Generosity: An Enhancement (52 page)

“Pete,” Tonia said, and felt herself falling. “Pete. We have some
major
problems here.”

The crew kept filing out. Tonia herself barely registered her own objection. Vitale turned to look, sidesaddling away from her.

Tonia tried smiling. “You do realize this is total shit?”

The director stopped and turned, along with Garrett and Keyes.

“The way this has been cut, we are just fanning the unsubstantiated hype. If even one-tenth of this should turn out to be real, then we ought . . . Don’t you think we should at least mention the challenges? We’re still a science show, right? Don’t you think we should restore some of those scenes with all the objecting researchers?”

The cluster of rearguard crew paused in the double doors of the theater at the scent of drama. “Tonia,” Garrett said, somewhere between peremptory and resigned.

“We’ve got Kurton himself having all those second thoughts. And that poor girl—she was ragged, Pete. This whole carnival is making her wretched. You’ve cut the interview to make her look—”

“It’s done, Ton. You heard everyone sign off.”

She saw, in clean animation, the assembly lines inside her cells thrown into wartime production. Even as it rose up in her throat, she wanted to know what
caused
this bile. These men she hated? But she’d hated them for years. Her public smackdown and humiliation of
a few minutes ago? She wasn’t so vain. Some early parental moral inculcation that she’d managed to resist for decades? Late-onset honesty or scruples or guilt or any of a dozen other predispositions lurking inside her haplotype, just waiting like a heart attack or cancer to be pushed over a threshold and expressed full-blown? Why get righteous
now
?

Runaway branching feedback—who knew how? Everything, she decided: everything is caused by nothing short of everything else.

What she found so amusing about the unfolding scene was how well all the performers already knew it, even before she spoke her lines. They’d seen it too often to count, in every packaged narrative they’d ever consumed. They had her revolt pegged, long before she herself had seen it coming. The room filled with a deep, almost respectful compliance, everyone ready to play the parts that had been scored for each of them so long ago.

Pete Vitale asked, from a great way off, “You have problems with this work?”

“Tonia, don’t,” Garrett warned again.

“It’s cool,” Kenny said. “Let her blow. She can’t be the only one of us who never uncorks.”

But even the coffee-bearers and copyboys standing in the doorway already knew this story.

Schiff gave in to the warm, predestined familiarity of it all. “I’m sorry. I’m sorry to be so predict . . . We don’t have to labor this. I can just cut to the credits here.” She turned and walked up the aisle and through the knot in the doorway, which parted, fascinated, for her.

Behind her, Garrett told Vitale, “You better go save your nest egg.”

Vitale called out, “Tonia, come on. Come back. We can recut anything you want.”

“Hey: bye-bye, baby,” Kenny said. “Who needs her? Bring on the clones.” And the last thing she heard as she slipped from the screening room was Keyes asking, “Bitch thinks her face can’t be replaced?”

For three crosstown blocks, Tonia Schiff hammers herself for her own long complicity. Five seasons perfecting a voguey pose in the face of anything iridescent. But the future has been feeding on her all along,
as sure as any bloodsucker. As sure as she and her collaborators have fed on that ragged woman.

Every twelfth person she passes almost recognizes her. I glimpse her at last, skirting along at a panicked if aimless trot, reflected in five long panes of department-store glass. She glimpses herself—all she has ever tried for, the thing she’s wanted to be from birth. Blameless observer. But the blameless can’t afford to look. Just looking is already the worst kind of guilt.

She comes up for air again in Times Square. Genes loose, tearing everywhere, splash their riot messages across a horizon of hundred-foot flashing screens. The future floods her with messages. She stops for the light at Eighth, and for a long sixty seconds, she wants to be more than dead.

Chance tries to hand her something, a film she can just dimly begin to see. I want to heckle her, from years away:
Look harder . . .

She turns uptown. For the next six blocks, she starts to make out the shape of her reparation. She’ll assemble the simplest of documentaries, a look at life about to be born. A simple take on things to come, the past’s only shot at payback . . . Production should be no problem. Schiff has a track record, fame; funding is hers for the asking.

By the time she hits the park, she’s committed. She has a name already: “The Child of Choice.” She heads through the Merchants’ Gate and cuts up toward the Reservoir, already filming in her head. And a hundred steps into that town-sized open-air ark, she feels suddenly, inexplicably well, ridiculously healthy. She’d almost say free, if she didn’t know better.

The long-deliberating judge in
Truecyte v. Future Families Fertility Center, Houston
at last concludes that the fair market value of Thassa’s eggs in no way depends upon the discovered association patented by Thomas Kurton, et al. Truecyte is entitled to a reasonable licensing fee for any novel tests or products resulting from their discovery, but they cannot profit from any transactions involving an unaltered, preexisting genome.

The decision is a blow to Truecyte, one that might never have happened without Kurton’s provocation. Yet the judgment rocks the biotech industry, shocking the experts in intellectual property law as
well as that small fraction of the general public who are still following the case. It calls into question the whole idea of ownable bio-value. Some talking heads declare it the fast track to the future. More say that the choke of potential profit will kill innovation.

Future Families declares it a forward-looking guarantee of social progress. Truecyte instantly files an appeal. Pundits both paid and self-employed conclude that the decision can’t possibly stand.

But for now—
this
now—Thassa Amzwar is free to donate her eggs for more money than her brother could earn in years.

Days pass in a short forever. Stone and Weld go on seeing each other. They spend three nights out of seven together. They cook, revising favorite recipes. They talk less and watch more family television. They watch several incredibly dramatic historical re-creations. They watch documentaries about forms of life that should never have survived into the present. Gabe no longer considers either of them a Yahtzee challenge, and he tries to train them in Liar’s Dice.

Candace starts Stone on little projects. She teaches him yoga and brings him to the gym for a session on the balance beam. They no longer play the novel-writing game. She no longer brings up work, psychology, will, North Africa, science, French, Arabic, or the future. He is just as careful never to say a thing that could be mistaken for second-guessing.

Their days are stable and respectful, and they could go on unchanged until Stone dies and his genome disappears peacefully from the face of the earth. But when he’s home alone, he scours the Web for news. It doesn’t feel traitorous. He can’t endanger Candace just by looking. His searches turn up hearsay enough to make him all flavors of crazy.

He wakes up in hot darkness, from a vile dream. He was something medical, in a surgical gown, maybe an anesthesiologist, watching while the patient woke up in the middle of having a gelatinous internal organ removed with a coal scoop. He shudders awake, then instantly suppresses any movement, lest he wake Candace.

But Candace isn’t there. He’s in his own bed, his own apartment, by himself. He has confused the chill of solitude with the other kind, again. It’s 1:30, but it takes him three entire lifetimes between then and 2:45 before he admits there will be no more sleeping tonight.

He tries reading, old guilty pleasures—love poetry, nineteenth-century behemoth novels, clever contemporary metafiction—but nothing speeds the clock or makes him the least bit drowsy. He’s done with breakfast by five. At 8:00 a.m., he starts wandering around the apartment with the phone in his hands. At 9:01, he calls in late to work. Immediately after, he dials Charlotte Hullinger. He gets her voice mail. He hangs up and goes down his old class roster, landing on Sue Weston.

Artgrrl picks up with a sleepy “Hey.” He starts to identify himself, but she cuts him off. “I know who it is, Teacherman.” Her voice is odd, almost flirtatious. She says, “We were wondering how long it would take you to check in.”

“Where is she?” he asks, too quickly.

“Southwest side? She’s fine. She’s like a week or two away from delivering the goods. Only . . .”

He hears her teeter, trying to decide. Decide if the thing is worth mentioning. Decide if he can be trusted. A twenty-one-year-old, experimenting with wisdom.

“I think the shots are changing her. They can do that, you know. She’s different.”

Shots. Changing. He’s back in the depravity of his dream. “What do you mean, different?”

“Those hormones have her on a roller coaster. I actually saw her cry. She’s just like anybody, now.”

He wants to ask if he can see her, but he can’t. Can’t do that to Candace. Can’t bear to hear Sue Weston tell him,
She doesn’t want that.

“Give her my best,” he tells his former student.

Artgrrl asks, “How good is that?” He doesn’t wield the grade book anymore. He never really did.

He creeps to work and spends nine hours making bad prose worse. He calls Candace in the afternoon and asks if they might see each other later, although they aren’t scheduled until tomorrow. She’s characteristically supportive, and he’s at her place before she gets home. He waits on her doorstep; he’s still not comfortable with letting himself in.