Friday, January 11, 2013

The Concorde

Juniper says he and Sage and Lisa live in the South End, but really the South End ended a few blocks ago. Or, at least the posh part of the South End. Maybe it all used to be like this — liquor stores, boarded-up buildings and mostly black people sitting on stoops. Someone buzzes us in when we arrive and then we have to walk up two flights of stairs before we get to the apartment, that's what really reminds me of San Francisco. Lisa opens the door, and oh my she's flying. Her lip is vibrating and she holds out her arms for the longest hugs, and then she says: It’s. So. Good. To. See. You.
Juniper and Sage are on the sofa in the living room, sitting right up against one another like they're linked at the waist, watching TV. No, the TV isn't on, they're just watching. Juniper starts clapping when we come in. Do. You. Need. Anything? Oh. Yes. Oh. Oh! And then she runs to her room, comes back with a little glittery box: You’re. Going. To. Love. This.
They’ve painted the walls red and yellow and orange, but all the lights are dim, why are the lights so dim? That's another thing that reminds me of San Francisco.
Juniper hands us two capsules, and Abby and I give her the money. Thank you, she says, thank you. And then she sits back down and start’s petting Sage like a huge cat, they look at each other like they can hardly believe we’re there. Lisa comes in with two glasses of something bright pink, what is it?
Yes, Lisa says, yes. Abby takes her pill. I take mine. Tastes like Kool-Aid, no alcohol I don't think. The buzzer rings, it's Sean and one of her most annoying friends. And she has a lot of annoying friends. Avery, that's his name. Like an eraser. Or a hole puncher. I look at Abby to see if she wants to go somewhere, but she just sits down on the sofa and closes her eyes. Sean is coked out of her mind, and Avery starts to introduce himself like we haven't met 10 times. He's wearing some kind of silky button-down ‘80s stockbroker shirt that just looks like hi, this is expensive, with an ascot to go with his attitude.
Pass the Kool-Aid, Sean says, and then we’re all sitting down and Juniper and Sage get up and say they're going to go in their room for a little while. And then Lisa says she's going to take a nap — what, a nap on ecstasy, what kind of ecstasy is this? She says oh, we've been up, we've been up for a while. I don't think I'm going to sleep, but I need to lie down — Make. Yourselves. At. Home.
Well, Sean says: Well. Come. Like that’s something profound. Should we go somewhere? Yes, I'm thinking, yes, but then Abby says let's wait for it to kick in, and then go to The Loft.
The Loft is closed, Sean says.
Shut down?
What do you mean?
Shut down. The cops. Someone wasn't paying someone.
What’s in this Kool-Aid, anyway?
Sean wants to watch TV, so I take the remote and hide it. Somehow Sean’s the first one to feel the X, even with all the coke she's walking around the room saying oh, yes, oh. Whatever, I'm thinking, but then I get that feeling like this is suddenly the most comfortable sofa in the world and I can see all around me like my head is twirling without moving and I'm inside and outside at once, each breath expanding my awareness and yes, let's go for a walk, yes. Sean, I say, Sean, the hallway.
And Sean says yes, the hallway is amazing.
Oh, this carpet — I love. This carpet.
Music, Abby says, from the other room, and when I look at her eyes I realize this is going to be good. But I can't figure out the stereo, no one can figure out the stereo, where can we go to hear music? Oh, wait, listen.
Sure enough, really quiet, somewhere deep in the speakers, there's a sound, Avery thinks we’re joking but then he gets closer and we’re all holding on and wait, it’s slowly getting louder, do you hear that? Yes, yes, until suddenly it's all around us, what is this music, oh, turn on the lights, yes, the lights.
But when I turn on the lights I see that it's all fluorescent, what do people think, on or off, but no one knows what to do except maybe more Kool-Aid, yes, this Kool-Aid, yes, what is this song, this is so good, do you want to go on a walk?
 A walk?
Yes, a walk.
Yes, walk.
And damn this hallway is good for runway, funway, stunway. Turn. Shake your hips and learn. Burn. Wring out the dishtowels and spurn, yell at the world and yearn. I'm yearning, I'm yearning. I'm burning, I'm learning.
Flawlessa Contessa, get your best contestant to make a crescent out of my investment. Divestment. Investment, divestment.
And Avery says: Mattilda, will you teach me how to walk?
And I say: Investment, divestment.
And she looks at me.
And I say it again: Investment, divestment.
And she’s still looking at me while I'm turning it out, eyes wide open and then I lean up against her push my right arm back behind me and she turns with me, yes, bitch, yes.
Yes, bitch, yes. Feel your body, shake your body, move your body — did I just say that, or is that in the song? Avery unties her ascot, and wraps it around her head.
Give it, honey, give it!
Sean comes running in and says oh, Mattilda, I left my heels in the car. No, my house, I left my heels at my house. No, Avery, where are my heels?
Avery says Sean, we didn't bring the car.
Oh, right, oh.
And I'm still turning it out on the runway, please just keep the runway going. Back in the living room, Abby starts swinging her hands in the air in a circle, just swinging and swinging and Sean starts saying whee! Whee! Then she gets the pitcher of Kool-Aid and says welcome, welcome to the Factory. Now Avery is doing jumping jacks, little kicks – wait, wait, wait Jane Fonda wait — and then we’re all doing it, whatever it is, and I start throwing myself against the wall — oh, this wall, yes, I love this wall. And then Abby’s doing it. And then Avery. But Sean is looking out the window.
Sean, what do you see? Sean? And then we all go over to the window. Are we ready?
Sean says not yet and I say yes, Sean, yes, you read my mind.
Not yet, Abby says, not yet not yet not yet.
What about Quest, Avery says.
No, not Quest, I say, what time is it?
Too late for Quest.
Unless we took the Concorde.
Yes, the Concorde. Concorde Concorde Concorde — oh, this beat!
God the sound system is to good, the beats bouncing off the walls and into your body it's like Quest times 10, the beats bouncing up from the floor and down from the ceiling too, we just need a disco ball. And Sean starts flashing the lights — oh, perfect, oh.
I go to the bathroom to look at my eyes — yes, you, honey, you. And then Abby’s there beside me and we’re pointing to each other.
Yes, you.
No, you.
Yes, you.
Back into the living room and Sean is still flashing the lights and now she's saying Maverick, Maverick station. Fuck Maverick, I say — what about Wonderland?
Wonderland, Sean says. Next stop, Wonderland. Next stop. And the music's doing something where the beats juiced, grinding it all up, fading in and out. Sean, are you mixing, are you mixing the music too? And Sean says work.
But wait – Sean, wait, listen, do you hear that fade, do you hear it, oh yes, oh yes, oh…
X, X, Xtrava – and Sean's on the dance floor with me. Work it in heels, I say, work it in heels, and I start giving high-heeled falling over runway and the music’s flashing with the lights, wait are the lights still flashing and here's the build, here's the build and the bounce, here's the build and the bounce and the dribble, the dribble and the throw no stop the sports metaphor it's just those drums oh how I love those drums and then suddenly the songs skips. Sean, what happened?

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