NORAH. I’m sure I’d like to come.
SERGEANT. Well, will you promise to come ?
NORAH (laughing). You seem quite earnest about it.
SERGEANT. Well, maybe I am.
NORAH. Very well, I’ll promise to come.
SERGEANT. You’ll find us rough and ready.
NORAH. I’m sure it will be very nice.
SERGEANT. Not quite what young ladies are accustomed to.
NORAH. But I am no young lady. I’ve worked with my hands every day that I can remember.
CORPORAL (in a loud voice). The Guards need powder. (Louder.) The Guards need powder I (Struggles to rise.)
NORAH. Oh, I am so frightened.
CORPORAL (staggering to his feet, and suddenly flashing out into his old soldiery figure.) The Guards need powder, and, by God, they shall have it ! (Falls back into chair. NORAH and the SERGEANT rush to-wards him.)
NORAH (sobbing). Oh, tell me, sir, tell me, what do you think of him.
SERGEANT (gravely). I think that the 3rd Guards have a full muster now.
CURTAIN. SLOW.
SHERLOCK HOLMES
A Drama in Four Acts
By Sir Arthur Conan Doyle and William Gillette
1897 and 1898
CONTENTS
DRAMATIS PERSONÆ.
ACT I
ACT II
SCENE 1
SCENE 2
ACT III
ACT IV
DRAMATIS PERSONÆ.
In the order of their appearance
MADGE LARRABEE
ALFRED BASSICK
JOHN FORMAN
BILLY
JAMES LARRABEE
DOCTOR WATSON
TERESE
JIM CRAIGIN
MRS FAULKNER
THOMAS LEARY
SIDNEY PRINCE
“LIGHTFOOT” MCTAGUE
ALICE FAULKNER
MRS SMEEDLEY
SHERLOCK HOLMES
PARSONS
PROFESSOR MORIARTY
COUNT VON STALBURG
JOHN
SIR EDWARD LEIGHTON
ACT I
Drawing-room at the LARRABEES. Evening.
The scene represents the drawing-room at Edelweiss Lodge, an old house, gloomy and decayed, situated in a lonely district in a little-frequented part of London.
The furniture is old and decayed, with the exception of the piano — a baby-grand. The desk is very solid. The ceiling is heavily beamed. Many places out of repair in the walls and ceilings. Carvings broken here and there.
The music stops an instant before rise of curtain. A short pause after curtain is up. Curtain rises in darkness — lights come up. MADGE LARRABEE is discovered anxiously waiting. A strikingly handsome woman, but with a somewhat hard face. Black hair. Richly dressed.
Enter FORMAN with evening paper. He is a quiet perfectly trained servant. He is met by MADGE who takes the paper from him quickly.
FORMAN (speaks always very quietly): Pardon, ma’am, but one of the maids wishes to speak with you.
(MADGE is scanning the paper eagerly and sinks on to seat at the foot of the piano)
MADGE (not looking from paper): I can’t spare the time now.
FORMAN: Very well, ma’am. (Turns to go.)
MADGE (without looking up from paper): Which maid was it?
FORMAN (turning towards MADGE again): Térèse, ma’am.
MADGE (looking up. Very slight surprise in her tone): Térêse!
FORMAN: Yes, ma’am.
MADGE: Have you any idea what she wants?
FORMAN: Not the least, ma’am.
MADGE: She must tell you. I’m very busy, and can’t see her unless I know.
FORMAN: I’ll say so, ma’am.
(Turns and goes out, carefully and quietly closing the door after him — immediately coming in again and watching MADGE, who is busy with paper. Finds what she has been looking for and starts eagerly to read it. As if not seeing the print well, she leans near light and resumes reading with the greatest avidity. FORMAN quietly shuts door. He stands at the door looking at MADGE as she reads the paper. This is prolonged somewhat, so that it may be seen that he is not waiting for her to finish from mere politeness. His eyes are upon her sharply and intensely, yet he does not assume any expression otherwise. She finishes and angrily rises, casting the paper violently down on the piano. She turns and goes near the large heavy desk. Pauses there. Then turns away angrily. Sees FORMAN, calms herself at once. Just as MADGEturns, FORMAN seems to be coming into room.)
I could get nothing from her, ma’am. She insists that she must speak to you herself.
MADGE: Tell her to wait till to-morrow.
FORMAN: I asked her to do that, ma’am, and she said that she would not be here to-morrow.
(MADGE turns toward FORMAN with some surprise.)
MADGE: What does she mean by that?
FORMAN: Pardon me for mentioning it, ma’am, but she is a bit singular, as I take it.
MADGE: Tell her to come here — (FORMAN bows and turns to go. MADGE goes toward the piano, near where the paper lies. She sees it. Stops with hand on piano.)
Oh — Judson!
(FORMAN stops and comes down. Everything quiet, subdued, cat-like in his methods.)
How did you happen to imagine that I would be interested in this marriage announcement? (Takes up paper and sits in seat below the piano.)
FORMAN: I could ‘ardly help it, ma’am.
(MADGE turns and looks hard at him an instant. FORMANstands deferentially.)
MADGE: I suppose you have overheard certain references to the matter — between myself and my brother?
FORMAN: I ‘ave, ma’am, but I would never have referred to it in the least if I did not think it might be of some importance to you ma’am to know it.
MADGE: Oh no — of no special importance! We know the parties concerned and are naturally interested in the event. Of course, you do not imagine there is anything more (She does not look at him as she says this)
FORMAN (not looking at MADGE — eyes front): Certainly not, ma’am. Anyway if I did imagine there was something more I’m sure you’d find it to your interest ma’am to remember my faithful services in helpin’ to keep it quiet.
MADGE (after slight pause, during which she looks steadily in front): Judson, what sort of a fool are you?
(FORMAN turns to her with feigned astonishment)
(Speaks with sharp, caustic utterances, almost between her teeth. Turns to him.) Do you imagine I would take a house, and bring this girl and her mother here and keep up the establishment for nearly two years without protecting myself against the chance of petty blackmail by my own servants?
FORMAN (protestingly) Ah — ma’am — you misunderstand me — I —
MADGE (rising — throws paper on to the piano) I understand too well! And now I beg you to understand me. I have had a trifle of experience in the selection of my servants and can recognize certain things when I see them! It was quite evident from your behaviour you had been in something yourself and it didn’t take me long to get it out of you. You are a self-confessed forger.
FORMAN (quick movement of apprehension): No! (Apprehensive look around) Don’t speak out like that! (Recovers a little) It — it was in confidence — I told you in confidence ma’am.
MADGE: Well, I’m telling you in confidence that at the first sign of any underhand conduct on your part this little episode of yours will —
FORMAN (hurriedly — to prevent her from speaking it): Yes, yes! I — will bear it in mind, ma’am. I will bear it in mind!
MADGE (after a sharp look at him as if satisfying herself that he is now reduced to proper condition): Very well … Now, as to the maid — Térèse —
(FORMAN inclines head for instruction.)
Do you think of anything which might explain her assertion that she will not be here to-morrow?
FORMAN (his eyes turned away from MADGE. Speaking in low tones, and behaviour subdued as if compl
etely humiliated): It has occurred to me, ma’am, since you first asked me regarding the matter, that she may have taken exceptions to some occurrences which she thinks she ‘as seen going on in this ‘ouse.
MADGE: I’ll raise her wages if I find it necessary; tell her so. If it isn’t money that she wants — I’ll see her myself.
FORMAN: Very well, ma’am. (He turns and goes out quietly.)
(MADGE stands motionless a moment. There is a sound of a heavy door opening and closing. MADGE gives a quick motion of listening. Hurries to look off. Enter JIM LARRABEE, through archway, in some excitement. He is a tall, heavily-built man, with a hard face. Full of determination and a strong character. He is well dressed, and attractive in some respects. A fine looking man. Dark hair and eyes, but the hard sinister look of a criminal.)
MADGE: Didn’t you find him? I
LARRABEE: No. (Goes to the heavy desk and throws open the wooden doors of lower part, showing the iron and combination lock of a safe or strong-box. Gives knob a turn or two nervously, and works at it.)
(MADGE follows, watching him.)
He wasn’t there! (Rises from desk.) We’ll have to get a lock smith in.
MADGE (quickly): No, no! We can’t do that! It isn’t safe!
LARRABEE: We’ve got to do something, haven’t we? (Stoops down quickly before door of safe again, and nervously tries it.) I wish to God I knew a bit about these things. (Business at safe.) There’s no time to waste, either! They’ve put Holmes on the case!
MADGE: Sherlock Holmes?
LARRABEE: Yes. (At safe, trying knob.)
MADGE: How do you know?
LARRABEE: I heard it at Leary’s. They keep track of him down there, and every time he’s put on something they give notice round.
MADGE: What could he do?
LARRABEE (rises and faces her): I don’t know — but he’ll make some move — he never waits long! It may be any minute! (Moves about restlessly but stops when MADGE speaks.)
MADGE: Can’t you think of someone else — as we can’t find Sid?
LARRABEE: He may turn up yet. I left word with Billy Rounds, and he’s on the hunt for him. (Between his teeth.) Oh! it’s damnable. After holding on for two good years just for this and now the time comes and she’s blocked us! (Goes to and looks off and up stairway. Looks at MADGE. Goes to her.) Look here! I’ll just get at her for a minute. (Starting to go out.) I have an idea I can change her mind.
MADGE (quickly): Yes — but wait, Jim.
(LARRABEE stops and turns to her.)
(She goes near him.) What’s the use of hurting the girl? We’ve tried all that!
LARRABEE: Well, I’ll try something else! (Turns and goes to archway.)
MADGE (quick, half whisper): Jim! (LARRABEE turns, MADGE approaches him.) Remember — nothing that’ll show! No marks! We might get into trouble.
LARRABEE (going doggedly): I’ll look out for that.
(LARRABEE goes out, running upstairs in haste. As MADGElooks after him with a trifle of anxiety standing in archway, enterTERESE. She is a quiet-looking French maid with a pleasant face. She stands near the door. MADGE turns into the room and sees her. Stands an instant. She seats herself in the arm-chair.)
MADGE: Come here.
(TERESE comes down a little way — with slight hesitation.)
What is it?
TERESE: Meester Judson said I vas to come.
MADGE: I told Judson to arrange with you himself.
TERESE: He could not, madame. I do not veesh longer to remain.
MADGE: What is it? You must give me some reason!
TERESE: It is zat I wish to go.
MADGE: You’ve been here months, and have made no complaint.
TERESE: Ah, madame — it is not so before! It is now beginning zat I do not like.
MADGE (rising): What? What is it you do not like?
TERESE (with some little spirit but low voice): I do not like eet, madame — eet — here — zis place — what you do — ze young lady you have up zere! I cannot remain to see! (Indicating above.) Eet ees not well! I cannot remain to see!
MADGE: You know nothing about it! The young lady is ill. She is not right here — (Touching forehead.) She is a great trouble to us, but we take every care of her, and treat her with the utmost kindness and —
(A piercing scream, as if muffled by something, heard in distant part of house above.)
(Music on scream. Very pianissimo. Agitato.)
(Pause. Both motionless. TERESE does not assume a horrified expression; she simply stands motionless. After quite a pause, MRS. FAULKNER comes down stairway rapidly, a white-haired lady, dressed in an old black gown.)
MRS. FAULKNER: My child! my child! They’re hurting my child!
(MRS. FAULKNER stands just within archway, looking vacantly, helplessly, at MADGE. MADGE turns, sees her and goes quickly to her.)
MADGE (between her teeth): What are you doing here? Didn’t I tell you never to come down!
(The old lady simply stares vacantly, but a vague expression of trouble is upon her face.)
Come with me! (Taking MRS. FAULKNER by the arm and drawing her towards stairs.)
(The old lady hangs back in a frightened way.)
Come, I say! (The scream again — more muffled — from above. Sudden change. Tenderly.) Don’t be alarmed, dear, your poor daughter’s head is bad to-day. She’ll be better soon! (Turns to TERESE.) Terèse — come to me in the morning. (To old lady.) Come along, dear. (Then angrily in low threatening voice.) Do you hear me? Come!
(Takes MRS. FAULKNER off with some force up the stairs. TERESE stands looking after them. Enter FORMANquietly. He looks a moment toward where MADGE has just taken the old lady off. TERESE is looking also the same way. FORMAN goes down to TERESE. They look at one another an instant in silence. Then he speaks to her in a low voice. Just before FORMAN speaks the music stops)
FORMAN: She’s made it quite satisfactory, I suppose.
(TERESE looks at FORMAN.)
You will not leave her — now?
TERESE: Leave her now? More zan evaire before! Do you hear young lady? What is eet they make to her?
FORMAN (low voice): It may be she is ill.
TERESE: Indeed, I think it is so zat zey make her eel! I weel not remain to see! (Turning a little.) I can find another place; eet eez not so difficult.
FORMAN: Not so difficult if you know where to go!
TERESE: Ah — zhat eez it!
FORMAN: I have one address —
TERESE (turns to him quickly): Bien — you know one?
(FORMAN nods.)
Est-ce serieux? What you call re-li-ah-ble?
FORMAN (moves to her): Here — on this card — (Quickly takes card from pocket and pushes it into her hands.) Go to that address! Don’t let anyone see it!
TERESE (quickly looking at card while FORMAN looks away — begins slowly to read): Meester — Sheer — lock —
FORMAN (with a quick warning exclamation and sudden turn, seizes her, covering her mouth with one hand; they stand a moment, he looks slowly round): Some one might hear you! Go to that address in the morning.
(The front door bell rings. FORMAN motions her off with quick, short motion. She goes out. FORMAN goes out to open the house door — quickly. Sound of house door opening — a solid, heavy sound — not sharp. Enter SID PRINCE, walking in quickly. He is a short, stoutish, dapper little fellow. He carries a small black satchel, wears overcoat and hat, gloves, etc., and is well dressed and jaunty. He wears diamond scarf pin, rings, etc., is quick in movements and always on the alert. FORMAN follows him on, standing near archway.)
PRINCE (going across towards piano): Don’t waste toime, you fool; tell ‘em I’m ‘ere, can’t yer?
FORMAN: Did you wish to see Mr. Chetwood, sir, or was it Miss Chetwood?
PRINCE (stopping and turning to FORMAN): Well, I’ll be blowed! You act as if I’d never been ‘ere before! ‘Ow do you know but I was born in this ‘ere ‘ouse? Go on and tell ‘em as it’s Mr. S
idney Prince, Esq. (He puts satchel, which is apparently heavy, on seat at foot of piano.)
Delphi Complete Works of Sir Arthur Conan Doyle (Illustrated) Page 928