DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

A Music Drama in Four Acts

Stephen Dodgson, music Ronald Fletcher, libretto (after the novel by Richard Cobbold)

CHARACTERS

William Laud, a ship’s captain and leader of a band of smugglers (tenor) John Luff, his close companion (baritone) Margaret Catchpole, daughter of a Suffolk labourer (soprano) Farmer Denton, a neighbouring farmer (bass) Mrs. Denton, his wife (mezzo-soprano) Lucy, their servant girl (soprano) Two farm labourers, harvesting with Farmer Denton (tenor/bass) John Barry, son of a local miller (baritone) ‘Crusoe’, a half-crazed old fisherman who haunts the Orwell shore (tenor) Dr. Stebbing, an Ipswich family doctor (bass-baritone) Mrs. Elizabeth Cobbold, Margaret’s employer, friend and benefactress (mezzo-soprano) Alice, maid in the Cobbold household (soprano) The Lord Chief Baron McDonald, Judge (bass) First Gaoler (baritone) Second Gaoler (silent) Mrs. Palmer, Principal of an orphanage for girls – Sydney, Australia (soprano)

ACT 1 And look – I tell you, once and for all – I will have her with me. For so many years, I’ve longed for her… BY THE BANKS OF THE ORWELL So long… She twists me like a knife inside, for want of her. Scene 1: HARVEST TIME AT PRIORY FARM The truth is – the Devil take it! – I can’t bear to be without her. I need her. In the background are the stubble harvest fields, the crops now And she it was – remember? – who nursed me back to life gathered. In the near distance, down to the left, the shining estuary of From cutlass wounds taken defending you, the Orwell. On the left, in the foreground, a small farm hut. In the And the likes of you. centre, a track comes over from the hillsides, round a bush, and into Back to the ship and the open sea? the farmyard. To the right is the farmhouse in which the harvest Yes, by God! festivities are to be held, with a door and a large window on either side. But now, I’ll have her with me – Throughout the scene, the evening sunlight fades. The large moon, Even if I have to take her off by force. already in evidence, grows brighter. Later, lamps are lighted in the windows, lanterns are brought outside, and night has fallen when John LUFF Barry leaves and the scene closes. Well, now – that’s easily, easily done. Get her down to the beach tonight – Will Laud and John Luff enter surreptitiously, left, taking cover in front We’ll have her on board in a couple of shakes. of the farm hut – Luff protesting vigorously, and taunting his Once out to sea – once get her bedded – and she’s yours: companion. Home, family, and all that stuff, soon forgotten. Taker her – and be done. LUFF What an almighty fuss…about a woman. (Margaret appears round the bush, and comes along the track into the Lord – what a fuss, what a fuss. farmyard) A woman should only be kept for use – For bed and board. LAUD Her place is under a landman’s roof. She’s coming now. Be off with you – back to the boat! Once let her sniff, and pry, and work her way I’ll be with you soon. Into your own affairs, And – by God! – (Luff gestures in mock despair, and slips away to the river bank. Laud She’s like an anchor rattling fathoms down from your neck: stays behind the hut – awaiting her) Chaining you endlessly down. I say: back to the ship – and let this woman be. MARGARET Oh harvest moon, LAUD So low, so round, so dusky in the sky, Stop your prating man! So hazy and golden over the fields where the scythed poppies droop You’ll have the people here about our ears. and die,

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

So golden over the braided sheaves, the shingle shore, the shining Clattering pots and pans, sea, Than I was born to trudge behind a plough: Oh harvest moon, A slave to a slave’s grave. How I do love this land, these peaceful fields, (He tries to embrace her, but she struggles to free herself as they hear This world of home you light for me. the men coming from the fields) Come with me now! Come with me – LAUD And you’ll see that all I say is true. (Stepping out and startling her) Margaret! MARGARET No, no! Let me go. Listen MARGARET Oh…Will (Farmer Denton and his labourers have brought home the last load of (They embrace impulsively, but, almost at once, Margaret pushes him the harvest, and are coming in traditional manner to the corner of the away) house. Farmer Denton leads the singing, followed by a chorus) No! No! Where have you been? DENTON So long away – after all your promises. The harvest is ended, your labours are o’er – At the same trade, I know. So come to spend Largess together once more… Why do you still come back – secretly, like a thief – When you never mean to keep y our word? LAUD The Devil curse the harvest! LAUD The voyage was so long, Margaret…Listen! DENTON Week after week we were bound in port – The last cart is loaded, and safely brought in – Storm after storm… So come and let Largess together begin…

MARGARET MARGARET Storm after storm? Fight after fight, you mean. Go now – quickly – or they’ll find you here. Go! And all along this very Suffolk coast. Do you think I don’t know about your escapades? LAUD You – with a price on your head now – By the shore tonight, Margaret! We must talk again. A wanted man? MARGARET LAUD Go quickly! Margaret, I sear its true. Look – these are presents from the south of Spain: LAUD Some silk, and laces, and – look – smooth lady’s gloves. Don’t fail me. Call ‘Margaret’, and I’ll know it’s you. And for your family, here’s… MARGARET (Margaret sweeps them out of his hands, scattering them all over the No more of this. Go! ground) (As the men come near, Laud has to make his escape. Margaret MARGARET hastily tries to compose herself as Farmer Denton comes round the Presents, Will Laud? corner of the house with John Barry and two labourers – all singing the You do not know me yet. last lines of their chorus.) Do you think I want presents? That presents will buy me? DENTON and labourers Again – gain – I’ll brand it into your brain – The harvest is ended, our labours are o’er, I’ll never to won – never – We’ll come to spend Largess together once more, Until you change your evil, foolish ways. With full flowing mugs of old harvest beer, We’ll drink to our Master, who gives us good cheer. LAUD (seizing her angrily) (They see Margaret in some distress, but also the presents scattered By God, Margaret! Have a care on the ground about her) How you use that tongue of yours on me. Do you call it a crime, then, DENTON That all I want is to sail the high seas freely? Margaret…Well…what’s this? Would you see me bow down, then? Your visitor again, eh? Have ‘government officers’ telling me where I can trade? Your bold sea-faring gentleman again, eh? Did they make the laws? One of these days they’ll catch him – Did they make the sky and sea? You’ll see. To hold us all in bondage? But – till then, my girl – No, Margaret, no. He’s never going to let you be. Under that far and shining sky But come now – why in tears? Is a world that’s free. Over that sea’s heaving breast MARGARET Is a world that thrills the blood – (Passionately disclaiming) Making this land-life on Orwell’s shore Tears? I’m not weeping. Seem nothing but a drudge. Only so angry that he takes me for granted – I want you to share that world with me, Margaret. Thinks I’ll still want him, I tell you – and you know in your heart it’s true – Whatever he does, whenever he comes. You were no more born – you, with your proud spirit – To be a tame farmhand’s tame wife,

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

(Mrs. Denton and Lucy, the servant girl, hearing the noise of the men’s Soon, I may have my father’s mill, arrival, come out of the door to greet them, and, excited by the exotic And everything I have, or do, would all be yours. gifts on the ground, pay little heed to Margaret’s distress) I love you, Margaret. All I want is to bring you happiness. MRS. DENTON Oh, my goodness gracious – look! MARGARET A silken shawl – ribbons and gloves. No, John. I cannot, cannot. I don’t believe Will Laud is evil. LUCY I do believe he has good in him. (Thoughtlessly parroting her mistress) And a straight way is hard for him – with all his adventure. Oh, my goodness gracious – look! No, John, I cannot, cannot. A cap and lace – such shining brocade. Whilst ever Will Laud lives, I cannot go to any other man. (The festivities begin to be heard from the farmhouse. The harvest MARGARET song begins quietly.) Take them all – take all of them. The ripen’d corn in sheaves is born, Do you think I’d touch his trashy gifts? The loaded wain brings home the grain, Pick them all up. The merry reapers sing a bind, Take all of them away. And jocund shouts the happy, happy hind Hallo Large – Hallo Large – Hallo Lar…gess. LUCY Lord a’ mercy – look at this! (Lamps are lighted meanwhile in the windows. Lucy and a labourer come outside with jugs and lanterns, and fix the lanterns on the wall MRS. DENTON and door-posts. Farmer Denton, Mrs. Denton, and the other labourer Lord a’ mercy – look at this! come out, and Denton, seeing Barry, goes straight up to him.)

LUCY DENTON Coffee and tea – What, John? Still idling here? – and no mug of ale? MRS. DENTON And Margaret? To last till spring Into the kitchen, my girl!

LUCY (Margaret moves round them as if to go into the door, but, as the Silver and pearls! others group together for the harvest song, she picks up a shawl from the ground, and slips across the stage to the hut) MRS. DENTON Earrings and snuff! DENTON (continuing) DENTON Ah, good, John. There’s your mug, lad. Come on now – But…there’s a requirement with it – has to be upheld! Into the house with all of you. Who’s your girl, lad? Let’s get the frolic started. We have to know, John! Dr. Stebbing and some of his fine friends from Ipswich Her name, please. Are coming to see how we enjoy ourselves. Everybody has to name his girl at Harvest Home. We mustn’t let them down – So…Come now: who is she? Nor yet ourselves! MRS. DENTON Run along, Lucy dear, serve up some ale. Who is she, John? My throat could swill down a barrelful all alone. And Joh, lad… LUCY Better plead a stronger case Come on, now, Master Barry – If you’re to outstrip this smuggler-legend, What be her name? This bold buccaneer! ALL (They all crowd noisily through the door, laughing, gloating over the Her name, her name, her name? presents, and leaving John Barry and Margaret alone) DENTON BARRY Come, lad – or they’ll all die of want of knowing – Margaret? Her name?

MARGARET ALL (Knowing John well – but embarrassed and petulant in the situation) Her name, her name? Well, John Barry? BARRY BARRY All right, then! It’s true…He has been here again. A drink to Harvest Home. All these trinkets show he’s still smuggling. And her name is… He betrays you with every word he speaks. Yes – and I don’t care who knows it – With every promise, every voyage, he betrays you. Margaret Catchpole! Spreading dangers, too, with his tainted goods. Won’t you be persuaded, Margaret? ALL Marry me now. Margaret Catchpole – Hurrah! Hurrah! From childhood we have known each other well, (They think she has gone inside, and chase through the door, And lived our life along this Orwell shore. shouting: –

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

Where is she? Where is she? And out of the mists I see ghosts arise She’s gone. She’s gone. With stars in their hair and fire in their eyes, Margaret Catchpole… And storms round their shoulders as wildly they row: But Margaret, having heard John Barry shout her name, goes off The seal of Satan on their brow. quietly and unnoticed towards the river. Even Barry does not notice her, but, as the rest go in, Denton speaks to him) (Beginning in reflective mood, the old man becomes more crazed as he sings on. Laud and Luff beach their boat on the open shore, then DENTON begin to drag it carefully up the shingle.) Don’t take it hard, lad. The world’s not emptied – LAUD Just for want of a woman’s love. What the devil is that?

BARRY LUFF It’s empty enough for me. (Peering into the trees, recognizing Crusoe, and dismissing him) Ho! Only old Crusoe. DENTON Harmless enough. Struck by the moon. No, lad. She’ll come round, you’ll see. Nothing to worry about. Everything comes to him who waits… Let’s get the boat hidden. If only he waits long enough. (The second verse of the Harvest Song begins quietly again, inside) LAUD The harvest’s o’er, the grain we store, Crusoe? Damn the man. The stacks we pull, the barn is full, Who would have thought he’d be there – The merry reapers sing again, Just here – on this one night? And jocund shouts the happy, happy swain, I don’t trust anyone. Hallo Large – Hallow Large – Hallo Lar…gess. He haunts this coast like a ghost himself, And who knows what he sees? BARRY What he hears? What he knows? Harvest Home… I’ve no stomach for it tonight. LUFF Forgive me, Master Denton, if I make off home now. I tell you he’s harmless enough – And I’ve watched him from years and years: DENTON All along these shallows. A pity, lad. He’s harmless enough. Aye…all right. Pull the boat up here. A pity – but I do understand. LAUD (As Barry goes off home – also towards the river bank – the others Steady. Not too high. come out and gather round in a circle for the Harvest Song, and the We’ll need to push off quickly. scene ends with a great finale. They sing the last verse standing, then, in the chorus, all join hands, bend low to the ground, and sing quietly at CRUSOE first, then with gradual crescendo: ‘Hallo Large. Hallo Large. Hallo (Muttering on) Lar…’ – until, finally, they fling themselves up to their full height, giving I see it plain, I see it plain, a good stamp, and crying: ‘…gess’.) Spirits are haunting the mists again. Ah…the world seems beautiful – The feast we share – But I know it’s the Devil who rides its tides, Our Master’s fare. The Foul Fiend who plots its fearful destinies. May long he live. I see it plain… Such treats to give. The merry reapers sing with joy (Laud and Luff beach the boat to their satisfaction. Crusoe mumbles on And jocund shouts the happy boy. – until Luff makes as though to cross over to his fire: threatening him.) Hallo Large – Hallo Large – Hallo Lar…gess. LUFF (Warmed and excited by the ale and the song, they all tumble noisily Quiet, old man! We want to listen. inside to continue the frolic. The lanterns glow by the door, as do the Quiet, I say! We’re waiting for somebody. lights in the windows. The moon has become large and golden, now dominating the scene.) (They hide themselves and wait. Suddenly, there is a rustle in the trees, and Margaret appears, left, having come down from the farm.) Scene 2: A SHINGLE BEACH BY THE ORWELL. MOONLIGHT. LAUD Under the moon, mist is rising from the marshes along the river bank. Who’s there? The dim noise of the festivities gives way to the hushed atmosphere of the shore. On the left, a bank of shadowy trees come down to the MARGARET estuary. An inlet of the river brings the water close to the centre of the Margaret. stage, by a shingle bank, but this moves out slightly again, to the right, where, in a clump of trees, the crazed old man – ‘Crusoe’ – has his (Laud emerges from his hiding place by the boat, whilst Luff stays shelter and tiny fire. hidden)

CRUSOE LAUD Seasons come, seasons go, Margaret! The world’s tides ebb to and fro, Here by the shore I watch all go by – MARGARET The changing waters, the changing sky… Oh Will!

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

(Again, they move impulsively to embrace, but, again, Margaret resists Though, come to that… him) (She bethinks herself – and is unable to resist mention of it) It’s true one man has offered me his hand. LAUD Margaret – come with me now. LAUD Nothing and nobody stands in our way. By God, Margaret! Take care. We can be free at last – free as the air! You insult me. Who is he? I’m anchored at Felixstowe – My boat is here to take us. MARGARET Let’s go now, at once. John Barry, the miller’s son – you know him well. And you know well, too, Will Laud, MARGARET I have always been true to you – What? Now? And all I ask is truthfulness from you, in return. Without a word? Without being wed? LAUD And only with your promises to go on? Barry? I’ll kill him. Why – it was his brother cut me down in the raid – LAUD And you consort with him? We’ll marry later – as soon as you like – By God – I’ll kill the man. As soon as we can arrange it. (Luff leaves his hiding place impatiently, moves across, and seizes MARGARET Margaret roughly by the shoulders – despite Laud’s distaste and Will Laud – you must be mad: discomfort at the situation) To think I can be had just for the asking. LUFF LAUD Come, Will. Enough’s enough. I tell you, Margaret, it is the only way. Such an almighty fuss – over a woman.

MARGARET MARGARET Why is it the only way? Will. What’s this? I thought we were alone? LAUD Oh, for God’s sake, Margaret, end this haggling. LUFF If we’re to take her – MARGARET Let’s take her and get out. No! You end your smuggling! There’s no time to lose. Marry me here – at home – amongst all those I love. No woman is worth the risk. Then I’ll go with you anywhere. But not like this – MARGARET Not like a criminal in the night. Let me go! Let me go! Will – who is this animal? LAUD Let me go! Let me go! (As though in good humoured subservience to her wishes) Look, Margaret… LUFF Let me plead with you, Come now, my little pretty, Let me beg of you – No more delay, no silliness, Come with me now, You’ll do as you’re bid. And I’ll promise you this: – Let’s get her on board. After this one last voyage – The very last, the very last, I vow – (He whisks Margaret over his shoulder like a sack, and walks towards I’ll seek a pardon, serve in the navy, the boat) Save my prize money, and then… We’ll settle here. MARGARET What do you say? Will – don’t be a fool. Come with me now – Is this what you mean to do? And you shall see my smuggling end. Will!

MARGARET LAUD No. First keep your word, (Resenting Luff, wanting to restrain him, but impatient with Margaret) And then I’ll come with you. Ah well…Yes – let it be. Take her to the boat. LAUD We’ve talked enough. (His mood changing) You leave me no alternative, Margaret… Ah, damn you, Margaret. This senseless arguing. There’s no pleasing you. There’s more in your refusal, I’ll be bound, MARGARET Than meets the eye. No! No! (She screams) Is it some other man? Is that the truth? (All unexpected, Barry comes crashing through the trees down the Is that your reason? bank – silencing them all with a loud cry)

MARGARET BARRY You know me better than that, Will Laud, What’s all this? What’s going on?

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

Doctor Stebbing was coming to the frolic, (Margaret cries out sharply) I believe.

MARGARET CRUSOE John! John! Help me, John! Stebbing’s a good man – But he must be quick, quick! BARRY He’s safe with me, Miss, In God’s name…Margaret… Off you go! Let her go! (Seeing that she can trust Crusoe, Margaret rushes off, left. Crusoe (He picks up a stake from the beach, strikes at Luff’s legs, and brings drags Barry across to his fire, replenishes it, then tends to him. The fire him down, freeing Margaret. Laud rushes at Barry. Luff gets up, fires glows warmly in the tree-tented shelter – becoming the focus of the his pistol at Barry, but misses. Barry turns to engage him. Laud now darkening scene. Crusoe takes up oars, spars, branches, from the fires.) ground – fashioning a stretcher in readiness – and falls again into his ruminating song.) LAUD Barry – it’s you. Just what I’d hoped for! CRUSOE Rest…young sir. (He wounds Barry in the shoulder. But now…Crusoe gets to his feet – Warm your soul by Crusoe’s fire. a gaunt figure, with his fishing spear held high like a trident – and Ah…the world seems beautiful. strides away from his shelter. Singing crazily, he joins Barry, and, But we have seen the Devil who rides its tides – fighting together, they force the two smugglers back to the boat.) The Foul Fiend – And you and I defeated him! CRUSOE (He potters about among his bits and pieces, falling back into his Back you Devils – back with shame reflective, half-crazed mood, as at the opening of the scene) Into the marshes where you came. Seasons come, seasons go, Out of the shadows, out of the trees, The world’s tides ebb to and fro Back to the swallowing mist and seas. I cast my nets by Orwell’s shores Down you Devils – down, down, For shoals of fish, for shoals of stars… Where all Hell’s fiends shall die and drown. But…Do you hear, young man? (Laud leans over into the boat, picks up a carbine, takes deliberate No good will follow that woman’s footsteps. aim, and fires. Barry falls to the ground. Crusoe makes a last terrible attack with his pike – and the two men make off in their boat. Margaret Here was a destiny begun – kneels and bends anxiously over Barry – as Crusoe watches the And I shall see its end! smugglers off.) (He finishes the stretcher, places it by Barry’s side, then stands in the MARGARET firelight, looking towards the farm – as though troubled by Margaret, John…Oh, John. and waiting for help to come: an eerie, fateful, prophetic figure.) To have wounded you so – And now to bring you to this. ACT 2 Come – say something – speak to me. Oh! I never can forgive myself. THE COBBOLD HOUSEHOLD

BARRY Scene 1: THE DRAWING ROOM (Lifting his head) Margaret…Have they gone? Dr. Stebbing and John Barry have been shown into the drawing room and are waiting for Mrs. Cobbold and Margaret. Dr. Stebbing, in MARGARET benign, professional, paternal manner, walks up and down the carpet, Yes, John. But are you all right? holding forth to Barry: indulging in the pleasure of soliloquy, as – whenever given the opportunity – he is inclined to do. Barry, his arm BARRY still in a sling, sits uncomfortably on the edge of an armchair. From Thank God…they didn’t get you. time to time, he tries to interrupt – but the doctor sweeps on, unnoticing, absorbed in the enjoyment of his own voice and his MARGARET reflective speech-making. Gently…Lie back. Let me put this under your head. DR. STEBBING You are young, you are young – (She folds her shawl, and places it under his head. Crusoe has come Whilst I am growing old – over, and now stands over her.) And I tell you: this talk of emigration Is too bold, too rash a step. CRUSOE Speak to Margaret again. Stand aside, woman: Speak to her before you decide. Words won’t staunch blood, or mend bones. Nothing of good can come of too much haste. Let’s see what damage is done… (examining him) You are young, my boy, and impatient – Now – off with you, Miss – and like the wind, And you think that I am old – Or he’ll not last the hour. But a doctor sees a good deal of this world, A doctor’s help he needs now – And I tell you: there’s a destiny in things. Not yours or mine. Ah, yes…a destiny!

MARGARET I have known Margaret as long as you. I’ll run to the farm. Why – when a girl – she rode full gallop

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

To call me to her mistress, who’d collapsed: You’d change your mind – Nacton to Ipswich on a horse few men could hold. And marry me. Yes. Mistress Denton owes her life to her. Once again – I beg you – to marry me. So, too, does Will Laud – bold devil that he is! Without her nursing, that deep cutlass wound (The more he presses his feelings upon her, the more distant and Would have meant ‘finish’ for him. distressed Margaret becomes) And you, too! If Margaret had not raced as she did, MARGARET Why! – you would not be so tormented now Please, John. Do not ask me. About your future, My heart is full of gratitude, Your future would be past. But…my feelings for Will Laud have not changed. I still cannot think of him I was fortunate in finding her this place. As the evil man you all believe. Mrs. Cobbold is a lady born and bred. He is caught up with these smuggling companions, She sees the good in Margaret. I think… And he hopes to help her: It haunts me I may have misjudged him. To quell and educate that too-determined spirit – His one last voyage, A girl of character indeed! His naval service, (Barry is by now very restless, and tries to break in, but Dr. Stebbing is His prize money… still very enjoyably in his stride) I disbelieved it all! Patience you must have, Master Barry, And I told him you had proposed to me. You need patience, you are young. Oh, John! Time holds many changes, many things in store, Perhaps I was to blame for it all. But…you must give time all the time time needs… To unfold them! BARRY (Coldly – disbelieving – unable to believe her doubts) (He is pleased with his last line and savours it. Barry hopes to interrupt For God’s sake, Margaret, at last, but – Mrs. Cobbold and Margaret enter, left.) This is madness. Laud would have killed me. MRS. COBBOLD It was all deliberate – Ah, Dr. Stebbing…and Master Barry. A deliberate plan to ruin you – Brave Master Barry! Surely you must see that? What an experience! It is almost a legend now. (Margaret does not answer – but Barry sees that his pleas are But I hope you are well – and mending now? hopeless. He makes one last attempt to persuade her)

BARRY BARRY Thank you, Mrs. Cobbold. (continuing) Yes – I am well. If your answers is ‘No’ – But only through the help of Margaret here. Then there’s nothing here for me, It is kind of you to allow me to call I’ve already made plans: And thank her. To emigrate to Canada – There’s a new government scheme there… MRS. COBBOLD Margaret – I beg you. Not at all – not at all. But come, Dr. Stebbing, MARGARET Our young friends want to talk, I’m sure, Oh John. I am so torn. And there are things I’m longing to show you. Please do not press me… Forgive me, John, DR. STEBBING But – so long as Will Laud lives – What? Some more fiends, dear lady? I cannot turn to any other man.

MRS. COBBOLD (Barry turns and makes his way abruptly – but clumsily – out: turning Some old flint tools. right, to go down the stairs and through the servants’ quarters. Come – let me show you. Margaret is left alone, but, just at the moment when Barry leaves, Mrs. Cobbold and Dr. Stebbing come back into the room, left, and – sensing (They leave, left, to go into the library. Barry crosses, impulsively, but what has happened – raise their hands questioningly and in distress. awkwardly, to Margaret, and takes her hand – to which, however, Margaret, turning and seeing them, burst into tears. The scene which sensing warmth, she responds only slightly.) began with the promise of well-intentioned and well-considered plans, ends in sudden desolation.) BARRY Margaret – Scene 2: PORCH – KITCHEN / PARLOUR – DRAWING ROOM I know you spoke your feelings truly At harvest time, A small outside porch on the left (apron stage). The main stage is the But…I’ve longed to see you; kitchen/parlour – from which a few steps lead out (right), upwards, and How I’ve longed to see you – into the Cobbold’s drawing room, which is above. At first, only the To thank you. kitchen/parlour is fully lighted. The lighting changes, focusing attention, as each part of the stage is used. Since you helped me by the shore, Since you saw what Will Laud tried to do, ALICE (a maid) Since you saw what friends he kept, I don’t care what you think, Since then, Margaret… I’ve told the Mistress now – I have hoped against hope That’s what I’ve done!

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

I don’t know what’s come over you, MARGARET Margaret Catchpole – (Also losing her control and revealing the intensity of her feelings) But I know I ain’t a-goin’ to stand it any longer. Mrs. Cobbold – please hear me. You came here so good – I do my best to work as you wish, So lady-like – And truly I am grateful And now you can’t speak a civil word to no-one. For your care and kindliness – Truly I am. MARGARET But everywhere…I hear rumours, Alice! – Continuing rumours, That’s enough, please. They say he has been serving with the navy. Just be quiet – and get on with your work. They say he was brave in battle, against the French. I am the house-keeper here – Everywhere – rumours, rumours! And that is the end of it. They say he is sailing home in a prize-ship with Lord Howe… Just do as you’re told. It is all exactly as he promised. And everyone hears this news. ALICE But only I never hear it. Maid I may be – Why can I never hear it directly from him? But why should I have to go To every rough old sailor MRS. COBBOLD Who comes to the door? – (Sternly now) And ought to be sent a-packing right away? Margaret! That’s enough, please. MARGARET Control yourself. That’s enough, I say. You know full well I will write to the navy at Portsmouth; More than enough. Your master, too, will call at the Admiralty; We only give to those who are needy. Nothing would please us more than to discover That Laud meant all he said to you. ALICE But there is no reason for this back door gossiping. Needy? It upsets us all – and must stop. There’s not a man who whines and stinks of sea-weed This is not a reprimand, my dear, Who won’t get bread and cheese – But something truly for your own good. And even a bit of money – out of us. How can I tell the Mistress MARGARET Where all the food and money goes? (Withdrawing her feelings, and submitting to her circumstances) There will be no more trouble, Madam, MARGARET I do assure you. That’s not your business. I account to her. (She returns to the kitchen. Mrs. Cobbold is shaking her head anxiously as she puts down the paintings and the light goes out about (The bell rings, and Margaret goes off (right) and up to the drawing her. Margaret goes to the table, takes up some household accounts room – which now becomes lighted, whilst the kitchen light dims. Mrs. and sits tensely over them. The maid, casting a gloating eye over her Cobbold is discovered looking over some of Margaret’s work – when shoulder, is handling vegetables by the sink. There is a loud knock at Margaret enters.) the outer door – but no-one moves. The knock is repeated.)

MRS. COBBOLD MARGARET Come in, Margaret, do come in. Come then, Alice, please see who that is. This writing and this painting – And if it’s a beggar – send him off! Why – they are excellent – quite excellent! But come now, my dear. (Alice goes to the outer door, and Margaret, at last, slumps forward to With so much improvement here, the table and clutches her head, as though at the end of all self-control. Why so much complaining down below stairs? The porch now becomes lighted – revealing Will Laud, a large canvas About your temper? Your restlessness? bag beside him. Alice opens the door.) Your too ready giving at the door? Attracting seamen? ALICE And even inviting them in? Well, well! Is this all still enquiring after Will Laud, my dear? Don’t let’s knock the house down, shall we? And what might you be wanting? – MARGARET Hammering away like this? (Irritable – but contained) Madam, I manage things responsibly for you. LAUD I account for everything to you. Hold hard there with that tongue of yours, Nothing is done amiss. Young lady. No-one has given you offence. MRS. COBBOLD I’m told a Margaret Catchpole lives here, (Losing her patience a little) Is that so? Margaret. Calm yourself! She knows me – never fear. I have not charged you with incompetence, Or irresponsibility… ALICE Why do you misinterpret all I say? O-ho. A bold one, eh? I only grieve at your anxiety And a seaman, by the looks of it. To learn the whereabouts of Laud. What a surprise! It is so obvious! There might be a Miss Catchpole here… And still – there might not.

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

I be only a servant here, you see. (She looks at the bag slowly, takes it inside, drops it distastefully by the But what would you be wanting of her? door, and goes back to the sink) Some food? – and money? – I’ll be bound. Your friends have told you of her ways, then? MARGARET (Still gazing blankly at the accounts) LAUD Well? Has he gone then? Have a care, girl! Just watch that skivvy’s lip. ALICE I am an officer of the King’s Navy, (Working again) I’ll have you know. He have, my goodness. And I’ll not stand such talk. Like a ball from a pistol! If Margaret Catchpole’s here… And even forgot to take his bag with him. Do you tell her I am here. Tell her I want to see her, MARGARET Tell her I’m a ship’s captain – from the Orwell, (Slowly lifting her head from the papers) Tell her there’s a prize for her. What did you say he left? Now do you go – And tell her all of that! ALICE ALICE Just that filthy old sack there. Don’t you be bold with me, my man. We have more ship’s captains a week (Margaret goes across to it – examines it – then suddenly screams as A-calling at this house though demented – losing any vestige of control) Than I’ve got fingers on my two hands – And all with just such likely stories. MARGARET You just wait here, God! It is addressed to me. And I’ll see if such a woman might be found. It must be his prize money. Why, you confounded girl! (She closes the door a little, but not completely, and goes inside to (She seizes Alice and shakes her) Margaret, who, as she hears her returning, raises her head from her Who was this man? hands, pretending composure) What was his name? His name? His name? MARGARET It must have been him. Well, then? What is it? ALICE ALICE (Now genuinely frightened) Another of your ship’s captains, if you please – I’m sure…I can’t recall. As rough as any beach beggar. I don’t believe he said. What shall I tell him? MARGARET (Margaret loses control, and speaks loudly, irascibly, passionately – so Will Laud? Was that his name? that Laud hears her outside the door) You stupid creature? (Shaking her again)

MARGARET ALICE Tell him I’ve had enough of sea captains, I can’t be sure. Tell him his tales and promises sicken me, It might have been. Tell him to go his way, I didn’t take much notice. Tell him I never again want to see him, Or any of his kind. (Margaret flings her violently aside and goes to the door, looking out Tell him to tell the same to all of his friends, from the porch and calling incoherently) Tell him they have only brought me More trouble than I can bear. MARGARET Will! Will! (Laud, hearing her, hurls the sack down in fury, kicks it to the door – Oh, don’t let him go. then talks off into the night) I have only been waiting for your coming. Though everyone tried to pull me from you – LAUD I have been true… The Devil take her! Oh, Will! The Devil split me down – Don’t go. Don’t go. Don’t go. If ever again I try to please a virtuous woman. Damnation to the prize money. (She subsides hopelessly, weeping, leaning against the post of the Take it – and be welcome! porch. Alice creeps to the door, looks through, then comes back into the parlour, and makes a pretence of rubbing down the table – shaken ALICE to the heart, despite herself.) Very well, then… (She goes back to the outer door) ALICE Well, my fine sir. She do say… Oh my! What a to-do! (She pulls the door open, is astonished not to see him, then looks out – But how was I to know! taking her time in peering into the darkness) Oh – my goodness me. (All the lights dim and die out, except those on the porch – and a Well, there’s an angry one. growing light focuses on Margaret, still leaning there, still weeping, And what a grubby old sack he’s left behind. gazing despairingly into the darkness.)

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

Scene 3: RIVER SCENE – AS BEFORE – WITH CRUSOE’S LUFF SHELTER (Scoffing and taunting) I told you long ago: Crusoe sits inconspicuously, quietly, beside his low fire which is A woman is only for use – sheltered from the sea. Luff cautiously unloads tubs of spirit from a For bed and board boat drawn up on the beach, but suddenly crouches down, hiding And dallying when a man’s work is done. himself in the reeds as an excise boat passes by – far out on the You always did make too much fuss of her. water. A moment later, Laud comes down the bank (left) through the And do you really think she’s only yours? trees, making some little noise and giving a low whistle. Ready for any old barnacled hulk she was – While you were away. LAUD Luff? Are you there? LAUD (Taking him by the throat) LUFF Look, John Luff, I warn you. (Urgently) Hold your foul tongue. Quiet man! Over here…but quiet! LUFF (As Laud joins him, he points out over the estuary) (With equal strength throwing off his arms and repulsing him. They An excise boat! stand face to face, angrily.) (They stay silently until the boat passes, then get to their feet and Look you, too, Will Laud. straighten up, as Luff begins his taunting) You, too, hold your tongue. Well, then… Do you think you can come and go Our fine and fancy captain. Just as you please? – All a-smelling of naval braid. And treat us like a lot of restless fools? Pooh! (Grimacing) If you’re to come back, Here, Master Admiral. (Handing him a tub) We have to have an understanding – Give us a hand with the unloading. Or you and that woman Will be the finish of us yet. LAUD Have a care, Luff – LAUD Don’t try my temper. Don’t threaten me! I’m still the leader of this band – LUFF And do you not forget it. And how did our great King’s sailor I’ve not been away so long for that to change. Know to find us here? But I’ll not argue now… I’m in no mood for it. LAUD I’ll go and fetch the others, James Cook – the horse dealer from Ipswich… And then…we’ll see. But now – get your unloading done yourself, LUFF And go to the Devil! Horse dealer? Hah. Horse thief you mean! (He kicks a barrel back towards the boat and strides off, left. Luff, a LAUD barrel in his own hands, lifts it up swiftly, in fury, as though to hurl it Give him whatever name you choose – after Laud, or smash it down into the boat. But then – still holding it He told me you were trading here. above his head – he stays himself, and his anger, then puts it down composedly in a tense and ominous silence, and stalks about the LUFF beach brooding. He catches sight of Crusoe, and his words emerge And what about our pretty, pretty Orwell bird? with a cold, final deliberateness.) Our appetising Margaret? LUFF LAUD Heard you that, old man? Have a care, Luff. Heard you the way he talked to me? Watch that tongue of yours. Me. A friend of his for years – LUFF Who has saved him from the sword A fine and lively piece she was, Many and many a time. That I do readily admit, I’ll make an end of him – and his woman – A wench with spirit! If it means the end of me. Have you set eyes on her again? But how? How? Ah…Cook, James Cook. LAUD That’s the way. (His anger rises again in his reply) James Cook – horse dealer – hah! I found her – He’ll do it for me – if the money’s right. Yes, I found her, damn her eyes. I’ll work a horse into the bargain. I found her, and she would not see me. I’ll have him write a letter She refused – by God! – she refused. As if it was by Laud’s own hand – And after all I’ve done, Begging her to ride to him in London, After all I’ve saved. To join him there, and marry. No…Damn all women! I’ll have them in a tangle neither will escape. Damn the navy! That’s the end for me. What say you to that, old man? Old fool? Witless old scarecrow? Is not that a fine plot?

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

A fine old tangle? Scene 5: THE SAME Aye-aye. Aye-aye. That it is… The lights rise again to mark the beginning of the scene, and, at first, (He wanders back to his boat and his unloading, still brooding. Crusoe both the porch and the kitchen/parlour are lighted. The doors are still begins to mumble over his fire.) wide open. Through them, and then to the foot of the stairs, rushes Alice, the maid. CRUSOE I see it plain, I see it plain, ALICE Spirits are haunting the mists again. (continuing) Ah…the world seems beautiful, Such a to-do, Ma’am. But I know it’s the Devil who rides its rides I scarce know how to tell it. The Foul Fiend who plots its fearful destinies. One of the Master’s carriage horses is gone. So are the groom’s clothes – LUFF All gone! (Threatening) And so, too, is Margaret Catchpole – Hush, you old lunatic – there’s that ship again! Nowhere to be found. The Master is gone off with the Chief Constable, (He crouches again by the boat. They keep silent – as the same ship And a big reward is set. goes by.) The Master said… I was to tell you. Scene 4: THE KITCHEN/PARLOUR (She rushes out of the parlour again – and outside. Mrs. Cobbold Margaret is pacing up and down, agitated and undecided – re-reading slowly comes down the stairs, and sits, finally, at the table where the letter she has received, and checking the items of the groom’s Margaret sat.) clothing she has already stolen and prepared. MRS. COBBOLD MARGARET Oh willful Margaret. Impossible. Impossible! Dear God, have mercy on her. And yet… So all our help has come at last to this. I know James Cook was always a friend of his. Poor, dear Margaret. (She reads:–) What strange, what fearful destiny is yours.

‘Dear Cook, (The lights dim, and the curtain falls)

Here I am, safely anchored at the Dog and Bone in Lambeth ACT 3 – but having just found my girl, have all too hastily walked away from her – which grieves me now, precious hard. COURTROOM AND PRISON

Will you visit her for me – and so serve an old friend? Scene 1: COURTROOM Tell her, if she could still think well of me, and come to me here, we could be married, and all might be well at last. She The courtroom – on the upper stage – lies in a grave semi-darkness. A can borrow a horse from her master. One horse will never be crowd of people in court is suggested, but the lighting focuses only missed…’ upon the chief actors. The judge is elevated (high left) and at a distance from Margaret (lower right), who stands in the dock with the Oh. How could he think I’d take gaoler behind her. Between them (centre) in the well of the court, sit One of the Master’s horses? Mrs. Cobbold and Dr. Stebbing. On the lower stage (centre) is the cell Can he know what he is asking of me? – now invisible in complete darkness – but which is lighted later, when Yet… Margaret, once sentenced, is led below. Margaret wears a plain blue How else could I get to London cotton gown, and is completely dejected, as though inwardly resigned, To join him there? completely overcome by guilt and shame. How else could I get to London To join him there? JUDGE (She reads again:–) Prisoner at the bar… Solemnly, and insistently, ‘…No-one need know, and even if she was found out, it You have pleaded guilty to the charges brought against you, would be treated as a harmless spree. But tell her to dress And all the evidence substantiates your confession. herself in a man’s clothes if she can. A woman at the toll Nothing, however, gives any intimation gates would be questioned. Of your motive in this crime. Have you anything – anything whatever – Go and beg her, James. She has a good spirit, equal to this To say…to explain or mitigate your offence? task – and then we need no more be parted. (Margaret looks for a moment as though she is about to speak. The Do this one service for your old friend – Will Laud.’ court becomes expectant. But – she then bows her head, remaining silent.) Oh! Shall I…? Or not? What a risk to take. JUDGE But come…it is our only chance… (continuing) Let it be done! You have nothing – nothing at all – to say?

(She picks up the groom’s clothes and rushes from the house – leaving (Margaret remains with bowed head) the door gaping wide. The lights dim to mark the end of the scene.)

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

JUDGE Can hope to quell it. (continuing) You can be no exception to that rule. Very well, then – if that is your wish… It is my solemn duty, then, to pass sentence upon you, which is:– And yet I am unwilling to leave the matter there. That you be taken from the place from which you came, I address the question to the entire court: And thence to the place of execution, And there to be hanged by the neck until you be dead. Is there anyone who may have something to say And may God have mercy upon your soul. On the prisoner’s behalf? (Mrs. Cobbold and Dr. Stebbing show their disturbance as Margaret (Mrs. Cobbold gestures, rises, and the judge gestures to her to speak) almost collapses against the gaoler, who takes her by the arm, turns, and – supporting her – leads her down the stairs. The courtroom falls MRS. COBBOLD into darkness. My Lord, My testimony has said I am her employer – In turn, the cell below is now lighted. The door opens and Margaret is But such is her character…that I am also her friend. led in. The gaoler leaves her, and she sits alone. In the intensity, it I beg that pity and clemency to her be granted. seems as though she will cry out, or speak, but…she sits immovable. She has served my hope, my family, There is a new clanking of keys. The door opens, and the gaoler With the highest qualities. shows in Mrs. Cobbold and leaves, closing the door behind him. My trust in her is complete. Margaret now collapses to her knees, her head against Mrs. Cobbold’s But – alas – she has chosen not to expose side, grasping her hand.) All the details of this crime. She accepts the blame entirely herself – MARGARET Because of a loyalty as powerful as it is unwise. Oh, Mistress! If ever there was a case, my Lord, How can I thank you and Dr. Stebbing – Where the face of justice Speaking so on my behalf Did not disclose all of the truth – When I do not deserve it – This is that case, my Lord, this is that case. When I have betrayed you both.

(She sits down, and Dr. Stebbing gets to his feet beside her – and is MRS. COBBOLD also acknowledged by the judge) Margaret, Margaret…try to rest now.

DR. STEBBING MARGARET Conscience insists, my Lord, Oh, the shame of it! That I follow Mrs. Cobbold’s plea – And press it even further. MRS. COBBOLD The court has heard much about the prisoner’s character, Ease your mind. And I could add to this an endless testimony: That ordeal is over, Of lives she has saved, of kindness done, And what is yet to come, no-on can know. Of services performed from childhood until now. You must be ready for the worst that can happen. These things, however, this court well knows. That is surely true. But…there is one truth, my Lord, But be assured, too, that many are already helping you. Which I believe supreme. Our good Dr. Stebbing has lost no time. The criminals responsible for this crime Already a petition is drawn up, Are not within the confines of this court. And many hands are signing it. They lie beyond it. We shall be working hard for your reprieve, Margaret, The prisoner stands here only as the dupe and victim of their evil. Remember that. The prisoner, my Lord, stands guilty of one thing: But…is there anything now that I can do? A staunch, unshakeable fidelity in love That all the world might envy. MARGARET This it is that condemns her. (Shaking her head at first – but then bethinking herself) I say forthrightly now to you, my Lord, Well, Mrs. Cobbold, there is one thing… If it were possible to free the prisoner now, The money Will Laud left me: I would take her into my own home today – Could you put it in my Uncle’s hands? In the completest confidence and trust – I would never have taken it, As a woman with no wrong in her. And cannot now – But it should be placed in some security (There is a stir in the court after the mounting warmth and genuine If he should ever come to need it. conviction of the doctor’s testimony. Margaret is moved. The judge himself looks gravely disturbed as Dr. Stebbing steps down and sits MRS. COBBOLD again beside Mrs. Cobbold. He appears to consult a clerk in the (Stiffening in impatience) shadows behind him, but then turns. The court falls silent as he takes Margaret! the Black Cap and places it on his head.) Will you never forget that man? Where has he been to help you in your need? JUDGE And yet you never will rid your mind of him. Prisoner at the Bar… Good Heavens, girl, I have been moved by these most telling words on your behalf. How you do try my patience! But I have to make it plain I never shall understand you in this, That any sort of clemency is not for me to make – Never! But for the King alone. But, well…(containing herself, and sighing) Your guilt, however, is not at all in question. I suppose I will do as you wish. It has been clearly proved. But now – just try to rest, to sleep, Horse-stealing is become such a scourge And pray that God will help you. That nothing but the most extreme of penalties

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

(There is another rattling of keys – then the gaoler again opens the You would do this. door. Their time is up and Mrs. Cobbold leaves. Margaret sits alone, Nay – dear Margaret – I’ll not take it. and bows her head into her hands as the lights dim, and the scene ends.) MARGARET But you must, you must. Scene 2: THE PRISON YARD – TWO YEARS LATER LAUD Large gates on the left. Crates and garden frames by the wall (centre). Bad lot that I am – I’ll not do this. The wall is mounted by a row of spikes, one of which is broken. The entrance to the inner cells on the right. In the centre of the stage, MARGARET Margaret is hanging up washing, and the good-humoured gaoler, who But it yours – you must. knows her well, has a friendly word for her as he passes by. LAUD GAOLER Never-changing Margaret. Good conduct, Margaret – that’s the way outside. Good conduct – and the sooner you’ll be free. MARGARET Your reprieve was good for us, You must take it; you must take it; you must. If not for you, Margaret. The Governor’s household praises all your work LAUD Up to the skies. No – I’ll not do it. You’ve been with us two years already, Never, never, never! And…a word in your ear – But… The visiting magistrates recommended a remission – I’ll tell you a better thing. That I know! Now that I’m to be freed – Good conduct, Margaret – that’s the way outside. Why don’t you try to escape? Good conduct – and the sooner you’ll be free. It should be possible. You have the freedom of the yard. (He claps her in jovial manner on the shoulder and walks on to greet a Look round here. colleague who is just leading a prisoner from the inner cells to the These frames should reach the spikes. outer gate – for release. It is Will Laud. The guards talk together.) You have washing to spread over them, And look – LAUD A spike is broken off up there. (astonished) Tonight’s a clear moon. Margaret…Can it be you? Margaret? I’ll wait by the wall. We can get clean away. (Margaret turns, sways and almost falls as she sees him – but Laud I’ll have a boat ready by the shore. supports her) We’ll be off and married… That’s the size of it for me. MARGARET Will! Oh…how is it possible? MARGARET What are you doing here? Oh, Will. Is that the only way?

LAUD LAUD Sssh. They caught me at last. The only way! In a raid off Dunwich – After you turned me down. MARGARET That was cruel, girl. But supposed I was caught, Will? A real battle it was – Poor Luff was killed outright. LAUD They searched the cave – found smuggled goods – A last chance together – Made me bankrupt and stopped my trading – Or I’ll not touch the money! Then shut me up here – for a long sentence. The time for my release has come today. MARGARET They stripped all from me – Oh, Will – no, no, no! There’s nothing for me now. But hush…here come the guards. This Ipswich gaol has been my last port of call. LAUD MARGARET After midnight…I’ll be there. I never heard. I never knew. But Will – the prize money you left me. (They separate, as though not having been aware of each other at all, A hundred and thirty pounds it was – as Laud’s gaoler returns – and he is led off through the outer gates. And never touched – Margaret is left alone. Still busying herself with the washing, she I put it into my Uncle’s care for you. begins to work out her chances of escape…looking at the length of I’ll write to him, some of the sheets, trying the length of a frame against the wall. The And you will have something, then, to make a start. light fades – and Margaret gives a last glance at the broken spike as she moves towards the inner cells – and the scene ends.) LAUD Margaret – never changing Margaret. Scene 3: THE BANKS OF THE ORWELL God bless you girl. In spite of all that I am – I love you. The escape is lighted across the stage as it proceeds – the actors Never-changing Margaret. passing behind the back-drop and re-entering, to make a continuity of You were always too good for me. the two scenes in one. After all of the trouble I’ve brought –

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

The first back-drop is of the river bank with some trees in the misty light of very early day-break. In one clump of trees, Margaret changes MARGARET her clothing. In another (right), old Crusoe is sheltering. Laud and Oh joy of freedom! Margaret enter left, on the small apron stage, to give plenty of space Oh joy of sun – and water! for movement across. The crunch of shingle under my feet!

LAUD LAUD We’re clear now…at last! Was ever a life like this? The river bank. Never will we be parted from it again. Here… These are the sailor clothes I brought for you. MARGARET Change quick, my girl. But…where is the boat, Will?

(Margaret changes, and Laud paces by, impatiently – and they are LAUD both suddenly startled by Crusoe) It can’t be long now. I have a man bringing one to this point. CRUSOE It can’t be long now… Again, again, What? They haunt the shore again… Get down Margaret!

LAUD (A warning shot is fired, and Laud pushes Margaret down by his feet. The Devil take it! Crusoe again. The guards enter – left – having seen them and fired a shot into the But quick, my girl. air.) He may not even have noticed us – And he’ll say nothing… MARGARET We must make for the point and the boat The guards – the guards – As fast as we can. They’re here. (She crouches beneath Laud’s legs as he stands over her) (He hurries Margaret to the end of her changing, then across the stage, which they leave (right), but, in their haste, Margaret drops one GAOLER of her garments) Stand back there! That woman is an escaped convict – CRUSOE And we must take her. Again, again, They haunt the shore again… (Laud pulls out two pistols and brandishes them) (He emerges further from his sheltering trees and looks after them) Here is the end of what I saw begun. LAUD There’s no woman here. (The two guards enter, left) Be off with you.

GAOLER GAOLER Look – a skirt! Stand back, I say or I must fire. She must have changed her clothes here. I warn you again, This must be the way – I command you. Along the river’s edge. We must take that woman. Hey, old man. Have you seen anyone running along this way? (Laud fires – the gaoler fires – and Laud falls dead, across Margaret, who screams. A silence follows. Margaret pulls Laud from her, looks at CRUSOE him, then screams again.) Sailors two – I saw them. Coming to the far shore… MARGARET And one a pretty sailor, too… Dead! Dead! Are you proud of your ‘justice’ now? GAOLER He is dead. Dead! The old man’s crazed – Are you pleased with your cleverness now? But he’s seen them here, Have you served your ‘justice’ enough, now? This way – come on! You have killed him, killed him, killed him. Why did you not kill me? (Crusoe looks after them – and follows them slowly off-stage, right) Kill me! Kill me!

CRUSOE (She batters hysterically at the guards who have come over, and now Sailors two – take her. One guard struggles across the stage with her. The other Coming to the far shore… pulls Laud’s body on to the firm shore, and arranges it. Meanwhile, No good can come at last. Crusoe has followed them in – from the left – and stands (centre) as The sun shall rise the others leave. He watches them, and contemplates Laud’s body as The moon shall die… the scene ends.)

(As he leaves and darkness envelops the stage, one back-cloth is CRUSOE lifted, leaving the second. As the light rises again, it reveals a long line I know, I know… of shingle beach coming to a point (far right) over which the dawn light The Devil rides its tides now strengthens – becoming a shining sunrise. Laud and Margaret And plots its destinies – enter left, and move right across stage to the water’s edge, glorying in the light of the sun.)

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

He has come, at last, to the far shore I hope it is true Where all men must come – the far shore That my judgment of your hardness Where moons shall rise and wane no more. Is unwarranted. Nothing of this, however, can excuse your crimes. (The lights dim quickly as the curtain falls.) Your escapade has cancelled All the good opinions heard before. Scene 4: COURTROOM – AS BEFORE All those tributes to your character Are seen to be false. JUDGE And now you artfully attempt (Coldly now, and hard: all his earlier sympathy gone) To throw the blame on me, your judge. Prisoner at the bar… I therefore add no more I cannot now address you To the judgment of this court, which is:– As I did so short a time ago. Then – I took pity on you in your youth. That you be taken from the place where you now stand, Now – I perceive that you are old in crime. Back to the place from which you came, Only months ago, And thence to the place of execution, I had intended to release you. And there to be hanged by the neck until you be dead. Now, you have proved the error And may God have mercy on your soul. That would have been. She who disregards all help and mercy shown her, (This time, Margaret is calm and dignified. She curtsies to the judge, Who sets at defiance all the laws of the land, looking firmly at him throughout, and turns – this time conspicuously Who sows so bad an example of ‘reform’… ignoring, and setting aside, the offered assistance of the gaoler – to go Such a woman is not worthy to live. down to her cell.) You have in this last desperate escapade, Occasioned the death of one man, Scene 5: THE CELL – AS BEFORE And might have brought grave punishments On those who had charge of you. Not continuous from former scene, as before – as some time has Say what you have to say – elapsed. The curtain opens to reveal Margaret standing, calm and Whatever that may be – dignified, to receive Mrs. Cobbold – who is expected visitor. Her Before, again, I pass sentence upon you. attitude is not, now, of a person distraught, but one of quiet certainty and independence: as though she has now found herself, and is in (Margaret bows her head under the cold, deliberate cruelty of the command of herself – no longer needing or seeking a reliance on the judgment – as though the words were physical blows to her, and it sympathy and friendliness of others. Mrs. Cobbold is admitted by the seems as though she will stay silent as before. But then – gravely, gaoler. composedly – she speaks.) MARGARET MARGARET Mrs. Cobbold…Before you speak, My Lord – Let me say that Dr. Stebbing was here this morning – Always to this court And told me of my reprieve: I have confessed my guilt. That I am to be sent at once to Australia. I owned and believed my guilt Do not feel discomfited – In stealing from a kind Master and Mistress. In that you have to break this news. But I must say, my Lord, I cannot feel it in my heart a crime deserving death MRS. COBBOLD To seek freedom to join, at last, Discomfited Margaret? Something that was held from me all my life – Why – a second reprieve? The man I truly loved – It is more than ever we hoped for. The man whom ‘justice’ has killed. We are all overjoyed – more than I can say. I must say, too, my Lord, That you had exercised the mercy of which you speak – MARGARET Then all these late offences would be uncommitted, My heart, dear Mistress, And a man now dead would be enjoying life. Is very full – for all that I owe you – It is not ‘justice’, my Lord, which pains me – But…transportation for life. But the bitterness of your remarks Is this not a living death? Which I know, in my heart, I cannot help but feel a bitterness. I do not deserve. I am truly penitent – for true wrongs done – MRS. COBBOLD But I will stand for ever by my right No, Margaret. No! To abide by love through all the faults of circumstance. Try to believe – Death with love is more tolerable to me Though it may not seem so now – Than life without it. That it is God’s will; Nothing of this my Lord, is said in disrespect – That mercy has again been shown you. But only out of my defence of truth: I do believe you will come to learn Which is the only rock remaining for me. That much you loved was tainted – And bound to lead you to destruction. (The court stirs again. Margaret is not dejected now, but has a new But now… maturity, strength, composure. She looks the judge directly in the eyes A new world of hope awaits you. throughout and after her statement. It is he who looks down, flinches, A new world – and a new future. and is disturbed as her speech goes on – but he quickly re-asserts his Two worlds apart cannot divide customary appearance of authority and dignity.) Those whom love holds together The same sun will shine on us, JUDGE The same moon look down, Prisoner at the Bar… And though we shall be at opposite ends of the world –

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

God’s world is one. And please forgive this unexpected call. We shall think of you continually. But the pleasure – I hope – is all mine today. We shall pray for you. This visit is on my behalf entirely.

MARGARET MRS. PALMER Mrs. Cobbold… Well, sit down. You and the doctor You are looking well – in spite of your awesome duties – Are a source of strength in me. And I hear nothing but pleasant news about you and your estate: Goodbye – and God bless you both. How you extend it, improve it, and make it quite beautiful.

(Margaret remains standing as Mrs. Cobbold leaves, and the gaoler BARRY finally closes and locks the door) Well, yes…that is because I take much pride in it… (He begins to ruminate) MARGARET In my loneliness, and my extremity, It reminds me very much of my old home. Oh God – do you help me now, I walk beside the river there I was prepared for death, And hear a music now far gone… But did not think to find life the harder atonement. Ever since I came to this new land Fortune has smiled on me – Oh home and world I loved – Farming, corn-dealing, ship-building, And now so lost – And now the Governor’s agent for lands. Why were you so divided in my heart? Your new world has rewarded me well, How can there be a new beginning – And I like to give where I have received. When all I loved is gone? Only common gratitude made me propose the founding of your orphanage. ACT 4 But I remember, too, my fortune came From qualities I learned long ago, NEW WORLD: AUSTRALIA Far away, on an English shore. My home now… Scene 1: THE COMFORTABLE SITTING ROOM / OFFICE IN MRS. Reminds me of all I love, and all I owe. PALMER’S ORPHANAGE FOR GIRLS IN SIDNEY MRS. PALMER The morning autumn sunlight floods through the generous windows Come, come, Mr. Barry. Such modesty! which reveal the spacious gardens and grounds. Mrs. Palmer, a You are become quite the public benefactor. spritely, efficient woman with a light and lively disposition and humour You know it very well – and we are all grateful. – even a little coquettish – but with warm affections, enters (right) carrying a rug the girls of her orphanage have made for Margaret. She BARRY closes the door, leans against it for a moment, as though reveling in No, no! – this is all too much about me… the sheer delight of the morning, then moves (centre) into the sunlight. And I’ve come, in fact, to make a request of you. She busies herself with folding the rug and draping it over the back of a Since my sister’s death, her husband has been beside himself… chair – dwelling on the task pleasurably, affectionately: in a mood of Seven children, if you please, to care for! excitement and happiness which she cannot suppress. You once, I remember, spoke highly of a servant of yours. I wondered whether she might be prepared…? MRS. PALMER What a joy! MRS. PALMER What a joy – to think she will come back today. Why, Mr. Barry – how strange that you should mention her, Margaret, Margaret. I sent her off as a house-keeper to a free-settler – And to think that I should ever have doubted her. But when the pressed her to become his wife, A convict woman…How could I help but doubt? She couldn’t stand it – and is coming hot foot back. How could I know? How could I know? She arrives today. But now I know (Barry indicates his pleasure, and Mrs. Palmer continues) A friend more loyal never walked the earth… A remarkable character, I must tell you. And to think that she will come back today. A proud, strange woman. And for the girls, too. She came to us a year ago from a convict ship. How could I know that they would miss her so? Everyone here has found her trustworthy and devoted – And work so hard to make this present for her… But in England, from an attachment to some smuggler who life she Oh. saved, She was convicted for horse-stealing. (She is surprised by a knock at the door. The governor’s agent opens They say she rode full seventy miles one day to try to join him – it, looks round, then enters. It is John Barry – now a prosperous And was sentenced again a second time for trying to escape from gaol. farmer, merchant, land agent in this new world. He and Mrs. Palmer A colourful story. obviously know each other quite well, and there is a touch of banter in their conversation.) (As she has been speaking, Barry has become increasingly tense, and is unable to restrain himself any longer) MRS. PALMER Why, Mr. Barry – please come in. BARRY It is so good to see you again. Mrs. Palmer, forgive me. But…where did this woman come from? But why this honour pray? So rare a pleasure to see the person responsible for founding our MRS. PALMER establishment. Somewhere along the Suffolk coast, I’m told. She came to Australia from Ipswich gaol. BARRY You are too kind, Mrs. Palmer,

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

BARRY Good God! It can’t be possible. MRS. PALMER Mrs. Palmer…what is her name? Yes, yes, Margaret…But – well – enough, enough! My dear, I am a little agitated. MRS. PALMER I do not want to take about your work. Why – Margaret. Margaret Catchpole. Something quite different has happened – Mr. Barry…What is the matter? So unexpected – so strange – Does this mean anything to you? I hardly know how to begin to tell you…

BARRY MARGARET Dear Mrs. Palmer – if you did but know. (After an awkward pause) She is the girl I loved throughout my youth – Well, Mrs. Palmer? The very reason for my coming here. You make me a little fearful. Oh, Mrs. Palmer… I came to you for your help, MRS. PALMER But now must throw myself upon your confidence. Oh no, dear girl – no, no, no, no! Knowing all her circumstances, It is nothing fearful at all. Knowing the Governor, too, Well…there is a man who lives nearby… I feel sure I can gain a pardon for her. He is an agent for the Governor. Once she is free, perhaps… He asked about you for the post of house-keeper, but… But, ah! That is too much to think now. All this is nothing, nothing. When discussing it, something quite extraordinary arose. MRS. PALMER What an astonishing past you have, Mr. Barry. (Another slightly awkward pause) So romantic – And what an outcome. MARGARET But…rely on me. Well, Mrs. Palmer? I will keep your confidence. It still seems a mystery. Go now – go – and let me know, as soon as you can, how things proceed. MRS. PALMER Oh, dear me… (Good-naturedly, she bustles Barry out of the room, leans back against I think I find it easier to tell bad news than good. the closed door, then steps again, but even more excitedly this time, Well – it turned out that he – this man – knew more about you than I before the sunny window: picking up and hugging again the rug the did myself. girls have made for Margaret.) And, as a friend of the Governor, he has… (She is unable to keep her secret any longer) MRS. PALMER Oh, what do you think, dear Margaret? Oh…I am quite overcome. He has obtained…a free pardon for you! What a strange, strange world this is – Your sentence is over. Ended. And what an eventful day! You are free – to do whatever you wish.

Scene 2: THE SAME, ONE EVENING A WEEK OR SO LATER (Margaret is stunned – then suspicious)

Mrs. Palmer is at her desk in great excitement, hardly able to restrain MARGARET her feelings, but rather enjoying the sense of drama in what lies before Mrs. Palmer…You are teasing me. her. There is a knock. Margaret looks round the door, then enters How could a man be so considerate to a stranger? (right). You trouble me. There must be more in this arrangement than you have seen. MRS. PALMER Unless, that is… Come in, Margaret. Yes! You are teasing me! Well…are you settled into your old home again? MRS. PALMER MARGARET Margaret! Yes, Mrs. Palmer, How could you think me so cruel? I am happy to say that I am. You know that is not true. The girls made me welcome again And – there is more. As soon as I was amongst them. This man knew you in your home in Suffolk, It was as if I never had been away. Long before ever you came here… You have no idea of the work they want to do… (She begins to enthuse more than Mrs. Palmer wishes) MARGARET Cooking, sewing, making rugs and baskets – Mrs. Palmer – please – do not keep this from me any longer. I think they are laying store against their hope of marrying. Who is this man? What is his name? We have started on our rumbles again… MRS. PALMER MRS. PALMER His name is…John Barry. (Interrupting abruptly) Yes, Margaret… MARGARET (confused) MARGARET John? No. That cannot be. Tomorrow we go… John Barry went to Canada – before ever the events took place which brought me here. (Mrs. Palmer can contain herself no longer, and rather sharply and clumsily puts a stop to her enthusiasm)

DODGSON, S: Margaret Catchpole – Two Worlds Apart 8.660459-61

MRS. PALMER She made it herself. No. Margaret. He did not. And all these books from Dr. Stebbing… He came here – to Australia – (She reads the accompanying letter from time to time) And farmed, and built up an estate, and Margaret… They say they have enjoyed my descriptions of the country and life out (She makes the most of the last moment of dramatic revelation. Having here. gradually crossed the door, right, she flings it open, and Barry enters.) They had never seen a Lyre Bird before. He is here! Mrs. Cobbold is so pleased with the plumage of the one I sent her. And Dr. Stebbing likes my accounts of the Aborigines – MARGARET And the package of their tools I sent him. John…Oh, I never thought to see you again. Oh John…I am almost afraid. How can this be possible? Who could have dreamed such happiness might come? When all the past seemed to destroy us both? BARRY (Taking her hands) (She rocks the cradle beside her – protectively, nervously, as though it It is true, Margaret. is vulnerable, unsure, insecure) As you see – it is true. BARRY (Margaret is overcome and sinks into a chair. Barry pulls up another Life is longer than we think. chair to face her. Mrs. Palmer leaves the room quietly, closing the door We can foresee so little of it… behind her.) And yet, somehow, providence so worked To make a new world out of the old. MARGARET And without our past, painful story – How am I to thank you for all you have done? Could our life now be so filled with joy? After all my shame? Ignoring your warnings? It’s getting dark now, Refusing your kindness? I’ll light some lanterns. Oh, John… (He goes indoors. Margaret stands, leaves the child, and walks forward BARRY a little to the edge of the terrace. She looks down over the river where Margaret – please. the mist now begins to rise more quickly – the large moon growing Anything I ever did for you was done for one reason only: brighter behind her.) I love you – now, as I always did. When I came here, instead of Canada, I never married, MARGARET But built a home on the banks of a river here – Oh, harvest moon, Which is like the Orwell. So low, so round, so dusky in the sky. It is another world – a new world – but still a world of quietness and Do you still shed your misty light beauty Over that far home I loved? Like the one we used to know, Those harvest fields, that shining sea, And, if you wish, it is here for you to share. Those Orwell shores so far away? With you, it would have a happiness now wanting in it… Do you still shine (But he pulls himself up, as though feeling that he is taking advantage On those who once walked with me there? of the situation, and stands up awkwardly, and takes the document Living…and dead? from his inner pocket) But…here is your pardon from the Governor. (Barry comes outside again, hangs his lanterns on the terrace, then – You are free now – to choose your future freely. seeing Margaret’s absorption in her memories, and understanding it – If you wish to go back to England, I will arrange your journey there. he stays quietly by the door) If you want to stay, I will help, here, in whatever way I can… The man who died by Orwell’s shore… (But Margaret, too, rises now – impulsively, and stops him from saying Oh Will! Oh Will! more) Good man – or evil – who’s to say? And Crusoe – with his fires and ghosts along the misty creeks – MARGARET Who strangely saw my story to its close… Oh John…dear John. Oh autumn moon, (They embrace – and the curtain falls) How do you recall to me Those trouble days. Scene 3: WINDSOR LODGE – JOHN BARRY’S HOUSE ON THE BANKS OF THE HAWKESBURY RIVER Oh world of home – Why were you so divided in my heart? Remarkably reminiscent of the opening scene. The edge of the great house stands on the right. Centre: is the wide terrace jutting from the (Slightly turning, she becomes aware again of Barry’s presence. He house into the garden, and on which Barry and Margaret are sitting, walks quietly towards her, to join her.) their first child in a cradle beside them. They are unpacking gifts from a large crate which has just arrived from England. The grounds to the left But – under your same soft beams – slope gradually down to where the waters of the river are dimly shining Another world now lies: under the rising mist. A world of love, Of peace and beauty. The moon is big and low, like the harvest moon in East Anglia, and, again, it grows brighter as the scene continues. Oh gentle moon, Heal me, I pray, MARGARET And make my two worlds one. Oh John – look – a huge soft shawl for the baby. And a lace cap for me, from Mrs. Cobbold. (They face each other, taking each other’s hands, as the curtain falls)