A Bill of Divorcement: A Play in Three Acts — John Shaqi
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. [_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._]
Public-domain text, read in full here on John Shaqi.
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