Classic Audiobook Collection - Alias Miss Sherlock by Arthur Lewis Tubbs ~ Full Audiobook [mystery]

Episode Date: June 30, 2023

Alias Miss Sherlock by Arthur Lewis Tubbs audiobook. Genre: mystery When Dick Brewster is suddenly implicated in a murder, he vanishes to the one place he believes he can still trust: his aunt's quiet farm. But hiding is only a temporary refuge. As rumors tighten into accusation and the threat of arrest grows, Aunt Sarah refuses to let her nephew be sacrificed to circumstantial evidence. Practical, sharp-eyed, and far more fearless than anyone expects, she pushes the family to leave the countryside and head into the city, determined to find the truth before the police decide the case is closed. There, amid tense drawing-room conversations, wary servants, and suspicious acquaintances, Aunt Sarah begins pulling at the loose threads of alibis and motives. A young lawyer offers help, an official detective guards his theories, and every new clue seems to raise fresh questions about who is lying - and why. As her bold inquiries attract attention, Aunt Sarah earns a nickname that is equal parts teasing and admiration: Miss Sherlock. Alias Miss Sherlock is a brisk, dialogue-driven mystery of loyalty, misdirection, and grit, in which an ordinary woman turns investigator to save the person who needs her most. For ad-free listening try our premium subscription Chapters (Approximate) (00:00:00) Chapter 1 (00:56:55) Chapter 2 (01:32:50) Chapter 3 (02:13:39) Chapter 4 Learn more about your ad choices. Visit megaphone.fm/adchoices

Alias Miss Sherlock, Act 1. Seen, the yard of a comfortable farm residence in the northeastern part of New York State. The house, right, is an ancient but fine and well-preserved structure of the old homestead type. There is a porch, windows with vines, plants, etc. A cross-back of stage a fence with open gate centre. At left, a small arbour or summer house on the edge of an orchard. At back, a road leading to right and left. Beyond fence and on flat, the glimpse of rolling fields, a church spire,

and the roofs of a few houses scattered in the distance. It is the afternoon of a day in the latter part of August. At rise, Aaron Flint is heard whistling off, left upper entrance. Mrs. Brewster is discovered in hammock or chair in Arbath left, asleep. Her book fallen to the ground. Enter Aaron Flint, left upper entrance beyond fence, to gate centre. Almost at the same moment, Lillian appears on porch of house. Aaron carries several letters, sealed, addressed and stamped. A newspaper or two, and a newspaper or two, and a good-sized parcels-post package of books addressed.

Lillian comes down to right centre. That the mail, Aaron? Let's see. Quite a lot, ain't they? She takes letters from him. Should say they was. Most all for Mrs. Brewster, though, and a letter for her daughter. Seems to me taint nothing but them around here one way another. I wonder how much longer they're going to stay.

Land, I don't know. Looks like we got them saddle on to us for life. Been here since June and here tis most September. She is closely inspecting the letters. Tis wonder to me, Miss Newcomb don't get tired of boarding them for nothing, and having them putting on such airs and all, even if they are her own sister and niece. All fire cheeky, I call it. Well, you know her. Easy as all get out. guess I'm the one to do most of the kicking when you come right down to it. All the extra work they make with coffee took up to their rooms at night in the morning. Lunching, as they call it, about half-past one.

And dinner, full meal, mind you. At seven at night when it's most time for sensible folks to be going to bed. Keeps me up all hours. I must say I'm getting pretty tired of it. I guess you be, and no wonder. But as you say, Miss Newcomb's that easy. She wouldn't say a word. even if they stay till kingdom come.

If there ever was a saint on earth, she's won. Well, even saints get imposed on. But I suppose being saints, it's up to them not to find any fault, even when it's rubbed in. For my part, I think even a saint ought to have a little gumption. That's more books for her. Yep, some more of them Sherlock Holmes' detentative stories she's always reading, I reckon. Must be four or five here from the heft of the bundle.

Well, it beats all the amount of that trash she does read. Them terrible yarns all about murders and mysteries. Land, I should think she'd be so full of murder clues and everything and she couldn't sleep nights. They'd give me the creeps if I was to read them the way she does. Oh, I don't know. I sort of like them myself. Miss Newcomb lent me a few, and they certainly are hummers.

I sure would like to be one of them detectives they tell about With all the excitement they have tracing up murderers and such Yes, a pretty detective you'd make You'd better be getting along detecting a few chores Instead of standing here talking murder clues Here, I'll take that bundle in the house with these letters She takes package They do not notice Mrs Brewster who is still asleep

Aaron gets closer to Lillian making up to her. She seems unconscious of his intention, about to go to porch. He detains her. Say, Lillian, what are you going to do after supper? Wash your dishes, I suppose, as usual. Dinner, I guess you mean, though. And a pile of dishes it makes, too, makes me sick.

Say, Lillian, if I'll wipe them, then'll you all go and take a walk? Walk. Land, I feel more like walking a bed than anywhere else once I get through. What do I want to take a walk for? Well, I thought maybe you and me just go for a little stroll, if you like, seeing as it's moonlight and all. Any rate, looks like it's going to be a nice evening. I declare, Aaron Flint, you're old enough to have more sense.

Getting sentimental at your age. How many times have I told you? Hmm, well, you know the old saying. Them that loves last loves best. So I guess it ain't too late for you and me. He attempts to kiss her. She gives him a playful slap and starts to go up steps. Mrs. Brewster wakes up and sees them.

They pause, turning as she speaks. Mrs. Brewster, rising, coming towards centre. Perhaps when you have finished your most unbecoming behaviour, you will inform me whether any of those letters are for me. Erin, with an awkward bow of apology. Yes, ma'am. Several of them. Lillian, looking over letters quite unperturbed. I guess some of these are for you if your name's Miss Brewster.

Hold's out letters. Exit Aaron, left up Brexit. Mrs. Brewster, as she takes letters. Thanks. They look mostly like Beals, ma'am, seems to me. You are entirely too familiar. for a servant. I shall speak to my sister about it. Huh, I ain't afraid of anything you'll say to Miss Newcomb about me.

I guess I ain't lived with her the past fourteen years without her knowing me well enough to not let anything you could say count, even if you are her own sister, and from the city. I should think, the way you've been staying here all summer, you and your daughter, and been waited on and everything without paying a cent for it, that you wouldn't have so very much to say. That's my opinion, if I was to express it. Lillianne is on porch in a huff. Mrs. Brewster has crossed back to left near seat, almost overcome by her indignation.

Oh, this is more than I can be expected to stand. Well, then you can sit down to it. There's a seat right behind you. Mrs. Brewster sinks into chair, apparently about to faint. Lillian disdains her. Enter right upper entrance. Then Bruster and Leonard Fillmore. She carries a parasol and a bunch of wild flowers.

Leonard stays up by gate. Helen coming down. Why, mother, what's the matter? Are you ill? Goes to Mrs. Brewster. I have been insulted by that person there. Indicating Lillian. Leonard looks at Lillian with a knowing smile.

Lian, I ain't hurt her any. Just saying a few things to ease my mind. I guess she'll live through it. Exit Lillian to House with a toss of her head and an indignant sniff. Leonard Fillmore, coming down to right centre. You mustn't take Lillianne too seriously, Mrs. Brewster. She's a privileged character around here, you know. I should say she is.

It's insufferable the way my sister permits that woman to domineer and make herself so offensive. I shall have her dismissed. Hmm. Well, I'm inclined to think even you couldn't have that done, Mrs. Brewster. I'm sorry if she's been rude, and I'll speak to Miss Newcomb about it, but, well, I imagine it would be about as easy to dismiss the pump or the barn as Lily Ann. The farm wouldn't be complete without her. Mrs. Brewster, changing the subject. Helen, I should like to know where you have been all this time. We have been for a stroll, Mr. Fillmore and I.

Are any of those letters for me? One. Gives Helen letter. I am afraid it was largely my fault. I believe I inveigled Miss Brewster into walking rather farther than she otherwise would have done. Indeed. The persuasive powers of a promising young legal light. How interesting.

Helen, smiling. Mother, promising. He has already quite arrived, you know. He was telling me of one of his cases. What was it, Mr. Fillmore? Defending a yokel whose cow is accused of infringing upon another man's property and destroying some cabbages? Yes, quite as important as that. I think I shall win my case, too, after a hard judicial struggle.

And when I do, I shall come and claim your congratulations. That steps. Now, if you will excuse me, I will leave. look for Miss Newcomb. I have a little business to transact, and at the same time I will speak to her about the offending Lily Ann. Exit Leonard to House with a show of good-natured bignity.

Helen, I believe he was half laughing at us. Helen, who is reading her letter? No doubt. Mrs. Brewster, again seated, laughed. And I should like to know what you mean by such a show of intimacy with him. A mere country lawyer. Taking a stroll with him and...

Oh, well, one has to have a little amusement in this forsaken place. Do let me entertain myself in some way. Besides, look what a reward I reaped, this beautiful bouquet. Puts flowers in Mrs. Brewster's lap. Mrs. Brewster throwing flowers to ground. And what of me? I hope you don't think I stay here from choice. Surely it is better than shutting ourselves up in the city

or going to some cheap boarding house, as we would have had to do. You know Bar Harbor and Newport were quite out of the question. Look at these. Bills, bills, bills, bills, threats, lawsuits. We dare not go back to New York for fear of our creditors. I don't know what is to become of us. We can't stay and live on Aunt Sarah much longer, that's certain.

It is becoming unlawful. Unbearable. If only we could have kept up appearances one more season, you might have... Well, something might have turned up. Helen, she has gone up by gate, now comes down. I suppose you mean I might have sold myself, or you might have sold me. Why not say it? I am in the market for the highest bidder.

Even you were not beyond possibilities. Helen, how can you say such things? to me, your own mother. I'm sure I have enough to bear without that. I guess I am about as desperate as you are, for it seems to be up to me. I don't know why you need to put it in that vulgar way, but as you say, we cannot stay here much longer. Look at these. Showing bills. If we go back to New York, there's Dick, if only he could do something. Dick. You know, how much good he is to me. I did hope when he secured that position in the bank at $40 a week that he might at least cease to be a worry to me, but no. Nevertheless, he is still your son

and my brother. Much good such a son is to me. I have practically disowned him. You know it is nearly a year since we have even seen him. No, we must think of something more reliable than Dick, my dear. Now there was, Mr. Deering. Yes, one of the likely bidders. Well, if it will be any satisfaction to you, this letter is from him. Helen! And does he? Yes, Mother. I believe you really have a chance to sell me at a very good price. Helen! I refuse to listen to such talk. You know he is a gentleman. He is worth

millions. You should consider yourself a very lucky girl. I suppose I am, so far as your idea of luck is concerned. But that man, old, gross, the very thought of him repels me. Why, Mr. Deering is not more than 45? Well, or eight or nine, perhaps. I think of all you could command as his wife. But the question is, at present, how are we to manage to give back to New York, pay our bills, and keep up appearances until it can be brought about. I know of just one way, my sister. What? Aunt Sarah, that simple, country-fied old maid, pray, what could she do? She could help us out of our difficulties if she would. You may not know it, my dear, but Sarah Newcomb is rich. At least, she must have a great deal. She must have a great deal.

of money. When our father died, Sarah and I came in for everything he had. He had run this farm for many years and his father had before him, and had made money which he invested and increased. When he made his will, I chose cash and in time received $10,000. Sarah kept the farm as her share and has rusticated here ever since. Well, I, well, I went to the city, met your father, married him and entered upon the life that appealed to me. Your father's death left me well provided for, but... Oh, well, it has vanished, while Sarah, her money must have accumulated and increased.

So you see, my dear, she is rich. Well, I must say it is the last thing I ever would have thought of, but even so, do you think you could manage it, or her? It would have to be carefully done, of course. By the way, that Mr. Fillmore is her legal advisor, I believe. He has charge of all her affairs. He'd know just how much she is worth, and she would accept his advice. Hmm.

Perhaps, after all, you'd better be a bit nice to him. You want me to pump him, to exert an insidious influence, as it were? Oh, very well. Leave it to me. He's rather too nice a fellow to be made a fool of, even if I can do it. But, as you say, something must be done. Anything is better than the poor house and oblivion. And in the meantime, don't forget that it would be good policy to keep on the right side of all these people. To make as good an impression as possible.

Oh, yes, we may as well begin to do the thing upright, even if it is rather late in the day. Helen, sometimes you shock me by your absolute vulgarity. Please do not use such expressions. We shall do nothing dishonorable. I hope not, but I must say, the very idea is repellent to me. I wish it were well over. Enter Lillianne from house to porch.

Her hands rolled up in apron. Say, Miss Newcomb wants to know what you think you'd like to have for supper, or dinner, I suppose you'd call it. It's very kind of you to consult us, isn't it, Helen? Can you think of anything you should like to have, dear? Well, of course, this ain't no first-class hotel. We ain't got everything. I'm sure anything Aunt Sarah is kind enough to provide will be most acceptable. Yes, of course.

Land, you're getting mighty unparticular all of a sudden, seems to me. Well, how would a good-boiled dinner, do you? I'm afraid I don't know just what you mean. Huh, I guess you know what a boiled dinner is, all right. Used to live here on the farm yourself till you went away to boarding school and got in with city folks and their high notions. I guess you've ate boiled dinners before now. Indeed. But I never lived on the farm, you know, Lillian.

So perhaps you will inform me just what a boiled dinner is. Something boiled, of course. Sure. Cabbage, turnips, potatoes, and so forth. boiled in with a nice hunk of salt pork, part lean. It just touches a spot with us, but, well, Miss Newcomb ain't let me have one all summer, thinking it wouldn't be stylish enough for you. But I guess you'd manage to eat it. I am sure it sounds quite alluring.

Well, it sounds good and feeling, anyhow. Squash pie goes fine with it, and as I said to Miss Newcomb, if they don't like it, let him go without. To any rate, it's what we're going to have, because I got it over. Mrs. Brewster, as if unable to control herself, has gone up by gate, is looking off left. Helen shrugs her shoulders good-naturedly. Lillian goes to the door meeting Leonard, who enters from House. He passes her and comes down to right centre.

Exit Lillian to House. Leonard, looking back at Lillian. I hope she hasn't been letting out again. I've tried to get here in time to ward her off, but was talking to Miss Newcomb. We have been ordering our dinner, that's all. It's to be a boiled one, quite a feast, I believe. Yes, indeed. You have a treat in store, one of Lillian's boiled dinners and squash pie for dessert, I hope. Yes, I believe that is to be a part of the banquet.

Going part way up, center. Mother, aren't you going to take a little nap in preparation for such a good, gastronomical. Smiling to Leonard. Is that a good word? Feast? No, I napped quite sufficiently this afternoon. While you and Mr. Fillmore were taking a stroll and picking wildflowers, I believe.

Leonard has crossed to left. Notices the flowers on ground, now glances rather ruefully at them. I wish to go in and see Miss Newcomb. If you can spare me for a few moments. Oh yes, certainly. Perhaps we will go in the orchard for a little while. I just love those early red apples. Mrs. Brewster, on steps, about to go in house.

But, my dear, just before dinner? And such a dinner. Don't worry, only a nibble, you know. Oh, very well. Then I will leave her in your care, Mr. Fillmore. Thanks. Trust me. Helen, going left.

Will you come? Ask me. I do, but beware, I might tempt you, with an apple, you know. Oh, what a willing Adam am I. They are about to go out left. He surrenders to her mood. The poor Adam had only an apple to tempt him while I... I see a peach.

Oh, Mr. Fillmore, is that worthy of you? A lawyer, too. Mrs. Brewster has stood on steps or porch, watching them with a crafty smile. As they exeunt left, she turns and is about to go into house, but meets Sarah and comes back to centre. Enter Sarah Newcomb from house, down steps to right centre. Oh, here you are, M. I was looking for you. Lillian tells me you have ordered a boiled dinner. I hope your headache is better, or I am afraid...

It is, thank you. But I ordered nothing. It was entirely the maid's suggestion, I assure you. I simply thought it best to submit. She has pretty much her own way, it strikes me. Well, I suppose she has. I guess I've let her have it so long there is no breaking her of it now. Lent Fillmore has just been telling me she said something that offended you.

You mustn't mind her, M. I really couldn't get along without her, you know. I'm willing to overlook a great deal, Sarah, but she actually had the presumption to insinuate that Helen and I are imposing upon you by remaining here, as if you, my own dear sister. Wiping eyes, pretending to be near tears. The idea! Why, you're welcome to stay here as long as you please.

You know that. I feel honored to think it's good enough. for you, after all your city grandeur and everything, Lillian just blurts things out. You mustn't pay any attention to her, M. Well, I'll try not to do so hereafter. But please don't call me M, Sarah. It quite annoys me.

Does it? Land, it never occurred to me. I can't seem to think of Emmeline somehow. You see, it sort of seems just the same to me as it did when we was girls here together, and we used to always call you M in those days. My, but it's a long time since then, isn't it M? M. Medline? Quite too long to mention, or even think about, I should say.

I don't see why. Tain't no disgrace to be getting old as I can see. All the best people are doing it, you know. Besides, you ain't more than... Sarah, please. Oh, well, then I won't. But think how long it is since you were here, that other time when Helen was about four years old and your boy was only a baby. Oh, what a cute little thing he was, your dick, Emmeline.

Why, he must be almost a man now, and a real joy to you. A joy, my son. Little you know him or what he is to me. A trial, a tribulation. I may even say a disgrace. Sometimes I think it would have been. have been better had he never been born. Why, Emmeline? What do you mean? I've wondered why you never said much about him, why you never seem to want to tell me. But Emmeline, your boy, little Dick, your own son.

How can you say such a thing? Because it is true. Little has he ever considered me. He spends what he earns on rightest living in the company of persons who are called fast, and to tempt him to misdeeds and forgetfulness of what is honest and upright. That is the kind of son I have, Sarah, my little Dick, as you call him. Dick? The baby boy I used to hold in these arms and cuddle up to me and which was mine. And then that summer you let him come here and stay with me when he was 10 years old, because he wasn't very well, the summer that was like heaven to me because I had him, just like he was mine, my very own. Oh, how I loved him, and he learned to love me too.

And then I had to give him up, let him go. Back to you who can say such things about him, that he's a trial and a tribulation. Oh, Emmeline, Brewster, what kind of mother have you been if you have let him grow up to be that kind of man? I dare say you think I am to blame. Little you know of such matters, of the world of life. Maybe I know more about some things than you think I do. At any rate, I know enough about the world and life to know what a real mother ought to be,

and that the right kind never would talk that way about her own son, no matter what he was or what he had done. Mother! You! You never was fit to be one. It wasn't in you. Forgive me, Amber, I'm going to speak the truth, if it does hurt. When you was a girl, it was all for dressing up and looking, pretty with you, going away to boarding school and getting educated as you called it. Well, you did. There in the real world you talk about, and that you say I don't know or understand.

Then I thank heaven I don't, and I wish you didn't. A world that makes a woman so hard that she calls her own son a tribulation and a disgrace instead of the blessing he ought to be to her. I refuse to listen to any more of your abuse. Even My own sister has no right to say such things to me. She crosses to exit left, but Sarah bars her way. She pauses. I guess you'll have to listen, Emmeline, for I'm going to say what I've got to say. I've had it on my mind for some time, and I might as well let it out right now.

I thought it was bad enough the way you've let your girl grow up to be proud and vain, though I can see she has her soft side and might make a good woman if she had a chance. But when you talk that way about your boy, about Dick, who was so sweet and cunning when he was a baby, and such a manly little fellow when he was only ten years old, why, that's more than I can listen to and not say something? Oh, Emmeline, why wasn't he my boy? Why was he given to you that doesn't care for him, instead of to me who has wanted him and could have been a real mother to him, and loved and protected him and helped him to be a good. good, true man instead of what you say he is? It's me that has had the mother feeling in me

all these years, instead of you, though I'm nothing but a poor little old maid with a soul that has starved toward what you have neglected and thrown away. Mrs. Brewster has listened, at first disdainfully, even angrily, then, in a gradually somewhat softened mood. She now shows some tenderness for her sister, though still obviously thinking of herself and her own advantage. I am sorry, Sarah. If you have missed what you think would have been your happiness. But my life has been one that you could not understand. You have no right to upbraid me. Perhaps you'll have fair better than I have after all. You at least have a home to shelter you. enough to live in comfort, even luxury, if you wished, the remainder of your life.

While I am at the end of my resources, unless you help me, I see nothing but ruined, to spare ahead. Why, Emmeline, what do you mean? I thought he had a grand home, everything. We have been trying to keep up appearances, Helen and I. She has prospects of marrying a very rich man, if we can manage to go to go. back and resume our custom way of living for another season at least. But unless you can help me, everything I have must go, house, furniture, all. A few thousand dollars, which I feel sure you can spare. A few thousand dollars? Land I never saw more than a twenty-dollar bill all at one time in my life, as I know of. It was you had the money after father died. If you used it up and

got in debt, why, it seems to me that's your fault, not mine. Oh, Sarah, I didn't think you could be so hard. So you refused to help me? You would let me starve, your own sister? Well, I guess you won't need to do that as long as I have a home and plenty for you, too. But of course, if you are so poor, and I'm what you call rich. Why, well, I'll speak to Len Fillmore about it. He knows how much I've got in every.

I always take his advice. I should think you need not conform to the opinions of a mere country lawyer. Well, Len may be a country lawyer, but he's a good one, and I reckon that's a few city ones he could give a few pointers to when it comes to that. You know, all the smart folks don't live in the city. I guess maybe it's so full it's run over, and a few of them have to stay in the country. To any rate, it's Len Filmer I'll have a talk with, and maybe we can fix things up for you. Do you know, I've sort of thought I'd like to go to the city for a spell myself and see

real life, as you call it? If Lane thinks I can afford it, I might go home with you, set you on your feet and see a little style myself. Got a room you could spare me in that grand mention of yours? Why, I hadn't thought of that. I hardly think you would care for our method of living, Sarah, dear. It is so different, you know, so... So...

You needn't get fidgety about it, yet a while. I ain't begun to pack my trunk yet. Now I'll have to go in the house and see how Lily Anne's getting along with that supper, or dinner, as you call it. Going to write. If you see Len Fillmore, you might tell him I want to see him before he goes home. Very well. Sarah, on porch, about to enter house.

And, by the way, if you want that rich man you spoke about to have a chance, Hence, it's my opinion you'd better keep an eye on that daughter or yours and that plain country lawyer. Going to court sort of in his line, you know, and they do say he's pretty good at pleading a case. Exit Sarah to house. Mrs. Brewster looks slightly alarmed, starts left as if to go and seek Helen and Leonard. Enter Aaron, left upper entrance, with milking pails. Aaron, coming down through gate. Was you looking for anybody, Miss Brewster?

No. I thought maybe you was, and I was gonna say, if twas your daughter and Lynn Fillmore, I seen him out in the orchard there, eating enough apples to give them a stomach ache. Sitting pretty close to each other too on the sun wall. I beg if you spare me your plebeian observations. Gosh, I didn't know I had any.

Such highfalutant fixings ain't in my line He crosses to right Puts Pails on porch Comes back to right centre Say ma'am, if you don't mind I wish you'd tell me something I'm getting kind of tired of this country life Like to go to the city and do something

Think they'd any chance for a fellow like me down there Scarcely Your place evidently is where you are. Well, I don't know. Sometimes we country fellas fool you. Would you think it now to look at me that I got the makings of a first-class detective in me, would you? No. It is the last thing I should be willing to believe. That's what I thought, but there is. Yes, sirree, ma'am. Miss Newcomb, she gets all them books about crimes and such, you know? Detectative. stories. Sherlock Holmes, Ashton, Kirk, and all them, and sometimes she lets me read them.

They certainly do give a fella an insight into the way things are among you city folk. Must be a pretty hard luck, come right down to it. Mrs. Brewster, about to go out left. I have no desire to listen to your opinions. I understand that Miss Newcomb is in the habit of reading those lurid romances. And I am much surprised that she should burden her mind with such sensational trash. Oh, she just dents on him. Says the biggest men read him.

Even Len Fillmore. He says they help him in his law business. Indeed. I must say that is about the opinion I had of him and his legal ability. Calling, as she goes off left. Helen! Helen! Where are you?

Exit Mrs. Brewster. Left second exit. Aaron going to left, calling after her. Better tell her and Lynn to stop eating them apples, because Lillian says we're going to have a boy dinner, and they won't have room for it. Aaron goes to right, takes pails, and is about to enter house when he turns, glances off left upper exit, stops, looks.

then sets down pails and goes up to gate, looking off left, with a show of interest. Hurries off left-upor-exit, and after a pause re-enters, leading Dick Brewster by the arm. Dick is dusty, pale, and almost exhausted. Who be you? What do you want? Leads Dick left to seat. Dick sinks down. Aaron regards him suspiciously. Why don't you speak?

You sick? No, only tired. About played out. I... I've walked a long distance, and I haven't had anything to eat since... Since last night. You ain't? Gosh, I should think you would be weak.

Hmm, you don't look just like a tramp. Dick, with some spirit. I'm not. You needn't think I'm anything like that. That, I... Is this where Miss Newcomb lives? Why, yes, this is her place. You don't want to see her, do you?

I want to know if Mrs. Brewster is here. Mrs. Brewster and... And Miss Brewster. Oh, you know them, do you? Yes, they're right here. I should say they be. I've been since I don't know when, and it looks like they're going to keep right on being.

I... I want to see Mrs. Brewster. Right away. Will you tell her, please? Hmm? Why, yes, I guess so. Looks off left. She's out in the orchard there with her daughter and Lem Philmore. I'll see him coming now. Dick, rising, almost tottering, starting to go right. I... I don't want to see anybody else. Just my... just Mrs. Brewster.

Or Helen Well then you just come up here and wait a minute And I'll see if I can fix it Air an assist stick off right beyond Heise Then returns Stay right there till I tell you Enter Helen and Leonard Left Second Entrance

Helen laughing Evidently forgetting herself At the moment And acting with a natural manner of good humour I'm afraid We're in for it. At least I am, for a good scolding. I must have eaten at least half a dozen of those apples. It's all your fault. Oh, say, come now. That's reversing scripture and will never do. The woman did tempt me, you know? Nothing of the sort. It was the man who did the tempting this time.

All the better since you yielded. I didn't know I had the power. Thanks for the compliment. You might be welcome had I intended to pay you. you won, but I didn't. Alas, poor Adam, he's bound to get the worst of it. Thus does he have another fall, from the heights of expectation to the depths of despair.

My, what an ancient joke, going back to the first pair. And the first apple. Oh, worse and worse. Enter Mrs. Brewster, left second entrance, crossing to right. Helen, I'm going to my room,

and you'd better come, too. After your walk and such a feast of apples, I should think you would need a little rest and quiet before dinner. Very well, Mother. I'll come right in. Helen crosses to right. Leonard goes up center. And I think I'll say, good afternoon. By the way, Mr. Fillmore, Miss Newcomb wished me to inform you that she would like to see you again for a moment before you leave.

Thanks. Then I'll wait. Exit Mrs. Brewster to house. Yes, you'd better You might get invited to stay And to have some of that bile Dinner, you know That's so Guess I had

Squash pie too Mm-hmm Garden of Eden was nothing like this Exit Helen to house Followed by Leonard Enter Aaron Right Looks about then summons Dick

Who enters and stands by fence Right center You stay right here I'll see if I can get her Dick stands leaning on fence, weak, and showing some agitation. Aaron goes over by porch, looks in house, making motions. She sees me, she's coming. Aaron goes and helps Dick to centre, partially concealing him as Helen enters.

Did you want me, Aaron? Hmm, yes, Miss Brewster. There's somebody here wants to see you. It's... Dick, disclosing himself. Helen. Dick! Dick, what are you doing here?

Where's mother? I... I want to see her. He totters. Helen goes and supports him. But Dick, how did you happen to come here? We didn't expect you. You are ill. Is anything the matter?

Yes, lots is the matter. I... I'm in trouble, Helen. I... He looks about... as if not wishing to speak before Aaron. Helen motions to Aaron, who nods and exits right beyond house, taking pales. There, we are alone now. Tell me, Dick, what is it? What is the trouble? She has assisted him to seat left. He sits. She stands by him, showing more

surprise than tenderness, but is not wholly without sympathy. I've run away. Run away. But why? From what? I can't tell you now. I've got to have money, that's all. Plenty of it, to get away, out of the country. Where's mother? She couldn't help you any more than I can. What do you mean? What have you done? Never mind that. There isn't time. I'm your brother, that's all, and her son, and you've got to help me.

It's for your sake as well as for mine. I guess if you don't want... Oh, Dick, will you never learn to behave yourself, to be a man? Mother is almost desperate already, with ruins staring her in the face, and now to have you come here in this condition. You, who ought to help her, instead of bringing disgrace upon her, you ought to be ashamed of yourself. And so would you be, if you were any kind of a sister, instead of turning on me now when I'm facing...

Enter Sarah from house to porch. Dick sees her and shrinks down as if to hide. Who's that? I don't want to see. Helen, disclosing him. Aunt Sarah, this is my brother. Sarah, coming down, looking at Dick, at first uncomprehendingly, and then, with gradual recognition and dawning tenderness. You don't mean that.

That it is Dick? Little Dick? Why, you... If you haven't grown up into a man, the last time I saw you, you were just a little fellow that was, it was 12 years ago, and you were only 10 years old, and now, why, you're sick, something is the matter. Dick, breaking down. Oh, I can't stand anymore. I'm played out. I can't go any further. He has tried to rise, but sinks back onto seat. Sarah goes to him, sits, puts arm about him affectionately.

Why, of course you can't. You needn't. You've got home, Dick. You've come right here where we've been waiting for you, and are glad to see you. Oh, you don't know. You don't know. I hope a mother doesn't come. You go in the house and see that she doesn't. I'll talk to Dick and see if I can find out what's the matter. Helen goes left to steps. Dick starts up, but sinks back as Sarah gently draws him down beside her. But I must see her. I want to tell her. Maybe it would be just as well if you told me.

I'm your aunt Sarah, though you've sort of forgotten me, haven't you? But I haven't forgotten you, and I guess maybe it would be better if you told me about it first, then we'll see. You'll help me to get away? Sarah, to Helen, he still stands left. You go, Helen, he will be all right. Exit Helen left to house. Now, Dick, tell me. Oh, I can't, I can't.

I don't know what to do. They may be after me by this time. Who? Who is after you? The police. They may have found out by this time. I didn't do it, I didn't. but they will think I did.

They'll find out I was there some way, and then, unless I can get away, where they can't find me. But tell me about it. What was it? How did you happen to come here? Why, I had heard Mother and Helen speak of you, and I remembered you, too, about the summer I stayed here so long ago,

and how good you were to me. And then I thought they, or you, could help me in some way. I didn't know where else to go. I've got to have money. She's my mother, if I haven't done just right, and she's got to help me. Where is she? I must see her. Pretty soon, maybe, but tell me first. What do they think you have done?

It's murder. That's what they'll say. But I didn't do it. No, no, I didn't. It was somebody else. But they'll have it on me if they find out. I was there. I was found with the gun. I'm innocent. But they'd never believe it. I'll have to go away.

He starts up. as if to go. Sarah again detains him. But how? Where was it? When? Never mind. Let me go. It may be too late. They may have followed me. Where can I go? You can't go anywhere. You're in no condition. You'll have to stay right here till we can fix you up and decide what to do. What I want now is for you to tell me all about it. Just what happened? What you had to do with it. and everything, and if it's possible, I'll help you. You will? You'll give me money to get away?

I don't know about that, but I'll do just the best I can. You can trust me, Dick. Trust me with your very life. It's worth a lot just to hear somebody talk like that. To know somebody believes in me a little bit and wants to help me. It's an old story, the way I've been made a fool of by a woman. but I loved her, trusted her. I thought she was as good as she was beautiful. She thought I was a rich man's son.

That was all she cared. And then, when she found out I was spending every cent I had just to buy her flowers and suppers, and then she tried to throw me over. That made me desperate, and one night, three nights ago, I insisted on going home with her. She tried to get rid of me, but I went. and when we got there, she told me she had no more use for me, that I wasn't worth bothering with.

Then I threatened her. I'll admit that, though I didn't really mean it. I only thought perhaps I could make her change her mind. Then another man came, a really rich one, I suppose. And she told me to get out. I wouldn't, so she made me go in another room behind some curtains. She was afraid he'd be jealous, too. And when he came in, he suspected there was somebody else there, and they had a row. I stood looking through the curtains, watching them, and all of a sudden... Yes, then, all of a sudden? There was a shot, and Laura, Miss Navarre, fell, dead. Dead? She was killed? But who... Who did it? Dick, not...

No. You need to... I didn't think I did it. I didn't. I don't know who did. All I know is that I was alone there in that room behind those curtains and that it was dark in there so that I couldn't see. And I didn't hear anyone, but a hand reached over my shoulder there in the dark and fired that shot. Did you see the hand? No, but I felt something for an instant. It just seemed to touch my shoulder. That was all. But there must have been somebody else there in that room. Yes, when I went in. But I didn't see anyone, as there was no light in there. They must have been waiting there all the time, for her. And after that shot was fired, what did you do?

Why, at first I just stood there. For a minute, I was so frightened and dazed. But that other man that was there with her, what did he do? I just caught a glimpse of him, kneeling down by her. He held her up a little. And just then, Miss Navar's maid rushed in from the hall, came across and threw apart the curtains where I was, and there on the floor, just by my feet, was the gun. She picked it up, stared at me and cried, You have killed her. And the men? I didn't notice. I don't remember. All I know is that the maid went to the telephone, to call up the police, I suppose, and before they could stop me, I rushed out and got away. Then I came here. It was all I could do, and... Oh, you don't think I did it? You don't believe I'm a murderer?

You're my aunt, my mother's own sister. You won't let them hang me? No, no, Dick. I want to believe you. I want to help you if you are innocent, and I can. You're the same as my own boy. I want to save you. Look at me, Dick. Look me straight in the face and tell me, God seeing you and hearing every word you say, that you didn't kill that woman. You don't know who did. Can you do that, Dick? Yes, I can, I do.

He straightens up, and with a clear, candid expression, finding sudden courage and determination, looks her squarely in the eyes, and in slightly wavering but honest, convincing tones, speaks. I swear to you, I didn't kill that woman. I don't know who did. As I hope for eternal salvation, so help me God. I am innocent. Sarah stands motionless for a moment,

one hand on each of Dick's shoulders, looking searchingly into his eyes, her face showing infinite tenderness and pity. His gaze never falters. After an eloquent pause, she suddenly clasps him in her arms, holding him closely. He buries his face against her shoulder, sobbing gently. Curtain. End of Act 1.

Act 2 of Alias Miss Sherlock by Arthur Lewis Tubbs. This is a Librevox recording. All Librevox recordings are in the public domain. For more information, or to love. volunteer, please visit Librevox.org. Act 2. Scene. Parlor or reception room in the New York residence of Mrs. Brewster, handsomely furnished. An alcove or hallway across left upper entrance shows staircase and leads to front door off left.

There is a hall rack in alcove. Door left second entrance, another in a door. flat right centre and one right. Table down right centre with few books, etc. Smaller table or stand, up right centre with telephone. Also button of electric call bell. Davenport left, chairs, etc. At rise, doorbell is ringing off left upper entrance. Enter Henson right, crosses, exits, Left upper exit. As he exits, enter Mrs. Brewster downstairs, comes down to right centre, just in time to receive Ralph Deering, who is shown in by Henson. He hands light topcoat, hat, and cane to Henson, who leaves them on rack and exits right. Deering comes down to

center. Mr. Deering, how good of you to call so soon? I am delighted to see you. Delighted to be here, I assure you. Miss Brewster was kind enough to write me when you were to return, and, you see, I have lost little time in coming. And you are a welcome visitor. The first we have had. We returned much earlier than usual, you know. I had some business to attend to, and, well, we were satiated with rural felicity, for we were quite in the country, you know, on a farm, in fact. Quite a change, I should imagine, from former seasons. They are seated. Decidedly. But just what we required after a strenuous social season, and very beneficial to both Helen and myself,

neither of us felt equal to Bar Harbor or Newport. And they have become such an old story summer after summer, so I thought in an excellent opportunity to visit my sister back at our old home. Oh, yes, a decided change. Quite the thing, however, you know, for tired nerves and all that. But rather irksome, no doubt, after a while. Terribly so. But then it was years since I had seen my sister, and I felt guilty, having so long neglected her. So I summoned courage to go and make her a little visit. It didn't. It didn't. her so much good, dear soul. I felt fully rewarded. I've brought her home with me. Ah, for a little glimpse of city life, I suppose. Yes, her first. I had quite a task persuading her to come. She has always been

such a homebody. Formally resisted all my opportunities to come and stay with me. Of course, she is quite out of her element here. Not that she's not a deer, but such a little country mouse. So shy. I'm sure you understand. She rises. He does the same. I will call Helen. She will be delighted to see you. Goes up, presses button. You think so? I'm sure of it.

Enter Henson, right. Henson. Inform Miss Brewster that Mr. Deering is here. You will find her in her room. Exit Henson, left upper exit, up the stairs. I think you understand what my feelings are toward your daughter, Mrs. Brewster. At least, I hope you will not be displeased if I tell you that it is my desire to make her my wife. Nothing could give me greater happiness. To be sure of my dear child's future, in your care, it would indeed be a blessing.

The greater share would be bestowed upon me, I am sure. But may I hope that Miss Brewster, Helen You will meet with no discouragement in that direction, I am sure. She pauses as she sees Helen, who comes downstairs. Deering also sees her, goes partway up centre to meet her. Helen comes down, greets him with politeness but little show of warmth. Miss Brewster, it has been a long time.

Henson comes downstairs, makes it right. How do you do? Mr. Deering. It is very kind of you to call so soon after our return. I was only too glad to have the opportunity. In fact, I came up from my country place expressly for the purpose of being the first to welcome you. How very, very kind of you, was it not, Helen? Most kind, I am sure. Mrs. Brewster, who has gone upright. I hope you'll stay to dinner, Mr. Deering, and take such as we can offer you. Things are not wholly in running order yet, but...

Thank you, but I scarcely think I shall be able to do so today. May I not hope to come again soon? Indeed, yes. Only let us know. And now, if you will excuse me... He assents. She exits right. I hear you had a very quiet summer, Miss Brewster.

Quite in the midst of rural felicity. Oh, that is what mother calls. it, is it? I am afraid she would speak in less poetic terms if she were to express her real opinion. We were unutterably bored. I thought it would never end. I think I understand. You were not in the right setting there. You, who were made for big places, for brilliant crowds, regal surroundings, where you can reign as queen. Helen, smiling, with a lift of her eyebrows. Dear me, who is getting poetic now?

you honor me too much. No, no, I could not do that. He gets close to her, speaking with a warmth of feeling which repels her, though she means to encourage him. In spite of herself, however, slightly drawing away. You know my feelings for you. This is not the first time I have tried to express them. Miss Brewster, Helen, tell me I don't hope in vain,

that I may make you the happiest woman in the world. Ah, that is a pretty big order. Do you think you could fill it? Only let me try. I can give you all that a woman can wish. A beautiful home, gorgeous clothes, jewels. You shall have everything that money can buy. You shall lead them all. Have what you will. Do what you choose. I am afraid it takes more than all that to make a woman happy, Mr. Deering. Some women. But devotion, love, all my heart. And isn't that what you would expect in return, love, devotion, and if I could not give them?

You could give yourself, your radiant, beautiful self. That is what I want, you, you. He is about to take her in his arms. She shows at first some shrinking, but makes an effort to yield. is about to do so when the doorbell rings. This gives her the opportunity to turn from him. He is compelled to release her with some annoyance. Enter Henson right, crosses, exits left, upper exit.

Will you go in the library? I will join you there. Deering, again approaching her, but she goes partway up centre. He desists, goes right. Very well. I will wait for you there, anxiously. Don't belong. No, I will come to you at once. Exit Deering, right. Helen shudders slightly, with evident repulsion and relief in his absence.

She is right-center. Enter Hanson, left upper entrance. Mr. Fillmore. Helen's attitude changes. Her expression brightens. Noting pleasure which she is unable to conceal. You may show him in, Henson. Exit Henson, left-up exit.

Helen stands looking up, left-up entrance expectantly. For the moment she becomes her natural self, greeting Leonard Fillmore cordially when he appears. Enter Leonard Fillmore, left-up entrance, followed by Henson, who exits right. Mr. Fillmore, this is quite a surprise. How do you do? Fine, thanks, and feeling better still now. Needn't ask how you are, you're looking scrumptious. My, all of that? Well, apples agree with me, you know.

And biled dinners, squash pie? Say, the farm lost all its charm after you left. Excuse me, I guess there's no law against paying a few compliments. a lawyer, and I know, you see, if a fellow means them. With you and Miss Newcomb both gone, well, it was too much for me. One cannot imagine the farm without Aunt Sarah. How glad she will be to see you. I suppose she will. How is she? She's well, a bit homesick, though, I fear, but brave, as I also try to be. But it's hard with all we have on our minds and trying to keep it from mother. So she doesn't know yet. No. I want to keep it from her as long as possible. She has enough to bear. Oh, Mr. Fillmore, what is going to happen? Do you think they will find my brother? Convict him? I cannot think of it. I dare not. We're going to do everything there is to be done for him, and I feel it in my bones. Everything will come out all right. Why, I don't see how fate itself could defeat such a spirit as your Aunt Sarah shows. She's just bound.

to save her boy, as she calls him, and in spite of all obstacles, I feel that she'll do it, and I mean to help. Just you leave it to us, and try to look on the bright side. I can't bear to see you worry. You are very kind. You do help me. You make me feel better. Do I? That's great. If I, well, I'd like to feel better, too, if you just say the word, I know I haven't the right to ask it. just a plain country lawyer like me, but you're not mad, are you? Mad? Why, of course not. How could I be? Besides, being poor is no disgrace. And as for plain, well, there might be two opinions about that. Leonard, impulsively forgetting himself. Miss, er, Helen? Helen, suddenly realizing that she is encouraging him too much, changing her. Changing her,

mood, repulsing him, although not too pronouncedly. But Dick, you haven't told me. What about him? Where is he? That's right. We have no right to think of other things now. But you, you see, I sort of forgot and why he's here. I brought him with me. Here? Yes, we stayed there in Brookville nearly a week, you know, after you all left, and then I decided the only thing to do was to bring him here, have him give himself up and stand the chances. Miss Newcomb thought so, too. But if they convict him...

Well, there doesn't seem to be much use running away. He wants to. Thinks they'd never find him. But they always do. And it would be all the worse when they did. They'd hold it against him that he was afraid. Afraid? Of course he's afraid.

So am I. Afraid of the horror. The disgrace. Oh, it seems too terrible to be true. How can I ever bear it? Oh, say now, don't give way like that. I can't bear to see. You know, I... Helen, looking left-uprentience. Is he there?

Yes, your man remembered him, it seems. Henson? Yes, he has been with us for years. And he's keeping him out there for the present. Do you want to see him? No, not yet. I can't. I have a caller. He is waiting for me. in the library. Hmm. Oh, a he caller. Yes, and a very important he.

So I ask you to excuse me. I will have Henson tell Aunt Sarah you are here. Goes up is about to press bottle. Oh, all right, and then after a while will you, er, have him inform you that I am still here? Perhaps, if I can get rid of that other he. She smiles, not wholly able to conceal her real feelings for him. He looks relieved.

Thanks. Enter Henson, left upper entrance. Henson, tell Miss Newcomb that Mr. Fillmore is here. You will find her in her room, I think. The Blue Room. Exit Henson upstairs. Blue room. Pretty appropriate seems to me.

Kind of in that state myself, unless you change it. Helen ignores this remark, though she looks back with a faint smile as she exits right. Leonard looks after her adoringly, goes upright, then comes back, shaking his head doubtfully, but with an expression of determination. Enter Henson, coming downstairs, partway to centre. Miss Newcomb will be right down, sir. About to go, lingers. beg pardon sir, but Master Dick, he looks very down and sick like, is anything the matter, may I ask, sir?

I guess he just isn't feeling his best. No, sir, that's how it struck me, sir. I hope you will pardon me if I seem too familiar, but Master Dick always was a favourite of mine, and I've wondered often with you. without daring to mention it, what had become of him, so to speak, and how he was. He's been absent for the greater part of a year, if I remember rightly. Yes, he's been away, I believe. You say Miss Newcomb will be right down. Yes, sir, to be sure, sir, I beg pardon.

Exit Henson, left up-exit. Leonard stands down right by table, not seeing Sarah a-shouldeither, She comes downstairs, enters left upper entrance. Sarah sees him with a pleased expression. Comes down, stands close to him a moment before she speaks. Well? Leonard starts slightly, turns, sees her, speaks in an assumed matter-of-fact manner. Faird middling, ma'am, and I hope I see you the same. First class, I mean.

How are you? Sarah, as they shake hands warmly. Oh, Len, it's good for sore eyes to see you. I've been waiting and hoping and praying, expecting you every minute. And now you're here, I declare I could almost hug you. Why almost? Make it a real one. Oh, Len, I've almost died here this last week with six or eight months in it. It's been terrible.

Shaw, that'll never do. I thought you were the brave one. don't do for you to give up. No, of course, and I don't mean to, but... Well, it's the lonesomeness of it. I'm like a cat in a strange garret, and as homesick as anything. At least, I suppose that's what the feeling is I've got here, and here and... Oh, all over me.

But sit down, Lennon, and tell me everything. They sit. Leonard, pretending to misunderstand her. Well, when I left, the brindle cow was beginning to wean her calf, the pigs were fatter and never, and just fit to kill. Aaron Flint seemed to be getting along a little better in a certain direction. I guess they're being left there alone, sort of softens the obdurate lady, and anything else? Leonard Fillmore. You know it isn't all that I want to know?

Of course it's that, too. And I'm glad if Lillian has begun to give in a little, though goodness knows its time, but it's my boy, Lynn, Dick. How is he? Where is he? And... Oh, he's well and safe, and not far off, but first, I want to hear about you. How do you like it here?

Oh, as well as could be expected, I suppose. Me, in this highfalutin place. But I've wished I was back home every minute. Such foolishness, such extravagance. Well, it was your own doings. You would do it. you know. Yes, I know, and I'm not sorry as I know of. But it's something terrible, the way M has lived and got into debt, trying to keep up appearances, as she calls it. It's simply scandalous,

a butler and everything. Land, he's the stiffest thing in the shape of a man I ever did see. I was fairly afraid of him at first, the way he puffed himself up and said, yes madam no madam and madam this and madam that till i up and told him i want a madam and had no desire to be and wouldn't he please just call me miss newcom i'm beginning to get a little bit used to him now and to a few other things but i declare i guess the farms the place for me Nonsense. I'd trust you with the best of them. They can't make a fool of you. Too late, maybe. But maybe it'd be just as well to let some folks think they can. Who? Why? Well, some of the city folks, kind of think us from the country are all as green as grass.

Maybe I can get the best of some of them and find out a few things all the easier. If I let them think I don't know a street car from a street car from a lot. steamboat. Not but what I do, and I guess I can see through a barn door when it's wide open. Well, I should say you can. But if some of the big bug detectives and all that are trying to find Dick and prove he's what they'll say he is, think I'm but a poor, simple, little old maid from the country. Why, I guess it'll make the way all the clearer for me when I try to show him a thing or two. Well, now, I don't know, but there's something in that. I'm here to save my boy, and it's any means to that end. You know how crazy I've always been about reading those detective

stories, Lynn? Murder mysteries and such. Trash, you call them? My, yes, I guess you've read a hundred. Say, 700, and you'll be nearer to it. Well, I'm glad I have. They've sort of given me an insight into things, clues and such. I feel as if I could beat the best detective in New York City at his own game. I'd like the chance, and maybe I'll have it before we get through. I guess you'll find it a hard job, Miss Newcomb. They're a slick lot, and I'm afraid in this instance they'll have it pretty much their own way. To tell the truth, I don't see a loophole as yet. But there must be one, Len. There's got to be. There always is. all those detective stories, the one you sure did it and that everything's against never did.

It's when they come up against a blank wall, and you think there's no way around, through, or over, that a way opens up after all. And there will this timeline. There must. I hope so, but don't you think you need a bigger man than I am to help you, Miss Newcomb? I'm only a country lawyer, after all, you know, without much experience. Now see here, Len Fillmore, don't you begin that all over again? You know my opinion, and that ends it. If you're not what they call a big man yet, you're going to be. And maybe this is your chance to prove it.

I want you to show them what you can do, you and me together, in spite of the best of them. They may think we are two greenies from the country and as easy as pie. Well, let them think so, till we open their eyes and show them a thing or two. Leonard, giving her his hand. We will. Put it there. That's the way to talk.

Go ahead. Don't leave a stone unturned till we've overthrown that stonewall we're up against. I'm back of you with all I've got, to my last cent. All I can beg, borrow, or—I was going to say steel, and I don't know, but I do even that to save Dick. But where is he? Can't I see him? Sure. He's right here.

Here? In this house? And you haven't told me all this time? Going up, looking off, left uprentience excited. Where is he? I want to see him. And so you shall. But I want to be sure his mother doesn't know he is here. Helen, Miss Brewster, thinks it best for her not to know about it yet. There is no danger. She's gone to her room and won't come down till dinner's ready, probably. Where's Helen? Have you seen her? Hmm, why she just went in what they call the library to see a collar, a he one.

Oh, I suppose it's that rich Mr. Deering her mother's trying to catch for her. She can't endure him, and I know it, since she saw a certain other he, I could mention. Miss Newcomb, you're on the wrong scent. There isn't a chance in the world for me. Who said anything about you? I guess there's more than two he's in the world. At any rate, she ain't good enough for you, vain stuck-up thing. No, she isn't that. You wrong her. Oh, sticking up for her, are you? Sure a sign.

I guess you can't fool me. I've read too many detective stories, you know, not to see a clue when it's laying around loose. And I found a pretty good one some time ago in that direction. But don't you think you're up against another stone wall? Well, if I am, I'm pretty good at climbing over, and I might give you a boost if necessary. Thanks, I guess I'll need it. He has gone up to left-up exit.

She is close to him. And now I'll get Dick. Exit Leonard, left-up exit. Sarah Stans looks off anxiously. There is a short pause, then Dick enters Left-Uffern. upper entrance cautiously, looking about as if afraid. He looks much neater than in first act, but is still pale, showing signs of his fear and worry. Sarah welcomes him joyously, taking him in her arms in silence. He brightens a bit as he sees her. Sarah, after a moment's

pause. Dick, my boy, my poor boy. Is nobody else? Is nobody else? else here? Mother? Helen? Not now. You can see Helen in a few minutes, maybe. I don't know about your mother. She doesn't know yet, and, uh, but we'll see. Just now I want you to talk to me a little. She has led him to Davenport left, sits by his side. How are you, Dick? Keeping up bravely. I'm trying to, Aunt Sarah, but it's hard. It's been almost more than I could stand. If it wasn't for you and Mr. Fillmore, I guess I'd end it all. I couldn't face it alone. I don't know as I can anyway. There doesn't seem to be a chance for me, not a chance.

Why, yes, there is Dick. There's always a chance. I believe in you. So does he. And there's sure to be some way of proving your innocence. We're going to find it too and save you. Aren't we, Len? Leonard has been standing right, not listening to them.

He has looked off right in a manner that shows he is thinking of Helen and her companion. He now turns, comes to centre. Sure, of course we are. You say that, but if you meant it, if you really wanted to save me, you'd let me get away. You wouldn't ask me to stay here and face it. No, nor you either, Aunt Sarah. I tell you I can't. He springs up as if to go.

Sarah detains him. Dick, my boy. There, there, you'll be all right. You must listen to reason. Reason. Reason. You call it reason for me to stay here and give myself up? Without a chance in the world.

I tell you they've got it on me. But if I don't give myself up, they'll never find me. They can't. They don't know my name or anything. I'll be safe. If you'll only let me go away. Are you sure they don't? Any of them? No? No, of course they don't. Miss Navar was the only one.

The maid never saw me before, nor that man. I got away before anybody else came. I tell you they haven't got a chance in the world. Let me go. You will. You must. You don't want me to stay here and get hanged, for what I never did. You can't make me do that. You can't. He breaks down, sinking on couch and covering face with his. hands. Sarah sits by him, striving to comfort him. You're sure, nobody knows that it was you in that woman's room when she was killed, not the man nor the maid. No, neither of them ever saw me before. I used to meet Miss Navarra at the stage door and take her out to supper, but that night was the

first time she ever let me go home with her. She didn't want to then, but I went. So you see, her maid never had seen me, and as for that man who was there, he was a perfect stranger to me. If that's so, why, the police have nothing to go by? No name, no picture, so long as neither of those two sees you. But would you want him to run away? If we believe him innocent, and that is his only chance, as it seems to be, I don't know, but it would be the best thing for him to do. Yes, yes. Of course it is. That's what I've been trying to tell you all along, only you wouldn't listen to me. If I go away somewhere, it'll be all right.

But if they find out who I am and catch me, I tell you everything is dead against me unless you let me go away. You will, won't you? Don't you see, Aunt Sarah? It's my only chance. There must be some way of finding out the truth. You're innocent, Dick. I believe that, and I mean to go to work and prove it.

But if you couldn't, if you failed. Yes, Miss Newcomb, we've got to think of that. If you failed, and I'm afraid the chances are that you would. I've been looking into the matter thoroughly, trying to see what defense we could put up. And I must confess, it looks pretty dubious. The police say all they have to do is find their man. They've put their machine to work to find them,

and it's more than likely they'll succeed if Dick stays here. When can I go? tonight? Now? Oh, not tonight. You can't go tonight, Dick. You must stay here till tomorrow morning. Then Mr. Fillmore can see that you get away, if that's what's best. And I don't know what it is. You must be saved, Dick. Some way.

But I can't wait. I'm afraid. He's right. He must go tonight. You keep him here for an hour or so, Miss Newcomb. And in the meantime, I'll go and get some things ready. buy a ticket and then come back for him. But where to? Where shall he go? Why not to the farm? Lily Anne and Aaron would look after him? No, not yet. They might trace him there through his mother. They do all sorts of unlikely things, you know. He'll have to go farther away. Say to the West, I'll buy a ticket. He can leave late tonight.

Yes, I know I can do it. He braces up, looking more hopeful, rising. Leonard starts up left. All right, just as you say, Len. You go and make the arrangements. I'll take Dick up to my room. Nobody will see him there. But I suppose we'd better tell Helen?

Yes, it would be best to let her know. We can still keep it from his mother. Leonard goes up, about to exit, but pauses, looks off right. They are coming, Miss Brewster, and... Dick starts to go. Sarah holds him. him, then leads him to left second exit. Here, come in here, till he goes.

Then I'll get you upstairs. Exeunt Sarah and Dick left second exit. Leonard glances right, then goes up, gets hat and coat, exits left upper exit. Enter Helen and Deering, right. She seems somewhat disturbed. He shows evidence of anger and chagra. Do you mean to say that this is your final answer? You refuse me?

Yes, I cannot be your wife, Mr. Deering. I don't love you. But if I am willing to wait, to run the chance of being able to win your love. Love does not come like that, I... Hesitates meaningly. I see. You don't think I am fit. It is sufficient that I say I do not care to be your wife.

It was not. Not so long ago, not many weeks or days, since you seemed rather inclined to consider the transaction. Perhaps you have met the man whom you can regard. I think I understand. I cannot help what you think. There is no more to be said. Starts right, about to go out. You may change your mind. A woman does sometimes, you know. If so, you may find the... The proposition still open.

No, please, you will excuse me. She turns from him, rings bell, and goes up right. After slight pause, enter Henson, left upper entrance. The gentleman's hat and coat, please, Henson. She bows coolly and exits right. Deering stands looking after her. Resentment, then anger, with a mean vindictive expression dawning upon his face. Then he smiles derisively, stops, listens, and goes and looks off, left second exit.

Stans looking off with growing interest. Henson has gone out, left upper exit. Now returns with Deering's hat and coat. Stans up left, waiting. Look, who is that in there? Henson coming down looking off left. You mean, sir? "'There, the young man, talking to Miss Newcomb and the others.'

"'That, sir? Why, that's Mr. Richard.' "'You mean Mrs. Brewster's son, Miss Helen's brother?' "'Why, yes, sir.' "'I see. That will do, thank you. You needn't wait.' "'Very well, sir.' "'Exit Henson right. "'Deering is still looking off left with renewed. interest, which becomes repressed excitement with something of exultation. He pauses a moment,

then, with a gloating smile, goes up and takes the telephone receiver. Hello? Hello. Give me police headquarters. Yes, the Bureau of Police. The Chief of Police, at once, please. Waits feverishly. There is an appreciable pause. then he speaks again with tones that thrill with tense impatience. Yes. Yes. Is this police headquarters? Yes, the chief. It is most important. There is another pause, during which, holding the receiver to his ear,

deering glances towards left with a look of vengeful triumph. Hello, is this the chief of police? All right. Never mind who this is. You are looking for the man who killed Miss Navarre. Laura Navar, the actress. About two weeks ago? Well, his name is Brewster, Richard Brewster.

You will find him at his home, 176 Ellington Avenue. Yes, Ellington. 176. He is there now, but lose no time, send at once. or it will be too late. He hangs up receiver, takes coat and hat, glances once more towards left-second exit, with a smile of wicked satisfaction,

tosses his head slightly, knowingly, and exits quickly left-upper exit. Curtain. End of Act 2. Act 3 of Ailius Miss Sherlock by Arthur Lewis Tubbs. This is a Libravox recording. All Libravox recordings are in the public domain. For more information or to volunteer, please visit Libravox.org. Act 3

Scene Parlor of a small apartment, uptown New York, well but not elaborately furnished. There is a door right, leading to a small entry, with another door beyond to hall. Door or narrow archway left with thick drapery. parted in centre, telephone, etc. Discover Dick Brewster sitting centre. He is ghastly pale, looking exhausted, his head drooping, eyes nearly closed,

hands hanging limply over sides of chair. He has just been put through the third degree and is almost a mental and physical wreck. He is muttering in a final gasp of denouc. Aniled to the demands that he confess. Henry Markham, the detective, stands at his left, looking sternly down at him. Higgins, an officer in uniform, right centre, somewhat back. Dick, shaking head slowly and speaking in wavering tones.

No, no, I didn't. I didn't do it. Markham sternly, seizing his shoulder, shaking him roughly. Come now. Stop that faking. You've got life enough in you if you wanted to show it. You can't fool me. The sooner you make a clean breast of this thing, the better it'll be for you.

No, no, I can't. You stood behind those curtains and fired the shot that killed that woman, the woman that threw you over, and we can prove it. If you own up to it and tell us all the, about it, so we know what your provocation was. Why, then you'll get some mercy. But if you don't... Dick still shakes his head, weakly, murmuring a refusal. Plunky little guy, ain't he boss? You don't look as if you'd... The doorbell rings right. That'll do for you. No remarks from the gallery. See who that is. And whoever it is,

tell them they can't come in. Delphine, the French maid. Without looking to right or left, she goes to right to open the door, but Higgins is ahead of her. He opens door goes into entry. Delphine goes back to left, exits, but stands behind curtains peering through, listening. Markham sees her, glances in her direction, and she disappears, pulling curtains together. Higgins enters right, cautiously high. holding the door slightly open.

It's that young lawyer feller, uh, Philmore. Don't know what right he has here. Tommy can't come in. Higgins is about to go out right when the door is pushed open and Leonard enters, thrusting him aside. He is followed by Sarah, who at once sees Dick and goes to him,

kneeling by his side, in spite of Markham, who is too surprised to prevent her. Dick, oh, Dick, what have they been doing to you? Dick, I am here, your aunt Sarah. Look at me, Dick, Dick. Dick falls over lifelessly into her arms. She fondles him.

What's all this? Where did this woman come from? She has no right here. Addressing Leonard. Nor you either. I don't know. No law against coming in, I guess, seeing we rang the bell and somebody.

opened the door. Anyhow, we're here. So I see, and I'd like to know what it means. How'd you find out? It wasn't given out, down at headquarters, I reckon. I found out, though, it seems. I heard you were going to put this boy through your villainous third degree, and I would have managed to prevent it some way, if I'd noted in time. Oh, you would? Think you've got a lot of influence, don't you? Well, maybe you have, back in that J-Berg where you come from. But I guess you can't very well upset the whole New York Police Department and the detective force. We haven't got through with this young fellow yet, and you won't find it wise to interfere. Sarah, placing Dick's head against back of chair and springing up, facing Markham boldly. Well, I'll interfere. I won't let you

torture this poor boy anymore. Look at him. What shape he is in. It's wicked. Shameful. How can you do it? It's cruel. It isn't fair. Excuse me, madam. But I guess we know our business. Some what's right and fair, without any advice from anybody. We brought this young fellow here, where he committed that crime, to make him confess. And if he knows what's best for him, he'll do it. Confess? Confess? Confess to something he never did? No, never, he shan't do that. You can't make him do it.

I wouldn't interfere, Miss Newcomb if I were you. To mock him. I don't believe you want to do anything unjust. Hmm, inadvisable, I mean. You must see that my client is in no condition to stand anymore. It looks like you'd put him through a pretty severe ordeal already. Give the poor boy a chance. Huh. Yes, he had a chance all right. A chance to skip, with your help, it seems. If we hadn't gotten a tip and been a little too quick for you, we got there just in time, it seems, to catch the bird almost on the wing. What kind of business you call that, for a lawyer, helping a murderer to escape?

We believe the boy to be innocent. I am his attorney. I wanted time to look up evidence, to prepare a defense. To get him away, you mean, because you know there ain't a chance for him. Well, you see, you didn't do it. Seizes hold of Dick, trying to make him rise. Come, come along. You didn't try any more of that pretending. I know all about that. What, what are you going to do with him?

Going to finish our job, of course. You don't think we ever give up, do you? Guess not. We got just a little more to say to this. "'Just as soon as you'll be so obliging as to leave. "'Beg pardon, madam, for seeming impolite, "'but business is business and duty's duty.' "'But can't you see he isn't able to stand any more?

"'Look at him. He's nothing but a poor, weak, scared boy.' "'I guess I know what he is, all right. "'You'll have to stand aside, madam.' "'Sarah has sunk down by chair, "'holding Dick in her arms as if to shield him. Markham starts to take hold of him. Leonard, who stands right-center, looks on, as if doubtful just what to do. Higgins comes down, stands near Markham, left center.

Come, you might as well get up. I've got a few things to say to you yet. See here, Mr. Markham, don't you think you could call it off for the present? I know when it's time to call things off. What I want you to do is take this lady and get out. This is serious business and we're losing time. Very well. I suppose we must submit. Pudding Dick on back.

Brace up, my boy. Don't give in. We will have to go now, but we shan't forget you a minute. Remember that. Dick, reaching up his hand, which Leonard grasps. Thanks. I know. I'll try.

Leonard, dropping Dick's hand, taking Sarah by arm, assisting her to rise. Come, Miss Newcomb, we'll have to go now. I'm sorry, but we'll have to, I guess. Sarah, once more appealing to Markham. Oh, sir, won't you stop trying to make him say what he never means to say, unless you drive him to the point where he doesn't know it? He's not a murderer, that boy?

Look at him, can't you tell he isn't that kind? Promise me, if we go, you let him alone, for tonight anyway. and take him back and let him have some sleep. Why, he's all played out, just a rack. I know what to do, madam. You leave it to me. I'm not madam. I'm just Miss Newcomb from the country

where folks have hearts and give them that are in trouble a chance instead of kicking him and grinding him down and never giving him a fair show. I'm this boy's aunt, his mother's sister, and I love him as much as his own mother ever did. I guess more, and I want to help him. Won't you do what I ask? Let him...

Excuse me. Tain't no use you're talking, madam, or miss, because I got orders and I'm going to carry him out. We came here for a purpose, and we're going to stick to it. So the sooner you get out of the way, the better it'll be for all concerned. Sarah, standing over Dick, her hand on his shoulder. Then you'll have to carry me away, for I am. here and I won't budge a step.

Miss Newcomb. See here, ma'am. This won't do. It's all foolishness, us losing time this way. You step aside and let us do our duty. Is it your duty to crush the very life out of this poor boy? Well, then it's my duty to stand between him and you and protect him, and I mean to do it as long as there's a might of strength left in my body. Markham seizing hold of her arm.

See here, I've had enough of this. Either you step aside, or I'll place you under arrest. Mr. Markham! That's what I said. What do you think I am? She's interfering with the law. Sarah wrenches herself free from his grasp, facing him defiantly. For a moment, he seems too taken aback to interrupt her.

You talk about the law that the likes of you are chosen to interpret. force. You, you who are not men but great ravenous beasts looking for something to tear to pieces and devour. You want a victim. What do you care if it is a poor, weak boy who hasn't a strength to defend himself? It's all the better for you, all the easier. It's somebody for you to shake and choke and grind under your heel till they haven't life enough left to do anything but give up. What if he is innocent? You don't think of that. All you want is to show that you represent the law

and to hold your jobs and prove what great detectives you are. Madam, you'd better. He approaches her menacingly. Leonard also makes an attempt to silence her, but she thrusts them both aside, still assailing Markham. Law! Don't you know there's a law of pity and mercy and justice? as well as one of might and terror, the kind that puts folks behind prison bars and hangs them,

maybe for something they never did? Is it justice to try to prove a person committed a crime and never try to prove they didn't? Why don't you look for something that might help this poor boy instead of saying he's guilty and letting it go with that? Proofs! You say you have proofs, but you don't mean to let him prove that you are wrong. You don't want him to. You're afraid he will. Even if you saw a chance to save him, you wouldn't take it. Because then you'd have to go to work all over again.

All you want is a victim, someone to hang. Well, you shan't have my boy. You shan't. You shan't. She finally gives up, partly exhausted. Again sinks down on floor by Dick, shielding him, still looking up at Markham defiantly, though with wavering strength. He has stood looking at her, at first angrily, then dumbfounded.

Finally, with a half-good-natured expression, he now shakes his head, murmurs. Well, I'll be. Leonard, to Markham. She'll be all right, Mr. Markham, if you'll just let me. Oh, all right, go ahead. I guess we won't bother any more today. You mean you'll call it off? Yes, I guess so, for the present.

Leonard, to Sarah, helping her to rise. Miss Newcomb, it'll be all right now. Mr. Markham says they won't carry it any further today. Sarah, in a sort of daze, to Markham. You mean you let him rest? Sleep? Yes, I guess we can fix it. It's getting late

See here Higgins We'll take him back now And postpone this business till tomorrow Markham and Officer Are Wright Centre somewhat back Leonard Wright Sarah and Dick Sentor she with arm about him

Do you hear Dick They're going to let you have some rest now It'll be all right You try to be brave And don't forget I'm not giving up for a minute Dick, with a show of better courage. I will, Aunt Sarah. I'm going to brace up and make the best of it.

I didn't mean to give way like that, but I couldn't help it. They drove me to it. I know, Dick, boy. I know. Come now, you'll have to go. But keep up your courage and we'll save you yet. You see if we don't. She leads him up.

He goes with the officer with the officer with an attempt at braveness, smiling faintly at Sarah as she kisses him with a pat on the shoulder. The officer takes him outright, followed by Markham, who shakes his head slightly

as if it were all too much for him. Leonard lingers. Well, I must say. No, you mustn't. You needn't say a word. I know what you think, but I ain't crazy and I wouldn't care if I was. I got the best of that detective and gave him a piece of my mind that I hope he won't forget.

Well, I should say you did. A pretty generous piece, but I'm afraid you have a wrong idea as to what you did to him. But I made him give up. You'll think he'll keep his word, don't you? Oh, yes, so far as that goes. But I don't see as we've gained much except a brief respite for Dick. Of course, that's something, but we might as well face the facts. We haven't found a clue yet.

Not a thing to refute their evidence. Not even who gave them that tip which upset all our plans. That certainly was a blow. Yes, I almost gave up for a while. It certainly is a mystery. Somebody knows. Somebody who has an object in causing Dick's arrest. But who?

Who? He declares nobody knew his name but Miss Navarre. Nobody else saw him there except those two. The man in this French maid, uh, whatever her name is. Then it was one of them that notified the police. But how did they know? You haven't found out who the man was? No, there seems to have been a lot of them.

My, she must have been one of them vampire things it tells about in some of those detective stories, the kind they have in the movies. Poor thing, maybe her fate was no more than she deserved. But to say that dick, Len, something's got to be done. For one thing, I'm going to stay here and talk to that French woman. I may be able to get something out of her. I doubt it.

She seems to have told all she knows. The police say her story hangs together. Oh, we can't get away from it. Everything points to young Brewster. But points wrong. I know it. There's something strange about all this. I mean something we haven't even got an inkling of yet.

Len, I want you to go away and leave me. I want to look around a little and talk to that woman. I don't see the use. The police have examined everything here. So have I. Yes, I know. The police have and you have. But I haven't.

I may think I'm too smart, Len, but it won't do any hurt for me to try. Something's got to be done. We are right up against that blank wall, and I'm going to make a desperate effort to find a loose stone in it. There must be a hole in it somewhere, if it's only a chink. And I shan't give up till I see at least a speck of light shining through. Well, I suppose being a woman, you'll have to have your own way. You ought to know that by this time.

So I want you to go and leave me here for a while. Hmm, I don't know about that. not so sure it would be safe. Sure. I guess I can take care of myself. Of course, you can wait downstairs for me if you want to. You might come up, say, in 15 minutes or so, and see if I'm still alive, or need any help. Well, I suppose, if you say so.

I do. So supposing you vanish. I want a chance to look around and take things in. There may be a clue here somewhere, just waiting for me to pick it up, and maybe I can beat the great Markham at his own game. To any rate, I'll feel better satisfied to try. Leonard, at door right.

Very well. There's a telephone. I'll be down in the office. If you need me, phone down, and I'll come right up. Otherwise, I'll wait 15 minutes. Or 20. You needn't be in such an awful hurry. Oh, all right. Take your time. Only remember, there's the telephone. and be careful. Oh, go on. I know what to do. Exit Leonard right.

Sarah goes and closes door after him. Stands for a moment, knob in hand looking about. Then comes to centre, stands gazing around to right, to left, up, down, goes about examining everything closely. She does not appear to notice the curtains across door left. but gradually working her way in that direction suddenly flings them apart disclosing Delphine who has been watching her. Come right in. I was just going to call you. Delphine entering, a bit confused but still self-possessed.

We, madame, I... I was about to inquire if I could be of assistance. That's very kind of you. Seem real anxious, don't you? Thank you, yes. Oh, yes, satan more, madame. Hmm, you've cut it a little different from the rest of them, haven't you? I suppose that's French. Madame, meaning the same as just plain madam in New York language. Well, I ain't either of them.

I'm just Miss, plain Miss Newcomb. I see, mademoiselle. M. Dumbsel? Land sounds like swearing, don't it? I always heard you Frenchwoman won't very particular how you talked. Come all the way from France, did you? Oh, we, a very long time ago, since I am quite petite. So, must feel quite at home here by this time.

Kind of strange you still jabber French talk. Seems so you might know all United States by this time. Oh, but always, I am of my own language so fond. I do not so much seek to speak the English. I see, to memory dear, as the old song says. Well, anyway, supposing we sit down for a while and have a little talk, I'd kind of like to ask you a few things if you don't mind. So, certainly, if Madame wish,

but I will stand to sit also with Madame would not be, what you say, the thing. So? I suppose maybe it wouldn't if that's the way you look at it. Still working here, are you? I stay for a time. Ah, my poor mistress, Mademoiselle Neva. Wiping her eyes, appearing grief-stricken.

Oh, pardon, but it is so terrible. Such shock, as you say. I have not yet of myself the control. She was so kind. I am of her soul. fond. How long had you worked for her? Oh, not for so long a time, three month, maybe four. I am with her. I cannot now just remember. Also, she treats me as a friend, my poor, poor mistress, who have been so cruelly murdered by that Mr. Brewster. Stop, don't say that. He's my nephew,

and no murderer. Oh, I know they say he is. You'll make a little. You'll make a little. You'll make a think he did it, but I don't, and all the detectives in New York and the whole police department to boot couldn't make me believe it. I beg of Madame de Pardon. I mean not to offend, but it is so plain. There can be no doubt. What I see, I see. What I know, I know. Well, sometimes folks think they see more than they do, and don't know quite so much as they think they do. Rising, looking about. Do you mind sort of pointing out just what you did see? What happened here that day that your mistress was killed?

You didn't see it done, did you? Ah, but yes, almost it was the same. I heard, I saw, her, poor Miss Neva lying there. Oh, so cruelly murdered, lying in a little pool of blood, her blood. And then, then? She pauses shuddering. But ain't you getting a little ahead of your story? First you say you heard.

Heard what? A pistol go off? Go off? Oh, we. It makes the bang noise. So just as I come up in the elevator and get off here at this floor. So you didn't come on home with Miss Navarre that day? No.

Seldom I would do that. Always she would have some friend, some gentleman, who would take her out to super, escort her home. I am to stay at the theatre, in a dressing room, to put away her costumes, to arrange everything, you know. I come later, by and by, when I am true. That is how. But seldom it is that I come with her. She had quite a lot of gentlemen friends, didn't she? Oh, we.

It was many. She was so popular. That day, it seems it was the young man, Mr. Brewster. As you say, your, how is it? My nephew. Yes, but I did not know him. Never would she tell me the names. It is sometimes the one, sometimes it is another. I ask no questions. I know my place. You had never seen my nephew, Mr. Brewster, before that day? No, never had I seen him until I enter. After the shot, find my mistress dead. Run here. To this door, put aside this curtain, so, and there. There stand the young man, your Mr. Brewster.

His eyes bulge, his faces of the crazy look. And there, there on the floor right by him, I see, the pistol, with which he had just fired the shot that kill my mistress. Delphine is holding back the curtains, looking within the room off left. Sarah stands near her, looking at the same spot. The pistol laid right there. Wee, I pick it up. Oh, you picked it up, and looked at it.

Oh, we. Then I think it is too horrible. I drop it. In the same spot. We, in the same spot, right. There, you see? Yes, I see. Hmm.

And in the meantime, what else happened? Where was Dick? Oh, but he escaped. I am so excited. He go, quick, there. Points right. And disappear. I am at the telephone.

When again I look, he is gone. What about that other man that was here? What became of him? Then why he also? He is gone. Oh, he skipped two? Where did he go? I do not see.

When I have called the police, I am alone. Alone with her. My mistress. Dead. But it seems that man showed up afterwards. They have his testimony. But the need is too late. The murderer.

He is gone. Yes, whoever it was. Not the one you think. But we won't argue that question now. I want to look around a little. I'll see what this room looks like. Exit Sarah left. Delphine holds back curtain, looking in at her.

Sarah calls from within. Where does this door go to? The door? Oh, that door is lead to the dining room. Then it is the kitchen it, as they say. There is a slight pause. Delphine drops curtain, comes to centre, looking towards left, showing some annoyance.

Scowls with a vindictive expression. Sarah enters, holding curtain aside, looking back off left. There's just that one door. You say it leads into the dining room and on into the kitchen. So the kitchen we seldom use. When we have the meals here, it is the caterer that would come in. Oh, that was the way. You never did the cooking?

I? Cook? But no, never. I'm not a cook, Mondeu, no. I don't see what you're staying here all this time for anyway. No work for you to do? Not getting any pay, are you? But my mistress, already she have paid me in advance, and the apartment also for some time it is paid. The police, they say I shall stay for the prisons, till they have been here sometimes. Yes, and brought that poor boy to torture him. But don't you get lonesome here, feel kind of, sort of creepy-like?

Creepy-like? I don't know. It is the strange word. But I need not to creep. Well, never mind. Only I wondered. Now, let me see. Couldn't somebody have come in through that door in there and done it?

But it is not possible. The door always, it is locked. Locked? That door, between that room and the dining room. That's funny. Why? No, the other door, beyond. The one that opens to the hole, the other entrance.

You see? Always that is locked. Nobody could come in. Besides, Mr. Broucester, he was there. In this room. He see nobody. It is he that says so. He was alone, quite, when I come.

The door beyond, I find it still locked. Sarah, puzzled, looking about, thinking deeply. Hmm. And that other man who was here, the one who skipped out too, you don't know who he was? But no, as I have told, Madame, I believe some friend of Miss Navarre, who also come that day for the first time here.

She know him as so jealous, he's afraid. She tell Mr. Buster to hide, there. And then when he suspect, the quarrel, perhaps, and in, from there behind the curtain, Mr. Bustere, wild, jealous too, of the other one. Crazy with the Enger, he... Oh, that's how you figure it out, is it? Well, there may have been somebody in there,

crazy and wild with the Angerre, but you needn't tell me you have. have named the right person. I know better. Madame, is it that you would say I do not tell all? That it is not true what I have said. But it is what you call co-abite. The police, they believe. Of course they do. They believe anything that suits their side. You won't catch them trying to make it look any other way. But what does Madame think? I don't think. I know that it it wasn't Dick Brewster that shot that woman, no matter if everybody else in the world says he did. But to prove I'm right, that's another thing.

You'd like to help me, wouldn't you? I, but I cannot. It is not that I would not, but what I know it is. Of course, I sympathise. Beginning to tire of interview. Now, if Madame would care to go. Thanks, but I'm in no hurry. Guess I'll stay a while longer.

Sits left centre. But you needn't wait. I know the way out. Delphine goes dawn left. And if Madame should wish for me, she will call? Yes. But say I wish you'd call me Miss. I hate that Madame business.

Oh, Sir Tremont, Miss. Thanks, that's more like it. Just Miss Newcomb. It makes me feel like a dressmaker or a woman that tells fortunes or fixes fingernails to be called madam all the time. She sits in deep thought, seeming not to notice Delphine, who is about to exit left. She looks towards door right and speaks, just as Delphine parts curtains left and is about to exit. Hmm. By the way, that door there. pointing to right.

There's another one, and a little entry between, isn't there? Delphine, coming partway back to left centre. Entre? Oh, yes, if that's what you call it. She goes right, opens door, looking out. That door, the one into the hall. That's kept locked, I suppose. We. Always it is locked. It is the spring lock.

Then it was locked that day of the... that it happened. So temont. But you burst right in after you heard that shot. Had a key, I suppose. Why, of course. Miss Nevar, I... Both we have the key. The same one. No, no, each we have one.

Then when you got off the elevator, just as you heard the shot, you unlocked the door and rushed right in. Delphine makes a scent. I see. And when you came in, you saw Miss Navarre there, on the floor. Yes, yes, as I have said, my poor mistress. Yes, yes? You mean we, we, don't you?

Well, anyway, you rushed right across this room and pulled aside those curtains. How did you know there was anybody behind them? But I have heard the shot. I look, I see a hand, a face there in the curtains. I look, it is he. Hmm. It didn't take you long to unlock the door and get in after you got off the elevator, did it? Had the key already, I suppose.

Well, of course, it is so easy. It takes but a second. Oh, of course. That's just one of my foolish questions. But I'd like to see the key. The key? It is nothing, just a key. I know, but I'm sort of curious. Just like to look at it if it ain't too much trouble. It is strange, but of course, it is in my bag. I will get it. Exit Delphine left. Sarah has closed door right, comes to centre, stands, squinting her eyes with a keen, suspicious look after Delphine,

seems to be putting two and two together. After a slight pause, enter Delphine left. That it? Delphine, indicating Yale key, one of two tied together. This. Sarah, taking keys, examining one indicated. Yes, and, uh, What is this other one?

The other one? Oh, why it is that we have two. Sure, of course. So if you should lose one. As one might. So easily, you see. Sure, easy as anything. I've lost things myself lots of times.

Keys, too. But it seems kind of funny to have them tied together like this. If you lose one, you lose both. Then how'd you get in? She has placed one key on top of the other, comparing and examining them closely, feeling of nicks in them. It is not that I keep them so. I have just tie them, since— Oh, I see. Of course. Now you've got the other one, the one that she had. Delphine, somewhat relieved.

Oh, we! Why, of course, if you lose these, you have that one. Now, all very plain. You say these are both to that door? Indicating door right. We both. She holds out her hand to take keys. Sarah is about to give them to her when the doorbell rings right, and she keeps them.

There, that's Len Fillmore. He said he'd come up after me. Starts to door. I... Delphine is about to open door right, but Sarah intercepts her. Never mind. I'll let him in. But, Madame, pardon, it is my place.

Land, I guess I've been to doors. She is too quick for Delphine. Open's door and quickly goes out, pulling doors shut behind her. Delphine seems annoyed. After pause, Ompens door cautiously peering out. Sarah outside. All right, Lynn. Go right in.

Delphine closes door, quickly goes to. center, just as Leonard enters right. Oh, you're here, are you, del Pien? Delphine, monsieur. Oh, yes, Feene, uh, new one on me. French, isn't it? Oh, yes. Nice name, all right. Suits you. Merci. Merci? Mercy. Oh, yes, that means much obliged. You're welcome. Nice name. Nice girl. You were Miss Navarre's maid, I understand. We, I am Hamid. Am. Oh, I see.

That's your way of saying was. Sort of hired girl you were, I suppose. I know not that hired girl. If it is the servant that you mean, no. Well, you're a girl, and you got paid. Guess it's about the same thing, but I suppose you didn't do much housework? Monsieur would joke with me.

I beg to be excuse. A bite to exit left. Sure, you needn't get mad about it. You and Miss Newcomb have been having quite a chat here, haven't you? Oh, indeed, much. It is that she is so inquisitive. You mustn't mind her. She means all right.

Looking right. I wonder if she's got lost. Guess I'd better look. Delphine, at door right. I will see. She is about to open door when she's. Sarah enters. Ready, Len?

Well, I should say, you? Yes, already. Now. Guess you think it's about time. Looking about in search of something, in bag, then on floor. Ah, I declare I've lost my handkerchief, must have dropped it.

To Delphine. Maybe it's in that room there. Would you mind looking? No, certainly. Exit Delphine left. The curtains are closed. Sarah, glancing left, then going and looking through curtains, closing them, coming back, speaking cautiously to Leonard. Len?

Yes. Sh! Glancing left. You know that stone wall? The blank one? Yes. Well, there is a chink in it. A hole.

Ah. And it's a key hole. Going right. About to exit. He follows her curiously. Yes, Len, a keyhole. And I think I've got the key that fits it. Exit Sarah at right. Leonard at door, holding it partway open, looks out after her with wrinkled brows, then smiles indulgently.

Exit Leonard right. At same instant, enter Delphine left. I did not find... She looks surprised, puzzled. Hastens to door right, just as Leonard closes it behind him. She opens it. Madame, the key! The outer door is heard to slam. Delphine stands with knob of inner door in her hand, looking out.

A perplexed expression, then one of apprehension, fright dawn dawns upon her face curtain end of act three act four of alias miss sherlock by arthur lewis tubbs this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox dot org act four scene the same as act two about three weeks later discover Aaron Flint standing up by left upper entrance with cheap suitcase in one hand, a rolled-up umbrella in the other. His hat on pushed back. Lillian is part way down centre. She wears hat, coat, etc., has handbag and a good-sized package of brown paper well tied with string. They are both looking at Henson, who is posed in left-up

entrance in his most pompous attitude. Well, I guess you can tell Miss Newcomb we're here, can't you? I should think you might do that much to oblige. She's staying here, ain't she? Henson gives a stiff bow in a scent. Well, then, can't you go and tell her? Aaron, you keep steel. And take your head off, where's your manners?

Aaron removes his hat sheepishly, murmuring, oh. I suppose seeing you let us in, that maybe you worked here, but if I'd made a mistake, I beg your pardon. I am the butler. Any relation to Sam Butler up in Warren County? Land, Aaron Flint, ain't you got a bit of sense? He means he's a waiter. Oh, that's it. Then maybe he's waiting for a tip.

Feeling in pockets. Henson shows offended dignity. That's the way they all be down this way. Won't budge an inch unless you tip them. If you will present me with your cards. He has card tray, which he now holds out. Aram places a coin on it. Henson pays no attention to this,

though assuming an even more pompous manner. Man, we ain't got no cards. We ain't that stylish. I guess it'll be all right if you just go and tell her some friends of hers are here. What name, please? Nukham. Sarah Newcomb. Pardon me. The names I am to announce. Oh, you mean our names. Never mind. Just tell her what I said. Some friends are hers. We want a surprise her.

Henson turns, and, in a most dignified manner, goes upstairs. Aaron, going to foot of stairs, looking up after him. Well, well, I'll be gum-swizzled if he ain't the turndest. I thought maybe t'was the king of Egypt or somebody here making them a visit. Yes, of course you had to go and show your greenness. Land, I should think you'd know what a butler is after all them storybooks you've read. It's only another name for hired man, same as you. Me? Like that?

Gosh, strangle me. Seems to me you didn't know much more about it and I did, though, when it come to that. Guess if I'm green, you're... for a pretty good match for me. They have come partway down. Aaron has placed grip, etc., at one side. Both go about examining furniture, pictures, etc. Guy it fixed up pretty swell here, ain't they?

Guess this is what you'd call style? Yes, the kind of style Miss Brewster and her daughter keep up, and then come and live on Miss Newcomb all summer. I guess if the truth was known, she's putting up for some of this too, though she never lets on. I know her. Tis pretty grand, though. Ain't nothing in Brookville like it, even at the hotel. Dang knows we'll know how to act.

They can't scare me with their high-falutin things and stuck up ways. I'm as good as they are when it comes to that. And you needn't go to apologize, Nairn, Flint. Hold your head up and act as if you as good as anybody. Gosh, I never could act as if I was such a big bug as things. That butler, fella. The idea. Hand?

Shh, here she comes. Sarah appears at top of stairs. They see her and draw back to one side so that she does not see them, as she comes down, enters and to centre. They then approach her, one on each side. Hence and comes downstairs, exits right. Sarah turns, sees them, in utter bewilder.

Alderman almost unable to speak. Why, if it isn't, it can't be. But it is, Miss Newcomb. It's us. We found you at last. Thought we never would. Talk about your needle in a woodpile. Guess we wouldn't yet, if it hadn't been from our detective instinct. But I don't understand. I can't believe it.

You, Lily Ann, and Aaron, way down here in New York, and together, What does it mean? Oh, we just thought we take a little trip. Thought maybe you'd be glad to see us. Why, I am, of course, but it don't seem respectable. What'll folks say? Do they know about it there in Brookwell? Sure, regular crowd there to see us off.

Lily Ann, what does it mean? Are you crazy? I don't know, but I am, Ms. Newcomb. I guess you'll think so when I tell you. The truth is, we're married. Married? You? And Aaron Flint?

Good land, you don't suppose I'd be taking a trip with him to New York if I wasn't. You know me better than that, Miss Newcomb. We've been married three days, ain't it, Aaron? Seems more like three weeks or months to me. Oh, it does, does it? Much obliged. But how did it ever happen? After the way you always vowed Lillianne.

But I declare I'm so upset I forgot to be polite. Set down, Lillian, and you too, Aaron. Lansakes, Lillian, I suppose I ought to call you Mrs. Flint. Mercy me, don't you do it? I wouldn't know the answer. Lillian I was, Lillian I am, and Lillian I always will be. I guess you will be, to me anyway. but tell me.

Oh, well, Aaron, he kept pestering me till I couldn't stand it any longer, so all of a sudden I up and said yes. Had to do it to get rid of him. Made up my mind it'd be easier to handle a husband than a feller it wanted to be. Besides, the inducements was too much for me. I couldn't hold out any longer

when he said we'd come to New York and see you and all the sights. I'd been saving up for a considerable spell with this year trip in view, and when I set my mind, to a thing, well, I most generally get it. I must say I admire your perseverance, Aaron. I'm glad you took him, Lillian.

Only I hope it don't mean you're going to desert me. No, indeed, Miss Newcomb, not much. Our Calate will stick closer than ever. Just run away for a little wedding tower, so to speak. Saul, Bennett, and Fidelio are looking after things at the farm. We attended to that all right. We're just taken a week. Yes, and crudner, he's.

Keep into it, you bet. Been stopping at the Astor House. Sounds real flowery, don't it? It is, too, and expansive. Appropriate too for a newly married, bridal couple? He asked her, and she said she would. Aaron Flint, don't try to be smart. Land's sakes, Miss Newcomb, I have my hands full with him. Honest, I didn't know anybody could be so green. Why, Lily Ann? Well, he is. The man is. The man at the hotel told us a good show to go to, it'd be the hippodrome. And Aaron, he says, is that where they have trained hippopotamuses? As if they could. I guess you needn't talk. When a policeman told us that tall slim building was the flat iron building, Lily Ann, she says right out, oh, let's go in and see them make some flat irons. I was just joking. I guess that wasn't a worse

and you trying to blow out the electric lat. Say, that'll do. Don't you believe her, Miss Newcomb? I guess I ain't such an old hayseed as all that. Tweren't me, at any rate, when we was up in Central Park, and they pointed out that big statue they called Cleopatra's Needle, it said, Need it? What do they call it a needle for?

They ain't no eye-hole in it. They begin to show signs of a... real Tiff. Sarah tries to pacify them. When it comes to that, I guess we ain't no greener and the city folks are in the country. Remember that girl from New York that boarded with Miss Orkard last summer? To wanted to know which coward was gave buttermilk. Gosh, I remember her. She just thought it was cute to pretend she didn't know nothing.

Well, there's plenty of them don't have to pretend. But my goodness, Miss Newcomb. We ain't asked you how you are, and how about that boy, your nephew, and all? How's it coming out? We're hoping for the best, Lillian. I'll tell you all about it later on. You must be tired now and want to get brushed up a little. I'll see about a room.

Oh, you needn't bother, Miss Newcomb. It might put you out some. Besides, what did Miss Brewster think? Oh, I can fix it all right. You leave it to me. She starts up center, as if to show them upstairs. Lillianne pauses centre. Erin is left center.

Well, we might stay one night. Looks real stylish here, don't it? But I suppose you're getting used to it. No, I can't say I am. I can't hardly wait to get back to the farm. But come on and we'll see where you can sleep. I guess in the room right next to mine? Oh, that'll be fine.

Aaron, where's that bundle? Aaron, taking package from chair where she had placed it. Here it is, dearie. Lillian, sniffing at his display of sentiment. Hmm. Takes package. Here's a few things I brought you, Miss Newcomb. Just two or three of my fried cakes,

a little bottle of that preserved watermelon rind you're so fond of, and two or three other little things. Sarah, taking package. Oh, Lily Anne, how good of you. My, but they'll taste good. I'm so tired of their fancy cooking here. Ah, and some of your fried cakes. Of course they may be a little dry.

And I got a dozen or so red apples for Lem Fillmore in my grip. Thought he might want to treat Miss Brewster. Is he still shining up to her? Aaron Flint, as if she'd have him. Not but what he's too good for her. And how is Lynn, Miss Newcomb? Oh, he's well. About played out, though, with the struggle to save my boy.

but we'll do it, we will. I'd better show you your room now. She is about to lead the way upstairs when Helen enters right. She sees them, show surprise. Why, if it isn't? Mr. and Mrs. Aaron Flint. What? Married. You too. Sure.

Ain't two enough? Don't mind him, Miss Brewster. He ain't responsible. Yes, we're married and on our trip. Just called to see Miss Newcomb, and she's kind enough to want us to stay all night, if it won't put you out. Helen, with a display of cordiality, shaking hands with them. Why, no, of course it won't.

We have plenty of room. Please accept my congratulations. Thank you. I'm wishing you the same. I was just going to take him upstairs, Helen. I thought I'd put them in the room next to mine. I guess it'll be all right, won't it? Of course it will, but I'll call Hansen.

Press his button. Ah, I guess he ain't much stuck on waiting on us if we'd be a newly married bridal couple on our wedding tower. Helen smiles good-naturedly. Lillian frowns at Aaron with an admonishing shake of the head. Oh, well, that's what we be, and I ain't ashamed of it. By the way, we brung something for you, Miss Brewster. Something for me.

Yep, right from the farm. Some of them red apples. Leastwise, I'll bring them film or some, and I reckon he'll be willing to divide him with you. Helen looked somewhat confused. Enter Henson right. Henson, show Mr. and Mrs. Flint to the room next to Miss Newcombs. Aaron has taken up grip,

but now yields it to Henson, who handles it with extreme caution as if fearing contamination. You needn't be afraid of it, Mr. Butler, it won't bite. Henson, in his stiffest manner, goes up the stairs carrying the suitcase. Aaron takes the umbrella, package, etc. He and Lillian are following Henson upstairs, she preceding him. Part way up, Aaron turns and speaks. Hope you'll like the apples, Miss Brewster. Thought maybe they'd seem like old times, them red ones, you know?

Thank you, you are very kind. Aaron Flint, you come up here. They ain't the same apples at all, Miss Brewster. They're all gone long ago, them summer ones. But these are red and twice as sweet. Aaron, at top of stairs, as he is about to follow Lily. Anne who has made her exit. And not half so apt to give you the stomach ache.

Exeteran. Helen, paying no attention to his remark, crosses to right centre. Sarah comes down to centre. You must not mind them, Helen. They mean all right. I hope you don't mind they're coming. I was just as much surprised as you were. They never let me know a thing about it.

Why should I care? I am glad if you were pleased to see them. Well, I don't. I don't know what Emel say. Hanson comes downstairs. Exit right. She has no right to object. Isn't this practically your house now? Surely. Helen!

You know I don't want you to feel that way. Don't you think, with all we've got to bear, we might be a little closer together. You and me, Helen? I'm your aunt. I want to see you happy, if only... I'm afraid there's not much happiness in store for me, Aunt Sarah. Even if you succeed in saving Dick, as you seem to think you can, you can't save me. Why, Helen, girl, what do you mean? You've given up that man, and now, isn't there another one? Someone you really?

There is no one else. I have sent for him to ask his forgiveness for what I said to him. He is coming this afternoon. I am to be his. But Helen, you can't marry that man. Even if he still wants you, you mustn't. I can. I must. It is the only way I have made up my mind. Well, I guess you're woman enough to change it, to make it up all over again. If you knew what that man is, what he has done... It would make no difference. She kindly but firmly puts Sarah aside and goes upright.

There she meets Mrs. Brewster, who enters right upper entrance. Sarah goes towards Mrs. Brewster, speaks with vehemence. Helen pauses. M. Brewster. What kind of woman are you? What kind of mother? A woman that thinks of nothing but herself, of having a fine house to live in, grand clothes to put on her back and jewelry to hang around her neck and dangle in her ears. A mother who would sell her own daughter to get those things. Sell her to a man who isn't fit to wipe a decent girl's shoes.

Is that what you are? My sister? Then I'm ashamed of you. Sorry we had the same mother. Look what's come to your son. And now you want to bring your daughter to something worse. He's innocent while you. You want to make this girl the property of a man who has...

But you shan't do it. You shan't do it. Missis Brewster, who has stood apparently too dumbfounded to speak, or as if trying in vain to do so. How dare you talk to me like this? How dare you? Dear! Do you think I'm afraid of you? Of anything when it comes to this? No. What I'm afraid of is to trust you with your own child, and I'm going to save her from you from her own mother. She has gone up right and now exits.

Mrs. Brewster and Helen seemed too surprised to speak. Mrs. Brewster quivering with anger standing centre. Helen, who has gone to left centre, overcome with grief and shame, sinks into chair covering her face with hands. I will not put up with it. I shall turn her out of the house, even if she is my sister.

Perhaps it is she who can turn us out. Don't forget that. She with her paltry money. We'll see how far she can go. She shall leave this house. But wait. Soon she may have no further claim upon us. Helen, what do you mean?

That you have reconsidered? That is not too late. Helen, she has risen, stands center. It means that I have sent for him that he is coming back. Mrs. Brewster, as if to caress her, but desisting as Helen draws away coldly. My daughter, my own darling child. No, please, let there be no false sentiment between us. I'm going to sacrifice myself.

He is coming to gloat over me, over the woman who, after all, humbles herself at his feet. Let us understand each other, mother. Tell the truth this once. Then I will seal it up in my heart forever and bear it all in silence. Helen, no. If you feel that way about it, I won't let you. Oh, you needn't upbraid yourself.

I know what I am doing. It may mean that we can free Dick, too, hide our disgrace. money can do anything like that. I needn't count. It doesn't matter that I shall be living a lie. I shall not be the first woman that has sold herself for money to a man she loathes, when she loves another. Helen, you don't mean you can't.

Not that you love... Helen turns to her in a sudden brief surrender to her real feelings. Yes, let me own it this once, though not to him. He shall never know, but I love him. I love him. I have, from the very first, though I didn't realize it then. He is a man, a true noble man, worthy of my love, of any woman's love, but I, I am not worthy of his. She breaks down. Mrs. Brewster looks at her with some show of compassion. but still evidently rejoicing that she has gained her point. But that uncouth countryman?

Helen, throwing off her real feelings, with a forced air of hardness and indifference, though still with a trace of deeper emotion. We will not speak of it any more ever again. Remember, but you needn't fear I shall keep my word. She is about to go upright, but suddenly pauses. Oh, by the way, I forgot. We have some guests. Guests? Yes, whom no doubt you will be overjoyed to see. Old friends of yours, Mr. and Mrs. Flint.

Flint? You cannot mean... Aaron and his blushing bride, Lillian, from the fair domain of the Newcomb farm in Brookville. They are here on their wedding trip and have honored us with their presence for a brief sojourn. I must confess, I was quite pleased to see them. I shall not submit. How could Sarah presume to invite them here? She didn't. They took her by surprise also, but I shouldn't worry.

Doubtless they will be sufficiently entertained without our assistance. The doorbell rings. Helen starts with a suppressed shudder. That may be, I cannot see him just yet. I will be in the library. Exit Helen Wright. Enter Henson Right, goes out left-up exit. Mrs. Brewster stands right centre with an expectant look, denoting triumph.

After a pause, Henson chosen Leonard Fillmore. Exit Henson, right. Mrs. Brewster, suddenly assuming a cold, distant manner. Good afternoon, Mr. Fillmore. You will pardon me. I was expecting a gentleman. Starts to go upright, disdaining him.

He has entered expectantly with a cordial look, but wiltz half good-naturedly at her attitude. Oh, I see. Sorry if I don't fit the bell. Mrs. Brewster, realising her rudeness, speaking a bit more cordially. Of course I meant another gentleman. Thanks, I feel better.

But I called to see Miss Newcomb, if I may. I will have her informed that you are here. Exit Mrs. Brewster right. Leonard is down right centre by table. Does not notice Aaron and Lillianne who appear at top of stairs. They have tidied up. Aaron with hair shinily sleek, etc. Lillianne with change to brighter dress or shirt-waist

or with an added gay ribbon or something of the sort. They see Leonard steal down close to him, one on either side. How do you do? Leonard turns, sees them almost overcome by surprise. What? Aaron, Lillian! Mr. and Mrs. Aaron Flint, if you please. Never. You don't mean.

Sure thing. Ask my blushing bright. Yes, Lynn. That's us. Well, I'll be switched. You've put one over on us this time, and no mistake. Shake. Gives one hand to each.

They shake most cordially. Wonders never cease. So, you gave in it last, Lillian? Land, Lynn, I just had to. They wouldn't know other ways I could see as ever get into New York. I just had to come and see you and Miss Newcomb and find out everything. If you're going to save that boy and all, just couldn't stand it. And a little thing like having Aaron here for a husband didn't count.

She's got me, though, and I'll keep, even after we get back to the farm, then my part will come in. I ain't worrying. Tell me, Lynn, how are you? What's the prospect and everything? I can't tell you now. I'm almost too overcome. and so glad to see you that I can hardly talk. Hope you'll stay long enough for us to give you the best time anybody ever had, but just at present, I'm up to my neck in the job of my life. The trial comes off day after tomorrow, and there's a lot to do before then. Oh, Lynn, you're going to save him.

Well, I can tell you this much. If I do, it will be owing to Miss Newcomb to what she has done. That woman's a wonder, what she can't see through, figure out. Detecative instinct, just like mine. You couldn't detect a clue as big as an elephant, lest it bit you. I ain't surprised at Miss Newcomb, though. All their mystery stories and such. I'm waiting to see her. It's most important, so, if you don't mind, will you just leave us alone for a few minutes? I'm sorry, but you understand.

Sure we do. We'll just snoop around a little and see what we can see. Come along, sweetie. Lillian, sniffing at his show of sentiment as she follows him to left second exit. All right, Lynn. Maybe we'll find the kitchen so that I can see what kind of hired girl they got. I might get a few pointers on real style, so when you and your city bride come to Brookville on your wedding trip. Oh, come, Lily Bird. I bet he'd rather have your cooking any day, wouldn't you, Len? You've said it, Aaron But I ain't objecting to get the sniff of what we're going to get here for supper

I was hungry as seven bears and a woodchuck Exit Aaron left second exit So am I to tell the truth I don't see as being married spoils your appetite a bit Excepting for being married Exit Lillianne left second exit Leonard's smiles turns and meet Sarah who enters right Oh, Len, here you are at last. I've been almost crazy waiting for you. Tell me, did you fix it? Will that woman be here?

Yes, I had quite a time, but at last convinced Markham that it was of crucial importance. She has left the apartment, and at first he said we must come to headquarters where she is detained as a material witness, but finally he consented to bring her here. It looks like things were playing into our hands at last. Didn't I tell you they would? They're sure to come right in the end. Well, it's a good thing to hope anyway. And as for hope, do you think there's any? I mean, do you think? Sure, there is, Len, but you've got to fight for that, too. It's her mother. If it wasn't for her... Why? What has she done now? I hate to tell you, Len, but the truth is Helen has sent for...

that man to come back, to take back what she said to him, to tell him she'll be his. But how can she, when she knows? You mustn't let her. Assert your rights. She thinks she must sacrifice herself. But do you mean to stand back and let that man have her? Huh? I'd grab her up and carry her off by main force first. Hmm, caveman stuff. A good idea. Well, I don't know about it. about any cave part, but I guess you're just a man that could do it once you got your spunk up. But tell me, I'm dying to know how is Dick bearing up?

Like a man, he has new courage, thanks to you. We can't fail now. We mustn't. But I guess it's still up to you, Miss Newcomb. The woman sticks to her story. Hasn't budged an inch. The police believe her, and if you can't shake her, I don't know who or what can. She's a pretty slick one. All I want is one more chance at her. What we found out in the past three weeks may be a little surprise for her, and a few others. It takes a woman to see through a woman, and I began to see through that one in just about two minutes. That French accent didn't sound quite like the real thing to me, little as I know about it. She slipped back into plain American without noticing it, once or twice,

and I noticed what none of you men did, that her eyes don't match that black hair, that that hair has been dyed. And she was a little too ready to explain things, like she'd thought him out beforehand. And those two keys? Two keys that fit the same lock don't have different nicks to them. My fingers soon told me that.

The doorbell rings. Ah, there's the bell again. I guess that's about the busiest little doorbell in New York lately. Hanson is earning his wages for once, and I mean to see that he gets him. Enter Hanson right. Henson, whoever that is, keep him out there in the hall till you let us know who it is. Exit Henson, left upper exit.

There is a slight pause. Sarah goes up and looks off, left up or exit. It's them. And I'll vanish for the present. Now's your chance. Er, I sort of dread it after all. Exit Leonard, left second exit. Sarah is going right centre as Mark.

Markham enters left-up exit. He comes down, looking somewhat puzzled and not altogether pleased. Good afternoon, Mr. Markham. Well, I've brought the woman. What are you going to do about it? Talk to her a few minutes, if you'll let me. I don't see what for. That woman's talked, and been talked to, till there's nothing more to be said. Don't you suppose we got everything out of her she's got to tell? all she's got to tell you, maybe, but not all she's got to tell if I can make her tell it. Markham, snaring with a sarcastic laugh.

We're kind of business this, anyway, sort of irregular. But Fillmore told me it was for something that couldn't be done in any other way, and I don't want to be contrary. I suppose it's all right. It's only fair to give you your chance, I suppose. though I must say I don't see what you think you're going to do. What I'm going to do first, Mr. Markham, is to ask you to leave me alone with her. I don't see an objection to that, but of course I'll have to stick around. I want you to. Indicating left second exit.

In that room, I want you to hear every word that is said and act accordingly. That's satisfactory. She's out in the hall there. I told her to wait. Oh, Higgins is outside. I told him to trail along and keep his eyes peeled. Going to left-second exit. In here?

Yes, you'll find Mr. Fillmore in there. He understands. Well, that's more than I do. But I'll chance it. Exit Markham, left second exit. Sarah stands a moment as if to gain courage. Then goes and looks off, left-upper exit. She makes a slight motion.

Henson appears in left upper entrance. Bring the woman in here, Henson. Exit Henson. He reappears, shows in Delphine, and again exits. Delphine appears in left upper entrance, pauses, looks about curiously, with a manner denoting some suspicion. She wears a long black veil over her hat, which she now throws back. Sarah having withdrawn to right centre stands watching her.

Delphine comes down, turns, see Sarah, starts. So, it is you, madame. Won't you sit down? Delphine, she does not sit as yet. But why am I brought here? I do not understand. I was not told that it was to see you. What house is this?

Why do I come here? Well, you see, I thought you must think it kind of funny the way I left you so suddenly that day and I haven't been feeling very well lately so I thought it would be real kind of you to come and see me so I could apologize for carrying off your keys the way I did. You see, I was so excited after what I'd been through that I really didn't know what I was doing.

I guess you understand. Oh, we certainly. but to come here, it is strange. However, I am here. Yes, and do sit down. Might as well be comfortable. I hear you not staying at that flat anymore. No, it was so, as you said, gloomy, lonesome.

And a thought of poor Miss Nevar. Oh, it is too much. But I must not go away. They detain me, as a witness. Oh, it is so terrible. I must tell it all. In court. I don't wonder you dread it, but think of me and my boy. It is too bad. I sympathize, but I must tell all. Yes, you must tell. All.

Aren't there a few things you haven't told yet? I do not understand. Does Madame intend to insinuate? No. That's a good plain English word, insinuate, and you didn't say it a bit Frenchy. But I wasn't insinuating. I'm just asking, couldn't you tell a few more things if you would? Madame, what is it that you mean? Oh, I wish you wouldn't keep calling me, Madame.

What I meant was, maybe you could help me a little as to why those two keys were different when you say they were for the same lock. Then I mistake. It does not matter. We have many keys. But those two were enough for me. They proved the pretty good fit to what I was trying to open. One fit the front door to your apartment. The other, the back door to the kitchen, et, or whatever they call it. But of course, there must be a key to that door also. Of course. Or how could you, after you came up in the elevator that day, have slipped around front? to that back door, gone into the kitchen, through the dining room, into that other room, and then...

Delphine, becoming alarmed, but making a good effort to conceal her growing suspicion and fear. What do you mean? I came in the front door, directly to the room where Miss Nevaan lay dead, shot by your nephew, direct from the hall I entered, after getting off the elevator. So you said. But it happens I didn't quite see it that way. So I found out which elevator boy brought you up. He remembers very well. You say you got off the elevator just as the shot was fired.

You didn't. He let you off at the fourth floor, went on up to the tenth, and it was when he got back to the fourth floor that the gun was fired. He heard it. You had been off the elevator for five minutes or more. Delphine, who has sprung up, beginning to lose control of herself. It is not true. He lies. Lies, I say. You had plenty of time to go around to the other door, look in to see who was there,

see your chance of having your revenge with somebody else to be suspected of your deed, fire the shot, go back, come in, and... Delphine, in a furious rage. How dare you say such things? Accus me of such an infamous act. It is an outrage. So that is why you have had me brought here. To insult me, to accuse me of killing my dear mistress,

who was all kindness to me, whom I loved. Oh, it is infamous. You shall pay for this. You will see. You will see. I see that you talk United States much better than you put on a French accent. For all you are.

are a very clever actress, Miss Bateman. What? What do you mean? My name is... Eliza Bateman. Of course it is. Your real name. Quite a well-known actress, too, and a pretty good one. French maids are quite a speciality of yours, and so your impersonation came in very handy when you went and hired out to Miss Navarre, even she didn't see through your neat disguise and your assumed accent.

It happens I did, though. I was sort of looking, too. That was the difference. Lies. Lies, I see you lie. It is all lies. An infamous vile plot. I will not stay here.

She is about to leave, but Sarah bars her way, so determinedly that she is compelled to stay, though fuming with rage and illly disguised fear. You see, I haven't been losing any time, Me and that plain country lawyer, the smart New York lawyers and great detectives have made so much fun of. We have done a little detective work on our own hooks and found out a few things. About you, Miss Bateman. I know not that name. It is false.

You mean Delphine is. About that pistol, too. It was Miss Navarre's. She kept it there. You knew where it was. In that room. It was easy enough for you to get in the way you did, shoot over Dick Brewster's shoulder, slip out and... Be still, be still, I say. I will not listen. It is false. I did not do it. No, no. You lie. You lie.

It is that truth. You say I killed my mistress, Miss Navarre. No. No, it was not she, I... She stopped suddenly, confused, trying to cover her mistake. I mean, I could not. She who was so good to me, how can you say? Sarah, going close to her, looking straight into her face and speaking very deliberately and distinctly. A woman seldom hits what she aims at.

You didn't. What do you mean? I... There was a man in that room. also. I know, yes, but to me he was a stranger. Maybe a woman has the right to kill the man who has wronged her, the man who has promised to marry her and then thrown her over for another. Maybe she has a right to put on a disguise so she can follow him and prove just how false he is to her. I don't know. Maybe there is some excuse for a woman doing that. There may be some for you.

You didn't mean to kill Miss Navarre, I believe that, but you meant to kill him. It was him you shot at, and you killed her. No, no, you shall not say that. It is not true. I did not know him. I never saw him before. The doorbell rings.

Sarah goes to left-up entrance, looks off. After a slight pause, enter Ralph Deering. He comes part way down centre. Stop, says he sees Delphine, surprised but not recognizing her. I beg pardon, I did not know. Mr. Deering, permit me to introduce Miss Eliza Bateman. Deering, too much taken aback to conceal his amazement. Eliza, you, what does this mean?

So you recognize her? Why, yes, I do now, though she is not the same. I never thought. Of course you didn't. How could you? A blonde turned into a brunette? Deering looks dumbfounded, but recognises Delphine, who is unable longer to conceal her identity. She still tries desperately to brazen it out, however. This gentleman is a stranger to me. You will excuse. She starts to go left-up her exit, but Deering steps in her way.

so she is compelled to remain. Wait, I begin to understand. A very clever disguise, my girl. It's no wonder I didn't recognize you. So, you were tracking me down. Seeking revenge, eh? I see. It was you who fired that shot.

At me. It is not true. It's a lie. A lie, I say. Let me pass. Not so fast. I guess your little game is up, Miss Bateman. It didn't work, did it?

And she took my place. Delphine, at first seeming about to attempt to brazen it out, then, as Deering continues looking steadily at her, showing fright, which turns to despair and desperation. It's no use. I see now. It's true. True. I can deny it no longer. Yes, it was you. You, who made love to me, led me on, till I gave all, all, and then deserted me for another. It drove me mad. I was alone, outcast all because of you, and I resolved to have revenge. But it was not to kill you.

No, no, not that. But that day, when I saw you with her, heard what you said. I was mad. Mad. And in that one moment of desperation, I tried to end it all. The pistol was there, where she kept it, and he, the boy, he was there. I fired. At you.

Almost before I knew what I was doing. I didn't know. I was mad. "'insane, I say. But I fired at you. I thought. But I killed her. The one who had been kind to me, whom I loved. Oh, it was terrible. Take me away. I don't care now what becomes of me. You are not fit to live, but I didn't mean to be a—' "'What you say I am.' "'No. No. No.'

She breaks down, sobbing hysterically. Markham, who has entered second-left entrance, goes to her, taking hold of her, not ungentle. Leave her to me. I'll look after her. Helen has entered right in time to hear part of the foregoing, unnoticed by the others. Markham supports Delphine and takes her up left. He pauses as Sarah goes up, speaking to him. What will they do with her? Do you think... No, not so bad. Manslaughter.

Temporary insanity, perhaps. Oh, I'm glad. Perhaps she had some excuse. She turns, looks accusingly scornfully at Deering, who has a defiant attitude, paying no attention to her. And as to that other, your boy, ma'am? Why, this changes things. You think now that he, that thick? Well, you and Fillmore might come down to headquarters as soon as you can. It'll be all right for the boy now. He goes out, left upper exit with Delphine,

who is still sobbing and moaning, though more quietly than before. Deering follows them, after one look at Helen, whom he has discovered standing upright. She freezes him with a contemptuous glance. He shrugs his shoulders and exits left-up exit. Sarah stands left centre, looking after them, her hands clasped, almost weeping, but with a rapt, joyful expression. After a slight pause she turns, sees Helen, who is still standing right, pale and motionless, staring straight ahead as if dazed. Sarah, going to Helen, taking hold of her gently.

Helen, you have heard, you understand. He is the man who, who? Yes, Helen, the one who was there that night, the man who, for revenge on you, told the police that it was Dick. Oh, Helen, did you need this to show you what he is? No, but this is. ends it. It was ended before, dear, only you wouldn't believe it.

Aren't you glad, thankful? It means that Dick will be free, that you... Yes, and you have saved him, saved me. Oh, Aunt Sarah, can you ever forgive us? Forgive me? They are there, my dear. There's nothing to forgive, not a thing. Helen is weeping.

Sarah, with an arm about her, leads her up right, but pauses as Leonard enters left-second entrance. He pauses left. Sarah sees him, leaves Helen, and goes to him, holding out both hands which he takes. Oh, Len, isn't it wonderful? Wonderful. Yes, it is all wonderful, and you are the most wonderful of all. I declare you're a regular Miss Sherlock Holmes. Helen at Leonard's entrance gives him one glance, her face showing deep emotion, indicating that she dare not trust herself to speak to him. She exits right. Sure, I haven't done anything.

To any rate, if I have, I've had pretty good help. And now I'm going to... To him, and you're going with me. Yes, but... Looking right, longingly. Sarah. looking round. Oh, I see.

She's run away. Wait. Going right. And don't forget what I told you, Len, about... Oh, I don't think that will be necessary now, that cave stuff. I have something better than that. Look, what Aaron gave me. Takes a red apple from his pocket, holds it up.

I don't think she'll be able to resist that. Do you? No, not when you go with it. Exit Sarah right, looking back at him with an encouraging smile. He goes over to left centre, stands there waiting, looking eagerly towards right, the hand in which is the apple behind him. After a slight pause, enter Sarah right, leading Helen, who comes timidly looking down. Sarah urges her on to centre.

Helen? She looks up at him, then her glance again falls, and she turns as if to go, but Sarah holds her, pushing her gently towards Leonard. Helen yields slowly. Leonard advances a step, holds out the apple, smiling, with an adoring look at her. Look, from the old orchard, our Eden, will you share it? with me. She falters, looking down, then up again, meeting his gaze with a tender smile. Yields. He takes her in his arms, puts apple to her lips, kisses it where her lips were,

then kisses her. Sarah, her face radiant has gone upright, and exits quietly, just as the curtain Falls. Curtain. End of Act 4. End of Alias Miss Sherlock by Arthur Lewis Tubbs.