Joe noticed things about people, and he noticed that this
man kept looking off in the dark corner where the piano stood. It was an old, out-of-tune monstrosity from the old days (for this had been a bar for a long time), and Joe wondered why the man was fascinated by it. True, a lot of Joe's customers had been interested, but they had always walked over and plunked on the keys, trying to find a melody, failing with the out-of-tune keys, and finally giving up. This man, however, seemed almost afraid of the piano, and didn't go near it.
At closing time, the man was still there, and, on a whim, instead of making the man leave, Joe turned off the piped in music, turned off most of the lights, and went over and lifted the lid and exposed the gray keys.
The deliveryman came over to the piano. Chris, his name tag said. He sat and touched a single key. The sound was not pretty. But the man touched all the keys one by one and then touched them in different orders, and all the time Joe watched, wondering why the man was so intense about it.
"Chris," Joe said.
Chris looked up at him.
"Do you know any songs?"
Chris's face went funny.
"I mean, some of those old-time songs, not those fancy ass-twitchers on the radio, but songs. `In a Little Spanish Town: My mother sang that one to me." And Joe began to sing, "In a little Spanish town, 'twas on a night like this. Stars were peek-a-booing down, 'twas on a night like this."
Chris began to play as Joe's weak and toneless baritone. went on with the song. But his playing wasn't an accompaniment, not anything Joe could call an accompaniment. It was, instead, an opponent to his melody, an enemy to it, and the sounds coming out of the piano were strange and unharmonious and, by God, beautiful. Joe stopped singing and listened. For two hours he listened, and when it was over he soberly poured the man a drink and poured one for himself and clinked glasses with Chris the doughnut deliveryman who could take that rotten old piano and make the
damn thing sing.
Three nights later, Chris came back, looking harried and afraid. But this time Joe knew what would happen (had to happen), and instead of waiting until closing time, Joe turned off the piped-in music ten minutes early. Chris looked up at him pleadingly. Joe misunderstood-he went over and lifted the lid to the keyboard and smiled. Chris walked stiffly, perhaps reluctantly, to the stool and sat.
"Hey, Joe," one of the last five customers shouted, "closing early?"
Joe didn't answer. Just watched as Chris began to play. No preliminaries this time; no scales and wanderings over the keys. Just power, and the piano was played as pianos aren't meant to be played; the bad notes, the out-of-tune notes, were fit into the music so that they sounded right, and Chris's fingers, ignoring the strictures of the twelve-tone scale, played, it seemed to Joe, in the cracks.
None of the customers left until Chris finished an hour and a half later. They all shared that final drink and went home, shaken by the experience.
The next night Chris came again, and the next, and the next. Whatever private battle had kept him away for the first few days after his first night of playing, he had apparently won it or lost it. None of Joe's business. What Joe cared about was the fact that when Chris played the piano, it did things to him that music had never done, and he wanted it.
The customers apparently wanted it, too. Near closing time people began showing up, apparently just to hear Chris play. Joe began starting the piano music earlier and earlier, and he had to discontinue the free drinks after the playing, because there were so many people it would have put him out of business.
It went on for two long, strange months. The delivery van pulled up outside, and people stood aside for Chris to enter. No one said anything to him. No one said anything at all, but everyone waited until he began to play the piano.
He drank nothing at all. Just played. And between songs the hundreds of people in Joe's Bar and Grill ate and drank.
But the merriment was gone. The laughter and the chatter and the camaraderie were missing, and after a while Joe grew tired of the music and wanted to have his bar back the way it was. He toyed with the idea of getting rid of the piano, but the customers would have been angry at him. He thought of asking Chris not to come any more, but he could not bring himself to speak to the strange, silent man.
And so finally he did what he knew he should have done in the first place. He called the Watchers.
They came in the middle of a performance, a blind Watcher with a dog on a leash, and an earless Watcher who walked unsteadily, holding on to things for balance. They came in the middle of a song and did not wait for it to end. They walked to the piano and closed the lid gently, and Chris withdrew his fingers and looked at the closed lid.
"Oh, Christian," said the man with the seeing-eye dog.
"I'm sorry," Christian answered. "I tried not to."
"Oh, Christian, how can I bear doing to you what must be done?"
"Do it," Christian said.
And so the man with no ears took a laser knife from his coat pocket and cut off Christian's fingers and thumbs, right where they rooted into his hands. The laser cauterized and sterilized the wound even as it cut, but still some blood spattered on Christian's uniform. And, his hands now meaningless palms and useless knuckles, Christian stood and walked out of Joe's Bar and Grill. The people made way for him again, and they listened intently as the blind Watcher said, "That was a man who broke the law and was forbidden to be a Maker. He broke the law a second time, and the law insists that he be stopped from breaking down the system that makes all of you so happy."
The people understood. It grieved them; it made them
uncomfortable for a few hours, but once they toad returned home to their exactly right homes and got back to their exactly right jobs, the sheer contentment of their lives overwhelmed their momentary sorrow for Chris. After all, Chris had broken the law. And it was the law that kept them all safe and happy.
Even Joe. Even Joe soon forgot Chris and his music. He knew he had done the right thing. He couldn't figure out, though, why a man like Chris would have broken the law in the first place, or what law he would have broken. There wasn't a law in the world that wasn't designed to make people happy-and there wasn't a law Joe could think of that he was even mildly interested in breaking.
Yet. Once, Joe went to the piano and lifted the lid and played every key on the piano. And when he had done that he put his head down on the piano and cried, because he knew that when Chris lost that piano, lost even his fingers so he could never play again-it was like Joe's losing his bar. And if Joe ever lost is bar, his life wouldn't be worth living.
As for Chris, someone else began coming to the bar driving the same doughnut delivery van, and no one ever saw Chris again in that part of the world.
THIRD MOVEMENT
"Oh, what a beautiful morning! " sang the road-crew man who had seen Oklahoma! four times in his home town.
"Rock my soul in the bosom of Abraham!" sang the road-crew man who had learned to sing when his family got together with guitars.
"Lead, kindly light, amid the encircling gloom!" sang the road-crew man who believed.
But the road-crew man without hands, who held the sings telling the traffic to Stop or Go Slow, listened but
never sang.
"Whyn't you never sing?" asked the man who liked Rogers and Hammerstein; asked all of them, at one time or another.