Plays By John Galsworthy Volume Iii Part 19

CLARE. Go away! Go away!

MRS. FULLARTON. Love!--you said!

CLARE. [Quivering at that stab-suddenly] I must--I will keep him.

He's all I've got.

MRS. FULLARTON. Can you--can you keep him?

CLARE. Go!

MRS. FULLARTON. I'm going. But, men are hard to keep, even when you've not been the ruin of them. You know whether the love this man gives you is really love. If not--G.o.d help you! [She turns at the door, and says mournfully] Good-bye, my child! If you can----

Then goes. CLARE, almost in a whisper, repeats the words: "Love! you said!" At the sound of a latchkey she runs as if to escape into the bedroom, but changes her mind and stands blotted against the curtain of the door. MALISE enters. For a moment he does not see her standing there against the curtain that is much the same colour as her dress. His face is that of a man in the grip of a rage that he feels to be impotent. Then, seeing her, he pulls himself together, walks to his armchair, and sits down there in his hat and coat.

CLARE. Well? "The Watchfire?" You may as well tell me.

MALISE. Nothing to tell you, child.

At that touch of tenderness she goes up to his chair and kneels down beside it. Mechanically MALISE takes off his hat.

CLARE. Then you are to lose that, too? [MALISE stares at her] I know about it--never mind how.

MALISE. Sanctimonious dogs!

CLARE. [Very low] There are other things to be got, aren't there?

MALISE. Thick as blackberries. I just go out and cry, "MALISE, unsuccessful author, too honest journalist, freethinker, co-respondent, bankrupt," and they tumble!

CLARE. [Quietly] Kenneth, do you care for me? [MALISE stares at her] Am I anything to you but just prettiness?

MALISE. Now, now! This isn't the time to brood! Rouse up and fight.

CLARE. Yes.

MALISE. We're not going to let them down us, are we? [She rubs her cheek against his hand, that still rests on her shoulder] Life on sufferance, breath at the pleasure of the enemy! And some day in the fullness of his mercy to be made a present of the right to eat and drink and breathe again. [His gesture sums up the rage within him]

Fine! [He puts his hat on and rises] That's the last groan they get from me.

CLa.s.s. Are you going out again? [He nods] Where?

MALISE. Blackberrying! Our train's not till six.

He goes into the bedroom. CLARE gets up and stands by the fire, looking round in a dazed way. She puts her hand up and mechanically gathers together the violets in the little vase.

Suddenly she twists them to a b.u.t.tonhole, and sinks down into the armchair, which he must pa.s.s. There she sits, the violets in her hand. MALISE comes out and crosses towards the outer door. She puts the violets up to him. He stares at them, shrugs his shoulders, and pa.s.ses on. For just a moment CLARE sits motionless.

CLARE. [Quietly] Give me a kiss!

He turns and kisses her. But his lips, after that kiss, have the furtive bitterness one sees on the lips of those who have done what does not suit their mood. He goes out. She is left motionless by the armchair, her throat working. Then, feverishly, she goes to the little table, seizes a sheet of paper, and writes. Looking up suddenly she sees that MRS. MILER has let herself in with her latchkey.

MRS. MILER. I've settled the baker, the milk, the was.h.i.+n' an' the groceries--this 'ere's what's left.

She counts down a five-pound note, four sovereigns, and two s.h.i.+llings on to the little table. CLARE folds the letter into an envelope, then takes up the five-pound note and puts it into her dress.

CLARE. [Pointing to the money on the table] Take your wages; and give him this when he comes in. I'm going away.

MRS. MILER. Without him? When'll you be comin' back?

CLARE. [Rising] I shan't be coming back. [Gazing at MRS. MILER'S hands, which are plaiting at her dress] I'm leaving Mr. Malise, and shan't see him again. And the suit against us will be withdrawn--the divorce suit--you understand?

MRS. MILER. [Her face all broken up] I never meant to say anything to yer.

CLARE. It's not you. I can see for myself. Don't make it harder; help me. Get a cab.

MRS. MILER. [Disturbed to the heart] The porter's outside, cleanin'

the landin' winder.

CLARE. Tell him to come for my trunk. It is packed. [She goes into the bedroom]

MRS. MILER. [Opening the door-desolately] Come 'ere!

[The PORTER appears in s.h.i.+rt-sleeves at the door]

MRS. MILER. The lady wants a cab. Wait and carry 'er trunk down.

CLARE comes from the bedroom in her hat and coat.

MRS. MILER. [TO the PORTER] Now.

They go into the bedroom to get the trunk. CLARE picks up from the floor the bunch of violets, her fingers play with it as if they did not quite know what it was; and she stands by the armchair very still, while MRS. MILER and the PORTER pa.s.s her with trunk and bag. And even after the PORTER has shouldered the trunk outside, and marched away, and MRS. MILER has come back into the room, CLARE still stands there.

MRS. MILER. [Pointing to the typewriter] D'you want this 'ere, too?

CLARE. Yes.

MRS. MILER carries it out. Then, from the doorway, gazing at CLARE taking her last look, she sobs, suddenly. At sound of that sob CLARE throws up her head.

CLARE. Don't! It's all right. Good-bye!

She walks out and away, not looking back. MRS. MILER chokes her sobbing into the black stuff of her thick old jacket.

CURTAIN

ACT IV

Supper-time in a small room at "The Gascony" on Derby Day.

Through the windows of a broad corridor, out of which the door opens, is seen the dark blue of a summer night. The walls are of apricot-gold; the carpets, curtains, lamp-shades, and gilded chairs, of red; the wood-work and screens white; the palms in gilded tubs. A doorway that has no door leads to another small room. One little table behind a screen, and one little table in the open, are set for two persons each. On a service-table, above which hangs a speaking-tube, are some dishes of hors d'ouvres, a basket of peaches, two bottles of champagne in ice-pails, and a small barrel of oysters in a gilded tub. ARNAUD, the waiter, slim, dark, quick, his face seamed with a quiet, soft irony, is opening oysters and listening to the robust joy of a distant supper-party, where a man is playing the last bars of: "Do ye ken John Peel" on a horn. As the sound dies away, he murmurs: "Tres Joli!" and opens another oyster. Two Ladies with bare shoulders and large hats pa.s.s down the corridor. Their talk is faintly wafted in: "Well, I never like Derby night! The boys do get so bobbis.h.!.+" "That horn--vulgar, I call it!"