BEA. Because, of course, she heard my conversation with Sir Peter.
Knowing she was suspected, she has sought to cast this horrible suspicion upon _me!_
KATE. Philip--I saw her!
BEA. Since I poured out that draught, I have not touched it.
KATE. Oh! (_retreating up L.C._)
BEA. If it is poisoned--_she_ has poisoned it.
SIR P. But when? Besides, you would have seen her--you were watching.
This was not poisoned, when I left the room.
BEA. It _must_ have been!
SIR P. I think not--and I tested it. (_advances to C., behind sofa_)
BEA. I didn"t see you.
SIR P. No--I took care you shouldn"t. (_pause_)
BEA. You suspected _me!_
SIR P. From the beginning.
BEA. This is a plot to ruin me! (_BEATRICE crosses to PHILIP who disregards her. SIR PETER goes to R.C., L. of LORD NORMANTOWER_) Philip, _you_ don"t believe this hideous charge? (_PHILIP makes no movement--she draws back, up L. to back of table, and stands at bay_) What was Miss Derwent doing in the room? If she is innocent, why was she _hiding_ here?
SIR P. Perhaps I can throw some light upon that matter. (_BEATRICE confronts SIR PETER_) _I_ brought Miss Derwent here. (_going up to C., KATE comes to him_)
BEA. _You_ brought her--when?
SIR P. When _you_ were in the other room, naturally. I took the liberty of putting her into the conservatory, where, you will remember, she had the misfortune to upset a flower-pot.
BEA. I understand. You laid a trap for me?
SIR P. I took that liberty.
BEA. And you say, this is poisoned?
SIR P. I should think, fatally.
BEA. If I am guilty, why do I not get rid of it? You have given me plenty of opportunity.
SIR P. For a very excellent reason. Because you are quite clever enough to know, that to do so would be an admission of your crime.
BEA. I am not guilty, and this (_takes up gla.s.s_) is not poison.
SIR P. Sorry I am to contradict you----
BEA. See! I will prove it! (_drinks the poison and throws gla.s.s down behind her, it smashes. Movement from SIR PETER, NORMANTOWER and PHILIP_)
SIR P. Mrs. Selwyn!
BEA. You are too late, Sir Peter. (_goes up_) Now--good night to all of you. (_curtseying. Exit L., followed by SIR PETER_)
NOR. (_to PHILIP_) What was the object? (_crosses to C. As NORMANTOWER crosses he holds out his hand to KATE, which she accepts, KATE being L. of him, R. of sofa_)
PHIL. Normantower, Kate is my sister. The fortune which I have enjoyed for years is hers, and I was anxious to restore it. The object was, to prevent me. (_music in orchestra_) Oh, Kate, my heart is broken!
(_KATE goes to R. of PHILIP and kneels_)
KATE. But time will heal it, Philip; for your heart is good; goodness and happiness are not strangers long.
_Re-enter SIR PETER, L.D._
PHIL. Only to think, this woman is my wife!
SIR P. (_gently laying his hand on PHILIP"S shoulder_) But not for long. And she is better dead!
MUSIC FORTE.
Moderate Curtain.
_Time_ (_Act_) _forty-two minutes. Time for whole, including waits, two hours, six minutes._
Transcriber"s Note
This transcription is based on scanned images posted by Google from a copy in the Harvard Library:
nrs.harvard.edu/urn-3:HUL.FIG:002663452
Note that the Google scans are included in a set of four Sydney Grundy plays published by Samuel French posted under the t.i.tle, _A Fool"s Paradise._ Based on how the Harvard Library catalogs the individual copies, I a.s.sume Google combined the different scans into a single doc.u.ment. _A Fool"s Paradise_ is the first play in the set.
French"s Acting Editions from the nineteenth century tend to have minor editorial inconsistencies and errors such as missing and inverted letters, missing and incorrect punctuation marks, and spelling errors. In addition, errors were introduced in the printing process, depending on the condition and inking of the plates. Thus, for example, it is at times difficult to determine whether a certain letter is an "c," "e," or "o" or whether a certain punctuation mark is a period or a comma. Where context made the choice obvious, the obvious reading was given the benefit of the doubt without comment.
The following changes were noted:
- Throughout the text, all abbreviations in the stage directions for stage position, entrances, and exits (e.g.,"R.I.D.") have been made consistent so that there is no s.p.a.ce between the letters.
- Throughout the text, the convention of long dashes at the end of lines has been made consistent.
- p. 3: Tennis bat for KATE R.U.E.--For consistency, changed "KATE" to "Kate".
- p. 5: You wouldn"t mind being Mrs. Verinder, would you.--Changed period to a question mark.
- p. 6: KATE Why aren"t...--Added period after "KATE".
- p. 7: Even love matches are often unfortumate.--Changed "unfortumate" to "unfortunate".