The next step in forensic investigation should be a visit to Damrong’s family. She came from Isakit, the poorest part of our poorest region in the northeast, known as Isaan. I’m not ready for that journey, but duty requires me to get a local cop to make the call. I tell the switchboard to find the police station nearest to Damrong’s home village. Eventually a gruff country voice comes on the line. He knows the call is from Bangkok but insists on speaking in the local Isaan tongue, which is a dialect of Khmer, so that I have to ask him to translate into Thai, and he makes a cute little protest dance out of that. Eventually he agrees to send a constable to talk to the mother. According to records, Damrong’s father died when she was young. Her one sibling is a younger brother who, so far as we know, is still alive. The database shows he was convicted of possession and trafficking in yaa baa, or methamphetamines, about ten years ago.
If I didn’t already know about Damrong’s background, I might consider inviting her mother up to Bangkok for an interview, but I learned something about the matriarch during our brief affair which makes that strategy improbable. In the meantime I need to do some fairly intrusive investigating, using parts of the government database that will require authority from Colonel Vikorn, the chief of District 8. I’ve given him only a very general outline of the case so far, and I need to see him this morning. However, this is Thursday, and the Colonel and I have a curious ritual that takes place every Thursday.
Call it a consequence of globalism. Like many Thais (roughly sixty-three million, give or take a few freaks like me), Police Colonel Vikorn’s interest in Western culture could, until recently, have been described as tepid, to say the least. As he aged, though, and his core methamphetamine business came to involve more and more lucrative export contracts, he decided he ought to know something about his customers and appointed me to keep him informed of important developments in Europe and the United States, changes in the street price of yaa baa being chief among them. I found myself justifying my existence by exploring whatever cropped up in The New York Times using such keywords as meths, DEA, drug abuse, porn. Porn, in this exercise, was originally merely a way of relieving the monotony of the usual bleeding-heart stories of how drugs have criminalized families who formerly could have been relied upon to destroy themselves with alcohol. Something about porn stories intrigued Vikorn, though, who seemed to see beyond mere sleaze. He demanded to know more and more, so that just recently porn has been the flavor of the month. It so happened that I found a masterly article in The New York Times archives a few days ago.* I know that Vikorn is not much interested in the Damrong case, so I have to launch into the porn report as soon as I’ve sat down opposite him at his vast desk.
“Listen to this,” I say, and outline the article to him.
The Colonel is so intrigued, I have to translate word for word. In a nutshell, pom’s evolutionary spiral can be traced from dirty postcards to video shops to mail order to instant downloads from the Net, all in about a decade during which it grew from a disreputable million-dollar industry to a massive, and therefore respectable, multi-billion-dollar industry. (Seven hundred million rentals of hardcore porn occurred in 2000: that’s exactly two and a half movies per U.S.
*See Appendix.
citizen, all of which feature, on average, two or more penises penetrating an equal number of mouths or vaginas, which means that the average American vicariously participated in no less than five orgies in 2000, the year the article was published. Word is the number has more than doubled since then. I don’t have the figures for homosexual porn.) In other words, as an investment, porn became irresistible to certain grandmother corporations. Like Internet gambling, porn largely survived the dot-com bubble, thus proving itself, along with eating, sleeping, dressing, and dying, as one of those industries in which a young person starting out in life cannot go wrong.
By the time I’ve finished my translation, Vikorn, a normally laid-back sixty-year-old exuding cynicism, is sitting bolt upright like a man who has been injected in the left ventricle with adrenaline. The innocence of fresh revelation has smoothed his brow. He looks ten years younger.
“Read those numbers again,” he says; then, with a gasp of admiration, “Amazing. Farang are even more two-faced than the Royal Thai Police. You mean those mealymouthed little Western TV journalists, who get their knickers in a twist about our brothels, spend most of their lives in five-star hotel rooms paying to watch people fuck for money?”
“It’s a culture of hypocrisy,” I offer, sounding rather more judgmental than I intend.
But gangsters of Vikorn’s stature are masters at seeing opportunity where mere mortals see only darkness. He shakes his head as if I were a poor, challenged intellect incapable of picking up a half-billion dollars lying on the floor at my feet.
“It’s a culture of masturbation,” he corrects, rubbing his hands together and assuming the posture of a country schoolmaster. “So, what are you waiting for? Let’s make a movie.”
I shake my head wisely. “No way. You don’t understand. American porn may be full of silicone tits and lipstick on pricks, the acting may be even worse than ours, and most of the women may have pimples on their bums”-Yes, I have added ten dollars to my hotel bills from time to time-just like you, hey, farang? – “but the camerawork is first class. The guys behind the viewers once believed they were going to make art-house movies for posterity. They do angles, pauses, use more than one camera, long shots, pans, slow-mo, graphic inserts, unexpected close-ups of bits of your body you’ve never seen yourself. They’re top-notch pros,” I explain with satisfaction. “Mr. and Mrs. Jerkov of Utah aren’t going to buy stuff shot in a back room on Soi Twenty-six with a single Handycam. They’re used to quality.”
A pause while my master rubs his jaw and stares at me with those frank, unblinking eyes. “What’s an art-house movie?”
I scratch my head. “I’m not sure, it’s a phrase they use in the industry. Something that hopes to sell itself by pretending not to be commercial, I guess.”