In a somewhat Faustian fashion, Freddie, a Singaporean businessman, unwittingly exchanges his soul for materialistic gain. Kuang Ho, the 15th Century God of the legendary Dragon’s Teeth Gate, gives all, but also demands both body and soul in return.
Freddie’s business prospers. Complacent in his newly-acquired wealth, he is oblivious to the spiritual and moral implications of abetting the spread of Kuang Ho's sphere of power.
In the struggles that follow, a slice of Singaporean life is exposed, revealing the cogent sense of nostalgia, warmth and intimacy characteristic of Emily of Emerald Hill. A variety of characters weave a discreet drama within such familiar locations as departmental stores and urban facades.
The appearance of the Goddess Bodhisattva, embodied in the earthly form of Kuan Yin, heightens the conflict between the many diametrically opposed elements in modern-day life: kindness and cruelty, knowledge and ignorance, naiveté and deviousness, humility and arrogance, indeed everything that can be subsumed under good and evil.
Freddie suddenly realizes the implications behind his actions and how he has become a pawn in Kuang Ho's game of human manipulation. However, his condition, as with other Faustian protagonists, renders him powerless. Not even the Goddess Bodhisattva, or the kind-hearted beings whose existence are threatened by the awesome power of immortal greed, can resurrect the human condition at its lowest depths.
Not unexpectedly, human folly can only be redeemed by human sacrifice. The play races to a macabre climax with human will and determination pitted against awesome supernatural forces.