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Using the fine sharpness of this lengthy protrusion it filed down the leather neck strap until either the nail gave way or the vile creature cramped from its position. With its four muscled arms secured with manacles to the floor, only the legs were free to move about. The Ith never gave up, and when the nail re-grew or the cramps subsided, the Ith returned to its labor.Upon the creature's capture, the priests swore to feed it and to nurture it, even against the evil for which the Ith was trained. They swore to God to pray for its well-being. At first the priests tried to train the beast. This was met with resistance in the way of blasphemy at each attempt. Throwing things at its captives. The priests tried reason and the Ith spat a green oily substance at them. They fed it food, and it ate only the meats of the animals. Tossing the bones at them or nearest to the stairwell leading away from the basement. The Ith knew no manners, nor friendliness. After many years, the priests merely. For just a moment the performer was silhouetted against the light rays streaming into the crowd, then he lay supinely before the projector and lifted the trill to his mouth. The triple-piped instrument rose vertically from his face and captured a beam of light. A lone, high note sounded, echoing against the curvature of the ballroom's dome, then fell as cascading colors. The trill was in tune, and now the musician let her fly. Streaks of colors accompanied or preceded the piece's melodies. The pipes shot bursts of exploding light, reminiscent of ancient Roman candle flares, against the dome. The music relaxed and soothed; alternately it invigorated and stimulated; the music was whatever one wanted it to be. The crowd listened and felt and saw. The tinkle of ice against glass was silent; feet didn't tap out rhythms on the floor; the endless chatter diminished. When the piece finally reached a crescendo, the musician arose, flicked off the projector, bowed and left the stage. The.
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