The Killing Moon (Dreamblood #1)(86)

He and Tehemau slip into the corridor and run from one drape and flowering vase to another. Ahead is the solarium where usually they can find several of their mothers lounging on couches and cushions, chatting or playing dicing games, drawing letters or checking over figuring scrolls. A place of busy peace. Instead they find the aftermath of chaos—tables and couches overturned, cushions thrown to the floor, dice scattered. Tehemau starts to call out for his mother and Ehiru shushes him instinctively. They hear another scream nearby, followed by something stranger—sharp men’s voices, deeper and rougher than those of the eunuchs who normally serve in the Prince’s springtime palace. The palace guards are never allowed inside unless their father has come to visit. Is that what has happened? But if so then why do the men sound angry?

They peer around the corner and see:

Two of their mothers lie on the floor, unmoving, their fine clothing dark with spreading blood. Another cringes on a couch nearby, nearly gibbering as she asks why why why? The soldiers ignore her. They are arguing among themselves. One of them wants to spare her—“long enough to enjoy”—but the others are insisting that they follow orders. The argument ends abruptly when one of the men spits on the floor and thrusts his sword through the mother’s throat. She stops gibbering and stares at him in surprise, blood bubbling over her lips. Then she sags backward.

Tehemau screams. The soldiers see them.

Tehemau gets farther than Ehiru because his legs are longer. One soldier grabs Ehiru by his sidelock and yanks him backward so hard that his vision blurs; he cries out and falls. Fear slows all that follows. Through a haze of pain-tears he sees another soldier tackle Tehemau to the ground, cursing as the boy struggles wildly. When the soldier draws his knife it catches light from the colored lanterns. So does Tehemau’s blood, arcing forth and spreading over the marble after the soldier draws the knife across his throat.

Ehiru does not cry out—not even when the soldier dragging him stops and draws his own knife. It curves gracefully upward, casting blurred rainbows like the Dreaming Moon.

“Wait,” says one of the other men, catching the hand that holds the knife.

“I thought you wanted a woman?” laughs the one that holds Ehiru.

“No, look.” The soldier points and another makes an exclamation of surprise and Ehiru knows that they have seen the Hetawa’s pendant dangling around his neck.

“Take him to the captain,” says the first. The one holding him sheathes his knife and hauls Ehiru up by his hair.

“Try to escape and I’ll kill you anyway,” he says. Ehiru hears but does not respond. His eyes are locked on Tehemau, who has stopped moving now. Tehemau has wet himself again, Ehiru notices. Through the fear he feels sorrow, for wherever his soul has gone now, Tehemau is probably ashamed.

The soldiers drag Ehiru through the corridors where his mothers’ talk and music once echoed, intermingled with his siblings’ chatter and play. Now the corridors are filled with the sounds and smells of death. The scenes drift past slowly, like so many minstrel plays. In the corridor he sees several of his oldest brothers dead. Tiyesset lies facedown among them with a broken lantern pole in his hands, a warrior to the end. As they pass the atrium garden Ehiru can hear strange grunting sounds; through the leaves he sees one of his mothers struggling beneath a soldier who is hurting, but not killing, her. Ehiru’s soldiers see this and resume their bickering as they drag him along. They pass one of the girls’ sleeping chambers and there Ehiru sees many bodies. It was their screaming that woke Ehiru and his brothers.

At last they reach the grand hall. Here the soldiers stop before a man who wears more red and gold than they do. The man stoops to examine Ehiru’s pendant.

“He is not yours!” cries a voice, and this one wakes Ehiru from his stupor. His own mother. He turns, ignoring the pain this causes his scalp, to see her emerge from a side-corridor. She wears a brightly colored brocade wrap and the gold-amber necklace that Ehiru’s father gave her; she is regal and unafraid. Soldiers immediately take her by the arms, dragging her forward. She barely seems to notice their presence. “I have given my son to the Hetawa,” she declares to the captain. “Harm him and risk the Goddess’s own wrath.”

The captain scowls at this and orders the men to kill her.

The world slows again. Two knives go into her at breast and belly, then again at neck and side. The men step back. Ehiru lunges forward, not caring if he loses his scalp, but fortunately the soldier’s grip has loosened and he slips free only a few hairs the less. He reaches her as she falls, stumbling in his effort to catch her, and failing. She lands hard enough to bounce but then lies still, her hands drifting to the floor at her sides, her eyes fixing on his. She is smiling. He skids to his knees beside her, the floor is slippery with her blood, her wrap clings to his hands when he takes hold of it in an effort to pull her upright.

“Do not weep,” she whispers. Blood is on her lips. He screams something; he does not know what. “Do not weep,” she commands again. She lifts her hand to touch his face, drawing a wet line down one cheek. “This is how it must be. You will be safe now; Hananja Herself will protect you. You are Her son now.”

And then she stops talking. Her hand drops. Her eyes are still fixed on his, but different somehow. He is still screaming when the soldiers drag him back; they ignore him. They are upset, frightened for some reason.