Nightingale lament

drunk, danced, and debauched in at one time or an­other. She was already nodding.

'Yeah, I know Rossignol. And the Caliban club, and the Cavendishes. They run Cavendish Properties. They have a collective finger in practically every big deal in the Nightside. They were big in real estate, until the market crashed just recently, after the angel war. Lot of people lost a lot of money in that disaster. Mr. and Mrs. Cavendish moved sideways into entertainment, repre­senting clubs, groups, people . . . nothing really mega yet, but they've quickly made themselves a power to be reckoned with. Other agents cross themselves when they see the Cavendishes coming.'

'What sort of people are they?' I asked.

Cathy frowned. 'If the Cavendishes have first names, no-one knows or uses them. They don't get out much, preferring to work through intermediaries. Not at all averse to playing hardball during negotiations, but then, nice people don't tend to last long in show business. There are rumours they're brother and sister, as well as husband and wife . . . Cavendish Properties is based on old money, going back centuries, but there's a lot of gossip going round that says the current owners are hungry for money and not too fussy about how they acquire it. There's also supposed to be a scandal about their last attempt at building Sylvia Sin into a singing sensation. But they spent a lot of money to cover it up. But there's always gossip in the Nightside. They could be on the level with Rossignol. I just hope her agent checked the small print in their contract carefully.'

'She has no agent,' said Chabron. 'Cavendish Prop­erties represents Rossignol. You can understand why I am so concerned.'

I looked at him thoughtfully. There were things he wasn't telling me. I could tell.

'What brought your daughter all the way to London, and the Nightside?' I said. 'Paris has its own music scene, doesn't it?'

'Of course. But London is where you have to go to be a star. Everyone knows that.' Chabron sighed. 'Her mother and I never took her singing seriously. We wanted her to take up a more respectable occupation, something with a future and a pension plan. But all she ever cared about was singing. Perhaps we pressured her too much. I arranged an interview for her, with my bank. An entry-level position, but with good prospects. Instead, she ran away to London. And when I sent peo­ple to track her down, she disappeared into the Night­side. Now . . . she is in trouble, I am sure of it. One hears such things ... I wish for you to find my daugh­ter, Mr. Taylor, and satisfy yourself on my behalf that she is well and happy, and not being cheated out of anything that is rightfully hers. I am not asking you to drag her back home. Just to assure yourself that every­thing is as it should be. Tell her that her friends and her family are concerned for her. Tell her... that she doesn't have to talk to us if she doesn't want to, but we would be grateful for some form of communication, now and then. She is my only child, Mr. Taylor. I need to be sure she is happy and safe. You understand?'

'Of course,' I said. 'But I really don't see why you want me. Any number of people could handle this. I can put you onto a man called Walker, in the Authori­ties . . .'

'No,' Chabron said sharply. 'I want you.'

'It doesn't seem like my kind of case.'

'People are dying, Mr. Taylor! Dying, because of my daughter!' He took a moment to calm himself, be­fore continuing. 'It seems that my Rossignol sings only sad songs these days. And that she sings these sad songs so powerfully that members of her audience have been known to go home and commit suicide. Already there are so many dead that not even her management can keep it quiet. I want to know what has happened to my daughter, here in your Nightside, that such a thing is possible.'

'All right,' I said. 'Perhaps it is my kind of case after all. But I have to warn you, I don't come cheap.'

Chabron smiled, back on familiar ground. 'Money is no problem to me, Mr. Taylor.'

I smiled back at him. 'The very best kind of client. My whole day just brightened up.' I turned to Cathy. 'Go back to the office and get your marvelous new computers working on some background research. I want to know everything there is to know about the Cavendishes, their company, and their current financial state. Who they own, and who they owe money to. Then see what you can find out about Rossignol, before she went to work for the Cavendishes. Where she sang, what kind of following she had, the usual. Mr. Chabron . . .'

I looked around, and he was gone. There was no sign of him anywhere, even though there was no way he could have made it to any of the exits in such a short time.

'Damn, that's creepy,' said Cathy. 'How does he do that?'

'There's more to our Mr. Chabron than meets the eye,' 1 said. 'But then, that's par for the course in the Nightside. See what can you can find out about him, too, while you're at it, Cathy.'

She nodded quickly, blew me a kiss, and hurried away. I got up and wandered over to the bar. I shoved the cork back into the bottle of wormwood brandy and handed it over to Alex. I didn't need it any more. He made it disappear under the bar and gave me a smug smile.

'I used to know Rossignol. Bit skinny for my tastes, but a hell of a set of pipes on her. I hired her a few years back to provide cabaret, to add some class to the place. It didn't work, but then this bar is a lost cause anyway. You couldn't drive it upmarket with a chair and a whip.'

'Were you eavesdropping again, Alex?'

'Of course. I hear everything. It's my bar. Anyway, this Rossignol was pretty enough, with a good if un­ trained voice, and more importantly, she worked cheap. In those days she'd sing anywhere, for peanuts, for the experience. She had this need, this hunger, to sing. You could see it in her face, hear it in her voice. And it wasn't just your usual singer's ego. It was more like a mission with her. I wouldn't say she was anything special back then, but I always knew she'd go far. Talent isn't worth shit if you haven't got the determination to back it up, and she had that in spades.'

'What kind of songs did she sing, back then?' I asked.

Alex frowned. 'I'm pretty sure she only sang her own material. Happy, upbeat stuff, you know the sort of thing, sweet but forgettable. There were definitely no suicides when she sang here, though admittedly this is a tougher audience than most.'

'So she was nothing like the deadly diva her father described?'

'Not in the least. But then, the Nightside can change anyone, and usually not for the better.' Alex paused and gave the bar top a polish it didn't need, so he wouldn't have to look me in the eye as he spoke. 'Word is, Walker's looking for you, John. And he is not a happy bunny.'

'Walker never is,' I said, carefully casual. 'But just in case he shows up here, looking for me, you haven't seen me, right?'

'Some things never change,' said Alex. 'Go on, get out of here, you're lowering the tone of the place.'

I left Strangefellows and walked out into the night. One by one the neon signs were flickering on again, like road signs in Hell. I decided to take that as a good omen and kept walking.

Three - Downtime in Uptown

 If you're looking for the real nightlife in the Nightside, you have to go Uptown. That's where you'll find the very best establishments, the sharpest pleasures, the most seductive damnations. Every taste catered for, satisfaction guaranteed or your soul back. They play for keeps in Uptown, which is, of course, part of the attraction. It was a long way from Strangefellows, so I took my courage in both hands, stepped right up to the very edge of the passing traffic, and hailed a sedan chair.

The sedan chair was part of a chain I recognised, or I wouldn't have got in it. The traffic that runs end­lessly through the rain-slick streets of the Nightside can be a peril to both body and soul. I settled myself

comfortably on the crimson padded leather seat, and the sedan chair moved confidently out into the flow. The tall wooden walls of the box were satisfyingly solid, and the narrow windows were filled with bul­letproof glass. They were proof against a lot of other things, too. There was no-one carrying the chair, front or back. This particular firm was owned and run by a family of amiable poltergeists. They could move a lot faster than human bearers, and even better, they didn't bother the paying customers with unwanted conversa­tion. Poltergeist muscle was also handy when it came to protecting their chairs from the other traffic on the roads. The Nightside is a strange attractor for all kinds of traffic, from past, present, and future, and a lot of it tended towards the predatory. There are taxis that run on deconsecrated altar wine, shining silver bullets that run on demons' tears