He was cold and sticky with salt. He could have washed. He knew how to make fresh water from salt. But the spell was involved, and his fingers were stiff, and he decided he would rather live with the stickiness. He was warming up under the blankets anyway. When he’d come aboard he’d found a regulation navy blanket on the bed, a bristly beast that weighed about ten pounds and could have repelled chain shot. It was like being in bed with the corpse of a wild boar. He’d swapped it out for a foot-thick down comforter that was persistently damp and thoroughly nonregulation but infinitely more comforting.
Quentin waited to see if his mind would tip over into sleep. When it didn’t, and it had made it clear that it wasn’t going to without a fight, he sat up and looked at the books on the bookshelves. In his old life, at a juncture like this one, he would have reached for a Fillory novel, but events had overtaken that particular pleasure. But there was still the book Elaine had given him.
The Seven Golden Keys.
Seven. That was more golden keys than he’d bargained for. He would settle for just one. The book wasn’t a novel, it turned out, just a fairy tale set in large type with woodcut illustrations. A children’s book. She must have filched it from Eleanor. What a piece of work that woman was. The back page bore the stamp of the embassy library. He squinched up his pillow enough to prop up his head.
The story was about a man, his daughter, and a witch. He was a widower, and the daughter was hardly more than a toddler when the witch came through town. Jealous of the little girl’s beauty, and with no children of her own, the witch stole her away, cackling as she did that she was going to lock her away in a silver castle on a remote island. The man could free his daughter, but only if he could find the key to the castle, which he never would, because it was at the End of the World.
Undaunted, the man set out to find the key. It was hot, and he walked all day, and as the sun set he stopped by a river to refresh himself. When he bent down to drink he heard a tiny voice calling, open me up! Open me up! He looked around, and soon he saw that the voice belonged to a freshwater oyster that was clinging to a rock in the river. Next to it in the river mud was a minuscule golden key.
The man picked up both oyster and key, and sure enough, there was a tiny keyhole in the oyster shell, on the opposite side from the hinge. He fitted the key into the lock and turned it, and the shell began to open. He worked it farther open with his knife. As he did so the oyster died, as oysters will when their shells are opened. Inside the oyster, in the place where a pearl might have been, was another golden key, slightly larger than the first one.
The man ate the oyster and took the key and went on his way. Soon he arrived at a house in a forest, and he knocked on the door to see if the owners could give him shelter for the night. The door was slightly ajar, so he pushed his way inside. He found the house full of beds, every room was crammed with them, and in each bed a man or a woman was sleeping. He strolled through the house until he finally found an empty one for himself. There was a clock on the wall that had run down. There was no key to wind it with, so he used the key he found in the oyster’s shell. Then he went to bed.
In the morning the clock struck seven, and he awoke. So did the other sleepers in the house. Each of them repeated the same story: they’d come to the house as strangers and taken beds for the night, but they appeared to have slept for years and years, in some cases centuries, right up until the clock struck. As the man packed up his things he found a golden key under his pillow, slightly larger than the one he had used to wind the clock.
It grew colder as the man walked. Perhaps it was colder everywhere since his daughter had been put in the castle. In time the man met a beautiful woman sitting in a pavilion, weeping because her harp was out of tune. He gave her the golden key to tune her harp, and she gave him a larger one in exchange. That one turned out to be the key to a chest buried under a tree root, with yet another, still larger key inside, which let him into a castle—but not the castle with his daughter in it—with a key resting on a table in the highest room of the tallest tower.
The man walked and walked, for weeks or months or years, he couldn’t tell anymore. When he couldn’t walk anymore he sailed, and when he couldn’t sail anymore he was at the End of the World, where sat a dignified man in a dinner suit, dangling his long legs over the edge. He was patting his lapels and turning out his pockets and looking generally perplexed.
“Bother,” said the well-dressed man. “I’ve lost the Key to the World. If I don’t wind it up and set its clockwork going again, the sun and moon and stars won’t turn, and the world will be plunged into an eternal nighttime of miserable cold and darkness.
Bother!
”
Being a hero, the man had observed, is largely a matter of knowing one’s cues. Without a word he drew out the key he’d found in the castle.
“How the devil—?” the man said. “Well, bother. Give it here.”
He took the key and lay full-length on the ground, mussing his fine suit, and reached his arm over the Very Edge of the World and began winding vigorously. A loud ratcheting sound could be heard.
“It’s in my back pocket,” he called over his shoulder as he worked. “You’ll have to get it yourself.”
Hesitantly, the man reached into the pocket—the well-dressed man never stopped winding—and drew out the last key. He retreated to his boat and sailed back the way he came.
A short time later, a surprisingly short time, he arrived at the magical castle where the witch had imprisoned his daughter, how long ago he could no longer tell. It really was an impressive affair, with gleaming silver walls that flashed in the sun, and it floated some ways off the ground, so that you had to ascend to it by way of a narrow winding silver staircase that flexed disquietingly when the wind blew.
The gate was black iron. The man fitted the last key into the lock and turned it.
The moment he finished the doors sprang open to reveal a beautiful woman standing right behind them, just as if she’d been waiting there for him all along. She was as tall as he was, and she must have been doing a great deal of studying with the witch while he was gone, because she absolutely glowed with magical power.
But he still recognized her. She was his daughter.
“Beautiful girl,” the man said, “it’s me. Your father. I’ve come to take you home.”
“My father?” she said. “You’re not my father. My daddy’s not an old man!”
The beautiful woman cackled a not unfamiliar cackle.
“But I am your father,” he said. “You don’t understand. I’ve been searching all this time—”
The woman wasn’t listening.
“Thank you anyway, for setting me free.”
She kissed him on the cheek. Then she handed him a golden key and flew away on the wind.
“Wait!” he called after her. But she didn’t wait. He couldn’t explain. He watched her dwindle in the distance into nothing. Only then did he sit down and weep.
The man never saw his daughter again, and he never used the key either. Because where could he have gone, what door could he have opened, what treasure could he have unlocked that would have been worth more to him than the golden key his daughter gave him?
CHAPTER 8
Q
uentin was woken up early by the lookout calling out sonorously to the helmsman, like a subway conductor announcing the next stop, that land was in sight. He put a heavy black cloak on over his pajamas and went up on deck.
His dreams had been full of the man and the daughter and the witch and the keys. The story bothered him, not least because he didn’t think it really would have ended that way. Could the man really not have explained? Did his daughter really not understand what had happened? It didn’t add up. If they’d talked about it and figured things out it could have been a happy ending. People in fairy tales never just figured things out.
The clouds hung low and gray and solid, barely higher than the top of the
Muntjac
’s mainmast. Quentin squinted in the direction the lookout was pointing. There it was: the promised island was barely visible through the mist. Still hours away.
Up on the forecastle deck Bingle was going through his morning exercises. Quentin’s limited interactions with him had made him worry that the greatest swordsman in all of Fillory might possibly be clinically depressed. He never laughed, or even smiled. Two swords lay beside him, still in their leather sheaths, while he performed a series of what looked like isometric exercises involving only his hands, not totally unlike the finger exercises Quentin had learned at Brakebills.
He wondered how you got to be as good at fighting as Bingle. If he was going to get any further in the adventuring business, Quentin thought, he should look into it. He liked the idea of it. A swordfighting sorcerer: the double threat. He didn’t have to get as good as Bingle. He just had to get better than he was, which was none too good.
“Good morning,” Quentin called.
“Good morning, Your Highness,” Bingle said. He never made the mistake of calling Quentin “Your Majesty,” a form of address that was reserved for the High King.
“I hate to interrupt.”
Bingle didn’t stop his routine, which Quentin supposed meant he wasn’t technically interrupting after all. He climbed the short ladder up to where Bingle was standing. Bingle knotted his hands together, then turned the position inside-out in a move that made even Quentin wince.
“I was thinking maybe you could give me some lessons. In swordsmanship. I’ve had a few already, but I haven’t gotten very far.”
Bingle’s expression didn’t change.
“It will be easier to protect you,” he said, “if you can protect yourself.”
“That was my thinking.”
Bingle unwove his fingers, which took some careful doing, and looked Quentin up and down. He reached forward and slid Quentin’s sword out of its sheath. He did this so quickly and fluidly that although Quentin thought he probably could have stopped him—he had a few inches of reach on Bingle—he couldn’t have sworn to it.
Bingle examined Quentin’s sword, first one side then the other, felt its edge and its heft, pouting thoughtfully.
“I’ll provide you with a weapon.”
“I already have a weapon.” Quentin pointed. “That sword.”
“It’s beautiful, but not right for a beginner.” For a second Quentin thought he was going to do something drastic, like chuck it overboard, but he just placed it on the deck next to the two other swords.
Bingle went below and returned to present Quentin with the training sword he would be using, a short, heavy weapon of oiled steel, blunt and nearly black and devoid of any adornment whatsoever. The blade and the hilt were all made out of one single unbroken chunk of metal. It was the most industrial-looking object Quentin had ever seen in Fillory. It weighed half again what his sword weighed. It didn’t even come with a scabbard, so he wouldn’t get to show off his buff sheathing-unsheathing skills.
“Hold it straight out,” Bingle said. “Like this.”
He straightened Quentin’s elbow and brought his arm up parallel to the deck. Quentin was holding the thing at full extension. He could already feel his muscles starting to cramp.
“Point it straight forward. Keep it out there. Long as you can.”
Quentin was expecting further instructions, but Bingle calmly went back to his isometrics. Quentin’s arm stiffened, then glowed with pain, then caught fire. He lasted about two minutes. Bingle had him switch arms.
“What do you call this style?” Quentin asked.
“The mistake people make,” Bingle said, “is thinking that there are different styles.”
“All right.”
“Force, balance, leverage, momentum—these principles never change. They are your style.”
Quentin was pretty sure his knowledge of physics exceeded Bingle’s by a couple of orders of magnitude, but he’d never thought of applying it that way.
Bingle explained that rather than practice a single fighting technique, his technique was to master all techniques and to deploy them as the circumstances and terrain required. A single grand meta-technique, if you will. He’d wandered Fillory and the lands beyond for years, seeking out martial monks in mountain monasteries and street fighters in crowded medinas and extracting their secrets, until he became the man Quentin saw before him: a walking encyclopedia of swordsmanship. Of the oaths he had made and broken, the beautiful women he had seduced and betrayed to obtain these secrets, it was best not to speak.
Quentin switched arms again, and then again. It reminded him of his days as a semi-pro sleight-of-hand magician. The beginning, the laying down of the fundamentals, was always the worst part, which he supposed was why so few people did it. That was the thing about the world: it wasn’t that things were harder than you thought they were going to be, it was that they were hard in ways that you didn’t expect. To take his mind off it he watched Bingle, who was now stalking the deck, staring accusingly ahead of him, whipping his own blade in a complicated pattern, drawing ampersands and Kells knots in the air with it.
A frigid spitting mist was blowing in from the ocean. He could see After Island clearly now; they’d be landing soon. He decided he was done. He should at least change out of his pajamas before he set off in search of the golden key.
“I’m knocking off, Bingle,” he said. He placed his practice blade on the deck next to Bingle’s other two. His arms felt like they were floating.
Bingle nodded, not breaking his own rhythm.
“Come back to me when you can do half an hour,” he said. “With each arm.”
He performed a spectacular no-handed roundoff that looked like it was going to take him right off the forecastle deck, but somehow he swallowed his inertia just in time to stick the landing. He finished with his blade jammed between the ribs of some imaginary assailant. He withdrew it and cleaned the blade on his pants leg.