The Pretender's Crown (7 page)

“They must be,” Tomas responds with a regretful clarity. “They must, my lord. I've seen what you can do, and you cannot trust a man of the church to hold a secret of witchcraft.”

“No, not any man,” Javier agrees. “Not any man, but I can trust you, can I not, Tomas?” Suddenly his voice seems both much farther away and much more intimate, as though he speaks into an echoing cave, but whispers promises of desire. His gaze is locked on Tomas's, and there is an expectation in his eyes.

Tomas has never seen anything like it, is not sure he wishes to now see it, but it brings a pulse up in his throat, high and fast as a butterfly's wings. He is damaged, his body a thing of betrayals, but those betrayals die beneath an exposure of new failings: it seems that every fibre of his being responds to Javier's eyes. There is blood in Tomas's mouth; with that taste so clear, it is wrong that his cock should jolt to erection, that a sting of want should turn his belly molten and his knees weak, for all that there's no weight on them. Hot silver in Javier's gaze demands everything and promises nothing, but for that promise, Tomas fears he would do anything.

Inexorable will is in the weight of that look. The command is all but spoken in Tomas's mind:
you will not speak of this. My secret is yours to keep and you shall not betray me.
It is as though God has offered a single searing touch, and Tomas trembles with it.

Then protest whispers in the back of his mind: God is a kind
God, and has given unto Man free will. It is not God's intention that one man should seize another's mind with his heated and hungry gaze and charge him hold his tongue on secrets of deviltry. Tomas catches his breath, tastes blood, pleads for God's strength, and rallies against the Gallic king's call.

Confidence fills him, soft and warm, soothing all the aches of his body. The taste of blood fades, and the jutting desire in his loins lessens. Such is the power of faith; such is the power of God. Javier falters, astonishment replacing expectation in his face. For a heady moment Tomas understands that he and this young king
are
equals, in God's eyes if not in man's, and that understanding fills him with joy.

Then new things come into Javier's expression, and with the first of those things, with the devastating hope that lights Javier's eyes, Tomas's heart catches. God is good and God is kind, but God is not kneeling at his side in all-too-mortal glory looking at him as though he might be a saviour himself. He tries to sit up, but his arm fails him, denying an urge to capture the king in his arms and make a promise of his own, that somehow all will yet be well.

Before he rallies, hope sluices from Javier's face, and after it washes anger, fear, desperation, all the sentiments of a man who has been deluded by hope in the past. Tomas, lying so close, can feel the change in Javier's body, the staunch clenching of muscle that precedes an onslaught of will, as though domination of his physical aspect can lend strength to his desires.

And perhaps it can, for though Tomas whispers “Don't” it's too late. The gentle assurance of God's love fails beneath mortal demand. He reaches for it, scrabbles in the confines of his own mind and arches his body to remain close, but Javier's determination cascades into its place. Under that princely power, the arch of his body becomes something else entirely, a sensual act, and now, only now, does Javier catch Tomas in his arms after all. He is hot, his heart crashing through his shirt as his chest presses against Tomas's, and there is fire where they touch, wanton liquid flame.

Nothing should soften in Tomas, nothing should acquiesce, and yet his will bends beneath Javier's. He feels Javier's breath on his lips as the king whispers a benediction that is also a damnation: “I will
not see you come to harm, priest, but I cannot let your tongue run loose, for my own sake, for my people's sake, for the sake of my sweet murdered mother. You must be mine, and may God have mercy on us both.”

God, for the first time in Tomas's life, is very far away.

25 January 1588
†
Khazan, capital of Khazar, north and east of Echon

A pigeon arrived in the night.

Ivanova knows this almost before she's awake: there are sounds of bustle and hurry in the palace that only come when dire news has arrived. The last time was Gregori Kapnist's death, but only a coach had been sent then, not pigeons. Lying quietly amongst blankets, she wonders what it is that makes her certain of the birds. It's something in the rise and fall of voices, or perhaps she caught a word or two while still asleep.

The palace courtiers consider her too young to be regarded with much import. They're wrong, of course: Ivanova is fourteen, and heir to the vast Khazarian empire. Whatever news has come in the night, she'll be apprised of it, either by her mother, the beautiful imperatrix, or by the hawk-nosed priest who is her mother's closest advisor. Ivanova likes Dmitri: he is cool and cutting and spares her none of his wit, and he seems to look on her with expectation and respect. He appears tremendously aware that she'll hold the throne, and so regards each day and every decision as a test for her to pass or fail.

Ivanova is quite proud of the fact that she rarely fails. Her mother is even prouder. Dmitri, though, shows no pride, only a sort of innate satisfaction, as if she does precisely as he imagines she will, nothing more or less.

There are moments when she is so pleased by this that she considers sharing her secrets with the priest, but of course she never does. She is young, not stupid.

“My lady.” The door opens with a rush of cooler air from the hall, and a fussed maid scurries in, throwing back covers and stoking the fire and laying Ivanova's clothes out all in a mad dash of energy
that leaves Ivanova hiding her giggles behind the blanket. She's been told tales of whirlwinds, gusts of twisting air, some so powerful as to pick up beasts of burden and throw them elsewhere. Ivanova thinks this woman must be a whirlwind personified. Even when the day is calm and steady, she believes everything must be done
now
, or better yet, the half hour past. She's Ivanova's favourite maid, and someday this whirlwind of a woman will become one of her ladies-in-waiting, the circle of women who advise an imperatrix whether the men around them realise it or not.

So Ivanova is dressed and out the door with a piece of bread to tide her until the morning meal, having been told for certain that there was a pigeon, that the maid doesn't know its business for surely it's none of hers, and that the imperatrix would see her at the counsel chamber with all due haste.

Truthfully, Irina doesn't expect to see her at all. Bread fisted in her hand as if she were a child, Ivanova scoops up her skirts and goes flying pell-mell through the palace halls, skidding around corners and shooting breathless smiles toward those she nearly overruns. There's a reason they think her unworthy, but her appearance as a knowledgeable player within the court will come as that much more of a surprise, take that many more people off-guard, and will allow both herself and her mother to see who adapts, who resists, and who becomes sycophantic. Ivanova's fifteen birthday is six months away, and she expects to enter the court a woman that day. Until then, she will make full advantage of sliding down banisters and taking corners like a racing hound.

A few minutes later she nestles herself into the listening nook above the counsel chamber. Tapestries hide her from view, which is just as well: the cosy little space isn't supposed to be there, and is reachable only through Irina's own rooms. The imperatrix has long since given Ivanova a key, so she might learn the ways of court in a more subtle way than Irina herself did.
She
was married young to ferocious bearded Feodor, Ivanova's unlamented father;
she
learned the tricks and manners of politics in a public forum, finding herself holding the reins of the empire while Feodor raced off on horseback to expand it.

Ivanova knows his portraits, paintings of a big barrel-chested
man with little fierce black eyes and wild black hair. She thinks she resembles him more than she does her stunning mother, though Irina's delicacy has blunted the worst of Feodor's roughness. Ivanova's eyes are larger, and green instead of black, but she has the same impossible hair, always out of control, and she imagines that, bearded, she would be her father's slighter ghost. She is grateful the thickness of Feodor's nose had been tempered by Irina's fine features, and is too aware that the tempering has left more hawkishness to her face than she might have liked.

On the other hand, she's seen portraits of herself, too, painted in anticipation of marriage negotiations, and if she grows into the girl the artists portrayed, she will count herself well-satisfied. It is not vanity, but practicality: her mother is beautiful, and Ivanova sees how men and women alike respond to that. Irina has held her throne for over a decade; a plain woman would have a harder time reigning unchallenged.

Ivanova, of course, will marry, whether she wishes to or not. Lorraine, on Aulun's throne far to the west, makes example of why a monarch must wed: the woman called the Titian Bitch is old now, without an heir, and ravens circle her throne, waiting for her death and a chance to pick away at her kingdom. Ivanova has no intention of allowing the same to happen in Khazar.

Voices lift in the room below, muffled by the tapestries that hide her, but Ivanova is accustomed to deciphering what's said through the heavy woven cloth. After a moment her mother cuts in, not so much loud as very firm, and male arguments fade away.

“There is no treaty,” Irina says, calmly. Wonderfully calm: her unflappability as much as her beauty, helps keep her court in rein. “It was negotiated with Sandalia, and Sandalia is dead. There will be new negotiations with Javier.”

“If he'll listen,” a man snaps. “The second pigeon says Akilina was found with Sandalia's body. He may well think her the murderer.”

Ivanova's heart seizes and she realises she's crushing the unfortunate bread in her hand. She puts it aside and leans toward the chamber below, as though a few scant inches of closeness might fill in all the details she's missed so far.

Sandalia is dead, murdered in Lutetia.
Ivanova knows that Irina has offered cautious treaties to Gallin and Aulun alike, and that she negotiates with Rodrigo in Essandia through slow-carried missives and hints of flirtatiousness. Neither Rodrigo nor Irina wishes to marry, but a nod toward conventionality must be made to keep the people happy and in gossip, if nothing else. It's a lesson Ivanova intends to take to heart.

If she's given the chance. Eyes closed, she listens to the discussion below; to Irina's dismissal of Akilina's potential hand in the Gallic queen's death; to the weight of what it means that there are papers missing, papers negotiated in Irina's name and signed by Sandalia and Irina's emissary Akilina Pankejeff. Those papers are a breath away from committing Khazarian troops to a war against Aulun, but that breath is what's important: Irina's hand has not signed them, and she is too astute a statesman to do other than express surprise should those papers come to light. It is well-known, after all, that Irina looks favourably on Aulun and its navy—

It is
not
well-known, someone protests; barely a six-month ago Irina dismissed Robert Drake with apologies for fearing Cordula's strength and a refusal to ally herself with Aulun and its heathen Reformation church.

A silence fills the chambers below, even Irina quieting at the reminder. Ivanova remembers the day; she discussed her mother's wardrobe with Irina that morning. Irina's words had said one thing to Robert, but her gown had been of Aulunian make and style, a gift from Lorraine on Ivanova's birth. On such subtleties were covert relationships built, details that hint of support without making it too obvious.

The problem, of course, is that subtleties are rather overshadowed by pieces of actual paper promising troops to a rival kingdom.

“Well,” Irina eventually says, “if we lose the game with Aulun, so be it. All we can offer Lorraine is troops. We can do rather better for Javier de Castille.”

Nerves flutter in Ivanova's belly, making her both aware of her hunger and grateful she hasn't eaten the bread, for fear it might come back up again. Her heartbeat feels light and fast, as though it
might wing its way out of her chest. She can anticipate the next words; can anticipate that they're why she's been summoned to listen in on this conversation between her mother and her advisers.

“Your majesty—”

“We know your objection already and understand it. Ivanova is our only heir, and we would not see her away from Khazar, sitting on another's throne while some regent or ambitious nobleman reached for imperial heights. Regardless of our intentions, however, she is a bargaining piece. She's young, pretty, and heir to an empire with inexhaustible resources. Javier would be a fool to refuse her, even if his own intentions go no further than the interim. What we have heard of him suggests he lacks ambition, not wit.”

Ivanova hears every word clearly, but she is fourteen and cannot help herself: her imagination leaps forward to her wedding day. Khazarian wedding garb is splendid, so encrusted with gold and pearls as to be almost too heavy to stand in. Javier would wear a fashion of his own country, but perhaps they would find a way to make the two meet, some subtlety woven into the wear of two cultures. He is handsome, at least from his portraits, though very pale. In wedding white he might look a ghost at her side, but then, as Irina has pointed out, he's known to lack ambition.

That is not a failure Ivanova shares. Even at fourteen, even chasing down fanciful futures, she does not object to the idea of a prince, a king, a husband, who can be shaped to her will. Indeed, it is best if he can be, because Ivanova intends to rule as her mother has done; as the great queens of Echon have done for far longer than the span of her own years.

Breath held with anticipation, Ivanova settles back down against the tapestry to listen and dream while her mother sends envoys to Gallin, to Essandia, and to Aulun.