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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..a201b89 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #55289 (https://www.gutenberg.org/ebooks/55289) diff --git a/old/55289-0.txt b/old/55289-0.txt deleted file mode 100644 index deb25b2..0000000 --- a/old/55289-0.txt +++ /dev/null @@ -1,3714 +0,0 @@ -The Project Gutenberg EBook of Dealing in Futures, by Harold Brighouse - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: Dealing in Futures - A Play in Three Acts - -Author: Harold Brighouse - -Release Date: August 7, 2017 [EBook #55289] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK DEALING IN FUTURES *** - - - - -Produced by David Widger from page images generously -provided by the Internet Archive - - - - - - - -DEALING IN FUTURES - -A Play In Three Acts - -By Harold Brighouse - -New York: Samuel French Publisher - -1913 - -[Illustration: 0005] - - - - -DEALING IN FUTURES - -A PLAY IN THREE ACTS - -CHARACTERS - -Jabez Thompson....................A Chemical Manufacturer. - -Rosie Thompson....................His Daughter. - -John Bunting......................A Master Dyer. - -Charlie Bunting...................His Son. - -Walter Clavering..................A Young Doctor. - -The Scene is laid in an outlying Lancashire village and the action of -the play takes place within a space of twenty-six hours. - - - - -ACT I - -_The dining-room of Jabez Thompson's; the room is luxuriously furnished -and combines comfort with ostentation; the door is left, and at the back -a large doorway curtained off leads to the billiard-room. (A plan of -this and the other scenes in the play will be found at the end of the -book.) The table is littered with the debris of dinner, and at it sit -Jabez Thompson (l.), and Rosie his daughter (l.), facing each other. -Jabez is elderly, corpulent, bearded, of florid face and general -prosperous appearance; he wears a frock coat, light grey trousers, and -has a heavy gold watch chain. He speaks with all the assertiveness of -life-long success._ - -Rosie _is dark and highly coloured, her face strong rather than -beautiful. She dresses with taste, avoiding her fathers scarcely veiled -vulgarity, and wears a high dress of some amber material. She inherits -her father's strength of will, and though outwardly cultured, has not -been able to subdue entirely a naturally violent temper. Her voice is -a little shrill and shrewish, and Jabez is obviously rather afraid of -her._ - -Mallinson, _the butler, enters with coffee, which he places on the table -by Rosie. Rosie pours coffee. Butler puts cup by Jabez._ - -***** - -Butler. Mr. Lomax, from the works, has arrived, sir. - -Jabez. Very well, put him in the library. I'll be there in a moment to -sign the letters. - -Butler. Yes, sir. - -Jabez. Oh, give him this and tell him to look through it. (_Gives folded -paper from his pocket._) - -Butler. Yes, sir. (_Takes paper and exit._) - -Jabez (_Sips coffee, lights cigar, and turns chair to face audience_). -By the way, Rosie, I asked Charlie to come round after dinner and to -bring his father. - -Rosie (_Interested_). Oh! Why? - -Jabez. I'm not satisfied with him. I want to have a chat with the pair -of them to see if we can't get things on a better basis. - -Rosie. What's the matter with Charlie? - -Jabez. Oh, you wouldn't understand. It's a business question. - -Rosie. I see. You'd rather I wasn't here? - -Jabez. Yes. If you don't mind. We can't do better than stick to the rule -even where Charlie's concerned, eh? - -Rosie. Oh, I shan't intrude on a business talk. - -Jabez. Thanks, my dear, thanks. (_Encouraged to go on._) Do you know, -Rosie, I'm not a bit happy over this engagement of yours to Charlie. - -Rosie (_Curtly_). Why? - -Jabez (_Apologetically_). He's a queer fellow. I can't size him up. I -can't think why on earth you got engaged to him. - -Rosie. That's my business, isn't it? - -Jabez Yes, my dear. I suppose it is. But that doesn't stop me from -wishing you'd taken a fancy to some one else. - -Rosie. I've told you before I won't have you interfering in my affairs, -father. I'm quite capable of managing them myself. - -Jabez (_Meekly_). I try not to, my dear. I do try not to. Only this -matter--it's not as if you had a mother, is it now? - -Rosie. Oh, you can trust me to judge whether a man comes because he -wants me or whether he's only a vulgar fortune-hunter. Whatever Charlie -is or isn't, he's not after my money. - -Jabez. No, Charlie never is after money. You're easily the better -business man. He's always got his head full of ideas about pampering the -men instead of thinking of the welfare of the firm. - -Rosie (_Snappishly_). You needn't think you can get me to break it off, -so don't try. You can say what you like to him so long as you remember -I'm going to marry him. - -Jabez. Well, well, I must see what I can make of Charlie. (_Drinks._) -I'll tell you one thing, my dear, you're a good deal more eager about it -than he is. - -Rosie. Possibly. You needn't worry about that. - -Jabez. But I do worry, my dear. How can I help it? (_Rosie moves -impatiently._) Now don't fly in a temper. He _is_ taking his time in -coming up to scratch. Let me ask you one thing? - -Rosie. Yes? - -Jabez. When are you going to be married? - -Rosie. I really don't know. - -Jabez. No, and it's time you did. You've been engaged long enough. - -Rosie. Is that what you are going to talk to him about to-night? - -Jabez. Amongst other things. I'm tired of his playing about with the -thing. If your mind's made up, what's there to wait for? People are -beginning to talk. - -Rosie. Let them. - -Jabez. That's all very well, but people in our position must consider -public opinion. You don't object to my settling it, do you? - -Rosie. Oh, do what you want. But don't you dare to bully Charlie. I -won't have him bullied. - -Jabez. Oh, I shan't hurt him. A good talking to _'_ull do him no harm. - -(_Enter Butler, l._) - -Butler (_At door l._). Dr. Clavering has called, sir. Wishes to speak to -you. - -Jabez (_Surprised_) Clavering? Well, show him up. - -Butler. Yes, sir. - -(_Exit Butler._) - -Jabez. What's the matter with Clavering? He doesn't often condescend -to leave his precious research work in the evenings. (_Rosie shrugs her -shoulders contemptuously. Enter Butler._) - -Butler (_Announcing_). Dr. Clavering. - -(_Enter Clavering. Exit Butler. Clavering is a young doctor with keen -clever face, clean-shaven, with a general air of self-reliance. He is a -practical man of a fairs whose business happens to be doctoring._) - -Clavering. Good evening, Mr. Thompson. - -Jabez (_Rising_). Good evening, Dr. Clavering. (_They shake hands, and -Jabez, turning his chair sits sideways to the table._) - -Clav. Good evening, Miss Thompson. (_Rosie murmurs and bows coldly._) - -Jabez. Well, what can I do for you, doctor? Sit down. - -Clav. (_Sits on sofa l._) The fact is--it's rather a liberty--I hope -you won't mind. - -Jabez. Out with it man! What's to do? - -Clav. I've come to see you about one of your men--a fellow named Alcott. - -Jabez (_Reflectively_). Alcott? Alcott? - -Clav. You don't just call him to mind? - -Jabez. No, but I will. - -Clav. That won't matter. It's just---- - -Jabez (_rising_). But it does matter; if I talk about a man I like -to know who I'm talking about. I shan't be a moment. My record book's -handy. - -Clav. Record book? You keep it here? - -Jabez. Yes; I've every man's record in that book. I don't risk leaving -a thing like that at the works, safe or no safe. (_Crossing and reaching -door l._) I'll go and look the name up. Lomax is here too with the -letters for signing, but that won't detain me long. (_Exit taking hunch -of keys from his trousers' pocket._) - -Clav. Miss Thompson, I'm glad your father's gone. It gives me an -opportunity---- - -Rosie (_Eagerly_). Yes? Any illness amongst the men, doctor? - -Clav. Only this Alcott. I'll discuss that with Mr. Thompson. Don't let's -waste time now. (_Rises and moves to back of table._) I hoped so much to -see you alone. I never get a chance. - -Rosie. There's always the telephone. - -Clav. I can't see your face through the telephone, and it's always -about others. What a great heart you have, Miss Thompson! (_Sits above -table._) - -Rosie. I? Oh, one does what one can. - -Clav. For others. - -Rosie. Others? - -Clav. Yes; for me it's the telephone--always the telephone. So and so's -ill--a name passes, an address, and we ring off. I never get the chance -of seeing you alone. - -Rosie. Doctors are such busy people, aren't they? - -Clav. Not too busy to be human, to desire to see in the flesh the woman -one's always communicating with through a cold-blooded telephone. We're -allies, you know, Miss Thompson, fellow-conspirators, aren't we? That -makes a bond between us. - -Rosie (_Conventionally_). It's very good of you to let me know so -promptly when any of the men fall ill and to keep it a secret between -us--even from Charlie. - -Clav. (_Contemptuously_). Oh, Charlie! - -Rosie (_Quickly_). He doesn't know, of course? - -Clav. No, he knows nothing. - -Rosie. I was just afraid. You're such close friends, and this book -you've been writing must have brought you closer together. I thought you -might have let it slip out. - -Clav. Oh, no. I kept the bond. - -Rosie. I can never thank you sufficiently. - -Clav. You could if you would. - -Rosie. How? Tell me. - -Clav. As you said, I'm a busy man, but I'm not too busy to use my -eyes. A man can't join hands with a good woman in the great work of -alleviating suffering without conceiving an admiration for her, without -longing-- - -Rosie (_Coldly_). Need we waste time in compliments, Dr. Clavering? My -father may be back at any moment, and if you've, anything to say to me, -won't you come to the point? - -Clav. I want to know if I may hope for a reward. - -Rosie. Surely a doctor doesn't ask reward for helping to do good. - -Clav. Virtue its own reward? Come, Miss Thompson, isn't that one of the -maxims all of us apply to others rather than to ourselves? - -Rosie (_Rising_). If you want to be paid for your services to me, -doctor, perhaps you will send in an account. - -Clav. You're misunderstanding wilfully. (_Rising._) Can't we be frank -with one another, we coworkers in the same field? Must you wear before -me the mask you put on to suit your father? - -Rosie. I wear a mask to suit my father? I think you're labouring under -some mistake. - -Clav. Then the reward I aim at is---- Oh, don't you see? - -Rosie. I hope I don't. (_Crossing to door R. at back._) I think we'd -both better forget this conversation, Dr. Clavering. - -Clav. (_Following_). You shan't put me off. I---- - -(_Enter Jabez with a small red bound book, keeping a place in it with -his finger. Clavering leaves Rosie promptly and stands above table._) - -Jabez. I'm primed now, doctor. (_He sits and puts the book open on the -table._) There's not much worth knowing about my men that this friend -can't tell me (_Tapping the book_). But it doesn't tell me much good -about Mr. Alcott (_Emphasizing the "Mr." sarcastically_). - -Clav. Sorry to hear that. Poor chap, he's in a bad way. (_Rosie looks -interested._) eh? - -Jabez. Oh, you've been to see him professionally, - -Clav. I don't go to see Brixham's Buildings, they come to me. Surgery -hours are just over. - -Rosie (_Softly, sitting at writing-table r., taking a piece of note -paper and writing_). Brixham's Buildings. - -Jabez. Well? - -CLAV. (_Sitting above table with elbows on it and fingertips at chin_). -The work doesn't suit him. What that fellow needs is a good dose of -fresh air. When I told him so, he said he'd lose his job if he asked off -for a month. I've come to see if something cant be arranged for him, Mr. -Tompson. - -Jabez (_Coldly_). In what way? - -Clav. Couldn't you give him sick leave for a month or so? - -Jabez. What's the matter with him? - -Clav. (_Glancing at Rosie as if for a sign of approval_). Oh my cases -here are all the same. I know them off by heart. Dyspepsia and faintness -to begin with and paralysis to follow. I could give that man no advice -except to clear out of this. He told me he'd got to live. - -Jabez (_Whose signs of irritation have increased_). - -Rosie, do you mind leaving me to settle this with the doctor? It's a -works question, you know. - -Rosie (_Rising with the note doubled in her hand_) Yes. - -Clav. (_Protestingly_). Oh, but---- - -Rosie. Don't get up, Dr. Clavering. (_Clavering rises and holds back -curtain at door r.c._) - -(_Exit Rosie, r.c. Clavering returns to table._) - -Jabez. The fat's in the fire this time. - -Clav. I beg your pardon. - -Jabez. I thought you'd more sense than to come-here with a tale of this -sort. These things upset a woman. I do all I can to keep them from her, -and here you spin this yarn before I've time to stop you. You should -have come to me at the office. - -Clav. (_Apologetically, sitting again above table_). I rather hoped Miss -Thompson might have put in a word for me. - -Jabez (_Brusquely_). Nonsense. You know very well that I don't allow my -daughter to interfere with business. I'd as soon start messing with her -housekeeping. That's a woman's place if you like--the home. We'd to -make a rule of it, years ago, Rosie and I. She got asking fool questions -about things she didn't understand and worrying me silly till we both -agreed it was best for her to steer clear of the works. We've each our -place now. I've the works and she's the home. You've made a bad mistake, -sir. - -Clav. I'm sorry. I do hope you'll not let this prejudice Alcott's -chances of a month off. - -Jabez. I shouldn't dream of doing such a thing. A month off for a -labourer! It's absurd. - -Clav. (_Seriously_). I can't answer for the man's life if you don't, Mr. -Thompson. - -Jabez. My dear sir, you're looking at the individual case. I can't do -that. I've to see all my men at once and I know what they are. Give -these fellows an inch and they take an ell. I can't make an exception -for Alcott. I'd have to do the same for every man who fell sick and for -Heaven knows how many malingerers as well; once I began that sort of -thing, I'd never know when I'd end. Clav. Then you won't---- - -Jabez (_Interrupting_). It's not that I won't, I can't, and there's an -end of it. - -(_Enter Butler, l._) - -Butler. Mr. Bunting. - -(_Enter John Bunting. John bears some outward signs of similarity to -Jabez. Like Jabez, he is elderly and corpulent. But, though hardly less -assertive in tone at first, there is an underlying furtiveness, and -he is extremely deferential to Jabez even while assuming an equal -camaraderie with him. He wears a frock coat and has evidently modelled -himself on Jabez. Clavering rises and goes r.c._) - -Jabez (_Patronizingly_). Oh, good evening, John. (_Jabez does not -rise._) - -John. Good evening. (_Crossing r._) Good evening, Dr. Clavering. -(_Clavering bows--the Butler remains._) - -Jabez. What's the matter, Mallinson? - -Butler (_Very importantly_). Dr. Clavering's housekeeper, sir, have -telephoned from his surgery as he's wanted. - -Clav. (_Briskly_). Oh, I'll come at once. Excuse me, won't you? -(_Crossing to door l._) - -Butler (_Raising his hand. Clavering stops astonished_). It's at the -works you're wanted, sir. An accident, I believe. - -Clav. The works! (_To Jabez._) Shall you come? Jabez. I? Certainly not. -You're the man they want, not I. Sit down, John. (_Jabez moves John to -the chair Rosie had occupied at table r. John sits._) - -Clav. Oh, all right. I'll report later. - -Jabez. You needn't trouble. Bad news travels fast enough. Good night. - -Clav. (_Shortly_). Good night. - -(_Exit Clavering, l., followed by Butler._) - -Jabez. That young man's growing officious. A whisky, John. (_Pours._) -Have a cigar? - -John. Thanks. Yours are too good to refuse. Jabez. Where's Charlie? -Isn't he with you? John. No. He's not been home to dinner. Still at the -works I suppose. - -Jabez. Yes. (_Pause._) I always did say a good cigar was the best part -of a dinner. - -John. You're right there. When all's said and done, Jabez a good liver's -got a lot to do with happiness. Thank goodness, mine doesn't trouble me. - -Jabez. Nor mine. I've no patience with these modern fads--mustn't eat -this and that and all that kind of rubbish. If I fancied a thing I -had it, and damn the expense. Look at me to-day, sir. (_Smacking his -chest._) Sound, sir, sound as a bell. - -John (_Playing up to him_). We've lived, Jabez, there's no doubt about -it. We've gone the pace in our time. - -Jabez (_Fiercely, as if contradicted_). And why not? You tell me that. -Give me a good time, I say. That's my motto, and by Heaven I've lived up -to it. - -John (_Admiringly_). You always were a warm man. - -Jabez. Warm? I believe you. Damme, sir, if I had my time over again -I'd do the same. I wish I had, too. I'd show the young 'uns a thing or -three, eh, John? They think they're pretty wide awake, but I'll gamble -we old cocks could give them a long start and win hands down. Eh, well, -what's the good of wishes? (_Pours himself some whisky soda._) - -John. Yes we've got to face it, old man. You and I have come to the time -of life when a man makes his will and begins to think a bit about who's -going to step into his shoes when he's done with them. - -Jabez. That's the very thing I want to talk to you about. What I always -say is if you've got a bit of business to do with a man, let him come -and talk things over with you in your own house. Many's the deal I've -made that way in my time. Get a man feeling at home with himself, with -some good wine inside him and a good cigar in his lips, and you can have -your own way with him. Not that I mean that personally, John. (_John -waves deprecatingly._) - -Jabez. Only as a general thing. - -John. Of course. To be sure. - -Jabez. Yes. We've got to think of the young _'_uns. Rosie, now. Rosie's -a good girl--been well brought up. No expense spared--same as if she'd -been a bov. - -John. You've done well by her, if she did disappoint you by being a girl -instead of a boy. - -Jabez. Aye, aye. That's an old sore now. And If I haven't a boy, John, -you have. - -John (_Shifting uneasily_). Yes, yes, I know I have. - -Jabez. Well? - -John. Well, what? - -Jabez. Look here, John, it's no good beating about the bush. We know -each other by this time, and you're not the man to take offence at a bit -of straight talk. That lad of yours wants speaking to, and damme, you're -the man to do it. - -John. What's the'matter _with_ him? - -Jabez. Nothing except that he's a fool. (_John leaps up._) - -John. I say---- - -Jabez (_interrupting_). Now sit down, John. (_John sits._) Here's a lad -I took a fancy to when he was a youngster. I take him to the works -and give him every chance. It's understood he's to have Rosie and the -business, too, when I've done with it. Here's Rosie sick for love of -him. And what's he doing? Shillyshallying round and can't be got to name -the day. That's not all, either, but it'ull do to go on with. What do -you make of it, John? What's the matter with him? - -John. The boy's sound enough at bottom. Give him time to come round. -It's not the thing nowadays to get married as young as it was in our -day. And Charlie's in love with his work. - -Jabez. I know he is, the young fool. - -John. Come, steady on, Jabez. - -Jabez. Oh, well--Yes, all right, John. But what sort of work is it? -Laboratory experiments! - -John. Yes, and jolly useful they are, too. You're bound to have a -chemist. Give the devil his due, Jabez, Charlie's discoveries have been -the making of the business. - -Jabez. They've had their uses. - -John. I should think they have. Why, man, you simply ran the place for a -couple of years on that cheap fast red of his. - -Jabez. Hang it all, experimenting's all right, but a fellow needs a -business head as well; what's the good of his finding new processes if -he can't exploit _'_em? - -John. _You_ exploit them. - -Jabez. I know I do. But I shan't be here for ever. Charlie _'_ud be a -catspaw in the hands of a smart business man. He's the sort of fool -a clever fellow likes to get hold of. I want him to help me in the -management, in selling the stuff and handling the men, and I can't get -him to stir a finger. What's the use of a man like that at the head of a -business concern? - -John (_gruffly_). Then don't put him there. - -Jabez (_irritated--rising and pacing about_). By God, I will, though. -(_Turning abruptly to John._) Why? (_l.c._) I'll tell you why, John. -Nothing queers a man for business like the knowledge that thing's aren't -right at home, and that girl of mine's fretting (_u.l._). I tell you -I'm not very particular who she marries so long as I know she's married -happily, but she's set her heart on Charlie, so Charlie it must be, and -I'm damned if I'll have him putting her off any longer. It's upsetting -Rosie and it's upsetting me. That's why I want Charlie to be a man -instead of a skulking chemist. (_Pause--dropping down l._) The fellow -wants some backbone, John. Managing a works isn't all plain sailing -to-day, same as it was when the men knew their places. It wants a strong -hand and a quick brain to see how to give _'_em the little things that -don't matter and to keep from them the big things that do. I'm getting -old, John. I'd like a rest. You'll speak to him, now, won't you? - -(_Sits l. of table._) - -John. Very well. I'll do my best. - -Jabez. Just make him see which side his bread's buttered. He's too -clever by half. I can't make him out sometimes. He's got notions in his -head about coddling the men and giving them better wages before they -ask for them, as if it wasn't enough to have the Factory Acts and the -Government Inspectors poking their noses round. Dangerous trades! It was -good enough for their fathers, and, by God! it _'_ull have to be good -enough for them. I don't run my place for charity, and the sooner they -get that into their thick heads the better. (_Irritably._) Where the -devil _is_ Charlie? - -John. He said he'd come on here from the works if he wasn't home to -dinner. - -Jabez. Then why isn't he here? - -John. Experimenting again, I suppose. - -Jabez. Hang his experiments! - -(_Enter l. Charlie Bunting greatly excited. He has the face of a -visionary and his high forehead contrasts with a weak, receding chin; he -has convictions and ideals, but it is doubtful if he has the courage to -live up to them._) - -Jabez. Oh, there you are, sir. About time, too. (_Seeing Charlie's -agitation._) Hello, what's wrong with you? - -Charlie. There's been an accident. (_He gasps._) Jabez. Fatal? - -Charlie. Yes. - -Jabez. Curse their carelessness. (_Irritably._) Another inquest, of -course, and headlines in the papers and questions from the Coroner. What -is it this time? Another, drunken fool walked into the vitriol tanks? - -Charlie (_bitterly_). Oh, no, this needn't trouble you. We don't often -kill men suddenly. We poison them by gradual degrees. - -Jabez. What was it? Am I ever going to know? - -Charlie. The lift gave way. - -Jabez. The lift? Oh, we're not responsible for that. It was inspected -only last week. We hold a certificate of efficiency. - -Charlie. Oh, yes, it was examined right enough. Only the men tell me the -inspector was drunk when he came. - -Jabez. They can't prove it. - -Charlie. Not they. You needn't worry. They'll not have the pluck to -repeat it in court. (_Up stage L._) - -Jabez. Certainly not; a coroner's court isn't the place for -irresponsible gossip of that kind. - -Charlie (_down to sofa_). No, the verdict will be accidental death right -enough, with polite expressions of sympathy and a rider exonerating us -from blame. - -Jabez (_settling himself comfortably in his chair_). Of course. Very -proper, very proper. And we've the Insurance Company to fall back on. I -tell you what, Charlie, they'll be raising our premium if things go on -like this. Two fatal accidents in a mouth. I suppose there's a widow. -There usually is. - -Charlie. Yes. There's a widow and six children. (_Going up l._) - -Jabez. (_Turning to John_) I don't know how it is, but it always is the -married men who get killed. (_To Charlie._) Well, I don't see what there -is to make all this fuss about, Charlie. Accidents will happen. Upon my -word, you quite frightened me for a moment. Ring the bell and have some -dinner. - -Charlie (_shuddering_). I can't eat. I've just seen a man killed. Oh, -it's horrible, horrible. (_Sits on sofa l., burying head in hands._) - -Jabez. Nonsense, man. Pull yourself together. It's deplorable, of -course--a most distressing occurrence--but no reason for going without -your dinner. What did I tell you, John? Charlie's too soft for this -world. - -Charlie (_raising head_). Don't you understand? I saw the lift crash -down. I was there when they got out the poor, broken, mangled body from -amongst the blood-stained splinters. I saw---- - -Jabez. Excuse me, Charlie, but I've just had my dinner. Kindly have the -delicacy not to enter into, details. - -Charlie. Very well. I--oh, I think I'll go home. Good night. (_Going._) - -John. Wait a moment, Charlie. (_Charlie's hand is on the door-knob L._) -We were just speaking about you. Hadn't we better thrash this matter out -now, Jabez? - -Jabez (_grimly_). I'm agreeable if Charlie is. - -John. Sit down, Charlie. (_Charlie sits meanly on sofa._) - -Charlie. What is it? - -John. Well, it's like this. Jabez tells me he considers you're wasting -your time. He doesn t call you lazy--not exactly lazy, do you, Jabez? -He wants you to widen your interests and broaden your ideas. That's it, -isn't it? - -Charlie (_to Jabez_). Oh, that's it, is it? - -Jabez. It's one way of putting it. I don't know whether it's laziness or -what it is, but you certainly fight shy of a bit of honest work. - -Charlie (_leaping up fierily_). Work? What else do I do from early -morning when I enter the laboratory till late at night when I leave it? - -Jabez (_smoothly_). Quietly, quietly. Yes, that's all very well, but -that's not what I call work. Charlie. What do you call it then? - -Jabez. It's not work to you. You like doing it. Charlie. I loathe it -from the bottom of my Soul. - -Jabez. Then why do it? - -Charlie. Well, as you put me into the works you ought to be able to -answer that better than I can. I'd no taste for the work at all, but the -laboratory was the department I detested least. I suppose I naturally -drifted to it. - -Jabez. Look here, my lad, I asked you a plain question, and I'll thank -you for a plain answer. Charlie. I thought I'd given you one. - -Jabez. What made you choose the laboratory? Charlie. I thought I saw -some shadowy hope of doing good there. - -Jabez. Well, you've done a bit. I'll give you credit for that. - -Charlie. Not that kind of good. That was accidental. I only hit by -chance on the processes which happened to prove profitable to you. - -Jabez. By chance? Then what the devil were you driving at with my time -and my chemicals? - -Charlie. I hoped to find some means of accomplishing what we do here -by less dangerous methods to let a little health into the work. I saw -strong workmen brought to these works in the prime of life and health, -and in a few years turned away, broken, worn-out invalids. I worked to -find a way out. - -Jabez (_contemptuously_). You fool. - -Charlie. I quite agree. (_Rises and paces up and down._) Yes, fool, -fool, fool. Fool as much as if I'd sought the philosopher's stone or the -elixir of life. I did seek the elixir of life, and I will go on seeking -it--life for those helpless hundreds driven by the need to live to -certain death. Let me go on. Let me hope; but do not ask me to assist in -getting orders for our deadly production. Every contract you sign your -name to is the death-warrant of a workman. (_Sitting on arm of sofa._) - -John (_imploringly_). Charlie! - -Jabez. Have a little common sense, man. You're seeing things to-night. -This accident's got on your nerves. (_Rises._) After all, I think you -had better go home. We'll talk this over another time. I haven't lost -my temper yet and I don't want to. (_Putting his hand on Charlie's -shoulder._) Come now, admit that you're not quite yourself. - -Charlie. You treat me like a child. Having been naughty, I'm sent to bed -to sleep oft my tantrums. - -Jabez. And I'm the ogre in the fairy story who makes bread of people's -bones, eh, Charlie? Yes, you'll laugh at this to-morrow. Really, you've -been making an awful ass of yourself. You _'_ll see things in a better -perspective in the morning. - -Charlie (_bitterly_). With myself as a respectable member of the -governing classes, I suppose, with nice clean hands and a dirty -conscience. - -Jabez. For Heaven's sake, Charlie, drop that silly twaddle. We've had -enough of your platform manner for one night. You talk like a Hyde Park -orator, only they're paid to make fools of themselves and you're not. - -Charlie. (_Pulling himself together_) No. Let's have this out. I didn't -begin it, but now we've gone so far I must know where we stand. - -Jabez. You're not fit for it. But it's as you like. (_Sits l. of -table._) - -Charlie. I do like. Now, Mr. Thompson, it's understood that I meant what -I said. You must let me continue my laboratory work. I still hope to -find less dangerous methods. I may also drop across a few more novelties -for you to exploit. But I definitely decline to have a hand in coercing -my fellow creatures to do the work as it is done at present, or in -procuring orders necessitating such work. - -Jabez. But it is necessary work, Charlie. You must see that. - -Charlie. No work involving risk of death and the certaintv of ill health -is necessary. - -Jabez. Ours is. If the supply of our productions was cut short huge -industries would be automatically dislocated. How are people to run -their bleaching works and dye works if they can't get dye stuffs? - -Charlie. Never mind. That wouldn't matter. - -Jabez. Oh, the boy's mad. This is what comes of debating societies and -political meetings for infants. Look here, Charlie, it's one thing to -get on your legs and spout revolutionary rot to a roomful of fantastic -fools as hare-brained as yourself, but it's a very different pair of -steps to come here and ask me to take you seriously. If it wasn't for -Rosie, I'd take you at your word and send you packing. As it is, I'll -try something else first. John, this is your affair now. You've got to -bring this fellow to his senses. (_Rises and goes round table to John, -r._) - -John. I'll try, Jabez, I'll try. - -Jabez. (_Threateningly_) You'll succeed. (_Going up to door r.c._) - -John (_Looking up at him_) What do you mean? - -Jabez. You know as well as I do. I'm sorry, old man, but I've got to -put the screw on. You can't expect me to keep my patience for ever if he -won't hear reason. You can't blame me. I'll go and join Rosie while you -straighten things out a bit between you. - -(_Exit through door centre. John sinks back into his seat and buries his -head in his hands on the table. Charlie goes behind table to him and -tries to raise him up._) - -Charlie (_Softly_). Dad. - -John (_slowly removing his hands from his face and raising his eyes to -Charlie_). You haven't called me that since you were a little boy. - -Charlie. Dear old dad. I don't want to know what it is. Let him think -he's got hold of something. I don't care. . - -John. But you must know. I'm absolutely in his power. He can ruin me if -he likes. - -Charlie. How? - -John. It's my dye works, Charlie. Jabez finances it. No one knows -it's not my own, but if he cut off supplies I'd have to close it down -to-morrow, and call my creditors together. I make a living out of it, -but the capital's all his. I couldn't meet a tenth of my liabilities -without his aid. - -Charlie. Never mind, dad. (_Sits above table._) We'll fight it together, -shoulder to shoulder, you and I against the world. What does poverty -matter if we can be independent? - -John (_terrified_). No, no. You can't mean that. You can't mean to bring -disgrace upon your father's grey hairs. Think of my position, Charlie--a -public man in my own way; not such a big pot as Jabez, but I have my -feelings just the same. The Black-more Dye Works is a small enough -concern compared with Jabez's Chemical Works, but it's meant the world -to me. Every one thinks the business is mine. What will people say when -they learn that I'm practically penniless? - -Charlie. What does it matter what people say? - -John (_ignoring him_). And Jabez is a man of his word. He means it. He's -never threatened to do this before. - -Charlie. And what makes him do it now? - -John. Oh, you must do what he wants, Charlie. - -Charlie. But why does he want it? Why won't he see that I'm unfit for -the position he offers me? I can't and I won't fill it to his orders. -Oh, it's my own fault, I suppose. He's quite right. I'm soft--too soft -for this horrible, inhuman world. I yielded at first because I hoped to -do some good, and I've gone on yielding ever since. It seemed so easy to -acquiesce and to hope for the best. And this is where my cursed weakness -has landed me. - -John. Yes. Jabez has us at his mercy. - -Charlie. I'm as far as ever from seeing why he's doing it. - -John. Oh, that's plain enough. He's a good sort, is Jabez. - -Charlie (_staggered_). What! - -John. Oh, yes, really a good sort, only he likes to play boss. That's -why he kept mum about my business--so that he could do as he liked with -me. And then Rosie took a fancy to you; so old Jabez steps in to play -providence to a pair of lovers. He's meant well all along. - -Charlie. He's a sentimental ass. Curse his good intentions. - -John. You may curse them, but you'll not alter them. Jabez will have his -way. Right or wrong, he will have his way, he always does. You may call -him obstinate, pig-headed, anything you like, but, mark my words, it's -no use fighting against him. - -Charlie (_contemptuously_). You're frightened of him. - -John (_with conviction_). Terribly. - -Charlie. Well, I'm not. - -John (_coming to him_). Charlie, you must give way. Remember me. Can't -you see that all these years have been hell upon earth to me? I've been -his slave, his dog, and all the time he professed friendship for me, -nay, he was my friend. He patted me with one hand, but the dog-whip was -in the other. You can't force him to speak now, Charlie. Oh, say you -can't. - -Charlie. But--oh, I don't understand. If you had imagination enough to -see all this and to writhe under it, and strength enough to keep your -hands off him, couldn't you see there was a way out? Why couldn't you -leave him, leave this place, and make a fresh start somewhere else -without his cursed money? - -John. I might have done that at first. But well--like father like son, -Charlie. - -Charlie. What's that supposed to mean? - -John. _You've_ acquiesced. _You've_ gone on hoping for the best. So did -I till the cords which held me were bound more closely, till I became -a man of substance here, looked up to by my neighbours. They made me -sidesman at the Church and then a magistrate. I loved these things, -Charlie, the little honours I had won. I clung to them. Your mother -died, and as you grew up and drifted from me full of ideas I could not -understand, I clung more closely to the little things life held for me. -Its all I have, Charlie. Don't take that away from me Charlie. Why -shouldn't people know it? There's no disgrace in having your business -financed by another man. - -John. Well, if you must know, there's another reason. - -Charlie (_suddenly alarmed_). It's a paying concern, isn't it? - -John. Yes, but I can't prove it. - -Charlie. Why not? - -John. I've no figures to show. Any one I approached would want to see -accounts--audited accounts. - -Charlie. Well, haven't you got them? - -John. No. It was enough for Jabez to know that he got a good return on -his money. I've never had auditors in the place. Jabez never asked it. - -Charlie. That doesn't justify your carrying on the thing in a slipshod -manner. It only shows how absolutely content you were to remain in -abject dependence on Thompson. Any tin-pot grocer keeps his books -properly and gets them audited. - -John. Charlie, I'm your father. - -Charlie. Oh, it's all right. I'm going to stick by you. I'm going to be -a pawn in Thompson's game. But I can't pretend that I can do it with a -good grace. Your point of view's all wrong. You've been sailing under -false colours all your life, and now I'm to cave in to Thompson so that -you can go on living a lie to the end, and a silly lie at that. - -John (_with dignity_). Charlie, remember who you are speaking to. - -Charlie. I do. I haven't the slightest hope of making you see it as -I do, but I can't go licking Thompson's boots on your behalf without -letting you know I'm not doing it for fun. And there's Rosie. I suppose -Rosie's included in the bargain. - -John. You engaged yourself to her, didn't you? - -Charlie. No. She did all the engaging there was about it. But it amounts -to the same thing. I shall have to go through with it. - -John. Well, for the life of me I can't see what you have to complain of. -Rosie's a nice girl. - -Charlie. That's no reason for marrying her. A man can't marry all the -nice girls he knows. - -John. But you've always been fond of her, ever since you were children -together. You used to call her your little friend. - -Charlie (_lightly_). Mere boy and girl flirtation. - -John. It looked more serious than that. - -Charlie (_Exasperated_). Serious? Of course it was serious. What do you -take me for? Do you think I'd have consented to an engagement at any -price if I hadn't loved her to distraction? I've tried to cease loving -her, to school myself to hate her because of what she is--Thompson's -daughter--and I've failed. The love I hoped to conquer only conquered -me. It's no good fighting it. I know that now. John (_triumphantly_). -Very well then, if you love the girl---- - -Charlie (_At bay_) Wait a bit. We were engaged before my eyes were -opened, before I'd seen the horrible injustice of the men's lives in the -works. I tell you it's wrong, all wrong. From the first moment that I -realized it, I dedicated my life to the men. All personal desires were -at an end. Rosie--everything went by the board. It was the men, the men, -always the men. - -John. Pssh! - -Charlie. I can't serve two masters. I can't waste time on marriage. I've -a lifelong duty to perform. I've to battle for reform; and how can I be -single-purposed in the fight if I'm tied to Rosie and accept a share of -Thompson's tainted money? - -John (_hopelessly_). Well, I can't understand. I never could, and I'm -sure I don't want to interfere between you, but Jabez seems to think -you've been engaged long enough. - -Charlie. I can't help that. There are two ways of ending an engagement, -anyhow. - -John. Charlie, you promised. - -Charlie. Yes, if she insists. It's Rosie I'm engaged to, not Thompson. -I'm not going to start married life on a lie, (_Enter Rosie centre._) -and I shan't start it at all if I can help it. I---- - -Rosie. What are you two talking about so seriously? Father's sent me to -see. - -John. Has he, my dear? (_Rising and moving as though he had suddenly -grown twenty years older._) I think I will go to him. (_Walking towards -the door and mumbling again._) Yes, I think I will go to him. - -(_Exit John by door r.c. A slight pause. Rosie looks at Charlie._) - -Rosie. Well, haven't you a word to throw at a dog? (_Charlie is -silent._) Charlie, you're not ill, are you? - -Charlie. Ill? No. I'm all right. - -Rosie. Well, suppose you say "Good evening" to me. - -Charlie (_collecting himselj_). I'm sorry. (_He crosses over and kisses -her per junctorily, then sits down absent-mindedly on soja. Rosie -watches him for a moment._) - -Rosie. You're not very brilliant to-night. - -Charlie. There's a depressing feeling in the air. Have you felt it? - -Rosie (_compassionately_). You poor boy! Father worries you with -problems all day at the works, and when you come here in the evening its -business again. No wonder you're depressed. (_Going and sitting on the -arm of the soja._) Let me cheer you up. I'm not business, am I? - -Charlie. No. But I think sometimes the problems I face in the laboratory -are child's play to those I've to face outside it. - -Rosie. Is it anything I can help with? Let me try. - -Charlie. It is you. - -Rosie. Am I a problem? (_Rising and moving slightly away_) How exciting! - -Charlie. It's not exciting. It's serious. - -Rosie (_soberly, above soja_). And I'm not? All right. I'll be serious, -Charlie. What's the matter? - -Charlie. Rosie, it's about--about our engagement. We've been engaged -quite a long time now. - -Rosie. Two years. - -Charlie. Yes. It seems people are wondering why we don't get married. - -Rosie (_simply_). I'm ready when you are, Charlie. - -Charlie. Yes--yes. That's just it. - -Rosie. What? - -Charlie. It's a difficult thing to say, but I'm not ready. - -Rosie (_sympathetically, standing in front of sofa_). I don't think I -mind very much what people say, Charlie. If you want me to wait a little -longer, I can wait. I don't want to hurry you. You must choose your own -time. (_More lightly._) So that's all right and the cloud's passed now. - -Charlie (_moved_). Oh--if you only knew how hard you're making it for -me. You're too good, too true to realize what a weakling I am, what a -criminal fool I've been to let things go on to this stage. - -Rosie (_startled_). Charlie, what do you mean? - -Charlie (_rising and crossing to Rosie_). I'm going to hurt you, Rosie. -It's all my cursed fault. Try to think of me as kindly as you can. -Rosie, it's not a case of waiting a little longer. I wish to God it was. -It's that I can't marry you at all. - -Rosie. You can't marry me! - -Charlie. Oh, don't think worse of me than you must. It's not another -woman. It never was and it never can be. I shall never love any one but -you. - -Rosie. Then why, why? - -Charlie. My life's too full. - -Rosie (_wonderingly_). Your life? - -Charlie. Yes. How shall I put it? (_Crossing to soja l._) A Catholic -priest doesn't marry lest marriage distract him from his wrestle -with the devil. I too am going to wrestle with a devils the devil of -industrialism. I've things to do in the world, a battle to fight which -can only be fought in the strength of loneliness. - -Rosie (_a little hardly_). Yet you engaged yourself to me. - -Charlie. Two years ago. I didn't see it then Day by day it has become -clearer. The task I have to do reveals itself. Oh, I dare say I don't -put things well. I know I must show up like a blackguard for not telling -you before. It's been inevitable for months, but I let things slide and -there it is. We're up against it now. (_Pause._) - -Rosie. Yes. We're up against it now. Only it takes two to make a -bargain, Charlie. If you can be obstinate, so can I. - -Charlie. What do you mean? - -Rosie. I mean that I know you better than you know yourself and a -hundred times better than you know me. You and your Catholic priest! In -the Church I belong to priests marry, and I've yet to learn that they -fight the devil any the worse for it. I don't believe that the strongest -man is he who stands most alone when there's a woman in love with him. -You don't know me yet, Charlie. If you think I'd let you go for the sake -of your wrestle with the devil, you're mistaken. The devil might throw -you if you wrestled him alone, but he'll have less chance if I'm there -to pull his tail. - -Charlie. You won't release me? - -Rosie. Never. Oh, you needn't be afraid. I dare say I've a surprise in -store for you. You'll be none the worse for having a woman by your -side and I know I'm the right woman. There's only one way of making you -believe it, and that is by marrying you and proving it. I'm not afraid. - -Charlie. Well, I am. (_Crossing to r.c._) You're assuming that I'm the -ordinary sort of fool who thinks money's everything. I may be a lunatic, -but I'm not that brand. I want to be left alone. I want a decent chance -of living my life in my own way. As things are, I'm caged. I'm at the -bottom of an infamous well, and there's a window somewhere far up, but -I can't reach it. I can't find the way out. (_Rosie smiles -compassionately._) Now, you're laughing at me. You! Rosie, harmless, -necessary Rosie, whom I've always thought of as the type of bread and -butter miss. - -Rosie. And you're surprised to find her a woman with a will of her own? - -Charlie. You won't let me go? (_Crossing to l.c._) - -Rosie. Never. - -Charlie. Do you know what you are doing? - -Rosie (_confidently_). Oh, yes. - -Charlie. You don't. You think you're being my guardian angel. You think -you're helping me. As a matter of fact, you're hanging a millstone round -my neck which will drag me down to the lowest depths of human misery. If -it wasn't so utterly tragic I could laugh for a week at the silliness of -it all. I'm not allowed an opinion of my own. I'm not to diverge by one -hand's breadth from the path laid down for me. I'm to marry the wife you -choose and do the work you choose and own the wealth you choose and take -the place in society laid down for me. I'm not a man. I'm a specimen in -a case with a pin through my body. I'm clay in the hands of the potter. -I'm---- - -Rosie. You're the man I love. (_Charlie collapses into chair l. of -table._) - -Charlie. That's the last straw. I suppose I shall have that thrown in my -face all my life. - -Rosie (_reflectively_). Let me see. Shall we say April 25? Lent will be -over by then. - -Charlie. Say what you like. I haven't a kick left in me. - -Rosie (_going to door c. and calling_). Father, father! - -(_Enter Jabez and John in their shirt-sleeves with billiard cues._) - -Jabez. Well, my dear. What is it? (_c. behind table, John crosses R.c. -Rosie is back l.c._) - -Rosie. Father, Charlie wants us to be married on April 25. - -Jabez. The young scamp. What a hurry he's in. Well, well, young people -will be young people, eh, John? (_Nudges John._) - -John. Thank you, my boy, thank you. You don't know what this means to -me. - -Jabez. Yes, this saves a lot of trouble, Charlie. You're going to be a -sensible fellow, after all. - -(_Patting Charlie's shoulder. John turns gratefully to Rosie._) - - -CURTAIN. - - - - -ACT II. - -_The next morning. Thompson's office at the works. Doors l. and at the -extreme R.C. Opposite the door L. is a desk with revolving arm-chair. -Fireplace at the back centre, table against the wall by the fireplace. -A couple of revolving arm-chairs. Carpet on floor. Jabez believes in -working in comfort. Small hat-rack attached to wall by the door l. -Telephone receiver on the desk, speaking tube protruding from the wall -by the chair and handbell on desk, which is open. Clock on mantelpiece -points to 9.55._ - -Lomax _is an elderly man with iron-grey hair, cleanshaven, and has the -appearance, of a confidential head clerk or cashier, which in fact he -is. He arranges a few open letters on the desk and puts a paper weight -on them as Charlie enters l. bringing in Mrs. Wilcock, a careworn woman -of thirty, dressed in black with shabby skirt, heavy incongruous mantle -and beaded bonnet. A considerable nervousness is added to her distress._ - -Charlie. (_Sympathetically_) Come in here, Mrs. Wilcock. - -Mrs. Wilcock (_Entering shyly, seeing Lomax and "bobbing" towards him_) -Thank ye, sir. - -Charlie. Sit down. Make yourself comfortable. (_Pulling chair across -towards fire._) Good morning, Mr. Lomax. - -Lomax (_crossing to l._). Good morning, sir. - -(_Exit Lomax, l. Mrs. Wilcock sits on the edge of the chair._) - -Mrs. Wil. (_Anxiously_) Do you think as A'm doing the reeght thing, Mr. -Bunting, sir? - -Charlie (_Standing by her r._). Oh, yes, quite right, Mrs. Wilcock. - -Mrs. Wil. (_volubly_). They all told me A mun coom an' see the master. -A weren't sure if it were proper. But there's not above a two three -shilling in th' _'_ouse, an' wheer money's to coom from for th' burying -A dunno. Six childer to find black for an' all, an' none of _'_em old -enough to be earning. - -Charlie (_with his back to fire_). Don't let that trouble you, Mrs. -Wilcock. I'll see to that. - -Mrs. Wil. It's all coom so sudden. He coom out to his work as cheerful -as could be, an' when they browt him whoam to me a steam roller might -a'gone o'er 'im. - -Charlie (_shuddering_). Yes, yes. I saw him. - -Mrs. Wil. The neighbours _'_as been that good to me you wouldn't -believe. One's lent me this cape an' another's loaned me this bonnet. -A'd nobbut a skirt masel' as was anyways black. It's not as if we'd -been in a buryin' club. Takes us folk all our time to go on livin' when -theer's six young mouths to fill an' another comin'. - -Charlie. Well, you mustn't distress yourself about the funeral, Mrs. -Wilcock. I'll make that my business. - -Mrs. Wil. (_with tears_). Bless you, sir, tha's taken a load off my -mind. A couldn't abide thowt o' my man's not bein' buried proper. - -Charlie. What you've got to talk to Mr. Thompson about is the future. - -Mrs. Wil. (_resignedly_). It'll 'ave to be th' 'ouse for me. - -Charlie. Oh, nonsense. You'll get compensation. - -Mrs. Wil. Must A ask the master for it, sir? - -Charlie. Certainly. - -Mrs. Wil. A misdoubt A'll never 'ave th' face to do it. - -Charlie. You've nothing to be' afraid of. It'll be all right, Mrs. -Wdcock. - -Mrs. Wil. (_dolefully_). A never thowt as mine 'ud be workus children. - -Charlie. They won't be. You needn't fear that. (_Dowden, a young clerk -of about twenty-eight, opens the door l. He is cirefully dressed, but -his clothes have seen better days._) - -Dowden. Dr. Clavering to see you, sir. - -(_Enter Clavering, l. Dowden shuts the door._) - -Charlie. Hullo, old man! - -Clavering. Good morning. - -Charlie. This is Mrs. Wilcock. - -Clav. (_properly sympathetic_). Oh, yes. Good morning. Very sorry to -hear about your husband, Mrs. Wilcock. (_r.c._) - -Mrs. Wil. (_tearfully_). Yes, sir. (_Charlie goes to the door l. and -opens it._) - -Charlie. Oh, Dowden. (_Dowden appears._) - -Dowden. Yes, sir? - -Charlie. Just give Mrs. Wilcock a chair by the counting house fire, -till Mr. Thompson comes, will you? Go with this gentleman, Mrs. Wilcock. -(_She rises and he walks with her to the door._) Now, don't you fret. -You won't have to go to the workhouse. - -Mrs. Wil. Thank you, sir. (_She goes out with Dowden, l._) - -Clav. Are you sure of that? - -Charlie. God knows, but the insurance people shan't rob her if I can -help it. Isn't it damnable, Clavering? - -Clav. Yes. But it won't last for ever. - -Charlie. The book, you mean. (_Taking a book from his pocket._) - -Clav. Yes, the book. Hullo, do you carry it about with you? - -Charlie. I'm going to give this to Thompson to-day. - -Clav. Are you? - -Charlie (_a little anxiously_). It's all right, I suppose? About the -publication? - -Clav. Oh, yes. I heard from Mitchell this morning. It will be published -to-morrow. - -Charlie. That's good. - -Clav. Yes. What I came to show you was this. (_Taking paper from an -envelope from his inside pocket._) It's simply gorgeous. - -Charlie. What is it? - -Clav. Well, I've a friend on the _London Morning News_, and I got -Mitchell to see he had a copy of the book. - -Charlie. Yes? - -Clav. (_handing him the proof_). He sent me a proof of his review by -this morning's post. That's it. He's done us well. - -Charlie. By Jove. That's luck. - -Clav. Yes. It's a storming notice. - -Charlie. Things are going to move a bit now the book's coming out. It'll -waken people up to a realization of the kind of thing that's done in the -name of profit. - -Clav. (_impatiently_). Yes. I haven't time to stay now. I must get on -with my round. - -Charlie. Of course. Don't let me detain you, old man. I'll read this at -once. Thanks for bringing it. - -Clav. Right you are. Good-bye. I'll go this way. It's shorter. (_Opening -door at hack R.C._) - -Charlie. Do. Good-bye. - -(_Exit Clavering, r.c. Charlie unfolds the proof and reads it, moving -towards the door at hack. Enter Lomax._) - -Lomax. Mr. Thompson has just come in, sir. (_Crossing to desk._) - -Charlie. All right. Let him know Mrs. Wilcock's there. I shall be in the -laboratory if he asks for me. - -(_Exit Charlie, r.c. Lomax fusses about the desk for a moment. Jabez -comes in L. takes off his hat and coat and hangs them by the door. Lomax -stands to attention at the desk._) - -Jabez. Good morning, Lomax. - -Lomax (_deferentially_). Good morning, sir. (_Pause._) Jabez. Anything -fresh there? - -Lomax. Not very much, I'm afraid. - -Jabez. There's not much trade about, these days. (_Sitting at his -desk._) - -Lomax. No, sir. Cranbury's haven't sent their cheque again. - -Jabez. Haven't they? Well, I'm waiting no longer. You'd better ring up -Charlton and get him to take it in hand. You might attend to this lot. -(_Handing him some letters._) - -Lomax. Yes, sir. - -Jabez. That's all. (_Lomax coughs._) Well, what is it? - -Lomax. That matter of young Dowden sir. You said you would speak to him -to-day. - -Jabez. Oh, yes, of course. (_Takes down speaking tube and blows: then -puts it to his mouth._) Send Dowden to me. (_Replaces tube._) Let me see -invoice desk, isn't he? - -Lomax. Yes, sir. - -Jabez. You're quite sure he's getting restive? Lomax. Absolutely. I -thought he'd ask for a rise last week. It's been on his tongue three -or four times or I shouldn't have mentioned it to you. A look from me -generally keeps them quiet if they only half mean it. - -Jabez. What does he get? - -Lomax. Twenty-two shillings. - -Jabez. What's he likely to ask for? - -Lomax. I shouldn't wonder if he asked thirty, sir. For one thing it's -three years since he had a rise, and for another he keeps his mother. - -Jabez. Has she got any money? - -Lomax. I fancy not, sir. - -Jabez. Good. That'll keep him steady That's the kind we want, Lomax. He -can't afford to take risks. Good worker of course? - -Lomax. Excellent. None better. - -Jabez. Age? - -Lomax. Twenty-eight, sir. (_A knock._) Shall I go, sir? - -Jabez. No. Stay here. (_Calling._) Come in. - -(_Enter Dowden, l. he is obviously extremely nervous over his -"carpeting" before his employer. Lomax stands above desk._) - -Jabez (_beaming paternally on him, with his elbows on the arms of his -chair and his finger-tips together._) Come in, Dowden. Don't be nervous, -man. No one's going to hurt you. (_Dowden shuts door and moves towards -Jabez._) This is one of those pleasant interludes in the life of an -employer which make it worth the living. You have pleased me, Dowden. - -Dowden. Very good of you to say so, I'm sure, sir. - -Jabez. Mr. Lomax has spoken most favourably of you. Good lad, good lad. -We've been putting our heads together and we're going to raise your -salary to--twenty-five shillings a week. - -Dowden. Thank you, sir. Thank you very much indeed. (_Nervously._) Only, -sir, I was going to ask---- - -Jabez (_interrupting_). Don't thank me, Dowden. You owe it to your -own good work. Go on in the same way and you may come to me again in -a year's time, I'll see you right. Mr. Lomax just make a note of that, -will you? That will do, Dowden. - -Dowden. Yes, sir, and thank you, sir. - -(_Exit Dowden, l._) - -Jabez. Settled his hash for a year anyhow, Lomax. Just let me know of -any similar symptoms in good men. It always pays to take time by the -forelock in these little matters. - -Lomax. It does that, sir. You prove it. You've the cheapest office staff -in the country for its size. - -Jabez (_chaffing him genially_). You think so, Lomax? - -Lomax. I'm sure of it, sir. - -Jabez. I sometimes think the cashier makes a big hole in the salary -list, eh, Lomax? - -Lomax (_alarmed_). I'm sure I---- - -Jabez. Yes, yes. I'm not thinking of cutting you down, Lomax. Only, one -has to fix a limit. You might bear that in mind. - -Lomax. Yes, sir. - -Jabez. That will do then. (_Lomax turns to go._) Oh, by the way, is Mr. -Charles in his room? Lomax. I think so, sir. - -Jabez. You might ask him to step this way. Lomax. Yes, sir. - -(_Exit Lomax, r.c. Jabez opens a side drawer in his desk, takes out a -cigar box, selects and lights a cigar, and goes to fireplace and turns -back to fire with the air of a man who, having done a good mornings -work, may legitimately permit himself some reward. Enter Charlie, r.c._) - -Jabez. Good morning, Charlie. Hope you slept well. - -Charlie. Good morning. Can't say I did. - -Jabez. You'll soon get over that. At your age a night's rest more or -less makes no difference. Did I interrupt some particularly promising -experiment? - -Charlie. No. I haven't been experimenting to-day. I've been engaged with -some of the men. - -Jabez. Really? Well, there's no accounting for tastes. You're a queer -fish. - -Charlie. You didn't send for me to tell me that, I suppose? - -Jabez (_blowing smoke and watching it rise_). Eh? No, I suppose I -didn't. Have a cigar? - -Charlie. No thanks. - -Jabez. No? Well, now that you've come to your senses the thing is to see -about what arrangements we must make. To begin with, I think we'd better -fix you up a desk in here. - -Charlie' (_wearily_). Yes. - -Jabez. We'll have that table out and one put there. Or is that too near -the fire for you? - -Charlie. Oh, anywhere. - -Jabez. You see, you'll have to work under my supervision at first and -then begin gradually to take the responsibility off my shoulders. I -shall be glad of a rest, Charlie. - -Charlie. Don't you think you are taking a good deal for granted? - -Jabez. Why? - -Charlie. I told you I'd not slept. A man can do a lot of thinking in -eight hours. - -Jabez. What, you mean to say---- - -Charlie. That I've thought the whole thing over. - -Jabez. Well? - -Charlie. It's not good enough. It's--it's dishonourable. - -Jabez (_angrily_). Dishonourable, sir? What the devil do you mean? - -Charlie. I'm the only bulwark the men have. If I marry Rosie--sell -myself to you--it means pushing the men back into their old places just -when they're ready to make some show of fighting and want all the help I -can give them. - -Jabez. For God's sake do leave the men out of it for one moment. It's -you I'm talking about, not them. You gave me your word last night. - -Charlie. I know I did. - -Jabez (_sneeringly_) You needn't talk so much about honour. - -Charlie. Oh, there are things I value more than an empty phrase. That -lift accident made me realize once again how much I'm needed and how -little I could do if I married Rosie. I've seen Mrs. Wilcock this -morning. Oh, it's pitiful! - -Jabez. Now, could I help the lift breaking down? - -Charlie. No, but you could help a hundred other things happening, only -safety apparatus costs money and men are cheap. Last night's accident -was only the last straw. The men need me and I won't forsake them. - -Jabez. Who's asking you to forsake them? I'm only asking you to carry -out your engagement. Good heavens, it's a chance any man in his senses -would jump at. - -Charlie. I'm sorry I don't agree. - -Jabez. You play fast and loose with me, my lad, and I'll ruin your -father for it. Don't forget that. - -Charlie. Look here, suppose I let you force my hand. Suppose I married -Rosie under compulsion, what sort of a time do you fancy she'd have? -What's to prevent me taking it out of you by cruelty to the daughter you -love? - -Jabez (_recovering his temper_). No you don't, my boy. It's very clever -of you. Upon my word, I'm glad to hear you talk like that. After all, -you've the makings of a business man about you, but I'm too old a bird -to be caught by a bluff like that. You know very well you're talking -through your hat. You couldn't do it. Besides, even if I wasn't sure of -you I'm sure of Rosie. I'm a long way more frightened for you than I am -for her, my boy. She's managed me all her life, and if there's going to -be any bullying when you're married, take my word, it's not you that'll -do it. You see, I know Rosie. - -Charlie. Very well then. You compel me to take other measures. - -Jabez. What, still fighting? You're getting quite pugnacious, Charlie. -(_Crossing to cupboard l. and unlocking it._) - -Charlie. Don't laugh at me. I won't be laughed at. - -Jabez. Then don't make yourself ridiculous, my boy. Every man feels like -you do when he's booked his passage. But most of us have it out with -ourselves. We don't talk about it, but we all get a fit of funk and -want to back out if we can. It's a natural reaction. Come, pull yourself -together, Charlie. Have a whisky and soda. (_He takes a decanter, glass -and syphon from cupboard and places on top of it._) - -Charlie (_for a moment half laughing at himself_). You make very certain -that I'm not an embryonic wife-beater. - -Jabez (_with the decanter in his hand_). You won't? - -Charlie. No thanks. (_Jabez mixes a drink for himself._) - -Jabez (_meditatively_). Yes, I think a desk will do very well in place -of that table. - -Charlie. I refuse to sit at it. - -Jabez. Oh, I don't think so. (_Walking up with drink and sitting l. of -fire, putting glass on mantel._) You see, Charlie, your father's so -very respectable; he simply radiates respectability. Gad, I shall never -forget old John's face when he was up in town with me for the first time -and I took him to the Empire. He got used to it later on, though. -But it's different down here. He's the champion bazaar opener of the -district. Quite a great man in his way is old John. Yes, we can't have a -scandal, Charlie. It really would not do. - -Charlie. You must do as you like about that. It's his affair. And anyhow -it's absurd to talk of it as a scandal. - -Jabez. He wouldn't say so. How shockingly unfilial you are! - -Charlie. Possibly. I've myself to look after. - -Jabez. Still fighting? (_He takes a drink._) - -Charlie. Yes. If I can't touch you through Rosie, I can touch you -through something still dearer. - -Jabez (_sarcastically_). And what may that be? - -Charlie. Your pocket. - -Tabez. What do you mean? - -Charlie. Oh, you shall know. I'll give you fair warning. - -Jabez (_rising_). What is it? - -Charlie. The men. They're not blind. They're no longer the passive fools -their fathers were. - -Tabez. Well? - -Charlie. You were pleased to be angry with me last night when I -explained why I undertook laboratory work. I can't help that. My -sympathies are all with the men, not the master. If it comes to a fight, -I shall be on their side, not yours. You--oh, I don't expect you to -understand, but with me altruism is a religion. - -Jabez. A religion! Is that all. - -Charlie. What more can it be? - -Jabez. My dear fellow, religion is a respectable pastime for Sundays, -but it's got nothing to do with every-day life except for parsons and -old women In this country, you can be a Mohammedan or a Mormon if you -like, but I can't see that it any material difference in your ordinary -conduct. - -Charlie. Can't you? I'm different My religion is a thing I believe in on -weekdays, a thing I act upon and live up to as far as I can. - -Jabez. Aren't we getting away from the point? - -Charlie. The point is the men. - -Tabez. Exactly. I'll have no tampering with the men Charlie, no putting -ideas above their station into their heads. - -Charlie. It's fifty years too late to talk like that. As a matter of -fact, I'm going to address a meeting of the men to-night. And I shall -take their part. They know it. I've the gifts of the mob orator. -(_Chuckle from Jabez._) God knows it's a sorry gift to boast about, but -it will serve my turn. I can sway a crowd. I've done it time and again -in debates. - -Jabez. (_Pause, then_) Where is this meeting? (_Crosses to desk, sitting -to face audience._) - -Charlie. The Assembly Hall. I am as certain as I stand here that I can -work my will upon them. I shall advise a strike, and strike they shall -unless---- - -Jabez. Oh, you've got your price then? (_Sneeringly._) - -Charlie. Yes. It's cowardly, but I have. It's against my convictions, -but, as you say, I have my price. - -Jabez. What is it? - -Charlie. Freedom of action. (_Crosing towards Jabez._) Laboratory work -and no other and release from the mockery of an engagement with Rosie. -(_Enter John, l._) - -Jabez. Hullo, John. Good morning. Glad you called. (_Charlie goes to -fireplace._) - -John. Good morning, Jabez. (_Crossing to Jabez._) Yes, I called about -the monthly accounts. I've got the total here, if you'll sign me a -cheque. - -Jabez (_grimly_). You'd better talk to Charlie about that. - -John. Charlie! - -Jabez. Yes. Here he is with a bee in his bonnet as usual. Look at him, -John. - -John. What is it, Charlie? Wasn't everything settled last night? - -Jabez. Oh, you're not quite up to date, John. We move fast nowadays, -don't we, Charlie? - -Charlie. I wish to God we did. (_Sitting on armchair l. of fire._) - -Jabez. The latest is that some fools amongst the men want to strike. -Lord knows what they think they'll get by striking, but let me introduce -you. John, to the strike leader. - -John. Charlie, you couldn't---- - -Jabez. Oh, he believes in variety, John, that's what it is. Last night -Rosie, this morning no Rosie. The men are the latest love. It's off with -the old and on with the new. - -John. Don't be hard on me, Jabez. I can't bear it. - -Jabez. I've to look after number one, John. - -John (_appealingly_). Charlie! - -Charlie. It's no good, father. I can't betray my principles. - -Jabez. And I can't sign that cheque, John. Perhaps Charlie's prepared to -be your banker. - -John. It means---- (_Sitting l. of desk._) - -Jabez. Oh, I know what it means. (_Rises, goes c., drains glass and -turns on Charlie._) Listen to me, Charlie. I'll have no meddling with -the men. That's all over and done with. Understand once for all that -it's hands off the men. I'll have no discontent amongst my men. I don't -want men who'll think. I want men who'll work. (_Down l. to cupboard and -putting glass on top of it._) - -Charlie. To think is to be discontented. Discontent is divine. - -Jabez. Don't talk rubbish, sir. We are told to be content with the -station into which it has pleased Providence to place us. - -Charlie (_passionately_). Virtue on ten thousand a year! This is your -rich man's God, who is at home to you in his church one day a week from -10.30 to 12 and 6.30 to 8. You don't go because you hope to get a -little dirt washed off your shop-soiled soul. You go because it isn't -respectable to stop away. For six days you serve Mammon, and on the -seventh you follow your gregarious instincts and crowd into a church -in your sleek broadcloth, and only the effort of keeping a properly -sanctimonious expression on your well-fed face prevents you from falling -asleep in your padded pew. That's your middle-class religion and your -middle-class Providence. Don't talk to me of Providence till you can -show me a Providence which provides. - -Jabez, Rank blasphemy, sir. (_Going up to Charlie, settling his collar -irritably._) Don't talk to me as if I was a nonconformist. - -Charlie. Nonconformist? No, you conform to everything. You began in a -rut and you'll stay in the rut till you die. - -Jabez. A rut! - -Charlie, Yes, the gutter where you poke in slime for sixpences, afraid -to look up at God's blue sky or about you at your fellow-men lest some -one else should pick up a sixpence while your head's turned. Oh, you -conform right enough. You do nothing else. You conform to Success and -Respectability, and they're the stronghold of the Devil. - -Jabez (_recovering his temper, sitting down at desk and rubbing his -hands genially, looking at John, laughing._) Sit down, Charlie. - -Charlie. Thanks, I can say all I have to say standing. - -Jabez. Oh, but this is delightful. As good as a pantomime, isn't it, -John? Go on, Charlie. It's amusing you and doing me no harm. - -Charlie. Yes, that's the pity of it. It's doing you no harm. You'll have -your dog's day. You'll go on accumulating the money you've no need of -because you're in the grip of the money habit. You couldn't stop mobbing -your impotent employés if you wanted to. The looting instinct's in your -blood. - -Jabez (_calmly._) I am doing what I conceive to be my duty, the duty -of every man--to make as much as I can by honourable and business-like -methods. - -My father did it and his father before him. My son would do it if I had -one. - -Charlie. Hereditary money-grubbing. That's typical. It's our idea of -progress and self-reliance and thinking things out for one's self. (_He -pauses, hand on mantel, looking into fire._) - -Jabez (_pause_). What, dried up? Well, I've let you have your fling. You -are like any other child, Charlie. You've been hurt and you're crying, -only you put your squeal into words. A child only howls, while the -natural impulse of the adult is to curse something or somebody. Have you -said all you wanted to? - -John. Charlie, for Heaven's sake---- - -Charlie (_facing Jabez_). Oh, I'd more to say. But that will do. I've -wasted my breath, but it's done me good to give it you straight from -the shoulder for once. After all, you're not a millionaire or a trust -president. You're precious small beer as employers go nowadays. - -Jabez. Oh, so that's all right, and I'm put in my proper place, eh, -Charlie? And you've let off steam now instead of to the men to-night. - -Charlie. That's as may be. I've not done yet. - -Jabez (_to John_). This fellow's solved the problem of perpetual motion, -John. What is it this time? - -Charlie (_taking a small book from his pocket_). Do you know what this -is? - -Jabez. It looks like a book. - -Charlie. It is. Just have a look at it. (_Offering it._) - -Jabez. I'm not interested in literature. - -Charlie. This will interest you. (_Holding the book out towards him._) - -Jabez. (_snatching it and reading the title_). "An Inquiry into -the Condition of the Workers in our Chemical Industries, by Walter -Clavering, M.D." What's this? Clavering? This isn't like what I know of -Clavering. I wonder what his game is? - -Charlie. He hasn't got a game, as you call it. Clavering's in earnest -about it. (_Going up to fire._) - -Jabez. I'm afraid you're a bad judge of character, Charlie. (_Turning -over the pages._) What's this? "Illustrated by Photographs by Charles -Bunting." - -Charlie. Oh, yes. I had a hand in it. - -Jabez. You damned young scamp. - -Charlie. That's an advance copy. The book's not published yet. - -Jabez. I'll take good care it never is. - -Charlie (_smiling_). It will be published to-morrow. Here's a proof of -a review of it by a chum of Clavering's. This review will appear in a -London paper to-morrow. It will tell you all about the book. Shall I -read it to you? (_Taking a proof sheet from his breast pocket._) - -Jabez. Go ahead. - -Charlie (_reading from the proof as if selecting detached sentences, -mumbling a few words between each_). "The book bears on every page the -sign-manual of sincerity. Its facts are an incontrovertible proof of the -inadequacy of our factory law administration to cope with the rapacity -and unscrupulousness of manufacturers. A book to read not only with the -eyes, but with the heart. The authors has drawn public attention to a -festering sore in our midst. The great heart of the public cannot fail -to be moved by such an exposure of man's inhumanity to man. Something -must be done to counteract such infamy. There can be no delay." -(_Mumbling, as if looking for a further selection._) - -Jabez. Stop! This is intimidation. It's blackmail. Clavering--you know -very well he came to me with some cranky respirator he'd patented. This -is his revenge on me for refusing to take up his rotten patent. It's -libel. I'll ruin him for it. - -Charlie. Hadn't you better read the book before you talk like that? - -Jabez. That for your book. (_Throwing it in the paper basket._) I'll buy -up the edition. I'll suppress it. I'll---- - -Charlie. No, you won't. The publisher happens to be an honest man. - -Jabez. What the devil do you mean by taking a hand in this game? Haven't -I trouble enough as it is with the factory acts and their confounded -regulations? The men are pampered like lords with their grandmotherly -legislation. - -Charlie. They're poisoned, and you know it. You refused to use his -safety device, and he's naturally taken the only course open to him of -arousing public opinion and forcing your hand. I was glad to help him. - -Jabez. You young idiot. Can't you see through his game? He wants to -make money out of his patent safety respirator. He doesn't care a hang -for the condition of the men. If he did, he wouldn't have put the -price up by patenting his thing. No, my friend, he wants to do his -philanthropy on twenty-five per cent, terms at some one else's expense. - -Jabez (_con._). And you fall into his trap like the blessed innocent you -are and help him to blackmail me. - -Charlie. You're wrong. Everybody's not as mercenary as you. You've -got so used to expressing every idea in terms of L.S.D. that you can't -understand a man's doing anything from higher motives than money. - -Jabez. Look here, Charlie, where do you think I'd be if I took up every -notion that every crank brings along to me? The men are insured, aren't -they? - -Charlie. Yes, and a bad bargain the insurance people have of it. - -Jabez. Then what do the fellows want with safety devices? They get their -compensation. The business won't stand more expense, Charlie. You'd know -that if you'd done as I wished and taken an interest in the management. -Goodness knows it's hard enough to get profits as it is. - -Charlie. Then don't try. Close down. - -Jabez. And throw the men out of work? Fine remedy that _'_ud be. They'd -thank me for that, wouldn't they? (_After a slight pause, rising._) That -doctor's got to be muzzled though. - -Charlie. You can't muzzle a man. You can only muzzle dogs. - -Jabez. Can't I? I'll bet you I get him to suppress that book if it's -really dangerous. I'll have a look at it in a moment. And I'll tell you -something more, my lad. If I catch you meddling with the men, I'll make -your father sit up for it. - -Charlie. I shall address the men to-night. Jabez. I don't think you -will. Look here, John, you'd better try again. See if you can't make a -better job of it than you did last night, and I'll sign the cheque in -the morning. If not---- (_John makes a gesture of appeal to Charlie._) - -Charlie. It's no good, father. - -Jabez. I leave it with you, John. Take him off to your laboratory, -Charlie, and talk it over. (_Charlie drops forward to John._) - -Charlie. Come along, Dad. - -(_Exeunt Charlie and John, r.c. Jabez loosens his collar mechanically, -puts his hands in his pockets, takes a handful of coins from one pocket, -rolls it in his hands and transfers it to the other; then sits at his -desk, takes up the speaking tube, blows and speaks through it._) - -Jabez. Just telephone to Dr. Clavering and say I'll be obliged if he -will step round here and see me at once. - -(_He replaces the tube. Jabez takes the book from the paper basket and -turns its pages over while speaking to Lomax. Enter Lomax, r.c._) - -Jabez. Oh, about that accident last night, Lomax. (_Looks up from the -book and turns round on his chair to face Lomax._) - -Lomax. Yes, sir. I was coming to you about it when you were disengaged. -Mrs. Wilcock is waiting in the office. - -Jabez. Who's Mrs. Wilcock? The widow? - -Lomax. Yes. - -Jabez. Oh, I can't be bothered with her. That's the insurance people's -job. Send her away. (_Lomax bows and is going l., he turns as Jabez -rises, crosses to fire and speaks again._) Have you--do you happen to -have heard what the men make of the accident? - -Lomax. No, sir. That is, not'exactly. - -Jabez. Speak up, man. Are they grumbling? - -Lomax (_coughing_). I understand that there have been a few remarks -passed. - -Jabez. Strong ones, eh? Um---- Got your notebook? - -Lomax. No, sir. I'll---- (_Turning towards door l._) - -Jabez. Never mind. Sit down here. (_Lomax sits in Jabez's chair._) -Write. (_Lomax bends to write._) Wait a moment. (_Lomax looks up._) -When's the inquest fixed for? - -Lomax. Wednesday, sir. - -Jabez. That's the 17th. Funeral the next day, I suppose? - -Lomax. Yes, sir. - -Jabez. Very well. (_Motioning him to write. Lomax bends over and writes. -Jabez crosses to desk and stands over Lomax, dictating._) - -"In view of the distressing accident which occurred last night, it has -been decided to grant a halfholiday to the entire staff with full pay on -the afternoon of the 18th inst., in order----" - -Lomax. One moment, sir. - -Jabez. Got that? - -Lomax. "The 18th inst." Yes, sir. - -Jabez. "In order to give all an opportunity of attending the funeral -ceremony." Finished? - -Lomax (_pause, then, rising_). Yes, sir. - -Jabez (_crossing hack to fire_). Do you chance to know, Lomax, if there -happens to be a football match that afternoon? - -Lomax (_coughing deprecatorily_). I don't follow the sport myself, but I -fancy it's the usual mid-week day. - -Jabez. Ah. Have twenty copies of that notice typed and bring them -here. I'll sign them myself. Then send them out to the departments, -and--er--you might see that one comes in the way of the reporters at the -inquest. - -Lomax. Yes, sir. (_Going._) - -Jabez (_sitting_). Oh, and,'Lomax! (_Lomax turns at door._) Just mention -casually to one or two of the foremen that attendance at the funeral is -not compulsory. No names will be taken. And let me know if you happen to -learn how the announcement is received. - -Lomax. Certainly, sir. - -Jabez. That will do. - -(_Exit Lomax, l. Jabez continues interested in his book. A whistle at -the tube. Jabez replies and puts it to his ear, then speaks down it._) - -Jabez. Show Dr. Clavering in here. (_Replaces tube. Presently Dowden -opens the door l. and Dr. Clavering enters. Dowden closes the door -after him and goes without speaking. Jabez rises and meets Clavering -genially._) - -Jabez. Ah, come in, doctor. I'm glad you were able to come so quickly. -(_They shake hands._) - -Clavering. I'd just got in when your message came, so I was able to come -at once. How are you, Mr. Thompson? - -Jabez. Eh? (_Surprised at the professional tone._) - -Oh, I'm all right. There's never anything the matter with me. - -Clav. Oh, it's not yourself, then. I understood you wished to see me -personally. Is there another accident case? - -Jabez. Oh, no, there's nothing wrong. Er--have you a few moments to -spare? I'd like a word with you. - -Clav. I'm at your service unless I'm telephoned for from the surgery. - -Jabez. Sit down, doctor. - -Clav. (_sitting r. of fire_), Thank you. - -Jabez (_sitting l. of fire_). I understand you've been writing a book, -Dr. Clavering? - -Clav. Oh, that's it, is it? You've heard from my collaborator? - -Jabez. Your collaborator? - -Clav. Mr. Bunting. - -Jabez. Oh, yes, of course. Just so. Now, speaking as a business man, -doctor, I suppose you'd some object in writing that book? - -Clav. (_grimly_). I want better conditions for chemical workers. - -Jabez. I said "speaking as a business man." - -Clav. Well, sir? - -Jabez. I've not read the book yet. But I suppose I shan't be wrong in -assuming it deals largely with the advantages of the Clavering patent -respirator. - -Clav. Naturally. - -Jabez. I thought so. Of course, you're convinced of its advantages? - -Clav. I use it myself. So does Mr. Bunting in his laboratory. Look at -us. We're well. Then look at your men. They don't use it. I'd just come -from seeing another of them when I got your message. - -That man is being slowly poisoned to earn his bread. It's a typical -case. - -Jabez. It's' very sad, very sad. Well now, doctor, can you propose -anything? - -Clav. I can propose the respirator. It's not ideal, I don't pretend it -is--but it _'_ull give the poor devils a chance. - -Jabez. We must certainly have the respirator. - -Clav. (_surprised,_). You refused it when it was offered you. - -Jabez. My dear sir, I get safety devices sent me every day. I can't -use 'em all. You never told me you used your thing yourself. It makes a -world of difference. And you hadn't written a book about it. - -Clav. I see. - -Jabez. I thought you would. Come, we're getting on famously. Now if I -adopt the respirator, do you think the book need be published? - -Clav. (_curtly_). Yes. - -Jabez. Oh, come, doctor, don't be stupid. - -Clav. (_pause_). I'll tell you what I _will_ do, if you like. I'll wire -the publisher to postpone its issue and have a note put in stating that -it's been adopted here. But I'll not cancel my book. - -Jabez. That might do. - -Clav. (_reflectively_). It'll be a good advertisement for the -respirator. - -Jabez. And a good thing for the patentee, eh, doctor? - -Clav. I hope so. - -Jabez. I've no doubt of it. So that's satisfactory to both parties. By -the way, doctor, don't think me rude if I put a rather personal question -to you. I've a reason for asking. Do you consider your practice here a -valuable one? - -Clav. That rather depends on what you mean by valuable. It's numerous -enough in all conscience. There's plenty of ill-health about. But -valuable, no, I can't say it is. Your men get paid too little and they -die too fast for a doctor to grow fat amongst them. - -Jabez. I've a notion we might come to some arrangement. I've had an idea -of adding a medical officer permanently to the staff. What do you say, -doctor? - -Clav. I'll think it over. - -Jabez (_rising_). Do. With the respirator at work you should have more -leisure on your hands for research, eh, doctor? I know what beggars you -medical men are for experiments, and you can't have over much time at -present. Suppose you telephone me later. We shan't quarrel over terms. -Or, stay, come in to dinner to-night? (_Rises and crosses R._) - -Clav. Thanks. I will. (_Rising and going l._) - -Jabez. You quite understand what this means, doctor? - -Clav. Er--in what way? - -Jabez. Well, it's the end of your literary career. I want no more books. - -Clav. Nor I. This one will put the respirator on the market; that's all -I want. - -Jabez. I thought as much. There's nothing like candour after you've -gained your point. (_Sitting at desk._) Oh, by the way, there's a -meeting of the men to-night. - -Clav. So I hear. - -Jabez. I'm going to speak there. - -Clav. You! - -Jabez. Yes, and I want you to come with me. - -Clav. It's not quite in my line, sir. - -Jabez (_persuasively_). Oh, just to tell 'em about this little -arrangement of ours. - -Clav. I see. - -Jabez. Charlie's speaking, you know. Some one's got to speak against -him. Er--I'll see it's a handsome salary, doctor. - -Clav. I'll be there, Mr. Thompson. (_Moving to r.c. by desk._) May I ask -you something? - -Jabez. Yes? - -Clav. Is Charlie _still_ engaged to Miss Thompson? Jabez. I believe so. - -Clav. Oh! - -Jabez. What was it? - -Clav. I was going to ask if I might speak to her myself. - -Jabez. You hadn't much success last time, had you? - -Clav. No. There's no harm in asking two or three times. - -Jabez. Oh, you can ask. - -Clav. But Charlie---- - -Jabez. As you say, there's no harm in asking. But understand it's -between you and her. You're not to use my name. - -Clav. That's all I want. - -Jabez. I'll see you to-night, then? - -Clav. Yes. - -Jabez. Right. Good morning, doctor. - -Clav. Good morning, sir. - -(_Exit Clavering, l. Jabez rubs his hands together with a satisfied air. -Lomax enters l. as Clavering goes out. He has a number of papers in his -hand._) - -Lomax. Will you sign the announcements now, sir? - -Jabez (_genially_). I will that. (_Commences to sign as Lomax hands them -to him one by one._) - - -CURTAIN. - - - - -ACT III. - -_The same evening. The ante-room of the Assembly Hall--a dingy place, -used on occasion as a dressing-room, and containing a small deal table -and a few battered cane-bottomed chairs. Two gas-brackets project from -the wall at the right and wire netting protects the lights. A door r. -gives access and one c. up three stairs leads on to the platform. A -rough hat-rack under the left gas-jet bears two ancient bowler hats -and a cloth cap. Their owners are three members of the mens -executive--Robert Jones, James Pullen and Joseph Livesey. Pullen, the -owner of the cap, is smoking a clay pipe. He is a stoutish man of about -forty, obviously no teetotaller, with a moustache and an obstinate jaw. -Jones and Livesey, the leaders of the strike movement, are perhaps ten -years his juniors and just a shade more educated in their accents. All -are roughly dressed, but in their evening, not their working clothes. -Livesey wearing a very much cut away black coat and a waistcoat adorned -with a silver watch chain. Pullen has a scarf and no collar, but the -other pair wear celluloid collars over cotton shirts. Pullen is sitting -at the table sideways, r. Jones has his back to the fire, l. and -Livesey is walking about above table._ - -Pullen. What 'A says is this 'ere. Maister Thompson's a jolly good -sort. Gives us 'af-day Thursday to play us in, with full brass an' all. -'And-some, A calls it, 'andsome. (_He emphasizes by striking his fist on -the table._) - -Jones. Tha's a fule, Jim Pullen. Tha's allays drawin' red 'erring? -across the trail. Tha makes me tired. _'_Ere's a mate o' ours walks into -th' _'_oist same as it might be thee or me an' th' next minute _'_e's -gone to kingdom come. Thompson gives us an _'_af-day off to attend th' -buryin' if us wants to, an' theer's thou an' a few like thee ready to -lick _'_is boots because _'_e's yeard us snarlin' an' chucked us a bone -to shut our jaws on. Can't tha see _'_is game? - -Livesey (_behind table_). Oh, A'm noan sayin' nought about that. That -were an accident like what might _'_appen anywheers. It's th' whole -system we want altered. - -Pullen. System is it? Aye, tha find me a system as'll give us more beer -an' more easy time to sup it in an' A'm with thee. - -Livesey. It's not so much for usselves as for our childer. - -Pullen (_shuffling irritably_). A'm noan wed. 'Ad more sense. If you -young 'uns will marry, you mun tak' consequences. - -Livesey (_sitting behind table r. side_). The kids! That's the point, -Jones. We're ould. - -Pullen (_contemptuously_). Thee ould! Why, lad, tha were nobbut breeched -t'other day. - -Livesey (_turning on him_). Yes, we are--we're ould as life goes here. -We're done. But th' kids have a reeght to summat better. We canna see -our way out. We're nobbut a silly crowd o' fuies. - -Pullen (_interposing_). Tha are that. - -Livesey (_continuing_). But if we could nobbut educate our childer. -They'd find a way. - -Pullen. 'Ere, mister, my lad, what's tha gettin' at? The kids gets their -schooling, don't they? - -Jones. Aye, till they're legally ould enough to coom to work an' forget -in a year all as they've 'ad shoved into their yeads in eight. (_Spits -in fire._) They've a reeght to a better chance than we _'_ad an' we -can't give it 'em. We're not paid enough. We're livin' on hope, an' -hope's like ivy. It clings to ruins. - -Livesey. That's good. Tha remember yon an' give it 'em in theer in thy -speech. (_Jerking his thumb towards the door c._) - -Jones (_going on as though speaking to a meeting_). Th' bosses 'ave got -us down and they're sitting on our yeads. It's about time we woke oop -an' showed _'_em the working man's not such a blamed fool as _'_e looks. - -Livesey. Aye. Now tha' talkin'. - -Jones. We keep body an' soul together and that's the limit. - -(_Enter R. Job Alcott, another workman, quite roughly dressed and -apparently of the most poorly paid class. He looks ill._) - -Alcott. Good evening. - -Livesey. Tha doesn't look so rosy to-neeght, lad. What's oop wi' thee? - -Alcott (_wearily, hanging his cap up, then sitting in chair R. by -table_). Oh, th' usual thing. You all know. Can't relish my food an' -yeadache an' faint feelin'. Rum taste in my mouth, an' all. - -Livesey. Aye. We all know that taste. - -Pullen. Beer's th' stuff to wash it out o' your mouth. (_Crosses to fire -and sits R. of it._) - -Alcott. A saw doctor last neeght. - -Jones. Aye. What's 'e say? - -Alcott (_bitterly_). Tould me A'd no chance if A went on 'ere. Get -soom fresh air for a month or two, 'e says. Get away out o' this into -country, 'e says. Country! Likely isn't it? A'm a labourer. Ask off for -a month, supposin' A'd got th' brass to keep me which A've not, an' A'll -get sack sharp. They've only to send to the next big town an' a thousand -poor chaps as is out o' collar 'ull coom trampin' out after my bloomin' -eighteen bob a week an' be damned glad to get it an' all. - -Livesey. Shame! - -Jones. It's a cryin' shame. Why, look at me wi' eighteen bob a week same -as him, an' the mouths A've got to fill. Ma missus as 'ad eleven of 'em -in _'_er time. A were wed at eighteen, A were. - -Pullen (_quarrelsomely_). Tha's never got eleven childer. Don't try to -kid me. - -Jones. Not livin', A haven't. Some of _'_em's dead--thank God. - -Livesey. Coom, draw it mild, lad. Yon's blasphemy. - -Jones (_sullenly_). No, _'_tisn't, neither. A do thank God for it. Poor -little beggars, they're better dead nor alive an' starvin' wi' th' -rest. A man can pull his belt oop a hole an' suck a pebble if he's -hunger-mad. Th' kids can't do that. - -Livesey. They wouldn't need if tha'd keep off the booze. - -Jones (_fiercely_). A don't drink. A don't like beer. It turns -my'stomach. (_Up stage round R._) - -Pullen (_rising disgustedly and walking away as if from a portent_). -Call thasel' a mon and don't like beer? (_He turns to light his pipe at -a gas, but fails to get it through the wire, mutters "Blast," and takes -a match out and lights up._) - -Livesey. Then what dost take It for. - -Jones. What for? To mak' me forget. (_Going down to sit l. of table._) A -must forget soomtimes. A'd go crazed if A didn't forget. (_Sitting._) - -Pullen (_at the gas_), Blast. - -Livesey. It's a weary life. - -Alcott (_rising and going up c._) It's a hell. Damn Thompson. Damn him an' -all that's hissen. - -Jones (_protestingly_). Damn _him_, aye, but not all that's hissen. That -means Miss Thompson, an' she's a blessed angel. - -Pullen (_coming forward_). Bah! Her an angel, her wi' her 'ard proud mug -goin' about as if we was dirt at 'er feet. - -Jones. Aye, an angel, lad. That's her; 'ard as nails she looks an proud -as Lucifer but tha's not wed; tha's not seed yon wench sittin' i' thy -kitchen nussin' thy kids. Maybe she's never sent thee fine grub when tha -was sick. - -Pullen. A'm never sick. - -Jones No, but she'd know if tha wert, an tha'd know she knowed it, an' -all. Not as she maks a fuss about it It's all done quiet. A dunno if -Thompson _'_isself so much as knows a word about it. Alcott (_l.c. at -back_). Aye, that's reeght. Sorry A cursed _'_er. Theer were a two three -bottles of champagne an' soom jelly an' stuff waitin to whoam for me -last neeght when A get theer from docto? Not a word about who'd sent -them, but---- - -Pullen. Eh! _'_Ere lads, A feels bad. Took sudden, some road. - -Livesey. What's to do? - -Pullen. A dunno. Thowt o' that champagne, A reckon. - -(_Enter R. Mrs. Jones--a slight careworn woman of about thirty with -pinched features and wears clogs, and a drab cloth skirt, blouse and a -shawl over her head, all well worn. She crosses quickly to Jones shakes -his should, violently, speaking in a shrill voice._) - -Mrs. Jones. Thee coom whoam, Bob Jones. Coom 'ome, A tell thee. - -Alcott. Eh! missus, what's to do? Mrs Jones (_turning on him_). Thee -shut tha ugly mug, and don't put thy spoke in atween man an wife. (_To -Jones._) Now then, art coomin. - -Jones. What's oop wi' thee, lass? - -Mrs. Jones. Tha knows. A tould thee A'd coom an' fetch thee whoam if -tha dared to shove tha nose in at meetin'. Strike indeed, tha great -leatherhead! Wait till A get thee to whoam. A'll give thee strike. - -Livesey. Leave 'im be, missus. Tha don't know what tha's talkin' about. - -Mrs. Jones. Don't A, ma lad? (_Her arms go akimbo._) Maybe A knows more -than the lot o' you put together. Ma faither were on strike onct when -A were nobbut a young wench. A knows what strikes means. Strikes means -clemmin', and ma childer shallna clem as A'd to clem then if A can 'elp -it. Now, then, ar't coomin'? - -Jones (_rising_). Leave be. This 'ere's not wimmen's business. - -Mrs. Jones. No, but it's a woman's business to see as 'er childer gets -their baggin', an' it's a woman's business to sit an' watch 'em clem if -theer's no baggin' to give 'em. It's you men as does th' silly things -an' us women an' childer as pays for 'em. Thee coom whoam an' quit -makkin' a fool o' thasel'. (_Pulling Jones towards door._) - -Jones. _'_Ere, missus, see yon door? Well, get thasel' 't'other side o' -it sharp. Tha's no reeght in 'ere at all. - -Mrs. Jones. A've the reeght o' a moother wi young bellies to fill. Tha -coom whoam or tha'll get rough side o' ma tongue till tha'll wish tha'd -never, bin born. Wait while A get hold o' yon Bunting chap, an' all. -A'll give 'im strikes. What does 'e want wi' interferin' in other folk's -business wantin' folks to strike--'im as 'as allays gone fed an' warm -clothed an' doan't know what clemmin' means? A'll strike _'_im, A will. - -Livesey. Tha don't understand, Mrs. Jones. - -Jones. Coom on now. Let's 'ave no more o' it. Outside. - -Mrs. Jones. A don't stir a foot. - -Jones. Don't thee, by gum? (_Picking her up._) It's all same to me which -way tha goes. (_Crossing to door r., carrying her struggling._) - -Mrs. Jones (_as they go out_). Wait till A get thee whoam, my lad. (_He -carries her out. For a moment the altercation continues off r._) - -Pullen. (_coming forward and sitting below table l. side_). Yon wench is -reeght, tha knows. A'm not goin' to 'ave nought to do wi' it. Man an' -boy, A've worked for Maister Thompson thirty year an' A'm noan goin' to -turn again ma ouid maister at ma time o' life. A know ma place, A do. - -Livesey. Oh, A've no patience wi' thee. - -Pullen. (_Obstinately_) It's all reeght, Mr. Livesey. None o' your -strikes fur me. A can see through a ladder as clear as most. An' A'll -tell thee summat as is mebbe news to thee. Theer's above a few as thinks -along o' me, too, only they don't gas about it so loud as you. - -Livesey. Very well, if theer are, theer'll be no strike. (_Going up c. -to door. Jones returns a little shamefacedly. The others avoid looking -at him. He goes up to c._) - -Pullen. No. A 'll bet theer'll not. - -Livesey. We'll soon see who's reeght. - -Jones. Aye, coom on. Let's be startin' th' meetin'. (_Crossing to door -c._) - -Livesey (_consulting a silver watch_). Wait a bit. Wheer's Mr. Bunting? -We canna staryt wi'out 'im. Give us another five minutes. How's room? -Open door theer and see. - -Jones (_opening door c. Confused murmur as of a crowd is heard through -it_). Pretty nigh packed. They'll noan thank us for bein' late. - -Livesey. Close th' door. - -(_Jones closes the door and shuts off the sound, dropping R.C._) - -Livesey. Tha'd best begin, Bob. A'll follow thee, an' Mr. Bunting can -say 'is bit when A've done. Then we'll put it to the vote, strike or no -strike. - -Pullen (_sourly_). Tha's no need to trouble. Theer'll be no strike. - -Livesey. That remains to be seen. We'll give _'_em every chance. No use -startin' a strike wi'out weighin' things oop proper first. What'll tha -say Bob? - -Jones (_takes notes from his pocket_). This 'ere's what Mr. Bunting give -me to say. A'm straight fur striking. Tha knows that. - -Alcott. Aye. - -Pullen. Well, A say it's noan reeght, Joe Livesey. Tha's goin' to shoot -th' mon first an' tell 'im why arterwards. Give 'im a chance. It's th' -least us can do. 'E's a real good sort, is ould Thompson. - -(_Enter r. Clavering and Charlie. They put coats and hats on the rack -R._) - -Charlie. Good evening. Meeting not begun yet, I see. - -Jones. We were nobbut waitin' on you, sir. (_He looks at Clavering._) - -Charlie. All right. I met the doctor on the doorstep and brought him -along to say a few words. - -Livesey (_to Clavering_). Glad to see you with us, sir. - -Clav. (_nervously_). Er--yes. I'd like to speak to Mr. Bunting first if -you don't mind. Suppose you fellows go on to the platform and set the -ball rolling. We'll follow. - -Jones. All reeght. (_A little awkwardly._) Tha'll noan be long wilta? -We's none on us much at speakin' on our own, tha knows. - -Charlie (_reassuringly_). Don't be afraid of me, I'll do the talking. If -the men don't strike, it won't be my fault.. - -Livesey. That's the ticket. (_Passing to door c._) - -Alcott. Give it 'em hot, sir. (_Following him._) - -Jones. It will mean a lot coomin' from thee. (_Following._) - -Charlie. We'll do our best, both of us. - -(_Exeunt c. Livesey, Alcott and Jones. A burst of cheering is heard, -then Jones closes the door._) - -Pullen. (_following the others, stopping before Charlie_) If this not -above takin' a bit o' advice from me, Maister Banting, tha'll be careful -what tha says about striking. Theer's me an' a good few others as -'ave put our yeads together, and we're gom to see as this business o' -striking gets no forrader. - -Charlie. (_surprised_). What's this? (_Clavering paces about -impatiently._) - -Pullen. We don't want no strike. If us wants brass, let's ask un for it -fair an' straight. Striking's not th' square thing. - -Charlie (_roused and speaking passionately_). Are you blind, man? -Is Thompson straight with you. Do you expect a bloated bigwig of the -British belly class to give you your rights before you force him into -it? (_Clavering makes a gesture of despair._) In the whole history of -industrial employment have employers ever given employés their rights -until they were forced to? (_Clavering tries to cheek the stream -in vain._) They tell you of humane legislation, of factory acts and -sanitary regulations. Humane legislation! What was it but the capitalist -ruling classes giving way inch by inch before the pressure of the -masses? - -(_Clavering puts his hand on Charlie s shoulder. Pullen has been -retreating step by step before the flow of eloquence and now stands -cornered and unaole to escape in the left hand corner. Charlie swings -round irritably on Clavering._) - -Charlie. What's the matter? - -Clav. (_soothingly_). Yes, yes, yes, old man. Keep all that for in -there. (_Nodding at door c._) Don t waste it on the desert air of an -ante-room. Let Pullen go. I want to talk to you. - -Pullen. Aye. Soom one _'_ad best talk to _'_im if _'_e means to go on -that gait in theer. - -Clav. (_impatiently_). Yes. All right, my man. Won't you go on to the -platform now? - -Pullen. Aye. (_Crossing._) A'm going. (_He opens the door c. Livesey is -heard speaking inside._) - -Livesey (_off, c., his back visible to audience as he stands speaking_). -Comrades, a strike is a terrible thing. Do not let us mak' light o' -it. When we call on you to decide whether to strike or not------------- -(_With a gesture of disgust and a muttered "Yah," Pullen goes out c. and -closes the door behind him._) - -Charlie. Thank goodness they're not all that type--pig-headed, beery -lout. Now, old man, I suppose you want to talk about our speeches. It's -no good both saying the same thing. . - -Clav. There's no fear of my saying the same as you. - -Charlie. Oh, I don't know. It's as well to have a plan. (_Breaking off -in a kind of exultation._) Oh, Clavering, Clavering, isn't it great? -This is my night, my night of nights. Tell me I deserve it, old chap. -Haven't I worked for it? It's been no joke to wake those fellows up from -their lethargy, their ignorance, their ridiculous submission. But I did -it, I alone. Oh, you've done something--the book--but you left me the -men. That was what I wanted. They were mine. How I argued, wrestled, -fought with them till they saw the truth, till I lighted up their dull -intelligence and fanned the spark till it became the flame that this -night's work shall cause to blaze and demolish! (_Clavering stands in a -noncommittal attitude, but Charlie does not note his detachment._) -You mustn't grudge it me, Clavering. It's my night of triumph, the -culminating point of all my efforts. I haven't a doubt in me. I'm so -right, so utterly right. Nothing can stand before me now. They've tried -to stop me--my father, Thompson--and they've failed. Truth must out. -There must be justice at all costs, Clavering, at all costs. This is the -dawn of a new era for Thompson's men. Congratulate me, my ally! Oh, but -I don't want your help. It's kind of you to come, but tonight I need no -aid. I'm strong. I could sweep them off their feet in there. But yes, -you must come with me. Come, let us go. (_Clutching Clavering as if to -carry him bodily in._) - -Clay (_eluding him_). Not yet. - -Charlie (_astonished_). Why not? - -Clav. I cannot come with you. - -Charlie. But why? We've the same ideas about these things. - -Clav. (_significantly_). We had. - -Charlie (_puzzled_). We had? What do you mean? - -Clav. Don't be angry with me. I've been thinking over the thing -and--well--things have been happening. - -Charlie. You don't--no, it can't be true--I can't believe it. You! The -book! (_Realizing it._) Good God, he's bought you off. - -Clav. (_firmly_). The book's all right and I don't allow such language, -Charlie. - -Charlie (_bitterly_). I could have staked my life on your sincerity. -I--I hope you got a good price for your silence, Dr. Clavering. - -Clav. Don't be a fool. I tell you I'm not going to be silent. The book -will appear right enough, and there'll be a note in it to say that the -respirator's in use at Thompson's works. - -Charlie (_staggered_). What! - -Clav. Yes. Come, now, haven't we got what we wanted? Isn't it worth -while to be bribed? - -Charlie (_recovering himself_). Not by that man. - -Clav. Oh, you're an extremist. (_Crossing over to fire._) - -Charlie. Yes, where Thompson's concerned I am. (_By door c._) - -Clav. Well, I'm not. His way's only relatively bad and if he adopts the -respirator-- - -Charlie (_interrupting_). His way is the way of the slave-driver. He -trades in the lives of men. - -Clav. Oh, rot, man. You're drunk with words. - -Charlie (_laughing bitterly_). You're defending your last ditch now. You -can't refute me; you can only revile, and the average coalheaver could -give you points at that. - -Clav. That doesn't get us much further. - -Charlie. Well, it doesn't matter much. After all, you're only one more -against me, and I'm not afraid. Nothing can stand in my path to-night. -I didn't feel the need for you. I can do without your speaking, Dr. -Clavering. - -Clav. Oh, I'm going to speak. Mr. Thompson asked me to speak. - -Charlie. (_Controlling himself visibly_). What are you going to say? - -Clav. I've to tell them I'm appointed medical officer at the works. That -means free doctoring for the men. (_Cynically._) They didn't often -pay me anyhow, but it's officially free now instead of being a private -benevolence of mine. - -Charlie. Yes, he's bought you by the respirator and made you his -creature by offering you a salary; (_Bitterly._) And I thought you were -an honest man! - -Clav. (_quietly_). I've got to look after myself like everybody else. - -(_Enter John r., palpably agitated and panting._) - -John (_seeing Charlie_). Thank God I'm in time. - -Charlie (_coldly_). In time for what? - -John. To stop you. You've not spoken yet, have you? - -Charlie. No, but you'll not stop me. - -John. Dr. Clavering, tell him he mustn't. You're his friend, he'll -listen to you. Won't you help me to stop this folly? - -Clav. I can't, Mr. Bunting. You can't cork up Niagara. - -John (_distractedly_). Charlie, remember what this means to me. Jabez -will have no mercy if you incite his men to rebel against him. Think of -your father, my boy. - -(_Clavering with a shrug strolls to the hack and stands aloof._) - -Charlie. I can't betray my principles even to save you, whatever other -people can do when it suits their interests. (_With a backward glance at -Clavering, who smiles cynically._) - -John (_pitiably_). You're throwing away my life. I can't face the -disgrace, Charlie. - -Charlie (_firmly_). Nevertheless, I must speak. (_Going up l.c. by c. -doors._) - -John. For mercy's sake, be reasonable. - -Charlie (_Hotly_) Reasonable! What do you mean by "reasonable"? That I -should put your petty pride before the health and wellbeing of scores -of men and women. No, father, I can't be "reasonable." I've nailed my -colours to the mast and I shall speak--speak as I've never spoken yet, -speak with all my heart and soul. I've to fight Thompson in there, -Thompson and his renegade, this turncoat, Clavering, and I shall fight -to win. Right is with me and I'm not afraid to fight without the gloves. -(_He goes off c. in a kind of frenzied exultation. A burst of cheering -greets him cut off by his closing the door._) - -Clav. (_sneeringly_). Melodramatic ass! - -John (_sinking into a chair r. of table, and burying his face in his -hands on the table_). What shall I do? What shall I do? - -Clav. Umph! It's a pity he's too big an infant to have some sense -whipped into him, Mr. Bunting. - -John. Don't mock an old man's ruin. - -(_Enter r. Rose and then Jabez._) - -Jabez (_briskly_). Oh, here you are, Clavering. Sit down, Rosie. Dirty -hole it is. I can't think why on earth you insisted on coming here. -(_Clavering dusts a chair R. with his hand and places it for her._) - -Rosie. Thanks. (_To Jabez._) Of course I came. I couldn't stay away. -I had to know what happened, and I knew you'd never tell me. (_Jabez -snorts and looks round, seeing John, who had again sunk his face wrapt -up in his misery. Clavering shuts the door which Jabez had left open. -John rises and approaches Jabez appealingly. Jabez sees him with -surprise._) - -Jabez. Hullo, John. - -John (_rising_). Jabez, for pity's sake. - -Jabez (_impatiently_). Oh, I've no time to waste now, John, (_John -goes l. and leans head on mantelpiece._) I'll see you later. (_To -Clavering_). I suppose Charlie's on his hind legs by now? (_Up to c. -doors._) - -Clav. Yes. That's the platform entrance. (_He crosses to it._) - -Jabez. Wait a bit. Don't go yet. (_Clavering stops._) Open the door and -let's listen to him. (_Clavering opens doors, disclosing Charlie's hack -as he stands speaking on platform._) - -Charlie (_off, c._). Your trade's dangerous. You don't make old bones. -If you're not poisoned by fumes at forty, you're chucked on the scrap -heap because you're no longer strong enough to work. Don't you deserve -some compensation when you risk your lives every day you work, when -you're only fit to work while you're young? Life is a handicap where the -weakest starts at scratch and the devil takes the hindmost. (_Cheers. -Clavering makes a questioning gesture._) - -Jabez. No. Hear him out. (_Clavering nods, still holding the door -open._) - -Charlie (_off, c._). You're not dogs. You're men. (_Cheers._) You want -decent homes and a bit of pleasure in life and something to put by for -the time when you can't work! How are you going to do it? - -Livesey (_off, c._). Demand higher wages. Strike! (_Cries off of -"Strike," "More wages," "Vote."_) - -Jabez (_motioning Clavering_). That'll do, Clavering. (_Clavering shuts -the door and comes down stairs._) - -John (_putting out his hand in timid appeal_). Jabez! - -Jabez (_impatiently_). Well, what is it? - -John. Don't be hard on me, Jabez. I've tried to stop him. I've done my -best, indeed I have. - -Jabez (_impatiently_). Oh, I've no time to waste now, John. Anyhow you'd -better come in yonder with me. It'll show 'em you're not of the same -mind as Charlie. - -John (_eagerly_). Anything, Jabez. I'll do anything if you won't throw -me over. - -Jabez. Well, we'll see about that later. Come along. - -(_Exit Jabez c., John following. Slight murmurs and hoots. Clavering -goes up the stairs, hesitates, then closes the door and turns, looking -at Rosie._) - -Clav. Miss Thompson! - -Rosie (_coldly, looking up_). Did you speak to me, Dr. Clavering? - -Clav. (_smilingly_). Yes. Mayn't I? (_Coming forward._) - -Rosie (_huffily_). You can speak if you like. I don't undertake to -reply. - -Clav. I'm sorry if I've offended you. Won't you tell me why? - -Rosie. You've treated Mr. Bunting very shabbily, and I really don't wish -to hear another word from you. - -Clav. Oh, don't say that. I've tried so often to get a chance of -speaking to you alone. I've hungered for it, but it never came. Your -radiant health stood in the way of even a professional visit. I found an -excuse to come last night. - -Rosie. So Alcott's illness was only an excuse. Isn't he ill? - -Clav. Of course he's ill. What does Alcott matter? He's only one more -ground up in the mill--and your father sent you from the room because I -broke his absurd rule of mentioning a works affair in your presence. I -knew the rule, and I risked his displeasure on the chance of seeing you -alone to plead my cause. - -Rosie. Your cause was Alcott, wasn't it? - -Clav. My cause was myself. You've not forgotten, have you, what I asked -you once before, how I came to you two years ago----? - -Rosie. What do you mean? I think it is you who forget. Must I remind you -that I am engaged to be married to Mr. Bunting? (_Clavering gets chair -r. of table and sits facing Rosie._) - -Clav. Of course I know that nominally you are engaged to him. (_Rosie -tries to interrupt in vain._) _I_ know how it all happened--an old -standing idea between your father and his. But really, really, these -family arrangements are out of date. I tell you, Miss Thompson, if I -could think for one moment that you were satisfied to marry Charlie, I'd -pluck my tongue out rather than speak to you like this. I won't believe -it. It's an "arrangement" which suits neither of you. Charlie kicks -openly against the pricks. Your splendid loyalty makes you submit in -silence. Loyalty and submission have their uses, but you must never let -this relic of bygone days survive to wreck our happiness. - -Rosie. _Our_ happiness! - -Clav. Oh, if you want proof of my devotion, haven't I given it to you? -I kept my bond. I've let you know of all illness amongst your father's -hands, and I've seen that no word of your ministrations reached his ear. -You mustn't think of Charlie. He's an inconsequential wobbler. Oh! he -sees what he wants all right, but his only idea of getting it is to bash -at everything in his way with a battering ram. He can't finesse. - -Rosie. No. I think that's rather fine of him myself. - -Clav. Fine! What good's he done? See what I've done already without your -help. The respirator's going to be used and the men get free doctoring. -I've done that. I alone. Charlie's only talked about it. Think how much -more I could do for the men if I had the help of your influence with -your father, if I were--your husband. - -Rosie (_rising. Clavering rises_). Dr. Clavering, before I was engaged -to Charlie you asked me to marry you. You remember my answer? - -Clav. Yes, but circumstances have changed. Rosie. Yes, they've changed. -Your proposal then was an honourable one, for I was free to choose, and -I refused you gently, hoping to spare you pain. To-day my answer is the -same, with this addition, that were I free to choose as I was then, I -should choose an honest man, a man who couldn't "finesse". - -(_Enter John, c. Shouts and clapping heard. Jabez' back seen as he -stands speaking._) - -Clav. (_recovering himself with an effort_). Well, Mr. Bunting, how are -things going in there? - -John. Listen. Jabez is speaking now. - -Jabez (_off c. speaking in a genial way_). It is like this, lads. I -always like to think of myself as the father of my men. I'm proud of you -fellows. The way you back me up when the spying factory inspectors come -round is a thing any man would be proud of.... - -Pullen (_off_). We're glad to do it for you, sir. (_Clavering whistles -softly and looks at Rosie, who avoids his eye._) - -Jabez (_off_). We're just a big family, and I'd like to think we're -a happy-one. But in a big family there's bound to be some selfish lad -who's discontented and tries to make others discontented. I'll name no -names. - -Clav. (_Softly_) That's one for Master Charlie. - -Jabez (_Off_) I tell you I'm a sight poorer in yon hall than you -fellows in your cosy cottages. You think you'd like to change -places with me. I wish some of you could, and see how you'd like the -responsibility of finding work to keep the shop going for a week or two. -Damn it, lads, I'm a raven. I know that as well as you do, but I've got -to dress up in peacock's feathers and pretend. I'm no end of a swell -for your sakes. It's all bluff--it's the way business is done nowadays. -Appearances count. - -(_Cries off of "That's right, that's right." "Good old Thompson!" "Go -on." He proceeds with a threat in his voice._) - -Many a time I've been that worried over getting in the orders I've had -half a mind to shut up shop. Don't drive me too far or I'll do it. Where -_'_ud you be then? There's enough working men walking the streets. -How _'_ud you fellows like to join 'em? I know it's not an easy life. -(_Plaintively._) I'm doing my level best to make it easier. Only to-day -I've arranged with Dr. Clavering---- - -Clav. That's my cue. I'd better show up. - -Jabez (_continuing_). To give him an appointment as medical officer to -my works. You'll get free doctoring. (_Clavering goes out c. quickly, -closing the door._) - -John (_looking at Rosie appealingly_). Rosie! - -Rosie. Yes, Mr. Bunting? (_Rises._) - -John (_pitifully_). Don't let him be hard on me, my dear. I've done my -best. If only you will speak to him. You can always have your way with -your father. (_He puts out his hands appealingly._) - -Rosie (_taking his hand in hers and patting it as if soothing a -frightened child_). Don't be afraid. Do you think I'd let you two old -gentlemen quarrel about nothing? Charlie's father and mine must always -be good friends. - -John (_relieved and almost tearful_). Oh, my dear! (_Distressed again_). -But Charlie------(_He breaks off._) - -Rosie (_encouragingly_). Yes? - -John. You're not going to marry him after what's happened. - -Rosie. Why, of course I am. - -John (_bewildered_). But--I don't know anything--I thought he'd---- - -Rosie (_soothingly_). Never mind, Mr. Bunting. I promise you father -shan't be nasty to you. - -John (_pressing her hand._) Bless you, my dear, bless you. You don't -know what that means to me. (_He goes out r., blunderingly. The murmur -of great applause comes from c. Rosie looks off c. expectantly. The door -opens and the sound increases. Enter Jabez visibly glowing with heat and -triumph, Clavering all smiles, and a little behind Charlie, very much -dejected. The door remains open and the sound dies down gradually._) - -Jabez. Thanks, Clavering. You did that very neatly. - -Clav. (_obsequiously_). You'd done the trick before I opened my mouth, -sir. (_Charlie goes to the back with the evident intention of effacing -himself._) - -Jabez (_briskly_). Well, nothing to stay here for. We'd better be going, -Rosie. - -Clav. It's all over but the shouting. (_A cry heard off--"Douse 'un in -th' 'orse-trough."_) - -Jabez (_skarply_). What's that? - -(_Enter Pullen c._) - -Clav. Some of the shouting. - -Pullen. There's going to be no strike, sir. - -Jabez. Of course not. There never was the least chance of it. (_Charlie -stands near door r._) - -Pullen (_scratching his head_). A dunno about that. A thowt it a pretty -near thing at one time afore tha coom in. - -Jabez (_confidently_). Rubbish, man. Mere talk. Never deceived me for a -moment. - -(_Enter c. Livesey, Jones and Alcott. They look sidelong at Jabez and -slink behind to their hats. Livesey goes to Charlie._) - -Livesey. They're talking yonder o' dousing thee in _'_th -_'_orse-trough, Mr. Bunting. Tha'd best be off whoam sharp. (_Gets his -cap, r._) - -Alcott. Aye, theer's none on us lot finished oop what tha might call -_'_ot favourites. - -Jabez (_turning_). Oh, Livesey, that you? Shake hands. No malice, I -hope? (_Livesey puts out his hand shyly, Jabez shakes it cordially, -shaking after with Jones and Alcott, the latter of whom rubs his -hand first on his trouser leg._) Good night, lads. (_Charlie sits r. -dejectedly._) - -Jones. Good night, sir. (_They go out r._) - -Alcott. (_Then comes to Jabez with hand extended. Jabez off-handedly, -dismissing him_). - -Jabez. Good night, Pullen. - -Pullen (_drawing back disappointedly on seeing he is not to shake -hands_). Good night, sir. - -(_Exit Pullen r._) - -Jabez (_to Clavering_). There'll be no more trouble with those fellows. -They know they're marked men now. - -Clav. (_flatteringly_). You do know how to manage them, sir. - -Jabez. It's cheap at a handshake. You might cut along after them and -talk to the men as they come out. See what I mean? (_Walking with -Clavering to the door r._). We can't make too sure of a thing. -(_Clavering nods and goes out r., lifting coat and hat from rack r. as -he goes. Jabez turns and sees Charlie._) Well, Charlie, not sulking, are -you? (_Claps Charlie on the shoulder._) - -Charlie (_rises_). You'd no right to speak, Mr. Thompson. It was my -meeting, not yours. - -Jabez. Oh come, Charlie. All's fair in love and war. You can't tell me -I didn't give you your chance. You'd done before I went in. Come, shake -hands and be friends. You're fairly beaten. Take your gruel like a man. - -Charlie (_Jerking his head up_). Yes, I'm beaten this time. But -it won't be so always, and you needn't think it will. Ingrained -conservatism and a silly tradition of loyalty have won for you this -time. You've bamboozled the majority to-night; but to-night's majority -is the minority of to-morrow. - -Jabez. Look here, Charlie. Take an old man's advice and give it up. -You've had your fling with the men and a pretty hash you've made of it. - -Charlie. Oh, I'm giving it up all right. You needn't worry about that. -I'm going away. - -Rosie (_involuntarily_). Going away! (_She makes a slight move -forward._) - -Jabez. Where? - -Charlie (_ignoring Rosie--to Jabez_). Oh, I don't know. I'm clearing out -of this. I haven't thought where. What does that matter? - -Rosie. But why, Charlie? - -Jabez. Oh, that's as plain as the nose on his face. (_To Charlie._) -You're frightened of the men. You've been taught to-night that your -second-hand, second-rate ideas may look very pretty in a book, but they -won't wash in real life, and instead of facing it like a man and staying -here to live this down, you can think of nothing better than running -away. - -Charlie. If you're going to insult me by telling me I'm afraid of a few -fools whose only idea of argument is physical force, I'd better say good -night. (_Turning as if to go r._) - -Jabez. You think you've done something fine, don't you? (_r.c._) I -shouldn't wondor if you consider yourself quite a hero, eh, Charlie? - -Charlie. No. (_Crossing to Jabez._) I'm a man looking for a job. - -Jabez. You won't keep it long if you can't learn to mind your own -business. - -Charlie. My business is Chemical Research. It was you who wanted me to -leave it and mix myself up with other matters. - -Jabez. I wanted you to be a rational member of society, sir, not a -damned labour agitator and a failure at that. You boasted you could sway -a mob. Sway a mob! Why, man, you couldn't sway a child. You don't know -the A.B.C. of public speaking. - -Charlie. Oh, you've a right to boast. Vae Victis. - -Jabez. Yes, vanquished on your own ground, Charlie. You said you'd -speak, and you've spoken. A fat lot better off you are too. Now look -here, Charlie, you're a young fool, but I've alwrays been fond of you, -and I'm ready to take a lenient view of this. - -Charlie (_r.c._). Lenient view! - -Jabez. Yes... I've tumbled to what your silly twaddle really is. You've -simply been sowing your wild oats like any other young fellow, only it -wouldn't be you if you did things like other people. Most fellows do it -over cards or a woman or a lot of women. You've done it over my workmen. -And the point is, the point is that you _have_ sown them, that it's done -with, ended for good and all--------(_Charlie turns to speak._) Confound -you, don't interrupt. You've had your innings, now it's my turn. You're -going to drop your cursed--what's it called?--altruism--and you'll -settle down cosily and comfortably with Rosie. That's your programme, my -boy. - -Charlie. To be not only a fool myself, but a breeder of fools! (_Rosie -turns to fire._) It's no good, Mr. Thompson. I tell you I am going -away. I must slip the cable if I'm to have any respect for myself after -to-night's work. (_Going p. to coat rack._) - -Rosie (_turning, quietly_). Father, how long is it since you had a -cigar? - -Jabez. I don't know. - -Rosie. I am sure it's time you had another. (_Jabez takes case out._) - -Jabez. Thank you, my dear. - -Rosie (_apparently shocked_). Oh, but you mustn't smoke here. Go to the -air and smoke your cigar on the step till I come. (_Gently manoeuvring -him towards the dao? r._) - -Jabez (_going reluclantly_) But what are you going to do? - -Rosie. It will be all right. You see, this isn't a works' affair any -longer, is it? - -Jabez. No. I suppose it isn't. - -Rosie. So it's quite right for mc to speak to Charlie now. I shan't be -long. (_Jabez goes out r., his bearing indicating that he does so under -proest. Rosie closes the door behind him and faces Charlie._) - -Rosie. Now, Charlie! - -Charlie (_trying to escape_). I must be going. Good night, Miss -Thompson, and good-by. (_Holding his hand out._) - -Rosie (_ignoring the hand standing with her back to the door she has -just closed._) Don't be silly, Charlie. - -Charlie. There's another door, you know. (_Looking c._) - -Rosie. The main entrance will be locked long since. - -Charlie (_accepting the situation._) What do you want with me? - -Rosie (_coming forward from the door and speaking softly._) I want to -help you. - -Charlie. I don't want your help. I want to be alone. Can't you -understand my wanting to crawl away and hide? Won't you let me go? - -Rosie (_sympathetically_). I want to help you. - -Charlie. Your father's right, Rosie. I've made a hash of things. There's -nothing left for me to do here now. I've shot my bolt. - -Rosie. What do you propose to do? - -Chaelie (_irritably_). Oh, I don't know yet. Go on living, I suppose. I -shan't starve. I'm a qualified chemist. That's worth something anywhere. -(_Sitting l.c. on corner oj table._) - -Rosie. You're worth more here. - -Charlie. Here! I can never hold my head up again after to-night. You -don't understand what it is I've tried to do. - -Rosie. I understand very well, and I don't quarrel with what you wished -to do, but you've gone about it in the wrong way. You were wrong, -utterly wrong, in talking to my father as you did. What made you do it? - -Charlie. I only told him the truth. - -Rosie. The truth! Don't you know that there are times when it's criminal -to tell the truth? - -Charlie. Never! - -Rosie. You won't persuade a man like my father to see the error of his -ways by blurting out a bundle of unpleasant truths. You're a reformer -in a hurry. You won't realize that his convictions are just as strong as -yours and that he is too old to alter. - -Charlie (_With some slight return of spirit_) And I'm too young -to alter. We've got beyond the point when wisdom was regarded as the -monopoly of senile decay. I won't turn back. (_Rising from table and -going l._) - -Rosie. My dear boy, I don't ask you to. I only ask you to advance -intelligently, (_over to Charlie, l._) to understand that the odds -against you are too great for you to fight single-handed. - -Charlie (_gloomily_). You're quite right. I'm a broken gambler. I'm -bankrupt for this fight now--bankrupt with no assets. Your father's got -them all. - -Rosie. No, Charlie, not all. You've one asset that he'd give half his -wealth to have. - -Charlie. I have? What's that? - -Rosie. You've youth. You can afford to wait. You mustn't throw up the -sponge and fly at a first reverse. - -Charlie. It seems so hopeless to try to do anything here. I thought I'd -got hold of the men. Tonight's work has settled all that. I shall never -recover my influence. I don't know--of course one never does--but there -might be some place in the world where I could be of use. There's just -a chance, and I want to try again--to redeem all this. These things -mean so much to me--more than anything else in the world. -Suffering--poverty--I see them so clearly. Whenever I think of other -things, things I desire, my own personal wishes--they get in the way. - -Rosie. And are you alone blessed with eyesight? Do you think me blind? -Do you combine your modern socialism with a mediaeval conception of -women? Charlie, if the men's condition has been an obsession with you, -with me it's been the passion of a lifetime. It's gone near to wrecking -my life. - -Charlie (_involuntarily_). How? - -Rosie. Because I needed help and I sought an instrument. A woman's -handicapped. I can do a lot with my father, but I never dared to -interfere openly at the works. That was his territory, and I knew he'd -stand no petticoat government there. I wanted a man's help. I wanted -you. - -Charlie. Why didn't you tell me this before? We could have done so much? - -Rosie. Charlie, do you realize that I'd to live with my father? You -had your differences with him, but at any rate they were confined to -business hours. For me, there was no escape. I lived under the same roof -with him, so I'd to do my good by stealth unknown to him. - -Charlie. But why keep it from me? - -Rosie (_pityingly_). My dear boy! - -Charlie. Well? - -Rosie. You, with your passion for the truth! - -Charlie (_a little hotly_). Do you object to that? - -Rosie. I like it. But it made it impossible for me to tell you this -before. - -Charlie. Why? (_Pause._) - -Rosie. Charlie, if I had told you, would you have kept it to yourself? - -Charlie. Why should I do that? - -Rosie. Exactly. Sooner or later you'd have blurted it all out to my -father, and I could have done no more good, no more little charities, -no more small alleviations. What sort of a life do you suppose I should -have had if he'd learnt that I had broken through his rule, that I was -doing all I could to soften his harsh management and to make things -easier for his pecple when they fell ill? - -Charlie. You've been doing that? How little I knew you! - -Rosie. It wasn't much, but I did what I could. - -Charlie. What a sweep I've been! - -Rosie. You're going to stay? - -Charlie. Yes, I'm going to stay. I've been a fool. I thought I hadn't -time for marriage. I thought a wife would be a drag. I--I thought myself -a tower of strength. - -Rosie (_smiling_). It had to be, Charlie. A poet always marries a cook. - -Charlie. You mustn't talk like that. I'm not fit for you. I've played -with you. I thought of you as Thompson's daughter, content with him and -all he stands for. And all the time I wanted you, wanted you horribly. -Only that stood in the way. I loved you while I tried to hate you for -what I thought you were. I know you better now. You're going to help me. -That's kind, that's generous of you. I need you so much, Rosie. - -Rosie. I'm ready now, father. - -Jabez. About time, too. - -Rosie. Charlie's coming home with us father. - -Jabez. But the men are all outside, they'll all see, - -Rosie. Why shouldn't they? Have you forgotten that we're going to be -married on April 25? Come along, Charlie. (_She takes his arm and urges him -to door. Jabez stares aghast, then follows Charlie's hat and coat._) - - -CURTAIN. - - - - - -End of the Project Gutenberg EBook of Dealing in Futures, by Harold Brighouse - -*** END OF THIS PROJECT GUTENBERG EBOOK DEALING IN FUTURES *** - -***** This file should be named 55289-0.txt or 55289-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/5/2/8/55289/ - -Produced by David Widger from page images generously -provided by the Internet Archive - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: Dealing in Futures - A Play in Three Acts - -Author: Harold Brighouse - -Release Date: August 7, 2017 [EBook #55289] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK DEALING IN FUTURES *** - - - - -Produced by David Widger from page images generously -provided by the Internet Archive - - - - - - -</pre> - - <div style="height: 8em;"> - <br /><br /><br /><br /><br /><br /><br /><br /> - </div> - <h1> - DEALING IN FUTURES - </h1> - <h3> - A Play In Three Acts - </h3> - <h2> - By Harold Brighouse - </h2> - <h4> - New York: Samuel French Publisher - </h4> - <h3> - 1913 - </h3> - <p> - <br /><br /><a name="linkimage-0001" id="linkimage-0001"> </a> - </p> - <div class="fig" style="width:50%;"> - <img src="images/0005.jpg" alt="0005 " width="100%" /><br /> - </div> - - <p> - <br /><br /> - </p> - <hr /> - <p> - <br /><br /> - </p> - <p> - <b>CONTENTS</b> - </p> - <p class="toc"> - <a href="#link2H_4_0001"> DEALING IN FUTURES </a> - </p> - <p class="toc"> - <a href="#link2H_4_0002"> ACT I </a> - </p> - <p class="toc"> - <a href="#link2H_4_0003"> ACT II. </a> - </p> - <p class="toc"> - <a href="#link2H_4_0004"> ACT III. </a> - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_4_0001" id="link2H_4_0001"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h1> - DEALING IN FUTURES - </h1> - <h3> - A PLAY IN THREE ACTS - </h3> - <h3> - CHARACTERS - </h3> - <p> - JABEZ Thompson....................A Chemical Manufacturer. - </p> - <p> - ROSIE Thompson....................His Daughter. - </p> - <p> - JOHN Bunting......................A Master Dyer. - </p> - <p> - CHARLIE Bunting...................His Son. - </p> - <p> - WALTER Clavering..................A Young Doctor. - </p> - <p> - The Scene is laid in an outlying Lancashire village and the action of the - play takes place within a space of twenty-six hours. - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_4_0002" id="link2H_4_0002"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - ACT I - </h2> - <p> - <i>The dining-room of Jabez Thompson's; the room is luxuriously furnished - and combines comfort with ostentation; the door is left, and at the back a - large doorway curtained off leads to the billiard-room. (A plan of this - and the other scenes in the play will be found at the end of the book.) - The table is littered with the debris of dinner, and at it sit Jabez - Thompson (l.), and Rosie his daughter (l.), facing each other. Jabez is - elderly, corpulent, bearded, of florid face and general prosperous - appearance; he wears a frock coat, light grey trousers, and has a heavy - gold watch chain. He speaks with all the assertiveness of life-long - success.</i> - </p> - <p> - ROSIE <i>is dark and highly coloured, her face strong rather than - beautiful. She dresses with taste, avoiding her fathers scarcely veiled - vulgarity, and wears a high dress of some amber material. She inherits her - father's strength of will, and though outwardly cultured, has not been - able to subdue entirely a naturally violent temper. Her voice is a little - shrill and shrewish, and Jabez is obviously rather afraid of her.</i> - </p> - <p> - Mallinson, <i>the butler, enters with coffee, which he places on the table - by Rosie. Rosie pours coffee. Butler puts cup by Jabez.</i> - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <br /><br /> - </p> - <p> - BUTLER. Mr. Lomax, from the works, has arrived, sir. - </p> - <p> - JABEZ. Very well, put him in the library. I'll be there in a moment to - sign the letters. - </p> - <p> - BUTLER. Yes, sir. - </p> - <p> - JABEZ. Oh, give him this and tell him to look through it. (<i>Gives folded - paper from his pocket.</i>) - </p> - <p> - BUTLER. Yes, sir. (<i>Takes paper and exit.</i>) - </p> - <p> - JABEZ (<i>Sips coffee, lights cigar, and turns chair to face audience</i>). - By the way, Rosie, I asked Charlie to come round after dinner and to bring - his father. - </p> - <p> - ROSIE (<i>Interested</i>). Oh! Why? - </p> - <p> - JABEZ. I'm not satisfied with him. I want to have a chat with the pair of - them to see if we can't get things on a better basis. - </p> - <p> - ROSIE. What's the matter with Charlie? - </p> - <p> - JABEZ. Oh, you wouldn't understand. It's a business question. - </p> - <p> - ROSIE. I see. You'd rather I wasn't here? - </p> - <p> - JABEZ. Yes. If you don't mind. We can't do better than stick to the rule - even where Charlie's concerned, eh? - </p> - <p> - ROSIE. Oh, I shan't intrude on a business talk. - </p> - <p> - JABEZ. Thanks, my dear, thanks. (<i>Encouraged to go on.</i>) Do you know, - Rosie, I'm not a bit happy over this engagement of yours to Charlie. - </p> - <p> - ROSIE (<i>Curtly</i>). Why? - </p> - <p> - JABEZ (<i>Apologetically</i>). He's a queer fellow. I can't size him up. I - can't think why on earth you got engaged to him. - </p> - <p> - ROSIE. That's my business, isn't it? - </p> - <p> - JABEZ Yes, my dear. I suppose it is. But that doesn't stop me from wishing - you'd taken a fancy to some one else. - </p> - <p> - ROSIE. I've told you before I won't have you interfering in my affairs, - father. I'm quite capable of managing them myself. - </p> - <p> - JABEZ (<i>Meekly</i>). I try not to, my dear. I do try not to. Only this - matter—it's not as if you had a mother, is it now? - </p> - <p> - ROSIE. Oh, you can trust me to judge whether a man comes because he wants - me or whether he's only a vulgar fortune-hunter. Whatever Charlie is or - isn't, he's not after my money. - </p> - <p> - JABEZ. No, Charlie never is after money. You're easily the better business - man. He's always got his head full of ideas about pampering the men - instead of thinking of the welfare of the firm. - </p> - <p> - ROSIE (<i>Snappishly</i>). You needn't think you can get me to break it - off, so don't try. You can say what you like to him so long as you - remember I'm going to marry him. - </p> - <p> - JABEZ. Well, well, I must see what I can make of Charlie. (<i>Drinks.</i>) - I'll tell you one thing, my dear, you're a good deal more eager about it - than he is. - </p> - <p> - ROSIE. Possibly. You needn't worry about that. - </p> - <p> - JABEZ. But I do worry, my dear. How can I help it? (<i>Rosie moves - impatiently.</i>) Now don't fly in a temper. He <i>is</i> taking his time - in coming up to scratch. Let me ask you one thing? - </p> - <p> - ROSIE. Yes? - </p> - <p> - JABEZ. When are you going to be married? - </p> - <p> - ROSIE. I really don't know. - </p> - <p> - JABEZ. No, and it's time you did. You've been engaged long enough. - </p> - <p> - ROSIE. Is that what you are going to talk to him about to-night? - </p> - <p> - JABEZ. Amongst other things. I'm tired of his playing about with the - thing. If your mind's made up, what's there to wait for? People are - beginning to talk. - </p> - <p> - ROSIE. Let them. - </p> - <p> - JABEZ. That's all very well, but people in our position must consider - public opinion. You don't object to my settling it, do you? - </p> - <p> - ROSIE. Oh, do what you want. But don't you dare to bully Charlie. I won't - have him bullied. - </p> - <p> - JABEZ. Oh, I shan't hurt him. A good talking to <i>'</i>ull do him no - harm. - </p> - <p> - (<i>Enter Butler, l.</i>) - </p> - <p> - BUTLER (<i>At door l.</i>). Dr. Clavering has called, sir. Wishes to speak - to you. - </p> - <p> - JABEZ (<i>Surprised</i>) Clavering? Well, show him up. - </p> - <p> - BUTLER. Yes, sir. - </p> - <p> - (<i>Exit Butler.</i>) - </p> - <p> - JABEZ. What's the matter with Clavering? He doesn't often condescend to - leave his precious research work in the evenings. (<i>Rosie shrugs her - shoulders contemptuously. Enter Butler.</i>) - </p> - <p> - BUTLER (<i>Announcing</i>). Dr. Clavering. - </p> - <p> - (<i>Enter Clavering. Exit Butler. Clavering is a young doctor with keen - clever face, clean-shaven, with a general air of self-reliance. He is a - practical man of a fairs whose business happens to be doctoring.</i>) - </p> - <p> - CLAVERING. Good evening, Mr. Thompson. - </p> - <p> - JABEZ (<i>Rising</i>). Good evening, Dr. Clavering. (<i>They shake hands, - and Jabez, turning his chair sits sideways to the table.</i>) - </p> - <p> - CLAV. Good evening, Miss Thompson. (<i>Rosie murmurs and bows coldly.</i>) - </p> - <p> - JABEZ. Well, what can I do for you, doctor? Sit down. - </p> - <p> - CLAV. (<i>Sits on sofa l.</i>) The fact is—it's rather a liberty—I - hope you won't mind. - </p> - <p> - JABEZ. Out with it man! What's to do? - </p> - <p> - CLAV. I've come to see you about one of your men—a fellow named - Alcott. - </p> - <p> - JABEZ (<i>Reflectively</i>). Alcott? Alcott? - </p> - <p> - CLAV. You don't just call him to mind? - </p> - <p> - JABEZ. No, but I will. - </p> - <p> - CLAV. That won't matter. It's just—— - </p> - <p> - JABEZ (<i>rising</i>). But it does matter; if I talk about a man I like to - know who I'm talking about. I shan't be a moment. My record book's handy. - </p> - <p> - CLAV. Record book? You keep it here? - </p> - <p> - JABEZ. Yes; I've every man's record in that book. I don't risk leaving a - thing like that at the works, safe or no safe. (<i>Crossing and reaching - door l.</i>) I'll go and look the name up. Lomax is here too with the - letters for signing, but that won't detain me long. (<i>Exit taking hunch - of keys from his trousers' pocket.</i>) - </p> - <p> - CLAV. Miss Thompson, I'm glad your father's gone. It gives me an - opportunity—— - </p> - <p> - ROSIE (<i>Eagerly</i>). Yes? Any illness amongst the men, doctor? - </p> - <p> - CLAV. Only this Alcott. I'll discuss that with Mr. Thompson. Don't let's - waste time now. (<i>Rises and moves to back of table.</i>) I hoped so much - to see you alone. I never get a chance. - </p> - <p> - ROSIE. There's always the telephone. - </p> - <p> - CLAV. I can't see your face through the telephone, and it's always about - others. What a great heart you have, Miss Thompson! (<i>Sits above table.</i>) - </p> - <p> - ROSIE. I? Oh, one does what one can. - </p> - <p> - CLAV. For others. - </p> - <p> - ROSIE. Others? - </p> - <p> - CLAV. Yes; for me it's the telephone—always the telephone. So and - so's ill—a name passes, an address, and we ring off. I never get the - chance of seeing you alone. - </p> - <p> - ROSIE. Doctors are such busy people, aren't they? - </p> - <p> - CLAV. Not too busy to be human, to desire to see in the flesh the woman - one's always communicating with through a cold-blooded telephone. We're - allies, you know, Miss Thompson, fellow-conspirators, aren't we? That - makes a bond between us. - </p> - <p> - ROSIE (<i>Conventionally</i>). It's very good of you to let me know so - promptly when any of the men fall ill and to keep it a secret between us—even - from Charlie. - </p> - <p> - CLAV. (<i>Contemptuously</i>). Oh, Charlie! - </p> - <p> - ROSIE (<i>Quickly</i>). He doesn't know, of course? - </p> - <p> - CLAV. No, he knows nothing. - </p> - <p> - ROSIE. I was just afraid. You're such close friends, and this book you've - been writing must have brought you closer together. I thought you might - have let it slip out. - </p> - <p> - CLAV. Oh, no. I kept the bond. - </p> - <p> - ROSIE. I can never thank you sufficiently. - </p> - <p> - CLAV. You could if you would. - </p> - <p> - ROSIE. How? Tell me. - </p> - <p> - CLAV. As you said, I'm a busy man, but I'm not too busy to use my eyes. A - man can't join hands with a good woman in the great work of alleviating - suffering without conceiving an admiration for her, without longing— - </p> - <p> - ROSIE (<i>Coldly</i>). Need we waste time in compliments, Dr. Clavering? - My father may be back at any moment, and if you've, anything to say to me, - won't you come to the point? - </p> - <p> - CLAV. I want to know if I may hope for a reward. - </p> - <p> - ROSIE. Surely a doctor doesn't ask reward for helping to do good. - </p> - <p> - CLAV. Virtue its own reward? Come, Miss Thompson, isn't that one of the - maxims all of us apply to others rather than to ourselves? - </p> - <p> - ROSIE (<i>Rising</i>). If you want to be paid for your services to me, - doctor, perhaps you will send in an account. - </p> - <p> - CLAV. You're misunderstanding wilfully. (<i>Rising.</i>) Can't we be frank - with one another, we coworkers in the same field? Must you wear before me - the mask you put on to suit your father? - </p> - <p> - ROSIE. I wear a mask to suit my father? I think you're labouring under - some mistake. - </p> - <p> - CLAV. Then the reward I aim at is—— Oh, don't you see? - </p> - <p> - ROSIE. I hope I don't. (<i>Crossing to door R. at back.</i>) I think we'd - both better forget this conversation, Dr. Clavering. - </p> - <p> - CLAV. (<i>Following</i>). You shan't put me off. I—— - </p> - <p> - (<i>Enter Jabez with a small red bound book, keeping a place in it with - his finger. Clavering leaves Rosie promptly and stands above table.</i>) - </p> - <p> - JABEZ. I'm primed now, doctor. (<i>He sits and puts the book open on the - table.</i>) There's not much worth knowing about my men that this friend - can't tell me (<i>Tapping the book</i>). But it doesn't tell me much good - about Mr. Alcott (<i>Emphasizing the "Mr." sarcastically</i>). - </p> - <p> - CLAV. Sorry to hear that. Poor chap, he's in a bad way. (<i>Rosie looks - interested.</i>) eh? - </p> - <p> - JABEZ. Oh, you've been to see him professionally, - </p> - <p> - CLAV. I don't go to see Brixham's Buildings, they come to me. Surgery - hours are just over. - </p> - <p> - ROSIE (<i>Softly, sitting at writing-table r., taking a piece of note - paper and writing</i>). Brixham's Buildings. - </p> - <p> - JABEZ. Well? - </p> - <p> - CLAV. (<i>Sitting above table with elbows on it and fingertips at chin</i>). - The work doesn't suit him. What that fellow needs is a good dose of fresh - air. When I told him so, he said he'd lose his job if he asked off for a - month. I've come to see if something cant be arranged for him, Mr. - Tompson. - </p> - <p> - JABEZ (<i>Coldly</i>). In what way? - </p> - <p> - CLAV. Couldn't you give him sick leave for a month or so? - </p> - <p> - JABEZ. What's the matter with him? - </p> - <p> - CLAV. (<i>Glancing at Rosie as if for a sign of approval</i>). Oh my cases - here are all the same. I know them off by heart. Dyspepsia and faintness - to begin with and paralysis to follow. I could give that man no advice - except to clear out of this. He told me he'd got to live. - </p> - <p> - JABEZ (<i>Whose signs of irritation have increased</i>). - </p> - <p> - ROSIE, do you mind leaving me to settle this with the doctor? It's a works - question, you know. - </p> - <p> - ROSIE (<i>Rising with the note doubled in her hand</i>) Yes. - </p> - <p> - CLAV. (<i>Protestingly</i>). Oh, but—— - </p> - <p> - ROSIE. Don't get up, Dr. Clavering. (<i>Clavering rises and holds back - curtain at door r.c.</i>) - </p> - <p> - (<i>Exit Rosie, r.c. Clavering returns to table.</i>) - </p> - <p> - JABEZ. The fat's in the fire this time. - </p> - <p> - CLAV. I beg your pardon. - </p> - <p> - JABEZ. I thought you'd more sense than to come-here with a tale of this - sort. These things upset a woman. I do all I can to keep them from her, - and here you spin this yarn before I've time to stop you. You should have - come to me at the office. - </p> - <p> - CLAV. (<i>Apologetically, sitting again above table</i>). I rather hoped - Miss Thompson might have put in a word for me. - </p> - <p> - JABEZ (<i>Brusquely</i>). Nonsense. You know very well that I don't allow - my daughter to interfere with business. I'd as soon start messing with her - housekeeping. That's a woman's place if you like—the home. We'd to - make a rule of it, years ago, Rosie and I. She got asking fool questions - about things she didn't understand and worrying me silly till we both - agreed it was best for her to steer clear of the works. We've each our - place now. I've the works and she's the home. You've made a bad mistake, - sir. - </p> - <p> - CLAV. I'm sorry. I do hope you'll not let this prejudice Alcott's chances - of a month off. - </p> - <p> - JABEZ. I shouldn't dream of doing such a thing. A month off for a - labourer! It's absurd. - </p> - <p> - CLAV. (<i>Seriously</i>). I can't answer for the man's life if you don't, - Mr. Thompson. - </p> - <p> - JABEZ. My dear sir, you're looking at the individual case. I can't do - that. I've to see all my men at once and I know what they are. Give these - fellows an inch and they take an ell. I can't make an exception for - Alcott. I'd have to do the same for every man who fell sick and for Heaven - knows how many malingerers as well; once I began that sort of thing, I'd - never know when I'd end. - </p> -<p> - CLAV. Then you won't—— -</p> - <p> - JABEZ (<i>Interrupting</i>). It's not that I won't, I can't, and there's - an end of it. - </p> - <p> - (<i>Enter Butler, l.</i>) - </p> - <p> - BUTLER. Mr. Bunting. - </p> - <p> - (<i>Enter John Bunting. John bears some outward signs of similarity to - Jabez. Like Jabez, he is elderly and corpulent. But, though hardly less - assertive in tone at first, there is an underlying furtiveness, and he is - extremely deferential to Jabez even while assuming an equal camaraderie - with him. He wears a frock coat and has evidently modelled himself on - Jabez. Clavering rises and goes r.c.</i>) - </p> - <p> - JABEZ (<i>Patronizingly</i>). Oh, good evening, John. (<i>Jabez does not - rise.</i>) - </p> - <p> - JOHN. Good evening. (<i>Crossing r.</i>) Good evening, Dr. Clavering. (<i>Clavering - bows—the Butler remains.</i>) - </p> - <p> - JABEZ. What's the matter, Mallinson? - </p> - <p> - BUTLER (<i>Very importantly</i>). Dr. Clavering's housekeeper, sir, have - telephoned from his surgery as he's wanted. - </p> - <p> - CLAV. (<i>Briskly</i>). Oh, I'll come at once. Excuse me, won't you? (<i>Crossing - to door l.</i>) - </p> - <p> - BUTLER (<i>Raising his hand. Clavering stops astonished</i>). It's at the - works you're wanted, sir. An accident, I believe. - </p> - <p> - CLAV. The works! (<i>To Jabez.</i>) Shall you come? Jabez. I? Certainly - not. You're the man they want, not I. Sit down, John. (<i>Jabez moves John - to the chair Rosie had occupied at table r. John sits.</i>) - </p> - <p> - CLAV. Oh, all right. I'll report later. - </p> - <p> - JABEZ. You needn't trouble. Bad news travels fast enough. Good night. - </p> - <p> - CLAV. (<i>Shortly</i>). Good night. - </p> - <p> - (<i>Exit Clavering, l., followed by Butler.</i>) - </p> - <p> - JABEZ. That young man's growing officious. A whisky, John. (<i>Pours.</i>) - Have a cigar? - </p> - <p> - JOHN. Thanks. Yours are too good to refuse. Jabez. Where's Charlie? Isn't - he with you? John. No. He's not been home to dinner. Still at the works I - suppose. - </p> - <p> - JABEZ. Yes. (<i>Pause.</i>) I always did say a good cigar was the best - part of a dinner. - </p> - <p> - JOHN. You're right there. When all's said and done, Jabez a good liver's - got a lot to do with happiness. Thank goodness, mine doesn't trouble me. - </p> - <p> - JABEZ. Nor mine. I've no patience with these modern fads—mustn't eat - this and that and all that kind of rubbish. If I fancied a thing I had it, - and damn the expense. Look at me to-day, sir. (<i>Smacking his chest.</i>) - Sound, sir, sound as a bell. - </p> - <p> - JOHN (<i>Playing up to him</i>). We've lived, Jabez, there's no doubt - about it. We've gone the pace in our time. - </p> - <p> - JABEZ (<i>Fiercely, as if contradicted</i>). And why not? You tell me - that. Give me a good time, I say. That's my motto, and by Heaven I've - lived up to it. - </p> - <p> - JOHN (<i>Admiringly</i>). You always were a warm man. - </p> - <p> - JABEZ. Warm? I believe you. Damme, sir, if I had my time over again I'd do - the same. I wish I had, too. I'd show the young 'uns a thing or three, eh, - John? They think they're pretty wide awake, but I'll gamble we old cocks - could give them a long start and win hands down. Eh, well, what's the good - of wishes? (<i>Pours himself some whisky soda.</i>) - </p> - <p> - JOHN. Yes we've got to face it, old man. You and I have come to the time - of life when a man makes his will and begins to think a bit about who's - going to step into his shoes when he's done with them. - </p> - <p> - JABEZ. That's the very thing I want to talk to you about. What I always - say is if you've got a bit of business to do with a man, let him come and - talk things over with you in your own house. Many's the deal I've made - that way in my time. Get a man feeling at home with himself, with some - good wine inside him and a good cigar in his lips, and you can have your - own way with him. Not that I mean that personally, John. (<i>John waves - deprecatingly.</i>) - </p> - <p> - JABEZ. Only as a general thing. - </p> - <p> - JOHN. Of course. To be sure. - </p> - <p> - JABEZ. Yes. We've got to think of the young <i>'</i>uns. Rosie, now. - Rosie's a good girl—been well brought up. No expense spared—same - as if she'd been a bov. - </p> - <p> - JOHN. You've done well by her, if she did disappoint you by being a girl - instead of a boy. - </p> - <p> - JABEZ. Aye, aye. That's an old sore now. And If I haven't a boy, John, you - have. - </p> - <p> - JOHN (<i>Shifting uneasily</i>). Yes, yes, I know I have. - </p> - <p> - JABEZ. Well? - </p> - <p> - JOHN. Well, what? - </p> - <p> - JABEZ. Look here, John, it's no good beating about the bush. We know each - other by this time, and you're not the man to take offence at a bit of - straight talk. That lad of yours wants speaking to, and damme, you're the - man to do it. - </p> - <p> - JOHN. What's the'matter <i>with</i> him? - </p> - <p> - JABEZ. Nothing except that he's a fool. (<i>John leaps up.</i>) - </p> - <p> - JOHN. I say—— - </p> - <p> - JABEZ (<i>interrupting</i>). Now sit down, John. (<i>John sits.</i>) - Here's a lad I took a fancy to when he was a youngster. I take him to the - works and give him every chance. It's understood he's to have Rosie and - the business, too, when I've done with it. Here's Rosie sick for love of - him. And what's he doing? Shillyshallying round and can't be got to name - the day. That's not all, either, but it'ull do to go on with. What do you - make of it, John? What's the matter with him? - </p> - <p> - JOHN. The boy's sound enough at bottom. Give him time to come round. It's - not the thing nowadays to get married as young as it was in our day. And - Charlie's in love with his work. - </p> - <p> - JABEZ. I know he is, the young fool. - </p> - <p> - JOHN. Come, steady on, Jabez. - </p> - <p> - JABEZ. Oh, well—Yes, all right, John. But what sort of work is it? - Laboratory experiments! - </p> - <p> - JOHN. Yes, and jolly useful they are, too. You're bound to have a chemist. - Give the devil his due, Jabez, Charlie's discoveries have been the making - of the business. - </p> - <p> - JABEZ. They've had their uses. - </p> - <p> - JOHN. I should think they have. Why, man, you simply ran the place for a - couple of years on that cheap fast red of his. - </p> - <p> - JABEZ. Hang it all, experimenting's all right, but a fellow needs a - business head as well; what's the good of his finding new processes if he - can't exploit <i>'</i>em? - </p> - <p> - JOHN. <i>You</i> exploit them. - </p> - <p> - JABEZ. I know I do. But I shan't be here for ever. Charlie <i>'</i>ud be a - catspaw in the hands of a smart business man. He's the sort of fool a - clever fellow likes to get hold of. I want him to help me in the - management, in selling the stuff and handling the men, and I can't get him - to stir a finger. What's the use of a man like that at the head of a - business concern? - </p> - <p> - JOHN (<i>gruffly</i>). Then don't put him there. - </p> - <p> - JABEZ (<i>irritated—rising and pacing about</i>). By God, I will, - though. (<i>Turning abruptly to John.</i>) Why? (<i>l.c.</i>) I'll tell - you why, John. Nothing queers a man for business like the knowledge that - thing's aren't right at home, and that girl of mine's fretting (<i>u.l.</i>). - I tell you I'm not very particular who she marries so long as I know she's - married happily, but she's set her heart on Charlie, so Charlie it must - be, and I'm damned if I'll have him putting her off any longer. It's - upsetting Rosie and it's upsetting me. That's why I want Charlie to be a - man instead of a skulking chemist. (<i>Pause—dropping down l.</i>) - The fellow wants some backbone, John. Managing a works isn't all plain - sailing to-day, same as it was when the men knew their places. It wants a - strong hand and a quick brain to see how to give <i>'</i>em the little - things that don't matter and to keep from them the big things that do. I'm - getting old, John. I'd like a rest. You'll speak to him, now, won't you? - </p> - <p> - (<i>Sits l. of table.</i>) - </p> - <p> - JOHN. Very well. I'll do my best. - </p> - <p> - JABEZ. Just make him see which side his bread's buttered. He's too clever - by half. I can't make him out sometimes. He's got notions in his head - about coddling the men and giving them better wages before they ask for - them, as if it wasn't enough to have the Factory Acts and the Government - Inspectors poking their noses round. Dangerous trades! It was good enough - for their fathers, and, by God! it <i>'</i>ull have to be good enough for - them. I don't run my place for charity, and the sooner they get that into - their thick heads the better. (<i>Irritably.</i>) Where the devil <i>is</i> - Charlie? - </p> - <p> - JOHN. He said he'd come on here from the works if he wasn't home to - dinner. - </p> - <p> - JABEZ. Then why isn't he here? - </p> - <p> - JOHN. Experimenting again, I suppose. - </p> - <p> - JABEZ. Hang his experiments! - </p> - <p> - (<i>Enter l. Charlie Bunting greatly excited. He has the face of a - visionary and his high forehead contrasts with a weak, receding chin; he - has convictions and ideals, but it is doubtful if he has the courage to - live up to them.</i>) - </p> - <p> - JABEZ. Oh, there you are, sir. About time, too. (<i>Seeing Charlie's - agitation.</i>) Hello, what's wrong with you? - </p> - <p> - CHARLIE. There's been an accident. (<i>He gasps.</i>) Jabez. Fatal? - </p> - <p> - CHARLIE. Yes. - </p> - <p> - JABEZ. Curse their carelessness. (<i>Irritably.</i>) Another inquest, of - course, and headlines in the papers and questions from the Coroner. What - is it this time? Another, drunken fool walked into the vitriol tanks? - </p> - <p> - CHARLIE (<i>bitterly</i>). Oh, no, this needn't trouble you. We don't - often kill men suddenly. We poison them by gradual degrees. - </p> - <p> - JABEZ. What was it? Am I ever going to know? - </p> - <p> - CHARLIE. The lift gave way. - </p> - <p> - JABEZ. The lift? Oh, we're not responsible for that. It was inspected only - last week. We hold a certificate of efficiency. - </p> - <p> - CHARLIE. Oh, yes, it was examined right enough. Only the men tell me the - inspector was drunk when he came. - </p> - <p> - JABEZ. They can't prove it. - </p> - <p> - CHARLIE. Not they. You needn't worry. They'll not have the pluck to repeat - it in court. (<i>Up stage L.</i>) - </p> - <p> - JABEZ. Certainly not; a coroner's court isn't the place for irresponsible - gossip of that kind. - </p> - <p> - CHARLIE (<i>down to sofa</i>). No, the verdict will be accidental death - right enough, with polite expressions of sympathy and a rider exonerating - us from blame. - </p> - <p> - JABEZ (<i>settling himself comfortably in his chair</i>). Of course. Very - proper, very proper. And we've the Insurance Company to fall back on. I - tell you what, Charlie, they'll be raising our premium if things go on - like this. Two fatal accidents in a mouth. I suppose there's a widow. - There usually is. - </p> - <p> - CHARLIE. Yes. There's a widow and six children. (<i>Going up l.</i>) - </p> - <p> - JABEZ. (<i>Turning to John</i>) I don't know how it is, but it always is - the married men who get killed. (<i>To Charlie.</i>) Well, I don't see - what there is to make all this fuss about, Charlie. Accidents will happen. - Upon my word, you quite frightened me for a moment. Ring the bell and have - some dinner. - </p> - <p> - CHARLIE (<i>shuddering</i>). I can't eat. I've just seen a man killed. Oh, - it's horrible, horrible. (<i>Sits on sofa l., burying head in hands.</i>) - </p> - <p> - JABEZ. Nonsense, man. Pull yourself together. It's deplorable, of course—a - most distressing occurrence—but no reason for going without your - dinner. What did I tell you, John? Charlie's too soft for this world. - </p> - <p> - CHARLIE (<i>raising head</i>). Don't you understand? I saw the lift crash - down. I was there when they got out the poor, broken, mangled body from - amongst the blood-stained splinters. I saw—— - </p> - <p> - JABEZ. Excuse me, Charlie, but I've just had my dinner. Kindly have the - delicacy not to enter into, details. - </p> - <p> - CHARLIE. Very well. I—oh, I think I'll go home. Good night. (<i>Going.</i>) - </p> - <p> - JOHN. Wait a moment, Charlie. (<i>Charlie's hand is on the door-knob L.</i>) - We were just speaking about you. Hadn't we better thrash this matter out - now, Jabez? - </p> - <p> - JABEZ (<i>grimly</i>). I'm agreeable if Charlie is. - </p> - <p> - JOHN. Sit down, Charlie. (<i>Charlie sits meanly on sofa.</i>) - </p> - <p> - CHARLIE. What is it? - </p> - <p> - JOHN. Well, it's like this. Jabez tells me he considers you're wasting - your time. He doesn t call you lazy—not exactly lazy, do you, Jabez? - He wants you to widen your interests and broaden your ideas. That's it, - isn't it? - </p> - <p> - CHARLIE (<i>to Jabez</i>). Oh, that's it, is it? - </p> - <p> - JABEZ. It's one way of putting it. I don't know whether it's laziness or - what it is, but you certainly fight shy of a bit of honest work. - </p> - <p> - CHARLIE (<i>leaping up fierily</i>). Work? What else do I do from early - morning when I enter the laboratory till late at night when I leave it? - </p> - <p> - JABEZ (<i>smoothly</i>). Quietly, quietly. Yes, that's all very well, but - that's not what I call work. Charlie. What do you call it then? - </p> - <p> - JABEZ. It's not work to you. You like doing it. Charlie. I loathe it from - the bottom of my Soul. - </p> - <p> - JABEZ. Then why do it? - </p> - <p> - CHARLIE. Well, as you put me into the works you ought to be able to answer - that better than I can. I'd no taste for the work at all, but the - laboratory was the department I detested least. I suppose I naturally - drifted to it. - </p> - <p> - JABEZ. Look here, my lad, I asked you a plain question, and I'll thank you - for a plain answer. Charlie. I thought I'd given you one. - </p> - <p> - JABEZ. What made you choose the laboratory? Charlie. I thought I saw some - shadowy hope of doing good there. - </p> - <p> - JABEZ. Well, you've done a bit. I'll give you credit for that. - </p> - <p> - CHARLIE. Not that kind of good. That was accidental. I only hit by chance - on the processes which happened to prove profitable to you. - </p> - <p> - JABEZ. By chance? Then what the devil were you driving at with my time and - my chemicals? - </p> - <p> - CHARLIE. I hoped to find some means of accomplishing what we do here by - less dangerous methods to let a little health into the work. I saw strong - workmen brought to these works in the prime of life and health, and in a - few years turned away, broken, worn-out invalids. I worked to find a way - out. - </p> - <p> - JABEZ (<i>contemptuously</i>). You fool. - </p> - <p> - CHARLIE. I quite agree. (<i>Rises and paces up and down.</i>) Yes, fool, - fool, fool. Fool as much as if I'd sought the philosopher's stone or the - elixir of life. I did seek the elixir of life, and I will go on seeking it—life - for those helpless hundreds driven by the need to live to certain death. - Let me go on. Let me hope; but do not ask me to assist in getting orders - for our deadly production. Every contract you sign your name to is the - death-warrant of a workman. (<i>Sitting on arm of sofa.</i>) - </p> - <p> - JOHN (<i>imploringly</i>). Charlie! - </p> - <p> - JABEZ. Have a little common sense, man. You're seeing things to-night. - This accident's got on your nerves. (<i>Rises.</i>) After all, I think you - had better go home. We'll talk this over another time. I haven't lost my - temper yet and I don't want to. (<i>Putting his hand on Charlie's - shoulder.</i>) Come now, admit that you're not quite yourself. - </p> - <p> - CHARLIE. You treat me like a child. Having been naughty, I'm sent to bed - to sleep oft my tantrums. - </p> - <p> - JABEZ. And I'm the ogre in the fairy story who makes bread of people's - bones, eh, Charlie? Yes, you'll laugh at this to-morrow. Really, you've - been making an awful ass of yourself. You <i>'</i>ll see things in a - better perspective in the morning. - </p> - <p> - CHARLIE (<i>bitterly</i>). With myself as a respectable member of the - governing classes, I suppose, with nice clean hands and a dirty - conscience. - </p> - <p> - JABEZ. For Heaven's sake, Charlie, drop that silly twaddle. We've had - enough of your platform manner for one night. You talk like a Hyde Park - orator, only they're paid to make fools of themselves and you're not. - </p> - <p> - CHARLIE. (<i>Pulling himself together</i>) No. Let's have this out. I - didn't begin it, but now we've gone so far I must know where we stand. - </p> - <p> - JABEZ. You're not fit for it. But it's as you like. (<i>Sits l. of table.</i>) - </p> - <p> - CHARLIE. I do like. Now, Mr. Thompson, it's understood that I meant what I - said. You must let me continue my laboratory work. I still hope to find - less dangerous methods. I may also drop across a few more novelties for - you to exploit. But I definitely decline to have a hand in coercing my - fellow creatures to do the work as it is done at present, or in procuring - orders necessitating such work. - </p> - <p> - JABEZ. But it is necessary work, Charlie. You must see that. - </p> - <p> - CHARLIE. No work involving risk of death and the certaintv of ill health - is necessary. - </p> - <p> - JABEZ. Ours is. If the supply of our productions was cut short huge - industries would be automatically dislocated. How are people to run their - bleaching works and dye works if they can't get dye stuffs? - </p> - <p> - CHARLIE. Never mind. That wouldn't matter. - </p> - <p> - JABEZ. Oh, the boy's mad. This is what comes of debating societies and - political meetings for infants. Look here, Charlie, it's one thing to get - on your legs and spout revolutionary rot to a roomful of fantastic fools - as hare-brained as yourself, but it's a very different pair of steps to - come here and ask me to take you seriously. If it wasn't for Rosie, I'd - take you at your word and send you packing. As it is, I'll try something - else first. John, this is your affair now. You've got to bring this fellow - to his senses. (<i>Rises and goes round table to John, r.</i>) - </p> - <p> - JOHN. I'll try, Jabez, I'll try. - </p> - <p> - JABEZ. (<i>Threateningly</i>) You'll succeed. (<i>Going up to door r.c.</i>) - </p> - <p> - JOHN (<i>Looking up at him</i>) What do you mean? - </p> - <p> - JABEZ. You know as well as I do. I'm sorry, old man, but I've got to put - the screw on. You can't expect me to keep my patience for ever if he won't - hear reason. You can't blame me. I'll go and join Rosie while you - straighten things out a bit between you. - </p> - <p> - (<i>Exit through door centre. John sinks back into his seat and buries his - head in his hands on the table. Charlie goes behind table to him and tries - to raise him up.</i>) - </p> - <p> - CHARLIE (<i>Softly</i>). Dad. - </p> - <p> - JOHN (<i>slowly removing his hands from his face and raising his eyes to - Charlie</i>). You haven't called me that since you were a little boy. - </p> - <p> - CHARLIE. Dear old dad. I don't want to know what it is. Let him think he's - got hold of something. I don't care. . - </p> - <p> - JOHN. But you must know. I'm absolutely in his power. He can ruin me if he - likes. - </p> - <p> - CHARLIE. How? - </p> - <p> - JOHN. It's my dye works, Charlie. Jabez finances it. No one knows it's not - my own, but if he cut off supplies I'd have to close it down to-morrow, - and call my creditors together. I make a living out of it, but the - capital's all his. I couldn't meet a tenth of my liabilities without his - aid. - </p> - <p> - CHARLIE. Never mind, dad. (<i>Sits above table.</i>) We'll fight it - together, shoulder to shoulder, you and I against the world. What does - poverty matter if we can be independent? - </p> - <p> - JOHN (<i>terrified</i>). No, no. You can't mean that. You can't mean to - bring disgrace upon your father's grey hairs. Think of my position, - Charlie—a public man in my own way; not such a big pot as Jabez, but - I have my feelings just the same. The Black-more Dye Works is a small - enough concern compared with Jabez's Chemical Works, but it's meant the - world to me. Every one thinks the business is mine. What will people say - when they learn that I'm practically penniless? - </p> - <p> - CHARLIE. What does it matter what people say? - </p> - <p> - JOHN (<i>ignoring him</i>). And Jabez is a man of his word. He means it. - He's never threatened to do this before. - </p> - <p> - CHARLIE. And what makes him do it now? - </p> - <p> - JOHN. Oh, you must do what he wants, Charlie. - </p> - <p> - CHARLIE. But why does he want it? Why won't he see that I'm unfit for the - position he offers me? I can't and I won't fill it to his orders. Oh, it's - my own fault, I suppose. He's quite right. I'm soft—too soft for - this horrible, inhuman world. I yielded at first because I hoped to do - some good, and I've gone on yielding ever since. It seemed so easy to - acquiesce and to hope for the best. And this is where my cursed weakness - has landed me. - </p> - <p> - JOHN. Yes. Jabez has us at his mercy. - </p> - <p> - CHARLIE. I'm as far as ever from seeing why he's doing it. - </p> - <p> - JOHN. Oh, that's plain enough. He's a good sort, is Jabez. - </p> - <p> - CHARLIE (<i>staggered</i>). What! - </p> - <p> - JOHN. Oh, yes, really a good sort, only he likes to play boss. That's why - he kept mum about my business—so that he could do as he liked with - me. And then Rosie took a fancy to you; so old Jabez steps in to play - providence to a pair of lovers. He's meant well all along. - </p> - <p> - CHARLIE. He's a sentimental ass. Curse his good intentions. - </p> - <p> - JOHN. You may curse them, but you'll not alter them. Jabez will have his - way. Right or wrong, he will have his way, he always does. You may call - him obstinate, pig-headed, anything you like, but, mark my words, it's no - use fighting against him. - </p> - <p> - CHARLIE (<i>contemptuously</i>). You're frightened of him. - </p> - <p> - JOHN (<i>with conviction</i>). Terribly. - </p> - <p> - CHARLIE. Well, I'm not. - </p> - <p> - JOHN (<i>coming to him</i>). Charlie, you must give way. Remember me. - Can't you see that all these years have been hell upon earth to me? I've - been his slave, his dog, and all the time he professed friendship for me, - nay, he was my friend. He patted me with one hand, but the dog-whip was in - the other. You can't force him to speak now, Charlie. Oh, say you can't. - </p> - <p> - CHARLIE. But—oh, I don't understand. If you had imagination enough - to see all this and to writhe under it, and strength enough to keep your - hands off him, couldn't you see there was a way out? Why couldn't you - leave him, leave this place, and make a fresh start somewhere else without - his cursed money? - </p> - <p> - JOHN. I might have done that at first. But well—like father like - son, Charlie. - </p> - <p> - CHARLIE. What's that supposed to mean? - </p> - <p> - JOHN. <i>You've</i> acquiesced. <i>You've</i> gone on hoping for the best. - So did I till the cords which held me were bound more closely, till I - became a man of substance here, looked up to by my neighbours. They made - me sidesman at the Church and then a magistrate. I loved these things, - Charlie, the little honours I had won. I clung to them. Your mother died, - and as you grew up and drifted from me full of ideas I could not - understand, I clung more closely to the little things life held for me. - Its all I have, Charlie. Don't take that away from me Charlie. Why - shouldn't people know it? There's no disgrace in having your business - financed by another man. - </p> - <p> - JOHN. Well, if you must know, there's another reason. - </p> - <p> - CHARLIE (<i>suddenly alarmed</i>). It's a paying concern, isn't it? - </p> - <p> - JOHN. Yes, but I can't prove it. - </p> - <p> - CHARLIE. Why not? - </p> - <p> - JOHN. I've no figures to show. Any one I approached would want to see - accounts—audited accounts. - </p> - <p> - CHARLIE. Well, haven't you got them? - </p> - <p> - JOHN. No. It was enough for Jabez to know that he got a good return on his - money. I've never had auditors in the place. Jabez never asked it. - </p> - <p> - CHARLIE. That doesn't justify your carrying on the thing in a slipshod - manner. It only shows how absolutely content you were to remain in abject - dependence on Thompson. Any tin-pot grocer keeps his books properly and - gets them audited. - </p> - <p> - JOHN. Charlie, I'm your father. - </p> - <p> - CHARLIE. Oh, it's all right. I'm going to stick by you. I'm going to be a - pawn in Thompson's game. But I can't pretend that I can do it with a good - grace. Your point of view's all wrong. You've been sailing under false - colours all your life, and now I'm to cave in to Thompson so that you can - go on living a lie to the end, and a silly lie at that. - </p> - <p> - JOHN (<i>with dignity</i>). Charlie, remember who you are speaking to. - </p> - <p> - CHARLIE. I do. I haven't the slightest hope of making you see it as I do, - but I can't go licking Thompson's boots on your behalf without letting you - know I'm not doing it for fun. And there's Rosie. I suppose Rosie's - included in the bargain. - </p> - <p> - JOHN. You engaged yourself to her, didn't you? - </p> - <p> - CHARLIE. No. She did all the engaging there was about it. But it amounts - to the same thing. I shall have to go through with it. - </p> - <p> - JOHN. Well, for the life of me I can't see what you have to complain of. - Rosie's a nice girl. - </p> - <p> - CHARLIE. That's no reason for marrying her. A man can't marry all the nice - girls he knows. - </p> - <p> - JOHN. But you've always been fond of her, ever since you were children - together. You used to call her your little friend. - </p> - <p> - CHARLIE (<i>lightly</i>). Mere boy and girl flirtation. - </p> - <p> - JOHN. It looked more serious than that. - </p> - <p> - CHARLIE (<i>Exasperated</i>). Serious? Of course it was serious. What do - you take me for? Do you think I'd have consented to an engagement at any - price if I hadn't loved her to distraction? I've tried to cease loving - her, to school myself to hate her because of what she is—Thompson's - daughter—and I've failed. The love I hoped to conquer only conquered - me. It's no good fighting it. I know that now. John (<i>triumphantly</i>). - Very well then, if you love the girl—— - </p> - <p> - CHARLIE (<i>At bay</i>) Wait a bit. We were engaged before my eyes were - opened, before I'd seen the horrible injustice of the men's lives in the - works. I tell you it's wrong, all wrong. From the first moment that I - realized it, I dedicated my life to the men. All personal desires were at - an end. Rosie—everything went by the board. It was the men, the men, - always the men. - </p> - <p> - JOHN. Pssh! - </p> - <p> - CHARLIE. I can't serve two masters. I can't waste time on marriage. I've a - lifelong duty to perform. I've to battle for reform; and how can I be - single-purposed in the fight if I'm tied to Rosie and accept a share of - Thompson's tainted money? - </p> - <p> - JOHN (<i>hopelessly</i>). Well, I can't understand. I never could, and I'm - sure I don't want to interfere between you, but Jabez seems to think - you've been engaged long enough. - </p> - <p> - CHARLIE. I can't help that. There are two ways of ending an engagement, - anyhow. - </p> - <p> - JOHN. Charlie, you promised. - </p> - <p> - CHARLIE. Yes, if she insists. It's Rosie I'm engaged to, not Thompson. I'm - not going to start married life on a lie, (<i>Enter Rosie centre.</i>) and - I shan't start it at all if I can help it. I—— - </p> - <p> - ROSIE. What are you two talking about so seriously? Father's sent me to - see. - </p> - <p> - JOHN. Has he, my dear? (<i>Rising and moving as though he had suddenly - grown twenty years older.</i>) I think I will go to him. (<i>Walking - towards the door and mumbling again.</i>) Yes, I think I will go to him. - </p> - <p> - (<i>Exit John by door r.c. A slight pause. Rosie looks at Charlie.</i>) - </p> - <p> - ROSIE. Well, haven't you a word to throw at a dog? (<i>Charlie is silent.</i>) - Charlie, you're not ill, are you? - </p> - <p> - CHARLIE. Ill? No. I'm all right. - </p> - <p> - ROSIE. Well, suppose you say "Good evening" to me. - </p> - <p> - CHARLIE (<i>collecting himselj</i>). I'm sorry. (<i>He crosses over and - kisses her per junctorily, then sits down absent-mindedly on soja. Rosie - watches him for a moment.</i>) - </p> - <p> - ROSIE. You're not very brilliant to-night. - </p> - <p> - CHARLIE. There's a depressing feeling in the air. Have you felt it? - </p> - <p> - ROSIE (<i>compassionately</i>). You poor boy! Father worries you with - problems all day at the works, and when you come here in the evening its - business again. No wonder you're depressed. (<i>Going and sitting on the - arm of the soja.</i>) Let me cheer you up. I'm not business, am I? - </p> - <p> - CHARLIE. No. But I think sometimes the problems I face in the laboratory - are child's play to those I've to face outside it. - </p> - <p> - ROSIE. Is it anything I can help with? Let me try. - </p> - <p> - CHARLIE. It is you. - </p> - <p> - ROSIE. Am I a problem? (<i>Rising and moving slightly away</i>) How - exciting! - </p> - <p> - CHARLIE. It's not exciting. It's serious. - </p> - <p> - ROSIE (<i>soberly, above soja</i>). And I'm not? All right. I'll be - serious, Charlie. What's the matter? - </p> - <p> - CHARLIE. Rosie, it's about—about our engagement. We've been engaged - quite a long time now. - </p> - <p> - ROSIE. Two years. - </p> - <p> - CHARLIE. Yes. It seems people are wondering why we don't get married. - </p> - <p> - ROSIE (<i>simply</i>). I'm ready when you are, Charlie. - </p> - <p> - CHARLIE. Yes—yes. That's just it. - </p> - <p> - ROSIE. What? - </p> - <p> - CHARLIE. It's a difficult thing to say, but I'm not ready. - </p> - <p> - ROSIE (<i>sympathetically, standing in front of sofa</i>). I don't think I - mind very much what people say, Charlie. If you want me to wait a little - longer, I can wait. I don't want to hurry you. You must choose your own - time. (<i>More lightly.</i>) So that's all right and the cloud's passed - now. - </p> - <p> - CHARLIE (<i>moved</i>). Oh—if you only knew how hard you're making - it for me. You're too good, too true to realize what a weakling I am, what - a criminal fool I've been to let things go on to this stage. - </p> - <p> - ROSIE (<i>startled</i>). Charlie, what do you mean? - </p> - <p> - CHARLIE (<i>rising and crossing to Rosie</i>). I'm going to hurt you, - Rosie. It's all my cursed fault. Try to think of me as kindly as you can. - Rosie, it's not a case of waiting a little longer. I wish to God it was. - It's that I can't marry you at all. - </p> - <p> - ROSIE. You can't marry me! - </p> - <p> - CHARLIE. Oh, don't think worse of me than you must. It's not another - woman. It never was and it never can be. I shall never love any one but - you. - </p> - <p> - ROSIE. Then why, why? - </p> - <p> - CHARLIE. My life's too full. - </p> - <p> - ROSIE (<i>wonderingly</i>). Your life? - </p> - <p> - CHARLIE. Yes. How shall I put it? (<i>Crossing to soja l.</i>) A Catholic - priest doesn't marry lest marriage distract him from his wrestle with the - devil. I too am going to wrestle with a devils the devil of industrialism. - I've things to do in the world, a battle to fight which can only be fought - in the strength of loneliness. - </p> - <p> - ROSIE (<i>a little hardly</i>). Yet you engaged yourself to me. - </p> - <p> - CHARLIE. Two years ago. I didn't see it then Day by day it has become - clearer. The task I have to do reveals itself. Oh, I dare say I don't put - things well. I know I must show up like a blackguard for not telling you - before. It's been inevitable for months, but I let things slide and there - it is. We're up against it now. (<i>Pause.</i>) - </p> - <p> - ROSIE. Yes. We're up against it now. Only it takes two to make a bargain, - Charlie. If you can be obstinate, so can I. - </p> - <p> - CHARLIE. What do you mean? - </p> - <p> - ROSIE. I mean that I know you better than you know yourself and a hundred - times better than you know me. You and your Catholic priest! In the Church - I belong to priests marry, and I've yet to learn that they fight the devil - any the worse for it. I don't believe that the strongest man is he who - stands most alone when there's a woman in love with him. You don't know me - yet, Charlie. If you think I'd let you go for the sake of your wrestle - with the devil, you're mistaken. The devil might throw you if you wrestled - him alone, but he'll have less chance if I'm there to pull his tail. - </p> - <p> - CHARLIE. You won't release me? - </p> - <p> - ROSIE. Never. Oh, you needn't be afraid. I dare say I've a surprise in - store for you. You'll be none the worse for having a woman by your side - and I know I'm the right woman. There's only one way of making you believe - it, and that is by marrying you and proving it. I'm not afraid. - </p> - <p> - CHARLIE. Well, I am. (<i>Crossing to r.c.</i>) You're assuming that I'm - the ordinary sort of fool who thinks money's everything. I may be a - lunatic, but I'm not that brand. I want to be left alone. I want a decent - chance of living my life in my own way. As things are, I'm caged. I'm at - the bottom of an infamous well, and there's a window somewhere far up, but - I can't reach it. I can't find the way out. (<i>Rosie smiles - compassionately.</i>) Now, you're laughing at me. You! Rosie, harmless, - necessary Rosie, whom I've always thought of as the type of bread and - butter miss. - </p> - <p> - ROSIE. And you're surprised to find her a woman with a will of her own? - </p> - <p> - CHARLIE. You won't let me go? (<i>Crossing to l.c.</i>) - </p> - <p> - ROSIE. Never. - </p> - <p> - CHARLIE. Do you know what you are doing? - </p> - <p> - ROSIE (<i>confidently</i>). Oh, yes. - </p> - <p> - CHARLIE. You don't. You think you're being my guardian angel. You think - you're helping me. As a matter of fact, you're hanging a millstone round - my neck which will drag me down to the lowest depths of human misery. If - it wasn't so utterly tragic I could laugh for a week at the silliness of - it all. I'm not allowed an opinion of my own. I'm not to diverge by one - hand's breadth from the path laid down for me. I'm to marry the wife you - choose and do the work you choose and own the wealth you choose and take - the place in society laid down for me. I'm not a man. I'm a specimen in a - case with a pin through my body. I'm clay in the hands of the potter. I'm—— - </p> - <p> - ROSIE. You're the man I love. (<i>Charlie collapses into chair l. of - table.</i>) - </p> - <p> - CHARLIE. That's the last straw. I suppose I shall have that thrown in my - face all my life. - </p> - <p> - ROSIE (<i>reflectively</i>). Let me see. Shall we say April 25? Lent will - be over by then. - </p> - <p> - CHARLIE. Say what you like. I haven't a kick left in me. - </p> - <p> - ROSIE (<i>going to door c. and calling</i>). Father, father! - </p> - <p> - (<i>Enter Jabez and John in their shirt-sleeves with billiard cues.</i>) - </p> - <p> - JABEZ. Well, my dear. What is it? (<i>c. behind table, John crosses R.c. - Rosie is back l.c.</i>) - </p> - <p> - ROSIE. Father, Charlie wants us to be married on April 25. - </p> - <p> - JABEZ. The young scamp. What a hurry he's in. Well, well, young people - will be young people, eh, John? (<i>Nudges John.</i>) - </p> - <p> - JOHN. Thank you, my boy, thank you. You don't know what this means to me. - </p> - <p> - JABEZ. Yes, this saves a lot of trouble, Charlie. You're going to be a - sensible fellow, after all. - </p> - <p> - (<i>Patting Charlie's shoulder. John turns gratefully to Rosie.</i>) - </p> - <h3> - CURTAIN. - </h3> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_4_0003" id="link2H_4_0003"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - ACT II. - </h2> - <p> - <i>The next morning. Thompson's office at the works. Doors l. and at the - extreme R.C. Opposite the door L. is a desk with revolving arm-chair. - Fireplace at the back centre, table against the wall by the fireplace. A - couple of revolving arm-chairs. Carpet on floor. Jabez believes in working - in comfort. Small hat-rack attached to wall by the door l. Telephone - receiver on the desk, speaking tube protruding from the wall by the chair - and handbell on desk, which is open. Clock on mantelpiece points to 9.55.</i> - </p> - <p> - LOMAX <i>is an elderly man with iron-grey hair, cleanshaven, and has the - appearance, of a confidential head clerk or cashier, which in fact he is. - He arranges a few open letters on the desk and puts a paper weight on them - as Charlie enters l. bringing in Mrs. Wilcock, a careworn woman of thirty, - dressed in black with shabby skirt, heavy incongruous mantle and beaded - bonnet. A considerable nervousness is added to her distress.</i> - </p> - <p> - CHARLIE. (<i>Sympathetically</i>) Come in here, Mrs. Wilcock. - </p> - <p> - MRS. WILCOCK (<i>Entering shyly, seeing Lomax and "bobbing" towards him</i>) - Thank ye, sir. - </p> - <p> - CHARLIE. Sit down. Make yourself comfortable. (<i>Pulling chair across - towards fire.</i>) Good morning, Mr. Lomax. - </p> - <p> - LOMAX (<i>crossing to l.</i>). Good morning, sir. - </p> - <p> - (<i>Exit Lomax, l. Mrs. Wilcock sits on the edge of the chair.</i>) - </p> - <p> - MRS. WIL. (<i>Anxiously</i>) Do you think as A'm doing the reeght thing, - Mr. Bunting, sir? - </p> - <p> - CHARLIE (<i>Standing by her r.</i>). Oh, yes, quite right, Mrs. Wilcock. - </p> - <p> - MRS. WIL. (<i>volubly</i>). They all told me A mun coom an' see the - master. A weren't sure if it were proper. But there's not above a two - three shilling in th' <i>'</i>ouse, an' wheer money's to coom from for th' - burying A dunno. Six childer to find black for an' all, an' none of <i>'</i>em - old enough to be earning. - </p> - <p> - CHARLIE (<i>with his back to fire</i>). Don't let that trouble you, Mrs. - Wilcock. I'll see to that. - </p> - <p> - MRS. WIL. It's all coom so sudden. He coom out to his work as cheerful as - could be, an' when they browt him whoam to me a steam roller might a'gone - o'er 'im. - </p> - <p> - CHARLIE (<i>shuddering</i>). Yes, yes. I saw him. - </p> - <p> - MRS. WIL. The neighbours <i>'</i>as been that good to me you wouldn't - believe. One's lent me this cape an' another's loaned me this bonnet. A'd - nobbut a skirt masel' as was anyways black. It's not as if we'd been in a - buryin' club. Takes us folk all our time to go on livin' when theer's six - young mouths to fill an' another comin'. - </p> - <p> - CHARLIE. Well, you mustn't distress yourself about the funeral, Mrs. - Wilcock. I'll make that my business. - </p> - <p> - MRS. WIL. (<i>with tears</i>). Bless you, sir, tha's taken a load off my - mind. A couldn't abide thowt o' my man's not bein' buried proper. - </p> - <p> - CHARLIE. What you've got to talk to Mr. Thompson about is the future. - </p> - <p> - MRS. WIL. (<i>resignedly</i>). It'll 'ave to be th' 'ouse for me. - </p> - <p> - CHARLIE. Oh, nonsense. You'll get compensation. - </p> - <p> - MRS. WIL. Must A ask the master for it, sir? - </p> - <p> - CHARLIE. Certainly. - </p> - <p> - MRS. WIL. A misdoubt A'll never 'ave th' face to do it. - </p> - <p> - CHARLIE. You've nothing to be' afraid of. It'll be all right, Mrs. Wdcock. - </p> - <p> - MRS. WIL. (<i>dolefully</i>). A never thowt as mine 'ud be workus - children. - </p> - <p> - CHARLIE. They won't be. You needn't fear that. (<i>Dowden, a young clerk - of about twenty-eight, opens the door l. He is cirefully dressed, but his - clothes have seen better days.</i>) - </p> - <p> - DOWDEN. Dr. Clavering to see you, sir. - </p> - <p> - (<i>Enter Clavering, l. Dowden shuts the door.</i>) - </p> - <p> - CHARLIE. Hullo, old man! - </p> - <p> - CLAVERING. Good morning. - </p> - <p> - CHARLIE. This is Mrs. Wilcock. - </p> - <p> - CLAV. (<i>properly sympathetic</i>). Oh, yes. Good morning. Very sorry to - hear about your husband, Mrs. Wilcock. (<i>r.c.</i>) - </p> - <p> - MRS. WIL. (<i>tearfully</i>). Yes, sir. (<i>Charlie goes to the door l. - and opens it.</i>) - </p> - <p> - CHARLIE. Oh, Dowden. (<i>Dowden appears.</i>) - </p> - <p> - DOWDEN. Yes, sir? - </p> - <p> - CHARLIE. Just give Mrs. Wilcock a chair by the counting house fire, till - Mr. Thompson comes, will you? Go with this gentleman, Mrs. Wilcock. (<i>She - rises and he walks with her to the door.</i>) Now, don't you fret. You - won't have to go to the workhouse. - </p> - <p> - MRS. WIL. Thank you, sir. (<i>She goes out with Dowden, l.</i>) - </p> - <p> - CLAV. Are you sure of that? - </p> - <p> - CHARLIE. God knows, but the insurance people shan't rob her if I can help - it. Isn't it damnable, Clavering? - </p> - <p> - CLAV. Yes. But it won't last for ever. - </p> - <p> - CHARLIE. The book, you mean. (<i>Taking a book from his pocket.</i>) - </p> - <p> - CLAV. Yes, the book. Hullo, do you carry it about with you? - </p> - <p> - CHARLIE. I'm going to give this to Thompson to-day. - </p> - <p> - CLAV. Are you? - </p> - <p> - CHARLIE (<i>a little anxiously</i>). It's all right, I suppose? About the - publication? - </p> - <p> - CLAV. Oh, yes. I heard from Mitchell this morning. It will be published - to-morrow. - </p> - <p> - CHARLIE. That's good. - </p> - <p> - CLAV. Yes. What I came to show you was this. (<i>Taking paper from an - envelope from his inside pocket.</i>) It's simply gorgeous. - </p> - <p> - CHARLIE. What is it? - </p> - <p> - CLAV. Well, I've a friend on the <i>London Morning News</i>, and I got - Mitchell to see he had a copy of the book. - </p> - <p> - CHARLIE. Yes? - </p> - <p> - CLAV. (<i>handing him the proof</i>). He sent me a proof of his review by - this morning's post. That's it. He's done us well. - </p> - <p> - CHARLIE. By Jove. That's luck. - </p> - <p> - CLAV. Yes. It's a storming notice. - </p> - <p> - CHARLIE. Things are going to move a bit now the book's coming out. It'll - waken people up to a realization of the kind of thing that's done in the - name of profit. - </p> - <p> - CLAV. (<i>impatiently</i>). Yes. I haven't time to stay now. I must get on - with my round. - </p> - <p> - CHARLIE. Of course. Don't let me detain you, old man. I'll read this at - once. Thanks for bringing it. - </p> - <p> - CLAV. Right you are. Good-bye. I'll go this way. It's shorter. (<i>Opening - door at hack R.C.</i>) - </p> - <p> - CHARLIE. Do. Good-bye. - </p> - <p> - (<i>Exit Clavering, r.c. Charlie unfolds the proof and reads it, moving - towards the door at hack. Enter Lomax.</i>) - </p> - <p> - LOMAX. Mr. Thompson has just come in, sir. (<i>Crossing to desk.</i>) - </p> - <p> - CHARLIE. All right. Let him know Mrs. Wilcock's there. I shall be in the - laboratory if he asks for me. - </p> - <p> - (<i>Exit Charlie, r.c. Lomax fusses about the desk for a moment. Jabez - comes in L. takes off his hat and coat and hangs them by the door. Lomax - stands to attention at the desk.</i>) - </p> - <p> - JABEZ. Good morning, Lomax. - </p> - <p> - LOMAX (<i>deferentially</i>). Good morning, sir. (<i>Pause.</i>) Jabez. - Anything fresh there? - </p> - <p> - LOMAX. Not very much, I'm afraid. - </p> - <p> - JABEZ. There's not much trade about, these days. (<i>Sitting at his desk.</i>) - </p> - <p> - LOMAX. No, sir. Cranbury's haven't sent their cheque again. - </p> - <p> - JABEZ. Haven't they? Well, I'm waiting no longer. You'd better ring up - Charlton and get him to take it in hand. You might attend to this lot. (<i>Handing - him some letters.</i>) - </p> - <p> - LOMAX. Yes, sir. - </p> - <p> - JABEZ. That's all. (<i>Lomax coughs.</i>) Well, what is it? - </p> - <p> - LOMAX. That matter of young Dowden sir. You said you would speak to him - to-day. - </p> - <p> - JABEZ. Oh, yes, of course. (<i>Takes down speaking tube and blows: then - puts it to his mouth.</i>) Send Dowden to me. (<i>Replaces tube.</i>) Let - me see invoice desk, isn't he? - </p> - <p> - LOMAX. Yes, sir. - </p> - <p> - JABEZ. You're quite sure he's getting restive? Lomax. Absolutely. I - thought he'd ask for a rise last week. It's been on his tongue three or - four times or I shouldn't have mentioned it to you. A look from me - generally keeps them quiet if they only half mean it. - </p> - <p> - JABEZ. What does he get? - </p> - <p> - LOMAX. Twenty-two shillings. - </p> - <p> - JABEZ. What's he likely to ask for? - </p> - <p> - LOMAX. I shouldn't wonder if he asked thirty, sir. For one thing it's - three years since he had a rise, and for another he keeps his mother. - </p> - <p> - JABEZ. Has she got any money? - </p> - <p> - LOMAX. I fancy not, sir. - </p> - <p> - JABEZ. Good. That'll keep him steady That's the kind we want, Lomax. He - can't afford to take risks. Good worker of course? - </p> - <p> - LOMAX. Excellent. None better. - </p> - <p> - JABEZ. Age? - </p> - <p> - LOMAX. Twenty-eight, sir. (<i>A knock.</i>) Shall I go, sir? - </p> - <p> - JABEZ. No. Stay here. (<i>Calling.</i>) Come in. - </p> - <p> - (<i>Enter Dowden, l. he is obviously extremely nervous over his - "carpeting" before his employer. Lomax stands above desk.</i>) - </p> - <p> - JABEZ (<i>beaming paternally on him, with his elbows on the arms of his - chair and his finger-tips together.</i>) Come in, Dowden. Don't be - nervous, man. No one's going to hurt you. (<i>Dowden shuts door and moves - towards Jabez.</i>) This is one of those pleasant interludes in the life - of an employer which make it worth the living. You have pleased me, - Dowden. - </p> - <p> - DOWDEN. Very good of you to say so, I'm sure, sir. - </p> - <p> - JABEZ. Mr. Lomax has spoken most favourably of you. Good lad, good lad. - We've been putting our heads together and we're going to raise your salary - to—twenty-five shillings a week. - </p> - <p> - DOWDEN. Thank you, sir. Thank you very much indeed. (<i>Nervously.</i>) - Only, sir, I was going to ask—— - </p> - <p> - JABEZ (<i>interrupting</i>). Don't thank me, Dowden. You owe it to your - own good work. Go on in the same way and you may come to me again in a - year's time, I'll see you right. Mr. Lomax just make a note of that, will - you? That will do, Dowden. - </p> - <p> - DOWDEN. Yes, sir, and thank you, sir. - </p> - <p> - (<i>Exit Dowden, l.</i>) - </p> - <p> - JABEZ. Settled his hash for a year anyhow, Lomax. Just let me know of any - similar symptoms in good men. It always pays to take time by the forelock - in these little matters. - </p> - <p> - LOMAX. It does that, sir. You prove it. You've the cheapest office staff - in the country for its size. - </p> - <p> - JABEZ (<i>chaffing him genially</i>). You think so, Lomax? - </p> - <p> - LOMAX. I'm sure of it, sir. - </p> - <p> - JABEZ. I sometimes think the cashier makes a big hole in the salary list, - eh, Lomax? - </p> - <p> - LOMAX (<i>alarmed</i>). I'm sure I—— - </p> - <p> - JABEZ. Yes, yes. I'm not thinking of cutting you down, Lomax. Only, one - has to fix a limit. You might bear that in mind. - </p> - <p> - LOMAX. Yes, sir. - </p> - <p> - JABEZ. That will do then. (<i>Lomax turns to go.</i>) Oh, by the way, is - Mr. Charles in his room? Lomax. I think so, sir. - </p> - <p> - JABEZ. You might ask him to step this way. Lomax. Yes, sir. - </p> - <p> - (<i>Exit Lomax, r.c. Jabez opens a side drawer in his desk, takes out a - cigar box, selects and lights a cigar, and goes to fireplace and turns - back to fire with the air of a man who, having done a good mornings work, - may legitimately permit himself some reward. Enter Charlie, r.c.</i>) - </p> - <p> - JABEZ. Good morning, Charlie. Hope you slept well. - </p> - <p> - CHARLIE. Good morning. Can't say I did. - </p> - <p> - JABEZ. You'll soon get over that. At your age a night's rest more or less - makes no difference. Did I interrupt some particularly promising - experiment? - </p> - <p> - CHARLIE. No. I haven't been experimenting to-day. I've been engaged with - some of the men. - </p> - <p> - JABEZ. Really? Well, there's no accounting for tastes. You're a queer - fish. - </p> - <p> - CHARLIE. You didn't send for me to tell me that, I suppose? - </p> - <p> - JABEZ (<i>blowing smoke and watching it rise</i>). Eh? No, I suppose I - didn't. Have a cigar? - </p> - <p> - CHARLIE. No thanks. - </p> - <p> - JABEZ. No? Well, now that you've come to your senses the thing is to see - about what arrangements we must make. To begin with, I think we'd better - fix you up a desk in here. - </p> - <p> - CHARLIE' (<i>wearily</i>). Yes. - </p> - <p> - JABEZ. We'll have that table out and one put there. Or is that too near - the fire for you? - </p> - <p> - CHARLIE. Oh, anywhere. - </p> - <p> - JABEZ. You see, you'll have to work under my supervision at first and then - begin gradually to take the responsibility off my shoulders. I shall be - glad of a rest, Charlie. - </p> - <p> - CHARLIE. Don't you think you are taking a good deal for granted? - </p> - <p> - JABEZ. Why? - </p> - <p> - CHARLIE. I told you I'd not slept. A man can do a lot of thinking in eight - hours. - </p> - <p> - JABEZ. What, you mean to say—— - </p> - <p> - CHARLIE. That I've thought the whole thing over. - </p> - <p> - JABEZ. Well? - </p> - <p> - CHARLIE. It's not good enough. It's—it's dishonourable. - </p> - <p> - JABEZ (<i>angrily</i>). Dishonourable, sir? What the devil do you mean? - </p> - <p> - CHARLIE. I'm the only bulwark the men have. If I marry Rosie—sell - myself to you—it means pushing the men back into their old places - just when they're ready to make some show of fighting and want all the - help I can give them. - </p> - <p> - JABEZ. For God's sake do leave the men out of it for one moment. It's you - I'm talking about, not them. You gave me your word last night. - </p> - <p> - CHARLIE. I know I did. - </p> - <p> - JABEZ (<i>sneeringly</i>) You needn't talk so much about honour. - </p> - <p> - CHARLIE. Oh, there are things I value more than an empty phrase. That lift - accident made me realize once again how much I'm needed and how little I - could do if I married Rosie. I've seen Mrs. Wilcock this morning. Oh, it's - pitiful! - </p> - <p> - JABEZ. Now, could I help the lift breaking down? - </p> - <p> - CHARLIE. No, but you could help a hundred other things happening, only - safety apparatus costs money and men are cheap. Last night's accident was - only the last straw. The men need me and I won't forsake them. - </p> - <p> - JABEZ. Who's asking you to forsake them? I'm only asking you to carry out - your engagement. Good heavens, it's a chance any man in his senses would - jump at. - </p> - <p> - CHARLIE. I'm sorry I don't agree. - </p> - <p> - JABEZ. You play fast and loose with me, my lad, and I'll ruin your father - for it. Don't forget that. - </p> - <p> - CHARLIE. Look here, suppose I let you force my hand. Suppose I married - Rosie under compulsion, what sort of a time do you fancy she'd have? - What's to prevent me taking it out of you by cruelty to the daughter you - love? - </p> - <p> - JABEZ (<i>recovering his temper</i>). No you don't, my boy. It's very - clever of you. Upon my word, I'm glad to hear you talk like that. After - all, you've the makings of a business man about you, but I'm too old a - bird to be caught by a bluff like that. You know very well you're talking - through your hat. You couldn't do it. Besides, even if I wasn't sure of - you I'm sure of Rosie. I'm a long way more frightened for you than I am - for her, my boy. She's managed me all her life, and if there's going to be - any bullying when you're married, take my word, it's not you that'll do - it. You see, I know Rosie. - </p> - <p> - CHARLIE. Very well then. You compel me to take other measures. - </p> - <p> - JABEZ. What, still fighting? You're getting quite pugnacious, Charlie. (<i>Crossing - to cupboard l. and unlocking it.</i>) - </p> - <p> - CHARLIE. Don't laugh at me. I won't be laughed at. - </p> - <p> - JABEZ. Then don't make yourself ridiculous, my boy. Every man feels like - you do when he's booked his passage. But most of us have it out with - ourselves. We don't talk about it, but we all get a fit of funk and want - to back out if we can. It's a natural reaction. Come, pull yourself - together, Charlie. Have a whisky and soda. (<i>He takes a decanter, glass - and syphon from cupboard and places on top of it.</i>) - </p> - <p> - CHARLIE (<i>for a moment half laughing at himself</i>). You make very - certain that I'm not an embryonic wife-beater. - </p> - <p> - JABEZ (<i>with the decanter in his hand</i>). You won't? - </p> - <p> - CHARLIE. No thanks. (<i>Jabez mixes a drink for himself.</i>) - </p> - <p> - JABEZ (<i>meditatively</i>). Yes, I think a desk will do very well in - place of that table. - </p> - <p> - CHARLIE. I refuse to sit at it. - </p> - <p> - JABEZ. Oh, I don't think so. (<i>Walking up with drink and sitting l. of - fire, putting glass on mantel.</i>) You see, Charlie, your father's so - very respectable; he simply radiates respectability. Gad, I shall never - forget old John's face when he was up in town with me for the first time - and I took him to the Empire. He got used to it later on, though. But it's - different down here. He's the champion bazaar opener of the district. - Quite a great man in his way is old John. Yes, we can't have a scandal, - Charlie. It really would not do. - </p> - <p> - CHARLIE. You must do as you like about that. It's his affair. And anyhow - it's absurd to talk of it as a scandal. - </p> - <p> - JABEZ. He wouldn't say so. How shockingly unfilial you are! - </p> - <p> - CHARLIE. Possibly. I've myself to look after. - </p> - <p> - JABEZ. Still fighting? (<i>He takes a drink.</i>) - </p> - <p> - CHARLIE. Yes. If I can't touch you through Rosie, I can touch you through - something still dearer. - </p> - <p> - JABEZ (<i>sarcastically</i>). And what may that be? - </p> - <p> - CHARLIE. Your pocket. - </p> - <p> - TABEZ. What do you mean? - </p> - <p> - CHARLIE. Oh, you shall know. I'll give you fair warning. - </p> - <p> - JABEZ (<i>rising</i>). What is it? - </p> - <p> - CHARLIE. The men. They're not blind. They're no longer the passive fools - their fathers were. - </p> - <p> - TABEZ. Well? - </p> - <p> - CHARLIE. You were pleased to be angry with me last night when I explained - why I undertook laboratory work. I can't help that. My sympathies are all - with the men, not the master. If it comes to a fight, I shall be on their - side, not yours. You—oh, I don't expect you to understand, but with - me altruism is a religion. - </p> - <p> - JABEZ. A religion! Is that all. - </p> - <p> - CHARLIE. What more can it be? - </p> - <p> - JABEZ. My dear fellow, religion is a respectable pastime for Sundays, but - it's got nothing to do with every-day life except for parsons and old - women In this country, you can be a Mohammedan or a Mormon if you like, - but I can't see that it any material difference in your ordinary conduct. - </p> - <p> - CHARLIE. Can't you? I'm different My religion is a thing I believe in on - weekdays, a thing I act upon and live up to as far as I can. - </p> - <p> - JABEZ. Aren't we getting away from the point? - </p> - <p> - CHARLIE. The point is the men. - </p> - <p> - TABEZ. Exactly. I'll have no tampering with the men Charlie, no putting - ideas above their station into their heads. - </p> - <p> - CHARLIE. It's fifty years too late to talk like that. As a matter of fact, - I'm going to address a meeting of the men to-night. And I shall take their - part. They know it. I've the gifts of the mob orator. (<i>Chuckle from - Jabez.</i>) God knows it's a sorry gift to boast about, but it will serve - my turn. I can sway a crowd. I've done it time and again in debates. - </p> - <p> - JABEZ. (<i>Pause, then</i>) Where is this meeting? (<i>Crosses to desk, - sitting to face audience.</i>) - </p> - <p> - CHARLIE. The Assembly Hall. I am as certain as I stand here that I can - work my will upon them. I shall advise a strike, and strike they shall - unless—— - </p> - <p> - JABEZ. Oh, you've got your price then? (<i>Sneeringly.</i>) - </p> - <p> - CHARLIE. Yes. It's cowardly, but I have. It's against my convictions, but, - as you say, I have my price. - </p> - <p> - JABEZ. What is it? - </p> - <p> - CHARLIE. Freedom of action. (<i>Crosing towards Jabez.</i>) Laboratory - work and no other and release from the mockery of an engagement with - Rosie. (<i>Enter John, l.</i>) - </p> - <p> - JABEZ. Hullo, John. Good morning. Glad you called. (<i>Charlie goes to - fireplace.</i>) - </p> - <p> - JOHN. Good morning, Jabez. (<i>Crossing to Jabez.</i>) Yes, I called about - the monthly accounts. I've got the total here, if you'll sign me a cheque. - </p> - <p> - JABEZ (<i>grimly</i>). You'd better talk to Charlie about that. - </p> - <p> - JOHN. Charlie! - </p> - <p> - JABEZ. Yes. Here he is with a bee in his bonnet as usual. Look at him, - John. - </p> - <p> - JOHN. What is it, Charlie? Wasn't everything settled last night? - </p> - <p> - JABEZ. Oh, you're not quite up to date, John. We move fast nowadays, don't - we, Charlie? - </p> - <p> - CHARLIE. I wish to God we did. (<i>Sitting on armchair l. of fire.</i>) - </p> - <p> - JABEZ. The latest is that some fools amongst the men want to strike. Lord - knows what they think they'll get by striking, but let me introduce you. - John, to the strike leader. - </p> - <p> - JOHN. Charlie, you couldn't—— - </p> - <p> - JABEZ. Oh, he believes in variety, John, that's what it is. Last night - Rosie, this morning no Rosie. The men are the latest love. It's off with - the old and on with the new. - </p> - <p> - JOHN. Don't be hard on me, Jabez. I can't bear it. - </p> - <p> - JABEZ. I've to look after number one, John. - </p> - <p> - JOHN (<i>appealingly</i>). Charlie! - </p> - <p> - CHARLIE. It's no good, father. I can't betray my principles. - </p> - <p> - JABEZ. And I can't sign that cheque, John. Perhaps Charlie's prepared to - be your banker. - </p> - <p> - JOHN. It means—— (<i>Sitting l. of desk.</i>) - </p> - <p> - JABEZ. Oh, I know what it means. (<i>Rises, goes c., drains glass and - turns on Charlie.</i>) Listen to me, Charlie. I'll have no meddling with - the men. That's all over and done with. Understand once for all that it's - hands off the men. I'll have no discontent amongst my men. I don't want - men who'll think. I want men who'll work. (<i>Down l. to cupboard and - putting glass on top of it.</i>) - </p> - <p> - CHARLIE. To think is to be discontented. Discontent is divine. - </p> - <p> - JABEZ. Don't talk rubbish, sir. We are told to be content with the station - into which it has pleased Providence to place us. - </p> - <p> - CHARLIE (<i>passionately</i>). Virtue on ten thousand a year! This is your - rich man's God, who is at home to you in his church one day a week from - 10.30 to 12 and 6.30 to 8. You don't go because you hope to get a little - dirt washed off your shop-soiled soul. You go because it isn't respectable - to stop away. For six days you serve Mammon, and on the seventh you follow - your gregarious instincts and crowd into a church in your sleek - broadcloth, and only the effort of keeping a properly sanctimonious - expression on your well-fed face prevents you from falling asleep in your - padded pew. That's your middle-class religion and your middle-class - Providence. Don't talk to me of Providence till you can show me a - Providence which provides. - </p> - <p> - JABEZ, Rank blasphemy, sir. (<i>Going up to Charlie, settling his collar - irritably.</i>) Don't talk to me as if I was a nonconformist. - </p> - <p> - CHARLIE. Nonconformist? No, you conform to everything. You began in a rut - and you'll stay in the rut till you die. - </p> - <p> - JABEZ. A rut! - </p> - <p> - CHARLIE, Yes, the gutter where you poke in slime for sixpences, afraid to - look up at God's blue sky or about you at your fellow-men lest some one - else should pick up a sixpence while your head's turned. Oh, you conform - right enough. You do nothing else. You conform to Success and - Respectability, and they're the stronghold of the Devil. - </p> - <p> - JABEZ (<i>recovering his temper, sitting down at desk and rubbing his - hands genially, looking at John, laughing.</i>) Sit down, Charlie. - </p> - <p> - CHARLIE. Thanks, I can say all I have to say standing. - </p> - <p> - JABEZ. Oh, but this is delightful. As good as a pantomime, isn't it, John? - Go on, Charlie. It's amusing you and doing me no harm. - </p> - <p> - CHARLIE. Yes, that's the pity of it. It's doing you no harm. You'll have - your dog's day. You'll go on accumulating the money you've no need of - because you're in the grip of the money habit. You couldn't stop mobbing - your impotent employés if you wanted to. The looting instinct's in your - blood. - </p> - <p> - JABEZ (<i>calmly.</i>) I am doing what I conceive to be my duty, the duty - of every man—to make as much as I can by honourable and - business-like methods. - </p> - <p> - My father did it and his father before him. My son would do it if I had - one. - </p> - <p> - CHARLIE. Hereditary money-grubbing. That's typical. It's our idea of - progress and self-reliance and thinking things out for one's self. (<i>He - pauses, hand on mantel, looking into fire.</i>) - </p> - <p> - JABEZ (<i>pause</i>). What, dried up? Well, I've let you have your fling. - You are like any other child, Charlie. You've been hurt and you're crying, - only you put your squeal into words. A child only howls, while the natural - impulse of the adult is to curse something or somebody. Have you said all - you wanted to? - </p> - <p> - JOHN. Charlie, for Heaven's sake—— - </p> - <p> - CHARLIE (<i>facing Jabez</i>). Oh, I'd more to say. But that will do. I've - wasted my breath, but it's done me good to give it you straight from the - shoulder for once. After all, you're not a millionaire or a trust - president. You're precious small beer as employers go nowadays. - </p> - <p> - JABEZ. Oh, so that's all right, and I'm put in my proper place, eh, - Charlie? And you've let off steam now instead of to the men to-night. - </p> - <p> - CHARLIE. That's as may be. I've not done yet. - </p> - <p> - JABEZ (<i>to John</i>). This fellow's solved the problem of perpetual - motion, John. What is it this time? - </p> - <p> - CHARLIE (<i>taking a small book from his pocket</i>). Do you know what - this is? - </p> - <p> - JABEZ. It looks like a book. - </p> - <p> - CHARLIE. It is. Just have a look at it. (<i>Offering it.</i>) - </p> - <p> - JABEZ. I'm not interested in literature. - </p> - <p> - CHARLIE. This will interest you. (<i>Holding the book out towards him.</i>) - </p> - <p> - JABEZ. (<i>snatching it and reading the title</i>). "An Inquiry into the - Condition of the Workers in our Chemical Industries, by Walter Clavering, - M.D." What's this? Clavering? This isn't like what I know of Clavering. I - wonder what his game is? - </p> - <p> - CHARLIE. He hasn't got a game, as you call it. Clavering's in earnest - about it. (<i>Going up to fire.</i>) - </p> - <p> - JABEZ. I'm afraid you're a bad judge of character, Charlie. (<i>Turning - over the pages.</i>) What's this? "Illustrated by Photographs by Charles - Bunting." - </p> - <p> - CHARLIE. Oh, yes. I had a hand in it. - </p> - <p> - JABEZ. You damned young scamp. - </p> - <p> - CHARLIE. That's an advance copy. The book's not published yet. - </p> - <p> - JABEZ. I'll take good care it never is. - </p> - <p> - CHARLIE (<i>smiling</i>). It will be published to-morrow. Here's a proof - of a review of it by a chum of Clavering's. This review will appear in a - London paper to-morrow. It will tell you all about the book. Shall I read - it to you? (<i>Taking a proof sheet from his breast pocket.</i>) - </p> - <p> - JABEZ. Go ahead. - </p> - <p> - CHARLIE (<i>reading from the proof as if selecting detached sentences, - mumbling a few words between each</i>). "The book bears on every page the - sign-manual of sincerity. Its facts are an incontrovertible proof of the - inadequacy of our factory law administration to cope with the rapacity and - unscrupulousness of manufacturers. A book to read not only with the eyes, - but with the heart. The authors has drawn public attention to a festering - sore in our midst. The great heart of the public cannot fail to be moved - by such an exposure of man's inhumanity to man. Something must be done to - counteract such infamy. There can be no delay." (<i>Mumbling, as if - looking for a further selection.</i>) - </p> - <p> - JABEZ. Stop! This is intimidation. It's blackmail. Clavering—you - know very well he came to me with some cranky respirator he'd patented. - This is his revenge on me for refusing to take up his rotten patent. It's - libel. I'll ruin him for it. - </p> - <p> - CHARLIE. Hadn't you better read the book before you talk like that? - </p> - <p> - JABEZ. That for your book. (<i>Throwing it in the paper basket.</i>) I'll - buy up the edition. I'll suppress it. I'll—— - </p> - <p> - CHARLIE. No, you won't. The publisher happens to be an honest man. - </p> - <p> - JABEZ. What the devil do you mean by taking a hand in this game? Haven't I - trouble enough as it is with the factory acts and their confounded - regulations? The men are pampered like lords with their grandmotherly - legislation. - </p> - <p> - CHARLIE. They're poisoned, and you know it. You refused to use his safety - device, and he's naturally taken the only course open to him of arousing - public opinion and forcing your hand. I was glad to help him. - </p> - <p> - JABEZ. You young idiot. Can't you see through his game? He wants to make - money out of his patent safety respirator. He doesn't care a hang for the - condition of the men. If he did, he wouldn't have put the price up by - patenting his thing. No, my friend, he wants to do his philanthropy on - twenty-five per cent, terms at some one else's expense. - </p> - <p> - JABEZ (<i>con.</i>). And you fall into his trap like the blessed innocent - you are and help him to blackmail me. - </p> - <p> - CHARLIE. You're wrong. Everybody's not as mercenary as you. You've got so - used to expressing every idea in terms of L.S.D. that you can't understand - a man's doing anything from higher motives than money. - </p> - <p> - JABEZ. Look here, Charlie, where do you think I'd be if I took up every - notion that every crank brings along to me? The men are insured, aren't - they? - </p> - <p> - CHARLIE. Yes, and a bad bargain the insurance people have of it. - </p> - <p> - JABEZ. Then what do the fellows want with safety devices? They get their - compensation. The business won't stand more expense, Charlie. You'd know - that if you'd done as I wished and taken an interest in the management. - Goodness knows it's hard enough to get profits as it is. - </p> - <p> - CHARLIE. Then don't try. Close down. - </p> - <p> - JABEZ. And throw the men out of work? Fine remedy that <i>'</i>ud be. - They'd thank me for that, wouldn't they? (<i>After a slight pause, rising.</i>) - That doctor's got to be muzzled though. - </p> - <p> - CHARLIE. You can't muzzle a man. You can only muzzle dogs. - </p> - <p> - JABEZ. Can't I? I'll bet you I get him to suppress that book if it's - really dangerous. I'll have a look at it in a moment. And I'll tell you - something more, my lad. If I catch you meddling with the men, I'll make - your father sit up for it. - </p> - <p> - CHARLIE. I shall address the men to-night. Jabez. I don't think you will. - Look here, John, you'd better try again. See if you can't make a better - job of it than you did last night, and I'll sign the cheque in the - morning. If not—— (<i>John makes a gesture of appeal to - Charlie.</i>) - </p> - <p> - CHARLIE. It's no good, father. - </p> - <p> - JABEZ. I leave it with you, John. Take him off to your laboratory, - Charlie, and talk it over. (<i>Charlie drops forward to John.</i>) - </p> - <p> - CHARLIE. Come along, Dad. - </p> - <p> - (<i>Exeunt Charlie and John, r.c. Jabez loosens his collar mechanically, - puts his hands in his pockets, takes a handful of coins from one pocket, - rolls it in his hands and transfers it to the other; then sits at his - desk, takes up the speaking tube, blows and speaks through it.</i>) - </p> - <p> - JABEZ. Just telephone to Dr. Clavering and say I'll be obliged if he will - step round here and see me at once. - </p> - <p> - (<i>He replaces the tube. Jabez takes the book from the paper basket and - turns its pages over while speaking to Lomax. Enter Lomax, r.c.</i>) - </p> - <p> - JABEZ. Oh, about that accident last night, Lomax. (<i>Looks up from the - book and turns round on his chair to face Lomax.</i>) - </p> - <p> - LOMAX. Yes, sir. I was coming to you about it when you were disengaged. - Mrs. Wilcock is waiting in the office. - </p> - <p> - JABEZ. Who's Mrs. Wilcock? The widow? - </p> - <p> - LOMAX. Yes. - </p> - <p> - JABEZ. Oh, I can't be bothered with her. That's the insurance people's - job. Send her away. (<i>Lomax bows and is going l., he turns as Jabez - rises, crosses to fire and speaks again.</i>) Have you—do you happen - to have heard what the men make of the accident? - </p> - <p> - LOMAX. No, sir. That is, not'exactly. - </p> - <p> - JABEZ. Speak up, man. Are they grumbling? - </p> - <p> - LOMAX (<i>coughing</i>). I understand that there have been a few remarks - passed. - </p> - <p> - JABEZ. Strong ones, eh? Um—— Got your notebook? - </p> - <p> - LOMAX. No, sir. I'll—— (<i>Turning towards door l.</i>) - </p> - <p> - JABEZ. Never mind. Sit down here. (<i>Lomax sits in Jabez's chair.</i>) - Write. (<i>Lomax bends to write.</i>) Wait a moment. (<i>Lomax looks up.</i>) - When's the inquest fixed for? - </p> - <p> - LOMAX. Wednesday, sir. - </p> - <p> - JABEZ. That's the 17th. Funeral the next day, I suppose? - </p> - <p> - LOMAX. Yes, sir. - </p> - <p> - JABEZ. Very well. (<i>Motioning him to write. Lomax bends over and writes. - Jabez crosses to desk and stands over Lomax, dictating.</i>) - </p> - <p> - "In view of the distressing accident which occurred last night, it has - been decided to grant a halfholiday to the entire staff with full pay on - the afternoon of the 18th inst., in order——" - </p> - <p> - LOMAX. One moment, sir. - </p> - <p> - JABEZ. Got that? - </p> - <p> - LOMAX. "The 18th inst." Yes, sir. - </p> - <p> - JABEZ. "In order to give all an opportunity of attending the funeral - ceremony." Finished? - </p> - <p> - LOMAX (<i>pause, then, rising</i>). Yes, sir. - </p> - <p> - JABEZ (<i>crossing hack to fire</i>). Do you chance to know, Lomax, if - there happens to be a football match that afternoon? - </p> - <p> - LOMAX (<i>coughing deprecatorily</i>). I don't follow the sport myself, - but I fancy it's the usual mid-week day. - </p> - <p> - JABEZ. Ah. Have twenty copies of that notice typed and bring them here. - I'll sign them myself. Then send them out to the departments, and—er—you - might see that one comes in the way of the reporters at the inquest. - </p> - <p> - LOMAX. Yes, sir. (<i>Going.</i>) - </p> - <p> - JABEZ (<i>sitting</i>). Oh, and,'Lomax! (<i>Lomax turns at door.</i>) Just - mention casually to one or two of the foremen that attendance at the - funeral is not compulsory. No names will be taken. And let me know if you - happen to learn how the announcement is received. - </p> - <p> - LOMAX. Certainly, sir. - </p> - <p> - JABEZ. That will do. - </p> - <p> - (<i>Exit Lomax, l. Jabez continues interested in his book. A whistle at - the tube. Jabez replies and puts it to his ear, then speaks down it.</i>) - </p> - <p> - JABEZ. Show Dr. Clavering in here. (<i>Replaces tube. Presently Dowden - opens the door l. and Dr. Clavering enters. Dowden closes the door after - him and goes without speaking. Jabez rises and meets Clavering genially.</i>) - </p> - <p> - JABEZ. Ah, come in, doctor. I'm glad you were able to come so quickly. (<i>They - shake hands.</i>) - </p> - <p> - CLAVERING. I'd just got in when your message came, so I was able to come - at once. How are you, Mr. Thompson? - </p> - <p> - JABEZ. Eh? (<i>Surprised at the professional tone.</i>) - </p> - <p> - Oh, I'm all right. There's never anything the matter with me. - </p> - <p> - CLAV. Oh, it's not yourself, then. I understood you wished to see me - personally. Is there another accident case? - </p> - <p> - JABEZ. Oh, no, there's nothing wrong. Er—have you a few moments to - spare? I'd like a word with you. - </p> - <p> - CLAV. I'm at your service unless I'm telephoned for from the surgery. - </p> - <p> - JABEZ. Sit down, doctor. - </p> - <p> - CLAV. (<i>sitting r. of fire</i>), Thank you. - </p> - <p> - JABEZ (<i>sitting l. of fire</i>). I understand you've been writing a - book, Dr. Clavering? - </p> - <p> - CLAV. Oh, that's it, is it? You've heard from my collaborator? - </p> - <p> - JABEZ. Your collaborator? - </p> - <p> - CLAV. Mr. Bunting. - </p> - <p> - JABEZ. Oh, yes, of course. Just so. Now, speaking as a business man, - doctor, I suppose you'd some object in writing that book? - </p> - <p> - CLAV. (<i>grimly</i>). I want better conditions for chemical workers. - </p> - <p> - JABEZ. I said "speaking as a business man." - </p> - <p> - CLAV. Well, sir? - </p> - <p> - JABEZ. I've not read the book yet. But I suppose I shan't be wrong in - assuming it deals largely with the advantages of the Clavering patent - respirator. - </p> - <p> - CLAV. Naturally. - </p> - <p> - JABEZ. I thought so. Of course, you're convinced of its advantages? - </p> - <p> - CLAV. I use it myself. So does Mr. Bunting in his laboratory. Look at us. - We're well. Then look at your men. They don't use it. I'd just come from - seeing another of them when I got your message. - </p> - <p> - That man is being slowly poisoned to earn his bread. It's a typical case. - </p> - <p> - JABEZ. It's' very sad, very sad. Well now, doctor, can you propose - anything? - </p> - <p> - CLAV. I can propose the respirator. It's not ideal, I don't pretend it is—but - it <i>'</i>ull give the poor devils a chance. - </p> - <p> - JABEZ. We must certainly have the respirator. - </p> - <p> - CLAV. (<i>surprised,</i>). You refused it when it was offered you. - </p> - <p> - JABEZ. My dear sir, I get safety devices sent me every day. I can't use - 'em all. You never told me you used your thing yourself. It makes a world - of difference. And you hadn't written a book about it. - </p> - <p> - CLAV. I see. - </p> - <p> - JABEZ. I thought you would. Come, we're getting on famously. Now if I - adopt the respirator, do you think the book need be published? - </p> - <p> - CLAV. (<i>curtly</i>). Yes. - </p> - <p> - JABEZ. Oh, come, doctor, don't be stupid. - </p> - <p> - CLAV. (<i>pause</i>). I'll tell you what I <i>will</i> do, if you like. - I'll wire the publisher to postpone its issue and have a note put in - stating that it's been adopted here. But I'll not cancel my book. - </p> - <p> - JABEZ. That might do. - </p> - <p> - CLAV. (<i>reflectively</i>). It'll be a good advertisement for the - respirator. - </p> - <p> - JABEZ. And a good thing for the patentee, eh, doctor? - </p> - <p> - CLAV. I hope so. - </p> - <p> - JABEZ. I've no doubt of it. So that's satisfactory to both parties. By the - way, doctor, don't think me rude if I put a rather personal question to - you. I've a reason for asking. Do you consider your practice here a - valuable one? - </p> - <p> - CLAV. That rather depends on what you mean by valuable. It's numerous - enough in all conscience. There's plenty of ill-health about. But - valuable, no, I can't say it is. Your men get paid too little and they die - too fast for a doctor to grow fat amongst them. - </p> - <p> - JABEZ. I've a notion we might come to some arrangement. I've had an idea - of adding a medical officer permanently to the staff. What do you say, - doctor? - </p> - <p> - CLAV. I'll think it over. - </p> - <p> - JABEZ (<i>rising</i>). Do. With the respirator at work you should have - more leisure on your hands for research, eh, doctor? I know what beggars - you medical men are for experiments, and you can't have over much time at - present. Suppose you telephone me later. We shan't quarrel over terms. Or, - stay, come in to dinner to-night? (<i>Rises and crosses R.</i>) - </p> - <p> - CLAV. Thanks. I will. (<i>Rising and going l.</i>) - </p> - <p> - JABEZ. You quite understand what this means, doctor? - </p> - <p> - CLAV. Er—in what way? - </p> - <p> - JABEZ. Well, it's the end of your literary career. I want no more books. - </p> - <p> - CLAV. Nor I. This one will put the respirator on the market; that's all I - want. - </p> - <p> - JABEZ. I thought as much. There's nothing like candour after you've gained - your point. (<i>Sitting at desk.</i>) Oh, by the way, there's a meeting of - the men to-night. - </p> - <p> - CLAV. So I hear. - </p> - <p> - JABEZ. I'm going to speak there. - </p> - <p> - CLAV. You! - </p> - <p> - JABEZ. Yes, and I want you to come with me. - </p> - <p> - CLAV. It's not quite in my line, sir. - </p> - <p> - JABEZ (<i>persuasively</i>). Oh, just to tell 'em about this little - arrangement of ours. - </p> - <p> - CLAV. I see. - </p> - <p> - JABEZ. Charlie's speaking, you know. Some one's got to speak against him. - Er—I'll see it's a handsome salary, doctor. - </p> - <p> - CLAV. I'll be there, Mr. Thompson. (<i>Moving to r.c. by desk.</i>) May I - ask you something? - </p> - <p> - JABEZ. Yes? - </p> - <p> - CLAV. Is Charlie <i>still</i> engaged to Miss Thompson? Jabez. I believe - so. - </p> - <p> - CLAV. Oh! - </p> - <p> - JABEZ. What was it? - </p> - <p> - CLAV. I was going to ask if I might speak to her myself. - </p> - <p> - JABEZ. You hadn't much success last time, had you? - </p> - <p> - CLAV. No. There's no harm in asking two or three times. - </p> - <p> - JABEZ. Oh, you can ask. - </p> - <p> - CLAV. But Charlie—— - </p> - <p> - JABEZ. As you say, there's no harm in asking. But understand it's between - you and her. You're not to use my name. - </p> - <p> - CLAV. That's all I want. - </p> - <p> - JABEZ. I'll see you to-night, then? - </p> - <p> - CLAV. Yes. - </p> - <p> - JABEZ. Right. Good morning, doctor. - </p> - <p> - CLAV. Good morning, sir. - </p> - <p> - (<i>Exit Clavering, l. Jabez rubs his hands together with a satisfied air. - Lomax enters l. as Clavering goes out. He has a number of papers in his - hand.</i>) - </p> - <p> - LOMAX. Will you sign the announcements now, sir? - </p> - <p> - JABEZ (<i>genially</i>). I will that. (<i>Commences to sign as Lomax hands - them to him one by one.</i>) - </p> - <h3> - CURTAIN. - </h3> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_4_0004" id="link2H_4_0004"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - ACT III. - </h2> - <p> - <i>The same evening. The ante-room of the Assembly Hall—a dingy - place, used on occasion as a dressing-room, and containing a small deal - table and a few battered cane-bottomed chairs. Two gas-brackets project - from the wall at the right and wire netting protects the lights. A door r. - gives access and one c. up three stairs leads on to the platform. A rough - hat-rack under the left gas-jet bears two ancient bowler hats and a cloth - cap. Their owners are three members of the mens executive—Robert - Jones, James Pullen and Joseph Livesey. Pullen, the owner of the cap, is - smoking a clay pipe. He is a stoutish man of about forty, obviously no - teetotaller, with a moustache and an obstinate jaw. Jones and Livesey, the - leaders of the strike movement, are perhaps ten years his juniors and just - a shade more educated in their accents. All are roughly dressed, but in - their evening, not their working clothes. Livesey wearing a very much cut - away black coat and a waistcoat adorned with a silver watch chain. Pullen - has a scarf and no collar, but the other pair wear celluloid collars over - cotton shirts. Pullen is sitting at the table sideways, r. Jones has his - back to the fire, l. and Livesey is walking about above table.</i> - </p> - <p> - PULLEN. What 'A says is this 'ere. Maister Thompson's a jolly good sort. - Gives us 'af-day Thursday to play us in, with full brass an' all. - 'And-some, A calls it, 'andsome. (<i>He emphasizes by striking his fist on - the table.</i>) - </p> - <p> - JONES. Tha's a fule, Jim Pullen. Tha's allays drawin' red 'erring? across - the trail. Tha makes me tired. <i>'</i>Ere's a mate o' ours walks into th' - <i>'</i>oist same as it might be thee or me an' th' next minute <i>'</i>e's - gone to kingdom come. Thompson gives us an <i>'</i>af-day off to attend - th' buryin' if us wants to, an' theer's thou an' a few like thee ready to - lick <i>'</i>is boots because <i>'</i>e's yeard us snarlin' an' chucked us - a bone to shut our jaws on. Can't tha see <i>'</i>is game? - </p> - <p> - LIVESEY (<i>behind table</i>). Oh, A'm noan sayin' nought about that. That - were an accident like what might <i>'</i>appen anywheers. It's th' whole - system we want altered. - </p> - <p> - PULLEN. System is it? Aye, tha find me a system as'll give us more beer - an' more easy time to sup it in an' A'm with thee. - </p> - <p> - LIVESEY. It's not so much for usselves as for our childer. - </p> - <p> - PULLEN (<i>shuffling irritably</i>). A'm noan wed. 'Ad more sense. If you - young 'uns will marry, you mun tak' consequences. - </p> - <p> - LIVESEY (<i>sitting behind table r. side</i>). The kids! That's the point, - Jones. We're ould. - </p> - <p> - PULLEN (<i>contemptuously</i>). Thee ould! Why, lad, tha were nobbut - breeched t'other day. - </p> - <p> - LIVESEY (<i>turning on him</i>). Yes, we are—we're ould as life goes - here. We're done. But th' kids have a reeght to summat better. We canna - see our way out. We're nobbut a silly crowd o' fuies. - </p> - <p> - PULLEN (<i>interposing</i>). Tha are that. - </p> - <p> - LIVESEY (<i>continuing</i>). But if we could nobbut educate our childer. - They'd find a way. - </p> - <p> - PULLEN. 'Ere, mister, my lad, what's tha gettin' at? The kids gets their - schooling, don't they? - </p> - <p> - JONES. Aye, till they're legally ould enough to coom to work an' forget in - a year all as they've 'ad shoved into their yeads in eight. (<i>Spits in - fire.</i>) They've a reeght to a better chance than we <i>'</i>ad an' we - can't give it 'em. We're not paid enough. We're livin' on hope, an' hope's - like ivy. It clings to ruins. - </p> - <p> - LIVESEY. That's good. Tha remember yon an' give it 'em in theer in thy - speech. (<i>Jerking his thumb towards the door c.</i>) - </p> - <p> - JONES (<i>going on as though speaking to a meeting</i>). Th' bosses 'ave - got us down and they're sitting on our yeads. It's about time we woke oop - an' showed <i>'</i>em the working man's not such a blamed fool as <i>'</i>e - looks. - </p> - <p> - LIVESEY. Aye. Now tha' talkin'. - </p> - <p> - JONES. We keep body an' soul together and that's the limit. - </p> - <p> - (<i>Enter R. Job Alcott, another workman, quite roughly dressed and - apparently of the most poorly paid class. He looks ill.</i>) - </p> - <p> - ALCOTT. Good evening. - </p> - <p> - LIVESEY. Tha doesn't look so rosy to-neeght, lad. What's oop wi' thee? - </p> - <p> - ALCOTT (<i>wearily, hanging his cap up, then sitting in chair R. by table</i>). - Oh, th' usual thing. You all know. Can't relish my food an' yeadache an' - faint feelin'. Rum taste in my mouth, an' all. - </p> - <p> - LIVESEY. Aye. We all know that taste. - </p> - <p> - PULLEN. Beer's th' stuff to wash it out o' your mouth. (<i>Crosses to fire - and sits R. of it.</i>) - </p> - <p> - ALCOTT. A saw doctor last neeght. - </p> - <p> - JONES. Aye. What's 'e say? - </p> - <p> - ALCOTT (<i>bitterly</i>). Tould me A'd no chance if A went on 'ere. Get - soom fresh air for a month or two, 'e says. Get away out o' this into - country, 'e says. Country! Likely isn't it? A'm a labourer. Ask off for a - month, supposin' A'd got th' brass to keep me which A've not, an' A'll get - sack sharp. They've only to send to the next big town an' a thousand poor - chaps as is out o' collar 'ull coom trampin' out after my bloomin' - eighteen bob a week an' be damned glad to get it an' all. - </p> - <p> - LIVESEY. Shame! - </p> - <p> - JONES. It's a cryin' shame. Why, look at me wi' eighteen bob a week same - as him, an' the mouths A've got to fill. Ma missus as 'ad eleven of 'em in - <i>'</i>er time. A were wed at eighteen, A were. - </p> - <p> - PULLEN (<i>quarrelsomely</i>). Tha's never got eleven childer. Don't try - to kid me. - </p> - <p> - JONES. Not livin', A haven't. Some of <i>'</i>em's dead—thank God. - </p> - <p> - LIVESEY. Coom, draw it mild, lad. Yon's blasphemy. - </p> - <p> - JONES (<i>sullenly</i>). No, <i>'</i>tisn't, neither. A do thank God for - it. Poor little beggars, they're better dead nor alive an' starvin' wi' - th' rest. A man can pull his belt oop a hole an' suck a pebble if he's - hunger-mad. Th' kids can't do that. - </p> - <p> - LIVESEY. They wouldn't need if tha'd keep off the booze. - </p> - <p> - JONES (<i>fiercely</i>). A don't drink. A don't like beer. It turns - my'stomach. (<i>Up stage round R.</i>) - </p> - <p> - PULLEN (<i>rising disgustedly and walking away as if from a portent</i>). - Call thasel' a mon and don't like beer? (<i>He turns to light his pipe at - a gas, but fails to get it through the wire, mutters "Blast," and takes a - match out and lights up.</i>) - </p> - <p> - LIVESEY. Then what dost take It for. - </p> - <p> - JONES. What for? To mak' me forget. (<i>Going down to sit l. of table.</i>) - A must forget soomtimes. A'd go crazed if A didn't forget. (<i>Sitting.</i>) - </p> - <p> - PULLEN (<i>at the gas</i>), Blast. - </p> - <p> - LIVESEY. It's a weary life. - </p> - <p> - ALCOTT (<i>rising and going up c.</i>) It's a hell. Damn Thompson. Damn - him an' all that's hissen. - </p> - <p> - JONES (<i>protestingly</i>). Damn <i>him</i>, aye, but not all that's - hissen. That means Miss Thompson, an' she's a blessed angel. - </p> - <p> - PULLEN (<i>coming forward</i>). Bah! Her an angel, her wi' her 'ard proud - mug goin' about as if we was dirt at 'er feet. - </p> - <p> - JONES. Aye, an angel, lad. That's her; 'ard as nails she looks an proud as - Lucifer but tha's not wed; tha's not seed yon wench sittin' i' thy kitchen - nussin' thy kids. Maybe she's never sent thee fine grub when tha was sick. - </p> - <p> - PULLEN. A'm never sick. - </p> - <p> - JONES No, but she'd know if tha wert, an tha'd know she knowed it, an' - all. Not as she maks a fuss about it It's all done quiet. A dunno if - Thompson <i>'</i>isself so much as knows a word about it. Alcott (<i>l.c. - at back</i>). Aye, that's reeght. Sorry A cursed <i>'</i>er. Theer were a - two three bottles of champagne an' soom jelly an' stuff waitin to whoam - for me last neeght when A get theer from docto? Not a word about who'd - sent them, but—— - </p> - <p> - PULLEN. Eh! <i>'</i>Ere lads, A feels bad. Took sudden, some road. - </p> - <p> - LIVESEY. What's to do? - </p> - <p> - PULLEN. A dunno. Thowt o' that champagne, A reckon. - </p> - <p> - (<i>Enter R. Mrs. Jones—a slight careworn woman of about thirty with - pinched features and wears clogs, and a drab cloth skirt, blouse and a - shawl over her head, all well worn. She crosses quickly to Jones shakes - his should, violently, speaking in a shrill voice.</i>) - </p> - <p> - MRS. JONES. Thee coom whoam, Bob Jones. Coom 'ome, A tell thee. - </p> - <p> - ALCOTT. Eh! missus, what's to do? Mrs Jones (<i>turning on him</i>). Thee - shut tha ugly mug, and don't put thy spoke in atween man an wife. (<i>To - Jones.</i>) Now then, art coomin. - </p> - <p> - JONES. What's oop wi' thee, lass? - </p> - <p> - MRS. JONES. Tha knows. A tould thee A'd coom an' fetch thee whoam if tha - dared to shove tha nose in at meetin'. Strike indeed, tha great - leatherhead! Wait till A get thee to whoam. A'll give thee strike. - </p> - <p> - LIVESEY. Leave 'im be, missus. Tha don't know what tha's talkin' about. - </p> - <p> - MRS. JONES. Don't A, ma lad? (<i>Her arms go akimbo.</i>) Maybe A knows - more than the lot o' you put together. Ma faither were on strike onct when - A were nobbut a young wench. A knows what strikes means. Strikes means - clemmin', and ma childer shallna clem as A'd to clem then if A can 'elp - it. Now, then, ar't coomin'? - </p> - <p> - JONES (<i>rising</i>). Leave be. This 'ere's not wimmen's business. - </p> - <p> - MRS. JONES. No, but it's a woman's business to see as 'er childer gets - their baggin', an' it's a woman's business to sit an' watch 'em clem if - theer's no baggin' to give 'em. It's you men as does th' silly things an' - us women an' childer as pays for 'em. Thee coom whoam an' quit makkin' a - fool o' thasel'. (<i>Pulling Jones towards door.</i>) - </p> - <p> - JONES. <i>'</i>Ere, missus, see yon door? Well, get thasel' 't'other side - o' it sharp. Tha's no reeght in 'ere at all. - </p> - <p> - MRS. JONES. A've the reeght o' a moother wi young bellies to fill. Tha - coom whoam or tha'll get rough side o' ma tongue till tha'll wish tha'd - never, bin born. Wait while A get hold o' yon Bunting chap, an' all. A'll - give 'im strikes. What does 'e want wi' interferin' in other folk's - business wantin' folks to strike—'im as 'as allays gone fed an' warm - clothed an' doan't know what clemmin' means? A'll strike <i>'</i>im, A - will. - </p> - <p> - LIVESEY. Tha don't understand, Mrs. Jones. - </p> - <p> - JONES. Coom on now. Let's 'ave no more o' it. Outside. - </p> - <p> - MRS. JONES. A don't stir a foot. - </p> - <p> - JONES. Don't thee, by gum? (<i>Picking her up.</i>) It's all same to me - which way tha goes. (<i>Crossing to door r., carrying her struggling.</i>) - </p> - <p> - MRS. JONES (<i>as they go out</i>). Wait till A get thee whoam, my lad. (<i>He - carries her out. For a moment the altercation continues off r.</i>) - </p> - <p> - PULLEN. (<i>coming forward and sitting below table l. side</i>). Yon wench - is reeght, tha knows. A'm not goin' to 'ave nought to do wi' it. Man an' - boy, A've worked for Maister Thompson thirty year an' A'm noan goin' to - turn again ma ouid maister at ma time o' life. A know ma place, A do. - </p> - <p> - LIVESEY. Oh, A've no patience wi' thee. - </p> - <p> - PULLEN. (<i>Obstinately</i>) It's all reeght, Mr. Livesey. None o' your - strikes fur me. A can see through a ladder as clear as most. An' A'll tell - thee summat as is mebbe news to thee. Theer's above a few as thinks along - o' me, too, only they don't gas about it so loud as you. - </p> - <p> - LIVESEY. Very well, if theer are, theer'll be no strike. (<i>Going up c. - to door. Jones returns a little shamefacedly. The others avoid looking at - him. He goes up to c.</i>) - </p> - <p> - PULLEN. No. A 'll bet theer'll not. - </p> - <p> - LIVESEY. We'll soon see who's reeght. - </p> - <p> - JONES. Aye, coom on. Let's be startin' th' meetin'. (<i>Crossing to door - c.</i>) - </p> - <p> - LIVESEY (<i>consulting a silver watch</i>). Wait a bit. Wheer's Mr. - Bunting? We canna staryt wi'out 'im. Give us another five minutes. How's - room? Open door theer and see. - </p> - <p> - JONES (<i>opening door c. Confused murmur as of a crowd is heard through - it</i>). Pretty nigh packed. They'll noan thank us for bein' late. - </p> - <p> - LIVESEY. Close th' door. - </p> - <p> - (<i>Jones closes the door and shuts off the sound, dropping R.C.</i>) - </p> - <p> - LIVESEY. Tha'd best begin, Bob. A'll follow thee, an' Mr. Bunting can say - 'is bit when A've done. Then we'll put it to the vote, strike or no - strike. - </p> - <p> - PULLEN (<i>sourly</i>). Tha's no need to trouble. Theer'll be no strike. - </p> - <p> - LIVESEY. That remains to be seen. We'll give <i>'</i>em every chance. No - use startin' a strike wi'out weighin' things oop proper first. What'll tha - say Bob? - </p> - <p> - JONES (<i>takes notes from his pocket</i>). This 'ere's what Mr. Bunting - give me to say. A'm straight fur striking. Tha knows that. - </p> - <p> - ALCOTT. Aye. - </p> - <p> - PULLEN. Well, A say it's noan reeght, Joe Livesey. Tha's goin' to shoot - th' mon first an' tell 'im why arterwards. Give 'im a chance. It's th' - least us can do. 'E's a real good sort, is ould Thompson. - </p> - <p> - (<i>Enter r. Clavering and Charlie. They put coats and hats on the rack R.</i>) - </p> - <p> - CHARLIE. Good evening. Meeting not begun yet, I see. - </p> - <p> - JONES. We were nobbut waitin' on you, sir. (<i>He looks at Clavering.</i>) - </p> - <p> - CHARLIE. All right. I met the doctor on the doorstep and brought him along - to say a few words. - </p> - <p> - LIVESEY (<i>to Clavering</i>). Glad to see you with us, sir. - </p> - <p> - CLAV. (<i>nervously</i>). Er—yes. I'd like to speak to Mr. Bunting - first if you don't mind. Suppose you fellows go on to the platform and set - the ball rolling. We'll follow. - </p> - <p> - JONES. All reeght. (<i>A little awkwardly.</i>) Tha'll noan be long wilta? - We's none on us much at speakin' on our own, tha knows. - </p> - <p> - CHARLIE (<i>reassuringly</i>). Don't be afraid of me, I'll do the talking. - If the men don't strike, it won't be my fault.. - </p> - <p> - LIVESEY. That's the ticket. (<i>Passing to door c.</i>) - </p> - <p> - ALCOTT. Give it 'em hot, sir. (<i>Following him.</i>) - </p> - <p> - JONES. It will mean a lot coomin' from thee. (<i>Following.</i>) - </p> - <p> - CHARLIE. We'll do our best, both of us. - </p> - <p> - (<i>Exeunt c. Livesey, Alcott and Jones. A burst of cheering is heard, - then Jones closes the door.</i>) - </p> - <p> - PULLEN. (<i>following the others, stopping before Charlie</i>) If this not - above takin' a bit o' advice from me, Maister Banting, tha'll be careful - what tha says about striking. Theer's me an' a good few others as 'ave put - our yeads together, and we're gom to see as this business o' striking gets - no forrader. - </p> - <p> - CHARLIE. (<i>surprised</i>). What's this? (<i>Clavering paces about - impatiently.</i>) - </p> - <p> - PULLEN. We don't want no strike. If us wants brass, let's ask un for it - fair an' straight. Striking's not th' square thing. - </p> - <p> - CHARLIE (<i>roused and speaking passionately</i>). Are you blind, man? Is - Thompson straight with you. Do you expect a bloated bigwig of the British - belly class to give you your rights before you force him into it? (<i>Clavering - makes a gesture of despair.</i>) In the whole history of industrial - employment have employers ever given employés their rights until they were - forced to? (<i>Clavering tries to cheek the stream in vain.</i>) They tell - you of humane legislation, of factory acts and sanitary regulations. - Humane legislation! What was it but the capitalist ruling classes giving - way inch by inch before the pressure of the masses? - </p> - <p> - (<i>Clavering puts his hand on Charlie s shoulder. Pullen has been - retreating step by step before the flow of eloquence and now stands - cornered and unaole to escape in the left hand corner. Charlie swings - round irritably on Clavering.</i>) - </p> - <p> - CHARLIE. What's the matter? - </p> - <p> - CLAV. (<i>soothingly</i>). Yes, yes, yes, old man. Keep all that for in - there. (<i>Nodding at door c.</i>) Don t waste it on the desert air of an - ante-room. Let Pullen go. I want to talk to you. - </p> - <p> - PULLEN. Aye. Soom one <i>'</i>ad best talk to <i>'</i>im if <i>'</i>e - means to go on that gait in theer. - </p> - <p> - CLAV. (<i>impatiently</i>). Yes. All right, my man. Won't you go on to the - platform now? - </p> - <p> - PULLEN. Aye. (<i>Crossing.</i>) A'm going. (<i>He opens the door c. - Livesey is heard speaking inside.</i>) - </p> - <p> - LIVESEY (<i>off, c., his back visible to audience as he stands speaking</i>). - Comrades, a strike is a terrible thing. Do not let us mak' light o' it. - When we call on you to decide whether to strike or not——————- - (<i>With a gesture of disgust and a muttered "Yah," Pullen goes out c. and - closes the door behind him.</i>) - </p> - <p> - CHARLIE. Thank goodness they're not all that type—pig-headed, beery - lout. Now, old man, I suppose you want to talk about our speeches. It's no - good both saying the same thing. . - </p> - <p> - CLAV. There's no fear of my saying the same as you. - </p> - <p> - CHARLIE. Oh, I don't know. It's as well to have a plan. (<i>Breaking off - in a kind of exultation.</i>) Oh, Clavering, Clavering, isn't it great? - This is my night, my night of nights. Tell me I deserve it, old chap. - Haven't I worked for it? It's been no joke to wake those fellows up from - their lethargy, their ignorance, their ridiculous submission. But I did - it, I alone. Oh, you've done something—the book—but you left - me the men. That was what I wanted. They were mine. How I argued, - wrestled, fought with them till they saw the truth, till I lighted up - their dull intelligence and fanned the spark till it became the flame that - this night's work shall cause to blaze and demolish! (<i>Clavering stands - in a noncommittal attitude, but Charlie does not note his detachment.</i>) - You mustn't grudge it me, Clavering. It's my night of triumph, the - culminating point of all my efforts. I haven't a doubt in me. I'm so - right, so utterly right. Nothing can stand before me now. They've tried to - stop me—my father, Thompson—and they've failed. Truth must - out. There must be justice at all costs, Clavering, at all costs. This is - the dawn of a new era for Thompson's men. Congratulate me, my ally! Oh, - but I don't want your help. It's kind of you to come, but tonight I need - no aid. I'm strong. I could sweep them off their feet in there. But yes, - you must come with me. Come, let us go. (<i>Clutching Clavering as if to - carry him bodily in.</i>) - </p> - <p> - CLAV. (<i>eluding him</i>). Not yet. - </p> - <p> - CHARLIE (<i>astonished</i>). Why not? - </p> - <p> - CLAV. I cannot come with you. - </p> - <p> - CHARLIE. But why? We've the same ideas about these things. - </p> - <p> - CLAV. (<i>significantly</i>). We had. - </p> - <p> - CHARLIE (<i>puzzled</i>). We had? What do you mean? - </p> - <p> - CLAV. Don't be angry with me. I've been thinking over the thing and—well—things - have been happening. - </p> - <p> - CHARLIE. You don't—no, it can't be true—I can't believe it. - You! The book! (<i>Realizing it.</i>) Good God, he's bought you off. - </p> - <p> - CLAV. (<i>firmly</i>). The book's all right and I don't allow such - language, Charlie. - </p> - <p> - CHARLIE (<i>bitterly</i>). I could have staked my life on your sincerity. - I—I hope you got a good price for your silence, Dr. Clavering. - </p> - <p> - CLAV. Don't be a fool. I tell you I'm not going to be silent. The book - will appear right enough, and there'll be a note in it to say that the - respirator's in use at Thompson's works. - </p> - <p> - CHARLIE (<i>staggered</i>). What! - </p> - <p> - CLAV. Yes. Come, now, haven't we got what we wanted? Isn't it worth while - to be bribed? - </p> - <p> - CHARLIE (<i>recovering himself</i>). Not by that man. - </p> - <p> - CLAV. Oh, you're an extremist. (<i>Crossing over to fire.</i>) - </p> - <p> - CHARLIE. Yes, where Thompson's concerned I am. (<i>By door c.</i>) - </p> - <p> - CLAV. Well, I'm not. His way's only relatively bad and if he adopts the - respirator— - </p> - <p> - CHARLIE (<i>interrupting</i>). His way is the way of the slave-driver. He - trades in the lives of men. - </p> - <p> - CLAV. Oh, rot, man. You're drunk with words. - </p> - <p> - CHARLIE (<i>laughing bitterly</i>). You're defending your last ditch now. - You can't refute me; you can only revile, and the average coalheaver could - give you points at that. - </p> - <p> - CLAV. That doesn't get us much further. - </p> - <p> - CHARLIE. Well, it doesn't matter much. After all, you're only one more - against me, and I'm not afraid. Nothing can stand in my path to-night. I - didn't feel the need for you. I can do without your speaking, Dr. - Clavering. - </p> - <p> - CLAV. Oh, I'm going to speak. Mr. Thompson asked me to speak. - </p> - <p> - CHARLIE. (<i>Controlling himself visibly</i>). What are you going to say? - </p> - <p> - CLAV. I've to tell them I'm appointed medical officer at the works. That - means free doctoring for the men. (<i>Cynically.</i>) They didn't often - pay me anyhow, but it's officially free now instead of being a private - benevolence of mine. - </p> - <p> - CHARLIE. Yes, he's bought you by the respirator and made you his creature - by offering you a salary; (<i>Bitterly.</i>) And I thought you were an - honest man! - </p> - <p> - CLAV. (<i>quietly</i>). I've got to look after myself like everybody else. - </p> - <p> - (<i>Enter John r., palpably agitated and panting.</i>) - </p> - <p> - JOHN (<i>seeing Charlie</i>). Thank God I'm in time. - </p> - <p> - CHARLIE (<i>coldly</i>). In time for what? - </p> - <p> - JOHN. To stop you. You've not spoken yet, have you? - </p> - <p> - CHARLIE. No, but you'll not stop me. - </p> - <p> - JOHN. Dr. Clavering, tell him he mustn't. You're his friend, he'll listen - to you. Won't you help me to stop this folly? - </p> - <p> - CLAV. I can't, Mr. Bunting. You can't cork up Niagara. - </p> - <p> - JOHN (<i>distractedly</i>). Charlie, remember what this means to me. Jabez - will have no mercy if you incite his men to rebel against him. Think of - your father, my boy. - </p> - <p> - (<i>Clavering with a shrug strolls to the hack and stands aloof.</i>) - </p> - <p> - CHARLIE. I can't betray my principles even to save you, whatever other - people can do when it suits their interests. (<i>With a backward glance at - Clavering, who smiles cynically.</i>) - </p> - <p> - JOHN (<i>pitiably</i>). You're throwing away my life. I can't face the - disgrace, Charlie. - </p> - <p> - CHARLIE (<i>firmly</i>). Nevertheless, I must speak. (<i>Going up l.c. by - c. doors.</i>) - </p> - <p> - JOHN. For mercy's sake, be reasonable. - </p> - <p> - CHARLIE (<i>Hotly</i>) Reasonable! What do you mean by "reasonable"? That - I should put your petty pride before the health and wellbeing of scores of - men and women. No, father, I can't be "reasonable." I've nailed my colours - to the mast and I shall speak—speak as I've never spoken yet, speak - with all my heart and soul. I've to fight Thompson in there, Thompson and - his renegade, this turncoat, Clavering, and I shall fight to win. Right is - with me and I'm not afraid to fight without the gloves. (<i>He goes off c. - in a kind of frenzied exultation. A burst of cheering greets him cut off - by his closing the door.</i>) - </p> - <p> - CLAV. (<i>sneeringly</i>). Melodramatic ass! - </p> - <p> - JOHN (<i>sinking into a chair r. of table, and burying his face in his - hands on the table</i>). What shall I do? What shall I do? - </p> - <p> - CLAV. Umph! It's a pity he's too big an infant to have some sense whipped - into him, Mr. Bunting. - </p> - <p> - JOHN. Don't mock an old man's ruin. - </p> - <p> - (<i>Enter r. Rose and then Jabez.</i>) - </p> - <p> - JABEZ (<i>briskly</i>). Oh, here you are, Clavering. Sit down, Rosie. - Dirty hole it is. I can't think why on earth you insisted on coming here. - (<i>Clavering dusts a chair R. with his hand and places it for her.</i>) - </p> - <p> - ROSIE. Thanks. (<i>To Jabez.</i>) Of course I came. I couldn't stay away. - I had to know what happened, and I knew you'd never tell me. (<i>Jabez - snorts and looks round, seeing John, who had again sunk his face wrapt up - in his misery. Clavering shuts the door which Jabez had left open. John - rises and approaches Jabez appealingly. Jabez sees him with surprise.</i>) - </p> - <p> - JABEZ. Hullo, John. - </p> - <p> - JOHN (<i>rising</i>). Jabez, for pity's sake. - </p> - <p> - JABEZ (<i>impatiently</i>). Oh, I've no time to waste now, John, (<i>John - goes l. and leans head on mantelpiece.</i>) I'll see you later. (<i>To - Clavering</i>). I suppose Charlie's on his hind legs by now? (<i>Up to c. - doors.</i>) - </p> - <p> - CLAV. Yes. That's the platform entrance. (<i>He crosses to it.</i>) - </p> - <p> - JABEZ. Wait a bit. Don't go yet. (<i>Clavering stops.</i>) Open the door - and let's listen to him. (<i>Clavering opens doors, disclosing Charlie's - hack as he stands speaking on platform.</i>) - </p> - <p> - CHARLIE (<i>off, c.</i>). Your trade's dangerous. You don't make old - bones. If you're not poisoned by fumes at forty, you're chucked on the - scrap heap because you're no longer strong enough to work. Don't you - deserve some compensation when you risk your lives every day you work, - when you're only fit to work while you're young? Life is a handicap where - the weakest starts at scratch and the devil takes the hindmost. (<i>Cheers. - Clavering makes a questioning gesture.</i>) - </p> - <p> - JABEZ. No. Hear him out. (<i>Clavering nods, still holding the door open.</i>) - </p> - <p> - CHARLIE (<i>off, c.</i>). You're not dogs. You're men. (<i>Cheers.</i>) - You want decent homes and a bit of pleasure in life and something to put - by for the time when you can't work! How are you going to do it? - </p> - <p> - LIVESEY (<i>off, c.</i>). Demand higher wages. Strike! (<i>Cries off of - "Strike," "More wages," "Vote."</i>) - </p> - <p> - JABEZ (<i>motioning Clavering</i>). That'll do, Clavering. (<i>Clavering - shuts the door and comes down stairs.</i>) - </p> - <p> - JOHN (<i>putting out his hand in timid appeal</i>). Jabez! - </p> - <p> - JABEZ (<i>impatiently</i>). Well, what is it? - </p> - <p> - JOHN. Don't be hard on me, Jabez. I've tried to stop him. I've done my - best, indeed I have. - </p> - <p> - JABEZ (<i>impatiently</i>). Oh, I've no time to waste now, John. Anyhow - you'd better come in yonder with me. It'll show 'em you're not of the same - mind as Charlie. - </p> - <p> - JOHN (<i>eagerly</i>). Anything, Jabez. I'll do anything if you won't - throw me over. - </p> - <p> - JABEZ. Well, we'll see about that later. Come along. - </p> - <p> - (<i>Exit Jabez c., John following. Slight murmurs and hoots. Clavering - goes up the stairs, hesitates, then closes the door and turns, looking at - Rosie.</i>) - </p> - <p> - CLAV. Miss Thompson! - </p> - <p> - ROSIE (<i>coldly, looking up</i>). Did you speak to me, Dr. Clavering? - </p> - <p> - CLAV. (<i>smilingly</i>). Yes. Mayn't I? (<i>Coming forward.</i>) - </p> - <p> - ROSIE (<i>huffily</i>). You can speak if you like. I don't undertake to - reply. - </p> - <p> - CLAV. I'm sorry if I've offended you. Won't you tell me why? - </p> - <p> - ROSIE. You've treated Mr. Bunting very shabbily, and I really don't wish - to hear another word from you. - </p> - <p> - CLAV. Oh, don't say that. I've tried so often to get a chance of speaking - to you alone. I've hungered for it, but it never came. Your radiant health - stood in the way of even a professional visit. I found an excuse to come - last night. - </p> - <p> - ROSIE. So Alcott's illness was only an excuse. Isn't he ill? - </p> - <p> - CLAV. Of course he's ill. What does Alcott matter? He's only one more - ground up in the mill—and your father sent you from the room because - I broke his absurd rule of mentioning a works affair in your presence. I - knew the rule, and I risked his displeasure on the chance of seeing you - alone to plead my cause. - </p> - <p> - ROSIE. Your cause was Alcott, wasn't it? - </p> - <p> - CLAV. My cause was myself. You've not forgotten, have you, what I asked - you once before, how I came to you two years ago——? - </p> - <p> - ROSIE. What do you mean? I think it is you who forget. Must I remind you - that I am engaged to be married to Mr. Bunting? (<i>Clavering gets chair - r. of table and sits facing Rosie.</i>) - </p> - <p> - CLAV. Of course I know that nominally you are engaged to him. (<i>Rosie - tries to interrupt in vain.</i>) <i>I</i> know how it all happened—an - old standing idea between your father and his. But really, really, these - family arrangements are out of date. I tell you, Miss Thompson, if I could - think for one moment that you were satisfied to marry Charlie, I'd pluck - my tongue out rather than speak to you like this. I won't believe it. It's - an "arrangement" which suits neither of you. Charlie kicks openly against - the pricks. Your splendid loyalty makes you submit in silence. Loyalty and - submission have their uses, but you must never let this relic of bygone - days survive to wreck our happiness. - </p> - <p> - ROSIE. <i>Our</i> happiness! - </p> - <p> - CLAV. Oh, if you want proof of my devotion, haven't I given it to you? I - kept my bond. I've let you know of all illness amongst your father's - hands, and I've seen that no word of your ministrations reached his ear. - You mustn't think of Charlie. He's an inconsequential wobbler. Oh! he sees - what he wants all right, but his only idea of getting it is to bash at - everything in his way with a battering ram. He can't finesse. - </p> - <p> - ROSIE. No. I think that's rather fine of him myself. - </p> - <p> - CLAV. Fine! What good's he done? See what I've done already without your - help. The respirator's going to be used and the men get free doctoring. - I've done that. I alone. Charlie's only talked about it. Think how much - more I could do for the men if I had the help of your influence with your - father, if I were—your husband. - </p> - <p> - ROSIE (<i>rising. Clavering rises</i>). Dr. Clavering, before I was - engaged to Charlie you asked me to marry you. You remember my answer? - </p> - <p> - CLAV. Yes, but circumstances have changed. Rosie. Yes, they've changed. - Your proposal then was an honourable one, for I was free to choose, and I - refused you gently, hoping to spare you pain. To-day my answer is the - same, with this addition, that were I free to choose as I was then, I - should choose an honest man, a man who couldn't "finesse". - </p> - <p> - (<i>Enter John, c. Shouts and clapping heard. Jabez' back seen as he - stands speaking.</i>) - </p> - <p> - CLAV. (<i>recovering himself with an effort</i>). Well, Mr. Bunting, how - are things going in there? - </p> - <p> - JOHN. Listen. Jabez is speaking now. - </p> - <p> - JABEZ (<i>off c. speaking in a genial way</i>). It is like this, lads. I - always like to think of myself as the father of my men. I'm proud of you - fellows. The way you back me up when the spying factory inspectors come - round is a thing any man would be proud of.... - </p> - <p> - PULLEN (<i>off</i>). We're glad to do it for you, sir. (<i>Clavering - whistles softly and looks at Rosie, who avoids his eye.</i>) - </p> - <p> - JABEZ (<i>off</i>). We're just a big family, and I'd like to think we're a - happy-one. But in a big family there's bound to be some selfish lad who's - discontented and tries to make others discontented. I'll name no names. - </p> - <p> - CLAV. (<i>Softly</i>) That's one for Master Charlie. - </p> - <p> - JABEZ (<i>Off</i>) I tell you I'm a sight poorer in yon hall than you - fellows in your cosy cottages. You think you'd like to change places with - me. I wish some of you could, and see how you'd like the responsibility of - finding work to keep the shop going for a week or two. Damn it, lads, I'm - a raven. I know that as well as you do, but I've got to dress up in - peacock's feathers and pretend. I'm no end of a swell for your sakes. It's - all bluff—it's the way business is done nowadays. Appearances count. - </p> - <p> - (<i>Cries off of "That's right, that's right." "Good old Thompson!" "Go - on." He proceeds with a threat in his voice.</i>) - </p> - <p> - Many a time I've been that worried over getting in the orders I've had - half a mind to shut up shop. Don't drive me too far or I'll do it. Where - <i>'</i>ud you be then? There's enough working men walking the streets. - How <i>'</i>ud you fellows like to join 'em? I know it's not an easy life. - (<i>Plaintively.</i>) I'm doing my level best to make it easier. Only - to-day I've arranged with Dr. Clavering—— - </p> - <p> - CLAV. That's my cue. I'd better show up. - </p> - <p> - JABEZ (<i>continuing</i>). To give him an appointment as medical officer - to my works. You'll get free doctoring. (<i>Clavering goes out c. quickly, - closing the door.</i>) - </p> - <p> - JOHN (<i>looking at Rosie appealingly</i>). Rosie! - </p> - <p> - ROSIE. Yes, Mr. Bunting? (<i>Rises.</i>) - </p> - <p> - JOHN (<i>pitifully</i>). Don't let him be hard on me, my dear. I've done - my best. If only you will speak to him. You can always have your way with - your father. (<i>He puts out his hands appealingly.</i>) - </p> - <p> - ROSIE (<i>taking his hand in hers and patting it as if soothing a - frightened child</i>). Don't be afraid. Do you think I'd let you two old - gentlemen quarrel about nothing? Charlie's father and mine must always be - good friends. - </p> - <p> - JOHN (<i>relieved and almost tearful</i>). Oh, my dear! (<i>Distressed - again</i>). But Charlie———(<i>He breaks off.</i>) - </p> - <p> - ROSIE (<i>encouragingly</i>). Yes? - </p> - <p> - JOHN. You're not going to marry him after what's happened. - </p> - <p> - ROSIE. Why, of course I am. - </p> - <p> - JOHN (<i>bewildered</i>). But—I don't know anything—I thought - he'd—— - </p> - <p> - ROSIE (<i>soothingly</i>). Never mind, Mr. Bunting. I promise you father - shan't be nasty to you. - </p> - <p> - JOHN (<i>pressing her hand.</i>) Bless you, my dear, bless you. You don't - know what that means to me. (<i>He goes out r., blunderingly. The murmur - of great applause comes from c. Rosie looks off c. expectantly. The door - opens and the sound increases. Enter Jabez visibly glowing with heat and - triumph, Clavering all smiles, and a little behind Charlie, very much - dejected. The door remains open and the sound dies down gradually.</i>) - </p> - <p> - JABEZ. Thanks, Clavering. You did that very neatly. - </p> - <p> - CLAV. (<i>obsequiously</i>). You'd done the trick before I opened my - mouth, sir. (<i>Charlie goes to the back with the evident intention of - effacing himself.</i>) - </p> - <p> - JABEZ (<i>briskly</i>). Well, nothing to stay here for. We'd better be - going, Rosie. - </p> - <p> - CLAV. It's all over but the shouting. (<i>A cry heard off—"Douse 'un - in th' 'orse-trough."</i>) - </p> - <p> - JABEZ (<i>skarply</i>). What's that? - </p> - <p> - (<i>Enter Pullen c.</i>) - </p> - <p> - CLAV. Some of the shouting. - </p> - <p> - PULLEN. There's going to be no strike, sir. - </p> - <p> - JABEZ. Of course not. There never was the least chance of it. (<i>Charlie - stands near door r.</i>) - </p> - <p> - PULLEN (<i>scratching his head</i>). A dunno about that. A thowt it a - pretty near thing at one time afore tha coom in. - </p> - <p> - JABEZ (<i>confidently</i>). Rubbish, man. Mere talk. Never deceived me for - a moment. - </p> - <p> - (<i>Enter c. Livesey, Jones and Alcott. They look sidelong at Jabez and - slink behind to their hats. Livesey goes to Charlie.</i>) - </p> - <p> - LIVESEY. They're talking yonder o' dousing thee in <i>'</i>th <i>'</i>orse-trough, - Mr. Bunting. Tha'd best be off whoam sharp. (<i>Gets his cap, r.</i>) - </p> - <p> - ALCOTT. Aye, theer's none on us lot finished oop what tha might call <i>'</i>ot - favourites. - </p> - <p> - JABEZ (<i>turning</i>). Oh, Livesey, that you? Shake hands. No malice, I - hope? (<i>Livesey puts out his hand shyly, Jabez shakes it cordially, - shaking after with Jones and Alcott, the latter of whom rubs his hand - first on his trouser leg.</i>) Good night, lads. (<i>Charlie sits r. - dejectedly.</i>) - </p> - <p> - JONES. Good night, sir. (<i>They go out r.</i>) - </p> - <p> - ALCOTT. (<i>Then comes to Jabez with hand extended. Jabez off-handedly, - dismissing him</i>). - </p> - <p> - JABEZ. Good night, Pullen. - </p> - <p> - PULLEN (<i>drawing back disappointedly on seeing he is not to shake hands</i>). - Good night, sir. - </p> - <p> - (<i>Exit Pullen r.</i>) - </p> - <p> - JABEZ (<i>to Clavering</i>). There'll be no more trouble with those - fellows. They know they're marked men now. - </p> - <p> - CLAV. (<i>flatteringly</i>). You do know how to manage them, sir. - </p> - <p> - JABEZ. It's cheap at a handshake. You might cut along after them and talk - to the men as they come out. See what I mean? (<i>Walking with Clavering - to the door r.</i>). We can't make too sure of a thing. (<i>Clavering nods - and goes out r., lifting coat and hat from rack r. as he goes. Jabez turns - and sees Charlie.</i>) Well, Charlie, not sulking, are you? (<i>Claps - Charlie on the shoulder.</i>) - </p> - <p> - CHARLIE (<i>rises</i>). You'd no right to speak, Mr. Thompson. It was my - meeting, not yours. - </p> - <p> - JABEZ. Oh come, Charlie. All's fair in love and war. You can't tell me I - didn't give you your chance. You'd done before I went in. Come, shake - hands and be friends. You're fairly beaten. Take your gruel like a man. - </p> - <p> - CHARLIE (<i>Jerking his head up</i>). Yes, I'm beaten this time. But it - won't be so always, and you needn't think it will. Ingrained conservatism - and a silly tradition of loyalty have won for you this time. You've - bamboozled the majority to-night; but to-night's majority is the minority - of to-morrow. - </p> - <p> - JABEZ. Look here, Charlie. Take an old man's advice and give it up. You've - had your fling with the men and a pretty hash you've made of it. - </p> - <p> - CHARLIE. Oh, I'm giving it up all right. You needn't worry about that. I'm - going away. - </p> - <p> - ROSIE (<i>involuntarily</i>). Going away! (<i>She makes a slight move - forward.</i>) - </p> - <p> - JABEZ. Where? - </p> - <p> - CHARLIE (<i>ignoring Rosie—to Jabez</i>). Oh, I don't know. I'm - clearing out of this. I haven't thought where. What does that matter? - </p> - <p> - ROSIE. But why, Charlie? - </p> - <p> - JABEZ. Oh, that's as plain as the nose on his face. (<i>To Charlie.</i>) - You're frightened of the men. You've been taught to-night that your - second-hand, second-rate ideas may look very pretty in a book, but they - won't wash in real life, and instead of facing it like a man and staying - here to live this down, you can think of nothing better than running away. - </p> - <p> - CHARLIE. If you're going to insult me by telling me I'm afraid of a few - fools whose only idea of argument is physical force, I'd better say good - night. (<i>Turning as if to go r.</i>) - </p> - <p> - JABEZ. You think you've done something fine, don't you? (<i>r.c.</i>) I - shouldn't wondor if you consider yourself quite a hero, eh, Charlie? - </p> - <p> - CHARLIE. No. (<i>Crossing to Jabez.</i>) I'm a man looking for a job. - </p> - <p> - JABEZ. You won't keep it long if you can't learn to mind your own - business. - </p> - <p> - CHARLIE. My business is Chemical Research. It was you who wanted me to - leave it and mix myself up with other matters. - </p> - <p> - JABEZ. I wanted you to be a rational member of society, sir, not a damned - labour agitator and a failure at that. You boasted you could sway a mob. - Sway a mob! Why, man, you couldn't sway a child. You don't know the A.B.C. - of public speaking. - </p> - <p> - CHARLIE. Oh, you've a right to boast. Vae Victis. - </p> - <p> - JABEZ. Yes, vanquished on your own ground, Charlie. You said you'd speak, - and you've spoken. A fat lot better off you are too. Now look here, - Charlie, you're a young fool, but I've alwrays been fond of you, and I'm - ready to take a lenient view of this. - </p> - <p> - CHARLIE (<i>r.c.</i>). Lenient view! - </p> - <p> - JABEZ. Yes... I've tumbled to what your silly twaddle really is. You've - simply been sowing your wild oats like any other young fellow, only it - wouldn't be you if you did things like other people. Most fellows do it - over cards or a woman or a lot of women. You've done it over my workmen. - And the point is, the point is that you <i>have</i> sown them, that it's - done with, ended for good and all————(<i>Charlie - turns to speak.</i>) Confound you, don't interrupt. You've had your - innings, now it's my turn. You're going to drop your cursed—what's - it called?—altruism—and you'll settle down cosily and - comfortably with Rosie. That's your programme, my boy. - </p> - <p> - CHARLIE. To be not only a fool myself, but a breeder of fools! (<i>Rosie - turns to fire.</i>) It's no good, Mr. Thompson. I tell you I am going - away. I must slip the cable if I'm to have any respect for myself after - to-night's work. (<i>Going p. to coat rack.</i>) - </p> - <p> - ROSIE (<i>turning, quietly</i>). Father, how long is it since you had a - cigar? - </p> - <p> - JABEZ. I don't know. - </p> - <p> - ROSIE. I am sure it's time you had another. (<i>Jabez takes case out.</i>) - </p> - <p> - JABEZ. Thank you, my dear. - </p> - <p> - ROSIE (<i>apparently shocked</i>). Oh, but you mustn't smoke here. Go to - the air and smoke your cigar on the step till I come. (<i>Gently - manoeuvring him towards the dao? r.</i>) - </p> - <p> - JABEZ (<i>going reluclantly</i>) But what are you going to do? - </p> - <p> - ROSIE. It will be all right. You see, this isn't a works' affair any - longer, is it? - </p> - <p> - JABEZ. No. I suppose it isn't. - </p> - <p> - ROSIE. So it's quite right for mc to speak to Charlie now. I shan't be - long. (<i>Jabez goes out r., his bearing indicating that he does so under - proest. Rosie closes the door behind him and faces Charlie.</i>) - </p> - <p> - ROSIE. Now, Charlie! - </p> - <p> - CHARLIE (<i>trying to escape</i>). I must be going. Good night, Miss - Thompson, and good-by. (<i>Holding his hand out.</i>) - </p> - <p> - ROSIE (<i>ignoring the hand standing with her back to the door she has - just closed.</i>) Don't be silly, Charlie. - </p> - <p> - CHARLIE. There's another door, you know. (<i>Looking c.</i>) - </p> - <p> - ROSIE. The main entrance will be locked long since. - </p> - <p> - CHARLIE (<i>accepting the situation.</i>) What do you want with me? - </p> - <p> - ROSIE (<i>coming forward from the door and speaking softly.</i>) I want to - help you. - </p> - <p> - CHARLIE. I don't want your help. I want to be alone. Can't you understand - my wanting to crawl away and hide? Won't you let me go? - </p> - <p> - ROSIE (<i>sympathetically</i>). I want to help you. - </p> - <p> - CHARLIE. Your father's right, Rosie. I've made a hash of things. There's - nothing left for me to do here now. I've shot my bolt. - </p> - <p> - ROSIE. What do you propose to do? - </p> - <p> - Chaelie (<i>irritably</i>). Oh, I don't know yet. Go on living, I suppose. - I shan't starve. I'm a qualified chemist. That's worth something anywhere. - (<i>Sitting l.c. on corner oj table.</i>) - </p> - <p> - ROSIE. You're worth more here. - </p> - <p> - CHARLIE. Here! I can never hold my head up again after to-night. You don't - understand what it is I've tried to do. - </p> - <p> - ROSIE. I understand very well, and I don't quarrel with what you wished to - do, but you've gone about it in the wrong way. You were wrong, utterly - wrong, in talking to my father as you did. What made you do it? - </p> - <p> - CHARLIE. I only told him the truth. - </p> - <p> - ROSIE. The truth! Don't you know that there are times when it's criminal - to tell the truth? - </p> - <p> - CHARLIE. Never! - </p> - <p> - ROSIE. You won't persuade a man like my father to see the error of his - ways by blurting out a bundle of unpleasant truths. You're a reformer in a - hurry. You won't realize that his convictions are just as strong as yours - and that he is too old to alter. - </p> - <p> - CHARLIE (<i>With some slight return of spirit</i>) And I'm too young to - alter. We've got beyond the point when wisdom was regarded as the monopoly - of senile decay. I won't turn back. (<i>Rising from table and going l.</i>) - </p> - <p> - ROSIE. My dear boy, I don't ask you to. I only ask you to advance - intelligently, (<i>over to Charlie, l.</i>) to understand that the odds - against you are too great for you to fight single-handed. - </p> - <p> - CHARLIE (<i>gloomily</i>). You're quite right. I'm a broken gambler. I'm - bankrupt for this fight now—bankrupt with no assets. Your father's - got them all. - </p> - <p> - ROSIE. No, Charlie, not all. You've one asset that he'd give half his - wealth to have. - </p> - <p> - CHARLIE. I have? What's that? - </p> - <p> - ROSIE. You've youth. You can afford to wait. You mustn't throw up the - sponge and fly at a first reverse. - </p> - <p> - CHARLIE. It seems so hopeless to try to do anything here. I thought I'd - got hold of the men. Tonight's work has settled all that. I shall never - recover my influence. I don't know—of course one never does—but - there might be some place in the world where I could be of use. There's - just a chance, and I want to try again—to redeem all this. These - things mean so much to me—more than anything else in the world. - Suffering—poverty—I see them so clearly. Whenever I think of - other things, things I desire, my own personal wishes—they get in - the way. - </p> - <p> - ROSIE. And are you alone blessed with eyesight? Do you think me blind? Do - you combine your modern socialism with a mediaeval conception of women? - Charlie, if the men's condition has been an obsession with you, with me - it's been the passion of a lifetime. It's gone near to wrecking my life. - </p> - <p> - CHARLIE (<i>involuntarily</i>). How? - </p> - <p> - ROSIE. Because I needed help and I sought an instrument. A woman's - handicapped. I can do a lot with my father, but I never dared to interfere - openly at the works. That was his territory, and I knew he'd stand no - petticoat government there. I wanted a man's help. I wanted you. - </p> - <p> - CHARLIE. Why didn't you tell me this before? We could have done so much? - </p> - <p> - ROSIE. Charlie, do you realize that I'd to live with my father? You had - your differences with him, but at any rate they were confined to business - hours. For me, there was no escape. I lived under the same roof with him, - so I'd to do my good by stealth unknown to him. - </p> - <p> - CHARLIE. But why keep it from me? - </p> - <p> - ROSIE (<i>pityingly</i>). My dear boy! - </p> - <p> - CHARLIE. Well? - </p> - <p> - ROSIE. You, with your passion for the truth! - </p> - <p> - CHARLIE (<i>a little hotly</i>). Do you object to that? - </p> - <p> - ROSIE. I like it. But it made it impossible for me to tell you this - before. - </p> - <p> - CHARLIE. Why? (<i>Pause.</i>) - </p> - <p> - ROSIE. Charlie, if I had told you, would you have kept it to yourself? - </p> - <p> - CHARLIE. Why should I do that? - </p> - <p> - ROSIE. Exactly. Sooner or later you'd have blurted it all out to my - father, and I could have done no more good, no more little charities, no - more small alleviations. What sort of a life do you suppose I should have - had if he'd learnt that I had broken through his rule, that I was doing - all I could to soften his harsh management and to make things easier for - his pecple when they fell ill? - </p> - <p> - CHARLIE. You've been doing that? How little I knew you! - </p> - <p> - ROSIE. It wasn't much, but I did what I could. - </p> - <p> - CHARLIE. What a sweep I've been! - </p> - <p> - ROSIE. You're going to stay? - </p> - <p> - CHARLIE. Yes, I'm going to stay. I've been a fool. I thought I hadn't time - for marriage. I thought a wife would be a drag. I—I thought myself a - tower of strength. - </p> - <p> - ROSIE (<i>smiling</i>). It had to be, Charlie. A poet always marries a - cook. - </p> - <p> - CHARLIE. You mustn't talk like that. I'm not fit for you. I've played with - you. I thought of you as Thompson's daughter, content with him and all he - stands for. And all the time I wanted you, wanted you horribly. Only that - stood in the way. I loved you while I tried to hate you for what I thought - you were. I know you better now. You're going to help me. That's kind, - that's generous of you. I need you so much, Rosie. - </p> - <p> - ROSIE. I'm ready now, father. - </p> - <p> - JABEZ. About time, too. - </p> - <p> - ROSIE. Charlie's coming home with us father. - </p> - <p> - JABEZ. But the men are all outside, they'll all see, - </p> - <p> - ROSIE. Why shouldn't they? Have you forgotten that we're going to be - married on April 25? Come along, Charlie. (<i>She takes his arm and urges him - to door. Jabez stares aghast, then follows Charlie's hat and coat.</i>) - </p> - <p> - <br /> - </p> - <h3> - CURTAIN. - </h3> - <div style="height: 6em;"> - <br /><br /><br /><br /><br /><br /> - </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Dealing in Futures, by Harold Brighouse - -*** END OF THIS PROJECT GUTENBERG EBOOK DEALING IN FUTURES *** - -***** This file should be named 55289-h.htm or 55289-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/5/2/8/55289/ - -Produced by David Widger from page images generously -provided by the Internet Archive - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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-The Project Gutenberg EBook of Dealing in Futures, by Harold Brighouse
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms of
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-www.gutenberg.org. If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-
-
-Title: Dealing in Futures
- A Play in Three Acts
-
-Author: Harold Brighouse
-
-Release Date: August 7, 2017 [EBook #55289]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK DEALING IN FUTURES ***
-
-
-
-
-Produced by David Widger from page images generously
-provided by the Internet Archive
-
-
-
-
-
-
-</pre>
-
- <div style="height: 8em;">
- <br /><br /><br /><br /><br /><br /><br /><br />
- </div>
- <h1>
- DEALING IN FUTURES
- </h1>
- <h3>
- A Play In Three Acts
- </h3>
- <h2>
- By Harold Brighouse
- </h2>
- <h4>
- New York: Samuel French Publisher
- </h4>
- <h3>
- 1913
- </h3>
- <p>
- <br /><br /><a name="linkimage-0001" id="linkimage-0001"> </a>
- </p>
- <div class="fig" style="width:50%;">
- <img src="images/0005.jpg" alt="0005 " width="100%" /><br />
- </div>
-
- <p>
- <br /><br />
- </p>
- <hr />
- <p>
- <br /><br />
- </p>
- <p>
- <b>CONTENTS</b>
- </p>
- <p class="toc">
- <a href="#link2H_4_0001"> DEALING IN FUTURES </a>
- </p>
- <p class="toc">
- <a href="#link2H_4_0002"> ACT I </a>
- </p>
- <p class="toc">
- <a href="#link2H_4_0003"> ACT II. </a>
- </p>
- <p class="toc">
- <a href="#link2H_4_0004"> ACT III. </a>
- </p>
- <p>
- <br /><br />
- </p>
- <hr />
- <p>
- <a name="link2H_4_0001" id="link2H_4_0001"> </a>
- </p>
- <div style="height: 4em;">
- <br /><br /><br /><br />
- </div>
- <h1>
- DEALING IN FUTURES
- </h1>
- <h3>
- A PLAY IN THREE ACTS
- </h3>
- <h3>
- CHARACTERS
- </h3>
- <p>
- JABEZ Thompson....................A Chemical Manufacturer.
- </p>
- <p>
- ROSIE Thompson....................His Daughter.
- </p>
- <p>
- JOHN Bunting......................A Master Dyer.
- </p>
- <p>
- CHARLIE Bunting...................His Son.
- </p>
- <p>
- WALTER Clavering..................A Young Doctor.
- </p>
- <p>
- The Scene is laid in an outlying Lancashire village and the action of the
- play takes place within a space of twenty-six hours.
- </p>
- <p>
- <br /><br />
- </p>
- <hr />
- <p>
- <a name="link2H_4_0002" id="link2H_4_0002"> </a>
- </p>
- <div style="height: 4em;">
- <br /><br /><br /><br />
- </div>
- <h2>
- ACT I
- </h2>
- <p>
- <i>The dining-room of Jabez Thompson's; the room is luxuriously furnished
- and combines comfort with ostentation; the door is left, and at the back a
- large doorway curtained off leads to the billiard-room. (A plan of this
- and the other scenes in the play will be found at the end of the book.)
- The table is littered with the debris of dinner, and at it sit Jabez
- Thompson (l.), and Rosie his daughter (l.), facing each other. Jabez is
- elderly, corpulent, bearded, of florid face and general prosperous
- appearance; he wears a frock coat, light grey trousers, and has a heavy
- gold watch chain. He speaks with all the assertiveness of life-long
- success.</i>
- </p>
- <p>
- ROSIE <i>is dark and highly coloured, her face strong rather than
- beautiful. She dresses with taste, avoiding her fathers scarcely veiled
- vulgarity, and wears a high dress of some amber material. She inherits her
- father's strength of will, and though outwardly cultured, has not been
- able to subdue entirely a naturally violent temper. Her voice is a little
- shrill and shrewish, and Jabez is obviously rather afraid of her.</i>
- </p>
- <p>
- Mallinson, <i>the butler, enters with coffee, which he places on the table
- by Rosie. Rosie pours coffee. Butler puts cup by Jabez.</i>
- </p>
- <p>
- <br /><br />
- </p>
- <hr />
- <p>
- <br /><br />
- </p>
- <p>
- BUTLER. Mr. Lomax, from the works, has arrived, sir.
- </p>
- <p>
- JABEZ. Very well, put him in the library. I'll be there in a moment to
- sign the letters.
- </p>
- <p>
- BUTLER. Yes, sir.
- </p>
- <p>
- JABEZ. Oh, give him this and tell him to look through it. (<i>Gives folded
- paper from his pocket.</i>)
- </p>
- <p>
- BUTLER. Yes, sir. (<i>Takes paper and exit.</i>)
- </p>
- <p>
- JABEZ (<i>Sips coffee, lights cigar, and turns chair to face audience</i>).
- By the way, Rosie, I asked Charlie to come round after dinner and to bring
- his father.
- </p>
- <p>
- ROSIE (<i>Interested</i>). Oh! Why?
- </p>
- <p>
- JABEZ. I'm not satisfied with him. I want to have a chat with the pair of
- them to see if we can't get things on a better basis.
- </p>
- <p>
- ROSIE. What's the matter with Charlie?
- </p>
- <p>
- JABEZ. Oh, you wouldn't understand. It's a business question.
- </p>
- <p>
- ROSIE. I see. You'd rather I wasn't here?
- </p>
- <p>
- JABEZ. Yes. If you don't mind. We can't do better than stick to the rule
- even where Charlie's concerned, eh?
- </p>
- <p>
- ROSIE. Oh, I shan't intrude on a business talk.
- </p>
- <p>
- JABEZ. Thanks, my dear, thanks. (<i>Encouraged to go on.</i>) Do you know,
- Rosie, I'm not a bit happy over this engagement of yours to Charlie.
- </p>
- <p>
- ROSIE (<i>Curtly</i>). Why?
- </p>
- <p>
- JABEZ (<i>Apologetically</i>). He's a queer fellow. I can't size him up. I
- can't think why on earth you got engaged to him.
- </p>
- <p>
- ROSIE. That's my business, isn't it?
- </p>
- <p>
- JABEZ Yes, my dear. I suppose it is. But that doesn't stop me from wishing
- you'd taken a fancy to some one else.
- </p>
- <p>
- ROSIE. I've told you before I won't have you interfering in my affairs,
- father. I'm quite capable of managing them myself.
- </p>
- <p>
- JABEZ (<i>Meekly</i>). I try not to, my dear. I do try not to. Only this
- matter—it's not as if you had a mother, is it now?
- </p>
- <p>
- ROSIE. Oh, you can trust me to judge whether a man comes because he wants
- me or whether he's only a vulgar fortune-hunter. Whatever Charlie is or
- isn't, he's not after my money.
- </p>
- <p>
- JABEZ. No, Charlie never is after money. You're easily the better business
- man. He's always got his head full of ideas about pampering the men
- instead of thinking of the welfare of the firm.
- </p>
- <p>
- ROSIE (<i>Snappishly</i>). You needn't think you can get me to break it
- off, so don't try. You can say what you like to him so long as you
- remember I'm going to marry him.
- </p>
- <p>
- JABEZ. Well, well, I must see what I can make of Charlie. (<i>Drinks.</i>)
- I'll tell you one thing, my dear, you're a good deal more eager about it
- than he is.
- </p>
- <p>
- ROSIE. Possibly. You needn't worry about that.
- </p>
- <p>
- JABEZ. But I do worry, my dear. How can I help it? (<i>Rosie moves
- impatiently.</i>) Now don't fly in a temper. He <i>is</i> taking his time
- in coming up to scratch. Let me ask you one thing?
- </p>
- <p>
- ROSIE. Yes?
- </p>
- <p>
- JABEZ. When are you going to be married?
- </p>
- <p>
- ROSIE. I really don't know.
- </p>
- <p>
- JABEZ. No, and it's time you did. You've been engaged long enough.
- </p>
- <p>
- ROSIE. Is that what you are going to talk to him about to-night?
- </p>
- <p>
- JABEZ. Amongst other things. I'm tired of his playing about with the
- thing. If your mind's made up, what's there to wait for? People are
- beginning to talk.
- </p>
- <p>
- ROSIE. Let them.
- </p>
- <p>
- JABEZ. That's all very well, but people in our position must consider
- public opinion. You don't object to my settling it, do you?
- </p>
- <p>
- ROSIE. Oh, do what you want. But don't you dare to bully Charlie. I won't
- have him bullied.
- </p>
- <p>
- JABEZ. Oh, I shan't hurt him. A good talking to <i>'</i>ull do him no
- harm.
- </p>
- <p>
- (<i>Enter Butler, l.</i>)
- </p>
- <p>
- BUTLER (<i>At door l.</i>). Dr. Clavering has called, sir. Wishes to speak
- to you.
- </p>
- <p>
- JABEZ (<i>Surprised</i>) Clavering? Well, show him up.
- </p>
- <p>
- BUTLER. Yes, sir.
- </p>
- <p>
- (<i>Exit Butler.</i>)
- </p>
- <p>
- JABEZ. What's the matter with Clavering? He doesn't often condescend to
- leave his precious research work in the evenings. (<i>Rosie shrugs her
- shoulders contemptuously. Enter Butler.</i>)
- </p>
- <p>
- BUTLER (<i>Announcing</i>). Dr. Clavering.
- </p>
- <p>
- (<i>Enter Clavering. Exit Butler. Clavering is a young doctor with keen
- clever face, clean-shaven, with a general air of self-reliance. He is a
- practical man of a fairs whose business happens to be doctoring.</i>)
- </p>
- <p>
- CLAVERING. Good evening, Mr. Thompson.
- </p>
- <p>
- JABEZ (<i>Rising</i>). Good evening, Dr. Clavering. (<i>They shake hands,
- and Jabez, turning his chair sits sideways to the table.</i>)
- </p>
- <p>
- CLAV. Good evening, Miss Thompson. (<i>Rosie murmurs and bows coldly.</i>)
- </p>
- <p>
- JABEZ. Well, what can I do for you, doctor? Sit down.
- </p>
- <p>
- CLAV. (<i>Sits on sofa l.</i>) The fact is—it's rather a liberty—I
- hope you won't mind.
- </p>
- <p>
- JABEZ. Out with it man! What's to do?
- </p>
- <p>
- CLAV. I've come to see you about one of your men—a fellow named
- Alcott.
- </p>
- <p>
- JABEZ (<i>Reflectively</i>). Alcott? Alcott?
- </p>
- <p>
- CLAV. You don't just call him to mind?
- </p>
- <p>
- JABEZ. No, but I will.
- </p>
- <p>
- CLAV. That won't matter. It's just——
- </p>
- <p>
- JABEZ (<i>rising</i>). But it does matter; if I talk about a man I like to
- know who I'm talking about. I shan't be a moment. My record book's handy.
- </p>
- <p>
- CLAV. Record book? You keep it here?
- </p>
- <p>
- JABEZ. Yes; I've every man's record in that book. I don't risk leaving a
- thing like that at the works, safe or no safe. (<i>Crossing and reaching
- door l.</i>) I'll go and look the name up. Lomax is here too with the
- letters for signing, but that won't detain me long. (<i>Exit taking hunch
- of keys from his trousers' pocket.</i>)
- </p>
- <p>
- CLAV. Miss Thompson, I'm glad your father's gone. It gives me an
- opportunity——
- </p>
- <p>
- ROSIE (<i>Eagerly</i>). Yes? Any illness amongst the men, doctor?
- </p>
- <p>
- CLAV. Only this Alcott. I'll discuss that with Mr. Thompson. Don't let's
- waste time now. (<i>Rises and moves to back of table.</i>) I hoped so much
- to see you alone. I never get a chance.
- </p>
- <p>
- ROSIE. There's always the telephone.
- </p>
- <p>
- CLAV. I can't see your face through the telephone, and it's always about
- others. What a great heart you have, Miss Thompson! (<i>Sits above table.</i>)
- </p>
- <p>
- ROSIE. I? Oh, one does what one can.
- </p>
- <p>
- CLAV. For others.
- </p>
- <p>
- ROSIE. Others?
- </p>
- <p>
- CLAV. Yes; for me it's the telephone—always the telephone. So and
- so's ill—a name passes, an address, and we ring off. I never get the
- chance of seeing you alone.
- </p>
- <p>
- ROSIE. Doctors are such busy people, aren't they?
- </p>
- <p>
- CLAV. Not too busy to be human, to desire to see in the flesh the woman
- one's always communicating with through a cold-blooded telephone. We're
- allies, you know, Miss Thompson, fellow-conspirators, aren't we? That
- makes a bond between us.
- </p>
- <p>
- ROSIE (<i>Conventionally</i>). It's very good of you to let me know so
- promptly when any of the men fall ill and to keep it a secret between us—even
- from Charlie.
- </p>
- <p>
- CLAV. (<i>Contemptuously</i>). Oh, Charlie!
- </p>
- <p>
- ROSIE (<i>Quickly</i>). He doesn't know, of course?
- </p>
- <p>
- CLAV. No, he knows nothing.
- </p>
- <p>
- ROSIE. I was just afraid. You're such close friends, and this book you've
- been writing must have brought you closer together. I thought you might
- have let it slip out.
- </p>
- <p>
- CLAV. Oh, no. I kept the bond.
- </p>
- <p>
- ROSIE. I can never thank you sufficiently.
- </p>
- <p>
- CLAV. You could if you would.
- </p>
- <p>
- ROSIE. How? Tell me.
- </p>
- <p>
- CLAV. As you said, I'm a busy man, but I'm not too busy to use my eyes. A
- man can't join hands with a good woman in the great work of alleviating
- suffering without conceiving an admiration for her, without longing—
- </p>
- <p>
- ROSIE (<i>Coldly</i>). Need we waste time in compliments, Dr. Clavering?
- My father may be back at any moment, and if you've, anything to say to me,
- won't you come to the point?
- </p>
- <p>
- CLAV. I want to know if I may hope for a reward.
- </p>
- <p>
- ROSIE. Surely a doctor doesn't ask reward for helping to do good.
- </p>
- <p>
- CLAV. Virtue its own reward? Come, Miss Thompson, isn't that one of the
- maxims all of us apply to others rather than to ourselves?
- </p>
- <p>
- ROSIE (<i>Rising</i>). If you want to be paid for your services to me,
- doctor, perhaps you will send in an account.
- </p>
- <p>
- CLAV. You're misunderstanding wilfully. (<i>Rising.</i>) Can't we be frank
- with one another, we coworkers in the same field? Must you wear before me
- the mask you put on to suit your father?
- </p>
- <p>
- ROSIE. I wear a mask to suit my father? I think you're labouring under
- some mistake.
- </p>
- <p>
- CLAV. Then the reward I aim at is—— Oh, don't you see?
- </p>
- <p>
- ROSIE. I hope I don't. (<i>Crossing to door R. at back.</i>) I think we'd
- both better forget this conversation, Dr. Clavering.
- </p>
- <p>
- CLAV. (<i>Following</i>). You shan't put me off. I——
- </p>
- <p>
- (<i>Enter Jabez with a small red bound book, keeping a place in it with
- his finger. Clavering leaves Rosie promptly and stands above table.</i>)
- </p>
- <p>
- JABEZ. I'm primed now, doctor. (<i>He sits and puts the book open on the
- table.</i>) There's not much worth knowing about my men that this friend
- can't tell me (<i>Tapping the book</i>). But it doesn't tell me much good
- about Mr. Alcott (<i>Emphasizing the "Mr." sarcastically</i>).
- </p>
- <p>
- CLAV. Sorry to hear that. Poor chap, he's in a bad way. (<i>Rosie looks
- interested.</i>) eh?
- </p>
- <p>
- JABEZ. Oh, you've been to see him professionally,
- </p>
- <p>
- CLAV. I don't go to see Brixham's Buildings, they come to me. Surgery
- hours are just over.
- </p>
- <p>
- ROSIE (<i>Softly, sitting at writing-table r., taking a piece of note
- paper and writing</i>). Brixham's Buildings.
- </p>
- <p>
- JABEZ. Well?
- </p>
- <p>
- CLAV. (<i>Sitting above table with elbows on it and fingertips at chin</i>).
- The work doesn't suit him. What that fellow needs is a good dose of fresh
- air. When I told him so, he said he'd lose his job if he asked off for a
- month. I've come to see if something cant be arranged for him, Mr.
- Tompson.
- </p>
- <p>
- JABEZ (<i>Coldly</i>). In what way?
- </p>
- <p>
- CLAV. Couldn't you give him sick leave for a month or so?
- </p>
- <p>
- JABEZ. What's the matter with him?
- </p>
- <p>
- CLAV. (<i>Glancing at Rosie as if for a sign of approval</i>). Oh my cases
- here are all the same. I know them off by heart. Dyspepsia and faintness
- to begin with and paralysis to follow. I could give that man no advice
- except to clear out of this. He told me he'd got to live.
- </p>
- <p>
- JABEZ (<i>Whose signs of irritation have increased</i>).
- </p>
- <p>
- ROSIE, do you mind leaving me to settle this with the doctor? It's a works
- question, you know.
- </p>
- <p>
- ROSIE (<i>Rising with the note doubled in her hand</i>) Yes.
- </p>
- <p>
- CLAV. (<i>Protestingly</i>). Oh, but——
- </p>
- <p>
- ROSIE. Don't get up, Dr. Clavering. (<i>Clavering rises and holds back
- curtain at door r.c.</i>)
- </p>
- <p>
- (<i>Exit Rosie, r.c. Clavering returns to table.</i>)
- </p>
- <p>
- JABEZ. The fat's in the fire this time.
- </p>
- <p>
- CLAV. I beg your pardon.
- </p>
- <p>
- JABEZ. I thought you'd more sense than to come-here with a tale of this
- sort. These things upset a woman. I do all I can to keep them from her,
- and here you spin this yarn before I've time to stop you. You should have
- come to me at the office.
- </p>
- <p>
- CLAV. (<i>Apologetically, sitting again above table</i>). I rather hoped
- Miss Thompson might have put in a word for me.
- </p>
- <p>
- JABEZ (<i>Brusquely</i>). Nonsense. You know very well that I don't allow
- my daughter to interfere with business. I'd as soon start messing with her
- housekeeping. That's a woman's place if you like—the home. We'd to
- make a rule of it, years ago, Rosie and I. She got asking fool questions
- about things she didn't understand and worrying me silly till we both
- agreed it was best for her to steer clear of the works. We've each our
- place now. I've the works and she's the home. You've made a bad mistake,
- sir.
- </p>
- <p>
- CLAV. I'm sorry. I do hope you'll not let this prejudice Alcott's chances
- of a month off.
- </p>
- <p>
- JABEZ. I shouldn't dream of doing such a thing. A month off for a
- labourer! It's absurd.
- </p>
- <p>
- CLAV. (<i>Seriously</i>). I can't answer for the man's life if you don't,
- Mr. Thompson.
- </p>
- <p>
- JABEZ. My dear sir, you're looking at the individual case. I can't do
- that. I've to see all my men at once and I know what they are. Give these
- fellows an inch and they take an ell. I can't make an exception for
- Alcott. I'd have to do the same for every man who fell sick and for Heaven
- knows how many malingerers as well; once I began that sort of thing, I'd
- never know when I'd end.
- </p>
-<p>
- CLAV. Then you won't——
-</p>
- <p>
- JABEZ (<i>Interrupting</i>). It's not that I won't, I can't, and there's
- an end of it.
- </p>
- <p>
- (<i>Enter Butler, l.</i>)
- </p>
- <p>
- BUTLER. Mr. Bunting.
- </p>
- <p>
- (<i>Enter John Bunting. John bears some outward signs of similarity to
- Jabez. Like Jabez, he is elderly and corpulent. But, though hardly less
- assertive in tone at first, there is an underlying furtiveness, and he is
- extremely deferential to Jabez even while assuming an equal camaraderie
- with him. He wears a frock coat and has evidently modelled himself on
- Jabez. Clavering rises and goes r.c.</i>)
- </p>
- <p>
- JABEZ (<i>Patronizingly</i>). Oh, good evening, John. (<i>Jabez does not
- rise.</i>)
- </p>
- <p>
- JOHN. Good evening. (<i>Crossing r.</i>) Good evening, Dr. Clavering. (<i>Clavering
- bows—the Butler remains.</i>)
- </p>
- <p>
- JABEZ. What's the matter, Mallinson?
- </p>
- <p>
- BUTLER (<i>Very importantly</i>). Dr. Clavering's housekeeper, sir, have
- telephoned from his surgery as he's wanted.
- </p>
- <p>
- CLAV. (<i>Briskly</i>). Oh, I'll come at once. Excuse me, won't you? (<i>Crossing
- to door l.</i>)
- </p>
- <p>
- BUTLER (<i>Raising his hand. Clavering stops astonished</i>). It's at the
- works you're wanted, sir. An accident, I believe.
- </p>
- <p>
- CLAV. The works! (<i>To Jabez.</i>) Shall you come? Jabez. I? Certainly
- not. You're the man they want, not I. Sit down, John. (<i>Jabez moves John
- to the chair Rosie had occupied at table r. John sits.</i>)
- </p>
- <p>
- CLAV. Oh, all right. I'll report later.
- </p>
- <p>
- JABEZ. You needn't trouble. Bad news travels fast enough. Good night.
- </p>
- <p>
- CLAV. (<i>Shortly</i>). Good night.
- </p>
- <p>
- (<i>Exit Clavering, l., followed by Butler.</i>)
- </p>
- <p>
- JABEZ. That young man's growing officious. A whisky, John. (<i>Pours.</i>)
- Have a cigar?
- </p>
- <p>
- JOHN. Thanks. Yours are too good to refuse. Jabez. Where's Charlie? Isn't
- he with you? John. No. He's not been home to dinner. Still at the works I
- suppose.
- </p>
- <p>
- JABEZ. Yes. (<i>Pause.</i>) I always did say a good cigar was the best
- part of a dinner.
- </p>
- <p>
- JOHN. You're right there. When all's said and done, Jabez a good liver's
- got a lot to do with happiness. Thank goodness, mine doesn't trouble me.
- </p>
- <p>
- JABEZ. Nor mine. I've no patience with these modern fads—mustn't eat
- this and that and all that kind of rubbish. If I fancied a thing I had it,
- and damn the expense. Look at me to-day, sir. (<i>Smacking his chest.</i>)
- Sound, sir, sound as a bell.
- </p>
- <p>
- JOHN (<i>Playing up to him</i>). We've lived, Jabez, there's no doubt
- about it. We've gone the pace in our time.
- </p>
- <p>
- JABEZ (<i>Fiercely, as if contradicted</i>). And why not? You tell me
- that. Give me a good time, I say. That's my motto, and by Heaven I've
- lived up to it.
- </p>
- <p>
- JOHN (<i>Admiringly</i>). You always were a warm man.
- </p>
- <p>
- JABEZ. Warm? I believe you. Damme, sir, if I had my time over again I'd do
- the same. I wish I had, too. I'd show the young 'uns a thing or three, eh,
- John? They think they're pretty wide awake, but I'll gamble we old cocks
- could give them a long start and win hands down. Eh, well, what's the good
- of wishes? (<i>Pours himself some whisky soda.</i>)
- </p>
- <p>
- JOHN. Yes we've got to face it, old man. You and I have come to the time
- of life when a man makes his will and begins to think a bit about who's
- going to step into his shoes when he's done with them.
- </p>
- <p>
- JABEZ. That's the very thing I want to talk to you about. What I always
- say is if you've got a bit of business to do with a man, let him come and
- talk things over with you in your own house. Many's the deal I've made
- that way in my time. Get a man feeling at home with himself, with some
- good wine inside him and a good cigar in his lips, and you can have your
- own way with him. Not that I mean that personally, John. (<i>John waves
- deprecatingly.</i>)
- </p>
- <p>
- JABEZ. Only as a general thing.
- </p>
- <p>
- JOHN. Of course. To be sure.
- </p>
- <p>
- JABEZ. Yes. We've got to think of the young <i>'</i>uns. Rosie, now.
- Rosie's a good girl—been well brought up. No expense spared—same
- as if she'd been a bov.
- </p>
- <p>
- JOHN. You've done well by her, if she did disappoint you by being a girl
- instead of a boy.
- </p>
- <p>
- JABEZ. Aye, aye. That's an old sore now. And If I haven't a boy, John, you
- have.
- </p>
- <p>
- JOHN (<i>Shifting uneasily</i>). Yes, yes, I know I have.
- </p>
- <p>
- JABEZ. Well?
- </p>
- <p>
- JOHN. Well, what?
- </p>
- <p>
- JABEZ. Look here, John, it's no good beating about the bush. We know each
- other by this time, and you're not the man to take offence at a bit of
- straight talk. That lad of yours wants speaking to, and damme, you're the
- man to do it.
- </p>
- <p>
- JOHN. What's the'matter <i>with</i> him?
- </p>
- <p>
- JABEZ. Nothing except that he's a fool. (<i>John leaps up.</i>)
- </p>
- <p>
- JOHN. I say——
- </p>
- <p>
- JABEZ (<i>interrupting</i>). Now sit down, John. (<i>John sits.</i>)
- Here's a lad I took a fancy to when he was a youngster. I take him to the
- works and give him every chance. It's understood he's to have Rosie and
- the business, too, when I've done with it. Here's Rosie sick for love of
- him. And what's he doing? Shillyshallying round and can't be got to name
- the day. That's not all, either, but it'ull do to go on with. What do you
- make of it, John? What's the matter with him?
- </p>
- <p>
- JOHN. The boy's sound enough at bottom. Give him time to come round. It's
- not the thing nowadays to get married as young as it was in our day. And
- Charlie's in love with his work.
- </p>
- <p>
- JABEZ. I know he is, the young fool.
- </p>
- <p>
- JOHN. Come, steady on, Jabez.
- </p>
- <p>
- JABEZ. Oh, well—Yes, all right, John. But what sort of work is it?
- Laboratory experiments!
- </p>
- <p>
- JOHN. Yes, and jolly useful they are, too. You're bound to have a chemist.
- Give the devil his due, Jabez, Charlie's discoveries have been the making
- of the business.
- </p>
- <p>
- JABEZ. They've had their uses.
- </p>
- <p>
- JOHN. I should think they have. Why, man, you simply ran the place for a
- couple of years on that cheap fast red of his.
- </p>
- <p>
- JABEZ. Hang it all, experimenting's all right, but a fellow needs a
- business head as well; what's the good of his finding new processes if he
- can't exploit <i>'</i>em?
- </p>
- <p>
- JOHN. <i>You</i> exploit them.
- </p>
- <p>
- JABEZ. I know I do. But I shan't be here for ever. Charlie <i>'</i>ud be a
- catspaw in the hands of a smart business man. He's the sort of fool a
- clever fellow likes to get hold of. I want him to help me in the
- management, in selling the stuff and handling the men, and I can't get him
- to stir a finger. What's the use of a man like that at the head of a
- business concern?
- </p>
- <p>
- JOHN (<i>gruffly</i>). Then don't put him there.
- </p>
- <p>
- JABEZ (<i>irritated—rising and pacing about</i>). By God, I will,
- though. (<i>Turning abruptly to John.</i>) Why? (<i>l.c.</i>) I'll tell
- you why, John. Nothing queers a man for business like the knowledge that
- thing's aren't right at home, and that girl of mine's fretting (<i>u.l.</i>).
- I tell you I'm not very particular who she marries so long as I know she's
- married happily, but she's set her heart on Charlie, so Charlie it must
- be, and I'm damned if I'll have him putting her off any longer. It's
- upsetting Rosie and it's upsetting me. That's why I want Charlie to be a
- man instead of a skulking chemist. (<i>Pause—dropping down l.</i>)
- The fellow wants some backbone, John. Managing a works isn't all plain
- sailing to-day, same as it was when the men knew their places. It wants a
- strong hand and a quick brain to see how to give <i>'</i>em the little
- things that don't matter and to keep from them the big things that do. I'm
- getting old, John. I'd like a rest. You'll speak to him, now, won't you?
- </p>
- <p>
- (<i>Sits l. of table.</i>)
- </p>
- <p>
- JOHN. Very well. I'll do my best.
- </p>
- <p>
- JABEZ. Just make him see which side his bread's buttered. He's too clever
- by half. I can't make him out sometimes. He's got notions in his head
- about coddling the men and giving them better wages before they ask for
- them, as if it wasn't enough to have the Factory Acts and the Government
- Inspectors poking their noses round. Dangerous trades! It was good enough
- for their fathers, and, by God! it <i>'</i>ull have to be good enough for
- them. I don't run my place for charity, and the sooner they get that into
- their thick heads the better. (<i>Irritably.</i>) Where the devil <i>is</i>
- Charlie?
- </p>
- <p>
- JOHN. He said he'd come on here from the works if he wasn't home to
- dinner.
- </p>
- <p>
- JABEZ. Then why isn't he here?
- </p>
- <p>
- JOHN. Experimenting again, I suppose.
- </p>
- <p>
- JABEZ. Hang his experiments!
- </p>
- <p>
- (<i>Enter l. Charlie Bunting greatly excited. He has the face of a
- visionary and his high forehead contrasts with a weak, receding chin; he
- has convictions and ideals, but it is doubtful if he has the courage to
- live up to them.</i>)
- </p>
- <p>
- JABEZ. Oh, there you are, sir. About time, too. (<i>Seeing Charlie's
- agitation.</i>) Hello, what's wrong with you?
- </p>
- <p>
- CHARLIE. There's been an accident. (<i>He gasps.</i>) Jabez. Fatal?
- </p>
- <p>
- CHARLIE. Yes.
- </p>
- <p>
- JABEZ. Curse their carelessness. (<i>Irritably.</i>) Another inquest, of
- course, and headlines in the papers and questions from the Coroner. What
- is it this time? Another, drunken fool walked into the vitriol tanks?
- </p>
- <p>
- CHARLIE (<i>bitterly</i>). Oh, no, this needn't trouble you. We don't
- often kill men suddenly. We poison them by gradual degrees.
- </p>
- <p>
- JABEZ. What was it? Am I ever going to know?
- </p>
- <p>
- CHARLIE. The lift gave way.
- </p>
- <p>
- JABEZ. The lift? Oh, we're not responsible for that. It was inspected only
- last week. We hold a certificate of efficiency.
- </p>
- <p>
- CHARLIE. Oh, yes, it was examined right enough. Only the men tell me the
- inspector was drunk when he came.
- </p>
- <p>
- JABEZ. They can't prove it.
- </p>
- <p>
- CHARLIE. Not they. You needn't worry. They'll not have the pluck to repeat
- it in court. (<i>Up stage L.</i>)
- </p>
- <p>
- JABEZ. Certainly not; a coroner's court isn't the place for irresponsible
- gossip of that kind.
- </p>
- <p>
- CHARLIE (<i>down to sofa</i>). No, the verdict will be accidental death
- right enough, with polite expressions of sympathy and a rider exonerating
- us from blame.
- </p>
- <p>
- JABEZ (<i>settling himself comfortably in his chair</i>). Of course. Very
- proper, very proper. And we've the Insurance Company to fall back on. I
- tell you what, Charlie, they'll be raising our premium if things go on
- like this. Two fatal accidents in a mouth. I suppose there's a widow.
- There usually is.
- </p>
- <p>
- CHARLIE. Yes. There's a widow and six children. (<i>Going up l.</i>)
- </p>
- <p>
- JABEZ. (<i>Turning to John</i>) I don't know how it is, but it always is
- the married men who get killed. (<i>To Charlie.</i>) Well, I don't see
- what there is to make all this fuss about, Charlie. Accidents will happen.
- Upon my word, you quite frightened me for a moment. Ring the bell and have
- some dinner.
- </p>
- <p>
- CHARLIE (<i>shuddering</i>). I can't eat. I've just seen a man killed. Oh,
- it's horrible, horrible. (<i>Sits on sofa l., burying head in hands.</i>)
- </p>
- <p>
- JABEZ. Nonsense, man. Pull yourself together. It's deplorable, of course—a
- most distressing occurrence—but no reason for going without your
- dinner. What did I tell you, John? Charlie's too soft for this world.
- </p>
- <p>
- CHARLIE (<i>raising head</i>). Don't you understand? I saw the lift crash
- down. I was there when they got out the poor, broken, mangled body from
- amongst the blood-stained splinters. I saw——
- </p>
- <p>
- JABEZ. Excuse me, Charlie, but I've just had my dinner. Kindly have the
- delicacy not to enter into, details.
- </p>
- <p>
- CHARLIE. Very well. I—oh, I think I'll go home. Good night. (<i>Going.</i>)
- </p>
- <p>
- JOHN. Wait a moment, Charlie. (<i>Charlie's hand is on the door-knob L.</i>)
- We were just speaking about you. Hadn't we better thrash this matter out
- now, Jabez?
- </p>
- <p>
- JABEZ (<i>grimly</i>). I'm agreeable if Charlie is.
- </p>
- <p>
- JOHN. Sit down, Charlie. (<i>Charlie sits meanly on sofa.</i>)
- </p>
- <p>
- CHARLIE. What is it?
- </p>
- <p>
- JOHN. Well, it's like this. Jabez tells me he considers you're wasting
- your time. He doesn t call you lazy—not exactly lazy, do you, Jabez?
- He wants you to widen your interests and broaden your ideas. That's it,
- isn't it?
- </p>
- <p>
- CHARLIE (<i>to Jabez</i>). Oh, that's it, is it?
- </p>
- <p>
- JABEZ. It's one way of putting it. I don't know whether it's laziness or
- what it is, but you certainly fight shy of a bit of honest work.
- </p>
- <p>
- CHARLIE (<i>leaping up fierily</i>). Work? What else do I do from early
- morning when I enter the laboratory till late at night when I leave it?
- </p>
- <p>
- JABEZ (<i>smoothly</i>). Quietly, quietly. Yes, that's all very well, but
- that's not what I call work. Charlie. What do you call it then?
- </p>
- <p>
- JABEZ. It's not work to you. You like doing it. Charlie. I loathe it from
- the bottom of my Soul.
- </p>
- <p>
- JABEZ. Then why do it?
- </p>
- <p>
- CHARLIE. Well, as you put me into the works you ought to be able to answer
- that better than I can. I'd no taste for the work at all, but the
- laboratory was the department I detested least. I suppose I naturally
- drifted to it.
- </p>
- <p>
- JABEZ. Look here, my lad, I asked you a plain question, and I'll thank you
- for a plain answer. Charlie. I thought I'd given you one.
- </p>
- <p>
- JABEZ. What made you choose the laboratory? Charlie. I thought I saw some
- shadowy hope of doing good there.
- </p>
- <p>
- JABEZ. Well, you've done a bit. I'll give you credit for that.
- </p>
- <p>
- CHARLIE. Not that kind of good. That was accidental. I only hit by chance
- on the processes which happened to prove profitable to you.
- </p>
- <p>
- JABEZ. By chance? Then what the devil were you driving at with my time and
- my chemicals?
- </p>
- <p>
- CHARLIE. I hoped to find some means of accomplishing what we do here by
- less dangerous methods to let a little health into the work. I saw strong
- workmen brought to these works in the prime of life and health, and in a
- few years turned away, broken, worn-out invalids. I worked to find a way
- out.
- </p>
- <p>
- JABEZ (<i>contemptuously</i>). You fool.
- </p>
- <p>
- CHARLIE. I quite agree. (<i>Rises and paces up and down.</i>) Yes, fool,
- fool, fool. Fool as much as if I'd sought the philosopher's stone or the
- elixir of life. I did seek the elixir of life, and I will go on seeking it—life
- for those helpless hundreds driven by the need to live to certain death.
- Let me go on. Let me hope; but do not ask me to assist in getting orders
- for our deadly production. Every contract you sign your name to is the
- death-warrant of a workman. (<i>Sitting on arm of sofa.</i>)
- </p>
- <p>
- JOHN (<i>imploringly</i>). Charlie!
- </p>
- <p>
- JABEZ. Have a little common sense, man. You're seeing things to-night.
- This accident's got on your nerves. (<i>Rises.</i>) After all, I think you
- had better go home. We'll talk this over another time. I haven't lost my
- temper yet and I don't want to. (<i>Putting his hand on Charlie's
- shoulder.</i>) Come now, admit that you're not quite yourself.
- </p>
- <p>
- CHARLIE. You treat me like a child. Having been naughty, I'm sent to bed
- to sleep oft my tantrums.
- </p>
- <p>
- JABEZ. And I'm the ogre in the fairy story who makes bread of people's
- bones, eh, Charlie? Yes, you'll laugh at this to-morrow. Really, you've
- been making an awful ass of yourself. You <i>'</i>ll see things in a
- better perspective in the morning.
- </p>
- <p>
- CHARLIE (<i>bitterly</i>). With myself as a respectable member of the
- governing classes, I suppose, with nice clean hands and a dirty
- conscience.
- </p>
- <p>
- JABEZ. For Heaven's sake, Charlie, drop that silly twaddle. We've had
- enough of your platform manner for one night. You talk like a Hyde Park
- orator, only they're paid to make fools of themselves and you're not.
- </p>
- <p>
- CHARLIE. (<i>Pulling himself together</i>) No. Let's have this out. I
- didn't begin it, but now we've gone so far I must know where we stand.
- </p>
- <p>
- JABEZ. You're not fit for it. But it's as you like. (<i>Sits l. of table.</i>)
- </p>
- <p>
- CHARLIE. I do like. Now, Mr. Thompson, it's understood that I meant what I
- said. You must let me continue my laboratory work. I still hope to find
- less dangerous methods. I may also drop across a few more novelties for
- you to exploit. But I definitely decline to have a hand in coercing my
- fellow creatures to do the work as it is done at present, or in procuring
- orders necessitating such work.
- </p>
- <p>
- JABEZ. But it is necessary work, Charlie. You must see that.
- </p>
- <p>
- CHARLIE. No work involving risk of death and the certaintv of ill health
- is necessary.
- </p>
- <p>
- JABEZ. Ours is. If the supply of our productions was cut short huge
- industries would be automatically dislocated. How are people to run their
- bleaching works and dye works if they can't get dye stuffs?
- </p>
- <p>
- CHARLIE. Never mind. That wouldn't matter.
- </p>
- <p>
- JABEZ. Oh, the boy's mad. This is what comes of debating societies and
- political meetings for infants. Look here, Charlie, it's one thing to get
- on your legs and spout revolutionary rot to a roomful of fantastic fools
- as hare-brained as yourself, but it's a very different pair of steps to
- come here and ask me to take you seriously. If it wasn't for Rosie, I'd
- take you at your word and send you packing. As it is, I'll try something
- else first. John, this is your affair now. You've got to bring this fellow
- to his senses. (<i>Rises and goes round table to John, r.</i>)
- </p>
- <p>
- JOHN. I'll try, Jabez, I'll try.
- </p>
- <p>
- JABEZ. (<i>Threateningly</i>) You'll succeed. (<i>Going up to door r.c.</i>)
- </p>
- <p>
- JOHN (<i>Looking up at him</i>) What do you mean?
- </p>
- <p>
- JABEZ. You know as well as I do. I'm sorry, old man, but I've got to put
- the screw on. You can't expect me to keep my patience for ever if he won't
- hear reason. You can't blame me. I'll go and join Rosie while you
- straighten things out a bit between you.
- </p>
- <p>
- (<i>Exit through door centre. John sinks back into his seat and buries his
- head in his hands on the table. Charlie goes behind table to him and tries
- to raise him up.</i>)
- </p>
- <p>
- CHARLIE (<i>Softly</i>). Dad.
- </p>
- <p>
- JOHN (<i>slowly removing his hands from his face and raising his eyes to
- Charlie</i>). You haven't called me that since you were a little boy.
- </p>
- <p>
- CHARLIE. Dear old dad. I don't want to know what it is. Let him think he's
- got hold of something. I don't care. .
- </p>
- <p>
- JOHN. But you must know. I'm absolutely in his power. He can ruin me if he
- likes.
- </p>
- <p>
- CHARLIE. How?
- </p>
- <p>
- JOHN. It's my dye works, Charlie. Jabez finances it. No one knows it's not
- my own, but if he cut off supplies I'd have to close it down to-morrow,
- and call my creditors together. I make a living out of it, but the
- capital's all his. I couldn't meet a tenth of my liabilities without his
- aid.
- </p>
- <p>
- CHARLIE. Never mind, dad. (<i>Sits above table.</i>) We'll fight it
- together, shoulder to shoulder, you and I against the world. What does
- poverty matter if we can be independent?
- </p>
- <p>
- JOHN (<i>terrified</i>). No, no. You can't mean that. You can't mean to
- bring disgrace upon your father's grey hairs. Think of my position,
- Charlie—a public man in my own way; not such a big pot as Jabez, but
- I have my feelings just the same. The Black-more Dye Works is a small
- enough concern compared with Jabez's Chemical Works, but it's meant the
- world to me. Every one thinks the business is mine. What will people say
- when they learn that I'm practically penniless?
- </p>
- <p>
- CHARLIE. What does it matter what people say?
- </p>
- <p>
- JOHN (<i>ignoring him</i>). And Jabez is a man of his word. He means it.
- He's never threatened to do this before.
- </p>
- <p>
- CHARLIE. And what makes him do it now?
- </p>
- <p>
- JOHN. Oh, you must do what he wants, Charlie.
- </p>
- <p>
- CHARLIE. But why does he want it? Why won't he see that I'm unfit for the
- position he offers me? I can't and I won't fill it to his orders. Oh, it's
- my own fault, I suppose. He's quite right. I'm soft—too soft for
- this horrible, inhuman world. I yielded at first because I hoped to do
- some good, and I've gone on yielding ever since. It seemed so easy to
- acquiesce and to hope for the best. And this is where my cursed weakness
- has landed me.
- </p>
- <p>
- JOHN. Yes. Jabez has us at his mercy.
- </p>
- <p>
- CHARLIE. I'm as far as ever from seeing why he's doing it.
- </p>
- <p>
- JOHN. Oh, that's plain enough. He's a good sort, is Jabez.
- </p>
- <p>
- CHARLIE (<i>staggered</i>). What!
- </p>
- <p>
- JOHN. Oh, yes, really a good sort, only he likes to play boss. That's why
- he kept mum about my business—so that he could do as he liked with
- me. And then Rosie took a fancy to you; so old Jabez steps in to play
- providence to a pair of lovers. He's meant well all along.
- </p>
- <p>
- CHARLIE. He's a sentimental ass. Curse his good intentions.
- </p>
- <p>
- JOHN. You may curse them, but you'll not alter them. Jabez will have his
- way. Right or wrong, he will have his way, he always does. You may call
- him obstinate, pig-headed, anything you like, but, mark my words, it's no
- use fighting against him.
- </p>
- <p>
- CHARLIE (<i>contemptuously</i>). You're frightened of him.
- </p>
- <p>
- JOHN (<i>with conviction</i>). Terribly.
- </p>
- <p>
- CHARLIE. Well, I'm not.
- </p>
- <p>
- JOHN (<i>coming to him</i>). Charlie, you must give way. Remember me.
- Can't you see that all these years have been hell upon earth to me? I've
- been his slave, his dog, and all the time he professed friendship for me,
- nay, he was my friend. He patted me with one hand, but the dog-whip was in
- the other. You can't force him to speak now, Charlie. Oh, say you can't.
- </p>
- <p>
- CHARLIE. But—oh, I don't understand. If you had imagination enough
- to see all this and to writhe under it, and strength enough to keep your
- hands off him, couldn't you see there was a way out? Why couldn't you
- leave him, leave this place, and make a fresh start somewhere else without
- his cursed money?
- </p>
- <p>
- JOHN. I might have done that at first. But well—like father like
- son, Charlie.
- </p>
- <p>
- CHARLIE. What's that supposed to mean?
- </p>
- <p>
- JOHN. <i>You've</i> acquiesced. <i>You've</i> gone on hoping for the best.
- So did I till the cords which held me were bound more closely, till I
- became a man of substance here, looked up to by my neighbours. They made
- me sidesman at the Church and then a magistrate. I loved these things,
- Charlie, the little honours I had won. I clung to them. Your mother died,
- and as you grew up and drifted from me full of ideas I could not
- understand, I clung more closely to the little things life held for me.
- Its all I have, Charlie. Don't take that away from me Charlie. Why
- shouldn't people know it? There's no disgrace in having your business
- financed by another man.
- </p>
- <p>
- JOHN. Well, if you must know, there's another reason.
- </p>
- <p>
- CHARLIE (<i>suddenly alarmed</i>). It's a paying concern, isn't it?
- </p>
- <p>
- JOHN. Yes, but I can't prove it.
- </p>
- <p>
- CHARLIE. Why not?
- </p>
- <p>
- JOHN. I've no figures to show. Any one I approached would want to see
- accounts—audited accounts.
- </p>
- <p>
- CHARLIE. Well, haven't you got them?
- </p>
- <p>
- JOHN. No. It was enough for Jabez to know that he got a good return on his
- money. I've never had auditors in the place. Jabez never asked it.
- </p>
- <p>
- CHARLIE. That doesn't justify your carrying on the thing in a slipshod
- manner. It only shows how absolutely content you were to remain in abject
- dependence on Thompson. Any tin-pot grocer keeps his books properly and
- gets them audited.
- </p>
- <p>
- JOHN. Charlie, I'm your father.
- </p>
- <p>
- CHARLIE. Oh, it's all right. I'm going to stick by you. I'm going to be a
- pawn in Thompson's game. But I can't pretend that I can do it with a good
- grace. Your point of view's all wrong. You've been sailing under false
- colours all your life, and now I'm to cave in to Thompson so that you can
- go on living a lie to the end, and a silly lie at that.
- </p>
- <p>
- JOHN (<i>with dignity</i>). Charlie, remember who you are speaking to.
- </p>
- <p>
- CHARLIE. I do. I haven't the slightest hope of making you see it as I do,
- but I can't go licking Thompson's boots on your behalf without letting you
- know I'm not doing it for fun. And there's Rosie. I suppose Rosie's
- included in the bargain.
- </p>
- <p>
- JOHN. You engaged yourself to her, didn't you?
- </p>
- <p>
- CHARLIE. No. She did all the engaging there was about it. But it amounts
- to the same thing. I shall have to go through with it.
- </p>
- <p>
- JOHN. Well, for the life of me I can't see what you have to complain of.
- Rosie's a nice girl.
- </p>
- <p>
- CHARLIE. That's no reason for marrying her. A man can't marry all the nice
- girls he knows.
- </p>
- <p>
- JOHN. But you've always been fond of her, ever since you were children
- together. You used to call her your little friend.
- </p>
- <p>
- CHARLIE (<i>lightly</i>). Mere boy and girl flirtation.
- </p>
- <p>
- JOHN. It looked more serious than that.
- </p>
- <p>
- CHARLIE (<i>Exasperated</i>). Serious? Of course it was serious. What do
- you take me for? Do you think I'd have consented to an engagement at any
- price if I hadn't loved her to distraction? I've tried to cease loving
- her, to school myself to hate her because of what she is—Thompson's
- daughter—and I've failed. The love I hoped to conquer only conquered
- me. It's no good fighting it. I know that now. John (<i>triumphantly</i>).
- Very well then, if you love the girl——
- </p>
- <p>
- CHARLIE (<i>At bay</i>) Wait a bit. We were engaged before my eyes were
- opened, before I'd seen the horrible injustice of the men's lives in the
- works. I tell you it's wrong, all wrong. From the first moment that I
- realized it, I dedicated my life to the men. All personal desires were at
- an end. Rosie—everything went by the board. It was the men, the men,
- always the men.
- </p>
- <p>
- JOHN. Pssh!
- </p>
- <p>
- CHARLIE. I can't serve two masters. I can't waste time on marriage. I've a
- lifelong duty to perform. I've to battle for reform; and how can I be
- single-purposed in the fight if I'm tied to Rosie and accept a share of
- Thompson's tainted money?
- </p>
- <p>
- JOHN (<i>hopelessly</i>). Well, I can't understand. I never could, and I'm
- sure I don't want to interfere between you, but Jabez seems to think
- you've been engaged long enough.
- </p>
- <p>
- CHARLIE. I can't help that. There are two ways of ending an engagement,
- anyhow.
- </p>
- <p>
- JOHN. Charlie, you promised.
- </p>
- <p>
- CHARLIE. Yes, if she insists. It's Rosie I'm engaged to, not Thompson. I'm
- not going to start married life on a lie, (<i>Enter Rosie centre.</i>) and
- I shan't start it at all if I can help it. I——
- </p>
- <p>
- ROSIE. What are you two talking about so seriously? Father's sent me to
- see.
- </p>
- <p>
- JOHN. Has he, my dear? (<i>Rising and moving as though he had suddenly
- grown twenty years older.</i>) I think I will go to him. (<i>Walking
- towards the door and mumbling again.</i>) Yes, I think I will go to him.
- </p>
- <p>
- (<i>Exit John by door r.c. A slight pause. Rosie looks at Charlie.</i>)
- </p>
- <p>
- ROSIE. Well, haven't you a word to throw at a dog? (<i>Charlie is silent.</i>)
- Charlie, you're not ill, are you?
- </p>
- <p>
- CHARLIE. Ill? No. I'm all right.
- </p>
- <p>
- ROSIE. Well, suppose you say "Good evening" to me.
- </p>
- <p>
- CHARLIE (<i>collecting himselj</i>). I'm sorry. (<i>He crosses over and
- kisses her per junctorily, then sits down absent-mindedly on soja. Rosie
- watches him for a moment.</i>)
- </p>
- <p>
- ROSIE. You're not very brilliant to-night.
- </p>
- <p>
- CHARLIE. There's a depressing feeling in the air. Have you felt it?
- </p>
- <p>
- ROSIE (<i>compassionately</i>). You poor boy! Father worries you with
- problems all day at the works, and when you come here in the evening its
- business again. No wonder you're depressed. (<i>Going and sitting on the
- arm of the soja.</i>) Let me cheer you up. I'm not business, am I?
- </p>
- <p>
- CHARLIE. No. But I think sometimes the problems I face in the laboratory
- are child's play to those I've to face outside it.
- </p>
- <p>
- ROSIE. Is it anything I can help with? Let me try.
- </p>
- <p>
- CHARLIE. It is you.
- </p>
- <p>
- ROSIE. Am I a problem? (<i>Rising and moving slightly away</i>) How
- exciting!
- </p>
- <p>
- CHARLIE. It's not exciting. It's serious.
- </p>
- <p>
- ROSIE (<i>soberly, above soja</i>). And I'm not? All right. I'll be
- serious, Charlie. What's the matter?
- </p>
- <p>
- CHARLIE. Rosie, it's about—about our engagement. We've been engaged
- quite a long time now.
- </p>
- <p>
- ROSIE. Two years.
- </p>
- <p>
- CHARLIE. Yes. It seems people are wondering why we don't get married.
- </p>
- <p>
- ROSIE (<i>simply</i>). I'm ready when you are, Charlie.
- </p>
- <p>
- CHARLIE. Yes—yes. That's just it.
- </p>
- <p>
- ROSIE. What?
- </p>
- <p>
- CHARLIE. It's a difficult thing to say, but I'm not ready.
- </p>
- <p>
- ROSIE (<i>sympathetically, standing in front of sofa</i>). I don't think I
- mind very much what people say, Charlie. If you want me to wait a little
- longer, I can wait. I don't want to hurry you. You must choose your own
- time. (<i>More lightly.</i>) So that's all right and the cloud's passed
- now.
- </p>
- <p>
- CHARLIE (<i>moved</i>). Oh—if you only knew how hard you're making
- it for me. You're too good, too true to realize what a weakling I am, what
- a criminal fool I've been to let things go on to this stage.
- </p>
- <p>
- ROSIE (<i>startled</i>). Charlie, what do you mean?
- </p>
- <p>
- CHARLIE (<i>rising and crossing to Rosie</i>). I'm going to hurt you,
- Rosie. It's all my cursed fault. Try to think of me as kindly as you can.
- Rosie, it's not a case of waiting a little longer. I wish to God it was.
- It's that I can't marry you at all.
- </p>
- <p>
- ROSIE. You can't marry me!
- </p>
- <p>
- CHARLIE. Oh, don't think worse of me than you must. It's not another
- woman. It never was and it never can be. I shall never love any one but
- you.
- </p>
- <p>
- ROSIE. Then why, why?
- </p>
- <p>
- CHARLIE. My life's too full.
- </p>
- <p>
- ROSIE (<i>wonderingly</i>). Your life?
- </p>
- <p>
- CHARLIE. Yes. How shall I put it? (<i>Crossing to soja l.</i>) A Catholic
- priest doesn't marry lest marriage distract him from his wrestle with the
- devil. I too am going to wrestle with a devils the devil of industrialism.
- I've things to do in the world, a battle to fight which can only be fought
- in the strength of loneliness.
- </p>
- <p>
- ROSIE (<i>a little hardly</i>). Yet you engaged yourself to me.
- </p>
- <p>
- CHARLIE. Two years ago. I didn't see it then Day by day it has become
- clearer. The task I have to do reveals itself. Oh, I dare say I don't put
- things well. I know I must show up like a blackguard for not telling you
- before. It's been inevitable for months, but I let things slide and there
- it is. We're up against it now. (<i>Pause.</i>)
- </p>
- <p>
- ROSIE. Yes. We're up against it now. Only it takes two to make a bargain,
- Charlie. If you can be obstinate, so can I.
- </p>
- <p>
- CHARLIE. What do you mean?
- </p>
- <p>
- ROSIE. I mean that I know you better than you know yourself and a hundred
- times better than you know me. You and your Catholic priest! In the Church
- I belong to priests marry, and I've yet to learn that they fight the devil
- any the worse for it. I don't believe that the strongest man is he who
- stands most alone when there's a woman in love with him. You don't know me
- yet, Charlie. If you think I'd let you go for the sake of your wrestle
- with the devil, you're mistaken. The devil might throw you if you wrestled
- him alone, but he'll have less chance if I'm there to pull his tail.
- </p>
- <p>
- CHARLIE. You won't release me?
- </p>
- <p>
- ROSIE. Never. Oh, you needn't be afraid. I dare say I've a surprise in
- store for you. You'll be none the worse for having a woman by your side
- and I know I'm the right woman. There's only one way of making you believe
- it, and that is by marrying you and proving it. I'm not afraid.
- </p>
- <p>
- CHARLIE. Well, I am. (<i>Crossing to r.c.</i>) You're assuming that I'm
- the ordinary sort of fool who thinks money's everything. I may be a
- lunatic, but I'm not that brand. I want to be left alone. I want a decent
- chance of living my life in my own way. As things are, I'm caged. I'm at
- the bottom of an infamous well, and there's a window somewhere far up, but
- I can't reach it. I can't find the way out. (<i>Rosie smiles
- compassionately.</i>) Now, you're laughing at me. You! Rosie, harmless,
- necessary Rosie, whom I've always thought of as the type of bread and
- butter miss.
- </p>
- <p>
- ROSIE. And you're surprised to find her a woman with a will of her own?
- </p>
- <p>
- CHARLIE. You won't let me go? (<i>Crossing to l.c.</i>)
- </p>
- <p>
- ROSIE. Never.
- </p>
- <p>
- CHARLIE. Do you know what you are doing?
- </p>
- <p>
- ROSIE (<i>confidently</i>). Oh, yes.
- </p>
- <p>
- CHARLIE. You don't. You think you're being my guardian angel. You think
- you're helping me. As a matter of fact, you're hanging a millstone round
- my neck which will drag me down to the lowest depths of human misery. If
- it wasn't so utterly tragic I could laugh for a week at the silliness of
- it all. I'm not allowed an opinion of my own. I'm not to diverge by one
- hand's breadth from the path laid down for me. I'm to marry the wife you
- choose and do the work you choose and own the wealth you choose and take
- the place in society laid down for me. I'm not a man. I'm a specimen in a
- case with a pin through my body. I'm clay in the hands of the potter. I'm——
- </p>
- <p>
- ROSIE. You're the man I love. (<i>Charlie collapses into chair l. of
- table.</i>)
- </p>
- <p>
- CHARLIE. That's the last straw. I suppose I shall have that thrown in my
- face all my life.
- </p>
- <p>
- ROSIE (<i>reflectively</i>). Let me see. Shall we say April 25? Lent will
- be over by then.
- </p>
- <p>
- CHARLIE. Say what you like. I haven't a kick left in me.
- </p>
- <p>
- ROSIE (<i>going to door c. and calling</i>). Father, father!
- </p>
- <p>
- (<i>Enter Jabez and John in their shirt-sleeves with billiard cues.</i>)
- </p>
- <p>
- JABEZ. Well, my dear. What is it? (<i>c. behind table, John crosses R.c.
- Rosie is back l.c.</i>)
- </p>
- <p>
- ROSIE. Father, Charlie wants us to be married on April 25.
- </p>
- <p>
- JABEZ. The young scamp. What a hurry he's in. Well, well, young people
- will be young people, eh, John? (<i>Nudges John.</i>)
- </p>
- <p>
- JOHN. Thank you, my boy, thank you. You don't know what this means to me.
- </p>
- <p>
- JABEZ. Yes, this saves a lot of trouble, Charlie. You're going to be a
- sensible fellow, after all.
- </p>
- <p>
- (<i>Patting Charlie's shoulder. John turns gratefully to Rosie.</i>)
- </p>
- <h3>
- CURTAIN.
- </h3>
- <p>
- <br /><br />
- </p>
- <hr />
- <p>
- <a name="link2H_4_0003" id="link2H_4_0003"> </a>
- </p>
- <div style="height: 4em;">
- <br /><br /><br /><br />
- </div>
- <h2>
- ACT II.
- </h2>
- <p>
- <i>The next morning. Thompson's office at the works. Doors l. and at the
- extreme R.C. Opposite the door L. is a desk with revolving arm-chair.
- Fireplace at the back centre, table against the wall by the fireplace. A
- couple of revolving arm-chairs. Carpet on floor. Jabez believes in working
- in comfort. Small hat-rack attached to wall by the door l. Telephone
- receiver on the desk, speaking tube protruding from the wall by the chair
- and handbell on desk, which is open. Clock on mantelpiece points to 9.55.</i>
- </p>
- <p>
- LOMAX <i>is an elderly man with iron-grey hair, cleanshaven, and has the
- appearance, of a confidential head clerk or cashier, which in fact he is.
- He arranges a few open letters on the desk and puts a paper weight on them
- as Charlie enters l. bringing in Mrs. Wilcock, a careworn woman of thirty,
- dressed in black with shabby skirt, heavy incongruous mantle and beaded
- bonnet. A considerable nervousness is added to her distress.</i>
- </p>
- <p>
- CHARLIE. (<i>Sympathetically</i>) Come in here, Mrs. Wilcock.
- </p>
- <p>
- MRS. WILCOCK (<i>Entering shyly, seeing Lomax and "bobbing" towards him</i>)
- Thank ye, sir.
- </p>
- <p>
- CHARLIE. Sit down. Make yourself comfortable. (<i>Pulling chair across
- towards fire.</i>) Good morning, Mr. Lomax.
- </p>
- <p>
- LOMAX (<i>crossing to l.</i>). Good morning, sir.
- </p>
- <p>
- (<i>Exit Lomax, l. Mrs. Wilcock sits on the edge of the chair.</i>)
- </p>
- <p>
- MRS. WIL. (<i>Anxiously</i>) Do you think as A'm doing the reeght thing,
- Mr. Bunting, sir?
- </p>
- <p>
- CHARLIE (<i>Standing by her r.</i>). Oh, yes, quite right, Mrs. Wilcock.
- </p>
- <p>
- MRS. WIL. (<i>volubly</i>). They all told me A mun coom an' see the
- master. A weren't sure if it were proper. But there's not above a two
- three shilling in th' <i>'</i>ouse, an' wheer money's to coom from for th'
- burying A dunno. Six childer to find black for an' all, an' none of <i>'</i>em
- old enough to be earning.
- </p>
- <p>
- CHARLIE (<i>with his back to fire</i>). Don't let that trouble you, Mrs.
- Wilcock. I'll see to that.
- </p>
- <p>
- MRS. WIL. It's all coom so sudden. He coom out to his work as cheerful as
- could be, an' when they browt him whoam to me a steam roller might a'gone
- o'er 'im.
- </p>
- <p>
- CHARLIE (<i>shuddering</i>). Yes, yes. I saw him.
- </p>
- <p>
- MRS. WIL. The neighbours <i>'</i>as been that good to me you wouldn't
- believe. One's lent me this cape an' another's loaned me this bonnet. A'd
- nobbut a skirt masel' as was anyways black. It's not as if we'd been in a
- buryin' club. Takes us folk all our time to go on livin' when theer's six
- young mouths to fill an' another comin'.
- </p>
- <p>
- CHARLIE. Well, you mustn't distress yourself about the funeral, Mrs.
- Wilcock. I'll make that my business.
- </p>
- <p>
- MRS. WIL. (<i>with tears</i>). Bless you, sir, tha's taken a load off my
- mind. A couldn't abide thowt o' my man's not bein' buried proper.
- </p>
- <p>
- CHARLIE. What you've got to talk to Mr. Thompson about is the future.
- </p>
- <p>
- MRS. WIL. (<i>resignedly</i>). It'll 'ave to be th' 'ouse for me.
- </p>
- <p>
- CHARLIE. Oh, nonsense. You'll get compensation.
- </p>
- <p>
- MRS. WIL. Must A ask the master for it, sir?
- </p>
- <p>
- CHARLIE. Certainly.
- </p>
- <p>
- MRS. WIL. A misdoubt A'll never 'ave th' face to do it.
- </p>
- <p>
- CHARLIE. You've nothing to be' afraid of. It'll be all right, Mrs. Wdcock.
- </p>
- <p>
- MRS. WIL. (<i>dolefully</i>). A never thowt as mine 'ud be workus
- children.
- </p>
- <p>
- CHARLIE. They won't be. You needn't fear that. (<i>Dowden, a young clerk
- of about twenty-eight, opens the door l. He is cirefully dressed, but his
- clothes have seen better days.</i>)
- </p>
- <p>
- DOWDEN. Dr. Clavering to see you, sir.
- </p>
- <p>
- (<i>Enter Clavering, l. Dowden shuts the door.</i>)
- </p>
- <p>
- CHARLIE. Hullo, old man!
- </p>
- <p>
- CLAVERING. Good morning.
- </p>
- <p>
- CHARLIE. This is Mrs. Wilcock.
- </p>
- <p>
- CLAV. (<i>properly sympathetic</i>). Oh, yes. Good morning. Very sorry to
- hear about your husband, Mrs. Wilcock. (<i>r.c.</i>)
- </p>
- <p>
- MRS. WIL. (<i>tearfully</i>). Yes, sir. (<i>Charlie goes to the door l.
- and opens it.</i>)
- </p>
- <p>
- CHARLIE. Oh, Dowden. (<i>Dowden appears.</i>)
- </p>
- <p>
- DOWDEN. Yes, sir?
- </p>
- <p>
- CHARLIE. Just give Mrs. Wilcock a chair by the counting house fire, till
- Mr. Thompson comes, will you? Go with this gentleman, Mrs. Wilcock. (<i>She
- rises and he walks with her to the door.</i>) Now, don't you fret. You
- won't have to go to the workhouse.
- </p>
- <p>
- MRS. WIL. Thank you, sir. (<i>She goes out with Dowden, l.</i>)
- </p>
- <p>
- CLAV. Are you sure of that?
- </p>
- <p>
- CHARLIE. God knows, but the insurance people shan't rob her if I can help
- it. Isn't it damnable, Clavering?
- </p>
- <p>
- CLAV. Yes. But it won't last for ever.
- </p>
- <p>
- CHARLIE. The book, you mean. (<i>Taking a book from his pocket.</i>)
- </p>
- <p>
- CLAV. Yes, the book. Hullo, do you carry it about with you?
- </p>
- <p>
- CHARLIE. I'm going to give this to Thompson to-day.
- </p>
- <p>
- CLAV. Are you?
- </p>
- <p>
- CHARLIE (<i>a little anxiously</i>). It's all right, I suppose? About the
- publication?
- </p>
- <p>
- CLAV. Oh, yes. I heard from Mitchell this morning. It will be published
- to-morrow.
- </p>
- <p>
- CHARLIE. That's good.
- </p>
- <p>
- CLAV. Yes. What I came to show you was this. (<i>Taking paper from an
- envelope from his inside pocket.</i>) It's simply gorgeous.
- </p>
- <p>
- CHARLIE. What is it?
- </p>
- <p>
- CLAV. Well, I've a friend on the <i>London Morning News</i>, and I got
- Mitchell to see he had a copy of the book.
- </p>
- <p>
- CHARLIE. Yes?
- </p>
- <p>
- CLAV. (<i>handing him the proof</i>). He sent me a proof of his review by
- this morning's post. That's it. He's done us well.
- </p>
- <p>
- CHARLIE. By Jove. That's luck.
- </p>
- <p>
- CLAV. Yes. It's a storming notice.
- </p>
- <p>
- CHARLIE. Things are going to move a bit now the book's coming out. It'll
- waken people up to a realization of the kind of thing that's done in the
- name of profit.
- </p>
- <p>
- CLAV. (<i>impatiently</i>). Yes. I haven't time to stay now. I must get on
- with my round.
- </p>
- <p>
- CHARLIE. Of course. Don't let me detain you, old man. I'll read this at
- once. Thanks for bringing it.
- </p>
- <p>
- CLAV. Right you are. Good-bye. I'll go this way. It's shorter. (<i>Opening
- door at hack R.C.</i>)
- </p>
- <p>
- CHARLIE. Do. Good-bye.
- </p>
- <p>
- (<i>Exit Clavering, r.c. Charlie unfolds the proof and reads it, moving
- towards the door at hack. Enter Lomax.</i>)
- </p>
- <p>
- LOMAX. Mr. Thompson has just come in, sir. (<i>Crossing to desk.</i>)
- </p>
- <p>
- CHARLIE. All right. Let him know Mrs. Wilcock's there. I shall be in the
- laboratory if he asks for me.
- </p>
- <p>
- (<i>Exit Charlie, r.c. Lomax fusses about the desk for a moment. Jabez
- comes in L. takes off his hat and coat and hangs them by the door. Lomax
- stands to attention at the desk.</i>)
- </p>
- <p>
- JABEZ. Good morning, Lomax.
- </p>
- <p>
- LOMAX (<i>deferentially</i>). Good morning, sir. (<i>Pause.</i>) Jabez.
- Anything fresh there?
- </p>
- <p>
- LOMAX. Not very much, I'm afraid.
- </p>
- <p>
- JABEZ. There's not much trade about, these days. (<i>Sitting at his desk.</i>)
- </p>
- <p>
- LOMAX. No, sir. Cranbury's haven't sent their cheque again.
- </p>
- <p>
- JABEZ. Haven't they? Well, I'm waiting no longer. You'd better ring up
- Charlton and get him to take it in hand. You might attend to this lot. (<i>Handing
- him some letters.</i>)
- </p>
- <p>
- LOMAX. Yes, sir.
- </p>
- <p>
- JABEZ. That's all. (<i>Lomax coughs.</i>) Well, what is it?
- </p>
- <p>
- LOMAX. That matter of young Dowden sir. You said you would speak to him
- to-day.
- </p>
- <p>
- JABEZ. Oh, yes, of course. (<i>Takes down speaking tube and blows: then
- puts it to his mouth.</i>) Send Dowden to me. (<i>Replaces tube.</i>) Let
- me see invoice desk, isn't he?
- </p>
- <p>
- LOMAX. Yes, sir.
- </p>
- <p>
- JABEZ. You're quite sure he's getting restive? Lomax. Absolutely. I
- thought he'd ask for a rise last week. It's been on his tongue three or
- four times or I shouldn't have mentioned it to you. A look from me
- generally keeps them quiet if they only half mean it.
- </p>
- <p>
- JABEZ. What does he get?
- </p>
- <p>
- LOMAX. Twenty-two shillings.
- </p>
- <p>
- JABEZ. What's he likely to ask for?
- </p>
- <p>
- LOMAX. I shouldn't wonder if he asked thirty, sir. For one thing it's
- three years since he had a rise, and for another he keeps his mother.
- </p>
- <p>
- JABEZ. Has she got any money?
- </p>
- <p>
- LOMAX. I fancy not, sir.
- </p>
- <p>
- JABEZ. Good. That'll keep him steady That's the kind we want, Lomax. He
- can't afford to take risks. Good worker of course?
- </p>
- <p>
- LOMAX. Excellent. None better.
- </p>
- <p>
- JABEZ. Age?
- </p>
- <p>
- LOMAX. Twenty-eight, sir. (<i>A knock.</i>) Shall I go, sir?
- </p>
- <p>
- JABEZ. No. Stay here. (<i>Calling.</i>) Come in.
- </p>
- <p>
- (<i>Enter Dowden, l. he is obviously extremely nervous over his
- "carpeting" before his employer. Lomax stands above desk.</i>)
- </p>
- <p>
- JABEZ (<i>beaming paternally on him, with his elbows on the arms of his
- chair and his finger-tips together.</i>) Come in, Dowden. Don't be
- nervous, man. No one's going to hurt you. (<i>Dowden shuts door and moves
- towards Jabez.</i>) This is one of those pleasant interludes in the life
- of an employer which make it worth the living. You have pleased me,
- Dowden.
- </p>
- <p>
- DOWDEN. Very good of you to say so, I'm sure, sir.
- </p>
- <p>
- JABEZ. Mr. Lomax has spoken most favourably of you. Good lad, good lad.
- We've been putting our heads together and we're going to raise your salary
- to—twenty-five shillings a week.
- </p>
- <p>
- DOWDEN. Thank you, sir. Thank you very much indeed. (<i>Nervously.</i>)
- Only, sir, I was going to ask——
- </p>
- <p>
- JABEZ (<i>interrupting</i>). Don't thank me, Dowden. You owe it to your
- own good work. Go on in the same way and you may come to me again in a
- year's time, I'll see you right. Mr. Lomax just make a note of that, will
- you? That will do, Dowden.
- </p>
- <p>
- DOWDEN. Yes, sir, and thank you, sir.
- </p>
- <p>
- (<i>Exit Dowden, l.</i>)
- </p>
- <p>
- JABEZ. Settled his hash for a year anyhow, Lomax. Just let me know of any
- similar symptoms in good men. It always pays to take time by the forelock
- in these little matters.
- </p>
- <p>
- LOMAX. It does that, sir. You prove it. You've the cheapest office staff
- in the country for its size.
- </p>
- <p>
- JABEZ (<i>chaffing him genially</i>). You think so, Lomax?
- </p>
- <p>
- LOMAX. I'm sure of it, sir.
- </p>
- <p>
- JABEZ. I sometimes think the cashier makes a big hole in the salary list,
- eh, Lomax?
- </p>
- <p>
- LOMAX (<i>alarmed</i>). I'm sure I——
- </p>
- <p>
- JABEZ. Yes, yes. I'm not thinking of cutting you down, Lomax. Only, one
- has to fix a limit. You might bear that in mind.
- </p>
- <p>
- LOMAX. Yes, sir.
- </p>
- <p>
- JABEZ. That will do then. (<i>Lomax turns to go.</i>) Oh, by the way, is
- Mr. Charles in his room? Lomax. I think so, sir.
- </p>
- <p>
- JABEZ. You might ask him to step this way. Lomax. Yes, sir.
- </p>
- <p>
- (<i>Exit Lomax, r.c. Jabez opens a side drawer in his desk, takes out a
- cigar box, selects and lights a cigar, and goes to fireplace and turns
- back to fire with the air of a man who, having done a good mornings work,
- may legitimately permit himself some reward. Enter Charlie, r.c.</i>)
- </p>
- <p>
- JABEZ. Good morning, Charlie. Hope you slept well.
- </p>
- <p>
- CHARLIE. Good morning. Can't say I did.
- </p>
- <p>
- JABEZ. You'll soon get over that. At your age a night's rest more or less
- makes no difference. Did I interrupt some particularly promising
- experiment?
- </p>
- <p>
- CHARLIE. No. I haven't been experimenting to-day. I've been engaged with
- some of the men.
- </p>
- <p>
- JABEZ. Really? Well, there's no accounting for tastes. You're a queer
- fish.
- </p>
- <p>
- CHARLIE. You didn't send for me to tell me that, I suppose?
- </p>
- <p>
- JABEZ (<i>blowing smoke and watching it rise</i>). Eh? No, I suppose I
- didn't. Have a cigar?
- </p>
- <p>
- CHARLIE. No thanks.
- </p>
- <p>
- JABEZ. No? Well, now that you've come to your senses the thing is to see
- about what arrangements we must make. To begin with, I think we'd better
- fix you up a desk in here.
- </p>
- <p>
- CHARLIE' (<i>wearily</i>). Yes.
- </p>
- <p>
- JABEZ. We'll have that table out and one put there. Or is that too near
- the fire for you?
- </p>
- <p>
- CHARLIE. Oh, anywhere.
- </p>
- <p>
- JABEZ. You see, you'll have to work under my supervision at first and then
- begin gradually to take the responsibility off my shoulders. I shall be
- glad of a rest, Charlie.
- </p>
- <p>
- CHARLIE. Don't you think you are taking a good deal for granted?
- </p>
- <p>
- JABEZ. Why?
- </p>
- <p>
- CHARLIE. I told you I'd not slept. A man can do a lot of thinking in eight
- hours.
- </p>
- <p>
- JABEZ. What, you mean to say——
- </p>
- <p>
- CHARLIE. That I've thought the whole thing over.
- </p>
- <p>
- JABEZ. Well?
- </p>
- <p>
- CHARLIE. It's not good enough. It's—it's dishonourable.
- </p>
- <p>
- JABEZ (<i>angrily</i>). Dishonourable, sir? What the devil do you mean?
- </p>
- <p>
- CHARLIE. I'm the only bulwark the men have. If I marry Rosie—sell
- myself to you—it means pushing the men back into their old places
- just when they're ready to make some show of fighting and want all the
- help I can give them.
- </p>
- <p>
- JABEZ. For God's sake do leave the men out of it for one moment. It's you
- I'm talking about, not them. You gave me your word last night.
- </p>
- <p>
- CHARLIE. I know I did.
- </p>
- <p>
- JABEZ (<i>sneeringly</i>) You needn't talk so much about honour.
- </p>
- <p>
- CHARLIE. Oh, there are things I value more than an empty phrase. That lift
- accident made me realize once again how much I'm needed and how little I
- could do if I married Rosie. I've seen Mrs. Wilcock this morning. Oh, it's
- pitiful!
- </p>
- <p>
- JABEZ. Now, could I help the lift breaking down?
- </p>
- <p>
- CHARLIE. No, but you could help a hundred other things happening, only
- safety apparatus costs money and men are cheap. Last night's accident was
- only the last straw. The men need me and I won't forsake them.
- </p>
- <p>
- JABEZ. Who's asking you to forsake them? I'm only asking you to carry out
- your engagement. Good heavens, it's a chance any man in his senses would
- jump at.
- </p>
- <p>
- CHARLIE. I'm sorry I don't agree.
- </p>
- <p>
- JABEZ. You play fast and loose with me, my lad, and I'll ruin your father
- for it. Don't forget that.
- </p>
- <p>
- CHARLIE. Look here, suppose I let you force my hand. Suppose I married
- Rosie under compulsion, what sort of a time do you fancy she'd have?
- What's to prevent me taking it out of you by cruelty to the daughter you
- love?
- </p>
- <p>
- JABEZ (<i>recovering his temper</i>). No you don't, my boy. It's very
- clever of you. Upon my word, I'm glad to hear you talk like that. After
- all, you've the makings of a business man about you, but I'm too old a
- bird to be caught by a bluff like that. You know very well you're talking
- through your hat. You couldn't do it. Besides, even if I wasn't sure of
- you I'm sure of Rosie. I'm a long way more frightened for you than I am
- for her, my boy. She's managed me all her life, and if there's going to be
- any bullying when you're married, take my word, it's not you that'll do
- it. You see, I know Rosie.
- </p>
- <p>
- CHARLIE. Very well then. You compel me to take other measures.
- </p>
- <p>
- JABEZ. What, still fighting? You're getting quite pugnacious, Charlie. (<i>Crossing
- to cupboard l. and unlocking it.</i>)
- </p>
- <p>
- CHARLIE. Don't laugh at me. I won't be laughed at.
- </p>
- <p>
- JABEZ. Then don't make yourself ridiculous, my boy. Every man feels like
- you do when he's booked his passage. But most of us have it out with
- ourselves. We don't talk about it, but we all get a fit of funk and want
- to back out if we can. It's a natural reaction. Come, pull yourself
- together, Charlie. Have a whisky and soda. (<i>He takes a decanter, glass
- and syphon from cupboard and places on top of it.</i>)
- </p>
- <p>
- CHARLIE (<i>for a moment half laughing at himself</i>). You make very
- certain that I'm not an embryonic wife-beater.
- </p>
- <p>
- JABEZ (<i>with the decanter in his hand</i>). You won't?
- </p>
- <p>
- CHARLIE. No thanks. (<i>Jabez mixes a drink for himself.</i>)
- </p>
- <p>
- JABEZ (<i>meditatively</i>). Yes, I think a desk will do very well in
- place of that table.
- </p>
- <p>
- CHARLIE. I refuse to sit at it.
- </p>
- <p>
- JABEZ. Oh, I don't think so. (<i>Walking up with drink and sitting l. of
- fire, putting glass on mantel.</i>) You see, Charlie, your father's so
- very respectable; he simply radiates respectability. Gad, I shall never
- forget old John's face when he was up in town with me for the first time
- and I took him to the Empire. He got used to it later on, though. But it's
- different down here. He's the champion bazaar opener of the district.
- Quite a great man in his way is old John. Yes, we can't have a scandal,
- Charlie. It really would not do.
- </p>
- <p>
- CHARLIE. You must do as you like about that. It's his affair. And anyhow
- it's absurd to talk of it as a scandal.
- </p>
- <p>
- JABEZ. He wouldn't say so. How shockingly unfilial you are!
- </p>
- <p>
- CHARLIE. Possibly. I've myself to look after.
- </p>
- <p>
- JABEZ. Still fighting? (<i>He takes a drink.</i>)
- </p>
- <p>
- CHARLIE. Yes. If I can't touch you through Rosie, I can touch you through
- something still dearer.
- </p>
- <p>
- JABEZ (<i>sarcastically</i>). And what may that be?
- </p>
- <p>
- CHARLIE. Your pocket.
- </p>
- <p>
- TABEZ. What do you mean?
- </p>
- <p>
- CHARLIE. Oh, you shall know. I'll give you fair warning.
- </p>
- <p>
- JABEZ (<i>rising</i>). What is it?
- </p>
- <p>
- CHARLIE. The men. They're not blind. They're no longer the passive fools
- their fathers were.
- </p>
- <p>
- TABEZ. Well?
- </p>
- <p>
- CHARLIE. You were pleased to be angry with me last night when I explained
- why I undertook laboratory work. I can't help that. My sympathies are all
- with the men, not the master. If it comes to a fight, I shall be on their
- side, not yours. You—oh, I don't expect you to understand, but with
- me altruism is a religion.
- </p>
- <p>
- JABEZ. A religion! Is that all.
- </p>
- <p>
- CHARLIE. What more can it be?
- </p>
- <p>
- JABEZ. My dear fellow, religion is a respectable pastime for Sundays, but
- it's got nothing to do with every-day life except for parsons and old
- women In this country, you can be a Mohammedan or a Mormon if you like,
- but I can't see that it any material difference in your ordinary conduct.
- </p>
- <p>
- CHARLIE. Can't you? I'm different My religion is a thing I believe in on
- weekdays, a thing I act upon and live up to as far as I can.
- </p>
- <p>
- JABEZ. Aren't we getting away from the point?
- </p>
- <p>
- CHARLIE. The point is the men.
- </p>
- <p>
- TABEZ. Exactly. I'll have no tampering with the men Charlie, no putting
- ideas above their station into their heads.
- </p>
- <p>
- CHARLIE. It's fifty years too late to talk like that. As a matter of fact,
- I'm going to address a meeting of the men to-night. And I shall take their
- part. They know it. I've the gifts of the mob orator. (<i>Chuckle from
- Jabez.</i>) God knows it's a sorry gift to boast about, but it will serve
- my turn. I can sway a crowd. I've done it time and again in debates.
- </p>
- <p>
- JABEZ. (<i>Pause, then</i>) Where is this meeting? (<i>Crosses to desk,
- sitting to face audience.</i>)
- </p>
- <p>
- CHARLIE. The Assembly Hall. I am as certain as I stand here that I can
- work my will upon them. I shall advise a strike, and strike they shall
- unless——
- </p>
- <p>
- JABEZ. Oh, you've got your price then? (<i>Sneeringly.</i>)
- </p>
- <p>
- CHARLIE. Yes. It's cowardly, but I have. It's against my convictions, but,
- as you say, I have my price.
- </p>
- <p>
- JABEZ. What is it?
- </p>
- <p>
- CHARLIE. Freedom of action. (<i>Crosing towards Jabez.</i>) Laboratory
- work and no other and release from the mockery of an engagement with
- Rosie. (<i>Enter John, l.</i>)
- </p>
- <p>
- JABEZ. Hullo, John. Good morning. Glad you called. (<i>Charlie goes to
- fireplace.</i>)
- </p>
- <p>
- JOHN. Good morning, Jabez. (<i>Crossing to Jabez.</i>) Yes, I called about
- the monthly accounts. I've got the total here, if you'll sign me a cheque.
- </p>
- <p>
- JABEZ (<i>grimly</i>). You'd better talk to Charlie about that.
- </p>
- <p>
- JOHN. Charlie!
- </p>
- <p>
- JABEZ. Yes. Here he is with a bee in his bonnet as usual. Look at him,
- John.
- </p>
- <p>
- JOHN. What is it, Charlie? Wasn't everything settled last night?
- </p>
- <p>
- JABEZ. Oh, you're not quite up to date, John. We move fast nowadays, don't
- we, Charlie?
- </p>
- <p>
- CHARLIE. I wish to God we did. (<i>Sitting on armchair l. of fire.</i>)
- </p>
- <p>
- JABEZ. The latest is that some fools amongst the men want to strike. Lord
- knows what they think they'll get by striking, but let me introduce you.
- John, to the strike leader.
- </p>
- <p>
- JOHN. Charlie, you couldn't——
- </p>
- <p>
- JABEZ. Oh, he believes in variety, John, that's what it is. Last night
- Rosie, this morning no Rosie. The men are the latest love. It's off with
- the old and on with the new.
- </p>
- <p>
- JOHN. Don't be hard on me, Jabez. I can't bear it.
- </p>
- <p>
- JABEZ. I've to look after number one, John.
- </p>
- <p>
- JOHN (<i>appealingly</i>). Charlie!
- </p>
- <p>
- CHARLIE. It's no good, father. I can't betray my principles.
- </p>
- <p>
- JABEZ. And I can't sign that cheque, John. Perhaps Charlie's prepared to
- be your banker.
- </p>
- <p>
- JOHN. It means—— (<i>Sitting l. of desk.</i>)
- </p>
- <p>
- JABEZ. Oh, I know what it means. (<i>Rises, goes c., drains glass and
- turns on Charlie.</i>) Listen to me, Charlie. I'll have no meddling with
- the men. That's all over and done with. Understand once for all that it's
- hands off the men. I'll have no discontent amongst my men. I don't want
- men who'll think. I want men who'll work. (<i>Down l. to cupboard and
- putting glass on top of it.</i>)
- </p>
- <p>
- CHARLIE. To think is to be discontented. Discontent is divine.
- </p>
- <p>
- JABEZ. Don't talk rubbish, sir. We are told to be content with the station
- into which it has pleased Providence to place us.
- </p>
- <p>
- CHARLIE (<i>passionately</i>). Virtue on ten thousand a year! This is your
- rich man's God, who is at home to you in his church one day a week from
- 10.30 to 12 and 6.30 to 8. You don't go because you hope to get a little
- dirt washed off your shop-soiled soul. You go because it isn't respectable
- to stop away. For six days you serve Mammon, and on the seventh you follow
- your gregarious instincts and crowd into a church in your sleek
- broadcloth, and only the effort of keeping a properly sanctimonious
- expression on your well-fed face prevents you from falling asleep in your
- padded pew. That's your middle-class religion and your middle-class
- Providence. Don't talk to me of Providence till you can show me a
- Providence which provides.
- </p>
- <p>
- JABEZ, Rank blasphemy, sir. (<i>Going up to Charlie, settling his collar
- irritably.</i>) Don't talk to me as if I was a nonconformist.
- </p>
- <p>
- CHARLIE. Nonconformist? No, you conform to everything. You began in a rut
- and you'll stay in the rut till you die.
- </p>
- <p>
- JABEZ. A rut!
- </p>
- <p>
- CHARLIE, Yes, the gutter where you poke in slime for sixpences, afraid to
- look up at God's blue sky or about you at your fellow-men lest some one
- else should pick up a sixpence while your head's turned. Oh, you conform
- right enough. You do nothing else. You conform to Success and
- Respectability, and they're the stronghold of the Devil.
- </p>
- <p>
- JABEZ (<i>recovering his temper, sitting down at desk and rubbing his
- hands genially, looking at John, laughing.</i>) Sit down, Charlie.
- </p>
- <p>
- CHARLIE. Thanks, I can say all I have to say standing.
- </p>
- <p>
- JABEZ. Oh, but this is delightful. As good as a pantomime, isn't it, John?
- Go on, Charlie. It's amusing you and doing me no harm.
- </p>
- <p>
- CHARLIE. Yes, that's the pity of it. It's doing you no harm. You'll have
- your dog's day. You'll go on accumulating the money you've no need of
- because you're in the grip of the money habit. You couldn't stop mobbing
- your impotent employés if you wanted to. The looting instinct's in your
- blood.
- </p>
- <p>
- JABEZ (<i>calmly.</i>) I am doing what I conceive to be my duty, the duty
- of every man—to make as much as I can by honourable and
- business-like methods.
- </p>
- <p>
- My father did it and his father before him. My son would do it if I had
- one.
- </p>
- <p>
- CHARLIE. Hereditary money-grubbing. That's typical. It's our idea of
- progress and self-reliance and thinking things out for one's self. (<i>He
- pauses, hand on mantel, looking into fire.</i>)
- </p>
- <p>
- JABEZ (<i>pause</i>). What, dried up? Well, I've let you have your fling.
- You are like any other child, Charlie. You've been hurt and you're crying,
- only you put your squeal into words. A child only howls, while the natural
- impulse of the adult is to curse something or somebody. Have you said all
- you wanted to?
- </p>
- <p>
- JOHN. Charlie, for Heaven's sake——
- </p>
- <p>
- CHARLIE (<i>facing Jabez</i>). Oh, I'd more to say. But that will do. I've
- wasted my breath, but it's done me good to give it you straight from the
- shoulder for once. After all, you're not a millionaire or a trust
- president. You're precious small beer as employers go nowadays.
- </p>
- <p>
- JABEZ. Oh, so that's all right, and I'm put in my proper place, eh,
- Charlie? And you've let off steam now instead of to the men to-night.
- </p>
- <p>
- CHARLIE. That's as may be. I've not done yet.
- </p>
- <p>
- JABEZ (<i>to John</i>). This fellow's solved the problem of perpetual
- motion, John. What is it this time?
- </p>
- <p>
- CHARLIE (<i>taking a small book from his pocket</i>). Do you know what
- this is?
- </p>
- <p>
- JABEZ. It looks like a book.
- </p>
- <p>
- CHARLIE. It is. Just have a look at it. (<i>Offering it.</i>)
- </p>
- <p>
- JABEZ. I'm not interested in literature.
- </p>
- <p>
- CHARLIE. This will interest you. (<i>Holding the book out towards him.</i>)
- </p>
- <p>
- JABEZ. (<i>snatching it and reading the title</i>). "An Inquiry into the
- Condition of the Workers in our Chemical Industries, by Walter Clavering,
- M.D." What's this? Clavering? This isn't like what I know of Clavering. I
- wonder what his game is?
- </p>
- <p>
- CHARLIE. He hasn't got a game, as you call it. Clavering's in earnest
- about it. (<i>Going up to fire.</i>)
- </p>
- <p>
- JABEZ. I'm afraid you're a bad judge of character, Charlie. (<i>Turning
- over the pages.</i>) What's this? "Illustrated by Photographs by Charles
- Bunting."
- </p>
- <p>
- CHARLIE. Oh, yes. I had a hand in it.
- </p>
- <p>
- JABEZ. You damned young scamp.
- </p>
- <p>
- CHARLIE. That's an advance copy. The book's not published yet.
- </p>
- <p>
- JABEZ. I'll take good care it never is.
- </p>
- <p>
- CHARLIE (<i>smiling</i>). It will be published to-morrow. Here's a proof
- of a review of it by a chum of Clavering's. This review will appear in a
- London paper to-morrow. It will tell you all about the book. Shall I read
- it to you? (<i>Taking a proof sheet from his breast pocket.</i>)
- </p>
- <p>
- JABEZ. Go ahead.
- </p>
- <p>
- CHARLIE (<i>reading from the proof as if selecting detached sentences,
- mumbling a few words between each</i>). "The book bears on every page the
- sign-manual of sincerity. Its facts are an incontrovertible proof of the
- inadequacy of our factory law administration to cope with the rapacity and
- unscrupulousness of manufacturers. A book to read not only with the eyes,
- but with the heart. The authors has drawn public attention to a festering
- sore in our midst. The great heart of the public cannot fail to be moved
- by such an exposure of man's inhumanity to man. Something must be done to
- counteract such infamy. There can be no delay." (<i>Mumbling, as if
- looking for a further selection.</i>)
- </p>
- <p>
- JABEZ. Stop! This is intimidation. It's blackmail. Clavering—you
- know very well he came to me with some cranky respirator he'd patented.
- This is his revenge on me for refusing to take up his rotten patent. It's
- libel. I'll ruin him for it.
- </p>
- <p>
- CHARLIE. Hadn't you better read the book before you talk like that?
- </p>
- <p>
- JABEZ. That for your book. (<i>Throwing it in the paper basket.</i>) I'll
- buy up the edition. I'll suppress it. I'll——
- </p>
- <p>
- CHARLIE. No, you won't. The publisher happens to be an honest man.
- </p>
- <p>
- JABEZ. What the devil do you mean by taking a hand in this game? Haven't I
- trouble enough as it is with the factory acts and their confounded
- regulations? The men are pampered like lords with their grandmotherly
- legislation.
- </p>
- <p>
- CHARLIE. They're poisoned, and you know it. You refused to use his safety
- device, and he's naturally taken the only course open to him of arousing
- public opinion and forcing your hand. I was glad to help him.
- </p>
- <p>
- JABEZ. You young idiot. Can't you see through his game? He wants to make
- money out of his patent safety respirator. He doesn't care a hang for the
- condition of the men. If he did, he wouldn't have put the price up by
- patenting his thing. No, my friend, he wants to do his philanthropy on
- twenty-five per cent, terms at some one else's expense.
- </p>
- <p>
- JABEZ (<i>con.</i>). And you fall into his trap like the blessed innocent
- you are and help him to blackmail me.
- </p>
- <p>
- CHARLIE. You're wrong. Everybody's not as mercenary as you. You've got so
- used to expressing every idea in terms of L.S.D. that you can't understand
- a man's doing anything from higher motives than money.
- </p>
- <p>
- JABEZ. Look here, Charlie, where do you think I'd be if I took up every
- notion that every crank brings along to me? The men are insured, aren't
- they?
- </p>
- <p>
- CHARLIE. Yes, and a bad bargain the insurance people have of it.
- </p>
- <p>
- JABEZ. Then what do the fellows want with safety devices? They get their
- compensation. The business won't stand more expense, Charlie. You'd know
- that if you'd done as I wished and taken an interest in the management.
- Goodness knows it's hard enough to get profits as it is.
- </p>
- <p>
- CHARLIE. Then don't try. Close down.
- </p>
- <p>
- JABEZ. And throw the men out of work? Fine remedy that <i>'</i>ud be.
- They'd thank me for that, wouldn't they? (<i>After a slight pause, rising.</i>)
- That doctor's got to be muzzled though.
- </p>
- <p>
- CHARLIE. You can't muzzle a man. You can only muzzle dogs.
- </p>
- <p>
- JABEZ. Can't I? I'll bet you I get him to suppress that book if it's
- really dangerous. I'll have a look at it in a moment. And I'll tell you
- something more, my lad. If I catch you meddling with the men, I'll make
- your father sit up for it.
- </p>
- <p>
- CHARLIE. I shall address the men to-night. Jabez. I don't think you will.
- Look here, John, you'd better try again. See if you can't make a better
- job of it than you did last night, and I'll sign the cheque in the
- morning. If not—— (<i>John makes a gesture of appeal to
- Charlie.</i>)
- </p>
- <p>
- CHARLIE. It's no good, father.
- </p>
- <p>
- JABEZ. I leave it with you, John. Take him off to your laboratory,
- Charlie, and talk it over. (<i>Charlie drops forward to John.</i>)
- </p>
- <p>
- CHARLIE. Come along, Dad.
- </p>
- <p>
- (<i>Exeunt Charlie and John, r.c. Jabez loosens his collar mechanically,
- puts his hands in his pockets, takes a handful of coins from one pocket,
- rolls it in his hands and transfers it to the other; then sits at his
- desk, takes up the speaking tube, blows and speaks through it.</i>)
- </p>
- <p>
- JABEZ. Just telephone to Dr. Clavering and say I'll be obliged if he will
- step round here and see me at once.
- </p>
- <p>
- (<i>He replaces the tube. Jabez takes the book from the paper basket and
- turns its pages over while speaking to Lomax. Enter Lomax, r.c.</i>)
- </p>
- <p>
- JABEZ. Oh, about that accident last night, Lomax. (<i>Looks up from the
- book and turns round on his chair to face Lomax.</i>)
- </p>
- <p>
- LOMAX. Yes, sir. I was coming to you about it when you were disengaged.
- Mrs. Wilcock is waiting in the office.
- </p>
- <p>
- JABEZ. Who's Mrs. Wilcock? The widow?
- </p>
- <p>
- LOMAX. Yes.
- </p>
- <p>
- JABEZ. Oh, I can't be bothered with her. That's the insurance people's
- job. Send her away. (<i>Lomax bows and is going l., he turns as Jabez
- rises, crosses to fire and speaks again.</i>) Have you—do you happen
- to have heard what the men make of the accident?
- </p>
- <p>
- LOMAX. No, sir. That is, not'exactly.
- </p>
- <p>
- JABEZ. Speak up, man. Are they grumbling?
- </p>
- <p>
- LOMAX (<i>coughing</i>). I understand that there have been a few remarks
- passed.
- </p>
- <p>
- JABEZ. Strong ones, eh? Um—— Got your notebook?
- </p>
- <p>
- LOMAX. No, sir. I'll—— (<i>Turning towards door l.</i>)
- </p>
- <p>
- JABEZ. Never mind. Sit down here. (<i>Lomax sits in Jabez's chair.</i>)
- Write. (<i>Lomax bends to write.</i>) Wait a moment. (<i>Lomax looks up.</i>)
- When's the inquest fixed for?
- </p>
- <p>
- LOMAX. Wednesday, sir.
- </p>
- <p>
- JABEZ. That's the 17th. Funeral the next day, I suppose?
- </p>
- <p>
- LOMAX. Yes, sir.
- </p>
- <p>
- JABEZ. Very well. (<i>Motioning him to write. Lomax bends over and writes.
- Jabez crosses to desk and stands over Lomax, dictating.</i>)
- </p>
- <p>
- "In view of the distressing accident which occurred last night, it has
- been decided to grant a halfholiday to the entire staff with full pay on
- the afternoon of the 18th inst., in order——"
- </p>
- <p>
- LOMAX. One moment, sir.
- </p>
- <p>
- JABEZ. Got that?
- </p>
- <p>
- LOMAX. "The 18th inst." Yes, sir.
- </p>
- <p>
- JABEZ. "In order to give all an opportunity of attending the funeral
- ceremony." Finished?
- </p>
- <p>
- LOMAX (<i>pause, then, rising</i>). Yes, sir.
- </p>
- <p>
- JABEZ (<i>crossing hack to fire</i>). Do you chance to know, Lomax, if
- there happens to be a football match that afternoon?
- </p>
- <p>
- LOMAX (<i>coughing deprecatorily</i>). I don't follow the sport myself,
- but I fancy it's the usual mid-week day.
- </p>
- <p>
- JABEZ. Ah. Have twenty copies of that notice typed and bring them here.
- I'll sign them myself. Then send them out to the departments, and—er—you
- might see that one comes in the way of the reporters at the inquest.
- </p>
- <p>
- LOMAX. Yes, sir. (<i>Going.</i>)
- </p>
- <p>
- JABEZ (<i>sitting</i>). Oh, and,'Lomax! (<i>Lomax turns at door.</i>) Just
- mention casually to one or two of the foremen that attendance at the
- funeral is not compulsory. No names will be taken. And let me know if you
- happen to learn how the announcement is received.
- </p>
- <p>
- LOMAX. Certainly, sir.
- </p>
- <p>
- JABEZ. That will do.
- </p>
- <p>
- (<i>Exit Lomax, l. Jabez continues interested in his book. A whistle at
- the tube. Jabez replies and puts it to his ear, then speaks down it.</i>)
- </p>
- <p>
- JABEZ. Show Dr. Clavering in here. (<i>Replaces tube. Presently Dowden
- opens the door l. and Dr. Clavering enters. Dowden closes the door after
- him and goes without speaking. Jabez rises and meets Clavering genially.</i>)
- </p>
- <p>
- JABEZ. Ah, come in, doctor. I'm glad you were able to come so quickly. (<i>They
- shake hands.</i>)
- </p>
- <p>
- CLAVERING. I'd just got in when your message came, so I was able to come
- at once. How are you, Mr. Thompson?
- </p>
- <p>
- JABEZ. Eh? (<i>Surprised at the professional tone.</i>)
- </p>
- <p>
- Oh, I'm all right. There's never anything the matter with me.
- </p>
- <p>
- CLAV. Oh, it's not yourself, then. I understood you wished to see me
- personally. Is there another accident case?
- </p>
- <p>
- JABEZ. Oh, no, there's nothing wrong. Er—have you a few moments to
- spare? I'd like a word with you.
- </p>
- <p>
- CLAV. I'm at your service unless I'm telephoned for from the surgery.
- </p>
- <p>
- JABEZ. Sit down, doctor.
- </p>
- <p>
- CLAV. (<i>sitting r. of fire</i>), Thank you.
- </p>
- <p>
- JABEZ (<i>sitting l. of fire</i>). I understand you've been writing a
- book, Dr. Clavering?
- </p>
- <p>
- CLAV. Oh, that's it, is it? You've heard from my collaborator?
- </p>
- <p>
- JABEZ. Your collaborator?
- </p>
- <p>
- CLAV. Mr. Bunting.
- </p>
- <p>
- JABEZ. Oh, yes, of course. Just so. Now, speaking as a business man,
- doctor, I suppose you'd some object in writing that book?
- </p>
- <p>
- CLAV. (<i>grimly</i>). I want better conditions for chemical workers.
- </p>
- <p>
- JABEZ. I said "speaking as a business man."
- </p>
- <p>
- CLAV. Well, sir?
- </p>
- <p>
- JABEZ. I've not read the book yet. But I suppose I shan't be wrong in
- assuming it deals largely with the advantages of the Clavering patent
- respirator.
- </p>
- <p>
- CLAV. Naturally.
- </p>
- <p>
- JABEZ. I thought so. Of course, you're convinced of its advantages?
- </p>
- <p>
- CLAV. I use it myself. So does Mr. Bunting in his laboratory. Look at us.
- We're well. Then look at your men. They don't use it. I'd just come from
- seeing another of them when I got your message.
- </p>
- <p>
- That man is being slowly poisoned to earn his bread. It's a typical case.
- </p>
- <p>
- JABEZ. It's' very sad, very sad. Well now, doctor, can you propose
- anything?
- </p>
- <p>
- CLAV. I can propose the respirator. It's not ideal, I don't pretend it is—but
- it <i>'</i>ull give the poor devils a chance.
- </p>
- <p>
- JABEZ. We must certainly have the respirator.
- </p>
- <p>
- CLAV. (<i>surprised,</i>). You refused it when it was offered you.
- </p>
- <p>
- JABEZ. My dear sir, I get safety devices sent me every day. I can't use
- 'em all. You never told me you used your thing yourself. It makes a world
- of difference. And you hadn't written a book about it.
- </p>
- <p>
- CLAV. I see.
- </p>
- <p>
- JABEZ. I thought you would. Come, we're getting on famously. Now if I
- adopt the respirator, do you think the book need be published?
- </p>
- <p>
- CLAV. (<i>curtly</i>). Yes.
- </p>
- <p>
- JABEZ. Oh, come, doctor, don't be stupid.
- </p>
- <p>
- CLAV. (<i>pause</i>). I'll tell you what I <i>will</i> do, if you like.
- I'll wire the publisher to postpone its issue and have a note put in
- stating that it's been adopted here. But I'll not cancel my book.
- </p>
- <p>
- JABEZ. That might do.
- </p>
- <p>
- CLAV. (<i>reflectively</i>). It'll be a good advertisement for the
- respirator.
- </p>
- <p>
- JABEZ. And a good thing for the patentee, eh, doctor?
- </p>
- <p>
- CLAV. I hope so.
- </p>
- <p>
- JABEZ. I've no doubt of it. So that's satisfactory to both parties. By the
- way, doctor, don't think me rude if I put a rather personal question to
- you. I've a reason for asking. Do you consider your practice here a
- valuable one?
- </p>
- <p>
- CLAV. That rather depends on what you mean by valuable. It's numerous
- enough in all conscience. There's plenty of ill-health about. But
- valuable, no, I can't say it is. Your men get paid too little and they die
- too fast for a doctor to grow fat amongst them.
- </p>
- <p>
- JABEZ. I've a notion we might come to some arrangement. I've had an idea
- of adding a medical officer permanently to the staff. What do you say,
- doctor?
- </p>
- <p>
- CLAV. I'll think it over.
- </p>
- <p>
- JABEZ (<i>rising</i>). Do. With the respirator at work you should have
- more leisure on your hands for research, eh, doctor? I know what beggars
- you medical men are for experiments, and you can't have over much time at
- present. Suppose you telephone me later. We shan't quarrel over terms. Or,
- stay, come in to dinner to-night? (<i>Rises and crosses R.</i>)
- </p>
- <p>
- CLAV. Thanks. I will. (<i>Rising and going l.</i>)
- </p>
- <p>
- JABEZ. You quite understand what this means, doctor?
- </p>
- <p>
- CLAV. Er—in what way?
- </p>
- <p>
- JABEZ. Well, it's the end of your literary career. I want no more books.
- </p>
- <p>
- CLAV. Nor I. This one will put the respirator on the market; that's all I
- want.
- </p>
- <p>
- JABEZ. I thought as much. There's nothing like candour after you've gained
- your point. (<i>Sitting at desk.</i>) Oh, by the way, there's a meeting of
- the men to-night.
- </p>
- <p>
- CLAV. So I hear.
- </p>
- <p>
- JABEZ. I'm going to speak there.
- </p>
- <p>
- CLAV. You!
- </p>
- <p>
- JABEZ. Yes, and I want you to come with me.
- </p>
- <p>
- CLAV. It's not quite in my line, sir.
- </p>
- <p>
- JABEZ (<i>persuasively</i>). Oh, just to tell 'em about this little
- arrangement of ours.
- </p>
- <p>
- CLAV. I see.
- </p>
- <p>
- JABEZ. Charlie's speaking, you know. Some one's got to speak against him.
- Er—I'll see it's a handsome salary, doctor.
- </p>
- <p>
- CLAV. I'll be there, Mr. Thompson. (<i>Moving to r.c. by desk.</i>) May I
- ask you something?
- </p>
- <p>
- JABEZ. Yes?
- </p>
- <p>
- CLAV. Is Charlie <i>still</i> engaged to Miss Thompson? Jabez. I believe
- so.
- </p>
- <p>
- CLAV. Oh!
- </p>
- <p>
- JABEZ. What was it?
- </p>
- <p>
- CLAV. I was going to ask if I might speak to her myself.
- </p>
- <p>
- JABEZ. You hadn't much success last time, had you?
- </p>
- <p>
- CLAV. No. There's no harm in asking two or three times.
- </p>
- <p>
- JABEZ. Oh, you can ask.
- </p>
- <p>
- CLAV. But Charlie——
- </p>
- <p>
- JABEZ. As you say, there's no harm in asking. But understand it's between
- you and her. You're not to use my name.
- </p>
- <p>
- CLAV. That's all I want.
- </p>
- <p>
- JABEZ. I'll see you to-night, then?
- </p>
- <p>
- CLAV. Yes.
- </p>
- <p>
- JABEZ. Right. Good morning, doctor.
- </p>
- <p>
- CLAV. Good morning, sir.
- </p>
- <p>
- (<i>Exit Clavering, l. Jabez rubs his hands together with a satisfied air.
- Lomax enters l. as Clavering goes out. He has a number of papers in his
- hand.</i>)
- </p>
- <p>
- LOMAX. Will you sign the announcements now, sir?
- </p>
- <p>
- JABEZ (<i>genially</i>). I will that. (<i>Commences to sign as Lomax hands
- them to him one by one.</i>)
- </p>
- <h3>
- CURTAIN.
- </h3>
- <p>
- <br /><br />
- </p>
- <hr />
- <p>
- <a name="link2H_4_0004" id="link2H_4_0004"> </a>
- </p>
- <div style="height: 4em;">
- <br /><br /><br /><br />
- </div>
- <h2>
- ACT III.
- </h2>
- <p>
- <i>The same evening. The ante-room of the Assembly Hall—a dingy
- place, used on occasion as a dressing-room, and containing a small deal
- table and a few battered cane-bottomed chairs. Two gas-brackets project
- from the wall at the right and wire netting protects the lights. A door r.
- gives access and one c. up three stairs leads on to the platform. A rough
- hat-rack under the left gas-jet bears two ancient bowler hats and a cloth
- cap. Their owners are three members of the mens executive—Robert
- Jones, James Pullen and Joseph Livesey. Pullen, the owner of the cap, is
- smoking a clay pipe. He is a stoutish man of about forty, obviously no
- teetotaller, with a moustache and an obstinate jaw. Jones and Livesey, the
- leaders of the strike movement, are perhaps ten years his juniors and just
- a shade more educated in their accents. All are roughly dressed, but in
- their evening, not their working clothes. Livesey wearing a very much cut
- away black coat and a waistcoat adorned with a silver watch chain. Pullen
- has a scarf and no collar, but the other pair wear celluloid collars over
- cotton shirts. Pullen is sitting at the table sideways, r. Jones has his
- back to the fire, l. and Livesey is walking about above table.</i>
- </p>
- <p>
- PULLEN. What 'A says is this 'ere. Maister Thompson's a jolly good sort.
- Gives us 'af-day Thursday to play us in, with full brass an' all.
- 'And-some, A calls it, 'andsome. (<i>He emphasizes by striking his fist on
- the table.</i>)
- </p>
- <p>
- JONES. Tha's a fule, Jim Pullen. Tha's allays drawin' red 'erring? across
- the trail. Tha makes me tired. <i>'</i>Ere's a mate o' ours walks into th'
- <i>'</i>oist same as it might be thee or me an' th' next minute <i>'</i>e's
- gone to kingdom come. Thompson gives us an <i>'</i>af-day off to attend
- th' buryin' if us wants to, an' theer's thou an' a few like thee ready to
- lick <i>'</i>is boots because <i>'</i>e's yeard us snarlin' an' chucked us
- a bone to shut our jaws on. Can't tha see <i>'</i>is game?
- </p>
- <p>
- LIVESEY (<i>behind table</i>). Oh, A'm noan sayin' nought about that. That
- were an accident like what might <i>'</i>appen anywheers. It's th' whole
- system we want altered.
- </p>
- <p>
- PULLEN. System is it? Aye, tha find me a system as'll give us more beer
- an' more easy time to sup it in an' A'm with thee.
- </p>
- <p>
- LIVESEY. It's not so much for usselves as for our childer.
- </p>
- <p>
- PULLEN (<i>shuffling irritably</i>). A'm noan wed. 'Ad more sense. If you
- young 'uns will marry, you mun tak' consequences.
- </p>
- <p>
- LIVESEY (<i>sitting behind table r. side</i>). The kids! That's the point,
- Jones. We're ould.
- </p>
- <p>
- PULLEN (<i>contemptuously</i>). Thee ould! Why, lad, tha were nobbut
- breeched t'other day.
- </p>
- <p>
- LIVESEY (<i>turning on him</i>). Yes, we are—we're ould as life goes
- here. We're done. But th' kids have a reeght to summat better. We canna
- see our way out. We're nobbut a silly crowd o' fuies.
- </p>
- <p>
- PULLEN (<i>interposing</i>). Tha are that.
- </p>
- <p>
- LIVESEY (<i>continuing</i>). But if we could nobbut educate our childer.
- They'd find a way.
- </p>
- <p>
- PULLEN. 'Ere, mister, my lad, what's tha gettin' at? The kids gets their
- schooling, don't they?
- </p>
- <p>
- JONES. Aye, till they're legally ould enough to coom to work an' forget in
- a year all as they've 'ad shoved into their yeads in eight. (<i>Spits in
- fire.</i>) They've a reeght to a better chance than we <i>'</i>ad an' we
- can't give it 'em. We're not paid enough. We're livin' on hope, an' hope's
- like ivy. It clings to ruins.
- </p>
- <p>
- LIVESEY. That's good. Tha remember yon an' give it 'em in theer in thy
- speech. (<i>Jerking his thumb towards the door c.</i>)
- </p>
- <p>
- JONES (<i>going on as though speaking to a meeting</i>). Th' bosses 'ave
- got us down and they're sitting on our yeads. It's about time we woke oop
- an' showed <i>'</i>em the working man's not such a blamed fool as <i>'</i>e
- looks.
- </p>
- <p>
- LIVESEY. Aye. Now tha' talkin'.
- </p>
- <p>
- JONES. We keep body an' soul together and that's the limit.
- </p>
- <p>
- (<i>Enter R. Job Alcott, another workman, quite roughly dressed and
- apparently of the most poorly paid class. He looks ill.</i>)
- </p>
- <p>
- ALCOTT. Good evening.
- </p>
- <p>
- LIVESEY. Tha doesn't look so rosy to-neeght, lad. What's oop wi' thee?
- </p>
- <p>
- ALCOTT (<i>wearily, hanging his cap up, then sitting in chair R. by table</i>).
- Oh, th' usual thing. You all know. Can't relish my food an' yeadache an'
- faint feelin'. Rum taste in my mouth, an' all.
- </p>
- <p>
- LIVESEY. Aye. We all know that taste.
- </p>
- <p>
- PULLEN. Beer's th' stuff to wash it out o' your mouth. (<i>Crosses to fire
- and sits R. of it.</i>)
- </p>
- <p>
- ALCOTT. A saw doctor last neeght.
- </p>
- <p>
- JONES. Aye. What's 'e say?
- </p>
- <p>
- ALCOTT (<i>bitterly</i>). Tould me A'd no chance if A went on 'ere. Get
- soom fresh air for a month or two, 'e says. Get away out o' this into
- country, 'e says. Country! Likely isn't it? A'm a labourer. Ask off for a
- month, supposin' A'd got th' brass to keep me which A've not, an' A'll get
- sack sharp. They've only to send to the next big town an' a thousand poor
- chaps as is out o' collar 'ull coom trampin' out after my bloomin'
- eighteen bob a week an' be damned glad to get it an' all.
- </p>
- <p>
- LIVESEY. Shame!
- </p>
- <p>
- JONES. It's a cryin' shame. Why, look at me wi' eighteen bob a week same
- as him, an' the mouths A've got to fill. Ma missus as 'ad eleven of 'em in
- <i>'</i>er time. A were wed at eighteen, A were.
- </p>
- <p>
- PULLEN (<i>quarrelsomely</i>). Tha's never got eleven childer. Don't try
- to kid me.
- </p>
- <p>
- JONES. Not livin', A haven't. Some of <i>'</i>em's dead—thank God.
- </p>
- <p>
- LIVESEY. Coom, draw it mild, lad. Yon's blasphemy.
- </p>
- <p>
- JONES (<i>sullenly</i>). No, <i>'</i>tisn't, neither. A do thank God for
- it. Poor little beggars, they're better dead nor alive an' starvin' wi'
- th' rest. A man can pull his belt oop a hole an' suck a pebble if he's
- hunger-mad. Th' kids can't do that.
- </p>
- <p>
- LIVESEY. They wouldn't need if tha'd keep off the booze.
- </p>
- <p>
- JONES (<i>fiercely</i>). A don't drink. A don't like beer. It turns
- my'stomach. (<i>Up stage round R.</i>)
- </p>
- <p>
- PULLEN (<i>rising disgustedly and walking away as if from a portent</i>).
- Call thasel' a mon and don't like beer? (<i>He turns to light his pipe at
- a gas, but fails to get it through the wire, mutters "Blast," and takes a
- match out and lights up.</i>)
- </p>
- <p>
- LIVESEY. Then what dost take It for.
- </p>
- <p>
- JONES. What for? To mak' me forget. (<i>Going down to sit l. of table.</i>)
- A must forget soomtimes. A'd go crazed if A didn't forget. (<i>Sitting.</i>)
- </p>
- <p>
- PULLEN (<i>at the gas</i>), Blast.
- </p>
- <p>
- LIVESEY. It's a weary life.
- </p>
- <p>
- ALCOTT (<i>rising and going up c.</i>) It's a hell. Damn Thompson. Damn
- him an' all that's hissen.
- </p>
- <p>
- JONES (<i>protestingly</i>). Damn <i>him</i>, aye, but not all that's
- hissen. That means Miss Thompson, an' she's a blessed angel.
- </p>
- <p>
- PULLEN (<i>coming forward</i>). Bah! Her an angel, her wi' her 'ard proud
- mug goin' about as if we was dirt at 'er feet.
- </p>
- <p>
- JONES. Aye, an angel, lad. That's her; 'ard as nails she looks an proud as
- Lucifer but tha's not wed; tha's not seed yon wench sittin' i' thy kitchen
- nussin' thy kids. Maybe she's never sent thee fine grub when tha was sick.
- </p>
- <p>
- PULLEN. A'm never sick.
- </p>
- <p>
- JONES No, but she'd know if tha wert, an tha'd know she knowed it, an'
- all. Not as she maks a fuss about it It's all done quiet. A dunno if
- Thompson <i>'</i>isself so much as knows a word about it. Alcott (<i>l.c.
- at back</i>). Aye, that's reeght. Sorry A cursed <i>'</i>er. Theer were a
- two three bottles of champagne an' soom jelly an' stuff waitin to whoam
- for me last neeght when A get theer from docto? Not a word about who'd
- sent them, but——
- </p>
- <p>
- PULLEN. Eh! <i>'</i>Ere lads, A feels bad. Took sudden, some road.
- </p>
- <p>
- LIVESEY. What's to do?
- </p>
- <p>
- PULLEN. A dunno. Thowt o' that champagne, A reckon.
- </p>
- <p>
- (<i>Enter R. Mrs. Jones—a slight careworn woman of about thirty with
- pinched features and wears clogs, and a drab cloth skirt, blouse and a
- shawl over her head, all well worn. She crosses quickly to Jones shakes
- his should, violently, speaking in a shrill voice.</i>)
- </p>
- <p>
- MRS. JONES. Thee coom whoam, Bob Jones. Coom 'ome, A tell thee.
- </p>
- <p>
- ALCOTT. Eh! missus, what's to do? Mrs Jones (<i>turning on him</i>). Thee
- shut tha ugly mug, and don't put thy spoke in atween man an wife. (<i>To
- Jones.</i>) Now then, art coomin.
- </p>
- <p>
- JONES. What's oop wi' thee, lass?
- </p>
- <p>
- MRS. JONES. Tha knows. A tould thee A'd coom an' fetch thee whoam if tha
- dared to shove tha nose in at meetin'. Strike indeed, tha great
- leatherhead! Wait till A get thee to whoam. A'll give thee strike.
- </p>
- <p>
- LIVESEY. Leave 'im be, missus. Tha don't know what tha's talkin' about.
- </p>
- <p>
- MRS. JONES. Don't A, ma lad? (<i>Her arms go akimbo.</i>) Maybe A knows
- more than the lot o' you put together. Ma faither were on strike onct when
- A were nobbut a young wench. A knows what strikes means. Strikes means
- clemmin', and ma childer shallna clem as A'd to clem then if A can 'elp
- it. Now, then, ar't coomin'?
- </p>
- <p>
- JONES (<i>rising</i>). Leave be. This 'ere's not wimmen's business.
- </p>
- <p>
- MRS. JONES. No, but it's a woman's business to see as 'er childer gets
- their baggin', an' it's a woman's business to sit an' watch 'em clem if
- theer's no baggin' to give 'em. It's you men as does th' silly things an'
- us women an' childer as pays for 'em. Thee coom whoam an' quit makkin' a
- fool o' thasel'. (<i>Pulling Jones towards door.</i>)
- </p>
- <p>
- JONES. <i>'</i>Ere, missus, see yon door? Well, get thasel' 't'other side
- o' it sharp. Tha's no reeght in 'ere at all.
- </p>
- <p>
- MRS. JONES. A've the reeght o' a moother wi young bellies to fill. Tha
- coom whoam or tha'll get rough side o' ma tongue till tha'll wish tha'd
- never, bin born. Wait while A get hold o' yon Bunting chap, an' all. A'll
- give 'im strikes. What does 'e want wi' interferin' in other folk's
- business wantin' folks to strike—'im as 'as allays gone fed an' warm
- clothed an' doan't know what clemmin' means? A'll strike <i>'</i>im, A
- will.
- </p>
- <p>
- LIVESEY. Tha don't understand, Mrs. Jones.
- </p>
- <p>
- JONES. Coom on now. Let's 'ave no more o' it. Outside.
- </p>
- <p>
- MRS. JONES. A don't stir a foot.
- </p>
- <p>
- JONES. Don't thee, by gum? (<i>Picking her up.</i>) It's all same to me
- which way tha goes. (<i>Crossing to door r., carrying her struggling.</i>)
- </p>
- <p>
- MRS. JONES (<i>as they go out</i>). Wait till A get thee whoam, my lad. (<i>He
- carries her out. For a moment the altercation continues off r.</i>)
- </p>
- <p>
- PULLEN. (<i>coming forward and sitting below table l. side</i>). Yon wench
- is reeght, tha knows. A'm not goin' to 'ave nought to do wi' it. Man an'
- boy, A've worked for Maister Thompson thirty year an' A'm noan goin' to
- turn again ma ouid maister at ma time o' life. A know ma place, A do.
- </p>
- <p>
- LIVESEY. Oh, A've no patience wi' thee.
- </p>
- <p>
- PULLEN. (<i>Obstinately</i>) It's all reeght, Mr. Livesey. None o' your
- strikes fur me. A can see through a ladder as clear as most. An' A'll tell
- thee summat as is mebbe news to thee. Theer's above a few as thinks along
- o' me, too, only they don't gas about it so loud as you.
- </p>
- <p>
- LIVESEY. Very well, if theer are, theer'll be no strike. (<i>Going up c.
- to door. Jones returns a little shamefacedly. The others avoid looking at
- him. He goes up to c.</i>)
- </p>
- <p>
- PULLEN. No. A 'll bet theer'll not.
- </p>
- <p>
- LIVESEY. We'll soon see who's reeght.
- </p>
- <p>
- JONES. Aye, coom on. Let's be startin' th' meetin'. (<i>Crossing to door
- c.</i>)
- </p>
- <p>
- LIVESEY (<i>consulting a silver watch</i>). Wait a bit. Wheer's Mr.
- Bunting? We canna staryt wi'out 'im. Give us another five minutes. How's
- room? Open door theer and see.
- </p>
- <p>
- JONES (<i>opening door c. Confused murmur as of a crowd is heard through
- it</i>). Pretty nigh packed. They'll noan thank us for bein' late.
- </p>
- <p>
- LIVESEY. Close th' door.
- </p>
- <p>
- (<i>Jones closes the door and shuts off the sound, dropping R.C.</i>)
- </p>
- <p>
- LIVESEY. Tha'd best begin, Bob. A'll follow thee, an' Mr. Bunting can say
- 'is bit when A've done. Then we'll put it to the vote, strike or no
- strike.
- </p>
- <p>
- PULLEN (<i>sourly</i>). Tha's no need to trouble. Theer'll be no strike.
- </p>
- <p>
- LIVESEY. That remains to be seen. We'll give <i>'</i>em every chance. No
- use startin' a strike wi'out weighin' things oop proper first. What'll tha
- say Bob?
- </p>
- <p>
- JONES (<i>takes notes from his pocket</i>). This 'ere's what Mr. Bunting
- give me to say. A'm straight fur striking. Tha knows that.
- </p>
- <p>
- ALCOTT. Aye.
- </p>
- <p>
- PULLEN. Well, A say it's noan reeght, Joe Livesey. Tha's goin' to shoot
- th' mon first an' tell 'im why arterwards. Give 'im a chance. It's th'
- least us can do. 'E's a real good sort, is ould Thompson.
- </p>
- <p>
- (<i>Enter r. Clavering and Charlie. They put coats and hats on the rack R.</i>)
- </p>
- <p>
- CHARLIE. Good evening. Meeting not begun yet, I see.
- </p>
- <p>
- JONES. We were nobbut waitin' on you, sir. (<i>He looks at Clavering.</i>)
- </p>
- <p>
- CHARLIE. All right. I met the doctor on the doorstep and brought him along
- to say a few words.
- </p>
- <p>
- LIVESEY (<i>to Clavering</i>). Glad to see you with us, sir.
- </p>
- <p>
- CLAV. (<i>nervously</i>). Er—yes. I'd like to speak to Mr. Bunting
- first if you don't mind. Suppose you fellows go on to the platform and set
- the ball rolling. We'll follow.
- </p>
- <p>
- JONES. All reeght. (<i>A little awkwardly.</i>) Tha'll noan be long wilta?
- We's none on us much at speakin' on our own, tha knows.
- </p>
- <p>
- CHARLIE (<i>reassuringly</i>). Don't be afraid of me, I'll do the talking.
- If the men don't strike, it won't be my fault..
- </p>
- <p>
- LIVESEY. That's the ticket. (<i>Passing to door c.</i>)
- </p>
- <p>
- ALCOTT. Give it 'em hot, sir. (<i>Following him.</i>)
- </p>
- <p>
- JONES. It will mean a lot coomin' from thee. (<i>Following.</i>)
- </p>
- <p>
- CHARLIE. We'll do our best, both of us.
- </p>
- <p>
- (<i>Exeunt c. Livesey, Alcott and Jones. A burst of cheering is heard,
- then Jones closes the door.</i>)
- </p>
- <p>
- PULLEN. (<i>following the others, stopping before Charlie</i>) If this not
- above takin' a bit o' advice from me, Maister Banting, tha'll be careful
- what tha says about striking. Theer's me an' a good few others as 'ave put
- our yeads together, and we're gom to see as this business o' striking gets
- no forrader.
- </p>
- <p>
- CHARLIE. (<i>surprised</i>). What's this? (<i>Clavering paces about
- impatiently.</i>)
- </p>
- <p>
- PULLEN. We don't want no strike. If us wants brass, let's ask un for it
- fair an' straight. Striking's not th' square thing.
- </p>
- <p>
- CHARLIE (<i>roused and speaking passionately</i>). Are you blind, man? Is
- Thompson straight with you. Do you expect a bloated bigwig of the British
- belly class to give you your rights before you force him into it? (<i>Clavering
- makes a gesture of despair.</i>) In the whole history of industrial
- employment have employers ever given employés their rights until they were
- forced to? (<i>Clavering tries to cheek the stream in vain.</i>) They tell
- you of humane legislation, of factory acts and sanitary regulations.
- Humane legislation! What was it but the capitalist ruling classes giving
- way inch by inch before the pressure of the masses?
- </p>
- <p>
- (<i>Clavering puts his hand on Charlie s shoulder. Pullen has been
- retreating step by step before the flow of eloquence and now stands
- cornered and unaole to escape in the left hand corner. Charlie swings
- round irritably on Clavering.</i>)
- </p>
- <p>
- CHARLIE. What's the matter?
- </p>
- <p>
- CLAV. (<i>soothingly</i>). Yes, yes, yes, old man. Keep all that for in
- there. (<i>Nodding at door c.</i>) Don t waste it on the desert air of an
- ante-room. Let Pullen go. I want to talk to you.
- </p>
- <p>
- PULLEN. Aye. Soom one <i>'</i>ad best talk to <i>'</i>im if <i>'</i>e
- means to go on that gait in theer.
- </p>
- <p>
- CLAV. (<i>impatiently</i>). Yes. All right, my man. Won't you go on to the
- platform now?
- </p>
- <p>
- PULLEN. Aye. (<i>Crossing.</i>) A'm going. (<i>He opens the door c.
- Livesey is heard speaking inside.</i>)
- </p>
- <p>
- LIVESEY (<i>off, c., his back visible to audience as he stands speaking</i>).
- Comrades, a strike is a terrible thing. Do not let us mak' light o' it.
- When we call on you to decide whether to strike or not——————-
- (<i>With a gesture of disgust and a muttered "Yah," Pullen goes out c. and
- closes the door behind him.</i>)
- </p>
- <p>
- CHARLIE. Thank goodness they're not all that type—pig-headed, beery
- lout. Now, old man, I suppose you want to talk about our speeches. It's no
- good both saying the same thing. .
- </p>
- <p>
- CLAV. There's no fear of my saying the same as you.
- </p>
- <p>
- CHARLIE. Oh, I don't know. It's as well to have a plan. (<i>Breaking off
- in a kind of exultation.</i>) Oh, Clavering, Clavering, isn't it great?
- This is my night, my night of nights. Tell me I deserve it, old chap.
- Haven't I worked for it? It's been no joke to wake those fellows up from
- their lethargy, their ignorance, their ridiculous submission. But I did
- it, I alone. Oh, you've done something—the book—but you left
- me the men. That was what I wanted. They were mine. How I argued,
- wrestled, fought with them till they saw the truth, till I lighted up
- their dull intelligence and fanned the spark till it became the flame that
- this night's work shall cause to blaze and demolish! (<i>Clavering stands
- in a noncommittal attitude, but Charlie does not note his detachment.</i>)
- You mustn't grudge it me, Clavering. It's my night of triumph, the
- culminating point of all my efforts. I haven't a doubt in me. I'm so
- right, so utterly right. Nothing can stand before me now. They've tried to
- stop me—my father, Thompson—and they've failed. Truth must
- out. There must be justice at all costs, Clavering, at all costs. This is
- the dawn of a new era for Thompson's men. Congratulate me, my ally! Oh,
- but I don't want your help. It's kind of you to come, but tonight I need
- no aid. I'm strong. I could sweep them off their feet in there. But yes,
- you must come with me. Come, let us go. (<i>Clutching Clavering as if to
- carry him bodily in.</i>)
- </p>
- <p>
- CLAV. (<i>eluding him</i>). Not yet.
- </p>
- <p>
- CHARLIE (<i>astonished</i>). Why not?
- </p>
- <p>
- CLAV. I cannot come with you.
- </p>
- <p>
- CHARLIE. But why? We've the same ideas about these things.
- </p>
- <p>
- CLAV. (<i>significantly</i>). We had.
- </p>
- <p>
- CHARLIE (<i>puzzled</i>). We had? What do you mean?
- </p>
- <p>
- CLAV. Don't be angry with me. I've been thinking over the thing and—well—things
- have been happening.
- </p>
- <p>
- CHARLIE. You don't—no, it can't be true—I can't believe it.
- You! The book! (<i>Realizing it.</i>) Good God, he's bought you off.
- </p>
- <p>
- CLAV. (<i>firmly</i>). The book's all right and I don't allow such
- language, Charlie.
- </p>
- <p>
- CHARLIE (<i>bitterly</i>). I could have staked my life on your sincerity.
- I—I hope you got a good price for your silence, Dr. Clavering.
- </p>
- <p>
- CLAV. Don't be a fool. I tell you I'm not going to be silent. The book
- will appear right enough, and there'll be a note in it to say that the
- respirator's in use at Thompson's works.
- </p>
- <p>
- CHARLIE (<i>staggered</i>). What!
- </p>
- <p>
- CLAV. Yes. Come, now, haven't we got what we wanted? Isn't it worth while
- to be bribed?
- </p>
- <p>
- CHARLIE (<i>recovering himself</i>). Not by that man.
- </p>
- <p>
- CLAV. Oh, you're an extremist. (<i>Crossing over to fire.</i>)
- </p>
- <p>
- CHARLIE. Yes, where Thompson's concerned I am. (<i>By door c.</i>)
- </p>
- <p>
- CLAV. Well, I'm not. His way's only relatively bad and if he adopts the
- respirator—
- </p>
- <p>
- CHARLIE (<i>interrupting</i>). His way is the way of the slave-driver. He
- trades in the lives of men.
- </p>
- <p>
- CLAV. Oh, rot, man. You're drunk with words.
- </p>
- <p>
- CHARLIE (<i>laughing bitterly</i>). You're defending your last ditch now.
- You can't refute me; you can only revile, and the average coalheaver could
- give you points at that.
- </p>
- <p>
- CLAV. That doesn't get us much further.
- </p>
- <p>
- CHARLIE. Well, it doesn't matter much. After all, you're only one more
- against me, and I'm not afraid. Nothing can stand in my path to-night. I
- didn't feel the need for you. I can do without your speaking, Dr.
- Clavering.
- </p>
- <p>
- CLAV. Oh, I'm going to speak. Mr. Thompson asked me to speak.
- </p>
- <p>
- CHARLIE. (<i>Controlling himself visibly</i>). What are you going to say?
- </p>
- <p>
- CLAV. I've to tell them I'm appointed medical officer at the works. That
- means free doctoring for the men. (<i>Cynically.</i>) They didn't often
- pay me anyhow, but it's officially free now instead of being a private
- benevolence of mine.
- </p>
- <p>
- CHARLIE. Yes, he's bought you by the respirator and made you his creature
- by offering you a salary; (<i>Bitterly.</i>) And I thought you were an
- honest man!
- </p>
- <p>
- CLAV. (<i>quietly</i>). I've got to look after myself like everybody else.
- </p>
- <p>
- (<i>Enter John r., palpably agitated and panting.</i>)
- </p>
- <p>
- JOHN (<i>seeing Charlie</i>). Thank God I'm in time.
- </p>
- <p>
- CHARLIE (<i>coldly</i>). In time for what?
- </p>
- <p>
- JOHN. To stop you. You've not spoken yet, have you?
- </p>
- <p>
- CHARLIE. No, but you'll not stop me.
- </p>
- <p>
- JOHN. Dr. Clavering, tell him he mustn't. You're his friend, he'll listen
- to you. Won't you help me to stop this folly?
- </p>
- <p>
- CLAV. I can't, Mr. Bunting. You can't cork up Niagara.
- </p>
- <p>
- JOHN (<i>distractedly</i>). Charlie, remember what this means to me. Jabez
- will have no mercy if you incite his men to rebel against him. Think of
- your father, my boy.
- </p>
- <p>
- (<i>Clavering with a shrug strolls to the hack and stands aloof.</i>)
- </p>
- <p>
- CHARLIE. I can't betray my principles even to save you, whatever other
- people can do when it suits their interests. (<i>With a backward glance at
- Clavering, who smiles cynically.</i>)
- </p>
- <p>
- JOHN (<i>pitiably</i>). You're throwing away my life. I can't face the
- disgrace, Charlie.
- </p>
- <p>
- CHARLIE (<i>firmly</i>). Nevertheless, I must speak. (<i>Going up l.c. by
- c. doors.</i>)
- </p>
- <p>
- JOHN. For mercy's sake, be reasonable.
- </p>
- <p>
- CHARLIE (<i>Hotly</i>) Reasonable! What do you mean by "reasonable"? That
- I should put your petty pride before the health and wellbeing of scores of
- men and women. No, father, I can't be "reasonable." I've nailed my colours
- to the mast and I shall speak—speak as I've never spoken yet, speak
- with all my heart and soul. I've to fight Thompson in there, Thompson and
- his renegade, this turncoat, Clavering, and I shall fight to win. Right is
- with me and I'm not afraid to fight without the gloves. (<i>He goes off c.
- in a kind of frenzied exultation. A burst of cheering greets him cut off
- by his closing the door.</i>)
- </p>
- <p>
- CLAV. (<i>sneeringly</i>). Melodramatic ass!
- </p>
- <p>
- JOHN (<i>sinking into a chair r. of table, and burying his face in his
- hands on the table</i>). What shall I do? What shall I do?
- </p>
- <p>
- CLAV. Umph! It's a pity he's too big an infant to have some sense whipped
- into him, Mr. Bunting.
- </p>
- <p>
- JOHN. Don't mock an old man's ruin.
- </p>
- <p>
- (<i>Enter r. Rose and then Jabez.</i>)
- </p>
- <p>
- JABEZ (<i>briskly</i>). Oh, here you are, Clavering. Sit down, Rosie.
- Dirty hole it is. I can't think why on earth you insisted on coming here.
- (<i>Clavering dusts a chair R. with his hand and places it for her.</i>)
- </p>
- <p>
- ROSIE. Thanks. (<i>To Jabez.</i>) Of course I came. I couldn't stay away.
- I had to know what happened, and I knew you'd never tell me. (<i>Jabez
- snorts and looks round, seeing John, who had again sunk his face wrapt up
- in his misery. Clavering shuts the door which Jabez had left open. John
- rises and approaches Jabez appealingly. Jabez sees him with surprise.</i>)
- </p>
- <p>
- JABEZ. Hullo, John.
- </p>
- <p>
- JOHN (<i>rising</i>). Jabez, for pity's sake.
- </p>
- <p>
- JABEZ (<i>impatiently</i>). Oh, I've no time to waste now, John, (<i>John
- goes l. and leans head on mantelpiece.</i>) I'll see you later. (<i>To
- Clavering</i>). I suppose Charlie's on his hind legs by now? (<i>Up to c.
- doors.</i>)
- </p>
- <p>
- CLAV. Yes. That's the platform entrance. (<i>He crosses to it.</i>)
- </p>
- <p>
- JABEZ. Wait a bit. Don't go yet. (<i>Clavering stops.</i>) Open the door
- and let's listen to him. (<i>Clavering opens doors, disclosing Charlie's
- hack as he stands speaking on platform.</i>)
- </p>
- <p>
- CHARLIE (<i>off, c.</i>). Your trade's dangerous. You don't make old
- bones. If you're not poisoned by fumes at forty, you're chucked on the
- scrap heap because you're no longer strong enough to work. Don't you
- deserve some compensation when you risk your lives every day you work,
- when you're only fit to work while you're young? Life is a handicap where
- the weakest starts at scratch and the devil takes the hindmost. (<i>Cheers.
- Clavering makes a questioning gesture.</i>)
- </p>
- <p>
- JABEZ. No. Hear him out. (<i>Clavering nods, still holding the door open.</i>)
- </p>
- <p>
- CHARLIE (<i>off, c.</i>). You're not dogs. You're men. (<i>Cheers.</i>)
- You want decent homes and a bit of pleasure in life and something to put
- by for the time when you can't work! How are you going to do it?
- </p>
- <p>
- LIVESEY (<i>off, c.</i>). Demand higher wages. Strike! (<i>Cries off of
- "Strike," "More wages," "Vote."</i>)
- </p>
- <p>
- JABEZ (<i>motioning Clavering</i>). That'll do, Clavering. (<i>Clavering
- shuts the door and comes down stairs.</i>)
- </p>
- <p>
- JOHN (<i>putting out his hand in timid appeal</i>). Jabez!
- </p>
- <p>
- JABEZ (<i>impatiently</i>). Well, what is it?
- </p>
- <p>
- JOHN. Don't be hard on me, Jabez. I've tried to stop him. I've done my
- best, indeed I have.
- </p>
- <p>
- JABEZ (<i>impatiently</i>). Oh, I've no time to waste now, John. Anyhow
- you'd better come in yonder with me. It'll show 'em you're not of the same
- mind as Charlie.
- </p>
- <p>
- JOHN (<i>eagerly</i>). Anything, Jabez. I'll do anything if you won't
- throw me over.
- </p>
- <p>
- JABEZ. Well, we'll see about that later. Come along.
- </p>
- <p>
- (<i>Exit Jabez c., John following. Slight murmurs and hoots. Clavering
- goes up the stairs, hesitates, then closes the door and turns, looking at
- Rosie.</i>)
- </p>
- <p>
- CLAV. Miss Thompson!
- </p>
- <p>
- ROSIE (<i>coldly, looking up</i>). Did you speak to me, Dr. Clavering?
- </p>
- <p>
- CLAV. (<i>smilingly</i>). Yes. Mayn't I? (<i>Coming forward.</i>)
- </p>
- <p>
- ROSIE (<i>huffily</i>). You can speak if you like. I don't undertake to
- reply.
- </p>
- <p>
- CLAV. I'm sorry if I've offended you. Won't you tell me why?
- </p>
- <p>
- ROSIE. You've treated Mr. Bunting very shabbily, and I really don't wish
- to hear another word from you.
- </p>
- <p>
- CLAV. Oh, don't say that. I've tried so often to get a chance of speaking
- to you alone. I've hungered for it, but it never came. Your radiant health
- stood in the way of even a professional visit. I found an excuse to come
- last night.
- </p>
- <p>
- ROSIE. So Alcott's illness was only an excuse. Isn't he ill?
- </p>
- <p>
- CLAV. Of course he's ill. What does Alcott matter? He's only one more
- ground up in the mill—and your father sent you from the room because
- I broke his absurd rule of mentioning a works affair in your presence. I
- knew the rule, and I risked his displeasure on the chance of seeing you
- alone to plead my cause.
- </p>
- <p>
- ROSIE. Your cause was Alcott, wasn't it?
- </p>
- <p>
- CLAV. My cause was myself. You've not forgotten, have you, what I asked
- you once before, how I came to you two years ago——?
- </p>
- <p>
- ROSIE. What do you mean? I think it is you who forget. Must I remind you
- that I am engaged to be married to Mr. Bunting? (<i>Clavering gets chair
- r. of table and sits facing Rosie.</i>)
- </p>
- <p>
- CLAV. Of course I know that nominally you are engaged to him. (<i>Rosie
- tries to interrupt in vain.</i>) <i>I</i> know how it all happened—an
- old standing idea between your father and his. But really, really, these
- family arrangements are out of date. I tell you, Miss Thompson, if I could
- think for one moment that you were satisfied to marry Charlie, I'd pluck
- my tongue out rather than speak to you like this. I won't believe it. It's
- an "arrangement" which suits neither of you. Charlie kicks openly against
- the pricks. Your splendid loyalty makes you submit in silence. Loyalty and
- submission have their uses, but you must never let this relic of bygone
- days survive to wreck our happiness.
- </p>
- <p>
- ROSIE. <i>Our</i> happiness!
- </p>
- <p>
- CLAV. Oh, if you want proof of my devotion, haven't I given it to you? I
- kept my bond. I've let you know of all illness amongst your father's
- hands, and I've seen that no word of your ministrations reached his ear.
- You mustn't think of Charlie. He's an inconsequential wobbler. Oh! he sees
- what he wants all right, but his only idea of getting it is to bash at
- everything in his way with a battering ram. He can't finesse.
- </p>
- <p>
- ROSIE. No. I think that's rather fine of him myself.
- </p>
- <p>
- CLAV. Fine! What good's he done? See what I've done already without your
- help. The respirator's going to be used and the men get free doctoring.
- I've done that. I alone. Charlie's only talked about it. Think how much
- more I could do for the men if I had the help of your influence with your
- father, if I were—your husband.
- </p>
- <p>
- ROSIE (<i>rising. Clavering rises</i>). Dr. Clavering, before I was
- engaged to Charlie you asked me to marry you. You remember my answer?
- </p>
- <p>
- CLAV. Yes, but circumstances have changed. Rosie. Yes, they've changed.
- Your proposal then was an honourable one, for I was free to choose, and I
- refused you gently, hoping to spare you pain. To-day my answer is the
- same, with this addition, that were I free to choose as I was then, I
- should choose an honest man, a man who couldn't "finesse".
- </p>
- <p>
- (<i>Enter John, c. Shouts and clapping heard. Jabez' back seen as he
- stands speaking.</i>)
- </p>
- <p>
- CLAV. (<i>recovering himself with an effort</i>). Well, Mr. Bunting, how
- are things going in there?
- </p>
- <p>
- JOHN. Listen. Jabez is speaking now.
- </p>
- <p>
- JABEZ (<i>off c. speaking in a genial way</i>). It is like this, lads. I
- always like to think of myself as the father of my men. I'm proud of you
- fellows. The way you back me up when the spying factory inspectors come
- round is a thing any man would be proud of....
- </p>
- <p>
- PULLEN (<i>off</i>). We're glad to do it for you, sir. (<i>Clavering
- whistles softly and looks at Rosie, who avoids his eye.</i>)
- </p>
- <p>
- JABEZ (<i>off</i>). We're just a big family, and I'd like to think we're a
- happy-one. But in a big family there's bound to be some selfish lad who's
- discontented and tries to make others discontented. I'll name no names.
- </p>
- <p>
- CLAV. (<i>Softly</i>) That's one for Master Charlie.
- </p>
- <p>
- JABEZ (<i>Off</i>) I tell you I'm a sight poorer in yon hall than you
- fellows in your cosy cottages. You think you'd like to change places with
- me. I wish some of you could, and see how you'd like the responsibility of
- finding work to keep the shop going for a week or two. Damn it, lads, I'm
- a raven. I know that as well as you do, but I've got to dress up in
- peacock's feathers and pretend. I'm no end of a swell for your sakes. It's
- all bluff—it's the way business is done nowadays. Appearances count.
- </p>
- <p>
- (<i>Cries off of "That's right, that's right." "Good old Thompson!" "Go
- on." He proceeds with a threat in his voice.</i>)
- </p>
- <p>
- Many a time I've been that worried over getting in the orders I've had
- half a mind to shut up shop. Don't drive me too far or I'll do it. Where
- <i>'</i>ud you be then? There's enough working men walking the streets.
- How <i>'</i>ud you fellows like to join 'em? I know it's not an easy life.
- (<i>Plaintively.</i>) I'm doing my level best to make it easier. Only
- to-day I've arranged with Dr. Clavering——
- </p>
- <p>
- CLAV. That's my cue. I'd better show up.
- </p>
- <p>
- JABEZ (<i>continuing</i>). To give him an appointment as medical officer
- to my works. You'll get free doctoring. (<i>Clavering goes out c. quickly,
- closing the door.</i>)
- </p>
- <p>
- JOHN (<i>looking at Rosie appealingly</i>). Rosie!
- </p>
- <p>
- ROSIE. Yes, Mr. Bunting? (<i>Rises.</i>)
- </p>
- <p>
- JOHN (<i>pitifully</i>). Don't let him be hard on me, my dear. I've done
- my best. If only you will speak to him. You can always have your way with
- your father. (<i>He puts out his hands appealingly.</i>)
- </p>
- <p>
- ROSIE (<i>taking his hand in hers and patting it as if soothing a
- frightened child</i>). Don't be afraid. Do you think I'd let you two old
- gentlemen quarrel about nothing? Charlie's father and mine must always be
- good friends.
- </p>
- <p>
- JOHN (<i>relieved and almost tearful</i>). Oh, my dear! (<i>Distressed
- again</i>). But Charlie———(<i>He breaks off.</i>)
- </p>
- <p>
- ROSIE (<i>encouragingly</i>). Yes?
- </p>
- <p>
- JOHN. You're not going to marry him after what's happened.
- </p>
- <p>
- ROSIE. Why, of course I am.
- </p>
- <p>
- JOHN (<i>bewildered</i>). But—I don't know anything—I thought
- he'd——
- </p>
- <p>
- ROSIE (<i>soothingly</i>). Never mind, Mr. Bunting. I promise you father
- shan't be nasty to you.
- </p>
- <p>
- JOHN (<i>pressing her hand.</i>) Bless you, my dear, bless you. You don't
- know what that means to me. (<i>He goes out r., blunderingly. The murmur
- of great applause comes from c. Rosie looks off c. expectantly. The door
- opens and the sound increases. Enter Jabez visibly glowing with heat and
- triumph, Clavering all smiles, and a little behind Charlie, very much
- dejected. The door remains open and the sound dies down gradually.</i>)
- </p>
- <p>
- JABEZ. Thanks, Clavering. You did that very neatly.
- </p>
- <p>
- CLAV. (<i>obsequiously</i>). You'd done the trick before I opened my
- mouth, sir. (<i>Charlie goes to the back with the evident intention of
- effacing himself.</i>)
- </p>
- <p>
- JABEZ (<i>briskly</i>). Well, nothing to stay here for. We'd better be
- going, Rosie.
- </p>
- <p>
- CLAV. It's all over but the shouting. (<i>A cry heard off—"Douse 'un
- in th' 'orse-trough."</i>)
- </p>
- <p>
- JABEZ (<i>skarply</i>). What's that?
- </p>
- <p>
- (<i>Enter Pullen c.</i>)
- </p>
- <p>
- CLAV. Some of the shouting.
- </p>
- <p>
- PULLEN. There's going to be no strike, sir.
- </p>
- <p>
- JABEZ. Of course not. There never was the least chance of it. (<i>Charlie
- stands near door r.</i>)
- </p>
- <p>
- PULLEN (<i>scratching his head</i>). A dunno about that. A thowt it a
- pretty near thing at one time afore tha coom in.
- </p>
- <p>
- JABEZ (<i>confidently</i>). Rubbish, man. Mere talk. Never deceived me for
- a moment.
- </p>
- <p>
- (<i>Enter c. Livesey, Jones and Alcott. They look sidelong at Jabez and
- slink behind to their hats. Livesey goes to Charlie.</i>)
- </p>
- <p>
- LIVESEY. They're talking yonder o' dousing thee in <i>'</i>th <i>'</i>orse-trough,
- Mr. Bunting. Tha'd best be off whoam sharp. (<i>Gets his cap, r.</i>)
- </p>
- <p>
- ALCOTT. Aye, theer's none on us lot finished oop what tha might call <i>'</i>ot
- favourites.
- </p>
- <p>
- JABEZ (<i>turning</i>). Oh, Livesey, that you? Shake hands. No malice, I
- hope? (<i>Livesey puts out his hand shyly, Jabez shakes it cordially,
- shaking after with Jones and Alcott, the latter of whom rubs his hand
- first on his trouser leg.</i>) Good night, lads. (<i>Charlie sits r.
- dejectedly.</i>)
- </p>
- <p>
- JONES. Good night, sir. (<i>They go out r.</i>)
- </p>
- <p>
- ALCOTT. (<i>Then comes to Jabez with hand extended. Jabez off-handedly,
- dismissing him</i>).
- </p>
- <p>
- JABEZ. Good night, Pullen.
- </p>
- <p>
- PULLEN (<i>drawing back disappointedly on seeing he is not to shake hands</i>).
- Good night, sir.
- </p>
- <p>
- (<i>Exit Pullen r.</i>)
- </p>
- <p>
- JABEZ (<i>to Clavering</i>). There'll be no more trouble with those
- fellows. They know they're marked men now.
- </p>
- <p>
- CLAV. (<i>flatteringly</i>). You do know how to manage them, sir.
- </p>
- <p>
- JABEZ. It's cheap at a handshake. You might cut along after them and talk
- to the men as they come out. See what I mean? (<i>Walking with Clavering
- to the door r.</i>). We can't make too sure of a thing. (<i>Clavering nods
- and goes out r., lifting coat and hat from rack r. as he goes. Jabez turns
- and sees Charlie.</i>) Well, Charlie, not sulking, are you? (<i>Claps
- Charlie on the shoulder.</i>)
- </p>
- <p>
- CHARLIE (<i>rises</i>). You'd no right to speak, Mr. Thompson. It was my
- meeting, not yours.
- </p>
- <p>
- JABEZ. Oh come, Charlie. All's fair in love and war. You can't tell me I
- didn't give you your chance. You'd done before I went in. Come, shake
- hands and be friends. You're fairly beaten. Take your gruel like a man.
- </p>
- <p>
- CHARLIE (<i>Jerking his head up</i>). Yes, I'm beaten this time. But it
- won't be so always, and you needn't think it will. Ingrained conservatism
- and a silly tradition of loyalty have won for you this time. You've
- bamboozled the majority to-night; but to-night's majority is the minority
- of to-morrow.
- </p>
- <p>
- JABEZ. Look here, Charlie. Take an old man's advice and give it up. You've
- had your fling with the men and a pretty hash you've made of it.
- </p>
- <p>
- CHARLIE. Oh, I'm giving it up all right. You needn't worry about that. I'm
- going away.
- </p>
- <p>
- ROSIE (<i>involuntarily</i>). Going away! (<i>She makes a slight move
- forward.</i>)
- </p>
- <p>
- JABEZ. Where?
- </p>
- <p>
- CHARLIE (<i>ignoring Rosie—to Jabez</i>). Oh, I don't know. I'm
- clearing out of this. I haven't thought where. What does that matter?
- </p>
- <p>
- ROSIE. But why, Charlie?
- </p>
- <p>
- JABEZ. Oh, that's as plain as the nose on his face. (<i>To Charlie.</i>)
- You're frightened of the men. You've been taught to-night that your
- second-hand, second-rate ideas may look very pretty in a book, but they
- won't wash in real life, and instead of facing it like a man and staying
- here to live this down, you can think of nothing better than running away.
- </p>
- <p>
- CHARLIE. If you're going to insult me by telling me I'm afraid of a few
- fools whose only idea of argument is physical force, I'd better say good
- night. (<i>Turning as if to go r.</i>)
- </p>
- <p>
- JABEZ. You think you've done something fine, don't you? (<i>r.c.</i>) I
- shouldn't wondor if you consider yourself quite a hero, eh, Charlie?
- </p>
- <p>
- CHARLIE. No. (<i>Crossing to Jabez.</i>) I'm a man looking for a job.
- </p>
- <p>
- JABEZ. You won't keep it long if you can't learn to mind your own
- business.
- </p>
- <p>
- CHARLIE. My business is Chemical Research. It was you who wanted me to
- leave it and mix myself up with other matters.
- </p>
- <p>
- JABEZ. I wanted you to be a rational member of society, sir, not a damned
- labour agitator and a failure at that. You boasted you could sway a mob.
- Sway a mob! Why, man, you couldn't sway a child. You don't know the A.B.C.
- of public speaking.
- </p>
- <p>
- CHARLIE. Oh, you've a right to boast. Vae Victis.
- </p>
- <p>
- JABEZ. Yes, vanquished on your own ground, Charlie. You said you'd speak,
- and you've spoken. A fat lot better off you are too. Now look here,
- Charlie, you're a young fool, but I've alwrays been fond of you, and I'm
- ready to take a lenient view of this.
- </p>
- <p>
- CHARLIE (<i>r.c.</i>). Lenient view!
- </p>
- <p>
- JABEZ. Yes... I've tumbled to what your silly twaddle really is. You've
- simply been sowing your wild oats like any other young fellow, only it
- wouldn't be you if you did things like other people. Most fellows do it
- over cards or a woman or a lot of women. You've done it over my workmen.
- And the point is, the point is that you <i>have</i> sown them, that it's
- done with, ended for good and all————(<i>Charlie
- turns to speak.</i>) Confound you, don't interrupt. You've had your
- innings, now it's my turn. You're going to drop your cursed—what's
- it called?—altruism—and you'll settle down cosily and
- comfortably with Rosie. That's your programme, my boy.
- </p>
- <p>
- CHARLIE. To be not only a fool myself, but a breeder of fools! (<i>Rosie
- turns to fire.</i>) It's no good, Mr. Thompson. I tell you I am going
- away. I must slip the cable if I'm to have any respect for myself after
- to-night's work. (<i>Going p. to coat rack.</i>)
- </p>
- <p>
- ROSIE (<i>turning, quietly</i>). Father, how long is it since you had a
- cigar?
- </p>
- <p>
- JABEZ. I don't know.
- </p>
- <p>
- ROSIE. I am sure it's time you had another. (<i>Jabez takes case out.</i>)
- </p>
- <p>
- JABEZ. Thank you, my dear.
- </p>
- <p>
- ROSIE (<i>apparently shocked</i>). Oh, but you mustn't smoke here. Go to
- the air and smoke your cigar on the step till I come. (<i>Gently
- manoeuvring him towards the dao? r.</i>)
- </p>
- <p>
- JABEZ (<i>going reluclantly</i>) But what are you going to do?
- </p>
- <p>
- ROSIE. It will be all right. You see, this isn't a works' affair any
- longer, is it?
- </p>
- <p>
- JABEZ. No. I suppose it isn't.
- </p>
- <p>
- ROSIE. So it's quite right for mc to speak to Charlie now. I shan't be
- long. (<i>Jabez goes out r., his bearing indicating that he does so under
- proest. Rosie closes the door behind him and faces Charlie.</i>)
- </p>
- <p>
- ROSIE. Now, Charlie!
- </p>
- <p>
- CHARLIE (<i>trying to escape</i>). I must be going. Good night, Miss
- Thompson, and good-by. (<i>Holding his hand out.</i>)
- </p>
- <p>
- ROSIE (<i>ignoring the hand standing with her back to the door she has
- just closed.</i>) Don't be silly, Charlie.
- </p>
- <p>
- CHARLIE. There's another door, you know. (<i>Looking c.</i>)
- </p>
- <p>
- ROSIE. The main entrance will be locked long since.
- </p>
- <p>
- CHARLIE (<i>accepting the situation.</i>) What do you want with me?
- </p>
- <p>
- ROSIE (<i>coming forward from the door and speaking softly.</i>) I want to
- help you.
- </p>
- <p>
- CHARLIE. I don't want your help. I want to be alone. Can't you understand
- my wanting to crawl away and hide? Won't you let me go?
- </p>
- <p>
- ROSIE (<i>sympathetically</i>). I want to help you.
- </p>
- <p>
- CHARLIE. Your father's right, Rosie. I've made a hash of things. There's
- nothing left for me to do here now. I've shot my bolt.
- </p>
- <p>
- ROSIE. What do you propose to do?
- </p>
- <p>
- Chaelie (<i>irritably</i>). Oh, I don't know yet. Go on living, I suppose.
- I shan't starve. I'm a qualified chemist. That's worth something anywhere.
- (<i>Sitting l.c. on corner oj table.</i>)
- </p>
- <p>
- ROSIE. You're worth more here.
- </p>
- <p>
- CHARLIE. Here! I can never hold my head up again after to-night. You don't
- understand what it is I've tried to do.
- </p>
- <p>
- ROSIE. I understand very well, and I don't quarrel with what you wished to
- do, but you've gone about it in the wrong way. You were wrong, utterly
- wrong, in talking to my father as you did. What made you do it?
- </p>
- <p>
- CHARLIE. I only told him the truth.
- </p>
- <p>
- ROSIE. The truth! Don't you know that there are times when it's criminal
- to tell the truth?
- </p>
- <p>
- CHARLIE. Never!
- </p>
- <p>
- ROSIE. You won't persuade a man like my father to see the error of his
- ways by blurting out a bundle of unpleasant truths. You're a reformer in a
- hurry. You won't realize that his convictions are just as strong as yours
- and that he is too old to alter.
- </p>
- <p>
- CHARLIE (<i>With some slight return of spirit</i>) And I'm too young to
- alter. We've got beyond the point when wisdom was regarded as the monopoly
- of senile decay. I won't turn back. (<i>Rising from table and going l.</i>)
- </p>
- <p>
- ROSIE. My dear boy, I don't ask you to. I only ask you to advance
- intelligently, (<i>over to Charlie, l.</i>) to understand that the odds
- against you are too great for you to fight single-handed.
- </p>
- <p>
- CHARLIE (<i>gloomily</i>). You're quite right. I'm a broken gambler. I'm
- bankrupt for this fight now—bankrupt with no assets. Your father's
- got them all.
- </p>
- <p>
- ROSIE. No, Charlie, not all. You've one asset that he'd give half his
- wealth to have.
- </p>
- <p>
- CHARLIE. I have? What's that?
- </p>
- <p>
- ROSIE. You've youth. You can afford to wait. You mustn't throw up the
- sponge and fly at a first reverse.
- </p>
- <p>
- CHARLIE. It seems so hopeless to try to do anything here. I thought I'd
- got hold of the men. Tonight's work has settled all that. I shall never
- recover my influence. I don't know—of course one never does—but
- there might be some place in the world where I could be of use. There's
- just a chance, and I want to try again—to redeem all this. These
- things mean so much to me—more than anything else in the world.
- Suffering—poverty—I see them so clearly. Whenever I think of
- other things, things I desire, my own personal wishes—they get in
- the way.
- </p>
- <p>
- ROSIE. And are you alone blessed with eyesight? Do you think me blind? Do
- you combine your modern socialism with a mediaeval conception of women?
- Charlie, if the men's condition has been an obsession with you, with me
- it's been the passion of a lifetime. It's gone near to wrecking my life.
- </p>
- <p>
- CHARLIE (<i>involuntarily</i>). How?
- </p>
- <p>
- ROSIE. Because I needed help and I sought an instrument. A woman's
- handicapped. I can do a lot with my father, but I never dared to interfere
- openly at the works. That was his territory, and I knew he'd stand no
- petticoat government there. I wanted a man's help. I wanted you.
- </p>
- <p>
- CHARLIE. Why didn't you tell me this before? We could have done so much?
- </p>
- <p>
- ROSIE. Charlie, do you realize that I'd to live with my father? You had
- your differences with him, but at any rate they were confined to business
- hours. For me, there was no escape. I lived under the same roof with him,
- so I'd to do my good by stealth unknown to him.
- </p>
- <p>
- CHARLIE. But why keep it from me?
- </p>
- <p>
- ROSIE (<i>pityingly</i>). My dear boy!
- </p>
- <p>
- CHARLIE. Well?
- </p>
- <p>
- ROSIE. You, with your passion for the truth!
- </p>
- <p>
- CHARLIE (<i>a little hotly</i>). Do you object to that?
- </p>
- <p>
- ROSIE. I like it. But it made it impossible for me to tell you this
- before.
- </p>
- <p>
- CHARLIE. Why? (<i>Pause.</i>)
- </p>
- <p>
- ROSIE. Charlie, if I had told you, would you have kept it to yourself?
- </p>
- <p>
- CHARLIE. Why should I do that?
- </p>
- <p>
- ROSIE. Exactly. Sooner or later you'd have blurted it all out to my
- father, and I could have done no more good, no more little charities, no
- more small alleviations. What sort of a life do you suppose I should have
- had if he'd learnt that I had broken through his rule, that I was doing
- all I could to soften his harsh management and to make things easier for
- his pecple when they fell ill?
- </p>
- <p>
- CHARLIE. You've been doing that? How little I knew you!
- </p>
- <p>
- ROSIE. It wasn't much, but I did what I could.
- </p>
- <p>
- CHARLIE. What a sweep I've been!
- </p>
- <p>
- ROSIE. You're going to stay?
- </p>
- <p>
- CHARLIE. Yes, I'm going to stay. I've been a fool. I thought I hadn't time
- for marriage. I thought a wife would be a drag. I—I thought myself a
- tower of strength.
- </p>
- <p>
- ROSIE (<i>smiling</i>). It had to be, Charlie. A poet always marries a
- cook.
- </p>
- <p>
- CHARLIE. You mustn't talk like that. I'm not fit for you. I've played with
- you. I thought of you as Thompson's daughter, content with him and all he
- stands for. And all the time I wanted you, wanted you horribly. Only that
- stood in the way. I loved you while I tried to hate you for what I thought
- you were. I know you better now. You're going to help me. That's kind,
- that's generous of you. I need you so much, Rosie.
- </p>
- <p>
- ROSIE. I'm ready now, father.
- </p>
- <p>
- JABEZ. About time, too.
- </p>
- <p>
- ROSIE. Charlie's coming home with us father.
- </p>
- <p>
- JABEZ. But the men are all outside, they'll all see,
- </p>
- <p>
- ROSIE. Why shouldn't they? Have you forgotten that we're going to be
- married on April 25? Come along, Charlie. (<i>She takes his arm and urges him
- to door. Jabez stares aghast, then follows Charlie's hat and coat.</i>)
- </p>
- <p>
- <br />
- </p>
- <h3>
- CURTAIN.
- </h3>
- <div style="height: 6em;">
- <br /><br /><br /><br /><br /><br />
- </div>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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