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The Woman In White

Libretto

PROLOGUE

WALTER MEETS THE SINGAL MAN

(A railway cutting. A wild stormy summer night. The Signal Man is in his signalb
ox. He receives a message from down the line. He wires back a message. We hear t
he strange, eerie singing of the wires. From the gloom we see the figure of a ma
n. Walter Hartright. He is about 30 years of age, attractive, dark, open. He car
ries a bag and an easel. He sees the Signal Man checking the tracks with his lan
tern below him)
HARTRIGHT: Hallo! Below there! Hallo!
(A light flash)
HARTRIGHT: Signal Man? Down there Hallo!
(Pause)
SIGNAL MAN: Who calls to me in the dead of the night?
(Walter steps out of the shadows into the light of the Signal Man s lantern)
HARTRIGHT: Hartright. My name is Walter Hartright.
(He climbs down to the Signal Man s level)
SIGNAL MAN: What are you doing here, on a night like this?
HARTRIGHT: I m lost sir. I m trying to find my way to Limm ridge House.
The train broke down and I m forced to walk.
SIGNAL MAN: Branch train broke down

what you say is true.

HARTRIGHT: Yes, I heard the wires singing in the wind


o you.

The noise of them led me t

SIGNAL MAN: Why are you going to Limm ridge House?


HARTRIGHT: I have the post of drawing master - I must arrive tonight for I start
tomorrow
Sir, you look upon me with such dread.
(Pause)
SIGNAL MAN: Last night I had a vision
That a stranger would appear

He stood right where you areA man such as yourself.


Alarm on the line!

he said

Alarm on the line!


So I tapped out the message.
And the answer came back
All well both ways
But he said

You ll mark my words

When a year to this day


The dead lie on the tracks!
The dead lie on the tracks!
HARTRIGHT: I can assure you sir, I know of no imminent danger!
SIGNAL MAN: A man such as yourself!
(Suddenly there is a strange sound in the air. The telegraph wires sound again i
n the signal box)
SIGNAL MAN: They are calling me from down the line. There s danger somewhere along
the line.
(The sound of the wires grows to a terrible pitch. From behind Hartright, from t
he depths of the tunnel a hand reaches out and touches him on the shoulder. It i
s a woman dressed in white (Anne Catherick). She is in her early 20 s, fair, attra
ctive, but her face is drawn and sorrowful. Her manner is wild and insistent.)
HARTRIGHT: (startled) Oh, my God!
ANNE: You ve got to help me!
There s someone after me!
HARTRIGHT: How an I help you?
ANNE: I m being followed
And I ve done nothing wrong!
HARTRIGHT: It s very late for you to be out here aloneANNE: You must believe me
That I am free of blame.
HARTRIGHT: Who do you run from?
ANNE: I dare not say his name!

HARTRIGHT: Where do you live?


I ll try to help you if I can..
ANNE: I have a secret
My precious secret
But can I trust you?
But can I trust you?
(Her tone changes. She reaches out to him.)
ANNE: They cannot take away my secretthough it s something I can t share with you.
It s locked inside my heart, my secretBut there s someone I must tell it to.
Secrets kept inside can hurt you
Min is sharper than a knife
If I tell the one I seek
I may save her life
(She is in distress)
HARTRIGHT: Please you needn t fear me
Truly you can trust me
I would never harm you
I m no threat

I am Walter

Walter Hartright. I ll help you to get home.


ANNE: I ve no home at all
Nothing but my secret I have just my secret.
(Hartright reaches out and gently takes her hand. The noise of a pony and chaise
approaching. She breaks away)
ANNE: There s someone coming!
And I must get awayI have to get away!
But can I trust you?
(She moves off towards the tunnel)
HARTRIGHT: Don t go in there!

He said there s danger on the line


ANNE: (echoing) I ll tell my secret for secrets must be told
(She disappears back into the tunnel. A servant enters)
SERVANT: You must be Mister Hartright?
HARTRIGHT: Yes.
SERVANT: I m sent to bring you straight to Limm ridge House.
HARTRIGHT: Did you see her?
A woman, dressed in white.
SERVANT: I saw no one
HARTRIGHT: A woman all in white?
SERVANT: Sir, I saw no one
I saw no one.
(The servant picks up Hartright s bags and exits with them. Hartright looks around
and then exits after him. The light is beginning to down on a new day)

PARLOUR GAMES

(Limmeridge House. The morning room light and summery. Marian Halcombe is there. S
he is in her 30 s dark, vivacious and attractive although not conventionally pretty.
Hartright enters, tired after the night s exertions. Marian shakes his hand)
HARTRIGHT: You must be Miss Halcombe I m so sorryMARIAN: (interrupting him)
Thank god you have arrived
You re fated to become
My drawing teacher
You poor poor creature
Our village is as dull
As it may first appear
A city mouse in Limm ridge House
I hope you ll like it here
You re less than half the age

That we thought you might be


You ll feed our hunger
For someone younger
So please unpack your bags
And please be of good cheer
I m sure you ll like where you reside
But with respect I must confide,
I can t abide the Countryside
I hope you ll like it here
You shall be the drawing master
To my sister and to me
Though she learns a little faster
A disaster I will be
We re the product of one mother
But we come from diff rent fathers
I think mine, for design,
Was completely talent free
Very soon you ll meet my sister
Well, she s tech nic ly my half
But she s my whole world-my sister
Is the wheat and I m the chaff
She s kind and generous and fun
Much younger, and the pretty one!
My father was quite poor
Her father s wealth was vast
So she ll inherit and gladly share it
We re close as two can get
Between us not one tear
Perpetually in harmony
I hope you ll like it here

Pretty soon you ll meet my uncle


Whose prognosis is quite grim
He will tell you that his chances
Of recovery are slim
With his bed pan and his hanky
He is terminally cranky
Though no doctor around
Found a thing that s wrong with him
But how I do go on
I try to keep it short
Then lose the battle and simply prattle
But getting to my point
My welcome is sincere
We re thrilled that s indisputable
I hope your rooms are suitable
Your sentence is commutable
I hope you ll like it here

A SERVANT ARRIVES AND ESCORTS HARTRIGHT TO MR FAIRLIE S DARK STUDY


(Mr. Fairlie sits beside a portrait of his brother-Philip Fairlie. Mr. Fairlie i
s in his fifties but looks older, he is frail, morose, pale, crabby, wheelchairbound)
SERVANT: Mr. Walter Hartright.
HARTRIGTH: Mr. Fairlie!
(Mr. Fairlie looks Hartright up and down)
MR FAIRLIE: You re younger than I thought
The young are mostly fools
The good time ceases when with my nieces
Just go about your task
And try to disappear
(to the servant)

Don t lurk about you oafish lout


(to Hartright) I trust you ll like it here
(He gestures to the portrait)
That s a portrait of my brother
Was the picture of good health
Now he s dead and I am dying
While I m living

on his wealth

Up until he left for Hades


He was catnip to the ladies
But at least the deceased had a modicum of stealth
Well enough about my fam ly
(to servant) would you please adjust my chair?
(to Hartright) I should send you back to ripen
like a proper camembert
though I should find some other chap
I d much prefer to take a nap
(to servant who reappears)
I told you to get out!
I simply can t go on
My nerves are fraying
What was I saying?
Oh, mostly I desire
A quiet atmosphere
As silent as a sepulcher
No utterance above a purr
Just nod your head
If you concur
I trust you ll like it here.

HARTRIGHT MEETS LAURA

(Limmeridge House. The conservatory. Later the same morning. Laura is sitting, p
laying the piano. She is 21, exquisitely beautiful, fair and she bears a strikin
g resemblance to Anne Catherick. Hartright enters)
(He looks at Laura)
HARTRIGHT: (softly) My God!
(Laura is startled and stops playing)
HARTRIGHT: You must be Miss Fairlie?
I am Walter Hartright.
Forgive me if I scared you.
LAURA: Not at all!
Welcome!
You re a very nice surprise.
(They look at one another. They smile. Marian enters)
MARIAN: Is she not the way that I described her?
We re as unalike as black and white
LAURA: Still we are insep rable
MARIAN: Joined as day to night,
Very clearly of a diff rent feather-we re and odd but merry pair of birds!
She d say I m verbose and garrulousLAURA: But in fewer words!
MARIAN: Laura!
(Hartright Laughs)
LAURA: I fear your journey here was tedious?
HARTRIGHT: My journey was filled with drama! First I met the local Signal Man- a
strange and unearthly man. He told me he d had a vision that I would come and tha
t I would bring tragedy in my wake.
LAURA: Heavens!
HARTRIGHT: Indeed!
But he said: You ll mark my words!
When a year to this day
The dead lie on the tracks!
The dead lie on the tracks!

MARIAN: How strange!


HARTRIGHT: What happened next was stranger still
A woman breathless and afraid
Appeared out of the night!
Completely dressed in white
She had a secret she would tell
Of one who had mistreated her
Her face and frightened gaze
My mind cannot erase
But then she ran from view
(to Laura) she looked so much like you.
LAURA: Perhaps you saw a ghost?
HARTRIGHT: Ghost or not, she haunts me still.
(to Laura) She looked so much like you!
MARIAN: We must clear up this mystery!
HARTRIGHT: But first, ladies, we must take advantage of this wonderful light!
(He moves off and the women follow, collecting their hats and sketch books)

DRAWING LESSONS
(A beautiful summer s day for their first drawing lesson. They are outside in the
formal gardens of Limmeridge House with a couple of servants, all three before t
heir easels. Laura puts on a hat and shawl. They stand before their easels drawi
ng. We hear both what they express openly and their inner thoughts)
MARIAN: Nothing s duller than my watercolouring
I ve next to no technique at all
LAURA: My pen and ink are passable
MARIAN: My pen and ink appall.
All my sketching soon will have you wretching.
I m a notch below a chimpanzee.
LAURA: But we re highly trainable,
MARIAN: We shall wait and see.
HARTRIGHT: You can capture shad and light best of all perspective

MARIAN: All I ever do is trite


HARTRIGHT: Beauty is subjective
You ll develop your own style
MARIAN: He has such a winning smile
HARTRIGHT: You will now when it feels right.
LAURA: I could trust him at first sight.
(It is now a few weeks later. We are in mid summer)
HARTRIGHT: Be observant, be a humble servant, soley dedicated to your art
LAURA: I can hardly concentrate
MARIAN: What a shaky start
(She tears up the paper)
HARTRIGHT: Don t conceal the things you think and feel
Get your emotion flowing through your brush
MARIAN: If I follow your advice
You would surely blush
LAURA: If I d practiced what you preach
I d be more effective
HARTRIGHT: She s so clearly out of reach seen from my perspective
MARIAN: He s a breath of summer air
HARTRIGHT: See the sunlight in her hair
LAURA: I must disregard his charms
LAURA AND MARIAN: And his manly rugged arms
(The maids lay out a picnic lunch. The three eat. There is the sense that we are
drifting through a long hot summer of drawing lessons)
MARIAN: Give me people not a tree or steeple
Not a slice of apple and a knife
Still life s not as int resting
As a slice of life
HARTRIGHT: You re improving, this is very moving, that s a cocker spaniel clear and
true
MARIAN: Thank you for the compliment

I was sketching you!


ALL THREE: What s the reason I am here?
what is my objective?
what a stirring atmosphere!
But where is my perspective?
Can you get a dizzy thrill?
While the world is standing still?
Yet the summer s drifting by
While these golden moments fly.

LATE SUMMER
(We are now in wilder countryside. It is hot. Collars are undone, shawls are aba
ndoned. Hartright starts to sketch Laura)
MARIAN: Sweet tension
Fills the air
Which I know I ought not dwell upon
I look away and I still see him there
I m trying not to notice him
Yet I can t help but stare
HARTRIGHT: No gazing!
Know your place
Words that I d be wise to tell myself
I close y eyes and I still see her face
I m trying not to notice her
But I don t stand a chance
LAURA: I m trying not to notice him
Yet I return each glance
A thousand contradictions
Are stirring in my soul
They seem to grow in me

Overflow in me
HARTRIGHT: In spite of my convictions
I m losing my control
MARIAN: I m slightly shocked inside
Keep it locked inside
ALL THREE: Unspoken
Unexpressed
Still it s louder than a symphony
Can no one hear what my heart seems to shout?
Perhaps they do not notice it
Though it s as plain as day
I m trying not to notice it
But it won t go away
(The end of the lesson. Marian and Laura gather up their brushes and paints. The
y go to exit-Laura realizes that she has forgotten something. She returns to whe
re Hartright is they both linger a moment)
HARTRIGHT: Whenever I look at you
The world disappears
All in a single glance so revealing
You smile and I feel as though
I ve known you for years
How do I know to trust what I m feeling?
I believe my heart
What else can I do
When ev ry part of ev ry thought
Leads me straight to you
I believe my heart
There s no other choice
For now whenever
My heart speaks
I can only hear your voice

LAURA: The lifetime before we met


Has faded away
How did I live a moment without you?
You don t have to speak at all
I know what you d say
And I know every secret about you
I believe my heart
It believes in you
It s telling me
That what I see
Is completely true
I believe my heart
How can it be wrong
It says that what I feel for you
I will feel my whole life long
BOTH: I believe my heart
It believes in you
It s telling me
That what I see
Is completely true
And with all my soul
I believe my heart
The portrait that it paints of you
Is a perfect work of art
(He takes the sketch that he has made of her and gives it to her)
HARTRIGHT: I m afraid it doesn t do you justice.
(Marian watches them. She realizes what is happening. There is no time for her t
o react however as)

HARVEST-TIME
(Suddenly villagers arrive. They are processing to the church with the fruits of

the harvest. There is cider-drinking and dancing. Hartright, Laura and Marian g
et immediately caught up in the festivities)
ALL: Ripe golden fields and the
Bounty they bring
Reason enough for to dance and to sing
Dance for who knows if we ll live till it s spring
Sing
For it s Lammastide
(A young girl goes to Laura and gives her a corn dolly)
ALL: Winds of the winter
As sharp as a thorn
Soon will assault us
As sure as we re born
GIRL: What will protect us?
A doll made of corn
ALL: Dance!
For it s Lammastide
MEN: Please spend the season
Pressed in my arms
Rest in my arms
WOMEN: Merrily, merrily
WOMEN: We ll end the season
Wrapped in your arms
MEN: Trapped in your arms
WOMEN: Verily, verily
ALL: Ripe golden fields and the
Bounty they bring
Reason enough for to dance and to sing
Dance for who knows if we ll live till it s spring
Sing
For it s Lammastide!

MEN: Please end the season


Pressed in my arms
Blessed in my arms
WOMEN: Verily, verily
Although we may protest in your arms
We ll nest in your arms
ALL: Merrily, merrily
ALL: After we harvest the fruits of the earth
Time for the home and a moment of mirth
MEN: Time for a dance
WOMEN: And the chance of rebirth
ALL: Sing
For it s Lammastide
ALL: Ripe golden fields and the
Bounty they bring
Reason enough for to dance and to sing
Dance for who knows if we ll live till it s spring
Sing
For it s Lammastide!
Dance
For it s Lammastide!
Sing
For it s Lammastide!
(At the end of the song, we see the same young girl being excluded from the fest
ivities. Her mother scolds her and she does not enter the church with the others
)
MOTHER: (to little girl) You ll wait outside till you see sense my girl.

THE LITTLE GIRL WHO SAW A GHOST


(The little girl stands outside the church, upset. Hartrihgt sees her and goes u
p to her. We hear the evensong happening in the background as Hartright is left
alone with the child)

HARTRIGHT: What s wrong, child?


GIRL: She didn t believe me. She said I were tellin tales.
HARTRIGHT: About what?
GIRL: Do you believe in ghosts sir?
HARTRIGHT: I believe the dead go on. We carry them inside us.
GIRL: I saw a ghost sir. Yester een at the gloaming. Arl in white, sir. Just as a gh
ost should be.
HARTRIGHT: Where did you see her?
GIRL: Over there, sir, in the graveyard sir. It scared me half to death!
(The girl runs away. Hartright walks towards the graveyard)

THE SECOND APPEARANCE OF ANNE CATHERICK


(Graveyard in the half-light. Anne Catherick appears)
ANNE: Walter Hartright I remember you.
HARTRIGHT: Are you of this world? Have I imagined you?!
(She touches him)
ANNE: You see I am no ghost before you
I am flesh and blood
Believe your eyes
Kind sir, my name is Anne,
Anne Cath rick
And believe my words
I tell no lies
Limmeridge was my home in childhood
Though I didn t live here long
Locked away while still a girl
Although I d done nothing wrong
Imprisoned in a dark asylum
By a man of guile and treachery
The truth will see the light

I vow it
Though he thinks that he can silence me
I told you that I have a secret
One I cannot share with you
I must find the one I seek to spare her
What I ve been through
I ll tell you of y cruel tormentor
When I think of him I m filled with shame
I ll tell you who he is this instant
If you swear you won t forget his name
(Hartright nods fervently)
HARTRIGHT: I swear
ANNE: Sir Percival Glyde
Sir Percival Glyde
HARTRIGHT: Sir Percival Glyde
(Suddenly there is the sound of an owl overhead. Anne takes fright and exits)
HARTRIGHT: No please

wait!

(But she is gone. Hartright gathers himself after the shock of her story and lea
ves too)

MARIAN TELLS OF THE ENGAGEMENT


(The formal gardens, Limmeridge House. Morning. An autumnal feel. The first leav
es dropping from the trees. A servant escorts Hartright to Marian. Hartright ent
ers)
MARIAN: Mr. Hartright, there s a very private matter we must speak of right awayHARTRIGHT: Pray it isn t serious?
MARIAN: This is hard for me to say.
In the days before you came here you were out of money out of spirits then?
HARTRIGHT: I was down but rarely out of spirits you d have found me in a Holborn d
rinking den
MARIAN: Then it s safe to say
You value your position?

HARTRIGHT: More than anything at all


MARIAN: Since we both were children
Laura sometimes sleep walks
I would wake and find her
On the stair unaware of how she got there.
More than here half sister
I am her whole family
And I must protect her
HARTRIGHT: What reason do you tell me this?
MARIAN: I know, sir, what your secret is.
HARTRIGHT: I have no secrets here.
MARIAN: My sister is engaged!
To a man of sterling character
A titled man of propertyA man her father chose.
HARTRIGHT: What?
MARIAN: It was my duty to tell you this.
HARTRIGHT: (shocked) Then Laura will marry another?
MARIAN: You must crush all feelings for her. There can be no hope of an attachme
nt. No hope of any future I m sorry if this hurts you.
HARTRIGHT: Are you sorry, Miss Halcombe?
MARIAN: What do you mean?
HARTRIGHT: (pointedly at her) Perhaps I m not the only one with secrets. Feelings
that I d rather hide?
MARIAN: You are most unkind. You should go, you ve said enough. I m doing this to he
lp you, to save you from yourself!
(He goes to go, stops, turns)
HARTRIGHT: I d like to know his name.
MARIAN: His name is not your business.
HARTRIGHT: (impassioned) Please let me know his name.
MARIAN: His name is Glyde, Sir Percival Glyde.

SIR PERCIVAL GLYDE ARRIVES


(The next day. Mr. Fairlie s study. Laura and Marian wait with their uncle. A serv
ant announces Sir Percival Glyde s arrival)
SERVANT: Sir Percival Glyde
(Glyde is a handsome, aristocratic, elegant man in his early to middle thirties.
His manner is easy and charming)
GLYDE: With all my heart
I m glad to be here
MR FAIRLIE: Sir Percival Glyde
Here in this house
You re always welcome
GLYDE: (to Fairlie) The picture of health!
I ve never seen you look so well sir
MR FAIRLIE: Is he talking to me?
GLYDE: You re such a hale and a hearty fellow
MARIAN: You, sir, it s true, are a tonic
It does us good to see you
GLYDE: Thank you my friend, and me

you.

But Laura my dear


Second to none you re the one I miss most
It s perfectly clear
With all my heart
I need you
Which brings me to my purpose
Why must we wait till spring?
LAURA: What?
GLYDE: Let s have a Christmas wedding
And the joy that it would bring us
(to Laura) My home and heart are ready
so now it s up to you
(A pause)

LAURA: It was my father s dying wish and I will do as I have promised to.
GLYDE: In all of this world
There s not a man as thrilled as I am
Or lucky as I.
Not on this earth is a man more joyful
MARIAN AND MR FAIRLIE: Sir Percival Glyde!
Good luck to you and your bride
GLYDE: My dearest friend Count Fosco
Shall act as our best man
You ll see he has no better
When you meet tonight
And there s no better plan!
MARIAN: Sir Percival Glyde!
GLYDE: (to Marian) You from this day shall be my sister
MARIAN: With pleasure and pride!
GLYDE: And we shall see that our home is your home.
MR FAIRLIE: There s nothing to decide.
My niece will marry Glyde
A Christmas wedding
Is where we re heading
And Marian will go
And live with them, no fear
The instant she becomes his spouse
They both will exit Limm ridge House
Which will be quiet as a mouse
At last I ll like it here!

FOSCO ARRIVES
(Later the same day Count Fosco arrives at Limmeridge House. He is a big bear of
a man- in his fifties, with an Italian accent. He is impeccably dressed. His lu
ggage includes various bird and animal cages. He pulls a mouse seemingly out of

the air and addresses it)


FOSCO: Well my friend at last we have arrived
It seems that I was born to be a house guest
You might choose this moment to get out of Sight. For now, they need not know th
ey have a mouse guest
(He kisses the mouse and then plaes it in his pocket. Marian arrives to greet hi
m)
FOSCO: I am pleased to meet the blushing bride.
MARIAN: Act ally I m just the blushing bridesmaid.
FOSCO: Pardon me it s just that you re so beautiful.
Which is why I thought you might be Glyde s maid
MARIAN: There is no mistaking you re Count Fosco!
FOSCO: I ve a reputation that proceeds me?
MARIAN: I am Laura s sister sent to welcome you.
FOSCO: (kissing her hand) May I nibble on the hand that feeds me?
MARIAN: You may dine on any single thing you wish
Though I d wait for dinner we are serving fish
FOSCO: There s no time to sate my many appetites
MARIAN: You might consider taking smaller bites
FOSCO: It so very kind of you to have me here
MARIAN: You, sir, add some interest to the atmosphere
FOSCO: I dectect a fire beneath your prim veneer
(A dinner bell rings)
MARIAN: I regret there s not more time to tarry
FOSCO: But I presume that we ll resume this thrust and parry!
(He smiles at her, winks. She shows him in. Servants arrive and remove his lugga
ge)

THE EVENING THAT GOES WRONG


(After dinner the same eveing. The drawing room. Laura
h Sir Percival Glyde sitting close to her. Marian, Mr.
Hartright are looking on. Hartright sits on his own in
ra finishes playing and there is enthusiastic applause

is playing the piano, wit


Firlie, Fosco and Walter
a corner of the room. Lau
led by Fosco)

FOSCO: Bravissima, my dear! You play like an angel.


LAURA: I play only moderately well.
FOSCO: My dear, don t hide your light!
If you have talents, you must flaunt them!
MARIAN: Pray sir, what are your talents? Perhaps I could persuade you to come ou
t fro under your bushel?
(Fosco looks away modestly)
FOSCO: No, no, no! well, if you insist.
FOSCO: I am a man
Of medicine
No opera star,
(with piano) My voice is thin
though I play cards
and violin
at none of these do I excel
the talent that
I have in spades
Is one for fun
And escapades
A gift for living well
Attracted to the lively arts
Breaking bread, breaking hearts
(He looks at Marian)
making love, when love has me spellbound
(He takes some wine from a servant, fills his glass)
Italian food
The wines of France
I never walk when I can dance
(A small pirouhette for the ladies)
a gift for living well
a one man band

I sing the lead


Always self-accompanied
(He plays a few chords on the piano)
I concede probably I m hellbound
A bon vivant
As you can see
A lust for life as big as me!
A gift for living well
FOSCO: But enough about me! Raise your glasses
(Fosco raises his glass to the bride and groom)
FOSCO: Sir Percival Glyde!
ALL: (raising their glasses) Oh what a joyous occasion this is!
Sir Percival Glyde!
FOSCO: Dolce vita to you and your Mrs!
GLYDE: This is the moment I ve longed for
MARIAN: Everything s for the best now
MR FAIRLIE: I ll have an empty nest now
ALL: And here s to the bride!
Cheers for the life they will lead from now
(Hartright suddenly interrupts the toast

addresses Sir Perival Glyde)

HARTRIGHT: Please let me speak


And forgive my interruption
Please hear me out
On a very pressing matter
One that concerns a girl
Her name is Anne, Anne Cath rick
She says you ve done her wrong
Have you an explanation?
MR FAIRLIE: What impertinence! Mr. Hartright, you should know your place!
GLYDE: No, no, Mr. Fairlie, I am glad that he asked this. Please, please. I am h

appy to clear up the matter of Anne Catherick..


GLYDE: Her tale is truly sorrowful
And some would say a tragedy
Her story breaks my heart
I don t know where to start
Her mother was in my employ
(to Mr. Fairlie) your brother recommended her
recall, she worked here too?
MR FAIRLIE: Catherick? I m not sure that I do.
GLYDE: Anne was so sweet as an infant
She used to laught all the time
She sparkled like the sun
Such a pretty one
Yet she grew up so unhappy
Sullen and angry and sad
She was a troubled child
Acting strange and wild
She once attacked her mother
When she was just sixteen
A fury with no pause
No-one knew the cause
To help her grieving mother
And rescue Anne herself
I undertook her care
I tried to see her through
It was the Christian thing to do
When no physician could treat here
I found a haven that would
A trusted private place
To embrace her case

Anne thinks of me as her captor


When I am truly her friend
For all her care I pay
Still she runs away
(Fosco who appears moved by the story, shakes Glyde by the hand)
FOSCO: I m touched by your compassion
Your kindness knows no bounds.
GLYDE: I ve done the best I can
I ve done my best for Anne.
(Once again Hartright speaks up)
HARTRIGHT: She spoke sir of a secret
A secret she would tell.
GLYDE: Her world has ome to be
Utter fantasy
But her safe return
Is my great concern
And I am grateful for
You help
LAURA: Poor Anne
Her story saddens me.
MARIAN: Yet it explains the mystery.
FOSCO: Had it not been for Glyde
I m sure she would have died.
MR FAIRLIE: No more please! Neither Anne Catherick nor her silly mother are any
of your business and what s more, my nerves are quite shot!
FOSCO: Then a shot of brandy is what I prescribe, Signor!
MR FAIRLIE: Yes, gentlemen, let us retire at once to my study.
(Glyde, Fosco and Mr Fairlie leave. Glyde bows his thanks again to Hartright)
GLYDE: Thank you, sir.
(Hartright is left with the two women)
HARTRIGHT: I don t believe him

Can t you see he s clearly lying?


As for your uncle
It s the truth that he s denying
MARIAN: Sir, you must leave at once!
You must go right away
LAURA: But, MarianMARIAN: What reason has he to lie?
How can you hope to stay here?
LAURA: Please MarianMARIAN: Laura our future is settled
Soon you will be Lady Glyde
You ll have a perfect life
As that fine man s wife
He is a man of compassion
Look how he helped that poor girl
He has integrity
He s all a man should be!
(Laura looks to Hartright)
HARTRIHGT: I clearly don t belong here
Your sister is quite right
I ll leave for London now.
(Laura runs out, upset)
HARTRIGHT: (to Marian) Are you happy now?
(He exits. Marian left alone crumples, begins to cry)
MARIAN: I close my eyes and I still see his face.
(She exits)

THE TRYST
(Hartright is there with his bags and easel, departing, Laura enters in haste, w
earing a white nightdress)

LAURA: Tell me this isn t real. Tell me I m walking in my sleep.


HARTRIGHT: I m sorry.
LAURA: I believe my heart.
It believes in you
LAURA AND HARTRIGHT: Ev ry part of ev ry thought leads me straight to you
(She gives him the sketch that he gave to her in the drawig lesson).
LAURA: Take this something to remember me by.
(He leaves)

THE VILLAGE WEDDING


(Laura is left alone. The church bells chime. Villagers arrive for the wedding c
elebrations. Her maids put a veil on her and hand her a bouquet of holly and ivy
. Marian enter, kisses Laura and pulls down Laura s veil. It is as if Laura is sle
epwalking through the proceedings. Fosco and Sir Percival arrive. Glyde is congr
atulated by the locals. Fosco takes Marian s arm. Laura walks up the aisle with he
r uncle. The marriage ceremony takes place)
CONGRRGATION: The holly and the ivy,
When they are both full grown,
Of all the trees that are in the wood,
The holly bears the crown.
The holly bears a berry
As red as any blood;
And Mary bore sweet Jesus Christ
To do poor sinners good.
GIRL: The holly bears a prickle
As sharp as any thorn;
And Mary bore sweet Jesus Christ
On Christmas day in the morn
The holly bears a dark
As bitter as any gall
And Marry bore sweet Jesus Christ
For to redeem us all
(Anne Catherick appears in the church)

ANNE: No!
(The congregation is disturbed. Laura turns round confused. Anne has already dis
appeared. The ceremony continues)
ALL: the holly and the ivy,
When they are both full grown,
Of all the trees that are in the woods
The holly bears the crown.
Oh the rising of the sun,
And the running of the deer,
The playing of the merry organ,
Sweet singing in the choir.
(Glyde and Laura are married. The village cheers, throws confetti. Laura gives M
arian her bouquet. Fosco takes Marian s arm again. The bride and groom leave)
ALL: Forever after as man and wife
Dancing through life,
Merrily, merrily
She is a source of pride in his arms,
Bride in his arms
Verily, verily
Off to a life of contentment and bliss
No other day is as happy as this!
Time for rejoicing and time for a kiss
Here s to the bride and groom
Cheers to the bride and groom
Here s to the bride and groom

ANNE CATHRICK DECIDES TO HELP LAURA


(The villagers disperse after the wedding. We are in the graveyard
adows, Anne Catherick appears. She is alone and despairing)
ANNE: Lady Laura Glyde
Lady Laura Glyde

out of the sh

The church bells are ringing


They call out to warn you
But even my warnings were too late to
Save you
Now your fate is sealed
How he can he be stopped?
You ll be the lady of
Blackwater House
All the rooms filled with sorrow
The lake filled with teardrops
Where you re at his mercy
And he knows no mercy
I can t let this come to pass
I can t let you
Suffer as I did
I must journey to your side
So unlike me
You won t be friendless
So unlike me
You won t be friendless
(She exits)

THE RETURN FROM THE HONEYMOON


(The scene shifts to Sir Percival s residence. Where Limmeridge House was all ligh
t and airy, Blackwater House is dark, stifling and oppressive. Marian and Fosco
are in Blackwater House, waiting for the bride and groom to arrive back. There i
s activity around them servants preparing the house
Laura and Percival return from their honeymoon. They are unsmiling and Laura is
wearing black)
MARIAN: Welcome to your new home, Lady Glyde!
(Laura says nothing, pushes passes her and goes to her room.)
MARIAN: Laura? What is it? Laura!

MARIAN: (to Fosco) There s something wrong


FOSCO: She is just tired.
MARIAN: No, I must go to her.
FOSCO: She will come round.
(He holds her back a moment)
FOSCO: You live in her shadow!
MRIAN: If I do, then it is because I am comfortable there!
FOSCO: She is lovely. But you, Miss Halcombe are beyond all compare!
(She looks at him and then exits)

MARIAN HEARS THE TRUTH FROM LAURA


(Laura s bedroom,. Marian enters as Laura is sending away her maid)
LAURA: (to the maid) Leave me alone. I don t need your help
(The maid curtsies and leaves. Laura avoids Marian s eyes)
MARIAN: Laura you know you can trust me
Please let me know what is wrong?
We seem so far apart
And it breaks my heart
LAURA: Trust you, now why should I trust you?
When your advice lead me here
Straight from the wedding prayer
To complete despair
He only wants my money
That s all he wants from me.
Though he s a baronet
He is steeped in debt.
I ll show you how he loves me
I think you ought to see!
(Laura lifts her sleeves, lowers her neckline to reveal bruises)
LAURA: His love is on display

A mark for ev ryday


You said He s a man should be!
(Marian looks in horror)

MARIAN ALONE
(Marian leaves her sister in bed and runs out into the night, stricken by the ne
ws that Laura has just given her. She walks towards Blackwater pool and the boat
house)
MARIAN: Inner voices
Keeping me awake
Will I ever sleep again?
ReassessingEverything I ve done
Choices that I can t explain
All for Laura
This is what I prayed
All for Laura
Have I betrayed you?
With our old life
Ever out of reach
Look at what I ve led you to
God forgive me
Look at what I ve done
Look how I protected you.
Al for Laura
Shouldn t I have known?
I know one thing
We are alone now
I sent away the man
The man that we could trust
The only man that we both love

All for Laura


Was it really you,
Who I was thinking of?
all for Laura
But at the start
Were you foremost in my heart?
All for Laura
That s how I ll live
Till I save you
Till you forgive me
I ll dedicate my life
I swear upon my soul
I ll find a way to set you free
All for Laura
Till my dying breath
Long as you re in need of me
I will somehow learn to be strong
I will live to right this wrong
(Anne Catherick appears behind her and overhears what she says)
ANNE: I will help you
MARIAN: My God!
ANNE: I can help you both
He must never win again
MARIAN: It s you!
ANNE: I can trust you
And I have a way we can stop this evil man
MARIAN: It s amazing!
I see her face
ANNE: I have come here to save your sister
Tomorrow at this time

Bring her to me here


But promise that you ll be alone
I ve a secret
And when it is told
It will surely bring him down
MARIAN: Tell me now, please
ANNE: Only for Laura
(Anne disappears. Suddenly Fosco appears. Marian jumps)
FOSCO: Miss Halombe! Forgive me, I didn t mean to startle you. I saw your room was
empty- I thought you must be out here counting your English sheep. Dico bene?
MARIAN: I couldn t sleep.
FOSCO: Wandering about in the dark-and without the aid of a coat! Tut,tut. You E
nglish ladies are so reckless with your midnight flitting! You must allow me to
accompany you home.
MARIAN: There s no need.
FOSCO: You re shivering- Miss Halcombe. Per piacere

take my arm.

MARIAN: Thank you.


(They leave together)

SIGN THE DOCUMENT!


(The next day. We are now in late March. Blackwater House. The library. Sir Perc
ival waits for his wife. She enters with Marian)
LAURA: You wanted me?
GLYDE: I have a document for you to sing
LAURA: A document?
GLYDE: Sit here, use my pen
LAURA: A document, what kind of document?
GLYDE: Just sign it here and here and we ll be done
LAURA: Now?
GLYDE: It s a formality
Sign your name Lady Glyde
Here on the line

LAURA: What are you asking me to sign?


(Fosco enters, all civility)
FOSCO: Percival, you said you needed me
I am at your service
Ah Buongiorno, ladies
I trust you slept well?
GLYDE: I need a witness of Laura s signature
LAURA: Again, what is this document?
GLYDE: Sign your name Lady Glyde
MARIAN: Sir! she has a right to know
GLYDE: It pertains, Miss Halcombe, to a man and his wife
LAURA: Then let me read it first
That isn t asking much
GLYDE: Sign, I have a carriage waiting
MARIAN: (to Count Fosco) Do you know what s in these papers?
FOSCO: I m as ignorant as you and Lady Glyde
GLYDE: Sign!
LAURA: But I cannot sign
What I haven t read
GLYDE: It is too involved
For your pretty head
As a sign of trust
Please pick up the pen
LAURA: I will read it first
I will trust you then
MARIAN: Let our lawyer bless
What you want from her
And she ll acquiesce
With her signature
GLYDE: You ve a pointed tone

That I will not bear


MARIAN: That s a point of view
I completely share
GLYDE: Sign your name Lady Glyde
Infernal women, you know nothing about business!
FOSCO: Calmly my dear friend
Lady Glyde s upset
So is her sister
Can t the papers wait another day?
LAURA: I will gladly sign when I know what it is.
FOSCO: Forget about the signature. I m urging you, please,
As a man of honor. Be patient.
MARIAN: Send the carriage away
FOSCO: In all good conscience I could not be a witness now.
GLYDE: For God s sake woman sign! I will not stand for it. I will not.
(Sir Percival goes to strike his wife. He is prevented by Fosco and Marian)
MARIAN: Stop it! Stop it!
GLYDE: She is still my wife!
She ll do as I say!
FOSCO: Keep your temper, sir.
GLYDE: Stay out of my way!
You must be confined
Till you see the light
MARIAN: This is not a jail!
FOSCO: Sir, this is not right!
GLYDE: She should gladly do
Anything I say
She s a willful child
Who must have her way
FOSCO: (firmly) Glyde! You must hold your tongue

You must not react


You must leave at once
-your good name intact
(Sir Percival leaves)
FOSCO: You ll be fine Lady Glyde
LAURA: Don t touch me.
FOSCO: You are safe my dear
You ll be all right
His bark is far
Worse than his spite
His temper flares
Don t be alarmed
He will calm down
You will not be harmed
MARIAN: Without your aid
Where would we be?
FOSCO: How could I not?
LAURA: Don t come near me!
MARIAN: He is our friend
Look what s he s done.
LAURA: I don t trust him
Or anyone
FOSCO: You ll be fine Lady Glyde
(Marian takes his hand

a thank you in her eyes. Fosco leaves)

LAURA MEETS ANNE CATHERICK


(The women put on their cloaks and teal out into the night. They reach the boath
ouse at Blackwater pool)
LAURA: She s not here!
MARIAN: Have faith! She will come.
LAURA: (startled) What s that?

MARIAN: Hush! Be calm


(She appears to them. Laura and Anne gaze in awe at each other)
LAURA: I look at you and see myself
ANNE: I look at you and see myself
LAURA AND ANNE: So strange and yet so true
I see my soul in you
LAURA: Almost my living replica
MARIAN: It s true!
ANNE: our every move so similar
MARIAN: So much like you!
LAURA: My face but with years of strain
LAURA AND ANNE: (to one another) Your eyes reveal such pain
TRIO: It s like I ve known you all my life
At last it s safe to hope again
Somehow you complete me
I know I can trust you
Here with you
I am safe at last
You were there
You were always there
Like your heart
Beats within my heart
And the truth
It can set us free
TRIO: Now that we re together
We must help each other
(Suddenly gunshots are heard and the strange sound of hunting horns)
ANNE: I hear them coming
They ve come to lock me up.
Don t let them catch me!

Don t let them take me back!


(She starts to run, the women follow her)
MARIAN: Wait! Ann- Anne we will help you!
(Sir Percival appears with servants)
MEN: The one in white!
She must not get away again.
GLYDE: (to Laura and Marian) I thank you both!
For having led me straight to her!
(Men try to capture her. Anne turns on Laura)
ANNE: You have betrayed me
You have set a trap here!
LAURA: No, no believe me!
ANNE: Curse you, Lady Glyde!
GLYDE: Take her back to the asylum!
(The men grab for her. She escapes)
ANNE: (to Glyde) You may lock me up forever
But I will set my secret free!
You can t stop me
Now I ll tell the world what you did to me!
GLYDE: Shut up her mouth and her horrible lies!
(The men gag her)
LAURA: Let her go!
MARIAN: Count Fosco, you ve got to help us!
(Fosco goes to Anne. She struggles. He injects her with a sedative. She faints i
nto the arms of the men- her captors)
FOSCO: I m sorry but the woman was a danger to herself. I had no choice.
It is the best way! I am a doctor
(Sir Percival and Fosco exit with Anne and the other men. The two women are left
, shivering and afraid)
LAURA: We are powerless at the hands of these men.
(Marian puts her arms round her sister)

MARIAN: We will not be victims Laura. We will right this wrong


(The tow remain as the light fades and a thunderstorm rumbles somewhere in the d
istance)

END OF ACT ONE

ACT TWO

LAURA ALONE
(Blackwater House. Laura s bedroom. Later the same night. Laura is still very dist
ressed at the night s occurrences. She is in her white nightgown, sitting alone on
her bed)
LAURA: If I could only dream this world away
I d awake
In your arms
If I could keep this bitter life at bay
Wide awake
In your arms
The vow that keeps me grom you
I cannot undo
I m lost
Lost in a fantasy that can t come true
If I could only dream this world away
I d awake
In your arms
I long to sleep forever
Dreaming of only you
I m lost
How many nights like this can I go through?
(Marian enter. Laura jumps- her nerves are on edge)
MARIAN: I am sorry, I didn t mean to startle you.

Oh, Laura you look so pale!


LAURA: What are they doing?
MARIAN: They have retired to the library.
LAURA: Stay here with me!
MARIAN: We can t just wait like victims
I ll find out what they re up to.
LAURA: I m so frightened
Please don t leave me
MARIAN: We must know what their next move is
LAURA: No!
MARIAN: Laura, they don t scare me
Hush, now, go to sleep.
(Laura kneels beside her bed. Marian exits)

MARIAN ON THE EDGE


(The storm that was rumbling in the distance at the end of act one has come much
closer. Blackwater House. We see the faade of the house with a ledge under the f
irst floor windows and on the ground level French windows leading to the study.
Fosco is in the garden feeding his mouse)
FOSCO: Feast, my friend,
Enjoy your little dinner
And pay attention now, you little dickens
This is where the story will get int resting
As we Italians say the plot, she thickens
(He enters the house at the same time as Marian appears out on the ledge. She st
arts to walk along the ledge. It is narrow and perilous. Marian arrives outside
the library window, from here she can hear what the men are saying.
Glyde hands Fosco a brandy. During the next Glyde and Fosco play billiards)
FOSCO: To our little game
I propose a toast
GLYDE: Well we haven t won
It s too soon to boast
There s a lot at stake

FOSCO: It s a large amount


GLYDE: Twenty thousand plus
In her bank account
She will never sign
What could twist her arm?
FOSCO: Here s a novel thought
You could try some charm
GLYDE: I was not cut out
For a diplomat
FOSCO: There are other ways
One can skin a cat
We just need a new plan
GLYDE: But I want the money now!
FOSCO: Let me think my friend there s always a solution
Just be patient- you re a hard one to convince
And the elegance is in the execution
We can have our cake and not leave finger prints
GLYDE: But
FOSCO: I think both of us could use a shot of brandy,
Wait!

another course of action s coming clear

We ll persuade her to do anything we ask her


(Outside there is a loud crack of thunder that obscures what Fosco says)
FOSCO:

and our problems disappear

(Marian inadvertently reacts, frustrated at not having heard what they are plott
ing)
FOSCO: What was that?
GLYDE: What?
(Fosco peers out. The rain has started to fall)
FOSCO: No, no, it was just the rain.
GLYDE: What the devil do we do about Anne Cath rick?

Just the thought of her could drive this man to drink


FOSCO: I ve a most obscure location we can put her
(Once again the sound of thunder obscures what Fosco is saying)
FOSCO:

perfect, don t you think?

GLYDE: She ll be on my mind


Till she s out of sight
(Fosco finds a sheet of paper and takes out a pen

he starts to write)

FOSCO: She ll be locked away


By the morning light
GLYDE: Well the woman s mad
(Fosco signs the paper with a flourish and shows it to Glyde)
FOSCO: Which I ll certify
On my doctor s oath
And I never lie!
GLYDE: Keep those papers close
Under lock and key
FOSCO: At my London home
They ll be safe with me
GLYDE: Don t forget my wife
FOSCO: She s a thorn, it s true
(Suddenly with gusto)
wait!! Oh, god, I m good!
I know what we ll do
What we do is
(Outside Marian looses her footing. The men both hear it)
GLYDE: That wasn t the rain!
(Fosco runs to the window, looks out. Marian desperately tries to clamber back)
GLYDE: Who is it?
FOSCO: (amused) I couldn t see but I have a fairly good idea. Miss Halcombe, the lit
tle minx!
GLYDE: My wife s sister! Good! God! What did she hear? If this plan doesn t work, I

will be sunk, man

I will be bankrupt

I will lose this house

FOSCO: Glyde! Glyde! Calma! Calma! Leave this to me.


(Fosco calmly empties brandy from a hip flask into a glass
then he takes out a s
mall vial from his doctor s bag and pours powder from it into the brandy and then
pours the doctored brandy back into the flask)
FOSCO: We have simply got to build a better mouse trap
We will not emerge the victor as it stands
Though we ll do whatever dire is required
I d prefer to have them eating from our hands
(Fosco exits, walks upstairs to Marian s room)

MARIAN S BEDROOM
(Marian is wet and shivering in her room. She is in shock, unsure what to do. Fo
sco knocks and before waiting for an answer, enters)
FOSCO: I thought I d come to see how you are feeling
MARIAN: (evasive, mock cheerful) I was caught out in a sudden shower
FOSCO: (mock hurt) I thought for a promenade
You d come to me
And why go out at this ungodly hour?
My dear, you re dripping wet and shivering with fever
I can guarantee that this will help you sleep
(He takes out the hip flask and pours her a brand)
MARIAN: No! really I feel fine.
FOSCO: Do be a good girl
Drink this down
I ll have the servants change your gown
MARIAN: No, thank you.
(He hands her the brandy)
FOSCO: I am the doctor!
I know best
(She drinks)
FOSCO: And I prescribe a good night s rest.

(She becomes dizzy. Fosco walks her to her bed, strokes her forehead and kisses
her. Then slowly he exits. She is asleep.)

MARIAN DREAM A TERRIBLE DREAM


(Marian starts to toss and turn in her drugged sleep)
ALL: (off) The day is past and over:
All thanks, oh Lord to thee,
I pray thee now that sinless the hours of dark may be:
Though many are the perils through which I have to go
Oh lord, keep me in thy sight
And guard me through the coming night.
The holly and the ivy
When they are both full grown
Of all the trees that are in the wood,
The holly bears the crown
O the rising of the sun and the running of the deer
The playing of the merry organ, sweet singing in the choir
Sweet singing in the choir
Sweet singing in the choir
Sing for it s Lammastide
Sing for it s Lammastide
Dance for who knows if we ll live till the spring
Dance for who knows if we ll live till the spring
What will protect us? A doll made of corn.
(During this, events become gothic and unreal we hear ironic echoes of the story
so far
voices swirling and overlapping. Anne Catherick, Laura, Hartirhgt, Glyde
and Fosco all appear to as if in a dream)
ANNE: I can trust you.
LAURA: So strange and yet so true
I see myself
MARIAN: It s true

GLYDE: I will not stand for it I will not.


FOSCO: You ll be fine Lady Glyde
LAURA: I don t trust him or anyone.
HARTRIGHT: Are you happy now?
MAIRAN: Laura, you know you can trust me.
LAURA: Trust you, now why should I trust you?
ANNE: You have betrayed me.
GLYDE: Take her back to the asylum.
FOSCO: You will not be harmed.
LAURA: Marian wake up!
ANNE: I ll haunt you.
HARTRIGHT: She had a secret she would tell.
ANNE: I ll haunt you till you die.
LAURA: Wake up, help me!
HARTRIGHT: Perhaps I m not the only one with secrets.
FOSCO: I m a doctor. Trust me.
ANNE: They ve come to lock me up. No, no!
GLYDE: You must be confined.
LAURA: Marian, what have they done to you?
FOSCO: And I never lie.
MARIAN: I would wake and find her
Wake and find her
Find her
(Laura is dragged out by Glyde. Fosco exits. Marian manages to drag herself up)

THE NEXT MORNING


(Marian has a feeling that something is not right
there is foreboding in the air
. She goes downstairs. There are servants scurrying around in black. Count Fosco
enters solemnly, carrying his doctor s bag)
FOSCO: Miss Halcombe midispiace
I m so terribly sorry. There is no easy way to say
this
your sister
she is dead.
MARIAN: No!

FOSCO: She was walking in her sleep.


MARIAN: What are you saying?
FOSCO: She had sent her maid away, as was her custom, I understand. She walked t
o her window- she fell from a great height, you see.
MARIAN: No, please
FOSCO: It s a tragic accident. I m so deeply sorry. I m leaving for London today. If y
ou need anything, anything at all, this is where you ll find me.
(Maids enter and dress Marian for Laura s funeral in the same way that Laura was d
ressed for the wedding)

THE VILLAGE FUNERAL


(The scene shifts and we are back in Limmeridge
the village church where Laura w
as married. The village is gathered for Laura s funeral. We are in early April
a c
ool, bright springtime. A mound of earth where the coffin has been laid. A pries
t stands at the head of the grave, making the sign of the cross to end the servi
ce)
PRIST: I am the resurrection and the life, saith the Lord; whosoever liveth and
believeth in me shall never die.
(Sir Percival Glyde is there in black, showing the convincing outward signs of g
rief. Mr. Fairlie is in his wheelchair. Marian takes her place among the mourner
s- she is still in deep shock. The mourners start to move off, each shaking Sir
Percival Glyde s hand. He accepts their condolences with grace. Marian watches wit
h horror. Mr. Fairlie presents himself to Glyde)
GLYDE: How can the good Lord take my love away?
Far too young, far too good
I have to face forever
All without my wife
There s no describing my sadness
She was the light of my life
And life is so unfair
Such a cross to bear
Still there s the will to contend with
All kinds of papers to sign
I can t believe she s gone
Yet we must go on
MR FAIRLIE: How can you talk of business?

Good God! It s much too soon


GLYDE: Of course, we ll wait a bit
That s a appropriate
MR FAIRLIE: (flustered) I m much too overcome now
My nerves are simply frayed
Why don t you come to me in June?
(Glyde nods. Marian arrives at the front of the line. She refuses to shake Glyde s
hand)
MR FAIRLIE: (spoken, shocked) Marian.
GLYDE: I hope you ll still think of me as a brother.
(It is a charged moment and then Glyde exits with the others)

MARIAN IS LEFT ALONE AT THE GRAVE


MARIAN: I don t believe a word
Everything he utters is a lie!
I was powerless
Just a woman
Too weak to save you
I have no doubt he murdered you
Laura!
You were all I had
And I can t believe you re gone
Where is Walter?
He s the only one
You and I can count upon
All for Laura
I must be strong
I will live to right this wrong!
(She exits with determination)

HARTRIGHT IN LONDON
(The scene shifts. We are in London, the Embankment next to the river Thames. It
is twilight- a strange greenish light and swirls of fog- an eerie desolate Lond
on peopled by the dispossessed. By the river there are huddles of homeless peopl
e, dressed in rags, some drinking from bottles of gin. It is early may but still
cold and frosty at night. Suddenly we see Walter Hartright. He is a very change
d man- his clothes are shabby, he is unshaven- he is not down and out but he is
close to it. He walks aimlessly along the embankment. Some of the street people
reach out to him)
BEGGAR: Spare me a penny, sir?
(Hartright stops, looks in his pocket, takes out a coin)
HARTRIGHT: This is my last one.
BEGGAR: Then I won t deprive you.
(He looks at it a moment. The beggar turns away)
HARTRIGHT: Please take it, it s yours.
(He throws it to the beggar. The beggar takes it, looks at him. Another beggar a
ddresses him)
BEGGAR 2: Here take some comfort.
To help you forget sir.
(She hands him a bottle of gin. He shakes his head)
HARTRIGHT: My thoughts and my memories are all I have left now.
(He bows to the beggars, moves on, passing other people of the street. He takes
from his bag the painting of Laura. He looks at it. He walks along the embankmen
t)
HARTRIGHT: Ever on my mind
Evermore without you
I ll never know a thought or feeling
That isn t about you
Never more alone
Never to forget you
Not when my life was changed forever the first time I met you
You re all I know
And though I ve lost you you re someone I can t let go of
Every living day
Ever filled with sorrow

How can I face a life without you


Or even tomorrow?
Evermore without you
Were we never meant to be?
(He sees the faade of the pawnbroker s shop. He looks at the picture. He makes his
decision to pawn the picture. He goes into the shop.
He comes back out)
HARTRIGHT: Nevermore alone
Never to forget you
Not when my life was changed forever the first time I met you
You re all I know
And though I ve lost you you re someone I can t let go of
Every living day
Ever filled with sorrow
How can I face a life without you
Or even tomorrow?
Evermore without you
Were we never meant to be?
(Laura s picture is hung in the window. Hartright watches. Then he moves off)
HARTRIGHT: Every living day
Ever filled with sorrow
How can I face a life without you?
(He makes his decision to carry on without her)
HARTRIGHT: Evermore without you
We were never meant to be.

MARIAN SEARCHES FOR HARTRIGHT


(The next day, late afternoon. We are in a populous and dirty street of London,
near Holborn. A street of rotten tenements. People mill to and fro- poverty-stri
cken and malnourished people, washer women, beggars, children. An organ grinder
plays)
ALL: Lost souls

All of us searching never finding


What we are seeking
(Suddenly we see Marian in the midst of the teeming crowds. She looks lost and u
nsure of herself)
ALL: All hope
Long ago buried
Here in London
In a sea of strangers
We re pris ners
In dakness
Rats in a cage
With anger
And hunger
To fuel our rage
More of the same each bloody day
Best you should stay out of our way
We drink to let go of
The life that we know
It s hopeless
We re caught in
The undertow
Drowing in gin each endless night
Endlessly spoiling for a fight
(Marian tries to stop a passing woman. The woman laughs at her, moves on. During
the next, another woman points her in the right direction and she travels towar
ds the first pub. Marian arrives in the first bar
a seedy cavernous place in it.
She approaches a man)
MARIAN: Can you help me?
There s a man I m searching for
(She approaches yet more customers, who all rebuff her)
MARIAN: Can you help me?
Walter Hartright

Is the name
(She is driven to the second bar during the next)
ALL: Questions
All without answers
And our business
Is to forget them
Lost souls
All of us searching
Here in London
In a sea of strangers
We re here to
Let go of
Our worries
Fill your bitter cup
No need to look forward
Or backwards
Only bottoms up
(She arrives in the second bar. This is slightly livelier, but no less forbiddin
g. She approaches another stranger)
MARIAN: Please sir help me?
There s a man that I must find
Can you help me
Walter Hartright
Is his name?
(Another man who is sitting at the back overhears her and steps forward.
He takes her by the arm and during the next whisks her to the last pub)
CONAMAN: Hartright,
Did you say Walter Hartright?
Yes, I know him
I ll take you to him
I know him

I ll take you to where he will be


Delighted to help you
Believe you me
(They arrive at bar three
a heaving, loud, riotous place that immediately shocks
Marian. During the next the conman pushes her into the crowd and people grab at
her and steal things from her, assault her and push her to the floor. She is th
oroughly humiliated and out of her depth)
ALL: Here among the missing
A city with no answers
We re looking for salvation
In endless desperation
With gin to dull our senses
And chase away our demons
And though we ll never find it
We drink until we re blinded
ALL: Lost souls
All of us searching
Never finding
What we are seeking
All hope
Long ago buried
Here in London
In a sea of strangers
ALL: Here among the missing
A city with no answers
We re looking for salvation
In endless desperation
With gin to dull our senses
And chase away our demons
And though we ll never find it
We drink until we re blinded

(At the same time some of the crowd sing)


ALL: Lost soul
All of us searching
Never finding
What we are seeking
All hope
Long ago buried
Here in London
In a sea of strangers
(A necklace of Marian s has been stolen by the crowd. The conman laughs, Marian st
ruggles free and escapes to the alleyway where she sinks down, utterly forlorn.
Degraded and alone, she starts to cry. She rests her head against the pavement.
The sun starts to rise on a new day)

MARIAN SEES THE SKETCH


(She walks forlornly along the streets. Suddenly she sees the pawnbroker s shop. T
here is Laura s portrait. She stops, her heart in her mouth. She enters the shop)
MARIAN: How did you get that picture?
I need to know who brought it
Tell me, was it Walter Hartright?
I must find him. You must help me.
The subject is my sister
I can t believe I found it
(The pawnbroker takes his ledger down, looks through it, finds the address)
MARIAN: I ll redeem it, take this bag
PAWNBROKER: It s not enough
MARIAN: Then take this coat
I have got to find the owner.
You must tell me where he s living.
(He gives her an address)
PAWNBROKER: I wouldn t be too hopeful
It might be a false address

(The pawnbroker takes the portrait down, gives it to her. She exits. She has an
address in one hand, the portrait in another. Marian moves off with new resolve)

MARIAN FINDS HARTRIGHT


(Marian arrives at the address
it looks like a house of ill-repute. She knocks.
No-one comes to the door. Then as luck would have it, a young girl, who looks li
ke a prostitute arrives back with a client. She is wearing a low-cut red dress
M
arian and the girl lock eyes for a moment before Marian looks away, faintly emba
rrassed. The girl opens the door and before it closes, Marian follows her in. sh
e finds Hartright s lodgings. She opens the door on a squalid bedsit. There is no
sign of life. A makeshift bed. Empty bottles and detritus but no Hartright. Mari
an sinks down in despair. A desolate pause and then we see Hartright arrive home
. He is nursing a half
drunk bottle of gin)
HARTRIGHT: Have you no mercy?
Why are you haunting me?
How can you show your face?
(She goes to hand him the portrait)
MARIAN: I redeemed your pledge.
HARTRIGHT: And take that picture
I cannot bear to look
You spoke the truth that she was never mine to keep
MARIAN: How do I tell you?
I have such awful newsHARTRIGHT: That story s everywhere:
The tragic passing of Lady Laura Glyde
MARIAN: I know they killed her
Although I have no proof
Glyde and Fosco
How an we let them get away?
There is no justice while they re free
You ve got to help me
I ve no where else to turn
(Hartright turns away from her. She puts the picture on the easel)
MARIAN: Can you find it in your heart
To overlook what I ve done

And make another start


Once again
As we were
I am overcome with shame
Will you let me rebuild the bridge
I set aflame
Can we be
As we were?
If not for me
For her
I know that I have wronged you
And that I can t defend
I hope I haven t learned too late
That you re my one true friend
With such sadness we both live
Though it s unpardonable
I ask you to forgive
Can t we be
As we were?
If not for me
For her
(Hartright still makes no answer, Marian gives up)
HARTRIGHT: We can stop them if we find Anne
Cath rick. I believe her secret is the key
MARIAN: Fosco has a document
That will tell us where she ll be
HARTRIGHT: Can you find him?
MARIAN: Yes, he s here in London
HARTRIGHT: We must somehow find a way inside
MARIAN: I think the Count would welcome me

HARTRIGHT: Good

then I ll take care of Glyde

MARIAN: Will you really come with me?


Will you really help me?
HARTRIGHT: It seems my calendar is free.
(He throws the bottle of gin away. She smiles)
MARIAN: Thank you

PERCIVAL GAMBLES THE FRUITS OF HIS SUCCESS


(London casino, night. Glyde and Fosco are at the roulette wheel. Glyde is surro
unded by molls with whom he is openly flirting. He is drunk. Fosco is sober and
more reserved. The croupier spins the wheel- Glyde collects)
CROUPIER: Black twenty six.
ALL: Sir Percival Glyde
You ve won again!
Congratulations!
GLYDE: I m breaking the bank
All I could wish for is mine for the taking
CROUPIER: Place your bets!
GLYDE: Red seven. All the way!
(Glyde puts his chips down on the table)
FOSCO: Don t be a fool, Glyde
Where is your self control?
You re betting money
That you have not received.
(The wheel spins again)
GLYDE: I get the whole estate from Fairlie June the first.
CROUPIER: Black eight.
(Glyde loses, the crowd cries

aah )

GLYDE: Damn it to hell!


FOSCO: You are risking even more than you ll come into
You are even putting my share on the line

Your behaviour Glyde is making me embarrassed


You re a fool, a blackguard and a philistine
GLYDE: Sir you bore me please don t preach to me
You should be the last to moralise.
I m betting on the first of June. Put it all on number one.
(The wheel spins. Glyde wins)
CROUPIER: Red one!
ALL: Sir Percival Glyde
You ve won again! What a brimming pot, sir!
(Glyde hands Fosco a large amount of chips)
GLYDE: Here s more than your share
Of all I owe you
A parting shot sir!
(Fosco accepts them, unruffled.)
FOSCO: I always know when to quit sir
If there ever was a moment this is it, sir
Sir Percival Glyde
I clearly see that we won t meet again
GLYDE: Fosco goodbye
(Fosco bows and exits. The wheel spins again)
GLYDE: (to the croupier) Let it all ride on

THE PLAN
(Marian is in Hartright s lodgings
she is dressing behind a screen. The prostitute
from upstairs is there. Hartright enters)
HARTRIGHT: Marian! I ve sold a painting, we can eat tonight!

Marian?

PROSTITUTE: She s trying on me dress.


MARIAN: I ve decided I shall go to Fosco tonight!
HARTRIGHT: Marian we have discussed this. The man is unscrupulous. You cannot si
mply
MARIAN: Walter you mustn t worry about me

(She emerges wearing the red dress that we saw on the prostitute earlier. She lo
oks stunning. She is a woman on a mission. The prostitute smiles, her job done.
She exits. Hartright is looking at her with an open mouth)
MARIAN: (to the prostitute) Thank you.
I will be perfectly all right

(worried) what is it?

What s wrong?
HARTRIGHT: Nothing. It s just that I ve never seen you look like this before!
(Marian blushes)
MARIAN: I ve decided I m going to find the certificate of committal Fosco signed tha
t night in the library, and that is going to lead us to Anne Catherick
HARTRIGHT: And how exactly are you going to do that?
MARIAN: I am going to use my feminine wiles.
(She steps into the hallway. He follows her)
HARTRIGHT: Then I will come with you.
Perhaps it would be better if I confronted him.
MARIAN: Walter that won t work.
HARTRIGHT: I can t allow you to endanger yourself lie this.
MARIAN: I know what his weak spot is.
Walter you must allow me to do this alone.
(The background changes to outside Fosco s lodgings)
HARTRIGHT: I will wait outside. If you need me, you must cal for me.
MARIAN: Thank you
(Marian moves towards the door)
HARTRIGHT: He doesn t stand a chance

THE SEDUCTION
(Fosco s lodgings in London. We see him at home in a strange, surreal lair
caged animals birds and mice. He is packing)

full of

FOSCO: Time to fly the coop, my doves!


Arriverderci, Londra! No tears, bambini. You must learn to fare la bella figura!
Put on a good show! Always Count Fosco- he puts on a good show!
(Fosco performs for his animals)

FOSCO: My little friends you are all in this world that I trust
Now we must find a new home and I see you re non plussed
Now that we ve won
And we have all the spoils
We must see that we don t miss the boat
But you ll forgive e if I take a moment to gloat
You can get away with anything
It all comes down to style
You ll have a captive
Audience
As long as you beguile
Yes you can have your cake and eat it
The love of those whom you betray
But you can t get away with anything
If you don t get away
I admit that I m a criminal
Obsessed with perfect crimes
But even one as good as I
Can bungle it sometimes
Yes even one who is a genius
Can now and then get in a scrape
But no endeavour s catastrophe
As long as you escape
FOSCO: And we are off! Out that door!
FOSCO: We ll pack our bags my little friends
And leave the scene while we are winners
And long before the story ends
As wealthy unrepentant sinners
We all have got a spot of farce in us
But only some of us are larcenous

And fewer still divine the thrill in us


That comes from being truly villainous
You can get away with anything
To prove it is my sport
I live to push the boundaries
To break the rules, in short
One must be something of a bounder
If one intends to play this game
There s only one thing that one has to have
On has to have
No shame
Yes I can get away with everything because I
Have no shame
(He is almost completely packed and ready to go, when a servant enters and annou
nces Marian s arrival)
SERVANT: Miss Marian Halcombe.
(Fosco is pleasantly surprised. He shoos the servant away. He slicks back his ha
ir, adjusts his smoking jacket. The servant exits as Marian enters)
FOSCO: To what Miss Halcombe do we owe this honour?
Each successive day was getting duller
MARIAN: (as she takes her coat off, revealing her red dress to him for the first
time) Well I somehow thought you might be missing me
FOSCO: I must tell you scarlet is your colour
MARIAN: I cannot spend all my life in mourning
Though in ev ry way I miss my sister
FOSCO: Truly you display a healthy attitude
MARIAN: I m for the first time on my own
FOSCO: Really you need not be alone
One should explore one s playful side
MARIAN: You are a guide most qualified
FOSCO: I leave in the morning for the continent
MARIAN: In my provincial world I cannot be content

FOSCO: We could lead a life that would be well mis-spent


MARIAN: And I have no doubt that would be thrilling
But alas it seems my glass requires refilling
(Fosco takes her glass and re-fills it generously- as he does she quickly and su
rreptitiously looks on his desk for the document before hastily arranging hersel
f on the sofa. He hands her the drink)
MARIAN: Delicious!
MARIAN: Sir if I remove my shoes would that be shocking?
FOSCO: I d be breathless as your buckles are undone
I would walk to Warsaw just to see your stocking
And to see your shapely ankle I would run
MARIAN: You should know it took great courage for this visit
But I must admit that I am glad that I am here
FOSCO: And that dress you re falling out of is exquisite
MARIAN: Though I m trembling it is clearly not from fear
FOSCO: It s apparent we were made for one another
We re each others moon and sun we re to well matched
Though my feeling aren t remotely like a brother
We are over twenty-one and unattached
MARIAN: I ve been waiting all my life for an adventure
FOSCO: What in truth you have been waiting for is me
Let us begin our minuette
MARIAN: No looking back and no regret
Don t I deserve a life of bliss?
FOSCO: (intimate) Think of this as the precipice
(They kiss)
FOSCO: I can open up a world you ve only heard of
MARIAN: Introduce me to a life beyond my dreams
FOSCO: We ll share secrets that we ll never breath a word of
And we ll take pursuit of pleasure to extremes
BOTH: You and I are willing to defy convention

You re my equal both in joie de vivre and wit


We find one another worthy of attention
We don t care what others think of us one bit
(They kiss)
FOSCO: As a paramour I m rather out of practice
But I ll rise to this occasion I embrace
MARIAN: But that beard of yours is rather like a cactus
May I save, if not my virtue then my face?
Would you kindly shave it off
Do be a darling?
FOSCO: Then I will fly back to your side just like a starling
(Fosco leaves to shave. Marian dashes around the room looking for the document,
opening drawers etc)
MARIAN: (sotto voce) Think, think Marian. Where is it? Where is it?
(She continues to look. She finds the document, reads it)
MARIAN: (sotto voce) Please! Yes!
(She does not have time to put the paper back, before she hears him approaching.
She hides it about her person. Fosco re- enters, in the mood for love. She sits
herself quickly)
FOSCO: Now my chin is even softer than a baby
Let s resume this tete a tete from where we were
(She edges away from him)
MARIAN: Though my heart says yes my head s now saying maybe
And my feet are growing colder and concur
(She puts her shoes on again)
FOSCO: When I left this room were we not both on fire?
We ren t we both about to give romance a whirl?
(She stands up)
MARIAN: On reflection I found out I m somewhat shy-er
And perhaps I m really not that kind of girl
(Fosco pauses, looks at her intensely)
FOSCO: It appears that you have lost your taste for kissing

So I d appreciate if you d return what s missing


(Wordlessly she gives the document back to him. He holds onto her a moment)
MARIAN: Please. Please let me go. Please.
(He does so)
FOSCO: This game is through
You think you win
But think about
What might have been
If you had let romance begin
Instead of hiding
In your shell
One day you ll see
What you have spurned
My precious gift
That you returned
A gift for living well
Your every day
A great event
Living on the continent
Yes, it s true
I would have you
Spellbound
(She looks away from him)
this game of hearts
you gladly trade
for solitaire
(with venom) and old maid
and so I say fare well
MARIAN: Someday your past will catch you up
FOSCO: Please don t let me keep you.

(She leaves. He gathers up all his cases as he prepares for his final exit)
FOSCO: I can get away with ev rything
Except the girl, perhaps
My epic charms have undergone
A temporary lapse
But when it s time to make an exit
And I am halfway out the door
As long as one is leaving anyway
Then leave them wanting more.
(He leaves)

THE PERFECT TEAM


(Hartright waits for Marian outside Fosco s lodgings. She runs outside, breathless
)
MARIAN: I have played him, played him at his game and I have won!
I know now where she is
Thank god for his vanity- he thought I was his
All the time Anne s been in Cumberland in an asylum- we must set her free!
HARTRIGHT: You are quite remarkable
MARIAN: Walter I agree!
(She laughs and I n their excitement, they embrace)
HARTRIGHT: We must go to her!
HARTRIGHT: The Woman in White awaits us!
MARIAN: In my heart I know that she s the key!
HARTRIGHT: It s all because of you we found her
MARIAN: And at last we ll solve the mystery!
(He takes her hand. They travel towards Cumberland)

AT THE GATES OF THE ASYLUM


(They arrive at the asylum. He knocks on the door. A nurse opens it)

NURSE: Yes? What s your business here?


HARTRIGHT: We are representatives of Sir Percival Glyde. We are here to see Anne
Catherick.
(She leads them into the vestibule. They can see patients milling about aimlessl
y. The nurse exits)
MARIAN: I fell so nervous.
(Hartright looks at Marian)
HARTRIGHT: You have been so brave
MARIAN: There is something I must say to you
Something that I ve held deep inside for so long
(She is about to tell him of her feeling, when the nurse re-enters. They drop ea
ch other s hand. The moment for Marian has passed)
NURSE: Only one of you.
(Marian steps forward. Hartright nods. Marian goes into the body of the hall. Th
e nurse leads her through the patients and points out a woman who has her back t
urned to them.)
NURSE: Catherick. You can hae five inutes. Not that you ll get much sense from her
.
(The nurse exits. Marian steps forward)
MARIAN: Anne? Anne Catherick?
(Very slowly the woman turns. It is not Anne Catherick)
MARIAN: Laura? Laura?
LAURA: Marian! Marian!
(The sisters embrace. Hartright enters)
MARIAN: Look!
(Hartright and Laura see each other. They move towards each other. Marian watche
s)
HARTRIGHT: But how can this be?
LAURA: They held me down and drugged me
He dressed me in Anne s clothing
MARIAN: I was sure I heard her screaming
But they told me I was dreaming
LAURA: They brought me here that evening
Beneath a cloud of darkness

Though I told them who I was


There was no-one who believed me
MARIAN: Then it was Anne they buried
Claiming it was you.
LAURA: What?
HARTRIGHT: There isn t time now
We must get out of here
We ve got to stop Glyde
Before he gets away
(Hartright takes Laura s hand and leads the way out. He sees the nurse. He takes o
ut the money that he was given by the pawnbroker)
HARTRIGHT: I will redeem this pledge.
(He pays the nurse off and leads the way out. Laura is distressed)
LAURA: I don t understand. What have they done to Anne?
HARTRIGHT: I m sorry, Laura, but Anne Catherick is dead.
LARUA: What?
MARIAN: I believe they killed her.
HARTRIGHT: And put you in this asylum in her place.
LAURA: Please God, no!
MARIAN: Laura, I m so sorry.
LAURA: Then her secret has gone with her to the grave?
MARIAN: You mustn t think about this now. we have to get you to safety.
LAURA: But we must know her secret!
HARTRIGHT: She;s right. We have to go to Limmeridge
MARIAN: Limmeridge?
HARTRIGHT: We are but three miles away. And your uncle knows more than he s admitt
ing. It s time for him to tell the truth.
(They exit)

MR FAIRLIE REVEALS ANNE S IDENTITY


(Mr. Fairlie s study. Glyde is there with Mr. Fairlie. In front of Mr. Fairlie is

a document)
GLYDE: Here use this pen sign here and here and we ll be done.
(Mr. Fairlie takes the pen and signs)
MR FAIRLIE: There is just the small question of my future.
GLYDE: Yes?
MR FAIRLIE: Limmeridge House has been my home for many years. You have no plans
to sell, sir?
GLYDE: No immediate plans.
MR FAIRLIE: Then my future here is assured? I am old, sir and infirm.
GLYDE: I am well aware of that.
MR FAIRLIE: So you have no plans?
GLYDE: I leave straight from here for a long sojourn on the continent. My seat o
n the train is booked. Sir, your signature!
(Mr. Fairlie signs)
MR FAIRLIE: Her estate is yours
Spend it wisely, Glyde
GLYDE: Thank you kindly, sir
MR FAIRLIE: Tragic that she died
Stay and have one drink
In memory of my niece
GLYDE: I have to catch my train
MR FAIRLIE: May she rest in peace
GLYDE: But sir I can t miss the train
(Glyde picks up the documents, smiles, then leaves. Fairlie is left alone a mome
nt. He looks at the portrait of his brother)
MR FAIRLIE: Don t haunt me in this way, brother!
I have done your dirty work for far too long
For years I ve kept your secrets and I brought up your children
They weren t mine.
This has brought me ill health, unhappiness
That s your legacy
(Spoken) I wanted no part of this.

SERVANT: (off) You can t go in there!


(There is the sound of a kerfuffle outside and suddenly Hartright and Marian ent
er, with a servant)
HARTRIGHT: We have some pressing questions
MR FAIRLIE: Explain this rude intrusion
HARTRIGHT: You must tell us who s Anne Cath rick?
MARIAN: Uncle you have got to help us
MR FAIRLIE: I don not know what you speak of
HARTRIGHT: We suspect you know her secret
MAIRAN: Long ago her mother worked here
HARTRIGHT: We won t leave without an answer
MR FAIRLIE: What presumption!
Know your place sir
HARTIRGHT: All along you ve known the truth
MARIAN: Good God! Anne Cath rick s dead sir
She lies in Laura s grave
MR FAIRLIE: What nonsense are you speaking?
Laura is dead. God rest her soul. My niece is dead.
(Suddenly there is the sound of Laura playing the piano. Mr. Fairlie listens)
MR FAIRLIE: What witchcraft is this?
MARIAN: Come
(Marian wheels him round and Laura is revealed to him)
MARIAN: Believe your eyes, uncle.
MR FAIRLIE: Laura!
LAURA: I was placed in the asylum. Anne went to my grave.
(Pause)
LAURA: If you ever loved me, uncle, tell me who she was.
(Pause)
MR FAIRLIE: Your father loved the ladies
Anne s mother was a pretty one
And you can guess the rest

Though Anne and you were born a year apart


You could easily have passed for twinsSave you sere wanted and she was not.
LAURA: She was my sister?
MR FAIRLIE: Yes.
LAURA: And Glyde killed her.
MR FAIRLIE: What?!
HARTRIGHT: He won t get away with this.
MR FAIRLIE: I m afraid he already has.
He s on his way to the continent.
Your estate has already passed to him.
He left just before you arrived.
LAURA: What is the secret y sister spoke of?
Uncle, do you know?
MR FAIRLIE: I assure you, I know nothing more. I m sorry.
LAURA: Then it is over. Glyde has won.
HARTRIGHT: We can catch him!
We can head him off
He ll need to catch the London train
MARIAN: I ll go with you
Laura, you rest here!
LAURA: No, I ll never rest again
We can stop him
I have a plan!
Ann shall haunt him one last time!
(They exit in haste. Mr. Fairlie is left alone)

THE RAILWAY CUTTING


(Sir Percival Glyde is at the station. He has the papers with him. His manner is
wild. He is euphoric but on a short fuse, on the edge, he has drunk too much. H
e sees the Signal Man)

GLYDE: Hallo! You there! Signal Man!


Where in hell is the damned London train?
SIGNAL MAN: I ve heard reports there is trouble on the line
GLYDE: But is it expected? My business here is over, I must make my connection.
(The Signal Man looks at him strangely)
GLYDE: Man, why do you look at me that way? I ve done nothing wrong.
(The wires begin to sound)
GLYDE: What is that infernal noise?
SIGNAL MAN: The wires singing in the wind
(Glyde reacts strongly. The noise jangles his nerves)
SIGNAL MAN: They re calling me with news sir.
There is danger on the line
GLYDE: This terrible noise within my head.
(The Signal Man runs off to his signal box)

LAURA MAKES GLYDE CONFESS


(The noise of the wires reaches a terrible pitch. Laura dressed as The Woman in W
hite appears. She reaches her hand out to Glyde. He swings round in surprise)
GLYDE: My God! Anne Cath rick!
(He tries to regain his composure)
GLYDE: This isn t real!
This cannot be!
You do not exist!
Get away from me.
LAURA: You know why I m here.
And what you must say.
Sir, you must confess.
GLYDE: Woman, stay away.
LAURA: Tell the truth, Percival Glyde
You ll hear my voice

Inside your head


For all your life
And when you re dead
You won t be free
Till you express
What you have done
Till you confess
(He backs away from her, she persists)
LAURA: You cannot hide
You can t go far
Ev rywhere you go
I ll be where you are
I know what you ve done
We both know what s true
Secrets must be told
GLYDE: I m not afraid of you
LAURA: Ev rything you did
Ev ryone will know
GLYDE: That s all in the past
Buried long ago
LAURA: Tell the truth Percival Glyde
Didn t you use me and hurt me?
GLYDE: You were a beautiful girl
Like none I d ever seen
You were just fifteen
LAURA: You and I both know the secret
GLYDE: Something that no-one can prove
And who d believe it s true
From the likes of you?
You told me you were pregnant

You told me it was mine


It could have been a lie
It deserved to die
I had to drown your bastard!
I had no other choice
Before the child was due
I d had enough of you
All that remains of your secret
Is buried in Blackwater Lake
I watched while your disgrace
Sank without a trace
LAURA: You beat me and you raped me
And then you drowned my child
When I was mad from grief
You imprisoned me
My precious little baby
The heart within my heart
The child I never know
All because of you
And then you threw away my life
GLYDE: Your precious secret s meaningless
No one alive remembers you
And you can save your prayers
For no one truly cares
It s just like you were never born
And no one ever mourned for you
(Laura reveals herself)
LAURA: You re wrong, I mourn for Anne, Anne Cath rick
And the child of yours that you destroyed
GLYDE: Laura?

LAURA: Her secret seals your fate forever


And the judgement that you can t avoid
You have kept us both a prisoner
But the truth has set us free
It will lock you up
And damn your soul for all of eternity
GLYDE: You little witch!
You think you can trick me!
I killed her and I can kill you too.
And the beauty of it is no-one will even know
Because you re dead. You re already dead!
(He lunges at Laura, grabs her by the throat. She falls to the tracks)
LAURA: Agh!
(Hartright appears on the top of the cutting. He races down to help Laura)
HARTRIGHT: Let s go of her!
(He gets Laura free of Glyde. Glyde attacks Hartright. Marian enters)
MARIAN: Laura!
GLYDE: The drawing master. I might have known.
(The men fight)
HARTRIGHT: Glyde! You must give yourself up.
(They fight, Hartright is gaining the upper hand but then he is knocked to the g
round. The villagers are assembling. Their voices overlap)
VILLAGERS: He s over there! Don t let him get away!
We know the truth! We know exactly what you ve done!
HARTRIGHT: We all know now what you ve done.
You ve signed your own confession. The game is over!
GLYDE: The game is never over
(Glyde runs towards the tunnel)
HARTRIGHT: Don t go in there! They say there s danger on the line!
(Glyde runs into the tunnel. Hartright runs after Glyde. A huge vibration on the
tracks. The sound of a train approaching. Marian and Laura scream. Steam everyw
here. Wires sounding, the train s horn blowing. A crash.

The Signal Mancomes forward with his lantern. Other men run into the tunnel. Mar
ian is holding Laura back. They are both crying. There is a pause. Then slowly H
artright appears from the tunnel, followed by men carrying the lifeless from of
Sir Percival Glyde)
SIGNAL MAN: And a year to the day the dead lie on the tracks. The dead lie on th
e tracks.
(Police come forward. The crowd starts to dissipate)

THE SISTERS ARE FREE


(Marian and Laura cling to each other. Laura is crying with relief)
MARIAN: You were so brave
And now we re free
LAURA: It seemed like Anne
Was there with me
Her spirit was my guide
My sister by my side
LAURA AND MARIAN: With Anne I know we ll never part
Her heart beats on within my heart
(The embrace and then Laura looks to where Hartright is. Marian sees this. She g
oes to Hartright)
MARIAN: Go to her right away!
That is where you belong?
HARTRIGHT: How can I ask your blessing?
With all that we ve been through?
Our world has changed
MARIAN: You must find it in your heart
To overlook what we have done and make
Another start?
Once again
As we were
If not for me for her
(Walter goes to Laura)

HARTRIGHT: Ev ry part of ev ry thought


Leads me straight to you
HARTRIGHT AND LAURA: And with all my soul
I believe my heart
The portrait that it paints of you
Is a perfect work of art
(Laura and Hartright embrace. They go to Marian. Laura takes off her shawl, the
shawl she wore as Anne Catherick, and places it around Marian. Laura and Walter
leave. Marian is suddenly along. She is overcome with grief)
MARIAN: I close my eyes and I still see his face
(The sun starts to rise. Marian walks to the graveyard. The stonemason is chippi
ng out the name Anne Catherick and her dates 1839-1860 on Laura s grave. Marian wa
tches. As the day dawns, she is alone. The stonemason continues to tap. Tap, tap
, tap)

THE END

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