Stolen by the Fae Prince

The third pin in the Tithe Gate lock would not seat, and it had ten minutes to learn how.

I worked by lantern-light, sleeves pushed to the elbow, one knee in the wet grass, my tool roll open on the stone where my grandfather had cut his initials and my father his, smaller, beneath them. The lock was older than both. Cold iron, black as well-water, worn smooth where three generations of Calloway hands had held it steady. My hands. Bare.

That was the thing nobody said aloud on Tithe Night. The rest of the year they said it as if they had decided not to fear it: Wren Calloway can hold cold iron and it holds still for her, isn't that luck. Iron that raised blisters on fae skin sat against my palm like a well-made tool — cold, honest weight, nothing more.

"Third pin's been sulky since spring," I said. "It'll seat. It just wants witnesses."

"You talk to locks more than people," Sera said behind me. She had brought tea, and her good shawl for me, because mine was under my knee keeping the mud off my skirt. Seventeen and fair where I was dark, with our mother's mouth and none of my caution. She set my cup out of the kick of my boot, looked at my hands on the iron, and did what everyone did: looked away quickly, at the hedge rearing over the gate, black thorn and last leaves.

"Don't watch my hands. Watch the road. If the lanterns come round the bend while I'm inside this lock, I need the count."

"Forty torches last year. You owe me a penny."

She grinned and went back to the cottage step. Our father came down the lane with the last tithe sack on his shoulder — barley, weighed twice, knotted with blue cord. Tomas Calloway, fifty-one, hands like knotted rope from thirty years of cartwrighting. He set it by the tithe-table: grain, gold in a box I had mended in August, and the name-scroll in oilcloth — names being the third thing the Dusk Court collected, and the only one that cost nothing to carry and everything to owe.

He looked at my hands inside the open lock. His mouth did the thing it had done for ten years whenever the past walked too close — it closed, like a door he was holding shut with his whole body.

"Your mother could seat that pin by feel," I said, because the silence needed filling and work was the only safe filler I owned. "In the dark. She showed me once, before—"

The sentence died. His hand tightened on the sack cord until the knuckles went pale, and he walked back to have the barley weighed a third time.

Elowen. He had not said her name in ten years. We said your mother, we said that night, and the name stayed in the walls like a draught.

The pin clicked under my pick, a tolerance worn a fraction too wide, and the sound did what it always did in a quiet place.

Click. A gate latch, ten years ago, in the dark past bedtime.

I was thirteen, and I had done everything right all autumn. That was the worst of it: I had been the good one, the careful one, the daughter who checked. The tithe that year had come and gone by supper. The gate was shut. The village slept. And I woke in the night certain — certain, in the way of thirteen, which admits no appeal — that I had left my mother's bone-handled knife on the far side, where she had been trimming the hedge at dusk. It would rust. Worse, she would know, and be disappointed, quietly, in the way I would rather have been shouted at than known by.

So I went down in my nightdress and stockings and lifted the latch, to look for a knife that was, of course, in the scullery all along. The hedge in the dark. The road beyond it that was not a road. The cold coming up through my stockings, and the understanding arriving all at once: some things you open cannot be shut by the hands that opened them.

My mother came out with a lantern and no shawl. She saw me. She saw the gate. She did not scream, because screaming would have brought the whole village to witness what the fae do with witnesses. She put herself between me and the road and said, quite calmly, "Wren. The latch—"

I never learned what came after the latch. The torches were already there, though no one had lit them. The tithe had a second coming that year, an uncalendared one, and it took her the way the tide takes what is left below the waterline: without hurry, as a price takes itself out of a sum.

Click. The pin, in my hands, in the present, refused its seat a second time.

"Come on," I told it, low. "Not tonight."

Everything in my life since had been built out of that sentence. I had apprenticed myself to every lock in the Hollow by fifteen, because a thing you understand completely cannot surprise you. People called it a gift and a trade. It was neither. It was a wall, maintained daily, by hand.

The pin seated. The sound went through my wrists into my teeth. I closed the lock's face, spun the latch-bar home, and tested it twice — open, shut, open, shut — because once is a hope and twice is a fact.

Then the cold changed.

It is a particular cold that comes off the far side of the Veil. It does not travel on the wind. It arrives in the teeth first, then the sternum. The lantern flame stood up straight and burned blue at the root, and every dog in the Hollow stopped mid-bark.

"Torches," the reeve called, unsteady. "Round the bend—"

"Forty," Sera called from our cottage step. "Forty-one. There's—" She stopped. I had already stopped listening, because I was doing what I always did when the fae came through the gate my hands had just shut.

I looked at hands.

Faces lie even when their owners are honest — glamour sees to that — but glamour is a lazy tailor. It finishes the face and does hands by habit, and hands are where the truth keeps its tools: nails like horn; ink ground into a tithe-collector's knuckles from three hundred years of name-scrolls.

They came through the gate in order, and I counted hands. The grain-takers: grey, competent, four-fingered. The gold-wardens in soft gloves, because even fae do not carry tithe-gold bare-handed past iron. The name-keeper last but one, tall as a door, ink to the elbow, his eyes going over the village the way mine go over a lock: professionally, and without love.

And behind him, off the tithe-road entirely, where no one of rank had ever walked — rank rode, rank was announced, rank did not put its boots in Ashford Hollow mud — a man came on foot through my gate, and the procession made a road for him the way water makes a road around a stone.

I did not look at his face first. I had trained myself better than that.

His hands were bare. Long-fingered, still, unringed except for one black band worn thin as wire. Human-looking, which meant nothing, except for this: across the back of the left hand were scars I recognised the way you recognise your own handwriting — iron scars, old, layered, earned by reaching for cold iron across a lifetime and paying the listed price every time.

Fae did not have iron scars. Fae avoided iron the way I avoided open gates. Whatever he was, he had spent a hundred years refusing to learn that lesson.

"Steady," my father said beside me. His voice had gone flat as a board over a well. "Don't draw the eye, Wren."

The name-keeper unrolled his scroll like a tablecloth at a funeral, and began the names — each household's eldest speaking the name given in tithe that year, the name that gave the Dusk Court its lawful call on one person's dreams until next autumn. A tax on sleep. You dreamed of thorns, and woke, and owed.

"Miller," he said. "One name, as assessed."

Old Miller stepped forward, cap in hands, and spoke his name, his wife's hand flat between his shoulder-blades to hold him in the world. Then the inked finger moved once more down the scroll, and stopped, and the silence changed flavour.

"The Miller household was assessed one name and a half-share, the half-share being a child of the house, presented. The child is not presented."

Every head came up. Miller's colour went. His boy — Eli, ten years old, all elbows, who had stolen my plums in August and confessed in September with the stones still in his pocket — was not by the table. Eli was up the lane by the chapel wall in the dark, because someone kind and merciful had hidden the child rather than put him in front of that scroll.

"A half-share unpresented is a debt unpresented," the name-keeper said, without heat. "The Court will take the forfeit in kind. Bring the child. His name will serve — in full, and permanently — until the assessment—"

"No," I said.

I heard myself from a slight distance, the way you hear a tool drop. My father's hand closed on my sleeve. The name-keeper looked at me the way a lock looks at a key that does not belong to it: assessing fit.

"You misunderstand—"

"I understand it exactly. It's a lock. Everything you people build is a lock. One and a half shares assessed, half unpresented, forfeit in kind. But the assessment's wrong."

"Wren." My father, through his teeth. "Don't draw the eye."

"The half-share was assessed on a household of five. Miller's mother died in March. The house is four — I mended their door the week of the funeral; I know whose shoes are by it. A dead woman's share doesn't descend to a ten-year-old. Reassess, and the debt is zero. It was always zero. You were going to take a child's name forever over an arithmetic error."

The inked hand did not move. Three hundred years of habit stood behind it: the scroll does not err, mortals do not correct the scroll before the whole—

"He is right to hesitate," said the man with the iron scars. "It is not his place to amend an assessment. It is mine."

He had not raised his voice. It did the work anyway. The table arranged itself around that voice like filings around a magnet, and I finally looked at his face, because I was no longer the person here most likely to be deceived. I was the person being decided about.

He was beautiful the way the hedge was beautiful — not a quality meant for my comfort. Black hair, rain-dark. Green-gold eyes with something tired standing far back in them: he looked thirty-one, and the tiredness looked a hundred. Still, the way deep water is still.

He was looking at my hands. Black with iron-dust, the pick across my fingers, the thin old scar across my left palm — earned at thirteen on a gate latch in the dark, the one that had never faded the way honest scars do.

Something went across his face that I had no file for. Not hunger; I know hunger's weight. This was worse. This was recognition.

"Amend the assessment," he said to the name-keeper, still watching me. "The Miller house owes one name. The child is exempt, tonight and permanently, and the dead are struck from the scroll." One breath's pause. "The Court apologises for the error."

The name-keeper bowed, ink and all, and drew his pen down the scroll. Eli Miller kept his name, and his mother made a sound into her hands.

"Now," the man said, and came around the tithe-table. My father stepped — Tomas Calloway, who had not raised his voice to the fae in ten years — bodily in front of me.

"Your Highness," my father said. Several people made the sound a crowd makes when a drop goes over the edge. "The tithe is paid. Grain, gold, names. There's no more owing in this house."

"There is not," the Prince said. "Your house owes the Court nothing. Let it be noted I said so before witnesses." He inclined his head, the courtesy you pay a man whose roof you are about to take the beams from. "What I do next is not a tithe. It is not lawful. I will not dress it in the scroll's clothing."

My father understood before I did. His hand closed on empty air where I had been, because I had already moved — around him, toward the gate, toward the one door in the world I could bar from the inside — and the Prince said, mildly:

"Miss Calloway. Your hands, if you please. Do not put them on the iron. I would rather not be scarred again this evening, and you have had enough of scars."

I put them on the iron anyway. Of course I did. Both palms flat, my weight against the latch-bar, my voice going — "You can't take people, it's not in the tithe, the whole village is witness—" and it was all true, and it did not matter, because he did not touch the gate. He touched me: one bare hand around my wrist where the pulse was, gently, the way you take hold of a tool you intend to return, the other at my back, and the iron under my palms went warm, and let go of me like a dog called off by its master.

He lifted me clean off the ground. My father shouted my name. Sera screamed it. I fought — elbows and heels and the pick still in my fist — until his voice said, close and unhurried, against my ear:

"Your house is under my word. Your sister keeps her name, her dreams, and her door. No tithe-collector of my court will call on Calloway again while I live. That is spoken before witnesses, and the Veil holds me to it."

The fighting went out of me the way heat goes out of iron — not all at once, and from the surface inward. I understood prices the way other girls understood weather, and a prince had just spent his own binding word like a coin, in public, on a cartwright's family. Men do not pay prices like that for nothing. The for nothing stopped my hands.

"What do you want my hands for?" I said.

"That," he said, "is a longer conversation than this gate allows."

He carried me through the Tithe Gate — the gate, the one I had left unlatched at thirteen, with my mother's voice still travelling toward me down ten years of dark — and on the far side the air changed, and the light changed, and Ashford Hollow went out behind me like a snuffed lantern.

The gate shut at my back the way a lock shuts when every pin seats at once — clean, final, satisfied — a sound I had made with my own hands all my life and had never once heard made by anyone else.

A lock I hadn't made. A lock I didn't know. A lock I was now on the inside of.