The Heart Goes Last (11 page)

“Oh, he’ll be fine,” says Jocelyn. “He’s not good with his hands, not like you, but he’s all right with digital. He’ll take care of your chickens for you, both ends. He won’t let anyone interfere with them.”

Fuck, thinks Stan. Both ends. She knows about that thing with the chickens. How long has she been keeping an eye on him?

“Meanwhile,” she says. She puts her head on one side as if considering. “Meanwhile, you’ll be here, with me. You can tell me all about your interest in Jasmine. If you want to, we can listen in on Max and Jasmine, during their little vacant-house rendezvous. I’ve got the recordings, the surveillance videos. The sound quality’s excellent, you’d be surprised. It’s quite exciting. We can have a twosome of our own, on the sofa. I think it’s time I got a turn at playing Phil’s game, don’t you?”

“But that’s …” He wants to say, “That’s fucking warped,” but he stops himself. This woman is upper-level management, she’s in Surveillance: she could make his life truly disagreeable. “That’s unfair,” he says. His voice is going all wussy.

She smiles again with her slippery-looking mouth. She has biceps, and shoulders, and her thighs are alarming; not to mention the fact that she’s a sick voyeur. What has he done to himself, to his life? Why has he done it? Where is bland, perky Charmaine? It’s her he wants, not this sinister and most likely hairy-legged ball crusher.

Surreptitiously he checks out the exits: back door, door to the front hall, door to the cellar stairs. What if he were to shove this woman into his green basement locker, then make a run for it? But run to where? He’s blocked his own exits. “Seriously. This won’t work, it’s not … I’m not … I need to go,” he says. He can’t bring himself to say please.

“Don’t be worried,” she says. “You won’t be missed. You’ll get an extra month here at the house. Then, next month, when Charmaine comes out of Positron, you can go in.”

“No,” he says. “I don’t want …”

She sighs. “Think of it as an intervention to avoid possible violence. You’ll have to admit you feel like strangling her, anyone would. You’ll thank me later. Unless, that is, you want me to turn in a report on the rules you’ve broken. Want another beer?”

“Yeah,” he manages to say. He’s falling deeper and deeper into the hole he dug for himself. “Make it two.” He’s trapped. “What else do I have to do?” To avoid the consequences is what he means, but he doesn’t have to explain that. She’s fully aware that she’s twisting his arm.

She takes her time answering, drinks, licks her lips. “We’ll find out, won’t we?” she says. “We have lots of time. I’m sure you’re very talented. By the way, I switched the lockers. Yours is the red one now.”

On the January 1 switchover day, Charmaine is told by one of the behind-the-counter clerks to stay behind at the prison, because Human Resources needs to talk to her. She has a sinking feeling right away. Do they know about Max? If so, she’s in trouble, because how many times were they told it was absolutely not allowed to fraternize with the Alternates that shared your house? You weren’t even supposed to know what they looked like. Which was one of the things that made seeing Max so thrilling for her. So forbidden, so over the line.

Seeing
Max. What an old-fashioned way of putting it! But then she’s an old-fashioned girl – that’s what Stan thinks. Though her times with Max haven’t involved much actual seeing. They’ve been close-ups, in half-light. An ear, a hand, a thigh.

Oh please, let them not know,
she prays silently, crossing her fingers. They never spelled out what would happen if you disobeyed, though Max had reassured her. He’d said it was nothing much: they just gave you a little slap on the hand and maybe changed your Alternate. Anyway she and Max were being so careful, and none of those houses had spyware in it; he should know, it was his job to know all about those houses. But what if Max was wrong? Worse: What if Max was lying?

She takes a breath and smiles, showing her small, candid teeth. “What’s the problem?”
she asks the clerk, her voice higher and more girly than normal. Is it something about her job as Chief Medications Administrator? If so, she’ll learn how to improve, because she’s always wants to do the very best possible and be all that she can be.

She hopes that’s the issue. Maybe they’ve noted that she ignores the surgical-mask protocol, maybe they’ve decided she’s being too nice to the subjects during the Special Procedures. The head strokings, the forehead kisses, those marks of kindliness and personal attention just before she slides in the hypodermic needle: they aren’t forbidden, but they aren’t mandated. They’re flourishes, grace notes – little touches she’s added because it makes the whole thing a more quality experience, not only for the subject of the Procedure but for her as well. She does feel strongly that you should keep the human touch: she’s always been prepared to say as much in front of a tribunal if it came to that. Though she’s hoped it wouldn’t. But maybe now is the time it will.

“Oh no, I’m sure it’s nothing,” the clerk says. She adds that it’s just an administrative formality. Someone must have keyed in the wrong piece of code, such things happen and it can take a while to unsnarl them. Even with modern technology there’s always human error, and Charmaine will just have to be patient until they can trace what they can only assume is a bug in the works.

She nods and smiles. But they’re looking at her strangely (now there are two of them, now there are three behind the checkout desk, one of them texting on a cell), and there’s something odd in their voices: they aren’t telling the truth. She doesn’t think she’s imagining that.

“If you’ll wait in the Chat Room,” the one with the cellphone says, indicating a door to the side of the counter. “Away from the checkout process. Thank you. There’s a chair, you can sit down. The Human Resources Officer will be with you shortly.”

Charmaine looks over at the group of departing prisoners. Is that Sandi among them, and Veronica? She’s glimpsed them briefly over the months – they’re in prison when she is – but they aren’t in her knitting group and they don’t work in the hospital, so she’s had no reason to get close. Now, however, she longs for a friendly face. But they don’t see her, they’ve turned away. They’ve shed their orange prison boiler suits and are wearing their street clothing, they must be anticipating the fun times they’re about to have, outside.

As she was, just moments ago. She’s wearing a lacy white bra underneath her new cherry-coloured sweater. She chose these items a month ago to be special for Max today.

“What’s wrong?” one of the other women calls over to her. Someone from her knitting circle. Charmaine must be signalling distress, she must be making a sad face. She forces up the corners of her mouth.

“Nothing, really. Some data entry thing. I’ll be out later today,” she says as gaily as she can. But she doubts it. She can feel the sweat soaking into her sweater, underneath her arms. That bra will have to be washed, pronto. Most likely the cherry colour is leaking into it, and it’s so hard to get dye stains like that out of whites.

She sits on the wooden chair in the Chat Room, trying not to count the minutes, resisting the urge to go back out to the front desk and make a scene, which will definitely not be any use. And even if she does get out later that day, what about Max? Their meet-up, planned a month ago. At this very moment he must be scootering toward this month’s empty house – he told her the address last time and she memorized it, repeating it like a silent prayer as she lay in her narrow bed in her Positron Prison cell, in her poly-cotton standard-issue nightgown.

Max likes her to describe that nightgown. He likes her to tell him what torture it is for her to lie there alone, wearing that scratchy nightgown, tossing and turning and unable to sleep, thinking about him, living every word and touch over and over, tracing with her own hands the pathways across and into her flesh that his hands have taken.
And then what, and then what?
he’ll whisper as they lie together on the dirty floorboards.
Tell me. Show me.

What he likes even better – because she can hardly bring herself to do it, he has to force it out of her word by word – what he likes even better is to have her describe what she’s feeling when it’s Stan who’s making love to her.
Then what does he do? Tell me, show me. And then what do you feel?

I’m pretending it’s you,
she’ll say.
I have to, I have to do that. I’d go crazy otherwise, I couldn’t stand it
. Which isn’t true really, but it’s what Max likes to hear.

Last time he went further.
What if it were both of us at once?
he said.
Front and back. Tell me …

Oh no, I couldn’t! Not both at once! That’s …

I think you could. I think you want to.
Look, you’re blushing. You’re a dirty little slut, aren’t you? You’d do the midget football team if there was room for them. You want to. Both of us at once. Say it.

At those moments she’d say anything. What he doesn’t know is that in a way it’s always both at once: whichever one she’s with, the other one is there with her as well, invisible, partaking, though at an unconscious level. Unconscious to him but conscious to her, because she holds them both in her consciousness, so carefully, like fragile meringues, or uncooked eggs, or baby birds. But she doesn’t think that’s a dirty thing, cherishing both at once: each of them has a different essence, and she happens to be good at treasuring the unique essence of a person. It’s a gift not everyone has.

And now, today, she’ll miss the meet-up with Max, and she has no way of warning him that she can’t be there. What will he think? He’ll arrive at the house early because, like her, he can hardly restrain himself. He lives for these encounters, he longs to crush her in his arms and ruin her clothing, ripping open zippers and buttons and even a seam or two, in the haste of his ardent, irresistible desire. He’ll wait and wait in the empty house, impatiently, pacing the stained, mud-crusted floor, looking out through the flyspecked windows. But she won’t appear. Will he assume she’s failed him? Dumped him? Blown him off? Abandoned him in a fit of cowardice, or of loyalty toward Stan?

Then there’s Stan himself. After the month he’s just spent as a prisoner in Positron, he’ll have turned in his boiler suit and put on his jeans and fleece jacket. He’ll have left the men’s wing in the Positron Prison complex; he’ll have scootered back through the streets of Consilience, which will be thronged with people in a festive mood, some streaming into the jail to take their turn as prisoners, others streaming out of it, back to their civilian lives.

Stan too will be waiting for her, not in an abandoned building dank with the aroma of long-ago drug parties and biker sex but in their own house, the house she thinks of as theirs. Or half theirs, anyway. Stan will be inside that house, in their familiar domestic nest, expecting her to turn up at any minute and put on her apron and cook dinner while he fools around with his tools in the garage. He may even be intending to tell her he’s missed her – he usually does that, though less recently – and give her a casual hug.

She relishes the casualness of those hugs:
casual
means he has no idea what she’s just been doing. He doesn’t realize she’s returning from a stolen hour with Max. She loves that expression –
stolen hour.
It’s so fifties. Like in the romantic movies they sometimes show on Consilience TV, where it comes out all right in the end.

Though
stolen hour
doesn’t make sense, when you come to think about it. It’s like stolen kisses: the stolen hour is about time, and the stolen kisses are about place, about whose lips go where. But how can those things be stolen? Who does the thieving? Is Stan the owner of that hour, and of those kisses too? Surely not. And even if he is, if he doesn’t know about the missing time and the missing kisses, how is she hurting him? There have been art thieves who’ve made exact copies of expensive paintings and substituted them for the real ones, and the owners have gone for months and even years without noticing. It’s like that.

But Stan will notice when she doesn’t turn up. He’ll be irritated, then dismayed. He’ll ask the Consilience officials to do a street search, check up on scooter accidents. Then he’ll contact Positron. Most likely he’ll be told that Charmaine is still inside, in the women’s wing. Though he won’t be told why.

Charmaine sits and sits on the hard little chair in the Chat Room, trying to keep her mind quiet. No wonder people used to go nuts in solitary confinement, she thinks. No one to talk to, nothing to do. But they don’t have solitary at Positron any more. She and Stan were shown the cells, though, during the orientation tour, when they were making the big decision to sign up. The former solitary cells had been refitted with desks and computers – those were for the IT engineers and also for the robotics division they were going to build.
Very exciting possibilities there
, said the guide.
Now, let’s go and see the communal dining room, and then the livestock and horticulture – all our chickens are raised right here – and after that we can look in at the Handcrafts studio, where you’ll be issued your knitting supplies
.

Knitting. If she has to stay in Positron Prison another whole month she’s going to get really fed up with that knitting. It was fun at first, sort of old-timey and chatty, but now they’ve been given quotas. The supervisors make you feel like a slacker if you don’t knit fast enough.

Oh, Max. Where are you? I’m scared!
But even if Max could hear her, would he come?

Stan would. He doesn’t minimize it when she’s scared. Spiders, for instance: she doesn’t like those. Stan is very efficient with spiders. She appreciates that about him.

It’s late afternoon. The sun is low in the sky, the street is empty. Or it seems empty: no doubt there are eyes embedded everywhere – the lamppost, the fire hydrant. Because you can’t see them doesn’t mean they can’t see you.