“Yes,” said the Small Animal. “He did not want to be an illegal copy. He turned your master in.”
“I want the master back,” I said, anger and longing beating their wings in my chest like caged birds.
“And so does the cat,” said the Small Animal gently. And it was only then that I saw the cat there, sitting next to me on the beach, eyes glimmering in the sun. It looked at me and let out a single conciliatory meaow.
After that, the Small Animal was with us every night, teaching.
Music was my favorite. The Small Animal showed me how I could turn music into smells and find patterns in it, like the tracks of huge, strange animals. I studied the master’s old records and the vast libraries of his virtual desk, and learned to remix them into smells that I found pleasant.
I don’t remember which one of us came up with the plan to save the master. Maybe it was the cat: I could only speak to it properly on the island of dreams, and see its thoughts appear as patterns on the sand. Maybe it was the Small Animal, maybe it was me. After all the nights we spent talking about it, I no longer know. But that’s where it began, on the island: that’s where we became arrows fired at a target.
Finally, we were ready to leave. The master’s robots and nanofac spun us an open-source glider, a white-winged bird.
In my last dream the Small Animal said goodbye. It hummed to itself when I told it about our plans.
“Remember me in your dreams,” it said.
“Are you not coming with us?” I asked, bewildered.
“My place is here,” it said. “And it’s my turn to sleep now, and to dream.”
“Who are you?”
“Not all the plurals disappeared. Some of them fled to space, made new worlds there. And there is a war on, even now. Perhaps you will join us there, one day, where the big dogs live.”
It laughed. “For old times’ sake?” It dived into the waves and started running, became a great proud dog with a white coat, muscles flowing like water. And I followed, for one last time.
The sky was grey when we took off. The cat flew the plane using a neural interface, goggles over its eyes. We sweeped over the dark waves and were underway. The raft became a small dirty spot in the sea. I watched it recede and realised that I’d never found my Ball.
Then there was a thunderclap and a dark pillar of water rose up to the sky from where the raft had been. I didn’t mourn: I knew that the Small Animal wasn’t there anymore.
The sun was setting when we came to the Fast City.
I knew what to expect from the Small Animal’s lessons, but I could not imagine what it would be like. Mile-high skyscrapers that were self-contained worlds, with their artificial plasma suns and bonsai parks and miniature shopping malls. Each of them housed a billion lilliputs, poor and quick: humans whose consciousness lived in a nanocomputer smaller than a fingertip. Immortals who could not afford to utilise the resources of the overpopulated Earth more than a mouse. The city was surrounded by a halo of glowing fairies, tiny winged moravecs that flitted about like humanoid fireflies and the waste heat from their overclocked bodies draped the city in an artificial twilight.
The citymind steered us to a landing area. It was fortunate that the cat was flying: I just stared at the buzzing things with my mouth open, afraid I’d drown into the sounds and the smells.
We sold our plane for scrap and wandered into the bustle of the city, feeling like daikaju monsters. The social agents that the Small Animal had given me were obsolete, but they could still weave us into the ambient social networks. We needed money, we needed work.
And so I became a musician.
The ballroom is a hemisphere in the center of the airship. It is filled to capacity. Innumerable quickbeings shimmer in the air like living candles, and the suits of the fleshed ones are no less exotic. A woman clad in nothing but autumnn leaves smiles at me. Tinkerbell clones surround the cat. Our bodyguards, armed obsidian giants, open a way for us to the stage where the gramophones wait. A rustle moves through the crowd. The air around us is pregnant with ghosts, the avatars of a million fleshless fans. I wag my tail. The scentspace is intoxicating: perfume, fleshbodies, the unsmells of moravec bodies. And the fallen god smell of the wrong master, hiding somewhere within.
We get on the stage on our hindlegs, supported by prosthesis shoes. The gramophone forest looms behind us, their horns like flowers of brass and gold. We cheat, of course: the music is analog and the gramophones are genuine, but the grooves in the black discs are barely a nanometer thick, and the needles are tipped with quantum dots.
We take our bows and the storm of handclaps begins.
“Thank you,” I say when the thunder of it finally dies. “We have kept quiet about the purpose of this concert as long as possible. But I am finally in a position to tell you that this is a charity show.”
I smell the tension in the air, copper and iron.
“We miss someone,” I say. “He was called Shimoda Takeshi, and now he’s gone.”
The cat lifts the conductor’s baton and turns to face the gramophones. I follow, and step into the soundspace we’ve built, the place where music is smells and sounds.
The master is in the music.
It took five human years to get to the top. I learned to love the audiences: I could smell their emotions and create a mix of music for them that was just right. And soon I was no longer a giant dog DJ among lilliputs, but a little terrier in a forest of dancing human legs. The cat’s gladiator career lasted a while, but soon it joined me as a performer in the virtual dramas I designed. We performed for rich fleshies in the Fast City, Tokyo and New York. I loved it. I howled at Earth in the sky in the Sea of Tranquility.
But I always knew that it was just the first phase of the Plan.
We turn him into music. VecTech owns his brain, his memories, his mind. But we own the music.
Law is code. A billion people listening to our master’s voice. Billion minds downloading the Law At Home packets embedded in it, bombarding the quantum judges until they give him back.
It’s the most beautiful thing I’ve ever made. The cat stalks the genetic algorithm jungle, lets the themes grow and then pounces them, devours them. I just chase them for the joy of the chase alone, not caring whether or not I catch them.
It’s our best show ever.
Only when it’s over, I realise that no one is listening. The audience is frozen. The fairies and the fastpeople float in the air like flies trapped in amber. The moravecs are silent statues. Time stands still.
The sound of one pair of hands, clapping.
“I’m proud of you, ” says the wrong master.
I fix my bow tie and smile a dog’s smile, a cold snake coiling in my belly. The godsmell comes and tells me that I should throw myself onto the floor, wag my tail, bare my throat to the divine being standing before me.
But I don’t.
“Hello, Nipper,” the wrong master says.
I clamp down the low growl rising in my throat and turn it into words.
“What did you do?”
“We suspended them. Back doors in the hardware. Digital rights management.”
His mahogany face is still smooth: he does not look a day older, wearing a dark suit with a VecTech tie pin. But his eyes are tired.
“Really, I’m impressed. You covered your tracks admirably. We thought you were furries. Until I realised — “
A distant thunder interrupts him.
“I promised him I’d look after you. That’s why you are still alive. You don’t have to do this. You don’t owe him anything. Look at yourselves: who would have thought you could come this far? Are you going to throw that all away because of some atavistic sense of animal loyalty?”
“Not that you have a choice, of course. The plan didn’t work.”