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 untrained 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