by C. E. Murphy
Against Robert, Lord Drake, Belinda's father and Javier's own, though at the heart of it there's almost no matter to that second part: he is Sandalia's son in every way that counts, except that one blood sin they've shared. There, in that small detail, it does matter, matters so much her skin still crawls with it, even when she's looking beyond their paternity and at the lines of battle that have been drawn.
Javier's voice is in her head, his magic drawing her to him, the sharing of an integral part of their souls. He screams of need, and a part of her still responds, perhaps will always respond, in a way she should not. With passion and desire rising to meet need and want, with thought uncoupled from body, so action is all that's worth considering.
But a part of her is given over to thought after all, and thus unwinds desire from need and leaves her with a weighty choice on her hands. There's no return from whichever path she takes: whichever man she turns away from will never forgive her, and Belinda's heart aches in her chest with the strength and pain of that knowledge.
Javier is the easier sacrifice to make. She crawled away from him once, bound to duty; that duty now makes a clear and easy road to follow. He has no love for her at all, and a great deal of righteous hate, and there's nothing in this world or any other that might change that. Not now; not with who and what she is. Eliza's life, even the child's, isn't enough to earn forgiveness, and a part of her wonders at even using the word; it's not one she's ever given a care for. In truth, she has little use for absolution, as she has no loathing or uncertainty for what she's been, any more than she might rage against the snow for being cold. So, aye, Javier de Castille is the easier sacrifice to make in all the ways that she is Robert's daughter.
But she stands on the wrong side of the front lines, in the midst of an enemy camp, and the stillness that wrapped her in safety as she grew up has failed her, because she's cold there in the summer sunshine, and her breath comes short and hard, she can't control it. The truth is, Belinda Primrose isn't the same woman she was a year ago. That woman would never be here; that woman would never debate which of the evils she faced should be grasped, because it would never occur to her that she could, much less ought, to turn against Robert, Lord Drake, her beloved papa.
Belinda lifts a hand and throws witchpower, snaking it along Javier's magic and shoring him up. He can bend a man's will, but it's she who learnt to steal Dmitri's power, and it's that same trick she turns against Robert Drake now, lancing her magic along Javier's until it crashes against the waterwheel that's her father's power. Water, though, isn't a solid at all, and she slips lines of gold light through the individual droplets to search out all the lines of weakness that make up a man's strengths. Ana di Meo: the courtesan's face flashes in her mind's eye, heavy with regret and sorrow. Lorraine Walter: queen of a realm and a heart, whose fading beauty makes no difference to the man who loves her. A silver beast in the sky, alien, repulsive, awesome, encompassing: she is everything, that monster, and yet somehow has become only part of a whole.
Her own self, from birth to childhood to womanhood, and all the moments in between: herself, dressed in a new gown awaiting a queen she was forbidden to meet; herself, in a grownup lady's dress at age three, solemnly dancing the steps of a Tinternell; herself, walking through court with Rodney du Roz; herself, using a weapon of a word, father, and never seeing how that blade struck home; herself, time and again, holding a place in her father's heart she's only dreamt she might.
Belinda closes her hand and with it takes Robert Drake's witch-power from him, and in the blackness that's left, sobs.
Robert Drake wakes with what feels like a three-day drunk shrieking inside his skull. For a little while he lies in the dark, admiring the ache in his head, and then a splash of light breaks across his vision and makes him wince. “Ah,” says a voice so unfamiliar in its familiarity he can't place it. “You're awake. I was beginning to wonder. Tell me, is the magic there?”
It's such a ludicrous question Robert can't answer for a few seconds, not until recollection rises up and drowns him. He dismissed Dmitri's warnings about Belinda's power, her ability to steal magic, but he'd thought that was a knack born in sharing her bed. Of all the various sins against man Robert's committed over the decades, that particular one isn't on his list, and so he reaches for witchpower with confidence.
And finds a wall between himself and it. It shines like gold, a weight in his mind filled with a sense of justice. It's flawless in its construction, making spheres around his magic, so no matter what angle he approaches it from, he only slips off its cool strength.
Rage floods his vision, turning it red, and he slams his will at that wall, searching for a weak point. It dents; gold is soft, but it's also very heavy, and when he bounces off its weight, it flows back to fill the tiny cavity he made. Insulted, angry, a little afraid, he flings himself at it again, scrabbling and clawing into the shining surface.
Outside his mind, Seolfor begins to chuckle, and then to laugh outright. He's grinning when Robert shoves himself into a sit. “She might've left you dead,” he says without even the slightest hint of sympathy. “Dead, instead of neutered. It's what you did to her, isn't it? Ah, Robert, it's a shame you lost control. She'd have been wonderful, on our side.”
Robert snarls and turns his attention back to the wall in his mind. He has the advantage over the girl Belinda was: he knows his power's there, and it cannot possibly take so long to free it as it took her. It's a matter of determination and time, nothing more. Seolfor might help.
Might, but ah, this is Seolfor, who only continues to chortle, and after a little while gets to his feet and leaves Robert Drake in a tent somewhere in the Gallic countryside, there to try to woo his magic back, and start shaping this world anew.
A dire order comes from Khazar: Chekov is to return to Khazan with not only Irina's ill-behaved daughter in tow, but the bulk of the Khazarian army, as well. Irina has clearly misjudged the ease of expansion, when inside two months both her first allies failed utterly in their naval sweep of the war, and then her new allies fell before Ecumenic weapons as wheat might fall in a field. Oh, it's bad form for an imperatrix to change sides so many times, so quickly, but it is worse, in Irina's opinion, to leave herself vulnerable. Cordula may well look east once Aulun's been taken, and from hurried messages sent by pigeon, it seems very likely Aulun will fall. Rodrigo of Essandia has new weapons, and all Irina has are men: she wants them all at her border, protecting it. In time she may be able to repair her reputation, at least enough so that it doesn't make ruling an empire more difficult for Ivanova, but for now, Irina commands a retreat and regroup, and will let Echon fight amongst itself while she prepares for a coming war.
Javier's army drives the Aulunians back to the channel after the Khazarian desertion: back to the channel, and then to Alunaer, as Rodrigo turns his attention to the production of rapid-fire guns. He begins there on the still-bloody fields, turning soldiers into smiths.
A brilliant young man has come out of the troops to offer his services. He's young, but silver-haired, and his blue eyes are perpetually amused. He calls Rodrigo a visionary, but it's his insight that builds the first factory, machinations leaping forward to build moulds and huge forges with which to pour bullets and barrels alike.
It's he, too, who has mad ideas of engines powered by steam and combustion; engines that will power their machines from within, and take vulnerable horses from the battlefield, so the war machines can continue forward against the worst onslaughts. Rodrigo stays up long nights with this young man, working out ways in which wind and water can be used to power the factories to build their new monstrosities.
Through it all a wide-eyed gondola boy runs their errands and thinks himself at the centre of things of great importance. He's right, of course, and there are moments during innovation and argument that both prince and inventor stop to watch the boy, and imagine him to be the shape of the world to come.
Then they all put their heads down, two dark and one b
right, and go back to building the future.
Alunaer falls in ten days. Lorraine Walter is too proud to leave her city, and so watches it die. It falls under horse-drawn war machines, some bearing cannon mounts, others the repeating-fire guns she heard tell of through spies and couriers. All good sense would have her turn tail and run to safer grounds so she might fight again another day, and instead she stands on parapets and watches smoke and fire rise from the streets, and waits for the messenger who will explain more than she wants to know.
So when Belinda Primrose—for Lorraine will never learn to call the girl by the surname they both share—when Belinda Primrose comes to the palace, Lorraine gives her leave to enter, for all she knows that her daughter is the spearhead signalling her own fall. Belinda comes with an army behind her, but she herself comes not as a warrior, but as a novice. She's escorted by a handful of Javier de Castille's troops, and the grey robes she wears make her look fragile and lost. Everything about her is afraid, as it should be, if she's just been snatched from a convent to give the Red Bitch an ultimatum. Lorraine doubts there are more than five people in the city who know that's not at all what's happened, and turns a brief thought to history, wondering what story it will tell.
It doesn't matter; most history is lies anyway. Belinda climbs the guardsmen's stairs to where Lorraine stands, full skirts of her robes carefully clutched in both hands so she might not trip on them. Aside from making her look penitent, they also hide the signs of pregnancy. It's possible, even probable, that that's where Lorraine made her mistake. She bore an illegitimate child, but forbade Belinda that same luxurious risk. Had she done otherwise, perhaps it would now be Lorraine walking unafraid into the Lutetian palace to take its crown.
Because Belinda's no more afraid than the wind might be afraid. She looks the part, but for all the ways Lorraine doesn't know the girl, there are others in which she knows her intimately, and her talent for playacting is among those. She stops at Lorraine's side and doesn't so much bother to curtsey, which Lorraine would mind less if it weren't very likely the last time anyone might have cause to curtsey to her.
“This is where it began, for me,” Belinda says to the wind and the scent of smoke. “This is where du Roz died.”
“I believe down there is where he died,” Lorraine says with a droll look toward the flagstones below. She's surprised at herself: her sense of humour is not what she's best known for, and to find even the driest hint of it within herself now is unexpected. Perhaps that's the price of war: it takes everything, and leaves odd dredges behind. “Does it please you, to come full circle and end where you began?”
“None of this pleases me.” Belinda lifts her chin as if inviting a hit, and Lorraine, surprised again, studies her.
Belinda will never be beautiful, she thinks, not even the brief and unique beauty of Lorraine's youth, but there's a strength to her prettiness. There's less of Lorraine, and more of Robert, in her, but with her head held high and a regal set to her jaw, Lorraine can see traces of herself in the girl. Stubborn, independent, clever: they're traits Lorraine wanted in her heir, and now rues. But curiosity's stronger than even that, and she's lost the war already, so she may as well ask: “Then why have you done it? You've lost your throne, lost your power.”
Belinda turns a hand up and in the afternoon brightness, a flare of gold becomes visible in her palm before fading again. “No one can take my power, and I never wanted a throne. Do you believe in fate, Mother?”
Lorraine's heart goes still and aching in her chest, and for a long time she doesn't breathe. Mother: the word's a weapon and a gift, though the way Belinda said it suggests she meant it as neither. She's not one given to casual connections, is Belinda Primrose, and so Lorraine thinks she's building what bridges she can with such a poor tool as language at her disposal. Good sense says those bridges should already be afire, burning between them, but in the end, perhaps blood runs deeper than sense, after all. When she has her breath back Lorraine says “No,” and wonders if she should tell all the reasons why.
But it's not necessary: Belinda knows the Walter family history, and it's either fate directing that story or sheer caprice. For all that Lorraine rules by divine right, she has very little faith in God or paths set in stone.
And then, quite clearly, she understands everything Belinda has done, and whispers “Ah” before her daughter has time to speak. “So you're only rebellious.”
A corner of Belinda's mouth quirks. “Not that either. I think a fate was being written for us. I meant to rewrite it, and have utterly failed in what I intended. I don't know what happens next, but that may be enough. Perhaps now no one knows.”
“I know.” Lorraine smiles when Belinda looks askance at her, and lifts her chin in much the same way Belinda did a moment earlier. “Javier de Castille will be crowned king of Aulun. If you and I are fortunate, we'll be given the rest of our days to live in the Tower. But Sandalia is dead, and the pretender to our crown may be disinclined to generosity. We are uncertain if Robert will appear to rescue us,” she finishes in a whisper, and knows herself to be weak for allowing the hope.
“Robert fell in Brittany.” Belinda says carefully. “No one has seen him since.”
“No,” Lorraine agrees. “No one's seen him, not dead and not alive. I choose to have hope, Primrose. Grant me that, at least. A queen might have a final wish, after all.”
Belinda turns to her, and once again surprises Lorraine by studying her a long moment, then dipping a generous curtsey, her gaze lowered and her voice soft as she whispers, “Of course, your majesty.”
It is the last such honour ever accorded to Lorraine Walter, and she will savour it for the rest of her days.
No one, least of all Javier de Castille, can argue that Belinda Walter is the best person to crown him. She's the acknowledged Aulunian heir, and Lorraine, who is deposed and locked in the tower she spent a decade in as a girl, would die before she put a crown on Javier's head. Belinda's the next best choice; she may be able to sway the hearts of her people, and can encourage them not to rise against their new king. Perhaps she can even help lead them back to the Ecumenic fold. History weighs heavily there: Lorraine's sister Constance made a bloody mark across this country by trying to return it to Cordula's faith, and Javier has no illusions that it will be an easy or quick task. Rodrigo counsels leading by example rather than by burning, and Javier, who has a bone-deep horror of the cleansing fires, is inclined to agree. So it must be Belinda, for those reasons and more.
Good sense or not, as she approaches—still wearing novice robes, shapeless and hiding six months of pregnancy—Javier cannot help but remember his mother, and the poison cup she drank from. Cannot help but think how easy it would be to paint the inside of the heavy Aulunian crown with a deadly toxin that will burn away his skin and leave him a monster in the days it takes him to die.
She would not live to gloat, should she do such a thing, but Javier's heart is in his mouth and his chest feels hollow and sick as Belinda lifts the crown over his head.
Her voice is clear and crisp, carrying over the courtroom as though she's accustomed to making speeches. There's no worry or nerves hiding in her tone, and Javier, sourly, thinks it's good one of them isn't concerned. “With this crown I declare Javier de Castille, son of Sandalia de Philip de Costa and Louis de Castille as the true king of Aulun. It is my divine right to offer him this crown: I am Lorraine Walter's daughter, once the Aulunian heir, and I renounce any claim to this throne; it is not a burden I wish to bear.”
The crown is very heavy, and Belinda settles it on his head as a priest—not Tomas, as it should be—begins the sonorous and extensive listing of Javier's qualifications, all of which come down to God's will, and God's will alone. He hears very little of it: he's staring at Belinda, and trying not to see the faces who are missing from around him. Sacha should be there; Marius should be there. Sandalia, too, though at least Rodrigo has come, and Eliza will be made queen of this wretched wet island in anothe
r ceremony later in the week. She sits at his side, resplendently pregnant with soft round rags, and watches Belinda with untrusting eyes. But there's no poison burning his face, and witchpower confidence begins to imbue him as he reaches toward Belinda with it, and finds no hint of resentment.
Then the priest is naming Javier something more than king of Aulun or king of Gallin: he's naming him emperor of the western lands, and Rodrigo is pursing his lips in a smile while Javier tries not to goggle in shock. He's had no ambition for such titles, and thinking that reminds him again of Sacha, who would be pleased, and so somehow Javier manages a smile. Marius would be proud, and Sacha satisfied, and Eliza will be queen to an empire. That, perhaps, is something; maybe it will salve wounds over the next months and years.
But beneath that proclamation, softly, so no one but Javier will hear it, Belinda whispers, “Javier de Castille, queen's bastard, wearing a pretender's crown though he's the rightful king of Aulun. Rule wisely, brother, for my blade's yet unblooded, and I'll not have my country ruined by your revenge.”
She waits a long moment, gaze fixed on his, as though to make certain her words have come home to him, and then she steps back from the throne and lifts her voice to call out “Long live the king!,” and all the court takes up her cry. As it gains strength, she nods once to Javier, a mark of respect less showy but no less potent than a bow.
Then witchpower whispers, and that's the last any of them ever see of Belinda Walter, heir to the Aulunian throne.
BELINDA, CALLED ROSA
8 January 1589 † Brittany
Rosa, who has no last name and no husband to explain away her swollen belly, is grateful to have been taken on as a serving girl at an estate in Brittany She and her new masters, the king and queen of Gallin, know that this estate was once her grandfather's; that she herself was born here nearly a quarter-century ago. None of this gives her airs: at times even her lord and lady seem to forget she's other than a favoured servant.