"I'm not sure if you fully realize the difficult position you're in, Miss Watson. Today's accident has some very disturbing repercussions."
"Which is why the Intuitionist candidate for Guild Chair has seen fit to send someone over to look after me. I don't think I need looking after."
"May I ask you a question? Why didn't you report back to the Department after your shift?"
"I was tired."
"It is standard operating procedure after an accident to report to your superiors, is it not?"
"I didn't know there was an accident until I saw the late edition on the train home."
"I think we should be going, Miss Watson. I wouldn't advise staying here tonight."
"This is my home."
"And if I hadn't stopped in?"
"I would have taken care of them."
"My car is waiting downstairs. You inspected the Fanny Briggs building, did you not?"
"You know I did."
"Then what went wrong?"
Nothing went wrong.
"You are aware, Miss Watson, that those men weren't from Internal Affairs, yes?"
"Yes."
"Then who were they?"
Nothing.
"Has it occurred to you yet that you were set up?"
The accident is impossible. It wasn't an accident.
Even if Jim and John had found Lila Mae's safe behind the painting, the contents wouldn't have interested them, except to flesh out John's coveted psychological profile of this night's subject. A soccer trophy from high school (everyone on the team got one, even Lila Mae, who sat on the bench all season and only joined the squad at her mother's urging she "be social"). Her high school graduation ring (poor craftsmanship). A love letter from a dull boy, her diploma from the Institute for Vertical Transport, and her prizewinning paper on theoretical elevators. Not much, really.
Her father dropped her off in front of the place where she was to live and left the engine running. Lila Mae removed the two suitcases from the back of the pickup truck. The suitcases were new, with a formidable casing of green plastic. Scratchproof, supposedly. Her father had only been able to afford them because they were, manufacturer's oaths aside, scratched-gouged actually, as if an animal had taken them in its fangs to teach them about hubris.
Marvin Watson was proud of his daughter. She was doing what he had never been able to do: she was studying to be an elevator inspector. His pride was limned with shame over these circumstances. He had long dreamed of the day when he would drive his only daughter, his baby and blood, off to school; and here it was. But he did not leave the pickup and did not look up at the building in which she was to live. He cranked down the window to kiss her goodbye. The old truck hiccuped if it idled for too long, setting everything to a furious tremble, and Lila Mae's lips did not even graze her father's cheek when she leaned over to kiss him goodbye. Her father drove off and never saw the room in which she would live for three years, a converted janitor's closet above the newly renovated gymnasium. They had just renamed the gymnasium after the dashing young heir to a driving-sheave fortune, a gentleman from the country's South who had donated a large sum of money to be spent at the Institute's discretion. Lila Mae lived in the janitor's closet because the Institute for Vertical Transport did not have living space for colored students.
The Institute's campus had formerly been a health spa for rich neurasthenic women from the Northeast's larger cities, which is why the students were never too far from statues of Grecian nymphs, nub-nosed spirits whose long manes eased liquidly into their sagging tunics. The spa failed after newer spas opened in the weatherless regions of the Southwest. Weatherlessness is much more amenable to those in search of succor for bodily complaint, evoking timelessness and immortality, and soon the rich neurasthenic women from the Northeast's larger cities boarded planes to be free of the seasons and the proximity of their braying families, the cause of their disrepair. The elevator magnates who bought the land and refurbished the spa's physical plant into something more suitable for a place of learning were disheartened by the rich suburb the surrounding neighborhood eventually became, and pondered, on winter nights when their wives and children were asleep and the only company was a bottle of aged Irish spirits, how life would have been different if they traded in real estate, and not mechanical conveyance. Verticality is such a risky enterprise.
Lila Mae did not mix much with the other students, who were in turn thankful that she had spared them the burden of false conciliation. As she had when she was in elementary school, she sat in the final row of her classes and did not speak unless there was no other option. She retired early in the evening, shuttering her eyes to the urgent grumblings of the gym's boiler room, whose howls filled the empty building at night like the protestations of wraiths. She rose early in the morning, when the first sunlight crept over the statues of Grecian nymphs before it advanced to the metropolis a few miles to the west. The admission of colored students to the Institute for Vertical Transport was staggered to prevent overlap and any possible fulminations or insurrections that might arise from that overlap. The previous tenant of the janitor's closet had had a sweet tooth. Every cleaning produced yet another crumpled wrapper of Bogart's Chewing Gum. Occasionally professors called Lila Mae by his name, even though it would have been difficult to say there was any resemblance. Lila Mae never pointed out the mistake to her professors, who were a cranky bunch, mostly former field men who had rejected retirement to teach at the most prestigious elevator inspecting school in the country. A black gown is remarkably effective in conferring prestige on even the most rough-hewn of men.
She learned plenty her first semester at the Institute for Vertical Transport. She learned about the animals in the Roman coliseums hoisted to their cheering deaths on rope-tackle elevators powered by slaves, learned about Villayer's "flying chair," a simple pulley, shaft and lead counterweight concoction described in a love letter from Napoleon I to his wife, the Archduchess Marie Louise. About steam, and the first steam elevators. She read about Elisha Graves Otis, the cities he enabled through his glorious invention, and the holy war between the newly deputized elevator inspectors and the elevator companies' maintenance contractors. The rise of safety regulation, safety device innovations, the search for a national standard. She was learning about Empiricism but didn't know it yet.
She remembers when she first saw the light. She was usually so tired by nightfall that she rarely noticed anything except that her room was either too hot or too cold, that the walk down to the public ladies bathroom on the floor below was full of shadows, and that janitors evidently did not need more than a single naked bulb to perform their duties in maintenance closets. The poor illumination gave her headaches when she tried to read. One night she couldn't sleep. Literally-she had to study. All semester, she'd neglected her class on the changing concepts of governmental attitudes toward elevator inspection (the evolution of the machines interested her more, to tell the truth, her first few months there) and now she had to cram for the following morning's exam. Her body didn't like coffee and tea and she rarely stayed up late, so Lila Mae took to pinching her wrist when her head began to dip. Upon rising from one of her unscheduled naps, she noticed a light in Fulton Hall. On the top floor, where the small library was. There shouldn't have been anyone in there, the library closed at dusk-elevator inspectors, even acolytes, generally being morning people. She wondered if the administration had extended the library's hours during exam period; Lila Mae had discovered she was often ignorant of much routine information her fellow students possessed. But the lower floors of Fulton Hall were dark. She decided the light had been left on accidentally and returned to the arid court transcripts of The United States vs. The Arbo Elevator Company.
Spring arrived, and a new semester. The work was more difficult than before-she'd discovered Volume One of Theoretical Elevators and was having trouble sleeping. One day in February she saw the light again in Fulton Hall. The light wasn't on every night, there was no set schedule she could define, but it was on too frequently for it to be accidental. She couldn't help but notice. Fulton Hall had formerly been the spa's pep center, a wide stone building in the center of campus. Walkways of pink tile radiated from the structure to all the important buildings for the treatment of psychosomatic maladies. Mud Therapy, Colonic Irrigation, Bleeding Chambers. Now the buildings housed Engineering, Advanced Concepts, the Hall of Safety. A pink path also led to the gym, which had also been a gym during the time of the spa, and filled with medicine balls. The path led, more or less, directly from the lit window in Fulton Hall to the janitor's closet where Lila Mae lived.
Occasionally she would see a figure moving through the stacks. She decided it was an old man: He walked with a cane. Sometimes instead of turning on the lights, he used a lantern, and he walked even more slowly then, as if inordinately afraid of dropping it. She saw him about a dozen times in all, and always felt as if they were the last people on earth. It was the same feeling she gets when she's in a shaft, standing on the car. There's an old inspector's maxim: "An elevator is a grave." Such loss and devastation in there. That's why the inside walls of the car are never sheer: they're broken up into panels, equipped with a dorsal rail. Otherwise it would be a box. A coffin. On the nights the figure haunted Fulton Hall, he was Lila Mae's elevator. The thing she stood upon in the darkness of the shaft, just him, just her, and the darkness. In the elevator well, slits of light seep from the door seams on each floor at regular intervals, and do not comfort. The slits of light speak of more light that is out of reach: There will be no redemption.
If she had known the identity of the man on the last night she saw him, would it have changed her response? On that last night he saw her and waved at her, slowly, communicating all he knew and what she already understood about the darkness. Would it have changed her response to his wave (nothing, not even a nod, the polite thing to do) if she had known the man was James Fulton and that the following morning a hungover janitor would discover his body on the library floor, dead of a stroke, the lantern wick still glowing dully? Probably not. That's the kind of person Lila Mae is.
Anyway, slept. In the biggest bed she has ever slept in, swimmable, Lila Mae buoyant despite her negligible body fat (a skinny one, she is). The bed possesses an undertow conducive to dreaming, but she doesn't remember her dreams when she wakes. On waking, her half-dreaming consciousness segues into a recollection of her visit to the Fanny Briggs building. It was simple: that's what Lila Mae is thinking about in her room at 117 Second Avenue.
The lobby of the Fanny Briggs Memorial Building was almost finished when she arrived. As if to distract from the minuscule and cramped philosophy of what would transpire on the floors above, the city offered visitors the spacial bounty of the lobby. The ersatz marble was firm underfoot like real marble, sheer, and produced trembling echoes effortlessly. The circle of Doric columns braced the weight above without complaint. The mural, however, was not complete. It started out jauntily enough to Lila Mae's left. Cheerless Indians holding up a deerskin in front of a fire. The original tenants, sure. A galleon negotiating the tricky channels around the island. Two beaming Indians trading beads to a gang of white men-the infamous sale of the Island. Big moment, have to include that, the first of many dubious transactions in the city's history. (They didn't have elevators yet. That's why the scenes look so flat to Lila Mae: the city is dimensionless.) The mural jumped to the Revolution then, she noticed, skipped over a lot of stuff. The painter seemed to be making it up as he went along, like the men who shaped the city. The Revolution scene was a nice setpiece-the colonists pulling down the statue of King George III. They melted it down for ammunition, if she remembers correctly. It's always nice when a good mob comes together. The painting ended there. (Someone knocks at the door of her room in 117 Second Avenue, but she doesn't open her eyes.) Judging from the amount of wall space that remained to Lila Mae's right, the mural would have to get even more brief in its chronicle of the city's greatest hits. Either the painter had misjudged how much space he had or the intervening years weren't that compelling to him. Just the broad strokes, please.
The Deputy Undersecretary of Municipal Construction waddled over from the far wall. He said, "You come to see the elevators?" He had the fatty arrogance of all nepotism hires. Somebody's nephew, somebody's sister's boy.
She nodded.
"Is this going to take long? I'm supposed to go on break now." On break from what? Only security guards and janitors ever experience buildings like this. Like fraught ships gnashed between the ice, waiting for that warming current still far off, detained in some other part of the world. The rats hadn't even moved into the building, the roaches still deliberating. A month from now, at this time of day, the lobby will be befouled with citizens. To see a building at this stage, Lila Mae thought, is an honor. The deputy undersecretary was bored and fiddled in his pockets. The muralist's scaffolding tottered above Lila Mae like a rickety gallows.
"Just show me to them," Lila Mae said. It will be easy.
Before Lila Mae can re-create her inspection further, the porter opens the door to her room, despite her silence. He holds the silver platter with hands snug in white gloves. He smiles. She pulls the thick red blankets up to her slight chin.
"I'm sorry to disturb you," he says, "but it seemed a shame to let this nice breakfast go to waste."
"Thank you," Lila Mae says. She sits up against the oak headboard. The headboard's detailed engraving of United's first lift motor digs into her left shoulder. The man sets the platter across her waist. Eggs, ham, juice. Normally when offered so much food early in the morning (a rare occurrence, to be sure) Lila Mae pecks, and politely moves the food around on the plate to maximize the illusion of being eaten. This morning she is grateful.
The porter's mouth is quick to smile. He is a tall and broad fellow, and would almost be menacingly handsome if not for the smile. Lila Mae sees he is a strong man, although his strength is wasted on his petite duties; the white uniform fits him well, but he seems trapped by its starched and creased confines. But we take what jobs we can get, Lila Mae thinks. Whatever we can scrabble for. She doesn't take to it, being waited on by colored people. This is wrong.
He is at the window. "Shall I open the curtains?" he asks.
Lila Mae nods. It's later in the morning than she thought. The light congeals in globs on the leaves of the old trees in the courtyard. The back walls of the adjoining buildings are decrepit compared to the facades they present to the street, but serve their purpose: to fortify against those who might take the treasures of the courtyard. The garden of old money.
Lila Mae is about to dig into her breakfast when she notices that her green suitcase is ajar across the room, next to an imposing-looking bureau. And empty.
"Don't worry," the porter reassures, observing her stare. "It wasn't me. Mrs. Gravely unpacked your things last night. Mr. Reed thought it would make you more comfortable." His eyebrows bow. "What is it?" he asks.
"Nothing," she says. "I'm just tired."
"You don't look tired at all," the porter says. "You're a vision. Like you're up and ready to go."
Hmm. Lila Mae shakes her head and says, "Thanks."
"I mean it," he says through a grin. "This isn't my regular job-my uncle is sick, that's why I'm here. I'm filling in for him. But if I'd known his job had this many extras, I would have come around here before." He extends his hand. "My name is Natchez," he says.
"Lila Mae."
Hmm.
"Are you with us, Miss Watson?"
"Yes, sir. I was just thinking that-"
"You are aware this is a timed exam?"
"Yes, sir."
"Then we'll begin. 1846."
"Sir William Armstrong designs and manufactures a hydraulic crane. Erected at Newcastle, the crane utilized water pressure from London's mains. Armstrong eventually used the same principles in his weighted accelerator."
"The main function of the pole shader?"
"Is to prevent heating outside the prescribed parameters."
"A citizen has what chance of being in an elevator misfortune?"
"Injury or fatality?"
"Both."
"One in three hundred million and one in six hundred fifty million, respectively."
"Nonmetallic material may be used in T-rails provided what?"
"The rated speed for the car does not exceed zero point seven six meters per second."
"The three types of safety gears?"
"Instantaneous, Instantaneous with buffered effect, and Progressive. Instantaneous type exerts a rapidly increasing pressure on the guide rails during the stopping period. The stopping time and distance are short. These gears can be employed in cars rated for speeds not in excess of zero point seven six meters per second. Instantaneous type with buffered effect incorporates an elastic system of either energy accumulation or energy dissipation. It generally consists of a system of oil buffers on the lower car frame and safety planks on the guard rails. Effective for rated speeds of up to two point five meters per second. Progressive type applies limited, increasing pressure on the guard rails and is primarily used in Europe on cars with rated speeds of one meter per second or less."
"That was a very full answer."
"Thank you, sir."
"The standard accident curve possesses what shape?"
"The failure rate for elevators is expressed by RT equals one minus FT, where R is reliability, T is time and F is failure. The equation is characterized by a 'bathtub'-shaped curve with three distinct phases. The initial or 'early failure' phase begins with a relatively high incident of accidents-mostly due to installation errors-and then drops off sharply. This is the first wall of the 'bathtub.' The next phase, called the 'random failure' phase, is a plateau and extends for the majority of the elevator's service life. This flat plane is the bottom of the 'bathtub.' The accidents in this phase are unpredictable and generally result from passenger misuse or poor maintenance. It is also in this phase that the rare 'catastrophic accident' occurs. The curve ascends quickly again in the final, or 'wear-out' phase, when the elevator is past its period of prime use. The opposite wall of the bathtub. Most of these accidents can be prevented, again, by diligent inspection and careful maintenance during this crucial time. May I take a drink of water?"
"Yes. The Four Questions?"
"As put forth by Mettleheim: How did this happen? How could this happen? Is it exceptional? How will it be avoided in the future?"
"The verdict in The United States vs. Mario's?"
"Ruled that restaurant dumbwaiters are hand elevators and subject to scrutiny by municipal elevator inspectors, despite the fact that they do not carry human freight."
"And the fallout?"
"Critics charged that the elevator inspector 'cabal' was attempting to unduly extend the scope of its jurisdiction."
"The Sixteen?"
"Elevator, freight: an elevator used for carrying freight on which only the operator and the persons necessary for unloading and loading are permitted. Elevator, gravity: an elevator utilizing gravity to move the car. Elevator, hand: an elevator utilizing manual energy. Elevator, inclined: an elevator traveling at an angle of inclination of seventy degrees or less from the horizontal. Elevator, multideck: an elevator having two or more compartments located immediately above the other. Elevator, observation: designed to permit exterior viewing by passengers. Elevator, passenger: an elevator used primarily to carry persons other than the operator. Elevator, power: utilizing power other than gravitational or manual. Elevator, electric: a power elevator utilizing an electric driving-machine. Elevator, hydraulic: a power elevator where the energy is applied, by means of a liquid under pressure, in a cylinder. Elevator, direct-plunger hydraulic: a hydraulic elevator having a plunger or cylinder attached directly to the car frame or platform. Elevator, electro-hydraulic: a direct-plunger elevator where liquid is pumped by an electric motor. Elevator, maintained-pressure hydraulic: a direct-plunger elevator where liquid under pressure is available at all times for transfer into the cylinder. Elevator, roped-hydraulic: a hydraulic elevator having its piston connected to the car with wire ropes. Elevator, private residence: a power passenger elevator installed in a private residence or in a multiple dwelling as a means of access to a private residence. Elevator, sidewalk: a freight elevator for carrying material exclusive of automobiles and operating between a landing in a sidewalk or other area exterior to a building and floors below the sidewalk or grade level. That's the Sixteen."
"You're doing very well, Miss Watson."
"Thank you, sir."
"We're almost done here. Answer me this: Do you know how many colored elevator inspectors there are in this country?"
"Twelve."
"And do you know how many are employed as such? Are not working as shoeshine boys? Or maids?"
"I don't know. Less than twelve."
"So you don't know everything. That will be all, Miss Watson. You'll receive your grade next week."
The falling elevator's wake is sparks, thousands of them, raking the darkness all the way down.
The address is 117 Second Avenue but everyone knows it as Intuitionist House. Edward Dipth-Watney, two-time winner of the Werner von Siemens Award for Outstanding Work in Elevator Innovation (first for his Flyboy limit switch, the second time for the "smart" overspeed governor), purchased the townhouse two decades ago, when the movement was still the soiled stepchild. The elevator community regarded Edward Dipth-Watney as a man of quixotic temperament; while not entirely swayed by Intuitionism, he felt that anything that caused such bellowing and recrimination merited a place to germinate and unfold itself, and hopefully cause more bellowing and recrimination. He was also a well-known model train enthusiast.
Edward Dipth-Watney's achievements were, and still are, appreciated; his name will maunder about the indexes of elevator inspector textbooks until the end of time. One snapshot: Arbo Elevator Co., the fortunate licensees of Dipth-Watney's Flyboy limit switch, dipping the prototype in gold and bestowing it upon its inventor as a Christmas gift one cold year. Edward Dipth-Watney was not interested in the gilded privileges of fame, however. The longevity of Fulton's science was uncertain; nonetheless, Dipth-Watney reasoned, if God had given him a gift, the least he could do was to help others find theirs. It was this same faith in God's will that prevented Edward Dipth-Watney from witnessing the results of his efforts on behalf of the international Intuitionist brotherhood. He believed the cyst on his neck to be another of His gifts, a reminder against vanity. He was incorrect.
In the years following its benefactor's death, the House thrived into the international headquarters of Intuitionism, continuing to stubbornly prosper even after Institute administrations reversed themselves, offered classes on the new science and even bestowed large (although not well-situated) offices upon its intrepid instructors. Very little actual research goes on at the House, but burning midnight oil was never the building's intended purpose. Inspectors and theoreticians of elevators are still social creatures despite the toll their profession exacts on their souls. Every Tuesday, James Fulton (and later, Orville Lever) stood in the downstairs drawing room and lectured on the intricacies of his science. Lectured on the implications of European maintenance deviations on Intuitionism, expounded on the gloom of the shaft and how it does not merely echo the gloom inside every living creature, but duplicates it perfectly. Afterward there were mint juleps for everyone, and still later, after Fulton had retired to his Tudor-style house on the Institute for Vertical Transport's north campus, Swedish films featuring large-breasted volleyball players. Fulton was unaware of this dubious activity; the House chauffeur regularly packed the Tuesday night lectures with traveling salesmen who were in search of a good time and willing to pay for it. Fulton, if he ever wondered about it, probably took his lay audience as evidence of the universal applicability of his theories.
Ever since Lever replaced Fulton as the man of the House, the importance of 117 Second Avenue has trebled in the hearts and minds of the global Intuitionist tribe. It is now his campaign headquarters and home to a formidable optimism new to these generally sullen detective-philosophers of vertical transport. The new rumors have invigorated; the conventional wisdom whispers that Lever has a genuine chance of winning the election for Guild Chair. Their time has come, as they knew it would. Lever's Tuesday night lectures no longer linger haughtily over the errata of nuts-and-bolts Empiricism, but excoriate. The House walls vibrate with the sibilants of campaign rhetoric. If he wins, the House will change forever.
For now the regular life of the House continues as it has for years, so as not to jinx the gathering magic of the time. From the continent come foreign scholars of the art, and after lecturing at the Institute they retire to the House and the second-floor guest rooms. (Lila Mae would be astonished to hear the names of the luminaries who have slept in the bed she lies in right now. Her fingers are laced beneath her skull and she stares at the ceiling.) Grand parties celebrating the publication of the latest Intuitionist tract are held here, and it is custom for the guests to comment with trickling awe on the sublime properties of Mrs. Gravely's apple brown Betty. The local membership (those who have sworn oaths to Intuitionism, savvy Empiricists hedging their bets, and apolitical inspectors who just want to get away from the wife) still convene for poker games and, on special nights, to taste unblended scotches of the finest quality. Correlative to the House's widening influence, the Swedish films have swelled in attendance now that the chauffeur, emboldened by how much his supplemental income has increased his estimation in his in-laws' eyes, started inviting House members to join the tieclip, toaster and Bible salesmen at his after-hours confabs in the garage, said members whom he can single out with ruthless acuity, something in their eyes.
Ask her and Lila Mae will not admit that her heart skipped a beat when Mr. Reed suggested it might be wise for her to spend a night or two at the House, but it's true. A secret part of her wanted to stay in her home so that other unwanted guests might drop in and give her an outlet for her anger. It was rare that she felt this way, relishing violence. She is mistress to her personality and well accustomed to reminding her more atavistic inclinations that the world is the world and the odd punch or eye-gouge will not make it any other way. Very disturbing, however, this late business. It's one thing to understand the muck of things, accept it, live in it, and quite another to have that muck change so suddenly and dramatically, to stumble down to a newer, deeper shelf. That's how Lila Mae sees it. Things are happening too fast for her to convince herself that she does not need time to think, to get to the bottom of things. Even if that involves taking assistance from this man Reed-and it is the acceptance, and not the aid itself, which galls her and makes her pride curdle. It means she owes him. This specimen.
Her room at the House is twice as large as her one at the Bertram Arms, and twice that again when the curtains are wide, as they are now, and all that forbidden light takes the room. She gets sky in her room at the Bertram Arms, but she doesn't get light. There's a difference. She doesn't know what to do with her breakfast platter-does she leave it outside the door, as they do in hotel scenes at the picture show, or does she leave it at the side of the bed, act naturally? Time to get up at any rate. There's not a single piece of dust on the large oval mirror hanging on the opposite wall of the room. Rubs her belly: she should eat like this more often. Misses her suit: she doesn't spend her little money on things that she doesn't need, but she needs the cut of her suit to see herself. The bold angularity of it, the keen lapels-its buttons are the screws keeping her shut. The tailor seemed to know what she needed, understood the theater Lila Mae needs to leave the house whole and be among other people. An old man.
Mrs. Gravely (whoever that is, the cook, a bitter old bitch, Lila Mae can see her, gray-haired and bitter for sure) has hung her suits in the closet, along with two white cotton shirts Lila Mae has never extended the courtesy of a hanger to. Even her clothes are getting the royal treatment in Intuitionist House. Lila Mae packed the extra suit even though she does not intend to stay another night. She doesn't know why. Her suit does not betray the scent of mothballs, which lingers in the closet, medicinal fog.
Dressed, she's in front of the mirror. Armed. She puts her face on. In her case, not a matter of cosmetics, but will. How to make such a sad face hard? It took practice. Not in front of a mirror or in front of strangers, gauging her success by their expressions of horror, disgust, etc. She did it by lying in her bed, feeling and testing which muscles in her face pained under application of concerted tension. To choose the most extreme pain would be to make a fright mask. A caricature of strength. She achieved calibration one night while testing a small muscle attached to her upper lip, hitting upon a register of pain a few inches below the high-tide mark of real pain. This register of discomfort became the standard for all the muscles in her face, above the eyebrows, under the jaw, across the nostrils. She didn't check with the small mirror in the janitor's closet, didn't need to. She knew she'd hit it.