This fantasy was inspired or suggested by a music video you might recognize along the way. It's a very loose adaptation. The video's imagery was only my starting point.
1.
She would scream if she could breathe. She would fall down on her face and weep like a child. Except no, she's too angry for that.
What she really wants is to fight. To turn and stand and fight, and kill these beasts. Slash them to pieces and burn the bits to ashes. Only she knows she can't do those things. It's simply not feasible. She's weaponless, and she's only a girl. Nothing now but a girl. Powerless. Prey.
She runs. She runs. She runs and runs and runs.
All she can do is keep running. Even this is a useless waste. She's wise enough to know it won't do her much good, not for much longer. It won't save her, not in this place. Yet she can think of no better plan, no other option. She can think of practically nothing at all, nothing useful, nothing coherent. There is only emotion left. Terror. Rage.
Surrender never occurs to her. That is probably for the best. Surrender won't save her skin.
She is alone. All alone nowâexcept of course for her pursuers. There are many. So very many. And they are beasts. Monsters. As for people, none remain. None! They're all gone, everyone, her entire party. She is the last alive.
If the creatures catch herâor rather, when they will, she doesn't think they'll slay her like the rest. That's not what they want. That's not what they're after. She feels it, instinctively. They want more from her than her life, her blood. Much more, and much worse.
This happens to be the very first moment she can remember in the whole twenty one years of her life when she's been unaccompanied, unguarded. It's also damned rare for her to be outdoors. The only outside places she's usually permitted to visit are gardens and courtyardsâand those are always enclosed with high walls or at the very least sturdy impenetrable hedges. Going out in them is not truly going outside.
Now she's in the Wood. Yet still she's not really by herself, not properly, thanks to the presence of the monsters. Which is almost amusing. Never a single solitary moment.
A princess is always carefully, continuously sheltered. Suspended inside two fixed fundamental concentric circlesâfirst her handmaidens, and then beyond them, the ring of her soldiers. Every day, every night, every moment. When she sleeps she has the privacy of curtains 'round her bed. When she bathes, and changes her underthings, painted screens are enfolded around her to hide her from the rest of the room. But her women never actually leave those chambers; she never has less than two attendants within reach at any momentâmore often eight or nine, and often several more than that. While soldiers stand outside every door and every window. Her whole life, this is how it's been. How it has to be, when you are royal.
Until this day, the end of it. The end of everything. Dusk. Her coach was attacked on the road as it was carrying her to the great ball to be held at midnight in the castle of her betrothed. There would be no dancing for her tonight. Furthermore, she would probably never see her betrothed again. And Princess Swift found she felt little disappointment at both those realizations. She was not very fond of dancingânot in the cumbersome, overelaborate gown she was required to wear, and with shoes that pinched her feet. Nor had she ever successfully developed any great affection or respect for the man she was meant to marry, in the coming summer. Not having to endure the tedious and indeed agonizing formalities of both those eventsâthe ball and the marriage to followâwas a relief, in fact. A huge, nearly ecstatic relief. Yet she was ashamed of herself for accepting it so. The appalling cost of her escapeâwhich in the end would be no real escapeâall her soldiers, all her servants, all had lost their lives. All! Trying to protect her, and failing, falling. Mutilated and devoured. Her coach had been escorted by fifty armored horsemen. All those men and all their weaponsâthey proved useless.
Perhaps that was unjust. They had given her time to flee. Only moments, but enough for her to slip clear. They had managed that much.
To the right of the road were open fields. To the left, on the other side of a very deep ditch, was the Wood. The Shadowed Wood. Not an ordinary forest. Forbidden ground, enchanted, or else haunted, it was unclear which. Deadly, in any case, either way.
She could not go into the fieldsâit was from the wheat that the attack had come. The creatures had been crouched amidst the stalks, waiting for her coach and horsemen to pass. Princess Swift had to enter the Shadowed Wood, instead. She did not consider the implications, not until it was too late and she had already committed herself. She jumped the ditch and plunged into the trees with all the speed she could muster from her legs.
She is still running, deeper and deeper into the Wood, into its chill mist, its tangled roots, its hungry darkness.
It was quite a jump she made. An impossible jump. In fact the distance across was far wider than any human being should have been able to leap. The ditch had been dug as wide as it was for that very reason. Princess Swift had assistance, however. She wore an enchanted medallion, a gift from her grandmother.
The talisman had never demonstrated its power before that instant. In fact the princess had never fully believed it contained any. Her grandmother (a strange, moody woman, usually very quiet and shy despite the hawk-like fierceness of her face) had promised her it would deliver its magic at need, without being able to specify what or when that need would be, or might be. It had never granted the princess any of the wishes she had tried to make upon it, from time to time. And in fact she had not thought of it before she made her jump across the ditch. That was an act of pure desperation. She had fully suspected to land in the bottom of the ditch, and perish, her body shattered by the impact. Then, midair, she felt the little golden medallion tingle against her chest, and recognized that its mysterious power must have at last awoken to give her aid. Acting of its own accord.