CECILY is alarmed. She looks at BESS 1, who takes off her glove and gives it to her.
CECILY. Madam – I –
WALSINGHAM goes to the window and shouts –
WALSINGHAM. Stop – thief! That girl stole the lady’s glove! Catch her!
(Back to CECILY and BESS 1.) You’ve got about a minute before they start to pull her hair out. (To CECILY.) When she’s on the floor, plant the glove.
BESS 1. Go.
CECILY exits.
WALSINGHAM. Plenty of time for a drink before you face the cold air.
He pours them both a glass of wine.
How you stand living in the north I have no idea.
BESS 1. We are born with thicker skins.
They drink.
BESS 2. I consider my life up until this point. I try to dislodge the feeling of dread that sits in my stomach.
WALSINGHAM. I understand that the task is a daunting one.
BESS 1. Not at all.
WALSINGHAM. Queen Elizabeth is counting on you.
BESS 1. She has relied upon me before.
WALSINGHAM. I hear that you were great friends, as girls?
BESS 1. Yes.
WALSINGHAM. It is wonderful that out of a calamity such as this, the relationship between two old friends can be rekindled.
BESS 2. Why do I fear this, quite so much?
BESS 1. It is.
They drink again.
BESS 2. I wonder if that girl outside is still alive. How can he be so casual? I will count to ten in my head, then excuse myself.
One, two, three –
BESS 1. Please, excuse me, my lord. I should rescue my new recruit.
BESS 1 and BESS 2 exit.
After a moment, WALSINGHAM exits in a different direction.
Scene Three
Outside The Dog and Partridge Inn.
ROSE 1 and ROSE 2 are there amongst a crowd of VILLAGERS.
ROSE 2. So, the next day is epically freezing, and I head towards The Dog and Partridge. When this bloke from inside the pub yells out of the window that I stole some woman’s glove.
ROSE 1. What? Me?
The VILLAGERS surround her, threatening.
VILLAGER. Did you?
ROSE 1. No, I didn’t!
VILLAGER. I bet she did.
VILLAGER. Vicious child!
VILLAGER. Gloves are precious!
VILLAGER. Chop her hands off!
ROSE 2. The people of Tutbury hold somewhat conservative views on criminal justice.
Enter CECILY.
VILLAGER. Turn out your pockets.
ROSE 1. Look. I didn’t do a thing. I’m just gonna back off, here, and go back to minding me own business.
She backs into CECILY, who catches her.
VILLAGER. You’re not going anywhere!
CECILY pretends to feel in ROSE 1’s pocket, and brings out BESS 1’s glove. She holds it up.
CECILY. This is the glove she stole! She’s a thief!
The VILLAGERS roar their fury. They start to push ROSE 1 about a bit.
ROSE 1. Get off!
VILLAGER. We don’t want the likes of you ’ere!
VILLAGER. Put ’er in the stocks!
VILLAGER. She should be hanged and burning in hell!
The crowd becomes violent. ROSE 1 is on the floor. Someone kneels beside her and starts bashing her head against the floor. The VILLAGERS egg each other on. The beating is vicious.
ROSE 2. Now, ladies and gents, don’t panic, this is the worst bit, I promise. The rest of this story is gonna be – trust me – glorious.
Cos then, this happened.
Enter BESS 1.
BESS 1. Stop it.
Pause. BESS 1 has a powerful presence. The VILLAGERS fall silent. Just the sound of ROSE 1, crying.
BESS 1 studies ROSE 1 for a moment. Then she looks around the ensemble.
It is my glove, I will deal with her.
The VILLAGERS filter off, disappointed that the show has come to an end.
Cecily.
CECILY helps ROSE 1 to her feet. She is dazed, confused, mumbling.
What is your name?
ROSE 1. Rose. Miss…
CECILY. My lady.
ROSE 1. Lady…
BESS 1. How old are you, Rose?
ROSE 1. I dunno…
BESS 1. Nineteen, twenty?
ROSE 1. Yeah.
BESS 1. I’m sorry that you were hurt. We will take care of you now.
BESS 1 starts to go.
ROSE 1. Wha– where we going?
CECILY. To the castle –
ROSE 1. I ain’t going in no dungeons – I got rights –
BESS 1. No – you will work for me.
ROSE 1. Well, what if I don’t want to – this is kidnap. (Feebly.) Help! Enforced slavery!
CECILY. Would you prefer to stay here and be put in the stocks?
ROSE 1. No, but –
BESS 1 goes to her – with a sudden intensity –
BESS 1. Why were you standing on the street, Rose? Do you have anywhere else to go? A loving family, a husband?
Beat. ROSE 1 is defiant, angry, confused.
ROSE 1. Not ’zactly.
BESS 1 reaches out her hand. Tenderly, she touches ROSE 1’s cheek.
BESS 1. Then, please, come and work for me. You will be safe – warmer. Not so hungry.
ROSE 1 nods.
Will you promise not to steal from me?
ROSE 1. Yeah.
BESS 1. Thank you.
BESS 1 exits.
ROSE 1. Who is that?
CECILY. Don’t you recognise Lady Shrewsbury?
ROSE 1 doesn’t.
Bess of Hardwick?
The former Lady Cavendish?
ROSE 1. How many names does one woman need?
CECILY. It’s as if you’ve been living under a rock.
ROSE 1. Sort of rocky ditch. Why’s she want me?
CECILY. She’s looking for staff whose loyalty she can absolutely depend on.
(Studying ROSE 1 grimly.) We’ve had to plumb new depths.
Come on.
CECILY helps ROSE 1 offstage.
ROSE 2 looks at the audience.
She beams.
ROSE 2. Brilliant, right? That’s how it started. Just like that.
Scene Four
An inn on the road from Bolton to Tutbury.
MARY 1 is completely still. MARY 2 is watching.
SEATON and LIVINGSTON, her ladies-in-waiting, are gazing at MARY 1 in equally motionless, adoring silence.
MARY 2. I am remaining completely still, to give the illusion of calm. Later they will say I was like marble for hours at a time, and I like that. I shall become a legend. After all, a queen is history.
Inside my head is chatter as I consider options. I have survived an abduction, assassination attempt, double miscarriage, and three bad husbands, so this is not the worst. I have escaped Scotland. I am safe now.
Sometimes a memory – a past wrong, a death, a baby left behind – advances like an army towards my heart.
LIVINGSTON. What can we get for you, Your Grace?
Still MARY 1 does not move.
MARY 2. But I am strong. I will not dwell on vintage deeds. Amongst the flowers of my enemy there is always a weed. I will find the weed and nurture it until it chokes the garden.
(To MARY 1.) It’s time.
MARY 1 makes a slight movement: the stillness is over. The women immediately are geared to action, they have seen all this before. SEATON moves forward to MARY 1 with a glass of wine, which she takes.
I tidy out my brain with a list.
MARY 1. What do we have?
SEATON. People?
MARY 1. Yes.
SEATON. Secretary, household steward, surgeon, apothecary, clerk, doctor, cook. Other secretaries, ordinary servants. Thirty-one in total.
MARY 2. Thirty-one people on the list.
MARY 1. She will try to reduce our numbers.
SEATON. Reduce us?
MARY 1. Elizabeth will never pay for all of this. What about my things?
LIVINGSTON. The books, most of the linen –
MARY 1. Not all?
LIVINGSTON. One cart was tumbled on the road. But it will catch up.
MARY 1. Gowns?
LIVINGSTON. Three good. Two for everyday.
MARY 1. Send for more.
LIVINGSTON. Very well, Your Grace.
MARY 1. I cannot let their eyes be disappointed.
MARY 2. Looks. Youth. Beauty. They go on the list.
A sharp pain in the side of MARY 1’s stomach. MARY 1 gasps.
LIVINGSTON. Your Grace?
She holds up a hand to forbid more talking. They surround her anxiously.
MARY 2. It is months since the loss of my twins, but the pain lingers on. And pain, in private, is no use, because I need them all to see the glory of my courage. But public pain, witnessed by, say, a sympathetic man. That will be of use. Pain goes on the list.
SEATON. What can we do?
MARY 1. Talk to me of good things.
Pause.
MARY 2. The silence is dangerous. Please think of something!
SEATON. You will go walking in the spring amongst the orchids.
Relief.
LIVINGSTON (inspired). Yes – and we will get a falconer!
MARY 1. A falconer…
SEATON. And then… you will write letters to all your friends, and they will reassure you of their support.
They tend to her – biscuits and wine and a poultice for her brow.
MARY 2. I love these women like their bones are my bones. They find the joy in this stupid blinkered world amongst these raw and heathen people. When they close their eyes I swear they see hyacinths.
When I close my eyes, I see blood.
It’s why I am a queen and they are not. I see the death and terror and I ride towards it. My body is prepared. My blood is royal.
Blood goes on the list.
Enter JOHN LESLEY, the Bishop of Ross, and GEORGE TALBOT, the Earl of Shrewsbury. They bow respectfully.
This is it.
MARY 1. Good morning, John.
LESLEY. Your Grace, may I introduce the Earl of Shrewsbury? He is here to escort us to Tutbury Castle.
GEORGE. Your Grace.
He draws himself up for his speech, very formal.
On behalf of Her Majesty, Queen Elizabeth I, I bid you welcome to England. She is full of sympathy for the way you have been treated by the Scottish people.
MARY 1. Thank you.
GEORGE. From now on you will be under the care of myself and my wife, Bess, at Tutbury Castle. We will make you as comfortable as we can.
MARY 2. Find the weed. Nurture it.
MARY 1. My Lord Shrewsbury. I am so relieved to have reached a safe haven at last.
GEORGE. You will be well looked after in Tutbury.
MARY 1. What a terrible burden it must be for you and your charming wife. I will do my best to be a pleasing house guest.
GEORGE (relaxing a little). Your Grace, our task is not a burden, but a source of immense pride.
MARY 1. If nothing else can come out of this terrible business, I pray that we will become friends.
GEORGE. Indeed, Madam, I hope so too.
They exit.
Scene Five
Tutbury Castle. ROSE 2, ROSE 1 and CECILY.
ROSE 1 is wearing a new dress.
ROSE 2. Before I know it, I’m standing in Tutbury Castle and no one’s trying to arrest me, and I’m wearing some amazing dress thing that I pretend to think is stupid –
ROSE 1. This is stupid.
ROSE 2. But actually is amazing – and she says:
CECILY. We’ve got to make you look proper, she’s coming any minute.
ROSE 1. Who?
CECILY. The Queen.
ROSE 1 is aghast. She starts to hyperventilate.
Not our queen, the other one. Mary of Scotland.
ROSE 1. Wha… I dunno what to say to a ruddy queen!
CECILY. Don’t say anything at all.
ROSE 1. But what if she asks me something? I can’t just stand there like a donkey –
CECILY. Reply in as few words as possible, with your head bowed.
ROSE 1. Head bowed, yeah – that’s good – you’re good. You’ve done this before.
CECILY. And at the end of everything, say ‘Your Majesty.’
ROSE 1. Your Majesty.
CECILY. Or ‘Your Grace’ – or –
ROSE 1. ‘Your Beauteousness’ –
CECILY. No, don’t say that.
ROSE 1. Sorry.
ROSE 2. She takes me through the castle, along narrow passages, past chambers where maids are hanging things on the walls, past a pantry and a kitchen bigger than our house, and I’m trying to act like I’ve seen it all before. But really I’m panicking because I can’t speak how they all do, and in my head I’m saying proper, grown up stuff, like –
ROSE 1 (posh voice). I shall never forget your kindness.
ROSE 2. But instead what comes out is –
ROSE 1. What in the name of holy pigeon crap is that?
ROSE 2. Because in front of us is a tapestry of a woman holding a spear that’s the height of a house.
ROSE 1. Look at it! Just look at it. She is armed and dangerous!
She goes to touch it, stroking her finger along the stitching.
Enter BESS 1.
CECILY. Don’t touch that!
BESS 1. Zenobia. Queen of Palmyra. Do you like it?
ROSE 1. Who did it?
BESS 1. At Chatsworth I have a personal embroiderer – he assisted me, with one or two apprentices.
ROSE 1. Is this thread made out of gold?
BESS 1. Gold silk. It is not so much. The Countess of Salisbury spent fourteen thousand pounds on hangings around her bed when she was about to give birth.
ROSE 1. Why?
BESS 1. She knew the room would be full of guests afterwards.
ROSE 1. I’ve never seen a woman stand like that before. It’s like she doesn’t care.
BESS 1. Perhaps she doesn’t.
ROSE 1. What’s she gone and put herself in armour for?
BESS 1. You tell me.
ROSE 1. I dunno –
BESS 1. What do you see?
ROSE 1. Um. (Uncertainly, she studies the embroidery.) Her dress. It’s moving.
BESS 1. Yes – why?
ROSE 1. Cos she’s on her way out, to sort stuff.
BESS 1. What else?
ROSE 1. Well… that spear is in front of the arch, so she’s walking through it. (With growing confidence.) And she’s afraid, that’s why she’s reaching for the helmet – the people out there have bows and arrows and they don’t care about hurting her – so she’s terrified, but she’s gonna do it anyway.
BESS 1. Very good!
ROSE 1. But why’s she wearing those red shoes? I’d have given her a proper pair of boots. Maybe the shoes represent the blood she’s gonna shed? Or her own blood? Or guilt over blood she’s shed in the past? We need more information on the shoes.
Beat.
CECILY. You are really odd.
A bell rings.
BESS 1. She is here.
SERVANTS rush in, smoothing their clothes and getting ready to receive the royal guest.
Enter (ideally up an aisle or through the auditorium) MARY 1 with GEORGE, LESLEY, MARY LIVINGSTON, and MARY SEATON.
BESS 1 and all her SERVANTS, including ROSE 1, kneel.
Pause.
GEORGE. Your Grace, may I present my wife, Bess?
MARY 1. Lady Shrewsbury, how delightful to meet at last. I have heard so much about you from your charming husband on the journey.
BESS 1. I bid you welcome, Your Grace. We have the rooms warmed and aired.
SEATON. She needs to rest –
BESS 1. Of course –
SEATON. – and then eat.
BESS 1. We have supper ready –
SEATON. Nothing
too rich. She has not been well on the journey.
BESS 1. My servants will show Your Grace upstairs.
MARY 1. Thank you – ah, Shrewsbury!
She leans on him, delicate, and tender, like a flower. It’s very convincing.
How you have saved me from despair on this journey with your gentle spirit. Now at least you will be spared my constant company.
GEORGE. It has been a pleasure, Your Grace.
One of the SERVANTS leads the way offstage, followed by MARY 1, SEATON and LIVINGSTON.
BESS 1. You all know your duties. Thank you.
The rest of the SERVANTS exit, including ROSE 1.
BESS 1 turns to GEORGE.
How many are there?
GEORGE. Thirty-one.
BESS 1. We do not have enough space.
GEORGE. I could write to Her Majesty and ask for her to be moved to Chatsworth.
BESS 1. No – wait. They will be crowded and uncomfortable here. Some are sure to leave of their own accord.
GEORGE. Walsingham says she is not to leave the house. But I have a separate letter from Her Majesty saying she may go riding as she loves the exercise.
BESS 1. We cannot follow both commands.
GEORGE. Which do we choose?
BESS 1. For now, we should obey the instructions of the Queen. You can ride with her, you are a good horseman, and make sure she comes to no harm.
GEORGE. I have missed you.
He holds out his hand to her. She doesn’t take it.
BESS 1. There is so much to do.
She exits. GEORGE, rejected, is left standing alone.
Scene Six
Whitehall Palace, London.
The WAITING LADIES talk to the audience.
WAITING LADY. People say she’s not a morning person –
WAITING LADY. But that’s because she works for half the night –
WAITING LADY. And it takes time to get her ready.
WAITING LADY. No one may see her before she is properly dressed –
WAITING LADY. Apart from us.
WAITING LADY. The life of a queen may appear charming but it is full of a thousand frustrations and fears.
WAITING LADY. The demands on her are very great.
WAITING LADY. Out there, the courtiers and the nobles and the very high men –
WAITING LADY. They need her to be everything:
WAITING LADY. Confident, yet humble –
WAITING LADY. Intelligent, yet seek their advice –
WAITING LADY. Oh, how they love to give advice! –
The Glove Thief Page 3
