"Laney," Yamazaki says, "when you told me about the stalker effect, you said that the victims, the test subjects, became obsessed with one particular media figure."
"And you are obsessed with her?"
Laney stares at him, eyes lit by a backwash of data. "No. Not with her. Guy named Harwood. Cody Harwood. They're coming together, though. In San Francisco. And someone else. Leaves a sort of negative trace; you have to infer everything from the way he's not there..."
"Why did you ask me here, Laney? This is a terrible place. Do you wish me to help you to escape?" Yamazaki is thinking of the blades of the Swiss Army knife in his pocket. One of them is serrated; he could easily cut his way out through the wall. Yet the psychological space is powerful, very powerful, and overwhelms him. He feels very far from Shinjuku, from Tokyo, from anything. He smells Laney's sweat. "You are not well."
"Rydell," Laney says, replacing the eyephones. "That rent-a-cop from the Chateau. The one you knew. The one who told me about you, back in LA."
"I need a man on the ground, in San Francisco. I've managed to move some money. I don't think they can trace it. I dicked with DatAmerica's banking sector. Find Rydell and tell him he can have it as a retainer."
"To do what?"
Laney shakes his head. The cables on the eyephones move in the dark like snakes. "He has to be there, is all. Something's coming down. Everything's changing."
"Laney, you are sick. Let me take you-"
"Back to the island? There's nothing there. Never will be, now she's gone."
And Yamazaki knows this is true.
"Where's Rez?" Laney asks.
"He mounted a tour of the Kombinat states, when he decided she was gone."
Laney nods thoughtfully, the eyephones bobbing mantis-like in the dark. "Get Rydell, Yamazaki. I'll tell you how he can get the money."
"Because he's part of it. Part of the node."
Later Yamazaki stands, staring up at the towers of Shinjuku, the walls of animated light, sign and signifier twisting toward the sky in the unending ritual of commerce, of desire. Vast faces fill the screens, icons of a beauty at once terrible and banal.
Somewhere below his feet, Laney huddles and coughs in his cardboard shelter, all of DatAmerica pressing steadily into his eyes. Laney is his friend, and his friend is unwell. The American's peculiar talents with data are the result of experimental trials, in a federal orphanage in Florida, of a substance known as 5-SB. Yamazaki has seen what Laney can do with data, and what data can do to Laney.
He has no wish to see it again.
As he lowers his eyes from the walls of light, the mediated faces, he feels his contacts move, changing as they monitor his depth of focus. This still unnerves him.
Not far from the station, down a side street bright as day, he finds the sort of kiosk that sells anonymous debit cards. He purchases one. At another kiosk, he uses it to buy a disposable phone good for a total of thirty minutes, Tokyo-LA.
He asks his notebook for Rydell's number.
Reprinted from ALL TOMORROWS PARTIES by William Gibson by permission of G. P. Putnams Sons, a member of Penguin Putnam Inc. Copyright © 1999 by Gibson. All rights reserved. This excerpt, or any parts thereof, may not be reproduced in any form without permission.
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