trill of laughter and threw off her cloak, holding her arms wide. Pin had to admit that she was an excellent actress, particularly once she was off the stage. Her new friend drew her into the crowd. She did not look back. Pin sighed and stepped through the door.
To Pin's relief, the demon was nowhere to be seen. Instead, the huge room was filled with Singapore Three's elite: executives from the corporations that ran the city, stars from screen and opera, visiting dignitaries from other nations. Servants moved among them with engineered grace, exciting little flurries of interest as they passed; they were joined by the human whores, who had their own admirers. Pin realized without enthusiasm that there were many people whom he knew, but it was unlikely that anyone would remember him. No one would recall a mere rent-boy. As unobtrusively as possible, he collected a drink from a nearby servant and walked across to the window, where he stood looking out across the immense span of the city.
Immediately below, lay the dark pool of the harbor and the curving emptiness of the ocean beyond. From this height, the harbor looked no bigger than a puddle. Pin traced the streets that ran in all directions in a series of diagonals. He could see the main artery of Shaopeng, which, so the Feng Shui dowsers said, mirrored the line of energy called the Great Meridian. Pin was never quite sure whether he believed in feng shui, but the corporations took it very seriously and the temple of the dowsers, the Senditreya Endo, had wielded a great deal of power in the city until its recent disgrace. Sometimes, too, it seemed to Pin that he could feel something when he walked in certain places, like a current of electricity stirring under the earth. There were places that caused a curious sense of comfort and security, but others where he did not like to go, because they made him uneasy. Pin shivered, thinking of a little square at the back of Ghenret, which he was afraid to walk through because it produced such a feeling of chilly horror. The dowsers said that such places were closer to Hell than the rest of the world, but Pin put this thought swiftly aside. It did not do to think too much about such things; it was unlucky.
He had wondered, at times, whether he might be sensitive enough to be a dowser. It paid good money, and used to be pretty much a job for life, but Pin thought you had to come from one of the old families to be an initiate into the temple, and besides, it was dangerous. Dowsers walked with one eye on Heaven and the other on Hell, or so it was said, and Pin had a healthy respect for the sanctity of his own soul. And lately there had been some very disturbing stories about the Feng Shui Practitioners' Guild and the earthquakes that had devastated much of Singapore Three. Yet he couldn't be too much of a coward, he thought to himself . . .and then he looked up and saw two bright pinpoints of light, reflected in the smoky glass of the window. The demon was standing behind him. Pin turned, his mouth suddenly dry.
The demon's pointed face was pale, and his eyes were a fiery gold, rimmed with a dark contour as though he had lined each eyelid with kohl. Perhaps he had, Pin thought in a daze of admiration. It was impossible to tell his age; the demon's hair was dark and slick, his face unlined. He did not look much above thirty. He gave Pin a smile that managed to be simultaneously engaging and predatory, revealing sharp teeth.
"Good evening," the demon said, in accented Cantonese.
Pin swallowed hard and managed to find his voice. "I—I hope you enjoyed the performance, sir."
"I enjoyed it immensely," the demon said, "but I'm not sure I entirely understood the plot." His smile widened. "Perhaps you could explain it to me?"
"Oh," Pin said, beginning to babble. "It's really very simple. You see, it's a story about the Tao. There's positive energy, of course—ch'i—and negative energy, sha. They have to be balanced in order to generate good fortune. In the opera, Celestial Dragon represents the positive energy, and Storm Lord King represents the negative, but that's only one way of looking at it. In some of the operas it's the other way round. And the hero of the opera is