Delphi Complete Works of Sir Arthur Conan Doyle (Illustrated)

by SIR ARTHUR CONAN DOYLE

  HOLMES: Your hands.

  MADGE: And my preference for the composers you mentioned?

  HOLMES: Your music-rack.

  MADGE: How simple! But you said I hadn’t played for three days. How did —

  HOLMES: The keys.

  MADGE: The keys?

  HOLMES: A light layer of dust.

  MADGE: Dust! Oh dear! (Quick business with handkerchief on keyboard.) I never knew Terèse to forget before. (ToHOLMES.) You must think us very untidy, I’m sure.

  HOLMES: Quite the reverse. I see from many things that you are not untidy in the least, and therefore I am compelled to conclude that the failure of Térêse is due to something else.

  MADGE (a little under breath — and hesitatingly — yet compelled by HOLMES’ pointed statement to ask): Wh — what?

  HOLMES: To some unusual excitement or disturbance that has recently taken place in this house.

  MADGE (after an instant’s pause): You’re doing very well, Mr. Holmes, and you deserve your Chopin. (Sits, makes preparation to play rather hurriedly in order to change the subject.)

  HOLMES: Thanks.

  (LARRABEE looks toward safe, far from easy in his mind, and leans on piano, giving HOLMES a glance as he turns to MADGE. MADGE strikes a few preliminary chords during above business and soon begins to play the composition spoken of. Shortly after the music begins, and while LARRABEE is looking to front or elsewhere, HOLMES reaches quietly back and pulls the bell crank. No sound of bell heard, the music supposed to make it inaudible. He then sinks into seat just at bell. After a short time FORMANenters and stands waiting just in the archway. LARRABEE does not see FORMAN at first, but happening to turn discovers him standing there and speaks a warning word to MADGE under his breath. MADGE, hearing LARRABEE speak, looks up and sees FORMAN. She stops playing in the midst of a bar — a hesitating stop. Looks at FORMAN a moment.)

  MADGE: What are you doing here, Judson?

  (Brief pause because FORMAN seems surprised.)

  FORMAN: I came to see what was wanted, ma’am.

  (Brief pause.)

  MADGE: What was wanted?

  (Brief pause.)

  LARRABEE: Nobody asked you to come here.

  FORMAN: I beg pardon, sir. I answered the bell.

  LARRABEE (becoming savage): What bell?

  FORMAN: The drawing-room bell, sir.

  LARRABEE (threateningly): What do you mean, you blockhead!

  FORMAN: I’m quite sure it rang, sir.

  LARRABEE (loud voice): Well, I tell you it did not ring!

  (Pause. The LARRABEES look angrily at FORMAN.)

  HOLMES (quietly — after slight pause — clear incisive voice.): Your butler is right Mr. Chetwood — the bell did ring.

  (Brief pause. LARRABEE and MADGE looking at HOLMES.)

  LARRABEE: How do you know?

  HOLMES: I rang it.

  (MADGE rises.)

  LARRABEE (roughly): What do you want?

  (HOLMES rises, takes card from case or pocket.)

  HOLMES: I want to send my card to Miss Faulkner. (Gives card to FORMAN.)

  (FORMAN stands apparently paralysed.)

  LARRABEE (angrily — approaching HOLMES): What right have you to ring for servants and give orders in my house?

  HOLMES (turning on LARRABEE): What right have you to prevent my cards from reaching their destination — and how does it happen that you and this woman are resorting to trickery and deceit to prevent me from seeing Alice Faulkner? (The situation is held an instant and then he turns quietly to FORMAN.) Through some trifling oversight, Judson, neither of the cards I handed you have been delivered. See that this error — does not occur again.

  (FORMAN stands, apparently uncertain what to do.)

  FORMAN: My orders, sir —

  HOLMES (quick — sharp): Ah! you have orders! (A sudden sharp glance at LARRABEE and back in an instant.)

  FORMAN: I can’t say, sir, as I —

  HOLMES (quickly breaking in): You were told not to deliver my card!

  LARRABEE (step or two up): What business is this of yours, I’d like to know?

  HOLMES: I shall satisfy your curiosity on that point in a very short time.

  LARRABEE: Yes — and you’ll find out in a very short time that it isn’t safe to meddle with me! It wouldn’t be any trouble at all for me to throw you out into the street.

  HOLMES (sauntering easily towards him — shaking finger ominously): Possibly not — but trouble would swiftly follow such an experiment on your part.

  LARRABEE: It’s a cursed lucky thing for you I’m not armed.

  HOLMES: Yes — well, when Miss Faulkner comes down you can go and arm yourself.

  LARRABEE: Arm myself! I’ll call the police! And what’s more, I’ll do it now.

  (HOLMES steps down and faces LARRABEE)

  HOLMES: You will not do it now. You will remain where you are until the lady I came here to see has entered this room.

  LARRABEE: What makes you so sure of that?

  HOLMES (in his face) Because you will infinitely prefer to avoid an investigation of your very suspicious conduct Mr. James Larrabee —

  (A sharp start from both LARRABEE and MADGEon hearing HOLMES address the former by his proper name.)

  — an investigation that shall certainly take place if you or your wife presume further to interfere with my business (Turns to FORMAN.) As for you, my man — it gives me great pleasure recall the features of an old acquaintance. Your recent connection with the signing of another man’s name to a small piece of paper has made your presence at Bow Street much desired. You either deliver that card to Miss Faulkner at once — or you sleep in the police station to night. It is a matter of small consequence to me which you do. (Turns and strolls near fire, picking book from mantelpiece — and sits)

  (FORMAN stands motionless but torn with conflicting fears)

  FORMAN (finally in a low painful voice — whispers hoarse): Shall I go sir?

  (MADGE moves to near LARRABEE, at piano.)

  LARRABEE: Go on. Take up the card — it makes no difference to me.

  MADGE (quick sharp aside to LARRABEE): If she comes down can’t he get them away from her?

  LARRABEE (to MADGE) If he does Sid Prince is waiting for him outside.

  (FORMAN appearing to be greatly relieved, turns and goes out up stairs with HOLMES’ card.)

  (Pathetic music, very pp.)

  (A pause — no one moves.)

  (Enter ALICE FAULKNER. She comes down a little — very weak — looking at LARRABEE, then seeing HOLMES for first time.)

  (Stop music.)

  HOLMES (on seeing ALICE, rises and puts book on mantel. After a brief pause, turns and comes down to LARRABEE): A short time since you displayed an acute anxiety to leave the room. Pray do not let me detain you or your wife — any longer.

  (The LARRABEES do not move. After a brief pause,HOLMES shrugs shoulders slightly and goes over to ALICE. HOLMES and ALICE regard each other a moment.)

  ALICE: This is Mr. Holmes?

  HOLMES: Yes.

  ALICE: You wished to see me?

  HOLMES: Very much indeed, Miss Faulkner, but I am sorry to see — (placing chair near her) — you are far from well.

  ALICE (a step. LARRABEE gives a quick glance across at her, threateningly, and a gesture of warning, but keeping it down): Oh no — (Stops as she catches LARRABEE’S angry glance.)

  HOLMES (pausing as he is about to place chair, and looking at her): No? (Lets go of his chair.) I beg your pardon — but — (Goes to her and takes her hand delicately — looks at red marks on her wrist. Looking up at her.) What does this mean?

  ALICE (shrinking a little. Sees LARRABEE’S cruel glance): Oh — nothing.

  (HOLMES looks steadily at her an instant.)

  HOLMES: Nothing?

  ALICE (shaking head): No!

  HOLMES: And the — (pointing lightly) — mark here on your neck. Plainly showing the clutch of a man’s fingers? (Indicating a place on her neck where m
ore marks appear.) Does that mean nothing also?

  (Pause. ALICE turns slightly away without answering.)

  (Looking straight before him to front.) It occurs to me that I would like to have an explanation of this … Possibly — (turns slowly towards LARRABEE) — you can furnish one, Mr. Larrabee?

  (Pause.)

  LARRABEE (doggedly): How should I know?

  HOLMES: It seems to have occurred in your house.

  LARRABEE (advancing a little, becoming violently angry): What if it did? You’d better understand that it isn’t healthy for you or anyone else to interfere with my business.

  HOLMES (quickly — incisively): Ah! Then it is your business. We have that much at least.

  (LARRABEE stops suddenly and holds himself in.)

  (Turning to ALICE.) Pray be seated, Miss Faulkner. (Placing chair as if not near enough.)

  (ALICE hesitates an instant — then decides to remain standing for the present. LARRABEE stands watching and listening to interview between HOLMES and ALICE.)

  ALICE: I don’t know who you are, Mr. Holmes, or why you are here.

  HOLMES: I shall be very glad to explain. So far as the question of my identity is concerned, you have my name and address as well as the announcement of my profession upon the card, which I observe you still hold clasped tightly in the fingers of your left hand.

  (ALICE at once looks at the card in her hand.)

  ALICE (a look at him): A — detective! (Sits on ottoman, looking at HOLMES.)

  HOLMES (draws near her and sits): Quite so. And my business is this. I have been consulted as to the possibility of obtaining from you certain letters and other things which are supposed to be in your possession, and which — I need not tell you — are the source of the greatest anxiety.

  ALICE (her manner changing and no longer timid and shrinking): It is quite true I have such letters, Mr. Holmes, but it will be impossible to get them from me; others — have tried — and failed.

  HOLMES: What others have or have not done, while possibly instructive in certain directions, can in no way affect my conduct, Miss Faulkner. I have come to you frankly and directly, to beg you to pity and forgive.

  ALICE: There are some things, Mr. Holmes, beyond pity — beyond forgiveness.

  HOLMES: But there are other things that are not. (ALICElooks at him.) I am able to assure you of the sincere penitence — the deep regret — of the one who inflicted the injury, and of his earnest desire to make — any reparation in his power.

  ALICE: How can reparation be made to the dead?

  HOLMES: How indeed! And for that very reason, whatever injury you yourself may be able to inflict by means of these things can be no reparation — no satisfaction — no indemnity to the one no longer here. You will be acting for the living — not the dead. For your own satisfaction, Miss Faulkner, your own gratification, your own revenge!

  (ALICE starts slightly at the idea suggested and rises. Pause. HOLMES rises, moves his chair back a little, standing with his hand on it.)

  ALICE (stands a moment, very quiet low voice): I know — from this and from other things that have happened — that a — a marriage is — contemplated.

  HOLMES: It is quite true.

  ALICE: I cannot give up what I intend to do, Mr. Holmes. There are other things beside revenge — there is punishment. If I am not able to communicate with the family — to which this man proposes to ally himself — in time to prevent such a thing — the punishment will come later — but you may be perfectly sure it will come. (HOLMES is about to speak. She motions him not to speak.) There is nothing more to say!

  (HOLMES gives a signal.)

  (She looks at HOLMES an instant.) Good night, Mr. Holmes. (She turns and starts to go.)

  HOLMES: But my dear Miss Faulkner, before you —

  (A confused noise of shouting and terrified screams from below followed by sounds of people running up a stairway and through the halls.)

  HOLMES: What’s that?

  (All stop and listen. Noise louder. Enter FORMAN, breathless and white. At same time smoke pours in through archway.)

  FORMAN (gasping): Mr. Chetwood! Mr. Chetwood!

  MADGE and LARRABEE: What is it?

  (HOLMES keeps his eyes sharply on ALICE. ALICEstands back alarmed.)

  FORMAN: The lamp — in the kitchen, sir! It fell off the table — an’ everything down there is blazin’, sir.

  MADGE: The house — is on fire! (She gives a glance towards safe, forgetting that the package is gone — but instantly recovers.)

  (LARRABEE hurriedly goes out, MADGE after him.FORMAN disappears. Noise of people running downstairs, etc. ALICE, on cue “Blazin’, sir,” gives a scream and looks quickly at chair, at the same time making an involuntary start toward it. She stops upon seeing HOLMES and stands. Noises grow less and die away outside and below.)

  HOLMES: Don’t alarm yourself, Miss Faulkner — (slight shake of head) — there is no fire.

  ALICE (shows by tone that she fears something): No fire! (Stands, dreading what may come.)

  HOLMES: The smoke was all arranged for by me. (Slight pause)

  ALICE: Arranged for? (Looks at HOLMES.)

  (HOLMES quickly moves to large upholstered chair which ALICE glanced at and made start towards a moment since.)

  What does it mean, Mr. Holmes?

  (HOLMES feels rapidly over chair. Rips away upholstery. ALICEattempts to stop him — but is too late, and backs to piano almost in a fainting condition. HOLMES stands erect with a package in

  hand.)

  HOLMES: That I wanted this package of letters, Miss Faulkner.

  (ALICE stands looking at HOLMES speechless — motionless — meets HOLMES’ gaze for a moment, and then covers her face with her hands, and very slight motion of convulsive sob or two. HOLMES with a quick motion steps quickly in a business-like way to the seat where his coat, hat and cane are, and picks up coat, throwing it over his arm as if to go at once. As he is about to take his hat, he catches sight of ALICE’S face and stops dead where he is.)

  (Music. Very pp. Scarcely audible.)

  (HOLMES stands looking at her, motionless. She soon looks up at him again, brushing hand across face as if to clear away any sign of crying. The tableau of the two looking at one another is held a moment or two. HOLMES’ eyes leave her face and he looks down an instant. After a moment he lays his coat, hat and cane back on seat. Pauses an instant. Turns toward her.)

  HOLMES (low voice. Brief pause): I won’t take them, Miss Faulkner. (He looks down an instant. Her eyes are upon his face steadily.) As you — (still looking down) — as you — very likely conjecture, the alarm of fire was only to make you betray their hiding-place — which you did … and I — availed myself of that betrayal — as you see. But now that I witness your great distress — I find that I cannot keep them — unless — (looking up at her ) — you can possibly — change your mind and let me have them — of your own free will … (He looks at her a moment. She shakes her head very slightly.) I hardly supposed you could. (Looks down a moment. Looks up.) I will therefore — return it to you. (Very slight pause, and he is about to start toward her as if to hand her the Package.)

  (Sound of quick footsteps outside. Enter LARRABEE, with a revolver in his hand, followed by MADGE.)

  (Stop music.)

  LARRABEE: So! You’ve got them, have you? And now, I suppose we’re going to see you walk out of the house with them. (Handles revolver with meaning.)

  (HOLMES looks quietly at LARRABEE an instant.)

  HOLMES: On the contrary, you’re going to see me return them to their rightful owner.

  LARRABEE (with revolver) Yes — I think that’ll be the safest thing for Mr. Sherlock Holmes to do.

  (HOLMES stops dead and looks at LARRABEE and walks quietly down facing him)

  HOLMES: You flatter yourself Mr. Larrabee. The reason I did not leave the house with this package of papers is not because of you, or what you may do — or say — or think — or feel! It is on account of this
young lady! I care that for your cheap bravado (Looks at revolver and smiles) Really? (He looks quietly in LARRABEE’S eyes an instant, then turns and goes to ALICE.) Miss Faulkner permit me to place this in your hands (Gives her the package.)