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+The Project Gutenberg Ebook of A Family Man (from the 5th Series Plays)
+#38 in our series by John Galsworthy
+
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+
+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 **********
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