Online Texts for Craig White's Literature Courses

selections from William Gibson, Burning Chrome (story collection, 1986)

Burning Chrome

(title story of Burning Chrome collection)


by William Gibson (b. 1948)

  • Not a critical or scholarly text but a reading text for a seminar
  • Changes may include paragraph divisions, highlights, spelling updates, bracketed annotations, & elisions (marked by ellipses . . . )
  • A keyword throughout story is "cybernetics" or artificial intelligence and computer systems that create virtual reality. The "cyberpunk" name combines "punk" with "cyber"-netics.
  • In the opening paragraphs, the word "Chrome" identifies a feminine personification or concentration of computer power or consciousness within the matrix. The character Chrome in actual reality is the owner of "The House of Blue Lights," a center for kinky exploitation and underworld markets.
  • If virtual reality is an alternative to actual reality, Gibson makes it knowable or familiar by describing it in metaphors or similes such as walls, ice,


"cybertechture" ("Egg") by James Law


Bobby Quine: software specialist

Automatic Jack: hardware specialist (narrator of story)

Rikki Wildside: Bobby's lady-luck girlfriend

Chrome: criminal who handles money transfers for organized crime



Virtual reality: The Matrix

Actual reality: Bobby's apartment loft

The Gentleman Loser (bar)

The Finn's place (black market site for stolen goods)

the House of Blue Lights (scene of sexual exploitation + money-laundering for mob)

[1] It was hot, the night we burned Chrome. Out in the malls and plazas, moths were batting themselves to death against the neon, but in Bobby's loft the only light came from a monitor screen and the green and red LEDs [light-emitting diodes] on the face of the matrix simulator*. I knew every chip** in Bobby's simulator by heart; it looked like your workaday Ono-Sendai VII. the "Cyberspace Seven," but I'd rebuilt it so many times that you'd have had a hard time finding a square millimeter of factory circuitry in all that silicon. [matrix = mathematical object rep. by numbers; simulator = system model. **chip = basic unit of digital transmission]

[2] We waited side by side in front of the simulator console, watching the time display in the screen's lower left corner.

[3] "Go for it," I said, when it was time, but Bobby was already there, leaning forward to drive the Russian program into its slot with the heel of his hand. He did it with the tight grace of a kid slamming change into an arcade game, sure of winning and ready to pull down a string of free games. [<analogy] A silver tide of phosphenes [e.g., seeing stars after sneezing or rubbing eyes] boiled across my field of vision as the matrix began to unfold in my head, a 3-D chessboard [metaphor], infinite and perfectly transparent. The Russian program seemed to lurch as we entered the grid. If anyone else had been jacked into that part of the matrix, he might have seen a surf of flickering shadow roll out of the little yellow pyramid that represented our computer. The program was a mimetic weapon, designed to absorb local color and present itself as a crash-priority override in whatever context it encountered.

[4] "Congratulations," I heard Bobby say. "We just became an Eastern Seaboard Fission Authority inspection probe. . . ." That meant we were clearing fiberoptic lines
[crossing system boundaries] with the cybernetic equivalent of a fire siren, but in the simulation matrix we seemed to rush straight for Chrome's data base. I couldn't see it yet, but I already knew those walls were waiting. Walls of shadow, walls of ice. [ice = ICE = Intrusion Countermeasures Electronics]

[5] Chrome: her pretty childface smooth as steel, with eyes that would have been at home on the bottom of some deep Atlantic trench, cold gray eyes that lived under terrible pressure. They said she cooked her own cancers for people who crossed her, rococo custom variations that took years to kill you. They said a lot of things about Chrome, none of them at all reassuring.

[6] So I blotted her out with a picture of Rikki. Rikki kneeling in a shaft of dusty sunlight that slanted into the loft through a grid of steel and glass: her faded camouflage fatigues, her translucent rose sandals, the good line of her bare back as she rummaged through a nylon gear bag. She looks up, and a half-blond curl falls to tickle her nose. Smiling, buttoning an old shirt of Bobby's, frayed khaki cotton drawn across her breasts. She smiles.

[7] "Son of a bitch," said Bobby, "we just told Chrome we're an IRS audit and three Supreme Court subpoenas. . . . Hang on to your ass, Jack.--"

[8] So long, Rikki. Maybe now I see you never.

[9] And dark, so dark, in the halls of Chrome's ice. [ice = ICE = Intrusion Countermeasures Electronics]

[10] [The next 20 paragraphs shift from the "burning Chrome" escapade to backgrounds on setting and characters, then a flashback to the purchase of "the Russian program" that Bobby inserts in paragraph 3 above.]

[11] Bobby was a cowboy, and ice was the nature of his game, ice from ICE, Intrusion Countermeasures Electronics. The matrix is an abstract representation of the relationships between data systems. Legitimate programmers jack into their employers' sector of the matrix and find themselves surrounded by bright geometries representing the corporate data. [virtual reality represented in these two paragraphs]

[12] Towers and fields of it ranged in the colorless non-space of the simulation matrix, the electronic consensus-hallucination that facilitates the handling and exchange of massive quantities of data. Legitimate programmers never see the walls of ice they work behind, the walls of shadow that screen their operations from others, from industrial-espionage artists and hustlers like Bobby Quine.

[13] Bobby was a cowboy. Bobby was a cracksman, a burglar, casing mankind's extended electronic nervous system, rustling data and credit in the crowded matrix, monochrome nonspace where the only stars are dense concentrations of information, and high above it all burn corporate galaxies and the cold spiral arms of military systems. [note extended metaphors of cowboy, burglar, rustling; and nonspace, stars, galaxies, spiral arms]

[14] Bobby was another one of those young-old faces you see drinking in the Gentleman Loser, the chic bar for computer cowboys, rustlers, cybernetic second-story men. We were partners.

[15] Bobby Quine and Automatic Jack. Bobby's the thin, pale dude with the dark glasses, and Jack's the mean-looking guy with the myoelectric arm. Bobby's software and Jack's hard; Bobby punches console and Jack runs down all the little things that can give you an edge. Or, anyway, that's what the scene watchers in the Gentleman Loser would've told you, before Bobby decided to burn Chrome. But they also might've told you that Bobby was losing his edge, slowing down. He was twenty-eight, Bobby, and that's old for a console cowboy.

[16] Both of us were good at what we did, but somehow that one big score just wouldn't come down for us. I knew where to go for the right gear, and Bobby had all his licks down pat. He'd sit back with a white terry sweatband across his forehead and whip moves on those keyboards faster than you could follow, punching his way through some of the fanciest ice in the business, but that was when something happened that managed to get him totally wired, and that didn't happen often. Not highly motivated, Bobby, and I was the kind of guy who's happy to have the rent covered and a clean shirt to wear.

[17] But Bobby had this thing for girls, like they were his private tarot [symbol-cards foretelling destiny] or something, the way he'd get himself moving. We never talked about it, but when it started to look like he was losing his touch that summer, he started to spend more time in the Gentleman Loser. He'd sit at a table by the open doors and watch the crowd slide by, nights when the bugs were at the neon and the air smelled of perfume and fast food. You could see his sunglasses scanning those faces as they passed, and he must have decided that Rikki's was the one he was waiting for, the wild card and the luck changer. The new one.

[18] I went to New York to check out the market, to see what was available in hot software.

[19] The Finn's place has a defective hologram in the window, METRO HOLOGRAFIX, over a display of dead flies wearing fur coats of gray dust. [cyberpunk: combo virtual reality & scuzzy actuality] The scrap's waist-high inside, drifts of it rising to meet walls that are barely visible behind nameless junk, behind sagging pressboard shelves stacked with old skin magazines and yellow-spined years of National Geographic.

[20] "You need a gun," said the Finn. He looks like a recombo DNA project [mix of computer & genetic codes] aimed at tailoring people for high-speed burrowing. "You're in luck. I got the new Smith and Wesson, the four-oh-eight Tactical. Got this xenon [gaseous laser medium] projector slung under the barrel, see, batteries in the grip, throw you a twelve-inch high-noon circle in the pitch dark at fifty yards. The light source is so narrow, it's almost impossible to spot. It's just like voodoo in a nightfight."

[21] I let my arm clunk down on the table and started the fingers drumming; the servos [automatic mechanisms] in the hand began whining like overworked mosquitoes. [<analogy] I knew that the Finn really hated the sound.

[22] "You looking to pawn that?" He prodded the Duralumin wrist joint with the chewed shaft of a felt-tip pen. "Maybe get yourself something a little quieter?"

[23] I kept it up. "I don't need any guns, Finn."

[24] "Okay," he said, "okay," and I quit drumming. "I only got this one item, and I don't even know what it is. He looked unhappy. "I got it off these bridge-and-tunnel kids from Jersey last week."

[25] "So when'd you ever buy anything you didn't know what it was, Finn?"

[26] "Wise ass." And he passed me a transparent mailer with something in it that looked like an audio cassette through the bubble padding. "They had a passport," he said. "They had credit cards and a watch. And that."

[27] "They had the contents of somebody's pockets, you mean."

[28] He nodded. "The passport was Belgian. It was also bogus, looked to me, so I put it in the furnace. Put the cards in with it. The watch was okay, a Porsche, nice watch."

[29] It was obviously some kind of plug-in military program. Out of the mailer, it looked like the magazine of a small assault rifle, coated with nonreflective black plastic. The edges and corners showed bright metal; it had been knocking around for a while. "I'll give you a bargain on it, Jack. For old times' sake." I had to smile at that. Getting a bargain from the Finn was like God repealing the law of gravity when you have to carry a heavy suitcase down ten blocks of airport corridor.

[30] "Looks Russian to me," I said. "Probably the emergency sewage controls for some Leningrad suburb. Just what I need."

[31] "You know," said the Finn. "I got a pair of shoes older than you are. Sometimes I think you got about as much class as those yahoos from Jersey. What do you want me to tell you, it's the keys to the Kremlin? You figure out what the goddamn thing is. Me, I just sell the stuff." I bought it.

[The following paragraph returns from the flashback about purchasing "the Russian program" to resume the "burning Chrome" escapade]

[32] Bodiless, we swerve into Chrome's castle of ice. And we're fast, fast. It feels like we're surfing the crest of the invading program, hanging ten above the seething glitch systems as they mutate. We're sentient patches of oil swept along down corridors of shadow.

[33] Somewhere we have bodies, very far away, in a crowded loft roofed with steel and glass. Somewhere we have microseconds, maybe time left to pull out.

[34] We've crashed her gates [metaphor] disguised as an audit and three subpoenas, but her defenses are specifically geared to cope with that kind of official intrusion. Her most sophisticated ice is structured to fend off warrants, writs, subpoenas. When we breached the first gate, the bulk of her data vanished behind core-command ice, these walls we see as leagues of corridor, mazes of shadow. Five separate landlines spurted May Day [help] signals to law firms, but the virus had already taken over the parameter ice. The glitch systems gobble the distress calls as our mimetic subprograms scan anything that hasn't been blanked by core command.

[35] The Russian program lifts a Tokyo number from the unscreened data, choosing it for frequency of calls, average length of calls, the speed with which Chrome returned those calls.

[36] "Okay," says Bobby, "we're an incoming scrambler call from a pal of hers in Japan*. That should help." Ride `em, cowboy. *Bobby's program penetrates Chrome's defenses by imitating a familiar contact number]

[next 13 paragraphs again digress to background and flashback]

[37] Bobby read his future in women; his girls were omens, changes in the weather, and he'd sit all night in the Gentleman Loser, waiting for the season to lay a new face down in front of him like a card.

[38] I was working late in the loft one night, shaving down a chip, my arm off and the little waldo [hand device] jacked straight into the stump.

[39] Bobby came in with a girl I hadn't seen before, and usually I feel a little funny if a stranger sees me working that way, with those leads clipped to the hard carbon studs that stick out of my stump. She came right over and looked at the magnified image on the screen, then saw the waldo moving under its vacuum-sealed dust cover. She didn't say anything, just watched. Right away I had a good feeling about her; it's like that sometimes.

[40] "Automatic Jack, Rikki. My associate."

[41] He laughed, put his arm around her waist, something in his tone letting me know that I'd be spending the night in a dingy room in a hotel.

[42] "Hi," she said. Tall, nineteen or maybe twenty, and she definitely had the goods. With just those few freckles across the bridge of her nose, and eyes somewhere between dark amber and French coffee. Tight black jeans rolled to midcalf and a narrow plastic belt that matched the rose-colored sandals.

[43] But now when I see her sometimes when I'm trying to sleep, I see her somewhere out on the edge of all this sprawl of cities and smoke, and it's like she's a hologram stuck behind my eyes, in a bright dress she must've worn once, when I knew her, something that doesn't quite reach her knees. Bare legs long and straight. Brown hair, streaked with blond, hoods her face, blown in a wind from somewhere, and I see her wave goodbye.

[44] Bobby was making a show of rooting through a stack of audio cassettes. "I'm on my way, cowboy," I said, unclipping the waldo. She watched attentively as I put my arm back on.

[45] "Can you fix things?" she asked.

[46] "Anything, anything you want, Automatic Jack'll fix it." I snapped my Duralumin fingers for her.

[47] She took a little simstim deck from her belt and showed me the broken hinge on the cassette cover.

[48] "Tomorrow," I said, "no problem."

[49] And my oh my, I said to myself, sleep pulling me down the six flights to the street, what'll Bobby's luck be like with a fortune cookie like that? If his system worked, we'd be striking it rich any night now. In the street I grinned and yawned and waved for a cab.

[flashback ends, burning-Chrome escapade resumes]

[50] Chrome's castle is dissolving, sheets of ice shadow flickering and fading, eaten by the glitch systems that spin out from the Russian program, tumbling away from our central logic thrust and infecting the fabric of the ice itself. The glitch systems are cybernetic virus analogs, self-replicating and voracious. They mutate constantly, in unison, subverting and absorbing Chrome's defenses.

[51] Have we already paralyzed her, or is a bell ringing somewhere, a red light blinking?. Does she know?

[>another Rikki flashback]

[52] Rikki Wildside, Bobby called her, and for those first few weeks it must have seemed to her that she had it all, the whole teeming show spread out for her, sharp and bright under the neon. She was new to the scene, and she had all the miles of malls and plazas to prowl, all the shops and clubs, and Bobby to explain the wild side, the tricky wiring on the dark underside of things, all the players and their names and their games. He made her feel at home.

[53] "What happened to your arm?" she asked me one night in the Gentleman Loser, the three of us drinking at a small table in a corner.

[54] "Hang-gliding," I said, "accident."

[55] "Hang-gliding over a wheatfield," said Bobby, "place called Kiev*. Our Jack's just hanging there in the dark, under a Nightwing parafoil, with fifty kilos of radar jammed between his legs, and some Russian asshole accidentally burns his arm off with a laser." [*Kiev:  capital city of Ukraine, but at the time of the story's writing, part of the Soviet Union]

[56] I don't remember how I changed the subject, but I did.

[57] I was still telling myself that it wasn't Rikki who was getting to me, but what Bobby was doing with her. I'd known him for a long time, since the end of the war, and I knew he used women as counters [playing pieces] in a game, Bobby Quine versus fortune, versus time and the night of cities. And Rikki had turned up just when he needed something to get him going, something to aim for. So he'd set her up as a symbol for everything he wanted and couldn't have, everything he'd had and couldn't keep.

[58] I didn't like having to listen to him tell me how much he loved her, and knowing he believed it only made it worse. He was a past master at the hard fall and the rapid recovery, and I'd seen it happen a dozen times before. He might as well have had NEXT printed across his sunglasses in green Day-Glo capitals, ready to flash out at the first interesting face that flowed past the tables in the Gentleman Loser.

[59] I knew what he did to them. He turned them into emblems, sigils [symbols in magic or computers] on the map of his hustler's life, navigation beacons he could follow through a sea of bars and neon. What else did he have to steer by? He didn't love money, in and of itself, not enough to follow its lights. He wouldn't work for power over other people; he hated the responsibility it brings. He had some basic pride in his skill, but that was never enough to keep him pushing.

[60] So he made do with women.

[61] When Rikki showed up, he needed one in the worst way. He was fading fast, and smart money was already whispering that the edge was off his game. He needed that one big score, and soon, because he didn't know any other kind of life, and all his clocks were set for hustler's time, calibrated in risk and adrenaline and that supernal dawn calm that comes when every move's proved right and a sweet lump of someone else's credit clicks into your own account.

[62] It was time for him to make his bundle and get out; so Rikki got set up higher and farther away than any of the others ever had, even though I felt like screaming it at him she was right there, alive, totally real, human, hungry, resilient, bored, beautiful, excited, all the things she was. [contrast between virtual and actual reality?--more Platonic than cybernetic?]

[63] Then he went out one afternoon, about a week before I made the trip to New York to see Finn. Went out and left us there in the loft, waiting for a thunder- storm. Half the skylight was shadowed by a dome they'd never finished, and the other half showed sky, black and blue with clouds. [inverted millennialism; note absence of disappointment or cynicism, instead only cool world-weariness] I was standing by the bench, looking up at that sky, stupid with the hot afternoon, the humidity, and she touched me, touched my shoulder, the half-inch border of taut pink scar that the arm doesn't cover. Anybody else ever touched me there, they went on to the shoulder, the neck . . . .

[64] But she didn't do that. Her nails were lacquered black, not pointed, but tapered oblongs, the lacquer only a shade darker than the carbon-fiber laminate that sheathes my arm. And her hand went down the arm, black nails tracing a weld in the laminate, down to the black anodized elbow joint, out to the wrist, her hand soft-knuckled as a child's, fingers spreading to lock over mine, her palm against the perforated Duralumin. [impressive union of artificial and organic]

[65] Her other palm came up to brush across the feed- back pads, and it rained all afternoon, raindrops drumming on the steel and soot-stained glass above Bobby's bed. [flashback ends, burning-chrome story resumes]

[66] Ice walls flick away like supersonic butterflies made of shade. Beyond them, the matrix's illusion of infinite space. It's like watching a tape of a prefab building going up; only the tape's reversed and run at high speed, and these walls are torn wings.

[67] Trying to remind myself that this place and the gulfs beyond are only representations, that we aren't "in" Chrome's computer, but interfaced with it, while the matrix simulator in Bobby's loft generates this illusion . . . The core data begin to emerge, exposed, vulnerable. . . . This is the far side of ice, the view of the matrix I've never seen before, the view that fifteen million legitimate console operators see daily and take for granted.

[68] The core data tower [data = subject, tower = verb] around us like vertical freight trains, color-coded for access. Bright primaries, impossibly bright in that transparent void, linked by countless horizontals in nursery blues and pinks.

[69] But ice still shadows something at the center of it all: the heart of all Chrome's expensive darkness, the very heart. [metaphor mixes non-organic & organic]

[70] It was late afternoon when I got back from my shopping expedition to New York. Not much sun through the skylight, but an ice pattern glowed on Bobby's monitor screen, a 2-D graphic representation of someone's computer defenses, lines of neon woven like an Art Deco prayer rug. I turned the console off, and the screen went completely dark.

[71] Rikki's things were spread across my workbench, nylon bags spilling clothes and makeup, a pair of bright red cowboy boots, audio cassettes, glossy Japanese magazines about simstim stars. I stacked it all under the bench and then took my arm off, forgetting that the program I'd brought from the Finn was in the right- hand pocket of my jacket, so that I had to fumble it out left-handed and then get it into the padded jaws of the jeweler's vise.

[72] The waldo looks like an old audio turntable, the kind that played disc records, with the vise set up under a transparent dust cover. The arm itself is just over a centimeter long, swinging out on what would've been the tone arm on one of those turntables. But I don't look at that when I've clipped the leads to my stump; I look at the scope, because that's my arm there in black and white, magnification 40 x.

[73] I ran a tool check and picked up the laser. It felt a little heavy; so I scaled my weight-sensor input down to a quarter-kilo per gram and got to work. At 40 x the side of the program looked like a trailer truck. It took eight hours to crack: three hours with the waldo and the laser and four dozen taps, two hours on the phone to a contact in Colorado, and three hours to run down a lexicon disc that could translate eight-year-old technical Russian.

[74] Then Cyrillic alphanumerics started reeling down the monitor, twisting themselves into English halfway down. There were a lot of gaps, where the lexicon ran up against specialized military acronyms in the readout I'd bought from my man in Colorado, but it did give me some idea of what I'd bought from the Finn.

[75] I felt like a punk who'd gone out to buy a switchblade and come home with a small neutron bomb.

[76] Screwed again, I thought. What good's a neutron bomb in a streetfight? The thing under the dust cover was right out of my league. I didn't even know where to unload it, where to look for a buyer. Someone had, but he was dead, someone with a Porsche watch and a fake Belgian passport, but I'd never tried to move in those circles. The Finn's muggers from the `burbs had knocked over someone who had some highly arcane connections.

[77] The program in the jeweler's vise was a Russian military icebreaker, a killer-virus program.

[78] It was dawn when Bobby came in alone. I'd fallen asleep with a bag of takeout sandwiches in my lap.

[79] "You want to eat?" I asked him, not really awake, holding out my sandwiches. I'd been dreaming of the program, of its waves of hungry glitch systems and mimetic subprograms; in the dream it was an animal of some kind, shapeless and flowing.

[80] He brushed the bag aside on his way to the console, punched a function key. The screen lit with the intricate pattern I'd seen there that afternoon. I rubbed sleep from my eyes with my left hand, one thing I can't do with my right. I'd fallen asleep trying to decide whether to tell him about the program. Maybe I should try to sell it alone, keep the money, go somewhere new, ask Rikki to go with me.

[81] "Whose is it?" I asked.

[82] He stood there in a black cotton jump suit, an old leather jacket thrown over his shoulders like a cape. He hadn't shaved for a few days, and his face looked thinner than usual.

[83] "It's Chrome's," he said.

[84] My arm convulsed, started clicking, fear translated to the myoclectrics through the carbon studs. I spilled the sandwiches; limp sprouts, and bright yellow dairy- produce slices on the unswept wooden floor.

[85] "You're stone crazy," I said.

[86] "No," he said, "you think she rumbled it? No way. We'd be dead already. I locked on to her through a triple-blind rental system in Mombasa and an Algerian comsat [communications satellite]. She knew somebody was having a look-see, but she couldn't trace it."

[87] If Chrome had traced the pass Bobby had made at her ice, we were good as dead. But he was probably right, or she'd have had me blown away on my way back from New York. "Why her, Bobby? Just give me one reason . . . "

[88] Chrome: I'd seen her maybe half a dozen times in the Gentleman Loser. Maybe she was slumming, or checking out the human condition, a condition she didn't exactly aspire to. A sweet little heart-shaped face framing the nastiest pair of eyes you ever saw. She'd looked fourteen for as long as anyone could remember, hyped out of anything like a normal metabolism on some massive program of serums and hormones. She was as ugly a customer as the street ever produced, but she didn't belong to the street anymore. She was one of the Boys, Chrome, a member in good standing of the local Mob subsidiary. Word was, she'd gotten started as a dealer, back when synthetic pituitary hormones were still proscribed. But she hadn't had to move hormones for a long time. Now she owned the House of Blue Lights*. [*The phrase "house of blue lights" is most widely known from Little Richard's 1958 early rock-and-roll hit, "Good Golly, Miss Molly.]

[89] "You're flat-out crazy, Quine. You give me one sane reason for having that stuff on your screen. You ought to dump it, and I mean now."

[90] "Talk in the Loser," he said, shrugging out of the leather jacket. "Black Myron and Crow Jane. Jane, she's up on all the sex lines, claims she knows where the money goes. So she's arguing with Myron that Chrome's the controlling interest in the Blue Lights, not just some figurehead for the Boys."

[91] "'The Boys,' Bobby," I said. "That's the operative word there. You still capable of seeing that? We don't mess with the Boys, remember? That's why we're still walking around."

[92] "That's why we're still poor, partner." He settled back into the swivel chair in front of the console, unzipped his jump suit, and scratched his skinny white chest. "But maybe not for much longer."

[93] "I think maybe this partnership just got itself permanently dissolved."

[94] Then he grinned at me. The grin was truly crazy, feral and focused, and I knew that right then he really didn't give a shit about dying.

[95] "Look,'' I said, "I've got some money left, you know? Why don't you take it and get the tube [train?] to Miami, catch a hopper [local airline] to Montego Bay. You need a rest, man. You've got to get your act together."

[96] "My act, Jack," he said, punching something on the keyboard, "never has been this together before." The neon prayer rug on the screen shivered and woke as an animation program cut in, ice lines weaving with hypnotic frequency, a living mandala. Bobby kept punching, and the movement slowed; the pattern resolved itself, grew slightly less complex, became an alternation between two distant configurations. A first-class piece of work, and I hadn't thought he was still that good.

[97] "Now," he said, "there, see it? Wait. There. There again. And there. Easy to miss. That's it. Cuts in every hour and twenty minutes with a squirt transmission to their comsat [communications satellite]. We could live for a year on what she pays them weekly in negative interest."

[98] "Whose comsat?"

[99] "Zurich. Her bankers. That's her [Chrome's] bankbook, Jack. That's where the money goes. Crow Jane was right." I stood there. My arm forgot to click.

[100] "So how'd you do in New York, partner? You get anything that'll help me cut ice? We're going to need whatever we can get."

[101] I kept my eyes on his, forced myself not to look in the direction of the waldo, the jeweler's vise. The Russian program was there, under the dust cover.

[102] Wild cards, luck changers.

[103] "Where's Rikki?" I asked him, crossing to the console, pretending to study the alternating patterns on the screen.

[104] "Friends of hers," he shrugged, "kids, they're all into simstim."*  He smiled absently. "I'm going to do it for her, man." [*simstim = simulated stimuli, another example of virtual reality]

[105] "I'm going out to think about this, Bobby. You want me to come back, you keep your hands off the board."

[106] "I'm doing it for her," he said as the door closed behind me. "You know l am."

[107] And down now, down, the program a roller coaster through this fraying maze of shadow walls, gray cathedral spaces between the bright towers. Headlong speed.

[108] Black ice. Don't think about it. Black ice.

[109] Too many stories in the Gentleman Loser; black ice is a part of the mythology. Ice that kills. Illegal, but then aren't we all? Some kind of neural-feedback weapon, and you connect with it only once. Like some hideous Word that eats the mind from the inside out. Like an epileptic spasm that goes on and on until there's nothing left at all . . .

[110] And we're diving for the floor of Chrome's shadow castle.

[111] Trying to brace myself for the sudden stopping of breath, a sickness and final slackening of the nerves. Fear of that cold Word waiting, down there in the dark.

[112] I went out and looked for Rikki, found her in a cafe with a boy with Sendai eyes, half-healed suture lines radiating from his bruised sockets. She had a glossy brochure spread open on the table, Tally Isham
[virtual celebrity] smiling up from a dozen photographs, the Girl with the Zeiss Ikon Eyes. [high-tech camera implants; "Nikon" was and is a leading Japanese manufacturer of cameras and lenses; "Ikon" puns on "icon," a religious representation of a human-divine face like Christ's or Tally Isham's in next paragraph]

[113] Her little simstim deck was one of the things I'd stacked under my bench the night before, the one I'd fixed for her the day after I'd first seen her. She spent hours jacked into that unit, the contact band across her forehead like a gray plastic tiara. Tally Isham was her favorite, and with the contact band on, she was gone, off somewhere in the recorded sensorium of simstim s biggest star. Simulated stimuli: the world, all the interesting parts anyway, as perceived by Tally Isham. Tally raced a black Fokker ground-effect plane across Arizona mesa tops. Tally dived the Truk Island preserves [artificial underwater Pacific reefs formed by World War 2 wreckage]. Tally partied with the superrich on private Greek islands, heartbreaking purity of those tiny white seaports at dawn.

[114] Actually she [Rikki] looked a lot like Tally, same coloring and cheekbones. I thought Rikki's mouth was stronger. More sass. She didn't want to be Tally Isham, but she coveted the job. That was her ambition, to be in simstim. Bobby just laughed it off. She talked to me about it, though. "How'd I look with a pair of these?" she'd ask, holding a full-page headshot, Tally Isham's blue Zeiss Ikons lined up with her own amber-brown. She'd had her corneas done twice, but she still wasn't 20-20; so she wanted Ikons. Brand of the stars. Very expensive.

[115] "You still window-shopping for eyes?" I asked as I sat down.

[116] "Tiger just got some," she said. She looked tired, I thought.

[117] Tiger was so pleased with his Sendais that he couldn't help smiling, but I doubted whether he'd have smiled otherwise. He had the kind of uniform good looks you get after your seventh trip to the surgical boutique; he'd probably spend the rest of his life looking vaguely like each new season's media front-runner; not too obvious a copy, but nothing too original, either.

[118] "Sendai, right?" I smiled back.

[119] He nodded. I watched as he tried to take me in with his idea of a professional simstim glance. He was pretending that he was recording. I thought he spent too long on my arm. "They'll be great on peripherals when the muscles heal," he said, and I saw how carefully he reached for his double espresso. Sendai eyes are notorious for depth-perception defects and warranty hassles, among other things.

[120] ``Tiger's leaving for Hollywood tomorrow."

[121] "Then maybe Chiba City, right?" I smiled at him. He didn't smile back. "Got an offer, Tiger? Know an agent?" [*Chiba City: Japanese seaport, appearing repeatedly in Gibson's fiction as a center of blackmarket trade and biochemical experimentation]

[122] "Just checking it out," he said quietly. Then he got up and left. He said a quick goodbye to Rikki, but not to me.

[123] "That kid's optic nerves may start to deteriorate inside six months. You know that, Rikki? Those Sendais are illegal in England, Denmark, lots of places. You can't replace nerves."

[124] "Hey, Jack, no lectures." She stole one of my croissants and nibbled at the top of one of its horns.

[125] "I thought I was your adviser, kid."

[126] "Yeah. Well, Tiger's not too swift, but everybody knows about Sendais. They're all he can afford. So he's taking a chance. If he gets work, he can replace them."

[127] "With these?" I tapped the Zeiss Ikon brochure. "Lot of money, Rikki. You know better than to take a gamble like that."

[128] She nodded. "I want Ikons." [intelligent pun: Rikki wants to be an "icon" like Tally Isham]

[129] "If you're going up to Bobby's, tell him to sit tight until he hears from . . . "

[130] "Sure. It's business?"

[131] "Business," I said. But it was craziness.

[132] I drank my coffee, and she ate both my croissants. Then I walked her down to Bobby's. I made fifteen calls, each one from a different pay phone.

[133] Business. Bad craziness.

[134] All in all, it took us six weeks to set the burn up, six weeks of Bobby telling me how much he loved her. I worked even harder, trying to get away from that.

[135] Most of it was phone calls. My fifteen initial and very oblique inquiries each seemed to breed fifteen more. I was looking for a certain service Bobby and I both imagined as a requisite part of the world's clandestine economy, but which probably never had more than five customers at a time. It would be one that never advertised.

[136] We were looking for the world's heaviest fence, for a non-aligned money laundry capable of dry-cleaning a megabuck online cash transfer and then forgetting about it.

[137] All those calls were a wasted finally, because it was the Finn who put me on to what we needed. I'd gone up to New York to buy a new blackbox rig, because we were going broke paying for all those calls.

[138] I put the problem to him as hypothetically as possible.

[139] "Macao," he said. [Chinese port notorious for smuggling and other underworld activities]

[140] "Macao?"

[141] "The Long Hum family. Stockbrokers."

[142] He even had the number. You want a fence, ask another fence.

[143] The Long Hum people were so oblique that they made my idea of a subtle approach look like a tactical nuke-out. Bobby had to make two shuttle runs to Hong Kong to get the deal straight. We were running out of capital, and fast. I still don't know why I decided to go along with it in the first place; I was scared of Chrome, and I'd never been all that hot to get rich.

[144] I tried telling myself that it was a good idea to burn the House of Blue Lights because the place was a creep joint, but I just couldn't buy it. I didn't like the Blue Lights, because I'd spent a supremely depressing evening there once, but that was no excuse for going after Chrome. Actually I halfway assumed we were going to die in the attempt. Even with that killer program, the odds weren't exactly in our favor.

[145] Bobby was lost in writing the set of commands we were going to plug into the dead center of Chrome's computer. That was going to be my job, because Bobby was going to have his hands full trying to keep the Russian program from going straight for the kill. It was too complex for us to rewrite, and so he was going to try to hold it back for the two seconds I needed.

[146] I made a deal with a streetfighter named Miles. He was going to follow Rikki the night of the burn, keep her in sight, and phone me at a certain time. If I wasn't there, or didn't answer in just a certain way, I'd told him to grab her and put her on the first tube out. I gave him an envelope to give her, money and a note.

[147] Bobby really hadn't thought about that, much, how things would go for her if we blew it. He just kept telling me he loved her, where they were going to go together, how they'd spend the money.

[148] "Buy her a pair of Ikons first, man. That's what she wants. She's serious about that simstim scene."

[149] "Hey," he said, looking up from the keyboard, "she won't need to work. We're going to make it, Jack. She's my luck. She won't ever have to work again."

[150] "Your luck," I said. I wasn't happy. I couldn't remember when I had been happy. "You seen your luck around lately?"

[151] He hadn't, but neither had I. We'd both been too busy.

[152] I missed her. Missing her reminded me of my one night in the House of Blue Lights, because I'd gone there out of missing someone else. I'd gotten drunk to begin with, then I'd started hitting Vasopressin inhalers. If your main squeeze has just decided to walk out on you, booze and Vasopressin are the ultimate in masochistic pharmacology; the juice makes you maudlin and the Vasopressin makes you remember, I mean really remember. Clinically they use the stuff to counter senile amnesia, but the street finds its own uses for things. So I'd bought myself an ultraintense replay of a bad affair; trouble is, you get the bad with the good. Go gunning for transports of animal ecstasy and you get what you said, too, and what she said to that, how she walked away and never looked back.

[153] I don't remember deciding to go to the Blue Lights, or how I got there, hushed corridors and this really tacky decorative waterfall trickling somewhere, or maybe just a hologram of one. I had a lot of money that night; somebody had given Bobby a big roll for opening a three-second window in someone else's ice.

[154] I don't think the crew on the door liked my looks, but I guess my money was okay.

[155] I had more to drink there when I'd done what I went there for. Then I made some crack to the barman about closet necrophiliacs, and that didn't go down too well. Then this very large character insisted on calling me War Hero, which I didn't like. I think I showed him some tricks with the arm, before the lights went out, and I woke up two days later in a basic sleeping module somewhere else. A cheap place, not even room to hang yourself. And I sat there on that narrow foam slab and cried.

[156] Some things are worse than being alone. But the thing they sell in the House of Blue Lights is so popular that it's almost legal.

[157] At the heart of darkness, the still center, the glitch systems shred the dark with whirlwinds of light, translucent razors spinning away from us; we hang in the center of a silent slow-motion explosion, ice fragments falling away forever, and Bobby's voice comes in across light-years of electronic void illusion: "Burn the bitch down. I can't hold the thing back "
[Paragraph's opening alludes to Joseph Conrad's Heart of Darkness and T. S. Eliot's "Dry Salvages" from Four Quartets]

[158] The Russian program, rising through towers of data, blotting out the playroom colors. And I plug Bobby's homemade command package into the center of Chrome's cold heart. The squirt transmission cuts in, a pulse of condensed information that shoots straight up, past the thickening tower of darkness, the Russian program, while Bobby struggles to control that crucial second. An unformed arm of shadow twitches from the towering dark, too late. We've done it.

[159] The matrix folds itself around me like an origami trick. [analogy]

[160] And the loft smells of sweat and burning circuitry.

[161] I thought I heard Chrome scream, a raw metal sound, but I couldn't have.

[162] Bobby was laughing, tears in his eyes. The elapsed-time figure in the corner of the monitor read 07:24:05. The burn had taken a little under eight minutes.

[163] And I saw that the Russian program had melted in its slot.

[164] We'd given the bulk of Chrome's Zurich account [Swiss bank account] to a dozen world charities. There was too much there to move, and we knew we had to break her, burn her straight down, or she might come after us. We took less than ten percent for ourselves and shot it through the Long Hum setup in Macao. They took sixty percent of that for themselves and kicked what was left back to us through the most convoluted sector of the Hong Kong exchange. It took an hour before our money started to reach the two accounts we'd opened in Zurich.

[165] I watched zeros pile up behind a meaningless figure on the monitor. I was rich.

[166] Then the phone rang. It was Miles. I almost blew the code phrase.

[167] "Hey, Jack, man, I dunno what's it all about, with this girl of yours? Kinda funny thing here . . . "

[168] "What? Tell me."

[169] "I been on her, like you said, tight but out of sight. She goes to the Loser, hangs out, then she gets a tube. Goes to the House of Blue Lights "

[170] "She what?"

[171] "Side door. Employees only. No way I could get past their security."

[172] "Is she there now?"

[173] "No, man, I just lost her. It's insane down here, like the Blue Lights just shut down, looks like for good, seven kinds of alarms going off, everybody running, the heat out in riot gear. . . . Now there's all this stuff going on, insurance guys, real-estate types, vans with municipal plates . . .

[174] "Miles, where'd she go?"

[175] "Lost her, Jack."

[176] "Look, Miles, you keep the money in the envelope, right?"

[177] "You serious? Hey, I'm real sorry. I " I hung up.

[178] "Wait'll we tell her," Bobby was saying, rubbing a towel across his bare chest.

[179] "You tell her yourself, cowboy. I'm going for a walk."

[180] So I went out into the night and the neon and let the crowd pull me along, walking blind, willing myself to be just a segment of that mass organism, just one more drifting chip of consciousness under the geodesics. I didn't think, just put one foot in front of another, but after a while I did think, and it all made sense. She'd needed the money.

[181] I thought about Chrome, too. That we'd killed her, murdered her, as surely as if we'd slit her throat. The night that carried me along through the malls and plazas would be hunting her now, and she had nowhere to go. How many enemies would she have in this crowd alone? How many would move, now they weren't held back by fear of her money? We'd taken her for everything she had. She was back on the street again. I doubted she'd live till dawn. Finally I remembered the cafe, the one where I'd met Tiger.

[182] Her sunglasses told the whole story, huge black shades with a telltale smudge of fleshtone paintstick in the corner of one lens. "Hi, Rikki," I said, and I was ready when she took them off.

[183] Blue, Tally Isham blue. The clear trademark blue they're famous for, ZEISS IKON ringing each iris in tiny capitals, the letters suspended there like flecks of gold.

[184] "They're beautiful," I said. Paintstick covered the bruising. No scars with work that good. "You made some money."

[185] "Yeah, I did." Then she shivered. "But I won't make any more, not that way."

[186] ``I think that place is out of business."

[187] "Oh." Nothing moved in her face then. The new blue eyes were still and very deep.

[188] "It doesn't matter. Bobby's waiting for you. We just pulled down a big score."

[189] "No. I've got to go. I guess he won't understand, but I've got to go."

[190] I nodded, watching the arm swing up to take her hand; it didn't seem to be part of me at all, but she held on to it like it was.

[191] "I've got a one-way ticket to Hollywood. Tiger knows some people I can stay with. Maybe I'll even get to Chiba City."

[192] She was right about Bobby. I went back with her. He didn't understand. But she'd already served her purpose, for Bobby, and I wanted to tell her not to hurt for him, because I could see that she did. He wouldn't even come out into the hallway after she had packed her bags. I put the bags down and kissed her and messed up the paintstick, and something came up inside me the way the killer program had risen above Chrome's data. A sudden stopping of the breath, in a place where no word is. But she had a plane to catch.

[193] Bobby was slumped in the swivel chair in front of his monitor, looking at his string of zeros. He had his shades on, and I knew he'd be in the Gentleman Loser by nightfall, checking out the weather, anxious for a sign, someone to tell him what his new life would be like. I couldn't see it being very different. More comfortable, but he'd always be waiting for that next card to fall.

[194] I tried not to imagine her in the House of Blue Lights, working three-hour shifts in an approximation of REM sleep, while her body and a bundle of conditioned reflexes took care of business. The customers never got to complain that she was faking it, because those were real orgasms. But she felt them, if she felt them at all, as faint silver flares somewhere out on the edge of sleep. Yeah, it's so popular, it's almost legal.

[195] The customers are torn between needing someone and wanting to be alone at the same time, which has probably always been the name of that particular game, even before we had the neuroelectronics to enable them to have it both ways.

[196] I picked up the phone and punched the number for her airline. I gave them her real name, her flight number. "She's changing that," I said, "to Chiba City. That's right. Japan." I thumbed my credit card into the slot and punched my ID code. "First class." Distant hum as they scanned my credit records. "Make that a return ticket."

[197] But I guess she cashed the return fare, or else didn't need it, because she hasn't come back. And sometimes late at night I'll pass a window with posters of simstim stars, all those beautiful, identical eyes staring back at me out of faces that are nearly as identical, and sometimes the eyes are hers, but none of the faces are, none of them ever are, and I see her far out on the edge of all this sprawl of night and cities, and then she waves goodbye.