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(Kenna slowly walks up to the door of the King's chambers, before knocking on the door)

GUARD: Lady Kenna, Your Majesty.

(The King stands with his back turned to her, in deep thought as he stares at something sitting on the table) 

KING HENRY (turning around to face her): You didn't come to me last night, as we discussed. Is something wrong? Have I offended? 
KENNA: You hurt me last time I was here. 
KING HENRY: You don't look hurt. Is it your shoulder? I left your arms bound behind your back too long? Sorry. My mistake. Our games are new adventures for me. But...aren't they fun?
KENNA: I prefer the use of my arms. Remember, there was once a time when you wanted every limb in play. 
KING HENRY: Good point. Use them all today. 
KENNA: Tonight is First Light. I should help Mary get ready. 
KING HENRY: You should remember our deal. I might have someone wonderful for you to meet, this very night. In fact, I have a whole list of eligible, and rich, bachelors. All I ask... is that you indulge me. 

(Henry walks across the room and pulls a beautiful girl from behind the door frame)

KING HENRY: Anna, this is, Kenna. Kenna, this is my new friend, Anna. She cost a fortune. Isn't she lovely? 
KENNA (under her breath): Yes. Lovely.

(Henry pulls Anna close and kisses her tenderly. Kenna, on the other hand, looks very uncomfortable. She looks over at the door, keen to leave, but doesn't)

KING HENRY (to Anna): I see a lust in your eyes that will not be easily extinguished. Luckily, Lady Kenna is here to help. 
KENNA: Are you serious?
KING HENRY: Anna will be gentler than I've been of late. I promise you that. And...I'll make it worth your while. 

(Anna approaches Kenna with a glass of wine. Once she takes the cup, Anna comes from behind her and starts kissing her on the neck and removing her clothes. They then continue kissing on the bed, while Henry watches on)


OUTSIDE THE CASTLE:

(Outside of the castle, Mary and Lola walk among the snow-covered grass, chatting about the upcoming event, called "First Light")

LOLA: I'm not going. 
MARY: Well, what do you mean, you're not going? 
LOLA: How can I attend a feast when I can barely look at food? 
MARY: First light isn't about food. It's about men. Suitors. If a man offers a woman a candle, it shows his intention to court her, and if she accepts...
LOLA: She lights it in her window, I know. And I know I have to find a husband before anyone realizes I'm pregnant. Francis, or my future husband. I don't want to become a future king's property just because I made a mistake. An enormous mistake, I am aware. 
MARY: If a quick marriage is the solution for your problems, you must make the most of tonight. I even have a suitor for you to meet. 
LOLA: Who?
MARY: He's a count that Francis and I met on our travels. His name is Phiipe Nardeen.
LOLA: What's he like? 
MARY: He's a man of age to wed. He also seems charming and well-read, and kind. But please, you must understand, it might take some time for your feelings for him to grow.
LOLA: After our marriage. That's if I'm lucky enough to have him feel anything for me. 
MARY: He'd be the lucky one.


IN GREER'S CHAMBERS: 

(Leith, one of the servants at the castle, has brought Greer her breakfast. They are sitting around in her chambers, kissing one another)

LEITH: I can't stay long. First Light's keeping everyone busy. Loads of special cakes and tarts being ordered as gifts. I suppose it takes more than an impressive candle to catch a lady's eye these days. In fact, someone's back at court hoping to catch yours. 
GREER: Really? And who is that? 
LEITH: The very rich and decidedly titled Lord Castleroy.
GREER: You mean Peppercorn? 
LEITH: That's what I called him, but I was corrected. The gentleman with a singular interest in his pepper trade, you said. But I disagree, he's also interested in you. 
GREER: I think I made it clear that I'm not interested in him. 
LEITH: But you haven't been courted by another. 
GREER: Except you.
LEITH: I don't count, though, do I? 

(Greer takes insult to this. Leith goes to console her)

LEITH: I don't say that to pain you. 
GREER: But it does. It hurts knowing that we can't be together. Ever, really. 
LEITH: As long as not being together feels like this... I'm all right. 

(They embrace and kiss one another. He then kisses her on the forehead)

GREER: When will you grow tired of kisses that lead nowhere?
LEITH: When you stop wishing they could lead somewhere. 

(Leith heads toward the door, to pick up his tray. Before, he grabs something sitting on it)

LEITH: Oh, I almost forgot, this letter came for you from Scotland. 

(He hands her the letter and she looks at the seal)

GREER: It's from my parents. 

(She sits down to read the letter. Before he leaves, he notices a sullen look on her face)

LEITH: Everything all right?
GREER: Thank you for the biscuits.

IN NOSTRADAMUS' CHAMBERS:

(In his chambers, Nostradamus sits with Olivia, who is still barely conscious after her ordeal in the woods)

NOSTRADAMUS: Olivia, do you think you can speak of it yet? What happened to you?
OLIVIA: It won't help me. 

(Nostradamus raises a glass of water to Oliva's lips. She takes a sip from the glass)

NOSTRADAMUS: Perhaps it will help another. 
OLIVIA: When the castle was taken, I was told to wait in the tunnels to help others to safety. But I didn't. I fled, fearing for my own life. And then I saw her.
NOSTRADAMUS: Her?
OLIVIA: A girl, a ghost... I've no idea. There was something covering her face. And I ran. I was lost for hours, but somehow I found my way out into the woods. I was found by peasants. Hunters. I asked them to help me, but they said I needed to help them. They grabbed me, held me for... a few days, I think, while they watched the moon and spoke of the Darkness. 
NOSTRADAMUS: You mean the night? 
Olivia: No. I mean, the darkness. A being. Some... creature. I stayed awake for as long as I could, but at some point, I closed by eyes and... when I woke up, I was on the cold ground, bound. There was no light. And it fed on me night after night. I'm not sure how much time passed. 

(Olivia recalls the time in which she was chained inside what looked to be a cave, with a mysterious creature basked in the light flickering from a lit fire)

NOSTRADAMUS: You were gone for months. 
OLIVIA: I barely ate. I drank a... a bitter liquid just to survive. Usually it put me back into a state of sleep. Of nightmares.
NOSTRADAMUS: And yet it kept you alive. 
OLIVIA: And then one day, my bonds were looser than before. 
NOSTRADAMUS: Because you were nearly starved.
OLIVIA: I was free. I could barely stand at first, but I made it out. To a stream, where I drank, and I found the strength to run for my life. 


BACK IN THE CABIN:

(Bash prepares to leave France for Spain, as Mary wished)

ROWAN: Are you sure you need to go so soon? The moon will be full tomorrow night. Good hunting.  
BASH: That same moon will make it easier for those hunting me. 
ROWAN: You mean your brother, the prince?
BASH: You may have guessed the truth of my past, but I don't like to talk about it. 
ROWAN: Or Mary. A bastard and a beautiful queen, born to rule Scotland and someday France. Who would've thought it wouldn't work out between you? I'd be sad for you if I didn't think you were better off away from the vipers at court. 

(As Rowan starts talking about Mary, Bash starts gathering his things more quickly. Just as he's about to leave the cabin, Rowin puts her arm on the door, essentially blocking him from leaving)

ROWAN: Did you love her that much? You are leaving France, aren't you? 

(He takes a moment to consider this and kisses her gently on the lips)

BASH: As fast as my legs will take me.

(She finally lets him open the door and walk outside) 

BASH (turning to say one final thing): I'd be a poor house guest if I didn't thank you for.....
ROWAN (seeing blood smeared on the door frame): Oh, my God. 
BASH: Is that blood? Did the Blood Cult do this? Rowan, tell me the truth.
ROWAN: It means my family has been chosen. One of us will be sacrificed to the Darkness.
BASH: These beliefs, these misguided terrors, they've threatened others I've known and cared about. I won't let anyone hurt you or your family. Whatever it is, we have to fight.
ROWAN: We? I thought you were leaving. 
BASH: That can wait.

IN THE KING'S CHAMBERS: 

(Kenna wakes up bright and early, still laid in bed with Anna, the King's prostitute. As she sits up in bed, she looks over and sees Anna lying dead beside her, with her skin pale, cold and her eyes wide open. She panics and tries flinging Anna's arm away from her)

ACT 2: []

(At First Light, the people at court are all gathered around, drinking, dancing, eating food and conversing amongst themselves. Kenna enters to find the Queen, who is chatting with a few partygoers) 

KENNA: I must speak with you. 

(Kenna bows and the Queen ushers the partygoers to leave) 

QUEEN CATHERINE: Always a highlight of my day. 
KENNA: The King-- he's done something to a girl. 
QUEEN CATHERINE: Go on. 
KENNA: The king's... sexual appetite appears to be growing.

(Kenna and the Queen enter Henry's chambers and inspect the dead girl's body)

KENNA: I was drinking... too much wine. I thought it would help me get through it, and when I awoke...
QUEEN CATHERINE: You saw your playmate here in worse shape than you. What makes you sure the king did this? 
KENNA: He has asked me to choke him before. He has.. an interest in it. But I couldn't... 
QUEEN CATHERINE: Did you tell anyone about this girl? 
KENNA: No. There wasn't a moment to, and I wouldn't. 
QUEEN CATHERINE: If you were seen with her by the servants or anyone, you say that you saw her leave the king's chambers. Up and walking on her own. She mentioned getting paid well, sharing her new wealth with a- a relative far away. Do you understand? 
KENNA: We're not going to tell anyone? 
QUEEN CATHERINE: The king already knows. Who else would we tell? 


BACK AT THE PARTY:

(Mary and Lola stroll around the candle-lit halls of the castle, looking at the decorations and enjoying the festivities)

LOLA: The castle looks beautiful. As long as I don't look at the food.
MARY: Look at Count Nardeen.

(Mary points to a scraggly man standing nearby. Lola sees him and walks over to introduce herself) 

SERVANT (approaching Mary with a pastry): Pomegranate tart, Your Grace? 
MARY: Thank you. 
SERVANT: If I may? My sister ate ten of these a day, and she was with child in less than a month. 
MARY: Oh.

(Francis overhears their conversation and comes to Mary's rescue)

FRANCIS: Ten a day? Are you sure the change in your sister's figure didn't have more to do with butter and sugar than with her husband? 

(The servant politely courtesies and leaves them be)

MARY: Thank you. 
FRANCIS: Not at all. She only meant to help. There are two nations that are very excited for us to have a family. 
MARY: Two nations? Is that all? 

(Francis sees Lola chatting with the Count from across the room)

FRANCIS: Is that Lola with Philip Nardeen? 
MARY: It is. I invited him to court. 
FRANCIS: He looks very happy to be here, very interested.
MARY: I thought he might make a good suitor for her. 
FRANCIS: Not the man I would have picked for her. 

(Mary gives him a concerned look)

FRANCIS (picking up on her concern): Let's dance, shall we? 

(Francis and Mary go to the dance floor, while Lola continues her conversation with the Count)

PHILIP: Food's delicious. Would you like something? 
LOLA: No. Please. 
PHILIP: You don't care for our French crusine? Or perhaps you don't care for France? 
LOLA: Well, everything look's beautiful when viewed through a castle window, doesn't it? 
PHILIP: But you see beyond that.
LOLA: I think about the people that live outside the castle walls sometimes.
PHILIP: Do you imagine they're more free to live life as they please? 
LOLA: I don't know. 
PHILIP: I think they're still bound by society's rules. By the church's. I like you. 
LOLA: You're very direct. 
PHILIP: It's just that I have very little time to waste. It's become apparent that the security of my position demands a wife and heir. 
LOLA: How romantic. 
PHILIP: Hardly....but I can be. Under the right circumstances. If time weren't an issue and the choice of one's mate could be driven solely by one's heart. But my father has threatened my inheritance unless I marry this year. He says it's well past time. I know he's right. 
LOLA: Well, at least you agree on that. 
PHILIP: We don't agree on much else. You are beautiful. Mary was right on so many counts.

(The count passes Lola an unlit candle)

LOLA: You'll have to look in my window to see if the flame of love burns. 
PHILIP: Perhaps it would be enough for us to be amusing companions.

(Meanwhile, Greer stands people watching until Leith approaches her)

LEITH: I have an invitation for you.
GREER: This hardly seems the place. 
LEITH: From Lord Castleroy. He's had a table set for two. He asks that you join him.

(Lord Castleroy waves to Greer from across the room)

LORD: This picking small bites at a banquet doesn't suit a lady of your station. You must sit, relax, enjoy a meal. Enjoy being served.

(Greer looks over to Leith, who is their server)

LORD: Did you notice anything different this evening? 
GREER: Uh...you look clean-shaven. Or, uh, maybe it's your hair?
LORD (laughing): Yes, well, I tried. Thank you for noticing, but... what I meant was... no peppers! In any way, shape or form. I detected your lack of taste for the plant and the subject, when we last met. I wanted to demonstrate that there is... more to the man than what occupies him in professional life. 
GREER: I'm impressed.
LORD: Boy, more wine, if you please.

(Leith brings Greer more wine)

LORD: It makes me so happy to see you again, and on tonight of all nights. No better op...

(Leith starts to pour the Count wine as well, but he intentionally blocks his way to avoid an awkward conversation on Greer's behalf)

LORD: No better opportunity than First Light to profess one's intentions, to offer one's heart.

(The Lord takes a sip of wine from his glass, while Greer figures out what to say) 

GREER: Lord Castleroy...
LORD: Aloysius, please. Lady Greer, am I pleasing you tonight? 

(Greer looks down and notices his shirt has caught fire)

GREER: You're on fire.
LORD: Well, I'll take that as a good sign. 
GREER: No, no, no. You're on fire! 

(He looks down and sees that his entire sleeve is engulfed in flames. Both he and Greer panic, but Leith, thinking quickly on his feet, grabs a blanket and runs over to put the fire out)

GREER: Are you all right? 
LORD: Yes. Yeah, quite, thank you. Uh, thanks to our friend here. 
GREER: And you, Leith? Are you burned? 
LEITH: Uh, no, I'm- I'm fine. 
LORD: You're more than fine. No, that took courage, that took selflessness. I- I can't thank you enough. 
LEITH: But you- you, you know, you have truly, my Lord. Uh, I'd have done it for anyone. 


INSIDE THE KING'S CHAMBERS:

(The Queen goes to confront Henry over the dead woman Kenna found lying in bed)

KING HENRY: England, Scotland, Calais, Dover...
QUEEN CATHERINE: Henry? 
KING HENRY: Not now. I'm busy.
QUEEN CATHERINE: Kenna just spoke with me. About a guest that you have in your room. 
KING HENRY: Ah. I'd much prefer Kenna's mouth be used for other purposes. When is that English bitch going to die, hmm? She's sick, she feels better, she's sick, she feels better. 
QUEEN CATHERINE: Sorry. Who...? You mean Mary Tudor? I don't know. 

(The Queen becomes agitated that Henry seems so disinterested. She approaches him quickly and forces him to pay attention) 

QUEEN CATHERINE: Henry, there is a dead girl in your chambers. 
KING HENRY: What has this to do with me, hmm? 
QUEEN CATHERINE: Another woman fell from your window, and you said it was an accident. And now this one-- she... she was choked to death. Henry, did you murder them? Did you murder them both? 
KING HENRY: I'm concerned with the fate of nations, and you interrupt me with news of guests, messes in my chambers. These are housekeeping matters, which, I believe, is your domain... wife. 
QUEEN CATHERINE: Your servants say you're not sleeping. They say your water has run black. I'd like you to see Nostradamus. 
KING HENRY: Your wizard profit. 
QUEEN CATHERINE: He has medicine. 
KING HENRY: I don't trust him. Though I have been getting some headaches. I'll have a doctor brought in from the village. 
QUEEN CATHERINE: Henry, if you're ill...
KING HENRY: Kings, rulers, monarchs, do not get ill, because the stability of the realm depends on them. If the people thought their king couldn't lead, the country would descend into madness. 
QUEEN CATHERINE: Yes, I am aware of that.
KING HENRY: Good. Then my headache will be out little secret, won't it? 

(Catherine's concern is palpable. She leaves him in his chambers)

ACT 3: []

(In Nostradamus' chambers, he appears to be mixing medicines, poisons or potions. He looks up and sees Olivia smiling at him) 

NOSTRADAMUS: You're awake. Are you hungry? 
OLIVIA: You are skilled with medicine, healings... it's like some kind of magic. 
NOSTRADAMUS: No, not magic. Science, perhaps. If I'm doing it right. 
OLIVIA: I like watching you putter. The care you take-- measuring, mixing. 

(Nostradamus hands Olivia something and she eats it. She then spots some clothing lying beside her) 

OLIVIA: These are for me, aren't they? So I can dress up as everything is normal, and go and present myself upstairs?
NOSTRADAMUS: You need to rejoin the living. 
OLIVIA: Why? Why can't I stay here in secret?
NOSTRADAMUS: Hiding won't help you. 
OLIVIA: You don't understand what's inside me.
NOSTRADAMUS: Something happened to you, something horrible, and you feel weakened and afraid, but you will not be judged for it. 
OLIVIA: I judge my actions, and they were wrong. I came here to betray people. I abandoned them when they needed me most. I was ready for it when it chose me. It was no coincidence. 
NOSTRADAMUS: You said men took you.
OLIVIA: Yes, but it wanted me. It let me live because it knew that I was dirty already. And then it filled me... with evil. It's all through me. It's in my blood, and I will never be the same.


IN LOLA'S CHAMBERS

(She stands near the window overlooking the castle. She hears a knock on the door. Francis emerges soon after) 

FRANCIS: I see you've accepted Count Nardeen's offer of courtship. 
LOLA: He seems a fine prospect for marriage. 
FRANCIS: Are you sure that's a wise choice? 
LOLA: Why do you ask? 
FRANCIS: Because you're my friend, and I care about you. Lola, you can't spend the kind of night we spent together and not feel something for someone. For you. I want you to be happy. To spend your energies on someone you could have a future with. You want to be married, don't you, with a family, and a home? 
LOLA: Yes, very much. 
FRANCIS: Then you might be wasting your time on Philipe Nardeen. Words spoken at First Light amongst wine and merriment aren't always to be taken seriously.
LOLA: But he seemed very serious. His marriage is, in fact, a condition of his inheritance.
FRANCIS: Is that any reason for you to marry him?
LOLA: Is it any reason not to? Do you have some issue with him?
FRANCIS: No.
LOLA: Some... previous history?
FRANCIS: No.
LOLA: It's not as if we're engaged. I plan on getting to know him.
FRANCIS: You're sure?
LOLA: Yes. I'm in no rush. But... don't you think it's better, given our history, that the matter of me searching for... a mate, for love, is settled? Sooner rather than later?
FRANCIS: Yes. yes, I suppose it is. But promise me that you're not doing this because of what happened between us in Paris. 
 
LOLA: I promise you. I'm doing it for me. 


IN THE COTTAGE IN THE WOODS:

(Rowan, Bash's friend, and her family all stand around as Bash bangs a hammer against the door)

BASH: The concept is simple. You make every entry impassable except for one, and that one is so narrow and well-defended that anyone trying to enter is easily... battled. In this case, it's your front door. 
BROTHER: We know what a murder hole is, but it won't work. 
BASH: I haven't shown you how I'm going to greet them inside the house yet.

(Bash holds up an axe) 

BROTHER: Doesn't matter. It can't be stopped. 
BASH: I'm telling you, we're not dealing with a monster. We're dealing with a small group of ignorant Pagans. If you don't want to fight them, why don't you leave?
BROTHER: And go where? To a village, where we'll be burnt for our Pagan beliefs? We live here. We couldn't leave now if we wanted to. Besides, it's too late now-- we're chosen. 
ROWAN: Because what would we be doing? Leaving the Darkness to choose from another home? 

(Bash continues to hammer away at the front foor) 

ROWAN: We live among other families here, even if you don't see them. 
BASH: And this Darkness, have you seen it? Has anyone? 
ROWAN: Whoever dares look on it is taken. And those who are taken die. 
BASH: How convenient. So no one can say what it looks like or if it's even really there. Rowan, Carrick, I need you inside. 

(The group all head inside the small cottage. Each are working on various things. Bash, on sharpening his axe)

BASH: If we move heavy furniture in front of the door, they'll have to come in single file. That'll make them, or it, easier targets.

(Rowan gets up from the fireplace and walks toward Bash)

BASH: Can either of you throw a blade?

(Instead of answering him, she hands him a cup full of liquid)

ROWAN: What a different world you must live in. So many romantic and glorious battles. Castle folk like to believe all their money and armies can conquer any foe. Otherwise, why fight so hard over nonsense like titles and marriages? People like us have to fight life's true enemies: starvation, cold... and the things that come hunting for men in the night. 
BASH: You can't fight things that aren't... 

(Bash suddenly becomes dizzy and has a hard time staying standing up)

BASH: aren't real. 
ROWAN: You won't be fighting this night at all. We can't risk it. 

(Bash falls to the ground)

BASH (realizing he has been drugged): The tea. 
ROWAN: I'm sorry.

ACT 4: []

IN GREER'S CHAMBERS:

(Leith storms in, very excited about something)

LEITH: I know, I come here too often and it's a risk, but something extraordinary has happened.
GREER: What is it? 
LEITH: Lord Peppercorn... (stumbling with his words) Castleroy... Lord Castleroy has offered me an apprenticeship at one of his spice houses in Spain. As a reward for saving his life. 

(Greer smiles at him and tries to calm him down)

GREER: Leith, Leith, sit down and take a breath. 

(He comes and sits at her side) 

GREER: This is unbelievable. It's your chance to rise. You'd be a member of the merchant class.
LEITH: Oh, my family, they've been nothing but servants for generations. I'm the first to make it to the royal court. 
GREER: You'd serve no one but yourself.
LEITH: I don't know what to do. 
GREER: Of course you do. You're going to take it. 
LEITH: The position is in Spain. I might never see you again. 
GREER: We can't go on this way. I need to marry a man with a title. 
LEITH: But you haven't.
GREER: This will end.
LEITH: I know. But I always thought you'd be the one to end it. 
GREER: You'd be sparing me that. And I can watch you go with more... hope than sadness. 

(She kisses him)

GREER: Say yes.
LEITH: I love you.


ELSEWHERE IN THE CASTLE: 

(While Francis is making arrangements for something, he sees Mary enter the corrider) 

FRANCIS: I wanted to ask you about Lola. I think we need to help her. 
MARY: But I am helping her.
FRANCIS: By suggesting Philipe Nardeen as a suitor? 
MARY: She could do a lot worse.
FRANCIS: In many respects... except one. The count prefers the company of men. 
MARY: Don't you all?
FRANCIS: In bed. 
MARY: Oh... how do you know? 
FRANCIS: One hears things. It makes no difference to me. Most might never notice, but... a wife will. 
MARY: There's no solution at all. 
FRANCIS: Solution to what? 
MARY: Lola just very much wants to get married. Like all women do. 
FRANCIS: Yes, so she said. 
MARY: You and Lola have spoken? Are you confiding in one another now? 

(Francis picks up on some of her displeasure) 

MARY: I'm sorry. I don't know why I said that. 
FRANCIS: I think perhaps I do. I'm going to tell you something, and I want you to promise that you won't blame Lola for it. We encountered one another in Paris. And we slept together. It was one night. I didn't think it mattered. You were engaged to my brother. But she is your friend and she was wracked with guilt, guilt that I now feel, because, as events would have it, you are, thankfully, mercifully and blessedly, my wife. Mary, I am so sorry.
MARY: It's all right. Circumstances were... different. I understand. 
FRANCIS: Just like that. You understand? You don't even seem surprised. Did Lola tell you? 
MARY: I saw you two arrive together at the castle. We had been apart...
FRANCIS: But we are together now. Utterly. Completely. I am yours. There is nothing between Lola and I. Nothing. 

ELSEWHERE IN THE CASTLE:

MARY: I just lied to my husband. For you. He confessed to your night in Paris. 
LOLA: Oh, no. 
MARY: And I had to pretend-- not very convincingly, I add-- that I was shocked. And I'm going to have to go on pretending, until you move on or until we forget about you.
LOLA: You don't mean that. 
MARY: Isn't that both what we want though? For you to get married and move far away? Lola, wouldn't it be best if we just told Francis the truth? 
LOLA: No. For me, it would not. 
MARY: Then you can stay in my life, we could find our friendship again.
LOLA: And what are we now? Enemies? 
MARY: I am a liar! To my husband. And if the truth comes out and he loses faith in me for it, I will resent you.
LOLA: It won't come out. Ever! I will take this secret to my grave.
MARY: You have to marry Philipe Nardeen. It's the only solution. You both have secrets to hide. 
LOLA: What secrets does he have?
MARY: Francis told me that the count prefers men... in his bed. 
LOLA: He prefers men? Ah. So that's what he meant by amusing companions. It's all for his inheritance. He'd never be a true husband.
MARY: Well, does that matter, as long as it solves your problems? Keeps you from being shamed? 
LOLA: I'd be living a lie forever with no chance of happiness. 
MARY: Well, maybe you've had your chance.
LOLA: What does that mean? 
MARY: It means you made a mistake, and now you have to fix it before it destroys my marriage. If Philipe Nardeen asks you to marry him, you will accept. Or I will tell Francis the truth myself. 

ACT 5: []

(Mary enters her room to see dozens of lit candles, which Francis arranged for her) 

MARY: Francis. They're beautiful.
FRANCIS: What was I thinking not giving my new bride a First Light candle?
MARY: Well, we've been married for some months now.
FRANCIS: There have been too many regrets in too short a time.
MARY: I know that you regret what happened. Lola does, too. 

(Francis seems surprised at Mary's understanding. He kisses her on the cheek and they embrace and start kissing. Francis goes to undo the back of her dress, but she stops him) 

MARY: I'm not sure if there's any point to that tonight.
FRANCIS: What do you mean?
MARY: One thing I've learned from your mother's many lectures and insights on pregnancy is that there are some days where it's more likely and days when it is less likely. You've been, uh... vigorous in trying to achieve what we both want, but... I don't think it's going to happen tonight. 
FRANCIS: Vigorous. Oh, I like that. I thought you did, too. I don't make love to you because I want a baby. I want a baby because I love you.

(They make love while Francis undressed her with Mary moan) 


ELSEWHERE IN THE CASTLE: 

LORD CASTLEBURY: Lady Greer. What a... what a pleasant surprise. 
GREER: I hope I'm not disturbing you. 
LORD CASTLEBURY: No, no. Quite the contrary. I was... I was actually thinking about you. The reality of your company's even better.
GREER: I wanted to thank you for offering Leith that apprenticeship. 
LORD CASTLEBURY: It was the least I could do. Especially when you asked me so kindly. 
GREER: He can't know it was my idea. 
LORD CASTLEBURY: No, of course. I know I'm easy to make fun of. People do. I grow very excited about things that matter to me.
GREER (interrupting him): Like peppers.
LORD CASTLEBURY: And kindness. Beauty, warmth. I believe you have some warmth in your heart for the servant Leith.

(Greer looks down at the ground, at this reminder)

LORD CASTLEBURY: Oh, I see that even calling him a servant pains you, but a servant, he is. 
GREER: I'm well aware of that.
LORD CASTLEBURY: I know you are, but... in my own way, I can be quite perceptive as I suggested earlier.
GREER: Please, don't. 
LORD CASTLEBURY: My dear girl, I see nothing wrong with a harmless flirtation. And I admire your kindness in giving someone you know who's suffering, even a kitchen boy, a soft landing. Because you know, a woman of your status needs a man who can provide for her in the manner that you deserve.
GREER: It sounds so cold.
LORD CASTLEBURY: But it needn't be.

(Lord Castlebury takes off his coat and drapes it over Greer's shoulders)

LORD CASTLEBURY (echoing the last sentiment): It needn't be.
GREER: You've been generous to me, and to Leith, as well, but I've accepted all of the kindness I can from you. 

(She hands his coat back to him)

GREER: Thank you, Lord Castleroy. 

(And she walks back off into the castle, away from the window)


BACK IN THE WOODS: 

(Nighttime was come to the kingdom. Back in the small home Bash is staying in, he lays flat on his chest, bound with rope too tight for him to loosen. Suddenly, a high-pitched noise fills the air)

ROWAN: It's coming.

(The foor creeks open and one of the goats starts screeching loudly. Bash can't make out the creature's face, but he can see it's long, dagger-like claws through the shadows cast on the wall by the lit fire)

BASH: What are you? 

(Once the creature is inside, it goes and picks up the goat, slitting its throat, sending blood flying all ove the wall)

ROWAN (to another family member cowering with her in a corner): Close your eyes. 

(The creature paces the room, walking in front of each person in there, who are trying to avoid eye contact)

BASH: *screaming out* Rowan, don't look.  

(Rowan opens her eyes and Bash sees her)

Rowan: No.

(Suddenly, the creature grabs her and drags her off into the woods, screaming loudly)


ACT 6: []

(Nostradamus and Olivia stand near a tiny, open creek. He holds a cup of water in his hand and sprinkles it over her head)

NOSTRADAMUS: You are brand-new. None of what you were need remain, except what you choose. Evil is not a thing. it is not a condition. It is a choice. You are only what you choose. That alone is what makes you. Do you know what you choose?

(Olivia says nothing, but she nods)

NOSTRADAMUS: Then hold on to that choice, because it's your salvation. 

(Olivia looks relieved. She throws her arms around Nostradamus and embraces him)

NOSTRADAMUS: Do you believe it now? Are you new?
OLIVIA: Yes. With you. 


ELSEWHERE IN THE WOODS:

(Bash and Rowan's brother search for her and the creature in the snow-covered mountains)

CARRICK: We've been looking all night. We won't find her. We won't find her alive, anyway. 
BASH: This is my fault. I cried out, she turned to look at me, she saw the face of.... I was so sure it was a man. Now I don't know what it is.
CARRICK: It's the Darkness.
BASH: Whatever it is, I won't rest until it's dead. 
CARRICK: You can't fight it.
BASH: Maybe not alone, but I know where I can go for help.

(Bash and Carrick enter a clearing, where the castle looms overhead)


BACK IN THE CASTLE:

(Lola and Mary carry out a conversation in the castle's corrider)

MARY: I was reminded of what being married could be like, and I realized I owe you an apology. I was unfeeling to you earlier because I was afraid. 
LOLA: Of what? 
MARY: Of what might happen if Francis finds out.
LOLA: He won't.
MARY: What if he does and you bear his child, his only child? 
LOLA: Mary, you will get pregnant. Hasn't been that long. 
MARY: We were together before we wed. It's been months, in truth. And you were with Francis only one night. Unless you're lying to me about that. 
LOLA: I'm not.
MARY: Lola, tell me the truth. Has this been going on for some time?
LOLA: No, I swear, it was one night.
MARY: And yet, he got you pregnant. You are going to have his child. You say that Francis will never know, but what if he does know? Then you two might become closer?  
LOLA: I suppose we would, but that's not what I want. 
MARY: I'm sure that's not what Diane de Poitiers wanted, either, but she's been in King Henry's life for decades. A great deal of their bond is their son, Sebastian. 
LOLA: I am not Diane, and you are not Catherine. And Francis is in no way his father. More importantly, I don't want your husband. I wouldn't risk any of this-- your anger or Francis's-- if I didn't want a love of my own. Mary, please believe I am your friend. That I want you to be happy and that you will be with children of your own with Francis. 
MARY: I want to believe that. 
LOLA: Then do. 
MARY: I want you to have ever chance, as well. Don't marry Philipe Nardeen. Wait... until at least the possibility of love comes along. 
LOLA: Are you sure? Because... waiting-- it... it's a risk. 
MARY: I'm sure. And I will continue to help you find a suitor. But in the end, it is you who must save yourself. You mustn't let anyone stand in your way.


LATER ON:

(Greer stands in the same windowsill she stood and talked with Lord Castlebury on, alone until Lola joins her)

LOLA: Are you all right?
GREER: I just needed a moment alone with my thoughts. 
LOLA: Me, too. Can we be alone together? You look as if you are waiting for something. 
GREER: I am. My destiny is approaching sooner than I'd like. 
LOLA: Mine, too. 
GREER: In fact, here it comes now. 

(A horse-drawn carriage is approaching the castle)

LOLA: That's your destiny? And you knew it was coming? 
GREER: Right on time. Two days ago, I received a letter from my parents. They've arranged a match. I'm all but engaged. My future husband arrives in that carriage. And when do you meet your destiny?
LOLA: Soon, I hope.


INSIDE THE CASTLE:

(Kenna walks along a corrider in the castle, until the King interrupts)

KING HENRY: Kenna?
KENNA: Henry.
KING HENRY: King Henry... or Your Majesty.

(Kenna seems very uncomfortable at this point)

KING HENRY: Have you had your breakfast?
KENNA: Yes, Your Majesty. 
KING HENRY: Good. we'll both need our energy, because... I see a lust in your eyes that will not be easily extinguished.

(Kenna says nothing to him, but her uncomfortableness is still palpable. She is then interrupted by Queen Catherine)

QUEEN CATHERINE: Henry!

(Yelling across the corrider)

QUEEN CATHERINE (to Kenna): Go.

(Kenna leaves them to speak privately)

KING HENRY: You're up early.
QUEEN CATHERINE: Keeping an eye on you requires vigilance both day and night.
KING HENRY: Is that your role now? Guardian of the king?
QUEEN CATHERINE: How are you feeling today?
KING HENRY: Quite well. I saw the physician. He gave me some tonics for my headaches, and now I feel better, having further isolated the cause of my discontent. 
QUEEN CATHERINE: And what... is that?
KING HENRY: I am king, and yet, for months, I have been subject. To fate, to lesser people, to women, of all things. Waiting on the queen of England's death. Lied to... by you, by my mistress. Put in a corner as Mary, Queen of Scots, dangled herself in front of my sons and dangled England in front of me. But... no more. I dozed, as you suggested, and do you know what I awoke to?
QUEEN CATHERINE: No. 
KING HENRY: Christ hanging on the cross. A crucifix above my bed, the sun glinting off my crown. it was... dazzling. Invigorating. A glorious reminder that I am chosen by God to rule this nation. To bend anyone I like to my will. To bend them, to break them. 
QUEEN CATHERINE: To throw them from windows and crush their throats? 
KING HENRY: It was a lesson I think each woman understood in her last moments about who is king... and who is not. Others will learn, as well... soon enough. 

END CREDITS

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