Джон Голсуорси
A Family Man
ATHENE. Nonsense, Annie. And here's your fare home.
ANNIE. Oh! thank you, Miss. I'm very sorry. Of course if you was to change your mind – [She stops, embarrassed].
ATHENE. I don't think —
GUY. [Abruptly] Good-bye, Annie. Here's five bob for the movies.
ANNIE. Oh! good-bye, sir, and thank you. I was goin' there now with my young man. He's just round the corner.
GUY. Be very careful of him.
ANNIE. Oh! yes, sir, I will. Good-bye, sir. Goodbye, Miss.
She goes.
GUY. So her father has a firm hand too. But it takes her back to the nest. How's that, Athene?
ATHENE. [Playing with a leathern button on his coat] If you'd watched it ever since you could watch anything, seen it kill out all – It's having power that does it. I know Father's got awfully good points.
GUY. Well, they don't stick out.
ATHENE. He works fearfully hard; he's upright, and plucky. He's not stingy. But he's smothered his animal nature-and that's done it. I don't want to see you smother anything, Guy.
GUY. [Gloomily] I suppose one never knows what one's got under the lid. If he hadn't come here to-day – [He spins the wedding ring] He certainly gives one pause. Used he to whack you?
ATHENE. Yes.
GUY. Brute!
ATHENE. With the best intentions. You see, he's a Town Councillor, and a magistrate. I suppose they have to be "firm." Maud and I sneaked in once to listen to him. There was a woman who came for protection from her husband. If he'd known we were there, he'd have had a fit.
GUY. Did he give her the protection?
ATHENE. Yes; he gave her back to the husband. Wasn't it – English?
GUY. [With a grunt] Hang it! We're not all like that.
ATHENE. [Twisting his button] I think it's really a sense of property so deep that they don't know they've got it. Father can talk about freedom like a – politician.
GUY. [Fitting the wedding ring on her finger] Well! Let's see how it looks, anyway.
ATHENE. Don't play with fire, Guy.
GUY. There's something in atavism, darling; there really is. I like it – I do.
A knock on the door.
ATHENE. That sounds like Annie again. Just see.
GUY. [Opening the door] It is. Come in, Annie. What's wrong now?
ANNIE. [Entering in confusion] Oh! sir, please, sir – I've told my young man.
ATHENE. Well, what does he say?
ANNIE. 'E was 'orrified, Miss.
GUY. The deuce he was! At our conduct?
ANNIE. Oh! no, sir – at mine.
ATHENE. But you did your best; you left us.
ANNIE. Oh! yes, Miss; that's why 'e's horrified.
GUY. Good for your young man.
ANNIE. [Flattered] Yes, sir. 'E said I 'ad no strength of mind.
ATHENE. So you want to come back?
ANNIE. Oh! yes, Miss.
ATHENE. All right.
GUY. But what about catching it?
ANNIE. Oh, sir, 'e said there was nothing like Epsom salts.
GUY. He's a wag, your young man.
ANNIE. He was in the Army, sir.
GUY. You said he was respectable.
ANNIE. Oh! yes, sir; but not so respectable as that.
ATHENE. Well, Annie, get your things off, and lay lunch.
ANNIE. Oh! yes, Miss.
She makes a little curtsey and passes through into the kitchen.
GUY. Strength of mind! Have a little, Athene won't you? [He holds out the marriage licence before her].
ATHENE. I don't know – I don't know! If – it turned out —
GUY. It won't. Come on. Must take chances in this life.
ATHENE. [Looking up into his face] Guy, promise me – solemnly that you'll never let me stand in your way, or stand in mine!
GUY. Right! That's a bargain. [They embrace.]
ATHENE quivers towards him. They embrace fervently as ANNIE enters with the bread pan. They spring apart.
ANNIE. Oh!
GUY. It's all right, Annie. There's only one more day's infection before you. We're to be married to-morrow morning.
ANNIE. Oh! yes, sir. Won't Mr Builder be pleased?
GUY. H'm! That's not exactly our reason.
ANNIE. [Right] Oh! no, sir. Of course you can't be a family without, can you?
GUY. What have you got in that thing?
ANNIE is moving across with the bread pan. She halts at the bedroom door.
ANNIE. Oh! please, ma'am, I was to give you a message – very important – from Miss Maud Builder "Lookout! Father is coming!"
She goes out. The CURTAIN falls.
ACT II
BUILDER'S study. At the table, MAUD has just put a sheet of paper into a typewriter. She sits facing the audience, with her hands stretched over the keys.
MAUD. [To herself] I must get that expression.
Her face assumes a furtive, listening look. Then she gets up, whisks to the mirror over the fireplace, scrutinises the expression in it, and going back to the table, sits down again with hands outstretched above the keys, and an accentuation of the expression. The door up Left is opened, and TOPPING appears. He looks at MAUD, who just turns her eyes.
TOPPING. Lunch has been ready some time, Miss Maud.
MAUD. I don't want any lunch. Did you give it?
TOPPING. Miss Athene was out. I gave the message to a young party. She looked a bit green, Miss. I hope nothing'll go wrong with the works. Shall I keep lunch back?
MAUD. If something's gone wrong, they won't have any appetite, Topping.
TOPPING. If you think I might risk it, Miss, I'd like to slip round to my dentist. [He lays a finger on his cheek].
MAUD. [Smiling] Oh! What race is being run this afternoon, then, Topping?
TOPPING. [Twinkling, and shifting his finger to the side of his nose] Well, I don't suppose you've 'eard of it, Miss; but as a matter of fact it's the Cesarwitch.
MAUD. Got anything on?
TOPPING. Only my shirt, Miss.
MAUD. Is it a good thing, then?
TOPPING. I've seen worse roll up. [With a touch of enthusiasm] Dark horse, Miss Maud, at twenty to one.
MAUD. Put me ten bob on, Topping. I want all the money I can get, just now.
TOPPING. You're not the first, Miss.
MAUD. I say, Topping, do you know anything about the film?
TOPPING. [Nodding] Rather a specialty of mine, Miss.
MAUD. Well, just stand there, and give me your opinion of this.
TOPPING moves down Left. She crouches over the typewriter, lets her hands play on the keys; stops; assumes that listening, furtive look; listens again, and lets her head go slowly round, preceded by her eyes; breaks it off, and says:
What should you say I was?
TOPPING. Guilty, Miss.
MAUD. [With triumph] There! Then you think I've got it?
TOPPING. Well, of course, I couldn't say just what sort of a crime you'd committed, but I should think pretty 'ot stuff.
MAUD. Yes; I've got them here. [She pats her chest].
TOPPING. Really, Miss.
MAUD. Yes. There's just one point, Topping; it's psychological.
TOPPING. Indeed, Miss?
MAUD. Should I naturally put my hand on them; or would there be a reaction quick enough to stop me? You see, I'm alone – and the point is whether the fear of being seen would stop me although I knew I couldn't be seen. It's rather subtle.
TOPPING. I think there's be a rehaction, Miss.
MAUD. So do I. To touch them [She clasps her chest] is a bit obvious, isn't it?
TOPPING. If the haudience knows you've got 'em there.
MAUD. Oh! yes, it's seen me put them. Look here, I'll show you that too.
She opens an imaginary drawer, takes out some bits of sealing-wax, and with every circumstance of stealth in face and hands, conceals them in her bosom.
All right?
TOPPING. [Nodding] Fine, Miss. You have got a film face. What are they, if I may ask?
MAUD. [Reproducing the sealing-wax] The Fanshawe diamonds. There's just one thing here too, Topping.
In real life, which should I naturally do – put them in here [She touches her chest] or in my bag?
TOPPING. [Touching his waistcoat – earnestly] Well! To put 'em in here, Miss, I should say is more – more pishchological.
MAUD. [Subduing her lips] Yes; but —
TOPPING. You see, then you've got 'em on you.
MAUD. But that's just the point. Shouldn't I naturally think: Safer in my bag; then I can pretend somebody put them there. You see, nobody could put them on me.
TOPPING. Well, I should say that depends on your character. Of course I don't know what your character is.
MAUD. No; that's the beastly part of it – the author doesn't, either. It's all left to me.
TOPPING. In that case, I should please myself, Miss. To put 'em in 'ere's warmer.
MAUD. Yes, I think you're right. It's more human.
TOPPING. I didn't know you 'ad a taste this way, Miss Maud.
MAUD. More than a taste, Topping – a talent.
TOPPING. Well, in my belief, we all have a vice about us somewhere. But if I were you, Miss, I wouldn't touch bettin', not with this other on you. You might get to feel a bit crowded.
MAUD. Well, then, only put the ten bob on if you're sure he's going to win. You can post the money on after me. I'll send you an address, Topping, because I shan't be here.
TOPPING. [Disturbed] What! You're not going, too, Miss Maud?
MAUD. To seek my fortune.
TOPPING. Oh! Hang it all, Miss, think of what you'll leave behind. Miss Athene's leavin' home has made it pretty steep, but this'll touch bottom – this will.
MAUD. Yes; I expect you'll find it rather difficult for a bit when I'm gone. Miss Baldini, you know. I've been studying with her. She's got me this chance with the movie people. I'm going on trial as the guilty typist in "The Heartache of Miranda."
TOPPING. [Surprised out of politeness] Well, I never! That does sound like 'em! Are you goin' to tell the guv'nor, Miss?
MAUD nods. In that case, I think I'll be gettin' off to my dentist before the band plays.
MAUD. All right, Topping; hope you won't lose a tooth.
TOPPING. [With a grin] It's on the knees of the gods, Miss, as they say in the headlines.
He goes. MAUD stretches herself and listens.
MAUD. I believe that's them. Shivery funky.
She runs off up Left.
BUILDER. [Entering from the hall and crossing to the fireplace] Monstrous! Really monstrous!
CAMILLE enters from the hall. She has a little collecting book in her hand.
BUILDER. Well, Camille?
CAMILLE. A sistare from the Sacred 'Eart, Monsieur – her little book for the orphan children.
BUILDER. I can't be bothered – What is it?
CAMILLE. Orphan, Monsieur.
BUILDER. H'm! Well! [Feeling in his breast pocket] Give her that.
He hands her a five-pound note.
CAMILLE. I am sure she will be veree grateful for the poor little beggars. Madame says she will not be coming to lunch, Monsieur.
BUILDER. I don't want any, either. Tell Topping I'll have some coffee.
CAMILLE. Topping has gone to the dentist, Monsieur; 'e 'as the toothache.
BUILDER. Toothache – poor devil! H'm! I'm expecting my brother, but I don't know that I can see him.
CAMILLE. No, Monsieur?
BUILDER. Ask your mistress to come here.
He looks up, and catching her eye, looks away.
CAMILLE. Yes, Monsieur.
As she turns he looks swiftly at her, sweeping her up and down. She turns her head and catches his glance, which is swiftly dropped. Will Monsieur not 'ave anything to eat?
BUILDER. [Shaking his head-abruptly] No. Bring the coffee!
CAMILLE. Is Monsieur not well?
BUILDER. Yes – quite well.
CAMILLE. [Sweetening her eyes] A cutlet soubise? No?
BUILDER. [With a faint response in his eyes, instantly subdued] Nothing! nothing!
CAMILLE. And Madame nothing too – Tt! Tt! With her hand on the door she looks back, again catches his eyes in an engagement instantly broken off, and goes out.
BUILDER. [Stock-still, and staring at the door] That girl's a continual irritation to me! She's dangerous! What a life! I believe that girl —
The door Left is opened and MRS BUILDER comes in.
BUILDER. There's some coffee coming; do your head good. Look here, Julia. I'm sorry I beat on that door. I apologize. I was in a towering passion. I wish I didn't get into these rages. But – dash it all – ! I couldn't walk away and leave you there.
MRS BUILDER. Why not?
BUILDER. You keep everything to yourself, so; I never have any notion what you're thinking. What did you say to her?
MRS BUILDER. Told her it would never work.
BUILDER. Well, that's something. She's crazy. D'you suppose she was telling the truth about that young blackguard wanting to marry her?
MRS BUILDER. I'm sure of it.
BUILDER. When you think of how she's been brought up. You would have thought that religion alone —
MRS BUILDER. The girls haven't wanted to go to church for years. They've always said they didn't see why they should go to keep up your position. I don't know if you remember that you once caned them for running off on a Sunday morning.
BUILDER. Well?
MRS BUILDER. They've never had any religion since.
BUILDER. H'm! [He takes a short turn up the room] What's to be done about Athene?
MRS BUILDER. You said you had done with her.
BUILDER. You know I didn't mean that. I might just as well have said I'd done with you! Apply your wits, Julia! At any moment this thing may come out. In a little town like this you can keep nothing dark. How can I take this nomination for Mayor?
MRS BUILDER. Perhaps Ralph could help.
BUILDER. What? His daughters have never done anything disgraceful, and his wife's a pattern.
MRS BUILDER. Yes; Ralph isn't at all a family man.
BUILDER. [Staring at her] I do wish you wouldn't turn things upside down in that ironical way. It isn't – English.
MRS BUILDER. I can't help having been born in Jersey.
BUILDER. No; I suppose it's in your blood. The French – [He stops short].
MRS BUILDER. Yes?
BUILDER. Very irritating sometimes to a plain Englishman – that's all.
MRS BUILDER. Shall I get rid of Camille?
BUILDER. [Staring at her, then dropping his glance] Camille? What's she got to do with it?
MRS BUILDER. I thought perhaps you found her irritating.
BUILDER. Why should I?
CAMILLE comes in from the dining-room with the coffee.
Put it there. I want some brandy, please.
CAMILLE. I bring it, Monsieur.
She goes back demurely into the dining-room.
BUILDER. Topping's got toothache, poor chap! [Pouring out the coffee] Can't you suggest any way of making Athene see reason? Think of the example! Maud will be kicking over next. I shan't be able to hold my head up here.
MRS BUILDER. I'm afraid I can't do that for you.
BUILDER. [Exasperated] Look here, Julia! That wretched girl said something to me about our life together. What – what's the matter with that?
MRS BUILDER. It is irritating.
BUILDER. Be explicit.
MRS BUILDER. We have lived together twenty-three years, John. No talk will change such things.
BUILDER. Is it a question of money? You can always have more. You know that. [MRS BUILDER smiles] Oh! don't smile like that; it makes me feel quite sick!
CAMILLE enters with a decanter and little glasses, from the dining-room.
CAMILLE. The brandy, sir. Monsieur Ralph Builder has just come.
MRS BUILDER. Ask him in, Camille.
CAMILLE. Yes, Madame.
She goes through the doorway into the hall. MRS BUILDER, following towards the door, meets RALPH BUILDER, a man rather older than BUILDER and of opposite build and manner. He has a pleasant, whimsical face and grizzled hair.
MRS BUILDER. John wants to consult you, Ralph.
RALPH. That's very gratifying.
She passes him and goes out, leaving the two brothers eyeing one another.
About the Welsh contract?
BUILDER. No. Fact is, Ralph, something very horrible's happened.
RALPH. Athene gone and got married?
BUILDER. No. It's – it's that she's gone and – and not got married.
RALPH utters a sympathetic whistle.
Jolly, isn't it?
RALPH. To whom?
BUILDER. A young flying bounder.
RALPH. And why?
BUILDER. Some crazy rubbish about family life, of all things.
RALPH. Athene's a most interesting girl. All these young people are so queer and delightful.
BUILDER. By George, Ralph, you may thank your stars you haven't got a delightful daughter. Yours are good, decent girls.
RALPH. Athene's tremendously good and decent, John. I'd bet any money she's doing this on the highest principles.
BUILDER. Behaving like a —
RALPH. Don't say what you'll regret, old man! Athene always took things seriously – bless her!
BUILDER. Julia thinks you might help. You never seem to have any domestic troubles.
RALPH. No – o. I don't think we do.
BUILDER. How d'you account for it?
RALPH. I must ask at home.
BUILDER. Dash it! You must know!
RALPH. We're all fond of each other.
BUILDER. Well, I'm fond of my girls too; I suppose I'm not amiable enough. H'm?
RALPH. Well, old man, you do get blood to the head. But what's Athene's point, exactly?
BUILDER. Family life isn't idyllic, so she thinks she and the young man oughtn't to have one.
RALPH. I see. Home experience?
BUILDER. Hang it all, a family's a family! There must be a head.
RALPH. But no tail, old chap.
BUILDER. You don't let your women folk do just as they like?
RALPH. Always.
BUILDER. What happens if one of your girls wants to do an improper thing? [RALPH shrugs his shoulders]. You don't stop her?
RALPH. Do you?
BUILDER. I try to.
RALPH. Exactly. And she does it. I don't and she doesn't.
BUILDER. [With a short laugh] Good Lord! I suppose you'd have me eat humble pie and tell Athene she can go on living in sin and offending society, and have my blessing to round it off.
RALPH. I think if you did she'd probably marry him.
BUILDER. You've never tested your theory, I'll bet.
RALPH. Not yet.
BUILDER. There you are.
RALPH. The 'suaviter in modo' pays, John. The times are not what they were.
BUILDER. Look here! I want to get to the bottom of this. Do you tell me I'm any stricter than nine out of ten men?
RALPH. Only in practice.
BUILDER. [Puzzled] How do you mean?
RALPH. Well, you profess the principles of liberty, but you practise the principles of government.
BUILDER. H'm! [Taking up the decanter] Have some?
RALPH. No, thank you.
BUILDER fills and raises his glass.
CAMILLE. [Entering] Madame left her coffee.
She comes forward, holds out a cup for BUILDER to pour into, takes it and goes out. BUILDER'S glass remains suspended. He drinks the brandy off as she shuts the door.
BUILDER. Life isn't all roses, Ralph.
RALPH. Sorry, old man.
BUILDER. I sometimes think I try myself too high. Well, about that Welsh contract?
RALPH. Let's take it.
BUILDER. If you'll attend to it. Frankly, I'm too upset.
As they go towards the door into the hall, MAUD comes in from the dining-room, in hat and coat.
RALPH. [Catching sight of her] Hallo! All well in your cosmogony, Maud?
MAUD. What is a cosmogony, Uncle?
RALPH. My dear, I – I don't know.
He goes out, followed by BUILDER. MAUD goes quickly to the table, sits down and rests her elbows on it, her chin on her hands, looking at the door.
BUILDER. [Re-entering] Well, Maud! You'd have won your bet!
MAUD. Oh! father, I – I've got some news for you.
BUILDER. [Staring at her] News – what?
MAUD. I'm awfully sorry, but I-I've got a job.
BUILDER. Now, don't go saying you're going in for Art, too, because I won't have it.
MAUD. Art? Oh! no! It's the – [With a jerk] – the Movies.
BUILDER. who has taken up a pipe to fill, puts it down.
BUILDER. [Impressively] I'm not in a joking mood.
MAUD. I'm not joking, father.
BUILDER. Then what are you talking about?
MAUD. You see, I – I've got a film face, and —
BUILDER. You've what? [Going up to his daughter, he takes hold of her chin] Don't talk nonsense! Your sister has just tried me to the limit.
MAUD. [Removing his hand from her chin] Don't oppose it, father, please! I've always wanted to earn my own living.
BUILDER. Living! Living!
MAUD. [Gathering determination] You can't stop me, father, because I shan't need support. I've got quite good terms.
BUILDER. [Almost choking, but mastering himself] Do you mean to say you've gone as far as that?
MAUD. Yes. It's all settled.
BUILDER. Who put you up to this?
MAUD. No one. I've been meaning to, ever so long. I'm twenty-one, you know.
BUILDER. A film face! Good God! Now, look here! I will not have a daughter of mine mixed up with the stage. I've spent goodness knows what on your education – both of you.
MAUD. I don't want to be ungrateful; but I – I can't go on living at home.
BUILDER. You can't – ! Why? You've every indulgence.
MAUD. [Clearly and coldly] I can remember occasions when your indulgence hurt, father. [She wriggles her shoulders and back] We never forgot or forgave that.
BUILDER. [Uneasily] That! You were just kids.
MAUD. Perhaps you'd like to begin again?
BUILDER. Don't twist my tail, Maud. I had the most painful scene with Athene this morning. Now come! Give up this silly notion! It's really too childish!
MAUD. [Looking at him curiously] I've heard you say ever so many times that no man was any good who couldn't make his own way, father. Well, women are the same as men, now. It's the law of the country. I only want to make my own way.
BUILDER. [Trying to subdue his anger] Now, Maud, don't be foolish. Consider my position here – a Town Councillor, a Magistrate, and Mayor next year. With one daughter living with a man she isn't married to —
MAUD. [With lively interest] Oh! So you did catch them out?
BUILDER. D'you mean to say you knew?
MAUD. Of course.
BUILDER. My God! I thought we were a Christian family.
MAUD. Oh! father.
BUILDER. Don't sneer at Christianity!
MAUD. There's only one thing wrong with Christians – they aren't!
BUILDER Seizes her by the shoulders and shakes her vigorously. When he drops her shoulders, she gets up, gives him a vicious look, and suddenly stamps her foot on his toe with all her might.
BUILDER. [With a yowl of pain] You little devil!