The Project Gutenberg eBook of Mary Rose
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: Mary Rose
        A play in three acts

Author: J. M. Barrie

Release date: June 28, 2023 [eBook #71067]

Language: English

Original publication: United States: Charles Scribner's Sons

Credits: Tim Lindell, David E. Brown, and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.)


*** START OF THE PROJECT GUTENBERG EBOOK MARY ROSE ***





  THE UNIFORM EDITION OF
  THE PLAYS OF J. M. BARRIE


  MARY ROSE




  THE PLAYS OF
  J. M. BARRIE

  MARY ROSE

  A PLAY IN THREE ACTS

  CHARLES SCRIBNER’S SONS
  NEW YORK : : : : : : : : : 1924




  COPYRIGHT, 1924, BY
  J. M. BARRIE

  Printed in the United States of America

  _All rights reserved under the International Copyright Act.
  Performance forbidden and right of representation reserved.
  Application for the right of performing this play must be
  made to Charles Frohman, Inc., Empire Theatre, New York._

  [Illustration]




ACT I




ACT I


_The scene is a room in a small Sussex manor house that has long been
for sale. It is such a silent room that whoever speaks first here is
a bold one, unless indeed he merely mutters to himself, which they
perhaps allow. All of this room’s past which can be taken away has
gone. Such light as there is comes from the only window, which is at
the back and is incompletely shrouded in sacking. For a moment this is
a mellow light, and if a photograph could be taken quickly we might
find a disturbing smile on the room’s face, perhaps like the Mona
Lisa’s, which came, surely, of her knowing what only the dead should
know. There are two doors, one leading downstairs; the other is at the
back, very insignificant, though it is the centre of this disturbing
history. The wall-paper, heavy in the adherence of other papers of a
still older date, has peeled and leans forward here and there in a
grotesque bow, as men have hung in chains; one might predict that the
next sound heard here will be in the distant future when another piece
of paper loosens. Save for two packing-cases, the only furniture is
a worn easy-chair doddering by the unlit fire, like some foolish old
man. We might play with the disquieting fancy that this room, once
warm with love, is still alive but is shrinking from observation, and
that with our departure they cunningly set to again at the apparently
never-ending search which goes on in some empty old houses._

_Some one is heard clumping up the stair, and the caretaker enters. It
is not she, however, who clumps; she has been here for several years,
and has become sufficiently a part of the house to move noiselessly
in it. The first thing we know about her is that she does not like to
be in this room. She is an elderly woman of gaunt frame and with a
singular control over herself. There may be some one, somewhere, who
can make her laugh still, one never knows, but the effort would hurt
her face. Even the war, lately ended, meant very little to her. She
has shown a number of possible purchasers over the house, just as she
is showing one over it now, with the true caretaker’s indifference
whether you buy or not. The few duties imposed on her here she performs
conscientiously, but her greatest capacity is for sitting still in the
dark. Her work over, her mind a blank, she sits thus rather than pay
for a candle. One knows a little more about life when he knows the Mrs.
Oterys, but she herself is unaware that she is peculiar, and probably
thinks that in some such way do people in general pass the hour before
bedtime. Nevertheless, though saving of her candle in other empty
houses, she always lights it on the approach of evening in this one._

_The man who has clumped up the stairs in her wake is a young
Australian soldier, a private, such as in those days you met by the
dozen in any London street, slouching along it forlornly if alone,
with sudden stoppages to pass the time (in which you ran against
him), or in affable converse with a young lady. In his voice is the
Australian tang that became such a friendly sound to us. He is a rough
fellow, sinewy, with the clear eye of the man with the axe whose chief
life-struggle till the war came was to fell trees and see to it that
they did not crash down on him. Mrs. Otery is showing him the house,
which he has evidently known in other days, but though interested he is
unsentimental and looks about him with a tolerant grin._

MRS. OTERY. This was the drawing-room.

HARRY. Not it, no, no, never. This wasn’t the drawing-room, my cabbage;
at least not in my time.

MRS. OTERY (_indifferently_). I only came here about three years ago
and I never saw the house furnished, but I was told to say this was the
drawing-room. (_With a flicker of spirit._) And I would thank you not
to call me your cabbage.

HARRY (_whom this kind of retort helps to put at his ease_). No
offence. It’s a French expression, and many a happy moment have I given
to the mademoiselles by calling them cabbages. But the drawing-room!
I was a little shaver when I was here last, but I mind we called the
drawing-room the Big Room; it wasn’t a little box like this.

MRS. OTERY. This is the biggest room in the house. (_She quotes
drearily from some advertisement which is probably hanging in rags on
the gate._) Specially charming is the drawing-room with its superb view
of the Downs. This room is upstairs and is approached by----

HARRY. By a stair, containing some romantic rat-holes. Snakes, whether
it’s the room or not, it strikes cold; there is something shiversome
about it.

  (_For the first time she gives him a sharp glance._)

I’ve shivered in many a shanty in Australy, and thought of the big room
at home and the warmth of it. The warmth! And now this is the best it
can do for the prodigal when he returns to it expecting to see that
calf done to a turn. We live and learn, missis.

MRS. OTERY. We live, at any rate.

HARRY. Well said, my cabbage.

MRS. OTERY. Thank you, my rhododendron.

HARRY (_cheered_). I like your spirit. You and me would get on great if
I had time to devote to your amusement. But, see here, I can make sure
whether this was the drawing-room. If it was, there is an apple-tree
outside there, with one of its branches scraping on the window. I
ought to know, for it was out at the window down that apple-tree to
the ground that I slided one dark night when I was a twelve-year-old,
ran away from home, the naughty blue-eyed angel that I was, and set
off to make my fortune on the blasted ocean. The fortune, my--my lady
friend--has still got the start of me, but the apple-tree should be
there to welcome her darling boy.

  (_He pulls down the sacking, which lets a little more light into
  the room. We see that the window, which reaches to the floor, opens
  outwards. There were probably long ago steps from it down into the
  garden, but they are gone now, and gone too is the apple-tree._)

I’ve won! No tree: no drawing-room.

MRS. OTERY. I have heard tell there was once a tree there; and you can
see the root if you look down.

HARRY. Yes, yes, I see it in the long grass, and a bit of the seat that
used to be round it. This is the drawing-room right enough, Harry, my
boy. There were blue curtains to that window, and I used to hide behind
them and pounce out upon Robinson Crusoe. There was a sofa at this
end, and I had my first lessons in swimming on it. You are a fortunate
woman, my petite, to be here drinking in these moving memories. There
used to be a peacock, too. Now, what the hell could a peacock be doing
in this noble apartment?

MRS. OTERY. I have been told a cloth used to hang on the wall here,
tapestries they’re called, and that it had pictures of peacocks on it.
I dare say that was your peacock.

HARRY. Gone, even my peacock! And I could have sworn I used to pull the
feathers out of its tail. The clock was in this corner, and it had a
wheezy little figure of a smith that used to come out and strike the
hour on an anvil. My old man used to wind that clock up every night,
and I mind his rage when he found out it was an eight-day clock. The
padre had to reprove him for swearing. Padre? What’s the English for
padre? Damme, I’m forgetting my own language. Oh yes, parson. Is _he_
in the land of the living still? I can see him clear, a long thin man
with a hard sharp face. He was always quarrelling about pictures he
collected.

MRS. OTERY. The parson here is a very old man, but he is not tall and
thin, he is little and roundish with a soft face and white whiskers.

HARRY. Whiskers? I can’t think he had whiskers. (_Ruminating._) _Had_
he whiskers? Stop a bit, I believe it is his wife I’m thinking about. I
doubt I don’t give satisfaction as a sentimental character. Is there
any objection, your ladyship, to smoking in the drawing-room?

MRS. OTERY (_ungraciously_). Smoke if you want.

  (_He hacks into a cake of tobacco with a large clasp knife._)

That’s a fearsome-looking knife.

HARRY. Useful in trench warfare. It’s not a knife, it’s a
visiting-card. You leave it on favoured parties like this.

  (_He casts it at one of the packing-cases, and it sticks quivering in
  the wood._)

MRS. OTERY. Were you an officer?

HARRY. For a few minutes now and again.

MRS. OTERY. You’re playing with me.

HARRY. You’re so irresistible.

MRS. OTERY. Do you want to see the other rooms?

HARRY. I was fondly hoping you would ask me that.

MRS. OTERY. Come along then. (_She wants to lead him downstairs, but
the little door at the back has caught his eye._)

HARRY. What does that door open on?

MRS. OTERY (_avoiding looking at it_). Nothing, it’s just a cupboard
door.

HARRY (_considering her_). Who is playing with me now?

MRS. OTERY. I don’t know what you mean. Come this way.

HARRY (_not budging_). I’ll explain what I mean. That door--it’s coming
back to me--it leads into a little dark passage.

MRS. OTERY. That’s all.

HARRY. That can’t be all. Who ever heard of a passage wandering about
by itself in a respectable house! It leads--yes--to a single room, and
the door of the room faces this way.

  (_He opens the door, and a door beyond is disclosed._)

There’s a memory for you! But what the hell made you want to deceive me?

MRS. OTERY. It’s of no consequence.

HARRY. I think--yes--the room in there has two stone windows--and
wooden rafters.

MRS. OTERY. It’s the oldest part of the house.

HARRY. It comes back to me that I used to sleep there.

MRS. OTERY. That may be. If you’ll come down with me----

HARRY. I’m curious to see that room first.

  (_She bars the way._)

MRS. OTERY (_thin-lipped and determined_). You can’t go in there.

HARRY. Your reasons?

MRS. OTERY. It’s--locked. I tell you it’s just an empty room.

HARRY. There must be a key.

MRS. OTERY. It’s--lost.

HARRY. Queer your anxiety to stop me, when you knew I would find the
door locked.

MRS. OTERY. Sometimes it’s locked; sometimes not.

HARRY. Is it not you that locks it?

MRS. OTERY (_reluctantly_). It’s never locked, it’s held.

HARRY. Who holds it?

MRS. OTERY (_in a little outburst_). Quiet, man.

HARRY. You’re all shivering.

MRS. OTERY. I’m not.

HARRY (_cunningly_). I suppose you are just shivering because the room
is so chilly.

MRS. OTERY (_falling into the trap_). That’s it.

HARRY. So you are shivering!

  (_She makes no answer, and he reflects with the help of his pipe._)

May I put a light to these bits of sticks?

MRS. OTERY. If you like. My orders are to have fires once a week.

  (_He lights the twigs in the fireplace, and they burn up easily, but
  will be ashes in a few minutes._)

_You_ can’t have the money to buy a house like this.

HARRY. Not me. It was just my manly curiosity to see the old home that
brought me. I’m for Australy again. (_Suddenly turning on her._) What
is wrong with this house?

MRS. OTERY (_on her guard_). There is nothing wrong with it.

HARRY. Then how is it going so cheap?

MRS. OTERY. It’s--in bad repair.

HARRY. Why has it stood empty so long?

MRS. OTERY. It’s--far from a town.

HARRY. What made the last tenant leave in such a hurry?

MRS. OTERY (_wetting her lips_). You have heard that, have you?
Gossiping in the village, I suppose?

HARRY. I have heard some other things as well. I have heard they had to
get a caretaker from a distance, because no woman hereabout would live
alone in this house.

MRS. OTERY. A pack o’ cowards.

HARRY. I have heard that that caretaker was bold and buxom when she
came, and that now she is a scared woman.

MRS. OTERY. I’m not.

HARRY. I have heard she’s been known to run out into the fields and
stay there trembling half the night.

  (_She does not answer, and he resorts to cunning again._)

Of course, I see they couldn’t have meant you. Just foolish stories
that gather about an old house.

MRS. OTERY (_relieved_). That’s all.

HARRY (_quickly as he looks at the little door_). What’s that?

(_MRS. OTERY screams_.) I got you that time! What was it you expected
to see?

  (_No answer._)

Is it a ghost? They say it’s a ghost. What is it gives this house an
ill name?

MRS. OTERY. Use as brave words as you like when you have gone, but I
advise you, my lad, to keep a civil tongue while you are here. (_In her
everyday voice._) There is no use showing you the rest of the house. If
you want to be stepping, I have my work to do.

HARRY. We have got on so nicely I wonder if you would give me a mug of
tea. Not a cup, we drink it by the mugful where I hail from.

MRS. OTERY (_ungraciously_). I have no objection.

HARRY. Since you are so pressing I accept.

MRS. OTERY. Come down then to the kitchen.

HARRY. No, no, I’m sure the Prodigal got his tea in the drawing-room,
though what made them make such a fuss about that man beats me.

MRS. OTERY (_sullenly_). You are meaning to go into that room. I
wouldn’t if I was you.

HARRY. If you were me you would.

MRS. OTERY (_closing the little door_). Until I have your promise----

HARRY (_liking the tenacity of her_). Very well, I promise--unless, of
course, she comes peeping out at the handsome gentleman. Your ghost has
naught to do wi’ me. It’s a woman, isn’t it?

  (_Her silence is perhaps an assent._)

See here, I’ll sit in this chair till you come back, saying my prayers.
(_Feeling the chair._) You’re clammy cold, old dear. It’s not the
ghost’s chair by any chance, is it?

  (_No answer._)

You needn’t look so scared, woman; she doesn’t walk till midnight, does
she?

MRS. OTERY (_looking at his knife in the wood_). I wouldn’t leave that
knife lying about.

HARRY. Oh, come, give the old girl a chance.

MRS. OTERY. I’ll not be more than ten minutes.

HARRY. She can’t do much in ten minutes.

  (_At which remark MRS. OTERY fixes him with her eyes and departs._

  _HARRY is now sitting sunk in the chair, staring at the fire. It goes
  out, but he remains there motionless, and in the increasing dusk he
  ceases to be an intruder. He is now part of the room, the part long
  waited for, come back at last. The house is shaken to its foundation
  by his presence, we may conceive a thousand whispers. Then the crafty
  work begins. The little door at the back opens slowly to the extent
  of a foot. Thus might a breath of wind blow it if there were any
  wind. Presently HARRY starts to his feet, convinced that there is
  some one in the room, very near his knife. He is so sure of the exact
  spot where she is that for a moment he looks nowhere else._

  _In that moment the door slowly closes. He has not seen it close, but
  he opens it and calls out, ‘Who is that? Is any one there?’ With some
  distaste he enters the passage and tries the inner door, but whether
  it be locked or held it will not open. He is about to pocket his
  knife, then with a shrug of bravado sends it quivering back into the
  wood--for her if she can get it. He returns to the chair, but not to
  close his eyes; to watch and to be watched. The room is in a tremble
  of desire to get started upon that nightly travail which can never be
  completed till this man is here to provide the end._

  _The figure of HARRY becomes indistinct and fades from sight. When
  the haze lifts we are looking at the room as it was some thirty
  years earlier on the serene afternoon that began its troubled story.
  There are rooms that are always smiling, so that you may see them
  at it if you peep through the keyhole, and MRS. MORLAND’S little
  drawing-room is one of them. Perhaps these are smiles that she has
  left lying about. She leaves many things lying about; for instance,
  one could deduce the shape of her from studying that corner of the
  sofa which is her favourite seat, and all her garments grow so like
  her that her wardrobes are full of herself hanging on nails or
  folded away in drawers. The pictures on her walls in time take on a
  resemblance to her or hers though they may be meant to represent a
  waterfall, every present given to her assumes some characteristic
  of the donor, and no doubt the necktie she is at present knitting
  will soon be able to pass as the person for whom it is being knit.
  It is only delightful ladies at the most agreeable age who have this
  personal way with their belongings. Among MRS. MORLAND’S friends in
  the room are several of whom we have already heard, such as the blue
  curtains from which HARRY pounced upon the castaway, the sofa on
  which he had his first swimming lessons, the peacock on the wall, the
  clock with the smart smith ready to step out and strike his anvil,
  and the apple-tree is in full blossom at the open window, one of its
  branches has even stepped into the room._

  _MR. MORLAND and the local clergyman are chatting importantly about
  some matter of no importance, while MRS. MORLAND is on her sofa at
  the other side of the room, coming into the conversation occasionally
  with a cough or a click of her needles, which is her clandestine
  way of telling her husband not to be so assertive to his guest.
  They are all middle-aged people who have found life to be on the
  whole an easy and happy adventure, and have done their tranquil
  best to make it so for their neighbours. The squire is lean, the
  clergyman of full habit, but could you enter into them you would have
  difficulty in deciding which was clergyman and which was squire; both
  can be peppery, the same pepper. They are benignant creatures, but
  could exchange benignancies without altering. MRS. MORLAND knows
  everything about her husband except that she does nearly all his work
  for him. She really does not know this. His work, though he rises
  early to be at it, is not much larger than a lady’s handkerchief,
  and consists of magisterial duties, with now and then an impressive
  scene about a tenant’s cowshed. She then makes up his mind for him,
  and is still unaware that she is doing it. He has so often heard her
  say (believing it, too) that he is difficult to move when once he
  puts his foot down that he accepts himself modestly as a man of this
  character, and never tries to remember when it was that he last put
  down his foot. In the odd talks which the happily married sometimes
  hold about the future he always hopes he will be taken first, being
  the managing one, and she says little beyond pressing his hand, but
  privately she has decided that there must be another arrangement.
  Probably life at the vicarage is on not dissimilar lines, but we
  cannot tell as we never meet MR. AMY’S wife. MR. AMY is even more
  sociable than MR. MORLAND; he is reputed to know every one in the
  county, and has several times fallen off his horse because he will
  salute all passers-by. On his visits to London he usually returns
  depressed because there are so many people in the streets to whom
  he may not give a friendly bow. He likes to read a book if he knows
  the residence or a relative of the author, and at the play it is far
  more to him to learn that the actress has three children, one of them
  down with measles, than to follow her histrionic genius. He and his
  host have the pleasant habit of print-collecting, and a very common
  scene between them is that which now follows. They are bent over the
  squire’s latest purchase._)

MR. AMY. Very interesting. A nice little lot. I must say, James, you
have the collector’s flair.

MR. MORLAND. Oh, well, I’m keen, you know, and when I run up to London
I can’t resist going a bust in my small way. I picked these up quite
cheap.

MR. AMY. The flair. That is what you have.

MR. MORLAND. Oh, I don’t know.

MR. AMY. Yes, you have, James. You got them at Peterkin’s in Dean
Street, didn’t you? Yes, I know you did. I saw them there. I wanted
them too, but they told me you had already got the refusal.

MR. MORLAND. Sorry to have been too quick for you, George, but it is my
way to nip in. You have some nice prints yourself.

MR. AMY. I haven’t got your flair, James.

MR. MORLAND. I admit I don’t miss much.

  (_So far it has been a competition in saintliness._)

MR. AMY. No. (_The saint leaves him._) You missed something yesterday
at Peterkin’s though.

MR. MORLAND. How do you mean?

MR. AMY. You didn’t examine the little lot lying beneath this lot.

MR. MORLAND. I turned them over; just a few odds and ends of no account.

MR. AMY (_with horrible complacency_). All except one, James.

MR. MORLAND (_twitching_). Something good?

MR. AMY (_at his meekest_). Just a little trifle of a Gainsborough.

MR. MORLAND (_faintly_). What! You’ve got it?

MR. AMY. I’ve got it. I am a poor man, but I thought ten pounds wasn’t
too much for a Gainsborough.

  (_The devil now has them both._)

MR. MORLAND. Ten pounds! Is it signed?

MR. AMY. No, it isn’t signed.

MR. MORLAND (_almost his friend again_). Ah!

MR. AMY. What do you precisely mean by that ‘Ah,’ James? If it had been
signed, could I have got it for ten pounds? You are always speaking
about your flair; I suppose I can have a little flair sometimes too.

MR. MORLAND. I am not always speaking about my flair, and I don’t
believe it is a Gainsborough.

MR. AMY (_with dignity_). Please don’t get hot, James. If I had thought
you would grudge me my little find--which _you_ missed--I wouldn’t have
brought it to show you.

  (_With shocking exultation he produces a roll of paper._)

MR. MORLAND (_backing from it_). So that’s it.

MR. AMY. This is it. (_The squire has to examine it like a Christian._)
There! I have the luck this time. I hope you will have it next. (_The
exultation now passes from the one face into the other._)

MR. MORLAND. Interesting, George--quite. But definitely not a
Gainsborough.

MR. AMY. I say definitely a Gainsborough.

MR. MORLAND. Definitely not a Gainsborough.

  (_By this time the needles have entered into the controversy, but
  they are disregarded._)

I should say the work of a clever amateur.

MR. AMY. Look at the drawing of the cart and the figure beside it.

MR. MORLAND. Weak and laboured. Look at that horse.

MR. AMY. Gainsborough did some very funny horses.

MR. MORLAND. Granted, but he never placed them badly. That horse
destroys the whole balance of the composition.

MR. AMY. James, I had no idea you had such a small nature.

MR. MORLAND. I don’t like that remark; for your sake I don’t like it.
No one would have been more pleased than myself if you had picked up a
Gainsborough. But this! Besides, look at the paper.

MR. AMY. What is wrong with the paper, Mr. Morland?

MR. MORLAND. It is machine-made. Gainsborough was in his grave years
before that paper was made.

  (_After further inspection MR. AMY is convinced against his will,
  and the find is returned to his pocket less carefully than it had
  been produced._)

Don’t get into a tantrum about it, George.

MR. AMY (_grandly_). I am not in a tantrum, and I should be obliged if
you wouldn’t George me. Smile on, Mr. Morland, I congratulate you on
your triumph; you have hurt an old friend to the quick. Bravo, bravo.
Thank you, Mrs. Morland, for a very pleasant visit. Good day.

MRS. MORLAND (_prepared_). I shall see you into your coat, George.

MR. AMY. I thank you, Mrs. Morland, but I need no one to see me into my
coat. Good day.

  (_He goes, and she blandly follows him. She returns with the
  culprit._)

MRS. MORLAND. Now which of you is to say it first?

MR. AMY. James, I am heartily ashamed of myself.

MR. MORLAND. George, I apologise.

MR. AMY. I quite see that it isn’t a Gainsborough.

MR. MORLAND. After all, it’s certainly in the Gainsborough school.

  (_They clasp hands sheepishly, but the peace-maker helps the
  situation by showing a roguish face, and MR. AMY departs shaking a
  humorous fist at her_).

MRS. MORLAND. I coughed so often, James; and you must have heard me
clicking.

MR. MORLAND. I heard all right. Good old George! It’s a pity he has no
flair. He might as well order his prints by wireless.

MRS. MORLAND. What is that?

MR. MORLAND. Wireless it’s to be called. There is an article about it
in that paper. The fellow says that before many years have passed we
shall be able to talk to ships on the ocean.

MRS. MORLAND (_who has resumed her knitting_). Nonsense, James.

MR. MORLAND. Of course it’s nonsense. And yet there is no denying, as
he says, that there are more things in heaven and earth than are dreamt
of in our philosophy.

MRS. MORLAND (_becoming grave_). You and I know that to be true, James.

  (_For a moment he does not know to what she is referring._)

MR. MORLAND (_edging away from trouble_). Oh, that. My dear, that is
all dead and done with long ago.

MRS. MORLAND (_thankfully_). Yes. But sometimes when I look at Mary
Rose--so happy----

MR. MORLAND. She will never know anything about it.

MRS. MORLAND. No, indeed. But some day she will fall in love----

MR. MORLAND (_wriggling_). That infant! Fanny, is it wise to seek
trouble before it comes?

MRS. MORLAND. She can’t marry, James, without your first telling the
man. We agreed.

MR. MORLAND. Yes, I suppose I must--though I’m not certain I ought to.
Sleeping dogs-- Still, I’ll keep my word, I’ll tell him everything.

MRS. MORLAND. Poor Mary Rose.

MR. MORLAND (_manfully_). Now then, none of that. Where is she now?

MRS. MORLAND. Down at the boat-house with Simon, I think.

MR. MORLAND. That is all right. Let her play about with Simon and the
like. It may make a tomboy of her, but it will keep young men out of
her head.

  (_She wonders at his obtuseness._)

MRS. MORLAND. You still think of Simon as a boy?

MR. MORLAND. Bless the woman, he is only a midshipman.

MRS. MORLAND. A sub-lieutenant now.

MR. MORLAND. Same thing. Why, Fanny, I still tip him. At least I did a
year ago. And he liked it: ‘Thanks no end, you are a trump,’ he said,
and then slipped behind the screen to see how much it was.

MRS. MORLAND. He is a very delightful creature; but he isn’t a boy any
more.

MR. MORLAND. It’s not nice of you to put such ideas into my head. I’ll
go down to the boat-house at once. If this new invention was in working
order, Fanny, I could send him packing without rising from my seat. I
should simply say from this sofa, ‘Is my little Mary Rose there?’

  (_To their surprise there is an answer from MARY ROSE unseen._)

MARY ROSE (_in a voice more quaking than is its wont_). I’m here, Daddy.

MR. MORLAND (_rising_). Where are you, Mary Rose?

MARY ROSE. I am in the apple-tree.

  (_MRS. MORLAND smiles and is going to the window, but her husband
  checks her with a further exhibition of the marvel of the future._)

MR. MORLAND. What are you doing in the apple-tree, hoyden?

MARY ROSE. I’m hiding.

MR. MORLAND. From Simon?

MARY ROSE. No; I’m not sure whom I’m hiding from. From myself, I think.
Daddy, I’m frightened.

MR. MORLAND. What has frightened you? Simon?

MARY ROSE. Yes--partly.

MR. MORLAND. Who else?

MARY ROSE. I am most afraid of my daddy.

MR. MORLAND (_rather flattered_). Of _me_?

  (_If there is anything strange about this girl of eighteen who steps
  from the tree into the room, it is an elusiveness of which she is
  unaware. It has remained hidden from her girl friends, though in
  the after years, in the brief space before they forget her, they
  will probably say, because of what happened, that there was always
  something a little odd about MARY ROSE. This oddness might be
  expressed thus, that the happiness and glee of which she is almost
  overfull know of another attribute of her that never plays with them._

  _There is nothing splendid about MARY ROSE, never can she become
  one of those secret women so much less innocent than she, yet perhaps
  so much sweeter in the kernel, who are the bane or glory, or the bane
  and glory, of greater lovers than she could ever understand. She is
  just a rare and lovely flower, far less fitted than those others for
  the tragic rôle._

  _She butts her head into MRS. MORLAND with a childish impulsiveness
  that might overthrow a less accustomed bosom._)

MARY ROSE (_telling everything_). Mother!

MR. MORLAND. You don’t mean that anything has really frightened you,
Mary Rose?

MARY ROSE. I am not sure. Hold me tight, Mother.

MRS. MORLAND. Darling, has Simon been disturbing you?

MARY ROSE (_liking this way of putting it_). Yes, he has. It is all
Simon’s fault.

MR. MORLAND. But you said you were afraid even of me.

MARY ROSE. You are the only one.

MR. MORLAND. Is this some game? Where is Simon?

MARY ROSE (_in little mouthfuls_). He is at the foot of the tree. He is
not coming up by the tree. He wants to come in by the door. That shows
how important it is.

MR. MORLAND. What is?

MARY ROSE. You see, his leave is up to-morrow, and he--wants to see
you, Daddy, before he goes.

MR. MORLAND. I am sure he does. And I know why. I told you, Fanny. Mary
Rose, do you see my purse lying about?

MARY ROSE. Your purse, Dad?

MR. MORLAND. Yes, you gosling. There is a fiver in it, and _that_ is
what Master Simon wants to see me about.

  (_MARY ROSE again seeks her mother’s breast._)

MRS. MORLAND. Oh, James! Dearest, tell me what Simon has been saying to
you; whisper it, my love.

  (_MARY ROSE whispers._)

Yes, I thought it was that.

MARY ROSE. I am frightened to tell Daddy.

MRS. MORLAND. James, you may as well be told bluntly; it isn’t your
fiver that Simon wants, it is your daughter.

  (_MR. MORLAND is aghast, and MARY ROSE rushes into his arms to help
  him in this terrible hour._)

MARY ROSE (_as the injured party_). You will scold him, won’t you, Dad?

MR. MORLAND (_vainly trying to push her from him_). By--by--by
the--by all that is horrible I’ll do more than scold him. The puppy,
I’ll--I’ll----

MARY ROSE (_entreating_). Not more than scold him, Daddy--not more.
Mary Rose couldn’t bear it if it was more.

MR. MORLAND (_blankly_). You are not in love with Simon, are you?

MARY ROSE. Oh-h-h-h!

  (_She makes little runnings from the one parent to the other,
  carrying kisses for the wounds._)

Daddy, I am so awfully sorry that this has occurred. Mummy, what can we
do? (_She cries._)

MRS. MORLAND (_soothing her_). My own, my pet. But he is only a boy,
Mary Rose, just a very nice boy.

MARY ROSE (_awed_). Mother, that is the wonderful, wonderful thing.
He was just a boy--I quite understand that--he was a mere boy till
to-day; and then, Daddy, he suddenly changed; all at once he became a
man. It was while he was--telling me. You will scarcely know him now,
Mother.

MRS. MORLAND. Darling, he breakfasted with us; I think I shall know him
still.

MARY ROSE. He is quite different from breakfast-time. He doesn’t laugh
any more, he would never think of capsizing the punt intentionally now,
he has grown so grave, so manly, so--so _protective_, he thinks of
everything now, of freeholds and leaseholds, and gravel soil, and hot
and cold, and the hire system.

  (_She cries again, but her eyes are sparkling through the rain._)

MR. MORLAND (_with spirit_). He has got as far as that, has he! Does he
propose that this marriage should take place to-morrow?

MARY ROSE (_eager to soften the blow_). Oh no, not for quite a long
time. At earliest, not till his next leave.

MRS. MORLAND. Mary Rose!

MARY ROSE. He is waiting down there, Mummy. May I bring him in?

MRS. MORLAND. Of course, dearest.

MR. MORLAND. Don’t come with him, though.

MARY ROSE. Oh! (_She wonders what this means._) You know how shy Simon
is.

MR. MORLAND. I do not.

MRS. MORLAND. Your father and I must have a talk with him alone, you
see.

MARY ROSE. I--I suppose so. He so wants to do the right thing, Mother.

MRS. MORLAND. I am sure he does.

MARY ROSE. Do you mind my going upstairs into the apple-room and
sometimes knocking on the floor? I think it would be a help to him to
know I am so near by.

MRS. MORLAND. It would be a help to all of us, my sweet.

MARY ROSE (_plaintively_). You--you won’t try to put him against me,
Daddy?

MR. MORLAND. I would try my hardest if I thought I had any chance.

  (_When she has gone they are a somewhat forlorn pair._)

Poor old mother!

MRS. MORLAND. Poor old father! There couldn’t be a nicer boy, though.

MR. MORLAND. No, but-- (_He has a distressing thought._)

MRS. MORLAND (_quietly_). Yes, there’s that.

MR. MORLAND. It got me on the quick when she said, ‘You won’t try to
put him against me, Daddy’--because that is just what I suppose I have
got to do.

MRS. MORLAND. He must be told.

MR. MORLAND (_weakly_). Fanny, let us keep it to ourselves.

MRS. MORLAND. It would not be fair to him.

MR. MORLAND. No, it wouldn’t. (_Testily._) He will be an ass if it
bothers him.

MRS. MORLAND (_timidly_). Yes.

  (_SIMON comes in, a manly youth of twenty-three in naval uniform.
  Whether he has changed much since breakfast-time we have no means of
  determining, but he is sufficiently attractive to make one hope that
  there will be no further change in the immediate future. He seems
  younger even than his years because he is trying to look as if a
  decade or so had passed since the incident of the boat-house and he
  were now a married man of approved standing. He has come with honeyed
  words upon his lips, but suddenly finds that he is in the dock. His
  judges survey him silently, and he can only reply with an idiotic but
  perhaps ingratiating laugh._)

SIMON. Ha, ha, ha, ha, ha, ha, ha, ha! (_He ceases uncomfortably, like
one who has made his statement._)

MR. MORLAND. You will need to say more than that, you know, Simon, to
justify your conduct.

MRS. MORLAND. Oh, Simon, how could you!

SIMON (_with a sinking_). It seems almost like stealing.

MR. MORLAND. It is stealing.

SIMON (_prudently_). Ha, ha, ha, ha, ha, ha!

  (_From the ceiling there comes a gentle tapping, as from a senior
  officer who is indicating that England expects her lieutenant this
  day to do his duty. SIMON inflates._)

It is beastly hard on you, of course; but if you knew what Mary Rose is!

MRS. MORLAND (_pardonably_). We feel that even we know to some extent
what Mary Rose is.

SIMON (_tacking_). Yes, rather; and so you can see how it has come
about. (_This effort cheers him._) I would let myself be cut into
little chips for her; I should almost like it. (_With a brief glance
at his misspent youth._) Perhaps you have thought that I was a rather
larky sort in the past?

MRS. MORLAND (_sarcastically_). We see an extraordinary change in you,
Simon.

SIMON (_eagerly_). Have you noticed that? Mary Rose has noticed it too.
That is my inner man coming out. (_Carefully._) To some young people
marriage is a thing to be entered on lightly, but that is not my style.
What I want is to give up larks, and all that, and insure my life, and
read the political articles.

  (_Further knocking from above reminds him of something else._)

Yes, and I promise you it won’t be like losing a daughter but like
gaining a son.

MRS. MORLAND. Did Mary Rose tell you to say that?

SIMON (_guiltily_). Well-- (_Tap, tap._) Oh, another thing, I should
consider it well worth being married to Mary Rose just to have you,
Mrs. Morland, for a mother-in-law.

MR. MORLAND (_pleased_). Well said, Simon; I like you the better for
that.

MRS. MORLAND (_a demon_). Did she tell you to say that also?

SIMON. Well-- At any rate, never shall I forget the respect and
affection I owe to the parents of my beloved wife.

MR. MORLAND. She is not your wife yet, you know.

SIMON (_handsomely_). No, she isn’t. But can she be? Mrs. Morland, can
she be?

MRS. MORLAND. That is as may be, Simon. It is only a possible
engagement that we are discussing at present.

SIMON. Yes, yes, of course. (_Becoming more difficult to resist as his
reason goes._) I used to be careless about money, but I have thought of
a trick of writing the word Economy in the inside of my watch, so that
I’ll see it every time I wind up. My people----

MR. MORLAND. We like them, Simon.

  (_The tapping is resumed._)

SIMON. I don’t know whether you have noticed a sound from up above?

MR. MORLAND. I did think I heard something.

SIMON. That is Mary Rose in the apple-room.

MRS. MORLAND. No!

SIMON. Yes; she is doing that to help me. I promised to knock back as
soon as I thought things were going well. What do you say? May I?

  (_He gives them an imploring look, and mounts a chair, part of a
  fishing rod in his hand._)

MR. MORLAND (_an easy road in sight_). I think, Fanny, he might?

MRS. MORLAND (_braver_). No. (_Tremulously._) There is a little thing,
Simon, that Mary Rose’s father and I feel we ought to tell you about
her before--before you knock, my dear. It is not very important, I
think, but it is something she doesn’t know of herself, and it makes
her a little different from other girls.

SIMON (_alighting--sharply_). I won’t believe anything against Mary
Rose.

MRS. MORLAND. We have nothing to tell you against her.

MR. MORLAND. It is just something that happened, Simon. She couldn’t
help it. It hasn’t troubled us in the least for years, but we always
agreed that she mustn’t be engaged before we told the man. We must have
your promise, before we tell you, that you will keep it to yourself.

SIMON (_frowning_). I promise.

MRS. MORLAND. You must never speak of it even to her.

SIMON. Not to Mary Rose? I wish you would say quickly what it is.

  (_They are now sitting round the little table._)

MR. MORLAND. It can’t be told quite in a word. It happened seven
years ago, when Mary Rose was eleven. We were in a remote part of
Scotland--in the Outer Hebrides.

SIMON. I once went on shore there from the _Gadfly_, very bleak and
barren, rocks and rough grass, I never saw a tree.

MR. MORLAND. It is mostly like that. There is a whaling-station. We
went because I was fond of fishing. I haven’t had the heart to fish
since. Quite close to the inn where we put up there is--a little island.

  (_He sees that little island so clearly that he forgets to go on._)

MRS. MORLAND. It is quite a small island, Simon, uninhabited, no sheep
even. I suppose there are only about six acres of it. There are trees
there, quite a number of them, Scotch firs and a few rowan-trees, they
have red berries, you know. There seemed to us to be nothing very
particular about the island, unless, perhaps, that it is curiously
complete in itself. There is a tiny pool in it that might be called a
lake, out of which a stream flows. It has hillocks and a glade, a sort
of miniature land. That was all we noticed, though it became the most
dreaded place in the world to us.

MR. MORLAND (_considerately_). I can tell him without your being here,
Fanny.

MRS. MORLAND. I prefer to stay, James.

MR. MORLAND. I fished a great deal in the loch between that island
and the larger one. The sea-trout were wonderful. I often rowed Mary
Rose across to the island and left her there to sketch. She was fond of
sketching in those days, we thought them pretty things. I could see her
from the boat most of the time, and we used to wave to each other. Then
I would go back for her when I stopped fishing.

MRS. MORLAND. I didn’t often go with them. We didn’t know at the time
that the natives had a superstition against landing on the island, and
that it was supposed to resent this. It had a Gaelic name which means
‘The Island that Likes to be Visited.’ Mary Rose knew nothing of this,
and she was very fond of her island. She used to talk to it, call it
her darling, things like that.

SIMON (_restless_). Tell me what happened.

MR. MORLAND. It was on what was to be our last day. I had landed her on
this island as usual, and in the early evening I pulled across to take
her off. From the boat I saw her, sitting on a stump of a tree that was
her favourite seat, and she waved gaily to me and I to her. Then I
rowed over, with, of course, my back to her. I had less than a hundred
yards to go, but, Simon, when I got across she wasn’t there.

SIMON. You seem so serious about it. She was hiding from you?

MRS. MORLAND. She wasn’t on the island, Simon.

SIMON. But--but--oh, but----

MR. MORLAND. Don’t you think I searched and searched?

MRS. MORLAND. All of us. No one in the village went to bed that night.
It was then we learned how they feared the island.

MR. MORLAND. The little pool was dragged. There was nothing we didn’t
try; but she was gone.

SIMON (_distressed_). I can’t--there couldn’t--but never mind that.
Tell me how you found her.

MRS. MORLAND. It was the twentieth day after she disappeared. Twenty
days!

SIMON. Some boat----?

MR. MORLAND. There was no boat but mine.

SIMON. Tell me.

MRS. MORLAND. The search had long been given up, but we couldn’t come
away.

MR. MORLAND. I was wandering one day along the shore of the loch,
you can imagine in what state of mind. I stopped and stood looking
across the water at the island, and, Simon, I saw her sitting on the
tree-trunk sketching.

MRS. MORLAND. Mary Rose!

MR. MORLAND. She waved to me and went on sketching. I--I waved back to
her. I got into the boat and rowed across just in the old way, except
that I sat facing her, so that I could see her all the time. When I
landed, the first thing she said to me was, ‘Why did you row in that
funny way, Dad?’ Then I saw at once that she didn’t know anything had
happened.

SIMON. Mr. Morland! How could--? Where did she say she had been?

MRS. MORLAND. She didn’t know she had been anywhere, Simon.

MR. MORLAND. She thought I had just come for her at the usual time.

SIMON. Twenty days. You mean she had been on the island all that time?

MR. MORLAND. We don’t know.

MRS. MORLAND. James brought her back to me just the same merry
unselfconscious girl, with no idea that she had been away from me for
more than an hour or two.

SIMON. But when you told her----

MRS. MORLAND. We never told her; she doesn’t know now.

SIMON. Surely you----

MRS. MORLAND. We had her back again, Simon; that was the great thing.
At first we thought to tell her after we got her home; and then, it was
all so inexplicable, we were afraid to alarm her, to take the bloom off
her. In the end we decided never to tell her.

SIMON. You told no one?

MR. MORLAND. Several doctors.

SIMON. How did they explain it?

MR. MORLAND. They had no explanation for it except that it never took
place. You can think that, too, if you like.

SIMON. I don’t know what to think. It has had no effect on her, at any
rate.

MR. MORLAND. None whatever--and you can guess how we used to watch.

MRS. MORLAND. Simon, I am very anxious to be honest with you. I have
sometimes thought that our girl is curiously young for her age--as
if--you know how just a touch of frost may stop the growth of a plant
and yet leave it blooming--it has sometimes seemed to me as if a cold
finger had once touched my Mary Rose.

SIMON. Mrs. Morland!

MRS. MORLAND. There is nothing in it.

SIMON. What you are worrying about is just her innocence--which seems a
holy thing to me.

MRS. MORLAND. And indeed it is.

SIMON. If that is all----

MR. MORLAND. We have sometimes thought that she had momentary glimpses
back into that time, but before we could question her in a cautious way
about them the gates had closed and she remembered nothing. You never
saw her talking to--to some person who wasn’t there?

SIMON. No.

MRS. MORLAND. Nor listening, as it were, for some sound that never
came?

SIMON. A sound? Do you mean a sound from the island?

MRS. MORLAND. Yes, we think so. But at any rate she has long outgrown
those fancies.

  (_She fetches a sketch-book from a drawer._)

Here are the sketches she made. You can take the book away with you and
look at them at your leisure.

SIMON. It is a little curious that she has never spoken to me of that
holiday. She tells me everything.

MRS. MORLAND. No, that isn’t curious, it is just that the island has
faded from her memory. I should be troubled if she began to recall it.
Well, Simon, we felt we had to tell you. That is all we know, I am sure
it is all we shall ever know. What are you going to do?

SIMON. What do you think!

  (_He mounts the chair again, and knocks triumphantly. A happy tapping
  replies._)

You heard? That means it’s all right. You’ll see how she’ll come
tearing down to us!

MRS. MORLAND (_kissing him_). You dear boy, you will see how I shall go
tearing up to her. (_She goes off._)

SIMON. I do love Mary Rose, sir.

MR. MORLAND. So do we, Simon. I suppose that made us love her a little
more than other daughters are loved. Well, it is dead and done with,
and it doesn’t disturb me now at all. I hope you won’t let it disturb
you.

SIMON (_undisturbed_). Rather not. (_Disturbed._) I say, I wonder
whether I _have_ noticed her listening for a sound?

MR. MORLAND. Not you. We did wisely, didn’t we, in not questioning her?

SIMON. Oh, lord, yes. ‘The Island that Likes to be Visited.’ It is a
queer name. (_Boyishly._) I say, let’s forget all about it. (_He looks
at the ceiling._) I almost wish her mother hadn’t gone up to her. It
will make Mary Rose longer in coming down.

MR. MORLAND (_humorous_). Fanny will think of nicer things to say to
her than you could think of, Simon.

SIMON. Yes, I know. Ah, now you are chaffing me. (_Apologetically._)
You see, sir, my leave is up to-morrow.

  (_MARY ROSE comes rushing in._)

Mary Rose!

  (_She darts past him into her father’s arms._)

MARY ROSE. It isn’t you I am thinking of; it is father, it is poor
father. Oh, Simon, how could you? Isn’t it hateful of him, Daddy!

MR. MORLAND. I should just say it is. Is your mother crying too?

MARY ROSE (_squeaking_). Yes.

MR. MORLAND. I see I am going to have an abominable day. If you two
don’t mind very much being left alone, I think I’ll go up and sit in
the apple-room and cry with your mother. It is close and dark and musty
up there, and when we feel we can’t stick it any longer I’ll knock on
the floor, Simon, as a sign that we are coming down.

  (_He departs on this light note. We see how the minds of these two
  children match._)

SIMON. Mary Rose!

MARY ROSE. Oh, Simon--you and me.

SIMON. You and me, that’s it. We are _us_, now. Do you like it?

MARY ROSE. It is so fearfully solemn.

SIMON. You are not frightened, are you?

  (_She nods._)

Not at me?

  (_She shakes her head._)

What at?

MARY ROSE. At _it_-- Being--married. Simon, after we are married you
will sometimes let me play, won’t you?

SIMON. Games?

  (_She nods._)

Rather. Why, I’ll go on playing rugger myself. Lots of married people
play games.

MARY ROSE (_relieved_). I’m glad; Simon, do you love me?

SIMON. Dearest--precious--my life--my sweetheart. Which name do you
like best?

MARY ROSE. I’m not sure. They are all very nice. (_She is conscious of
the ceiling._) Oughtn’t we to knock to those beloveds to come down?

SIMON. Please don’t. I know a lot about old people, darling. I assure
you they don’t mind very much sitting in dull places.

MARY ROSE. We mustn’t be selfish.

SIMON. Honest Injun, is isn’t selfishness. You see, I have a ton of
things to tell you. About how I put it to them, and how I remembered
what you told me to say, and the way I got the soft side of them. They
have heard it all already, so it would really be selfish to bring them
down.

MARY ROSE. I’m not so sure.

SIMON. I’ll tell you what we’ll do. Let’s go back to the boat-house,
and then they can come down and be cosy here.

MARY ROSE (_gleeful_). Let’s! We can stay there till tea-time. (_She
wants to whirl him away at once._)

SIMON. It is fresh down there; put on a jacket, my star.

MARY ROSE. Oh, bother!

SIMON (_firmly_). My child, you are in my care now; I am responsible
for you, and I order you to put on a jacket.

MARY ROSE. Order! Simon, you do say the loveliest things. I’ll put it
on at once.

  (_She is going towards the little door at the back, but turns to say
  something important._)

Simon, I’ll tell you a funny thing about me. I may be wrong, but I
think I’ll sometimes love you to kiss me, and sometimes it will be
better not.

SIMON. All right. Tell me, what were you thinking as you sat up there
in the apple-room, waiting?

MARY ROSE. Holy things.

SIMON. About love?

  (_She nods._)

MARY ROSE. We’ll try to be good, won’t we, Simon, please?

SIMON. Rather. Honest Injun, we’ll be nailers. Did you think of--our
wedding-day?

MARY ROSE. A little.

SIMON. Only a little?

MARY ROSE. But frightfully clearly. (_Suddenly._) Simon, I had such a
delicious idea about our honeymoon. There is a place in Scotland--in
the Hebrides--I should love to go there.

SIMON (_taken aback_). The Hebrides?

MARY ROSE. We once went to it when I was little. Isn’t it funny, I had
almost forgotten about that island, and then suddenly I saw it quite
clearly as I was sitting up there. (_Senselessly._) Of course it was
the little old woman who pointed it out to me.

  (_SIMON is disturbed._)

SIMON (_gently_). Mary Rose, there are only yourselves and the three
maids in the house, aren’t there?

MARY ROSE (_surprised_). You know there are. Whatever makes you ask?

SIMON (_cautiously_). I thought--I thought I had a glimpse of a little
old woman on the stair to-day.

MARY ROSE (_interested_). Who on earth could that be?

SIMON. It doesn’t matter, I had made a mistake. Tell me, what was there
particular about that place in the Hebrides?

MARY ROSE. Oh, the fishing for father. But there was an island where I
often-- My little island!

SIMON (_perhaps quite unnecessarily_). What are you listening for, Mary
Rose?

MARY ROSE. Was I? I don’t hear anything. Oh, my dear, my dear, I should
love to show you the tree-trunk and the rowan-tree where I used to
sketch while father was in the boat. I expect he used to land me on the
island because it was such a safe place.

SIMON (_troubled_). That had been the idea. I am not going to spend
my honeymoon by the sea, though. And yet I should like to go to the
Hebrides--some day--to see that island.

MARY ROSE. Yes, let’s.

  (_She darts off through the little door for her jacket._)




ACT II




ACT II


  _An island in the Outer Hebrides. A hundred yards away, across the
  loch at the back, may be seen the greater island of which this might
  be but a stone cast into the sea by some giant hand: perhaps an evil
  stone which the big island had to spew forth but could not sink. It
  is fair to look upon to-day, all its menace hidden under mosses of
  various hues that are a bath to the eye; an island placid as a cow
  grazing or a sulky lady asleep. The sun which has left the bleak
  hills beyond is playing hide and seek on it--one suddenly has the
  curious fancy to ask, with whom? A blessed spot it might be thought,
  rather than sinister, were there not those two trees, a fir and a
  rowan, their arms outstretched for ever southward, as if they had
  been struck while in full flight and could no longer pray to their
  gods to carry them away from this island. A young Highlander, a
  Cameron, passes in a boat at the back. Mary Rose and Simon come into
  view on the island. We have already heard them swishing a way through
  whins and bracken that are unseen. They are dressed as English people
  dress in Scotland. They have been married for four years and are
  still the gay young creatures of their engagement day. Their talk
  is the happy nonsense that leaves no ripple unless the unexpected
  happens._

MARY ROSE (_thrilled_). I think, I think, I don’t think at all, I am
quite sure. This is the place. Simon, kiss me, kiss me quick. You
promised to kiss me quick when we found the place.

SIMON (_obeying_). I am not the man to break my word. At the same time,
Mary Rose, I would point out to you that this is the third spot you
have picked out as being the place, and three times have I kissed you
quick on that understanding. This can’t go on, you know. As for your
wonderful island, it turns out to be about the size of the Round Pond.

MARY ROSE. I always said it was little like myself.

SIMON. It was obviously made to fit you, or you to fit it; one of you
was measured for the other. At any rate, we have now been all round it,
and all through it, as my bleeding limbs testify. (_The whins have
been tearing at him, and he rubs his legs._)

MARY ROSE. They didn’t hurt me at all.

SIMON. Perhaps they like you better than me. Well, we have made a good
search for the place where you used to sit and sketch, and you must now
take your choice.

MARY ROSE. It was here. I told you of the fir and the rowan-tree.

SIMON. There were a fir and a rowan at each of the other places.

MARY ROSE. Not this fir, not this rowan.

SIMON. You have me there.

MARY ROSE. Simon, I know I’m not clever, but I’m always right. The
rowan-berries! I used to put them in my hair. (_She puts them in her
hair again._) Darling rowan-tree, are you glad to see me back? You
don’t look a bit older, how do you think I am wearing? I shall tell
you a secret. You too, firry. Come closer, both of you. Put your arms
around me, and listen: I am married!

  (_The branch of which she has been making a scarf disengages itself._)

It didn’t like that, Simon, it is jealous. After all, it knew me
first. Dearest trees, if I had known that you felt for me in that
way--but it is too late now. I have been married for nearly four years,
and this is the man. His name is Lieutenant Simon Sobersides. (_She
darts about making discoveries._)

SIMON (_tranquilly smoking_). What is it now?

MARY ROSE. That moss! I feel sure there is a tree-trunk beneath it, the
very root on which I used to sit and sketch.

  (_He clears away some of the moss._)

SIMON. It is a tree-trunk right enough.

MARY ROSE. I believe--I believe I cut my name on it with a knife.

SIMON. This looks like it. ‘M--A--R--’ and there it stops. That is
always where the blade of the knife breaks.

MARY ROSE. My ownest seat, how I have missed you.

SIMON. Don’t you believe it, old tree-trunk. She had forgotten all
about you, and you just came vaguely back to her mind because we
happened to be in the neighbourhood.

MARY ROSE. Yes, I suppose that is true. You were the one who wanted to
come, Simon. I wonder why?

SIMON (_with his answer ready_). No particular reason. I wanted to see
a place you had visited as a child; that was all. But what a trumpery
island it proves to be.

MARY ROSE (_who perhaps agrees with him_). How can you? Even if it is
true, you needn’t say it before them all, hurting their feelings. Dear
seat, here is one for each year I have been away. (_She kisses the
trunk a number of times._)

SIMON (_counting_). Eleven. Go on, give it all the news. Tell it we
don’t have a house of our own yet.

MARY ROSE. You see, dear seat, we live with my daddy and mother,
because Simon is so often away at sea. You know, the loveliest thing in
the world is the navy, and the loveliest thing in the navy is H.M.S.
_Valiant_, and the loveliest thing on H.M.S. _Valiant_ is Lieutenant
Simon Sobersides, and the loveliest thing on Lieutenant Simon
Sobersides is the little tuft of hair which will keep standing up at
the back of his head.

  (_SIMON, who is lolling on the moss, is so used to her prattle that
  his eyes close._)

But, listen, you trees, I have a much more wonderful secret than that.
You can have three guesses. It is this ... I--have--got--a baby! A
girl? No thank you. He is two years and nine months, and he says such
beautiful things to me about loving me. Oh, rowan, do you think he
means them?

SIMON. I distinctly heard it say yes.

  (_He opens his eyes, to see her gazing entranced across the water._)

You needn’t pretend that you can see him.

MARY ROSE. I do. Can’t you? He is waving his bib to us.

SIMON. That is nurse’s cap.

MARY ROSE. Then he is waving it. How clever of him. (_She waves her
handkerchief._) Now they are gone. Isn’t it funny to think that from
this very spot I used to wave to father? That was a happy time.

SIMON. I should be happier here if I wasn’t so hungry. I wonder where
Cameron is. I told him after he landed us to tie up the boat at any
good place and make a fire. I suppose I had better try to make it
myself.

MARY ROSE. How you can think of food at such a time!

SIMON (_who is collecting sticks_). All very well, but you will
presently be eating more than your share.

MARY ROSE. Do you know, Simon, I don’t think daddy and mother like this
island.

SIMON (_on his guard_). Help me with the fire, you chatterbox.

  (_He has long ceased to credit the story he heard four years ago, but
  he is ever watchful for MARY ROSE._)

MARY ROSE. They never seem to want to speak of it.

SIMON. Forgotten it, I suppose.

MARY ROSE. I shall write to them from the inn this evening. How
surprised they will be to know I am there again.

SIMON (_casually_). I wouldn’t write from there. Wait till we cross to
the mainland.

MARY ROSE. Why not from there?

SIMON. Oh, no reason. But if they have a distaste for the place,
perhaps they wouldn’t like our coming. I say, praise me, I have got
this fire alight.

MARY ROSE (_who is occasionally pertinacious_). Simon, why did you want
to come to my island without me?

SIMON. Did I? Oh, I merely suggested your remaining at the inn because
I thought you seemed tired. I wonder where Cameron can have got to.

MARY ROSE. Here he comes. (_Solicitously._) Do be polite to him, dear;
you know how touchy they are.

SIMON. I am learning!

  (_The boat, with CAMERON, draws in. He is a gawky youth of twenty,
  in the poor but honourable garb of the ghillie, and is not specially
  impressive until you question him about the universe._)

CAMERON (_in the soft voice of the Highlander_). Iss it the wish of Mr.
Blake that I should land?

SIMON. Yes, yes, Cameron, with the luncheon.

  (_CAMERON steps ashore with the fishing basket._)

CAMERON. Iss it the wish of Mr. Blake that I open the basket?

SIMON. We shall tumble out the luncheon if you bring a trout or two. I
want you to show my wife, Cameron, how one cooks fish by the water’s
edge.

CAMERON. I will do it with pleasure. (_He pauses._) There iss one
little matter; it iss of small importance. You may haf noticed that I
always address you as Mr. Blake. I notice that you always address me as
Cameron; I take no offence.

MARY ROSE. Oh dear, I am sure I always address you as Mr. Cameron.

CAMERON. That iss so, ma’am. You may haf noticed that I always address
you as ‘ma’am.’ It iss my way of indicating that I consider you a ferry
genteel young matron, and of all such I am the humble servant. (_He
pauses._) In saying I am your humble servant I do not imply that I am
not as good as you are. With this brief explanation, ma’am, I will now
fetch the trouts.

SIMON (_taking advantage of his departure_). That is one in the eye for
me. But I’m hanged if I mister him.

MARY ROSE. Simon, do be careful. If you want to say anything to me that
is dangerous, say it in French.

  (_CAMERON returns with two small sea-trout._)

CAMERON. The trouts, ma’am, having been cleaned in a thorough and
yet easy manner by pulling them up and down in the water, the next
procedure iss as follows.

  (_He wraps up the trout in a piece of newspaper and soaks them in the
  water._)

I now place the soaking little parcels on the fire, and when the paper
begins to burn it will be a sure sign that the trouts iss now ready,
like myself, ma’am, to be your humble servants. (_He is returning to
the boat._)

MARY ROSE (_who has been preparing the feast_). Don’t go away.

CAMERON. If it iss agreeable to Mistress Blake I would wish to go back
to the boat.

MARY ROSE. Why?

  (_CAMERON is not comfortable._)

It would be more agreeable to me if you would stay.

CAMERON (_shuffling_). I will stay.

SIMON. Good man--and look after the trout. It is the most heavenly way
of cooking fish, Mary Rose.

CAMERON. It iss a tasty way, Mr. Blake, but I would not use the word
heavenly in this connection.

SIMON. I stand corrected. (_Tartly._) I must say--

MARY ROSE. _Prenez garde, mon brave!_

SIMON. _Mon Dieu! Qu’il est un drôle!_

MARY ROSE. _Mais moi, je l’aime; il est tellement_-- What is the French
for an original?

SIMON. That stumps me.

CAMERON. Colloquially _coquin_ might be used, though the classic
writers would probably say simply _un original_.

SIMON (_with a groan_). Phew, this is serious. What was that book you
were reading, Cameron, while I was fishing?

CAMERON. It iss a small Euripides I carry in the pocket, Mr. Blake.

SIMON. Latin, Mary Rose!

CAMERON. It may be Latin, but in these parts we know no better than to
call it Greek.

SIMON. Crushed again! But I dare say it is good for me. Sit down and
have pot-luck with us.

CAMERON. I thank you, Mr. Blake, but it would not be good manners for a
paid man to sit with his employers.

MARY ROSE. When I ask you, Mr. Cameron?

CAMERON. It iss kindly meant, but I haf not been introduced to you.

MARY ROSE. Oh, but--oh, do let me. My husband Mr. Blake--Mr. Cameron.

CAMERON. I hope you are ferry well, sir.

SIMON. The same to you, Mr. Cameron. How do you do? Lovely day, isn’t
it?

CAMERON. It iss a fairly fine day. (_He is not yet appeased._)

MARY ROSE (_to the rescue_). Simon!

SIMON. Ah! Do you know my wife? Mr. Cameron--Mrs. Blake.

CAMERON. I am ferry pleased to make Mistress Blake’s acquaintance. Iss
Mistress Blake making a long stay in these parts?

MARY ROSE. No, alas, we go across to-morrow.

CAMERON. I hope the weather will be favourable.

MARY ROSE. Thank you (_passing him the sandwiches_). And now, you know,
you are our guest.

CAMERON. I am much obliged. (_He examines the sandwiches with
curiosity._) Butcher-meat! This iss ferry excellent.

  (_He bursts into a surprising fit of laughter, and suddenly cuts it
  off._)

Please to excuse my behaviour. You haf been laughing at me all this
time, but you did not know I haf been laughing at myself also, though
keeping a remarkable control over my features. I will now haf my laugh
out, and then I will explain. (_He finishes his laugh._) I will now
explain. I am not the solemn prig I haf pretended to you to be, I am
really a fairly attractive young man, but I am shy and I haf been
guarding against your taking liberties with me, not because of myself,
who am nothing, but because of the noble profession it iss my ambition
to enter. (_They discover that they like him._)

MARY ROSE. Do tell us what that is.

CAMERON. It iss the ministry. I am a student of Aberdeen University,
and in the vacation I am a boatman, or a ghillie, or anything you
please, to help to pay my fees.

SIMON. Well done!

CAMERON. I am obliged to Mr. Blake. And I may say, now that we know one
another socially, that there iss much in Mr. Blake which I am trying to
copy.

SIMON. Something in me worth copying!

CAMERON. It iss not Mr. Blake’s learning; he has not much learning,
but I haf always understood that the English manage without it. What I
admire in you iss your ferry nice manners and your general deportment,
in all which I haf a great deal to learn yet, and I watch these things
in Mr. Blake and take memoranda of them in a little note-book.

  (_SIMON expands._)

MARY ROSE. Mr. Cameron, do tell me that I also am in the little
note-book?

CAMERON. You are not, ma’am, it would not be seemly in me. But it iss
written in my heart, and also I haf said it to my father, that I will
remain a bachelor unless I can marry some lady who iss ferry like
Mistress Blake.

MARY ROSE. Simon, you never said anything to me as pretty as that. Is
your father a crofter in the village?

CAMERON. Yes, ma’am, when he iss not at the University of Aberdeen.

SIMON. My stars, does he go there too?

CAMERON. He does so. We share a ferry small room between us.

SIMON. Father and son. Is he going into the ministry also?

CAMERON. Such iss not his purpose. When he has taken his degree he will
return and be a crofter again.

SIMON. In that case I don’t see what he is getting out of it.

CAMERON. He iss getting the grandest thing in the world out of it; he
iss getting education.

  (_SIMON feels that he is being gradually rubbed out, and it is a
  relief to him that CAMERON has now to attend to the trout. The
  paper they are wrapped in has begun to burn._)

MARY ROSE (_for the first time eating of trout as it should be
cooked_). Delicious! (_She offers a portion to CAMERON._)

CAMERON. No, I thank you. I haf lived on trouts most of my life. This
butcher-meat iss more of an excellent novelty to me.

  (_He has been standing all this time._)

MARY ROSE. Do sit down, Mr. Cameron.

CAMERON. I am doing ferry well here, I thank you.

MARY ROSE. But, please.

CAMERON (_with decision_). I will not sit down on this island.

SIMON (_curiously_). Come, come, are you superstitious, you who are
going into the ministry?

CAMERON. This island has a bad name. I haf never landed on it before.

MARY ROSE. A bad name, Mr. Cameron? Oh, but what a shame! When I was
here long ago, I often came to the island.

CAMERON. Iss that so? It was not a chancey thing to do.

MARY ROSE. But it is a darling island.

CAMERON. That iss the proper way to speak of it.

MARY ROSE. I am sure I never heard a word against it. Have you, Simon?

SIMON (_brazenly_). Not I. I have heard that its Gaelic name has an odd
meaning--‘The Island that Likes to be Visited,’ but there is nothing
terrifying in that.

MARY ROSE. The name is new to me, Mr. Cameron. I think it is sweet.

CAMERON. That iss as it may be, Mistress Blake.

SIMON. What is there against the island?

CAMERON. For one thing, they are saying it has no authority to be here.
It was not always here, so they are saying. Then one day it was here.

SIMON. That little incident happened before your time I should say, Mr.
Cameron.

CAMERON. It happened before the time of any one now alive, Mr. Blake.

SIMON. I thought so. And does the island ever go away for a jaunt in
the same way?

CAMERON. There are some who say that it does.

SIMON. But you have not seen it on the move yourself?

CAMERON. I am not always watching it, Mr. Blake.

SIMON. Anything else against it?

CAMERON. There iss the birds. Too many birds come here. The birds like
this island more than iss seemly.

SIMON. Birds here! What could bring them here?

CAMERON. It iss said they come to listen.

SIMON. To listen to the silence? An island that is as still as an empty
church.

CAMERON. I do not know; that iss what they say.

MARY ROSE. I think it is a lovely story about the birds. I expect the
kind things come because this island likes to be visited.

CAMERON. That iss another thing; for, mark you, Mistress Blake, an
island that had visitors would not need to want to be visited--and why
has it not visitors? Because they are afraid to visit it.

MARY ROSE. Whatever are they afraid of?

CAMERON. That iss what I say to them. Whateffer are you afraid of, I
say.

MARY ROSE. But what are _you_ afraid of, Mr. Cameron?

CAMERON. The same thing that they are afraid of. There are stories,
ma’am.

MARY ROSE. Do tell us; Simon, wouldn’t it be lovely if he would tell us
some misty, eerie Highland stories?

SIMON. I don’t know; not unless they are pretty ones.

MARY ROSE. Please, Mr. Cameron! I love to have my blood curdled.

CAMERON. There iss many stories. There iss that one of the boy who was
brought to this island. He was no older than your baby.

SIMON. What happened to him?

CAMERON. No one knows, Mr. Blake. His father and mother and their
friends, they were gathering rowans on the island, and when they
looked round he was gone.

SIMON. Lost?

CAMERON. He could not be found. He was never found.

MARY ROSE. Never! He had fallen into the water?

CAMERON. That iss a good thing to say, that he had fallen into the
water. That iss what I say.

SIMON. But you don’t believe it?

CAMERON. I do not.

MARY ROSE. What do the people in the village say?

CAMERON. Some say he iss on the island still.

SIMON. Mr. Cameron! Oh, Mr. Cameron! What does your father say?

CAMERON. He will be saying that they are not here always, but that they
come and go.

SIMON. They? Who are they?

CAMERON (_uncomfortably_). I do not know.

SIMON. Perhaps he heard what the birds come to listen to!

CAMERON. That iss what they say. He had heard the island calling.

SIMON (_hesitating_). How does the island call?

CAMERON. I do not know.

SIMON. Do you know any one who has heard the call?

CAMERON. I do not. No one can hear it but those for whom it iss meant.

MARY ROSE. But if that child heard it, the others must have heard it
also as they were with him.

CAMERON. They heard nothing. This iss how it will be. I might be
standing close to you, Mistress Blake, as it were here, and I might
hear it, ferry loud, terrible, or in soft whispers--no one knows--but I
would haf to go, and you will not haf heard a sound.

MARY ROSE. Simon, isn’t it creepy!

SIMON. But full of holes, I have no doubt. How long ago is this
supposed to have happened, credulous one?

CAMERON. It was before I was born.

SIMON. I thought so.

MARY ROSE. Simon, don’t make fun of my island. Do you know any more
ducky stories about it, Mr. Cameron?

CAMERON. I cannot tell them if Mr. Blake will be saying things the
island might not like to hear.

SIMON. Not ‘chancey,’ I suppose.

MARY ROSE. Simon, promise to be good.

SIMON. All right, Cameron.

CAMERON. This one iss about a young English miss, and they say she was
about ten years of age.

MARY ROSE. Not so much younger than I was when I came here. How long
ago was it?

CAMERON. I think it iss ten years ago this summer.

MARY ROSE. Simon, it must have been the year after I was here!

  (_SIMON thinks she has heard enough._)

SIMON. Very likely. But, I say, we mustn’t stay on gossiping. We must
be getting back. Did you bail out the boat?

CAMERON. I did not, but I will do it now if such iss your wish.

MARY ROSE. The story first; I won’t go without the story.

CAMERON. Well, then, the father of this miss he will be fond of the
fishing, and he sometimes landed the little one on the island while he
fished round it from the boat.

MARY ROSE. Just as father used to do with me!

SIMON. I dare say lots of bold tourists come over here.

CAMERON. That iss so, if ignorance be boldness, and sometimes----

SIMON. Quite so. But I really think we must be starting.

MARY ROSE. No, dear. Please go on, Mr. Cameron.

CAMERON. One day the father pulled over for his little one as usual. He
saw her from the boat, and it iss said she kissed her hand to him. Then
in a moment more he reached the island, but she was gone.

MARY ROSE. Gone?

CAMERON. She had heard the call of the island, though no sound came to
him.

MARY ROSE. Doesn’t it make one shiver!

CAMERON. My father was one of the searchers; for many days they
searched.

MARY ROSE. But it would not take many minutes to search this darling
little island.

CAMERON. They searched, ma’am, long after there was no sense in
searching.

MARY ROSE. What a curdling story! Simon dear, it might have been Mary
Rose. Is there any more?

CAMERON. There iss more. It was about a month afterwards. Her father
was walking on the shore, over there, and he saw something moving on
the island. All in a tremble, ma’am, he came across in the boat, and it
was his little miss.

MARY ROSE. Alive?

CAMERON. Yes, ma’am.

MARY ROSE. I am glad: but it rather spoils the mystery.

SIMON. How, Mary Rose?

MARY ROSE. Because she could tell them what happened, stupid. Whatever
was it?

CAMERON. It iss not so easy as that. She did not know that anything had
happened. She thought she had been parted from her father for but an
hour.

  (_MARY ROSE shivers and takes her husband’s hand._)

SIMON (_speaking more lightly than he is feeling_). You and your bogies
and wraiths, you man of the mists.

MARY ROSE (_smiling_). Don’t be alarmed, Simon; I was only pretending.

CAMERON. It iss not good to disbelieve the stories when you are in
these parts. I believe them all when I am here, though I turn the cold
light of remorseless Reason on them when I am in Aberdeen.

SIMON. Is that ‘chancey,’ my friend? An island that has such
extraordinary powers could surely send its call to Aberdeen or farther.

CAMERON (_troubled_). I had not thought of that. That may be ferry true.

SIMON. Beware, Mr. Cameron, lest some day when you are preaching far
from here the call plucks you out of the very pulpit and brings you
back to the island like a trout on a long cast.

CAMERON. I do not like Mr. Blake’s way of talking. I will go and bail
the boat.

  (_He goes back to the boat, which soon drifts out of sight._)

MARY ROSE (_pleasantly thrilled_). Suppose it were true, Simon!

SIMON (_stoutly_). But it isn’t.

MARY ROSE. No, of course not; but if it had been, how awful for the
girl when her father told her that she had been away for weeks.

SIMON. Perhaps she was never told. He may have thought it wiser not to
disturb her.

MARY ROSE. Poor girl! Yes, I suppose that would have been best. And
yet--it was taking a risk.

SIMON. How?

MARY ROSE. Well, not knowing what had happened before, she might come
back and--and be caught again. (_She draws closer to him._) Little
island, I don’t think I like you to-day.

SIMON. If she ever comes back, let us hope it is with an able-bodied
husband to protect her.

MARY ROSE (_comfortably_). Nice people, husbands. You won’t let them
catch me, will you, Simon?

SIMON. Let ’em try. (_Gaily._) And now to pack up the remnants of the
feast and escape from the scene of the crime. We will never come back
again, Mary Rose, I’m too frightened!

  (_She helps him to pack._)

MARY ROSE. It is a shame to be funny about my island. You poor, lonely
isle. I never knew about your liking to be visited, and I dare say I
shall never visit you any more. The last time of anything is always
sad, don’t you think, Simon?

SIMON (_briskly_). There must always be a last time, dearest dear.

MARY ROSE. Yes--I suppose--for everything. There must be a last time
I shall see you, Simon. (_Playing with his hair._) Some day I shall
flatten this tuft for the thousandth time, and then never do it again.

SIMON. Some day I shall look for it and it won’t be there. That day I
shall say ‘Good riddance.’

MARY ROSE. I shall cry. (_She is whimsical rather than merry and merry
rather than sad._)

  (_SIMON touches her hair with his lips._)

Some day, Simon, you will kiss me for the last time.

SIMON. That wasn’t the last time at any rate. (_To prove it he kisses
her again, sportively, little thinking that this may be the last time.
She quivers._) What is it?

MARY ROSE. I don’t know; something seemed to pass over me.

SIMON. You and your last times. Let me tell you, Mistress Blake, there
will be a last time of seeing your baby. (_Hurriedly._) I mean only
that he can’t always be infantile; but the day after you have seen him
for the last time as a baby you will see him for the first time as a
little gentleman. Think of that.

MARY ROSE (_clapping her hands_). The loveliest time of all will be
when he is a man and takes me on his knee instead of my putting him on
mine. Oh, gorgeous! (_With one of her sudden changes._) Don’t you think
the sad thing is that we seldom know when the last time has come? We
could make so much more of it.

SIMON. Don’t you believe that. To know would spoil it all.

  (_The packing is nearly completed._)

I suppose I ought to stamp out the fire?

MARY ROSE. Let Cameron do that. I want you to come and sit beside me,
Simon, and make love to me.

SIMON. What a life. Let me see now, how does one begin? Which arm is
it? I believe I have forgotten the way.

MARY ROSE. Then I shall make love to you. (_Playing with his hair._)
Have I been a nice wife to you, Simon? I don’t mean always and always.
There was that awful day when I threw the butter-dish at you. I am
so sorry. But have I been a tolerably good wife on the whole, not a
wonderful one, but a wife that would pass in a crowd?

SIMON. Look here, if you are going to butt me with your head in that
way, you must take that pin out of your hair.

MARY ROSE. Have I been all right as a mother, Simon? Have I been the
sort of mother a child could both love and respect?

SIMON. That is a very awkward question. You must ask that of Harry
Morland Blake.

MARY ROSE. Have I----?

SIMON. Shut up, Mary Rose. I know you: you will be crying in a moment,
and you don’t have a handkerchief, for I wrapped it round the trout
whose head came off.

MARY ROSE. At any rate, Simon Blake, say you forgive me about the
butter-dish.

SIMON. I am not so sure of that.

MARY ROSE. And there were some other things--almost worse than the
butter-dish.

SIMON. I should just say there were.

MARY ROSE. Simon, how can you? There was nothing so bad as that.

SIMON (_shaking his head_). I can smile at it now, but at the time I
was a miserable man. I wonder I didn’t take to drink.

MARY ROSE. Poor old Simon. But how stupid you were, dear, not to
understand.

SIMON. How could an ignorant young husband understand that it was a
good sign when his wife threw the butter-dish at him?

MARY ROSE. You should have guessed.

SIMON. No doubt I was a ninny. But I had always understood that when
a young wife--that then she took the husband aside and went red, or
white, and hid her head on his bosom, and whispered the rest. I admit I
was hoping for that; but all I got was the butter-dish.

MARY ROSE. I suppose different women have different ways.

SIMON. I hope so. (_Severely._) And that was a dastard trick you played
me afterwards.

MARY ROSE. Which? Oh, that! I just wanted you to be out of the way till
all was over.

SIMON. I don’t mean your getting me out of the house, sending me to
Plymouth. The dastardliness was in not letting them tell me, when I got
back, that--that he had arrived.

MARY ROSE. It was very naughty of me. You remember, Simon, when you
came in to my room you tried to comfort me by saying it wouldn’t be
long now--and I let you maunder on, you darling.

SIMON. Gazing at me with solemn, innocent eyes. You unutterable brat,
Mary Rose!

MARY ROSE. You should have been able to read in my face how clever I
had been. Oh, Simon, when I said at last, ‘Dearest, what is that funny
thing in the bassinette?’ and you went and looked, never shall I forget
your face.

SIMON. I thought at first it was some baby you had borrowed.

MARY ROSE. I sometimes think so still. I didn’t, did I?

SIMON. You are a droll one. Always just when I think I know you at last
I have to begin at the beginning again.

MARY ROSE (_suddenly_). Simon, if one of us had to--to go--and we could
choose which one----

SIMON (_sighing_). She’s off again.

MARY ROSE. Well, but if--I wonder which would be best. I mean for
Harry, of course.

SIMON. Oh, I should have to hop it.

MARY ROSE. Dear!

SIMON. Oh, I haven’t popped off yet. Steady, you nearly knocked over
the pickles. (_He regards her curiously._) If I did go, I know your
first thought would be ‘The happiness of Harry must not be interfered
with for a moment.’ You would blot me out for ever, Mary Rose, rather
than he should lose one of his hundred laughs a day.

  (_She hides her face._)

It’s true, isn’t it?

MARY ROSE. It is true, at any rate, that if I was the one to go, that
is what I should like you to do.

SIMON. Get off the table-cloth.

  (_Her mouth opens._)

Don’t step on the marmalade.

MARY ROSE (_gloriously_). Simon, isn’t life lovely! I am so happy,
happy, happy. Aren’t you?

SIMON. Rather.

MARY ROSE. But you can tie up marmalade. Why don’t you scream with
happiness? One of us has got to scream.

SIMON. Then I know which one it will be. Scream away, it will give
Cameron the jumps.

  (_CAMERON draws in._)

There you are, Cameron. We are still safe, you see. You can count
us--two.

CAMERON. I am ferry glad.

SIMON. Here you are. (_Handing him the luncheon basket._) You needn’t
tie the boat up. Stay there and I’ll stamp out the fire myself.

CAMERON. As Mr. Blake pleases.

SIMON. Ready, Mary Rose?

MARY ROSE. I must say good-bye to my island first. Good-bye, old mossy
seat, nice rowan. Good-bye, little island that likes too much to be
visited. Perhaps I shall come back when I am an old lady with wrinkles,
and you won’t know your Mary Rose.

SIMON. I say, dear, do dry up. I can’t help listening to you when I
ought to be getting this fire out.

MARY ROSE. I won’t say another word.

SIMON. Just as it seems to be out, sparks come again. Do you think if I
were to get some stones----?

  (_He looks up and she signs that she has promised not to talk. They
  laugh to each other. He is then occupied for a little time in dumping
  wet stones from the loch upon the fire. CAMERON is in the boat with
  his Euripides. MARY ROSE is sitting demure but gay, holding her
  tongue with her fingers like a child._

  _Something else is happening; the call has come to MARY ROSE. It is
  at first as soft and furtive as whisperings from holes in the ground,
  Mary Rose, Mary Rose. Then in a fury as of storm and whistling winds
  that might be an unholy organ it rushes upon the island, raking
  every bush for her. These sounds increase rapidly in volume till the
  mere loudness of them is horrible. They are not without an opponent.
  Struggling through them, and also calling her name, is to be heard
  music of an unearthly sweetness that is seeking perhaps to beat them
  back and put a girdle of safety round her. Once MARY ROSE’S arms
  go out to her husband for help, but thereafter she is oblivious of
  his existence. Her face is rapt, but there is neither fear nor joy
  in it. Thus she passes from view. The island immediately resumes its
  stillness. The sun has gone down. SIMON by the fire and CAMERON
  in the boat have heard nothing._)

SIMON (_on his knees_). I think the fire is done for at last, and that
we can go now. How cold and grey it has become. (_Smiling, but without
looking up._) You needn’t grip your tongue any longer, you know. (_He
rises._) Mary Rose, where have you got to? Please don’t hide. Dearest,
don’t. Cameron, where is my wife?

  (_CAMERON rises in the boat, and he is afraid to land. His face
  alarms SIMON, who runs this way and that and is lost to sight
  calling her by name again and again. He returns livid._)

Cameron, I can’t find her. Mary Rose! Mary Rose! Mary Rose!




ACT III




ACT III


  _Twenty-five years have passed, and the scene is again that cosy
  room in the Morlands’ house, not much changed since we last saw it.
  If chintzes have faded, others as smiling have taken their place.
  The time is a crisp autumn afternoon just before twilight comes. The
  apple-tree, not so easy to renew as the chintzes, has become smaller,
  but there are a few gallant apples on it. The fire is burning, and
  round it sit Mr. and Mrs. Morland and Mr. Amy, the Morlands gone
  smaller like the apple-tree and Mr. Amy bulky, but all three on the
  whole still bearing their apples. Inwardly they have changed still
  less; hear them at it as of yore._

MR. MORLAND. What are you laughing over, Fanny?

MRS. MORLAND. It is this week’s _Punch_, so very amusing.

MR. AMY. Ah, _Punch_, it isn’t what it used to be.

MR. MORLAND. No, indeed.

MRS. MORLAND. I disagree. You two try if you can look at this picture
without laughing.

  (_They are unable to stand the test._)

MR. MORLAND. I think I can say that I enjoy a joke as much as ever.

MRS. MORLAND. You light-hearted old man!

MR. MORLAND (_humorously_). Not so old, Fanny. Please to remember that
I am two months younger than you.

MRS. MORLAND. How can I forget it when you have been casting it up
against me all our married life?

MR. MORLAND (_not without curiosity_). Fanny and I are seventy-three;
you are a bit younger, George, I think?

MR. AMY. Oh yes, oh dear, yes.

MR. MORLAND. You never say precisely what your age is.

MR. AMY. I am in the late sixties. I am sure I have told you that
before.

MR. MORLAND. It seems to me you have been in the sixties longer than it
is usual to be in them.

MRS. MORLAND (_with her needles_). James!

MR. MORLAND. No offence, George, I was only going to say that at
seventy-three I certainly don’t feel my age. How do you feel, George,
at--at sixty-six? (_More loudly, as if MR. AMY were a little deaf._)
Do you feel your sixty-six years?

MR. AMY (_testily_). I am more than sixty-six. But I certainly don’t
feel my age. It was only last winter that I learned to skate.

MR. MORLAND. I still go out with the hounds. You forgot to come last
time, George.

MR. AMY. If you are implying anything against my memory, James.

MR. MORLAND (_peering through his glasses_). What do you say?

MR. AMY. I was saying that I have never used glasses in my life.

MR. MORLAND. If I wear glasses occasionally it certainly isn’t because
there is anything defective in my eyesight. But the type used by
newspapers nowadays is so vile----

MR. AMY. There I agree with you. Especially Bradshaw.

MR. MORLAND (_not hearing him_). I say the type used by newspapers of
to-day is vile. Don’t you think so?

MR. AMY. I have just said so. (_Pleasantly._) You are getting rather
dull of hearing, James.

MR. MORLAND. I am? I like that, George! Why, I have constantly to shout
to you nowadays.

MR. AMY. What annoys me is not that you are a little deaf, you can’t
help that. But from the nature of your replies I often see that you are
pretending to have heard what I said when you did not. That is rather
vain, James.

MR. MORLAND. Vain! Now you brought this on yourself, George. I have got
something here I might well be vain of, and I meant not to show it to
you because it will make you squirm.

  (_MRS. MORLAND taps warningly._)

MR. MORLAND. I didn’t mean that, George. I am sure that you will be
delighted. What do you think of this?

  (_He produces a water-colour which his friend examines at arm’s
  length._)

Let me hold it out for you as your arms are so short.

  (_The offer is declined._)

MR. AMY (_with a sinking_). Very nice. What do you call it?

MR. MORLAND. Have you any doubt? I haven’t the slightest. I am sure
that it is an early Turner.

MR. AMY (_paling_). Turner!

MR. MORLAND. What else can it be? Holman suggested a Gurton or even
a Dayes. Absurd! Why, Dayes was only a glorified drawing-master.
I flatter myself I can’t make a mistake about a Turner. There is
something about a Turner difficult to define, but unmistakable, an
absolute something. It is a charming view, too; Kirkstall Abbey
obviously.

MR. AMY. Rivaulx, I am convinced.

MR. MORLAND. I say Kirkstall.

MRS. MORLAND (_with her needles_). James!

MR. MORLAND. Well, you may be right, the place doesn’t matter.

MR. AMY. There is an engraving of Rivaulx in that Copperplate Magazine
we were looking at. (_He turns up the page._) I have got it, Rivaulx.
(_He brightens._) Why, this is funny. It is an engraving of that very
picture. Hello, hello, hello. (_Examining it through his private
glass._) And it is signed E. Dayes.

  (_MR. MORLAND holds the sketch so close to him that it brushes his
  eyelashes._)

I wouldn’t eat it, James. So it is by Dayes, the drawing-master, after
all. I am sorry you have had this disappointment.

  (_MRS. MORLAND taps warningly, but her husband is now possessed._)

MR. MORLAND. You sixty-six, Mr. Amy, you sixty-six!

MR. AMY. James, this is very painful. Your chagrin I can well
understand, but surely your sense of manhood--I regret that I have
out-stayed my welcome. I bid you good afternoon. Thank you, Mrs.
Morland, for your unvarying hospitality.

MRS. MORLAND. I shall see you into your coat, George.

MR. AMY. It is very kind of you, but I need no one to see me into my
coat.

MR. MORLAND. You will never see your way into it by yourself.

  (_This unworthy remark is perhaps not heard, for MRS. MORLAND
  succeeds once more in bringing the guest back._)

MR. AMY. James, I cannot leave this friendly house in wrath.

MR. MORLAND. I am an irascible old beggar, George. What I should do
without you----

MR. AMY. Or I without you. Or either of us without that little old
dear, to whom we are a never-failing source of mirth.

  (_The little old dear curtseys, looking very frail as she does so._)

Tell Simon when he comes that I shall be in to see him to-morrow.
Good-bye, Fanny; I suppose you think of the pair of us as in our second
childhood?

MRS. MORLAND. Not your second, George. I have never known any men who
have quite passed their first.

  (_He goes smiling._)

MR. MORLAND (_ruminating by the fire_). He is a good fellow, George,
but how touchy he is about his age. And he has a way of tottering off
to sleep while one is talking to him.

MRS. MORLAND. He is not the only one of us who does that.

  (_She is standing by the window._)

MR. MORLAND. What are you thinking about, Fanny?

MRS. MORLAND. I was thinking about the apple-tree, and that you have
given the order for its destruction.

MR. MORLAND. It must come down. It is becoming a danger, might fall on
some one down there any day.

MRS. MORLAND. I quite see that it has to go. (_She can speak of MARY
ROSE without a tremor now._) But her tree! How often she made it a
ladder from this room to the ground.

  (_MR. MORLAND does not ask who, but he very nearly does so._)

MR. MORLAND. Oh yes, of course. Did she use to climb the apple-tree?
Yes, I think she did.

  (_He goes to his wife, as it were for protection._)

MRS. MORLAND (_not failing him_). Had you forgotten that also, James?

MR. MORLAND. I am afraid I forget a lot of things.

MRS. MORLAND. Just as well.

MR. MORLAND. It is so long since she--how long is it, Fanny?

MRS. MORLAND. Twenty-five years, a third of our lifetime. It will soon
be dark; I can see the twilight running across the fields. Draw the
curtains, dear.

  (_He does so and turns on the lights; they are electric lights now._)

Simon’s train must be nearly due, is it not?

MR. MORLAND. In ten minutes or so. Did you forward his telegram?

MRS. MORLAND. No, I thought he would probably get it sooner if I kept
it here.

MR. MORLAND. I dare say. (_He joins her on the sofa, and she sees that
he is troubled._)

MRS. MORLAND. What is it, dear?

MR. MORLAND. I am afraid I was rather thoughtless about the apple-tree,
Fanny. I hurt you.

MRS. MORLAND (_brightly_). Such nonsense. Have another pipe, James.

MR. MORLAND (_doggedly_). I will not have another pipe. I hereby
undertake to give up smoking for a week as a punishment to myself.
(_His breast swells a little._)

MRS. MORLAND. You will regret this, you know.

MR. MORLAND (_his breast ceasing to swell_). Why is my heart not
broken? If I had been a man of real feeling it would have broken
twenty-five years ago, just as yours did.

MRS. MORLAND. Mine didn’t, dear.

MR. MORLAND. In a way it did. As for me, at the time I thought I could
never raise my head again, but there is a deal of the old Adam in me
still. I ride and shoot and laugh and give pompous decisions on the
bench and wrangle with old George as if nothing much had happened to
me. I never think of the island now; I dare say I could go back there
and fish. (_He finds that despite his outburst his hand has strayed
towards his tobacco-pouch._) See what I am doing! (_He casts his pouch
aside as if it were the culprit._) I am a man enamoured of myself. Why,
I have actually been considering, Fanny, whether I should have another
dress suit.

MRS. MORLAND (_picking up the pouch_). And why shouldn’t you?

MR. MORLAND. At my age! Fanny, this should be put on my tombstone: ‘In
spite of some adversity he remained a lively old blade to the end.’

MRS. MORLAND. Perhaps that would be a rather creditable epitaph for
any man, James, who has gone through as much as you have. What better
encouragement to the young than to be able to tell them that happiness
keeps breaking through? (_She puts the pipe, which she has been
filling, in his mouth._)

MR. MORLAND. If I smoke, Fanny, I shall despise myself more than ever.

MRS. MORLAND. To please me.

MR. MORLAND (_as she holds the light_). I don’t feel easy about it, not
at all easy. (_With a happy thought._) At any rate, I won’t get the
dress suit.

MRS. MORLAND. Your dress suit is shining like a mirror.

MR. MORLAND. Isn’t it! I thought of a jacket suit only. The V-shaped
waistcoat seems to be what they are all wearing now.

MRS. MORLAND. Would you have braid on the trousers?

MR. MORLAND. I was wondering. You see-- Oh, Fanny, you are just
humouring me.

MRS. MORLAND. Not at all. And as for the old Adam in you, dear Adam,
there is still something of the old Eve in me. Our trip to Switzerland
two years ago with Simon, I enjoyed every hour of it. The little card
parties here, am I not called the noisy one; think of the girls I have
chaperoned and teased and laughed with, just as if I had never had a
girl myself.

MR. MORLAND. Your brightness hasn’t been all pretence?

MRS. MORLAND. No, indeed; I have passed through the valley of the
shadow, dear, but I can say thankfully that I have come out again into
the sunlight. (_A little tremulously._) I suppose it is all to the good
that as the years go by the dead should recede farther from us.

MR. MORLAND. Some say they don’t.

MRS. MORLAND. You and I know better, James.

MR. MORLAND. Up there in the misty Hebrides I dare say they think of
her as on the island still. Fanny, how long is it since--since you half
thought _that_ yourself?

MRS. MORLAND. Ever so many years. Perhaps not the first year. I did
cling for a time----

MR. MORLAND. The neighbours here didn’t like it.

MRS. MORLAND. She wasn’t their Mary Rose, you see.

MR. MORLAND. And yet her first disappearance----

MRS. MORLAND. It is all unfathomable. It is as if Mary Rose was just
something beautiful that you and I and Simon had dreamt together. You
have forgotten much, but so have I. Even that room--(_she looks towards
the little door_)--that was hers and her child’s during all her short
married life--I often go into it now without remembering that it was
theirs.

MR. MORLAND. It is strange. It is rather terrible. You are pretty nigh
forgotten, Mary Rose.

MRS. MORLAND. That isn’t true, dear. Mary Rose belongs to the past,
and we have to live in the present, for a very little longer. Just a
little longer, and then we shall understand all. Even if we could drag
her back to tell us now what these things mean I think it would be a
shame.

MR. MORLAND. Yes, I suppose so. Do you think Simon is a philosopher
about it also?

MRS. MORLAND. Don’t be bitter, James, to your old wife. Simon was very
fond of her. He was a true lover.

MR. MORLAND. Was, was! Is it all ‘was’ about Mary Rose?

MRS. MORLAND. It just has to be. He had all the clever ones of the day
advising, suggesting, probing. He went back to the island every year
for a long time.

MR. MORLAND. Yes, and then he missed a year, and that somehow ended it.

MRS. MORLAND. He never married again. Most men would.

MR. MORLAND. His work took her place. What a jolly, hearty fellow he is.

MRS. MORLAND. If you mean he isn’t heart-broken, he isn’t. Mercifully
the wound has healed.

MR. MORLAND. I am not criticising, Fanny. I suppose any one who came
back after twenty-five years--however much they had been loved--it
might--we--should we know what to say to them, Fanny?

MRS. MORLAND. Don’t, James. (_She rises._) Simon is late, isn’t he?

MR. MORLAND. Very little. I heard the train a short time ago, and he
might be here--just--if he had the luck to find a cab. But not if he is
walking across the fields.

MRS. MORLAND. Listen!

MR. MORLAND. Yes, wheels. That is probably Simon. He had got a cab.

MRS. MORLAND. I do hope he won’t laugh at me for having lit a fire in
his room.

MR. MORLAND (_with masculine humour_). I hope you put him out some
bed-socks.

MRS. MORLAND (_eagerly_). Do you think he would let me? You wretch!

  (_She hurries out and returns in SIMON’S arms._

  _He is in a greatcoat and mufti. He looks his years, grizzled with
  grey hair and not very much of it, and the tuft is gone. He is
  heavier and more commanding, full of vigour, a rollicking sea-dog for
  the moment, but it is a face that could be stern to harshness._)

SIMON (_saluting_). Come aboard, sir.

MRS. MORLAND. Let me down, you great bear. You know how I hate to be
rumpled.

MR. MORLAND. Not she, loves it. Always did. Get off your greatcoat,
Simon. Down with it anywhere.

MRS. MORLAND (_fussing delightedly_). How cold your hands are. Come
nearer to the fire.

MR. MORLAND. He is looking fit, though.

SIMON. We need to be fit--these days.

MRS. MORLAND. So nice to have you again. You do like duck, don’t you?
The train was late, wasn’t it?

SIMON. A few minutes only. I made a selfish bolt for the one cab, and
got it.

MR. MORLAND. We thought you might be walking across the fields.

SIMON. No, I left the fields to the two other people who got out of the
train. One of them was a lady; I thought something about her walk was
familiar to me, but it was darkish, and I didn’t make her out.

MRS. MORLAND. Bertha Colinton, I expect. She was in London to-day.

SIMON. If I had thought it was Mrs. Colinton I would have offered her a
lift. (_For a moment he gleams boyishly like the young husband of other
days._) Mother, I have news; I have got the _Bellerophon_, honest Injun!

MRS. MORLAND. The very ship you wanted.

SIMON. Rather.

MR. MORLAND. Bravo, Simon.

SIMON. It is like realising the ambition of one’s life. I’m one of the
lucky folk, I admit.

  (_He says this, and neither of them notices it as a strange remark._)

MR. MORLAND (_twinkling_). Beastly life, a sailor’s.

SIMON (_cordially_). Beastly. I have loathed it ever since I slept in
the old _Britannia_, with my feet out at the port-hole to give them
air. We all slept that way; must have been a pretty sight from the
water. Oh, a beast of a life, but I wouldn’t exchange it for any other
in the world. (_Lowering._) And if this war does come----

MR. MORLAND (_characteristically_). It won’t, I’m sure.

SIMON. I dare say not. But they say--however.

MRS. MORLAND. Simon, I had forgotten. There is a telegram for you.

SIMON. Avaunt! I do trust it is not recalling me. I had hoped for at
least five clear days.

MRS. MORLAND (_giving it to him_). We didn’t open it.

SIMON. Two to one it is recalling me.

MRS. MORLAND. It came two days ago. I don’t like them, Simon, never
did; they have broken so many hearts.

SIMON. They have made many a heart glad too. It may be from my
Harry--at last. Mother, do you think I was sometimes a bit harsh to him?

MRS. MORLAND. I think you sometimes were, my son.

MR. MORLAND. Open it, Simon.

  (_SIMON opens the telegram and many unseen devils steal into the
  room_.)

MRS. MORLAND (_shrinking from his face_). It can’t be so bad as that.
We are all here, Simon.

  (_For a moment he has not been here himself, he has been on an
  island. He is a good son to MRS. MORLAND now, thinking of her only,
  placing her on the sofa, going on his knees beside her and stroking
  her kind face. Her arms go out to her husband, who has been reading
  the telegram._)

MR. MORLAND (_dazed_). Can’t be, can’t be!

SIMON (_like some better father than he perhaps has been_). It is all
right, Mother. Don’t you be afraid. It is good news. You are a brave
one, you have come through much, you will be brave for another minute,
won’t you?

  (_She nods, with a frightened smile._)

Mother dear, it is Mary Rose.

MR. MORLAND. It can’t be true. It is too--too glorious to be true.

MRS. MORLAND. Glorious? Is my Mary Rose alive?

SIMON. It is all right, all right. I wouldn’t say it, surely, if it
wasn’t true. Mary Rose has come back. The telegram is from Cameron.
You remember who he was. He is minister there now. Hold my hand, and
I’ll read it. ‘Your wife has come back. She was found to-day on the
island. I am bringing her to you. She is quite well, but you will all
have to be very careful.’

MRS. MORLAND. Simon, can it be?

SIMON. I believe it absolutely. Cameron would not deceive me.

MR. MORLAND. He might be deceived himself; he was a mere acquaintance.

SIMON. I am sure it is true. He knew her by sight as well as any of us.

MR. MORLAND. But after twenty-five years!

SIMON. Do you think I wouldn’t know her after twenty-five years?

MRS. MORLAND. My--my--she will be--very changed.

SIMON. However changed, Mother, wouldn’t I know my Mary Rose at once!
Her hair may be as grey as mine--her face--her little figure--her
pretty ways--though they were all gone, don’t you think I would know
Mary Rose at once? (_He is suddenly stricken with a painful thought._)
Oh, my God, I saw her, and I didn’t know her!

MRS. MORLAND. Simon!

SIMON. It had been Cameron with her. They must have come in my train.
Mother, it was she I saw going across the fields--her little walk when
she was excited, half a run, I recognised it, but I didn’t remember it
was hers.

  (_Those unseen devils chuckle._)

MR. MORLAND. It was getting dark.

SIMON (_slowly_). Mary Rose is coming across the fields.

  (_He goes out. MORLAND peers weakly through the window curtains.
  MRS. MORLAND goes on her knees to pray._)

MR. MORLAND. It is rather dark. I--I shouldn’t wonder though there was
a touch of frost to-night. I wish I was more use.

  (_CAMERON enters, a bearded clergyman now._)

MRS. MORLAND. Mr. Cameron? Tell us quickly, Mr. Cameron, is it true?

CAMERON. It iss true, ma’am. Mr. Blake met us at the gate and he iss
with her now. I hurried on to tell you the things necessary. It iss
good for her you should know them at once.

MRS. MORLAND. Please, quick.

CAMERON. You must be prepared to find her--different.

MRS. MORLAND. We are all different. Her age----

CAMERON. I mean, Mrs. Morland, different from what you expect. She iss
not different as we are different. They will be saying she iss just as
she was on the day she went away.

  (_MRS. MORLAND shrinks._)

These five-and-twenty years, she will be thinking they were just an
hour in which Mr. Blake and I had left her in some incomprehensible
jest.

MRS. MORLAND. James, just as it was before!

MR. MORLAND. But when you told her the truth?

CAMERON. She will not have it.

MRS. MORLAND. She must have seen how much older you are.

CAMERON. She does not know me, ma’am, as the boy who was with her that
day. When she did not recognize me I thought it best--she was so
troubled already--not to tell her.

MR. MORLAND (_appealing_). But now that she has seen Simon. His
appearance, his grey hair--when she saw him she would know.

CAMERON (_unhappy_). I am not sure; it iss dark out there.

MR. MORLAND. She must have known that he would never have left her and
come home.

CAMERON. That secretly troubles her, but she will not speak of it.
There iss some terrible dread lying on her heart.

MR. MORLAND. A dread?

MRS. MORLAND. Harry. James, if she should think that Harry is still a
child!

CAMERON. I never heard what became of the boy.

MRS. MORLAND. He ran away to sea when he was twelve years old. We had a
few letters from Australia, very few; we don’t know where he is now.

MR. MORLAND. How was she found, Mr. Cameron?

CAMERON. Two men fishing from a boat saw her. She was asleep by the
shore at the very spot where Mr. Blake made a fire so long ago. There
was a rowan-tree beside it. At first they were afraid to land, but they
did. They said there was such a joy on her face as she slept that it
was a shame to waken her.

MR. MORLAND. Joy?

CAMERON. That iss so, sir. I have sometimes thought----

  (_There is a gleeful clattering on the stairs of some one to whom
  they must be familiar; and if her father and mother have doubted
  they know now before they see her that MARY ROSE has come back.
  She enters. She is just as we saw her last except that we cannot see
  her quite so clearly. She is leaping towards her mother in the old
  impulsive way and the mother responds in her way, but something steps
  between them._)

MARY ROSE (_puzzled_). What is it?

  (_It is the years._)

MRS. MORLAND. My love.

MR. MORLAND. Mary Rose.

MARY ROSE. Father.

  (_But the obstacle is still there. She turns timidly to SIMON, who
  has come in with her._)

What is it, Simon?

  (_She goes confidently to him till she sees what the years have done
  with him. She shakes now._)

SIMON. My beloved wife.

  (_He takes her in his arms and so does her mother, and she is glad to
  be there, but it is not of them she is thinking, and soon she softly
  disengages herself._)

MR. MORLAND. We are so glad you--had you a comfortable journey, Mary
Rose? You would like a cup of tea, wouldn’t you? Is there anything _I_
can do?

  (_MARY ROSE’S eyes go from him to the little door at the back._)

MARY ROSE (_coaxingly to her father_). Tell me.

MR. MORLAND. Tell you what, dear?

MARY ROSE (_appealing to CAMERON_). You?

  (_He presses her hand and turns away. She goes to SIMON and makes
  much of him, cajoling him._)

Simon, my Simon. Be nice to me, Simon. Be nice to me, dear Simon, and
tell me.

SIMON. Dearest love, since I lost you--it was a long time ago----

MARY ROSE (_petulant_). It wasn’t--please, it wasn’t. (_She goes to her
mother._) Tell me, my mother dear.

MR. MORLAND. I don’t know what she wants to be told.

MRS. MORLAND. I know.

MARY ROSE (_an unhappy child_). Where is my baby?

  (_They cannot face her, and she goes to seek an answer from the room
  that lies beyond the little door. Her mother and husband follow her._

  _MR. MORLAND and CAMERON left alone are very conscious of what may
  be going on in that inner room._)

MR. MORLAND. Have you been in this part of the country before, Mr.
Cameron?

CAMERON. I haf not, sir. It iss my first visit to England. You cannot
hear the sea in this house at all, which iss very strange to me.

MR. MORLAND. If I might show you our Downs----

CAMERON. I thank you, Mr. Morland, but--in such circumstances do not
trouble about me at all.

  (_They listen._)

MR. MORLAND. I do not know if you are interested in prints. I have a
pencil sketch by Cousins--undoubtedly genuine----

CAMERON. I regret my ignorance on the subject. This matter, so
strange--so inexplicable----

MR. MORLAND. Please don’t talk of it to me, sir. I am--an old man. I
have been so occupied all my life with little things--very pleasant--I
cannot cope--cannot cope----

  (_A hand is placed on his shoulder so sympathetically that he dares
  to ask a question._)

Do you think she should have come back, Mr. Cameron?

  (_The stage darkens and they are blotted out. Into this darkness
  MRS. OTERY enters with a candle and we see that the scene has
  changed to the dismantled room of the first act. HARRY is sunk in
  the chair as we last saw him._)

MRS. OTERY (_who in her other hand has a large cup and saucer_). Here
is your tea, mister. Are you sitting in the dark? I haven’t been more
than the ten minutes I promised you. I was----

  (_She stops short, struck by his appearance. She holds the candle
  nearer him. He is staring wide-eyed into the fire, motionless._)

What is the matter, mister? Here is the tea, mister.

  (_He looks at her blankly._)

I have brought you a cup of tea, I have just been the ten minutes.

HARRY (_rising_). Wait a mo.

  (_He looks about him, like one taking his bearings._)

Gimme the tea. That’s better. Thank you, missis.

MRS. OTERY. Have you seen anything?

HARRY. See here, as I sat in that chair--I wasn’t sleeping, mind
you--it’s no dream--but things of the far past connected with this old
house--things I knew naught of--they came crowding out of their holes
and gathered round me till I saw--I saw them all so clear that I don’t
know what to think, woman. (_He is a grave man now._) Never mind about
that. Tell me about this--ghost.

MRS. OTERY. It’s no concern of yours.

HARRY. Yes, it is some concern of mine. The folk that used to live
here--the Morlands----

MRS. OTERY. That was the name. I suppose you heard it in the village?

HARRY. I have heard it all my days. It is one of the names I bear. I am
one of the family.

MRS. OTERY. I suspicioned that.

HARRY. I suppose that is what made them come to me as I sat here. Tell
me about them.

MRS. OTERY. It is little I know. They were dead and gone before my
time, the old man and his wife.

HARRY. It’s not them I am asking you about.

MRS. OTERY. They had a son-in-law, a sailor. The war made a great man
of him before it drowned him.

HARRY. I know that; he was my father. Hard I used to think him, but I
know better now. Go on, there’s the other one.

MRS. OTERY (_reluctantly_). That was all.

HARRY. There is one more.

MRS. OTERY. If you must speak of her, she is dead too. I never saw her
in life.

HARRY. Where is she buried?

MRS. OTERY. Down by the church.

HARRY. Is there a stone?

MRS. OTERY. Yes.

HARRY. Does it say her age?

MRS. OTERY. No.

HARRY. Is that holy spot well taken care of?

MRS. OTERY. You can see for yourself.

HARRY. I will see for myself. And so it is her ghost that haunts this
house?

  (_She makes no answer. He struggles with himself._)

There is no such thing as ghosts. And yet-- Is it true about folk
having lived in this house and left in a hurry?

MRS. OTERY. It’s true.

HARRY. Because of a ghost--a thing that can’t be.

MRS. OTERY. When I came in your eyes were staring; I thought you had
seen her.

HARRY. Have you ever seen her yourself?

  (_She shivers._)

Where? In this room?

  (_She looks at the little door._)

In there? Has she ever been seen out of that room?

MRS. OTERY. All over the house, in every room and on the stairs. I tell
you I’ve met her on the stairs, and she drew back to let me pass and
said ‘Good evening’ too, timid-like, and at another time she has gone
by me like a rush of wind.

HARRY. What is she like? Is she dressed in white? They are allus
dressed in white, aren’t they?

MRS. OTERY. She looks just like you or me. But for all that she’s as
light as air. I’ve seen--things.

HARRY. You look like it, too. But she is harmless it seems?

MRS. OTERY. There’s some wouldn’t say that; them that left in a hurry.
If she thought you were keeping it from her she would do you a mischief.

HARRY. Keeping what from her?

MRS. OTERY. Whatever it is she prowls about this cold house searching
for, searching, searching. I don’t know what it is.

HARRY (_grimly_). Maybe I could tell you. I dare say I could even put
her in the way of finding him.

MRS. OTERY. Then I wish to God you would, and let her rest.

HARRY. My old dear, there are worse things than not finding what you
are looking for; there is finding them so different from what you had
hoped. (_He moves about._) A ghost. Oh no--and yet, and yet-- See here,
I am going into that room.

MRS. OTERY. As you like; I care not.

HARRY. I’ll burst open the door.

MRS. OTERY. No need; it’s not locked; I cheated you about that.

HARRY. But I tried it and it wouldn’t open.

  (_MRS. OTERY is very unhappy._)

You think she is in there?

MRS. OTERY. She may be.

HARRY (_taking a deep breath_). Give me air.

  (_He throws open the window and we see that it is a night of stars._)

Leave me here now. I have a call to make.

MRS. OTERY (_hesitating_). I dunno. You think you’re in no danger,
but----

HARRY. That is how it is to be, missis. Just ten minutes you were out
of the room, did you say?

MRS. OTERY. That was all.

HARRY. God!

  (_She leaves him. After a moment’s irresolution he sets off upon his
  quest carrying the candle, which takes with it all the light of the
  room. He is visible on the other side of the darkness, in the little
  passage and opening the door beyond. He returns, and now we see the
  pale ghost of MARY ROSE standing in the middle of the room, as if
  made out of the light he has brought back with him._)

MARY ROSE (_bowing to him timidly_). Have you come to buy the house?

HARRY (_more startled by his own voice than by hers_). Not me.

MARY ROSE. It is a very nice house. (_Doubtfully._) Isn’t it?

HARRY. It was a nice house once.

MARY ROSE (_pleased_). Wasn’t it! (_Suspiciously._) Did you know this
house?

HARRY. When I was a young shaver.

MARY ROSE. Young? Was it you who laughed?

HARRY. When was that?

MARY ROSE (_puzzled_). There was once some one who laughed in this
house. Don’t you think laughter is a very pretty sound?

HARRY (_out of his depths_). Is it? I dare say. I never thought about
it.

MARY ROSE. You are quite old.

HARRY. I’m getting on.

MARY ROSE (_confidentially_). Would you mind telling me why every one
is so old? I don’t know you, do I?

HARRY. I wonder. Take a look. You might have seen me in the old
days--playing about--outside in the garden--or even inside.

MARY ROSE. You--you are not Simon, are you?

HARRY. No. (_Venturing._) My name is Harry.

MARY ROSE (_stiffening_). I don’t think so. I strongly object to your
saying that.

HARRY. I’m a queer sort of cove, and I would like to hear you call me
Harry.

MARY ROSE (_firmly_). I decline. I regret, but I absolutely decline.

HARRY. No offence.

MARY ROSE. I think you are sorry for me.

HARRY. I am that.

MARY ROSE. I am sorry for me, too.

HARRY (_desperately desirous to help her_). If only there was something
I-- I know nothing about ghosts--not a thing; can they sit down? Could
you----?

  (_He turns the chair toward her._)

MARY ROSE. That is your chair.

HARRY. What do you mean by that?

MARY ROSE. That is where you were sitting.

HARRY. Were you in this room when I was sitting there?

MARY ROSE. I came in to look at you.

  (_A sudden thought makes him cross with the candle to where he had
  left his knife. It is gone._)

HARRY. Where is my knife? Were you standing looking at me with my knife
in your hand?

  (_She is sullenly silent._)

Give me my knife.

  (_She gives it to him._)

What made you take it?

MARY ROSE. I thought you were perhaps the one.

HARRY. The one?

MARY ROSE. The one who stole him from me.

HARRY. I see. Godsake, in a sort of way I suppose I am.

  (_He sits in the chair._)

MARY ROSE. Give him back to me.

HARRY. I wish I could. But I’m doubting he is gone beyond recall.

MARY ROSE (_unexpectedly_). Who is he?

HARRY. Do you mean you have forgotten who it is you are searching for?

MARY ROSE. I knew once. It is such a long time ago. I am so tired;
please can I go away and play now?

HARRY. Go away? Where? You mean back to that--that place?

  (_She nods._)

What sort of a place is it? Is it good to be there?

MARY ROSE. Lovely, lovely, lovely.

HARRY. It’s not just the island, is it, that’s so lovely, lovely?

  (_She is perplexed._)

Have you forgotten the island too?

MARY ROSE. I am sorry.

HARRY. The island, the place where you heard the call.

MARY ROSE. What is that?

HARRY. You have even forgotten the call! With vision as far as I can
make out, it was as if, in a way, there were two kinds of dogs out
hunting you--the good and the bad.

MARY ROSE (_who thinks he is chiding her_). Please don’t be cross with
me.

HARRY. I am far from cross with you. I begin to think it was the good
dogs that got you. Are they ghosts in that place?

MARY ROSE (_with surprising certainty_). No.

HARRY. You are sure?

MARY ROSE. Honest Injun.

HARRY. What fairly does me is, if the place is so lovely, what made you
leave it?

MARY ROSE (_frightened_). I don’t know.

HARRY. Do you think you could have fallen out?

MARY ROSE. I don’t know. (_She thinks his power is great._) Please, I
don’t want to be a ghost any more.

HARRY. As far as I can see, if you wasn’t a ghost there you made
yourself one by coming back. But it’s no use your expecting me to be
able to help you. (_She droops at this and he holds out his arms._)
Come to me, ghostie; I wish you would.

MARY ROSE (_prim again_). Certainly not.

HARRY. If you come, I’ll try to help you.

  (_She goes at once and sits on his knee._)

See here, when I was sitting by the fire alone I seemed to hear you as
you once were saying that some day when he was a man you would like to
sit on your Harry’s knee.

MARY ROSE (_vaguely quoting she knows not whom_). The loveliest time
of all will be when he is a man and takes me on his knee instead of my
taking him on mine.

HARRY. Do you see who I am now?

MARY ROSE. Nice man.

HARRY. Is that all you know about me?

MARY ROSE. Yes.

HARRY. There is a name I would like to call you by, but my best course
is not to worry you. Poor soul, I wonder if there was ever a man with a
ghost on his knee before.

MARY ROSE. I don’t know.

HARRY. Seems to me you’re feared of being a ghost. I dare say, to a
timid thing, being a ghost is worse than seeing them.

MARY ROSE. Yes.

HARRY. Is it lonely being a ghost?

MARY ROSE. Yes.

HARRY. Do you know any other ghosts?

MARY ROSE. No.

HARRY. Would you like to know other ghosts?

MARY ROSE. Yes.

HARRY. I can understand that. And now you would like to go away and
play?

MARY ROSE. Please.

HARRY. In this cold house, when you should be searching, do you
sometimes play by yourself instead?

MARY ROSE (_whispering_). Don’t tell.

HARRY. Not me. You’re a pretty thing. What beautiful shoes you have.

  (_She holds out her feet complacently._)

MARY ROSE. Nice buckles.

HARRY. I like your hair.

MARY ROSE. Pretty hair.

HARRY. Do you mind the tuft that used to stand up at the back of--of
Simon’s head?

MARY ROSE (_merrily_). Naughty tuft.

HARRY. I have one like that.

MARY ROSE (_smoothing it down_). Oh dear, oh dear, what a naughty tuft.

HARRY. My name is Harry.

MARY ROSE (_liking the pretty sound_). Harry, Harry, Harry, Harry.

HARRY. But you don’t know what Harry I am.

MARY ROSE. No.

HARRY. And this brings us no nearer what’s to be done with you. I would
willingly stay here though I have my clearing in Australy, but you’re
just a ghost. They say there are ways of laying ghosts, but I am so
ignorant.

MARY ROSE (_imploringly_). Tell me.

HARRY. I wish I could; you are even more ignorant than I am.

MARY ROSE. Tell me.

HARRY. All I know about them for certain is that they are unhappy
because they can’t find something, and then once they’ve got the thing
they want, they go away happy and never come back.

MARY ROSE. Oh, nice.

HARRY. The one thing clear to me is that you have got that thing at
last, but you are too dog-tired to know or care. What you need now is
to get back to the place you say is lovely, lovely.

MARY ROSE. Yes, yes.

HARRY. It sounds as if it might be Heaven, or near thereby.

  (_She wants him to find out for her._)

Queer, you that know so much can tell nothing, and them that know
nothing can tell so much. If there was any way of getting you to that
glory place!

MARY ROSE. Tell me.

HARRY (_desperate_). He would surely send for you, if He wanted you.

MARY ROSE (_crushed_). Yes.

HARRY. It’s like as if He had forgotten you.

MARY ROSE. Yes.

HARRY. It’s as if nobody wanted you, either there or here.

MARY ROSE. Yes. (_She rises._) Bad man.

HARRY. It’s easy to call me names, but the thing fair beats me. There
is nothing I wouldn’t do for you, but a mere man is so helpless. How
should the likes of me know what to do with a ghost that has lost her
way on earth? I wonder if what it means is that you broke some law,
just to come back for the sake of--of that Harry? If it was that, it’s
surely time He overlooked it.

MARY ROSE. Yes.

  (_He looks at the open window._)

HARRY. What a night of stars! Good old glitterers, I dare say they
are in the know, but I am thinking you are too small a thing to get a
helping hand from them.

MARY ROSE. Yes.

  (_The call is again heard, but there is in it now no unholy sound. It
  is a celestial music that is calling for Mary Rose, Mary Rose, first
  in whispers and soon so loudly that, for one who can hear, it is the
  only sound in the world. Mary Rose, Mary Rose. As it wraps her round,
  the weary little ghost knows that her long day is done. Her face is
  shining. The smallest star shoots down as if it were her star sent
  for her, and with her arms stretched forth to it trustingly she walks
  out through the window into the empyrean. The music passes with her.
  HARRY hears nothing, but he knows that somehow a prayer has been
  answered._)


_The End_




TRANSCRIBER’S NOTES:


  Italicized text is surrounded by underscores: _italics_.

  Obvious typographical errors have been corrected.

  Archaic or variant spelling has been retained.

  New original cover art included with this eBook is granted to the
    public domain.



*** END OF THE PROJECT GUTENBERG EBOOK MARY ROSE ***


    

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.


START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever. You may copy it, give it away or re-use it under the terms
    of the Project Gutenberg License included with this eBook or online
    at www.gutenberg.org. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ trademark, but he has
        agreed to donate royalties under this paragraph to the Project
        Gutenberg Literary Archive Foundation. Royalty payments must be paid
        within 60 days following each date on which you prepare (or are
        legally required to prepare) your periodic tax returns. Royalty
        payments should be clearly marked as such and sent to the Project
        Gutenberg Literary Archive Foundation at the address specified in
        Section 4, “Information about donations to the Project Gutenberg
        Literary Archive Foundation.”
    
    • You provide a full refund of any money paid by a user who notifies
        you in writing (or by e-mail) within 30 days of receipt that s/he
        does not agree to the terms of the full Project Gutenberg™
        License. You must require such a user to return or destroy all
        copies of the works possessed in a physical medium and discontinue
        all use of and all access to other copies of Project Gutenberg™
        works.
    
    • You provide, in accordance with paragraph 1.F.3, a full refund of
        any money paid for a work or a replacement copy, if a defect in the
        electronic work is discovered and reported to you within 90 days of
        receipt of the work.
    
    • You comply with all other terms of this agreement for free
        distribution of Project Gutenberg™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.