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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..fa48103 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #62703 (https://www.gutenberg.org/ebooks/62703) diff --git a/old/62703-0.txt b/old/62703-0.txt deleted file mode 100644 index e928580..0000000 --- a/old/62703-0.txt +++ /dev/null @@ -1,3810 +0,0 @@ -The Project Gutenberg EBook of A Bill of Divorcement, by Clemence Dane - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: A Bill of Divorcement - A Play in Three Acts - -Author: Clemence Dane - -Release Date: July 19, 2020 [EBook #62703] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK A BILL OF DIVORCEMENT *** - - - - -Produced by Chuck Greif, ellinora and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - - - - - - - - - A BILL OF DIVORCEMENT - - _BY THE SAME AUTHOR_ - - - _NOVELS_: - - _REGIMENT OF WOMEN_ - _FIRST THE BLADE_ - _LEGEND_ - - - _LONDON: WILLIAM HEINEMANN_ - - - - - A BILL OF - DIVORCEMENT - - A PLAY IN THREE ACTS - - - BY - CLEMENCE DANE - - - [Illustration: colophon 1921] - - LONDON: WILLIAM HEINEMANN - - - _Copyright: London, William Heinemann, 1921._ - - -This play was produced on Monday, March 14th, 1921, at the St. Martin’s - Theatre, with the following cast: - - MARGARET FAIRFIELD MISS LILIAN BRAITHWAITE - MISS HESTER FAIRFIELD MISS AGNES THOMAS - SYDNEY FAIRFIELD MISS MEGGIE ALBANESI - BASSETT MISS DOROTHY MARTIN - GRAY MEREDITH MR. C. AUBREY SMITH - KIT PUMPHREY MR. IAN HUNTER - HILARY FAIRFIELD MR. MALCOLM KEEN - DR. ALLIOT MR. STANLEY LATHBURY - THE REV. CHRISTOPHER PUMPHREY MR. FEWLASS LLEWELLYN - - - - - THE PEOPLE OF THE PLAY - - _In the order of their appearance._ - - - MARGARET FAIRFIELD. - MISS HESTER FAIRFIELD. - SYDNEY FAIRFIELD. - BASSETT. - GRAY MEREDITH. - KIT PUMPHREY. - HILARY FAIRFIELD. - DR. ALLIOT. - THE CHRISTOPHER. - - SCENE.--_A small house in the country. The action passes on - Christmas Day, 1933. The audience is asked to imagine that the - recommendations of the_ Majority Report of the Royal Commission on - Divorce _v._ Matrimonial Causes _have become the law of the land_. - -ACT I.--THE HALL. MORNING. - -ACT II.--THE DRAWING ROOM. EARLY AFTERNOON. - -ACT III.--THE HALL. LATE AFTERNOON. - - - - - ACT I. - - - _The curtain rises on the hall, obviously used as the common-room - of a country house. On the right (of the audience) is the outer - door and a staircase that runs down from an upper landing towards - the middle of the room, half hiding what has once been a separate - smaller room with a baize door at the back. In the corner a French - window opens on to a snowbound garden. On the left, facing the - entrance, a log fire is blazing. Staircase, pictures, grandfather - clock, etc., are wreathed with holly and mistletoe. At the - breakfast table, which is laid for three and littered with paper - and string, sit_ MISS HESTER FAIRFIELD _and_ MARGARET FAIRFIELD, - _her niece by marriage. The third chair has two or three parcels - piled up on it._ - - HESTER FAIRFIELD _is one of those twitching, high-minded, elderly - ladies in black, who keep a grievance as they might keep a pet - dog--as soon as it dies they replace it by another. The grievance - of the moment seems to be the empty third chair, and_ MARGARET - FAIRFIELD _is, as usual, on the defensive. Such a little, pretty, - helpless-looking woman as_ MARGARET _has generally half a dozen big - sons and a husband to bully; but_ MARGARET _has only a daughter, - and her way of looking at even the chair on which that daughter - ought to be sitting, is the way of a child whose doll has suddenly - come to life. For the rest, she is so youthfully anxious and simple - and charming that the streak of grey in her hair puzzles you. You - wonder what trouble has fingered it. It does not occur to you that - she is quite thirty-five._ - - -MARGARET. [_Apologising_] Yes, she is late. - -MISS FAIRFIELD. As usual! - -MARGARET. Oh, well, she was dancing till three. I hadn’t the heart to -wake her. - -MISS FAIRFIELD. Till three, was she? Who brought her home? - -MARGARET. Kit, of course. - -MISS FAIRFIELD. Three o’clock on Christmas morning! I wonder what the -Rector said to that. - -MARGARET. Oh, Kit’s on holiday. - -MISS FAIRFIELD. I heard you tell her myself to be in by twelve. If -anything could make me approve of this marriage of yours-- - -MARGARET. Oh, don’t begin it again, Auntie! - -MISS FAIRFIELD.--it’s that the child will have a strong hand over her at -last. A step-father’s better than nothing--if you can call him a -step-father when her father’s still alive. - -MARGARET. Oh, don’t! - -MISS FAIRFIELD. What’s the use of saying “don’t”? He _is_ alive. You -can’t get away from that. - -MARGARET. Aunt Hester--_please_! - -MISS FAIRFIELD. Well, I’m only telling you--if it’s got to be, I’m not -sorry it’s Gray Meredith. - -MARGARET. [_Smiling_] Yes, Sydney knows just how far she may go with -Gray. - -MISS FAIRFIELD. I see nothing to laugh at in that. - -MARGARET. It’s so funny to think how circumspect you all are with him. -He’s the one person I’ve always felt perfectly safe with. I’d ask -anything of Gray. - -MISS FAIRFIELD. [_Grimly_] You always have, my dear! - -MARGARET. I don’t know why you should be unkind to me on Christmas -morning. - -MISS FAIRFIELD. [_With a sort of grudging affection_] I suppose it’s -because I’ve only got another week to be unkind to you in. - -MARGARET. [_Restlessly_] Oh, I wish you didn’t hate it so. - -MISS FAIRFIELD. My dear, when you see a person you care for, and she -your own nephew’s wife, on the brink of deadly sin-- - -MARGARET. Must we begin it again? - -MISS FAIRFIELD. I do my duty. If you’d done yours your daughter wouldn’t -be late for breakfast, and I shouldn’t be given the opportunity. - -MARGARET. Perhaps I _had_ better call her. - -MISS FAIRFIELD. Everything getting cold--and so disrespectful! She ought -to be taught. - -MARGARET. [_Rising with a sigh_] You’re quite right. [_Calling at the -foot of the stairs_] Sydney, darling, shall I bring you up your coffee? - -SYDNEY’S VOICE. [_Answering_] It’s all right, Mother! I’m coming. - -MISS FAIRFIELD. And I suppose that’s all you’ll say. - - SYDNEY _comes out of her room. She is physically a bigger, fairer - edition of_ MARGARET, _but there the likeness ends. Her manner is - brisk and decided. She is very sure of herself, but when she loses - her temper, as she often does, she loses her aplomb and reveals the - schoolgirl. Her attitude to the world is that of justice, - untempered, except where her mother is in question, by mercy. But - she is very fond of her mother._ - -SYDNEY. [_Running down the stairs_] Merry Christmas, everyone! I’m not -late, am I? Morning, Auntie! What, no post? - -MARGARET. It gets later every year. - -MISS FAIRFIELD. I’m very much obliged to you, Sydney, for -the--card-case. - -SYDNEY. [_Undoing her parcels_] It’s a cigarette case, Auntie dear. You -see, I thought if you gave me a prayer-book again we might do a deal. -Ah, I thought so! Thanks most awfully. It’s sweet of you. Shall we? - -MISS FAIRFIELD. What? - -SYDNEY. Swop. - -MARGARET. Sydney, dear, that’s rather rude. - -SYDNEY. [_Swiftly_] Well, Mother, I hate being hinted at. - -MARGARET. [_Bewildered_] Hint? What hint? - -SYDNEY. Oh, Mother, you’re such a lamb. You never see anything. [_To_ -MISS FAIRFIELD] I’m sorry, Auntie, but I’m seventeen, and I’ve left -school, and I am not going to church to-day, or any day any more ever, -except to chaperon Mother and Gray next week, bless ’em! - -MISS FAIRFIELD. I do think, Margaret, she ought at least to call him -Uncle. - -MARGARET. Aren’t you coming with us to-day, darling? Christmas Day? - -SYDNEY. Sorry, Mother. It’s against my principles. I refuse to kneel -down and say I’m a miserable sinner. I’m not miserable and I’m not a -sinner, and I cannot tell a lie to please any old--prayer-book. Besides, -I’m expecting Kit. - -MISS FAIRFIELD. You’ll find that Kit takes his mother to church. _She_ -hasn’t lost all her influence-- - -SYDNEY. [_Darkly_] She’ll be finding herself up against me soon. - -MARGARET. [_Like a schoolgirl_] Oh, Sydney, has he--? - -SYDNEY. He’s trying his hardest to, but I like to sort of _spread_ my -jam. - -MARGARET. Then--then--? - -SYDNEY. I’m not actually engaged, if you mean that-- [_Watching their -faces mischievously_] but I’m going to be. - -MISS FAIRFIELD. Engaged at seventeen! Preposterous! - -SYDNEY. [_Instantly_] Mother was married at seventeen. - -MARGARET. That was the war. - -SYDNEY. I don’t see what that’s got to do with it. - -MARGARET. [_Timidly_] Sydney--at seventeen, one doesn’t know enough-- - -SYDNEY. One doesn’t know the same things, I dare say. - -MARGARET. One doesn’t know anything at all. - -SYDNEY. Yes, but think of the hopeless sort of world you were seventeen -in--even you. As for poor Auntie, as far as knowing things goes-- - -MARGARET. Sydney, my dear, be good! - -SYDNEY. I am being good. I’m returning hint for hint. - -MISS FAIRFIELD. [_Ruffling_] Is this the way you let your daughter speak -to me, Margaret? - -SYDNEY. [_Closing with her_] You see, she doesn’t enjoy being hinted at -either. - -MARGARET. [_Between the upper and the nether mill-stone_] I don’t know -what you mean, Sydney, but _don’t_! - -SYDNEY. I mean that I’m not going to let Aunt Hester interfere in my -affairs like she does in yours. That’s what I mean. - -MISS FAIRFIELD. These are the manners they teach you at your fine -school, I suppose! - -SYDNEY. Never mind, Auntie, I’ve had my lessons in the holidays too. You -needn’t think I haven’t watched the life you’ve led Mother over this -divorce business. - -MARGARET. [_Distressed at the discussion_] Sydney! Sydney! - -SYDNEY. [_Remorselessly_] Well, hasn’t she? What prevented you from -marrying Gray ages ago? Father’s been out of his mind long enough, poor -man! You knew you were free to be free. You knew you were making Gray -miserable and yourself miserable--and yet, though that divorce law has -been in force for years, it’s taken you all this time to fight your -scruples. At least, you call them scruples! What you really mean is Aunt -Hester and her prayer book. And now, when you have at last consented to -give yourself a chance of being happy--when it’s Christmas Day and -you’re going to be married at New Year--still you let Aunt Hester sit at -your own breakfast table and insult you with talk about deadly sin. It’s -no use pretending you didn’t Auntie, because Mother left my door open -and I heard you. - -MARGARET. [_With a certain dignity_] Sydney, I can take care of myself. - -SYDNEY. [_Oblivious of it_] Take care of yourself! As if everybody -didn’t ride rough-shod over you when I’m not there. - -MARGARET. Yes, but my pet, you musn’t break out like this. Of course -your aunt knows you don’t really mean to be rude-- - -SYDNEY. I do mean to be rude to her when she’s rude to you. - -MARGARET. My dear, you quite misunderstand your aunt. - -SYDNEY. Oh, no, I don’t, Mother! [MARGARET _shrugs her shoulders -helplessly and sits down on the sofa to the left of the fireplace_.] - -MISS FAIRFIELD. [_Rising_] I’m afraid you’ll have to go to church -without me, Margaret. I’m thoroughly upset. You’ve brought up your -daughter to ignore me, and I know why. I’m the wrong side of the family. -I’m the one person in this house who remembers poor Hilary. I shall read -the service in the drawing-room. [_She goes out._] - -SYDNEY. [_Looking after her_] She owes me something. She’s been dying -for an excuse, with that cold. [_She turns to the sofa and says more -gently_] What’s the use of crying, Mother? If Gray finds out there’ll be -a row, and then Aunt Hester’ll be sorry she ever was born. - -MARGARET. It isn’t that. You get so excited, Sydney! You remind me--your -father was so excitable. I don’t like to see it. - -SYDNEY. I’m not really. I needn’t let myself go if I don’t want to. - -MARGARET. You musn’t get impatient with your aunt. She can’t get -accustomed to the new ways, that’s all. I--I can’t myself, sometimes. -[_Restlessly_] I hope I’m doing right. - -SYDNEY. Oh, I do think it’s morbid to have a conscience. If Father had -been dead fifteen years, would you say, “I hope I’m doing right”? And he -_is_ dead. His mind’s dead. You know you’ve done all you can. And you’re -frightfully in love with Gray-- - -MARGARET. [_Flushing_] Don’t, Sydney! - -SYDNEY. Well, you are, and so he is with you. So what’s the worry about? -Aunt Hester! What people like Aunt Hester choose to think! I call it -morbid. - -MARGARET. [_Whimsically_] I suppose I haven’t brought you up properly. -Your aunt’s quite right! - -SYDNEY. Yes. That’s what it always comes back to. “Your aunt’s quite -right!” I can argue with you by the hour-- - -MARGARET. [_Hastily_] Oh, not this morning, darling, will you? - -SYDNEY.--and Gray can argue with you by the hour-- - -MARGARET. [_Smiling_] Ah, but he never does. - -SYDNEY.--and you pretend to agree with us; but underneath your common -sense, your mind’s really thinking--“Your aunt’s quite right!” - -MARGARET. She stands for the old ways, Sydney. - -SYDNEY. She stands for Noah and the flood. She’d no business to go -dragging up Father and the divorce on Christmas morning to upset you. - -MARGARET. It wasn’t your aunt. - -SYDNEY. Then it was me, I suppose! “If I could only control my tongue -and my temper,” and all the rest of it! - -MARGARET. [_Quietly_] No, it was about Kit. - -SYDNEY. Kit? Oh, that’s all right, Mother. Don’t you worry about me and -Kit. - -MARGARET. I do. - -SYDNEY. You needn’t. - -MARGARET. [_Shyly_] You see, I thought I was in love at seventeen, too. - -SYDNEY. Oh, but I quite know what I’m doing. - -MARGARET. And now I know I didn’t know much about it. I don’t want you -to be--rushed. - -SYDNEY. Nobody could make me do what I didn’t want to do. - -MARGARET. [_Forgetting_ SYDNEY] It was nobody’s fault. It was the -war-- [_She sits, dreaming._] - -SYDNEY. It’s extraordinary to me--whenever you middle-aged people want -to excuse yourselves for anything you’ve done that you know you oughtn’t -to have done, you say it was the war. How could a war make you get -married if you didn’t want to? - -MARGARET. [_Groping for words_] It was the feel in the air. They say the -smell of blood sends horses crazy. That was the feel. One did mad -things. Hilary--your father--he was going out--the trenches--to be hurt. -And he was so fond of me he frightened me. I was so sorry. I thought I -cared. Can’t you understand? - -SYDNEY. No. Either you care or you don’t. - -MARGARET. [_Passionately_] How can you know until it happens to you? How -was I to know there was more to it than keeping house and looking after -Hilary--and you? How was I to know? - -SYDNEY. [_Doubtfully_] Is there so much more to it? - -MARGARET. Yes. - -SYDNEY. I don’t believe there is for some people. Why it’s just what I -want--to look after Kit and a house of my own, and--oh, at least half a -dozen kids. - -MARGARET. [_Uncomfortably_] Sydney, _dear_! - -SYDNEY. Oh, Kit’s as keen as I am on eugenics. He’s doing a paper for -his debating society. - -MARGARET. Well, I found you quite enough to manage. - -SYDNEY. [_Leaning over the back of the sofa_] I believe you were scared -of me when I was little-- [_Margaret nods_] and even now-- - -MARGARET. [_Quickly_] What? - -SYDNEY. [_Quite good humoured about it_] Well, if you had to choose -between me and Gray, it wouldn’t be Gray who’d lose you. - -MARGARET. [_Confronted with the idea_] I hope I’d do what’s right. - -SYDNEY. [_Airily_] There you are! - -MARGARET. [_As it goes home_] It’s not true. You’ve no right to make me -out a heartless mother. But-- - -SYDNEY. [_Her arm round her mother’s neck_] Well--heartless Mother? - -MARGARET. [_Clutching at the arm_] Oh, Sydney--what should I do if -Gray--if Gray-- - -SYDNEY. It’s all right, Mother! [_There is the sound of a motor driving -up._] There is Gray. - -MARGARET. [_Jumping up hurriedly_] Oh, and I’m not dressed. Say I’ll be -down in a minute. [_She runs upstairs._] - -SYDNEY. You’ve plenty of time. The bells haven’t begun yet. - -MARGARET. [_From the gallery_] Tell Bassett to clear away. - - SYDNEY _rings the bell. The elderly maid enters through the baize - door._ - -BASSETT. Yes, Miss? - -SYDNEY. You can clear, Bassett! - - _While she is speaking_ GRAY MEREDITH _comes in through the hall - door. He is about forty, tall, dark and quiet, very sure of himself - and quite indifferent to the effect he makes on other people. As he - is a man who never has room in his head for more than one idea at a - time, and as for the last five years that idea has been_ MARGARET, - _the rest of the world doesn’t get much out of him. But mention her - and he behaves exactly like a fire being poked._ - -GRAY. [_Putting down a box he carries_] Where’s your mother? - -SYDNEY. [_Folding her hands_] Good morning, dear Sydney! A merry -Christmas to you, and so many thanks for the tie that, with the help of -your devoted aunt, you so thoughtfully-- - -GRAY. Stop it, there’s a good child! I haven’t missed her, have I? - -SYDNEY. Pray accept in return as a small token of esteem and total -dependency-- - -GRAY. I asked you if your mother had started. - -SYDNEY. [_In her natural voice_] It’s true, you know. You simply daren’t -cope with me yet. - -GRAY. [_Twinkling in spite of himself_] Hm! A time will come-- - -SYDNEY. Wouldn’t it warm the cockles of Aunt Hester’s heart to hear you! -What are cockles, Gray? Gray, she says I ought to call you Uncle! Gray, -d’you think you have brought me what I think you have for a Christmas -present? - -GRAY. You’d better go and look. It’s in the motor with Kit. - -SYDNEY. It? - -GRAY. He. - -SYDNEY. By Viscount out of Vixen? - -GRAY. Really, Sydney! - -SYDNEY. Dear Uncle Hester! - -GRAY. Yes, but Sydney--? - -SYDNEY. [_At the door_] Oh, didn’t I tell you? Mother says she’ll be -down in a minute. [_She lets in the sound of the church bells as she -goes out._] - - GRAY _walks about the room, then, going to the foot of the - staircase, he calls softly_. - -GRAY. Margaret! [_He waits a moment; then he calls again_] Margaret! - - _He listens, takes another turn about the room, then, coming back - to the staircase, stands, leaning against the foot of the - balusters._ MARGARET _comes softly down the stairs, and bending - over, puts her hands on his shoulders_. - -MARGARET. A merry Christmas! - -GRAY. [_Turning round and kissing her_] And a happy New Year! - -MARGARET. It will be--oh, it will be! - -GRAY. I almost think it will sometimes. [_Holding her at arms’ length_] -New frock? - -MARGARET. Like it? - -GRAY. Oh, I’ve seen it already. - -MARGARET. Why, it’s the first time I’ve put it on. - -GRAY. [_Untying the box on the table as he speaks_] Sydney carted it -along with her last week when we went to choose--this. - -MARGARET. [_Like a child with a new toy_] For me, Gray? - -GRAY. Looks like it. - -MARGARET. Oh, I hope you haven’t been extravagant. - -GRAY. [_Opening the lid_] Well, Sydney said-- - -MARGARET. Silver fox! Oh, my dear, you shouldn’t. - -GRAY. Put ’em on. Sydney’s quite a wise child. - -MARGARET. [_Luxuriously_] Oh, I do love being spoiled. - -GRAY. You haven’t had so much of it, have you, Meg? - -MARGARET. [_With a complete change of manner_] Don’t! - -GRAY. What? - -MARGARET. Don’t call me Meg. - -GRAY. Why not? - -MARGARET. You never have before. - -GRAY. Don’t you see, I want a name for you that no-one else uses. - -MARGARET. [_Close to him_] Yes, yes, that no-one else has ever used. Not -Meg. Not Margaret. Make a name of your own for me--new--new. - -GRAY. Well, you’re getting one new name pretty soon, anyhow. - -MARGARET. Yes. New year--new name--new life. [_In his arms_] Oh, Gray, -is thirty-five very old? - -GRAY. Not when you say it. - -MARGARET. Oh, Gray, we’ve time for everything still? - -GRAY. Time for everything. [_He laughs_] Except church, my child! Do you -really insist on going? - -MARGARET. Aunt Hester will be horrified if I don’t. Besides-- [_She comes -back to the table and begins putting the papers together._] - -GRAY. What? - -MARGARET. I suppose you’ll think me a fool-- - -GRAY. Shall I? - -MARGARET. Oh, Gray, for the first time in my life I’m happy. I want to -say-- - -GRAY. What does she want to say? - -MARGARET. “Humble and hearty thanks--” - - SYDNEY _runs in with a puppy in her arms. She is followed by_ KIT. - KIT _is a good-looking, fair-haired boy who may be twenty-two, but - is nevertheless much younger than_ SYDNEY, _whom he takes as - seriously as he takes everything else in life. It is part of her - charm for him that he finds it a little difficult to keep up with - her._ - -SYDNEY. Mother! Mother! Look what Gray’s brought me! - -MARGARET. Oh, Sydney, your aunt isn’t fond of dogs. Merry Christmas, -Kit! - -KIT. Merry Christmas, Mrs. Fairfield! - -SYDNEY. Yes, but isn’t he an angel? And Kit’s given me a collar for him. -[_She goes up to_ GRAY] You know, Gray, it’s so sweet of you that in -return I’ll-- - -GRAY. Well? - -SYDNEY. [_Conspiratorially_] Make Kit late for church if you like. - -GRAY. [_Putting himself in her hands_] I did promise him a lift. - -SYDNEY. [_Settling it_] He can cut across the fields. [_Aloud_] Kit, -what about a bone for the angel? You might go and make love to Bassett. -[_She puts the dog into his arms. They stroll off together into the -inner room._] - -KIT. [_Earnestly, as he goes out through the baize door_] He ought to be -kept to biscuits. - -SYDNEY. [_Calling to him_] Just one to gnaw. [_Then, over her shoulder_] -Mother, the bells have been going quite a while. - -MARGARET. [_To_ GRAY] Listen, don’t you love them? - -GRAY. Church bells? - -MARGARET. Wedding bells. - -GRAY. Margaret, you’ve stepped straight out of a Trollope novel. - -MARGARET. [_Flushing_] I suppose you think I’m sentimental. - -GRAY. No, but you’re pure nineteenth century. - -MARGARET. I’m not. [_Telephone bell rings_] Oh! - -GRAY. There goes the twentieth. Don’t you see how it makes you jump? - -SYDNEY _has gone to the telephone_. - -SYDNEY. Hullo! Hullo!... You rang _me_ up. [_She hangs up the receiver_] -“Sorry you have been trubbled!” And it’s sure to be someone trying to -get on. - -GRAY. On Christmas morning? Hardly! I say, come along! The bells have -stopped. - -MARGARET. [_In a strange voice_] Yes, they stopped when that other bell -rang. - -SYDNEY. Why, Mother, what’s the matter? - -MARGARET. [_Blindly_] They stopped. - -SYDNEY. I told you, darling, you’re late. - -MARGARET. Give me my furs. I’m cold. [GRAY _helps her on with them_.] - -SYDNEY. [_Proud of her_] They _are_ lovely. - -MARGARET. [_At the door, wistfully_] It isn’t too good to be true, is -it? - -GRAY. The furs? - -MARGARET. Everything! You--oh, what a fool I am! [_You hear_ GRAY’S -_laugh answering hers as they go out together, and the sound of the -motor driving away_.] - -SYDNEY. [_Subsiding on to the sofa, to_ KIT, _who has come in as the -others go_] I thought they’d never get off. Mother has a way of standing -around and gently fussing--I tell you I’ll be glad when next week’s -over. - -KIT. So’ll I. I haven’t had a look in lately. - -SYDNEY. [_With an intimate glance_] Not last night? But it _has_ been a -job, running Mother. I’m bridesmaid and best man and family lawyer and -Juliet’s nurse all rolled into one--and a sort of lightning conductor -for Aunt Hester into the bargain. That’s why I’ve had so little time for -you. It’s quite true what Gray was saying just now--Mother _is_ -nineteenth century. She’s sweet and helpless, but she’s obstinate too. -My word, the time she took making up her mind to get that divorce! - -KIT. It’s just about that that I’ve been wanting to talk to you. You -see-- - -SYDNEY. Well? - -KIT. You see-- - -SYDNEY. Hurry up, old thing! - -KIT. Well, you see, when I got home last night the governor was sitting -up for me. - -SYDNEY. He would be. - -KIT. And in the course of the row--_you_ came in to it. - -SYDNEY. Oh, but he likes me. - -KIT. Yes, he was quite soothed when I said we were engaged. - -SYDNEY. Liar! - -KIT. [_Serenely_] Oh, well-- - -SYDNEY. [_She finds his chuckle infectious_] What did he say? - -KIT. Oh, lots of rot, of course, about being too young. But he was quite -bucked really until-- - -SYDNEY. Well? - -KIT. Well, I was a fool. I said something, quite by chance, about your -father. Then the fur began to fly. You see, it seems he thought your -mother was a widow-- - -SYDNEY. [_Ruffling up_] What’s it got to do with him? - -KIT. Well, you see-- - -SYDNEY. If you’d only make me see instead of you-seeing me all the time. - -KIT. I’m afraid of hurting your feelings. - -SYDNEY. I’m not nineteenth century. - -KIT. [_Desperately_] Well, my people are. - -SYDNEY. Well? - -KIT. That’s the trouble--my people are! Father promptly began about not -seeing his way to-- - -SYDNEY. To what, Kit? - -KIT. To--to marrying them. - -SYDNEY. But I’ve never heard of anything so crazy. - -KIT. Of course, you know, there’s nothing to worry about. There are -heaps of clergymen who will. - -SYDNEY. My dear boy, if Mother isn’t married in her own parish church -she’ll think she’s living in sin. - -KIT. Well, there it is! - -SYDNEY. But look here, the old rector knew all about it. Do you mean to -say that a new man can come into our parish and insult Mother just -because his beastly conscience doesn’t work the same way the old -rector’s did? The divorce is perfectly legal. - -KIT. [_In great discomfort_] Yes, Father knows all that. [_Hopefully_] -Of course, I don’t see myself why a registry office-- - -SYDNEY. If it were me I’d prefer it. Much less fuss. But Mother -wouldn’t. - -KIT. But she ought to see-- - -SYDNEY. But she won’t. It’s no use reckoning on what people ought to be. -You’ve got to deal with them as they are. - -KIT. [_Guiltily_] Well, I’m awfully sorry. - -SYDNEY. It’s no use being sorry. We’ve got to do something. - -KIT. [_Hopelessly_] When once the old man gets an idea into his head-- - -SYDNEY. He’d better not let it out in front of Mother. Gray’d half kill -him if he did. And I tell you this, Kit, what Gray leaves I’ll account -for, even if he is your father. Poor little Mother! - -KIT. Well I’m all on your side, you know that. But of course, Sydney, a -clergyman needn’t re-marry divorced people. It’s in that bill. The -governor was quoting it to-day. - -SYDNEY. But doesn’t he know the circumstances? - -KIT. He only knows what I do. - -SYDNEY. One doesn’t shout things at people, naturally. But it’s nothing -to be ashamed of. It’s only that my unfortunate father has been in an -asylum ever since I can remember. Shell-shock. It began before I was -born. He never came home again. Mother had to give up going to see him -even. It seemed to make him worse. - -KIT. Pretty tragic. - -SYDNEY. Oh, for years now he hasn’t known anyone, luckily. And he’s well -looked after. He’s quite all right. - -KIT. [_Uncomfortably_] You’re a queer girl. - -SYDNEY. But he is. - -KIT. Yes--but-- - -SYDNEY. What? - -KIT. Your own father-- - -SYDNEY. [_Impatiently_] My dear boy, I’ve never even seen him. Oh, of -course it’s very sad, but I can’t go about with my handkerchief to my -eyes all the time, can I? - -KIT. Yes--but-- - -SYDNEY. I hate cant. - -KIT. [_Leaning over the back of the sofa, his hands playing with her -chain_] You little brute--you’re as hard as nails, aren’t you? - -SYDNEY. [_Putting up her face to him_] Am I? [_They kiss._] - -MISS FAIRFIELD. [_Passing through_] Really Sydney! Before lunch! - -KIT. You know, old thing, sometimes I don’t feel as if I should ever -really get on with your aunt. - -SYDNEY. [_Dimpling_] You’ll have to if-- - -KIT. Good Lord! You don’t want her in the house! - -SYDNEY. [_Calmly_] I must take her off Mother sometimes. That’s only -fair. But she shan’t worry you. - -KIT. I say, you’re going to have things your own way, aren’t you? - -SYDNEY. But of course I am, darling. - -KIT. [_Heavily_] But look here--marriage is a sort of mutual show, isn’t -it? We’ve got to pull together. - -SYDNEY. Of course. - -KIT. But suppose we come to a cross-roads, so to speak? - -SYDNEY. Well, somebody’ll have to give way, won’t they, darling? - -KIT. Hm! - -SYDNEY. My dear boy, if you want a door-mat you’d better look out for -someone--someone like poor dear Mother, for instance. - -KIT. [_Wiser than he knows_] But you _are_ like her, Sydney! - -SYDNEY. Me? Do you think I’d let my daughter run me the way I run -Mother? Not much! - -MISS FAIRFIELD. [_Re-entering_] I think I left my-- [_murmurs_]. - -SYDNEY. [_Aside_] It’s no good. She’s doing this on purpose because I -cheeked her. You’d better go, old man. Besides, they must be well -through the anthem. - -KIT. [_Disturbed_] Good Lord! I should think I had better go! - -SYDNEY. [_Going with him to the door_] I say, keep your father quiet -till I’ve had time to talk to Gray. - -KIT. Right! [_He goes out._] - -SYDNEY. [_Calling_] Kit! - -KIT. [_Reappearing_] Yes? - -SYDNEY. Come round in the afternoon. - -KIT. Right! [_He goes out._] - -SYDNEY. [_Calling_] Kit! - -KIT. [_Reappearing_] Yes? - -SYDNEY. I don’t suppose there’ll ever be any cross-roads. - -KIT. Darling! [_A scuffle._ SYDNEY _reappears patting her hair_.] - -MISS FAIRFIELD. I’m afraid I disturbed a _tête-à-tête_. - -SYDNEY. [_Sweetly_] Oh, Auntie, whatever made you think that? - -MISS FAIRFIELD. But I really couldn’t sit in the drawing-room. There’s -no fire. [_She sits down and opens her book_.] - -SYDNEY. [_In a soft little voice, hums_] “When we are married we’ll have -sausages for tea.” - -MISS FAIRFIELD. Do you mind being quiet while I read the service? - -SYDNEY. Sorry! [_She takes up some knitting._] - -MISS FAIRFIELD. What are you doing? - -SYDNEY. Tie for Kit. - -MISS FAIRFIELD. Sydney! Needlework on Sunday! - -SYDNEY. Well, I can’t sit in the drawing-room either if there’s no -fire. - -MISS FAIRFIELD. There’s no need to lose your temper. - -SYDNEY. [_Out of patience_] Here, I’m going. [_As she makes for the -staircase the telephone gives a broken tinkle._] - -MISS FAIRFIELD. Sydney, I believe that telephone’s going off! - -SYDNEY. Yes, I’m sure it’s someone trying to get on. They’ve rung up -once already. - -MISS FAIRFIELD. Sydney, I won’t be left to deal with it. [_The telephone -rings deafeningly._] There, I told you so. - -SYDNEY. Well, it’s not my fault! [_She takes off the receiver_] Hullo! -Hullo!... Yes.... Yes.... Yes.... [_To her aunt_] It’s a trunk call. - -MISS FAIRFIELD. Who on earth--? - -SYDNEY. Yes.... Hullo!... Yes.... Mrs. Fairfield’s out. Shall I take a -message?... This is Miss Fairfield speaking.... All right, I’ll hold -on.... [_To her aunt_] Auntie, it’s from Bedford. It’s about Father. -[_Into the telephone_] Yes.... This is Miss Fairfield speaking.... -What?... Good Lord! - -MISS FAIRFIELD. Sydney, don’t say “Good Lord”! - -SYDNEY. But you should have let Mrs. Fairfield know!... Only this -morning? Oh, I see.... No, we’ve heard nothing. When did you find -out?... What makes you--? I see.... No, he’s not here.... Of course we’d -let you know.... Then you’ll let us know at once if anything ... -yes.... _Miss_ Fairfield. Mrs. Fairfield is going away very soon.... -Thank you.... Good-bye. - - SYDNEY _hangs up the receiver and turns round_. - -MISS FAIRFIELD. Well? - -SYDNEY. Father’s got away. - -MISS FAIRFIELD. What? Who spoke to you? - -SYDNEY. The head man--what’s his name? Rogers! Frightfully upset. - -MISS FAIRFIELD. I should think so. Why, the poor fellow’s dangerous. - -SYDNEY. Apparently he’s been very much better lately, and this last -week, a marked change, he says. - -MISS FAIRFIELD. [_Agitated_] You mean he’s getting well? - -SYDNEY. Looks like it. Rogers was awfully guarded but--apparently they’d -already written to Uncle Hugh and the solicitors. - -MISS FAIRFIELD. They ought to have written to me. - -SYDNEY. Of course, they wouldn’t write to Mother--now--but we ought to -have heard. - -MISS FAIRFIELD. When did they miss him? - -SYDNEY. This morning. Then a lot about its being inexplicable and the -precautions they had taken and so on. The fact remains that he has -managed to get away. - -MISS FAIRFIELD. It’s disgraceful carelessness. - -SYDNEY. Their theory is that he has suddenly come to himself. Is it -possible, Auntie? Can it happen? - -MISS FAIRFIELD. It’s quite possible. It does. It was the same with my -poor sister, Grace. After ten years that was. - -SYDNEY. But the doctors said incurable. - -MISS FAIRFIELD. The Almighty’s greater than the doctors. And -nerves--nerves are queer things. I nursed your Aunt Grace. Well, I -always told your mother to wait. - -SYDNEY. [_Struck_] Is that a fact about Aunt Grace? Was she out of her -mind too? - -MISS FAIRFIELD. She never had to be sent away. - -SYDNEY. Nobody ever told me. - -MISS FAIRFIELD. There’s something in most families. - -SYDNEY. But with Father--wasn’t it shell-shock? - -MISS FAIRFIELD. It was brought on by shell-shock. - -SYDNEY. D’you mean that in our family there’s insanity? - -MISS FAIRFIELD. [_Fidgeting_] That’s not the way to talk. But we’re -nervy, all of us, we’re nervy. Your poor father would have been no worse -than the rest if it hadn’t been for the war. - -SYDNEY. [_Slowly_] What do you mean, “nervy”? - -MISS FAIRFIELD. [_With a sidelong glance_] I mean the way you’re taking -this. - -SYDNEY. [_Sharply_] How am I taking it? - -MISS FAIRFIELD. [_Irritated_] Well, look at you now. - -SYDNEY. [_Coldly_] I’m perfectly under control. - -MISS FAIRFIELD. That’s it. It’s not natural. - -SYDNEY. [_Slowly_] You mean, I shouldn’t bother to control myself if-- - -MISS FAIRFIELD. [_Hastily_] You’re too young to think about such things. - -SYDNEY.--if I weren’t afraid, you mean. Did Mother know--when she -married? - -MISS FAIRFIELD. I tell you there are troubles in every family, but one -doesn’t talk about them. - -SYDNEY. But did she _know_ the trouble was insanity? - -MISS FAIRFIELD. [_Shortly_] I don’t know. - -SYDNEY. Did Father? - -MISS FAIRFIELD. One always knows in a general sort of way. - -SYDNEY. [_Relentlessly_] Am I nervy? - -MISS FAIRFIELD. Young people don’t have nerves. - -SYDNEY. Insanity! A thing you can hand on! And I told Kit it was -shell-shock! - -MISS FAIRFIELD. I don’t see what difference it makes to Christopher. - -SYDNEY. You don’t see what difference--? You don’t see--? [_To herself_] -But _I_ see [_There is a pause]_ Aunt Hester, suppose Father really gets -well--? - -MISS FAIRFIELD. Well? - -SYDNEY. Whatever will he do? - -MISS FAIRFIELD. It’s a question of what your mother will do. - -SYDNEY. But it won’t have anything to do with Mother. - -MISS FAIRFIELD. [_Grimly_] Won’t it? - -SYDNEY. What on earth are you driving at? - -MISS FAIRFIELD. I can’t discuss it with you. - -SYDNEY. Why not? - -MISS FAIRFIELD. You’re too young. - -SYDNEY. I’m old enough to be engaged. - -MISS FAIRFIELD. You’re not engaged. - -SYDNEY. [_Insolently_] Kissed then. You saw that half an hour ago, -didn’t you? I might just as well say I can’t discuss it with you because -you’re too old. - -MISS FAIRFIELD. How dare you speak to me like that? - -SYDNEY. [_Beside herself_] Oh, are all old people such stone walls? -Here’s a shadow, here’s a trouble, here’s a ghost in the house--and when -I ask you what shall I do, you talk about your blessed dignity! - -MISS FAIRFIELD. [_Rising_] This is the second time in one morning that -you have driven me out of the room. - -SYDNEY. [_Wringing her hands_] Well, I’m sorry! But I’m so worried. -Don’t you see I’ve got to keep it off Mother? and Kit! Oh, I’ve got to -tell Kit! [_Following her irresolutely_] Auntie, if you’d only be -decent. [_But_ MISS FAIRFIELD _has gone out_. SYDNEY _turns back into -the room_] If I only knew what to do! - - _She stands hesitating. Then she goes to the telephone: makes a - movement as if to take it down but checks herself, shaking her - head. She comes back to the sofa at last and flings herself down on - it, fidgeting with the cushions and frowning. She is roused by the - click of a latch as the French window in the inner room is softly - opened, and_ HILARY FAIRFIELD _steps over the threshold. He is a - big, fresh-coloured man with grey hair and bowed shoulders. In - speech and movements he is quick and jerky, inclined to be - boisterous, but pathetically easy to check. This he knows himself, - and he has, indeed, an air of being always in rebellion against his - own habit of obedience. He comes in, treading softly, his bright - eyes dancing with excitement, like a child getting ready to spring - a surprise on somebody. Something in the fashion of the empty room - (for he does not see_ SYDNEY _crouching in the cushions) - disconcerts him. He hesitates. The happy little smile fades. His - eye wanders from one object to another and he moves about, - recognising a picture here, fingering there an unfamiliar hanging, - as it were losing and finding himself a dozen times in his progress - round the room. He comes to a stand at last before the fire-place, - warming his hands. Then he takes out a pipe and with the other - hand feels absently along the mantel-piece for the matches._ - SYDNEY, _who has been watching him with a sort of breathless - sympathy, says softly_:-- - -SYDNEY. What are you looking for? - -HILARY. They’ve moved my-- [_with a start_] eh? [_He turns sharply and -sees her_] Meg! It’s Meg! [_With a rush_] Oh, my own darling! - -SYDNEY. [_Her confidence in her power to deal with the situation -suddenly gone_] I--I’m not Meg. - -HILARY. [_Boisterously_] Not Meg! Tell me I don’t know Meg! [SYDNEY -_gives a nervous schoolgirl giggle_] Eh? [_Then, his voice changing -completely_] No, it’s not Meg. [_Uneasily_] I beg your pardon. I thought -you were--another girl. I’ve been away a long time. - -SYDNEY. Whom do you want? - -HILARY. [_Startled again_] There, you see, it’s her voice too. Who are -you? - -SYDNEY. [_Fencing_] How did you get in? - -HILARY. Tool-shed gate. [_Louder_] Who are you? - -SYDNEY. Where have you come from? - -HILARY. Bedford. Took a car. [_Lashing himself into an agitation_] Who -are you? - -SYDNEY. Whom do you want to see? - -HILARY. [_Losing all control_] Who are you? - -SYDNEY. [_Slowly_] I think I’m your daughter. [HILARY _stares at her -blankly. Then he bursts out laughing._] - -HILARY. Daughter! Daughter! By God, that’s good! My wife isn’t my wife, -she’s my daughter! And my daughter’s seventeen and I’m twenty-two. - -SYDNEY. You’re forgetting what years and years-- - -HILARY. Yes, of course. It’s years and years. It’s a life-time. It’s my -daughter’s lifetime. What’s your name--daughter? - -SYDNEY. Sydney. - -HILARY. Sydney. Sydney, eh? My mother was Sydney. I like Sydney. -I-- [_catching at his dignity_] I suppose we’re rather a shock to each -other--Sydney. - -SYDNEY. No. You’re not a shock to me. But I’m afraid-- - -HILARY. [_Breaking in_] Is my--? Is your--? Where’s Margaret? - -SYDNEY. At church. - -HILARY. Back soon, eh? - -SYDNEY. Yes, that’s why I’m afraid-- - -HILARY. [_Unheeding_] I might go to meet her, eh? - -SYDNEY. [_Quickly_] Oh, I wouldn’t. Come and sit down and wait for her -and talk. - -HILARY. [_Obediently_] Very well. [_He sits down beside her on the sofa. -They look at each other. He says shyly_] I say, isn’t this queer? - -SYDNEY. It makes me want to cry. - -HILARY. Why? That’s all over. Laugh! Laugh! That’s the thing to do. What -a lovely room this is! I can’t say I like the new paper--or the -curtains! - -SYDNEY. [_Quickly_] Yes, I liked the old red ones, too. [_Then, with an -effort_] Those--aren’t--the only changes. Everything changes-- - -HILARY. [_Swiftly_] Bet you Aunt Hester hasn’t, eh? [_They look at each -other and laugh._] And I bet you--I say, is your mother such a darling -still? - -SYDNEY. [_Recalled to the business before her, brusquely_] Look -here--Father-- - -HILARY. [_Savouring it_] “Father!” “Father!” Well? - -SYDNEY. We’ve got to talk. We’ve got to get things straight before she -comes back. - -HILARY. [_His eye and his attention beginning to wander_] Back soon, eh? -Why has Meg moved the clock? It was much better where we put it. Must -get it put back. Nearly one. She’s late, isn’t she? I--I really think, -you know, I’ll go out and meet your mother. - -SYDNEY. [_Authoritatively_] You’re to stay here. - -HILARY. [_Beginning obediently_] Very well-- [_He flares suddenly_] I’ll -do as I like about that. - -SYDNEY. [_Passionately_] I’ll not have you frighten her. - -HILARY. I? [_He smiles securely._] - -SYDNEY. Can’t you realise what the shock--? - -HILARY. [_Blissfully_] Never known anyone die of joy yet! - -SYDNEY. Father, you don’t understand! You and mother-- - -HILARY. [_Getting irritated_] Look here, this is nothing to do with -you-- - -SYDNEY. But you mustn’t-- - -HILARY [_Violently_] Now I tell you I’m not going to be hectored. I -won’t stand it. I’ve had enough of it. D’you hear? I’ve had enough of -it. - -SYDNEY. If you talk to my mother like this-- - -HILARY. [_Softening_] Meg understands. - -SYDNEY [_Jealously_] So do I understand. - -HILARY. I believe you do. You got wild all in a moment. That’s my way, -too. It means nothing. Meg can’t see that it means nothing. But it makes -a man wild, you know, to be dragooned when he’s as sane as--my God, I -_am_ sane! That’s all over, isn’t it? I am sane. Daughter! - -SYDNEY. [_Watching him_] Father? - -HILARY. Don’t let me get--that way. It’s bad. Help me to go slow. I’m as -well as you are, you know. But it’s new. It only happened to-day--like a -curtain lifting. [_Confidentially_] You see I was standing in the -garden-- - -SYDNEY. I can’t conceive how you got away. - -HILARY. Led. Like Peter out of prison. I went through the gate, openly. -Their eyes were blinded. [_With a complete change of tone_] Pure luck, -you know. There were visitors going out--and I nipped along with them, -talking. No-one spotted me. I wouldn’t have believed it possible. Heaps -of us--of them, I mean--have tried, you know. - -SYDNEY. But you’d no money. - -HILARY. [_Whimsically_] I took the first taxi I saw. Promised him -double. He’s at the lower gate now, waiting to be paid. - -SYDNEY. Father, _dear_! Ticking away the tuppences! We’re not -millionaires! - -HILARY. [_Carelessly_] Your mother’ll see to it. [_Sound of a motor -horn_] That’s him! I suppose he’s got tired of waiting and come round. - -SYDNEY. No, no! That’ll be Mother. You mustn’t stop here. You must let -me tell her. You must let me tell her first. [_She goes out hurriedly._] - -HILARY. Your mother, is it? Your mother, eh? Here--child--a minute, give -me a minute! give me a minute! - -MARGARET. [_As she comes in_] No--he couldn’t. But he’s coming round -directly after lunch--Hilary! - -HILARY. [_Like a man who can’t see_] Meg! Is it Meg? Meg, I’ve come -home. - -MARGARET. [_Terrified_] Sydney, don’t go away! - -SYDNEY. It’s all right, Mother! - -HILARY. Meg! - -MARGARET. But they said--they said--incurable. They shouldn’t have -said--incurable. - -HILARY. What does it matter? I’m well. I’m well, Meg! I tell you--it -came over me like a lantern flash--like a face turning to you. I was in -the garden, you know--lost. I was a lost soul--outcast! No hope. I can -never make anyone understand. I was never like the rest of them. I was -sane, always--but--the face was turned away. - -SYDNEY. What face? - -HILARY. The face of God. - -MARGARET. Sydney--is he--? - -SYDNEY.--It’s all right, Mother! That isn’t madness. He’s come to -himself. - -MARGARET. Then--then--what am I to do? - -HILARY. What’s that? [_He comes nearer._] - -MARGARET. I--I-- - -HILARY. [_Staring at her_] You don’t say a word. One would think you -weren’t glad to see me. Aren’t you glad to see me? - -MARGARET. Of course--glad--you poor Hilary! - -HILARY. If you knew what it is to say to myself--I’m at home! That -place--! - -MARGARET. [_Mechanically_] Oh, but there was every comfort. - -HILARY. Hell! Hell! - -MARGARET. [_Insisting_] But they were good to you? - -HILARY. Good enough. - -MARGARET. [_In acute distress_] They didn’t--ill-treat--? - -SYDNEY. Mother, you know you did the very best-- - -HILARY. If it had been heaven--what difference does it make? I was a -dead man. Do you know what the dead do in heaven? They sit on their -golden chairs and sicken for home. Why did you never come? - -MARGARET. They wouldn’t let me. It made you worse. - -HILARY. Because I wanted you so. - -MARGARET. But you didn’t know me. - -HILARY. My voice didn’t--and my speech and my actions didn’t. But _I_ -knew you. Meg--behind the curtain--behind the dreams and the noises, and -the abandonment of God--I wanted you. I wanted--I wanted-- [_He puts his -hand to his head._] Look here--I tell you we mustn’t talk of these -things. It’s not safe, I tell you. When I talk I see a black hand -reaching up through the floor--do you see? there--through the widening -crack of the floor--to catch me by the ankle and drag--drag-- - -SYDNEY. Father--Father--go slow! - -MARGARET. [_Terrified_] Sydney! - -SYDNEY. It’s all right, Mother! We’ll manage. - -HILARY. [_Turning to her_] Yes, you tell your mother. I’m all right! You -understand that, don’t you? Once it was a real hand. Now I know it’s in -my mind. I tell you, Meg, I’m well. But it’s not safe to think about -anything but--Oh, my dear, the holly and the crackle of the fire and the -snow like a veil of peace on me--and you like the snow--so still-- - - _He comes to her with outstretched arms._ - -MARGARET [_Faintly_] No--no--no-- - -HILARY. [_Exalted_] Yes--yes--yes! [_He catches her to him._] - -MARGARET. For pity’s sake, Hilary--! - -BASSETT. [_Entering_] Lunch is served, Ma’am! - -MARGARET. [_Helplessly_] Sydney? - -SYDNEY. Lay an extra cover. This--my--this gentleman is staying to -lunch. - -HILARY. [_Boisterously_] Staying to lunch! to lunch! That’s a good joke, -isn’t it? I say, listen! I’m laughing. Do you know, I’m laughing? It’s -blessed to laugh. Staying to lunch! Yes, my girl! Lunch and tea and -supper and breakfast, thank God! and for many a long day! - - - CURTAIN. - - - - - ACT II. - - - _The curtain rises on_ MARGARET’S _drawing-room. It is prettily - furnished in a gentle, white-walled, water-colour-in-gold-frame - fashion, and is full of flowers. In one corner is a parrot in a - cage, and near it_ MISS FAIRFIELD’S _arm-chair and foot-stool and - work-table. The fire-place has a white sheepskin in front of it, - and brass fire-irons: on the mantel-piece is a gilt clock and many - photographs. At right angles to the fire a low empire couch runs - out into the room. There is a hint of_ SYDNEY _in the ultra-modern - cushionry with which it is piled. As the curtain goes up_ BASSETT - _is showing in_ GRAY MEREDITH. - - -BASSETT. They’re still at lunch, Sir. - -GRAY. [_Glancing at the clock_] They’re late. - -BASSETT. It’s the visitor, Sir. He’s kept them talking. - -GRAY. Visitor? - -BASSETT. Yes, Sir, a strange gentleman. Will you take coffee, Sir? - -GRAY. I may as well go in and have it with them. - -BASSETT. The mistress said, would you not, Sir. She’d come to you. - -GRAY. [_A little surprised_] Oh, very well. - -BASSETT. I’ll tell Miss Sydney you’ve come, Sir. - -GRAY. [_Lifting his eyebrows_] Tell Mrs. Fairfield. - -BASSETT. Miss Sydney said I was to tell her too, Sir, quietly. - -GRAY. [_Puzzled_] Is--? [_He checks an impulse to question the servant_] -All right! - -BASSETT. Thank you, Sir. - - _She goes out, leaving the door open. There is a slight pause._ - MARGARET _comes in hurriedly, shutting the door behind her_. - -GRAY. [_Smiling_] Well, what’s the mystery? - -MARGARET. Gray, he’s come back! - -GRAY. Who? - -MARGARET. Hilary! - -GRAY. [_Lightly_] Hilary? What Hilary? _Hilary!_ - -MARGARET. Yes. - -GRAY. Good God! - -MARGARET. He got away. He came straight here. I found him with Sydney. - -GRAY. Don’t be frightened. I’m here. Is he dangerous? - -MARGARET. No, no, poor fellow! - -GRAY. You can’t be sure. Anyway, I’d better take charge of him while you -phone the asylum. No, that won’t do, there are no trains. We must ring -up the authorities. - -MARGARET. Oh, no, Gray! - -GRAY. It’s not pleasant, but it’s the only thing to do. - -MARGARET. You don’t understand. - -GRAY. There’s only one way to deal with an escaped lunatic. - -MARGARET. But he’s not. He’s well. - -GRAY. What’s that? - -MARGARET. He’s well. He knows me. He-- - -GRAY. I don’t believe it. - -MARGARET. Do you think I want to believe it? Oh, what a ghastly thing to -say! - -GRAY. This has nothing to do with you. He has nothing to do with you. -Leave me to deal with him. [_He goes towards the door._] - -MARGARET. Where are you going? - -GRAY. ’Phoning for Dr. Alliot to begin with. - -MARGARET. Sydney’s done that already. - -GRAY. Sydney’s head’s on her shoulders. - -MARGARET. He’ll be here as soon as he can. He could always manage -Hilary. - -GRAY. You’d better go up to your room. - -MARGARET. No. - -GRAY. Don’t take it too hard. It’ll be over in an hour. We’ll get him -away quietly, poor devil. - -MARGARET. But it’s no good, Gray, he’s well. We’ve been on to the asylum -already. They say we should have heard in a day or two even if he hadn’t -got away. - -GRAY. Really well? - -MARGARET. The old Hilary--voice and ways and--oh, my God! what am I to -do? - -GRAY. Do? You? - -MARGARET. Don’t you see, he knows nothing? His hair’s grey and he talks -as he talked at twenty. It’s horrible. - -GRAY. What do you mean, he knows nothing? - -MARGARET. About the divorce. About you and me. He thinks it’s all--as he -left it. - -GRAY. [_Incredulously_] You’ve said nothing? - -MARGARET. He’s like a lost child come home. Do you think I want to send -him crazy again? He-- - -GRAY. [_With a certain anger_] You’ve said nothing? - -MARGARET. Not yet. - -GRAY. You’ll come away with me at once. - -MARGARET. I can’t. I’ve got to think of Hilary. - -GRAY. You’ve got to think of me. - -MARGARET. I _am_ you. But I’ve done him so much injury-- - -GRAY. _You’ve_ done Fairfield injury? You little saint! - -MARGARET. Saint? I’m a wicked woman. I’m wishing he hadn’t got well. I’m -wishing the doctors will say it’s not true. In my wicked heart I’m -calling down desolation on my own husband. - -GRAY. You have no husband. You’re marrying me in a week. You’re mine. - -MARGARET. I’m afraid-- - -GRAY. Whose are you? Answer me. - -MARGARET. Yours. - -GRAY. You know it? - -MARGARET. I know it. - -GRAY. Then never be afraid again. - -MARGARET. No, not when you’re here. I’m not afraid when you’re here. But -I must be good to Hilary. You see that? - -GRAY. What good is “good” to him, poor devil? - -MARGARET. At least I’ll break it gently. - -GRAY. Gently? That’s just like a woman. All you can do for him is to -come away now. - -MARGARET. How can I? He’s got to be told. - -GRAY. Then let me tell him. - -MARGARET. No, no! From you, just from you, it would be wanton. I won’t -have cruelty. - -GRAY. We’ll go straight up to town and get married at once. That’ll -settle everything. - -MARGARET. You mustn’t rush me. I’ve got to do what’s right. - -GRAY. It is right. There’s nothing else to be done. You can’t stay here. - -MARGARET. No, I can’t stay here. Don’t let me stay here. - -GRAY. Come with me. The car’s outside. You say Alliot will be here in -ten minutes. Leave him a note. He’s an old friend as well as a doctor. -Let him deal with it if you won’t let me. - -MARGARET. Oh, can’t you see that I must tell Hilary myself? - -GRAY. [_Angrily_] Women are incomprehensible! - -MARGARET. It’s men who are uncomprehending. Can’t you feel that it’ll -hurt him less from me? - -GRAY. It’ll hurt him ten thousand times more. - -MARGARET. But differently. It’s the things one might have said that -fester. At least I’ll spare him that torment. He shall say all he wants -to say. - -GRAY. [_Blackly_] I suppose the truth is that there’s something in the -very best of women that enjoys a scene. - -MARGARET. That’s the first bitter thing you’ve ever said to me. - -GRAY. [_Breaking out_] Can’t you see what it does to me to know you are -in the same house with him? For God’s sake come out of it! - -MARGARET. [_Close to him_] I want to come, now, this moment. I want to -be forced to come. - -GRAY. That settles it. - -MARGARET. [_Eluding him_] But I mustn’t! Don’t you see that I mustn’t? I -can’t leave Sydney to lay my past for me. - -GRAY. Your past is dead. - -MARGARET. Its ghost’s awake and walking. - -HILARY’S VOICE. Meg! Meg! - -MARGARET. [_Clinging to him_] Listen, it’s calling to me. - -HILARY’S VOICE. Meg, where are you? - -MARGARET. It’s too late! I’m too old! I shall never get away from him. I -told you it was too good to be true. - -GRAY. [_Deliberately matter-of-fact_] Listen to me! I am going home now. -There are orders to be given. I must get some money and papers. But I -shall be back here in an hour. I give you just that hour to tell him -what you choose. After that you’ll be ready to come. - -MARGARET. If--if I’ve managed-- - -GRAY. There’s no if. You’re coming. - -MARGARET. Am I coming, Gray? - -HILARY. [_Entering from the hall]_ Meg, Sydney said you’d gone to your -room. Hullo! What’s this? Who’s this? Doctor, eh? I’ve been expecting -them down on me. [_To_ GRAY] It’s no good, you know. I’m as fit as you -are. Any test you like. - -MARGARET. Mr. Meredith called to see me, Hilary! He’s just going. - -HILARY. Oh, sorry! [_He walks to the fire and stands warming his hands, -but watching them over his shoulder._] - -GRAY. [_At the door, in a low voice to_ MARGARET] I don’t like leaving -you. - -MARGARET. You must! It’s better! But--come back quickly! - -GRAY. You’ll be ready? - -MARGARET. I will. [GRAY _goes out_.] - -HILARY. [_Uneasily_] Who’s that man? - -MARGARET. His name’s Gray Meredith. - -HILARY. What’s he doing here? - -MARGARET. He’s an old friend. - -HILARY. I don’t know him, do I? - -MARGARET. It’s since you were ill. It’s the last five years. - -HILARY. He’s in love with you! I tell you, the man’s in love with you! -Do you think I’m so dazed and crazed I can’t see that? You shouldn’t let -him, Meg! You’re such a child you don’t know what you’re doing when you -look and smile-- - -MARGARET. [_In a strained voice_] I do know. [_She stands quite still in -the middle of the room, her head lifted, a beautiful woman._] - -HILARY. [_Staring at her_] Lord, I don’t wonder at him, poor brute! -[_Still staring_] Meg, you’ve changed. - -MARGARET. [_Catching at the opening_] Yes, Hilary. - -HILARY. Taller, more beautiful--and yet I miss something. - -MARGARET. [_Urging him on_] Yes, Hilary. - -HILARY. [_Wistfully_]--something you used to have--kind--a kind way with -you. The child’s got it. Sydney--my daughter, Sydney! She’s more you -than you are. You--you’ve grown right up--away--beyond me--haven’t you? - -MARGARET. Yes, Hilary. - -HILARY. But I’m going to catch up. You’ll help me to catch up with -you--Meg? [_She doesn’t answer._] Meg! wait for me! Meg, where are you? -Why don’t you hold out your hands? - -MARGARET. [_Wrung for him_] I can’t, Hilary! My hands are full. - -HILARY. [_His tone lightening into relief_] What, Sydney? She’ll be off -in no time. She’s told me about the boy--what’s his name--Kit--already. - -MARGARET. It’s not Sydney. - -HILARY. What? [_Crescendo_] Eh? What are you driving at? What are you -trying to tell me? What’s changed you? Why do you look at me sideways? -Why do you flinch when I speak loudly? Yes--and when I kissed you--It’s -that man! [_He goes up to her and takes her by the wrist, staring into -her face._] Is it true? You? - -MARGARET. [_Pitifully_] I’ve done nothing wrong. I’m trying to tell you. -I only want to tell you and make you understand. Hilary, fifteen years -is a long time-- - -HILARY. [_Dully_] Yes. I suppose it’s a long time for a woman to be -faithful. - -MARGARET. That’s it! That’s the whole thing! If I’d loved you it -wouldn’t have been long-- - -HILARY. [_Violently, crying her down_] You did love me once. - -MARGARET. [_Beaten_] Did I--once? I don’t know-- - - _There is a silence._ - -HILARY. [_Without expression_] What do you expect me to do? Forgive you? - -MARGARET. [_Stung_] There’s nothing to forgive. [_Softening_] Oh, so -much, Hilary, to forgive each other; but not that. - -HILARY. [_More and more roughly as he loses control of himself_] -Divorce you then? Because I’ll not do that! I’ll have no dirty linen -washed in the courts. - -MARGARET. [_Forced into the open_] Hilary, I divorced you twelve months -ago. - -HILARY. [_Shouting_] What? What? What? - -MARGARET. I divorced you-- - -HILARY. [_Beside himself_] You’re mad! You couldn’t do it! You’d no -cause! D’you think I’m to be put off with your lies? Am I a child? You’d -no cause! Oh, I see what you’re at. You want to confuse me. You want to -pull wool over my eyes. You want to drive me off my head--drive me mad -again. You devil! You devil! You shan’t do it. I’ve got friends--Sydney! -where’s that girl [_Shouting_] Sydney! Hester! All of you! Come here! -Come here, I say! [SYDNEY _opens the drawing room door_.] - -SYDNEY. Mother, what is it? [_She enters, followed by_ MISS FAIRFIELD. -_To_ HILARY--] What are you doing? You’re frightening her. - -HILARY. [_Wildly_] No, no! You’re not on her side. You’re little -Sydney--kind--my Sydney! What did you say--go slow, eh! Keep your hand -here--cool, cool. [_Then as_ SYDNEY, _breaking from him, makes a -movement to her mother_] Stand away from that woman! - -MARGARET. Sydney, humour him. - -HILARY. [_At white heat_] What was I calling you for, eh? Oh, yes, a -riddle. I’ve got a riddle for you. There was a man at that place--used -to ask riddles--the moon told ’em to him. Just such a white face -whispering out of the blue--lies! He couldn’t find the answers--sent him -off his head. But I know the answer. When’s a wife not a wife, eh? Want -to know the answer? [_Pointing to_ MARGARET] When she’s -_this--this--this_! [_Confidentially_] She’s poisoning me. - -MISS FAIRFIELD. Now, Hilary! Hilary!-- - -HILARY. Sydney, come here! I’ll tell _you_. [SYDNEY _stands torn between -the two_.] - -MISS FAIRFIELD. What have you done to him, Margaret? - -MARGARET. I’ve told him the truth. - -MISS FAIRFIELD. God forgive you! - -HILARY. [_Raving_] I tell you she’s pouring poison into my ear. You -remember that fellow in the play--and _his_ wife? That’s what she’s -done. If I told you what she said to me, you’d think I was mad. And -that’s what she wants you to think. She wants to get rid of me. She’s -got a tame cat about the place. I’m in the way. And so she comes to me, -d’you see, and tells me--what do you think? She says she’s not my wife. -What do you think of that? - -MISS FAIRFIELD. [_Grimly_] You may well ask. - -MARGARET. [_To_ SYDNEY] He won’t listen-- - -SYDNEY. Sit down, darling! You’re shaking. - -MARGARET. He’s always had these rages. It’s my fault. I began at the -wrong end. Hilary--it’s not--I’m not what you think. - -HILARY. Then what was that man doing in my house? - -MARGARET. In a week I’m going to marry him. - -HILARY. D’you hear her? To _me_ she says this! Is she mad or am I? - -MARGARET. [_Desperately_] I tell you there’s been a law passed-- - -MISS FAIRFIELD. No need for him to know that now, Margaret! - -SYDNEY. Of course he has to know. - -MISS FAIRFIELD. Not now. - -MARGARET. [_On the defensive_] I don’t know what you mean, Aunt Hester! - -MISS FAIRFIELD. Let us rather thank God that he has come back in time. - -MARGARET. [_Uneasy_] In time? In time? - -MISS FAIRFIELD. To snatch a brand from the burning. - -MARGARET. I’m a free woman. I’ve got my divorce. - -MISS FAIRFIELD. Whom God hath joined let no man put asunder. - -MARGARET. [_At bay_] I’m a free woman. I’m going to marry Gray Meredith. -This is a trap! Sydney! - -MISS FAIRFIELD. Is this talk for a young girl to hear? - -MARGARET. Sydney, you’re to fetch Gray. - -HILARY. [_With weak violence_] If he comes here I’ll kill him. - -MARGARET. [_Catching_ SYDNEY _back_] No, no! D’you hear him? What am I -to do? - -SYDNEY. It’s all right, Mother! We’ll manage somehow. - -BASSETT. [_Entering_] Dr. Alliot is in the hall, ma’am. - -MARGARET. [_With a gasp of relief_] Ask him to come in here. At once. - - _Dr. Alliot trots in. He is a pleasant, roundabout, clean little - old man, with a twinkling face and brisk chubby movements of the - hands. He is upright and his voice is strong. He wears his seventy - odd years like a good joke that he expects you to keep up, in spite - of the fact that he is really your own age and understands you - better than you do yourself. But behind his comfortable manner is a - hint of authority which has its effect, especially on_ HILARY. - -DR. ALLIOT. What’s all this I hear? Well, well! Good afternoon, Mrs. -Fairfield! Good afternoon, Miss Fairfield! Merry Christmas, Sydney! Now -then, now for him! Welcome back, Fairfield! Welcome back, my boy! - -HILARY. It’s--it’s old Alliot, isn’t it? - -DR. ALLIOT. Your memory’s all right I see. - -HILARY. I suppose they’ve sent for you-- - -DR. ALLIOT. Well, well, you see, you’ve arrived rather unconventionally. -I’ve been in touch with-- - -HILARY. That place? - -DR. ALLIOT. Why, yes! You may have to go back, you know. Formalities! -Formalities! - -HILARY. I don’t mind. I’m well. I’m well, Alliot! I’m not afraid of what -you’ll say. I’m not afraid of any of you. - -DR. ALLIOT. Well, well, well! that sounds hopeful. - -HILARY. But I can’t go yet, Doctor. - -DR. ALLIOT. Only for a day or two. - -HILARY. It’s my wife. I lost my temper. I do lose my temper. It means -nothing. Go slow, eh? My wife’s ill, Doctor. She’s not right in her -head. - -DR. ALLIOT. [_Alert_] Ah! - -HILARY. [_With a wave of his hand_] So are the rest of them. Mad as -hatters. - -DR. ALLIOT. Hm! - -HILARY. [_Checked, glances at him keenly a moment. Then chuckling_] Oh, -you’re thinking that’s a delusion. - -DR. ALLIOT. [_Humouring him_] Between you and me, it’s a common one. - -HILARY. [_Half flattered_] Ah, we know, don’t we? Served in the same -shop, eh? Only the counter between us. - -DR. ALLIOT. [_Feeling his way_] Well, well-- - -HILARY. But look here! She says she’s not my wife. - -DR. ALLIOT. [_Enlightened_] Oh! Oh, that’s the trouble! - -HILARY. She says she’s not my wife. - -DR. ALLIOT. [_Soberly_] It’s a hard case, Fairfield. - -HILARY. What d’you mean by that? - -DR. ALLIOT. It’s the old wisdom of the scape-goat--it is expedient--how -does it go? expedient--? - -SYDNEY. “It is expedient that one man should die for the people.” - -DR. ALLIOT. That’s it! A hard word, but a true one. - -HILARY. What has that got to do with me? - -DR. ALLIOT. Well, the situation is this-- - -HILARY. There is no situation. I married Meg. I fell ill. Now I’m well -again. I want my wife. - -DR. ALLIOT. Why, yes--yes-- - -HILARY. [_Picking it up irritably_] “Yes--yes--” “Yes--yes--” I suppose -that’s what you call humouring a lunatic. - -DR. ALLIOT. Why, I hope to be convinced, Fairfield, that that trouble’s -over, but-- - -HILARY. But you’re going to lock me up again because I want my wife. - -DR. ALLIOT. [_Patiently_] Will you let me put the case to you? - -HILARY. You can put fifty cases. It makes no difference. - -SYDNEY. [_At his elbow, softly_] Father, I’d listen. - -HILARY. [_Slipping his arm through hers_] Eh? Sydney? that you? You’re -not against me, Sydney? - -SYDNEY. Nobody’s against you. We only want you to listen. - -HILARY. Well, out with it! - -DR. ALLIOT. D’you remember--can you throw your mind back to the -beginning of the agitation against the marriage laws? No, you were a -schoolboy-- - -HILARY. Deceased wife’s sister, eh? That’s the law that lets a man marry -his sister-in-law and won’t let a woman marry her brother-in-law. Pretty -good, that, for your side of the counter. - -DR. ALLIOT. Well, well, that hardly matters now. - -HILARY. It shows what your rotten, muddle-headed laws are worth, anyhow. - -SYDNEY. Father. - -HILARY. All right! Go ahead! Go ahead! - -DR. ALLIOT. Well, as the result of that agitation--and remember, Hilary, -what thousand, thousand tragedies must have had voice in such an -outcry--a commission was appointed to enquire into the working of the -divorce laws. It made its report, recommended certain drastic reforms, -and there, I suppose, as is the way with commissions, would have been -the end of the subject, if it hadn’t been for the war--and the war -marriages. - -HILARY. [_Lowering_] So that’s where I come in! Margaret, is that where -I come in? - -DR. ALLIOT. Never, I suppose, in one decade were there so many young -marriages. Happy? that’s another thing! Marry in haste-- - -MARGARET. They weren’t all happy. - -DR. ALLIOT. But they were _young_, those boys and girls who married. As -young as Kit, and as impatient as Sydney. And that saved them. That -young, young generation found out, out of their own unhappiness, the war -taught them, what peace couldn’t teach us--that when conditions are evil -it is not your duty to submit--that when conditions are evil, your duty, -in spite of protests, in spite of sentiment, your duty, though you -trample on the bodies of your nearest and dearest to do it, though you -bleed your own heart white, your duty is to see that those conditions -are changed. If your laws forbid you, you must change your laws. If your -church forbids you, you must change your church; and if your God forbids -you, why then, you must change your God. - -MISS FAIRFIELD. And we who will not change? - -MARGARET. Or cannot change--? - -DR. ALLIOT. Stifle. Like a snake that can’t cast its skin. Grow or -perish--it’s the law of life. And so, when this young generation--yours, -not mine, Hilary--decided that the marriage laws were, I won’t say evil, -but outgrown, they set to work to change them. - -MISS FAIRFIELD. You needn’t think it was without protest, Hilary. I -joined the anti-divorce league myself. - -DR. ALLIOT. No, it wasn’t without protest. Mrs. Grundy and the churches -are protesting still. But in spite of protest, no man or woman to-day -is bound to a drunkard, an habitual criminal, or-- - -HILARY. Or--? - -DR. ALLIOT. Or to a partner who, as far as we doctors know-- - -HILARY. But you can’t be sure! - -DR. ALLIOT. I say as far as we know, is incurably insane--in practice, -is insane for more than five years. - -HILARY. And if he recovers? Look at me! - -DR. ALLIOT. [_With a sigh_] “It is expedient--” - -HILARY. And you call that justice! - -MARGARET. At least call it mercy. All the days of your life to stand at -the window, Hilary, and watch the sun shining on the other side of the -road--it’s hard, it’s hard on a woman. - -DR. ALLIOT. At least call it common sense. If a man can’t live his -normal life, it’s as if he were dead. If he’s an incurable drunkard, if -he’s shut away for life in prison-- - -HILARY. But I’m not a drunkard. I’m not a convict. I’ve done nothing. -I’ve been to the war, to fight, for her, for all of you, for my country, -for this law-making machine that I’ve called my country. And when I’ve -got from it, not honourable scars, not medals and glory, but sixteen -years in hell, then when I get out again, then the country I’ve fought -for, the laws I’ve fought for, the woman I’ve fought for, they say to -me, “As you’ve done without her for fifteen years you can do without -her altogether.” That’s what it is. When I was helpless they conspired -behind my back to take away all I had from me. [_To_ MARGARET] Did I -ever hurt you? Didn’t I love you? Didn’t you love me? Could I help being -ill? What have I done? - -SYDNEY. You died, Father. - -MARGARET. Sydney, don’t be cruel. - -MISS FAIRFIELD. Ah, we cry after the dead, but I’ve always wondered what -their welcome back would be. - -HILARY. Well, you know now. - -DR. ALLIOT. I don’t say it isn’t hard-- - -HILARY. Ah, you don’t say it isn’t hard. That’s good of you. That’s -sympathy indeed. And my wife--she’s full of it too, isn’t she? “Poor -dear! I was married to him once. I’d quite forgotten.” - -MARGARET. For pity’s sake, Hilary! - -DR. ALLIOT. Why, face it, man! One of you must suffer. Which is it to -be? The useful or the useless? the whole or the maimed? the healthy -woman with her life before her, or the man whose children ought never to -have been born? - -HILARY. [_In terrible appeal_] Margaret! - -SYDNEY. Is that true, Dr. Alliot? Is that true? - -MARGARET. [_Her voice shaking_] I think you go too far. - -DR. ALLIOT. Mrs. Fairfield, in this matter I cannot go too far. - -MISS FAIRFIELD. For me, at any rate--too far and too fast altogether! -Before ladies! It’s not nice. It’s enough to call down a judgment. - -BASSETT. [_Entering_] Mr. Pumphrey to see you, ma’am. [_To_ SYDNEY] And -Mr. Kit. - -MISS FAIRFIELD. [_Justified_] Ah! - -MARGARET. I can’t see anyone. - -BASSETT. He said, ma’am, it was important. - -HILARY. Who? Who? - -MISS FAIRFIELD. The Rector. I expect he’s heard about you. - -HILARY. I can’t see him. I won’t see him. Let me go. I’ve met the -Levites. Spare me the priest. [_He breaks away from them and goes -stumbling out at the other door._] - -SYDNEY. [_Following him anxiously_] Father! - -DR. ALLIOT. [_Preventing her_] No, no, my child! I’ll look after him. -[_He goes out quickly._] - - _The_ RECTOR _is an insignificant man, with an important manner and - a plum in his mouth. He enters with_ KIT, _who is flushed and - perturbed_. - -RECTOR. Ah, good afternoon, Mrs. Fairfield--Miss Fairfield-- - -MARGARET. [_Mechanically. She is very tired and inattentive_] A happy -Christmas, Mr. Pumphrey! - -RECTOR. Ah! Just so! Christmas afternoon. An unusual day to call, Mrs. -Fairfield, and, I fear, an inconvenient hour-- - -MARGARET. Not at all, Mr. Pumphrey. - -RECTOR. I can give myself [_he takes out his watch_] till three fifteen, -no longer. The children’s service is at three thirty. - -MARGARET. [_Turning to the bell_] Mayn’t I order you an early cup of -tea? - -RECTOR. Thank you, thank you, no. Busy as I am, I should not have -disturbed you-- - -MISS FAIRFIELD. Rector, it’s as if you had been sent! - -RECTOR. Ah! gratifying! I did not see you at the morning service, Miss -Fairfield. But last night--_late_ last night-- - -MISS FAIRFIELD. [_With a look at_ SYDNEY] Three A.M., Rector? - -RECTOR. Three fifteen, Miss Fairfield. - -KIT. Look here, Father-- - -RECTOR. I received certain information from my son-- - -KIT. No, you don’t, Father. I’ll have my say first. It’s just this, Mrs. -Fairfield-- - -RECTOR. [_Fussed_] Christopher? Christopher? - -KIT. [_He is very much in earnest and he addresses himself solely to_ -MARGARET] I want you to know that it is nothing to do with me, Mrs. -Fairfield. I don’t agree with my father. [_Confidentially_] You wouldn’t -think it but I never do. - -RECTOR. Christopher? - -KIT. [_Ignoring him_] And it was only coming up the drive that he -sprung on me why he wanted to see you, or I wouldn’t have come-- - -MARGARET. [_Liking him_] I think Sydney would have been sorry, Kit. - -KIT. [_With a touch of his father’s manner_] Yes, well, Sydney and I -have talked it over--and I know I’m going into the church myself--but I -think he’s all wrong, Mrs. Fairfield. [_Unconscious of plagiarism_] I’m -not nineteenth century. [_But_ SYDNEY _giggles_.] - -MISS FAIRFIELD. Rector, what’s the matter with the young man? - -KIT. [_Forging ahead_] You see, I’m pretty keen about Sydney, and so, -naturally, I’m pretty keen about you, Mrs. Fairfield. - -RECTOR. Miss Fairfield, I’m without words. - -KIT. [_Burdened_]--and I just wanted to tell you that I can’t tell you -what I think of my father over this business. It makes me wild. - -SYDNEY. Kit, you’d better shut up. - -KIT. [_Turning to_ SYDNEY] Well, I only wanted her to understand that -I’m not responsible for my father--that he’s not my own choice, if you -know what I mean. [_They talk aside._] - -RECTOR. His mother’s right hand! I don’t know what’s come over him. - -MISS FAIRFIELD. [_Grimly_] A pretty face, Rector! - -RECTOR. Ah! the very point! I shall be glad to see you alone, Mrs. -Fairfield--not you, of course, Miss Fairfield, but--er-- [_He glances -at_ KIT _and_ SYDNEY.] - -MARGARET. [_Resignedly_] Sydney, have you shown Kit all your presents? - -SYDNEY. [_Reluctantly taking the hint, but continuing the conversation -as they go out_] What did you let him come for? Oh, you’re no good! -[_The door bangs behind them._] - -MARGARET. [_Half smiling_] Well, Mr. Pumphrey, I suppose it’s about -Sydney and Kit? - -RECTOR. Mrs. Fairfield, until last night we encouraged, we were -gratified-- - -MARGARET. Last night? Oh, the dance! - -RECTOR. I sat up for my son until three fifteen of Christmas morning. -His excuse was your daughter-- - -MARGARET. [_With dignity_] Do you take objection to Sydney, Mr. -Pumphrey? - -RECTOR. Now, my dear lady, you mustn’t misunderstand me-- - -MARGARET. [_Quietly_] To me, then? - -RECTOR. Mrs. Fairfield, I beg--But in the course of a -slight--er--altercation between Christopher and myself it transpired-- - -MARGARET. [_She has been prepared for it_] I see, it’s her father-- - -RECTOR. I am grieved--grieved for you. - -MARGARET. But his illness was no secret. - -RECTOR. My heart, Mrs. Fairfield, and Mrs. Pumphrey’s heart has gone out -to you in your affliction. When the light of reason-- - -MARGARET. Then you did know. _Then_ I don’t follow. - -RECTOR. But according to Christopher-- - -MARGARET. Well? - -RECTOR. Mrs. Fairfield, is your husband alive or dead? - -MARGARET. My former husband is alive. - -RECTOR. [_With a half deprecatory, half triumphant gesture_] Out of your -own mouth, Mrs. Fairfield-- - -MARGARET. [_Bewildered_] But you say you knew he was insane? - -RECTOR. But I didn’t know he was alive. - -MISS FAIRFIELD. [_Irritated_] Don’t be so foolish, Margaret. It’s not -the insanity, it’s the divorce. - -RECTOR. When I realised that I had been within a week of re-marrying a -divorced person-- - -MARGARET. [_Coldly_] Why didn’t you go to Mr. Meredith? - -RECTOR. Mr. Meredith is--er--a difficult man to--er--approach. I felt -that an appeal to your feelings, as a Christian, as a mother-- - -MARGARET. You mean you’ll prevent Kit marrying Sydney--? - -RECTOR. It depends on you, Mrs. Fairfield. I won’t let him marry the -child of a woman who remarries while her husband is alive. - -MARGARET. But the church allows it? - -MISS FAIRFIELD. [_Correcting her_] Winks at it, Margaret. - -RECTOR. [_With dignity_] “Winks” is hardly the word-- - -MARGARET. Then what word would you use, Mr. Pumphrey? - -RECTOR. I am not concerned with words. - -MARGARET. But I want to know. I care about my church. It lets me and it -doesn’t let me--what does it mean? - -RECTOR. [_Much moved_] I am not concerned with meanings, Mrs. Fairfield. -I am concerned with my own conscience. - -MISS FAIRFIELD. Margaret--you’ve no business to upset the Rector. Why -don’t you tell him that the situation has changed? - -MARGARET. Nothing has changed. - -RECTOR. Changed? - -MISS FAIRFIELD. My nephew has recovered--returned. He’s in the house -now. - -RECTOR. Providence! It’s providence! [_With enthusiasm_] I never knew -anything like providence. Changed indeed, Miss Fairfield! My objection -goes. Dear little Sydney! Ah, Mrs. Fairfield, in a year you and your -husband will look back on this--episode as on a dream--a bad dream-- - -MARGARET. [_Stonily_] I have no husband. - -RECTOR. Ah! the re-marriage--a mere formality-- - -MISS FAIRFIELD. Simpler still--the decree can be rescinded. - -MARGARET. [_Stunned_] Aunt Hester, knowing his history, knowing mine, is -it possible that you expect me to go back to him? - -MISS FAIRFIELD. He’s come back to you. - -RECTOR. A wife’s duty-- - -MARGARET. [_Slowly_] I think you’re wicked. I think you’re both wicked. - -RECTOR. Mrs. Fairfield! - -MISS FAIRFIELD. Control yourself, Margaret! - -MARGARET. [_With a touch of wildness in her manner_] You--do you love -your wife? - -RECTOR. Mrs. Fairfield! - -MARGARET. Do you? - -RECTOR. Mrs. Pumphrey and I--most attached-- - -MARGARET. Suppose you weren’t. Think of it--to want so desperately to -feel--and to feel nothing. Do you know what it means to dread a person -who loves you? To stiffen at the look in their eyes? To pity -and--shudder? You should not judge. - - HILARY, _unseen, opens the door and shuts it again quickly_. - -RECTOR. I--I-- - -MISS FAIRFIELD. There it is, you see, Rector! She doesn’t care _what_ -she says. - -DR. ALLIOT _enters_. - -DR. ALLIOT. [_Gravely, holding the door behind him_] Margaret, my -child-- [_He sees the others and his voice changes_] Hullo, Pumphrey! You -here still? Well, well--you’re cutting it fine. - -RECTOR. The service! [_He pulls out his watch, stricken._] - -DR. ALLIOT. I’ll run you down there if you’ll wait a minute. [_To_ -MARGARET, _privately, poking a wise forefinger_] What you want, my -child, is a good cry and a cup of tea. - -RECTOR. [_Coming up to_ MARGARET, _stiffly_] Goodday, Mrs. Fairfield! -You will not--reconsider--? - -MARGARET. I will not. - -RECTOR. I regret--I regret-- [_To_ MISS FAIRFIELD] My dear lady, you have -my sympathy. I think I left my hat-- [MISS FAIRFIELD _escorts him into -the hall_.] - -DR. ALLIOT. Hilary’s coming home with me, Margaret. He wants a word with -you first. Can you manage that? - -MARGARET. Of course. - -DR. ALLIOT. [_Abruptly_] Where’s Meredith? - -MARGARET. [_Eagerly_] He’s coming. He’s taking me away. - -DR. ALLIOT. Good. The sooner the better. - -RECTOR. [_Reappearing at the door_] Dr. Alliot--it now wants seven -minutes to the half. - -DR. ALLIOT. Coming! Coming! See now--you can be gentle with him-- - -MARGARET. Of course. - -DR. ALLIOT. [_With a keen look at her_] Nor yet too gentle. Well, well, -God be with you, child! [_He trots out._] - - HILARY _comes in, hesitating. If he is without dignity, he is, - nevertheless, too much like a hectored, forlorn child to be - ludicrous._ - -HILARY. Have they gone? [_Reassuring her_] It’s all right. I’m going -too. [_He waits for her to answer. She says nothing_] I’m going. I’ve -got to. I see that. He’s made me see. - -MARGARET. Dr. Alliot? - -HILARY. I’m going to stay with him till I can look round. He’s going to -make it right with that place. - -MARGARET. I’m glad you’ve got a good friend, Hilary. - -HILARY. Yes, he’s a good chap. He’s talked to me. He’s made me see. [_He -comes a little closer._] He says--and I do see--It’s too late, of -course-- [_his look at her is a petition, but she makes no sign_] isn’t -it? [_He comes nearer._] Yes--it’s too late. It wouldn’t be fair--to ask -you-- [_again the look_] would it? - -MARGARET. [_Imploringly_] Oh, Hilary, Hilary! - -HILARY. [_Encouraged to come closer_] No woman could be expected--you -couldn’t be expected-- [_she makes no sign_] could you? [_Repeating his -lesson_] It’s what he says--you’ve made a new life for yourself-- [_he -waits_] haven’t you? There’s no room in it--for me--is there? [_He is -close to her. She does not move._] So it’s just a case of--saying -good-bye and going, because--because--I quite see--there’s no -chance-- [_Suddenly he throws himself down beside her, catching at her -hands, clinging to her knees_] Oh! Meg, Meg, Meg! isn’t there just a -chance? - -MARGARET. [_Faintly_] Hilary, I can’t stand it. - -HILARY. [_And from now to the end of the scene he is at full pelt, -tumbling over his words, frantic_] Yes, but listen to me! Listen to me! -You don’t listen. Listen to me! I’ve been alone so long-- - -MARGARET. Gray! Gray! Why don’t you come? - -HILARY. I’ll not trouble you. I’ll not get in your way--but--don’t leave -me all alone. Give me something--the rustle of your dress, the cushion -where you’ve lain--your voice about the house. You can’t deny me such -little things, that you give your servant and your dog. - -MARGARET. It’s madness-- - -HILARY. It’s naked need! - -MARGARET. What good should I be to you? I don’t love you, Hilary--poor -Hilary. I love him. I never think of anything but him. - -HILARY. But it’s me you married. You promised--you promised--better or -worse--in sickness in health--You can’t go back on your promise. - -MARGARET. It isn’t fair. - -HILARY. Anything’s fair! You don’t know what misery means. - -MARGARET. I’m learning. - -HILARY. But you don’t _know_. You couldn’t leave me to it if you knew. -Why, I’ve never known you hurt a creature in all your life! Remember -the rat-hunts in the barn, the way we used to chaff you? and the -starling? and the kitten you found? Why, I’ve seen you step aside for a -little creeping green thing on the path. You’ve never hurt anything. -Then how can you hurt me so? You can’t have changed since yesterday-- - -MARGARET. [_In despairing protest_] It’s half my life ago-- - -HILARY. It’s yesterday, it’s yesterday! - -MARGARET. [_With the fleeting courage of a half caught bird_] Yes, it -_is_ yesterday. It’s how you took me--yesterday--and now you’re doing it -again! - -HILARY. [_Catching at the hope of it_] Am I? Am I? Is it yesterday? -yesterday come back again? - -MARGARET. [_In the toils_] No--no! Hilary, I can’t! - -HILARY. [_At white heat_] No, you can’t. You can’t leave me. -You can’t do it to me. You can’t drive me out--the -wilderness--alone--alone--alone. You can’t do it, Meg--you can’t do -it--you can’t! - -MARGARET. [_Beaten_] I suppose--I can’t. - -HILARY. You--you’ll stay with me? [_Breaking down utterly_] Oh, God -bless you, Meg, God bless you, God bless you-- - - _She resigns her hands to him while she sits, flattened against the - back of her chair, quivering a little, like a crucified moth._ - -MARGARET. [_Puzzling it out_] You mean--God help me? - - - CURTAIN. - - - - - ACT III. - - - _The scene is the same as in_ ACT 1. MISS FAIRFIELD _sits reading_. - SYDNEY _is fidgeting about the room_. BASSETT _comes in and begins - to lay the cloth_. KIT, _who enters unseen behind her, sees_ MISS - FAIRFIELD _and makes hastily up the stair on tip-toe_. - - -SYDNEY. [_Turning_] Oh, Bassett, isn’t it rather early for tea? Lunch -was so late. - -BASSETT. [_Desisting_] Oh, very well, miss. - -MISS FAIRFIELD. Now, Sydney! Always trying to upset things! I’m more -than ready for my tea. Bring it in at once, Bassett. - -BASSETT. Very well, ma’am! - -SYDNEY. Auntie, I know Mother won’t want to be disturbed. - -MISS FAIRFIELD. It’s high time she was. Talk! Talk! No consideration. -She’ll tire Hilary out. [_She goes towards the drawing-room._] - -SYDNEY. [_Worried_] Auntie, I think-- - -MISS FAIRFIELD. Then you shouldn’t! [_She goes out._] - -BASSETT. Shall I bring in tea, Miss Sydney? - -SYDNEY. [_With a twinkle_] I think we’ll wait half an hour. - -BASSETT. [_With an answering twinkle_] Very well, miss. - -SYDNEY. Oh--Bassett--tell Mr. Kit that--er--that the coast’s clear. - -BASSETT. He didn’t stay out with us, miss. Him and the puppy together -was a bit too much for cook, with the turkey on her hands. [_Looking -round_] He’s here somewhere, miss. [_She goes out._] - -SYDNEY. [_Addressing space_] Kit, you idiot, come out! - -KIT. [_Appearing at the head of the stairs_] I spend half my life -dodging your aunt. [_As he runs downstairs he rakes a bunch of mistletoe -from the top of a picture._] She spoilt the whole effect this morning, -but now-- [_He advances on_ SYDNEY.] - -SYDNEY. [_Enjoying herself_] What do you want now? - -KIT. [_Chanting_] “The mistletoe hung in the old oak hall!”-- - -SYDNEY. [_Eluding him_] Shut up, Kit! [_They dodge and scuffle like two -puppies till the drawing-room door opens, letting in the sound of -voices._] - -KIT. Sst! [_He dashes up the stairs and comes down again much more -soberly as_ SYDNEY _says over her shoulder_--] - -SYDNEY. It’s only Mother. - - MARGARET _comes dragging into the room, shutting the door behind - her_. - -SYDNEY. [_The laughter dying out of her_] Oh, Mother, how white you -look! - -MARGARET. Has Kit gone? - -SYDNEY. No, but I can get rid of him if you want me to. - -MARGARET. I want him to wait. I want him to take a letter for me to -Gray. - -SYDNEY. Do you want Gray to come here? - -MARGARET. I want him not to come here. - -SYDNEY. Oh, I see, not till after Father’s gone. - -MARGARET. He’s not going. - -SYDNEY. Mother! - - MARGARET _looks at her with twitching lips_. - -SYDNEY. Mother, you haven’t-- - -MARGARET. I can’t talk to you now, Sydney. - -SYDNEY. But Mother-- - -MARGARET. Please. - -SYDNEY. But Mother-- - -MARGARET. Ask Kit to wait a few minutes. - -SYDNEY. But-- - - MARGARET _goes into the inner room and sits down to write at a - little desk near the window. Her back is turned to them and she is - soon absorbed in her letter._ SYDNEY _stands deep in thought_. - -KIT. [_At the foot of the stairs_] All serene? - - SYDNEY _makes no answer_. KIT _prances up behind her with the bunch - of mistletoe_. - -KIT. [_Repeating his success_] “The mistletoe hung in the old oak hall!” - -SYDNEY. [_Violently_] Oh, for God’s sake, stop it! - -KIT. [_Quenched_] What’s the row? - -SYDNEY. You never know when to stop. - -KIT. Well, you needn’t snap out at a person-- - -SYDNEY. [_Impulsively_] Sorry! Oh, sorry, old man! I’m jumpy to-day. - -KIT. [_Chaffing her_] Nervy old thing! - -SYDNEY. [_Stricken_] I--I suppose I am. - -KIT. One minute you’re as nice as pie, and then you fizz up like a -seidlitz powder, all about nothing. - -SYDNEY. All about nothing. Sorry, my old Kit, sorry! [_She flings -herself down on the sofa. Then, with an effort_] Come and talk. What’s -the news? - -KIT. I told you it all this morning. What’s yours? - -SYDNEY. I like yours better. How’s the pamphlet going? - -KIT. Nearly done. I put in all your stuff. - -SYDNEY. [_Absently_] Good. - -KIT. Though you know, I don’t agree with it. What I feel is--you’re not -listening. - -SYDNEY. [_Slowly_] Kit, talking of that paper--I read somewhere--suppose -now--is it true it can skip a generation? - -KIT. It? What? - -SYDNEY. Oh--any illness. Consumption or--well, say insanity. -Suppose--_you_, for instance--suppose you were a queer family--a little, -you know. Say your mother or your father was queer--and you weren’t. -You were perfectly fit, you understand, perfectly fit-- - -KIT. Well? - -SYDNEY. What about the children? - -KIT. I wouldn’t risk it. Thank the Lord your father’s only shell-shock. - -SYDNEY. Why? - -KIT. You can’t pass on shell-shock. - -SYDNEY. Then you can pass on insanity--even if you’re fit yourself? - -KIT. Of course you can. - -SYDNEY. It would be very wicked, wouldn’t it--to children? Oh, it would -be wicked. I suppose when people are in love they don’t think. - -KIT. Won’t think. - -SYDNEY. But isn’t there a school that says there’s no such thing as -heredity? - -KIT. Well, all I know is I wouldn’t risk it. - -SYDNEY. It--it’s hard on people. - -KIT. My word, yes. They say that’s why old Alliot never married. - -SYDNEY. [_High and mightily_] Oh, village gossip. - -KIT. [_Apologetically_] Well, you know what the mater is. - -SYDNEY. [_Abandoning her dignity_] Who was it, Kit? - -KIT. Old Miss Robson. - -SYDNEY. Rot! - -KIT. Fact. - -SYDNEY. But she’s all right. - -KIT. Had a game sister. - -SYDNEY. Of course! I just remember her. She used to scare me. - -KIT. Oh, it must be true. They’re such tremendous pals still. - -SYDNEY. Poor old things! - -KIT. Rotten for her. - -SYDNEY. Rottener for him! What did she go on being pals with him for? - -KIT. Why shouldn’t she? - -SYDNEY. Well it stopped him marrying anyone else. She oughtn’t to have -let him. - -KIT. You can’t stop a person being fond of you. - -SYDNEY. When it’s a man you can. - -KIT. My dear girl, you don’t know what you’re talking about. - -SYDNEY. My dear boy, if a girl finds out that it’s not right for her to -marry a man, it’s up to her to choke him off. - -KIT. Rot! - -SYDNEY. Well, I think so. - -KIT. Couldn’t be done. - -SYDNEY. Couldn’t it just? - -KIT. Any man would see through it. - -SYDNEY. As if any man ever saw through anything! As if I couldn’t choke -you off in five minutes if I wanted to! - -KIT. I’d like to see you try! - -SYDNEY. Would you? - -KIT. My dear girl, we’re not all fools where women are concerned. - -SYDNEY. I admire your air of conviction. - -KIT. Don’t be clever-clever, old thing. Be-- [_His arm slips round her._] - -SYDNEY. [_Edging away_] Don’t. - -KIT. [_He glances round hastily at_ MARGARET, _but she is deep in -writing_.] Why not? - -SYDNEY. [_Deliberately_] I hate being pawed. [_A pause._] - -KIT. Look here, Sydney, d’you call this a way of spending Christmas -afternoon? - -SYDNEY. [_Her lip quivering_] It isn’t much of a way, is it? - -KIT. Well then, old thing! [_Again the arm._] - -SYDNEY. [_Icily_] I told you to leave me alone. - -KIT. [_Rising, huffed_] Oh, well, if you can’t be decent, I’m going. - -SYDNEY. [_Sweetly_] Counter attraction? - -KIT. [_Wheeling round on her_] Now, my dear old thing, look here. I know -it’s only a sort of way you’ve got into; but when you say--“men!”--with -a sort of sneer, and “other attractions”--like that, in that voice, it -just sounds cheap. I hate it. It’s not like you. I wish you wouldn’t. - -SYDNEY. Dear me! - -KIT. Now I suppose you’re annoyed. - -SYDNEY. Oh, no, I’m only amused. - -KIT. [_Heavily_] There’s nothing amusing about me, Sydney. I’m in -earnest. - -SYDNEY. I’m sure you are. You got out of answering an innocent little -question quite neatly. It looks like practice. - -KIT. [_Harried_] Now, look here, Sydney, I swear to you-- - -SYDNEY. [_Like the ghost in Hamlet_] Swear! - -KIT. If you’re thinking of Alice Hewitt I’ve only met her four times. - -SYDNEY. Oh, so her name’s Alice! - -KIT. Didn’t you know? - -SYDNEY. Never heard of her till this minute. - -KIT. Then what on earth have you been driving at. - -SYDNEY. Trying an experiment. - -KIT. If it’s because you’re jealous-- - -SYDNEY. Jealous! Jealous of a--What colour are her eyes? - -KIT. [_Carelessly_] How’d I know? - -SYDNEY. [_With a sudden spurt of suspicion_] Kit! What colour are mine? - -KIT. [_Helplessly_] Oh, er--oh-- - -SYDNEY. [_Terribly_] Kit! What colour are mine? [_Relenting_] Look at my -frock, you donkey! What do you suppose I wear blue for? So Alice has got -blue eyes! - -KIT. How do you know? - -SYDNEY. I know you, Kit. You’re conservative. - -KIT. As a matter of fact, she isn’t unlike you. That’s what made me talk -to her. - -SYDNEY. Oh, you’ve talked to her? - -KIT. [_Warming_] Oh, yes--quite a lot. She’s a friend of my sister’s. - -SYDNEY. She always is. - -KIT. What d’you mean--“she always is”? I tell you I’ve only met her four -times. I can’t make you out. - -SYDNEY. No? - -KIT. I wish I could make you out. - -SYDNEY. [_An ache in her voice_] Oh, I wish you could. - -KIT. [_Responding instantly_] I say, old thing, is anything really the -matter? - -SYDNEY. [_With a glance at_ MARGARET] I’m worried. - -KIT. Oh, that! Yes, it’s beastly for your mother. - -SYDNEY. Oh, it’s not that. At least-- - -KIT. What? - -SYDNEY. [_Lightly_] Oh, I don’t know. - -KIT. [_Puzzled_] Can’t you tell me? - -SYDNEY. No, old man. - -KIT. [_As in_ ACT. I.] But--look here--marriage has got to be a sort of -mutual show, hasn’t it? Confidence, and all that? - - SYDNEY _goes off into a peal of laughter_. - -KIT. What’s the matter now? - -SYDNEY. Do you preach this sort of sermon to Alice? - -KIT. Sydney--that’s--that’s rude--that’s--that’s-- - -SYDNEY. Take time, darling! - -KIT. You’re being simply insulting. - -SYDNEY. Too bad! I should go and tell Alice. - -KIT. Damn Alice! - -SYDNEY. Oh, no, Kit, she’s got blue eyes. - -KIT. [_Storming_] Look here, what’s up? - -SYDNEY. Nix. - -KIT. Have you really got your back up? What’s the matter with you, -Sydney? - -SYDNEY. D’you want to know? - -KIT. [_With a certain dignity_] I think I’d better. - -SYDNEY. Well, it’s [_yawning_] “jam to-morrow, jam yesterday, but--” -Surely you know how it ends? - -KIT. I don’t. And I don’t want to. - -SYDNEY. [_Drearily_] “But never jam to-day.” - -KIT. [_Startled_] Why, Sydney! - -SYDNEY. [_Recovering herself, lightly_] D’you know what that’s out of? - -KIT. No. - -SYDNEY. [_Mischievously_] You ought to--“Alice”-- - - KIT _makes a furious gesture_. - -SYDNEY. [_Appeasing him_] No, no, no! “Alice through the Looking-glass!” -[_More soberly_] I can’t help it, Kit. When I look in the looking-glass -I see--Alice. - -KIT. Once and for all, Sydney, will you shut up about Alice? - -SYDNEY. Can’t. It’s her jam to-day. - -KIT. I wish you’d talk sense for a change. - -SYDNEY. But I am. I’m conveying to you as nicely and tactfully as -possible that I’m-- - -KIT. [_Apprehensive at last_] What, Sydney? - -SYDNEY. Tired of jam. - -KIT. [_Heavily_] D’you mean you’re tired of me? - -SYDNEY. That would be putting it crudely. - -KIT. What’s got into you? I don’t know you. - -SYDNEY. P’raps you’re beginning to. - -KIT. But what have I done? - -SYDNEY. [_Flaring effectively_] Well, for one thing you shouldn’t have -told your father we were engaged. What girl, do you suppose, would stand -it? You ask Alice. - -KIT. [_Flaring in reality_] If you’re not jolly careful I will. - -SYDNEY. [_Egging him on_] Good for you! - -KIT. [_Furious_] And if I do I’ll ask her more than that. - -SYDNEY. [_Clapping her hands_] I should go and do it now, if I were you. -Strike while the iron’s hot. - -KIT. You’re mad. - -SYDNEY. [_With intense bitterness_] Yes, I suppose that’s the right word -to fling at me. - -KIT. [_Between injury and distress_] I never meant that. You’re twisting -the words in my mouth. You’re just picking a quarrel. - -SYDNEY. [_Lazily_] Well, what’s one to do with a little boy who won’t -take his medicine? I tried to give it you in jam. - -KIT. [_Curt_] You want me to go? - -SYDNEY. Yes. - -KIT. For good? - -SYDNEY. Yes. - -KIT. Honest? - -SYDNEY. Yes. - -KIT. Right. [_He turns from her and goes out._] - -MARGARET. [_Looking up_] Was that Kit? Sydney, don’t let him go. - -SYDNEY. Kit! Ki-it! - -KIT. [_Returning joyfully_] Yes! Yes, old thing? - -SYDNEY. [_Impassively_] Mother wants you. - -MARGARET. Oh, Kit--would you take this for me? It’s for Mr. Meredith. I -expect you’ll meet him, but if not, I want you to take it on. At once, -Kit. - -KIT. Right, Mrs. Fairfield! - -MARGARET. [_Detaining him_] What’s the matter, Kit? - -KIT. [_His head up_] Nothing, Mrs. Fairfield. - -SYDNEY. Mother, Kit’s got to go. - -KIT. [_Resentfully_] It’s all right. I’m going. You needn’t worry. - -MARGARET. [_Humorously, washing her hands of them_] Oh, you two! - - _She turns away from them and stands, her arm on the mantel-piece, - staring into the fire._ KIT _marches to the door_. - -SYDNEY. [_In spite of herself, softly_] Kit! - -KIT. [_Quickly_] Yes? - -SYDNEY. [_Recovering herself, impishly_] You’ll give her my love? - -KIT. You’re a beast, Sydney Fairfield! [_He goes out with a slam._] - -SYDNEY. [_In a changed voice_] You’ll give her _my_ love. [_Running to -the door._] Kit! [_The door opens again, but it is_ GRAY MEREDITH _who -comes in_.] - -GRAY. Sydney, what’s wrong with Kit? He went past me like a gust of -wind. - -MARGARET. [_Coming up to them_] He didn’t give you my note? - -GRAY. He never looked at me. What note? - -MARGARET. I-- - -GRAY. Aren’t you ready? Why aren’t you dressed? - -MARGARET. I-- - -GRAY. You must be quick, dearest. - -MARGARET. I-- [_She sways where she stands._] - - GRAY _goes to her, and half clinging to him, half repulsing him, - she sits down with her arm on the table and her head on her arm_. - -GRAY. Of course! Worn out! You should have come an hour ago. - -MARGARET. Yes. - -GRAY. Never mind that now. Sydney, get your mother’s wraps. - -MARGARET. [_Agitated_] Sydney--wait--no. - -GRAY. Warm things. It’s bitter, driving. - -SYDNEY. [_Uncertainly_] Gray, I think-- - -GRAY. Get them, please. - - _After a tiny pause and look at him_ SYDNEY _obeys. You see her go - upstairs and disappear along the gallery._ - -GRAY. [_Solicitous_] I was afraid it would come hard on you. Has he--? -But you can tell me all that later. - -MARGARET. I must tell it you now. - -GRAY. Be quick, then. We’ve got a fifty mile drive before us. - -MARGARET. [_Not looking at him_] I--I’m not coming. - -GRAY. [_Smiling_] Not? There, sit quiet a moment. My dear--my dear -heart--you’re all to pieces. - -MARGARET. I’m not coming. - -GRAY. [_Checking what he takes for hysteria]_ Margaret--Margaret-- - -MARGARET. I’m not coming. It’s Hilary. - -GRAY. What? Collapsed again? I thought as much. - -MARGARET. I-- - -GRAY. Tragic! But--it simplifies his problem, poor devil. Has Alliot -charge of him? - -MARGARET. No, no. It’s not that. He’s not ill. He’s well. That’s it. -He’s well--and--he won’t let me go. - -GRAY. He won’t, won’t he? [_He turns from her._] - -MARGARET. Where are you going? - -GRAY. To settle this matter. Where is he? - -MARGARET. Leave him alone. It’s me you must punish. I’ve made up my -mind. Oh, how am I to tell you? He convinced me. He--cried, Gray. -[_Then, as_ GRAY _makes a quick gesture_] You mustn’t sneer. You must -understand. He’s so unhappy. And there’s Sydney to think of. And Gray, -he won’t marry us. - -GRAY. What’s that? - -MARGARET. The Rector. He’s been here. - -GRAY. [_Furious_] My God, why wasn’t I? - -MARGARET. And Aunt Hester--she made it worse. [_Despairingly_] You see -what it is--they all think I’m wicked. - -GRAY. Damned insolence! - -MARGARET. But it’s not them--it’s Hilary. I did fight them. I can’t -fight Hilary. I see it. It’s my own fault. I ought never to have let -myself care for you. - -GRAY. Talk sense. - -MARGARET. But there it is. It’s too much for me. I’ve got to stay with -him. - -GRAY. [_For the first time taking her seriously_] Say that again, -Margaret, if you dare-- - -MARGARET. I’ve got to--stay-- [_With a sharp crying note in her voice_] -Gray, Gray, don’t look at me like that! - - _He turns abruptly away from her and walks across to the hearth. He - stands a moment, deep in thought, takes out and lights a cigarette, - realises what he is doing, and with an exclamation flings it into - the fire. Then he comes to_ MARGARET, _who has not moved_. - -GRAY. [_Very quietly_] This--this is rather an extraordinary statement, -isn’t it? - -MARGARET. [_Shrinking_] Don’t use--that tone. - -GRAY. I am being as patient as I can. But--it’s not easy. - -MARGARET. Easy--? - -GRAY. Do you mind telling me exactly what you mean? - -MARGARET. I can’t talk. You know I’m not clever. I’m trying to do what’s -right-- - -GRAY. Then shall I tell you? - - MARGARET _makes a little quick movement with her hands, but she - says nothing_. - -GRAY. [_Watching her keenly while he speaks_] You mean that you’ve made -a mistake-- - -MARGARET. [_Misunderstanding_] Yes. - -GRAY.--that the last five years goes for nothing--that you don’t care -for me. - -MARGARET. Gray! - -GRAY. Wait. That you’ve never cared for me--that you don’t want to marry -me-- - -MARGARET. How can you say these things to me? - -GRAY. But aren’t they true? - -MARGARET. You know--you know they’re not true. - -GRAY. Then what do you mean when you say, “I won’t come?” - -MARGARET. I mean--Hilary. I’ve got to put him first because--because -he’s weak. You--you’re strong. - -GRAY. Not strong enough to do without my birthright. I want my wife and -my children. I’ve waited a long while for you. Now you must come. - - SYDNEY _comes down the stairs, a red furred cloak over her arm. She - pauses a few steps from the bottom, afraid to break in on them._ - -MARGARET. If Hilary’s left alone he’ll go mad again. - -GRAY. Margaret--come. - -MARGARET. How can I? - -GRAY. Margaret, my own heart--come. - -MARGARET. You oughtn’t to torture me. I’ve got to do what’s right. - -GRAY. [_Darkening_] Are you coming with me? I shan’t ask it again. - -MARGARET. Oh, God--You hear him! What am I to do? - - SYDNEY _comes down another step_. - -GRAY. Why, you’re to do as you choose. I shan’t force you. I’m not your -turn-key. I’m not your beggar. We’re free people, you and I. It’s for -you to say if you’ll keep your--conscience, do you call it?--and lose-- - -MARGARET. I’ve lost what I love. There’s no more to lose. - -GRAY. You sing as sweetly as a toy nightingale. Almost I’d think you -were real. - -MARGARET. [_Wounded_] I don’t know what you mean. - -GRAY. “What you love!” You don’t know the meaning of the notes you use. - -MARGARET. [_Very white, but her voice is steady_] Don’t deceive -yourself. I love you. I ache and faint for you. I starve-- - -SYDNEY. [_Appalled, whispering_] What is it? I don’t know her. - -MARGARET. I’m withering without you like cut grass in the sun. I love -you. I love you. Can’t you see how it is with me? But-- - -GRAY. There’s no “but” in love. - -MARGARET. What is it in me? There’s a thing I can’t do. I can’t see such -pain. - -GRAY. [_Hoarsely_] Do you think _I_ can’t suffer? - -MARGARET. I _am_ you. But he--he’s so defenceless. It’s -vivisection--like cutting a dumb beast about to make me well. I can’t do -it. I’d rather die of my cancer. - -GRAY. [_The storm breaking_] Die then--you fool--you fool! - - SYDNEY _descends another step. The cloak slides from her hands on - to the baluster._ - -GRAY. [_Without expression_] Good-bye. - -MARGARET. [_Blindly_] Forgive-- - -GRAY. How can I? - -MARGARET. I would you-- - -GRAY. D’you think I bear you malice? It’s not I. Why, to deny me, that’s -a little thing. I’ll not go under because you’re faithless. But what -you’re doing is the sin without forgiveness. You’re denying--not me--but -life. You’re denying the spirit of life. You’re denying--you’re denying -your mate. - -SYDNEY. [_Strung up to breaking point_] Mother, you shall not. - -MARGARET. [_As they both turn_] Sydney! - -SYDNEY. [_Coming down to them_] I tell you--I tell you, you shall not. - -MARGARET. [_Sitting down, with a listless gesture_] I must. There’s no -way out. - -SYDNEY. There is. For _you_ there is. I’ve thought it all along, and now -I know. Father--he’s my job, not yours. - -MARGARET. [_With a last flicker of passion_] D’you think I’ll make a -scape-goat of my own child? - -SYDNEY. [_Sternly_] Can you help it? I’m his child. [_She throws herself -down beside her_] Mother! Mother darling, don’t you see? You’re no good -to him. You’re scared of him. But I’m his own flesh and blood. I know -how he feels. I’ll make him happier than you can. Be glad for me. Be -glad I’m wanted somewhere. - -MARGARET. [_Struggling against the hope that is flooding her_] But Kit, -Sydney--Kit? - -SYDNEY. [_With a queer little laugh that ends, though it does not begin, -quite naturally_] Bless him, I’ll be dancing at his wedding in six -months. - -MARGARET. But all you ought to have-- - -SYDNEY. [_Jumping up flippantly_] Oh, I’m off getting married. I’m going -to have a career. - -MARGARET.--the love--the children-- - -SYDNEY. [_Strained_] No children for me, Mother. No children for me. -I’ve lost my chance for ever. - -MARGARET. [_Weakly_] No--no-- - -SYDNEY. [_Smiling down at her_] But you--you take it. I give it to you. - -MARGARET. But-- - -SYDNEY. [_Dominant_] What’s the use of arguing? I’ve made up my mind. - -MARGARET. But if your father-- - -SYDNEY. [_At the end of her endurance_] Go away, Mother. Go away -quickly. This is my job, not yours. [_She turns abruptly from them to -the window, and stands staring out into the darkening garden._] - -MARGARET. [_Dazed_] So--so-- [_She sways, hesitating, unbelieving, like a -bird at the open door of its cage_] So--I can come. - - GRAY _makes no answer_. - -MARGARET. [_With a new full note in her voice_] Gray, I can come. - -GRAY. [_Without moving_] Can you, Margaret? - -MARGARET. [_In heaven_] I can come. - -GRAY. [_Impassively_] Are you sure? - -MARGARET. [_In quick alarm_] What do you mean? - -GRAY. [_Stonily_] Why, you could deny me. You’ve chopped and changed. I -want proof that you’ve still a right to come. - -MARGARET. [_Like a child_] You’re angry with me? - -GRAY. No. - -MARGARET. You’re angry with me. - -GRAY. I want proof. - -MARGARET. I get frightened. I’m made so. Always I’ve been afraid--of -Hilary--of everyone--of life. But now--you--you’re angry, you’re so -angry, you’re very angry with me--and I-- [_She goes steadily across the -room to him. He makes no movement_] I’m not afraid. [_She puts up her -hands, and drawing him down to her kisses him on the mouth._] Is that -proof? - -GRAY. [_Quietly_] Proof enough. Come. - - _He takes the cloak and throws it round her. They go out together. - As_ SYDNEY, _forgotten, stands looking after them_, BASSETT _enters - with the tea-tray. She puts it down on the table and turns up the - lights._ - -BASSETT. Is the gentleman staying to tea, miss? - -SYDNEY. [_Correcting her_] Mr. Fairfield. It’s my father, Bassett. - -BASSETT. We thought so, miss? - -SYDNEY. [_Smiling faintly_] Did you, Bassett? - -BASSETT. He’s got your way, miss! Quick-like! [_She opens the -drawing-room door_] Tea’s ready, ma’am. [_Outside the motor drives -away._] - -MISS FAIRFIELD. [_Entering with_ HILARY] Tea’s very late. [BASSETT _goes -out_.] - -HILARY. I thought I heard the sound of a car. [_Suspiciously_] Where’s -your mother? - -SYDNEY. She’s gone away. - -HILARY. [_Stricken_] Gone? - -SYDNEY. Gone away for good. - -HILARY. Where? - -SYDNEY. Out of our lives. - -HILARY. With--? - -SYDNEY. [_Quickly_] Out of our lives. - -MISS FAIRFIELD. [_Furiously_] This is your doing, Sydney. - -HILARY. [_Dazed_] Gone. Everything gone. - -SYDNEY. I’m not gone. - -HILARY. But that boy--? - -SYDNEY. That’s done with. - -MISS FAIRFIELD. You’ve jilted him? - -SYDNEY. Yes. - -MISS FAIRFIELD. Like mother, like daughter. - -SYDNEY. Just so. - -MISS FAIRFIELD. I pray you get your punishment. - -SYDNEY. Your prayers will surely be answered, Auntie. - -HILARY. [_Slowly_] It was a cruel thing to do. - -SYDNEY. He’ll get over it. Men--they’re not like us. - -HILARY. [_Timidly_] You loved him? - -SYDNEY. What’s that to anyone but me? - -HILARY. [_Peering at her_] You’re crying. - -SYDNEY. I’m not. - -HILARY. You love him? - -SYDNEY. I suppose so. - -HILARY. Then why? Then why? - -SYDNEY. We’re in the same boat, Father. - -MISS FAIRFIELD. Yes, that’s the way they talk now, Hilary. They know too -much, the young women. It upsets everything. - - HILARY _sits down on the sofa_. - -HILARY. [_Broken_] I don’t see ahead. I don’t see what’s to become of -me. There’s no-one. - -SYDNEY. There’s me. - -HILARY. [_Not looking at her_] I should think you hate me. - -SYDNEY. I need you just as badly as you need me. - -HILARY. [_Fiercely_] It’s your damn-clever doing that she went. D’you -think I can’t hate you? - -SYDNEY. [_Close to him_] No, no, Father, you want me too much. We’ll -make a good job of it yet. - -HILARY. [_His head in his hands_] What job? - -SYDNEY. [_Petting him, coaxing him, loving him, her hands quieting his -twitching hands, her strong will already controlling him_] Living. I’ve -got such plans already, Father--Father dear. We’ll do things. We’ll have -a good time somehow, you and I--you and I. Did you know you’d got a -clever daughter? Writing--painting--acting! We’ll go on tour together. -We’ll make a lot of money. We’ll have a cottage somewhere. You see, I’ll -make it up to you. I’ll make you proud of me. - -MISS FAIRFIELD. [_Surveying them_] Proud of her! D’you see, Hilary? -That’s all she thinks of--self--self--self! Money, ambition--and sends -that poor boy away. A parson’s son! Not good enough for her, that’s what -it is. She’s like the rest of the young women. Hard as nails! Hard as -nails! - -SYDNEY. [_Crying out_] Don’t you listen to her, Father! Father, don’t -believe her! I’m not hard. I’m not hard. - - _His arm goes round her with a gesture, awkward, timid, yet - fatherly._ - - - THE CURTAIN FALLS. - - - _May-June, 1920._ - - - WOODS & SONS, LTD., Printers, London, N. 1. (W.W.A.) - - - - - -End of the Project Gutenberg EBook of A Bill of Divorcement, by Clemence Dane - -*** END OF THIS PROJECT GUTENBERG EBOOK A BILL OF DIVORCEMENT *** - -***** This file should be named 62703-0.txt or 62703-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/7/0/62703/ - -Produced by Chuck Greif, ellinora and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: A Bill of Divorcement - A Play in Three Acts - -Author: Clemence Dane - -Release Date: July 19, 2020 [EBook #62703] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK A BILL OF DIVORCEMENT *** - - - - -Produced by Chuck Greif, ellinora and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - - - - - -</pre> - -<hr class="full" /> - -<p class="c"> -<img src="images/cover.jpg" height="550" alt="" /> -</p> - -<p class="cb">A BILL OF DIVORCEMENT</p> - -<p><i>BY THE SAME AUTHOR</i></p> - -<p class="nind"><i>NOVELS</i>:</p> - -<p class="nind2"> -<i>REGIMENT OF WOMEN</i><br /> -<i>FIRST THE BLADE</i><br /> -<i>LEGEND</i><br /> -</p> - -<p class="nind"><i>LONDON: WILLIAM HEINEMANN</i></p> - -<h1> -A BILL OF<br /> -DIVORCEMENT</h1> - -<p class="cb">A PLAY IN THREE ACTS<br /> -<br /> -<br /> -BY<br /><big> -CLEMENCE DANE</big><br /> -<br /> -<br /> -<img src="images/colophon.jpg" -width="300" -alt="LONDON: WILLIAM HEINEMANN 1921" -/> -<br /> -<br /> -<br /> -<br /><small> -<i>Copyright: London, William Heinemann, 1921.</i></small> -</p> - -<p class="nind">This play was produced on Monday, March 14th, 1921, at the St. Martin’s -Theatre, with the following cast:</p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><td><span class="smcap">Margaret Fairfield</span></td><td class="rt"><span class="smcap">Miss Lilian Braithwaite</span></td></tr> -<tr><td><span class="smcap">Miss Hester Fairfield</span></td><td class="rt"><span class="smcap">Miss Agnes Thomas</span></td></tr> -<tr><td><span class="smcap">Sydney Fairfield</span></td><td class="rt"><span class="smcap">Miss Meggie Albanesi</span></td></tr> -<tr><td><span class="smcap">Bassett</span></td><td class="rt"><span class="smcap">Miss Dorothy Martin</span></td></tr> -<tr><td><span class="smcap">Gray Meredith</span></td><td class="rt"><span class="smcap">Mr. C. Aubrey Smith</span></td></tr> -<tr><td><span class="smcap">Kit Pumphrey</span></td><td class="rt"><span class="smcap">Mr. Ian Hunter</span></td></tr> -<tr><td><span class="smcap">Hilary Fairfield</span></td><td class="rt"><span class="smcap">Mr. Malcolm Keen</span></td></tr> -<tr><td><span class="smcap">Dr. Alliot</span></td><td class="rt"><span class="smcap">Mr. Stanley Lathbury</span></td></tr> -<tr><td><span class="smcap">The Rev. Christopher Pumphrey</span> </td><td class="rt"><span class="smcap">Mr. Fewlass Llewellyn</span></td></tr> -</table> - -<h2><a name="THE_PEOPLE_OF_THE_PLAY" id="THE_PEOPLE_OF_THE_PLAY"></a>THE PEOPLE OF THE PLAY</h2> - -<p class="c"><i>In the order of their appearance.</i></p> - -<p class="nind"> -<span class="smcap">Margaret Fairfield.</span><br /> -<span class="smcap">Miss Hester Fairfield.</span><br /> -<span class="smcap">Sydney Fairfield.</span><br /> -<span class="smcap">Bassett.</span><br /> -<span class="smcap">Gray Meredith.</span><br /> -<span class="smcap">Kit Pumphrey.</span><br /> -<span class="smcap">Hilary Fairfield.</span><br /> -<span class="smcap">Dr. Alliot.</span><br /> -<span class="smcap">The Christopher.</span><br /> -</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Scene.</span>—<i>A small house in the country. The action passes on -Christmas Day, 1933. The audience is asked to imagine that the -recommendations of the</i> Majority Report of the Royal Commission on -Divorce <i>v.</i> Matrimonial Causes <i>have become the law of the land</i>.</p></div> - -<p><a href="#ACT_I">ACT I</a>.—<span class="smcap">The Hall. Morning.</span></p> - -<p><a href="#ACT_II">ACT II</a>.—<span class="smcap">The Drawing Room. Early Afternoon.</span></p> - -<p><a href="#ACT_III">ACT III</a>.—<span class="smcap">The Hall. Late Afternoon.<span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></span></p> - -<h2><a name="ACT_I" id="ACT_I"></a>ACT I.</h2> - -<div class="blockquot"><p class="hang"><i>The curtain rises on the hall, obviously used as the common-room -of a country house. On the right (of the audience) is the outer -door and a staircase that runs down from an upper landing towards -the middle of the room, half hiding what has once been a separate -smaller room with a baize door at the back. In the corner a French -window opens on to a snowbound garden. On the left, facing the -entrance, a log fire is blazing. Staircase, pictures, grandfather -clock, etc., are wreathed with holly and mistletoe. At the -breakfast table, which is laid for three and littered with paper -and string, sit</i> <span class="smcap">Miss Hester Fairfield</span> <i>and</i> <span class="smcap">Margaret Fairfield</span>, -<i>her niece by marriage. The third chair has two or three parcels -piled up on it.</i></p> - -<p class="hang"><span class="smcap">Hester Fairfield</span> <i>is one of those twitching, high-minded, elderly -ladies in black, who keep a grievance as they might keep a pet -dog—as soon as it dies they replace it by another. The grievance -of the moment seems to be the empty third chair, and</i> <span class="smcap">Margaret -Fairfield</span> <i>is, as usual, on the defensive. Such a little, pretty,<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> -helpless-looking woman as</i> <span class="smcap">Margaret</span> <i>has generally half a dozen big -sons and a husband to bully; but</i> <span class="smcap">Margaret</span> <i>has only a daughter, -and her way of looking at even the chair on which that daughter -ought to be sitting, is the way of a child whose doll has suddenly -come to life. For the rest, she is so youthfully anxious and simple -and charming that the streak of grey in her hair puzzles you. You -wonder what trouble has fingered it. It does not occur to you that -she is quite thirty-five.</i></p></div> - -<p><span class="smcap">Margaret.</span> [<i>Apologising</i>] Yes, she is late.</p> - -<p><span class="smcap">Miss Fairfield.</span> As usual!</p> - -<p><span class="smcap">Margaret.</span> Oh, well, she was dancing till three. I hadn’t the heart to -wake her.</p> - -<p><span class="smcap">Miss Fairfield.</span> Till three, was she? Who brought her home?</p> - -<p><span class="smcap">Margaret.</span> Kit, of course.</p> - -<p><span class="smcap">Miss Fairfield.</span> Three o’clock on Christmas morning! I wonder what the -Rector said to that.</p> - -<p><span class="smcap">Margaret.</span> Oh, Kit’s on holiday.</p> - -<p><span class="smcap">Miss Fairfield.</span> I heard you tell her myself to be in by twelve. If -anything could make me approve of this marriage of yours—</p> - -<p><span class="smcap">Margaret.</span> Oh, don’t begin it again, Auntie!</p> - -<p><span class="smcap">Miss Fairfield.</span>—it’s that the child will have a strong hand over her at -last. A step-father’s better than nothing—if you can call him a -step-father when her father’s still alive.<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> - -<p><span class="smcap">Margaret.</span> Oh, don’t!</p> - -<p><span class="smcap">Miss Fairfield.</span> What’s the use of saying “don’t”? He <i>is</i> alive. You -can’t get away from that.</p> - -<p><span class="smcap">Margaret.</span> Aunt Hester—<i>please</i>!</p> - -<p><span class="smcap">Miss Fairfield.</span> Well, I’m only telling you—if it’s got to be, I’m not -sorry it’s Gray Meredith.</p> - -<p><span class="smcap">Margaret.</span> [<i>Smiling</i>] Yes, Sydney knows just how far she may go with -Gray.</p> - -<p><span class="smcap">Miss Fairfield.</span> I see nothing to laugh at in that.</p> - -<p><span class="smcap">Margaret.</span> It’s so funny to think how circumspect you all are with him. -He’s the one person I’ve always felt perfectly safe with. I’d ask -anything of Gray.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Grimly</i>] You always have, my dear!</p> - -<p><span class="smcap">Margaret.</span> I don’t know why you should be unkind to me on Christmas -morning.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>With a sort of grudging affection</i>] I suppose it’s -because I’ve only got another week to be unkind to you in.</p> - -<p><span class="smcap">Margaret.</span> [<i>Restlessly</i>] Oh, I wish you didn’t hate it so.</p> - -<p><span class="smcap">Miss Fairfield.</span> My dear, when you see a person you care for, and she -your own nephew’s wife, on the brink of deadly sin—</p> - -<p><span class="smcap">Margaret.</span> Must we begin it again?</p> - -<p><span class="smcap">Miss Fairfield.</span> I do my duty. If you’d done yours your daughter wouldn’t -be late for breakfast, and I shouldn’t be given the opportunity.<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span></p> - -<p><span class="smcap">Margaret.</span> Perhaps I <i>had</i> better call her.</p> - -<p><span class="smcap">Miss Fairfield.</span> Everything getting cold—and so disrespectful! She ought -to be taught.</p> - -<p><span class="smcap">Margaret.</span> [<i>Rising with a sigh</i>] You’re quite right. [<i>Calling at the -foot of the stairs</i>] Sydney, darling, shall I bring you up your coffee?</p> - -<p><span class="smcap">Sydney’s Voice.</span> [<i>Answering</i>] It’s all right, Mother! I’m coming.</p> - -<p><span class="smcap">Miss Fairfield.</span> And I suppose that’s all you’ll say.</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>comes out of her room. She is physically a bigger, fairer -edition of</i> <span class="smcap">Margaret</span>, <i>but there the likeness ends. Her manner is -brisk and decided. She is very sure of herself, but when she loses -her temper, as she often does, she loses her aplomb and reveals the -schoolgirl. Her attitude to the world is that of justice, -untempered, except where her mother is in question, by mercy. But -she is very fond of her mother.</i></p></div> - -<p><span class="smcap">Sydney.</span> [<i>Running down the stairs</i>] Merry Christmas, everyone! I’m not -late, am I? Morning, Auntie! What, no post?</p> - -<p><span class="smcap">Margaret.</span> It gets later every year.</p> - -<p><span class="smcap">Miss Fairfield.</span> I’m very much obliged to you, Sydney, for -the—card-case.</p> - -<p><span class="smcap">Sydney.</span> [<i>Undoing her parcels</i>] It’s a cigarette case, Auntie dear. You -see, I thought if you gave me a prayer-book again we might do a deal. -Ah,<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> I thought so! Thanks most awfully. It’s sweet of you. Shall we?</p> - -<p><span class="smcap">Miss Fairfield.</span> What?</p> - -<p><span class="smcap">Sydney.</span> Swop.</p> - -<p><span class="smcap">Margaret.</span> Sydney, dear, that’s rather rude.</p> - -<p><span class="smcap">Sydney.</span> [<i>Swiftly</i>] Well, Mother, I hate being hinted at.</p> - -<p><span class="smcap">Margaret.</span> [<i>Bewildered</i>] Hint? What hint?</p> - -<p><span class="smcap">Sydney.</span> Oh, Mother, you’re such a lamb. You never see anything. [<i>To</i> -<span class="smcap">Miss Fairfield</span>] I’m sorry, Auntie, but I’m seventeen, and I’ve left -school, and I am not going to church to-day, or any day any more ever, -except to chaperon Mother and Gray next week, bless ’em!</p> - -<p><span class="smcap">Miss Fairfield.</span> I do think, Margaret, she ought at least to call him -Uncle.</p> - -<p><span class="smcap">Margaret.</span> Aren’t you coming with us to-day, darling? Christmas Day?</p> - -<p><span class="smcap">Sydney.</span> Sorry, Mother. It’s against my principles. I refuse to kneel -down and say I’m a miserable sinner. I’m not miserable and I’m not a -sinner, and I cannot tell a lie to please any old—prayer-book. Besides, -I’m expecting Kit.</p> - -<p><span class="smcap">Miss Fairfield.</span> You’ll find that Kit takes his mother to church. <i>She</i> -hasn’t lost all her influence—</p> - -<p><span class="smcap">Sydney.</span> [<i>Darkly</i>] She’ll be finding herself up against me soon.</p> - -<p><span class="smcap">Margaret.</span> [<i>Like a schoolgirl</i>] Oh, Sydney, has he—?<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p> - -<p><span class="smcap">Sydney.</span> He’s trying his hardest to, but I like to sort of <i>spread</i> my -jam.</p> - -<p><span class="smcap">Margaret.</span> Then—then—?</p> - -<p><span class="smcap">Sydney.</span> I’m not actually engaged, if you mean that— [<i>Watching their -faces mischievously</i>] but I’m going to be.</p> - -<p><span class="smcap">Miss Fairfield.</span> Engaged at seventeen! Preposterous!</p> - -<p><span class="smcap">Sydney.</span> [<i>Instantly</i>] Mother was married at seventeen.</p> - -<p><span class="smcap">Margaret.</span> That was the war.</p> - -<p><span class="smcap">Sydney.</span> I don’t see what that’s got to do with it.</p> - -<p><span class="smcap">Margaret.</span> [<i>Timidly</i>] Sydney—at seventeen, one doesn’t know enough—</p> - -<p><span class="smcap">Sydney.</span> One doesn’t know the same things, I dare say.</p> - -<p><span class="smcap">Margaret.</span> One doesn’t know anything at all.</p> - -<p><span class="smcap">Sydney.</span> Yes, but think of the hopeless sort of world you were seventeen -in—even you. As for poor Auntie, as far as knowing things goes—</p> - -<p><span class="smcap">Margaret.</span> Sydney, my dear, be good!</p> - -<p><span class="smcap">Sydney.</span> I am being good. I’m returning hint for hint.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Ruffling</i>] Is this the way you let your daughter speak -to me, Margaret?</p> - -<p><span class="smcap">Sydney.</span> [<i>Closing with her</i>] You see, she doesn’t enjoy being hinted at -either.</p> - -<p><span class="smcap">Margaret.</span> [<i>Between the upper and the nether mill-stone</i>] I don’t know -what you mean, Sydney, but <i>don’t</i>!<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></p> - -<p><span class="smcap">Sydney.</span> I mean that I’m not going to let Aunt Hester interfere in my -affairs like she does in yours. That’s what I mean.</p> - -<p><span class="smcap">Miss Fairfield.</span> These are the manners they teach you at your fine -school, I suppose!</p> - -<p><span class="smcap">Sydney.</span> Never mind, Auntie, I’ve had my lessons in the holidays too. You -needn’t think I haven’t watched the life you’ve led Mother over this -divorce business.</p> - -<p><span class="smcap">Margaret.</span> [<i>Distressed at the discussion</i>] Sydney! Sydney!</p> - -<p><span class="smcap">Sydney.</span> [<i>Remorselessly</i>] Well, hasn’t she? What prevented you from -marrying Gray ages ago? Father’s been out of his mind long enough, poor -man! You knew you were free to be free. You knew you were making Gray -miserable and yourself miserable—and yet, though that divorce law has -been in force for years, it’s taken you all this time to fight your -scruples. At least, you call them scruples! What you really mean is Aunt -Hester and her prayer book. And now, when you have at last consented to -give yourself a chance of being happy—when it’s Christmas Day and -you’re going to be married at New Year—still you let Aunt Hester sit at -your own breakfast table and insult you with talk about deadly sin. It’s -no use pretending you didn’t Auntie, because Mother left my door open -and I heard you.</p> - -<p><span class="smcap">Margaret.</span> [<i>With a certain dignity</i>] Sydney, I can take care of myself.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p> - -<p><span class="smcap">Sydney.</span> [<i>Oblivious of it</i>] Take care of yourself! As if everybody -didn’t ride rough-shod over you when I’m not there.</p> - -<p><span class="smcap">Margaret.</span> Yes, but my pet, you musn’t break out like this. Of course -your aunt knows you don’t really mean to be rude—</p> - -<p><span class="smcap">Sydney.</span> I do mean to be rude to her when she’s rude to you.</p> - -<p><span class="smcap">Margaret.</span> My dear, you quite misunderstand your aunt.</p> - -<p><span class="smcap">Sydney.</span> Oh, no, I don’t, Mother! [<span class="smcap">Margaret</span> <i>shrugs her shoulders -helplessly and sits down on the sofa to the left of the fireplace</i>.]</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Rising</i>] I’m afraid you’ll have to go to church -without me, Margaret. I’m thoroughly upset. You’ve brought up your -daughter to ignore me, and I know why. I’m the wrong side of the family. -I’m the one person in this house who remembers poor Hilary. I shall read -the service in the drawing-room. [<i>She goes out.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Looking after her</i>] She owes me something. She’s been dying -for an excuse, with that cold. [<i>She turns to the sofa and says more -gently</i>] What’s the use of crying, Mother? If Gray finds out there’ll be -a row, and then Aunt Hester’ll be sorry she ever was born.</p> - -<p><span class="smcap">Margaret.</span> It isn’t that. You get so excited, Sydney! You remind me—your -father was so excitable. I don’t like to see it.<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span></p> - -<p><span class="smcap">Sydney.</span> I’m not really. I needn’t let myself go if I don’t want to.</p> - -<p><span class="smcap">Margaret.</span> You musn’t get impatient with your aunt. She can’t get -accustomed to the new ways, that’s all. I—I can’t myself, sometimes. -[<i>Restlessly</i>] I hope I’m doing right.</p> - -<p><span class="smcap">Sydney.</span> Oh, I do think it’s morbid to have a conscience. If Father had -been dead fifteen years, would you say, “I hope I’m doing right”? And he -<i>is</i> dead. His mind’s dead. You know you’ve done all you can. And you’re -frightfully in love with Gray—</p> - -<p><span class="smcap">Margaret.</span> [<i>Flushing</i>] Don’t, Sydney!</p> - -<p><span class="smcap">Sydney.</span> Well, you are, and so he is with you. So what’s the worry about? -Aunt Hester! What people like Aunt Hester choose to think! I call it -morbid.</p> - -<p><span class="smcap">Margaret.</span> [<i>Whimsically</i>] I suppose I haven’t brought you up properly. -Your aunt’s quite right!</p> - -<p><span class="smcap">Sydney.</span> Yes. That’s what it always comes back to. “Your aunt’s quite -right!” I can argue with you by the hour—</p> - -<p><span class="smcap">Margaret.</span> [<i>Hastily</i>] Oh, not this morning, darling, will you?</p> - -<p><span class="smcap">Sydney.</span>—and Gray can argue with you by the hour—</p> - -<p><span class="smcap">Margaret.</span> [<i>Smiling</i>] Ah, but he never does.</p> - -<p><span class="smcap">Sydney.</span>—and you pretend to agree with us; but underneath your common -sense, your mind’s really thinking—“Your aunt’s quite right!<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>”</p> - -<p><span class="smcap">Margaret.</span> She stands for the old ways, Sydney.</p> - -<p><span class="smcap">Sydney.</span> She stands for Noah and the flood. She’d no business to go -dragging up Father and the divorce on Christmas morning to upset you.</p> - -<p><span class="smcap">Margaret.</span> It wasn’t your aunt.</p> - -<p><span class="smcap">Sydney.</span> Then it was me, I suppose! “If I could only control my tongue -and my temper,” and all the rest of it!</p> - -<p><span class="smcap">Margaret.</span> [<i>Quietly</i>] No, it was about Kit.</p> - -<p><span class="smcap">Sydney.</span> Kit? Oh, that’s all right, Mother. Don’t you worry about me and -Kit.</p> - -<p><span class="smcap">Margaret.</span> I do.</p> - -<p><span class="smcap">Sydney.</span> You needn’t.</p> - -<p><span class="smcap">Margaret.</span> [<i>Shyly</i>] You see, I thought I was in love at seventeen, too.</p> - -<p><span class="smcap">Sydney.</span> Oh, but I quite know what I’m doing.</p> - -<p><span class="smcap">Margaret.</span> And now I know I didn’t know much about it. I don’t want you -to be—rushed.</p> - -<p><span class="smcap">Sydney.</span> Nobody could make me do what I didn’t want to do.</p> - -<p><span class="smcap">Margaret.</span> [<i>Forgetting</i> <span class="smcap">Sydney</span>] It was nobody’s fault. It was the -war— [<i>She sits, dreaming.</i>]</p> - -<p><span class="smcap">Sydney.</span> It’s extraordinary to me—whenever you middle-aged people want -to excuse yourselves for anything you’ve done that you know you oughtn’t -to have done, you say it was the war. How could a war make you get -married if you didn’t want to?</p> - -<p><span class="smcap">Margaret.</span> [<i>Groping for words</i>] It was the feel in the air. They say the -smell of blood sends horses crazy. That was the feel. One did mad<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> -things. Hilary—your father—he was going out—the trenches—to be hurt. -And he was so fond of me he frightened me. I was so sorry. I thought I -cared. Can’t you understand?</p> - -<p><span class="smcap">Sydney.</span> No. Either you care or you don’t.</p> - -<p><span class="smcap">Margaret.</span> [<i>Passionately</i>] How can you know until it happens to you? How -was I to know there was more to it than keeping house and looking after -Hilary—and you? How was I to know?</p> - -<p><span class="smcap">Sydney.</span> [<i>Doubtfully</i>] Is there so much more to it?</p> - -<p><span class="smcap">Margaret.</span> Yes.</p> - -<p><span class="smcap">Sydney.</span> I don’t believe there is for some people. Why it’s just what I -want—to look after Kit and a house of my own, and—oh, at least half a -dozen kids.</p> - -<p><span class="smcap">Margaret.</span> [<i>Uncomfortably</i>] Sydney, <i>dear</i>!</p> - -<p><span class="smcap">Sydney.</span> Oh, Kit’s as keen as I am on eugenics. He’s doing a paper for -his debating society.</p> - -<p><span class="smcap">Margaret.</span> Well, I found you quite enough to manage.</p> - -<p><span class="smcap">Sydney.</span> [<i>Leaning over the back of the sofa</i>] I believe you were scared -of me when I was little— [<i>Margaret nods</i>] and even now—</p> - -<p><span class="smcap">Margaret.</span> [<i>Quickly</i>] What?</p> - -<p><span class="smcap">Sydney.</span> [<i>Quite good humoured about it</i>] Well, if you had to choose -between me and Gray, it wouldn’t be Gray who’d lose you.</p> - -<p><span class="smcap">Margaret.</span> [<i>Confronted with the idea</i>] I hope I’d do what’s right.<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p> - -<p><span class="smcap">Sydney.</span> [<i>Airily</i>] There you are!</p> - -<p><span class="smcap">Margaret.</span> [<i>As it goes home</i>] It’s not true. You’ve no right to make me -out a heartless mother. But—</p> - -<p><span class="smcap">Sydney.</span> [<i>Her arm round her mother’s neck</i>] Well—heartless Mother?</p> - -<p><span class="smcap">Margaret.</span> [<i>Clutching at the arm</i>] Oh, Sydney—what should I do if -Gray—if Gray—</p> - -<p><span class="smcap">Sydney.</span> It’s all right, Mother! [<i>There is the sound of a motor driving -up.</i>] There is Gray.</p> - -<p><span class="smcap">Margaret.</span> [<i>Jumping up hurriedly</i>] Oh, and I’m not dressed. Say I’ll be -down in a minute. [<i>She runs upstairs.</i>]</p> - -<p><span class="smcap">Sydney.</span> You’ve plenty of time. The bells haven’t begun yet.</p> - -<p><span class="smcap">Margaret.</span> [<i>From the gallery</i>] Tell Bassett to clear away.</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>rings the bell. The elderly maid enters through the baize -door.</i></p></div> - -<p><span class="smcap">Bassett.</span> Yes, Miss?</p> - -<p><span class="smcap">Sydney.</span> You can clear, Bassett!</p> - -<div class="blockquot"><p class="hang"><i>While she is speaking</i> <span class="smcap">Gray Meredith</span> <i>comes in through the hall -door. He is about forty, tall, dark and quiet, very sure of himself -and quite indifferent to the effect he makes on other people. As he -is a man who never has room in his head for more than one idea at a -time, and as for the last five years that idea has been</i> <span class="smcap">Margaret</span>,<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> -<i>the rest of the world doesn’t get much out of him. But mention her -and he behaves exactly like a fire being poked.</i></p></div> - -<p><span class="smcap">Gray.</span> [<i>Putting down a box he carries</i>] Where’s your mother?</p> - -<p><span class="smcap">Sydney.</span> [<i>Folding her hands</i>] Good morning, dear Sydney! A merry -Christmas to you, and so many thanks for the tie that, with the help of -your devoted aunt, you so thoughtfully—</p> - -<p><span class="smcap">Gray.</span> Stop it, there’s a good child! I haven’t missed her, have I?</p> - -<p><span class="smcap">Sydney.</span> Pray accept in return as a small token of esteem and total -dependency—</p> - -<p><span class="smcap">Gray.</span> I asked you if your mother had started.</p> - -<p><span class="smcap">Sydney.</span> [<i>In her natural voice</i>] It’s true, you know. You simply daren’t -cope with me yet.</p> - -<p><span class="smcap">Gray.</span> [<i>Twinkling in spite of himself</i>] Hm! A time will come—</p> - -<p><span class="smcap">Sydney.</span> Wouldn’t it warm the cockles of Aunt Hester’s heart to hear you! -What are cockles, Gray? Gray, she says I ought to call you Uncle! Gray, -d’you think you have brought me what I think you have for a Christmas -present?</p> - -<p><span class="smcap">Gray.</span> You’d better go and look. It’s in the motor with Kit.</p> - -<p><span class="smcap">Sydney.</span> It?</p> - -<p><span class="smcap">Gray.</span> He.</p> - -<p><span class="smcap">Sydney.</span> By Viscount out of Vixen?</p> - -<p><span class="smcap">Gray.</span> Really, Sydney!<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p> - -<p><span class="smcap">Sydney.</span> Dear Uncle Hester!</p> - -<p><span class="smcap">Gray.</span> Yes, but Sydney—?</p> - -<p><span class="smcap">Sydney.</span> [<i>At the door</i>] Oh, didn’t I tell you? Mother says she’ll be -down in a minute. [<i>She lets in the sound of the church bells as she -goes out.</i>]</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Gray</span> <i>walks about the room, then, going to the foot of the -staircase, he calls softly</i>.</p></div> - -<p><span class="smcap">Gray.</span> Margaret! [<i>He waits a moment; then he calls again</i>] Margaret!</p> - -<div class="blockquot"><p class="hang"><i>He listens, takes another turn about the room, then, coming back -to the staircase, stands, leaning against the foot of the -balusters.</i> <span class="smcap">Margaret</span> <i>comes softly down the stairs, and bending -over, puts her hands on his shoulders</i>.</p></div> - -<p><span class="smcap">Margaret.</span> A merry Christmas!</p> - -<p><span class="smcap">Gray.</span> [<i>Turning round and kissing her</i>] And a happy New Year!</p> - -<p><span class="smcap">Margaret.</span> It will be—oh, it will be!</p> - -<p><span class="smcap">Gray.</span> I almost think it will sometimes. [<i>Holding her at arms’ length</i>] -New frock?</p> - -<p><span class="smcap">Margaret.</span> Like it?</p> - -<p><span class="smcap">Gray.</span> Oh, I’ve seen it already.</p> - -<p><span class="smcap">Margaret.</span> Why, it’s the first time I’ve put it on.</p> - -<p><span class="smcap">Gray.</span> [<i>Untying the box on the table as he speaks</i>] Sydney carted it -along with her last week when we went to choose—this.</p> - -<p><span class="smcap">Margaret.</span> [<i>Like a child with a new toy</i>] For me, Gray?<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p> - -<p><span class="smcap">Gray.</span> Looks like it.</p> - -<p><span class="smcap">Margaret.</span> Oh, I hope you haven’t been extravagant.</p> - -<p><span class="smcap">Gray.</span> [<i>Opening the lid</i>] Well, Sydney said—</p> - -<p><span class="smcap">Margaret.</span> Silver fox! Oh, my dear, you shouldn’t.</p> - -<p><span class="smcap">Gray.</span> Put ’em on. Sydney’s quite a wise child.</p> - -<p><span class="smcap">Margaret.</span> [<i>Luxuriously</i>] Oh, I do love being spoiled.</p> - -<p><span class="smcap">Gray.</span> You haven’t had so much of it, have you, Meg?</p> - -<p><span class="smcap">Margaret.</span> [<i>With a complete change of manner</i>] Don’t!</p> - -<p><span class="smcap">Gray.</span> What?</p> - -<p><span class="smcap">Margaret.</span> Don’t call me Meg.</p> - -<p><span class="smcap">Gray.</span> Why not?</p> - -<p><span class="smcap">Margaret.</span> You never have before.</p> - -<p><span class="smcap">Gray.</span> Don’t you see, I want a name for you that no-one else uses.</p> - -<p><span class="smcap">Margaret.</span> [<i>Close to him</i>] Yes, yes, that no-one else has ever used. Not -Meg. Not Margaret. Make a name of your own for me—new—new.</p> - -<p><span class="smcap">Gray.</span> Well, you’re getting one new name pretty soon, anyhow.</p> - -<p><span class="smcap">Margaret.</span> Yes. New year—new name—new life. [<i>In his arms</i>] Oh, Gray, -is thirty-five very old?</p> - -<p><span class="smcap">Gray.</span> Not when you say it.</p> - -<p><span class="smcap">Margaret.</span> Oh, Gray, we’ve time for everything still?<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p> - -<p><span class="smcap">Gray.</span> Time for everything. [<i>He laughs</i>] Except church, my child! Do you -really insist on going?</p> - -<p><span class="smcap">Margaret.</span> Aunt Hester will be horrified if I don’t. Besides— [<i>She comes -back to the table and begins putting the papers together.</i>]</p> - -<p><span class="smcap">Gray.</span> What?</p> - -<p><span class="smcap">Margaret.</span> I suppose you’ll think me a fool—</p> - -<p><span class="smcap">Gray.</span> Shall I?</p> - -<p><span class="smcap">Margaret.</span> Oh, Gray, for the first time in my life I’m happy. I want to -say—</p> - -<p><span class="smcap">Gray.</span> What does she want to say?</p> - -<p><span class="smcap">Margaret.</span> “Humble and hearty thanks—”</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>runs in with a puppy in her arms. She is followed by</i> <span class="smcap">Kit</span>. -<span class="smcap">Kit</span> <i>is a good-looking, fair-haired boy who may be twenty-two, but -is nevertheless much younger than</i> <span class="smcap">Sydney</span>, <i>whom he takes as -seriously as he takes everything else in life. It is part of her -charm for him that he finds it a little difficult to keep up with -her.</i></p></div> - -<p><span class="smcap">Sydney.</span> Mother! Mother! Look what Gray’s brought me!</p> - -<p><span class="smcap">Margaret.</span> Oh, Sydney, your aunt isn’t fond of dogs. Merry Christmas, -Kit!</p> - -<p><span class="smcap">Kit.</span> Merry Christmas, Mrs. Fairfield!</p> - -<p><span class="smcap">Sydney.</span> Yes, but isn’t he an angel? And Kit’s given me a collar for him. -[<i>She goes up to</i> <span class="smcap">Gray</span>]<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> You know, Gray, it’s so sweet of you that in -return I’ll—</p> - -<p><span class="smcap">Gray.</span> Well?</p> - -<p><span class="smcap">Sydney.</span> [<i>Conspiratorially</i>] Make Kit late for church if you like.</p> - -<p><span class="smcap">Gray.</span> [<i>Putting himself in her hands</i>] I did promise him a lift.</p> - -<p><span class="smcap">Sydney.</span> [<i>Settling it</i>] He can cut across the fields. [<i>Aloud</i>] Kit, -what about a bone for the angel? You might go and make love to Bassett. -[<i>She puts the dog into his arms. They stroll off together into the -inner room.</i>]</p> - -<p><span class="smcap">Kit.</span> [<i>Earnestly, as he goes out through the baize door</i>] He ought to be -kept to biscuits.</p> - -<p><span class="smcap">Sydney.</span> [<i>Calling to him</i>] Just one to gnaw. [<i>Then, over her shoulder</i>] -Mother, the bells have been going quite a while.</p> - -<p><span class="smcap">Margaret.</span> [<i>To</i> <span class="smcap">Gray</span>] Listen, don’t you love them?</p> - -<p><span class="smcap">Gray.</span> Church bells?</p> - -<p><span class="smcap">Margaret.</span> Wedding bells.</p> - -<p><span class="smcap">Gray.</span> Margaret, you’ve stepped straight out of a Trollope novel.</p> - -<p><span class="smcap">Margaret.</span> [<i>Flushing</i>] I suppose you think I’m sentimental.</p> - -<p><span class="smcap">Gray.</span> No, but you’re pure nineteenth century.</p> - -<p><span class="smcap">Margaret.</span> I’m not. [<i>Telephone bell rings</i>] Oh!</p> - -<p><span class="smcap">Gray.</span> There goes the twentieth. Don’t you see how it makes you jump?</p> - -<p><span class="smcap">Sydney</span> <i>has gone to the telephone</i>.<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p> - -<p><span class="smcap">Sydney.</span> Hullo! Hullo!... You rang <i>me</i> up. [<i>She hangs up the receiver</i>] -“Sorry you have been trubbled!” And it’s sure to be someone trying to -get on.</p> - -<p><span class="smcap">Gray.</span> On Christmas morning? Hardly! I say, come along! The bells have -stopped.</p> - -<p><span class="smcap">Margaret.</span> [<i>In a strange voice</i>] Yes, they stopped when that other bell -rang.</p> - -<p><span class="smcap">Sydney.</span> Why, Mother, what’s the matter?</p> - -<p><span class="smcap">Margaret.</span> [<i>Blindly</i>] They stopped.</p> - -<p><span class="smcap">Sydney.</span> I told you, darling, you’re late.</p> - -<p><span class="smcap">Margaret.</span> Give me my furs. I’m cold. [<span class="smcap">Gray</span> <i>helps her on with them</i>.]</p> - -<p><span class="smcap">Sydney.</span> [<i>Proud of her</i>] They <i>are</i> lovely.</p> - -<p><span class="smcap">Margaret.</span> [<i>At the door, wistfully</i>] It isn’t too good to be true, is -it?</p> - -<p><span class="smcap">Gray.</span> The furs?</p> - -<p><span class="smcap">Margaret.</span> Everything! You—oh, what a fool I am! [<i>You hear</i> <span class="smcap">Gray’s</span> -<i>laugh answering hers as they go out together, and the sound of the -motor driving away</i>.]</p> - -<p><span class="smcap">Sydney.</span> [<i>Subsiding on to the sofa, to</i> <span class="smcap">Kit</span>, <i>who has come in as the -others go</i>] I thought they’d never get off. Mother has a way of standing -around and gently fussing—I tell you I’ll be glad when next week’s -over.</p> - -<p><span class="smcap">Kit.</span> So’ll I. I haven’t had a look in lately.</p> - -<p><span class="smcap">Sydney.</span> [<i>With an intimate glance</i>] Not last night? But it <i>has</i> been a -job, running Mother. I’m bridesmaid and best man and family lawyer and<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> -Juliet’s nurse all rolled into one—and a sort of lightning conductor -for Aunt Hester into the bargain. That’s why I’ve had so little time for -you. It’s quite true what Gray was saying just now—Mother <i>is</i> -nineteenth century. She’s sweet and helpless, but she’s obstinate too. -My word, the time she took making up her mind to get that divorce!</p> - -<p><span class="smcap">Kit.</span> It’s just about that that I’ve been wanting to talk to you. You -see—</p> - -<p><span class="smcap">Sydney.</span> Well?</p> - -<p><span class="smcap">Kit.</span> You see—</p> - -<p><span class="smcap">Sydney.</span> Hurry up, old thing!</p> - -<p><span class="smcap">Kit.</span> Well, you see, when I got home last night the governor was sitting -up for me.</p> - -<p><span class="smcap">Sydney.</span> He would be.</p> - -<p><span class="smcap">Kit.</span> And in the course of the row—<i>you</i> came in to it.</p> - -<p><span class="smcap">Sydney.</span> Oh, but he likes me.</p> - -<p><span class="smcap">Kit.</span> Yes, he was quite soothed when I said we were engaged.</p> - -<p><span class="smcap">Sydney.</span> Liar!</p> - -<p><span class="smcap">Kit.</span> [<i>Serenely</i>] Oh, well—</p> - -<p><span class="smcap">Sydney.</span> [<i>She finds his chuckle infectious</i>] What did he say?</p> - -<p><span class="smcap">Kit.</span> Oh, lots of rot, of course, about being too young. But he was quite -bucked really until—</p> - -<p><span class="smcap">Sydney.</span> Well?</p> - -<p><span class="smcap">Kit.</span> Well, I was a fool. I said something, quite by chance, about your -father. Then the fur began<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> to fly. You see, it seems he thought your -mother was a widow—</p> - -<p><span class="smcap">Sydney.</span> [<i>Ruffling up</i>] What’s it got to do with him?</p> - -<p><span class="smcap">Kit.</span> Well, you see—</p> - -<p><span class="smcap">Sydney.</span> If you’d only make me see instead of you-seeing me all the time.</p> - -<p><span class="smcap">Kit.</span> I’m afraid of hurting your feelings.</p> - -<p><span class="smcap">Sydney.</span> I’m not nineteenth century.</p> - -<p><span class="smcap">Kit.</span> [<i>Desperately</i>] Well, my people are.</p> - -<p><span class="smcap">Sydney.</span> Well?</p> - -<p><span class="smcap">Kit.</span> That’s the trouble—my people are! Father promptly began about not -seeing his way to—</p> - -<p><span class="smcap">Sydney.</span> To what, Kit?</p> - -<p><span class="smcap">Kit.</span> To—to marrying them.</p> - -<p><span class="smcap">Sydney.</span> But I’ve never heard of anything so crazy.</p> - -<p><span class="smcap">Kit.</span> Of course, you know, there’s nothing to worry about. There are -heaps of clergymen who will.</p> - -<p><span class="smcap">Sydney.</span> My dear boy, if Mother isn’t married in her own parish church -she’ll think she’s living in sin.</p> - -<p><span class="smcap">Kit.</span> Well, there it is!</p> - -<p><span class="smcap">Sydney.</span> But look here, the old rector knew all about it. Do you mean to -say that a new man can come into our parish and insult Mother just -because his beastly conscience doesn’t work the same way the old -rector’s did? The divorce is perfectly legal.</p> - -<p><span class="smcap">Kit.</span> [<i>In great discomfort</i>] Yes, Father knows all<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> that. [<i>Hopefully</i>] -Of course, I don’t see myself why a registry office—</p> - -<p><span class="smcap">Sydney.</span> If it were me I’d prefer it. Much less fuss. But Mother -wouldn’t.</p> - -<p><span class="smcap">Kit.</span> But she ought to see—</p> - -<p><span class="smcap">Sydney.</span> But she won’t. It’s no use reckoning on what people ought to be. -You’ve got to deal with them as they are.</p> - -<p><span class="smcap">Kit.</span> [<i>Guiltily</i>] Well, I’m awfully sorry.</p> - -<p><span class="smcap">Sydney.</span> It’s no use being sorry. We’ve got to do something.</p> - -<p><span class="smcap">Kit.</span> [<i>Hopelessly</i>] When once the old man gets an idea into his head—</p> - -<p><span class="smcap">Sydney.</span> He’d better not let it out in front of Mother. Gray’d half kill -him if he did. And I tell you this, Kit, what Gray leaves I’ll account -for, even if he is your father. Poor little Mother!</p> - -<p><span class="smcap">Kit.</span> Well I’m all on your side, you know that. But of course, Sydney, a -clergyman needn’t re-marry divorced people. It’s in that bill. The -governor was quoting it to-day.</p> - -<p><span class="smcap">Sydney.</span> But doesn’t he know the circumstances?</p> - -<p><span class="smcap">Kit.</span> He only knows what I do.</p> - -<p><span class="smcap">Sydney.</span> One doesn’t shout things at people, naturally. But it’s nothing -to be ashamed of. It’s only that my unfortunate father has been in an -asylum ever since I can remember. Shell-shock. It began before I was -born. He never came home again. Mother had to give up going to see him -even. It seemed to make him worse.<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p> - -<p><span class="smcap">Kit.</span> Pretty tragic.</p> - -<p><span class="smcap">Sydney.</span> Oh, for years now he hasn’t known anyone, luckily. And he’s well -looked after. He’s quite all right.</p> - -<p><span class="smcap">Kit.</span> [<i>Uncomfortably</i>] You’re a queer girl.</p> - -<p><span class="smcap">Sydney.</span> But he is.</p> - -<p><span class="smcap">Kit.</span> Yes—but—</p> - -<p><span class="smcap">Sydney.</span> What?</p> - -<p><span class="smcap">Kit.</span> Your own father—</p> - -<p><span class="smcap">Sydney.</span> [<i>Impatiently</i>] My dear boy, I’ve never even seen him. Oh, of -course it’s very sad, but I can’t go about with my handkerchief to my -eyes all the time, can I?</p> - -<p><span class="smcap">Kit.</span> Yes—but—</p> - -<p><span class="smcap">Sydney.</span> I hate cant.</p> - -<p><span class="smcap">Kit.</span> [<i>Leaning over the back of the sofa, his hands playing with her -chain</i>] You little brute—you’re as hard as nails, aren’t you?</p> - -<p><span class="smcap">Sydney.</span> [<i>Putting up her face to him</i>] Am I? [<i>They kiss.</i>]</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Passing through</i>] Really Sydney! Before lunch!</p> - -<p><span class="smcap">Kit.</span> You know, old thing, sometimes I don’t feel as if I should ever -really get on with your aunt.</p> - -<p><span class="smcap">Sydney.</span> [<i>Dimpling</i>] You’ll have to if—</p> - -<p><span class="smcap">Kit.</span> Good Lord! You don’t want her in the house!</p> - -<p><span class="smcap">Sydney.</span> [<i>Calmly</i>] I must take her off Mother sometimes. That’s only -fair. But she shan’t worry you.<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p> - -<p><span class="smcap">Kit.</span> I say, you’re going to have things your own way, aren’t you?</p> - -<p><span class="smcap">Sydney.</span> But of course I am, darling.</p> - -<p><span class="smcap">Kit.</span> [<i>Heavily</i>] But look here—marriage is a sort of mutual show, isn’t -it? We’ve got to pull together.</p> - -<p><span class="smcap">Sydney.</span> Of course.</p> - -<p><span class="smcap">Kit.</span> But suppose we come to a cross-roads, so to speak?</p> - -<p><span class="smcap">Sydney.</span> Well, somebody’ll have to give way, won’t they, darling?</p> - -<p><span class="smcap">Kit.</span> Hm!</p> - -<p><span class="smcap">Sydney.</span> My dear boy, if you want a door-mat you’d better look out for -someone—someone like poor dear Mother, for instance.</p> - -<p><span class="smcap">Kit.</span> [<i>Wiser than he knows</i>] But you <i>are</i> like her, Sydney!</p> - -<p><span class="smcap">Sydney.</span> Me? Do you think I’d let my daughter run me the way I run -Mother? Not much!</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Re-entering</i>] I think I left my— [<i>murmurs</i>].</p> - -<p><span class="smcap">Sydney.</span> [<i>Aside</i>] It’s no good. She’s doing this on purpose because I -cheeked her. You’d better go, old man. Besides, they must be well -through the anthem.</p> - -<p><span class="smcap">Kit.</span> [<i>Disturbed</i>] Good Lord! I should think I had better go!</p> - -<p><span class="smcap">Sydney.</span> [<i>Going with him to the door</i>] I say, keep your father quiet -till I’ve had time to talk to Gray.<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p> - -<p><span class="smcap">Kit.</span> Right! [<i>He goes out.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Calling</i>] Kit!</p> - -<p><span class="smcap">Kit.</span> [<i>Reappearing</i>] Yes?</p> - -<p><span class="smcap">Sydney.</span> Come round in the afternoon.</p> - -<p><span class="smcap">Kit.</span> Right! [<i>He goes out.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Calling</i>] Kit!</p> - -<p><span class="smcap">Kit.</span> [<i>Reappearing</i>] Yes?</p> - -<p><span class="smcap">Sydney.</span> I don’t suppose there’ll ever be any cross-roads.</p> - -<p><span class="smcap">Kit.</span> Darling! [<i>A scuffle.</i> <span class="smcap">Sydney</span> <i>reappears patting her hair</i>.]</p> - -<p><span class="smcap">Miss Fairfield.</span> I’m afraid I disturbed a <i>tête-à-tête</i>.</p> - -<p><span class="smcap">Sydney.</span> [<i>Sweetly</i>] Oh, Auntie, whatever made you think that?</p> - -<p><span class="smcap">Miss Fairfield.</span> But I really couldn’t sit in the drawing-room. There’s -no fire. [<i>She sits down and opens her book</i>.]</p> - -<p><span class="smcap">Sydney.</span> [<i>In a soft little voice, hums</i>] “When we are married we’ll have -sausages for tea.”</p> - -<p><span class="smcap">Miss Fairfield.</span> Do you mind being quiet while I read the service?</p> - -<p><span class="smcap">Sydney.</span> Sorry! [<i>She takes up some knitting.</i>]</p> - -<p><span class="smcap">Miss Fairfield.</span> What are you doing?</p> - -<p><span class="smcap">Sydney.</span> Tie for Kit.</p> - -<p><span class="smcap">Miss Fairfield.</span> Sydney! Needlework on Sunday!</p> - -<p><span class="smcap">Sydney.</span> Well, I can’t sit in the drawing-room either if there’s no -fire.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p> - -<p><span class="smcap">Miss Fairfield.</span> There’s no need to lose your temper.</p> - -<p><span class="smcap">Sydney.</span> [<i>Out of patience</i>] Here, I’m going. [<i>As she makes for the -staircase the telephone gives a broken tinkle.</i>]</p> - -<p><span class="smcap">Miss Fairfield.</span> Sydney, I believe that telephone’s going off!</p> - -<p><span class="smcap">Sydney.</span> Yes, I’m sure it’s someone trying to get on. They’ve rung up -once already.</p> - -<p><span class="smcap">Miss Fairfield.</span> Sydney, I won’t be left to deal with it. [<i>The telephone -rings deafeningly.</i>] There, I told you so.</p> - -<p><span class="smcap">Sydney.</span> Well, it’s not my fault! [<i>She takes off the receiver</i>] Hullo! -Hullo!... Yes.... Yes.... Yes.... [<i>To her aunt</i>] It’s a trunk call.</p> - -<p><span class="smcap">Miss Fairfield.</span> Who on earth—?</p> - -<p><span class="smcap">Sydney.</span> Yes.... Hullo!... Yes.... Mrs. Fairfield’s out. Shall I take a -message?... This is Miss Fairfield speaking.... All right, I’ll hold -on.... [<i>To her aunt</i>] Auntie, it’s from Bedford. It’s about Father. -[<i>Into the telephone</i>] Yes.... This is Miss Fairfield speaking.... -What?... Good Lord!</p> - -<p><span class="smcap">Miss Fairfield.</span> Sydney, don’t say “Good Lord”!</p> - -<p><span class="smcap">Sydney.</span> But you should have let Mrs. Fairfield know!... Only this -morning? Oh, I see.... No, we’ve heard nothing. When did you find -out?... What makes you—? I see.... No, he’s not here.... Of course we’d -<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span>let you know.... Then you’ll let us know at once if anything ... -yes.... <i>Miss</i> Fairfield. Mrs. Fairfield is going away very soon.... -Thank you.... Good-bye.</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>hangs up the receiver and turns round</i>.</p></div> - -<p><span class="smcap">Miss Fairfield.</span> Well?</p> - -<p><span class="smcap">Sydney.</span> Father’s got away.</p> - -<p><span class="smcap">Miss Fairfield.</span> What? Who spoke to you?</p> - -<p><span class="smcap">Sydney.</span> The head man—what’s his name? Rogers! Frightfully upset.</p> - -<p><span class="smcap">Miss Fairfield.</span> I should think so. Why, the poor fellow’s dangerous.</p> - -<p><span class="smcap">Sydney.</span> Apparently he’s been very much better lately, and this last -week, a marked change, he says.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Agitated</i>] You mean he’s getting well?</p> - -<p><span class="smcap">Sydney.</span> Looks like it. Rogers was awfully guarded but—apparently they’d -already written to Uncle Hugh and the solicitors.</p> - -<p><span class="smcap">Miss Fairfield.</span> They ought to have written to me.</p> - -<p><span class="smcap">Sydney.</span> Of course, they wouldn’t write to Mother—now—but we ought to -have heard.</p> - -<p><span class="smcap">Miss Fairfield.</span> When did they miss him?</p> - -<p><span class="smcap">Sydney.</span> This morning. Then a lot about its being inexplicable and the -precautions they had taken and so on. The fact remains that he has -managed to get away.</p> - -<p><span class="smcap">Miss Fairfield.</span> It’s disgraceful carelessness.</p> - -<p><span class="smcap">Sydney.</span> Their theory is that he has suddenly<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> come to himself. Is it -possible, Auntie? Can it happen?</p> - -<p><span class="smcap">Miss Fairfield.</span> It’s quite possible. It does. It was the same with my -poor sister, Grace. After ten years that was.</p> - -<p><span class="smcap">Sydney.</span> But the doctors said incurable.</p> - -<p><span class="smcap">Miss Fairfield.</span> The Almighty’s greater than the doctors. And -nerves—nerves are queer things. I nursed your Aunt Grace. Well, I -always told your mother to wait.</p> - -<p><span class="smcap">Sydney.</span> [<i>Struck</i>] Is that a fact about Aunt Grace? Was she out of her -mind too?</p> - -<p><span class="smcap">Miss Fairfield.</span> She never had to be sent away.</p> - -<p><span class="smcap">Sydney.</span> Nobody ever told me.</p> - -<p><span class="smcap">Miss Fairfield.</span> There’s something in most families.</p> - -<p><span class="smcap">Sydney.</span> But with Father—wasn’t it shell-shock?</p> - -<p><span class="smcap">Miss Fairfield.</span> It was brought on by shell-shock.</p> - -<p><span class="smcap">Sydney.</span> D’you mean that in our family there’s insanity?</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Fidgeting</i>] That’s not the way to talk. But we’re -nervy, all of us, we’re nervy. Your poor father would have been no worse -than the rest if it hadn’t been for the war.</p> - -<p><span class="smcap">Sydney.</span> [<i>Slowly</i>] What do you mean, “nervy”?</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>With a sidelong glance</i>] I mean the way you’re taking -this.</p> - -<p><span class="smcap">Sydney.</span> [<i>Sharply</i>] How am I taking it?</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Irritated</i>] Well, look at you now.<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p> - -<p><span class="smcap">Sydney.</span> [<i>Coldly</i>] I’m perfectly under control.</p> - -<p><span class="smcap">Miss Fairfield.</span> That’s it. It’s not natural.</p> - -<p><span class="smcap">Sydney.</span> [<i>Slowly</i>] You mean, I shouldn’t bother to control myself if—</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Hastily</i>] You’re too young to think about such things.</p> - -<p><span class="smcap">Sydney.</span>—if I weren’t afraid, you mean. Did Mother know—when she -married?</p> - -<p><span class="smcap">Miss Fairfield.</span> I tell you there are troubles in every family, but one -doesn’t talk about them.</p> - -<p><span class="smcap">Sydney.</span> But did she <i>know</i> the trouble was insanity?</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Shortly</i>] I don’t know.</p> - -<p><span class="smcap">Sydney.</span> Did Father?</p> - -<p><span class="smcap">Miss Fairfield.</span> One always knows in a general sort of way.</p> - -<p><span class="smcap">Sydney.</span> [<i>Relentlessly</i>] Am I nervy?</p> - -<p><span class="smcap">Miss Fairfield.</span> Young people don’t have nerves.</p> - -<p><span class="smcap">Sydney.</span> Insanity! A thing you can hand on! And I told Kit it was -shell-shock!</p> - -<p><span class="smcap">Miss Fairfield.</span> I don’t see what difference it makes to Christopher.</p> - -<p><span class="smcap">Sydney.</span> You don’t see what difference—? You don’t see—? [<i>To herself</i>] -But <i>I</i> see [<i>There is a pause]</i> Aunt Hester, suppose Father really gets -well—?</p> - -<p><span class="smcap">Miss Fairfield.</span> Well?</p> - -<p><span class="smcap">Sydney.</span> Whatever will he do?</p> - -<p><span class="smcap">Miss Fairfield.</span> It’s a question of what your mother will do.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p> - -<p><span class="smcap">Sydney.</span> But it won’t have anything to do with Mother.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Grimly</i>] Won’t it?</p> - -<p><span class="smcap">Sydney.</span> What on earth are you driving at?</p> - -<p><span class="smcap">Miss Fairfield.</span> I can’t discuss it with you.</p> - -<p><span class="smcap">Sydney.</span> Why not?</p> - -<p><span class="smcap">Miss Fairfield.</span> You’re too young.</p> - -<p><span class="smcap">SYDNEY.</span> I’m old enough to be engaged.</p> - -<p><span class="smcap">Miss Fairfield.</span> You’re not engaged.</p> - -<p><span class="smcap">Sydney.</span> [<i>Insolently</i>] Kissed then. You saw that half an hour ago, -didn’t you? I might just as well say I can’t discuss it with you because -you’re too old.</p> - -<p><span class="smcap">Miss Fairfield.</span> How dare you speak to me like that?</p> - -<p><span class="smcap">Sydney.</span> [<i>Beside herself</i>] Oh, are all old people such stone walls? -Here’s a shadow, here’s a trouble, here’s a ghost in the house—and when -I ask you what shall I do, you talk about your blessed dignity!</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Rising</i>] This is the second time in one morning that -you have driven me out of the room.</p> - -<p><span class="smcap">Sydney.</span> [<i>Wringing her hands</i>] Well, I’m sorry! But I’m so worried. -Don’t you see I’ve got to keep it off Mother? and Kit! Oh, I’ve got to -tell Kit! [<i>Following her irresolutely</i>] Auntie, if you’d only be -decent. [<i>But</i> <span class="smcap">Miss Fairfield</span> <i>has gone out</i>. <span class="smcap">Sydney</span> <i>turns back into -the room</i>] If I only knew what to do!<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span></p> - -<div class="blockquot"><p class="hang"><i>She stands hesitating. Then she goes to the telephone: makes a -movement as if to take it down but checks herself, shaking her -head. She comes back to the sofa at last and flings herself down on -it, fidgeting with the cushions and frowning. She is roused by the -click of a latch as the French window in the inner room is softly -opened, and</i> <span class="smcap">Hilary Fairfield</span> <i>steps over the threshold. He is a -big, fresh-coloured man with grey hair and bowed shoulders. In -speech and movements he is quick and jerky, inclined to be -boisterous, but pathetically easy to check. This he knows himself, -and he has, indeed, an air of being always in rebellion against his -own habit of obedience. He comes in, treading softly, his bright -eyes dancing with excitement, like a child getting ready to spring -a surprise on somebody. Something in the fashion of the empty room -(for he does not see</i> <span class="smcap">Sydney</span> <i>crouching in the cushions) -disconcerts him. He hesitates. The happy little smile fades. His -eye wanders from one object to another and he moves about, -recognising a picture here, fingering there an unfamiliar hanging, -as it were losing and finding himself a dozen times in his progress -round the room. He comes to a stand at last before the fire-place, -warming his hands. Then he takes out a pipe and with the other<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> -hand feels absently along the mantel-piece for the matches.</i> -<span class="smcap">Sydney</span>, <i>who has been watching him with a sort of breathless -sympathy, says softly</i>:—</p></div> - -<p><span class="smcap">Sydney.</span> What are you looking for?</p> - -<p><span class="smcap">Hilary.</span> They’ve moved my— [<i>with a start</i>] eh? [<i>He turns sharply and -sees her</i>] Meg! It’s Meg! [<i>With a rush</i>] Oh, my own darling!</p> - -<p><span class="smcap">Sydney.</span> [<i>Her confidence in her power to deal with the situation -suddenly gone</i>] I—I’m not Meg.</p> - -<p><span class="smcap">Hilary.</span> [<i>Boisterously</i>] Not Meg! Tell me I don’t know Meg! [<span class="smcap">Sydney</span> -<i>gives a nervous schoolgirl giggle</i>] Eh? [<i>Then, his voice changing -completely</i>] No, it’s not Meg. [<i>Uneasily</i>] I beg your pardon. I thought -you were—another girl. I’ve been away a long time.</p> - -<p><span class="smcap">Sydney.</span> Whom do you want?</p> - -<p><span class="smcap">Hilary.</span> [<i>Startled again</i>] There, you see, it’s her voice too. Who are -you?</p> - -<p><span class="smcap">Sydney.</span> [<i>Fencing</i>] How did you get in?</p> - -<p><span class="smcap">Hilary.</span> Tool-shed gate. [<i>Louder</i>] Who are you?</p> - -<p><span class="smcap">Sydney.</span> Where have you come from?</p> - -<p><span class="smcap">Hilary.</span> Bedford. Took a car. [<i>Lashing himself into an agitation</i>] Who -are you?</p> - -<p><span class="smcap">Sydney.</span> Whom do you want to see?</p> - -<p><span class="smcap">Hilary.</span> [<i>Losing all control</i>] Who are you?</p> - -<p><span class="smcap">Sydney.</span> [<i>Slowly</i>] I think I’m your daughter. [<span class="smcap">Hilary</span> <i>stares at her -blankly. Then he bursts out laughing.</i>]<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span></p> - -<p><span class="smcap">Hilary.</span> Daughter! Daughter! By God, that’s good! My wife isn’t my wife, -she’s my daughter! And my daughter’s seventeen and I’m twenty-two.</p> - -<p><span class="smcap">Sydney.</span> You’re forgetting what years and years—</p> - -<p><span class="smcap">Hilary.</span> Yes, of course. It’s years and years. It’s a life-time. It’s my -daughter’s lifetime. What’s your name—daughter?</p> - -<p><span class="smcap">Sydney.</span> Sydney.</p> - -<p><span class="smcap">Hilary.</span> Sydney. Sydney, eh? My mother was Sydney. I like Sydney. -I— [<i>catching at his dignity</i>] I suppose we’re rather a shock to each -other—Sydney.</p> - -<p><span class="smcap">Sydney.</span> No. You’re not a shock to me. But I’m afraid—</p> - -<p><span class="smcap">Hilary.</span> [<i>Breaking in</i>] Is my—? Is your—? Where’s Margaret?</p> - -<p><span class="smcap">Sydney.</span> At church.</p> - -<p><span class="smcap">Hilary.</span> Back soon, eh?</p> - -<p><span class="smcap">Sydney.</span> Yes, that’s why I’m afraid—</p> - -<p><span class="smcap">Hilary.</span> [<i>Unheeding</i>] I might go to meet her, eh?</p> - -<p><span class="smcap">Sydney.</span> [<i>Quickly</i>] Oh, I wouldn’t. Come and sit down and wait for her -and talk.</p> - -<p><span class="smcap">Hilary.</span> [<i>Obediently</i>] Very well. [<i>He sits down beside her on the sofa. -They look at each other. He says shyly</i>] I say, isn’t this queer?</p> - -<p><span class="smcap">Sydney.</span> It makes me want to cry.</p> - -<p><span class="smcap">Hilary.</span> Why? That’s all over. Laugh! Laugh! That’s the thing to do. What -a lovely room this is! I can’t say I like the new paper—or the -curtains!<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p> - -<p><span class="smcap">Sydney.</span> [<i>Quickly</i>] Yes, I liked the old red ones, too. [<i>Then, with an -effort</i>] Those—aren’t—the only changes. Everything changes—</p> - -<p><span class="smcap">Hilary.</span> [<i>Swiftly</i>] Bet you Aunt Hester hasn’t, eh? [<i>They look at each -other and laugh.</i>] And I bet you—I say, is your mother such a darling -still?</p> - -<p><span class="smcap">Sydney.</span> [<i>Recalled to the business before her, brusquely</i>] Look -here—Father—</p> - -<p><span class="smcap">Hilary.</span> [<i>Savouring it</i>] “Father!” “Father!” Well?</p> - -<p><span class="smcap">Sydney.</span> We’ve got to talk. We’ve got to get things straight before she -comes back.</p> - -<p><span class="smcap">Hilary.</span> [<i>His eye and his attention beginning to wander</i>] Back soon, eh? -Why has Meg moved the clock? It was much better where we put it. Must -get it put back. Nearly one. She’s late, isn’t she? I—I really think, -you know, I’ll go out and meet your mother.</p> - -<p><span class="smcap">Sydney.</span> [<i>Authoritatively</i>] You’re to stay here.</p> - -<p><span class="smcap">Hilary</span>. [<i>Beginning obediently</i>] Very well— [<i>He flares suddenly</i>] I’ll -do as I like about that.</p> - -<p><span class="smcap">Sydney.</span> [<i>Passionately</i>] I’ll not have you frighten her.</p> - -<p><span class="smcap">Hilary.</span> I? [<i>He smiles securely.</i>]</p> - -<p><span class="smcap">Sydney.</span> Can’t you realise what the shock—?</p> - -<p><span class="smcap">Hilary.</span> [<i>Blissfully</i>] Never known anyone die of joy yet!</p> - -<p><span class="smcap">Sydney.</span> Father, you don’t understand! You and mother<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span>—</p> - -<p><span class="smcap">Hilary.</span> [<i>Getting irritated</i>] Look here, this is nothing to do with -you—</p> - -<p><span class="smcap">Sydney.</span> But you mustn’t—</p> - -<p><span class="smcap">Hilary</span> [<i>Violently</i>] Now I tell you I’m not going to be hectored. I -won’t stand it. I’ve had enough of it. D’you hear? I’ve had enough of -it.</p> - -<p><span class="smcap">Sydney.</span> If you talk to my mother like this—</p> - -<p><span class="smcap">Hilary.</span> [<i>Softening</i>] Meg understands.</p> - -<p><span class="smcap">Sydney</span> [<i>Jealously</i>] So do I understand.</p> - -<p><span class="smcap">Hilary.</span> I believe you do. You got wild all in a moment. That’s my way, -too. It means nothing. Meg can’t see that it means nothing. But it makes -a man wild, you know, to be dragooned when he’s as sane as—my God, I -<i>am</i> sane! That’s all over, isn’t it? I am sane. Daughter!</p> - -<p><span class="smcap">Sydney.</span> [<i>Watching him</i>] Father?</p> - -<p><span class="smcap">Hilary.</span> Don’t let me get—that way. It’s bad. Help me to go slow. I’m as -well as you are, you know. But it’s new. It only happened to-day—like a -curtain lifting. [<i>Confidentially</i>] You see I was standing in the -garden—</p> - -<p><span class="smcap">Sydney.</span> I can’t conceive how you got away.</p> - -<p><span class="smcap">Hilary.</span> Led. Like Peter out of prison. I went through the gate, openly. -Their eyes were blinded. [<i>With a complete change of tone</i>] Pure luck, -you know. There were visitors going out—and I nipped along with them, -talking. No-one spotted me. I wouldn’t have believed it possible. Heaps -of us—of them, I mean—have tried, you know.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p> - -<p><span class="smcap">Sydney.</span> But you’d no money.</p> - -<p><span class="smcap">Hilary.</span> [<i>Whimsically</i>] I took the first taxi I saw. Promised him -double. He’s at the lower gate now, waiting to be paid.</p> - -<p><span class="smcap">Sydney.</span> Father, <i>dear</i>! Ticking away the tuppences! We’re not -millionaires!</p> - -<p><span class="smcap">Hilary.</span> [<i>Carelessly</i>] Your mother’ll see to it. [<i>Sound of a motor -horn</i>] That’s him! I suppose he’s got tired of waiting and come round.</p> - -<p><span class="smcap">Sydney.</span> No, no! That’ll be Mother. You mustn’t stop here. You must let -me tell her. You must let me tell her first. [<i>She goes out hurriedly.</i>]</p> - -<p><span class="smcap">Hilary.</span> Your mother, is it? Your mother, eh? Here—child—a minute, give -me a minute! give me a minute!</p> - -<p><span class="smcap">Margaret.</span> [<i>As she comes in</i>] No—he couldn’t. But he’s coming round -directly after lunch—Hilary!</p> - -<p><span class="smcap">Hilary.</span> [<i>Like a man who can’t see</i>] Meg! Is it Meg? Meg, I’ve come -home.</p> - -<p><span class="smcap">Margaret.</span> [<i>Terrified</i>] Sydney, don’t go away!</p> - -<p><span class="smcap">Sydney.</span> It’s all right, Mother!</p> - -<p><span class="smcap">Hilary.</span> Meg!</p> - -<p><span class="smcap">Margaret.</span> But they said—they said—incurable. They shouldn’t have -said—incurable.</p> - -<p><span class="smcap">Hilary.</span> What does it matter? I’m well. I’m well, Meg! I tell you—it -came over me like a lantern flash—like a face turning to you. I was in -the garden, you know—lost. I was a lost soul—outcast! No hope. I can -never make anyone<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> understand. I was never like the rest of them. I was -sane, always—but—the face was turned away.</p> - -<p><span class="smcap">Sydney.</span> What face?</p> - -<p><span class="smcap">Hilary.</span> The face of God.</p> - -<p><span class="smcap">Margaret.</span> Sydney—is he—?</p> - -<p><span class="smcap">Sydney.</span>—It’s all right, Mother! That isn’t madness. He’s come to -himself.</p> - -<p><span class="smcap">Margaret.</span> Then—then—what am I to do?</p> - -<p><span class="smcap">Hilary.</span> What’s that? [<i>He comes nearer.</i>]</p> - -<p><span class="smcap">Margaret.</span> I—I—</p> - -<p><span class="smcap">Hilary.</span> [<i>Staring at her</i>] You don’t say a word. One would think you -weren’t glad to see me. Aren’t you glad to see me?</p> - -<p><span class="smcap">Margaret.</span> Of course—glad—you poor Hilary!</p> - -<p><span class="smcap">Hilary.</span> If you knew what it is to say to myself—I’m at home! That -place—!</p> - -<p><span class="smcap">Margaret.</span> [<i>Mechanically</i>] Oh, but there was every comfort.</p> - -<p><span class="smcap">Hilary.</span> Hell! Hell!</p> - -<p><span class="smcap">Margaret.</span> [<i>Insisting</i>] But they were good to you?</p> - -<p><span class="smcap">Hilary.</span> Good enough.</p> - -<p><span class="smcap">Margaret.</span> [<i>In acute distress</i>] They didn’t—ill-treat—?</p> - -<p><span class="smcap">Sydney.</span> Mother, you know you did the very best—</p> - -<p><span class="smcap">Hilary.</span> If it had been heaven—what difference does it make? I was a -dead man. Do you know what the dead do in heaven? They sit on their<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> -golden chairs and sicken for home. Why did you never come?</p> - -<p><span class="smcap">Margaret.</span> They wouldn’t let me. It made you worse.</p> - -<p><span class="smcap">Hilary.</span> Because I wanted you so.</p> - -<p><span class="smcap">Margaret.</span> But you didn’t know me.</p> - -<p><span class="smcap">Hilary.</span> My voice didn’t—and my speech and my actions didn’t. But <i>I</i> -knew you. Meg—behind the curtain—behind the dreams and the noises, and -the abandonment of God—I wanted you. I wanted—I wanted— [<i>He puts his -hand to his head.</i>] Look here—I tell you we mustn’t talk of these -things. It’s not safe, I tell you. When I talk I see a black hand -reaching up through the floor—do you see? there—through the widening -crack of the floor—to catch me by the ankle and drag—drag—</p> - -<p><span class="smcap">Sydney.</span> Father—Father—go slow!</p> - -<p><span class="smcap">Margaret.</span> [<i>Terrified</i>] Sydney!</p> - -<p><span class="smcap">Sydney.</span> It’s all right, Mother! We’ll manage.</p> - -<p><span class="smcap">Hilary.</span> [<i>Turning to her</i>] Yes, you tell your mother. I’m all right! You -understand that, don’t you? Once it was a real hand. Now I know it’s in -my mind. I tell you, Meg, I’m well. But it’s not safe to think about -anything but—Oh, my dear, the holly and the crackle of the fire and the -snow like a veil of peace on me—and you like the snow—so still—</p> - -<p class="c"><i>He comes to her with outstretched arms.</i></p> - -<p><span class="smcap">Margaret</span> [<i>Faintly</i>] No—no—no<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span>—</p> - -<p><span class="smcap">Hilary.</span> [<i>Exalted</i>] Yes—yes—yes! [<i>He catches her to him.</i>]</p> - -<p><span class="smcap">Margaret.</span> For pity’s sake, Hilary—!</p> - -<p><span class="smcap">Bassett.</span> [<i>Entering</i>] Lunch is served, Ma’am!</p> - -<p><span class="smcap">Margaret.</span> [<i>Helplessly</i>] Sydney?</p> - -<p><span class="smcap">Sydney.</span> Lay an extra cover. This—my—this gentleman is staying to -lunch.</p> - -<p><span class="smcap">Hilary.</span> [<i>Boisterously</i>] Staying to lunch! to lunch! That’s a good joke, -isn’t it? I say, listen! I’m laughing. Do you know, I’m laughing? It’s -blessed to laugh. Staying to lunch! Yes, my girl! Lunch and tea and -supper and breakfast, thank God! and for many a long day!</p> - -<p class="fint">CURTAIN.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p> - -<h2><a name="ACT_II" id="ACT_II"></a>ACT II.</h2> - -<div class="blockquot"><p class="hang"><i>The curtain rises on</i> <span class="smcap">Margaret’s</span> <i>drawing-room. It is prettily -furnished in a gentle, white-walled, water-colour-in-gold-frame -fashion, and is full of flowers. In one corner is a parrot in a -cage, and near it</i> <span class="smcap">Miss Fairfield’s</span> <i>arm-chair and foot-stool and -work-table. The fire-place has a white sheepskin in front of it, -and brass fire-irons: on the mantel-piece is a gilt clock and many -photographs. At right angles to the fire a low empire couch runs -out into the room. There is a hint of</i> <span class="smcap">Sydney</span> <i>in the ultra-modern -cushionry with which it is piled. As the curtain goes up</i> <span class="smcap">Bassett</span> -<i>is showing in</i> <span class="smcap">Gray Meredith</span>.</p></div> - -<p><span class="smcap">Bassett.</span> They’re still at lunch, Sir.</p> - -<p><span class="smcap">Gray.</span> [<i>Glancing at the clock</i>] They’re late.</p> - -<p><span class="smcap">Bassett.</span> It’s the visitor, Sir. He’s kept them talking.</p> - -<p><span class="smcap">Gray.</span> Visitor?</p> - -<p><span class="smcap">Bassett.</span> Yes, Sir, a strange gentleman. Will you take coffee, Sir?</p> - -<p><span class="smcap">Gray.</span> I may as well go in and have it with them.</p> - -<p><span class="smcap">Bassett.</span> The mistress said, would you not, Sir. She’d come to you.</p> - -<p><span class="smcap">Gray.</span> [<i>A little surprised</i>] Oh, very well.<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p> - -<p><span class="smcap">Bassett.</span> I’ll tell Miss Sydney you’ve come, Sir.</p> - -<p><span class="smcap">Gray.</span> [<i>Lifting his eyebrows</i>] Tell Mrs. Fairfield.</p> - -<p><span class="smcap">Bassett.</span> Miss Sydney said I was to tell her too, Sir, quietly.</p> - -<p><span class="smcap">Gray.</span> [<i>Puzzled</i>] Is—? [<i>He checks an impulse to question the servant</i>] -All right!</p> - -<p><span class="smcap">Bassett.</span> Thank you, Sir.</p> - -<div class="blockquot"><p class="hang"><i>She goes out, leaving the door open. There is a slight pause.</i> -<span class="smcap">Margaret</span> <i>comes in hurriedly, shutting the door behind her</i>.</p></div> - -<p><span class="smcap">Gray.</span> [<i>Smiling</i>] Well, what’s the mystery?</p> - -<p><span class="smcap">Margaret.</span> Gray, he’s come back!</p> - -<p><span class="smcap">Gray.</span> Who?</p> - -<p><span class="smcap">Margaret.</span> Hilary!</p> - -<p><span class="smcap">Gray.</span> [<i>Lightly</i>] Hilary? What Hilary? <i>Hilary!</i></p> - -<p><span class="smcap">Margaret.</span> Yes.</p> - -<p><span class="smcap">Gray.</span> Good God!</p> - -<p><span class="smcap">Margaret.</span> He got away. He came straight here. I found him with Sydney.</p> - -<p><span class="smcap">Gray.</span> Don’t be frightened. I’m here. Is he dangerous?</p> - -<p><span class="smcap">Margaret.</span> No, no, poor fellow!</p> - -<p><span class="smcap">Gray.</span> You can’t be sure. Anyway, I’d better take charge of him while you -phone the asylum. No, that won’t do, there are no trains. We must ring -up the authorities.</p> - -<p><span class="smcap">Margaret.</span> Oh, no, Gray!</p> - -<p><span class="smcap">Gray.</span> It’s not pleasant, but it’s the only thing to do.<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p> - -<p><span class="smcap">Margaret.</span> You don’t understand.</p> - -<p><span class="smcap">Gray.</span> There’s only one way to deal with an escaped lunatic.</p> - -<p><span class="smcap">Margaret.</span> But he’s not. He’s well.</p> - -<p><span class="smcap">Gray.</span> What’s that?</p> - -<p><span class="smcap">Margaret.</span> He’s well. He knows me. He—</p> - -<p><span class="smcap">Gray.</span> I don’t believe it.</p> - -<p><span class="smcap">Margaret.</span> Do you think I want to believe it? Oh, what a ghastly thing to -say!</p> - -<p><span class="smcap">Gray.</span> This has nothing to do with you. He has nothing to do with you. -Leave me to deal with him. [<i>He goes towards the door.</i>]</p> - -<p><span class="smcap">Margaret.</span> Where are you going?</p> - -<p><span class="smcap">Gray.</span> ’Phoning for Dr. Alliot to begin with.</p> - -<p><span class="smcap">Margaret.</span> Sydney’s done that already.</p> - -<p><span class="smcap">Gray.</span> Sydney’s head’s on her shoulders.</p> - -<p><span class="smcap">Margaret.</span> He’ll be here as soon as he can. He could always manage -Hilary.</p> - -<p><span class="smcap">Gray.</span> You’d better go up to your room.</p> - -<p><span class="smcap">Margaret.</span> No.</p> - -<p><span class="smcap">Gray.</span> Don’t take it too hard. It’ll be over in an hour. We’ll get him -away quietly, poor devil.</p> - -<p><span class="smcap">Margaret.</span> But it’s no good, Gray, he’s well. We’ve been on to the asylum -already. They say we should have heard in a day or two even if he hadn’t -got away.</p> - -<p><span class="smcap">Gray.</span> Really well?</p> - -<p><span class="smcap">Margaret.</span> The old Hilary—voice and ways and—oh, my God! what am I to -do?</p> - -<p><span class="smcap">Gray.</span> Do? You?<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span></p> - -<p><span class="smcap">Margaret.</span> Don’t you see, he knows nothing? His hair’s grey and he talks -as he talked at twenty. It’s horrible.</p> - -<p><span class="smcap">Gray.</span> What do you mean, he knows nothing?</p> - -<p><span class="smcap">Margaret.</span> About the divorce. About you and me. He thinks it’s all—as he -left it.</p> - -<p><span class="smcap">Gray.</span> [<i>Incredulously</i>] You’ve said nothing?</p> - -<p><span class="smcap">Margaret.</span> He’s like a lost child come home. Do you think I want to send -him crazy again? He—</p> - -<p><span class="smcap">Gray.</span> [<i>With a certain anger</i>] You’ve said nothing?</p> - -<p><span class="smcap">Margaret.</span> Not yet.</p> - -<p><span class="smcap">Gray.</span> You’ll come away with me at once.</p> - -<p><span class="smcap">Margaret.</span> I can’t. I’ve got to think of Hilary.</p> - -<p><span class="smcap">Gray.</span> You’ve got to think of me.</p> - -<p><span class="smcap">Margaret.</span> I <i>am</i> you. But I’ve done him so much injury—</p> - -<p><span class="smcap">Gray.</span> <i>You’ve</i> done Fairfield injury? You little saint!</p> - -<p><span class="smcap">Margaret.</span> Saint? I’m a wicked woman. I’m wishing he hadn’t got well. I’m -wishing the doctors will say it’s not true. In my wicked heart I’m -calling down desolation on my own husband.</p> - -<p><span class="smcap">Gray.</span> You have no husband. You’re marrying me in a week. You’re mine.</p> - -<p><span class="smcap">Margaret.</span> I’m afraid—</p> - -<p><span class="smcap">Gray.</span> Whose are you? Answer me.</p> - -<p><span class="smcap">Margaret.</span> Yours.</p> - -<p><span class="smcap">Gray.</span> You know it?<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> - -<p><span class="smcap">Margaret.</span> I know it.</p> - -<p><span class="smcap">Gray.</span> Then never be afraid again.</p> - -<p><span class="smcap">Margaret.</span> No, not when you’re here. I’m not afraid when you’re here. But -I must be good to Hilary. You see that?</p> - -<p><span class="smcap">Gray.</span> What good is “good” to him, poor devil?</p> - -<p><span class="smcap">Margaret.</span> At least I’ll break it gently.</p> - -<p><span class="smcap">Gray.</span> Gently? That’s just like a woman. All you can do for him is to -come away now.</p> - -<p><span class="smcap">Margaret.</span> How can I? He’s got to be told.</p> - -<p><span class="smcap">Gray.</span> Then let me tell him.</p> - -<p><span class="smcap">Margaret.</span> No, no! From you, just from you, it would be wanton. I won’t -have cruelty.</p> - -<p><span class="smcap">Gray.</span> We’ll go straight up to town and get married at once. That’ll -settle everything.</p> - -<p><span class="smcap">Margaret.</span> You mustn’t rush me. I’ve got to do what’s right.</p> - -<p><span class="smcap">Gray.</span> It is right. There’s nothing else to be done. You can’t stay here.</p> - -<p><span class="smcap">Margaret.</span> No, I can’t stay here. Don’t let me stay here.</p> - -<p><span class="smcap">Gray.</span> Come with me. The car’s outside. You say Alliot will be here in -ten minutes. Leave him a note. He’s an old friend as well as a doctor. -Let him deal with it if you won’t let me.</p> - -<p><span class="smcap">Margaret.</span> Oh, can’t you see that I must tell Hilary myself?</p> - -<p><span class="smcap">Gray.</span> [<i>Angrily</i>] Women are incomprehensible!</p> - -<p><span class="smcap">Margaret.</span> It’s men who are uncomprehending. Can’t you feel that it’ll -hurt him less from me?<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span></p> - -<p><span class="smcap">Gray.</span> It’ll hurt him ten thousand times more.</p> - -<p><span class="smcap">Margaret.</span> But differently. It’s the things one might have said that -fester. At least I’ll spare him that torment. He shall say all he wants -to say.</p> - -<p><span class="smcap">Gray.</span> [<i>Blackly</i>] I suppose the truth is that there’s something in the -very best of women that enjoys a scene.</p> - -<p><span class="smcap">Margaret.</span> That’s the first bitter thing you’ve ever said to me.</p> - -<p><span class="smcap">Gray.</span> [<i>Breaking out</i>] Can’t you see what it does to me to know you are -in the same house with him? For God’s sake come out of it!</p> - -<p><span class="smcap">Margaret.</span> [<i>Close to him</i>] I want to come, now, this moment. I want to -be forced to come.</p> - -<p><span class="smcap">Gray.</span> That settles it.</p> - -<p><span class="smcap">Margaret.</span> [<i>Eluding him</i>] But I mustn’t! Don’t you see that I mustn’t? I -can’t leave Sydney to lay my past for me.</p> - -<p><span class="smcap">Gray.</span> Your past is dead.</p> - -<p><span class="smcap">Margaret.</span> Its ghost’s awake and walking.</p> - -<p><span class="smcap">Hilary’s Voice.</span> Meg! Meg!</p> - -<p><span class="smcap">Margaret.</span> [<i>Clinging to him</i>] Listen, it’s calling to me.</p> - -<p><span class="smcap">Hilary’s Voice.</span> Meg, where are you?</p> - -<p><span class="smcap">Margaret.</span> It’s too late! I’m too old! I shall never get away from him. I -told you it was too good to be true.</p> - -<p><span class="smcap">Gray.</span> [<i>Deliberately matter-of-fact</i>] Listen to me! I am going home now. -There are orders to be given. I must get some money and papers. But<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> I -shall be back here in an hour. I give you just that hour to tell him -what you choose. After that you’ll be ready to come.</p> - -<p><span class="smcap">Margaret.</span> If—if I’ve managed—</p> - -<p><span class="smcap">Gray.</span> There’s no if. You’re coming.</p> - -<p><span class="smcap">Margaret.</span> Am I coming, Gray?</p> - -<p><span class="smcap">Hilary.</span> [<i>Entering from the hall]</i> Meg, Sydney said you’d gone to your -room. Hullo! What’s this? Who’s this? Doctor, eh? I’ve been expecting -them down on me. [<i>To</i> <span class="smcap">Gray</span>] It’s no good, you know. I’m as fit as you -are. Any test you like.</p> - -<p><span class="smcap">Margaret.</span> Mr. Meredith called to see me, Hilary! He’s just going.</p> - -<p><span class="smcap">Hilary.</span> Oh, sorry! [<i>He walks to the fire and stands warming his hands, -but watching them over his shoulder.</i>]</p> - -<p><span class="smcap">Gray.</span> [<i>At the door, in a low voice to</i> <span class="smcap">Margaret</span>] I don’t like leaving -you.</p> - -<p><span class="smcap">Margaret.</span> You must! It’s better! But—come back quickly!</p> - -<p><span class="smcap">Gray.</span> You’ll be ready?</p> - -<p><span class="smcap">Margaret.</span> I will. [<span class="smcap">Gray</span> <i>goes out</i>.]</p> - -<p><span class="smcap">Hilary.</span> [<i>Uneasily</i>] Who’s that man?</p> - -<p><span class="smcap">Margaret.</span> His name’s Gray Meredith.</p> - -<p><span class="smcap">Hilary.</span> What’s he doing here?</p> - -<p><span class="smcap">Margaret.</span> He’s an old friend.</p> - -<p><span class="smcap">Hilary.</span> I don’t know him, do I?</p> - -<p><span class="smcap">Margaret.</span> It’s since you were ill. It’s the last five years.<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p> - -<p><span class="smcap">Hilary.</span> He’s in love with you! I tell you, the man’s in love with you! -Do you think I’m so dazed and crazed I can’t see that? You shouldn’t let -him, Meg! You’re such a child you don’t know what you’re doing when you -look and smile—</p> - -<p><span class="smcap">Margaret.</span> [<i>In a strained voice</i>] I do know. [<i>She stands quite still in -the middle of the room, her head lifted, a beautiful woman.</i>]</p> - -<p><span class="smcap">Hilary.</span> [<i>Staring at her</i>] Lord, I don’t wonder at him, poor brute! -[<i>Still staring</i>] Meg, you’ve changed.</p> - -<p><span class="smcap">Margaret.</span> [<i>Catching at the opening</i>] Yes, Hilary.</p> - -<p><span class="smcap">Hilary.</span> Taller, more beautiful—and yet I miss something.</p> - -<p><span class="smcap">Margaret.</span> [<i>Urging him on</i>] Yes, Hilary.</p> - -<p><span class="smcap">Hilary.</span> [<i>Wistfully</i>]—something you used to have—kind—a kind way with -you. The child’s got it. Sydney—my daughter, Sydney! She’s more you -than you are. You—you’ve grown right up—away—beyond me—haven’t you?</p> - -<p><span class="smcap">Margaret.</span> Yes, Hilary.</p> - -<p><span class="smcap">Hilary.</span> But I’m going to catch up. You’ll help me to catch up with -you—Meg? [<i>She doesn’t answer.</i>] Meg! wait for me! Meg, where are you? -Why don’t you hold out your hands?</p> - -<p><span class="smcap">Margaret.</span> [<i>Wrung for him</i>] I can’t, Hilary! My hands are full.</p> - -<p><span class="smcap">Hilary.</span> [<i>His tone lightening into relief</i>] What,<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> Sydney? She’ll be off -in no time. She’s told me about the boy—what’s his name—Kit—already.</p> - -<p><span class="smcap">Margaret.</span> It’s not Sydney.</p> - -<p><span class="smcap">Hilary.</span> What? [<i>Crescendo</i>] Eh? What are you driving at? What are you -trying to tell me? What’s changed you? Why do you look at me sideways? -Why do you flinch when I speak loudly? Yes—and when I kissed you—It’s -that man! [<i>He goes up to her and takes her by the wrist, staring into -her face.</i>] Is it true? You?</p> - -<p><span class="smcap">Margaret.</span> [<i>Pitifully</i>] I’ve done nothing wrong. I’m trying to tell you. -I only want to tell you and make you understand. Hilary, fifteen years -is a long time—</p> - -<p><span class="smcap">Hilary.</span> [<i>Dully</i>] Yes. I suppose it’s a long time for a woman to be -faithful.</p> - -<p><span class="smcap">Margaret.</span> That’s it! That’s the whole thing! If I’d loved you it -wouldn’t have been long—</p> - -<p><span class="smcap">Hilary.</span> [<i>Violently, crying her down</i>] You did love me once.</p> - -<p><span class="smcap">Margaret.</span> [<i>Beaten</i>] Did I—once? I don’t know—</p> - -<p class="c"><i>There is a silence.</i></p> - -<p><span class="smcap">Hilary.</span> [<i>Without expression</i>] What do you expect me to do? Forgive you?</p> - -<p><span class="smcap">Margaret.</span> [<i>Stung</i>] There’s nothing to forgive. [<i>Softening</i>] Oh, so -much, Hilary, to forgive each other; but not that.</p> - -<p><span class="smcap">Hilary.</span> [<i>More and more roughly as he loses<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> control of himself</i>] -Divorce you then? Because I’ll not do that! I’ll have no dirty linen -washed in the courts.</p> - -<p><span class="smcap">Margaret.</span> [<i>Forced into the open</i>] Hilary, I divorced you twelve months -ago.</p> - -<p><span class="smcap">Hilary.</span> [<i>Shouting</i>] What? What? What?</p> - -<p><span class="smcap">Margaret.</span> I divorced you—</p> - -<p><span class="smcap">Hilary.</span> [<i>Beside himself</i>] You’re mad! You couldn’t do it! You’d no -cause! D’you think I’m to be put off with your lies? Am I a child? You’d -no cause! Oh, I see what you’re at. You want to confuse me. You want to -pull wool over my eyes. You want to drive me off my head—drive me mad -again. You devil! You devil! You shan’t do it. I’ve got friends—Sydney! -where’s that girl [<i>Shouting</i>] Sydney! Hester! All of you! Come here! -Come here, I say! [<span class="smcap">Sydney</span> <i>opens the drawing room door</i>.]</p> - -<p><span class="smcap">Sydney.</span> Mother, what is it? [<i>She enters, followed by</i> <span class="smcap">Miss Fairfield</span>. -<i>To</i> <span class="smcap">Hilary</span>—] What are you doing? You’re frightening her.</p> - -<p><span class="smcap">Hilary.</span> [<i>Wildly</i>] No, no! You’re not on her side. You’re little -Sydney—kind—my Sydney! What did you say—go slow, eh! Keep your hand -here—cool, cool. [<i>Then as</i> <span class="smcap">Sydney</span>, <i>breaking from him, makes a -movement to her mother</i>] Stand away from that woman!</p> - -<p><span class="smcap">Margaret.</span> Sydney, humour him.</p> - -<p><span class="smcap">Hilary.</span> [<i>At white heat</i>] What was I calling you for, eh? Oh, yes, a -riddle. I’ve got a riddle for<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> you. There was a man at that place—used -to ask riddles—the moon told ’em to him. Just such a white face -whispering out of the blue—lies! He couldn’t find the answers—sent him -off his head. But I know the answer. When’s a wife not a wife, eh? Want -to know the answer? [<i>Pointing to</i> <span class="smcap">Margaret</span>] When she’s -<i>this—this—this</i>! [<i>Confidentially</i>] She’s poisoning me.</p> - -<p><span class="smcap">Miss Fairfield.</span> Now, Hilary! Hilary!—</p> - -<p><span class="smcap">Hilary.</span> Sydney, come here! I’ll tell <i>you</i>. [<span class="smcap">Sydney</span> <i>stands torn between -the two</i>.]</p> - -<p><span class="smcap">Miss Fairfield.</span> What have you done to him, Margaret?</p> - -<p><span class="smcap">Margaret.</span> I’ve told him the truth.</p> - -<p><span class="smcap">Miss Fairfield.</span> God forgive you!</p> - -<p><span class="smcap">Hilary.</span> [<i>Raving</i>] I tell you she’s pouring poison into my ear. You -remember that fellow in the play—and <i>his</i> wife? That’s what she’s -done. If I told you what she said to me, you’d think I was mad. And -that’s what she wants you to think. She wants to get rid of me. She’s -got a tame cat about the place. I’m in the way. And so she comes to me, -d’you see, and tells me—what do you think? She says she’s not my wife. -What do you think of that?</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Grimly</i>] You may well ask.</p> - -<p><span class="smcap">Margaret.</span> [<i>To</i> <span class="smcap">Sydney</span>] He won’t listen—</p> - -<p><span class="smcap">Sydney.</span> Sit down, darling! You’re shaking.</p> - -<p><span class="smcap">Margaret.</span> He’s always had these rages. I<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span>t’s my fault. I began at the -wrong end. Hilary—it’s not—I’m not what you think.</p> - -<p><span class="smcap">Hilary.</span> Then what was that man doing in my house?</p> - -<p><span class="smcap">Margaret.</span> In a week I’m going to marry him.</p> - -<p><span class="smcap">Hilary.</span> D’you hear her? To <i>me</i> she says this! Is she mad or am I?</p> - -<p><span class="smcap">Margaret.</span> [<i>Desperately</i>] I tell you there’s been a law passed—</p> - -<p><span class="smcap">Miss Fairfield.</span> No need for him to know that now, Margaret!</p> - -<p><span class="smcap">Sydney.</span> Of course he has to know.</p> - -<p><span class="smcap">Miss Fairfield.</span> Not now.</p> - -<p><span class="smcap">Margaret.</span> [<i>On the defensive</i>] I don’t know what you mean, Aunt Hester!</p> - -<p><span class="smcap">Miss Fairfield.</span> Let us rather thank God that he has come back in time.</p> - -<p><span class="smcap">Margaret.</span> [<i>Uneasy</i>] In time? In time?</p> - -<p><span class="smcap">Miss Fairfield.</span> To snatch a brand from the burning.</p> - -<p><span class="smcap">Margaret.</span> I’m a free woman. I’ve got my divorce.</p> - -<p><span class="smcap">Miss Fairfield.</span> Whom God hath joined let no man put asunder.</p> - -<p><span class="smcap">Margaret.</span> [<i>At bay</i>] I’m a free woman. I’m going to marry Gray Meredith. -This is a trap! Sydney!</p> - -<p><span class="smcap">Miss Fairfield.</span> Is this talk for a young girl to hear?</p> - -<p><span class="smcap">Margaret.</span> Sydney, you’re to fetch Gray.<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p> - -<p><span class="smcap">Hilary.</span> [<i>With weak violence</i>] If he comes here I’ll kill him.</p> - -<p><span class="smcap">Margaret.</span> [<i>Catching</i> <span class="smcap">Sydney</span> <i>back</i>] No, no! D’you hear him? What am I -to do?</p> - -<p><span class="smcap">Sydney.</span> It’s all right, Mother! We’ll manage somehow.</p> - -<p><span class="smcap">Bassett.</span> [<i>Entering</i>] Dr. Alliot is in the hall, ma’am.</p> - -<p><span class="smcap">Margaret.</span> [<i>With a gasp of relief</i>] Ask him to come in here. At once.</p> - -<div class="blockquot"><p class="hang"><i>Dr. Alliot trots in. He is a pleasant, roundabout, clean little -old man, with a twinkling face and brisk chubby movements of the -hands. He is upright and his voice is strong. He wears his seventy -odd years like a good joke that he expects you to keep up, in spite -of the fact that he is really your own age and understands you -better than you do yourself. But behind his comfortable manner is a -hint of authority which has its effect, especially on</i> <span class="smcap">Hilary</span>.</p></div> - -<p><span class="smcap">Dr. Alliot.</span> What’s all this I hear? Well, well! Good afternoon, Mrs. -Fairfield! Good afternoon, Miss Fairfield! Merry Christmas, Sydney! Now -then, now for him! Welcome back, Fairfield! Welcome back, my boy!</p> - -<p><span class="smcap">Hilary.</span> It’s—it’s old Alliot, isn’t it?</p> - -<p><span class="smcap">Dr. Alliot.</span> Your memory’s all right I see.</p> - -<p><span class="smcap">Hilary.</span> I suppose they’ve sent for you<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span>—</p> - -<p><span class="smcap">Dr. Alliot.</span> Well, well, you see, you’ve arrived rather unconventionally. -I’ve been in touch with—</p> - -<p><span class="smcap">Hilary.</span> That place?</p> - -<p><span class="smcap">Dr. Alliot.</span> Why, yes! You may have to go back, you know. Formalities! -Formalities!</p> - -<p><span class="smcap">Hilary.</span> I don’t mind. I’m well. I’m well, Alliot! I’m not afraid of what -you’ll say. I’m not afraid of any of you.</p> - -<p><span class="smcap">Dr. Alliot.</span> Well, well, well! that sounds hopeful.</p> - -<p><span class="smcap">Hilary.</span> But I can’t go yet, Doctor.</p> - -<p><span class="smcap">Dr. Alliot.</span> Only for a day or two.</p> - -<p><span class="smcap">Hilary.</span> It’s my wife. I lost my temper. I do lose my temper. It means -nothing. Go slow, eh? My wife’s ill, Doctor. She’s not right in her -head.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Alert</i>] Ah!</p> - -<p><span class="smcap">Hilary.</span> [<i>With a wave of his hand</i>] So are the rest of them. Mad as -hatters.</p> - -<p><span class="smcap">Dr. Alliot.</span> Hm!</p> - -<p><span class="smcap">Hilary.</span> [<i>Checked, glances at him keenly a moment. Then chuckling</i>] Oh, -you’re thinking that’s a delusion.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Humouring him</i>] Between you and me, it’s a common one.</p> - -<p><span class="smcap">Hilary.</span> [<i>Half flattered</i>] Ah, we know, don’t we? Served in the same -shop, eh? Only the counter between us.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Feeling his way</i>] Well, well—</p> - -<p><span class="smcap">Hilary.</span> But look here! She says she’s not my wife.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Enlightened</i>] Oh! Oh, that’s the trouble!</p> - -<p><span class="smcap">Hilary.</span> She says she’s not my wife.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Soberly</i>] It’s a hard case, Fairfield.</p> - -<p><span class="smcap">Hilary.</span> What d’you mean by that?</p> - -<p><span class="smcap">Dr. Alliot.</span> It’s the old wisdom of the scape-goat—it is expedient—how -does it go? expedient—?</p> - -<p><span class="smcap">Sydney.</span> “It is expedient that one man should die for the people.”</p> - -<p><span class="smcap">Dr. Alliot.</span> That’s it! A hard word, but a true one.</p> - -<p><span class="smcap">Hilary.</span> What has that got to do with me?</p> - -<p><span class="smcap">Dr. Alliot.</span> Well, the situation is this—</p> - -<p><span class="smcap">Hilary.</span> There is no situation. I married Meg. I fell ill. Now I’m well -again. I want my wife.</p> - -<p><span class="smcap">Dr. Alliot.</span> Why, yes—yes—</p> - -<p><span class="smcap">Hilary.</span> [<i>Picking it up irritably</i>] “Yes—yes—” “Yes—yes—” I suppose -that’s what you call humouring a lunatic.</p> - -<p><span class="smcap">Dr. Alliot.</span> Why, I hope to be convinced, Fairfield, that that trouble’s -over, but—</p> - -<p><span class="smcap">Hilary.</span> But you’re going to lock me up again because I want my wife.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Patiently</i>] Will you let me put the case to you?</p> - -<p><span class="smcap">Hilary.</span> You can put fifty cases. It makes no difference.</p> - -<p><span class="smcap">Sydney.</span> [<i>At his elbow, softly</i>] Father, I’d listen.</p> - -<p><span class="smcap">Hilary.</span> [<i>Slipping his arm through hers</i>] Eh? Sydney? that you? You’re -not against me, Sydney?<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p> - -<p><span class="smcap">Sydney.</span> Nobody’s against you. We only want you to listen.</p> - -<p><span class="smcap">Hilary.</span> Well, out with it!</p> - -<p><span class="smcap">Dr. Alliot.</span> D’you remember—can you throw your mind back to the -beginning of the agitation against the marriage laws? No, you were a -schoolboy—</p> - -<p><span class="smcap">Hilary.</span> Deceased wife’s sister, eh? That’s the law that lets a man marry -his sister-in-law and won’t let a woman marry her brother-in-law. Pretty -good, that, for your side of the counter.</p> - -<p><span class="smcap">Dr. Alliot.</span> Well, well, that hardly matters now.</p> - -<p><span class="smcap">Hilary.</span> It shows what your rotten, muddle-headed laws are worth, anyhow.</p> - -<p><span class="smcap">Sydney.</span> Father.</p> - -<p><span class="smcap">Hilary.</span> All right! Go ahead! Go ahead!</p> - -<p><span class="smcap">Dr. Alliot.</span> Well, as the result of that agitation—and remember, Hilary, -what thousand, thousand tragedies must have had voice in such an -outcry—a commission was appointed to enquire into the working of the -divorce laws. It made its report, recommended certain drastic reforms, -and there, I suppose, as is the way with commissions, would have been -the end of the subject, if it hadn’t been for the war—and the war -marriages.</p> - -<p><span class="smcap">Hilary.</span> [<i>Lowering</i>] So that’s where I come in! Margaret, is that where -I come in?</p> - -<p><span class="smcap">Dr. Alliot.</span> Never, I suppose, in one decade were there so many young -marriages. Happy? that’s another thing! Marry in haste<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span>—</p> - -<p><span class="smcap">Margaret.</span> They weren’t all happy.</p> - -<p><span class="smcap">Dr. Alliot.</span> But they were <i>young</i>, those boys and girls who married. As -young as Kit, and as impatient as Sydney. And that saved them. That -young, young generation found out, out of their own unhappiness, the war -taught them, what peace couldn’t teach us—that when conditions are evil -it is not your duty to submit—that when conditions are evil, your duty, -in spite of protests, in spite of sentiment, your duty, though you -trample on the bodies of your nearest and dearest to do it, though you -bleed your own heart white, your duty is to see that those conditions -are changed. If your laws forbid you, you must change your laws. If your -church forbids you, you must change your church; and if your God forbids -you, why then, you must change your God.</p> - -<p><span class="smcap">Miss Fairfield.</span> And we who will not change?</p> - -<p><span class="smcap">Margaret.</span> Or cannot change—?</p> - -<p><span class="smcap">Dr. Alliot.</span> Stifle. Like a snake that can’t cast its skin. Grow or -perish—it’s the law of life. And so, when this young generation—yours, -not mine, Hilary—decided that the marriage laws were, I won’t say evil, -but outgrown, they set to work to change them.</p> - -<p><span class="smcap">Miss Fairfield.</span> You needn’t think it was without protest, Hilary. I -joined the anti-divorce league myself.</p> - -<p><span class="smcap">Dr. Alliot.</span> No, it wasn’t without protest. Mrs. Grundy and the churches -are protesting still. But<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> in spite of protest, no man or woman to-day -is bound to a drunkard, an habitual criminal, or—</p> - -<p><span class="smcap">Hilary.</span> Or—?</p> - -<p><span class="smcap">Dr. Alliot.</span> Or to a partner who, as far as we doctors know—</p> - -<p><span class="smcap">Hilary.</span> But you can’t be sure!</p> - -<p><span class="smcap">Dr. Alliot.</span> I say as far as we know, is incurably insane—in practice, -is insane for more than five years.</p> - -<p><span class="smcap">Hilary.</span> And if he recovers? Look at me!</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>With a sigh</i>] “It is expedient—”</p> - -<p><span class="smcap">Hilary.</span> And you call that justice!</p> - -<p><span class="smcap">Margaret.</span> At least call it mercy. All the days of your life to stand at -the window, Hilary, and watch the sun shining on the other side of the -road—it’s hard, it’s hard on a woman.</p> - -<p><span class="smcap">Dr. Alliot.</span> At least call it common sense. If a man can’t live his -normal life, it’s as if he were dead. If he’s an incurable drunkard, if -he’s shut away for life in prison—</p> - -<p><span class="smcap">Hilary.</span> But I’m not a drunkard. I’m not a convict. I’ve done nothing. -I’ve been to the war, to fight, for her, for all of you, for my country, -for this law-making machine that I’ve called my country. And when I’ve -got from it, not honourable scars, not medals and glory, but sixteen -years in hell, then when I get out again, then the country I’ve fought -for, the laws I’ve fought for, the woman I’ve fought for, they say to -me, “As you’ve done without her for fifteen years you can do without<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> -her altogether.” That’s what it is. When I was helpless they conspired -behind my back to take away all I had from me. [<i>To</i> <span class="smcap">Margaret</span>] Did I -ever hurt you? Didn’t I love you? Didn’t you love me? Could I help being -ill? What have I done?</p> - -<p><span class="smcap">Sydney.</span> You died, Father.</p> - -<p><span class="smcap">Margaret.</span> Sydney, don’t be cruel.</p> - -<p><span class="smcap">Miss Fairfield.</span> Ah, we cry after the dead, but I’ve always wondered what -their welcome back would be.</p> - -<p><span class="smcap">Hilary.</span> Well, you know now.</p> - -<p><span class="smcap">Dr. Alliot.</span> I don’t say it isn’t hard—</p> - -<p><span class="smcap">Hilary.</span> Ah, you don’t say it isn’t hard. That’s good of you. That’s -sympathy indeed. And my wife—she’s full of it too, isn’t she? “Poor -dear! I was married to him once. I’d quite forgotten.”</p> - -<p><span class="smcap">Margaret.</span> For pity’s sake, Hilary!</p> - -<p><span class="smcap">Dr. Alliot.</span> Why, face it, man! One of you must suffer. Which is it to -be? The useful or the useless? the whole or the maimed? the healthy -woman with her life before her, or the man whose children ought never to -have been born?</p> - -<p><span class="smcap">Hilary.</span> [<i>In terrible appeal</i>] Margaret!</p> - -<p><span class="smcap">Sydney.</span> Is that true, Dr. Alliot? Is that true?</p> - -<p><span class="smcap">Margaret.</span> [<i>Her voice shaking</i>] I think you go too far.</p> - -<p><span class="smcap">Dr. Alliot.</span> Mrs. Fairfield, in this matter I cannot go too far.</p> - -<p><span class="smcap">Miss Fairfield.</span> For me, at any rate—too far<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> and too fast altogether! -Before ladies! It’s not nice. It’s enough to call down a judgment.</p> - -<p><span class="smcap">Bassett.</span> [<i>Entering</i>] Mr. Pumphrey to see you, ma’am. [<i>To</i> <span class="smcap">Sydney</span>] And -Mr. Kit.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Justified</i>] Ah!</p> - -<p><span class="smcap">Margaret.</span> I can’t see anyone.</p> - -<p><span class="smcap">Bassett.</span> He said, ma’am, it was important.</p> - -<p><span class="smcap">Hilary.</span> Who? Who?</p> - -<p><span class="smcap">Miss Fairfield.</span> The Rector. I expect he’s heard about you.</p> - -<p><span class="smcap">Hilary.</span> I can’t see him. I won’t see him. Let me go. I’ve met the -Levites. Spare me the priest. [<i>He breaks away from them and goes -stumbling out at the other door.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Following him anxiously</i>] Father!</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Preventing her</i>] No, no, my child! I’ll look after him. -[<i>He goes out quickly.</i>]</p> - -<div class="blockquot"><p class="hang"><i>The</i> <span class="smcap">Rector</span> <i>is an insignificant man, with an important manner and -a plum in his mouth. He enters with</i> <span class="smcap">Kit</span>, <i>who is flushed and -perturbed</i>.</p></div> - -<p><span class="smcap">Rector.</span> Ah, good afternoon, Mrs. Fairfield—Miss Fairfield—</p> - -<p><span class="smcap">Margaret.</span> [<i>Mechanically. She is very tired and inattentive</i>] A happy -Christmas, Mr. Pumphrey!</p> - -<p><span class="smcap">Rector.</span> Ah! Just so! Christmas afternoon. An unusual day to call, Mrs. -Fairfield, and, I fear, an inconvenient hour<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span>—</p> - -<p><span class="smcap">Margaret.</span> Not at all, Mr. Pumphrey.</p> - -<p><span class="smcap">Rector.</span> I can give myself [<i>he takes out his watch</i>] till three fifteen, -no longer. The children’s service is at three thirty.</p> - -<p><span class="smcap">Margaret.</span> [<i>Turning to the bell</i>] Mayn’t I order you an early cup of -tea?</p> - -<p><span class="smcap">Rector.</span> Thank you, thank you, no. Busy as I am, I should not have -disturbed you—</p> - -<p><span class="smcap">Miss Fairfield.</span> Rector, it’s as if you had been sent!</p> - -<p><span class="smcap">Rector.</span> Ah! gratifying! I did not see you at the morning service, Miss -Fairfield. But last night—<i>late</i> last night—</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>With a look at</i> <span class="smcap">Sydney</span>] Three A.M., Rector?</p> - -<p><span class="smcap">Rector.</span> Three fifteen, Miss Fairfield.</p> - -<p><span class="smcap">Kit.</span> Look here, Father—</p> - -<p><span class="smcap">Rector.</span> I received certain information from my son—</p> - -<p><span class="smcap">Kit.</span> No, you don’t, Father. I’ll have my say first. It’s just this, Mrs. -Fairfield—</p> - -<p><span class="smcap">Rector.</span> [<i>Fussed</i>] Christopher? Christopher?</p> - -<p><span class="smcap">Kit.</span> [<i>He is very much in earnest and he addresses himself solely to</i> -<span class="smcap">Margaret</span>] I want you to know that it is nothing to do with me, Mrs. -Fairfield. I don’t agree with my father. [<i>Confidentially</i>] You wouldn’t -think it but I never do.</p> - -<p><span class="smcap">Rector.</span> Christopher?</p> - -<p><span class="smcap">Kit.</span> [<i>Ignoring him</i>] And it was only coming up<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> the drive that he -sprung on me why he wanted to see you, or I wouldn’t have come—</p> - -<p><span class="smcap">Margaret.</span> [<i>Liking him</i>] I think Sydney would have been sorry, Kit.</p> - -<p><span class="smcap">Kit.</span> [<i>With a touch of his father’s manner</i>] Yes, well, Sydney and I -have talked it over—and I know I’m going into the church myself—but I -think he’s all wrong, Mrs. Fairfield. [<i>Unconscious of plagiarism</i>] I’m -not nineteenth century. [<i>But</i> <span class="smcap">Sydney</span> <i>giggles</i>.]</p> - -<p><span class="smcap">Miss Fairfield.</span> Rector, what’s the matter with the young man?</p> - -<p><span class="smcap">Kit.</span> [<i>Forging ahead</i>] You see, I’m pretty keen about Sydney, and so, -naturally, I’m pretty keen about you, Mrs. Fairfield.</p> - -<p><span class="smcap">Rector.</span> Miss Fairfield, I’m without words.</p> - -<p><span class="smcap">Kit.</span> [<i>Burdened</i>]—and I just wanted to tell you that I can’t tell you -what I think of my father over this business. It makes me wild.</p> - -<p><span class="smcap">Sydney.</span> Kit, you’d better shut up.</p> - -<p><span class="smcap">Kit.</span> [<i>Turning to</i> <span class="smcap">Sydney</span>] Well, I only wanted her to understand that -I’m not responsible for my father—that he’s not my own choice, if you -know what I mean. [<i>They talk aside.</i>]</p> - -<p><span class="smcap">Rector.</span> His mother’s right hand! I don’t know what’s come over him.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Grimly</i>] A pretty face, Rector!</p> - -<p><span class="smcap">Rector.</span> Ah! the very point! I shall be glad to see you alone, Mrs. -Fairfield—not you, of course,<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> Miss Fairfield, but—er— [<i>He glances -at</i> <span class="smcap">Kit</span> <i>and</i> <span class="smcap">Sydney</span>.]</p> - -<p><span class="smcap">Margaret.</span> [<i>Resignedly</i>] Sydney, have you shown Kit all your presents?</p> - -<p><span class="smcap">Sydney.</span> [<i>Reluctantly taking the hint, but continuing the conversation -as they go out</i>] What did you let him come for? Oh, you’re no good! -[<i>The door bangs behind them.</i>]</p> - -<p><span class="smcap">Margaret.</span> [<i>Half smiling</i>] Well, Mr. Pumphrey, I suppose it’s about -Sydney and Kit?</p> - -<p><span class="smcap">Rector.</span> Mrs. Fairfield, until last night we encouraged, we were -gratified—</p> - -<p><span class="smcap">Margaret.</span> Last night? Oh, the dance!</p> - -<p><span class="smcap">Rector.</span> I sat up for my son until three fifteen of Christmas morning. -His excuse was your daughter—</p> - -<p><span class="smcap">Margaret.</span> [<i>With dignity</i>] Do you take objection to Sydney, Mr. -Pumphrey?</p> - -<p><span class="smcap">Rector.</span> Now, my dear lady, you mustn’t misunderstand me—</p> - -<p><span class="smcap">Margaret.</span> [<i>Quietly</i>] To me, then?</p> - -<p><span class="smcap">Rector.</span> Mrs. Fairfield, I beg—But in the course of a -slight—er—altercation between Christopher and myself it transpired—</p> - -<p><span class="smcap">Margaret.</span> [<i>She has been prepared for it</i>] I see, it’s her father—</p> - -<p><span class="smcap">Rector.</span> I am grieved—grieved for you.</p> - -<p><span class="smcap">Margaret.</span> But his illness was no secret.</p> - -<p><span class="smcap">Rector.</span> My heart, Mrs. Fairfield, and Mrs. Pumphrey’s heart has gone out -to you in your affliction. When the light of reason<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span>—</p> - -<p><span class="smcap">Margaret.</span> Then you did know. <i>Then</i> I don’t follow.</p> - -<p><span class="smcap">Rector.</span> But according to Christopher—</p> - -<p><span class="smcap">Margaret.</span> Well?</p> - -<p><span class="smcap">Rector.</span> Mrs. Fairfield, is your husband alive or dead?</p> - -<p><span class="smcap">Margaret.</span> My former husband is alive.</p> - -<p><span class="smcap">Rector.</span> [<i>With a half deprecatory, half triumphant gesture</i>] Out of your -own mouth, Mrs. Fairfield—</p> - -<p><span class="smcap">Margaret.</span> [<i>Bewildered</i>] But you say you knew he was insane?</p> - -<p><span class="smcap">Rector.</span> But I didn’t know he was alive.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Irritated</i>] Don’t be so foolish, Margaret. It’s not -the insanity, it’s the divorce.</p> - -<p><span class="smcap">Rector.</span> When I realised that I had been within a week of re-marrying a -divorced person—</p> - -<p><span class="smcap">Margaret.</span> [<i>Coldly</i>] Why didn’t you go to Mr. Meredith?</p> - -<p><span class="smcap">Rector.</span> Mr. Meredith is—er—a difficult man to—er—approach. I felt -that an appeal to your feelings, as a Christian, as a mother—</p> - -<p><span class="smcap">Margaret.</span> You mean you’ll prevent Kit marrying Sydney—?</p> - -<p><span class="smcap">Rector.</span> It depends on you, Mrs. Fairfield. I won’t let him marry the -child of a woman who remarries while her husband is alive.</p> - -<p><span class="smcap">Margaret.</span> But the church allows it?</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Correcting her</i>] Winks at it, Margaret.<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p> - -<p><span class="smcap">Rector.</span> [<i>With dignity</i>] “Winks” is hardly the word—</p> - -<p><span class="smcap">Margaret.</span> Then what word would you use, Mr. Pumphrey?</p> - -<p><span class="smcap">Rector.</span> I am not concerned with words.</p> - -<p><span class="smcap">Margaret.</span> But I want to know. I care about my church. It lets me and it -doesn’t let me—what does it mean?</p> - -<p><span class="smcap">Rector.</span> [<i>Much moved</i>] I am not concerned with meanings, Mrs. Fairfield. -I am concerned with my own conscience.</p> - -<p><span class="smcap">Miss Fairfield.</span> Margaret—you’ve no business to upset the Rector. Why -don’t you tell him that the situation has changed?</p> - -<p><span class="smcap">Margaret.</span> Nothing has changed.</p> - -<p><span class="smcap">Rector.</span> Changed?</p> - -<p><span class="smcap">Miss Fairfield.</span> My nephew has recovered—returned. He’s in the house -now.</p> - -<p><span class="smcap">Rector.</span> Providence! It’s providence! [<i>With enthusiasm</i>] I never knew -anything like providence. Changed indeed, Miss Fairfield! My objection -goes. Dear little Sydney! Ah, Mrs. Fairfield, in a year you and your -husband will look back on this—episode as on a dream—a bad dream—</p> - -<p><span class="smcap">Margaret.</span> [<i>Stonily</i>] I have no husband.</p> - -<p><span class="smcap">Rector.</span> Ah! the re-marriage—a mere formality—</p> - -<p><span class="smcap">Miss Fairfield.</span> Simpler still—the decree can be rescinded.<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p> - -<p><span class="smcap">Margaret.</span> [<i>Stunned</i>] Aunt Hester, knowing his history, knowing mine, is -it possible that you expect me to go back to him?</p> - -<p><span class="smcap">Miss Fairfield.</span> He’s come back to you.</p> - -<p><span class="smcap">Rector.</span> A wife’s duty—</p> - -<p><span class="smcap">Margaret.</span> [<i>Slowly</i>] I think you’re wicked. I think you’re both wicked.</p> - -<p><span class="smcap">Rector.</span> Mrs. Fairfield!</p> - -<p><span class="smcap">Miss Fairfield.</span> Control yourself, Margaret!</p> - -<p><span class="smcap">Margaret.</span> [<i>With a touch of wildness in her manner</i>] You—do you love -your wife?</p> - -<p><span class="smcap">Rector.</span> Mrs. Fairfield!</p> - -<p><span class="smcap">Margaret.</span> Do you?</p> - -<p><span class="smcap">Rector.</span> Mrs. Pumphrey and I—most attached—</p> - -<p><span class="smcap">Margaret.</span> Suppose you weren’t. Think of it—to want so desperately to -feel—and to feel nothing. Do you know what it means to dread a person -who loves you? To stiffen at the look in their eyes? To pity -and—shudder? You should not judge.</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Hilary</span>, <i>unseen, opens the door and shuts it again quickly</i>.</p></div> - -<p><span class="smcap">Rector.</span> I—I—</p> - -<p><span class="smcap">Miss Fairfield.</span> There it is, you see, Rector! She doesn’t care <i>what</i> -she says.</p> - -<p><span class="smcap">Dr. Alliot</span> <i>enters</i>.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Gravely, holding the door behind him</i>] Margaret, my -child— [<i>He sees the others and his voice changes</i>] Hullo, Pumphrey! You -here still? Well, well—you’re cutting it fine.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p> - -<p><span class="smcap">Rector.</span> The service! [<i>He pulls out his watch, stricken.</i>]</p> - -<p><span class="smcap">Dr. Alliot.</span> I’ll run you down there if you’ll wait a minute. [<i>To</i> -<span class="smcap">Margaret</span>, <i>privately, poking a wise forefinger</i>] What you want, my -child, is a good cry and a cup of tea.</p> - -<p><span class="smcap">Rector.</span> [<i>Coming up to</i> <span class="smcap">Margaret</span>, <i>stiffly</i>] Goodday, Mrs. Fairfield! -You will not—reconsider—?</p> - -<p><span class="smcap">Margaret.</span> I will not.</p> - -<p><span class="smcap">Rector.</span> I regret—I regret— [<i>To</i> <span class="smcap">Miss Fairfield</span>] My dear lady, you have -my sympathy. I think I left my hat— [<span class="smcap">Miss Fairfield</span> <i>escorts him into -the hall</i>.]</p> - -<p><span class="smcap">Dr. Alliot.</span> Hilary’s coming home with me, Margaret. He wants a word with -you first. Can you manage that?</p> - -<p><span class="smcap">Margaret.</span> Of course.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>Abruptly</i>] Where’s Meredith?</p> - -<p><span class="smcap">Margaret.</span> [<i>Eagerly</i>] He’s coming. He’s taking me away.</p> - -<p><span class="smcap">Dr. Alliot.</span> Good. The sooner the better.</p> - -<p><span class="smcap">Rector.</span> [<i>Reappearing at the door</i>] Dr. Alliot—it now wants seven -minutes to the half.</p> - -<p><span class="smcap">Dr. Alliot.</span> Coming! Coming! See now—you can be gentle with him—</p> - -<p><span class="smcap">Margaret.</span> Of course.</p> - -<p><span class="smcap">Dr. Alliot.</span> [<i>With a keen look at her</i>] Nor yet too gentle. Well, well, -God be with you, child! [<i>He trots out.</i>]<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p> - -<div class="blockquot"><p class="hang"><span class="smcap">Hilary</span> <i>comes in, hesitating. If he is without dignity, he is, -nevertheless, too much like a hectored, forlorn child to be -ludicrous.</i></p></div> - -<p><span class="smcap">Hilary.</span> Have they gone? [<i>Reassuring her</i>] It’s all right. I’m going -too. [<i>He waits for her to answer. She says nothing</i>] I’m going. I’ve -got to. I see that. He’s made me see.</p> - -<p><span class="smcap">Margaret.</span> Dr. Alliot?</p> - -<p><span class="smcap">Hilary.</span> I’m going to stay with him till I can look round. He’s going to -make it right with that place.</p> - -<p><span class="smcap">Margaret.</span> I’m glad you’ve got a good friend, Hilary.</p> - -<p><span class="smcap">Hilary.</span> Yes, he’s a good chap. He’s talked to me. He’s made me see. [<i>He -comes a little closer.</i>] He says—and I do see—It’s too late, of -course— [<i>his look at her is a petition, but she makes no sign</i>] isn’t -it? [<i>He comes nearer.</i>] Yes—it’s too late. It wouldn’t be fair—to ask -you— [<i>again the look</i>] would it?</p> - -<p><span class="smcap">Margaret.</span> [<i>Imploringly</i>] Oh, Hilary, Hilary!</p> - -<p><span class="smcap">Hilary.</span> [<i>Encouraged to come closer</i>] No woman could be expected—you -couldn’t be expected— [<i>she makes no sign</i>] could you? [<i>Repeating his -lesson</i>] It’s what he says—you’ve made a new life for yourself— [<i>he -waits</i>] haven’t you? There’s no room in it—for me—is there? [<i>He is -close to her. She does not move.</i>] So it’s just a case of—saying -good-bye and going, because—because—I quite see—there’s <span class="pagenum"><a name="page_67" id="page_67">{67}</a></span>no -chance— [<i>Suddenly he throws himself down beside her, catching at her -hands, clinging to her knees</i>] Oh! Meg, Meg, Meg! isn’t there just a -chance?</p> - -<p><span class="smcap">Margaret.</span> [<i>Faintly</i>] Hilary, I can’t stand it.</p> - -<p><span class="smcap">Hilary.</span> [<i>And from now to the end of the scene he is at full pelt, -tumbling over his words, frantic</i>] Yes, but listen to me! Listen to me! -You don’t listen. Listen to me! I’ve been alone so long—</p> - -<p><span class="smcap">Margaret.</span> Gray! Gray! Why don’t you come?</p> - -<p><span class="smcap">Hilary.</span> I’ll not trouble you. I’ll not get in your way—but—don’t leave -me all alone. Give me something—the rustle of your dress, the cushion -where you’ve lain—your voice about the house. You can’t deny me such -little things, that you give your servant and your dog.</p> - -<p><span class="smcap">Margaret.</span> It’s madness—</p> - -<p><span class="smcap">Hilary.</span> It’s naked need!</p> - -<p><span class="smcap">Margaret.</span> What good should I be to you? I don’t love you, Hilary—poor -Hilary. I love him. I never think of anything but him.</p> - -<p><span class="smcap">Hilary.</span> But it’s me you married. You promised—you promised—better or -worse—in sickness in health—You can’t go back on your promise.</p> - -<p><span class="smcap">Margaret.</span> It isn’t fair.</p> - -<p><span class="smcap">Hilary.</span> Anything’s fair! You don’t know what misery means.</p> - -<p><span class="smcap">Margaret.</span> I’m learning.</p> - -<p><span class="smcap">Hilary.</span> But you don’t <i>know</i>. You couldn’t leave me to it if you knew. -Why, I’ve never known you hurt a creature in all your life! Remember<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> -the rat-hunts in the barn, the way we used to chaff you? and the -starling? and the kitten you found? Why, I’ve seen you step aside for a -little creeping green thing on the path. You’ve never hurt anything. -Then how can you hurt me so? You can’t have changed since yesterday—</p> - -<p><span class="smcap">Margaret.</span> [<i>In despairing protest</i>] It’s half my life ago—</p> - -<p><span class="smcap">Hilary.</span> It’s yesterday, it’s yesterday!</p> - -<p><span class="smcap">Margaret.</span> [<i>With the fleeting courage of a half caught bird</i>] Yes, it -<i>is</i> yesterday. It’s how you took me—yesterday—and now you’re doing it -again!</p> - -<p><span class="smcap">Hilary.</span> [<i>Catching at the hope of it</i>] Am I? Am I? Is it yesterday? -yesterday come back again?</p> - -<p><span class="smcap">Margaret.</span> [<i>In the toils</i>] No—no! Hilary, I can’t!</p> - -<p><span class="smcap">Hilary.</span> [<i>At white heat</i>] No, you can’t. You can’t leave me. You can’t -do it to me. You can’t drive me out—the -wilderness—alone—alone—alone. You can’t do it, Meg—you can’t do -it—you can’t!</p> - -<p><span class="smcap">Margaret.</span> [<i>Beaten</i>] I suppose—I can’t.</p> - -<p><span class="smcap">Hilary.</span> You—you’ll stay with me? [<i>Breaking down utterly</i>] Oh, God -bless you, Meg, God bless you, God bless you—</p> - -<div class="blockquot"><p class="hang"><i>She resigns her hands to him while she sits, flattened against the -back of her chair, quivering a little, like a crucified moth.</i></p></div> - -<p><span class="smcap">Margaret.</span> [<i>Puzzling it out</i>] You mean—God help me?</p> - -<p class="fint">CURTAIN.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p> - -<h2><a name="ACT_III" id="ACT_III"></a>ACT III.</h2> - -<div class="blockquot"><p class="hang"><i>The scene is the same as in</i> <span class="smcap">Act 1</span>. <span class="smcap">Miss Fairfield</span> <i>sits reading</i>. -<span class="smcap">Sydney</span> <i>is fidgeting about the room</i>. <span class="smcap">Bassett</span> <i>comes in and begins -to lay the cloth</i>. <span class="smcap">Kit</span>, <i>who enters unseen behind her, sees</i> <span class="smcap">Miss -Fairfield</span> <i>and makes hastily up the stair on tip-toe</i>.</p></div> - -<p><span class="smcap">Sydney.</span> [<i>Turning</i>] Oh, Bassett, isn’t it rather early for tea? Lunch -was so late.</p> - -<p><span class="smcap">Bassett.</span> [<i>Desisting</i>] Oh, very well, miss.</p> - -<p><span class="smcap">Miss Fairfield.</span> Now, Sydney! Always trying to upset things! I’m more -than ready for my tea. Bring it in at once, Bassett.</p> - -<p><span class="smcap">Bassett.</span> Very well, ma’am!</p> - -<p><span class="smcap">Sydney.</span> Auntie, I know Mother won’t want to be disturbed.</p> - -<p><span class="smcap">Miss Fairfield.</span> It’s high time she was. Talk! Talk! No consideration. -She’ll tire Hilary out. [<i>She goes towards the drawing-room.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Worried</i>] Auntie, I think—</p> - -<p><span class="smcap">Miss Fairfield.</span> Then you shouldn’t! [<i>She goes out.</i>]</p> - -<p><span class="smcap">Bassett.</span> Shall I bring in tea, Miss Sydney?<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p> - -<p><span class="smcap">Sydney.</span> [<i>With a twinkle</i>] I think we’ll wait half an hour.</p> - -<p><span class="smcap">Bassett.</span> [<i>With an answering twinkle</i>] Very well, miss.</p> - -<p><span class="smcap">Sydney.</span> Oh—Bassett—tell Mr. Kit that—er—that the coast’s clear.</p> - -<p><span class="smcap">Bassett.</span> He didn’t stay out with us, miss. Him and the puppy together -was a bit too much for cook, with the turkey on her hands. [<i>Looking -round</i>] He’s here somewhere, miss. [<i>She goes out.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Addressing space</i>] Kit, you idiot, come out!</p> - -<p><span class="smcap">Kit.</span> [<i>Appearing at the head of the stairs</i>] I spend half my life -dodging your aunt. [<i>As he runs downstairs he rakes a bunch of mistletoe -from the top of a picture.</i>] She spoilt the whole effect this morning, -but now— [<i>He advances on</i> <span class="smcap">Sydney</span>.]</p> - -<p><span class="smcap">Sydney.</span> [<i>Enjoying herself</i>] What do you want now?</p> - -<p><span class="smcap">Kit.</span> [<i>Chanting</i>] “The mistletoe hung in the old oak hall!”—</p> - -<p><span class="smcap">Sydney.</span> [<i>Eluding him</i>] Shut up, Kit! [<i>They dodge and scuffle like two -puppies till the drawing-room door opens, letting in the sound of -voices.</i>]</p> - -<p><span class="smcap">Kit.</span> Sst! [<i>He dashes up the stairs and comes down again much more -soberly as</i> <span class="smcap">Sydney</span> <i>says over her shoulder</i>—]</p> - -<p><span class="smcap">Sydney.</span> It’s only Mother.</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Margaret</span> <i>comes dragging into the room, shutting the door behind -her</i>.</p></div><p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p> - -<p><span class="smcap">Sydney.</span> [<i>The laughter dying out of her</i>] Oh, Mother, how white you -look!</p> - -<p><span class="smcap">Margaret.</span> Has Kit gone?</p> - -<p><span class="smcap">Sydney.</span> No, but I can get rid of him if you want me to.</p> - -<p><span class="smcap">Margaret.</span> I want him to wait. I want him to take a letter for me to -Gray.</p> - -<p><span class="smcap">Sydney.</span> Do you want Gray to come here?</p> - -<p><span class="smcap">Margaret.</span> I want him not to come here.</p> - -<p><span class="smcap">Sydney.</span> Oh, I see, not till after Father’s gone.</p> - -<p><span class="smcap">Margaret.</span> He’s not going.</p> - -<p><span class="smcap">Sydney.</span> Mother!</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Margaret</span> <i>looks at her with twitching lips</i>.</p></div> - -<p><span class="smcap">Sydney.</span> Mother, you haven’t—</p> - -<p><span class="smcap">Margaret.</span> I can’t talk to you now, Sydney.</p> - -<p><span class="smcap">Sydney.</span> But Mother—</p> - -<p><span class="smcap">Margaret.</span> Please.</p> - -<p><span class="smcap">Sydney.</span> But Mother—</p> - -<p><span class="smcap">Margaret.</span> Ask Kit to wait a few minutes.</p> - -<p><span class="smcap">Sydney.</span> But—</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Margaret</span> <i>goes into the inner room and sits down to write at a -little desk near the window. Her back is turned to them and she is -soon absorbed in her letter.</i> <span class="smcap">Sydney</span> <i>stands deep in thought</i>.</p></div> - -<p><span class="smcap">Kit.</span> [<i>At the foot of the stairs</i>] All serene?</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>makes no answer</i>. <span class="smcap">Kit</span> <i>prances up behind her with the bunch -of mistletoe</i>.</p></div><p><span class="pagenum"><a name="page_72" id="page_72">{72}</a></span></p> - -<p><span class="smcap">Kit.</span> [<i>Repeating his success</i>] “The mistletoe hung in the old oak hall!”</p> - -<p><span class="smcap">Sydney.</span> [<i>Violently</i>] Oh, for God’s sake, stop it!</p> - -<p><span class="smcap">Kit.</span> [<i>Quenched</i>] What’s the row?</p> - -<p><span class="smcap">Sydney.</span> You never know when to stop.</p> - -<p><span class="smcap">Kit.</span> Well, you needn’t snap out at a person—</p> - -<p><span class="smcap">Sydney.</span> [<i>Impulsively</i>] Sorry! Oh, sorry, old man! I’m jumpy to-day.</p> - -<p><span class="smcap">Kit.</span> [<i>Chaffing her</i>] Nervy old thing!</p> - -<p><span class="smcap">Sydney.</span> [<i>Stricken</i>] I—I suppose I am.</p> - -<p><span class="smcap">Kit.</span> One minute you’re as nice as pie, and then you fizz up like a -seidlitz powder, all about nothing.</p> - -<p><span class="smcap">Sydney.</span> All about nothing. Sorry, my old Kit, sorry! [<i>She flings -herself down on the sofa. Then, with an effort</i>] Come and talk. What’s -the news?</p> - -<p><span class="smcap">Kit.</span> I told you it all this morning. What’s yours?</p> - -<p><span class="smcap">Sydney.</span> I like yours better. How’s the pamphlet going?</p> - -<p><span class="smcap">Kit.</span> Nearly done. I put in all your stuff.</p> - -<p><span class="smcap">Sydney.</span> [<i>Absently</i>] Good.</p> - -<p><span class="smcap">Kit.</span> Though you know, I don’t agree with it. What I feel is—you’re not -listening.</p> - -<p><span class="smcap">Sydney.</span> [<i>Slowly</i>] Kit, talking of that paper—I read somewhere—suppose -now—is it true it can skip a generation?</p> - -<p><span class="smcap">Kit.</span> It? What?</p> - -<p><span class="smcap">Sydney.</span> Oh—any illness. Consumption or—well, say insanity. -Suppose—<i>you</i>, for instance—suppose you were a queer family—a little, -you<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> know. Say your mother or your father was queer—and you weren’t. -You were perfectly fit, you understand, perfectly fit—</p> - -<p><span class="smcap">Kit.</span> Well?</p> - -<p><span class="smcap">Sydney.</span> What about the children?</p> - -<p><span class="smcap">Kit.</span> I wouldn’t risk it. Thank the Lord your father’s only shell-shock.</p> - -<p><span class="smcap">Sydney.</span> Why?</p> - -<p><span class="smcap">Kit.</span> You can’t pass on shell-shock.</p> - -<p><span class="smcap">Sydney.</span> Then you can pass on insanity—even if you’re fit yourself?</p> - -<p><span class="smcap">Kit.</span> Of course you can.</p> - -<p><span class="smcap">Sydney.</span> It would be very wicked, wouldn’t it—to children? Oh, it would -be wicked. I suppose when people are in love they don’t think.</p> - -<p><span class="smcap">Kit.</span> Won’t think.</p> - -<p><span class="smcap">Sydney.</span> But isn’t there a school that says there’s no such thing as -heredity?</p> - -<p><span class="smcap">Kit.</span> Well, all I know is I wouldn’t risk it.</p> - -<p><span class="smcap">Sydney.</span> It—it’s hard on people.</p> - -<p><span class="smcap">Kit.</span> My word, yes. They say that’s why old Alliot never married.</p> - -<p><span class="smcap">Sydney.</span> [<i>High and mightily</i>] Oh, village gossip.</p> - -<p><span class="smcap">Kit.</span> [<i>Apologetically</i>] Well, you know what the mater is.</p> - -<p><span class="smcap">Sydney.</span> [<i>Abandoning her dignity</i>] Who was it, Kit?</p> - -<p><span class="smcap">Kit.</span> Old Miss Robson.</p> - -<p><span class="smcap">Sydney.</span> Rot!</p> - -<p><span class="smcap">Kit.</span> Fact.<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p> - -<p><span class="smcap">Sydney.</span> But she’s all right.</p> - -<p><span class="smcap">Kit.</span> Had a game sister.</p> - -<p><span class="smcap">Sydney.</span> Of course! I just remember her. She used to scare me.</p> - -<p><span class="smcap">Kit.</span> Oh, it must be true. They’re such tremendous pals still.</p> - -<p><span class="smcap">Sydney.</span> Poor old things!</p> - -<p><span class="smcap">Kit.</span> Rotten for her.</p> - -<p><span class="smcap">Sydney.</span> Rottener for him! What did she go on being pals with him for?</p> - -<p><span class="smcap">Kit.</span> Why shouldn’t she?</p> - -<p><span class="smcap">Sydney.</span> Well it stopped him marrying anyone else. She oughtn’t to have -let him.</p> - -<p><span class="smcap">Kit.</span> You can’t stop a person being fond of you.</p> - -<p><span class="smcap">Sydney.</span> When it’s a man you can.</p> - -<p><span class="smcap">Kit.</span> My dear girl, you don’t know what you’re talking about.</p> - -<p><span class="smcap">Sydney.</span> My dear boy, if a girl finds out that it’s not right for her to -marry a man, it’s up to her to choke him off.</p> - -<p><span class="smcap">Kit.</span> Rot!</p> - -<p><span class="smcap">Sydney.</span> Well, I think so.</p> - -<p><span class="smcap">Kit.</span> Couldn’t be done.</p> - -<p><span class="smcap">Sydney.</span> Couldn’t it just?</p> - -<p><span class="smcap">Kit.</span> Any man would see through it.</p> - -<p><span class="smcap">Sydney.</span> As if any man ever saw through anything! As if I couldn’t choke -you off in five minutes if I wanted to!</p> - -<p><span class="smcap">Kit.</span> I’d like to see you try!</p> - -<p><span class="smcap">Sydney.</span> Would you?<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span></p> - -<p><span class="smcap">Kit.</span> My dear girl, we’re not all fools where women are concerned.</p> - -<p><span class="smcap">Sydney.</span> I admire your air of conviction.</p> - -<p><span class="smcap">Kit.</span> Don’t be clever-clever, old thing. Be— [<i>His arm slips round her.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Edging away</i>] Don’t.</p> - -<p><span class="smcap">Kit.</span> [<i>He glances round hastily at</i> <span class="smcap">Margaret</span>, <i>but she is deep in -writing</i>.] Why not?</p> - -<p><span class="smcap">Sydney.</span> [<i>Deliberately</i>] I hate being pawed. [<i>A pause.</i>]</p> - -<p><span class="smcap">Kit.</span> Look here, Sydney, d’you call this a way of spending Christmas -afternoon?</p> - -<p><span class="smcap">Sydney.</span> [<i>Her lip quivering</i>] It isn’t much of a way, is it?</p> - -<p><span class="smcap">Kit.</span> Well then, old thing! [<i>Again the arm.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>Icily</i>] I told you to leave me alone.</p> - -<p><span class="smcap">Kit.</span> [<i>Rising, huffed</i>] Oh, well, if you can’t be decent, I’m going.</p> - -<p><span class="smcap">Sydney.</span> [<i>Sweetly</i>] Counter attraction?</p> - -<p><span class="smcap">Kit.</span> [<i>Wheeling round on her</i>] Now, my dear old thing, look here. I know -it’s only a sort of way you’ve got into; but when you say—“men!”—with -a sort of sneer, and “other attractions”—like that, in that voice, it -just sounds cheap. I hate it. It’s not like you. I wish you wouldn’t.</p> - -<p><span class="smcap">Sydney.</span> Dear me!</p> - -<p><span class="smcap">Kit.</span> Now I suppose you’re annoyed.</p> - -<p><span class="smcap">Sydney.</span> Oh, no, I’m only amused.</p> - -<p><span class="smcap">Kit.</span> [<i>Heavily</i>] There’s nothing amusing about me, Sydney. I’m in -earnest.<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p> - -<p><span class="smcap">Sydney.</span> I’m sure you are. You got out of answering an innocent little -question quite neatly. It looks like practice.</p> - -<p><span class="smcap">Kit.</span> [<i>Harried</i>] Now, look here, Sydney, I swear to you—</p> - -<p><span class="smcap">Sydney.</span> [<i>Like the ghost in Hamlet</i>] Swear!</p> - -<p><span class="smcap">Kit.</span> If you’re thinking of Alice Hewitt I’ve only met her four times.</p> - -<p><span class="smcap">Sydney.</span> Oh, so her name’s Alice!</p> - -<p><span class="smcap">Kit.</span> Didn’t you know?</p> - -<p><span class="smcap">Sydney.</span> Never heard of her till this minute.</p> - -<p><span class="smcap">Kit.</span> Then what on earth have you been driving at.</p> - -<p><span class="smcap">Sydney.</span> Trying an experiment.</p> - -<p><span class="smcap">Kit.</span> If it’s because you’re jealous—</p> - -<p><span class="smcap">Sydney.</span> Jealous! Jealous of a—What colour are her eyes?</p> - -<p><span class="smcap">Kit.</span> [<i>Carelessly</i>] How’d I know?</p> - -<p><span class="smcap">Sydney.</span> [<i>With a sudden spurt of suspicion</i>] Kit! What colour are mine?</p> - -<p><span class="smcap">Kit.</span> [<i>Helplessly</i>] Oh, er—oh—</p> - -<p><span class="smcap">Sydney.</span> [<i>Terribly</i>] Kit! What colour are mine? [<i>Relenting</i>] Look at my -frock, you donkey! What do you suppose I wear blue for? So Alice has got -blue eyes!</p> - -<p><span class="smcap">Kit.</span> How do you know?</p> - -<p><span class="smcap">Sydney.</span> I know you, Kit. You’re conservative.</p> - -<p><span class="smcap">Kit.</span> As a matter of fact, she isn’t unlike you. That’s what made me talk -to her.</p> - -<p><span class="smcap">Sydney.</span> Oh, you’ve talked to her?<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p> - -<p><span class="smcap">Kit.</span> [<i>Warming</i>] Oh, yes—quite a lot. She’s a friend of my sister’s.</p> - -<p><span class="smcap">Sydney.</span> She always is.</p> - -<p><span class="smcap">Kit.</span> What d’you mean—“she always is”? I tell you I’ve only met her four -times. I can’t make you out.</p> - -<p><span class="smcap">Sydney.</span> No?</p> - -<p><span class="smcap">Kit.</span> I wish I could make you out.</p> - -<p><span class="smcap">Sydney.</span> [<i>An ache in her voice</i>] Oh, I wish you could.</p> - -<p><span class="smcap">Kit.</span> [<i>Responding instantly</i>] I say, old thing, is anything really the -matter?</p> - -<p><span class="smcap">Sydney.</span> [<i>With a glance at</i> <span class="smcap">Margaret</span>] I’m worried.</p> - -<p><span class="smcap">Kit.</span> Oh, that! Yes, it’s beastly for your mother.</p> - -<p><span class="smcap">Sydney.</span> Oh, it’s not that. At least—</p> - -<p><span class="smcap">Kit.</span> What?</p> - -<p><span class="smcap">Sydney.</span> [<i>Lightly</i>] Oh, I don’t know.</p> - -<p><span class="smcap">Kit.</span> [<i>Puzzled</i>] Can’t you tell me?</p> - -<p><span class="smcap">Sydney.</span> No, old man.</p> - -<p><span class="smcap">Kit.</span> [<i>As in</i> <span class="smcap">Act. I.</span>] But—look here—marriage has got to be a sort of -mutual show, hasn’t it? Confidence, and all that?</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>goes off into a peal of laughter</i>.</p></div> - -<p><span class="smcap">Kit.</span> What’s the matter now?</p> - -<p><span class="smcap">Sydney.</span> Do you preach this sort of sermon to Alice?</p> - -<p><span class="smcap">Kit.</span> Sydney—that’s—that’s rude—that’s—that’s<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span>—</p> - -<p><span class="smcap">Sydney.</span> Take time, darling!</p> - -<p><span class="smcap">Kit.</span> You’re being simply insulting.</p> - -<p><span class="smcap">Sydney.</span> Too bad! I should go and tell Alice.</p> - -<p><span class="smcap">Kit.</span> Damn Alice!</p> - -<p><span class="smcap">Sydney.</span> Oh, no, Kit, she’s got blue eyes.</p> - -<p><span class="smcap">Kit.</span> [<i>Storming</i>] Look here, what’s up?</p> - -<p><span class="smcap">Sydney.</span> Nix.</p> - -<p><span class="smcap">Kit.</span> Have you really got your back up? What’s the matter with you, -Sydney?</p> - -<p><span class="smcap">Sydney.</span> D’you want to know?</p> - -<p><span class="smcap">Kit.</span> [<i>With a certain dignity</i>] I think I’d better.</p> - -<p><span class="smcap">Sydney.</span> Well, it’s [<i>yawning</i>] “jam to-morrow, jam yesterday, but—” -Surely you know how it ends?</p> - -<p><span class="smcap">Kit.</span> I don’t. And I don’t want to.</p> - -<p><span class="smcap">Sydney.</span> [<i>Drearily</i>] “But never jam to-day.”</p> - -<p><span class="smcap">Kit.</span> [<i>Startled</i>] Why, Sydney!</p> - -<p><span class="smcap">Sydney.</span> [<i>Recovering herself, lightly</i>] D’you know what that’s out of?</p> - -<p><span class="smcap">Kit.</span> No.</p> - -<p><span class="smcap">Sydney.</span> [<i>Mischievously</i>] You ought to—“Alice”—</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Kit</span> <i>makes a furious gesture</i>.</p></div> - -<p><span class="smcap">Sydney.</span> [<i>Appeasing him</i>] No, no, no! “Alice through the Looking-glass!” -[<i>More soberly</i>] I can’t help it, Kit. When I look in the looking-glass -I see—Alice.</p> - -<p><span class="smcap">Kit.</span> Once and for all, Sydney, will you shut up about Alice?</p> - -<p><span class="smcap">Sydney.</span> Can’t. It’s her jam to-day.<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p> - -<p><span class="smcap">Kit.</span> I wish you’d talk sense for a change.</p> - -<p><span class="smcap">Sydney.</span> But I am. I’m conveying to you as nicely and tactfully as -possible that I’m—</p> - -<p><span class="smcap">Kit.</span> [<i>Apprehensive at last</i>] What, Sydney?</p> - -<p><span class="smcap">Sydney.</span> Tired of jam.</p> - -<p><span class="smcap">Kit.</span> [<i>Heavily</i>] D’you mean you’re tired of me?</p> - -<p><span class="smcap">Sydney.</span> That would be putting it crudely.</p> - -<p><span class="smcap">Kit.</span> What’s got into you? I don’t know you.</p> - -<p><span class="smcap">Sydney.</span> P’raps you’re beginning to.</p> - -<p><span class="smcap">Kit.</span> But what have I done?</p> - -<p><span class="smcap">Sydney.</span> [<i>Flaring effectively</i>] Well, for one thing you shouldn’t have -told your father we were engaged. What girl, do you suppose, would stand -it? You ask Alice.</p> - -<p><span class="smcap">Kit.</span> [<i>Flaring in reality</i>] If you’re not jolly careful I will.</p> - -<p><span class="smcap">Sydney.</span> [<i>Egging him on</i>] Good for you!</p> - -<p><span class="smcap">Kit.</span> [<i>Furious</i>] And if I do I’ll ask her more than that.</p> - -<p><span class="smcap">Sydney.</span> [<i>Clapping her hands</i>] I should go and do it now, if I were you. -Strike while the iron’s hot.</p> - -<p><span class="smcap">Kit.</span> You’re mad.</p> - -<p><span class="smcap">Sydney.</span> [<i>With intense bitterness</i>] Yes, I suppose that’s the right word -to fling at me.</p> - -<p><span class="smcap">Kit.</span> [<i>Between injury and distress</i>] I never meant that. You’re twisting -the words in my mouth. You’re just picking a quarrel.</p> - -<p><span class="smcap">Sydney.</span> [<i>Lazily</i>] Well, what’s one to do with a little boy who won’t -take his medicine? I tried to give it you in jam.<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span></p> - -<p><span class="smcap">Kit.</span> [<i>Curt</i>] You want me to go?</p> - -<p><span class="smcap">Sydney.</span> Yes.</p> - -<p><span class="smcap">Kit.</span> For good?</p> - -<p><span class="smcap">Sydney.</span> Yes.</p> - -<p><span class="smcap">Kit.</span> Honest?</p> - -<p><span class="smcap">Sydney.</span> Yes.</p> - -<p><span class="smcap">Kit.</span> Right. [<i>He turns from her and goes out.</i>]</p> - -<p><span class="smcap">Margaret.</span> [<i>Looking up</i>] Was that Kit? Sydney, don’t let him go.</p> - -<p><span class="smcap">Sydney.</span> Kit! Ki-it!</p> - -<p><span class="smcap">Kit.</span> [<i>Returning joyfully</i>] Yes! Yes, old thing?</p> - -<p><span class="smcap">Sydney.</span> [<i>Impassively</i>] Mother wants you.</p> - -<p><span class="smcap">Margaret.</span> Oh, Kit—would you take this for me? It’s for Mr. Meredith. I -expect you’ll meet him, but if not, I want you to take it on. At once, -Kit.</p> - -<p><span class="smcap">Kit.</span> Right, Mrs. Fairfield!</p> - -<p><span class="smcap">Margaret.</span> [<i>Detaining him</i>] What’s the matter, Kit?</p> - -<p><span class="smcap">Kit.</span> [<i>His head up</i>] Nothing, Mrs. Fairfield.</p> - -<p><span class="smcap">Sydney.</span> Mother, Kit’s got to go.</p> - -<p><span class="smcap">Kit.</span> [<i>Resentfully</i>] It’s all right. I’m going. You needn’t worry.</p> - -<p><span class="smcap">Margaret.</span> [<i>Humorously, washing her hands of them</i>] Oh, you two!</p> - -<div class="blockquot"><p class="hang"><i>She turns away from them and stands, her arm on the mantel-piece, -staring into the fire.</i> <span class="smcap">Kit</span> <i>marches to the door</i>.</p></div> - -<p><span class="smcap">Sydney.</span> [<i>In spite of herself, softly</i>] Kit!<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></p> - -<p><span class="smcap">Kit.</span> [<i>Quickly</i>] Yes?</p> - -<p><span class="smcap">Sydney.</span> [<i>Recovering herself, impishly</i>] You’ll give her my love?</p> - -<p><span class="smcap">Kit.</span> You’re a beast, Sydney Fairfield! [<i>He goes out with a slam.</i>]</p> - -<p><span class="smcap">Sydney.</span> [<i>In a changed voice</i>] You’ll give her <i>my</i> love. [<i>Running to -the door.</i>] Kit! [<i>The door opens again, but it is</i> <span class="smcap">Gray Meredith</span> <i>who -comes in</i>.]</p> - -<p><span class="smcap">Gray.</span> Sydney, what’s wrong with Kit? He went past me like a gust of -wind.</p> - -<p><span class="smcap">Margaret.</span> [<i>Coming up to them</i>] He didn’t give you my note?</p> - -<p><span class="smcap">Gray.</span> He never looked at me. What note?</p> - -<p><span class="smcap">Margaret.</span> I—</p> - -<p><span class="smcap">Gray.</span> Aren’t you ready? Why aren’t you dressed?</p> - -<p><span class="smcap">Margaret.</span> I—</p> - -<p><span class="smcap">Gray.</span> You must be quick, dearest.</p> - -<p><span class="smcap">Margaret.</span> I— [<i>She sways where she stands.</i>]</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Gray</span> <i>goes to her, and half clinging to him, half repulsing him, -she sits down with her arm on the table and her head on her arm</i>.</p></div> - -<p><span class="smcap">Gray.</span> Of course! Worn out! You should have come an hour ago.</p> - -<p><span class="smcap">Margaret.</span> Yes.</p> - -<p><span class="smcap">Gray.</span> Never mind that now. Sydney, get your mother’s wraps.</p> - -<p><span class="smcap">Margaret.</span> [<i>Agitated</i>] Sydney—wait—no.</p> - -<p><span class="smcap">Gray.</span> Warm things. It’s bitter, driving.</p> - -<p><span class="smcap">Sydney.</span> [<i>Uncertainly</i>] Gray, I think<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span>—</p> - -<p><span class="smcap">Gray.</span> Get them, please.</p> - -<div class="blockquot"><p class="hang"><i>After a tiny pause and look at him</i> <span class="smcap">Sydney</span> <i>obeys. You see her go -upstairs and disappear along the gallery.</i></p></div> - -<p><span class="smcap">Gray.</span> [<i>Solicitous</i>] I was afraid it would come hard on you. Has he—? -But you can tell me all that later.</p> - -<p><span class="smcap">Margaret.</span> I must tell it you now.</p> - -<p><span class="smcap">Gray.</span> Be quick, then. We’ve got a fifty mile drive before us.</p> - -<p><span class="smcap">Margaret.</span> [<i>Not looking at him</i>] I—I’m not coming.</p> - -<p><span class="smcap">Gray.</span> [<i>Smiling</i>] Not? There, sit quiet a moment. My dear—my dear -heart—you’re all to pieces.</p> - -<p><span class="smcap">Margaret.</span> I’m not coming.</p> - -<p><span class="smcap">Gray.</span> [<i>Checking what he takes for hysteria]</i> Margaret—Margaret—</p> - -<p><span class="smcap">Margaret.</span> I’m not coming. It’s Hilary.</p> - -<p><span class="smcap">Gray.</span> What? Collapsed again? I thought as much.</p> - -<p><span class="smcap">Margaret.</span> I—</p> - -<p><span class="smcap">Gray.</span> Tragic! But—it simplifies his problem, poor devil. Has Alliot -charge of him?</p> - -<p><span class="smcap">Margaret.</span> No, no. It’s not that. He’s not ill. He’s well. That’s it. -He’s well—and—he won’t let me go.</p> - -<p><span class="smcap">Gray.</span> He won’t, won’t he? [<i>He turns from her.</i>]</p> - -<p><span class="smcap">Margaret.</span> Where are you going?</p> - -<p><span class="smcap">Gray.</span> To settle this matter. Where is he?<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p> - -<p><span class="smcap">Margaret.</span> Leave him alone. It’s me you must punish. I’ve made up my -mind. Oh, how am I to tell you? He convinced me. He—cried, Gray. -[<i>Then, as</i> <span class="smcap">Gray</span> <i>makes a quick gesture</i>] You mustn’t sneer. You must -understand. He’s so unhappy. And there’s Sydney to think of. And Gray, -he won’t marry us.</p> - -<p><span class="smcap">Gray.</span> What’s that?</p> - -<p><span class="smcap">Margaret.</span> The Rector. He’s been here.</p> - -<p><span class="smcap">Gray.</span> [<i>Furious</i>] My God, why wasn’t I?</p> - -<p><span class="smcap">Margaret.</span> And Aunt Hester—she made it worse. [<i>Despairingly</i>] You see -what it is—they all think I’m wicked.</p> - -<p><span class="smcap">Gray.</span> Damned insolence!</p> - -<p><span class="smcap">Margaret.</span> But it’s not them—it’s Hilary. I did fight them. I can’t -fight Hilary. I see it. It’s my own fault. I ought never to have let -myself care for you.</p> - -<p><span class="smcap">Gray.</span> Talk sense.</p> - -<p><span class="smcap">Margaret.</span> But there it is. It’s too much for me. I’ve got to stay with -him.</p> - -<p><span class="smcap">Gray.</span> [<i>For the first time taking her seriously</i>] Say that again, -Margaret, if you dare—</p> - -<p><span class="smcap">Margaret.</span> I’ve got to—stay— [<i>With a sharp crying note in her voice</i>] -Gray, Gray, don’t look at me like that!</p> - -<div class="blockquot"><p class="hang"><i>He turns abruptly away from her and walks across to the hearth. He -stands a moment, deep in thought, takes out and lights a cigarette, -realises what he is doing, and<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> with an exclamation flings it into -the fire. Then he comes to</i> <span class="smcap">Margaret</span>, <i>who has not moved</i>.</p></div> - -<p><span class="smcap">Gray.</span> [<i>Very quietly</i>] This—this is rather an extraordinary statement, -isn’t it?</p> - -<p><span class="smcap">Margaret.</span> [<i>Shrinking</i>] Don’t use—that tone.</p> - -<p><span class="smcap">Gray.</span> I am being as patient as I can. But—it’s not easy.</p> - -<p><span class="smcap">Margaret.</span> Easy—?</p> - -<p><span class="smcap">Gray.</span> Do you mind telling me exactly what you mean?</p> - -<p><span class="smcap">Margaret.</span> I can’t talk. You know I’m not clever. I’m trying to do what’s -right—</p> - -<p><span class="smcap">Gray.</span> Then shall I tell you?</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Margaret</span> <i>makes a little quick movement with her hands, but she -says nothing</i>.</p></div> - -<p><span class="smcap">Gray.</span> [<i>Watching her keenly while he speaks</i>] You mean that you’ve made -a mistake—</p> - -<p><span class="smcap">Margaret.</span> [<i>Misunderstanding</i>] Yes.</p> - -<p><span class="smcap">Gray.</span>—that the last five years goes for nothing—that you don’t care -for me.</p> - -<p><span class="smcap">Margaret.</span> Gray!</p> - -<p><span class="smcap">Gray.</span> Wait. That you’ve never cared for me—that you don’t want to marry -me—</p> - -<p><span class="smcap">Margaret.</span> How can you say these things to me?</p> - -<p><span class="smcap">Gray.</span> But aren’t they true?</p> - -<p><span class="smcap">Margaret.</span> You know—you know they’re not true.<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p> - -<p><span class="smcap">Gray.</span> Then what do you mean when you say, “I won’t come?”</p> - -<p><span class="smcap">Margaret.</span> I mean—Hilary. I’ve got to put him first because—because -he’s weak. You—you’re strong.</p> - -<p><span class="smcap">Gray.</span> Not strong enough to do without my birthright. I want my wife and -my children. I’ve waited a long while for you. Now you must come.</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>comes down the stairs, a red furred cloak over her arm. She -pauses a few steps from the bottom, afraid to break in on them.</i></p></div> - -<p><span class="smcap">Margaret.</span> If Hilary’s left alone he’ll go mad again.</p> - -<p><span class="smcap">Gray.</span> Margaret—come.</p> - -<p><span class="smcap">Margaret.</span> How can I?</p> - -<p><span class="smcap">Gray.</span> Margaret, my own heart—come.</p> - -<p><span class="smcap">Margaret.</span> You oughtn’t to torture me. I’ve got to do what’s right.</p> - -<p><span class="smcap">Gray.</span> [<i>Darkening</i>] Are you coming with me? I shan’t ask it again.</p> - -<p><span class="smcap">Margaret.</span> Oh, God—You hear him! What am I to do?</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>comes down another step</i>.</p></div> - -<p><span class="smcap">Gray.</span> Why, you’re to do as you choose. I shan’t force you. I’m not your -turn-key. I’m not your beggar. We’re free people, you and I. It’s for -you to say if you’ll keep your—conscience, do you call it?—and lose<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span>—</p> - -<p><span class="smcap">Margaret.</span> I’ve lost what I love. There’s no more to lose.</p> - -<p><span class="smcap">Gray.</span> You sing as sweetly as a toy nightingale. Almost I’d think you -were real.</p> - -<p><span class="smcap">Margaret.</span> [<i>Wounded</i>] I don’t know what you mean.</p> - -<p><span class="smcap">Gray.</span> “What you love!” You don’t know the meaning of the notes you use.</p> - -<p><span class="smcap">Margaret.</span> [<i>Very white, but her voice is steady</i>] Don’t deceive -yourself. I love you. I ache and faint for you. I starve—</p> - -<p><span class="smcap">Sydney.</span> [<i>Appalled, whispering</i>] What is it? I don’t know her.</p> - -<p><span class="smcap">Margaret.</span> I’m withering without you like cut grass in the sun. I love -you. I love you. Can’t you see how it is with me? But—</p> - -<p><span class="smcap">Gray.</span> There’s no “but” in love.</p> - -<p><span class="smcap">Margaret.</span> What is it in me? There’s a thing I can’t do. I can’t see such -pain.</p> - -<p><span class="smcap">Gray.</span> [<i>Hoarsely</i>] Do you think <i>I</i> can’t suffer?</p> - -<p><span class="smcap">Margaret.</span> I <i>am</i> you. But he—he’s so defenceless. It’s -vivisection—like cutting a dumb beast about to make me well. I can’t do -it. I’d rather die of my cancer.</p> - -<p><span class="smcap">Gray.</span> [<i>The storm breaking</i>] Die then—you fool—you fool!</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Sydney</span> <i>descends another step. The cloak slides from her hands on -to the baluster.</i></p></div> - -<p><span class="smcap">Gray.</span> [<i>Without expression</i>] Good-bye.<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span></p> - -<p><span class="smcap">Margaret.</span> [<i>Blindly</i>] Forgive—</p> - -<p><span class="smcap">Gray.</span> How can I?</p> - -<p><span class="smcap">Margaret.</span> I would you—</p> - -<p><span class="smcap">Gray.</span> D’you think I bear you malice? It’s not I. Why, to deny me, that’s -a little thing. I’ll not go under because you’re faithless. But what -you’re doing is the sin without forgiveness. You’re denying—not me—but -life. You’re denying the spirit of life. You’re denying—you’re denying -your mate.</p> - -<p><span class="smcap">Sydney.</span> [<i>Strung up to breaking point</i>] Mother, you shall not.</p> - -<p><span class="smcap">Margaret.</span> [<i>As they both turn</i>] Sydney!</p> - -<p><span class="smcap">Sydney.</span> [<i>Coming down to them</i>] I tell you—I tell you, you shall not.</p> - -<p><span class="smcap">Margaret.</span> [<i>Sitting down, with a listless gesture</i>] I must. There’s no -way out.</p> - -<p><span class="smcap">Sydney.</span> There is. For <i>you</i> there is. I’ve thought it all along, and now -I know. Father—he’s my job, not yours.</p> - -<p><span class="smcap">Margaret.</span> [<i>With a last flicker of passion</i>] D’you think I’ll make a -scape-goat of my own child?</p> - -<p><span class="smcap">Sydney.</span> [<i>Sternly</i>] Can you help it? I’m his child. [<i>She throws herself -down beside her</i>] Mother! Mother darling, don’t you see? You’re no good -to him. You’re scared of him. But I’m his own flesh and blood. I know -how he feels. I’ll make him happier than you can. Be glad for me. Be -glad I’m wanted somewhere.</p> - -<p><span class="smcap">Margaret.</span> [<i>Struggling against the hope that is flooding her</i>] But Kit, -Sydney—Kit?<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span></p> - -<p><span class="smcap">Sydney.</span> [<i>With a queer little laugh that ends, though it does not begin, -quite naturally</i>] Bless him, I’ll be dancing at his wedding in six -months.</p> - -<p><span class="smcap">Margaret.</span> But all you ought to have—</p> - -<p><span class="smcap">Sydney.</span> [<i>Jumping up flippantly</i>] Oh, I’m off getting married. I’m going -to have a career.</p> - -<p><span class="smcap">Margaret.</span>—the love—the children—</p> - -<p><span class="smcap">Sydney.</span> [<i>Strained</i>] No children for me, Mother. No children for me. -I’ve lost my chance for ever.</p> - -<p><span class="smcap">Margaret.</span> [<i>Weakly</i>] No—no—</p> - -<p><span class="smcap">Sydney.</span> [<i>Smiling down at her</i>] But you—you take it. I give it to you.</p> - -<p><span class="smcap">Margaret.</span> But—</p> - -<p><span class="smcap">Sydney.</span> [<i>Dominant</i>] What’s the use of arguing? I’ve made up my mind.</p> - -<p><span class="smcap">Margaret.</span> But if your father—</p> - -<p><span class="smcap">Sydney.</span> [<i>At the end of her endurance</i>] Go away, Mother. Go away -quickly. This is my job, not yours. [<i>She turns abruptly from them to -the window, and stands staring out into the darkening garden.</i>]</p> - -<p><span class="smcap">Margaret.</span> [<i>Dazed</i>] So—so— [<i>She sways, hesitating, unbelieving, like a -bird at the open door of its cage</i>] So—I can come.</p> - -<p> -<span class="smcap">Gray</span> <i>makes no answer</i>.<br /> -</p> - -<p><span class="smcap">Margaret.</span> [<i>With a new full note in her voice</i>] Gray, I can come.</p> - -<p><span class="smcap">Gray.</span> [<i>Without moving</i>] Can you, Margaret?</p> - -<p><span class="smcap">Margaret.</span> [<i>In heaven</i>] I can come.</p> - -<p><span class="smcap">Gray.</span> [<i>Impassively</i>] Are you sure?<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p> - -<p><span class="smcap">Margaret.</span> [<i>In quick alarm</i>] What do you mean?</p> - -<p><span class="smcap">Gray.</span> [<i>Stonily</i>] Why, you could deny me. You’ve chopped and changed. I -want proof that you’ve still a right to come.</p> - -<p><span class="smcap">Margaret.</span> [<i>Like a child</i>] You’re angry with me?</p> - -<p><span class="smcap">Gray.</span> No.</p> - -<p><span class="smcap">Margaret.</span> You’re angry with me.</p> - -<p><span class="smcap">Gray.</span> I want proof.</p> - -<p><span class="smcap">Margaret.</span> I get frightened. I’m made so. Always I’ve been afraid—of -Hilary—of everyone—of life. But now—you—you’re angry, you’re so -angry, you’re very angry with me—and I— [<i>She goes steadily across the -room to him. He makes no movement</i>] I’m not afraid. [<i>She puts up her -hands, and drawing him down to her kisses him on the mouth.</i>] Is that -proof?</p> - -<p><span class="smcap">Gray.</span> [<i>Quietly</i>] Proof enough. Come.</p> - -<div class="blockquot"><p class="hang"><i>He takes the cloak and throws it round her. They go out together. -As</i> <span class="smcap">Sydney</span>, <i>forgotten, stands looking after them</i>, <span class="smcap">Bassett</span> <i>enters -with the tea-tray. She puts it down on the table and turns up the -lights.</i></p></div> - -<p><span class="smcap">Bassett.</span> Is the gentleman staying to tea, miss?</p> - -<p><span class="smcap">Sydney.</span> [<i>Correcting her</i>] Mr. Fairfield. It’s my father, Bassett.</p> - -<p><span class="smcap">Bassett.</span> We thought so, miss?</p> - -<p><span class="smcap">Sydney.</span> [<i>Smiling faintly</i>] Did you, Bassett?<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span></p> - -<p><span class="smcap">Bassett.</span> He’s got your way, miss! Quick-like! [<i>She opens the -drawing-room door</i>] Tea’s ready, ma’am. [<i>Outside the motor drives -away.</i>]</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Entering with</i> <span class="smcap">Hilary</span>] Tea’s very late. [<span class="smcap">Bassett</span> <i>goes -out</i>.]</p> - -<p><span class="smcap">Hilary.</span> I thought I heard the sound of a car. [<i>Suspiciously</i>] Where’s -your mother?</p> - -<p><span class="smcap">Sydney.</span> She’s gone away.</p> - -<p><span class="smcap">Hilary.</span> [<i>Stricken</i>] Gone?</p> - -<p><span class="smcap">Sydney.</span> Gone away for good.</p> - -<p><span class="smcap">Hilary.</span> Where?</p> - -<p><span class="smcap">Sydney.</span> Out of our lives.</p> - -<p><span class="smcap">Hilary.</span> With—?</p> - -<p><span class="smcap">Sydney.</span> [<i>Quickly</i>] Out of our lives.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Furiously</i>] This is your doing, Sydney.</p> - -<p><span class="smcap">Hilary.</span> [<i>Dazed</i>] Gone. Everything gone.</p> - -<p><span class="smcap">Sydney.</span> I’m not gone.</p> - -<p><span class="smcap">Hilary.</span> But that boy—?</p> - -<p><span class="smcap">Sydney.</span> That’s done with.</p> - -<p><span class="smcap">Miss Fairfield.</span> You’ve jilted him?</p> - -<p><span class="smcap">Sydney.</span> Yes.</p> - -<p><span class="smcap">Miss Fairfield.</span> Like mother, like daughter.</p> - -<p><span class="smcap">Sydney.</span> Just so.</p> - -<p><span class="smcap">Miss Fairfield.</span> I pray you get your punishment.</p> - -<p><span class="smcap">Sydney.</span> Your prayers will surely be answered, Auntie.</p> - -<p><span class="smcap">Hilary.</span> [<i>Slowly</i>] It was a cruel thing to do.</p> - -<p><span class="smcap">Sydney.</span> He’ll get over it. Men—they’re not like us.<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p> - -<p><span class="smcap">Hilary.</span> [<i>Timidly</i>] You loved him?</p> - -<p><span class="smcap">Sydney.</span> What’s that to anyone but me?</p> - -<p><span class="smcap">Hilary.</span> [<i>Peering at her</i>] You’re crying.</p> - -<p><span class="smcap">Sydney.</span> I’m not.</p> - -<p><span class="smcap">Hilary.</span> You love him?</p> - -<p><span class="smcap">Sydney.</span> I suppose so.</p> - -<p><span class="smcap">Hilary.</span> Then why? Then why?</p> - -<p><span class="smcap">Sydney.</span> We’re in the same boat, Father.</p> - -<p><span class="smcap">Miss Fairfield.</span> Yes, that’s the way they talk now, Hilary. They know too -much, the young women. It upsets everything.</p> - -<div class="blockquot"><p class="hang"><span class="smcap">Hilary</span> <i>sits down on the sofa</i>.</p></div> - -<p><span class="smcap">Hilary.</span> [<i>Broken</i>] I don’t see ahead. I don’t see what’s to become of -me. There’s no-one.</p> - -<p><span class="smcap">Sydney.</span> There’s me.</p> - -<p><span class="smcap">Hilary.</span> [<i>Not looking at her</i>] I should think you hate me.</p> - -<p><span class="smcap">Sydney.</span> I need you just as badly as you need me.</p> - -<p><span class="smcap">Hilary.</span> [<i>Fiercely</i>] It’s your damn-clever doing that she went. D’you -think I can’t hate you?</p> - -<p><span class="smcap">Sydney.</span> [<i>Close to him</i>] No, no, Father, you want me too much. We’ll -make a good job of it yet.</p> - -<p><span class="smcap">Hilary.</span> [<i>His head in his hands</i>] What job?</p> - -<p><span class="smcap">Sydney.</span> [<i>Petting him, coaxing him, loving him, her hands quieting his -twitching hands, her strong will already controlling him</i>] Living. I’ve -got such plans already, Father—Father dear. We’ll do things. We’ll have -a good time somehow, you and I—you and I. Did you know you’d got a -clever<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> daughter? Writing—painting—acting! We’ll go on tour together. -We’ll make a lot of money. We’ll have a cottage somewhere. You see, I’ll -make it up to you. I’ll make you proud of me.</p> - -<p><span class="smcap">Miss Fairfield.</span> [<i>Surveying them</i>] Proud of her! D’you see, Hilary? -That’s all she thinks of—self—self—self! Money, ambition—and sends -that poor boy away. A parson’s son! Not good enough for her, that’s what -it is. She’s like the rest of the young women. Hard as nails! Hard as -nails!</p> - -<p><span class="smcap">Sydney.</span> [<i>Crying out</i>] Don’t you listen to her, Father! Father, don’t -believe her! I’m not hard. I’m not hard.</p> - -<div class="blockquot"><p class="hang"><i>His arm goes round her with a gesture, awkward, timid, yet -fatherly.</i></p></div> - -<p class="fint">THE CURTAIN FALLS.</p> - -<p><i>May-June, 1920.</i></p> - -<p class="fint"><span class="smcap">Woods & Sons, Ltd.</span>, Printers, London, N. 1. (W.W.A.)</p> - - -<p class="c"> -<img src="images/back.jpg" width="345" height="500" alt="" /> -</p> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of A Bill of Divorcement, by Clemence Dane - -*** END OF THIS PROJECT GUTENBERG EBOOK A BILL OF DIVORCEMENT *** - -***** This file should be named 62703-h.htm or 62703-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/7/0/62703/ - -Produced by Chuck Greif, ellinora and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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