With great relief, she let them know that this was perfect. And she led her Court into the Great Hall for the concert, then settled into her seat, enthroned among the courtiers, with Ambassador Isadere at her left, thinking that tonight was turning out to be something of a respite after all. And the gods knew she needed one. She wasn’t feeling up to an evening of bright conversation with her foreign guests tonight; she’d been fighting melancholy all day, knowing that it would take next to nothing to make her break out in tears. Now, with not only the ambassador, but his entire entourage listening with rapt attention to the musicians, she could lean back in her chair and wait for the evening to be over.
Or so she thought.
“Majesty, are you well?” whispered Lord Orthallen. He leaned over the arm of his chair toward her, his voice pitched so that it would not disturb anyone else, and to his credit, he really did look concerned.
She smiled faintly at him, and nodded. He raised an eyebrow, as if he didn’t entirely believe her, but turned his attention back to the music.
She glanced over at Herald Talamir, who did not appear to have noticed the interchange. But then, it was difficult to tell, these days, what Talamir did and did not see. It was even more difficult to tell what he thought about what he saw.
In fact, he was sitting back in his chair, eyes half-closed, and he looked exactly like a statue—except that there was nothing of the solidity of a statue about him. How he managed this, she could not tell, but these days Talamir didn’t entirely seem to be in the here and now, as it were. His manner was often preoccupied, as if listening to and watching something no one else could hear or see. And to her mind, there was a suggestion of translucency about him, the spirit somehow shining through the flesh. When there was something that really required his attention, he was almost like his old self, but when there wasn’t, he was almost like a ghost-made-flesh, and not altogether contented with that state.
He made a great many people uneasy, without any of them being able to articulate why. He made Selenay uneasy, as a matter of fact; she could never glance at him—except in the times when he was very much in the here-and-now—without an involuntary shiver.
And yet, there were plenty of people who saw no difference in him at all. People like Orthallen, for instance; they acted in Talamir’s presence now exactly as they had acted in Talamir’s presence before the last battle.
Before he died, and was dragged back to life. . . .
That was the crux of it, of course. Heralds, Healers, and Bards almost all sensed it. Talamir was a man in two worlds now, and most of his concentration seemed to be taken up with the unseen world. That was why Selenay just could not bring herself to confide in him, even though that was what the function of the Queen’s Own was supposed to be.
How could I sit there and tell him things? she wondered wearily. Even if he wasn’t a man, and as old as my father. It would be like trying to share girl-secrets with a particularly unworldly priest. . . .
And anyway, Talamir had been her father’s closest friend—which was only as it should have been, of course, but how could she tell him how much she missed her father and cry on his shoulder, when surely Talamir missed him as much, or more? It would be too cruel, too cruel for words. Talamir had already suffered so much pain, losing his own Companion to death as well as Sendar and so many other friends—No, it would be too cruel to inflict further pain on him that way.
As for sharing her scarcely-articulate longing for, well, romance—
Oh, no. He would never, ever understand. And she’d get a grave, well-considered, perfectly reasonable lecture about her duties as Queen, and how great power required great responsibility.
As if she didn’t know, as if she didn’t feel all that with every pulse of blood through her veins.
But that didn’t stop her from wanting it. Even though most of the younger members of her Court were probably going to make arranged marriages in the end, that didn’t stop them from flirtations and even outright courtship. After all, there was always the chance that both sets of parents would be pleased to find that an alliance had been made.
And even if they weren’t, well, as one young lady had tearfully put it, unaware that Selenay was eavesdropping from the other side of the hedge, “It will give me something to remember when I’m wedded to that awful old man—”
But a Queen couldn’t have flirtations. And of course she knew that only too well. Knowing she couldn’t was bad enough, but being reminded of that fact by someone like Talamir would only make it worse. Her father would have understood; he’d been able to marry for love. He’d always said he didn’t want to see her sacrificed to a marriage of state, but with him gone, and with no telling what needs might arise, she had to count on sacrificing herself.
She felt a lump rising in her throat and closed her eyes against the sting of tears, fighting them back. This was neither the place nor the time to display weakness.
It was at that moment that she felt, with a sense of shock, someone press a folded bit of paper into her hand.
Her eyes flew open in time for her to see Lord Orthallen, removing his hand from hers. Their eyes met, and he nodded gravely, then sat back again.
For one brief moment, an incredulous thought came into her head. A love note? From Orthallen?
No, surely not. He was married. He was older than her father. And besides, every other Councilor would spontaneously combust with rage at the very idea.
She looked down at the scrap of paper, and opened it.
Selenay, you used to call me your “Lord-Uncle,” and told me all your childish woes, she read. And if I have, in recent days, often forgotten that you are no longer my “Little Niece” but my Queen and fully adult, please forgive an old man for clinging to his illusions longer than he should have. I have seen you fall into melancholy more than once these past few days; I think you might be in need of a friend with whom you can unburden yourself freely; if that is the case, will you honor your father’s friend by putting me in that place as he did, so that this old man can begin to see the grown lady of reality instead of the child of the past? Perhaps we can help each other in our shared sorrow.
Selenay blinked. This was unexpected. First of all, Lord Orthallen was, above all else, a very proud man. He seldom apologized. Secondly, he had been one of those on her Council that had seemed the most adamant about keeping her from taking the reins of power into her own hands—
But this was an apology, and a tacit admission that he was ready and willing to see her as the Queen in fact as well as in title.
And the part about shared sorrow—that made the lump in her throat swell all over again. Orthallen had been her father’s good and trusted friend. She hadn’t thought about how he must be feeling. But that pride of his might well have prevented him from making any great show of his own grief. . . .
And who better to talk to? He was safe enough, with a wife he honored; he had never, ever given rise to a single rumor about his fidelity (unlike far too many men in her Court). She had known him all her life; she’d cried on his shoulder before this.
Who else was there, really—and she was beginning to think that if she didn’t find someone she could talk to, someone besides Caryo, that is, she was going to crack. Talking to Caryo was a little too much like talking to herself. And besides, even Caryo was getting tired of how depressed and burdened with grief she was.
She looked up and met his eyes. He tilted his head to the side, in grave inquiry. She nodded. He smiled; it was a sad, weary smile, the same sort that she often found on her own lips of late.
She smiled back, folded the piece of paper, and put it into her sleeve pocket for safekeeping, feeling a little better already. Better enough, at least, to give the musicians her full attention for the rest of the concert.
***
Rather than joining the people in the courtyard on their benches, Alberich paid out enough for seats on the second-floor balcony that ran along the inside walls facing the courtyard, a
balcony that made up a sort of makeshift gallery. It was marginally warmer here, and the folks in the cheap seats were notoriously rowdy. When the troupe had been playing in that tent, there had been no balcony, and the expensive seats had been in the first several rows. Not so here.
The courtyard was entirely enclosed by inn buildings. Behind the stage and the curtains that closed off the back of it, were the stables. Not the sort of place where anyone would care to sit, so using that wall as the back of the stage wasted no valuable space that could have accommodated paying customers. The other three wings were the three stories of what was a typical market inn, with an arched passage in the middle of what was, in this configuration, the “back” of the courtyard leading out into the street outside. The ground floor of that wing, divided as it was by the passage, held two separate dining rooms, a taproom for the common sorts of folk, the drovers, the shepherds, the farmers who came to the market, and the second an actual set of dining rooms, one large dining room for the better-off sort, and several private parlors for the “gentry,” or at least, those with enough money that the innkeeper’s servants called them “m’lord” and “m’lady,” whether or not they had any right to the title.
Above that, in the second and third stories, since that wing both had the noisy dining areas on the first floor, and faced the street, were the cheapest of the sleeping rooms. These were the sort where strangers packed in several to a room together, on pallets laid so closely together that the room might just as well have been one big bed.
The right and left wings held more expensive sleeping rooms on the second and third floors, with the kitchens on the ground floor of the left-hand wing, and the servants’ quarters on the ground floor of the right-hand wing.
When there wasn’t a play on, the balconies gave access to those rooms. Now, however, there were benches there, where those willing to spend a bit extra could sit along the balcony railing. The view was good from here, and you weren’t going to find yourself harassed by someone who’d paid less than the cost of a pint for his seat.
Normally, at least with most acting troupes, the truly expensive seats were on the stage itself, to the left and the right. Not with this lot—their energetic acrobatics made that a dangerous place to be, and the entire stage was free of any such obstructions.
Myste laid her arms along the balcony rail and parked her chin on them, peering down at the stage with interest. The courtyard was lit almost as well as the Great Hall of the Palace, with torches in holders on every supporting beam, and shielded lanterns around the stage. The thing about holding a play at night meant that the players could actually do some things with the scenery—like a paper moon with a lantern behind it, or using foxfire smeared all over someone’s face if he was a ghost. Or, as had occurred in the scene they’d just watched, the softer, dimmer light had made the shabby costumes and tinsel and paste gems of the “lords and ladies” at a grand Festival look positively genuine. :This isn’t as bad as I thought it would be,: she remarked to Alberich in Mindspeech.
:True,: he replied. :This is actually one of the plays they do privately.: It was a tale of unlucky lovers, who came from feuding families, who met by accident at some celebration, and of course, were lifebonded at first sight. The troupe were playing on current events by making the place of their first meeting the Ice Festival—which worked out very well, since it allowed them to bundle up in their warmest costumes. And of course, the feud allowed for several of the signature acrobatic fight scenes.
Down there on the stage, the feud had been acted out by means of a confrontation in the first scene, then several of the youngsters of both clans had gotten caught up by accident in the party following a wedding. The hero and heroine had met and fallen instantly in love, and had retired. Down on the stage, the stagehands were scuttling about in the pause for the scenery change between the first and second acts.
:I suppose they’re both going to end up dead in the end,: Myste sighed.
Alberich had seen this play before. :Well, it is a tragedy.: And in fact, that was exactly what was going to happen. Hero and heroine would be wedded in secret in the second act. In the third, the feud would escalate into open warfare, isolating them from one another as the city turned into a battlefield. In the fourth act, the lovers would arrange a desperate meeting, intending to flee the city and seek the help of the King. The heroine’s brother would discover the hero waiting with horses, and challenge him. The hero would attempt to placate him, but to no avail. He would find himself forced into the duel, the brother would disarm him, and just as the heroine arrived, fatally wound him. She would run screaming toward them both; startled, the brother would turn, and she would be accidentally impaled on his sword, and the lovers would die in each other’s arms.
Not before forgiving the stricken brother, however, and extracting his vow to end the feud for all time.
Not the worst of plays, by any means, and with enough action to please the male members of the audience.
:I see at least a dozen people I know down in the audience,: Myste remarked. :The most interesting thing is, though, that—Look, see that bald-headed fellow down there, stage left? The one who seems to be in charge of the scene changing? I know him very well. The last time I saw him, he was the butler for an officious little mercer I did regular work for. I wonder how he got this job?:
:Really?: Well, that could be interesting, if he happened to recognize Myste.
And even as that thought passed through Alberich’s mind, the man looked up at their gallery, blinked, and peered upward at them, through the torch smoke and lantern light.
He gave a tentative wave. Myste nodded, and waved back. He grabbed a passing boy, said something to him, pointed at Myste, and shoved him in the direction of the stairs. A few moments later, the boy clambered toward them.
“’Scuze me, mum, but Laric wants t’know, if you’re Myste, Myste Willenger, the clerk?” the boy asked.
“That I am,” Myste replied, without a moment of hesitation.
The boy grinned. “Well, mum, then Laric ’ud like ter talk with you arter the play, if you’ve time, an could use some work,” the boy continued. “’Cause he’s got a job that needs doin’.”
Myste grinned. “Tell him, thanks. Who can’t use extra work?”
The boy grinned back. “I’ll tell ’im, mum.”
With that, he scrambled back down the stairs, presumably to find the now-vanished Laric. Myste settled down for the second act, with a smile like a cat in cream.
:Well. How about that for an opportunity dropping into our laps?: she asked.
Alberich could only shake his head in amazement.
9
Alberich and Myste lingered after the end of the last act, assuming that Laric would seek them out as soon as the audience cleared out. It was a reasonable assumption; both of them assumed he would not have interrupted his urgent work to send up a boy if he hadn’t intended to get to Myste as soon as he could. It wasn’t comfortable, sitting out there in the cold, on the hard benches, but both Alberich and Myste had the feeling that it just might be worth the wait.
And they were right. As soon as the actors took their final bows, the audience began to shove its way out. Once the actors were gone, the audience lost interest in what, to Alberich, was actually more interesting than the play itself. In the torchlight, there had been a certain—something—that had given an illusion of reality to the play. Now the illusion was coming apart, bit by bit, and it was fascinating to Alberich to see how it had been put together in the first place.
First, the lamps at the edge of the stage were blown out and gathered up, and the stagehands began clearing away the properties on the stage, carrying them back behind what had looked like a false front of several buildings made rather solidly of wood. But it was now apparent that it wasn’t wood at all, nor solid, but another canvas backdrop of the same sort that the troupe had used during the Festival. With no one being careful about how they moved around it, the thing rippled and wav
ed as people went behind it. Two other bits of business that stood on either side of the canvas, hiding the edges, looked a bit more solid. They were only a single story tall, though they had a pair of doors in them that the actors had used to come and go. As two stagehands hauled off the “horses” that the hero and heroine were to have escaped on, Laric dashed out of one of the doors in the scenery onto the edge of the stage, and peered up at the balcony. “Heyla!” he shouted, and waved at her. She waved back. “Myste! Stay right there for a bit while I tie things up!”
Myste nodded vigorously; evidently that was enough for Laric, who dashed back through the false door again. “Tie things up, hmm?” she said cheerfully to Alberich. “I hope that isn’t literal.”
“That, I could not tell you. I know nothing of—all this,” Alberich admitted, waving vaguely at the stage. And at precisely that moment, the painted cloth at the back of the stage, depicting the outer walls of several buildings, dropped down to the stage with a bang, along with the pole it was fastened to along the top. Behind it was another, with a forest or garden scene; it came down next. And finally, a third, showing stalls of a market and sky—that was the setting for the Ice Festival. Down it came, revealing the bare front of the stables, which was three stories tall, like the rest of the inn, though Alberich could not for a moment imagine what they would need three stories for.
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