My audience grows impatient, shuffling and muttering. I reach into the instrument and pick a wineglass off the exposed strings and hand it to someone at my side. The men and women clustered round the piano snort and giggle. I place my hands upon the keys that are the lever ends of tusks ripped from dead things, an elephant graveyard amongst the heart dark columns of wood.

I begin to play an air, something light, almost flimsy, but with its own lilt and delicate poise, and moving by a natural sequentiality, an inherent and unforced progression, to a more thoughtful and bitter sweet conclusion. A silence comes upon those gathered, something settling over their energetic desire for fun like a cloth thrown over a cavorting songbird's cage. I move my hands with studiedly careful, stroking motions, the gentle dance of my fingers upon the keys a small and beautiful ballet by itself, a hypnotic feathering of flesh enclosed bone caressing ivory with an appearance of natural fluid grace it takes half a lifetime of study and a thousand arithmetically tedious repetitions of sterile scales to acquire.

At the point where the structure of the piece would by its own implicit grammar lead to a sweetly beautiful solemnising of the main theme and a gentle resolution of the whole, I change it all completely. My hands have been a pair of gentle wings flowing over each individuated particle of air above the bed of keys, solemn and sweet. Now they become lumpen talons, great arched locked paws with which I thump the pavement of the keyboard in a fatuous, one two, one two, onetwo marching step. At the same time the melody in its form still identifiably related to the elegantly limber figure of before becomes a brainless, mechanical automaton of jangling discords and crudely linked harmonies crashing and lurching through the tune, and whose lumberings, in echoing that earlier beauty and reminding the ear of its dulcet fitness, mock it more flagrantly and insult the listener more thoroughly than a total change of strain and beat could ever have.

A few of my audience are so far down the road of tastelessness they just gawk and grin and nod along, puppets to the strings I play. More. though, stand back a little, or glare at me, make tutting noises and shake their heads. The lieutenant just reaches out and puts her hand to the keyboard lid; I get my fingers out of the way before it comes thudding down.

I turn to her, swivelling on the stool. “I thought you'd like that,” I tell her, my voice and eyebrows raised in a tone and picture of innocence. The lieutenant reaches quickly out and slaps me. Quite hard, it has to be said, though it's done with a sort of passionless authority, as an able parent of a large brood might strike their eldest, to keep the rest in line. The noise stills the assembly even more effectively than my attempt at musicality.

My cheek tingles. I blink. I put my hand to my cheek, where there is a little blood. Drawn, I'd imagine, by the ring of white gold and ruby on the lieutenant's hand. She gazes levelly at me. I look at you. You appear mildly surprised. Somebody grabs my shoulders from behind and a draught of fetid breath washes over my face. Another hand grips my hair and my head is pulled back; the fellow growls. I try to keep my gaze fastened on the lieutenant. She holds up her hand, looking at the men behind me. She shakes her head. “No, leave him.” She looks at me. “That was a shame, Abel; to spoil such a pretty tune.”

“You really think so? I thought it an improvement. It's just a tune, after all. Nothing with a life.”

She laughs, throwing her head back. Gold glitters at the back of her jaws. “Well, right, Abe,” she says. She waves the wine bottle at the keys. “Play on, then. Play whatever you want. It's our party but it's your piano. You decide. No; a waltz. Play a waltz. Morgan and I will dance. Can you play a waltz, Abe?”

I watch you, my dear. You blink. I try to find a glimmer of understanding in your eyes. Eventually I give a small bow. “A waltz.” I stand, open the piano stool and leaf through the sheet music inside. “Here we are.” I open the lid and put the music on its stand. I play the music, following the stated notes. I read, play, and add the occasional pedestrian embellishment, a mere conduit for the marks on the paper, the sounds in the head of the composer, the form of the work; an excuse to hold, a soundtrack to flirtatiousness, courting, mating and fortune finding.

When I am finished I look round, but you and the lieutenant are gone. All the soldiers and their swaying conquests applaud, then the men converge on me, pin me down, tie my hands and feet with the embroidered lengths of bell pulls and stick the helmet from a suit of armour upon my head. My breathing sounds loud, enclosed within the helm; I can smell my own breath and sweat and the metallic tang of the armour's antiquity. The view outside is reduced to a series of tiny portholes, single perforations through the ancient steel. My head clangs against the metal inside as they bear me up and carry me, trussed, outside into the courtyard where as I am tipped and rolled about and the view gyrates wildly the gun. glints in the light of arc and flame and. the cobblestones glisten. They open the black iron grating over the mouth of the well, pull up the well's bucket, rattling chains, balance the bucket on the rough stone rim then set me in it, legs folded in so that the lip of the bucket digs into my spine and my knees are at my chin. Then, laughing, they push me out over the hole, hold me on the rope then let me drop. I go light; the chain rattles and the wind whistles.

The impact knocks the world away, slamming my head back against the wall then cracking it forward again, first igniting a line of fire across my back and then thrusting a spear of pain through my nose.

I sit, stunned, as the water gurgles in around me.

Chapter 14

I am dimly aware of pain and cold and the taste of metal. Grazed, dazed, trying to shake my head, I sit here in my

little wooden throne, perched within the muddy remnant of the hole's departed water, poised on a hidden platform of rubble that's choked this ornament for a century or more, still wearing my metal crown and dressed in the torn robes of a lowly calling. Water seeps in around me, beneath me, icy and and sapping.

I look up, sight constrained by my iron mask.

I was here once before, much younger. A child. Trying to see beyond the sky.

I had read somewhere that from a sufficiently deep hole, one could see the stars, if the day were clear. You were there, brought on a rare visit. I had persuaded you to help me with my scheme; you watched, eyes wide, fist to mouth, as I winched up the bucket, steadied it on the wall and then climbed in. I told you to let me down. The descent then was scarcely less violent than that the lieutenant's men subjected me to. I had not thought to allow for the bucket's much increased weight, your lack of strength or propensity for just standing back and letting what would happen, happen.. You held the handle, taking some of the strain as I pushed the bucket off the side of the well's stone surround. Freed of the wall's support I plunged immediately. You gave a little shriek and made one attempt to brake the handle, letting it jerk and lift you on to your tiptoes, then you let it go.

I fell into the well. I cracked my head. I saw stars.

It did not occur to me then that I had succeeded, in a sense, in my plan. What I saw were lights, strange, inchoate and bizarre. It was only later that I connected the visual symptoms of that fall and impact with the stylised stars and planets I was used to seeing drawn in a cartoon panel whenever a comic character suffered a similar whack. At the time I was at first just dazed, then frightened I was going to drown, then relieved that the water beneath the bucket was so shallow, then finally both angry at you for letting me fall and afraid of what Mother would say.