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Chapter
WEDNESDAY CAMPBELL
The chapter opens with attorney Campbell Alexander in a tense courtroom scene, grappling with personal and professional conflicts. His client, Anna Fitzgerald, remains unresponsive, while Julia, the woman he loves, is about to take the stand. The atmosphere is charged with unspoken tension, underscored by Anna's refusal to pick up his dropped pen, signaling her anger. The judge allows a psychiatrist, Dr. Beata Neaux, to testify out of order, setting the stage for a pivotal exchange about Anna's capacity to…-
208.9 K • Ongoing
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Chapter
WEDNESDAY JULIA
The chapter opens with Julia encountering Anna in the courthouse bathroom during a break in the trial. Their tense interaction reveals Anna's reluctance to testify, while Julia offers vague wisdom about sacrifice. The conversation shifts to Julia's Guatemalan knapsack, sparking a metaphorical exchange about truth and complexity. Anna's abrupt departure leaves Julia pondering her words as the scene transitions to the courtroom, where Julia, as the guardian ad litem, prepares to deliver her recommendation in…-
208.9 K • Ongoing
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Chapter
WEDNESDAY CAMPBELL
The chapter opens with a tense courtroom scene where the narrator is relieved that their case hasn't been dismissed despite Julia's emotional testimony. Julia, serving as a guardian ad litem, appears visibly distressed about the impact of the case on Anna, the young girl at the center of the legal battle. The narrator's dog, Judge, adds to the tension by being disruptive, but the narrator remains focused on Julia's testimony, determined not to miss any critical details. The scene sets up the emotional…-
208.9 K • Ongoing
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Chapter
KATE
The chapter explores the profound and lingering grief experienced by a family after the loss of Anna, a beloved daughter and sister. The narrator reflects on the absence of rules for mourning, describing how each family member copes differently: the father sees Anna in constellations, the mother searches for signs of her presence, and the narrator blames herself for Anna's death. The pain is raw and unrelenting, disrupting daily life and leaving the family emotionally fractured. The narrator's guilt is…-
208.9 K • Ongoing
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Chapter
THURSDAY SARA
The chapter opens with a poignant reflection on the inadequacy of language to describe the loss of a child, noting that while terms like "orphans" and "widows" exist, there is no word for a grieving parent. Sara, the narrator, prepares to say goodbye to her daughter Anna, who has been kept alive by machines after her organs were donated. The hallway is filled with loved ones and medical staff, all there to pay their respects. Sara and her husband, Brian, enter the room where Anna lies motionless, her body…-
208.9 K • Ongoing
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Act IV opens in a place burdened by authority and shadowed by emotional tension, as Queen Mary of Scots navigates the agonizing weight of leadership. With St. Andrew's echoing silence behind her and a restless court observing every motion, she finds herself pulled between public expectation and private longing. The memory of Chastelard lingers not only as a scandal but as a living wound she cannot conceal. Her desire to show mercy battles with the political risks attached to compassion. The Queen’s…-
37.0 K • Ongoing
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Scene I opens in the Upper Chamber at Holyrood, where the four Maries—Beaton, Hamilton, Carmichael, and Seyton—gather during a quiet moment apart from the Queen’s presence. The room carries a hush filled with memory and murmured secrets. Mary Beaton begins to sing in French, her voice steeped in longing, drifting through the chamber like a tide drawing in all emotion. Her companions notice the sorrow clinging to her words and question the reason behind the melancholy. Beaton, quietly, admits that her…
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37.0 K • Ongoing
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Chapter
SCENE II — A Hall in the same
Scene II begins with an air of courtly elegance and subtle friction, as Queen Mary receives a finely crafted gift from the French king—a breast-clasp bearing the figure of Venus. This object, sculpted with poetic symbolism, becomes a conversation piece between her and Chastelard, drawing parallels between the art's portrayal of love and the Queen's own complex emotions. Though surrounded by opulence and admirers, Queen Mary seems mentally distant, as though something about the finely wrought Venus echoes…-
37.0 K • Ongoing
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Scene III begins with Chastelard lingering in Mary Beaton’s chamber, cloaked in silence and uncertainty. The flicker of candlelight casts faint shadows, mirroring the restless emotions running through his mind. Though he awaits a moment that could bring comfort or ruin, he remains committed, cherishing the memory of Beaton’s touch from their last meeting. His reflections drift between hope and resignation, where even the idea of seeing her once more outweighs the dread of death. That two-year ache,…
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37.0 K • Ongoing
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Scene I of Act II opens in the Great Chamber at Holyrood, where Queen Mary and Mary Seyton speak under a veil of tension. The Queen, though composed, seems burdened by whispers and unresolved suspicion. She questions Mary Seyton about a possible breach of propriety—something seen or overheard that might reflect poorly on the court. Mary’s reluctance to confirm or deny deepens the Queen’s unease, not because of the court’s gossip, but because of what such secrets might reveal about herself. The…
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37.0 K • Ongoing
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