A kind of protocol had sprung up in the first day of the Festival about who got what part of the ice, since there were both skaters and walkers among the booths. Skaters got the middle of the lane, and those who were slipping and staggering about on their own shoes kept to the sides. The lane had been laid out wide enough that there was room for both, though occasionally a skater would go careening into the crowd, and the walkers would curse and try to cuff the skater. Most of the time people took it in good part, and if they saw someone skidding toward them, they often did their part to rescue him before he cracked his skull.
The contests had begun as soon as the booths were set up; informal races at first, which soon weeded out those whose bravado exceeded their skill. By the time that the Palace had sent down real judges, the would-be competitors had been winnowed down to a manageable number.
There had been those whose skill exceeded the limits of their equipment, but Selenay had a good plan to take care of that. She’d ordered preliminary races and games among those with the cheap wooden blades only, and the winners of those got steel skates—still of the strap-on sort, but made stoutly and of good steel—as prizes. That put the competition on something like a level field when the real contests started.
The booths began at the largest bridge across the river, where there were steps built into the banks. The racecourse began and ended where the booths did; going upriver for a set distance, carefully marked on both riverbanks, then returning. Anyone who cared to come to the bank along the race route could see the races; some enterprising souls along the bank were renting their rooms for the final day of racing, so that people could watch in comparative comfort. Alberich couldn’t quite see the point of that—being crowded up to a window that gave you less of a view than the worst spot on the bank itself—but then, from what he was hearing, there would be so much in the way of drinking and carousing going on in those rooms that no one would be paying much attention to the races anyway.
Then there were the competitions in trick skating, being held in a particularly smooth section. Real seats had been set up there, and there were contests in jumping over barrels, fancy skating in singles and pairs, and sprint racing. When the trick skaters weren’t performing or competing, someone had come up with a strange game involving two teams of eight men each, armed with brooms, a ball, and two goals. There didn’t seem to be many rules, except that the participants evidently needed to be drunk enough not to care when they fell down or crashed together, but not so drunk they couldn’t manage to play. Fights frequently broke out, but no one got seriously hurt, as far as Alberich had been able to tell. There were black eyes, a few lost teeth, and broken brooms, but no broken bones. Perhaps that was due at least in part to all the padding that the players wore in the way of extra clothing. The games tended to have no set duration, lasting either until everyone was too tired to go on, or the fancy skaters wanted to use the ice again and got the Guard to chase the gamers off. Whereupon the gamers would pick up their goals—made of eel traps—and move to rougher ice until the good patch was free again. To Alberich’s inexperienced eyes, the game looked something like a game played on ponyback by some of the hill shepherds, who had allegedly got it from the Shin’a’in.
There weren’t any prizes for the broom-ball game, so the people playing it were doing so purely for the sheer enjoyment of the mayhem they were engaging in. And, perhaps, for the hot wine and mulled ale that their supporters brought out for them whenever they took a break.
It never failed to amaze Alberich how much effort some people would go to for a “free” drink.
Skating competitions weren’t the only ones that had been announced. Ice and snow sculptors had been hard at work, too, with their creations ranged wherever the artists’ fancy had chosen to put them, with the traffic left to deal with them. Alberich had never considered ice as a sculptural material before, and he’d never seen anything made of snow other than a child’s snowman, but these pieces were quite astonishing, and he thought that it would be a pity when they finally melted. There was one entire snow castle, with blocks of ice for windows, and furniture made of ice and snow, and a clever tavern-keeper inside selling ice wine in glasses made of ice. Some people were said to be paying him for the privilege of sleeping on the ice beds, but to Alberich’s mind that was going more than a bit too far for novelty. Still, the place was pretty at night, with light from colored lanterns making the walls glow from within.
Probably the most popular places of all were the warming tents, prudently set on the riverbank, where braziers of coals kept the worst of the cold at bay and allowed frozen feet and hands to thaw out. Sellers of hot wine and hot pies provided the tents, and the benches inside. The Crown supplied the fuel (a gesture of good will that was much appreciated, for otherwise it would have cost something to be admitted) so even someone without the penny for a pie could get warmed up. And if you were clever, you brought your own drink in a metal can, and your own pies from home, to warm at the brazier.
The pies themselves were something new to Alberich—not that he’d never seen them before, but in this cold, they served a new and dual purpose. The pie itself served as a hand-warmer, in fact; most people made or bought sturdy offerings with a hard crust that could stand a great deal of abuse, wrapped them in a scrap of cloth as soon as they came right out of the oven, and tucked them into pockets and muffs to act as a heat source until the owner got hungry. By that time, the pie would probably have suffered enough that the owner could gnaw through the tough crust without losing a tooth—and if it had gotten too cold, you could always rewarm the thing without worrying too much about it. Or, as one old fellow said to Alberich, “Wi’ my wife’s cookin’, a little char improves the flavor.”
And the pies were as universal as the snow and ice, even for the denizens of the Collegia. If they presented themselves to the Collegia cooks before coming down, the Trainees were given pies as well, for the same dual purpose, but nothing like the common sort, which could have stood duty as paving stones. Alberich had one in each pocket right now, as a matter of fact, providing a comforting source of heat for both hands. :You know, that might be another reason why there are so few pickpockets,: Kantor said. :Your purse is somewhere inside your coat or your cloak and hard to get at. Your pockets are full of pies of a dubious nature.:
Besides testing his disguise, a matter of curiosity had brought Alberich down here today. The Dean of Bardic Collegium had intercepted him yesterday to tell him that she thought she knew where the two mirror breakers had gotten their mad ideas for gymnastic fighting. Her information had brought him down to the booths at the bridge end where, as part of the Festival, a troupe of players had set up a tent to display their talent. There weren’t many of those—it was, to be honest, too cold for anything but unaccompanied singers to be performing out-of-doors, and as for the sort of acrobats and dancers that plied their trade at Fairs, they’d be risking their skins to bounce about in their usual skimpy attire. This set of players, however, usually performed several times in a week at one of the bigger inns off the Trade Road; they’d moved to this venue just for the Festival, and as Alberich neared the canvas walls that held their makeshift theater, he saw that the move must have been very profitable for them. He joined the end of a longish line just forming up for the afternoon performance with some interest.
Well, “tent” was something of a misnomer, he discovered, as he got to the entrance, paid his entry fee, and filed inside with the rest. Only the area over the back half of the stage was roofed over and curtained, the rest was simply canvas walls to prevent the show from being viewed by those who had not paid, with an overhead scaffolding of rigging for stage effects and nighttime lighting reaching out into the area of the audience. Crude benches in rows fronting the stage were supplied to the public, and the show must have been popular, for the tent was half full when Alberich arrived, and by the time of the show, the benches were packed and so was the standing-room area along the walls.
The dra
ma was called—or so the banners outside proclaimed—“The Unknown Heir.” The banners could have fit any one of a hundred standard stories, and probably served for every play these actors ever put on. They looked superficially new, but Alberich could tell that they’d been freshly touched up just for the Festival.
The audience was ready to be entertained, and when the back curtains finally parted and a single actor took the stage, they erupted in cheers that must have gladdened his heart.
Alberich sat back on his bench, arms folded under his cloak, and prepared to see just what it was that had “corrupted” two Trainees.
First came the declamation of the Prologue. The plot, what there was of it, concerned a highborn child, stolen from his cradle and sold to slavers, subsequently bought or rescued (the prologue was rather unclear on the subject) by a troupe of poor but noble actors, and raised by them to adulthood. All of this was laid out in a spirited fashion by that single actor before any of the real action took place.
Alberich had to admit that the fellow knew what he was doing; he had the right mix of flamboyance and humor to keep the audience’s attention. He finished his piece, gave an elaborate bow, and retired to great applause.
Then the curtains parted on “A Sylvan Glade,” represented by two rather sad little trees in pots, and a painted backdrop, against which marched the troupe, portraying the actors on their way from one town to the next. The real action opened immediately with the Unknown Heir and his adoptive family being attacked by bandits, and the Heir proceeding to single-handedly, acrobatically, drive the bandits off. But not before the bandits had managed to mortally wound the Heir’s adoptive father—though how they got a knife blade through the four or five layers of costume he was wearing was beyond Alberich’s comprehension. This worthy managed an amazingly long set-piece while dying in his “son’s” arms. He explained the young man’s circumstances, presumed highborn heritage, and handed over the medallion the child had inexplicably still been wearing (even though it was solid gold) when taken from the hands of his kidnappers. It was an astonishing monologue, especially from the lips of someone stabbed through the heart quite some time ago.
None of this evidently stretched the credulity of most of the audience.
With tears and histrionics, the Heir proclaimed that he would regain his rightful place, and wreak revenge for his father’s death.
Riotous applause called up many bows from the actors before the action resumed.
The rest of the play consisted of one improbable fight scene after another, taking advantage of the acrobatic abilities of—Alberich guessed—roughly four of the actors in question. And there was no doubt in his mind before the first act was over that this was, indeed, where the two miscreants had gotten their misguided ideas, and given the wild applause that these bizarre fights managed to garner, he was a lot less surprised that the boys had become enamored of the idea of fighting like that.
As the Heir and his Best Friend—both in love with the same girl, of course—battled their way through throngs of evil henchmen attempting to keep them from claiming the Heir’s rightful place as the Duke of Dorking, Alberich had to admire their stamina, if not their style. In the conclusion to the first act, the Heir plummeted off the top of a “cliff” to flatten half a dozen evildoers, then engaged four at once, sword-to-sword, and after being disarmed, defeated his enemies with a bucket. In the second act, the Heir and the Friend, ambushed in a Peasant Hovel, made the most creative use of a ladder, a table, and a stool that Alberich had ever seen. In fact, what they most closely resembled was not a pair of fighters at all, but a pair of ferrets trying not to be caught. In the third act, the Best Friend met the end that Alberich had expected from the first, after yet another acrobatic exhibition, dying in the arms of the Heir and bravely commending the Heir and the Girl to one another, with the Heir vowing revenge once again—
:You know,: Kantor commented, :I’d steer clear of that man. People trying to kill him seem to keep missing and hitting his friends instead.:
But it was in the fourth act that something entirely unexpected happened, and it had nothing to do with the script.
Now, Alberich had noticed something a bit odd just before the play began. In the front benches, just off to one side, was a group of young men in clothing far finer than anyone else here was wearing. When the action started, he quite expected them to begin jeering and catcalling, but to his surprise, they did nothing of the sort. In fact, they were quiet and attentive to a degree all out of keeping with the quality of the drama unfolding. And it wasn’t as if they weren’t used to better fare, either; he recognized two of them from having seen them moving in the fringes of Selenay’s Court.
Now, that was odd. So odd, in fact, that he felt a tingle of warning and kept his eye on them all during the play.
Then came the fourth act, and the “Grand Climax and Exhibition of Sword-play with Astonishing Feats of Strength and Skill, Never Before Seen on Any Stage” which was laid in the Grand Hall of the Duke of Dorking’s Castle. The Heir’s enemies held both the Heir’s real parents and his True Love captive and were engaging in a spot of gloating.
And the Heir swung in over the heads of the front of the audience on a rope.
Alberich had to give them credit; it was a spectacular entrance. Not a very bright one for a real fighter, since while the Heir was swinging about on a rope he was an easy target for anyone with a knife, crossbow, spear or lance, all of which were in evidence among his enemies—but it was a spectacular entrance. The Heir let go the rope, did a triple somersault in the air, hit the stage, and came up fighting.
No mistaking that move, which was one the boys had tried (in vain) to copy. The actor might be a phony fighter, but he was a superb athlete and tumbler.
There was more of the same wildly unrealistic combat and Alberich noted in passing that the actor who had been playing the Best Friend was now, with the assistance of a beard, playing the Chief Villain. And then—
—then came the break with everything Alberich had expected.
If he hadn’t been watching so closely—and watching the audience, in particular, his lot of young nobles—he might have thought it an accident.
But in the middle of the duel with the Chief Villain, a prop-sword went clattering across the stage, right under the lead actor’s feet. He apparently stepped on it, because the next thing that happened was that his right foot shot out from under him, he staggered and tried to catch his balance, and then he went blundering right over the edge of the stage and down onto the audience in the first row—landing atop the same young highborn that Alberich had noticed—to the gasps and shrieks of the crowd.
But all was not as it seemed.
The thing was, someone as good a tumbler as that actor was shouldn’t have gone off the edge of the stage at all. What was more, he hadn’t stepped on or tripped over the sword—
No, as Alberich saw, just before he surged to his feet along with the rest of the audience, the actor had actually kicked it off to the side before making that spectacular “fall.”
Furthermore, the young men he’d landed among had been tensed and ready to catch him.
If he’d really fallen by accident, they’d have scattered instinctively away from his path, not gathered under him, broken his fall, and set him down.
He was up in a trice, as the audience applauded, bowing to them, apologizing to his “victims,” even brushing one of them off—
Which was when Alberich distinctly saw a folded set of papers pass from the actor to the young highborn man, vanishing inside the latter’s cloak before he could blink.
:Great Gods!: Kantor exclaimed, as Alberich struggled to keep his expression precisely like that of everyone else around him. :What in the nine hells—:
:I don’t know,: Alberich said, as the actor got back up on the stage and resumed the play. :But I am going to find out.:
***
“—and I do not know who it was,” Alberich told Talamir, feet stretched out to
ward the fire in Talamir’s somewhat austere chamber. He had come here directly from the Festival, so directly that he hadn’t even had a chance to properly thaw out, though he had stopped long enough to change out of his disguise at the Bell. But Kantor had warned Rolan that Alberich needed to speak to Talamir, who had in his turn informed Talamir that Alberich was coming and was in serious need of defrosting. And Talamir had arranged for hot drinks and a well-stoked fire as well as getting free long enough for this quick meeting.
“A young man you’ve seen in the Court. No one you clearly recognized.” Talamir frowned. “I wish the young people were a little more distinctive, or at least wore the same badges they put on their retainers’ livery. Your description doesn’t resonate with me either.”
Alberich shrugged. “That being the case, until I discover, I am going to have to spend more time around the Court than it is usual. Most probably, it is you who shall have to identify him for me, once his face I see.”
“I can do that, certainly, but what do you suppose was the meaning of this?” Talamir asked, leaning over to refill Alberich’s tankard. Alberich shifted a little, and shrugged.
“What it probably wasn’t, much more easily can I say, than what it was,” Alberich replied, absently taking another drink and half-emptying the tankard again. “Not an assignation do I think; better ways there are, of passing love notes, than the midst of a play. Not contraband of the usual sort; papers, these were, nothing more.”
“Unless the contraband is too large to hand off, and the papers were directions telling where it was,” Talamir observed. “It could be something else less-than-legal. Stolen goods, perhaps a valuable horse—or—perhaps money to pay for it?”
“Only papers,” Alberich countered. “And what would the purpose be, of the poorer actor paying the highborn, rather than the reverse?” He shook his head. “No. And I think not, the papers were directions to something stolen. Which leaves—information. Paid for by the highborn, gotten by the actor. So—why the exchange in the midst of the play?”
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