Mary Tudor — Third Day, part 2
PART II
Scene.
--_A hall or room into which lead two staircases, one ascending and the other descending.
The entrance to each of these staircases fills a portion of the back of the stage.
The one which ascends ends at the frieze; the one which descends ends underneath--neither the beginning nor the end is visible_ _The room is draped with black in a peculiar fashion.
The wall on the right, the wall on the left, and the ceiling are covered with a black cloth on which is a large white cross; the background, which faces the spectator, with a white cloth and large black cross.
These black and white draperies continue until they are lost to sight under the staircases.
To the right and to the left, there is an altar draped with black and white, decorated as if for a funeral.
Tall candles.
No priests.
A few funeral lamps, hanging here and there from the vaulted roof, light the room and the staircases feebly.
What really lights the room is the great white cloth in the background, through which a reddish light shines as if there were a fiery furnace behind.
The room is paved with tombstones.
As the curtain rises, the motionless figure of The Queen is seen in black outline on this transparent cloth_ Scene I
_Jane, Joshua.
They enter cautiously through a little door behind the black draperies, which they push aside_ JANE.
Where are we, Joshua?
JOSHUA.
On the great landing of the staircase down which the criminals go to execution.
It was draped in this way under Henry VIII.
JANE.
No way of getting out of the Tower?
JOSHUA.
The people are on guard at every exit.
They want to be sure of getting their criminal this time.
No one can go out before the execution.
JANE.
The proclamation they made from the balcony rings in my ears yet.
This is a horrible thing, Joshua.
JOSHUA.
Oh, I've seen many such!
JANE.
If only Gilbert has been able to escape.
Do you think he is safe, Joshua?
JOSHUA.
I am sure of it.
JANE.
You are sure of it, good Joshua?
JOSHUA.
The Tower wasn't surrounded on the waterside.
Then, when he started, the riot wasn't as bad as it was afterward.
It was a fine riot, if you but knew it.
JANE.
You are sure that he is safe?
JOSHUA.
And waiting for you under the first arch of London Bridge, where you will meet him before midnight.
JANE.
Heaven!
He will be anxious too.
[_Seeing the shadow of The Queen.
_ My God!
what is that, Joshua?
JOSHUA (_low, taking her hand_).
Silence!
It is the lioness, on the watch.
[_While Jane looks at this figure in horror, a distant voice, which seems to come from above, pronounces these words slowly and distinctly.
_ VOICE.
The man, covered with a black veil, who follows me, is the very high and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded at the London Market-Place, for the crimes of regicide and high treason.
God have mercy on his soul!
ANOTHER VOICE.
Pray for him!
JANE (_trembling_).
Joshua, do you hear?
JOSHUA.
Yes, I hear such things every day.
[_A funeral procession appears at the head of the staircase, and gradually forms itself on the steps as it descends.
A man dressed in black is at the head, bearing a white banner with black cross.
Next comes Master Eneas Dulverton, wearing a great black cloak, holding his Constable's baton in his hand.
Then a group of halberdiers, dressed in red; then a man in white, bearing black banner with white cross.
To the right and to the left, halberdiers bearing torches.
_ JANE.
Do you see?
JOSHUA.
Yes, I see such things every day.
[_As they are about to reach the stage the procession stops.
_ MASTER ENEAS.
The man, covered with a black veil, who follows me, is the very high and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded at the London Market-Place, for the crimes of regicide and high treason.
God have mercy on his soul!
THE TWO STANDARD-BEARERS.
Pray for him!
[_The procession slowly crosses the back of the stage.
_ JANE.
This is a terrible thing we are looking at, Joshua.
It freezes my blood.
JOSHUA.
That abominable Fabiani!
JANE.
Peace, Joshua!
Very abominable, but very unfortunate.
[_The procession reaches the other staircase: Simon Renard, who appeared at the entrance of this staircase, some moments before, and has observed everything, moves aside to let them pass.
The procession goes under the arch of the staircase, and gradually disappears.
Jane, terrified, follows it with her eyes.
_ SIMON RENARD (_after the procession has disappeared_).
What does this mean?
Is that really Fabiani?
I thought him not so tall.
Has Master Eneas?
--It seems to me the Queen kept him near her for a moment.
Let us see!
[_He disappears under the staircase, following the procession.
_ VOICE (_which grows fainter and fainter_).
The man, covered with a black veil, who follows me, is the very high and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded at the London Market-Place, for the crimes of regicide and high treason.
OTHER VOICES (_almost indistinct_).
Pray for him!
JOSHUA.
The great bell will announce his exit from the Tower, presently.
Perhaps you can make your escape now: I must try to find a way.
Wait for me here: I will come back.
JANE.
Are you going to leave me, Joshua?
I will be afraid here, all alone.
JOSHUA.
It will be dangerous for you to wander over the Tower with me.
I must get you away from here.
Remember Gilbert is waiting for you.
JANE.
Gilbert?
Everything for Gilbert.
Go!
[_Joshua goes out.
_ Oh, what a terrible sight!
--when I think that it might have been like this for Gilbert.
[_She kneels on one of the altar steps.
_ Oh, thank you!
You are indeed God the Saviour.
You have saved Gilbert.
[_The cloth at the back opens.
The Queen appears: she comes slowly to the front of the stage, without seeing Jane, who turns around.
_ The Queen!
My God!
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.
