A piece of paper is wrapped around the pictures. It says: "Y.T. Thanks for your help. As you can see from these pictures, I tried to train for this assignment, but it's going to take some practice. Your friend, Uncle Enzo."

Y.T. wraps the pictures up just the way they were, puts them back in her pocket, stifles a smile, returns to business matters.

The girl in the robe is still performing her transaction behind the counter. The transactee is a stocky Spanish-speaking woman in an orange dress.

The girl types some stuff into the computer. The customer snaps her Visa card down on the fake wood altar top; it sounds like a rifle shot. The girl pries the card up using her inch-long fingernails, a dicey and complicated operation that makes Y.T. think of insects climbing out of their egg sacs. Then she performs the sacrament, swiping the card through its electromagnetic slot with a carefully modulated sweep of the arm, as though tearing back a veil, handing over the slip, mumbling that she needs a signature and daytime phone number. She might as well have been speaking Latin, but that's okay, since this customer is familiar with the liturgy and signs and numbers it before the words are fully spoken.

Then it just remains for the Word from On High. But computers and communications are awfully good these days, and it usually doesn't take longer than a couple of seconds to perform a charge-card verification. The little machine beeps out its approval code, heavenly tunes sing out from tinny speakers, and a wide pair of pearlescent doors in the back of the room swing majestically open.

"Thank you for your donation," the girl says, slurring the words together into a single syllable.

The customer stomps toward the double doors, drawn in by hypnotic organ strains. The interior of the chapel is weirdly colored, illuminated partly by fluorescent fixtures wedged into the ceiling and partly by large colored light boxes that simulate stained-glass windows. The largest of these, shaped like a fattened Gothic arch, is bolted to the back wall, above the altar, and features a blazing trinity: Jesus, Elvis, and the Reverend Wayne. Jesus gets top billing. The worshipper is not half a dozen steps into the place before she thuds down on her knees in the middle of the aisle and begins to speak in tongues: "ar ia ari ar isa ve na a mir ia i sa, ve na a mir ia a sar ia…"

The doors swing shut again.

"Just a sec," the girl says, looking at Y.T. a little nervously. She goes around the corner and stands in the middle of the toy area, inadvertently getting the hem of her robe caught up in a Ninja Raft Warriors battle module, and knocks on the door to the potty.

"Busy!" says a man's voice from the other side of the door.

"The Kourier's here," the girl says.

"I'll be right out," the man says, more quietly.

And he really is right out. Y.T. does not perceive any waiting time, no zipping up of the fly or washing of the hands. He is wearing a black suit with a clerical collar, pulling a lightweight black robe on over that as he emerges into the toy area, crushing little action figures and fighter aircraft beneath his black shoes. His hair is black and well greased, with individual strands of gray, and he wears wire-rimmed bifocals with a subtle brownish tint. He has very large pores.

And by the time he gets close enough that Y.T. can see all of these details, she can also smell him. She smells Old Spice, plus a strong whiff of vomit on his breath. But it's not boozy vomit.

"Gimme that," he says, and yanks the aluminum briefcase from her hand.

Y.T. never lets people do that.

"You have to sign for it, " she says. But she knows it's too late. If you don't get them to sign first, you're screwed. You have no power, no leverage. You're just a brat on a skateboard.

Which is why Y.T. never lets people yank deliveries out of her hand. But this guy is a minister, for God's sake. She just didn't reckon on it. He yanked it out of her hand - and now he runs with it back to his office.

"I can sign for it," the girl says. She looks scared. More than that, she looks sick.

"It has to be him personally," Y.T. says. "Reverend Dale T. Thorpe."

Now she's done being shocked and starting to be pissed. So she just follows him right into his office.

"You can't go in there," the girl says, but she says it dreamily, sadly, like this whole thing is already half forgotten. Y.T. opens the door.

The Reverend Dale T. Thorpe sits at his desk. The aluminum briefcase is open in front of him. It is filled with the same complicated bit of business that she saw the other night, after the Raven thing. The Reverend Dale T. Thorpe seems to be leashed by the neck to this device.

No, actually he is wearing something on a string around his neck. He was keeping it under his clothes, the way Y.T. keeps Uncle Enzo's dog tags. He has pulled it out now and shoved it into a slot inside the aluminum case. It appears to be a laminated ID card with a bar code on it.

Now he pulls the card out and lets it dangle down his front. Y.T. cannot tell whether he has noticed her. He is typing on the keyboard, punching away with two fingers, missing letters, doing it again.

Then motors and servos inside the aluminum case whir and shudder. The Reverend Dale T. Thorpe has unsnapped one of the little vials from its place in the lid and inserted it into a socket next to the keyboard. It is slowly drawn down inside the machine.

The vial pops back out again. The red plastic cap is emitting grainy red light. It has little LEDs built into it, and they are spelling out numbers, counting down seconds: 5,4,3,2,1…

The Reverend Dale T. Thorpe holds the vial up to his left nostril. When the LED counter gets down to zero, it hisses, like air coming out of a tire valve. At the same time, he inhales deeply, sucking it all into his lungs. Then he shoots the vial expertly into his wastebasket.

"Reverend?" the girl says. Y.T. spins around to see her drifting toward the office. "Would you do mine now, please?"

The Reverend Dale T. Thorpe does not answer. He has slumped back in his leather swivel chair and is staring at a neon-framed blowup of Elvis, in his Army days, holding a rifle.

When he wakes up, it's the middle of the day and he is all dried out from the sun, and birds are circling overhead, trying to decide whether he's dead or alive. Hiro climbs down from the roof of the turret and, throwing caution to the wind, drinks three glasses of L.A. tap water. He gets some bacon out of Da5id's fridge and throws it in the microwave. Most of General Jim's people have left, and there is only a token guard of soldiers down on the road. Hiro locks all the doors that look out on the hillside, because he can't stop thinking about Raven. Then he sits at the kitchen table and goggles in.

The Black Sun is mostly full of Asians, including a lot of people from the Bombay film industry, glaring at each other, stroking their black mustaches, trying to figure out what kind of hyperviolent action film will play in Persepolis next year. It is nighttime there. Hiro is one of the few Americans in the joint.

Along the back wall of the bar is a row of private rooms, ranging from little tete-a-tetes to big conference rooms where a bunch of avatars can gather and have a meeting. Juanita is waiting for Hiro in one of the smaller ones. Her avatar just looks like Juanita. It is an honest representation, with no effort made to hide the early suggestions of crow's-feet at the corners of her big black eyes. Her glossy hair is so well resolved that Hiro can see individual strands refracting the light into tiny rainbows.

"I'm at Da5id's house. Where are you?" Hiro says.

"In an airplane - so I may break up," Juanita says.

"You on your way here?"