Silver on the Tree (5 page)

“So,” Will said, “I must take the Signs from their refuge, through that most complicated spell we laid on them after they had been joined. I only hope I can find the way.”

“So do I,” said Merriman a trifle grimly. “For if you do not, the High Magic which guards them will take them outside Time, and the only advantage the Light holds in this great matter will be lost forever.”

Will swallowed. He said, “I must do it from my own century, though. That was when they were joined and hidden.”

“Of course,” Merriman said. “And that is why my lord Arthur asked us to be swift. Go, Will, and do what you have to do. A night and a day: that is all the time we have, by the measure of the earth.”

He stood and crossed the floor in one swift movement and grasped Will's arms in the old Roman salute. Dark eyes blazed down from the strange craggy face, with its deep lines. “I shall be with you, but powerless. Take care,” Merriman said.

“Yes.”

Will turned away, to the door, and pulled aside the curtain. Outside in the night there still faintly rang out the metallic hammering, the striking of iron upon iron.

“Wayland Smith works long, this day,” said Merriman behind him, softly. “And not on shoes for horses, in this time, for horses are not yet shod. On swords, and axes, and knives.”

Will shivered, and without a word went out into the black night. His head whirled, a wind blew into his face—and once more the moon was floating like a great pale orange before him in the sky, and in his arms was a wooden board, and the sound of hammering before him was that of a hammer driving nails into wood.

“Ah,” Stephen said, looking up. “That looks perfect. Thanks.”

Will came forward and gave him the board.

Up in Will's attic bedroom the air was warm and still, furry with summer heat. He lay on his back, listening to the late-night murmur and chink below as the last waking Stantons—his father and Stephen, he thought, from the rumbling voices—made ready for bed. This had been Stephen's bedroom once, and Will had carefully packed up his belongings to let the rightful owner take residence again for the length of his leave. But Stephen had shaken his head. “Max is away—I'll use his room. I'm a nomad now, Will. It's all yours.”

The last door closed, the last glimmer of reflected light went out. Will looked at his watch. Midnight had passed; Midsummer Day was here now, a few minutes old. Half an hour's wait should be enough. He could see no star through the skylight in his slanting roof, but only a moon-washed sky; its muted brightness filtered down into the room.

The house was muffled in sleep when finally he crept down the stairs in his pyjamas, gingerly treading the furthest corners of those steps that he knew would creak. Outside the door of his parents' room he froze suddenly; his father, snoring in a gentle crescendo, half-woke himself, grunted, turned rustling over and was lost again in soft-breathing sleep.

Will smiled into the darkness. It would have been no great matter, for an Old One, to put the household away into a pause of Time, caught out of reality in a sleep that could not
be broken. But he did not want that. There were likely to be enough ways, tonight, in which he would have to play with Time.

Softly down the lower staircase into the front hall he went. The picture he had come to find hung on the wall just inside the big front door, beside the hat-rack and umbrella-stand. Will had brought a small flashlight with him, but he found he did not need it; the moonlight silvering the air through the hall windows showed him all the familiar figures the picture held.

He had been fascinated by it since he was very small, so small that he had to clamber up on the umbrella-stand to peer inside the dark carved wood of the picture-frame. It was a Victorian print, done all in murky shades of brown; its great attraction was the enormous complicated clarity of its detail. In flowing script it was entitled
The Romans at Caerleon,
and it showed the construction of some complex building. Everywhere crowds of figures tugged ropes, led oxen straining on sturdy wooden yoks, guided slabs of rock into place. A paved central floor was finished, smooth and elliptical, flanked by columned arches; a wall or staircase seemed to be rising beyond. Roman soldiers, splendidly uniformed, stood overseeing the bands of men unloading and tugging the neatly cut stones into place.

Will looked for one soldier in particular, a centurion in the far right-hand corner of the foreground, leaning against a pillar. He was the only still figure in the whole panorama of busy construction; his face, drawn in clear detail, was grave and rather sad, and he was gazing out of the picture, into the distance. That sad remoteness was the reason why Will, when small, had always found himself more intrigued by this one odd figure than by all the rest of the scurrying workers put together. It was also the reason why Merriman had chosen the man for the concealing of the Signs.

Merriman. Will sat down on the stairs, chin on hands. He must think, think hard and deep. It was simple enough to remember the way in which he and Merriman had managed
the hiding of the linked circle of six Signs, the most powerful—and vulnerable—weapons of the Light. Back into the time of this Roman they had gone, and there among the stones whose picture hung before him now, he, Will, had slipped the Signs into a place where they could lie safe and unseen, buried by Time. But to remember that was one thing, to reverse it quite another….

He thought: The only way is to live through that all over again. I have to go again, to go once more through everything we did in hiding the Signs—and then, instead of stopping, I shall have to find a way to take them out again.

He was beginning to be excited now. He thought: Merriman can be there but I shall have to do it.
I shall be with you, but powerless,
he said. So he won't be able to show me the moment when I have to say something, or do something, whatever it is; he may not even know when it comes. Only I can choose it, for the Light. And if I fail, we can go no further forward from here….

Excitement dwindled beneath the appalling merciless weight of responsibility. There was one key only to the spell that would release the Signs, and only he could find it. But where, when, how?

Where, when, how?

Will stood up. The way out of the spell could be found only by going back into it. So, first he must re-enact the casting of it; turn Time so that once more he could live through the hours, more than a year earlier, when with Will at his side Merriman had—

What had Merriman done? It must be an exact echo.

Putting down his flashlight, Will stood before the picture on the wall, remembering. He reached out and put one hand on its frame. Then he stood very still, gazing in total concentration at a group of men in the picture's middle distance: men straining at a rope that was pulling a slab of rock towards some point that could not be seen. He emptied his mind of all thought, his senses of all other sight or sound; he gazed and he gazed.

And very gradually, the sound of creaking rope and rhythmic shouts and the grinding of rock against rock began to grow in his ears, and he smelled dust and sweat and dung—and the figures in the picture began to move. And Will's hand was no longer on the wooden picture-frame, but on the wooden side-support of an ox-cart laden with stone, and he stepped forward into the world of the Romans at Caerleon, a boy of that time, cool in a white linen tunic on a warm summer's day, with square stone cobbles uneven beneath his sandalled feet.

“Heave-
two-three …
heave-
two-three….” The stone inched forward on its rollers. In other rhythms, the same shouts rang through the air from other groups, soldiers and labourers working together, skins olive or dusty pink, hair curly black or lank blonde. Stone crashed or squealed against stone; men and animal grunted with effort. And Merriman said into Will's ear, from behind him, “You must be ready to slip the link, when the moment comes.”

Looking down, Will saw the six Signs of the Light, joined by links of gold, clasped about the waist of his tunic like a belt. Bright and dark they lay between the gleaming links, each of the six the same shape, a circle quartered by a cross: dull bronze, dark iron, blackened wood; bright gold, glittering flint, and the last that he would never forget, seeing it sometimes even in dreams—the Sign of water, clear crystal, engraved with delicate symbols and patterns like a circle of snowflakes caught in ice.

“Come,” Merriman said.

He swept past Will, tall in a dark blue cloak that fell almost to his feet, and drew level with the pillar beyond the steaming oxen, where a centurion stood watching a team of workmen lace straps and ropes round the topmost slab of granite on the wagon. Will followed, trying to be inconspicuous.

“The work goes well,” Merriman said.

The Roman turned his head, and Will saw that it was the same sombre figure whose image he had passed almost every
day of his life. Bright dark eyes regarded Merriman from a lean, long-nosed face.

“Ah,” the man said. “It is the Druid.”

Merriman inclined his head in a kind of mock-formal greeting. “Many things to many men,” he said, smiling slightly.

The soldier looked at him reflectively. “A strange land,” he said. “Barbarians and magicians, dirt and poetry. A strange land, yours.” Then he snapped suddenly taut; part of his attention had been all the while on the ox-cart. “Careful, there! You, Sextus, the rope at that end—”

Men scrambled to balance the descending slab, which had tipped perilously to one side; it came down in safety and the man in command of the team saluted, calling his thanks. The centurion nodded and relaxed, though still watching them. Another wagon rumbled past, laden with long beams of wood.

Merriman looked out at the rising structure before them; their wider view now showed that it was a half-built amphitheatre, stone-walled, with tiers of wood-topped seats rising in a great curving sweep from the central arena. “Rome has many talents,” he said. “We have some skill with stone, here, and none can match our great stone circles, with their homage to the Light. But the skill of Roman builders for the daily life of men as well as for worship—your villas and viaducts, your pipes and streets and baths…. You are transforming our cities, friend, as you have begun transforming the pattern of our lives.”

The soldier shrugged. “The Empire grows, always.” He glanced at Will, who hovered at Merriman's side watching the team of men swinging the long stone slowly to one side, down from the wagon.

“Your boy?”

“He learns a little of what I know,” Merriman said coolly. “I have had him a year now. We shall see. He has the old blood in him, from the years before your fathers came.”

“No fathers of mine,” the centurion said. “I am not Empire-born.
I came from Rome seven years back, commissioned into the Second. A long time gone. Rome is the Empire, the Empire is Rome, and yet, and yet….” He smiled suddenly at Will: a kind smile, lightening the severe face. “You work hard for your master, boy?”

“I try, sir,” Will said. He enjoyed following the formal patterning of the Latin; it came without effort to an Old One, as did any language of the world, but brought somehow a particular pleasure because of the echoes of it in his own native tongue.

“The building interests you.”

“Marvellous, it is. The way each piece of stone is cut to fit exactly to the next, or to hold a beam of wood. And the putting them together, so carefully, precisely—they know just what they are doing—”

“It is all planned. Just as anywhere in the Empire. This same amphitheatre has been built in a score of legionary fort towns like this one, from Sparta to Brindisium. Come, I will show you.”

He took Will by the shoulder, with a beckoning glance at Merriman, and led him across the sandy central floor of the arena to a half-finished vaulted arch, one of eight entrances through the rising tiers of seats. “When my third team brings up that next slab, it will fit here, so—and lock in place, there—”

A column of stone slabs was beginning to rise at the side of the arch. Will peered at the next as it drew close on its rollers, tugged by four sweating soldiers. A grunting, straining team hoisted it into place in the rising arch. It was much larger than the rest: irregular with a large hollow depression in the top, but with one broad, unusually flat surface for the front side. Will saw the incised letters: COH. X. C. FLAV. JULIAN

“Built by the tenth cohort, the century of Flavius Julianus,” Merriman said. “Excellent.” And silently, in the Old Ones' manner of speaking into the mind, he said to Will,
“In there. Now.”
At the same moment, he stumbled,
knocking clumsily against the centurion's elbow; the Roman turned courteously to catch him.

“Is anything wrong?”

Swiftly Will slipped the belt of linked Signs from his waist and dropped it into the hollow irregularity in the slab's top side over which the next slab of stone would be placed; he pushed earth and stones hastily over it to keep the gleaming metals from view.

“I beg your pardon,” Merriman was saying. “Foolish—my sandal—”

The soldier turned back; the team came straining up; Will moved quickly aside and the stone slab groaned and squeaked into place. And the Circle of Signs was shut into a coffin of stone, to lie hidden for as long as this work of the Roman Empire should survive.

The detached part of Will's mind, aware of everything as a spell-brought echo of things he and Merriman had done before, came jolting now into his consciousness.
Now!
it said.
What next?
For this was as far as those first actions had gone. After this point, on the day of the hiding of the Signs, he had very soon found himself back in his own century, flicked forward in Time with the precious circle hidden safe behind him. So the secret that he must now urgently find, the precious key to their recovery, must lie somewhere in these next moments of Roman time. What could it be?