Turning about, she perceives, indeed
they both perceive, in the centre of the small table, a handsome silver
tea-pot which opens and shuts its lid at them, as if trying to speak_.)
JULIA. Oh, look, Laura! Martha's tea-pot has arrived.
LAURA. She told a lie, then.
JULIA. No, it was the truth. She wished for it. The sea has given up its
dead.
LAURA. Then now I _have_ got it at last!
(_But, as she goes to seize the disputed possession, Martha rises
through the floor, grabs the tea-pot, and descends to the nether regions
once more_.)
LAURA (_glaring at her sister with haggard eye_). Julia, where
_are_ we?
JULIA. I don't know what you mean, Laura. (_She reaches out a polite
hand_) The key?
(_Mrs. James delivers up the key as one glad to be rid of it_.)
LAURA. What is this place we've come to?
JULIA (_persuasively)._ Our home.
LAURA. I think we are in Hell!
JULIA (_going to the door, which she unlocks with soft triumph)._ We
are all where we wish to be, Laura. (_A gong sounds_.) That's supper.
(_The gong continues its metallic bumbling_)
(_Julia departs, leaving Mrs. James in undisputed possession of the
situation she has made for herself_.)
CURTAIN
Part Three
Dethronements
IMAGINARY PORTRAITS OF POLITICAL CHARACTERS,
DONE IN DIALOGUE
Preface
The written dialogue, as interpretative of character, is but a form of
portraiture, no more personally identified with its subject than drawing
or painting; nor can it claim to have more verisimilitude until it finds
embodiment on the stage.
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