Copia X F!reader - Blog Posts
okay but the symbolism behind removing his face paints i'm so normal about this i—
Camellia: Copia x f!reader - Chapter 5
Camellia: n. - A flower which symbolizes a deep desire or longing.
Summary: When it rains, it pours, but the drops wash away the uncertainty swimming in your mind.
Word count: 4.4k
A/N: Thank you all for your patience!! I usually try to keep updates going every 10 days or so, but this one's a little late, so I apologize. Thank you so much for reading, and I hope you enjoy this chapter!! <3 If you want to be added to the taglist, let me know!!
Warnings: possible descriptions of anxiety, you and Copia being idiots, mutual pining.
AO3 / Chapter 1 / Chapter 2 / Chapter 3 / Chapter 4
You hadn’t known it was supposed to rain this morning. But now that you tilt your face up towards the gray-blanketed sky, you remember that it had been rather dark when you and Copia stepped out of the kitchens. The breeze around you feels sharp and the birds have gone quiet since you emerged from the flower labyrinth. The leaves—small and sparse after having just budded for spring—turn over to reveal their pale undersides. A sure sign of a rainstorm.
As you hold your finger in front of your face to observe the rain drop that had landed on your nose, another falls on the top of your head. Beside you, Copia also lifts his head to look at the sky. He squints and flinches a bit when a drop lands in the middle of his forehead. “Ah, cazzo,” he mumbles, and uses his free hand to swipe it off. The raindrops are fat and heavy, and they scatter the tiny stones of the gravel path under your shoes when they fall.
Another drop lands on your shoulder. “Should we go inside?” you ask. Immediately you realize that it is a stupid question. Of course you should go inside, crétin. It’s about to rain and you have no idea how long you’ve been outside for.
That nagging thought tugs at the back of your awareness. The thought that you shouldn’t be taking up so much of Copia’s—Papa’s—time. He’s a busy man, and he probably doesn’t have time to walk the entire garden path during working hours.
But… he had offered. And if you could, you’d walk the entire loop just to spend more time talking with him.
“Yes… that is probably a good idea,” Copia answers with a small smile.
He doesn’t want to go inside. He wants to keep holding your hand, keep walking on the secluded garden path until the sun goes down and it grows too cold to stay outside. And even then, he wants to take you back to his office, light a fire, and share a kettle of tea with you and talk some more. Maybe kiss you once or twice, if you’d be willing. Satan knows he would be.
But you can’t spend what could very well be your last full day at the Abbey just killing time. He knows he should take you back and walk with you to the library. Copia knows he should encourage you to keep trying with Elizabeth’s diary until Sister Imperator is literally pushing you out the door, but he wants more time. He needs more time with you. This can’t be over yet, it can’t. It hasn’t even started, this thing that exists between you.
The trees begin to shift a little more, a soft whooshing sound blowing with the breeze as the leaves and coniferous needles brush together.
You blink once, twice, and then it’s pouring.
“Diable ci-dessous!” you curse, swiping your free hand over your face as if that would help keep the water out of your eyes. The rain very quickly soaks through your habit and the wind bites at your skin.
Copia squeezes your hand. “Sorella, come, come!” He tugs you into a run along the path. The gravel crunches and moves under your feet, making you both stumble every few steps. Your hands clutch together like a lifeline.
Through the sound of the ever-growing rainstorm, you can hear the shouts of Siblings working in the garden who had also been caught in the weather. You can’t discern any words. The wind and the rain and the sound of your soaked shoes drowns out anything else, except for the bright laughter bubbling up from the man beside you.
The rain falls in sheets, and you find yourself laughing with Copia. It’s ridiculous, this situation you’ve found yourself in. Like the sky had heard you speak to each other about your less-than-ideal childhoods, and decided to provide you with the clouds over your heads in a more literal sense.
It takes you a moment to realize that Copia isn’t leading you back up the path towards the Abbey. You’re still running on the gravel past the greenhouses, which are teeming with Siblings hiding from the storm. Looking up through rain-soaked lashes you see the approaching silhouette of the tiny, sort-of-abandoned chapel in the far corner of the Abbey grounds. You can’t make out any details through the rain except for the small spire with its inverted cross.
Your heart jumps at the thought of being cooped up in the small space with Copia until the rain subsides.
“Here!” Copia calls. He surges forward to the door of the chapel and almost loses your hand in the process. It takes him two tries before he can shoulder the door open, and then he’s practically dragging you over the threshold. His leather gloves are soaked and slippery, but his grip on you tightens until you’re both inside and safe from the rain. He closes the door behind you and it slams against the threshold with a creak and a loud rap of the ancient brass knocker.
Then, you’re alone. It’s quiet inside the chapel, save for the storm pelting against the old, warped panels of stained glass along the side walls and the frantic beating of your heart in your ears.
You wonder why a chapel has a knocker.
You also wonder why such a pretty, quaint little chapel isn’t used anymore. The inside is lined with dark wood pews on either side of a carpeted aisle. The door is made of the same wood, as is the modest pulpit stationed at the front of the room. It stands on a raised platform, and behind it is another, higher platform with what looks to be a long table sheathed in a black cloth which reaches down to the floor. On either side of the pulpit are elaborate iron candelabras empty of any candles.
The windows on either side of the chapel aren’t elaborate like that of the main Abbey. They each depict a single inverted cross of clear glass, with red stained glass filling the negative space of the arched windows. The walls are thick and built of stone, and each window lines up with a pew. Several books, which you infer are unholy prayer or hymn books, are perched on each windowsill, and you’re very suddenly reminded of Marseille. The stone walls, the tall, narrow windows, the old wood, the books on the sill.
For a moment, you’re home and you’re very near to tears.
“Cara,” Copia says softly from behind you. In your reverie you’d turned around to take in every little detail and your back is now facing him. His hand still holds yours, although you’re sure the soggy leather must be making your (and his) fingertips prune.
Copia had watched you, watched your eyes flit around the chapel as you turned on the spot. He remembers what you told him about your home and realizes that this little building must remind you of it. He had watched your face alight in unrealized comfort and he had watched as your eyes grew glassy when you made the connection. He calls out to you. Cara, he says, and he means it. You are dear to him and it surprises him just how quickly you’d managed to become that way.
You turn back to him, trying very hard not to let the tears building in the corners of your eyes slip down your already-wet cheeks. But then you see his face. Oh, your poor Papa, his face.
One might think, for a Ministry with worldwide influence and many, many resources, they might be able to afford waterproof, smudge-proof paints for their esteemed leader, but they hadn’t.
“Oh, no,” you giggle. It bubbles up in your chest and escapes your lips without your intent. And then your giggle turns into a rather unattractive snort and a full laugh, because your poor Papa looks like Hell. His paints are running down his face and dripping onto his leather vest. The black rings around his eyes have been tracked down his cheeks so that he looks like an overdramatic actress with terrible mascara. The pigment on his lips and beside his mouth have smudged so badly with the rain that he looks as if he’d drank a gallon of black paint. The white paint has almost completely run off, except for where it settles in the creases beside his mouth and between his brows.
All together, he looks like a rather soggy zebra.
Copia pouts at you. “What?”
You wish you had a mirror to show him. Part of you feels horrible for laughing at Papa, but you know that the man behind the paint will also find it rather funny. Slightly embarrassing at worst. “Your–” you try to stifle your giggles. “Your paints, they’re…”
Copia’s eyes widen in realization. “They’re… not waterproof, no,” he says flatly. “Satana, devo sembrare uno stupido.”
He peels his sodden gloves off his hands and stuffs them in the front pocket of his pants. He swipes a finger under his eye and brings it back to find that his fingertip is gray and patchy.
“No, you don’t look like an idiot,” you try to soothe him, although you’re still slightly laughing. “You simply… look like a man who was caught in a rainstorm with a full face of paints.” “Sì, so, like an idiot.”
Copia begins trying to wipe his face with his sleeve. It does nothing to actually remove the paint, instead just smudging around his damp skin. Though, you’re beginning to see that his cheeks burn a pretty red through the streaks of whitish-gray paint, and his ears are nearly completely red. You guess that his face might feel just as hot as your own.
He huffs in frustration, flicking his wet sleeve and causing water droplets to smack against the stone floor. “Dannazione,” he mutters to himself. “Shitty paints making me look like a…”
You remove your veil and bandeau—which are nearly plastered to your head from the torrential downpour—and wring them out. “Sit,” you command gently. Gesturing to one of the pews nearby, you fold your veil into a neat square.
When Copia continues mumbling to himself and fruitlessly wiping his face, you reach out and tug his sleeve away. “Copia,” you say again, “Asseyez-vous.”
Copia reluctantly obeys. He knows his face is completely red now, for multiple reasons. It’s cold, for one—the rain had felt like tiny daggers of ice even through his shirt, and now that the two of you are in a drafty little chapel with soaked clothes, the air feels even colder. He’d also made a complete and total ass of himself, thanks to the rain. He’d spent so long this morning leaning against his mirror, going over and over the black paints to make sure each line was crisp and clean and perfect in the off-chance he might see you today. It had made him late arriving at his office, but it had led him to bump into you just minutes after his paints had dried, which is when they look their best, in his opinion.
But the primary reason his face is practically glowing is because you’d commanded him in French. The language sounds sinful on your tongue. And spoken in that gentle but insistent tone… oh, he could come apart from just your words. You could string him along forever if you only speak like that.
He sits on the edge of a pew with a sigh. Copia knows he’s being ridiculous—it’s only paint—but he’d spent an embarrassingly long time on it in the hopes it might impress you, and here he is, looking like an idiot.
You approach him. You’re taller than him like this, so he has to tilt his face up to meet your eyes. Before you can overthink, before you can begin to question yourself, you gently reach out to place a finger under his chin and lift his head up a bit more. “Let me,” you say, almost a whisper. Your finger remains on his chin, keeping his head in place as you place your damp veil against his brow and begin to wipe.
Surprisingly, the fabric of your veil is much more effective than his shirt, and the paint comes off easily. “Oh,” you say, lifting your brows in mild surprise. “It’s working.”
You notice that Copia’s eyes slid closed at some point. “It feels nice,” he tells you softly.
“It’s French,” you say with a little huff of laughter, which Copia echoes.
Yes, he had meant that the fabric of your veil feels nice against his skin. But mostly he had meant that your finger gently tipping his head back feels like so much, all at once, and he doesn’t have words for any of it. It feels like it belongs there. He wants to touch you back, but where? And would you be okay with it, his hands on your hips or your waist or the backs of your thighs?
So, he settles for shutting his eyes and clenching his hands on his knees to resist pulling you closer. You’re standing between his knees, which are spread wide enough to accommodate you without touching the sides of your legs.
He wants something. Something innocent, not presumptuous, because he really doesn’t know how you feel about him at all. He lets his legs fall closed a bit more, until the bends of his knees just barely brush against your legs. His pants and your habit are absolutely soaked but he can feel the warmth of your skin through the fabric, and oh, he’d never guess that leg-to-leg contact could feel so intimate.
Copia opens his eyes when you gently drag your finger over his hairline to brush back the hair stuck to his forehead. You’re so focused on your task, as you always are. Your hands are cold and gentle as you wipe away his ruined paints. He wants to take your hands and kiss every finger until they’re warm again.
Slowly, carefully, you uncover new expanses of Copia’s face with each pass of your veil. You press a little firmer into the lines along his forehead and between his brows to completely clear his skin. His eyes are closed again, and you’re partially grateful because if he had looked at you like that any longer, you might have leaned down and kissed him. His freckled cheeks or his strong nose or his lips, you don’t know.
Somewhere between wiping the paint from his mustache and chuffing your veil under his chin, you begin to shake.
“Tesoro.”
“Hm?”
“You are cold,” Copia says, his voice barely above a whisper. You can feel his warm breath on your fingers as you drag your paint-ruined veil over a spot of white you’d missed.
“I’m alright,” you say. It’s partially true. Yes, you’re cold, but you don’t want to think about it or else you’ll really be cold and there’s nothing here to warm you up. Realistically you know it’s your habit; it’s soaked through and so are your socks and shoes. But it’s also the realization coursing through you that you have feelings for this man.
Lucifer, they had developed quickly. It had been so easy for him to push past the barriers you’d set up around your heart and mind. He’d just walked right in, lit a cozy fire within your soul and asked you to call him Copia. And you let him. He’s carving a place in your life that you’d gladly have him occupy, and it scares you.
He makes you forget why you try not to get attached. He looks at you and you forget the pain of leaving everything behind when you were eleven, which you are deathly afraid of having to do again.
You’re brought out of your thoughts when Copia’s ungloved hand gently takes yours. You cringe at how clammy your hands must be compared to his warm ones, but you don’t pull away. “Sathanas, tesoro, your hands are like ice,” he says. His other hand comes atop yours to sandwich it between his own.
You feel like you need to run. Your heart kicks against your sternum as your eyes meet his own.
Copia’s face is bare now. His freckles stretch across his cheeks and over the bridge of his nose, with a few scattered on his forehead and chin. You want to rip your hand out from between his own and tumble out the door into the rain. You want to bring him closer and trace little patterns into his freckles. Satan, you don’t know what you want.
You want to protect yourself from hurting again.
Copia, on the other hand, knows exactly what he wants. But he can practically see your mind working, churning back and forth between whatever turmoil is going on inside your head. As he sits in front of you, he can see the exact moment when you begin to panic. He can feel your hand begin to shake in his. He knows you’re not blind, or ignorant. He knows that you both know there is something happening, that it has been happening since you met, that it’s big. And he knows you’re scared of it, what it could become, what it could mean. Darling, he knows.
So, he stays silent. If he says anything or does anything, you’ll flee. This thing between the two of you is delicate, so delicate and new and foreign that any sudden movement will shatter the careful balance you hold in the little chapel. Anything but silence will cave the roof in and drench you all over again. Copia stays silent and holds your hand through your own tempest, and lets your eyes explore his face in search of answers he hopes you’ll find.
“I don’t want to go,” you whisper after another moment. “I want to stay and figure it out.”
Copia doesn’t know if you’re talking about Elizabeth’s diary, or this thing between you and him, or both. Honestly, neither do you.
He squeezes your hand tenderly. “Let’s get you back to the Abbey then, eh?”
“It’s—” your eyes dart to a window, “it’s still pouring, Copia.” Copia simply smiles at you, leaning in as if to tell you a secret. “What’s a little rain going to do, cara? Ruin my paints?”
~~~
By the time you make it back up the hill, to your dorm, to the shower, and into dry clothes, the lunch hour is long gone. You hadn’t realized how long you’d spent with Copia that morning. It had been just past nine when you left Sister Imperator’s office, and now it is well past two in the afternoon. Somehow it felt like only minutes had passed in the cozy little chapel, and in that chapel you made the terrifying realization that no matter how long you spend with him, it will never be enough.
You can’t think about that right now.
Right now, you need to get to the restricted room. You’re halfway out the door of your temporary dormitory, slipping on your only spare pair of shoes as you desperately hold onto the idea you had when you and Copia were about halfway up the hill.
With your shoes already soaked through, you and Copia had struggled to find traction on the sodden grass. With each step you found yourself slipping backwards, hands flying through the air until you regained your balance, or until Copia firmly grasped it in his own and didn’t let go. The two of you trekked your way up the hill, slipping and sliding and giggling at the absurdity of it all. Your hand would find his own whenever it would slip from his grasp, like they were magnetized. It felt natural, seeking his hand. Even if it was only for balance.
As you slowly made your way up the hill, soaked and shivering, one thought prevailed in your mind. You only have today, you kept thinking. If you don’t figure out the diary, you’ll only have today.
It was true of two situations. You have one word of the diary—Today—and you have only today if you can’t decipher the rest.
You took a step forward, and slid back slightly. Copia’s hand steadied you.
Only today. Elizabeth. Today. Copia. Today.
Today.
You’d stopped completely, just standing in the near-freezing rain. Copia had looked back at you like you were insane (which you might be), and tugged on your hand again. “What is it?” He’d shouted over the rain.
You’d begun to climb the hill with a renewed vigor. “Today!”
Copia had no idea what you’d meant by today, but he couldn’t question it when you were pulling him up the hill. It was like you’d suddenly found your footing in the wet grass, and he was glad of it. His shoes were completely drenched and he was shivering nearly as violently as you were. He didn’t need to understand what you were talking about right now. All that mattered was getting you (and himself) out of the cold. He can ask you later.
Later, he’d thought. Would there be a later?
Yes, there would. As he watched you climb the hill towards the kitchen door, still clinging to his hand and helping him up, he’d decided there would be a later. Sister Imperator may control every other aspect of the Abbey and his life, but not this one. Not you.
The Siblings working in the kitchen had looked at the two of you like you were crazy when you burst through the door, sopping wet and dripping onto the tile. Perhaps it was a mix of confusion and surprise—you’d wager that none of them had seen Copia without his paints before. You feel immensely privileged that you’d been the first, that you’d been the one to take them off. You’d been the one to strip away Papa.
“Eh,” Copia had said, looking back and forth between you and the Brother who had smiled at you earlier, “We— I— sorry. We’ll be going, yes—”
He’d grabbed your hand again and pulled you through the kitchens the way you came that morning. Once you both had stepped out into the refectory, which was thankfully empty at this time of day, Copia stopped again. The sounds of his ruffled shirt and your habit dripping on the floor echoed in the large room. “Be honest with me, cara. How bad is it?”
You’d struggled to hold in a laugh. “It’s… not as bad as you think,” you’d told him. In truth, it wasn’t. But you realized then that you’d missed a spot of paint in his hairline, which now trailed down his forehead in a distinct white line. Without thinking twice, you reached up to swipe it away with your thumb. “I can’t imagine I look any better.”
Copia huffed a laugh through his nose. “We… should probably go get cleaned up,” he’d said. “I wouldn’t want you to catch a cold.”
“You either, Papa,” you said, and Copia had mourned the loss of his name on your lips. He understands—within the walls of the Abbey, he is Papa and you are Sorella. But perhaps he could make an exception for you.
You and Copia had parted ways then, to wash up and resume your duties. All the way back to your dorm and through the time it took to shower and change, you’d recited the word today in your head like a prayer. Even now, as you quickly walk through the corridors on the path you've taken every day for the past week, you repeat today, today, today as if you would lose the thought if you didn’t.
If Elizabeth is the key to the first word, perhaps today is the key to the second. Two steps forward, one step back. The hill in the rain. You must look back before you can forge ahead.
With practiced ease, you open the diary’s lockbox and place it onto your usual desk. Having donned the pristine white gloves again, you unfold the linen and the gold embossment on the cover catches your eye. You smile. Soon, you promise to Elizabeth, you will live again in these pages.
The familiar string of letters greets you as you open to the first page of writing. You write the sequence again on a blank sheet in your notebook, the letters flowing from your pen with ease after having written them hundreds of times already.
LzlhelzhkxbgwfqmnJkcfolBfbalBoiovtsheq.
You already know that the first five letters translate to today, so you cross them out. Underneath the next letters, you write hodie again and again, as you’d done with the word Elizabeth the first time. Your hands are shaking. Please, please, please…
You trace your finger over the letter grid, quickly mapping each letter of the cipher to its partner in the key. L of the cipher and the H of the key map to an E on the grid. You jot down a messy E. Z of the cipher, o of the key, l on the grid. And so on, until you’re confident you’ve found the next word when the deciphered letters stop making sense.
The second word in the line reads electus. Chosen.
Without translating the whole sentence, hodie electus could mean a number of things. Word order does not matter in Latin—hodie could be the subject of the sentence, or the object, or an arbitrary time frame.
Your heart is beating hard in your ears. You continue, using electus as the new cipher key.
The next word is sum. The Latin word for self, or I.
Hodie electus sum. Today I was chosen.
Sweet Satan, you think. Your breath comes shallow and quick. Holy Hell, I’ve figured it out.
You continue, your hands flying back and forth between the corresponding letters of each new key and the grid, double and triple checking to make sure you map the correct letters. Your head feels light, your chest heavy. Like if you dared to look away from the diary or your notebook or the grid, you’d find that you were wrong. You must translate this first sentence before it shifts and your idea doesn’t fit anymore.
It’s easy to find where the first sentence ends, because it is isolated in its own paragraph in the diary. That also tells you that it’s an important statement; important enough to be separate from the rest of the text, which is a continuous flow of letters down the page.
The final word of the cipher confirms your suspicions that Elizabeth wanted to keep her diary a secret for a long time. The final word deciphers as Papae, the Latin possessive form of Papa.
Hodie electus sum ut Primus Motor Papae.
Today I was chosen to be Papa’s Prime Mover.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Camellia: Popia x f!reader - Chapter 2
Camellia: n. - A flower which symbolizes a deep desire or longing.
Summary: You start work on Elizabeth's diary, and finally get a good look at Papa.
Word count: 5.5k
A/N: Hey hello, I hope you enjoy this chapter! It's a bit of a monster, but worth it, I promise!
Warnings: Mentions of reader having religious trauma
AO3 Link / Chapter 1
~~~
You’ve been hunched over this damned diary all day.
Sister Imperator was right. None of the Abbey’s translators or archivists would have been able to read Elizabeth’s writing because she had written in a cipher. With no spaces between words and with no obvious keyword to decipher her entries, the first page of her diary looks like nonsense. Just absolute gibberish.
But to you, it isn’t.
With each passing hour you spend at a small table in the restricted room, you admire Elizabeth more and more. She was smart as a whip and even more clever. You figure that, if she wanted her diary to be kept secret, she could have simply destroyed it. Burnt it, ripped it, buried it, dipped the whole thing in black ink—anything surely would have been easier than creating a cipher which has no discernable pattern.
She didn’t destroy it, though. She wrote on each page, front and back until the entire book was filled, and then she hid it. If something is truly never meant to be found, it won’t be. Which leads you to believe Elizabeth’s diary isn’t a diary at all. It’s a record.
A record of what, you have yet to be sure. It is secret enough for Elizabeth to want it to be discovered someday, but only after she is long gone. That intrigues you enough to sit hour after hour over this book, trying every word you can think of that might be the key to the cipher. So far you have crossed off ‘Satan’, ‘Lucifer’, ‘Beelzebub’, and other aliases of the Dark One. You hadn’t expected those to work, because Elizabeth seems smarter than that, but you had to try just to rule them out. You also tried words like ‘chapel’, ‘altar’, and other imagery of the Satanic Ministry, with no luck. You thought perhaps the first five letters of the entry were the key to the second five, or vice versa. You tried again with the first six letters, the first two, three, four. Nothing.
The only words you have been able to read are the dates of each entry, the month and the day, which she wrote in the top-left corner in plain English. Those were not much of an accomplishment to decipher.
You sigh and sit up straight for a moment. Your back is sore after hours of slouching and writing. The once-crisp notebook under your pen is nearly half full of incorrect keywords and mistranslations. The small window on the far wall of the restricted room has grown dark and no sounds echo to you from the hollow of the atrium.
You’d gotten up to find something to eat (and to uncross your eyes) during the dinner hour. Tonight you opted for a hot meal but decided not to stay in the refectory. You don’t know if food is even allowed in the library but all the Siblings who work there were at dinner, so you snuck it in anyways. You aren’t careless, though, so you ate your dinner at a different table, far away from the one where Elizabeth’s diary and your notebook sit open. That had been a few hours ago.
As far as you can tell from the small window in the door, the lights in the library have been dimmed for the night. No one came and fetched you to tell you that it was closing, so you assume it stays open at all hours. Your own desk lamp is the only source of light in the restricted room.
You rise from your workstation and move towards the closed door. Such an enclosed room tends to get stuffy and humid, and it’s still too chilly outside to open a window. You gently prop open the door to let in the relatively fresh air of the library. No one said you couldn’t keep the door open when you’re inside the room, only that the door must be locked when you aren’t.
Returning to your desk, you can already feel the cooler air drifting through the bookshelves. You’re content to work for a few more hours like this. It feels wrong to give up for the night when you have nothing to show yet. It feels wrong to stop working when you have something to prove, and somewhere to return.
The night here is eerily silent. At home in Marseille, if you open your dormitory window and sit on the end of your bed to look out over the water, you can hear the soft lapping of water against the marina docks. If the wind carries just right, you can also hear the creaking of masts and cables as the sailboats list back and forth in the water. Sometimes the gulls stay out at night during the summer months, calling for one another from their perches on a bow pulpit. The breeze carries the saltiness of the water and the sweetness of the hillside wildflowers into your dormitory, illuminated only by a small desk lamp and the moon—
A sound from outside the room breaks you from your reverie. Your consciousness whips back to the present, to the Abbey. The ghostly scent of salt and flowers fades, replaced by old leather and dust and ink from your pen.
You raise your eyes to look through the open door when you hear another sound. There’s no one visible to you—whoever they are must be between shelves, looking for a late-night romance novel to put them to sleep.
You haven’t figured out why the romance section is so tucked away yet. Though, perhaps if erotica is shelved nearby, the librarians would want any wandering hands to stay hidden. Not that lust is shameful here—it’s the Satanic Ministry, it’s actually encouraged—but the library is not the place to get hot and heavy.
Knowing that someone is nearby distracts you terribly, and you decide to stop for the night. The little analog clock hanging next to the door reads past midnight. At this hour, you likely won’t get much done anyway. You need sleep and a proper breakfast to let your mind work.
You take the time to gently wrap Elizabeth’s diary in the white linen and return it to its lockbox. The rest of your things don’t take long to gather, having only brought the one notebook and a few pens, plus your empty dinner box. You close the door behind you as you exit, fishing through your habit pocket to find the key. It and the key to your dormitory are affixed to a single keyring which jingles as you fumble with it one-handed, but you lock the door successfully and turn to make your way to the staircase.
Rather, you try to make your way.
As soon as you turn around, a figure emerges from the bookshelves. You promptly run into him, which sends your materials to the floor and your mind reeling with apologies. “Oh, je suis vraiment désolé—Er, I’m so sorry!” you bluster, holding your now-empty hands out to plead for forgiveness. You kneel to gather your things into a messy pile, then stand and finally meet the eyes of the poor soul you’d accosted with your body. “I should have been more careful, but it’s late so I thought…”
They’re the same eyes you’d met yesterday, in the refectory. Still striking, still surrounded by black, but up-close and more relaxed. And no white paint. Just the black upper lip and the black eyes of Papa Emeritus the Fourth.
“It’s, eh, it’s quite alright, Sister,” Papa says with an awkward little laugh. You notice he’s not wearing his robes or his mitre. In fact he’s not wearing anything that might remotely indicate that he’s the Antipope. He wears a simple black t-shirt and red sweatpants, and gray fuzzy slippers that have the eyes and whiskers and pink nose of a rat which you thought looked cute when you’d knelt down.
But he’s still Papa, and you still barreled into him like a brute.
You try to smile but it feels more like a grimace. “Still, I shouldn’t have just…” you gesture with your free arm. “I’m sorry. Are you alright?”
Papa pats his chest like he’s searching for injuries. You hit him hard, but not that hard, and it makes you laugh softly. “I’m fine. Quite good. Still in one piece,” he says. “Are you? And why are you here so late?”
You blush. “Oh, does the library close at night? I’m sorry, no one came and told me, I just assumed…”
“No, no,” Papa reassures you, waving a hand in front of himself. “No, it doesn’t close. But it’s usually empty at this time of night, you see.”
You nod in understanding. “It is pretty late.”
“It is,” Papa echoes. “So… pardon my asking, Sorella, but why are you still awake?”
“I was, um,” you try to explain, looking down at the messy pile of translation work cradled in the crook of your elbow. “I was working on Elizabeth’s diary, but it may take longer than I expected.”
Papa’s face seems to light up at your mention of your work. “Oh! Forgive me, yes, I should have known,” he rushes out. “You are the, eh, visitor? From Marseille?”
You nod and give him your name. He repeats it softly to himself, as if to remember it. You doubt he will, but you won’t hold it against him—there are many, many Siblings at the Abbey and many names to remember. So if he manages to distinguish you from the rest of the crowd, you will be pleasantly surprised. Not to say you don’t have faith that he could, but… well. You’re running yourself in circles.
He narrows his eyes slightly, but pauses for a moment. “I saw you yesterday, at dinner,” he tells you.
So much for not remembering a face in the crowd. You mentally kick yourself.
“Ah, yes,” you chuckle nervously. “I’m not the biggest crowd person.” Papa chuckles. “Yes, I noticed. To be honest, neither am I.”
That’s hard to believe, coming from him. To be Papa is to be a figurehead, a symbol of unwavering faith and devotion to the Olde One which the entire Satanic Ministry worships. One must be a bit of a crowd pleaser in order to be successful in his position. “It doesn’t seem that way, Papa,” you tell him. “You command a room very well, from what I’ve heard.”
A smug little grin grows on Papa’s lips, and it suits him. Smiling suits him. “So word of my immense charisma has traveled all the way to Marseille, yes?” he asks, mostly teasing. But a small lilt in his voice betrays that he really does wonder. What does this foreign Sister think of him based on word of mouth alone? And does his person size up to his reputation?
You laugh. “It has,” you say. “Forgive me if I have a hard time believing you are uncomfortable in a crowd.”
Papa tuts his tongue, his grin growing into a fond smile. “You should have seen my brother.” There’s a small sparkle of reminiscence in his eye as he says this, and you wonder which of the three other Papas he speaks of. You’ve heard different stories about all of them.
His eyes drop to the papers and notebook in your arm, then back up to your face. “But, eh, you are settling in well, Sorella?” he asks.
You can tell he wants to change the subject, so you let him. “Yes, Papa, thank you,” you smile.
“That’s not very convincing.”
You release an airy laugh and drop your head. He can see right through you. “It’s very different here,” you say. “Marseille is… small. Cozy. Secluded. Not to say that I don’t like it here, because it really is very nice—”
“It’s crowded,” Papa cuts you off. It’s soft, and not intended to be rude, but to agree with you. “And big. I understand.”
Your shoulders drop, but you hadn’t realized they were raised in the first place. “It’s not home,” you find yourself admitting.
He nods. “And so you work late into the night because you do not want to sleep in an unfamiliar bed.”
You stare at him for another beat. He seems to know what you’re feeling even before you do, because yes, your bed here isn’t the same as the one back home, and suddenly you’re very close to crying. Don’t cry, don't cry, don't cry…
“May I tell you something, in confidence?” Papa asks. His voice is low and gentle. It soothes you. His eyes search your own, flicking back and forth between them, and you begin to understand how this slightly awkward man in rat slippers is able to enrapture an entire chapel of people.
You nod.
“I miss being a Cardinal,” he tells you. “Truly, I do. Becoming Papa has been the only goal I can ever remember having, ever since I was old enough to care. But as soon as I ascended I…” He pauses. His mouth opens and closes, like he’s trying to decide whether or not he should finish his thought.
He sighs. “What I mean to say is, There is no shame in missing where you used to be.”
You hold his gaze for another long moment, wondering what it is he was going to say. His words linger in the silence between you and you let them. As soon as he became Papa he… what?
“Thank you, Papa,” you say quietly. The moment feels almost intimate, like he’d confided his biggest secret to you. But for all you know, he tells every Sibling he comes across the same thing. It’s his duty to counsel everyone under his roof, visitors included.
No, you chastise yourself. Papa doesn’t seem like the kind of man to have practiced lines for serendipitous meetings… but you are still learning not to assume the worst of people. You had been far too young when you learned not to trust anyone, even those deserving of it. But Papa… he seems genuine, and it’s all you can do (for yourself and for him) to believe that he is.
You realize that this is the natural end of your conversation. That now is when you should say goodnight, nice to meet you, see you around, but you don’t want to. You can’t tell if it’s because you’ve been on your own all day, or because it’s late and you’re tired, or because the air around him seems to grow warmer and more… comfortable. Papa radiates an aura of peace that you haven’t felt since you received Sister Imperator’s letter nearly a week ago.
“If I may ask, Papa,” you start, just as the silence begins to grow awkward, “what are you doing awake at this hour?”
Papa’s eyes turn down, and a small smile graces his lips. “Ah, I was just looking for something to read,” he says, and you nearly laugh at yourself for asking such an obvious question. Of course he’s looking for something to read. The two of you are standing deep in the bowels of the library.
Oh, who are you kidding? Papa likely came here to find a book in peace, not speak to some foreign Sister. Who are you to keep his attention?
“I see,” you say, in your practiced voice. “Well. Good luck, and I hope you find something, Papa.”
Before you can blurt out any more feelings to him, you turn and walk briskly towards the winding staircase that leads you to the first floor.
~~~
Copia watches you retreat, slightly confused and halfway ready to call your name to make you stay. Something had changed in your demeanor just before you left, and he wants to ask if you’re alright, or if he said something wrong and caused you to close yourself off like that. Was it his little comment about missing the past? No, no, it couldn’t be—your eyes had been wide and searching, but you weren’t offended. Your brow had furrowed but not out of disgust.
He’s not as clueless as most people think he is. Just because he has a hard time finding the right words to say what he’s thinking doesn’t mean he’s stupid. In fact, Copia prides himself on his ability to read people. His ability to speak as eloquently as he does in his head… that’s another story.
When he’d first seen you in the refectory yesterday, you had already been looking right at him. He was curious about the straggler who’d wandered in so timidly. Your face isn’t one he’d seen around the Abbey. If he had, he would’ve remembered you because frankly, you’re striking.
Copia doesn’t know why he hadn’t connected the dots sooner. It seems obvious that a brand new Sister should appear only weeks after Sister Imperator mentions bringing someone in to translate the document that had been found. Your presence had been a single talking point during some meeting or another, and if he’s perfectly honest, most Clergy meetings seem to blend together into nonsensical mush when he thinks back on them. Your mention of Elizabeth’s diary had reminded him of a few vague details. But the rest of that discussion, unsurprisingly, slips his mind.
He finds himself feeling guilty. He’d been at that meeting, he knows for certain. The paperwork to confirm your temporary transfer had landed on his desk and he’d signed it. He must have. Your file must have been sent over from Marseille ahead of your arrival, why hadn’t he seen it?
Copia runs his fingers through his hair and sighs. He should have welcomed you to the Abbey himself. He should have sought you out and personally offered his hospitality, because he knows what it’s like to be across the world from home. He knows how lost and alone you feel. He’d felt it himself, after he transferred to the Abbey as a newly-appointed Cardinal.
I miss being a Cardinal, he’d told you. And it’s true, he does, but he misses being an Archbishop more. He held less sway within the Satanic Ministry as an Archbishop, but he was allowed to stay in Italy. His home.
As soon as he’d ascended to the rank of Cardinal, Sister Imperator had called him to the Abbey as a permanent transfer. Sure, his brothers had all been transferred from Italy one by one as they were called up to the Papacy, so he had family at the Abbey. But they had all been busy, constantly, and so had he.
You’d told him you miss home, and a very strange, very tender part of him wants to comfort you.
~~~
You replay your conversation with Papa all the way back to your dormitory. Stupide, stupide, stupide…
He told you that he’s not much of a crowd person, and then you go and tell him that his Abbey doesn’t feel cozy enough for you? And you nearly knocked him over in your haste to return to a bed that you told him isn’t as good as the one in Marseille. What a way to thank him for opening his home to you! Thanks, Papa, but here are all the reasons why your Abbey sucks.
“Fille stupide,” you mutter to yourself. The sound echoes off the walls of the dark, empty corridor. The wall sconces are dark for the night, so the only illumination comes in the form of pale blue stripes of moonlight along the tiled floor.
When you finally reach your dormitory and softly shut the door behind you, you take a moment to breathe. You’d been walking rather briskly in order to get back. Your fingers clench so tightly on the edge of your notebook that your fingernails are white, and your joints creak as you release your hold. The slap of the spiral-bound book seems loud when you drop it onto the small desk below the window, reverberating around the room. There are no posters, no tapestries, no curtains to absorb the sound like there are at home.
You loathe the sound. You loathe the echoes. You loathe the tip-tapping of heels on the pristine floors of the Abbey. You loathe the muffled sounds of laughter coming from a dormitory a few doors down. You loathe how desperately you want to find something to hold onto here, something that feels personal. And you loathe how you crave familiarity despite the fact that you’ll return to Marseille as soon as that little book is translated.
You practically rip your habit off—a habit that is uniform in France, but sets you apart here—in favor of your sleep clothes. Climbing into the small bed, you begin to recite your prayer in every language you know. It’s a habit you’d developed as soon as you began learning a second language at the ripe age of nine. Only then, the prayers had been directed at the cruel, unforgiving Catholic God.
Salut Satan, notre Ténébreux juste et indulgent…. Ave Satana, il nostro Tenebroso giusto e indulgente…. Salve Satanás, nuestro justo y perdonador Oscuro….
You continue until you’ve exhausted all the languages you know, and then you start over again with a different prayer. And again. And again, until somewhere in the middle of your Portuguese Hail Lilith you drift to sleep.
~~~
You wake the next morning in a much better mood. Perhaps last night you’d just been frustrated and overtired from working from dawn til far past dusk, but the bright birdsong from outside sounds happier today. It follows you from your dormitory, down the corridor and to the main hall, where the sounds of the breakfast hour echo out into the large space.
You could walk into the refectory if you wanted, without feeling intimidated (at least not as much as the day you arrived), but you don’t have much of an appetite this morning. Instead you take your time walking the length of the main hall. There are sculptures in spaces between the wood benches that you hadn’t noticed before. You find one you recognize, and it doesn’t surprise you that the Abbey houses a replica.
La génie du mal is a welcome sight. The Marseille Abbey also keeps a replica, although it is slightly smaller than this one. It’s a depiction of a fallen angel chained to a rock, with a crown held loosely in one hand while the other runs through his hair. His stone face is solemn but the bat-like wings splaying from his back seem to welcome you, as if saying, Hello child, do you remember me?
Yes, you do remember. You remember being eleven years old and traveling to Liège at the whim of your parents. You remember touring Saint Paul’s Cathedral and pretending to marvel at the Catholic imagery that you didn’t understand (or care for) at the time. Every depiction of Jesus on the cross looked the same. Every statue of a veiled Mother Mary reminded you to be chaste and pure and subservient to a God who thinks you a lesser being.
And then you’d seen him in the chapel of the Cathedral, placed at the back of a pulpit which wrapped around a stone pillar. The four sculptures of saints (whose names you don’t bother to remember) stood at the front of the pulpit, facing in towards the pews, as if standing guard over the sculpture. La génie du mal was tucked into the back, hidden from view, but you knew something must have been there. Why else would not one, but four saints be guarding a single pillar, when there were dozens lining the interior of the chapel?
So you’d slipped from the watchful eye of your parents while they were distracted by the tour guide, and rounded the pulpit to see the backside. He was there, carved in white marble and stationed in the niche between two curved staircases. The elaborate stained-glass windows cast speckles of yellow, blue, and violet over his body, and he glowed in the sunlight like he was a real angel fallen to Earth right in front of you.
You visited him a lot, afterwards.
You learned later that the pulpit was commissioned to represent “The Triumph of Religion over the Genius of Evil,” but you thought—and still think—that it was executed rather poorly. The four statues facing inward protect only the Cathedral from La génie du mal, but he, facing outward towards the windows, can see the rest of the world. Anyone looking into the chapel for refuge or guidance would only see him, colorful and bright, through the holy scenes of the stained glass.
You jump nearly ten feet in the air when a voice beside you snaps you from your thoughts. “Beautiful, isn’t he?”
You look to your left and catch the mismatched eyes of Papa. You hadn’t even heard him come up beside you. “Oui—ah, yes,” you say, swiftly correcting your French to English.
“You know,” Papa says, looking back to the marble replica, “the original was commissioned because the first version of it was too, eh, sexy.”
You do know, but the fact makes you laugh anyway. “The first version is nothing compared to this. It makes me think that the artist made this version even sexier, just to spite the Catholics. And to avenge his brother.”
Papa turns to you fully now, with his hands clasped behind his back. He wears a smart black suit adorned with an elaborate grucifix on the lapel. It’s a far cry from the sweatpants and t-shirt from last night, but no less comfortable. You can’t help but notice that the suit is tailored to perfection.
“His brother?” he asks.
You nod. “The original sculptor was the younger brother of this artist,” you explain, gesturing to La génie. “It’s a bit of a slap in the face for them to ask his own brother to redo his work. I can imagine they both felt a little slighted.”
Papa chuckles. “Perhaps just a little.”
A brief pause falls between the two of you, and you begin to wonder just how long it will take for the silence to grow awkward. So far you haven’t reached that point. Not with Papa, at least.
“It would have been nice to have the original piece,” Papa says unhurriedly. “I can’t imagine the Catholic Church would have agreed to let us buy it.”
You turn to look at him briefly, letting out a small laugh. “If the price was high enough, I’m sure they would have,” you say with an almost imperceptible edge of bitterness. “But I do think its place at Liège is where it belongs.”
“Have you been?” Papa asks you, his eyebrows slightly raised as he turns to meet your gaze.
“I have,” you answer. You don’t elaborate further on the nature of your visit. “That’s not to say I don’t believe it would have a good home here, Papa. I just think that the irony of its placement is lost on the Catholics.”
He asks about it, and you explain. His eyes never leave your face as you talk. You don’t feel scrutinized like you had under Sister Imperator’s gaze, though. Papa’s eyes are warm and interested and you could swear they almost glow in the morning light. He nods and hums with each point you make, seeming genuinely intrigued by your argument that La génie holds more influence facing outward rather than inwards.
It’s a subject you’re passionate about. La génie had set you on a path towards the Satanic Ministry that day. By age eleven you already knew you didn’t want to be Catholic despite your parents’ efforts to instill their beliefs on you, but you didn’t know exactly what you believed in. Until you saw him, solemn and still, his magnificence hidden behind a stone pillar at Liège.
Despite Papa’s careful listening, you realize you must be rambling and cut yourself off. “Sorry, Papa. I don’t mean to talk your ear off.”
“Oh, no!” Papa says, shaking his head. “No need to apologize, Sister. I enjoy listening to you speak.”
Heat blossoms over your cheeks. You almost miss how his own face flushes a slight shade of pink. Almost.
“Eh, I mean—” Papa begins to fiddle with his own fingers. “What I mean to say is that you make a lot of good points. Yes.”
It’s obvious that he’s nervous over the comment he made. It was straightforward and a little flirty, and you know that in the bright hall he can most likely see the pink beneath your skin. Maybe he hadn’t meant for it to come out quite so… well, flirty. Or maybe he thinks he overstepped a boundary, that he said something he shouldn’t have? It was just a comment about listening to you talk, it shouldn’t be that big of a deal. Satan, why are you so flustered all the sudden?
You give him a small smile. “Either way… thank you, Papa. I should, uh—”
“Yes, me too—”
“Right, have a good day,” you say, a bit quicker than is necessary, and turn on your heel to start towards the library.
~~~
Once again, Copia finds himself watching you go.
Rationally, he knows that you’re not upset with him. You didn’t leave because of something he’d said or done that made you uncomfortable. If that was the case, he hopes that you’d tell him. He would hate for you to feel unwelcome or upset, especially because of him.
But oh, how your eyes shone while you spoke about La génie.
Hearing footsteps approaching from his right, Copia turns and finds Terzo looking rather smug as he strolls towards him. He wears a big, stupid grin on his face and looks at Copia like he’d just discovered the stash of sweets on the bottom drawer of his bedside table.
“And who was that?” Terzo asks with feigned innocence. He comes to a stop next to Copia and clasps his hands behind his back. They both stare at La génie.
Copia chews the inside of his cheek. “Who was who?”
Terso tuts his tongue. “Oh, don’t be coy with me, fratellino. We both know I’m talking about the Sister you were just ogling.” “I wasn’t ogling,” Copia protests. Terzo is always teasing, always nudging, always subtly poking fun at him for no reason other than he finds it fun. That’s what little brothers are for, Terzo says. To poke fun at, and to teach the ways of the world. “And we both know that you know who she is.”
“Ah, yes, I do know,” Terzo says with a shrug. “But I wanted to hear what you had to say.”
Copia looks at his brother. “What do you mean?”
“I mean,” Terzo says, “you seemed quite invested in that conversation just now. And then you turned a very obvious shade of red, and she walked away. Forgive me, I’m a gossip.”
Copia laughs. “There’s nothing to gossip about, Terzo. She told me about this sculpture and where the original is housed. That’s it.”
Terzo tilts his head, leaning in slightly. “That does not explain why you both were so red in the face, fratellino.”
Copia sighs and runs a hand through his hair. So it was obvious, even from down the hall. “I… may have said that I like listening to her speak.”
“Oh,” Terzo says flatly. He sounds almost disappointed. “I thought you might have told her something else.”
“What? Why?” Copia asks. “Was that a weird thing to say?”
Terzo chuckles, shaking his head. “No. It’s a perfectly good compliment. But you both turned so red that I thought you invited her to your chambers.”
Copia nearly chokes on his own saliva. “Wh–what?” he sputters. “Terzo, I barely know her.”
“Well, I wouldn’t think so with the way you were looking at her!” Terzo says, his voice pitched higher to his own defense. “‘My darling, you speak so beautifully, it is like birdsong in the early morning. I simply cannot resist the way you look—’”
“Stop—”
“‘—in the sunlight. Your eyes shine so brightly and your mouth moves so gracefully—’”
“Terzo, I—”
“‘—that I can’t help but wonder what it might feel like on my—’”
“Okay,” Copia throws his hands up. He storms off towards the refectory for breakfast.
Terzo’s laugh echoes through the main hall as he jogs to catch up with Copia. “What? I’m only saying what I thought you said.”
Copia hadn’t said any of those things to you, but that doesn’t mean he hadn’t thought them. It’s true; your eyes did shine in the sunlight streaming through the windows, and your mouth did move gracefully. Although those parts of you are attractive to him and he’d readily admit that you’re beautiful, it was the way you spoke that caught him. You seemed to forget your timidness, your reservations. You spoke freely and enthusiastically, like you’d forgotten you were speaking to Papa and instead spoke to a friend. Copia wonders if La génie holds some significance to you outside of just being an interesting sculpture.
Copia resolves to ask you the next time he sees you, and he finds himself hoping that it’s soon.