**'\ • G^ \!> fl GREfll HEART-STORY WITH EXCITING GLIMMES SfDIY CAR -A— T4L£ OF Two Cities. Each Act Progressive in Interest and Action. PRINTED fOR COPYRIGHT. / DRAMATIZED BY JAMES W/^HARKINS, JR. M£MB£R AMERICAN DRAMATIST CI.UB. 1900. M. J. DOYI.E PRINTING CO. Holyoke, Mass. ! G-RAND limSSiVB! DRAMATIZED FROM CHARLES DICKENS' GREATEST NOVEL, Sydney Carton, A A WONDERFUL —A— WONDERFUL PLAY. STORY. TAIE OF TWO CITIES. ^^Greater love hath no man than this, that a man lay down his life for his friends. ^^ Incidents of the Great French Revolution, in PROLOGUE AND FOUR ACTS. Culminating With SYDNEY CARTON ^u^'o^.''" THE GUILLOTINE. iEUQND COPY, TWO COPIES RECEIVED offle. ,1,;, "* JUW2-1900 64915 SYDNEY CARTON, A Dramatization written expressly for Mr. SHEA by James W. Harkius, Jr., from Charles Dickens' master-work, "A Tale of Two Cities." •*^ PROI.OGUE. An Old Barn outside the Walls of Paris. Time — 1763. ^ *N CAST OF CHARACTERS. O Marquis St. Evremond ( Twin brothers, ) r Chevalier St. Evremond... ( the worst of a bad race, ) >t> Dr. Manette, a young physician ^Martin Defarge, "who comes to avenge" ^ Collette Defarge, ''a victim of royalty" F [Twenty years elapse between the Prologue and Act First.] C^ CAST IN PLAY. Sydney Carton, a true friend Charles Darnay, son of ]ate Marquis St. Evremond Marquis St. Evremond, late Chevalier St. Evremond Ernest Defarge, brother to Martin and Collette Defarge Mr. Stryver, "who rudely pushes himself to the front" Mr. Ivorry, connected with Tellson's bank Dr. Manette, a Bastile prisoner 20 years Jerry Cruncher, porter for Tellson's bank, and at night a grave-robber John Barsad, an English spy Roger Cly, a French spy President of the Tribunal Old Foulon, a miser L,a Breton, a servant Guard of the Prison lyucy Manette Miss Pross, one of Dr. Manette's household Vengeance, a leader of the mob A Sewing Girl SYNOPSIS. ACT I— Scene i— Home of the new Marquis St. Evremond in Paris. Scene 2 — Sydney Carton's Ivodgings in lyondon. ACT II— Home of Dr. Manette in I^ondon. ACT III— Scene i — Committee Room of the Revolutionists in Paris. Scene 2 — Tribunal Chamber in Paris. ACT IV — Scene i — Room in Tellson's Bank, Paris. Scene 2 — Charles Darnay's Cell in Prison La Force. Scene 3 — Dark Hall in Black Prison. Scene 4 — At the Guillotine. Note. — A minute and a half wait scene first and scene second of Act First, also between scene first and scene second of Act Fourth. COSTUMES AS DESCRIBED IN NOVEL, SYDNEY CARTON. PROLOGUE. Scene — Loft of an old ham — open windoiv r.2E. through which moonlight streams in — Small flight of stepH lead- ing up to door centre luhich is entrance to room ivhere Collette Defarge is confined — Door 1..2E. through which all entrances are made — Old horse blanket on floor up left at back — Loose hay distributed about floor — Over right an old table with draiver in ivhich are found ink^ quills and old paper — Old chair left of table — I'ime^ night. Music for rise, {Curtain up — Bell strikes nine — Enter Marouis St. Kvre- MOND loith lantern in hand — Stops centre) MARQUIS. Nine o'clock, {xs r.) 'Tis time Dr. Manette was here. {places lamp on table) What is keeping him, I wonder? tt possible that he will betray us? {over r.) COLLETTE. {within) My father! my husband! My husband! my fa- ther! MARQUIS. Oh! those words will drive me on to madness, {over r.) COLLETTE. {Inside) My father! my husband! {door opens and COL- i^ETTE appears at head of stairs) Where are you? MARQUIS. If she keeps on this way she will soon join her child. (COL- lyETTE slowly comes doivn stairs) Collette, this is no place for you — back into your room again, {over R.) 6 SYDNEY CARTON. [PROL. COLIvETTE. (on lowest step) Dou't come near; it was you who killed them both and ruined me. MARQUIS. Come, come, I've stood this nonsense long enough. Up, up into the garret where you belong. COLLETTE. I'll go! I know you'll beat me if I disobey — but the time will come, Marquis St. Evremond, when the peasant's wife will be avenged. MARQUIS. Back into the garret, I say! {ad lib.) Back, back with you. COLLETTE. I'll go, I'll go. (thro^ door) My husband! my father! MARQUIS. We must end this to-night; every moment's delay is dan- gerous, {locks door) {Enter Chevalier St. Evremond) Well, brother, what news ? CHEVALIER. f The worst. Dr. Manette has betrayed us! MARQUIS. Betrayed! {doivn steps) How do you know? CHEVALIER. This letter to the minister of police regarding this affair. The minister turned it over to me. What are we to do? MARQUIS. What do we always do when peasants and beggars try to destroy our family name? Do we not send them to prison, without a trial and without a possible chance of ever being discovered again? Humph! .We nobles must protect our- selves, and this {bus) letter de cachet, with Dr. Manette's name signed, will send him to a living tomb. CHEVALIER. Is he within? MARQUIS. Not yet. He's late. Go below, bid the servants drive to his house and bring him here. If he refuses to be silent we will make short work of him. (Chev. exits) Betrayed! I PROL.] SYDNEY CARTON. 7 thought as much. If this should ever reach the ears of my wife COLLETTE. {inside) My father! my husband! MARQUIS. Damn her! {rushes up stairs^ unlocks door) I'll put a stop to her tongue. {Enter Martin Defarge througJi window, sword in hand — very ragged — pale. He is the young brother to Coi^ivKTTE aiid comes to avenge her.) DEFARGE. Stop! Stop, I say! I want my sister! MARQUIS. (on top step) She is not here! DEFARGE. She is! I heard her voice. COLLETTE. {inside) My husband! my father! DEFARGE. There! You see! You have lied! Come, give her to me, I want her. MARQUIS. {tJiroics purse) That's what you want, {coming down) DEFARGE. No! you can't buy me! I want my sister. MARQUIS. (I..C.) Out of here, you dog! {attempts to strike him ivith whip ) DEFARGE. (r.C.) You can't frighten me. Draw and defend yourself. MARQUIS. What! fight with a serf? DEFARGE. Draw, or I'll run you through! 8 SYDNEY CARTON. [PROL.j MARQUIS. Beggar! If you will have it so {the i/ fig Jit — Coi.i.ETTii enters on fop step^ conies doivn, fries fo separafe fheni) COLLETTE. (c.) My brother! — my brother! — Martin! MARQUIS. (r.c.) Out of the way, damn you! {pusjies her away) DEFARGE. (l.c.) Aivay, dear sister, keep away till he is dead, {fight confinues and ColIvETTE inferferc^^ irifh the result that Martin is run through and falls i^.c.) COLLETTE. {kneels beside hiin) Martin! brother! brother! (MarouiS starts to run him throui^h) COLLETTE. Scoundrel! DEFARGE. I tried, dear sister, but I failed. Ernest, our brother, is yet alive; he will avenge you. MARQUIS. Now, get up those stairs, you, do you hear? COLLETTE. {kneeling beside her brother) Wretch! this is the third that you have killed — husband, father, brother, (^v//^/' Chevai^iEr) CHEVALIER. (i,.2E.) What is this — a duel? MARQUIS. {over R.) Yes, her brother CHEVALIER. {at c.) What, an Evremond cross swords with a beggar! MARQUIS. He forced me to it. CHEVALIER. If this were known at Versailles we would be disgraced forever. (CoivivETTE kneeling beside her brother sobbing) PROL.] SYDNEY CARTON. 9 MARQUIS. Here, \ye've had enough of that, {takes her rudely and pushes her up steps and into door) COLLETTE. {as she enters) My husband! my father! my brother! {door locked) MARQUIvS. (on top step) Did you send for the doctor? CHEVALIER. {oi>er R.) Yes; he'll soon be here. MARQUIS. You've done well, {xs to Martinl; about to kick hini) Beggar! CHEVALIER. Is he dead? MARQUIS. I don't know. Listen; carriage wheels — cover him quickly. {they cover Dkfarge ivith horse blafiket) I suppose we will have no peace until the whole family is exterminated. CHEVALIER. How many after this? {motions) MARQUIS. Only one, a boy; but I'll soon get rid of him. {enter Dr. Manktte h.2H.) You have delayed, dear doctor. DOCTOR. I am sorry; an urgent case MARQUIS. (oz'er R.) Is not our case urgent? Attend to her at once. (points up) DOCTOR. Your pardon! If not myself,at least my profession, demands respect, {he i^oes up to steps) COLLETTE. My husband! my father! my brother! liiy brother! DOCTOR. {turns at foot of steps) Brother? — what can she mean by brother? lo SYDNEY CARTON. [PROL. MARQUIS. Merely a whim of hers, that's all. {o^7'oan heard and Doc- tor discovers Defaroe) DOCTOR. {pullino; off blanket) Another! Marquis, what new devil-_ try is this? MARQUIS. Well, if you must know, it's a brother to your patientJ {boy sloculy aivakens, looks at Doctor who is holding him) DEFARGE. Well? well? DOCTOR. {raising him a trifie) I am a doctor, my poor fellow; let me examine you. DEFARGE. No, no; let me alone; I wish to die! DOCTOR. How has this been done? I CHEVALIER. Through his own fault, the crazed young serf; he forced my brother to draw and he has fallen like a gentleman. DOCTOR. Where will it all end? MARQUIS. That's our business, {music cue until Doctor exits) DEFARGE. {reviving) Those nobles are all proud, and sometimes we peasants are the same; they plunder, outrage, beat and kill us, aud we — we try to avenge. COLLETTE. {inside) My husband! my father! my brother! DEFARGE. Sister! my sister! MARQUIS. Let that brat alone and attend to the girl. DOCTOR. No! This boy is dying; I shall stay by his side. PROL.] SYDNEY CARTON. ii DEFARGE. Those nobles have wrecked the modesty and virtue of all our girls. We were tenants of his; they are twin brothers, alike even in wickedness, and the worst of a bad race. DOCTOR. Don't talk, my boy; you'll bring on another hemorrhage. DEFARGE. I must speak; in time to come you will be forced to speak too. DOCTOR. Heaven will avenge it all, but you must be patient. DEFARGE. We have been, but we can stand it no longer; we have been robbed, taxed without mercy, worked without pay, and starved; it was a dreadful thing to bring a child into the world, and we all prayed that our women might be barren and our miser- able race die out. ^ CHEVALIER. Aren't you through with that dog yet? MARQUIS. Let him alone; one at a time, {laughs) DEFARGE. That's the man who ruined our home, killed the husband of my sister, harnessed him in a cart all day long, and at night made him quiet the frogs iu the pond so that our tyrants could sleep; 'twas too much for poor Jule; he sickened and died. DOCTOR. Horrible ! DEFARGE. Then that man took my sister away — ruined her;^it killed my father; then I came and made the proud and haughty Marquis fight a common peasant. MARQUIvS. (laughs) Yes, and you're lasting by far too long. (bus. wilh S7Vord; Doctor stops him) What strength there is in these common bodies! {going back r.) DOCTOR. There is great strength in sorrow and despair. 12 ^ SYDNEY CARTON. [PROL. MARQUIS. Yes, I've noticed that, (laughs) DEFARGK. Lift me up, Doctor; I wish to see him. (Doctor lifts hifn up on his feet) Turn my face to him. CHEVALIER. A regular Samson, isn't he ? {over r.) MARQUIS. The tenacity of a lion. (r. extreme) DEFARGE. {supported by Doctor) Marquis St. Evremoud, in the days to come all this suffering must be answered for, and I sum- mon you and yours, to the last of your bad race, to answer for it. As proof of this, I mark this cross of blood upon you as a sign that it shall be done {makes cross; Martin relaxes and dies; he is lozvered to the floor) MARQUIS. Well, is he dead? DOCTOR. Yes. COLLETTE. {inside) Oh, my brother! my brother! MARQUIS. You may now attend the other. {throTCS dozen keys) DOCTOR. {picking them up) You are both unwise and foolish men. MARQUIS. We want only professional advice, doctor. Do your duty. {pointing. DocTOH exits i(p steps; as he opens door, CoLi^ETTE groa7ts) CHEVALIER. Now, more than ever, must this man be silenced. MARQUIS. Give me Manette's denunciation to the police. (Chevalier does so) Now go below and have the coachman in readiness. (Chevalier exits) Now for this letter de cachet — the ink, where is it? {opens drawer) The pen — good! {writes) Dr. Alex- ander Manette {re-enter Chevalier) I PROL.] SYDNEY CARTON. 13 CHEVALIER. {remains over i^.) All ready. (<3f^<9r opens at head of stairs and T>R. Manettb appears) MARQUIS. Well, doctor? DOCTOR. She has joined her brother. , MARQUIS. Dead? DOCTOR. Yes. CHEVALIER. I congratulate you. (i^. C.) MARQUIS. And thus ends one tragedy. It is now, dear doctor, in your power to prevent another, (r. c.) DOCTOR. {down c.) What do you mean? MARQUIS. The things that you have seen here must not be spoken of. DOCTOR. In our calling, information obtained professionally is sacred. MARQUIS. An excellent rule. DOCTOR. But it has one exception: when that information reveals a crime. MARQUIS. Indeed! I am aware, though, that secrecy is often worth purchasing. DOCTOR. With me, under no circumstances. MARQUIS. Then you must abide the result, {enter tiuo servants) You see this letter? It is the one that you sent to the minister of police, exposing what you call an outrage; thus I destroy the evidence {burns paper) 14 SYDNEY CARTON. [PROIv. DOCTOR. You may destroy the evidence, but justice will at last prevail. MARQUIS. We will balk what you call justice, and seal your mouth forever. DOCTOR. How? MARQUIS. Do you see this letter de cachet? It consigns you to prison as a secret prisoner of state; no records will be kept of your incarceration — you will be as effectually blotted out as though an earthquake had swallowed you. DOCTOR. No, no, messieurs — in God's name! — my wife and child MARQUIS. Are lost to you forever. Secure him! {music till curtain; servants rush for Dr. Manette, struggle with him and overpower him^ Doctor exclai-jning meanwhile^ Villians! fiends! wretches!) SERVANTS. {after Doctor is secured) Where to, my lord? MARQUIS. {giving paper) To the Bastile! DOCTOR. No, no, no! — My God! not there! {servants clap hafids over his tnouth to stop Doctor's cries, and as they are making their exit they rudely overpower him) MARQUIS. The Bastile, I say! — the Bastile! {laughing) Thus, my dear brother, do we preserve the integrity of the house of Kvre- mond. (both shake hands, laugh, take light, zvrap cloaks around them, and exit, laughing heartily) Curtain. ACT IJ SYDNEY CARTON. 15 ACT I. Twenty Years Later. Scene First — Home of Chevalier^ now Marquis, St, Evre- mond, hi Pa^Hs — Scene set in 2 boxed — centre door with curtains to stage — ^.2, practical window showing exterior backing — Door Iv.2E., through which all entraftces are made — Fancy table centre on which is candelabra, three or four lighted candles, papers, documents, ink and quills; also small old-fashioned call bell on table and two chairs R. and L. — Qver r., near window, small table on which is burning single candle with fancy candlestick — Everything rich and tastefully arranged; other furniture on stage in harmony with surroundings. (Chev AIRIER St. Kvremond, now Marquis St. Kvre- MOND, discovered at table in dressing gown, looking over papers — rings bell — La Breton, the servant, at door i,.2E.) MARQUIS. La Breton, are these all the letters? LA BRETON. Yes, my lord. MARQUIS. When is the next post? SERVANT. Expecting it at any moment. MARQUIS. I am waiting an important letter from the minister of police — watch for it. Begone! {exit servant) {looks over the various letters) What is this? Reception! Invitation to — rub- bish! Petitions from tenants — beggars! Ah! one from London! ' Handwriting of my dear young nephew. Marquis St. Eyre- mond, or as he prefers, Mous. Charles Darnay. {reads) **I have decided to pay one last farewell visit to France. I wish to dispose of my estate. I believe the name of Evremond to be more detested than any other name in France. 'Tis for that reason in a foreign land I have chosen my mother's spotless name of Darnay." Impudent puppy! **Our entire estates are but a wilderness of crime and must be sold to pay our just debts." Never! never while I can prevent it! *'Even in my father's time we did a world of wrong; he suffered for it a sudden i6 SYDNEY CARTON. [ACT I and a violent death. — Charles Darnay." And if un^ plans are carried out by John Barsad and Robert Cly, you too will die a sudden and violent death, {starts) Did I heai someone at the window? Pshaw! it's only my fancy, {opens another letter) From Barsad! *'London, May ist. Marquis St. Evremond: — The plans are being carried out as you directed. A week ago we had young Darnay arrested as a spy, a French sympathizer of America against his Royal Majesty, King George the Third. Darnay 's death will be a certainty." Excellent, most excel- lent! **We have wound a web around him so strong that it will be impossible to break. To even mention the name of Washington is treason. To-day the verdict will be rendered; upon its announcement we will start for France, perhaps be with you ere you read this letter. — John Barsad and Robert I Cly." If Darnay dies, all the lands are mine, {lauo/is) May all the other letters bring such good news, {rustle at ivindow — bus.) **Marquis vSt. Evremond, twin brother of a despised wretch, prepare to meet thy doom. But twenty-four hours of peace are thine — after, at any hour, the bloody knife may ioXX.^'' {noise at zvindow — Marquis disturbed — knock at door L.2E. — he starts) Who's there? JOHN BARSAD. {outside) Barsad. MARQUIS. Come in, Barsad. {enter Barsad) Well, Barsad, the news? BARSAD. {over ly.) We have failed. MARQUIS. (r. of table) Failed! I don't understand — speak on. BARSAD. Young Darnay is acquitted. MARQUIS. Acquitted! You blundering fool, what became of your boasted spider web? BARSAD. Broken. Our case was going along on wheels when a bar- rister in court, named Carton, a drunken dog, struggled to his feet, removed his wig and there was the living image of young Darnay! He asked the witness to look at him care- fully and then swear that the prisoner was the man; the asp stared at him, bungled and broke down. From that moment our case went to smash. : SC. I] SYDNEY CARTON. 17 MARQUIS. ' It's a pity you didn't go with it. BARSAD. We came very near it; the crowd turned on us, hooting and yelling; followed us to our lodgings. I escaped. Cly had to feign a suicide, and the next morning a coffin filled with stones was buried as all that remained of Roger Cly {noise at \ window) MARQUIS. {frightened ) What was that? ' BARSAD. ' That! What? « ' MARQUIS. Outside the window; open it. (Bars AD goes to windoiv, opens it, looks out) MARQUIS. Anything there? BARSAD. Nothing, my lord, but the trees and the night. MARQUIS. Close it. {knock at door) Come in! {enter La Breton) LA BRETON. My lord, here is the letter that you wanted. MARQUIS. (I..C.) Good; you may go. {he exits) Now, Barsad, while you were trying to trap Darnay in London, I was busy in France. Darnay will be in Paris shortly. When he arrives, I have here a letter de cachet that will end his days, {bus, '■ giving letter to Barsad) BARSAD. {over R.) From the King's minister! , MARQUIS. ( Read it. . ^ BARSAD. {reads) **To Marquis St. Kvremond: I am directed by his Majesty, with an expression of displeasure " i8 SYDNEY CARTON. [ACT I MARQUIS. What! — displeasure? Go on, go on! BARSAD. **To refuse the letter de cachet you ask for." MARQUIS. Refuse! — refuse ine\ Read on! BARSAD. *'A recent inquiry at the Bastile has brought to light a case in which such a letter was abused by you and ydur brother twenty years ago. The victim of that injustice, Dr. Manette, was released ten months ago, a mental wreck. His Majesty does not wish to call attention to crimes of so remote a date, and directs your retirement to your estates until his further pleasure. Signed, Minister of Police." MARQUIS. Refused! Disgraced! Barsad, now, more than ever, must I have that letter. Enemies are plotting against me. {knock at the door) Come in! SERVANT. A young man has just arrived and demands an immediate audience. His name? Charles Darnay. MARQUIS. Admit him. {servant exits) Barsad, take this note — a threat of assassination — show it to the minister of police. I must have that letter de cachet, and that letter must reach the king. (Barsad starts to exit Iv.2E.) No, no, not that way; go the other way. (Barsad exits r.ie.) I have not failed yet. One chance is still left me. {enter Darnay i,.2K.) Welcome to Paris, my dear nephew. You came direct from London? DARNAY. {over iv.) Yes; have you received my letter? MARQUIS. Yes, and cannot understand it. DARNAY. Indeed! It's plain enough. I am here in Paris — and no MARQUIS. SERVANT. SC. IJ SYDNEY CARTON. 19 thanks to you, dear uncle — for the last time. I would not dare to come here but that I know your influence with the minister of police is happily unfriendly. MARQUIS. What do you mean by that? DARNAY. What I have said. I have here papers signed and sealed renouncing all my claims to this estate. MARQUIS. Indeed! and is it yours to renounce? A part may be, but not all — at least not till after I am dead; and I assure you, my dear nephew, that I am still vigorous and strong. DARNAY. I care not for that. Bven if death came to you this very night I would not touch a franc of this accursed property; we have done a world of wrong and we will suffer for it. MARQUIS. We! We will suffer for it! DARNAY. Yes, unless the wrongs are righted. You and my dead father injured every human creature that stood between you and your pleasures. You are his twin — his joint inheritor — his successor to the title, and you are now following in the same wicked footsteps. For myself, I want none of it. The family honor is safe from me — the family name I bear no longer. MARQUIS. And how do you expect to live? DARNAY. As all our nobles one day will have to live — by work. Good night. MARQUIS. What! are you going? DARNAY. Yes; my business here is at an end. I start at once for London. MARQUIS. But why not stay, if only for a day or two? 20 SYDNEY CARTON. [ACT I DARNAY. No, no, dear uncle. We are living in a fickle age. I live; my horse is now below; and while life is mine, I depart. Good night and good-bye forever, {exits i^.2E.) MARQUIS. The impudent young hound! Foiled in all directions! I must protect myself and double all the guards. What if that letter of assassination was written by some one in the house- hold? The dogs! Barsad and Cly will ferret them out. I'll keep them obedient to the whip by fear and slavery. Thus will it always be. I'll die perpetuating the system under which I've lived, {rings belly goes up centei^ looks anxiously at windoiv; enter La Breton) Put out all the lights; look round the house; be extra careful to-night, {exits c.) LA BRETON. Very well, my lord, {sloivly tidies up room, puts out three candles on center table then goes to zvindoiv over r.) Is that you, Defarge? {pause) It's all right, {about to bloiv out candle) I'll save this one. {xs to center, looks around — Defarge ^/>- pears at ivindoiv and opens it) Wait a moment, {looks off c.) It's all right, Defarge; he's now retiring. Do your work well; and when you strike, strike the dagger home. DEFARGE. Fear not! I'll attend to that. Watch, {servant exits, De- farge enters room c. — pause — tivo groans heard as if Mar- quis ivere stabbed. When Defarge exits c. to kill the Mar- quis the servant comes back, looks after Defarge through curtain, and as he hears the groans) SERVANT. {up center at curtains) Horrible! Horrible! {retreats toward I,, entrance — pause — r^-/ Doctor) DOCTOR. Yes, I saw him from the window ride swiftly away with my old servant, Defarge. CARTON. Defarge! {looks off in direction that Darnay ivent) DOCTOR. Oh! I'm afraid, I'm afraid! LORRY. Perhaps he has gone to the city. CARTON. No, no, he's gone to Paris, {goes back to C.) LUCY and STRYVER. To Paris! DOCTOR. My God! LORRY. Why, he's as safe there as you or I. CARTON. If he ever reaches the city of Paris he is doomed. LUCY. Why, Mr. Carton ? CARTON. For with him rides the bloody Defarge, a man who has consecrated his life to the destruction of his family. STRYVKR. What! Charles Darnay? CARTON. There's no such man. He comes from the most hated race in France. His right name is Kvremond. {.ring over left, takes hat from table) ACT II] SYDNEY CARTON. 57 ALL Kvretnond! LUCY. Oh, Mr. Carton, save him — follow him! {at centre) CARTON. I will. I'll start at once and try to reach him before he takes the boat at Dover. If I fail I'll cross the Channel and. journey to the heart of France. Trust me, Miss Lucy, I'll save Charles Darnay if I can. {exits I,.IE. — Curtain) LUCY. {as curtain ascends) God speed you! God bless you! {kneels c.) Curtain. 58 SYDNEY CARTON. [ACT III ACT III. Scene First. — Public Prosecutor's room in 2. Ce7itre door with curtains. Other entrances i,.iE. a7id r.ie. Large ta- ble at R.2E. with documents, pen, quills and paper. Old- fashioned chair behind this table which will serve as a desk. Mob filling Mp entire centre door eagerly looking and list- ening. Roger Cly back of table and the Vengeance is up centre with sword in hand ready to lead the mob. As cur- tain goes up, mob cheering ivildly, led by Vengeance. CLY. If there are any other names to be added to the list of ene- mies, now is the time. To-day fifty aristocrats were welcomed to the guillotine. VENGEANCE. Long live the guillotine! Long live the Republic! (Mob shouts) CLY. Only ten minutes more remain. Send out the cry for trait- ors and for spies. VENGEANCE. And don't forget the aristocrats — their cursed heads are ours. Death to all aristocrats! Long live the guillotine! (Mob cheers — enter Barsad l.ie) BARSAD. News, friends, news! — news from the other world ! You all remember old Foulon — Foulon who told the ^mished people to eat grass ? VENGEANCE. Yes, yes, the miserable wretch is dead. BARSAD. No, citizens, no — he lives! VENGEANCE. Then away to the guillotine with him! MOB. The guillotine! the guillotine! SC. IJ SYDNEY CARTON. 59 CLY. Bring him before us. BARSAD. {off stage) In with the old miser! (Foulon is thrown in from I,. IE., ragged, pale, and cringing with fear) VENGEANCE. (r.C.) Now, you old monster, you know what it is to suffer. BARSAD, (iv.) Kill the old miser! VENGEANCE. No, let the law proceed and kill him inch by inch. CLY. His name goes on the list; trial in the morning. BARSAD. No! Kill him without a trial ! CLY Trial in the morning. We have no pity for the scoundrel. He it was who told the poor to eat grass; told the innocent young babes to do the same. Away with him! (Foui^ON pushed through crowd at c, abused and cuffed) VENGEANCE. {laughing) That's the way we treat misers. DEFARGE. {outside) Make way! make way, I say! — make way! {push- ing through crowd, and Darnay throzvn on through centre door bound) Here's another aristocrat. Look at him and add his name to the list. DARNAY. (c.) Why do you bring me here — why do you offer me these indignities? I am a Frenchman. DEFARGE. (.R.C.) No, an aristocrat! (Carton unobserved in the mob) VENGEANCE, (i^.c.) Death to the aristocmt! DARNAY. I demand my rights. 6o SYDNEY CARTON. [ACT III t CIvY. {over at table) You have no rights. Our will is law. Take him back to prison La Force, subject to call for trial. DARNAY. What ! you intend to bury me there ? DEFARGE. Others have been buried in worse prisons before. ^ DARNAY. But not by me, Citizen Defarge. DEFARGE. By the same flesh and blood, Marquis St Evremond. VENGEANCE. What ! the cursed Evremond ! Give him his trial — the sooner the better. I want to see his head upon the block. DEFARGE. And I demand it. Call him tomorrow with the rest, and let him prove his guilt. CLY. Tomorrow then. So be it. Sign your name, Defarge. {he does so) Tomorrow, Barsad, we appoint you in charge of all prisoners and' witnesses. Conduct the prisoner back again. {DA'SLi^i AY exits with two soldiers l.ik., croiud pushing him off\ Darnay struggling) VENGEANCE. Long live the guillotine ! Long live the Republic ! (Mob cheers — Dkfarge urges on crowd and exits with Darnay — Mob disappears cheering) CLY. Barsad, take charge, {exit R.iE.) (Barsad goes over to table, ar-ranges papers while all are retiring — CARTOisr has been in among croivd all the tivie, avoiding Defarge — as Defarge exits i,.iE., he looks in that direction; all others have gone, leaving Carton and Barsad alone — Barsad over at desk) BARSAD. Come, citizen, this is no plaq| for you. CARTON. You are mistaken, {turns up07i him) Ah, you know me? SC. I] SYDNEY CARTON. 6i BARSAD. No. (sitting in chair) CARTON. {sitting on edge of table) No? Strange! I thought we met beifore in London at a certain trial in the Old Bailey. You were then a spy in the pay of theBritish Government. You had then the aid of a French spy, one Roger Cly, who now, it seems, is Public Prosecutor for the people. BARSAD. What do you mean by all this ? Are you aware that we are all-powerful here ? CARTON. Not if I denounce you as a British spy. This young Dar- nay must be saved. If he dies, you die ! {still sitting on edge of table) BARSAD. What do you expect me to do ? CARTON. I want you and Roger Cly BARSAD. Roger Cly is dead ! — buried in London. CARTON. Roger Cly is alive ! — you dare not deny it. BARSAD. Yes, he is alive, {sullenly) CARTOV. I thought so. The French people love an English spy. BARSAD. Lower, lower. What do you want? CARTON. You have charge of all the prisoners and the witnesses. iVhen Charles Darnay is called tomorrow for trial, this man Oefarge must not appear. BARSAD How can I prevent it? I should be torn to pieces. CARTON. It must be done. Defarge is excitable; when he appears 62 SYDNEY CARTON. [ACT III make him wait with all the other witnesses; iuconvenieiice him as much as possible. He will rave and tear when he finds his freedom partly gone, possibly will strike you. Pro- voke him; we may then overpower him, lead him away, hold him till after Darnay's case is called, then let him free. {:rs over to l) BARSAD. Are you aware that that would mean my death ? CARTON. Yes, positively, if you refuse to aid me. You must also procure me access to the prisoner. BARvSAD. I tell you it would mean my head. CARTON. Not if you obey. Write me a pass to Darnay's cell. {bus. for Barsad) You are wise, Barsad. If you stand by me in this I'll stick by you to the death. Is it agreed? I BARSAD. Yes. {offers ha?ni) CARTON. No, not yet. First prove your fidelity. That pass to Da: nay. {bus. of Bav^skT)) Write it; sign your name to it. (Carton looks off 1^. in.) Good ! I'll meet you in the morning, {starts for center a7id then turns just in tinier as Barsad has a knife ready to stab Carton — Barsad stops) I'll meet you in the morning. Dark change^ or curtain, for a minute and a half till next scene arranged, Scenp: Second. — Revolutionary tribunal in 4. Judge's or President's bench up c, with table, zvriting viateriats on, and two chairs R. and i^. Jury pen from back drop running doivn to right tonnentor, and spectators' pen 07i other side from drop to left tormentor. Entrance to room tip i,. of Judge's bench. Small prisoners' stand doivn c. and a small zvitness-stand up r., between Judge's stand and Jury box. Judge or President discovered on bench. Tzvo chairs out- side of Jury box down about r.2E. for Lucy and Mr. Lorry. Roger Cly r. oJ table, ivhich is in front of Judge's bench. Old Foulon, pale and trembling, 07i prisoners' stand. Jury in box and mob in spectators' pen, Vengc- SC. II] SYDNEY CARTON. 63 ance is outside of the pen ready to urge on the mob. Scene opens in darkness, loud cheeringy and ringing of the Presi- de7iVs bell for silence; when curtain upy lights on full. VENGEANCE. Look, friends, look! I'll tie this bunch of grass upon his back, {ties bunch of grass on Foulon's back) MOB. Bravo! (President ringing bell, then silence) PRESIDENT. Citizens, this trial must proceed. CLY. {over R.c.) Citizens, President, this is the hardened wretch who destroyed sisters, brothers, mothers and daughters, and who advised the poor to live on grass. VENGEANCE. What's food for one is food for another. Eat, you dog, eat! {bus. with grass — chair left of stand so he can reach F0UI.0N) MOB. Eat, eat, you dog — eat! CLY. {to Jury) I demand the life of Foulon and the heart of Foulon, that we may rend him to pieces — dig him into the ground that grass may grow from him. • VENGEANCE. Death to the old miser! — death! death! MOB. That's right! Death! death! PRESIDENT. {riiigs the bell — silence) What is the verdict of the jury? FOREMAN OF THE JURY. Guilty! VENGEANCE. Long live the guillotine! {cheers given) PRESIDENT. The prisoner will be taken back to jail, and to-morrow, be- fore sulirise, be guillotined. 64 SYDNEY CARTON. [ACT III (Mob makes a mad rush for him and tries to thrust the, grass dozvfi his throat as they carry him off 'l,. ye. screamX ing with horror) FOULON. {cryi7ig) Mercy! Mercy! (ad lib) (President ringing the bell — as FouIvOn exitSy the crowd is over l.ie.; as they turn they see Mr. Lorry and Lucy" Manette and old Dr. Manette, zvho have entered^ I..C.) BARSAD. {zvho enters I,.IE.) Aristocrats! — look, aristocrats! Downj with them! {inakes rush for them — Vengeance steps in betiveen) VENGEANCE. Hold! These are not aristocrats. This is Citizen Manette — the good Citizen Manette, who was incarcerated for twenty years in the Bastile. Long live Citizen Manette! ^ MOB. Long live Citizen Manette! {great cheering and ivaving of hats — President striking ivith gavel for order) PRESIDENT. Citizen Maaejtte, as a friend of this Republic, you are more than welcome. VENGEANCE. And he deserves it! Look, citizens, there is a man who was ground under the heels of Royalty. MOB. To the guillotine with all prisoners! {bus. for LuCY ivith her father yM.^. Lorry takes her and leads her over to the chairs.) VENGEANCE. And if that is not quick enough, our arms and knives are ready. Here's mine for work, {ivaviug his knife) MOB. And mine! and mine! {p2it ivith their knives) PRESIDENT. (gavel) There is one more prisoner that yet awaits his trial — Charles Evremond, called Darnay. BARSAD. (outside) Charles Evremond, called Darnay! {repeated twice) I ACT III] SYDNEY CARTON. 65 PRESIDENT. Citizen Manette, you are a witness, I believe. A chair for you is here, {pointing to chair left of table, luhich is directly in front of his beftch) Charles Evremond, called Darnay. (Darnay enters l. c. pale. Carton enters shortly after un- observed and walks over to where Luc v and Lorry are seated — as Darnay enters he meets Manettk, grasps his hand, goes down left to prisoners' stand — Lucy approaches him — Ci^Y observing, steps in between them just as they are about to em^brace — Cly points to stand — Darnay gets on it and Lucy is led back to her seat by Mr. Lorry) PREvSIDENT. Proceed with the case of Charles Evremond, called Darnay. Proceed. CLY. I accuse the prisoner at the bar, Charles Evremond, called Darnay, as an emigrant, whose life is forfeit to the people under the decree of the assembly which banishes all emi- grants under pain of death. I shall prove his name, his title, and the fact of his return since the date of the decree. There- fore, justice demands the head of the prisoner, {bus, for Lucy and Carton) VENGEANCE. Yes, the people demand his head! Death to the criminal! Death to the aristocrat! PRESIDENT. {ringing bell for silence) Does the prisoner admit his name? Yes. His family? Yes. DARNAY. PRESIDENT. DARNAY. PRESIDENT. His character of Frenchman and emigrant? DARNAY. The first, yes; the last, no! I relinquished all claim to the title and estates and left my country long before the word emigrant was known in its present use. 66 SYDNEY CARTON. [ACT III VENGEANCE. Well answered. Bravo! PRESIDENT. Why did you leave the country? DARNAY. Because I chose to earn my own living by my own industry in England rather than live in France by 'the sweat of the suffering people. PRESIDENT. And why did you return? DARNAY. To save the life of an old servant who was endangered by my absence. CLY. {going down right ^t/'Darnay) Is that old servant present to give evidence in your favor? DARNAY. No; he is dead. CLY. Yes, he is dead; but how? DARNAY. By the guillotine. CLY. {to Jury) Then I submit he was a traitor; and you, by try- ing to save him, became a traitor, too. CROWD. Well said ! Bravo, Cly ! bravo ! Death to the aristocrats ! CLY. The prisoner at the bar went to England to try and secure help from the tyrannical English government to crush the people of France. VENGEANCE Bravo, Cly! Down with the traitor! DARNAY. No, no, citizens, *tis false ! CLY. {to Jury) I tell you, citizens, *tis true ! {crowd applaud) ACT III] SYDNEY CARTON. 67 DOCTOR. {rising y addressing spectators) Friends! friends! listen to me — to me — to me! 'Tis not true. This young man was loy- al to France. He went to England to try and better his con- dition. CLY. That's it; he thought more of himself than France. France wasn't good enough for him and so he lived in England and fattened on the rents paid by the starving poor. VENGEANCE. Another Foulon! We demand his head! DOCTOR. 'Tis not so, good friends. PRESIDENT. Citizen Manette, take the witness stand. (Manktte crosses to witness stand) VENGEANCE. Long live Citizen Manette! (Mob cheers) PRESIDENT. Listen to the good old man who has suffered in our cause. Citizen Manette, one question: Was the prisoner at the bar loyal to France or not? DOCTOR. He was loyal. He was my first friend after my long im- prisonment, and instead of being a friend of Englands he was ried for his life as a French spy and a friend of the United States. CLY. {to Mob) Hold on, friends, this is a trick to gain your sympathy. DOCTOR. No, no, good friends; ask Mr. Lorry who is sitting there to ^rove the truth of what I say. (Ci^Y appeals to President) LORRY. (rising) Citizens, President CLY. (turns on Lorry) Silence ! You are no witness here, ^rieuds and citizens, that man represents the Tellson Bank, 68 SYDNEY CARTON. [ACT III the hardest-hearted bankers in the world and the enemies < the common people. VENGEANCE. Down with the bankers and all aristocrats ! CLY. This is all a trick to gain your friendship and your favor.^ Dr. Manette did suffer once for his country but that is for- gotten; he now stands ready to perjure himself for his intend- ed son-in-law. {pointing at Darnay) The trial that they speak of never happened. DARNAY. It did ! and there stands the barrister that saved my lifd Citizen President, I call upon Sydney Carton as a witness. CLY. (rc) Another Englishman and a hater of the p6or. CARTON. {do7vn r) No, citizens, no ! I sympathize with you an^ with your sufferings — I, too, am poor; no one in this council hall is poorer than I am. Long live France, and long live the Republic ! {going up to Cly and joining in the cheers — meantime Manette steps off witness stand and Qa.'rto^ gets on. Manette sits on chair right of table nervous and ex- hausted) CROWD. Hurrah ! — hurrah ! — hurrah ! VENGEANCE. Down with the Englishman, and all who trample on ou rights ! CARTON. That's right; down with England ! — down with France ! Down with any country when it tramples on the rights of the poor ! Long live the Republic ! — long live justice ! {cheers) That's the kind of an aristocrat I am. VENGEANCE. Long live the citizen ! Long live the witness ! CARTON. Impossible, friends — impossible ! How can I live without a franc to buy my dinner with. ACT III] SYDNEY CARTON. 69 VENGEANCE. Come with us — we'll find it. CARTON. That's what I've been living on for the past three days. {holding up bottle) I've no sympathy with the rich — all that I want, all that you want, is justice. CROWD. Justice ! — justice ! — justice ! CARTON. And we'll have it, friends, will we not? {crowd answers Yes!) And you give it to that young man, also? {pointing to Darn ay) CLY. No ! we want the life of that man ! (Ci^Y over at witness stand ) CARTON. And why do you want that man's life? Who's paying you to demand his life? You've tried that game before; I know you, your name is Cly — Roger Cly. Listen, friends; that's the man who went to London in behalf of Marquis St. Evre- mond to put young Darnay out of the way. He had him ar- rested as a spy against the British government, and all the time he was a spy in the service of France, and working against the common people. Now, citizens, which ought to go to the guillotine — Darnay, the prisoner, or Cly, the spy? CROWD. Cly! Cly! The spy! the spy! (CivY rushes over and back trying to appeal to the people) CARTON. Then send him there. He turned his coat as soon as roy- alty fell, and is ready to betray the people again. He's worse than old Foulon! He stabs in the back! Death to the spy! To the guillotine! — the guillotine! VENGEANCE. To the guillotine! — to the guillotine! {croivd rush over the seats, seize Ci^y and drag him off 1..1E. shouting spy!— spy! spy!— spy!— kill the spy! Ci^y struggles — cheers kept up until City's exit — Presidknt ringing bell — crozvd returns) VENGEANCE. Long live the citizen! long live justice! 70 SYDNEY CARTON. [ACT III CARTON. Right, friends, right! And you'll give it, friends — give it to rich and poor alike? VENGEANCE. Ay, that we will! CARTON. That's all I want. Now let the others speak, {steps down from stand — shakes hand o/DiSi. Manette) PRESIDENT. Call the principal witness against the prisoner — Ernest De- farge; wanted, Ernest Defarge. VOICE. {outside) Wanted, Ernest Defarge! Wanted, Ernest De- farge! {as though going in distance) Wanted, Ernest Defarge! {faintly heard) — {pause) — He's not in the witness room. {faintly heard) He's not in the witness room, {still nearer) He's not in the witness room, {quite loud) PRESIDENT. Not in the witness room? Jurymen, you have heard — the principal witness can not be found. Your verdict — guilty or not guilty? JURY. Not guilty ! PRESIDENT. Then the prisoner is free! {all give three cheers and then catch the orchestra playing the Marseillaise. The crowd and jurymen jump to the stage ^ surround the prisoner^ join in singing the Marseillaise. Darnay rushes into Lucy's arms. Crowd picks him up and places him on table. Great cheer- ing and singing wildly the Marseillaise. Dancing till cur- tain falls. All confusion and excitem^ent) Curtain. ACT IV] SYDNEY CARTON. 71 I ACT IV. Scene First. — Room in Tellson's Banky in 2 or 2^4, door c^ Tiith curtains — chair back of c. door — windoiv Tv.2E., with Venetian blinds — small table and, chair over "sl. — table and two chairs over i^., near window^ with account books on — waste basket — door r.2E. — scene boxed, {Bell rings outside as though distant church bell) LORRY. Eleven o'clock. Ah! this has been a hard day's work. (discovered tearing up papers) A strange job, this — burning the papers of Tellson's bank; but it must be done, else heads will fall. Jerry! Jerry! (enter Jkkky zvith a pile of ledgers R.2E.) JERRY. 'Ere I am, Mr. Lorry; *ow much more to do? It's near mid- night. LORRY. That's true. Take those books with the papers here. I did intend to burn them, but on second thoughts I think I'll bury them. JERRY. r wouldn't if I were you — I'd burn 'em if you want to save heads. There may be such a thing as book snatchers. (noise outside — murmicrs ^Mob. At window) The cut-throats are outside at the grindstone again, (noise of grindstone outside) LORRY. {over at window) Oh, the scoundrels; and in the yard of Tellson's bank, too. They are going to make a night of it. Jerry, take the books and burn them — burn them at once. JERRY. I've a blazin' fire all ready. Nobody won't disturb their poor ashes — no, sir; I'll answer for that, (sloivly exits R.2E.) LORRY. Ah! those are not the first bank books that have ended in smoke, (looks through closed Venetian blinds) That's right, grind away, you rascals — not scissors and knives, but swords and pikes. What work have the devils now in view? 72 SYDNEY CARTON. [ACT IV CROWD. {they chant outside) The guillotine! — the guillotine! — long live the guillotine! LORRY. Women and children, too — it makes me sick to look at them. CROWD. {singing outside) Evremond — vSt. Kvremond — we'll send him to the guillotine! LORRY. The guillotine? Kvremond? What new mischief are they plotting? CROWD. {singing outside) Evremond, St. Evremond; we'll send him to the guillotine! LORRY. Oh! (Carton enters in door 'R.2n. pale — hair disheveled) My God! Carton, what's the matter? CARTON. The worst — Darnay is again arrested! LORRY. Arrested! CARTON. Yes; this morning. Torn from the arms of Lucy at the mo- ment of his greatest happiness; dragged through the streets like a common dog; placed on trial; and tomorrow, one hour before sunrise, the guillotine ! LORRY. The guillotine ! My God ! for what reason ? — who was the accuser? CARTON. Ernest Defarge and Dr. Manette. LORRY. Dr. Manette ! CARTON. Yes. When the Bastile was being battered to the ground, Ernest Defarge went into the old cell of Dr. Manette, and there in the chimney hidden away he found a full confession SC. I] SYDNEY CARTON. 73 written by the doctor himself, exposing the foul crime that sent him there. When Defarge read the confession at the trial and told the mob that the girl was his sister and the dy- ing boy his brother, they broke all bounds — went wild — and for the sins of the father, Charles Darnay must die ! {enter Lucy on the arm of Miss Pross) LORRY. Miss Lucy, you here! {goes to her, takes her arm) Why, what is the matter? LUCY. My father — have you seen him ? LORRY. ^ Your father — why, what has befallen him? {leads her to chair) PROSS. He hasn't been home since the trial. LUCY. I'm sure he's dead or else mad, wandering through the streets of this great city. LORRY. There, there, my child, have no fear; a Bastile prisoner is safe, perfectly safe. Perhaps he's using his great influence to save Charles. While there's life there's hope. CROWD. {outside) The guillotine! the guillotine! long live the guillotine ! LUCY. What is that? {starts for window and Lorry prevents her) LORRY. No, no, my child, you must not. CROWD. {outside chanting) vSharpen and grind, sharpen and grind, grind the knives for the guillotine ! LUCY. No ! no ! {staggers back) Father ! Charles ! {caught by Miss Pross and placed in chair back of centre curtain) LORRY. Miss Manette! Lucy ! She doesn't hear a word. 74 SYDNEY CARTON. [ACT IV CARTON. Vi . i / at 7vitido7c) Better let her rest; nature demands re- pose. CROWD. {outsiiir cfiafiti?!^') The guillotine ! the guillotine ! long live the guillotine ! LORRY. God help the doctor if he falls into the hands of those be- low. CARTON. Ah! the wheels of fate are grinding—grinding on! CROWD. {cha?it) Sharpen, grind — sharpen, grind — grind the knives for the guillotine! LORRY. Hear the fiends — thirsting for human blood ! A fine exam- ple of Christian charity and brotherly love. CARTON. {at 7C'ifn/o:i') And yet, greater love hath no man than this, that a man lay down his life for hi^ friends. LORRY. Ah, Carton, those self-sacrificing days are gone forever — they'll never return. CARTON. They might! Who knows? The morrow is not here — the sun is not yet risen. LORRY. {eyTtffj^ him) What does he mean? {k?iock at door r.2E.) Who's there? DEFARGK. 'Tis 1— Defarge. CARTON. (L.C.^ Defarge! LORRY. (c. turtiitto to Carton) What shall we do? CARTON. Admit him. SC. I] SYDNii^V CARTON. 75 LORRY. He may mean harm. CARTON. If he means harm tx> Lucy Manette, he'll never leave this room alive. (Carton quietly ^oes over to door that Defargk is to enter — stands by door-center IrnvKKC^K—when Carton finds out Dkfakgk's mission, }(oes away from door, up hack of Depargh, hut unseen by the latter) LORRY. Come in. (enter Dekarge) DEFARGE. Where is ]Jr. Manette? — he's not at home. I wish to speak to him. LORRY. He can't be found, thanks to your deviltry. DEFARGE. I mean no harm to my old master; he has suffered enough already. I wish to save him. LORRY. How? DEFARGE. Leave Paris Viefore the execution of Darnay, or you'll never quit alive. Already there's a plot against you all. I love my master and his child, h)ut the hated race of Evremond must perish from the earth, {observes Carton) Yes, even in spite of you, Mr. Sydney Carton. You tried to save him but you failed miserably (fxits) CARTON. {clock strikes r2) Not yet! LORRY. (l) Twelve o'clock, the last day on earth for Darnay. CARTON. (r) The last day on earth for me. LORRY. Did you speak, Mr. Carton? CARTON. (shakes head) ]s^. {pause) 'Sh! I think 1 hear the doc- tor, {pause) -Yes; 'tis he. {enter Doctor with head and 76 SYDNEY CARTON. [ACT IV throat bare J coat in hand and trailing on the floor, stops, looks round — he is led to door by Defarge) DOCTOR. {^crossing c.) Where's tny bench — my shoemaker's bench? I've been looking every place for it and I can't find it. I must finish those shoes, {pause — drops coat at c.) Those shoes must be done to-night, {over i^.) * LORRY. Lost! utterly lost! {takes him — leads him over x,. to chair — he sits down) CARTON. {picks up coat and paper falls out) We should look at this. LORRY. Certainly, by all means. CARTON. {looks at it) Thank God! LORRY. What is it? I CARTON. Passport for jiimself and Lucy. As Defarge says, it may be recalled at any minute. Keep it till tomorrow — also mine, which enables me to pass out of the city. Notice, Sydney Carton, an Knglishman. You, Lorry, will save them all. LORRY. How? CARTON. Horses must be ordered at once. LORRY. Yes, but I don't understand. Why should we leave so soon? We have done no wrong. CARTON. ■' Not yet, but you will. It is a capital crixne to sympathize with a victim of the guillotine, and all of you would commit that offence. LORRY. I understand. SC. II] SYDNEY CARTON, 77 CARTON. Lucy must be aroused at once and told of the awful danger. Have her make one grand last effort. Tell her it will save a life she loves; dwell upon that — a life she loves. Be sure and reserve my place and when it is occupied— understand, occupied — wait for nothing, but start for England. LORRY. Then I shall have a young and ardent man beside me ? CARTON. If heaven favors us, yes. LORRY. I'll order horses here at once. I'll do my part faithfully. CARTON. With God's help, I'll do mine. Good-bye. {shakes hands, starts for door — looks over at Doctor, xs over to him, takes his hand. The Doctor partially recognizes him^ looks at him affectionately a7id kisses his hand. Lorry meantime has gone up to curtains, pushes back the curtains disclosing Lucy regaining her senses. Car'ion observes, goes up, kneels down, kisses her hand — rises slozuly, goes over to door r. — as about to exit) A life she loves ! {exit) Dark Change Scene Second — Prison in /. Green foots one-half up ; bunch lights 071 R.iE. — blue foots. Table r. with one chair on left — paper, ink and quill. On opening of scene clock out- side tolls I . (Darn AY iv a I king across i, to r.) DARNAY. One o'clock ! — gone forever. But two hours more and the tumbrils will be jolting through the streets with souls to the everlasting doom, {rattle of chains and ope7iing of doors. Enter in cell Carton and Barsad carrying lighi) The time has come. BARSAD. Here is the bottle and here the cloth; the chemist says be careful — too much means death. (Carton takes bottle, Bar- sad exits — bolt of door Darnay ticrns round) DARNAY. {sees Carton) Carton, you here ! — in this prison ! 78 SYDNEY CARTON. [ACT IV CARTON. With Barsad's aid. I come from Miss Manette (Darnay grasps his hand ) with a request. DARNAY. What is it? CARTON. (l.c.) That you will do as I desire. No questions must be asked. Give me that coat of yours, {he does so) That cravat, also, {bus.) The ribbon from your hair, {bus.) Now shake your hair like mine. DARNAY. Carton, this is madness. There is no escape from this place. I will not stir. CARTON. When I ask, refuse. Is your hand steady enough to write? DARNAY. It was when you came in. CARTON. Steady it again and write what I dictate. (Darnay sits at table, pen in hand. Carton, back to Darnay, pours out li- quid on handkerchief) Write exactly as I speak. DARNAY. To whom do I address it ? CARTON. To no one. DARNAY. Do I date it ? CARTON. No. {pours out drug on handkerchief, back to Darnay) If you remember the words that passed between us in London, you will readily comprehend this letter; I know you will re- member — it is not your nature to forget. (Carton accidentally drops handkerchief on table in front of Darnay — at same time to throw Darnay off guard, quickly places his hand on his breast — crossing back of table to right ^Darnay) DARNAY. Is that a weapon in your hand ? SC. II] SYDNEY CARTON. 79 CARTON. No. DARNAY. Take your hand from your breast ! {pause) Take it away, I say! CARTON. Why, it's nothing. Write on; there's not a moment to lose. {J^Kvsi^iPiM pushes a7v ay handkerchief writing) **I am thankful that the time has come when I can prove them." (Darnay drops pen, pauses, bewildered — gazes vacantly. Carton takes handkerchief and passes it in front of Dar- NAY'syb;^^) DARNAY. What vapor is that ? CARTON. {crossing back and over i^) Vapor ? DARNAY. Something that crossed me. CARTON. I'm conscious of nothing. Take up the pen and finish. Hurry. (Darnay takes up pen but dazed) You have written **That the time has come." DARNAY. Yes, "when I can prove them." CARTON. » Good ! **And I do so without regret or grief." (Carton passes his hand once more over Darnay 's face and Darnay writes last sentence and shows that he is becoming overpower- ed by the vapor; as he finishes the word griefs Darnay rouses himself, starts to rise — Carton overpowers him and covering Darnay 's nose ivith the handkerchief he forces him to the floor and finally Darnay becomes unconscious) CARTON. Barsad ! Barsad ! Come in. (s zvith guns push them together zvith ad lib exclamations^ prisoners like- wise until they are pushed off into ttunbril l.2E. with a cheer from the outside, and the cart starts on its journey) Look at them; instead of fifty-two it ought to have been one hundred and fifty-two. {An old man am.ong the prisoners says : I am innocent! I never wronged France in any way.) GUARD. Tell that to the guillotine, she will soothe your sorrows; she's a saint to those afflicted, {laughing) The guillotine! — St. Guillotine! — (goes down r., notices Carton with his eyes upturned as though gazing into space) Hello! hello! here's a saint with upturned eyes, but they are fixed on eternity. What is it, O great and honored saint, that you see so far away? (bows m^ockingly) CARTON. I see long ranks of this new oppression — leaders, judges, spies, and all mounting the same steps that we'll ascend and leading to the guillotine. GUARD. (laughs) Listen to the dreamer, (laughs) Evremond, the saint and prophet, (xs R., sees trembling seamstress who has advanced when she hears Evremond 's name) Who are you staring at? (Giis.'L retires) Trembling, eh? You'll cringe more than that when you ascend the guillotine, (she appeals timidly with outstretched hands to him.; he takes one, swings the girl around with it) Out of the way! (she falls and Carton steps in between them) Oh, ho! so you're her champion, are you? A protector! Well, protect her from the day's wine that the guillotine will claim. (Guard looks and then slowly m>oves round the assem^bled prisoners) If there are any among you that are troubled with the headache, the guillotine will cure it. It will prevent the hair from turning gray. No razor will shave as close. You needn't say your beads there. The cross has gone forever and in its place will stand the guillotine. Long live the guillotine! (cheers outside) Long live the devil! (reneived cheers — pause) 82 SYDNEY CARTON. [ACT IV CARTON. Fear not, my friends; let us all go to death bravely. Ou our side is right aud God. {Roll of tumbril heard near and nearer, and loud cheers _ from outside — then silence — girl still kneelingy hold- ing Carton's hand infeaA GUARD. Numbers ii and 12 {middle-aged man and woman go to- gether—pushed on by Guard with ad lib exclamations') Number 15. NUMBER 15. Citizen Evremond, I thank you for the fortitude and strength that you have given me in this, my last hour. Good- bye and God bless you. {slowly exits) GUARD. 18 and 20 {young man goes up steps^ totters, and would fall but that 20 holds him up — then Guard comes and pushes him off with) Coward! — dog! — get in there! 13, 14 and 15 are not here, having committed suicide in their cells. lirave men ! A worthy example. 16 {a ivoman goes up) 17 and 19. {they support the zvoma7i a?id as they exit l.2R. into tumbril it ^ drives off amidst cheers. Guard exits off steps) GIRL, lb there no hope, Citizen Evremond? CARTON. None, my child — none. GIRL. Let me stay close to you; it will help me. I am a poor little seamstress that was arrested with you. CARTON. With me ! What for ? GIRL. Don't you remember? Plots! — and heaven knows that I am innocent. Who would plot with a poor creature like me? CARTON. I am very sorry for you. GIRL. I am not afraid to die if the Republic will only help the poor; but I can't see how my death will help it. SC. Ill] SYDNEY CARTON. 83 CARTON. Alas ! we are all victims. GIRL. But you are not condemned. I heard that you were free. CARTON'. I was, but only for a moment. GIRL. Then there's no hope for nie, Citizen Evremond ? I'm lit- tle and weak, and if I hold your hand I, think it will give me courage. May I go with you to the guillotine? CARTON. I can not tell; my number is 25. GIRL. Mine is 24. {she stretches both hands to Ca'rton with joy — it is the first time she sees him face to face) Why, you're not Citizen Evremond ! CARTON. 'Sh! . GIRL. Are you dying for him ? CARTON. Yes. GIRL. - Oh ! I can not understand. Why do you give your life for another? CARTON. To save a life she loves. GIRL. {bewildered) A life she loves! CARTON. Yes. I can see her now — I can see them both — happy in that England that I shall see no more. {In distance can be heard the tumbril; near and nearer till at last it arrives. Loud cheering off. Guard on steps) 84 SYDNEY CARTON. [ACT IV GUARD. The third tumbi;-!! has arrived. I shall first call Number 24. (GiRiv screams with fright and retreats over^. trembling) Now, Citizen Evremond, save her if you can, for your num- ber is 25. (Carton slowly 7'ises and Girl seeing hifn rise re- covers. Qkvjioi^^ goes over to her^ puts forth his hand; with both of her hands she grasps his) CARTON. Fear not, my child. Remember the words of Him above: **I am the resurrection and the life. He thatbelieveth in me, though he were dead, yet shall he live, and whosoever liveth and believeth in me shall never die." Come— come, (slowly exit over i,.2E.) Dark Change. Scene Fourth. — The guillotine — scene quite darky only the green foots on one-half ; Executioner on top of guillotine with lantern; Defarge, Vengeance, Executioner, and about thirty people are on stage; Defarge on r. drinking with Vengeance; bottle and cups on old bar^rel; a wash bench at foot of guillotine ; two men playing cards on it, others grouped about drinking ; woman is on the scaffold^ she has fainted and is supported by man and woman attendants. EXECUTIONER. Take her away, the hag; she's fainted. To kill her now would be no punishment, {they take her azvay) Look, friends, the storm is over and it's clearing in the east. St. Guillotine is slow this morning. Only two tumbrils have arrived, but the knife works like a charm, {works knife) MOB. Long live the guillotine ! {cheers) EXECUTIONER. This time yesterday forty heads had fallen. VENGEANCE. We'll double that this time, and dance with joy when their cursed heads are on the block. What say you, Defarge? DEFARGE. My sentiments to the letter. But all I await is the cursed Evremond. SC. IV] SYDNEY CARTON. 85 VENGEANCE. You'll not wait long. He's on the third tumbril. It will soon be here — then, Defarge, you can see him get his head shaved, (laughs) DEFARGE. When I see him mount that guillotine my life's ambition will be satisfied, {enter Baksad i,.2E. with lantern). Oh! you're here, are you? {rising). Look, friends, this is the m^u that held me fast at the trial and tried to rob me of my vengeance. Damn you ! you should be up there and follow your friend, Evremond. BARSAD. I care not for Evremond. I hate him as much as you. I'll not be satisfied until I see him under that knife, {xs over R.) DEFARGE. Oh ! you've changed. Then come with me and meet him on his way to death. BARSAD. No, I'll wait my vengeance here. DEFARGE. You're not one of us, you coward ! VENGEANCE. You'ie right, Defarge, that man is a coward! {noise of tufnbril in distance.) DEFARGE. ^ Listen, friends, listen; the music of the tumbril, {crowd stops playing cards and dri7iking. Away in the distance can be heard the Marseillaise if desired) Come, Barsad, you traitor — come, meet him if you dare, {exit DeFarGE and Vengeance. The crozvd in distance coining nearer and nearer^ singing — Barsad walks over j^. and back uneasily — the Executioner trying the knife, laughing as it ivorks up and down — the mob comes on at "To arms, to arms, ye brave!" — as they all get on stage, they have lighted torches if desired) EXECUTIONER. Long live the guillotine ! {cheers and then Carto'n comes on leading little seamstress from Iv.2E.; as he appears Mob taunt him with ad lib exclamations — "Ah, off with his head — To the guillotine with him !" {as Carton and seamstress reach foot of guillotine, Defarge rushes on wildly. Barsad 86 SYDNEY CARTON. [ACT IV has followed up Cakton looking closely to be sure that Car- ton has carried out his agi eemeut and this will make Barsad near foot of guillotine steps as DiiFARGE enters) _ | DEFARGE. Hold on! stop! stop! (Mob stop exclaiming) Evremond has escaped! MOB. Escaped! DEFARGE. That's not Evremond — that's Carton, the Englishman! {makes a rush for Carton — Barsad holds him. — brings him\ down to about r.2K.) MOB. {follows) Let him go! hold on there! stop! (Barsad and Guards overpower Dkfarge) BARSAD. Stand back! This man is crazy — Evremond is on the scaf- fold now — look! {This action is done quickly — action — action so that Car- ton goes up the scaffold and is fust in position on the top when Barsad says "Look!") CARTON. It is a far, far better thing that I do than I have ever done. It is a far better rest that I go to than I have ever known. (Mob motionless — ^Dkfarge on his knees overpow- ered — Barsah'S right hatid over his mouth — his left pointing to Carton — all eyes on Carton — Vengeance over lejt — and as Carton speaks calcium on him and glare on back drop as though coining sunrise) Curtain I MUSIC FOR SYDNEY CARTON. prologue:- Music for rise Cue — "That's iny business" — music till doctor exits. Whcu they overpower Dr. Manette in struggle, music till curtain. ACT I. Music for rise. When face appears at window, music through dark change of scene. When I^ucy is alone on stage, music till curtain. ACT II. Music for rise. When Dr. Manette and Darnay are alone on stage, music till Lucy says, " Defatge! " When Dr. Manette invites guests to sit at table, music till Lucy exits. When Lucy and Carton are on stage alone, music till curtain. ACT III. Music for rise. When Carton takes paper from Barsad, music through chatige of scene. Particular cue — "Then the prisoner is free." Play the Marseillaise— F. F. F. F. till curtain. ACT IV. Music for rise— the Marseillaise — P. P. When Dr. Manette appears, music till change o* scene When Carton says, "God help him and strengthen me," music till change of scene. When little seamstress screams, music till change of scene. When Carton on scaffold, music till curtain. LIGHT PLOT. PROI.OGUE. House lights out during entire play. Calcium to shine in through window for moonlight during entire act Green or blue foots on sQ characters can only be distinguished. All other lights out. ACT I. Scene Ftkst. — At rise foots only on, all borders out. When servant extinguibhes candle on centre table, foots gradually down When remaining candle blown out, entire darkness for change of scene. As curtain strikes the stage, first border up to strike and rearrange next scene. When ready, first border out and curtain goes up on dark scene. Scene Second. — When Stryver comes up trap with candle, foots up half. Ashe lights candle on stage, foots up full and then gradually first border full. Remain so during act. ACT II. At rise, foots and first' and second borders red and white on full. White bunch light up back of set house centre. When Darnay comes on, first and second white borders gradually out. After Carton's scene with Lucy, bidding her "good-bye," white foots gradually out. Only red on full for rest of act and white bunch lights on in house. * ACT III. Scene First. — At rise, only foots on full. At end of scene, dark change — Curtain When curtain strikes the stage, first border to strike and rearrange scene. When all ready, first border out. Cur- tain up on dark scene, then all lights on full till end of act. ACT IV. Scene First. — At rise, foots only on full. Dark change. Scene Second — Green foots on half, and green calcium on at ri e. so as to strike square on Darnay at table. On till end of scene — dark change. Scene Third. — Only strong white bunch light on from r.ie., to strike across stage in direction of l 2E. The Tormentor will cau«;e a shadow at r.2r., where prisoners are, and they can only be seen when guard raises his lantern before their faces This will carry out the effect of the " Black Hole" in the prison Lights kept this way until Carton and sewing girl are about to make their exit at l.2E. Dark change. Scene Fourth —Only green or blue foots on so that audience can distinguish Executioner and see knife work on the Guillotine. Cal- cium read}'^ to work from flies to strike Carton on .scaffold at cue — *' He's on I'he scaffold now— look! " When calcium on, foots out and bunch light back of back drop gradually on as though coming sun- rise. On till Curtain. PROPERTY PLOT. PROLOGUE. Bag of hay to throw on floor. Two dark horse-blankets. Common kitchen-table, r.2E. Old chair without back l. of table. Old-fash- ioned ink. stand, quills, ink, paper, documents. Candle lighted on table. Old lash whip. Bell at prompt entrance. Bunch of keys for Marquis. Documents for Chevalier. ACT I. Scene First. — Small fancy table with cover, on which Candelabra with three or four lighted candles. Also quills, ink and paper, docu- ments and small tap bell A small .«-tand r e. at Tormentor, with candle and candlestick. Curtains and pole, c. Chairs r. and l. of table. Bass drum or thunder drum r.2E. off stage for thunder. Doc- uments for Darnay. I^etter for TvaBreton. Dagger for Defarge. All old style furniture. Scene Sf:cond. — Small table over at r.i e. with chair l. of it; on it small Bible, opened. Candle and candlestick. Medium sized table, c , on it old-fashioned wash bowl partly filled with water. Towel for Carton to tie round his head as though sleeping off a night of dissipa- tion. Ivarge table over at L 2E. near fireplace. Chair r. and l. On table, writing materials, a few books, four emptv wine bottles, one bottle full of wine, three glasses A drawer in side of table nearest fireplace in which is old-fashioned revolver. Book case up back. A feyv books on floor. Old-fashioned looking glass on mantle, also an old long pipe filled with tobacco. Lighted candle at foot of trap under .<-tage so that Stryver can take it up with him. Small portrait for Defarge, to be burned. Coins for Miss Pross. Documents for Stryver. Old-fashioned furniture and entire scene one of neglect. ACT II. Ground cloth down. Rustic bench up l.c. Two rustic chairs and small rustic table down at l. 2E. Large table with cloth over at r.2E., with six chair.'< round it. Two small fruit stands with fruit on table, also two wine bottles filled with wine and six wine glasses; also glass decanter. Two vases of flowers; on left corner of table, writing material for Mr. Lorry. Letter for Jerry Cruncher. Letter and bou- quet for Stryver. Letter for Defarge Purse with coin for Miss Pross. Letter on table addressed to Marquis St. Evremond, which Stryver discovers. ACT III. Scene First — Kitchen table with one chair over at r.2E. On it are writing materials and two books. Dagger for Rarsad. Note— When scene is struck, place this table with everything on it in front of President's bench, c. Scene Second. — Writing materials and bell for Judge or President. Dark flask for Carton. Bunch of grass for Vengeance. Chair back of bench for President. Twelve chairs for Jury. Two chairs down at R. J E., in front of Jury box, for Lucy and Mr. Lorry. ACT IV. Scene First — Bell to strike ir at opening^ of scene. Fancy table over L 2 E., on which writing- materials and old papers which Mr. Lorry is tearing up. Waste basket. Curtains on windows i> 2 e. Curtains and pole on centre door. Lcrge arm chair back of centre curtains. Two chairs k. and i>. of table over l. Sni^ll table over r. 2 e. Small grind stone outside window l. 2 e. Old knife to grind. Dark change. Scene Second — Bell to strike 2 at opening of scene. Old table ovet R with wri Jng materials and old chair le'ft of it. Small white cloth and small bottle filled for Barsad. Old-fashioned lantern for Guard. Dark change. Scene Third.— Bell to strike 3 at opening of scene. Lantern for Guard Effect of tumbril iu distance. Large document for Guard, one common chair, c. Scene Fourth. — Two old barrels, bottom side up, up stage, one r. and one l. Two tin cups and one wine bottle, also pack of cards on each barrel. Two wash benches over at u 2E. and L.3E. Four stools or chairs without backs. Lantern for Kxecuutioner. Effect of tum- bril coming in distance. 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