Georgiana returned to her proper work—accompanying Fawkes as he continued searching for information on the last two Stuart kings.
Because of his connection to the industrial exhibition, the repertoires at Paris's opera houses, large and small, focused on English historical dramas that September—though naturally not Edward of Scotland.
Richard the Lionheart would actually make an excellent production, if one ignored the fact that his heart had remained in France. There was also Richard I, a script Georgiana had asked Gaudin to write. Its plot had been altered beyond recognition: Herne, the master archer neglected by Richard I, became an assassin plotting to kill him. He lured the king deep into the forest, while the white stag became the benefactor who saved Richard I at the critical moment.
Nor did Herne encounter a man in a black cloak who saved him. His stomach was pierced by the stag's antlers, and he died in the end. His ghost wandered the forest, riding a black horse every night, wearing antlers as he hunted passing travelers.
Because of the hunting laws, no one but the king was allowed into that forest. Richard I had the white stag made into his private seal and wore it as a talisman. He followed the moonlight into the depths of the forest, using himself as bait to draw Herne out, then destroyed the evil spirit with the aid of his loyal guards.
The forest returned to peace, and the white stag's ghost became its master.
As everyone knew, Henry IV had always been suspected of murdering Richard II, though that was after Richard had gone to Ireland with all his supporters.
In 1995, Americans even made a film, Braveheart, about Wallace leading the Scottish people in revolt. To evade the English king's and English nobles' right of the