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.