

The two of them, Inky and Evelyn, walk around the block, getting a little chill time away from the party. Up ahead, the entourage of some miniskirt statue is piling out of a limousine, thin people with headsets wired between their mouth and ear, each person holding a conversation with someone far away. As the two waddle past, Inky stumbles, brushing the purse full of rotten fish, pressing it against the sleeves of leather and fur coats. The bodyguards in dark suits. Personal assistants in tailored black.

The entourage crowds together, pulling away, all of them moaning and pressing a manicured hand over their nose and mouth.

Inky, she keeps on walking. She says, “I love doing that.”

In the face of this new money, Inky says it's time to change the rules. She says, “Poverty is the new nobility.”

Up ahead is a herd of Internet millionaires and Arab oil sheikhs, all of them smoking outside an art gallery, and Inky says, “Let's go pester them for pocket change . . .”

This is their vacation from being Packer and Muffy Keyes, the textile CEO and the tobacco-products heiress. Their little weekend retreat into the social safety net.

The Global Airlines wino happens to be Webster “Scout” Banners. Him, Inky, and Muffy, they meet up with Skinny and Frizzi. Then Packer and Boater come join them. Then Shoe and Bones. They're all drunk and playing charades, and at one point Packer shouts out, “Is there anyone under this bridge not worth at least forty million dollars?”

And, of course, you only hear the traffic passing by above.

Later, they're pushing shopping carts someplace industrial. Inky and Muffy pushing one cart, Packer and Scout walking a ways behind. And Inky says, “You know, I used to think the only thing worse than losing at love was winning . . .” She says, “I used to be so in love with Scout, ever since school, but you know how events . . . disappoint us.”

Inky and Muffy, their hands wearing those gloves without fingers so they can sort old cans better, Inky says, “I used to think the secret to a happy ending was to bring down the curtain at the exact right time. A moment after happiness, then everything's all wrong, again.”

Those social climbers who think they have it tough—their fear of using the wrong fork, or panicking when the fingerbowls are passed—the homeless have so much more to fret about. There's botulism. There's frostbite. A flash of capped tooth could expose you. A whiff of Chanel No. 5.

Any of a million little details could give you away.

They've become what Inky calls the “Commuting Homeless.”

She says, “Now? Now I love Scout. I love him as if I'd never married him.” On the streets like this, it feels like they're pioneers starting a new life in some wilderness. But instead of bears or wolves to worry about, they have—Inky shrugs and says—drug dealers and drive-by shootings.

“This is still the best part of my life,” she says, “but I know it can't last forever . . .”

Already her new social calendar was filling up. All this social diving. Doing anything on Tuesday is out of the question, because she plans to go rag-picking with Dinky and Cheetah. After that, Packer and Scout are meeting to sort aluminum cans. After that, everyone's stopping by the free clinic to have our feet looked at by some young, dark-eyed doctor with a vampire accent.