Neuromancer - William Gibson Page 0,64

gave you, and you’re barely print-literate. I can access your memory, but that’s not the same as your mind.” He reached into the exposed chassis of an ancient television and withdrew a silver-black vacuum tube. “See this? Part of my DNA, sort of. . . .” He tossed the thing into the shadows and Case heard it pop and tinkle. “You’re always building models. Stone circles. Cathedrals. Pipe-organs. Adding machines. I got no idea why I’m here now, you know that? But if the run goes off tonight, you’ll have finally managed the real thing.”

“I don’t know what you’re talking about.”

“That’s ‘you’ in the collective. Your species.”

“You killed those Turings.”

The Finn shrugged. “Hadda. Hadda. You should give a shit; they woulda offed you and never thought twice. Anyway, why I got you here, we gotta talk more. Remember this?” And his right hand held the charred wasps’ nest from Case’s dream, reek of fuel in the closeness of the dark shop. Case stumbled back against a wall of junk. “Yeah. That was me. Did it with the holo rig in the window. Another memory I tapped out of you when I flatlined you that first time. Know why it’s important?”

Case shook his head.

“Because”—and the nest, somehow, was gone—“it’s the closest thing you got to what Tessier-Ashpool would like to be. The human equivalent. Straylight’s like that nest, or anyway it was supposed to work out that way. I figure it’ll make you feel better.”

“Feel better?”

“To know what they’re like. You were starting to hate my guts for a while there. That’s good. But hate them instead. Same difference.”

“Listen,” Case said, stepping forward, “they never did shit to me. You, it’s different. . . .” But he couldn’t feel the anger.

“So T-A, they made me. The French girl, she said you were selling out the species. Demon, she said I was.” The Finn grinned. “It doesn’t much matter. You gotta hate somebody before this is over.” He turned and headed for the back of the shop. “Well, come on, I’ll show you a little bit of Straylight while I got you here.” He lifted the corner of the blanket. White light poured out. “Shit, man, don’t just stand there.”

Case followed, rubbing his face.

“Okay,” said the Finn, and grabbed his elbow.

They were drawn past the stale wool in a puff of dust, into freefall and a cylindrical corridor of fluted lunar concrete, ringed with white neon at two-meter intervals.

“Jesus,” Case said, tumbling.

“This is the front entrance,” the Finn said, his tweed flapping. “If this weren’t a construct of mine, where the shop is would be the main gate, up by the Freeside axis. This’ll all be a little low on detail, though, because you don’t have the memories. Except for this bit here, you got off Molly. . . .”

Case managed to straighten out, but began to corkscrew in a long spiral.

“Hold on,” the Finn said, “I’ll fast-forward us.”

The walls blurred. Dizzying sensation of headlong movement, colors, whipping around corners and through narrow corridors. They seemed at one point to pass through several meters of solid wall, a flash of pitch darkness.

“Here,” the Finn said. “This is it.”

They floated in the center of a perfectly square room, walls and ceiling paneled in rectangular sections of dark wood. The floor was covered by a single square of brilliant carpet patterned after a microchip, circuits traced in blue and scarlet wool. In the exact center of the room, aligned precisely with the carpet pattern, stood a square pedestal of frosted white glass.

“The Villa Straylight,” said a jeweled thing on the pedestal, in a voice like music, “is a body grown in upon itself, a Gothic folly. Each space in Straylight is in some way secret, this endless series of chambers linked by passages, by stairwells vaulted like intestines, where the eye is trapped in narrow curves, carried past ornate screens, empty alcoves. . . .”

“Essay of 3Jane’s,” the Finn said, producing his Partagas. “Wrote that when she was twelve. Semiotics course.”

“The architects of Freeside went to great pains to conceal the fact that the interior of the spindle is arranged with the banal precision of furniture in a hotel room. In Straylight, the hull’s inner surface is overgrown with a desperate proliferation of structures, forms flowing, interlocking, rising toward a solid core of microcircuitry, our clan’s corporate heart, a cylinder of silicon wormholed with narrow maintenance tunnels, some no wider than a man’s hand. The bright crabs burrow there, the drones, alert for micromechanical