William Gibson: Burning Chrome

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 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.

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

"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.

A silver tide of phosphenes boiled across my field of vision as the matrix began to unfold in my head, a 3-D chessboard, 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.

"Congratulations," I heard Bobby say. "We just became an Eastern Seaboard Fission Authority inspection probe..." That meant we were clearing fiberoptic lines 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.

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.

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.

"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..."

So long, Rikki. Maybe now I see you never.

And dark, so dark, in the halls of Chromes's ice.

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.

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.

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.

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.

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.

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.

But Bobby had this thing for girls, like they were his private tarot 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.

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

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. 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.

"You need a gun," said the Finn. He looks like a recombo DNA project 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 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."

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

"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?"

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

"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."

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

"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."

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