Makers Part 81

He brought her to a coach-station and saw her aboard a bus marked for the Polynesian, decorated with tiki-lamps, bamboo, and palm-fronds (she touched one and discovered that it was vinyl). He refused her tip as they saw her aboard, and then stood and waved her off with his white gloves and giant white smile. She had to chuckle as she pulled away, amazed at how effective these little touches were. She felt her muscles loosening, little involuntary chuckles rising in her throat. The coach was full of parents and children from all over the world, grinning and laughing and hugging and talking excitedly about the day ahead of them.

The coach let them off to a group of Hawai'ian-shirt-clad staff who shouted "Aloha!" at them as they debarked, and picked up their luggage with swift, cheerful, relentless efficiency. Her check-in was so painless she wasn't sure it was over until a nice young lady who looked Chechen picked up her bag for her and urged her out to the grounds, which were green and lush, like nothing she'd seen since landing in Florida. She was surrounded by the hotel structures, long-houses decorated with Polynesian masks and stalked by leggy ibises and chirping tropical birds. Before her was a white-sand beach fronting onto an artificial lake ringed with other luxury hotels: a gigantic 1970s Soviet A-frame building and a gingerbread-choked Victorian hotel. The lake was ringed with a monorail track and plied by handsome paddle-wheeler ferry-boats.

She stared gape-jawed at this until the bellhop gently tugged at her elbow, giving her a dazzling smile.

Her room was the kind of thing you'd see Lucy and Ricky checking into on honeymoon in an old *I Love Lucy* episode -- wicker ceiling fans, bamboo furniture, a huge hot-tub shaped like a seash.e.l.l. Outside, a little terrace looking over the lake, with a pair of c.o.c.katoos looking quizzically at her. The bellhop waved at them and they cawed at her and flew off. Suzanne must have made a disappointed noise, because the bellhop patted her on the arm and said, "Don't worry, we feed them here, they come back all the time. Greedy birdies!"

She tipped the bellhop five bucks once she'd been given the grand tour of the room -- a tame Internet connection that was "kid-friendly" and a likewise censored video-on-demand service, delivery pizza or sushi, information on park hours, including the dazzling array of extras she could purchase. It turned out that resort guests were eligible to purchase priority pa.s.ses for boarding rides ahead of the plebes, and for entering parks early and staying late. This made Suzanne feel right at home -- it was very Russian in its approach: the more you spent, the better your time was.

She bought it all: all the fast-pa.s.ses and priority cards, all of it loaded into a grinning Mickey on a lanyard, a wireless pendant that would take care of her everywhere she went in the park, letting her spend money like water.

Thus girded, she consulted with her bellhop some more and laid out an itinerary. Once she'd showered she found she didn't want to wear any of her European tailored shorts and blouses. She wanted to disappear into the Great American Ma.s.s. The hotel gift shop provided her with a barkcloth Hawai'ian shirt decorated with tessellated Disney trademarks and a big pair of loose shorts, and once she donned them, she saw that she could be anyone now, any tourist in the park. A pair of cheap sungla.s.ses completed the look and she paid for it all by waving her Mickey necklace at the register, spending money like water.

She pa.s.sed the rest of the day at the Magic Kingdom, taking a ferry from the hotel's pier to the Victorian wrought-iron docks on the other side of the little artificial lake. As she cleared the turnstiles into Main Street, USA, her heart quickened. Kids rushed past her, chased by their parents' laughing calls to slow down. Balloon sellers and old-fashioned popcorn machines jostled for s.p.a.ce in the crowd, and a bra.s.s band was marching down the street in straw boaters and red striped jackets, playing a Sousa march.

She ambled up the road, peering in the adorable little shop windows, like the shops in a fancy casino, all themed artificial facades that were, in back, all one shop, linked through the length of the street.

She reached the castle before she realized it, and saw that it was shorter than it had appeared. Turning around and looking back down Main Street, she saw that the trees lining the sides of the street had been trimmed so they got progressively smaller from the gates to the castle, creating a kind of false perspective line. She laughed now, amused by the accomplishment of the little trompe l'oeil.

She squeezed past the hordes of Asian tourists taking precisely the same picture of the castle, one after another, a phenomenon she'd observed at other famous landmarks. For some j.a.panese shutterbugs, the holiday photo experience was as formal as the Stations of the Cross, with each picture of each landmark rigidly prescribed by custom and unwritten law.

Now she was under the castle and headed for what her map a.s.sured her was Fantasyland. Just as she cleared the archway, she remembered her conversations with that Death Waits kid about Fantasyland: this was the part that had been made over as a goth area, and then remade as the Happiest Construction Site on Earth.

And so it was. The contrast was stark. From fairy castle to green-painted construction sidings. From smiling, well-turned out "castmembers" to construction workers with b.u.t.t-crack-itis and grouchy expressions. Fantasyland was like an ugly scar on the blemish-free face of a Barbie doll.

She liked it.

Something about all that artifice, all that cunning work to cover up all the bodies a company like Disney would have buried under its manicured Main Street -- it had given her a low-level, tooth-grinding headache, a kind of anger at the falseness of it all. Here, she could see the bodies as they buried them.

Out came her camera and she went on the prowl, photographing and photographing, seeking high ground from which to catch snaps over the siding. She'd look at the satellite pics of this spot later.

Now she knew what her next project would be: she would doc.u.ment this scar. She'd dig up the bodies.

Just for completeness' sake, she went on some of the rides. Her super-fancy pa.s.s let her sail past the long lines of bored kids, angry dads, exhausted moms. She captured their expressions with her camera.

The rides were all right. She was sick of rides, truth be told. As an art-form, they were wildly overrated. Some of them made her sick and some of them were like mildly interesting trips through someone's collection of action-figures in a dark room. The Disney rides didn't even let you drive, like Lester's ride did, and you didn't get to vote on them.

By the time the sun had gone down, she was ready to go back to the room and start writing. She wanted to get all this down, the beauty and the terror, the commerce lurking underneath the friendly facade. As the day lengthened into night, there were more and more screaming children, more angry parents. She caught parents smacking kids, once, twice, got her camera out, caught three more.

They sent a big pupu platter up to her room with a dish of poi and a hollow pineapple filled with rum. She took her computer out onto her lanai and looked out over the lake. An ibis came by and demanded some of her dinner sc.r.a.ps. She obliged it and it gave her a cold look, as if determining whether she'd be good for dessert, then flew off.

She began to write.

Something had changed between Kettlewell and Eva since they'd left Florida with the kids. It wasn't just the legal ha.s.sles, though there were plenty of those. They'd gone to Florida with a second chance -- a chance for him to be a mover again, a chance for her to have a husband who was happy with his life again.

Now he found himself sneaking past her when she was in the living room and they slept back to back in bed with as much room between them as possible.

Ada missed Lyenitchka and spent all her time in her bedroom IMing her friend or going questing with her in their favorite game, which involved Barbies, balrogs, and buying outfits. Pascal missed all the attention he had received as the designated mascot of the two little girls.

It was not a high point in the history of the Kettlewell clan.

"h.e.l.lo?"

"Landon Kettlewell?"

"h.e.l.lo, Freddy," he said.

"My fame precedes me," the journalist said. Kettlewell could hear the grin in his voice. That voice was unmistakable -- Kettlewell had heard it in the occa.s.sional hara.s.sing voicemail that Suzanne forwarded on.

"How are you?"

"Oh, I'm very well sir, and kind of you to ask, yes indeed. I hear you're not doing so well, though?"

"I can't complain."

"I wish you would, though." You could tell, Freddy thought he was a funny son of a b.i.t.c.h. "Seriously, Mr Kettlewell. I'm calling to follow up on the story of the litigation that Perry Gibbons and Lester Banks are facing for unilaterally canceling the arrangement you'd made to finance their litigation. I'm hoping that you'll give me a quote that might put this into perspective. Is the defense off? Will Gibbons and Banks be sued? Are you a party to the suit?"

"Freddy?"

"Yes, Mr Kettlewell."

"I am not a child, nor am I a fool, nor am I a sucker. I'm also not a hothead. You can't goad me into saying something. You can't trick me into saying something. I haven't hung up on you yet, but I will unless you can give me a single good reason to believe that any good could possibly come out of talking to you."

"I'm going to write this story and publish it today. I can either write that you declined to comment or I can write down whatever comment you might have on the matter. You tell me which is fairer?"

"Goodbye, Freddy."

"Wait, wait! Just wait."

Kettlewell liked the pleading note in Freddy's voice.

"What is it, Freddy?"

"Can I get you to comment on the general idea of litigation investment? A lot of people followed your lead in seeking out litigation investment opportunities. There's lots of money tied up in it these days. Do incidents like the one in Florida mean that litigation investment is a dead strategy?"

"Of course not," Kettlewell snapped. He shouldn't be talking to this man, but the question drove him bonkers. He'd invented litigation investment. "Those big old companies have two common characteristics: they've acc.u.mulated more a.s.sets than they know what to do with, and they've got poisonous, monopolistic cultures that reward executives who break the law to help the company turn a buck. None of that's changed, and so long as that's all true, there will be little companies with legit gripes against big companies that can be used as investment vehicles for unlocking all that dead Fortune 100 capital and putting it to work."

"But aren't Fortune 100 companies investing in litigation funds?"

Kettlewell suppressed a nasty laugh. "Yeah, so what?"

"Well, if this is about destroying Fortune 100 companies --"

"It's about wringing positive social value out of the courts and out of investment. The way it used to work, there were only two possible outcomes when a big company did something rotten: either they'd get away scot-free or they'd make some lawyers very, very rich. Litigation funds fix that. They socialize the cost of bringing big companies to heel, and they free up the capital that these big companies have acc.u.mulated."

"But when a big company invests in destroying another big company --"