She shook the chains, in helpless frustration.
"He will be along shortly," I assured her.
"Leave the packet!" she begged.
"Do you beg it, naked, on your knees, chained, as might a slave?" I asked.
"Yes!" she cried. "I beg it on my knees, naked, in chains, as might a slave!"
"Interesting," I said.
"Leave it," she begged.
"No," I said.
She looked a me, aghast.
"But you did beg prettily," I said, "and had the matter been otherwise, for example, had you been begging to serve my pleasure, I would truly have been tempted to give you a more favorable response."
"I am a free woman," she said. "How can you, a free man, deny me anything I want?"
"Easily," I said.
She looked at me, angrily.
"Many free women believe they can have anything they want, merely by asking for it, or demanding it," I said, "but now you see that that is not true, at least not in a world where there are true men."
She shook the chains in frustration. "You make me as helpless and dependent on you as a slave!" she cried.
"Yes," I said.
"Wait!" she said.
"Yes," I said, turning.
"What will they do with me?" she asked.
"I do not know," I said.
"Belnar will not be pleased," she said. "In Brundisium we do not look lightly on failure. AT the least I shall be considerably reduced in rank. I will be denied the use of footwear. My pretty clothes will be taken away. I will be permitted only plain robes, and shortened so that my calves may be seen by men. I may even be forced to go publicly face-stripped. I may even be expelled from the palace. It could even mean the collar for me!"
I wondered if she were truly of the household of the palace. If so, perhaps this Belnar might be a resident of the palace. Perhaps he was an official or minister of some sort in the government of Brundisium. It did not seem to me likely that he would be the Ubar of Brundisium. So important a personage as a Ubar would not be likely to have much of an interest in a captain of Port Kar. On the other hand, I supposed it was possible. He might, I supposed, be both a Ubar and an agent of Priest-Kings, or of Kurii. If he were indeed so prominent then it seemed to me more likely that he might serve Kurii than Priest-Kings. The Priest-Kings, at least on the whole, it seemed to me, seldom picked prominent, conspicuous personages for their agents. Samos had been in their service before he had become the first captain in the Council of Captains in Port Kar. Perhaps then Flaminius and the Lady Yanina, and those associated with them, did serve Kurii.
"I see then," I said, "that you will have much to think about while awaiting the arrival of Flaminius."
"Flaminius!" she laughed bitterly. "Dear Flaminius! He will shed few tears, I assure you, over my plight!"
"That would be my impression," I said.
"He will find my downfall amusing, relishing it," she said.
"Perhaps if your punishment is enslavement," I said, "you might aspire to be one of his girls."
"Perhaps," she said, bitterly.
"He seems the sort of man who would know how to make a woman crawl beneath his whip," I said.
"That, too, is my understanding," she said. "Wait! Wait!"
But I had then withdrawn from the inn of Ragnar. Then I was making my way back to her camp.
6 I Renew an Acquaintance; I Am Considering Venturing to Brundisium
"Disgusting! Disgusting!" cried the free woman, one veiled and wearing the robes of the scribes, standing in the audience. "Pull down your skirt, you slave, you brazen hussy!"
"Pray, do withdraw, noble sir, for you surprise me unawares, and of necessity I must improvise some veiling, lest my features be disclosed," cried the girl upon the stage, Boots Tarsk-Bit's current Brigella. I had seen her a few days earlier in Port Kar.
"Pull down your skirt, slut!" cried the free woman in the audience.
"Be quiet," said a free man to the woman. "It is only a play."
"Be silent yourself!" she cried back at him.
"Would that you were a slave," he growled. "You would pay richly for your impertinence."
"I am not a slave," she said.
"Obviously," he said.
"And I shall never be a slave," she said.
"Do not be too sure of that," he said.
"Beast," she said.
"I wonder if you would be any good chained in a tent," he said.
"Monster!" she said.
"Let us observe the drama," suggested another fellow.
"Though I be impoverished and am clad in rags, in naught but the meanness of tatters," said the Brigella to Boots Tarsk-Bit, he on the stage with her, he in the guise of a pompous, puffing, lecherous merchant, "know, and know well, noble sir, that I am a free woman!"
This announcement, predictably, was met with guffaws of laughter from the audience.
"Take the scarf from about her throat!" hooted a;man. "See if there is not a steel collar beneath it!" On Gor, as I have perhaps mentioned, most of the actresses are slaves. In serious drama or more sophisticated comedy, when women are permitted roles within it, the female roles usually being played by men, and the females are salves, their collars are sometimes removed. Before this is done, however, usually a steel bracelet or anklet, locked, which they cannot remove, is placed on them. In this way, they continue, helplessly, to wear some token of bondage. This facilitates, in any possible dispute or uncertainty as to their status or condition, a clear determination in the matter, by anyone, of course, but in particular by guardsmen or magistrates, or otherwise duly authorized authorities.
This custom tends to prevent inconvenience and possible embarrassment, for example, the binding of the woman and the remanding of her to the attention of free females, that she may be stripped and her body examined for the presence of slave marks. In such an event, incidentally, it behooves the girl to swiftly and openly confess her bondage. Free women despise slaves. They tend to treat them with great cruelty and viciousness in general, and, in particular, they are not likely to be pleasant with one who has been so bold as to commit the heinous crime of impersonating one of them. There is no difficulty in locating or recognizing the slave mark in a girl's body. It, though small and tasteful, if prominent in her flesh. It is easily located, perfectly legible and totally unmistakable. It serves its identificatory purposes well. It, in effect, is part of her. It is in her hide.
Normally when a girl plays upon the stage, even if she is nude, the brand is not covered. Usually, if she is playing the role of a free woman it is simply "not see," so to speak, being ignored by the audience, in virtue of a Gorean theatrical convention. If a great deal is being made of the freedom of the woman in the play, as is not unusual in many dramas and farces, the brand is sometimes covered, as with a small, circular adhesive patch. The removal of this patch, conjoined perhaps with a collaring, for example, may then suggest that the female has now been suitably enslaved. The covering of the brand, thereby suggesting that for the purposes of the play and the role it does not exist, or does not yet exist, is another Gorean theatrical convention.
There are many such conventions. Carrying a tarn goad and moving about the stage in a certain manner suggests that one is riding a tarn; a kaiila crop, or kaiila goad, and a change of gait suggests that one is riding a kaiila; a branch on the stage can stand for a forest or a bit of a wall for a city; standing on a box or small table can suggest that the hero is viewing matters from the summit of a mountain or from battlement; some sprinkled confetti can evoke a snow storm; a walk about the stage may indicate a long journey, of thousands of pasangs; some crossed poles and a silken hanging can indicate a throne room or the tent of a general; a banner carried behind a «general» can indicate that he has a thousand men at his back; a black cloak indicates the character is invisible, and so on.
"Are you truly free?" inquired Boots Tarsk-Bit, with exaggerated incredulity, in the guise of the merchant, of his Brigella.