Interface

20

There were lots of empty offices on the upper floors of Cy Ogle's old Cadillac dealership. When the PIPER project got underway, Aaron requested some place for the West Coast head­quarters of Green Biophysical Associates. Ogle just shrugged and told him to go upstairs and stake a claim. Aaron picked out an office on the third floor. As far as he could tell, he was the only other person in the whole building, which was kind of surprising in an election year.

But he was hardly the first. The building had the eroded, overused character of a subway station, with depressions worn into the thresholds and steps. Every time Aaron stepped through a doorway, through the sole of his tennis shoe he felt a gentle concavity in the floor, burnished down through several stacked layers of linoleum that left concentric ovals that looked like lines on a topographic map.

The offices were furnished with old steel desks and chairs done up in the colorless hues and unconvincing wood grain reserved for office furniture, but the walls were virtually papered with brightly colored bumper stickers and posters. Giant multiline telephone cables hung from rude holes in the plaster. Ogle was just in the process of computerizing his whole operation, buying big high-powered Calyx workstations from Pacific Netware, and those unsightly holes in the plaster made installation a snap. The vendor would haul the boxes into an office, uncrate the computers, and feed cables into the holes. They would emerge from ragged holes in other offices and plug into other workstations.

Aaron could only identify about 10 percent of the candidates hyped on the bumper stickers and posters that covered the walls, ceilings, doors, and even toilets. Most of them seemed to be for senatorial and gubernatorial races in states he wasn't familiar with. Many seemed to be from other countries. There were a few in Cyrillic and other alphabets that Aaron couldn't even recognize, much less read.

Aaron's life in the PIPER project was hectic but comfortable. He had discarded all pretense of being a serious businessman and gone back to basic R&D, and he was surprised to find how much happier he was. This was his natural way of life. He would meet with the Pacific Netware people, either here in Oakland or in Marin County, and identify a set of problems to work on. He would fly to Boston and solve those problems with his partners, then fly back here and repeat the cycle. He left his nice suit in Boston on his first trip and then returned to Oakland on the red-eye, checking a duffel bag stuffed with T-shirts and flannel shirts. He slept on the floor of the new office in Oakland, ate pizza, and was happy.

On many occasions he ran into people in the empty hallways or the empty stairwells, carrying sheafs of paper or videotapes from one bleak, empty office to another. So far he had not seen anyone twice. He did not know anyone well enough to say hello to them. A lot of people worked for Ogle, it seemed, but they didn't stay in one place for very long. So he was a little startled one evening when Ogle abruptly stuck his head into the doorway and said, "You want to see a hell of a thing?"

"What is it?" Aaron said.

"The first female president of the United States," Ogle said.

"I didn't realize they had held an election."

"Mark my words. I will lay money on it," Ogle said. "C'mon."

Aaron got up and followed Ogle down the stairs. He needed to stretch his legs anyway.

Ogle had a video editing studio set up on the first floor, back behind the "Oval Office" and all the other sets. Half a dozen small but good color monitors were mounted on racks, each hooked up to a different videotape machine, and all the machines were hooked up to each other, and to a Calyx workstation, with an incomprehensible web of thick black cables.

Two men and a woman were in the room, draped over the furniture in poses that suggested they had been there for quite a while. Aaron had seen a couple of them, here and there, around the building from time to time.

Ogle was a goofball. He was loose enough to seem positively loopy to most people. He spent a lot of time staring off into space with his rosebud mouth twisted in kind of an incredulous, sneering grin. But he was also a southerner and could suddenly turn on full charm-school etiquette when it was the appropriate thing to do. So as he led Aaron into the room, he pirouetted and held one hand out to gesture at these three people and properly introduce them.

"This is Aaron Green of Green Biophysical systems, our head genius on PIPER," he said. "Aaron, I would like you to meet Tricia Gordon, who is the most talented time buyer on earth; she did the buying on the big Coke campaign last year."

Aaron did not have the slightest idea what Ogle was talking about. He smiled at Tricia Gordon, she held out her hand, he shook it. She was wearing a relatively formal blue knit dress, largish abstract jewelry, and had red hair that was done up in a fairly ambitious style. She was confident and pleasant.

"And this is Shane Schram, a clinical psychologist from Duke by way of Harvard. He does our FGIs, and can he ever dig down beneath the surface on an FGI!"

Aaron still had no idea what was happening. He shook the hand of Shane Schram, who did not stand up or say anything, just dropped the chopsticks he was using to eat with and held his hand up in the air for Aaron to shake. He was broad-shouldered, prematurely bald, rumpled, and smart.

Ogle was still laughing at Shane Schram. "When our FGI people come out of the room, they feel like they've been on the rack. Shane is the Savonarola of focus groups."

"I see, that's great," Aaron mumbled.

"And this is my old pal Myron Morris, who once said that the single most important political development of the last quarter century was the zoom lens. Myron's a filmmaker, in case you hadn't guessed. He did those cinema verité flood-damage spots for Representative Dixon down in Texas."

Aaron shook the hand of Myron Morris, who was a wide-faced, jolly but cynical type in his early fifties, wearing bits and pieces of a fairly nice suit.

"I just caught his off CNN," Ogle said, waggling a thick, three-quarter-inch video cassette in the air, "and I thought y'all might like to see it."

"Was this on Prime News?" Tricia Gordon said.

"It was indeed," Ogle said, shoving the cassette into a big professional videotape recorder. The VTR clunked loudly, like a big truck shifting into gear, and an image materialized on the screen above it.

The anchorman was introducing a segment; over his shoulder was a small head shot of Earl Strong, the scary populist who had been making waves in Colorado. Aaron couldn't hear much, because the sound was turned down. They cut to a shot of a shopping mall with the words DENVER, COLORADO supered across the bottom.

Everyone except Aaron laughed.

"Original choice of venue," Myron Morris said, apparently being facetious.

Reverse angle: as seen from near the entrance to the mall, a white limousine pulled up, festooned with flags and slogans, and a number of people climbed out, including Earl Strong.

"Jesus, what a putz," Myron Morris said. "It's deserted. What a waste."

Ogle must have noticed that Aaron looked confused. "They probably have a million supporters inside the mall, but none positioned outside to greet him. So he looks like a nobody," Ogle explained.

"They should have pulled a bus or something up as a backdrop. Something. Anything," Morris said.

"See, the parking lot behind is full of glare," Ogle explained. "Reflections of windshields and so on. But the entrance to the mall is in shade. So we can't see the guy's face at all-

"Now watch! He's just going to disappear here," Morris said.

On the TV, Earl Strong crossed into the shadow of the mall and became a featureless silhouette. The camera zoomed in on his face, trying to compensate for the high contrast between the glare out in the parking lot and the dim light on Strong's face, but it looked terrible either way.

"He tried," Ogle said.

"Who tried?" Aaron said.

"The cameraman," Morris snapped.

On the TV, Earl Strong approached the doors of the mall and then there was another cut. Aaron still couldn't hear anything, but it sounded like a reporter was delivering a voiceover during all of this.

"Master race in skimmers," Morris said.

As if on cue, the screen was filled with a couple of big fat middle-aged white ladies in COME ON STRONG T-shirts and EARL STRONG skimmers, clapping their hands to the beat of a campaign song.

"Good rhythm for Aryans," Shane Schram said.

"UFOs Ate My Brain," Tricia Gordon said.

"Now we'll go to some stumpage," Morris said.

Again, perfectly on cue, Earl Strong appeared on screen, delivering some prepared remarks.

"Have you seen this footage before?" Aaron asked Morris.

"Get out of here," Morris said.

"Nice lighting, huh?" Tricia Gordon said.

"I love it," Morris said.

Earl Strong was standing on a platform. The camera shooting this footage was down below him, aimed upward so that, as backdrop, Earl Strong had mostly the ceiling of the mall. But part of the ceiling consisted of skylights, and where it didn't have skylights, it had brilliant mercury-vapor lamps. The skylights made great patches of glare and the lamps made long wavy streaks across Earl Strong's face.

"Jesus. Television cameras should be outlawed in the Sun Belt," Morris said. "Film only. How many times do I have to say it?"

Everyone in the room was laughing at Morris. But Morris had eyes only for the TV set. "Whoa! Whoa! Hold up here! We have some real-life campaign drama!"

Everyone was suddenly totally silent, crowding in closer to the screen.

The camera was now aimed at a black woman who was apparently standing down below Earl Strong. She was slender, with high cheekbones, and at first glance she looked as if she might be in her late twenties. But on second thought, early forties was more like it. For a woman in her early forties she was a knockout. Not in an overtly sexy way. She had a nice face, with big eyes. She was wearing an overcoat that was too big, but its bulk contrasted well with her relatively sharp and slender build, and its navy-blue color suited her skin tones. Her backdrop was a wall of Earl Strong supporters wearing colorful T-shirts, all of whom were hastily backing away from her; she stood in the center of an arena of fat, vivid Aryans, all facing inward, emphasizing her importance. As she spoke, she inclined her face up into the even, omnidirectional light streaming down from above; the same light that cast Earl Strong into shadow served as perfect illumination for her.

"The choreography blows my mind," Ogle said.

"I love her," Tricia Gordon said. "And she lights well."

"She's telling the truth," Schram said. "Whatever she's saying, I believe her."

"The drama of this thing is unreal," Myron Morris said. "One woman standing alone, all these trailer-park Nazis shrinking away like rats."

Cut back to Earl Strong, now looking straight down at her so that his face was completely obscured by a sinister shadow.

Myron Morris suddenly went nuts! He fell out of his chair, dropping to his knees below the television set, and clasped his hands together as if in prayer.

"Zoom in! Zoom in! Zoom in and his career is over!" he screamed.

The camera began to zoom. Earl Strong's face grew to fill the screen, grew into a devastating extreme closeup.

"Yes! Yes! Yesss!" Morris was screaming. "Slit the bastard's throat!"

Once the backlighting had been removed by zooming in tight, the camera's electronics were able to pick up every nuance of Earl Strong's face in clinical detail. A storm front of perspiration had burst through the powder and pancake on his forehead; individual drops of it began to run down. One of them made a beeline for the corner of his eye and that eye began to blink spastically. Earl Strong's mouth was half open and his tongue had come forward, sticking half out of his mouth as he tried to think of what to do next. A huge Caucasian blur burst up through the bottom of the frame: his hand, brushing the sweat away from his stricken eyeball, stopping on the way down to shove one thumb into a nostril and pick out something that had been troubling him there.

Morris suddenly jumped to his feet and thrust an accusing finger directly into Earl Strong's face on the screen. "Yes! You are dead! You are dead! You are dead! You are dead and buried, you inbred booger picking little shit! We gotta find the cameraman who did that and give him a medal."

"And a decent job," Ogle said.

Back to the black woman, still standing there. Her face was alert, her jaw set, her eyes burning, but she remained solid and still, a perfect subject for the camera. The camera zoomed in a little closer but still found no imperfections. There were a few wrinkles around the eyes. It just made her look even wiser than she already did, standing next to Earl Strong.

"Ronald Reagan eat your fucking heart out," Shane Schram said.

"There's something about her face, too," Ogle said.

"She's been through some heavy shit, you can tell. An American Pietá," Tricia Gordon said.

"Let's go down there and represent her," Shane Schram said.

"What's she running for?" Morris said.

"Nothing. She's a bag lady," Ogle said.

A look of ecstatic fulfillment came over Morris's face.

"No!" he said.

"Yes," Ogle said.

"It can't be. It's too perfect," Morris said. "It is just too fucking ideal."

"She's a bag lady, and according to our polls, she knocked twenty-five points off of Earl Strong's standings today."

Morris threw up his hands. "I quit," he said. "There's no need for me. Real life is too good."

"We have to run her for something," Tricia Gordon said, staring fixedly at the TV screen.

"Excuse me," Aaron said, "but aren't you all forgetting something?"

"What's that?" Ogle said. They were all staring at him, suddenly quiet.

"We haven't heard a word the woman's said," Aaron said. "I mean, she could be a raving lunatic."

They all burst into dismissive scoffing noises. "Screw that," Shane Schram said. "Look at her face. She's solid."

"Fuck that shit," Morris said. "That's what writers are for."