HOLMES (slowly backing, keeping his eyes sharply on LARRABEE as he does so): I’m not so sure of that, Mr. Larrabee! — Do you usually fasten that door with a knife? (Pointing toward door with left arm and hand, but eyes on LARRABEE.)
(LARRABEE turns front as if bewildered. Tableau an instant. Very faint moan from within cupboard. HOLMES listens motionless an instant, then makes quick dash to door and seizing knife wrenches it out and flings it on the floor. LARRABEE seeing HOLMES start toward door of cupboard springs up to head him off)
LARRABEE: Come away from that door.
(But HOLMES has the door torn open and ALICE FAULKNER out before LARRABEE gets near.)
HOLMES: Stand back! (Turning to LARRABEE, supporting ALICE at same time.) You contemptible scoundrel! What does this mean!
LARRABEE: I’ll show you what it means cursed quick. (Taking a step or two, blows the little silver whistle attached to his watch chain.)
HOLMES (untying ALICE quickly) I’m afraid you’re badly hurt Miss Faulkner.
(Enter CRAIGIN. He stands there a moment near door, watching HOLMES. He makes a signal with hand to others outside door and then moves noiselessly. McTAGUE enters noiselessly, and remains a little behind CRAIGIN below door. ALICE shakes her head quickly, thinking of what she sees, and tries to call HOLMES attention to CRAIGIN and McTAGUE.)
ALICE: No! — Mr. Holmes. (Pointing to CRAIGIN and McTAGUE.)
HOLMES (glances round): Ah, Craigin — delighted to see you.
(CRAIGIN gives slight start.)
And you too McTague. I infer from your presence here at this particular juncture that I am not dealing with Mr. Larrabee alone.
LARRABEE: Your inference is quite correct, Mr. Holmes.
HOLMES: It is not difficult to imagine who is at the bottom of such a conspiracy as this.
(CRAIGIN begins to steal across noiselessly. McTAGUE remains before door, HOLMES turns to ALICE again.)
I hope you’re beginning to feel a little more yourself, Miss Faulkner — because we shall leave here very soon.
ALICE (who has been shrinking from the sight of CRAIGIN and McTAGUE): Oh yes — do let us go, Mr. Holmes.
CRAIGIN (low, deep voice, intense): You’ll ‘ave to wait a bit, Mr. ‘Olmes. We ‘ave a little matter of business we’d like to talk over.
(HOLMES turning to CRAIGIN.)
(Enter LEARY and glides up side in the shadow and begins to move towards HOLMES. In approaching from corner he glides behind door of cupboard as it stands open and from there down on HOLMES at cue. As HOLMES turns to CRAIGIN, ALICE leans against wall of cupboard .)
HOLMES: All right, Craigin, I’ll see you to-morrow morning in your cell at Bow Street.
CRAIGIN (threateningly): Werry sorry sir but I cawn’t wait till morning Its got to be settled to night.
HOLMES (looks at CRAIGIN an instant): All right, Craigin, we’ll settle it to-night.
CRAIGIN: It’s so werry himportant, Mr. ‘Olmes — so werry important indeed that you’ll ‘ave to ‘tend to it now.
(At this instant ALICE sees LEARY approaching rapidly from behind and screams. HOLMES turns, but LEARY is upon him at the same time. There is a very short struggle and HOLMES throws LEARY violently off, but LEARY has got HOLMES’ revolver. As they struggle ALICE steps back to side of room up stage. A short deadly pause. HOLMES motionless, regarding the men. ALICE’S back against wall. After the pause LEARY begins to revive.)
(Low voice to LEARY.) ‘Ave you got his revolver?
LEARY (showing revolver): ‘Ere it is. (Getting slowly to his feet.)
HOLMES (recognizing LEARY in the dim light): Ah, Leary! It is a pleasure indeed. It needed only your blithe personality to make the party complete. (Sits and writes rapidly on pocket pad, pushing lamp away a little and picking up cigar which he had left on the table, and which he keeps in his mouth as he writes.) There is only one other I could wish to welcome here, and that is the talented author of this midnight carnival. We shall have him however, by to-morrow night.
CRAIGIN: Though ‘e ain’t ‘ere, Mr. ‘Olmes, ‘e gave me a message for yer. ‘E presented his koindest compliments wished yer a pleasant trip across.
HOLMES (writing — cigar in mouth): That’s very kind of him, I’m sure. (Writes.)
LARRABEE (sneeringly): You’re writing your will, I suppose?
HOLMES (writing — with quick glances at the rest) No (Shakes head.) Only a brief description of one or two of you gentlemen for the police. We know the rest.
LEARY: And when will you give it ‘em, Mr. ‘Olmes?
HOLMES (writes): In nine or nine and a half minutes, Leary.
LARRABEE: Oh, you expect to leave here in nine minutes, eh?
HOLMES: No. (Writing.) In one. It will take me eight minutes to find a policeman. This is a dangerous neighbourhood.
LARRABEE: Well, when you’re ready to start, let us know.
HOLMES (rising and putting pad in pocket): I’m ready (Buttoning up coat.)
(CRAIGIN. McTAGUE and LEARY suddenly brace themselves for action, and stand ready to make a run for HOLMES. LARRABEE also is ready to join in the struggle if necessary. HOLMES moves backward from table a little to ALICE — she drops down a step towards HOLMES)
CRAIGIN: Wait a bit. You’d better listen to me, Mr. ‘Olmes. We’re going to tie yer down nice and tight to the top o’ that table.
HOLMES: Well, by Jove! I don’t think you will, That’s my idea, you know.
CRAIGIN: An’ you’ll save yourself a deal of trouble if ye submit quiet and easy like — because if ye don’t ye moight get knocked about a bit —
ALICE (under her breath): Oh — Mr. Holmes! (Coming closer to HOLMES.)
LARRABEE (to ALICE): Come away from him! Come over here if you don’t want to get hurt.
(Love music.)
HOLMES (to ALICE, without looking round, but reaching her with left hand): My child, if you don’t want to get hurt, don’t leave me for a second.
(ALICE moves closer to HOLMES.)
LARRABEE: Aren’t you coming?
ALICE (breathlessly): No!
CRAIGIN: You’d better look out, Miss — he might get killed.
ALICE: Then you can kill me too.
(HOLMES makes a quick turn to her, with sudden exclamation under breath. For an instant only he looks in her face — then a quick turn back to CRAIGIN and men.)
HOLMES (low voice — not taking eyes from men before him): I’m afraid you don’t mean that, Miss Faulkner.
ALICE: Yes, I do.
HOLMES (eyes on men — though they shift about rapidly, but never toward ALICE): No. (Shakes head a trifle.) You would not say it — at another time or place.
ALICE: I would say it anywhere — always.
(Music stops.)
CRAIGIN: So you’ll ‘ave it out with us, eh?
HOLMES: Do you imagine for one moment, Craigin, that I won’t have it out with you?
CRAIGIN: Well then — I’ll ‘ave to give you one — same as I did yer right-’and man this afternoon. (Approaching HOLMES.)
HOLMES (to ALICE without turning — intense, rapid): Ah!
(CRAIGIN stops dead.)
You heard him say that. Same as he did my right-hand man this afternoon.
ALICE (under breath): Yes! yes!
HOLMES: Don’t forget that face. (Pointing to CRAIGIN.) In three days I shall ask you to identify it in the prisoner’s dock.
CRAIGIN (enraged): Ha! (Turning away as if to hide his face.)
HOLMES (very sharp — rapid): Yes — and the rest of you with him. You surprise me, gentlemen — thinking you’re sure of anybody in this room, and never once taking the trouble to look at that window. If you wanted to make it perfectly safe, you should have had those missing bars put in.
(HOLMES whispers something to ALICE, indicating her to make for door.)
(Music till end of Act.)
(CRAIGIN, LEARY, McTAGUE and LARRABEE make very slight move and say “Eh?” but instantly at tension again, and all motionl
ess, ready to spring on HOLMES. HOLMES and ALICE motionless, facing them. This is held an instant.)
LARRABEE: Bars or no bars, you’re not going to get out of here as easy as you expect.
(HOLMES moves easily down near table.)
HOLMES: There are so many ways, Mr. Larrabee, I hardly know which to choose.
CRAIGIN (louder — advancing): Well, you’d better choose quick — I can tell you that.
HOLMES (sudden — strong — sharp): I’ll choose at once, Mr. Craigin — and my choice — (quickly seizing chair) — falls on this. (On the word he brings the chair down upon the lamp frightful crash, extinguishing light instantly.)
(Every light out. Only the glow of HOLMES’ cigar remains where he stands at the table. He at once begins to move toward window keeping cigar so that it will show to men and to front.)
CRAIGIN (loud sharp voice to others): Trace ‘im by the cigar. (Moving at once toward window.) Follow the cigar.
LARRABEE: Look out. He’s going for the window.
(LEARY goes quickly to window. McTAGUE goes and is ready by safety lamp. HOLMES quickly fixes cigar in a crack or joint at side of window so that it is still seen — smash of the window glass is heard. Instantly glides across, well up stage, and down side to the door where he finds ALICE. On crash of window CRAIGIN and LEARY give quick shout of exclamation — they spring up stage toward the light of cigar — sound of quick scuffle and blows in darkness.)
LARRABEE: Get that light.
CRAIGIN (clear and distinct): The safety lamp. Where is it?
(Make this shout for lantern very strong and audible to front. McTAGUE kicks over box which concealed the safety lamp — lights up. HOLMES and ALICE at door. ALICE just going out.)
HOLMES (turning at door and pointing to window): You’ll find that cigar in a crevice by the window.
(All start towards HOLMES with exclamations, oaths, etc. He makes quick exit with ALICE and slams door after him. Sounds of heavy bolts outside sliding quickly into place, and heavy bars dropping into position. CRAIGIN, McTAGUE and LEARY rush against door and make violent efforts to open it. After the first excited effort they turn quickly back. As McTAGUE crosses he throws safely lamp on table. LARRABEE, who has stopped near when he saw door closed, turns front with a look of hatred on his face and mad with rage.)
CURTAIN
ACT IV
Doctor Watson’s Consulting Room, Kensington.
The following evening.
The place is London.
SCENE. — DR. WATSON’S house in Kensington. The consulting room. Oak panelling. Solid furniture. Wide double-doors opening to the hall and street door. Door communicating with doctor’s inner medicine room. Another door, center, opens to private hallway of house. The windows are supposed to open at side of house upon an area which faces the street. These windows have shades or blinds on rollers which can quickly be drawn down. At the opening of the Act they are down, so that no one could see into the room from the street.
There is a large operating chair with high back, cushions, etc. Music for curtain, which stops an instant before rise.
DR. WATSON is seated behind his desk and MRS. SMEEDLEY, a seedy-looking middle-aged woman, is seated in the chair next to the desk with a medicine bottle in her hand.
WATSON: Be careful to make no mistake about the medicine. If she’s no better to-morrow I’ll call. You will let me know, of course.
MRS. SMEEDLEY: Oh yes, indeed I will. Good evening, sir.
WATSON: Good night, Mrs. Smeedley.
(MRS. SMEEDLEY goes out. Sound of door closing heard after she is off. Pause. The doctor turns to his desk, and ringing bell, busies himself with papers.)
(Enter PARSONS — a servant.)
Parsons!
(PARSONS comes a little towards WATSON.)
(Lower voice.) That woman who just left — do you know her?
PARSONS (trying to recollect): I can’t say as I recollect ‘avin’ seen ‘er before. Was there anything — ?
WATSON: Oh no! Acted a little strange, that’s all. I thought I saw her looking about the hall before she went out.
PARSONS: Yes sir, she did give a look. I saw that myself, sir.
WATSON (after an instant’s thought): Oh well — I dare say it was nothing. Is there anyone waiting, Parsons?
PARSONS: There’s one person in the waiting-room, sir — a gentleman.
WATSON (looks at watch): I’ll see him, but I’ve only a short time left. If any more come you must send them over to Doctor Anstruther. I spoke to him this afternoon about taking my cases. I have an important appointment at nine.
PARSONS: Very well, sir. Then you’ll see this gentleman, sir?
WATSON: Yes.
(PARSONS goes out. Short pause. WATSON busy at desk. PARSONS opens door and shows in SID PRINCE. He comes in a little way and pauses. PARSONS all through this Act closes the door after his exit, or after showing anyone in. WATSON looks up.)
PRINCE (speaking in the most dreadful husky whisper): Good evenin’, sir!
WATSON: Good evening. (Indicating chair.) Pray be seated.
PRINCE (same voice all through): Thanks, I don’t mind if I do. (Coughs, then sits in chair near desk.)
WATSON (looking at him with professional interest): What seems to be the trouble?
PRINCE: Throat, sir. (Indicating his throat to assist in making himself understood.) Most dreadful sore throat.
WATSON: Sore throat, eh? (Glancing about for an instrument.)
PRINCE: Well, I should think it is. It’s the most ‘arrowing thing I ever ‘ad! It pains me that much to swallow that I —
WATSON: Hurts you to swallow, does it? (Finding and picking up an instrument on the desk.)
PRINCE: Indeed it does. Why, I can ‘ardly get a bit of food down.
(WATSON rises and goes to cabinet, pushes gas burner out into position and lights it.)
WATSON: Just step this way a moment, please. (PRINCE rises and goes up to WATSON, who adjusts reflector over eye, etc. He has an instrument in his hand which he wipes with a napkin.) Now, mouth open — wide as possible. (PRINCE opens mouth and WATSON places tongue holder on his tongue.) That’s it. (Picks up dentist’s mirror and warms it over gas burner.)
PRINCE (WATSON is about to examine throat when PRINCE sees instrument and is a trifle alarmed): Eh!
(Business of WATSON putting in tongue holder and looking down PRINCES throat — looking carefully this way and that)
WATSON: Say “Ah!”
PRINCE (husky voice): Ah! (Steps away and places handkerchief to mouth as if the attempt to say Ah! hurt him)
(WATSON discontinues, and takes instrument out of PRINCE’S mouth.)
WATSON (a slight incredulity in his manner): Where do you feel this pain?
PRINCE (indicating with his finger): Just about there, doctor. Inside about there.
WATSON: That’s singular. I don’t find anything wrong. (gas burner back to usual position — and placing instrument on cabinet.)
PRINCE: You may not foind anything wrong, but I feel it wrong. If you would only give me something to take away this awful agony.
WATSON: That’s nothing. It’ll pass away in a few hours. (Reflectively.) Singular thing it would have affected your voice in this way. Well, I’ll give you a gargle — it may help you a little.
PRINCE: Yes — if you only would, doctor.
(WATSON goes into surgery PRINCE watching him like a cat. Music. Dramatic agitato, very pp. WATSON does not close the door of the room, but pushes it part way so that it is open about a foot. PRINCE moves toward door, watching WATSON through it. Stops near door. Seems to watch for his chance, for he suddenly turns and goes quickly down and runs up blinds of both windows and moves back quickly, watching WATSON through the door again. Seeing that he still has time to spare, he goes to centre door and opens it, looking and listening off. Distant sound of a when door is open which stops when it is closed. PRINCE quickly turns back and goes off a little way at centre door, leaving it open so th
at he is seen peering up above and listening. Turns to come back, but just at the door he sees WATSON coming on and stops. WATSON suddenly enters and sees PRINCE in centre door and stops, with a bottle in his hand, and looks at PRINCE.)
(Music stops.)
WATSON: What are you doing there?
Delphi Complete Works of Sir Arthur Conan Doyle (Illustrated) Page 938
