A Bill of Divorcement: A Play in Three ActsDane, Clemence
General
A Bill of Divorcement: A Play in Three Acts
Dane, Clemence
England -- Social life and customs -- 20th century -- Drama; Families -- Drama; Man-woman relationships -- Drama; Mental illness -- Drama
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._]
Public-domain text, read in full here on John Shaqi.
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