BLOODBOUND The Four Moons Rising

POV: Rose

The summons arrives at dawn, slipped under the front door while my mother and I are still pretending to sleep. I hear it — the soft rasp of paper on stone — and I lie still for three more seconds before I get up.

My mother is already in the doorway when I open mine. She has the document in her hands, and her face is doing the thing it does when she is frightened — this careful emptying, like she is draining herself of expression so I will not see how bad it is. I have been reading that face my whole life. I see exactly how bad it is.

Rose, she says.

I know, I say. I take the summons from her and read it twice. The language is formal, flowery, dressed up in the vocabulary of honour and opportunity. Underneath the dress, it says: you have no choice. I fold it along its original crease and set it on the table. I will pack light.

You cannot go. Her voice cracks on the last word. She seals it quickly, but I heard it.

The alternative is — I begin.

I know what the alternative is. She looks away, toward the window where the morning is coming in grey and thin. I know.

I pack light. Two changes of clothes, my mother's old reading glass, and the small knife I have carried since I was fifteen — thin enough to hide in a boot seam, sharp enough to matter. I do not tell her about the knife. She would ask me to leave it, and I would have to refuse her, and we do not have time for that conversation.

The royal escort is waiting in the lane by the time I come downstairs. Three guards in palace livery, impersonal and clean, like furniture that happens to breathe. One of them takes my bag without asking. I let him. I have already memorised his height, his dominant hand, and the way he holds his shoulders slightly forward. Old habit.

My mother stands in the doorway. I hug her once, briefly, because she needs it and because if I hold on too long I will not let go. I tell her I will be back. She nods. We both know I might be lying.

The carriage already has three occupants when I climb in. I take the last seat and catalogue them the way I catalogue everything: quickly, quietly, without appearing to.

The girl nearest the window is already talking. Mira, she introduces herself — mid-pack family, bright nervous energy, the kind of person who fills silence because silence frightens her. She asks my name, my pack, and whether I have ever been to Ironmoor. Three questions in the first two minutes. I answer all of them and ask her one in return — what made you enter the Selection — and she tells me more than she intended to. Her father's debts. Her mother's illness. The prize money that would fix both. She looks embarrassed after, like she has realised she said too much.

Do not worry about it, I tell her. It is the truth. I am not going to use it against her. I am just going to remember it.

The second girl is Selene. Polished, mid-twenties, upper-pack by her clothes and the particular way she holds herself, like she is always slightly above whatever room she is in. She introduces herself with her full name and territorial affiliation, which tells me she thinks those things matter here. She might be right. She gives me a look that is almost friendly and entirely assessing. I give her one back and watch her recalibrate.

The third girl does not introduce herself. She sits with her hands folded in her lap and her eyes on the window, and after a while, I realise she is not being unfriendly — she is doing exactly what I am doing, which is watching. I ask her name eventually, and she says Petra, without elaboration, and goes back to the window. I decide I am cautiously interested in her.

Ironmoor appears on the horizon two hours before we reach it, which tells you something about its scale. Black volcanic rock, towers that catch the light wrong, walls that look like they were grown rather than built. It is overwhelming and I let myself feel that for exactly thirty seconds, then I file it and focus.

The Cradle is where they put us — a residence inside the palace complex, separate from the main building. Beautiful in the way that things designed to contain you are often beautiful. High ceilings. Good linen. Windows with no latches on the inside. I identify the guards' shift rotation within an hour of arrival. I find the blind spot in the eastern corridor before dinner.

They dress us that evening. A stylist moves around me with professional efficiency until she reaches my collar — a high, close-fitting thing I have worn since I was sixteen, always, in every season. Her hands pause.

I will need to — she begins.

You will not, I say, pleasantly. Not aggressively. Just a door, closed.

She hesitates, then moves on. A small victory. A larger reminder that every person in this building is watching for something, even when they look like they are only doing their job.

The briefing before the presentation ceremony is conducted by a palace official named Voss, middle-aged, careful, the kind of man who has delivered this speech many times and has learned to say nothing while using many words. He covers the Selection's purpose, its timeline, its protocols. Thirty days. One chosen candidate. Bonding ceremony to follow.

The previous Selection, I say when he pauses. That was four years ago?

A beat. Small, but I catch it. Voss says the heir passed unexpectedly, and His Majesty felt it appropriate to begin again.

Of course, I say, and I smile and let him move on.

Four years. Not twenty, which is customary. The heir's death. I file this next to the thing I found when I first arrived — running my hand under the wardrobe shelf out of pure habit, the same way I check under every surface in every unfamiliar space. A name, scratched into the wood in small, careful letters. Not carved in a moment of boredom. Carved deliberately, like a message from someone who knew she would not be coming back to deliver it herself.

LYSA.

I do not know who she was. I know I cannot ask without revealing I found it, and I know I cannot ignore it, and I know these two facts are going to sit under every moment of the next thirty days like water under ice.

The doors to the presentation hall open. I square my shoulders and walk in.

Four men stand in a line facing the throne. I give them the same sweep I give everything — fast, thorough, logging. The one at the far left is dark-eyed, jaw set like a wall, standing with the stillness of someone who has learned that stillness is its own kind of power. I am still taking him in when he turns his head.

He looks directly at me. Not in the group. At me.

His nostrils flare once, barely perceptibly. Then his expression closes — a door swung shut — and he looks away.

Something in my chest pulls so hard I almost miss a step. I do not miss the step. But for a moment the room tilts, and I understand, with the clarity of something I have been afraid of for a very long time, exactly what just happened.

He felt it too.

I think: I am in so much trouble.

I keep walking. I smile at the King. I take my place in line and I breathe, slow and even, and I do not look at the man at the far end of the row again. Not yet.