Theater Royal 54-03-27 Episode 26 ATaleOfTwoCities

0:00The National Broadcasting Company presents Transcribes Sir Rowan Sulebier in theatre royal. This is Lawrence Olivier. We have before now turned to the novels of Charles Dickens and taken from them sequences as a basis for our radio play. Today's play comes from the same magnificent song. The setting is London and Paris, at the time of the French Revolution, the book, The Tale of Two Cities. The sequences we've chosen will be familiar to you, and I myself shall be playing the role of Sydney Cotton.

1:11It is a strange face which makes two men so exactly alike that one may pass for the other, which throws those men together through love, then allows the death of one to buy the life of the other, as mine shall do tomorrow, when Sydney Cotton dies that Charles Donne may live. How did it all begin? Those ten long years ago, that day in court, when I first saw Charles Donne. Yes, when I first saw her for Lucy, for dear sweet girl, how she trembled for him even then. How obviously she loved him, how she feared for his life. For his life was at stake that time, no less than this.

2:11When fate first threw us together, when Charles Donne was untrial for prison, in London. I loved him called Miss Manette. How do you any conversation with the prisoner on your passage with him across the channel from France? Yes, sir. Recall it. When did gentlemen come on board? Do you mean the prisoner? Yes, sir. Then say the prisoner. When the prisoner came on board, he noticed that my father was very ill and weak. He had been unjustly imprisoned in a bastion parry for many years. Never mind about your father, Miss Manette. The prisoner. He helped me to make up a bed for him on the deck and to shut him from the weather. He was very kind to us, and I hope that I may not repay him by doing him harm today. Miss Manette, if the prisoner does not perfectly understand that you are merely giving evidence which you cannot escape from giving

3:12with great unwillingness, he is the only person present in that condition. Please donne. The charge on which Charles Donne was appearing, treason and espionage was obviously absurd. Is a Frenchman, yes, who had left his country and had settled in London for private family reasons. But as to his loyalty, there could be no possible doubt. The charges against him, in fact, were based upon the lying evidence of a professional spy and informer, one James Bar said, very well known to me. And as he gave his evidence, I slipped a note to my friend, the defending council. I saw the prisoner that very night in a tavern outside the dockyard at Chatham. Five years ago, yes. He was sitting there in the bar talking secretly with two men, I recognized a naval dockyard workers. I gave him some papers. You say again that you are quite sure it was. Oh, yes. Did you ever see anyone that he liked the prisoner? Oh, not so likely. I could be mistaken.

4:12No. Then look very carefully at my learned friend. Yeah. And then look carefully at the prisoner. Oh, I see. How say you are? Are they very like each other? Oh, yes. We were like each other. So like that we might well have passed for twin brothers. And in that likeness, Charles Donet found salvation. The case against him was dismissed. That night, at my invitation, we dined together in a tavern of Fleet Street. My council told me what you had done for me, how you called his attention to me, how you called him, how you called him, how you called him, how you called him, how you called him, how you called him, how you called him, how you called him, how you called his attention to the extraordinary resemblance between us. How that factor alone, broke down the charges against me. I can only thank you for that with all my heart. I neither one thanks no merit in him, Mr. Donet. It was nothing in the first place. And I don't even know why I trouble to do it in the second.

5:12Mr. Donet, let me ask you a question. You think I particularly like you. You have acted as if you do. But I don't think you do. I don't think I do. I begin to have a good opinion of your understanding. When I hope there's nothing to prevent me calling the reckoning and our parting without ill blood, or night of fire. Nothing at all. We're calling the whole reckoning. But of course, that is the least I can do. After all, I probably owe you my life and good, and bring me another kind of this wine draw. And only a last word Mr. Donet. Huh? You think I'm drunk? I think you have been drinking, Mr. Karkam. You think? You know I've been drinking. Very well then. I know you have. Then you might as well know why. I'm a disappointed man, Mr. Donet. I care for nobody on earth.

6:12And nobody cares for me. You might have used your talents. Better, Mr. Karkam. Maybe so, Mr. Donet. Maybe not. Good night. Good night, sir. And once again, thank you for what you did. I never attempted to deceive myself. Donet had done me no ill, and only the one thing stood between us forever. It was he that Lucy Manette loved. It was not Sidney Karkam. Even so, I must hear the truth from her own lips. I hear you are not well, Mr. Karkam. No. But the life I lead is hardly conducive to health. Is it not a pity for you, Nick?

7:13But is it not a pity to lead no better life? God knows, this is shame. Then why not change it? It's too late for that. I shall never be better than I am. If it had been possible, Miss Manette, that you could have returned my love, such as I am. Ah, well, even then, I should probably have disgraced you and pulled you down. I know very well that you've no tenderness for me. I ask for none. I'm even grateful that you haven't. Can I not help you, Mr. Karkam, even without it? Yes, if you'll hear me through, Miss Manette. I wish you to know that having met you, you and your father has well stirred old shadows that I thought had died out in me. Within myself, I shall always worship you, no matter how I seem to behave. Will you believe that? Yes. It's useless to say it, I know.

8:13But it rises out of my soul. For you and for any one dear to you, I would do anything. I would give my life for you, or to keep a life beside you that you love. I have known it in my heart all along. When Lucy Manette married Charles Downey, I was the first to wish them happiness. In that kind and friendly home of theirs, I was an irregular but always welcome guest. For that, no doubt, I had Lucy to thank. For Charles Downey and I could never be really friendly, no matter how much we seem to resemble each other. Charles Downey, Lucy Manette and Dr. Manette her father, all three of them are French. French family living as emigres in London, as there were soon to be thousands of such families. Emigres refugees from the Teller, the Teller of the French Revolution. Is the news from Charles Downey very great, Mr. Larry?

9:14Only last few weeks, the news has been almost too terrible to believe. The tales we hear of life in that unhappy city. I shall not fight with them. Paris was always an unhappy city, Monsieur. It was an unhappy city for me when I was a prisoner in the Bastille. I learned in a cell for 18 years till my reason was all about gone. Father, dear, we've never to talk about that here. The Tommy of the Bastille, I can't understand. The Bastille was notorious, the very symbol of oppression. The stories one hears these last few months, the Teller. Perhaps only the French can understand that. I doubt whether even they can understand it, Mr. Cotton. Sometimes it seems as though a wave of madness sweeps over the world like an epidemic disease, but loses their wits and loses their conscience. They act blindly as though the learned in motivation was hated against their kind. That is what happened in France today.

10:16The people of France have suffered bitterly. If they are filled with bitterness, we must not judge them too harshly, Monsieur. Though you and I would die a thousand times before we would raise a hand in anger against even our oppressors. Mr. Larry, I see that my poor father is tired and upset by the mood. Would you excuse us if we retire? I have a little to myself. Lucy, my dear, please forgive me. I should have remembered how painful all this must be to the doctor. Please sit down, Mr. Larry. I know my husband has seen to discuss with you. Good night. Good night, my dear. Good night, Mr. Cotton. Good night, my dear. Good night, gentlemen. Good night, my dear. Sit down, Larry. So the news from Paris is worse than ever. Much worse. If you know, the bank has a lot of interest over there and perhaps the news reaches us quicker than anyone else in London, we've even begun to post notices of it in the bank's window. So I saw this afternoon. And notice his look made a grave.

11:17That is why I have decided to go to Paris myself. What do you want? What should I do? What do you want to do? No, no, I mean that the country is disorganized and the journey may not even take place. Here, Charles, those are my very reasons for going. But as for it being safe, oh, it's safe enough for me. No, we're bothered to intervene over the like me. There were far too many people better worth intervening with. They may not bother to make very careful inquiries, my dear sir. Charles here was arrested and put on trial for his life even here in London. They thought he was a spy, you may remember. When his citizens badly disorganized his cap. If it weren't disorganized, my dear Cotton, there'd be no reason for my going. As it is, we have important interests at stake there. I almost wish I were going myself in some ways. As a Frenchman born, I can't help thinking that it might be possible to preach a little reason even to the mob. I was saying to Lucy only last night. I wonder your dear mentioner name. Wishing to go to France. Leave her here. To die of worry.

12:17If nobody left to worry about you, Mr. Lorry. No, no, no. It's dependent on me sir. No one is there any cause for worry in my case. Oh, and by the way. I wonder how other either of you can help me. This letter was brought into the bank today by our French courier. The dress to the marquees and every mound. Care to the bank. We've no room at all. Do I have room to know him? The marquees and every mound. Yes, I know him. If you leave it with me, I'll see that he receives it. He may well be important. Well, Charles, I'll be going. I must complete my packing for tomorrow. I should be on the way to Paris. Good night, Mr. Cotton. Good night sir. You will explain to the marquee how the letter came into my hands, Charles. I will. I'll test you out. And warm my eyes. The marquees and every mound received that letter. Indeed, he had received it already.

13:18The marquees and every mound was Charles Donnie himself. Within 24 hours of reading that letter, Charles Donnie had started on the journey to Paris himself, secretly, and leaving a note to Lucy and her father. He'd gone in answer to a call of honor, to try and save the life of his steward, the manager of his abandoned estate in France. Now under arrest by the teller, held as a hostage for his master. And when that master arrived in Paris. He just went to Paris. Is this the emigrate of Ramond? This is the man. Your age of Ramond. 37. Married of Ramond. Yes? In England. Ah, without a doubt. You are cross-eyed of Ramond to the prison of Laplace. Just heaven. Under what law? And for what a thing? We have new laws of Ramond and new offenses since you were last year. I am here voluntarily in response to that appeal there by fellow Frenchman. He is under arrest and has asked me to appear in his defense. You are an emigrate. An emigrate is forbidden to wait down to France on pain of death.

14:19You have read the decree. When was that decree passed? Two days ago. I was already in France two days ago. How could I possibly have known about it sooner? The penalty passed by brother decree is death. I demand a fair hearing in court. It is my life. Emigrates have no rights every moment. In a moment we continue, there the Royal Risse-Laurent-Soulivier. I would like to take this time to preview just a few of Sunday's wonderful shows for you here on NBC. There is distinguished Charles Munch, conducting the NBC Symphony in Claude de Bessie's Iberia and reveled letumbo de Coupeur M. And the Marriots, who try arranging a blind date for daughter Liz, on the warmly human series, The Marriage. While you are in the show, you have a great time. You can see the link on the link below. You can get a link on the link below. It is a great time.

15:19In a moment we continue, there the Royal Risse-Laurent-Soulivier. I would like to take this time to preview just a few of Sunday's wonderful shows for you here on NBC. While your NBC star playhouse brings you Joan Fontaine in Flowbear's Timeless Madame Bovery. Also, weekend, your Sunday newspaper of the air, collector's item, Sunday at home, meet the press, and, well, lots and lots more, and all good listening, too. So why not tune in yourself tomorrow to NBC? You'll see what we mean. But now we continue, theatre royal, with Sir Lawrence Olivier. Lucy and her father did not need to wait for the news of Charles Downey's arrest. For as soon as they knew of his journey, they'd set out after him for Paris. There, they learned of his arrest beyond all shadow of doubt,

16:20for he lay at the mercy of the revolutionary tribunal. And it was a fearful place, the Paris of 1792. The rule of the terror which struck away all security of life and liberty. The prisons gorged with people who had committed no offense and could obtain no hearing. And overshadowing all, the groaned insatiable spectre of the guillotine. We, the sun, find, in me, the life of the weak. And, my, the law says, in me, the life of the weak. We, the life of the weak, the life of the weak. The terrible bloodbath of those days, men and women whose only crime was noble birth, were murdered by the thousands.

17:24They, after day, they stood before the accusers that dreaded revolutionary tribunal. They, after day, they heard their sentences pronounced, and they, after day, the timbre for them out of the mob that surged about the guillotine. And in due course, it was the turn of Charles Dane, the one-time marquee, and every mob. Charles, every mob was down there. You are chaps with being an enemy of the Republic. If that be proved, the sentence of this tribunal is dead. Following day, Charles Dane was condemned to death by the revolutionary tribunal for a crime committed some 30 years before by his father and his uncle. And against that sentence of death, there could be no appeal. I had arrived in Paris for myself the evening of Charles Dane's rearrest.

18:26I knew in my heart that nothing now could save him, nothing short of a miracle. And then perhaps a miracle happened. In a wine shot near La Consigere, I made the acquaintance of his jailer a turnkey from the prison. And this turnkey was very well known to me. So, Mr. James Barsad, professional spy and informer of London, you now have work over here in Paris as well. What's that to you, Mr. Carton? I'm no friend of yours. It's proposed to win your friendship, Mr. Turnkey Barsad. Mr. Lying, perjured scoundrelly Barsad. You need to have good cards for that. I have good cards, Mr. Turnkey, turncoat Barsad. You gave false evidence against a friend of mine at the old bailiff some years ago. His name was Charles Dane. You are now a turnkey in the conciergeurie prison in Paris. And your prisoner, one of them, is that same, Charles Dane.

19:26I told him nothing. In any case, by tomorrow he'll be dead. I'm a regular thief. Oh, no, Mr. Barsad. That is not in the cards, I hold. Well, cards are in the cards. That's a card. Who have been a paid spy for the government in London? And you are here under a false name. That is a very good card. You are now in the employ of the French Revolutionary Government, who know far less about your spying activities in the past than I do. That is another good card. There might be persuaded, Mr. Barsad, that you are still in the pay of the British government. The aristocratic government of Pits, the sworn foe of the Revolution. That is a really excellent card, Mr. Barsad. I gave it to myself. I had to leave. Sure you did, Mr. Renegade, Barsad. But now let me show you how I should pay my cards. First, I should play this ace. Demonsiation to the nearest section committee. Would you really be able to convince them that you were not a spy for the British government any longer? Mr. Carden, in all justice, Mr. Barsad.

20:27For a perjured informer and a spy. What cards have you got in your hand? They could time and have a good look. Well, very well, Mr. Carden. What do you want me to do? Nothing very much, Mr. Barsad. Nothing able to endanger your neck in any way. And there's something which will remove a danger from you forever. I told him what I had in mind and what he must do to help me. After all, there was only the one thing possible if Charles Donney was to be saved. And that one thing, I'd already decided that I must do. Not for Donney himself, perhaps. But for the woman that he'd married. Only this one night left. There was no time to be lost. Only one other man in Paris who could help me. Mr. Lorry, the banker. Don't ask me why I'm giving you these instructions, Mr. Lorry.

21:27I have a reason, a good one. I do not doubt it, Mr. Carden. Charles Donney, there can be no further hope. We know that. I have reason to believe that Dr. Manette and Lucy are in very great danger as well. And that they may be arrested after Donney has died. Therefore, they must at once leave Paris and get back to safety in England. I had already intended to take them back with me. But you must do so tomorrow. Your preparations are already been made, I know. Early tomorrow, have your horses ready so that you may start a two in the afternoon. Charles Donney is due to die at three. Yes, it is imperative, but Dr. Manette and Lucy should leave the city before that. It is imperative, Mr. Lorry. You will also reserve a place for me in your coat. I should be glad to do that, Mr. Carden. You'll have your papers for traveling. So has Dr. Manette and his daughter. You see, these are my papers made out for Sidney Carden and Englishmen. Take these papers and keep them for me. Bring them to the coach tomorrow, Mr. Carden. No, no, do that for me, Mr. Lorry. I have obtained permission to pay one last visit to Donney at the prison tomorrow at noon.

22:29You will have? But how? I was told. Never mind how. You must persuade Lucy to leave him a coach with you tomorrow at two o'clock precisely. He must tell her that her father is in danger. Never mind herself, she will probably wish to die with her husband. Tell her that she must leave Paris with you, that it is her husband's dying wish. Tell her that no depends on it that she'd dare believe or hope. Tell the same thing to her father. You must make them do as I say. I think I can do that, Mr. Carden. Ah, I thought so. Quietly and steadily have all arrangements made in the courtyard here, even to taking your own seat in the carriage. The moment I come and join you, take me in and drive away. I understand that I wait for you under all circumstances. You have my travelling papers here for the rest and have promised to reserve my place. Wait for nothing but to have my place occupied and then for England. Your place occupied? Yes. Very well, Mr. Carden.

23:29And now promise me solemnly that nothing will influence you to alter the course we have agreed upon. I promise you, Mr. Carden. Remember those words tomorrow. Change the course or delay it in any way for any reason. And no life can possibly be saved and many lives must inevitably be sacrificed. I will remember. I shall do my part faithfully. Ah, I hope to do my no less. Goodbye, Mr. Lolli. Goodbye, Mr. Carden. Only one purchase to be made at the Apothecaries. One last night to spend in that seething turbulent city. You know mercy and lived only by hate. And burned on the moral at one o'clock in the afternoon. Carden, what on earth?

24:29Of all people upon earth, you least expected to see me. I do. You're not a prisoner, too. No. I happen to have influence with one of the turnkeys here. He let me visit you. I come from your wife, dear Dane. The request from her. What is it? The most earnest, pressing, and empathetic in treaty. Addressed to you in the most pathetic tones of the voice so dear to you. Yes. You have no time to ask me why I bring it or what it means. I have no time to tell you. You must simply do as I say. Take off those boots you are waiting and put on these of mine. Quick, quick, quick. Carden, there is no escape here from this place. It can't be done. You only die with me. It's madness. It's asking you to escape. Change that covert for this of mine. And your coat. Carden, there. Carden, I tell you it's madness. I implore you not to add your death to mine. Coat that quickly. I have no time to explain. Nobody can escape from me. It's always failed. Ah! Not even. Goodbye, Charles.

25:29Sorry I had to do that. Baset. You see? The wonderful resemblance. Just like it was that time at the Old Bailey. Mm-hmm. You've nothing to fear. I'll soon be out of harm's way. Get a systems and take me to the coach. Take you, Mr. Carden. Yes, him, you're for him. He was weak and faint when you brought him in. The party was too much for him. He's fainted. These things happen. Quick, call your assistance. Here's where you were betraying me and what I told you. Put him in the coach that is waiting. You'll soon have nothing further to fear. And now, there is nothing left for the ending. May it not be unworthy of one who aspired to love her. May the lives for which I lay down my life be peaceful, useful, prosperous and happy. In the England that I shall see no more.

26:33Through this beautiful city and brilliant people rise from the abyss once more and invest struggles to be truly free without the evil of this time. Citizen, every moment called down, eh? Your eye has come. Follow me. I am ready. It is a far, far better thing I do than I have ever done. It is a far, far better rest that I go to than I have ever known. This is Lawrence Olivia again.

27:56Our cast in today's play is Sydney Cotton based on sequel.