Freely adapted from the classic stage comedy by

Sir Arthur Conan Doyle and William Gillette

By Tim Kelly
© Copyright 1977, Pioneer Drama Service, Inc.

Professionals and amateurs are hereby warned that a royalty must be paid for every
performance, whether or not admission is charged. All inquiries regarding rights—
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picture, live streaming, public reading, and translation into a foreign language—should be
addressed to Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155.
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may be given without permission from Pioneer Drama Service.
These rights are fully protected under the copyright laws of the United States of America
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and all nations of the United Kingdom.

ONE SCRIPT PER CAST MEMBER MUST BE PURCHASED FOR PRODUCTION RIGHTS.
PHOTOCOPYING, REPRODUCING, OR DISTRIBUTING ALL OR ANY PART OF THIS BOOK
WITHOUT PERMISSION IS STRICTLY FORBIDDEN BY LAW.

On all programs, printing, and advertising, the following information must appear:
1. The full title: Sherlock Holmes
2. Writing credit: By Tim Kelly
3. Publication notice: “Produced by special arrangement with Pioneer Drama
Service, Denver, Colorado”
 SHERLOCK HOLMES

By TIM KELLY
CAST OF CHARACTERS
# of lines
NEWSBOY ONE ...................a hard-working lad 16
NEWSBOY TWO ...................another 13
FORMAN .............................an unusual butler 20
MADGE LARRABEE ..............up to no good 74
JAMES LARRABEE ...............can’t be trusted 86
TERESA ..............................a maid who keeps her ears open 26
SID PRINCE ........................a natty safecracker 62
SHERLOCK HOLMES............’nuff said 220
ALICE FAULKNER .................a damsel in distress 82
MRS. BASSICK....................gives women’s rights a bad name 46
GINGER ..............................the less said the better 26
PEPPER ..............................no friend to law and order 21
FLOWER WOMAN .................a not-so-pretty thief 16
ELEGANT LADY....................the rich must pay 2
GENTLEMAN .......................no friend of suffragettes 5
DETECTIVE..........................curse of the criminal class 6
(can also play Inspector Lestrade)
PROFESSOR MORIARTY .......the Napoleon of Crime. Beware! 88
JOAN ..................................Moriarty’s secretary, no scruples 16
MATCHGIRL ........................she’ll burn London down 5
DR. WATSON ......................Holmes’ colleague, good sort 97
MRS. HUDSON ...................steak-and-kidney pie is her 21
specialty
LADY EDWINA .....................snobbery in Baker Street 25
PRINCE CARL ......................needs help 17
LESTRADE ..........................a police bade in Watson’s side 9
GERTIE ...............................a real gasser 12
SINGER ..............................London’s own n/a
MAGGIE BASKERVILLE .........Sherlock her last hope 10
CABBIE ............................... 4
LONDONERS .......................no place like Holmes (can be
added if desired)

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 SYNOPSIS
Place: London
Time: 1890s
ACT ONE
Scene One: Drawing room at the Larrabees. Evening.
Scene Two: Professor Moriarty’s underground office. Day.
Scene Three: Sherlock Holmes’ flat, 221 B Baker Street. Evening.
ACT TWO
Scene One: An abandoned warehouse. Midnight.
Scene Two: Sherlock Holmes’ flat. Morning.
ABOUT YOUR PROGRAM
Audiences enjoy reading an interesting program, so keep the
description of the character:
NEWSBOY ONE ........................a hard-working lad
NEWSBOY TWO ........................another
FORMAN ...................................an unusual butler
MADGE LARRABEE ...................up to no good
Etc. Extend it to a brief description of each scene. For example:

ACT ONE
Scene One: Drawing Room At The Larrabees
Villains aplenty! Sweet Alice in danger. Enter the clever safecracker.
Where there’s smoke, there’s Sherlock Holmes. On to the Napoleon
of Crime!
Scene Two: Professor Moriarty’s Underground Office
Disposing of the unwanted! The evil Mrs. Bassick. More flapjaw about
secret letters. The plot boils over. The super sleuth bows to that crafty
professor… or meets his doom!
Scene Three: Sherlock Holmes’ Flat
Good old Watson. Royalty visits. Alice in doubt. Danger on the wind.
Lestrade gets the message. Holmes in peril Moriarty’s challenge. To
the death!

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 ACT TWO
Scene One: An Abandoned Warehouse
Larrabee on edge. Alice plots a dangerous game. Gashouse Gertie
on the job. The flatfoot overplays his hand. The bomb ticks. Tibetan
Meditation saves the day.
Scene Two: Sherlock Holmes’ Flat
Fake patient for Dr. Watson. A damsel in distress hounded by a doggie.
The end of Moriarty. Holmes in disgrace. Love conquers all. Holmes on
the scent. Grand curtain call finale.
Add some amusing notes to the program. Some examples:

All fresh scenery.

Ladies will kindly remove their hats during the performance.
Owing to the great length of the play, there will be no farce!
Children in arms not admitted.
Management not responsible for any uncouth ticket-holder sitting
next to you.
It will be necessary to close the curtain between act one and act
two.
Feel free to appreciate our tasteful costuming. Please do not spit
out your chewing gum. Swallow it.
Applause at suitable moments encouraged.

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 SHERLOCK HOLMES

ACT ONE
Scene One

1 SETTING: The simple setting depicts three areas in the city of London,
simultaneously, viz., the Larrabee Drawing Room, Sherlock Holmes.
Apartment, and the hideout of the villainous Professor Moriarty. The
Larrabee Drawing Room is STAGE RIGHT, consisting of a chair with
5 pillow, and side table facing out to the audience. There’s a small table
covered with a floor-length cloth DOWN RIGHT. ENTRANCE into other
parts of the house is DOWN RIGHT, behind the cloth-covered table. UP
RIGHT EXIT supposedly leads into a hallway with the front door beyond.
STAGE LEFT is the underground office of Professor Moriarty,
10 represented by a table and chair, with a blackboard to the RIGHT.
DOWN LEFT is a bench.
The main portion of the stage is occupied by Sherlock Holmes’
apartment. RIGHT there is a desk and chair, with a client’s chair in
front of the desk. LEFT there is a table covered with scientific-looking
15 odds and ends: test tubes, bottles, books, etc. There is an ottoman
or small chair below this table, somewhat to the CENTER of the room.
UP CENTER is a fireplace. ENTRANCE from outside is UP RIGHT, EXIT
into other parts of the apartment UP LEFT.
The stage space between the Larrabee’s drawing room and the
20 apartment of Holmes becomes a London alley (ALLEY A), while the
stage space between Holmes’ apartment and the office of Moriarty
becomes ALLEY B.
The FORESTAGE, or apron, becomes a London street, as does the
UPSTAGE area running behind the three settings.
25 (NOTE: For added suggestions on staging and stage chart, see
PRODUCTION NOTES.)
The curtain is open when the audience enters, the stage is dimly lighted.
AT RISE: The stage darkens. LIGHTS come UP on the FORESTAGE as
NEWSBOY ONE ENTERS the street RIGHT, holding up a newspaper
30 for sale.
NEWSBOY ONE: Get your paper here! Read all about it! Another
murder in Whitechapel! Police suspect Jack the Ripper!
NEWSBOY TWO: (ENTERS LEFT, holds up paper, yells into audience.)
Another member of the criminal element found floating in the
35 Thames! Police suspect gang war! Read all about it!

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 1 NEWSBOY ONE: London plagued by robberies, kidnapping and tainted
kippers! Read all about it!
NEWSBOY TWO: Police suspect evil genius at work! Valuable jewels
stolen from Tower of London!
5 NEWSBOY ONE: Royal wedding for Prince of Bohemia! Read all about
it! Read all about it!
FORMAN: (Butler for the LARRABEES, ENTERS drawing room from UP
RIGHT, walks to the edge of the room by ALLEY A, pantomimes the
opening of a window. Calls to NEWSBOY ONE.) Here, lad, let’s have
10 a paper over here.
NEWSBOY ONE: Yes, sir. Right away, Governor. (Moves to the
“window.” FORMAN takes a coin from his pocket, hands it over,
gets paper. NEWSBOY TWO goes up ALLEY B.)
NEWSBOY TWO: Evening news! Evening news! Who stole the
15 jewels from the Tower of London? Read all about the baffling
mystery! (EXITS.)
NEWSBOY ONE: (EXITS up ALLEY A.) London gripped by outbreak of
crime and violence! Read all about it! (VOICE trailing off.) Another
murder in Whitechapel… London plagued by robberies… Royal
20 wedding for Prince of Bohemia! (FORMAN stands at the “window”
reading the front page. MADGE LARRABEE ENTERS DOWN RIGHT.)
MADGE: Forman, what are you doing at the window?
FORMAN: The paper ma’am.
MADGE: You may read the paper below stairs when I’m done with it,
25 not before.
FORMAN: (Steps behind chair.) Oh, but there’s something here that
will interest you.
MADGE: Let me see that. (Takes paper from him, scans front page.)
“Murder in Whitechapel… gang war… jewels stolen from the
30 Tower of London?”
FORMAN: The article about the Royal wedding. Second column.
MADGE: (Reads.) “Royal Wedding for Prince of Bohemia.” (Angrily.)
Undoubtedly, you’ve heard my husband and I discuss certain
private matters in regard to the prince.
35 FORMAN: I know my place.
MADGE: Do you? You’d better give up any idea of blackmail,
otherwise I shall inform Scotland Yard that I have a wanted forger
in my employ.
FORMAN: Please, Mrs. Larrabee, I told you that in the strictest
40 of confidence.

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 1 MADGE: It was because of your criminal past that I hired you. I needed
someone who could keep his mouth shut.
FORMAN: Blackmail? Nothing was further from my mind.
MADGE: I trust so. For your sake.
5 FORMAN: The parlor maid wishes to give notice.
MADGE: (Surprised.) I pay her well.
FORMAN: Certain “things” in the house distress poor Teresa
MADGE: I’ll speak to the girl.
FORMAN: Yes, ma’am. (EXITS DOWN RIGHT.)
10 MADGE: (Reads “wedding” article quickly, almost desperately.) “His
Royal Highness Prince Carl van Stalburg of Bohemia Will wed Her
Royal Highness Princess Alexandria Romanov of Russia…” (She’s
interrupted by ENTRANCE of her husband UP RIGHT.)
LARRABEE: I found Sid. He’ll be along in a moment.
15 MADGE: Read this. (Holds out paper, sits. He moves down, takes
paper.) Second column.
LARRABEE: (Checks article.) Hmmmmm. So he’s going to marry a
Romanov, is he?
MADGE: That’s good for us. The better the title, the higher the stakes.
20 LARRABEE: Not unless we get those letters.
MADGE: We’ll get them. Never you worry. (TERESA, a young maid,
ENTERS DOWN RIGHT. LARRABEE moves UPSTAGE.)
TERESA: Forman said you wanted to see me, Mrs. Larrabee.
MADGE: What’s this nonsense about you wanting to give notice?
25 TERESA: (Hesitates.) I don’t l like the way you treat your friend.
MADGE: (Smiles warmly.) You misunderstand, Teresa. She’s ill. Not
right in the head.
LARRABEE: (Still reading the article.) If we’re harsh with her, it’s only
because we’re thinking of her own good.
30 TERESA: You mean she’s… demented?
MADGE: Quite.
TERESA: That does make a difference.
MADGE: Run along now and let’s hear no more talk of your giving notice.
TERESA: Yes, ma’am. (Curtsies, EXITS DOWN RIGHT.)
35 LARRABEE: She’s a silly thing. Might be wise to let her go.
MADGE: Never. We have to keep up appearances.
SID: (From OFF, UP RIGHT.) Sid Prince here!
LARRABEE: (Turns.) In the drawing room, Sid.

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 1 SID: (A disreputable type, ENTERS UP RIGHT. He carries a satchel.) I let
meself in. The door was locked and I couldn’t resist the temptation
to pick it. What’s the game?
MADGE: (Points to cloth-covered table DOWN RIGHT.) There. (SID
5 comes to RIGHT of the table, drops to one knee and lifts back the
cloth to reveal a safe. LARRABEE moves LEFT of chair.) There’s a
Miss Alice Faulkner staying with us.
LARRABEE: A guest you might say.
MADGE: We met her a few weeks ago. She was despondent. We gained
10 her friendship. Seems her sister, poor thing, drowned herself.
SID: Tsk, tsk.
LARRABEE: She loved a man who could never marry a commoner.
SID: A titled gentleman, eh?
MADGE: A prince.
15 SID: (Grins.) Like me.
MADGE: Nothing like you.
LARRABEE: He wrote letters to the unfortunate girl. Letters that could
cause considerable embarrassment if they fell into the wrong hands.
SID: (Crafty.) He wants the letters back, eh?
20 LARRABEE: We’re dealing with an insurance company now. They’re
acting as go-between for the prince.
SID: And them letters is in here, right?
MADGE: When Alice first came here, she trusted us. When she
began to have doubts, she ordered the lock changed on our
25 safe… When we found out, we couldn’t frighten or starve her
into opening the thing.
SID: (Wiggles his fingers.) Sid Prince and his magic fingers. I will have
it open in a jiffy. (Opens satchel, takes out small hammer, taps
about the dial, grins.) I could do it blindfolded.
30 MADGE: (Impatient.) Never mind congratulating yourself, just
do the job. (Stands. SID fools with the combination, building
suspense, then…)
SID: Voila! (Flings open the safe door.)
MADGE/LARRABEE: Empty!
35 SID: Empty? (Looks into safe.) Bless me! Not even a speck of dust.
She’s fooled you again.
MADGE: She’ll pay for it. (To LARRABEE.) Get her!
LARRABEE: I’ll twist the truth out of her. (EXITS DOWN RIGHT.)
SID: (Stands.) Look here, Madge. I don’t go for no rough stuff.
40 MADGE: You think I’ve come this close to a fortune to let it slip away?

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 1 SID: Sounds to me like the girl’s too clever for you.
MADGE: She’ll talk.
FORMAN: (ENTERS DOWN RIGHT with a small silver tray.) Beg pardon,
Mrs. Larrabee.
5 MADGE: Yes?
FORMAN: I encountered a gentleman in the garden. He’s gone around
to the front.
MADGE: What gentleman?
FORMAN: (Steps to MADGE.) His card.
10 MADGE: (Takes card, reads.) don’t know the gentleman.
SID: Who’s the bloke?
MADGE: (Looks again.) “Sherlock Holmes.”
SID: (Startled.) I’m getting out of here.
MADGE: What’s the matter?
15 SID: Don’t you know who he is?
MADGE: Probably a representative from the insurance company.
SID: He’s a private investigator! I don’t want to see him. He put me
behind bars two years ago. He’s a devil, that Holmes. (Sound of
someone knocking on door, UP RIGHT.) It’s him!
20 MADGE: Keep calm. We don’t have anything to worry about. (Scream
from ALICE, OFFSTAGE.)
SID: I’ll hide. (Hurries OFF DOWN RIGHT.)
FORMAN: Shall I admit the gentleman?
MADGE: Of course. Find out what he wants. (More knocking.) I’ll be
25 upstairs. (EXITS DOWN RIGHT. FORMAN goes to answer the door,
steps OFF UP RIGHT.)
FORMAN: (From OFF RIGHT.) Please come in to the drawing room, sir.
HOLMES: (From OFF.) Thank you. (A moment passes, FORMAN RETURNS.)
FORMAN: Won’t you sit down, sir.
30 HOLMES: (Follows FORMAN into the room—an angular young man,
super intelligent, clever, shrewd.) Thank you. (Gives the room a fast
check, sits.)
FORMAN: Whom did you wish to see, sir?
HOLMES: Take my card to Miss Alice Faulkner, please.
35 FORMAN: (Moves behind safe.) Miss Faulkner doesn’t see anyone.
She’s not welI. In very poor health.
HOLMES: I prefer to hear that from Miss Faulkner.
FORMAN: As you wish, Mr. Holmes. (Starts to EXIT, observes the open
safe, carefully covers it with the tablecloth. HOLMES pretends not

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 1 to notice. FORMAN EXITS. Fast, HOLMES zooms from the chair,
tosses back the cloth, plucks a magnifying glass from some pocket,
examines the dial.)
HOLMES: Hmmmmm. Fresh fingerprints, not more than a few moments
5 cold. Particles of coal dust clinging to the dial.
TERESA: (ENTERS DOWN RIGHT.) Good heavens! Who are you?
HOLMES: (Stands.) No need for alarm. My name is Holmes.
Sherlock Holmes.
TERESA: (Impressed.) Not the Sherlock Holmes, the famous
10 young detective?
HOLMES: Actually, I’m a consulting detective. I assist the police with
their more difficult cases. (Points to safe.) Who’s been at this safe?
TERESA: How should I know, Mr. Holmes?
HOLMES: There’s only one man in London who rooms in a hotel favored
15 by coalmen who is also a master at safecracking. Sid Prince!
TERESA: Sid Prince? Never heard of him.
HOLMES: Nevertheless, I suspect he’s somewhere about. Please
fetch him.
TERESA: (Utterly bewildered by the deduction of the detective. Curtsies.)
20 I’ll try, sir.
HOLMES: Try the front. He’s probably watching the house.
TERESA: Yes, sir. (EXITS UP RIGHT. HOLMES covers the safe. Sound of
coughing from OFF. HOLMES listens, moves toward chair. MADGE
ENTERS DOWN RIGHT, impersonating Alice.)
25 MADGE: (Stands by safe, coughs.) Mr. Holmes?
HOLMES: You are Miss Alice Faulkner?
MADGE: I’m in poor health, Mr. Holmes.
HOLMES: You are Miss Faulkner?
MADGE: I’m in poor health, Mr. Holmes. Please be brief.
30 HOLMES: Miss Faulkner, you have been dealing with a reputable
insurance firm regarding “certain” letters.
MADGE: That is my business, Mr. Holmes. (Coughs again.)
HOLMES: Incorrect. It is my business. The insurance firm has engaged
my services.
35 MADGE: You wish me to set a price? (Coughs again.)
HOLMES: I wish to speak with Miss Alice Faulkner.
MADGE: And so you are.
HOLMES: (Points.) Do not try my patience, Madge Larrabee. (She
reacts.) I know you and your husband are keeping Miss Faulkner a

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 1 prisoner in this house, and unless you produce her at once, I shall
inform the police. I happen to know the authorities in France are
most anxious to learn of your whereabouts.
MADGE: (Frowns, steps DOWN RIGHT, calls OFF.) James! James,
5 bring her in here. Hurry! (Faces HOLMES.) You’re a clever man,
Sherlock Holmes.
HOLMES: Clever? I am not clever, Madge. I am brilliant, and the
sooner the criminal class realizes this, the sooner London will
sleep in peace. (LARRABEE ENTERS with a struggling ALICE. She’s
10 lovely, young, but fiery underneath it all.)
ALICE: Let me go, you beast!
MADGE: (Indicates the chair.) Over there with her.
LARRABEE: (Shoves ALICE into chair. Sees HOLMES.) Who’s he?
MADGE: Sherlock Holmes. A detective. He’s working for the insurance
15 people. (LARRABEE slips a hand into a pocket, moves toward MADGE.)
HOLMES: (Moves to LEFT of ALICE.) Don’t reach for your pistol,
Larrabee. It would be a foolish gesture.
LARRABEE: Pistol? (Takes out a pipe.) I was reaching for my pipe.
HOLMES: (Grabs ALICE’S wrist.) You’ve been mistreating this poor girl.
20 There are marks on her wrist.
MADGE: I wouldn’t tell him anything, if I was you, Alice. All he wants
is your precious letters.
HOLMES: Do you wish to lodge a complaint against these people?
ALICE: I will handle this matter in my own way.
25 HOLMES: I implore you, Miss Faulkner. If you release the contents of
your letters, there’s no telling what damage you will cause.
ALICE: What do I care for damage? I’m only interested in one
thing… money!
HOLMES: The insurance people will pay you a fair price.
30 ALICE: I am not interested in a fair price. You may tell your employers
the letters will cost them thousands and thousands of pounds.
HOLMES: May I see the letters?
LARRABEE: You’ll have to find them first.
TERESA: (Races IN from UP RIGHT.) Quick! There’s a fire below stairs!
35 Smoke coming out of the kitchen window.
MADGE: Fire?
LARRABEE: Where the devil’s Forman?
MADGE: Don’t let it spread! (MADGE, LARRABEE and TERESA dash
OUT DOWN RIGHT, ALICE stands hugging the pillow from the chair.)
40 ALICE: Why don’t you help them?

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 1 HOLMES: Because I have the matter under control. When a woman
thinks her house is on fire, her instinct is to rush to the thing
which she values most. A married woman grabs at her baby…
an unmarried one reaches for her jewelry or, in this case, letters!
5 (Grabs pillow, rips it open, retrieves a packet of letters. ALICE
collapses into the chair.)
ALICE: I am undone!
HOLMES: My only wish is to help you. You are in the clutches of two
villainous criminals.
10 ALICE: You’re clever.
HOLMES: Brilliant.
ALICE: You have the letters. You’ve won.
HOLMES: I have the letters, true. But I have not won. (MADGE and
LARRABEE RETURN, stand DOWN RIGHT.)
15 MADGE: Only a grease fire.
LARRABEE: Forman started it. Tipped over a pot of lard. (MADGE and
LARRABEE freeze as they see the letters in HOLMES’ hand.)
HOLMES: I cannot take these letters, Miss Faulkner, unless you turn
them over voluntarily.
20 LARRABEE: Why not?
HOLMES: That would be stealing.
ALICE: (Stands.) You cannot have the letters.
HOLMES: In that case… (Holds them for a moment, returns the packet
to ALICE.)
25 MADGE: (To HOLMES.) You’re mad.
HOLMES: I’m not happy with Miss Faulkner’s decision, if that’s
what you mean. (To ALICE.) I would advise you to leave this
house at once.
ALICE: (Looks to MADGE and LARRABEE.) I am not afraid of them
30 any longer, Mr. Holmes. If they attempt to seize these letters I
shall destroy them. (MADGE and LARRABEE gasp.) Tear them into
shreds, eat them, burn them, but destroy them I shall. (They gasp
again.) There is no profit in ashes.
HOLMES: You are a remarkable young woman, Miss Faulkner.
35 ALICE: I shall go to my room. (Crosses RIGHT, speaks to MADGE and
LARRABEE.) Stand aside. (They do. ALICE EXITS DOWN RIGHT.)
HOLMES: I trust you will not take this matter lightly. If any harm should
come to Miss Faulkner, I shall hold the two of you personally
responsible. Be warned. (They stiffen.) No need to show me to the
40 door. I’ll find my own way out. (EXITS UP RIGHT as both MADGE and
LARRABEE give out a low hiss.)
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 1 LARRABEE: (Crosses, sits in chair.) Just when everything was going
so well.
MADGE: What are we going to do?
SID: (Sticks his head IN DOWN RIGHT.) All clear?
5 MADGE: Not with that Sherlock Holmes on to us.
SID: (Steps IN.) What about the letters?
MADGE: Holmes didn’t get them.
LARRABEE: We ought to go upstairs and take the letters by force.
MADGE: What good would that do with Holmes on the scent? Besides,
10 you heard her. She’ll destroy them and not a penny for our trouble.
SID: If Holmes is on the case and you need help, there’s one man
you’ve got to see.
LARRABEE: Who?
SID: Moriarty.
15 MADGE: Moriarty?
SID: Professor Moriarty. The Napoleon of Crime. He hates Sherlock
Holmes with a ripe passion. He’ll get them letters for you and stop
that snooper in his tracks.
MADGE: Sounds good.
20 SID: (Moves UPSTAGE.) What are we waiting for?
LARRABEE: Where to?
SID: Where else? To the Professor’s! (EXITS UP RIGHT, MADGE and
LARRABEE exchange a wondering look. Can Professor Moriarty
really help? It’s worth a try. LARRABEE stands.)
25 LARRABEE: Come on. (He and MADGE follow after SID.)
CURTAIN
ACT ONE
Street Scene Interlude One

LIGHTS FADE on the Larrabee drawing room and come UP on the

FORESTAGE. Sound of drum being banged rhythmically and OFFSTAGE
VOICES chanting “Votes for Women, Votes for Women, Give Women
the Vote!”
30 Three Suffragettes (BASSICK, GINGER, PEPPER) ENTER from RIGHT.
PEPPER has the drum. They march ACROSS to DOWNSTAGE CENTER.
GINGER carries a wooden box.
SUFFRAGETTES: Votes for women! Votes for women! Give women
the vote!
35 FLOWER WOMAN: (With flowers, comes down ALLEY B from OFF.) Buy
a flower. Only a penny. Who wants one?
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 1 SUFFRAGETTES: Votes for women! Votes for women! Give women the
vote! (GINGER puts down the wooden box, BASSICK stands on it,
prepares to deliver speech. SID, MADGE and LARRABEE cross the
UPSTAGE AREA behind the settings, and EXIT LEFT.)
5 BASSICK: Citizens of London, the time has come for women to take
their rightful place in the scheme of things! (GINGER applauds,
PEPPER bangs the drum. FLOWER WOMAN moves down to LEFT
of BASSICK, listens.) For too long have men ruled the universe
with no thought of sharing power with their wives, sweethearts,
10 sisters, daughters, mothers and mothers-in-laws! (More applause.
ELEGANT LADY and GENTLEMAN ENTER LEFT, stand, listen.) Is this
right? Is this fair? Is this noble?
SUFFRAGETTES: No, no!
FLOWER WOMAN: Sometimes, maybe.
15 SUFFRAGETTES: Quiet!
FLOWER WOMAN: I thought you asked for me opinion. (To
ELEGANT LADY.) Buy a flower, dearie. Only a penny. (ELEGANT
LADY nods. GENTLEMAN takes out his wallet, hands FLOWER
WOMAN a bill. She hands ELEGANT LADY a bud. BASSICK
20 speaks through this pantomime.)
BASSICK: I say the time has come for suffragettes to march on
the House of Lords, the Commons, the Admiralty, and all other
bastions of male supremacy.
SUFFRAGETTES: Hear, hear! Good show! Bravo! (GENTLEMAN
25 has started to return his wallet to his back pocket, only FLOWER
WOMAN has moved behind him and instead of the wallet going into
his pocket, it goes into the FLOWER WOMAN’S hand.)
BASSICK: We’ll chain ourselves to the gates of Government House.
We’ll demand that Queen Victoria declare a national holiday to
30 commemorate the injustices done to women by unequal laws and
unjust men! If all else fails… we’ll refuse to serve teal
SUFFRAGETTES: Hear, hear! Good show! Right-o! Bravo! (PEPPER
bangs the drum. While ELEGANT LADY has been listening,
FLOWER WOMAN has delicately removed the necklace from
35 around her throat.)
GENTLEMAN: What rubbish. You women ought to be locked up.
SUFFRAGETTES: Boo, boo!
DETECTIVE: (ENTERS RIGHT.) What’s the trouble here?
GENTLEMAN: It’s these infernal suffragettes making a nuisance of
40 themselves in the public street.
DETECTIVE: (Opens jacket to display a badge to SUFFRAGETTES.) Well,
it’s the police you’re talking to now. Move along, move along.
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 1 SUFFRAGETTES: (Disappointed.) Oooooooooow!
DETECTIVE: Move along, I say. No trouble, no trouble. (FLOWER
WOMAN holds up the wallet and necklace for SUFFRAGETTES to
see. PEPPER bangs the drum, moves LEFT. BASSICK steps down
5 from the box, GINGER picks it up. FLOWER WOMAN EXITS LEFT,
SUFFRAGETTES follow.)
SUFFRAGETTES: Votes for women! Votes for women! Give women
the vote!
DETECTIVE: There now, sir. Things is quiet as a summer night.
10 (GENTLEMAN and ELEGANT LADY move CENTER.)
GENTLEMAN: I trust so, officer. Isn’t safe to walk in London anymore.
DETECTIVE: Nothing to fear, sir. I’m here to protect honest citizens.
ELEGANT LADY: (Her hand to her throat.) Oh!
GENTLEMAN: What’s wrong?!
15 ELEGANT LADY: My necklace! Someone’s stolen my necklace!
GENTLEMAN: (Feels for his wallet.) My wallet’s gone!
DETECTIVE: It must have been them suffragettes. Quick, the
next corner and get help. I’ll follow them women. (ELEGANT
LADY and GENTLEMAN hurry OFF RIGHT. DETECTIVE calls after
20 SUFFRAGETTES.) Stop thief! Stop thief! (Takes out a whistle,
sounds the alarm as he runs OFF LEFT. LIGHTS FADE to BLACK.)
END OF STREET SCENE INTERLUDE ONE
ACT ONE
Scene Two

SETTING: The underground office of Professor Moriarty.

AT RISE: MORIARTY stands at the blackboard which is covered with
mathematical and chemical equations: E=MC2, R-CHO, NaOH, etc.
25 He is a crafty creature, as brilliant as Holmes, but wicked, sinister. His
secretary JOAN, sits on the bench with, pad and pencil. From time to
time, as MORIARTY gives an order, he works on some problem at the
blackboard with a piece of chalk.
MORIARTY: I understand our contact in the Tottenham area has been
30 holding out on us again.
JOAN: His collections from your “Protective Society” have fallen off
by two percent.
MORIARTY: I suspect that two percent has ended up in our contact’s
pocket. I think we can dispense with his future services. Arrange
35 for his body to be found in a mail sack somewhere in the north
of Scotland.
JOAN: (Makes a note.) Yes, Professor.

11

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 1 MORIARTY: What about the informant who was working undercover
with Scotland Yard on the jewel heist?
JOAN: Disposed of in the usual manner. There’ll be no trace.
MORIARTY: As usual.
5 JOAN: One of the dockworkers in your employ was overheard
mentioning that he was a close friend of “Professor Moriarty.”
MORIARTY: Professor Moriarty has no friend, and Professor Moriarty
is the friend of no one. Have him attended to.
JOAN: Yes, sir.
10 MORIARTY: See that his disappearance is noticed. Have it spoken of.
Have the workers on the docks wonder whatever became of their
mate. What they conjure in their imagination will be far worse than
the truth. (Chuckles.)
JOAN: You’re a master of psychology, Professor.
15 MORIARTY: Anything else?
JOAN: Three of your men come up for trial on Thursday next.
MORIARTY: Ah, yes. Thanks to young Sherlock Holmes.
JOAN: He’ll be the Crown’s star witness.
MORIARTY: (Moves behind desk.) Holmes has interfered with my
20 plans once too often. I do not wish him to testify.
JOAN: Will you deal with him in the usual way?
MORIARTY: You surprise me, my dear Joan. Sherlock Holmes is not
a usual human being. Therefore, he cannot be dealt with in the
usual manner. (Telephone device rings on desk, MORIARTY picks
25 up receiver.) Commence. (Listens, puts down the receiver.) It’s
Mrs. Bassick. Admit her. (JOAN stands, EXITS LEFT, above bench.
MORIARTY sits behind the desk, his arms spread wide like a giant
spider. Sound of door being unbolted OFFSTAGE, locks, chains, etc.)
JOAN: The Professor will see you, Mrs. Bassick. (BASSICK ENTERS.
30 Sound of Door being bolted, chained, etc.)
MORIARTY: Report.
BASSICK: A respectable haul from various suffragette meetings held
throughout the city.
MORIARTY: Clarify “respectable.” (BASSICK takes a fistful of jewelry
35 from her pocketbook, along with wallets, and dumps them atop the
desk.) Not as good as our haul from the Tower of London.
BASSICK: Ah, Professor, a Tower of London job comes along once in
a lifetime.
MORIARTY: Perhaps next time I can arrange to steal the “Tower.”
40 (Chuckles cruelly. JOAN returns, sits.) Anyone out there?

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 1 JOAN: Sid Prince.
MORIARTY: Who?
JOAN: Sid Prince, the safecracker. You used him to open the vault at
the stock exchange.
5 MORIARTY: I recall.
BASSICK: Any assignment for this evening, Professor?
MORIARTY: I’ll get word to you. It may be that I shall require your
“special talents.”
BASSICK: (Curious.) Oh?
10 MORIARTY: It will depend on how my conversation with a certain
private investigator concludes. (Quick.) No trouble with the police?
BASSICK: My suffragettes are well trained, Professor. Whenever it
looks as if the jig is up, we stage a minor riot. When it’s over, the
onlookers have been relieved of their wallets, baubles and beads.
15 MORIARTY: If I had used you for previous assignments, three of my
best men wouldn’t be standing in the dock with Sherlock Holmes
breathing down their necks. (Holds up some jewelry, examines it.)
BASSICK: If women get the vote, it will be the end of our masquerade.
MORIARTY: I do not intend to see so valuable a gang as our
20 suffragettes lose their cover. To this end I am working diligently to
see that women do not receive the vote.
BASSICK: I understand.
MORIARTY: (To JOAN.) Admit Sid. (JOAN EXITS.) You’ll get your cut in
the usual manner.
25 BASSICK: Always a pleasure talking with you, Professor. (EXITS,
MORIARTY studies the jewelry with the aid of an eyeglass, or
magnifying glass. Sound of door being unbolted, unchained, etc.
SID ENTERS. Sound of door being secured again.)
SID: Remember me, Professor?
30 MORIARTY: You left traces of coal dust on the vault at the stock exchange.
SID: I did?
MORIARTY: What do you want?
SID: I come across something that might interest you.
MORIARTY: Commence.
35 SID: Seems this couple
MORIARTY: Names.
SID: Madge and James Larrabee.
MORIARTY: They’re wanted by the French police.
SID: Blimey, Professor, is there anything you don’t know?

13

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 1 MORIARTY: I don’t know what you’ve come across that might
interest me.
SID: They met a young woman who has letters that would put the
Prince of Bohemia in a very awkward way.
5 MORIARTY: (Interested.) The Prince of Bohemia? (Quick.) Where are
the Larrabees?
SID: (Nods LEFT.) Waitin’.
MORIARTY: (Erupts from behind the desk, moves to SID, grabs him by
the neck, begins to throttle him.) You brought them here! Here to
10 my secret underground office!
SID: (Choking.) Ugh, ugh. I vouch for the Larrabees.
MORIARTY: (Contemptuously shoves SID to the floor.) I hope you’re
right, Sid Prince. Otherwise, the Thames River will have you for an
overnight guest. Joan! (JOAN ENTERS.) Admit the Larrabees.
15 JOAN: Yes, Professor. (EXITS. Sound of door being unbolted,
unchained, etc.)
SID: (Picks himself up, sits on bench.) I wouldn’t do nothing to harm
you, Professor Moriarty. You know that. You can trust Sid Prince.
MORIARTY: (Goes behind desk.) I trust no one. That is why will
20 never be defeated. (Cautiously, MADGE and LARRABEE ENTER.
LARRABEE stands by bench, MADGE in front of desk. Sound of
OFFSTAGE door being bolted.) What is this business you have
with the Prince of Bohemia?
LARRABEE: I don’t know as we want to tell you. After all, this is our
25 game, not yours.
MORIARTY: Is it?
LARRABEE: I’m not even certain I want to be here.
MORIARTY: Silence.
LARRABEE: Here, now, I don’t like to be talked to like that.
30 MORIARTY: Obviously, you do not understand to whom you are speaking.
SID: (Shaking.) Don’t anger the Professor.
LARRABEE: I’m not afraid of him.
MORIARTY: You’d better be, James Larrabee. Otherwise, you won’t
live another day. I have my methods.
35 MADGE: (To LARRABEE.) Careful.
MORIARTY: (To LARRABEE.) Sit down. (LARRABEE sits, wary.)
SID: I was telling the Professor about the Prince of Bohemia.
MADGE: (To MORIARTY.) Can you help us?
MORIARTY: Who is the young woman in the case?

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 1 MADGE: Alice Faulkner. Stubborn. Her sister died in despair over
the prince.
LARRABEE: But not before the prince wrote many love letters.
MADGE: We planned to sell them to the insurance company.
5 LARRABEE: Everything was going fine. Then, all of a sudden-like, they
called in Sherlock Holmes.
MORIARTY: (Furious.) That name again! (Calms down.) Where are the
letters now?
MADGE: Alice has them on her person. She threatens to destroy them
10 if we make a move.
MORIARTY: You know the contents of each letter?
MADGE: Of course.
MORIARTY: You could make forgeries?
MADGE: We have in our employ an extremely clever forger.
15 LARRABEE: Forman by name.
MORIARTY: Holmes has seen the letters?
MADGE: Only the small packet he returned to Alice. He had no time
to open the envelopes.
MORIARTY: Tie the forgeries up so that they will look exactly like the
20 packet Holmes held in his hand.
SID: But why, Professor?
MORIARTY: I have my methods. I shall want that counterfeit package
at eleven tonight.
MADGE: It’ll be ready.
25 MORIARTY: I will also require a little assistance from you both.
LARRABEE: You haven’t said anything about the business arrangements.
MORIARTY: You’ll have an opportunity tonight to sell the counterfeit
package to Holmes for a good round sum. You will take one
hundred percent and I nothing.
30 MADGE: Nothing?
SID: Nothing?
MORIARTY: (Confirms.) Nothing.
LARRABEE: (Angrily.) Nothing except the packet of real letters.
SID: Careful, Jimmy boy. Don’t make the Professor angry, I tell you.
35 MORIARTY: (Icy.) You were, I believe, Mr. Larrabee, acquainted with
one Alf Waxman, a well-known blackmailer.
LARRABEE: I know old Alf, sure.
MADGE: We all do.
MORIARTY: (Smiles like a cobra.) Seen him around lately?

15

End of Script Sample

 PRODUCTION NOTES

STAGE PROPERTIES, ACT ONE

LARRABEE DRAWING ROOM: Chair with pillow containing packet of
letters, side table, small table with floor-length cloth, small safe
under table.
MORIARTY’S OFFICE: Table, chair, telephone device, blackboard with
piece of chalk, small bench.
HOLMES’ FLAT: Desk, chair, writing material, client’s chair, test
tubes, books, scientific apparatus on table, ottoman or small
chair, fireplace.
HAND PROPS, ACT ONE
Newspapers (NEWSBOY ONE, TWO)
Coin, small tray and card (FORMAN)
Satchel with small hammer (SID)
Magnifying glass , violin, notepad, pencil (HOLMES)
Pipe (LARRABEE)
Drum (PEPPER)
Wooden crate or box (GINGER)
Flowers (FLOWER WOMAN)
Wallet with paper money (GENTLEMAN)
Necklace (ELEGANT LADY)
Badge and whistle (DETECTIVE)
Pad, pencil (JOAN)
Pocketbook containing jewelry, wallets (MRS. BASSICK)
Eyeglass, revolver (MORIARTY)
Medical bag, pen, pad (WATSON)
Matches (MATCHGIRL)
STAGE PROPERTIES, ACT TWO
WAREHOUSE: Crates, barrels, boxes, some rope, table, safety lantern,
two chairs.
HOLMES’ FLAT: Add crate or heavy chest.
HAND PROPS, ACT TWO
Playing cards (GINGER)
Shopping bag with bomb device (GERTIE)
Whistle (MORIARTY)

46
RIGHTS MUST BE PURCHASED BEFORE REPRODUCING THIS SCRIPT
Packet of letters (LARRABEE)
Rope and gag, weapon of some sort (MRS. BASSICK)
Wallet with paper money, handcuffs, fake letters (HOLMES)
Pistol (SID)
Buggy whip (CABBIE/MORIARTY)
Handbag with real letters (ALICE)
COSTUMES
Except for costumes clearly indicated in the text for plot purposes,
the costuming follows standard melodrama requirements. The period,
to be precise, is the 1890s, but all that’s vital is that the female
roles have long dresses or skirts, hats, etc. Nice touch is achieved if
PRINCE CARL can have some sort of uniform jacket with a few medals.
SOUND EFFECTS
Bolting, chaining, locking and unlocking of MORIARTY’S door, violin
music (Practical from OFFSTAGE), telephone ring, tick-tick-tick of
timebomb (Optional), explosion.
ABOUT THE PRODUCTION
Keep it moving. There should be no “dead spots.” One scene flows
into another. In ACT ONE, director may wish to light only that section of
the stage wherein a scene is being played (LARRABEE’S, MORIARTY’S,
HOLMES’), keeping the unused portion of the stage in shadows.
In ACT TWO, the warehouse is played full-stage, as is HOLMES’
apartment. LARRABEE’S DRAWING ROOM and MORIARTY’S OFFICE
are struck at intermission.
A great effect can be had by cutting a groundrow of London out of
plywood or heavy cardboard, placing it at the back of the stage and
lighting it from behind, thus giving the audience what looks like a view
of the London skyline in the distance.
Extras can be used as Londoners, street vendors, etc.

47
SET DESIGN - ACT ONE

48
SET DESIGN - ACT TWO/SCENE ONE

49
 SET DESIGN - ACT TWO/SCENE TWO

50
RIGHTS MUST BE PURCHASED BEFORE REPRODUCING THIS SCRIPT
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