Rosemary and Rue

Pulling myself back from the veil of Evening’s memories, I dragged my fingers across the bloody carpet again. Key? What key? Her blood was bitter and sweet at the same time, and my eyes unfocused, sending me crashing back into the moments before Evening’s death.

The door slams open, but it doesn’t matter; they’re too late. I know that as I turn to face them, phone in my hand. It’s too late. October knows, and she’ll come to chase her answers to ground. They’re too late, too late to take the key, and she’ll find what’s been left for her to find, she’ll end this mockery at last . . .

A flash of memory that wasn’t mine cut across the images the blood was feeding me:

I was handing a key to a small winged figure—a sprite? Where did the sprite come from?—and it took a gift of blood from my palm, running a hand along the shallow cut I had opened there, and then it flew away, leaping out of my window with the key in its arms. And then I made a final phone call, summoned October, who would never understand, who would end this at last, and the door slammed open, and I screamed, and then . . .

Then the pain came.

Riding the memories of the dead is unpleasant at the best of times. Whatever they felt, you feel, and there’s always the risk you’ll hold on too long. Following them into death is like riding a roller coaster into hell: if you’re lucky you might come back, but you shouldn’t bet on it. I ripped myself out of her memories after the shots were fired, after her throat was slit, and just before her heart stopped.

I staggered to my feet and out of the apartment, shoving my way past the police. I made it halfway down the hall before my knees buckled. I grabbed the rim of the nearest decorative pot as I fell, retching. No amount of gagging was going to get the foul taste out of my mind. You ride the blood and you pay the price, and part of that is remembering whatever you set out to remember. You get to keep it and treasure knowing what death feels like for however long you live.

I’d ridden deaths before, and come through shaken but stable. But Evening . . . oh, rowan and ash, what they did to Evening.

There are a lot of ways to kill the fae. Most of the things that kill humans will kill us—I’ve yet to meet anyone short of a Manticore that could survive being hit by a train or wouldn’t be bothered by losing their head. Even so, there are ways of killing us that would make decapitation seem like a picnic, and the worst is death by iron. It kills the magic, then the mind, and finally the body. It’s the great leveler, the one thing that can kill anyone. Death by iron is slow, painful, and all too often inevitable.

And the bastards killed her with it. It wasn’t enough that they’d invaded her privacy and ended her life: they had to make a show of it. What could she possibly have done to deserve that?

A cop walked by, heading for the apartment, and muttered, “Rookie,” as he passed. I’d obviously hit him before, and he was still seeing me as whatever he wanted to see; good. The last thing I needed was questions about why I was kneeling outside a murder scene covered in blood when my head was still spinning.

Even inside Evening’s memory, I hadn’t seen her killers. They’d somehow managed to keep themselves out of sight, or had erased themselves from the blood before they went. I didn’t know if that was possible, but I couldn’t discount it. These people were dangerous, and this was bigger than murder: someone used iron to end a life. Not just any life, either. The purebloods might have looked the other way if it had been a changeling, called it a “reprehensible affair” and left it alone . . . but Evening was one of them, born under the hills when mankind still thought fire was a neat new idea. The purebloods have their failings, but they look out for their own.

If I didn’t move quickly, things were going to explode.





FIVE