Then there is the psychotic dolphin that lives in near-permanent darkness, its body showing evidence of crude cybernetic tampering. Its origin is unclear, its age even more so, but the animal’s endless, all-consuming rage is beyond question. Grafenwalder has dropped sensors into the animal’s scarred cortex, hooked into a visual display system. The slightest external stimulus becomes amplified into a kaleidoscopic light show, like the Devil’s own firework display. Circuits drop the visual patterns back into the dolphin’s mind. As an after-dinner treat, Grafenwalder encourages his guests to torment the dolphin into ever more furious cycles of anger.
There are many other exhibits; almost too many for Grafenwalder to remember. Not all are of interest to him now, and there are some that he has not visited for many years. His keepers take care of the creatures’ needs, only bothering him when something needs specialised or expensive medical intervention and his permission must be sought. Perhaps the hamadryad will turn out to be another of those waning fancies, although he thinks it unlikely.
But there is one holding pen that remains unoccupied. He’s walking over it now, hands on either side of the railed bridge that spans the empty abyss. It is a deep, ceramic-lined tank that will eventually be filled with cold water under many atmospheres of pressure. At the bottom of the tank is a rocky surface that is designed to be punctuated by thermal hotspots, gushing noxious gases. When it is activated, the environment in the tank will form a close match to conditions inside the ice-shrouded ocean of Europa, the little moon of Jupiter in the First System.
But first, Grafenwalder needs an occupant for the tank. That’s the fundamental problem. He knows what he has in mind, but finding one of the elusive creatures is proving trickier than he expected. There are even some who doubt that the Denizens ever existed; let alone that he might find a surviving specimen now, in another system and nearly two hundred years after their supposed heyday. Yet there are enough shards of encouragement to keep him hopeful. He has subtle feelers out, and every now and then one of them twitches with a nugget of information. His trusted contacts know that he is looking for one, and that he will pay very well upon delivery. And deep inside himself he knows that the Denizens were real, that they lived and breathed and that it is not absurd that one may have survived into the present era.
He must have one. Although he would never admit it, he would gladly trade the rest of his bestiary for that one exhibit. And even as he acknowledges that truth within himself, he still cannot say why the creature matters so much.
Orbiting the inner fringe of the Rust Belt, backdropped by the choleric face of Yellowstone itself, Goodglass’s habitat is a wrinkled walnut of unprepossessing dimensions. Grafenwalder’s shuttle docks at a polar berthing nub, where a dozen similar vehicles are already clamped. He recognises more than half of them as belonging to collectors of his acquaintance.
After running some cursory security checks, a silverback gorilla escorts him deeper into the miniature world. The habitat is a cored-out asteroid, excavated by fusion torches and stuffed with a warren of pressurised domiciles wrapped around a modest central airspace. A spinney of free-fall trees keeps the self-regulating ecosystem ticking over, with only a minimal dependence on plague-vulnerable machinery. There are no servitors anywhere, only adapted animals like the silverback. The air smells mulchy, saturated with microscopic green organisms. Grafenwalder sneezes into his handkerchief and makes a mental note to have his lungs swapped out and filtered when he returns home.
Goodglass offers cocktails to her assembled guests. They’re standing in an antechamber to her bestiary, in a part of the habitat that has been spun for gravity. The polished floor is a matrix of black and white tiles, each of which has been inlaid with a luminous red fragment of a much larger picture. As the guests stand around, the tiles slowly shift and reorient themselves.
Grafenwalder goes with the flow, letting the tiles slide him from encounter to encounter. He makes small talk with the other collectors, filing gossip and rumour. All the while he’s checking out his host, measuring her against his expectations. Ursula Goodglass is a small woman of baseline-human appearance, devoid of any obvious biomodifications. She wears a one-piece purple-black outfit with flared sleeves, rising to a stiff-necked collar upon which her hairless head sits like a rare egg. She possesses an attractively impish face with a turned-up nose. He could like her, if he didn’t already detest her.
Presently, as he knew they must, the tiles bring them together. He bows his head and takes her black-gloved hand.
‘It’s good of you to come, Mister Grafenwalder,’ she says. ‘I know how busy you are, and I wasn’t really expecting you to be able to find the time.’
‘Carl, please,’ he says, oozing charm. ‘And don’t imagine I’d have been able to stay away. Your invitation sounded intriguing. It’s so much more difficult to turn up anything new these days, the way things have gone. I can’t imagine what it is you have for us.’
‘I just hope you won’t be disappointed.’
‘I won’t,’ he says, with heavy emphasis. ‘Of that I’m sure.’
‘I want you to understand,’ she begins, before glancing away nervously, ‘it’s not that I’m trying to compete with you, or upstage you. I’ve too much respect for you for that.’
‘Oh, don’t worry. A little healthy rivalry never hurt anyone. What good is a collection unless there’s another one to lend it contrast?’
She smiles uncertainly, measuring him as much as he is measuring her. He can feel the pressure of her scrutiny: cool and steady as a refrigeration laser.
Fine lines crisscross her skulclass="underline" snow-white sutures that remind him of the fracture patterns in the ice of Europa, even though he has never visited First System. The scars are evidence of emergency surgery performed in the heat of the Melding Plague, when it became necessary for the rich to rid themselves of their neural implants. Now Goodglass wears them as a symbol of former status.
‘I’d like you to meet my husband,’ she says as a palanquin glides up to them across the shifting tiled floor. Grafenwalder blinks back surprise: he’d noticed the palanquin before, but had assumed it belonged to one of the other guests. ‘Edric, this is Carl,’ she says.
‘It’s a pleasure to meet you,’ the palanquin answers, the piping voice issuing from a speaker grille set halfway up the front of the armoured cabinet. The palanquin has the shape of a slender, flat-topped pyramid, its bronze sides flanged by cooling ribs and sensor studs. An oval window set into the front, just above the speaker grille, is too dark to afford more than a vague impression of Edric Goodglass. ‘I hope this encumbrance doesn’t make you ill at ease, Mister Grafenwalder,’ the occupant tells him.
‘Hardly,’ he says. ‘I’ve used palanquins myself, for business in Chasm City. They tell me my blood has been scrubbed of machines, but you can’t ever be too careful.’
‘In my case I never leave my palanquin,’ Edric says. ‘I still carry all the bodily machines I had at the time of the plague. It would only take a tiny residual trace to kill me.’
Grafenwalder swirls his drink, stepping nimbly from one moving tile to another. ‘It must be intolerable.’
‘It’s my own fault. I was too slow when it counted. When the plague hit, I hesitated. I should have had the surgery fast and dirty, the way my wife did. She was braver than I; less convinced it was all about to blow over. Now I can’t even risk the surgery. I’d have to leave the palanquin before they opened me up, and that alone would expose me to unacceptable risk.’