Scene.—The drawing-room at Lady Gastwyck's. A large, low room with a mullioned window at the back through which moonlight steals. The decoration of the room is Adams', though of rather a self-conscious type, as the plan and construction of the house is obviously of an earlier period. The furniture is Chinese Chippendale.
Lord Gumthorpe is leaning against the window; Angela Thynne is leaning against the Chesterfield, and Lady Gastwyck is leaning against the Adams' fireplace. Lord Gumthorpe is a tall, gaunt man, slightly resembling the portrait of Philip IV. of Spain, by Velasquez. He turns towards Lady Gastwyck and waves his long arms with a gesture of indecision. He then turns back and looks out on to the lawn. Angela Thynne, is a large, ill-proportioned woman, with curiously limpid blue eyes, and a shrill hard voice like a fog-siren, that does not seem to belong to her personality. One is always haunted with the idea that she might be Scotch. Lady Gastwyck rises. She is a short dark woman with deep-set eyes and one very remarkable characteristic. She has apparently only one eyebrow. She really has two, but they meet together in one dark straight line, and give her a forbidding aspect. She has a habit of walking with her chin thrust forward and her long arms curved like a boxer's. She advances upon Lord Gumthorpe. He instinctively puts up his hands as though expecting to be struck.
Lady Gastwyck. You think then that we—that is, that you and I——
[She waves her hand towards the moonlit lawn. It might be an action of dismissal, or an appeal to the elemental forces. Lord Gumthorpe drops limply on to the window-seat and presses his forehead against the stone mullion. Then he stands up and gazes at her face, trying not to appear to be looking at her one eyebrow.
Lord Gumthorpe (with tremulous indecision). Yes! but you see——
[As he stands there the extraordinary resemblance between him and Velasquez' portrait of Philip IV. of Spain comes home to her with such force that she is about to qualify her half-stated implication, when Angela Thynne drops her fan into the fireplace. She has moved to the seat that Lady Gastwyck had vacated. She is leaning forward with lips parted, and her limpid blue eyes gazing at the dead embers. Lady Gastwyck recoils as though struck by a whip. She moves to the Chesterfield and leans against it, biting her nails. Lord Gumthorpe moves deeper into the recess, struggling with the emotions which the astounding act of Angela has produced. As he sits there, the moonlight, pouring through the diamond panes of the window, throws rhomboids of light on to the polished floor. It looks like some enchanted chessboard. Leaning back and gazing with half-closed eyes, he peoples it with fantastic rooks, and knights and bishops, when suddenly the strangely penetrating voice of Angela breaks the silence.
Angela. Would it be possible for you two to——
[There is a terrifying silence.]
Lord Gumthorpe (greedily). Pawn to Queen's pawn four!
[He says this to gain time. For the besetting irresoluteness of the Gumthorpes is consuming him. "If only she would——" he is thinking to himself, rapidly reviewing the salient features of his past life. He has not the courage to look at Angela, but his eyes wander in the direction of Lady Gastwyck. She is leaning forward on the Chesterfield, her chin resting on her hand, her eyebrow looking like an enormous black moustache. He feels his way along the wall, keeping his face towards Lady Gastwyck. He knows—he was educated at Eton and Christchurch—that as the fan has fallen into the fireplace, unless it has been removed, it will be there still. Very slowly he reaches the grate and, without turning his head, picks up the fan. It is a moment of intense emotion. The air is charged with electric suspense. Lady Gastwyck moves suddenly, and the rustle of her skirt sounds like the rattle of musketry on a frosty morning. Lord Gumthorpe drops the fan. He gropes wildly in the fireplace but cannot find it again. Then with an air of helpless resignation he goes back to the window-seat. He gazes at the chequered pattern on the floor and mentally moves his king up one. Lady Gastwyck glances across at him, and it occurs to her that he has aged during the last few minutes. He no longer looks like Philip IV. of Spain, but more like the sub-manager of the White Goods Department of a suburban Bon-Marché. She is anxious that Angela shall not observe this, and hence makes the following appeal.
Lady Gastwyck (hysterically and á propos of no one). A maroon underskirt! a maroon underskirt! That would be the thing! Fancy, Angela, biscuit-coloured glacé with that coffee skin of hers and those teeth! You must save her! Take her to Raquin! Let Raquin cut it as only he knows how! Let her have—— Ah!