Welcomeby Richard Stuart Dixon
© Richard Stuart Dixon, 2001
(Note: Performance of this play requires the author’s permission. Please contact Good School Plays for details.)
Production Notes:
• running time: approx. 45 minutes
• style: fable
• suitable for general audiences
• 17 characters (11 female, 6 male)
• black-box staging (no set required)
Summary of Script Content:
• “Morningstar” is a fable about a young aristocratic woman who must travel alone and incognito through her country, in search of her future husband. Along the way, she meets a variety of characters and learns hard lessons about humility, responsibility, and leadership.
(This play was first performed in November, 2001, at Gleneagle Secondary School in Coquitlam, British Columbia, Canada.)
∗Published Online by Good School Plays, April 5, 2018.
Go to:
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Scene 6
Scene 7
Scene 8
Scene 9
Scene 10
Scene 11
Scene 12
Scene 13
Scene 14
CHARACTERS:
Thomas Besoin, a peasant boy
Maracelle Besoin, deaf and mute sister of Thomas Besoin
Kella Besoin, mother to Thomas and Maracelle
Tawny Nestor, mother of Hamish Nestor
Hamish Nestor, a young man considered to be a “dunce”
Jeremiah Wood, a forester
Rayne Wood, wife of Jeremiah Wood
Katarina Alorian, niece of Jeremiah and Rayne
Zaria Alsatia, a nomadic healer
Persephone Vigil, a lame beggar woman
Toric Pressle, a blind beggar
Kona Hera, a blind beggar woman
Morta Rudda, minister to Flare Verlaine
Flare Verlaine, a baroness
Senza Verlaine, daughter of Flare Verlaine
Artemis Dorne, an assassin
Death
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 1:
(Alone on a plain, ZARIA ALSATIA addresses the audience.)
ZARIA ALSATIA
In the journey toward beauty and truth, there is always a moment of terrible pain. In my native land, that moment is called “the wounding”. Without the wounding, there can be no healing, and without the healing, there can be no birth of the wisdom that knows beauty and sees truth. My name is Zaria Alsatia. I am a healer, and this is a story about wounding, healing, and finding beauty and truth.
(ZARIA moves to a position where she can watch unobtrusively.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 2:
(The THREE BEGGARS enter, with PERSEPHONE leading TORIC and KONA on a length of rope. TORIC and KONA are blind. All three beggars are weak with hunger and suffer from physical and psychological neglect. At some distance behind them walks DEATH, who keeps his distance throughout the scene, watching.)
TORIC PRESSLE
Are we near the village, Persephone?
PERSEPHONE VIGIL
I can see it in the distance, Toric.
KONA HERA
Is it a generous village, Persephone?
PERSEPHONE VIGIL
No more generous than any other, and no less, Kona.
TORIC PRESSLE
What is the name of the village?
PERSEPHONE VIGIL
Morningstar. The Village of Morningstar.
(TAWNY and HAMISH NESTOR enter. HAMISH is carrying a sack of vegetables.)
PERSEPHONE VIGIL
Please, madam, could you spare something for the poor?
(The THREE BEGGARS hold out their hands,)
TAWNY NESTOR
I cannot give you anything. I don’t have enough for me and my son.
PERSEPHONE VIGIL
Do you have food in that sack?
TAWNY NESTOR
No food for you.
HAMISH NESTOR
(in a slow and laboured voice)
This sack is too heavy, Mother. Let Hamish give it to the beggars.
TAWNY NESTOR
Your supper is in that sack, Hamish, you foolish boy.
HAMISH NESTOR
(shaking his head slowly back and forth)
This sack is too heavy for Hamish, Mother. Too heavy, too heavy.
TAWNY NESTOR
Stop complaining and start walking, if you can still remember how.
(TAWNY exits. HAMISH quickly takes three potatoes from the sack and gives them to the BEGGARS.)
HAMISH NESTOR
A potato for you, a potato for you, a potato for you, hee, hee!
(HAMISH begins to exit with a clumsy gait, skirting nervously around DEATH.)
HAMISH NESTOR
Hamish does not like the shadow man! Hamish does not like the shadow man!
(HAMISH completes his exit.)
TORIC PRESSLE
Perhaps this will be a friendly and generous village, Persephone.
PERSEPHONE VIGIL
(looking at her potato)
We have been blessed by an innocent. That is a good sign.
(The THREE BEGGARS exit, with DEATH following at a distance.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 3:
(KELLA BESOIN enters with MARACELLE and THOMAS BESOIN, her children. THOMAS is carrying a ball.)
KELLA BESOIN
Thomas, you and Maracelle stay here outside the shop while I buy some bread. And don’t let Maracelle wander off. It’s very dangerous for a deaf and mute girl to be alone.
THOMAS BESOIN
She’s so curious about everything, Mother. But I’ll watch her. Don’t worry.
(KELLA exits and THOMAS taps MARACELLE on the shoulder and shows her the ball.)
THOMAS BESOIN
Do you want to play with the ball, Maracelle?
(THOMAS speaks carefully and distinctly so MARACELLE can read his lips. She nods her head “yes” and THOMAS gives her the ball. She is very happy with it, looks closely at it, bounces it, drops it and it rolls close to DEATH, who has entered behind the THREE BEGGARS. MARACELLE is intent on the ball and runs to get it. When she gets close to the ball, she sees DEATH standing there. Frightened, she runs over to THOMAS and hides behind him. He turns to her and speaks clearly.)
THOMAS BESOIN
It’s all right, Maracelle, they’re just beggars.
(THOMAS goes to get the ball for MARACELLE, but she runs to him and tries to stop him.)
THOMAS BESOIN
Whatever’s the matter with you, Maracelle?
(THOMAS breaks away from MARACELLE and gets the ball. It’s obvious that he can’t see DEATH standing there. He speaks to the THREE BEGGARS.)
THOMAS BESOIN
Where are you from?
PERSEPHONE VIGIL
We are from nowhere, sir. Do you have anything for the poor?
(The THREE BEGGARS hold out their hands.)
THOMAS BESOIN
No, I have nothing to give you.
(MARACELLE runs to THOMAS, takes the ball from him, and gives it to PERSEPHONE.)
PERSEPHONE VIGIL
Thank you. What is your name?
THOMAS BESOIN
She cannot speak. She is a deaf mute. Her name is Maracelle. I’m Thomas.
KONA HERA
What did she give you, Persephone?
TORIC PRESSLE
Is it food? Is it money?
PERSEPHONE VIGIL
It is a ball, a children’s toy.
TORIC PRESSLE
We cannot eat that.
KONA HERA
We cannot buy anything with it.
PERSEPHONE VIGIL
No, but we have been blessed by a girl who can neither hear nor speak. That is a good sign.
(The THREE BEGGARS exit, with DEATH following them at a distance.)
KELLA BESOIN
(entering)
I have the bread. Let’s go home before it becomes dark. Where is Maracella’s ball?
THOMAS BESOIN
She gave it to some beggars.
KELLA BESOIN
I told you to watch her, Thomas. She would give away everything we own if we let her.
THOMAS BESOIN
It was just a ball, Mother, and the beggars said it was a blessing.
KELLA BESOIN
Beggars will say anything. Now let’s go home.
(They exit.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 4:
(ZARIA moves downstage to address the audience.)
ZARIA ALSATIA
Near the village of Morningstar there was a hill. And on the hill there was a walled villa. Inside this villa lived the nobles who governed the surrounding country. Governance is a burden as heavy as stone, and that great weight had already wounded the fragile spirit of the young woman who lived in the villa.
(ZARIA withdraws to watch unobtrusively. FLARE VERLAINE enters with her daughter SENZA. They are in their large walled villa outside the village on a hill.)
SENZA VERLAINE
Mother, it’s lonely for me here in this villa. The high hill and the stone wall protect us, but it is not unlike prison. I’m full of restlessness and curiosity about the world outside.
FLARE VERLAINE
Senza, you are the child of a nobleman, and that places upon you the burden of leadership. Explain to me the principle of “noblesse oblige”.
SENZA VERLAINE
Yes, Mother. Those of us of higher birth must always treat those of lower birth with politeness and tolerance, and we must use our skills, talents, and education to lead wisely. Noblesse oblige. Nobility obligates.
FLARE VERLAINE
That is a very precise answer. Now Senza, I have a task for you to complete. Judging by your recent and numerous statements about loneliness and restlessness, you should be happy with what I am about to say. The time has come for you to go out beyond the walls of this villa. You are to go as an ordinary wanderer, unaccompanied.
SENZA VERLAINE
You’re sending me to find a husband, Mother. You don’t need to say anything more. I know what I am expected to do.
FLARE VERLAINE
It is a tradition that must be honoured.
SENZA VERLAINE
Yes. If a nobleman dies and he has only one child, and that child is an unmarried girl, then she must seek a common man to be her husband. He will then become a nobleman and carry on the work of the girl’s dead father.
FLARE VERLAINE
You talk like a textbook, Senza. I’m not sure you are sincere.
SENZA VERLAINE
Sincerity is a performance, Mother, much like “noblesse oblige”. The fate of a noblewoman is to perform for everyone but herself. Don’t worry, I will learn how to seem “sincere”.
FLARE VERLAINE
You are no longer a child, and I cannot expect you to believe anything but what you have chosen to believe. I love you, Senza, but this is the moment of our parting as mother and daughter. When you return to this villa with your new husband, you will be the mistress of the villa and I will be in your power.
SENZA VERLAINE
Then I shall stop calling you “Mother” and start calling you by your name, Flare Verlaine. Farewell, Mother.Farewell, Flare Verlaine.
(SENZA exits)
FLARE VERLAINE
When you speak my name, daughter, your voice chills me like the first hard frost of winter.
(FLARE remains on the stage, in preparation for the next scene.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 5:
(ZARIA moves downstage to address the audience.)
ZARIA ALSATIA
And so Senza Varlaine, the only child of Flare Verlaine, prepared to leave the villa alone to seek a husband among the common people. And as she prepared, her mother Flare Verlaine summoned her Oracle.
(ZARIA withdraws as MORTA enters.)
MORTA RUDDA
You wished to see me, Baroness Verlaine?
FLARE VERLAINE
Yes, Morta. My daughter Senza is preparing to leave the villa tomorrow morning to go in search of a husband.
MORTA RUDDA
I see, Baroness.
FLARE VERLAINE
You are my Oracle, and I must ask you to look into the future as best you can, and tell me what fate might befall my daughter.
MORTA RUDDA
Yes, Baroness.
(MORTA stands in contemplation, trying hard to divine the future.)
MORTA RUDDA
I see a young man with his sister. The sister can neither speak nor hear. I see your daughter trying to take the young man away from his sister. And I see the villa, your home, in flames.
FLARE VERLAINE
What does this mean, Morta?
MORTA RUDDA
If your daughter becomes involved with this man, it may mean the end of the Verlaine dynasty, the end of your family’s power. If this is, in fact, an indication of the future, perhaps your daughter should not go in search of a husband at this time.
FLARE VERLAINE
No, she must go. Tradition demands it, and tradition has kept us from chaos. The dynasty of the Verlaines has survived for over two hundred years because of tradition. There will be no deviating from the prescribed rituals of succession. I thank you for your warning, but I cannot risk tampering with fate. You will speak no more of this man with the deaf mute sister.
MORTA RUDDA
Yes, Baroness.
(FLARE VERLAINE exits.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 6:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
Flare Verlaine’s Oracle knew she had to obey the Baroness. But she also had to obey her own survival instincts. That’s why she summoned Artemis Dorne, the Assassin.
(ZARIA withdraws as ARETEMIS DORNE enters.)
ARTEMIS DORNE
You summoned me, Morta Rudda?
MORTA RUDDA
Yes, Artemis Dorne, regretfully I summoned you.
ARTEMIS DORNE
To summon an assassin is easy, Morta. To send him on a mission is difficult.
MORTA RUDDA
That is so. You are like an arrow, Artemis Dorne, and I am like a bow. To send you on your mission is to shoot the arrow straight into the heart of a victim.
ARTEMIS DORNE
You flatter me, Morta. I am not so swift as an arrow, but I always hit the target.
MORTA RUDDA
I know. That is why I want you to work for me. The Baroness’s daughter Senza Verlaine will be leaving the villa tormorrow morning to go in search of a husband. I want you to follow her secretly and quietly. She must not know you are there.
ARTEMIS DORNE
That’s easy enough to do, Morta. But why hire an assassin for the simple job of guarding the Baroness’s daughter?
MORTA RUDDA
Somewhere beyond the walls of this villa lives a young man who has a deaf mute sister. If the Baroness’ daughter chooses this man to be her husband, the Verlaine dynasty will fall, and you and I will no longer hold our positions of power and privilege.
ARTEMIS DORNE
I see. What is the name of this man?
MORTA RUDDA
I do not know. Nor do I know where he lives. I only know that you must kill him if Senza Verlaine chooses him to be her husband.
ARTEMIS DORNE
I understand.
MORTA RUDDA
No one must ever know that you killed him, and no one must ever know that you and I had this conversation.
ARTEMIS DORNE
I understand.
MORTA RUDDA
You will, of course, be rewarded well for your services. I hope to hear only good news from you, Artemis Dorne.
ARTEMIS DORNE
I shall carry out your orders, Morta Rudda.
(ARTEMIS DORNE exits.)
MORTA RUDDA
I see the future, and that is a gift that is both a blessing and a curse.
(MORTA exits.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 7:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
The next morning, Senza Verlaine set out from the villa on her search for a husband. She thought she was alone, but always, somewhere behind her, followed Artemis Dorne, the Assassin. As night fell on the first day, she came to a house of a forester and his family in the deep forest through which she was passing. There, she sought a bed for the night.
(ZARIA withdraws as RAYNE WOOD enters.)
RAYNE WOOD
(entering)
Jeremiah Wood, why are you so late home tonight?
JEREMIAH WOOD
(entering with his axe and with KATRINA ALORIAN, who also has an axe.)
Now Rayne, you know I am trying to teach Katarina how to be a forester. That takes time.
KATARINA ALORIAN
I’m sorry, Aunt Rayne. It’s my fault. Uncle Jeremiah wanted me to find and identify five kinds of mushrooms, and it took longer than I thought.
RAYNE WOOD
Well, Katarina Alorian, I hope you will enjoy the overcooked stew that’s been waiting for you. And you didn’t even bring the mushrooms home to add a little flavour to the pot!
KATARINA ALORIAN
I know my father was a great forester, Uncle Jeremiah, but I’m not much good at it at all.
JEREMIAH WOOD
Don’t give up so easily, Katarina. You’ve only just started to learn, and I can already see that you have a natural affinity for the forest.
(There is the sound of knocking.)
RAYNE WOOD
Who could that be at this late hour?
(RAYNE goes out and returns with SENZA VERLAINE, who is dressed as a simple traveller.)
RAYNE WOOD
Come in, come in. How can we help you?
SENZA VERLAINE
I have been travelling all day, and I need a place to sleep. Could I stay here? I can pay you well.
JEREMIAH WOOD
You are awfully young to be travelling alone, Miss…
SENZA VERLAINE
My name is…
(pausing briefly)
…Sella. Sella Transelle. I am making my way to the village of Morningstar. I am exploring this part of the country to see if there are opportunities for business here.
KATARINA ALORIAN
How lucky you are, Miss Transelle, to be able to travel so freely and all alone!
RAYNE WOOD
That’s enough, Katarina. Be grateful for what you have and don’t wish for the life of another. It’s bad luck. My name is Rayne Wood, Miss Transelle, and this is my husband Jeremiah Wood and my niece Katarina Alorian.
SENZA VERLAINE
(with the impatience of her noble status)
You have not answered my question. May I sleep here?
JEREMIAH WOOD
Of course. And there will be no charge. We people of the forest welcome visitors. There is no need to speak so sharply to us.
SENZA VERLAINE
Forgive me, I’m extremely tired.
RAYNE WOOD
What sort of business do you do, Miss Transelle?
SENZA VERLAINE
Nothing much. Just some trading in clothing and furs.
KATARINA ALORIAN
Furs? I’m sorry, Miss Transelle, but I do not believe in the killing of animals for the use of their pelts.
SENZA VERLAINE
You are entitled to your opinion, Miss Alorian. Frankly, I am not seeking your approval nor do I want to argue with you about my business affairs.
RAYNE WOOD
Well, we’re not getting off to a very good start, are we? Perhaps some food would help ease our touchy tempers. Come, Jeremiah, help me prepare the table. Katarina, you remain here and keep our guest company.
(RAYNE and JEREMIAH exit.)
SENZA VERLAINE
So you wish you could travel about like me, Miss Alorian.
KATARINA ALORIAN
Yes. I have lived here in this forest all my life.
SENZA VERLAINE
Where are your parents?
KATARINA ALORIAN
They both became ill and died during the Great Sickness. My aunt and uncle have looked after me ever since.
SENZA VERLAINE
Do you know the forest well?
KATARINA ALORIAN
Of course. I am an apprentice forester.
SENZA VERLAINE
Perhaps you would be willing to be my guide to the village of Morningstar. I am not sure of the way, and I am becoming bored with travelling alone.
KATARINA ALORIAN
I don’t know. I’d have to ask my uncle and aunt.
SENZA VERLAINE
You are not a child, Miss Alorian. You don’t have to ask anyone. Just make up your own mind.
KATARINA ALORIAN
Forgive me for saying so, Miss Transelle, but you don’t talk like a travelling merchant. You sound more like a noblewoman.
SENZA VERLAINE
I simply speak my mind openly and without fear, as should everyone. Will you accompany me or not? I can pay you well. And stop calling me Miss Transelle. You can call me Sella. I will call you Katarina.
KATARINA ALORIAN
I told you I have to ask my uncle and aunt, Sella, just out of politeness, if nothing else,
(JEREMIAH and RAYNE enter.)
RAYNE WOOD
Supper is ready, Miss Transelle.
SENZA VERLAINE
I want your niece to be my guide on my journey to Morningstar. Is that acceptable to you?
JEREMIAH WOOD
Katarina is in training to become a forester. She does not have time to be a guide. But it’s up to her to decide. She is not a child or a slave, and can choose her own path.
KATARINA ALORIAN
Oh Uncle Jeremiah, I’d be back in two days. It’d be such a great adventure for me!
RAYNE WOOD
Then you better go, Katarina. Jeremiah and I don’t want to have to listen to you complain for the next month if you don’t go.
SENZA VERLAINE
Then it’s settled. Now you may serve me supper.
(SENZA exits.)
JEREMIAH WOOD
She’s not going to be a very successful merchant if she speaks that way to everyone.
RAYNE WOOD
Yes. She has the manner of a noblewoman. It’s rather strange.
KATARINA ALORIAN
She told me she just believes in speaking her mind. I think she’s quite brave.
RAYNE WOOD
Maybe so. But don’t let her influence you too much, Katarina. There’s something about her that’s not quite right.
JEREMIAH WOOD
Come now, Rayne, you’re being too sensitive. Let’s join our guest.
(They exit. ARTEMIS DORNE enters from the opposite side like a shadow, takes out his knife, tests the blade, peers at the place where they exited, then exits the same way he came in.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 8:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
And so, the next day Katarina Alorian set out with Senza Verlaine through the forest to the village of Morningstar. On the way, they met Tawny Nestor and her son Hamish, a boy who was considered by most to be a dunce. Tawny and Hamish where gathering berries. And Hamish the so-called dunce was about to surprise Senza Verlaine.
(ZARIA withdraws as TAWNY NESTOR enters.)
TAWNY NESTOR
Hurry up, Hamish. You move as slowly as a slug. We must gather berries, not dawdle amongst the wildflowers.
HAMISH NESTOR
(entering slowly, with his awkward gait and swinging head)
Flowers! Flowers! They’re prettier than berries.
TAWNY NESTOR
But you can’t eat them, Hamish, you foolish boy.
HAMISH NESTOR
Yes you can. Hamish ate a red one and a yellow one, to see if his eyes would turn into flowers, so the bees would land in them and tickle them and make Hamish laugh.
TAWNY NESTOR
Foolish, foolish boy. Bees don’t tickle, they sting.
HAMISH NESTOR
Only if you make them angry. Hamish is kind to the bees. So they tickle him with their little legs.
TAWNY NESTOR
Oh, Hamish, you are such a burden. Please just help me pick berries.
HAMISH NESTOR
Yes, Mother. Hamish will pick all the berries and make them into sugar candies for all the children in the village.
TAWNY NESTOR
(speaking to the heavens)
Why, Lord, did you send me such a son? Is it a punishment for having a child ouside of wedlock? His father didn’t seem like a dunce even if I only knew him for one night of drunken pleasure.
(SENZA VERLAINE and KATARINA ALORIAN enter.)
KATARINA ALORIAN
Hello. We’re on our way to the village of Morningstar. We are on the right path, aren’t we?
TAWNY NESTOR
Of course. Morningstar is an hour that way.
(TAWNY indicates with her arm, pointing the direction.)
SENZA VERLAINE
What are you doing in the forest, madam?
TAWNY NESTOR
Gathering berries, of course. What else would I be doing? I’m no poacher, it that’s what you’re getting at.
SENZA VERLAINE
Who is this young man?
TAWNY NESTOR
My son Hamish. Hamish, say hello to the travellers.
HAMISH NESTOR
Hello to the travellers.
(HAMISH laughs at his simple joke and wags his head back and forth.)
SENZA VERLAINE
Are you mocking me, boy?
TAWNY NESTOR
No, no, madam. The boy’s a dunce. He doesn’t know what he’s doing.
HAMISH NESTOR
(to SENZA VERLAINE)
You are very pretty. Hamish likes pretty things.
(HAMISH goes towards SENZA and tries to touch her hair.)
SENZA VERLAINE
(stepping back)
Katarina! Keep this fool away from me!
(HAMISH is alarmed by her tone, and backs away too.)
KATARINA ALORIAN
It’s all right, Sella. He’s just a child in a man’s body. I don’t think he would hurt anyone. Hamish, you can touch my hair.
(HAMISH shyly approaches and touches KATARINA’s hair. He takes a flower from his pocket and gives it to her.)
HAMISH NESTOR
Hamish likes you. You are an angel. Here is a flower. If you eat it, maybe you will smell like the flower.
KATARINA ALORIAN
(laughing)
Oh, Hamish, thankyou! And I’m sorry I don’t smell like a flower. We’ve been walking all day, and we’re not very fresh and ladylike at the moment.
SENZA VERLAINE
That’s enough, Katarina. We must press onwards.
TAWNY NESTOR
Come on, Hamish, we must pick berries, not dawdle with these travellers!
(TAWNY takes HAMISH’s hand and leads him offstage. He waddles along after her as they exit.)
KATARINA ALORIAN
Sella, I don’t want you to pay me for being your guide.
SENZA VERLAINE
Why not?
KATARINA ALORIAN
Because I don’t want to be treated like a servant.
SENZA VERLAINE
(realizing that her identity may be discovered)
I’m sorry, Katarina. It’s just that I’m used to giving orders to the people who work for me. You’ve been an excellent guide and a good companion.
KATARINA ALORIAN
Why were you so alarmed by Hamish, Sella?
SENZA VERLAINE
I’m not used to men. Most of my workers are women. I was curious about him, that’s all, and he alarmed me a little. People don’t usually try to touch me.
KATARINA ALORIAN
A beautiful woman like you? Men must always be flirting with you.
SENZA VERLAINE
Beauty! I don’t have time for that sort of thing. The man I marry will have to be interested in much more than beauty.
(They exit. ARTEMIS DORNE enters smoothly, crosses, and exits.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 9:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
When Katarina Alorian and Senza Verlaine finally arrived in the village of Morningstar, the first people they met were the three beggars. Senza Verlaine had never before seen beggars. She was surprised by their poverty.
(ZARIA withdraws as the THREE BEGGARS enter, with DEATH following in the background, and PERSEPHONE leading the two blind beggars on their rope.)
PERSEPHONE VIGIL
My stomach has shrunken into a painful little ball.
TORIC PRESSLE
Like the ball that deaf mute gave us.
KONA HERA
My stomach is as small as a marble.
(KATARINA and SENZA enter.)
PERSEPHONE VIGIL
Please, madams, could you spare something for the poor?
(The THREE BEGGARS hold out their hands.)
TORIC PRESSLE
We are hungry.
KONA HERA
Our stomachs are shrunken.
SENZA VERLAINE
Why are you so hungry? Why don’t you work and earn food?
KATARINA ALORIAN
Those two are blind, Sella. No one will give them work. And the third one looks after them, and is crippled, so she has neither the strength or time to work for money.
SENZA VERLAINE
I see. You, the crippled one, come here.
PERSEPHONE VIGIL
Yes, your ladyship.
(PERSEPHONE approaches SENZA VERLAINE.)
SENZA VERLAINE
Don’t call me “your ladyship”. I am a merchant.
PERSEPHONE VIGIL
Of course. A merchant.
(DEATH approaches also, standing close to PERSEPHONE and peering at SENZA who does not see him or feel his presence.)
KATARINA ALORIAN
Sella! I don’t think you should stand so close to the beggar!
SENZA VERLAINE
Be quiet, Katarina. Are you really crippled or are you just pretending?
(SENZA pulls PERSEPHONE’s stick away from her. PERSEPHONE collapses with a cry. DEATH bends over PERSEPHONE with his dark blanket spread out as if to cover her.)
KATARINA ALORIAN
No!
(KATARINA goes to PPERSEPHONE, and DEATH withdraws.)
KATARINA ALORIAN
Let me help you up.
(KATERINA helps PERSEPHONE to her feet and gives her her stick.)
PERSEPHONE VIGIL
Thankyou, kind traveller. I fainted. I thought I was dying.
KATARINA ALORIAN
Here.
(giving PERSEPHONE a coin)
Buy some bread for you and your friends.
PERSEPHONE VIGIL
Thank you, kind traveller.
TORIC PRESSLE
(moving toward SENZA)
Help us, your ladyship.
KONA HERA
(also moving towards SENZA)
Help us, your ladyship.
SENZA VERLAINE
(retreating)
I told you, I’m a merchant, not a noblewoman. I can’t help you.
(shouting)
I can’t help you!
(TORIC and KONA freeze when she shouts. PPERSPEHONE takes up their rope and they exit, with DEATH following them.)
KATARINA ALORIAN
Of all the people in this country, beggars are the closest to Death, Sella. Death follows them everywhere. But when we help them, Death cannot touch them so easily.
SENZA VERLAINE
Death, beggars, dunces…this is a tormented country, Katarina.
KATARINA ALORIAN
I think it is a beautiful country, Sella. There cannot be beauty without suffering. Like you. I see that you are suffering, and yet you are beautiful.
SENZA VERLAINE
I don’t want to talk about beauty any more, Katarina.
KATARINA ALORIAN
Do you want to talk about truth?
SENZA VERLAINE
Where did you learn all these ideas of yours, Katarina?
KATARINA ALORIAN
I am an apprentice forester. I have learned a little about the cycle of life and death, and about the truth of being alive in this world. That’s all…just a little bit about being alive.
(They exit. Shortly after, ARTEMIS DORNE enters, crosses with quiet grace, and exits.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 10:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
Senza Verlaine was beginning to see that Katarina Alorian was not just a simple and naïve young woman of the forest. And she was also beginning to see that she, Senza Verlaine, was herself simpler and more naïve than she had thought. Meanwhile, Thomas and Maracelle Besoin where once again accompanying their mother to the village bakery.
(ZARIA withdraws as KELLA BESOIN enters with MARACELLE and THOMAS BESION. Maracelle is chasing a butterfly.)
KELLA BESOIN
Thomas, please stop your sister from chasing butterflies. She’ll trip and hurt herself or bump into something.
THOMAS BESOIN
But Mother, Maracelle loves the butterflies. Let her have some fun for once.
(SENZA enters with KATARINA, and MARACELLE, not seeing SENZA, bumps into her and knocks her over. MARACELLE tries to help her up, but SENZA pushes her away.)
SENZA VERLAINE
How dare you push me?
(raising her voice even more)
How dare you?
(MARACELLE can read SENZA’s lips and can see how angry she is. She backs away in alarm and hides behind THOMAS.)
THOMAS BESOIN
(running over)
I’m sorry! My sister is a deaf mute. She didn’t hear you…it was an accident.
KATARINA ALORIAN
You lost your balance, Sella, that’s all. Why did you shout at her like that?
SENZA VERLAINE
(recovering her temper)
I’m not hurt.
(to MARACELLA)
I forgive you for pushing me.
(to everyone)
I was just surprised. I did not expect to be pushed like that.
KELLA BESOIN
Thomas, I told you to stop your sister from chasing butterflies. Now look what she’s done! I’m so sorry, madam. She just forgets to look where she’s going.
THOMAS BESOIN
(taking MARACELLE gently by the hands and speaking distinctly to her)
It’s all right, Maracelle. The lady is not angry anymore. She knows it was an accident.
KELLA BESOIN
I must go and buy bread. Watch your sister carefully, Thomas. We can’t allow this sort of thing to keep happening every time we go out!
(KELLA exits.)
KATARINA ALORIAN
I will buy some bread, too, Sella. I’ll be neeeding it for my journey home. I’ll be back right away.
(KATARINA exits. SENZA watches THOMAS closely as he talks to MARACELLE.)
THOMAS BESOIN
(speaking distinctly)
Maracelle, here is a pretty stone.
(THOMAS hands MARACELLE a stone. She takes it, looks at it closely, smiles, and goes to SENZA and shly offers it to her. SENZA takes it. MARACELLE smiles and runs back to THOMAS.)
THOMAS BESOIN
That’s her way of saying she’s sorry. She loves to give gifts to people. Even strangers. Especially strangers.
SENZA VERLAINE
You are called Thomas?
THOMAS BESOIN
Yes.
SENZA VERLAINE
And Maracelle…you said she is she your sister?
THOMAS BESOIN
Yes. She is younger than me, and it’s my duty to take care of her as best I can.
SENZA VERLAINE
Is it difficult to take care of her?
THOMAS BESOIN
Oh no. She’s wonderful. Very gentle and kind. It’s just that she’s very fragile and vulnerable, so I have to look out for her, and keep her safe.
SENZA VERLAINE
And are you very good at keeping her safe?
THOMAS BESOIN
You’re asking very personal questions, madam. But I’ll give you a straight answer: I’m good at taking care of her because I love her very much. Does that make it clear?
(As THOMAS and SENZA speak, MARACELLE watches them with anxious intensity.)
SENZA VERLAINE
My name is Sella Transelle. You may call me Sella. I am a travelling merchant. I’m sorry if my questions seem personal, but I am interested in finding a business partner, a man I can trust who can manage people and help me with my investments.
THOMAS BESOIN
But I have no money and no education, Sella.
SENZA VERLAINE
That is not important.
(stepping closer to him)
Do you know that you are facing an opportunity unlike any other you will ever have? I wonder?
(SENZA takes THOMAS’s arms and looks closely into his eyes. He seems powerless to stop her. MARACELLE runs over and pulls him away from SENZA.)
THOMAS BESOIN
Maracelle, what are you doing? Let go of me!
SENZA VERLAINE
I can see that she values you highly, Thomas.
THOMAS BESOIN
Of course she does. She’s my sister, for heaven’s sakes! Why is it so hard for you to understand something so simple?
SENZA VERLAINE
It may be simple to you, but it’s priceless to me.
(KATARINA enters with KELLA BESOIN.)
SENZA VERLAINE
(to KELLA)
My companion and I have been travelling all day. We need a place to stay. Could you give us somewhere to sleep and some supper? I can pay you well.
KELLA BESOIN
I suppose I could give you each a small space in which to sleep and some supper if you’re willing to pay. But only if you pay. I have barely enough food for my family. I’m a weaver, and there’s not much money in that.
KATARINA ALORIAN
Don’t worry, Mrs. Besoin. Sella will pay you well. I’m her guide, and she’s been very generous to me.
SENZA VERLAINE
Katarina, please don’t speak on my behalf! I can make my own bargains!
KATARINA ALORIAN
Really, Sella, you’re so quick to become angry over nothing! I was complimenting you!
KELLA BESOIN
Very well, you can stay with us. Come on, Thomas and Maracelle, let’s get home and make our guests comfortable.
(They all exit. ARTEMIS DORNE enters, draws his knife, looks at it, puts it away, and exits.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 11:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
As Senza Verlaine and Katarina Alorian made their way to the home of Thomas and Maracelle Besoin, Senza Verlaine’s mother waited anxiously in the walled villa for news of her only child’s progress toward finding a husband. Once again, she called for the help of her Oracle.
(ZARIA withdraws as FLARE VERLAINE enters with MORTA RUDDA.)
FLARE VERLAINE
Morta, when you attempt to see the future, what happens to you?
MORTA RUDDA
It’s hard to explain, Baroness. It’s somewhat like trying to see the sun behind thick clouds. You know there is something there that is bright and clear, but you have to strain and strain to see it. If you’re lucky, the clouds part for just a second, and you catch a glimpse, and then the clouds are back and it’s gone.
FLARE VERLAINE
Do you find it exhausting?
MORTA RUDDA
Not as exhausting, I’m sure, as your duties ruling this country, Baroness.
FLARE VERLAINE
Hopefully, I will not have to rule much longer, Morta. Hopefully, my daughter and her new husband will assume that burden. I have aged far beyond my years. I do not think I will live much longer.
MORTA RUDDA
I have seen no signs of your death, your Ladyship.
FLARE VERLAINE
Some things remain hidden, like the sun behind the clouds, from even someone as gifted as you, Morta. Now, I must ask you to look again into the place where fate and destiny are decided. Please tell me what you see.
MORTA RUDDA
Yes, Baroness.
(focusing on her task)
I think your daughter is in the village of Morningstar. She is safe for the present. But there is someone near her who is dangerous to your family.
FLARE VERLAINE
The young man with the deaf and mute sister?
MORTA RUDDA
Perhaps, Baroness. I can’t be sure…I can’t be sure. There are many people around her, but they are shadows. I’m sorry, that’s the best I can do.
FLARE VERLAINE
You would not betray me, would you, Morta?
MORTA RUDDA
What do you mean, your Ladyship?
FLARE VERLAINE
You would always be truthful with me, and not withold information?
MORTA RUDDA
Those are hard words for me to hear, Baroness. I have always been with your family, and I have served with absolute loyalty.
FLARE VERLAINE
That is what worries me, Morta. Loyalty. Your position here, your power, depends on my family. Without us, you would become an outcast. And so you would do anything to preserve our power, even if it meant interfering with fate.
MORTA RUDDA
Forgive me, but that does not make sense, Baroness. My gifts are in demand with every family of power, but I choose to offer them to you. I do not depend on you. In fact, you depend on me.
FLARE VERLAINE
No, Morta. I know that your power to see beyond these walls would quickly fade if the Verlaine family where to perish. Your gift allows you to see the future of the Verlaines, but no one else.
If you have done something to interfere with my daughter’s duty to select a husband without any meddling by us, you must tell me. You will not be punished. I understand your dilemma.
MORTA RUDDA
(after a pause)
I have sent an assassin to follow your daughter. I have given him orders to kill the boy with the deaf mute sister, if your daughter chooses to marry him.
FLARE VERLAINE
I see.
(FLARE VERLAINE is heavily burdened by this news. She speaks carefully to MORTA.)
FLARE VERLAINE
As I said, I will not punish you, Morta. But you and I must leave the villa, just the two of us, and go to my daughter. No one else must know of this. You tried to intercede with Fate and Destiny, and now we must undo what you have done.
(They exit.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 12:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
Later that day, in the hut in the forest, Jeremiah and Rayne Wood wondered together about the fate of their niece, Katarina Alorian.
(RAYNE and JEREMIAH WOOD enter as ZARIA withdraws to watch.)
RAYNE WOOD
We shouldn’t have let Katarina go with Sella Transelle, Jeremiah.
JEREMIAH WOOD
Please stop worrying, Rayne. Katarina will be paid well, and perhaps she’ll get some of her restlessness out of her system. She was bound to go adventuring some day, and at least she didn’t go off all alone.
RAYNE WOOD
You always try to make things seem simple and innocent, Jeremiah. But I trust my instincts, and that Transelle woman was hiding something from us. I’m sure she’s not who she says she is.
JEREMIAH WOOD
She’s a travelling merchant…perhaps she’s wise to keep her identity secret. The country is full of thieves and tricksters.
RAYNE WOOD
Let me put it bluntly, Jeremiah. Katarina’s life is in danger. Don’t ask me how I know. But I know. Now, I am going to go to Morningstar to find her at first light. You can come with me if you want. But whether you come or not, I’m going, and that’s that.
JEREMIAH WOOD
You’ll just make a fool of yourself, going all that way for nothing. And you’ll embarrass Katarina as well, turning up in Morningstar like some overprotective old hen.
RAYNE WOOD
You claim to be a wise man, Jeremiah Wood, but sometimes you are a fool! Yes, a fool! You spend all your time in the forest, where you can hide from the world. You are afraid of the pain and chaos of human relationships. You are afraid of the darkness that lies waiting in every human heart! Now, will you come with me or not?
JEREMIAH WOOD
(after a pause)
All right. I’ll go with you. You’re right, I am afraid. I love my niece, and I love you, and the price of love is pain. I am afraid of losing Katarina, and I’m afraid of losing you. I wanted to keep you both safe from the evil in the world by hiding here in the forest. Now Katarina is gone, her safety is gone too. I will go with you.
RAYNE WOOD
(embracing him)
Bring your axe. You might need it.
(They exit.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 13:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
And so the stage was set for a collision of many troubled hearts and minds in the little village of Morningstar. Night passed, and by the time the sun rose and the first beams began to shine through the dusty windows of Kella Besoin’s hut, Senza Verlaine knew who she wanted to marry.
(ZARIA withdraws as SENZA VERLAINE enters with KELLA BESOIN.)
SENZA VERLAINE
I need your help this morning, Mrs. Besoin.
KELLA BESOIN
I’d be happy to help any way I can if you can pay me as handsomely as you did for your supper and bed last night.
SENZA VERLAINE
You are very different kind of woman than the one I stayed with in the forest.
KELLA BESOIN
What do you mean?
SENZA VERLAINE
She did not keep asking me for money.
KELLA BESOIN
Some women are fools.
SENZA VERLAINE
Perhaps. But it’s hard to say who’s the fool…the one who demands money, or the one who refuses to take it.
KELLA BESOIN
I live a hard life, Miss Transelle. My children and I must work our fingers to the bone to put bread on the table. You have obviously never had to struggle for anything.
SENZA VERLAINE
I am beginning to discover that everyone struggles, Mrs. Besoin…the poor, the rich, the innocent and the worldly…everyone struggles. Now will you give me your help or not?
KELLA BESOIN
Very well. Money is money. I’ll help you.
SENZA VERLAINE
I want you to arrange a meeting in the village square. Gather as many people as you can. I have an announcement to make there.
KELLA BESOIN
That is very unusual. What kind of announcement?
SENZA VERLAINE
You will find out at the same time as everyone else. Now please carry out my request.
KELLA BESOIN
Very well, but like I said, it’ll cost you.
(KELLA exits as MARACELLE enters. When she sees SENZA, she backs away.)
SENZA VERLAINE
What are you afraid of, girl?
(MARACELLE watches SENZA warily.)
SENZA VERLAINE
Why do you treat me with suspicion? I want to be your friend.
(SENZA takes out the stone MARACELLE gave her, and tries to give it back to her. MARACELLE finally takes it, but throws it down. SENZA picks it back up.)
SENZA VERLAINE
All right, you won’t take my gift. But I’ll keep trying, and one day you’ll accept it.
(MARACELLE runs away and exits as KATARINA enters.)
KATARINA ALORIAN
What’s the matter with Maracelle?
SENZA VERLAINE
I should think it’s obvious. She’s jealous of me.
KATARINA ALORIAN
No, I don’t think she’s jealous. She seems frightened.
SENZA VERLAINE
She’s a deaf mute, Katarina. You can’t expect her to behave in a normal fashion.
KATARINA ALORIAN
Sella, are really so hard-hearted? The girl is as gentle and sensitive as a butterfly. I don’t understand you.
SENZA VERLAINE
I’m tired of listening to you preaching to me about this and that, Katarina. Now I’d like to be alone, if you don’t mind. You should be preparing for your journey home, shouldn’t you?
KATARINA ALORIAN
Yes, I should, but I can’t seem to make myself go just yet.
SENZA VERLAINE
Stay for a while. Then you can witness my little announcement in the village square.
KATARINA ALORIAN
Announcement?
SENZA VERLAINE
Yes. Announcement. Now leave me alone.
KATARINA ALORIAN
All right, Sella. And I think I will stay until you make your announcement.
(KATARINA exits as THOMAS BESOIN enters.)
THOMAS BESOIN
Did you sleep well last night, Sella?
SENZA VERLAINE
No. But that does not matter. I am ready for this day.
THOMAS BESOIN
Are you going to do some business in the village?
SENZA VERLAINE
Yes. In the village square. In less than an hour.
THOMAS BESOIN
What kind of business?
SENZA VERLAINE
I would like you to be there, Thomas, so you can see for yourself.
THOMAS BESOIN
You are a rather mysterious person, Sella. Your words raise questions and provide few answers.
SENZA VERLAINE
That will end soon, Thomas. Come to the square and see for yourself. You’ll get all the answers you want.
THOMAS BESOIN
All right. I’ll bring Maracelle. She loves the sunshine in the village square in the morning.
SENZA VERLAINE
Bring her if you must, but try to stop her from being so disagreeable.
THOMAS BESOIN
Aside from my mother, Sella, you’re the only person I’ve ever met who complains about Maracelle.
SENZA VERLAINE
Perhaps that’s because Maracelle complains about me, in her silent way. I can’t decide whether or not you like me, Thomas.
THOMAS BESOIN
Neither can I, Sella.
SENZA VERLAINE
Now excuse me. I must prepare myself for my announcement in the town square.
(SENZA exits as MARACELLE enters.)
THOMAS BESOIN
Hello, Maracelle.
(MARACELLE goes to THOMAS sadly, and takes his hands and looks into his eyes.)
THOMAS BESOIN
Why are you so sad, Maracelle? I’m fine, and it’s a beautiful day.
(embracing her and stepping away)
Come with me to the village square, Maracelle. You love to sit in the sun.
(MARACELLE shakes her head to say “no” and backs away.)
THOMAS BESOIN
Please, Maracelle.I don’t want to go there without you. For some reason, it’s very important that you go with me. I don’t even know why. I just feel you must be there.
(MARACELLE goes to THOMAS and offers her hand. He leads her across and they exit.)
Morningstar by Richard Stuart Dixon, Good School Plays.
Scene 14:
(ZARIA goes downstage and addresses the audience.)
ZARIA ALSATIA
It didn’t take long for Kella Besoin to find people to come to the village square. They all began to assemble, in excited anticipation of Senza Verlaine’s announcement. And of all the people in Morningstar, the only one who seemed to have any clear sense of Senza Verlaine’s purpose was the deaf mute girl Maracelle Besoin. The beggars and Hamish Nestor knew that something very important was going to happen, but they didn’t know what it would be.
(ZARIA exits as TAWNY NESTOR enters with HAMISH.)
TAWNY NESTOR
Come on Hamish, you lazy boy. Stop dragging your feet.
(HAMISH is not the same happy fellow of the day before. He is sullen and moves slowly.)
TAWNY NESTOR
Why are you so miserable, Hamish? You love sunshine, and your skin gets burned because you’re too stupid to go in the shade.
HAMISH NESTOR
Hamish doesn’t like the sun today. The sun makes everything too easy to see. Hamish does not want to see what will happen.
TAWNY NESTOR
Would you rather be blind like those two beggars? That’s all I need, a blind dunce of a son.
HAMISH NESTOR
Hamish does not want to see. Hamish does not want to see.
(HAMISH tries to hide his head by coveirng it with his arm, but TAWNY makes him put his arm down. She takes hold of his shoulders and gives him a shake.)
TAWNY NESTOR
Stop it, Hamish. Behave, or you won’t get any dinner.
HAMISH NESTOR
Hamish does not like the shadow man. Hamish does not like the man with the knife,
TAWNY NESTOR
You must have had a nightmare last night. But it’s daylight, now, so stop acting so frightened. Sometimes I think I should just take you out into the forest and leave you there.
HAMISH NESTOR
No, no, not alone. Don’t leave Hamish alone.
(HAMISH becomes very still as the THREE BEGGARS enter, with PERSEPHONE leading TORIC and KONA by their rope. DEATH enters not far behind.)
PERSEPHONE VIGIL
Perhaps her ladyship will give away bread and copper.
TORIC PRESSLE
Perhaps her ladyship will give away milk and silver.
KONA HERA
Perhaps her ladyship will give away honey and gold.
TAWNY NESTOR
(to the beggars)
Why do you say “her ladyship”? She’s only a merchant.
PERSEPHONE VIGIL
Perhaps, perhaps, perhaps.
TORIC PRESSLE
Maybe, maybe, maybe.
KONA HERA
May perhaps be, may perhaps be…
(DEATH approaches HAMISH, who scampers away. DEATH goes back to the beggars.)
TAWNY NESTOR
Hamish, come back here.
HAMISH NESTOR
Hamish hates the shadow man…Hamish hates the shadow man…
(Whimpering softly, HAMISH returns to his mother.)
TAWNY NESTOR
If you’re going to have nightmares even when you’re awake, I really will have to leave you in the forest. I won’t put up with a son who is both a dunce and a lunatic!
(TAWNY gives HAMISH a shake. He whimpers by his mother, gripping her garments.)
KELLA BESOIN
(entering)
Now where are my children? They better be here soon.
(THOMAS BESOIN enters with MARACELLE, who moves sadly.)
KELLA BESOIN
There you are.
(KELLA goes to MARACELLE and makes MARACELLE look at her.)
KELLA BESOIN
Look at me, Maracelle…look at me, you stubborn girl. Now, please try to smile and be happy. Perhaps the merchant woman will be giving us a great opportunity of some kind. I don’t want you to make her change her mind!
(MARACELLE pulls away from her MOTHER.)
KELLA BESOIN
All right, mope all you want. It better not cost us a chance at getting something for nothing.
THOMAS BESOIN
Mother, nobody gets something for nothing. And if Maracelle is feeling sad, she must have her reasons. Please let her alone.
KELLA BESOIN
You shouldn’t speak to me that way, Thomas. Your own mother, and you treat me like a child! Didn’t I say she could sulk if she wanted to?
(KATARINA enters with THOMAS BESOIN.)
KATARINA ALORIAN
Sella will be here any moment, Thomas. I feel so nervous and I’m not sure why, but I can’t help thinking that something amazing is going to happen.
(FLARE VERLAINE and MORTA RUDDA enter, well hidden in cloaks. HAMISH scampers up to them and tugs on their cloaks.)
HAMISH NESTOR
Hamish sees the shadow man! Hamish sees the shadow man!
TAWNY NESTOR
(going to HAMISH and pulling him away)
I’m sorry. My son is a dunce. He doesn’t know what he’s doing.
(FLARE VERLAINE and MORTA RUDDA, hidden deep in their cloaks, do not move or speak. SENZA VERLAINE enters. EVERYONE becomes completely attentive to her, watching her very closely.)
SENZA VERLAINE
Thank you for gathering her in Morningstar’s village square. I have an announcement to make, an announcement of the greatest importance.
(holding up the medallion that identifies her as a VERLAINE)
I am Baroness Senza Verlaine. I am your sovereign ruler.
(There is a gasp and all kneel, except DEATH. At first, MARACELLE does not kneel, and remains standing in silent defiance, but KELLA BESOIN pulls her down.)
SENZA VERLAINE
In accordance with the tradition of our country, I have travelled alone in search of a husband who will become the new baron. I have chosen the man I will marry. Thomas Besoin, please rise.
THOMAS BESOIN
(standing)
Yes, your Ladyship?
SENZA VERLAINE
You are a man I can trust…you are a man who understands duty…you are man who will defend all he loves. I choose you.
(ARTEMIS DORNE appears in his dark cloak, with his face hidden by the hood. He moves quickly and smoothly toward THOMAS. Just as he is about to plunge his knife into THOMAS, MARACELLE deftly places herself between THOMAS and the knife, which strikes MARACELLE instead of THOMAS. She collapses into THOMAS’s arms. As THOMAS sinks down with MARACELLE, KATARINA seizes the assassin’s wrist and struggles with him. At that moment, JEREMIAH and RAYNE WOOD rush in. JEREMIAH drops his axe and he and RAYNE help KATARINA force ARTEMIS to drop his knife. They hold ARTEMIS so he cannot escape. As this is happening, THOMAS continues to cradle MARACELLE in his arms, and her mother KELLA kneels by her. FLARE VERLAINE and MORTA RUDDA throw off their cloaks and go to SENZA VERLAINE. A stillness settles over the crowd.)
FLARE VERLAINE
(addressing the crowd)
I am Baroness Flare Verlaine, mother of Senza Verlaine. I came here to stop all this from happening, but I was afraid to act until it was too late. Now a young girl lies dead, and her killer stands before you. He knows what he must do. Release him and give him his knife.
(In obedience, RAYNE, JEREMIAH, and KATRINA release ARTEMIS DORNE. JEREMIAH retrieves his axe and watches warily as KATRINA picks up ARTEMIS DORNE’s knife and gives it to him. ARTEMIS moves downstage and looks up for a moment at MORTA, who opens her arms, with her palms showing, and lowers her head, then resumes her former pose. ARTEMIS drives his knife into himself. He sinks down, face forward onto the stage, and lies still.)
FLARE VERLAINE
Fate has played its hand, and we have been witness to a great Wounding. We feel horror, shock and pain, and we feel grief. But the man my daughter chose to be her husband still lives. His sister died to save him, and to save this country from the chaos and disorder that would have befallen us if Thomas Besoin had been killed. She is a martyr to her country. We will never forget her. Thomas Besoin, you are condemned to face a terrible time of grief, but, in accordance with our laws and traditions, you must accept the duties that will now burden you as Baron and co-administrator of this country. Please, I ask you, beg you…do not turn your back on those duties.
(THOMAS gently rises, letting KELLA BESOIN hold the body of MARACELLE. He is crushed by grief but also full of resolve.)
THOMAS BESOIN
My sister is dead. Her death must count for something. Therefore, I accept my fate. I will marry you, Senza Verlaine, and I will rule this land with you. But I must tell you all, I do this only for Maracelle…only for a deaf-mute girl who loved me so much she would die for me. Only for Maracelle.
(THOMAS returns to MARACELLE’s side. There is now a quiet series of exits, as the various characters leave the stage. First, JEREMIAH and RAYNE WOOD with KATARINA ALORIAN. Then TAWNY NESTOR and HAMISH NESTOR, who first goes to THOMAS BESOIN and gives him a flower. Then KELLA BESOIN, who is escorted out by MORTA RUDDA. Then FLARE VERLAINE and SENZA VERLAINE, who stop just before they exit. SENZA goes to MARACELLE’s body and places the stone in her hand, then exits. The THREE BEGGARS speak.)
TORIC and KONA
(in unison)
What is happening, Persephone?
PERSEPHONE
Life. Life is happening.
TORIC and KONA
(in unison)
Life. We must live. We must live.
(The THREE BEGGARS exit, and DEATH comes over and covers ARTEMIS DORNE with a dark cloth. DEATH approaches MARACELLE with the intention to cover her too, but ZARIA ALSATIA moves forward and holds up her hand, blocking DEATH, who turns and exits.)
ZARIA ALSATIA
Do not despair, Thomas. Leave her with me. I’ll take care of her, I promise you. I will take care of her.
(THOMAS understands. Without speaking, he embraces MARACELLE briefly, then lays her down gently, gets up, and exits quickly. )
ZARIA ALSATIA
(to audience)
And so, the deaf mute girl Maracelle Besoin died to save her brother, and in so doing saved her country from chaos. But her death gave birth to her story, and she lives again every time it is told, just as I have told it to you.
END OF THE PLAY.