ACT III.

SCENE.--_Same as Act II. It is after dinner, the room is lighted. Evening dress. KATE is discovered at piano, finishing a song; NORMANTOWER standing beside her. TOM, L., and MILDRED, R., are seated on the centre seat, taking no notice of anybody, and looking the pictures of woe. BEATRICE'S fan on piano. Lights full up in front. Blue limes in conservatory._

NOR. Thanks, awfully! (_R. of KATE, above her_)

KATE. That's Mr. Selwyn's favourite--(_rising_)--the music's pretty, but such stupid words. (_crosses down to C., NORMANTOWER follows her_)

NOR. Yes, but you sing them with such an expression.

KATE. Such an appropriate expression?

_Enter SERVANTS, R.U.D., with coffee, etc., which they hand to KATE. PRICE enters first, followed by SERVANT. The former carries large salver with cups of coffee; the latter, sugar and milk on small salver. They go down to back of sofa._

NOR. Yes, that's what I meant. Such an appropriate expression!

KATE. (_laughing_) Of stupidity? (_goes to sofa_)

NOR. No, no! That isn't what I meant. Oh dear, I never _can_ say what I want to say, to you.

KATE. Shall I assist you?

NOR. If you only would! (_C.R. of sofa_)

KATE. I mean to sugar.

NOR. _I_ meant to sugar.

KATE. Cream?

NOR. Thanks awfully. (_KATE hands cup to NORMANTOWER, and takes another herself, and sits on sofa, L. of it_)

NOR. (_aside_) I _didn't_ mean sugar, but I _must_ agree with her.

_SERVANTS offer coffee to TOM and then to MILDRED; they simply reverse their attitudes, without taking further notice. Exeunt SERVANTS R.U.D._

KATE. (_cup in hand_) Is that as you like it?

NOR. (_seating himself by her_) This is just as I like it. So, it's quite settled, you're going to stay here? (_on sofa_)

KATE. Yes, I find I can't tear myself away from Ravenhurst--I'm a fixture.

NOR. I say! are you a landlord's or a tenant's fixture?

KATE. Oh, I'm attached to the freehold--very much attached to it.

NOR. That's a pity. I thought perhaps you were removable.

KATE. What if I were?

NOR. I should like to remove you, that's all.

KATE. I thought you were a confirmed bachelor?

NOR. That's just it. That's what makes it so jolly, I being a confirmed bachelor, and you being a confirmed old maid----

KATE. _Old_ maid?

NOR. I mean, you _will_ be an old maid--in time.

KATE. You didn't say so.

NOR. But I _meant,_ in time. So there's no danger. We can do what we like.

KATE. Of course, we can do what we like.

NOR. We can talk together.

KATE. We can walk together.

NOR. We can sing together!

KATE. Do you mean, in time?

NOR. Miss Derwent, it was _you_ who were out of time yesterday. That was a crotchet.

KATE. Nay, it was a quaver.

NOR. A crotchet. } (_rising, crossing to R. and putting } _ad lib._ down cup on piano_) KATE. A quaver. } (_rising and putting down cup on table L. and then cross to R.C._)

NOR. Here is the music--see. (_takes it from piano and comes to her R.C._)

_Enter BEATRICE, L.D., and sits unobserved, on sofa._

KATE. (_pointing to note_) What did I tell you?

NOR. You said a quaver.

KATE. No, I said a crotchet.

NOR. Oh!

KATE. Certainly, a crotchet. This is how it goes. (_takes the music, crosses him, and sits at piano and sings one verse of a song_)

NOR. (_enraptured_) Thanks--oh thanks, awfully. (_standing on her R._)

BEA. Rather high for you, isn't it, my dear? (_both turn_)

NOR. Mrs. Selwyn! (_turns and advances C._)

KATE. (_rises_) I beg your pardon?

BEA. Your voice is so charming, it is a pity to strain it.

KATE. (_goes down R.C._) I wasn't aware I had an audience. I was simply endeavouring to convince Lord Normantower that a crotchet is not a quaver. I was not attempting to sing.

BEA. My love, you are too modest. I never heard you sing better. (_KATE grimaces aside_)

NOR. (_aside_) I think, I'd better turn the conversation. (_Goes to R. of sofa_) How is Philip, this evening?

KATE. Yes, how is Mr. Selwyn?

BEA. I'm glad to say, much stronger.

NOR. That's good news. I was afraid, as Sir Peter did not dine with us, your husband was worse.

BEA. Sir Peter has been with him all the afternoon, and has announced his intention of remaining till he has solved the mystery of Philip's illness. It is really very kind of Sir Peter.

KATE. Sir Peter is kindness itself. (_returns to piano, and sits_)

BEA. You can imagine what a satisfaction it is to me, to know that my husband is in such excellent care.

NOR. But has he formed no opinion as to what is the matter with Philip?

BEA. He seems to think, it is nothing worse than an aggravated case of dyspepsia, and he attaches the greatest importance to diet. He has forbidden poor Philip almost everything. Sir Peter is a little crotchety, but he is paying the greatest attention to the case. And he's so clever! I am charmed with him. (_NORMANTOWER crosses to piano, and stands R. of KATE who plays softly. TOM rises, crosses to MILDRED and takes her hand. She rises, and they advance down a step R.C._)

TOM. (_aside to MILDRED_) Could you die, Mildred?

MIL. I want to, Tom.

TOM. Then let's die together!

MIL. Yes--but how?

TOM. I don't know. That's the worst of me. I'm so beastly ignorant.

MIL. There's a pond at the bottom of the garden.

TOM. Is there?

MIL. Six feet deep.

TOM. Let's go at once.

MIL. And throw ourselves in?

TOM. We'll have a look at it first. (_exit with MILDRED R.C. to R._)

(_PHILIP heard off L. KATE stops playing._)

KATE. Surely that's Mr. Selwyn! (_BEATRICE rises and goes across up to opening R.C., following TOM and MILDRED_)

(_SIR PETER heard off L._)

NOR. Here they are, both of them.

_Enter PHILIP, followed by SIR PETER, L.D. SIR PETER goes down L., puts snuff-box on mantel, and stands with back to fire; PHILIP comes to C. up stage, KATE rises and meets him._

KATE. You, Mr. Selwyn. Then you're better!

PHIL. Yes--feeling another man. I've even been attending to business, with my solicitor. (_KATE turns away up to R.C._) I must admit, Sir Peter's treatment is justified by the result, but I can't say I altogether relish it. (_to NORMANTOWER_) What do you think he's giving me? (_down, front of sofa_)

NOR. What? (_advances to C._)

PHIL. Arsenic. (_sitting on sofa_)

NOR. Gracious me! (_BEATRICE comes down, and sits R. by piano_)

KATE. (_comes down, L. of BEATRICE_) Arsenic! That's nothing! Many ladies take it.

NOR. Ladies take arsenic! (_turning to KATE_)

KATE. Don't they, Mrs. Selwyn?

BEA. I should hope not, Miss Derwent.

KATE. _You_ never heard of such a thing, of course?

NOR. What do they take it for?

SIR P. My dear young gentleman, have you lived six and twenty years without discovering that the female complexion is usually an artificial product?

NOR. Well, I know a powder-puff when I see one, but arsenic! (_turns up a little C. with KATE_)

SIR P. Pooh! a common drug!

BEA. Miss Derwent, so sorry to trouble you--but the night dews are falling, and Mildred has gone out without a shawl.

KATE. I'll get one at once. (_exit, R., upper door_)

NOR. Yes--we'll get one at once. (_exit, R.U.D._)

(_Directly NORMANTOWER is off, PRICE and SERVANT re-enter, R.U.D., with coffee, which they offer to BEATRICE, who is sitting R. by piano._)

PHIL. I must say, I agree with Normantower. When you told me what you were giving me, it was rather a shock even to me, and it nearly frightened poor Beatrice out of her life.

BEA. Philip, don't speak of it. (_takes coffee_) Don't you remember what happened?

PHIL. You broke a glass.

BEA. And breaking glass is so unlucky.

(_SERVANTS cross and offer coffee to PHILIP, who takes a cup without milk and sugar, SIR PETER not noticing. They then pass behind to SIR PETER, who takes coffee. PRICE clears KATE'S cup from the table, then crosses, followed by SERVANT and exeunt R.U.D._)

PHIL. Mousey, you'll make Sir Peter laugh at you. (_NORMANTOWER talks to KATE_)

SIR P. Why should I?

PHIL. Surely _you_ don't believe in luck? (_takes coffee_)

SIR P. Everybody believes in luck, except fools, who attribute their successes to their merits. My experience teaches me differently. I know, one may study a case for a week, and master it only by accident--as I have mastered yours. (_exeunt SERVANTS_)

BEA. (_rises_) You've mastered Philip's? (_goes to C._)

SIR P. Yes. As I suspected. Liver.

BEA. Ah! Then, after all, it is only dyspepsia?

SIR P. (L.) _Only_ dyspepsia, madam! What's the word suffering from?--vice--crime--drink--poverty? What are they all? Indigestion.

PHIL. My wife means, nothing dangerous--one can hardly die of dyspepsia.

SIR P. Sir, one can die of anything. If you only knew the number of things one can die of, you'd wonder any of us are alive. (_PHILIP laughs and lifts his cup to drink_) What have you there? (_going up to back of table_)

PHIL. Only some coffee.

SIR P. Put it down, sir, instantly. (_hand on table_)

BEA. Mayn't he have coffee, doctor?

SIR P. (_crosses behind sofa to C._) Coffee! Most indigestible! Have I not given my orders? He is to taste nothing more to-day, except one dose of medicine before going to bed. (_BEATRICE goes to piano, puts her cup down and picks up her fan_)

PHIL. Another dose, to-night?

SIR P. One more; it's most important. (_rises_)

BEA. Is Mr. Merivale still here? (_at piano_)

PHIL. Oh no, he went some time ago.

BEA. (_quickly_) Then have you made the will?

PHIL. Not yet. (_SIR PETER watches BEATRICE closely_) Merivale insists on making his own inquiries before taking any other steps in the matter. If Sir Peter's information is confirmed, he will accept my instructions. I am to see him again at twelve o'clock to-morrow.

BEA. Twelve o'clock?

SIR P. Now you must rest. You've had a trying day (_hand on PHILIP's shoulder_) (_PHILIP rises and stands back to audience_)

BEA. (_BEATRICE advances to SIR PETER_) You needn't trouble, doctor. _I_ will go with Philip.

SIR P. Thank you--it is no trouble. Come, my boy. (_PHILIP takes his R. arm, and they go up_)

PHIL. (_up L.C._) How can I repay you for all your attention?

SIR P. By obeying me to the letter. Diet's the great thing; and the less the better. Eat nothing--drink nothing.

PHIL. But one dose of medicine.

SIR P. Just one more. (_exit with PHILIP, L.U.D., music in orchestra_)

BEA. (_behind sofa, R. of it_) One more! My last chance--and I dare not take it. At twelve o'clock to-morrow, all I have worked for, all I have schemed for, all I have married for, slips through my fingers. (_gets front of sofa_) And I can do nothing! No, it is too dangerous; and if I stop now, I am safe enough. But what is safety worth? Tied to my husband for his life, and at his death, a pauper! Whilst she--_she_ will be the Countess of Normantower! Unless--unless--(_sits on sofa smiling to herself_). He doesn't know that she is Philip's sister. It is arranged it shall be kept a secret. Then, why is Philip leaving her his fortune? If I could make him think there was another reason. He is in love, and love is always jealous. If I could only sow a doubt between them. Countess of Normantower! What I have thrown away! (_music stops_)

_Re-enter NORMANTOWER, R.U.D._

NOR. (_goes to C._) It's all right. We've found the shawl.

BEA. Did it take two to find it?

NOR. It took two to look for it. Miss Derwent looked everywhere for the shawl, and I looked everywhere for Miss Derwent.

BEA. You are great friends.

NOR. Oh, yes; we get along splendidly. I like Miss Derwent! she is just my sort.

BEA. I thought you hated all women.

NOR. On the contrary, I am never so happy as in the society of ladies.

BEA. You, who are always raving against marriage.

NOR. That's the reason. To marry is to devote oneself to an individual; whilst a bachelor can devote himself to the sex. Besides, I have to study economy--and it comes cheaper on taking a quantity.

BEA. Perhaps, you are right. Marriage is a terrible lottery.

NOR. You should be thankful you have drawn a prize.

BEA. Don't mock me.

NOR. I'm sure you couldn't have a better husband than Philip. He's one of the best fellows in the world.

BEA. Ah! there's only one prize--to a woman.

NOR. (_aside_) She means me. (_two steps away_)

BEA. All the rest are blanks. And sometimes worse than blanks.

NOR. (_aside_) This is damn'd awkward! (_a further movement R.C._)

BEA. (_rises_) Lord Normantower, I owe you an explanation which I have had no opportunity of giving you. Your time is so much occupied, and we are so seldom alone.

NOR. (_aside, R.C._) I wish somebody'd come!

BEA. (C.) When you first came to Ravenhurst, I made what must have seemed a very strange avowal.

NOR. Mrs. Selwyn, I have tried to forget it, and I hope you will assist me. And the best way to forget it, is not to say anything about it.

BEA. I have tried to be silent--but in justice to myself, I must speak. You know my marriage was not my own wish; but having married, do me the justice to believe I would have been a true and loyal wife, if Philip had been all you think he is.

NOR. Philip?

BEA. I have accepted my lot without a murmur. Even now, my only wish is that you should not think too harshly of my indiscretion; but at the sight of you, the old times came back so vividly, that words sprang to my lips which I should not have spoken, even under such provocation as mine.

NOR. I have known Philip nearly all my life, and this is the first breath I ever heard against him. I can't help thinking you must be mistaken.

BEA. Think so--by all means think so! I do not ask for pity or for sympathy. I only said so much in self-defence. Now I have done. (_goes to L._)

NOR. (_aside_) Thank goodness!

BEA. But you are quite right to remain a bachelor. Marriage is a mistake. (_sitting in easy chair L._)

NOR. (_goes to L.C._) There are two ways of looking at it; and, after all, one ought to see both sides. I've looked at one for so long, I'm seriously thinking of taking a turn at the other. (_sits on sofa_)

BEA. You contemplate being married?

NOR. Well, I have had some thoughts of it. (_toying with BEATRICE'S fan which she has left on sofa_)

BEA. Whom shall I have the pleasure of congratulating?

NOR. Oh, I don't know. I haven't asked her yet--at least, not properly. I'm sort of--feeling my way.

BEA. I don't think you need fear.

NOR. D'you think she'll have me--really!

BEA. Of course, I don't know who the lady is.

NOR. Oh, yes you do, Miss Derwent.

BEA. (_rises suddenly_) Miss Derwent?

NOR. Yes, of course. You must have seen I'm awfully gone on her.

BEA. And you propose to marry her.

NOR. Well I should like to.

BEA. (_drops back into seat_) What am I to say?

NOR. What do you mean?

BEA. Nothing. I only meant--rather a mésalliance, isn't it?

NOR. I don't see that at all. I'm no great catch. I'm as poor as a church mouse.

BEA. A coronet is something.

NOR. Pooh! What's a coronet? A thing they stick about on hansom cabs. Sixpence a mile.

BEA. And don't you owe a duty to your family?

NOR. My family owe a great deal more to me, but there's precious little chance of their stumping up.

BEA. (_rises_) Let me see. How long have you known Miss Derwent? (_front of table_)

NOR. About a week. (_R. end of sofa, facing her_)

BEA. And don't you think it's dangerous, to marry on so short an acquaintance?

NOR. To marry anybody else, it would be. Not to marry _her._

BEA. Have you told Philip?

NOR. No--what's _he_ to do with it?

BEA. (_crosses to R.C._) Nothing, of course! No, nothing. Why should I tell you! (_hand on chair L. of piano_) Why should I publish my own humiliation? And yet, we are such old friends, how can I stand by, and see your whole life ruined? No! Lord Normantower, this marriage is impossible. (_goes towards LORD NORMANTOWER_)

NOR. (_rises_) I don't see that at all.

BEA. You are in love, and blind! Has it never struck you? Why is Miss Derwent here?

NOR. Isn't she Mildred's governess?

BEA. Mildred requires no governess.

NOR. Well, her companion--yours.

BEA. Mine! _My_ companion! Yes, you are right there. Yes, my companion--in my husband's heart. (_goes down to R.C._)

NOR. Surely, you cannot mean--(_follows a step_)

BEA. My rival! Yes! I mean, that Philip is her lover.

NOR. Mrs. Selwyn!

BEA. Now I have told you my secret, and I leave it to your honour to respect it.

NOR. You accuse Miss Derwent--you accuse your husband----

BEA. Yes, I accuse them both. You know what happened this morning; Miss Derwent was going away, and my husband insisted on her remaining; but you don't know what happened this afternoon. So mad is Philip's infatuation that he is even making a new will, bequeathing her every shilling he possesses, leaving me an outcast and a beggar.

_SIR PETER appears, L.D.--he observes them talking and goes into conservatory, L.C._

NOR. Surely you are mistaken. (_backing a step_)

BEA. I am _not_ mistaken! Sir Peter knows of this will. He will tell you what I say is the truth. But not a word about my secret? I leave that to your honour. (_crosses and goes up C. to L.C._)

NOR. (_aside_) I wish she wouldn't leave my honour legacies. (_turns up to opening, R.C._)

_SIR PETER comes out from conservatory, L.C., intercepting BEATRICE as she goes to door, L._

SIR P. Where are you going?

BEA. Only to sit with Philip. (_going L._)

SIR P. (_blocking the way_) He is lying down, and must on no account be disturbed.

BEA. Surely a wife----

SIR P. Is the most likely person to disturb her husband.

BEA. (_pushing past, viciously_) Sir Peter, I _will_ see him! (_exit, L.D._)

SIR P. (_aside, looking after her_) But you can't. (_produces key, looks at it and replaces it in his pocket, then goes down L., and leans on mantel, on the opposite side of stage to LORD NORMAN- TOWER--both lost in thought_)

NOR. (_aside, leaning against column, R.C._) How can I ask Sir Peter? How can I say, has Selwyn made a will, leaving his wife a beggar? I know what his answer would be. "Sir, what the devil has that to do with you?" And yet it has a lot to do with me. I regard Miss Derwent's reputation as my own, and I'm not going to have aspersions cast on it. If I could clear things up, I might be able to convince Mrs. Selwyn of her mistake. But how can I broach the subject? It's a teazer. (_sits up, R.C., in alcove_)

SIR P. (_sits L., aside_) Now, what am I to do? Give her a chance, or nail her to the counter? If I gave her a chance, would she take it? Not she! She would appeal to her husband--he would believe her implicitly and kick me out of the house--there would be an end of _me_--and there would be an end of _him._ I must convict her--there's no alternative. But how? If she plays any tricks to-night, I have her. But if she doesn't? (_blows his nose_) She has _me!_ Well, the first thing to be done is, to make things safe for the night.

NOR. (_aside, rises and comes down a little_) I have it! Sir Peter knows I'm poor--I'll tell him I have thoughts of marrying, but I must marry money. I will inquire about Miss Derwent's circumstances--say, I've heard a rumour. Then I shall find out all about this will. Sir Peter will think I'm an awful cad, but what does it matter what Sir Peter thinks? Upon my word, statesmanship _is_ hereditary, after all. I feel a regular Machiavelli! (_crosses to SIR PETER, aloud_) Sir Peter! May I have a word with you? (_R. of table_)

SIR P. (_watch_) How long are you likely to be?

NOR. Only a second.

SIR P. That means half-an-hour. I limit my consultations to ten minutes.

NOR. Ten minutes, then.

SIR P. Go on.

_Re-enter KATE, R.C. from R., unobserved, stops short on seeing them._

NOR. (_sits on sofa_) It is about Miss Derwent.

SIR P. Oh, Miss Derwent! (_SIR PETER rises, takes snuff-box on mantel--and sits again L._)

KATE. (_aside, smiling_) He's talking about me. I should like to know what he thinks of me. It's a mean thing to do--but I'll do it--just for fun. (_retires into conservatory, and crosses, going off L.U.E._)

SIR P. Well, sir.

NOR. You know Miss Derwent very well, I think?

SIR P. Very well indeed--go on! (_leaning back_)

NOR. She's all right, isn't she?

SIR P. All right? (_starting forward_)

NOR. I mean, there isn't a screw loose anywhere?

SIR P. Screw loose?

NOR. You know, I have some thoughts of marrying.

SIR P. Her!

NOR. Well, yes, of marrying _her._

SIR P. (_rises_) Then marry her, and don't bother me about it.

NOR. But I'm as poor as a rat, and I can't afford----

SIR P. Then, _don't_ marry her. (_crosses R.C._)

NOR. (_rises and follows SIR PETER_) But it has reached my ears, that Selwyn's going to leave her everything. (_SIR PETER pricks up his ears_) If that is really so, it would suit my book to a T; and I thought you might know something about it.

SIR P. Well, sir?

NOR. And tell me.

SIR P. In what capacity? As a physician?

NOR. No--as a friend.

SIR P. As Mr. Selwyn's friend--betray his confidence?

NOR. No--as _my_ friend.

SIR P. But I am _not_ your friend.

NOR. Well, as between two men of the world. Miss Derwent's an awfully nice girl, but you know, one must look after the dibs.

SIR P. Sir, I may be a man of the world, or I may not, but I do not hold consultations in that capacity. Good evening. (_going R._)

NOR. Sir Peter! One moment! (_following. Exit SIR PETER, followed by NORMANTOWER, R.I.D. KATE staggers from conservatory, L.C., and drops into sofa, the picture of desolation._)

_Re-enter LORD NORMANTOWER, R.I.D. Stops short on seeing KATE._

NOR. (R.C.) There she is. (_stands looking at KATE_)

KATE. (_giving her eyes a final wipe and rising, aside_) I don't care. (_pockets handkerchief_)

NOR. (_goes to her_) Miss Derwent, you've been crying. Something's the matter.

KATE. Don't trouble about _me._ _I'm_ "all right."

NOR. "All right?" (_aside_) Do sit down!

KATE. Thanks, I prefer to stand.

NOR. But I don't like you to stand.

KATE. I'm sorry if my attitude is not sufficiently elegant to satisfy your lordship's fastidious taste.

NOR. Miss Derwent!

KATE. But I was not born graceful. I don't think I was properly finished off. Nature has left "a screw loose" somewhere. (_crosses R._)

NOR. (C.) "A screw loose?" (_nonplussed_)

KATE. What perplexes your lordship? (_sits R. by piano_)

NOR. (_goes to her_) Miss Derwent, tell me--why did you ever want to leave Ravenhurst? Don't think me impertinent. I have a reason for asking.

KATE. And I had a reason for leaving.

NOR. Were you uncomfortable?

KATE. Oh dear, no! Mr. Selwyn has always insisted on my being treated with every consideration.

NOR. Ah! Philip thinks a lot of _you,_ doesn't he?

KATE. I think, he likes me. I don't know about "a lot."

NOR. Perhaps you felt yourself in rather a false position?

KATE. (_rises_) What do you mean?

NOR. Nothing--I only meant--I don't know what I meant.

KATE. Perhaps I thought, that I might _better_ my position.

NOR. But if you were so comfortable----

KATE. Comfort isn't everything. Ravenhurst's an awfully nice place: but--(_facing him_) "You know, one must look after the dibs."

NOR. (_stands dumbfounded--pause_) Then, you heard my conversation with Sir Peter?

KATE. Every word of it.

NOR. Well, it serves me right. (_goes down to C._)

KATE. (_advances towards him_) And me as well--for listening--but I'm glad I did. Now, I know what you are, and what you want. You are for sale! Heart, soul, mind, body and estate--without reserve, and open to all bidders. I am only a governess--I have no money to buy you, and I don't _want_ to buy you! Knock yourself down to anyone you please! What do _I_ care? (_a step or two away_)

NOR. Hear me, one moment. I have been misled. (_follows_)

KATE. (_turns sharply on him_) And so have I. I thought, at last, that I had met a _man!_--A man whom I could love----

NOR. Miss Derwent! (_enraptured_)

KATE. Whom I could honour--whom I could even obey!

NOR. Kate! (_holds out his hands_)

KATE. (_smacks his hands down and draws back up stage, R.C., a step; during speech, she backs towards R.U.D._) Don't call me "Kate." It wasn't _you._ It was another man altogether--a creature of my fancy--whom I had met in dreams--but whom I loved--with such a love as never entered into your sordid soul--for whom I would have died--for whom I would have worked, toiled, slaved, from morning until night--who possessed the whole heart of a woman who has never loved before, but who has cast it from him and has broken it! (_at door; exit, R.U.D._)

NOR. My last appearance as Machiavelli! (_goes to L._)

_Re-enter TOM moodily, R.C. from R._

TOM. (_comes down C._) I don't like the look of the pond.

NOR. What pond? What are you talking about?

TOM. Oh, by the bye, I haven't told you what we're going to do.

NOR. Who's going to do?

TOM. Why, me and Mildred. Drown ourselves. At least we _were_ going to drown ourselves, until we saw the pond. Now, we are going to think of something else.

NOR. (_goes to TOM_) Look here, Tom! it's quite time little boys were in bed. You'll have plenty of time to-morrow.

TOM. Ah! You don't know what it is, to love--and get the key of the street!

NOR. Don't I? I've got it.

TOM. _You've_ got it, Ned?

NOR. Miss Derwent has just given it me.

TOM. I say, let's drown one another! You go first! (_puts NORMANTOWER across up towards R.U.D._)

NOR. No, thank you, Tom. I'll go and make things up. (_exit, R.U.D._)

_Re-enter SIR PETER, R.I.D., lost in thought, he goes up a little, R.C._

TOM. (_down C., turning--seeing SIR PETER_) Sir Peter--the very man--I say, Sir Peter! (_turns up to SIR PETER_)

SIR P. Mr. Verinder?

TOM. Aren't you a doctor?

SIR P. I had the honour to belong to the medical profession before you were born.

TOM. A lot of things seem to have happened before I was born--and everybody takes care to let me know it.

SIR P. It is impossible to know too much.

TOM. Then, tell me. What's the pleasantest way of committing suicide?

SIR P. Hem! The question is scarcely usual. I regret to say, the etiquette of my profession precludes me from replying. (_mock bow. Goes up C._)

TOM. Pompous old ass! I don't believe he knows. (_goes to L.C._)

_Re-enter MILDRED, R.U.D., with an open book in her hand._

MIL. Tom, Tom! (_comes down R.C._)

TOM. What's that you've got?

MIL. "Kennedy on Poisons." (_reading from book. SIR PETER listens_) I found it in Miss Derwent's dressing-room.

TOM. Just what we wanted--let me have a look.

SIR P. (_advancing_) Give me that book. (_between them. MILDRED draws book away_)

TOM. But it's not hers--it's----

SIR P. (_peremptorily_) Give that book to me. (_MILDRED gives it him_) How dare you take this from Miss Derwent's dressing-room?

MIL. (_begins to cry_) I didn't know that I was doing wrong. Mousey is always at Miss Derwent's bookcase.

TOM. How dare _you_ take that from Miss Selwyn! Is it yours? (_facing him boldly_)

SIR P. By force of arms.

TOM. Force is not argument.

SIR P. (_in a voice of thunder_) Go away, boy, go! (_points R. TOM collapses, crosses to MILDRED, and exit with MILDRED R.I.D. quickly_)

SIR P. (sits on sofa) "Kennedy--Poisons"--(_opens fly-leaf_) "Kate Derwent--from her friend, the Author--Guy's Hospital, 17th April, 1888." Kennedy's pet lamb! Gives it right and left, and not got through the first edition yet. Nothing remarkable in that. But why does it open at arsenic? "Mousey is always at Miss Derwent's book-case."

_Re-enter PRICE, R.I.D._

PRI. Mr. Learoyd, the chemist, is here, sir.

SIR P. (_rises_) I'll see him at once. (_PRICE is going. SIR PETER goes to him_) Stop--give this key to your mistress, with my compliments. (_gives PRICE the key_) You'll find her in her room. (_crosses and exit R.I.D._)

_PRICE crosses and knocks at door L. and withdraws to L.C. up stage. Re-enter BEATRICE, L. after a pause, she has medicine bottle and wine-glass in her hand._

BEA. What is it?

PRI. Sir Peter told me to give you this, madam, with his compliments. (_gives key and goes R. towards upper door_)

BEA. (_aside_) The key! (_goes down L. Aloud_) Price! I am going to bed. I shall not want Johnson. Put all the lights out, lock the outer door of the conservatory, and make up the house.

PRI. Yes, madam, but Sir Peter----

BEA. Do as I tell you.

_Music in orchestra. BEATRICE has put medicine and glass on table, and stands in front of table, deep in thought. PRICE puts out lamp on piano, then the one in conservatory, lower lights, then disappears R.U.E. A lock is heard to turn. Re-enter PRICE, R.C., he goes to R.U.D._

PRI. Good-night, madam.

BEA. Good-night. (_exit PRICE. BEATRICE crosses and locks R.U.D. Up R.C., looking at key_) Then, he does not suspect me! When I found Philip's door locked, I was half afraid. Why am I such a coward?--Is he with Philip? (_exit L., music swells. Re-enter L._) No! Philip is fast asleep. Can he be watching? (_goes down to R.I.D._) No! (_opens door R., looks out, then shuts and locks it_) Good night, Sir Peter! pleasant dreams to you! (_stands looking at the key_) He suspects nothing. (_goes to L.C., R. of table. Produces medicine bottle and glass and pours out a dose_) It is a great temptation! (_produces phial from bosom_) Strange! how this fascinates me! With my life at stake, I scarcely can resist it. It possesses me! But, I suppose, I dare not. (_music dies away, knock at door R._) Who can that be? (_second knock, aloud_) Who's there?

SIR P. (_off_) It's I--Sir Peter Lund! (_she puts away the phial_)

BEA. What an escape! (_unlocks the door and smiles sweetly_) Come in, Sir Peter. (_enter SIR PETER, R.I.D., leaving door ajar and holding the book behind his back_) I was just getting Philip's medicine. (_goes to L., crossing behind sofa and table_)

SIR P. (R.C.) So I see. (_aside_) It's all right. I'm in time--(_puts book down on piano_)

BEA. I scarcely expected to see you again to-night. Do you want Philip? (_on knees, mending fire_)

SIR P. No, Mrs. Selwyn, it is you I want. (_goes to C._)

BEA. Me?

SIR P. I have something of the greatest importance to tell you. First, let me make sure that my patient cannot overhear us. (_goes towards L.D., back of sofa_)

BEA. (_rises_) He was asleep just now. (_goes up L. to door_)

SIR P. But he may have awakened.

BEA. Shall I see?

SIR P. Thank you. (_she goes L. and exits. SIR PETER watches her off, then goes to back of table and tastes the medicine in the glass, he puts it down, turns quickly, back to door L. signals towards door R., which he has left ajar; enter KATE, R.I.D._) Into there! (_pointing to conservatory_) Quick! (_off R.C._)

KATE. But what am I to do? Why have you brought me here? (_going up R.C., SIR PETER L. of her_)

SIR P. Keep your ears open, and you'll understand. (_exit KATE into conservatory, R., KATE in conservatory upsets a pot_) That's her confounded train.

_Re-enter BEATRICE, L.D., comes down L. to L.C._

BEA. What was that noise?

SIR P. (_at door of conservatory_) Ten thousand pardons: I've upset a flowerpot. (_comes down to C._)

BEA. You've been in the conservatory?

SIR P. Yes--to make sure that nobody was listening. In a case like this, one cannot be too careful.

BEA. Sir Peter, you alarm me. What dreadful secret are you going to tell me? (_goes to sofa_)

SIR P. (_R. of her_) Mrs. Selwyn, you are a woman of strong nerves, and you can bear a shock.

BEA. I think so.

SIR P. Well, I'm going to give you one--I've found it!

BEA. What?

SIR P. The serpent.

BEA. The serpent?

SIR P. Which Mr. Selwyn said did not exist, but the existence of which I suspected from the first.

BEA. A serpent in Ravenhurst?

SIR P. And a remarkably fine specimen, it turns out to be. Your husband is being poisoned. (_BEATRICE taken off her guard, reels, and sinks on sofa_) I can quite understand your emotion.

BEA. Poisoned?

SIR P. By arsenic, administered in his medicine.

BEA. But you put it there yourself. You told him, you were giving him arsenic.

SIR P. I was not. (_BEATRICE gazes at him as if fascinated_) I did not prescribe arsenic.

BEA. Might not the chemist--by mistake----

SIR P. I've seen him, and he assures me there was no mistake. Besides, though there was arsenic in the glass, there was _none in the bottle._ While you were all having your dinner, I took the liberty of analysing _that._ Mr. Selwyn is now in such a condition that the next dose may be fatal. The first thing to be done is, to protect his life. I have not left him since morning; but at the precise moment when the criminal, whoever it is, will probably administer the poison, I shall not be there to prevent it, because that moment will be when he takes the final dose of physic which I have ordered him, just before going to bed.

BEA. And knowing this, you have ordered it?

SIR P. With the object of detecting the culprit. Here I want your assistance. We must lay our plans carefully; for whoever is doing this, she is a very clever woman.

BEA. (_rises_) Woman! Then, you suspect--(_bell ready_)

SIR P. (_business_) Miss Derwent. (_BEATRICE starts_) What was that? (_no noise heard_)

BEA. (_astonished_) Miss _Derwent!_

SIR P. I thought I heard a noise in the conservatory.

BEA. No one is there. The doors have been locked.

SIR P. Someone may have opened them. Let us make sure. (_goes into the conservatory R.C., disappears R., re-enters in a moment and comes down to C._)

BEA. Miss Derwent! (_down stage front of sofa_)

SIR P. (_returning_) Only the flower pot--caught in a plant, which must have given way. (_gets R. of sofa_)

BEA. Well? You were saying----

SIR P. I suspect Miss Derwent--She has, as humanity goes, a powerful incentive to this crime. On Mr. Selwyn's death, she expects to come into a large fortune.

BEA. Not until he has made a will in her favour.

SIR P. He said he would make it to-day. She heard him say so, and she knows that he has seen his solicitor.

BEA. (_sits on sofa_) Yes, but my husband has been ill some weeks. Miss Derwent had nothing to gain by his death until this will was made.

SIR P. (_sitting R. of her_) Therefore, she has not killed him. The process has been admirably timed. She began to compass his death when she had nothing to gain by it, and therefore was not open to suspicion; and on the point of its consummation, adroitly threw herself upon his generosity. You must admit the ingenuity of the scheme.

BEA. But the evidence?

SIR P. That is where you must help me. It is incomplete. But it is obvious enough, the criminal, whoever it is, is familiar with the properties of arsenic, which are not so simple as is commonly supposed. A bungler would have killed him long ago; but Miss Derwent is half a doctor. She was at Guy's for years. She is a particular friend of Dr. Kennedy's--and, strongest evidence of all, his book on toxicology is here--(_rises, crosses to piano, takes book, and recrosses to back of sofa, R. of it_) inscribed with her name--and has evidently been considerably studied. (_gives book to BEATRICE_) Especially, one chapter.

BEA. Which is that?

SIR P. Open it.

BEA. "Arsenic"!

SIR P. Look at the title page.

BEA. "Kate Derwent--from her friend, the Author."

SIR P. (_takes book again_) I submit that the case against her is one of the gravest suspicion (_crosses to back of table, L. of it_)

BEA. Then you accuse your friend and protégée.

SIR P. Science has no friendships. _Someone_ is poisoning your husband. I suspect Miss Derwent. (_KATE appears momentarily R.C._) Accept my theory or reject it--(_raises his voice, to make sure KATE can hear him_) _Watch that glass!_ If anybody touches it----

BEA. Who can, but me! When you have gone, and I have locked the door, no one can get into this room to-night. Where is this poison coming from?

SIR P. Wherever it comes from, I know where it goes; into that glass. Therefore, please, _watch the glass!_ If anybody tampers with it, ring this bell. (_indicates bell pull, going towards it up R._)

BEA. (_rises_) What, the alarm-bell? (_goes to C._)

SIR P. It will rouse the house. A miscreant will be brought to justice, and your husband's life will be saved. (_comes down R.C._)

BEA. If no one touches it?

SIR P. He is safe for to-night, at any rate. Madam, I have the honour to wish you a very good evening. (_exit, R.I.D._)

_Music in orchestra._

BEA. (_locks door after him, and breaks into a low, hollow laugh_) Thank you, Sir Peter! thank you very much! (_goes to C._) The case you have begun, I will complete. Now, I can not only save myself, but triumph! If I convict Miss Derwent of this crime, the will must be abandoned. (_gets R. of table, KATE appears R.C., watching her_) It is worth some risk! I can but fail: and if I do--(_produces phial, and pours the contents into the medicine, laughing_) I'll make this strong enough. There! Now to bring Miss Derwent. I will say Philip's dying, and has asked to see her. Then I will rouse the house, and she shall be found here--alone with this! (_goes to R.C._) Sir Peter will corroborate me, Philip will be convinced, and my Lord Normantower--ha, ha!--can marry her! Thank you, Sir Peter, thank you! (_unlocks door, and exit, R.I.D._)

KATE. Oh! (_in opening, R.C._)

PHIL. (_off L._) Beatrice!

KATE. My brother's voice--if I were found here now!

PHIL. (_nearer_) Beatrice!

(_KATE retreats out of sight, R._)

_Enter PHILIP, L.D._ (_PHILIP goes down L. to L.C._)

PHIL. Not here? Where can she be? (_watch_) Good gracious, I've been asleep for nearly three hours. (_yawning_) Well, I suppose she won't be very long; (_KATE appears again, watching PHILIP, who sits on sofa_) Ah, there's the medicine! That last dose, which old Lund said was so particular. I'd forgotten all about it. But Mousey hadn't. She forgets nothing--nothing! (_rises_) Well, the sooner I take it, the sooner it's over. (_about to drink_)

KATE. (_rushing forward_) Philip! Stop! (_music stops_)

PHIL. Kate? (_sets down the glass_)

KATE. It's poison! (_R. of sofa_)

PHIL. Poison?

_Re-enter BEATRICE, R.I.D._

KATE. Yes! (_hysterically_) She is killing you!

PHIL. (_confounded_) Who?

KATE. Beatrice! (_PHILIP drops into sofa_) Your wife! (_sobs at his feet. PHILIP sits as if stunned. BEATRICE stands, surveying them. Pause. BEATRICE rings the alarm bell--KATE springs to her feet. Re-enter SIR PETER, R.I.D. KATE goes up to C., PHILIP rises and goes L. Lights worked up imperceptibly_)

SIR P. Who rang the bell? (_crosses to R. of table_)

_Re-enter LORD NORMANTOWER, R.I.D._

BEA. _I_ rang!

NOR. (R.C.) What is the matter?

BEA. Sir Peter, you were right. This girl is poisoning my husband. (_comes down to C._)

PHIL. Beatrice! (_goes to fire, and leans on mantel_)

KATE. Oh!

SIR P. Let Mrs. Selwyn speak. (_calmly tests the medicine by finger and gets to back to table, placing glass down there_)

BEA. You asked me to watch, and I have watched. I found her hidden here. My husband was about to drink this stuff----

PHIL. When she prevented me----

BEA. Because, of course, she heard my conversation with Sir Peter. Knowing she was suspected, she has sought to cast this horrible suspicion upon _me!_

KATE. Philip--I saw her!

BEA. Since I poured out that draught, I have not touched it.

KATE. Oh! (_retreating up L.C._)

BEA. If it is poisoned--_she_ has poisoned it.

SIR P. But when? Besides, you would have seen her--you were watching. This was not poisoned, when I left the room.

BEA. It _must_ have been!

SIR P. I think not--and I tested it. (_advances to C., behind sofa_)

BEA. I didn't see you.

SIR P. No--I took care you shouldn't. (_pause_)

BEA. You suspected _me!_

SIR P. From the beginning.

BEA. This is a plot to ruin me! (_BEATRICE crosses to PHILIP who disregards her. SIR PETER goes to R.C., L. of LORD NORMANTOWER_) Philip, _you_ don't believe this hideous charge? (_PHILIP makes no movement--she draws back, up L. to back of table, and stands at bay_) What was Miss Derwent doing in the room? If she is innocent, why was she _hiding_ here?

SIR P. Perhaps I can throw some light upon that matter. (_BEATRICE confronts SIR PETER_) _I_ brought Miss Derwent here. (_going up to C., KATE comes to him_)

BEA. _You_ brought her--when?

SIR P. When _you_ were in the other room, naturally. I took the liberty of putting her into the conservatory, where, you will remember, she had the misfortune to upset a flower-pot.

BEA. I understand. You laid a trap for me?

SIR P. I took that liberty.

BEA. And you say, this is poisoned?

SIR P. I should think, fatally.

BEA. If I am guilty, why do I not get rid of it? You have given me plenty of opportunity.

SIR P. For a very excellent reason. Because you are quite clever enough to know, that to do so would be an admission of your crime.

BEA. I am not guilty, and this (_takes up glass_) is not poison.

SIR P. Sorry I am to contradict you----

BEA. See! I will prove it! (_drinks the poison and throws glass down behind her, it smashes. Movement from SIR PETER, NORMANTOWER and PHILIP_)

SIR P. Mrs. Selwyn!

BEA. You are too late, Sir Peter. (_goes up_) Now--good night to all of you. (_curtseying. Exit L., followed by SIR PETER_)

NOR. (_to PHILIP_) What was the object? (_crosses to C. As NORMANTOWER crosses he holds out his hand to KATE, which she accepts, KATE being L. of him, R. of sofa_)

PHIL. Normantower, Kate is my sister. The fortune which I have enjoyed for years is hers, and I was anxious to restore it. The object was, to prevent me. (_music in orchestra_) Oh, Kate, my heart is broken! (_KATE goes to R. of PHILIP and kneels_)

KATE. But time will heal it, Philip; for your heart is good; goodness and happiness are not strangers long.

_Re-enter SIR PETER, L.D._

PHIL. Only to think, this woman is my wife!

SIR P. (_gently laying his hand on PHILIP'S shoulder_) But not for long. And she is better dead!

MUSIC FORTE.

Moderate Curtain.

_Time_ (_Act_) _forty-two minutes. Time for whole, including waits, two hours, six minutes._

Transcriber's Note

This transcription is based on scanned images posted by Google from a copy in the Harvard Library.

Note that the Google scans are included in a set of four Sydney Grundy plays published by Samuel French posted under the title, _A Fool's Paradise._ Based on how the Harvard Library catalogs the individual copies, I assume Google combined the different scans into a single document. _A Fool's Paradise_ is the first play in the set.

French's Acting Editions from the nineteenth century tend to have minor editorial inconsistencies and errors such as missing and inverted letters, missing and incorrect punctuation marks, and spelling errors. In addition, errors were introduced in the printing process, depending on the condition and inking of the plates. Thus, for example, it is at times difficult to determine whether a certain letter is an "c," "e," or "o" or whether a certain punctuation mark is a period or a comma. Where context made the choice obvious, the obvious reading was given the benefit of the doubt without comment.

The following changes were noted:

- Throughout the text, all abbreviations in the stage directions for stage position, entrances, and exits (e.g.,"R.I.D.") have been made consistent so that there is no space between the letters.

- Throughout the text, the convention of long dashes at the end of lines has been made consistent.

- p. 3: Tennis bat for KATE R.U.E.--For consistency, changed "KATE" to "Kate".

- p. 5: You wouldn't mind being Mrs. Verinder, would you.--Changed period to a question mark.

- p. 6: KATE Why aren't...--Added period after "KATE".

- p. 7: Even love matches are often unfortumate.--Changed "unfortumate" to "unfortunate".

- p. 7: Love has a habit of being so one-sided--Added period to end of sentence.

- p. 7: ...a most able and distinguished man--Added period to end of sentence.

- p. 9: ..._and waves his hand to TOM and MIL_)--Changed "MIL" to "MILDRED" in stage direction.

- p. 9: SIR. P. Drink too much.--Deleted period after "SIR".

- p. 9: KATE. SIR Peter!--Changed "SIR" from small caps to initial cap.

- p. 9: SIRP. Of course you do.--Inserted space between "SIR" and "P".

- p. 10: SIR P Any pain?--Inserted period after "SIR P".

- p. 11: SIR P. So, altogether. you're quite a happy family?--Changed what looked like a period after "altogether" to a comma.

- p. 11: With more money than I know what to do wi h...--Changed "wi h" to "with".

- p. 11: The liv r was made, by a beautiful provision...--Changed "liv r" to "liver".

- p. 12: _Re-enter MILDRED and TOM, followed by LORD NORMANTOWER, C. from R._)--Deleted unmatched closing parenthesis.

- p. 12: (_they come down stage tonether..._--Changed "_tonether_" to "_together_".

- p. 12: ...and though circum tances have kept us a good deal apart--we've never quite ost...--Changed "circum tances" to "circumstances" and "ost" to "lost".

- p. 12: SIR P. (_crosses to LORD NORMANTOWER. C._)--Changed period after "NORMANTOWER" to comma.

- p. 13: SIR P. (_picks up bunch from table, R._)--Changed "_bunch_" to "_Punch_" based on the "Necessary Properties" list and on the stage direction following the next line of dialogue which has Sir Peter sitting and reading.

- p. 15: ..._she has a tennis bat in her hand, and comes down C._)-- Deleted unmatched closing parenthesis.

- p. 18: (_stoop- to give a back, NORMANTOWER down R. laughs...._--Changed "_stoop-_" to "_stooping_".

- p. 18: KATE (_nodding_) How d'ye do?--Added period after "KATE".

- p. 20: Nonsense I must see you...--Added period after "Nonsense".

- p. 21: ...but consider the future Some day...--Added a period after "future".

- p. 21: No, I shall never marry--Added a period at end of line.

- p. 22: You are a foolish, obstinate, absurd--(_turns suddenly and takes both her hands_) Good, generous...--Inserted dash after closing parenthesis, and changed "Good" to lower case.

- p. 23: ACT II--Inserted a period at end of heading for consistency.

- p. 23: ...remarkably tight inexpressibles--Added a period at end of line.

- p. 23: You under-rate your accomplishments. don't think...--Inserted the word "_I_" before "don't". Use of italics was based on spacing between words.

- p. 24: _Kate turns up and resumes watering plants, R.C._--For consistency in stage directions, changed "Kate" to small caps in html version and all caps in text version.

- p. 29: No--but I cannot grasp it?--Changed question mark to an exclamation mark.

- p. 31: ...bnt now I have awaken...--Changed "bnt" to "but".

- p. 33: I'm doing right, aren't I, mousey--Added question mark to end of sentence.

- p. 33: I have your acquiesence?--Changed "acquiesence" to "acquiescence".

- p. 34: TOM. Are quite well enough to stand a shock?--Inserted "you" after "Are".

- p. 34: Yon won't come to blows?--Changed "Yon" to "You".

- p. 35: _Exeunt JOHNSON and PHILIP R.U.D._--Added closing parenthesis.

- p. 36: _TOM has her L. hand., PHILIP her right..._--Deleted period after "hand".

- p. 36: SIR. P. Nobody here.--Deleted period after "SIR".

- p. 36: ..._then smells it, smell it again, tastes again cautiously by his finger..._--Changed "_smell_" to "_smells_".

- p. 38: _BEATRICE'S fan on piano_--Added period after "_piano_".

- p. 39: "_ad. lib._"--Deleted period after "_ad_".

- p. 40: I am charmed with him--Added period at end of sentence.

- p. 41: _PHILIP comes to C. up stage, KATE rises and meets him_)--Changed closing parenthesis to a period.

- p. 41: SIR P My dear young...--Added a period after "P".

- p. 43: You've had a trying day--Added a period at end of sentence.

- p. 43: _PHILIP takes his R. arm, and they go up_)--Inserted a left parenthesis before "PHILIP".

- p. 43: SIR. P. By obeying me...--Deleted period after "SIR".

- p. 43: SIR P Just one more.--Added a period after "P".

- p. 43: (_behind sofa R. of it_)--Added a comma after "sofa".

- p. 43: Oh, yes; we get along splendidly. like Miss Derwent! she is just my sort.--Added "I" before "like".

- p. 43: ...a bachelor can devote himself to the sex,--Changed comma to a period.

- p. 44: Don't mock me--Added a period at end of sentence.

- p. 44: Lord Normantower, I owe you an explanation' which...--Deleted single quote mark after "explanation".

- p. 44: You contemplate being married--Added a question mark to end of sentence.

- p. 47: SIR. P. Oh, Miss Derwent!--Deleted period after "SIR".

- p. 47: ..._snuff--box_...--Changed dash to a hyphen.

- p. 48: As Mr. Selwyn's friend--betray his confidence--Added a question mark to end of sentence.

- p. 48: ..._drops into sofa, the picture of desolation._--Added a closing parenthesis after "desolation."

- p. 48: I'm "all right.'--Changed single closing quotation mark to double closing quotation mark.

- p. 49: Whom I could honor--whom I could even obey--Added an exclamation mark to end of sentence.

- p. 49: ...from morning nntil night...--Changed "nntil" to "until".

- p. 50: Don t I? I've got it.--Added an apostrophe between "Don" and "t".

- p. 50: I'll go and make things up. _exit. R.U.D._)--Added left parenthesis before "_exit_"; changed period after "_exit_" to a comma.

- p. 50: (_turns up to_ Sir PETER)--Changed "Sir" from initial cap to small caps in html and all caps in text version.

- p. 51: TOM. How dare _you_ take that from Miss Selwyn?--Changed question mark to exclamation mark.

- p. 51: _Re-enter BEATRICE, L. after a pause, she has medicine bottle and wine-glass in her hand_)--Changed closing parenthesis to a period.

- p. 52: (_enter SIR PETER, R.I.D , leaving door ajar..._--Changed space after "D" to a period.

- p. 52: (_goes towards L D., back of sofa_)--Changed space after "L" to a period.

- p. 53: (_BEATRICE gazes at him as if fascinated_--Added closing parenthesis after "_fascinated_".

- p. 53: I thought I heard a noise in the conservatory--Added a period at end of sentence.

- p. 53: (_goes into the conservatory R.C., disappears R. re-enters..._--Inserted a comma after "R.".

- p. 54: ...and on the point of it's consummation...--Changed "it's" to "its".

- p. 54: (_takes book gaain_)--Changed "gaain" to "again".

- p. 54: I suspect Miss Derwent--Added a period at end of sentence.

- p. 55: (_indicates bell pull, going owards it up R._)--Changed "_owards_" to "_towards_".

- p. 55: _comes down R.C._)--Added a left parenthesis before "_comes_".

- p. 55: ...KATE appears R.C ,...--Changed space after "C" to a period.

- p. 55: (_PHIL goes down L. to L.C._)--Changed "PHIL" to "PHILIP".

- p. 55: (_sets down the glass_--Added closing parenthesis after "_glass_".

- p. 56: _Re-enter LORD NORMANTOWE, R.I.D._--Changed "NORMANTOWE" to "NORMANTOWER".

- p. 56: BEA. _I_ rang?--Changed question mark to an exclamation mark.

- p. 56: (_come down to C._)--Changed "_come_" to "_comes_".

- p. 56: (_retreating up L C._)--Changed space after "L" to a period.

- p. 56: _PHILIP makes no movement..._--Added a left parenthesis before "PHILIP".

- p. 57: If she is innocent, why was she hiding here--Added a question mark at end of sentence.

- p. 57: Perhaps I can throw some light upon that matter--Added a period at end of sentence.

- p. 57: (_going up to C , KATE comes to him_)--Changed space after "C" to a period.

- p. 57: SIR P I should think, fatally.--Added a period after "P".

- p. 57: SIR P For a very excellent reason.--Added a period after "P".

- p. 57: ...that to do so would be an admisson of...--Changed "admisson" to "admission".

The html version of this etext attempts to reproduce the layout of the printed text. However, some concessions have been made. For example, on pages 25, 34, and 39 of the printed text a single curly bracket around two or more lines is used to indicate simultaneous action or dialogue. It is possible to reproduce this in html using tables, but html tables may not transfer well to the Project Gutenberg files generated from the html file. Thus, the use of html tables was avoided.

This play was inspired by the 1889 trial of Florence Maybrick, who was convicted of poisoning her husband with arsenic. A brief description can be found in William R. Cullen, _Is Arsenic an Aphrodisiac? The Sociochemistry of an Element_ (Cambridge, U.K.: Royal Society of Chemistry, 2008), pp. 179-180, 183-185. See also Edgar Lustgarten, _Verdict in Dispute_ (London: Allan Wingate, 1949).