MEREDITH. I shall probably deliver a lecture. I’m terribly enthusiastic about my hobby.
ELSA. Doesn’t one pick certain herbs by the light of the moon?
CAROLINE. (to Angela) You’ll like school, you know, once you get there.
MEREDITH. (to Elsa) That was the old-fashioned superstition.
ELSA. You don’t go as far as that?
MEREDITH. No.
ELSA. Are they dangerous?
MEREDITH. Some of them are.
CAROLINE. (turning) Sudden death in a little bottle. Bella-donna. Hemlock.
(ANGELA runs between Elsa and Meredith and puts her arms around his waist)
ANGELA. You read us something once—about Socrates—and how he died.
MEREDITH. Yes, conine—the active principle of hemlock.
ANGELA. It was wonderful. It made me want to learn Greek.
(They all laugh. AMYAS rises and picks up his paintbox)
AMYAS. We’ve talked enough. Let’s get started. (He moves towards the door up L) Where’s Phil? (He glances in the french windows and calls) Phil.
PHILIP. Coming.
(AMYAS exits by the door up L. PHILIP rises and puts down the magazine. ELSA goes into the room and collects her gloves and bag)
ANGELA. (moving to R of Caroline) Caroline—(she whispers anxiously) it isn’t possible, is it, for Elsa to marry Amyas?
(CAROLINE replies calmly, overheard only by MEREDITH)
CAROLINE. Amyas will only marry Elsa after I am dead.
ANGELA. Good. It was a joke.
(ANGELA runs off down L)
MEREDITH. (moving to R of Caroline) Caroline—my dear—I can’t tell you . . .
CAROLINE. Don’t . . . Everything’s finished—I’m finished . . .
(PHILIP comes on to the terrace)
PHILIP. The lady’s waiting to be driven.
MEREDITH. (slightly at a loss) Oh.
(MEREDITH goes into the room and escorts ELSA off up C. MISS WILLIAMS enters up C and looks off after Meredith and Elsa. She stands in the room, uncertain for a moment, then goes to the french windows and overhears the last of the conversation between Philip and Caroline)
CAROLINE. (to Philip; brightly) We’ll go by the wood path, shall we?
PHILIP. (moving to R of CAROLINE) Caroline—is it in order for me to offer my condolences?
CAROLINE. Don’t.
PHILIP. Perhaps you realize, now, that you made a mistake.
CAROLINE. When I married him?
PHILIP. Yes.
CAROLINE. (looking Philip straight in the eye) However it may turn out—I made no mistake. (She resumes her light manner) Let’s go.
(CAROLINE exits down L. PHILIP follows her off. MISS WILLIAMS comes on to the terrace)
MISS WILLIAMS. (calling) Mrs. Crale. (She moves below the bench) Mrs. Crale.
(CAROLINE re-enters down L)
CAROLINE. Yes, Miss Williams?
MISS WILLIAMS. I’m going into the village. Shall I post the letters that are on your desk?
CAROLINE. (turning to go) Oh, yes, please. I forgot them.
MISS WILLIAMS. Mrs. Crale——
(CAROLINE turns)
—if I could do anything—anything at all to help . . .
CAROLINE. (quickly) Please. We must go on as usual—just behave as usual.
MISS WILLIAMS. (fervently) I think you’re wonderful.
CAROLINE. Oh, no, I’m not. (She moves to L. of Miss Williams) Dear Miss Williams. (She kisses her) You’ve been such a comfort to me.
(CAROLINE exits quickly down L. MISS WILLIAMS looks after her, then sees the empty beer bottle and glass on the trolley. She picks up the bottle, looks at it for a moment, and then looks off after Caroline. She puts the bottle in the ice-bucket, picks up the ice-bucket and glass and crosses below the bench to the french windows. As she does so, the lights slowly dim to BLACK-OUT. A spotlight comes up on Justin down L)
JUSTIN. We come now to the next morning, the morning of the seventeenth. Miss Williams?
(The spotlight fades, MISS WILLIAMS’ voice can be heard in the darkness)
MISS WILLIAMS. I’d been going through Angela’s school list with Mrs. Crale. She looked tired and unhappy but she was very composed. The telephone rang, and I went into the garden room to answer it.
(The LIGHTS come up. A clean glass and a fresh bottle of beer, not in an ice-bucket, is on the trolley. PHILIP is seated on the bench on the terrace reading a Sunday paper. The telephone rings. MISS WILLIAMS enters up C, goes to the telephone and lifts the receiver. She carries a school list. CAROLINE follows Miss Williams on, with her spectacles in her hand. She looks towards the telephone, then crosses wearily above the stool to the armchair R and sits)
(Into the telephone) Yes? . . . Oh, good morning, Mr. Blake . . . Yes, he’s here. (She looks through the french windows to Philip and calls) Mr. Blake, it’s your brother, he’d like to have a word with you. (She holds out the receiver)
(PHILIP rises, folds his paper, tucks it under his arm, comes into the room and takes the receiver)
PHILIP. (into the telephone) Hullo, Philip here . . .
MISS WILLIAMS. (crossing above the stool to R of it; to Caroline) That completes the school list, Mrs. Crale. I wonder if you would like to give it a final check? (She sits on the right end of the stool)
CAROLINE. (taking the list) Let me see. (She puts on her spectacles and studies the list)
PHILIP. (into the telephone) What? . . . What do you say? . . . Good Lord—are you sure? . . . (He looks round at Caroline and Miss Williams) Well, I can’t talk now . . . Yes, better come along here. I’ll meet you . . . Yes—we’ll talk it over—discuss what’s best to be done . . .
CAROLINE. (to Miss Williams) What about these?
MISS WILLIAMS. (looking at the list) Those items are optional.
PHILIP. (into the telephone) No, I can’t, now—it’s difficult . . . You are sure? Yes, but you’re a bit vague sometimes. It could have got mislaid . . . All right—if you’re sure . . . Be seeing you. (He replaces the receiver, gives a worried look at the others, goes on to the terrace and paces up and down)
CAROLINE. (giving the list to Miss Williams) I do hope I’m doing the right thing about Angela. (She removes her spectacles)
MISS WILLIAMS. I think you can be quite certain of that, Mrs. Crale.
CAROLINE. I want so terribly to do what’s best for her. You know why.
MISS WILLIAMS. Believe me, you have nothing to reproach yourself with where Angela is concerned.
CAROLINE. I—disfigured her for life. She’ll always have that scar.
(PHILIP looks off L through the pergola)
MISS WILLIAMS. One cannot alter the past.
(PHILIP exits up L, above the pergola)
CAROLINE. No. It taught me what a wicked temper I have. I’ve been on my guard ever since. But you do see, don’t you, why I’ve always spoilt her a little?
MISS WILLIAMS. School life will suit her. She needs the contacts of other minds—minds of her own age. (She rises) You’re doing the right thing—I’m sure of that. (In a business-like way) I’d better get on with her packing—I don’t know whether she wants to take any books with her.
(MISS WILLIAMS exits up C, closing the door behind her. CAROLINE sinks wearily back into her chair. PHILIP enters down L and stands looking off L. AMYAS enters by the door up L, carrying his paintbox)
AMYAS. (to Philip; irritably) Where is that girl? (He moves to his stool) Why can’t she get up in the morning?
(PHILIP, looking off L, does not answer)
(He sits, puts his paintbox on the ground beside him and arranges his gear) Have you seen her, Phil? What’s the matter with you? Has nobody given you any breakfast?
PHILIP. (turning) Eh? Oh, yes, of course. I—I’m waiting for Merry. He’s coming over. (He looks at his watch) I wonder which way he’ll come—I forgot to ask him. Upper or lower path. I could go along and meet him.
AMYAS. Lower path’s the shorter one. (He rises and
goes into the room) Where the devil is that girl? (To Caroline) Have you seen Elsa? (He goes to the door up C)
CAROLINE. I don’t think she’s up yet.
(AMYAS is about to open the door)
Amyas, come here, I want to talk to you.
AMYAS. (opening the door) Not now.
CAROLINE. (firmly) Yes, now.
(AMYAS looks sheepish, but closes the door. PHILIP moves below the bench. ELSA enters down L, dressed in shorts and shirt)
PHILIP. (to Elsa) You’re late on parade. You look on top of the world this morning.
ELSA. (radiant) Do I? I feel it.
(PHILIP exits down L. ELSA goes to the bench and sits facing the pergola, basking in the sun)
AMYAS. (moving above the stool) Caroline, I’ve told you I don’t want to discuss this. I’m sorry Elsa blew her top. I told her not to.
CAROLINE. You didn’t want a scene until you’d finished your picture, is that it?
AMYAS. (moving to Caroline) Thank the Lord you understand.
CAROLINE. I understand you very well.
(ELSA swings her legs over the bench and faces front. After a moment she hears raised voices, rises and goes to the french windows to listen)
AMYAS. Good. (He bends down to kiss Caroline)
(CAROLINE ducks aside, rises and crosses below Amyas to the stool)
CAROLINE. I may understand, but that doesn’t mean that I’m taking this lying down. (She turns to him) Do you really mean you want to marry this girl?
AMYAS. (moving to her) Darling, I’m very fond of you—and of the child. You know that. I always shall be. (Roughly) But you’ve got to understand this. I’m damned well going to marry Elsa and nothing shall stop me.
CAROLINE. (facing front) I wonder.
AMYAS. (moving up R of the stool) If you won’t divorce me, we’ll live together and she can take the name of Crale by deed poll.
(PHILIP enters down L, sees ELSA listening, and unseen, lounges against the downstage pillar of the pergola)
CAROLINE. You’ve thought it all out, haven’t you?
AMYAS. (moving R) I love Elsa—and I mean to have her.
CAROLINE. (trembling) Do as you please—I’m warning you.
AMYAS. (turning) What do you mean by that?
CAROLINE. (turning suddenly on him) I mean you’re mine—and I don’t mean to let you go.
(AMYAS moves to Caroline)
Sooner than let you go to that girl, I’ll . . .
AMYAS. Caroline, don’t be a fool.
CAROLINE. (near to tears) You and your women! You don’t deserve to live.
AMYAS. (trying to embrace her) Caroline . . .
CAROLINE. I mean it. (She pushes him away) Don’t touch me. (She crosses to the door down R in tears) It’s too cruel—it’s too cruel.
AMYAS. Caroline . . .
(CAROLINE exits down R. AMYAS gives a hopeless gesture, turns and crosses towards the french windows. ELSA turns quickly away, sees Philip and quickly looks nonchalant)
(He goes on the terrace) Oh, there you are at last. (He moves to his stool and sits) What do you mean by wasting half the morning? Get into the pose.
ELSA. (looking at Amyas over the top of the easel) I’ll have to get a pullover. It’s quite a chilly wind.
AMYAS. Oh, no, you don’t. It’ll change all the tones of the skin.
ELSA. I’ve got a yellow one like this shirt—and, anyway, you’re painting my hands this morning, you said so.
(ELSA pouts and runs off by the door up L)
AMYAS. (shouting after Elsa) You don’t know what I’m painting. Only I know that. Oh, hell! (He squeezes paint from a tube on to his palette and mixes the paint)
PHILIP. Trouble with Caroline?
AMYAS. (looking up) Heard some of it, did you?
(PHILIP crosses below Amyas to R)
I knew just what would happen. Elsa had to open her big mouth. Caroline gets hysterical and won’t listen to reason.
PHILIP. (turning) Poor Caroline! (He does not say it with pity, instead there is a trace of satisfaction in his tone)
(AMYAS looks sharply at Philip)
AMYAS. Caroline is all right. Don’t waste your pity on her.
PHILIP. (crossing to LC) Amyas, you’re incredible. I don’t know that I’d really blame Caroline if she took a hatchet to you.
AMYAS. (irritably) Do stop pacing, Phil. You’re putting me off. I thought you were going to meet Merry.
PHILIP. (moving to the upstage end of the pergola) I was afraid of missing him.
AMYAS. What’s the big hurry? You saw him yesterday.
PHILIP. (crossly) Since I seem to annoy you, I’ll take myself off.
(PHILIP exits up L, above the pergola. ELSA enters by the door up L, with a pullover draped over her arm)
AMYAS. (looking up) At last! Now, get me some beer, will you. I’m thirsty. What on earth you want with a pullover on a day like this I don’t know. I’m boiling. You’ll be wanting snow boots next, and a hot-water bottle to sit on.
(ELSA drops her pullover on the bench, goes to the trolley and pours a glass of beer)
(He rises, goes down R, turns and looks at his painting) This is the best thing I’ve ever done. (He moves to the painting and bends down to it) Do you think Da Vinci knew what he’d done when he’d finished La Giaconda?
(ELSA crosses with the glass of beer and holds it out over the easel)
ELSA. La—what?
AMYAS. (taking the glass) La Gia—the Mona Lisa, you ignorant bitch—oh, never mind. (He drinks) Pah! It’s warm. Isn’t there a bucket of ice?
ELSA. (sitting on the bench) No. (She takes up her pose)
AMYAS. Somebody’s always forgetting something. (He crosses above the bench and looks off L) I loathe hot beer. (He calls) Hi, Angela!
ANGELA. (off L; calling) What?
AMYAS. Go and get me a bottle of beer from the refrigerator.
(ANGELA enters down L)
ANGELA. Why should I?
AMYAS. Common humanity. (He crosses to his stool) Come on, now, be a sport.
ANGELA. Oh, all right.
(ANGELA sticks her tongue out at Amyas and runs off by the door up L)
AMYAS. Charming little girl. (He sits on his stool) Your left hand’s wrong—up a bit.
(ELSA moves her left hand)
That’s better. (He sips some beer)
(MISS WILLIAMS enters up C and goes on to the terrace)
MISS WILLIAMS. (to Amyas) Have you seen Angela?
AMYAS. She’s just gone into the house to get me some beer. (He paints)
MISS WILLIAMS. Oh.
(MISS WILLIAMS seems surprised. She turns and exits quickly by the door up L. AMYAS whistles as he works)
ELSA. (after a few moments) Must you whistle?
AMYAS. Why not?
ELSA. That particular tune?
AMYAS. (not understanding) What? (He sings) “When we are married, why what shall we do?” (He grins) Not very tactful.
(CAROLINE enters by the door up L, carrying a bottle of beer)
CAROLINE. (moving down C; coldly) Here’s your beer. I’m sorry the ice was forgotten.
AMYAS. Oh, thank you, Caroline. Open it for me, will you? (He holds out his glass)
(CAROLINE takes the glass, crosses to the trolley, and with her back to the audience, opens the bottle and pours the beer. AMYAS begins to whistle the same tune, realizes this, and checks himself. CAROLINE takes the bottle and the glass of beer to AMYAS)
CAROLINE. Here’s your beer.
AMYAS. (taking the glass) And you hope it chokes me. (He grins) Here’s to hoping! (He drinks) Phew, this tastes worse than the other. Still, it is cold.
(CAROLINE places the bottle beside the paintbox, goes into the room and exits up C. AMYAS resumes painting. MEREDITH enters breathlessly down L)
MEREDITH. Is Phil about?
AMYAS. He went to meet you.
MEREDITH. Which path?
AMYAS. Lower one.
MEREDITH. I came by the o
ther.
AMYAS. Well, you can’t go on chasing each other. Better hang on and wait.
MEREDITH. (taking out his handkerchief and wiping his brow) I’m hot. I’ll go inside. It’s cooler. (He crosses to the french windows)
AMYAS. Get yourself a cold drink. Get one of the women to get it for you.
(MEREDITH goes into the room, and hesitates, uncertain what to do)
(He looks at Elsa) You’ve wonderful eyes, Elsa. (He pauses) I’ll leave the hands—concentrate on the eyes. I haven’t quite got them.
(MEREDITH moves to the french windows and looks out to the terrace)
Move your hands as much as you like—I’m getting it. Now for God’s sake don’t move or talk.
(MEREDITH turns and crosses in the room to RC)
ELSA. I don’t want to talk.
AMYAS. That’s a change.
(ANGELA enters up C, carrying a tray with a jug of iced lemonade and two glasses, which she places on the table R)
ANGELA. Refreshments!
MEREDITH. Oh, thank you, Angela. (He moves to the tray and pours a glass of lemonade)
ANGELA. (crossing to the french windows) We aim to please. (She goes on to the terrace. To Amyas) Did you get your beer all right?
AMYAS. Sure I did. You’re a great gal.
ANGELA. (laughing) Very kind, aren’t I? Ha, ha. You wait and see.
(ANGELA runs into the room and exits up C, closing the door behind her. MEREDITH sips his lemonade)
AMYAS. (suspicious) That kid’s up to something. (He rubs his right shoulder) That’s funny.
ELSA. What’s the matter?
AMYAS. I’m very stiff this morning. Rheumatism, I suppose.
ELSA. (mocking) Poor creaking old man.
(PHILIP enters down L)
AMYAS. (chuckling) Creaking with age. Hullo, Phil. Merry’s inside waiting for you.
PHILIP. Good (He crosses and goes into the room)
(MEREDITH puts his glass on the tray and meets PHILIP at C. AMYAS resumes painting)
MEREDITH. Thank goodness you’ve come. I didn’t know what to do.
PHILIP. What is all this? Caroline and the governess were in the room when you rang up.
MEREDITH. (in a low voice) There’s a bottle missing from my lab.
PHILIP. So you told me. But what’s in it?
MEREDITH. Conine.
PHILIP. Hemlock?
MEREDITH. Yes, conine’s the pure alkaloid.