Delphi Complete Works of Sir Arthur Conan Doyle (Illustrated)

by SIR ARTHUR CONAN DOYLE

  (Music stops.)

  (Coming down.) Now tell her what we want.

  ALICE (low voice — slight shake of head): You needn’t tell me, I know well enough.

  MADGE (drawing nearer to ALICE with quiet cat-like glide. Smiling) Oh no dear you don’t know. It isn’t anything about locks, or keys, or numbers this time. (Points slowly to the open safe.) We want to know what you’ve done with them!

  (Pause. ALICE looks at MADGE calmly. No defiance or suffering in her expression.)

  (Comes closer and speaks with set teeth.) Do you hear! We want to know what you’ve done with them.

  ALICE (low voice — but clear and distinct): You will not know from me.

  LARRABEE (sudden violence, yet subdued, as if not wishing servants to overhear): We will know from you — and we’ll know before — (As if to cross MADGE to ALICE.)

  MADGE (motioning him): Wait, Jim! (Moves down with him a little.)

  LARRABEE (to MADGE, violently): I tell you, they’re in this room — she couldn’t have got them out — and I’m going to make her — (As if to seize ALICE.)

  MADGE (detaining him): No! Let me speak to her first!

  (LARRABEE after an instant’s sullen pause, turns and walks up stage. Watches from above sullenly. MADGE turns to ALICEagain.)

  Don’t you think, dear, it’s about time to remember that you owe us a little consideration? Wasn’t it something, just a little something, that we found you friendless and ill in Homburg and befriended you?

  ALICE: It was only to rob me.

  MADGE: Wasn’t it something that we brought you and your mother across to England with us — that we kept you here — in our own home — and supported and cared for you —

  ALICE: So that you could rob me.

  MADGE: My dear child — you have nothing of value. That package of letters wouldn’t bring you sixpence.

  ALICE: Then why do you want it? Why do you persecute me and starve me to get it? (Pause — MADGE looking at her cruelly.) All your friendship to me and my mother was a pretence — a sham. It was only to get what you wanted away from me when the time came.

  MADGE: Why, we have no idea of such a thing!

  ALICE (turning slightly on MADGE): I don’t believe you.

  LARRABEE (who has controlled himself with difficulty): Well, believe me, then.

  (ALICE turns to him, frightened but calm. No forced expressions of pain and despair anywhere in the scene.)

  (Moves towards her.) You’re going to tell us what you’ve done with that package before you leave this room to-night!

  (MADGE backs away a step or two.)

  ALICE: Not if you kill me.

  LARRABEE (seizing ALICE violently by the arms or wrists at back of her): It isn’t killing that’s going to do it — it’s something else.

  (Music melodramatic and pathetic.)

  (LARRABEE gets ALICE’S arms behind her, and holds her as if wrenching or twisting them from behind. She gives slight cry of pain. MADGE comes to her. PRINCE looks away during following — appearing not to like the scene but not moving.)

  MADGE (sharp hard voice): Tell us where it is! Tell us and he’ll stop.

  LARRABEE (a little behind — business of gripping as if wrenching her arms): Out with it!

  ALICE (suppressed cry or moan): Oh!

  (NOTE. — ALICE has little expression of pain on her face. The idea is to be game.)

  MADGE: Where is it?

  LARRABEE: Speak quick now! I’ll give you a turn next time that’ll take it out of you.

  MADGE (low voice): Be careful, Jimmie!

  LARRABEE (angry): Is this any time to be careful? I tell you we’ve got to get it out of her — and we’ll do it too! (Business.) Will you tell? (Business.) Will you tell? (Business.) Will you —

  (Loud ringing of door bell in distant part of house.)

  (NOTE. — This must on no account be close at hand.)

  (After bell music stops.)

  PRINCE (quick turn on ring. Short sharp whisper as he starts up): Lookout!

  (All stand listening an instant. ALICE, however, heard nothing, as the pain has made her faint, though not unconscious. LARRABEEpushes ALICE into chair facing fire-place. He then hides her. MADGE goes quickly and cautiously draws picture from a small concealed window. LARRABEE stands near ALICEclose up to her. Steps heard outside. LARRABEE turns quickly, hearing steps. Make these steps distinct — slow — not loud.)

  LARRABEE (speaking off): Here!

  (Enter FORMAN. He stands waiting.)

  Don’t go to that door; see who it is.

  (FORMAN simply waits — no surprise on his face. MADGEturning and speaking in low but clear voice. LARRABEE stands so that FORMAN will not see ALICE.)

  MADGE (standing on ottoman): Tall, slim man in a long coat — soft hat — smooth face — carries … an ebony cane — (Short, quick exclamation from PRINCE.)

  PRINCE (breaks in with quick exclamation under breath.MADGE stopped by PRINCE’S exclamation): Sherlock ‘Olmes! He’s ‘ere!

  (Pause. PRINCE quickly conceals his satchel above safe — also closing door of safe. Music melodramatic, very pp.)

  LARRABEE (moving towards piano, turns out lamp): We won’t answer the bell.

  PRINCE (turning from tools, etc., and stopping him quickly): Now that won’t do, ye know! Looks crooked at the start!

  LARRABEE: You’re right! We’ll have him in — and come the easy innocent. (He turns up the lamp again.)

  MADGE: There’s the girl!

  PRINCE (at piano): Get her away — quick!

  (ALICE is beginning to notice what goes on in a dreamy way.)

  LARRABEE: Take her up the back stairway!

  (MADGE takes ALICE quickly and forces her to door as they speak.)

  MADGE (stopping to speak to LARRABEE and speaking out very distinctly): She’s in poor health and can’t see anyone — you understand.

  LARRABEE: Yes! yes! Lock her in the room — and stay by the door.

  (MADGE and ALICE quickly go out. LARRABEEcloses door at once and stands an instant, uncertain. Then he goes to and opens lid of box on wall seat, and gets a loaded club — an ugly looking weapon — and shoves it into PRINCE’S hand.)

  You get out there! (Indicating.) Keep quiet there till he gets in the house — then come round to the front.

  PRINCE: I come round to the front after ‘e’s in the ‘ouse — that plain.

  LARRABEE: Be ready for ‘im when he comes out! If he’s got the things in spite of us, I’ll give you two sharp whistles! If you don’t hear it, let him pass.

  PRINCE: But if I do ‘ear the two whistles — ?

  LARRABEE: Then let ‘im have it.

  (PRINCE gets off at window, which he closes at once. LARRABEEmoves rapidly, kicking door of desk shut as he passes. Stands at piano, leaning on it carelessly. Turns to FORMAN.)

  Go on, answer the bell.

  (FORMAN bows slightly and goes. LARRABEE strolls about trying to get into an assumption of coolness. Picks up book off piano. Sound of heavy door closing outside. Brief pause. Enter SHERLOCKHOLMES, hat and stick in hand — wearing a long coat or ulster, and gloves. He lingers in the archway, apparently seem nothing in particular, and slowly drawing off gloves. Then moves to the wall seat close at hand and sits.)

  (Music stops.)

  (After quite a time LARRABEE turns, throws book on piano, and saunters towards HOLMES in rather an ostentatious manner.)

  Mr. Holmes, I believe.

  HOLMES (rises and turning to LARRABEE as if mildly surprised.) Yes, sir.

  LARRABEE: Who did you wish to see, Mr. Holmes?

  HOLMES (looking steadily at LARRABEE an instant. Speaks very quietly): Thank you so much — I sent my card — by the butler.

  LARRABEE (stands motionless an instant — after an instant pause): Oh — very well.

  (Long pause. Enter FORMAN down stairs. LARRABEEmoves up near piano and turns to hear what FORMAN says.)

  FORMAN (to HOLMES): Miss Faulkner begs Mr. Holmes to excuse her
. She is not well enough to see anyone this evening.

  (HOLMES takes out note-book and pencil and writes a word or two on a card or leaf of the book. Tears it out of book. Pulls out watch and glances at it. Hands the card to FORMAN, taking off coat first.)

  HOLMES: Hand Miss Faulkner this — and say that I have —

  LARRABEE: I beg your pardon, Mr. Holmes, but it’s quite useless — really.

  HOLMES: Oh — I’m so sorry to hear it.

  (HOLMES turns quietly to LARRABEE and looks at him. LARRABEE is a trifle affected by HOLMES’quiet scrutiny.)

  LARRABEE: Yes — Miss Faulkner is — I regret to say — quite an invalid. She is unable to see anyone — her health is so poor.

  HOLMES: Did it ever occur to you that she might be confined to the house too much?

  (An instant’s pause.)

  LARRABEE (suddenly in low threatening tone, but not too violent): How does that concern you?

  HOLMES (easily): It doesn’t … I simply made the suggestion.

  (The two look at one another an instant. HOLMES turns quietly to FORMAN.)

  That’s all. (Motions him slightly.) Go on. Take it up. (FORMANgoes out up stairway. After a moment LARRABEE turns, breaking into hearty laughter.)

  LARRABEE: Ha! ha! This is really too good. (Strolling about laughing.) Why, of course he can take up your card — or your note — or whatever it is, if you wish it so much; I was only trying to save You the trouble.

  HOLMES (who has been watching him through foregoing speech): Thanks — hardly any trouble at all to send a card. (Seats himself in an easy languid way — picks up Punch.)

  LARRABEE (endeavours to be easy, careless and patronizing) Do you know, Mr. Holmes, you interest me very much.

  HOLMES (easily): Ah!

  LARRABEE: Upon my word, yes! We’ve all heard of your wonderful methods. (Coming towards HOLMES.) Your marvellous insight — your ingenuity in picking up and following clues — an the astonishing manner in which you gain information from the most trifling details … Now, I dare say — in this brief moment or two you’ve discovered any number of things about me.

  HOLMES: Nothing of consequence, Mr. Chetwood — I have scarcely more than asked myself why you rushed off and sent that telegram in such a frightened hurry — what possible excuse you could have had for gulping down that tumbler of raw brandy at the “Lion’s Head” on the way back — why your friend with the auburn hair left so suddenly by the terrace window — and what there can possibly be about the safe in the lower part of that desk to cause you such painful anxiety.

  (Pause. LARRABEE standing motionless looking atHOLMES. HOLMES picks up paper and reads.)

  LARRABEE: Ha! ha! very good! Very good indeed! If those things were only true now, I’d be wonderfully impressed. It would absolutely —

  (He breaks off as FORMAN enters — coming down stairs. He quietly crosses to LARRABEE, who is watching him, and extends salver with a note upon it. HOLMES is looking over paper languidly. LARRABEE takes note. FORMAN retires.)

  You’ll excuse me, I trust.

  (HOLMES remains silent, glancing over paper and looking quietly at FORMAN. LARRABEE reads the note hastily.)

  (First a second’s thought after reading, as he sees that HOLMESis not observing him — then speaking.) Ah — it’s from — er — Faulkner! Well really! She begs to be allowed to see — Mr. Holmes. She absolutely implores it! (HOLMES looks slowly up as though scarcely interested.) Well, I suppose I shall have to give way. (Turns to FORMAN.) Judson!

  FORMAN: Sir.

  LARRABEE (emphasizing words in italics): Ask Miss Faulkner to come down to the drawing-room. Say that Mr. Holmes is waiting to see her.

  FORMAN: Yes, sir. (Bows and goes out upstairs.)

  LARRABEE (trying to get on the free and easy style again): It’s quite remarkable, upon my soul! May I ask — (turns toward HOLMES) — if it’s not an impertinent question, what message you sent up that could have so aroused Miss Faulkner’s desire to come down?

  HOLMES (looking up at LARRABEE innocently): Merely that if she wasn’t down here in five minutes I’d go up.

  LARRABEE (slightly knocked): Oh, that was it!

  HOLMES: Quite so. (Rises and takes his watch out.) And unless I am greatly mistaken I hear the young lady on the stairs. In which case she has a minute and a half to spare. (Moving by piano — taking opportunity to look at keys, music, etc.)

  (Enter MADGE LARRABEE downstairs as if not quite strong. She has made her face pale, and steadies herself a little by columns, side of arch, furniture, etc., as she comes on, but not overdoing this. She gives the impression of a person a little weak, but endeavouring not to let it be seen.)

  LARRABEE (advancing to MADGE): Alice — or — that is, Miss Faulkner, let me introduce Mr. Sherlock Holmes.

  (HOLMES is near piano. MADGE goes a step to him with extended hand. HOLMES meets MADGE and takes her hand in the utmost confidence.)

  MADGE: Mr. Holmes! (Coming toward him with extended hand.)

  HOLMES (meeting MADGE): Miss Faulkner!

  MADGE: I’m really most charmed to meet you — although it does look as if you had made me come down in spite of myself, doesn’t it? But it isn’t so at all, Mr. Holmes. I was more than anxious to come, only the doctor has forbidden me seeing anyone — but when Cousin Freddie said I might come, of course that fixed the responsibility on him, so I have a perfectly clear conscience.

  HOLMES: I thank you very much for consenting to see me, Miss Faulkner, but regret that you were put to the trouble of making such a very rapid change of dress.

  (MADGE slightest possible start, and recover at once.)

  MADGE: Ye — yes! I did hurry a trifle, I confess. (Crosses toward LARRABEE.) Mr. Holmes is quite living up to his reputation, isn’t he, Freddie?

  LARRABEE: Yes … But he didn’t quite live up to it a moment ago.

  MADGE: Oh, didn’t he! I’m so sorry. (Sits on seat at foot of piano.)

  LARRABEE: No. He’s been telling me the most astonishing things.

  MADGE: And they weren’t true?

  LARRABEE: Well hardly! (HOLMES sits in arm-chair.) He wanted to know what there was about the safe in the lower part that desk that caused me such horrible anxiety! Ha! ha! ha!

  MADGE (above LARRABEE’S laugh — to HOLMES): Why, this isn’t anything. (To LARRABEE.) Is there?

  LARRABEE: That’s just it! Ha! ha! ha! (With a quick motion swings back the doors) There’s a safe there, but nothing in it.

  (MADGE joins him in laughter.)

  MADGE (as she laughs): Really Mr. Holmes, that’s too grotesque, ha! ha!

  (HOLMES, seated in arm-chair among the cushions, regards MADGEand LARRABEE with a peculiar whimsical look.)

  LARRABEE (laughing): Perhaps you’ll do better next time! (Closes safe door.)

  MADGE: Yes, next time — (HOLMES is looking at them.) You might try on me, Mr. Holmes. (Looking playfully at HOLMES, greatly enjoying the lark.)

  LARRABEE: Yes, what do you think of her?

  HOLMES: It is very easy to discern one thing about Miss Faulkner — and that is, that she is particularly fond of the piano that her touch is exquisite, her expression wonderful, and her technique extraordinary. While she likes light music very well, she is extremely fond of some of the great masters, among whom are Chopin, Liszt. She plays a great deal indeed; I see it is her chief diversion — which makes it all the more remarkable that she has not touched the piano for three days.

  (Pause.)

  MADGE (turning to LARRABEE — a trifle disconcerted by HOLMES’S last words, but nearly hiding it with success): Why that’s quite surprising, isn’t it?

  LARRABEE: Certainly better than he did for me.

  HOLMES (rising..): I am glad to somewhat repair my shattered reputation, and as a reward, will Miss Faulkner be so good as to play me something of which I am particularly fond?

  MADGE: I shall be delighted — if I can. (Looks questioningly at HOLMES.)

  HOLMES: If you can! Something tells
me that Chopin’s Prelude Number Fifteen is at your finger ends.

  MADGE: Oh yes! (Rising and forgetting her illness, and going to keyboard — crossing in front of piano): I can give you that.

  HOLMES: It will please me so much.

  MADGE (stopping suddenly as she is about to sit at piano): But tell me, Mr. Holmes, how did you know so much about my playing — my expression — technique?