Soames, who really didn’t know why, had muttered:
‘Well, they can’t get it printed in England.’ And with the words: ‘Bruxelles, Bruxelles, you call Bruxelles –’ buzzing about his ears, had left the room. He had never known any people so touchy as the French!
Her remark about ‘shadowing’, however, was not easily forgotten. Why be squeamish, when all depended on frightening this woman? And on arriving in London he visited an office that was not Mr Polteed’s, and gave instructions for the shadowing of Marjorie Ferrar’s past, present, and future.
His answer to Settlewhite and Stark, too, was brief, determined, and written on the paper of his own firm.
Jan. 6th, 1925
DEAR SIRS,
I have your letter of yesterday’s date, and note that your client has rejected my proposition, which, as you know, was made entirely without prejudice, and is now withdrawn in toto.
Yours faithfully,
SOAMES FORSYTE
If he did not mistake, they would be sorry. And he gazed at the words ‘in toto’; somehow they looked funny. In toto! And now for ‘The Plain Dealer’!
The theatre of the ‘Ne Plus Ultra’ Play-Producing Society had a dingy exterior, a death-mask of Congreve in the hall, a peculiar smell, and an apron stage. There was no music. They hit something three times before the curtain went up. There were no footlights. The scenery was peculiar – Soames could not take his eyes off it till, in the first Entr’acte, its principle was revealed to him by the conversation of two people sitting just behind.
‘The point of the scenery here is that no one need look at it, you see. They go farther than anything yet done.’
‘They’ve gone father in Moscow.’
‘I believe not. Curfew went over there. He came back raving about the way they speak their lines.’
‘Does he know Russian?’
‘No. You don’t need to. It’s the timbre. I think he’s doing pretty well here with that. You couldn’t give a play like this if you took the words in.’
Soames, who had been trying to take the words in – it was, indeed, what he had come for – squinted round at the speakers. They were pale and young and went on with a strange unconcern.
‘Curfew’s doing great work. He’s shaking them up.’
‘I see they’ve got Marjorie Ferrar as Olivia.’
‘Don’t know why he keeps on an amateur like that.’
‘Box office, dear boy; she brings the smart people. She’s painful, I think.’
‘She did one good thing – the dumb girl in that Russian play. But she can’t speak for nuts; you’re following the sense of her words all the time. She doesn’t rhythmatize you a little bit.’
‘She’s got looks.’
‘M’yes.’
At this moment the curtain went up again. Since Marjorie Ferrar had not yet appeared, Soames was obliged to keep awake; indeed, whether because she couldn’t ‘speak for nuts’, or merely from duty, he was always awake while she was on the stage, and whenever she had anything outrageous to say he noted it carefully; otherwise he passed an excellent afternoon, and went away much rested. In his cab he mentally rehearsed Sir James Foskisson in the part of cross-examiner:
‘I think, madam, you played Olivia in a production of ‘The Plain Dealer’ by the ‘Ne Plus Ultra’ Play-Producing Society?… Would it be correct to say that the part was that of a modest woman?… Precisely. And did it contain the following lines (Quotation of nubbly bits.)… Did that convey anything to your mind, madam?… I suppose that you would not say it was an immoral passage?… No? Nor calculated to offend the ears and debase the morals of a decent-minded audience?… No. In fact, you don’t take the same view of morality that I, or, I venture to think, the jury do?… No. The dark scene – you did not remonstrate with the producer for not omitting that scene?… Quite. Mr Curfew, I think was the producer? Yes. Are you on such terms with that gentleman as would have made a remonstrance easy?… Ah! Now, madam, I put it to you that throughout 1923 you were seeing this gentleman nearly every day…. Well, say three or four times a week. And yet you say that you were not on such terms as would have made it possible for you to represent to him that no modest young woman should be asked to play a scene like that…. Indeed! The jury will form their own opinion of your answer. You are not a professional actress, dependent for your living on doing what you are told to do?… No. And yet you have the face to come here and ask for substantial damages because of the allegation in a private letter that you haven’t a moral about you?… Have you?…’ And so on, and so on. Oh! no. Damages! She wouldn’t get a farthing.