Plou 8
(same Lcash
A man celladApale


A PLAN
F CAMPAIGN
A Play
Maurice Rowdon.
WARGERY VOSPER LTU.
534 SHAFTESBURY AVE.
LONDON, W.1.
GERRARD 5106


CHARACTERS IN THE ORDER
OF THEIR APPEARANCE
HARRY BEINUM, Personnel Consultant.
JACK MEADOWS, Engineer.
NELL RAYNER, BEINUM'S Secretary.
JULIA, wife of JACK MEADOWS.
THE ACTION IS AT PRESENT.


SC E N E
A room designed for consultations. Doors to left and
right, and the large Window facing us looks out on to
a brick wall only a few yards away; the wall of a factory,
and quite blank. Nothing else can be seen through the
window, only brick wall. No sky and no roof.
On the right there is a long desk with telephones,
adjustable lamp and files. Under the window there is
a kind of opérating table, or perhaps couch designed
for the restless. On the walls there are graphs with
steadily undulating lines in red ink, production charts.
Recording apparatus on or near the desk, and an armchair
facing the desk.


ACT ONE.
As the curtain rises we hear a man's
voice shouting from a loudspeaker
(the rec ording apparatus). The voice
is distraught and uneven, and there
are long pauses between each outburst.
HARRY BEINUM and JACK MEADOWS are
listening to this. BEINUM is watch-
ing the other man closely. He is
tall, heavy in appearance, ungainly
in his step. He is carefully though
not very formally dressed.
JACK MEADOWS is a younger man, and
slighter; he is dressed in overalls.
He avoids BEINUM'S gaze and stares
down at the floor, frowning and shift-
ing about in his seat (the armchair).
THE VOICE: Oh, yes, I've heard all about Carson's job, and
that Godfrey! They always make trouble for me,
ybu can see them all talking about me, everybody
from Godfrey down! I want to go. i want to get
away from all that noise, and those eyes just as
if they was ins ide the noise! It isn't right!
I don't get the sleep, you see, and nobody here
has any pity... They'a put a dog out of its
misery. Listen, Mr Beinum---!
BEINUM goes to the recording apparatus
and switches it off. He stands over
MEADOWS, who still has his head bowed.
BEINUM:
Now is that the way to behave?
MEADOWS:
You forced me.
BEINUM:
Did I really force you?
MEADOWS:
I'm ashamed of myself.
BEINUM:
But I'm not trying to make you feel ashamed. No,
look at me. Look up.
(MEADOWS does so) I don't


want you to feel any shame. But it sometimes
does us good to hear ourselges.
MEADOWS:
That voice isn't me. When I suffer, I suffer
quietly.
BEINUM:
Carson's face is in plaster.
There was nothing
quiet about that.
MEADOWS:
Where is the microphone?
BEINUM:
Close to your chair.
MEADOWS:
Where is it?
BEINUM:
I shan't use it again.
MEADOWS:
To think that was my voice...
BEINUM walks across to the armehair
where MEADOWS is sitting and puts
his hand under the ledge.
BEINUM:
There. You can feel it. (Returns to the machine)
Come over here. Aren't you interested?
MEADOWS goes towards BEINUM, walking
wearily.
BEINUM:
This is the switch. Whenever you come here I want
you to have a look at this switch.
MEADOWS:
It doesn't help, that sort of thing.
BEINUM:
Yesterday, Meadows, I called you hysterical, and
today I'm giving you the proof. Why did you hit
Carson?
Mead OWS S :
He was tormenting me.
BEINUM:
Listen, I'm not a'doctor. My job is to keep you
working hard. You're one of our best engineers.
No one else in this place could hit a foreman in
the jaw and get away with it. :
MEADOWS (yawning) I'm so tired these days. My fingers tremble
at the instruments.
(Turning to him) Don't you
ever feel unc omfortable, watching people like this?
BEINUM:
Why should I?
MEADOWS:
We're all alone. We're all children in one way or
another. I mean, don't you ever shout at people?
BEINUM:
I think a man should never give way, Meadows.
MEADOWS:
Am I weak in your eyes?
BEINUM:
Not weak.


MEADOWS:
I don't mind a fight, you see, if---
BE INUM:
Your job is engineering. Mine is to see that
there aren't any fights.
MEADOWS:
All right, it owon't happen again.
BEINUM:
And suppose the blood rushes to your head the
moment you get downstairs?
MEADOWS:
Fire me.
BEINUM:
That isn't my job. My job is to keep you,
because your work is good.
(Going to the desk)
Listen, this is written under your name. (Opening
a file) John Frederick Meadows. Aged 34.
Married. No.icriminal record. Health, good.
A loyal and energetic worker.' Mr Godfrey has
added in red ink, 'Keep this man.' (Staring at
him) Mr Godfrey... What do you think of him?
MEADOWS:
Oh, come off the pedestal.
BEINUM:
No, tell me. I really want to know: between
ourselves.
MEADOWS:
Why ask?
BEINUM:
Oh, people talk.
There is silence.
MEADOWS:
I'm here because' I hit Carson in the face.
BEINUM:
That was just a burst ofanger. You're an unhappy
man: why?
MEADOWS:
We're all unhappy.
BEINUM:
Oh, come, Meadows. This talk is all very well,
but you work here and you live here, and there
comes a time when your problems are our problems.
MEADOWS:
How do pe ople talk?
BEINUM:
Like this: Jack Meadows's wife sleeps with
Godfrey.
That's how it.runs. That s the tuhe
we hear every day.
BEINUM goes to the desk and pours
a brandy. He brings it to MEADOWS.
MEADOWS:
BEINUM:
You don't mind a fight. Well, come out and fight
with me. Don't be proud. Get drunk if you like.
The doors are locked.
MEADOWS takes the drink and sips it.


MEADOWS:
This place is a prison. And we're.all here
because of money.
BEINUM:
You C ould get another job, couldn't you?
(MEADOWS does not reply) It has nothing to do
with money. Youtre here because your wife
refuses to leave.
MEADOWS:
No. She doesn't refuse. But she might, so
I daren't ask het.
BEINUM:
Why canit you hold her?
MEADOWS:
Then you believe what people say.
BEINUM:
Ah, but, Meadows, I thought you were accepting
the story. No, all I have is peoplets, talk..
No proof.
MEADOWS:
I'm suspicious, then I blame myself for thinking
badly about her. I'm absolutely tormented.
She denkes it.
BEINUM:
You accused.her, then.
MEADOWS:
Ue quarrel. I tear at her dress. I smashed
her dressing table. What do you think of tha t,
you who like to keep so calm?
BEINUM:
I've never had the experience.
MEADOWS: :
No, well, you can pray. (DRinks) She isn't a
whore. She's clean and dignified. I think of
her as a courtesan. But then, S ometimes, I stop
and think, Suppose all this is un true? Suppose
I'm wearing her down, wearing down her beauty,
you see. Because she cries,---oh, my God, how
she cries! Evening after evening, bitterly and
hopelessly, like a child, until I know she was
never unfaithful, and then I want to console her,
and that feeling of tears on my shoulder where she
put her head is so familiar to me now.
BEINUM: :
Boes Godfrey come to your house?
MEADOWS:
BEINUM:
Where does she type his reports, then?
MEADOWS:
At his house. But of course! Isn't it obvious?
She goes there dressed as she never dresses for
me. How could they spend two hours togther in a
silent room every day, without him putting his hand
on her arm and bending down perhaps, and moving
towards' her, and she leaning back her head, and---!
BEINUM:
Poor creature, you torment yourself. But that's
vhat happens when you don't love calmi
That's
what happens when you give way to the.ghosts and


the nightmares! All the lechery in the W orld,
all the horror and pain, rise up in front of you
and draw you on. And the further you go, the
more you're lost. Is she true to me? Yes!
No! Yest Which is it to be? You will never
know, my friend. Only a calm man would know.
MEADOWS:
of course Godfrey wants to keep me - He wants to
keep his lover.
BEINUM:
And suppose your suspicions are wrong?
MEADOWS:
Yes. Suppose! You say you're not a doctor.
But herefs an operating table. - And this lamp...
BEINUM:
I need them soneti ime S.
MEADOWS:
Why?
BEINUM:
People get hysterical. They faint. The machines
ma kes them nervous.
MEADOWS:
Hysterical like me?
BEINUM:
MEA DOVS: :
I'm different, then?
BEINUM:
Yes.
MEADOWS:
Who comes here? We never hear about this downstairs.
BEINUM:
I can't tell you.
MEADOWS:
But how many a day?
BEINUM:
Five or six perhaps.
MEADOVS :
Engineers?ent opiatives.
BEINUM:
Engineers and operatives. Mos tly operatives.
MEADOWS: :
And the engineers are more sophisticated, are they?
BEINUM:
Well, they're better educated, of Co. urse.
MEADOWS:
And more difficult...
They come and tell you their
secrets, I suppose?
BEINUM:
Sometimes.
MEADOWS:
People like Barnes and Turner, Jock Murphy and
Burbidge?
BEINUM:
People like that.
MEADOWS:
Vhat are their secrets?
BEINUM:
A grudge. Or they complain about S sone: thing--


the food, the loudspeakers in the assembly
room, or the foremen.
MEADOWS:
But secrets?
BEINUM:
Can't you imagine for yourself?
MEADOWS:
Secrets like mine, I mean: are their wives
unfaithful?
BEINUM:
Perhaps most Wives are unfaithful, Meadows.
Why can't you be sophisticated about these things?
MEADOWS:
Calm, you mean?
BEINUM:
Calm, if you like. Your wife takes another man,
why can't you take another woman?
MEADOWS:
But another woman wouldn't be my Julia.
MEADOWS walks over to tie recording
machine and looks at the switch.
He tbuches it, making sure that it
is turned off.
MEADOWS:
Have you used this on other people?
BEINUM:
Once or twice.
MEADOWS:
Are the secrets about love?
BEINUM:
Yes.
MEADOWS:8
Love's the only problem.
BEINUM:
For people Without Work!
MEADOWS:
No, it cuts in on the Worki.
BEINUM:
Yes, it attacks like a fever, Meadows.
MEADOWS (looking straight at him) What's your wife's name?
BEINUM (hesitantly) Nell.
MEADOWS:
Suppose Nell---(he pauses, watching BEINUM) -
went with another man and didn't love him?
BEINUM (smiling)
I've let you go far enough.
MEADOWS:
No. I just wanted to try and bréak that calm.
BEINUM:
Scream the word Nell at me all day. Suggest the
vilest lecheries in her name, if you like.
MEADOWS:
I feel horrible, telling you my secrets.
BEINUM:
Look at all this paraphernalia; an operating
table, brandy f or the weak, smelling salts, soft


lights. I'm your nurse, man. A hundred years
ago you would have beaten your wife black and blue,
or you wouldn't have cared. But in either case
you wouldn't have whined.
MEADOWS:
Have I whined?
BEINUM:
But, Christ, I've never heard so much whining.
How long have you been married?
MEADOWS:
Six years.
BEINUM:
You can't love a person for six years -
MEADOWS:
I love Julia.
BEINUM:
You love her in Godfrey's arms, Meadows. You :
must break that idea. Look, we need new people
to flatter us. A new lover is like a mirror
held up to our faces. We grow big in flattery.
We see ourselves new again. But six years...
Eyes grow old after six years.
MEADOWS:
It feels like a tomb here.
BEINUM:
Yes, Meadows (going to his desk), we baptise a
place with our wounds. For a lot of people this
room is like a tomb.
He opens a file and unclips a card.
This he takes across to MEADOWS and
throws it down before him.
BEINUM:
There's your card.
MEADOWS begins to rise but BEINUM
stops him.
BEINUM:
You know Burbidge of course?
MEADOWS:
Yes.
BEINUM:
Do you know anything about his domestic life?
MEADOWS:
BEINUM:
Well, I'm going to tell you one of thosesecrets
you wanted to hear.
MEADOWS:
You give yourself these calm airs. But you're in
it, like everybody else. You're working for
Godfrey, working to keep him inwomen. Is that a
man's work?
BEINUM:
My idea, Meadows, is to make those lines (indicating
the production charts) go up instead of down. So
I have to choose between the heart and a good
production rate.
MEADOWS:
And you work for Godfrey's heart.


BEINUM:
I'm trying to get you at work again. Nothing else.
MEADOWS:
He could get a dozen better engineers than me. What
use am I here? I hit Carson in the face. I'm
lazy. I'm rude to people. I've been absent five
times in a week.
BEINUM:
I'm'not in iove with Godfrey, you know. But like
you I have to keep body and soul together. He's
my boss as well as yours.
MEADOWS: :
So tell me about Burbidge.
BEINUM:
If I listened to the heart all the time we should be
bankrupt in a week and people like you would be
without a job. I want you to realise that before
I say anything about_Burbidge.
I'm on your side,
Meadows.
MEADOWS:
Yes, go on: Burbidge is enslaved to a woman, and
this is what he did...
BEINUM:
No. The very reverse.
MEADOWS:
A woman can enslave me just by turning her head.
So it seems.
BEINUM:
Burbidge and his wife are virtually separated. He
has a lover, outside the grounds. Have you seen his
wife?
MEADOWS:
I've spoken to her.
BEINUM:
She has no lover, Meadows. She's living with a man
she detests.
(There is a silence during which they
watch each other)
Treat it like a problem in engineer-
ing. I can give you some help.
MEADOWS:
She comes here too?
BEINUM:
She has her tr oubles, yes.
MEADOWS:
And downstairs one has no idea, no idea at all. There
are machines which work, everything has its place, the
workshops are bright and airy.
BEINUM:
I'm only showing you how to be Wise. But if you want
to go on tormenting yourself...
MEADOWS:
Do you never feel jealousy, them?
BEINUM:
MEADOWS:
Never.
BEINUM:
I want to be free, Meadows. Perhaps freedom is a
higher value for me than love.


MEADOWS:
But if you found her with another man, lying in
a bed at dawn, smiling into his eyes, her face,
still sleepy, pale with the morning...
BEINUM:
No. How astonishing, that two bodies rubbing
together should cause so much agony in a man.
MEADOWS:
But if one of those bodies happens to'be the place
where you worship, your only te emple---
BEINUM;
Then you. destroy that temple.
MEADOWS:
And betray Burbidge.
BEINUM:
Betray man? What kind of word is that? It's
too big for the petty incidents of every day.
MEADOWS rises.
MEADOWS:
Is it too big for what I go through? too big for
sleepless nights, and a pain at the pit of the
stomach, and one name in your head from one end of
the day to the other? No.
BEINUM goes to the door leading out
left and unlocks it.
BEINUM:
I don't dény you suffer, Meadows. That's why you
come here.
MEADOWS:
I ome here because I'm weak.
BEINUM:
What shall I tell Godfrey, then? Tha t you'll go
back to work?
MEADOWS:
Oh, I'll behave. It's no use, all this shouting.
They S tand at the door.
BEINUM:
Then I was Wise to play that tape over.
MEADOVS (with a shrug) You can afford to be wise.
BEINUM:
Good bye, Meadows, and good luck.
They shake hands and MEADOWS goes out.
BEINUM closes the door after him and
walks across.to the other door leading
to his own quarters and unlocks it.
He puts a handkerchief up to his brow
and sighs. He presses an eletric
bell at-his desk and waits, staring
down at one of the files.
The door on the right opens and
NELL RAYNER enters.
She is a well-
built, erect-young woman. But we
notice S omething nervous about her.


NELL:
Did you call?
BEINUM:
Yes. Come and talk to me. I'm exhausted.
NELL:
Who, was it?
BEINUM:
Meadows.
Have I seen him?
BEINUM:.
Idon't think so.
NELL:
You work too hard. You're So pale.
BEINUM:
What have you been doing?
NELL:
Reading. Let me see the file. (He shows her)
Ah, this is Meadows.
The man who hit Carson.
BEINUM: +
He overstayed his welcome, as usual, babbling and
babbling. If only he were a fool! But he's
clever, decent and quite brave really. (He.picks
up the telephone) Hullo, get me Mr Carson.
(To Nell)
Wha t do you say to some coffee?
(She
nods and starts to go but he catches her arm and
draws her back) No, stay and talk to me. I
need your talk. (At the phone) Hullo, Carson.
This is Beinum here. I've just sent Meadows
downs tairs. He should be all right now. Listen,
I want you to put Burbidge on another belt...
Burbidge... He works opposite Meadows. Do
that today. e
Oh, tell him production rates,
anything you like. Good bye.
He puts the receiver down and goes to
the recorsing apparatus. He glanc es
at his watch, then runs the recording
tape back a little.
BEINUM:
This is What I'be had to listen to. I feel so
tired, Nell, so absolutely done up.
He plays over the tape again.
THE VOICE: Oh, yes, I've heard all about Carsonts job, and
that Godfrey! They always make trouble for me,
you can see them all talking about me, everybody
from Godfrey down! I want to go. I want to
get away from all.that noise, and those eyes just
as if they was inside the noise. It isn't right!
I don't get---
He cuts the machine: off.
NELL:
What poor creatures they all are.
BEINUM:
And he's the worst of them.
NELL:
It's funny. I think I'm more like all those


creatures downs tairs. I'm soft, like them.
I could lose my head just like this Meadows.
I'm not like you. All your life seems so well
planned, Harry. And the rest of us are so untidy.
BEINUM:
But when you're ill or worried, who do you come to---
me or one of those other creatures?
NELL:
To you.
BEINUM:
And do I make you feel more secure?
NELL:
Yes.
BEINUM:
For the last hour he has been dragging me further
and further into his petty orbit. With the others
it's so easy. They have no wills, no thoughts, and
no'feelings to speak of. I S imply put their faces
together again and send them back to Work. But
this fellow's different. What he says is absolutely
true: I've no right to give him advice, because we're
equals. So we have a struggle. I feel I'm being
sucked down. Idon't know where I'm going. I
want the light and the air, not all these dark
feelings, which proliferate and writhe and mix
together like dreadful tumours!
He mixes h imself a drink.
NELL:
That's unusual for you.
BEINUM:
He says, 'This place is like a tomb.' And it's
quite true, Nell. It has lost that. clinical air,
the air of belonging nowhere.
He turned it into
a tomb.
NELL:
Perhaps you both did.
BEINUM:
But I'll win. The hysterical one always loses..1
How do you feel this morning?
NELL:
The same.
BEINUM:
Have you been sick?
NELL:
A little, yes.
BEINUM:
It's simply no good worrying. Why do you look at
me like that?
NELL:
Do you ever feel you're tired of me?
BEINUM:
Tired?
NELL:
Tired of my voice, the way I walk, the way I pick
up things, the way I look at you, (almost in tears)
the way Isit reading, waiting for y ou to talk to me.
BEINUM:
My poor--


A beli rings: BEINUM glances at the
(visitors st) door, then at Nell. She
hurries away towards the living quarters.
NELL:
of course you'don't want someone else like me!
BEINUM walks after her but doesn't
stop her leaving, and locks the door
after her. He then goes to the other
door and opens it.
JULIA MEADOWS enters. Our first
impression is of the utmost gentleness.
JULIA:
Am I late?
BEINUM:
Not at all, Mrs Meadows..
She stands looking about the room as
he closes and locks the door.
JULIA:
I never knew, these rooms wefe here. Are you a doctor?
BEINUM:
No. Will you sit down?
She sits at the armchair.
JULIA:
Did we meet once?
BEINUM:
Yes, at the jubilee celebrations.
(Watching her)
I was with Godfrey.
JULIA:
Ah, yes.
BEINUM:
You know your husband hit Carson in the face?
JULIA:
Yes.
BEINUM:
I wanted to talk to you about that.
JULIA:
His behaviour is strange.
BEINUM:
Do you mind talking about him?
JULIA:
BEINUM:
He was here just now. He's very unhappy, as you
know.
JULIA:
What did he tell you?
BEINUM:
Nothing real, nothing real at all.
JULIA:
But why did he set on Carson?
BEINUM:
Oh, he has nothing against Carson. (He takes up his
drink again) I'm sorry. Will you drink?


JULIA:
Thank you.
BEINUM:
Brandy?
JULIA:
Yes. It seems strange in the morning.
BEINUM (getting the drink) Drinking?
JULIA:
Yes.
BEINUM:
It isn't usual for me. - 'But your husband gave me
a bad time.
JULIA:
Then you know what I suffer.
BEINUM:
Do you suffer?
JULIA:
The real suffering's on his side. But it wears
me out.
BEINUM:
Just for an hour, even---yes. The sufferers draw
us into their agony. And we have to fight them,
which is unpleasant. It seems cowardly.
He gives her the drink.
JULIA:
Why is it so dark here?
BEINUM (indicating the window) It's the wall. We re only eight
feet away from it.
JULIA:
Do you live up here?
BEINUM:
Yes e
JULIA:.
There are other rooms through there, I suppose.
BEINUM:
Yes, there are three other rooms.
JULIA:
Is your wife there now?
BEINUM (aga: in hesitantly) Yes. Then you knew I was married.
JULIA:
I assumed it. One can tell S ometimes. What does
she do while you're here?
BEINUM:
Shè reads a lot. And she's my secretary. She
rarely goes out, you,know.
JULIA:
Does'she like it here?
BEINUM:
She feels cut off, perhaps.
JULIA:
No one talks'about this room downstairs. Your
name is never heard.
BEINUM:
Well, it means that people have nothing to lose
when they tell me the ir secrets, I suppose.
JULIA:
Did he mention me?


BEINUM:
Yes.
JULIA: -
What did he say?
BEINUM:
What people often say ab out their wives---nothing
substantial.
JULIA:
No, tell me -
BEINUM:
People come here with the ir secrets. I can'8 betray
them.
JULIA:
Did he tell you whether he quarrelàed with me?
BEINUM:
Yes.
JULIA:
And why he quarrelled with me?
BEINUM:
Look, Mrs Meadows. We ought to be horest wi th
each other. You know very well what people say
here.
JULIA:
What do they say?
BEINUM:
That you and Godfrey are lovers.
(A pause)
I don't care whe ther that's true or not. I'm
not interested.
JULIA:
Why not?
BEINUM:
I don't want your secrets, Mrs Meadows. The point
is that your husband has suspicions about you, and
I've got to cure him of those suspicions.
JULIA:
But I'm going to tell you the truth.
BEINUM:
Then you do so freely.
JULIA:
As you say, one has nothing to lose here. In any
case, you know the truth. You know quite well that
I sleep with Godfrey.. à
Don't you? (BEINUM does
not reply)
We agreed to be honest.
BEINUM:
I do know, yes.
JULIA:
Who told you?
BEINUM:
Godfrey h imself.
JULIA:
I don't respect him at all, you know.
BE INUM:
But you have to see him.
JULIA:
Mes.
BEINUM:
Why?
JULIA:
Becal use I feel stifled with my husband.
BEINUM:
And you need flattery now.


JULIA:
Before, we were like one person. I became heavy
and dull. We were cut off from the world, the two
of us in our house ne ear the generator. Do you
know what I mean? We seemed to see with the same
eyes, think with the same mind.
BEINUM:
And now Godfrey has renewed you. I can understand
all: that.
JULIA:
Not Godfrey. Anyone could have done it.
BEINUM (staring at her for a moment) Anyone?
JULIA:
I only needed to touch another human being.
BEINUM:
But when I saw you at the celebrations---you
remember when we shook hands? You seemed so very
happy to be with Godfrey then---I can't describe it,
but I envied him, you kjow. Iwondered---such
a beautfful. W oman...
JULIA:
I was happy. I was so excited at those celebrations,
knowing that there were other eyes in the world beside
my husband's, eyes which could admire me, I mean.
BEINUM:
So you don't love Godfrey?
JULIA:
No. Do you tell hin all our secrets? Poor fishes
He are, coming here with our secrets.
BEINUM:
I tell Godfrey nothing. I had to explain to your
husband---I'm not exactly in love with the man. But
he's my boss.
JULIA:
You seem to know all about us before we come here.
BEINUM:
Do I seem to know about you?
JULIA:
Yes.
BEINUM:
Why, do you think? Because there's. no one like
you in this camp. I hear you S poken about by so
many pe ople: Godfrey, sometimes an engineer you may never
MET have seen, but who saw you, passing the assembly
hall, perhaps... Even when your husband shouts about
you, he never breaks that single image of your
strange---I don't know, a kind of wise gentleness
you have, you see whatvI me an, wise isn't the right
word, but you seem so very gracious, and therefore
quite different from every other woman in the camp.
Every day I hear something new about you, and it's
always said in that awed way, and S ometimes, you know,
they nearly use the same words.
JULIA:
We say things here we would never say downstairs.
So you must see right into us.
BEINUM:
Do you know, Mrs Meadows, that in all my Work I've
never seen an unhappier man than your husband?


He's going to kill you, or Godfrey, or himself,
if you don't behave a little more cautiously.
JULIA:
What can I do?
BEINUM:
Listen to me, Mrs Meadows: I want you to give up
working for Godfrey.
JULIA:
I don't work for him.
BEINUM:
What do you mean?
JULIA:
I go there to see him.
The work was only a
cover.
BEINUM:
But he pays you?
JULIA:
He gives me money to show my husband, yes.
BEINUM:
Where didyou see him first?
JULIA:
At one of the dances. He called my husband over
and told him how much he liked his work. Then
we spoke to each other. Then he danced, with me.
BEINUM:
When did you make this arrangement about work?
JULIA:
A week later.
BEINUM:
But everyone in the camp knows about iti What
made you so careless? 4
JULIA:
Idon't know, I seem to have been asleep during those
five years. I was so happy to be awake again, I
didn't think of anything else.
BEINUM:
That was cruel for your husband. You can see how
he suffers.
JULIA:
Godfrey was as careless.
BEINUM:
Godfrey doesn't care. He leaves all the caring to
me. That's What he pays me for. But to go and Wo rk
for him, to:go there every day dressed up as you never
dress for your husband---how did you think anybody here
could fail to.see what you were up to? And your
husband...
JULIA:
Yes, I'm wretched, it's wrong, I know.
BEINUM (stopping) Wrong? I'm not here to decide between right
and wrong. You can talk that out downs tairs. Here
we deal only in plans of campaign, Mrs Meadows.
And you were too excited with your Godfrey to think
of a plan of campaign, weren't you? So tears and
scandal everywhere...
JULIA:
If I stay in that house all alone again, just waiting
for Jack, I: shall lose my looks, I shall die, you see.


BEINUM:
You: shall have all your pleasures, Mrs Meadows, if
only you're: patient. Why were you so surprised
to find you needed a lover? Did you really expec t
to be able to live with the same man for six years
without getting dull? Did you really expect that?
JULIA:
I think so. Well,I accepted it.
BEINUM:
You thought tou could be loyal to your husband for
ever and ever. And when you f ound it was only
possible at the expense ofyour beauty, indeed, your
whole life---when in other words you f ound that we
are not gods, you were, surprised. So you gave way
to Godfrey like a prisoner the moment he made his
first advance. Prisoners C ome up here every day 9
pris aners who build the ir own prison walls. Life
caught you napping. You fell in its clutches
(making a sudden clutching movement)---like that!
No time for a plan of campaign. So you gave way to
a man for whom you have no respect, much less any
love, a man for whose body you have even a little
disgust.
JULIA:
Perhaps.
BEINUM:
You're the most distinctive woman in the camp, Mrs
Meadows. And what's Godfrey? He's rich, he has
a fast car, he knows one wine from another, but
therefs something unpleasant about the grip of his
hand, isn't there? He's a little too well-kept.
They say the women find him. irresistible, but just
tell me, as your friend now, Mrs Meadows, not as your
husbandis male nurse, whether going to him wasn't
just a frantic act of rebellion from your husband?
JULIA:
I dontt love him. I told you that.
BEINUM:
But isn't it better to be prepared for life? to
wait for these attacking fevers with a certain plan
of campaign? Suppose you had never felt that
surprise: then you could have chosen a lover quite
calmly, a lover specially situated, Mrs Meadows,
one who would cause your husband no suspicions,
and above all a lover worthy of your intelligence,
a lover who when he walked at your side wouldn't
look aa damned poodle. You would HEXET have been
loved by two men, and neither of them would have
been suffering as your husband is suffering. That's
the value of a plan of campaign.
JULIA:
It's too late now.
BEINUM:
Oh, I can teach people, slowly. Can you spare me
some time each week?
JULIA:
I think so.
BEINUM:
Come whenever you like at first---I mean, just give
me an h our's warning. You'll find it a rest from


downstairs.
JULIA:
How many people come here?
BEINUM:
Well, in the last two years about eighty-nine
percent of the personnel.
JULIA:
Yet we never hear your name a
BEINUM:
Are you likely to go downstairs now and tell
Murphy's Wife or Carson's Wife about your visit
here? They've all been here, you see, and they've
all come with a terrible secret, Mrs Meadows.
Look---(going to the window)---come over here.
(She rises and goes to his S ide) Look at them.
Calm enough, from here. And you've no idea what
horror comes to them in the night, what cruelties
they heap on each other, you've no idea what very
dreamy substances their lives.really are.
JULIA:
Isn't it terrible, knowing so much?
BEINUM:
Look at that heavily-built chap. The one in
overalls. There. Have you seen him before?
JULIA:
BEINUM:
Well, I'm.choosing one of all that crowd down there.
He's irritable and fussy like an old woman--
nothing picturesque, you see, but thinkg what his
goes through, evening after evening. Yet that's a
st trong face. Look, much the same as all the others.
It's got the same muteness, d'you see, the same
nervous anxiety round here (pointing to his own brow).
JULIA:
Jack hasn't got that look.
BEINUM:
Ah, thât's why we fight each otheri...And those
people down there are mothers and fathers, Mrs
Meadows. It's a dirty world, down there. When
they come up here they can shake offa little of
that dirt. I wish you could see: the way they. sit
in that armchair, the way they stretch out their
legs, with their heads back, and talk as if they.
were half asleep.
JULIA:
I feel like that.
BEINUM:
Look at those faces down there---Who are they?
They're operatives and engineers going from the
assembly hall to- 1 the welding furnaces. But for
me they're men with the same broken, weeping
souls.
JULIA:
Arenét they afraid of you?
BEINUM:
You might call it fear. They answer my questions
in hushed voices.


JULIA:
But you can't have been here long. Not even
Godfrey talks about you.
BEINUM:
I've been here two years. I came with Godfrey,
you know.
JULIA:
When this new wing was built?
BEINUM:
Yes. We planned it together. Oh, Godfrey
knows quite well that my name must never be
mentioned downstairs, just as my face must
never be seen.
JULIA:
When you came to the jubilee- celebrations, who
did they think you were---an engineer?
BEINUM:
I came as an outsider---really as, Godfrey's
friend. That's how I met you. I thought to
myself when I say you, 'She'll never need to
visit me.'
JULIA:
Why?
BEINUM:
You hadn't quite that helpless look of the others.
But Godfrey wasn't careful, So here you are.
JULIA:
Does he know I'm here?
BEINUM:
No. : You need never be afraid---whatever you say
here goes back into. the silence.
(Jocularly)
Unless I record it. Then I scrap it after a
week. You. notice how silent it is, of course?
JULAI:
Yes---all muffled.
BEINUM:
You see, what I did was to plan every detail of
this new wing. I sound-proofed this room. I
put it on the third floor, out of the. way. And
through there (pointing to the door leading to
the living quarters) I put another staircase.
I'll show you.
He strides across to the door and
opens it. She stares through,
fascinated.
BEINUM:
There. Can you. see that swing-door? Behind it
there's a sort of fire-escape. That leads straight
out into the town. I can be right away from this
camp in two minutes. I need never go across that
quadrangle, you see. Now when I planned this wing
with Godfrey I made sure that not one single window
overlooked the fire escape, just to shield myself
from the eyes of suffering men and women.
JULIA:
Are those your private rooms, to the left?
BEINUM:
Yes.
(Closing the door again and going to the
window) Now this window. I can see nearly
the whole of the quadrangle from here. Yet COI ming


from the welding furnaces you hardly see this
room.
That's because of the wall, you see.
It means less light, but there...
JULIA:
One feels. quite different up here.
BEINUM:
I have to make a place which nobody can connect
with the machines downstairs, with the---love
downs tairs, the mess. Oh, my God, you've no
idea, but I've been up here so long now I fear
downstairs: I think of it as a weird and groaning
place where men are W ounded as they pass their
hands across their brows. So I never walk downstairs,
even at night, when they lay their sufferings to
sleep.
JULIA:
Do you ever tell the others about how you planned
these rooms?
BEINUM:
The other patients, you mean?
JULIA:
Yes.
BEINUM:
The others don't even realise I've sound-
proofed these walls.. For them, I suppose, I'm
surrounded by a silence like a god.
JULIA:
And why am I the first to know all this?
He looks at her for a moment.
BEINUM:
I don't think I could deceive you, Mrs Meadows.
You aren't like the other fools.


ACT TWO.
The same, a few days later.
This
time the sun is shining into the
room.
JACK MEADOWS is strolling about the
room. He passes the door leading
into the living quarters, stops and
looks back at it: tries the handle.
But it is locked. He continues
his strolling.
The doorbell rings. At first he
does nothing. Then he goes to the
visitors' door and opens it.
JULIA, his wife, is standing there.
He is surprised to see her and
stares. Neither has she expected
to see him. She enters.
MEADOWS:
Did he want to see you, then?
JULIA:
Won't you even say hullo first?
MEADOWS :
I was amazed--
JULIA:
You said you were going to Work. What happened?
MEADOWS:
Oh, he called me. He does that. He suddenly
sends a message down.
She pu ts her handbag on BEINUM'S
desk.
JULIA:
It's so noisy downs tairs today. The new generators
aré being connected. About fifty new hands have S igned
on, and the canteen's been crowded all morning.
They asked me to help with the tea.
(Looking at
him) Do you know anything about these things?
Did you even see them Working at the generators?
MEADOWS:
JULIA:
You're in a dream. You're young, good-looking,
you're strong---and yet you won't C ome out into the
world.


MEADOWS:
You've been here before...
JULIA:
Yes.
MEADOWS:
How many times?
JULIA:
Three or four. More, perhaps.
MEADOWS (in a sudden burst of anger) But you didn't tell me!
JULIA (quietly) Ah, you're going to shout.
MEADOWS (coming close to her, trembling with rage) Ah, you're
going to shout. You're going to feel something.
Why can't you be calm.like me? (She hides her
face) We're so calm, we superior people.
JULIA:
I shan't listen!
MEADOWS (turning away)
They're like rock. You can't look
into their eyes any more. There are only
children left.
JULIA:
Well, I'll go.
MEADOWS turns abruptly when she says
this; she takes her bag from the
desk
MEADOWS :
Put that down.
She slowly and deliberately lifts
the bag away from the desk, opens
it, leans back on the desk nand
takes out her powder compact.
She begins powdering her face.
MEADOWS (hardly able to bear the sight of this) All right.
You can go.
JULIA:
I wanted to stay, but you shout. so. You sneer..
Other pe ople are so nice with me.
MEADOWS :
When a child comes out of your W omb you don't
expect it to shake hands with you. Itts just
you. It feels funny here without him. The
whole room seems to be waiting. Why did you
come here---of your own accord, I mean?
JULIA:
It's so quiet here..
MEADOWS:
Quie t? It's dumb. I think that's what he wants
to do to people---he wants to strike them dumb.
JULIA:
He really makes Godfrey seem grotesque.
MEADOWS (staring at her) Beinum does that?
JULIA:
By talking to me here, where it feels so safe.


MEADOWS:
He makes all of us look grotesque.
JULIA:
Yes, you as well, in a way.
MEADOWS:.
Are you still seeing Godfrey?
JULIA:
I saw him this. morning.
MEADOWS:
But why?
JULIA:
Because he's in love with me and I don't like to
see him suffer, because he isn't the pink-faced ninny
you think he is.
MEADOWS:
And my suffering?
JULIA:
Our children suffer in us---just as you said.
MEADOWS (nodding, with sudden S ympathy) Yes. I suffer in you.
JULIA:
Where's Beinum now?
MEADOWS:
He went away with the doctor.
JULIA:
Why?
MEADOVS:
God alone knows. He-just said to me, 'I've been
called away, stay here. He said heid.phone just
before he came back.
(Walks to the operating table,
picks up a blanket that lies crumpled on it) See
this? Can you smell the ether?
JULIA:
Ether? No.
MEADOWS:
When I came in there was a strong smell of ether.
JULIA:
What do you think happened, then?
MEADOWS:
Oh, another.secret. This furniture Won't tell us. e
It's on his side.
(Pointing at the window) That
sun doesn't belong to this room. It's just a e
ball of flame. Hanging up there. without a name o
Only downstairs is the sun sh hining.
JULIA:
Idon't understand your talk.
MEADOWS:
You like coming up here?
JULIA:
Well--- Are you going to understand what I say,
or do you want to start shouting again?
MEADOWS:.
No. I really wantbto know.
JULIA:
Well, dow nstairs I'm just a woman, just a woman.
MEADOSS :
Isn't that enough?
JULIA:
I'm always in a mess downstairs, healing other
people's W ounds, yours. or Godfrey's. I want a


rest S ometimes. There's no danger of love up
here.
MEADOWS (looking at her with admiration) You come here to
be clean again.
JULIA;
Look (running her finger along the files on the desk) o
All our lives are in those boxes. He knows all
about me. But he doesn't come near us. He
doesn't touch us.
MEADOWS: :
He touches me. Igo near him. I won't be trea ted
as a patient.. We're all alone.
JULIA:
What do you mean?
MEADOWS: :
Oh, I can't explain. Sometimes I think you're
a complete bloody f ool. Yet you're the Wisest
woman in the world.
(Pointing. at the files)
There are just brief reports in there---age,
health, all that.
JULIA:
No. There are pages and pages about all of us.
He lives in us. He sits over these reports for
days on end. And for hinself he asks absolutely
nothing.
MEADOES:
He wants to be God. - +
JULIA:
You mean that's wrong?
MEADOWS:
Impossible.
JULIA:
So it's better to be Godfrey. He S terrified if
he's alone for an hour. He needs-brandy all the
time. You prefer.men to grovel.
MEADOWS:
JULIA:
Let Beinum try to be God. Yes, like God, you see,
he's in us all the time, and he blamès us for
nothing. You can see by the way he Watks.
Those long strides, with the head.down. Taller
than all the others. Quite alone. Like a great
thinking rock. Really, like a visitor on the earth.
He comes to us like a visitor, and we stare at him.
MEADOWS:
Yet he has the look of a monster, sometimes.
JULIA:
If God walked on the earth, he'd look like a
monster.
This room feels like a temple.
MEADOWS:
Puh! (Turns away, scoffing)
JULIA:
You said it felt dumb. It's secluded and
silent, because it belongs to God, not to any men.
But our room, you can feel our quarrels sticking
to the walls and a rmchai irs, it's all hot and
noisy-- -I


MEADOWS:
No---keep quiet.
JULIA:
It's true.
MEADOWS:
I love our room.
JULIA::
MEADOWS (shrieking) Shut your moutht I love our room.
You keep your temple, and I'll keep mine.
My temple is where I've loved S omebody. And
yours... e A place where you can keep your hands
clean. (He runs his hands over, the glass of
the window)
Can't you open this thing?
JULIA:
No. There are special ventilators.
MEADOWS: :
Special ventilators, the doors locked---how
can you bear it? (Looking through the window)
They all look like ghosts down there, not the
people we know. He can never hear the church
bells! He's deaf. And he's blind too. He
just staggers about inside his own thoughts.
JULIA:
You say he staggers? My God!
MEADOWS:
He can talk, though.
JULIA:
And you really stagger. You shout and hit
pe ople in the face. Is a woman supposed to
admire that?
MEADOWS:
I want to go away from here.
JULIA:
Whére to?
MEADOLS:
You wouldn't come. (He pauses, watching her)
Would you?.
JULIA:
MEADOWS:
Why not?
JULIA:
I'm jus t learning how to run my life.
MEADOVS:
Who's the teacher?
JULIA:
Beinum.
MEADONS:
Stay, then. Have you noticed.] how much calmer
I am these days, downstairs, I mean?
JULIA: -
Yes.
MEADOWS:
I looked at you last night and I thought to myself,
'Her body is only a landscape of memories for me 1
now.' Memories of What I used to feel, you see.
But I really don't care any longer. Habit, I
suppose:: habit makes me want you to come away


with me, instead of going away by myself.
Habit makes me shout at you.
She looks at him for some time.
JULIA:
Will the feelings come back?
MEADOWS:
Perhaps.
Two weeks ago you could have turned
my stomach over just by mentioning the name
Godfrey. But now I don't care.
JULIA:
Why the- change?
MEADOWS (with a smile) Beinum.
JULIA:
So you should stay here too.
MEADOWS:
I want my feelings back. So I want to get away.
JULIA:
MEADOWS:
I know, E know. I'was only telling you what I
wanted.
JULIA (looking about her)
The minute I walk into this room I
feel frightened. Yet I know this is the safest
place for me.
MEADOTS:
I understand him too well to feel that.
JULIA (without malice) Yes, you come here like the devil,
getting right inside him, spoiling his Work.
MEADOWS:
Who told you that?
(She doesn't answer)
He did.
JULIA:
Yes.
MEADOWS (with pride) So he told you that. And who knows,
I may bring, him down. Or shall I leave it to time?
Time has a slow kind of justice.
The telephone rings.
JULIA:
That may be him.
MEADOWS answers it. She watches
him as he says 'Hullo' and goes
nearer the desk, waiting to hear
the voice at the other end.
MEADOMS:
Yes, it's Meadows... You---
JULIA:
It's him!
MEADOWS:
You'll be here when?..
I'll wait.
(Puts the receiver down) Aley: S. coming in-a few
minutes.
JULIA:
I'll go, then. Did y ou tell him I was here?


MEADOWS (with a laugh) You heard what I said to him. You
had your ear glued to the phone. Look at you!
All of a shiver!
That dignity you're so famous
for---it's all gone now. (He takes her hands)
Come away with me!
JULIA (seeming dazed)
What?
MEADOVIS:
Let's go away together.
JULIA:
Yes, but later.
MEADOMS:
Decide when.
JULIA:
MEADOWS:
I know we've got to get away. This sunlight
reminded me of---! And when I talked to you
about those church bells...
We could get back 4
to all that, you see! We used to walk in the
country.
JULIA:
Yes.
MEADOWS:
Well, we did, didn't we? What's the matter?
JULIA:
I don't know.
MEADOWS:
Weren't we happy, then?
JULIA:
Yes... I can't remember.
MEADOWS:
It's this place. I can't remember either.-
I forced myself to talk about it. But this
room is so powerful. All right. You'd
better go.
She turns to go but he speaks to
her again.
MEADOWS:
Let's leave. I'm sorry.
JULIA:
We'll talk about it tonight.
MEADOWS:
Fhen we Won't. Beinum has a hold over you.
JULIA:
That's better than Godfrey, isn't it?
MEADOWS:
Is it?
She opens the door and leaves without
l'ooking at him again. He gazes after
her.
He goes to the recording machine and
looks at it. He puts his hand under
the arm of the easy chair and feels
the microphone there. Then he
switches the apparatus on. He bends
down and speaks quietly in to the


microphone.
He returns to the machine and
plays back the tape. We hear his
voice say, 'BEINUM IS GOD.' He
seems to wait for something to
happen, a little frightened.
Then, switching up the volume,
he plays the tape again: 'BEINUM
IS GOD'
We hear the lock turn in the door
leading to the living quarters.
MEADOMS switches off the machine
quickly.
BEINUM enters. He is haggard and
bowed. He stands in the doorway
for a moment, looking about: him
without interest.
MEADOWS:
Are you ill?
BEINUM:
Ill? No.
(Peers at MEADOWS)
You're not going
to shout?
MEADOWS:
BEINUM:
Don't wear me out.
(Walks to the desk and absently
picks up several par pers)
Why are you here?
MEADOLS:
You asked me to C ome.
BEINUM:
Yes but what was the trouble?
MEADOHS:
The trouble...
BEINUM:
You've not been absent these days, the reports are.
good. Don't stand there watching me like that.
MEADOWS:
I was waiting.
BEINUM:
Yes, always waiting.
MEADOWS:
You asked me---I
BEINUM:
Yes, yes. Sit down.
(MEADOWS stays where he is)
Won't you sit down?
(He does so)
MEADOWS:
I could come another time.
BEINUM:
Who else was here?
MEADOWS:
When?
BEINUM:
Just now.
MEADOMS:
My wife.


BEINUM:
Why?
MEADOWS:
How did you know she was here?
BEINUM:
By'your voice on the phone, perhaps. e a
MEADOWS:
Ah, clairvoyant...
BEINUM:
I don't cla im any powers--- -only with fools,
not with you, in all your intelligence.
MEADOWS :
Thank you.
BEINUM:
But it's a lackey's intelligence. Something
sly about it.
MEADOWS:
BEINUM:
We won't quarrel. -Why was she here?
MEADOWS:
She wanted to see you.
BEINUM:
We had no appointment.
MEADONS:
But she wanted to see you. To see you.
BEINUM (looking. at him shrewdly) Aren't you jealous?
MEADOWS:
- BEINUM:
Good. I'm glad you realise what sort of man
you're dealing with.,
MEADOWS:
Not quite a man, you mean?
BEINUM:
If you like... But out of the running, Meadows.
MEADOWS:
You've had a shock of some kind..
BEINUM:
I have a shock every day. Do you think they
bring me their wa.unds and leave no mark at all?
They leave a fresh mark every day, and there's
no time for healing. The stigmata, you know:
they never leave a man.
MEADOWS:
You suffer too, then---like the others.
BEINUM:
Not like the others.
MEADOWS:
Why not?
BEINUM:
I put up a fight. And I win.
MEADOWS:
You can't predict anything. You're blind and dumb
like the rest of us.. You're plodding through the
dark. You fall in love; .nobody warned you. You
suffer. Nobody can heal you. You can't explain
us, you can't explain the silence of that sky, you
know damn-all, absolutely damn-all.


BEINUM:
I try to learn. I won't give up like you.
That's the difference between you and me I
don't give up.
MEADOWS:
We're frightened by the sky. We're as helpless
as children. But still, we belong. And where
we belong is God.
BEINUM (after looking at him for some time) Do you think
about such things? This word God... t
MEADOWS:
If you have " nights when you don't sleep you
think about him. He sort of draws quietly to your
side.
The silence brings him.
BEINUM:
Draws quietly to your side, man (with a smile)?
MEADOWS:
They're only words---noises. I can't explain.
BEINUM:
Here I've el iminated God. Amusing?
MEADOWS: :
BEINUM:
You've got a religious face, Meadows. Flushed,
excitable, you see. And those eyes, so fallible,
and young. Eh? (MEADOWS makes no response)
You're right about the sky. It never gives us any
answers back. Just watches us, with that terrible
silence.
(Now drawn into the discussion) Look---
we 're all here for the first time. Do you get the
importance of that? And we come only once. We 're
born, our eyes suddenly open on this strange world---
we had no hand in our coming. Then we 're snatched
away---puffi---finished. No appe.al, no explanation.
The sky, this desk, the window, the sunnoutside--
they don't speak to us. We tre orphans. We 're
exiles from the world that gave birth to us. You
accept all that? You just res-ign yourself to it?
MEADOWS:
Yes.
BEINUM:
I don't. No. We've got to drown that silence,
Meadows, fill the air with our voices, pinch ourselves
awake, make the universe seem crowded with ourselves,
so that we no longer belong to it, but it belongs to
us. And how to do it? How to possess our world?
MEADOWS: :
It can't be done.
BEINUM:
Oh, it can be done. It can be done by refusing
the night, by keeping that God you talk of away in
the sleepless hours, by turning our backs on the
sky, by. behaving as if we were the whole world and
more. Listen-- -we must never do things which plug
us in to the empty night, to that huge brooding
monster which doesn't use our langaage or
understand our signs, and into whose dreadful


arms we fall so easily if once we give way,
as you and all the others downstairs give. way
every minute. And there is one irresistible
siren drawing us over to the fatal islands where
tha t monster lives. Do you know what that one
irresistible siren is?
MEADOWS:
BE INUM:
That siren is love. It's love, the act of the
dark, the act of whispers, the act of sighs, the
act of gazes which go deeper than the world, the
act of touch and brooding silence, the tender act
in which two people are gripped in the claws of
that monster on the rocky island, Meadows. Because
when we love we 're powerless, when we love we're
surprised by life, we 're creatures of the silence,
we're small, we look ridiculous, we suffer the
world instead of having it by the throat. We
belong but we don't possess. Without her we're
lonely. We yearn and dream. The ravages of
love are marvellous, the claws bite deeper and
deeper until we bleed and cry out and---I
MEADOWS:
Have you suffered all that yourself?
BEINUM:
The dawn used to be a blessed time for me,
certain places where I walked were enchanted...
I remember her shy half-smile, I remember her
back always so eredt as she sat by one of my
windows. She went away. And the end of that
was agony---tears in a room empty all and every
day---walking thr ough the streets seeing nothing,
wanting her, wanting her, for days and days, this
darkness, this weeping like a child, with the head
buried in the pillow, in a kind of helpless whining
voice (imitating the voice in a passionate effort
to convey his meaning to MEADOWS), and that t poring
over letters she'd written months before, and
then, most terrible of all, that walking across
the room and by chance C oming on af flower with
the same kind of smell as her hair---touching it
with my fingers---I
MEADOWS:
And you refuse all that again. Why?
BEINUM:
Because it dwindles us, Meadows. It brings the
sky to our doorstep. I want to be the pilot.
I want to stand on the earth as if I were one of
the. engineers. I wamt to be.great in some way. e
And I refuse that siren of love. I don't wamt
to be one of your puny lovers. Listen, Godfrey
is supposed to be my boss but actually I'm his.
Do you think I'm here to put up his production
rates? Do you think I'm here for a job of work,
as your male nurse or something? I'm here to
make a race of masters, men who know that because
they're spewed into life from that silence out there
and then swallowed up again when they die, the lives


they live are an heroic choiee. Oh, there can
be affection between men and women, they can
delight each other, they can even prefer each
other above all other people in the world, but
no more of this slow brooding worship, this
helplessness like beasts. And perhaps in the
end my touch will be recognised, first throughout
the land, then throughout the world, and then
from generation to generation until a great race
of men, following my example, will---
There,
I'm giving you my dreams. They should be said
to the stars, not men. What I shall do here,
Meadows is to turn the act of darkness into the'
act of iight. Then there could be a kind of
paradise. (He watches MEADOWS for some time)
You saw Burbidge's wife, I understand.
(MEADOWS
makes no reply) - : One'day you'll learn my strength.
MEADOWS:
I want to leave the camp. I wamt to exist again.
I asked her to come away with me.
BEINUM:
Your wife?
(MEADOWS nods)
Did she agree?
MEADOWS :
BEINUM:
Why not?
MEADOWS :
You have a guess.
BEINUM (after a pause)
She still needs Godfrey, perhaps.
MEADOWS:
I told you at the beginning. She needs you.
BEINUM (in a quieter voice) You mean she needs consuléations.
MEADOWS (ris sing) So I'm a pris aner to you, whichever way I turn.
BEINUM (as he hands MEADOTS his card) Well, fight your way out.
MEADOWS:
Perhaps I shall, you know. :
MEADOWS opens the visitors' door and
is. about to walk out when he stops.
He speaks to someone outside.
MEADOWS:
Were you there all the time?
JULIA (entering)
I thought I'd wait.
BEINUM:
Good morning, Mrs Meadows.
JULIA:
Good morning.
They stand uneasily t ogether.
JULIA:
Did I interrupt? You both seem...
BEINUM:
No. You must come whenever you feel like it.
(To MEADOWS)
Will you come again?


MEADOWS:
No. You cured me. Goddbye.
BEINUM shrugs as MEADOWS goes out.
Locks the door after him.
BEINUM:
Your husband wants to leave the camp. I think he
asked you about it.
JULIA:
Yes.
BEINUM:
Don't you think it might be best to get away?
JULIA:
I can't go.
BE. INUM:
So Godfrey is still a power over your life.
JULIA:
BEINUM:
Why, then?
JULIA:
I need this room.
BE INUM:
This room?
JULIA:
To find myself again. I need time. That's
reason enough to stay.
He stares at her, while she remains
quite still.
BE INUM:
You know I'm such a busy pers on o
JULIA:
I'll try not to come ev ery day.
BEINUM:
No. No, there's no need to try. You mus t C ome
and solve your problems, in your own time. Take
your time.
Silence between them.


ACT THREE.
The same about a month later.
Afternoon. BEINUM is pacing the
room restlessly.
The telephone bell rings and he
answers it at once..
BEINUM:
right... She isn't happy, no, but then one
doesn't expect her to be yét, doès one?... When
will you call, then?... Good... Very well...
Good bye.
The door leading to the living
quarters opens as he puts the
receiver down and NELL RAYNER
appears in a dressing gown,
looking pale.
NELL:
Who was that?
BE: INUM:
The doctor.
NELL:
Did he mention the blood?
BEINUM:
No. I tell you, there's nothing to worry about.
Nell, every time the phone rings you come into
this. ro om.
NELL:
Haven't I a right?
BEINUM:
Right... You remember what he told you?
It's absolutely no good unless you stay in
bed. You wander round all the time. You
make things twice as difficult.
NELL:
You ought to stay with me: more.
BEINUM:
With those crooked souls downstairs knocking
on my door from one end of the day to the other?


Every evening I stay Wi ith you. For God's sake,
Nell, don't wear out my respect.
NELL:
I - feel too alone up here. It's so silent.
There isn't enough light.
BEINUM:
But downstairs there are people and light and
noise enough.
NELL:
I know hardly anybody in the camp, Harry.
BEINUM:
Well, when you're better you can start. You can
go downs tairs. Mix With people. Have I ever
stopped you?
NELL:
BEINUM:
Well, then.
NELL:
The other wives go with their husbands. But
you're always separate, always walking, alone.
I haven't your brains, Harry, I'need other
people.
BEINUM:
Look, Nell---but first we'll make you comfortable.
(Going to her) Sleep here, if you like.. Get a
screen-and put a-bed behind it---over there---
then you can stay during my interviews.
(With
a smile)
It's a bit mad, isn't it, this 'obsession
with me?
He lifts her legs on to the table-
cum-couch and settles a cushion
gently under her head.
NELL:
I've never worried you before.
BEINUM:
How do you mean---Worried?
NELL:
Well, clung to you like this. It's only this
BEINUM:
The point is you think I'm tired of you, don't you?
NELL:
I think it's true---you are.
BEINUM:
If we come too close, Nell, we tend to feel
suffocated by the other person. We even tend to
feel disgust.
NELL:
Do I disgust you?
BEINUM:
That's what I'm trying to prevent. 'No, look up
at me, look me in the eyes. I'm not saying
anything out of malice, Nell, or out of anger.
I just want to keep the air between us clear.
NELL:
But it's true--
BEINUM:
If you weren't here in these rooms, there would


be no rooms there would be no work. You've done
everything or me. I acknowledge that.
NELL:
You didn't want my child. You don't even want to
marry me.
BEINUM:
Which means I want us to remain new for each other.
NELL:
In effect we're married. - We use the same name.
We lie to everybody.
BEINUM:
But we're together because we want to be, Nell,
not because a certificate says so. That marriage
certificate is the source of more horror than any
other document I know. No, you and I are going
to tread a cleaner path than that, my dear.
NELL:
And when we're fifty? We shall be so lonely..
BEINUM:
Without children, you mean?
NELL:
Without children, without a proper marriage.
BEINUM:
What we need is freed om now. And where would
there have been room for a child?
NELL:
There are four rooms. That would have been enough.
BEINUM:
But we went into all this long ago, Nell. We
haven't a servant. You would have been tied to
these rooms all day and all night.
I've got plans
for the future, Nell, for travel and bigger work
than this, work in camps twice or three times the
size, with a mixed personnel, more diffocult and
more interesting, with a reai output. And there's
no place here for a child. I don't want you as a
mother yet. You'll live to bless me for this,
for prolonging your freedom.
NELL:
I feel lonely, so lonely, just S ince the operation.
BEINUM:
But you agreed to have it.' You agreed that we
hadn't the money or the room for a child. A child,
Nell, it turns people into the servants of life,
not the chiefs and pilots.
NELL:
I never realised. It seems all silent inside. me
now. I don't know. :
BEINUM:
All silent? But the child wasn't a child at all.
It was the slightest of embryos, hardly more than
a month old. And you want to tell me you can feel
its absence? I don't believe you.
NELL:
It's just an idea perhaps---
BEINUM:
Of course it's just an idea. How can your inside
feel silent?
NELL:
I can't getvrid of the idea.


BEINUM:
Nell---a child begins to exist when it's born.
If you say you had any feelings towards the
unborn embryo, well, that's just sentiment.
NELL:
How ugly you are when you talk like that.
BEINUM:
You've had an operation. You lost blood. So
I should be kind to you---yes. But by hook or
by crook, Nell, I want to drive these dark,
punishing phantoms away from your mind. I want
you to be free, with clear eyes again.
NELL:
You murdered my child!
BEINUM:
Well!
NELL:
And you leave me alone with all the guilti
BEINUM:
But you agreed!
NELL:
I agreed. You think for me. You live for me *
I never meet other people. Sore: tims I feel I
hardly know who I am. So I agreed. Yes, I
agreed to everything you and the doctor said.
I'm nothing! I don't know who you are! Your
eyes frighten me, boring and boring into me!
He gets her brandy.
BEINUM:
Lift your head, darling. (She sips) It's the
tablets he gave you. You'll be out of it.
tomorrow.
He kisses her on the brow and smiles
at her.
NELL:
there did he do it?
BEINUM (indicating the operating table on which she is lying)
Here. Woula. you like me to send you away for
a time? This room reminds you...
NELL:
Come away with me, Harry. Ask Godfrey for your
leave.
BEINUM:
Yet I'm a murderer...
NELL:
I've no other life outside you, have I? Where
would I go?
BEINUM:
I can't get leave. I've at least two dozen
cases.on my hands. :
NELL:
When you're in another room, with the door locked,
I'm troubled, I can't rest.
BEINUM:
What do you imagine?
NELL:
Idon't know. You seem to be g oing further and


further away from me
BEINUM:
They bring their agony into this r oom, and slowly
they all make me respojsible for that agony...
Even my wife. You wanted your child---well, why
didn't you keep it? Snd if you feel lonely up
here, why don't you go downs tai irs? No. You wait
for me to take you.
That day. will never come.
NELL:
I never expected it to.
BEINUM:
But just tell me, Nell, why do you never invite
people up here?
NELL: :
You seem to take all the will out of me.
BEINUM:
Otherwives in the camp invite each other to tea.
Have you ever done that? Not once. Yet I'm
to blame.
And what do they talk about, these other precious,
stupid, greedy, ugly, cruelmwives of yours?
BEINUM:
God alone knows. What do women talk about at
their tea-parties?
NELL:
They talk about clothes and other people's love
affairs. I hate all that sort of thing.
BEINUM::
Will you cut yourself off from all mankind, then?
NELL:
I'm already cut off---by you.
BEINUM:
These women are certainly stupid and certainly
greedy. But they might be a passport to some-
thing else.
NELL:
To what?
BEINUM:
Well, you need to see more men than you do,
for one thing.
NELL:
But I know what I'm talking about, Harry.
I can't have other women in these rooms. This
is where people come with their sickness.
The rooms are full .of. their sickness, full of
mine, full of my sadness. I know: they'd look
at me s trangely. They'd be thinking about this
room. They'd be afraid of you. You seem so
haughty, so... just as if you had no sorrows of
your own. I've seen people flinch away from
your glance.
BEINUM:
If I had all the sorrows of the world heaped in
my tiny brain, Nell, I'd still have to hide them.
Won't anyone realise that I also need pity---
less, perhaps, but the need is just the same.
It's this terrible work.


BE INUM:
Then it's my terrible life. My work is my life.
One day I shall make S amething superb out of all
these crooked souls, and people are going to gasp.
It's true: you have to suffer for my Work.. .You're
cut off. I cut you off. You're lonely. I*m
your loneliness. Yes, all that is absolutely true.
NELL:
I accept it really.
BEINUM:
Downstairs they go about in awe of me, Nell. And
I can't afford to throw away that awe by having a
child. A child would.make me seem fallible, too
human, like all the otherx fathers in this camp,
the tupping servants of life.
NELL:
But stay with me a lot, just until I've recovered.
In a week I shall be all right. Be my nurse just
for that time.
BEINUM (going on with his own thoughts) You see, Nell, I want
you to avoid all the obscenity of being a woman.
Look how a woman gets when she's having a child.
She grows like something in the earth, she's just
nature. That is to say, she loses her freedom.
Now most women are better off without freedom.
But you have a mind, you can talk, you read books,
you know what I'm up to in my Work. You may cali
me a murderer, but I wanted to save you from being
murdered. I don't want you as a kind of gross
housewife, a thing I come back to in my bed, a
heavy, voluptuous, unthinking body for the satis-
factions of my needs. I want to respedt you.
I want to keep at a distance from you. I want
to see you as a young woman I like, with her wit
still lively, her smile clean of this---this homely
sort of intimate knowingness, you've seen the vile
way a wife smiles at a husband she knows too well.
I don't want to see you as a body I desire.
That
way lies disgust. I want to save you from your
Womanhood, Nell. Womanhood left to itself is
obscene. Youtre too good for that.
NELL:
But we have wombs. We need children.
BE INUM:
I have an appendix, Nell, but I don't need it.
(Seeing her movement) Yes, that's.what it C omes
to. Women who want to be free as men are free
must reject their own Wombs. They have to reject
their own W omanhood.
NELL:
Can it be done?
BEINUM:
Can my work be done? It must be done. Thatts all
I know.
NELL:
But What's the use, for a woman?
BEINUM:
Well, let's take an e xample. Look at the way you
come into this room. Look at your ha: ir, all over


the place, hanging round your ears like that.
You C ome here with your dressing gown all creased
up, and those filthy bedroom slippers on; you wal k
like a ghost, and you expect me to look you in
the eyes and say, 'This is the woman I freely
choose to love.' No. I refuse to let you
throw away my respect. Every married woman
does the same---yes, but you're worth something
better.
I'm going to be absolutely honest with
you, Nell: you need a lover. Not---
(The
telephone rings and he answers it) Beinum...
Ah, Mr Godfrey... No... I saw her three days
ago... About her husband... Look, let me ask
her, let me do it right away... Not at all---
why should I?... Wha t?... What possible
interest can I have in the matter? If you
really wish it, then... By all means. But
let me ask her a question or two first... This
morning, now... Quite. Good bye.
He puts the telephone down thought-
fully.
BEINUM:
Do you see what I mean? I want people to inv ite
you out. I want to see you talking to people with
C omposure. I'd like to see you beautifully dressed
every day, and each of your days full, too, with
invitations and visits.
Then all those wilful
lines, (trac cing the lines round her mouth and brow
with his finger) will go. Do you know What
those lines come from? From being on guard all.
the time. On guard against a little sin. (Putt-
ing his hand on the telephone, preparatory to pick-
ing it up)
Do you agree with me?
NELL:
I suppose so. I don't feel alive any longer.
I can't choose, between agreeing or not agreeing :
I can't think.
BEINUM (picking up the telephone) Hullo, I want you to get me
Mrs Meadows... Division 3, I think, Block 6,
behind the new generators..
Thank you...
Mrs Meadows... Beinum here..
Harry Beinum...
Could you come and see me atraight away?... No,
strai ight away... I've news about your husband...
Thank you.
He puts the, receiver down. NELL
has, been watching him and their
eyes meet.
NELL:
Is she coming now?
BEINUM:
Yes.
NELL:
May I stay?
BEINUM:
Yes. Naturally you may stay.
NELL:
No. It hinders you. I'll go.


She rises.
BEINUM (arranging the files on his desk)
If you want to
stay, you can. Do you?
NELL:
Yes.
(Sitting) I want to meet her, you see.
BEINUM:
Why?
NELL:
She's a wife here, like me. She's from downs tairs.
You said I ought to meet people from downs tairs.
BEINUM:
But looking like that, Nell.
NELL:
Let me open the door to her. And you wait in the
other r oom. I'll come and call you.
BEINUM:
But why, why?
NELL:
I want to look at her, I don't know Why. Let me
see her alone.
BEINUM:
But why alone, Nell?
NELL:
Then I shall go. I shan't interrupt you again.
BEINUM (quietly)
Tell me why you want to see her alone.
NELL (watching him)
Because it makes me feel nervous to
meet people when you're here.
BEINUM:
But why now, and this particular woman, I- can't
unders tand.
NELL:
It was your idea that I should meet people from
downstairs. But I'll go.
BEINUM:
No. You shall meet her. But don't keep her
long.
He goes to the door leading to
the living. quarters, then. stops
and turns to her again.
BE INUM:
You don't bear me any resentment, I mean...
NELL:
Why?
BEINUM:
You called me a murderer.
NELL:
I'm sick.
I don't wamt to think.
BEINUM:
I'll leave you, then. You're going to call me?
NELL:
Yes.
BEINUM:
You can be very strange S ometimes.
He leaves. She rises slowly and
goes. to the W indow, leaning wearily


against the great pane.
The doorbell rings. She goes to
the door but so slowly that the bell
rings a second time.
She opens the door and JULIA
MEADOWS appears. She has.come
Without overcoat or hat.
JULIA:
Are you Mrs Beinum?
NELL:
Yes.
JULIA:
Your husband asked to see me.
NELL:
Come in. I'll call him.
NELL watches the other W omah.
JULIA waits.
JULIA: :
We haven't met before.
NELL:
JULIA:
I'm Julia Meadows.
NELL:
Yes. I heard my husband call you. He won't
be long. You've been here before, of course.
JULIA:
Yes.
NELL:
For consultations?
JULIA:
Well, about my husband.
NELL:
Is he quieter now?
JULIA:
Yes. He's never absent from work now.
NELL:
Do you have to come here often?
JULIA:
There's been a lot of trouble, yes.
NELL:
But you come here every day?
JULIA:
Every two or three days?.
NELL:
What are these consultations like? Of course,
I can never be here when they're going on.
JULIA:
He asks questions, that's all.
NELL:
What. questions?
JULIA:
About my husband, in my case.
NELL:
You know he uses that machine (pointing at the


rec ording apparatus).
JULIA:
Yes.
NELL:
And these walls are sound-proofed. Did you know
that?
JULIA:
Yes, he told me the first time I came..
Why do
we never see you downstairs, Mrs Beinum?
NELL (looking at her reflectively for a moment) Oh, it gets a
habit up here, staying in one room, until I'm afraid
to go out.
JULIA:
There are parties almost every day, you know.
NELL:
Do you like parties?
JULIA:
Yes. I always look forward to them.
NELL:
They make me nervous. I like being alone with
one person. I like looking after someone---not
being in a great crowd, I meam.
JULIA:
If I never went to a party I should lose my
self-respect.
NELL:
Would you really? All I want is to be quiet,
with a few friends, and children, later.
JULIA:
Parties make me feel light. Imagine standing
in a.kitchen all day getting chapped hands.
NELL:
You don't work in the house, them?
JULIA:.
We have a girl in for an hour a day. We can afford
it, so why not?
NELL:
But I like the idea of doing things for my husband.
JULIA:
Then we're very different pe ople. (Takes mirror
and straightens her hair) Yes, I like the idea too,
but not all the time. I don't like to feel obligad
to do it. I like to feel free.
NELL:
You look after yourself. Your skin is so nice,
and you dress well. I don't take any trouble, none
at all.
JULIA:
Well, what's the use if you never go downstairs?
NELL:
And my husband's always in this room worki ing.
JULIA:
How long have you been married?
NELL (with hesitation)
Five years.
JULIA:
You should make yourself go downstairs. You
don't want to lose your looks.


NELL:
No. I seem a weak sort of person to you,
don't I?
JULIA:
You just seem tired, not very happy.
NELL:
I've always preferred a quiet kind of life, but
in a strong way, you see, not out of fear. I
feel afraid all the time.
JULIA:
What of?
NELL:
I even feel afraid of my husband. Yet I want to
be with him. He's all my world, and I'm afraid
of that world.
JULIA:
But why?
NELL:
He behaves like a stranger.
JULIA:
That's his Work, perhaps.
NELL:
How does he seem to you, when you come here?
JULIA:
Like a doctor.
NELL:
Formal?
JULIA:
Yes.
NELL:
I mean his questions are formal, because he asks
many questions?
JULIA:
Well, as I say, like a doctor.
NELL goes to operating table,
stands there touching it, looking
out of the window.
NELL:
You always answer his questions, I suppose.
(Almost in tears) You never refuse to answer
them.
JULIA:
I'm not proud. One loses pride up here. And
he knows too much about us for that. You mustn't
worry if he akks very private questions.
NELL:
They are very private, then?
JULIA:
But you mustn't W orry. He's like a doctor.
He.only lives for his work.
NELL:
He puts people here---(indicating the operating
table)---and he tells them to close their eyes
and lie there easily. And he talks to them
easily, with the lights dimmed---!
JULIA:
Not that I know of.
NELL:
I can't bear it up here :


JULIA:
You don't believe what I say, then, that he
lives for his work?
NELL:
Did you ever lie here? No, tell me! (Bursting
into tears)
Please be kind to me I
JULIA goes to try and soothe her.
The door to the living quarters
open and BEINUM enters. He W. alks
swiftly across to NELL,
BEINUM:
What has she been saying? Nell! Nell!
She clings to the table.
BEINUM:
It's the tablets. I'll put her to bed. Sit
down (to JULIA). No, do sit down. She's all
right.
He manages to grip NELL and carries
her out in his arms like a child.
She tries to kick herself free but
is too weak.
In a few moments he returns.
BEINUM:
What did she say?
JULIA:
Oh, she's upset, poor creature.
BEINUM:
But what did she say?
JULIA:
She wanted to know what you ask your patien ts.
BEINUM:
It really is no good, this moping about of hers.
I tell you, it's quite unbelievable. She hardly
knows she's a person any more. Well, she never
speaks to anyone.
JULIA:
She has lovely eyes. How old is she?
BEINUM:
Thirty-four.
JULIA:
She's so young in the way she behaves. -
BEINUM:
Well, a little sin helps to mature us. And she
doesn't know what the word means. (With a glance at
his watch) You know.what Godfrey said this morn-
ing?
JULIA:
BEINUM:
He wants to get rid of your husband.
JULIA:
Why?
BEINUM (with sudden anger) Julia, can you really sit there and
ask me why? You know why.


JULIA:
BEINUM:
Oh, for God's saket People come here with lying
faces twenty times.a day. Do you think I can't
tell them at a glance? Coming here with those
furtive eyes, the eyebrows drawn down just So--
look at you! As if I was born yesterday! Women
make me si ick!
JULIA:
It's the first time Ive seen you lose your
temper... What havest done?
BEINUM:
You haven't seen Godfrey for a month. Very well,
what reason has he got for keeping your husband?
You were the reason. And you haven't seen him gor
a month.
JULIA (astonished) . I should go back to Godfrey, you mean?
BEINUM:
My dear young woman, we agreed at the very beginning
on a plan of campaign. Well, we decided you must
go and see him now and then, that you must telephone
him and make excuses, untilI found S omeone else.
The man is a dog. You know that better than I do.
And dog is sickly without a bitch.
JULIA: :
He isn't a dog. He's in love with me. All right,
let him get rid of Jack, then.
BEINUM (stopping)
You don*t_mind?
JULIA:
He can find a job somewhere else. We might be
happier.
BEINUM:
JULIA:
Yes.
BEINUM:
You'd go with him?
JULIA:
Of course I'd go with him: the same faces every
day, the same gossip, I get so t ired of it.
BEINUM:
Haven't you one reas on for staying here?
JULIA: -
I don't look forward to the days amy more -
BEINUM:
When did this feeling start?
JULIA:
When my husband changed.
BEINUM:
How did he change?
JULIA:
He went quiet. He never raises his voice. He's
polite to me, even kind, but never more than polite
or kind, nothing warmer at all. It was better when
he was beating me and.calling me a whore.
BEINUM:
You have a little love for him, then.


JULIA:
I always had.
BEINUM:
His silence accuses. you.
JULIA:
Yes.
BEINUM:
Yet you come here.
JULIA:
Oh, I don't know why I come here.
BEINUM:
For nothing! You come here three times a week
for nothing! I give you nothing. Is that wha t
our sighs amount to?
JULIA (with a bitter smile)
Our.sighs. -
BEINUM:
Too grand a word?
JULIA:
No, not if beasts in the field S igh. Does a woman
sigh for her doctor?
BEINUM:
She may need h im, though.
JULIA:
Yes. She needs him. But that's all.
BEINUM:
No more than a need. She needs her tonic. So
she visits her doctor'.
JULIA:
Yes.
BEI INUM:
And you don't feell youfre insulting me?
JULIA:
That was our understanding at the beginning,
wasn't it: no sighs? You had your eyes open.
BEINUM:
Are my eyes still open?
JULIA:
You can't change. Your eyes are fixed on all of
us in this camp. How do you think we can sigh
for you? You're behind everything terrible that
happens in this camp. You're behind my husband's
silence.
BEINUM:
What did I do to him?
JULIA:
I dontt know. All your ways are secret.
Beinum;
Look what I'do to that poor W aman next door--
you see, I can't give her any love. I send my
patients out an hour before you come. I make sure
I speak to no one, so that I hear your voice
absolutely new in the silence. Is that like a
doctor?
JULIA:
I don't come, here for love.
BEINUM:
Why, then?
JULIA:
To be defiled, much more.


BEINUM:
It makes you look lovely, this defilement, in
my arms : You've never yearned to hear my
voice, never felt tender?
JULIA:
Nothing of that kind.
BEINUM:
Then what have I,done to people?
JULIA:
I'm not blaming you.
BEINUM:
Tell me what you felt when you came here first
of all---as a lover, I mean.
JULIA:
Do you want me to be honest?
BEINUM:
Listen, you must be honest with me, always.
JULIA:
Your eyes used to frighten me. I wanted to
shudder when you came near me. When your hand
touched me it was like being crushed, like going
down under a drug.
BEINUM:
More.
JULIA:
Do you wantbto torment yourself?
BEINUM:
Tell me.
JULIA:
I used to be so nervous when I came here. It
was a kind of nervous excitement, so terrible when
I climbed those stairs outside. Vhen I saw you
open the door to me you se emed to be coming out
of another kingdom, so strange, like a great
animal---how could I love you?
BEINUM:
But you did sigh.
JULIA:
It was such a res t from downstairs, from Godfrey's
phoning me every day and my husband walking round
the house like a murderer, and everybody looking
at me when I walked through the grounds.
It was
a rest from love.
BEINUM:
JULIA:
Such a dark kingdom, with dreadful foliage---and
silent. You were so certain in everything you
did, unlike those other men, so that when you took
hold of me I lost all my wiil, I felt that shudder
and gavé way.
BEINUN:
And when I touch you now?
JULIA:
The same.
BEINUM:
You're afraid of my eyes now, you shudder when---?
JULIA:
I can't help it.
BEINUM:
You've never even called me by my Christian name.


I'm Beinum. Even to my wife I'm really Be inum.
But you know me better now! How can you 'still
shudder?
JULIA:
I know nothing about you, really. When I'm
downs tairs I can't remember your face or the way
talk.
BEINUM:
I'd like to go about with you, be seen with you---
JULIA:
But you can't even walk in the grounds! You aren't
like other people. I can't imagine you downstairs.
BEINUM:
I could try. Night after night I've walked the
streets for you, come in late when I knew she was
asleep, given her sleeping pills to keep her mind
inactive.
JULIA:
You remind me of Jack, the way he used to look,
when he woke me up in the middle of the night
sometimes, with that stare.
BEINUM:
What I mean is, it's gone beyond work. now, Julia---
if you said yes I'd marry you now, give you children,
I'd go away with you, never see this place again!
JULIA:
What?
BEINUM:
I could leave her lying next door, this minute,
neter come back again.
JULIA:
Then you could leave anyone like that---me, later.
BEINUM:
I've changed for you---I thought you were frightened
of me, I wasn't sure but I felt your hands tremble
once. You wouldn't ever open your eyes---I noticed
that---I couldn't get you to look at me.
JULIA:
It was part of the pleasure. An ache. I came here
and satisfied it, and then I wasnitt interested---
for another day. Like a' revenge, almost. I don't
know on who. Revenge for haying been faithful to
some one ot other, to two men.
BEINUM:
I used to sit dreaming about you the minute youtd
gone. That shy half-smile of yours, and the way
you sat by the window, so erect.
JULIA:
You told me that once. And I thought you meant
your wife, how you'd suffered for her at the begin-
ning, as if you were telling me how wrong it was.
BEINUM:
I'd find a flower and it might remind me of your
hair, the same smell.
JULIA:
That, too.
BEINUM:
How I hated that man Godfrey, more and more, without
realising why.


JULIA:
Yet he looks up to you So much. He thinks
you're the new age, whatever that is.
BEINUM:
Will you have me?
JULIA(after gazing at him) No.
BEINUM:
JULIA:
You see, I could get all that from Jack. The
children. I shall, I suppose. You found him
S ome one else, didn't you?
BEINUM:
Yes.
JULIA:
You aren't even a swine, just a child.
She rises to go.
BEINUM:
You're looking at me, actually looking into my
eyes, darling. (Going to her)
I'll give you
everything--- -parties---other men if you like---
I'll suffer jealousy night and day---you see
how serious I am?
(Taking her hands)
JULIA:
Let me go.
BEINUM:
You see, you aren't frightened.
JULIA:
BEINUM:
Julia---take pity on this poor devil---oh,
God!
(Burying his head in her shoulders)
I've gone through such a ghastly month--
wondering if you had a heart!
JULIA (allowing her arms to comfort him) Wondering if I
had a heart.
BEINUM:
Please stay with - me. o
JULIA:
I can't.
BEINUN:
Why not?
JULIA:
Iwasn't looking for loye, I suppose. e Nor were
you. That's what you taught mé. You don't
know how persuasive you are.
BEINUM:
I can persuade you the other way, then.
JULIA:
But I don't want love, not from you, I mean.
BEINUM:
What, then?
JULIA:
I don't know. Some revenge I can't explain it.
But it's finished now.
BEINUM:
I'm finished?
(She doesn'tvreply)
Your marriage?


JULIA:
Let me go.
She waits for him to remove himself,
which he finally does.
BEINUM:
Tonight? He's with Burbidge's wife---I can see
you outside---I
She prepares to leave.
JULIA:
I do pity you. I've got a heart,you know.
BEINUM:
Julia, Julia...
She leaves. He watches the door
close with horror.
After a time he recollects himself
and suddenly dashes to the switch
of the recording apparatus, to see
if it has been switched on the whole
of this time. To his infinite
relief it isn't.
He goes to the desk idly and switches
the tape on. He is astonished to
hear a husky voice say 'BEINUM IS


ACT FOUR
The same a few weeks later.
Early evening. Flames, rising and
flashing, are reflected on the wall
outside the window. We have the
impression of a fire burning fiercely
in another part of the factory.
BEINUM is standing by the Window
watching. As the room is soundproofed
we hear nothing.
Suddenly the door used by visitors is
forced open by blast: something must
have blown up near by. Gust of wind
and smoke comes in. We now hear the
noise of crackling fire, shouts,
engines, screams.
BEINUM runs to the door and slams it
closed again, locks it. Once more
we hear nothing.
A few moments pass and the doorbell
rings, urgently. At first BEINUM
takes no notice, watching the fire
below.
BEINUM (losing his patience)
Who is it? (No reply, naturally)
Who the hell is it?
He unlocks the door again.
MEADOWS is there. He comes into
the room quickly, choking with the
smoke. We again hear S ounds from
outside.
MEADOWS necessarily raising his voice) Has it got up here yet?
BE INUM:
MEADOWS (pointing to the other door)
But through there.


BEINUM:
No. They've s topped it at the second floor.
I've been watching them. Where's Godfrey?
MEADOWS :
With the police.
BEINUM:
Nell?
MEADOWS:
She's with him, I think.
BEINUM:
With Godfrey?
MEADOWS:
Yes.
BEINUM (looking into the corridor before he closes the door)
What are all these police doing?
MEADOWS:
They took Burbidge a way.
BE INUM:
Are they looking for me?
MEADOWS:
No. But Godfrey knows the whole story.
BEINUM (staring at him) What does that mean?
MEADOWS:
KxEM The whole st tory.
BEINUM:
From you?
MEADOWS:
BEINUM:
You liar, you---!
MEADOWS:
Burbidge told him.
BEINUM:
And how did Burbidge know?
MEADOWS:
My wife told him.
BEINUM:
Julia!
MEADOWS:
She told him you fixed me up with a woman, and his
wife was the woman.
BEINUM:
And how did she know? It was your indiscretion,
you damned fool!
(To himself) The idiots! Look
at them all down there! And I have to pay the price.
MEADOWS:
You?
BEINUM:
Oh, they'll patch up their little problems in t ime o
But as for me.
(Looking MEADOWS in the face
suddenly) Why did you come here?
MEADOWS: :
I wanted to see you.
BEINUM:
Why? Ah, you wanted to be in at the kill. You're
so calm now, aren't you? Carson has nothing but
praise for you nowadays. Look at you, clean, well
dressed, so firm looking now. And how do I seem to
you? Broken?


BEI INUM:
You came to me broken. a And I put you together again
like a doll. I fitted the arm back, screwed the head
on tight. I found another doll to match. She's
been coming to me a lot, by the way.
MEADOWS :
Who?
BEINUM:
Your doll. Burbidge's wife.
MEADOWS: :
What for?
BEINUM:
To cpmplain about her husband of course. My dear
man, I was putting her in your arms. You don't
imagien she had any feeling for you at all when you
called on her first, do you? I made that feeling.
I made it grow like a flower.
MEADOWS :
You may have thought So
BEINUM: -
I know, Meadows. She came here every day: She sat
there. She only grew to like you, Meadows. When
she put her arms round your neck.and gave you a real
kiss for the first time it was me she was obeying,
not you. She was making love to you through me.
MEADOWS:
I did what I meant to do.
BEINUM: :
But you were surprised when she grew softer. You
thought it was your own doing. You were flattered.
MEADOWS:
why tell me this?
BEINUM:
Bedause I went you to realise your calm is counter-
feit, that you learned it all from me, that you owe
everything to me, and that if I go down I shall still
be a hundred times stronger than you.
MEADOWS :
I suppose you know What Burbidge was trying to do
when he set fire to the belt?
BEINUM:
Yes. He was trying to burn down my r ooms . He was
trying to bring me down in flames. Godfrey told me.
MEADOWS: :
Did you plan that tao?
BEINUM:
That fire?
MEADOWS: :
Yes.
BEINUM:
Look at the ir faces. They're wai ti ng for the fire to
stop. They're always waiting for something. They
never do anything for themselves. But I never wait,
Meadows. That's the difference between me and all
those others down there. Oh, of course you're a little
more intelligent than the others, you've a magnif icent
wife, but life surprises you all the time. I take
life by surprise---( (making a quick grabbing movement)
from behind---grrri---like that.


MEADOWS:
Did you plan this fire?
BEINUM:
The fools are going to win. I told you that.
And you've come up here to be in at the kill.
But haven't you died, Meadows? You know what
I mean, don't you?
MEADOWS:
In a way. - But if I have it was you killed me.
I hardly have any feelings for Julia now. You
did that.
BEINUM:
Who went to bed with Burbidge's wife?
MEADOWS:
It was your doing---you said so just now.
BEINUM:
Did I do the kissing? Did I enjoy the woman's
nakedness? I simply made suggestions, Meadows,
and you followed them, like all those people
down there, waiting for other men to show them
the way.
MEADOWS:
I should never have gone to see her, perhaps
BEINUM:
But that's what I'm saying. You're weak. I'm
strong. Even now, when there's a fire burning
just outside my door and I'm about to lose my job,
lose my wife perhaps, be put in prison---who
knows?---even now I'm examining you, I'm still
the doctor, and while I've got. a tongue in my
mouth I'll always be the same. Shall I tell you
why? Because once I suffered like you, I shouted
like you, I wept---do you remember how you wept
in that cha ir once?---but I refused to ask another
man for help. I remained alone, Meadows. You
thought I had a special gift. But all I have is
a will.
MEADOWS:
And people are murdered in your name.
BEINUM (stopping and looking at him)
What do you mean--
murdered?
MEADOWS:
Ruined, I mean, like Burbidge---
BEINUM:
He'll be in prison for a few months. It'll
help him reflect on his own nature, which.he's
ne ver done before.
MEADOWS:
Did he ever come here?
BEINUM:
Almost every day, like his wife.
MEADOWS:
Then you-failed with him.
BEINUN (after a silence)
Yes, I failed.
MEADOWS:
Why?
BE INUM:
Beaagse when he began to suspect his wife of


infidelity he fell in love with her---for
the first time. Very well, I hadn't bargained
for that.
MEADOWS:
You've played with people's feelings too long.
BEINUM:
If Burbidge goes to prison that's due to you,
not me.
MEADOWS :
Why?
BEINUM:
Because you let him see you with his wife. That
fire outside was caused by your folly. If I
lose everything here I shall put it down to you.
MEADOWS:
Have I got to be sorry for you, then?
BEINUM:
No, because you ruined yourself, not just me. e
You could imita te my calm but you couldn't go the
whole hog. You never adopted a plan of campaign.
In your position I would have prepared everything
until, in the end, if S omeone had suggested to
Burbidge that I was sleeping with his wife, he
would have said, 'Impos sible.'
MEADOWS:
I'm glad, then, to have brought you down. - You
degraded me once. I remember that voice---
(indicating the recording apparatus).
BEINUM:
You no longer love your wife. You don't even
love Burbidge's wife. You're bored, bored, my
friend..
MEADOWS:
I don't care about myself.
BE INUM (looking out of the window)
They've nearly put it out.
Shall I tell you how you ruined me? With you I
couldn't keep my distance. You were subtle.
All intelligence is devilish. You were too
intelligent: not strong, because you're a passive
kind of person, but intelligent in a watchful,
divining kind of way, rather like a woman. And
once you had dragged me down, I went deeper and
deeper into the pit.
MEADOWS:
We've all got wills. That.was your mistake, to
think we hadn't.. Your wife had one as well, it
seems.
BEINUM:
She has impulses, like the rest of them.
MEADOWS :
Did you mean her to leave you, then?
BEINUM:
I took the risk.
MEADOWS:
Did you mean everybody to know about her?


BEINUM:
What does everybody know?
MEADOWS:
Tha t she hasn't slept here for a week.
That
she stays with Godfrey.
That yd our light has
been burning here all night. That you walk
round the grounds when the lamps are out, round
and round, for hours on end, and some people
say they can hear you talking to yourself, as
you walk by, murmuring and whispering. And
when people look out of their windows, they say
you look strange in the dark, all bowed and
heavy, as if you had no hope at all.
BEINUM:
I have no hope at all.
MEADOWS:
And what they once said about Julia, they now
say about Nell. Godfrey never keeps his
private life secret.
BEINUM:
That's what I say---you're intelligent. You
see right into me. None of the others can.
MEADOWS:
They talk about you all day downstairs. Before,
you were so cut off up here, a ghost, you
belonged to the night. That's whay I came up
here just now:. to see the ghost in all his
humanity.
BEINUM:
No. You're going to be denied that spectacle.
I willed my own end, you see. I sent my own wife
out to meet people. I saw her harden: I saw all
the traces of childhood slowly leave her face;
I saw her deceive me; I saw her being clever,
adopting a plan of campaign just as I told her
to, and I made her believe that I was her dupe.
MEADOWS:
Then Why stride about the grounds all night?
Why look pale and tired, as if you never slept?
BEINUM:
Should I be happy at my own ruin, then?
MEADOWS:
But why? why? What happened to make you do it?
BEINUM:
I don't know, I don't know.
MEADOWS:
It happened afterwards, that's why. You fell in
love with her afterwards, as I fell in love with
Julia and Burbidge fell in love with his own wife.
That was something you never planned. I'm right,
aren't I? Tell me...
BEINUM:
Yes. It's true I fell in love.
MEADOWS: :
A man can never.plan his own feelings.
BEINUM:
I did fall in love.
MEADOWS:
So you became just like all the others.


BEINUM:
To think I'd been living with her all that time---
without seeing her.
They gaze at each other in silence.
MEADOTIS:
Burbidge was looking for you all night, like a
madman.
BEINUM:
He could have killed me. I wouldn't have stopped
him.
MEADOWS:
Do you feel it's all finished here?
BEINUM:
Yes.
MEADOWS:
Where will you go?
BEINUM:
There's nowhere to go.
The telephone rings. BEINUM
disregards it. Rings again, and
again he disregards it. The third
time MEADOWS goes towards it.
BE INUM:
Don't. They've been ringing all evening. Keep
them away from me.
MEADOWS leaves it alone. A pause
during which the fire seems to abate.
MEADOWS gazes at it out of the
window. Suddenly the bell rings
again and this time, BEINUM, as if
taken by surprise, seizes hold of
the receiver.
BEINUM:
A tribunal of three... But women haven't
got much idea of justice, Godfrey... No. That's
absolutely flat. I'll be gone by tom orrow morning.
Tell her, if you like... No, Nell, I mean.
He puts the receiver down.
MEADOWS:
Where is he?
BEINUM:
In the chairman's office.
MEADOWS: :
Is Julia with him?
BEINUM:
Nell and Julia are there. T told him, did he think
I was going to face that tribunal of three?
MEADOTS:
What does he want to know?
BEINUM:
Nothing. He wants nhe to stay. He bustled the
police away an hour ago. He's hushing everything


MEADOWS:
You sent produc tion up by a third. So he owes
you a lot. He owed Julia to you, after all...
Then Nell.
BEINUM:
Oh, another judge?
MEADOWS:
You procured for him.
BEINUM:
Procured bedamned, man! I did my job.
MEADOWS:
Will you stay, then?
BEINUM:
How can I? I'm a man for them now, for everybody
in the camp.
MEADOWS:
What about your wife? Does she want you to stay?
BEINUM:
Yes---Godfrey offered her as kind of bribe---I could
have her back! That'd be pretty, wouldn't it?
Have you seen Julia today?
MEADOVS:
BEINUM:
Will she stay with you, after all this?
MEADOWS:
I did no more than she'd done before me.
BEINUM (shaking his head)
Women are never just, Meadows.
MEADOWS:
Yes, it's my ruin too.
BEINUM:
You care what she does,. then?
(MEADOWS nods
silently)
So you care...
The phone rings again. At first
they disregard it. But then
MEADOWS goes. to it.
MEADOWS:
It might be Julia.
(Answers the phone) Who?...
Wait a moment.
(To BEINUM) It's Godfrey again.
He must speak to you.
BEINUM (taking the receiver) Yes?... By dawn tomorrow---
oh, for God's sake, man, leave me alonel...
Oh, all right... (Helplessly)
All right.
He puts the receiver down.
MEADOWS:
Nell?
BEINUM:
Yes. She's coming here---at once. She'll get
me to stay.
MEADOWS (at the W ind ow) The crowd's g one.. You'd like me to
leave y ou alone, I expect. I'll try and find
Julia.
BEINUM:
This is the real kill---C oming now.


MEADOWS goes towards the door
used by visitors but BEINUM stops
him.
MEADOWS:
Why?
BEINUM:
Take the fire escape (pointing to the other door)
Keep away from the factory. You don't want fights
starting.
He opens the other door for MEADOWS.
MEADOWS:
Would they fight over me' ?
BEINUM:
They could lose their heads.
MEADOWS:
They realise I was only your instrument.
BEINUM:
Then keep away from me, Meadows.
MEADOWS (with a shrug and a half smile) We're in the same boat.
BEINUM (pointing beyond the door)
That swing-door. Push it
open and you'll see the fire escape.
He closes the door after MEADOWS and
locks it carefully. He then looks
out of the window, searching from
left to right. He walks about rest-
lessly, listens.
He goes to the visitors' door and
looks out:. leaves it wide open and
paces the room again.
We hear a step echo in the vestibule
outside. Someone begins climbing
the stairs. BEINUM can hardly bear
these moments of waiting. At last
the top of the staircase is reached
and JULIA MEADOVS appears.
She stops. for a moment and they stare
at each other.
BEINUM:
You said you'd never come back. I waited and waited.
Julia, I looked for you every night. My God, you
can't imagine---! You were so soft, your- body...
Let me kiss you.
JULIA:
Take your hand away.
BEINUM:
He offered you to me like a bribe. Godfrey did,
just now. Kiss me on the cheek---do it Without
any feeling. You can pity me.at least. All
these weeks I've been so cold, I've not slept---
I know you can pity.
JULIA:
Take your hand away. Then we can talk.


He follows her into the room
miserably.
JULIA:
Close the door. (He doesn't move) Do you want
a scene? With Burbidge's wife, for instance?
BEINUM:
Is she coming, then?
JULIA:
Her husband's been taken away. She blames you
for that, I daee say. You look quite helpless.
I never thought I should see you like that.
No, she isn't coming. I meant close the door.
Lock it. (He does so) There'll be no more
consulaations here.
BEINUM:
Julia, please...
JULIA (after abstractedly kissing him on the cheek) There,
you look quite weak. Have you,seen the mess
outside? (He shakes his head silently.) Ah,
you can't see that far from here. Well, all this,
wall is black. Two of the generators are
wrecked---not the new ones. All the windows
are smashed in this wing. Everything's dripping
with water, the whole camp's covered in soot.
They can't get the heating through to the kitchens.
And people say, That's all due to Beinum.
They
say you've been standing at this Window all night;
you've been prowling the grounds. Viere you look-
ing for me? (He nods) You never found me.
You never touched me, even when you thought you
did. Only Jack was ever near me. And you
stopped that, didn't you?
BEINUM:
You did! You went wi th Godfrey---women aren't
just!
JULIA:
Your wife conceived a child, and you stopped that.
BEINUM:
She isn't my wife...
JULIA:
All the camp knows you called in Godfrey's doctor.
She pleaded with you. She was screaming dreadfully,
she was kicking about in your.arms, she was trying
to kiss you to wake up your sympathy, and let her
have her child.
BEINUM:
JULIA:
And you put her under the gas like that. You put
your love under the.gas. You stifled the love in
that girl's body. You made her hard. You made
her ten years older.
BEINUM:
You're wrong---she never struggled. She agreed
to it. There was no screaming.
JULIA:
She says there was. She told Godfrey---everybody.


BEINUM:
She's a liar.
JULIA:
Didn't you carry her acfoss the room? From
that room?
BEI INUM:
No, she came herself. Walked, from her bedroom,
to there. She walked, of her own accord.
JULIA:
And you touched me in that same place...
BEINUM:
I'd never hurt her.
JULIA:
It didn't hurt her, taking it out. But the child
belonged to her.
BEINUM:
She agreed, Julia.
JULIA:
And now you've lost her.
BEINUM:
JULIA:
You haven't lost her?
BEI INUM:
She loved me in my---when I was weak, I mean, as a man,
not like with you...
JULIA:
And you knifed her like a man, didn't you? But you
look quite like a child, Harry: no one ever cut you
out. And once I swore you never had a mother.
BE INUM:
You mustn't believe--
JULIA:
Shall I tell you when I really ceased to need you?
Would you like to know? (He nods)n It was when
my husband ceased to love me. Can-you understand
that?
BEINUM:
JVLIA:
But you used to be. so good with your brain, so
quick and astute. I used to come here for you to
defile---it sounds silly using that word but it's.
true.
There was this terrific hunger I had.
Well, I stopped having it when there was no more
purity to defile, nothing clean. Jack was my
purity, do you. see what I mean? Yet I don't mean
clean or pure either. It was just when he looked
at me like that, as if I was somebody else, all
the desire froze out of my body. You've got to
be faithful, I suppose, if you want to enjoy
infidelity.
BEINUM:
I'll leave. You needn't think of me again.
JULIA:
Wibl you find it so easy? Oh, leave the camp,
yes, but What about when you can't feel me near
you any more, in the same camp, and can't catch
a glimpse of me when I go into the canteen and


you're spying on the corner?
BEINUM:
Away from you I'll be strong again. They sent you
here to weaken me!
JULIA: :
No, to persuade you.
BEINUM:
I can't stay---I Wontti
JULIA:
But where will you go?
BEINUM:
I don't know.
JULIA:
We always thought you were such a practical person.
We all said so downst tairs. Look at those product-
ion charts.
BEINUM:
JULIA:
But tell me how you're going to live-- -without
Nell, or a job, or even a reference from Godfrey?
BEINUM:
Do I deserve a life in your eyes, Julia?
JULIA:
Oh, people forget...
BEINUM:
Do you want meto stay---you yourself?
JULIA:
I can tell you what Godfrey wants. He wants you
to get Burbidge registered for mental treatment,
you can easily do it. with your contacts. Then
they'll rEEt release him.
BEINUM:
No, I mean you---not Godfrey.
JULIA:
But I agree with Godfrey.
BEINUM: (after staring at her for some time) What does he want?
JULIA:
Then when Burbidge gets out he wants you to fix him
up with something---to keep his mind occupied--
something like you gave my own husband--- (She:
stops)
BEINUM:
I can't! I can't go back to that---procuring!
JULIA:
But it's what I wantt
BEINUM (quite confused) You?
JULIA:
I mean, you've go to go on with your work.
BEINUM:
But it's in ruins. I can't judge other people
any more, I've fallen into.my own trap, Julia.
I sprang the trap for other people, because I :
believed in them and was working for them, I
worked night, and day for you all, I was working
for Nell when I brought off her child, I was


thinking of her happiness and freedom, I know
I didn't love her but I still thought of her
interests. But that's all finished, thinking
of other people---you.see how it is when we
fall in love---I know it's all my fault, for
falling in love with you---everything would have
gone all right if you'd stayed with Godfrey and
your husband- had stayed with Burbidge's wife,
but Burbidge fell in love with her, and I fell
in love, and between the two of us, Burbidge and
me, this fire was made, because he wanted revenge
on me and I wanted revenge on your husband, for
being your husband. So because we two people lost
our heads, unlike you and Godfrey and your husband.
and even Nell, this fire was made, shamefully.
Funny I should have had a fire escape built outside
that door... I ve always said it---the moment this
kind of love enters in, because it's only a kind
of love, things go wrong. You see, I've studied
it: so much more than you have, I assure you.
Try to believe, in me. I've traced it back to its
origins in chivalry, it's a development of Christianity,
six hundred years ego---more---in Provenca, the
tr oubadonrs, making love a sort of hysteria, and
then Christ himself, so naked---look at the mess
from his love---those ghastly crusades and the
religious wars lasting half a century, and the
squalid martyrdoms, one chap standing on one leg
on a pillar for God knows how many years, until
he got worms in his leg---all because of a simplg
act, done by men and women---thrilling,-compact,
so unc omplicated, Julia---I wanted things safe from
all that other blind surrender, I think they will be
one day, but it won't be me to do it, I'm so deep
in it, I'm too weak, all I think about is you,
I don't want to hear another name, try to believe
in me.
JULIA:
I hardly know what you're talking about.
BEINUM:
I'll stay just to be near you. Godfrey was right---
he knew he could bribe me with you. For his damned
production.
JULIA::
It isn't that. He's got Nell as well now.
BEINUM:
He can take her a thousand miles away.
JULIA:
I hardly know who you are. I'm telling you for your
own good---they won't let you stop. They like you.
BEINUM:
Who's they?
JULIA:
Everybody. You've done them good.
BEINUM:
Good? I thought I was the devil incarnate!
JULIA:
What? Only Burbidge thought that---and perhaps


my own husband, for a joke. They all think
Burbidge is mad---they laugh about it downstairs.
Nobody believes you fixed people up with fresh
Wives---they don't see it like that---they just
see that it happens, people having affairs.
They don't believe in little gods. You're the
nice consultant upstairs. You mustn't believe
what Jack says. He always weaves sort of funny
spooky tales round people, he did round me, which
was why I went to Godfrey, partly. Jack follows
the stars. He S got maps, and he studies the
constellation every day. He said he could prophesy
you'd fall in love with Nell again---(laughing)
the fool!
(After BEINUM has sat in silence, turning
over this new approach in his mind) Yes, I agree
you're nice.
BEINUM:
Julia!
JULIA:
I weaved tales round you too, until I shuddered
when I got near you. But they're right really---
you're nice. They feel you've helped every body,
listened to them. People love those who listen
to them.
BEINUM:
I'd noticed that.
JULIA:
I suppose you've even helped me You showed me
what I was. The same with the others, I suppose.
You see, they don't want this hysteria either---
that kind of love you talk about. They don't
believe in it either.
BEINUM:
What about you?
JULIA:
Oh, I'm beyond it, I suppose. Anyway, they all
need you.
BE INUM:
They don't blame me for the fire?
JULIA:
Whoever put that idea into your head?
BEINUM:
Your husband!
JULIA (laughing again) I told you he weaved little tales!
It gives him a kick, I think.
He sits thinking about all this,
relieved, suspicious, intrigued.
BEINUM:
You talked itnover, the three of you. And you
came to persuade me.
JULIA:
We did talk it over, yes. But if it's true what
does that matter?
He considers it again.


BEINUM:
I'll stay if you always let: me see you.
(She makes no reply) Can you go back on your
own word, darling, love me again, forget the
World---I'l1 go on with the same life, I'll even
marry Nell for form if you like, can you.make
yourself as blind as me---we could have marvellous
times, darling---we could. go into the darkness
together, love each other like children---to hell
with the rest of the world, I'd just go through
my Work mechanically, I çan do that. If you
wanted children by your own husband that would be
all right, Nell could have children, but there
would be this secret world of ours which would be
eve erything, we'd be lost all the time, can you
do that, Julia, just lose yourself to the world,
give yourself up and say good bye to
and not give a damn, and never think
going
oretytninyn
to happen to you but just let yourself fall lower
and lower into the darkness---all right, don't call
it darkness, call it glory or something---all I
know is I love you and all I want in the world is
to be with you and think of you and I never want 1
another life, could you feel like that too, could
you let yourself go from all those other people even
while you were with them---darling, do I evoke any
feeling in you at all? (He stops) Any feeling?
(She shrugs helplessly)
Then I'm as good as dead.
JULIA:
I've got to be honest. I'm going away. They told
me not to tell you. But I can't be dishonest.
BEINUM:
Julia!
JULIA:
BEINUM:
Without him---your husband? C
JULIA:
Yes. Oh, he can follow if he likes.
BEINUM:
But where, for God's sake? We can't let you do
it! Where? Julia! Julia!
JULIA:
Just away. So I never hear their names any more -
Godfrey, Nell, Burbidge--
BEINUM:
And mine?
JULIA:
Ann Burbidge took him away from me--- - you did that,
you swine, you SW ine!
BEINUM:
Julia!
JULIA:
Don't touch me I
She runs to door.
BEINUM:
My name as well! You don't want to hear that
For God's sake," Julia, tell me---!
Do you mean my name as well---?


She grapples with the door to get
it open, in her tearful rush.
JULIA:
Yes, I want to forget you too! I never want to
hear your name!
BEINUM (rushing after her)
Julia! Julia!
She gets the door open and leaves,
tearing herself away. Her running
footsteps echo down the staircase,
then in the vestibule downstairs,
then they are gone.
He stands, bowed.
A long time passes. Then we hear
otherfootsteps, slower than JULIA'S,
CC oming upstairs.
BEINUM shows no interest. NELL
appears but even now he doesn't look
up. He seems to know who it is
already.
NELL (after looking at him for some timet She's gone.
BEINUM:
I can't face it---Nell!
NELL:
Godfrey told her not to say anything---to let you
settle back to work first.
BEINUM:
She'll come back, won't she? I know she wasn't
serious.
NELL: :
Pr obably not.
BEINUM:
She.said I defiled her too.
NELL: :
Oh, she meant she defiled herself.
BEINUM:
I'll marry you, anything---for God's sake get her
back, Nell!
NELL:
The firets died down. Go and look after Burbidge.
He's at the police station.
BEINUM:
He wants to kill me.
NEPL:E
No, he doésn't.
BE INUM:
I'm finished. I'll give you children---anything---!


There are more footsteps. They
listen.,
MEADOWS appears.
MEADOWS:
Did my wife leave just now? (They don't answer)
I saw her running. The fire's over.
BEINUM:
Yes.
MEADOWS:
You're lucky---your wife's back. (He looks from,
one to the other) Was that Julia? Has Julia :
gone away?


Wan Called
Apollo
Latur Venon


NOTE
APOLIO should read JACK throughout.
JACK ion*t a Greek God (or statue) come
back to the earthe but on ordinary worker
at MR CAIMER'S Eleotrical works who thinks
he's a god (or statue): he eimply has these
memories and can't do anything about thome
Ke doeentt look like the Apollo of Veii.
In. the first scene (Page 3) he stands in
a veil, with baro feet--but ho'e a worker
in a veil, with bare feets fooling a cortain
embarrasement at himselfs
Thus, oalling him APOLLO in tho ceript might
givo a micleading impresciong though the
action is the same


A MAN CALLED APOLLO.
A Comedy
sre
Maurioe Rowdon.
COPYRI GHT, LIBRARY OF CONGRES S,
WASHINGTON No


CHARACFERS
Apoilo.
Jebb.
Patterson.
stiff.
Clifford.
Calmer.
Luoy Patterson.


AFOLLO, alenes
Enter JEBB and RATTERSON.
JBB :
Hoy, look at this onet What do you mak e of that?
PATTERSON:
Well, atrike a light!.
JEBB $
Just looki (Ho whistles) And the way he walksi
Bater STIFF.
JaBB(stopping him) Stiffi
STIFF:
JEBB :
Look at this onei
STIFF:
I'm on my way hone. (Raising his voioe) That bastard
Clifford's been after ne againi I'll make his baokaide
JEBB 8
Looki What do you make of that onet
STIFF :
Eh? : (Seeing APOLLO)
Stone the orowsi Is he aftor -
job?
PATTERSON:
That's what I thought.
STIFF a
Better tell Clifford., Shall I ge---t
JEBB:
Don't be eillyi Juet wait and 800.
STIFF:
It doem't seen right; not hore...
JEBB (oalling out to APOLLO) Jaoki (Nore loudly) Jaoki
After a tine APOLLO turne round.
APOLLO:
How did you know xy name was Jaokt
The ether three approaoh him quiokly,
full of questions.
J8BB:
You aftor - job?
STIFFS
I oan ge up and se0 Mr Clifford, he'll give you a suit
of olothesl


PATTI ERSON:
What atuff ia it nade of? (touohing APOLLO is veil)
APOLLO (to PATTERSON) I had it nade up-
STIFF:
And hhe feet are barei (drawing baok the veil a little
to soe APOLLO'S feet)
JEBB:
Are you after a job?
AFOLLO,
I might be, yes.
JEBB:
We're on short time. They laid off 200 on the wolding
aide last week. But Cheoke and Teste are always looking
for fellows with good eyes. I'n shop steward in Gauges.
How do you dot
They ahake hands.
APOLLO:
How de you de?
STIFF:
I oan't get over the bare feeti
PATTERSON:
Hy wife'd like to see you. She's interested in thinge
like that.
JEBB: :
What's your seoend name?
APOLLO:
Apolle.
A pause.
JEBB :
What? :
APOLLO:
Apolle.
JEBB 8
That's not a namee It's----olassioal.
PATTERSON:
It might be French. Are you Frenoh?
APOLLO:
JEBB 8
I followed the olassios onoe. I learned about Greeee.
The "Parthemon'---is that it?
APOLLO:
Yes.
JEBB (to PATTERSON) A
with oolumns.
Dfaldsng
PATTERSON:
Oh, yest
JEBB :
That was in evening olassos. Old Mr Gibbs used to take
the olassios. Very interesting, too.
PATTERSON (to APOLLO) A bomb went through that lot. We used to have
oarpentry and all sorte. Danoe and Social on Saturdays.
JEBB :
Nobody was hurt, though. It happened at night.


STIFF:(lifting tho veil) Look, he's bare underneath, tool
APOLLO (to STIFF, quietly) That's how I was found.
STIFF:
Ohi
PATTERSON:
Cen't you remenber your real namet
APOLLO:
My name's Apollo.
PATTERSON:
But your real namet
APOLLO:
That'a it. Apollo.
PATTERSON:
Are your oyos good?
APOLLO:
Yos. Whyt
PATTE ERSON:
I memt---for a job in Cheoks and Tests...
JI EBB i
I don't think it's the job for you.
APOLLOS
Why not?
JEBB :
Beomuse... I don't kmow. You're fumy. Mr Clifford
doem't like funny people.
under theret
STIFF(to APOLLO) Are you oold
AFOLLOS
My feet get cold.
STIFFS
That's what I thoughti Jebb---that's just what I
thought:
JEBB 8
And how do you Imow your name's Apollot
APOLLO's
Booase it's always been my name.
JEBB:
But nobody'a oalled Apollot
APOLLOs
I an.
A pause.
JSBB (to PATTERSON) Can you make hin outt
PATTI ERSON, :
No. He looks all right. Ho looks like Mr Calmer's
eldest boys
JEBB $
Where hav e you come from?
APOLLO:
From aorose the way, from Powors's the construotion-plent.
JEBB
Oh, you were over at Powers's?
AFOLLO:
Yes.


JEBB: 8
Did you kow Will Jebb, that's my brother, in the faults
divisiont a
APOLLOS
JI EBB 1
What was your trade?
APOLLO :
Juet odds and ends.
JBBB $
Odde. ad endat
APOLLO1
I did what I oould, you see.
JEBB :
Ohi And why aro you hore?
APOLLO:
I was laid off.
JEBB :
Oh, I seei
PATTERSON: :
They're always laying off people over there. Mr Calner
says they were redundant beforo they starteds
JEBB (to APOLLO)' What for?
APOLLO (after a paise) For interfering wi th the boss's wifé.
JEBB:
Blindyd
STIFF (exoited) Now oome oni
PATTERSON:
Tho truth will out, as they sayi
JEBB :
You what? (Digging APOLLO wi th his elbow, smiling)
You aid whatt
APOLIO:
That'e what they oalled it.
STIFF (trembling) Oh, mother---
PATTERSON (kindly) Caln dow, Stiffs Calm down.
JEBB:
But what'did you dot (Drawing him a little aside) What
did you do?
APOLLO whispers in his ear.
JEBB &
What, all---? (APOLLO nods) Not
AFOLLO:
Yest
Jl EBB 6
Blineyi Not the---7
AFOLLO:
Yos.
JEBB *
Well, atone the orowal,
STIFFS.
Let ne in, lot me in, boys---d
PATT ERSON:
No,. atiff (pulling him awey), we don't want you getting


oxoited.
JEBB (to AFOLLO) And do you
oome
expeot to
here and do the same thing?
APOLLOS
Yoa.
JBBB $
You're real strange, you kmnow...
PATTERSON:
Why?
JEBB (to PATTERSON) It's nothing!
STIFFS
Jebb, boy---let me ini
JEBB (to APOLLO) Nell, you wan't, you kmowi Not while Kr Clifford's
in ohergel
PATTERSON:
Quiok, there's Calmeri Let's hide 'int
They quiokly stand in front of APOLLO
whilo CALMER passes briskly by.
JEBB 8
Morning, siri
PATTERSON :
Morning, siri
CALMER:
Morning, morningi
STIPF 8
Morning, siri :
CALMERS
Morning:
Exit CALMER. They separate.
APOLLO:
Ia that the boss?
JEBB 8
That's himi It's fumy---when wo were standing olose,
I had a.fu ny foeling---
PATT ERSON :
What?
JEBB :
It's just what I eaid to the wife this morning when I was
drinking ny tea, I sdd, today's not like other days...
(Faking out his oigarettes) Smoket
APOLLO:
Xo, thaks.
JEBB (while offering them to the others) Nevert
APOLLO:
Iused to. But I gare it upo It reminded mwa-d (He
stops)
JEBB 8
What? (They light up) What?
APOLIO:
I don't know---d
JEBB:
What did it remind you of?


APOLLO :
The saorificest Listen (with sudden extraordinary energy)--
there was. a platforn of tufo atone this big (leaping about
to show dimensions, about two square metres) with a hole like
that (spreading out his arma) for the fire---and stone gutters
running here (running to show direotion of gutter from plat-
form) here (running) hore (ruming) and herel And nobody
could movel I can emell the burning oreatures nowi And
pilgrims used to oome from miles around and dip themselves
in the pool, for the healing Cremera wateral
: He stands panting and silat. They gaze
at hin in astonishment.
PATTERSON (quietly) Are you all right, matet
JEBB (after a pause) He.'s all right.
STIFF :
What doos he say?
JEBB 8
They used to burn animals, didn't theyt
APOLLOs
Yosi
JEBB :
When they prayed and that kind of thing?
APOLLOS
That's righti
JEBB (to the others) The Greeks used to burn mimale when they prayed.
APOLLO:
Kot the Greeksl
JEBB:
They did, you kmowd You go and tell old Mr Gibbs that they
didn't burn enimals---
APOLLO:
No, I mean, I wasn't describing the Greeks.
JEBB:
Oh, I see.. (Apologetioally) I'm sorry. Care for a oup
of tea, dow at the canteen?
APOLLO:
No, thanks.
STIFF (to PATTERSON, in a undertone) All that bloody running about--
soared the kidneya out of mel
PATTERSON:
We usod to amell the burning akins from the soap faotory
along the Rise whe wo was kids, and I kmow, it geta on
your nerves. You don't forgot it in a hurry.
JEBB (to APOLLO) Did you see the burning, then?
APOLLO:
Well, I had my baok turned. I was on the roof, you 800.
JEBB: (sorewing up his faoe) On tho rooft That do you ne ant
APOLLOs
I was standing on the roof.
JEBB 8
Where?


APOLLO:
At Voii.
JEBB:
Whore?
APOLLOS
Veii.
PATTERSON:
It sounde like an unfinished word.
J8BB *
How do you apell itt
APOLLO :
v, 0, double. i.
PATTERSON:
What does it memnt
APOLLO 8
It's plaoe. You see, I was a statue.
A pause.
JEBB t
A statue?
APOLLO:
Yos.
JEBB:
Say it again.
APOLLO:
I was - statue. I
statuo.
JEBB ::
How ean you be a statuet
APOLLOS
Why not?
JEBB :
Well, 'how oan anybody bet
APOLLOs
Why not?
JEBB (to PATTERSON) Give him a reasan.
PATT ERSONS
How would you move? A statue can't nove.
APOLLO,
Ineide, I'm a etatue.
Jl EBB 8
Insidet
APOLLO :
Yos.
JEBB :
Inside what?
AFOLIO: :
Inside nyself.
JEBB1
How oan you be statue inside youraelf?
APOLLO,
Why not? I don't move inaide.
JEBB $
APOLLO:
I don't move insido.
JEBB :
What are you talking about?


APOLLO :
Think it out.
They stand pondering.
JEBB:
Are' you auro you don't need a dootort
APOLLO:
Yos.
STIFF:
It soems just possible to meo..
APOLIO (to JEBB) I à oan remember it, you 800. How oould I remember it
othorwiset
ats
JEBB :
What can you. remember?
APOLLO:
Being a statue. And I still feel I'm one inside, if you
see vhat I meane
Another pa ae.
JEBB 8
What did it feel 1ike, thon?
APOLLO:
Well, no tine, for instanoe.
JEBB :
No time?
APOLLO:
I nean, I didn't stand there like I'm standing here, I
didn't get impatient, it just seemed one monet but this
noment lasted years.
JEBB :
How many yeara?
APOLLO a
Nobody can say.
JEBB 3
But you should kmow, shouldn't you?
APOLLO:
Howcan I imow if nobody olse knows, I'm not there any
longeri
JBB:
You 're a pussler... If you omn't say for aure how long
you was there, how oan you say you was there at all?
APOLLO :
How would I know I was thero othrwiset
JEBB :
But how do "you kmow?
APOLIO 1
I oan remembert
JEBB $
But what'a remenbering? Suppose I said I was this morning's
cup of tea, or something like that?
AFOLLO:
You 'd be lying. Beemase you om't remember. But I oan.
You can't tell no what it folt like being a oup of toa.
JE EBB,
Steany and hoti


APOLLO,
What language did you speak---as this oup of teat
JEBB:
I didn't say anything. I was just drunk up.
APOLLO:
But I remenber the language. Or bite of it.
JBBB a
But you don't even look like a statued
STIFF:
Let me 800 underneath. Then I'll tell you if he's
statue or nott
PATT ERSON (to STIFF) Iv11 tell Mr Clifford.
APLLO (to JEBB) You fre still not convinoed. If I told you what I
looled 1ike, what language I spoke, where I spoks, what sod
the oountry all round was like, would you believe me thent
JEBB,
No, beoase a man oen't be a statue.
APDLIO:
Bu t I 'm not a statue nowi I told you, I oan remember, and
how oould I. remember Ifi didn't knowt Nobody's taght
mes
JEBB $:
How do I know that?
APOLLOS
I've nover been to sohool as far - as I knowe
Jl EBB s'
As far as you knowt
APOLLOS
Yes.
JEBB:
You don't know if you' 've been to sohool or not?
APOILOS
JEBB:
Where were you born, than?
APOLLO $
I don't remember.
JEBB :
When?
APOLLO:
I don't know.
JBB g:
Your mother and father---sistors---wherems your home-
what was: it like?
APOLIOS
I - oan't remember.
PATTERSON:
Ho ought to 600 the doo. It's loss of memorys Jebb.
APOLLOS
It ien't loss of memory. I haven't lost anything.
I oan remember muoh moro tha you can. I oan remamber
over a thousand years ago.
PATTERSON:
A thousand yeara ago?
APOLLOS
That's right.
JEBB :
Whe he was a statue, believe it or goti


APOLLOS
All right, you prove Imnot a statue. You oan't. All
you oan eay is you've neyer net one before.
JEBB :
Nell, oome to that, thie faotory might not be here tomorrow
morning.
APOLLO:
It night not, you oan't prove it will bee All you dan aay
is it's been there every morning so far.
JEBB a
Old Mr Gibbe used to talk 1ike that. He used to oall it
logio. Ee used to say things waan't there. But everything
was juat the same when went hone afterwarde.
APOLLO:
But now they're differente
JEBB:
How do you meant
APOLLO:
Brerything's ohmged.
JEBB (gasing at hin) The way you look at no, you make me feol queér o00
APOLLO:
That's what I mean.
BTIFF (suddenly shouting) He's just like ay brother used to be, full of
saoe, they need their baokaides tanneds
PATTERSON,
Now then, big mouth (holding him baok), th ere's your keeper
today?
APOLIO (to STIFF) I've got a mossage from your brother.
STIFF (ruahing to him, overjoyed) You havet
APOLLO:
He wants to thank you for everything you dide
STIFF :
Yoed
APOLLOS
And he'a working over at Powers.
STIFF (sobbing) I imew its
PATTERSON:
Cone away. (To APOLLO) His younger brother died a while
ago.
APOLLOS
Yes, I knowe
JEBB :
You're runo You 'ro juat the same as one of us, and yet
you're not.
APOLLO:
What did you learn in the olassios classes---didyon hear
about all the atatues they found?
JEBB :
I don't remember.
APOLLO:
Do you remember all the Apollos they found, do you remamber
their namest
JEBB: 1
Hos


eopt
APOLLO: :
The Apollo of Falerii---?
JEBB:
Nos
APOLLO:
The Apollo Belvedere, the Apollo della Tevere---?
JEBB, a
Hol
APOLLO:
The Apollo of Veiit The sun-god of Voiit
JEBB (almost entranced, it geems) Hol
APOLLOs
Well, that's me.
JEBB (in a whisper) How do you spell it?
APOLIO,
Whatt
JEBB:
That word.
APOLLO:
Veii?
JBB:
Yes.
APOLLO:
v,, double i.
PATTERSON (to JEBB) - Liks he said before.es
JEBB stands gasing at APOLLO.
JEBB:
All right, then. Snile. (APOLLO amilei) No, don'ti
Don't, for Christ's eake, don'ti
PATTERSON:
What's the matter, matet Ho juat smileds
JEBB:
It'e himi (Taking refuge olos to PATTERSON) It's him,
Patt, I bloodywell swear it iet It's the amile, I semn
that smile before-e-s
PATTERSON:
Caln dow, nate, oaln dom.
JEBB (to APOILO) Don't mile again, will you, matet Ioan't atand
to aee it---d
APOLLO:,
I'1l,try not to.
PATTERSON:
All he did was just anilet
JEBB :
It gives ne turns
APOLLO ' (to STIFF) Don't trable to.
STIFF:
Let me oome ins Let me come int Imabig nan and I
need big anowerei They oall y right 'Stiff's hanmer that
stiffens's (Crying) I'a unaarried. I need advioe about
my private habits.
PATTERSON:
Kepp qite or I'l tell Mr Clifforde


JEBB (to APOLLO) How do you come to be oalled Jaok, thent
APOLLO s
It's what éverybody aalls me. So I take that name. You
oalled me it yourself-.
JEBB :
No, I didn'ti
PATTERSON :
Yos, you did, Jebb.
JEBB i
Only by nistakel (To APOLLO) And the rooft What did
you mean about the roof?
APOLLO :
That's where I always etood. On the roof of the temple.
JEBB 8
I feel like oryingt
STIFF (approaohing APOLLO again) Lot me take you hone, mates You're
like my younger brother, he married and went off. I saved
his lifei He had golden hair like youral
PATTERSON (with a laugh) His hair's blaek, Charlies
JEBB :
Now, then, Stiff.
STIFF:
Let me take you homel
JEBB:
Stifft
STIFF:
Your feet all cold like that, I'll wrap you up---l
JEBB :
Now out it outi (Eging hin away from APOLLO) You've
got to loave him alone, do you hear what I sayt Leave
him alones (To PATTERSON) There's Clifford, for Christ's
sake?
PATTERSON:
He was doing the overtine. Whioh reminds me what young Basy
down at the main gate said yesterday, he said, the basio wage
wouldn't koep a man and hia wifo in cereals. Wo ought to
strike. Ne live on overtinel We'roe getting steadily more
redundant, Jebb, until thia place'll just stand here and you
won't see a worker, it'll bo worked by rays, you '11 seel
JEBB (to APOLLO) And what about the languago?
APOLLO:
What do you meant
JEBB
You soare mel I meen, how did you learn English?
APOLLOS
I don't know.
JEBB:
That's what soares me most, you not Imowing. I'n soared
for yout
APOLLO:
I oan only remember a fow words of the other language. Puia.
PATTERSON :
APOLLO:
Puia. Atiu. Sval thas. Tesinth.


Theydraw baok from him.
JEBB :
What's that?
APOLLO:
Just words, Atiu. Tesinth.
BATTERSON:
What do they meen?
APOLLO:
Wife. Mother. Live. Healer.
PATTERSON (to JEBB) What do you say?
JEBB (to APOLLO) I didn't mean-e-what language did you speak---I
meant... I've forgot. I wouldn't mean that beoause--e
how oould a statue speakt
APOLLO:
But also I didn't mean I am the statue, or even that I
wag---quite. I mean---I don't kmow quite what'i neani
JEBB :
All you know is you 're Apollo.
APOLLO:
Yost
JEBB :
And those words oone baok like voioes at night.
APOLLO:
That's righti
PATTERSON : What are they saying, then, about wives and hoalert
APOLLOS
I don't kmowe: I don't even kow if that's what the words
mean.
JEBB :
Why not?
APOLLO :
Nobody knowst
JEBB :
Listen---if you speak the lengiage---what does it matter
what othor peoplo kow?
APOLLO,
Well, like I said before, I'm not there now, am I, I'm
not on the roof-a
PATTERSON (to STIFF, hissing) Hore's Clifford!
STIFF atands ereot at onoe, perfeotly
self-assured.
Ehter CLIFFORD.
CLIFFORD (immediately, to APOLLO) You're wanted in the kitoheni And
get some proper olothes on 1
STIFF :
Good morning, Mr Cliffordi Are W ready, sir?
CLIFFORD:
I think soi
STIFF :
Heavy morning this morning, sirt


CLIFFORD:
Heavyisht
STIFF:
Warn today, sirt
CLIFFORD:
Coldish, coldiaht
STIFF:
Yes, coldish, sirs (Barning to the others) Vory well,
Hr Jebb and * Patterson, and the now hand, good norningi
PATTERSON:
Take him home, Mr clifford, he's been a real misanoe today.
CLIFFORD:
A game of rumy'll set hin right, and hour in tho kitohend
Exeunt CLIFFORD and STIFF.
JEBB (to APOLLD) How did he know you?
APOLLO:
He mst have seon me over at Powers.
JEBB:
Ohi (Apmse) Lieten, how long have you been like thiet
APOLLOS
Liks what?
JEBB:
This---being Apollet
APOLLO:
It feele like yesterday. That's allloan say. It
nakes me feel giddy and sick, Iom't remamber what
happened before, the coandal over at Powers foela like
a dream, yet it was only yesterday, md everything feele
lil yesterday but yesterday-in-e-drem---in-a-drem---if you see
what I mer Leee
JEBB:
Yesi It naks mo feel fanny, too. (To PATTERSON)
What are : going to do wi th him, Patt? It doemn't
seem deoent, does itt
PATTERSON:
No... (To APOLLO) Don't you. feel oold like that?
APOLLOS
A à bit, yos.
PATTERSON:
Haven't you got - lodging for the night?
APOLLOS
PATTERSON:
Khere did you sloep, then, over at Powere'st
APOLLO:
It was different every night---I slept---
JEBB S
Sashi Kis wife's in the churoh.
PATTERSON (to APOLLO) That'. righte Tuesdays and Thuredays. The looal
mission. I don't say mything. Least said, soonest mended,
that'sy at tit tude.


JEBB (also to APOILO) He meet the birde on Fridays, you see. Wo have -
biteof something dom the canteen, then we play cards.
PATTERSON:
Always whiat. The women don't go in for rumy or poker,
it'e a furmy thing, whist makes them feel safe, I sappose...
JEBB: (quietly, to. APOLLO). But you don't seenthe kind---to do what you
did.
APOLLOS
Whoro?
JEBB:
At Powore's. I'd expeot you to be--ewell, you imow---oily...
APOLLOS
Ohi Idid what they wanted, thit'a all.
JEBB $
Who wanted itt
PATTERSON:
What are you talking about tt
JEBB:
The boset
PATTERSON (abashed) Oh, I seet
APOLLO's
All of them wanted. iti
JEBB,
Well, atrike a lights That plaoe has gone a long way since
Powers hinself eet up a lathe in a shed ad paid his men half-
a-dollar a week and they thought thenselves luokyi
PATTERSON:
And they got more of. a kiok out of life than us, by all
scoountat Trin-rides a halfpenny, and penny a pint beor,
iny old iun used to say.you oould get a plateful of pease
puddin* and faggots for a halfpenny up the Riset And
lovely pork piest Do you renember, the-e-?
JEBB (auddenly) Patti
PATTERSON:
Nhat's up?
JEBB:
I can s60 the birdss Quioki They're coning this ways
They. hide APOLLO again.
PATTERSON (trying to joke) You'll oatoh it tonight, Jebbi
JEBB(peering offetage) I1l sayd
PATTERSON: :
You won't got your straw ohanged tonight, matet
They wait in auspense. JEBB lots out
sigh of relief.
JEBB *
They've turned offi Blineyt
They separate.
PATTERSON (to APOLLO) It's hie wfe, you e000


APOLLO:
Oht
PATTERSOB: :
She keeps on having turns.
JEBB t :
Noll, they're not exaotly turns.. But you know what it'a
11ke---mll, I'n muro you do... Three kids and, well, time
doean't stand still.
APOLLOS
Yos, I see what you mem.
JEBB :
Have you got ohildrent
APOLIO $
Nell---I don't knowi
JE EBB :
Of course--you wouldn't, would yout
PATTERSON:
The dootor says she neods a ohange.
JEB a
All right, Patti
PATTERSON:
Im't that what you said? Wain't you telling Clifford
up at Cheoks and Tests, and he said send her away to some-
where with the sug. it mst be masnia--
JEBB :
All right, all righti
PATTERSON:
And you waid all aho needa ie a ohange, she haen't been away
fron mo for near on twanty yearst
JEBB 1
All right, I edds
PATTERSON (to APOLLO) He thinks he's to blane. I told hin, I said,
you ve given her the best, you 've given her all she wanted,
it's beon hard, ad of courae she wants a ohange, a ahage
' of rhythm, doo said--
JEBB:
Patts
PATTERSOHS
But it's no use kioking against the prioks, I said---
JEBB:
Now ahut upd
PATTERSON:
All right, all-righti Mhat's oome over you? I was only
explaining to Mr--t
APOLLOS
Jaok,
PATTERSON:
Jaok.
JEBB,
Well, leave that to me.
PATTERSON:
Xou look quite pale, Jebb, It's his nerves--
JEBB
That's enoughi
PATTERSON,
He goes all of a tremble for nothing at all, like -


JI EBB : -
A what?
PATTERSOH: :
A spasm, mato.
JEBB (exhaueted) Oh...
PATTERSON:
Mhat's tho matter, Jobb?
Jl EBB t
It's nothing. Only it frightens me.
PATT ERSON:
What?
JBB:
It just frightens mo, that's all.
APOLLO:
Why don't you oaln dowa?'
JEBB :
I'm oaln enough.
PATTI ERSON :
You're trembling all overt
APOLLO $
Take it easy. and let's go dom and have a bite---
JEBB 8
A what?
APOLLO,
A bite of-e-.
JEBB :
APOLIO,
What's e the matter? Why don't wo go don the oanteen,
Mr Patterson, and purhape we'll see Mr Calmer or one of
the boyet
PATTERSON;
That's right. The birde'll be dow there by now, I'll
tell them you're newe
APOLLO:
That's right. (They stand looking at JEBB) You don 't
want me with you, then?
JEBB:
No, it ien't that. I'm all right nowe I don't kmow
what it ist It's just what I said to the wife this morn-
ing---things are different today...
APOLLOS
Thinge are almys different for moo
JEBB (looking at him elowly) Yes, it oan't be moh of a life, going from
place to place.
PATTERSON:
It's the wanderlust, liko when I was a kid I 6aw a film,
and I never was the same after that, I never sottled dom,
I néver forgot--I. think it was about Afrioa, comewhere
wi th musio
hot, hardly my treos, just swampy and flat,
of douree, and the boy in front kept bobbing up and downd
I was nover the same after that. I never did anything
wi th any real heart in it, after that. And this is what
my Luoy says. She saye you don't put your heart in it,
Patt, you"re alwaye a iittle bit one remove, 80 to speakt


It makea it eusior in a way...
APOLLO:
Of courae it doess That'e what I told them over at
Powera, don't tako it personally, I saidi
JEBB :
And what did they say?
APOLLO:
They. : seened to understand. Until it got to the boss.
PATTERSON:
The boss found something ou t?
APOLIO :
Oh, he knew from the start. Bu t he took the personal line.
And you oan't live along with that, oan you?
PATTERSON:
Oh, nol It'a juet what I say to my Luoy, I say, it's no
good trying to be all here, duok, therets too muoh there,
I sayo for you to be all hero, look at the aky outside,
how muoh there there's there, if you see what I mean.e.
APOLLO:
Yes, I do.
JEBB (to APOLLO) But I've nover done hor wrong! It was those blasted
union meotinge that did it, every Friday night. And the
I used to count the cash. That was our night, you aeeo
But it wasn't that... I was good to that girii
APOLLO :
Well, that's how it happens.
JEBB:
I used to pour my toa in the aauoer to oool it off, and
then suok it up, if you see what I mean, and she said to me
once, what tho hell's the use of me giving you a
you'1l
oup,
be eating your food off the floor nexti And she give me
auoh a look as oould havo blinded moi Remomber that, Patt?
PATTERSON:
Oh, yosl (1o APOLLO) He's vory sensitive, is Jebb. That'a
what Hr Calmer said to me one day when Jebb was going for a
rise.
JEBB :
But it wagn't that either. It was when I started soming in
too moh.
APOLLO:
How do you mean?
JEBB:
Coming in every evening just like a olook. And she'd shift
in hor ohair. It was winter that did it. The summers got
bad. We never aaw the sun. You ought to have soen the
summers before the war when we was kids... Wore you here,
then, Jaok?
APOLLO:
No. But I heard at Powers. Hot lil Italy sometimes, they
saide
JEBB $
That's right. Thon she started whiist d rives every night, and
I thought, you to hell, I'm not aitting at home alone all
night, Ill go dow the road with the boys. And thé atreet
looked different, the lmps didn't look as oosy as bafore,
the lights at the end of the street used to nake me ory with
exoitement, sometimes, when wo used to go out all dressed up
of a Saturday night to go to a danoe and see Kr Gibbs, he was


M.CI It isn't my faultt
APOLLOE
I know.. It's like when I think of the aun sometimes,
it makes me ory. From the roof, if you see what I mean.
When I looked down somotines and saw the hills in the
distanoe and all the buildinge underneath me shining and
the oorn in the fielde. beyond hardly moying and only a tiny
breose and the sky so blue and still, it was like something
painted that: would last for ever and never turn into night.
Yet it did, and tha the anoke of the pine-fires would start
end the torohes twinkle in the housos below and the voices
eoho aoross the yards and the mles and donkeye go olop-olop-
olop on the stoney road on their way hone and the temple would
be dark, and the pool where the pilgrims dipped themselves
was like a mirror below, and the hill at the side where the
path wound up would seem to lead nowhere and women's voioes
would call out Clan and Dapna and Aoasri and Vinumi
PATTE ERSON:
What doos that mean?
APOLLOS
Son, Cup. Give. Wine. And i remember the morninge
sometimes, in October, when the 1ight was very olear and
my terraootta used to shine like an extraordinary red
flower againet the cornioes of the roofi And people's
oloaks used to flash as they raked past underneath.
PATTERSON:
I vish wo'd get a bit of suni Mr Calmer saya ho's going to
organiso holideys in the south of France if it goes on like
this. You pay so moh a weok and it's all laid on for you,
the hotel, plane-fare, buses. It appeals to the women, too.
JEBB (to APOLLO) Your hande look soolom. As if they never did a day's
work.
APOLLOS
Do they?
JEBB $
It's hard in the kitohen, you know. And thon there's stiff.
He's a little bit funny up. here (touohing his head).
APOLLO,
I worked in the ki tohen at Powers, too.
JEBB,
Ohi You did?
APOLLOS
It's funny. The wey you hid me when somebody Bassed.
They hid me too, at first.
JEBB *
Who?
APOLLO:
Over at Powers?
JEBB :
Oht Who, thought
APOLLOS
A oouple of follows.
JBBB:
When you wont for a job?
APOLLO:
Yes.
JEBB :
Oh... (A pause) Follows liko ust


APOLLO (nodding slowly) Then the boss oane looking for me. He just
walked past and before I oould say Jaok-s.
tater CALMER, hurriedly.
JEBB (to himself) Blimayd
CALMER (to APOLLO) Ah, thore you aret Mr Clifford's been telling
me all about youl Thought I'd come and see for myself-
(ie stops, socing APOLLO'S bare feot) Is that how they
sent you away?
APOLLOS
Whiot
CALMER:
Powere*?
APOLLO:
Yest
CALHE ERs
You see that, Mr Jebbt Kr Patterson? A relio of the
nineteenth centaryt Nothing on hie feet, not a shirt on
his backt Right, now (to APOLLO), do you know where I'n
going to taks you?
APOLLOS
CALHER:
Do you know, Mr Jebbt
JEBB t
I think so, air.
CALMERS
Would you mind telling this gentleman, thent
JEBB (to APOLID) 'Into the twentieth oentury'.
APOLLO (to JEBB) Fhatt
CAIMER (laughing) He doosn( t know what it meened Shall I toll you
nhat it meene? It meens men in vhite ooate, Fr--?
JEAB:
They oall him Jaok.
CALMER:
Mr Jaok. It nomns hot showers after work, olean hearts
and olem hands, md.no more smoke, Mr Jack, no more swent-
ing with a shovel in your handi It means, Mr Jeok, a
oheir, a gange-and yout That'e the twentieth centuryi
JEBB (to APOLLO) Now he has a little song. It's for all the new hends.
CALMERS
Men in white ooats
Are setting machiness
Dressed like professors--
No longer in jeanst
Gone are the days
When they hoave big loade,
Or sweat by a furnace
And dig in the roads.


It's all done by inobs
And gagos and ohartes
The only grease or dirt
Is in oleaning of parte---
And that's done by men
Speoially hired,
Whotve been to the leotures
And know what'a required.
It's all taken oare of,
Both body and mind;
You nove whole oities--
But not your behindi
It's olever, it's dapper,
It's olom and it's gay:
With up-to-date menities
And reasonable pay.
We need more education
Mor e sohools end more grentas
The day's gone by
When men were 1iks plmts.
They used to get drunk
And spranl in the streete;
Now they watoh televiadon
And sleep ih olean sheets.
Their lives are oleaner,
They maks loss noise;
Theytre kind with their wives
And sare for the boys.
No brawls or wildness,
No Saturday nights's
They're an with a purpose
And sense of their rights.
They sit lik profes sors,
At home with
oontroles
White-coated and dlent,
With moh olemer sonlet
APOLLO t
Thank you.
CALAERS
And nowe-into the twentioth oenturys Into a shite
overall, a pair of shoes, and a.nice bot batht In
fow noments, my dear Mr Jaok, Powers ie going to
seen like an. ugly drem. Shall w got
Ho leads APOLLO off.
APOLLO (looking baok at JEBB and PATTERSON) When---1
CALMERE
You'll see then soon enough, eh, Mr Jebb, Kr Pattereon?
In a canteen shere one im't ashaed to bring one's wfe


oht Eh,
Jebbt
JEBB (trying to smile) That's right:
Phey watoh CALMER and APOLLO leeve.
PATTERSON:
Let's go down to the birds, then.
JEBB: a
I wnder where he'll sloep tonightt
PATTERSON:
Ob, he'll find a place. He looks the sort.
JEBB:
Ho oertainly does.
PATTERSON:
Do you feel all right?
JEBB a
I'd liks a'oup of tese
They go off.


APOLLO and LUCY PATTERSON.
LECI:
I alwaya said, "You don't put any heart in it, Patt,
you're always at one remove, so to speak!' I alwaye
aaid thatt But youtre differmt. (A pense) Aren't
you, Jaok?
APOLLO:
LUCY:
You're differmti
APOLIOS
Whyt
LUCY:
Woll, aren't yout
APOLLO:
I'd like. to be on the roof againi
LUCY:
What?
APOLLO,
It oomes over me sometines, I'd like to be on the roofi
LUCYS
Vhat do you mean, deart
APOLLOs
That's where I used to be, af ter all.
LOCY:
I don't understand.
APOLLOs
Sometines I feel ao tiredi
LUCY:
You went baok early laet night---to Mrs Jebb's. She
told me herself you elipped into bed not long after nine,
before Kr Jebb oame baok fron his union neeting.
APOLLO,
It mst be the woather, Luoy.
LUCY:
Im't it lovelyt Brer sinoe you ome it's been lovely,
ever ainoe you started in the ktchen, Jaok, we 've never
had the aun so nuohi Xr L Calner was saying today. that
now mn seems to have brought us luck.
APOLLO (alarned) Mre Calmer?
LICY:
Mr Calmer'a wifo.
APOLLO:
I've never even seen heri
LUCY:
She eaid today. that new man in the kitohen brought us


luok, and Mr Calner said th sane, the weather chaged
so quiokt It'e alwaye clear, and the sun a0 strong,
even my Patt goes down the pool of a Saturday morning
now and seems---less ashamed of his body then he wasi
APOLLO:
We used to be pirates once on tho Tyrrami m sea and we
fought for Corsioa against the Greeks. I can remember
how the sunlight flashed on ay arn and I could ee0 how
brown it was against the sea lika a pieoe of nahogany
just before I out my way to the stern through rows of
ment (Fiercely) We used to fight---shouting--(as if
fighting with sword) 'Leine, leinel'
LUCY (eqiealing wi th delight) What does that mesnt
APOLLOS
*Die', I think. Perhaps it was mother word...
LUCY:
You're a sorean sometimest Give ne a kissl
APOLLO' (qniokly kissing her) That's why they call then Aasaronenses.
LUCY:
Thyt Who?
APOLLD.
The people of oastern Sardinia. Beoase brought then
our gods. That was our nane for "gode',--aimer".
(Putting his hand to his eyee) All I've gotis these
gieees of menorios.
LUCY:
It's funny, you're passive. When you kesed mo just thene..
I noticed the same last night, before jou went to Mra Jebb's.
(She kdeses him agein)
APOLLO (with a amile) You're a pretty girli
LUCY:
Smile at me agdni Agains Agains
APOLLO:
The firet day Patt saw you he nentioned a flower-
LUCY:
That's righti
APOLLO :
The marigold beoase your hair was bright and all over the
placet
LUCYS
That's rights Oh, Jaoks You're passive, yet' your heart'e
right in its Iom't make you outo.. You're hore, yet
you're noti Like I day to Patt, 'You're not enough here,
Patt, you 're all there all right but I went you here
You're not like that e You're hore md there, you're far
away and near, it's funny, with your 'fase at the tip of my
nose like this you soem. far eway---on the. soa, in the san---
a long time ago...
APOLLO (in a perplexed wy, to himself) Tesin th, tosinth...
LUCYs
And you say aoh funny thinget Eren ay bedroon's different
nowi The way the sunshine comes in every morning now, ad
everything looks fresh end cloen, it foels as if it oould
stay there for ever 11ke atones at tho sea, the bed-spread


and looking-glasa md the doily on the dresser, and the
ourtains, they look so daintyi I always wanted to be a
bride lik thiet
APOLLOS
How do you neant
LUCYS
A bride for over- (She stope) I'don't kow what I
mean, Jaok. Jaoki
APOLLOS
Yea?
LUCY:
Did you oome from Powers for net -
APOLLO:
LUCYs
You saw me when w wont to the Powers's anmual 'danoe,
me and Patt---with Mr and Mre Jebbi
APOLLO,
LUCY,
You didi
APOLLO:
No, I didn't.
LUCY:
Yes, Jaok, you didi
APOLIO:
Perhaps I did...
LUCYS
I knex you didi Mo and Patt danded the Roger de Coverley * -
and went by the band---I think I sew you, I think I
remonber your fecet
APOLLO:
I think I gas by the band..s:
LOCY,
That's rights
APOLLOS
We used to play the double pipe...
LUCY:
Hhat's that? :
APOLLOS
We used to play the double pipe and castanets, the women--
Ioan't remember--I think tho women played the oastanete.
LUCY:
At Powers?
APOLLO:
That's right.
LUCY:
Theytre funny over therotee Sometimes I think I'm going
to wake up and coms baok to Luoy Patterson again. I never
had a xicked thought in my head, only sometimes wit th Patt
when he was slow, thought would oome ad go---but...
Jaoki Iom't believe what I've done, I really oan'ts
Tieadaye and: Tharadaye. wore EY daye of the wek, when I went
to the Mission. I used to Ioad the choir. I put the
prayer-books on the chairs, it-made me feel ever so olean,
espeoi ally wi th ny golden hairs It bathed ayself twioe
woek, the night before Mssion, and Patt couldn't touoh me
then. My cookingwas the same, 80 neat and olean, I alwaya


had a pinafore on, and the washing-up never wai ted more
tha trenty minutes after a meal, that was my boast.
(Thoughtfully) Yot I always wanted to be a bride...
APOLLOS
A1 bride, again?
LUCY:
That's rightt It's funay, when you took me down to the
pool that night, your faoe seaned all broin--
APOLLOs
Bromn?
LUCY:
Yest And your hair 1ike a wonan's---it foll in plats
behind your sars--and your nose oamo straight dom-
APOLLA:
Hou?
LUCY:
Straight doxn from your forehead, it nade mo ahudder, I
didn't tell you at the tint And your a as were warn
and seemed thioker tha before. And your feet were
bares
APOLLOS
And the amoke drifted up. the ories of the enimala echoed
along the walls, blood ran through the gattere, and Horoules
seemed to pray at ay aide-- (He stops) Heroules.
Eerole. Eerole. (To hinself) I thought I was alone.
LUCY:
You seom alone. You a waye seem alone.
APOLLO:
And then in the morning the sun alwaye ome up like the
beginning of another age, olean and light, after the moke
and all the shouting.
LUCY:
But it's gone like an ugly dresa now, Jaok, like Mr Calner
sayse Paotory oonditions hore ohanged for good, and you ye
got to forget. Look at ma, Jack. You've got to forget.
APOLLO:
Yes, I know.
LICYs,
Jaok.
APOLLOS
Yest
WCY:
Suddenly-I get aishemed.
APOL LOs
What of?
LUCY: 1
You md mes P It wouldn't have been 80 bad just onoe, but
so many timest Somet times I look at Patt...
APOLLOS
You don't aeam ashamad.
LUCYS
And really I'n not. It'e just the thought. I - coulda't
have inagined it a month ago. And I om't inagine it nowo
I can't say I've done arything. I don't seem anything to
do with itt Sametimes I look at zyeelf in the bath and
omn't believe it...
Eater STIFF.


STIFF:
Good morning, Jaoki
APOLLOE
Good norning, Stiffi
STIFF:
I'n on my way.. (To LCY) Well, how do you like my
brother, Mre Patt?.
LUCY:
Your brothert
STIFF:
He's looking better and better every day, don't you
think sot It was no good over at Powers's, I said to
Nr Clifford laat night, you did a monderful thing getting
Bro over herel And you know what he aaidt
APOLLO:
Hot
STIFF:
I did it for you; he said. I did it for you. I know a
bit about Powora's, he said, having worked there olose on
fifteen yeare myself, end got my hands all grined, and the
aocounts in. a middle all the tine, the ataff underpaid,
disgruntled of oourse, ao I thought of your Bro when I heard
of his oiroumstanoes. And now we're together, Mre Patt.
I see him in the kitohen every day and I never lat touoh a
thing?
LOCY:
How do you memnt
APOLLO (to STIFF) You'd better get alongo Stiff.
STIFFE
I never let hin touoh a pot, I never lot him go on nights--.
LUCY (to APOLLO) But you said--t
STIFF:
He's always been sensitive, Mra Patt. (fo APOLLO) You *ve
never liked messing your hmde, have you, Brot
APOLLO,
Noi
STIFFS
And 1ife's a division of lebour, our mm alwaye aaid.
It falls to some to work and others not, to sone to lmgh
and others not. That' a what she used to say. Well,
Mrs Patt---(offoring his hand) I'll.ay good byel
EUCY: :
Good bye, Stiffs
STIFF :
I've laid on some nioe omok steak today---the bost and
cheapest out, our mn yaed to sayl (to APOLLO) Don't
forget to punoh your oardi
APOLLO :
I won'ti
Exit STIFF.
LUCY:
What's that he said--you never touch a pot?
AFOLLO:
That's. rightt
LUCY:
Hhy nott


APOLLO:
He: won't let me. e
LUCY:
Ohs
APOLIOE
Why?
LUCY:
Nothingi (After a panse) When I wanted you to etay an
extra night last woek, becarse Patt was out, you said you
were on late turni And you weren'tt
APOLLO:
I was on late turni
LUCY:
But Stiff aaid he never lot yous
APOLLO:
He nover lete me work. But I olook in and punoh my oard
just the seme.
LUCY:
And then what do you dot
APOLLOS
I-a-go to bed... Or talk to the boys. Or wander round--
unatil the. morning comese
LUCY:
Wander round? (Another pause) Where did you aleep the
night before laett
APOLLO:
AtMrs Basy's, I think. Easy's wife at the nain gate.
LNCY:
Khy do you a waye say Krs, end wife, niver the man, Jaokt
APOLLO (with a smile). They tuok Ja nighti
LUCY:
Oh, Jaok, that amtlet (Flinging her arms round him) You
hevén't really smiled.sinoe the night at the pool, when W
wont there late: end bathed in the derk, and you said we wore
pilgrima in Crenora wateri fry and amile againi
APOLLO:
I feel so tired.
LUCY:
Sometimes I think of Patt and don't know what I'd do if he
knowt He'd be. so hurti. But you never meant to do hin harm,
did you, Jaok?
APOLIO:
of course not, no.
LUCY:
I nevor did see you. at Powers's, did I, lovet
APOLLO:
of course you didn'tt.
LUCY:
You never stood by the band?
APOLID:
No, no.
LUCY:
I couldn't bear to think we'd plenned it from the firsts
Patt'd be so hurti
APOLLO:
He've never seen each other before.
LUCY:
Bxoept in dreams? That's what you always say, im't it?
APOLLO:
Yes. Eroept long time aro. before vou rememberaae


LCTE
Thatta what I mean by being a bride.e.
They stand leaning against eeoh other
dreemily.
Anter CALMERS
CALM GRi
Gocd Godi Has Mra Patt been taken faint?
APOLLO
That's righti
CALMER:
It's all this heati Hrs Patterson, herel Lot me give
you a hand (helping APOLLO). I've hoard it's better--
(foroing LICY's head forward) to hold their heads domn--
that'e righti---and double the body (gripping her round
the maiet)---md there we are, upand down, up and down,
to get the blood to the headi
APOLLO:
Up end-dom--
CALMER:
Up ad dom-sel
LUCY:
Ohi
CALMÉRS
She'e ooming rounds
LUCI:
Khere an I?
CALAERS
In good hands, Kra Patteraon, don't got alarmeds
LUCY:
I was on my wy to the pool.
APOLLOS
It's lucky I was here, to save the fallt
CALAER:
That's righti And now, if you'll lean on ny ar--
eteady there, steadyl---m'li take you up to the San,
and see what dootor seyat Steadyi Theret Thak
you, Mr Jaok, it's lucky you were herel You see how
we deal with our workers' wives. (Going off) They're
part of the fanily herel Not so at Powors', I think
you'll agreot
APOLLOS
That's rights
Exeunt CALHER and LICY.
APOLLO stands lost in thought.
Eater JEBB.
JEBBS
Mra Patt'e been takan bad, I se0. It's all thie
hoat.
APOLIO $
That'a right. It was luoky I was here.
JEBB:
So Mr Calmor said. He's taking hor up to tho San.
You look & bit whecked, Jaok.
APOLLO:
So I amo
JEBB:
Ly wife cane ouer qéer yesterday morning, too.
APOLLOS
Did shet
JEBB $
It must be the heet.


APOLLO:
That's right.
JE EBB :
She keeps a good hame, I oan't oomplain there. Alwaye
on her feet. I thought I'd take a.swim.
APOLLO:
It's a lovely dayo..
JEBB a
Not a could in the.sky.
APOLLOS
It reminde m--
JABB:
Don't say.ita
APOLLO:
All right.
Silence.
JEBB:
It's not been tho aane since you ome.
APOLLO
Why not?
JEBB's
Thinge don't seom to matter so moh.
APOLLOs
Howt
JBBB's
It doesn't seem to natter so mich what people do.
The vife end me---we just oome in, sit down for a feed,
reod the paper, go out, wo do thinge in our sleep, if
you see what I nean. She never shifts, in her ohair
liks she did whon.I oome through the door.
APOLIO:
Id botter go and panoh y oard...
JEBB :
Ly irises end péase have never been so good.
Remember whon you. canet I was allof a jitter, remem-
ber that dayt
AFOLLOS
Yes, I do.
JEBB t
I was never in the garden. It's marvellous what a bit
of sun aan do.
Enter CALMER.
CALNERE
Ah, I just wanted to eay--.
APOLLO :
Is'Hre Patt all right?
CALMER:
Oh, yes, we gave hor some salts and now she'a having
a nico oup of toa. It's the ean, you know. I thought
I'd just ask-e-.
APOLLOS
Yest
CALHER:
Hy wife's boen looking for you down in the kitohen and I
eaid you were here. She wanted to kow---could you help
us out st the end of the week? You know, we give a little
party for the heade of departments, juat a drink or tw,
end wo need a man to serve. Sha said if you'd slip up-


stairs to bur flat on top of the Sa she'd show you what
to do. Forgive me asking but you've got the style,
forgive me saying a0; Nr Jaok, but your hands would look
so nioe in a pair of whi to gloves, the othors are s0
olumsy, we've alwaya had Stiff so far and he always spilled
far more than he served and somet times he told us all about
hia private habita at the top of his voioe---it wasn't
very nioel
APOLLO:
Yos, I cen: quite seo your point.
CALHERS
So my wife wanted you. Isaid I'a find out. Now the
people on this plant are. -as free as the air, they're not
industrial alaves like at Powers', and so I said I'd leave
it to you, to say yés or no, and that would be thati
APOLLO:
Of course I'1l do it. Glad to obliget
CALMERS
And you'll elip up and see her? She's so moh in need of
that kind of helpt Her tastes are so dainty, she alweye
kmows the right thing to do, she never puts a dresa on that
ien't just right, alwaye in fashion but you've never seen
quite that before, if you seo that I memi It's the Bame
with her outlery, and the way ahe serves her food. If you
sit down at tablo with us you night find a rose in your
plate--that sort of thing, if you aee what I memni A
women of tastel. And her winest I do believe, though she
never drinke a drop, that there im't a wino fron the Rhine
to the Rhone that she doesn't know the name of, if you see
what I moint Nhenever I'n in doubt as to the right thing
to do, I kow who to ask. She'll tell me at once. And
though it may iound (Iowering his voice) on the personal
side what I'n going to sey, I'vo never omught her out since
the day wo mot, I'vo never seon hor mything but ready if you
see what 1 mom,md wo aharo tho saas bedi Now don't you
think thatfa really saying the beatt Even in her underwear
shetg a good examplel Hever a hair out of place or a oolour
that' & wrongi
JEBB:
She'a a lady--dre Calner.
APOLLO,
I'1l be pleased to dà it.
CALMERS
Good mant I'll tell her straight away. (Josular) And
when om you cone to be put through your paces? She's a
very hard task-master, you know--or should I sey mistresel
AFOLLO:
This evening, perhaps.
CALMERE
We'li say six otclook. Isve got a board neeting but I don't
think you'll need mo, xill you?
APOLLO :
Oh, nos
CALMER:
There a good fellowe How let's shake hende--(mhey
th ake chande energetically) and (with a wink) don't let hor
give you too much to do, she's inolined to that, juat between
you and ne.
APOLLOS
No. I'11 be cerefal abont that


CALMI ERs
Good morning, Mr Jaoki Good morning, Mr Jobbi
JEBB a
Good mornings ir Calner.
Exit CALMER.
JIBB a
Jacki
APOLLO;
Yest
JEBB :
What about the statue-ideg---ie it--? Do you fool all
right? Are you beginning to forget, 1ike Mr Calnor oays?
APOLLO:
A little, yes. But I forgot so mibh before that I don't
Inow whioh to forgot nore of.
JEB3 (warily) That do you mean---before't
APOLLO:
When I was (Ee stope)
JEBB $
--statuet
APOLLO:
Yest
JEBB :
Oh, Jaoki You shouldn'ti (Looking round) I thought
it was settled now, wo wouldn't go baok to that. Listen-
(in a low voioe) what did they register you ast
APOLLOS
Just Jaok.
JEBB (with relief) Oh, so that's all right.
APOLLOS
It's no good put tting up a fight, Jebb.
JEBB 8
A fightt What do you memt APOLLO ie si lent) I - don't
know what you mean.
APOLIOS
Why don't you go to Mre Calmer'st
JEBB:
Mre Calmer'st What for?
APOLLOS
And do the job instead of met
JEBB t
I don't know what you meani The way you talk, Jaok, you
frighten mo, honest you dot What have I got to do with
Xre Calmer? Suddenly you aay that---1
APOLLO (with a emile) Why not?
JEBB (jumping) Don't do its For Christ's sake don't smilot It brought
me out in spots last timei Ioan't atand to see you smile.
APOLIO #
Yet I oan only really emile for you.
JEB,
tIrs Calmer' Fancy ne in white gloveat
APOLLO:
I omght a glimpse once of the king hinsolf...


JEBB :
Eh7 Oh, blimey, there you got
APOILO: t
He'd just been elooted.. And in that moment he ohanged as
if ali his 1ife had only been a path leading to thati His
skin seemed to change, can you inagine that? roould 80
it fron above. His look was different. He ohanged into
a god, but by olootione
JEBB :
Was that at Powers'st
APOLLO (after a pause) No.
JEB #
It was, mate, it waei
APOLLO :
It wasn'ti
JESB a
That was at. Powore'e.
AFOLLO(fieroely) Ho, it wasn'ts I told you before, it's no good putting
up a fight:
JEEB a
But why, Jaok, nhy? On a lovely day like thiai When there'a
tea downstairs, and oompeny! Hhy have you: got to talk like
that?
Bater CALEER,
CALKER:
She wanta you right ewayt
APOLLOS
CALMERS
Brerything's roady, ahe says. You oan go atrai ght up.
APOLLOS
But Ihwren't olooked in yet, eirs
CATMERE
I'1l geo to thati It's bettar to ait her whims, you knowo
There * hell to pay otherwiset
Enter PATTERSON.
PATTERSON:
Mr Calmer, eir, I heard ny wifo was taken badi
CALNER (to APOLLO) There'sa good ohap. juat run straight up, you know
shere it is; the floor above the Sani
APOLLO:
I havon't wished sy hands, ad there's the oarrots to pesl--
ale
CALAERS
I'll 8ee to/thatiNow oone alonge Mr Jaok, just go atraight
up and get the job done, end. that'll be thatt
Ho hustles APOLIO out.
JEBB and PATTERSON atand watohing them.
PATTERSON a
What is upt
JIBB :
It's Calmer's wife wante him to mix the cocktails Friday.
PATTERSON:
Oht Khat happened with Loyt


JBBB $
She's up at the San.
PATTERSON:
Why?
JEBB :
She had a turn. The heat, I suppose. She's all right
now.
PATTERSON:
She was right as rain this morning. It's funny, ahe kissed
me good bye, and nevor aaid mything about me not being quite
all hore like ahe usually does. It's the sun, I expect.
She will go : out without her hat.
JEBB:
I vont in the garden this morning to cut some roses for Mey
and it made me disty. We're not used $o it, you gee.
PATTERSON:
I'll go up to the Sen, then, mate.
JEBB:
All right.
PATTERSON (stopping) Wam't your wifo took bad yesterday as woll?
JERB:
PATTERSON:
Didn't ehe see the doot
JEBB :
Nah.
PATTERSON (going off) That a funny, I oould have sworn--,
Enter Luoy. They bump into éach
athax
other.
LUCY:
Patti
PATT ERSON:
Laoyi I thought you was up at the Sans
LICY:
So I wasi I'n ell right nowe
PATTERSON:
What wont wrong?
LUCY:
Oh, nothing mohi I just oame over feint. It mast be the
suni
JEBB 8
That 8 what I was sayiug to Patt, it mst be ail this hoat,
I oae over giddy this morning in the garden when I picked
some roses for May.
PATTERSON: $
Ara you all right now, duokt Come and give us a kissi
(They kiss) Did you fall down flat?
LUCY:
Hearly I didi It's a good thing Jaok was therel
PATTERSONS
LUCY:
Jaok was thores He saved my falls.
PATTERSON s
Ohl


JEBB a
With all this doncrota about that wouldn't have been
a jokei
LUCY:
Then Hr Calmer took me upstairs and gave me a oup of teao
(looking round) Wherets he gone?
PATTSRSON:
Hr Calmor?
LICY:
No---Jaokt
PATTERSON:
Oht
JEBBs
He wont to olock ine
IJCY:
He wasn't at the gate whea I came past. (To PATTERSON)
I wented to know about bedg---s
PATTERSON:
Bede?
LUCY:
He's doing it in rotation and I've forgotton whose tur
it is.
PATTERSON:
Have you?
LOCY:
That's the matter with you, Patt?
JEBB :
I tell you none of us are right these days. But I 've
never folt so good. It's fumy, ian't it?
PATTERSON (to LUCY) How do you mean, the bede?
LUCY:
Woll, he was at Hrs Jebb's last night and Mrs.Sasy's the
night before, and toni ght I don't imow if it's Hra Barnes
or met
PATTERSOH:
Oht
LUCY:
What are you looking like that fort Patti Don't say
youtre going all funny, toot
PATTERSON (aupported by LJCY and JEB) No, it's all
I should
wear a hat. (Putting his hand to hia rieat. It stands to
reasone We're not used to it.
LUCY:
You look all right, Jaoki
PATTERSON *
And 80 do yout
LUCY:
In faot, you look youngeri I saw it this morningi
PATTERSON:
So do youi
JEBs
Thet'e juet what I said to the wife when ehe oame over qeer,
I said, I've nevor soon you looking so spry, with rosos in
your oheekst It must be a kind of fover, she saidi
LUCY:
That's right.


thter STIFF.
STIFF :
Have you soon my brother?
They all stare at him.
PATTERSON $
STIFF #
My Bro?
LUCY:
He mems Jaoki
PATTERLSON:
Jaok?
STIFF :
Ho ham't olocked in. I give him a bed by the bread-raoks
whore it's dark.
PATTERSON:
A bod?
STIFF :
Well, there's auch a lot doing over by the atoves, I rigged
up a ourtain, he oan be quiet therel
LUCY (to PATTERSON) He doesn't like Jaok to dirty hie hands.
PATTERSON:
Ohs
STIFFS
He's a sensitive men. He alwaye talks to me before he drope
offt like he did shen he waa kids. He tells mo about the
roof--ewhat he sould aee--a
JEBB :
The roof?
STIFF :
That's rights And the way the mimals uned to enell, they
usod to burn then, Mr Jebb, and ali the danoes---(with a
glence at LICY) I'd toll you more if ladies waen't present.
He's got a. wonderful mind, my Bro. He saw the xing onoeo
And la used to be brown, and have long hair dom to his
LUCY,
In plats?
STIFF :
That's rights How did you know?
LUCY:
And hio noso oame straight domn--?
STIFFS
That's right---from his forehead, like thati (putting hie
finger vertically over the bridge of his nose)
LUCY (to herself) My bridol
PATTERSON,
Your what?
STIFF :
My brotheri He'e always been tho samas Don't you know
where he is, Mr Jebb?
JEBB $
No. Yee, I do.
STIFFS
Where?


LCY:
There?
JEBB ::
I don't knowt (After a: paus e) Yes, I do. (To himsolf)
Oh, save meda-l
PATTSRSON:
What's the natter, mate?
JEBB (deliberately, to STIFF) Your brother's up at Mre Calmer's.
STIFFE
Mrs Calmer'a? Hets de in tho kitohen...
LUCY:
JEBB (to himself) Save mei
PATTERSON (to LCY) Mr Calmer oane ruming in and said she Kamtat wa
roady.
LUCY:
Nol
PATTERSON:
I couldn't underetand.
LUCY:
Not Mre Calmers Sho'se-- (she stops).
PATTERSON:
what?
LUCY (faintly) The boss's wife...
STIFFS
He needs his sleops Hr Jebb, he tells mo stories before be
drops off and tho pastry soems to mix better after that...
PATTERSON (to JEBB) Didn't he say the boss's wife at Powers's---?
IICY (brosthlessly) How oan you believe such thinge, Patt?
STIFF (boginning to tramble) I want an answer, I'a a big men, I need "
PATTERSON (holding him) Now, then, Stiff, I'11 tell Nr Cliffordi
STIFF (perplezed, to himself) Mr Clifford...
LUCY (to JEBB) What's he doing t-Mre Calner'st
JEBBS
He's sheking hor oooktails.
LICY:
What?
JEBB (alowly) Shaking her cooktails.
LCY (haughtily) I don't know what you moent
JEBB :
He has to wear shite gloves.
LUCY:
Thite gloves? Noi
JEBB $
Mr Calmer said shs needed aomeone wi th delicate hande.


IICY (sadly) I so0.
JIBB :
He,said sho wouldn't take long. to show him everything.
LUCY,
of course not, no. (She bogins to wandor off)
PATTERSON:
Luoy, whore aro you going?
LUCY:
Baok to the San.
PSTTERSON:
Don't you feel allright?
Just leave me alonei I'll be all rightt
PATTERSON (oalling after her) Bon't forget it's whist todayt
Exit LUCY.
STIFF (also oalling aftér her) Mre Pattersont Hrs Patti (To JEBB
and PATTERSON) Is she fotohing my Brot (Aleo W ander-
ing off) Mre Patt, Mrs Patts I'n coning, toos
kxit STIFF.
JEBB *
I'vo done wrongs Patt.
PATTERSON :
JEBB 1
I feel all oold. It doems't soem like summer eny more.
PATT ERSON:
That's tho fever, it oomes and goes, you feel hot and cold.
JEBB:
That's right...
Apase.
PATTERSON:
Are you on late tura?
JEBB: :
4: Soven to four.
PATTERSON:
I oan't eloep of a morning now with the sun coming ino
I shan't be sorry when wo're baok on early tam, shall
you?
JEBB:
No, I shm't.
PATTERSON:
I lay there awake end think to myself, what's it for,
Patty boy, what's it for?
JEBB:
It used to be nice knooking off in the dark, I used to
have nine hours kip. till three in the aftemnoon, and
May'd have dimner on the table ready, and a glass of beeri
PATTERSON,
That was the winter-time...
They stand thinking about this.
APOLLO enters silently.


PATTERSON (mhispers) Jebbi
JEBB a
PATTERSON:
Looki
JEBB:
Blimayi
APOLLO epproaches wearily, unaware of
thom yet.
JE BB :
Jaoki
APOLLO (waking) Hllot
JEBB :
What's up?
APOLLO:
I haven't olooked in yet. (As if disty) I ni sh I could
sleepi
PATTERSON:
Stiff's got your bed mede up in the kitohen. Why don't you
go down?
APOLLO:
I fool cold all of a sudden. (To JEBB) Didn't you feel
oold, jus t now?
JEBB :
Don't look at mo like thatt Jackt
PATTERSONY
Theytve all beon looking for you, mate. Luoy wanted to
know about the rosta.
APOLLOS
I feel s0 colds
JEBB :
You've got to forgeti
APOLLOS
I noarly have. Iom hardly remember any moro. Bven
the suoke I've almost forgot. Look---the sun's going ini
The last fight, that was the worat of all...
PATTERSON:
The lasta--?
APOLLO, 8
They hardiy left a maa alive. That was the end of the
town. And I think it was Propertius who said, 'Oh, Veii,
you used to have a throne of gold and now your walle are
éohoing with the shopherd's horns They tore me dom with
ropes, or did I fallt
PATTERSON:
Go oui
APOLLO:
And: thore I lay buried under stones, not entirely broken.
An arm or two. And I slept there soundly for a thousand
years or noro. I heard them take the buildings awey stone
by stone, and all they loft was a tomb or two, and the
altar-piece of the temple. - And then the silonce grew.
Cen you imagine that? Brerybody left and the grass bogen
to grow, and all you: heard, ae Propertius waid, was the
pipes of the shepherds and the sound of hoofe. Further
end further I cank, and my eloep coaned assured---until


(with a snile) 1916.
JEBB:
Don't amilet
APOLLOS
And here I mo
JEBB a
Don't, Jaok, don'ti For Christ's sake come and kip dom
along of us and have a oup of tea and atop that talk, bem
be ordinary, Jaokt
APOLLO (with mnother amile) I oan't.
JEBB
For Christ's saks don't mile 1ike thatt
PATTERSON (to JEBB) All he does is just anile, matet
APOLLO(also to JBB) You've done a lot for meo At Powars's, too.
JEBB:
Ive never been to Powers's.
APOLLO:
The I kipped in the kt tohen, and you had a dissy epell
pioking roses for May in the garden one morning?
JBB:
That was yesterday
APOLLO:
It's all the eme. Mr Calnor said would I like - bed in
hie placet His son's got married and the room's now free.
PATTERSON,
And what did you a ayt
AFOLLOS
I said,the boys might think it funny. That happened at
Powers's, too.
JEBB :
It didn'ti
APOLLO :
Yes, it didi
PATT ERSON (peering into APOLLO e faoe) Did I eee you at' a dence at
Powers'st Weren't you standing by the bandt In the
Roger de Coverley?
APOLID, :
That a right.
PATTERSON:
I thought it was youl Well, atrike a lighti
APOLLO :
We used to dance a lot. At the marriages. The men
and wonen together, dmoing, danoing, naked undor veile,
(olosing hie eyes) it nakes the body more seductive,
barely glimpeed like a god underneath, just tho outline
and shape, (beginning to move) alowly moving, moving,
the men and wonan together, the veils beginning to part
in the wind---
JBB:
Phewi
APOLLO,
---as the feet go round, sometimes touching : flosh an
flesh and duet on duat, ineide the veil, inside the dusty
droamgee It alwaye made mo tired. (Ee no longer noves)


Then a delightful sleop inside the veil. A veil of
eleep. Rather liko the kiss of a god, like the aky
touching you. And your bride was almaye the sme whoever
she wasee. (Opens hie eyes) I never could refase
dance, you imow; howver tired.
JABB (fasoinated) It raminds me of those potst
APOLLOt
Potat
JEBB,
Old Gibbe uied to ahow ud some figures on a pot---naled,
danoing, ii th thoir--
FATT ERSON:
Over at Powers'st
JEBB a
-- large as lifes Don't let your wives see thie, he
used to sayt Has it juet the danoing got them Il thatt
APOLLO:
Oh, yest
JEBB a
Well, omn't you ramember moret Try and remember, natet
APOLLO:
Only the feolings. Hot exaotly what I was doingoc.
PATT ERSONS
Like a tranoe. Hot the first to go 1ike that at Powere's,
they say it's the disoipline, they've got a different
epproach, now Mr Clifford alweys saye that going from
Powors's to this show-e-he calla it show--is like oross-
ing the equator to a different olimates They're so well-
organised over at Powere's they om't digeat their food,
they om't get it down at dinnertine becase their nerves
are all of a jingle-jangle, ao they put a pill betwen
your knife and fork oalled panoreatio extrast, so Mr Clifford
sdd, to aettle your tumay and' take covay the nerves. tnt But
here you ought to see how the boys tuok in, there's always
plenty to eat and seoond helpings, too, that's Mr Calmer *s
doing when he took over the wolfare side, he alwaya seya a
working man is a man in a white coat nowedays, there's no
more aluns and unpaid overtine so shy--ehould--there be-ee
APOLLOS
You understand-everything.
PATTERSOX (limp) Eht
APOLLOS
You understand so muohi So pure of heartt
PATTERSON (to JEBB) - What's ho---
CALMER'e voioe offt 'Mr Jaoks Kr Jaoki'
APOLLO (terrified) That's Calmeri (Clutohing JEBB)
JEB:
What. about itt Jaoks
CALHER agains #Hr Jaokt'
APOLLO a
Ho's oome'to get mes Quioki


He dashed behind theme
Entor CALMER.
CALHERS
Mr Jaokt Mr Jaoki (Seeing them) Oh. Have
you seen Mr Jaokt
JEBB :
No, sir.
PATTERSOH:
No, eir.
CALMER (visibly agitated) Not that it mattere. Only my vife's miesing
some thing if you see what I aem and she nust heve it backi
Not that I n naking ay aocusations but faots are faote, I want
to make a quiet investigation, no trouble, you see, in the
works, ao keep it dark, Mr Jebb, Mr Patterson, for while
Hr Jack's a rery ploasing nan I know nothing of his past
than what he telle me himsolf and what's on his oards, I
haven't bem in touch with Powers but I've heard it said-e-t
Have you goon hin?
JEBB :
No, sir.
CALMER:
My wife's niseing something from the- dressing roon, she said.
A little silver sonothing, or it night be gold. She had it
thie norning, that's quite sure, and nobody olse waB with hor
ezoept Hr Jaok. The worst thing---you won't lot it go my
furthor---kr Jebb, Hr Patterson---t
PATTERSON:
No, sirt
CALMER:
It ien't so moh the missing something I nind, but she oan be
60 terrible whon ahe geta an idea, it might be all a ghastly
mietake, 60 I want to go softly if you see what I mem and not
case a stir, so just koep it quiet, it'il all die dom, she
ombe ao torrible--- (Calling softly) Nr Jaok, Mr Jaoki
PATTERSON:
I think he went to the pool, sir.
CALMER:
To the pool now? Roallyt Thenk you 80 moht You're
very holpful. I'1l juat go dgim and see what he aays.
(Calling softly) Mr Jaoki Hr. Jaoki
Exit CAIMER.
They separate.
JEBB (to APOLLO) Is it truet
APOILO :
of course not, nol
JEBB :
You'd better oome hone wi th me and I'll keep you dark.
Until it diee downe
PATTERSON :
Thie wayt
JEBB t
You oan straight to bed. With a nioe oup of teal
APOLLO :
Don't wake me for a wooks


JEBB (as they go off) I'll lewe you a nonth if you 1ike, Apollo.
PATTERSON:
You oalled hin 'Apollo' just thenoe.


Bter CALMER.
CALMER (softly) Mr Jaoks Mr Jaoki
Pnter CLIFFORD,
CLIFFORD (bellrwing) Mr Jaokt Mr Jaoki
CALNERE
Mr Jaokt
CLIFFORD,
Are you looking for Nr Jackt
CALMERE
Sesht Yes, I e
CLIFFORD:
8o am II He haan't clooked in for nearly a week, that
blaokguard Stiff eays hie brother, believo it or not,
hamn't been in the kitohen.or a week, and ho's at anding
there orying his eyes out-e-t
CALMIRE
I auppose you imow what's happenedt'
CLIFFORD:
Not
CALMERI
Hre Calner'a lookad horsolf in the bathroont
Apasee
CLIFFORDE
What?
CALMERS
The wife's been in the bathroom for nearly a weeki
She only-opens a ohink for her mealei And I have to go
dometaira every tine, if you ede what I nean, weive
only the ons, you seet
CLIFFORD:
What's ahe thero fort
CALMERE
Until wo get hold of Mr Jaok, you see---ghe's misaing
somethinga
CLIFFORD:
What?
CALMER:
Some thing ailver, something gold---she's not quite aure
herself, She swoara he took it when he oame up for -
rehearsal last weeki
CLIFFORDI
A rehearealt


CALRERS
For the mideummer coaktail party . give.
CLIFFORD:
Oh, yest
CALMERE
She's tired of Stiff---.
CLIFFORDS
Aren't t all? He's been spilling thinge over my
tronsors for yéaral
CALMER:
She wanted someone wi th delicate hande, Mr Clifford.
CLIFFORD:
Hat
CALMERS
I told her at the time, I said, my dear, hands aren't
everything, you Imow. Well, she said, they go a long
wayi
CLIFFORD:
Indeed, they doi
CALHERE
Indeedt His didi She nissed it at onoe. There was
to be mother reheareal---
CLIFFORD:
Another onet
CALMER:
Yest You see the gullibility of soment And apparently
he said not Obvious the reason whyt So I was sent out
on a search. I don't want it all round the. plmt, Mr
Clifford---
CLIFFORD:
of course not, hos
CALMERE
Those things om be handles quietly, I'1l givé him his
notice and a woek's pay---.
CLIFFORD:
A. month's.
CALHER:
The devil, a montht
CLIFFORD:
Thoie are the rulest
CALMERS
Well--you Gee how unfaniliar I am wi th those kind of
rules. It ien't. very. often wo send a xmn arayi Yot
they pour aoross from Povers..
CLIFFORD:
And Powors seems to ohange than, I've said it before.
But perhape-(perplezed) we've never had a oustomer quite
like this befores
CALNER:
Hor whims mist always be guited, you. see, I know bottor than
to oross her whims. She 's not been the same sinoe a week
agol
CLIFFORDE
He'a probably fled. Woll, I'11 atrike his name off the listi
(About to go)
CALMER:
But, Mr Clifford--i
CLIFFORD.
Yest
CALMER:
You omit lat ms domn like thiat What the dawil am : dot


Iom't lot her atay in the bathroon like that, every
minute's arope round my neok, you don't know what a
danoe she oan leed me if she likes, do be a good chap,
Mr Clifford, I'm sure he's etill here---s None of his
friends seem worried, not Pettereon or Jebb, or the nan
at the gatel Itn aure they'd notioe if he got amys
CLIFFORD:
We om institute a searchi
CAIMERE
No, no, net There's nothing to be. gained by a hullabaloo:
The prinoiple behind thie plant is do it calmly or not at
allt
CLIFFORD:
And what about my recordst
CALMERE
What reoordat
CLIFFORD:
The establishment, mm-hours, wages to be paidi
CALMERS
To the devil with them, let's get the mani
CLIFFORD:
The devil with ay filest Now, Mr Calmer--
CALMIRE
All right, Kr Clifford, you mastn't lem too heavily on
ay. worde, I'n not in a right state of nind while my vire'e
in there-il Acoept my apology.
CLIFFORDS
Apology aoceptedi Shakat (They shale handa)
CALMER:
Owl (Jumping) That's not vhat you 'd oall a olerioal
handi
CLIFFORD (with pride) Hor a soholar's, eithor. Yet that's what I e
Thie man, Mr Calmer, thie man needs---(oonfidingly, chowing
the open palm of hia hand) a bit of thati
CALMER:
Whatt
CLIFFORD (making a elapping motion) Thats
CAMERS
Hho needs---tahtt
CLIFFORD:
Our fly-by-nightt
CALMERE
Our what?
CLIFFORDS
Mr Jaoki
CALMER:
Ohi (A pauce) Why?
CLIPFORDS
The storiest (Holding his head) Oht
CALMER:
Tho 'stories'?
CLIFFORDS
Long hairt.
CALMER:
I beg pardont


CLIFFORDS
Half-naked. Naked, in feoti :
CALHERE
Naked?
CLIFFORD:
On a roof---believe it or noti
CALIER:
A roof?
CLIFFORD:
A rooft Can you believe it?
CALAER:
CLIFFORD:
That he stood theraw-s Rai Really, it'a too moh,
when they go like that, I memn, really, it's tine to
adminiater that (showing his hand again), and if they're
half-naked, ao moh the betters Take thatt (Slapping
himself) And thats And that!
CALHERS
Calmlyo Mr ciifford. Are you aure a etre talking bout
the seme thing?
CLIFFORD:
You said Kr Jaok, didn't yout
CALHER:
Yoso.
CLIFFORD:
Wolli
CALKERS :
Khat 'long hair't
CLIFFORD:
He: thinks he'a a statuet I
it from Stiff.. And
that purblind idiot thinks Lopt his bro theri
CALMER (quietly). Hr Ciifford, what are talking about?
CLIFFORD:
Mr Jaoki
CALMER:
Stillt
CLIFFORDS
Yest
CAIXI ERs
Who thinka.ho's statuet
CLIFFORD,
Mr. Jaoki
CALMER:
Ohi
CLIFFORDS
And Stiff thinks he's his brother.
CALMER:
Whose, the statue'st
CLIFFORD:
Ho, iir Jaok, Xr Jaoki It's Mr Jaok all the tins,
behind it, spinning and woavings the place hasn't been
the same since ho oamet I'll give him tnaked't He
oould be Stiff's brother---he could as far as that
go eat Insimating himself---T I different bed every
nightt
CALMER:
What?


CLIFFORD (lowering his voioe) Wherover mm's to be found, Mr Calmer,
believe it or noti
CALZIERE
Hot
CLIFFORD,
Yost
CALAERE
No wonder the wife dialiked him aot It'e instinotive, I
suppose, they oan amell. a ma who ien't qui te right: It
really makes zie admire her, you Imow, adnire her grit, to
insist on,a thing like this being followed right out end
searohed to the roots (Beaming) If only I'd kown this
a week ago when she looked heraolf ind. I've always eaid,
Xr Clifford, she kmows what to, do, she. has the right instinot,
ahe knows when someone offende the osnons of tastel
CLIFFORD:
A statue, indeedi I aappose it's very nioe if you're trying
to appeal, if you see what I mean, to say you 're a atatue
from a thousand years agoi You appeal even stronger if you
sey that onde you wera naked and wore long hair, though
nowedaya you observe tho conventions, of coursel Vory nioe,
indeed!
CALMERS
But_im*t he, perhepa, a bit--pft?
CLIFFORDS
Is 1$ apft to turn the heads of an entiro plant?
CALMERS
Turn thoir headst What do you noant
CLIFFORD:
What I sayd They shield hin and treasure hin,. they give
him a different bed every night, it's beooms an honour to
have him at honel Bren in the kitohe he's got a bedi
But trust that Stiff to make a bad thing *X* worses
CALMERE :
But how is it, Clifford---that I know nothing of all thiet
CLIFFORD,
Beoeuse you're too busy upataire, lr Calmers
CALMERS
I : beg pardon, Mr Cliffordt
CLIFFORD:
Because you're thinking of your wife all the time, trying
to get her out of tho bathroan and that sort of thingt
To hell with your wifet Sho's never been mything but
blasted nuisance to this firnt
CALMERE
Khat, Mr Cliffordt How om you stand there and dare---t
Whatt
CLIFFORD:
You. oan what ne all you like but this firm's going dorm,
Mr Calinor, and 'you ought to kmow its The ao oounts are up
to soratoh, the filoe. are the finest in the land, the
olerioal etaff oliok their hoels when I. comi in ths room--d
CALMER (atopping him) Indeed? And what's tho meaning of that nartial
lat
CLIFFORD:
What?


CALHER:
The rules in this plat are made by me, Mr Clifford, and'
you*a better be awere that I may have a powerful wife nth
a mind of her om but the rulos in this plant are nade by me
snid I've followed your course as comender-in-ohief of the
olerical Oamp and if it happens mny more that they oliok
their heele I shall have you out by the soruff of your nook
and put you before the national union for nineteenth oentury
ideas, a0 therel
CLIFFORDE
Mr Calmer, Mr Cal ier (in dismay), -e-ninetsenth oentury
idean?
CALMER:
That's what I said end that * : what Immi Tit for tati
CLIFFORDS
Now, listen, Mr Calmer, itts obvious and olear wetye been
led apart by thia man in our oamp. Ke can't afford to
quarrel, it seems to me, im't that what he'd want most of
all, Mr Calmer?
CALMERS
You shouidn't have said what you said about my wife.
CLIFFORD:
Aooept my apology.
CALMERS
Vory woll.
CLIFFORDS
Shakei
CAIMERS
Not wi th a hand 1ike thatt
CLIFFORD (jooular) The eoholer's hand, eh?
CALHER:
To return, then, the statue-int
CLIFFORDS
The atatuet Apollo of Voii, beliave it or nott
CALMER: .
The what?
CLIFFORD:
It'a olear you wore never a elassioal soholart The
Apallo of Veii,
CALMERI
Ohe
CLIFFORD:
Foxedt
CALMERS
Bewildered, rather.
CLIFFORDI
Astatue unearthed near Rome. In 1916, I think.
CALMERS
Andt
CLIFFORDe
He sa. y* ho a it:.
CALMERS
Good Lordi Hell... I auppose that's olear enough.
CLIFFORD:
The dovil it isi And it'1l be even olcaror whon I've put
a few questions and tannod hie behindt I'l1 give hin
'Apollo's


CALMERT.
It's funny, my a ife
CLIFFORDS
rifet againt
CAIMER:
Mr Cliffordi
CLIFFORD:
Im sorrys Mr Calmert
CALMERE
Hy wife said the very first evening that he had a 'classioal'
touohs Don't you think that shows a aurprising inetinott
CLIFFORD (lmaghing) He had a olassioal touch wi th her jewelle ry. it seoms :
CALMER:
There's no need to banter, we 've seriouc---:
CLIFFORD (euddenly) Balmers.
CALHERS
Yoet
CLIFFORD:
to you see what I 600?
CALMER:
Whoret
CLIFFORD:
There.
CALZER (peering) Hy eyes have been giving me trouble, my ni fe was seying--.
CLIFFORD,
The devil take your vifei
CALMER:
Mr Clifford---
CLIFFORD:
Look, man, looks That do you seet
CALMER:
Good Lordss It's Mr Jacks
CLIFFORD:
Andt
CALMERS :
Mre..st
CLIFFORD:
Mrasset
CALM BRs
Pattercon.
CLIFFORD (hie voice lower) And Hrs Patterson runs theinit
CALMER:
Churoh Missiont
CLIFFORD:
Insimating: Insinuatingt He's wound hie finger round
evary. man end women in this campi Look at thats. How
easily they walk together-g
CALMER:
Gullibles Gullibles "Oh, waman, they name is vanity's
CLIFFORD:
10h; vanity, thay name is women', you meano Look at thati
They fro---d
CALMERS
I' should have takan hor advice---I need a pair of glasses---


CLIFFORD:
They're--- Holding handel Calmer, looki
CALMER:
Oh, Elsiol
CLIFFORD:
Nho?
CAIMER:
Elsies
CLIFFORD:
Who the devil's Klaiet
CALMERS
My wifet
CLIFFORD,
Oh, no, not againi
CALMER:
Was alone with thia men, Mr Cliffords Oh, Elsie, Maiet
CLIFFORD:
It gets thicker and thiokert
CALAI AERt
thoy're coming this wayd
CLIFFORDS
That's raghtt Juat come into a net, little fly, that's
right, slowly does it, that's it, atroll along what a nice
littlo snilo, oh, he is fullof oharm, ientt he, this nioe
little fly, thia nakedlittle fly, this fly with the long
heir, oome along, little fellow, that's it, into my net--e
a little noarer--now...
They wait.
Iter APOLLO and LUCY. CLIFTORD end
CALKER apring on APOLIO.
CLIFFORD:
Got himt
CALHER:
Got yout
APOLLO:
What a up?
LICY:
Jaoki Let go of hin at onces Kot goi Let goi (striking
at CLIFFORD and CALMER)
CALHERS
Ohi How, then, Mra Pattereont
CLIFFORD:
Hre Patterson, ploaso, ouohi
They séparate from APOLLO.
LUCYS
You, bulliest Two on onel
CLIFFORD (out of breath) And what a one, if I may say so, Mrs Patts
LUCI:
What a what?
CLIPFORDE
Isaid, Mrs Patterson, shat * onel
CALMER:
Hra Patterson, ny dear Mrs Patterson, you look ao like a
child, do you wonder we rush to your help. to soe you here
nith a men who---.
CLIFFORD:
He'l1 show you hie colours soon enoughi (He prowle round


APOLLO) Hal
APOLLO:
What are you doing?
CLIFFORDS
Hal (Slapping his hands together) A bit of thatt
APOLLO:
What?
CLIFFORD,
Has Thati (Slap) Thati And that againi fh,
Mr Jaokt
APOLLO,
Fihy?
CLIFFORD:
Haked, eht
APOLLO *
Hakedt
CLIFFORD:
Has And long hair?
APOLIO :
Hair?
CLIFFORD:
On the rooff Cuokool In on the rooft (Danoing
round) I'n on the roof, everybody, ouokoo, ouokoo, I'm
on the roofi
APOLLO:
Oh, I see nowe
CALMER:
There's lot to explain, Mr Jaok. The missing something.
LUCY (to APOLLO) They mist have gone orsolerst
APOLLO:
The miseing whatt
CALMER:
The missing comethingt Silver or gold, eht Shall
aay silver or gold?
APOLLO:
Whatt
CALMERS
The 'olassical' touoht The 'delioate' touoht Eht
Sleight-- (As if mnatidag pioking something off
table seoretively)-of hand? Eht Comprist No
comprist Eht Sleight--1 (Repeats the motion)---
of handt Eht Not
LUCY:
They're mads
APOLLO:
I think they are.
CLIFFORD:
Mad? Oh, come, Mr Jaok, the am, the mon alone---i
APOLLO:
What mant
CLIFFORDE
Nalodness, long hair, Jebb, Patterson, Baay---t
LUCYE
Liston to hins
CLIFFORD:
And now, as a main dourse after the hora d'oevre, the
women, perhapet Hal (Prowling round him again) Hal


APOLLO:
I thought you were a olorioal sort, Mr cliffordt What's
oome over yout
CLIFFORD:
You, Mr Jaok, you've oone over me---l
LUCY:
Tell ua what the matter is, Mr clifford.
CLIFFORD:
Standing before you, naked underneath---d th long hair
undernesth---a statue underneath---on the roof; underneath,
that" - a what stands before youl
LUCI:
I think he's talking about your dreans.
APOLLOs
They'ro.memoriest
LUCY:
CLIFFORD,
'Derling'? Kre Pattereont Do you know who you tre witht
CALMER:
She sar it, she saw what he was doingi
LUCY:
Nhot
CAIMERS
Elaiet
CLIFFORD:
To hell with Eleie, let's get dom to brass taoksi
CALMER: :
Mr Cliffords Onoe moreoes
LICY:
They've both gone fumy. Perhaps it's the sadden ooldi
CLIFFORD (to CALMER) You hear what ahe saidt' Lot's get to the business
in handi
CALMERS
Vory well. Now, Mr Jaok, I don't want to tum you over to
the polioe. It's never been done on this plant before and
I don't went it to atart nowe I'n giving you the ohance to
oone olean, and if you produoe the missing artiole we'll oall
it quite and you oan get your oard stamped and. go away.
LUCY:
What miesing artiolet
CALMER:
From ay wife's dressing table, eir (to APOLLO). Now, thend
A pmse.
APOLLO
It's at Kre Jebb's.
CALMER:
Thered
LUCY:
Jaoki
CALMERS
Hare you * word of apology for my wifet :
CLIFFORD (to hineelf) His wife againi
APOLIO:
She gave it to meo


CALMER:
Gave it, sirt What was it, by the way?
APOLLO:
A . gold' olasp.
CALMERS
Oh, Haiol (To APOLLO) Liar! Yon took iti
APOLIO,
She gare it to mso
CALMER:
Gave a man a gold olasp, eirt
APOLLO :
Yes.
CLIFFORD:
For whatt To fasten your collar wd tht Has
APOLLO:
More or less. fo fasten my veil wi the
A pause.
CALMERS
Your what, Mr Jaokt
APOLIO:
My veil.
CALMERS
You'* war--veila?
APOLLO s
Yes.
CALMERS
You wear a veil in'the presenoe of ny wife, airt +
APOLLO:
Yes.
LUCY:
Oh, Jaski
CALMER:
A veil?.
APOLLO $
Yos.
CALMERS
Over your feoe, a veil, like that-e-t (Nakes a motion over
his faoe)
APOLLO:
No, over ay body.
CLIFFORDS
Hal
LUCY:
Jaoki
CALMER:
Elaiol Xour body, sirt
APOLID:
My body.
r CLIFFORD:
Was this body by any ohmmoe---exouse me, Mr Calmer---
olothedt
APOLLO:
CALMER:
Eaies Maiel
CLIFFORD:
Hal
LUCY:
But, Jaok, how oould you?


CALMERS
You are telling me, sir, you were naed in the presenoe
of my. wifet
APOLLOS.
Yes.
CALMERS.
You are telling mo. that?
APOLIOS:
Yos.
CALMERI,
And why, sir, whyt
APOLIO:
Becase she aaked meo
CALKERS.
Eleie, noi
CLIFFORD:
Shicker and thioker, you'll be luoky to get amy with your
11f6, Mr Jaoki
CALMERS
You are teiling me you were naked beomse she asked yout
APOLLOs
Yos.
CALMERS
Oh, not Please, noi (Breaking dom) Mleie, Eaiet
(To APOLIO) You tre lying, aren't yout
APOLLOs.
CALHERE.
Yes,.you arei You are, Mr Jaoki
APOLLO (alarmed) All right. Yes, I ame
CLIFFORDS
Blaokguards
CALMERS,
Thank God, thank Godi (Xissing APOLLO'S hand) Thank you
muoht You have aoh dolioate handes
LOCI:
It's just like a dreme It's alwaye like a drem with youi
CLIFTORD:
And the gold olasp, was that a liet
APOLLOS
Noe:
CALHER:
It was, it was, Mr Jaoki Mr Clifford, that was a lie, too,
oh, yeal You '11 hoar hin say it hinselft Eh, 1 Jaokt It
was a liet
Ap pase.
APOLLOS
Yos.
CALMERE
Thak God again, God brings me such gifts with auah speed,
He, bringe me eafely into port each tine, thank God, thak
Godi I'll promote you, ir Jaok, I'll---8
CLIFFORD:
What the devil-are you talking aboutt Don't say you' 're
got a touch of it, tool But not so with me, Mr Jack. Not
so with mo. Oh, not (Approaohing APOLLO slouly) We'll
leave the week to fall by the wey. And I'll be the proseoution o


here and-w.
Bter JEBB and PATTERSON.
JE EBB t
Nhat was all the row?.
LUCY:
Patti
CALMERS
Kr Jebb, thore's been a misanderstanding-.
JEBB (to APOLLO) You've wokan upt
APOLLOS
That's right. Your wife woke ne up this afternoon.
CLIFFORD:
Hat
JEBB (to CLIFFORD) He's been aaleep for I weok, believe it or noti
CLIFFORD (turning away) Bélieve it? I believe it all righti Hal
What's the mat ter with Mr Cliffordt
CALKER:
It's beomuse of my i fe-e.
CLIFFORD:
To the devil wd th
wife, sir-m-do I have
your
to say it
againt
CALMIR:
Mr Cliffordt.
CLIFFORD:
To the devil. wi th your vifel
PATTERSON:
I've never hoard you uposk like that before, Mr Cliffordi
LUCY:
And he jumped on Jack. They both dida
JEBB a
Jamped on himt What fort
CALMERE
It's all a misunderstanding---1
CLIFFORD:
That T 8 juet what it im'ti He ham 't olooked in for nerly
a veek, you
he's been aslosp--shet the devil's happening
heret And :sy boss of it all saye & 'mieunderstanding'--
wella
CALMER (to JBB and PATTERSON) My wife's in the bathroon, you see.
JEBB:
In the bathroom, sirt
CALMER:
That's right.
APOLIO:
On aocount of meo
CALMERS
She. says he took a possession of hers, and he's told me just
now it's all. a nistabs, he's got it at your houm, he took
it by error, it happened to be there and when he was ohenging
his gloves, you soo, my wife had this job for him, you remen-
ber, to serve in white gloves and shake the oooktals---well,
he took it thinking it was his. That a the truth, isn't it,


Mr Jadkt
APOLLO (after a panse) Yes.
CLIFFORD:
Is. that the truth, Mr Jaok?
LUCY:
Ie it, Jaokt
AFOLLO (after another pause) No.
JIBB and PATTERSON atare at hin.
CLIFFORD:
You see what kind of a mm havet Mr Jebb, Hr Patterson,
I believe you ve been his hosts--you see what kind of a
man we harel
JBB :
What happened, Jaokt
APOLLO :
She gave me this olasp. It's nade of gold.
JRBB, :
What fort.
APOLLOS
LUCY:
Ho, Jaoki
APOLLO:
To fasten ay veil.
CLIFFORD:
Hal Veils, roofe, nakednessi Hal
JBBB :
Oh, Jaok, you haven't etarted all that ao soon, have you,
matet. I thought the eleep'd do you good, I said to the
wife, it's 1ike the hypnotian thay put them through, to
olear their ninde, they put then to aleep for a nonth or
more... (To CALHER) It im't hie fault, Mr Calner,
you-said it yourself, it's the effeot of Powers's, it
loaves tem strange, ien't that what you always saidt
CALMERS
I dids I didi But our friend Mr Clifford here doem't
went to understand, he insists---on taking ir Jaok's
remarks as the trutht
JEBB:
Tell them they're juet nasty dreans,. Jaok-e-go ont
CLIFFORDS
Then Msie's a liar as well, Mr Calnort
ÇALMER (going for him) Don't you take that name in vain, air-a-s
They prevat hin reaching CLIFFORD.
CLIFFORD:
The truth hurts, gentlomen, the truth hurtal I ask again,
is what Elaie saya just dreams as well, that he took the
olasp? Sonething's a drean, we'll agree, but what's it
to be---lr Jaok or---Elaiet
CALMER:
Swinet
They prevent him again.


APOLLO:
Fhat I said was true. She gave me the olasp.
CLIFFORD:
To fasten your véilt
APOLLO:
Yes.
CLIFFORD:
Did sho give you Erips for your har, sir, and
for your noso, and a nice pair of corsetat mdponder need
sone of this, Mr Jaok (elapping hi mself), this, Mr Jaok,
(alap), thie (slap), and this again (slep, alep).
PATTERSON (to JEBB) Khat's ho talking about?
CLIFFORD:
Long, hei r, ir Patterson, long hair and roofs and nakodness,
that's what In talking abouti
PATTERSON:
CALMER:
If somebody doosn't get my wife out soon, I'm afraid what
she might dos Toutre no idon what she's 1ike, Kr Jebb,
when hor shins aren't suiteds
JEBB:
What's she doing in the bathroont
CALMER:
That 8 where ehe goes when she can't get her wayi
APOLLO (to JEBB) I'd just done a dmce, you seo, it came baok to me
after all those years, I lifted nny feot and drifted along---
(he begins to denoe).
CLIFFORD:
Stop himi Stop himt He'1l be taking off his o lothes
nexti (Hiding his feoe) Stop him, for God a eake,
somebodyd
LUCY:
What's the mattor w th a dance, Mr Cliffordt
CLIFFORD (hidden) Can't you aee, Mrs Patt, oan't you see what he is
underneath?
LUCY:
It's just a danaot Like a bride-- e
PATTERSON:
What do you neant
LUCY:
Like a bride when. the wedding's over and he's all alone.
And she's happys
CLIFFORD (his faoe atill hidden) thes
JEBB:
Jaok, atop danoing, mate. Cone oni
APOLLO:
And then she atarted danoing, too.
Jl EBB a
Thot
APOLLO :
Eleie.
CALMERE
Noi
JEBB :
Jaoki You'll get yourself into trouble, mate, he is


the boss, aftor all, I know it's easy over here, but you 'vo
got to go by the rules, you imowi
CLIFFORD (still hidden) Sokebody tell me th en. he stopet For God's saks
stop, Mr Jaokt
APOLLO:
It got faster and fasteri. (Going faster and faster)
JEBB:
Jaoki Not like on those pots?
APOLLO:
Yes, that's righti
JEBB :
Blimeys Stop, Jaok, atop4 With Mre Calmer, tool Oh,
Jack, you 've bitten off more then you oan ohew this time,
boyt
PATTERSON:
Look out, he's taking off his olothest
CLIFFORD (hidden) Not
LUCY:
Lot him, dirling---
PATTERSON:
Whet?
JEBB (stopping APOLIO) It's all right, Jack, easy does it, easyoos
APOLLO (bewildered) I was just getting exoited, too. Laoyo oome and
dancei (Ho suddenly swoeps her away with him)
LCY:
Yesi
PATTERSON (to CAIMER) He called my wife Luoyi
CALHERE
Ho oalled mine Eleies
JEBB (taking bold of APOLLO again) That was a thousand yers ago, Jaok,
you can't do it nowd
LUCI (to APOLIO) Your bande foel hot, I thought the aun was coning out
again---d You looked so bromi
CLIFFORD (hidden) Has he finished yot?
JEBB:
I think he's all right now, Mr Clifford.
CLIFFORD (ahoving his fas
Ahi I'n glad to see he's still in
again)
his olothes at loasti
APOLLO:
It's being anleep for L woek. It brought all my manories
baok in one pieoe--.
PATTERSON (sadly) You called my wifo Luoy.
CLIFFORDS
of course, he dids. He's on familiar terms with everyone,
it seomai Brory nan---and every man's wifel And whose
falt is that? Is it his, Mr Patterson, or yourst I ask
you thati As a one-time soholar und lawyer, sir, I ask
you thats


PATTERSONS
CLIFFORD:
Eho housed him and fed him every night of the week, who
passed him on like a troasure from house to housot Did
you and Kr Jebb and Mr Basy, and every other ma on the plmt,
and now you stand there and say. he oalled my wife Luoyi
And you, Mr Jebb, youtre always telling him 'don't', what
do you want to sare him fron?
JEBB :
He's my friend.
CLIFFORD:
In nhat sonse friend, Mr Jebb?
JEBB :
Just.a friend..
CLIFFORD:
Not more?
JEBB s
Eht
CLIFFORD:
Have you tendenoies, Kr Jebb, and you, Mr Pattt Hat Hat
LUCY (to JEBB and PATTERSON) He went like that bafore.
CLIFFORD:
I'n here to investigate, Mre Patt, I'n here to expose.
We hare here a man who parades himeelf in his neglige,
and stands on a roof, beliere it or not, and saye he'g--
'says he'se--believe it or not---Apollo of Voiit Yoet
(to APOLLO)
JEBB:
Tell him no, Jaok.
APOLLO (to CLIFFORD) Yes.
CALMERS
That's what ny wife said, too, she said, "Bring Apollo
up to mo or I'll stay in the bathroon till I dies'
CLIFFORD:
Hai 'Bring Apollo up to net' saye Meie Calmért And
you, Mr Jaok, are Apoilo, are yout
JEBB :
Say not.
APOLIO :
Yes.
CLIFFORD:
A statue found in 19167
AFOLLO t
Yes.
CLIFFORD (to the othere) He's a atatue found in 1916, believe it or noti
PATTERSOH:
But Jaok's alwaye talked liks thati
CALMERE
Bat why a statue, kr Jaok?
APOLLO (to CALHER) It's diffioult to explain, eir, it's a kind of momoryoe.
CLIFFORD:
And I auppose you don't mind, Mr Jaok, ii I examine this
menory a iittlet


APOLLO:
Noo
CLIFFORD:
I'n a bit of a elassioal soholar, as you know, so may I
ask a fow simple questional
APOLLO a
Yos.
JEBB (in a whisper) Don't anewer them, Jaoki
LUCY:
He'll wind you round his finger, Mr Clifford alwaye doest
CLIFFORD:
Question Ko. l. You wore a veil?
APOLLO,
Yes.
CLIFFORD:
You wore a voil, Mr Jaokt
APOLLOS
Yos.
CLIFFORD:
Not a mantlo?
APOLLO:
What's that?
CLIFFORD (to the others) He doean't know what a 'mantlo' is. (To
APOLLO) A oloak. A coat, in your language.
AROLLO:
CLIFFORD:
You wore a mantle, I believe. (Mookingly) a thoucand
yeara ago.
APOLLO (a little desparately) It was a veili
LUCY:
Toll him about the weddinga, Jaoki
APOLLO:
Ion'ti I just---om'ts
JBB (to APOLLO) I told you not to anewors
CLIFFORD:
Question No 2. Ramember, ploase, Mr Jack, I address you
all the time as - statue. How long was your mantlot
APOLLO,
We had veils---.
CLIFFORD:
Mr Jaek, you had veils for your wedding oeremonies, some-
tines it was 1ifted over the heade of the bride and bride-
groon--
LUCY:
That'e wha t he remembers---the wonderful marriages--
CLIFFORD:
But over their heade, Mr Jaok. For a monent. Or olse
for danoe. Butf talk of the statue, Kr Jaok.
APOLIOE
LUCY:
Don't you remenber, Jaok?


APOLLOE
I feel confused...
CLIFFORD:
Who wouldn'tt May I return to Question Ho.21 How far
did it reaoh dowa your logst The mantle?
APOLLO:
Dox to the ground.
CLIFFORD:
To the kmees, Kr Jaok, to the kmees, In afrad. (To the
others) You see how mioh he imowst Question No.3.
Are your feet baret
APOLLO
Yes.
CLIFFORD:
Correoti Question Ho.te Are they brokent
APOLLO:
I don't understand.
CALMER:
Brokent How strange---
CLIFFORD:
You 're a statue, armn't yout
APOLLO:
Yeso
CLIFFORD:
And you exiatt In Rome, I believet Well, are your
feet broken?
APOLLO:
Oh, yes, they got broke in 1916, they were found brokand
CLIFFORD:
Describe the breakst
APOLLO:
CLIFFORD:
Left foot, right foot, how are they broket
APOLLO:
The left foot was: broken in halfo
CLIFFORD,
The left foot is intaot, perfeotly intaet, exoept for the
big toel The right foot?
APOLLO :
Aleo intaot.
CLIFFORD:
The right foot ie broken olean in half, there's only the
heel and a bit of the instep lefti So mch for
imow
ledge of your feet, Mr Jaoki question No-- (ete hositates)
PATTERSON:
Seven.
CLIFFORD:
Thank you, Mr Patterson---I believe you're begiming to
understand what sort of man---I say man---I don't know how far
he really is a man--shat sort of individual we have here.
(To APOLLO) This ien't the question but--- (oonfidentially)
ever heard of Hermaphrodite?:
APOLLO a
Yos.
CLIFFORD,
Who was ahet
APOLLOS
Half man, half womm e


CLIFFORD:
Hal Hal Listen to it, my friendal Thank you, thak you,
Mr Jacki Hal Hal
APOLLOS
That 6 true, im't itt
CLIFFORD:
Oh, it's true, it'e truel Hal (Abruptly) Question No.8.
PATTERSON:
Seven. You didn't ask that one yet.
CLIFFORD:
thank you, Mr Patti Question No.7.---your elbow, airt
APOLIO :
Whatt
CLIFFORD:
Elbor, Xr Jaok, elbout This (pointing to hke oun elbow).
Said to'be, wi th another areaof the body, Mr Jaok, perpetually
coldi Hat Hat
LUCY:
What's he talking. aboutt
CLIFFORD:
The state of Mr Jaok's elbow, Mre Patti (To APOLLO) Ie it
in one pieoet
APOLLOS
Whioh" onet
CLIFFORD:
The left, aay?
APOLLOS
Yes, it iseo.
CLIFFORD:
Hrong. The entire loft arn ie nissing. The olbow of the
right arm is atill there. Wrong, Mr Jaok, wrong and wrong
againd Question No-e-t (raising his eyebrow to PATTERSON)
PATTERSON,
aght, sir.
CLIFFORD:
aght, siri Very wlli How may plate in your hairt
CALNER:
Platat ky wife has platat
CLIFFORD:
But, Mr Calmer, now really, you auet begin to understand
aren't alwaye disoussing your wifes Not alwayas We're
talking abouta man---yes, a man, wth platai
APOLLO:
I had a good many. I can't remenber exaotly. Thoy hang
dowa to ny shoulder--e
CLIFFORD:
Indeed, yes, what a lovely offeets
APOLLO a
Say, twolve or s0.
CLIFFORDS
Xinet Hine, Mr Jaokt Not twlvel
JEBB (dejeotedly) Imn't mny of it true, then, Jaokt
APOLIO:
Yes, it's true, bat t---I'm confused---I 'm-
LICY:
Oh, Jaoki
CLIFFORD:
Question--


PATTERSON;
Noale
CLIFFORD:
No.9. Are your cers covered with hair-e-I mean, do the
plata come over your ears?
APOLLO:
CLIFFORD:
Cgrreoti
APOLLO (to JEBB and LUCY) I a waye had my cars fros. I had a sort. of
little laoe thing that wont over y head and behind ny carsese
JEBB $
Oh, yest
CLIFFORD:
Question Ho---1
PATTERSON:
CLIFFORD:
Ie there a hole in your baokt
CALMER:
A holet What an extraordinary question! If I tell all
this to Eleie she'll never believe iti She'll sy, you're
dreming, Calmers
PATTERSON :
That's right. It's like a dresn. That's what I said to
Jebb-whin Jaok oeme over dressed in I veit, wi th nothing
on his feet-e-.
CALMERS :
What?
PATT ERSON $
You sar hin yourself, ciri You took him upstairs to the
San for a ohmge of olothest You said they alwaya oane
from: Powers's lihe thati
CALKER:
Oh, they do, Hr Patterson, they always dol.
CLIFFORD (giving CALHER an irritated look) We wait.
APOLLO (after a panse) No. Ho holee
CLIFFORD:
Krongi 'Yes* is the mnswer, Mr Jaok. You 've got a hole
the eize of my fist in your baok, just underneath your neokt
CALMER:
I do believe ho hasn't Mr dlifforde
CLIFFORD:
We're talking of a statue, Mr Calmer, a statues
CALKER:
Ohi
CLIFFORD,
And now, Mr Jaok, let me ask you porhape the most embarr-
assing question of all.
APOLIO:
CLIFFORD:
But, Mr Jaoki You were 8o' triumphant befores What thie
sudden meeknesst Eh?
LUCY:
He'a feoling woak, Mr Clifforde


CLIFFORD:
He'll be feeling we aker still when I've asked hin this
gestion. The. roof, Kr Jaok. You were on the rooft
APOLLO:
Yos. Don't destroy that as wellt
CLIFFORD,
Were you on the roof---?
APOLLOS
Plemet
CLIFFORD:
Alonet
APOLLO:
CLIFFORD:
Wore you on the roof alonet
APOLLOS
Yese or ooureee
CLIFFORDS
I'n afraid you weren't, Kr Jaok.
APOLLOS
Why nott
CLIFFORD:
You nere in a group. With Heroules--
APOLLO:
Heraulesl I thought-- (Irying to reoolleot) Didn 't
PATTERSOH: :
Ho oalled her Luoy againi Luoy!
APOLLO:
Didn't I say 'Heroules onoet I half-remembered, perhapat
CLIFFORD:
You mist have stood there quite tine, Mr Jaok, enough to
xamkx nore than half-renembors
APOLLOS
But my nemories got brokan, like ny feotoes
CLIFFORD:
Apparontly, they did! And now we've brokan your little
ronmoe, what e to be donet
APOLLOS
I dan't kowt
CLIFFORD:
You've oertainly had then all on a string---inoluding ay
anamiensis, too.
APOLLO :
Your whatt
CLIFFORDS
It's a lmguage after your tine, lr Jaoki Latin. Keming
my right hand, my Stiff. Ihaven't had a deoent neal for
nonth or nore, - bede aren't nade---l
APOLLOS
He said' you beat him.
CLIFFORD (with glmoe at CALMER) Did he, indeed?
FOLLO:
He said you got into his bed at night.
CLIFFORD:
That's enoughi Bnoughi (Desprately) Calmer, I wnt
you to shut your sars, this mutmn't get to Elaied
CALMIR:
You oall her Elsie's


APOLIO (to CLIFFORD) Ho said you--
CLIFFORD:
That's enought Bnoughi
APOLIO:
e naked.
CLIFPORD:
Hot
APOLLO:
I'n only ropeating what ho said. Come and denoe with met
CLIFFORD (giggling) Now, Mr Jaokt Really-e- (as APOLLO begins to dmnee
with hin)---what asplendid-woh, ir Jaoki
Fater STIFF.
STIFP :
Did somebody call? (Staring at the danoing men) Broi
You meth't do thati
He atrides aoross ad---
Jl EBB r
Look outi
WCY,
Jaokt
--throwe APOLLO to the ground.
CLIFFORD:
You jealous fooli Can't I even look at somsone else?
STIFF a
Notx ny Bro, cliff, not zy Brol (Bending domn) Bro,
I thought I héard you oall me, in the. kitohen, you wore
in trouble, Bro...
The othere try to raise APOLID. LUCY
kisses hin.
PATTERSON
Laoyd
CALMERE
You're very violent, Stiff. I've said it before.
CLIFFORD:
Thi a may be murder, you fool-e-1 I should have had you
looked up!
JEBB, a
Are you ali right, Jebbt
APOLLO (faintly) I think so, yose
LUCY:
His hande aro oolde
STIFF:
8o they wore before. Your hands were cold before, Bro.
And you made a terrible ory in the night and gave up the
ghost, and a storn broke the walls of the temple...
LUCY:
Coldor and oolder.
JEBB 1
Get hin on his feet. I know I did wrong, Jaok, it started
with m, I did. wrong, Jaok--s Jaok, Jaokt
PATTERSON :
Look at his armsi


CLIFFORD (to STIFF) Get up, you bully, you aee what yon've donei
LUCY (to CLIFFORD) And you, what about yout
CLIFFORD*
PATTERSON;
His hands ad feet!
As they raise hin his arms go out
sideways and his head falls limp, in
peouliar imitation of-the oruoifizion.
JEBB $
Look what he's doingt Are you all right, Jaokt
APOLLO (indistinotly) I think 80.00
CLIFFORD:
Stop him, stop him, look what he's doingi
PATTERSON:
Hia hande end his feet!
LUCY:
I was a bridel Oh, Jeok, oh, Jaoki
APOLLO (faintly) I'n oompletely dl rights
CLIFFORD (shouting at APOLLO) You oen't be two peoples Mrwaok, Mr
Jaok, please atopi STOP hin comebody, stop hins
CALMER:
Calmly, Mr Clifford, he's only fainted. It's the 1ife
at Powers. It'a the life (in APOLLO'S ear) at Powers,
im't it, Hr Jaokt
APOLLO (nodding dimly) Yes, that's right.
STIFF:
Hy Bro died like that onoe before. He made a ory at night
mnd a stora broke tho tample walla, and his handa were oolde..
APOLLO auddenly falla dom.
LUCY:
Oh, bridegroom, Jaoki
CALMERS
He's.only fallon in a faint, there's no need to panio.
JBBB :
Spoak to me, Jaok, I didn't do wrong, did I wrang you, Jaokt
Did I do wrong, tell mo that firsti
APOLLO (opening his oyes dimly) Noe
LUCY:
And I'n your bridet
APOLLO (the sme) Yes.
PATTERSON:
Ee said I understood everything once...
APOLLO noda to hin as well, then falla
baoke
JEBB 8
He's got red on his handsi


CALM ER:
That's the compater-ribbon I had cent down last week.
JEBB:
Is it bloodt
CALHER (desparately) Compater-ribbon, Mr Jebb, computer-ribbom.
STIFF's
Hy Bro alwaye dies lika that. Just before be goes away.
CLIFFORD:
That was suoh a lovely dance...
CALMERE
Lot's got him up to the Sen--e
STIFF:
Tomorrow he'll move. on to another place, you see.
JEBB (to STIFF) Another plmtt
STIFF:
That's right.
LUCY:
He feole ail bromn, and therets anile---
JBBs
The amilet (APOLLO aniles) Jaok, not Oh---Jaoki
STIFF:
My Bro always sailes like that before he dies.
CALMERS
Let'a take'hin up to the' San, it's nothing that Doo om't
mend, you'll seed He's aniling--look---he's monding fasti
I'1l go and tell Heiet He's coming at lasti
STIFF:
Lift him on your ahoulders.
JEBB:
Smile at mo, Jaok.
APOLLO continues to amile with his
eyea olosed.
CLIFFORD:
That's the amile----the seme amile--
LUCY:
You seot You were wrongt I said you. were wrongi
CLIFFORD:
He'g-se
STIFF:
Hy brother, didn*t I teli you?
They raise him up.
JEBB *
Basy does iti
STIFF:
Hots always béen a dead weight xhen he dies, my Bro.
CALIER:
He's. only fainted. Carefully. boyst Take him up to
the bathroom. Elsie, Eleiel How heppily thinge always
endi (Going behind the others, who carry APOLLO) What
a happy little plati
Bount, leaving LOCY alone.
LUCY:
I'11 alwaya remanber that aunmer. I mst get the


washing in end got Mra Jebb hor norning oupi It's my
turn todey!
She runs off.
CURTAIN.


MAN CALLED APOLLO
Versuor
Eary
MUSICAL PLAY
Mau Calked Apolo
A fnady
MAURICE ROWDON
COPYRIGHT, LIBRARY OF CONGRESS,
WASHINGTON, NO e


Ma GllidApnlo -
MAN CALLE) APOLhO
achon: takes Km the
Hl diiaxe, thue
and
The ceseuouy
hophalli
aul Paphos - Cyhus,
festiviel 7 Aphoste
Pr "Hw wel dolpek don!
talt.
Gel yu phalla, mite,
Tue pil,
5op
"IE' C humnime 1
Cee -Itiyfun
Pillan phelic yulrt,
E. WEDECK :
Fum 'hove Ptni's Hart
Binil himi, Aearmen,
lu mutguts, ni Binnid 1 povs
RenlL Ike
U-Hre
Mlave 7 waa,
He uder serse,
suahoy esstc Skill, -l pachi,
man ticrcele 2
allractoin, the
the Level 7. hur
plyaidpal
and
Eypee
Loductisn,
ud danwhes,
ut 2
all-
uguels;
p-tais
cbecame
mye and satanded
Sralias sasuls
tiere
pomatit :
elnacig Mag. 5 vistue 2
percoer,
ad ceule
slae niitaloin
dancer and
of talis
dren,
K seuds ai
she begar: /s
Lo niati hau,
Peeck,
k catolli Lolie
slo penel aal C
sheguisn,
dijedows
ad adet - -
socialad praiticil
cclinliis
he hoou
lasad
poirs,
ukl cm gr reschiy
shogee
lecaure the usma
boinil. ni he entre coupulaue han
arjhut end,
de had ttalin
kelu tre time
duredin 2 Culia
a tre iplizl
baker k
Re netinali destiigg
tar od
A nice syeeck,
activiles
k itodice the Casliouy.
fn Dack
HLe
explain
audiia
Jeche
tiie
Aplrodire Jemil
growip
tes-
'nallas:
Iradl,>
- liil kanu thes hn
A haur kv. busila
- enhiol e


i He inies 1
ttre
lor Jendin)
>) Gelsy


Mar Clled Apello2
how SJwu
lE reverl te ar cianl
plas
umer XJaue,
mla, tte haditen 2 the Petarae a pui
Joun 2 *e uov Luou cla.
cei
uatre 2 th
H - k Caves the hoh
cupifeee
anis nind?
tho Refy 7
Phallic tatinien d - praduda


To SAalue Olar,
A MÀN CALLED APOLLO.
The Me Lo Multen S9alio
MusicOL
A Gomedy / im
Aals
Rokue
Maurice Rowdon.
COPYRIGHT, LIBRARY OF CONGRESS,
WASHINGTON No.


CHARACTERS
JACK
JEBB
Factory Hands.
PATTERSON
STIFF
Canteen Cook.
MR CLIFFORD
Personnel Manager.
MR CALMER
Manager.
e 4
LUCY
PATTERSON'S wife.
shut Show Hen - hresi eic
hiv ud dow
J clnt 6
ced suikl
cul
te mnsical Clinde
will lre ull.
ah lyru.
tranton
Lms geschen


SCENE: The grounds of Mr CALMERtS electrical works.
TIME: The present.
ie. 1


JACK, alone: he is an ordinary
worker in appearance save for the
fact that he is dressed only in
a black overcoat with the collar
turned up. His feet are bare.
No shirt, no collar.
Head bare.
His state seems to bewilder him
as well, and he gives his bare
feet gingerly glances.
Enter JEBB and PATTERSON.
JEBB:
Here!
Look at this one!
PATTERSON (staring): His feet's bare! Well, strike a
Iight!
JEBB;
I think---I think he's got no shirt on---!
PATTERSON: Well, strike a light!
Enter STIFF.
JEBB (stopping him) Stiff!
STIFF:
JEBB:
Look at this one!
STIFF:
I'm on my way home. (Raising his voice)
That bastard Clifford's been after me again!
I'll make his backside tingle!
JEBB:
Look!
What do you make of that one?
STIFF:
Eh? (Seeing JACK)
Stone the crows! Is
he after a job?
PATTERSON: That's what I thought.
STIFF:
Better tell Clifford.
Shall I go---?


JEBB:
Don't be silly!
Just wait and see.
STIFF:
It doesn't seem right, not here...
JEBB (calling out to JACK)
Jack!
(More loudly, since
JACK takes no notice) Jack!
After a time JACK turns slowly
round.
JACK:
How did you know my name was Jack?
The other three approach him
quickly, full of questions.
JEBB:
You after a job?
STIFF:
I can.go and see Mr. Clifford, he'll give you
a suit of clothes!
(To the others) His feet
are bare!
JEBB:
Are you after a job?
JACK:
I might be, yes.
JEBB:
We're on short time. They laid off 200 on
the welding side last week. But Checks and
Tests are always looking for fellows wi th
good eyes. I'm shop steward in Gauges.
How do you do?
They. shake hands.
JACK:
How do you do?
JEBB:
Where's your clothes?
JACK:
I haven't got any.
JEBB:
Not even a pair of shoes?
JACK:
JEBB:
Why not?
JACK:
I don't know.
JEBB:
You don't know?
Where did you get your
overcoat, then?
JACK:
JEBB:
A pause.


PATTERSON: Why didn't you pick up a pair of shoes at
the same time, then?
JACK:
JEBB:
You forgot? Blimey! I wouldn't forget
my shoes, mate---not in weather like this!
PATTERSON: Nor me!
STIFF:
I can't get. over the bare feet!
PATTERSON: (to JACK) My wife'd like to see you.
She's
Interested in things like that.
JEBB:
What's your second name?
JACK:
Apollo
A. pause. .
JEBB:
Wha t?
JACK:
Apollo.
JEBB:
That's not a name.
It's--classical.
PATTERSON: It might be French.
Are you French?
JACK:
JEBB:
I followed the classics once. I learned
about Greece.
The 'Parthenon'---is that
JACK:
Yes.
JEBB (to PATTERSON) A building wi th columns.
PATTERSON: Oh, yes?
JEBB:
That was in evening classes.
Old Mr. Gibbs
used to take the classics. Very interesting,
too.
PATTERSON (to JACK) A bomb went through the lot. We used
to have carpentry and all sorts. Dance and
Social on Saturdays.
JEBB:
Nobody was hurt, though.
It happened at
STIFF:(lifting JACK'S overcoat) Look, he's bare underneath
too!


JACK (to STIFF, quietly)
That's how I was found.
STIFF:
PATTERSON: Can't you remember your real name?
JACK:
My name's Apollo.
PATTERSON: But your real name?
JACK:
That's it. Apollo.
PATTERSON: Are your eyes good?
JACK:
Yes. Why?
PATTERSON: I meant---for a job in Checks and Tests...
JEBB:
I don't think it's the job for you.
JACK:
Why not?
JEBB:
Bedause... I dontt know.
You're funny.
Mr. Clifford doesn't like funny people:
STIFF (to JACK) Are you cold under there?
My feet. get cold!
STIFF:
That's what I thought! Jebb---that's just
what I thought!
JEBB:
And how do you know your name's Apollo?
JACK:
Because it's always been my name :
JEBB:
But nobody's called Apollo!
JACK:
I am.
A pause.
JEBB (to PATTERSON)
Can you make him out?
PATTERSON: No: He looks all right. He looks like
Mr. Calmer's eldest boy!
JEBB:
Where have you come from?
JACK:
From across the way, from Powers's the. con-
struction-plant.
JEBB:
Oh; you were over at Powers's?
JACK:
Yes.
JEBB:
Did you know Will Jebb, that's my. brother,
in the faults division?


JACK:
JEBB:
What was your trade?
JACK:
Just odds and ends.
JEBB:
Odds and ends?
JACK:
I did wha t I could, you see.
JEBB:
And why are you here?
JACK:
I was laid off.
JEBB:
Oh, I see!
PATTERSON: They're always laying off people over there.
Mr. Calmer says they were redundant before
they started!
JEBB (to JACK) What for?
JACK (after a pause)
For interfering with the boss's
wife.
JEBB:
Blimey!
STIFF (excited) Now come on!
PATTERSON: The truth will out, as they say!
JEBB:
You what? (Digging JACK with his elbow,
smiling) You did what?
JACK:
That's what they called it.
STIFF (trembling)
PATTERSON (kindly) Calm down, Stiff!
Calm down.
JEBB:
But what did you do? (Drawing him a little
aside)
What did you do?
JACK whispers in his ear.
JEBB:
What, all---? (TACK nods) No?
JACK:
Yes!
JEBB:
Blimey! Not the ---?
JACK:
Yes.
JEBB:
Well, stoné the crows!
STIFF:
Let me in, let me in, boys---!


PATTERSON: No, stiff (pulling him away), we don't want
you getting excited.
JEBB (to JACK)
And do you expect to come here and do
the same thing?
JACK:
Yes.
JEBB:
You're real strange, you know...
PATTERSON: Why?
JEBB (to PATTERSON)
It's nothing!
STIFF:
Jebb, boy---let me in!
JEBB (to JACK) * Well, you won't, you know!
Not while
Mr. Clifford's in charge!
- PATTERSON: Quick, there's Calmer!
Let's hide 'im!
They quickly stand in front of
JACK while CALMER passes briskly by:
JEBB:
Morning, sir!
PATTERSON: Morning, sir!
CALMER:
Morning, morning!
STIFF:
Morning, sir!
CAIMER:
Morning!
Exit CALMER.
They separate.
JACK:
Is that the boss?
JEBB:
That's him!
It's funny---when we were
standing close, I had a funny feeling-
PATTERSON: What?
JEBB:
It's just what I said to the wife this
morning when I was drinking my tea, I said,
today's not like other days.. e - (taking out
his cigarettes)
Smoke?
JACK:
No, thanks.
JEBB: (while offering them to the others)
Never?
JACK:
I used to. But I gave it up. It reminded
JEBB:
What? (They light up): What?


JACK.
JEBB:
What did it remind you of?
JACK:
The sacrifices! Listen (with sudden
extraordinary energy) there was a platform
of tufo stone this big (leaping about to show
dimensions, : about two square me tres) with a
hole like that (spreading out his arms) for
the fire---and stone gutters running here
(running to show direction of gutter from
platform) here (running) here (running) and
here! And nobody could move!
E can smell
the. burning creatures now!
And pilgrims
used to come from miles around and
them-
dip
selves in the pool, for the healing Cremera
waters!.
He stands parting and silent.
They gaze at him in astonishment.
PATTERSON (quietly)
Are you all right, mate?
JEBB (after a pause) He's all right.
STIFF:
What does he say?
JEBB:
They used to burn animals, didn't they?
JACK:
Yes!
JEBB:
When they prayed and that kind of thing?
JACK:
That's right!
JEBB ( to the others)
It's the Greeks!
They used to
burn animals when they prayed.
JACK
Not the Greeks!
JEBB:
They did, you know!
You go and tell old
Mr. Gibbs that they didn't burn animals--!
JACK:
No, I mean, I wasn't describing the Greeks.
JEBB:
Oh, I seé. (Apologetically) I'm sorry.
Care fora cup of tea, down at the canteen?
JACK:
No, thanks.
hat
STIFF (to PATTERSON, in an undertone)
All the bloody
running about---scared the kidneys out of me!
PATTERSON: We used to smell the burning skins from the
soap factory along the Rise when we was kids,
and I know, it gets on your nerves.
You
don't forget it in a hurry.
JEBB (to JACK) Did you see the burning, then?


JACK:
turned.
Well, I had my back
I was on the
roof, you see.
JEBB (screwing up his face)
On the roof? What do
you mean?
JACK:
I was standing on the roof.
JEBB:
Where?
JACK:
At Veii.
JEBB:
Where?
JACK.
Veii.
PATTERSON: It sounds like an unfinished word.
JEBB:
How do you spell it?
JACK:
v, e, double i.
PATTERSON:
What does it mean?
JACK:
It's a place. You see, I was a statue.
A pause.
JEBB:
A statue?
JACK:
Yes.
JEBB:
Say it again.
JACK:
I was a statue.
I ama statue.,
JEBB:
How can you be a statue?
JACK:
Why not?
JEBB:
Well, how can anybody be?
JACK:
Why not?
JEBB (to PATTERSON)
Give him a reason.
PATTERSON: How would you move? A statue can't move.
JACK:
Inside, I'm a statue.
JEBB:
Inside?
JACK:
Yes.
JEBB:
Ihside what?
JACK:
Inside myself.


JEBB:
How can you be a statue inside yourself?
JACK:
Why, not? I don't move inside.
JEBB:
What?
JACK:
I don't move inside.
JEBB:
What arè you talking about?
JACK:
Think it out.
They stand pondering.
JEBB:
Are you sure you don't need a doctor?
JACK:
Yes.
STIFF:
It seems just possible to me..
JACK (to JEBB) 'I can remember it, you see. How could
I remember it otherwise?
JEBB:
What can you remember?
JACK:
Being a statue. And I still feel I'm one
inside, if you see what I mean*
Another pause.
JEBB:
What did it feel like, then?
JACK:
Well, no time, for instance.
JEBB:
No time?
JACK:
I mean, I didn't stand there like I'm standing
here, I didn't get imatient, it just seemed
one moment but this moment lasted years.
JEBB:
How many years?
JACK:
Nobody can say-
JEBB:
But you should know, shouldn't you?
JACK:
How can I know if nobody elco knows, I'm not
there any longer!
JEBB:
You're a puzzler...
If you can't say for -
sure how long you was there, how can you say
you was there at all?
JACK:
How would I know I was there othersise?
JEBB:
But how do you know?
JACK:
I can remember!


JEBB:
But what's remembering?
Suppose I said I
was this morning's cup of tea, or something
like that?
JACK:
You'd be lying.
Because you can't remember.
But I can.
JEBB:
But you don't even look like a statue!
STIFF:
Let me see underneath.
Then I'll tell you
if he's a statue or not!
PATTERSON (to STIFF) I'll tell Mr. Clifford.
JACK (to JEBB) You're still not convinced.
If I told
you what I looked like, what language I spoke,
where I stood, what the country all round was
like, would you believe me then?
JEBB:
No, because a man can't be a statue!
JACK:
But I'm not a statue now! I tola you, I can
remember, and how could I remember if I didn't
know? Nobody's taught me!
JEBB:
How do I know that?
JACK:
I've never been to school as far as I know.
JEBB:
As far as you know?
JACK:
Yes.
JEBB:
You don't know if you've been to school or not?
JACK:
JEBB:
Where were you born, then?
JACK:
I don't remember.
JEBB:
When?
JACK:
I don't know.
JEBB:
Your mother and father---sisters---where was
your home---what was it like.
JACK:
I can't remember.
PATTERSON: He ought to see the doc. It's loss. of
memory, Jebb.
JACK:
It isn't loss of memory. I haven't lost
anything. I can remember much more than you
can. I can remember over a thousand years ago
PATTERSON: A thousand years ago?


JACK:
That's right.
JEBB:
When he was a statue!
JACK:
All right, you prove I'm not a statue. You
All you can say is you've never met
one before.
JEBB:
Well, come to that, this factory might not be
here tomorrow morning.
JACK:
It might not, you can't prove it will be.
All you can say is it's been there every
morning so far.
JEBB:
Old Mr. Gibbs used to talk like that. He used
to call it logic. He used to say things.
wasn't there. But everything was just the
same when we went hôme afterwards.
JACK:
But now they're different.
JEBB:
How do you mean?
JACK:
Everything's changed.
JEBB (gazing at him) The way you look at me, you make
me feel queer*..
JACK:
That's what I mean.
STIFF (suddenly shouting) He's just like my brother
used to be, full of sauce, they need theif
backsides tanned!
PATTERSON: Now then; big mouth (holding him back), where's
your keeper today?
JACK (to STIFF)
I've got a message from your brother.
STIFF ' (rushing to him, overjoyed)
You have!
JACK:
He wants to thank you for everything you did.
STIFF:
Yes!
JACK:
And hets wotking Ovér at Powers.
STIFF (sobbing)
I knew it!
PATTERSON: Come away. (To JACK) His younger brother
died a while ago.
JACK:
Yes, I know.
JEBB:
You're rum! You're just the same as one of
us, and yet you're not.


JACK:
What did you learn in the classics classes--
did you hear about all the statues they found?
JEBB:
I don't remember!
JACK:
Don't you remember all the Apollos they found,
don't you remember their names?
JEBB:
JACK:
The Apollo of Falerii---?
JEBB:
JACK:
The Apollo Belvedere, the Apollo della Tevere---?
JEBB:
JACK:
The Apollo of Veii? The sun-god of Veii?
JEBB (almost entranced, it seèms) No!
JACK:
Well, that's me.
JEBB (in a whisper)
How do you spell it?
JACK:
Wha t?
JEBB:
That word.
JACK:
Veii?
JEBB:
Yes.
JACK:
V, e, double i.
PATTERSON (to JEBB)
Like he said before..
JEBB stands gazing at JACK.
JEBB:
All right, then.
Smile.
(JACK smiles)
No, don't! Don't, for Christ's sake, don't!
PATTERSON: What's the matter, mate? He just smiled!
JEBB:
It's him! (Taking refuge close to PATTERSON)
It's him, Patt, I bloodywell swear it is!
It's the smile, I seen that smile before---!
PATTERSON: Calm down, mate, calm down!
JEBB (to JACK) Don't smile again, will you mat te? I
Can't stand to see it---!
JACK:
I'll try not to.
PATTERSON: All he did was just smile!


JEBB:
It gives me a turn!
JACK (to STIFF)
Don't tremble so.
STIFF:
Let me come in! Let me come in! I'm a
big man and I need big answers! They call
my right *Stiff's hammer that stiffens'!
(Crying) I'm unmarried. I need advise
al bout my private habits.
PATTERSON: Keep quiet or I'll tell Mr. Clifford.
JEBB (to JACK)
How do you come to be called Jack; then?
JACK:
It's what. everybody calls me. So I take that
name. - You called me it yourself---
JEBB:
No, I didn't!
PATTERSON: Yes, you did, Jebb.
JEBB:
Only by mistake!
(To JACK) And the roof?
What did you mean about the roof?
JACK:
That's where I always stood.
On the roof of
the temple.
JEBB:
Ifeel like crying!
STIFF (approaching JACK again) Let me take you home, mate!
You're like my younger brother, he married and
went off. I saved his life! He had golden
hair like yours!
PATTERSON (with a laugh) His hair's black, Charlie!
JEBB:
Now, then, Stiff.
STIFF:
Let me take you home!
JEBB:
Stiff!
STIFF:
Your feet all cold like that, I'll wrap you
JEBB:
Now cut it out!
(Edging him avay from JACK).
You've got to leave him alone, do you hear
what I say? Leave him alone! (To PATTERSON)
Wherets Clifford, for Christ's sake?.
PATTERSON: He was doing the overtime. Which reminds me
what young Easy down at the main gate said
yesterday, he said, the basic wage wouldn't
keep a man and his wife in cereals. We ought
to strike. We live on overtime!
We're
getting steadily more redundant, Jebb, until
this place'll just stand here and you won't see
a worker, it'll be worked by rays, you'll see!


JEBB (to JACK) And what about the language?
JACK:
What do you mean?
JEBB:
You scare me! I mean, how did you learn
English?
JACK:
I don't know.
JEBB:
That's what scares me most, you not knowing.
I'm scared for you!
JACK:
I can only remember a few words of the other
language. a Puia.
PATTERSON: Eh?
JACK:
Puia. Atiu. Svalthas. Tesinth.
They draw back from him.
JEBB:
What's that?
JACK:
Just words. Atiu. Tesinth.
PATTERSON: What do they mean?
JACK:
Wife. Mother.
Live.
Healer.
PATTERSON (to JEBB)
What do you say to that?
JEBB (to JACK) I didn't mean---what language did you
I've forgot. I wouldn't
mean that because---how could a statue speak?
JACK:
But also I didn't mean I am the statue, or even
that I was---quite.
I mean---I don't know
quite what I mean!
JEBB:
All you know is you're 'Apollo'!
JACK:
Yes!
JEBB:
And those words come back like voices at night!
JACK:
That's right!
PATTERSON: What are they saing, thèn, about wives and
healer?
JACK:
I don't know! I don't even know itthat's
wha t the words mean.
JEBB:
Why not?.
JACK:
Nobody knows!


JEBB:
Listen---if you speak the language- -what
does it matter what other people know?
JACK:
Well, like I said before, I'm not there now,
am I, I'm not on the roof---!
PATTERSON (to STIFF, hissing)
Here's Clifford!
STIFF stands erect at once,
perfectly self-assured.
Enter CLIFFORD.
CLIFFORD (immediately, to JACK)
You're wanted in the
ki tchen! And get some proper clothes on!
STIFF:
Good morning, Mr. Clifford!
Are we ready,
sir?
CLIFFORD:
I think so!
STIFF:
Heavy morning this morning, sir?
CLIFFORD:
Heavyish.
STIFF.
Warm today, sir!
CLIFFORD:
Coldish, coldish!
STIFF:
Yes, coldish, sir! (Turning to the others)
Very well, Mr. Jebb and Mr. Patterson, and
the new hand, good morning!
PATTERSON: Take him home, Mr. Clifford, he's been a real
nuisance today.
CLIFFORD: A game of rummy'll set him right, and an hour
in the kitchen!
Exeunt CLIFFORD and STIFF.
JEBB (to JACK)
How did he know you?
JACK:
He must have seen me: over at Powers.
JEBB:
Oh! (A pause)
Listen, how long have you
been like this?
JACK:
Like what t?
JEBB:
This---being I Apollo?'
JACK:
It feels like yesterday.
That's all I can
say. It makes me feel giddy and sick. I
can't remember what happened before, the
scandal over at Powers feels like a dream,
yet it was only yesterday, and everything
Arginlik? yeatgrgainet ARHTRBaRrdy-In-a-


JEBB:
Yes! It makes me feel funny, too.
(To PATTERSON) What are we going to do with
him, Patt? It doesn't seem decent, does it?
PATTERSON: No..
(To JACK)
Don't you feel cold. like
that?
JACK:
A bit, yes.
PATTERSON: Haven't you got.a lodging for the night?
JACK:
PATTERSON: Where did you sleep, then, over at Powers's?
JACK:
It was different every night---I slept---!
JEBB:
Sssh! His wife's in the church.
PATTERSON: (to JACK)
That's right. Tuesdays and
Thursdays.
The local mission.
I don't say
anything.
Least said, soonest mended, that's
my attitude.
JEBB (also to JACK) We meet the birds on Fridays, you see.
We have a bite of something down the canteen,
then we play cards.
PATTERSON: Always whist. The women don't go in for
rummy or poker, it's a funny thing, whist
makes them feel safe, I suppose...
JEBB (quietly, to JACK) But you don't seem the kind--
to do what you did.
JACK:
Where?
JEBB:
At Powers's. I'd expect youto be---well,
JACK:
Oh! I did what they wanted, that's all.
JEBB:
Who wanted it?
PATTERSON: What are you talking about?
JEBB:
The boss?
PATTERSON (abashed) Oh, I see!
JACK:
All of them wanted it!
JEBB:
Well, strike a light!
That place has gone a
long way since Powers himself set up a lathe in
and, paid his men half-a-dollar a week and
Enggeg thought themselves lucky!


PATTERSON: And they got more of a kick out of life than
us, by all accounts! Tram-rides a halfpenny,
and penny a pint beer, my old mum used to say
you could get a plateful of pease puddin' and
faggots for a halfpenny up the Rise!
And
lovely pork pies! Do you remember, the---?
JEBB (suddenly)
Patt:
PATTERSON: What's up?
JEBB:
I can see the birds!
Quick!
They're
coming this.way!
They hide JACK again.
PATTERSON (trying to joke)
You'll catch it tonight, Jebb!
JEBB (peering offstage)
I'll say!
PATTERSON: You won't get your straw changed tonight, mate!
They wait in suspense. JEBB
lets out a sigh of relief.
JEBB:
They've turned off! Blimey!
They separate.
PATTERSON (to JACK)
It's his wife, you see.
JACK:
PATTERSON: She keeps on having turns.
JEBB:
Well, they're not exactly turns. But you
know what it's like---well, I'm sure you do...
Three kids and, well, time doesn't stand still.
JACK:
Yes, I see what you mean.
JEBB:
Have you got children?
JACK:
Well---I don't know!
JEBB:
Of course---you wouldn't, would you?
PATTERSON: The. doctor says she needs a change.
JEBB:
All right, Patt!
PATTERSON: Isn't that what you said? Wasn't you telling
Clifford up at Checks and Tests, and he said
send her away to somewhere with the sun, it
must be anaemia---?
JEBB:
All right, all right!


PATTERSON: And you said all she needs is a change, she
hasn't been away from me for near on twenty
years?
JEBB:
All right, I said!
PATTERSON (to JACK) He thinks he's to blame. I told
him, I said, you've given her the best, youtve
given her all she wanted, it's been hard, and
of course she wants a change, a change of
rhythm, doc. said---
JEBB:
Patt!
PATTERSON: But it's no use kicking against the pricks,
JEBB:
Now shut up!
PATTERSON: All right, all right!
What's come over you?
I was only explaining to Mr---?
JACK:
Jack.
PATTERSON: Jack.
JEBB:
Well, leave that to me.
PATTERSON: You look quite pale, Jebb.
It's his nerves--
JEBB:
That's enough!
PATTERSON: He goes all of a tremble for nothing at all,
like a spasm---!
JEBB:
A what?
PATTERSON: A spasm, mate.
JEBB (exhausted) Oh...
PATTERSON: What's the matter, Jebb?
JEBB:
It's nothing.
Only it frightens me.
PATTERSON: What?
JEBB:
It just frightens me, that's all.
JACK:
Why don't you calm down?
JEBB:
I'm calm enough.
PATTERSON: You're trembling all over!
JACK:
Eats_it easy and let's go down and have a


JEBB:
A what?
JACK:
JEBB:
JACK:
What's the matter? Why don't we go down
the canteen, Mr. Patterson, and perhaps we'll
see Mr. Calmer or one of the boys?
PATTERSON: That's.right. The birds'll be down there
by now, I'll tell them you're new.
JACK:
That's right. (They stand looking at JEBB)
You don't want me with you, then?
JEBB:
No, it isn't that.
I'm all right now. I
don't know what it is! It's just what I
said to the wife this morning---things are
different today...
JACK:
Things are always different for me.
JEBB: (looking at him slowly) Yes, it can't be much of
a life, going from place to place.
PATTERSON: It's the wanderlust, like when I was a kid I
saw a film, and I never was the same after
that, I never settled down, I never forgot--
I think it was about Africa, somewhere hot,
hardly any trees, just swampy. and flat, with
music of course, and the boy in front kept
bobbing up and down! I was never the same
after that. I never did anything with any
real heart in it, after that. And this is
what my Lucy says.
She says you don't put
your heart in it, Patt, you're always a little
bit-one remove, so to speak! It makes it
easier in a way...
JACK:
Of course it does! That's what I told them
over at Powers, don't take it personal, I said!
JEBB:
And what did they say?
JACK.
They seemed to understand.
Until it got to
the boss.
PATTERSON: The boss found something out?
JACK:
Oh, he knew from the start.
But he took the
personal line.
And you can't live along with
that, can you?


PATTERSON: Oh, no!
It's just what I say to my Lucy,
I say, it's no good trying to be all here,
duck, there's too much there, I say, for you
to be all here, look at the sky outside, how
much there there's there, if you see what I
JACK:
Yes, I do.
JEBB (to JACK) But I've never done her wrong! It was
those blasted union méetings that did it, every
Friday night.
And then I used to count the
cash. That was our night, you see. But it
wasn't that... I was good. to that girl!
JACK:
Wèll, that's how it happens.
JEBB:
I used to pour my tea in the saucer to cool it
off, and then suck it up, if you see what I
mean, and she said to me once, what the hell's
the use of me giving you a cup, you'll be eat-
ing yourfood off the floor next!
And she give
me such a look as could have blinded me!
Remember that, Patt?
PATTERSON: Oh, yes! (To JACK) He's very sensitive, is
Jebb. That's what Mr. Calmer said to me one
day when Jebb was going for a. rise.
JEBB:
But it wasn't that either. It was when I
started coming in too much.
JACK:
How do you mean?
JEBB:
Coming in' every evening just like a clock.
And she'd shift in her chair. It was winter
that did it. The summers got bad. We never
saw the sun. You ought to have seen the
summers before the war when we was kids...
Were you here, then, Jack?
JACK:
No. But I heard at Powers.
Hot like Italy
sometimes, they said.
JEBB:
That's right.
Then she started whist drives
every night, and I thought, you go to hell,
I'm not sitting at home alone all night, I'1l
go down the road with the boys. And the
street looked different, the lamps didn't look
as cosy. as before, the iights at the end of the
street used to meke me cry with excitement,
sometimes, when we used to go out all dressed
up of a Saturday night to_go to a dance and see
Mr. Gibbs, he was M.C! It isn't my fault!


JACK:
I know. It's like when I think of the sun
somet times, it makes me cry.
From the roof,
if you see what I mean. When I looked down
somet times and saw the hills in. the distance
and all the buildings underneath me shining
and the.corn in the fields beyond hardly
moving and only a tiny breeze and the sky so
blue. and still, it was like something painted
that would last for ever and never turn into
night. Yet it did, and then the smoke of the
pine-fires would start and the torches twinkle
in the houses below and the voices echo across
the yards and the mules and donkeys go clop-
clop-clop on, the stoney road on their way. home
and the: temple would be dark, and the pool where
the pilgrims dipped themselves was like a
mirror below, and the hill at the side where
the path wound up would seem to lead nowhere
and women's voices would call out Clan and Dapna
and Acasri and Vinum!
PATTERSON: What does thet mean?
JACK:
Son. Cup.
Give.
Wine.
And I remember
the mornings sometimes, in October, when the
light was very clear and my terracotta used
to shine like an extraordinary red flower
against the cornices of the roof!
And
people's cloaks used to flash as theywalked
past underneath.
PATTERSON: I wish we'd get a bit of sun! Mr. Calmer
says hets going to organise holidays in the
south of France if it goes on like this.
You pay so much a week and it's all laid on
for
the hotel,
buses.
you,
plane-fare,
appeals to the women, too.
JEBB (to JACK) Your hands, look so clean. As if they
never did a day's work.
JACK:
Do they?
JEBB:
It's hard in the kitchen, you know.
And then
there's Stiff. He's a little bit funny up
here (touching his head).
JACK:
I worked in the kitchen at Powers, too.
JEBB:
Oh! You did?
JACK:
It's funny. The way you hid me when somebody
passed. They hid me too---at first.
JEBB:
Who?


JACK:
Over at Powers!
JEBB:
Who, though?
JACK:
A couple of fellows.
JEBB:
When you went for a job?
JACK:
Yes.
JEBB:
Fellows like us?
JACK (nodding slowly)
Then the boss came looking for
me. He just'walked past and before I could
Enter CAIMER, hurriedly.
JEBB (to himself)
Blimey!
CALMER (to JACK)
Ah, there you are! Mr. Clifford's
been telling me all about you! Thought I'd
come and see for myself--
(He stops,
seeing JACK'S bare feet) Is that how they
sent you away?
JACK:
Who?
CALMER:
Powers'?
JACK:
Yes!
CALMER:
You see that? Mr. Jebb? Mr. Patterson?
A relic of the nineteenth century! Nothing
on his feet, not a. shirt on his back! Right,
now (to JACK), do you know where I'm going
to take you?
JACK:
CAIMER:
Do you know, Mr. Jebb?
JEBB:
I think so, sir.
CAIMER:
Would you mind telling this gentleman, then?
JEBB: (to JACK) 'Into the twentieth century'.
JACK (to JEBB) What?
CALMER (laughing) He doesn't know what it means!
Shall
I tell you what. it means?
It means men in
white coats, Mr.---?
JEBB:
They call him Jack.


CALMER:
Mr. Jack!
It means hot showers after work,
clean hearts and clean hands, and no more
smoke, Mr. Jack, no more sweating with a shovel
in your hand! It means, Mr. Jack, a. chair, a
gauge---and you! That's the twentieth gentury!
JEBB (to JACK) Now he has a little song.
It's for all
the new hands.
CALMER:
Men in white coats
Are setting machines;
Dressed like professors---
No longer in jeans!
Gone are the days
When they heave big loads,
Or sweat by a furnace
And dig in the roads.
It's all done by knobs
And gauges and charts,
The only grease or dirt
Is in cleaning of parts.
And that's done by men
Specially hired,
Who've been to the lectures
And know what's required.
It's all taken care of,
Both body and mind;
You move whole cities---
But not your behind!
It's clever,. it's dapper,
It's clean and it's gay;
With up-to-date amenities
And reasonable pay.
We need more education
More schools and more grants;
The day's gone by
When men were like plants.
They used to get drunk
And sprawl in the streets;
Now they watch television
And sleep in clean sheets.
Their lives are cleaner,
They make less noise;
They're kind with their wives
And save for the boys.


No brawls or wildness,
No Saturday nights';
They're men with a purpose
And sense of their rights.
They sit like professors,
At home with controls;
White-coated and silent,
With much cleaner souls!
JACK:
Thank you.
CALMER:
And now---into the twentieth century!
Into
a white overall, a pair of shoes, and à nice
hot bath!
In a few moments, my dear Mr. Jack,
Powers is going to seem like an ugly dream
Shall we go?
He leads JACK off.
JACK (looking back at JEBB and PATTERSON)
CALMER:
You'll see them soon enough, eh Mr. Jebb,
Mr. Patterson? In a canteen where one isn't
ashamed to bring one's wife, eh? Eh, Mr. Jebb?
JEBB (trying to smile)
That's right!
They watch CALMER and JACK leave.
PATTERSON: Let's go down to the birds, then.
JEBB:
I wonder where he'll sleep tonight?
PATTERSON: Oh, he'll find a place. He looks the sort.
JEBB:
He certainly does.
PATTERSON: Do you feel all right?
JEBB:
I'd like a cup of tea.
They go off.


LUCY, alone o
She looks from left to right,
then addresses the audience -
LUCY:
There's a new hand, so they say: I wonder
what he's liké? The horoscope said there'd
be a change this yeart For everybody, so
it saidi - Well, it's none too soon! It's
been so sad---nothing but raint I wish we
could go to Italy for our holidays like some
people! (She pauses) And Patt---he's so
slowi So good and slow : He always seems
to be looking the other way if you know what
I mean---he never seems to be quit te here,
though he's all' there all right, if you see
what I mean---I mean he's a mai rvellous man,
really---I suppose I shouldn't oriticise,
being his wifet (Another pause) Sometim s
when I lay the prayer books on the chairs of
a Tuesday and Thursday at the Mission I think
to myself, 'It isn't true, I don't believe in
God because he never shows himself! He never
comes out from behind the cloudst'
Enter PATTERSON on his way to
work.
PATTERSON: Hullo, Lucyi
LUCY:
Patti Are you on early turn, then?
PATTERSON: Of course I ami You kissed me good bye five
minutes ago!
LUCY:
Oht I mus t be getting vague---it's all this
bad weather:
PATTERSON: Yes, it doesn't seem right for June, does it,
duck?
LUCY:
Patt, why don't we go to Italy for our holidays?
PATTERSON: Because we can't afford it---I suppose: 1
LUCY:
But why don't we try? Think of the sun out
there and the wi ne we could drink and all those


& Yuorg
lovely people with black hair?
PATTERSON (staring at her) What's come over you,
Lucy? You don't seem yourselfi
LUCY:
Well, why should we stick here all the time,
melting in the rain and getting colds?
PATTERSON: Because---mell, (hesitating) we can't afford
iti
LUCY:
We can:
PATTERSON: We can'ti
LUCY:
Just once we couldi
PATTERSON (to himself) And then there's all those
se rena derst
LUCY:
Those what?
PATTERSON: Serenaders. In Italy!
LUCY:
What do you mean?
PATTERSON: Don't they strum on the gui tar all the time
out there, outside people's windows, and that
sort of thing?
LUCY:
Of course they don'ti Mr Clifford told us at
his lecture last week that they were getting
quite an industrial nation--
PATTERSON: Oht
LUCY:
--and very good it vas, he said, when you came
to think how those people flaunt the 1r good
looks. But I don't agrees
PATTERSON: Don't you?
LUCY:
Not I think people should be good-1ooking!
Like you, Patt---you've got a nice face-- --but
you're---half-seas over all the timet You
never quite come through all the time, if you
see what I meant---you...
PATTERSON: Yes, I knowt (Disconsolately) I'm not all
here, though I'm all there all rights
LUCY:
Don't be hurt, ducki But I do get tired of
sitting in front of tele every night, looking
at other people all the time I
PATTERSON (helplessly) Oh, welli
LUCY:
Patt---what's the ne W hand like?


PATTERSON: He's lost his memory. All he remembe rs
is a classics class. he went to!
LUCY:
Go ont Where does he come from?
PATTERSON: He doesn't know?
LUCY:
But they say he comes from Powers'st
PATTERSON:. So he doest But nobody knows where he was
before thatt
LUCY:
Oht
PATTERSON (reflectively) He's a very queer chap.
But ever so nice, really! -
LUCY:
Patt---is it true he sleeps at Mrs Jebb's?
PATTERSON: Yes.
LUCY:
And he went to Mrs Easy's too?
PATTERSON: I. think so, yesi (A pause) Why?
LUCY:
I wonderedi Did we ever see him at
Powers's---at one of the Socials, Saturday
nights?
PATTERSON: I shouldn't think so. He ha dn't no clothes
when we found him at the gatet
LUCY:
Ho clothes?
PATTERSON: Well, nothing underneath.
HACY:
Undeenea th what?
PATTERSON: His overcoat!
LUCY:
Nothing?
PATTERSON: Not a stitcht
LUCY:
No shoes or socks?
PATTERSON: Not
LUCY:
He---must have been coldt
PATTERSON: I reckon he wasi But he didn't seem to
mind. He's a queer fellow!
LUCY:
Yes!
PATTERSON: Anyway, old Calmer whisked him upstairs and
got him into a nice white coat. There's one
thing about this lot over here, there's model


conditionst
LUCY (pouting) Oh, 'model't
PATTERSON: What's the matter?
LUCY:
You're always talking about model conditions:
Our lives aren't modelt
PATTERSON: Why not?
LUCY:
Well, we never do anything!
PATTERSON: What do you mean, *do'?
LUCY:
Just do!
PATTERSON: Oh, wellt
LUCY:
And all you say is 'Oh, well't
Jike
PATTERSON (involunterily) Oh, wellt
LUCY:
There always seems to be something missing,
Patt, if you see what I meant Our mums and
dads seemed ever so much happier. And they
didn't get half the money we get! Do you
remember how they used to sing---when the pubs
were coming out---and the nen used to fight
on the tram-tracks up at the Rise---and (dream-
ily)---punch each other's noses in?
PATTERSON (blinking) Lucyt
LUCY:
And the way the men used to come round the
room when they'a had a drop too much and kiss
all the girls?
PATTERSON: That doesn't sound like the Church Missiont
LUCY:
And the pint of stout in a jug that gran'ma
used to get, she used to slop down the street
in her slippers, sharp at ten, do you remem-
ber? And the faggots and peas-puddin*s
PATTERSON (smiling) Yest
LUCY:
Do you remember the sing-songs we used to
have? There was always something going on
in those dayst... Shall I tell you something
about the Church Mission?
PATTERSON: Yes?
LUCY:
I only go there for the music. I've realised
nowt It's because I like playing the harmon-
iumi
PATTERSON: Go ont


LUCY:
I wish we had a piano at home I . But all
we've got is telet
PATTERSON: What's come over you lately, Lucy? You
always seem to be dressing upt And cooking
expensive dinners all the timel And there's
roses on our plates like at Mrs Calmer'st
LUCY:
Oh, well, it's time we changed---1nstead of
being so meek and mildi Why shouldn't we
be happy, Patt, now you get. good money and
the loan of a company car every Wednesday
afternoon? Why should only Mr Calmer have
a good time, what with his wines and his roses
on the plates at dinnettime, and his wife's
gold jewellery? Why shouldn't working
people have a bit of style, like they do in
Italy?
PATTERSON: You've never been to Italyt
LUCY:
Mr Clifford says that even the poor are
dressed up to kill on Sundgys over theret
PATTERSON: You don't know when you're lucky, dr ckt
LUCY:
You always say thati
PATTERSON: I've never said it before!
KHCXX
LUCY:
No, but it's your sort of thing to say, you
know it isi
PATTERSON: All I know is, if we lived like mum and dad
did you'd be standing at the copper every
Monday morning boiling out the sheets, and
nobody to hang them on the line for you,
- neither! You'd be---
Enter JEBB.
LUCY:
Hullo, Jebbt
JEBB (passing on, preoccupied)
Morning, Mrs Pattt
PATTERSON: How's Jack?
JEBB (stopping) Why, you seen him?
PATTERSON: Not
JEBB: :
That fellow worries the life out of met
PATTERSON: Why?
JEBB: :
He's never about! I mean, he's never in
the kitchent
PATTERSON: Oht


JEBB (confidentially) He keeps slipping out to have
tea with other ments wives---that sort of
thing!. It makes you wondert He says they
asked himt And you can't find out if it's
true or not! He seems to think the women
want him to teal
LUCY:
Perhaps they dol
JEBB:
Not every day they don'ti.
LUCY:
Why not?
JEBB:
Vell, it stands to reasont. And there's
another thing---I can't keep him out of his
coati
PATTERSON: His what?
JEBB:
His overcoat: He&s always putting it on
LUCY:
Perhaps he's coldt
JEBB:
No, he takes off all his clothes first, you
seet
LUCY: :
Takes them.off? Why?
JEBB:
Because he's a god :
LUCY:
What?
JEBB:
Yes, he thinks he's Apollo! He says he used
to wear a veil and the coat reminds him of itt
LUCY (to herself) A veil---how lovelys Patt, why di an*t
you tell me ?
PATTERSON: I told you he was queeri
JEBB:
He's been on late turn for a week but I'm blowed
if I've seen him in the kitchen oncet Ve clock
in together of a night but God knows what happens
to him aftor thati (To LUCY) We've nerer had
kiddies, you see, Mrs Patt, so it worries us more
than it would:
LUCY:
Yest And I see Mrs Jebb doesn't play whist
any more!
JEBB:
Well, it's the extra work, Mrs Patti It makes
you work harder--- a (ni th pleasure) when the
family expands!
LUCY:
That's righti
JEBB : (in doubt again) But he 1s a queer cusst Do you


know---(Elanoing mound) I think I saw him
in the dark the other day---i
LUCY:
Go ont
JEBB:
He went past like the air---he didn't even look
at me---he seemed to be floating!
LUCY:
Not
JEBB:
I whispered to him, 'Jackt', but he df dn't seem
to heart Sometimes I think he's crackers and
we'd better put him away before he gets himself
into trouble! But Mr Calmer says it's the life
at Fowers's and you've got to give them time to
recover!
LUCY:
They've been saying in the papers something's
going to happen this yeart
PATTERSON: Eh?
LUCY:
It's in the horoscope :
PATTERSON: What is?
JEBB:
And ke keops talking that funny language,
Patt. Like he did on the first day!
PATTERSON: The Greek, you mean?
JEBB:
It's Etruscan, so he says: They lived before
the Romans and wore their hair doun their
shoulders and went round---(with a glance at
LUCY) like he does sometinest Of course, it
was hotter over theret
LUCY:
Are his mum and dad Etruscan, then?
JEBB:
What? They died out tno thousand years ago:
LUCY:
But you said he speaks iti
JEBB:
I said he said he speaks it. But he don'ti
LUCY:
How do you know?
JEBB:
Because it died out two thousand years agot
LUCY:
Oht
A pause e
JEBB:
And then he keeps on saying *healer'.
LUCY:
That?
JEBB:
'Healer'. He might have a cup of tea an


his hand and all of a sudden he'll come out
with 'Tesinth, tesintht'
PATTERSON: That's the word that scared me the first day!
LUCY:
Why scared you?
PATTERSON: Well, don't you think it's scarey?
JEBB:
'Tesinth, tesinth's
LUCY:
It is a biti
JEBB:
Then he smiles across the table at me---that's
what scares me I It's the smilet Like he wa s
half-cooked! And he keeps on calling out
'Hercules' in his sleep!
LUCY:
Hercules?
JEBB:
Yest The wife wakes me up. She doesn't
seem to mind a bit. "Jack's at it againt'
she says, and there he is soreaming Heroules
at the top of his voicet It makes you
wondert
PATTERSON: It certainly doest
JEBB:
And sometimes he says it in the middle of
tele---under his brea th---when the weather
forecast comes on. He seems to be trying
to puzzle something out!
LUCY:
Perhaps he is!
JEBB:
It's funny---wheh he smiles---it's not like---
(He stops)
PATTERSON: What?
JEBB:
Well, it's not like an ordinary bloke .
It's funny---all those years when Jack
wasn't there he seemed to be missing,
do you know what I mean? He seems just
what the wife and me was waiting fori The
wife doesn't have her turns any morel
PATTERSON: Doesn't she, really?
JEBB:
I seem to remember him a long time ago,
he was in the family, my wife feels the same,
she
he's
says
always been there sitting at
the table, sppping his teal
PATTERSON: Go ont
JEBB:
And he knows all our little habits! He lets
the cat out at night sharp at nine o'clock,


and fills the mugs for our dental plates :
(He pauses) He makes a nice cup of tea,
too! Yes, Jack's got something about him...
LUCY (dreamily)
They all seem to say thatt
JEBB:
He pours his tea in his saucer just like I
used to---and slobbers it up---and my wife
never says a word! Not like she did to met
And that makes me feel less ashamed, do_you
see what I mean? He understands, that's
what it ist He makes us feel relaxed!
LUCY:
That's nitcet
JEBB:
It does you good when a man's your friend,
don't you think so, Patt?
PATTERSON: Yes!
JKBB (darkly again) But sometimes I think he's half-
raakedx
cooked. He's so quiet and obliging. Just
like a lunatict He neter seems to have a
bad thought in his headi He makes me : feel
quite ashamed sometimes when I look at him
and think something. bad---i
LUCY:
What sort of bad?
JEBB:
Well, like thinking, when's he going to pay
us a bit of rent, or make his bed, or clean
his boots of a morning? Or---keep his
clothes on? That kind of thing!
LUCY:
Oh, yest
JEBB:
It's the wife's fault, really. She spoils
him, you Bee. So I get a bit touchy now and
then. But all I have to do is look at his
face and 1t all goes away! He '8---
Enter STIFF, chased by'
CLIFFORD.
PATTERSON and JEBB seem used
to this.
STIFF (cowering, as CLIFFORD hits him) - No, sir, no,
don't, siri
CLIFFORD: How dare you, sir, how dare you? It's
nakedness, is 1t, and men wearing veils---
I'll teach you---i
STIFF:
No, sir, please, I'll try to be big, I won't
say it againt
CLIFFORD: Indeed, you won'ti I'll see to that, you
blackguard, yout I'll give you naked men


and veils and bare feet, I've told you
before---i
STIFF:
But I saw it, Mr Clifford, I---1
CLIFFORD (hitting STIFF again) I'll give you 'saw's
Take thatt And that! It's that you need,
with the palm of the hand:
STIFF:
Oht
CLIFFORD: And that!
STIFF (suddenly) Too hardi (He hits CLIFFORD back)
You hit me too hard, siri
CLIFFORD reels back under the
terrific blow.
CLIFFORD (quietly, holding his chin) Now, then, now,
then, Stiff, my boy, 5 watch the back of the
hand nowt What's that they call your right
hand, 'Stiff's hammer that stiffens', eh,
1sn't that it? Now easy, Stiff, easy, boy,
(as STIFF approaches him menacingly) collect
yourself, collect yourself... (He suddenly
sees PATTERSON, JEBB and LUCY for the first
time I
Sssti We're being watchedt
STIFF (wheeling round) Eh?
CLIFFORD (with cherm, to the others) Good morning, Mrs
Patti Mr Patt, Mr Jebb---good morningi
PATT:
What's he done this time, Mr Clifford?
STIFF: :
I told him about the new hand, I---1
CLIFFORD: Now, then, Stiff, my boy, easy does itt
STIFF (to PATT) Tell him it's truet
CLIFFORD (with a wink at the others) of course it's
true! That made you think I doubt it?
Stiff's always like this when he gets a
new hand in the kitchen, isn't he? He
likes to be cock of his own walk, eh,
Stiff? (With another wink) Eh?
STIFF:
It's khen he undresses and---1
CLIFFORD (beyond himself) Now, them, you fool---1
I mean, ssstl (Hissing at STIFF) There's
a lady presenti
JEBB:
I think the new hand'll setlle down all
right, Mr Clifford.
CLIFFORD: of course he willi Do you hear that,


Stiff?
STIFF (to JEBB)c He walks about in his bare feet all
night, ma te, and keeps on putting his overcoat
CLIFFORD (patronising) Perhaps he's coldi
STIFF:
He's starko underneath, I keep telling yout
CLIFFORD (under his breath) Now, then, you blackguard,
you're taking me too far, you're---!
JEBB:
He'll get used to him, Mr Clifford.
CLIFFORD: of course he willi
STIFF (vaguely) All he seems to do is,walk round the
placet
CLIFFORD: And so would you, my boy, if you'd just come
from Pawers!
PATTERSON: Thatis itt
CLIFFORD: Now just come quietly and ve'll try and squeeze
a game of rummy in before the day begins---
shall we?
STIFF (going with him) Good bye, Patt, good bye, Jebbi
Good bye, Mrs Petti
LUCY:
Good. bye, Stiffi
CLIFFORD (with another wink at the others) That'a the
style! Good morning, alli
PATTERSON: Good morning, Mr Clifford:
Exeunt CLIFFORD and STIFF.
LUCY:
Are they always like that?
PATTERSON: Nearlyi
LUCY:
It's funny, I think I saw him!
PATTERSON: Who?
Lucy:
I think I saw the new hand last week---he
does look Italian! He carries his head
ever so hight With long black hair and
a broun face---is that him? Patt?
PATTERSON: What are you talking about,
His
Lucy?
hair's clipped short and his face isn't
brownt
JEBB:
He's pale from the life at Powers'st


PATTERSON: That's rightt
LUCY:
..And bright white teeth and lovely
hands?
PATTERSON: Lucyt It's somebody else you've goti
LUCY:
Oht (She gazes before her) Patt, why
do they call him a---hand?
PATTERSON: Because that's what he 1st A kitchen-
handi
LUCY:
Oht
JEBB:
I wonder what he means when he says I'm
going to tear him domn one day, Patt?
PATTERSON: Is that what he says?
JEBB:
Yes! And he gives me such a looki
Tear him down like the Romans, he says :
PATTERSON: I think you worry too: muoh, mate. You've
always been a one for thati
JEBB:
Oh, well, I'11 go and have my kip. That's
one thing---bed's the place you'il aluays
find himi He likes his kip:
He wanders off, still pre-
occupied.
PATTERSON: Good bye, matet Oh, well, (kissing LUCY
in an abstract way) I'll be late for work:
Cheerio for now, duckt
LUCY (still dreamtng)
Cheerio:
He begins walking off but
she calls him back.
LUCY:
Patt:
PATTERSON: Yes?
LUCY:
Why don't we have him to tea?
PATTERSON (shrusging)
Well, why don't we?
LUCY:
It doesn't seem nice not to,does 1t,
when everybody else has?
PATT:
Not
LUCY:
And him being queer in the head!


PATTERSON: That's rights It's the life at Fowers's--
it gives 'em loss of memory---they can't bear
to think of what they've been through, so
nature does it for 'em, it closes the brain
down, that's what Mr Calmer saysi
LUCY:
Well, cheerio, Patti (Brightly) See you
tonightt
She runs off.
FATTERSON (calling after her) Tonight? It's Mission
night tonightt Tuesday! (He stands gazing
after her, then turns and
walks slouly in the
other direction) I wish it was Africa herel
Bom-di-di-bom-di-di-bomt (As he wanders off)
Hot and swampyi An' dangeroust


Ill.
JACK, in white overalls, and
LUCY PATTERSON.
LUCY:
I always said, 'You don't put any heart in it,
Patt, you're always at one remove, so to
speak!' I always said that! But you're
different.
( A pause) Aren't you, Jack?
JACK:
LUCY:
You're different!
JACK:
Why?
LUCY:
Well, aren't you?
JACK:
I'd like to be on the roof again!
LUCY:
What?
JACK:
It comes over me sometimes, I'd like to be
on the roof!
LUCY:
What do you mean, dear?
JACK:
That's where I used to be,after all.
LUCY:
I don't understand.
JACK:
Sometimes I feel so tired!
LUCY:
You went back early last night---to Mrs.
Jebb's. She told me herself you slipped
into bed not long after nine, before Mr.
Jebb came back from his union meeting.
JACK:
It must be the weather, Lucy.
LUCY:
Isn't it lovely? Ever since you came it's
been lovely, ever since you started in the
kitchen, Jack, we've never had the sun so
much! Mrs. Calmer was saying today, that
new man seems to have brought us luck.
JACK (alarmed) Mrs. Calmer?
LUCY:
Mr. Calmer's wife.
JACK:
I've never even seen her!


LUCY:
She said today, that new man in the
kitchen brought us luck, and Mr. Calmer
said the same, the weather changed so
quick! It's always clear, and the sun
so strong, even my Patt goes down the pool
of a Saturday morning now and seems---less
ashamed of his body than he was!
JACK:
We used to be pirates once on the
Tyrréenian sea and we fought for Corsica
against the Greeks. I can remember how the
sunlight flashed on my arm and I could see
how brown it was against the sea like a
piece of mahogany just before I cut my way
to the stern through rows of men! (Fiercely).
We used to fight---shouting---(as if fighting
with sword) 'Leine, leine!'
LUCY (squealing with delight) What does that mean?
JACK:
'Die,' I think.
Perhaps it was another
LUCY:
You're a scream sometimes!
Give me a kiss!
JACK (quickly kissing her) That's why they call them
Aaseronenses.
LUCY:
Why? Who?
JACK:
The people of eastern Sardinia. Because
wè brought them our gods.
That was our name
for 'gods, '---'aiser.' (Putting his hand to
his eyes) All I've got is these pieces of
memories...
LUCY:
It's funny, you're passive. When you kissed
me just then...I noticed the same last night,
before you went to Mrs. Jebb's.
(She kisses
him again)
JACK (with a smile) You're a pretty girl.
LUCY:
Smile at me again!
Again!
Again!
JACK.
The first day Patt saw you he mentioned a
LUCY:
That's right!
JACK:
The marigold because your hair was bright
and all over the place!


LUCY:
That's right! Oh, Jack!
You're passive,
yet your heart's right in it! I can't make
you out...
You're here, yet you're not!
Like I say to Patt, 'You're not enough here,
Patt, you're all there all right but I want
you here!' You're not like that. You*re
here and there, you're far away and near,
itts funny, with your face at the tip of my
nose like this you seem far away---on the sea,
in the sun---a long time ago...
JACK (in a perplexed way, to himself) Tesinth, tesinth...
LUCY:
And you say such funny things!
Even my
bedroom's different now! The way the sun-
shine comes in every morning now, and
everything looks fresh and clean, if feels
as if it could stay there for ever like stones
at the sea, the bed-spread and looking-glass
and the doily on the dresser, and the
curtains, they look so dainty! I always
wanted to be a bride like this!
JACK:
How do you mean?
LUCY:
A bride for ever--
(She stops)
I don't
know what I mean, Jack.
A pause)
Jack!
JACK:
Yes?
LUCY:
Did you come from Powers for me?
JACK:
LUCY:
You saw me when we went to the Powers's annual
dance, me and Patt---with Mr. and Mrs. Jebb!
JACK:
LUCY:
You did!
JACK:
No, I didn't.
LUCY:
Yes, Jack, you did!
JACK:
Perhaps I did...
LUCY:
I knew you did! Me and Patt danced the Roger
de Coverley and we went by the band---I think
I sap you, I think I remember your face!
JACK:
I think I was by the band...
IUCY:
That's right!


JACK:
We used to play the double pipe...
LUCY:
What's that?
JACK: :
We used to play the double pipe and
castanets, the women---I can't remember--
I think the women played the castanets.
LUCY:
At Powers?
JACK:
That's right!
LUCY:
They're funny over there...
Sometimes I
think I'm going to wake up and come back to
Lucy Patterson again.
I never had a
wicked thought in my head, only sometimes
with Patt when he was slow, a thought would
come and go---but.. .Jack! I can't believe
what I've done, I really can't! Tuesdays
and Thursdays were my days of the week, when
I went to the Mission. I used to lead the
choir. I put the prayer-books on the chairs,
it made me feel ever 80 clean, especially
wi th my golden hair! I bathed myself twice
a week, the night before Mission, and Patt
couldn't touch me then. My cooking was the
same, sO. neat and clean, I always had a.
pinafore on, and the washing-up never waited
more than twenty minutes after a meal, that
was my boast.
(Thoughtfully) Yet I always
wanted to be a bride...
JACK:
A 'bride,' again?
LUCY:
That's right!
It's funny, when you took me
down to the
that
face seemed
pool
night, your
JACK:
Brown?
LUCY:
Yes!
And your hair like a woman's---it fell
in plats behind your ears---and your nose
came straight down---!
JACK:
How?
LUCY:
Straight down from your forehead, it made me
shudder, I didn't tell you at the time!
And your arms were warm and seemed thicker
than before.
And your feet were bare!
JACK:
And the smoke drifted up, the cries of the
animals echoed along the walls, blood ran
through the gutters, and Hercules seemed to
pray at my side--- (He stops) Hercules.
Hercle. Hercle.
(To himself). I thought
1 was alone...


LUCY:
You seem alone. You always seem alone.
JACK:
And then in the morning the sun always came
up like the beginning of another age, clean
and light, after the smoke and the
shouting.
LUCY:
But it's gone like an ugly dream now, Jack,
like Mr. Calmer says. Factory conditions
have changed for good, and you've got to
forget.
Look at me, Jack. You've got to
forget.
JACK:
Yes, I know.
LUCY:
Jack.
JACK:
Yes?
LUCY:
It isn't true about the boss's wife at Powers's
JACK (about to say yes) No---of course not! (Gazing
at her) What isn't true?
LUCY:
About---a scandal?
JACK:
No, of course not!
LUCY:
Jack.
JACK:
Yes?
LUCY:
Suddenly I get ashamed.
JACK:
What of?
LUCY:
You and me. It wouldn't have been so bad :
just once, but so many times!
Sometimes
I look at Patt...
JACK:
You don't seen ashamed.
LUCY:
And really I'm not.
It's just the thought.
I couldn't have imagined it a month ago.
And I can't imagine it now. I can't say
I've done anything. I don't seem anything
to do with it! Sometimes I look at myself
in the bath and can't believe it...
Enter STIFF.
STIFF:
Good morning, Jack!
JACK:
Good morning, Stiff!


STIFF:
I'm on my way. (To LUCY)
Well, how do
you liké my brother, Mrs. Patt?
LUCY:
Your brother?
STIFF:
He's looking better and better every day,
don't you think so? It was no good over
at Powers's, I said to Mr. Clifford last
night, you did a wonderful thing getting
Bro. over here!
And you know what he said?
JACK:
STIFF:
I did it for you! he said. I did-it for
you. I know a bit about
Powers's, he said,
having worked there close on fifteen years
myself, and got my hands all grimed, and the
accounts in a muddle all the time, the staff
underpaid, disgruntled of course, so I thought
of your Bro. when I heard of his circumstances.
And now we're together, Mrs. Patt. I see him
in the kitchen every day and I never let him
touch a thing.
LUCY:
How do you mean?
JACK (to STIFF)
You'd better get along, Stiff!
STIFF:
I never let him touch a pot, I never let him
go on nights--
LUCY (to JACK) But you said---!
STIFF:
He's always been sensitive, Mrs. Patt. (To
JACK) You've never liked messing your hands,
have you, Bro?
JACK:
STIFF:
And life's a division of labour, our mum
always said. It falls to some to work and
others not, to some to laugh and others not.
That's what she used to say. Well, Mrs.
Patt-- (offering his hand) I'll say good-bye!
LUCY:
Good-bye, Stiff!
STIFF:
I've laid on some nice chuck steak today--
the best and cheapest cut, our mum used to
say! (to JACK) Don't forget to punch your
card!
JACK:
I won't!
Exit STIFF.


LUCY:
What's that he said--you never touch a pot?
JACK:
That's right!
LUCY:
Why not?
JACK:
He won't let me!
LUCY:
JACK:
Why?
LUCY:
Nothing!
(After a pause) When I wanted
you to stay an extra night last week,
because Patt was out, you said you were on
late turn!
And you weren't!
JACK:
I was on late turn!
LUCY:
But Stiff said he never let you!
JACK:
He never lets me work. But 1 clock in and
punch my card just the same.
LUCY:
And then what do you do?
JACK:
Or talk to the boys. Or
wander round---until the morning comes...
LUCY:
Wander round? (Another pause) Where did
you sleep the night before last?
JACK:
At Mrs. Easy's, I think.
Easy's wife at
the main gate.
LUCY:
Why do you always say Mrs. and wife, never
the man, Jack?
JACK (witha smile) They tuck me up at night!
LUCY:
Oh, Jack, that smile! (Flinging her arms
round him) You haven't really smiled since
the night at the pool, when we went there late
and bathed in the dark, and you said we were
pilgrims in Cremera water! Try and smile
again!
JACK:
I feel so tired!
LUCY:
Some times I think of Patt and don't know what
I'd do if he knew! He'd be so hurt!
But
you never meant to do him harm, did you, Jack?
JACK:
Of course not, no.


LUCY:
I never did see you at Powers's, did I, love?
JACK:
Of course you didn't!
LUCY:
You never stood by the band?
JACK:
No, no!
LUCY:
I couldn't bear to think we'd planned it from
the first! Patt'd be so hurt!
JACK:
We've never seen. each other before.
LUCY:
Except in dreams? That's what you always
say, isnt it?
JACK:
Yes. Except a long time ago, before you
remember...
LUCY:
That's what I mean by being a. bride..
They stand leaning against
each other dreamily.
Enter CALMER.
CALMER:
Good God! Has Mrs. Patt been taken faint?
JACK (at once)
That's right!
CALMER:
It's all this heat! Mrs. Patterson, here!
Let me give you a hand (helping JACK) I've
heard it's better---(forcing LUCY'S head
forward) to hold their heads down---that's
righti---and double the body (gripping her
round the waist)2--and there we are, up and
down, up and down, to get the blood to the
head!
JACK:
Up and down---!
CALMER:
Up and down---!
LUCY:
CALMER:
She's coming round!
LUCY:
Where am I?
CALMER:
In good hands, Mrs. Patterson, don't get
alarmed!
LUCY:
I was on my way to the pool!
JACK:
It's lucky I was here, to save the fall!


CALMER:
That's right! And now, if you'll lean on
my arm---steady there, steadyi---we'll take
you up to the San, and see what doctor says!
Steady!
There! Thank you, Mr. Jack, it's
lucky you were here!
You see how we deal
with our workers' wives! (Going off)
They're part of the family here! Not so
at Powers', I think you'll agree?
JACK:
That's right!
Exeunt CALMER and LUCY.
JACK stands lost in thought.
Enter JEBB.
JEBB:
Mrs. Patt's been taken bad, I see.
It's all
this heat!
JACK:
That's right.
It was lucky I was here.
JEBB:
So Mr. Calmer said. He's taking her up to
the San.
You look a bit whacked, Jack.
JACK:
So I am.
JEBB:
My wife came over queer yesterday morning, too.
JACK:
Did she?
JEBB:
It must be the heat.
JACK:
That's right.
JEBB:
She keeps a good home, I can't complain there.
Always on her feet.
I thought I'd take a
swim.
JACK:
It's a lovely day..
JEBB:
Not a cloud in the sky.
JACK:
It reminds me-
JEBB:
Don't say it!
JACK:
All right!
Silence.
JEBB:
It's not been the same since you came e
JACK:
Why not?
JEBB:
Things don't seem to matter so much!


JACK:
How?
JEBB:
It doesn't seem to matter so much what people
do. The wife and me-. -we just come in, sit
down for a feed, read the paper, go out, we do
things in our sleep, if you see what I mean.
She never shifts in her chair like.she did
when I come through the door.
JACK:
I'd better go and punch my card..:
JEBB:
My irises and peas have never been so good.
Remember when you came? I was all of a
jitter, remember that day?
JACK:
Yes, I do.
Well, I'd better be off---!
JEBB:
I Kas never in' the garden.
It's marvellous
what a bit of sun can do.
Enter CALMER,
CALMER:
Ah, I just wanted to say- a
JACK:
Is Mrs. Patt all right?
CAIMER:
Oh, yes, we gave her some salts and now she's
having a nice cup-of tea! It's the sun, you
know. (To Jack, before he can leave) I
thought I'd just ask--
JACK:
Yes?
CALMER:
My wife's been looking for you down in the
kitchen and I said you were here. She wanted
to know---could you help us out at the end of
the week? You know, we give a little party
for the heads of departments, just a drink or
two, and we need a man to serve.
She said if
you'd slip upstairs to our flat on top of the
San. she'd show you what to do. Forgive me
asking but you've got the style, forgive me
saying so, Mr. Jack, but your hands would look
so nice in a pair of white gloves, the others
are so clumsy, we've always had Stiff so. far
and he always spilled far more than he served
and sometimes he told us all about his private
habits at the top of his voide---it wasn't very
nice!
JACK:
Yes, I can quite see your point.
CALMER:
So my wife wanted you. I said I'd find out.
Now the people on this plant are as free as the
air, they're not industrial Slaves like at
Powers', and so I said I'd leave it to you, to
say yes or no, and that would be that!


JACK:
of course I'l1 do it.
Glad to oblige!
CAIMER:
And you'll slip up and see her? She's so
much in need of that kind of help! Her
tastes are so dainty, she always knows the
right thing to do, she never puts a dress on
that isn't just right, always in fashion but
you've never seen quite that before, if you
see what I mean! It's the same with her
cutlery, and the way she serves her food.
If you sit down at table with us you might
find a rose in your plate---that sort of thing,
if you see what I mean!
A woman of taste!
And her wines! I do believe, though she never
drinks a drop, that there isn't a wine from the
Rhine to the Rhone that she doesn't know the
name of, if you see what I mean! Whenever I'm
in doubt as to the right thing to do, I know
who to ask.
She'll tell me at once.
And
though it'may sound (lowering his voice) on the
personal side. what I'm going to say, I've never
caught her out since the day we met, I've never
seen her anything but ready if you see what I
mean, and we share the same bed! Now don't
you think that's really saying the best?
Even
in her underwear she's a good example!
Never a
hair out of place or a colour that's wrong!
JEBB:
She's a lady---Mrs. Calmer!
JACK:
I'll be pleased to do it.
CSLMER:
Good man: I'll tell her straight away.
(Jocular)
And when can you come to be put
through your paces? She's a very hard task-
master, you know---or should I say mistress!
JACK:
This evening, perhaps?
CALMER:
We'll say six o'clock.
I've got a board
meeting but I don't think you'll need me, will
you?
JACK:
Oh, no!
CALMER:
There's a good fellow. Now let's shake
hands---(They shake hands energetically)
and (with a wink) don't let her give you too
much to do, she's inclined to that, just
between you and me!
JACK:
No, I'll be careful about that!
CALMER:
Good morning, Mr. Jack!
Good morning,
Mr. Jebb!


JEBB:
Good
Mr. Calmer.
morning,
Exit CAIMER.
JEBB:
Jack!
JACK:
JEBB:
What about the statue-idea-- -is it---?
Do you. feel all right?
Are you beginning
to forget, like Mr. Calmer says?
JACK:
A little, yes. But I, forgot so much before
that I don't know which to forget more of!
JEBB (warily) What do you mean---'before'?
JACK:
When I was a---.
(He stops)
JEBB:
JACK:
Yes!
JEBB:
Oh, Jack! You shouldn't!
(Looking round)
I thought it was settled now, we wouldn't go
back to that! Listen---(in a low voice)
what did they register you as?
JACK:
Just 'Jack.'
JEBB (with relief)
Oh, so that's all right!
JACK:
It's no good putting up.a fight, Jebb.
JEBB:
A fight? What. do you mean?
(JACK is
silent) I don't know what you mean!
JACK:
Why don't you go to Mrs. Calmer's?
JEBB:
Mrs. Calmer's? What for?
JACK:
And do the job instead of me?
JEBB:
I don't know what you mean!
The way you
talk, Jack, you frighten me, honest you do!
What have I got to do with Mrs. Calmer?
Suddenly you say that---!
JACK: (with a smile)
Why not?
JEBB (jumping) Don't do it! For Christ's sake don't
smile! It brought me out in spots last
time! I can't stand to see you smile.
JACK:
Yet I can only really smile for you.
JEBB:
'Mrs. Calmer'!
Fancy me in white gloves!


JACK:
I caught a glimpse once of the king himself..
JEBB:
Eh? Oh, blimey, there you go!
JACK:
He'd just been elected. And in that moment
changed as if all his life had only been
a path leading to that!. His skin seemed to
changé, can you imagine that? I could see
it from above. His look was different. He
changed into a god, but by election.
JEBB:
Was that at Powers's?
JACK (after a pause)
JEBB:
It was, mate, it was!
JACK:
It wasn't!.
JEBB:
That was at Powers's!
JACK (fiercely) No, it wasn't! I told you before,
It's no good putting up a fight!
JEBB:
But why, Jack, why? On a lovely day like
this! When there's tea downstairs, and
fie
company! Why have you got to tak iike that?
Enter CALMER.
CAIMER:
She wants you right away!
JACK:
CALMER:
Everything's ready, she says. You can go
straight up.
JACK:
But I haven't clocked in yet, sir!
CALMER:
I'll see to that! It's better to suit: her
whims, you know. There's hell to pay other-
wiset
Enter PATTERSON.
PATTERSON: Mr. Calmer, sir, I heard my wife was taken
bad!
CALMER (to LACK) There's a good chap, just run straight
up, you know where it is, the floor above
the San!
JACK:
I haven't washed my hands, and there's the
carrots to peel---


CALMER:
I'll see to all that!
Now come along,
Mr. Jack, just go straight up and get the
job done, and that'll be that!
He hustles JACK out, going wit th
him.
JEBB and PATTERSON stand watching
them.
PATTERSON: What's up?
JEBB:
It's Calmer's wife wants him to mix the
cocktails Friday.
PATTERSON: Oh!
What happened wi th Lucy?
JEBB:
She's up at the San.
PATTERSON: Why?
JEBB:
She had a turn.
The heat, I suppose.
She's all right now.
PATTERSON: She was right as rain this morning. It's
funny, she kissed me good-bye, and never said
anything about me not being quite all here
like she usually does. It's the sun, I
expect.
She will go out without her hat.
JEBB:
I went in the garden this morning to cut some
roses for May and it made me dizzy. We're
not used to it, you see.
PATTERSON: I'll go up to the San, then, ma te.
All right.
PATTERSON (stopping) Wasn't your wife took bad yesterday
as well?
JEBB:
PATTERSON: Didn't she see the doc?
JEBB:
Nah.
PATTERSON (going off) That's funny, I could have sworn---!
Enter LUCY.
They bump into
each other.
LUCY:
Patt!
PATTERSON: Lucy! I thought you was up at the San!
LUCY:
So I wes! I'm all right now.


PATTERSON: What went wrong?
LUCY:
Oh, nothing much! I just came over faint.
It must be the sun!
JEBB:
That's what I was saying to Patt, it must be
all this heat, I came over giddy this morning
in the garden when I picked some roses for May.
PATTERSON: Are you all right now,, duck? Come and give
us a kiss! (They kiss) Did. you fall down
flat?
LUCY:
Nearly I did! It's a. good thing Jack was there!
PATTERSON: Eh?
LUCY:
Jack was there!
He saved my fall!
PATTERSON dazed) Oh!
JEBB:
With all this concrete about that wouldn't
have been a joke!
LUCY:
Then Mr. Calmer took me upstairs and gave me
a cup of tea. (Looking round) Where's he
gone?
PATTERSON: Mr. Calmer?
LUCY:
PATTERSON: Oh!
JEBB:
He went to clock in.
LUCY:
He wasn't at the gate when I came past.
(To PATTERSON) I wanted to know about
PATTERSON: Beds?
LUCY:
He's doing it in rotation and I've forgotten
whose turn it is.
PATTERSON: Have you?
LUCY:
What's the matter with you, Patt?
JEBB:
I tell you none of us are right these days.
But I've never felt so good.
It's funny,
isn't it?
PATTERSON: (to LUCY) How do you mean, the beds?


LUCY:
Well, he was at Mrs. Jebb's last night and
Mrs. Easy's the night before, and tonight
I don't know if it's Mrs. Barnes or me!
PATTERSON: Oh!
LUCY:
What are you looking like that for? Patt'.
Don't say you're going all funny, too!
PATTERSON (supported by LUCY and JEBB) No, it's all
right! I should wear a hat.
(Putting
his hand to his head) It stands to reason.
We're not used to it.
Pate! !
LUCY:
You look all right, Jack!
PATTERSON: And so do you!
LUCY:
In fact, you look younger!
I saw it this
morning!
PATTERSON: So do you!
JEBB:
That's just what I said to the wife when she
came over queer, I said, I've never seen you
looking so spry, with roses in your cheeks!
It must be a kind of fever, she said!
LUCY:
That's right!
Enter STIFF.
STIFF:
Have you seen my brother?
They all stare at him.
PATTERSON: Eh?
STIFF:
My Bro?
LUCY:
He means Jack!
PATTERSON: Jack?
STIFF:
He hasn't clocked in. I give him a bed by
the bread-racks where it's dark.
PATTERSON: A bed?
STIFF:
Well, there's such a lot doing over by the
stoves, I rigged up a curtain, he can be
quiet there!
LUCY (to PATTERSON)
He doesn't like Jack to dirty his
hands.


PATTERSON: Oh!
STIFF:
He's a sensitive man.
He always talks to
me before he drops off, like he did when we
was kids. He tells me about the roof---
what he could see---.
JEBB:
The roof?
STIFF:
That's - right!
And the way the animals used
to smell, they used to burn them, Mr. Jebb,
and all the dances---(with a glance at LUCY)
I'd tell you more if ladies wasn't present!
He's got a wonderful mind, my Bro. He saw
the king once. And he used to be brown, and
have long hair down to his shoulders---:
LUCY:
In plats?
STIFF:
That's right! How did you know?
LUCY:
And his nose came straight down---?
STIFF:
That's
his
like
right---from
forehead,
that!
(putting his finger vertically over the bridge
of his nose)
LUCY (to herself)
My bride!
PATTERSON: Your what?
STIFF:
My brother!
He's always been the same!
Don't. you know where he is, Mr. Jebb?
JEBB:
(A pause, then deliberately) Yes, I do.
STIFF:
Where?
LUCY:
Where?
JEBB (regretting it) I don't know! (After another
pause) Yes, I do!
(To himself)
Oh, save memm-!
PATTERSON: What's the matter, ma te?
JEBB (deliberately, to STIFF) Your brother's up at
Mrs. Calmer's.
STIFF:
Mrs. Calmer! s? He's due in the kitchen...
LUCY:
JEBB (to himself)
Save me!


PATTERSON (to LUCY)
Mr. Calmer came running in and
said she was ready.
LUCY:
PATTERSON: I couldn't understand.
LUCY:
Not Mrs. Calmer!
PATTERSON: What?
LUCY (faintly)
The boss's wife...
STIFF:
He needs his sleep, Mr. Jebb, he tells me
stories before he drops off and the pastry
seems to mix better after that...
PATTERSON (to JEBB). : Didn't he say the boss's wife at
Powers I S--?
LUCY (breathlessly) How can you believe such things,
Patt?
STIFF (beginning to tremble) I want an answer, I'm a
big man, I need big---!
PATTERSON (holding
fep.
him) Now, then, Stiff, I'll tell
Mr. Clifford!
STIFF (perplexed, to himself)
Mr. Clifford...
LUCY (to JEBB) What's he doing at Mrs. Calmer's?
JEBB:
He's shaking her cocktails!
LUCY:
What?
JEBB (slowly) Shaking her cocktails.
LUCY (haughtily)
I don't know what you mean!
JEBB:
He has to wear white gloves.
LUCY:
White gloves? No.
JEBB:
Mr. Calmer said she needed someone with
delicate hands.
LUCY (sadly) I see!
JEBB:
He said she wouldn't take long to show him
everything.
LUCY:
Of course not, no! (She begins to wander off)


PATTERSON: Lucy, where are you going?
LUCY (in tears) Back to the San.
PATTERSON: Don't you feel all right?
LUCY:
Just léave me alone! I'll be all right!
PATTERSON (calling after her) Don't forget it's whist
today!
Exit LUCY.
STIFF (also calling after her) Mrs. Patterson! Mrs.
Patt! (To JEBB and PATTERSON)
Is she
fetching my Bro? (Also wandering off)
Mrs. Patt, Mrs. Patt! I'm coming, too!
Exit STIFF.
JEBB (aware of having betrayed JACK) I've done wrong
Patt!
PATTERSON: Eh?
JEBB:
I feel all cold. It doesn't seem like
summer any more.
PATTERSON: That's the fever, it'comes and goes, you
féel hot and cold.
JEBB:
That's right...
A pause.
PATTERSON: Are you on late turn?
JEBB:
Seven to four.
PATTERSON: I can't sleep of a morning now with the sun
coming in. I shan't be sorry when we're back
on early turn, shall you?
JEBB:
No, I shan't.
PATTERSON: I lay there awake and think to myself,
what's it for, Patty boy, what's it for?
JEBB:
: It used to be nice
knocking off in the dark,
I uséd to have nine hours kip, till three in
the afternoon, and May'd have dinner on the
table ready, and a glass of beer!
PATTERSON: That was the winter-time...
stand thinking about this.
enters
Fhcx
silently.


PATTERSON (whispers)
Jebb!
JEBB:
PATTERSON: Look!
JEBB:
Blimey!
JACK approaches wearily,
unaware of them yet. He is
dressed as in Act I again, in
an overcoat, his feet bare.
JEBB:
Jack!
JACK (waking) Hullo!
JEBB:
What's up?
JACK:
I haven't clocked in yet. (As if dizzy)
I wish I could sleep!
PATTERSON: Stiff's got your bed made up in the kitchen.
Why don't you go down?
JACK:
I feel cold all of a sudden.
JEBB:
That's because you've---lost your shoes
again, mate...
Look! (Trying to direct
JACK'S eyes to his feet.) How did you lose
your clothes again, mate?
JACK:
Up at Mrs. Calmer's.
JEBB:
Blimey!
JACK:
Didn't you feel the cold just now---Jebb--
like a wind---when you spoke---when you told
them---(approaching JEBB with fierce eyes)
when you---tore me down?
JEBB:
Don't look at me like that!
Jack!
PATTERSON: Pheget
X er
They've all
been looking for you, mate. Lucy wanted to
know about the rosta.
JACK (wearily again) - I feel so cold!
JEBB:
You've got to forget the past, mate!
JACK:
I nearly have. I can hardly remember any
more. Even the smoke I've almost forgot e
Look---the sun's going in!
The last fight,
that was the worst of all...
PATTERSON: The last---?


JACK:
They hardly left a man alive. That was the
end of the town.
And I think it was
Propertius who said, 'Oh, Veii, you used to
have a throne of gold and now your walls are
echoing with the shepherd's horn! They
tore me down with ropes, or did I fall?
PATTERSON: Go on?
JACK:
And there I lay buried under stones, not
entirely broken.
An arm or two.
And I
slept there soundly for a thousand years or
more.
Iheard them take the buildings away
stone by stone, and all they left was a tomb
or two, and the altar-piece of the temple.
And then the silence grew. Can you imagine
that? Everybody left and the grass began
to grow, and all you heard, as Propertius
said, was the pipes ofthe shepherds and the
sound of hoofs. Further and further I sank,
and
my sleep seemed assured---until (witha
smile) 1916.
JEBB:
Don't smile!
JACK:
And here I am.
JEBB:
Don't, Jack, don't!
For Christ's sake come
and kip down along of us and have a cup of
tea and stop that talk, be---be ordinary,
Jack!
And get some ciothes on...
JACK (wi th another smile)
I can't be---ordinary:
JEBB:
For Christ's sake don't smile like that!
PATTERSON (to JEBB)
All he does is just smile, mate!
JACK (also to JEBB)
You've done a lot for me. At
Powers's, too.
JEBB:
I've never been to Powers's!
JACK:
When
I kipped in the kitchen, and you had a
dizzy speli picking roses for May in the
garden one morning?
JEBB:
That was yesterday!
JACK:
I'ts all the same. Mr. Calmer said would I
like a bed in his Blace? His son's got
married and the room's now free.
PATTERSON: And what did you say?


JACK:
I said the boys might think it funny. That t
happened at Powers's, too.
JEBB:
It didn't!
JACK:
Yes, it did!
PATTERSON (peering into JACK'S face) Did I see you at a
dance at Powers's? Weren't you standing by
the band? In the Roger de Coverley?
JACK:
That's right.
PATTERSON. I thought it was you!
Well, strike a light:
JACK:
We used to dance a lot.
At the marriages.
The men and women together, dancing, dancing,
naked under veils, (closing his eyes) it
makes. the body more seductive, barely glimpsed
like a god underneath, just the outline and
shape, (beginning to move) slowly moving,
moving, the men and women together, the veils
beginning to part in the wind---
JEBB:
Phew! !
JACK:
-as the feet go round, sometimes touching,
flesh on flesh and dust on dust, inside the
veil, inside the dusty dream.. It always
made me tired! (He no longer moves) Then. a
delightful slèep inside the veil. A: veil of
sleep. Rather like the kiss of a god, like
the sky touching you.
And your bride was
always the same whoever she was...
(Opers
his eyes)
I never could refuse a dance,
you know, however tired.
JEBB (fadinated) It reminds me of those pots!
JACK:
Pots?
JEBB:
Old Gibbs used to show us some figures on a,
pot---naked, dancing, with their--
PATTERSON: Over at Powers's?
JEBB:
--as large as life! Don't let your wives
see this, he used to say! Was it just the
dancing got them like that?
JACK:
Oh, yes!
JEBB:
Well, can't you remember more?
Try and
remember, mate!
JACK:
Only the feelings.
Not exactly what I was
doing..
They whisper together.


PATTERSON (to conceal their whispers from himself)
Like a trance! Not the first to go like
that at Powers's, they say it's the
discipline, they've got a different
approach, now Mr. Clifford always says that
going from Powers's to this show---he calls
it show---is like crossing the equator to a
different climate. They're so well-
organised over at Powers's they can't digest
their food, they can't get it down at dinner-
time because their nerves are all of a
jingle-jangle, so they put a pill between
your knife and fork called pancreatic extract,
so Mr. Clifford said, to settle your tummy
and take away the nerves. But here you
ought to see how the boys tuck in, there's
always plenty to eat and second helpings, too,
that's.Mr. Calmer's doing when he took over
the welfare side, he always says a working
man is a man in a white coat nowadays, there's
no more slums and unpaid overtime so why-
(Stops
as whispering outsider)
agides
JACK (to PATTERSON)
You understand everything.
PATTERSON
JACK:
You understand so much!
So pure of heart!
PATTERSON (to JEBB)
CAIMER's voice off:
'Mr. Jack! Mr. Jack!'
JACK (terrified) That's Calmer!
(Clutching JEBB)
JEBB:
What about it? Jack!
CALMER again: 'Mr. Jack!
JACK:
He's come to get me again!
Quick!
He dashes behind them.
Enter CALMER.
CALMER:
Mr. Jack! Mr. Jack!
(Seeing them)
Oh! Have you seen Mr. Jack?
JEBB:
No, sir.
PATTERSON: No, sir.


CALMER (visibly agitated) Not that it matters.
Only my wife's missing something if you see
what I mean and she must have it back! Not
that I'm making any accusations but facts
are facts, I want to make a
quiet investigation,
no trouble, you see, in the
works,
keep
dark, Mr. Jebb, Mr. Patterson, for while Mr.
Jack's a very pleasing man I know nothing of
his past than what he tells me himself and
what's on his cards, I haven't been in touch
with Powers but I've heard it said---!
Have you seen him?
JEBB:
N9, sir.
CALMER:
My wifets missing some thing from the dressing
room, she said. A littlé silver something,
or it might be gold.
She had it this morning,
that's quite sure, and nobody else was with her
except Mr. Jack. The worst. thing--you won't
let it go any further---Mr. Jebb, Mr. Patter-
PATTERSON: No, sir?
CALMER:
It isn't so much the missing something I mind,
but she can be so terrible when she gets ân
idea, it might be all a ghastly mistake, so I
want to go softly if you: sée what I mean and
not cause a stir, so just keep it quiet, it'll
all die down, she can be so terrible---!
(Calling softly) Mr. Jack, Mr. dack!
PATTERSON: I think he went to the pool, sir.
CALMER:
To the pool now? Really? Thank you so much!
You're very helpful. I'll just go down and
see: what he says. (Calling softly) Mr. Jack!
Mr. Jack!
Exit CALMER.
They separate.
JEBB (to JACK) Is it true?
JACK:
Of course not, no!
JEBB:
You'd better come home with me and I'll keep
you dark.
Until it dies down.
PATTERSON: This way!
JEBB:
You can go straight to bed. With a nice cup
of tea!
JACK:
Don't wake me for a week!
JEBB:
I'll give you a pair -of my pyjamas.


JACK:
I--er---don't wear pyjamas.. -
JEBB:
Oh, well, it's all the same!
(As they go
off) I'll leave you asleep for a month if
you like, Apollo!
PATTERSON: You called him t Apollo' just then, mate.. a


Enter CALMER.
CALMER (softly) - Mr. Jack! Mr. Jack!
Enter CLIFFORD.
CLIFFORD (bellowing) Mr. Jack! Mr. Jack!
CALMER:
Mr. Jack.
They see each other.
CLIFFORD: Are you looking for Mr.Jack?
CALMER:
Sssh!
Yes, I am.
CLIFFORD:
So am I! He hasn't clocked in for nearly
a week, that blackguard Stiff says he's his
brother, believe it or not, he hasn't been
in the kit tchen for a week, and he's standing
there crying his eyes out---!
CALMER:
I suppose you know what's happened?
CLIFFORD:
CALMER:
Mrs. - Calmer's locked herself in the bathroom!
A pause.
CLIFFORD:
What?
CALMER:
The wife's been in the bathroom for nearly a
week!
She only opens a chink fof her meals!
And I have to go downstairs every time, if you
see what I mean, we've only the one, you see!
CLIFFORD:
What's she there for?
CALMER:
Until we get hold of Mr. Jack, you see---she's
missing something!
CLIFFORD:
What?


CALMER:
Something silver, something gold---she's not
quite sure herself. She swears he took it
when he came up for a rehearsal last week!
CLIFFORD:
A rehearsal?
CALMER:
For the midsummer cocktail party we give.
CLIFFORD:
Oh, yes!
CALMER:
She's tired of Stiff---
CLIFFORD: Aren't we all? He's been spilling things
over my. trousers for years!
CALMER:
She wanted someone with delicate hands, Mr.
Clifford.
CLIFFORD: Ha!
CALMER:
I told her at the time, I said, my dear,
hands aren't everything, you know.. Well,
she said, they go a long way!
CLIFFORD:
Indeed, they do!
CALMER:
Indeed! His did! She missed it at once.
There was to be another rehearsal---
CLIFFORD:
Another one?.
CALMER:
Yes! You see the gullibility of women!
And apparantly he said no! Obvious the
reason why! So I was sent out on a search.
I don't want it all round the plant, Mr.
CLIFFORD:
Of course not, no!
CALMER:
These things can be handled quietly, I'll
give him his notice and a week's pay-
CLIFFORD: A month's.
CALMER:
The devil, a month!
CLIFFORD:
Those are the rules!
CALMER:
Well---you see how unfamiliar I am with
those kind of rules. It isn't very often
we send a man away!
Yet they pour across
from Powers.


CLIFFORD:
And Powers seems to change them, I've said it
before. But perhaps-- (perplexed) we've
never had a customer quite like this beford!
CALMER:
Her whims must always be suited, you see, I
know better than to cross her whims. She's
not been the same since a week ago!
CLIFFORD:
He's probably fled. - Well, I'll strike his
name off the list! - (About to go)
CALMER:
But, Mr, Clifford---:
CLIFFORD:
Yes? (Stopping)
CALMER:
You can't let me down like this!
What the
devil can I do? I can't let her stay in the
bathroom like that, every minute's a rope
round my neck, you don't know what a dance
she can lead me if she likes, do be a good
chap, Mr. Clifford, I'm sure he's still here--!
None of his friends seem worried, not
Patterson or Jebb, or the man at the gate!
I'm sure they'd notice if he got away!
CLIFFORD:
We can institute a search!
CALMER:
No, no, no! There's nothing to be gained by
a hullabaloo!
The principle behind this
plant is do it calmly or not at all!
CLIFFORD:
And what about my records?
CALMER:
What records?
CLIFFORD:
The establishment, man-hours, wages to be paid!
CALMER:
To the devil with them, let's get the man!
CLIFFORD:
The devil with my files? Now, Mr. Calmer---!
CALMER:
All right, Mr. Clifford, you mustn't lean too
heavily on my words, I'm not in a right state
of mind while my wife's in there--! Accept
my apology.
CLIFFORD: Apology accepted!
Shake!
(They shake hands
CAIMER:
Ow! (Jumping) That's not what you'd call a
clerical hand!
CLIFFORD (with pride) Nor a scholar's, either. Yet
tha t's what I am. This man, Mr. Calmer, this
man needs---(confidingly, showing the open
palm of his hand) a bit of that!


CALMER:
What?
CLIFFORD (making a slapping motion)
That!
CALMER:
Who needs---that?
CLIFFORD:
Our fly-by-night!
CALMER:
Our what?
CLIFFORD: Mr. Jack!
CALMER:
(A pause)
Why?
CLIFFORD:
The stories! (Holding his head)
CALMER:
The 'stories'?
CLIFFORD:
Long hair!
CALMER:
I beg pardon?
CLIFFORD:
Half-naked.
Naked, in fact!
CALMER:
Naked?
CLIFFORD:
On a
it or not!
roof---believe
CALMER:
A roof?
CLIFFORD:
A roof?
Can you believe it?
CALMER:
CLIFFORD:
That he stood there---! Ha! Really, it's
too much, when they go like that, I mean,
really, it's time to administer that (showing
his hand again), and if they're half-naked,
so much the better! Take that! (Slapping
himself) And that! And that!
CALMER:
Calmly, Mr. Clifford!
Are you sure we're
talking about the same thing?
CLIFFORD:
You said Mr. Jack, didn't you?
CALMER:
Yes.
CLIFFORD:
Well!
CAIMER:
What 'long hair'?
CLIFFORD:
He thinks he's a statue! I got it from Stiff.
And that purblind idiot thinks he's his
brother'
CALMER (quietly)
Mr. Clifford, what are we talking about?
CLIFFORD: Mr. Jack!


CALMER:
Still?
CLIFFORD:
Yes!
CALMER:
Who thinks he's a statue?
CLIFFORD: Mr. Jack!
CALMER:
CLIFFORD:
And Stiff thinks he's his brother.
CALMER:
Whose, the statue's?
CLIFFORD: No, Mr. Jack, Mr. Jack!
It's Mr. Jack all
the time, behind it, spinning and weaving,
the place hasn't been the same since he came!
I'll give him 'naked'! He could be Stiff's
brother---he could as far as that goes!
Insinuating himself---! A. different bed
every night!
CALMER:
What?
CLIFFORD (lowering his voice)
Wherever a man's to be
found, Mr. Calmer, believe it or not?
CALMER:
CLIFFORD: Yes!
CALMER:
No wonder the wife disliked him so! It's
instinctive, I suppose, they can smell a man
who isn't quite right! It really makes me
admire her, you know, admire her grit, to
insist on a thing like this being foliowed
right out and searched to the root! (Beaming)
If only I'd known this a week ago when she
looked herself in!
I've always said, Mr.
Clifford, she knows what to do, she has the
right instinct, she knows' when someone offends
the canons of taste!
CLIFFORD: A statue, indeed! I suppose it's very: nice if
you're trying to appeal, if you see what I
mean, to say you're a statue from a thousand
years ago! You appeal even stronger. if you
say that once you were naked and wore long
hair, though nowadays
observe the
you
con-
ventions, of course! Very nice, indeed!
CALMER:
But isn't he, perhaps, a. bit---soft?
CLIFFORD:
Is it soft to turn the heads of an entire
plant?
CALMER:
Turn their heads?
What do you mean?


CLIFFORD:
What I say!. They shield him and treasure
him, they give him a different bed every
night, it's become an honour to have him at
home! Even in the kitchen he's got a bed!
But trust that Stiff to make a bad thing
worse!
CALMER:
But how is it, Clifford---that I know noth-
ing of all this?
CLIFFORD:
Because you're too busy upstairs, Mr. Calmer!
CALMER:
I beg pardon, Mr. Clifford?
CLIFFORD:
Because you're. thinking of your wife all the
time, trying to get her out of the bathroom
and that sort of thing! To hell with your
wife!
She's never been anything but a
blasted nuisance to this firm!
CALMER:
What, Mr. Clifford? How can you stand there
and dare---? What?
CLIFFORD: You can what me all you like but this firm's
going down, Mr. Calmer, and you ought to know
it! The accounts are up to scratch, the
files are the finest in the land, the clerical
staff click their heels when I come in the
CALMER (stopping him)
Indeed? And what's the meaning
of that martial law?
CLIFFORD:
What?
CALMER:
The rules in this plant are made by me, Mr.
Clifford, and you'd better be aware that. . I
may have a powerful wife with a mind of her
own but the rules in this plant are made by
me and I've followed your course as commander-
in-chief of the clerical camp, and if it
happens any more that they click their heels
I shall have you out by the scruff of your
neck and put you before the national uniom
for nineteenthoentury ideas, so there!
CLIFFORD: Mr. Calmer, Mr. Calmer (in dismay),--
nineteenth céntury ideas?
CALMER:
That's what I said and that's what I méan!
Tit for tat!
CLIFFORD: Now, listen, Mr. Calmer, it's obvious and
clear we've been led apart by this man in our
camp. We can't afford to quarrel, it seems
to me, isn't that what he'd want most of all,
Mr. Calmer?
CALMER:
You shouldn't have said what you said about
my wife!


CLIFFORD:
Accept my apology.
CALMER:
Very well.
CLIFFORD:
Shake!
CALMER:
Not with a hand like that!
CLIFFORD (jocular) The scholar's hand, eh?
CAIMER:
To return, then, the statue---?
CLIFFORD:
The statue?
Apollo of Veii, believe it or not
CALMER:
The what?
CLIFFORD:
It's clear you were never a classical scholar!
The Apollo of Véii.
CALMER:
CLIFFORD:
Foxed?
CALMER:
Bewildered, ra1 ther.
CLIFFORD:
A sta tue unearthed near Rome. In 1916, I
think.
CALMER:
And?
CLIFFORD:
He says he's it!
CALMER:
Good Lord!
Well... I suppose that's
clear enough.
CLIFFORD:
The devil it is! And it'll be even clearer
when I've put a few questions and tanned his
behind!
I'll give him Apollo'!
CALMER;
It's funny, my wife-- -
CLIFFORD:
'Wife' again!
CALMER:
Mr. Clifford!
CLIFFORD:
I'm sorry, Mr. Calmer!
CALMER:
My wife said the very first evening that he
had a 'classical' touch.
Don't you think that
shows a surprising instinct?
CLIFFORD (laughing) He had a classical touch wi th her
jewellery, it seems!
CALMER:
There's no need to banter, we've serious---!
CLIFFORD:(suddenly) Calmer!
CALMER:
Yes?


CLIFFORD:
Do you see what I see?
CALMER:
Where?
CLIFFORD:
There.
CALMER (peering) My eyes have been giving me trouble,
my wife was saying---
CLIFFORD:
The devil take your wife!
CALMER:
CLIFFORD:
Look, man, look! What do you see?
CALMER:
Good Lord... It's Mr. Jack.
CLIFFORD:
And?
CALMER:
CLIFFORD: Mrs...?
CALMER:
Patterson.
CLIFFORD (his voice lower) And Mrs. Patterson runs the...?
CALMER:
Church Mission!
Car
CLIFFORD:
Insinuat ting!
Insinua ting! He's wound his
finger round every man and woman in this camp.
Look at that! How easily they walk together---!
CALMER:
Gullible!
Gullible'. 'Oh, woman, thy name
is vanity'!
CLIFFORD: 'Oh, vanity, thy name is woman,' you mean.
Look at that!
CALMER:
I should have taken her advice---I need a
pair of glasses---:
CLIFFORD:
They're---! Holding hands: Calmer, look!
CALMER:
Oh, Elsie!
CLIFFORD:
Who?
CALMER:
Elsie!
CLIFFORD:
Who the devil's Elsie?
CAIMER:
My wife!
CLIFFORD.
Oh, no, not again!


CALMER:.
She was alone with this man, Mr. Clifford!
Oh, Elsie, Elsie!
CLIFFORD:
It gets thicker and thicker!
CAIMER:
They're coming this way!
CLIFFORD:
That's right! Just come into my net, little
fly, that's right, slowly does it, that's it,
stroll along, what a nice little smile, oh,
he. is full of charm, isn't he, this nice little
fly, this naked little fly, this fly with the
long hair, come along, little fellow, that's
It, into my net---a little nearer----now...
They wait.
Enter JACK and LUCY.
CLIFFORD and CALMER spring
on JACK.
CLIFFORD:
Got. him! a
CALMER:
Got you!
JACK:
What's up?
LUCY:
Jack! Let go of him at once! Let go!
Let go! (striking at CLIFFORD and CALMER)
CAIMER:
Oh! Now, then, Mrs. Patterson!
CLIFFORD: Mrs. Patterson, please, ouch!
They separate from JACK.
LUCY:
You bullies! Two on one!
CLIFFORD (out of breath)
And what a one, if I may say
so, Mrs. Patt!
LUCY:
What a what?
CLIFFORD:
I said, Mrs. Patterson, what a one!
CAIMER:
Mrs. Patterson, my dear Mrs. Patterson, you
look so like a child, do you wonder we rush
to your help, to see you here with a man
CLIFFORD:
He'll show you his colours soon enough! (He
prowls round JACK) Ha!
JACK:
What are you doing?
CLIFFORD:
Ha! (Slapping his hands together) A bit
of that!


JACK:
What?
CLIFFORD: Ha! That! (Slap) That! And that again!
Eh, Mr. Jack?
JACK:
Why?
CLIFFORD:
Naked, eh?
JACK:
Naked?
CLIFFORD: Ha!
And long hair?
JACK:
Hair?
CLIFFORD:
On the roof? Cuckoo!
I'm on the roof!
Dancing round) I'm on the roof, every-
body, cuckoo, .cuckoo, I'm on the roof!
JACK:
Oh,I see now,
CALMER:
There's a lot to expain, Mr. Jack. The
missing something.
LUCY (to JACK) . . They must have gone crackers!
JACK:
The missing what?
CALMER:
The missing.something:. Silver or gold, eh?
Shall we, say silver or gold?
JACK:
What?
CALMER:
The 'classical' touch? The 'delicate' touch?
Eh? Sleight--
(As if picking something
off a table secretively) -of hand? Eh?
Compris? No compris? Eh? Sleight---?
(Repeats the motion)---of hand?
Eh? No?
LUCY:
They're mad!
JACK:
I think they are.
CLIFFORD: Mad? Oh, come, Mr. Jack, the men; the mén
JACK:
What men?
CLIFFORD: Nakedness, long hair, Jebb, Patterson, Easy---?
LUCY:
Listen to him!
CLIFFORD:
And now, as a main course after the hors
d'oeuvre, the women, perhaps? Ha!. (Prowling
round him again) Ha!


JACK:
I thought you were a clerical sort, Mr.
Clifford? What's come over you?
CLIFFORD:
You, Mr. Jack, you've come over me---!
LUCY:
Tell us what the matter is, Mr. Clifford.
CLIFFORD:
Standing before you, naked underneath-
with long hair underneath---a statue under-
neath- -on the roof, underneath, that's
what stands before you!
LUCY:
I think he's talking about your dreams.
JACK:
They're memories!
LUCY:
CLIFFORD:
'Darling'?
Mrs. Patterson!
Do you know
who you're with?
CALMER:
She saw it, she saw what he was doing!
LUCY:
Who?
CALMER:
Elsie!
CLIFFORD:
To hell with Elsie, let's get down to brass
tacks!
CALMER:
Mr. Clifford:
Once more..
LUCY:
They've both gone funny.
Perhaps it's the
sudden cold!
CLIFFORD (to CALMER) You hear what she said?
Let's
get, to the business in hand!
CALMER:
Very well. Now, Mr. Jack, I don't want to
turn you over to the police.
It's never
been done on this plant before and I don't
want it to start now. I'm giving you the
ehance to come - clean, and if you produce the
missing article we'li call it quits and you
can get your card. stamped and - go- away.
LUCY:
What missing article?
CALMER:
From my wife's dressing table, sir (to JACK)
Now, then!
A pause. :
JACK:
It's at Mrs. Jebb's.
CALMER:
There!
LUCY:
Jack!


CALMER:
Have you a word of apology for my. wife?
CLIFFORD (to himself) His wife again!
She gave it to me.
CALMER:
Gave it, sir? What was it, by the way?
JACK:
A gold clasp.
CALMER:
Oh, Elsie!
(To JACK) Liar! You took it!
JACK:
She gave it to me.
CALMER:
Gave a man a gold clasp, sir?
JACK:
Yes.
CLIFFORD:
For what? To fasten your collar with? Ha!
JACK:
More or less. To fasten my veil with.
pause.
CALMER:
Your what, Mr. Jack?
JACK:
My veil.
CALMER:
You wear---veils?
JACK:
Yes.
CALMER:
You wear a veil in the. presence of my wife,
sir?
JACK:
Yes.
LUCY:
Oh, Jack!
CALMER:
A veil?
JACK:
Yes.
CALMER:
a veil, like that---?
PHAReyourfocto a motion over his face)
JACK:
No, over. my body. (To LUCY) I---er---use
my overcoat- as- -er---well, a kind of a
CLIFFORD.
LUCY:
Jack!
CALMER:
Elsie!
Your body, sir?


JACK:
My body.
CLIFFORD:
Was this body by any chance-- - - -excuse me,
Mr. Calmer---clothed?
JACK:
CALMER:
Elsie! Elsie!
CLIFFORD: Ha!
LUCY:
But, Jack, how could you?
CALMER:
You are telling me, sir, you were naked in
the presence of my wife?
JACK:
Yes.
CALMER:
You are telling me that?
JACK:
Yes.
CALMER:
And why, sir, why?
JACK:
Because she asked me. .
CALMER:
Elsie, no! -
CLIFFORD:
Thicker and thicker, you'll be lucky to get
away with your life, Mr. Jack!
CALMER:
You are telling me you were naked because'
she asked you?
JACK:
Yes.
CALMER:
Oh, no! Please, no!
Breaking down)
Elsie, Elsie! (To JACK) You're lying,
aren't you?
JACK:
CALMER:
Yes, you are! You are, Mr. Jack!
JACK (alarmed)
All right! Yes, I am.
CLIFFORD:
Blackguard!
CALMER:
Thank God, thank God! (Kissing JACK'S hand)
Thank you as much! - You have such delicate
hands!
LUCY:
It's just like a dream. It's always like
a dream with you!
CLIFFORD:
And the gold clasp, was that a lie?
JACK:


CALMER:
It was, it was, Mr. Jack! Mr. Clifford,
that was a lie, too, oh, yes! You'll hear
him say it himself! Eh, Mr. Jack? It was
a lie?
A pause.
JACK (after gazing at him compassionately)
Yés.
CALMER:
Thank God again, God brings me such gifts
with such speed, He brings me safely into
port each time, thank God, thank God! I'll :.
promote you Mr. Jack, I'li---!
CLIFFORD:
What the. devil are you talking about? Don't
say you've got a touch of it, too! But not
so with me, Mr. Jack. Not so with me.. Oh,
no'. (Approaching JACK slowly)
We'll leave
the weak to fall by the way. And I'll be the
prosecution here and--2.
Enter JEBB and PATTERSON.
JEBB:
What was all the row?
LUCY:
Patt!
CALMER:
Mr. Jebb, there's been a misunderstanding---
JEBB (to JACK) You've woken up?
JACK:
That's right. Your wife woke me up this
afternoon.
CLIFFORD: Ha!.
JEBB (to CLIFFORD)
He's been. asleep for a week, believe
it or not!
CLIFFORD (turning away) Believe it? I believe it all
right! Ha!
JEBB:
What's the matter with Mr. Clifford?
CALMER:
It's because' of my wife--.
CLIFFORD: To the devil with your wife, sir---do I have
to say it again?
CALMER:
Mr. Clifford!
CLIFFORD:
To the devil with your wife!
PATTERSON: I've never heard you speak like that before,
Mr. Clifford!


LUCY:
And he jumped on Jack.
They both did!
JEBB:
Jumped on him?
What for?
CAIMER:
It's all a misunderstanding---!
CLIFFORD:
That's just what it isn't! He hasn't
clocked in for nearly a week, you say he's
been asleep---what the devil's happening
here? And the boss of it all says a
'misunderstanding'---well!
CALMER (to JEBB and PATTERSON) My wife's in the bath-
room, you see!
JEBB:
In the bathroom, sir?
CALMER:
That's right!
JACK:
On account of me.
CALMER:
She says he took a possession of hers, and
he's. told me just now it's all a mistake,
he's got it at your house, he took it by
error, it happened to be there and when he
was changing his gloves, you see, my wife
had this job for him, you remember, to serve
in white gloves and shake the cocktails---
well, he took it thinking it was his. That's
the truth, isn't it, Mr. Jack?
JACK (after a pause). Yes.
CLIFFORD:
Is that the truth, Mr. Jack?
LUCY:
Is it, Jack?
JACK (after anothér pause) No.
JEBB and PATTERSON stare at him.
CLIFFORD:
You see what kind of a man we have! Mr.
Jebb, Mr. Patterson, I believe you've been
his hosts---you see what kind of a man we
have!
JEBB:
What happened, Jack?
JACK:
She gave me - this clasp.
It's made of gold.
JEBB:
What for?
JACK:
LUCY:
No, Jack!
JACK:
To fasten my veil.
CLIFFORD: Ha! Veils, roofs, nakedness!


JEBB:
Oh, Jack, you haven't started all that so
soon, have you, mate? I thought the
sleep'd do you good.
I said to the wife,
it's like the hypnotism they put them
through, to clear their minds, they put them
to sleep for a month or more...
(To CALMER)
It isn't his fault, Mr. Calmer, you said it
yourself, it's the effect of Powers's, it
leaves 'em strange, isn't that what you
always said?
CALMER:
I did! I did! But our friend Mr. Clifford
here doesn't want to understand, he insists---
on taking Mr. Jack's remarks as the truth!
JEBB:
Tell them they're just nasty dreams, Jack--
go on!
CLIFFORD:
Then Elsie's a liar as well, Mr. Calmer?
CALMER (going for him) Don't you take that name in
They prevent him reaching
CLIFFORD.
CLIFFORD:
The truth hurts, gentlemen, the truth hurts!
I ask again, is what Elsie says just dreams
as well, that he took the clasp? Something's
a dream, we'll agree, but what's it to be--
Mr. Jack or---Elsie?
CALMER:
Swine!
They prevent him again.
JACK:
What I said was true.
She gave mé the clasp.
CLIFFORD:
To. fasten your veil?
JACK:
Yes.
CLIFFORD:
Did she give you grips for your hair, sir,
and powder for your nose, and a nice pair of
corsets? You need some of this, Mr. Jack
(Slapping himself), this, Mr. Jack, (slap),
this slap), and this again (slap, slap).
PATTERSON (to JEBB) What's he talking about?
CLIFFORD:
Long hair, Mr. Patterson, long hair and roofs
and nakedness, that's what I'm talking about!
PATTERSON: Eh?
CALMER:
If somebody doesn't get my wife out soon, I'm
afraid what she might do! You've no idea
what she's like, Mr. Jebb, when her whims arent
suited!


JEBB:
What's she doing in the bathroom?
CALMER:
That's where she goes when she can't get her
way!
JACK (to JEBB) I'd just done a dance, you see, it came
back to me after all those years, I lifted
my feet and drifted along--- (he begins to
dance).
CLIFFORD:
Stop him!
Stop him! He'll be taking off
his clothes next!
(Hiding his face) Stop
him, for God's sake, somebody!
LUCY:
What's the matter with a dance, Mr. Clifford?
CLIFFORD (hidden)
Can't you see, Mrs. Patt, can't you
see what he is underneath?
LCY:
It's just a dance!
Like a bride---!
PATTERSON: What do you mean?
LUCY:
Like a bride when the wedding's over and he's
all alone. And she's happy!
CLIFFORD (his face still hidden)
She!
JEBB:
Jack, stop dancing, mate.
Come on!
JACK:
And then she started dancing, too.
JEBB:
Who?
JACK:
Elsie.
CALMER:
JEBB:
Jack!
You'll get yourself into trouble,
made, he is the boss after all, I know it's
easy over here, but you've got to go by the
rules, you know!
CLIFFORD (still hidden)
Somebody tell me when he stops!
For God's sake stop, Mr. Jack!
JACK:
It got. faster and faster!
(Going faster
and faster)
JEBB:
Jack!
Not like on those pots?
JACK:
Yes, that's right!
JEBB:
Blimey!
Stop, Jack, stop! With Mrs.
Calmer, too! Oh, Jack, you've bitten off
more than you can chew this time, boy!
PATTERSON: Look out, he's taking off his clothes!


CLIFFORD (hidden) No!
LUCY:
Let him, darling---!
PATTERSON: What?
JEBB (stopping JACK) It's all right, Jack, easy. does
JACK (bewildered) I was just getting excited, too!
Lucy, come and dance! (He suddenly sweeps
her away with him)
LUCY:
Yes!
PATTERSON (to CALMER) He called my wife Lucy!
CALVER:
He called mine Elsie!
JEBB (taking hold of JACK again)
That was a thousand
years ago, Jack, you can't do it now!
LUCY (to JACK) Your hands feel hot, - I thought the sun
was coning out again---! You looked so
brown!
CLIFFORD (hidden)
Has he finished yet?
JEBB:
I think he's all right now, Mr." Clifford.
CLIFFORD (showing his face again)
Ah! I'm glad to
see he's still in his clothes at least!
JACK:
It's being asleep for a week. It brought
all my memories back in one piece---.
PATTERSON (sadly) You called my wife Lucy.
CLIFFORD:
of course, he did!
He's on familiar terms
with everyone, it seems! Every man---and
every. man's wife!
And whose fault is tha t?
Is it his, Mr. Patterson, or yours? I ask
you that! As a one-time scholar and lawyer,
sir, I ask you that!
PATTERSON. Eh?
CLIFFORD:
Who housed him and fed him every night of the
week, who passed him on like a treasure from
house to house? Did you and Mr. Jebb and Mr.
Easy, and every other man on the plant, and
now you stand there and say, he called my wife
Lucy! And you, Mr. Jebb, you're always
telling him 'don't,' what do you want to save
him from?


JEBB:
He's my friend.
CLIFFORD:
In what sense a friend, Mr. Jebb?
JEBB:
Just a friend.,
CLIFFORD:
Not more?
JEBB:
CLIFFORD: Have you tendencies, Mr. Jebb, and you Mr.
Patt? Ha! Ha!
LUCY (to JEBB and PATTERSON) He went like that before!
CLIFFORD:
I'm here to investigate, Mrs. Patt, I'm here
to expose. We have here a man who parades
himself in his neglige, and stands on a roof,
believe it or not, and says he's---says he's---
believe it or nota--Apollo of Veii! Yes?
(to JACK)
JEBB:
Tell him no, Jack.
JACK (to CLIFFORD) Yes.
CALMER:
That's what my wife said, too, she said,
'Bring Apollo up to me or I'li stay in the
bathroom till I die!'
CLIFFORD: Ha!
*Bring Apollo up to me!' says Elsie
Calmer! And you, Mr. Jack, are Apollo, are
you?
JEBB:
Say no!
JACK:
Yes.
CLIFFORD:
A statue found in 1916?
JACK:
Yes.
CLIFFORD (to the others) He's a statue found in 1916,
believe it or not!
PATTERSON: But Jack's always talked like that!
CALMER:
But why a statue, Mr. Jack?
JACK (to CAIMER) It's difficult to explain, sir, it's
a kind of memory...
CLIFFORD:
And I suppose you don't mind, Mr. Jack, if I
examine this memory a little?


JACK:
CLIFFORD:
Im a bit of a classical scholar, as you know,
so may I ask a few simple questions?
JACK:
Yes.
JEBB (in a whisper)
Don't answer them, Jack!
LUCY:
He'll wind you round his finger, Mr. Clifford
always does!
CLIFFORD:
Question No. 1. You wore a veil---when you
were a statue?
JACK:
Yes.
CLIFFORD:
You wore a veil, Mr. Jack?
JACK:
Yes.
CLIFFORD:
Not a mantle?
JACK:
What's that?
CLIFFORD (to the others) He doesn't know what a 'mantle'
(To JACK)
A cloak.
A coat, in your
language.
JACK:
CLIFFORD:
You wore a mantle, I believe.
(Mockingly)
A thousand years ago.
JACK ( - a little desparately)
It was a veil!
LUCY:
Tell hin about the weddings, Jack:
JACK:
I can't! I just--can't!
JEBB (to JACK)
I told you not to answer!
CLIFFORD:
Question No. 2. Remember, please, Mr. Jack,
I address you all the time as a statue.
How long was your mantle?
JACK:
We had veils---.
CLIFTORD:
Mr. Jack, you had veils for your wedding
ceremonies, sometimes it was lifted over the
heads of the bride and bridegroom--
LUCY:
That's what he remembers---the wonderful
manriages- -


CLIFFORD: But over their heads, Mr. Jack.
For moment.
Or else for a dance. But I talk of the
statue, Mr. Jack.
JACK:
LUCY:
Don't you remember, Jack?
JACK:
I feel confused...
CLIFFORD.
Who wouldn't? May I return to Question
No. 2? How far did it reach down your legs?
The mantle?
JACK:
Down to the ground.
CLIFFORD: To the knees, Mr. Jack, to the knees, I'm
afraid. (To the others) You see how much
he knows?
Question No. 3. Are your feet
bare?
JACK:
Yes.
CLIFFORD.
Correct!
Question No. 4. Are they broken?
JACK:
I don't understand.
CALMER:
Broken? How strange---!
CLIFFORD:
You're a statue, aren' you?
JACK:
Yes.
CLIFFORD:
And you exist? In Rome, I believe? Well,
are your feet broken?
JACK:
Oh, yes, they got broken in 1916, they were
found broken!
CLIFFORD:
Describe the breaks!
JACK:
CLIPTORD:
Left foot, right foot, how are they broken?
JACK:
The left foot was broken in half.
CLIFFORD:
The left foot is intact, perfectly intact,
except for the big toe! The right foot?
JACK:
Also intact.
CLIFFORD
The right foot is broken clean in half,
there's only the heel and a bit of the
instep left! So much for your knowledge
of your feet, Mr. Jack!
Question No--
(He hesitates)
PATTERSON: Seven.


CLIFFORD:
Thank you, Mr. Patterson---I believe you're
beginning to understand what sort of man--
I say man--I don't know how far he really
is a man---what sort of individual we have
here. (To JACK) This isn't the question
but---(confidentially) ever heard of
Hermaphrodite?
JACK:
Yes.
CLIFFORD: Who was she?
JACK:
Half man, half woman.
CLIFFORD: Ha! : Hat Listen to it, my friends.
Thank you, thank you, Mr Jack! Ha! Ha!
JACK:
That's true, isn*t. it?
CLIFFORD:
Oh, it's
it's true! Haf
true,
(Abruptly)
Question No.8.
PATTERSON: Seven. You didn't
ask that one yet.
CLIFFORD:
Thank you, Mr. Patt!
Question No. 7--
your elbow, sir?
JACK:
Wha at?
CLIFFORD: Elbow, Mr. Jack, elbow? This (pointing to
his own elbow). Said to be, with another
area of the body, Mr. Jack, perpet tually cold!
Ha! Hal
LUCY:
Whatts he talking about?
CLIFFORD:
The state. of Mr. Jack's elbow, Mrs. Patt!
(To JACK) Is it in one piece?
JACK:
Which one?
CLIFFORD: The left, say?
JACK:
CLIFFORD: Wrong. The entire left arm is missing. The
elbow of the right ara is still there. Wrong
Mr. Jack, wrong and wrong agin! Question
No--? (raising his eyebrows to PATTERSON)
PATTERSON: Eight, sir.
CLIFFORD: Eight, sir! Very well, sir! How many
plats in your hair?
CALMER:
Plats? My wife has plats!


CLIFFORD: But, Mr. Calmer, now really, you must begin
to understand we aren't always discussing
your wife!
Not always! We're talking about
a man---yes, a man, with plats!
JACK:
I had a good many. I can't remember
exactly. They hung down to my shoulder-
CLIFFORD:
Indeed, yes, what a lovely effect!
JACK:
Say, twelve or so.
CLIFFORD:
Nine! Nine, Mr. Jack!
Not twelve!
JEBB(dejectedly)
Isn't any of it true, then, Jack?
JACK:
LUCY:
Oh, Jack!
CLIFFORD:
PATTERSON: No. 9.
CLIFFORD:
No. 9. Are your ears covered with hair--
I mean, do the plats come over your ears?
JACK:
CLIFFORD:
Correct!
JACK (to JEBB and LUCY) I always had my ears free. I
had a sort of little lace thing that went
over my head and behind my ears.. :
JEBB:
Oh, yes?
CLIFFORD:
Question NO--?
PATTERSON: 10.
CLIFFORD:
Is there a. hole in your back?
CAIMER:
A hole? What an extraordinary question!
If. I tell all this to Elsie she'il never
believe it! She'll say, you're dreaming
Calmer!
PATTERSON: That's right. Itts like a dream. That's
what I said to Jebb when Jack came over
dressed ina veil, with nothing on his
CALMER:
What?


BATTERSON: You saw him yourself, sir!
You took him
upstairs to the San. for a change of clothes!
You said they' always c'ame from Powers's like
that!
In a veil...
CALMER:
Oh, they do, Mr. Patterson, they always do!
CLIFFORD (giving CAIMER an irritated look) We wait.
JACK (after a pause) No. No hole.
CLIFFORD:
Wrong!
*Yes' is the answer, Mr. Jack.
You've got a hole the size of my fist in
your back, just underneath your neck!
CALMER:
I do believe he hasn't Mr. Clifford.
CLIBFORD: We're talking of a statue, Mr.Calmer,
a statuet
CALMER:
CLIFFORD:
And now, Mr. Hack, let me ask you perhaps
the most embarrassing question of al.
JACK:
Please..
CLIFFORD: But, Mr. Jack! You were so triumphant
before! What's this sudden meekness?
LUCY:
He's feeling weak, Mr. Clifford.
CLIFFORD: He'll be feeling weaker still when I've
asked him this question.
The roof, Mr.
Jack. You were on the roof?
JACK:
Yes.
Don't destroy that as well!
CLIFFORD:
Were you on the roof--?
JACK:
Pleasel
CLIFFORD: Alone?
JACK:
What?
CLIFFORD:
Were you on the roof alone?
JACK:
Yes.
Of course.
CLIFFORD:
I'm afraid you weren't, Mr. Jack.
JACK:
Why not?
CLIFFORD: You were ina group. With Hercules---.


JACK:
Hercules!
I thought---! (Trying to
recollect) Didn't I say? Jebb---icy---?
PATTERSON: He called her
Lucy again! Lucy!
JACK:
Didn*t I say 'Hercules' once? I half-
remembered, perhaps!
CLIFFORD:
You - must have stood there quite a time, Mr.
Jack, enough to more than half-remember!
JACK:
But my memories got broken, like my feet...
CLIFFORD:
Apparently, they did!
And now we*ve broken
your little romance, what's to be done?
JACK:
I don't know!
CLIFFORD:
You've certainly had them all on a string---
including my amanuensis, too.
JACK:
Your what?
CLIFFORD: - It's a language after your time, Mr. Jack!
Latin. Meaning my right hand, my Stiff.
I haven't had a decent meal for a month or
more, : my beds aren't made---!
JACK:
He said you beat him.
CLIFFORD (with a glance at CALMER) Did he, indeed?
JACK:
He said you got into his bed at night.
CLIFFORD:
That's enough! Enough! (Desparately)
Calmer, I want you to shut your ears, this
mustn't get to Elsie!
CALMER:
You call her 'Elsie':
JACK (to CLIFFORD). He said you--
CLIFFORD:
That's enough!
Enough!
JACK:
.naked.
CLIFFORD:
JACK:
I'm only repeating wha t he said.
Come and
dance with me!
CLIFFORD (giggling) Now, Mr. Jack! Really-- (as JACK
begins to dance with him)---what a splendid-
oh, Mr. Jack!
Enter STIFF.


STIFF:
Did somebody call?
(Staring at the dancing
men) Bro! You mustn't do that!
He strides across and---
JEBB:
Look out!
LUCY:
Jack!
-throws JACK to the ground.
CLIFFORD:
You jealous fool! Can't I even look at
someone else?
STIFF:
Not my Bro, Cliff, not my Bro!
(Bending
down) Bro, I thought I heard you call me,
In the kitchen, you were in trouble, Bro...
The others try to raise JACK.
LUCY kisses him.
PATTERSON: Lucy!
CALMER:
You're very' violent, Stiff.
I've said it
before.
CLIFFORD:
This may. be murder, you fool---! I should
have had you locked up!
JEBB:
Are you all right, Jack?
JACK (faintly) I think so, yes.
LUCY:
His hands are cold.
STIFF:
So they were before. Your hands were cold
before, Bro. And you made a terrible cry in
the night and gave up. the ghost, and a storm
broke the walls of the temple...
LUCY:
Colder and colder.
JEBB:
Get him on his feet. I know I did wrong,
Jack, it started with me, I did wrong,
Jack, Jack!
PATTERSON: Look at his arms!
CLIFFORD (to STIFF) Get up, you bully, you san what you*ve
done!
LUCY (to CLIFFORD) And you, what about you?
CLIFFORD: Me?


PATTERSON: His hands and feet!
As they raise him his arms go
out sideways and his head falls
limp, in peculiar imitation of
the crucifixion.
JEBB:
Look what he's doing!
Are you all right,
Jack?
JACK (indistinctly) I think so...
CLIFFORD:
Stop him, stop him, look what he's doing!
PATTERSON: His hands. and his feet!
LUCY:
I was a bride! Oh, Jack, oh, Jack!
JACK (faintly)
I'm completely all right. (His arms
still held out sideways)
CLIFFORD (shouting at JACK) You can't be two people!
Mr. Jack, Mr. Jack, please stop! Stop
him somebody, stop him!
CALMER:
Calmly, Mr. Clifford, he's only fainted..
It's the life at Powers. It's the life
(in JACK'S ear) at POWERS, isn't it, Mr.
Jack?
JACK (fodding dimly) Yes, that's right.
STIFF:
My Bro died like that once before. Hé made
a cry at night and a storm broke the temple
walls, and his hands were cold...
JACK suddenly falls down.
IUCY:
Oh, bridegroom, Jack!
CALMER:
He's only fallen in a faint, there's no need
to panic.
JEBB:
Speak to me, Jack, I didn't do wrong, did I
wrong you, Jack? Did I do wrong, tell me
that first! ::.
JACK: (opening his eyes dimly) No.
LUCY:
And I'm your bride?
JACK
(the same) Yes.
PATTERSON: He said I understood everything once..
JACK nods to him as well,
then falls back.


JEBB:
He's got red on his hands!
CALMER:
That's the computer-ribbon I had sent down
last week.
JEBB:
Is it blood?
CALMER (desparately) Computer-ribbon, Mr. Jebb,
computer-ribbon:
STIFF:
My Bro. always dies like that. Just before
he goes away.
CLIFFORD:
That was such a lovely dance we had...
CALMER:
Let's get him up to the San---".
STIFF.
Tomorrow he *11 move on to another place, you
see.
JEBB (to STIFF)
Another plant?
STIFF:
That's right.
LUCY:
He feels all brown, and there's a smile---
JEBB:
The smile! (JACK) smiles) Jack, no!
STIFF:
My Bro. always smiles like that before he
dies.
CALMER:
Let's take him up to theSan, it's nothing
that Doc. can't mend, you'li see! He's
smiling--look---he's mending fast! I'll
go and tell Elsie! He's coming at last!
STIFF:
Lift him on your shoulders.
JEBB:
Smile at me, Jack.
JACK continues to smile with
his eyes closed.
CLIFFORD: That's the smile- --the same smile---!
The
Apollo--ethe Ap- -!
LUCY:
You see? You were wrong! I said you were
wrong!
CLIFFORD: He's-
STIFF:
My brother, didn't I tell you?
They raise him up.


JEBB:
Easy does it!
STIFF:
He's always been a dead weight when he dies,
my Bro.
CALMER:
He's only fainted. Carefully, boys! Take
him up to the bathroom. Elsie, Elsie!
How happily things always end! (Going be-
hind the others, who carry JACK) What a
happy little plant!
Exeunt, leaving LUCY alone.
LUCY:
I'll always remember that summer. I must
get the washing in and get Mrs. Jebb her
morning cup! It's my turn today.
She runs off.
CURTAIN