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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/4764-h.zip b/4764-h.zip Binary files differnew file mode 100644 index 0000000..c66ed67 --- /dev/null +++ b/4764-h.zip diff --git a/4764-h/4764-h.htm b/4764-h/4764-h.htm new file mode 100644 index 0000000..0d1aff5 --- /dev/null +++ b/4764-h/4764-h.htm @@ -0,0 +1,5924 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Fifth Series Plays, A FAMILY MAN by John Galsworthy + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd7; text-align:justify} + P { margin-top: .75em; margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> + <p> + <br /><br /> + </p> +<pre xml:space="preserve"> + Project Gutenberg's A Family Man (Fifth Series Plays), by John Galsworthy + + This eBook is for the use of anyone anywhere at no cost and with + almost no restrictions whatsoever. You may copy it, give it away or + re-use it under the terms of the Project Gutenberg License included + with this eBook or online at www.gutenberg.org + + Title: A Family Man (From the Fifth Series Plays) + + Author: John Galsworthy + + Release Date: September 26, 2004 [EBook #4764] + Last Updated: October 28, 2012 + + Language: English + + Character set encoding: ASCII + + *** START OF THIS PROJECT GUTENBERG EBOOK A FAMILY MAN (FIFTH SERIES PLAYS) *** + + Produced by David Widger + + + + + +</pre> + <h2> + <i>GALSWORTHY'S PLAYS</i> + </h2> + <p> + <a name="link2H_TOC" id="link2H_TOC"> + <!-- H2 anchor --> </a> + </p> + <h2> + <i>Links to All Volumes</i> + </h2> + <table summary="" style="margin-right: auto; margin-left: auto" cellpadding="4" border="3"> + <tr> + <td> + THE FIRST SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2906/2906-h/2906-h.htm"><b>The + Silver Box</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2907/2907-h/2907-h.htm"><b>Joy</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2908/2908-h/2908-h.htm"><b>Strife</b></a> + </td> + </tr> + <tr> + <td> + THE SECOND SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2909/2909-h/2909-h.htm"><b>The + Eldest Son</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2910/2910-h/2910-h.htm"><b>Little + Dream</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2911/2911-h/2911-h.htm"><b>Justice</b></a> + </td> + </tr> + <tr> + <td> + THE THIRD SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2912/2912-h/2912-h.htm"><b>The + Fugitive</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2913/2913-h/2913-h.htm"><b>The + Pigeon</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2914/2914-h/2914-h.htm"><b>The + Mob</b></a> + </td> + </tr> + <tr> + <td> + THE FOURTH SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2915/2915-h/2915-h.htm"><b>A + Bit O'Love</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2916/2916-h/2916-h.htm"><b>The + Foundations</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2917/2917-h/2917-h.htm"><b>The + Skin Game</b></a> + </td> + </tr> + <tr> + <td> + THE FIFTH SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/4764/4764-h/4764-h.htm"><b>A + Family Man</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/4765/4765-h/4765-h.htm"><b>Loyalties</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/4766/4766-h/4766-h.htm"><b>Windows</b></a> + </td> + </tr> + <tr> + <td> + THE SIXTH SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2918/2918-h/2918-h.htm"><b>The + First and Last</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2919/2919-h/2919-h.htm"><b>The + Little Man</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2920/2920-h/2920-h.htm"><b>Four + Short Plays</b></a> + </td> + </tr> + </table> + <p> + <br /> <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + <i>FIFTH SERIES PLAYS OF GALSWORTHY</i> + </h2> + <p> + <br /><br /> + </p> + <h1> + A FAMILY MAN + </h1> + <p> + <br /><br /> + </p> + <h2> + By John Galsworthy + </h2> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <table summary="" style="margin-right: auto; margin-left: auto" cellpadding="4" border="3"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_4_0001"> ACT I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> ACT II </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> ACT III </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> CHARACTERS + </p> +<pre xml:space="preserve"> + JOHN BUILDER................ of the firm of Builder & Builder + JULIA....................... His Wife + ATHENE...................... His elder Daughter + MAUD........................ His younger Daughter + RALPH BUILDER............... His Brother, and Partner + GUY HERRINGHAME............. A Flying Man + ANNIE....................... A Young Person in Blue + CAMILLE..................... Mrs Builder's French Maid + TOPPING..................... Builder's Manservant + THE MAYOR................... Of Breconridge + HARRIS...................... His Secretary + FRANCIS CHANTREY............ J.P. + MOON........................ A Constable + MARTIN...................... A Police Sergeant + A JOURNALIST................ From The Comet + THE FIGURE OF A POACHER + THE VOICES AND FACES OF SMALL BOYS +</pre> + <p> + The action passes in the town of Breconridge, the Midlands. + </p> + <blockquote> + <p> + ACT I. SCENE I. BUILDER'S Study. After breakfast. SCENE II. A Studio. + ACT II. BUILDER'S Study. Lunchtime. ACT III. SCENE I. THE MAYOR'S Study. + 10am the following day. SCENE II. BUILDER'S Study. The same. Noon. SCENE + III. BUILDER'S Study. The same. Evening. + </p> + </blockquote> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> + </p> + <h2> + ACT I + </h2> + <h3> + SCENE I + </h3> + <blockquote> + <p> + The study of JOHN BUILDER in the provincial town of Breconridge. A + panelled room wherein nothing is ever studied, except perhaps BUILDER'S + face in the mirror over the fireplace. It is, however, comfortable, and + has large leather chairs and a writing table in the centre, on which is + a typewriter, and many papers. At the back is a large window with French + outside shutters, overlooking the street, for the house is an old one, + built in an age when the homes of doctors, lawyers and so forth were + part of a provincial town, and not yet suburban. There are two or three + fine old prints on the walls, Right and Left; and a fine, old fireplace, + Left, with a fender on which one can sit. A door, Left back, leads into + the dining-room, and a door, Right forward, into the hall. JOHN BUILDER + is sitting in his after-breakfast chair before the fire with The Times + in his hands. He has breakfasted well, and is in that condition of + first-pipe serenity in which the affairs of the nation seem almost + bearable. He is a tallish, square, personable man of forty-seven, with a + well-coloured, jowly, fullish face, marked under the eyes, which have + very small pupils and a good deal of light in them. His bearing has + force and importance, as of a man accustomed to rising and ownerships, + sure in his opinions, and not lacking in geniality when things go his + way. Essentially a Midlander. His wife, a woman of forty-one, of ivory + tint, with a thin, trim figure and a face so strangely composed as to be + almost like a mask (essentially from Jersey) is putting a nib into a + pen-holder, and filling an inkpot at the writing-table. As the curtain + rises CAMILLE enters with a rather broken-down cardboard box containing + flowers. She is a young woman with a good figure, a pale face, the warm + brown eyes and complete poise of a Frenchwoman. She takes the box to MRS + BUILDER. MRS BUILDER. The blue vase, please, Camille. CAMILLE fetches a + vase. MRS BUILDER puts the flowers into the vase. CAMILLE gathers up the + debris; and with a glance at BUILDER goes out. + </p> + </blockquote> + <p> + BUILDER. Glorious October! I ought to have a damned good day's shooting + with Chantrey tomorrow. + </p> + <p> + MRS BUILDER. [Arranging the flowers] Aren't you going to the office this + morning? + </p> + <p> + BUILDER. Well, no, I was going to take a couple of days off. If you feel + at the top of your form, take a rest—then you go on feeling at the + top. [He looks at her, as if calculating] What do you say to looking up + Athene? + </p> + <p> + MRS BUILDER. [Palpably astonished] Athene? But you said you'd done with + her? + </p> + <p> + BUILDER. [Smiling] Six weeks ago; but, dash it, one can't have done with + one's own daughter. That's the weakness of an Englishman; he can't keep up + his resentments. In a town like this it doesn't do to have her living by + herself. One of these days it'll get out we've had a row. That wouldn't do + me any good. + </p> + <p> + MRS BUILDER. I see. + </p> + <p> + BUILDER. Besides, I miss her. Maud's so self-absorbed. It makes a big hole + in the family, Julia. You've got her address, haven't you? + </p> + <p> + MRS BUILDER. Yes. [Very still] But do you think it's dignified, John? + </p> + <p> + BUILDER. [Genially] Oh, hang dignity! I rather pride myself on knowing + when to stand on my dignity and when to sit on it. If she's still crazy + about Art, she can live at home, and go out to study. + </p> + <p> + MRS BUILDER. Her craze was for liberty. + </p> + <p> + BUILDER. A few weeks' discomfort soon cures that. She can't live on her + pittance. She'll have found that out by now. Get your things on and come + with me at twelve o'clock. + </p> + <p> + MRS BUILDER. I think you'll regret it. She'll refuse. + </p> + <p> + BUILDER. Not if I'm nice to her. A child could play with me to-day. Shall + I tell you a secret, Julia? + </p> + <p> + MRS BUILDER. It would be pleasant for a change. + </p> + <p> + BUILDER. The Mayor's coming round at eleven, and I know perfectly well + what he's coming for. + </p> + <p> + MRS BUILDER. Well? + </p> + <p> + BUILDER. I'm to be nominated for Mayor next month. Harris tipped me the + wink at the last Council meeting. Not so bad at forty-seven—h'm? I + can make a thundering good Mayor. I can do things for this town that + nobody else can. + </p> + <p> + MRS BUILDER. Now I understand about Athene. + </p> + <p> + BUILDER. [Good-humouredly] Well, it's partly that. But [more seriously] + it's more the feeling I get that I'm not doing my duty by her. Goodness + knows whom she may be picking up with! Artists are a loose lot. And young + people in these days are the limit. I quite believe in moving with the + times, but one's either born a Conservative, or one isn't. So you be ready + at twelve, see. By the way, that French maid of yours, Julia— + </p> + <p> + MRS BUILDER. What about her? + </p> + <p> + BUILDER. Is she—er—is she all right? We don't want any trouble + with Topping. + </p> + <blockquote> + <p> + MRS BUILDER. There will be none with—Topping. [She opens the door + Left.] + </p> + </blockquote> + <p> + BUILDER. I don't know; she strikes me as—very French. + </p> + <blockquote> + <p> + MRS BUILDER smiles and passes out. BUILDER fills his second pipe. He is + just taking up the paper again when the door from the hall is opened, + and the manservant TOPPING, dried, dark, sub-humorous, in a black + cut-away, announces: + </p> + </blockquote> + <p> + TOPPING. The Mayor, Sir, and Mr Harris! + </p> + <blockquote> + <p> + THE MAYOR of Breconridge enters, He is clean-shaven, red-faced, + light-eyed, about sixty, shrewd, poll-parroty, naturally jovial, dressed + with the indefinable wrongness of a burgher; he is followed by his + Secretary HARRIS, a man all eyes and cleverness. TOPPING retires. + </p> + </blockquote> + <p> + BUILDER. [Rising] Hallo, Mayor! What brings you so early? Glad to see you. + Morning, Harris! + </p> + <p> + MAYOR. Morning, Builder, morning. + </p> + <p> + HARRIS. Good-morning, Sir. + </p> + <p> + BUILDER. Sit down-sit down! Have a cigar! + </p> + <blockquote> + <p> + The MAYOR takes a cigar HARRIS a cigarette from his own case. + </p> + </blockquote> + <p> + BUILDER. Well, Mayor, what's gone wrong with the works? + </p> + <blockquote> + <p> + He and HARRIS exchange a look. + </p> + </blockquote> + <p> + MAYOR. [With his first puff] After you left the Council the other day, + Builder, we came to a decision. + </p> + <p> + BUILDER. Deuce you did! Shall I agree with it? + </p> + <p> + MAYOR. We shall see. We want to nominate you for Mayor. You willin' to + stand? + </p> + <p> + BUILDER. [Stolid] That requires consideration. + </p> + <p> + MAYOR. The only alternative is Chantrey; but he's a light weight, and + rather too much County. What's your objection? + </p> + <p> + BUILDER. It's a bit unexpected, Mayor. [Looks at HARRIS] Am I the right + man? Following you, you know. I'm shooting with Chantrey to-morrow. What + does he feel about it? + </p> + <p> + MAYOR. What do you say, 'Arris? + </p> + <p> + HARRIS. Mr Chantrey's a public school and University man, Sir; he's not + what I call ambitious. + </p> + <p> + BUILDER. Nor am I, Harris. + </p> + <p> + HARRIS. No, sir; of course you've a high sense of duty. Mr Chantrey's + rather dilettante. + </p> + <p> + MAYOR. We want a solid man. + </p> + <p> + BUILDER. I'm very busy, you know, Mayor. + </p> + <p> + MAYOR. But you've got all the qualifications—big business, family + man, live in the town, church-goer, experience on the Council and the + Bench. Better say "yes," Builder. + </p> + <p> + BUILDER. It's a lot of extra work. I don't take things up lightly. + </p> + <p> + MAYOR. Dangerous times, these. Authority questioned all over the place. We + want a man that feels his responsibilities, and we think we've got him in + you. + </p> + <p> + BUILDER. Very good of you, Mayor. I don't know, I'm sure. I must think of + the good of the town. + </p> + <p> + HARRIS. I shouldn't worry about that, sir. + </p> + <p> + MAYOR. The name John Builder carries weight. You're looked up to as a man + who can manage his own affairs. Madam and the young ladies well? + </p> + <p> + BUILDER. First-rate. + </p> + <p> + MAYOR. [Rises] That's right. Well, if you'd like to talk it over with + Chantrey to-morrow. With all this extremism, we want a man of principle + and common sense. + </p> + <p> + HARRIS. We want a man that'll grasp the nettle, sir—and that's you. + </p> + <p> + BUILDER. Hm! I've got a temper, you know. + </p> + <p> + MAYOR. [Chuckling] We do—we do! You'll say "yes," I see. No false + modesty! Come along, 'Arris, we must go. + </p> + <p> + BUILDER. Well, Mayor, I'll think it over, and let you have an answer. You + know my faults, and you know my qualities, such as they are. I'm just a + plain Englishman. + </p> + <p> + MAYOR. We don't want anything better than that. I always say the great + point about an Englishman is that he's got bottom; you may knock him off + his pins, but you find him on 'em again before you can say "Jack + Robinson." He may have his moments of aberration, but he's a sticker. + Morning, Builder, morning! Hope you'll say "yes." + </p> + <blockquote> + <p> + He shakes hands and goes out, followed by HARRIS. When the door is dosed + BUILDER stands a moment quite still with a gratified smile on his face; + then turns and scrutinises himself in the glass over the hearth. While + he is doing so the door from the dining-room is opened quietly and + CAMILLE comes in. BUILDER, suddenly seeing her reflected in the mirror, + turns. + </p> + </blockquote> + <p> + BUILDER. What is it, Camille? + </p> + <p> + CAMILLE. Madame send me for a letter she say you have, Monsieur, from the + dyer and cleaner, with a bill. + </p> + <p> + BUILDER. [Feeling in his pockets] Yes—no. It's on the table. + </p> + <p> + CAMILLE goes to the writing-table and looks. That blue thing. + </p> + <p> + CAMILLE. [Taking it up] Non, Monsieur, this is from the gas. + </p> + <blockquote> + <p> + BUILDER. Oh! Ah! [He moves up to the table and turns over papers. + CAMILLE stands motionless close by with her eyes fixed on him.] Here it + is! [He looks up, sees her looking at him, drops his own gaze, and hands + her the letter. Their hands touch. Putting his hands in his pockets] + What made you come to England? + </p> + </blockquote> + <p> + CAMILLE. [Demure] It is better pay, Monsieur, and [With a smile] the + English are so amiable. + </p> + <p> + BUILDER. Deuce they are! They haven't got that reputation. + </p> + <p> + CAMILLE. Oh! I admire Englishmen. They are so strong and kind. + </p> + <p> + BUILDER. [Bluffly flattered] H'm! We've no manners. + </p> + <p> + CAMILLE. The Frenchman is more polite, but not in the 'eart. + </p> + <p> + BUILDER. Yes. I suppose we're pretty sound at heart. + </p> + <p> + CAMILLE. And the Englishman have his life in the family—the + Frenchman have his life outside. + </p> + <p> + BUILDER. [With discomfort] H'm! + </p> + <p> + CAMILLE. [With a look] Too mooch in the family—like a rabbit in a + 'utch. + </p> + <p> + BUILDER. Oh! So that's your view of us! [His eyes rest on her, attracted + but resentful]. + </p> + <p> + CAMILLE. Pardon, Monsieur, my tongue run away with me. + </p> + <p> + BUILDER. [Half conscious of being led on] Are you from Paris? + </p> + <p> + CAMILLE. [Clasping her hands] Yes. What a town for pleasure—Paris! + </p> + <p> + BUILDER. I suppose so. Loose place, Paris. + </p> + <p> + CAMILLE. Loose? What is that, Monsieur? + </p> + <p> + BUILDER. The opposite of strict. + </p> + <p> + CAMILLE. Strict! Oh! certainly we like life, we other French. It is not + like England. I take this to Madame, Monsieur. [She turns as if to go] + Excuse me. + </p> + <p> + BUILDER. I thought you Frenchwomen all married young. + </p> + <p> + CAMILLE. I 'ave been married; my 'usband did die—en Afrique. + </p> + <p> + BUILDER. You wear no ring. + </p> + <p> + CAMILLE. [Smiling] I prefare to be mademoiselle, Monsieur. + </p> + <p> + BUILDER. [Dubiously] Well, it's all the same to us. [He takes a letter up + from the table] You might take this to Mrs Builder too. [Again their + fingers touch, and there is a suspicion of encounter between their eyes.] + </p> + <p> + CAMILLE goes out. + </p> + <p> + BUILDER. [Turning to his chair] Don't know about that woman—she's a + tantalizer. + </p> + <blockquote> + <p> + He compresses his lips, and is settling back into his chair, when the + door from the hall is opened and his daughter MAUD comes in; a pretty + girl, rather pale, with fine eyes. Though her face has a determined cast + her manner at this moment is by no means decisive. She has a letter in + her hand, and advances rather as if she were stalking her father, who, + after a "Hallo, Maud!" has begun to read his paper. + </p> + </blockquote> + <p> + MAUD. [Getting as far as the table] Father. + </p> + <p> + BUILDER. [Not lowering the paper] Well? I know that tone. What do you want—money? + </p> + <p> + MAUD. I always want money, of course; but—but— + </p> + <p> + BUILDER. [Pulling out a note-abstractedly] Here's five pounds for you. + </p> + <blockquote> + <p> + MAUD, advancing, takes it, then seems to find what she has come for more + on her chest than ever. + </p> + </blockquote> + <p> + BUILDER. [Unconscious] Will you take a letter for me? + </p> + <blockquote> + <p> + MAUD sits down Left of table and prepares to take down the letter. + </p> + </blockquote> + <p> + [Dictating] "Dear Mr Mayor,—Referring to your call this morning, I + have —er—given the matter very careful consideration, and + though somewhat reluctant—" + </p> + <p> + MAUD. Are you really reluctant, father? + </p> + <p> + BUILDER. Go on—"To assume greater responsibilities, I feel it my + duty to come forward in accordance with your wish. The—er—honour + is one of which I hardly feel myself worthy, but you may rest assured—" + </p> + <p> + MAUD. Worthy. But you do, you know. + </p> + <p> + BUILDER. Look here! Are you trying to get a rise out of me?—because + you won't succeed this morning. + </p> + <p> + MAUD. I thought you were trying to get one out of me. + </p> + <p> + BUILDER. Well, how would you express it? + </p> + <p> + MAUD. "I know I'm the best man for the place, and so do you—" + </p> + <p> + BUILDER. The disrespect of you young people is something extraordinary. + And that reminds me where do you go every evening now after tea? + </p> + <p> + MAUD. I—I don't know. + </p> + <p> + BUILDER. Come now, that won't do—you're never in the house from six + to seven. + </p> + <p> + MAUD. Well! It has to do with my education. + </p> + <p> + BUILDER. Why, you finished that two years ago! + </p> + <p> + MAUD. Well, call it a hobby, if you like, then, father. + </p> + <blockquote> + <p> + She takes up the letter she brought in and seems on the point of + broaching it. + </p> + </blockquote> + <p> + BUILDER. Hobby? Well, what is it? + </p> + <p> + MAUD. I don't want to irritate you, father. + </p> + <p> + BUILDER. You can't irritate me more than by having secrets. See what that + led to in your sister's case. And, by the way, I'm going to put an end to + that this morning. You'll be glad to have her back, won't you? + </p> + <p> + MAUD. [Startled] What! + </p> + <p> + BUILDER. Your mother and I are going round to Athene at twelve o'clock. I + shall make it up with her. She must come back here. + </p> + <p> + MAUD. [Aghast, but hiding it] Oh! It's—it's no good, father. She + won't. + </p> + <p> + BUILDER. We shall see that. I've quite got over my tantrum, and I expect + she has. + </p> + <p> + MAUD. [Earnestly] Father! I do really assure you she won't; it's only + wasting your time, and making you eat humble pie. + </p> + <p> + BUILDER. Well, I can eat a good deal this morning. It's all nonsense! A + family's a family. + </p> + <p> + MAUD. [More and more disturbed, but hiding it] Father, if I were you, I + wouldn't-really! It's not-dignified. + </p> + <p> + BUILDER. You can leave me to judge of that. It's not dignified for the + Mayor of this town to have an unmarried daughter as young as Athene living + by herself away from home. This idea that she's on a visit won't wash any + longer. Now finish that letter—"worthy, but you may rest assured + that I shall do my best to sustain the—er—dignity of the + office." [MAUD types desperately.] Got that? "And—er—preserve + the tradition so worthily—" No— "so staunchly"—er—er— + </p> + <p> + MAUD. Upheld. + </p> + <p> + BUILDER. Ah! "—upheld by yourself.—Faithfully yours." + </p> + <p> + MAUD. [Finishing] Father, you thought Athene went off in a huff. It wasn't + that a bit. She always meant to go. She just got you into a rage to make + it easier. She hated living at home. + </p> + <p> + BUILDER. Nonsense! Why on earth should she? + </p> + <p> + MAUD. Well, she did! And so do— [Checking herself] And so you see + it'll only make you ridiculous to go. + </p> + <p> + BUILDER. [Rises] Now what's behind this, Maud? + </p> + <p> + MAUD. Behind—Oh! nothing! + </p> + <p> + BUILDER. The fact is, you girls have been spoiled, and you enjoy twisting + my tail; but you can't make me roar this morning. I'm too pleased with + things. You'll see, it'll be all right with Athene. + </p> + <p> + MAUD. [Very suddenly] Father! + </p> + <p> + BUILDER. [Grimly humorous] Well! Get it off your chest. What's that letter + about? + </p> + <p> + MAUD. [Failing again and crumpling the letter behind her back] Oh! + nothing. + </p> + <p> + BUILDER. Everything's nothing this morning. Do you know what sort of + people Athene associates with now—I suppose you see her? + </p> + <p> + MAUD. Sometimes. + </p> + <p> + BUILDER. Well? + </p> + <p> + MAUD. Nobody much. There isn't anybody here to associate with. It's all + hopelessly behind the times. + </p> + <p> + BUILDER. Oh! you think so! That's the inflammatory fiction you pick up. I + tell you what, young woman—the sooner you and your sister get rid of + your silly notions about not living at home, and making your own way, the + sooner you'll both get married and make it. Men don't like the new spirit + in women—they may say they do, but they don't. + </p> + <p> + MAUD. You don't, father, I know. + </p> + <p> + BUILDER. Well, I'm very ordinary. If you keep your eyes open, you'll soon + see that. + </p> + <p> + MAUD. Men don't like freedom for anybody but themselves. + </p> + <p> + BUILDER. That's not the way to put it. [Tapping out his pipe] Women in + your class have never had to face realities. + </p> + <p> + MAUD. No, but we want to. + </p> + <p> + BUILDER. [Good-humouredly] Well, I'll bet you what you like, Athene's dose + of reality will have cured her. + </p> + <p> + MAUD. And I'll bet you—No, I won't! + </p> + <p> + BUILDER. You'd better not. Athene will come home, and only too glad to do + it. Ring for Topping and order the car at twelve. + </p> + <blockquote> + <p> + As he opens the door to pass out, MAUD starts forward, but checks + herself. + </p> + </blockquote> + <p> + MAUD. [Looking at her watch] Half-past eleven! Good heavens! + </p> + <blockquote> + <p> + She goes to the bell and rings. Then goes back to the table, and writes + an address on a bit of paper. TOPPING enters Right. + </p> + </blockquote> + <p> + TOPPING. Did you ring, Miss? + </p> + <p> + MAUD. [With the paper] Yes. Look here, Topping! Can you manage— on + your bicycle—now at once? I want to send a message to Miss Athene + —awfully important. It's just this: "Look out! Father is coming." + [Holding out the paper] Here's her address. You must get there and away + again by twelve. Father and mother want the car then to go there. Order it + before you go. It won't take you twenty minutes on your bicycle. It's down + by the river near the ferry. But you mustn't be seen by them either going + or coming. + </p> + <p> + TOPPING. If I should fall into their hands, Miss, shall I eat the + despatch? + </p> + <p> + MAUD. Rather! You're a brick, Topping. Hurry up! + </p> + <p> + TOPPING. Nothing more precise, Miss? + </p> + <p> + MAUD. M—m—No. + </p> + <p> + TOPPING. Very good, Miss Maud. [Conning the address] "Briary Studio, River + Road. Look out! Father is coming!" I'll go out the back way. Any answer? + </p> + <p> + MAUD. No. + </p> + <blockquote> + <p> + TOPPING nods his head and goes out. + </p> + </blockquote> + <p> + MAUD. [To herself] Well, it's all I can do. + </p> + <blockquote> + <p> + She stands, considering, as the CURTAIN falls. + </p> + </blockquote> + <p> + SCENE II + </p> + <blockquote> + <p> + The Studio, to which are attached living rooms, might be rented at + eighty pounds a year—some painting and gear indeed, but an air of + life rather than of work. Things strewn about. Bare walls, a sloping + skylight, no windows; no fireplace visible; a bedroom door, stage Right; + a kitchen door, stage Left. A door, Centre back, into the street. The + door knocker is going. + </p> + </blockquote> + <p> + From the kitchen door, Left, comes the very young person, ANNIE, in + blotting-paper blue linen, with a white Dutch cap. She is pretty, her + cheeks rosy, and her forehead puckered. She opens the street door. + Standing outside is TOPPING. He steps in a pace or two. + </p> + <p> + TOPPING. Miss Builder live here? + </p> + <p> + ANNIE. Oh! no, sir; Mrs Herringhame. + </p> + <p> + TOPPING. Mrs Herringhame? Oh! young lady with dark hair and large + expressive eyes? + </p> + <p> + ANNIE. Oh! yes, sir. + </p> + <p> + TOPPING. With an "A. B." on her linen? [Moves to table]. + </p> + <p> + ANNIE. Yes, sir. + </p> + <p> + TOPPING. And "Athene Builder" on her drawings? + </p> + <p> + ANNIE. [Looking at one] Yes, sir. + </p> + <p> + TOPPING. Let's see. [He examines the drawing] Mrs Herringhame, you said? + </p> + <p> + ANNIE. Oh! yes, Sir. + </p> + <p> + TOPPING. Wot oh! + </p> + <p> + ANNIE. Did you want anything, sir? + </p> + <p> + TOPPING. Drop the "sir," my dear; I'm the Builders' man. Mr Herringhame + in? + </p> + <p> + ANNIE. Oh! no, Sir. + </p> + <p> + TOPPING. Take a message. I can't wait. From Miss Maud Builder. "Look out! + Father is coming." Now, whichever of 'em comes in first—that's the + message, and don't you forget it. + </p> + <p> + ANNIE. Oh! no, Sir. + </p> + <p> + TOPPING. So they're married? + </p> + <p> + ANNIE. Oh! I don't know, sir. + </p> + <p> + TOPPING. I see. Well, it ain't known to Builder, J.P., either. That's why + there's a message. See? + </p> + <p> + ANNIE. Oh! yes, Sir. + </p> + <p> + TOPPING. Keep your head. I must hop it. From Miss Maud Builder. "Look out! + Father is coming." + </p> + <blockquote> + <p> + He nods, turns and goes, pulling the door to behind him. ANNIE stands + "baff" for a moment. + </p> + </blockquote> + <p> + ANNIE. Ah! + </p> + <blockquote> + <p> + She goes across to the bedroom on the Right, and soon returns with a + suit of pyjamas, a toothbrush, a pair of slippers and a case of razors, + which she puts on the table, and disappears into the kitchen. She + reappears with a bread pan, which she deposits in the centre of the + room; then crosses again to the bedroom, and once more reappears with a + clothes brush, two hair brushes, and a Norfolk jacket. As she stuffs all + these into the bread pan and bears it back into the kitchen, there is + the sound of a car driving up and stopping. ANNIE reappears at the + kitchen door just as the knocker sounds. + </p> + </blockquote> + <p> + ANNIE. Vexin' and provokin'! [Knocker again. She opens the door] Oh! + </p> + <blockquote> + <p> + MR and MRS BUILDER enter. + </p> + </blockquote> + <p> + BUILDER. Mr and Mrs Builder. My daughter in? + </p> + <p> + ANNIE. [Confounded] Oh! Sir, no, sir. + </p> + <p> + BUILDER. My good girl, not "Oh! Sir, no, sir." Simply: No, Sir. See? + </p> + <p> + ANNIE. Oh! Sir, yes, Sir. + </p> + <p> + BUILDER. Where is she? + </p> + <p> + ANNIE. Oh! Sir, I don't know, Sir. + </p> + <p> + BUILDER. [Fixing her as though he suspected her of banter] Will she be + back soon? + </p> + <p> + ANNIE. No, Sir. + </p> + <p> + BUILDER. How do you know? + </p> + <p> + ANNIE. I d—don't, sir. + </p> + <p> + BUILDER. They why do you say so? [About to mutter "She's an idiot!" he + looks at her blushing face and panting figure, pats her on the shoulder + and says] Never mind; don't be nervous. + </p> + <p> + ANNIE. Oh! yes, sir. Is that all, please, sir? + </p> + <p> + MRS BUILDER. [With a side look at her husband and a faint smile] Yes; you + can go. + </p> + <p> + ANNIE. Thank you, ma'am. + </p> + <blockquote> + <p> + She turns and hurries out into the kitchen, Left. BUILDER gazes after + her, and MRS BUILDER gazes at BUILDER with her faint smile. + </p> + </blockquote> + <p> + BUILDER. [After the girl is gone] Quaint and Dutch—pretty little + figure! [Staring round] H'm! Extraordinary girls are! Fancy Athene + preferring this to home. What? + </p> + <p> + MRS BUILDER. I didn't say anything. + </p> + <p> + BUILDER. [Placing a chair for his wife, and sitting down himself] Well, we + must wait, I suppose. Confound that Nixon legacy! If Athene hadn't had + that potty little legacy left her, she couldn't have done this. Well, I + daresay it's all spent by now. I made a mistake to lose my temper with + her. + </p> + <p> + MRS BUILDER. Isn't it always a mistake to lose one's temper? + </p> + <p> + BUILDER. That's very nice and placid; sort of thing you women who live + sheltered lives can say. I often wonder if you women realise the strain on + a business man. + </p> + <p> + MRS BUILDER. [In her softly ironical voice] It seems a shame to add the + strain of family life. + </p> + <p> + BUILDER. You've always been so passive. When I want a thing, I've got to + have it. + </p> + <p> + MRS BUILDER. I've noticed that. + </p> + <p> + BUILDER. [With a short laugh] Odd if you hadn't, in twenty-three years. + [Touching a canvas standing against the chair with his toe] Art! Just a + pretext. We shall be having Maud wanting to cut loose next. She's very + restive. Still, I oughtn't to have had that scene with Athene. I ought to + have put quiet pressure. + </p> + <blockquote> + <p> + MRS BUILDER Smiles. + </p> + </blockquote> + <p> + BUILDER. What are you smiling at? + </p> + <blockquote> + <p> + MRS BUILDER shrugs her shoulders. + </p> + </blockquote> + <p> + Look at this—Cigarettes! [He examines the brand on the box] Strong, + very—and not good! [He opens the door] Kitchen! [He shuts it, + crosses, and opens the door, Right] Bedroom! + </p> + <p> + MRS BUILDER. [To his disappearing form] Do you think you ought, John? + </p> + <blockquote> + <p> + He has disappeared, and she ends with an expressive movement of her + hands, a long sigh, and a closing of her eyes. BUILDER'S peremptory + voice is heard: "Julia!" + </p> + </blockquote> + <p> + What now? + </p> + <blockquote> + <p> + She follows into the bedroom. The maid ANNIE puts her head out of the + kitchen door; she comes out a step as if to fly; then, at BUILDER'S + voice, shrinks back into the kitchen. + </p> + </blockquote> + <p> + BUILDER, reappearing with a razor strop in one hand and a shaving-brush in + the other, is followed by MRS BUILDER. + </p> + <p> + BUILDER. Explain these! My God! Where's that girl? + </p> + <p> + MRS BUILDER. John! Don't! [Getting between him and the kitchen door] It's + not dignified. + </p> + <p> + BUILDER. I don't care a damn. + </p> + <p> + MRS BUILDER. John, you mustn't. Athene has the tiny beginning of a + moustache, you know. + </p> + <p> + BUILDER. What! I shall stay and clear this up if I have to wait a week. + Men who let their daughters—! This age is the limit. [He makes a + vicious movement with the strop, as though laying it across someone's + back.] + </p> + <p> + MRS BUILDER. She would never stand that. Even wives object, nowadays. + </p> + <p> + BUILDER. [Grimly] The war's upset everything. Women are utterly out of + hand. Why the deuce doesn't she come? + </p> + <p> + MRS BUILDER. Suppose you leave me here to see her. + </p> + <p> + BUILDER. [Ominously] This is my job. + </p> + <p> + MRS BUILDER. I think it's more mine. + </p> + <p> + BUILDER. Don't stand there opposing everything I say! I'll go and have + another look—[He is going towards the bedroom when the sound of a + latchkey in the outer door arrests him. He puts the strop and brush behind + his back, and adds in a low voice] Here she is! + </p> + <blockquote> + <p> + MRS BUILDER has approached him, and they have both turned towards the + opening door. GUY HERRINGHAME comes in. They are a little out of his + line of sight, and he has shut the door before he sees them. When he + does, his mouth falls open, and his hand on to the knob of the door. He + is a comely young man in Harris tweeds. Moreover, he is smoking. He + would speak if he could, but his surprise is too excessive. BUILDER. + Well, sir? + </p> + </blockquote> + <p> + GUY. [Recovering a little] I was about to say the same to you, sir. + </p> + <p> + BUILDER. [Very red from repression] These rooms are not yours, are they? + </p> + <p> + GUY. Nor yours, sir? + </p> + <p> + BUILDER. May I ask if you know whose they are? + </p> + <p> + GUY. My sister's. + </p> + <p> + BUILDER. Your—you—! + </p> + <p> + MRS BUILDER. John! + </p> + <p> + BUILDER. Will you kindly tell me why your sister signs her drawings by the + name of my daughter, Athene Builder—and has a photograph of my wife + hanging there? + </p> + <blockquote> + <p> + The YOUNG MAN looks at MRS BUILDER and winces, but recovers himself. + </p> + </blockquote> + <p> + GUY. [Boldly] As a matter of fact this is my sister's studio; she's in + France—and has a friend staying here. + </p> + <p> + BUILDER. Oh! And you have a key? + </p> + <p> + GUY. My sister's. + </p> + <p> + BUILDER. Does your sister shave? + </p> + <p> + GUY. I—I don't think so. + </p> + <p> + BUILDER. No. Then perhaps you'll tell me what these mean? [He takes out + the strop and shaving stick]. + </p> + <p> + GUY. Oh! Ah! Those things? + </p> + <p> + BUILDER. Yes. Now then? + </p> + <p> + GUY. [Addressing MRS BUILDER] Need we go into this in your presence, + ma'am? It seems rather delicate. + </p> + <p> + BUILDER. What explanation have you got? + </p> + <p> + GUY. Well, you see— + </p> + <p> + BUILDER. No lies; out with it! + </p> + <p> + GUY. [With decision] I prefer to say nothing. + </p> + <p> + BUILDER. What's your name? + </p> + <p> + GUY. Guy Herringhame. + </p> + <p> + BUILDER. Do you live here? + </p> + <blockquote> + <p> + Guy makes no sign. + </p> + </blockquote> + <p> + MRS BUILDER. [To Guy] I think you had better go. + </p> + <p> + BUILDER. Julia, will you leave me to manage this? + </p> + <p> + MRS BUILDER. [To Guy] When do you expect my daughter in? + </p> + <p> + GUY. Now—directly. + </p> + <p> + MRS BUILDER. [Quietly] Are you married to her? + </p> + <p> + GUY. Yes. That is—no—o; not altogether, I mean. + </p> + <p> + BUILDER. What's that? Say that again! + </p> + <p> + GUY. [Folding his arms] I'm not going to say another word. + </p> + <p> + BUILDER. I am. + </p> + <p> + MRS BUILDER. John—please! + </p> + <p> + BUILDER. Don't put your oar in! I've had wonderful patience so far. [He + puts his boot through a drawing] Art! This is what comes of it! Are you an + artist? + </p> + <p> + GUY. No; a flying man. The truth is— + </p> + <p> + BUILDER. I don't want to hear you speak the truth. I'll wait for my + daughter. + </p> + <p> + GUY. If you do, I hope you'll be so very good as to be gentle. If you get + angry I might too, and that would be awfully ugly. + </p> + <p> + BUILDER. Well, I'm damned! + </p> + <p> + GUY. I quite understand that, sir. But, as a man of the world, I hope + you'll take a pull before she comes, if you mean to stay. + </p> + <p> + BUILDER. If we mean to stay! That's good! + </p> + <p> + GUY. Will you have a cigarette? + </p> + <p> + BUILDER. I—I can't express— + </p> + <p> + GUY. [Soothingly] Don't try, sir. [He jerks up his chin, listening] I + think that's her. [Goes to the door] Yes. Now, please! [He opens the door] + Your father and mother, Athene. + </p> + <p> + ATHENE enters. She is flushed and graceful. Twenty-two, with a short upper + lip, a straight nose, dark hair, and glowing eyes. She wears bright + colours, and has a slow, musical voice, with a slight lisp. + </p> + <p> + ATHENE. Oh! How are you, mother dear? This is rather a surprise. Father + always keeps his word, so I certainly didn't expect him. [She looks + steadfastly at BUILDER, but does not approach]. + </p> + <p> + BUILDER. [Controlling himself with an effort] Now, Athene, what's this? + </p> + <p> + ATHENE. What's what? + </p> + <p> + BUILDER. [The strop held out] Are you married to this—this—? + </p> + <p> + ATHENE. [Quietly] To all intents and purposes. + </p> + <p> + BUILDER. In law? + </p> + <p> + ATHENE. No. + </p> + <p> + BUILDER. My God! You—you—! + </p> + <p> + ATHENE. Father, don't call names, please. + </p> + <p> + BUILDER. Why aren't you married to him? + </p> + <p> + ATHENE. Do you want a lot of reasons, or the real one? + </p> + <p> + BUILDER. This is maddening! [Goes up stage]. + </p> + <p> + ATHENE. Mother dear, will you go into the other room with Guy? [She points + to the door Right]. + </p> + <p> + BUILDER. Why? + </p> + <p> + ATHENE. Because I would rather she didn't hear the reason. + </p> + <p> + GUY. [To ATHENE, sotto voce] He's not safe. + </p> + <p> + ATHENE. Oh! yes; go on. + </p> + <blockquote> + <p> + Guy follows MRS BUILDER, and after hesitation at the door they go out + into the bedroom. + </p> + </blockquote> + <p> + BUILDER. Now then! + </p> + <p> + ATHENE. Well, father, if you want to know the real reason, it's—you. + </p> + <p> + BUILDER. What on earth do you mean? + </p> + <p> + ATHENE. Guy wants to marry me. In fact, we—But I had such a stunner + of marriage from watching you at home, that I— + </p> + <p> + BUILDER. Don't be impudent! My patience is at breaking-point, I warn you. + </p> + <p> + ATHENE. I'm perfectly serious, Father. I tell you, we meant to marry, but + so far I haven't been able to bring myself to it. You never noticed how we + children have watched you. + </p> + <p> + BUILDER. Me? + </p> + <p> + ATHENE. Yes. You and mother, and other things; all sorts of things— + </p> + <p> + BUILDER. [Taking out a handkerchief and wiping his brow] I really think + you're mad. + </p> + <p> + ATHENE. I'm sure you must, dear. + </p> + <p> + BUILDER. Don't "dear" me! What have you noticed? D'you mean I'm not a good + husband and father? + </p> + <p> + ATHENE. Look at mother. I suppose you can't, now; you're too used to her. + </p> + <p> + BUILDER. Of course I'm used to her. What else is marrying for? + </p> + <p> + ATHENE. That; and the production of such as me. And it isn't good enough, + father. You shouldn't have set us such a perfect example. + </p> + <p> + BUILDER. You're talking the most arrant nonsense I ever heard. [He lifts + his hands] I've a good mind to shake it out of you. + </p> + <p> + ATHENE. Shall I call Guy? + </p> + <blockquote> + <p> + He drops his hands. + </p> + </blockquote> + <p> + Confess that being a good husband and father has tried you terribly. It + has us, you know. + </p> + <p> + BUILDER. [Taking refuge in sarcasm] When you've quite done being funny, + perhaps you'll tell me why you've behaved like a common street flapper. + </p> + <p> + ATHENE. [Simply] I couldn't bear to think of Guy as a family man. That's + all—absolutely. It's not his fault; he's been awfully anxious to be + one. + </p> + <p> + BUILDER. You've disgraced us, then; that's what it comes to. + </p> + <p> + ATHENE. I don't want to be unkind, but you've brought it on yourself. + </p> + <p> + BUILDER. [Genuinely distracted] I can't even get a glimmer of what you + mean. I've never been anything but firm. Impatient, perhaps. I'm not an + angel; no ordinary healthy man is. I've never grudged you girls any + comfort, or pleasure. + </p> + <p> + ATHENE. Except wills of our own. + </p> + <p> + BUILDER. What do you want with wills of your own till you're married? + </p> + <p> + ATHENE. You forget mother! + </p> + <p> + BUILDER. What about her? + </p> + <p> + ATHENE. She's very married. Has she a will of her own? + </p> + <p> + BUILDER. [Sullenly] She's learnt to know when I'm in the right. + </p> + <p> + ATHENE. I don't ever mean to learn to know when Guy's in the right. + Mother's forty-one, and twenty-three years of that she's been your wife. + It's a long time, father. Don't you ever look at her face? + </p> + <p> + BUILDER. [Troubled in a remote way] Rubbish! + </p> + <p> + ATHENE. I didn't want my face to get like that. + </p> + <p> + BUILDER. With such views about marriage, what business had you to go near + a man? Come, now! + </p> + <p> + ATHENE. Because I fell in love. + </p> + <p> + BUILDER. Love leads to marriage—and to nothing else, but the + streets. What an example to your sister! + </p> + <p> + ATHENE. You don't know Maud any more than you knew me. She's got a will of + her own too, I can tell you. + </p> + <p> + BUILDER. Now, look here, Athene. It's always been my way to face + accomplished facts. What's done can't be undone; but it can be remedied. + You must marry this young——at once, before it gets out. He's + behaved like a ruffian: but, by your own confession, you've behaved worse. + You've been bitten by this modern disease, this—this, utter lack of + common decency. There's an eternal order in certain things, and marriage + is one of them; in fact, it's the chief. Come, now. Give me a promise, and + I'll try my utmost to forget the whole thing. + </p> + <p> + ATHENE. When we quarrelled, father, you said you didn't care what became + of me. + </p> + <p> + BUILDER. I was angry. + </p> + <p> + ATHENE. So you are now. + </p> + <p> + BUILDER. Come, Athene, don't be childish! Promise me! + </p> + <p> + ATHENE. [With a little shudder] No! We were on the edge of it. But now + I've seen you again—Poor mother! + </p> + <p> + BUILDER. [Very angry] This is simply blasphemous. What do you mean by + harping on your mother? If you think that—that—she doesn't—that + she isn't— + </p> + <p> + ATHENE. Now, father! + </p> + <p> + BUILDER. I'm damned if I'll sit down under this injustice. Your mother is—is + pretty irritating, I can tell you. She—she—Everything + suppressed. And—and no—blood in her! + </p> + <p> + ATHENE. I knew it! + </p> + <p> + BUILDER. [Aware that he has confirmed some thought in her that he had no + intention of confirming] What's that? + </p> + <p> + ATHENE. Don't you ever look at your own face, father? When you shave, for + instance. + </p> + <p> + BUILDER. Of course I do. + </p> + <p> + ATHENE. It isn't satisfied, is it? + </p> + <p> + BUILDER. I don't know what on earth you mean. + </p> + <p> + ATHENE. You can't help it, but you'd be ever so much happier if you were a + Mohammedan, and two or three, instead of one, had—had learned to + know when you were in the right. + </p> + <p> + BUILDER. 'Pon my soul! This is outrageous! + </p> + <p> + ATHENE. Truth often is. + </p> + <p> + BUILDER. Will you be quiet? + </p> + <p> + ATHENE. I don't ever want to feel sorry for Guy in that way. + </p> + <p> + BUILDER. I think you're the most immodest—I'm ashamed that you're my + daughter. If your another had ever carried on as you are now— + </p> + <p> + ATHENE. Would you have been firm with her? + </p> + <p> + BUILDER. [Really sick at heart at this unwonted mockery which meets him at + every turn] Be quiet, you——! + </p> + <p> + ATHENE. Has mother never turned? + </p> + <p> + BUILDER. You're an unnatural girl! Go your own way to hell! + </p> + <p> + ATHENE. I am not coming back home, father. + </p> + <p> + BUILDER. [Wrenching open the door, Right] Julia! Come! We can't stay here. + </p> + <blockquote> + <p> + MRS BUILDER comes forth, followed by GUY. + </p> + </blockquote> + <p> + As for you, sir, if you start by allowing a woman to impose her crazy + ideas about marriage on you, all I can say is—I despise you. [He + crosses to the outer door, followed by his wife. To ATHENE] I've done with + you! + </p> + <blockquote> + <p> + He goes out. MRS BUILDER, who has so far seemed to accompany him, shuts + the door quickly and remains in the studio. She stands there with that + faint smile on her face, looking at the two young people. + </p> + </blockquote> + <p> + ATHENE. Awfully sorry, mother; but don't you see what a stunner father's + given me? + </p> + <p> + MRS BUILDER. My dear, all men are not alike. + </p> + <p> + GUY. I've always told her that, ma'am. + </p> + <p> + ATHENE. [Softly] Oh! mother, I'm so sorry for you. + </p> + <blockquote> + <p> + The handle of the door is rattled, a fist is beaten on it. + </p> + </blockquote> + <p> + [She stamps, and covers her ears] Disgusting! + </p> + <p> + GUY. Shall I—? + </p> + <p> + MRS BUILDER. [Shaking her head] I'm going in a moment. [To ATHENE] You owe + it to me, Athene. + </p> + <p> + ATHENE. Oh! if somebody would give him a lesson! + </p> + <blockquote> + <p> + BUILDER's voice: "Julia!" + </p> + </blockquote> + <p> + Have you ever tried, mother? + </p> + <blockquote> + <p> + MRS BUILDER looks at the YOUNG MAN, who turns away out of hearing. + </p> + </blockquote> + <p> + MRS BUILDER. Athene, you're mistaken. I've always stood up to him in my + own way. + </p> + <p> + ATHENE. Oh! but, mother—listen! + </p> + <blockquote> + <p> + The beating and rattling have recommenced, and the voice: "Are you + coming?" + </p> + </blockquote> + <p> + [Passionately] And that's family life! Father was all right before he + married, I expect. And now it's like this. How you survive—! + </p> + <p> + MRS BUILDER. He's only in a passion, my dear. + </p> + <p> + ATHENE. It's wicked. + </p> + <p> + MRS BUILDER. It doesn't work otherwise, Athene. + </p> + <blockquote> + <p> + A single loud bang on the door. + </p> + </blockquote> + <p> + ATHENE. If he beats on that door again, I shall scream. + </p> + <blockquote> + <p> + MRS BUILDER smiles, shakes her head, and turns to the door. + </p> + </blockquote> + <p> + MRS BUILDER. Now, my dear, you're going to be sensible, to please me. It's + really best. If I say so, it must be. It's all comedy, Athene. + </p> + <p> + ATHENE. Tragedy! + </p> + <p> + GUY. [Turning to them] Look here! Shall I shift him? + </p> + <blockquote> + <p> + MRS BUILDER shakes her head and opens the door. BUILDER stands there, a + furious figure. + </p> + </blockquote> + <p> + BUILDER. Will you come, and leave that baggage and her cad? + </p> + <p> + MRS BUILDER steps quickly out and the door is closed. Guy makes an angry + movement towards it. + </p> + <p> + ATHENE. Guy! + </p> + <p> + GUY. [Turning to her] That puts the top hat on. So persuasive! [He takes + out of his pocket a wedding ring, and a marriage licence] Well! What's to + be done with these pretty things, now? + </p> + <p> + ATHENE. Burn them! + </p> + <p> + GUY. [Slowly] Not quite. You can't imagine I should ever be like that, + Athene? + </p> + <p> + ATHENE. Marriage does wonders. + </p> + <p> + GUY. Thanks. + </p> + <p> + ATHENE. Oh! Guy, don't be horrid. I feel awfully bad. + </p> + <p> + GUY. Well, what do you think I feel? "Cad!" + </p> + <blockquote> + <p> + They turn to see ANNIE in hat and coat, with a suit-case in her hand, + coming from the door Left. + </p> + </blockquote> + <p> + ANNIE. Oh! ma'am, please, Miss, I want to go home. + </p> + <p> + GUY. [Exasperated!] She wants to go home—she wants to go home! + </p> + <p> + ATHENE. Guy! All right, Annie. + </p> + <p> + ANNIE. Oh! thank you, Miss. [She moves across in front of them]. + </p> + <p> + ATHENE. [Suddenly] Annie! + </p> + <blockquote> + <p> + ANNIE stops and turns to her. + </p> + </blockquote> + <p> + What are you afraid of? + </p> + <p> + ANNIE. [With comparative boldness] I—I might catch it, Miss. + </p> + <p> + ATHENE. From your people? + </p> + <p> + ANNIE. Oh! no, Miss; from you. You see, I've got a young man that wants to + marry me. And if I don't let him, I might get into trouble meself. + </p> + <p> + ATHENE. What sort of father and mother have you got, Annie? + </p> + <p> + ANNIE. I never thought, Miss. And of course I don't want to begin. + </p> + <p> + ATHENE. D'you mean you've never noticed how they treat each other? + </p> + <p> + ANNIE. I don't think they do, Miss. + </p> + <p> + ATHENE. Exactly. + </p> + <p> + ANNIE. They haven't time. Father's an engine driver. + </p> + <p> + GUY. And what's your young man, Annie? + </p> + <p> + ANNIE. [Embarrassed] Somethin' like you, sir. But very respectable. + </p> + <p> + ATHENE. And suppose you marry him, and he treats you like a piece of + furniture? + </p> + <p> + ANNIE. I—I could treat him the same, Miss. + </p> + <p> + ATHENE. Don't you believe that, Annie! + </p> + <p> + ANNIE. He's very mild. + </p> + <p> + ATHENE. That's because he wants you. You wait till he doesn't. + </p> + <blockquote> + <p> + ANNIE looks at GUY. + </p> + </blockquote> + <p> + GUY. Don't you believe her, Annie; if he's decent— + </p> + <p> + ANNIE. Oh! yes, sir. + </p> + <p> + ATHENE. [Suppressing a smile] Of course—but the point is, Annie, + that marriage makes all the difference. + </p> + <p> + ANNIE. Yes, Miss; that's what I thought. + </p> + <p> + ATHENE. You don't see. What I mean is that when once he's sure of you, he + may change completely. + </p> + <p> + ANNIE. [Slowly, looking at her thumb] Oh! I don't—think—he'll + hammer me, Miss. Of course, I know you can't tell till you've found out. + </p> + <p> + ATHENE. Well, I've no right to influence you. + </p> + <p> + ANNIE. Oh! no, Miss; that's what I've been thinking. + </p> + <p> + -GUY. You're quite right, Annie=-this is no place for you. + </p> + <p> + ANNIE. You see, we can't be married; sir, till he gets his rise. So it'll + be a continual temptation to me. + </p> + <p> + ATHENE. Well, all right, Annie. I hope you'll never regret it. + </p> + <p> + ANNIE. Oh! no, Miss. + </p> + <p> + GUY. I say, Annie, don't go away thinking evil of us; we didn't realise + you knew we weren't married. + </p> + <p> + ATHENE. We certainly did not. + </p> + <p> + ANNIE. Oh! I didn't think it right to take notice. + </p> + <p> + GUY. We beg your pardon. + </p> + <p> + ANNIE. Oh! no, sir. Only, seein' Mr and Mrs Builder so upset, brought it + 'ome like. And father can be 'andy with a strap. + </p> + <p> + ATHENE. There you are! Force majeure! + </p> + <p> + ANNIE. Oh! yes, Miss. + </p> + <p> + ATHENE. Well, good-bye, Annie. What are you going to say to your people? + </p> + <p> + ANNIE. Oh! I shan't say I've been livin' in a family that wasn't a family, + Miss. It wouldn't do no good. + </p> + <p> + ATHENE. Well, here are your wages. + </p> + <p> + ANNIE. Oh! I'm puttin' you out, Miss. [She takes the money]. + </p> + <p> + ATHENE. Nonsense, Annie. And here's your fare home. + </p> + <p> + ANNIE. Oh! thank you, Miss. I'm very sorry. Of course if you was to change + your mind—[She stops, embarrassed]. + </p> + <p> + ATHENE. I don't think— + </p> + <p> + GUY. [Abruptly] Good-bye, Annie. Here's five bob for the movies. + </p> + <p> + ANNIE. Oh! good-bye, sir, and thank you. I was goin' there now with my + young man. He's just round the corner. + </p> + <p> + GUY. Be very careful of him. + </p> + <p> + ANNIE. Oh! yes, sir, I will. Good-bye, sir. Goodbye, Miss. + </p> + <blockquote> + <p> + She goes. + </p> + </blockquote> + <p> + GUY. So her father has a firm hand too. But it takes her back to the nest. + How's that, Athene? + </p> + <p> + ATHENE. [Playing with a leathern button on his coat] If you'd watched it + ever since you could watch anything, seen it kill out all—It's + having power that does it. I know Father's got awfully good points. + </p> + <p> + GUY. Well, they don't stick out. + </p> + <p> + ATHENE. He works fearfully hard; he's upright, and plucky. He's not + stingy. But he's smothered his animal nature-and that's done it. I don't + want to see you smother anything, Guy. + </p> + <p> + GUY. [Gloomily] I suppose one never knows what one's got under the lid. If + he hadn't come here to-day—[He spins the wedding ring] He certainly + gives one pause. Used he to whack you? + </p> + <p> + ATHENE. Yes. + </p> + <p> + GUY. Brute! + </p> + <p> + ATHENE. With the best intentions. You see, he's a Town Councillor, and a + magistrate. I suppose they have to be "firm." Maud and I sneaked in once + to listen to him. There was a woman who came for protection from her + husband. If he'd known we were there, he'd have had a fit. + </p> + <p> + GUY. Did he give her the protection? + </p> + <p> + ATHENE. Yes; he gave her back to the husband. Wasn't it—English? + </p> + <p> + GUY. [With a grunt] Hang it! We're not all like that. + </p> + <p> + ATHENE. [Twisting his button] I think it's really a sense of property so + deep that they don't know they've got it. Father can talk about freedom + like a—politician. + </p> + <p> + GUY. [Fitting the wedding ring on her finger] Well! Let's see how it + looks, anyway. + </p> + <p> + ATHENE. Don't play with fire, Guy. + </p> + <p> + GUY. There's something in atavism, darling; there really is. I like it + —I do. + </p> + <blockquote> + <p> + A knock on the door. + </p> + </blockquote> + <p> + ATHENE. That sounds like Annie again. Just see. + </p> + <p> + GUY. [Opening the door] It is. Come in, Annie. What's wrong now? + </p> + <p> + ANNIE. [Entering in confusion] Oh! sir, please, sir—I've told my + young man. + </p> + <p> + ATHENE. Well, what does he say? + </p> + <p> + ANNIE. 'E was 'orrified, Miss. + </p> + <p> + GUY. The deuce he was! At our conduct? + </p> + <p> + ANNIE. Oh! no, sir—at mine. + </p> + <p> + ATHENE. But you did your best; you left us. + </p> + <p> + ANNIE. Oh! yes, Miss; that's why 'e's horrified. + </p> + <p> + GUY. Good for your young man. + </p> + <p> + ANNIE. [Flattered] Yes, sir. 'E said I 'ad no strength of mind. + </p> + <p> + ATHENE. So you want to come back? + </p> + <p> + ANNIE. Oh! yes, Miss. + </p> + <p> + ATHENE. All right. + </p> + <p> + GUY. But what about catching it? + </p> + <p> + ANNIE. Oh, sir, 'e said there was nothing like Epsom salts. + </p> + <p> + GUY. He's a wag, your young man. + </p> + <p> + ANNIE. He was in the Army, sir. + </p> + <p> + GUY. You said he was respectable. + </p> + <p> + ANNIE. Oh! yes, sir; but not so respectable as that. + </p> + <p> + ATHENE. Well, Annie, get your things off, and lay lunch. + </p> + <p> + ANNIE. Oh! yes, Miss. + </p> + <blockquote> + <p> + She makes a little curtsey and passes through into the kitchen. + </p> + </blockquote> + <p> + GUY. Strength of mind! Have a little, Athene won't you? [He holds out the + marriage licence before her]. + </p> + <p> + ATHENE. I don't know—I don't know! If—it turned out— + </p> + <p> + GUY. It won't. Come on. Must take chances in this life. + </p> + <p> + ATHENE. [Looking up into his face] Guy, promise me—solemnly that + you'll never let me stand in your way, or stand in mine! + </p> + <p> + GUY. Right! That's a bargain. [They embrace.] + </p> + <blockquote> + <p> + ATHENE quivers towards him. They embrace fervently as ANNIE enters with + the bread pan. They spring apart. + </p> + </blockquote> + <p> + ANNIE. Oh! + </p> + <p> + GUY. It's all right, Annie. There's only one more day's infection before + you. We're to be married to-morrow morning. + </p> + <p> + ANNIE. Oh! yes, sir. Won't Mr Builder be pleased? + </p> + <p> + GUY. H'm! That's not exactly our reason. + </p> + <p> + ANNIE. [Right] Oh! no, sir. Of course you can't be a family without, can + you? + </p> + <p> + GUY. What have you got in that thing? + </p> + <blockquote> + <p> + ANNIE is moving across with the bread pan. She halts at the bedroom + door. + </p> + </blockquote> + <p> + ANNIE. Oh! please, ma'am, I was to give you a message—very important— + from Miss Maud Builder "Lookout! Father is coming!" + </p> + <blockquote> + <p> + She goes out. The CURTAIN falls. + </p> + </blockquote> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II + </h2> + <blockquote> + <p> + BUILDER'S study. At the table, MAUD has just put a sheet of paper into a + typewriter. She sits facing the audience, with her hands stretched over + the keys. + </p> + </blockquote> + <p> + MAUD. [To herself] I must get that expression. + </p> + <blockquote> + <p> + Her face assumes a furtive, listening look. Then she gets up, whisks to + the mirror over the fireplace, scrutinises the expression in it, and + going back to the table, sits down again with hands outstretched above + the keys, and an accentuation of the expression. The door up Left is + opened, and TOPPING appears. He looks at MAUD, who just turns her eyes. + </p> + </blockquote> + <p> + TOPPING. Lunch has been ready some time, Miss Maud. + </p> + <p> + MAUD. I don't want any lunch. Did you give it? + </p> + <p> + TOPPING. Miss Athene was out. I gave the message to a young party. She + looked a bit green, Miss. I hope nothing'll go wrong with the works. Shall + I keep lunch back? + </p> + <p> + MAUD. If something's gone wrong, they won't have any appetite, Topping. + </p> + <p> + TOPPING. If you think I might risk it, Miss, I'd like to slip round to my + dentist. [He lays a finger on his cheek]. + </p> + <p> + MAUD. [Smiling] Oh! What race is being run this afternoon, then, Topping? + </p> + <p> + TOPPING. [Twinkling, and shifting his finger to the side of his nose] + Well, I don't suppose you've 'eard of it, Miss; but as a matter of fact + it's the Cesarwitch. + </p> + <p> + MAUD. Got anything on? + </p> + <p> + TOPPING. Only my shirt, Miss. + </p> + <p> + MAUD. Is it a good thing, then? + </p> + <p> + TOPPING. I've seen worse roll up. [With a touch of enthusiasm] Dark horse, + Miss Maud, at twenty to one. + </p> + <p> + MAUD. Put me ten bob on, Topping. I want all the money I can get, just + now. + </p> + <p> + TOPPING. You're not the first, Miss. + </p> + <p> + MAUD. I say, Topping, do you know anything about the film? + </p> + <p> + TOPPING. [Nodding] Rather a specialty of mine, Miss. + </p> + <p> + MAUD. Well, just stand there, and give me your opinion of this. + </p> + <blockquote> + <p> + TOPPING moves down Left. She crouches over the typewriter, lets her + hands play on the keys; stops; assumes that listening, furtive look; + listens again, and lets her head go slowly round, preceded by her eyes; + breaks it off, and says: + </p> + </blockquote> + <p> + What should you say I was? + </p> + <p> + TOPPING. Guilty, Miss. + </p> + <p> + MAUD. [With triumph] There! Then you think I've got it? + </p> + <p> + TOPPING. Well, of course, I couldn't say just what sort of a crime you'd + committed, but I should think pretty 'ot stuff. + </p> + <p> + MAUD. Yes; I've got them here. [She pats her chest]. + </p> + <p> + TOPPING. Really, Miss. + </p> + <p> + MAUD. Yes. There's just one point, Topping; it's psychological. + </p> + <p> + TOPPING. Indeed, Miss? + </p> + <p> + MAUD. Should I naturally put my hand on them; or would there be a reaction + quick enough to stop me? You see, I'm alone—and the point is whether + the fear of being seen would stop me although I knew I couldn't be seen. + It's rather subtle. + </p> + <p> + TOPPING. I think there's be a rehaction, Miss. + </p> + <p> + MAUD. So do I. To touch them [She clasps her chest] is a bit obvious, + isn't it? + </p> + <p> + TOPPING. If the haudience knows you've got 'em there. + </p> + <p> + MAUD. Oh! yes, it's seen me put them. Look here, I'll show you that too. + </p> + <blockquote> + <p> + She opens an imaginary drawer, takes out some bits of sealing-wax, and + with every circumstance of stealth in face and hands, conceals them in + her bosom. + </p> + </blockquote> + <p> + All right? + </p> + <p> + TOPPING. [Nodding] Fine, Miss. You have got a film face. What are they, if + I may ask? + </p> + <p> + MAUD. [Reproducing the sealing-wax] The Fanshawe diamonds. There's just + one thing here too, Topping. + </p> + <p> + In real life, which should I naturally do—put them in here [She + touches her chest] or in my bag? + </p> + <p> + TOPPING. [Touching his waistcoat—earnestly] Well! To put 'em in + here, Miss, I should say is more—more pishchological. + </p> + <p> + MAUD. [Subduing her lips] Yes; but— + </p> + <p> + TOPPING. You see, then you've got 'em on you. + </p> + <p> + MAUD. But that's just the point. Shouldn't I naturally think: Safer in my + bag; then I can pretend somebody put them there. You see, nobody could put + them on me. + </p> + <p> + TOPPING. Well, I should say that depends on your character. Of course I + don't know what your character is. + </p> + <p> + MAUD. No; that's the beastly part of it—the author doesn't, either. + It's all left to me. + </p> + <p> + TOPPING. In that case, I should please myself, Miss. To put 'em in 'ere's + warmer. + </p> + <p> + MAUD. Yes, I think you're right. It's more human. + </p> + <p> + TOPPING. I didn't know you 'ad a taste this way, Miss Maud. + </p> + <p> + MAUD. More than a taste, Topping—a talent. + </p> + <p> + TOPPING. Well, in my belief, we all have a vice about us somewhere. But if + I were you, Miss, I wouldn't touch bettin', not with this other on you. + You might get to feel a bit crowded. + </p> + <p> + MAUD. Well, then, only put the ten bob on if you're sure he's going to + win. You can post the money on after me. I'll send you an address, + Topping, because I shan't be here. + </p> + <p> + TOPPING. [Disturbed] What! You're not going, too, Miss Maud? + </p> + <p> + MAUD. To seek my fortune. + </p> + <p> + TOPPING. Oh! Hang it all, Miss, think of what you'll leave behind. Miss + Athene's leavin' home has made it pretty steep, but this'll touch bottom—this + will. + </p> + <p> + MAUD. Yes; I expect you'll find it rather difficult for a bit when I'm + gone. Miss Baldini, you know. I've been studying with her. She's got me + this chance with the movie people. I'm going on trial as the guilty typist + in "The Heartache of Miranda." + </p> + <p> + TOPPING. [Surprised out of politeness] Well, I never! That does sound like + 'em! Are you goin' to tell the guv'nor, Miss? + </p> + <blockquote> + <p> + MAUD nods. In that case, I think I'll be gettin' off to my dentist + before the band plays. + </p> + </blockquote> + <p> + MAUD. All right, Topping; hope you won't lose a tooth. + </p> + <p> + TOPPING. [With a grin] It's on the knees of the gods, Miss, as they say in + the headlines. + </p> + <blockquote> + <p> + He goes. MAUD stretches herself and listens. + </p> + </blockquote> + <p> + MAUD. I believe that's them. Shivery funky. + </p> + <blockquote> + <p> + She runs off up Left. + </p> + </blockquote> + <p> + BUILDER. [Entering from the hall and crossing to the fireplace] Monstrous! + Really monstrous! + </p> + <blockquote> + <p> + CAMILLE enters from the hall. She has a little collecting book in her + hand. + </p> + </blockquote> + <p> + BUILDER. Well, Camille? + </p> + <p> + CAMILLE. A sistare from the Sacred 'Eart, Monsieur—her little book + for the orphan children. + </p> + <p> + BUILDER. I can't be bothered—What is it? + </p> + <p> + CAMILLE. Orphan, Monsieur. + </p> + <p> + BUILDER. H'm! Well! [Feeling in his breast pocket] Give her that. + </p> + <blockquote> + <p> + He hands her a five-pound note. + </p> + </blockquote> + <p> + CAMILLE. I am sure she will be veree grateful for the poor little beggars. + Madame says she will not be coming to lunch, Monsieur. + </p> + <p> + BUILDER. I don't want any, either. Tell Topping I'll have some coffee. + </p> + <p> + CAMILLE. Topping has gone to the dentist, Monsieur; 'e 'as the toothache. + </p> + <p> + BUILDER. Toothache—poor devil! H'm! I'm expecting my brother, but I + don't know that I can see him. + </p> + <p> + CAMILLE. No, Monsieur? + </p> + <p> + BUILDER. Ask your mistress to come here. + </p> + <blockquote> + <p> + He looks up, and catching her eye, looks away. + </p> + </blockquote> + <p> + CAMILLE. Yes, Monsieur. + </p> + <blockquote> + <p> + As she turns he looks swiftly at her, sweeping her up and down. She + turns her head and catches his glance, which is swiftly dropped. Will + Monsieur not 'ave anything to eat? + </p> + </blockquote> + <p> + BUILDER. [Shaking his head-abruptly] No. Bring the coffee! + </p> + <p> + CAMILLE. Is Monsieur not well? + </p> + <p> + BUILDER. Yes—quite well. + </p> + <p> + CAMILLE. [Sweetening her eyes] A cutlet soubise? No? + </p> + <p> + BUILDER. [With a faint response in his eyes, instantly subdued] Nothing! + nothing! + </p> + <p> + CAMILLE. And Madame nothing too—Tt! Tt! With her hand on the door + she looks back, again catches his eyes in an engagement instantly broken + off, and goes out. + </p> + <p> + BUILDER. [Stock-still, and staring at the door] That girl's a continual + irritation to me! She's dangerous! What a life! I believe that girl— + </p> + <blockquote> + <p> + The door Left is opened and MRS BUILDER comes in. + </p> + </blockquote> + <p> + BUILDER. There's some coffee coming; do your head good. Look here, Julia. + I'm sorry I beat on that door. I apologize. I was in a towering passion. I + wish I didn't get into these rages. But—dash it all—! I + couldn't walk away and leave you there. + </p> + <p> + MRS BUILDER. Why not? + </p> + <p> + BUILDER. You keep everything to yourself, so; I never have any notion what + you're thinking. What did you say to her? + </p> + <p> + MRS BUILDER. Told her it would never work. + </p> + <p> + BUILDER. Well, that's something. She's crazy. D'you suppose she was + telling the truth about that young blackguard wanting to marry her? + </p> + <p> + MRS BUILDER. I'm sure of it. + </p> + <p> + BUILDER. When you think of how she's been brought up. You would have + thought that religion alone— + </p> + <p> + MRS BUILDER. The girls haven't wanted to go to church for years. They've + always said they didn't see why they should go to keep up your position. I + don't know if you remember that you once caned them for running off on a + Sunday morning. + </p> + <p> + BUILDER. Well? + </p> + <p> + MRS BUILDER. They've never had any religion since. + </p> + <p> + BUILDER. H'm! [He takes a short turn up the room] What's to be done about + Athene? + </p> + <p> + MRS BUILDER. You said you had done with her. + </p> + <p> + BUILDER. You know I didn't mean that. I might just as well have said I'd + done with you! Apply your wits, Julia! At any moment this thing may come + out. In a little town like this you can keep nothing dark. How can I take + this nomination for Mayor? + </p> + <p> + MRS BUILDER. Perhaps Ralph could help. + </p> + <p> + BUILDER. What? His daughters have never done anything disgraceful, and his + wife's a pattern. + </p> + <p> + MRS BUILDER. Yes; Ralph isn't at all a family man. + </p> + <p> + BUILDER. [Staring at her] I do wish you wouldn't turn things upside down + in that ironical way. It isn't—English. + </p> + <p> + MRS BUILDER. I can't help having been born in Jersey. + </p> + <p> + BUILDER. No; I suppose it's in your blood. The French— [He stops + short]. + </p> + <p> + MRS BUILDER. Yes? + </p> + <p> + BUILDER. Very irritating sometimes to a plain Englishman—that's all. + </p> + <p> + MRS BUILDER. Shall I get rid of Camille? + </p> + <p> + BUILDER. [Staring at her, then dropping his glance] Camille? What's she + got to do with it? + </p> + <p> + MRS BUILDER. I thought perhaps you found her irritating. + </p> + <p> + BUILDER. Why should I? + </p> + <blockquote> + <p> + CAMILLE comes in from the dining-room with the coffee. + </p> + </blockquote> + <p> + Put it there. I want some brandy, please. + </p> + <p> + CAMILLE. I bring it, Monsieur. + </p> + <blockquote> + <p> + She goes back demurely into the dining-room. + </p> + </blockquote> + <p> + BUILDER. Topping's got toothache, poor chap! [Pouring out the coffee] + Can't you suggest any way of making Athene see reason? Think of the + example! Maud will be kicking over next. I shan't be able to hold my head + up here. + </p> + <p> + MRS BUILDER. I'm afraid I can't do that for you. + </p> + <p> + BUILDER. [Exasperated] Look here, Julia! That wretched girl said something + to me about our life together. What—what's the matter with that? + </p> + <p> + MRS BUILDER. It is irritating. + </p> + <p> + BUILDER. Be explicit. + </p> + <p> + MRS BUILDER. We have lived together twenty-three years, John. No talk will + change such things. + </p> + <p> + BUILDER. Is it a question of money? You can always have more. You know + that. [MRS BUILDER smiles] Oh! don't smile like that; it makes me feel + quite sick! + </p> + <blockquote> + <p> + CAMILLE enters with a decanter and little glasses, from the dining-room. + </p> + </blockquote> + <p> + CAMILLE. The brandy, sir. Monsieur Ralph Builder has just come. + </p> + <p> + MRS BUILDER. Ask him in, Camille. + </p> + <p> + CAMILLE. Yes, Madame. + </p> + <blockquote> + <p> + She goes through the doorway into the hall. MRS BUILDER, following + towards the door, meets RALPH BUILDER, a man rather older than BUILDER + and of opposite build and manner. He has a pleasant, whimsical face and + grizzled hair. + </p> + </blockquote> + <p> + MRS BUILDER. John wants to consult you, Ralph. + </p> + <p> + RALPH. That's very gratifying. + </p> + <blockquote> + <p> + She passes him and goes out, leaving the two brothers eyeing one + another. + </p> + </blockquote> + <p> + About the Welsh contract? + </p> + <p> + BUILDER. No. Fact is, Ralph, something very horrible's happened. + </p> + <p> + RALPH. Athene gone and got married? + </p> + <p> + BUILDER. No. It's—it's that she's gone and—and not got + married. + </p> + <blockquote> + <p> + RALPH utters a sympathetic whistle. + </p> + </blockquote> + <p> + Jolly, isn't it? + </p> + <p> + RALPH. To whom? + </p> + <p> + BUILDER. A young flying bounder. + </p> + <p> + RALPH. And why? + </p> + <p> + BUILDER. Some crazy rubbish about family life, of all things. + </p> + <p> + RALPH. Athene's a most interesting girl. All these young people are so + queer and delightful. + </p> + <p> + BUILDER. By George, Ralph, you may thank your stars you haven't got a + delightful daughter. Yours are good, decent girls. + </p> + <p> + RALPH. Athene's tremendously good and decent, John. I'd bet any money + she's doing this on the highest principles. + </p> + <p> + BUILDER. Behaving like a— + </p> + <p> + RALPH. Don't say what you'll regret, old man! Athene always took things + seriously—bless her! + </p> + <p> + BUILDER. Julia thinks you might help. You never seem to have any domestic + troubles. + </p> + <p> + RALPH. No—o. I don't think we do. + </p> + <p> + BUILDER. How d'you account for it? + </p> + <p> + RALPH. I must ask at home. + </p> + <p> + BUILDER. Dash it! You must know! + </p> + <p> + RALPH. We're all fond of each other. + </p> + <p> + BUILDER. Well, I'm fond of my girls too; I suppose I'm not amiable enough. + H'm? + </p> + <p> + RALPH. Well, old man, you do get blood to the head. But what's Athene's + point, exactly? + </p> + <p> + BUILDER. Family life isn't idyllic, so she thinks she and the young man + oughtn't to have one. + </p> + <p> + RALPH. I see. Home experience? + </p> + <p> + BUILDER. Hang it all, a family's a family! There must be a head. + </p> + <p> + RALPH. But no tail, old chap. + </p> + <p> + BUILDER. You don't let your women folk do just as they like? + </p> + <p> + RALPH. Always. + </p> + <p> + BUILDER. What happens if one of your girls wants to do an improper thing? + [RALPH shrugs his shoulders]. You don't stop her? + </p> + <p> + RALPH. Do you? + </p> + <p> + BUILDER. I try to. + </p> + <p> + RALPH. Exactly. And she does it. I don't and she doesn't. + </p> + <p> + BUILDER. [With a short laugh] Good Lord! I suppose you'd have me eat + humble pie and tell Athene she can go on living in sin and offending + society, and have my blessing to round it off. + </p> + <p> + RALPH. I think if you did she'd probably marry him. + </p> + <p> + BUILDER. You've never tested your theory, I'll bet. + </p> + <p> + RALPH. Not yet. + </p> + <p> + BUILDER. There you are. + </p> + <p> + RALPH. The 'suaviter in modo' pays, John. The times are not what they + were. + </p> + <p> + BUILDER. Look here! I want to get to the bottom of this. Do you tell me + I'm any stricter than nine out of ten men? + </p> + <p> + RALPH. Only in practice. + </p> + <p> + BUILDER. [Puzzled] How do you mean? + </p> + <p> + RALPH. Well, you profess the principles of liberty, but you practise the + principles of government. + </p> + <p> + BUILDER. H'm! [Taking up the decanter] Have some? + </p> + <p> + RALPH. No, thank you. + </p> + <blockquote> + <p> + BUILDER fills and raises his glass. + </p> + </blockquote> + <p> + CAMILLE. [Entering] Madame left her coffee. + </p> + <blockquote> + <p> + She comes forward, holds out a cup for BUILDER to pour into, takes it + and goes out. BUILDER'S glass remains suspended. He drinks the brandy + off as she shuts the door. + </p> + </blockquote> + <p> + BUILDER. Life isn't all roses, Ralph. + </p> + <p> + RALPH. Sorry, old man. + </p> + <p> + BUILDER. I sometimes think I try myself too high. Well, about that Welsh + contract? + </p> + <p> + RALPH. Let's take it. + </p> + <p> + BUILDER. If you'll attend to it. Frankly, I'm too upset. + </p> + <blockquote> + <p> + As they go towards the door into the hall, MAUD comes in from the + dining-room, in hat and coat. + </p> + </blockquote> + <p> + RALPH. [Catching sight of her] Hallo! All well in your cosmogony, Maud? + </p> + <p> + MAUD. What is a cosmogony, Uncle? + </p> + <p> + RALPH. My dear, I—I don't know. + </p> + <blockquote> + <p> + He goes out, followed by BUILDER. MAUD goes quickly to the table, sits + down and rests her elbows on it, her chin on her hands, looking at the + door. + </p> + </blockquote> + <p> + BUILDER. [Re-entering] Well, Maud! You'd have won your bet! + </p> + <p> + MAUD. Oh! father, I—I've got some news for you. + </p> + <p> + BUILDER. [Staring at her] News—what? + </p> + <p> + MAUD. I'm awfully sorry, but I-I've got a job. + </p> + <p> + BUILDER. Now, don't go saying you're going in for Art, too, because I + won't have it. + </p> + <p> + MAUD. Art? Oh! no! It's the—[With a jerk]—the Movies. + </p> + <blockquote> + <p> + BUILDER. who has taken up a pipe to fill, puts it down. + </p> + </blockquote> + <p> + BUILDER. [Impressively] I'm not in a joking mood. + </p> + <p> + MAUD. I'm not joking, father. + </p> + <p> + BUILDER. Then what are you talking about? + </p> + <p> + MAUD. You see, I—I've got a film face, and— + </p> + <p> + BUILDER. You've what? [Going up to his daughter, he takes hold of her + chin] Don't talk nonsense! Your sister has just tried me to the limit. + </p> + <p> + MAUD. [Removing his hand from her chin] Don't oppose it, father, please! + I've always wanted to earn my own living. + </p> + <p> + BUILDER. Living! Living! + </p> + <p> + MAUD. [Gathering determination] You can't stop me, father, because I + shan't need support. I've got quite good terms. + </p> + <p> + BUILDER. [Almost choking, but mastering himself] Do you mean to say you've + gone as far as that? + </p> + <p> + MAUD. Yes. It's all settled. + </p> + <p> + BUILDER. Who put you up to this? + </p> + <p> + MAUD. No one. I've been meaning to, ever so long. I'm twenty-one, you + know. + </p> + <p> + BUILDER. A film face! Good God! Now, look here! I will not have a daughter + of mine mixed up with the stage. I've spent goodness knows what on your + education—both of you. + </p> + <p> + MAUD. I don't want to be ungrateful; but I—I can't go on living at + home. + </p> + <p> + BUILDER. You can't—! Why? You've every indulgence. + </p> + <p> + MAUD. [Clearly and coldly] I can remember occasions when your indulgence + hurt, father. [She wriggles her shoulders and back] We never forgot or + forgave that. + </p> + <p> + BUILDER. [Uneasily] That! You were just kids. + </p> + <p> + MAUD. Perhaps you'd like to begin again? + </p> + <p> + BUILDER. Don't twist my tail, Maud. I had the most painful scene with + Athene this morning. Now come! Give up this silly notion! It's really too + childish! + </p> + <p> + MAUD. [Looking at him curiously] I've heard you say ever so many times + that no man was any good who couldn't make his own way, father. Well, + women are the same as men, now. It's the law of the country. I only want + to make my own way. + </p> + <p> + BUILDER. [Trying to subdue his anger] Now, Maud, don't be foolish. + Consider my position here—a Town Councillor, a Magistrate, and Mayor + next year. With one daughter living with a man she isn't married to— + </p> + <p> + MAUD. [With lively interest] Oh! So you did catch them out? + </p> + <p> + BUILDER. D'you mean to say you knew? + </p> + <p> + MAUD. Of course. + </p> + <p> + BUILDER. My God! I thought we were a Christian family. + </p> + <p> + MAUD. Oh! father. + </p> + <p> + BUILDER. Don't sneer at Christianity! + </p> + <p> + MAUD. There's only one thing wrong with Christians—they aren't! + </p> + <p> + BUILDER Seizes her by the shoulders and shakes her vigorously. When he + drops her shoulders, she gets up, gives him a vicious look, and suddenly + stamps her foot on his toe with all her might. + </p> + <p> + BUILDER. [With a yowl of pain] You little devil! + </p> + <p> + MAUD. [Who has put the table between them] I won't stand being shaken. + </p> + <p> + BUILDER. [Staring at her across the table] You've got my temper up and + you'll take the consequences. I'll make you toe the line. + </p> + <p> + MAUD. If you knew what a Prussian expression you've got! + </p> + <blockquote> + <p> + BUILDER passes his hand across his face uneasily, as if to wipe + something off. + </p> + </blockquote> + <p> + No! It's too deep! + </p> + <p> + BUILDER. Are you my daughter or are you not? + </p> + <p> + MAUD. I certainly never wanted to be. I've always disliked you, father, + ever since I was so high. I've seen through you. Do you remember when you + used to come into the nursery because Jenny was pretty? You think we + didn't notice that, but we did. And in the schoolroom—Miss Tipton. + And d'you remember knocking our heads together? No, you don't; but we do. + And— + </p> + <p> + BUILDER. You disrespectful monkey! Will you be quiet? + </p> + <p> + MAUD. No; you've got to hear things. You don't really love anybody but + yourself, father. What's good for you has to be good for everybody. I've + often heard you talk about independence, but it's a limited company and + you've got all the shares. + </p> + <p> + BUILDER. Rot; only people who can support themselves have a right to + independence. + </p> + <p> + MAUD. That's why you don't want me to support myself. + </p> + <p> + BUILDER. You can't! Film, indeed! You'd be in the gutter in a year. + Athene's got her pittance, but you—you've got nothing. + </p> + <p> + MAUD. Except my face. + </p> + <p> + BUILDER. It's the face that brings women to ruin, my girl. + </p> + <p> + MAUD. Well, when I'm there I won't come to you to rescue me. + </p> + <p> + BUILDER. Now, mind—if you leave my house, I've done with you. + </p> + <p> + MAUD. I'd rather scrub floors now, than stay. + </p> + <p> + BUILDER. [Almost pathetically] Well, I'm damned! Look here, Maud— + all this has been temper. You got my monkey up. I'm sorry I shook you; + you've had your revenge on my toes. Now, come! Don't make things worse for + me than they are. You've all the liberty you can reasonably want till you + marry. + </p> + <p> + MAUD. He can't see it—he absolutely can't! + </p> + <p> + BUILDER. See what? + </p> + <p> + MAUD. That I want to live a life of my own. + </p> + <blockquote> + <p> + He edges nearer to her, and she edges to keep her distance. + </p> + </blockquote> + <p> + BUILDER. I don't know what's bitten you. + </p> + <p> + MAUD. The microbe of freedom; it's in the air. + </p> + <p> + BUILDER. Yes, and there it'll stay—that's the first sensible word + you've uttered. Now, come! Take your hat off, and let's be friends! + </p> + <p> + MAUD looks at him and slowly takes off her hat. + </p> + <p> + BUILDER. [Relaxing his attitude, with a sigh of relief] That's right! + [Crosses to fireplace]. + </p> + <p> + MAUD. [Springing to the door leading to the hall] Good-bye, father! + </p> + <p> + BUILDER. [Following her] Monkey! + </p> + <blockquote> + <p> + At the sound of a bolt shot, BUILDER goes up to the window. There is a + fumbling at the door, and CAMILLE appears. + </p> + </blockquote> + <p> + BUILDER. What's the matter with that door? CAMILLE. It was bolted, + Monsieur. + </p> + <p> + BUILDER. Who bolted it? + </p> + <p> + CAMILLE. [Shrugging her shoulders] I can't tell, Monsieur. + </p> + <blockquote> + <p> + She collects the cups, and halts close to him. [Softly] Monsieur is not + 'appy. + </p> + </blockquote> + <p> + BUILDER. [Surprised] What? No! Who'd be happy in a household like mine? + </p> + <p> + CAMILLE. But so strong a man—I wish I was a strong man, not a weak + woman. + </p> + <p> + BUILDER. [Regarding her with reluctant admiration] Why, what's the matter + with you? + </p> + <p> + CAMILLE. Will Monsieur have another glass of brandy before I take it? + </p> + <p> + BUILDER. No! Yes—I will. + </p> + <blockquote> + <p> + She pours it out, and he drinks it, hands her the glass and sits down + suddenly in an armchair. CAMILLE puts the glass on a tray, and looks for + a box of matches from the mantelshelf. + </p> + </blockquote> + <p> + CAMILLE. A light, Monsieur? + </p> + <p> + BUILDER. Please. + </p> + <p> + CAMILLE. [She trips over his feet and sinks on to his knee] Oh! Monsieur! + </p> + <blockquote> + <p> + BUILDER flames up and catches her in his arms + </p> + </blockquote> + <p> + Oh! Monsieur— + </p> + <p> + BUILDER. You little devil! + </p> + <blockquote> + <p> + She suddenly kisses him, and he returns the kiss. While they are engaged + in this entrancing occupation, MRS BUILDER opens the door from the hall, + watches unseen for a few seconds, and quietly goes out again. + </p> + </blockquote> + <p> + BUILDER. [Pushing her back from him, whether at the sound of the door or + of a still small voice] What am I doing? + </p> + <p> + CAMILLE. Kissing. + </p> + <p> + BUILDER. I—I forgot myself. + </p> + <blockquote> + <p> + They rise. + </p> + </blockquote> + <p> + CAMILLE. It was na-ice. + </p> + <p> + BUILDER. I didn't mean to. You go away—go away! + </p> + <p> + CAMILLE. Oh! Monsieur, that spoil it. + </p> + <p> + BUILDER. [Regarding her fixedly] It's my opinion you're a temptation of + the devil. You know you sat down on purpose. + </p> + <p> + CAMILLE. Well, perhaps. + </p> + <p> + BUILDER. What business had you to? I'm a family man. + </p> + <p> + CAMILLE. Yes. What a pity! But does it matter? + </p> + <p> + BUILDER. [Much beset] Look here, you know! This won't do! It won't do! I—I've + got my reputation to think of! + </p> + <p> + CAMILLE. So 'ave I! But there is lots of time to think of it in between. + </p> + <p> + BUILDER. I knew you were dangerous. I always knew it. + </p> + <p> + CAMILLE. What a thing to say of a little woman! + </p> + <p> + BUILDER. We're not in Paris. + </p> + <p> + CAMILLE. [Clasping her hands] Oh! 'Ow I wish we was! + </p> + <p> + BUILDER. Look here—I can't stand this; you've got to go. Out with + you! I've always kept a firm hand on myself, and I'm not going to— + </p> + <p> + CAMILLE. But I admire you so! + </p> + <p> + BUILDER. Suppose my wife had come in? + </p> + <p> + CAMILLE. Oh! Don't suppose any such a disagreeable thing! If you were not + so strict, you would feel much 'appier. + </p> + <p> + BUILDER. [Staring at her] You're a temptress! + </p> + <p> + CAMILLE. I lofe pleasure, and I don't get any. And you 'ave such a duty, + you don't get any sport. Well, I am 'ere! + </p> + <blockquote> + <p> + She stretches herself, and BUILDER utters a deep sound. + </p> + </blockquote> + <p> + BUILDER. [On the edge of succumbing] It's all against my—I won't do + it! It's—it's wrong! + </p> + <p> + CAMILLE. Oh! La, la! + </p> + <p> + BUILDER. [Suddenly revolting] No! If you thought it a sin—I—might. + But you don't; you're nothing but a—a little heathen. + </p> + <p> + CAMILLE. Why should it be better if I thought it a sin? + </p> + <p> + BUILDER. Then—then I should know where I was. As it is— + </p> + <p> + CAMILLE. The English 'ave no idea of pleasure. They make it all so coarse + and virtuous. + </p> + <p> + BUILDER. Now, out you go before I—! Go on! + </p> + <blockquote> + <p> + He goes over to the door and opens it. His wife is outside in a hat and + coat. She comes in. + </p> + </blockquote> + <p> + [Stammering] Oh! Here you are—I wanted you. + </p> + <blockquote> + <p> + CAMILLE, taking up the tray, goes out Left, swinging her hips a very + little. + </p> + </blockquote> + <p> + BUILDER. Going out? + </p> + <p> + MRS BUILDER. Obviously. + </p> + <p> + BUILDER. Where? + </p> + <p> + MRS BUILDER. I don't know at present. + </p> + <p> + BUILDER. I wanted to talk to you about Maud. + </p> + <p> + MRS BUILDER. It must wait. + </p> + <p> + BUILDER. She's-she's actually gone and— + </p> + <p> + MRS BUILDER. I must tell you that I happened to look in a minute ago. + </p> + <p> + BUILDER. [In absolute dismay] You! You what? + </p> + <p> + MRS BUILDER. Yes. I will put no obstacle in the way of your pleasures. + </p> + <p> + BUILDER. [Aghast] Put no obstacle? What do you mean? Julia, how can you + say a thing like that? Why, I've only just— + </p> + <p> + MRS BUILDER. Don't! I saw. + </p> + <p> + BUILDER. The girl fell on my knees. Julia, she did. She's—she's a + little devil. I—I resisted her. I give you my word there's been + nothing beyond a kiss, under great provocation. I—I apologise. + </p> + <p> + MRS BUILDER. [Bows her head] Thank you! I quite understand. But you must + forgive my feeling it impossible to remain a wet blanket any longer. + </p> + <p> + BUILDER. What! Because of a little thing like that—all over in two + minutes, and I doing my utmost. + </p> + <p> + MRS BUILDER. My dear John, the fact that you had to do your utmost is + quite enough. I feel continually humiliated in your house, and I want to + leave it—quite quietly, without fuss of any kind. + </p> + <p> + BUILDER. But—my God! Julia, this is awful—it's absurd! How can + you? I'm your husband. Really—your saying you don't mind what I do—it's + not right; it's immoral! + </p> + <p> + MRS BUILDER. I'm afraid you don't see what goes on in those who live with + you. So, I'll just go. Don't bother! + </p> + <p> + BUILDER. Now, look here, Julia, you can't mean this seriously. You can't! + Think of my position! You've never set yourself up against me before. + </p> + <p> + MRS BUILDER. But I do now. + </p> + <p> + BUILDER. [After staring at her] I've given you no real reason. I'll send + the girl away. You ought to thank me for resisting a temptation that most + men would have yielded to. After twenty-three years of married life, to + kick up like this—you ought to be ashamed of yourself. + </p> + <p> + MRS BUILDER. I'm sure you must think so. + </p> + <p> + BUILDER. Oh! for heaven's sake don't be sarcastic! You're my wife, and + there's an end of it; you've no legal excuse. Don't be absurd! + </p> + <p> + MRS BUILDER. Good-bye! + </p> + <p> + BUILDER. D'you realise that you're encouraging me to go wrong? That's a + pretty thing for a wife to do. You ought to keep your husband straight. + </p> + <p> + MRS BUILDER. How beautifully put! + </p> + <p> + BUILDER. [Almost pathetically] Don't rile me Julia! I've had an awful day. + First Athene—then Maud—then that girl—and now you! All + at once like this! Like a swarm of bees about one's head. [Pleading] Come, + now, Julia, don't be so—so im practicable! You'll make us the + laughing-stock of the whole town. A man in my position, and can't keep his + own family; it's preposterous! + </p> + <p> + MRS BUILDER. Your own family have lives and thoughts and feelings of their + own. + </p> + <p> + BUILDER. Oh! This damned Woman's business! I knew how it would be when we + gave you the vote. You and I are married, and our daughters are our + daughters. Come, Julia. Where's your commonsense? After twenty-three + years! You know I can't do without you! + </p> + <p> + MRS BUILDER. You could—quite easily. You can tell people what you + like. + </p> + <p> + BUILDER. My God! I never heard anything so immoral in all my life from the + mother of two grownup girls. No wonder they've turned out as they have! + What is it you want, for goodness sake? + </p> + <p> + MRS BUILDER. We just want to be away from you, that's all. I assure you + it's best. When you've shown some consideration for our feelings and some + real sign that we exist apart from you—we could be friends again— + perhaps—I don't know. + </p> + <p> + BUILDER. Friends! Good heavens! With one's own wife and daughters! [With + great earnestness] Now, look here, Julia, you haven't lived with me all + this time without knowing that I'm a man of strong passions; I've been a + faithful husband to you—yes, I have. And that means resisting all + sorts of temptations you know nothing of. If you withdraw from my society + I won't answer for the consequences. In fact, I can't have you + withdrawing. I'm not going to see myself going to the devil and losing the + good opinion of everybody round me. A bargain's a bargain. And until I've + broken my side of it, and I tell you I haven't—you've no business to + break yours. That's flat. So now, put all that out of your head. + </p> + <p> + MRS BUILDER. No. + </p> + <p> + BUILDER. [Intently] D'you realise that I've supported you in luxury and + comfort? + </p> + <p> + MRS BUILDER. I think I've earned it. + </p> + <p> + BUILDER. And how do you propose to live? I shan't give you a penny. Come, + Julia, don't be such an idiot! Fancy letting a kiss which no man could + have helped, upset you like this! + </p> + <p> + MRS BUILDER. The Camille, and the last straw! + </p> + <p> + BUILDER. [Sharply] I won't have it. So now you know. + </p> + <blockquote> + <p> + But MRS BUILDER has very swiftly gone. + </p> + </blockquote> + <p> + Julia, I tell you— [The outer door is heard being closed] Damnation! + I will not have it! They're all mad! Here—where's my hat? + </p> + <blockquote> + <p> + He looks distractedly round him, wrenches open the door, and a moment + later the street door is heard to shut with a bang. CURTAIN. + </p> + </blockquote> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III + </h2> + <h3> + SCENE I + </h3> + <blockquote> + <p> + Ten o'clock the following morning, in the study of the Mayor of + Breconridge, a panelled room with no window visible, a door Left back + and a door Right forward. The entire back wall is furnished with books + from floor to ceiling; the other walls are panelled and bare. Before the + fireplace, Left, are two armchairs, and other chairs are against the + walls. On the Right is a writing-bureau at right angles to the + footlights, with a chair behind it. At its back corner stands HARRIS, + telephoning. + </p> + </blockquote> + <p> + HARRIS. What—[Pause] Well, it's infernally awkward, Sergeant.... The + Mayor's in a regular stew.... [Listens] New constable? I should think so! + Young fool! Look here, Martin, the only thing to do is to hear the charge + here at once. I've sent for Mr Chantrey; he's on his way. Bring Mr Builder + and the witnesses round sharp. See? And, I say, for God's sake keep it + dark. Don't let the Press get on to it. Why you didn't let him go home—! + Black eye? The constable? Well, serve him right. Blundering young ass! I + mean, it's undermining all authority.... Well, you oughtn't—at + least, I... Damn it all!—it's a nine days' wonder if it gets out—! + All right! As soon as you can. [He hangs up the receiver, puts a second + chair behind the bureau, and other chairs facing it.] [To himself] Here's + a mess! Johnny Builder, of all men! What price Mayors! + </p> + <blockquote> + <p> + The telephone rings. + </p> + </blockquote> + <p> + Hallo?... Poaching charge? Well, bring him too; only, I say, keep him back + till the other's over. By the way, Mr Chantrey's going shooting. He'll + want to get off by eleven. What?.. Righto! + </p> + <blockquote> + <p> + As he hangs up the receiver the MAYOR enters. He looks worried, and is + still dressed with the indefinable wrongness of a burgher. + </p> + </blockquote> + <p> + MAYOR. Well, 'Arris? + </p> + <p> + HARRIS. They'll be over in five minutes, Mr Mayor. + </p> + <p> + MAYOR. Mr Chantrey? + </p> + <p> + HARRIS. On his way, sir. + </p> + <p> + MAYOR. I've had some awkward things to deal with in my time, 'Arris, but + this is just about the [Sniffs] limit. + </p> + <p> + HARRIS. Most uncomfortable, Sir; most uncomfortable! + </p> + <p> + MAYOR. Put a book on the chair, 'Arris; I like to sit 'igh. + </p> + <blockquote> + <p> + HARRIS puts a volume of Encyclopaedia on the Mayor's chair behind the + bureau. + </p> + </blockquote> + <p> + [Deeply] Our fellow-magistrate! A family man! In my shoes next year. I + suppose he won't be, now. You can't keep these things dark. + </p> + <p> + HARRIS. I've warned Martin, sir, to use the utmost discretion. Here's Mr + Chantrey. + </p> + <blockquote> + <p> + By the door Left, a pleasant and comely gentleman has entered, dressed + with indefinable rightness in shooting clothes. + </p> + </blockquote> + <p> + MAYOR. Ah, Chantrey! + </p> + <p> + CHANTREY. How de do, Mr Mayor? [Nodding to HARRIS] This is extraordinarily + unpleasant. + </p> + <blockquote> + <p> + The MAYOR nods. + </p> + </blockquote> + <p> + What on earth's he been doing? + </p> + <p> + HARRIS. Assaulting one of his own daughters with a stick; and resisting + the police. + </p> + <p> + CHANTREY. [With a low whistle] Daughter! Charity begins at home. + </p> + <p> + HARRIS. There's a black eye. + </p> + <p> + MAYOR. Whose? + </p> + <p> + HARRIS. The constable's. + </p> + <p> + CHANTREY. How did the police come into it? + </p> + <p> + HARRIS. I don't know, sir. The worst of it is he's been at the police + station since four o'clock yesterday. The Superintendent's away, and + Martin never will take responsibility. + </p> + <p> + CHANTREY. By George! he will be mad. John Builder's a choleric fellow. + </p> + <p> + MAYOR. [Nodding] He is. 'Ot temper, and an 'igh sense of duty. + </p> + <p> + HARRIS. There's one other charge, Mr Mayor—poaching. I told them to + keep that back till after. + </p> + <p> + CHANTREY. Oh, well, we'll make short work of that. I want to get off by + eleven, Harris. I shall be late for the first drive anyway. John Builder! + I say, Mayor—but for the grace of God, there go we! + </p> + <p> + MAYOR. Harris, go out and bring them in yourself; don't let the servants— + </p> + <blockquote> + <p> + HARRIS goes out Left. The MAYOR takes the upper chair behind the bureau, + sitting rather higher because of the book than CHANTREY, who takes the + lower. Now that they are in the seats of justice, a sort of reticence + falls on them, as if they were afraid of giving away their attitudes of + mind to some unseen presence. + </p> + </blockquote> + <p> + MAYOR. [Suddenly] H'm! + </p> + <p> + CHANTREY. Touch of frost. Birds ought to come well to the guns—no + wind. I like these October days. + </p> + <p> + MAYOR. I think I 'ear them. H'm. + </p> + <blockquote> + <p> + CHANTREY drops his eyeglass and puts on a pair of "grandfather" + spectacles. The MAYOR clears his throat and takes up a pen. They neither + of them look up as the door is opened and a little procession files in. + First HARRIS; then RALPH BUILDER, ATHENE, HERRINGHAME, MAUD, MRS + BUILDER, SERGEANT MARTIN, carrying a heavy Malacca cane with a silver + knob; JOHN BUILDER and the CONSTABLE MOON, a young man with one black + eye. No funeral was ever attended by mutes so solemn and dejected. They + stand in a sort of row. + </p> + </blockquote> + <p> + MAYOR. [Without looking up] Sit down, ladies; sit down. + </p> + <blockquote> + <p> + HARRIS and HERRINGHAME succeed in placing the three women in chairs. + RALPH BUILDER also sits. HERRINGHAME stands behind. JOHN BUILDER remains + standing between the two POLICEMEN. His face is unshaved and menacing, + but he stands erect staring straight at the MAYOR. HARRIS goes to the + side of the bureau, Back, to take down the evidence. + </p> + </blockquote> + <p> + MAYOR. Charges! + </p> + <p> + SERGEANT. John Builder, of The Cornerways, Breconridge, Contractor and + Justice of the Peace, charged with assaulting his daughter Maud Builder by + striking her with a stick in the presence of Constable Moon and two other + persons; also with resisting Constable Moon in the execution of his duty, + and injuring his eye. Constable Moon! + </p> + <p> + MOON. [Stepping forward-one, two—like an automaton, and saluting] In + River Road yesterday afternoon, Your Worship, about three-thirty p.m., I + was attracted by a young woman callin' "Constable" outside a courtyard. On + hearing the words "Follow me, quick," I followed her to a painter's studio + inside the courtyard, where I found three persons in the act of + disagreement. No sooner 'ad I appeared than the defendant, who was engaged + in draggin' a woman towards the door, turns to the young woman who + accompanied me, with violence. "You dare, father," she says; whereupon he + hit her twice with the stick the same which is produced, in the presence + of myself and the two other persons, which I'm given to understand is his + wife and other daughter. + </p> + <p> + MAYOR. Yes; never mind what you're given to understand. + </p> + <p> + MOON. No, sir. The party struck turns to me and says, "Come in. I give + this man in charge for assault." I moves accordingly with the words: "I + saw you. Come along with me." The defendant turns to me sharp and says: + "You stupid lout—I'm a magistrate." "Come off it," I says to the + best of my recollection. "You struck this woman in my presence," I says, + "and you come along!" We were then at close quarters. The defendant gave + me a push with the words: "Get out, you idiot!" "Not at all," I replies, + and took 'old of his arm. A struggle ensues, in the course of which I + receives the black eye which I herewith produce. [He touches his eye with + awful solemnity.] + </p> + <blockquote> + <p> + The MAYOR clears his throat; CHANTREY'S eyes goggle; HARRIS bends over + and writes rapidly. + </p> + </blockquote> + <p> + During the struggle, Your Worship, a young man has appeared on the scene, + and at the instigation of the young woman, the same who was assaulted, + assists me in securing the prisoner, whose language and resistance was + violent in the extreme. We placed him in a cab which we found outside, and + I conveyed him to the station. + </p> + <p> + CHANTREY. What was his—er—conduct in the—er—cab? + </p> + <p> + MOON. He sat quiet. + </p> + <p> + CHANTREY. That seems— + </p> + <p> + MOON. Seein' I had his further arm twisted behind him. + </p> + <p> + MAYOR [Looking at BUILDER] Any questions to ask him? + </p> + <blockquote> + <p> + BUILDER makes not the faintest sign, and the MAYOR drops his glance. + </p> + </blockquote> + <p> + MAYOR. Sergeant? + </p> + <blockquote> + <p> + MOON steps back two paces, and the SERGEANT steps two paces forward. + </p> + </blockquote> + <p> + SERGEANT. At ten minutes to four, Your Worship, yesterday afternoon, + Constable Moon brought the defendant to the station in a four-wheeled cab. + On his recounting the circumstances of the assault, they were taken down + and read over to the defendant with the usual warning. The defendant said + nothing. In view of the double assault and the condition of the + constable's eye, and in the absence of the Superintendent, I thought it my + duty to retain the defendant for the night. + </p> + <p> + MAYOR. The defendant said nothing? + </p> + <p> + SERGEANT. He 'as not opened his lips to my knowledge, Your Worship, from + that hour to this. + </p> + <p> + MAYOR. Any questions to ask the Sergeant? + </p> + <p> + BUILDER continues to stare at the MAYOR without a word. + </p> + <p> + MAYOR. Very well! + </p> + <blockquote> + <p> + The MAYOR and CHANTREY now consult each other inaudibly, and the Mayor + nods. + </p> + </blockquote> + <p> + MAYOR. Miss Maud Builder, will you tell us what you know of this—er— + occurrence? + </p> + <p> + MAUD. [Rising; with eyes turning here and there] Must I? + </p> + <p> + MAYOR. I'm afraid you must. + </p> + <p> + MAUD. [After a look at her father, who never turns his eyes from the + MAYOR's face] I—I wish to withdraw the charge of striking me, + please. I—I never meant to make it. I was in a temper—I saw + red. + </p> + <p> + MAYOR. I see. A—a domestic disagreement. Very well, that charge is + withdrawn. You do not appear to have been hurt, and that seems to me quite + proper. Now, tell me what you know of the assault on the constable. Is his + account correct? + </p> + <p> + MAUD. [Timidly] Ye-yes. Only— + </p> + <p> + MAYOR. Yes? Tell us the truth. + </p> + <p> + MAUD. [Resolutely] Only, I don't think my father hit the constable. I + think the stick did that. + </p> + <p> + MAYOR. Oh, the stick? But—er—the stick was in 'is 'and, wasn't + it? + </p> + <p> + MAUD. Yes; but I mean, my father saw red, and the constable saw red, and + the stick flew up between them and hit him in the eye. + </p> + <p> + CHANTREY. And then he saw black? + </p> + <p> + MAYOR. [With corrective severity] But did 'e 'it 'im with the stick? + </p> + <p> + MAUD. No—no. I don't think he did. + </p> + <p> + MAYOR. Then who supplied the—er—momentum? + </p> + <p> + MAUD. I think there was a struggle for the cane, and it flew up. + </p> + <p> + MAYOR. Hand up the cane. + </p> + <blockquote> + <p> + The SERGEANT hands up the cane. The MAYOR and CHANTREY examine it. + MAYOR. Which end—do you suggest—inflicted this injury? + </p> + </blockquote> + <p> + MAUD. Oh! the knob end, sir. + </p> + <p> + MAYOR. What do you say to that, constable? + </p> + <p> + MOON. [Stepping the mechanical two paces] I don't deny there was a + struggle, Your Worship, but it's my impression I was 'it. + </p> + <p> + CHANTREY. Of course you were bit; we can see that. But with the cane or + with the fist? + </p> + <p> + MOON. [A little flurried] I—I—with the fist, sir. + </p> + <p> + MAYOR. Be careful. Will you swear to that? + </p> + <p> + MOON. [With that sudden uncertainty which comes over the most honest in + such circumstances] Not—not so to speak in black and white, Your + Worship; but that was my idea at the time. + </p> + <p> + MAYOR. You won't swear to it? + </p> + <p> + MOON. I'll swear he called me an idiot and a lout; the words made a deep + impression on me. + </p> + <p> + CHANTREY. [To himself] Mort aux vaches! + </p> + <p> + MAYOR. Eh? That'll do, constable; stand back. Now, who else saw the + struggle? Mrs Builder. You're not obliged to say anything unless you like. + That's your privilege as his wife. + </p> + <blockquote> + <p> + While he is speaking the door has been opened, and HARRIS has gone + swiftly to it, spoken to someone and returned. He leans forward to the + MAYOR. + </p> + </blockquote> + <p> + Eh? Wait a minute. Mrs Builder, do you wish to give evidence? + </p> + <p> + MRS BUILDER. [Rising] No, Mr Mayor. + </p> + <blockquote> + <p> + MRS BUILDER Sits. + </p> + </blockquote> + <p> + MAYOR. Very good. [To HARRIS] Now then, what is it? + </p> + <p> + HARRIS says something in a low and concerned voice. The MAYOR'S face + lengthens. He leans to his right and consults CHANTREY, who gives a faint + and deprecating shrug. A moment's silence. + </p> + <p> + MAYOR. This is an open Court. The Press have the right to attend if they + wish. + </p> + <blockquote> + <p> + HARRIS goes to the door and admits a young man in glasses, of a pleasant + appearance, and indicates to him a chair at the back. At this untimely + happening BUILDER's eyes have moved from side to side, but now he + regains his intent and bull-like stare at his fellow-justices. + </p> + </blockquote> + <p> + MAYOR. [To Maud] You can sit down, Miss Builder. + </p> + <blockquote> + <p> + MAUD resumes her seat. + </p> + </blockquote> + <p> + Miss Athene Builder, you were present, I think? + </p> + <p> + ATHENE. [Rising] Yes, Sir. + </p> + <p> + MAYOR. What do you say to this matter? + </p> + <p> + ATHENE. I didn't see anything very clearly, but I think my sister's + account is correct, sir. + </p> + <p> + MAYOR. Is it your impression that the cane inflicted the injury? + </p> + <p> + ATHENE. [In a low voice] Yes. + </p> + <p> + MAYOR. With or without deliberate intent? + </p> + <p> + ATHENE. Oh! without. + </p> + <p> + BUILDER looks at her. + </p> + <p> + MAYOR. But you were not in a position to see very well? + </p> + <p> + ATHENE. No, Sir. + </p> + <p> + MAYOR. Your sister having withdrawn her charge, we needn't go into that. + Very good! + </p> + <blockquote> + <p> + He motions her to sit down. ATHENE, turning her eyes on her Father's + impassive figure, sits. + </p> + </blockquote> + <p> + MAYOR. Now, there was a young man. [Pointing to HERRINGHAME] Is this the + young man? + </p> + <p> + MOON. Yes, Your Worship. + </p> + <p> + MAYOR. What's your name? + </p> + <p> + GUY. Guy Herringhame. + </p> + <p> + MAYOR. Address? + </p> + <p> + GUY. Er—the Aerodrome, Sir. MAYOR. Private, I mean? + </p> + <blockquote> + <p> + The moment is one of considerable tension. + </p> + </blockquote> + <p> + GUY. [With an effort] At the moment, sir, I haven't one. I've just left my + diggings, and haven't yet got any others. + </p> + <p> + MAYOR. H'm! The Aerodrome. How did you come to be present? + </p> + <p> + GUY. I—er + </p> + <blockquote> + <p> + BUILDER's eyes go round and rest on him for a moment. + </p> + </blockquote> + <p> + It's in my sister's studio that Miss Athene Builder is at present working, + sir. I just happened to—to turn up. + </p> + <p> + MAYOR. Did you appear on the scene, as the constable says, during the + struggle? + </p> + <p> + GUY. Yes, sir. + </p> + <p> + MAYOR. Did he summon you to his aid? + </p> + <p> + GUY. Yes—No, sir. Miss Maud Builder did that. + </p> + <p> + MAYOR. What do you say to this blow? + </p> + <p> + GUY. [Jerking his chin up a little] Oh! I saw that clearly. + </p> + <p> + MAYOR. Well, let us hear. + </p> + <p> + GUY. The constable's arm struck the cane violently and it flew up and + landed him in the eye. + </p> + <p> + MAYOR. [With a little grunt] You are sure of that? + </p> + <p> + GUY. Quite sure, sir. + </p> + <p> + MAYOR. Did you hear any language? + </p> + <p> + GUY. Nothing out of the ordinary, sir. One or two damns and blasts. + </p> + <p> + MAYOR. You call that ordinary? + </p> + <p> + GUY. Well, he's a—magistrate, sir. + </p> + <blockquote> + <p> + The MAYOR utters a profound grunt. CHANTREY smiles. There is a silence. + Then the MAYOR leans over to CHANTREY for a short colloquy. + </p> + </blockquote> + <p> + CHANTREY. Did you witness any particular violence other than a resistance + to arrest? + </p> + <p> + GUY. No, sir. + </p> + <p> + MAYOR. [With a gesture of dismissal] Very well, That seems to be the + evidence. Defendant John Builder—what do you say to all this? + </p> + <p> + BUILDER. [In a voice different from any we have heard from him] Say! What + business had he to touch me, a magistrate? I gave my daughter two taps + with a cane in a private house, for interfering with me for taking my wife + home— + </p> + <p> + MAYOR. That charge is not pressed, and we can't go into the circumstances. + What do you wish to say about your conduct towards the constable? + </p> + <p> + BUILDER. [In his throat] Not a damned thing! + </p> + <p> + MAYOR. [Embarrassed] I—I didn't catch. + </p> + <p> + CHANTREY. Nothing—nothing, he said, Mr Mayor. + </p> + <p> + MAYOR. [Clearing his throat] I understand, then, that you do not wish to + offer any explanation? + </p> + <p> + BUILDER. I consider myself abominably treated, and I refuse to say another + word. + </p> + <p> + MAYOR. [Drily] Very good. Miss Maud Builder. + </p> + <blockquote> + <p> + MAUD stands up. + </p> + </blockquote> + <p> + MAYOR. When you spoke of the defendant seeing red, what exactly did you + mean? + </p> + <p> + MAUD. I mean that my father was so angry that he didn't know what he was + doing. + </p> + <p> + CHANTREY. Would you say as angry as he—er—is now? + </p> + <p> + MAUD. [With a faint smile] Oh! much more angry. + </p> + <p> + RALPH BUILDER stands up. + </p> + <p> + RALPH. Would you allow me to say a word, Mr Mayor? + </p> + <p> + MAYOR. Speaking of your own knowledge, Mr Builder? + </p> + <p> + RALPH. In regard to the state of my brother's mind—yes, Mr Mayor. He + was undoubtedly under great strain yesterday; certain circumstances, + domestic and otherwise— + </p> + <p> + MAYOR. You mean that he might have been, as one might say, beside himself? + </p> + <p> + RALPH. Exactly, Sir. + </p> + <p> + MAYOR. Had you seen your brother? + </p> + <p> + RALPH. I had seen him shortly before this unhappy business. + </p> + <blockquote> + <p> + The MAYOR nods and makes a gesture, so that MAUD and RALPH sit down; + then, leaning over, he confers in a low voice with CHANTREY. The rest + all sit or stand exactly as if each was the only person in the room, + except the JOURNALIST, who is writing busily and rather obviously making + a sketch of BUILDER. + </p> + </blockquote> + <p> + MAYOR. Miss Athene Builder. + </p> + <blockquote> + <p> + ATHENE stands up. + </p> + </blockquote> + <p> + This young man, Mr Herringhame, I take it, is a friend of the family's? + </p> + <blockquote> + <p> + A moment of some tension. + </p> + </blockquote> + <p> + ATHENE. N—no, Mr Mayor, not of my father or mother. + </p> + <p> + CHANTREY. An acquaintance of yours? + </p> + <p> + ATHENE. Yes. + </p> + <p> + MAYOR. Very good. [He clears his throat] As the defendant, wrongly, we + think, refuses to offer his explanation of this matter, the Bench has to + decide on the evidence as given. There seems to be some discrepancy as to + the blow which the constable undoubtedly received. In view of this, we + incline to take the testimony of Mr— + </p> + <blockquote> + <p> + HARRIS prompts him. + </p> + </blockquote> + <p> + Mr 'Erringhame—as the party least implicated personally in the + affair, and most likely to 'ave a cool and impartial view. That evidence + is to the effect that the blow was accidental. There is no doubt, however, + that the defendant used reprehensible language, and offered some + resistance to the constable in the execution of his duty. Evidence 'as + been offered that he was in an excited state of mind; and it is possible + —I don't say that this is any palliation—but it is possible + that he may have thought his position as magistrate made him—er— + </p> + <p> + CHANTREY. [Prompting] Caesar's wife. + </p> + <p> + MAYOR. Eh? We think, considering all the circumstances, and the fact that + he has spent a night in a cell, that justice will be met by—er— + discharging him with a caution. + </p> + <p> + BUILDER. [With a deeply muttered] The devil you do! + </p> + <blockquote> + <p> + Walks out of the room. The JOURNALIST, grabbing his pad, starts up and + follows. The BUILDERS rise and huddle, and, with HERRINGHAME, are + ushered out by HARRIS. + </p> + </blockquote> + <p> + MAYOR. [Pulling out a large handkerchief and wiping his forehead] My Aunt! + </p> + <p> + CHANTREY. These new constables, Mayor! I say, Builder'll have to go! Damn + the Press, how they nose everything out! The Great Unpaid!— We shall + get it again! [He suddenly goes off into a fit of laughter] "Come off it," + I says, "to the best of my recollection." Oh! Oh! I shan't hit a bird all + day! That poor devil Builder! It's no joke for him. You did it well, + Mayor; you did it well. British justice is safe in your hands. He blacked + the fellow's eye all right. "Which I herewith produce." Oh! my golly! It + beats the band! + </p> + <blockquote> + <p> + His uncontrollable laughter and the MAYOR'S rueful appreciation are + exchanged with lightning rapidity for a preternatural solemnity, as the + door opens, admitting SERGEANT MARTIN and the lugubrious object of their + next attentions. + </p> + </blockquote> + <p> + MAYOR. Charges. + </p> + <blockquote> + <p> + SERGEANT steps forward to read the charge as The CURTAIN falls. + </p> + </blockquote> + <p> + SCENE II + </p> + <blockquote> + <p> + Noon the same day. BUILDER'S study. TOPPING is standing by the open + window, looking up and down the street. A newspaper boy's voice is heard + calling the first edition of his wares. It approaches from the Right. + </p> + </blockquote> + <p> + TOPPING. Here! + </p> + <p> + BOY'S VOICE. Right, guv'nor! Johnny Builder up before the beaks! [A paper + is pushed up]. + </p> + <p> + TOPPING. [Extending a penny] What's that you're sayin'? You take care! + </p> + <p> + BOY'S VOICE. It's all 'ere. Johnny Builder—beatin' his wife! + Dischawged. + </p> + <p> + TOPPING. Stop it, you young limb! + </p> + <p> + BOY'S VOICE. 'Allo! What's the matter wiv you? Why, it's Johnny Builder's + house! [Gives a cat-call] 'Ere, buy anuvver! 'E'll want to read about + 'isself. [Appealing] Buy anuvver, guv'nor! + </p> + <p> + TOPPING. Move on! + </p> + <blockquote> + <p> + He retreats from the window, opening the paper. + </p> + </blockquote> + <p> + BOY'S VOICE. [Receding] Payper! First edition! J.P. chawged! Payper! + </p> + <p> + TOPPING. [To himself as he reads] Crimes! Phew! That accounts for them + bein' away all night. + </p> + <blockquote> + <p> + While he is reading, CAMILLE enters from the hall. Here! Have you seen + this, Camel—in the Stop Press? + </p> + </blockquote> + <p> + CAMILLE. No. + </p> + <blockquote> + <p> + They read eagerly side by side. + </p> + </blockquote> + <p> + TOPPING. [Finishing aloud] "Tried to prevent her father from forcing her + mother to return home with him, and he struck her for so doing. She did + not press the charge. The arrested gentleman, who said he acted under + great provocation, was discharged with a caution." Well, I'm blowed! He + has gone and done it! + </p> + <p> + CAMILLE. A black eye! + </p> + <p> + TOPPING. [Gazing at her] Have you had any hand in this? I've seen you + making your lovely black eyes at him. You foreigners—you're a loose + lot! + </p> + <p> + CAMILLE. You are drunk! + </p> + <p> + TOPPING. Not yet, my dear. [Reverting to the paper; philosophically] Well, + this little lot's bust up! The favourites will fall down. Johnny Builder! + Who'd have thought it? + </p> + <p> + CAMILLE. He is an obstinate man. + </p> + <p> + TOPPING. Ah! He's right up against it now. Comes of not knowin' when to + stop bein' firm. If you meet a wall with your 'ead, it's any odds on the + wall, Camel. Though, if you listened to some, you wouldn't think it. + What'll he do now, I wonder? Any news of the mistress? + </p> + <p> + CAMILLE. [Shaking her head] I have pack her tr-runks. + </p> + <p> + TOPPING. Why? + </p> + <p> + CAMILLE. Because she take her jewels yesterday. + </p> + <p> + TOPPING. Deuce she did! They generally leave 'em. Take back yer gifts! She + throws the baubles at 'is 'ead. [Again staring at her] You're a deep one, + you know! + </p> + <blockquote> + <p> + There is the sound of a cab stopping. + </p> + </blockquote> + <p> + Wonder if that's him! [He goes towards the hall. CAMILLE watchfully shifts + towards the diningroom door. MAUD enters.] + </p> + <p> + MAUD. Is my father back, Topping? + </p> + <p> + TOPPING. Not yet, Miss. + </p> + <p> + MAUD. I've come for mother's things. + </p> + <p> + CAMILLE. They are r-ready. + </p> + <p> + MAUD. [Eyeing her] Topping, get them down, please. + </p> + <blockquote> + <p> + TOPPING, after a look at them both, goes out into the hall. + </p> + </blockquote> + <p> + Very clever of you to have got them ready. + </p> + <p> + CAMILLE. I am clevare. + </p> + <p> + MAUD. [Almost to herself] Yes—father may, and he may not. + </p> + <p> + CAMILLE. Look! If you think I am a designing woman, you are mistook. I + know when things are too 'ot. I am not sorry to go. + </p> + <p> + MAUD. Oh! you are going? + </p> + <p> + CAMILLE. Yes, I am going. How can I stay when there is no lady in the + 'ouse? + </p> + <p> + MAUD. Not even if you're asked to? + </p> + <p> + CAMILLE. Who will ask me? + </p> + <p> + MAUD. That we shall see. + </p> + <p> + CAMILLE. Well, you will see I have an opinion of my own. + </p> + <p> + MAUD. Oh! yes, you're clear-headed enough. + </p> + <p> + CAMILLE. I am not arguing. Good-morning! + </p> + <blockquote> + <p> + Exits up Left. + </p> + </blockquote> + <p> + MAUD regards her stolidly as she goes out into the dining-room, then takes + up the paper and reads. + </p> + <p> + MAUD. Horrible! + </p> + <blockquote> + <p> + TOPPING re-enters from the hall. + </p> + </blockquote> + <p> + TOPPING. I've got 'em on the cab, Miss. I didn't put your ten bob on + yesterday, because the animal finished last. You cant depend on horses. + </p> + <p> + MAUD. [Touching the newspaper] This is a frightful business, Topping. + </p> + <p> + TOPPING. Ah! However did it happen, Miss Maud? + </p> + <p> + MAUD. [Tapping the newspaper] It's all true. He came after my mother to + Miss Athene's, and I—I couldn't stand it. I did what it says here; + and now I'm sorry. Mother's dreadfully upset. You know father as well as + anyone, Topping; what do you think he'll do now? + </p> + <p> + TOPPING. [Sucking in his cheeks] Well, you see, Miss, it's like this: Up + to now Mr Builder's always had the respect of everybody— + </p> + <blockquote> + <p> + MAUD moves her head impatiently. + </p> + </blockquote> + <p> + outside his own house, of course. Well, now he hasn't got it. + Pishchologically that's bound to touch him. + </p> + <p> + MAUD. Of course; but which way? Will he throw up the sponge, or try and + stick it out here? + </p> + <p> + TOPPING. He won't throw up the sponge, Miss; more likely to squeeze it + down the back of their necks. + </p> + <p> + MAUD. He'll be asked to resign, of course. + </p> + <blockquote> + <p> + The NEWSPAPER BOY'S VOICE is heard again approaching: "First edition! + Great sensation! Local magistrate before the Bench! Pay-per!" + </p> + </blockquote> + <p> + Oh, dear! I wish I hadn't! But I couldn't see mother being— + </p> + <p> + TOPPING. Don't you fret, Miss; he'll come through. His jaw's above his + brow, as you might say. + </p> + <p> + MAUD. What? + </p> + <p> + TOPPING. [Nodding] Phreenology, Miss. I rather follow that. When the jaw's + big and the brow is small, it's a sign of character. I always think the + master might have been a Scotchman, except for his fishionomy. + </p> + <p> + MAUD. A Scotsman? + </p> + <p> + TOPPING. So down on anything soft, Miss. Haven't you noticed whenever one + of these 'Umanitarians writes to the papers, there's always a Scotchman + after him next morning. Seems to be a fact of 'uman nature, like + introducin' rabbits into a new country and then weasels to get rid of 'em. + And then something to keep down the weasels. But I never can see what + could keep down a Scotchman! You seem to reach the hapex there! + </p> + <p> + MAUD. Miss Athene was married this morning, Topping. We've just come from + the Registrar's. + </p> + <p> + TOPPING. [Immovably] Indeed, Miss. I thought perhaps she was about to be. + </p> + <p> + MAUD. Oh! + </p> + <p> + TOPPING. Comin' events. I saw the shadder yesterday. + </p> + <p> + MAUD. Well, it's all right. She's coming on here with my uncle. + </p> + <blockquote> + <p> + A cab is heard driving up. + </p> + </blockquote> + <p> + That's them, I expect. We all feel awful about father. + </p> + <p> + TOPPING. Ah! I shouldn't be surprised if he feels awful about you, Miss. + </p> + <p> + MAUD. [At the window] It is them. + </p> + <blockquote> + <p> + TOPPING goes out into the hall; ATHENE and RALPH enter Right. + </p> + </blockquote> + <p> + MAUD. Where's father, Uncle Ralph? + </p> + <p> + RALPH. With his solicitor. + </p> + <p> + ATHENE. We left Guy with mother at the studio. She still thinks she ought + to come. She keeps on saying she must, now father's in a hole. + </p> + <p> + MAUD. I've got her things on the cab; she ought to be perfectly free to + choose. + </p> + <p> + RALPH. You've got freedom on the brain, Maud. + </p> + <p> + MAUD. So would you, Uncle Ralph, if you had father about. + </p> + <p> + RALPH. I'm his partner, my dear. + </p> + <p> + MAUD. Yes; how do you manage him? + </p> + <p> + RALPH. I've never yet given him in charge. + </p> + <p> + ATHENE. What do you do, Uncle Ralph? + </p> + <p> + RALPH. Undermine him when I can. + </p> + <p> + MAUD. And when you can't? + </p> + <p> + RALPH. Undermine the other fellow. You can't go to those movie people now, + Maud. They'd star you as the celebrated Maud Builder who gave her father + into custody. Come to us instead, and have perfect freedom, till all this + blows over. + </p> + <p> + MAUD. Oh! what will father be like now? + </p> + <p> + ATHENE. It's so queer you and he being brothers, Uncle Ralph. + </p> + <p> + RALPH. There are two sides to every coin, my dear. John's the head-and I'm + the tail. He has the sterling qualities. Now, you girls have got to smooth + him down, and make up to him. You've tried him pretty high. + </p> + <p> + MAUD. [Stubbornly] I never wanted him for a father, Uncle. + </p> + <p> + RALPH. They do wonderful things nowadays with inherited trouble. Come, are + you going to be nice to him, both of you? + </p> + <p> + ATHENE. We're going to try. + </p> + <p> + RALPH. Good! I don't even now understand how it happened. + </p> + <p> + MAUD. When you went out with Guy, it wasn't three minutes before he came. + Mother had just told us about—well, about something beastly. Father + wanted us to go, and we agreed to go out for five minutes while he talked + to mother. We went, and when we came back he told me to get a cab to take + mother home. Poor mother stood there looking like a ghost, and he began + hunting and hauling her towards the door. I saw red, and instead of a cab + I fetched that policeman. Of course father did black his eye. Guy was + splendid. + </p> + <p> + ATHENE. You gave him the lead. + </p> + <p> + MAUD. I couldn't help it, seeing father standing there all dumb. + </p> + <p> + ATHENE. It was awful! Uncle, why didn't you come back with Guy? + </p> + <p> + MAUD. Oh, yes! why didn't you, Uncle? + </p> + <p> + ATHENE. When Maud had gone for the cab, I warned him not to use force. I + told him it was against the law, but he only said: "The law be damned!" + </p> + <p> + RALPH. Well, it all sounds pretty undignified. + </p> + <p> + MAUD. Yes; everybody saw red. + </p> + <blockquote> + <p> + They have not seen the door opened from the hall, and BUILDER standing + there. He is still unshaven, a little sunken in the face, with a glum, + glowering expression. He has a document in his hand. He advances a step + or two and they see him. + </p> + </blockquote> + <p> + ATHENE and MAUD. [Aghast] Father! + </p> + <p> + BUILDER. Ralph, oblige me! See them off the premises! + </p> + <p> + RALPH. Steady, John! + </p> + <p> + BUILDER. Go! + </p> + <p> + MAUD. [Proudly] All right! We thought you might like to know that Athene's + married, and that I've given up the movies. Now we'll go. + </p> + <blockquote> + <p> + BUILDER turns his back on them, and, sitting down at his writing-table, + writes. After a moment's whispered conversation with their Uncle, the + two girls go out. RALPH BUILDER stands gazing with whimsical + commiseration at his brother's back. As BUILDER finishes writing, he + goes up and puts his hand on his brother's shoulder. + </p> + </blockquote> + <p> + RALPH. This is an awful jar, old man! + </p> + <p> + BUILDER. Here's what I've said to that fellow: "MR MAYOR,—You had + the effrontery to-day to discharge me with a caution—forsooth!—your + fellow —magistrate. I've consulted my solicitor as to whether an + action will lie for false imprisonment. I'm informed that it won't. I take + this opportunity of saying that justice in this town is a travesty. I have + no wish to be associated further with you or your fellows; but you are + vastly mistaken if you imagine that I shall resign my position on the + Bench or the Town Council.—Yours, + </p> + <p> + "JOHN BUILDER." + </p> + <p> + RALPH. I say—keep your sense of humour, old boy. + </p> + <p> + BUILDER. [Grimly] Humour? I've spent a night in a cell. See this! [He + holds out the document] It disinherits my family. + </p> + <p> + RALPH. John! + </p> + <p> + BUILDER. I've done with those two ladies. As to my wife—if she + doesn't come back—! When I suffer, I make others suffer. + </p> + <p> + RALPH. Julia's very upset, my dear fellow; we all are. The girls came here + to try and— + </p> + <p> + BUILDER. [Rising] They may go to hell! If that lousy Mayor thinks I'm done + with—he's mistaken! [He rings the bell] I don't want any soft + sawder. I'm a fighter. + </p> + <p> + RALPH. [In a low voice] The enemy stands within the gate, old chap. + </p> + <p> + BUILDER. What's that? + </p> + <p> + RALPH. Let's boss our own natures before we boss those of other people. + Have a sleep on it, John, before you do anything. + </p> + <p> + BUILDER. Sleep? I hadn't a wink last night. If you'd passed the night I + had— + </p> + <p> + RALPH. I hadn't many myself. + </p> + <blockquote> + <p> + TOPPING enters. + </p> + </blockquote> + <p> + BUILDER. Take this note to the Mayor with my compliments, and don't bring + back an answer. TOPPING. Very good, sir. There's a gentleman from the + "Comet" in the hall, sir. Would you see him for a minute, he says. + </p> + <p> + BUILDER. Tell him to go to— + </p> + <blockquote> + <p> + A voice says, "Mr Builder!" BUILDER turns to see the figure of the + JOURNALIST in the hall doorway. TOPPING goes out. + </p> + </blockquote> + <p> + JOURNALIST. [Advancing with his card] Mr Builder, it's very good of you to + see me. I had the pleasure this morning—I mean—I tried to + reach you when you left the Mayor's. I thought you would probably have + your own side of this unfortunate matter. We shall be glad to give it + every prominence. + </p> + <blockquote> + <p> + TOPPING has withdrawn, and RALPH BUILDER, at the window, stands + listening. + </p> + </blockquote> + <p> + BUILDER. [Drily, regarding the JOURNALIST, who has spoken in a pleasant + and polite voice] Very good of you! + </p> + <p> + JOURNALIST. Not at all, sir. We felt that you would almost certainly have + good reasons of your own which would put the matter in quite a different + light. + </p> + <p> + BUILDER. Good reasons? I should think so! I tell you—a very little + more of this liberty—licence I call it—and there isn't a man + who'll be able to call himself head of a family. + </p> + <p> + JOURNALIST. [Encouragingly] Quite! + </p> + <p> + BUILDER. If the law thinks it can back up revolt, it's damned well + mistaken. I struck my daughter—I was in a passion, as you would have + been. + </p> + <p> + JOURNALIST. [Encouraging] I'm sure— + </p> + <p> + BUILDER. [Glaring at him] Well, I don't know that you would; you look a + soft sort; but any man with any blood in him. + </p> + <p> + JOURNALIST. Can one ask what she was doing, sir? We couldn't get that + point quite clear. + </p> + <p> + BUILDER. Doing? I just had my arm round my wife, trying to induce her to + come home with me after a little family tiff, and this girl came at me. I + lost my temper, and tapped her with my cane. And—that policeman + brought by my own daughter—a policeman! If the law is going to enter + private houses and abrogate domestic authority, where the hell shall we + be? + </p> + <p> + JOURNALIST. [Encouraging] No, I'm sure—I'm sure! + </p> + <p> + BUILDER. The maudlin sentimentality in these days is absolutely rotting + this country. A man can't be master in his own house, can't require his + wife to fulfil her duties, can't attempt to control the conduct of his + daughters, without coming up against it and incurring odium. A man can't + control his employees; he can't put his foot down on rebellion anywhere, + without a lot of humanitarians and licence-lovers howling at him. + </p> + <p> + JOURNALIST. Excellent, Sir; excellent! + </p> + <p> + BUILDER. Excellent? It's damnable. Here am I—a man who's always + tried to do his duty in private life and public—brought up before + the Bench— my God! because I was doing that duty; with a little too + much zeal, perhaps—I'm not an angel! + </p> + <p> + JOURNALIST. No! No! of course. + </p> + <p> + BUILDER. A proper Englishman never is. But there are no proper Englishmen + nowadays. + </p> + <blockquote> + <p> + He crosses the room in his fervour. + </p> + </blockquote> + <p> + RALPH. [Suddenly] As I look at faces— + </p> + <p> + BUILDER. [Absorbed] What! I told this young man I wasn't an angel. + </p> + <p> + JOURNALIST. [Drawing him on] Yes, Sir; I quite understand. + </p> + <p> + BUILDER. If the law thinks it can force me to be one of your weak-kneed + sentimentalists who let everybody do what they like— + </p> + <p> + RALPH. There are a good many who stand on their rights left, John. + </p> + <p> + BUILDER. [Absorbed] What! How can men stand on their rights left? + </p> + <p> + JOURNALIST. I'm afraid you had a painful experience, sir. + </p> + <p> + BUILDER. Every kind of humiliation. I spent the night in a stinking cell. + I haven't eaten since breakfast yesterday. Did they think I was going to + eat the muck they shoved in? And all because in a moment of anger—which + I regret, I regret!—I happened to strike my daughter, who was + interfering between me and my wife. The thing would be funny if it weren't + so disgusting. A man's house used to be sanctuary. What is it now? With + all the world poking their noses in? + </p> + <p> + He stands before the fire with his head bent, excluding as it were his + interviewer and all the world. + </p> + <p> + JOURNALIST. [Preparing to go] Thank you very much, Mr Builder. I'm sure I + can do you justice. Would you like to see a proof? + </p> + <p> + BUILDER. [Half conscious of him] What? + </p> + <p> + JOURNALIST. Or will you trust me? + </p> + <p> + BUILDER. I wouldn't trust you a yard. + </p> + <p> + JOURNALIST. [At the door] Very well, sir; you shall have a proof, I + promise. Good afternoon, and thank you. + </p> + <p> + BUILDER. Here! + </p> + <blockquote> + <p> + But he is gone, and BUILDER is left staring at his brother, on whose + face is still that look of whimsical commiseration. + </p> + </blockquote> + <p> + RALPH. Take a pull, old man! Have a hot bath and go to bed. + </p> + <p> + BUILDER. They've chosen to drive me to extremes, now let them take the + consequences. I don't care a kick what anybody thinks. + </p> + <p> + RALPH. [Sadly] Well, I won't worry you anymore, now. + </p> + <p> + BUILDER. [With a nasty laugh] No; come again to-morrow! + </p> + <p> + RALPH. When you've had a sleep. For the sake of the family name, John, + don't be hasty. + </p> + <p> + BUILDER. Shut the stable door? No, my boy, the horse has gone. + </p> + <p> + RALPH. Well, Well! + </p> + <blockquote> + <p> + With a lingering look at his brother, who has sat down sullenly at the + writing table, he goes out into the hall. BUILDER remains staring in + front of him. The dining-room door opens, and CAMILLE's head is thrust + in. Seeing him, she draws back, but he catches sight of her. + </p> + </blockquote> + <p> + BUILDER. Here! + </p> + <p> + CAMILLE comes doubtfully up to the writing table. Her forehead is puckered + as if she were thinking hard. + </p> + <p> + BUILDER. [Looking at her, unsmiling] So you want to be my mistress, do + you? + </p> + <blockquote> + <p> + CAMILLE makes a nervous gesture. + </p> + </blockquote> + <p> + Well, you shall. Come here. + </p> + <p> + CAMILLE. [Not moving] You f—frighten me. + </p> + <p> + BUILDER. I've paid a pretty price for you. But you'll make up for it; you + and others. + </p> + <p> + CAMILLE. [Starting back] No; I don't like you to-day! No! + </p> + <p> + BUILDER. Come along! [She is just within reach and he seizes her arm] All + my married life I've put a curb on myself for the sake of respectability. + I've been a man of principle, my girl, as you saw yesterday. Well, they + don't want that! [He draws her close] You can sit on my knee now. + </p> + <p> + CAMILLE. [Shrinking] No; I don't want to, to-day. + </p> + <p> + BUILDER. But you shall. They've asked for it! + </p> + <p> + CAMILLE. [With a supple movement slipping away from him] They? What is all + that? I don't want any trouble. No, no; I am not taking any. + </p> + <blockquote> + <p> + She moves back towards the door. BUILDER utters a sardonic laugh. + </p> + </blockquote> + <p> + Oh! you are a dangerous man! No, no! Not for me! Good-bye, sare! + </p> + <blockquote> + <p> + She turns swiftly and goes out. BUILDER again utters his glum laugh. And + then, as he sits alone staring before him, perfect silence reigns in the + room. Over the window-sill behind him a BOY'S face is seen to rise; it + hangs there a moment with a grin spreading on it. + </p> + </blockquote> + <p> + BOY'S VOICE. [Sotto] Johnny Builder! + </p> + <blockquote> + <p> + As BUILDER turns sharply, it vanishes. + </p> + </blockquote> + <p> + 'Oo beat 'is wife? + </p> + <blockquote> + <p> + BUILDER rushes to the window. + </p> + </blockquote> + <p> + BOY'S VOICE. [More distant and a little tentative] Johnny Builder! + </p> + <p> + BUILDER. You little devil! If I catch you, I'll wring your blasted little + neck! + </p> + <p> + BOY'S VOICE. [A little distant] 'Oo blacked the copper's eye? + </p> + <blockquote> + <p> + BUILDER, in an ungovernable passion, seizes a small flower-pot from the + sill and dings it with all his force. The sound of a crash. + </p> + </blockquote> + <p> + BOY'S VOICE. [Very distant] Ya-a-ah! Missed! + </p> + <blockquote> + <p> + BUILDER stands leaning out, face injected with blood, shaking his fist. + The CURTAIN falls for a few seconds. + </p> + </blockquote> + <p> + SCENE III + </p> + <p> + Evening the same day. + </p> + <blockquote> + <p> + BUILDER's study is dim and neglected-looking; the window is still open, + though it has become night. A street lamp outside shines in, and the end + of its rays fall on BUILDER asleep. He is sitting in a high chair at the + fireside end of the writing-table, with his elbows on it, and his cheek + resting on his hand. He is still unshaven, and his clothes unchanged. A + Boy's head appears above the level of the window-sill, as if beheaded + and fastened there. + </p> + </blockquote> + <p> + BOY'S VOICE. [In a forceful whisper] Johnny Builder! + </p> + <blockquote> + <p> + BUILDER stirs uneasily. The Boy's head vanishes. BUILDER, raising his + other hand, makes a sweep before his face, as if to brush away a + mosquito. He wakes. Takes in remembrance, and sits a moment staring + gloomily before him. The door from the hall is opened and TOPPING comes + in with a long envelope in his hand. + </p> + </blockquote> + <p> + TOPPING. [Approaching] From the "Comet," sir. Proof of your interview, + sir; will you please revise, the messenger says; he wants to take it back + at once. + </p> + <p> + BUILDER. [Taking it] All right. I'll ring. + </p> + <p> + TOPPING. Shall I close in, sir? + </p> + <p> + BUILDER. Not now. + </p> + <blockquote> + <p> + TOPPING withdraws. BUILDER turns up a standard lamp on the table, opens + the envelope, and begins reading the galley slip. The signs of + uneasiness and discomfort grow on him. + </p> + </blockquote> + <p> + BUILDER. Did I say that? Muck! Muck! [He drops the proof, sits a moment + moving his head and rubbing one hand uneasily on the surface of the table, + then reaches out for the telephone receiver] Town, 245. [Pause] The + "Comet"? John Builder. Give me the Editor. [Pause] That you, Mr Editor? + John Builder speaking. That interview. I've got the proof. It won't do. + Scrap the whole thing, please. I don't want to say anything. [Pause] Yes. + I know I said it all; I can't help that. [Pause] No; I've changed my mind. + Scrap it, please. [Pause] No, I will not say anything. [Pause] You can say + what you dam' well please. [Pause] I mean it; if you put a word into my + mouth, I'll sue you for defamation of character. It's undignified muck. + I'm tearing it up. Good-night. [He replaces the receiver, and touches a + bell; then, taking up the galley slip, he tears it viciously across into + many pieces, and rams them into the envelope.] + </p> + <blockquote> + <p> + TOPPING enters. + </p> + </blockquote> + <p> + Here, give this to the messenger-sharp, and tell him to run with it. + </p> + <p> + TOPPING. [Whose hand can feel the condition of the contents, with a + certain surprise] Yes, sir. + </p> + <blockquote> + <p> + He goes, with a look back from the door. + </p> + </blockquote> + <p> + The Mayor is here, sir. I don't know whether you would wish + </p> + <blockquote> + <p> + BUILDER, rising, takes a turn up and down the room. + </p> + </blockquote> + <p> + BUILDER. Nor do I. Yes! I'll see him. + </p> + <blockquote> + <p> + TOPPING goes out, and BUILDER stands over by the fender, with his head a + little down. + </p> + </blockquote> + <p> + TOPPING. [Re-entering] The Mayor, sir. + </p> + <blockquote> + <p> + He retires up Left. The MAYOR is overcoated, and carries, of all things, + a top hat. He reaches the centre of the room before he speaks. + </p> + </blockquote> + <p> + MAYOR. [Embarrassed] Well, Builder? + </p> + <p> + BUILDER. Well? + </p> + <p> + MAYOR. Come! That caution of mine was quite parliamentary. I 'ad to save + face, you know. + </p> + <p> + BUILDER. And what about my face? + </p> + <p> + MAYOR. Well, you—you made it difficult for me. 'Ang it all! Put + yourself into my place! + </p> + <p> + BUILDER. [Grimly] I'd rather put you into mine, as it was last night. + </p> + <p> + MAYOR. Yes, yes! I know; but the Bench has got a name to keep up—must + stand well in the people's eyes. As it is, I sailed very near the wind. + Suppose we had an ordinary person up before us for striking a woman? + </p> + <p> + BUILDER. I didn't strike a woman—I struck my daughter. + </p> + <p> + MAYOR. Well, but she's not a child, you know. And you did resist the + police, if no worse. Come! You'd have been the first to maintain British + justice. Shake 'ands! + </p> + <p> + BUILDER. Is that what you came for? + </p> + <p> + MAYOR. [Taken aback] Why—yes; nobody can be more sorry than I— + </p> + <p> + BUILDER. Eye-wash! You came to beg me to resign. + </p> + <p> + MAYOR. Well, it's precious awkward, Builder. We all feel— + </p> + <p> + BUILDER. Save your powder, Mayor. I've slept on it since I wrote you that + note. Take my resignations. + </p> + <p> + MAYOR. [In relieved embarrassment] That's right. We must face your + position. + </p> + <p> + BUILDER. [With a touch of grim humour] I never yet met a man who couldn't + face another man's position. + </p> + <p> + MAYOR. After all, what is it? + </p> + <p> + BUILDER. Splendid isolation. No wife, no daughters, no Councillorship, no + Magistracy, no future—[With a laugh] not even a French maid. And + why? Because I tried to exercise a little wholesome family authority. + That's the position you're facing, Mayor. + </p> + <p> + MAYOR. Dear, dear! You're devilish bitter, Builder. It's unfortunate, this + publicity. But it'll all blow over; and you'll be back where you were. + You've a good sound practical sense underneath your temper. [A pause] + Come, now! [A pause] Well, I'll say good-night, then. + </p> + <p> + BUILDER. You shall have them in writing tomorrow. + </p> + <p> + MAYOR. [With sincerity] Come! Shake 'ands. + </p> + <p> + BUILDER, after a long look, holds out his hand. The two men exchange a + grip. + </p> + <blockquote> + <p> + The MAYOR, turning abruptly, goes out. BUILDER remains motionless for a + minute, then resumes his seat at the side of the writing table, leaning + his head on his hands. The Boy's head is again seen rising above the + level of the window-sill, and another and another follows, till the + three, as if decapitated, heads are seen in a row. + </p> + </blockquote> + <p> + BOYS' VOICES. [One after another in a whispered crescendo] Johnny Builder! + Johnny Builder! Johnny Builder! + </p> + <blockquote> + <p> + BUILDER rises, turns and stares at them. The THREE HEADS disappear, and + a Boy's voice cries shrilly: "Johnny Builder!" BUILDER moves towards the + window; voices are now crying in various pitches and keys: "Johnny + Builder!" "Beatey Builder!" "Beat 'is wife-er!" "Beatey Builder!" + BUILDER stands quite motionless, staring, with the street lamp lighting + up a queer, rather pitiful defiance on his face. The voices swell. There + comes a sudden swish and splash of water, and broken yells of dismay. + </p> + </blockquote> + <p> + TOPPING'S VOICE. Scat! you young devils! + </p> + <blockquote> + <p> + The sound of scuffling feet and a long-drawnout and distant "Miaou!" + BUILDER stirs, shuts the window, draws the curtains, goes to the + armchair before the fireplace and sits down in it. TOPPING enters with a + little tray on which is a steaming jug of fluid, some biscuits and a + glass. He comes stealthily up level with the chair. BUILDER stirs and + looks up at him. + </p> + </blockquote> + <p> + TOPPING. Excuse me, sir, you must 'ave digested yesterday morning's + breakfast by now—must live to eat, sir. + </p> + <p> + BUILDER. All right. Put it down. + </p> + <p> + TOPPING. [Putting the tray down on the table and taking up BUILDER'S pipe] + I fair copped those young devils. + </p> + <p> + BUILDER. You're a good fellow. + </p> + <p> + TOPPING. [Filling the pipe] You'll excuse me, sir; the Missis—has + come back, sir— + </p> + <blockquote> + <p> + BUILDER stares at him and TOPPING stops. He hands BUILDER the filled + pipe and a box of matches. + </p> + </blockquote> + <p> + BUILDER. [With a shiver] Light the fire, Topping. I'm chilly. + </p> + <blockquote> + <p> + While TOPPING lights the fire BUILDER puts the pipe in his mouth and + applies a match to it. TOPPING, having lighted the fire, turns to go, + gets as far as half way, then comes back level with the table and + regards the silent brooding figure in the chair. + </p> + </blockquote> + <p> + BUILDER. [Suddenly] Give me that paper on the table. No; the other one—the + Will. + </p> + <blockquote> + <p> + TOPPING takes up the Will and gives it to him. + </p> + </blockquote> + <p> + TOPPING. [With much hesitation] Excuse me, sir. It's pluck that get's 'em + 'ome, sir—begging your pardon. + </p> + <blockquote> + <p> + BUILDER has resumed his attitude and does not answer. + </p> + </blockquote> + <p> + [In a voice just touched with feeling] Good-night, sir. + </p> + <p> + BUILDER. [Without turning his head] Good-night. + </p> + <blockquote> + <p> + TOPPING has gone. BUILDER sits drawing at his pipe between the firelight + and the light from the standard lamp. He takes the pipe out of his mouth + and a quiver passes over his face. With a half angry gesture he rubs the + back of his hand across his eyes. + </p> + </blockquote> + <p> + BUILDER. [To himself] Pluck! Pluck! [His lips quiver again. He presses + them hard together, puts his pipe back into his mouth, and, taking the + Will, thrusts it into the newly-lighted fire and holds it there with a + poker.] + </p> + <blockquote> + <p> + While he is doing this the door from the hall is opened quietly, and MRS + BUILDER enters without his hearing her. She has a work bag in her hand. + She moves slowly to the table, and stands looking at him. Then going up + to the curtains she mechanically adjusts them, and still keeping her + eyes on BUILDER, comes down to the table and pours out his usual glass + of whisky toddy. BUILDER, who has become conscious of her presence, + turns in his chair as she hands it to him. He sits a moment motionless, + then takes it from her, and squeezes her hand. MRS BUILDER goes silently + to her usual chair below the fire, and taking out some knitting begins + to knit. BUILDER makes an effort to speak, does not succeed, and sits + drawing at his pipe. The CURTAIN falls. + </p> + </blockquote> + <h2> + <i>GALSWORTHY'S PLAYS</i> + </h2> + <p> + <a name="link2H_TOC" id="link2H_TOC_"> + <!-- H2 anchor --> </a> + </p> + <h2> + <i>Links to All Volumes</i> + </h2> + <table summary="" style="margin-right: auto; margin-left: auto" cellpadding="4" border="3"> + <tr> + <td> + THE FIRST SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2906/2906-h/2906-h.htm"><b>The + Silver Box</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2907/2907-h/2907-h.htm"><b>Joy</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2908/2908-h/2908-h.htm"><b>Strife</b></a> + </td> + </tr> + <tr> + <td> + THE SECOND SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2909/2909-h/2909-h.htm"><b>The + Eldest Son</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2910/2910-h/2910-h.htm"><b>Little + Dream</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2911/2911-h/2911-h.htm"><b>Justice</b></a> + </td> + </tr> + <tr> + <td> + THE THIRD SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2912/2912-h/2912-h.htm"><b>The + Fugitive</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2913/2913-h/2913-h.htm"><b>The + Pigeon</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2914/2914-h/2914-h.htm"><b>The + Mob</b></a> + </td> + </tr> + <tr> + <td> + THE FOURTH SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2915/2915-h/2915-h.htm"><b>A + Bit O'Love</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2916/2916-h/2916-h.htm"><b>The + Foundations</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2917/2917-h/2917-h.htm"><b>The + Skin Game</b></a> + </td> + </tr> + <tr> + <td> + THE FIFTH SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/4764/4764-h/4764-h.htm"><b>A + Family Man</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/4765/4765-h/4765-h.htm"><b>Loyalties</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/4766/4766-h/4766-h.htm"><b>Windows</b></a> + </td> + </tr> + <tr> + <td> + THE SIXTH SERIES: + </td> + <td> + <a href="https://www.gutenberg.org/files/2918/2918-h/2918-h.htm"><b>The + First and Last</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2919/2919-h/2919-h.htm"><b>The + Little Man</b></a> + </td> + <td> + <a href="https://www.gutenberg.org/files/2920/2920-h/2920-h.htm"><b>Four + Short Plays</b></a> + </td> + </tr> + </table> + <p> + <br /> + </p> +<pre xml:space="preserve"> + + + + + + End of the Project Gutenberg EBook of A Family Man (Fifth Series Plays) + by John Galsworthy + + *** END OF THIS PROJECT GUTENBERG EBOOK A FAMILY MAN (FIFTH SERIES PLAYS) *** + + ***** This file should be named 4764-h.htm or 4764-h.zip ***** + This and all associated files of various formats will be found in: + https://www.gutenberg.org/4/7/6/4764/ + + Produced by David Widger + + Updated editions will replace the previous one—the old editions + will be renamed. + + Creating the works from public domain print editions means that no + one owns a United States copyright in these works, so the Foundation + (and you!) can copy and distribute it in the United States without + permission and without paying copyright royalties. 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You may copy it, give it away or + re-use it under the terms of the Project Gutenberg License included + with this eBook or online at www.gutenberg.org + + + Title: A Family Man (From the Fifth Series Plays) + + Author: John Galsworthy + + Last Updated: February 10, 2009 + Release Date: September 26, 2004 [EBook #4764] + + Language: English + + Character set encoding: ASCII + + *** START OF THIS PROJECT GUTENBERG EBOOK A FAMILY MAN (FIFTH SERIES PLAYS) *** + + + + + Produced by David Widger + + + +FIFTH SERIES PLAYS OF GALSWORTHY + + +A FAMILY MAN + + +By John Galsworthy + + + +CHARACTERS + + JOHN BUILDER................ of the firm of Builder & Builder + JULIA....................... His Wife + ATHENE...................... His elder Daughter + MAUD........................ His younger Daughter + RALPH BUILDER............... His Brother, and Partner + GUY HERRINGHAME............. A Flying Man + ANNIE....................... A Young Person in Blue + CAMILLE..................... Mrs Builder's French Maid + TOPPING..................... Builder's Manservant + THE MAYOR................... Of Breconridge + HARRIS...................... His Secretary + FRANCIS CHANTREY............ J.P. + MOON........................ A Constable + MARTIN...................... A Police Sergeant + A JOURNALIST................ From The Comet + THE FIGURE OF A POACHER + THE VOICES AND FACES OF SMALL BOYS + + + +The action passes in the town of Breconridge, the Midlands. + + + + + ACT I. + SCENE I. BUILDER'S Study. After breakfast. + SCENE II. A Studio. + + ACT II. BUILDER'S Study. Lunchtime. + + ACT III. + SCENE I. THE MAYOR'S Study. 10am the following day. + SCENE II. BUILDER'S Study. The same. Noon. + SCENE III. BUILDER'S Study. The same. Evening. + + + + +ACT I + +SCENE I + + The study of JOHN BUILDER in the provincial town of Breconridge. + A panelled room wherein nothing is ever studied, except perhaps + BUILDER'S face in the mirror over the fireplace. It is, however, + comfortable, and has large leather chairs and a writing table in the + centre, on which is a typewriter, and many papers. At the back is a + large window with French outside shutters, overlooking the street, + for the house is an old one, built in an age when the homes of + doctors, lawyers and so forth were part of a provincial town, and + not yet suburban. There are two or three fine old prints on the + walls, Right and Left; and a fine, old fireplace, Left, with a + fender on which one can sit. A door, Left back, leads into the + dining-room, and a door, Right forward, into the hall. + + JOHN BUILDER is sitting in his after-breakfast chair before the fire + with The Times in his hands. He has breakfasted well, and is in + that condition of first-pipe serenity in which the affairs of the + nation seem almost bearable. He is a tallish, square, personable + man of forty-seven, with a well-coloured, jowly, fullish face, + marked under the eyes, which have very small pupils and a good deal + of light in them. His bearing has force and importance, as of a man + accustomed to rising and ownerships, sure in his opinions, and not + lacking in geniality when things go his way. Essentially a + Midlander. His wife, a woman of forty-one, of ivory tint, with a + thin, trim figure and a face so strangely composed as to be almost + like a mask (essentially from Jersey) is putting a nib into a + pen-holder, and filling an inkpot at the writing-table. + + As the curtain rises CAMILLE enters with a rather broken-down + cardboard box containing flowers. She is a young woman with a good + figure, a pale face, the warm brown eyes and complete poise of a + Frenchwoman. She takes the box to MRS BUILDER. + + +MRS BUILDER. The blue vase, please, Camille. + CAMILLE fetches a vase. MRS BUILDER puts the flowers into the vase. + CAMILLE gathers up the debris; and with a glance at BUILDER goes + out. + +BUILDER. Glorious October! I ought to have a damned good day's shooting +with Chantrey tomorrow. + +MRS BUILDER. [Arranging the flowers] Aren't you going to the office +this morning? + +BUILDER. Well, no, I was going to take a couple of days off. If you +feel at the top of your form, take a rest--then you go on feeling at the +top. [He looks at her, as if calculating] What do you say to looking up +Athene? + +MRS BUILDER. [Palpably astonished] Athene? But you said you'd done +with her? + +BUILDER. [Smiling] Six weeks ago; but, dash it, one can't have done with +one's own daughter. That's the weakness of an Englishman; he can't keep +up his resentments. In a town like this it doesn't do to have her living +by herself. One of these days it'll get out we've had a row. That +wouldn't do me any good. + +MRS BUILDER. I see. + +BUILDER. Besides, I miss her. Maud's so self-absorbed. It makes a big +hole in the family, Julia. You've got her address, haven't you? + +MRS BUILDER. Yes. [Very still] But do you think it's dignified, John? + +BUILDER. [Genially] Oh, hang dignity! I rather pride myself on knowing +when to stand on my dignity and when to sit on it. If she's still crazy +about Art, she can live at home, and go out to study. + +MRS BUILDER. Her craze was for liberty. + +BUILDER. A few weeks' discomfort soon cures that. She can't live on her +pittance. She'll have found that out by now. Get your things on and +come with me at twelve o'clock. + +MRS BUILDER. I think you'll regret it. She'll refuse. + +BUILDER. Not if I'm nice to her. A child could play with me to-day. +Shall I tell you a secret, Julia? + +MRS BUILDER. It would be pleasant for a change. + +BUILDER. The Mayor's coming round at eleven, and I know perfectly well +what he's coming for. + +MRS BUILDER. Well? + +BUILDER. I'm to be nominated for Mayor next month. Harris tipped me the +wink at the last Council meeting. Not so bad at forty-seven--h'm? I can +make a thundering good Mayor. I can do things for this town that nobody +else can. + +MRS BUILDER. Now I understand about Athene. + +BUILDER. [Good-humouredly] Well, it's partly that. But [more +seriously] it's more the feeling I get that I'm not doing my duty by her. +Goodness knows whom she may be picking up with! Artists are a loose lot. +And young people in these days are the limit. I quite believe in moving +with the times, but one's either born a Conservative, or one isn't. +So you be ready at twelve, see. By the way, that French maid of yours, +Julia-- + +MRS BUILDER. What about her? + +BUILDER. Is she--er--is she all right? We don't want any trouble with +Topping. + +MRS BUILDER. There will be none with--Topping. + [She opens the door Left.] + +BUILDER. I don't know; she strikes me as--very French. + + MRS BUILDER smiles and passes out. + + BUILDER fills his second pipe. He is just taking up the paper again + when the door from the hall is opened, and the manservant TOPPING, + dried, dark, sub-humorous, in a black cut-away, announces: + +TOPPING. The Mayor, Sir, and Mr Harris! + + THE MAYOR of Breconridge enters, He is clean-shaven, red-faced, + light-eyed, about sixty, shrewd, poll-parroty, naturally jovial, + dressed with the indefinable wrongness of a burgher; he is followed + by his Secretary HARRIS, a man all eyes and cleverness. TOPPING + retires. + +BUILDER. [Rising] Hallo, Mayor! What brings you so early? Glad to see +you. Morning, Harris! + +MAYOR. Morning, Builder, morning. + +HARRIS. Good-morning, Sir. + +BUILDER. Sit down-sit down! Have a cigar! + + The MAYOR takes a cigar HARRIS a cigarette from his own case. + +BUILDER. Well, Mayor, what's gone wrong with the works? + + He and HARRIS exchange a look. + +MAYOR. [With his first puff] After you left the Council the other day, +Builder, we came to a decision. + +BUILDER. Deuce you did! Shall I agree with it? + +MAYOR. We shall see. We want to nominate you for Mayor. You willin' to +stand? + +BUILDER. [Stolid] That requires consideration. + +MAYOR. The only alternative is Chantrey; but he's a light weight, and +rather too much County. What's your objection? + +BUILDER. It's a bit unexpected, Mayor. [Looks at HARRIS] Am I the +right man? Following you, you know. I'm shooting with Chantrey +to-morrow. What does he feel about it? + +MAYOR. What do you say, 'Arris? + +HARRIS. Mr Chantrey's a public school and University man, Sir; he's not +what I call ambitious. + +BUILDER. Nor am I, Harris. + +HARRIS. No, sir; of course you've a high sense of duty. Mr Chantrey's +rather dilettante. + +MAYOR. We want a solid man. + +BUILDER. I'm very busy, you know, Mayor. + +MAYOR. But you've got all the qualifications--big business, family man, +live in the town, church-goer, experience on the Council and the Bench. +Better say "yes," Builder. + +BUILDER. It's a lot of extra work. I don't take things up lightly. + +MAYOR. Dangerous times, these. Authority questioned all over the place. +We want a man that feels his responsibilities, and we think we've got him +in you. + +BUILDER. Very good of you, Mayor. I don't know, I'm sure. I must think +of the good of the town. + +HARRIS. I shouldn't worry about that, sir. + +MAYOR. The name John Builder carries weight. You're looked up to as a +man who can manage his own affairs. Madam and the young ladies well? + +BUILDER. First-rate. + +MAYOR. [Rises] That's right. Well, if you'd like to talk it over with +Chantrey to-morrow. With all this extremism, we want a man of principle +and common sense. + +HARRIS. We want a man that'll grasp the nettle, sir--and that's you. + +BUILDER. Hm! I've got a temper, you know. + +MAYOR. [Chuckling] We do--we do! You'll say "yes," I see. No false +modesty! Come along, 'Arris, we must go. + +BUILDER. Well, Mayor, I'll think it over, and let you have an answer. +You know my faults, and you know my qualities, such as they are. I'm +just a plain Englishman. + +MAYOR. We don't want anything better than that. I always say the great +point about an Englishman is that he's got bottom; you may knock him off +his pins, but you find him on 'em again before you can say "Jack +Robinson." He may have his moments of aberration, but he's a sticker. +Morning, Builder, morning! Hope you'll say "yes." + + He shakes hands and goes out, followed by HARRIS. + + When the door is dosed BUILDER stands a moment quite still with a + gratified smile on his face; then turns and scrutinises himself in + the glass over the hearth. While he is doing so the door from the + dining-room is opened quietly and CAMILLE comes in. BUILDER, + suddenly seeing her reflected in the mirror, turns. + +BUILDER. What is it, Camille? + +CAMILLE. Madame send me for a letter she say you have, Monsieur, from +the dyer and cleaner, with a bill. + +BUILDER. [Feeling in his pockets] Yes--no. It's on the table. + +CAMILLE goes to the writing-table and looks. That blue thing. + +CAMILLE. [Taking it up] Non, Monsieur, this is from the gas. + +BUILDER. Oh! Ah! + [He moves up to the table and turns over papers. CAMILLE stands + motionless close by with her eyes fixed on him.] +Here it is! + [He looks up, sees her looking at him, drops his own gaze, and hands + her the letter. Their hands touch. Putting his hands in his + pockets] +What made you come to England? + +CAMILLE. [Demure] It is better pay, Monsieur, and [With a smile] the +English are so amiable. + +BUILDER. Deuce they are! They haven't got that reputation. + +CAMILLE. Oh! I admire Englishmen. They are so strong and kind. + +BUILDER. [Bluffly flattered] H'm! We've no manners. + +CAMILLE. The Frenchman is more polite, but not in the 'eart. + +BUILDER. Yes. I suppose we're pretty sound at heart. + +CAMILLE. And the Englishman have his life in the family--the Frenchman +have his life outside. + +BUILDER. [With discomfort] H'm! + +CAMILLE. [With a look] Too mooch in the family--like a rabbit in a +'utch. + +BUILDER. Oh! So that's your view of us! [His eyes rest on her, +attracted but resentful]. + +CAMILLE. Pardon, Monsieur, my tongue run away with me. + +BUILDER. [Half conscious of being led on] Are you from Paris? + +CAMILLE. [Clasping her hands] Yes. What a town for pleasure--Paris! + +BUILDER. I suppose so. Loose place, Paris. + +CAMILLE. Loose? What is that, Monsieur? + +BUILDER. The opposite of strict. + +CAMILLE. Strict! Oh! certainly we like life, we other French. It is +not like England. I take this to Madame, Monsieur. [She turns as if to +go] Excuse me. + +BUILDER. I thought you Frenchwomen all married young. + +CAMILLE. I 'ave been married; my 'usband did die--en Afrique. + +BUILDER. You wear no ring. + +CAMILLE. [Smiling] I prefare to be mademoiselle, Monsieur. + +BUILDER. [Dubiously] Well, it's all the same to us. [He takes a letter +up from the table] You might take this to Mrs Builder too. [Again their +fingers touch, and there is a suspicion of encounter between their eyes.] + +CAMILLE goes out. + +BUILDER. [Turning to his chair] Don't know about that woman--she's a +tantalizer. + + He compresses his lips, and is settling back into his chair, when + the door from the hall is opened and his daughter MAUD comes in; a + pretty girl, rather pale, with fine eyes. Though her face has a + determined cast her manner at this moment is by no means decisive. + She has a letter in her hand, and advances rather as if she were + stalking her father, who, after a "Hallo, Maud!" has begun to read + his paper. + +MAUD. [Getting as far as the table] Father. + +BUILDER. [Not lowering the paper] Well? I know that tone. What do you +want--money? + +MAUD. I always want money, of course; but--but-- + +BUILDER. [Pulling out a note-abstractedly] Here's five pounds for you. + + MAUD, advancing, takes it, then seems to find what she has come for + more on her chest than ever. + +BUILDER. [Unconscious] Will you take a letter for me? + + MAUD sits down Left of table and prepares to take down the letter. + +[Dictating] "Dear Mr Mayor,--Referring to your call this morning, I have +--er--given the matter very careful consideration, and though somewhat +reluctant--" + +MAUD. Are you really reluctant, father? + +BUILDER. Go on--"To assume greater responsibilities, I feel it my duty +to come forward in accordance with your wish. The--er--honour is one of +which I hardly feel myself worthy, but you may rest assured--" + +MAUD. Worthy. But you do, you know. + +BUILDER. Look here! Are you trying to get a rise out of me?--because +you won't succeed this morning. + +MAUD. I thought you were trying to get one out of me. + +BUILDER. Well, how would you express it? + +MAUD. "I know I'm the best man for the place, and so do you--" + +BUILDER. The disrespect of you young people is something extraordinary. +And that reminds me where do you go every evening now after tea? + +MAUD. I--I don't know. + +BUILDER. Come now, that won't do--you're never in the house from six to +seven. + +MAUD. Well! It has to do with my education. + +BUILDER. Why, you finished that two years ago! + +MAUD. Well, call it a hobby, if you like, then, father. + + She takes up the letter she brought in and seems on the point of + broaching it. + +BUILDER. Hobby? Well, what is it? + +MAUD. I don't want to irritate you, father. + +BUILDER. You can't irritate me more than by having secrets. See what +that led to in your sister's case. And, by the way, I'm going to put an +end to that this morning. You'll be glad to have her back, won't you? + +MAUD. [Startled] What! + +BUILDER. Your mother and I are going round to Athene at twelve o'clock. +I shall make it up with her. She must come back here. + +MAUD. [Aghast, but hiding it] Oh! It's--it's no good, father. She +won't. + +BUILDER. We shall see that. I've quite got over my tantrum, and I +expect she has. + +MAUD. [Earnestly] Father! I do really assure you she won't; it's only +wasting your time, and making you eat humble pie. + +BUILDER. Well, I can eat a good deal this morning. It's all nonsense! +A family's a family. + +MAUD. [More and more disturbed, but hiding it] Father, if I were you, +I wouldn't-really! It's not-dignified. + +BUILDER. You can leave me to judge of that. It's not dignified for the +Mayor of this town to have an unmarried daughter as young as Athene +living by herself away from home. This idea that she's on a visit won't +wash any longer. Now finish that letter--"worthy, but you may rest +assured that I shall do my best to sustain the--er--dignity of the +office." [MAUD types desperately.] Got that? "And--er--preserve the +tradition so worthily--" No-- "so staunchly"--er--er-- + +MAUD. Upheld. + +BUILDER. Ah! "--upheld by yourself.--Faithfully yours." + +MAUD. [Finishing] Father, you thought Athene went off in a huff. It +wasn't that a bit. She always meant to go. She just got you into a rage +to make it easier. She hated living at home. + +BUILDER. Nonsense! Why on earth should she? + +MAUD. Well, she did! And so do-- [Checking herself] And so you see +it'll only make you ridiculous to go. + +BUILDER. [Rises] Now what's behind this, Maud? + +MAUD. Behind--Oh! nothing! + +BUILDER. The fact is, you girls have been spoiled, and you enjoy +twisting my tail; but you can't make me roar this morning. I'm too +pleased with things. You'll see, it'll be all right with Athene. + +MAUD. [Very suddenly] Father! + +BUILDER. [Grimly humorous] Well! Get it off your chest. What's that +letter about? + +MAUD. [Failing again and crumpling the letter behind her back] +Oh! nothing. + +BUILDER. Everything's nothing this morning. Do you know what sort of +people Athene associates with now--I suppose you see her? + +MAUD. Sometimes. + +BUILDER. Well? + +MAUD. Nobody much. There isn't anybody here to associate with. It's +all hopelessly behind the times. + +BUILDER. Oh! you think so! That's the inflammatory fiction you pick up. +I tell you what, young woman--the sooner you and your sister get rid of +your silly notions about not living at home, and making your own way, the +sooner you'll both get married and make it. Men don't like the new +spirit in women--they may say they do, but they don't. + +MAUD. You don't, father, I know. + +BUILDER. Well, I'm very ordinary. If you keep your eyes open, you'll +soon see that. + +MAUD. Men don't like freedom for anybody but themselves. + +BUILDER. That's not the way to put it. [Tapping out his pipe] Women in +your class have never had to face realities. + +MAUD. No, but we want to. + +BUILDER. [Good-humouredly] Well, I'll bet you what you like, Athene's +dose of reality will have cured her. + +MAUD. And I'll bet you--No, I won't! + +BUILDER. You'd better not. Athene will come home, and only too glad to +do it. Ring for Topping and order the car at twelve. + + As he opens the door to pass out, MAUD starts forward, but checks + herself. + +MAUD. [Looking at her watch] Half-past eleven! Good heavens! + + She goes to the bell and rings. Then goes back to the table, and + writes an address on a bit of paper. + + TOPPING enters Right. + +TOPPING. Did you ring, Miss? + +MAUD. [With the paper] Yes. Look here, Topping! Can you manage-- +on your bicycle--now at once? I want to send a message to Miss Athene +--awfully important. It's just this: "Look out! Father is coming." +[Holding out the paper] Here's her address. You must get there and away +again by twelve. Father and mother want the car then to go there. Order +it before you go. It won't take you twenty minutes on your bicycle. +It's down by the river near the ferry. But you mustn't be seen by them +either going or coming. + +TOPPING. If I should fall into their hands, Miss, shall I eat the +despatch? + +MAUD. Rather! You're a brick, Topping. Hurry up! + +TOPPING. Nothing more precise, Miss? + +MAUD. M--m--No. + +TOPPING. Very good, Miss Maud. [Conning the address] "Briary Studio, +River Road. Look out! Father is coming!" I'll go out the back way. +Any answer? + +MAUD. No. + + TOPPING nods his head and goes out. + +MAUD. [To herself] Well, it's all I can do. + + She stands, considering, as the CURTAIN falls. + + + +SCENE II + + The Studio, to which are attached living rooms, might be rented at + eighty pounds a year--some painting and gear indeed, but an air of + life rather than of work. Things strewn about. Bare walls, a + sloping skylight, no windows; no fireplace visible; a bedroom door, + stage Right; a kitchen door, stage Left. A door, Centre back, into + the street. The door knocker is going. + +From the kitchen door, Left, comes the very young person, ANNIE, in +blotting-paper blue linen, with a white Dutch cap. She is pretty, her +cheeks rosy, and her forehead puckered. She opens the street door. +Standing outside is TOPPING. He steps in a pace or two. + +TOPPING. Miss Builder live here? + +ANNIE. Oh! no, sir; Mrs Herringhame. + +TOPPING. Mrs Herringhame? Oh! young lady with dark hair and large +expressive eyes? + +ANNIE. Oh! yes, sir. + +TOPPING. With an "A. B." on her linen? [Moves to table]. + +ANNIE. Yes, sir. + +TOPPING. And "Athene Builder" on her drawings? + +ANNIE. [Looking at one] Yes, sir. + +TOPPING. Let's see. [He examines the drawing] Mrs Herringhame, you +said? + +ANNIE. Oh! yes, Sir. + +TOPPING. Wot oh! + +ANNIE. Did you want anything, sir? + +TOPPING. Drop the "sir," my dear; I'm the Builders' man. +Mr Herringhame in? + +ANNIE. Oh! no, Sir. + +TOPPING. Take a message. I can't wait. From Miss Maud Builder. "Look +out! Father is coming." Now, whichever of 'em comes in first--that's +the message, and don't you forget it. + +ANNIE. Oh! no, Sir. + +TOPPING. So they're married? + +ANNIE. Oh! I don't know, sir. + +TOPPING. I see. Well, it ain't known to Builder, J.P., either. That's +why there's a message. See? + +ANNIE. Oh! yes, Sir. + +TOPPING. Keep your head. I must hop it. From Miss Maud Builder. +"Look out! Father is coming." + + He nods, turns and goes, pulling the door to behind him. ANNIE + stands "baff" for a moment. + +ANNIE. Ah! + + She goes across to the bedroom on the Right, and soon returns with a + suit of pyjamas, a toothbrush, a pair of slippers and a case of + razors, which she puts on the table, and disappears into the + kitchen. She reappears with a bread pan, which she deposits in the + centre of the room; then crosses again to the bedroom, and once more + reappears with a clothes brush, two hair brushes, and a Norfolk + jacket. As she stuffs all these into the bread pan and bears it + back into the kitchen, there is the sound of a car driving up and + stopping. ANNIE reappears at the kitchen door just as the knocker + sounds. + +ANNIE. Vexin' and provokin'! [Knocker again. She opens the door] Oh! + + MR and MRS BUILDER enter. + +BUILDER. Mr and Mrs Builder. My daughter in? + +ANNIE. [Confounded] Oh! Sir, no, sir. + +BUILDER. My good girl, not "Oh! Sir, no, sir." Simply: No, Sir. See? + +ANNIE. Oh! Sir, yes, Sir. + +BUILDER. Where is she? + +ANNIE. Oh! Sir, I don't know, Sir. + +BUILDER. [Fixing her as though he suspected her of banter] Will she be +back soon? + +ANNIE. No, Sir. + +BUILDER. How do you know? + +ANNIE. I d--don't, sir. + +BUILDER. They why do you say so? [About to mutter "She's an idiot!" he +looks at her blushing face and panting figure, pats her on the shoulder +and says] Never mind; don't be nervous. + +ANNIE. Oh! yes, sir. Is that all, please, sir? + +MRS BUILDER. [With a side look at her husband and a faint smile] Yes; +you can go. + +ANNIE. Thank you, ma'am. + + She turns and hurries out into the kitchen, Left. BUILDER gazes + after her, and MRS BUILDER gazes at BUILDER with her faint smile. + +BUILDER. [After the girl is gone] Quaint and Dutch--pretty little +figure! [Staring round] H'm! Extraordinary girls are! Fancy Athene +preferring this to home. What? + +MRS BUILDER. I didn't say anything. + +BUILDER. [Placing a chair for his wife, and sitting down himself] Well, +we must wait, I suppose. Confound that Nixon legacy! If Athene hadn't +had that potty little legacy left her, she couldn't have done this. +Well, I daresay it's all spent by now. I made a mistake to lose my +temper with her. + +MRS BUILDER. Isn't it always a mistake to lose one's temper? + +BUILDER. That's very nice and placid; sort of thing you women who live +sheltered lives can say. I often wonder if you women realise the strain +on a business man. + +MRS BUILDER. [In her softly ironical voice] It seems a shame to add the +strain of family life. + +BUILDER. You've always been so passive. When I want a thing, I've got +to have it. + +MRS BUILDER. I've noticed that. + +BUILDER. [With a short laugh] Odd if you hadn't, in twenty-three years. +[Touching a canvas standing against the chair with his toe] Art! Just a +pretext. We shall be having Maud wanting to cut loose next. She's very +restive. Still, I oughtn't to have had that scene with Athene. I ought +to have put quiet pressure. + + MRS BUILDER Smiles. + +BUILDER. What are you smiling at? + + MRS BUILDER shrugs her shoulders. + +Look at this--Cigarettes! [He examines the brand on the box] Strong, +very--and not good! [He opens the door] Kitchen! [He shuts it, +crosses, and opens the door, Right] Bedroom! + +MRS BUILDER. [To his disappearing form] Do you think you ought, John? + + He has disappeared, and she ends with an expressive movement of her + hands, a long sigh, and a closing of her eyes. BUILDER'S peremptory + voice is heard: "Julia!" + +What now? + + She follows into the bedroom. The maid ANNIE puts her head out of + the kitchen door; she comes out a step as if to fly; then, at + BUILDER'S voice, shrinks back into the kitchen. + +BUILDER, reappearing with a razor strop in one hand and a shaving-brush +in the other, is followed by MRS BUILDER. + +BUILDER. Explain these! My God! Where's that girl? + +MRS BUILDER. John! Don't! [Getting between him and the kitchen door] +It's not dignified. + +BUILDER. I don't care a damn. + +MRS BUILDER. John, you mustn't. Athene has the tiny beginning of a +moustache, you know. + +BUILDER. What! I shall stay and clear this up if I have to wait a week. +Men who let their daughters--! This age is the limit. [He makes a +vicious movement with the strop, as though laying it across someone's +back.] + +MRS BUILDER. She would never stand that. Even wives object, nowadays. + +BUILDER. [Grimly] The war's upset everything. Women are utterly out +of hand. Why the deuce doesn't she come? + +MRS BUILDER. Suppose you leave me here to see her. + +BUILDER. [Ominously] This is my job. + +MRS BUILDER. I think it's more mine. + +BUILDER. Don't stand there opposing everything I say! I'll go and have +another look--[He is going towards the bedroom when the sound of a +latchkey in the outer door arrests him. He puts the strop and brush +behind his back, and adds in a low voice] Here she is! + + MRS BUILDER has approached him, and they have both turned towards + the opening door. GUY HERRINGHAME comes in. They are a little out + of his line of sight, and he has shut the door before he sees them. + When he does, his mouth falls open, and his hand on to the knob of + the door. He is a comely young man in Harris tweeds. Moreover, he + is smoking. He would speak if he could, but his surprise is too + excessive. BUILDER. Well, sir? + +GUY. [Recovering a little] I was about to say the same to you, sir. + +BUILDER. [Very red from repression] These rooms are not yours, are +they? + +GUY. Nor yours, sir? + +BUILDER. May I ask if you know whose they are? + +GUY. My sister's. + +BUILDER. Your--you--! + +MRS BUILDER. John! + +BUILDER. Will you kindly tell me why your sister signs her drawings by +the name of my daughter, Athene Builder--and has a photograph of my wife +hanging there? + + The YOUNG MAN looks at MRS BUILDER and winces, but recovers himself. + +GUY. [Boldly] As a matter of fact this is my sister's studio; she's in +France--and has a friend staying here. + +BUILDER. Oh! And you have a key? + +GUY. My sister's. + +BUILDER. Does your sister shave? + +GUY. I--I don't think so. + +BUILDER. No. Then perhaps you'll tell me what these mean? [He takes +out the strop and shaving stick]. + +GUY. Oh! Ah! Those things? + +BUILDER. Yes. Now then? + +GUY. [Addressing MRS BUILDER] Need we go into this in your presence, +ma'am? It seems rather delicate. + +BUILDER. What explanation have you got? + +GUY. Well, you see-- + +BUILDER. No lies; out with it! + +GUY. [With decision] I prefer to say nothing. + +BUILDER. What's your name? + +GUY. Guy Herringhame. + +BUILDER. Do you live here? + + Guy makes no sign. + +MRS BUILDER. [To Guy] I think you had better go. + +BUILDER. Julia, will you leave me to manage this? + +MRS BUILDER. [To Guy] When do you expect my daughter in? + +GUY. Now--directly. + +MRS BUILDER. [Quietly] Are you married to her? + +GUY. Yes. That is--no--o; not altogether, I mean. + +BUILDER. What's that? Say that again! + +GUY. [Folding his arms] I'm not going to say another word. + +BUILDER. I am. + +MRS BUILDER. John--please! + +BUILDER. Don't put your oar in! I've had wonderful patience so far. +[He puts his boot through a drawing] Art! This is what comes of it! Are +you an artist? + +GUY. No; a flying man. The truth is-- + +BUILDER. I don't want to hear you speak the truth. I'll wait for my +daughter. + +GUY. If you do, I hope you'll be so very good as to be gentle. If you +get angry I might too, and that would be awfully ugly. + +BUILDER. Well, I'm damned! + +GUY. I quite understand that, sir. But, as a man of the world, I hope +you'll take a pull before she comes, if you mean to stay. + +BUILDER. If we mean to stay! That's good! + +GUY. Will you have a cigarette? + +BUILDER. I--I can't express-- + +GUY. [Soothingly] Don't try, sir. [He jerks up his chin, listening] I +think that's her. [Goes to the door] Yes. Now, please! [He opens the +door] Your father and mother, Athene. + +ATHENE enters. She is flushed and graceful. Twenty-two, with a short +upper lip, a straight nose, dark hair, and glowing eyes. She wears +bright colours, and has a slow, musical voice, with a slight lisp. + +ATHENE. Oh! How are you, mother dear? This is rather a surprise. +Father always keeps his word, so I certainly didn't expect him. [She +looks steadfastly at BUILDER, but does not approach]. + +BUILDER. [Controlling himself with an effort] Now, Athene, what's this? + +ATHENE. What's what? + +BUILDER. [The strop held out] Are you married to this--this--? + +ATHENE. [Quietly] To all intents and purposes. + +BUILDER. In law? + +ATHENE. No. + +BUILDER. My God! You--you--! + +ATHENE. Father, don't call names, please. + +BUILDER. Why aren't you married to him? + +ATHENE. Do you want a lot of reasons, or the real one? + +BUILDER. This is maddening! [Goes up stage]. + +ATHENE. Mother dear, will you go into the other room with Guy? [She +points to the door Right]. + +BUILDER. Why? + +ATHENE. Because I would rather she didn't hear the reason. + +GUY. [To ATHENE, sotto voce] He's not safe. + +ATHENE. Oh! yes; go on. + + Guy follows MRS BUILDER, and after hesitation at the door they go + out into the bedroom. + +BUILDER. Now then! + +ATHENE. Well, father, if you want to know the real reason, it's--you. + +BUILDER. What on earth do you mean? + +ATHENE. Guy wants to marry me. In fact, we--But I had such a stunner of +marriage from watching you at home, that I-- + +BUILDER. Don't be impudent! My patience is at breaking-point, I warn +you. + +ATHENE. I'm perfectly serious, Father. I tell you, we meant to marry, +but so far I haven't been able to bring myself to it. You never noticed +how we children have watched you. + +BUILDER. Me? + +ATHENE. Yes. You and mother, and other things; all sorts of things-- + +BUILDER. [Taking out a handkerchief and wiping his brow] I really think +you're mad. + +ATHENE. I'm sure you must, dear. + +BUILDER. Don't "dear" me! What have you noticed? D'you mean I'm not a +good husband and father? + +ATHENE. Look at mother. I suppose you can't, now; you're too used to +her. + +BUILDER. Of course I'm used to her. What else is marrying for? + +ATHENE. That; and the production of such as me. And it isn't good +enough, father. You shouldn't have set us such a perfect example. + +BUILDER. You're talking the most arrant nonsense I ever heard. [He +lifts his hands] I've a good mind to shake it out of you. + +ATHENE. Shall I call Guy? + + He drops his hands. + +Confess that being a good husband and father has tried you terribly. It +has us, you know. + +BUILDER. [Taking refuge in sarcasm] When you've quite done being funny, +perhaps you'll tell me why you've behaved like a common street flapper. + +ATHENE. [Simply] I couldn't bear to think of Guy as a family man. +That's all--absolutely. It's not his fault; he's been awfully anxious to +be one. + +BUILDER. You've disgraced us, then; that's what it comes to. + +ATHENE. I don't want to be unkind, but you've brought it on yourself. + +BUILDER. [Genuinely distracted] I can't even get a glimmer of what you +mean. I've never been anything but firm. Impatient, perhaps. I'm not +an angel; no ordinary healthy man is. I've never grudged you girls any +comfort, or pleasure. + +ATHENE. Except wills of our own. + +BUILDER. What do you want with wills of your own till you're married? + +ATHENE. You forget mother! + +BUILDER. What about her? + +ATHENE. She's very married. Has she a will of her own? + +BUILDER. [Sullenly] She's learnt to know when I'm in the right. + +ATHENE. I don't ever mean to learn to know when Guy's in the right. +Mother's forty-one, and twenty-three years of that she's been your wife. +It's a long time, father. Don't you ever look at her face? + +BUILDER. [Troubled in a remote way] Rubbish! + +ATHENE. I didn't want my face to get like that. + +BUILDER. With such views about marriage, what business had you to go +near a man? Come, now! + +ATHENE. Because I fell in love. + +BUILDER. Love leads to marriage--and to nothing else, but the streets. +What an example to your sister! + +ATHENE. You don't know Maud any more than you knew me. She's got a will +of her own too, I can tell you. + +BUILDER. Now, look here, Athene. It's always been my way to face +accomplished facts. What's done can't be undone; but it can be remedied. +You must marry this young----at once, before it gets out. He's behaved +like a ruffian: but, by your own confession, you've behaved worse. +You've been bitten by this modern disease, this--this, utter lack of +common decency. There's an eternal order in certain things, and marriage +is one of them; in fact, it's the chief. Come, now. Give me a promise, +and I'll try my utmost to forget the whole thing. + +ATHENE. When we quarrelled, father, you said you didn't care what became +of me. + +BUILDER. I was angry. + +ATHENE. So you are now. + +BUILDER. Come, Athene, don't be childish! Promise me! + +ATHENE. [With a little shudder] No! We were on the edge of it. But now +I've seen you again--Poor mother! + +BUILDER. [Very angry] This is simply blasphemous. What do you mean by +harping on your mother? If you think that--that--she doesn't--that she +isn't-- + +ATHENE. Now, father! + +BUILDER. I'm damned if I'll sit down under this injustice. Your mother +is--is pretty irritating, I can tell you. She--she--Everything +suppressed. And--and no--blood in her! + +ATHENE. I knew it! + +BUILDER. [Aware that he has confirmed some thought in her that he had no +intention of confirming] What's that? + +ATHENE. Don't you ever look at your own face, father? When you shave, +for instance. + +BUILDER. Of course I do. + +ATHENE. It isn't satisfied, is it? + +BUILDER. I don't know what on earth you mean. + +ATHENE. You can't help it, but you'd be ever so much happier if you were +a Mohammedan, and two or three, instead of one, had--had learned to know +when you were in the right. + +BUILDER. 'Pon my soul! This is outrageous! + +ATHENE. Truth often is. + +BUILDER. Will you be quiet? + +ATHENE. I don't ever want to feel sorry for Guy in that way. + +BUILDER. I think you're the most immodest--I'm ashamed that you're my +daughter. If your another had ever carried on as you are now-- + +ATHENE. Would you have been firm with her? + +BUILDER. [Really sick at heart at this unwonted mockery which meets him +at every turn] Be quiet, you----! + +ATHENE. Has mother never turned? + +BUILDER. You're an unnatural girl! Go your own way to hell! + +ATHENE. I am not coming back home, father. + +BUILDER. [Wrenching open the door, Right] Julia! Come! We can't stay +here. + + MRS BUILDER comes forth, followed by GUY. + +As for you, sir, if you start by allowing a woman to impose her crazy +ideas about marriage on you, all I can say is--I despise you. [He +crosses to the outer door, followed by his wife. To ATHENE] I've done +with you! + + He goes out. + + MRS BUILDER, who has so far seemed to accompany him, shuts the door + quickly and remains in the studio. She stands there with that faint + smile on her face, looking at the two young people. + +ATHENE. Awfully sorry, mother; but don't you see what a stunner father's +given me? + +MRS BUILDER. My dear, all men are not alike. + +GUY. I've always told her that, ma'am. + +ATHENE. [Softly] Oh! mother, I'm so sorry for you. + + The handle of the door is rattled, a fist is beaten on it. + +[She stamps, and covers her ears] Disgusting! + +GUY. Shall I--? + +MRS BUILDER. [Shaking her head] I'm going in a moment. [To ATHENE] You +owe it to me, Athene. + +ATHENE. Oh! if somebody would give him a lesson! + + BUILDER's voice: "Julia!" + +Have you ever tried, mother? + + MRS BUILDER looks at the YOUNG MAN, who turns away out of hearing. + +MRS BUILDER. Athene, you're mistaken. I've always stood up to him in my +own way. + +ATHENE. Oh! but, mother--listen! + + The beating and rattling have recommenced, and the voice: "Are you + coming?" + +[Passionately] And that's family life! Father was all right before he +married, I expect. And now it's like this. How you survive--! + +MRS BUILDER. He's only in a passion, my dear. + +ATHENE. It's wicked. + +MRS BUILDER. It doesn't work otherwise, Athene. + + A single loud bang on the door. + +ATHENE. If he beats on that door again, I shall scream. + + MRS BUILDER smiles, shakes her head, and turns to the door. + +MRS BUILDER. Now, my dear, you're going to be sensible, to please me. +It's really best. If I say so, it must be. It's all comedy, Athene. + +ATHENE. Tragedy! + +GUY. [Turning to them] Look here! Shall I shift him? + + MRS BUILDER shakes her head and opens the door. BUILDER stands + there, a furious figure. + +BUILDER. Will you come, and leave that baggage and her cad? + +MRS BUILDER steps quickly out and the door is closed. Guy makes an angry +movement towards it. + +ATHENE. Guy! + +GUY. [Turning to her] That puts the top hat on. So persuasive! [He +takes out of his pocket a wedding ring, and a marriage licence] Well! +What's to be done with these pretty things, now? + +ATHENE. Burn them! + +GUY. [Slowly] Not quite. You can't imagine I should ever be like that, +Athene? + +ATHENE. Marriage does wonders. + +GUY. Thanks. + +ATHENE. Oh! Guy, don't be horrid. I feel awfully bad. + +GUY. Well, what do you think I feel? "Cad!" + + They turn to see ANNIE in hat and coat, with a suit-case in her + hand, coming from the door Left. + +ANNIE. Oh! ma'am, please, Miss, I want to go home. + +GUY. [Exasperated!] She wants to go home--she wants to go home! + +ATHENE. Guy! All right, Annie. + +ANNIE. Oh! thank you, Miss. [She moves across in front of them]. + +ATHENE. [Suddenly] Annie! + + ANNIE stops and turns to her. + +What are you afraid of? + +ANNIE. [With comparative boldness] I--I might catch it, Miss. + +ATHENE. From your people? + +ANNIE. Oh! no, Miss; from you. You see, I've got a young man that wants +to marry me. And if I don't let him, I might get into trouble meself. + +ATHENE. What sort of father and mother have you got, Annie? + +ANNIE. I never thought, Miss. And of course I don't want to begin. + +ATHENE. D'you mean you've never noticed how they treat each other? + +ANNIE. I don't think they do, Miss. + +ATHENE. Exactly. + +ANNIE. They haven't time. Father's an engine driver. + +GUY. And what's your young man, Annie? + +ANNIE. [Embarrassed] Somethin' like you, sir. But very respectable. + +ATHENE. And suppose you marry him, and he treats you like a piece of +furniture? + +ANNIE. I--I could treat him the same, Miss. + +ATHENE. Don't you believe that, Annie! + +ANNIE. He's very mild. + +ATHENE. That's because he wants you. You wait till he doesn't. + + ANNIE looks at GUY. + +GUY. Don't you believe her, Annie; if he's decent-- + +ANNIE. Oh! yes, sir. + +ATHENE. [Suppressing a smile] Of course--but the point is, Annie, that +marriage makes all the difference. + +ANNIE. Yes, Miss; that's what I thought. + +ATHENE. You don't see. What I mean is that when once he's sure of you, +he may change completely. + +ANNIE. [Slowly, looking at her thumb] Oh! I don't--think--he'll hammer +me, Miss. Of course, I know you can't tell till you've found out. + +ATHENE. Well, I've no right to influence you. + +ANNIE. Oh! no, Miss; that's what I've been thinking. + +-GUY. You're quite right, Annie=-this is no place for you. + +ANNIE. You see, we can't be married; sir, till he gets his rise. So +it'll be a continual temptation to me. + +ATHENE. Well, all right, Annie. I hope you'll never regret it. + +ANNIE. Oh! no, Miss. + +GUY. I say, Annie, don't go away thinking evil of us; we didn't realise +you knew we weren't married. + +ATHENE. We certainly did not. + +ANNIE. Oh! I didn't think it right to take notice. + +GUY. We beg your pardon. + +ANNIE. Oh! no, sir. Only, seein' Mr and Mrs Builder so upset, brought +it 'ome like. And father can be 'andy with a strap. + +ATHENE. There you are! Force majeure! + +ANNIE. Oh! yes, Miss. + +ATHENE. Well, good-bye, Annie. What are you going to say to your +people? + +ANNIE. Oh! I shan't say I've been livin' in a family that wasn't a +family, Miss. It wouldn't do no good. + +ATHENE. Well, here are your wages. + +ANNIE. Oh! I'm puttin' you out, Miss. [She takes the money]. + +ATHENE. Nonsense, Annie. And here's your fare home. + +ANNIE. Oh! thank you, Miss. I'm very sorry. Of course if you was to +change your mind--[She stops, embarrassed]. + +ATHENE. I don't think-- + +GUY. [Abruptly] Good-bye, Annie. Here's five bob for the movies. + +ANNIE. Oh! good-bye, sir, and thank you. I was goin' there now with my +young man. He's just round the corner. + +GUY. Be very careful of him. + +ANNIE. Oh! yes, sir, I will. Good-bye, sir. Goodbye, Miss. + + She goes. + +GUY. So her father has a firm hand too. But it takes her back to the +nest. How's that, Athene? + +ATHENE. [Playing with a leathern button on his coat] If you'd watched +it ever since you could watch anything, seen it kill out all--It's having +power that does it. I know Father's got awfully good points. + +GUY. Well, they don't stick out. + +ATHENE. He works fearfully hard; he's upright, and plucky. He's not +stingy. But he's smothered his animal nature-and that's done it. I +don't want to see you smother anything, Guy. + +GUY. [Gloomily] I suppose one never knows what one's got under the lid. +If he hadn't come here to-day--[He spins the wedding ring] He certainly +gives one pause. Used he to whack you? + +ATHENE. Yes. + +GUY. Brute! + +ATHENE. With the best intentions. You see, he's a Town Councillor, and +a magistrate. I suppose they have to be "firm." Maud and I sneaked in +once to listen to him. There was a woman who came for protection from +her husband. If he'd known we were there, he'd have had a fit. + +GUY. Did he give her the protection? + +ATHENE. Yes; he gave her back to the husband. Wasn't it--English? + +GUY. [With a grunt] Hang it! We're not all like that. + +ATHENE. [Twisting his button] I think it's really a sense of property +so deep that they don't know they've got it. Father can talk about +freedom like a--politician. + +GUY. [Fitting the wedding ring on her finger] Well! Let's see how it +looks, anyway. + +ATHENE. Don't play with fire, Guy. + +GUY. There's something in atavism, darling; there really is. I like it +--I do. + + A knock on the door. + +ATHENE. That sounds like Annie again. Just see. + +GUY. [Opening the door] It is. Come in, Annie. What's wrong now? + +ANNIE. [Entering in confusion] Oh! sir, please, sir--I've told my +young man. + +ATHENE. Well, what does he say? + +ANNIE. 'E was 'orrified, Miss. + +GUY. The deuce he was! At our conduct? + +ANNIE. Oh! no, sir--at mine. + +ATHENE. But you did your best; you left us. + +ANNIE. Oh! yes, Miss; that's why 'e's horrified. + +GUY. Good for your young man. + +ANNIE. [Flattered] Yes, sir. 'E said I 'ad no strength of mind. + +ATHENE. So you want to come back? + +ANNIE. Oh! yes, Miss. + +ATHENE. All right. + +GUY. But what about catching it? + +ANNIE. Oh, sir, 'e said there was nothing like Epsom salts. + +GUY. He's a wag, your young man. + +ANNIE. He was in the Army, sir. + +GUY. You said he was respectable. + +ANNIE. Oh! yes, sir; but not so respectable as that. + +ATHENE. Well, Annie, get your things off, and lay lunch. + +ANNIE. Oh! yes, Miss. + + She makes a little curtsey and passes through into the kitchen. + +GUY. Strength of mind! Have a little, Athene won't you? [He holds out +the marriage licence before her]. + +ATHENE. I don't know--I don't know! If--it turned out-- + +GUY. It won't. Come on. Must take chances in this life. + +ATHENE. [Looking up into his face] Guy, promise me--solemnly that you'll +never let me stand in your way, or stand in mine! + +GUY. Right! That's a bargain. [They embrace.] + + ATHENE quivers towards him. They embrace fervently as ANNIE enters + with the bread pan. They spring apart. + +ANNIE. Oh! + +GUY. It's all right, Annie. There's only one more day's infection +before you. We're to be married to-morrow morning. + +ANNIE. Oh! yes, sir. Won't Mr Builder be pleased? + +GUY. H'm! That's not exactly our reason. + +ANNIE. [Right] Oh! no, sir. Of course you can't be a family without, +can you? + +GUY. What have you got in that thing? + + ANNIE is moving across with the bread pan. She halts at the bedroom + door. + +ANNIE. Oh! please, ma'am, I was to give you a message--very important-- +from Miss Maud Builder "Lookout! Father is coming!" + + She goes out. + + The CURTAIN falls. + + + + +ACT II + + BUILDER'S study. At the table, MAUD has just put a sheet of paper + into a typewriter. She sits facing the audience, with her hands + stretched over the keys. + +MAUD. [To herself] I must get that expression. + + Her face assumes a furtive, listening look. Then she gets up, + whisks to the mirror over the fireplace, scrutinises the expression + in it, and going back to the table, sits down again with hands + outstretched above the keys, and an accentuation of the expression. + The door up Left is opened, and TOPPING appears. He looks at MAUD, + who just turns her eyes. + +TOPPING. Lunch has been ready some time, Miss Maud. + +MAUD. I don't want any lunch. Did you give it? + +TOPPING. Miss Athene was out. I gave the message to a young party. She +looked a bit green, Miss. I hope nothing'll go wrong with the works. +Shall I keep lunch back? + +MAUD. If something's gone wrong, they won't have any appetite, Topping. + +TOPPING. If you think I might risk it, Miss, I'd like to slip round to +my dentist. [He lays a finger on his cheek]. + +MAUD. [Smiling] Oh! What race is being run this afternoon, then, +Topping? + +TOPPING. [Twinkling, and shifting his finger to the side of his nose] +Well, I don't suppose you've 'eard of it, Miss; but as a matter of fact +it's the Cesarwitch. + +MAUD. Got anything on? + +TOPPING. Only my shirt, Miss. + +MAUD. Is it a good thing, then? + +TOPPING. I've seen worse roll up. [With a touch of enthusiasm] Dark +horse, Miss Maud, at twenty to one. + +MAUD. Put me ten bob on, Topping. I want all the money I can get, just +now. + +TOPPING. You're not the first, Miss. + +MAUD. I say, Topping, do you know anything about the film? + +TOPPING. [Nodding] Rather a specialty of mine, Miss. + +MAUD. Well, just stand there, and give me your opinion of this. + + TOPPING moves down Left. She crouches over the typewriter, lets her + hands play on the keys; stops; assumes that listening, furtive look; + listens again, and lets her head go slowly round, preceded by her + eyes; breaks it off, and says: + +What should you say I was? + +TOPPING. Guilty, Miss. + +MAUD. [With triumph] There! Then you think I've got it? + +TOPPING. Well, of course, I couldn't say just what sort of a crime you'd +committed, but I should think pretty 'ot stuff. + +MAUD. Yes; I've got them here. [She pats her chest]. + +TOPPING. Really, Miss. + +MAUD. Yes. There's just one point, Topping; it's psychological. + +TOPPING. Indeed, Miss? + +MAUD. Should I naturally put my hand on them; or would there be a +reaction quick enough to stop me? You see, I'm alone--and the point is +whether the fear of being seen would stop me although I knew I couldn't +be seen. It's rather subtle. + +TOPPING. I think there's be a rehaction, Miss. + +MAUD. So do I. To touch them [She clasps her chest] is a bit obvious, +isn't it? + +TOPPING. If the haudience knows you've got 'em there. + +MAUD. Oh! yes, it's seen me put them. Look here, I'll show you that +too. + + She opens an imaginary drawer, takes out some bits of sealing-wax, + and with every circumstance of stealth in face and hands, conceals + them in her bosom. + +All right? + +TOPPING. [Nodding] Fine, Miss. You have got a film face. What are +they, if I may ask? + +MAUD. [Reproducing the sealing-wax] The Fanshawe diamonds. There's +just one thing here too, Topping. + +In real life, which should I naturally do--put them in here [She touches +her chest] or in my bag? + +TOPPING. [Touching his waistcoat--earnestly] Well! To put 'em in here, +Miss, I should say is more--more pishchological. + +MAUD. [Subduing her lips] Yes; but-- + +TOPPING. You see, then you've got 'em on you. + +MAUD. But that's just the point. Shouldn't I naturally think: Safer in +my bag; then I can pretend somebody put them there. You see, nobody +could put them on me. + +TOPPING. Well, I should say that depends on your character. Of course I +don't know what your character is. + +MAUD. No; that's the beastly part of it--the author doesn't, either. +It's all left to me. + +TOPPING. In that case, I should please myself, Miss. To put 'em in +'ere's warmer. + +MAUD. Yes, I think you're right. It's more human. + +TOPPING. I didn't know you 'ad a taste this way, Miss Maud. + +MAUD. More than a taste, Topping--a talent. + +TOPPING. Well, in my belief, we all have a vice about us somewhere. But +if I were you, Miss, I wouldn't touch bettin', not with this other on +you. You might get to feel a bit crowded. + +MAUD. Well, then, only put the ten bob on if you're sure he's going to +win. You can post the money on after me. I'll send you an address, +Topping, because I shan't be here. + +TOPPING. [Disturbed] What! You're not going, too, Miss Maud? + +MAUD. To seek my fortune. + +TOPPING. Oh! Hang it all, Miss, think of what you'll leave behind. +Miss Athene's leavin' home has made it pretty steep, but this'll touch +bottom--this will. + +MAUD. Yes; I expect you'll find it rather difficult for a bit when I'm +gone. Miss Baldini, you know. I've been studying with her. She's got +me this chance with the movie people. I'm going on trial as the guilty +typist in "The Heartache of Miranda." + +TOPPING. [Surprised out of politeness] Well, I never! That does sound +like 'em! Are you goin' to tell the guv'nor, Miss? + + MAUD nods. In that case, I think I'll be gettin' off to my dentist + before the band plays. + +MAUD. All right, Topping; hope you won't lose a tooth. + +TOPPING. [With a grin] It's on the knees of the gods, Miss, as they say +in the headlines. + + He goes. MAUD stretches herself and listens. + +MAUD. I believe that's them. Shivery funky. + + She runs off up Left. + +BUILDER. [Entering from the hall and crossing to the fireplace] +Monstrous! Really monstrous! + + CAMILLE enters from the hall. She has a little collecting book in + her hand. + +BUILDER. Well, Camille? + +CAMILLE. A sistare from the Sacred 'Eart, Monsieur--her little book for +the orphan children. + +BUILDER. I can't be bothered--What is it? + +CAMILLE. Orphan, Monsieur. + +BUILDER. H'm! Well! [Feeling in his breast pocket] Give her that. + + He hands her a five-pound note. + +CAMILLE. I am sure she will be veree grateful for the poor little +beggars. Madame says she will not be coming to lunch, Monsieur. + +BUILDER. I don't want any, either. Tell Topping I'll have some coffee. + +CAMILLE. Topping has gone to the dentist, Monsieur; 'e 'as the +toothache. + +BUILDER. Toothache--poor devil! H'm! I'm expecting my brother, but I +don't know that I can see him. + +CAMILLE. No, Monsieur? + +BUILDER. Ask your mistress to come here. + + He looks up, and catching her eye, looks away. + +CAMILLE. Yes, Monsieur. + + As she turns he looks swiftly at her, sweeping her up and down. She + turns her head and catches his glance, which is swiftly dropped. + Will Monsieur not 'ave anything to eat? + +BUILDER. [Shaking his head-abruptly] No. Bring the coffee! + +CAMILLE. Is Monsieur not well? + +BUILDER. Yes--quite well. + +CAMILLE. [Sweetening her eyes] A cutlet soubise? No? + +BUILDER. [With a faint response in his eyes, instantly subdued] Nothing! +nothing! + +CAMILLE. And Madame nothing too--Tt! Tt! With her hand on the door she +looks back, again catches his eyes in an engagement instantly broken off, +and goes out. + +BUILDER. [Stock-still, and staring at the door] That girl's a continual +irritation to me! She's dangerous! What a life! I believe that girl-- + + The door Left is opened and MRS BUILDER comes in. + +BUILDER. There's some coffee coming; do your head good. Look here, +Julia. I'm sorry I beat on that door. I apologize. I was in a towering +passion. I wish I didn't get into these rages. But--dash it all--! I +couldn't walk away and leave you there. + +MRS BUILDER. Why not? + +BUILDER. You keep everything to yourself, so; I never have any notion +what you're thinking. What did you say to her? + +MRS BUILDER. Told her it would never work. + +BUILDER. Well, that's something. She's crazy. D'you suppose she was +telling the truth about that young blackguard wanting to marry her? + +MRS BUILDER. I'm sure of it. + +BUILDER. When you think of how she's been brought up. You would have +thought that religion alone-- + +MRS BUILDER. The girls haven't wanted to go to church for years. +They've always said they didn't see why they should go to keep up your +position. I don't know if you remember that you once caned them for +running off on a Sunday morning. + +BUILDER. Well? + +MRS BUILDER. They've never had any religion since. + +BUILDER. H'm! [He takes a short turn up the room] What's to be done +about Athene? + +MRS BUILDER. You said you had done with her. + +BUILDER. You know I didn't mean that. I might just as well have said +I'd done with you! Apply your wits, Julia! At any moment this thing may +come out. In a little town like this you can keep nothing dark. How can +I take this nomination for Mayor? + +MRS BUILDER. Perhaps Ralph could help. + +BUILDER. What? His daughters have never done anything disgraceful, and +his wife's a pattern. + +MRS BUILDER. Yes; Ralph isn't at all a family man. + +BUILDER. [Staring at her] I do wish you wouldn't turn things upside +down in that ironical way. It isn't--English. + +MRS BUILDER. I can't help having been born in Jersey. + +BUILDER. No; I suppose it's in your blood. The French-- [He stops +short]. + +MRS BUILDER. Yes? + +BUILDER. Very irritating sometimes to a plain Englishman--that's all. + +MRS BUILDER. Shall I get rid of Camille? + +BUILDER. [Staring at her, then dropping his glance] Camille? What's +she got to do with it? + +MRS BUILDER. I thought perhaps you found her irritating. + +BUILDER. Why should I? + + CAMILLE comes in from the dining-room with the coffee. + +Put it there. I want some brandy, please. + +CAMILLE. I bring it, Monsieur. + + She goes back demurely into the dining-room. + +BUILDER. Topping's got toothache, poor chap! [Pouring out the coffee] +Can't you suggest any way of making Athene see reason? Think of the +example! Maud will be kicking over next. I shan't be able to hold my +head up here. + +MRS BUILDER. I'm afraid I can't do that for you. + +BUILDER. [Exasperated] Look here, Julia! That wretched girl said +something to me about our life together. What--what's the matter with +that? + +MRS BUILDER. It is irritating. + +BUILDER. Be explicit. + +MRS BUILDER. We have lived together twenty-three years, John. No talk +will change such things. + +BUILDER. Is it a question of money? You can always have more. You know +that. [MRS BUILDER smiles] Oh! don't smile like that; it makes me feel +quite sick! + + CAMILLE enters with a decanter and little glasses, from the + dining-room. + +CAMILLE. The brandy, sir. Monsieur Ralph Builder has just come. + +MRS BUILDER. Ask him in, Camille. + +CAMILLE. Yes, Madame. + + She goes through the doorway into the hall. MRS BUILDER, following + towards the door, meets RALPH BUILDER, a man rather older than + BUILDER and of opposite build and manner. He has a pleasant, + whimsical face and grizzled hair. + +MRS BUILDER. John wants to consult you, Ralph. + +RALPH. That's very gratifying. + + She passes him and goes out, leaving the two brothers eyeing one + another. + +About the Welsh contract? + +BUILDER. No. Fact is, Ralph, something very horrible's happened. + +RALPH. Athene gone and got married? + +BUILDER. No. It's--it's that she's gone and--and not got married. + + RALPH utters a sympathetic whistle. + +Jolly, isn't it? + +RALPH. To whom? + +BUILDER. A young flying bounder. + +RALPH. And why? + +BUILDER. Some crazy rubbish about family life, of all things. + +RALPH. Athene's a most interesting girl. All these young people are so +queer and delightful. + +BUILDER. By George, Ralph, you may thank your stars you haven't got a +delightful daughter. Yours are good, decent girls. + +RALPH. Athene's tremendously good and decent, John. I'd bet any money +she's doing this on the highest principles. + +BUILDER. Behaving like a-- + +RALPH. Don't say what you'll regret, old man! Athene always took things +seriously--bless her! + +BUILDER. Julia thinks you might help. You never seem to have any +domestic troubles. + +RALPH. No--o. I don't think we do. + +BUILDER. How d'you account for it? + +RALPH. I must ask at home. + +BUILDER. Dash it! You must know! + +RALPH. We're all fond of each other. + +BUILDER. Well, I'm fond of my girls too; I suppose I'm not amiable +enough. H'm? + +RALPH. Well, old man, you do get blood to the head. But what's Athene's +point, exactly? + +BUILDER. Family life isn't idyllic, so she thinks she and the young man +oughtn't to have one. + +RALPH. I see. Home experience? + +BUILDER. Hang it all, a family's a family! There must be a head. + +RALPH. But no tail, old chap. + +BUILDER. You don't let your women folk do just as they like? + +RALPH. Always. + +BUILDER. What happens if one of your girls wants to do an improper +thing? [RALPH shrugs his shoulders]. You don't stop her? + +RALPH. Do you? + +BUILDER. I try to. + +RALPH. Exactly. And she does it. I don't and she doesn't. + +BUILDER. [With a short laugh] Good Lord! I suppose you'd have me eat +humble pie and tell Athene she can go on living in sin and offending +society, and have my blessing to round it off. + +RALPH. I think if you did she'd probably marry him. + +BUILDER. You've never tested your theory, I'll bet. + +RALPH. Not yet. + +BUILDER. There you are. + +RALPH. The 'suaviter in modo' pays, John. The times are not what they +were. + +BUILDER. Look here! I want to get to the bottom of this. Do you tell +me I'm any stricter than nine out of ten men? + +RALPH. Only in practice. + +BUILDER. [Puzzled] How do you mean? + +RALPH. Well, you profess the principles of liberty, but you practise the +principles of government. + +BUILDER. H'm! [Taking up the decanter] Have some? + +RALPH. No, thank you. + + BUILDER fills and raises his glass. + +CAMILLE. [Entering] Madame left her coffee. + + She comes forward, holds out a cup for BUILDER to pour into, takes + it and goes out. BUILDER'S glass remains suspended. He drinks the + brandy off as she shuts the door. + +BUILDER. Life isn't all roses, Ralph. + +RALPH. Sorry, old man. + +BUILDER. I sometimes think I try myself too high. Well, about that +Welsh contract? + +RALPH. Let's take it. + +BUILDER. If you'll attend to it. Frankly, I'm too upset. + + As they go towards the door into the hall, MAUD comes in from the + dining-room, in hat and coat. + +RALPH. [Catching sight of her] Hallo! All well in your cosmogony, Maud? + +MAUD. What is a cosmogony, Uncle? + +RALPH. My dear, I--I don't know. + + He goes out, followed by BUILDER. MAUD goes quickly to the table, + sits down and rests her elbows on it, her chin on her hands, looking + at the door. + +BUILDER. [Re-entering] Well, Maud! You'd have won your bet! + +MAUD. Oh! father, I--I've got some news for you. + +BUILDER. [Staring at her] News--what? + +MAUD. I'm awfully sorry, but I-I've got a job. + +BUILDER. Now, don't go saying you're going in for Art, too, because I +won't have it. + +MAUD. Art? Oh! no! It's the--[With a jerk]--the Movies. + + BUILDER. who has taken up a pipe to fill, puts it down. + +BUILDER. [Impressively] I'm not in a joking mood. + +MAUD. I'm not joking, father. + +BUILDER. Then what are you talking about? + +MAUD. You see, I--I've got a film face, and-- + +BUILDER. You've what? [Going up to his daughter, he takes hold of her +chin] Don't talk nonsense! Your sister has just tried me to the limit. + +MAUD. [Removing his hand from her chin] Don't oppose it, father, please! +I've always wanted to earn my own living. + +BUILDER. Living! Living! + +MAUD. [Gathering determination] You can't stop me, father, because I +shan't need support. I've got quite good terms. + +BUILDER. [Almost choking, but mastering himself] Do you mean to say +you've gone as far as that? + +MAUD. Yes. It's all settled. + +BUILDER. Who put you up to this? + +MAUD. No one. I've been meaning to, ever so long. I'm twenty-one, you +know. + +BUILDER. A film face! Good God! Now, look here! I will not have a +daughter of mine mixed up with the stage. I've spent goodness knows what +on your education--both of you. + +MAUD. I don't want to be ungrateful; but I--I can't go on living at +home. + +BUILDER. You can't--! Why? You've every indulgence. + +MAUD. [Clearly and coldly] I can remember occasions when your +indulgence hurt, father. [She wriggles her shoulders and back] We never +forgot or forgave that. + +BUILDER. [Uneasily] That! You were just kids. + +MAUD. Perhaps you'd like to begin again? + +BUILDER. Don't twist my tail, Maud. I had the most painful scene with +Athene this morning. Now come! Give up this silly notion! It's really +too childish! + +MAUD. [Looking at him curiously] I've heard you say ever so many times +that no man was any good who couldn't make his own way, father. Well, +women are the same as men, now. It's the law of the country. I only +want to make my own way. + +BUILDER. [Trying to subdue his anger] Now, Maud, don't be foolish. +Consider my position here--a Town Councillor, a Magistrate, and Mayor +next year. With one daughter living with a man she isn't married to-- + +MAUD. [With lively interest] Oh! So you did catch them out? + +BUILDER. D'you mean to say you knew? + +MAUD. Of course. + +BUILDER. My God! I thought we were a Christian family. + +MAUD. Oh! father. + +BUILDER. Don't sneer at Christianity! + +MAUD. There's only one thing wrong with Christians--they aren't! + +BUILDER Seizes her by the shoulders and shakes her vigorously. When he +drops her shoulders, she gets up, gives him a vicious look, and suddenly +stamps her foot on his toe with all her might. + +BUILDER. [With a yowl of pain] You little devil! + +MAUD. [Who has put the table between them] I won't stand being shaken. + +BUILDER. [Staring at her across the table] You've got my temper up and +you'll take the consequences. I'll make you toe the line. + +MAUD. If you knew what a Prussian expression you've got! + + BUILDER passes his hand across his face uneasily, as if to wipe + something off. + +No! It's too deep! + +BUILDER. Are you my daughter or are you not? + +MAUD. I certainly never wanted to be. I've always disliked you, father, +ever since I was so high. I've seen through you. Do you remember when +you used to come into the nursery because Jenny was pretty? You think we +didn't notice that, but we did. And in the schoolroom--Miss Tipton. And +d'you remember knocking our heads together? No, you don't; but we do. +And-- + +BUILDER. You disrespectful monkey! Will you be quiet? + +MAUD. No; you've got to hear things. You don't really love anybody but +yourself, father. What's good for you has to be good for everybody. +I've often heard you talk about independence, but it's a limited company +and you've got all the shares. + +BUILDER. Rot; only people who can support themselves have a right to +independence. + +MAUD. That's why you don't want me to support myself. + +BUILDER. You can't! Film, indeed! You'd be in the gutter in a year. +Athene's got her pittance, but you--you've got nothing. + +MAUD. Except my face. + +BUILDER. It's the face that brings women to ruin, my girl. + +MAUD. Well, when I'm there I won't come to you to rescue me. + +BUILDER. Now, mind--if you leave my house, I've done with you. + +MAUD. I'd rather scrub floors now, than stay. + +BUILDER. [Almost pathetically] Well, I'm damned! Look here, Maud-- +all this has been temper. You got my monkey up. I'm sorry I shook you; +you've had your revenge on my toes. Now, come! Don't make things worse +for me than they are. You've all the liberty you can reasonably want +till you marry. + +MAUD. He can't see it--he absolutely can't! + +BUILDER. See what? + +MAUD. That I want to live a life of my own. + + He edges nearer to her, and she edges to keep her distance. + +BUILDER. I don't know what's bitten you. + +MAUD. The microbe of freedom; it's in the air. + +BUILDER. Yes, and there it'll stay--that's the first sensible word +you've uttered. Now, come! Take your hat off, and let's be friends! + +MAUD looks at him and slowly takes off her hat. + +BUILDER. [Relaxing his attitude, with a sigh of relief] That's right! +[Crosses to fireplace]. + +MAUD. [Springing to the door leading to the hall] Good-bye, father! + +BUILDER. [Following her] Monkey! + + At the sound of a bolt shot, BUILDER goes up to the window. There + is a fumbling at the door, and CAMILLE appears. + +BUILDER. What's the matter with that door? CAMILLE. It was bolted, +Monsieur. + +BUILDER. Who bolted it? + +CAMILLE. [Shrugging her shoulders] I can't tell, Monsieur. + + She collects the cups, and halts close to him. [Softly] Monsieur + is not 'appy. + +BUILDER. [Surprised] What? No! Who'd be happy in a household like +mine? + +CAMILLE. But so strong a man--I wish I was a strong man, not a weak +woman. + +BUILDER. [Regarding her with reluctant admiration] Why, what's the +matter with you? + +CAMILLE. Will Monsieur have another glass of brandy before I take it? + +BUILDER. No! Yes--I will. + + She pours it out, and he drinks it, hands her the glass and sits + down suddenly in an armchair. CAMILLE puts the glass on a tray, and + looks for a box of matches from the mantelshelf. + +CAMILLE. A light, Monsieur? + +BUILDER. Please. + +CAMILLE. [She trips over his feet and sinks on to his knee] Oh! +Monsieur! + + BUILDER flames up and catches her in his arms + +Oh! Monsieur-- + +BUILDER. You little devil! + + She suddenly kisses him, and he returns the kiss. While they are + engaged in this entrancing occupation, MRS BUILDER opens the door + from the hall, watches unseen for a few seconds, and quietly goes + out again. + +BUILDER. [Pushing her back from him, whether at the sound of the door or +of a still small voice] What am I doing? + +CAMILLE. Kissing. + +BUILDER. I--I forgot myself. + + They rise. + +CAMILLE. It was na-ice. + +BUILDER. I didn't mean to. You go away--go away! + +CAMILLE. Oh! Monsieur, that spoil it. + +BUILDER. [Regarding her fixedly] It's my opinion you're a temptation of +the devil. You know you sat down on purpose. + +CAMILLE. Well, perhaps. + +BUILDER. What business had you to? I'm a family man. + +CAMILLE. Yes. What a pity! But does it matter? + +BUILDER. [Much beset] Look here, you know! This won't do! It won't +do! I--I've got my reputation to think of! + +CAMILLE. So 'ave I! But there is lots of time to think of it in +between. + +BUILDER. I knew you were dangerous. I always knew it. + +CAMILLE. What a thing to say of a little woman! + +BUILDER. We're not in Paris. + +CAMILLE. [Clasping her hands] Oh! 'Ow I wish we was! + +BUILDER. Look here--I can't stand this; you've got to go. Out with you! +I've always kept a firm hand on myself, and I'm not going to-- + +CAMILLE. But I admire you so! + +BUILDER. Suppose my wife had come in? + +CAMILLE. Oh! Don't suppose any such a disagreeable thing! If you were +not so strict, you would feel much 'appier. + +BUILDER. [Staring at her] You're a temptress! + +CAMILLE. I lofe pleasure, and I don't get any. And you 'ave such a +duty, you don't get any sport. Well, I am 'ere! + + She stretches herself, and BUILDER utters a deep sound. + +BUILDER. [On the edge of succumbing] It's all against my--I won't do +it! It's--it's wrong! + +CAMILLE. Oh! La, la! + +BUILDER. [Suddenly revolting] No! If you thought it a sin--I--might. +But you don't; you're nothing but a--a little heathen. + +CAMILLE. Why should it be better if I thought it a sin? + +BUILDER. Then--then I should know where I was. As it is-- + +CAMILLE. The English 'ave no idea of pleasure. They make it all so +coarse and virtuous. + +BUILDER. Now, out you go before I--! Go on! + + He goes over to the door and opens it. His wife is outside in a hat + and coat. She comes in. + +[Stammering] Oh! Here you are--I wanted you. + + CAMILLE, taking up the tray, goes out Left, swinging her hips a very + little. + +BUILDER. Going out? + +MRS BUILDER. Obviously. + +BUILDER. Where? + +MRS BUILDER. I don't know at present. + +BUILDER. I wanted to talk to you about Maud. + +MRS BUILDER. It must wait. + +BUILDER. She's-she's actually gone and-- + +MRS BUILDER. I must tell you that I happened to look in a minute ago. + +BUILDER. [In absolute dismay] You! You what? + +MRS BUILDER. Yes. I will put no obstacle in the way of your pleasures. + +BUILDER. [Aghast] Put no obstacle? What do you mean? Julia, how can +you say a thing like that? Why, I've only just-- + +MRS BUILDER. Don't! I saw. + +BUILDER. The girl fell on my knees. Julia, she did. She's--she's a +little devil. I--I resisted her. I give you my word there's been +nothing beyond a kiss, under great provocation. I--I apologise. + +MRS BUILDER. [Bows her head] Thank you! I quite understand. But you +must forgive my feeling it impossible to remain a wet blanket any longer. + +BUILDER. What! Because of a little thing like that--all over in two +minutes, and I doing my utmost. + +MRS BUILDER. My dear John, the fact that you had to do your utmost is +quite enough. I feel continually humiliated in your house, and I want to +leave it--quite quietly, without fuss of any kind. + +BUILDER. But--my God! Julia, this is awful--it's absurd! How can you? +I'm your husband. Really--your saying you don't mind what I do--it's not +right; it's immoral! + +MRS BUILDER. I'm afraid you don't see what goes on in those who live +with you. So, I'll just go. Don't bother! + +BUILDER. Now, look here, Julia, you can't mean this seriously. You +can't! Think of my position! You've never set yourself up against me +before. + +MRS BUILDER. But I do now. + +BUILDER. [After staring at her] I've given you no real reason. I'll +send the girl away. You ought to thank me for resisting a temptation +that most men would have yielded to. After twenty-three years of married +life, to kick up like this--you ought to be ashamed of yourself. + +MRS BUILDER. I'm sure you must think so. + +BUILDER. Oh! for heaven's sake don't be sarcastic! You're my wife, and +there's an end of it; you've no legal excuse. Don't be absurd! + +MRS BUILDER. Good-bye! + +BUILDER. D'you realise that you're encouraging me to go wrong? That's a +pretty thing for a wife to do. You ought to keep your husband straight. + +MRS BUILDER. How beautifully put! + +BUILDER. [Almost pathetically] Don't rile me Julia! I've had an awful +day. First Athene--then Maud--then that girl--and now you! All at once +like this! Like a swarm of bees about one's head. [Pleading] Come, +now, Julia, don't be so--so im practicable! You'll make us the +laughing-stock of the whole town. A man in my position, and can't +keep his own family; it's preposterous! + +MRS BUILDER. Your own family have lives and thoughts and feelings of +their own. + +BUILDER. Oh! This damned Woman's business! I knew how it would be when +we gave you the vote. You and I are married, and our daughters are our +daughters. Come, Julia. Where's your commonsense? After twenty-three +years! You know I can't do without you! + +MRS BUILDER. You could--quite easily. You can tell people what you +like. + +BUILDER. My God! I never heard anything so immoral in all my life from +the mother of two grownup girls. No wonder they've turned out as they +have! What is it you want, for goodness sake? + +MRS BUILDER. We just want to be away from you, that's all. I assure you +it's best. When you've shown some consideration for our feelings and +some real sign that we exist apart from you--we could be friends again-- +perhaps--I don't know. + +BUILDER. Friends! Good heavens! With one's own wife and daughters! +[With great earnestness] Now, look here, Julia, you haven't lived with +me all this time without knowing that I'm a man of strong passions; I've +been a faithful husband to you--yes, I have. And that means resisting +all sorts of temptations you know nothing of. If you withdraw from my +society I won't answer for the consequences. In fact, I can't have you +withdrawing. I'm not going to see myself going to the devil and losing +the good opinion of everybody round me. A bargain's a bargain. And +until I've broken my side of it, and I tell you I haven't--you've no +business to break yours. That's flat. So now, put all that out of your +head. + +MRS BUILDER. No. + +BUILDER. [Intently] D'you realise that I've supported you in luxury and +comfort? + +MRS BUILDER. I think I've earned it. + +BUILDER. And how do you propose to live? I shan't give you a penny. +Come, Julia, don't be such an idiot! Fancy letting a kiss which no man +could have helped, upset you like this! + +MRS BUILDER. The Camille, and the last straw! + +BUILDER. [Sharply] I won't have it. So now you know. + + But MRS BUILDER has very swiftly gone. + +Julia, I tell you-- [The outer door is heard being closed] Damnation! +I will not have it! They're all mad! Here--where's my hat? + + He looks distractedly round him, wrenches open the door, and a + moment later the street door is heard to shut with a bang. + + + CURTAIN. + + + + +ACT III + +SCENE I + + Ten o'clock the following morning, in the study of the Mayor of + Breconridge, a panelled room with no window visible, a door Left + back and a door Right forward. The entire back wall is furnished + with books from floor to ceiling; the other walls are panelled and + bare. Before the fireplace, Left, are two armchairs, and other + chairs are against the walls. On the Right is a writing-bureau at + right angles to the footlights, with a chair behind it. At its back + corner stands HARRIS, telephoning. + +HARRIS. What--[Pause] Well, it's infernally awkward, Sergeant.... +The Mayor's in a regular stew.... [Listens] New constable? +I should think so! Young fool! Look here, Martin, the only thing to do +is to hear the charge here at once. I've sent for Mr Chantrey; he's on +his way. Bring Mr Builder and the witnesses round sharp. See? And, I +say, for God's sake keep it dark. Don't let the Press get on to it. Why +you didn't let him go home--! Black eye? The constable? Well, serve +him right. Blundering young ass! I mean, it's undermining all +authority.... Well, you oughtn't--at least, I... Damn it +all!--it's a nine days' wonder if it gets out--! All right! As soon as +you can. [He hangs up the receiver, puts a second chair behind the +bureau, and other chairs facing it.] [To himself] Here's a mess! Johnny +Builder, of all men! What price Mayors! + + The telephone rings. + +Hallo?... Poaching charge? Well, bring him too; only, I say, keep +him back till the other's over. By the way, Mr Chantrey's going +shooting. He'll want to get off by eleven. What?.. Righto! + + As he hangs up the receiver the MAYOR enters. He looks worried, and + is still dressed with the indefinable wrongness of a burgher. + +MAYOR. Well, 'Arris? + +HARRIS. They'll be over in five minutes, Mr Mayor. + +MAYOR. Mr Chantrey? + +HARRIS. On his way, sir. + +MAYOR. I've had some awkward things to deal with in my time, 'Arris, but +this is just about the [Sniffs] limit. + +HARRIS. Most uncomfortable, Sir; most uncomfortable! + +MAYOR. Put a book on the chair, 'Arris; I like to sit 'igh. + + HARRIS puts a volume of Encyclopaedia on the Mayor's chair behind + the bureau. + +[Deeply] Our fellow-magistrate! A family man! In my shoes next year. +I suppose he won't be, now. You can't keep these things dark. + +HARRIS. I've warned Martin, sir, to use the utmost discretion. Here's +Mr Chantrey. + + By the door Left, a pleasant and comely gentleman has entered, + dressed with indefinable rightness in shooting clothes. + +MAYOR. Ah, Chantrey! + +CHANTREY. How de do, Mr Mayor? [Nodding to HARRIS] This is +extraordinarily unpleasant. + + The MAYOR nods. + +What on earth's he been doing? + +HARRIS. Assaulting one of his own daughters with a stick; and resisting +the police. + +CHANTREY. [With a low whistle] Daughter! Charity begins at home. + +HARRIS. There's a black eye. + +MAYOR. Whose? + +HARRIS. The constable's. + +CHANTREY. How did the police come into it? + +HARRIS. I don't know, sir. The worst of it is he's been at the police +station since four o'clock yesterday. The Superintendent's away, and +Martin never will take responsibility. + +CHANTREY. By George! he will be mad. John Builder's a choleric fellow. + +MAYOR. [Nodding] He is. 'Ot temper, and an 'igh sense of duty. + +HARRIS. There's one other charge, Mr Mayor--poaching. I told them to +keep that back till after. + +CHANTREY. Oh, well, we'll make short work of that. I want to get off by +eleven, Harris. I shall be late for the first drive anyway. John +Builder! I say, Mayor--but for the grace of God, there go we! + +MAYOR. Harris, go out and bring them in yourself; don't let the +servants-- + + HARRIS goes out Left. The MAYOR takes the upper chair behind the + bureau, sitting rather higher because of the book than CHANTREY, who + takes the lower. Now that they are in the seats of justice, a sort + of reticence falls on them, as if they were afraid of giving away + their attitudes of mind to some unseen presence. + +MAYOR. [Suddenly] H'm! + +CHANTREY. Touch of frost. Birds ought to come well to the guns--no +wind. I like these October days. + +MAYOR. I think I 'ear them. H'm. + + CHANTREY drops his eyeglass and puts on a pair of "grandfather" + spectacles. The MAYOR clears his throat and takes up a pen. They + neither of them look up as the door is opened and a little + procession files in. First HARRIS; then RALPH BUILDER, ATHENE, + HERRINGHAME, MAUD, MRS BUILDER, SERGEANT MARTIN, carrying a heavy + Malacca cane with a silver knob; JOHN BUILDER and the CONSTABLE + MOON, a young man with one black eye. No funeral was ever attended + by mutes so solemn and dejected. They stand in a sort of row. + +MAYOR. [Without looking up] Sit down, ladies; sit down. + + HARRIS and HERRINGHAME succeed in placing the three women in chairs. + RALPH BUILDER also sits. HERRINGHAME stands behind. JOHN BUILDER + remains standing between the two POLICEMEN. His face is unshaved + and menacing, but he stands erect staring straight at the MAYOR. + HARRIS goes to the side of the bureau, Back, to take down the + evidence. + +MAYOR. Charges! + +SERGEANT. John Builder, of The Cornerways, Breconridge, Contractor and +Justice of the Peace, charged with assaulting his daughter Maud Builder +by striking her with a stick in the presence of Constable Moon and two +other persons; also with resisting Constable Moon in the execution of his +duty, and injuring his eye. Constable Moon! + +MOON. [Stepping forward-one, two--like an automaton, and saluting] In +River Road yesterday afternoon, Your Worship, about three-thirty p.m., I +was attracted by a young woman callin' "Constable" outside a courtyard. +On hearing the words "Follow me, quick," I followed her to a painter's +studio inside the courtyard, where I found three persons in the act of +disagreement. No sooner 'ad I appeared than the defendant, who was +engaged in draggin' a woman towards the door, turns to the young woman +who accompanied me, with violence. "You dare, father," she says; +whereupon he hit her twice with the stick the same which is produced, in +the presence of myself and the two other persons, which I'm given to +understand is his wife and other daughter. + +MAYOR. Yes; never mind what you're given to understand. + +MOON. No, sir. The party struck turns to me and says, "Come in. I give +this man in charge for assault." I moves accordingly with the words: +"I saw you. Come along with me." The defendant turns to me sharp and +says: "You stupid lout--I'm a magistrate." "Come off it," I says to the +best of my recollection. "You struck this woman in my presence," I says, +"and you come along!" We were then at close quarters. The defendant +gave me a push with the words: "Get out, you idiot!" "Not at all," I +replies, and took 'old of his arm. A struggle ensues, in the course of +which I receives the black eye which I herewith produce. [He touches his +eye with awful solemnity.] + + The MAYOR clears his throat; CHANTREY'S eyes goggle; HARRIS bends + over and writes rapidly. + +During the struggle, Your Worship, a young man has appeared on the scene, +and at the instigation of the young woman, the same who was assaulted, +assists me in securing the prisoner, whose language and resistance was +violent in the extreme. We placed him in a cab which we found outside, +and I conveyed him to the station. + +CHANTREY. What was his--er--conduct in the--er--cab? + +MOON. He sat quiet. + +CHANTREY. That seems-- + +MOON. Seein' I had his further arm twisted behind him. + +MAYOR [Looking at BUILDER] Any questions to ask him? + + BUILDER makes not the faintest sign, and the MAYOR drops his glance. + +MAYOR. Sergeant? + + MOON steps back two paces, and the SERGEANT steps two paces forward. + +SERGEANT. At ten minutes to four, Your Worship, yesterday afternoon, +Constable Moon brought the defendant to the station in a four-wheeled +cab. On his recounting the circumstances of the assault, they were +taken down and read over to the defendant with the usual warning. The +defendant said nothing. In view of the double assault and the condition +of the constable's eye, and in the absence of the Superintendent, +I thought it my duty to retain the defendant for the night. + +MAYOR. The defendant said nothing? + +SERGEANT. He 'as not opened his lips to my knowledge, Your Worship, from +that hour to this. + +MAYOR. Any questions to ask the Sergeant? + +BUILDER continues to stare at the MAYOR without a word. + +MAYOR. Very well! + + The MAYOR and CHANTREY now consult each other inaudibly, and the + Mayor nods. + +MAYOR. Miss Maud Builder, will you tell us what you know of this--er-- +occurrence? + +MAUD. [Rising; with eyes turning here and there] Must I? + +MAYOR. I'm afraid you must. + +MAUD. [After a look at her father, who never turns his eyes from the +MAYOR's face] I--I wish to withdraw the charge of striking me, please. +I--I never meant to make it. I was in a temper--I saw red. + +MAYOR. I see. A--a domestic disagreement. Very well, that charge is +withdrawn. You do not appear to have been hurt, and that seems to me +quite proper. Now, tell me what you know of the assault on the +constable. Is his account correct? + +MAUD. [Timidly] Ye-yes. Only-- + +MAYOR. Yes? Tell us the truth. + +MAUD. [Resolutely] Only, I don't think my father hit the constable. +I think the stick did that. + +MAYOR. Oh, the stick? But--er--the stick was in 'is 'and, wasn't it? + +MAUD. Yes; but I mean, my father saw red, and the constable saw red, and +the stick flew up between them and hit him in the eye. + +CHANTREY. And then he saw black? + +MAYOR. [With corrective severity] But did 'e 'it 'im with the stick? + +MAUD. No--no. I don't think he did. + +MAYOR. Then who supplied the--er--momentum? + +MAUD. I think there was a struggle for the cane, and it flew up. + +MAYOR. Hand up the cane. + + The SERGEANT hands up the cane. The MAYOR and CHANTREY examine it. +MAYOR. Which end--do you suggest--inflicted this injury? + +MAUD. Oh! the knob end, sir. + +MAYOR. What do you say to that, constable? + +MOON. [Stepping the mechanical two paces] I don't deny there was a +struggle, Your Worship, but it's my impression I was 'it. + +CHANTREY. Of course you were bit; we can see that. But with the cane or +with the fist? + +MOON. [A little flurried] I--I--with the fist, sir. + +MAYOR. Be careful. Will you swear to that? + +MOON. [With that sudden uncertainty which comes over the most honest in +such circumstances] Not--not so to speak in black and white, Your +Worship; but that was my idea at the time. + +MAYOR. You won't swear to it? + +MOON. I'll swear he called me an idiot and a lout; the words made a deep +impression on me. + +CHANTREY. [To himself] Mort aux vaches! + +MAYOR. Eh? That'll do, constable; stand back. Now, who else saw the +struggle? Mrs Builder. You're not obliged to say anything unless you +like. That's your privilege as his wife. + + While he is speaking the door has been opened, and HARRIS has gone + swiftly to it, spoken to someone and returned. He leans forward to + the MAYOR. + +Eh? Wait a minute. Mrs Builder, do you wish to give evidence? + +MRS BUILDER. [Rising] No, Mr Mayor. + + MRS BUILDER Sits. + +MAYOR. Very good. [To HARRIS] Now then, what is it? + +HARRIS says something in a low and concerned voice. The MAYOR'S face +lengthens. He leans to his right and consults CHANTREY, who gives a +faint and deprecating shrug. A moment's silence. + +MAYOR. This is an open Court. The Press have the right to attend if +they wish. + + HARRIS goes to the door and admits a young man in glasses, of a + pleasant appearance, and indicates to him a chair at the back. At + this untimely happening BUILDER's eyes have moved from side to side, + but now he regains his intent and bull-like stare at his + fellow-justices. + +MAYOR. [To Maud] You can sit down, Miss Builder. + + MAUD resumes her seat. + +Miss Athene Builder, you were present, I think? + +ATHENE. [Rising] Yes, Sir. + +MAYOR. What do you say to this matter? + +ATHENE. I didn't see anything very clearly, but I think my sister's +account is correct, sir. + +MAYOR. Is it your impression that the cane inflicted the injury? + +ATHENE. [In a low voice] Yes. + +MAYOR. With or without deliberate intent? + +ATHENE. Oh! without. + +BUILDER looks at her. + +MAYOR. But you were not in a position to see very well? + +ATHENE. No, Sir. + +MAYOR. Your sister having withdrawn her charge, we needn't go into that. +Very good! + + He motions her to sit down. ATHENE, turning her eyes on her + Father's impassive figure, sits. + +MAYOR. Now, there was a young man. [Pointing to HERRINGHAME] Is this +the young man? + +MOON. Yes, Your Worship. + +MAYOR. What's your name? + +GUY. Guy Herringhame. + +MAYOR. Address? + +GUY. Er--the Aerodrome, Sir. MAYOR. Private, I mean? + + The moment is one of considerable tension. + +GUY. [With an effort] At the moment, sir, I haven't one. I've just +left my diggings, and haven't yet got any others. + +MAYOR. H'm! The Aerodrome. How did you come to be present? + +GUY. I--er + + BUILDER's eyes go round and rest on him for a moment. + +It's in my sister's studio that Miss Athene Builder is at present +working, sir. I just happened to--to turn up. + +MAYOR. Did you appear on the scene, as the constable says, during the +struggle? + +GUY. Yes, sir. + +MAYOR. Did he summon you to his aid? + +GUY. Yes--No, sir. Miss Maud Builder did that. + +MAYOR. What do you say to this blow? + +GUY. [Jerking his chin up a little] Oh! I saw that clearly. + +MAYOR. Well, let us hear. + +GUY. The constable's arm struck the cane violently and it flew up and +landed him in the eye. + +MAYOR. [With a little grunt] You are sure of that? + +GUY. Quite sure, sir. + +MAYOR. Did you hear any language? + +GUY. Nothing out of the ordinary, sir. One or two damns and blasts. + +MAYOR. You call that ordinary? + +GUY. Well, he's a--magistrate, sir. + + The MAYOR utters a profound grunt. CHANTREY smiles. There is a + silence. Then the MAYOR leans over to CHANTREY for a short + colloquy. + +CHANTREY. Did you witness any particular violence other than a +resistance to arrest? + +GUY. No, sir. + +MAYOR. [With a gesture of dismissal] Very well, That seems to be the +evidence. Defendant John Builder--what do you say to all this? + +BUILDER. [In a voice different from any we have heard from him] Say! +What business had he to touch me, a magistrate? I gave my daughter two +taps with a cane in a private house, for interfering with me for taking +my wife home-- + +MAYOR. That charge is not pressed, and we can't go into the +circumstances. What do you wish to say about your conduct towards +the constable? + +BUILDER. [In his throat] Not a damned thing! + +MAYOR. [Embarrassed] I--I didn't catch. + +CHANTREY. Nothing--nothing, he said, Mr Mayor. + +MAYOR. [Clearing his throat] I understand, then, that you do not wish to +offer any explanation? + +BUILDER. I consider myself abominably treated, and I refuse to say +another word. + +MAYOR. [Drily] Very good. Miss Maud Builder. + + MAUD stands up. + + +MAYOR. When you spoke of the defendant seeing red, what exactly did you +mean? + +MAUD. I mean that my father was so angry that he didn't know what he was +doing. + +CHANTREY. Would you say as angry as he--er--is now? + +MAUD. [With a faint smile] Oh! much more angry. + +RALPH BUILDER stands up. + +RALPH. Would you allow me to say a word, Mr Mayor? + +MAYOR. Speaking of your own knowledge, Mr Builder? + +RALPH. In regard to the state of my brother's mind--yes, Mr Mayor. He +was undoubtedly under great strain yesterday; certain circumstances, +domestic and otherwise-- + +MAYOR. You mean that he might have been, as one might say, beside +himself? + +RALPH. Exactly, Sir. + +MAYOR. Had you seen your brother? + +RALPH. I had seen him shortly before this unhappy business. + + The MAYOR nods and makes a gesture, so that MAUD and RALPH sit down; + then, leaning over, he confers in a low voice with CHANTREY. The + rest all sit or stand exactly as if each was the only person in the + room, except the JOURNALIST, who is writing busily and rather + obviously making a sketch of BUILDER. + +MAYOR. Miss Athene Builder. + + ATHENE stands up. + +This young man, Mr Herringhame, I take it, is a friend of the family's? + + A moment of some tension. + +ATHENE. N--no, Mr Mayor, not of my father or mother. + +CHANTREY. An acquaintance of yours? + +ATHENE. Yes. + +MAYOR. Very good. [He clears his throat] As the defendant, wrongly, we +think, refuses to offer his explanation of this matter, the Bench has to +decide on the evidence as given. There seems to be some discrepancy as +to the blow which the constable undoubtedly received. In view of this, +we incline to take the testimony of Mr-- + + HARRIS prompts him. + +Mr 'Erringhame--as the party least implicated personally in the affair, +and most likely to 'ave a cool and impartial view. That evidence is to +the effect that the blow was accidental. There is no doubt, however, +that the defendant used reprehensible language, and offered some +resistance to the constable in the execution of his duty. Evidence 'as +been offered that he was in an excited state of mind; and it is possible +--I don't say that this is any palliation--but it is possible that he may +have thought his position as magistrate made him--er-- + +CHANTREY. [Prompting] Caesar's wife. + +MAYOR. Eh? We think, considering all the circumstances, and the fact +that he has spent a night in a cell, that justice will be met by--er-- +discharging him with a caution. + +BUILDER. [With a deeply muttered] The devil you do! + + Walks out of the room. The JOURNALIST, grabbing his pad, starts up + and follows. The BUILDERS rise and huddle, and, with HERRINGHAME, + are ushered out by HARRIS. + +MAYOR. [Pulling out a large handkerchief and wiping his forehead] +My Aunt! + +CHANTREY. These new constables, Mayor! I say, Builder'll have to go! +Damn the Press, how they nose everything out! The Great Unpaid!-- +We shall get it again! [He suddenly goes off into a fit of laughter] +"Come off it," I says, "to the best of my recollection." Oh! Oh! +I shan't hit a bird all day! That poor devil Builder! It's no joke for +him. You did it well, Mayor; you did it well. British justice is safe +in your hands. He blacked the fellow's eye all right. "Which I herewith +produce." Oh! my golly! It beats the band! + + His uncontrollable laughter and the MAYOR'S rueful appreciation are + exchanged with lightning rapidity for a preternatural solemnity, as + the door opens, admitting SERGEANT MARTIN and the lugubrious object + of their next attentions. + +MAYOR. Charges. + + SERGEANT steps forward to read the charge as + + The CURTAIN falls. + + + +SCENE II + + Noon the same day. + + BUILDER'S study. TOPPING is standing by the open window, looking up + and down the street. A newspaper boy's voice is heard calling the + first edition of his wares. It approaches from the Right. + +TOPPING. Here! + +BOY'S VOICE. Right, guv'nor! Johnny Builder up before the beaks! +[A paper is pushed up]. + +TOPPING. [Extending a penny] What's that you're sayin'? You take care! + +BOY'S VOICE. It's all 'ere. Johnny Builder--beatin' his wife! +Dischawged. + +TOPPING. Stop it, you young limb! + +BOY'S VOICE. 'Allo! What's the matter wiv you? Why, it's Johnny +Builder's house! [Gives a cat-call] 'Ere, buy anuvver! 'E'll want to +read about 'isself. [Appealing] Buy anuvver, guv'nor! + +TOPPING. Move on! + + He retreats from the window, opening the paper. + +BOY'S VOICE. [Receding] Payper! First edition! J.P. chawged! Payper! + +TOPPING. [To himself as he reads] Crimes! Phew! That accounts for them +bein' away all night. + + While he is reading, CAMILLE enters from the hall. Here! Have you + seen this, Camel--in the Stop Press? + +CAMILLE. No. + + They read eagerly side by side. + +TOPPING. [Finishing aloud] "Tried to prevent her father from forcing her +mother to return home with him, and he struck her for so doing. She did +not press the charge. The arrested gentleman, who said he acted under +great provocation, was discharged with a caution." Well, I'm blowed! +He has gone and done it! + +CAMILLE. A black eye! + +TOPPING. [Gazing at her] Have you had any hand in this? I've seen you +making your lovely black eyes at him. You foreigners--you're a loose +lot! + +CAMILLE. You are drunk! + +TOPPING. Not yet, my dear. [Reverting to the paper; philosophically] +Well, this little lot's bust up! The favourites will fall down. Johnny +Builder! Who'd have thought it? + +CAMILLE. He is an obstinate man. + +TOPPING. Ah! He's right up against it now. Comes of not knowin' when +to stop bein' firm. If you meet a wall with your 'ead, it's any odds on +the wall, Camel. Though, if you listened to some, you wouldn't think it. +What'll he do now, I wonder? Any news of the mistress? + +CAMILLE. [Shaking her head] I have pack her tr-runks. + +TOPPING. Why? + +CAMILLE. Because she take her jewels yesterday. + +TOPPING. Deuce she did! They generally leave 'em. Take back yer gifts! +She throws the baubles at 'is 'ead. [Again staring at her] You're a +deep one, you know! + + There is the sound of a cab stopping. + +Wonder if that's him! [He goes towards the hall. CAMILLE watchfully +shifts towards the diningroom door. MAUD enters.] + +MAUD. Is my father back, Topping? + +TOPPING. Not yet, Miss. + +MAUD. I've come for mother's things. + +CAMILLE. They are r-ready. + +MAUD. [Eyeing her] Topping, get them down, please. + + TOPPING, after a look at them both, goes out into the hall. + +Very clever of you to have got them ready. + +CAMILLE. I am clevare. + +MAUD. [Almost to herself] Yes--father may, and he may not. + +CAMILLE. Look! If you think I am a designing woman, you are mistook. +I know when things are too 'ot. I am not sorry to go. + +MAUD. Oh! you are going? + +CAMILLE. Yes, I am going. How can I stay when there is no lady in the +'ouse? + +MAUD. Not even if you're asked to? + +CAMILLE. Who will ask me? + +MAUD. That we shall see. + +CAMILLE. Well, you will see I have an opinion of my own. + +MAUD. Oh! yes, you're clear-headed enough. + +CAMILLE. I am not arguing. Good-morning! + + Exits up Left. + +MAUD regards her stolidly as she goes out into the dining-room, then +takes up the paper and reads. + +MAUD. Horrible! + + TOPPING re-enters from the hall. + +TOPPING. I've got 'em on the cab, Miss. I didn't put your ten bob on +yesterday, because the animal finished last. You cant depend on horses. + +MAUD. [Touching the newspaper] This is a frightful business, Topping. + +TOPPING. Ah! However did it happen, Miss Maud? + +MAUD. [Tapping the newspaper] It's all true. He came after my mother +to Miss Athene's, and I--I couldn't stand it. I did what it says here; +and now I'm sorry. Mother's dreadfully upset. You know father as well +as anyone, Topping; what do you think he'll do now? + +TOPPING. [Sucking in his cheeks] Well, you see, Miss, it's like this: +Up to now Mr Builder's always had the respect of everybody-- + + MAUD moves her head impatiently. + +outside his own house, of course. Well, now he hasn't got it. +Pishchologically that's bound to touch him. + +MAUD. Of course; but which way? Will he throw up the sponge, or try and +stick it out here? + +TOPPING. He won't throw up the sponge, Miss; more likely to squeeze it +down the back of their necks. + +MAUD. He'll be asked to resign, of course. + + The NEWSPAPER BOY'S VOICE is heard again approaching: "First + edition! Great sensation! Local magistrate before the Bench! + Pay-per!" + +Oh, dear! I wish I hadn't! But I couldn't see mother being-- + +TOPPING. Don't you fret, Miss; he'll come through. His jaw's above his +brow, as you might say. + +MAUD. What? + +TOPPING. [Nodding] Phreenology, Miss. I rather follow that. When the +jaw's big and the brow is small, it's a sign of character. I always +think the master might have been a Scotchman, except for his fishionomy. + +MAUD. A Scotsman? + +TOPPING. So down on anything soft, Miss. Haven't you noticed whenever +one of these 'Umanitarians writes to the papers, there's always a +Scotchman after him next morning. Seems to be a fact of 'uman nature, +like introducin' rabbits into a new country and then weasels to get rid +of 'em. And then something to keep down the weasels. But I never can +see what could keep down a Scotchman! You seem to reach the hapex there! + +MAUD. Miss Athene was married this morning, Topping. We've just come +from the Registrar's. + +TOPPING. [Immovably] Indeed, Miss. I thought perhaps she was about to +be. + +MAUD. Oh! + +TOPPING. Comin' events. I saw the shadder yesterday. + +MAUD. Well, it's all right. She's coming on here with my uncle. + + A cab is heard driving up. + +That's them, I expect. We all feel awful about father. + +TOPPING. Ah! I shouldn't be surprised if he feels awful about you, +Miss. + +MAUD. [At the window] It is them. + + TOPPING goes out into the hall; ATHENE and RALPH enter Right. + +MAUD. Where's father, Uncle Ralph? + +RALPH. With his solicitor. + +ATHENE. We left Guy with mother at the studio. She still thinks she +ought to come. She keeps on saying she must, now father's in a hole. + +MAUD. I've got her things on the cab; she ought to be perfectly free to +choose. + +RALPH. You've got freedom on the brain, Maud. + +MAUD. So would you, Uncle Ralph, if you had father about. + +RALPH. I'm his partner, my dear. + +MAUD. Yes; how do you manage him? + +RALPH. I've never yet given him in charge. + +ATHENE. What do you do, Uncle Ralph? + +RALPH. Undermine him when I can. + +MAUD. And when you can't? + +RALPH. Undermine the other fellow. You can't go to those movie people +now, Maud. They'd star you as the celebrated Maud Builder who gave her +father into custody. Come to us instead, and have perfect freedom, till +all this blows over. + +MAUD. Oh! what will father be like now? + +ATHENE. It's so queer you and he being brothers, Uncle Ralph. + +RALPH. There are two sides to every coin, my dear. John's the head-and +I'm the tail. He has the sterling qualities. Now, you girls have got to +smooth him down, and make up to him. You've tried him pretty high. + +MAUD. [Stubbornly] I never wanted him for a father, Uncle. + +RALPH. They do wonderful things nowadays with inherited trouble. Come, +are you going to be nice to him, both of you? + +ATHENE. We're going to try. + +RALPH. Good! I don't even now understand how it happened. + +MAUD. When you went out with Guy, it wasn't three minutes before he +came. Mother had just told us about--well, about something beastly. +Father wanted us to go, and we agreed to go out for five minutes while he +talked to mother. We went, and when we came back he told me to get a cab +to take mother home. Poor mother stood there looking like a ghost, and +he began hunting and hauling her towards the door. I saw red, and +instead of a cab I fetched that policeman. Of course father did black +his eye. Guy was splendid. + +ATHENE. You gave him the lead. + +MAUD. I couldn't help it, seeing father standing there all dumb. + +ATHENE. It was awful! Uncle, why didn't you come back with Guy? + +MAUD. Oh, yes! why didn't you, Uncle? + +ATHENE. When Maud had gone for the cab, I warned him not to use force. +I told him it was against the law, but he only said: "The law be damned!" + +RALPH. Well, it all sounds pretty undignified. + +MAUD. Yes; everybody saw red. + + They have not seen the door opened from the hall, and BUILDER + standing there. He is still unshaven, a little sunken in the face, + with a glum, glowering expression. He has a document in his hand. + He advances a step or two and they see him. + +ATHENE and MAUD. [Aghast] Father! + +BUILDER. Ralph, oblige me! See them off the premises! + +RALPH. Steady, John! + +BUILDER. Go! + +MAUD. [Proudly] All right! We thought you might like to know that +Athene's married, and that I've given up the movies. Now we'll go. + + BUILDER turns his back on them, and, sitting down at his + writing-table, writes. + + After a moment's whispered conversation with their Uncle, the two + girls go out. + + RALPH BUILDER stands gazing with whimsical commiseration at his + brother's back. As BUILDER finishes writing, he goes up and puts + his hand on his brother's shoulder. + +RALPH. This is an awful jar, old man! + +BUILDER. Here's what I've said to that fellow: "MR MAYOR,--You had the +effrontery to-day to discharge me with a caution--forsooth!--your fellow +--magistrate. I've consulted my solicitor as to whether an action will +lie for false imprisonment. I'm informed that it won't. I take this +opportunity of saying that justice in this town is a travesty. I have no +wish to be associated further with you or your fellows; but you are +vastly mistaken if you imagine that I shall resign my position on the +Bench or the Town Council.--Yours, + +"JOHN BUILDER." + +RALPH. I say--keep your sense of humour, old boy. + +BUILDER. [Grimly] Humour? I've spent a night in a cell. See this! +[He holds out the document] It disinherits my family. + +RALPH. John! + +BUILDER. I've done with those two ladies. As to my wife--if she doesn't +come back--! When I suffer, I make others suffer. + +RALPH. Julia's very upset, my dear fellow; we all are. The girls came +here to try and-- + +BUILDER. [Rising] They may go to hell! If that lousy Mayor thinks I'm +done with--he's mistaken! [He rings the bell] I don't want any soft +sawder. I'm a fighter. + +RALPH. [In a low voice] The enemy stands within the gate, old chap. + +BUILDER. What's that? + +RALPH. Let's boss our own natures before we boss those of other people. +Have a sleep on it, John, before you do anything. + +BUILDER. Sleep? I hadn't a wink last night. If you'd passed the night +I had-- + +RALPH. I hadn't many myself. + + TOPPING enters. + +BUILDER. Take this note to the Mayor with my compliments, and don't +bring back an answer. TOPPING. Very good, sir. There's a gentleman +from the "Comet" in the hall, sir. Would you see him for a minute, he +says. + +BUILDER. Tell him to go to-- + + A voice says, "Mr Builder!" BUILDER turns to see the figure of the + JOURNALIST in the hall doorway. TOPPING goes out. + +JOURNALIST. [Advancing with his card] Mr Builder, it's very good of you +to see me. I had the pleasure this morning--I mean--I tried to reach you +when you left the Mayor's. I thought you would probably have your own +side of this unfortunate matter. We shall be glad to give it every +prominence. + + TOPPING has withdrawn, and RALPH BUILDER, at the window, stands + listening. + +BUILDER. [Drily, regarding the JOURNALIST, who has spoken in a pleasant +and polite voice] Very good of you! + +JOURNALIST. Not at all, sir. We felt that you would almost certainly +have good reasons of your own which would put the matter in quite a +different light. + +BUILDER. Good reasons? I should think so! I tell you--a very little +more of this liberty--licence I call it--and there isn't a man who'll be +able to call himself head of a family. + +JOURNALIST. [Encouragingly] Quite! + +BUILDER. If the law thinks it can back up revolt, it's damned well +mistaken. I struck my daughter--I was in a passion, as you would have +been. + +JOURNALIST. [Encouraging] I'm sure-- + +BUILDER. [Glaring at him] Well, I don't know that you would; you look a +soft sort; but any man with any blood in him. + +JOURNALIST. Can one ask what she was doing, sir? We couldn't get that +point quite clear. + +BUILDER. Doing? I just had my arm round my wife, trying to induce her +to come home with me after a little family tiff, and this girl came at +me. I lost my temper, and tapped her with my cane. And--that policeman +brought by my own daughter--a policeman! If the law is going to enter +private houses and abrogate domestic authority, where the hell shall we +be? + +JOURNALIST. [Encouraging] No, I'm sure--I'm sure! + +BUILDER. The maudlin sentimentality in these days is absolutely rotting +this country. A man can't be master in his own house, can't require his +wife to fulfil her duties, can't attempt to control the conduct of his +daughters, without coming up against it and incurring odium. A man can't +control his employees; he can't put his foot down on rebellion anywhere, +without a lot of humanitarians and licence-lovers howling at him. + +JOURNALIST. Excellent, Sir; excellent! + +BUILDER. Excellent? It's damnable. Here am I--a man who's always tried +to do his duty in private life and public--brought up before the Bench-- +my God! because I was doing that duty; with a little too much zeal, +perhaps--I'm not an angel! + +JOURNALIST. No! No! of course. + +BUILDER. A proper Englishman never is. But there are no proper +Englishmen nowadays. + + He crosses the room in his fervour. + +RALPH. [Suddenly] As I look at faces-- + +BUILDER. [Absorbed] What! I told this young man I wasn't an angel. + +JOURNALIST. [Drawing him on] Yes, Sir; I quite understand. + +BUILDER. If the law thinks it can force me to be one of your weak-kneed +sentimentalists who let everybody do what they like-- + +RALPH. There are a good many who stand on their rights left, John. + +BUILDER. [Absorbed] What! How can men stand on their rights left? + +JOURNALIST. I'm afraid you had a painful experience, sir. + +BUILDER. Every kind of humiliation. I spent the night in a stinking +cell. I haven't eaten since breakfast yesterday. Did they think I was +going to eat the muck they shoved in? And all because in a moment of +anger--which I regret, I regret!--I happened to strike my daughter, who +was interfering between me and my wife. The thing would be funny if it +weren't so disgusting. A man's house used to be sanctuary. What is it +now? With all the world poking their noses in? + +He stands before the fire with his head bent, excluding as it were his +interviewer and all the world. + +JOURNALIST. [Preparing to go] Thank you very much, Mr Builder. I'm +sure I can do you justice. Would you like to see a proof? + +BUILDER. [Half conscious of him] What? + +JOURNALIST. Or will you trust me? + +BUILDER. I wouldn't trust you a yard. + +JOURNALIST. [At the door] Very well, sir; you shall have a proof, I +promise. Good afternoon, and thank you. + +BUILDER. Here! + + But he is gone, and BUILDER is left staring at his brother, on whose + face is still that look of whimsical commiseration. + +RALPH. Take a pull, old man! Have a hot bath and go to bed. + +BUILDER. They've chosen to drive me to extremes, now let them take the +consequences. I don't care a kick what anybody thinks. + +RALPH. [Sadly] Well, I won't worry you anymore, now. + +BUILDER. [With a nasty laugh] No; come again to-morrow! + +RALPH. When you've had a sleep. For the sake of the family name, John, +don't be hasty. + +BUILDER. Shut the stable door? No, my boy, the horse has gone. + +RALPH. Well, Well! + + With a lingering look at his brother, who has sat down sullenly at + the writing table, he goes out into the hall. + + BUILDER remains staring in front of him. The dining-room door + opens, and CAMILLE's head is thrust in. Seeing him, she draws back, + but he catches sight of her. + +BUILDER. Here! + +CAMILLE comes doubtfully up to the writing table. Her forehead is +puckered as if she were thinking hard. + +BUILDER. [Looking at her, unsmiling] So you want to be my mistress, +do you? + + CAMILLE makes a nervous gesture. + +Well, you shall. Come here. + +CAMILLE. [Not moving] You f--frighten me. + +BUILDER. I've paid a pretty price for you. But you'll make up for it; +you and others. + +CAMILLE. [Starting back] No; I don't like you to-day! No! + +BUILDER. Come along! [She is just within reach and he seizes her arm] +All my married life I've put a curb on myself for the sake of +respectability. I've been a man of principle, my girl, as you saw +yesterday. Well, they don't want that! [He draws her close] You can sit +on my knee now. + +CAMILLE. [Shrinking] No; I don't want to, to-day. + +BUILDER. But you shall. They've asked for it! + +CAMILLE. [With a supple movement slipping away from him] They? What is +all that? I don't want any trouble. No, no; I am not taking any. + + She moves back towards the door. BUILDER utters a sardonic laugh. + +Oh! you are a dangerous man! No, no! Not for me! Good-bye, sare! + + She turns swiftly and goes out. BUILDER again utters his glum + laugh. And then, as he sits alone staring before him, perfect + silence reigns in the room. Over the window-sill behind him a BOY'S + face is seen to rise; it hangs there a moment with a grin spreading + on it. + +BOY'S VOICE. [Sotto] Johnny Builder! + + As BUILDER turns sharply, it vanishes. + +'Oo beat 'is wife? + + BUILDER rushes to the window. + +BOY'S VOICE. [More distant and a little tentative] Johnny Builder! + +BUILDER. You little devil! If I catch you, I'll wring your blasted +little neck! + +BOY'S VOICE. [A little distant] 'Oo blacked the copper's eye? + + BUILDER, in an ungovernable passion, seizes a small flower-pot from + the sill and dings it with all his force. The sound of a crash. + +BOY'S VOICE. [Very distant] Ya-a-ah! Missed! + + BUILDER stands leaning out, face injected with blood, shaking his + fist. + + The CURTAIN falls for a few seconds. + + + +SCENE III + +Evening the same day. + + BUILDER's study is dim and neglected-looking; the window is still + open, though it has become night. A street lamp outside shines in, + and the end of its rays fall on BUILDER asleep. He is sitting in a + high chair at the fireside end of the writing-table, with his elbows + on it, and his cheek resting on his hand. He is still unshaven, and + his clothes unchanged. A Boy's head appears above the level of the + window-sill, as if beheaded and fastened there. + +BOY'S VOICE. [In a forceful whisper] Johnny Builder! + + BUILDER stirs uneasily. The Boy's head vanishes. BUILDER, raising + his other hand, makes a sweep before his face, as if to brush away a + mosquito. He wakes. Takes in remembrance, and sits a moment + staring gloomily before him. The door from the hall is opened and + TOPPING comes in with a long envelope in his hand. + +TOPPING. [Approaching] From the "Comet," sir. Proof of your interview, +sir; will you please revise, the messenger says; he wants to take it back +at once. + +BUILDER. [Taking it] All right. I'll ring. + +TOPPING. Shall I close in, sir? + +BUILDER. Not now. + + TOPPING withdraws. BUILDER turns up a standard lamp on the table, + opens the envelope, and begins reading the galley slip. The signs + of uneasiness and discomfort grow on him. + + +BUILDER. Did I say that? Muck! Muck! [He drops the proof, sits a +moment moving his head and rubbing one hand uneasily on the surface of +the table, then reaches out for the telephone receiver] Town, 245. +[Pause] The "Comet"? John Builder. Give me the Editor. [Pause] That +you, Mr Editor? John Builder speaking. That interview. I've got the +proof. It won't do. Scrap the whole thing, please. I don't want to say +anything. [Pause] Yes. I know I said it all; I can't help that. +[Pause] No; I've changed my mind. Scrap it, please. [Pause] No, +I will not say anything. [Pause] You can say what you dam' well please. +[Pause] I mean it; if you put a word into my mouth, I'll sue you for +defamation of character. It's undignified muck. I'm tearing it up. +Good-night. [He replaces the receiver, and touches a bell; then, taking +up the galley slip, he tears it viciously across into many pieces, and +rams them into the envelope.] + + TOPPING enters. + +Here, give this to the messenger-sharp, and tell him to run with it. + +TOPPING. [Whose hand can feel the condition of the contents, with a +certain surprise] Yes, sir. + + He goes, with a look back from the door. + +The Mayor is here, sir. I don't know whether you would wish + + BUILDER, rising, takes a turn up and down the room. + +BUILDER. Nor do I. Yes! I'll see him. + + TOPPING goes out, and BUILDER stands over by the fender, with his + head a little down. + +TOPPING. [Re-entering] The Mayor, sir. + + He retires up Left. The MAYOR is overcoated, and carries, of all + things, a top hat. He reaches the centre of the room before he + speaks. + +MAYOR. [Embarrassed] Well, Builder? + +BUILDER. Well? + +MAYOR. Come! That caution of mine was quite parliamentary. I 'ad to +save face, you know. + +BUILDER. And what about my face? + +MAYOR. Well, you--you made it difficult for me. 'Ang it all! Put +yourself into my place! + +BUILDER. [Grimly] I'd rather put you into mine, as it was last night. + +MAYOR. Yes, yes! I know; but the Bench has got a name to keep up--must +stand well in the people's eyes. As it is, I sailed very near the wind. +Suppose we had an ordinary person up before us for striking a woman? + +BUILDER. I didn't strike a woman--I struck my daughter. + +MAYOR. Well, but she's not a child, you know. And you did resist the +police, if no worse. Come! You'd have been the first to maintain +British justice. Shake 'ands! + +BUILDER. Is that what you came for? + +MAYOR. [Taken aback] Why--yes; nobody can be more sorry than I-- + +BUILDER. Eye-wash! You came to beg me to resign. + +MAYOR. Well, it's precious awkward, Builder. We all feel-- + +BUILDER. Save your powder, Mayor. I've slept on it since I wrote you +that note. Take my resignations. + +MAYOR. [In relieved embarrassment] That's right. We must face your +position. + +BUILDER. [With a touch of grim humour] I never yet met a man who +couldn't face another man's position. + +MAYOR. After all, what is it? + +BUILDER. Splendid isolation. No wife, no daughters, no Councillorship, +no Magistracy, no future--[With a laugh] not even a French maid. And +why? Because I tried to exercise a little wholesome family authority. +That's the position you're facing, Mayor. + +MAYOR. Dear, dear! You're devilish bitter, Builder. It's unfortunate, +this publicity. But it'll all blow over; and you'll be back where you +were. You've a good sound practical sense underneath your temper. [A +pause] Come, now! [A pause] Well, I'll say good-night, then. + +BUILDER. You shall have them in writing tomorrow. + +MAYOR. [With sincerity] Come! Shake 'ands. + +BUILDER, after a long look, holds out his hand. The two men exchange a +grip. + + The MAYOR, turning abruptly, goes out. + + BUILDER remains motionless for a minute, then resumes his seat at + the side of the writing table, leaning his head on his hands. + + The Boy's head is again seen rising above the level of the + window-sill, and another and another follows, till the three, + as if decapitated, heads are seen in a row. + +BOYS' VOICES. [One after another in a whispered crescendo] Johnny +Builder! Johnny Builder! Johnny Builder! + + BUILDER rises, turns and stares at them. The THREE HEADS disappear, + and a Boy's voice cries shrilly: "Johnny Builder!" BUILDER moves + towards the window; voices are now crying in various pitches and + keys: "Johnny Builder!" "Beatey Builder!" "Beat 'is wife-er!" + "Beatey Builder!" + + BUILDER stands quite motionless, staring, with the street lamp + lighting up a queer, rather pitiful defiance on his face. The + voices swell. There comes a sudden swish and splash of water, and + broken yells of dismay. + +TOPPING'S VOICE. Scat! you young devils! + + The sound of scuffling feet and a long-drawnout and distant + "Miaou!" + + BUILDER stirs, shuts the window, draws the curtains, goes to the + armchair before the fireplace and sits down in it. + + TOPPING enters with a little tray on which is a steaming jug of + fluid, some biscuits and a glass. He comes stealthily up level with + the chair. BUILDER stirs and looks up at him. + +TOPPING. Excuse me, sir, you must 'ave digested yesterday morning's +breakfast by now--must live to eat, sir. + +BUILDER. All right. Put it down. + +TOPPING. [Putting the tray down on the table and taking up BUILDER'S +pipe] I fair copped those young devils. + +BUILDER. You're a good fellow. + +TOPPING. [Filling the pipe] You'll excuse me, sir; the Missis--has come +back, sir-- + + BUILDER stares at him and TOPPING stops. He hands BUILDER the + filled pipe and a box of matches. + +BUILDER. [With a shiver] Light the fire, Topping. I'm chilly. + + While TOPPING lights the fire BUILDER puts the pipe in his mouth and + applies a match to it. TOPPING, having lighted the fire, turns to + go, gets as far as half way, then comes back level with the table + and regards the silent brooding figure in the chair. + +BUILDER. [Suddenly] Give me that paper on the table. No; the other +one--the Will. + + TOPPING takes up the Will and gives it to him. + +TOPPING. [With much hesitation] Excuse me, sir. It's pluck that get's +'em 'ome, sir--begging your pardon. + + BUILDER has resumed his attitude and does not answer. + +[In a voice just touched with feeling] Good-night, sir. + +BUILDER. [Without turning his head] Good-night. + + TOPPING has gone. BUILDER sits drawing at his pipe between the + firelight and the light from the standard lamp. He takes the pipe + out of his mouth and a quiver passes over his face. With a half + angry gesture he rubs the back of his hand across his eyes. + +BUILDER. [To himself] Pluck! Pluck! [His lips quiver again. He +presses them hard together, puts his pipe back into his mouth, and, +taking the Will, thrusts it into the newly-lighted fire and holds it +there with a poker.] + + + While he is doing this the door from the hall is opened quietly, and + MRS BUILDER enters without his hearing her. She has a work bag in + her hand. She moves slowly to the table, and stands looking at him. + Then going up to the curtains she mechanically adjusts them, and + still keeping her eyes on BUILDER, comes down to the table and pours + out his usual glass of whisky toddy. BUILDER, who has become + conscious of her presence, turns in his chair as she hands it to + him. He sits a moment motionless, then takes it from her, and + squeezes her hand. MRS BUILDER goes silently to her usual chair + below the fire, and taking out some knitting begins to knit. + BUILDER makes an effort to speak, does not succeed, and sits drawing + at his pipe. + + + The CURTAIN falls. + + + + + + + End of the Project Gutenberg EBook of A Family Man (Fifth Series Plays) + by John Galsworthy + + *** END OF THIS PROJECT GUTENBERG EBOOK A FAMILY MAN (FIFTH SERIES PLAYS) *** + + ***** This file should be named 4764.txt or 4764.zip ***** + This and all associated files of various formats will be found in: + https://www.gutenberg.org/4/7/6/4764/ + + Produced by David Widger + + Updated editions will replace the previous one--the old editions + will be renamed. + + Creating the works from public domain print editions means that no + one owns a United States copyright in these works, so the Foundation + (and you!) can copy and distribute it in the United States without + permission and without paying copyright royalties. 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You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers***** + + +Title: A Family Man (from the 5th Series Plays) + +Author: John Galsworthy + +Release Date: December, 2003 [EBook #4764] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on March 14, 2002] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + + + + + +*** START OF THE PROJECT GUTENBERG EBOOK A FAMILY MAN--5TH SERIES PLAYS *** + + +This etext was produced by David Widger <widger@cecomet.net> + + +[NOTE: There is a short list of bookmarks, or pointers, at the end of the +file for those who may wish to sample the author's ideas before making an +entire meal of them. D.W.] + + + + +A FAMILY MAN + +From the 5th Series Plays + +By John Galsworthy + + + + +CHARACTERS + +JOHN BUILDER................ of the firm of Builder & Builder +JULIA....................... His Wife +ATHENE...................... His elder Daughter +MAUD........................ His younger Daughter +RALPH BUILDER............... His Brother, and Partner +GUY HERRINGHAME............. A Flying Man +ANNIE....................... A Young Person in Blue +CAMILLE..................... Mrs Builder's French Maid +TOPPING..................... Builder's Manservant +THE MAYOR................... Of Breconridge +HARRIS...................... His Secretary +FRANCIS CHANTREY............ J.P. +MOON........................ A Constable +MARTIN...................... A Police Sergeant +A JOURNALIST................ From The Comet +THE FIGURE OF A POACHER +THE VOICES AND FACES OF SMALL BOYS + + + +The action passes in the town of Breconridge, the Midlands. + + + +ACT I. + SCENE I. BUILDER'S Study. After breakfast. + SCENE II. A Studio. + +ACT II. BUILDER'S Study. Lunchtime. + +ACT III. + SCENE I. THE MAYOR'S Study. 10am the following day. + SCENE II. BUILDER'S Study. The same. Noon. + SCENE III. BUILDER'S Study. The same. Evening. + + + +ACT I + +SCENE I + + The study of JOHN BUILDER in the provincial town of Breconridge. + A panelled room wherein nothing is ever studied, except perhaps + BUILDER'S face in the mirror over the fireplace. It is, however, + comfortable, and has large leather chairs and a writing table in the + centre, on which is a typewriter, and many papers. At the back is a + large window with French outside shutters, overlooking the street, + for the house is an old one, built in an age when the homes of + doctors, lawyers and so forth were part of a provincial town, and + not yet suburban. There are two or three fine old prints on the + walls, Right and Left; and a fine, old fireplace, Left, with a + fender on which one can sit. A door, Left back, leads into the + dining-room, and a door, Right forward, into the hall. + + JOHN BUILDER is sitting in his after-breakfast chair before the fire + with The Times in his hands. He has breakfasted well, and is in + that condition of first-pipe serenity in which the affairs of the. + nation seem almost bearable. He is a tallish, square, personable + man of forty-seven, with a well-coloured, jowly, fullish face, + marked under the eyes, which have very small pupils and a good deal + of light in them. His bearing has force and importance, as of a man + accustomed to rising and ownerships, sure in his opinions, and not + lacking in geniality when things go his way. Essentially a + Midlander. His wife, a woman of forty-one, of ivory tint, with a + thin, trim figure and a face so strangely composed as to be almost + like a mask (essentially from Jersey) is putting a nib into a pen- + holder, and filling an inkpot at the writing-table. + + As the curtain rises CAMILLE enters with a rather broken-down + cardboard box containing flowers. She is a young woman with a good + figure, a pale face, the warm brown eyes and complete poise of a + Frenchwoman. She takes the box to MRS BUILDER. + + +MRS BUILDER. The blue vase, please, Camille. + CAMILLE fetches a vase. MRS BUILDER puts the flowers into the vase. + CAMILLE gathers up the debris; and with a glance at BUILDER goes + out. + +BUILDER. Glorious October! I ought to have a damned good day's shooting +with Chantrey tomorrow. + +MRS BUILDER. [Arranging the flowers] Aren't you going to the office +this morning? + +BUILDER. Well, no, I was going to take a couple of days off. If you +feel at the top of your form, take a rest--then you go on feeling at the +top. [He looks at her, as if calculating] What do you say to looking up +Athene? + +MRS BUILDER. [Palpably astonished] Athene? But you said you'd done +with her? + +BUILDER. [Smiling] Six weeks ago; but, dash it, one can't have done with +one's own daughter. That's the weakness of an Englishman; he can't keep +up his resentments. In a town like this it doesn't do to have her living +by herself. One of these days it'll get out we've had a row. That +wouldn't do me any good. + +MRS BUILDER. I see. + +BUILDER. Besides, I miss her. Maud's so self-absorbed. It makes a big +hole in the family, Julia. You've got her address, haven't you? + +MRS BUILDER. Yes. [Very still] But do you think it's dignified, John? + +BUILDER. [Genially] Oh, hang dignity! I rather pride myself on knowing +when to stand on my dignity and when to sit on it. If she's still crazy +about Art, she can live at home, and go out to study. + +MRS BUILDER. Her craze was for liberty. + +BUILDER. A few weeks' discomfort soon cures that. She can't live on her +pittance. She'll have found that out by now. Get your things on and +come with me at twelve o'clock. + +MRS BUILDER. I think you'll regret it. She'll refuse. + +BUILDER. Not if I'm nice to her. A child could play with me to-day. +Shall I tell you a secret, Julia? + +MRS BUILDER. It would be pleasant for a change. + +BUILDER. The Mayor's coming round at eleven, and I know perfectly well +what he's coming for. + +MRS BUILDER. Well? + +BUILDER. I'm to be nominated for Mayor next month. Harris tipped me the +wink at the last Council meeting. Not so bad at forty-seven--h'm? I can +make a thundering good Mayor. I can do things for this town that nobody +else can. + +MRS BUILDER. Now I understand about Athene. + +BUILDER. [Good-humouredly] Well, it's partly that. But [more +seriously] it's more the feeling I get that I'm not doing my duty by her. +Goodness knows whom she may be picking up with! Artists are a loose lot. +And young people in these days are the limit. I quite believe in moving +with the times, but one's either born a Conservative, or one isn't. +So you be ready at twelve, see. By the way, that French maid of yours, +Julia-- + +MRS BUILDER. What about her? + +BUILDER. Is she--er--is she all right? We don't want any trouble with +Topping. + +MRS BUILDER. There will be none with--Topping. + [She opens the door Left.] + +BUILDER. I don't know; she strikes me as--very French. + + MRS BUILDER smiles and passes out. + + BUILDER fills his second pipe. He is just taking up the paper again + when the door from the hall is opened, and the manservant TOPPING, + dried, dark, sub-humorous, in a black cut-away, announces: + +TOPPING. The Mayor, Sir, and Mr Harris! + + THE MAYOR of Breconridge enters, He is clean-shaven, red-faced, + light-eyed, about sixty, shrewd, poll-parroty, naturally jovial, + dressed with the indefinable wrongness of a burgher; he is followed + by his Secretary HARRIS, a man all eyes and cleverness. TOPPING + retires. + +BUILDER. [Rising] Hallo, Mayor! What brings you so early? Glad to see +you. Morning, Harris! + +MAYOR. Morning, Builder, morning. + +HARRIS. Good-morning, Sir. + +BUILDER. Sit down-sit down! Have a cigar! + + The MAYOR takes a cigar HARRIS a cigarette from his own case. + +BUILDER. Well, Mayor, what's gone wrong with the works? + + He and HARRIS exchange a look. + +MAYOR. [With his first puff] After you left the Council the other day, +Builder, we came to a decision. + +BUILDER. Deuce you did! Shall I agree with it? + +MAYOR. We shall see. We want to nominate you for Mayor. You willin' to +stand? + +BUILDER. [Stolid] That requires consideration. + +MAYOR. The only alternative is Chantrey; but he's a light weight, and +rather too much County. What's your objection? + +BUILDER. It's a bit unexpected, Mayor. [Looks at HARRIS] Am I the +right man? Following you, you know. I'm shooting with Chantrey +to-morrow. What does he feel about it? + +MAYOR. What do you say, 'Arris? + +HARRIS. Mr Chantrey's a public school and University man, Sir; he's not +what I call ambitious. + +BUILDER. Nor am I, Harris. + +HARRIS. No, sir; of course you've a high sense of duty. Mr Chantrey's +rather dilettante. + +MAYOR. We want a solid man. + +BUILDER. I'm very busy, you know, Mayor. + +MAYOR. But you've got all the qualifications--big business, family man, +live in the town, church-goer, experience on the Council and the Bench. +Better say "yes," Builder. + +BUILDER. It's a lot of extra work. I don't take things up lightly. + +MAYOR. Dangerous times, these. Authority questioned all over the place. +We want a man that feels his responsibilities, and we think we've got him +in you. + +BUILDER. Very good of you, Mayor. I don't know, I'm sure. I must think +of the good of the town. + +HARRIS. I shouldn't worry about that, sir. + +MAYOR. The name John Builder carries weight. You're looked up to as a +man who can manage his own affairs. Madam and the young ladies well? + +BUILDER. First-rate. + +MAYOR. [Rises] That's right. Well, if you'd like to talk it over with +Chantrey to-morrow. With all this extremism, we want a man of principle +and common sense. + +HARRIS. We want a man that'll grasp the nettle, sir--and that's you. + +BUILDER. Hm! I've got a temper, you know. + +MAYOR. [Chuckling] We do--we do! You'll say "yes," I see. No false +modesty! Come along, 'Arris, we must go. + +BUILDER. Well, Mayor, I'll think it over, and let you have an answer. +You know my faults, and you know my qualities, such as they are. I'm +just a plain Englishman. + +MAYOR. We don't want anything better than that. I always say the great +point about an Englishman is that he's got bottom; you may knock him off +his pins, but you find him on 'em again before you can say "Jack +Robinson." He may have his moments of aberration, but he's a sticker. +Morning, Builder, morning! Hope you'll say "yes." + + He shakes hands and goes out, followed by HARRIS. + + When the door is dosed BUILDER stands a moment quite still with a + gratified smile on his face; then turns and scrutinises himself in + the glass over the hearth. While he is doing so the door from the + dining-room is opened quietly and CAMILLE comes in. BUILDER, + suddenly seeing her reflected in the mirror, turns. + +BUILDER. What is it, Camille? + +CAMILLE. Madame send me for a letter she say you have, Monsieur, from +the dyer and cleaner, with a bill. + +BUILDER. [Feeling in his pockets] Yes--no. It's on the table. + +CAMILLE goes to the writing-table and looks. That blue thing. + +CAMILLE. [Taking it up] Non, Monsieur, this is from the gas. + +BUILDER. Oh! Ah! + [He moves up to the table and turns over papers. CAMILLE stands + motionless close by with her eyes fixed on him.] +Here it is! + [He looks up, sees her looking at him, drops his own gaze, and hands + her the letter. Their hands touch. Putting his hands in his + pockets] +What made you come to England? + +CAMILLE. [Demure] It is better pay, Monsieur, and [With a smile] the +English are so amiable. + +BUILDER. Deuce they are! They haven't got that reputation. + +CAMILLE. Oh! I admire Englishmen. They are so strong and kind. + +BUILDER. [Bluffly flattered] H'm! We've no manners. + +CAMILLE. The Frenchman is more polite, but not in the 'eart. + +BUILDER. Yes. I suppose we're pretty sound at heart. + +CAMILLE. And the Englishman have his life in the family--the Frenchman +have his life outside. + +BUILDER. [With discomfort] H'm! + +CAMILLE. [With a look] Too mooch in the family--like a rabbit in a +'utch. + +BUILDER. Oh! So that's your view of us! [His eyes rest on her, +attracted but resentful]. + +CAMILLE. Pardon, Monsieur, my tongue run away with me. + +BUILDER. [Half conscious of being led on] Are you from Paris? + +CAMILLE. [Clasping her hands] Yes. What a town for pleasure--Paris! + +BUILDER. I suppose so. Loose place, Paris. + +CAMILLE. Loose? What is that, Monsieur? + +BUILDER. The opposite of strict. + +CAMILLE. Strict! Oh! certainly we like life, we other French. It is +not like England. I take this to Madame, Monsieur. [She turns as if to +go] Excuse me. + +BUILDER. I thought you Frenchwomen all married young. + +CAMILLE. I 'ave been married; my 'usband did die--en Afrique. + +BUILDER. You wear no ring. + +CAMILLE. [Smiling] I prefare to be mademoiselle, Monsieur. + +BUILDER. [Dubiously] Well, it's all the same to us. [He takes a letter +up from the table] You might take this to Mrs Builder too. [Again their +fingers touch, and there is a suspicion of encounter between their eyes.] + +CAMILLE goes out. + +BUILDER. [Turning to his chair] Don't know about that woman--she's a +tantalizer. + + He compresses his lips, and is settling back into his chair, when + the door from the hall is opened and his daughter MAUD comes in; a + pretty girl, rather pale, with fine eyes. Though her face has a + determined cast her manner at this moment is by no means decisive. + She has a letter in her hand, and advances rather as if she were + stalking her father, who, after a "Hallo, Maud!" has begun to read + his paper. + +MAUD. [Getting as far as the table] Father. + +BUILDER. [Not lowering the paper] Well? I know that tone. What do you +want--money? + +MAUD. I always want money, of course; but--but-- + +BUILDER. [Pulling out a note-abstractedly] Here's five pounds for you. + + MAUD, advancing, takes it, then seems to find what she has come for + more on her chest than ever. + +BUILDER. [Unconscious] Will you take a letter for me? + + MAUD sits down Left of table and prepares to take down the letter. + +[Dictating] "Dear Mr Mayor,--Referring to your call this morning, I have +--er--given the matter very careful consideration, and though somewhat +reluctant--" + +MAUD. Are you really reluctant, father? + +BUILDER. Go on--"To assume greater responsibilities, I feel it my duty +to come forward in accordance with your wish. The--er--honour is one of +which I hardly feel myself worthy, but you may rest assured--" + +MAUD. Worthy. But you do, you know. + +BUILDER. Look here! Are you trying to get a rise out of me?--because +you won't succeed this morning. + +MAUD. I thought you were trying to get one out of me. + +BUILDER. Well, how would you express it? + +MAUD. "I know I'm the best man for the place, and so do you--" + +BUILDER. The disrespect of you young people is something extraordinary. +And that reminds me where do you go every evening now after tea? + +MAUD. I--I don't know. + +BUILDER. Come now, that won't do--you're never in the house from six to +seven. + +MAUD. Well! It has to do with my education. + +BUILDER. Why, you finished that two years ago! + +MAUD. Well, call it a hobby, if you like, then, father. + + She takes up the letter she brought in and seems on the point of + broaching it. + +BUILDER. Hobby? Well, what is it? + +MAUD. I don't want to irritate you, father. + +BUILDER. You can't irritate me more than by having secrets. See what +that led to in your sister's case. And, by the way, I'm going to put an +end to that this morning. You'll be glad to have her back, won't you? + +MAUD. [Startled] What! + +BUILDER. Your mother and I are going round to Athene at twelve o'clock. +I shall make it up with her. She must come back here. + +MAUD. [Aghast, but hiding it] Oh! It's--it's no good, father. She +won't. + +BUILDER. We shall see that. I've quite got over my tantrum, and I +expect she has. + +MAUD. [Earnestly] Father! I do really assure you she won't; it's only +wasting your time, and making you eat humble pie. + +BUILDER. Well, I can eat a good deal this morning. It's all nonsense! +A family's a family. + +MAUD. [More and more disturbed, but hiding it] Father, if I were you, +I wouldn't-really! It's not-dignified. + +BUILDER. You can leave me to judge of that. It's not dignified for the +Mayor of this town to have an unmarried daughter as young as Athene +living by herself away from home. This idea that she's on a visit won't +wash any longer. Now finish that letter--"worthy, but you may rest +assured that I shall do my best to sustain the--er--dignity of the +office." [MAUD types desperately.] Got that? "And--er--preserve the +tradition so worthily--" No-- "so staunchly"--er--er-- + +MAUD. Upheld. + +BUILDER. Ah! "--upheld by yourself.--Faithfully yours." + +MAUD. [Finishing] Father, you thought Athene went off in a huff. It +wasn't that a bit. She always meant to go. She just got you into a rage +to make it easier. She hated living at home. + +BUILDER. Nonsense! Why on earth should she? + +MAUD. Well, she did! And so do-- [Checking herself] And so you see +it'll only make you ridiculous to go. + +BUILDER. [Rises] Now what's behind this, Maud? + +MAUD. Behind--Oh! nothing! + +BUILDER. The fact is, you girls have been spoiled, and you enjoy +twisting my tail; but you can't make me roar this morning. I'm too +pleased with things. You'll see, it'll be all right with Athene. + +MAUD. [Very suddenly] Father! + +BUILDER. [Grimly humorous] Well! Get it off your chest. What's that +letter about? + +MAUD. [Failing again and crumpling the letter behind her back] +Oh! nothing. + +BUILDER. Everything's nothing this morning. Do you know what sort of +people Athene associates with now--I suppose you see her? + +MAUD. Sometimes. + +BUILDER. Well? + +MAUD. Nobody much. There isn't anybody here to associate with. It's +all hopelessly behind the times. + +BUILDER. Oh! you think so! That's the inflammatory fiction you pick up. +I tell you what, young woman--the sooner you and your sister get rid of +your silly notions about not living at home, and making your own way, the +sooner you'll both get married and make it. Men don't like the new +spirit in women--they may say they do, but they don't. + +MAUD. You don't, father, I know. + +BUILDER. Well, I'm very ordinary. If you keep your eyes open, you'll +soon see that. + +MAUD. Men don't like freedom for anybody but themselves. + +BUILDER. That's not the way to put it. [Tapping out his pipe] Women in +your class have never had to face realities. + +MAUD. No, but we want to. + +BUILDER. [Good-humouredly] Well, I'll bet you what you like, Athene's +dose of reality will have cured her. + +MAUD. And I'll bet you--No, I won't! + +BUILDER. You'd better not. Athene will come home, and only too glad to +do it. Ring for Topping and order the car at twelve. + + As he opens the door to pass out, MAUD starts forward, but checks + herself. + +MAUD. [Looking at her watch] Half-past eleven! Good heavens! + + She goes to the bell and rings. Then goes back to the table, and + writes an address on a bit of paper. + + TOPPING enters Right. + +TOPPING. Did you ring, Miss? + +MAUD. [With the paper] Yes. Look here, Topping! Can you manage-- +on your bicycle--now at once? I want to send a message to Miss Athene +--awfully important. It's just this: "Look out! Father is coming." +[Holding out the paper] Here's her address. You must get there and away +again by twelve. Father and mother want the car then to go there. Order +it before you go. It won't take you twenty minutes on your bicycle. +It's down by the river near the ferry. But you mustn't be seen by them +either going or coming. + +TOPPING. If I should fall into their hands, Miss, shall I eat the +despatch? + +MAUD. Rather! You're a brick, Topping. Hurry up! + +TOPPING. Nothing more precise, Miss? + +MAUD. M--m--No. + +TOPPING. Very good, Miss Maud. [Conning the address] "Briary Studio, +River Road. Look out! Father is coming!" I'll go out the back way. +Any answer? + +MAUD. No. + + TOPPING nods his head and goes out. + +MAUD. [To herself] Well, it's all I can do. + + She stands, considering, as the CURTAIN falls. + + + + +SCENE II + + The Studio, to which are attached living rooms, might be rented at + eighty pounds a year--some painting and gear indeed, but an air of + life rather than of work. Things strewn about. Bare walls, a + sloping skylight, no windows; no fireplace visible; a bedroom door, + stage Right; a kitchen door, stage Left. A door, Centre back, into + the street. The door knocker is going. + +From the kitchen door, Left, comes the very young person, ANNIE, in +blotting-paper blue linen, with a white Dutch cap. She is pretty, her +cheeks rosy, and her forehead puckered. She opens the street door. +Standing outside is TOPPING. He steps in a pace or two. + +TOPPING. Miss Builder live here? + +ANNIE. Oh! no, sir; Mrs Herringhame. + +TOPPING. Mrs Herringhame? Oh! young lady with dark hair and large +expressive eyes? + +ANNIE. Oh! yes, sir. + +TOPPING. With an "A. B." on her linen? [Moves to table]. + +ANNIE. Yes, sir. + +TOPPING. And "Athene Builder" on her drawings? + +ANNIE. [Looking at one] Yes, sir. + +TOPPING. Let's see. [He examines the drawing] Mrs Herringhame, you +said? + +ANNIE. Oh! yes, Sir. + +TOPPING. Wot oh! + +ANNIE. Did you want anything, sir? + +TOPPING. Drop the "sir," my dear; I'm the Builders' man. +Mr Herringhame in? + +ANNIE. Oh! no, Sir. + +TOPPING. Take a message. I can't wait. From Miss Maud Builder. "Look +out! Father is coming." Now, whichever of 'em comes in first--that's +the message, and don't you forget it. + +ANNIE. Oh! no, Sir. + +TOPPING. So they're married? + +ANNIE. Oh! I don't know, sir. + +TOPPING. I see. Well, it ain't known to Builder, J.P., either. That's +why there's a message. See? + +ANNIE. Oh! yes, Sir. + +TOPPING. Keep your head. I must hop it. From Miss Maud Builder. +"Look out! Father is coming." + + He nods, turns and goes, pulling the door to behind him. ANNIE + stands "baff" for a moment. + +ANNIE. Ah! + + She goes across to the bedroom on the Right, and soon returns with a + suit of pyjamas, a toothbrush, a pair of slippers and a case of + razors, which she puts on the table, and disappears into the + kitchen. She reappears with a bread pan, which she deposits in the + centre of the room; then crosses again to the bedroom, and once more + reappears with a clothes brush, two hair brushes, and a Norfolk + jacket. As she stuffs all these into the bread pan and bears it + back into the kitchen, there is the sound of a car driving up and + stopping. ANNIE reappears at the kitchen door just as the knocker + sounds. + +ANNIE. Vexin' and provokin'! [Knocker again. She opens the door] Oh! + + MR and MRS BUILDER enter. + +BUILDER. Mr and Mrs Builder. My daughter in? + +ANNIE. [Confounded] Oh! Sir, no, sir. + +BUILDER. My good girl, not "Oh! Sir, no, sir." Simply: No, Sir. See? + +ANNIE. Oh! Sir, yes, Sir. + +BUILDER. Where is she? + +ANNIE. Oh! Sir, I don't know, Sir. + +BUILDER. [Fixing her as though he suspected her of banter] Will she be +back soon? + +ANNIE. No, Sir. + +BUILDER. How do you know? + +ANNIE. I d--don't, sir. + +BUILDER. They why do you say so? [About to mutter "She's an idiot!" he +looks at her blushing face and panting figure, pats her on the shoulder +and says] Never mind; don't be nervous. + +ANNIE. Oh! yes, sir. Is that all, please, sir? + +MRS BUILDER. [With a side look at her husband and a faint smile] Yes; +you can go. + +ANNIE. Thank you, ma'am. + + She turns and hurries out into the kitchen, Left. BUILDER gazes + after her, and MRS BUILDER gazes at BUILDER with her faint smile. + +BUILDER. [After the girl is gone] Quaint and Dutch--pretty little +figure! [Staring round] H'm! Extraordinary girls are! Fancy Athene +preferring this to home. What? + +MRS BUILDER. I didn't say anything. + +BUILDER. [Placing a chair for his wife, and sitting down himself] Well, +we must wait, I suppose. Confound that Nixon legacy! If Athene hadn't +had that potty little legacy left her, she couldn't have done this. +Well, I daresay it's all spent by now. I made a mistake to lose my +temper with her. + +MRS BUILDER. Isn't it always a mistake to lose one's temper? + +BUILDER. That's very nice and placid; sort of thing you women who live +sheltered lives can say. I often wonder if you women realise the strain +on a business man. + +MRS BUILDER. [In her softly ironical voice] It seems a shame to add the +strain of family life. + +BUILDER. You've always been so passive. When I want a thing, I've got +to have it. + +MRS BUILDER. I've noticed that. + +BUILDER. [With a short laugh] Odd if you hadn't, in twenty-three years. +[Touching a canvas standing against the chair with his toe] Art! Just a +pretext. We shall be having Maud wanting to cut loose next. She's very +restive. Still, I oughtn't to have had that scene with Athene. I ought +to have put quiet pressure. + + MRS BUILDER Smiles. + +BUILDER. What are you smiling at? + + MRS BUILDER shrugs her shoulders. + +Look at this-- Cigarettes! [He examines the brand on the box] Strong, +very--and not good! [He opens the door] Kitchen! [He shuts it, +crosses, and opens the door, Right] Bedroom! + +MRS BUILDER. [To his disappearing form] Do you think you ought, John? + + He has disappeared, and she ends with an expressive movement of her + hands, a long sigh, and a closing of her eyes. BUILDER'S peremptory + voice is heard: "Julia!" + +What now? + + She follows into the bedroom. The maid ANNIE puts her head out of + the kitchen door; she comes out a step as if to fly; then, at + BUILDER'S voice, shrinks back into the kitchen. + +BUILDER, reappearing with a razor strop in one hand and a shaving-brush +in the other, is followed by MRS BUILDER. + +BUILDER. Explain these! My God! Where's that girl? + +MRS BUILDER. John! Don't! [Getting between him and the kitchen door] +It's not dignified. + +BUILDER. I don't care a damn. + +MRS BUILDER. John, you mustn't. Athene has the tiny beginning of a +moustache, you know. + +BUILDER. What! I shall stay and clear this up if I have to wait a week. +Men who let their daughters--! This age is the limit. [He makes a +vicious movement with the strop, as though laying it across someone's +back.] + +MRS BUILDER. She would never stand that. Even wives object, nowadays. + +BUILDER. [Grimly] The war's upset everything. Women are utterly out +of hand. Why the deuce doesn't she come? + +MRS BUILDER. Suppose you leave me here to see her. + +BUILDER. [Ominously] This is my job. + +MRS BUILDER. I think it's more mine. + +BUILDER. Don't stand there opposing everything I say! I'll go and have +another look--[He is going towards the bedroom when the sound of a +latchkey in the outer door arrests him. He puts the strop and brush +behind his back, and adds in a low voice] Here she is! + + MRS BUILDER has approached him, and they have both turned towards + the opening door. GUY HERRINGHAME comes in. They are a little out + of his line of sight, and he has shut the door before he sees them. + When he does, his mouth falls open, and his hand on to the knob of + the door. He is a comely young man in Harris tweeds. Moreover, he + is smoking. He would speak if he could, but his surprise is too + excessive. BUILDER. Well, sir? + +GUY. [Recovering a little] I was about to say the same to you, sir. + +BUILDER. [Very red from repression] These rooms are not yours, are +they? + +GUY. Nor yours, sir? + +BUILDER. May I ask if you know whose they are? + +GUY. My sister's. + +BUILDER. Your--you--! + +MRS BUILDER. John! + +BUILDER. Will you kindly tell me why your sister signs her drawings by +the name of my daughter, Athene Builder--and has a photograph of my wife +hanging there? + + The YOUNG MAN looks at MRS BUILDER and winces, but recovers himself. + +GUY. [Boldly] As a matter of fact this is my sister's studio; she's in +France--and has a friend staying here. + +BUILDER. Oh! And you have a key? + +GUY. My sister's. + +BUILDER. Does your sister shave? + +GUY. I--I don't think so. + +BUILDER. No. Then perhaps you'll tell me what these mean? [He takes +out the strop and shaving stick]. + +GUY. Oh! Ah! Those things? + +BUILDER. Yes. Now then? + +GUY. [Addressing MRS BUILDER] Need we go into this in your presence, +ma'am? It seems rather delicate. + +BUILDER. What explanation have you got? + +GUY. Well, you see-- + +BUILDER. No lies; out with it! + +GUY. [With decision] I prefer to say nothing. + +BUILDER. What's your name? + +GUY. Guy Herringhame. + +BUILDER. Do you live here? + + Guy makes no sign. + +MRS BUILDER. [To Guy] I think you had better go. + +BUILDER. Julia, will you leave me to manage this? + +MRS BUILDER. [To Guy] When do you expect my daughter in? + +GUY. Now--directly. + +MRS BUILDER. [Quietly] Are you married to her? + +GUY. Yes. That is--no--o; not altogether, I mean. + +BUILDER. What's that? Say that again! + +GUY. [Folding his arms] I'm not going to say another word. + +BUILDER. I am. + +MRS BUILDER. John--please! + +BUILDER. Don't put your oar in! I've had wonderful patience so far. +[He puts his boot through a drawing] Art! This is what comes of it! Are +you an artist? + +GUY. No; a flying man. The truth is-- + +BUILDER. I don't want to hear you speak the truth. I'll wait for my +daughter. + +GUY. If you do, I hope you'll be so very good as to be gentle. If you +get angry I might too, and that would be awfully ugly. + +BUILDER. Well, I'm damned! + +GUY. I quite understand that, sir. But, as a man of the world, I hope +you'll take a pull before she comes, if you mean to stay. + +BUILDER. If we mean to stay! That's good! + +GUY. Will you have a cigarette? + +BUILDER. I--I can't express-- + +GUY. [Soothingly] Don't try, sir. [He jerks up his chin, listening] I +think that's her. [Goes to the door] Yes. Now, please! [He opens the +door] Your father and mother, Athene. + +ATHENE enters. She is flushed and graceful. Twenty-two, with a short +upper lip, a straight nose, dark hair, and glowing eyes. She wears +bright colours, and has a slow, musical voice, with a slight lisp. + +ATHENE. Oh! How are you, mother dear? This is rather a surprise. +Father always keeps his word, so I certainly didn't expect him. [She +looks steadfastly at BUILDER, but does not approach]. + +BUILDER. [Controlling himself with an effort] Now, Athene, what's this? + +ATHENE. What's what? + +BUILDER. [The strop held out] Are you married to this--this--? + +ATHENE. [Quietly] To all intents and purposes. + +BUILDER. In law? + +ATHENE. No. + +BUILDER. My God! You--you--! + +ATHENE. Father, don't call names, please. + +BUILDER. Why aren't you married to him? + +ATHENE. Do you want a lot of reasons, or the real one? + +BUILDER. This is maddening! [Goes up stage]. + +ATHENE. Mother dear, will you go into the other room with Guy? [She +points to the door Right]. + +BUILDER. Why? + +ATHENE. Because I would rather she didn't hear the reason. + +GUY. [To ATHENE, sotto voce] He's not safe. + +ATHENE. Oh! yes; go on. + + Guy follows MRS BUILDER, and after hesitation at the door they go + out into the bedroom. + +BUILDER. Now then! + +ATHENE. Well, father, if you want to know the real reason, it's--you. + +BUILDER. What on earth do you mean? + +ATHENE. Guy wants to marry me. In fact, we--But I had such a stunner of +marriage from watching you at home, that I-- + +BUILDER. Don't be impudent! My patience is at breaking-point, I warn +you. + +ATHENE. I'm perfectly serious, Father. I tell you, we meant to marry, +but so far I haven't been able to bring myself to it. You never noticed +how we children have watched you. + +BUILDER. Me? + +ATHENE. Yes. You and mother, and other things; all sorts of things-- + +BUILDER. [Taking out a handkerchief and wiping his brow] I really think +you're mad. + +ATHENE. I'm sure you must, dear. + +BUILDER. Don't "dear" me! What have you noticed? D'you mean I'm not a +good husband and father? + +ATHENE. Look at mother. I suppose you can't, now; you're too used to +her. + +BUILDER. Of course I'm used to her. What else is marrying for? + +ATHENE. That; and the production of such as me. And it isn't good +enough, father. You shouldn't have set us such a perfect example. + +BUILDER. You're talking the most arrant nonsense I ever heard. [He +lifts his hands] I've a good mind to shake it out of you. + +ATHENE. Shall I call Guy? + + He drops his hands. + +Confess that being a good husband and father has tried you terribly. It +has us, you know. + +BUILDER. [Taking refuge in sarcasm] When you've quite done being funny, +perhaps you'll tell me why you've behaved like a common street flapper. + +ATHENE. [Simply] I couldn't bear to think of Guy as a family man. +That's all--absolutely. It's not his fault; he's been awfully anxious to +be one. + +BUILDER. You've disgraced us, then; that's what it comes to. + +ATHENE. I don't want to be unkind, but you've brought it on yourself. + +BUILDER. [Genuinely distracted] I can't even get a glimmer of what you +mean. I've never been anything but firm. Impatient, perhaps. I'm not +an angel; no ordinary healthy man is. I've never grudged you girls any +comfort, or pleasure. + +ATHENE. Except wills of our own. + +BUILDER. What do you want with wills of your own till you're married? + +ATHENE. You forget mother! + +BUILDER. What about her? + +ATHENE. She's very married. Has she a will of her own? + +BUILDER. [Sullenly] She's learnt to know when I'm in the right. + +ATHENE. I don't ever mean to learn to know when Guy's in the right. +Mother's forty-one, and twenty-three years of that she's been your wife. +It's a long time, father. Don't you ever look at her face? + +BUILDER. [Troubled in a remote way] Rubbish! + +ATHENE. I didn't want my face to get like that. + +BUILDER. With such views about marriage, what business had you to go +near a man? Come, now! + +ATHENE. Because I fell in love. + +BUILDER. Love leads to marriage--and to nothing else, but the streets. +What an example to your sister! + +ATHENE. You don't know Maud any more than you knew me. She's got a will +of her own too, I can tell you. + +BUILDER. Now, look here, Athene. It's always been my way to face +accomplished facts. What's done can't be undone; but it can be remedied. +You must marry this young----at once, before it gets out. He's behaved +like a ruffian: but, by your own confession, you've behaved worse. +You've been bitten by this modern disease, this--this, utter lack of +common decency. There's an eternal order in certain things, and marriage +is one of them; in fact, it's the chief. Come, now. Give me a promise, +and I'll try my utmost to forget the whole thing. + +ATHENE. When we quarrelled, father, you said you didn't care what became +of me. + +BUILDER. I was angry. + +ATHENE. So you are now. + +BUILDER. Come, Athene, don't be childish! Promise me! + +ATHENE. [With a little shudder] No! We were on the edge of it. But now +I've seen you again--Poor mother! + +BUILDER. [Very angry] This is simply blasphemous. What do you mean by +harping on your mother? If you think that--that--she doesn't--that she +isn't-- + +ATHENE. Now, father! + +BUILDER. I'm damned if I'll sit down under this injustice. Your mother +is--is pretty irritating, I can tell you. She--she--Everything +suppressed. And--and no--blood in her! + +ATHENE. I knew it! + +BUILDER. [Aware that he has confirmed some thought in her that he had no +intention of confirming] What's that? + +ATHENE. Don't you ever look at your own face, father? When you shave, +for instance. + +BUILDER. Of course I do. + +ATHENE. It isn't satisfied, is it? + +BUILDER. I don't know what on earth you mean. + +ATHENE. You can't help it, but you'd be ever so much happier if you were +a Mohammedan, and two or three, instead of one, had--had learned to know +when you were in the right. + +BUILDER. 'Pon my soul! This is outrageous! + +ATHENE. Truth often is. + +BUILDER. Will you be quiet? + +ATHENE. I don't ever want to feel sorry for Guy in that way. + +BUILDER. I think you're the most immodest--I'm ashamed that you're my +daughter. If your another had ever carried on as you are now-- + +ATHENE. Would you have been firm with her? + +BUILDER. [Really sick at heart at this unwonted mockery which meets him +at every turn] Be quiet, you----! + +ATHENE. Has mother never turned? + +BUILDER. You're an unnatural girl! Go your own way to hell! + +ATHENE. I am not coming back home, father. + +BUILDER. [Wrenching open the door, Right] Julia! Come! We can't stay +here. + + MRS BUILDER comes forth, followed by GUY. + +As for you, sir, if you start by allowing a woman to impose her crazy +ideas about marriage on you, all I can say is--I despise you. [He +crosses to the outer door, followed by his wife. To ATHENE] I've done +with you! + + He goes out. + + MRS BUILDER, who has so far seemed to accompany him, shuts the door + quickly and remains in the studio. She stands there with that faint + smile on her face, looking at the two young people. + +ATHENE. Awfully sorry, mother; but don't you see what a stunner father's +given me? + +MRS BUILDER. My dear, all men are not alike. + +GUY. I've always told her that, ma'am. + +ATHENE. [Softly] Oh! mother, I'm so sorry for you. + + The handle of the door is rattled, a fist is beaten on it. + +[She stamps, and covers her ears] Disgusting! + +GUY. Shall I--? + +MRS BUILDER. [Shaking her head] I'm going in a moment. [To ATHENE] You +owe it to me, Athene. + +ATHENE. Oh! if somebody would give him a lesson! + + BUILDER's voice: "Julia!" + +Have you ever tried, mother? + + MRS BUILDER looks at the YOUNG MAN, who turns away out of hearing. + +MRS BUILDER. Athene, you're mistaken. I've always stood up to him in my +own way. + +ATHENE. Oh! but, mother--listen! + + The beating and rattling have recommenced, and the voice: "Are you + coming?" + +[Passionately] And that's family life! Father was all right before he +married, I expect. And now it's like this. How you survive--! + +MRS BUILDER. He's only in a passion, my dear. + +ATHENE. It's wicked. + +MRS BUILDER. It doesn't work otherwise, Athene. + + A single loud bang on the door. + +ATHENE. If he beats on that door again, I shall scream. + + MRS BUILDER smiles, shakes her head, and turns to the door. + +MRS BUILDER. Now, my dear, you're going to be sensible, to please me. +It's really best. If I say so, it must be. It's all comedy, Athene. + +ATHENE. Tragedy! + +GUY. [Turning to them] Look here! Shall I shift him? + + MRS BUILDER shakes her head and opens the door. BUILDER stands + there, a furious figure. + +BUILDER. Will you come, and leave that baggage and her cad? + +MRS BUILDER steps quickly out and the door is closed. Guy makes an angry +movement towards it. + +ATHENE. Guy! + +GUY. [Turning to her] That puts the top hat on. So persuasive! [He +takes out of his pocket a wedding ring, and a marriage licence] Well! +What's to be done with these pretty things, now? + +ATHENE. Burn them! + +GUY. [Slowly] Not quite. You can't imagine I should ever be like that, +Athene? + +ATHENE. Marriage does wonders. + +GUY. Thanks. + +ATHENE. Oh! Guy, don't be horrid. I feel awfully bad. + +GUY. Well, what do you think I feel? "Cad!" + + They turn to see ANNIE in hat and coat, with a suit-case in her + hand, coming from the door Left. + +ANNIE. Oh! ma'am, please, Miss, I want to go home. + +GUY. [Exasperated!] She wants to go home--she wants to go home! + +ATHENE. Guy! All right, Annie. + +ANNIE. Oh! thank you, Miss. [She moves across in front of them]. + +ATHENE. [Suddenly] Annie! + + ANNIE stops and turns to her. + +What are you afraid of? + +ANNIE. [With comparative boldness] I--I might catch it, Miss. + +ATHENE. From your people? + +ANNIE. Oh! no, Miss; from you. You see, I've got a young man that wants +to marry me. And if I don't let him, I might get into trouble meself. + +ATHENE. What sort of father and mother have you got, Annie? + +ANNIE. I never thought, Miss. And of course I don't want to begin. + +ATHENE. D'you mean you've never noticed how they treat each other? + +ANNIE. I don't think they do, Miss. + +ATHENE. Exactly. + +ANNIE. They haven't time. Father's an engine driver. + +GUY. And what's your young man, Annie? + +ANNIE. [Embarrassed] Somethin' like you, sir. But very respectable. + +ATHENE. And suppose you marry him, and he treats you like a piece of +furniture? + +ANNIE. I--I could treat him the same, Miss. + +ATHENE. Don't you believe that, Annie! + +ANNIE. He's very mild. + +ATHENE. That's because he wants you. You wait till he doesn't. + + ANNIE looks at GUY. + +GUY. Don't you believe her, Annie; if he's decent-- + +ANNIE. Oh! yes, sir. + +ATHENE. [Suppressing a smile] Of course--but the point is, Annie, that +marriage makes all the difference. + +ANNIE. Yes, Miss; that's what I thought. + +ATHENE. You don't see. What I mean is that when once he's sure of you, +he may change completely. + +ANNIE. [Slowly, looking at her thumb] Oh! I don't--think--he'll hammer +me, Miss. Of course, I know you can't tell till you've found out. + +ATHENE. Well, I've no right to influence you. + +ANNIE. Oh! no, Miss; that's what I've been thinking. + +-GUY. You're quite right, Annie=-this is no place for you. + +ANNIE. You see, we can't be married; sir, till he gets his rise. So +it'll be a continual temptation to me. + +ATHENE. Well, all right, Annie. I hope you'll never regret it. + +ANNIE. Oh! no, Miss. + +GUY. I say, Annie, don't go away thinking evil of us; we didn't realise +you knew we weren't married. + +ATHENE. We certainly did not. + +ANNIE. Oh! I didn't think it right to take notice. + +GUY. We beg your pardon. + +ANNIE. Oh! no, sir. Only, seein' Mr and Mrs Builder so upset, brought +it 'ome like. And father can be 'andy with a strap. + +ATHENE. There you are! Force majeure! + +ANNIE. Oh! yes, Miss. + +ATHENE. Well, good-bye, Annie. What are you going to say to your +people? + +ANNIE. Oh! I shan't say I've been livin' in a family that wasn't a +family, Miss. It wouldn't do no good. + +ATHENE. Well, here are your wages. + +ANNIE. Oh! I'm puttin' you out, Miss. [She takes the money]. + +ATHENE. Nonsense, Annie. And here's your fare home. + +ANNIE. Oh! thank you, Miss. I'm very sorry. Of course if you was to +change your mind--[She stops, embarrassed]. + +ATHENE. I don't think-- + +GUY. [Abruptly] Good-bye, Annie. Here's five bob for the movies. + +ANNIE. Oh! good-bye, sir, and thank you. I was goin' there now with my +young man. He's just round the corner. + +GUY. Be very careful of him. + +ANNIE. Oh! yes, sir, I will. Good-bye, sir. Goodbye, Miss. + + She goes. + +GUY. So her father has a firm hand too. But it takes her back to the +nest. How's that, Athene? + +ATHENE. [Playing with a leathern button on his coat] If you'd watched +it ever since you could watch anything, seen it kill out all--It's having +power that does it. I know Father's got awfully good points. + +GUY. Well, they don't stick out. + +ATHENE. He works fearfully hard; he's upright, and plucky. He's not +stingy. But he's smothered his animal nature-and that's done it. I +don't want to see you smother anything, Guy. + +GUY. [Gloomily] I suppose one never knows what one's got under the lid. +If he hadn't come here to-day--[He spins the wedding ring] He certainly +gives one pause. Used he to whack you? + +ATHENE. Yes. + +GUY. Brute! + +ATHENE. With the best intentions. You see, he's a Town Councillor, and +a magistrate. I suppose they have to be "firm." Maud and I sneaked in +once to listen to him. There was a woman who came for protection from +her husband. If he'd known we were there, he'd have had a fit. + +GUY. Did he give her the protection? + +ATHENE. Yes; he gave her back to the husband. Wasn't it--English? + +GUY. [With a grunt] Hang it! We're not all like that. + +ATHENE. [Twisting his button] I think it's really a sense of property +so deep that they don't know they've got it. Father can talk about +freedom like a--politician. + +GUY. [Fitting the wedding ring on her finger] Well! Let's see how it +looks, anyway. + +ATHENE. Don't play with fire, Guy. + +GUY. There's something in atavism, darling; there really is. I like it +--I do. + + A knock on the door. + +ATHENE. That sounds like Annie again. Just see. + +GUY. [Opening the door] It is. Come in, Annie. What's wrong now? + +ANNIE. [Entering in confusion] Oh! sir, please, sir--I've told my +young man. + +ATHENE. Well, what does he say? + +ANNIE. 'E was 'orrified, Miss. + +GUY. The deuce he was! At our conduct? + +ANNIE. Oh! no, sir--at mine. + +ATHENE. But you did your best; you left us. + +ANNIE. Oh! yes, Miss; that's why 'e's horrified. + +GUY. Good for your young man. + +ANNIE. [Flattered] Yes, sir. 'E said I 'ad no strength of mind. + +ATHENE. So you want to come back? + +ANNIE. Oh! yes, Miss. + +ATHENE. All right. + +GUY. But what about catching it? + +ANNIE. Oh, sir, 'e said there was nothing like Epsom salts. + +GUY. He's a wag, your young man. + +ANNIE. He was in the Army, sir. + +GUY. You said he was respectable. + +ANNIE. Oh! yes, sir; but not so respectable as that. + +ATHENE. Well, Annie, get your things off, and lay lunch. + +ANNIE. Oh! yes, Miss. + + She makes a little curtsey and passes through into the kitchen. + +GUY. Strength of mind! Have a little, Athene won't you? [He holds out +the marriage licence before her]. + +ATHENE. I don't know--I don't know! If--it turned out-- + +GUY. It won't. Come on. Must take chances in this life. + +ATHENE. [Looking up into his face] Guy, promise me--solemnly that you'll +never let me stand in your way, or stand in mine! + +GUY. Right! That's a bargain. [They embrace.] + + ATHENE quivers towards him. They embrace fervently as ANNIE enters + with the bread pan. They spring apart. + +ANNIE. Oh! + +GUY. It's all right, Annie. There's only one more day's infection +before you. We're to be married to-morrow morning. + +ANNIE. Oh! yes, sir. Won't Mr Builder be pleased? + +GUY. H'm! That's not exactly our reason. + +ANNIE. [Right] Oh! no, sir. Of course you can't be a family without, +can you? + +GUY. What have you got in that thing? + + ANNIE is moving across with the bread pan. She halts at the bedroom + door. + +ANNIE. Oh! please, ma'am, I was to give you a message--very important-- +from Miss Maud Builder "Lookout! Father is coming!" + + She goes out. + + The CURTAIN falls. + + + + +ACT II + + BUILDER'S study. At the table, MAUD has just put a sheet of paper + into a typewriter. She sits facing the audience, with her hands + stretched over the keys. + +MAUD. [To herself] I must get that expression. + + Her face assumes a furtive, listening look. Then she gets up, + whisks to the mirror over the fireplace, scrutinises the expression + in it, and going back to the table, sits down again with hands + outstretched above the keys, and an accentuation of the expression. + The door up Left is opened, and TOPPING appears. He looks at MAUD, + who just turns her eyes. + +TOPPING. Lunch has been ready some time, Miss Maud. + +MAUD. I don't want any lunch. Did you give it? + +TOPPING. Miss Athene was out. I gave the message to a young party. She +looked a bit green, Miss. I hope nothing'll go wrong with the works. +Shall I keep lunch back? + +MAUD. If something's gone wrong, they won't have any appetite, Topping. + +TOPPING. If you think I might risk it, Miss, I'd like to slip round to +my dentist. [He lays a finger on his cheek]. + +MAUD. [Smiling] Oh! What race is being run this afternoon, then, +Topping? + +TOPPING. [Twinkling, and shifting his finger to the side of his nose] +Well, I don't suppose you've 'eard of it, Miss; but as a matter of fact +it's the Cesarwitch. + +MAUD. Got anything on? + +TOPPING. Only my shirt, Miss. + +MAUD. Is it a good thing, then? + +TOPPING. I've seen worse roll up. [With a touch of enthusiasm] Dark +horse, Miss Maud, at twenty to one. + +MAUD. Put me ten bob on, Topping. I want all the money I can get, just +now. + +TOPPING. You're not the first, Miss. + +MAUD. I say, Topping, do you know anything about the film? + +TOPPING. [Nodding] Rather a specialty of mine, Miss. + +MAUD. Well, just stand there, and give me your opinion of this. + + TOPPING moves down Left. She crouches over the typewriter, lets her + hands play on the keys; stops; assumes that listening, furtive look; + listens again, and lets her head go slowly round, preceded by her + eyes; breaks it off, and says: + +What should you say I was? + +TOPPING. Guilty, Miss. + +MAUD. [With triumph] There! Then you think I've got it? + +TOPPING. Well, of course, I couldn't say just what sort of a crime you'd +committed, but I should think pretty 'ot stuff. + +MAUD. Yes; I've got them here. [She pats her chest]. + +TOPPING. Really, Miss. + +MAUD. Yes. There's just one point, Topping; it's psychological. + +TOPPING. Indeed, Miss? + +MAUD. Should I naturally put my hand on them; or would there be a +reaction quick enough to stop me? You see, I'm alone--and the point is +whether the fear of being seen would stop me although I knew I couldn't +be seen. It's rather subtle. + +TOPPING. I think there's be a rehaction, Miss. + +MAUD. So do I. To touch them [She clasps her chest] is a bit obvious, +isn't it? + +TOPPING. If the haudience knows you've got 'em there. + +MAUD. Oh! yes, it's seen me put them. Look here, I'll show you that +too. + + She opens an imaginary drawer, takes out some bits of sealing-wax, + and with every circumstance of stealth in face and hands, conceals + them in her bosom. + +All right? + +TOPPING. [Nodding] Fine, Miss. You have got a film face. What are +they, if I may ask? + +MAUD. [Reproducing the sealing-wax] The Fanshawe diamonds. There's +just one thing here too, Topping. + +In real life, which should I naturally do--put them in here [She touches +her chest] or in my bag? + +TOPPING. [Touching his waistcoat--earnestly] Well! To put 'em in here, +Miss, I should say is more--more pishchological. + +MAUD. [Subduing her lips] Yes; but-- + +TOPPING. You see, then you've got 'em on you. + +MAUD. But that's just the point. Shouldn't I naturally think: Safer in +my bag; then I can pretend somebody put them there. You see, nobody +could put them on me. + +TOPPING. Well, I should say that depends on your character. Of course I +don't know what your character is. + +MAUD. No; that's the beastly part of it--the author doesn't, either. +It's all left to me. + +TOPPING. In that case, I should please myself, Miss. To put 'em in +'ere's warmer. + +MAUD. Yes, I think you're right. It's more human. + +TOPPING. I didn't know you 'ad a taste this way, Miss Maud. + +MAUD. More than a taste, Topping--a talent. + +TOPPING. Well, in my belief, we all have a vice about us somewhere. But +if I were you, Miss, I wouldn't touch bettin', not with this other on +you. You might get to feel a bit crowded. + +MAUD. Well, then, only put the ten bob on if you're sure he's going to +win. You can post the money on after me. I'll send you an address, +Topping, because I shan't be here. + +TOPPING. [Disturbed] What! You're not going, too, Miss Maud? + +MAUD. To seek my fortune. + +TOPPING. Oh! Hang it all, Miss, think of what you'll leave behind. +Miss Athene's leavin' home has made it pretty steep, but this'll touch +bottom--this will. + +MAUD. Yes; I expect you'll find it rather difficult for a bit when I'm +gone. Miss Baldini, you know. I've been studying with her. She's got +me this chance with the movie people. I'm going on trial as the guilty +typist in "The Heartache of Miranda." + +TOPPING. [Surprised out of politeness] Well, I never! That does sound +like 'em! Are you goin' to tell the guv'nor, Miss? + + MAUD nods. In that case, I think I'll be gettin' off to my dentist + before the band plays. + +MAUD. All right, Topping; hope you won't lose a tooth. + +TOPPING. [With a grin] It's on the knees of the gods, Miss, as they say +in the headlines. + + He goes. MAUD stretches herself and listens. + +MAUD. I believe that's them. Shivery funky. + + She runs off up Left. + +BUILDER. [Entering from the hall and crossing to the fireplace] +Monstrous! Really monstrous! + + CAMILLE enters from the hall. She has a little collecting book in + her hand. + +BUILDER. Well, Camille? + +CAMILLE. A sistare from the Sacred 'Eart, Monsieur--her little book for +the orphan children. + +BUILDER. I can't be bothered--What is it? + +CAMILLE. Orphan, Monsieur. + +BUILDER. H'm! Well! [Feeling in his breast pocket] Give her that. + + He hands her a five-pound note. + +CAMILLE. I am sure she will be veree grateful for the poor little +beggars. Madame says she will not be coming to lunch, Monsieur. + +BUILDER. I don't want any, either. Tell Topping I'll have some coffee. + +CAMILLE. Topping has gone to the dentist, Monsieur; 'e 'as the +toothache. + +BUILDER. Toothache--poor devil! H'm! I'm expecting my brother, but I +don't know that I can see him. + +CAMILLE. No, Monsieur? + +BUILDER. Ask your mistress to come here. + + He looks up, and catching her eye, looks away. + +CAMILLE. Yes, Monsieur. + + As she turns he looks swiftly at her, sweeping her up and down. She + turns her head and catches his glance, which is swiftly dropped. + Will Monsieur not 'ave anything to eat? + +BUILDER. [Shaking his head-abruptly] No. Bring the coffee! + +CAMILLE. Is Monsieur not well? + +BUILDER. Yes--quite well. + +CAMILLE. [Sweetening her eyes] A cutlet soubise? No? + +BUILDER. [With a faint response in his eyes, instantly subdued] Nothing! +nothing! + +CAMILLE. And Madame nothing too--Tt! Tt! With her hand on the door she +looks back, again catches his eyes in an engagement instantly broken off, +and goes out. + +BUILDER. [Stock-still, and staring at the door] That girl's a continual +irritation to me! She's dangerous! What a life! I believe that girl-- + + The door Left is opened and MRS BUILDER comes in. + +BUILDER. There's some coffee coming; do your head good. Look here, +Julia. I'm sorry I beat on that door. I apologize. I was in a towering +passion. I wish I didn't get into these rages. But--dash it all--! I +couldn't walk away and leave you there. + +MRS BUILDER. Why not? + +BUILDER. You keep everything to yourself, so; I never have any notion +what you're thinking. What did you say to her? + +MRS BUILDER. Told her it would never work. + +BUILDER. Well, that's something. She's crazy. D'you suppose she was +telling the truth about that young blackguard wanting to marry her? + +MRS BUILDER. I'm sure of it. + +BUILDER. When you think of how she's been brought up. You would have +thought that religion alone-- + +MRS BUILDER. The girls haven't wanted to go to church for years. +They've always said they didn't see why they should go to keep up your +position. I don't know if you remember that you once caned them for +running off on a Sunday morning. + +BUILDER. Well? + +MRS BUILDER. They've never had any religion since. + +BUILDER. H'm! [He takes a short turn up the room] What's to be done +about Athene? + +MRS BUILDER. You said you had done with her. + +BUILDER. You know I didn't mean that. I might just as well have said +I'd done with you! Apply your wits, Julia! At any moment this thing may +come out. In a little town like this you can keep nothing dark. How can +I take this nomination for Mayor? + +MRS BUILDER. Perhaps Ralph could help. + +BUILDER. What? His daughters have never done anything disgraceful, and +his wife's a pattern. + +MRS BUILDER. Yes; Ralph isn't at all a family man. + +BUILDER. [Staring at her] I do wish you wouldn't turn things upside +down in that ironical way. It isn't--English. + +MRS BUILDER. I can't help having been born in Jersey. + +BUILDER. No; I suppose it's in your blood. The French-- [He stops +short]. + +MRS BUILDER. Yes? + +BUILDER. Very irritating sometimes to a plain Englishman--that's all. + +MRS BUILDER. Shall I get rid of Camille? + +BUILDER. [Staring at her, then dropping his glance] Camille? What's +she got to do with it? + +MRS BUILDER. I thought perhaps you found her irritating. + +BUILDER. Why should I? + + CAMILLE comes in from the dining-room with the coffee. + +Put it there. I want some brandy, please. + +CAMILLE. I bring it, Monsieur. + + She goes back demurely into the dining-room. + +BUILDER. Topping's got toothache, poor chap! [Pouring out the coffee] +Can't you suggest any way of making Athene see reason? Think of the +example! Maud will be kicking over next. I shan't be able to hold my +head up here. + +MRS BUILDER. I'm afraid I can't do that for you. + +BUILDER. [Exasperated] Look here, Julia! That wretched girl said +something to me about our life together. What--what's the matter with +that? + +MRS BUILDER. It is irritating. + +BUILDER. Be explicit. + +MRS BUILDER. We have lived together twenty-three years, John. No talk +will change such things. + +BUILDER. Is it a question of money? You can always have more. You know +that. [MRS BUILDER smiles] Oh! don't smile like that; it makes me feel +quite sick! + + CAMILLE enters with a decanter and little glasses, from the dining- + room. + +CAMILLE. The brandy, sir. Monsieur Ralph Builder has just come. + +MRS BUILDER. Ask him in, Camille. + +CAMILLE. Yes, Madame. + + She goes through the doorway into the hall. MRS BUILDER, following + towards the door, meets RALPH BUILDER, a man rather older than + BUILDER and of opposite build and manner. He has a pleasant, + whimsical face and grizzled hair. + +MRS BUILDER. John wants to consult you, Ralph. + +RALPH. That's very gratifying. + + She passes him and goes out, leaving the two brothers eyeing one + another. + +About the Welsh contract? + +BUILDER. No. Fact is, Ralph, something very horrible's happened. + +RALPH. Athene gone and got married? + +BUILDER. No. It's--it's that she's gone and--and not got married. + + RALPH utters a sympathetic whistle. + +Jolly, isn't it? + +RALPH. To whom? + +BUILDER. A young flying bounder. + +RALPH. And why? + +BUILDER. Some crazy rubbish about family life, of all things. + +RALPH. Athene's a most interesting girl. All these young people are so +queer and delightful. + +BUILDER. By George, Ralph, you may thank your stars you haven't got a +delightful daughter. Yours are good, decent girls. + +RALPH. Athene's tremendously good and decent, John. I'd bet any money +she's doing this on the highest principles. + +BUILDER. Behaving like a-- + +RALPH. Don't say what you'll regret, old man! Athene always took things +seriously--bless her! + +BUILDER. Julia thinks you might help. You never seem to have any +domestic troubles. + +RALPH. No--o. I don't think we do. + +BUILDER. How d'you account for it? + +RALPH. I must ask at home. + +BUILDER. Dash it! You must know! + +RALPH. We're all fond of each other. + +BUILDER. Well, I'm fond of my girls too; I suppose I'm not amiable +enough. H'm? + +RALPH. Well, old man, you do get blood to the head. But what's Athene's +point, exactly? + +BUILDER. Family life isn't idyllic, so she thinks she and the young man +oughtn't to have one. + +RALPH. I see. Home experience? + +BUILDER. Hang it all, a family's a family! There must be a head. + +RALPH. But no tail, old chap. + +BUILDER. You don't let your women folk do just as they like? + +RALPH. Always. + +BUILDER. What happens if one of your girls wants to do an improper +thing? [RALPH shrugs his shoulders]. You don't stop her? + +RALPH. Do you? + +BUILDER. I try to. + +RALPH. Exactly. And she does it. I don't and she doesn't. + +BUILDER. [With a short laugh] Good Lord! I suppose you'd have me eat +humble pie and tell Athene she can go on living in sin and offending +society, and have my blessing to round it off. + +RALPH. I think if you did she'd probably marry him. + +BUILDER. You've never tested your theory, I'll bet. + +RALPH. Not yet. + +BUILDER. There you are. + +RALPH. The 'suaviter in modo' pays, John. The times are not what they +were. + +BUILDER. Look here! I want to get to the bottom of this. Do you tell +me I'm any stricter than nine out of ten men? + +RALPH. Only in practice. + +BUILDER. [Puzzled] How do you mean? + +RALPH. Well, you profess the principles of liberty, but you practise the +principles of government. + +BUILDER. H'm! [Taking up the decanter] Have some? + +RALPH. No, thank you. + + BUILDER fills and raises his glass. + +CAMILLE. [Entering] Madame left her coffee. + + She comes forward, holds out a cup for BUILDER to pour into, takes + it and goes out. BUILDER'S glass remains suspended. He drinks the + brandy off as she shuts the door. + +BUILDER. Life isn't all roses, Ralph. + +RALPH. Sorry, old man. + +BUILDER. I sometimes think I try myself too high. Well, about that +Welsh contract? + +RALPH. Let's take it. + +BUILDER. If you'll attend to it. Frankly, I'm too upset. + + As they go towards the door into the hall, MAUD comes in from the + dining-room, in hat and coat. + +RALPH. [Catching sight of her] Hallo! All well in your cosmogony, Maud? + +MAUD. What is a cosmogony, Uncle? + +RALPH. My dear, I--I don't know. + + He goes out, followed by BUILDER. MAUD goes quickly to the table, + sits down and rests her elbows on it, her chin on her hands, looking + at the door. + +BUILDER. [Re-entering] Well, Maud! You'd have won your bet! + +MAUD. Oh! father, I--I've got some news for you. + +BUILDER. [Staring at her] News--what? + +MAUD. I'm awfully sorry, but I-I've got a job. + +BUILDER. Now, don't go saying you're going in for Art, too, because I +won't have it. + +MAUD. Art? Oh! no! It's the--[With a jerk]--the Movies. + + BUILDER. who has taken up a pipe to fill, puts it down. + +BUILDER. [Impressively] I'm not in a joking mood. + +MAUD. I'm not joking, father. + +BUILDER. Then what are you talking about? + +MAUD. You see, I--I've got a film face, and-- + +BUILDER. You've what? [Going up to his daughter, he takes hold of her +chin] Don't talk nonsense! Your sister has just tried me to the limit. + +MAUD. [Removing his hand from her chin] Don't oppose it, father, please! +I've always wanted to earn my own living. + +BUILDER. Living! Living! + +MAUD. [Gathering determination] You can't stop me, father, because I +shan't need support. I've got quite good terms. + +BUILDER. [Almost choking, but mastering himself] Do you mean to say +you've gone as far as that? + +MAUD. Yes. It's all settled. + +BUILDER. Who put you up to this? + +MAUD. No one. I've been meaning to, ever so long. I'm twenty-one, you +know. + +BUILDER. A film face! Good God! Now, look here! I will not have a +daughter of mine mixed up with the stage. I've spent goodness knows what +on your education--both of you. + +MAUD. I don't want to be ungrateful; but I--I can't go on living at +home. + +BUILDER. You can't--! Why? You've every indulgence. + +MAUD. [Clearly and coldly] I can remember occasions when your +indulgence hurt, father. [She wriggles her shoulders and back] We never +forgot or forgave that. + +BUILDER. [Uneasily] That! You were just kids. + +MAUD. Perhaps you'd like to begin again? + +BUILDER. Don't twist my tail, Maud. I had the most painful scene with +Athene this morning. Now come! Give up this silly notion! It's really +too childish! + +MAUD. [Looking at him curiously] I've heard you say ever so many times +that no man was any good who couldn't make his own way, father. Well, +women are the same as men, now. It's the law of the country. I only +want to make my own way. + +BUILDER. [Trying to subdue his anger] Now, Maud, don't be foolish. +Consider my position here--a Town Councillor, a Magistrate, and Mayor +next year. With one daughter living with a man she isn't married to-- + +MAUD. [With lively interest] Oh! So you did catch them out? + +BUILDER. D'you mean to say you knew? + +MAUD. Of course. + +BUILDER. My God! I thought we were a Christian family. + +MAUD. Oh! father. + +BUILDER. Don't sneer at Christianity! + +MAUD. There's only one thing wrong with Christians--they aren't! + +BUILDER Seizes her by the shoulders and shakes her vigorously. When he +drops her shoulders, she gets up, gives him a vicious look, and suddenly +stamps her foot on his toe with all her might. + +BUILDER. [With a yowl of pain] You little devil! + +MAUD. [Who has put the table between them] I won't stand being shaken. + +BUILDER. [Staring at her across the table] You've got my temper up and +you'll take the consequences. I'll make you toe the line. + +MAUD. If you knew what a Prussian expression you've got! + + BUILDER passes his hand across his face uneasily, as if to wipe + something off. + +No! It's too deep! + +BUILDER. Are you my daughter or are you not? + +MAUD. I certainly never wanted to be. I've always disliked you, father, +ever since I was so high. I've seen through you. Do you remember when +you used to come into the nursery because Jenny was pretty? You think we +didn't notice that, but we did. And in the schoolroom--Miss Tipton. And +d'you remember knocking our heads together? No, you don't; but we do. +And-- + +BUILDER. You disrespectful monkey! Will you be quiet? + +MAUD. No; you've got to hear things. You don't really love anybody but +yourself, father. What's good for you has to be good for everybody. +I've often heard you talk about independence, but it's a limited company +and you've got all the shares. + +BUILDER. Rot; only people who can support themselves have a right to +independence. + +MAUD. That's why you don't want me to support myself. + +BUILDER. You can't! Film, indeed! You'd be in the gutter in a year. +Athene's got her pittance, but you--you've got nothing. + +MAUD. Except my face. + +BUILDER. It's the face that brings women to ruin, my girl. + +MAUD. Well, when I'm there I won't come to you to rescue me. + +BUILDER. Now, mind--if you leave my house, I've done with you. + +MAUD. I'd rather scrub floors now, than stay. + +BUILDER. [Almost pathetically] Well, I'm damned! Look here, Maud-- +all this has been temper. You got my monkey up. I'm sorry I shook you; +you've had your revenge on my toes. Now, come! Don't make things worse +for me than they are. You've all the liberty you can reasonably want +till you marry. + +MAUD. He can't see it--he absolutely can't! + +BUILDER. See what? + +MAUD. That I want to live a life of my own. + + He edges nearer to her, and she edges to keep her distance. + +BUILDER. I don't know what's bitten you. + +MAUD. The microbe of freedom; it's in the air. + +BUILDER. Yes, and there it'll stay--that's the first sensible word +you've uttered. Now, come! Take your hat off, and let's be friends! + +MAUD looks at him and slowly takes off her hat. + +BUILDER. [Relaxing his attitude, with a sigh of relief] That's right! +[Crosses to fireplace]. + +MAUD. [Springing to the door leading to the hall] Good-bye, father! + +BUILDER. [Following her] Monkey! + + At the sound of a bolt shot, BUILDER goes up to the window. There + is a fumbling at the door, and CAMILLE appears. + +BUILDER. What's the matter with that door? CAMILLE. It was bolted, +Monsieur. + +BUILDER. Who bolted it? + +CAMILLE. [Shrugging her shoulders] I can't tell, Monsieur. + + She collects the cups, and halts close to him. [Softly] Monsieur + is not 'appy. + +BUILDER. [Surprised] What? No! Who'd be happy in a household like +mine? + +CAMILLE. But so strong a man--I wish I was a strong man, not a weak +woman. + +BUILDER. [Regarding her with reluctant admiration] Why, what's the +matter with you? + +CAMILLE. Will Monsieur have another glass of brandy before I take it? + +BUILDER. No! Yes--I will. + + She pours it out, and he drinks it, hands her the glass and sits + down suddenly in an armchair. CAMILLE puts the glass on a tray, and + looks for a box of matches from the mantelshelf. + +CAMILLE. A light, Monsieur? + +BUILDER. Please. + +CAMILLE. [She trips over his feet and sinks on to his knee] Oh! +Monsieur! + + BUILDER flames up and catches her in his arms + +Oh! Monsieur-- + +BUILDER. You little devil! + + She suddenly kisses him, and he returns the kiss. While they are + engaged in this entrancing occupation, MRS BUILDER opens the door + from the hall, watches unseen for a few seconds, and quietly goes + out again. + +BUILDER. [Pushing her back from him, whether at the sound of the door or +of a still small voice] What am I doing? + +CAMILLE. Kissing. + +BUILDER. I--I forgot myself. + + They rise. + +CAMILLE. It was na-ice. + +BUILDER. I didn't mean to. You go away--go away! + +CAMILLE. Oh! Monsieur, that spoil it. + +BUILDER. [Regarding her fixedly] It's my opinion you're a temptation of +the devil. You know you sat down on purpose. + +CAMILLE. Well, perhaps. + +BUILDER. What business had you to? I'm a family man. + +CAMILLE. Yes. What a pity! But does it matter? + +BUILDER. [Much beset] Look here, you know! This won't do! It won't +do! I--I've got my reputation to think of! + +CAMILLE. So 'ave I! But there is lots of time to think of it in +between. + +BUILDER. I knew you were dangerous. I always knew it. + +CAMILLE. What a thing to say of a little woman! + +BUILDER. We're not in Paris. + +CAMILLE. [Clasping her hands] Oh! 'Ow I wish we was! + +BUILDER. Look here--I can't stand this; you've got to go. Out with you! +I've always kept a firm hand on myself, and I'm not going to-- + +CAMILLE. But I admire you so! + +BUILDER. Suppose my wife had come in? + +CAMILLE. Oh! Don't suppose any such a disagreeable thing! If you were +not so strict, you would feel much 'appier. + +BUILDER. [Staring at her] You're a temptress! + +CAMILLE. I lofe pleasure, and I don't get any. And you 'ave such a +duty, you don't get any sport. Well, I am 'ere! + + She stretches herself, and BUILDER utters a deep sound. + +BUILDER. [On the edge of succumbing] It's all against my--I won't do +it! It's--it's wrong! + +CAMILLE. Oh! La, la! + +BUILDER. [Suddenly revolting] No! If you thought it a sin--I--might. +But you don't; you're nothing but a--a little heathen. + +CAMILLE. Why should it be better if I thought it a sin? + +BUILDER. Then--then I should know where I was. As it is-- + +CAMILLE. The English 'ave no idea of pleasure. They make it all so +coarse and virtuous. + +BUILDER. Now, out you go before I--! Go on! + + He goes over to the door and opens it. His wife is outside in a hat + and coat. She comes in. + +[Stammering] Oh! Here you are--I wanted you. + + CAMILLE, taking up the tray, goes out Left, swinging her hips a very + little. + +BUILDER. Going out? + +MRS BUILDER. Obviously. + +BUILDER. Where? + +MRS BUILDER. I don't know at present. + +BUILDER. I wanted to talk to you about Maud. + +MRS BUILDER. It must wait. + +BUILDER. She's-she's actually gone and-- + +MRS BUILDER. I must tell you that I happened to look in a minute ago. + +BUILDER. [In absolute dismay] You! You what? + +MRS BUILDER. Yes. I will put no obstacle in the way of your pleasures. + +BUILDER. [Aghast] Put no obstacle? What do you mean? Julia, how can +you say a thing like that? Why, I've only just-- + +MRS BUILDER. Don't! I saw. + +BUILDER. The girl fell on my knees. Julia, she did. She's--she's a +little devil. I--I resisted her. I give you my word there's been +nothing beyond a kiss, under great provocation. I--I apologise. + +MRS BUILDER. [Bows her head] Thank you! I quite understand. But you +must forgive my feeling it impossible to remain a wet blanket any longer. + +BUILDER. What! Because of a little thing like that--all over in two +minutes, and I doing my utmost. + +MRS BUILDER. My dear John, the fact that you had to do your utmost is +quite enough. I feel continually humiliated in your house, and I want to +leave it--quite quietly, without fuss of any kind. + +BUILDER. But--my God! Julia, this is awful--it's absurd! How can you? +I'm your husband. Really--your saying you don't mind what I do--it's not +right; it's immoral! + +MRS BUILDER. I'm afraid you don't see what goes on in those who live +with you. So, I'll just go. Don't bother! + +BUILDER. Now, look here, Julia, you can't mean this seriously. You +can't! Think of my position! You've never set yourself up against me +before. + +MRS BUILDER. But I do now. + +BUILDER. [After staring at her] I've given you no real reason. I'll +send the girl away. You ought to thank me for resisting a temptation +that most men would have yielded to. After twenty-three years of married +life, to kick up like this--you ought to be ashamed of yourself. + +MRS BUILDER. I'm sure you must think so. + +BUILDER. Oh! for heaven's sake don't be sarcastic! You're my wife, and +there's an end of it; you've no legal excuse. Don't be absurd! + +MRS BUILDER. Good-bye! + +BUILDER. D'you realise that you're encouraging me to go wrong? That's a +pretty thing for a wife to do. You ought to keep your husband straight. + +MRS BUILDER. How beautifully put! + +BUILDER. [Almost pathetically] Don't rile me Julia! I've had an awful +day. First Athene--then Maud--then that girl--and now you! All at once +like this! Like a swarm of bees about one's head. [Pleading] Come, +now, Julia, don't be so--so im practicable! You'll make us the laughing- +stock of the whole town. A man in my position, and can't keep his own +family; it's preposterous! + +MRS BUILDER. Your own family have lives and thoughts and feelings of +their own. + +BUILDER. Oh! This damned Woman's business! I knew how it would be when +we gave you the vote. You and I are married, and our daughters are our +daughters. Come, Julia. Where's your commonsense? After twenty-three +years! You know I can't do without you! + +MRS BUILDER. You could--quite easily. You can tell people what you +like. + +BUILDER. My God! I never heard anything so immoral in all my life from +the mother of two grownup girls. No wonder they've turned out as they +have! What is it you want, for goodness sake? + +MRS BUILDER. We just want to be away from you, that's all. I assure you +it's best. When you've shown some consideration for our feelings and +some real sign that we exist apart from you--we could be friends again-- +perhaps--I don't know. + +BUILDER. Friends! Good heavens! With one's own wife and daughters! +[With great earnestness] Now, look here, Julia, you haven't lived with +me all this time without knowing that I'm a man of strong passions; I've +been a faithful husband to you--yes, I have. And that means resisting +all sorts of temptations you know nothing of. If you withdraw from my +society I won't answer for the consequences. In fact, I can't have you +withdrawing. I'm not going to see myself going to the devil and losing +the good opinion of everybody round me. A bargain's a bargain. And +until I've broken my side of it, and I tell you I haven't--you've no +business to break yours. That's flat. So now, put all that out of your +head. + +MRS BUILDER. No. + +BUILDER. [Intently] D'you realise that I've supported you in luxury and +comfort? + +MRS BUILDER. I think I've earned it. + +BUILDER. And how do you propose to live? I shan't give you a penny. +Come, Julia, don't be such an idiot! Fancy letting a kiss which no man +could have helped, upset you like this! + +MRS BUILDER. The Camille, and the last straw! + +BUILDER. [Sharply] I won't have it. So now you know. + + But MRS BUILDER has very swiftly gone. + +Julia, I tell you-- [The outer door is heard being c1osed] Damnation! +I will not have it! They're all mad! Here--where's my hat? + + He looks distractedly round him, wrenches open the door, and a + moment later the street door is heard to shut with a bang. + + + CURTAIN. + + + + +ACT III + +SCENE I + + Ten o'clock the following morning, in the study of the Mayor of + Breconridge, a panelled room with no window visible, a door Left + back and a door Right forward. The entire back wall is furnished + with books from floor to ceiling; the other walls are panelled and + bare. Before the fireplace, Left, are two armchairs, and other + chairs are against the walls. On the Right is a writing-bureau at + right angles to the footlights, with a chair behind it. At its back + corner stands HARRIS, telephoning. + +HARRIS. What--[Pause] Well, it's infernally awkward, Sergeant. . . . +The Mayor's in a regular stew. . . . [Listens] New constable? +I should think so! Young fool! Look here, Martin, the only thing to do +is to hear the charge here at once. I've sent for Mr Chantrey; he's on +his way. Bring Mr Builder and the witnesses round sharp. See? And, I +say, for God's sake keep it dark. Don't let the Press get on to it. Why +you didn't let him go home--! Black eye? The constable? Well, serve +him right. Blundering young ass! I mean, it's undermining all +authority. . . . Well, you oughtn't--at least, I . . . Damn it +all!--it's a nine days' wonder if it gets out--! All right! As soon as +you can. [He hangs up the receiver, puts a second chair behind the +bureau, and other chairs facing it.] [To himself] Here's a mess! Johnny +Builder, of all men! What price Mayors! + + The telephone rings. + +Hallo? . . . Poaching charge? Well, bring him too; only, I say, keep +him back till the other's over. By the way, Mr Chantrey's going +shooting. He'll want to get off by eleven. What? . . Righto ! + + As he hangs up the receiver the MAYOR enters. He looks worried, and + is still dressed with the indefinable wrongness of a burgher. + +MAYOR. Well, 'Arris? + +HARRIS. They'll be over in five minutes, Mr Mayor. + +MAYOR. Mr Chantrey? + +HARRIS. On his way, sir. + +MAYOR. I've had some awkward things to deal with in my time, 'Arris, but +this is just about the [Sniffs] limit. + +HARRIS. Most uncomfortable, Sir; most uncomfortable! + +MAYOR. Put a book on the chair, 'Arris; I like to sit 'igh. + + HARRIS puts a volume of Eneyclopaedia on the Mayor's chair behind + the bureau. + +[Deeply] Our fellow-magistrate! A family man! In my shoes next year. +I suppose he won't be, now. You can't keep these things dark. + +HARRIS. I've warned Martin, sir, to use the utmost discretion. Here's +Mr Chantrey. + + By the door Left, a pleasant and comely gentleman has entered, + dressed with indefinable rightness in shooting clothes. + +MAYOR. Ah, Chantrey! + +CHANTREY. How de do, Mr Mayor? [Nodding to HARRIS] This is +extraordinarily unpleasant. + + The MAYOR nods. + +What on earth's he been doing? + +HARRIS. Assaulting one of his own daughters with a stick; and resisting +the police. + +CHANTREY. [With a low whistle] Daughter! Charity begins at home. + +HARRIS. There's a black eye. + +MAYOR. Whose? + +HARRIS. The constable's. + +CHANTREY. How did the police come into it? + +HARRIS. I don't know, sir. The worst of it is he's been at the police +station since four o'clock yesterday. The Superintendent's away, and +Martin never will take responsibility. + +CHANTREY. By George! he will be mad. John Builder's a choleric fellow. + +MAYOR. [Nodding] He is. 'Ot temper, and an 'igh sense of duty. + +HARRIS. There's one other charge, Mr Mayor--poaching. I told them to +keep that back till after. + +CHANTREY. Oh, well, we'll make short work of that. I want to get off by +eleven, Harris. I shall be late for the first drive anyway. John +Builder! I say, Mayor--but for the grace of God, there go we! + +MAYOR. Harris, go out and bring them in yourself; don't let the +servants-- + + HARRIS goes out Left. The MAYOR takes the upper chair behind the + bureau, sitting rather higher because of the book than CHANTREY, who + takes the lower. Now that they are in the seats of justice, a sort + of reticence falls on them, as if they were afraid of giving away + their attitudes of mind to some unseen presence. + +MAYOR. [Suddenly] H'm! + +CHANTREY. Touch of frost. Birds ought to come well to the guns--no +wind. I like these October days. + +MAYOR. I think I 'ear them. H'm. + + CHANTREY drops his eyeglass and puts on a pair of "grandfather" + spectacles. The MAYOR clears his throat and takes up a pen. They + neither of them look up as the door is opened and a little + procession. files in. First HARRIS; then RALPH BUILDER, ATHENE, + HERRINGHAME, MAUD, MRS BUILDER, SERGEANT MARTIN, carrying a heavy + Malacca cane with a silver knob; JOHN BUILDER and the CONSTABLE + MOON, a young man with one black eye. No funeral was ever attended + by mutes so solemn and dejected. They stand in a sort of row. + +MAYOR. [Without looking up] Sit down, ladies; sit down. + + HARRIS and HERRINGHAME succeed in placing the three women in chairs. + RALPH BUILDER also sits. HERRINGHAME stands behind. JOHN BUILDER + remains standing between the two POLICEMEN. His face is unshaved + and menacing, but he stands erect staring straight at the MAYOR. + HARRIS goes to the side of the bureau, Back, to take down the + evidence. + +MAYOR. Charges! + +SERGEANT. John Builder, of The Cornerways, Breconridge, Contractor and +Justice of the Peace, charged with assaulting his daughter Maud Builder +by striking her with a stick in the presence of Constable Moon and two +other persons; also with resisting Constable Moon in the execution of his +duty, and injuring his eye. Constable Moon! + +MOON. [Stepping forward-one, two--like an automaton, and saluting] In +River Road yesterday afternoon, Your Worship, about three-thirty p.m., I +was attracted by a young woman callin' "Constable" outside a courtyard. +On hearing the words "Follow me, quick," I followed her to a painter's +studio inside the courtyard, where I found three persons in the act of +disagreement. No sooner 'ad I appeared than the defendant, who was +engaged in draggin' a woman towards the door, turns to the young woman +who accompanied me, with violence. "You dare, father," she says; +whereupon he hit her twice with the stick the same which is produced, in +the presence of myself and the two other persons, which I'm given to +understand is his wife and other daughter. + +MAYOR. Yes; never mind what you're given to understand. + +MOON. No, sir. The party struck turns to me and says, "Come in. I give +this man in charge for assault." I moves accordingly with the words: +"I saw you. Come along with me." The defendant turns to me sharp and +says: "You stupid lout--I'm a magistrate." "Come off it," I says to the +best of my recollection. "You struck this woman in my presence," I says, +"and you come along!" We were then at close quarters. The defendant +gave me a push with the words: "Get out, you idiot!" "Not at all," I +replies, and took 'old of his arm. A struggle ensues, in the course of +which I receives the black eye which I herewith produce. [He touches his +eye with awful solemnity.] + + The MAYOR clears his throat; CHANTREY'S eyes goggle; HARRIS bends + over and writes rapidly. + +During the struggle, Your Worship, a young man has appeared on the scene, +and at the instigation of the young woman, the same who was assaulted, +assists me in securing the prisoner, whose language and resistance was +violent in the extreme. We placed him in a cab which we found outside, +and I conveyed him to the station. + +CHANTREY. What was his--er--conduct in the--er--cab? + +MOON. He sat quiet. + +CHANTREY. That seems-- + +MOON. Seein' I had his further arm twisted behind him. + +MAYOR [Looking at BUILDER] Any questions to ask him? + + BUILDER makes not the faintest sign, and the MAYOR drops his glance. + +MAYOR. Sergeant? + + MOON steps back two paces, and the SERGEANT steps two paces forward. + +SERGEANT. At ten minutes to four, Your Worship, yesterday afternoon, +Constable Moon brought the defendant to the station in a four-wheeled +cab. On his recounting the circumstances of the assault, they were +taken down and read over to the defendant with the usual warning. The +defendant said nothing. In view of the double assault and the condition +of the constable's eye, and in the absence of the Superintendent, +I thought it my duty to retain the defendant for the night. + +MAYOR. The defendant said nothing? + +SERGEANT. He 'as not opened his lips to my knowledge, Your Worship, from +that hour to this. + +MAYOR. Any questions to ask the Sergeant? + +BUILDER continues to stare at the MAYOR without a word. + +MAYOR. Very well! + + The MAYOR and CHANTREY now consult each other inaudibly, and the + Mayor nods. + +MAYOR. Miss Maud Builder, will you tell us what you know of this--er-- +occurrence? + +MAUD. [Rising; with eyes turning here and there] Must I? + +MAYOR. I'm afraid you must. + +MAUD. [After a look at her father, who never turns his eyes from the +MAYOR's face] I--I wish to withdraw the charge of striking me, please. +I--I never meant to make it. I was in a temper--I saw red. + +MAYOR. I see. A--a domestic disagreement. Very well, that charge is +withdrawn. You do not appear to have been hurt, and that seems to me +quite proper. Now, tell me what you know of the assault on the +constable. Is his account correct? + +MAUD. [Timidly] Ye-yes. Only-- + +MAYOR. Yes? Tell us the truth. + +MAUD. [Resolutely] Only, I don't think my father hit the constable. +I think the stick did that. + +MAYOR. Oh, the stick? But--er--the stick was in 'is 'and, wasn't it? + +MAUD. Yes; but I mean, my father saw red, and the constable saw red, and +the stick flew up between them and hit him in the eye. + +CHANTREY. And then he saw black? + +MAYOR. [With corrective severity] But did 'e 'it 'im with the stick? + +MAUD. No--no. I don't think he did. + +MAYOR. Then who supplied the--er--momentum? + +MAUD. I think there was a struggle for the cane, and it flew up. + +MAYOR. Hand up the cane. + + The SERGEANT hands up the cane. The MAYOR and CHANTREY examine it. +MAYOR. Which end--do you suggest--inflicted this injury? + +MAUD. Oh! the knob end, sir. + +MAYOR. What do you say to that, constable? + +MOON. [Stepping the mechanical two paces] I don't deny there was a +struggle, Your Worship, but it's my impression I was 'it. + +CHANTREY. Of course you were bit; we can see that. But with the cane or +with the fist? + +MOON. [A little flurried] I--I--with the fist, sir. + +MAYOR. Be careful. Will you swear to that? + +MOON. [With that sudden uncertainty which comes over the most honest in +such circumstances] Not--not so to speak in black and white, Your +Worship; but that was my idea at the time. + +MAYOR. You won't swear to it? + +MOON. I'll swear he called me an idiot and a lout; the words made a deep +impression on me. + +CHANTREY. [To himself] Mort aux vaches! + +MAYOR. Eh? That'll do, constable; stand back. Now, who else saw the +struggle? Mrs Builder. You're not obliged to say anything unless you +like. That's your privilege as his wife. + + While he is speaking the door has been opened, and HARRIS has gone + swiftly to it, spoken to someone and returned. He leans forward to + the MAYOR. + +Eh? Wait a minute. Mrs Builder, do you wish to give evidence? + +MRS BUILDER. [Rising] No, Mr Mayor. + + MRS BUILDER Sits. + +MAYOR. Very good. [To HARRIS] Now then, what is it? + +HARRIS says something in a low and concerned voice. The MAYOR'S face +lengthens. He leans to his right and consults CHANTREY, who gives a +faint and deprecating shrug. A moment's silence. + +MAYOR. This is an open Court. The Press have the right to attend if +they wish. + + HARRIS goes to the door and admits a young man in glasses, of a + pleasant appearance, and indicates to him a chair at the back. At + this untimely happening BUILDER's eyes have moved from side to side, + but now he regains his intent and bull-like stare at his fellow- + justices. + +MAYOR. [To Maud] You can sit down, Miss Builder. + + MAUD resumes her seat. + +Miss Athene Builder, you were present, I think? + +ATHENE. [Rising] Yes, Sir. + +MAYOR. What do you say to this matter? + +ATHENE. I didn't see anything very clearly, but I think my sister's +account is correct, sir. + +MAYOR. Is it your impression that the cane inflicted the injury? + +ATHENE. [In a low voice] Yes. + +MAYOR. With or without deliberate intent? + +ATHENE. Oh! without. + +BUILDER looks at her. + +MAYOR. But you were not in a position to see very well? + +ATHENE. No, Sir. + +MAYOR. Your sister having withdrawn her charge, we needn't go into that. +Very good! + + He motions her to sit down. ATHENE, turning her eyes on her + Father's impassive figure, sits. + +MAYOR. Now, there was a young man. [Pointing to HERRINGHAME] Is this +the young man? + +MOON. Yes, Your Worship. + +MAYOR. What's your name? + +GUY. Guy Herringhame. + +MAYOR. Address? + +GUY. Er--the Aerodrome, Sir. MAYOR. Private, I mean? + + The moment is one of considerable tension. + +GUY. [With an effort] At the moment, sir, I haven't one. I've just +left my diggings, and haven't yet got any others. + +MAYOR. H'm! The Aerodrome. How did you come to be present? + +GUY. I--er + + BUILDER's eyes go round and rest on him for a moment. + +It's in my sister's studio that Miss Athene Builder is at present +working, sir. I just happened to--to turn up. + +MAYOR. Did you appear on the scene, as the constable says, during the +struggle? + +GUY. Yes, sir. + +MAYOR. Did he summon you to his aid? + +GUY. Yes--No, sir. Miss Maud Builder did that. + +MAYOR. What do you say to this blow? + +GUY. [Jerking his chin up a little] Oh! I saw that clearly. + +MAYOR. Well, let us hear. + +GUY. The constable's arm struck the cane violently and it flew up and +landed him in the eye. + +MAYOR. [With a little grunt] You are sure of that? + +GUY. Quite sure, sir. + +MAYOR. Did you hear any language? + +GUY. Nothing out of the ordinary, sir. One or two damns and blasts. + +MAYOR. You call that ordinary? + +GUY. Well, he's a--magistrate, sir. + + The MAYOR utters a profound grunt. CHANTREY smiles. There is a + silence. Then the MAYOR leans over to CHANTREY for a short + colloquy. + +CHANTREY. Did you witness any particular violence other than a +resistance to arrest? + +GUY. No, sir. + +MAYOR. [With a gesture of dismissal] Very well, That seems to be the +evidence. Defendant John Builder--what do you say to all this? + +BUILDER. [In a voice different from any we have heard from him] Say! +What business had he to touch me, a magistrate? I gave my daughter two +taps with a cane in a private house, for interfering with me for taking +my wife home-- + +MAYOR. That charge is not pressed, and we can't go into the +circumstances. What do you wish to say about your conduct towards +the constable? + +BUILDER. [In his throat] Not a damned thing! + +MAYOR. [Embarrassed] I--I didn't catch. + +CHANTREY. Nothing--nothing, he said, Mr Mayor. + +MAYOR. [Clearing his throat] I understand, then, that you do not wish to +offer any explanation? + +BUILDER. I consider myself abominably treated, and I refuse to say +another word. + +MAYOR. [Drily] Very good. Miss Maud Builder. + + MAUD stands up. + + +MAYOR. When you spoke of the defendant seeing red, what exactly did you +mean? + +MAUD. I mean that my father was so angry that he didn't know what he was +doing. + +CHANTREY. Would you say as angry as he--er--is now? + +MAUD. [With a faint smile] Oh! much more angry. + +RALPH BUILDER stands up. + +RALPH. Would you allow me to say a word, Mr Mayor? + +MAYOR. Speaking of your own knowledge, Mr Builder? + +RALPH. In regard to the state of my brother's mind--yes, Mr Mayor. He +was undoubtedly under great strain yesterday; certain circumstances, +domestic and otherwise-- + +MAYOR. You mean that he might have been, as one might say, beside +himself? + +RALPH. Exactly, Sir. + +MAYOR. Had you seen your brother? + +RALPH. I had seen him shortly before this unhappy business. + + The MAYOR nods and makes a gesture, so that MAUD and RALPH sit down; + then, leaning over, he confers in a low voice with CHANTREY. The + rest all sit or stand exactly as if each was the only person in the + room, except the JOURNALIST, who is writing busily and rather + obviously making a sketch of BUILDER. + +MAYOR. Miss Athene Builder. + + ATHENE stands up. + +This young man, Mr Herringhame, I take it, is a friend of the family's? + + A moment of some tension. + +ATHENE. N--no, Mr Mayor, not of my father or mother. + +CHANTREY. An acquaintance of yours? + +ATHENE. Yes. + +MAYOR. Very good. [He clears his throat] As the defendant, wrongly, we +think, refuses to offer his explanation of this matter, the Bench has to +decide on the evidence as given. There seems to be some discrepancy as +to the blow which the constable undoubtedly received. In view of this, +we incline to take the testimony of Mr-- + + HARRIS prompts him. + +Mr 'Erringhame--as the party least implicated personally in the affair, +and most likely to 'ave a cool and impartial view. That evidence is to +the effect that the blow was accidental. There is no doubt, however, +that the defendant used reprehensible language, and offered some +resistance to the constable in the execution of his duty. Evidence 'as +been offered that he was in an excited state of mind; and it is possible +--I don't say that this is any palliation--but it is possible that he may +have thought his position as magistrate made him--er-- + +CHANTREY. [Prompting] Caesar's wife. + +MAYOR. Eh? We think, considering all the circumstances, and the fact +that he has spent a night in a cell, that justice will be met by--er-- +discharging him with a caution. + +BUILDER. [With a deeply muttered] The devil you do! + + Walks out of the room. The JOURNALIST, grabbing his pad, starts up + and follows. The BUILDERS rise and huddle, and, with HERRINGHAME, + are ushered out by HARRIS. + +MAYOR. [Pulling out a large handkerchief and wiping his forehead] +My Aunt! + +CHANTREY. These new constables, Mayor! I say, Builder'll have to go! +Damn the Press, how they nose everything out! The Great Unpaid!-- +We shall get it again! [He suddenly goes off into a fit of laughter] +"Come off it," I says, "to the best of my recollection." Oh! Oh! +I shan't hit a bird all day! That poor devil Builder! It's no joke for +him. You did it well, Mayor; you did it well. British justice is safe +in your hands. He blacked the fellow's eye all right. "Which I herewith +produce." Oh! my golly! It beats the band! + + His uncontrollable laughter and the MAYOR'S rueful appreciation are + exchanged with lightning rapidity for a preternatural solemnity, as + the door opens, admitting SERGEANT MARTIN and the lugubrious object + of their next attentions. + +MAYOR. Charges. + + SERGEANT steps forward to read the charge as + + The CURTAIN falls. + + + + +SCENE II + + Noon the same day. + + BUILDER'S study. TOPPING is standing by the open window, looking up + and down the street. A newspaper boy's voice is heard calling the + first edition of his wares. It approaches from the Right. + +TOPPING. Here! + +BOY'S VOICE. Right, guv'nor! Johnny Builder up before the beaks! +[A paper is pushed up]. + +TOPPING. [Extending a penny] What's that you're sayin'? You take care! + +BOY'S VOICE. It's all 'ere. Johnny Builder--beatin' his wife! +Dischawged. + +TOPPING. Stop it, you young limb! + +BOY'S VOICE. 'Allo! What's the matter wiv you? Why, it's Johnny +Builder's house! [Gives a cat-call] 'Ere, buy anuvver! 'E'll want to +read about 'isself. [Appealing] Buy anuvver, guv'nor! + +TOPPING. Move on! + + He retreats from the window, opening the paper. + +BOY'S VOICE. [Receding] Payper! First edition! J.P. chawged! Payper! + +TOPPING. [To himself as he reads] Crimes! Phew! That accounts for them +bein' away all night. + + While he is reading, CAMILLE enters from the hall. Here! Have you + seen this, Camel--in the Stop Press? + +CAMILLE. No. + + They read eagerly side by side. + +TOPPING. [Finishing aloud] "Tried to prevent her father from forcing her +mother to return home with him, and he struck her for so doing. She did +not press the charge. The arrested gentleman, who said he acted under +great provocation, was discharged with a caution." Well, I'm blowed! +He has gone and done it! + +CAMILLE. A black eye! + +TOPPING. [Gazing at her] Have you had any hand in this? I've seen you +making your lovely black eyes at him. You foreigners--you're a loose +lot! + +CAMILLE. You are drunk! + +TOPPING. Not yet, my dear. [Reverting to the paper; philosophically] +Well, this little lot's bust up! The favourites will fall down. Johnny +Builder! Who'd have thought it? + +CAMILLE. He is an obstinate man. + +TOPPING. Ah! He's right up against it now. Comes of not knowin' when +to stop bein' firm. If you meet a wall with your 'ead, it's any odds on +the wall, Camel. Though, if you listened to some, you wouldn't think it. +What'll he do now, I wonder? Any news of the mistress? + +CAMILLE. [Shaking her head] I have pack her tr-runks. + +TOPPING. Why? + +CAMILLE. Because she take her jewels yesterday. + +TOPPING. Deuce she did! They generally leave 'em. Take back yer gifts! +She throws the baubles at 'is 'ead. [Again staring at her] You're a +deep one, you know! + + There is the sound of a cab stopping. + +Wonder if that's him! [He goes towards the hall. CAMILLE watchfully +shifts towards the diningroom door. MAUD enters.] + +MAUD. Is my father back, Topping? + +TOPPING. Not yet, Miss. + +MAUD. I've come for mother's things. + +CAMILLE. They are r-ready. + +MAUD. [Eyeing her] Topping, get them down, please. + + TOPPING, after a look at them both, goes out into the hall. + +Very clever of you to have got them ready. + +CAMILLE. I am clevare. + +MAUD. [Almost to herself] Yes--father may, and he may not. + +CAMILLE. Look! If you think I am a designing woman, you are mistook. +I know when things are too 'ot. I am not sorry to go. + +MAUD. Oh! you are going? + +CAMILLE. Yes, I am going. How can I stay when there is no lady in the +'ouse? + +MAUD. Not even if you're asked to? + +CAMILLE. Who will ask me? + +MAUD. That we shall see. + +CAMILLE. Well, you will see I have an opinion of my own. + +MAUD. Oh! yes, you're clear-headed enough. + +CAMILLE. I am not arguing. Good-morning! + + Exits up Left. + +MAUD regards her stolidly as she goes out into the dining-room, then +takes up the paper and reads. + +MAUD. Horrible! + + TOPPING re-enters from the hall. + +TOPPING. I've got 'em on the cab, Miss. I didn't put your ten bob on +yesterday, because the animal finished last. You cant depend on horses. + +MAUD. [Touching the newspaper] This is a frightful business, Topping. + +TOPPING. Ah! However did it happen, Miss Maud? + +MAUD. [Tapping the newspaper] It's all true. He came after my mother +to Miss Athene's, and I--I couldn't stand it. I did what it says here; +and now I'm sorry. Mother's dreadfully upset. You know father as well +as anyone, Topping; what do you think he'll do now? + +TOPPING. [Sucking in his cheeks] Well, you see, Miss, it's like this: +Up to now Mr Builder's always had the respect of everybody-- + + MAUD moves her head impatiently. + +outside his own house, of course. Well, now he hasn't got it. +Pishchologically that's bound to touch him. + +MAUD. Of course; but which way? Will he throw up the sponge, or try and +stick it out here? + +TOPPING. He won't throw up the sponge, Miss; more likely to squeeze it +down the back of their necks. + +MAUD. He'll be asked to resign, of course. + + The NEWSPAPER BOY'S VOICE is heard again approaching: "First + edition! Great sensation! Local magistrate before the Bench! + Pay-per!" + +Oh, dear! I wish I hadn't! But I couldn't see mother being-- + +TOPPING. Don't you fret, Miss; he'll come through. His jaw's above his +brow, as you might say. + +MAUD. What? + +TOPPING. [Nodding] Phreenology, Miss. I rather follow that. When the +jaw's big and the brow is small, it's a sign of character. I always +think the master might have been a Scotchman, except for his fishionomy. + +MAUD. A Scotsman? + +TOPPING. So down on anything soft, Miss. Haven't you noticed whenever +one of these 'Umanitarians writes to the papers, there's always a +Scotchman after him next morning. Seems to be a fact of 'uman nature, +like introducin' rabbits into a new country and then weasels to get rid +of 'em. And then something to keep down the weasels. But I never can +see what could keep down a Scotchman! You seem to reach the hapex there! + +MAUD. Miss Athene was married this morning, Topping. We've just come +from the Registrar's. + +TOPPING. [Immovably] Indeed, Miss. I thought perhaps she was about to +be. + +MAUD. Oh! + +TOPPING. Comin' events. I saw the shadder yesterday. + +MAUD. Well, it's all right. She's coming on here with my uncle. + + A cab is heard driving up. + +That's them, I expect. We all feel awful about father. + +TOPPING. Ah! I shouldn't be surprised if he feels awful about you, +Miss. + +MAUD. [At the window] It is them. + + TOPPING goes out into the hall; ATHENE and RALPH enter Right. + +MAUD. Where's father, Uncle Ralph? + +RALPH. With his solicitor. + +ATHENE. We left Guy with mother at the studio. She still thinks she +ought to come. She keeps on saying she must, now father's in a hole. + +MAUD. I've got her things on the cab; she ought to be perfectly free to +choose. + +RALPH. You've got freedom on the brain, Maud. + +MAUD. So would you, Uncle Ralph, if you had father about. + +RALPH. I'm his partner, my dear. + +MAUD. Yes; how do you manage him? + +RALPH. I've never yet given him in charge. + +ATHENE. What do you do, Uncle Ralph? + +RALPH. Undermine him when I can. + +MAUD. And when you can't? + +RALPH. Undermine the other fellow. You can't go to those movie people +now, Maud. They'd star you as the celebrated Maud Builder who gave her +father into custody. Come to us instead, and have perfect freedom, till +all this blows over. + +MAUD. Oh! what will father be like now? + +ATHENE. It's so queer you and he being brothers, Uncle Ralph. + +RALPH. There are two sides to every coin, my dear. John's the head-and +I'm the tail. He has the sterling qualities. Now, you girls have got to +smooth him down, and make up to him. You've tried him pretty high. + +MAUD. [Stubbornly] I never wanted him for a father, Uncle. + +RALPH. They do wonderful things nowadays with inherited trouble. Come, +are you going to be nice to him, both of you? + +ATHENE. We're going to try. + +RALPH. Good! I don't even now understand how it happened. + +MAUD. When you went out with Guy, it wasn't three minutes before he +came. Mother had just told us about--well, about something beastly. +Father wanted us to go, and we agreed to go out for five minutes while he +talked to mother. We went, and when we came back he told me to get a cab +to take mother home. Poor mother stood there looking like a ghost, and +he began hunting and hauling her towards the door. I saw red, and +instead of a cab I fetched that policeman. Of course father did black +his eye. Guy was splendid. + +ATHENE. You gave him the lead. + +MAUD. I couldn't help it, seeing father standing there all dumb. + +ATHENE. It was awful! Uncle, why didn't you come back with Guy? + +MAUD. Oh, yes! why didn't you, Uncle? + +ATHENE. When Maud had gone for the cab, I warned him not to use force. +I told him it was against the law, but he only said: "The law be damned!" + +RALPH. Well, it all sounds pretty undignified. + +MAUD. Yes; everybody saw red. + + They have not seen the door opened from the hall, and BUILDER + standing there. He is still unshaven, a little sunken in the face, + with a glum, glowering expression. He has a document in his hand. + He advances a step or two and they see him. + +ATHENE and MAUD. [Aghast] Father! + +BUILDER. Ralph, oblige me! See them off the premises! + +RALPH. Steady, John! + +BUILDER. Go! + +MAUD. [Proudly] All right! We thought you might like to know that +Athene's married, and that I've given up the movies. Now we'll go. + + BUILDER turns his back on them, and, sitting down at his writing- + table, writes. + + After a moment's whispered conversation with their Uncle, the two + girls go out. + + RALPH BUILDER stands gazing with whimsical commiseration at his + brother's back. As BUILDER finishes writing, he goes up and puts + his hand on his brother's shoulder. + +RALPH. This is an awful jar, old man! + +BUILDER. Here's what I've said to that fellow: "MR MAYOR,--You had the +effrontery to-day to discharge me with a caution--forsooth!--your fellow +--magistrate. I've consulted my solicitor as to whether an action will +lie for false imprisonment. I'm informed that it won't. I take this +opportunity of saying that justice in this town is a travesty. I have no +wish to be associated further with you or your fellows; but you are +vastly mistaken if you imagine that I shall resign my position on the +Bench or the Town Council.--Yours, + "JOHN BUILDER." + +RALPH. I say--keep your sense of humour, old boy. + +BUILDER. [Grimly] Humour? I've spent a night in a cell. See this! +[He holds out the document] It disinherits my family. + +RALPH. John! + +BUILDER. I've done with those two ladies. As to my wife--if she doesn't +come back--! When I suffer, I make others suffer. + +RALPH. Julia's very upset, my dear fellow; we all are. The girls came +here to try and-- + +BUILDER. [Rising] They may go to hell! If that lousy Mayor thinks I'm +done with--he's mistaken! [He rings the bell] I don't want any soft +sawder. I'm a fighter. + +RALPH. [In a low voice] The enemy stands within the gate, old chap. + +BUILDER. What's that? + +RALPH. Let's boss our own natures before we boss those of other people. +Have a sleep on it, John, before you do anything. + +BUILDER. Sleep? I hadn't a wink last night. If you'd passed the night +I had-- + +RALPH. I hadn't many myself. + + TOPPING enters. + +BUILDER. Take this note to the Mayor with my compliments, and don't +bring back an answer. TOPPING. Very good, sir. There's a gentleman +from the "Comet" in the hall, sir. Would you see him for a minute, he +says. + +BUILDER. Tell him to go to-- + + A voice says, "Mr Builder!" BUILDER turns to see the figure of the + JOURNALIST in the hall doorway. TOPPING goes out. + +JOURNALIST. [Advancing with his card] Mr Builder, it's very good of you +to see me. I had the pleasure this morning--I mean--I tried to reach you +when you left the Mayor's. I thought you would probably have your own +side of this unfortunate matter. We shall be glad to give it every +prominence. + + TOPPING has withdrawn, and RALPH BUILDER, at the window, stands + listening. + +BUILDER. [Drily, regarding the JOURNALIST, who has spoken in a pleasant +and polite voice] Very good of you! + +JOURNALIST. Not at all, sir. We felt that you would almost certainly +have good reasons of your own which would put the matter in quite a +different light. + +BUILDER. Good reasons? I should think so! I tell you--a very little +more of this liberty--licence I call it--and there isn't a man who'll be +able to call himself head of a family. + +JOURNALIST. [Encouragingly] Quite! + +BUILDER. If the law thinks it can back up revolt, it's damned well +mistaken. I struck my daughter--I was in a passion, as you would have +been. + +JOURNALIST. [Encouraging] I'm sure-- + +BUILDER. [Glaring at him] Well, I don't know that you would; you look a +soft sort; but any man with any blood in him. + +JOURNALIST. Can one ask what she was doing, sir? We couldn't get that +point quite clear. + +BUILDER. Doing? I just had my arm round my wife, trying to induce her +to come home with me after a little family tiff, and this girl came at +me. I lost my temper, and tapped her with my cane. And--that policeman +brought by my own daughter--a policeman! If the law is going to enter +private houses and abrogate domestic authority, where the hell shall we +be? + +JOURNALIST. [Encouraging] No, I'm sure--I'm sure! + +BUILDER. The maudlin sentimentality in these days is absolutely rotting +this country. A man can't be master in his own house, can't require his +wife to fulfil her duties, can't attempt to control the conduct of his +daughters, without coming up against it and incurring odium. A man can't +control his employees; he can't put his foot down on rebellion anywhere, +without a lot of humanitarians and licence-lovers howling at him. + +JOURNALIST. Excellent, Sir; excellent! + +BUILDER. Excellent? It's damnable. Here am I--a man who's always tried +to do his duty in private life and public--brought up before the Bench-- +my God! because I was doing that duty; with a little too much zeal, +perhaps--I'm not an angel! + +JOURNALIST. No! No! of course. + +BUILDER. A proper Englishman never is. But there are no proper +Englishmen nowadays. + + He crosses the room in his fervour. + +RALPH. [Suddenly] As I look at faces-- + +BUILDER. [Absorbed] What! I told this young man I wasn't an angel. + +JOURNALIST. [Drawing him on] Yes, Sir; I quite understand. + +BUILDER. If the law thinks it can force me to be one of your weak-kneed +sentimentalists who let everybody do what they like-- + +RALPH. There are a good many who stand on their rights left, John. + +BUILDER. [Absorbed] What! How can men stand on their rights left? + +JOURNALIST. I'm afraid you had a painful experience, sir. + +BUILDER. Every kind of humiliation. I spent the night in a stinking +cell. I haven't eaten since breakfast yesterday. Did they think I was +going to eat the muck they shoved in? And all because in a moment of +anger--which I regret, I regret!--I happened to strike my daughter, who +was interfering between me and my wife. The thing would be funny if it +weren't so disgusting. A man's house used to be sanctuary. What is it +now? With all the world poking their noses in? + +He stands before the fire with his head bent, excluding as it were his +interviewer and all the world. + +JOURNALIST. [Preparing to go] Thank you very much, Mr Builder. I'm +sure I can do you justice. Would you like to see a proof? + +BUILDER. [Half conscious of him] What? + +JOURNALIST. Or will you trust me? + +BUILDER. I wouldn't trust you a yard. + +JOURNALIST. [At the door] Very well, sir; you shall have a proof, I +promise. Good afternoon, and thank you. + +BUILDER. Here! + + But he is gone, and BUILDER is left staring at his brother, on whose + face is still that look of whimsical commiseration. + +RALPH. Take a pull, old man! Have a hot bath and go to bed. + +BUILDER. They've chosen to drive me to extremes, now let them take the +consequences. I don't care a kick what anybody thinks. + +RALPH. [Sadly] Well, I won't worry you anymore, now. + +BUILDER. [With a nasty laugh] No; come again to-morrow! + +RALPH. When you've had a sleep. For the sake of the family name, John, +don't be hasty. + +BUILDER. Shut the stable door? No, my boy, the horse has gone. + +RALPH. Well, Well! + + With a lingering look at his brother, who has sat down sullenly at + the writing table, he goes out into the hall. + + BUILDER remains staring in front of him. The dining-room door + opens, and CAMILLE's head is thrust in. Seeing him, she draws back, + but he catches sight of her. + +BUILDER. Here! + +CAMILLE comes doubtfully up to the writing table. Her forehead is +puckered as if she were thinking hard. + +BUILDER. [Looking at her, unsmiling] So you want to be my mistress, +do you? + + CAMILLE makes a nervous gesture. + +Well, you shall. Come here. + +CAMILLE. [Not moving] You f--frighten me. + +BUILDER. I've paid a pretty price for you. But you'll make up for it; +you and others. + +CAMILLE. [Starting back] No; I don't like you to-day! No! + +BUILDER. Come along! [She is just within reach and he seizes her arm] +All my married life I've put a curb on myself for the sake of +respectability. I've been a man of principle, my girl, as you saw +yesterday. Well, they don't want that! [He draws her close] You can sit +on my knee now. + +CAMILLE. [Shrinking] No; I don't want to, to-day. + +BUILDER. But you shall. They've asked for it! + +CAMILLE. [With a supple movement slipping away from him] They? What is +all that? I don't want any trouble. No, no; I am not taking any. + + She moves back towards the door. BUILDER utters a sardonic laugh. + +Oh! you are a dangerous man! No, no! Not for me! Good-bye, sare! + + She turns swiftly and goes out. BUILDER again utters his glum + laugh. And then, as he sits alone staring before him, perfect + silence reigns in the room. Over the window-sill behind him a BOY'S + face is seen to rise; it hangs there a moment with a grin spreading + on it. + +BOY'S VOICE. [Sotto] Johnny Builder! + + As BUILDER turns sharply, it vanishes. + +'Oo beat 'is wife? + + BUILDER rushes to the window. + +BOY'S VOICE. [More distant and a little tentative] Johnny Builder! + +BUILDER. You little devil! If I catch you, I'll wring your blasted +little neck! + +BOY'S VOICE. [A little distant] 'Oo blacked the copper's eye? + + BUILDER, in an ungovernable passion, seizes a small flower-pot from + the sill and dings it with all his force. The sound of a crash. + +BOY'S VOICE. [Very distant] Ya-a-ah! Missed! + + BUILDER stands leaning out, face injected with blood, shaking his + fist. + + The CURTAIN falls for a few seconds. + + + + +SCENE III + +Evening the same day. + + BUILDER's study is dim and neglected-looking; the window is still + open, though it has become night. A street lamp outside shines in, + and the end of its rays fall on BUILDER asleep. He is sitting in a + high chair at the fireside end of the writing-table, with his elbows + on it, and his cheek resting on his hand. He is still unshaven, and + his clothes unchanged. A Boy's head appears above the level of the + window-sill, as if beheaded and fastened there. + +BOY'S VOICE. [In a forceful whisper] Johnny Builder! + + BUILDER stirs uneasily. The Boy's head vanishes. BUILDER, raising + his other hand, makes a sweep before his face, as if to brush away a + mosquito. He wakes. Takes in remembrance, and sits a moment + staring gloomily before him. The door from the hall is opened and + TOPPING comes in with a long envelope in his hand. + +TOPPING. [Approaching] From the "Comet," sir. Proof of your interview, +sir; will you please revise, the messenger says; he wants to take it back +at once. + +BUILDER. [Taking it] All right. I'll ring. + +TOPPING. Shall I close in, sir? + +BUILDER. Not now. + + TOPPING withdraws. BUILDER turns up a standard lamp on the table, + opens the envelope, and begins reading the galley slip. The signs + of uneasiness and discomfort grow on him. + + +BUILDER. Did I say that? Muck! Muck! [He drops the proof, sits a +moment moving his head and rubbing one hand uneasily on the surface of +the table, then reaches out for the telephone receiver] Town, 245. +[Pause] The "Comet"? John Builder. Give me the Editor. [Pause] That +you, Mr Editor? John Builder speaking. That interview. I've got the +proof. It won't do. Scrap the whole thing, please. I don't want to say +anything. [Pause] Yes. I know I said it all; I can't help that. +[Pause] No; I've changed my mind. Scrap it, please. [Pause] No, +I will not say anything. [Pause] You can say what you dam' well please. +[Pause] I mean it; if you put a word into my mouth, I'll sue you for +defamation of character. It's undignified muck. I'm tearing it up. +Good-night. [He replaces the receiver, and touches a bell; then, taking +up the galley slip, he tears it viciously across into many pieces, and +rams them into the envelope.] + + TOPPING enters. + +Here, give this to the messenger-sharp, and tell him to run with it. + +TOPPING. [Whose hand can feel the condition of the contents, with a +certain surprise] Yes, sir. + + He goes, with a look back from the door. + +The Mayor is here, sir. I don't know whether you would wish + + BUILDER, rising, takes a turn up and down the room. + +BUILDER. Nor do I. Yes! I'll see him. + + TOPPING goes out, and BUILDER stands over by the fender, with his + head a little down. + +TOPPING. [Re-entering] The Mayor, sir. + + He retires up Left. The MAYOR is overcoated, and carries, of all + things, a top hat. He reaches the centre of the room before he + speaks. + +MAYOR. [Embarrassed] Well, Builder? + +BUILDER. Well? + +MAYOR. Come! That caution of mine was quite parliamentary. I 'ad to +save face, you know. + +BUILDER. And what about my face? + +MAYOR. Well, you--you made it difficult for me. 'Ang it all! Put +yourself into my place! + +BUILDER. [Grimly] I'd rather put you into mine, as it was last night. + +MAYOR. Yes, yes! I know; but the Bench has got a name to keep up--must +stand well in the people's eyes. As it is, I sailed very near the wind. +Suppose we had an ordinary person up before us for striking a woman? + +BUILDER. I didn't strike a woman--I struck my daughter. + +MAYOR. Well, but she's not a child, you know. And you did resist the +police, if no worse. Come! You'd have been the first to maintain +British justice. Shake 'ands! + +BUILDER. Is that what you came for? + +MAYOR. [Taken aback] Why--yes; nobody can be more sorry than I-- + +BUILDER. Eye-wash! You came to beg me to resign. + +MAYOR. Well, it's precious awkward, Builder. We all feel-- + +BUILDER. Save your powder, Mayor. I've slept on it since I wrote you +that note. Take my resignations. + +MAYOR. [In relieved embarrassment] That's right. We must face your +position. + +BUILDER. [With a touch of grim humour] I never yet met a man who +couldn't face another man's position. + +MAYOR. After all, what is it? + +BUILDER. Splendid isolation. No wife, no daughters, no Councillorship, +no Magistracy, no future--[With a laugh] not even a French maid. And +why? Because I tried to exercise a little wholesome family authority. +That's the position you're facing, Mayor. + +MAYOR. Dear, dear! You're devilish bitter, Builder. It's unfortunate, +this publicity. But it'll all blow over; and you'll be back where you +were. You've a good sound practical sense underneath your temper. [A +pause] Come, now! [A pause] Well, I'll say good-night, then. + +BUILDER. You shall have them in writing tomorrow. + +MAYOR. [With sincerity] Come! Shake 'ands. + +BUILDER, after a long look, holds out his hand. The two men exchange a +grip. + + The MAYOR, turning abruptly, goes out. + + BUILDER remains motionless for a minute, then resumes his seat at + the side of the writing table, leaning his head on his hands. + + The Boy's head is again seen rising above the level of the window- + sill, and another and another follows, till the three, as if + decapitated, heads are seen in a row. + +BOYS' VOICES. [One after another in a whispered crescendo] Johnny +Builder! Johnny Builder! Johnny Builder! + + BUILDER rises, turns and stares at them. The THREE HEADS disappear, + and a Boy's voice cries shrilly: "Johnny Builder!" BUILDER moves + towards the window; voices are now crying in various pitches and + keys: "Johnny Builder!" "Beatey Builder!" "Beat 'is wife-er!" + "Beatey Builder!" + + BUILDER stands quite motionless, staring, with the street lamp + lighting up a queer, rather pitiful defiance on his face. The + voices swell. There comes a sudden swish and splash of water, and + broken yells of dismay. + +TOPPING'S VOICE. Scat! you young devils! + + The sound of scuffling feet and a long-drawnout and distant + "Miaou!" + + BUILDER stirs, shuts the window, draws the curtains, goes to the + armchair before the fireplace and sits down in it. + + TOPPING enters with a little tray on which is a steaming jug of + fluid, some biscuits and a glass. He comes stealthily up level with + the chair. BUILDER stirs and looks up at him. + +TOPPING. Excuse me, sir, you must 'ave digested yesterday morning's +breakfast by now--must live to eat, sir. + +BUILDER. All right. Put it down. + +TOPPING. [Putting the tray down on the table and taking up BUILDER'S +pipe] I fair copped those young devils. + +BUILDER. You're a good fellow. + +TOPPING. [Filling the pipe] You'll excuse me, sir; the Missis--has come +back, sir-- + + BUILDER stares at him and TOPPING stops. He hands BUILDER the + filled pipe and a box of matches. + +BUILDER. [With a shiver] Light the fire, Topping. I'm chilly. + + While TOPPING lights the fire BUILDER puts the pipe in his mouth and + applies a match to it. TOPPING, having lighted the fire, turns to + go, gets as far as half way, then comes back level with the table + and regards the silent brooding figure in the chair. + +BUILDER. [Suddenly] Give me that paper on the table. No; the other +one--the Will. + + TOPPING takes up the Will and gives it to him. + +TOPPING. [With much hesitation] Excuse me, sir. It's pluck that get's +'em 'ome, sir--begging your pardon. + + BUILDER has resumed his attitude and does not answer. + +[In a voice just touched with feeling] Good-night, sir. + +BUILDER. [Without turning his head] Good-night. + + TOPPING has gone. BUILDER sits drawing at his pipe between the + firelight and the light from the standard lamp. He takes the pipe + out of his mouth and a quiver passes over his face. With a half + angry gesture he rubs the back of his hand across his eyes. + +BUILDER. [To himself] Pluck! Pluck! [His lips quiver again. He +presses them hard together, puts his pipe back into his mouth, and, +taking the Will, thrusts it into the newly-lighted fire and holds it +there with a poker.] + + + While he is doing this the door from the hall is opened quietly, and + MRS BUILDER enters without his hearing her. She has a work bag in + her hand. She moves slowly to the table, and stands looking at him. + Then going up to the curtains she mechanically adjusts them, and + still keeping her eyes on BUILDER, comes down to the table and pours + out his usual glass of whisky toddy. BUILDER, who has become + conscious of her presence, turns in his chair as she hands it to + him. He sits a moment motionless, then takes it from her, and + squeezes her hand. MRS BUILDER goes silently to her usual chair + below the fire, and taking out some knitting begins to knit. + BUILDER makes an effort to speak, does not succeed, and sits drawing + at his pipe. + + + The CURTAIN falls. + + + + +ETEXT EDITOR'S BOOKMARKS: + +Comes of not knowin' when to stop bein' firm +I knew how it would be when we gave you the vote +If you meet a wall with your 'ead, it's any odds on the wall +Isn't it always a mistake to lose one's temper +Marriage does wonders +Men don't like freedom for anybody but themselves +Never let me stand in your way, or stand in mine +Never yet met a man who couldn't face another man's position +No talk will change such things +Not lacking in geniality when things go his way +Sense of property so deep that they don't know they've got it +She would never stand that Even wives object, nowadays +That condition of first-pipe serenity +That's because he wants you You wait till he doesn't +There's only one thing wrong with Christians--they aren't +This is outrageous! Truth often is +Weakness of an Englishman; he can't keep up his resentments +What's good for you has to be good for everybody +When to stand on my dignity and when to sit on it + + + + + +*** END OF THE PROJECT GUTENBERG EBOOK A FAMILY MAN--5TH SERIES PLAYS *** + +********* This file should be named famil10.txt or famil10.zip ********** + +Corrected EDITIONS of our eBooks get a new NUMBER, famil11.txt +VERSIONS based on separate sources get new LETTER, famil10a.txt + +This etext was produced by David Widger <widger@cecomet.net> + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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