Snow Crash Part 9

"Voice communications monopoly."

"Right. They were in the same business as me. The information business. Moving phone conversations around on little tiny copper wires, one at a time. Government busted them up-at the same time when I was starting cable TV franchises in thirty states. Haw! Can you believe that? It's like if they figured out a way to regulate horses at the same time the Model T and the airplane were being introduced."

"But a cable TV system isn't the same as a phone system."

"At that stage it wasn't, cause it was just a local system. But once you get local systems all over the world, all you got to do is hook 'em together and it's a global network. Just as big as the phone system. Except this one carries information ten thousand times faster. It carries images, sound, data, you name it."

A naked PR plant, a half-hour television commercial with no purpose whatsoever other than to let L. Bob Rife tell his side of a particular issue. It seems that a number of Rife's programmers, the people who made his systems run, got together and formed a union-unheard of, for hackers-and filed a suit against Rife, claiming that he had placed audio and video bugs in their homes, in fact placed all of them under twenty-four-hour surveillance, and hara.s.sed and threatened some programmers who were making what he called "unacceptable lifestyle choices." For example, when one of his programmers and her husband engaged in oral s.e.x in their own bedroom one night, the next morning she was called into Rife's office, where he called her a s.l.u.t and a sodomite and told her to clean out her desk. The bad publicity from this so annoyed Rife that he felt the need to blow a few million on some more PR.

"I deal in information," he says to the smarmy, toadying pseudojournalist who "interviews" him. He's sitting in his office in Houston, looking slicker than normal. "All television going out to Consumers throughout the world goes through me. Most of the information transmitted to and from the CIC database pa.s.ses through my networks. The Metaverse--the entire Street-exists by virtue of a network that I own and control.

"But that means, if you'll just follow my reasoning for a bit, that when I have a programmer working under me who is working with that information, he is wielding enormous power. Information is going into his brain. And it's staying there. It travels with him when he goes home at night. It gets all tangled up into his dreams, for Christ's sake. He talks to his wife about it. And, G.o.dd.a.m.n it, he doesn't have any right to that information. If I was running a car factory, I wouldn't let workers drive the cars home or borrow tools. But that's what I do at five o'clock each day, all over the world, when my hackers go home from work.

"When they used to hang rustlers in the old days, the last thing they would do is p.i.s.s their pants. That was the ultimate sign, you see, that they had lost control over their own bodies, that they were about to die. See, it's the first function of any organization to control its own sphincters. We're not even doing that. So we're working on refining our management techniques so that we can control that information no matter where it is-on our hard disks or even inside the programmers' heads. Now, I can't say more because I got compet.i.tion to worry about. But it is my fervent hope that in five or ten years, this kind of thing won't even be an issue."

A half-hour episode of a science news program, this one on the controversial new subject of infoastronomy, the search for radio signals coming from other solar systems. L. Bob Rife has taken a personal interest in the subject; as various national governments auction off their possessions, he has purchased a string of radio observatories and hooked them together, using his fabled fiber-optic net, to turn them into a single giant antenna as big as the whole earth. He is scanning the skies twenty-four hours a day, looking for radio waves that mean something-radio waves carrying information from other civilizations. And why, asks the interviewer-a celebrity professor from MIT-why would a simple oilman be interested in such a high-flown, abstract pursuit?

"I just about got this planet all sewn up."

Rife delivers this line with an incredibly sardonic and contemptuous tw.a.n.g, the exaggerated accent of a cowboy who suspects that some Yankee pencilneck is looking down his nose at him.

Another news piece, this one apparently done a few years later. Again we are on the Enterprise, but this time the atmosphere is different again. The top deck has been turned into an open-air refugee camp. It is swarming with Banglades.h.i.+s that L. Bob Rife plucked out of the Bay of Bengal after their country washed into the ocean in a series of ma.s.sive floods, caused by deforestation farther upstream in India-hydrological warfare. The camera pans to look out over the edge of the flight deck, and down below, we see the first beginnings of the Raft: a relatively small collection of a few hundred boats that have glommed onto the Enterprise, hoping for a free ride across to America.

Rife's walking among the people, handing out Bible comics and kisses to little kids. They cl.u.s.ter around with broad smiles, pressing their palms together and bowing. Rife bows back, very awkwardly, but there's no gaiety on his face. He's deadly serious.

"Mr.Rife, what's your opinion of the people who say you're just doing this as a self-aggrandizing publicity stunt?" This interviewer is trying to be more of a Bad Cop.

"s.h.i.+t, if I took time out to have an opinion about everything, I wouldn't get any work done," L. Bob Rife says. "You should ask these people what they think."

"You're telling me that this refugee a.s.sistance program has nothing to do with your public image?"

"Nope. L-"

There's an edit and they cut away to the journalist, pontificating into the camera. Rife was on the verge of delivering a sermon, Hiro senses, but they cut him off.

But one of the true glories of the Library is that it has so many outtakes. Just because a piece of videotape never got edited into a broadcast program doesn't mean it's devoid of intel value. CIC long ago stuck its fingers into the networks' videotape libraries. All of those outtakes-millions of hours of footage-have not actually been uploaded to the Library in digital form yet. But you can send in a request, and CIC will go and pull that videotape off the shelf for you and play it back.

Lagos has already done it. The tape is right there.

"Nope. Look. The Raft is a media event. But in a much more profound, general sense than you can possibly imagine."

"Huh?"

"It's created by the media in that without the media, people wouldn't know it was here, Refus wouldn't come out and glom onto it the way they do. And it sustains the media. It creates a lot of information flow-movies, news reports-you know."

"So you're creating your own news event to make money off the information flow that it creates?" says the journalist, desperately trying to follow. His tone of voice says that this is all a waste of videotape. His weary att.i.tude suggests that this is not the first time Rife has flown off on a bizarre tangent.

"Partly. But that's only a very crude explanation. It really goes a lot deeper than that. You've probably heard the expression that the Industry feeds off of bioma.s.s, like a whale straining krill from the ocean."

"I've heard the expression, yes."

"That's my expression. I made it up. An expression like that is just like a virus, you know-it's a piece of information-data-that spreads from one person to the next. Well, the function of the Raft is to bring more bioma.s.s. To renew America. Most countries are static, all they need to do is keep having babies. But America's like this big old clanking, smoking machine that just lumbers across the landscape scooping up and eating everything in sight. Leaves behind a trail of garbage a mile wide. Always needs more fuel. Ever read the story about the labyrinth and the minotaur?"

"Sure. That was on Crete, right?" The journalist only answers out of sarcasm; he can't believe he's here listening to this, he wants to fly back to L.A. yesterday.

"Yeah. Every year, the Greeks had to pony up a few virgins and send them to Crete as tribute. Then the king put them into the labyrinth, and the minotaur ate them up. I used to read that story when I was a kid and wonder who the h.e.l.l these guys were, on Crete, that everyone else was so scared of them that they would just meekly give up their children to be eaten, every year. They must have been some mean sons of b.i.t.c.hes.

"Now I have a different perspective on it. America must look, to those poor little b.u.g.g.e.rs down there, about the same as Crete looked to those poor Greek suckers. Except that there's no coercion involved. Those people down there give up their children willingly. Send them into the labyrinth by the millions to be eaten up. The Industry feeds on them and spits back images, sends out movies and TV programs, over my networks, images of wealth and exotic things beyond their wildest dreams, back to those people, and it gives them something to dream about, something to aspire to. And that is the function of the Raft. It's just a big old krill carrier."

Finally the journalist gives up on being a journalist, just starts to slag L. Bob Rife openly. He's had it with this guy. "That's disgusting. I can't believe you can think about people that way."

"s.h.i.+t, boy, get down off your high horse. n.o.body really gets eaten. It's just a figure of speech. They come here, they get decent jobs, find Christ, buy a Weber grill, and live happily ever after. What's wrong with that?"

Rife is p.i.s.sed. He's yelling. Behind him, the Banglades.h.i.+s are picking up on his emotional vibes and becoming upset themselves. Suddenly, one of them, an incredibly gaunt man with a long drooping mustache, runs in front of the camera and begins to shout: "a ma la ge zen ba dam gal nun ka aria su su na an da..." The sounds spread from him to his neighbors, spreading across the flight deck like a wave.

"Cut," the journalist says, turning into the camera. "Just cut. The Babble Brigade has started up again."

The soundtrack now consists of a thousand people speaking in tongues under the high-pitched, s.h.i.+t-eating chuckles of L. Bob Rife.

"This is the miracle of tongues," Rife shouts above the tumult. "I can understand every word these people are saying. Can you, brother?"

"Yo! Snap out of it, pod!"

Hiro looks up from the card. No one is in his office except for the Librarian.

The image loses focus and veers upward and out of his field of view. Hiro is looking out the winds.h.i.+eld of the Vanagon. Someone has just yanked his goggles off his face-not Vitaly.

"I'm out here, gogglehead!"

Hiro looks out the window. It's Y.T., hanging onto the side of the van with one hand, holding his goggles in the other.

"You spend too much time goggled in," she says. "Try a little Reality, man."

"Where we are going," Hiro says, "we're going to get more Reality than I can handle."

As Hiro and Vitaly approach the vast freeway overpa.s.s where tonight's concert is to take place, the solid ferrous quality of the Vanagon attracts MagnaPoons like a Twinkie draws c.o.c.kroaches. If they knew that Vitaly Chern.o.byl himself was in the van, they'd go crazy, they'd stall the van's engine. But right now, they'll poon anything that might be headed toward the concert.

When they get closer to the overpa.s.s, it becomes a lost cause trying to drive at all, the thrashers are so thick and numerous. It's like putting on crampons and trying to walk through a room full of puppies. They have to nose their way along, tapping the horn, flas.h.i.+ng the lights.

Finally, they get to the flatbed semi that const.i.tutes the stage for tonight's concert. Next to it is another semi, full of amps and other sound gear. The drivers of the trucks, an oppressed minority of two, have retreated into the cab of the sound truck to smoke cigarettes and glare balefully at the swarm of thrashers, their sworn enemies in the food chain of the highways. They will not voluntarily come out until five in the morning, when the way has been made plain.

A couple of the other Meltdowns are standing around smoking cigarettes, holding them between two fingers in the Slavic style, like darts. They stomp the cigarettes out on the concrete with their cheap vinyl shoes, run up to the Vanagon, and begin to haul out the sound equipment. Vitaly puts on goggles, hooks himself into a computer on the sound truck, and begins tuning the system. There's a 3-D model of the overpa.s.s already in memory. He has to figure out how to sync the delays on all the different speaker cl.u.s.ters to maximize the number of nasty, clas.h.i.+ng echoes.

The warm-up band, Blunt Force Trauma, gets rolling at about 9:00 P.M. On the first power chord, a whole stack of cheap preowned speakers shorts out; its wires throw sparks into the air, sending an arc of chaos through the ma.s.sed skateboarders. The sound truck's electronics isolate the bad circuit and shut it off before anything or anyone gets hurt. Blunt Force Trauma play a kind of speed reggae heavily influenced by the ant.i.technological ideas of the Meltdowns.

These guys will probably play for an hour, then there will be a couple of hours of Vitaly Chern.o.byl and the Meltdowns to look forward to. And if Sus.h.i.+ K shows up, he's welcome to make a guest appearance at the mike.

Just in case that actually happens, Hiro pulls back from the delirious center of the crowd and begins to orbit back and forth along its fringes. Y.T.'s in there somewhere, but no point in trying to track her down. She would be embarra.s.sed, anyway, to be seen with an oldster like Hiro.

Now that the concert is up and running, it will take care of itself. There's not much more for Hiro to do. Besides, interesting things happen along borders-transitions-not in the middle where everything is the same. There may be something happening along the border of the crowd, back where the lights fade into the shade of the overpa.s.s.

The fringe crowd looks pretty typical for the wrong side of an L.A. overpa.s.s in the middle of the night. There's a good-sized shantytown of hardcore Third World unemployables, plus a scattering of schizophrenic first worlders who have long ago burned their brains to ash in the radiant heat of their own imaginings. A lot of them have emerged from their overturned dumpsters and refrigerator boxes to stand on tiptoe at the edge of the crowd and peer into the noise and light. Some of them look sleepy and awed, and some-stocky Latino men-look amused by the whole thing, pa.s.sing cigarettes back and forth and shaking their heads in disbelief.

This is Crips turf. The Crips wanted to provide security, but Hiro, a student of Altamont, decided to take the risk of snubbing them. He hired The Enforcers to do it instead.

So every few dozen feet there's a large man with erect posture wearing an odd green windbreaker with ENFORCER spelled out across the back. Very conspicuous, which is how they like it. But it's all done with electropigment, so if there's trouble, these guys can turn themselves black by flipping a lapel switch. And they can make themselves bulletproof just by zipping the windbreakers up the front. Right now, it's a warm night, and most of them are leaving their uniforms open to the cool breezes. Some of them are just coasting, but most of them are attentive, keeping their eyes on the crowd, not the band.

Seeing all of those soldiers, Hiro looks for the general and soon finds him: a small, stout black guy, a pint-sized weightlifter type. He's wearing the same windbreaker as the others, but there's an additional layer of bulletproof vest underneath, and clipped onto that he's got a nice a.s.sortment of communications gear and small, clever devices for hurting people. He's doing a lot of jogging back and forth, swiveling his head from side to side, mumbling quick bursts into his headset like a football coach on the sidelines.

Hiro notices a tall man in his late thirties, distinguished goatee, wearing a very nice charcoal gray suit. Hiro can see the diamonds in his tie pin flas.h.i.+ng from a hundred feet away. He knows that if he gets up closer he will be able to see the word "Crips" spelled out in blue sapphires, nestled among those diamonds. He's got his own security detail of half a dozen other guys in suits. Even though they aren't doing security, they couldn't help sending along a token delegation to show the colors.

This is a non sequitur that has been nibbling on the edges of Hiro's mind for the last ten minutes: Laser light has a particular kind of gritty intensity, a molecular purity reflecting its origins. Your eye notices this, somehow knows that it's unnatural. It stands out anywhere, but especially under a dirty overpa.s.s in the middle of the night. Hiro keeps getting flashes of it in his peripheral vision, keeps glancing over to track down its source. It's obvious to him, but no one else seems to notice.

Someone in this overpa.s.s, somewhere, is bouncing a laser beam off Hiro's face. It's annoying. Without being too obvious about it, he changes his course slightly, wanders over to a point downwind of a trash fire that's burning in a steel drum. Now he's standing in the middle of a plume of diluted smoke that he can smell but can't quite see.

But the next time the laser darts into his face, it scatters off a million tiny, ashy particulates and reveals itself as a pure geometric line in s.p.a.ce, pointing straight back to its source.

It's a gargoyle, standing in the dimness next to a shanty. Just in case he's not already conspicuous enough, he's wearing a suit. Hiro starts walking toward him. Gargoyles represent the embarra.s.sing side of the Central Intelligence Corporation. Instead of using laptops, they wear their computers on their bodies, broken up into separate modules that hang on the waist, on the back, on the headset. They serve as human surveillance devices, recording everything that happens around them. Nothing looks stupider, these getups are the modern-day equivalent of the slide-rule scabbard or the calculator pouch on the belt, marking the user as belonging to a cla.s.s that is at once above and far below human society. They are a boon to Hiro because they embody the worst stereotype of the CIC stringer. They draw all of the attention. The payoff for this self-imposed ostracism is that you can be in the Metaverse all the time, and gather intelligence all the time.

The CIC bra.s.s can't stand these guys because they upload staggering quant.i.ties of useless information to the database, on the off chance that some of it will eventually be useful. It's like writing down the license number of every car you see on your way to work each morning, just in case one of them will be involved in a hit-and-run accident. Even the CIC database can only hold so much garbage. So, usually, these habitual gargoyles get kicked out of CIC before too long.

This guy hasn't been kicked out yet. And to judge from the quality of his equipment-which is very expensive-he's been at it for a while. So he must be pretty good.

If so, what's he doing hanging around this place?

"Hiro Protagonist," the gargoyle says as Hiro finally tracks him down in the darkness beside a shanty. "CIC stringer for eleven months. Specializing in the Industry. Former hacker, security guard, pizza deliverer, concert promoter." He sort of mumbles it, not wanting Hiro to waste his time reciting a bunch of known facts.

The laser that kept jabbing Hiro in the eye was shot out of this guy's computer, from a peripheral device that sits above his goggles in the middle of his forehead. A long-range retinal scanner. If you turn toward him with your eyes open, the laser shoots out, penetrates your iris, tenderest of sphincters, and scans your retina. The results are shot back to CIC, which has a database of several tens of millions of scanned retinas. Within a few seconds, if you're in the database already, the owner finds out who you are. If you're not already in the database, well, you are now.

Of course, the user has to have access privileges. And once he gets your ident.i.ty, he has to have more access privileges to find out personal information about you. This guy, apparently, has a lot of access privileges. A lot more than Hiro.

"Name's Lagos," the gargoyle says.

So this is the guy. Hiro considers asking him what the h.e.l.l he's doing here. He'd love to take him out for a drink, talk to him about how the Librarian was coded. But he's p.i.s.sed off. Lagos is being rude to him (gargoyles are rude by definition).

"You here on the Raven thing? Or just that fuzz-grunge tip you've been working on for the last, uh, thirty-six days approximately?" Lagos says.

Gargoyles are no fun to talk to. They never finish a sentence. They are adrift in a laser-drawn world, scanning retinas in all directions, doing background checks on everyone within a thousand yards, seeing everything in visual light, infrared, millimeter. wave radar, and ultrasound all at once. You think they're talking to you, but they're actually poring over the credit record of some stranger on the other side of the room, or identifying the make and model of airplanes flying overhead. For all he knows, Lagos is standing there measuring the length of Hiro's c.o.c.k through his trousers while they pretend to make conversation.

"You're the guy who's working with Juanita, right?" Hiro says.

"Or she's working with me. Or something like that"

"She said she wanted me to meet you."

For several seconds Lagos is frozen. He's ransacking more data. Hiro wants to throw a bucket of water on him.

"Makes sense," he says. "You're as familiar with the Metaverse as anyone. Freelance hacker-that's exactly right."

"Exactly right for what? No one wants freelance hackers anymore."

"The corporate a.s.sembly-line hackers are suckers for infection. They're going to go down by the thousands, just like Sennacherib's army before the walls of Jerusalem," Lagos says.

"Infection? Sennacherib?"

"And you can defend yourself in Reality, too-that'll be good if you ever go up against Raven. Remember, his knives are as sharp as a molecule. They'll go through a bulletproof jacket like lingerie."

"Raven?"

"You'll probably see him tonight. Don't mess with him."

"Okay," Hiro says. "I'll look out for him."

"That's not what I said," Lagos says. "I said, don't mess with him."

"Why not?"

"It's a dangerous world," Lagos says. "Getting more dangerous all the time. So we don't want to upset the balance of terror. Just think about the Cold War."

"Yup." All Hiro wants to do now is walk away and never see this guy again, but he won't wind up the conversation.

"You're a hacker. That means you have deep structures to worry about, too."

"Deep structures?"