Dracula: The Un-Dead. Ian Holt
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she had told him, assuring him that upon his victory parade, she would change her name to Countess Nádasdy in front of her entire family.
During the count’s absence, his guards had initially kept a close watch on her, but she had tricked them as well, leading them to believe she was less interested in escaping than in running the affairs of the estate. She provided assistance for the Hungarian and Slovak peasants, even medical care. There were several instances in which she interceded on behalf of destitute women, including a woman whose husband was captured by the Ottomans and a woman whose daughter was raped and impregnated. Each night, alone in her bedchamber, she secretly prayed to God for her husband’s death on the battlefield.
As a student of science and astronomy, Bathory had waited for the right moment. On the night of a lunar eclipse with total darkness as her ally, she had dressed in a black hooded cloak and vanished from the castle. With the assistance of the peasants whose loyalty she had bought and paid for with her husband’s wealth and her own calculated generosity, Bathory escaped to find refuge with her aunt Karla.
Karla was said to be a pious woman. In the safety of her aunt’s home, Elizabeth had hoped at last to find the soothing love and protection of God’s embrace.
Aunt Karla wore her dark matronly look with pride. Her clothes were crisp, black from head to toe, except for the large gold cross around her neck. Young Bathory assumed that she was merely in mourning for one of her husbands. Aunt Karla had been married four times, each husband wearing a crimson velvet gown, instead of giving her niece a warm greeting, Aunt Karla had sneered, “Wearing bright colors is for the vain. Vanity is one of the seven deadly sins. God would not approve.”
Although Aunt Karla seemed to be cold and strict in public, in private she was far kinder and gentler. She listened attentively to her niece’s tale and comforted Bathory. They grew close, close enough for Aunt Karla to confess during a night of drinking what seemed to be gallons of wine that she had murdered her husbands because they had discovered the true reason why she refused their bed. It was not because Aunt Karla was so in love with God that she took the Bible literally and believed lovemaking to be for the sole purpose of childbearing. The truth was that she gained no arousal from the male form. Aunt Karla could find satisfaction only with other women.
Bathory stared at the cross around Karla’s neck, shocked by this murderous hypocrisy. Yet as a result of Karla’s revelation, so much of her own self that she did not understand at last became clear to her. Bathory, as a budding young lady, had “played” with several servant girls until discovered by her mother and scolded severely. Her parents had called in a priest to pray with their sinful daughter. Her marriage to Nádasdy came shortly thereafter.
Seeing the confusion on young Bathory’s beautiful face, Aunt Karla had comfortingly stroked her hair, all the while staring longingly into her ocean-blue eyes. Before Bathory had known what was happening, Karla’s lips were upon hers.
Bathory had pushed Karla away. The idea of touching her elderly aunt in such a way seemed repulsive. “Does the Bible not say that murder and those desires are sinful? Are you not sinning before God?”
Karla stood up, self-righteously enraged. “You foolish, naïve child. I could not risk any of my husbands exposing me! At best, I would have lost my wealth and been forced penniless into the wilds, my flesh branded by a hot poker with the sign of the heretic. At worst, I would have been burned alive at the stake. It was not murder, but self-preservation! You would do well to not judge me so harshly. The way I see it, you have three choices. Stay with me, love me, and I will protect you from your husband. Go to a convent and let your unparalleled beauty waste away until you become as fat, old, and wrinkled as I. Or you can go back to the brutality of Nádasdy. The choice is yours.”
Bathory needed time to sort out her thoughts, but Aunt Karla was not a patient woman. She had no choice but to give in to all of her aunt’s desires.
Bathory had never experienced lovemaking like this. Why couldn’t her husband learn to touch her this way? As she climaxed for the first time in her life, she no longer gave any thought to what she was doing, and with whom she was doing it. At last Bathory had found her true self. How could something so enjoyable be called a sin against God? Was not love God’s way? It was in that moment when Bathory’s rebellion against God began.
Bathory jolted suddenly in her seat as an actor screamed onstage. She couldn’t sit through another moment of this performance. She rose.
“Mistress, what is it?” the blond Woman in White asked.
Bathory’s eyes were firmly focused upon the stage character of Christopher Urswick, the priest. “I need to leave this place.”
“What of Basarab?”
“You know what must be done. Do not fail me.”
Quincey had no idea what fortuitous extravagance this evening would bring. He had never seen a production of The Tragedy of Richard III performed in its entirety, nor could he have ever imagined it being so spectacular. The costumes looked authentic, the scenery detailed and grandiose. The performers were magnificent. Most wonderful of all was Basarab, who played the Machiavellian king with such conviction that, for a short time, Quincey forgot he was watching a performer. Basarab made the lines sound as if they were the first words that came to his mind. Quincey had memorized the entire play years ago, but then it had only been words on a page. Now those words lived and breathed.
The play soared to its climax. Basarab’s entire presence seemed so filled with remorse that Quincey truly believed he repented his evil deeds. He could feel the tragedy of the character who realized it was too late. As King Richard, Basarab thundered onto the stage, waving his sword. “A horse! A horse! My kingdom for a horse!” Quincey’s heart pounded like a war drum. He was completely unaware that he was gripping the seat in front of him so tightly that he was almost pulling the unfortunate patron who occupied it backward. A battle cry rang out. Several actors playing soldiers sprang onto the stage to attack Basarab, who swung his mighty sword with the deft skill and agility of a true warrior knight. Lost in the moment, Quincey was about to stand up and cheer when more soldiers appeared. It seemed that an army of a hundred men was attacking King Richard. Quincey was in awe at the most stunning display of sword choreography he had ever seen. There were no words to describe the vicious reenactment of the battle that ended the Plantagenet dynasty.
He gasped when Richmond plunged the sword into the king’s chest. All characters on stage froze in tableau as the stage lights, with the exception of the solitary footlight, went out. Quincey knew that the death of King Richard ended the play, but he found himself frozen along with the rest of the audience. No one breathed. Basarab stumbled and, in a splendid fashion, died.
The audience applauded madly, so much so that Richmond’s final soliloquy could not be heard. No one cheered louder than Quincey.
Basarab returned to the stage, gave his final bow, and then made eye contact with the wildly applauding Quincey. The young man’s heart soared. Basarab’s attention drifted over to the dinner-jacketed woman’s box seat. It was empty. Who were those women? Did Basarab know them? When he looked back to the stage, the curtain had already descended, separating Basarab from the adoring audience. He could not wait to meet this magnificent man face-to-face.
There was no longer any doubt in Quincey’s mind. The theatre was where he belonged, not in some oppressive law firm. He needed to find the quickest way backstage to see if Basarab had received his letter. He waited for the crowd to begin to disperse before attempting to exit to the aisle. As he started to make his way out of the row, he noticed the head usher pointing him out to Antoine, the theatre manager. Antoine approached the end of the aisle, intercepting Quincey.
“Allons,” Antoine whispered. “Monsieur Basarab will see you now.”
Quincey felt like a present-day Theseus as he followed the manager through the backstage labyrinth of the opulent Théâtre de l’Odéon. He noticed