Old Mars

Count Jack required time and space alone to prepare his entrance. This was the time he changed from Count James Fitzgerald to the Country Count from Kildare. It was a deeply private transformation and one I knew I would never be permitted to watch. The stage was a temporary rig bolted together from skymaster spares. The hovering ships lit the stage with their searchlights. A follow spot tracked me to the piano. I bowed, acknowledged the applause of the audience, flicked out the tails of my evening coat, and sat down. That is all an accompanist need do.

I played a few glissandi to check that the piano was still functioning after its disrespectful handling by the dock crew. Passable, to the tin ears of Skyfleet engineers. Then I played the short overture to create that all-important sense of expectation in the audience and went straight into the music for Count Jack’s entrance. The spotlight picked him up as he swept onto the stage, “I’ll Take You Home Again, Kathleen” bursting from his broad chest. He was radiant. He commanded every eye. The silence in the deep Martian night was the most profound I think I have ever heard. He strode to the front of the stage. The spotlight adored him. He luxuriated in the applause as if it were the end of the concert, not the first number. He was a shameless showman. I lifted my hands to the keyboard to introduce “Torna a Surriento.”

And the night exploded into towering blossoms of flame. For an instant, the audience sat transfixed, as if Count Jack had somehow summoned the most astonishing of operatic effects. Then the alarms blared out all across the camp. Count Jack and I both saw clearly the spider-shapes of War Tripods, tall as trees, wading through the flames. Heat rays flashed out, white swords, as the audience scattered to take up posts and weapons. Still, Count Jack held the spotlight, until an Onbashi leaped up, tackled him, and knocked him out of the line of fire just as a heat ray cut a ten-thousand-degree arc across the stage. He had no English, he needed no English. We ran. I glanced back once. I knew what I would see, but I had to see it: my piano, that same cheap, sturdy hire upright piano that I had shipped across 100 million miles of space, through the concert halls and grand opera houses, on dusty roads and railways, down calm green canals, my piano, exploding in a fountain of blazing hammers and whipping, melting wires. A War Tripod strode over us, its heat-ray arms swiveling, seeking new targets. I looked up into the weaving thicket of tentacles beneath the hull, then the raised steel hoof passed over me and came down squarely and finally on our dressing-room tent.

“My Krug!” Count Jack cried out.

A heat ray cut a glowing arc of lava across the ground before me. I was lucky—you cannot dodge these things or see them coming, or hear their ricochets. They are light itself. All you can be is moving in the right direction, have the right momentum: be lucky. Our Onbashi was not lucky. He ran into the heat ray and vanished into a puff of ash. A death so fast, so total that it became something more than death. It was annihilation.

“Maestro! With me!”