"How do you feel, Mr. Heissman?"

"Oh, God!" He opened his eyes without looking at me, moaned and closed them again. "How do I feel?'

"I'm sorry. But Mr. Gerran is concerned-"

"Otto Gerran is a raving madman." I didn't take it as any indication of some sudden upsurge in his physical condition but, no question, this time his voice was a great deal stronger. "Crackpot! A lunatic!"

While privately conceding that Heissman's diagnosis lay somewhere along the right lines I refrained from comment and not out of some suitably due deference to my employer. Otto Gerran and Johann Heissman had been friends much too long for me to risk treading upon the delicate ground that well might lie between them. They had known each other, as far as I had been able to discover, since they had been students together at some obscure Danubian gymnasium close on forty years ago and had, at the time of the Anschluss in 1938, been the joint owners of a relatively prosperous film studio in Vienna. It was at this point in space and time that they had parted company suddenly, drastically and, it seemed at the time, permanently, for, while Gerran's sure instinct had guided his fleeing footsteps to Hollywood, Heissman had unfortunately taken off in the wrong direction altogether and, only three years previously, to the total disbelief of all who had known him and believed him dead for a quarter of a century, had incredibly surfaced from the bitter depths of his long Siberian winter. He had sought out Gerran and now it appeared that their friendship was as close as ever it had been. It was assumed that Gerran knew about the hows and the whys of Heissman's lost years and if this were indeed the case then he was the only man who did so for Heissman, understandably enough, never discussed his past. Only two things about the men were known for certain-that it was Heissman, who had a dozen prewar screenplays to his credit, who was the moving spirit behind this venture to the Arctic and that Gerran had taken him into full partnership in his company, Olympus Productions. In light of this, it behooved me to step warily and keep my comments on Heissman's comments strictly to myself.

"If there's anything you require, Mr. Heissman-"

I require nothing." He opened his transparent eyelids again and this time looked-or glared-at me, eyes of washed-out grey streaked with blood.

"Save your treatment for that cretin Gerran."

"Treatment?"

"Brain surgery." He lowered his eyelids wearily and went back to being a medieval bishop again so I left him and went next door.

There were two men in this cabin, one clearly suffering quite badly, the other equally clearly not suffering in the slightest. Neal Divine, the unit director, had adopted a death's door resignation attitude that was strikingly similar to that favoured by Heissman and although he wasn't even within hailing distance of death's door he was plainly very seasick indeed. He looked at me, forced a pale smile that was half apology, half recognition, then looked away again. I felt sorry for him as he lay there but then I'd felt sorry for him ever since he'd stepped aboard the Morning Rose. A man dedicated to his craft, lean, hollow-checked, nervous , and perpetually balanced on what seemed to be the knife edge of agonising decisions, he walked softly and talked softly as if he were perpetually afraid that the gods might hear him. It could have been a meaningless mannerism but I didn't think so: no question, he walked in perpetual fear of Gerran who was at no pains to conceal the fact that he despised him as a man just as much as he admired him as an artist. Why Gerran, a man of indisputably high intelligence, should behave in this way, I didn't know. Perhaps he was one of that far from small group of people who harbour such an inexhaustible fund of ill will towards mankind in general that they lose no opportunity to vent some of it on the weak, the pliant or those who are in no position to retaliate. Perhaps it was a personal matter. I didn't know either man or their respective backgrounds well enough to form a valid judgement.

"Ah, "he's the good healer," a gravelly voice said behind me. I turned round without haste and looked at the pyjama-clad figure sitting up in his bunk, holding fast with his left hand to a bulkhead strap while with the other he clung equally firmly to the neck of a Scotch bottle, three parts empty. "Up the ship comes and down the ship goes but naught will come between the kindly shepherd and his mission of mercy to his queasy flock. You will join me in a post-prandial snifter, my good man?"

"Later, Lonnie, later." Lonnie Gilbert knew and I knew and we both knew that the other knew that later would be too late, three inches of Scotch in Lonnie's hands had as much hope as the last meringue at the vicar's tea party, but the conventions had been observed, honour satisfied.

"You weren't at dinner, so I thought-"

"Dinner!" He paused, examined the word he'd just said for inflexion and intonation, decided his delivery had been lacking in a proper contempt and repeated himself. "Dinner! Not the hogwash itself which I suppose is palatable enough for those who lack my esoteric tastes. Les the hour at which it's served. Barbaric. Even Attila the Hun-"

"You mean you no sooner pour your aperitif than the bell goes?"

"Exactly. What does a man do?"

Coming from our elderly production manager, the question was purely rhetorical. Despite the baby-clear blue eyes and faultless enunciation Lonnie hadn't been sober since he'd stepped aboard the Morning Rose: it was widely questioned whether he'd been sober for years. Nobody least of all Lonnie-seemed to care about this, but this was not because nobody cared about Lonnie. Nearly all people did, in greater or lesser degrees, dependent on their own natures. Lonnie, growing old now, with all his life in films, was possessed of a rare talent that had never bloomed and never would now, for he was cursed-or blessed-with insufficient drive and ruthlessness to take him to the top, and mankind, for a not always laudable diversity of reasons, tends to cherish its failures: and Lonnie, it was said, never spoke ill of others and this, too, deepened the affection in which he was held except by the minority who habitually spoke ill of everyone.

"It's not a problem I'd care to be faced with myself," I said. "How are you feeling?"

"Me?" He inclined his bald pate forty-five degrees backwards, tilted the bottle, lowered it and wiped a few drops of the elixir from his grey beard. "Never been ill in my life. Who ever heard of a pickled onion going sour?" He cocked his head sideways. "Ah!"

"Ah, what?" He was listening, that I could see, but I couldn't hear a damned thing except the crash of bows against seas and the metallic drumming vibration of the ancient steel hull which accompanied each downwards plunge.

"The horns of Elfland faintly blowing," Lonnie said. "Hark! The Herald Angels." I harked and this time I heard. I'd heard it many times, and with steadily increasing horror, since boarding the Morning Rose, a screechingly cacophonous racket that was fit for heralding nothing short of Armageddon . The three perpetrators of this boiler-house bedlam of sound, Josh Hendriks's young sound crew assistants, might not have been tone stone deaf but their classical musical education could hardly be regarded as complete as not one of them could read a note of music. John, Luke, and Mark were all cast in the same contemporary mould, with flowing shoulder-length hair and wearing clothes that gave rise to the suspicion that they must have broken into a guru's laundry. All their spare time was spent with recording equipment, guitar, drums, and xylophone in the foreword recreation room where they rehearsed, apparently night and day, against the moment of their big breakthrough into the pop-record world where they intended, appropriately enough, to bill themselves as the Three Apostles.