Smith, it developed, had had a supplier known as Jimmy. Jimmy was a burglar and other things as well, and just back from a year in high orbit, having carried certain things back down the gravity well. The most unusual thing Jimmy had managed to score on his swing through the archipelago was a head, an intricately worked bust, cloisonn over platinum, studded with seedpearls and lapis. Smith, sighing, had put down his pocket microscope and advised Jimmy to melt the thing down. It was contemporary, not an antique, and had no value to the collector. Jimmy laughed. The thing was a computer terminal, he said. It could talk. And not in a synth-voice, but with a beautiful arrangement of gears and miniature organ pipes. It was a baroque thing for anyone to have constructed, a perverse thing, because synth-voice chips cost next to nothing. It was a curiosity. Smith jacked the head into his computer and listened as the melodious, inhuman voice piped the figures of last year's tax return.
Smith's clientele included a Tokyo billionaire whose passion for clockwork automata approached fetishism. Smith shrugged, showing Jimmy his upturned palms in a gesture old as pawn shops. He could try, he said, but he doubted he could get much for it.
When Jimmy had gone, leaving the head, Smith went over it carefully, discovering certain hallmarks. Eventually he'd been able to trace it to an unlikely collaboration between two Zurich artisans, an enamel specialist in Paris, a Dutch jeweler, and a California chip designer. It had been commissioned, he discovered, by Tessier-Ashpool S.A.
Smith began to make preliminary passes at the Tokyo collector, hinting that he was on the track of something noteworthy.
And then he had a visitor, a visitor unannounced, one who walked in through the elaborate maze of Smith's security as though it didn't exist. A small man, Japanese, enormously polite, who bore all the marks of a vatgrown ninja assassin. Smith sat very still, staring into the calm brown eyes of death across a polished table of Vietnamese rosewood. Gently, almost apologetically, the cloned killer explained that it was his duty to find and return a certain artwork, a mechanism of great beauty, which had been taken from the house of his master. It had come to his attention, the ninja said, that Smith might know of the whereabouts of this object.
Smith told the man that he had no wish to die, and produced the head. And how much, his visitor asked, did you expect to obtain through the sale of this object? Smith named a figure far lower than the price he'd intended to set. The ninja produced a credit chip and keyed Smith that amount out of a numbered Swiss account. And who, the man asked, brought you this piece? Smith told him. Within days, Smith learned of Jimmy's death.
`So that was where I came in,' the Finn continued. `Smith knew I dealt a lot with the Memory Lane crowd, and that's where you go for a quiet go-to that'll never be traced. I hired a cowboy. I was the cut-out, so I took a percentage. Smith, he was careful. He'd just had a very weird business experience and he'd come out on top, but it didn't add up. Who'd paid, out of that Swiss stash? Yakuza? No way. They got a very rigid code covers situations like that, and they kill the receiver too, always. Was it spook stuff? Smith didn't think so. Spook biz has a vibe, you get so you can smell it. Well, I had my cowboy buzz the news morgues until we found Tessier-Ashpool in litigation. The case wasn't anything, but we got the law firm. Then he did the lawyer's ice and we got the family address. Lotta good it did us.'
Case raised his eyebrows.
`Freeside,' the Finn said. `The spindle. Turns out they own damn near the whole thing. The interesting stuff was the picture we got when the cowboy ran a regular go-to on the news morgues and compiled a precis. Family organization. Corporate structure. Supposedly you can buy into an S.A., but there hasn't been a share of Tessier-Ashpool traded on the open market in over a hundred years. On any market, as far as I know. You're looking at a very quiet, very eccentric first-generation high orbit family, run like a corporation. Big money, very shy of media. Lot of cloning. Orbital law's a lot softer on genetic engineering, right? And it's hard to keep track of which generation, or combination of generations, is running the show at a given time.'
`How's that?' Molly asked.
`Got their own cryogenic setup. Even under orbital law, you're legally dead for the duration of a freeze. Looks like they trade off, though nobody's seen the founding father in about thirty years. Founding momma, she died in some lab accident...'
`So what happened with your fence?'
`Nothing.' The Finn frowned. `Dropped it. We had a look at this fantastic tangle of powers of attorney the T-A's have, and that was it. Jimmy must've gotten into Straylight, lifted the head, and Tessier-Ashpool sent their ninja after it. Smith decided to forget about it. Maybe he was smart.' He looked at Molly. `The Villa Straylight. Tip of the spindle. Strictly private.'
`You figure they own that ninja, Finn?' Molly asked.
`Smith thought so.'
`Expensive,' she said. `Wonder whatever happened to that little ninja, Finn?'
`Probably got him on ice. Thaw when needed.'
`Okay,' Case said, `we got Armitage getting his goodies off an AI named Wintermute. Where's that get us?'
`Nowhere yet,' Molly said, `but you got a little side gig now.' She drew a folded scrap of paper from her pocket and handed it to him. He opened it. Grid coordinates and entry codes.
`Who's this?'
`Armitage. Some data base of his. Bought it from the Moderns. Separate deal. Where is it?'
`London,' Case said.
`Crack it.' She laughed. `Earn your keep for a change.'
Case waited for a trans-BAMA local on the crowded platform. Molly had gone back to the loft hours ago, the Flatline's construct in her green bag, and Case had been drinking steadily ever since.
It was disturbing to think of the Flatline as a construct, a hardwired ROM cassette replicating a dead man's skills, obsessions, kneejerk responses... The local came booming in along the black induction strip, fine grit sifting from cracks in the tunnel's ceiling. Case shuffled into the nearest door and watched the other passengers as he rode. A pair of predatory looking Christian Scientists were edging toward a trio of young office techs who wore idealized holographic vaginas on their wrists, wet pink glittering under the harsh lighting. The techs licked their perfect lips nervously and eyed the Christian Scientists from beneath lowered metallic lids. The girls looked like tall, exotic grazing animals, swaying gracefully and unconsciously with the movement of the train, their high heels like polished hooves against the gray metal of the car's floor. Before they could stampede, take flight from the missionaries, the train reached Case's station.
He stepped out and caught sight of a white holographic cigar suspended against the wall of the station, FREESIDE pulsing beneath it in contorted capitals that mimicked printed Japanese. He walked through the crowd and stood beneath it, studying the thing. WHY WAIT? pulsed the sign. A blunt white spindle, flanged and studded with grids and radiators, docks, domes. He'd seen the ad, or others like it, thousands of times. It had never appealed to him. With his deck, he could reach the Freeside banks as easily as he could reach Atlanta. Travel was a meat thing. But now he noticed the little sigil, the size of a small coin, woven into the lower left corner of the ad's fabric of light: T-A.
He walked back to the loft, lost in memories of the Flatline. He'd spent most of his nineteenth summer in the Gentleman Loser, nursing expensive beers and watching the cowboys. He'd never touched a deck, then, but he knew what he wanted. There were at least twenty other hopefuls ghosting the Loser, that summer, each one bent on working joeboy for some cowboy. No other way to learn.