They were boring religious tomes. I recognized one as a book the fray owned from his days as a village priest, but something about the size of the book struck me as wrong. The fray's copy was much thicker. Opening the book, I discovered that after the t.i.tle page and a couple of pages of religious doctrine, there was a second t.i.tle page: La Picara Justina, Naughty Justina, The Tale of a Picara Who Deceives Her Lovers Just as a Picaro Does His Masters.

On the way to the fair, Juan had told Fray Antonio about this very book, that he had heard copies of it had arrived on the treasure fleet, smuggled past the inspectors of the Holy Office. It was a scandalous portrayal of a deshonesta woman who bedded and tricked men. He was eager to find a copy at the fair.

The second book, also disguised as a religious tome, was a play called Burlador de Sevilla, The Trickster of Seville, by Tirso de Molina. The frays had discussed it months before. Fray Antonio had dismissed it as "tripe." Its rogue was a despoiler of women named Don Juan, who tricked them into becoming his lovers then abandoned them. As with Naughty Justina, the play about Don Juan was on the Inquisition's banned book list.

A treasure fleet smuggler had obviously sold these two libros indecente as religious works. If the Inquisition got their hands on either seller or buyer, they would be in major trouble. Not only were the books themselves contraband, the false covers represented serious blasphemy.

Someone summoned the coachmen and servants, who had been tossing coins, to the house. They were to pick up the trunks and load them onto the coach. Their footfalls faded as they went to the house.

Should I get out of the coach and run? But run where? I asked myself. The answer was made for me. The coach door opened, and someone got in. I squeezed back as far as I could, barely breathing.

The carriage had barely shifted when the person stepped aboard, so I knew the person wasn't a grown man. Through a split in the fur cover I could tell from dress hem and shoes that a female had entered. A hand suddenly entered beneath the curtain-no doubt in search of Don Juan. The hand found my gaping face instead.

"Don't scream!" I pleaded.

A shocked gasp filled the carriage, but it wasn't enough to alert the attendants.

I drew the curtain and stuck my head out. "Please don't shout. I'm in trouble!"

The very girl who'd interceded between me and the pock-faced boy with the whip gaped at me.

"What are you doing there?" she asked in stunned surprise.

I stared once more at her dark eyes, sable tresses, and high, fine cheekbones. Despite the danger I was speechless at her beauty.

"I'm a prince," I finally said, "in disguise."

"You're a lepero. I'm calling the servants."

As she grabbed the door handle, I showed her the two books I had found.

"Are these what you were looking for under the seat? Two deshones...o...b..oks banned by the Holy Office."

Her eyes widened with guilt and fear.

"Ay, such a beautiful young girl. It would be a pity if the Inquisition stripped the flesh from your bones."

She struggled for control, terror and rage at war with each other.

"They burn people at the stake for having books like these."

Unfortunately, she would not bluff.

"Blackmail me? How do you know I won't say the books were yours, and that you were trying to sell them to me. If I say that, you'll be flogged as a thief and sent to the northern mines to die."

"Worse than that," I said, "there's a mob outside hunting me for something I didn't do. Being a lepero, I have no rights. If you call for help, they'll hang me."

My fifteen-year-old voice must have rung with sincerity because her anger instantly faded and her eyes narrowed.

"How did you know the books are banned? Leperos can't read."

"I read Virgil in Latin and Homer in the Greek. I can sing the song that Die Lorelei sang to lure sailors to their doom on the rocks of the Rhine, the Sirens' song Odysseus heard bound to his mast."

Her eyes widened once more but then flared incredulously. "You lie. All leperos are ignorant, unlettered."

"I'm a b.a.s.t.a.r.d prince, I am Amadis de Gaul. My mother was Elisena who, at my birth, set me adrift at sea on a wooden ark with my father Perion's sword by my side. I am Palmerin de Oliva. I, too, was raised by peasants, but my mother was a princess of Constantinople who likewise concealed my birth from her ruler."

"You are insane. You might have heard these stories, but you cannot claim to read like a scholar."

Aware that silken ladies succ.u.mb to pity as well as flattery, I quoted Pedro, the street lad from Cervantes's play, Pedro, the Artful Dodger.

A foundling too I was, or "son of the stone,"

And no father had I:

No greater misfortune a man may have.

I haven't a notion where I was reared,

I was one of those mangy orphans

At a charity school, I suppose:

On a slum diet and scourgings in plenty

I learnt to say my prayers,

And to read and write as well.

Foundlings were called "sons of the stone," because they were displayed on slabs in a cathedral. There people could view and acquire them if they wished.

She continued with the next lines:

But I learned on the side

To snaffle the alms,

Sell cat for hare and steal with two fingers.

To my misfortune she knew not only her poetry, but the lepero's larcenous heart as well.

"Why are you in this coach?"

"I'm hiding."

"What crime did you commit?"

"Murder."