NEAL STEPHENSON

gently but firmly removes it from the outboard motor’s throttle. Him checks them out on radar. A couple of these guys have the little AK-47s, but most of them are armed with knives and pistols, obviously looking forward to some close-up, face-to-face contact. These guys in the boats are, of course, the peons. More important-looking gents stand along the edge of the neighborhood, smoking and watching. A couple of them are wireheads.

Tranny revs it up, turns into a sparse neighborhood of loosely connected Arabian dhows, and maneuvers through the darkness for a while, occasionally putting his hand on Hiro’s head and gently pressing it down so he doesn’t catch a rope with his neck.

When they emerge from the fleet of dhows, the Vietnamese gang is no longer in evidence. If this happened in daylight, the gangsters could track them by following Reason’s steam. Tranny steers them across a medium-sized street and into a cluster of fishing boats. In the middle of this area an old trawler sits, being cut up for scrap, cutting torches illuminating the black surface of the water all around. But most of the work is being done with hammers and cold chisels, which radiate appalling noise across the flat echoing water.

“Home,” Tranny says, smiling, and points to a couple of houseboats lashed together. Lights are still burning here, a couple of guys are out on the deck smoking fat, makeshift cigars, through the windows they can see a couple of women working in the kitchen.

As they approach, the guys on the deck sit up, take notice, draw revolvers out of their waistbands. But then Tranny speaks up in a happy stream of Tagalog. And everything changes.

Tranny gets the full Prodigal Son welcome: crying, hysterical fat ladies, a swarm of little kids piling out of their hammocks, sucking their thumbs and jumping up and down. Older men beaming, showing great gaps and black splotches in their smiles, watching and nodding and diving in to give him the occasional hug.

And on the edge of the mob, way back in the darkness, is another wirehead.

“You come in, too,” says one of the women, a lady in her forties named Eunice.

“That’s okay,” Hiro says. “I won’t intrude.”

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