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Tree of Heaven

<h2>XIII</h2> When Frances heard that Nicholas was going about everywhere with the painter girl they called Desmond, she wrote to Vera to come and see her. She could never bring herself to go to the St. John's Wood house that was so much more Mr. Lawrence Stephen's house than it was Vera's. The three eldest children went now and then, refusing to go back on Vera. Frances did not like it, but she had not interfered with their liberty so far as to forbid it positively; for she judged that frustration might create an appetite for Mr. Stephen's society that otherwise they might not, after all, acquire. Vera understood that her husband's brother and sister-in-law could hardly be expected to condone her last aberration. Her attachment to Ferdie Cameron had been different. It was inevitable, and in a sense forgivable, seeing that it had been brought about by Bartie's sheer impossibility. Besides, the knowledge of it had dawned on them so gradually and through so many stages of extenuating tragedy, that, even when it became an open certainty, the benefit of the long doubt remained. And there was Veronica. There was still Veronica. Even without Veronica Vera would have had to think of something far worse than Lawrence Stephen before Frances would have cast her off. Frances felt that it was not for her to sit in judgment under the shelter of her tree of Heaven. Supposing she could only have had Anthony as Vera had had Ferdie, could she have lived without him? For Frances nothing in the world had any use or interest or significance but her husband and her children; her children first, and Anthony after them. For Vera nothing in the world counted but her lover. "If only I were as sure of Lawrence as you are of Anthony!" she would say. Yet she lived the more intensely, if the more dangerously, through the very risks of her exposed and forbidden love. Vera was without fidelity to the unreturning dead; but she made up for it by an incorruptible adoration of the living. And she had been made notorious chiefly through Stephen's celebrity, which was, you might say, a pure accident. Thus Frances made shelter for her friend. Only Vera must be made to understand that, though she was accepted Lawrence Stephen was not. He was the point at which toleration ceased. And Vera did understand. She understood that Frances and Anthony disapproved of her last adventure considerably more on Ferdie's and Veronica's account than on Bartie's. Even family loyalty could not espouse Bartie's cause with any zest. For Bartie showed himself implacable. Over and over again she had implored him to divorce her so that Lawrence might marry her, and over and over again he had refused. His idea was to assert himself by refusals. In that way he could still feel that he had power over her and a sort of possession. It was he who was scandalous. Even now neither Frances nor Anthony had a word to say for him. So Vera consented to be received surreptitiously, by herself, and without receiving Frances and Anthony in her turn. It had hurt her; but Stephen's celebrity was a dressing to her wound. He was so distinguished that it was unlikely that Frances, or Anthony either, would ever have been received by him without Vera. She came, looking half cynical, half pathetic, her beauty a little blurred, a little beaten after seventeen years of passion and danger, saying that she wasn't going to force Larry down their throats if they didn't like him; and she went away sustained by her sense of his distinction and his repudiations. And she found further support in her knowledge that, if Frances and Anthony could resist Lawrence, their children couldn't. Michael and Dorothy were acquiring a taste for him and for the people he knew; and he knew almost everybody who was worth knowing. To be seen at the parties he and Vera gave in St. John's Wood was itself distinction. Vera had never forgotten and never would forget what Anthony and Frances had done for her and Ferdie when they took Veronica. She wanted to make up, to pay back, to help their children as they had helped her child; to give the best she had, and do what they, poor darlings, couldn't possibly have done. Nicholas was all right; but Michael's case was lamentable. In his family and in the dull round of their acquaintance there was not anybody who was likely to be of the least use to Michael; not anybody that he cared to know. No wonder that he kept up his old attitude of refusing to go to the party. Lawrence Stephen had promised her that he would help Michael. And Frances was afraid. She saw her children, Michael, Nicholas and Dorothy, swept every day a little farther from the firm, well-ordered sanctities, a little nearer to the unclean moral vortex that to her was the most redoubtable of all. She hid her fear, because in her wisdom she knew that to show fear was not the way to keep her children. She hid her strength because she knew that to show it was not the way. Her strength was in their love of her. She had only used it once when she had stopped Nicky from going into the Army. She had said to herself then, "I will never do that again." It wasn't fair. It was a sort of sacrilege, a treachery. Love was holy; it should never be used, never be bargained with. She tried to hold the balance even between their youth and their maturity. So Frances fought her fear. She had known that Ferdie Cameron was good, as she put it, "in spite of everything"; but she had not seen Lawrence Stephen, and she did not know that he had sensibilities and prejudices and scruples like her own, and that he and Vera distinguished very carefully between the people who would be good for Michael and Nicholas and Dorothy, and the people who would not. She did not know that they both drew the line at Desmond. Vera protested that it was not her fault, it was not Lawrence's fault that Nicky had met Desmond. She had never asked them to meet each other. She did not deny that it was in her house they had met; but she had not introduced them. Desmond had introduced herself, on the grounds that she knew Dorothy. Vera suspected that, from the first moment when she had seen him there--by pure accident--she had marked him down. Very likely she had wriggled into Dorothy's Suffrage meeting on purpose. She was capable of anything. Not that Vera thought there was any need for Frances to worry. It was most unlikely that Desmond's business with Nicky could be serious. For one thing she was too young herself to care for anybody as young as Nicky. For another she happened to be in the beginning, or the middle, certainly nowhere near the end of a tremendous affair with Headley Richards. As she was designing the dresses and the scenery for the new play he was putting on at the Independent Theatre, Vera argued very plausibly that the affair had only just started, and that Frances must allow it a certain time to run. "I hope to goodness that the Richards man will marry her." "My dear, how can he? He's married already to a nice little woman that he isn't half tired of yet. Desmond was determined to have him and she's got him; but he's only taken her in his stride, as you may say. I don't suppose he cares very much one way or another. But with Desmond it's a point of honour." "What's a point of honour?" "Why, to have him. Not to be left out. Besides, she always said she could take him from poor little Ginny Richards, and she's done it. That was another point of honour." With a calmness that was horrible to Frances Vera weighed her friend Desmond's case. To Frances it was as if she had never known Vera. Either Vera had changed or she had never known her. She had never known women, or men either, who discussed such performances with calmness. Vera herself hadn't made her infidelities a point of honour. These were the passions and the thoughts of Lawrence Stephen's and of Desmond's world; these were the things it took for granted. These people lived in a moral vortex; they whirled round and round with each other; they were powerless to resist the swirl. Not one of them had any other care than to love and to make love after the manner of the Vortex. This was their honour, not to be left out of it, not to be left out of the vortex, but to be carried away, to be sucked in, and whirl round and round with each other and the rest. The painter girl Desmond was horrible to Frances. And all the time her mind was busy with one question: "Do you think Nicky knows?" "I'm perfectly sure he doesn't." "Perhaps--if he did--" "No, my dear, that's no good. If you tell him he won't believe it. You'll have all his chivalry up in arms. And you'll be putting into his head what may never come into it if he's left alone. And you'll be putting it into Desmond's head." <hr style="width: 25%;"> Captain Drayton, whom Anthony consulted, said, "Leave him alone." Those painting and writing johnnies were a rum lot. You couldn't take them seriously. The Desmond girl might be everything that Vera Harrison said she was. He didn't think, though, that the idea of making love to her would enter Nicky's head if they left him alone. Nicky's head had more important ideas in it. So they left him alone. <hr style="width: 25%;"> And at first Nicholas really was too busy to think much of Desmond. Too busy with his assistant manager's job at the Morss Motor Works; too busy with one of the little ideas to which he owed the sudden rise in his position: the little idea of making the Morss cars go faster; too busy with his big Idea which had nothing whatever to do with the Morss Company and their cars. His big Idea was the idea of the Moving Fortress. The dream of a French engineer, the old, abandoned dream of the forteresse mobile, had become Nicky's passion. He claimed no originality for his idea. It was a composite of the amoured train, the revolving turret, the tractor with caterpillar wheels and the motor-car. These things had welded themselves together gradually in Nicky's mind during his last year at Cambridge. The table in Nicky's sitting-room at the top of the house in Chelsea was now covered with the parts of his model of the Moving Fortress. He made them at the Works, one by one; for the Morss Company were proud of him, and he had leave to use their material and plant now and then for little ideas of his own. The idea of the Moving Fortress was with him all day in the workshops and offices and showrooms, hovering like a formless spiritual presence among the wheeled forms. But in the evening it took shape and sound. It arose and moved, after its fashion, as he had conceived it, beautiful, monstrous, terrible. At night, beside the image of the forteresse mobile, the image of Desmond was a thin ghost that stood back, mournful and dumb, in the right-hand corner of the vision. But the image of Desmond was there. At first it stood for Nicky's predominant anxiety: "I wonder when Desmond will have finished the drawings." The model of the Moving Fortress waited upon Desmond's caprice. The plans of the parts and sections had to be finished before these could be fitted together and the permanent model of the Moving Fortress set up. The Moving Fortress itself waited upon Desmond. For, though Nicky could make and build his engine, he could not draw his plans properly; and he could not trust anybody who understood engines to draw them. He was haunted, almost insanely, by the fear that somebody else would hit upon the idea of the Moving Fortress; it seemed to him so obvious that no gunner and no engineer could miss it. And the drawings Desmond made for him, the drawings in black and white, the drawings in grey wash, and the coloured drawings were perfect. Nicky, unskilled in everything but the inventing and building up of engines, did not know how perfect the drawings were, any more than he knew the value of the extraordinary pictures that hung on the walls and stood on the easels in her studio; but he did know that, from the moment when he took Desmond into his adventure, he and his Idea were dependent on her. He didn't care. He liked Desmond. He couldn't help it if Drayton disapproved of her and if Dorothy didn't like her. She was, he said to himself, a ripping good sort. She might be frightfully clever; Nicky rather thought she was; but she never let you feel it; she never talked that revolting rot that Rosalind and Dorothy's other friends talked. She let you think. It was Desmond who told him that his sister didn't like her and that Frank Drayton disapproved of her. "They wouldn't," said Nicky, "if they knew you." And he turned again to the subject of his Moving Fortress. For Desmond's intelligence was perfect, and her sympathy was perfect, and her way of listening was perfect. She sat on the floor, on the orange and blue cushions, in silence and in patience, embracing her knees with her long, slender, sallow-white arms, while Nicky stamped up and down her studio and talked to her, like a monomaniac, about his Moving Fortress. It didn't bore her to listen, because she didn't have to answer; she had only to look at him and smile, and nod her head at him now and then as a sign of enthusiasm. She liked looking at him; she liked his young naïveté and monomania; she liked his face and all his gestures, and the poise and movement of his young body. And as she looked at him the beauty that slept in her dulled eyes and in her sallow-white face and in her thin body awoke and became alive. It was not dangerous yet; not ready yet to tell the secret held back in its long, subtle, serious, and slender lines. Desmond's sensuality was woven with so fine a web that you would have said it belonged less to her body than to her spirit and her mind. <hr style="width: 25%;"> In nineteen-eleven, on fine days in the late spring and early summer, when the Morss Company lent him a car, or when they sent him motoring about the country on their business, he took Desmond with him and Desmond's painting box and easel. And they rested on the grass borders of the high roads and on the edges of the woods and moors, and Desmond painted her extraordinary pictures while Nicky lay on his back beside her with his face turned up to the sky and dreamed of flying machines. For he had done with his Moving Fortress. It only waited for Desmond to finish the last drawing. When he had that he would show the plans and the model to Frank Drayton before he sent them to the War Office. He lived for that moment of completion. <hr style="width: 25%;"> And from the autumn of nineteen-ten to the spring of nineteen-eleven Desmond's affair with Headley Richards increased and flowered and ripened to its fulfilment. And in the early summer she found that things had happened as she had meant that they should happen. She had always meant it. She had always said, and she had always thought that women were no good unless they had the courage of their opinions; the only thing to be ashamed of was the cowardice that prevented them from getting what they wanted. Desmond had no idea that the violence of the Vortex had sucked her in. Being in the movement of her own free will, she thought that by simply spinning round faster and faster she added her own energy to the whirl. It was not Dorothy's vortex, or the vortex of the fighting Suffrage woman. Desmond didn't care very much about the Suffrage; or about any kind of freedom but her own kind; or about anybody's freedom but her own. Maud Blackadder's idea of freedom struck Desmond as sheer moral and physical insanity. Yet each, Desmond and Dorothy and Maud Blackadder and Mrs. Blathwaite and her daughter and Mrs. Palmerston-Swete, had her own particular swirl in the immense Vortex of the young century. If you had youth and life in you, you were in revolt. Desmond's theories were Dorothy's theories too; only that while Dorothy, as Rosalind had said, thought out her theories in her brain without feeling them, Desmond felt them with her whole being; and with her whole being, secret, subtle and absolutely relentless, she was bent on carrying them out. And in the summer, in the new season, Headley Richards decided that he had no further use for Desmond. The new play had run its course at the Independent Theatre, a course so brief that Richards had been disappointed. He put down the failure mainly to the queerness of the dresses and the scenery she had designed for him. Desmond's new art was too new; people weren't ready yet for that sort of thing. At the same time he discovered that he was really very much attached to his own wife Ginny, and when Ginny nobly offered to give him his divorce he had replied nobly that he didn't want one. And he left Desmond to face the music. Desmond's misery was acute; but it was not so hopeless as it would have been if she could have credited Ginny Richards with any permanent power of attraction for Headley. She knew he would come back to her. She knew the power of her own body. She held him by the tie that was never broken so long as it endured. He would never marry her; yet he would come back. But in the interval between these acts there was the music. And the first sound of the music, the changed intonations of her landlady, frightened Desmond; for though she was older than Nicky she was very young. And there were Desmond's people. You may forget that you have people and behave as if they weren't there; but, if they are there, sooner or later they will let you know it. An immense volume of sound and some terrifying orchestral effects were contributed by Desmond's people. So that the music was really very bad to bear. Desmond couldn't bear it. And in her fright she thought of Nicky. She knew that she hadn't a chance so long as he was absorbed in the Moving Fortress. But the model was finished and set up and she was at work on the last drawing. And no more ideas for engines were coming into Nicky's head. The Morss Company and Nicky himself were even beginning to wonder whether there ever would be any more. Then Nicky thought of Desmond. And he showed that he was thinking of her by sitting still and not talking when he was with her. She did not fill that emptiness and spaciousness of Nicky's head, but he couldn't get her out of it. <hr style="width: 25%;"> When Vera noticed the silence of the two she became uneasy, and judged that the time had come for discreet intervention. "Nicky," she said, "is it true that Desmond's been doing drawings for you?" "Yes," said Nicky, "she's done any amount." "My dear boy, have you any idea of the amount you'll have to pay her?" "I haven't," said Nicky, "I wish I had. I hate asking her, and yet I suppose I'll have to." "Of course you'll have to. She won't hate it. She's got to earn her living as much as you have." "Has she? You don't mean to say she's hard up?" He had never thought of Desmond as earning her own living, still less as being hard up. "I only wish she were," said Vera, "for your sake." "Why on earth for my sake?" "Because then, my dear Nicky, you wouldn't have to pay so stiff a price." "I don't care," said Nicky, "how stiff the price is. I shall pay it." And Vera replied that Desmond, in her own queer way, really was a rather distinguished painter. "Pay her," she said. "Pay her for goodness sake and have done with it. And if she wants to give you things don't let her." "As if," said Nicky, "I should dream of letting her." And he went off to Chelsea to pay Desmond then and there. Vera thought that she had been rather clever. Nicky would dash in and do the thing badly. He would be very proud about it, and he would revolt from his dependence on Desmond, and he would show her--Vera hoped that he would show her--that he did not want to be under any obligation to her. And Desmond would be hurt and lose her temper. The hard look would get into her face and destroy its beauty, and she would say detestable things in a detestable voice, and a dreadful ugliness would come between them, and the impulse of Nicky's yet unborn passion would be checked, and the memory of that abominable half-hour would divide them for ever. <hr style="width: 25%;"> But Vera herself had grown hard and clever. She had forgotten Nicky's tenderness, and she knew nothing at all about Desmond's fright. And, as it happened, neither Nicky nor Desmond did any of the things she thought they would do. Nicky was not impetuous. He found Desmond in her studio working on the last drawing of the Moving Fortress, with the finished model before her. That gave him his opening, and he approached shyly and tentatively. Desmond put on an air of complete absorption in her drawing; but she smiled. A pretty smile that lifted the corners of her mouth and made it quiver, and gave Nicky a queer and unexpected desire to kiss her. He went on wanting to know what his debt was--not that he could ever really pay it. "Oh, you foolish Nicky," Desmond said. He repeated himself over and over again, and each time she had an answer, and the answers had a cumulative effect. "There isn't any debt. You don't pay anything--" "I didn't do it for that, you silly boy." "What did I do it for? I did it for fun. You couldn't draw a thing like that for anything else. Look at it--" --"Well, if you want to be horrid and calculating about it, think of the lunches and the dinners and the theatre tickets and the flowers you've given me. Oh, and the gallons and gallons of petrol. How am I ever to pay you back again?" Thus she mocked him. "Can't you see how you're spoiling it all?" And then, passionately: "Oh, Nicky, please don't say it again. It hurts." She turned on him her big black looking-glass eyes washed bright, each with one tear that knew better than to fall just yet. He must see that she was holding herself well in hand. It would be no use letting herself go until he had forgotten his Moving Fortress. He was looking at the beastly thing now, instead of looking at her. "Are you thinking of another old engine?" "No," said Nicky. "I'm not thinking of anything." "Then you don't want me to do any more drawings?" "No." "Well then--I wonder whether you'd very much mind going away?" "Now?" "No. Not now. But soon. From here. Altogether." "Go? Altogether? Me? Why?" He was utterly astonished. He thought that he had offended Desmond past all forgiveness. "Because I came here to be alone. To work. And I can't work. And I want to be alone again." "Am I--spoiling it?" "Yes. You're spoiling it damnably." "I'm sorry, Desmond. I didn't mean to. I thought--" But he hadn't the heart to say what he had thought. She looked at him and knew that the moment was coming. It had come. She turned away from the table where the Moving Fortress stood, threatening her with its mimic guns, and reminding Nicky of the things she most wanted him to forget. She withdrew to her crouching place at the other end of the studio, among the cushions. He followed her there with slow, thoughtful steps, steps full of brooding purpose and of half-unconscious meaning. "Nicky, I'm so unhappy. I didn't know it was possible for anybody to be so unhappy in this world." She began to cry quietly. "Desmond--what is it? What is it? Tell me. Why can't you tell me?" <hr style="width: 25%;"> She thought, "It will be all right if he kisses me once. If he holds me in his arms once. Then I can tell him." For then he would know that he loved her. He was not quite sure now. She knew that he was not quite sure. She trusted to the power of her body to make him sure. Her youth neither understood his youth, nor allowed for it, nor pitied it. He had kissed her. He had held her in his arms and kissed her more than once while she cried there, hiding her face in the hollow of his arm. She was weak and small. She was like some small, soft, helpless animal and she was hurt. Her sobbing and panting made her ribs feel fragile like the ribs of some small, soft, helpless animal under the pressure of his arms. And she was frightened. He couldn't stand the sight of suffering. He had never yet resisted the appeal of small, weak, helpless things in fright and pain. He could feel Desmond's heart going thump, thump, under the blue thing he called her pinafore. Her heart hurt him with its thumping. And through all his painful pity he knew that her skin was smooth and sweet like a sallow-white rose-leaf. And Desmond knew that he knew it. His mouth slid with an exquisite slipperiness over the long, polished bands of her black hair; and he thought that he loved her. Desmond knew that he thought it. And still she waited. She said to herself, "It's no good his thinking it. I daren't tell him till he says it. Till he asks me to marry him." <hr style="width: 25%;"> He had said it at last. And he had asked her to marry him. And then she had told him. And all that he said was, "I don't care." He said it to Desmond, and he said it to himself. The funny thing was that he did not care. He was as miserable as it was well possible to be, but he didn't really care. He was not even surprised. It was as if the knowledge of it had been hiding in the back of his head behind all the ideas. And yet he couldn't have known it all the time. Either it must have gone away when his ideas went, or he must have been trying not to see it. She had slipped from his arms and stood before him, dabbing her mouth and eyes now and then with her pocket-handkerchief, controlling herself, crying quietly. She knew, what had not dawned on Nicky yet, that he didn't love her. If he had loved her he would have cared intolerably. He didn't care about Headley Richards because he didn't care about Desmond any more. He was only puzzled. "Why did you do it?" "I can't think why. I must have been off my head. I didn't know what it was like. I didn't know. I thought it would be wonderful and beautiful. I thought he was wonderful and beautiful." "Poor little Desmond." "Oh, Nicky, do you think me a beast? Does it make you hate me?" "No. Of course it doesn't. The only awful thing is--" "What? Tell me." "Well--you see--" "You mean the baby? I know it's awful. You needn't tell me that, Nicky." He stared at her. "I mean it's so awful for it." She thought he had been thinking of himself and her. "Why should it be?" "Why? There isn't any why. It just is. I know it is." He was thinking of Veronica. "You see," he said simply, "that's why this sort of thing is such a rotten game. It's so hard on the kiddy. I suppose you didn't think of that. You couldn't have, or else you wouldn't--" He paused. There was one thing he had to know. He must get it out of her. "It hasn't made you feel that you don't want it?" "Oh--I don't know what I want--now. I don't know what it makes me feel!" "Don't let it, Desmond. Don't let it. It'll be all right. You won't feel like that when you've married me. Can't you see that that's the wonderful and beautiful part?" "What is?" she said in her tired drawl. "It--the poor kiddy." Because he remembered Veronica he was going to marry Desmond. <hr style="width: 25%;"> Veronica's mother was the first to hear about it. Desmond told her. Veronica's mother was determined to stop it for the sake of everybody concerned. She wrote to Nicholas and asked him to come and dine with her one evening when Lawrence Stephen was dining somewhere else. (Lawrence Stephen made rather a point of not going to houses where Vera was not received; but sometimes, when the occasion was political, or otherwise important, he had to. That was her punishment, as Bartholomew had meant that it should be.) Nicky knew what he had been sent for, and to all his aunt's assaults and manoeuvres he presented an inexpugnable front. "You mustn't do it; you simply mustn't." He intimated that his marriage was his own affair. "It isn't. It's the affair of everybody who cares for you." "Their caring isn't my affair," said Nicky. And then Vera began to say things about Desmond. "It's absurd of you," she said, "to treat her as if she was an innocent child. She isn't a child, and she isn't innocent. She knew perfectly well what she was about. There's nothing she doesn't know. She meant it to happen, and she made it happen. She said she would. She meant you to marry her, and she's making you marry her. I daresay she said she would. She's as clever and determined as the devil. Neither you nor Headley Richards ever had a chance against her." "She hasn't got a dog's chance against all you people yelping at her now she's down. I should have thought--" "You mean I've no business to? That was different. I didn't take any other woman's husband, or any other woman's lover, Nicky." "If you had," said Nicky, "I wouldn't have interfered." "I wouldn't interfere if I thought you cared that for Desmond. But you don't. You know you don't." "Of course I care for her." He said it stoutly, but he coloured all the same, and Vera knew that he was vulnerable. "Oh, Nicky dear, if you'd only waited--" "What do you mean?" His young eyes interrogated her austerely; and she flinched. "I don't know what I mean. Unless I mean that you're just a little young to marry anybody." "I don't care if I am. I don't feel young, I can tell you. Anyhow Desmond's years younger." "Desmond is twenty-three. You're twenty. It's Veronica who's years younger." "Veronica?" "She's sixteen. You don't imagine Desmond is as young as that, do you? Wait till she's twenty-five and you're twenty-two." "It wouldn't do poor Desmond much good if I did. I could kill Headley Richards." "What for?" "For leaving her." Vera smiled. "That shows how much you care. You wouldn't have felt like killing him if he'd stuck to her. Why should you marry Headley Richards' mistress and take on his child? It's preposterous." "It isn't. If the other fellow's a brute it's all the more reason why I shouldn't be. I want to be some use in this rotten world where people are so damnably cruel to each other. And there's that unhappy kiddy. You've forgotten the kiddy." "Do you mean to say it's Desmond's child you're thinking of?" "I can't understand any woman not thinking of it," said Nicky. He looked at her, and she knew that he remembered Veronica. Then she gave him back his own with interest, for his good. "If you care so much, why don't you choose a better mother for your own children?" It was as if she said: "If you care so much about Veronica, why don't you marry her?" "It's a bit too late to think of that now," said poor Nicky. Because he had cared so much about Veronica he was going to marry Desmond. <hr style="width: 25%;"> "I couldn't do anything with him," Vera said afterwards. "Nothing I said made the least impression on him." That however (as both Vera and Nicky were aware), was not strictly true. But, in spite of Nicky's terrible capacity for remembering, she stuck to it that Desmond's affair would have made no impression on him if it had not been for that other absurd affair of the Professor's wife. And it would have been better, Lawrence Stephen said, for Nicky to have made love to all the married women in Cambridge than for him to marry Phyllis Desmond. These reflections were forced on them by the ironic coincidence of Nicky's engagement with his rehabilitation at the University. Drayton's forecast was correct; Nicky's brother Michael had not been removed from Nicky's College eight months before letters of apology and restitution came. But both apology and restitution came too late. For by that time Nicky had married Desmond. <hr style="width: 35%;"> <div style="break-after:column;"></div>

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