HUNT. How do you know?

AINSLIE. I gi'ed him a han' wi' them a'. It was him an' Badger Moore, and Geordie Smith; an' they gart me gang wi' them whether or no; I'm that weak, an' whiles I'm donner'd wi' the drink. But I ken a', an' I'll tell a'. And O kind gentleman, you'll speak to their lordships for me, an' I'll no be hangit. . . I'll no be hangit, wull I?

HUNT. But you shared, didn't you? I wonder what share they thought you worth. How much did you get for last night's performance down at Mother Clarke's?

AINSLIE. Just five pund, mister. Five pund. As sure's deith it wadna be a penny mair. No but I askit mair: I did that; I'll do deny it, mister. But Badger kickit me, an' Geordie, he said a bad sweir, an' made he'd cut the liver out o' me, an' catch fish wi't. It's been that way frae the first: an aith an' a bawbee was aye guid eneuch for puir Andra.

HUNT. Well, and why did they do it? I saw Jemmy dance a hornpipe on the table, and booze the company all round, when the Deacon was gone. What made you cross the fight, and play booty with your own man?

AINSLIE. Just to make him rob the Excise, mister. They're wicked, wicked men.

HUNT. And is he right for it?

AINSLIE. Ay is he.

HUNT. By jingo! When's it for?

AINSLIE. Dear, kind gentleman, I dinna rightly ken: the Deacon's that sair angered wi' me. I'm to get my orders frae Geordie the nicht.

HUNT. O, you're to get your orders from Geordie, are you? Now look here, Ainslie. You know me. I'm Hunt the Runner; I put Jemmy Rivers in the jug this morning; I've got you this evening. I mean to wind up with the Deacon. You understand? All right. Then just you listen. I'm going to take these here bracelets off, and send you home to that celebrated bed of yours. Only, as soon as you've seen the Dook you come straight round to me at Mr. Procurator-Fiscal's, and let me know the Dook's views. One word, mind, and ... cl'k! It's a bargain?

AINSLIE. Never you fear that. I'll tak' my bannet an' come straucht to ye. Eh God, I'm glad it's nae mair nor that to start wi'. An' may the Lord bless ye, dear, kind gentleman, for your kindness. May the Lord bless ye.

HUNT. You pad the hoof.

AINSLIE (GOING OUT). An' so I wull, wulln't I not? An' bless, bless ye while there's breath in my body, wulln't I not?

HUNT (SOLUS). You're a nice young man, Andrew Ainslie. Jemmy Rivers and the Deacon in two days! By jingo! (HE DANCES AN INSTANT GRAVELY, WHISTLING TO HIMSELF.) Jerry, that 'ere little two hundred of ours is as safe as the bank.

TABLEAU VI. UNMASKED

The Stage represents a room in Leslie's house. A practicable window, C., through which a band of strong moonlight falls into the room. Near the window a strong-box. A practicable door in wing, L. Candlelight.

SCENE I

LESLIE, LAWSON, MARY, seated. BRODIE at back, walking between the windows and strong-box.

LAWSON. Weel, weel, weel, weel, nae doubt.

LESLIE. Mr. Lawson, I am perfectly satisfied with Brodie's word; I will wait gladly.

LAWSON. I have nothing to say against that.

BRODIE (BEHIND LAWSON). Nor for it.

LAWSON. For it? for it, William? Ye're perfectly richt there. (TO LESLIE.) Just you do what William tells you; ye canna do better than that.

MARY. Dear uncle, I see you are vexed; but Will and I are perfectly agreed on the best course. Walter and I are young. Oh, we can wait; we can trust each other.

BRODIE (FROM BEHIND). Leslie, do you think it safe to keep this strong-box in your room?

LESLIE. It does not trouble me.

BRODIE. I would not. 'Tis close to the window.

LESLIE. It's on the right side of it.

BRODIE. I give you my advice: I would not.

LAWSON. He may be right there too, Mr. Leslie.

BRODIE. I give him fair warning: it's not safe.

LESLIE. I have a different treasure to concern myself about; if all goes right with that I shall be well contented.

MARY. Walter!

LAWSON. Ay, bairns, ye speak for your age.

LESLIE. Surely, sir, for every age; the ties of blood, of love, of friendship, these are life's essence.

MARY. And for no one is it truer than my uncle. If he live to be a thousand, he will still be young in heart, full of love, full of trust.

LAWSON. All, lassie, it's a wicked world.

MARY. Yes, you are out of sorts to-day; we know that.

LESLIE. Admitted that you know more of life, sir; admitted (if you please) that the world is wicked; yet you do not lose trust in those you love.

LAWSON. Weel . . . ye get gliffs, ye ken.

LESLIE. I suppose so. We can all be shaken for a time; but not, I think, in our friends. We are not deceived in them; in the few that we admit into our hearts.

MARY. Never in these.

LESLIE. We know these (TO BRODIE), and we think the world of them.

BRODIE (AT BACK). We are more acquainted with each other's tailors, believe me. You, Leslie, are a very pleasant creature. My uncle Lawson is the Procurator-Fiscal. I - What am I? - I am the Deacon of the Wrights, my ruffles are generally clean. And you think the world of me? Bravo!

LESLIE. Ay, and I think the world of you.

BRODIE (AT BACK, POINTING TO LAWSON). Ask him.

LAWSON. Hoot-toot. A wheen nonsense: an honest man's an honest man, and a randy thief's a randy thief, and neither mair nor less. Mary, my lamb, it's time you were hame, and had you beauty sleep.

MARY. Do you not come with us?

LAWSON. I gang the ither gate, my lamb. (LESLIE HELPS MARY ON WITH HER CLOAK, AND THEY SAY FAREWELL AT BACK. BRODIE FOR THE FIRST TIME COMES FRONT WITH LAWSON.) Sae ye've consented?

BRODIE. As you see.

LAWSON. Ye'll can pay it back?

BRODIE. I will.

LAWSON. And how? That's what I'm wonderin' to mysel'.

BRODIE. Ay, God knows that.

MARY. Come, Will.

SCENE II

LESLIE, LAWSON (wrapping up)

LESLIE. I wonder what ails Brodie?

LAWSON. How should I ken? What should I ken that ails him?

LESLIE. He seemed angry even with you.

LAWSON (IMPATIENT). Hoot awa'.

LESLIE. Of course, I know. But you see, on the very day when our engagement is announced, even the best of men may be susceptible. You yourself seem not quite pleased.

LAWSON (WITH GREAT IRRITATION). I'm perfectly pleased. I'm perfectly delighted. If I werena an auld man, I'd be just beside mysel' wi' happiness.

LESLIE. Well, I only fancied.

LAWSON. Ye had nae possible excuse to fancy. Fancy? Perfect trash and nonsense. Look at yersel'. Ye look like a ghaist, ye're white-like, ye're black aboot the een; and do ye find me deavin' ye wi' fancies? Or William Brodie either? I'll say that for him.

LESLIE. 'Tis not sorrow that alters my complexion; I've something else on hand. Come, I'll tell you, under seal. I've not been in bed till daylight for a week.

LAWSON. Weel, there's nae sense in the like o' that.

LESLIE. Gad, but there is though. Why, Procurator, this is town's business; this is a municipal affair; I'm a public character. Why? Ah, here's a nut for the Crown Prosecutor! I'm a bit of a party to a robbery.

LAWSON. Guid guide us, man, what d'ye mean?

LESLIE. You shall hear. A week ago to-night, I was passing through this very room without a candle on my way to bed, when . . . what should I see, but a masked man fumbling at that window! How he did the Lord knows. I suspect, Procurator, it was not the first he'd tried . . . for he opened it as handily as his own front door.

LAWSON. Preserve me! Another of thae robberies!

LESLIE. That's it. And, of course, I tried to seize him. But the rascal was too quick. He was down and away in an instant. You never saw a thing so daring and adroit.

LAWSON. Is that a'? Ye're a bauld lad, I'll say that for ye. I'm glad it wasna waur.

LESLIE. Yes, that's all plain sailing. But here's the hitch. Why didn't I tell the Procurator-Fiscal? You never thought of that.

LAWSON. No, man. Why?

LESLIE. Aha! There's the riddle. Will you guess? No? . . . I thought I knew the man.

LAWSON. What d'ye say?

LESLIE. I thought I knew him.

LAWSON. Wha was't?

LESLIE. Ah, there you go beyond me. That I cannot tell.

LAWSON. As God sees ye, laddie, are ye speaking truth?

LESLIE. Well . . . of course!

LAWSON. The haill truth?

LESLIE. All of it. Why not?

LAWSON. Man, I'd a kind o' gliff.

LESLIE. Why, what were you afraid of? Had you a suspicion?

LAWSON. Me? Me a suspicion? Ye're daft, sir; and me the Crown offeecial! . . . Eh man, I'm a' shakin' ... And sae ye thocht ye kennt him?

LESLIE. I did that. And what's more, I've sat every night in case of his return. I promise you, Procurator, he shall not slip me twice. Meanwhile I'm worried and put out. You understand how such a fancy will upset a man. I'm uneasy with my friends and on bad terms with my own conscience. I keep watching, spying, comparing, putting two and two together, hunting for resemblances until my head goes round. It's like a puzzle in a dream. Only yesterday I thought I had him. And who d'you think it was?

LAWSON. Wha? Wha was't? Speak, Mr. Leslie, speak. I'm an auld man; dinna forget that.

LESLIE. I name no names. It would be unjust to him; and, upon my word, it was so silly it would be unfair to me. However, here I sit, night after night. I mean him to come back; come back he shall; and I'll tell you who he was next morning.

LAWSON. Let sleeping dogs lie, Mr. Leslie; ye dinna ken what ye micht see. And then, leave him alane, he'll come nae mair. And sitting up a' nicht . . . it's a FACTUM IMPRESTABILE, as we say: a thing impossible to man. Gang ye to your bed, like a guid laddie, and sleep lang and soundly, and bonnie, bonnie dreams to ye! (WITHOUT.) Let sleeping dogs lie, and gang ye to your bed.

SCENE III

LESLIE

LESLIE (CALLING). In good time, never fear! (HE CAREFULLY BOLTS

AND CHAINS THE DOOR.) The old gentleman seems upset. What for, I wonder? Has he had a masked visitor? Why not? It's the fashion. Out with the lights. (BLOWS OUT THE CANDLES. THE STAGE IS ONLY LIGHTED BY THE MOON THROUGH THE WINDOW.) He is sure to come one night or other. He must come. Right or wrong, I feel it in the air. Man, but I know you, I know you somewhere. That trick of the shoulders, the hang of the clothes - whose are they? Where have I seen them? And then, that single look of the eye, that one glance about the room as the window opened . . . it is almost friendly; I have caught it over the glass's rim! If it should be . . . his? No, his it is not.

WATCHMAN (WITHOUT). Past ten o'clock, and a fine moonlight night.

ANOTHER (FURTHER AWAY). Past ten o'clock, and all's well.

LESLIE. Past ten? Ah, there's a long night before you and me, watchmen. Heavens, what a trade! But it will be something to laugh over with Mary and . . . with him? Damn it, the delusion is too strong for me. It's a thing to be ashamed of. 'We Brodies': how she says it! 'We Brodies and our Deacon': what a pride she takes in it, and how good it sounds to me! 'Deacon of his craft, sir, Deacon of the . . .! (BRODIE, MASKED, APPEARS WITHOUT AT THE WINDOW, WHICH HE PROCEEDS TO FORCE.) Ha! I knew he'd come. I was sure of it. (HE CROUCHES NEAR AND NEARER TO THE WINDOW, KEEPING IN THE SHADE.) And I know you too. I swear I know you.

SCENE IV

BRODIE, LESLIE

BRODIE enters by the window with assurance and ease, closes it silently, and proceeds to traverse the room. As he moves, LESLIE leaps upon and grapples him.

LESLIE. Take off that mask!

BRODIE. Hands off!

LESLIE. Take off the mask!

BRODIE. Leave go, by God, leave go!

LESLIE. Take it off!

BRODIE (OVERPOWERED). Leslie ....

LESLIE. Ah! you know me! (SUCCEEDS IN TEARING OFF THE MASK.) Brodie!

BRODIE (IN THE MOONLIGHT). Brodie.

LESLIE. You . . . you, Brodie, you?

BRODIE. Brodie, sir, Brodie as you see.

LESLIE. What does it mean? What does it mean, my God? Were you here before? Is this the second time? Are you a thief, man? are you a thief? Speak, speak, or I'll kill you.

BRODIE. I am a thief.

LESLIE. And my friend, my own friend, and . . . Mary, Mary! . . . Deacon, Deacon, for God's sake, no!

BRODIE. God help me!

LESLIE. 'We Brodies! We Brodies!'

BRODIE. Leslie -

LESLIE. Stand off! Don't touch me! You're a thief!

BRODIE. Leslie, Leslie

LESLIE. A thief's sister! Why are you here? why are you here? Tell me! Why do you not speak? Man, I know you of old. Are you Brodie, and have nothing to say?

BRODIE. To say? Not much - God help me - and commonplace, commonplace like sin. I was honest once; I made a false step; I couldn't retrace it; and . . . that is all.

LESLIE. You have forgot the bad companions!

BRODIE. I did forget them. They were there.

LESLIE. Commonplace! Commonplace! Do you speak to me, do you reason with me, do you make excuses? You - a man found out, shamed, a liar, a thief - a man that's killed me, killed this heart in my body; and you speak! What am I to do? I hold your life in my hand; have you thought of that? What am I to do?

BRODIE. Do what you please; you have me trapped.

(JEAN WATT IS HEARD SINGING WITHOUT TWO BARS OF 'WANDERIN' WILLIE,' BY WAY OF SIGNAL.)

LESLIE. What is that?

BRODIE. A signal.

LESLIE. What does it mean?

BRODIE. Danger to me; there is someone coming.

LESLIE. Danger to you?

BRODIE. Some one is coming. What are you going to do with me? (A KNOCK AT THE DOOR.)

LESLIE (AFTER A PAUSE). Sit down. (KNOCKING.)

BRODIE. What are you going to do with me?

LESLIE. Sit down. (BRODIE SITS IN DARKEST PART OF STAGE. LESLIE OPENS DOOR, AND ADMITS LAWSON. DOOR OPEN TILL END OF ACT.)

SCENE V

BRODIE, LAWSON, LESLIE

LAWSON. This is an unco' time to come to your door; but eh, laddie, I couldna bear to think o' ye sittin' your lane in the dark.

LESLIE. It was very good of you.

LAWSON. I'm no very fond of playing hidee in the dark mysel'; and noo that I'm here -

LESLIE. I will give you a light. (HE LIGHTS THE CANDLES. LIGHTS UP.)

LAWSON. God A'michty! William Brodie!

LESLIE. Yes, Brodie was good enough to watch with me.

LAWSON. But he gaed awa' . . . I dinna see . . . an' Lord be guid to us, the window's open!

LESLIE. A trap we laid for them: a device of Brodie's.

BRODIE (TO LAWSON). Set a thief to catch a thief. (PASSING TO LESLIE, ASIDE.) Walter Leslie, God will reward. (JEAN SIGNALS AGAIN.)

LAWSON. I dinna like that singin' at siccan a time o' the nicht.

BRODIE. I must go.

LAWSON. Not one foot o' ye. I'm ower glad to find ye in guid hands. Ay, ye dinna ken how glad.

BRODIE (ASIDE TO LESLIE). Get me out of this. There's a man there will stick at nothing.

LESLIE. Mr. Lawson, Brodie has done his shift. Why should we keep him? (JEAN APPEARS AT THE DOOR, AND SIGNS TO BRODIE.)

LAWSON. Hoots! this is my trade. That's a bit o' 'Wanderin' Willie.' I've had it before me in precognitions; that same stave has been used for a signal by some o' the very warst o' them.

BRODIE (ASIDE TO LESLIE). Get me out of this. I'll never forget to-night. (JEAN AT DOOR AGAIN.)

LESLIE. Well, good-night, Brodie. When shall we meet again?

LAWSON. Not one foot o' him. (JEAN AT DOOR.) I tell you, Mr. Leslie -

SCENE VI

To these, JEAN

JEAN (FROM SHE DOOR). Wullie, Wullie!

LAWSON. Guid guide us, Mrs. Watt! A dacent wumman like yoursel'! Whatten a time o' nicht is this to come to folks' doors?

JEAN (TO BRODIE). Hawks, Wullie, hawks!

BRODIE. I suppose you know what you've done, Jean?

JEAN. I HAD to come, Wullie, he wadna wait another minit. He wad have come himsel'.

BRODIE. This is my mistress.

LAWSON. William, dinna tell me nae mair.

BRODIE. I have told you so much. You may as well know all. That good man knows it already. Have you issued a warrant for me . . . . yet?

LAWSON. No, no, man: not another word.

BRODIE, (POINTING TO THE WINDOW). That is my work. I am the man. Have you drawn the warrant?

LAWSON (BREAKING DOWN). Your father's son!

LESLIE (TO LAWSON). My good friend! Brodie, you might have spared the old man this.

BRODIE. I might have spared him years ago; and you and my sister, and myself. I might . . . would God I had! (WEEPING HIMSELF.) Don't weep, my good old friend; I was lost long since; don't think of me; don't pity me; don't shame me with your pity! I began this when I was a boy. I bound the millstone round my neck; [it is irrevocable now,] and you must all suffer . . . all suffer for me! . . . [for this suffering remnant of what was once a man]. O God, that I can have fallen to stand here as I do now. My friend lying to save me from the gallows; my second father weeping tears of blood for my disgrace! And all for what? By what? Because I had an open hand, because I was a selfish dog, because I loved this woman.

JEAN. O Wullie, and she lo'ed ye weel! But come near me nae mair, come near me nae mair, my man; keep wi' your ain folks . . . your ain dacent folks.

LAWSON. Mistress Watt, ye shall sit rent free as lang's there's breath in William Lawson's body.

LESLIE. You can do one thing still . . . for Mary's sake. You can save yourself; you must fly.

BRODIE. It is my purpose; the day after to-morrow. It cannot be before. Then I will fly; and O, as God sees me, I will strive to make a new and a better life, and to be worthy of your friendship, and of your tears . . . your tears. And to be worthy of you too, Jean; for I see now that the bandage has fallen from my eyes; I see myself, O how unworthy even of you.

LESLIE. Why not to-night?

BRODIE. It cannot be before. There are many considerations. I must find money.

JEAN. Leave me, and the wean. Dinna fash yoursel' for us.

LESLIE (OPENING THE STRONG-BOX, AND POURING GOLD UPON THE TABLE). Take this and go at once.

BRODIE. Not that . . . not the money that I came to steal!

LAWSON. Tak' it, William; I'll pay him.

BRODIE. It is in vain. I cannot leave till I have said. There is a man; I must obey him. If I slip my chain till he has done with me, the hue and cry will blaze about the country; every outport will be shut; I shall return to the gallows. He is a man that will stick at nothing.

SCENE VII

To these, MOORE

MOORE. Are you coming?

BRODIE. I am coming.

MOORE (APPEARING IN THE DOOR). Do you want us all to get thundering well scragged?

BRODIE (GOING). There is my master.

ACT-DROP

ACT IV.

TABLEAU VII. THE ROBBERY

The Stage represents the outside of the Excise Office in Chessel's Court. At the back, L.C., an archway opening on the High Street. The door of the Excise in wing, R.; the opposite side of the stage is lumbered with barrels, packing-cases, etc. Moonlight; the Excise Office casts a shadow over half the stage. A clock strikes the hour. A round of the City Guard, with halberts, lanterns, etc. enters and goes out again by the arch, after having examined the fastenings of the great door and the lumber on the left. Cry without in the High Street: 'Ten by the bell, and a fine clear night.' Then enter cautiously by the arch, SMITH and MOORE, with AINSLIE loaded with tools.

SCENE I

SMITH, MOORE, AINSLIE

SMITH (ENTERING FIRST). Come on. Coast clear.

MOORE (AFTER THEY HAVE COME TO THE FRONT.) Ain't he turned up yet?

SMITH (TO AINSLIE). Now Maggot! The fishing's a going to begin.

AINSLIE. Dinna cangle, Geordie. My back's fair broke.

MOORE. O muck! Hand out them pieces.

SMITH. All right, Humptious! (TO AINSLIE.) You're a nice old sort for a rag-and-bone man: can't hold a bag open! (TAKING OUT

TOOLS.) Here they was. Here are the bunchums, one AND two; and jolly old keys was they. Here's the picklocks, crow-bars, and here's Lord George's pet bull's eye, his old and valued friend, the Cracksman's treasure!

MOORE. Just like you. Forgot the rotten centrebit.

SMITH. That's all you know. Here she is, bless her! Portrait of George as a gay hironmonger.

MOORE. O rot! Hand it over, and keep yourself out of that there thundering moonlight.

SMITH (LIGHTING LANTERN). All right, old mumble-peg. Don't you get carried away by the fire of old Rome. That's your motto. Here are the tools; a perfect picter of the sublime and beautiful; and all I hope is, that our friend and pitcher, the Deakin, will make a better job of it than he did last night. If he don't, I shall retire from the business - that's all; and it'll be George and his little wife and a black footman till death do us part.

MOORE. O muck! You're all jaw like a sheep's jimmy. That's my opinion of you. When did you see him last?

SMITH. This morning; and he looked as if he was rehearsing for his own epitaph. I never see such a change in a man. I gave him the office for to-night; and was he grateful? Did he weep upon my faithful bosom? No; he smiled upon me like a portrait of the dear departed. I see his 'art was far away; and it broke my own to look at him.

MOORE. Muck! Wot I ses is, if a cove's got that much of the nob about him, wot's the good of his working single-handed? That's wot's the matter with him.

SMITH. Well, old Father Christmas, he ain't single-handed to- night, is he?

MOORE. No, he ain't; he's got a man with him to-night.

SMITH. Pardon me, Romeo; two men, I think?

MOORE. A man wot means business. If I'd a bin with him last night, it ain't psalm-singin' would have got us off. Psalm- singin'? Muck! Let 'em try it on with me.

AINSLIE. Losh me, I heard a noise. (ALARM; THEY CROUCH INTO THE SHADOW AND LISTEN.)

SMITH. All serene. (TO AINSLIE) Am I to cut that liver out of you? Now, am I? (A WHISTLE.) 'St! here we are. (WHISTLES A MODULATION, WHICH IS ANSWERED.)

SCENE II

To these BRODIE

MOORE. Waiting for you, Deacon.

BRODIE. I see. Everything ready?

SMITH. All a-growing and a-blowing.

BRODIE. Give me the light. (BRIEFLY EXAMINES TOOLS AND DOOR WITH

BULL'S EYE.) You, George, stand by, and hand up the pieces. Ainslie, take the glim. Moore, out and watch.

MOORE. I didn't come here to do sentry-go, I didn't.

BRODIE. You came here to do as I tell you. (MOORE GOES UP SLOWLY.) Second bunch, George. I know the lock. Steady with the glim. (AT WORK.) No good. Give me the centrebit.

SMITH. Right. (WORK CONTINUES. AINSLIE DROPS LANTERN.)

BRODIE. Curse you! (THROTTLING AND KICKING HIM.) You shake, and you shake, and you can't even hold a light for your betters. Hey?

AINSLIE. Eh Deacon, Deacon . . .

SMITH. Now Ghost! (WITH LANTERN.)

BRODIE. 'St, Moore!

MOORE. Wot's the row?

BRODIE. Take you the light.

MOORE (TO AINSLIE). Wo' j' yer shakin' at? (KICKS HIM.)

BRODIE (TO AINSLIE). Go you, and see if you're good at keeping watch. Inside the arch. And if you let a footfall pass, I'll break your back. (AINSLIE RETIRES.) Steady with the light. (AT

WORK WITH CENTREBIT.) Hand up number four, George. (AT WORK WITH PICKLOCK.) That has it.

SMITH. Well done our side.

BRODIE. Now the crow bar! (AT WORK.) That's it. Put down the glim, Badger, and help at the wrench. Your whole weight, men! Put your backs to it! (WHILE THEY WORK AT THE BAR, BRODIE STANDS BY, DUSTING HIS HANDS WITH A POCKET-HANDKERCHIEF. AS THE DOOR OPENS.) VOILA! In with you.

MOORE (ENTERING WITH LIGHT). Mucking fine work too, Deacon!

BRODIE. Take up the irons, George!

SMITH. How about the P(h)antom?

BRODIE. Leave him to me. I'll give him a look. (ENTERS OFFICE.)

SMITH (FOLLOWING). Houp-la!

SCENE III

AINSLIE; afterwards BRODIE; afterwards HUNT and OFFICERS

AINSLIE. Ca' ye that mainners? Ye're grand gentry by your way o't! Eh sirs, my hench! Ay, that was the Badger. Man, but ye'll look bonnie hangin'! (A FAINT WHISTLE.) Lord's sake, what's thon? Ay, it'll be Hunt an' his lads. (WHISTLE REPEATED.) Losh me, what gars him whustle, whustle? Does he think me deaf? (GOES UP. BRODIE ENTERS FROM OFFICE, STANDS AN INSTANT, AND SEES HIM MAKING A SIGNAL THROUGH THE ARCH.)

BRODIE. Rats! Rats! (HIDES L. AMONG LUMBER. ENTER NOISELESSLY THROUGH ARCH HUNT AND OFFICERS.)

HUNT. Birds caught?

AINSLIE. They're a' ben the house, mister.

HUNT. All three?

AINSLIE. The hale set, mister.

BRODIE. Liar!

HUNT. Mum, lads, and follow me. (EXIT, WITH HIS MEN, INTO OFFICE. BRODIE SEEN WITH DAGGER.)

HUNT. In the King's name! }

MOORE. Muck! } (WITHIN.)

SMITH. Go it, Badger. }

HUNT. Take 'em alive, boys! }

AINSLIE. Eh, but that's awful. (THE DEACON LEAPS OUT, AND STABS HIM. HE FALLS WITHOUT A CRY.)

BRODIE. Saved! (HE GOES OUT BY THE ARCH.)

SCENE IV

HUNT and OFFICERS; with SMITH and MOORE handcuffed. Signs of a severe struggle

HUNT (ENTERING). Bring 'em along, lads! (LOOKING AT PRISONERS WITH LANTERN.) Pleased to see you again, Badger. And you too, George. But I'd rather have seen your principal. Where's he got to?

MOORE. To hell, I hope.

HUNT. Always the same pretty flow of language, I see, Hump. (LOOKING AT BURGLARY WITH LANTERN.) A very tidy piece of work, Dook; very tidy! Much too good for you. Smacks of a fine tradesman. It WAS the Deacon, I suppose?

SMITH. You ought to know G. S. better by this time, Jerry.

HUNT. All right, your Grace: we'll talk it over with the Deacon himself. Where's the jackal? Here, you, Ainslie! Where are you? By jingo, I thought as much. Stabbed to the heart and dead as a herring!

SMITH. Bravo!

HUNT. More of the Deacon's work, I guess? Does him credit too, don't it, Badger?

MOORE. Muck. Was that the thundering cove that peached?

HUNT. That was the thundering cove.

MOORE. And is he corpsed?

HUNT. I should just about reckon he was.

MOORE. Then, damme, I don't mind swinging!

HUNT. We'll talk about that presently. M'Intyre and Stewart, you get a stretcher, and take that rubbish to the office. Pick it up; it's only a dead informer. Hand these two gentlemen over to Mr. Procurator-Fiscal, with Mr. Jerry Hunt's compliments. Johnstone and Syme, you come along with me. I'll bring the Deacon round myself.

ACT-DROP

ACT V.

TABLEAU VIII. THE OPEN DOOR

The Stage represents the Deacon's room, as in Tableau I. Fire light. Stage dark. A pause. Then knocking at the door, C. Cries without of 'WILLIE!' 'MR. BRODIE!' The door is burst open.

SCENE I

DOCTOR, MARY, a MAIDSERVANT with lights.

DOCTOR. The apartment is unoccupied.

MARY. Dead, and he not here!

DOCTOR. The bed has not been slept in. The counterpane is not turned down.

MARY. It is not true; it cannot be true.

DOCTOR. My dear young lady, you must have misunderstood your brother's language.

MARY. O no; that I did not. That I am sure I did not.

DOCTOR (LOOKING AT DOOR). The strange thing is . . . the bolt.

SERVANT. It's unco strange.

DOCTOR. Well, we have acted for the best.

SERVANT. Sir, I dinna think this should gang nae further.

DOCTOR. The secret is in our keeping. Affliction is enough without scandal.

MARY. Kind heaven, what does it mean?

DOCTOR. I think there is no more to be done.

MARY. I am here alone, Doctor; you pass my uncle's door?

DOCTOR. The Procurator-Fiscal? I shall make it my devoir. Expect him soon. (GOES OUT WITH MAID.)

MARY (HASTILY SEARCHES THE ROOM). No, he is not there. She was right! O father, you can never know, praise God!

SCENE II

MARY, to whom JEAN and afterwards LESLIE

JEAN (AT DOOR). Mistress . . . .!

MARY. Ah! Who is there? Who are you?

JEAN. Is he no hame yet? I'm aye waitin' on him.

MARY. Waiting for him? Do you know the Deacon? You?

JEAN. I maun see him. Eh, lassie, it's life and death.

MARY. Death . . . O my heart!

JEAN. I maun see him, bonnie leddie. I'm a puir body, and no fit to be seen speakin' wi' the likes o' you. But O lass, ye are the Deacon's sister, and ye hae the Deacon's e'en, and for the love of the dear kind Lord, let's in and hae a word wi' him ere it be ower late. I'm bringin' siller.

MARY. Siller? You? For him? O father, father, if you could hear! What are you? What are you . . . to him?

JEAN. I'll be the best frien' 'at ever he had; for, O dear leddie, I wad gie my bluid to help him.

MARY. And the . . . . the child?

JEAN. The bairn?

MARY. Nothing! O nothing! I am in trouble, and I know not what I say. And I cannot help you; I cannot help you if I would. He is not here; and I believed he was; and ill . . . ill; and he is not - he is . . . . O, I think I shall lose my mind!

JEAN. Ay, it's unco business.

MARY. His father is dead within there . . . dead, I tell you . . . dead!

JEAN. It's mebbe just as weel.

MARY. Well? Well? Has it come to this? O Walter, Walter! come back to me, or I shall die. (LESLIE ENTERS, C.)

LESLIE. Mary, Mary! I hoped to have spared you this. (TO JEAN.) What - you? Is he not here?

JEAN. I'm aye waitin' on him.

LESLIE. What has become of him? Is he mad? Where is he?

JEAN. The Lord A'michty kens, Mr. Leslie. But I maun find him; I maun find him.

SCENE III

MARY, LESLIE

MARY. O Walter, Walter! What does it mean?

LESLIE. You have been a brave girl all your life, Mary; you must lean on me . . . you must trust in me . . . and be a brave girl till the end.

MARY. Who is she? What does she want with HIM? And he . . . where is he? Do you know that my father is dead, and the Deacon not here? Where has he gone? He may be dead, too. Father, brother . . . O God, it is more than I can bear!

LESLIE. Mary, my dear, dear girl . . . when will you be my wife?

MARY. O, do not speak . . . not speak . . . of it to-night. Not to-night! O not to-night!

LESLIE. I know, I know dear heart! And do you think that I whom you have chosen, I whose whole life is in your love - do you think that I would press you now if there were not good cause?

MARY. Good cause! Something has happened. Something has happened . . . . to him! Walter . . . ! Is he . . . . dead?

LESLIE. There are worse things in the world than death. There is O . . . Mary, he is your brother!

MARY. What? Dishonour! . . . . The Deacon! . . . . My God!

LESLIE. My wife, my wife!

MARY. No, no! Keep away from me. Don't touch me. I'm not fit . . . not fit to be near you. What has he done? I am his sister. Tell me the worst. Tell me the worst at once.

LESLIE. That, if God wills, dear, that you shall never know. Whatever it be, think that I knew it all, and only loved you better; think that your true husband is with you, and you are not to bear it alone.

MARY. My husband? . . . Never.

LESLIE. Mary . . . !

MARY. You forget, you forget what I am. I am his sister. I owe him a lifetime of happiness and love; I owe him even you. And whatever his fault, however ruinous his disgrace, he is my brother - my own brother - and my place is still with him.

LESLIE. Your place is with me - is with your husband. With me, with me; and for his sake most of all. What can you do for him alone? how can you help him alone? It wrings my heart to think how little. But together is different. Together . . . . I join my strength, my will, my courage to your own, and together we may save him.

MARY. All that is over. Once I was blessed among women. I was my father's daughter, my brother loved me, I lived to be your wife. Now . . . . ! My father is dead, my brother is shamed; and you . . . O how could I face the world, how could I endure myself, if I preferred my happiness to your honour?

LESLIE. What is my honour but your happiness? In what else does it consist? Is it in denying me my heart? is it in visiting another's sin upon the innocent? Could I do that, and be my mother's son? Could I do that, and bear my father's name? Could I do that, and have ever been found worthy of you?

MARY. It is my duty . . . my duty. Why will you make it so hard for me? So hard, Walter so hard!

LESLIE. Do I pursue you only for your good fortune, your beauty, the credit of your friends, your family's good name? That were not love, and I love you. I love you, dearest, I love you. Friend, father, brother, husband . . . I must be all these to you. I am a man who can love well.

MARY. Silence . . . in pity! I cannot . . . . O, I cannot bear it.

LESLIE. And say it was I who had fallen. Say I had played my neck and lost it . . . that I were pushed by the law to the last limits of ignominy and despair. Whose love would sanctify my jail to me? whose pity would shine upon me in the dock? whose prayers would accompany me to the gallows? Whose but yours? Yours! . . . And you would entreat me - me! - to do what you shrink from even in thought, what you would die ere you attempted in deed!

MARY. Walter . . . on my knees . . . no more, no more!

LESLIE. My wife! my wife! Here on my heart! It is I that must kneel . . . I that must kneel to you.

MARY. Dearest! . . . . Husband! You forgive him? O, you forgive him?

LESLIE. He is my brother now. Let me take you to our father. Come.

SCENE IV

After a pause, BRODIE, through the window

BRODIE. Saved! And the alibi! Man, but you've been near it this time - near the rope, near the rope. Ah boy, it was your neck, your neck you fought for. They were closing hell-doors upon me, swift as the wind, when I slipped through and shot for heaven! Saved! The dog that sold me, I settled him; and the other dogs are staunch. Man, but your alibi will stand! Is the window fast? The neighbours must not see the Deacon, the poor, sick Deacon, up and stirring at this time o' night. Ay, the good old room in the good, cozy old house . . . and the rat a dead rat, and all saved. (HE LIGHTS THE CANDLES.) Your hand shakes, sir? Fie! And you saved, and you snug and sick in your bed, and it but a dead rat after all? (HE TAKES OFF HIS HANGER AND LAYS IT ON THE TABLE.) Ay, it was a near touch. Will it come to the dock? If it does! You've a tongue, and you've a head, and you've an alibi; and your alibi will stand. (HE TAKES OFF HIS COAT, TAKES OUT THE DAGGER, AND WITH A GESTURE OF STRIKING) Home! He fell without a sob. 'He breaketh them against the bosses of his buckler!' (LAYS THE DAGGER ON THE TABLE.) Your alibi . . . ah Deacon, that's your life! . . . your alibi, your alibi. (HE TAKES UP A CANDLE AND TURNS TOWARDS THE DOOR.) O! . . . Open, open, open! judgment of God, the door is open!

SCENE V

BRODIE, MARY

BRODIE. Did you open the door?

MARY. I did.

BRODIE. You . . . . you opened the door?

MARY. I did open it

BRODIE. Were you . . . alone?

MARY. I was not. The servant was with me; and the doctor.

BRODIE. O . . . the servant . . . and the doctor. Very true. Then it's all over the town by now. The servant and the doctor. The doctor? What doctor? Why the doctor?

MARY. My father is dead. O Will, where have you been?

BRODIE. Your father is dead. O yes! He's dead, is he? Dead. Quite right. Quite right . . . How did you open the door? It's strange. I bolted it.

MARY. We could not help it, Will, now could we? The doctor forced it. He had to, had he not?

BRODIE. The doctor forced it? The doctor? Was he here? He forced it? He?

MARY. We did it for the best; it was I who did it . . . I, your own sister. And O Will, my Willie, where have you been? You have not been in any harm, any danger?

BRODIE. Danger? O my young lady, you have taken care of that. It's not danger now, it's death. Death? Ah! Death! Death! Death! (CLUTCHING THE TABLE. THEN, RECOVERING AS FROM A DREAM.) Death? Did you say my father was dead? My father? O my God, my poor old father! Is he dead, Mary? Have I lost him? is he gone? O, Mary dear, and to think of where his son was!

MARY. Dearest, he is in heaven.

BRODIE. Did he suffer?

MARY. He died like a child. Your name . . . it was his last.

BRODIE. My name? Mine? O Mary, if he had known! He knows now. He knows; he sees us now . . . sees me! Ay, and sees you, left how lonely!

MARY. Not so, dear; not while you live. Wherever you are, I shall not be alone, so you live.

BRODIE. While I live? I? The old house is ruined, and the old master dead, and I! . . . O Mary, try and believe I did not mean that it should come to this; try and believe that I was only weak at first. At first? And now! The good old man dead, the kind sister ruined, the innocent boy fallen, fallen . . . ! You will be quite alone; all your old friends, all the old faces, gone into darkness. The night (WITH A GESTURE) . . . it waits for me. You will be quite alone.

MARY. The night!

BRODIE. Mary, you must hear. How am I to tell her, and the old man just dead! Mary, I was the boy you knew; I loved pleasure, I was weak; I have fallen . . . low . . . lower than you think. A beginning is so small a thing! I never dreamed it would come to this . . . . this hideous last night.

MARY. Willie, you must tell me, dear. I must have the truth . . . the kind truth . . . at once . . . in pity.

BRODIE. Crime. I have fallen. Crime.

MARY. Crime?

BRODIE. Don't shrink from me. Miserable dog that I am, selfish hound that has dragged you to this misery . . . you and all that loved him . . . think only of my torments, think only of my penitence, don't shrink from me.

MARY. I do not care to hear, I do not wish, I do not mind; you are my brother. What do I care? How can I help you?

BRODIE. Help? help ME? You would not speak of it, not wish it, if you knew. My kind good sister, my little playmate, my sweet friend! was I ever unkind to you till yesterday? Not openly unkind? you'll say that when I am gone.

MARY. If you have done wrong, what do I care? If you have failed, does it change my twenty years of love and worship? Never!

BRODIE. Yet I must make her understand . . . . !

MARY. I am your true sister, dear. I cannot fail, I will never leave you, I will never blame you. Come! (GOES TO EMBRACE.)

BRODIE (RECOILING). No, don't touch me, not a finger, not that, anything but that!

MARY. Willie, Willie!

BRODIE (TAKING THE BLOODY DAGGER FROM THE TABLE). See, do you understand that?

MARY. Ah! What, what is it!

BRODIE. Blood. I have killed a man.

MARY. You? . . . .

BRODIE. I am a murderer; I was a thief before. Your brother . . . the old man's only son!

MARY. Walter, Walter, come to me!

BRODIE. Now you see that I must die; now you see that I stand upon the grave's edge, all my lost life behind me, like a horror to think upon, like a frenzy, like a dream that is past. And you, you are alone. Father, brother, they are gone from you; one to heaven, one . . . . !

MARY. Hush, dear, hush! Kneel, pray; it is not too late to repent. Think of our father dear; repent. (SHE WEEPS, STRAINING TO HIS BOSOM.) O Willie, my darling boy, repent and join us.

SCENE VI

To these, LAWSON, LESLIE, JEAN

LAWSON. She kens a', thank the guid Lord!

BRODIE (TO MARY). I know you forgive me now; I ask no more. That is a good man. (TO LESLIE.) Will you take her from my hands? (LESLIE TAKES MARY.) Jean, are ye here to see the end?

JEAN. Eh man, can ye no fly? Could ye no say that it was me?

BRODIE. No, Jean, this is where it ends. Uncle, this is where it ends. And to think that not an hour ago I still had hopes! Hopes! Ay, not an hour ago I thought of a new life. You were not forgotten, Jean. Leslie, you must try to forgive me . . . you, too!

LESLIE. You are her brother.

BRODIE (TO LAWSON). And you?

LAWSON. My name-child and my sister's bairn!

BRODIE. You won't forget Jean, will you? nor the child?

LAWSON. That I will not.

MARY. O Willie, nor I.

SCENE VII

To these, HUNT

HUNT. The game's up, Deacon. I'll trouble you to come along with me.

BRODIE (BEHIND THE TABLE). One moment, officer: I have a word to say before witnesses ere I go. In all this there is but one man guilty; and that man is I. None else has sinned; none else must suffer. This poor woman (POINTING TO JEAN) I have used; she never understood. Mr. Procurator-Fiscal, that is my dying confession. (HE SNATCHES HIS HANGER FROM THE TABLE, AND RUSHES UPON HUNT, WHO PARRIES, AND RUNS HIM THROUGH. HE REELS ACROSS THE STAGE AND FALLS.) The new life . . . the new life! (HE DIES.)

CURTAIN.

—————————————————————————————- Play: BEAU AUSTIN

DEDICATED WITH ADMIRATION AND RESPECT TO GEORGE MEREDITH BOURNEMOUTH: 1ST OCTOBER 1884.

PERSONS REPRESENTED

GEORGE FREDERICK AUSTIN, called 'Beau Austin' AEtat. 50 JOHN FENWICK, of Allonby Shaw " " 26 ANTHONY MUSGRAVE, Cornet in the Prince's Own " " 21 MENTEITH, the Beau's Valet " " 55 A ROYAL DUKE (Dumb show.) DOROTHY MUSGRAVE, Anthony's Sister " " 25 MISS EVELINA FOSTER, her Aunt " " 45 BARBARA RIDLEY, her Maid " " 20 VISITORS TO THE WELLS

The Time is 1820. The Scene is laid at Tunbridge Wells. The Action occupies a space of ten hours.

HAYMARKET THEATRE MONDAY, NOVEMBER 3d, 1890

CAST

GEORGE FREDERICK AUSTIN MR. TREE JOHN FENWICK MR. FRED TERRY ANTHONY MUSGRAVE MR. EDMUND MAURICE MENTEITH MR. BROOKFIELD A ROYAL DUKE MR. ROBB HARWOOD DOROTHY MUSGRAVE MRS. TREE MISS EVELINA FOSTER MISS ROSE LECLERCQ BARBARA RIDLEY MISS AYLWARD VISITORS TO THE WELLS

PROLOGUE

SPOKEN BY MR. TREE IN THE CHARACTER OF BEAU AUSTIN

'To all and singular,' as Dryden says, We bring a fancy of those Georgian days, Whose style still breathed a faint and fine perfume Of old-world courtliness and old-world bloom: When speech was elegant and talk was fit For slang had not been canonised as wit; When manners reigned, when breeding had the wall, And Women - yes! - were ladies first of all; When Grace was conscious of its gracefulness, And man - though Man! - was not ashamed to dress. A brave formality, a measured ease, Were his - and her's - whose effort was to please. And to excel in pleasing was to reign And, if you sighed, never to sigh in vain.

But then, as now - it may be, something more - Woman and man were human to the core. The hearts that throbbed behind that quaint attire Burned with a plenitude of essential fire. They too could risk, they also could rebel, They could love wisely - they could love too well. In that great duel of Sex, that ancient strife Which is the very central fact of life, They could - and did - engage it breath for breath, They could - and did - get wounded unto death. As at all times since time for us began Woman was truly woman, man was man, And joy and sorrow were as much at home In trifling Tunbridge as in mighty Rome.

Dead - dead and done with! Swift from shine to shade The roaring generations flit and fade. To this one, fading, flitting, like the rest, We come to proffer - be it worst or best - A sketch, a shadow, of one brave old time; A hint of what it might have held sublime; A dream, an idyll, call it what you will, Of man still Man, and woman - Woman still!

BEAU AUSTIN

MUSICAL INDUCTION: 'LASCIA CH'IO PIANGA' (RINALDO). HANDEL.

ACT I.

The Stage represents Miss Foster's apartments at the Wells. Doors, L. and C.; a window, L. C., looking on the street; a table R., laid for breakfast.

SCENE I

BARBARA; to her MISS FOSTER

BARBARA (OUT OF WINDOW). Mr. Menteith! Mr. Menteith! Mr. Menteith! - Drat his old head! Will nothing make him hear? - Mr. Menteith!

MISS FOSTER (ENTERING). Barbara! this is incredible: after all my lessons, to be leaning from the window, and calling (for unless my ears deceived me, you were positively calling!) into the street.

BARBARA. Well, madam, just wait until you hear who it was. I declare it was much more for Miss Dorothy and yourself than for me; and if it was a little countrified, I had a good excuse.

MISS FOSTER. Nonsense, child! At least, who was it?

BARBARA. Miss Evelina, I was sure you would ask. Well, what do you think? I was looking out of window at the barber's opposite -

MISS FOSTER. Of which I entirely disapprove -

BARBARA. And first there came out two of the most beautiful - the Royal livery, madam!

MISS FOSTER. Of course, of course: the Duke of York arrived last night. I trust you did not hail the Duke's footmen?

BARBARA. O no, madam, it was after they were gone. Then, who should come out - but you'll never guess!

MISS FOSTER. I shall certainly not try.

BARBARA. Mr. Menteith himself!

MISS FOSTER. Why, child, I never heard of him.

BARBARA. O madam, not the Beau's own gentleman?

MISS FOSTER. Mr. Austin's servant. No? Is it possible? By that, George Austin must be here.

BARBARA. No doubt of that, madam; they're never far apart. He came out feeling his chin, madam, so; and a packet of letters under his arm, so; and he had the Beau's own walk to that degree you couldn't tell his back from his master's.

MISS FOSTER. My dear Barbara, you too frequently forget yourself. A young woman in your position must beware of levity.

BARBARA. Madam, I know it; but la, what are you to make of me? Look at the time and trouble dear Miss Dorothy was always taking - she that trained up everybody - and see what's come of it: Barbara Ridley I was, and Barbara Ridley I am; and I don't do with fashionable ways - I can't do with them; and indeed, Miss Evelina, I do sometimes wish we were all back again on Edenside, and Mr. Anthony a boy again, and dear Miss Dorothy her old self, galloping the bay mare along the moor, and taking care of all of us as if she was our mother, bless her heart!

MISS FOSTER. Miss Dorothy herself, child? Well, now you mention it, Tunbridge of late has scarcely seemed to suit her constitution. She falls away, has not a word to throw at a dog, and is ridiculously pale. Well, now Mr. Austin has returned, after six months of infidelity to the dear Wells, we shall all, I hope, be brightened up. Has the mail come?

BARBARA. That it has, madam, and the sight of Mr. Menteith put it clean out of my head. (WITH LETTERS.) Four for you, Miss Evelina, two for me, and only one for Miss Dorothy. Miss Dorothy seems quite neglected, does she not? Six months ago, it was a different story.

MISS FOSTER. Well, and that's true, Barbara, and I had not remarked it. I must take her seriously to task. No young lady in her position should neglect her correspondence. (OPENING A LETTER.) Here's from that dear ridiculous boy, the Cornet, announcing his arrival for to-day.

BARBARA. O madam, will he come in his red coat?

MISS FOSTER. I could not conceive him missing such a chance. Youth, child, is always vain, and Mr. Anthony is unusually young.

BARBARA. La, madam, he can't help that.

MISS FOSTER. My child, I am not so sure. Mr. Anthony is a great concern to me. He was orphaned, to be sure, at ten years old; and ever since he has been only as it were his sister's son. Dorothy did everything for him: more indeed than I thought quite ladylike, but I suppose I begin to be old-fashioned. See how she worked and slaved - yes, slaved! - for him: teaching him herself, with what pains and patience she only could reveal, and learning that she might be able; and see what he is now: a gentleman, of course, but, to be frank, a very commonplace one: not what I had hoped of Dorothy's brother; not what I had dreamed of the heir of two families - Musgrave and Foster, child! Well, he may now meet Mr.Austin. He requires a Mr. Austin to embellish and correct his manners. (OPENING ANOTHER LETTER.) Why, Barbara, Mr. John Scrope and Miss Kate Dacre are to be married!

BARBARA. La, madam, how nice!

MISS FOSTER. They are: As I'm a sinful woman. And when will you be married, Barbara? and when dear Dorothy? I hate to see old maids a-making.

BARBARA. La, Miss Evelina, there's no harm in an old maid.

MISS FOSTER. You speak like a fool, child: sour grapes are all very well but it's a woman's business to be married. As for Dorothy, she is five-and-twenty, and she breaks my heart. Such a match, too! Ten thousand to her fortune, the best blood in the north, a most advantageous person, all the graces, the finest sensibility, excellent judgment, the Foster walk; and all these to go positively a-begging! The men seem stricken with blindness. Why, child, when I came out (and I was the dear girl's image!) I had more swains at my feet in a fortnight than our Dorothy in - O, I cannot fathom it: it must be the girl's own fault.

BARBARA. Why, madam, I did think it was a case with Mr. Austin.

MISS FOSTER. With Mr. Austin? why, how very rustic! The attentions of a gentleman like Mr. Austin, child, are not supposed to lead to matrimony. He is a feature of society: an ornament: a personage: a private gentleman by birth, but a kind of king by habit and reputation. What woman could he marry? Those to whom he might properly aspire are all too far below him. I have known George Austin too long, child, and I understand that the very greatness of his success condemns him to remain unmarried.

BARBARA. Sure, madam, that must be tiresome for him.

MISS FOSTER. Some day, child, you will know better than to think so. George Austin, as I conceive him, and as he is regarded by the world, is one of the triumphs of the other sex. I walked my first minuet with him: I wouldn't tell you the year, child, for worlds; but it was soon after his famous rencounter with Colonel Villiers. He had killed his man, he wore pink and silver, was most elegantly pale, and the most ravishing creature!

BARBARA. Well, madam, I believe that: he is the most beautiful gentleman still.

SCENE II

To these, DOROTHY, L.

DOROTHY (ENTERING). Good-morning, aunt! Is there anything for me? (SHE GOES EAGERLY TO TABLE, AND LOOKS AT LETTERS.)

MISS FOSTER. Good-morrow, niece. Breakfast, Barbara.

DOROTHY (WITH LETTER UNOPENED). Nothing.

MISS FOSTER. And what do you call that, my dear? (SITTING.) Is John Fenwick nobody?

DOROTHY (LOOKING AT LETTER.) From John? O yes, so it is. (LAYS DOWN LETTER UNOPENED, AND SITS TO BREAKFAST, BARBARA WAITING.)

MISS FOSTER (TO BARBARA, WITH PLATE). Thanks, child; now you may give me some tea. Dolly, I must insist on your eating a good breakfast: I cannot away with your pale cheeks and that Patience-on-a Monument kind of look. (Toast, Barbara.) At Edenside you ate and drank and looked like Hebe. What have you done with your appetite?

DOROTHY. I don't know, aunt, I'm sure.

MISS FOSTER. Then consider, please, and recover it as soon as you can: to a young lady in your position a good appetite is an attraction - almost a virtue. Do you know that your brother arrives this morning?

DOROTHY. Dear Anthony! Where is his letter, Aunt Evelina? I am pleased that he should leave London and its perils, if only for a day.

MISS FOSTER. My dear, there are moments when you positively amaze. (Barbara, some PATE, if you please!) I beg you not to be a prude. All women, of course, are virtuous; but a prude is something I regard with abhorrence. The Cornet is seeing life, which is exactly what he wanted. You brought him up surprisingly well; I have always admired you for it; but let us admit - as women of the world, my dear - it was no upbringing for a man. You and that fine solemn fellow, John Fenwick, led a life that was positively no better than the Middle Ages; and between the two of you, poor Anthony (who, I am sure, was a most passive creature!) was so packed with principle and admonition that I vow and declare he reminded me of Issachar stooping between his two burdens. It washigh time for him to be done with your apron-string, my dear: he has all his wild oats to sow; and that is an occupation which it is unwise to defer too long. By the bye, have you heard the news? The Duke of York has done us a service for which I was unprepared. (More tea, Barbara!) George Austin, bringing the prince in his train, is with us once more.

DOROTHY. I knew he was coming.

MISS FOSTER. You knew, child? and did not tell? You are a public criminal.

DOROTHY. I did not think it mattered, Aunt Evelina.

MISS FOSTER. O do not make-believe. I am in love with him myself, and have been any time since Nelson and the Nile. As for you, Dolly, since he went away six months ago, you have been positively in the megrims. I shall date your loss of appetite from George Austin's vanishing. No, my dear, our family require entertainment: we must have wit about us, and beauty, and the BEL AIR.

BARBARA. Well, Miss Dorothy, perhaps it's out of my place: but I do hope Mr. Austin will come: I should love to have him see my necklace on.

DOROTHY. Necklace? what necklace? Did he give you a necklace?

BARBARA. Yes, indeed, Miss, that he did: the very same day he drove you in his curricle to Penshurst. You remember, Miss, I couldn't go.

DOROTHY. I remember.

MISS FOSTER. And so do I. I had a touch of . . . Foster in the blood: the family gout, dears! . . . And you, you ungrateful nymph, had him a whole day to yourself, and not a word to tell me when you returned.

DOROTHY. I remember. (RISING.) Is that the necklace, Barbara? It does not suit you. Give it me.

BARBARA. La, Miss Dorothy, I wouldn't for the world.

DOROTHY. Come, give it me. I want it. Thank you: you shall have my birthday pearls instead.

MISS FOSTER. Why, Dolly, I believe you're jealous of the maid. Foster, Foster: always a Foster trick to wear the willow in anger.

DOROTHY. I do not think, madam, that I am of a jealous habit.

MISS FOSTER. O, the personage is your excuse! And I can tell you, child, that when George Austin was playing Florizel to the Duchess's Perdita, all the maids in England fell a prey to green- eyed melancholy. It was the TON, you see: not to pine for that Sylvander was to resign from good society.

DOROTHY. Aunt Evelina, stop; I cannot endure to hear you. What is he after all but just Beau Austin? What has he done - with half a century of good health, what has he done that is either memorable or worthy? Diced and danced and set fashions; vanquished in a drawing-room, fought for a word; what else? As if these were the meaning of life! Do not make me think so poorly of all of us women. Sure, we can rise to admire a better kind of man than Mr. Austin. We are not all to be snared with the eye, dear aunt; and those that are - O! I know not whether I more hate or pity them.

MISS FOSTER. You will give me leave, my niece: such talk is neither becoming in a young lady nor creditable to your understanding. The world was made a great while before Miss Dorothy Musgrave; and you will do much better to ripen your opinions, and in the meantime read your letter, which I perceive you have not opened. (DOROTHY OPENS AND READS LETTER.) Barbara, child, you should not listen at table.

BARBARA. Sure, madam, I hope I know my place.

MISS FOSTER. Then do not do it again.

DOROTHY. Poor John Fenwick! he coming here!

MISS FOSTER. Well, and why not? Dorothy, my darling child, you give me pain. You never had but one chance, let me tell you pointedly: and that was John Fenwick. If I were you, I would not let my vanity so blind me. This is not the way to marry.

DOROTHY. Dear aunt, I shall never marry.

MISS FOSTER. A fiddlestick's end! every one must marry. (RISING.) Are you for the Pantiles?

DOROTHY. Not to-day, dear,

MISS FOSTER. Well, well! have your wish, Dolorosa. Barbara, attend and dress me.

SCENE III

DOROTHY

DOROTHY. How she tortures me, poor aunt, my poor blind aunt; and I - I could break her heart with a word. That she should see nothing, know nothing - there's where it kills. O, it is more than I can bear . . . and yet, how much less than I deserve! Mad girl, of what do I complain? that this dear innocent woman still believes me good, still pierces me to the soul with trustfulness. Alas, and were it otherwise, were her dear eyes opened to the truth, what were left me but death? - He, too - she must still be praising him, and every word is a lash upon my conscience. If I could die of my secret: if I could cease - but one moment cease - this living lie; if I could sleep and forget and be at rest! - Poor John! (READING THE LETTER) he at least is guiltless; and yet for my fault he too must suffer, he too must bear part in my shame. Poor John Fenwick! Has he come back with the old story: with what might have been, perhaps, had we stayed by Edenside? Eden? yes, my Eden, from which I fell. O my old north country, my old river - the river of my innocence, the old country of my hopes - how could I endure to look on you now? And how to meet John? - John, with the old love on his lips, the old, honest, innocent, faithful heart! There was a Dorothy once who was not unfit to ride with him, her heart as light as his, her life as clear as the bright rivers we forded; he called her his Diana, he crowned her so with rowan. Where is that Dorothy now? that Diana? she that was everything to John? For O, I did him good; I know I did him good; I will still believe I did him good: I made him honest and kind and a true man; alas, and could not guide myself! And now, how will he despise me! For he shall know; if I die, he shall know all; I could not live, and not be true with him. (SHE TAKES OUT THE NECKLACE AND LOOKS AT IT.) That he should have bought me from my maid! George, George, that you should have stooped to this! Basely as you have used me, this is the basest. Perish the witness! (SHE TREADS THE TRINKET UNDER FOOT.) Break, break like my heart, break like my hopes, perish like my good name!

SCENE IV

To her, FENWICK, C.

FENWICK (AFTER A PAUSE). Is this how you receive me, Dorothy? Am I not welcome? - Shall I go then?

DOROTHY (RUNNING TO HIM, WITH HANDS OUTSTRETCHED). O no, John, not for me. (TURNING, AND POINTING TO THE NECKLACE.) But you find me changed.

FENWICK (WITH A MOVEMENT TOWARDS THE NECKLACE). This?

DOROTHY. No, no, let it lie. That is a trinket - broken. But the old Dorothy is dead.

FENWICK. Dead, dear? Not to me.

DOROTHY. Dead to you - dead to all men.

FENWICK. Dorothy, I loved you as a boy. There is not a meadow on Edenside but is dear to me for your sake, not a cottage but recalls your goodness, not a rock nor a tree but brings back something of the best and brightest youth man ever had. You were my teacher and my queen; I walked with you, I talked with you, I rode with you; I lived in your shadow; I saw with your eyes. You will never know, dear Dorothy, what you were to the dull boy you bore with; you will never know with what romance you filled my life, with what devotion, with what tenderness and honour. At night I lay awake and worshipped you; in my dreams I saw you, and you loved me; and you remember, when we told each other stories - you have not forgotten, dearest - that Princess Hawthorn that was still the heroine of mine: who was she? I was not bold enough to tell, but she was you! You, my virgin huntress, my Diana, my queen.

DOROTHY. O silence, silence - pity!

FENWICK. No, dear; neither for your sake nor mine will I be silenced. I have begun; I must go on and finish, and put fortune to the touch. It was from you I learned honour, duty, piety, and love. I am as you made me, and I exist but to reverence and serve you. Why else have I come here, the length of England, my heart burning higher every mile, my very horse a clog to me? why, but to ask you for my wife? Dorothy, you will not deny me.

DOROTHY. You have not asked me about this broken trinket?

FENWICK. Why should I ask? I love you.

DOROTHY. Yet I must tell you. Sit down. (SHE PICKS UP THE NECKLACE, AND STANDS LOOKING AT IT. THEN, BREAKING DOWN.) O John, John, it's long since I left home.

FENWICK. Too long, dear love. The very trees will welcome you.

DOROTHY. Ay, John, but I no longer love you. The old Dorothy is dead, God pardon her!

FENWICK. Dorothy, who is the man?

DOROTHY. O poor Dorothy! O poor dead Dorothy! John, you found me breaking this: me, your Diana of the Fells, the Diana of your old romance by Edenside. Diana - O what a name for me! Do you see this trinket? It is a chapter in my life. A chapter, do I say? my whole life, for there is none to follow. John, you must bear with me, you must help me. I have that to tell - there is a secret - I have a secret, John - O, for God's sake, understand. That Diana you revered - O John, John, you must never speak of love to me again.

FENWICK. What do you say? How dare you?

DOROTHY. John, it is the truth. Your Diana, even she, she whom you so believed in, she who so believed in herself, came out into the world only to be broken. I met, here at the Wells, a man - why should I tell you his name? I met him, and I loved him. My heart was all his own; yet he was not content with that: he must intrigue to catch me, he must bribe my maid with this. (THROWS THE NECKLACE ON THE TABLE.) Did he love me? Well, John, he said he did; and be it so! He loved, he betrayed, and he has left me.

FENWICK. Betrayed?

DOROTHY. Ay, even so; I was betrayed. The fault was mine that I forgot our innocent youth, and your honest love.

FENWICK. Dorothy, O Dorothy!

DOROTHY. Yours is the pain; but, O John, think it is for your good. Think in England how many true maids may be waiting for your love, how many that can bring you a whole heart, and be a noble mother to your children, while your poor Diana, at the first touch, has proved all frailty. Go, go and be happy, and let me be patient. I have sinned.

FENWICK. By God, I'll have his blood.

DOROTHY. Stop! I love him. (BETWEEN FENWICK AND DOOR, C.)

FENWICK. What do I care? I loved you too. Little he thought of that, little either of you thought of that. His blood - I'll have his blood!

DOROTHY. You shall never know his name.

FENWICK. Know it? Do you think I cannot guess? Do you think I had not heard he followed you. Do you think I had not suffered - O suffered! George Austin is the man. Dear shall he pay it!

DOROTHY (AT HIS FEET). Pity me; spare me, spare your Dorothy! I love him - love him - love him!

FENWICK. Dorothy, you have robbed me of my happiness, and now you would rob me of my revenge.

DOROTHY. I know it; and shall I ask, and you not grant?

FENWICK (RAISING HER). No, Dorothy, you shall ask nothing, nothing in vain from me. You ask his life; I give it you, as I would give you my soul; as I would give you my life, if I had any left. My life is done; you have taken it. Not a hope, not an end; not even revenge. (HE SITS.) Dorothy, you see your work.

DOROTHY. O God, forgive me.

FENWICK. Ay, Dorothy, He will, as I do.

DOROTHY. As you do? Do you forgive me, John?

FENWICK. Ay, more than that, poor soul. I said my life was done, I was wrong; I have still a duty. It is not in vain you taught me; I shall still prove to you that it was not in vain. You shall soon find that I am no backward friend. Farewell.

MUSICAL INDUCTION: 'THE LASS OF RICHMOND HILL.'

ACT II.

The Stage represents George Austin's dressing-room. Elaborate toilet-table, R., with chair; a cheval glass so arranged as to correspond with glass on table. Breakfast-table, L., front. Door, L. The Beau is discovered at table, in dressing-grown, trifling with correspondence. MENTEITH is frothing chocolate.

SCENE I

AUSTIN, MENTEITH

MENTEITH. At the barber's, Mr. George, I had the pleasure of meeting two of the Dook's gentlemen.

AUSTIN. Well, and was his Royal Highness satisfied with his quarters?

MENTEITH. Quite so, Mr. George. Delighted, I believe.

AUSTIN. I am rejoiced to hear it. I wish I could say I was as pleased with my journey, Menteith. This is the first time I ever came to the Wells in another person's carriage; Duke or not, it shall be the last, Menteith.

MENTEITH. Ah, Mr. George, no wonder. And how many times have we made that journey back and forth?

AUSTIN. Enough to make us older than we look.

MENTEITH. To be sure, Mr. George, you do wear well.

AUSTIN. WE wear well, Menteith.

MENTEITH. I hear, Mr. George, that Miss Musgrave is of the company.

AUSTIN. Is she so? Well, well! well, well!

MENTEITH. I've not seen the young lady myself, Mr. George; but the barber tells me she's looking poorly.

AUSTIN. Poorly?

MENTEITH. Yes, Mr. George, poorly was his word.

AUSTIN. Well, Menteith, I am truly sorry. She is not the first.

MENTEITH. Yes, Mr. George. (A BELL. MENTEITH GOES OUT, AND RE- ENTERS WITH CARD.)

AUSTIN (WITH CARD). Whom have we here? Anthony Musgrave?

MENTEITH. A fine young man, Mr. George; and with a look of the young lady, but not so gentlemanly.

AUSTIN. You have an eye, you have an eye. Let him in.

SCENE II

AUSTIN, MENTEITH, ANTHONY

AUSTIN. I am charmed to have this opportunity, Mr. Musgrave. You belong to my old corps, I think? And how does my good friend, Sir Frederick? I had his line; but like all my old comrades, he thinks last about himself, and gives me not of his news.

ANTHONY. I protest, sir, this is a very proud moment. Your name is still remembered in the regiment. (AUSTIN BOWS.) The Colonel - he keeps his health, sir, considering his age (AUSTIN BOWS AGAIN, AND LOOKS AT MENTEITH) - tells us young men you were a devil of a fellow in your time.

AUSTIN. I believe I was - in my time. Menteith, give Mr. Musgrave a dish of chocolate. So, sir, we see you at the Wells.

ANTHONY. I have but just alighted. I had but one thought, sir: to pay my respects to Mr. Austin. I have not yet kissed my aunt and sister.

AUSTIN. In my time - to which you refer - the ladies had come first.

ANTHONY. The women? I take you, sir. But then you see, a man's relatives don't count. And besides, Mr. Austin, between men of the world, I am fairly running away from the sex: I am positively in flight. Little Hortense of the Opera; you know; she sent her love to you. She's mad about me, I think. You never saw a creature so fond.

AUSTIN. Well, well, child! you are better here. In my time - to which you have referred - I knew the lady. Does she wear well?

ANTHONY. I beg your pardon, sir!

AUSTIN. No offence, child, no offence. She was a very lively creature. But you neglect your chocolate I see?

ANTHONY. We don't patronise it, Mr. Austin; we haven't for some years: the service has quite changed since your time. You'd be surprised.

AUSTIN. Doubtless. I am.

ANTHONY. I assure you, sir, I and Jack Bosbury of the Fifty-Second -

AUSTIN. The Hampshire Bosburys? -

ANTHONY. I do not know exactly, sir. I believe he is related.

AUSTIN. Or perhaps - I remember a Mr. Bosbury, a cutter of coats. I have the vanity to believe I formed his business.

ANTHONY. I - I hope not, sir. But as I was saying, I and this Jack Bosbury, and the Brummagem Bantam - a very pretty light- weight, sir - drank seven bottles of Burgundy to the three of us inside the eighty minutes. Jack, sir, was a little cut; but me and the Bantam went out and finished the evening on hot gin. Life, sir, life! Tom Cribb was with us. He spoke of you, too, Tom did: said you'd given him a wrinkle for his second fight with the black man. No, sir, I assure you, you're not forgotten.

AUSTIN (BOWS). I am pleased to learn it. In my time, I had an esteem for Mr. Cribb.

ANTHONY. O come, sir! but your time cannot be said to be over.

AUSTIN. Menteith, you hear?

MENTEITH. Yes, Mr. George.

ANTHONY. The Colonel told me that you liked to shake an elbow. Your big main, sir, with Lord Wensleydale, is often talked about. I hope I may have the occasion to sit down with you. I shall count it an honour, I assure you.

AUSTIN. But would your aunt, my very good friend, approve?

ANTHONY. Why, sir, you do not suppose I am in leading-strings?

AUSTIN. You forget, child: a family must hang together. When I was young - in my time - I was alone; and what I did concerned myself. But a youth who has - as I think you have - a family of ladies to protect, must watch his honour, child, and preserve his fortune. You have no commands from Sir Frederick?

ANTHONY. None, sir, none.

AUSTIN. Shall I find you this noon upon the Pantiles? . . . I shall be charmed. Commend me to your aunt and your fair sister. Menteith?

MENTEITH. Yes, Mr. George. (SHOWS ANTHONY OUT.)

SCENE III

AUSTIN, MENTEITH, RETURNING

AUSTIN. Was I ever like that, Menteith?

MENTEITH. No, Mr. George, you was always a gentleman.

AUSTIN. Youth, my good fellow, youth.

MENTEITH. Quite so, Mr. George.

AUSTIN. Well, Menteith, we cannot make no mend. We cannot play the jockey with Time. Age is the test: of wine, Menteith, and men.

MENTEITH. Me and you and the old Hermitage, Mr. George, he-he!

AUSTIN. And the best of these, the Hermitage. But come: we lose our day. Help me off with this. (MENTEITH TAKES OFF AUSTIN'S DRESSING-GOWN; AUSTIN PASSES R. TO DRESSING-TABLE, AND TAKES UP FIRST CRAVAT.)

AUSTIN. Will the hair do, Menteith?

MENTEITH. Never saw it lay better, Mr. George. (AUSTIN PROCEEDS TO WIND FIRST CRAVAT. A BELL: EXIT MENTEITH. AUSTIN DROPS FIRST CRAVAT IN BASKET AND TAKES SECOND.)

AUSTIN (WINDING AND SINGING) -

'I'd crowns resign To call her mine, Sweet Lass of Richmond Hill!'

(SECOND CRAVAT A FAILURE. RE-ENTER MENTEITH WITH CARD.) Fenwick? of Allonby Shaw? A good family, Menteith, but I don't know the gentleman. (LAYS DOWN CARD, AND TAKES UP THIRD CRAVAT.) Send him away with every consideration.

MENTEITH. To be sure, Mr. George. (HE GOES OUT. THIRD CRAVAT A SUCCESS. RE-ENTER MENTEITH.) He says, Mr. George, that he has an errand from Miss Musgrave.

AUSTIN (WITH WAISTCOAT). Show him in, Menteith, at once. (SINGING AND FITTING WAISTCOAT AT GLASS) -

'I'd crowns resign To call her mine, Sweet Lass of Richmond Hill!'

SCENE IV

AUSTIN, R. TO HIM MENTEITH AND FENWICK

MENTEITH (ANNOUNCING). Mr. Fenwick, Mr. George.

AUSTIN. At the name of Miss Musgrave, my doors fly always open.

FENWICK. I believe, sir, you are acquainted with my cousin, Richard Gaunt?

AUSTIN. The county member? An old and good friend. But you need not go so far afield: I know your good house of Allonby Shaw since the days of the Black Knight. We are, in fact, and at a very royal distance, cousins.

FENWICK. I desired, sir, from the nature of my business, that you should recognise me for a gentleman.

AUSTIN. The preliminary, sir, is somewhat grave.

FENWICK. My business is both grave and delicate.

AUSTIN. Menteith, my good fellow. (EXIT MENTEITH.) Mr. Fenwick, honour me so far as to be seated. (THEY SIT.) I await your pleasure.

FENWICK. Briefly, sir, I am come, not without hope, to appeal to your good heart.

AUSTIN. From Miss Musgrave?

FENWICK. No, sir, I abused her name, and am here upon my own authority. Upon me the consequence.

AUSTIN. Proceed.

FENWICK. Mr. Austin, Dorothy Musgrave is the oldest and dearest of my friends, is the lady whom for ten years it has been my hope to make my wife. She has shown me reason to discard that hope for another: that I may call her Mrs. Austin.

AUSTIN. In the best interests of the lady (RISING) I question if you have been well inspired. You are aware, sir, that from such interference there is but one issue: to whom shall I address my friend?

FENWICK. Mr. Austin, I am here to throw myself upon your mercy. Strange as my errand is, it will seem yet more strange to you that I came prepared to accept at your hands any extremity of dishonour and not fight. The lady whom it is my boast to serve has honoured me with her commands. These are my law, and by these your life is sacred.

AUSTIN. Then, sir (WITH HIS HAND UPON THE BELL), his conversation becomes impossible. You have me at too gross a disadvantage; and, as you are a gentleman and respect another, I would suggest that you retire.

FENWICK. Sir, you speak of disadvantage; think of mine. All my life long, with all the forces of my nature, I have loved this lady. I came here to implore her to be my wife, to be my queen; my saint she had been always! She was too noble to deceive me. She told me what you know. I will not conceal that my first mood wasof anger: I would have killed you like a dog. But, Mr. Austin - bear with me awhile - I, on the threshold of my life, who have made no figure in the world, nor ever shall now, who had but one treasure, and have lost it - if I, abandoning revenge, trampling upon jealousy, can supplicate you to complete my misfortune - O Mr. Austin! you who have lived, you whose gallantry is beyond the insolence of a suspicion, you who are a man crowned and acclaimed, who are loved, and loved by such a woman - you who excel me in every point of advantage, will you suffer me to surpass you in generosity?

AUSTIN. You speak from the heart. (SITS.) What do you want with me?

FENWICK. Marry her.

AUSTIN. Mr. Fenwick, I am the older man. I have seen much of life, much of society, much of love. When I was young, it was expected of a gentleman to be ready with his hat to a lady, ready with his sword to a man; to honour his word and his king; to be courteous with his equals, generous to his dependants, helpful and trusty in friendship. But it was not asked of us to be quixotic. If I had married every lady by whom it is my fortune - not my merit - to have been distinguished, the Wells would scarce be spacious enough for my establishment. You see, sir, that while I respect your emotion, I am myself conducted by experience. And besides, Mr. Fenwick, is not love a warfare? has it not rules? have not our fair antagonists their tactics, their weapons, their place of arms? and is there not a touch of - pardon me the word! of silliness in one who, having fought, and having vanquished, sounds a parley, and capitulates to his own prisoner? Had the lady chosen, had the fortune of war been other, 'tis like she had been Mrs. Austin. Now I . . . You know the world.

FENWICK. I know, sir, that the world contains much cowardice. To find Mr. Austin afraid to do the right, this surprises me.

AUSTIN. Afraid, child?

FENWICK. Yes, sir, afraid. You know her, you know if she be worthy; and you answer me with - the world: the world which has been at your feet: the world which Mr. Austin knows so well how to value and is so able to rule.

AUSTIN. I have lived long enough, Mr. Fenwick, to recognise that the world is a great power. It can make; but it can break.

FENWICK. Sir, suffer me: you spoke but now of friendship, and spoke warmly. Have you forgotten Colonel Villiers?

AUSTIN. Mr. Fenwick, Mr. Fenwick, you forget what I have suffered.

FENWICK. O sir, I know you loved him. And yet, for a random word you quarrelled; friendship was weighed in vain against the world's code of honour; you fought, and your friend fell. I have heard from others how he lay long in agony, and how you watched and nursed him, and it was in your embrace he died. In God's name have you forgotten that? Was not this sacrifice enough? or must the world, once again, step between Mr. Austin and his generous heart?

AUSTIN. Good God, sir, I believe you are in the right; I believe, upon my soul I believe, there is something in what you say.

FENWICK. Something, Mr. Austin? O credit me, the whole difference betwixt good and evil.

AUSTIN. Nay, nay, but there you go too far. There are many kinds of good: honour is a diamond cut in a thousand facets, and with the true fire in each. Thus, and with all our differences, Mr. Fenwick, you and I can still respect, we can still admire each other.

FENWICK. Bear with me still, sir, if I ask you what is the end of life but to excel in generosity? To pity the weak, to comfort the afflicted, to right where we have wronged, to be brave in reparation - these noble elements you have; for of what besides is the fabric of your dealing with Colonel Villiers? That is man's chivalry to man. Yet to a suffering woman - a woman feeble, betrayed, unconsoled - you deny your clemency, you refuse your aid, you proffer injustice for atonement. Nay, you are so disloyal to yourself that you can choose to be ungenerous and unkind. Where, sir, is the honour? What facet of the diamond is that?

AUSTIN. You forget, sir, you forget. But go on.

FENWICK. O sir, not I - not I but yourself forgets: George Austin forgets George Austin. A woman loved by him, betrayed by him, abandoned by him - that woman suffers; and a point of honour keeps him from his place at her feet. She has played and lost, and the world is with him if he deign to exact the stakes. Is that the Mr. Austin whom Miss Musgrave honoured with her trust? Then, sir, how miserably was she deceived!

AUSTIN. Child - child -

FENWICK. Mr. Austin, still bear with me, still follow me. O sir, will you not picture that dear lady's life? Her years how few, her error thus irreparable, what henceforth can be her portion but remorse, the consciousness of self-abasement, the shame of knowing that her trust was ill-bestowed? To think of it: this was a queen among women; and this - this is George Austin's work! Sir, let me touch your heart: let me prevail with you to feel that 'tis impossible.

AUSTIN. I am a gentleman. What do you ask of me?

FENWICK. To be the man she loved: to be clement where the world would have you triumph, to be of equal generosity with the vanquished, to be worthy of her sacrifice and of yourself.

AUSTIN. Mr. Fenwick, your reproof is harsh -

FENWICK (INTERRUPTING HIM). O sir, be, just be just! -

AUSTIN. But it is merited, and I thank you for its utterance. You tell me that the true victory comes when the fight is won: that our foe is never so noble nor so dangerous as when she is fallen, that the crowning triumph is that we celebrate over our conquering selves. Sir, you are right. Kindness, ay kindness after all. And with age, to become clement. Yes, ambition first; then, the rounded vanity - victory still novel; and last, as you say, the royal mood of the mature man; to abdicate for others . . . Sir, you touched me hard about my dead friend; still harder about my living duty; and I am not so young but I can take a lesson. There is my hand upon it: she shall be my wife.

FENWICK. Ah, Mr. Austin, I was sure of it.

AUSTIN. Then, sir, you were vastly mistaken. There is nothing of Beau Austin here. I have simply, my dear child, sate at the feet of Mr. Fenwick.

FENWICK. Ah, sir, your heart was counsellor enough.

AUSTIN. Pardon me. I am vain enough to be the judge: there are but two people in the world who could have wrought this change: yourself and that dear lady. (TOUCHES BELL.) Suffer me to dismiss you. One instant of toilet, and I follow. Will you do me the honour to go before, and announce my approach? (ENTER MENTEITH.)

FENWICK. Sir, if my admiration -

AUSTIN. Dear child, the admiration is the other way. (EMBRACES HIM. MENTEITH SHOWS HIM OUT.)

SCENE V

AUSTIN

AUSTIN. Upon my word, I think the world is getting better. We were none of us young men like that - in my time, to quote my future brother. (HE SITS DOWN BEFORE THE MIRROR.) Well, here ends Beau Austin. Paris, Rome, Vienna, London - victor everywhere: and now he must leave his bones in Tunbridge Wells. (LOOKS AT HIS LEG.) Poor Dolly Musgrave! a good girl after all, and will make me a good wife; none better. The last - of how many? - ay, and the best! Walks like Hebe. But still, here ends Beau Austin. Perhaps it's time. Poor Dolly - was she looking poorly? She shall have her wish. Well, we grow older, but we grow no worse.

SCENE VI

AUSTIN, MENTEITH

AUSTIN. Menteith, I am going to be married.

MENTEITH. Well, Mr. George, but I am pleased to hear it. Miss Musgrave is a most elegant lady.

AUSTIN. Ay, Mr. Menteith? and who told you the lady's name?

MENTEITH. Mr. George, you was always a gentleman.

AUSTIN. You mean I wasn't always? Old boy, you are in the right. This shall be a good change for both you and me. We have lived too long like a brace of truants: now is the time to draw about the fire. How much is left of the old Hermitage?

MENTEITH. Hard upon thirty dozen, Mr. George, and not a bad cork in the bin.

AUSTIN. And a mistress, Menteith, that's worthy of that wine.

MENTEITH. Mr. George, sir, she's worthy of you.

AUSTIN. Gad, I believe it. (SHAKES HANDS WITH HIM.)

MENTEITH (BREAKING DOWN). Mr. George, you've been a damned good master to me, and I've been a damned good servant to you; we've been proud of each other from the first; but if you'll excuse my plainness, Mr. George, I never liked you better than to-day.

AUSTIN. Cheer up, old boy, the best is yet to come. Get out the tongs, and curl me like a bridegroom. (SITS BEFORE DRESSING-GLASS; MENTEITH PRODUCES CURLING IRONS AND PLIES THEM. AUSTIN SINGS) -

'I'd crowns resign To call her mine, S weet Lass of Richmond Hill!'

DROP

MUSICAL INDUCTION: the 'Minuet' from 'DON GIOVANNI'

ACT III.

The stage represents Miss Foster's lodging as in Act I.

SCENE I

DOROTHY, R., at tambour; ANTHONY, C., bestriding chair; MISS FOSTER, L.C.

ANTHONY. Yes, ma'am, I like my regiment: we are all gentlemen, from old Fred downwards, and all of a good family. Indeed, so are all my friends, except one tailor sort of fellow, Bosbury. But I'm done with him. I assure you, Aunt Evelina, we are Corinthian to the last degree. I wouldn't shock you ladies for the world -

MISS FOSTER. Don't mind me, my dear; go on.

ANTHONY. Really, ma'am, you must pardon me: I trust I understand what topics are to be avoided among females - And before my sister, too! A girl of her age!

DOROTHY. Why, you dear, silly fellow, I'm old enough to be your mother.

ANTHONY. My dear Dolly, you do not understand; you are not a man of the world. But, as I was going on to say, there is no more spicy regiment in the service.

MISS FOSTER. I am not surprised that it maintains its old reputation. You know, my dear (TO DOROTHY), it was George Austin's regiment.

DOROTHY. Was it, aunt?

ANTHONY. Beau Austin? Yes, it was; and a precious dust they make about him still - a parcel of old frumps! That's why I went to see him. But he's quite extinct: he couldn't be Corinthian if he tried.

MISS FOSTER. I am afraid that even at your age George Austin held a very different position from the distinguished Anthony Musgrave.

ANTHONY. Come, ma'am, I take that unkindly. Of course I know what you're at: of course the old put cut no end of a dash with the Duchess.

MISS FOSTER. My dear child, I was thinking of no such thing; THAT was immoral.

ANTHONY. Then you mean that affair at Brighton: when he cut the Prince about Perdita Robinson.

MISS FOSTER. No, I had forgotten it.

ANTHONY. O, well, I know - that duel! But look here, Aunt Evelina, I don't think you'd be much gratified after all if I were to be broke for killing my commanding officer about a quarrel at cards.

DOROTHY. Nobody asks you, Anthony, to imitate Mr. Austin. I trust you will set yourself a better model. But you may choose a worse. With all his faults, and all his enemies, Mr. Austin is a pattern gentleman: You would not ask a man to be braver, and there are few so generous. I cannot bear to hear him called in fault by one so young. Better judges, dear, are better pleased.

ANTHONY. Hey-day! what's this?

MISS FOSTER. Why, Dolly, this is April and May. You surprise me.

DOROTHY. I am afraid, indeed, madam, that you have much to suffer from my caprice. (SHE GOES OUT, L.)

SCENE II

ANTHONY, MISS FOSTER

ANTHONY. What is the meaning of all this, ma'am? I don't like it.

MISS FOSTER. Nothing, child, that I know. You spoke of Mr. Austin, our dear friend, like a groom; and she, like any lady of taste, took arms in his defence.

ANTHONY. No, ma'am, that won't do. I know the sex. You mark my words, the girl has some confounded nonsense in her head, and wants looking after.

MISS FOSTER. In my presence, Anthony, I shall ask you to speak of Dorothy with greater respect. With your permission, your sister and I will continue to direct our own affairs. When we require the interference of so young and confident a champion, you shall know. (CURTSIES, KISSES HER HAND, AND GOES OUT, L.)

SCENE III

ANTHONY

ANTHONY. Upon my word, I think Aunt Evelina one of the most uncivil old women in the world. Nine weeks ago I came of age; and they still treat me like a boy. I'm a recognised Corinthian, too: take my liquor with old Fred, and go round with the Brummagem Bantam and Jack Bosb- . . . O damn Jack Bosbury. If his father was a tailor, he shall fight me for his ungentlemanly conduct. However, that's all one. What I want is to make Aunt Evelina understand that I'm not the man to be put down by an old maid who's been brought up in a work-basket, begad! I've had nothing but rebuffs all day. It's very remarkable. There was that man Austin, to begin with. I'll be hanged if I can stand him. I hear too much of him; and if I can only get a good excuse to put him to the door, I believe it would give Dorothy and all of us a kind of a position. After all, he's not a man to visit in the house of ladies: not when I'm away, at least. Nothing in it of course; but is he a man whose visits I can sanction?

SCENE IV

ANTHONY, BARBARA

BARBARA. Please, Mr. Anthony, Miss Foster said I was to show your room.

ANTHONY. Ha! Baby? Now, you come here. You're a girl of sense, I know.