It would of course be slow and gradual this going-down of the flood, but the Countess was fiercely conscious of how time was the salient factor: how never again would she have Steerpike within so close a net. Even for the flood to leave a single floor would be for a hundred vistas to spread out on every side with all their countless alleys of wet stone. There was no time to be lost.
As it was the theatre of manoeuvre - the three dry topmost floors and the wet 'floor of boats' (where the coloured craft of the carvers sped to and fro, or lay careening beneath great mantelpieces, or tied up to the banisters of forgotten stairways, cast their rich reflections in the dark water) - these theatres of manoeuvre - the three dry levels and the one wet, were not the only areas which had to be considered in the drawing up of the Master Plan. The Countess also had to remember the isolated outcrops of the castle. Luckily most of the widely scattered and virtually endless ramifications of the main structure of Gormenghast were under water, and consequently of no use to the fugitive. But there were a number of towers to which the young man might well have swum. And there was also Gormenghast Mountain.
As far as this latter was concerned, the Countess was not apprehensive of his having escaped there, not merely because she had checked the boats each evening, and was satisfied that there had been no thefts but because a string of boats, like coloured beads, was at her orders in perpetual rotation around the castle summits, and would have cut him off by day or night.
The core of her strategy hinged upon the fact that the young man must eat. As for drink, he had a wet world brimming at his mouth.
That he might already be dead from accident or from starvation was ruled out by the body that on this very day had been discovered floating face downwards alongside an upturned coracle. The man had been no more than a few hours dead. A pebble was lodged in his forehead.
The headquarters of the Countess was now in a long, narrow room that lay immediately and somewhat centrally above the 'floor of boats'.
There she received all messages: gave all orders: prepared her plans: studied the various maps and gave instructions for new ones to be rapidly prepared of the unplotted districts so that she should have as powerful a grasp upon the smallest details as she had upon the comprehensive sweep of her master-plan.
Her preparations completed she rose from the table at which she had been sitting, and pursing her lips at the goldfinch on her shoulder she was about to move with that characteristically heavy and ruthless deliberation towards the door when a panting messenger ran up to her.
'Well?' she said. 'What is it?'
'Lord Titus, my lady... he's...'
'He's what?' she turned her head sharply.
'He's here.'
'Where?'
'Outside the door, your ladyship. He says he has important news for you.'
The Countess moved at once to the door and opening it, found Titus sitting upon the floor, his head between his knees, his sodden clothes in rags, his legs and arms bruised and scratched, and his hair grey with grime.
He did not look up. He had not the strength. He had collapsed. In a confused way he knew where he was, for he had been straining his muscles with long and hazardous climbs, struggling shoulder deep through flooded passageways, crawling giddily over slanting roofs, intent upon one thing - to reach this door under which he had slumped. The door of his mother's room.
After a little time he opened his eyes. His mother was kneeling heavily at his side. What was she doing there? He shut his eyes again. Perhaps he was dreaming. Someone was saying in a far away voice 'Where is that brandy?' and then, a little later, he felt himself being raised, the cold rim of a glass at his lips.
When he next opened his eyes he knew exactly where he was and why he was there.
'Mother!' he said.
'What is it?' Her voice was quite colourless. 'I've seen him.'
'Who?'
'Steerpike.'
The Countess stiffened at his side. It was as though something more of ice than of flesh was kneeling beside him.
'No!' she said at last. 'Why should I believe you?'
'It is true,' said Titus.
She bent over him and taking his shoulders in her powerful hands, forced them with a deceptive tenderness to and fro, as though to ease some turmoil in her heart. He could feel through the gentle grasp of her fingers the murderous strength of her arms.
At last she said, 'Where? Where did you see him?'
'I could take you there... northwards.'
'How long ago?'
'Hours... hours... he went through a window... in my boat... he stole it.'
'Did he see you?'
'No.'
'Are you sure of that?'
'Yes.'
'Northwards you say. Beyond the Blackstone Quarter?'
'Far beyond. Nearer the Stone Dogshead and the Angel's Buttress.'
'No!' cried the Countess in so loud and husky a voice that Titus drew back on his elbow. She turned to him.
'Then we have him.' Her eyes were narrowed. 'Did you not have to crawl across the Coupée - the high knifeedge? How else could you have returned?'
'I did,' said Titus. 'That is how I came.'
'From the North Headstones?'
'Is that what it is called, mother?'
'It is. You have been in the North Headstones beyond Gory and the Silver Mines. I know where you've been. You've been to the Twin Fingers where Little Sark begins and the Bluff narrows. Between the Twins would be water now. Am I right?'
'There's what looks like a bay,' said Titus. 'If that's what you mean.'
'The district will be ringed at once! And on every level!'
She rose ponderously to her feet, and turning to one of the men - 'Have the Search Captains called immediately. Take up the boy. Couch him. Feed him. Give him dry clothes. Give him sleep. He will not have long to rest. All craft will patrol the Headstones night and day. All search parties will be mustered and concentrated to the south side of the Coupée neck. Send out all messengers. We start in one hour from now.'
She turned to look down at Titus who had risen to one knee. When he was on his feet he faced his mother.
She said to him: 'Get some sleep. You have done well. Gormenghast will be avenged. The castle's heart is sound. You have surprised me.'
'I did not do it for Gormenghast,' said Titus.
'No?'
'No, mother.'
'Then for whom or for what?'
'It was an accident,' said Titus, his heart hammering. 'I happened to be there.' He knew he should hold his tongue. He knew that he was talking a forbidden language. He trembled with excitement of telling the dangerous truth. He could not stop. 'I am glad it's through me he's been sighted,' he said, 'but it wasn't for the safety or the honour of Gormenghast that I've come to you. No, though because of me he'll be surrounded. I cannot think of my duty any more. Not in that way. I hate him for other reasons.'
The silence was thick and terrible - and then at last her millstone words. ''What... reasons'?' There was something so cold and merciless in her voice that Titus blanched. He had spoken as he had never dared to speak before. He had stepped beyond the recognized border. He had breathed the air of an unmentionable world.
Again the cold, inhuman voice: ''What reasons'?'
He was altogether exhausted but suddenly out of his physical weakness another wave of nervous moral strength floated up in him. He had not planned to come out into the open, or to give any hint to his mother of his secret rebellion and he knew that he could never have voiced his thoughts had he planned to do so but finding now that he had shown himself in the colours of a traitor, he flushed, and lifting his head he shouted: 'I will tell you!'
His filthy hair fell over his eyes. His eyes blazed with an upsurge of defiance, as though a dozen pent up years had at last found outlet. He had gone so far that there was no return. His mother stood before him like a monument. He saw her great outline through the blur of his weakness and his passion. She made no movement at all.
'I will tell you! My reasons were for this. Laugh if you like! He stole my boat! He hurt Fuchsia. He killed Flay. He frightened me. I do not care if it was rebellion against the Stones - most of all it was theft, cruelty and murder. What do I care for the symbolism of it all? What do I care if the castle's heart is sound or not? I don't want to be sound anyway! Anybody can be sound if they're always doing what they're told. I want to live! Can't you see? Oh, can't you see? I want to be myself, and become what I make myself, a person, a real live person and not a symbol any more. That is my reason! He must be caught and slain. He killed Flay. He hurt my sister. He stole my boat. Isn't that enough? To hell with Gormenghast.'
In the unbearable silence the Countess and those present could hear the sound of someone approaching rapidly.
But it was an eternity before the footsteps came to rest and a distraught figure stood before the Countess and waited with head bowed and trembling hands for permission to give his message. Dragging her gaze from the face of her son she turned at last to the messenger.
'Well,' she whispered, 'what is it, man?'
He raised his head. For a few seconds he could not speak. His lips were apart but no sound came, and his jaws shook. In his eyes was such a light that caused Titus to move towards him with sudden fear.
'Not Fuchsia! Not Fuchsia!' he cried with a ghastly knowledge, even as he framed the words, that something had happened to her.
The man, still facing the Countess, said, 'The Lady Fuchsia is drowned.'
At these words something happened to Titus. Something quite unpredictable. He now knew what he must do. He knew what he was. He had no fear left. The death of his sister like the last nail to be driven into his make-up had completed him, as a structure is completed, and becomes ready for use while the sound of the last hammer blow still echoes in the ears.
The death of the Thing had seen the last of his boyhood.
When the lightning killed her he had become a man. The elasticity of childhood had gone. His brain and body had become wound up, like a spring. But the death of Fuchsia had touched the spring. He was now no longer just a man. He was that rarer thing, a man in motion. The wound-up spring of his being recoiled. He was on his way.
And the agent of his purpose was his anger. A blind white rage had transformed him. His egotistic outburst, dramatic enough, and dangerous enough on its own account, was nothing to the fierce loosening of his tongue, that like a vent for the uprush of his rage and grief, amazed his mother, the messenger and the officers who had only known him as a reserved and moody figurehead.
Fuchsia dead! Fuchsia, his dark sister - his dear sister.
'Oh God in Heaven, 'where'?' he cried. 'Where was she found. Where is she now. Where? Where? I must go to her.'
He-turned to his mother. 'It is the skewbald beast,' he said. 'He has killed her. He has killed your daughter. Who else would kill her? Or touch a hair of her head, O braver than you ever knew, who never loved her. Oh, God, mother, get your captains posted. Every weapon'd man. My tiredness has gone. I will come at once. I know the window. It is not yet dark. We can surround him. But by boat, mother. That is the quickest way. There is no need for the North Headstones. Send out the boats. Every one. I saw him, mother, the killer of my sister.'
He turned again to the bearer of the shattering news. 'Where is she now?'
'A special room has been prepared by the Doctor near the hospital. He is with her.'
And then the voice of the Countess, low and deep. She was speaking to the Head Officer present.
'The Carvers must be informed that they are needed, and every watertight boat finished or unfinished. All boats already in the castle to be drawn up alongside the west wall. All weapons to be distributed at once,' and then, to the messenger who had spoken of where Fuchsia lay, 'Lead the way.'
The Countess and Titus followed the man. No word was spoken until they were within a stone's throw of the hospital, when the Countess without turning to Titus said: 'If it were not that you were ill...'
'I am not ill,' said Titus, interrupting.
'Very well, then,' said the Countess. 'It is upon your head.'
'I welcome it,' said Titus.
While he could feel no fear, he was at the same time surprised at his own audacity. But it was so small an emotion compared with the hollow ache with which the knowledge of Fuchsia's death had filled him. To be brave among the living - what was that compared with the bonfire of his rage against Steerpike at whose door he laid the responsibility for Fuchsia's death? And the tides of the loneliness that had surged over him, drowned him in seas that knew no fear of the living, even of a mother such as his own.
When the door was opened they saw the tall thin figure of Dr Prunesquallor standing at an open window, his hands behind his back, very still and unnaturally upright. It was a small room with low rafters and bare boards on the floor, but it was meticulously clean. It was obvious that it had been freshly scrubbed and washed, boards, walls and ceiling.
Against the wall to the left was a stretcher supported at either end upon wooden boxes. On the stretcher lay Fuchsia, a sheet drawn up to her shoulders, her eyes closed. It seemed hardly her.
The Doctor turned. He did not seem to recognize either Titus or the Countess. He stared through them, only touching Titus' arm in a gentle way as he passed, for he had no sooner seen the mother and the brother of his favourite child than he had begun to move to the door.
His cheeks were wet, and his glasses had become so blurred that he stumbled when he reached the door, and could not find the handle. Titus opened the door for him and for a moment caught a glimpse of his friend in the corridor outside as he removed his glasses and began to wipe them with his silk handkerchief, his head bowed, his weak eyes peering at the spectacles in his hand with that kind of concentration that is grief.
Left together in the room the mother and son stood side by side in worlds of their own. Had they not both been moved it might well have been embarrassing. Neither knew nor cared what was going on in the breast of the other.
