Zoo City Part 51

There is a commotion outside. Doors slamming. Footsteps. A kid scrambles past the door, yelling "iPoyisa! iPoyisa! iPoyisa!" the building's early warning system.

"You called the cops?" Vuyo says, incredulous. His eyes flick to the bed, to the gun under it. He wavers.

"Not me. Whoever left this knife in my drawer. Same people who gave me a suitcase full of fake hundreds."

"When you make enemies, you don't f.u.c.k around," Vuyo says, admiringly.

"You want to leave before they get here."

He tips his hand to his forehead. "I'll be in touch," he says, sliding into the chaos of people pouring out like c.o.c.kroaches: hookers and dealers and skollies skollies making a break for it. making a break for it.

I grab a dishtowel, wrap it round the knife and the china kitten and toss it in my handbag Odi's insurance policy. But they killed Mrs Luditsky before I even got involved, which means they're setting me up to take the fall for something else. What's worse than stabbing an old lady to death in her home?

I tie Sloth around my waist, like a pregnant belly, yanking one of Benoit's old t-s.h.i.+rts over my dress to disguise the lumpiness. The t-s.h.i.+rt smells of him, man sweat and Zambuk.

I barge out into the panic. There's a lot of noise, but the voice that yells "There! There she is!" has a note of self-righteous authority that could only belong to D'Nice. I don't look round. I keep moving forward and, at the last moment, sidestep into the burned-out doorway of apartment 615.

By the time the cops. .h.i.t the kitchen with its ripped-out pipes and smashed sink, I've already dropped through the hole in the floor in the second bedroom, into 526. But instead of taking the main stairwell, I cross the walkway, climb through the window of Aurum Place's 507, clamber down the broken fire-escape and drop the last half-storey to the street. Queen of the shortcut. I casually drop the dishcloth with the knife and the china kitten into the storm drain as I pa.s.s by.

Police lights strobe the building. I count four cop cars round the front, which probably means at least another two round the back. The police don't mess around in Hillbrow. They're armed to the molars with shotguns and padded up the wazoo with bullet-proof vests and riot helmets. Nice to see them taking a murder seriously, if only on the basis of a little old non-zoo lady getting brutally stabbed to death by a fratricidal Sloth girl. There's an e.tv news van already on the scene, parking in the riot vehicle.

I use it for cover, waddling round the back of it in the hippo-duck manner of the heavily pregnant. Unfortunately, the intrepid girl reporter spots me and the camera swings to catch me in its gla.s.s eye, before she spots something even better in the Human Interest vein Mrs Khan and her kids wailing and yelling as a burly cop escorts them out of the building, holding a fistful of confiscated fake pa.s.sports. I slip away, past the roadworks and up the alley to my car.

The Capri maxes out at 140, which probably isn't a bad thing given that I'm dodging between lanes like Ayrton Senna on methamphetamines, listening to my voicemail on repeat, like torture. Because Arno's phone just rings and rings and rings.

"h.e.l.lo? h.e.l.lo!" Arno's voice hisses. "Are you there? Oh man. Zinzi, They're here. For real. Worse than zombies. They're like Zinzi, They're here. For real. Worse than zombies. They're like motherf.u.c.king ghosts. Please answer. Please." motherf.u.c.king ghosts. Please answer. Please."

Arno is breathing quick and heavy like an obscene phone caller having an asthma attack. The breathing gets harder. Then caller having an asthma attack. The breathing gets harder. Then there is the sound of a door cras.h.i.+ng open. "s.h.i.+tb.a.l.l.s!" And then there is the sound of a door cras.h.i.+ng open. "s.h.i.+tb.a.l.l.s!" And then he screams. There is a m.u.f.fled sc.r.a.ping sound accompanied by a he screams. There is a m.u.f.fled sc.r.a.ping sound accompanied by a dull drumming, as if of heels kicking the floor as he's being dull drumming, as if of heels kicking the floor as he's being dragged away. dragged away.

And then the phone cuts out.

The security checkpoint at the entrance to Mayfields is abandoned. There are sirens howling inside, black swells of smoke churning into an unnaturally pale orange sky. I duck under the boom to let myself in, and get yet another nasty surprise. There is a sign pasted up with a blurry web-cam photograph of me from the last time I was here. Someone has taken the time to highlight the important bits:

Housebreaker!

Crimewatch: All tenants!

Be on the lookout for this woman!

Zinzi December is a convicted murderer and considered very dangerous.

She drives an orange Ford Capri and has a Sloth.

If you see this woman, call security and the police immediately!

I tear down the notice and crumple it up, hit the b.u.t.ton to raise the boom, and drive through, into a chaos of sirens, an ambulance parked halfway up one of the immaculate gra.s.sy verges, the road blocked by fire-engines and cop cars. I pull over behind the ambulance and tug a baggy hoodie over my shoulders and over Sloth. The pregnancy shtick is too restrictive. "Keep your head down," I tell Sloth, my own personal hunchback, and start running.

H4-303 is a lost battle. The firefighters might as well be p.i.s.sing on it. It's already been reduced to the black carapace of a building. Brilliant orange flames lash in the second-storey window, S'bu's room. The heat is as dense as a wall, forcing the crowd of spectators to keep their distance on the clipped lawn. They're wearing various configurations of sleepwear.

"Media," I shout and barge my way through to the front where a body is laid out under fireproof sheets. A husky teen. There is an arm sticking out from under the sheet. The sleeve has pink robot monkeys. My heart lurches so hard I practically gag on it.

"Where are the other kids?" I yell at a sh.e.l.l-shocked security guard who is supposed to be keeping people back. He doesn't seem to hear me, mesmerised by the spectacle. A firefighter is dragging a blackened body out of the rubble, collapsed in his arms like a scarecrow. Scrawny. Girl-sized. Wearing purple cowboy boots. They are still smouldering.

"There's another one," someone shouts from inside the building.

"Get away from there!" one of the firefighters yells at me, snapping the security guard out of his trance. But when I raise my hands in apology, I catch a glimpse of something else in the crowd. A shadow. The crowd is a tangle of lost things, but there is something moving through the threads. Like a ghost. Or an invisible demon.

"Come, lady, you can't be doing that," the security guard says, pulling me away. "What's the matter with you? Get back over there."

"Sorry," I mutter and let him shepherd me towards the crowd, which is s.h.i.+fting unconsciously away from the demon, parting like a magical sea to allow it through towards the parking lot.

I chase after it, pus.h.i.+ng past people, grabbing at impressions as I go. Except that just like outside Mrs Luditsky's on the morning of her murder, they're no longer just impressions. The images leap out at me in crisp high-resolution: a broken drum-stick scrawled with a band's name, a pair of girl's boyshorts with red lace detail, an orange plastic casio watch, a keyring attached to a Bratz doll's head. And a tattered book with a golden tree on the cover.

"I know you're there, Amira!" I yell. But she keeps fading out, like a developing photograph in reverse, not so much like she's bending the light around her as bending people's minds, making herself un.o.btrusive, making your eyes slide away, your attention drift. Nothing to see here. Except that ruined book. I hold on to it as hard I can, but the crowd is resisting me.

"Oh come on!"

"What is wrong wrong with you?" with you?"

Someone grabs my arm. It's the snooty waiter from the clubhouse. "I know you!"

I step forward into the waiter's hold, twisting his arm down and, at the same time, smack him in the throat with the open palm of my hand. He lets go with a strangled noise. Hey, what's an extra a.s.sault charge on my rap sheet tonight? They're probably going to lay the fire on me anyway. I turn and break for my car, people shouting after me.

I drive away, tyres squealing. The Capri snaps the boom like a teenage heart.

The tension in the car is as dense as a collapsing star. Benoit is quiet, looking out the window at the streetlights streaming past the car. I picked him up outside Central Methodist. He didn't argue, didn't ask questions, didn't try to convince me to go to the cops. He was the one who suggested using his uniform to get access, in case there was another "dangerous criminal" warning posted at the neighbourhood security boom.

Reflected light catches on the bra.s.s-plated name-badge, like an unspoken accusation. These are all the things he doesn't say in the silence: that I'm risking everything his asylum status, his family's chance of a future here. The Mongoose says it instead, his beady little eyes glaring up at me from Benoit's lap. Those eyes say "useless backstabbing junkie slag".

I pull over a few blocks away, out of sight. It's unnaturally quiet. The birds will only start up in an hour or so. And in the meantime, dream city is dreaming.

"Give me ten minutes," Benoit says. I pa.s.s him the bagof Lagos fried chicken, and he gets out of the car and strolls down towards the security hut, chewing on a piece of chicken. It's more disguise than bribe. Who would suspect a man with chicken, particularly one in a Sentinel uniform and a name-badge?

Headlights swoop over him and then past, not even slowing it's not unusual for people to be walking at 3 am. It's like there are two different species inhabiting Johannesburg. Cars and pedestrians.

It's forty-two minutes before the official 4 am s.h.i.+ft change, but a man can be persuaded to go off duty early. It takes a little longer than antic.i.p.ated. Not because the guard is diligent, but because he wants to shoot the breeze a little, share some greasy chicken before he heads on home. It takes all my willpower to stay in the car. Finally, he parts company with Benoit and starts walking up the road away from me, towards the main road. If he thinks there is a chance of a taxi at this time of the morning, he is a man who believes in miracles. We have twenty-eight minutes left until the actual s.h.i.+ft change arrives and figures something is up.

The Mongoose scampers down the road towards the car. I open the door and he scrambles in, making urgent squeaking noises.

"Yes, I know, I saw him leave." I put the car in gear and drive down to the security hut to pick up Benoit, cursing under my breath when I see the cameras. Too late now.

The gate leading to Huron's house proves less of a problem. Benoit has been thoroughly trained in all the ways nasty burglars vanquish home-security measures, including, in this case, simply levering the gate right off

the rails with a tyre iron.

I stash the car a few blocks away, to throw off armed response when they click that all is not as it should be, and we slip up the side of the garden, sticking to the cover of the trees. The house is lit up for a party, all the lights blazing. Sloth squeezes my arms with his claws.