Part 50 "The Company"

PART 50: THE COMPANY

Transcript made & edited by jack with contribution from ivy

CWs: description of body mutilation, forced body part removal, discussion of child death/murder, discussions of torture/gore, references to past child abuse

(BEGIN Part 50.)

 

(A whistling wind. Footsteps.)

 

JOHN: Evrard said these lands… have rotted. (A slow melody begins.) And I see it. Darkness clings to the forest, like a cloud settling in, covering the trees in shadow and ash. The coast lay far off, hidden away well beyond the fog that obscures the way to the waters. And to the east, far beyond the sea-green swamps that dot the landscapes like patchwork… lay the mountains. 

 

ARTHUR: And past the mountains… our destination.

 

JOHN: Do you think we’ll make it? 

 

ARTHUR: I think… the Blackstone is our goal. And somewhere within the swamps… or on the road through the mountains… we’ll need to find a way to take it.

 

JOHN: If the companions that Evrard has assigned to us will allow.

 

ARTHUR: One bite at a time, old friend. (He chuckles. John sighs.) But then… then, our journey is complete.

 

JOHN: If Kayne honors the deal.

 

ARTHUR: ‘The deal.’ (He scoffs.) I don’t know what lay in store for us when that moment comes… but until then, what choice do we have? We continue on, like we always have. And hope… and pray… there’s something out there willing to listen.

 

JOHN (light-heartedly): All this time around gods rubbing off on you, Arthur? (He chuckles.)

 

ARTHUR: No. Just hoping there’s a way out of this.

 

YORICK: I do not believe so, Master. 

 

(A whimsical tune begins. Arthur exhales. John sighs.)

 

ARTHUR: Thanks, Yorick.

 

YORICK: You are welcome.

 

JOHN: You sure having Yorick out like this, letting the others know about him, is wise?

 

ARTHUR: Alia has magicks more powerful than he, or at least as far as they know. (Good-naturedly.) And besides, he’s helped us in more ways than one.

 

JOHN: I don’t think Evrard entirely believed your lie about Yorick.

 

YORICK: It was a clever deception, Master. Calling me the head of your brother was quite –

 

ARTHUR (cutting him off): Maybe he didn’t, but we’re keeping enough close to the chest. He’s not aware of you, or my eyesight.

 

JOHN: Which I agreed was wise to keep secret from him, along with where we came from and the magical items we carry, but Yorick’s abilities are…

 

ARTHUR: Clearly things in this timeline are far more… supernatural than we realized. No one blinked an eye when Alia floated the body of Langward past us, and the Goatswood seems to be rife with creatures of all sorts.

 

JOHN: Even still, if they knew how powerful he was…

 

ARTHUR: They won’t. He understands when to be silent and what things can be said in front of others. Right, Yorick?

 

YORICK: Our week spent recuperating inside Castle Kerringford has been exceptionally useful for me, to understand the nuances of what you require.

 

ARTHUR: And finally gave me time for my stomach to heal properly.

 

JOHN: And your illness.

 

ARTHUR: Yes.

 

JOHN: You feel better?

 

ARTHUR: Miles. (John hums. Arthur sighs.) Ready to take on this last hurdle? 

 

YORICK: I am better, too. And well-rested. (John sighs.) I have grown… wiser.

 

JOHN: At least you stopped clacking your jaw. 

 

YORICK (jaw clacking): I can do it again, if you would prefer.

 

ARTHUR: No, thank you, that’s quite alright. (He sighs. A sad melody begins.) I wish I could see everything you’ve described. (Footsteps. Pebbles tumble.)

 

JOHN: Careful, Arthur. The parapet is wide, but there’s still plenty of ways to fall.

 

YORICK: And quite the distance.

 

ARTHUR: I know. I know. I don’t know what comes next, but I know we’ll face it head on. Just like Oscar’s letter said, eh? (He chuckles.)

 

JOHN: Hm.

 

LORD EVRARD: Enjoying the view? (Arthur inhales.)

 

JOHN: Evrard has approached from behind.

 

ARTHUR: Yes, quite.

 

JOHN: He wears the same cloak and sword he did yesterday, but his eyes are well rested and his thin lips seem… content. Almost… hiding a hint… of excitement. (Footsteps.) He looks to our waist. 

 

LORD EVRARD: You’re sure you wouldn’t prefer a more suitable sword? The rapier is…

 

ARTHUR: Oh! Oh, with my arm, I wouldn’t be able to hold much heavier, and besides I plan to try to use my mind as much as possible, to avoid needing it.

 

JOHN: He smiles, almost painfully, as if knowing the dangers that lay ahead.

 

LORD EVRARD: Very well. The cloak fits you well.

 

ARTHUR: Eh, yes, thank you again. As do the greaves and, uh… gauntlets. 

 

JOHN: He nods and steps forward. (Footsteps.)

 

LORD EVRARD: I have enjoyed our time together. (‘Bitter Sweet City’ begins.) This past week has been… interesting, hearing your insight and perspective has introduced a great number of thoughts, one I am keen to ruminate on. (A pat.) Your presence… will be missed. 

 

JOHN: He grips our shoulders, firmly. (Multiple pats.) 

 

ARTHUR: Thank you, Lord Evrard. 

 

LORD EVRARD: And you’re sure… I can’t persuade you to part with the skull of your brother?

 

ARTHUR (surprised): Yorick? (John hums.)

 

YORICK: Master?

 

LORD EVRARD: I know it must hold sentimental value, but such a curio would be welcomed in the pursuit of cleansing the lands of darker forces.

 

ARTHUR: I…

 

LORD EVRARD: I would be happy to pay you handsomely for it. (A short pause.)

 

ARTHUR: No. No, I’m afraid not. He’s too… important to me. (John chuckles.)

 

LORD EVRARD: Very well. The remaining companions have just arrived. All are ready down in the courtyard.

 

ARTHUR: Right, I’m keen to meet them and be on our way. Alia is one, correct?

 

LORD EVRARD: Yes, the other two I will introduce you to shortly. But feel free to take a moment longer.

 

JOHN: He pauses himself to look around at the surrounding countryside.

 

LORD EVRARD: Remember… what we are fighting against. (Footsteps.)

 

JOHN: Evrard has departed. 

 

ARTHUR (considering): Well.

 

YORICK (cheerfully): Thank you, Master!

 

ARTHUR: What? Why?

 

YORICK: You… You did not part with me.

 

ARTHUR: Of course! Why would I? You’re useful, and… well. I’d be lying if I said I hadn’t missed your voice, Yorick. 

 

YORICK: A… friend? 

 

ARTHUR: Yes. (He chuckles.) A friend.

 

JOHN: This is it. (A quick melody begins.) Is there anything else we need?

 

ARTHUR: I don’t think so. We’ve gathered all of our things, and… and then some. We have the Hand of Malevolence, the lighter – w-well, everything still. 

 

JOHN: Only two candles remain. 

 

ARTHUR: Which will be useful, should we need to speak openly or with the others around. Alia especially will require us to be careful about what we say. We can’t let on that we want the Blackstone. 

 

YORICK: Keep in mind the talisman is also very powerful, and something that may too be sought. 

 

ARTHUR: Mother Darkness.

 

YORICK: Amongst others. I believe had Alia not healed you, the talisman would have. 

 

JOHN (outraged): What? Why didn’t you say – ?

 

YORICK (cutting him off): When could I have?

 

ARTHUR: It’s fine, it doesn’t matter. But yes, Yorick, good to keep it in mind. It’s all come down to this, really. The Blackstone is down there. We can’t be too eager about it, we need to wait for the right moment. It’s of no use to us if the moment we touch it, we’re killed. 

 

JOHN: We’ll find the right time. We’ll just… keep it in view.

 

ARTHUR: Okay. Let’s do this. 

 

JOHN: Alright. (Footsteps.) To the right. Here. We descend from the top of the outer wall of the castle… to enter the courtyard. A large coach led by two horses sits in the center. Evrard, the guard who let us in, Alia, and two men stand by the coach. (A horse snorts.) Last night’s rain still lingers, the mud beneath our feet looks cold. Evrard is here. 

 

LORD EVRARD: Arthur. Allow me to introduce you… you, of course, know Alia Shaw. She will be along with you men for the duration, ensuring the safety of the Blackstone and expedition. She will offer my most sincere thoughts when they are needed. (A door squeaks.) Trust her with your lives. (Footsteps.)

 

JOHN: Evrard takes us to the large man. He wears… black armor and a helm that obscures most of his face. (A wooden thump.) Beneath, he sports a gray beard. He carries two swords on his back. 

 

LORD EVRARD: This… is Sir Roderick Vale. (Multiple wooden thumps.) A knight. He… is one of my oldest friends. He has dedicated his life to the same noble goals that I have, and I’m embarrassed to say that he saw the light before myself. But now… we are united in our goal. He is strong… capable… wise. A ranger in these lands, he is more knowledgeable about the woods and what lay out there than anyone. He is vital to your success. Listen to him.

 

JOHN: He nods in appreciation to Evrard, then he walks us to the final person. A timid-looking man, almost bookish, but his eyes… are… Wait.

 

LORD EVRARD: Finally. This –

 

JOHN (curious): Arthur, is this – ?

 

LORD EVRARD: Is Antoine de Foile. 

 

JOHN: Antoine!?

 

LORD EVRARD: A loyal servant to one of the Three Soldiers you encountered on your journey. 

 

ARTHUR (breathless): I…

 

LORD EVRARD: He… is perhaps… my most trusted… the most devoted companion you will have on your journey. And one who is vital to its success.

 

ARTHUR: Antoine?

 

JOHN: Arthur, calm. There’s no way we can –

 

LORD EVRARD: He is also clever, wise beyond his young years. 

 

ARTHUR: Evrard, we…

 

JOHN: Arthur, stop.

 

ARTHUR: We…

 

JOHN: Be smart here.

 

LORD EVRARD: Yes?

 

ARTHUR: All…

 

JOHN: Arthur, I-I don’t know how to explain this. Ask, m-maybe –

 

ARTHUR: Sorry, we all have committed ourselves to this cause. Antoine… here, y-you… you were a follower of the Three Soldiers, o-of one of them?

 

JOHN: He nods. Arthur, Antoine is the man who posed as the lighthouse keeper on the island back on Lake Crawford. He was the leader of a cult that worshipped and attempted to summon Shub-Niggurath.

 

LORD EVRARD: Is everything alright?

 

ARTHUR: I just…

 

JOHN: If Shub-Niggurath never existed in this… world, d-does that mean…?

 

ARTHUR: Sorry, I thought – I thought I had recognized you. Perhaps when I had met your master… eh, Antoine.

 

JOHN: Do… Do we trust him? (Fabric shifts.) He puts out a hand to shake. 

 

ARTHUR: Right.

 

JOHN: If this is a different timeline, could Antoine be trusted?

 

ARTHUR: Yes. Yes. 

 

LORD EVRARD: Excellent.

 

SIR VALE (at a distance): Evrard. A word? (Footsteps.)

 

LORD EVRARD: Yes. Arthur? I leave you to it. 

 

JOHN: Roderick calls to Evrard, and the two head towards the coach. (A horse snorts. Fabric shifting.) Antoine stands before us, a weak smile on his lips. 

 

ANTOINE: You met my master, then, Lord…? (A slow melody begins.)

 

ARTHUR: Lester, not Lord.

 

ANTOINE: Lester.

 

ARTHUR: Yes, sorry, I-I suppose Evrard didn’t introduce me. My name is Arthur.

 

ANTOINE: Pleasure to meet you, m’lord.

 

ARTHUR: I…

 

JOHN: He bows his head, deeply. He’s used to being a servant, clearly.

 

ANTOINE: Shall I help you with your things, then? Your… (Metal chains clinking.) 

 

YORICK: Hands off! (Jaw clacking. John exhales sharply.)

 

ANTOINE: Christ – 

 

ARTHUR: No, no. No. Thank you. I… (A door creaks.) Have all I need on me.

 

ANTOINE (surprised): All you need?

 

ARTHUR: I travel light. Evrard said food was accounted for, so.

 

ANTOINE: Yes, on the carriage. Sir Vale and myself brought all of it with us. I believe.

 

ARTHUR: Right. Right, but yes, I-I did meet your master, um… 

 

ANTOINE: And… he… eh. Do you… do you know… how he died? 

 

ARTHUR: I… do not, Antoine. I-I’m sorry. 

 

ANTOINE (downtrodden): Right. No, that’s… that’s right. (Footsteps.)

 

JOHN: He looks… heartbroken, as if he had lost a love. (A horse snorts.) He may share the same eyes we saw staring at us in the portrait painted beneath the lighthouse, but they’re younger, more innocent. More… naive, to the world. I pity him, in a way. (Wooden clattering.) He turns and begins lifting the wooden box he was carrying before we arrived. I believe he’s bringing it to the coach, as well.

 

ARTHUR: Here, let me help.

 

JOHN: Yeah, there, there. Here, here. (Arthur and Antoine grunt in exertion.)

 

ARTHUR: To the coach?

 

ANTOINE: Aye, m’lord. (Wooden clattering. Footsteps. A mysterious melody begins.)

 

ARTHUR (strained): Evrard seems to think quite highly of you, Antoine.

 

ANTOINE (also strained): I stayed with him for quite some time, after my master left. It was difficult to part, but… Entie made it clear that… I was more use here. More help to Evrard. 

 

ARTHUR: More help in his goals? 

 

ANTOINE: Yes, m’lord.

 

ARTHUR: But you left?

 

ANTOINE: Two fortnight ago, to collect Sir Vale and the coach. 

 

ARTHUR: Alone? I was told these woods were… treacherous.

 

ANTOINE: Treacherous indeed, my lord. I was set upon by a great many beasts. Narrowly survived. Many a fray.

 

JOHN: He traveled alone.

 

ARTHUR: Lucky.

 

JOHN (quietly): I suppose. Arthur… we have to keep in mind those that wish to find us. Malam spoke of Mother Darkness, but not of how she could appear. And Yorick revealed that Alexander is a shapeshifter. We can’t trust that anyone here is who they claim to be. Sir Vale or Antoine could be someone else entirely. 

 

ARTHUR: I know. 

 

ANTOINE: M’lord?

 

ARTHUR: I know about being lucky. 

 

ANTOINE: You can lower your side now.

 

(A whimsical tune begins.)

 

ARTHUR: Right, right. (Both grunt in exertion. Wooden clattering.)

 

ANTOINE (quietly): Thank you, m’lord. (Normally.) I should like to get to know you further, m’lord. But it’ll be many days travel and… I have but a few more boxes.

 

ARTHUR: Yes, yes. Please.

 

ANTOINE: Thank you.

 

JOHN: He turns to leave.

 

ARTHUR: Antoine. I should look forward to getting to know you further, as well.

 

JOHN: He smiles. An honest smile. And turns and heads back to the boxes. (A muted conversation begins in the background. Some quiet clattering.) Sir Vale and Evrard are to our right, talking in hushed tones by the horses at the front of the carriage. Alia sits on top of the carriage, ready to leave, I suppose. The coach itself is heavy, dark wood. Very little to see as the inside is enclosed, like a vault. I imagine the Blackstone lay within, perhaps in a chest.

 

We’ll have to wait until it’s opened. Clearly, most of the supplies are held within, as only a few boxes lie on the top and back of the carriage.

 

ARTHUR (thoughtfully): Hm. Well. (A horse nickers nearby.) 

 

JOHN (surprised): Oh!

 

ARTHUR: What?

 

JOHN: A horse!

 

ARTHUR (gasping): Oh!

 

JOHN: The man who led us into the castle, the man with the sewn mouth. He has a horse.

 

ARTHUR (at a loss): Okay?

 

JOHN: He’s led him towards us, gesturing. 

 

ARTHUR: Mine? 

 

LORD EVRARD: Yes. 

 

JOHN: Evrard turns from Sir Vale.

 

LORD EVRARD: Not my best horse, I’m afraid. (Footsteps.) But Rolf assures me it is a worthy steed for the journey.

 

ARTHUR (shocked): Ri – for me?

 

JOHN: Sir Vale looks past Evrard, towards… you.

 

ARTHUR: Wonderful. Perfect. Thanks.

 

JOHN: Take the reins from the man. I-It’s clear ahead. (Hoofbeats.) Here, here. (Wooden creaking.) Tell me you know how to ride a horse. (Muted conversation is audible.)

 

ARTHUR: No. But I saw ‘Ride Him, Cowboy’ four times. 

 

JOHN: What? 

 

LORD EVRARD: Is that it, then?

 

VALE (lightly echoing): I believe so. Well, we best leave now. Daylight won’t last forever.

 

JOHN: Sir Vale turns to us, gesturing to the horse. Evrard nods and helps Antoine onto the carriage. (Hoofbeats.) It seems like he and Alia are on the carriage, Vale and ourselves on horseback. There are two horses as well pulling the coach. Evrard is walking over. (Footsteps.)

 

LORD EVRARD: There is more counting on this than you can ever know, Arthur.

 

(A slow melody begins.)

 

ARTHUR: I imagine.

 

LORD EVRARD: The Blackstone is safe, but use your cunning. Your wits. What made you survive. (A horse nickers.) And trust the others to help you. (A carriage creaks.)

 

JOHN: He looks to the carriage as it turns away toward the gate.

 

LORD EVRARD: And good luck. All of what remains good in this world… (A metal gate rising.) Is counting on you. Myself included. 

 

ARTHUR: Hm. (A short pause.) Okay. Well. (The horse nickers. Arthur makes noises of strain. A whimsical tune begins.)

 

JOHN: Arthur, not quite high enough. You –

 

YORICK: Use your leg strength, Master!

 

ARTHUR (whispering): Ssh! Quiet!

 

JOHN: Maybe take a… three-two-one hop up.

 

ARTHUR: Three… two… one! (He grunts.)

 

JOHN: Almost?

 

YORICK: Master! Would you like a stool?

 

ARTHUR (whispering furiously) : S-Shut up! Shut up. (He sighs.) Tell me no one is watching.

 

JOHN: Only the guard.

 

ARTHUR: Oh, for fuck’s sake.

 

JOHN (encouraging): Come on, Arthur. You left the prison pits, remember?

 

ARTHUR: Three… two… one! (He strains.)

 

JOHN: Come on! There! (Arthur sighs. The horse huffs.)

 

YORICK: Wonderful, Master!

 

JOHN: It’s alright. You’ve been resting, you –

 

ARTHUR: Enough! We’re up. 

 

JOHN: The reins are to –

 

ARTHUR: There, okay. (Hoofbeats. Fearfully.) Oh, oh! Yeah, okay.

 

JOHN: You’re a natural.

 

ARTHUR: John Wayne is a natural.

 

JOHN (dumbfounded): John Wayne?

 

YORICK: I believe he is a horse. (Hoofbeats and a carriage creaking. A sad melody begins.)

 

JOHN: Follow the coach. To the left. Evrard stands on the parapet, watching us leave. He nods sagely to us. One last time. 

 

ARTHUR: So long, Evrard. I’m sorry. (He sighs.)

 

JOHN: The air feels cool, calming. The carriage up ahead turns left and begins to move through the open castle gate. Alia sits almost meditatively, her back straight and head fixed forward while Antoine… fights the horses to turn the sharp angle. Sir Vale… waits. His steed is large and black and wears armor in certain parts, much like the knight himself.

 

He looks to us and joins us on our left as the carriage passes. (Closer hoofbeats.) His beard peeks out from the black armor, his face is still obscured. 

 

VALE (slightly echoing): Evrard speaks highly of you, for having known you such a short time.

 

ARTHUR: I suppose… I made an impression. 

 

VALE: I hope you understand the reality of what we’re embarking on, lad.

 

ARTHUR: With so much at stake, why only four? 

 

VALE: For my coin, our goal is to move quietly across the lands. Large numbers tend to draw attention.

 

JOHN: He speaks with an earned confidence.

 

ARTHUR: Evrard said you knew the lands well.

 

VALE: Aye.

 

ARTHUR: Well, then, I trust this is the right decision.  

 

VALE: Well, that’s my reasoning, at least. She…

 

JOHN: He points his chin to the carriage as it crosses the bridge ahead.

 

VALE: She has her reasons.

 

ARTHUR: Alia? She has her reasons for four of us?

 

VALE: Aye. Evrard weighs her word heavily, though I’ve not heard these words he speaks so fondly of.

 

ARTHUR: She said four of us are needed to be on this journey. (A metal gate lowering.)

 

VALE: Aye. Four, to ensure the success of our journey and prevent our… Day of Wrath. 

 

(A suspenseful tone.) 

 

JOHN (staggered): Day… of…

 

ARTHUR: Day of Wrath? 

 

VALE: There is much at stake, lad. (A short pause.) Worry not, lad. So long as we stay true to ourselves and trust in Evrard and his designs, we’ll make it there in one piece. 

 

JOHN (urgently): Arthur! The Day of Wrath…

 

ARTHUR: I-I…

 

JOHN: That’s what we were called!

 

VALE: Though stopping just beyond the gates doesn’t bode well. (Calling out.) What are you stopping for? 

 

JOHN: Sir Vale has ridden away.

 

YORICK: Master.

 

ARTHUR (whispering): Not now, Yorick! We…

 

JOHN: The carriage has stopped.

 

ARTHUR: Why?

 

JOHN: I-I don’t know, we’re at the back!

 

YORICK (urgently): Master! 

 

JOHN: The gate to Castle Kerringford is closed again behind us!

 

ARTHUR: If we are the Day of Wrath… is Alia here to help us?

 

(A suspenseful tone rises.) 

 

YORICK: Master!

 

ARTHUR: Does she know what’s at stake? (John huffs.) We’re arguably looking to the greater good here, with –

 

YORICK: Master!

 

ARTHUR (snapping): What?

 

YORICK: I believe I know why we have stopped.

 

VALE (calling out): Arthur!

 

ARTHUR: Why?

 

JOHN: Why, Yorick? 

 

YORICK: It is… Mother Darkness. 

 

JOHN (gasping): What?

 

VALE: Arthur!

 

YORICK: She waits for us, before the carriage. 

 

JOHN: Go. Go. Arthur. (Hoofbeats. A horse nickers. A slow melody begins.) We pass the carriage to our left. Alia still remains motionless. Antoine gives us a strange look. Sir Vale… still on horseback, out front, waits patiently before… an old woman, in plain clothes. She has an odd demeanor about her. One of… pride. And power. She stands in the center of the crossroads, out front of the castle, unintimidated and unafraid. 

 

VALE: This woman has asked to speak with you.

 

ARTHUR (quietly): Yorick? You’re sure?

 

YORICK: Absolutely. 

 

ARTHUR: I… 

 

VALE: Do you know this woman? Do you wish to speak with her?

 

JOHN: Arthur, Mother Darkness, she… stares at us. (A slow melody begins.) Her bright green eyes almost glow beneath the darkening sky. What do you want – (Arthur grunts. Hoofbeats. A horse nickers.) Oh! You’re… we’re… going to speak with her. 

 

ARTHUR: What choice do we truly have? (John sighs.)

 

YORICK: Be careful, Master!

 

VALE: Is everything… alright?

 

ARTHUR (louder): Yes, Sir Vale. Just… await here, please. I’ll only be a moment. 

 

JOHN: She stands at the crossroads before us, maybe thirty paces ahead, her eyes fixed to ours, following us as we approach. She resembles the witch, in some ways, though she stands with more pride, her back straight and her eyebrows arched. Her lips are tight and to a point, but otherwise, she holds no expression. 

 

(A small pause.)

 

ARTHUR: Mother Darkness, I presume.

 

JOHN: Her eyes tighten. 

 

MOTHER DARKNESS (raspy): Light the hand.

 

ARTHUR: What?

 

(Mother Darkness’ voice distorts, like a second, lower voice is speaking underneath.)

 

MOTHER DARKNESS: Light the Hand of Malevolence. (Normally.) Or I kill you and everyone here. 

 

JOHN: Her eyes betray no lie. She believes that she can kill –

 

MOTHER DARKNESS: I can and will. 

 

JOHN (shocked): You… You can hear me.

 

MOTHER DARKNESS (distorted): I am more than you can comprehend. Now, light it. 

 

ARTHUR: Very well. (Fabric rustles. Mother Darkness exhales.)

 

JOHN: She looks to the Hand as you draw it from the bag.

 

ARTHUR (facetiously): Recognize this?

 

JOHN: Arthur.

 

MOTHER DARKNESS (indignant): You…

 

JOHN: Her eyes blaze red with anger. 

 

YORICK: Master, it is not wise to –

 

ARTHUR: Why? (John huffs.) She’s going to kill us, no matter what.

 

MOTHER DARKNESS (voice distorting): Light. It. 

 

ARTHUR: Fine. (Radio static is audible. The lighter flicks. A small distortion, then all sound cuts out.) There. 

 

(Mother Darkness’ voice remains distorted.) 

 

MOTHER DARKNESS: The stench of Horig still lingers on you. 

 

ARTHUR: What do you want?

 

MOTHER DARKNESS: You killed my daughter.

 

ARTHUR: I killed a hag. 

 

MOTHER DARKNESS: A hag? What is a hag to you? 

 

ARTHUR: A… A witch! (Flustered.) A-A witch –

 

MOTHER DARKNESS: You know nothing of the word you speak.

 

ARTHUR: Your daughter ran me through with this. (Metal scraping.)

 

MOTHER DARKNESS (normally): I am aware. 

 

ARTHUR: So what is this? (Annoyed.) Kill me, then! Is that not what you came here to do?

 

JOHN: She studies your face. 

 

MOTHER DARKNESS: I was not speaking to you, human. (Accusing.) You. Killed my daughter. 

 

JOHN (seriously): Yes. I killed your… daughter. 

 

MOTHER DARKNESS: Such insignificant beings stand before me, to shape the world. (Distorted.) I don’t see how. 

 

ARTHUR: We don’t claim to shape any world.

 

MOTHER DARKNESS (distorted): She does. 

 

JOHN: She?

 

(A mysterious melody begins.)

 

MOTHER DARKNESS (shifting distortions): I have sought you out to destroy you, and the vessel that houses you. To bring fire and ash down upon you and everyone you’ve encountered. Vengeance… for my loved daughter. A daughter I saved from death. 

 

ARTHUR: Then why are we talking? 

 

MOTHER DARKNESS (distorted): She… demanded I stay my hand. 

 

JOHN: Who?

 

MOTHER DARKNESS (distorted): The Queen of the Night. The one that pursues you… (Unintelligible whispers rise in the background.)

 

ARTHUR: The owl? The woman who followed us? Scratch?

 

(The whispers cut out.) 

 

MOTHER DARKNESS: Lillith… is her name. (‘Faroe’s Song’ begins.) 

 

ARTHUR: Lillith?

 

JOHN: Lillith?

 

YORICK: Lillith. 

 

ARTHUR: Why… Why are you telling us this? You want to kill me? She demanded you not.

 

MOTHER DARKNESS (shifting distortions): Make no mistake, your time will come. I shall hunt you down no matter the cost, no matter the place. And deal with you… but as much as the bile in the pit of my stomach roils for your flesh, as much as I despise having to wait to slit your throat and gut you like a stuck pig… I have even more hatred for those who make demands of me. 

 

JOHN: You…

 

ARTHUR: What? So you – (Mother Darkness grunts.) Ow!

 

JOHN: Arthur, she’s plucked a hair from your head!

 

MOTHER DARKNESS: …death marker… (unintelligible, overlapping with John) …loses no power here. Let this be a marker for those whom is hid, but is soothe for my ire, in protection from her!

 

ARTHUR: What? What did you do?

 

MOTHER DARKNESS: I am done.

 

JOHN: Are you… helping us?

 

MOTHER DARKNESS (distorted): I help no mortal man! Least of all, a stained soul and a tainted god!

 

ARTHUR: What did you just do?

 

MOTHER DARKNESS: I impeded her! Let that be a lesson to those who make demands. (Footsteps.)

 

ARTHUR: Wait wait wait, wait! A lesson? Look, tell us more, then. Tell me… w-who is Lillith? Nothing would upset her more than for you to reveal… things about her. (A slow melody begins.) No? You want to really punish her? Don’t just hinder her. Give us some insight. 

 

MOTHER DARKNESS (distorted): Lillith… is the child of one they call Nyarlathotep.

 

ARTHUR (taken aback): She…

 

JOHN: Child? Lillith is Kayne’s daughter!

 

MOTHER DARKNESS: Of course. She holds a great desire to end the world.

 

ARTHUR: To end the world?

 

MOTHER DARKNESS: Lillith is the queen of the night! (Distorting.) She can control those who slumber by entering their dreams and creating nightmares born of the host’s deepest darkest desires. She feeds on such fear. In the night, she cannot be hurt. 

 

ARTHUR: What about… possessing people?

 

MOTHER DARKNESS: Possessing? She is far too powerful to require such an act. Lillith can hide in the flesh of many, disguising herself as anything and anyone. 

 

ARTHUR: You… allowed her to persuade you to save me?

 

MOTHER DARKNESS (shifting distortions): I do not allow anything! As old as I am, as old as this Earth, Lillith is older and has somehow grown more powerful as of late. Lillith is a true malevolent force, and once she has the final stone, she will achieve her goal and all will end. 

 

JOHN: She says that last part with a curious expression, as if unsure of how to –

 

MOTHER DARKNESS: Enough. (John exhales.) Now, give me my talisman back.

 

ARTHUR: What?

 

JOHN: The –

 

MOTHER DARKNESS (distorting): The talisman! (John makes noises of fear.) It was not yours to keep, nor to use. It is mine. Return it. Now.

 

ARTHUR: No.

 

MOTHER DARKNESS (enraged): What?

 

JOHN: Her eyes are wild with anger!

 

ARTHUR: No. You’ve already sworn to kill me. You’ve held nothing back in that regard.

 

MOTHER DARKNESS: You believe I’ve held nothing back? (Distorting.) You have no idea what I am capable of. 

 

ARTHUR: But I know you can’t kill me right now.

 

MOTHER DARKNESS (distorting): Such… arrogance! (She gasps.)

 

JOHN: She pauses.

 

MOTHER DARKNESS: Very well. (A slow melody begins.)

 

JOHN: She… smiles. A sickly grin.

 

MOTHER DARKNESS (distorting): You have sealed your fate. 

 

ARTHUR: Good. We’re done, th – ?

 

MOTHER DARKNESS (abrupt, distorting): We are not done! We are far from done, Arthur Lester. Spoils from a rotten tree, cage to a little tin god, we are not done until I have sucked every drop of blood from your skin, carved every strip of flesh from your body, and devoured the muscle, bone, and sinew that was once your corpse! Pestilence rides with the remaining horses towards this realm’s Day of Wrath. I look forward to watching you die. We shall meet again.

 

JOHN: Arthur, she’s… (A blown breath. John and Arthur flinch. Thunder rumbles.) She’s blown out the candle for the Hand, she’s… she’s gone. (He pants.)

 

ARTHUR (whispering): What the fuck was that? What the fuck…

 

YORICK: Mother Darkness… no longer pursues us.

 

ARTHUR: No. But Lillith does. 

 

YORICK: She is his offspring, Master! She is the Forgotten One that called herself Scratch! Having been lost for an untold time between worlds… she has regained her memory and her power. 

 

ARTHUR: She… is powerful enough to demand Mother Darkness to stop. More powerful… because of us. 

 

YORICK: I am… unsure. 

 

SIR VALE (at a distance): Arthur. (Arthur makes a noise of surprise. Footsteps.)

 

ARTHUR: We need to speak. We need to…

 

SIR VALE: Arthur, where did she…?

 

ARTHUR: She’s gone. She’s left. L-Let us leave. I-I’m sorry for h-holding us up, I-I’m ready.

 

SIR VALE: Very well. Let us move. (Hoofbeats.)

 

JOHN: The horse is here. Y-Yes, yes. (A slow melody begins. The horse nickers. Arthur grunts in exertion.) You’ve made it up without any issue. Well... Well done. (Hoofbeats.) The cart passes. Antoine from the front of the coach looks to us.

 

ANTOINE: Is, um… Is everything alright?

 

JOHN: He scratches his chest nervously, concern in his eyes. Alia remains motionless.

 

ARTHUR: Yes, it’s… I’m fine. I’m, uh. I-I’ll ride at the back, for a bit.

 

ANTOINE: Of course, m’lord. (Arthur exhales.)

 

JOHN: We’re alone at the back of the carriage. It turns down the dirt road toward the woods. A small wooden bridge is ahead, but… it looks like we’re on our way. Finally. (A small pause.) Talk to me. What are you thinking?

 

ARTHUR: Lillith… Kayne’s daughter? 

 

JOHN: Apparently.

 

ARTHUR: They mustn’t be working together.

 

JOHN: No?

 

ARTHUR: No, no. Something seems off about this.

 

JOHN: All of it seems off!

 

ARTHUR: I mean about… Lillith. Why is she pursuing us? Mother Darkness said… when she has the final Stone, she’ll end the world.

 

JOHN: Could this be the… Day of Wrath that… we cause? 

 

ARTHUR: Yorick. You called us the Day of Wrath. 

 

YORICK (purposefully): I did. 

 

ARTHUR: Well?

 

YORICK: Master. Lillith is a name I am familiar with.

 

ARTHUR: You know of her.

 

YORICK: I do, but… no more than what Mother Darkness has offered.

 

JOHN (darkly): Bullshit.

 

ARTHUR: The Day of Wrath.

 

YORICK: I… do not have the means to explain how this title was bestowed upon you.

 

ARTHUR: Why not?

 

YORICK: Master...

 

JOHN (snidely): He doesn’t want to.

 

ARTHUR: He can’t.

 

YORICK: I… cannot. 

 

ARTHUR (sighing): Fine. Well! Why is she waiting, then? If she’s powerful, powerful enough to make Mother Darkness, a being described by Malam to be as old as the Earth, why is she not just taking the Stone for herself?

 

JOHN: Perhaps, like Kayne, she can’t see the Stone, is blinded by its location.

 

ARTHUR: Something isn’t right. I can’t put my finger on it. 

 

JOHN: Well, it doesn’t matter. We’re not going to give the Stone to her, either way.

 

ARTHUR: No? What if she’s the lesser evil?

 

JOHN (surprised): The lesser evil?

 

ARTHUR: Between herself and Kayne?

 

JOHN: Arthur, Evrard is the lesser evil!  We’re not giving it to Kayne because we want to, we are… betraying these people because if we don’t, Kayne will kill everything we love and care for.

 

ARTHUR: Right.

 

JOHN: If there’s a choice in the matter… if there is a way not to give the Stone to Kayne, then we should be fighting to keep it with Evrard! Not giving it to Kayne’s fucking daughter! 

 

ARTHUR (calmly): No, no, you’re right. You’re right. 

 

JOHN: Especially with no reason to. 

 

ARTHUR: Yes, yes.

 

JOHN: She hasn’t made herself known to us. She hasn’t offered or asked anything.

 

ARTHUR: No, I-I know.

 

JOHN: We have no idea why she pursues. 

 

ARTHUR (scoffing): Perhaps it’s because I’m her favorite.

 

JOHN: What?

 

ARTHUR: It’s… something she said. (Unintelligible whispers.) As Scratch. I-It doesn’t matter. Look, you’re right. Lillith pursues. Maybe she plans to take the Blackstone from Kayne once he has it. And… end the world.

 

JOHN: If that’s the case, then… then… Mother Darkness said she was the true malevolent force. If her plan is to step in and take the Stone from her father, then… I don’t know. (Cautiously.) Maybe we work with Kayne against her? (Arthur makes a noise of surprise.) I mean!

 

ARTHUR (taken aback): Jesus.

 

JOHN: I’m just saying! If Kayne’s deal is to give us our bodies, bring back Faroe, and… in some way, give us what we’ve wanted… and Lillith’s is to end it all, well. I know whose side I’m on. 

 

(A small pause.)

 

ARTHUR: There’s no way he’ll honor his word. (‘Faroe’s Song’ begins.) Is there?

 

JOHN: What does it matter to him? He’s… He’ll have what he wants. The Blackstone. 

 

ARTHUR: The Blackstone. So much effort for something so… unknown to us. What can it mean to give him something so… powerful? 

 

JOHN: I don’t know. 

 

ARTHUR: I don’t, either. But I feel like it’s time to decide what we’re going to do. 

 

JOHN: What we do? You’re not having doubts about giving the Stone to Kayne, are you?

 

ARTHUR: Of course I have doubts! Don’t you?

 

JOHN: I suppose, but… but we have to.

 

ARTHUR: I know. I guess I’m holding out hope for some reason. Some excuse to alter our course from giving Kayne… exactly what he wants.

 

JOHN: I don’t think we should hope for that.

 

SIR VALE (at a distance): Halt! (Hoofbeats stop.)

 

JOHN: Sir Vale is up ahead! He’s halted the carriage. We should ride up to see what’s happened. (Hoofbeats.) Here, here, stop! Here. Alongside the carriage. Perhaps Antoine knows why we’ve stopped.

 

ARTHUR: What’s the matter? (A horse nickers.)

 

ANTOINE: Not sure, m’lord. Sir Vale’s asked us to stop.

 

ARTHUR: Alright.

 

ANTOINE (curiously): Who was that lady, m’lord? 

 

ARTHUR: Oh, uh.

 

JOHN: Alia… for the first time… turns her head towards us. (Persistent tapping, like chalk-writing.) 

 

ARTHUR: No one. No one important, just. Someone I met on the way to Kerringford. 

 

ANTOINE: Hm. M’lord… Alia asks if you returned the talisman.

 

JOHN: What? 

 

ARTHUR (gasping in shock): How…?

 

ANTOINE: Her slate, m’lord. Alia writes down on this here slate, see?

 

JOHN: Antoine gestures to her lap. I suppose she has a way to write, but… but how did –

 

ARTHUR: How did she know?

 

ANTOINE: Alia is a Seraph, m’lord.

 

ARTHUR: A Seraph?

 

ANTOINE: A sect of ancient witches that heal. She can… see… (Awkwardly.) No, not see. Ehm. See… her eyes and tongue was taken from her. Removed, see? 

 

JOHN: Jesus.

 

ANTOINE: Well, she sees things.

 

YORICK: An Ardor. 

 

ANTOINE: Yeah, that’s it. How did your brother know?

 

ARTHUR: An… Ardor?

 

JOHN: Ardor… yes. The Vanguard! I… I remember! An Ardor is the human connection that the Vanguard has in this world! Like the head Kellin had in the water! The Vanguard is the Dark World counterpart, I…

 

ARTHUR (quietly): How do you remember that?

 

ANTOINE: M’lord?

 

ARTHUR (louder): Sorry! A Seraph, so… so she can…?

 

SIR VALE: Arthur! (Both Arthur and Antoine react in surprise.)

 

ANTOINE: Oh! M’lord, I think Sir Vale calls to you.

 

ARTHUR: Coming. 

 

JOHN: Ride ahead. (Hoofbeats.) He’s off his horse, a little way down the road. (Arthur grunts in exertion.) Arthur, an Ardor is the physical body the Vanguard chooses to see through in this world! Kellin’s sister must have been an Ardor.

 

ARTHUR: Before she was killed, she heard voices. Kellin said she came to him because of the voices. The Vanguard attaches itself to a human host, these… Seraphs…

 

YORICK: I know not of, but I understand now who Alia is. And where she gains her power. 

 

ARTHUR: How?

 

YORICK: A Vanguard sees through the eyes of an Ardor, but should that Ardor have her eyes removed and tongue cut out, she becomes only a receiver to what the Vanguard relays. A powerful one, at that.

 

JOHN: Essentially, a… receiver of information.

 

YORICK: While offering nothing back. A one-way information gatherer. 

 

ARTHUR: She’s not just an information gatherer. You said the Hand of Malevolence suppresses any and all magical effects and offers a small radius of silence, so… how did she know about the talisman?

 

YORICK: I believe Alia knew not what was spoken of, but rather knew much about Mother Darkness and her desire for the talisman.

 

JOHN: That’s quite the knowledge.

 

ARTHUR: Fair enough. (He sighs.) So… Alia is what Kellin’s sister was, before she died.

 

JOHN: But in a way to offer nothing back.

 

ARTHUR: Back to whomever may control the Vanguard Alia is a part of.

 

YORICK: Control?

 

ARTHUR: Well, yes. The Vanguards still have their… true masters. No?

 

JOHN: Sir Vale is just before us. He’s off his horse, looking to the forest path ahead. 

 

ARTHUR (grunting): What’s ahead? (Hoofbeats stop.) Is there a problem? Sir Vale?

 

SIR VALE: I shall give you a chance to explain yourself. 

 

ARTHUR: I’m sorry?

 

JOHN: He turns to us. (A slow melody begins.)

 

SIR VALE: This is a quest to carry an object sought by powerful and dangerous foes to the far end of this land, away from their reach. We are all that stand between the forces of darkness and the light of justice. So. I shall give you one chance to tell me who that was and what she wants. One chance to tell me the truth.

 

ARTHUR: The truth is… she is a being known as Mother Darkness. (A slow melody begins.) I… on my way here, I stumbled upon the home of her daughter. A witch. And in… battle, I killed her. She arrived for retribution. 

 

SIR VALE: But did not take it.

 

ARTHUR: No. Her hand was stayed by a malevolent force. (A horse nickers.)

 

SIR VALE:  Who?

 

ARTHUR: Her name is Lillith. And she seeks me out. 

 

SIR VALE: Why?

 

ARTHUR: I do not know. (Metal clicks.)

 

JOHN: He looks to the carriage.

 

ARTHUR: It could be because of what we carry, but. I think… I believe it’s more personal. (Shifting.) 

 

JOHN: He turns back to us.

 

ARTHUR: In the end, she requested an item I took from her back. A talisman.

 

SIR VALE: A talisman from a witch.

 

ARTHUR: Yes. But I refused to give it back.

 

JOHN: He stares forward, down the road that winds through the forest. 

 

SIR VALE: It is not wise to refuse a witch. 

 

ARTHUR: No, I suppose not.

 

SIR VALE: Very well. I shall choose to believe you. 

 

ARTHUR: That’s it? You don’t have any further –

 

SIR VALE: This Lillith may be a concern to our mission, but that is only a concern for now. If there is further information worth sharing, I trust you to do so. This journey requires us to trust each other. (A horse nickers.) And I trust you. 

 

ARTHUR: Very well.

 

SIR VALE: The road ahead is clear.

 

ARTHUR: Where… are we taking this? What is our destination?

 

JOHN: He’s closing his eyes for a moment.

 

SIR VALE: That… only Alia knows. 

 

JOHN (shocked): What?

 

ARTHUR (taken aback): Only Alia knows where we’re heading? Why? How? W-What if –

 

SIR VALE: Believe you me, I made my case to Evrard before we left. (Arthur sighs.) But I was convinced to trust him, and ultimately… (Metal clicking.) Her.

 

JOHN: He turns toward the carriage. (A gentle melody begins.) Antoine’s moved it closer and is climbing down. 

 

ARTHUR: Very well.

 

SIR VALE: Listen. There are a great many things in this world, with a great many abilities. Abilities that would make you and I shudder in fear and go mad in attempting to understand.

 

ARTHUR: I… know.

 

SIR VALE: Things… that can read your thoughts, or perhaps pull from you, through torture and pain beyond your wildest imagination. Locations to where this artifact must remain safely. 

 

(John sighs.)

 

ARTHUR (realizing): Ah. 

 

SIR VALE: You see now?

 

ARTHUR: I think I do. 

 

SIR VALE: Alia is a witch, powerful, trained from a young age to withstand the terrible horrors of this world. She knows much about our fate and this journey. She can only be trusted to ensure the location remains safe until we arrive.

 

ARTHUR: You know of her upbringing?

 

SIR VALE: Only what I know of Seraphs. A terrible, cruel upbringing, but one that gifts the children with unimaginable power.

 

JOHN: He turns to us.

 

SIR VALE: A power that I believe saved your life.

 

ARTHUR: It did. It cured me of some… terrible affliction. 

 

SIR VALE (thoughtfully): Hm. Whatever dark cruelty she endured… whatever death they brought her back from, gave her remarkable insight into this and worlds beyond. She is the strongest of us. Make no mistake. (Footsteps.) Stronger than this one, I wager. (He chuckles.) 

 

JOHN: Antoine has approached.

 

ARTHUR: Hmph.

 

ANTOINE: M’lords. (A horse nickers.)

 

SIR VALE: Antoine, do not leave the carriage again unless we are with you. 

 

ANTOINE: Oh. Apologies, m’lord. I shall return –

 

SIR VALE: Stay now, speak your mind. 

 

ANTOINE: Alia wished to speak with you, m’lord.

 

JOHN: He turns to us.

 

ANTOINE: I would offer to ride your horse, if you’d like, until such a time as you are done speaking, of course. 

 

JOHN: Alia sits in the front of the carriage, still. 

 

ARTHUR: Hm.

 

JOHN: Though she has no eyes beneath the wrappings she wears… I can almost feel her gaze. 

 

ARTHUR: Sure, of course. Um. (A horse snorts.) Here are the reins. Assuming we’re done here?

 

SIR VALE: We are done.

 

ANTOINE: Oh, thank you. (A horse nickers. Hoofbeats.)

 

ARTHUR: Here, Antoine, this is, um…

 

YORICK: John Wayne!

 

JOHN (enraged): Why!? (A whimsical tune plays.)

 

ANTOINE: Your horse’s name is John Wayne, m’lord?

 

ARTHUR (awkwardly): Sure. Yes. Here. I’ll, I’ll walk back.

 

ANTOINE: Yes, m’lord. (Hoofbeats, metal clinking. Footsteps.) 

 

JOHN (sighing): Alia is the only one who knows our destination? 

 

ARTHUR: She knew about the talisman. She knew Mother Darkness asked for it back.

 

YORICK: She knows a great many things, Master. I wager… a great deal more than me. 

 

ARTHUR: How? You’re a Vanguard too, aren’t you?

 

YORICK: I am… I was. 

 

ARTHUR: What?

 

JOHN: Antoine moved the carriage, we’re almost there.

 

ARTHUR (urgently): Yorick, what do you mean you were a Vanguard? 

 

YORICK: Nothing. Disregard me. (Arthur makes a noise of frustration.)

 

JOHN: The carriage is to our left. (Arthur sighs.) It’s a tall step and then a short climb to arrive in the seat beside Alia. (Wooden creaking. Arthur grunts.) Here, yes. There, there. 

 

SIR VALE (at a distance): Let us move.

 

ARTHUR (uncertainly): Ah… ah. (He clicks his tongue. Calling out.) Here! Go. (The carriage creaks. Hoofbeats.) 

 

JOHN: The horses follow Antoine and Vale, who lead the way down the forest path. Alia sits facing forward, to our right. A black slate sits on her lap. There are words written on it. It says… ‘You must not give in to her.’

 

ARTHUR: Her? Lillith? How can I give in to her when I know not what she wants? You know about Mother Darkness. You know what’s at stake. Only you know where we’re going. (Persistent tapping.)

 

JOHN: She’s writing. It says, ‘You carry two souls within you.’ (A gentle melody begins.)

 

ARTHUR: In a way. I suppose. Can you… hear them? (Tapping. Arthur exhales.)

 

JOHN: ‘No.’ Two souls? She knows about us. (Tapping.) Does she know about our goal? Sir Vale said this whole endeavor is to prevent the Day of Wrath, but…

 

ARTHUR (urgently): Her slate.

 

JOHN: ‘Both souls are needed.’ 

 

ARTHUR: Needed for what? (Tapping.)

 

JOHN: She’s writing. ‘They have a role to play… though I cannot see how.’ 

 

ARTHUR: That’s why you asked us here. To join you. 

 

JOHN: Our role? She doesn’t know what we intend to do, does she?  That we intend to take it?

 

ARTHUR: Evrard said… you could read the hearts of men. What does my heart say? (Tapping.)

 

JOHN: ‘Your heart… is… good.’  (‘Bitter Sweet City’ begins.)

 

ARTHUR: My heart is good? (Tapping.)

 

JOHN: Arthur, she’s…

 

ARTHUR: I don’t… know, Alia. I-I can’t… 

 

JOHN: ‘My heart tells me… you… will… save us… in the final… act.’ 

 

ARTHUR (glumly): You put your faith in the wrong man, Alia.

 

JOHN: Arthur, you…

 

ARTHUR: I’m not who you think I am. Look, you will… (Tapping.)

 

JOHN: ‘I shall not… make it… to the end of this journey.’ 

 

ARTHUR (surprised): What? No. No, we all must… for the sake… of… 

 

JOHN: Arthur, if we succeed… they won’t. Perhaps this is her way of saying… (Tapping.) It’s destined to happen. ‘The destination… lay… on… parchment I carry. Antoine shall carry it when I cannot.’ (Tapping.)

 

ARTHUR: Alia, I don’t know what you think you’ve foreseen, but…

 

JOHN: ‘And you will… when he cannot.’

 

ARTHUR: Is this what you wanted to speak with me about? Is this what you wanted to share? To not trust Lillith, and… (Tapping.)

 

JOHN: ‘Do not… give up… hope.’ (A light melody plays.) ‘Hope… is… what will save us all.’

 

ARTHUR (quietly): Okay. I won’t.

 

JOHN: She pauses, for a moment. Look, Arthur… we’ve always known that hope is important. Nothing’s changed, it’s just… (Tapping.) With the Stone, Kayne… well, you know, we don’t have a choice! (He exhales.) ‘The one you carry… does not belong to you.’

 

ARTHUR: Yorick?

 

YORICK: Master. (Tapping.)

 

JOHN: ‘But trust his words… in the end.’ 

 

ANTOINE (close by): Are you finished, m’lord?

 

JOHN: Antoine arrives beside us.

 

ARTHUR: I think so, yes.

 

ANTOINE: Would you like your horse back?

 

ARTHUR: Please, please. (He grunts. Wooden creaking. A horse nickers.) Thank you. 

 

ANTOINE: She’s a wonderful steed, m’lord.

 

ARTHUR: Yes. Thanks. And, thank you… Alia. (A mysterious melody begins.)

 

JOHN: She looks forward, again. 

 

ARTHUR: I’ll ride at the back, again.

 

ANTOINE: Very well. (Antoine grunts. The carriage creaks. Hoofbeats. Arthur sighs.)

 

JOHN (abruptly): Well, what do I know, anyway?

 

ARTHUR: Hm?

 

JOHN: I said… don’t hold out hope for… something to alter our course, but. But what do I know?

 

ARTHUR: You know plenty, you’re trying to be pragmatic.

 

JOHN (driven): Well, fuck pragmatism! Pragmatism didn’t get us out of that pit. Look. Maybe we don’t see a way out yet. But that doesn’t mean there isn’t one. Let’s… wait. 

 

ARTHUR: Wait?

 

JOHN: Yes. Let’s get the Stone to its destination. Who knows? Maybe there’s something there that could protect us, protect the Stone from Kayne! Maybe that’s what Alia is trying to say.

 

ARTHUR: Yeah. (Talking it through.) Yeah, look, Evrard, Vale, Antoine… Alia, they… they’ve dedicated their lives to protecting this Stone. I’m not ready to just… give them up for our selfish gains. 

 

JOHN: Yes!

 

ARTHUR: Look, I don’t know what Kayne will do, but we don’t have to grab the Stone tonight after all. Let’s give it some time. Maybe a solution will appear.

 

JOHN: Agreed. Right? Yorick?

 

YORICK: Yes, John.

 

JOHN (amicably): Come now. Don’t stop yapping on my account. (He chuckles.)

 

YORICK: Master. John. I… I believe my abilities as the Vanguard have… diminished. 

 

ARTHUR: What? How?

 

YORICK: As the Vanguard, I have existed for eons, looking through the eyes of Ardors. Retrieving information from this world. When you removed me from an Ardor… I still maintain the connection. But this… skull… 

 

ARTHUR: Prince Warin.

 

YORICK: I am not sure if it is because the talisman had resurrected his flesh… or perhaps, the travel to this dimension has altered my abilities… but I believe… I am something… different. 

 

ARTHUR: What?

 

YORICK: I do not believe any has existed the way I do now. 

 

JOHN (quietly): Entirely your own?

 

YORICK: In a manner of speaking. 

 

ARTHUR: Well, I’m… sorry, Yorick, I didn’t…

 

YORICK: You misunderstand. I want to… thank you. Master. 

 

ARTHUR: Thank me?

 

YORICK: Yes. 

 

ARTHUR: Well, okay. (A short pause.) Was that… it? Was that the thing –

 

YORICK: Yes.

 

ARTHUR: Okay, then. Well, you’re welcome, Yorick. Not a Vanguard, no longer an Ardor. (Fondly.) His own thing. (He sighs.) It’s gonna be a long road ahead, with many sleepless nights. We have… no idea what we’re in for. Not really.

 

JOHN: We’ll manage. 

 

ARTHUR: We have to.

 

(Thunder booms.)

 

(A click, followed by static.)

 

(END Part 50.)