Complete Works of Wilkie Collins (2014 page)

Sir P. (continuing).
And that’s not the worst of it, mind! The next proposal made to me comes from Miss Fairlie herself. She coolly asks me — with the marriage settlement actually in the house — to release her from our engagement. I put it to you, Fosco, as a member of the family. I have been engaged to your wife’s niece for two years, with the consent of the parents on both sides. Has Miss Fairlie any right to play fast and loose with me after that?

Fosco.
My good friend, your tone is deplorable. Moderate it.

Sir P.
Moderate it? I am deliberately kept out in the dark. I am sacrificed, for all I know, to a new fancy for some other man. When I ask Miss Fairlie for her reasons she hangs her head; and Miss Halcombe tells me to my face I have no right to put the question.

Mar.
I deliberately repeat it, Sir Percival. You have no right to force yourself into my sister’s confidence. Are we in the slave market at Constantinople? You talk as if Laura Fairlie was yours by right of purchase!

Sir P. (to
FOSCO). You hear her, Fosco?

Fosco (sternly).
I recommend you to be silent, Percival. I think Miss Halcombe is quite right.
(Aside.)
A fine woman, spirit, intelligence, courage!

Sir P.
Oh, you agree with Miss Halcombe, do you? All right! Get that loan of money you want from somebody else. Don’t ask me.

Fosco (to
MISS HALCOMBE). Permit me to apologise for Percival’s temper.

Mar.
We will adjourn this family discussion, count. Madame Fosco is really uneasy at your absence. Let me show you the way to the house.

(She turns to lead the way out. At the same moment
LAURA
and
MADAME FOSCO
appear at the door at the back.)

Madame F.
My dear count! I couldn’t resist following Sir Percival and Miss Halcombe — I was so anxious about you!

Fosco (kissing her hand).
My angel! It is worth while losing myself to hear that charming confession!
(He takes a little gold box out of his pocket).
Chocolate à la vanille. Have a bonbon?

Madame F. (continuing).
My niece, Laura, was so kind as to come with me. Let me present you, count, to my niece.

(She indicates
LAURA.
The
COUNT
notices her for the first time.)

Fosco (starting back).
That is Miss Fairlie!!!

Madame F.
What is there to be surprised at?

Fosco (confusedly).
Nothing, nothing!
(He controls himself, bows to
LAURA,
and drawing back towards the door on the left, continues, aside.)
The fugitive from the lunatic asylum over again! The double of the woman whom I have got hidden in here!

(His eyes remain fixed in astonishment on
LAURA’S
face.
LAURA,
who has entered the room with signs of agitation in her manner, bows to the
COUNT
without observing the effect which she has produced on him, and then turns to
MARIAN,
showing a letter in her hand.
MADAME FOSCO
remains near her husband at the side of the stage.)

Mar.
Laura, you look agitated! Is there anything wrong?

Laura.
Something very painful has happened since you and Sir Percival left us.

Mar.
Something connected with that letter?

Laura.
Yes; I owe it to Sir Percival not to delay one moment in telling him what this letter contains.

Sir P. (carelessly).
Am I concerned in it?

Laura.
You are seriously concerned in it. (SIR PERCIVAL
draws back a step in surprise. A momentary pause.
FOSCO,
foreboding something wrong, changes his position, so as to place himself on one side of
SIR PERCIVAL. LAURA
continues.)
I received the letter, not five minutes since, from the person who keeps the lodge gate. Take it, Sir Percival.

(She attempts to hand the letter to
SIR PERCIVAL. MARIAN
interposes.)

Mar. (to
LAURA). Does this refer, in any way, to your marriage engagement?

Laura.
It warns me to pause before I fulfil my engagement.

Sir P. (in alarm).
Miss Halcombe! that letter was not offered to you, but to
me.

Fosco (aside to
SIR PERCIVAL.) Hold your tongue!

Mar. (taking the letter from
LAURA). Before I give it up, Sir Percival, I should be glad to know in what character you claim it. Laura has made an appeal to you to release her from her engagement. Do you ask me for the letter as Laura’s affianced husband, or simply as a guest staying in the house?

Fosco (aside to
SIR PERCIVAL). Mind what you are about!

Sir P. (to
MARIAN). I ask for it as her affianced husband.

Fosco (turning away with a gesture of contempt).
Bah!

Mar. (to
SIR PERCIVAL). In that case, as Laura’s relative and friend, I claim it first! Her father is dead — her uncle is in ill health — she has no one to defend her interests but me. I mean to defend them to the last!
(She turns to
LAURA.) Is the letter signed?

Laura.
Yes.

Mar.
Do you know the person who has written it?

Laura.
I remember the person when we were both children. She interested my poor mother. (SIR PERCIVAL
listens attentively.)
By a strange accident, we were so like each other in those past times, that we were taken for twin-sisters.

(SIR PERCIVAL
and
FOSCO
both start, recognising the person.
MARIAN
opens the letter.)

Mar. (to
LAURA). May I read it aloud?

Laura.
Certainly.

Mar. (to
SIR PERCIVAL). I will take no undue advantage of you. I will read the letter in your presence.
(She reads.)
“MISS FAIRLIE, — It is reported that you are about to marry Sir Percival Glyde. Break off your engagement to him, or you will be making the misery of your whole future life. I can give you a reason — a terrible reason — for my intruding this advice on you, if you can first promise me protection from his vengeance. He has already deprived me of my liberty. If he can lay hands on me, he will take my life next. Please write to me at the post-office, Carlisle. Your grateful servant, ANNE CATHERICK.” — Sir Percival! these serious charges are signed by a person with whom my sister is acquainted. In justice to
you,
this matter must be cleared up.

Sir P.
I court the fullest inquiry, Miss Halcombe.
(Aside.)
I shall catch her at Carlisle!

Mar. (aside to
LAURA). I shall trace her through the post-office!

Fosco (aside).
I have got her here!

THE CURTAIN FALLS.

THE END OF THE FIRST ACT.

ACT II.

DATE: AUGUST 31, 1862.
PLACE: Blackwater Park, Hampshire.

The flat scene — which must not be placed further back than is absolutely necessary — represents a portion of the wall of
SIR PERCIVAL GLYDE’S
country-house; comprehending the ground-floor and the floor above it. Three of the windows on the upper floor must be practicable. The window of
MADAME FOSCO’S
room in the middle; the window of
SIR PERCIVAL’S
room on the (actor’s) right; and the window of
MISS HALCOMBE’S
room on the left. All the windows look out on the sloping roof of an iron verandah, which shades the windows on the ground-floor. The light pillars which support the verandah are placed at wide distances apart, so as to allow space between them for the action of the scene. The largest room on the ground-floor is the drawing-room.
COUNT FOSCO’S
canaries are seen in their cage on a table in the room, which occupies a central position under the verandah. The window is made on the French plan, and is open to the ground. The lighted drawing-room is seen through the window, and is entered by a door at the back, opening into the interior of the house. On the space under the verandah, outside the drawing-room, are placed one or two chairs and a small table.

Next to the drawing-room (and divided from it by one of the pillars of the verandah) are the smaller French windows of the study — two in number. Both these windows are open. Before one of them is placed a sofa, with the head towards the centre of the stage. The second window serves as an entrance to the study, which, like the drawing-room, is lit up, and has a door at the back, In front of the verandah, the stage represents a lawn, with a gravel walk at one side. Some garden-chairs are placed here and there. The entrances, right and left, at the side, are masked by shrubs and flowers. The time is night. A bright moonlight falls on the scene, and contrasts with the red light of the lamps in the drawing-room and the study.

At the rise of the curtain
MISS HALCOMBE
and
LAURA
(in evening dress) are seen in the drawing-room,
LAURA
being dressed entirely in white. They pass out under the verandah into the garden, and pace slowly backwards and forwards on the lawn while they speak.

Laura.
It is so delightful, Marian, to see your face again! I can almost fancy myself back at Limmeridge in the dear old times.

Mar. (stopping, and looking at her).
Laura! You have only been married a month to-day. Are you looking back longingly at the old life already?

Laura.
Why not? The old life was the happy life!

Mar.
Are you not happy now?

Laura.
Quite happy, my dear, with you.

Mar.
And with your husband?

Laura (changing the subject).
How unbearable the heat is to-night. Not even a breath of air on the lawn!

Mar.
Why don’t you answer my question? Why are you silent about your married life?

Laura.
The subject is so uninteresting, Marian. Will it do if I say I am resigned to my married life? There is no confidence between my husband and me. He is devoured by anxieties — money anxieties, I suspect — of which I know nothing. Have I answered your question? Need I say anything more?