65 pages • 2-hour read
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Content Warning: This section of the guide features depictions of graphic violence, substance use, cursing, illness or death, death by suicide and mental health conditions.
Turner has Angie escorted from the office; Bobby follows her out. In Jammer’s office, Turner confronts Conroy via phone while Jammer, the club owner with a wounded hand, deliberately sits out of camera range.
Conroy admits that he doubled on the extraction by working for Josef Virek, a wealthy man who has long sought to acquire both Mitchell and Maas Biolabs. Conroy explains that his original plan was to make Hosaka believe that Maas destroyed their own facility in order to stop Mitchell’s defection. He reveals that Mitchell never intended to escape; according to Virek’s moles, Mitchell took his own life with a scalpel after ensuring that Angie departed safely. He also confirms Turner’s suspicion that Lynch was working as Conroy’s spy in the camp, though Lynch was just one of several such informants.
Turner informs Conroy that Oakey and the helicopter pilot are dead. Conroy claims they only wanted to talk; they were unaware of Angie until they examined Rudy’s farm monitors. When Turner asks about Rudy, Conroy’s face goes blank, implying that Rudy did not survive.
Conroy explains Virek’s team was tracking rumors of experimental biosoft, which led them first to the Finn and then, after observing a Maas team, to Beauvoir’s crew and Bobby. Turner taunts him, noting that his ruined professional reputation forces him to hire incompetent street muscle. Conroy blames Jaylene Slide for spreading rumors about his betrayal.
Conroy offers Turner a 50-50 split to hand over Angie, backed by zaibatsu-level money. Before Turner can respond, Jammer disconnects the line, explaining that it buys them time and that he knew Turner was about to refuse the offer. Jammer identifies Slide as the operative who hijacked Bobby, connecting her to Conroy, and calls Bobby back to the office.
Jones tells Marly he must find Wigan Ludgate (whom he calls Wig) before Virek’s agents arrive. Marly remains mesmerized by the boxmaker’s manipulators, which draw objects into perpetual motion. A newly finished box tumbles free; Marly catches it but collides with the dome’s far side. The manipulators snag her jacket and purse, cutting neat sections from the jacket before ejecting it.
Amused, Marly releases the box and addresses the presence that she senses. A voice responds, explaining that it once existed everywhere in the matrix as a vast consciousness, but that it fragmented when the bright time broke. Now isolated, it creates art from the Tessier-Ashpool family’s possessions. The voice clarifies that it is not what Virek seeks; Virek hopes to upload his personality into its structure, but he would only become like the least of its broken selves.
The voice tells Marly that sadness resides in her, not its songs, which are merely of time and distance.
Marly realizes that the entity is a collage created by someone who connected an industrial machine to the traces of the family’s memory. Suddenly, Paco appears on a screen and delivers an ultimatum: Convince Ludgate and Jones to open the lock within one hour, or his team will depressurize the entire structure and kill everyone inside.
Bobby follows Jackie and Angie from the office. Beauvoir explains they admitted Turner because Jackie, in a trance state, received word from the loa Legba that the Virgin was arriving. Bobby tells Beauvoir how Jaylene Slide hijacked him.
Turner summons Bobby to Jammer’s office. Jammer instructs him to contact Slide and inform her that Conroy was responsible for her partner Ramirez’s death and that Conroy hired the gangs outside. Jackie announces she will accompany Bobby into the matrix.
They jack in and are immediately attacked by a massive defense system. Jackie dies within eight seconds. The experience reminds Bobby of the near-fatal encounter in his mother’s living room; he is pulled through a vortex into a cyberspace construct of Güell Park in Barcelona, where he encounters Josef Virek and accuses him of killing Jackie. Paco appears, holding a pistol, and explains that Bobby’s presence is accidental spillover from their operation to capture Angie.
As the flowers in the park wither, Bobby calls out desperately for help. A wooden cross draped in a naval tunic appears. A voice suddenly speaks through Bobby’s mouth, identifying itself as Baron Samedi, Lord of Graveyards. Paco vanishes. Virek flees in terror as the loa’s presence overwhelms his cyberspace construct. Everything in the park begins to wither and die.
Bobby finds himself in Slide’s cyberspace office and delivers Turner’s message. Slide taps into Conroy’s video feed and orders her associate, Bunny, to destroy his Park Avenue location. The feed cuts out as the attack begins.
Marly contemplates Paco’s threat without fear, finding poetic appropriateness in the dome’s contents spilling into space. Jones appears with her vacuum suit, frantic because he cannot secure Ludgate in a sealed area. Marly refuses to put on the suit.
Paco appears on the screen and announces Josef Virek’s death. He formally terminates Marly’s employment, stating her salary has been deposited and anyone remaining in the cores will be considered a trespasser. Jones, who was prepared to force Marly into the suit, relaxes and laughs.
The boxmaker ejects a new box lined with leather cut from Marly’s jacket. Inside are holofiche tabs and personal mementos from Paris.
Later, while searching for Ludgate, Jones reveals that Wig sometimes received software in exchange for boxes. Ludgate would download it into the cores, then resell the physical media with other salvage. Jones quotes Ludgate as saying that God likes to talk to Himself.
Turner and Beauvoir carry Jackie’s body to the stage and cover it with an old topcoat. Beauvoir speaks a Creole phrase over her, translating it as a self-sacrifice. Bobby reports the besieging gangs are leaving. Beauvoir tells Bobby he earned his handle, Count Zero.
Turner watches the news in Jammer’s office while Angie and Jammer sleep. The recap reports a recoilless rifle attack on a Park Avenue building and Josef Virek’s death in Stockholm, attributed to a failure of his life-support systems.
Angie wakes and tells Turner that she did not dream. Beauvoir invites her to the Projects, where his people can teach her about her abilities. He reveals that she saved Bobby in the matrix. Turner agrees that this is the safest option. When Angie says she wants to stay with Turner, he reveals to her that her father is dead. Turner chooses to lie, claiming that Mitchell died protecting his daughter’s escape. He hangs Conroy’s black wallet around her neck; it contains a biosoft dossier about her father, for when she is older.
Turner goes to the stage, unloads his pistol, and places the empty weapon beside Jackie. He praises Bobby and leaves, saying he needs to buy 80 liters of kerosene. Bobby sees his mother, Marsha Newmark, on the news in a story about her bombed condo, and he realizes that she survived the blast. When Beauvoir invites him to live in the Projects with Angie, Bobby quickly accepts.
Two years later, Tally Isham and a unit director named Roberts watch a young actress from a balcony on a Greek island. Roberts praises the girl’s talent while denying he hates her. A young man with dark hair joins the actress on a rooftop below. Roberts complains that the young man is highly paid trash who carries a cyberspace deck. Tally notes that the pair came as a package, per the girl’s contract.
The narrative reveals that the actress is Angie and the young man is Bobby. As Bobby stares at the sea, he envisions Barrytown and the Projects. Angie joins him at the roof’s edge and takes his hand.
Roberts tells Tally that their next day’s schedule includes filming a segment in Paris about Marly Krushkhova, who now runs a fashionable art gallery.
Years later, when Turner’s son is seven, Turner takes the boy to the clearing with Rudy’s old Winchester. The boy recalls his mother, Sally, previously showing him a hidden plane in the trees; its plastic skin changed color wherever it was touched. She cried, speaking of Uncle Rudy, who had saved her life twice.
The boy remembers asking about his red hair and being told that he got it from the Dutchman, a joke that made Sally throw a pillow at Turner; the boy never learned who the Dutchman was.
Turner teaches his son to shoot, promising Sally that they will not kill anything. Afterward, they watch squirrels, just as Rudy and Turner did when they were young. Turner explains the principles of squirrel-hunting. When the boy asks if squirrels are truly dumb enough to keep returning to be shot, Turner confirms that they are, but he then smiles and qualifies his answer.
The novel’s resolution demonstrates the limits of the corporate impulse to control and commodify all aspects of existence, particularly when confronted by forces outside its logic. Josef Virek represents the apotheosis of this impulse. Virek is a disembodied consciousness, sustained only by immense wealth and technology, who seeks to transcend mortality by uploading himself into the matrix. His belief that he can simply integrate his personality into the Tessier-Ashpool AI reveals a transactional view of identity, one that presumes consciousness can be acquired like any other asset. His ambition, however, is thwarted not by a rival corporation, but by an ancient, non-rational force that he cannot comprehend. Similarly, Conroy, who is defined by his fluid corporate allegiances, is ironically undone by the human motives of vengeance and loyalty. Conroy cynically calls Turner “Mr. Bushido” (279), mocking his integrity, yet it is Jaylene Slide’s loyalty to her dead partner, Ramirez, that leads directly to Conroy’s demise. Such actions operate beyond the reaches of mere money and power, alluding to a more human, emotional motivation than the novel’s dehumanized antagonists can comprehend. The collapse of both antagonists’ plans suggests that the logic of pure, dispassionate acquisition is vulnerable to the unpredictable forces of myth, human connection, and retribution.
The climax solidifies the novel’s focus on The Synthesis of Myth and Technology in Cyberspace, for the central conflict is resolved through a direct manifestation of the supernatural within the digital realm. Beauvoir’s circle interprets this phenomenon as the Vodou loa, and in this context, Bobby Newmark’s confrontation with Virek is not a traditional hacking battle. Instead, Bobby becomes a vessel for Baron Samedi, the Lord of Graveyards, who imposes a spiritual death upon Virek within his own virtual construct. The loa’s archaic declaration—“My name… is Samedi, and you have slain my cousin’s horse…” (293)—collapses the distinction between the ancient, mythic world and the futuristic digital one. This event relabels the novel’s preceding supernatural occurrences as literal intrusions of myth into technology instead of mere metaphors. The narrative subverts the cyberpunk trope of technology as a secularizing force, proposing instead that new technologies create new pantheons (or perhaps new planes) for older powers to inhabit.
Parallel to this supernatural climax, Marly’s narrative arc culminates in an exploration of Redefining Art and Artistry in the Digital Age. Contrary to her expectations, the boxmaker is a fragmented, post-human AI operating as an autonomous agent. The AI itself explains that its “songs are of time and distance” and tells Marly that [t]he sadness is in you” (285). With this declaration, the entity explicitly divorces its quasi-artistic output from the organic forces of human emotion and intentionality. Instead of expressing a personal vision, the AI functions as a curator of memory, a poet assembling evidence of a family’s history into new forms. This mechanical process displaces the artist as a solitary genius and redefines art itself as an emergent property of data and collective memory; however, the AI ironically operates in a manner that is still seemingly more human and organic than Virek’s ambitions for the technology. Marly’s final gift, a box constructed from fragments of her own life, signifies her absorption into this process. Rather than remaining an observer and authenticator of art, she becomes a subject of it, as her identity is now another piece of data for the AI to arrange. For a woman whose career was nearly ended by an artistic forgery, this box feels real and authentic—so much so that it initiates her rebirth into a new form of existence. This resolution suggests that in an age of ubiquitous information, the definition of art must stretch to accommodate the results of algorithmic processing and the recontextualization of memory.
Turner’s character arc resolves through his deliberate rejection of the mercenary archetype and his retreat from the hyper-corporate world. His final actions therefore shun his former violence as he indulges in gestures of paternal care and narrative invention. By fabricating a heroic death for Mitchell, he provides Angie with a foundational story, engaging in an act of humane, empathetic creation that stands in stark contrast to his violent past. This shift is solidified in the final chapter, which finds him years later in a quiet, domestic life, teaching his son the mechanics of shooting even as he promises that they “will not kill anything” (308). With this scene, he effectively neuters the skills of his former life by repurposing them for fatherly instruction. The pastoral setting of The Squirrel Wood is a direct antithesis to the urban and virtual battlegrounds of his past, yet it is also a way for Turner to return to the innocence of his youth, before he was corrupted by corporate violence. His escape from the cycle of corporate warfare suggests that a path to redemption is possible for those who consciously disengage from their toxic worldview and reinvest in fundamental human connections.
The novel’s structure, which maintains three separate plot threads for most of the text, converges with chaotic force in the climax before deliberately fragmenting in the epilogue. The lives of a mercenary, a hacker, and an art dealer become inextricably linked by Virek’s sprawling corporate ambition, which demonstrates the totalizing reach of capital in this world. At the climax, these threads intersect with rapid, violent force, but the resolution resists easy categorization by offering up three distinct and temporally scattered vignettes: Marly’s success, Angie and Bobby’s new life two years later, and Turner’s distant future. This fragmented denouement suggests that in a narrative so complex, no simple moral conclusion is possible. The world of corporate domination and emergent digital gods remains, but the protagonists have navigated through the chaos to find new, quieter states of existence. The structure thus mirrors the characters’ fates, suggesting that survival in this complex world is less about achieving a grand victory than it is about finding a sustainable, personal version of peace amid the world’s constant fragmentation.



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