He has a large office with French doors and a balcony looking out over endless rice paddies where little Vietnamese people work. Clearly, this guy is a fairly hardcore techie, because Y.T. counts hundreds of people out in his rice paddies, plus dozens more running around the village, all of them fairly well rendered and all of them doing different things. She's not a bithead, but she knows that this guy is throwing a lot of computer time into the task of creating a realistic view out his office window. And the fact that it's Vietnam makes it twisted and spooky. Y.T. can't wait to tell Roadkill about this place. She wonders if it has bombings and strafings and napalm drops. That would be the best.

Ng himself, or at least, Ng's avatar, is a small, very dapper Vietnamese man in his fifties, hair plastered to his head, wearing military-style khakis. At the time Y.T. comes into his office, he is leaning forward in his chair, getting his shoulders rubbed by a geisha.

A geisha in Vietnam?

Y.T.'s grandpa, who was there for a while, told her that the Nipponese took over Vietnam during the war and treated it with the cruelty that was their trademark before we nuked them and they discovered that they were pacifists. The Vietnamese, like most other Asians, hate the Japanese. And apparently this Ng character gets a kick out of the idea of having a Japanese geisha around to rub his back.

But it is a very strange thing to do, for one reason: The geisha is just a picture on Ng's goggles, and on Y.T.'s. And you can't get a massage from a picture. So why bother?

When Y.T. comes in, Ng stands up and bows. This is how hardcore Street wackos greet each other. They don't like to shake hands because you can't actually feel the contact and it reminds you that you're not even really there.

"Yeah, hi," Y.T. says.

Ng sits back down and the geisha goes right back to it. Ng's desk is a nice French antique with a row of small television monitors along the back edge, facing toward him. He spends most of his time watching the monitors, even when he is talking.

"They told me a little bit about you," Ng says.

"Shouldn't listen to nasty rumors," Y.T. says.

Ng picks up a glass from his desk and takes a drink from it. It looks like a mint julep. Globes of condensation form on its surface, break loose, and trickle down the side. The rendering is so perfect that Y.T. can see a miniaturized reflection of the office windows in each drop of condensation. It's just totally ostentatious. What a bithead.

He is looking at her with a totally emotionless face, but Y.T. imagines that it is a face of hate and disgust. To spend all this money on the coolest house in the Metaverse and then have some skater come in done up in grainy black-and-white. It must be a real kick in the metaphorical nuts.

Somewhere in this house a radio is going, playing a mix of Vietnamese loungy type stuff and Yank wheelchair rock.

"Are you a Nova Sicilia citizen?" Ng says.

"No. I just chill sometimes with Uncle Enzo and the other Mafia dudes."

"Ah. Very unusual."

Ng is not a man in a hurry. He has soaked up the languid pace of the Mekong Delta and is content to sit there and watch his TV sets and fire off a sentence every few minutes.

Another thing: He apparently has Tourette's syndrome or some other brain woes because from time to time, for no apparent reason, he makes strange noises with his mouth. They have the twangy sound that you always hear from Vietnamese when they are in the back rooms of stores and restaurants carrying on family disputes in the mother tongue, but as far as Y.T. can tell, they aren't real words, just sound effects.

"Do you work a lot for these guys?" Y.T. asks.

"Occasional small security jobs. Unlike most large corporations, the Mafia has a strong tradition of handling its own security arrangements. But when something especially technical is called for - "

He pauses in the middle of this sentence to make an incredible zooming sound in his nose.

"Is that your thing? Security?"

Ng scans all of his TV sets. He snaps his fingers and the geisha scurries out of the room. He folds his hands together on his desk and leans forward. He stares at Y.T. "Yes," he says.

Y.T. looks back at him for a bit, waiting for him to continue. After a few seconds his attention drifts back to the monitors.

"I do most of my work under a large contract with Mr. Lee," he blurts.

Y.T. is waiting for the continuation of this sentence: Not "Mr. Lee," but "Mr. Lee's Greater Hong Kong."

Oh, well. If she can drop Uncle Enzo's name, he can drop Mr. Lee's.

"The social structure of any nation-state is ultimately determined by its security arrangements," Ng says, "and Mr. Lee understands this."

Oh, wow, we're going to be profound now. Ng is suddenly talking just like the old white men on the TV pundit powwows, which Y.T.'s mother watches obsessively.

"Instead of hiring a large human security force - which impacts the social environment - you know, lots of minimum-wage earners standing around carrying machine guns - Mr. Lee prefers to use nonhuman systems."

Nonhuman systems. Y.T. is about to ask him, what do you know about the Rat Thing. But it is pointless; he won't say. It would get their relationship off on the wrong foot, Y.T. asking Ng for intel, intel that he would never give her, and that would make this whole scene even weirder than it is now, which Y.T. can't even imagine.

Ng bursts forth with a long string of twangy noises, pops, and glottal stops.

"Fucking bitch," he mumbles.

"Excuse me?"

"Nothing," he says, "a bimbo box cut me off. None of these people understand that with this vehicle, I could crush them like a potbellied pig under an armored personnel carrier."

"A bimbo box - you're driving?"

"Yes. I'm coming to pick you up - remember?"

"Do you mind?"

"No," he sighs, as if he really does.

Y.T. gets up and walks around behind his desk to look.

Each of the little TV monitors is showing a different view out his van: windshield, left window, right window, rearview. Another one has an electronic map showing his position: inbound on the San Bernardino, not far away.

"The van is under voice command," he explains. "I removed the steering-wheel-and-pedal interface because I found verbal commands more convenient. This is why I will sometimes make unfamiliar sounds with my voice - I am controlling the vehicle's systems."

Y.T. signs off from the Metaverse for a while, to clear her head and take a leak. When she takes off the goggles she discovers that she has built up quite an audience of truckers and mechanics, who are standing around the terminal booth in a semicircle listening to her jabber at Ng. When she stands up, attention shifts to her butt, naturally.

Y.T. hits the bathroom, finishes her pie, and wanders out into the ultraviolet glare of the setting sun to wait for Ng.

Recognizing his van is easy enough. It is enormous. It is eight feet high and wider than it is high, which would have made it a wide load in the old days when they had laws. The construction is boxy and angular; it has been welded together out of the type of flat, dimpled steel plate usually used to make manhole lids and stair treads. The tires are huge, like tractor tires with a more subtle tread, and there are six of them: two axles in back and one in front. The engine is so big that, like an evil spaceship in a movie, Y.T. feels its rumbling in her ribs before she can see it; it is kicking out diesel exhaust through a pair of squat vertical red smokestacks that project from the roof, toward the rear. The windshield is a perfectly flat rectangle of glass about three by eight feet, smoked so black that Y.T. can't make out an outline of anything inside. The snout of the van is festooned with every type of high-powered light known to science, like this guy hit a New South Africa franchise on a Saturday night and stole every light off every roll bar, and a grille has been constructed across the front, welded together out of rails torn out of an abandoned railroad somewhere. The grille alone probably weighs more than a small car.