"Nothing."
The lord's voice was deeper than the slave had expected; he retreated, stumbling, and barely regained his balance.
A certain type of man might come to this place for its entertainments, having paid handsomely in gold for the privilege. All the other men in the amphitheater—there were a score of guests, with several races represented, but no women among them—clutched bowls between their hands and metal sipping straws likewise gripped between their teeth. Their faces were slack, their eyes wide and fixed. A man who disdained the sipping bowl or the dream-pipe was a rare guest, a disturbing guest.
The second slave could not meet this guest's eyes again.
"Leave me," the lord commanded, and, gratefully, the slave escaped, his sandals slapping with unseemly vigor on the stairs.
The lord settled on the upholstered bench to which his token entitled him and waited patiently as another handful of guests arrived and were escorted to their appropriate places. Then, while the latecomers sucked and sipped, a door opened in the wall of the pit. Slaves entered first, wrestling a rack of bells and cymbals through the sand. Before the melodic discord faded, a quartet of musicians entered, swaddled completely in black and apparent only as velvet darkness on the sparkling sand.
Anticipation gripped the guests. Someone dropped his bowl. The clash of pottery shards echoed through the amphitheater, bringing hisses of disapproval from other guests, though not from the patient, empty-handed lord seated along the rail.
Another door opened, larger than the first, spreading a rectangle of ruddy light across the pit. The polished brass bells and cymbals cast fiery reflections among the guests, who ignored them. Nothing could draw their attention from the three low-wheeled carts being trundled onto the sand. An upright post of mekillot bone rose from each cart, a crossbar was lashed to each post, and a living mortal—two women and a man—was lashed to each crossbar, arms spread wide, as if in flight.
One of the women moaned as the wheels of her cart churned into the sand. Her strength failed. She sagged against the bonds holding her to the post and bar. The titillating scent of abject terror rose from the pit; patient Lord Ursos was patient no longer. He pushed back his sleeves and set his elbows upon the rail.
When the carts were set, the slaves departed, and the musicians struck a single tone: flute, lyre, bells, and cymbals together. It was a perfectly pitched counterpoint to the woman's moan. The fine hairs on the lord's bare arms rose in expectation as the night's master strode silently across the sand.
There were no words of introduction or explanation. None were needed. Everyone in the amphitheater—from the slaves in the top row of the gallery to those in the pit, especially those unfortunates bound against bone in the pit—knew what would happen next.
The night's master drew a little, curved knife from the depths of his robe. Its blade was steel, more precious than gold, and it gleamed in the torchlight when he brandished it for the guests. Then he angled it carefully, and its reflection illuminated a small portion of the bound man's flank. The prisoner gasped as the first cuts were made, one on either side of a floating rib, and howled as the master slowly peeled back his flesh. The lyrist took the first improvisation in the time-honored manner, weaving the middle tones together, leaving the highs for the chimes and the lows for the flute.
Brandishing his knife a second time, the master made a second, smaller, gash across the bloody stream. He dipped his free hand in a pouch below his waist and smeared a white, crystalline powder into the new wound. The bound man gasped and strained against the crossbar. Tinkling cymbals framed his thin, close-mouthed wail, and the flutist blew a haunting note to unite them.
The melody continued to evolve, not attaining its final form until the three captives were bleeding, weeping, and wailing: an eight-tone trope, four ascending, then the lowest, followed by a three-tone cascade through the middle range.
The dark passion of the night master's music quieted the lord's restless thoughts and gave him a moment of peace, but, born from mortal flesh as it was, the melody ended all too soon. One by one the captive voices failed. Where there had been music, only meat remained. The master departed, and then the musicians, the guests, and the slaves, also, until the lord was alone.
Utterly alone.
His lips parted, and music, at last, rose from his throat: an eight-tone trope, four ascending, then the lowest, followed by a three-tone cascade through the middle range.
Much later, when all but Urik's rowdiest taverns had fallen into a stupor and templars drowsed against their spears, the midnight peace of one humble dwelling—a tiny room tucked beneath roof-ribs, broiling by day and frigid by night—was broken by an infant's angry squalling. The mother, sleeping on a rag-and-rope bed beside her man, awoke at once, but kept her eyes squeezed shut, as if sheer denial or force of will could quiet her unhappy daughter.
It was a futile hope. Tooth fever, that's what the infant's malady was called by the widowed crones, who sat all day beside the neighborhood wellhead. The baby would cry until her teeth came in and the swelling in her gums subsided. Both mother and daughter were lucky to have gotten any sleep at all.
"Do something," the man grumbled, rolling away from her, taking her blanket with him to pile over his ears.
He was a good man: never drank, never raised his voice or fist, but went out at dawn each morning and sweated all day in the kiln-blast of his uncle's pottery. He was afraid of his daughter, astonished that something so pale and delicate would, if Fortune's wheel were as round and true as his uncle's, someday call him Father. He wanted to do well by his offspring, but now, when all she needed was warm hands and a swaying shoulder, he was reduced to surly helplessness. So, the woman swung her legs over the side and swept her tangled hair out of her eyes.
There was light in the room. She silently cursed herself for leaving the lamp lit. An open flame was a danger to them—her man and her daughter and every other mortal in the neighborhood. It was also a waste of oil, a waste of money, which was scant these days, with her unable to work. In the instant before her vision cleared, the mother saw disaster in her mind's eye: her man, groggy because he hadn't slept and clumsy for the same reason, blundering against the kiln, screaming, and dooming them all to poverty, to death.
With that image fresh in her thoughts, she was too distracted to cry out when she saw another woman—a stranger—sitting on the stool beside her daughter's cradle. She reached blindly for the lamp, which was not lit. The light came from the stranger; it surrounded her and the infant.
"Lame..."
That word, her man's name, came weakly from the mother's tongue. It failed to rouse Lame, but drew the attention of the dark-haired stranger whose eyes, when she turned, were huge in her face and gray as the infant's.
"Yes," Cissa agreed slowly. A part of her was caught in panic: a stranger in her home, a stranger holding her daughter. A stranger whom Cissa would have remembered if she'd ever seen her before, a stranger who sat bathed in light that had no source. "Lame—" she called more strongly than before. "Larne."
"Rest you, both," the stranger insisted. "The child is safe with me."
"Safe," Cissa repeated. The stranger's smile wrapped its arms around her and vanquished her panic. "Safe. Yes, safe."
"None in Urik is safer," the stranger agreed, and Cissa, at last, believed.