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inthedayswhenlandswerefew · 3 months ago

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In The Gloomy Depths [Chapter 2: Tiger's Eye]

Series summary: Five years ago, jewel mining tycoon Daemon Targaryen made a promise in order to win your hand in marriage. Now he has broken it and forced you into a voyage across the Atlantic, betraying you in increasingly horrifying ways and using your son as leverage to ensure your cooperation. You have no friends and no allies, except a destitute viola player you can’t seem to get away from…

Series warnings: Language, sexual content (18+ readers only), parenthood, dolphins, death and peril, violence (including domestic violence), drinking, smoking, freezing temperatures, murder, if you don’t like Titanic you won’t like this fic!!! 😉

Word count: 5.7k

💜 All my writing can be found HERE! 💜

Tagging: @arcielee @nightvyre @mrs-starkgaryen @gemini-mama @ecstaticactus, more in comments 🥰

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The taxidermied tiger head hangs above the fireplace in the sitting room, its jaws agape in a perpetual roar and its eyes polished spheres of metamorphic rock the color of dusk. Daemon shot it in Burma years ago—valleys of saturated green earth, mountain ranges like a crooked spine—shortly after opening his third black opal mine in Australia. You stare at the disembodied creature and she stares back, a silent scream, a doomed eternal terror in her tiger’s eye gaze: Help! A man is killing me. A man is taking me from where I belong. A man is nailing me to a wall so all the world knows he is the one whose bullet severed my aorta, filled me with hemorrhaging blood until I sank down, down, down.

You say, still looking at the slayed beast: “Did we really have to bring that with us?”

Daemon glances over as he fastens his cufflinks, onyx with red beryl in the shape of a three-headed dragon, the Targaryen family crest. “I’m sure you’d prefer a finger painting from that Italian tosspot you’re so enamored with. What’s his name, Pizarro?”

“Picasso. And he’s Spanish.”

“Even worse.”

You turn to Daemon, and you can feel yourself wilting, becoming pitiful, vulnerable, needy. “Where are you going?”

He smirks as he stalks past you. “Wherever I want.” Then he passes through the doorway and out into the hall, flanked by the ever-grim Edward Rushton, black suits and polished leather shoes.

It’s midday on April 12th, and you and Fern are now alone in the Targaryen staterooms. Laenor is down on F-Deck enjoying the Squash Racquet Court with his new Parisian companions, Rhaenyra is in the Reading and Writing Room with a group of ladies led by the Countess of Rothes, and Dagmar has taken Draco…somewhere. Meanwhile, your sweet-tempered maid is flitting around making beds and collecting empty cups and soiled linens. “Fern?” you call.

She peeks out of Draco’s bedroom. “Yes, ma’am? Do you need something?”

To leap overboard and swim back to Ireland. “Would you like to take a stroll around the Promenade Deck with me? Breathe some fresh air, look for dolphins and whales, have lunch at the Verandah Cafe?”

Fern is apologetic in that soft, skittish way that she has. “I’m so sorry, ma’am. I have to finish cleaning the rooms before Dagmar comes back.”

She doesn’t say why—that would be insubordinate—but you know. Just like on the family crest, the dragon has three heads: Daemon, Draco, Dagmar. All must be appeased lest their fire turn you to ash. And Fern lives in terror of the gaunt Scandinavian tyrant. “Right. I understand.”

“I should be done in an hour or two. When you return from your walk, I’ll make you tea.”

“You’re too kind.”

She is confused. “It’s my job, ma’am.”

“Still, I’m glad you’re the one doing it.”

Fern smiles, small and hesitant. “Thank you, ma’am. Enjoy your walk.”

Outside on the Promenade Deck, the sun is bright and the wind brisk, just warm enough to forego a coat, black mink or white ermine or grey rabbit or reddish fox, pelts harvested, creatures butchered. Your dress is a cheerful yellow, as if attempting to conjure the golden-haired magic of the Targaryens, their willfulness, their invincibility, their habit of bending the world’s truth in their hands until it snaps. Yet none of them are here with you; you are alone, you are unnecessary. As you walk, you pass women reading novels on teak deckchairs, children playing with spinning tops and dominoes under the watchful eyes of fathers and governesses, men smoking cigars as they debate business and politics and which gemstones they should purchase for their sweethearts. You have to get away from them.

You take the Grand Staircase up to the Boat Deck, the highest level of the ship, and to distract yourself you count the covered lifeboats that are stowed there. This does not assuage your anxiety; you see only twenty, and while you have made a practice of avoiding sailing and therefore are no expert on the issue, this does not seem like enough. You go to the railing—about as tall as your waist—and lean over it as you stare, thoughts troubled and brow furrowed, into the wild, uninterrupted blue of the North Atlantic, five hundred miles from the coast of Ireland. To your left is a man painting a sheet of paper clipped to an easel, a palette held in his hand, viscous globs of color from small silvery tubes. Seventy feet below where you stand is the sea, thrashing against Titanic, a wood-and-steel intruder. You lean a little farther over the side of the ship. The water is cold, you imagine; cold, deep, dark, silent.

If I fell in, this would all be over, you think. No more Daemon. No more anyone. The only people who would miss me are my parents, and they’ll never see me again anyway.

But no; you cannot abandon Draco. He’s a piece of you, even if he doesn’t know it. You cannot allow him to become a monster.

The viola player peeks out from behind his easel. “Not thinking about jumping, are you?”

You gasp, startled, and then cover your face as you groan. “Why are you always out here?!”

“Aw, fancy rock lady needs a member of the perpetual underclass to malign,” he says as he adds brushstrokes to his painting. He has procured a suit somehow—black, slightly too big for him, likely stolen—to better masquerade as a first-class passenger. “What’s the matter, rock lady? Did your servants not put enough sugar in your tea this morning? Did they tug a little too hard as they brushed your hair?”

“You’re not well mentally. You need a straightjacket.”

“I’m not the one about to throw myself into the Atlantic Ocean.”

You glare at him, bitter, defensive. “I wasn’t going to jump.”

“Then what were you doing?”

You can’t answer; you wring your hands and press your lips together so tightly they ache, watch dark smoke billow from the nearest funnel, coal shoveled into blazing furnaces, treasures of the earth extracted like teeth and consumed.

“Hey, I didn’t, um…” The viola player lowers his paintbrush, repentant. “It wasn’t my intention to upset you.”

You ask to change the subject: “What are you painting?”

“People,” he says, grinning, then turns his easel to show you. It’s a father holding his daughter so she can look over the railing and pointing to show her something out in the waves, dolphins, perhaps. His work is excellent, you are surprised to see: wispy curls of hair, irises alight with emotion, shadows and wrinkles and cheeks ruddy from gusts of wind, imperfections of reality.

“It’s good,” you manage once you’ve gotten your bearings.

“And of course you’re shocked.” He points to a scuffed brown leather portfolio resting against one leg of the easel. “I have plenty more, if you’re interested.”

You open the portfolio. There are men worriedly counting coins, women waiting on park benches, children beaming as they feed ducks or tend to their dolls, people giggling and scowling and burning up with clandestine longing, people sipping drinks in smoky pubs. In the bottom right corner of each painting is a moniker for the subject: Crystal, Big Red, Sunshine, Baron, Carnation, Tiny, Mars, Archer, Harpist, Pennies, Henry VIII, Belfast Belle. Unwittingly, you smile to yourself. “You give them names.”

“I watch people, but I don’t usually talk to them,” the viola player explains as he dabs thick oil paint on the paper clipped to the easel, treated to resemble the texture of linen. “I like to catch them unawares. Keeps the moment genuine, truthful. Otherwise they start acting for me.”

“Why paper instead of canvas?”

“Easier to travel with. Lighter and less bulky.”

You recall what he told Daemon at O’Connell’s Bar back in Galway: Well I’ve played all over Ireland, sir. All over Europe, in fact. You gingerly slide his paintings back into the portfolio and tease: “Who do you think you are, Picasso?”

He chuckles and shakes his head. His sand-colored hair trashes in the wind that blows off the ocean, salt and mist. “I am under no such delusion. I’ve met him, though.”

You gawk at the viola player. “You’ve…you’ve met Pablo Picasso?”

“Yeah,” he says casually. “In Barcelona. I love his Blue and Rose Period stuff. Now he’s doing some weird cubism bullshit.” The viola player shrugs. “I don’t know. It’s his art, he can paint what he wants. But I prefer something a little more…real.”

“I do too,” you confess. “I went to Paris once with my parents. I saw some of Picasso’s work in a gallery, but he wasn’t there at the time. I bought a few paintings.”

“Which ones?”

“Mother and Child from 1905. Flowers from 1901.” You hesitate. It’s a bit scandalous. “Blue Nude.”

But the viola player neither cringes nor makes a joke. “I remember that one,” he says softly, watching you. After a moment he asks: “Are they hanging in your rooms?”

“They’re in a trunk. Daemon doesn’t like them.” And the animosity in your voice is an act of treason, however small. You glance around for Daemon, Rush, Dagmar, Rhaenyra, Laenor, and thankfully find none of them. You avert your eyes, ashamed. A husband you hate, and fear, and obey, and lie awake at night conspiring how to please.

There is something that ripples across the viola player’s face—sympathy, distress—and then he resumes putting the final touches on his portrait of two unnamed passengers. “Do you paint?”

You laugh. “Very badly.”

He offers you the paintbrush, saturated with a reddish-gold color like dusk. “You can help me fill in the man’s scarf. That’s hard to fuck up.”

Your jaw falls open.

“That’s hard to mess up,” he amends.

Smiling shyly, you take the paintbrush and add a few tentative strokes to the scarf. The viola player accepts the paintbrush when you forfeit it.

“So besides making awful paintings, how did you spend your time back in Galway?”

Reminding my father who he is. Taking long walks through the fields with my mother. Sitting in the garden wondering how my life went so wrong. Trying to stop my only child from becoming a demon like his father. “I read a lot. Mostly Edgar Allan Poe, Jane Austen, and Shakespeare.”

“Shakespeare?” he echoes, amused. “Recite some for me.”

You take a moment to decide on a passage.

“Not for the world: why, man, she is mine own,

And I as rich in having such a jewel

As twenty seas, if all their sand were pearl,

The water nectar and the rocks pure gold.”

“The Two Gentlemen of Verona,” the viola player says, much to your amazement. He’s a thief holding a third-class ticket, and yet he’s learned. This is rare outside the blue-blooded aristocrats and the titans of industry. Fern can barely read and write.

“Where were you educated?”

“The world,” he replies, grinning.

“And the world included lessons on Shakespeare?”

“Sure, sometimes.”

“Alright then, let’s hear an excerpt.”

He considers this, tapping the handle of his paintbrush against his lips. Then he says:

“My crown is in my heart, not on my head;

Not decked with diamonds and Indian stones,

Nor to be seen: my crown is called content:

A crown it is that seldom kings enjoy.”

“King Henry VI,” you say, admittedly impressed. “I didn’t know poor people read Shakespeare.”

“Shakespeare’s plays were written for everyone, fancy rock lady. Standing tickets at the Globe cost pennies.”

You study the viola player as he paints, feeling a bewildering combination of curiosity, amusement, fondness. “What’s your name?”

He pauses as if he’s not sure what to say, then gives you a sly, crooked grin as he replies: “Picasso.”

Now a steward is approaching, and the viola player is alarmed, perhaps anticipating being revealed as a fraud and dragged back to the third-class accommodations; but the steward is only passing by with a tray full of champagne flutes, offering them to illustrious passengers as they stroll the decks. You take two glasses and he continues on his way. You down one flute in just a few gulps and offer the other to the viola player. He smiles politely but does not reach for it.

“Thank you, but I don’t drink.”

“Really?” Have you ever met a man who doesn’t? You can’t think of one. And you are suddenly aware of how quickly you finished your champagne—unladylike, improper, but surely no great disgrace in front of this audience—and how yearningly you’re already glancing at the second glass, carbonated amber, fool’s gold.

“I’m not someone who can stop at just one or two,” the viola player says. “I’ve learned that about myself. Tried to fight it for a while, turns out acceptance is easier. I hardly even miss booze anymore.”

“How long did you fight it?”

“Ten years.”

You are caught off-guard. “What? How old are you?”

“Twenty-three.”

Since he was thirteen? Can that be right? “We’re about the same age,” you say instead, taking a distracted swig from the glass that would have been his.

“Yeah,” the viola player agrees thoughtfully.

You finish the champagne and hand both glasses to a passing steward. “I should go,” you tell the viola player. “I don’t know where Daemon is on the ship, and…” I don’t want him to see us. I don’t want him to hurt me.

“Sure. I get it.”

“Good luck with your painting.”

“I’ll make one of you next,” he promises, and you’re certain he’s joking.

You smile and turn to leave. “Whatever you say, Picasso.”

You walk towards the Grand Staircase that leads back down to the Promenade Deck. As you pass the Gymnasium, you steal a glimpse through one of the windows and see them inside: Draco giggling as he rides the electric horse and yanks gleefully on the reins, Dagmar beaming as her gnarled, arthritic hands hold him by the waist so he doesn’t slide off.

You lay your palm against the cold glass, separated by a few steps that might as well be miles, wreckage peering up through the darkness from the bottom of the sea.

~~~~~~~~~~

Fern helps you dress for dinner: a glittering gold gown, a tiger’s eye amulet from Burma. Laenor has brought a companion, one of the Parisians he’s become so well-acquainted with, a count’s son named Hugo. As Laenor is preoccupied, Daemon escorts Rhaenyra to the First-Class Dining Saloon down in D-Deck. They meander together, her arm linked through his, murmuring gossip about the other passengers and snickering contemptuously. You trail behind them, feeling invisible, a sun that casts no warmth.

All around you are other first-class passengers descending the Grand Staircase: Benjamin Guggenheim and his mistress two decades his junior, John Jacob Astor and his pregnant eighteen-year-old wife, railroad tycoons Charles M. Hays and John B. Thayer, steel industrialist George Dennick Wick, the glamorous Countess of Rothes, the newly-wealthy Margaret Brown, the eminent journalist W.T. Stead, the White Star Line’s managing director J. Bruce Ismay. But your gaze keeps drifting to Macy’s department store owner Isidor Straus and his wife Ida, neither young, neither beautiful, and yet so evidently devoted to each other. You wonder how that feels; surely nothing like a bruise, a reproach, a back turned to you in the marriage bed.

On the A-Deck landing of the Grand Staircase is the viola player, his horsehair bow gliding over four thick strings to loose an energetic, jubilant song, standing there in his suit that no one else notices is too big for him because they don’t really see him at all. He is less than a fixture of the ship; the first-class passengers marvel at the glass-and-wrought-iron dome overhead and the Neoclassical clock on the wall and even the bronze cherub statue at the base of the steps, but the flesh-and-blood machinery of Titanic wears a sort of camouflage, unremarkable and interchangeable, uncomfortably human. The viola player gives you a wink and a quick, subtle smile as you pass by him, and you smile back. And for a moment, it is like you have a friend aboard the ship, a groundswell of fleeting joy, gratefulness, peace.

Dinner is oysters, salmon with hollandaise, corned ox tongue, chateau potatoes, asparagus soup, Waldorf pudding, other things that you pick at without much interest. You miss Lough Cutra Castle, you miss your parents, you miss Ireland, you miss your life before Daemon Targaryen stalked into it with his ever-glinting green eyes and his talent for making you so desperate to satisfy him. Instead of eating, you mostly drink champagne, draining glasses of it until your cheeks are warm and your thoughts hazy. You look around for the viola player, but he never appears in the First-Class Dining Saloon. Instead, the five-piece string ensemble that welcomed you aboard Titanic yesterday is playing Alexander’s Ragtime Band.

Daemon has invited a guest to share your table, chief designer of the ship Mr. Thomas Andrews. He is gracious and even-tempered, exactly the sort of man Daemon likes to entrap and enchant and have his way with. As you drown in champagne, Daemon tells Mr. Andrews about surviving a hurricane while mining Larimar in the Dominican Republic, domesticating a ring-tailed lemur in Madagascar (Daemon had named it Aegon and kept it on a leash), getting lost for three days in the Australian Outback and resorting to eating snakes and dingoes, bludgeoned to death with rocks and roasted over campfires. Rhaenyra observes all of this with a proud, radiant smile, encouraging Daemon with nods and oddly girlish giggles. Laenor, meanwhile, is chatting with Hugo and paying little attention to anything else. He and Rhaenyra have three young sons back in England, though they resemble Laenor Velaryon far less than they do Harwin Strong, Viserys the Duke of Beaufort’s former Master of the Horse and Rhaenyra’s rumored lover. The virile, dark-haired Harwin Strong was killed last year in an unfortunate riding accident, whereupon Daemon rekindled his previously strained relationship with Rhaenyra in the interests of helping her cope with the loss. As it turned out, Daemon’s niece had grown up to be much the same as he is—daring, sarcastic, charismatic, incorrigible—and as if you didn’t have enough difficulty winning his affection before, now you must compete with his kindred spirit, a golden-haired wildfire only a few years older than you and who Daemon can delightedly torment his estranged brother with by capturing her in his orbit.

Daemon is saying, his elbows on the table and miming clutching a massive gemstone in his palm: “As a famed French fashion critic once wrote, The jewel, which is so well adapted to a woman’s adornment, is a combination of the riches of nature and art.”

“Not just any fashion critic,” you say without thinking, the champagne parting your lips before you can reconsider. “Charles Blanc. And I’m the one who gave you his book, remember? It was one of my wedding presents to you.”

Everyone turns to stare at you, as if abruptly being made aware of your existence. Laenor and Hugo appear puzzled. Rhaenyra is frowning with disapproval. Mr. Andrews nods politely. Daemon, after a moment, chuckles in that low, rolling, sardonic way that he does.

“Yes, dear, you certainly did. Clearly it made an impression.” He looks to Mr. Andrews. “You’ll have to forgive my wife, good sir. I’m afraid she has a weakness for champagne.”

“Don’t we all?” Mr. Andrews replies diplomatically.

“The truth is,” Dameon says as if he’s confiding in the shipbuilder; and yet there’s an exhilaration he can’t entirely disguise, a malicious triumph, proof of the power he has over you. “She’s petrified of sailing, has been for years. And this journey…well…it’s been quite an ordeal for her. But under no uncertain terms was I leaving Ireland without my family. Where I go, we all go.”

“I’m so sorry to hear about your rattled nerves, Lady Targaryen.” Mr. Andrews’ eyes are soft with pity for you, a neurotic and illogical woman, tortured by her own nature. “Is there anything I can say to alleviate your fears? Have you been on a ship that’s run into trouble before?”

“No, no sir, I just…” You push through the warm, amber-gold fog of the champagne to explain. “I’ve never been able to stop thinking of all the water beneath us, and a ship…even one as large and luxurious as Titanic…it seems too vulnerable to me. One puncture and we all go straight to the seafloor.”

“That’s why I built Titanic with watertight bulkheads that go up to E-Deck,” Mr. Andrews says, smiling reassuringly. “There are sixteen total, and the ship can stay afloat with several of them flooded. This is meant to contain any possible breach in the hull.”

“Oh, how ingenious!” Laenor exclaims. “Hugo, isn’t that extraordinary?”

Mr. Andrews continues: “Truly, Lady Targaryen, I have built you an unsinkable ship. You have nothing to worry about here on Titanic.”

“Of course she doesn’t,” Daemon agrees.

“And there are lifeboats, I suppose,” you say. “Although…I didn’t see very many up on the Boat Deck. What is their total capacity, I wonder…?”

“Over 1,000 souls, ma’am,” Mr. Andrews replies.

You are horrified. “That’s half the people onboard.”

“Yes,” he concedes. “But as I said, Titanic cannot sink.” Again, he smiles blithely. “Besides, in the event of an evacuation—engine failure or damaged propellers or some such thing—the lifeboats would only be needed to ferry passengers from Titanic to the vessel we’d hail to rescue us with the wireless telegraph machine. The lifeboats were never intended to be able to hold all the passengers at once, that would be absurd.”

“Impossible,” Daemon concurs. “What on earth would necessitate a swift and total evacuation?”

“What about an iceberg?” Hugo says as he eats a heaping spoonful of Waldorf pudding, vanilla custard mixed with nutmeg, apples, walnuts, and raisins.

Mr. Andrews titters patiently, as if this is the most ludicrous thing he’s ever heard. “No iceberg could damage Titanic enough to flood more than three bulkheads. And we have lookouts employed to spot them and sound the alarm so we can turn in time. Icebergs are not a concern whatsoever.”

“Très bien!” Hugo declares, redirecting his full attention back to his Waldorf pudding.

Mr. Andrews looks to you, his voice kind but patronizing. “Do you feel better now, Lady Targaryen?”

“Much better,” you lie.

“Good. Then no more worrying. And no need to drink yourself under the table either.”

Daemon says with a derisive snort: “Well, she is Irish.”

Everyone laughs; everyone but you.

~~~~~~~~~~

Back at the Targaryen staterooms, Rush is waiting by the door to take your coats. Laenor and Hugo bid everyone goodnight, then depart; Rhaenyra, seemingly reluctantly, takes her leave as well. She and Laenor have separate accommodations as they always do while travelling, not unheard of among first-class passengers but also not helping to dispel the rumors concerning her sons’ parentage.

Dagmar is perched on one of the sofas like a falcon on a branch, her talonlike fingers knitting a forest green blanket for Draco. Your son, meanwhile, is sprawled on the sitting room floor and at war with Fern, who is trying to coax him out of his shoes and day clothes and into his pajamas.

“Draco, please, my love, it’s time to get ready for bed now—”

“I want to go back to the Gymnasium!” he screeches, wriggling out of her grasp. From the sofa, Dagmar chuckles as if this is charming behavior, a portent of superb athletic fitness, perhaps. “I want to ride the horsey!”

Fern is exasperated. “Darling, the Gymnasium is closed, no one is allowed to use it any more tonight. But I promise you’ll be able to go back tomorrow—”

“No!” Draco shrieks. “Now! Right now!”

Fern finally manages to slip off one of his shoes, and faster than anyone can stop him, Draco draws back his hand and slaps her across the face, open palm, a sharp crack in the air, and of course he’s too young and too weak to do anything but stun her, but he won’t be four years old forever.

One day he’ll be able to hurt people. He’ll be able to break them, bruise them, ruin their lives.

“No!” you shout, then bolt to Draco and drop to the floor to hold him by his frail little shoulders, firm yet careful not to harm him, no scratches, no bruises, no pools of trapped blood that will ache with violent memory. “You never do that! You don’t hurt people! You don’t hit women!”

“Mam?” Draco whimpers, his lips quivering and tears shimmering in his eyes; and he almost never calls you that, he almost never acknowledges you as his mother at all. But he knows, he must, this proves it. “I’m sorry…I won’t do it again…please don’t yell at me…”

Immediately remorseful, you embrace him, and Draco clings to you as he sobs. Fern is watching you with huge, frightened eyes; then they flick to someone standing behind you.

Rush grabs you by both arms and wrenches you away. You yelp in shock and pain; Dagmar swoops in to take Draco and vanishes into his bedroom, glaring at you over her shoulder, frigid lethal fury. Fern is covering her mouth with her hands so she won’t scream.

Rush hurls you to the carpet and backs away. When you look up, Daemon is standing in the doorway of your bedroom, orange dusk-like light spilling out from behind him.

“Come here,” Daemon says, beckoning you with his right hand.

You are terrified; you are shaking. “No.”

“The longer you wait, the worse it will be.”

“No,” you say again. You glance at Fern, but she can’t help you; she turns away, stifling a cry with her palms. The room is spinning, your thoughts are slow, your skull aches with rhythmic pulses like blows from a hammer. You peer up at Rush, blinking blearily. “Do you like working for a man who beats his wife?”

Rush doesn’t reply; his face is grave but otherwise unreadable. Fern curls up on the floor, shaking her head. The taxidermied tiger head roars silently from above the crackling fireplace.

Daemon says from the doorway: “Dear, I’m losing my patience.”

There’s nowhere else to go. You crawl towards him, then at the halfway point stagger to your feet. Daemons steps aside so you can cross through the threshold. He closes the door and locks it. You stare at him, swaying a bit, your hands hovering in front of you. You’re trying to figure out where he’s going to hit you, but he’s good at not letting on, and you’re drunk. You guess stomach, but it’s your face, just like Draco struck Fern; his open palm sets your cheek on fire and rocks your head back. You lunge for him, fingers clawing and knuckles jabbing at his ribs. Sometimes you fight back and sometimes you don’t—occasionally he finds it endearing and leaves you alone, more often it exacerbates the situation—but tonight you are overwhelmed with wrath for this man who has taken everything from you, your home, your parents, your son, your future.

You shove Daemon into his writing desk, then he pins you to the wall, slides open a drawer of the desk with his free hand, pulls out his gemstone-studded dagger and lays the blade against your windpipe. And you scream, because for all his roughness and his threats Daemon has never done this before. No one appears to rescue you; no one would dare.

“You will not correct Draco,” Daemon says. “He is my son, and I will deal with him.”

You seethe, teeth bared: “I don’t want him to be like you.”

“Think about it, dear,” Daemon hisses, the blade cold against your throat. You can feel it stinging, a thin slice like a papercut you’ll have to cover with makeup tomorrow. “We’re on a ship in the middle of the Atlantic Ocean. If you were to take a tumble over the railing, who could say if it was an accident or a suicide or a crime of opportunity committed by some third-class scoundrel? There would be nothing to investigate. You would be gone, and that would be the end of it. Draco is past the fragile years of infancy, he is healthy and he is fierce. Your father’s quarry is already under the control of my managers. What do I need you for now? Why the fuck would I tolerate any further obstinance from you? Your usefulness has come and gone. You stand on the thinnest of ice. One wrong step, and you’ll find it splintering beneath your feet.”

He lifts the dagger away and strides out of the bedroom. You stand there in the tawny lamplight like a sunset, trembling all over, gasping for air, your hands flying up to your neck. When you check your fingers, they are sticky and copper-smelling with a small amount of blood.

He could have killed me. I think he wanted to.

There is a tall oval mirror by the bed, its frame gilded and glowing in the ochre lamplight. You stare at yourself, tears flooding down your cheeks, a gold dress worth more than you are. Everything you own is Daemon’s. That will be true for as long as he lives.

You flee out onto the small private deck attached to your rooms, through the back exit, and into the labyrinthian hallways of B-Deck. You run towards the stern of the ship, dodging stewards who ask if you need assistance and men sauntering back from the First-Class Smoking Room after dinner, puffing on their pipes and their cigars, nursing stout glasses of brandy to keep them warm. When you break out into the open air, it is bitterly cold. The ocean is a vast lightless void; you could mistake it for nothingness if it wasn’t for the thunderous rumble and salt spray of the waves. Your gleaming gold dress billows around you as you sprint to the metal railing that encloses the stern, grip the top rung with shaking hands, stare down into the roiling depths churned by the propellers.

Where can I go? There’s nowhere to go. There’s nowhere else to run to.

“Hey,” the viola player says; you recognize his voice immediately.

You turn away, not wanting him to see the swelling on your face, the traces of blood at your throat. You are heartbroken, you are humiliated. You agreed to marry a man and now he’s ruined your life. You wrap your bare arms around yourself and sniffle, shivering, swiping tears from your eyes.

After a while, the viola player says cautiously, realizing you aren’t in the mood for disclosures: “It’s cold tonight.”

“Obviously.”

He takes off his black wool coat, presumably stolen like the suit he wears underneath, and offers it to you. “I have more layers on.”

“I don’t want you to be cold.”

“Please shut up and take the coat, okay?” You accept it and put it on, and instantly you begin to feel better. The viola player asks gently: “Does he hit you?”

You shrug, petulant like a child. “Sometimes I hit him back.”

The viola player sighs, but he’s not just disappointed; he’s saddened, he’s pained. “Look, I know what it’s like to get knocked around. That’s why I left home.”

You remember what he told you when you first realized he’d followed you onto Titanic: I have family in New York City. I left home and haven’t been back in years, and I think now’s a good time for a visit. “Why would you ever want to see them again?”

“Things are different now. I’m older, I’m not afraid to walk out and be on my own, I’m confident that I can advocate for myself better than before. And they aren’t all bad. I have…” He hesitates. “I have two brothers and a sister in New York, and I miss them.”

“What are their names?”

“Um,” he stops to think. Clearly he’s making them up. “Arnold, Henrietta, and Dean.”

“Do you actually have siblings or is this some sort of metaphor?”

He laughs. “No, they’re real. The names might not be, but the people are. Want to see your painting?”

“You were serious?”

He carefully pulls it out of the brown leather portfolio he’s carrying under one arm. And if it’s supposed to be you, he’s failed, but still the image is mesmerizing: a young woman—too beautiful, far too beautiful—glancing over at him from where she was pondering the waves under a clear midday sky, her hair in disarray from the wind and her eyes fearful, an oil-paint snapshot of desperation, defenselessness, wonder, hope.

“It’s very nice,” you say at last. “But I don’t look like that.”

“Yeah you do.”

You examine the bottom right corner of the painting to see what he’s named you. You skim your thumbprint feather-lightly over black cursive letters, drawn with the smallest of brushes. “Petra,” you murmur.

The viola player says self-consciously, as if hoping you’ll approve: “It’s Greek for rock.”

You smile faintly. “I know what it means.”

“Oh, fancy rock lady took Greek lessons in school.”

“Of course I did.”Greek, Latin, French, Irish Gaelic. You muse softly, still studying the painting: “Petra and Picasso.”

You don’t have to look at him; you can hear the grin in his voice. “Guess we’re friends now, huh?”

“I’ve never had a poor friend before.”

“Well, firstly, you can’t call me your poor friend. That’s offensive.”

With great unwillingness, you surrender the painting and give it back to the viola player. “I can’t keep this. I’m sorry, I want to. But Daemon might find it.” And then he’ll push me overboard and I’ll be dinner for the sharks.

He tucks the painting safely into his portfolio. “I’ll hold onto it for now.”

“Forever, you mean.”

“You might not always have to worry about Daemon.”

You share a dark, horrible truth: “I’ll never be free of him.”

“We’ll see,” the viola player replies, undaunted.

We’ll see.

#aegon ii targaryen #aegon targaryen #aegon targaryen ii #aegon ii #aegon targaryen x reader #aegon x reader #aegon x y/n #aegon x you #aegon ii targaryen x female reader #aegon ii targaryen x reader #aegon ii x y/n #aegon ii x you #aegon ii x reader

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externalmemorycomic · 2 years ago

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Image description: A black and white illustration, designed to look like a book cover. On a decorative ribbon, the title at the top reads “External Memory”. A scroll work border of leaves and flowers divides the illustration into three rounded panels. The largest panel is in the center and shows a caravan surrounded by greenery, puddles and potted plants. The two smaller panels beneath it show a cartoon cat and mouse respectively, facing each other. At the bottom is another decorative ribbon with the text “a diary comic by My Murphy”. After the cover follows an 8 page comic. The style is cartoonish and the colours are soft pastels. Page one: An orange cat waves and says “Hello! I’m My.” The cat holds up a white mouse and says “This is Mouse, my girlfriend.” Caption: My name is actually My, but Mouse is a nickname for comic and privacy purposes. Caption: When I started this project, me and Mouse lived on a little island off the Swedish coast. The panel shows a stylised, tiny island with a lighthouse, spruce and birch trees, leaning houses and a little dock with a row boat tied to it. The cat and mouse are standing on the cliffs and a swan floats on the water in the foreground. Page two: Caption: Now we’ve moved to Ireland where we live in a caravan in the middle of nowhere. A small caravan, surrounded by greenery, overgrown trees, rocks, puddles and potted plants. The caravan has two windows and the cat and the mouse are looking out of one window each. Caption: We lived on the island to be close to my family. A ribbon with writing on it separates and labels four characters: “mom”, an ermine, “dad”, a wolverine, “brother”, a marmot and “step mom”, a squirrel. The ribbon has been torn in between “mom” and “dad”. Caption: and we moved to Ireland to be close to Mouse’s family. Three characters are shown, each with their own ribbon label. “mother-in-law”, a deer, “sister-in-law”, a jack russell terrier and “brother-in-law”, a hedgehog. Page three: Caption: Me and the mouse are currently in our thirties. The cat lounges on an antique fainting couch and the mouse sleeps on a cushion on the floor. On the floor is an open bag of “let’s” crisps and a laptop. Caption: We’re both pretty decrepit in various ways, so for this comic I draw couches and beds as often as I draw people. Caption: Disability isn’t especially interesting to me, but if a fish made an autobiographical comic… A fish under water paints a four panel comic with a brush held in its mouth. The panels the fish has painted show bubbles, waves and splashing water. Caption: …it’d probably be partly about water, whether the fish cared about water or not. Page four: Caption: My memory has always been pretty crappy. If a friend asks me: “do you remember when...” The question is shown asked by a red robin Caption: I usually have to answer: “no, I don’t.” The panel shows the cat giving this answer while looking away and blushing. Caption: There are many things in my life I’d like to remember. Mom the ermine watches as the cat opens a Christmas gift in front of a Christmas tree. The cat is much smaller than usual, its tail is bushy with excitement and it holds up a big book, “Mort”, with a skull on the cover. Caption: This comic is my EXTERNAL MEMORY so I can capture some of those moments… The cat admires a butterfly hovering above its outstretched paw Caption: …great or small. Page five: Caption: I try to make one strip per day, give or take. Pages with dates written on them blow off of a daily wall calendar by a strong breeze. As they turn over, comic pages are revealed to be drawn on the back. One comic shows the mouse with long fangs, biting the face of the cat and then hissing behind a bat wing. One comic is a pastiche of Tim Buckley’s “Loss” comic and one features a portrait of Frasier Crane and the Seattle skyline. Caption: and on the days when nothing interesting happens A close up shows the cat’s paw drawing a comic panel. In this panel a smaller, rounder version of the cat runs happily in the sunshine carrying a backpack. Caption: I reach back and draw something from my past. Caption: If you read this comic and wonder: A coyote looks at the comic on its phone, strokes its chin suspiciously and asks “did that really happen?” Caption: the answer is always yes. Caption: If you read this comic and wonder: A monkey reads the comic in zine form and think “did they really say that?” Caption: the answer is usually yes. Page six: Caption: When a specific phrase is the point of the strip, it’s recorded verbatim. The mouse says “you’re marching to the beat of the potato drum.” Caption: is a direct quote. Caption: When the point is something else, I sometimes take small liberties to make the memory fit well inside four panels. The cat sits at its drawing table, holding a pair of scissors in one hand and a paper with two comic panels in the other. Caption: Usually that means I make myself or the mouse play the part of the straight man because it will improve a joke. The cat and the mouse, dressed as clowns, stand in a circus tent. The cat pulls the clown nose from the mouse’s face and holds up a pie, ready to strike. Caption: In reality, neither of us is much of a straight man, but all art demands some sacrifices. Caption: In every way that matters, this comic always tells the truth. The cat looks up at a large, glowing, winged sphinx statue version of itself. The statue and framing is a reference to the all knowing Southern Oracle from the film adaptation of “The Neverending Story”. Caption: I am doing this to aid my memory after all, so it wouldn’t be very helpful to make my life seem more funny, interesting or relatable than it really is. The cat draws a comic while watching paint dry on the wall. Caption: That would be a pretty cruel joke to play on my future, more confused self. The cat scratches its head at a drawing of themselves as the winner of a beauty contest, wearing a sash and crown, waving to the crowd and holding flowers. Caption: She’ll probably have enough to contend with… The cat looks suspiciously at its own reflection in the mirror, not recognising it. The drawing is a pastiche of a panel from the webcomic “Gunshow” by KC Green. Caption: Maybe some of my comics will be funny or interesting or relatable to you anyway. That would make me very happy. The cat smiles and presses its paws to its face in joy, seeing that a bear and a horse are reading the comic together and laughing. Cartoon hearts float over the cat. Caption: Some of the comics probably won’t do much for anybody but me, but that’s okay too. The cat presses a page of the comic to its chest, looking contented and protective. In the last panel, the cat and the mouse are floating on air with a blue sky and white clouds behind them. The cat is smiling and twirling around, holding a paint brush out like a wand. From the brush flows paint that swirls around the two figures and making shapes of green leaves and orange and yellow flowers. On two looping blue ribbons appear the last captions: This is a record of my silly little life. Good or bad, I’m glad I get to share it. End ID.

Here’s a little introduction to External Memory! It was fun to make a proper neat and full colour comic - it’s been a while ^^

(If you like this project, please reblog this post! You can also subscribe to my patreon where I post one comic every day ^^)

#comic #comics #original comic #web comic #webcomic #diary comic #slice of life #autobiographical comics #journal comics #comic artists on tumblr #external memory comic #slice of life comic #apologies for the long post tumblr does that any time I put in tags for some reason #described #long post

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