Snow Crash Part 3

They put her back in the car, turn on the noise cancellation in the back seat, so she can't hear anything except squirts and gurgles coming from her own empty tummy, and the glistening crackle whenever she moves her glommed-up hand. She was really looking forward to a Hoosegow meal-Campfire Chili or Bandit Burgers.

In the front seat, the two MetaCops are talking to each other, They pull out into traffic. Up in front of them is a square illuminated logo, a giant Universal Product Code in black-on-white with BUY 'N' FLY underneath it. Stuck onto the same signpost, beneath the Buy 'n' Fly sign, is a smaller one, a narrow strip in generic lettering: THE CLINK.

They are taking her to The Clink. The b.a.s.t.a.r.ds. She pounds on the gla.s.s with cuffed-together hands, leaving sticky hand-prints. Let these b.a.s.t.a.r.ds try to wash the stuff off. They turn around and look right through her, the guilty sc.u.m, like they heard something but they can't imagine what.

They enter the Buy 'n' Fly's nimbus of radioactive blue security light. Second MetaCop goes in, talks to the guy behind the counter. There's a fat white boy purchasing a monster trucks magazine, wearing a New South Africa baseball cap with a Confederate flag, and overhearing them he peers out the window, wanting to lay his eyes on a real perp. A second man comes out from back, same ethnicity as the guy behind the counter, another dark man with burning eyes and a bony neck. This one is carrying a three-ring binder with the Buy 'n' Fly logo. To find the manager of a franchise, don't strain to read his t.i.tle off the name tag, just look for the one with the binder.

The manager talks to the MetaCop, nods his head, pulls a keychain out of a drawer.

Second MetaCop comes out, saunters to the car, suddenly whips open the back door.

"Shut up," he says, "or next time I fire the loogie gun into your mouth."

"Good thing you like The Clink," Y.T. says, "cause that is where you will be tomorrow night, loogie-man."

"'Zat right?"

"Yeah. For credit card fraud."

"Me cop, you thrasher. How you gonna make a case at Judge Bob's Judicial System?"

"I work for RadiKS. We protect our own."

"Not tonight you don't. Tonight you took a pizza from the scene of a car wreck. Left the scene of an accident. RadiKS tell you to deliver that pizza?"

Y.T. does not return fire. The MetaCop is right; RadiKS did not tell her to deliver that pizza. She was doing it on a whim.

"So RadiKS ain't gonna help you. So shut up."

He jerks her arm, and the rest of her follows. The three-ringer gives her a quick look, just long enough to make sure she is really a person, not a sack of flour or an engine block or a tree stump. He leads them around to the fetid rump of the Buy 'n' Fly, dark realm of wretched refuse in teeming dumpsters. He unlocks the back door, a boring steel number with jimmy marks around the edges like steel-clawed beasts have been trying to get in.

Y.T. is taken downstairs into the bas.e.m.e.nt. First MetaCop follows, carrying her plank, banging it heedlessly against doorways and stained polycarbonate bottle racks.

"Better take her uniform-all that gear," the second MetaCop suggests, not unlewdly.

The manager looks at Y.T., trying not to let his gaze travel sinfully up and down her body. For thousands of years his people have survived on alertness: waiting for Mongols to come galloping over the horizon, waiting for repeat offenders to swing sawed-off shotguns across their check-out counters. His alertness right now is palpable and painful; he's like a goblet of hot nitroglycerin. The added question of s.e.xual misconduct makes it even worse. To him it's no joke.

Y.T. shrugs, trying to think of something unnerving and wacky. At this point, she is supposed to squeal and shrink, wriggle and whine, swoon and beg. They are threatening to take her clothes. How awful. But she does not get upset because she knows that they are expecting her to.

A Kourier has to establish s.p.a.ce on the pavement. Predictable law-abiding behavior lulls drivers. They mentally a.s.sign you to a little box in the lane, a.s.sume you will stay there, can't handle it when you leave that little box.

Y.T. is not fond of boxes. Y.T. establishes her s.p.a.ce on the pavement by zagging mightily from lane to lane, establishing a precedent of scary randomness. Keeps people on their toes, makes them react to her, instead of the other way round. Now these men are trying to put her in a box, make her follow rules.

She unzips her coverall all the way down below her navel. Underneath is naught but billowing pale flesh.

The MetaCops raise their eyebrows.

The manager jumps back, raises both hands up to form a visual shield, protecting himself from the damaging input. "No, no, no!" he says.

Y.T. shrugs, zips herself back up.

She's not afraid; she's wearing a dentata.

The manager handcuffs her to a cold-water pipe. Second MetaCop removes his newer, more cybernetic brand of handcuffs, snaps them back onto his harness. First MetaCop leans her plank against the wall, just out of her reach. Manager kicks a rusty coffee can across the floor, caroming it expertly off her skin, so she can go to the bathroom.

"Where you from?" Y.T. asks.

"Tadzhikistan," he says.

A jeek. She should have known.

"Well, s.h.i.tcan soccer must be your national pastime."

The manager doesn't get it. The MetaCops emit rote, shallow laughter. Papers are signed. Everyone else goes upstairs. On his way out the door, the manager turns off the lights; in Tadzhikistan, electricity is quite the big deal.

Y.T. is in The Clink.

The Black Sun is as big as a couple of football fields laid side by side. The decor consists of black, square tabletops hovering in the air (it would be pointless to draw in legs), evenly s.p.a.ced across the floor in a grid. Like pixels. The only exception is in the middle, where the bar's four quadrants come together (4 = 2^2). This part is occupied by a circular bar sixteen meters across. Everything is matte black, which makes it a lot easier for the computer system to draw things in on top of it-no worries about filling in a complicated background. And that way all attention can be focused on the avatars, which is the way people like it.

It doesn't pay to have a nice avatar on the Street, where it's so crowded and all the avatars merge and flow into one another. But The Black Sun is a much cla.s.sier piece of software. In The Black Sun, avatars are not allowed to collide. Only so many people can be here at once, and they can't walk through each other. Everything is solid and opaque and realistic. And the clientele has a lot more cla.s.s-no talking p.e.n.i.ses in here. The avatars look like real people. For the most part, so do the daemons.

"Daemon" is an old piece of jargon from the UNIX operating system, where it referred to a piece of low-level utility software, a fundamental part of the operating system. In The Black Sun, a daemon is like an avatar, but it does not represent a human being. It's a robot that lives in the Metaverse. A piece of software, a kind of spirit that inhabits the machine, usually with some particular role to carry out. The Black Sun has a number of daemons that serve imaginary drinks to the patrons and run little errands for people. It even has bouncer daemons that get rid of undesirable-grab their avatars and throw them out the door, applying certain basic principles of avatar physics. Da5id has even enhanced the physics of The Black Sun to make it a little cartoonish, so that particularly obnoxious people can be hit over the head with giant mallets or crushed under plummeting safes before they are ejected. This happens to people who are being disruptive, to anyone who is pestering or taping a celebrity, and to anyone who seems contagious. That is, if your personal computer is infected with viruses, and attempts to spread them via The Black Sun, you had better keep one eye on the ceiling.

Hiro mumbles the word "Bigboard." This is the name of a piece of software he wrote, a power tool for a CIC stringer. It digs into The Black Sun's operating system, rifles it for information, and then throws up a flat square map in front of his face, giving him a quick overview of who's here and whom they're talking to. It's all unauthorized data that Hiro is not supposed to have. But Hiro is not some bimbo actor coming here to network. He is a hacker. If he wants some information, he steals it right out of the guts of the system-gossip ex machina. Bigboard shows him that Da5id is ensconced in his usual place, a table in the Hacker Quadrant near the bar. The Movie Star Quadrant has the usual scattering of Sovereigns and wannabes. The Rock Star Quadrant is very busy tonight; Hiro can see that a Nipponese rap star named Sushi K has stopped in for a visit. And there are a lot of record-industry types hanging around in the Nipponese Quadrant-which looks like the other quadrants except that it's quieter, the tables are closer to the floor, and it's full of bowing and fluttering geisha daemons. Many of these people probably belong to Sushi K's retinue of managers, flacks, and lawyers.

Hiro cuts across the Hacker Quadrant, headed for Da5id's table. He recognizes many of the people in here, but as usual, he's surprised and disturbed by the number he doesn't recognize-all those sharp, perceptive twenty-one-year-old faces. Software development, like professional sports, has a way of making thirty-year-old men feel decrepit.

Looking up the aisle toward Da5id's table, he sees Da5id talking to a black-and-white person. Despite her lack of color and s.h.i.tty resolution, Hiro recognizes her by the way she folds her arms when she's talking, the way she tosses her hair when she's listening to Da5id. Hiro's avatar stops moving and stares at her, adopting just the same facial expression with which he used to stare at this woman years ago. In Reality, he reaches out with one hand, picks up his beer, takes a pull on the bottle, and lets it roll around in his mouth, a bundle of waves clashing inside a small s.p.a.ce.

Her name is Juanita Marquez. Hiro has known her ever since they were freshmen together at Berkeley, and they were in the same lab section in a freshman physics cla.s.s. The first time he saw her, he formed an impression that did not change for many years: She was a dour, bookish, geeky type who dressed like she was interviewing for a job as an accountant at a funeral parlor. At the same time, she had a flamethrower tongue that she would turn on people at the oddest times, usually in some grandiose, earth-scorching retaliation for a slight or breach of etiquette that none of the other freshmen had even perceived. It wasn't until a number of years later, when they both wound up working at Black Sun Systems, Inc., that he put the other half of the equation together. At the time, both of them were working on avatars. He was working on bodies, she was working on faces. She was the face department, because n.o.body thought that faces were all that important-they were just flesh-toned busts on top of the avatars. She was just in the process of proving them all desperately wrong. But at this phase, the all-male society of bit-heads that made up the power structure of Black Sun Systems said that the face problem was trivial and superficial. It was, of course, nothing more than s.e.xism, the especially virulent type espoused by male techies who sincerely believe that they are too smart to be s.e.xists.

That first impression, back at the age of seventeen, was nothing more than that-the gut reaction of a post-adolescent Army brat who had been on his own for about three weeks. His mind was good, but he only understood one or two things in the whole world-samurai movies and the Macintosh-and he understood them far, far too well. It was a worldview with no room for someone like Juanita.

There is a certain kind of small town that grows like a boil on the a.s.s of every Army base in the world. In a long series of such places, Hiro Protagonist was speed-raised like a mutant hothouse orchid flourishing under the glow of a thousand Buy 'n' Fly security spotlights. Hiro's father had joined the army in 1944, at the age of sixteen, and spent a year in the Pacific, most of it as a prisoner of war. Hiro was born when his father was in his late middle age. By that time, Dad could long since have quit and taken his pension, but he wouldn't have known what to do with himself outside of the service, and so he stayed in until they finally kicked him out in the late eighties. By the time Hiro made it out to Berkeley, he had lived in Wrightstown, New Jersey; Tacoma, Washington; Fayetteville, North Carolina; Hinesville, Georgia; Killeen, Texas; Grafenwehr, Germany; Seoul, Korea; Ogden, Kansas; and Watertown, New York. All of these places were basically the same, with the same franchise ghettos, the same strip joints, and even the same people-he kept running into school chums he'd known years before, other Army brats who happened to wind up at the same base at the same time.

Their skins were different colors but they all belonged to the same ethnic group: Military. Black kids didn't talk like black kids. Asian kids didn't bust their a.s.ses to excel in school. White kids, by and large, didn't have any problem getting along with the black and Asian kids. And girls knew their place. They all had the same moms with the same generous b.u.t.tocks in stretchy slacks and the same frosted-and-curling-ironed hairdos, and they were all basically sweet and endearing and conforming and, if they happened to be smart, they went out of their way to hide it.

So the first time Hiro saw Juanita, or any other girl like her, his perspectives were bent all out of shape. She had long, glossy black hair that had never been subjected to any chemical process other than regular shampooing. She didn't wear blue stuff on her eyelids. Her clothing was dark, tailored, restrained. And she didn't take s.h.i.t from anyone, not even her professors, which seemed shrewish and threatening to him at the time.

When he saw her again after an absence of several years-a period spent mostly in j.a.pan, working among real grown-ups from a higher social cla.s.s than he was used to, people of substance who wore real clothes and did real things with their lives-he was startled to realize that Juanita was an elegant, stylish knockout. He thought at first that she had undergone some kind of radical changes since their first year in college.

But then he went back to visit his father in one of those Army towns and ran into the high school prom queen. She had grown up shockingly fast into an overweight dame with loud hair and loud clothes who speed-read the tabloids at the check-out line in the commissary because she didn't have the spare money to buy them, who popped her gum and had two kids that she didn't have the energy or the foresight to discipline.

Seeing this woman at the commissary, he finally went through a belated, dim-witted epiphany, not a brilliant light shining down from heaven, more like the brown glimmer of a half-dead flashlight from the top of a stepladder: Juanita hadn't really changed much at all since those days, just grown into herself. It was he who had changed. Radically.

He came into her office once, strictly on a business matter. Until this point, they had seen each other around the office a lot but acted like they had never met before. But when he came into her office that day, she told him to close the door behind him, and she blacked out the screen on her computer and started twiddling a pencil between her hands and eyed him like a plate of day-old sushi. Behind her on the wall was an amateurish painting of an old lady, set in an ornate antique frame. It was the only decoration in Juanita's office. All the other hackers had color photographs of the s.p.a.ce shuttle lifting off, or posters of the starship Enterprise.

"It's my late grandmother, may G.o.d have mercy on her soul," she said, watching him look at the painting. "My role model."

"Why? Was she a programmer?"

She just looked at him over the rotating pencil like, how slow can a mammal be and still have respiratory functions? But instead of lowering the boom on him, she just gave a simple answer: "No." Then she gave a more complicated answer. "When I was fifteen years old, I missed a period. My boyfriend and I were using a diaphragm, but I knew it was fallible. I was good at math, I had the failure rate memorized, burnt into my subconscious. Or maybe it was my conscious, I can never keep them straight. Anyway, I was terrified. Our family dog started treating me differently-supposedly, they can smell a pregnant woman. Or a pregnant b.i.t.c.h, for that matter."

By this point, Hiro's face was frozen in a wary, astonished position that Juanita later made extensive use of in her work. Because, as she was talking to him, she was watching his face, a.n.a.lyzing the way the little muscles in his forehead pulled his brows up and made his eyes change shape.

"My mother was clueless. My boyfriend was worse than clueless-in fact, I ditched him on the spot, because it made me realize what an alien the guy was-like many members of your species." By this, she was referring to males. "Anyway, my grandmother came to visit," she continued, glancing back over her shoulder at the painting. "I avoided her until we all sat down for dinner. And then she figured out the whole situation in, maybe, ten minutes, just by watching my face across the dinner table. I didn't say more than ten words-'Pa.s.s the tortillas.' I don't know how my face conveyed that information, or what kind of internal wiring in my grandmother's mind enabled her to accomplish this incredible feat. To condense fact from the vapor of nuance."

Condense fact from the vapor of nuance. Hiro has never forgotten the sound of her speaking those words, the feeling that came over him as he realized for the first time how smart Juanita was.

She continued. "I didn't even really appreciate all of this until about ten years later, as a grad student, trying to build a user interface that would convey a lot of data very quickly, for one of these baby-killer grants." This was her term for anything related to the Defense Department. "I was coming up with all kinds of elaborate technical fixes like trying to implant electrodes directly into the brain. Then I remembered my grandmother and realized, my G.o.d, the human mind can absorb and process an incredible amount of information-if it comes in the right format. The right interface. If you put the right face on it. Want some coffee?"

Then he had an alarming thought: What had he been like back in college? How much of an a.s.shole had he been? Had he left Juanita with a bad impression?

Another young man would have worried about it in silence, but Hiro has never been restrained by thinking about things too hard, and so he asked her out for dinner and, after having a couple of drinks (she drank club sodas), just popped the question: Do you think I'm an a.s.shole?

She laughed. He smiled, believing that he had come up with a good, endearing, flirtatious bit of patter.

He did not realize until a couple of years later that this question was, in effect, the cornerstone of their relationship. Did Juanita think that Hiro was an a.s.shole? He always had some reason to think that the answer was yes, but nine times out of ten she insisted the answer was no. It made for some great arguments and some great s.e.x, some dramatic fallings out and some pa.s.sionate reconciliations, but in the end the wildness was just too much for them-they were exhausted by work-and they backed away from each other. He was emotionally worn out from wondering what she really thought of him, and confused by the fact that he cared so deeply about her opinion. And she, maybe, was begining to think that if Hiro was so convinced in his own mind that he was unworthy of her, maybe he knew something she didn't.

Hiro would have chalked it all up to cla.s.s differences, except that her parents lived in a house in Mexicali with a dirt floor, and his father made more money than many college professors. But the cla.s.s idea still held sway in his mind, because cla.s.s is more than income-it has to do with knowing where you stand in a web of social relationships. Juanita and her folks knew where they stood with a cert.i.tude that bordered on dementia. Hiro never knew. His father was a sergeant major, his mother was a Korean woman whose people had been mine slaves in Nippon, and Hiro didn't know whether he was black or Asian or just plain Army, whether he was rich or poor, educated or ignorant, talented or lucky. He didn't even have a part of the country to call home until he moved to California, which is about as specific as saying that you live in the Northern Hemisphere. In the end, it was probably his general disorientation that did them in.

After the breakup, Hiro went out with a long succession of essentially bimbos who (unlike Juanita) were impressed that he worked for a high-tech Silicon Valley firm. More recently, he has had to go searching for women who are even easier to impress.

Juanita went celibate for a while and then started going out with Da5id and eventually got married to him. Da5id had no doubts whatsoever about his standing in the world. His folks were Russian Jews from Brooklyn and had lived in the same brownstone for seventy years after coming from a village in Latvia where they had lived for five hundred years; with a Torah on his lap, he could trace his bloodlines all the way back to Adam and Eve. He was an only child who had always been first in his cla.s.s in everything, and when he got his master's in computer science from Stanford, he went out and started his own company with about as much fuss as Hiro's dad used to exhibit in renting out a new P.O. box when they moved. Then he got rich, and now he runs The Black Sun. Da5id has always been certain of everything.

Even when he's totally wrong. Which is why Hiro quit his job at Black Sun Systems, despite the promise of future riches, and why Juanita divorced Da5id two years after she married him.

Hiro did not attend Juanita and Da5id's wedding-he was languishing in jail, into which he had been thrown a few hours before the rehearsal. He had been found in Golden Gate Park, lovesick, wearing nothing but a thong, taking long pulls from a jumbo bottle of Courvoisier and practicing kendo attacks with a genuine samurai sword, floating across the gra.s.s on powerfully muscled thighs to slice other picnickers' hurtling Frisbees and baseb.a.l.l.s in twain. Catching a long fly ball with the edge of your blade, neatly halving it like a grapefruit, is not an insignificant feat. The only drawback is that the owners of the baseball may misinterpret your intentions and summon the police.

He got out of it by paying for all the baseb.a.l.l.s and Frisbees, but since that episode, he has never even bothered to ask Juanita whether or not she thinks he's an a.s.shole. Even Hiro knows the answer now.

Since then, they've gone very different ways. In the early years of The Black Sun project, the only way the hackers ever got paid was by issuing stock to themselves. Hiro tended to sell his off almost as quickly as he got it. Juanita didn't. Now she's rich, and he isn't. It would be easy to say that Hiro is a stupid investor and Juanita a smart one, but the facts are a little more complicated than that: Juanita put her eggs in one basket, keeping all her money in Black Sun stock, as it turns out, she made a lot of money that way, but she could have gone broke, too. And Hiro didn't have a lot of choice in some ways. When his father got sick, the Army and the V.A. took care of most of his medical bills, but they ran into a lot of expenses anyway, and Hiro's mother-who could barely speak English-wasn't equipped to make or handle money on her own. When Hiro's father died, he cashed in all of his Black Sun stock to put Mom in a nice community in Korea. She loves it there. Goes golfing every day. He could have kept his money in The Black Sun and made ten million dollars about a year later when it went public, but his mother would have been a street person. So when his mother visits him in the Metaverse, looking tan and happy in her golfing duds, Hiro views that as his personal fortune. It won't pay the rent, but that's okay-when you live in a s.h.i.thole, there's always the Metaverse, and in the Metaverse, Hiro Protagonist is a warrior prince.

His tongue is stinging; he realizes that, back in Reality, he has forgotten to swallow his beer.

It's ironic that Juanita has come into this place in a low-tech, black-and-white avatar. She was the one who figured out a way to make avatars show something close to real emotion. That is a fact Hiro has never forgotten, because she did most of her work when they were together, and whenever an avatar looks surprised or angry or pa.s.sionate in the Metaverse, he sees an echo of himself or Juanita-the Adam and Eve of the Metaverse. Makes it hard to forget.

Shortly after Juanita and Da5id got divorced, The Black Sun really took off. And once they got done counting their money, marketing the spinoffs, soaking up the adulation of others in the hacker community, they all came to the realization that what made this place a success was not the collision-avoidance algorithms or the bouncer daemons or any of that other stuff. It was Juanita's faces. Just ask the businessmen in the Nipponese Quadrant. They come here to talk turkey with suits from around the world, and they consider it just as good as a face-to-face. They more or less ignore what is being said-a lot gets lost in translation, after all. They pay attention to the facial expressions and body language of the people they are talking to. And that's how they know what's going on inside a person's head-by condensing fact from the vapor of nuance.

Juanita refused to a.n.a.lyze this process, insisted that it was something ineffable, something you couldn't explain with words. A radical, rosary-toting Catholic, she has no problem with that kind of thing. But the bitheads didn't like it. Said it was irrational mysticism. So she quit and took a job with some Nipponese company. They don't have any problem with irrational mysticism as long as it makes money.

But Juanita never comes to The Black Sun anymore. Partly, she's p.i.s.sed at Da5id and the other hackers who never appreciated her work. But she has also decided that the whole thing is bogus. That no matter how good it is, the Metaverse is distorting the way people talk to each other, and she wants no such distortion in her relationships.

Da5id notices Hiro, indicates with a flick of his eyes that this is not a good time. Normally, such subtle gestures are lost in the system's noise, but Da5id has a very good personal computer, and Juanita helped design his avatar-so the message comes through like a shot fired into the ceiling.

Hiro turns away, saunters around the big circular bar in a slow orbit. Most of the sixty-four bar stools are filled with lower-level Industry people, getting together in twos and threes, doing what they do best: gossip and intrigue.

"So I get together with the director for a story conference. He's got this beach house-"

"Incredible?"

"Don't get me started."

"I heard. Debi was there for a party when Frank and Mitzi owned it."

"Anyway, there's this scene, early, where the main character wakes up in a dumpster. The idea is to show how, you know, despondent he is-"

"That crazy energy-"

"Exactly."

"Fabulous."

"I like it. Well, he wants to replace it with a scene where the guy is out in the desert with a bazooka, blowing up old cars in an abandoned junkyard."

"You're kidding!"

"So we're sitting there on his f.u.c.king patio over the beach and he's going, like, whoom! whoom! imitating this G.o.dd.a.m.n bazooka. He's thrilled by the idea. I mean, this is a man who wants to put a bazooka in a movie. So I think I talked him out of it."

"Nice scene. But you're right. A bazooka doesn't do the same thing as a dumpster."

Hiro pauses long enough to get this down, then keeps walking. He mumbles "Bigboard" again, recalls the magic map, pinpoints his own location, and then reads off the name of this nearby screenwriter. Later on, he can do a search of industry publications to find out what script this guy is working on, hence the name of this mystery director with a fetish for bazookas. Since this whole conversation has come to him via his computer, he's just taken an audio tape of the whole thing. Later, he can process it to disguise the voices, then upload it to the Library, cross-referenced under the director's name. A hundred struggling screenwriters will call this conversation up, listen to it over and over until they've got it memorized, paying Hiro for the privilege, and within a few weeks, bazooka scripts will flood the director's office. Whoom!

The Rock Star Quadrant is almost too bright to look at. Rock star avatars have the hairdos that rock stars can only wear in their dreams. Hiro scans it briefly to see if any of his friends are in there, but it's mostly parasites and has-beens. Most of the people Hiro knows are will-bes or wannabes.

The Movie Star Quadrant is easier to look at. Actors love to come here because in The Black Sun, they always look as good as they do in the movies. And unlike a bar or club in Reality, they can get into this place without physically having to leave their mansion, hotel suite, ski lodge, private airline cabin, or whatever. They can strut their stuff and visit with their friends without any exposure to kidnappers, paparazzi, script-flingers, a.s.sa.s.sins, ex-spouses, autograph brokers, process servers, psycho fans, marriage proposals, or gossip columnists.

He gets up off the bar stool and resumes his slow orbit, scanning the Nipponese Quadrant. It's a lot of guys in suits, as usual. Some of them are talking to gringos from the Industry. And a large part of the quadrant, in the back corner, has been screened off by a temporary part.i.tion.

Bigboard again. Hiro figures out which tables are behind the part.i.tion, starts reading off the names. The only one he recognizes immediately is an American: L. Bob Rife, the cable television monopolist. A very big name to the Industry, though he's rarely seen. He seems to be meeting with a whole raft of big Nipponese honchos. Hiro has his computer memorize their names so that, later, he can check them against the CIC database and find out who they are. It has the look of a big and important meeting.

"Secret Agent Hiro! How are you doing?"

Hiro turns around. Juanita is right behind him, standing out in her black-and-white avatar, looking good anyway. "How are you?" she asks.

"Fine. How are you?"

"Great. I hope you don't mind talking to me in this ugly fax-of-life avatar."

"Juanita, I would rather look at a fax of you than most other women in the flesh."