The harp stood back in the corner of the room, behind the percussion section-not a good location for the harpist to be heard, but ideal if your first priority was making sure students didn't accidentally break the most valuable instrument in the music department. From where I stood, I couldn't see anyone sitting on the player's stool; but it was dark enough back there that I couldn't be sure the stool was empty.
Swallowing hard, I walked toward the sound… which is to say I began to clamber around the chairs, drums, and glockenspiels that separated me from the back corner.
Meanwhile, the music continued-a two-octave scale up and down, then repeated. The second time through was quicker and more even… as if the player had gained confidence after warming up. I, on the other hand, was losing confidence by the moment the closer I got to the harp, the more clearly I could see that the instrument was playing itself. No one sat on the stool; if there were hands moving over the strings, those hands were invisible.
All right, I thought, it is now time to leave. This wouldn't be fleeing with my tail between my legs; I simply intended to seek advice from someone who understood pseudo-supernatural events better than I. The Caryatid and Myoko weren't close at hand, but surely some don in residence had occult experience. Chen Fai-Hung, for example: he was always boasting how he'd studied at Core Haven for three years, and made it to the second last round for Elemarch of Molybdenum. Fai-Hung might not know as much about uncanny phenomena as a sorcerer or psionic, but he must have learned more on the subject than I did in Differential Geometry 327.
Therefore I took a step backward, intending to scuttle from the room; but before I could retreat farther, a sob wrenched out of the harpist who wasn't there. A heartbroken, heartbreaking sound. At the same time the music shifted, from scales into a simple melody plucked one note at a time.
I didn't recognize the tune-something in Dorian mode, which always strikes me as bittersweet: close to a minor key but more melancholy, with just a tiny B natural of wistful hope. When the piece began, it had the same hesitations and unevenness as the first scale I'd heard, some strings plucked too loudly and others too soft. A few strings were also a shade out of tune… almost always the case with an instrument that spends much of its time unused.
But now, as the playing continued in the darkened room, the hesitations grew fewer and the music flowed more smoothly. Even the tuning got better-the melody never stopped, but I heard the low creak of tuning pegs, as if the harpist possessed a third hand for tuning while the other two hands played. Over the music, the weeping resumed… until gradually, the soft bleak sobs blended with the notes like someone humming through her tears.
Her tears. Yes: the humming sounded female. When I realized that, I couldn't help speaking again. "What's wrong? Are you hurt? Can I help?"
The music bloomed in response… losing all amateurish lack of control, the sound swelling in the blackness: melody, harmony, and counterpoint. A sorrowful song played by a virtuoso, something ancient and rare from an aching soul-as if I were hearing the distillation of all the music someone wished she could have played, a lifetime's worth of longing compressed into a single grieving requiem.
It ended with a minor chord that stretched the full range of the harp, a simultaneous clutch of notes that could never have been played with a mere ten fingers. Then, as the strings continued to echo, a single piercing shriek burst from the emptiness above the harpist's stool-a cry filled with pain and the anger of death. I hurried forward as if there were some way I could help the unseen woman… but when I reached out to where she should be, my hands passed through icy nothingness: a cold so fierce it wracked my fingers and chilblained my arms.
I jerked back quickly, shivering despite my winter coat. Shoving my bare hands into my armpits, I squeezed them tight, trying to force some heat into my flesh. As I did, I caught movement in the shadows beside me… and though it terrified me to look, I turned my gaze directly at the harp.
Slowly, very slowly, liquid trickled down a string. In the dark it looked black, but I knew it had to be red. Deep scarlet.
Blood. How else would a haunting end?
More beads of black crimson appeared out of nowhere, forming at the top of each string and dribbling down into shadow. Within seconds the whole harp was seeping, blood oozing from the air, flowing freely, pattering onto the floor. I felt a drip splash on the toe of my boot… and that's when I finally ran.
3: EATING HER CURDS-AND-WHEY
I stood outside Annah Khan's room, mustering the nerve to knock. Not that I was concerned about disturbing her at one in the morning-our musicmaster Annah was don of Ladies North 3, and in that capacity, she was obliged to accept crises during the wee hours. Heaven knows, I had people banging on my door after midnight several times a month: boys who wanted help with their lessons… boys who'd just had their first wet dream and were sure it was some horrid disease… boys who desperately needed to know if I believed in God (whichever particular God was weighing on their minds)… not to mention the future Duke Simon Westmarch who owned his own stethoscope and woke me at least once a week to listen to his heartbeat because this time he was positive it "had gone all funny." If I had to cope with such nonsense, why should any other don have it easy?
But Annah wasn't just any other don: she was a don who'd nursed a crush on me since we both arrived at the school ten years ago. A crush of operatic proportions, but conducted pianissimo. I'd catch her staring across the study hall with her huge brown eyes, wearing an expression so intense it seemed she might devour me… but when I talked to her, she barely answered. The few times I'd asked if she'd like to go for a walk-because she was certainly worth the attention, thirty-two years old and delicately lovely, like porcelain the color of coffee-she'd invented awkward excuses and practically fled the room. My psychic friend Myoko contended Annah didn't want me as a man at all; Annah wanted me as an object of Tragic Yearning, someone she could pine over from a distance while writing torrid sonatas for unaccompanied violin.
Therefore, knocking on Annah's door in the middle of the night was fraught with implications. In my then mental state (muddled with drink, and a touch hysterical over what I'd seen in the music room), I imagined she might react to my arrival in some extravagant way: screaming in terror perhaps… or shouting, "At long last, darling!" and throwing herself into my arms… or even letting the clothes drop from her body in naked surrender, a tear trickling down her cheek as she waited for me to slake my bestial appetites.
Or, I told myself, she could react like a real human being instead of some drunk's sexual fantasy-which meant she'd glare and say, "What the hell do you want at this hour?"
I knocked.
There was no noise within. All the rooms in the school's dormitories were moderately soundproof and the dons' suites deliberately more so-when a student and don had a heart-to-heart chat/sob/confession, it was best if such confidences weren't overheard by prying ears in the hall. The extra soundproofing was also useful when a don wanted to entertain company of a romantic nature without providing an audible show for snickering teenagers; and the teenagers liked the soundproofing too, since it meant they could sneak around after hours without the dons hearing. (Feliss Academy discreetly indulged interstudent liaisons. These were, after all, children of privilege; as education for later life, they were expected to dally with one another, provided they kept such affairs clandestine and Took Sensible Precautions.)