R.C. SHERRIFF: Journey's End 13 Read the following extract, and then answer the question that follows it: Stanhope: Osborne: I've hoped that all the time. I'd go away for months and live in the open air – and get fit – and then go back to her. And so you can. Stanhope: If Raleigh had gone to one of those other one thousand eight hundred companies. 5 Osborne: I don't see why you should think – Stanhope: Oh, for Lord's sake don't be a damn fool. You know! You know he'll write and tell her I reek of whisky all day. Osborne: Why should he? He's not a – Stanhope: Exactly. He's not a damned little swine who'd deceive his sister. 10 Osborne: Stanhope: He's very young; he's got hundreds of strange things to learn; he'll realise that men are – different – out here. It's no good, Uncle. Didn't you see him sitting there at supper? – staring at me? – and wondering? He's up in those trenches now – still wondering – and beginning to understand. And all these months he's wanted to be with me out here. Poor little devil! 15 Osborne: Stanhope: I believe Raleigh’ll go on liking you – and looking up to you through everything. There’s something very deep, and rather fine, about hero-worship. 20 Hero-worship be damned! (He pauses, then goes on, in a strange, high-pitched voice.) You know, Uncle, I’m an awful fool. I’m captain of this company. What’s that bloody little prig of a boy matter? D’you see? He’s a little prig. Wants to write home and tell Madge all about me. Well he won’t; d’you see, Uncle? He won’t write. Censorship! I censor his letters – cross out all he says about me. 25 Osborne: Stanhope: You can’t read his letters. (dreamily) Cross out all he says about me. Then we all go west in the big attack – and she goes on thinking I’m a fine fellow for ever – and ever – and ever. (He pours out a drink, murmuring ‘Ever – and ever – and ever.’) 30 Osborne: Stanhope: (rising from his bed) It’s not as bad as all that. Turn in and have a sleep. 35 Sleep! Catch me wasting my time with sleep. Osborne: Stanhope: (picking up Stanhope’s pack and pulling out the blanket) Come along, old chap. You come and lie down here. (He puts the pack as a pillow on Stanhope’s bed, and spreads out the blanket.) 40 (with his chin in his hands) Little prig – that’s what he is. Did I ask him to force his way into my company? No! I didn’t. Very well, he’ll pay for his damn cheek. (Osborne lays his hand gently on Stanhope’s shoulder to persuade him to lie down). 45 Go away! (He shakes Osborne’s hand off.) What the hell are you trying to do? Osborne: Stanhope: Come and lie down and go to sleep. Go sleep y’self. I censor his letters, d’you see, Uncle? You watch and see he doesn’t smuggle any letters away. Righto. Now come and lie down. You’ve had a hard day of it. 50 Osborne: Stanhope: (looking up suddenly) Where’s Hardy? D’you say he’s gone? Yes. He’s gone. Osborne: Stanhope: Osborne: Stanhope: Osborne: Gone, has he? Y’know, I had a word to say to Master Hardy. He would go, the swine! Dirty trenches – everything dirty – I wanner tell him to keep his trenches clean. (standing beside Stanhope and putting his hand gently on his shoulder again) We’ll clean them up tomorrow. Stanhope looks up at Osborne and laughs gaily. Dear old Uncle! Clean trenches up – with little dustpan and brush. (He laughs.) Make you little apron – with lace on it. That’ll be fine. Now then, come along, old chap. I’ll see you get called at two o’clock. (He firmly takes Stanhope by the arm and draws him over to the bed.) You must be tired. 55 60 65 Stanhope: (in a dull voice) God, I’m bloody tired; ache – all over – feel sick. Osborne helps him on to the bed, takes the blanket and puts it over him. 70 Osborne: Stanhope: You’ll feel all right in a minute. How’s that? Comfortable? Yes. Comfortable. (He looks up into Osborne’s face and laughs again.) Dear old Uncle. Tuck me up. Osborne fumbles the blankets round Stanhope. Osborne: Stanhope: There we are. 75 Kiss me, Uncle. Osborne: Stanhope: Kiss you be blowed! You go to sleep. (closing his eyes) Yes – I go sleep. Explore how Sherriff makes this such a powerfully moving moment in the play.