There were tears on many faces, including my own. Rossignol had got to me, too. I'd never heard, never felt, anything like her songs, her voice. In the Nightside it's always three o'clock in the morning, the long dark hour of the soul - but only Rossignol could put it into words.

And yet, despite all I was feeling, or was being made to feel, I never entirely lost control. Perhaps be­cause I'm more used than most to the dark, or simply because I had a job to do. I tore my eyes away from Rossignol, reached inside my jacket pocket, and pulled out a miller medallion. It was designed to glow brightly in the presence of magical influence, but when I held it up to face Rossignol, there wasn't even a glimmer of a glow. So Rossignol hadn't been en­chanted or possessed or even magically enhanced.

Whatever she was doing, it came straight from her, and from her voice.

The audience was utterly engrossed, still and rapt and silent, drinking their diva in with eyes and ears, immersing themselves in emotions so sharp and melancholy and compelling that they were helpless to do anything but stand there and soak it up. It was all they could do to come out of it to applaud her in between songs. The three Ian Augers and the quartet of backing singers were looking tired and drawn, faces wet with sweat as they struggled to keep up with Rossignol, but the crowd only had eyes for her. She hung on to her microphone stand as though it was a lifeline, smoking one cigarette after another, blasting out one song after another, as though it was all she lived to do.

And then, as she paused at the end of one song to light up another cigarette, a man not far from me pressed right up against the edge of the stage, a man who'd been staring adoringly at Rossignol from the moment she first appeared, smiled at her with tears still wet on his cheeks and drew a gun. I could see it happening, but I was too far away to stop it. All I could do was watch as the man put the gun to his head and blew his brains out. All over Rossignol's bare feet.

At the sound of the gun, the Ian Augers looked up sharply from their instruments. The backing singers huddled together, eyes and mouths stretched wide. Rossignol stared blankly down at the dead man. He was still standing there, because the press of the crowd wouldn't allow him to fall, even though half his head was missing. And in the echoing silence, the crowd slowly came back to themselves. As though

they'd been shocked awake from a deep dark dream where they'd all been drifting towards . . . something. I knew, because I'd been feeling it too. Part of me recognised it.

Then the crowd went crazy. Screaming and shout­ing and roaring in what might have been shock or out­rage, they all surged determinedly forward. They wanted, they needed, to get to the stage, get to her. They fought each other with hands and elbows, snap­ping like animals. People were crushed, dragged down and trampled underfoot. Those nearest the dead man at the front tore him apart, literally limb from limb, scat­tering the bloody body parts among them like sacrifi­cial offerings. There was an awful feeling of... celebration in the crowd. As though this was what they'd all been waiting for, even if they didn't know themselves.

I'd already vaulted up onto the stage and out of the way. Rossignol snapped out of her horrified daze, turned, and ran from the stage. The crowd saw her dis­appear and howled their rage and disapproval. They started to scramble up onto the stage. The backing singers ran forward to the edge of the stage and kicked viciously at people trying to pull themselves up. The three Ian Augers came forward and reinforced the singers with large, bony fists. But they were so few, and the crowd was so large, and so determined. Hell's Neanderthals waded into the crowd from the rear, slap­ping people down and throwing them in the direction of the exit, whether they wanted to go or not. I started after Rossignol. One of the Ian Augers reached out to grab me, but I've had a lot of practice at dodging unfriendly hands. I headed backstage, just as the first wave of the crowd boiled up over the edge.

Backstage, no-one tried to stop me. Everyone there had their own problems, and once again as long as I moved confidently and like I had a purpose and a right to be there, no-one even looked at me. I saw the two combat magicians coming and ducked through a side door for a moment. They hurried past, dark sparks al­ready sputtering around their fists as they prepared themselves for some magical mayhem. They should be able to hold off the crowd, assuming Stargrave and Chance didn't get involved. If they did, there could be some serious unpleasantness. I waited until I was sure the combat magicians were gone, then headed for Rossignol's dressing room.

She was sitting there alone, again, with her back to the mirror this time. Her eyes were wild, unfocussed, as she struggled to cope with what had just happened. She was trying to scrub the blood and gore off her bare feet with a hand towel. And yet, for all her obvious dis­tress, it seemed to me that this was the most alive I'd ever seen her. She looked up sharply as I came in and shut the door behind me.

"Get out! Get out of here!"

"It's all right, Ross," I said quickly. "I'm not a fan." I concentrated and shrugged off the seeming Pew had placed on me. It was only a small magic, after all. Rossignol recognised me as the tattoos disappeared from my face, and she slumped tiredly.

"Thank God. I could use a friendly face."

She suddenly started to tremble, her whole body shuddering, as the shock caught up with her. I took off my leather jacket and wrapped it gently round her shoulders. She grabbed my hands, squeezing them hard as though to draw some of my strength and warmth into her, then suddenly she was in my arms, holding me like a drowning woman, her tear-stained face pressed against my chest. I held her and com­forted her as best I could. We all need a little simple human comfort, now and again. Finally, she let go, and I did, too. I knelt, picked up the hand towel, and cleaned the last of the blood off her feet to give her a moment to compose herself. By the time I'd finished and was looking around for somewhere to dump the towel, she seemed to have calmed down a little.

I straightened up, sat on the dressing room table, and dropped the towel beside me. "Has anything like this ever happened to you before, Ross?"

"No. Never. I mean, there have been rumours, but... no. Never right in front of me."

"Did you recognise the guy?"

"No! Never saw him before in my life! I don't mix with my . . . audience. The Cavendishes insist on that. Part of building the image, the mystique, they said. I never really believed the rumours ... I thought it was just publicity, stories the Cavendishes put about to work up some excitement. I never dreamed . . ."

"As if we would ever do such a thing, dear Rossig­nol," said a cold, familiar voice behind me. I got to my feet and looked round, and there in the dressing room doorway were Mr. and Mrs. Cavendish. Tall and aris­tocratic, and twice as arrogant. They glided in like two dark birds of ill omen, ignoring their property Rossig­nol to consider me with a cold, thoughtful gaze.

"You do seem in very rude health, Mr. Taylor," said the man. "Does he not, Mrs. Cavendish?"

"Indeed he does, Mr. Cavendish. Quite the picture of good health."

"Perhaps some of the stories about you are true after all, Mr. Taylor."

I just smiled and said nothing. Let them wonder. It all added to the reputation.

"We did think you'd learned your lesson, Mr. Tay­lor," said the woman.

"Afraid not," I said. "I'm a very slow learner."

"Then we shall just have to try harder," said the man. "Won't we, Mrs. Cavendish?"

Rossignol was looking back and forth, confused. "You know each other?"