[There's a hiss at the offered plague meat, disgusted and absolutely refusing the offer. Fae food? Bad. Plague flesh? Worst idea he's ever heard. The little bat tries to make itself so very small, tries to withdraw from the moths entirely.
This hunt is over. That does not fix the whole night. That does not fix the vampire's intense discomfort at the scene as it has played out before him, and he says that as something that understands and has seen the horrors of night things. This discomforts in a way that Alucard didn't know he could be rattled before, and he knows it's from the old magic and from the nature of departure from humanity that he hasn't witnessed. Vampires make sense. Night things make sense.
The logic here doesn't.]
You know about night things. So you must know that vampires are territorial things, especially with regards to their kin, yes? That they demand exacting permissions?
[It's the easiest, politest way to tell the fae that to keep saying the word husband is a bad choice.]
[ He considers this, looking at the meat before tossing it to one of the hounds. Best not to eat it, if his husband dislikes it so much. It would make kissing uncomfortable. The moths finally, finally leave Alucard be, crawling back into Trevor's injured arm as he pets Alucard softly with the whole one. ]
A dowry, then. [ He says, thoughtfully, as he slowly leads his hart away from the group. Alucard doesn't really seem like he wants to meet his sisters. Which is sad, because he very much wants to show off his new husband. But it would hardly be worth showing off a husband that he couldn't make happy. ] My sisters were never asked for dowries for their wives and husbands, but you are more handsome than any of theirs. That seems fair.
[ He tilts his head, because why would he ever ask permission? Alucard stabbed him, he has the right to demand whatever he pleases in return. And asking permission isn't exactly something that vampires are known for either, in his own experience. After a little thought, he shrugs. Vampires are strange. It probably isn't important. ]
I will pay. All will be well, all will be well.
[ As if this was Alucard's actual concern and he's done a good job of fixing it, he pulls the bat from his collar and holds cups him in his hands, bringing him up to softly press his forehead against Alucard's tiny fluffy one in this continuing unsuccessful efforts to make his husband calmer. ]
Leon said I was too young to take a husband when we first met, so I waited until I could find you again. I can wait a little longer, until I can pay your kin.
[ He does, actually, pull back when Alucard flinches. He'll try something else before long, but he just puts Alucard back onto his collar for now. ]
Where should I take you? [ He asks again, maybe a little impatient for kissing now. Maybe that will help? Surely kissing will make his husband happy! ]
[ Trevor does have to give this some thought. It's hard to say where would be safe without knowing where the vampire's home is, which he's stubbornly refusing to tell him. He knows only one place, and- suffice to say that his own definition of 'immediate area' is different from Alucard's. He places both hands on the antlers of his hart, and after far too short a ride they're at the old, now abandoned building of the clinic in Lupu.
It's overgrown, wildly so, and nobody seems to have claimed it in the time since the Tepes family left it. Nobody seems to have even come close to it, the door and windows still intact and everything inside as it was left. Exactly as it was left, free of dust or decay, the windows clean and the flowers on the table still fresh.
(Not all cages, Dracula will inform him later, are made of metal.) ]
You shouldn't need to go inside. [ He says, before anything else. There. A non-cage option. He's doing so good at providing for his husband's bizarre needs. ] The garden was yours, before. It ought to be safe.
[ An awkward pause. ]
I can't go into the garden if you don't let me. So-
[ He rubs the back of his neck. Alucard has to either do kissing before he enters the garden, or invite Trevor into it with him. ]
[Lupu is not the immediate area. It is the extreme opposite of that and it is even farther than where the castle is right now. But there is a good part of all of this, and that is the fact that the home of Lupu is alarmed. Crossing any part of the threshold means his father will be alerted to his son’s presence, and is more than likely to come rushing. It is a scant comfort, as there will be great fury as a result, but it’s worth it. He’ll be safe. Away from all of this. Curled up and warm.
Alucard breathes out in relief to see the place though, and within a blink he’s human again. He dusts himself off, and reminds himself that among other things, he will most certaintly be asking his parents to ensure he hasn’t caught plague by accident.
But he has at least one thing to do before all of that, and that is this stupid debt. He’s sour as he turns to face Trevor, all tension and warriness as his eyes meet that of the fae.]
I appreciate your assistance tonight. That much is a truth.
[He resents it, yes, but cannot deny that it has seen the vampire through. So for that, there is a very quick press of lips of Trevor’s left cheek (deliberate), and then the vampire withdraws, standing up to his full height and expression cold and impassive.]
[ It is not, perhaps, everything he hoped for. He wants to pull Alucard into an embrace, wrap his wings around him, hold onto his husband for a little longer.
But it is still more than enough. Trevor beams when Alucard abruptly withdraws, catching his hands to hold them for only a few seconds, overjoyed. ]
Of course. [ He sounds awestruck, almost, as he lets go of Alucard's hands. ] My dearest love.
[ And he does back away a few steps after that. He got his kissu, he's happy now. ]
[Alucard’s face is still stone faced when Trevor speaks. The endearment bounces off him, because of course it does. He has both of his hands available to him, and the one closest to the door knob moves there. The lock clicks open, recognizing one of the few people allowed to step foot within the house itself.]
Resume your hunt then.
[He isn’t sure what else to do. How to go about getting his space back.]
[ He nods, and then remembers one last thing before he goes. Alucard was upset about the lock of hair, wasn't he?
He fumbles about for a moment (there can't be pockets on the inside of his wings, and yet that's where he's searching) before producing it, the lock of golden hair, tied with a blade of grass. And he puts it on the ground. There. Returned. Even though he liked it very much. He's pleased with himself for being such a good husband. ]
Until we next meet.
[ And then he is gone, along with the hart, still giddy about the kiss. ]
[Alucard picks up the lock of his own hair and pockets it immediately. That feels like a hard won victory of sorts, and one that really does surprise him if the look he gives Trevor is anything to go by. There’s a real surprise there, and maybe he’s touched that a part of his discomfort got through.
But that expression fades, and soon enough Alucard returns to the interior of his childhood home. That? That is safe. Safe as a dark smoke fills up the place as the door clicks shut, and as some sort of rattling begins from within. There’s a far darker voice that begins an intonation then...stops.
Like that, the smoke is gone. Alucard is gone, dragged by his father’s own magic back to the castle where it is safe. Beyond safe, for only one person has ever made it to the doors of the castle on purpose, such is the miracle of the ever moving castle.
Dracula is not happy when his son explains the events of the night. Of the Hunt, the fae, and the panther that tried to drag his son into its jaws. (The panther is of a different worry than the fae.) And so when all is said and done, there is an agreement. Alucard will retrieve the books tomorrow night with his father, learning to travel not as men do. After that though, it may be best to stay in the castle for a time. Until the New Year, perhaps, giving the fae time to forget and for Dracula to create new defenses. It is a price Alucard dislikes, but he doesn’t doubt the intentions of his father. The fae? The fae he doubts very much.]
[ The next night, the cave is not as Alucard left it. The books are there, yes, but so are a selection of other things. Products of hunts, mostly, furs and bottles of blood and jars of bonemeal.
The next attempt to pay the dowry comes a few weeks later, and the bats of the cave fly to alert Alucard and his father that the horned hunter returned to their cave. This time, when Dracula investigates, there are more books. Or attempts at book-like things. There are shopping lists, letters, a few actual books, a rectangular piece of wood that maybe kind of looks like a book if one squints and a wooden carved printing block. The cave is warded against the fairy, using the blood he left on Alucard's coat, after that, and the next set of gifts comes around yule and is left at the very edge of the wards, more desperate this time. More furs, from larger and fiercer creatures. Bottles of things that should not be in bottles, one containing one of those clumps of memory and another letting out birdsong when opened. Medicinal plants. Antlers that, if Alucard sees them, look uncomfortably similar to Trevor's own.
And then the gifts stop, and they do not resume. It's spring by the time a speaker comes to Lisa's clinic by cover of darkness. Their caravan is unwelcome even on the outskirts of the village proper, so they cannot bring their injured member to the clinic. They ask that medicine be brought to them and promise to pay as best they can. ]
[The very first return to the cave is enough to rattle Alucard. Dracula does not seem to share the sentiment, but as the offerings continue, the wards begin to have messages embedded in them, becoming more and more explicit in their disapproval. By the end of all of it, there is only the following weaved into the wards. You cannot buy my son, and you do not have my permission to have him.
That it seems to work does not put either at ease. Alucard is sure that the sudden stop of gifts means that something has happened, but fae can be old. Just like vampires. Even if there’s been an incident, it’s only a matter of time.
He does other things in the winter. Improves the printing press that his father has started, a beautiful and automated thing far more effective than anything else being created. In doing so, there is a single book published. His mother’s work, billed as Advice of a midwife for all manner of ailments. Anonymously published and now well selling, and god willing a life saver for more than a few women.
When the speakers come, Lisa herself is under the weather. Alucard offers to run the errand, and that is only because there have been enough wards placed on him to hide him from the sight of fae.
He enters the speakers camp with medicine, a chain of cold iron in his pocket that ought to keep all prying eyes of such things away.]
[ The speakers are grateful. They offer payment in the form of herbs and their own crafts, fur blankets and bone hair combs and instruments - far more of them than other caravans might have, and it's only as Alucard leaves the wagon where their sickly member rests that he hears the argument, so far as it is an argument at all. A stern female voice trying to convince someone to calm down and- ]
He's here. My husband. I want to see him. Let me see him. [ And the next word comes out awkwardly, as if something freshly learned. ] Please let me see him.
[ Sure enough, antlers still only half-grown back, Trevor is there. He looks about wildly, eyes moving over Alucard several times but never managing to rest on him. His wings flick about in agitation, and the woman seems very insistent that he not do that where the outsider can see. ]
[Alucard insists that the speakers not worry about payment. We can afford it, please, and I would rather ask after a particular story in return. I’ve heard murmurs in Europe about more witches being tried and burnt, how true is--?
He has to stop. Hearing Trevor’s voice puts him on immediate guard, and the speakers notice it too. Alucard doesn’t ask if they have fae among them. He knows. The sudden change in his demeanor helps no one either, because the speakers know exactly whose son he is. Have known since he first entered the camp, but Lisa’s kindness has far outweighed his father’s cruelty for the past twenty two years.]
Travel with that thing carefully.
[It’s said softly, out of genuine concern more than anything else. Alucard pulls his coat tighter around himself, then resumes the questions he has of witches in Europe, and how badly the public sees it as a threat.
His eyes dart to the sound of Trevor’s voice every so often though, discomfort well hidden under his usual composure.]
[ The eldest of the speakers tuts over 'that thing', but nods. He calls his granddaughter over to help with giving information, and the woman with Trevor approaches, Trevor himself in tow as she tells him to settle down and check her information is correct.
And instructions are instructions, so he raises his head and concentrates, sniffing the air for burned man-flesh and misplaced justice. It's a little difficult, with his antlers cropped like this, but both are terribly distinctive smells. Before long he's mid-squabble with the speaker woman about whether or not Arelat still exists (it hasn't in a century, but his kind never cared much about borders. It's a wonder, a wonder and perhaps Leon's centuries-out-of-date influence, he knows it existed in the first place). With some effort between them, the speaker woman manages to give Alucard a fairly complete list of witch burnings and their probable locations.
Trevor grows more and more agitated and confused as this goes on, though. All of the speakers are conversing with someone who doesn't exist, and he doesn't like that at all. Eventually the woman scolds him again, telling him to calm down, and he does immediately. ]
[The cold iron and it’s wards work. That is the best thing that can be said in all of this, and Alucard grips the link of chain that rests heavy in his coat pocket for some time. There is guilt that the fae seems genuinely distressed about the matter, and his antlers unsettle Alucard more than he’d care to admit. (He did not see what was left at Yule. His father has put all of those things away, deep in the castle and under so much more iron. The antlers provided help in crafting the ward.)
His face is grim by the end of all of this, but he thanks the speakers all the same. The information is important. It keeps people safe, and he hopes that they’ll be careful as well.
It is only then that he turns to the young woman that has clearly been the one arguing with the fae, the one who he actually seems to listen to, and with that, Alucard is far more quiet and concerned.]
How is it that you’re controlling that fae right now?
[ The speaker seems a little confused by the question - she is kind, and it it wouldn't even occur to her that she could do something like controlling someone against their will. And so it seems a terribly obvious thing, really. Trevor has realised by now that there is someone here he cannot see, and is instead sniffing at the air. ]
We are helping him with a hunt, and he is trading work for our aid.
[Alucard frowns at that. He wants to know what the fae is hunting, but there's something else far more important. He looks to the speaker, and while he can't explain the full of the sitution, he knows it will become apparent very soon.]
He has made unwanted advances towards me in the past, assuming the ways of his kind means that he can declare without consideration of consequences. [Kidnapping Dracula's son is a bad life choice.] With your permission, I'd like to speak with him. If not, I'll depart without any further protest and you will have my gratitude for years to come.
Oh, you must be- [ She just about manages to hold back from chuckling, and only then because it rather sounds like Alucard was not entirely accepting of this 'husband' business. Someone's been telling speakers ALL ABOUT HIS WONDERFUL HUSBAND. ] Trevor, our guest wants to speak to you.
Sounds kind of fucking difficult. [ He grumbles. ] Can you make me hear them, at least? Not going to be much of a conversation otherwise.
Don't say that word, please. [He sounds genuinely pained at the mere thought.
With that, Alucard walks over, and sits himself down on the ground. He has no qualms about that, and with the fire, it is a warm enough spring night. It is only then that Alucard removes the chain from the pocket of his coat and puts it aside.
The ward wears off at once. Alucard is not obscured anymore, but he is still that thing of ice that has always shown it's face to Trevor.]
[ The change is immediate. The agitation returns, but this time it's excited. And he's barely opened his mouth before the speaker whispers something in his ear.
It isn't really a reasonable request, not to call his husband his husband. But he follows it regardless as he scrambles to sit at Alucard's side, positioning himself to be sat close but not touching. ]
You missed me. [ There's a note of satisfaction to it, and Sypha winces just a little. ]
I'll- let you talk. [ It's for Alucard's sake, mostly, so he doesn't have to have the pressure of an audience for this conversation. ]
Thank you. [And to Sypha, he adds a request, that she stay within earshot. Speakers would understand the real meaning of "we need to talk," after all, and this one seems to understand the situation.
Alucard turns a little, so that he's sitting more across from Trevor than before. So he can hold full eye contact.]
Fae. [He doesn't have the man's name, after all.] Do you know how courting differs between this world and your own?
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This hunt is over. That does not fix the whole night. That does not fix the vampire's intense discomfort at the scene as it has played out before him, and he says that as something that understands and has seen the horrors of night things. This discomforts in a way that Alucard didn't know he could be rattled before, and he knows it's from the old magic and from the nature of departure from humanity that he hasn't witnessed. Vampires make sense. Night things make sense.
The logic here doesn't.]
You know about night things. So you must know that vampires are territorial things, especially with regards to their kin, yes? That they demand exacting permissions?
[It's the easiest, politest way to tell the fae that to keep saying the word husband is a bad choice.]
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A dowry, then. [ He says, thoughtfully, as he slowly leads his hart away from the group. Alucard doesn't really seem like he wants to meet his sisters. Which is sad, because he very much wants to show off his new husband. But it would hardly be worth showing off a husband that he couldn't make happy. ] My sisters were never asked for dowries for their wives and husbands, but you are more handsome than any of theirs. That seems fair.
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Thoe only come after one asks permission.
(Alucard knows hi father. It would never be o.)
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I will pay. All will be well, all will be well.
[ As if this was Alucard's actual concern and he's done a good job of fixing it, he pulls the bat from his collar and holds cups him in his hands, bringing him up to softly press his forehead against Alucard's tiny fluffy one in this continuing unsuccessful efforts to make his husband calmer. ]
Leon said I was too young to take a husband when we first met, so I waited until I could find you again. I can wait a little longer, until I can pay your kin.
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He can't say that. It will make the situatuon worse, and for now the fae understands that Alucard is another's. That will have to do for now.
He flinches as Trevor's forehead presses against his.)
How much longer until day?
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[ He does, actually, pull back when Alucard flinches. He'll try something else before long, but he just puts Alucard back onto his collar for now. ]
Where should I take you? [ He asks again, maybe a little impatient for kissing now. Maybe that will help? Surely kissing will make his husband happy! ]
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(He settles back onto the collar content enough, latching on as tightly as he can.)
Wherever would be safest in this world and in the immediate area.
(So that when Trevor departs, the vampire is safe.)
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It's overgrown, wildly so, and nobody seems to have claimed it in the time since the Tepes family left it. Nobody seems to have even come close to it, the door and windows still intact and everything inside as it was left. Exactly as it was left, free of dust or decay, the windows clean and the flowers on the table still fresh.
(Not all cages, Dracula will inform him later, are made of metal.) ]
You shouldn't need to go inside. [ He says, before anything else. There. A non-cage option. He's doing so good at providing for his husband's bizarre needs. ] The garden was yours, before. It ought to be safe.
[ An awkward pause. ]
I can't go into the garden if you don't let me. So-
[ He rubs the back of his neck. Alucard has to either do kissing before he enters the garden, or invite Trevor into it with him. ]
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Alucard breathes out in relief to see the place though, and within a blink he’s human again. He dusts himself off, and reminds himself that among other things, he will most certaintly be asking his parents to ensure he hasn’t caught plague by accident.
But he has at least one thing to do before all of that, and that is this stupid debt. He’s sour as he turns to face Trevor, all tension and warriness as his eyes meet that of the fae.]
I appreciate your assistance tonight. That much is a truth.
[He resents it, yes, but cannot deny that it has seen the vampire through. So for that, there is a very quick press of lips of Trevor’s left cheek (deliberate), and then the vampire withdraws, standing up to his full height and expression cold and impassive.]
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But it is still more than enough. Trevor beams when Alucard abruptly withdraws, catching his hands to hold them for only a few seconds, overjoyed. ]
Of course. [ He sounds awestruck, almost, as he lets go of Alucard's hands. ] My dearest love.
[ And he does back away a few steps after that. He got his kissu, he's happy now. ]
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Resume your hunt then.
[He isn’t sure what else to do. How to go about getting his space back.]
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He fumbles about for a moment (there can't be pockets on the inside of his wings, and yet that's where he's searching) before producing it, the lock of golden hair, tied with a blade of grass. And he puts it on the ground. There. Returned. Even though he liked it very much. He's pleased with himself for being such a good husband. ]
Until we next meet.
[ And then he is gone, along with the hart, still giddy about the kiss. ]
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But that expression fades, and soon enough Alucard returns to the interior of his childhood home. That? That is safe. Safe as a dark smoke fills up the place as the door clicks shut, and as some sort of rattling begins from within. There’s a far darker voice that begins an intonation then...stops.
Like that, the smoke is gone. Alucard is gone, dragged by his father’s own magic back to the castle where it is safe. Beyond safe, for only one person has ever made it to the doors of the castle on purpose, such is the miracle of the ever moving castle.
Dracula is not happy when his son explains the events of the night. Of the Hunt, the fae, and the panther that tried to drag his son into its jaws. (The panther is of a different worry than the fae.) And so when all is said and done, there is an agreement. Alucard will retrieve the books tomorrow night with his father, learning to travel not as men do. After that though, it may be best to stay in the castle for a time. Until the New Year, perhaps, giving the fae time to forget and for Dracula to create new defenses. It is a price Alucard dislikes, but he doesn’t doubt the intentions of his father. The fae? The fae he doubts very much.]
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The next attempt to pay the dowry comes a few weeks later, and the bats of the cave fly to alert Alucard and his father that the horned hunter returned to their cave. This time, when Dracula investigates, there are more books. Or attempts at book-like things. There are shopping lists, letters, a few actual books, a rectangular piece of wood that maybe kind of looks like a book if one squints and a wooden carved printing block. The cave is warded against the fairy, using the blood he left on Alucard's coat, after that, and the next set of gifts comes around yule and is left at the very edge of the wards, more desperate this time. More furs, from larger and fiercer creatures. Bottles of things that should not be in bottles, one containing one of those clumps of memory and another letting out birdsong when opened. Medicinal plants. Antlers that, if Alucard sees them, look uncomfortably similar to Trevor's own.
And then the gifts stop, and they do not resume. It's spring by the time a speaker comes to Lisa's clinic by cover of darkness. Their caravan is unwelcome even on the outskirts of the village proper, so they cannot bring their injured member to the clinic. They ask that medicine be brought to them and promise to pay as best they can. ]
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That it seems to work does not put either at ease. Alucard is sure that the sudden stop of gifts means that something has happened, but fae can be old. Just like vampires. Even if there’s been an incident, it’s only a matter of time.
He does other things in the winter. Improves the printing press that his father has started, a beautiful and automated thing far more effective than anything else being created. In doing so, there is a single book published. His mother’s work, billed as Advice of a midwife for all manner of ailments. Anonymously published and now well selling, and god willing a life saver for more than a few women.
When the speakers come, Lisa herself is under the weather. Alucard offers to run the errand, and that is only because there have been enough wards placed on him to hide him from the sight of fae.
He enters the speakers camp with medicine, a chain of cold iron in his pocket that ought to keep all prying eyes of such things away.]
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He's here. My husband. I want to see him. Let me see him. [ And the next word comes out awkwardly, as if something freshly learned. ] Please let me see him.
[ Sure enough, antlers still only half-grown back, Trevor is there. He looks about wildly, eyes moving over Alucard several times but never managing to rest on him. His wings flick about in agitation, and the woman seems very insistent that he not do that where the outsider can see. ]
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He has to stop. Hearing Trevor’s voice puts him on immediate guard, and the speakers notice it too. Alucard doesn’t ask if they have fae among them. He knows. The sudden change in his demeanor helps no one either, because the speakers know exactly whose son he is. Have known since he first entered the camp, but Lisa’s kindness has far outweighed his father’s cruelty for the past twenty two years.]
Travel with that thing carefully.
[It’s said softly, out of genuine concern more than anything else. Alucard pulls his coat tighter around himself, then resumes the questions he has of witches in Europe, and how badly the public sees it as a threat.
His eyes dart to the sound of Trevor’s voice every so often though, discomfort well hidden under his usual composure.]
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And instructions are instructions, so he raises his head and concentrates, sniffing the air for burned man-flesh and misplaced justice. It's a little difficult, with his antlers cropped like this, but both are terribly distinctive smells. Before long he's mid-squabble with the speaker woman about whether or not Arelat still exists (it hasn't in a century, but his kind never cared much about borders. It's a wonder, a wonder and perhaps Leon's centuries-out-of-date influence, he knows it existed in the first place). With some effort between them, the speaker woman manages to give Alucard a fairly complete list of witch burnings and their probable locations.
Trevor grows more and more agitated and confused as this goes on, though. All of the speakers are conversing with someone who doesn't exist, and he doesn't like that at all. Eventually the woman scolds him again, telling him to calm down, and he does immediately. ]
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His face is grim by the end of all of this, but he thanks the speakers all the same. The information is important. It keeps people safe, and he hopes that they’ll be careful as well.
It is only then that he turns to the young woman that has clearly been the one arguing with the fae, the one who he actually seems to listen to, and with that, Alucard is far more quiet and concerned.]
How is it that you’re controlling that fae right now?
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[ The speaker seems a little confused by the question - she is kind, and it it wouldn't even occur to her that she could do something like controlling someone against their will. And so it seems a terribly obvious thing, really. Trevor has realised by now that there is someone here he cannot see, and is instead sniffing at the air. ]
We are helping him with a hunt, and he is trading work for our aid.
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He has made unwanted advances towards me in the past, assuming the ways of his kind means that he can declare without consideration of consequences. [Kidnapping Dracula's son is a bad life choice.] With your permission, I'd like to speak with him. If not, I'll depart without any further protest and you will have my gratitude for years to come.
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Sounds kind of fucking difficult. [ He grumbles. ] Can you make me hear them, at least? Not going to be much of a conversation otherwise.
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With that, Alucard walks over, and sits himself down on the ground. He has no qualms about that, and with the fire, it is a warm enough spring night. It is only then that Alucard removes the chain from the pocket of his coat and puts it aside.
The ward wears off at once. Alucard is not obscured anymore, but he is still that thing of ice that has always shown it's face to Trevor.]
We need to speak.
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It isn't really a reasonable request, not to call his husband his husband. But he follows it regardless as he scrambles to sit at Alucard's side, positioning himself to be sat close but not touching. ]
You missed me. [ There's a note of satisfaction to it, and Sypha winces just a little. ]
I'll- let you talk. [ It's for Alucard's sake, mostly, so he doesn't have to have the pressure of an audience for this conversation. ]
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Alucard turns a little, so that he's sitting more across from Trevor than before. So he can hold full eye contact.]
Fae. [He doesn't have the man's name, after all.] Do you know how courting differs between this world and your own?
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