Plays By John Galsworthy
Chapter 318 : MARGARET gives a sort of choking sob, then, seeing the smelling bottle, she s.n.a.t.c.

MARGARET gives a sort of choking sob, then, seeing the smelling bottle, she s.n.a.t.c.hes it up, and turns to revive MABEL.

COLFORD. Leave her! The longer she's unconscious, the better.

INSPECTOR. [Re-entering] This is a very serious business, sir.

COLFORD. [Sternly] Yes, Inspector; you've done for my best friend.

INSPECTOR. I, sir? He shot himself.

COLFORD. Hara-kiri.

INSPECTOR. Beg pardon?

COLFORD. [He points with the letter to MABEL] For her sake, and his own.

INSPECTOR. [Putting out his hand] I'll want that, sir.

COLFORD. [Grimly] You shall have it read at the inquest. Till then-- it's addressed to me, and I stick to it.

INSPECTOR. Very well, sir. Do you want to have a look at him?

COLFORD pa.s.ses quickly into the bedroom, followed by the INSPECTOR.

MARGARET remains kneeling beside MABEL.

COLFORD comes quickly back. MARGARET looks up at him. He stands very still.

COLFORD. Neatly--through the heart.

MARGARET [wildly] Keeps faith! We've all done that. It's not enough.

COLFORD. [Looking down at MABEL] All right, old boy!

The CURTAIN falls.

WINDOWS

From the 5th Series of Plays

By John Galsworthy

PERSONS OF THE PLAY

GEOFFREY MARCH....... Freelance in Literature JOAN MARCH........... His Wife MARY MARCH........... Their Daughter JOHNNY MARCH......... Their Son COOK................. Their Cook MR BLY............... Their Window Cleaner FAITH BLY............ His Daughter BLUNTER.............. A Strange Young Man MR BARNADAS.......... In Plain Clothes

The action pa.s.ses in Geofrey March's House, Highgate-Spring-time.

ACT I. Thursday morning. The dining-room-after breakfast.

ACT II. Thursday, a fortnight later. The dining-room after lunch.

ACT III. The same day. The dining-room-after dinner.

ACT I

The MARCH'S dining-room opens through French windows on one of those gardens which seem infinite, till they are seen to be coterminous with the side walls of the house, and finite at the far end, because only the thick screen of acacias and sumachs prevents another house from being seen. The French and other windows form practically all the outer wall of that dining-room, and between them and the screen of trees lies the difference between the characters of Mr and Mrs March, with dots and dashes of Mary and Johnny thrown in. For instance, it has been formalised by MRS MARCH but the gra.s.s has not been cut by MR MARCH, and daffodils have sprung up there, which MRS MARCH desires for the dining-room, but of which MR MARCH says: "For G.o.d's sake, Joan, let them grow." About half therefore are now in a bowl on the breakfast table, and the other half still in the gra.s.s, in the compromise essential to lasting domesticity. A hammock under the acacias shows that MARY lies there sometimes with her eyes on the gleam of sunlight that comes through: and a trail in the longish gra.s.s, bordered with cigarette ends, proves that JOHNNY tramps there with his eyes on the ground or the stars, according. But all this is by the way, because except for a yard or two of gravel terrace outside the windows, it is all painted on the backcloth. The MARCHES have been at breakfast, and the round table, covered with blue linen, is thick with remains, seven baskets full. The room is gifted with old oak furniture: there is a door, stage Left, Forward; a hearth, where a fire is burning, and a high fender on which one can sit, stage Right, Middle; and in the wall below the fireplace, a service hatch covered with a sliding shutter, for the pa.s.sage of dishes into the adjoining pantry. Against the wall, stage Left, is an old oak dresser, and a small writing table across the Left Back corner. MRS MARCH still sits behind the coffee pot, making up her daily list on tablets with a little gold pencil fastened to her wrist. She is personable, forty-eight, trim, well-dressed, and more matter-of-fact than seems plausible. MR MARCH is sitting in an armchair, sideways to the windows, smoking his pipe and reading his newspaper, with little explosions to which no one pays any attention, because it is his daily habit. He is a fine-looking man of fifty odd, with red-grey moustaches and hair, both of which stiver partly by nature and partly because his hands often push them up. MARY and JOHNNY are close to the fireplace, stage Right.

JOHNNY sits on the fender, smoking a cigarette and warming his back.

He is a commonplace looking young man, with a decided jaw, tall, neat, soulful, who has been in the war and writes poetry. MARY is less ordinary; you cannot tell exactly what is the matter with her.

She too is tall, a little absent, fair, and well-looking. She has a small china dog in her hand, taken from the mantelpiece, and faces the audience. As the curtain rises she is saying in her soft and pleasant voice: "Well, what is the matter with us all, Johnny?"

JOHNNY. Stuck, as we were in the trenches--like china dogs. [He points to the ornament in her hand.]

MR MARCH. [Into his newspaper] d.a.m.n these people!

MARY. If there isn't an ideal left, Johnny, it's no good pretending one.

JOHNNY. That's what I'm saying: Bankrupt!

MARY. What do you want?

MRS MARCH. [To herself] Mutton cutlets. Johnny, will you be in to lunch? [JOHNNY shakes his head] Mary? [MARY nods] Geof?

MR MARCH. [Into his paper] Swine!

MRS MARCH. That'll be three. [To herself] Spinach.

JOHNNY. If you'd just missed being killed for three blooming years for no spiritual result whatever, you'd want something to bite on, Mary.

MRS MARCH. [Jotting] Soap.

JOHNNY. What price the little and weak, now? Freedom and self-determination, and all that?

MARY. Forty to one--no takers.

JOHNNY. It doesn't seem to worry you.