The Third Lynx

such drugs, I fired again, then put a third snoozer into him just to be on the safe side. Slipping the gun back beneath my poncho, keeping an eye on the archways leading off into other sections of the museum, I gave his clothing a quick search.

I'd had some faint hope that the Modhri might have been careless enough to let Gargantua head off to our meeting with a hotel key or other significant clue on his person. But no such luck. Nothing in his pockets gave any indication of where he might have Penny and Morse hidden.

Keeping an eye on him over my shoulder, I returned to the other gallery. Fayr and Bayta had moved to the edge of the archway in my absence, no doubt the better to eavesdrop on the conversation. I gave them a thumbs-up, a finger across the lips for continued silence, and gestured toward the exit.

Five minutes later, we were back out in the rain, making our way across the museum grounds. I'd half expected the Modhri to have stationed his other Halkan soldier out here as backup, just in case I pulled something on Gargantua. But there was no sign of anyone hanging around, and neither Fayr's sensors or the ones in my gimmicked reader indicated any evidence of electronic surveillance focused on us.

It retrospect, I decided I wasn't really surprised the other Halka wasn't here. Locking up a trained ESS agent like Morse somewhere was tricky enough without having to trust him to stay that way on his own. The Modhri had apparently decided keeping tabs on me was less important than making sure he held on to his bargaining chips.

Especially since the only way out of the Ghonsilya system was through the Quadrail station. If I double-crossed him and ran, he knew where I'd eventually have to turn up.

We were out of sight of the museum building itself before Fayr spoke again. 'Do you know where the Lynx is?'

'Not yet,' I said. 'But now that we're here, I don't think we'll have any trouble laying our hands on it.'

'And you genuinely intend to trade it to the Modhri for your friends?'

'We'll see what we can do,' I hedged. 'But before we can cross that bridge we need to find Daniel Stafford. You said you know a place where these artist types hang out?'

Fayr was silent for a few more steps. Maybe he wasn't sure anymore whether to trust me or not. 'There's a place a short distance away on the other side of the museum grounds,' he said at last. 'It's called Artists' Paradise.'

I turned to glance down a side street as we passed, the movement tilting my hood just enough to send a rivulet of rain into my eyes. 'Sounds interesting,' I said, brushing away the water with the back of my hand. 'Lead the way.'

SEVENTEEN :

We continued walking directly away from the museum for a couple more blocks, then changed direction and made a wide circle around the whole museum area.

I also discovered I'd been wrong earlier about the neighborhood buttoning up for the night. Now that the dinner hour was over, the streets and sidewalks were starting to fill up again as the locals ventured out into the rain and their evening activities. The increasing number of pedestrians made it harder to be sure we weren't being followed, but at the same time it offered more cover if we needed to make a break for it.

The neighborhoods themselves also began to change again, this time definitely not for the better. Whereas on the other side of the museum the homes had ranged from lower-middle-class pleasant to full-blown high-class snooty, the real estate on this side seemed to be sliding rapidly toward the opposite end of the scale.

'Not what I'd consider your typical paradise-type area,' I commented as we walked past a row of houses that were little more than closely packed shacks. 'Who named this place, the same real estate fogger who tagged a frozen wasteland as Greenland?'

'This is not the Paradise,' Fayr said. He pointed two blocks ahead, to a large structure looming over the smaller homes around it. 'That is the Paradise.'

I eyed it. Even from this distance, I could see that the building included a few hints of the same architectural style as the art museum.

But where that place had been carefully and lovingly maintained, this one had been allowed to go straight to the dogs. 'I don't see a lot of improvement,' I told Fayr.

'It looks like a theater,' Bayta said.

'It's an amphitheater, actually, with a central, open-air performance area,' Fayr said. 'The reference listing states that after it fell into disuse and disrepair poor street artists moved in. They turned the dressing rooms and equipment shops into their homes and studios.'

I nodded. It was the same move-in-and-squat technique the down-and-out had been doing for centuries, probably everywhere in the galaxy. 'The authorities couldn't get rid of them?'

'On the contrary,' Fayr said. 'Over the past decades the authorities have created an aura of local attraction around the Paradise and its residents. Many artists, particularly offworlders, have journeyed to Ghonsilya specifically to spend time here.'

'They want to live there?' Bayta asked.

'I'm certain they're surprised at what they find,' Fayr said grimly. 'But by the time they learn the truth, many aren't able to leave.'

'I don't understand,' Bayta said.

'It's a matter of economics,' I said. The Chahwyn who'd raised her, I suspected, had passed over many of the more sordid facts of modern life. 'Artists come to Ghonsilya, lured by the Tra'ho reputation as art lovers and maybe stories and out-of-date photos of the Artists' Paradise.'

'The first part is true, certainly,' Fayr murmured.

'Absolutely,' I agreed. 'The Tra'ho'seej are certainly eager to buy up their art—that hotel lobby was loaded to the gills with the stuff.'

'Then I don't understand the problem,' Bayta said.

'The problem is that the Tra'ho'seej probably don't pay very much,' I told her. 'If they keep the prices low— and there are any number of ways to do that—then the artists end up stuck. They have to keep cranking out artwork to survive, but are never quite able to scrape together enough money to pull up stakes and go somewhere else.'

'I've heard that some of the poorest trade their art directly for food at the local restaurants and markets,' Fayr said.

'Where again the buyer gets to set the exchange rate,' I said. 'When love turns to obsession.'

Bayta gave me an odd look. 'What?'

'Art-loving becoming art-obsession,' I clarified.

'Oh,' Bayta said, the odd look not going away. 'I thought you were talking about …never mind. But surely not all their work is traded by barter.'

'The more expensive pieces are sold directly to customers,' Fayr said. 'In fact, many of the transactions take place right here in the Paradise.' He looked around at the lower-class Tra'ho'seej milling around. 'Though only during the daylight hours.'

'We can't afford to wait,' I told him. 'With all those Tra'ho walkers lying in bed watching their ceilings spin around, the local Modhri mind segment is as weak and inattentive as it's likely to get. We need to find Stafford tonight.'

'You believe he's in the Paradise?' Fayr asked.

'If he's not, he should be,' I told him. 'If you want to find art, go where the artists are. If you really want to find art, live where the artists live.'

Fayr lifted his head to look at the top of the dilapidated building. 'There's a great deal of area here for three people to search,' he commented. 'We'd best get started.'