The gallery was lined with people who had obviously paid well for the privilege of viewing the fashion show from this vantage point – even though it allowed standing room only. People stood at the high arched windows of the Throne Hall to his left and at those of the former royal apartments on the right of the courtyard. Across the yard, the King's Gallery was also crowded; and below, in the great yard itself, the show was in full swing. The main entrance, below the King's Gallery, led to a scaffold of carpeted steps, arranged to accommodate a small orchestra. A similarly carpeted cat-walk stretched out from directly below where Bond stood, probably starting at the edge of the cloister in front of the Queen's chapel. It ran the length of the courtyard, to end only a short distance from the orchestra, and was flanked by tiered scaffolding rising in wide steps on either side, to give the best paying customers a good close view – each step being arranged with those small gilt chairs so beloved by the organisers of major fashion shows the world over.
Murik's organisation had certainly drawn a full house, all well-heeled and immaculately dressed. Bond caught sight of Murik himself on the first step to the left of the cat-walk, sitting, resplendent in a white dinner jacket and maroon bow tie. Next to him was Mary-Jane Mashkin, swathed in white silk, a necklace sparkling at her throat.
The setting for the Roussillon show was undoubtedly magnificent: brilliantly lit by huge arc lights, and the ancient arches and cobbles glowed soft and warm in tones of grey and red, sandstone and terracotta. The place was almost tangibly steeped in the history of eight hundred years.
The fashion show which Bond was now watching had an ambience that did not match others Bond had attended. It was a minute or so before he realised that the difference lay in the music. Looking closer, he saw that the musicians comprised a consort, a kind of chamber ensemble, using copies of early, probably fifteenth- or sixteenth-century instruments. James Bond knew little about old instruments, having been a devotee of popular music during his schooldays; yet, as he looked, the shapes and sounds began to take on names, slipping into his mind from long-forgotten lessons. He recognised instruments such as the lute, the viol, the cittern, an early flute, pipes and the tambour. The noise they produced was pleasing enough: simple, dance-like, romantic, with strong texture and melody.
Bond did not have to look further than the cat-walk to understand the choice of music for this show. There were six models: three gorgeous black girls and a trio of equally delicious white ones, following each other on to and off the cat-walk with amazing speed and precision. As he looked down, Bond saw Lavender just prancing off as another girl reached the far end of the cat-walk, and yet another was stepping on, to take Lavender's place. The music was provided to match the dress designs. This year's Roussillon collection had undoubtedly been created to reflect medieval costume and patterns.
The materials were silks, brocades, chiffons and cords: the designs ranging from long-waisted dresses, with wide drooping sleeves; to elaborate costumes incorporating trains and surcoats. There was also a monastic look, with heavy circular collars, wimples and cowls; and off-beat little suits, made up of tunic and tight hose, with long decorated pallia which fell to the ground from the neck, or trailed behind the wearer. The colours were dazzling, the varied cuts and shapes enchanting, as they flared, rustled and floated around the models. Bond reflected that these clothes were, like so many collections of
Lavender reappeared, whirling to a slow dance, clad in a loose gold creation of multi-layered chiffon, with a short embroidered surcoat dropping ecclesiastically in front and behind. Bond had, to use a surge of will-power to drag himself from his reverie: before the sights and sounds below took control and plunged him into a kind of hypnotic trance. It must be well after eleven thirty by now. Somewhere, above or below him, Franco was waiting with a pellet of death, which he intended to use before the fashion show had ended.
Bond's eyes moved carefully over the crowds, up to the roofs, and any other possible vantage point for a marksman. There seemed to be no place for a man to hide. Unless… the answer came to him, and he glanced upwards, towards the gallery ceiling. Directly behind him lay the Royal Chapel. Above that, the keep rose, topped with the small bell-tower. Above the keep, he knew, there was a loft that had once served as the ringing chamber and store room. The ringing chamber had at least three unglazed windows, or openings. All these looked straight down into the courtyard.
The door to the keep was set into the wall, to the right of the Royal Chapel door, not more than a dozen paces from where he stood. Behind that, a tight stone staircase coiled upwards to various landings in the keep; and finally to the ringing chamber itself.
Bond whirled around, striding towards the Norman arched door, with its long iron hinge-plates and great ring latch. He tried the ring and it moved smoothly, soundless and well oiled. Gently he pulled the door open and stepped through. He was aware of a smell in the darkness – not mustiness, but the scent of oil mixed with an after-shave lotion, possibly Yves Saint Laurent. The stone spiral of stairs was narrow and slippery from hundreds of years' usage. Bond started to climb as quietly and quickly as he dared in the darkness. His thigh muscles felt weak now, after the exertions of the last half hour or so; but he plodded on silently, cheered by occasional shafts of light at the wider turns in the spiral and on the landings.
Three times he stopped to control his breathing. The last thing he could afford was to reveal his presence by any noise. Even through the thick walls, the sounds from the courtyard floated upwards. If the ringing chamber was indeed Franco's hideout, the killer would have to be invested with an extra sense to detect him, unless Bond made some unnecessary sound.
As he neared the top of the climb, Bond felt the sweat trickling from his hairline and down the insides of his arms. Slowly he took out the Browning and slipped off the safety catch.
Holding his breath, Bond reached the topmost steps, his head just below the aged wooden-planked floor of the chamber. There were five more steps to negotiate to bring his feet level with the floor. Putting all his weight on the right foot, Bond slowly lifted his body so that his eyes came just above floor level.
Franco was at right angles to him, lying in the classic prone position of a marksman. The killer's concentration seemed to be centred completely on the scene below, his eyes close to a sniperscope fitted on top of the powerful Anschutz -22 air rifle. The butt was tucked against his cheek and pressed hard into his shoulder. Franco's finger was on the trigger, ready to fire. Bond could not afford to miss if he fired the Browning. And anyway the rifle could still go off on a reflex action. If Bond jumped the man, he might only precipitate the marksman's deadly shot.
There was no time for further appraisal of the situation. Bond lept up the remaining steps, calling out softly but sharply, 'Franco! Don't shoot!'
The marksman's head swivelled round as Bond heard the dull plop from the air rifle, a sound inaudible to anyone but Franco and Bond, high in the keep. In the same second, on an impulse, Bond flung himself on to the prone figure of Franco, landing with a bone-shattering crash across the marksman's shoulders. In a flash, lying spread-eagled across the terrorist's shoulders, James Bond took in the scene below, looking from Franco's viewpoint down through the rough square opening.
Lavender Peacock was alone in the centre of the cat-walk, pirouetting in magnificent scarlet which drooped in long folds, like a crimson waterfall, around her body. Her arms were outstretched, her feet moving to a haunting jig played by the consort. Slightly to her left and behind her, Anton Murik sat partly turned in his chair, frozen for a moment, looking towards Mary-Jane Mashkin who had half-risen, one hand at her throat, the other like a claw to her chest. Almost exactly in line with Lavender, she was doubling forward, and, in what seemed like slow motion, she teetered, hovered, and then pitched headlong among the chairs.
Underneath Bond, Franco was cursing and struggling to free himself from O07's grip on the back of his neck, '
The staircase would be a deathtrap for either of them, and no place for a shooting match. Taking air in through his mouth, Bond regained his lost balance and started after the terrorist, glancing quickly down into the courtyard as he went. The music had stopped, and a small huddle of people were gathered around where he had seen Mary- Jane fall. He could see Lavender, who had come off the cat-walk, and one of Murik's guard, who stood very close to her. Caber was also there, with Murik apparently shouting orders to him. From the main entrance, two white-clad figures came running with a stretcher.
Bond waited at the top of the stairs until he was certain Franco had passed the first landing. Then he began the
