One of Us. Michael Marshall Smith

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       Prologue

      Night. A crossroads, somewhere in deadzone LA. I don't know the area, but it's nowhere you want to be. Just two roads, wide and flat, stretching out four ways into the world: uphill struggles to places that aren't any better, via places which are probably worse.

      Dead buildings squat in mist at each corner, full of sleep and quietness. It seems like they lean over above us like some evil cartoon village, but that can't be right. Two-storey concrete can't loom. It's not in its nature. The city feels like a grid of emptiness, as if the structures we have introduced to it are dwarfed by the spaces which remain untouched, as if what is not there is far more real than what we see.

      A dog shivers out the end of its life meanwhile, huddled in the doorway of a twenty-four-hour liquor store. The light inside is so yellow it looks like the old guy asleep behind the counter is floating in formaldehyde. When she was younger, the woman would have done something to help the dog. Now she finds herself unable to care. The emotion's too old, buried too deep – and the dog's going to die anyway.

      I don't know how long we wait, standing in the shadowed doorway, hiding deep in her expensive coat. She gets through half a pack of Kims, but she's smoking fast and not wearing a watch. It feels like an eternity, as if this corner in the wasteland is all I've known or ever will see; as if time has stopped and sees no compelling reason to start flowing again.

      Eventually the sound of a car peels off from the backdrop of distant noise and enters this little world. She looks, and sees a sweep of headlights up the street, hears the rustle of tyre on blacktop, the hum of an engine happy with its job. Her heart beats a little more slowly as we watch the car approach, her mind cold and dense. It isn't even hatred she feels, not tonight or any more. When the cancer of misery has a greater mass than the body it inhabits, it's the tumour's voice you hear all the time. She's stopped fighting it now. All she wants is some peace.

      The car pulls up thirty yards along the street, alongside an address she spent two months tracking down, and ended up paying a hacker to find. The engine dies, and for the first time she glimpses the man's face through the dirty windshield. Shadowed features, oblivious in their own world of turning things off and unfastening the seatbelt. Seeing him isn't climactic, and comes with no roll of drums. It just makes us feel tired and old.

      He СКАЧАТЬ