Laurence was staring at Patricia’s purse, where she’d put the figurine away. “I think all the time about how close he came to ruining my life. It’s one of the reasons I’m so desperate to succeed, because I almost didn’t get this chance.” Abruptly he stood up. “Come on. I want to show you something.” Patricia was struck anew by just how tall he’d gotten. Patricia was tall too, but she came up to his collarbone. And he had enough nervous energy for nine ferrets.

Patricia followed Laurence down to Mission Street and then around a couple of side streets until they were near Shotwell, on one of those streets that goes for just a block or two. It was another itchy parched day. Patricia remembered hearing there was a creek here originally, before it was drained or paved over. Sometimes she imagined she could still feel the current of the banished ecosystem.

They reached a cement block with nothing to distinguish it from the other blocks. Laurence pulled out a key but didn’t put it in the lock on the maroon steel door. Instead, he punched a series of a dozen numbers into a keypad recessed into the wall, which Patricia hadn’t even noticed. And then he turned the key in the lock.

Two and a half flights of steps up, there was a door with a bunch of metal studs in it, and a sign that read: “PROCRASTINATION SOLUTIONS. COME BACK TOMORROW.” Laurence knocked seventeen times, in a precise sequence of long and short knocks, and the door swung open.

“Welcome to the Ten Percent Project,” Laurence said. “The local office, anyway.”

The space behind the steel door was bigger than you’d expect, and much cooler than the outdoors: a square loft, with an opaque skylight along one edge of the ceiling. Ergonomic chairs jostled against workbenches, which were stacked with equipment and soldering irons and Arduino boards and laser tools. The centerpiece of the room, though, was a massive piece of equipment, the size of a Buick, culminating in a sort of ray-gun nozzle. It was aimed at a white Plexiglas circle.

Laurence introduced Patricia, in turn, to the three people in the room:

Tanaa was an African-American woman wearing a welding mask, tank top, and shorts. Her forearms were strong, but her neck and shoulders were fluid, mercurial. Tanaa could build anything, said Laurence—in fact, she’d found Milton the same way Laurence had long ago, by figuring out some schematics on the internet. Except that these schematics were ones that nobody else had managed to make work, and they’d led to that oversized ray gun on bent legs. Tanaa waved, then went back to shooting sparks in all directions.