Then presently----

"Tea?" says Mrs. Harding, "shall I ring?"

"Pray do," says Sir John. He seats himself with great weariness. The full melancholy of the third act is on him. The tea which has been made for three acts is brought in. They drink it and it begins to go to their heads. The "atmosphere" clears off just a little.

"You have news, I know," says Mrs. Harding, "you have seen him?"

"I have seen him."

"And he is gone?"

"Yes, he has sailed," says Sir John. "He went on board last night, only a few hours after my return to London. I saw him off. Poor Jack.

Gatherson has been most kind. They will take him into the emba.s.sy at Lima. There, please G.o.d, he can begin life again. The Peruvian Amba.s.sador has promised to do all in his power."

Sir John sighs deeply and is silent. This to let the fact soak into the audience that Jack has gone to Peru. Any reasonable person would have known it. Where else could he go to?

"He will do well in Peru," says Mrs. Harding. She is imitating a woman being very brave.

"Yes, I trust so," says Sir John. There is silence again. In fact the whole third act is diluted with thirty per cent. of silence. Presently Mrs. Harding speaks again in a low tone.

"You have other news, I know."

"I have other news."

"Of her?"

"Yes. I have been to Switzerland. I have seen the cure--a good man. He has told me all there is to tell. I found him at the hospice, busy with his _oeuvre de bienfaisance_. He led me to her grave."

Sir John is bowed in deep silence.

Lady Cicely dead! Everybody in the theater gasps. Dead! But what an unfair way to kill her! To face an open death on the stage in fair hand to hand acting is one thing, but this new system of dragging off the characters to Switzerland between the acts, and then returning and saying that they are dead is quite another.

Presently Mrs. Harding speaks, very softly. "And you? You will take up your work here again?"

"No; I am going away."

"Going?"

"Yes, far away. I am going to Kafoonistan."

Mrs. Harding looks at him in pain. "To Kafoonistan?"

"Yes. To Kafoonistan. There"s work there for me to do."

There is silence again. Then Sir John speaks. "And you? You will settle down here in London?"

"No. I am going away."

"Going away?"

"Yes, back to Balla Walla. I want to be alone. I want to forget. I want to think. I want to try to realize."

"You are going alone?"

"Yes, quite alone. But I shall not feel alone when I get there. The Maharanee will receive me with open arms. And my life will be useful there. The women need me; I will teach them to read, to sew, to sing."

"Mrs. Harding--Margaret--you must not do this. You have sacrificed your life enough--you have the right to live----"

There is emotion in Sir John"s tone. It is very rough on him to find his plan of going to Kafoonistan has been outdone by Mrs. Harding"s going to Balla Walla. She shakes her head.

"No, no; my life is of no account now. But you, John, you are needed here, the country needs you. Men look to you to lead them."

Mrs. Harding would particularize if she could, but she can"t just for the minute remember what it is Sir John can lead them to. Sir John shakes his head.

"No, no; my work lies there in Kafoonistan. There is a man"s work to be done there. The tribes are ignorant, uncivilized."

This dialogue goes on for some time. Mrs. Harding keeps shaking her head and saying that Sir John must not go to Kafoonistan, and Sir John says she must not go to Balla Walla. He protests that he wants to work and she claims that she wants to try to think clearly. But it is all a bluff. They are not going. Neither of them. And everybody knows it.

Presently Mrs. Harding says:

"You will think of me sometimes?"

"I shall never forget you."

"I"m glad of that."

"Wherever I am, I shall think of you--out there in the deserts, or at night, alone there among the great silent hills with only the stars overhead, I shall think of you. Your face will guide me wherever I am."

He has taken her hand.

"And you," he says, "you will think of me sometimes in Balla Walla?"

"Yes, always. All day while I am with the Maharanee and her women, and at night, the great silent Indian night when all the palace is asleep and there is heard nothing but the sounds of the jungle, the cry of the hyena and the bray of the laughing jacka.s.s, I shall seem to hear your voice."

She is much moved. She rises, clenches her hands and then adds, "I have heard it so for five and twenty years."

He has moved to her.

"Margaret!"

"John!"

"I cannot let you go, your life lies here--with me--next my heart--I want your help, your love, here inside the beyond."

And as he speaks and takes her in his arms, the curtain sinks upon them, rises, falls, rises, and then sinks again asbestos and all, and the play is over. The lights are on, the audience rises in a body and puts on its wraps. All over the theater you can hear the words "perfectly rotten,"

"utterly untrue," and so on. The general judgment seems to be that it is a perfectly rotten play, but very strong.