The story of "The Fugitive" is summarily this:—
Clare Huntington, the daughter of a poor parson, is married to George Dedmond, a man of wealth and social position. When the play begins these two have reached that point in their marital relationship when their unhappiness is plain to their acquaintances. The husband, irritated and puzzled, is eager to make a compromise which will not involve legal separation and "talk."
Clare (softly). I don't give satisfaction. Please give me notice.
George. Pish!
Clare. Five years, and four of them like this! I'm sure we've served our time. Don't you really think we might get on better together—if I went away.
George. I've told you I won't stand a separation for no real reason, and have your name bandied about all over London. I have some primitive sense of honour.
While travelling abroad the Dedmonds make the acquaintance of a journalist named Kenneth Malise who is employed on a weekly review. He and Clare become very friendly with each other, but George, who declares that Malise is a bounder, does not share the friendship. Malise knows that Clare is unhappy in her marriage and he incites her to "spread your wings." He does not appear to have thought of what is to become of her when she spreads her wings, nor does he manifest any concern about her ability to remain in flight. His attitude towards her may roughly be said to be: "It doesn't matter what happens to you so long as you run away from your husband!" Clare eventually leaves her husband, and in the second act she goes to Malise's rooms to ask for his advice. She has taken his advice to spread her wings. What is she to do?
Mr. Malise very clearly does not know what she is to do. While he and she are debating about her future his rooms are invaded by Dedmond's parents, his solicitor, and, subsequently, by Dedmond himself. They endeavour to persuade Clare to return to her husband, which she refuses to do, and there is a scene in which George Dedmond, having offered to take Clare back to his home, goes away threatening to divorce her and cite Malise as co-respondent. After this scene Clare, in obedience to her queer sense of honour, which impels her to make hateful returns for favours received, offers herself in physical submission to Malise, without, however, being able to conceal the fact that such submission is loathsome to her. It is necessary, in studying this play, to take considerable notice of Clare's attitude towards physical relationships. Sexual submission is repulsive to her, not only in relation to her husband, whom she dislikes, but also in relation to Malise, for whom she has so much liking that eventually she falls in love with him. At the moment at which the offer is first made, however, she is not in love with Malise: she offers herself to him because she feels that, having brought trouble upon him, she ought to make reparation for her conduct!
Clare. If I must bring you harm—let me pay you back. I can't bear it otherwise! Make some use of me, if you don't mind!
Malise. My God!
She puts her face up to be kissed, shutting her eyes.
Malise. You poor——
He clasps and kisses her; then, drawing back, looks in her face. She has not moved; her eyes are still closed. But she is shivering; her lips are tightly pressed together, her hands twitching.
Malise (very quietly). No, no! This is not the house of a "gentleman."
Clare (letting her head fall, and almost in a whisper). I'm sorry—
Malise. I understand.
Clare. I don't feel. And without—I can't, can't.
Malise (bitterly). Quite right. You've had enough of that.
She puts her face up to be kissed, shutting her eyes.
He clasps and kisses her; then, drawing back, looks in her face. She has not moved; her eyes are still closed. But she is shivering; her lips are tightly pressed together, her hands twitching.
That speech—"I don't feel. And without—I can't, can't"—is the key-speech of Clare Dedmond's nature, and, in view of the end of the play, must be remembered.
Malise, recognizing that Clare cannot happily be his mistress otherwise than in name, will not accept her offer of physical submission merely as a return for what he may have to bear in her behalf, and so she leaves his flat. She obtains employment as a shop-assistant, and is not seen again, by her family or by Malise, for three months. Then, after she has encountered a relative, she bolts in a panic from the shop and returns to Malise's flat. She proposes to do typewriting and asks him to find employment for her. He gives her some of his own MSS. to type, and while they are discussing her prospects of employment she reveals the fact that she now loves him.