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Man and Wife, British Library Add. MS. 53118F (BLMan)

In these annotations are included the corrections made to pages of the printed copy before the text was submitted to the Lord Chamberlain's office. The copy has the status of a prompt copy and several copies similarly marked up are extant in a number of libraries. In accordance with regular practice for editing manuscripts, I have marked insertions to the text (usually written above the line or opposite on the verso of the preceeding page) \  /  to indicate the beginning and end of an insertion. Deletions are marked <  > at either end.

To make for a smoother read in the primary text, I have edited the text according to Collins' marked up prompt copy. To make it easier to understand the alterations and avert scattering many footnote marks through the text, I have placed a section of dialogue in these notes that outlines where the text has been corrected.

1. The text is part of the Lord Chamberlain's collection of plays submitted for copyright clearance. It is a privately printed text, with corrections and deletions added in ink in Collins' hand. The cover page is annotated by the LC's office '1873 / Prince of Wales's Theatre / Read February 16.'

2. Asterisk and footnote are in original printed text.

3. Page numbers from the original printed text are given in parentheses. On the Lord Chamberlain's corrected text a line is put through the printed number and the folio number written by hand above it (probably by the librarian). I have reproduced the printed numbers here; the folio numbers are one number less (thus, '6' here is f. 5, etc).

4. Corrections made to p. 13 of the printed text:

ANNE. Answer me, sir! \Do you mean to keep your promise?/ <I am not to be trifled with.

GEOFF. Answer you? What’s a man to say? You women are all alike. There’s no driving a little prudence into your heads, try how one may.

ANNE. Prudence? Ah, if I had been prudent!

GEOFF. Well, be prudent now. I don’t want to break any promise—but> what can I do? I am not the eldest son. I’m dependent on my father for every farthing I have; and I’m on bad terms with him already. Can’t you see it yourself? You are a lady, and all that, I know. But you’re only a governess. It’s your interest as well as mine to wait till my father has provided for me. If I marry you now, I’m a ruined man.
<You villain!> If you don’t <marry me,> I’m a ruined woman!

GEOFF. (savagely). What do you mean?

ANNE. You know what I mean. <Don’t look at me in that way!

GEOFF. How do you expect me to look at a woman who calls me a villain to my face?>

ANNE (changing her tone). Don’t be hard on me! I don’t mean to be hard on you. My temper gets the better of me. Geoffrey! I am sorry I forgot myself. My whole future is in your hands. <Will you do me justice?> (GEOFFREY is silent. There is a pause. ANNE approaches him.) Haven’t you a word to say to me? No answer? not even a look? I am sorry I have troubled you, Mr. Delamayn. I won’t detain you any longer.

5. Corrections to p. 14 of the printed text:

ANNE. <Do you see how Lady Lundie looks at me?> Do you hear how Lady Lundie speaks to me? <I am suspected by that woman! My shameful dismissal from this house may be a question of a few hours.> (Melting into tears.) And oh, Blanche! Blanche, who loves me! Blanche, who asked me to tell her my secret a minute since! (With a sudden return of despair.) Let me go. What is death compared to such a life as is waiting for me? Why! even you would have the courage to die if you were in my place!

6. Corrections to pp. 14-15 of the printed text:

GEOFF. Speak lower.

<ANNE. Will you hear it or not?

GEOFF. There's somebody coming!>

ANNE. Will you hear it or not?

GEOFF. (angrily.) What is it?

ANNE. <You can marry me privately to-day. Listen and I will tell you how.> We must both leave this place. Not together! <I won’t compromise you. We will leave separately.> I will go first.

<GEOFF. There will be a hue and cry after you when you’re missed.

ANNE. There won’t. I shall go to my room first.> I shall leave letters <there> for Lady Lundie and Blanche. All you have got to do is to wait an hour, for the sake of appearances—and then follow me.

GEOFF. Where?

ANNE. To a little mountain inn four miles from this.

GEOFF. An inn!

ANNE. It’s the loneliest place in the neighbourhood. We have no prying eyes to dread there. <I shall tell the landlady I am on my wedding tour, and that my husband will join me in an hours time.> When you arrive we have only to declare ourselves man and wife before witnesses— and it is done. (GEOFFREY attempts to speak.) Don’t madden me with objections! I won’t hear them. You have bargained for a private marriage; and I have consented. Are you, or are you not ready to marry me on your own terms?

7. Corrections to p. 16 of the printed text:

ANNE. For your wife.

<GEOFF. How am I to know you have got away from here?

ANNE. If you don’t hear from me again in an hour’s time, you may be sure I have got away.> Quick they’re coming!

8. Corrections to p. 20 of the printed text:

ARNOLD. Miss Silvester?

 \GEOFF. Yes. This is a secret mind. Don’t let it out or I’m done for. I’ve promised to marry Miss Silvester.

ARNOLD. Marry her!

GEOFF. Yes. Privately – to-day – I owe it to her – there’s no denying that./

<GEOFF. I have got the girl into a scrape.

ARNOLD. Good Heavens! You don’t mean—?

GEOFF. I do!> She has left the house an hour ago—she’s waiting for me at a place four miles from here. I have promised to meet her there, and marry her privately. Of course I can’t go now. I must find somebody I can trust to tell her what has happened. We are done for, if you won’t help us.

9. Corrections to p. 21 of the printed text:

GEOFF. Say I’m half distracted—and advise her to stop where she is till I write.

ARNOLD. <Can’t you write to her now?> You have trusted me with a very awkward secret. I am almost a stranger. I don’t know how Miss Silvester may receive me. \Write to her now. Write here. (he takes a pencil out of  his pocket book.)/

<GEOFF. (staggered). Miss Silvester has the devil’s own temper—there’s no denying that. Is there time to go into the house?

ARNOLD. No. Write here. I have got a pencil.>

GEOFF. What am I to write on?

10. Corrections to p. 23 of the printed text:

SCENE.—The inn at Craig Fernie. The stage <is divided into two rooms. The larger room on the left,> represents a sitting-room. <Writing materials on a side table.> A door in the flat serves as general entrance to the room. Another door, on the <left> \R/ is supposed to lead to ANNE’S bedroom. A window also \in flat L. C. which must be large with deep recess and seats, showing view of mountainous scenery/ <on the left.> A railway time-table hangs near the fireplace.

<The smaller room represents the waiter’s pantry. A door in the flat. Bells on the wallsone of which must be made to ring. General furniture of a pantry.>

At the rise of the curtain, ANNE, MRS INCHBARE, and BISHOPRIGGS are discovered <in the sitting-room.> ANNE has her purse in her hand. BISOPRIGGS is officiously dusting the furniture in the room.

11. Corrections to p. 23 of the printed text:

MRS. I. <It just comes to this, mistress.> I’m no’ free to tak’ your money, if I’m no’ free to let you the rooms. The Craig Fernie hottle is a faimily hottle, and has it’s ain gude name to keep up. You’re ower-well-looking, my young leddy, to be travelling alone!

12. Corrections to pp. 23-4 of the printed text:

ANNE (to herself). <Even that ignorant woman distrusts>


        me! Am I doomed to suspicion and insult, go where I may? (She notices the waiter.) What are you doing there?

The first word of p. 24 'me!' should also have been cancelled. I have deleted this from the edited text.

13. Correction to p. 24 of the printed text:

BISH. What do I mean, quo’ she? Look at me, and ye’ll see I’m auld eneugh to be your fether. There’s nae man livin’ looks with mair indulgence at human frailty than my ainsel’. Order yer bit dinner. <Husband or no husband, ye’ve got a stomach, and ye must e’en eat.> There’s flesh, and there’s fowl—or mebbe ye’ll be for the sheep’s-head singit, when they’ve done with it at the tabble dot.

14. Corrections to pp. 24-5 of the printed text:

ANNE (alone). All the humiliation falls on me. Hard! hard! <Is it my fault? I am a stranger in Scotland. What else could I do but meet him here?> (She looks towards the door and listens.) Voices in the passage outside? Strange voices? Coming this way?

(She hurries into the bedroom and is heard to lock the door. At the same moment, the door of the sitting-room opens; and ARNOLD appears with BISHOPRIGGS.)

ARNOLD. Nobody here! Where is she?

BISH. Eh! your good leddy’s in <the bedchamber> \her room/, nae doot.

ARNOLD (aside). That’s awkward for me! (To BISHOPRIGGS.) Where is the landlady?

BISH. The landleddy’s just tottin’ up the ledgers o’ the hottle in her ain room. <She’ll be here anon—the weary-ful woman! speerin’ who ye are, and takin’ a’ the bisiness o’ the hoose on her ain pair o’ shouthers.> I ha’ lookit after a’ the leddy’s little comforts, sir. Trust in me! trust in me!

15. Corrections to p. 26 of the printed text:

ARNOLD (forcing the letter on her
). Read his letter!

ANNE. <You don’t look at me!> He has told you!

ARNOLD. Read his letter—in justice to him, if you won’t in justice to me.

ANNE (taking the letter with sudden humiliation of tone and manner). I beg your pardon, sir! I understand my position at last. I am a woman doubly betrayed! Please to excuse what I said to you just now, when I supposed myself to have <some> \a/ claim on your respect. Perhaps <you will grant me> \I have some claim on/ your pity? <I can ask nothing more.

ARNOLD. (turning away). Poor woman! Poor woman!

ANNE. (looking at the letter).> My own letter! In the hands of another man!

16. Correction to p. 26 of the printed text:

ARNOLD. Don’t take it in that way—pray don’t! It’s dreadful to see you—it is indeed. I am sure he has not deserted you. (A pause.) She sits there as if she was struck to stone. I daren’t call the landlady in. What am I to do? (He <kneels at her feet, and> takes her hand timidly.) Come! come! cheer up a little!

17. Correction to p. 27 of the printed text:

ANNE (struggling to compose herself’). <No! you comfort me.> Don’t mind my crying, it relieves me. I won’t distress you, Mr. Brinkworth. I ought to thank you— and I do!

18.  Corrections to p. 27 of the printed text:

ANNE (vehemently). <For God’s sake,> don’t speak of him any more!  <How do you think I can look you in the face?> Mind this, sir! I am his wife in the sight of Heaven!
<He has promised me marriage by all that is sacred.> What am I saying? What interest can you
have in. this miserable state of things? <Don’t let us talk of it. Are you tired after your walk? I have not been kindly received at this place, but I am sure I may offer you what the inn affords.> Did you see the landlady when you came in?

19. Correction to p. 28 of the printed text:

ARNOLD. Excuse me for reminding you—there was no alternative. Geoffrey told me you had presented yourself


        here as a <married> lady, whose husband was coming to join her. He said your position depended on my asking for you at the door <(as he would have asked for you if he had come)>in the character of your husband.

20. Corrections to p. 28 of the printed text:

ARNOLD. <In your situation!> Who else am I to think of?

ANNE. Blanche.

ARNOLD (rising in surprise). Blanche!

ANNE. I know you love each other. I know you are engaged.

ARNOLD. You do! Don’t expect me to go after that. Let’s sit down <again> and talk about Blanche.

ANNE. Mr. Brinkworth, whatever we have to say about Blanche must be said at some fitter time. <I beg you will leave me.

ARNOLD. Leave you?

ANNE. Leave me to the solitude that is best for me, and to the sorrow that I have deserved.> Thank you—and good-bye.

ARNOLD. Why are you in such a hurry?

ANNE (impatiently). I don’t want you to call me your wife again—before the people of this inn. (A knock is heard at the door. ANNE starts.) Who is that?

ARNOLD. Hush! Whoever it is, <after what I have said,> we must keep up our characters as man and wife, or there will be a scandal in the hotel. Come in! (The knock is repeated. ARNOLD calls out impatiently.) I told you to come in!

21.  Corrections to pp. 29-30 of the printed text:

BISH. One at tap? and one at bottom? Deil a bit of it! Baith your chairs as close together as chairs can be. Hech! hech! Haven’t I caught 'em—after gudeness knows hoo many preleeminary knocks at the door—dining on their husbands’ knees, and steemulating a man’s appetite, by feeding him at the fork’s end like a child! Eh! it’s a short life wi’ that nuptial business, and a merry one. A month for yer billin’ and cooin’, and a’ the rest o’ yer days for wondering you were ever such a fule, and wishin’ it was a’ to be done ower again. Ye’ll be for a bottle o’ sherry wine, nae doot? and a drap toddy afterwards to do your digestin’ on? (ARNOLD joins ANNE at the window.) Aye! aye! gae to your dearie! gae to your dearie! and leave a’ the solid business o’ life to me. A man maun leave fether and mother (I’m yer fether), and cleave to his wife. My certie! cleave’s a strong word. There’s nae sort of doot aboot it when it comes to cleaving. (He notices the crumpled-up letter, lying in a corner, and continues to himself, while ARNOLD and ANNE talk in dumb-show at the window.) What’s that I see yonder? Mair litter in the room, after I’ve doosted and tidied it wi’ my ain hands! (He picks up the letter, unnoticed by ARNOLD and ANNE.) Eh! what’s here? Writin’ on it in ink? and writin’ on it in pencil? A bit letter, clean forgotten and dune with! \(reads letter) Hot words from the leddy to the gentleman. A trifle cawlder from the gentleman to the leddy/ What wad a fule do if he fund this? He’d just petch it awa’ and think nae more aboot it. And what wad a wise man do in a seemilar position? (He pockets the letter.) I trow that’s what he’d do! \There may be a reward offered for it one of these days./ (To ARNOLD.) Am goin’ to breeng the dinner in, and, mind ye, there’s nae knocking at the door possbile when I’ve got the tray in baith my hands, and (mair’s the pity!) the gout in baith my feet. (He goes out.)


ARNOLD (gaily, pointing to the table). You see, we can’t help it. What will they think if I go away already, and leave my wife to dine alone? You don’t mind it, do you?

ANNE. I don’t mind it for myself. I am thinking of somebody else.

<ARNOLD. Blanche again?

ANNE. Yes.> Suppose Blanche finds out what you have done? <Some of the people might tell her.>

ARNOLD. <What if they did?> Do you think she would be angry with me for making myself useful to you?

22. Corrections to pp. 30-1 of the printed text:

\Bish enters with the dinner. Anne separates herself from Arnold.

BISH. I warned ye baith, it was a clear impossibility to knock at the door this time–dont blame me. (puts tray down R)

ANNE. That horrible old man again.  I can’t endure him. Come away. (goes to window)

ARNOLD. (follows her) We are going to have a look at the view[.]

BISH. Aye. Ay. And I’ll have a look at the dinner—/

<She leaves him, and walks away to a side table where she takes up a book. ARNOLD remains thoughtfully at the window. The door of the pantry opens, and BISHOPRIGGS appears with the


dinner and a bottle of sherry on a tray. He places the tray on the pantry dresser, takes the letter out of his pocket, and locks it up in the pantry drawer.

BISH. Lie ye there, my freend, till the spare moment comes—and I’ll look at ye again. Now aboot the dinner o’ they twa turtle doves in the next room?> I maun just see that the cook’s dune her duty—the creatures are no’ cappable o’ decidin’ that knotty point for their ain selves. (He takes off a cover, and picks bits with a fork out of the dish.) Eh! eh! the collops are no that bad. (He takes off another cover.) Here’s the green meat. I doot green meat’s windy diet for a man at my age. (He puts the cover on again.) The fesh? (He takes off the cover.) What the deil does the woman fry the trout for? Boil it next time, ye betch, wi’ a pinch o’ saut, and a spunefu’ o’ vinegar. (He puts the cover on again.) The sherry-wine? I’m thinkng it’s ower strong for they young people. (He drinks a glassful, and fills the decanter up with water.) Eh! it’s just addin’ ten years to the age o’ the wine. The turtle-doves will be nane the waur. And I mysel’ am a glass o’ sherry the better. Praise Providence for a’ its maircies!

23. Correction to pp. 31-2 of the printed text:

glass o’ sherry the better. Praise Providence for a’ its maircies! 22

<(He arranges the dishes, &c., takes up the tray, and leaves the pantry. While he is doing this,
ANNE suddenly approaches ARNOLD at the window.)

ANNE. Where do your friends at Lady Lundie’s suppose you to be now?

ARNOLD. I am supposed to be meeting my tenants, and taking possession of my estate.

ANNE. How are you to get to your estate to-night?

ARNOLD. By railway, I suppose.

(BISHOPRIGGS enters with the dinner. ANNE suddenly separates herself from ARNOLD.)

BISH. (reproachfully). I warned ye baith, it was a clean impossibility to knock at the door this time. Don’t blame me, young madam! Don’t blame me!

(He puts the dishes on the table.)

ARNOLD (to ANNE). Where will you sit?

ANNE. (impatiently). Anywhere!


(She tries to move one of the two chairs to the bottom of the table. BISHOPRIGGS stops her.)

BISH. Lord’s sake! what are ye doin’? It’s clean contrary to a’ the laws and customs o’ the honeymune to sit as far away from yer husband as that!

(He replaces the chair, and arranges the dishes.)

ARNOLD. (aside to ANNE). What does it matter? Let him have his way.

ANNE. (to ARNOLD). Get it over as soon as you can. I can’t and won’t hear it much longer!>

(They seat themselves at the table. BISHOPRIGGS takes the cover off the fish.)

24. Corrections to p. 32 of the printed text:

BISH. Eh! but I’m here to wait. What’s the gude o’ my gaun’ away when ye’Il want me anon to change the plates for ye? I’ll look out o’ window. Tak’ her on ye knee, as soon as ye like! Feed him at the fork’s end, whenever ye please—I’ll look out at the praospect.

\(Arnold helps ANNE to fish.)

ANNE. Where do your friends at Lady Lundie’s suppose you to be now.

ARNOLD. I am supposed to be meeting my tenants and taking possession of my estates.

ANNE. How are you to get to your estate tonight?

ARNOLD. By railway I suppose./

                                                  (He goes to the window.)

<ARNOLD (helping ANNE to fish). Come! come! there’s a comic side to all this. Try and see it as I do.>

BISH. (turning round from the window). My certie! it’s weel you cam’ when you did! It’s ill getting to this hottle in a storm.

25. '(ANNE starts. ARNOLD lays his hand warningly on her arm, unseen by the landlady.' First bracket omitted, p. 33; '(ANNE starts. Arnold lays his hand warningly on her arm, unseen by the landlady.)'

26. 'ANNE to ARNOLD).' First bracket omitted, p. 33; 'ANNE (to ARNOLD).'

27. Half of p. 34, all of p. 35, and most of p. 36 are deleted; one passage written on the verso of p. 33 is inserted

'BISH. There’s a man in a groom’s livery has drawn bridle at the hottle; and he’s speerin’ after the leddy that cam’ here alane. The leddy’s your leddy, as sure as sax-pence! <(He goes to the window.)

ARNOLD (to ANNE). Do you expect a letter, or a message?>

ANNE. <Neither the one nor the other.> (She hurries to the window). The groom from Lady Lundie’s! <Hide yourself! (ARNOLD hesitates.)> It will be all over the neighbourhood if the man sees you with me.

\Arn. Don’t let him see me. (to Bish.) Keep the man from coming into this room. I’ll make it worth your while.

Bish.  Aye. aye. I’ll see that it’s worth your while. (Exit R.)

Anne. That old man is not to be trusted. You stay here and I will go and receive the man at the door. Exit

Arn. When I came to Craig Fernie I never bargained for this. What can I do. I can’t let Lady Lundie’s groom see me without betraying Miss Silvester.

Enter Anne.

Arn. Well what is it. Bad news from Lady Lundie’s.

Anne. I have been seen on the foot road to Craig Fernie by one of the female servants. Lady Lundie and Blanche have quarrelled about me. Sir Patrick has had the greatest difficulty in preventing Blanche from driving here to see me, if I don’t exert my influence with her to support his influence, he declines to answer for the consequences. Blanche coming here while you are secretly in the house. Blanche must be prevented from doing that at any sacrifice.

ARNOLD. I am not suspected am I. (go to page 36)/

<ARNOLD. Where can I go?

BISH. Whar’ can ye go? (He points to the bedroom door.) There’s the nuptial chamber!

ARNOLD. Impossible!

BISH. Whew! Is that the way ye talk of the nuptial slumber already?

ARNOLD. Find me some other place! I’ll make it worth your while.

BISH. (pointing in the other direction). Eh! there’s my paintry! The next door along the passage.

(ARNOLD hurries out, and seen to enter the pantry. He holds the door ajar, and listens for a moment.)


ANNE (to BISHOPRIGGS). The must be some mistake. See what the man wants.

(As BISHOPRIGGS turns to leave the room, the door 


opens and the servant appears with a letter in his hand.)

SERVANT. From Sir Patrick Lundie.

(He gives ANNE the letter and waits at the door.)

ANNE (aside—with a start). How does Sir Patrick know I am here?

BISH. (observing ANNE).  My certie, mistress, it’s ill wark deceivin’ Sir Patrick, if that’s what ye’ve dune. Ye must know I was ance in his office at Embro’—

ANNE. Leave me! (BISHOPRIGGS goes out. She opens the letter: runs her eye over it; and repeats the substance aloud.) I have been seen on the foot-road to Craig Fernie by one of the female servants—Lady Lundie and Blanche have quarrelled about me—Sir Patrick has had the greatest difficulty in preventing Blanche from driving here to see me, if I don’t exert my influence with her to support his influence, he declines to answer for the consequences. (She turns to the Servant.) Are you going back to Windygates?

THE SERVANT. I have another errand to do first, ma’am. I shall be back this way in an hour.

ANNE. I will have a letter ready for you in that time (The Servant goes out. ANNE seats herself at the side table.) Blanche coming here—with Mr. Brinkworth secretly in the house? Blanche must be prevented from doing that at any sacrifice!

(She begins her letter. ARNOLD speaks in the pantry. He has lit a cigarette and has seated himself on the dresser, while ANNE is been reading the letter in the next room.)

ARNOLD. When I came to Craig Fernie, I never bargained for this. What can do? I can’t show myse1f before the groom, without the risk of betraying that poor woman in the next room. (The pantry-door opens, and BISHOPRIGGS enters.) Is the coast clear?

BISH. How do ye find the paintry? Snug and private? A Patmos in the weelderness, as ye may say.

ARNOLD. I understand. I promised to pay for the Patmos, eh? There you are!

BISH. (pocketing the money). There I am, as ye say. Mercy presairve us! Ye need the siller at every turn when there’s a woman at yer heels! It’s an awfu’ reflection—

ye canna hae anything to do wi’ the sex they ca’ the opposite sex without bein’ and expense to ye.

ARNOLD. Has the groom gone?

BISH. There’s this young leddy o’ yours. I doot she’ll ha’ been an expense to ye from the first. When ye were courtin’ her, ye did it, I’ll go bail, with the open hand. Presents and keepsakes, flowers and jewellery, and little doags and what not—sair expenses all o’ them.

ARNOLD. Hang your reflections! Has the groom left the inn?

BISH. Noo ye’re married to her, there’s her bonnets and goons, and underclothin’—her ribbons, laces, furbelows, and fallals—a sair expense again!

ARNOLD. What is the expense of cutting your reflections short, Mr. Bishopriggs?

BISH. Thirdly, and lastly, if ye canna agree wi’ her as time gaes on—if there’s in incompaitibeelity of temper betwixt ye—in short, if ye want a wee bit separation—ye pet yer hand in yer pocket and come to an aimicable understandin’ with her in that way. Or, mebbe, she tak’s ye into court, and pets her hand in your pocket, and comes to a hoastile understandin’ with ye, there. Show me a woman—and I’ll show on a man not far off who’s got mair expenses on his back than he ever bairgained for! (ARNOLD turns away impatiently to the door.) Yes, sir! the room’s clean clear of the groom, and your leddy’s waitin’ for ye.

(ARNOLD goes out. BISHOPRIGGS remains in the pantry and mixes himself a glass of grog. ARNOLD appears in the sitting-room.)

ARNOLD (eagerly). Well? What is it? Bad news from Lady Lundie’s?

ANNE (closing and directing her letter). No. A letter from Sir Patrick—that’s all.

ARNOLD. What does Sir Patrick want?

ANNE. Only to warn me. They have found out at Lady Lundie’s that I am here.

ARNOLD. That’s awkward, isn’t it?> I am not suspected - am I?'

28. 'ARNOLD. I am not suspected - am I?'; Collins writes 'I am not suspected am I?' on the verso of p. 33, at the
end of his new insert. This line is repeated when the printed text picks up again on p. 36. Collins' intention must have
been only to include this line once.

29.  Corrections to p. 37 of the printed text:

ARNOLD. Do you hear that? <The last train this evening has gone.> And the storm has come. What can I do but stay here? Don’t look so serious about it! I shan’t be in your way. <When you want to retire (he points to the bedroom), there is your room all ready for you. And here is the sofa, all ready for Me.

ANNE. Impossible! You must get a room in some other part of the inn.

ARNOLD. A room in some other part of the inn? You forget that we are supposed to be man and wife!

ANNE. Don’t joke! This s no laughing matter! (In great agitation.) I don’t like it! I don’t like it!> (The lightning appears, and the thunder is heard again.)

30. Corrections to p. 38 of the printed text:

<BISH. (in the pantry, apostrophising the bell). Haud yer screechin’ tongue! Ye’re waur than a woman when ye aince begin. (ARNOLD rings aqain. BISHOPRIGGS drinks). Aye! aye! ye may e’en rjng yer hairt oot—but ye won’t part a Scotchman from his glass.

(He sets down the glass empty, and goes out.)>

ARNOLD (to ANNE, in the sitting-room). I promise to go away the first thing in the morning. Try and take it easy. You wouldn’t turn a dog out on such a night as this. <(A knock is heard at the door.) Come in! (Another knock.) Hang the fellow! he persists in his two knocks at the door. Come in! (Enter BISHOPRIGGS.) Candles! (BISHOPRIGGS takes two candles from the chimney-piece, places them on the table and lights them ARNOLD continues to ANNE.) What shall we do to get through the evening? We have got no books to read. I have it! Waiter! A pack of cards.

(The lightening flashes, and the thunder comes a little nearer.)

BISH. (horrified). What’s that ye’re wanting? A pack o‘ cairds! The deevii’s allegories, in the deevil’s ain colours—red and black! Are ye no awakened yet to the awfu’ seenfulness o’ playing at cairds?

ARNOLD. Just as you please, Mr. Bishopriggs. You will find me awakened, when I go away, to the awful folly of feeing a waiter.

BISH. Does that mean, sir, that ye’re bent on the cairds?

ARNOLD. That means, I’m bent on the cards.

BISH. I tak’ up testimonay against ‘em—but I’m no telling ye that I canna lay my hand on ‘em, if I like. What do they say in my country? “Him that will to Coupar, maun to Coupar.” And what do they say in your country? “Needs must when the devil drives.”

(He goes out, and reappears in the pantry. After first lighting his candle, he searches in the dresser-drawer.)

ARNOLD (to ANNE). You’re nervous and out of spirits. A game of cards will divert your attention from the storm.>

ANNE (not heeding him). This will end badly!'

31. Corrections to p. 39 of the printed text:


<ARNOLD. It will end in my going away to-morrow—and in your hearing from Geoffrey the next day.

(He places the side-table ready for playing, and puts chairs. BISHOPRIGGS speaks in the pantry.)

BISH. (producing a pack of cards.) Here are the cairds! What’s this in the drawer along wi’em? (He takes out the crumpled letter.) Eh! It’s joost the letter I picked up in the settin’-room awhile since. I’ll do weel, I doot, to look at it, and see what’s what. runs his eye over the letter.(The lightening flashes—and the thunder comes nearer. BISHOPRIGGS) Hot words from the leddy to the gentleman! (He looks over at the fourth page.) A trifle caulder from the gentleman to the leddy! Who are the pairties in the next room? and what may a’this mean? Mean what it may, I’ll do weel to keep the Doecument! Hech! Hech! there may be a reward offered for it, ane o’ these days.

(He takes out an old cash-box and puts the letter in it.)

ARNOLD. What a time he is bringing the cards! Shall I ring again?

ANNE. Don’t speak of the cards! I can’t play! My head burns—my heart stifles me! (She walks excitably about the room.) Oh, Mr. Brinkworth, think! For Blanche’s sake, think I don’t care! Is there no way out of this? (With sudden resolution.)> I don’t care! I won’t let the deception go on.

32. Corrections to p. 44 of the printed text; additional lines written on verso of p. 43:

BLANCHE. Of course! \Stop you must not sit all that way off—sit where I can look at you, my attention wanders if I don’t look at people when they read./

ARNOLD (placing himself on a stool at her feet, and reading mechanically, with a full stop at the end of every line).

“Of man’s first disobedience and the fruit.
Of that forbidden tree whose mortal taste.
Brought death into the world and all our woe”—

BLANCHE. Beautiful! \What a shame it seems to have had Milton all this time in the library and never to have read him yet. We will have mornings with Milton Arnold. He seems long but we are both young and we may live to get through him/ Do you know, dear, now I look at you again, you don’t seem to have come back to me in good spirits.

33. Corrections to p. 45 of the printed text:

                  (He tears up the letter and begins another.)

<BLANCHE (continuing to ARNOLD). There! Let Milton be for the present. (She resumes her work.) I asked Anne why her husband persisted in keeping out of my way. She couldn’t, or wouldn’t tell me the reason. I questioned her about herself. Why did she look so unhappy? Was her husband to blame for it? No explanation! In the midst of it all, the carriage came to fetch me back—with a threatening message from Lady Lundie, if I failed to return immediately. Anne’s reception gave me no encouragement to stay with her. She hurried me into the carriage herself. I can draw but one conclusion from it all. Anne is unhappy—her husband must be a brute. What do you think?>

ARNOLD. I think we had better go on with Milton.

BLANCHE. How you do worry <about Milton>! Is there any love in <“Paradise Lost?”> \Milton?/

34. Sentence ends with a comma in printed text.

35. Corrections to p. 46 of the printed text:

BLANCHE (shutting up the book). No love! So much for Milton! (She resumes her work.) Well I consulted Sir Patrick about Anne’s position. <He took the kindest interest in it. Between ourselves, he is one of Anne’s warmest admirers. If he had been a little younger; and if she hadn’t had an invisible husband—I am wandering from the point.> Sir Patrick asked me if Anne had been married in Scotland.

GEOFF. (overhearing her). Sir Patrick? and marrying in Scotland? What’s the girl talking about? (He listens.)

BLANCHE (continuing to ARNOLD). I said, of course they had been married in Scotland. Sir Patrick said Scotch marriages were dangerous things. Anne<’s strange conduct might have had serious motive at the bottom of it. She> might have had reason to doubt whether she was really married at all.

ARNOLD (aside). Here is a warning to Geoffrey! Is he listening, I wonder?

GEOFF. (aside). Am I going to get Sir Patrick’s advice at second hand?

BLANCHE (as before). I needn’t tell you how shocked and distressed I felt. My uncle <did his best to console me. He> said, there was one chance for Anne. Supposing the man had tried to overreach her, it was quite possible he might have ended in overreaching himself.

36. Corrections to p. 48 of the printed text:

GEOFF. Some of it.

ARNOLD. <She has been talking of nothing but her friend’s invisible husband. I am the invisible husband; and I daren’t confess it—all through you. She talks of sending me to Craig Fernie with a message to-morrow!> Nothing will set matters right until you are married to Miss Sivester. Why have you not gone to meet her?

37. Corrections to pp. 48-49 of the printed text; in the last speech, Collins has written 'has drifted' as part of the additional text on the verso of p. 48, and inserted 'Anne' in the margin of p. 49, but has not deleted 'has drifted' or 'her' from the printed page. It is assumed he intended to do this.

GEOFF. Well, I’m waiting for a chance with Sir Patrick.

<ARNOLD. And then?

GEOFF. And then— Look here! when you did me that good turn at the inn, how did you manage to pass off Miss Silvester as your wife?

ARNOLD. I told you this morning as we were driving here from the station.

GEOFF. I didn’t hear. I was thinking of something else. How did you manage it?

ARNOLD. What do you want know for, now?

GEOFF. I’m curious about it, that’s all. You needn’t tell me, if you don’t like.

ARNOLD. (amused). What! jealous, Geoffrey, of an old friend like me? I’ll tell you! First of all, I asked for my wife (as you instructed me) when I got to the door of the inn.

GEOFF. (Fixing it in his mind). You asked for your wife when you got to the door of the inn.

ARNOLD. Then I had to pacify the landlady at dinner time. An informally sour, suspicious woman, I can tell you! Asked me before the waiter if I took the rooms for myself and my wife. I said, “Yes. For myself and my wife.” Even that wasn’t enough. I was obliged to force Miss Silvester (she didn’t like it) to speak of me as her “husband.” And then the she-cat was satisfied.

GEOFF. (as before). You called her your “wife” at dinner. And you made her call you her “husband.” And the landlady forced you to do it before the waiter. Well?

ARNOLD. Well? Then the storm came on—and I was obliged to stop all night. I went away the next morning; and there was an end of it. (He looks back towards the garden.) I see Sir Patrick in the garden. Wait here, in case he is coming this way.

(He goes up and waits, looking out.)

 GEOFF. (returning to the writing-table, tracing a few lines on a slip of paper, and putting it in his pocket). There’s the case of a friend of mine, in black and white, for Sir Patrick to see! No names mentioned. Only an opinion wanted on the facts. If Arnold>

\Arnold. I see him in the garden—wait here in case he is coming this way. (GEOFFREY starts) Whats the matter?

Geof. (feeling his arm) A kind of dull pain here. I’ve had it once or twice before— It doesn’t matter—go and see after Sir Patrick—(ARNOLD goes up) I’ll mention no names. I’ll only ask Sir Patrick his opinion on what took place at the Inn just as Arnold mentioned it to me when we met at the station this morning. If he has drifted/ has drifted into marrying \Anne/ her, there’s an end to his engagement to Miss Blanche—and all my doing. Hard on him, some people might say. But, by Jupiter! how lucky for Me!

38. Corrections to p. 52 of the printed text:

GEOFF. Yes. About a friend of mine. He’s in a scrape. I want to ask your advice. <(He takes out his written paper.) Would you mind looking at this?> (SIR PATRICK draws back.) You’re a Scotch lawyer, ain’t you?

39. Corrections to pp. 52-53 of the printed text. Line 20 'None that I know of,' - the sentence ends in a comma in the printed text. Line 27, the additional words in manuscript read, 'I directed to him as the Barracks', presumably, 'I directed it to him at the Barracks'.

SIR PAT. (aside). A Scotch marriage! <(Seating himself). >I am at your service, Mr. Delamayn. <Did your friend mean to marry her?


SIR PAT. He being a single man, and she being a single woman at the time?


SIR PAT. Are they Scotch people?

GEOFF. No. English.

SIR PAT. Had they both been in Scotland for a longer period than three weeks?


SIR PAT. What are the circumstances?

GEOFF. (handing him the paper). Here are the circumstances.

SIR PAT. (after reading the paper). Are you sure of these facts?

GEOFF. Quite sure.

SIR PAT. When your friend went away the next morning, he left the lady behind him the character of his wife?

GEOFF. That’s it.

SIR PAT. Did he go back to the inn?


SIR PAT. Has he seen the lady Scotland since?


SIR PAT. Have any letters passed between them?

GEOFF. None that I know of, (SIR PATRICK gives him back the paper.) Have you done!

SIR PAT. I have done.>

\SIR P. and GEOFF go up C and talk in dumb show—Blanche and Arnold enter and come down—

BLAN. Hush—have you seen anything of Anne?

ARN. No have you?

BLAN. Whisper they may hear us.

ARN. They are too much occupied to hear us. Have you done with the dinner invitations?

BLAN. The dinner invitations have done with me. I am dismissed in disgrace—I am so anxious about Anne I have made nothing but mistakes. The office in command at the fort is to be invited. I addressed him as the Reverend Captain. The clergyman’s invitation came next and I directed to him as the Barracks—What can those two have to talk about in that confidential way.

ARN. How can I tell.

BLAN. Its highly suspicious, I’m sure there’s something wrong—no Anne in the garden—no Anne here—oh Arnold I am so unhappy. Come and comfort me.

ARN. With the greatest pleasure—I am afraid you will be a sad tyrant when we are married.

BLAN. No. I shall only expect to have my own way in everything. There’s nothing unreasonable in that is there?

Exeunt R&L/

GEOFF. \Well,/ What does your experience say? Are they married or not?

40. Corrections to p. 55 of the printed text; Collins' amendations leave two stage directions adjacent '(He looks round towards the garden.) (The luncheon bell rings.)', and a grammatically incorrect stage direction '(Blanche appear at the window.)' These have been retained in the main edition.

GEOFF. (alone—looking at his watch). She’ll be tired of waiting for me at the cross-roads. She will have gone back to the inn. What had I better do? Go to her? or write to her? <I have only one word to say—“You’re married already to Arnold Brinkwater.”>  Shall I say it? or write it? (A pause. He considers.) Where’s Arnold, I wonder? What will he say when he finds out the truth? Oh, bother! I saved his life in Lisbon harbour. I’ve a a right to do what I like with him after that. (He approaches the writing-table.) Suppose I write to her? (He looks round towards the garden.)  <The devil take it. Arnold again! If he finds me here writing, he’ll suspect me of putting her off with an excuse.> (The luncheon bell rings.) Lunch! I’ve only to wait. In five minutes more, I shall have the library to myself.

                                                                 (<ARNOLD and> BLANCHE appear at the window.)

41. Corrections to p. 55 of the printed text; the following passage is deleted where indicated:

(BLANCHE appear at the window.)

<ARNOLD (to BLANCHE). I only want to see if Geoffrey has left the house. (He advances—BLANCHE remaining at the window—and sees GEOFFREY.) Here still! You will be an hour late at your appointment. What can you be thinking of?

GEOFF. I’ve seen Sir Patrick. It’s all right—I’m off. Which is the shortest way out?

ARNOLD. (Pointing to the right side-entrance). Go through the servants’ offices; and turn to the left, when you have assed the wicket-gate. In five minutes you will be in the high road.

GEOFF. (aside). In five minutes, I shall be back in the library! (He goes out on the right.)

BLANCHE (descending the stage). I can’t bear the sight of that man! I shall expect you drop your intimacy with him when we are married.

ARNOLD. What a tyrant you will be, when we are married! (Offering his arm.) Come to lunch.

BLANCHE. I must go up-stairs first. Don’t wait for me.

ARNOLD. I’ll keep a place for you by me.

                                                                (He goes out on the left.)>

BLANCHE (alone). At last I have got the library all to myself.

42. Corrections to p. 56 of the printed text; the alterations leave 'ANNE.' as speaker on two occasions where the spoken text should now run together ('ANNE. I missed a letter there...' and 'ANNE. What time was that?'). This has been corrected in the main edition.

BLANCHE (placing her in an easy-chair). <You’re tired—I’m sure you’re tired.> Have you walked here? You shan’t go back on foot. I’ll take care of that!

ANNE. I don’t go back. I have left the inn.

<BLANCHE. Left the inn? With your husband?

ANNE (wildly). I can’t go back. The inn is no place for me.> A curse seems to follow me, Blanche, wherever I go.

<BLANCHE. Don’t talk in that way! Compose yourself. Has anything happened at the inn?>

ANNE. I missed a letter there. I must have thrown it aside, I suppose, and forgotten it. <I remembered about it, and couldn’t find it last night.> When I told the landlady, she fastened a quarrel on me almost before the words were out of my month. I hope and pray I shall never see the inn again.

BLANCHE. Has anybody stolen the letter?

ANNE. I don’t know. Lost or stolen—it’s gone.

<BLANCHE. Come upstairs and rest in my room. They’re all at luncheon. I’ll take care that nobody comes near us.>

(The stable clock strikes two.)

ANNE. What time was that?

BLANCHE. Two. <(ANNE attempts to rise.) I won’t let you stir! Oh, Anne. Anne! What does this mean? Don’t keep me out of your confidence! Let me help you! Did you get my letter?>

ANNE. <Yes.>(Looking round.) Is there somebody in the garden?

43. Corrections to pp. 56-57 of the printed text; 'Blanche.', the last word of p. 56, is not cancelled, though Collins clearly intended this and it has been deleted in the main edition. The alterations also leave 'ANNE.' as speaker on one occasion where the spoken text should now run together ('ANNE. I want to know who are the gentlemen...'). This has been corrected in the main edition.

ANNE (to herself). I have been waiting an hour for Geoffrey—and waiting in vain. I don’t even know that he has returned to Scotland. <My last chance is to ask> Blanche.


<BLANCHE (returning). It’s only your fancy dear. There isn’t a living creature in the garden.

ANNE. Blanche! I want to know something. Don’t ask me to explain myself! Don’t for the sake of old times!

BLANCHE. No! no! I won’t say anything to distress you. (Aside.) Oh me! How dreadfully she is changed!>

ANNE. I want to know who are the gentlemen staying in the house. (BLANCHE looks at her in surprise.) Never mind the strangeness of the question! <Answer it.> Lady Lundie has visitors staying here, hasn’t she?

BLANCHE. Yes. <Two came this morning.> Arnold Brinkworth, and that hateful friend of his—Mr. Delamayn. (ANNE sinks back in the chair.) You’re faint! I’ll go and get you some wine. <You will be ill if you don’t take something.> I won’t be a minute—I won’t let anybody know you are here. (She hurries out on the left.)

44. Corrections to p. 57 of the printed text; the alterations leave 'ANNE.' as speaker on one occasion where the spoken text should now run together ('ANNE. Geoffrey! (A pause...'). This has been corrected in the main edition. The two stage directions that now run together have been left separate as, following Collins' general conventions, the first is an entrance and indication of position, and the second is a direction to the actors (usually placed within brackets).

Enter GEOFFREY by the window. ANNE is so placed—with the high back of her chair towards the window—that he does not see her at first.

<GEOFF. Not a soul in the room! Now for my letter to Anne!>

(He advances. ANNE hears him, and starts to her feet.)

ANNE. Geoffrey! (A pause. He stands facing her in silence. ANNE speaks again.) Are you angry with me for coming here? I waited an hour for you—and then I could bear it no longer. I didn’t even know you were in Scotland. <I had nobody to ask about you, but Blanche.> (Another pause.) Why don’t you speak to me? I have done nothing to compromise you, <Geoffrey>. Nobody but Blanche knows I am in this house.<I have made my inquiries about you, without allowing her to suspect our secret.> Oh, Geoffrey, I have been so lonely! I have been longing so to see you again!

45. Corrections to p. 58 of the printed text:

<GEOFF. What promise?

ANNE. For shame, Geoffrey! for shame Your promise to marry me.>

GEOFF. You claim my promise after what you have done at the inn?

ANNE (vacantly). The inn? What did I do at the inn?

GEOFF. I have had a lawyer’s advice, mind. I know what I am talking about.

ANNE (as before). What did I do at the inn? (She suddenly lays her hand on his arm.) Do you refuse to marry me?

GEOFF. I refuse to marry you.

ANNE (wildly). Why?

GEOFF. You are married already to Arnold Brinkworth.

(She throws up both hands wildly, with a cry of despair, and drops insensible at his feet.)

<GEOFF. (looking at her). Done!

(He goes out again by the garden. The next moment BLANCHE appears at the left with a glass of wine. She sets the glass on a table and hurries, with an exclamation of terror, to ANNE. As she kneels by her, and raises her head, the curtain falls.)>


46.  Corrections to p. 59 of the printed text; some elements of these alterations have been tidied up in the main edition ('he consults his instructions,' has been given an opening csapital letter and the final comma has been replaced with a full-stop; 'Three chairs here,' the comma has been deleted; 'Two more chairs, on the right', the comma has been deleted; 'Mrs. Arnold Brinkworth. Miss Blanche that was', the full-stop has been replaced with a comma, and a final full-stop inserted.



 FIRST <SCENE.>—The picture gallery at SIR PATRICK’S country house near Edinburgh. <The pictures are represented on the flat scene, and the gallery is supposed to be continued off the stage, right and left.> \Closed in by doors and windows on the R&L./ Six weeks have elapsed between the third act and the fourth. At the rise of the curtain, DUNCAN, in the dress of a servant out of livery, is discovered alone, with written instructions in his hand.

DUN. (reading from the instructions). “In the matter of Mr. Brinkworth’s alleged marriage to Miss Silvester. The circumstances to be investigated at Sir Patrick Lundie’s residence at two o’clock to-day. The persons interested to be received in <the largest room in the house.” The largest room in the house is> the picture gallery. <(He calls off, on the left.) James! bring the table here. (A servant appears with a small table.> \he/ <DUNCAN, after> consult<ing>\s/ his instructions, <causes it to be placed in the centre of the stage then continues his directions, always consulting the manuscript first.) Writing materials, James; and a bottle of water and a glass Stephen! Robert! bring the chairs this way.> Three chairs here, <behind the table.>. One for Sir Patrick, two for Mr. Brinkworth and Miss Silvester, who are to sit on either side of him. Two more chairs <there>, on the right, for Mr. Geoffrey Delamayn, and his legal adviser, Mr. Moy. Two more, on this side, for Lady Lundie and Mrs. Arnold Brinkworth. (Speaking to himself.) It is a serious matter for Mrs. Arnold Brinkworth. \Miss Blanche that was/ To-day’s proceedings will decide whether she is legally married to Mr. Brinkworth or not.

47. Corrections to p. 64 of the printed text; one sentence is left unpunctuated by the alterations and has been corrected in the edited text by adding two commas and making one letter 'A' lower case ('The merest trifle, a word dropped by chance in your correspondence, may furnish me...').

SIR PAT. I have a serious reason for asking. Now that the truth has come out, Delamayn has but one chance of securing Mrs. Glenarm and her ten thousand a year. He \must have/ <must satisfy the jealous widow that you have no claim on him, by proving> his infamous assertion that you are married to Arnold Brinkworth. I am here—in Blanche’s interests—to meet that assertion with a flat denial. The merest trifle <may be of importance in helping me to prove my case.> A word dropped by chance in your correspondence may furnish me with the weapon that I want.  <Forgive me for referring so plainly to Delamayn and Mrs. Glenarm.

ANNE. You need no forgiveness, Sir Patrick. I am not Mrs. Glenarm’s rival. Let her buy the villain who has doubly betrayed me, if she likes. If he came repentant, at this moment, and offered me all that worldly consideration can give, I would rather be what I am now than his wife.

SIR PAT. I understand you. I admire you.> Will you show me the letter?

48. Corrections to p. 64 of the printed text:

ANNE. What could I do, when I found myself set up as an obstacle to Blanche’s marriage? I left the house in secret. <My one impulse was to keep out of the way.> My one idea was to leave Blanche free. <Make some allowance for the dreadful situation in which I was placed.>

SIR PAT. I make every allowance for <it> \you/. Still, you left me and my niece in the dark. You left Arnold Brinkworth ignorant of the position in which he stood, and pledged to you as a man of honour to keep his visit to Craig Fernie a secret from everybody.

49. Corrections to p. 65 of the printed text; the final sentence is left unpunctuated at the end by the alterations and has been corrected in the edited text by adding a final exclamation mark.

ANNE (rising passionately). Am I responsible for Geoffrey Delamayn’s treachery? Am I responsible for the snares laid for innocent people by the infamous marriage law of Scotland? Look at me! Have I not suffered? Does my resolution to do my duty want rousing by any words of yours? Sir Patrick! Blanche’s mother was the benefactress who rescued me from misery and want. I promised her on her deathbed to be a sister to Blanche. And what am I now? An obstacle to the happiness of Blanche’s life. Sacrifice me to that happiness <for God’s sake! The loss of my reputation is nothing, the waste of my whole life is nothing. What can I do for Blanche? Tell me that, and call on the miserable woman before you for any sacrifice you please!>

50. Corrections to p. 67 of the printed text:

SIR PAT. (starting back). <Good God!> I never thought of that.

51. Corrections to p. 68 of the printed text; one sentence is left unpunctuated at the end by the alterations and has been corrected in the edited text by adding a final full-stop ('That place is reserved for Mr. Delamayn.').

SIR PAT. My poor boy! <Blanche is nothing but an instrument in her stepmother’s hands.> Lady Lundie has persuaded her to place the worst possible construction on what took place at Craig Fernie between Miss Silvester and yourself. <We can only trust in the influence which you may exercise over her, when she meets you here today.> Wait, and hope. (He notices that ANNE is standing, and points to the chair reserved for her next to himself.) Pray be seated, Miss Silvester. (He turns, and sees ARNOLD taking a chair at the side, on the right.) Not there. That place is reserved for Mr. Delamayn <and his legal adviser.>

ARNOLD (surprised). Delamayn present at the inquiry? Delamayn travelling from London to Edinburgh?

SIR PAT. He arrived <in Edinburgh> this morning. He is to <drive over here in his dog-cart, and> be present at the proceedings.

52. Corrections to pp. 73-74 of the printed text:

(Giving the letter to MR. MOY, who springs forward to take it, she advances to BLANCHE with open arms. BLANCHE flings herself on ANNE’S bosom in a passion of tears. The other persons present rise, with varying exclamations of astonishment and horror, and come to the front. <MR. MOY and SIR PATRICK consult together over the letter. While the scene which follows proceeds, the attendants enter at the back, and noiselessly remove on the left, the pieces of furniture which they have brought in at the beginning of the act.>)

LADY L. Blanche! this is no fit place for you or for me.
I am going to leave the house. \Do you refuse to accompany me?

Blan. I do. I accompany my husband—and I offer our home to my dearest friend—/

<BLANCHE (looking up from ANNE). Leave it!>

(LADY LUNDIE goes out on the right.)

GEOFF. Moy! (MR. MOY pauses in his consultation with SIR PATRICK, and looks up.) <My dog-cart is waiting below> \I’ve had enough of this/. Call up your witnesses to the marriage at the inn.

53. Corrections to p. 74 of the printed text:

BLANCHE (struggling with ARNOLD). Remember what he said to her! remember how he looked at her! <Oh, men, men,>  \Sir Patrick—Arnold—/ will you let him take her away?

54. A new ending to the play, in Collins' handwriting, is written out on the verso of p. 74 and the inside back cover of the book. The remaining pages of the printed copy have been removed. Collins' punctuation and shorthand has been retained in this final section.

\SIR P. Stop!

GEOF. Stop? The law tells her to go with her husband. Stand out of the way.

(Enter SPEEDWELL RH [?])

SPEED. Gently Mr Delamayn.

GEOF. What do you mean by interfering?

SPEED. (to GEOF.) If you fly into a passion, you do it at the peril of your life. That is what I mean.

GEOF. Go to the devil. (turns to SIR P) Leave hold of her—give her up.

ANNE. Let me go Sir Patrick.

BLAN. No—no—

GEOF. (to SIR P) You call yourself a lawyer—you talked about the law just now—Do you want me to teach you? The law forbids you to part man and wife. (a momentary pause) You won’t give her up? Here are my hands. (he holds out his hands threateningly - ARNOLD places himself between GEOFFREY and SIR PATRICK) They shall take her by main force. (turning fiercely) In spite of you!

SPEED. (warning him) Take care.

GEOF. (to SPEED) In spite of you—in spite of every man in this house! (to SIR P.) Give me my wife. I shall do you a mischief, old as you are—give me my wife.

ANNE. I am here.

SIR P. sinks on a chair

GEOF. Come home. Interfere if you dare, between man and wife—Come home.

He takes her by the arm and draws her after him towards the door—he suddenly stops, drops ANNE’S arm and is on the point of falling—SPEEDWELL catches him and places him in a chair[.] BLANCHE joins ANNE who has drawn back in alarm. The others gather round GEOF.

SIR P. (to SPEED) I heard you warn him. Has he paid the penalty?

GEOFFREY stirs a little in the chair and attempts to lift his arm but fails

GEOF. (faintly) I can’t lift my arm.

SPEED. (To Sir P) He will never lift it again.

SIR P. The arm he threatened her with—Is there no hope! (to SPEED)

SPEED. None.

GEOF. (More faintly) Help me up one of you. I can’t stop here.

SPEED. Lean on me.

ANNE. No—not on you—

SIR P. Who is to take him home?

ANNE. His wife. (x [crosses] to him)

SIR P. She forgives him—

ANNE. I forgive him as I hope to be forgiven—Geoffrey—Come home—



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Richard Pearson and the Victorian Plays Project, 2011