SCENE II
Jane, The Queen. Jane clings to the altar, with horror, and fixes a look of stupor and terror on The Queen's face
THE QUEEN (she stands a few seconds at the front of the stage, her glance fixed, pale, as if absorbed in gloomy thoughts. At last she sighs profoundly).
Oh, the people!
[She looks around with anxiety and sees Jane.
Some one is here. Oh, it is you, young woman! It is you, Lady Jane. I frighten you. Don't be afraid. You know the turnkey Eneas betrayed us. Don't be afraid. I have already told you, child, you have nothing to fear from me. What was your ruin a month ago is your salvation to-day. You love Fabiano. There are only you and I in the whole world to-day who have a heart like that. Only you and I love him. We are sisters.
JANE.
Madame—
THE QUEEN.
Yes, you and I—two women, we are all he has! Every one else is against him; a whole city, a whole nation, a whole world. Unequal struggle of love against hate. Love for Fabiano is a sad thing, a fatal, a horror-stricken thing: it has a pallid brow like yours, tear-filled eyes like mine; it hides itself close to a funereal altar; it entreats with your lips, it curses with mine. But hate for Fabiano is a proud thing, radiant, triumphant: it is well-armed and victorious; it has the Court, the people, the crowded streets; it munches cries of death and cries of joy at the same time; it is magnificent, haughty, powerful; it illuminates a whole city surrounding a scaffold. Love, here it is—two women weeping in a tomb! Hate, there it is!
[She pulls the white cloth violently aside, which reveals a balcony, and beyond the balcony, almost out of sight, the whole city of London, brilliantly illuminated. What is visible of the Tower of London is also illuminated. Jane fixes her amazed eyes on this startling scene, the reflection of which lights up the theater.
THE QUEEN.
Oh, infamous city; rebellious city; accursed city; monstrous city—who soaks her holiday dress in blood, and who holds the torch for the executioner! You are afraid of it, aren't you, Jane? Doesn't it seem to you, as it does to me, that it cowardly defies us both; that it is watching us with its hundred thousand flaming eyes—us, feeble, forsaken women that we are, alone and lost in this sepulcher? Jane, do you hear it howl and laugh—that horrible city? Oh, England, all England to him who will destroy London! Would that I could change those torches into fiery brands, those lights into flames, and that illuminated city into a city of fire!
[A tremendous outburst from the people outside—applause, confused cries, "There he is! There he is! Death to Fabiani—" The great bell of the Tower begins to toll. At this sound, The Queen breaks into a terrible peal of laughter.
JANE.
God! The unfortunate man is leaving the Tower!—You laugh, madame!
THE QUEEN.
Yes, I laugh! [She laughs.] Yes, and you will laugh, too. Let me drop those hangings first. It seems to me all the time as if we were not alone, as if that frightful city could see and hear us.
[She drops the white curtain and comes back to Jane.
Now that he is gone, now that there is no more danger, I can tell you about it. Laugh, laugh, let us both laugh at those execrable people who drink blood! Oh, it is grand, Jane! Jane, you tremble for Fabiano? Be at ease, laugh with me, I tell you. Jane, the man they've got, the man who is going to die, the man they think is Fabiano—is not Fabiano.
[She laughs.]
JANE.
Not Fabiano?
THE QUEEN.
No!
JANE.
Then who is it?
THE QUEEN.
The other!
JANE.
What other?
THE QUEEN.
You know well enough! You know him—that workman—that man. Besides, what does it matter?
JANE (trembling with terror).
Gilbert?
THE QUEEN.
Yes, Gilbert! That is the name.
JANE.
Madame! Oh, no, madame! Don't say that, madame! Gilbert—it would be too horrible! He has escaped!
THE QUEEN.
He was escaping when they seized him. They put him under the black veil in Fabiano's place. It is night. The people won't know. Rest easy.
JANE (with a frightful cry).
Ah, madame! But the man I love—it is Gilbert!
THE QUEEN.
What? What do you say? Are you going crazy? Did you deceive me, too? Ah, it is Gilbert whom you love! Well, what does that matter to me?
JANE (at The Queen's feet, broken-hearted, sobbing, dragging herself on her knees, her hands clasped: the great bell tolls through all this scene).
Madame—just for pity! Madame, in the name of Heaven! Madame, by your crown, by your mother, by the angels! Gilbert, Gilbert—it will make me mad! Madame, save Gilbert! That man, he is my life; that man, he is my husband; that man— I have told you that he did everything for me, that he brought me up, that he adopted me, that beside my cradle he took the place of my father, who died for your father. Madame, you see that I am a poor, wretched creature, and it isn't right to be too hard on me. What you said to me just now struck such a terrible blow that I don't truly see how it is I have strength to speak to you. I am just saying what I can, you see. But you must stop the execution—right away! Stop the execution! Put it off until to-morrow. Just time to have things understood, that is all. The people can wait until to-morrow, I know. We will see what we can do. No! don't shake your head! There is no danger for your Fabiano. You can put me in his place—under the black veil—at night. Who will know? But you must save Gilbert. What difference does it make whether it be he or I? And since—since I want to die! Oh, my God, that bell, that frightful bell! Every knell of that bell is a step toward the scaffold. Every knell of that bell strikes me full in the heart. Do it, madame. Be merciful! No danger for your Fabiano! Let me kiss your hands. I love you, madame. I never said it before—but I love you dearly. You are a great queen. See, how I kiss your beautiful hands! Give an order to stop the execution. There is time yet. I am sure we can do it. They go so slowly. It is a long way from the Tower to the old Market-Place. The man on the balcony said they would pass through Charing Cross. There is a quicker way. A man on horseback could get there. In Heaven's name, madame, be merciful! Try to put yourself in my place. Imagine that I am Queen and you the poor young woman; and you would weep as I do, and I would pardon. Pardon! Pardon! Oh, that is what I was afraid of, that my tears would hinder me from speaking! Oh, right away!—stop the execution! There won't be any trouble, madame; no danger for Fabiano, I swear it to you. Don't you really think you ought to do what I say, madame?
THE QUEEN (touched and lifting her up).
I wish I could, poor girl. Ah, yes, you are weeping as I wept; what you feel I have just felt myself, and my anguish makes me understand yours. Look! I am weeping too. It is very sad, my poor child. It seems to me, too, they might have taken somebody else—Tyrconnel, for instance. But he is too well known: they had to have some obscure man. He was the only one they could get hold of. I explain all this so that you can understand, don't you see? My God, there are fatalities like that: we get caught. We can't do anything.
JANE.
I am listening to you, madame. I am like you. I have got many things to say. But I would like to have the order to suspend the execution signed, and the man sent off. You see it would be finished then. We could talk better afterward. Oh, that bell! forever, that bell!
THE QUEEN.
What you want is impossible, Lady Jane.
JANE.
Oh, no, it is possible!—a man on horseback. There is a very short way—by the wharf. I can go—I— It is quite possible! It is easy! You see I talk very quietly.
THE QUEEN.
But the people won't have it. They will come back here and massacre everybody in the Tower. And Fabiano is here yet. Can't you understand? You are trembling, poor child. I am like you—I tremble also. In your turn, put yourself in my place. I might easily not take the trouble to explain all this to you. You see I do what I can. Don't think about this Gilbert any more. Jane, it is over— Resign yourself.
JANE.
Over! No, it is not over! No—as long as that horrible bell tolls, it is not over! Resign myself to Gilbert's death? Do you think I am going to let Gilbert die like that? No, madame! Ah, I am wasting my time! Ah, you won't listen to me! Very well, if the Queen won't hear me, the people will. They are good, the people—if you but knew it! They are in the court yet. You can do what you like with me afterward. I am going to tell them they are cheated; and that it is not Fabiani, it's a poor workman, named Gilbert—a workman like themselves!
THE QUEEN.
Stop, you wretched child!
[She seizes her arm and looks at her fixedly and resentfully.
This is the way you thank me, is it? I am patient and gentle with you, I weep with you—and all at once, you get wild and furious! Well, my love is just as great as yours, and my hand is more powerful! You shall not stir! Your lover!—what do I care for your lover? Are all the girls in England coming to ask me about their lovers, now? By my soul, I save my own as well as I can, and at the cost of everything which stands in his way. You must look after yours.
JANE.
Let me go! Oh, I curse you, you wretched, wicked woman!
THE QUEEN.
Hush!
JANE.
I will not hush! Do you want me to tell you what I'm thinking of now? I don't believe the man who is going to die out there is my Gilbert.
THE QUEEN.
What are you saying?
JANE.
I don't know, but I saw him pass by under that black veil; and if it had been my Gilbert, something would have stirred in me, something would have roused itself in my heart, and would have cried out to me, "Gilbert—it is Gilbert." But I felt nothing at all; it is not Gilbert.
THE QUEEN.
What are you saying? Ah, my God! you are crazy. What you have said is idiotic, but it terrifies me just the same. Ah, you have roused one of the secret terrors of my own heart! Why did that riot prevent me from looking after him myself? Why did I intrust to any one but myself the safety of my Fabiano? Eneas Dulverton is a traitor. Perhaps Simon Renard was there. What if I have been betrayed a second time by Fabiano's enemies? What if it is Fabiano himself? What, ho! quick—some one—come—some one!
[Two Jailers appear.
[To the first.] You—run! Here is my royal signet. Tell them to suspend the execution. To the old Market-Place; to the old Market-Place! There is a shorter way, you said, Jane.
JANE.
By the wharf.
THE QUEEN (to Jailer).
By the wharf. A horse—go quick!
[The Jailer goes out.
[To the second Jailer.] You—go at once to Edward the Confessor's Tower. The two cells of the condemned criminals are there. There is a man in one of them. Bring him here at once.
[The Jailer goes out.
I tremble; my knees sink under me; I have not strength enough to go myself. Ah, you have made me as mad as yourself! Miserable girl, you have made me as wretched as yourself. I curse you as you cursed me. My God, will the man get there in time? What a torturing anxiety! I can't see anything more. All is trouble in my soul. Does the bell toll yet? Is it for Gilbert? Is it for Fabiano?
JANE.
The bell ceases.
THE QUEEN.
Then the procession is on the place for the execution. Will the man get there in time?
[A cannon-shot is heard.
JANE.
Heaven!
THE QUEEN.
He is ascending the scaffold! [Second cannon. He is kneeling!
JANE.
It is horrible! [Third cannon.
BOTH.
Ah!
THE QUEEN.
There is only one alive now. In a moment we will know which one. My God, let the man who comes in be Fabiano!
JANE.
My God, let it be Gilbert!
[The curtain at the back opens. Simon Renard appears, holding Gilbert by the hand.
Gilbert! [They rush into each other's arms.
THE QUEEN.
And Fabiano?
SIMON RENARD.
Dead.
THE QUEEN.
Dead! Dead! Who has dared—
SIMON RENARD.
I have dared. I have saved the Queen of England.