MARGERY VOSPER LTD.
(Authors' Representatives)
53A, SHAFTESBURY AVENUE, LONDON W.I.
Telegrams :
Telephone : GER. 5106
Cables :
Margevos, Lesquare, London
Margevos, London
Directors : MARGERY VOSPER
VERA HANDFORD
(Secretary)
Maurice Rowdon Esq., 9
49 Waldron Road,
Lond on, S.W.18.
13th October, 1967.
Dear Maurice,
Here is the copy of the original version
of ELA INE which I believe you wanted.
It seems so long since we've seen you.
Do drop in some time (unless you think you
and Margery might come to blows when discuss-
ing the current trends in the London theatre :)
At any rate, I'd love to hear about the summer
in Italy and your evaluation of this year's
vintage :
Yours,
arn
IMPORTANT-Although every care is taken the company cannot hold itself responsible for the
loss of MSS. by fire or any other cause during the ordinary course of business.


Elaine (Play)
origunal Vension


Larher berfi sson


E L A I N E.
A Play
Three Acts.


CHARACTERS
Harold Be tman.
Elaine, his wife.
Martha, their first daughter.
Rose, the ir second dauhgter.
Dick, the ir son.
Bob Eunnel, a nephew.
Audry Fenshore, a neighbour.


S C E N E :
A downstairs living room in a modest
but not cramped
house.
It 1s in the country. On the right there is a
door facing us which leade out into the garden, some of
the trees and bushes. of which (looking ra ther uncared-for)
we can see.
To the left of the door, that is to say in
the middle of the wall facing us, there i8 a long window,
and to the left of that, in the oorner of the room, there
1s a black stove, wi th an oven - a survival from the
days when. this was the main room of a fern-house. Between
the stove and the window there is a low sideboard wi th a
mirror hanging over 1t, and a radio looking ra ther out of
place.
There i8 a door leading out left into a corridor, where a
staircase goes U ps tairs to the bedrooms.
Ano ther door, consisting of frosted glass in a frame, leads
off right, into a room which throu ghout the play is Bob
Runnel's bedroom.
Against the left wall there 1s a settee, with an oak table
before 1t. Armchairs help to form a cosy circle near the
stove with this table as centre. In fact, the room gives an


immediate impression of cosiness.
The old furni ture
suggests that the family
perha ps a genera tion or
so ago - has seen better days; every piece could
have come from a large country house.


ACT ONE.
SCENE ONE.


Act 1.
Scene 1.
Autumn .
It 1s early evening, and
the stove 18 alight.
ELAINE BETMAN is sitting on a stool
in the very corner, to the left of
the stove, facing us. -
ROSE, her daughter, 1s sea ted on the
settee, knitting. She will have to
turn her head in order to face ELAINE
on her left or the audience on her
right.
AUDRY FENSHORE, seated in an armchair
facing both of them, to the right of
the fireplece, also has her profile
towards the audience.
We are thus aware mostly of ELAINE'S
expressions.
Tea things have been set on the table
before them, and the kettle on the
stove 18 boiling. There are cup ps
for five.
ELA INE BETMAN 18 an attractive woman
of about forty-six. She has a pretty
face with black hair and quick, in-
quisitive eves. She hardly gives the
impression of a woman on the wane.
ROSE has none of her prettiness. But
she has a kind of tall grace, especial-
ly noticeable when she walks. This
gives her moments of beauty. But her
face 18 disfigured bya large nose.
AUDRY FENSHORE 18 a woman in her thir-
ties,at the height of her attraction.
She 1s dressed 1n ra ther a sexy way
tight skirt and jumper a and her
face 1s oarefully made up. There is


Act 1.
Scene 1.
some thing a little ruined about her,
though
as_if she has had too many
experiences, There 1s a glass of
wine before her, and she 18 smoking.
ELAINE looks thoughtfully from one
to the other, then seems to come to
a conclusion.
ELAINE:
Well, I still say it's nothing.
ROSE shrugs and continues knitting in
silence. Then she speake, her
voice flat and bored.
ROSE:
She's your daughter, not mine
AUDRY:
Wha t does it matter, anyway?
ELAINE looks again from one to the
other, unwilling to agree wi th either
of them.
AUDRY:
When I was that age
ROSE:
With a little laugh, looking up for
the first time.
And look at you now! Divorced and living on alimony!
AUDRY looks at her in a shocked way
for a moment, but then laughe good-
na turedly.
ELAINE:
Don't you mind her, Audry. It's about time she had a
boy then she wouldn't be so jealous of other people's.
ROSE:
(cynical) Jealous -
AUDRY:
You've got a crush on Bob, haven't you? It's the first
thing I noticed!
ROSE:
Well, if that's all you saw you didn't see much. You were
too busy with Dick!


Act 1..
Scene 1.
ELAINE:
(to Audry ) There - you see?
It's always on her
mind. She's just like her father, - on the look-out
from morning to night.
ROSE:
There's plenty to see in this house
that's why.
ELAINE:
You won't believe it, Audry, but he used to set people
to watch me before we were married!
He used to call
at all hours of the day to make sure I was home * he'a
push past the servant in the hall, walk straight up to
5 my room
God knows what he was afraid of!
ROSE:
withou t taking her eyes off her
knitting.
I wonder what he was afraid of
ELA INE:
(d1erega rding her) He used to frighten me e
AUDRY:
(vividly) I think he 1s frightening:
ELAINE:
I was eighteen then. I had no idea what marriage was.
I didn't understand for years why he suddenly dashed into
my room like that, straight from the street
Those
daye were very unjuet, you know. A woman wasn't allowed
a thought or wish of her own.
AUDRY:
I married for love. And that wasn't any better.
ELAINE:
Yes, but you knew the man
you'a at least been alone
with him.
I was in love too - but the only man I'd
ever been alone with was my father!
Imagine that! So
of course I couldn't see what was underneath the uniform
I fell in love with the cavalry officer!
AUDRY:
Why didn't you leave him, then?
ELAINE:
The children, I suppose.
ROSE:
Daddy's all right
The garden door opens and MARTHA
enters. She is older than ROSE but
appea rs in every way younger.
She
has inherited all her mo ther' 's


Act 1.
Scene 1.
prettiness, with more freshness and
11ght in her face; but ELAINE'
distinction 18 lacking. She wears
her hair in a conventional and rather
childish way, down to the base of her
neck, and she 1e dressed smartly in
outdoor clothee, which are about a
decade behind the times in style.
AUDRY:
Hullo, Mart.
MARTHA : Hullo, Audry.
ROSE:
Hullo.
MARTHA
as she lays hand-bag on the aideboard.
When did you get back, then?
ROSE:
I had the afternoon off.
MARTHA
(going towarde her mother.) ) Oh, I thought you were
staying late. Bus crowded as usual.
She goes to her mother as if by long
Habit
there 1s no need for e1 ther
of them to speak. ELAINE looks upat
her with a smile as she bends down,
and kis8ee her tenderly, then draws
away from her a little to study her
face. She strokes MARTHA 8 hair.
and several seconds pass before Bhe
speaks softly.
Tired, my darling? I
MARTHA :
(in a childish way) Yes, Mummy -
She yawne and they smile at_each other.
ELAINE: : Wha t a yawn! Now slip upstairs and change and we'll
have some tea.
MARTHA rises and goes to the door left,
ra ther indulging her tiredness.
ELAINE begins preparing tea.


Act 1.
Scene 1.
MARTHA: :
(to ROSE, as she passes her) Are you getting off for
the Show?
ROSE:
Me? It's no use even asking at my place!
Why, are you?
MARTHA : Not this year
short on staff or something.
She leaves the room.
ELAINE: You'll have a cup of tea with us, won't you, Audry?
AUDRY:
No, I'l1 keep to wine
it's lovely, it really 1s:
ELAINE:
I make it every year, though the grooms seem to get
most of it.
The frosted-glass door on the right
opens and BOB RUNNEL appears. He
has been asleep.
He is not so mu ch a good-looking young
man as Bimply gifted in manner. He
le tall, and has short brown hair.
He looks healthy and fresh. Women
find his openness and his capacity for
turning things into a lark irresistible
BOB:
Was that Marty just came in?
ELAINE:
I thought you were out, darling!
ROSE gives hima quick depreca I ting
glance and abruptly re turns to her
knitting.
Yes, she's just gone upstairs:
Hewalks yawning towarde the group
near the stove. Suddenly, when he 18
behind AUDRY's chair he springs into
action, clasps her head from behind
and gives her a loud smacking ki88 on
the cheek.
BOB :
Hullo, my sweetheart:
AUDRY:
Bob!


Act 1.
Scene 1.
: She pushes hi m away with a laugh,
flattered, and straightens her hair.
He walks to the door left : and as he
passes ROSE he moves his hand swiftly
over her head so that her hair 18
slightly disturbed. Then he leaves.
AUDRY:
(rather infa tua ted)
Is that boy ever serious?
ELAINE:
Oh, more than you think, Audry. (to ROSE)
Is your
father in the garden?
ROSE does not anewer, only knits more
bueily.
AUDRY:
I saw him by the pond when I came over.
ELAINE:
Rose, go and call him.
Still.ROSE doeen't move.
AUDRY:
What's the matter?
ELAINE for answer simply points at
the ceiling, to indicate BOB.
ELAINE:
(appealing)
Darling
* He '11 want his tea.
ROSE:
(putting. her knitting down and rising.) You en coura ge them.
AUDRY:
(as ROSE goes to the garden door)
Go on, you are in
love with him?
ROSE:
(nodding sadly)
In love a
They watch her leave.
AUDRY:
She's a funny girl.
ELAINE:
(with a sigh) Yes.
Martha's more loving, thank God.
Gazing at AUDRY for a moment.
I'm glad you moved here, Audry -
It's nice having someone.
AUDRY :
Well, I've got a lot to forget.


Act 1.
Scene 1.
ELAINE:
You're free.
Isn't that wonderful, when you might
have been tied down to a, family by now? I've been
here nearly thirty years. Martha's going to be twenty-.
eight in November.
We moved in here twenty-eight years
ago
just 1magine that! - and I've never left this
house for more than a week at a time, and then always with
the children.
Two meals a day
most of the timo for,
a family of five
no wonder the maids always leave:
AUDRY :
I can always come and give you a hand.
ELAINE: Oh, I don't mind it. But I'd like to go out sometimes.
I'd like to put on a dress that didn't get stained in
five minutes!
She gets up and Bees to the fire.
The last ten years
oh, my God, they've been 8o dull!
Why is it, Audry?
Suddenly a death comes over our
lives, and we are quite paralysed!
A pause, then almost to herself.
We haven't sha red the same bed since Dick wa s born
AUDRY:
(suddenly intrigued)
You haven't?
ELAINE shakes her head but doesn't
go on. AUDRY laughe, remembering
the Captain.
The way he stood there with his mouth open when I walked
in the front gate with the housing agent.
I'm sure
that's why he let me have the house
the way he looked
me up and down!
ELAINE:
(smiling)
He always does tha t.
AUDRY:
It's his hande
they always want to touch!
ELAINE:
He was a very handsome man, you know, tall and fine-looking,
especially in his uniform.
I loved him in a way
like
a daughter: But the moment he touched my body with his
hands I feit a shudder go all over me:
AUDRY:
Uggh!


Act 1.
Scene 1.
ELAINE:
If it hadn't been for Martha
: She was like a little
woman from the day she was born, BO unders tanding, so
submissive and gentle, as if she knew wha t I felt all
the time :
Oh, well
: (in a lively way) Listen,
Audry, why don't we go out one evening, just you and me?
There 8 a bus back at 10.42.
AUDRY :
What about the Captain?
ELAINE:
(rising) I know.
We'11 go the night before the Show.
He'1l have his hands full at the stables then. We'll
be quite honest with him - .but afterwards:
It'll save
a lot of fuss!
AUDRY:
I'1l tell him.
(indignantly)
It's a shame to keep you
indoors like this!
ELAINE:
Stopping on her way ou t left - she
Is shrewdly aware that she has won
an ally.
You tell him, then
Continuing to corri dor.
Let me show you something, Audry.
She calle out from the corridor.
The others don't know yet.
She returne wearing an au tumn coat
of 8 deep ecarlet, elightly off the
shouldera, which gives her a atriking
and ra ther dramatic appee rance. She
turns like a manniquin so tha at AUDRY
can see her.
AUDRY:
Elaine
(getting up to examine it) what a lovely
At this moment the door from the
garden opene and the CAPTAIN entere,
followed by ROSE. ELAINE has her back
to them, in the midst of a pose, and
only turns round when she hears the
door olose again.


Act 1.
Scene 1.
CAPTAIN HAROLD BETMAN ie nearly eixty.
He is straight-backed, robust, with
a thick grey moustache. He hae
masterful features
8 fine nose,
thick 11ps and eyes that flash white.
But there 18 a flebbiness about him,
of manner and a ppea rance, whioh tende
to belie this first 1m pression. He
Isdressed in farmer's gaiters and
boots, with a rough shirt opon at the
neck and hie sleevee rolled up.
He stands near the door peering at
hia wife, at the same time intrigued
and suspicious, hie face sorewed up.
He gives AUDRY a quick, 2 sexually ap-
praising glance.
CAPTAIN: What the hell's tha t?
ROSE pasees behind him and goes to-
wards the stove, gazing at her mother's
coat in a dark way, unwilling to show
that she is in the alightost bit in-
terested. She eite down_at her former
place.
Ho are not clear whether CLAINE feels
shame, fear or an amused defiance aa
she looks back at hor hueband. All
three play for a moment on her face.
ELAINE:
It's an autum coa t.
ROSE:
Rising again petulantly
the coa t
1s olearly on her mind
Shall I pour, Mummy?
ELAINE:
Yes, please, darling..
CAPTAIN: - Have you Been this before, Rose?
ROSE:
Wha t?
CA PTIIN: This coat of your mother's?


Act i.
Scene 1.
ROSE :
(attending to the tea things) No.
CAPTAIN: (to ELAINE, morbidly fascinated) When did you get it?
ELAINE:
In the summer.
I only brought it out today.
He draws nea rer to them and, still
watching ELAINE, puts a hand rather
absently on AUDRY's shoulder.
ELAINE 1s not sure whether to pose
for him as she has done for AUDRY.
CAPTAIN: (to AUDRY without looking down at her) What do you think
of 1t?
AUDRY:
(rather frightened with his a1 rm round her) I think it's
lovely.
CAPTAIN: Mm.
He turns away, suddenly tired of tho
sublect, towarda the table. He goes
to the settee at ROSE's side, and she
puts a cupof tea in front.of him.
ELAINE goes into the corridor again,
taking. off her coat. He sugars and
stirs hie tea vigorously, seeming un-
awere of the o thers. Then as abrup ptly
he comes to life again.
CAPTAIN: (to ROSE) Màrtha ba ck yet?
ROSE:
She's upatairs.
CAPTAIN: (as ELAINE comes back into the room) Was that coa t
expensive?
ELAINE:
Not very.
AUDRY:
(taking the plunge) - She'll be wearing it soon
taking her out one evening.
CAPTAIN
(to his wife, peering)
Is tha t right?


Act 1.
Scene 1.
ELAINE:
A little afraid at AUDRY's direct-
ness
thislen't her way of' doing
thinge.
Yes.
We'll have dinner somewhere and catch the 10.42 back.
CAPTAIN: Dinner?
Where?
ELAINE:
At the Metro pole
it's such a time
ROSE:
(deliberetely interrupting her) Pass me the sugar, Audry,
CAPTAIN: You're always out.
ELAINE:
(mildly) Always
CAPTAIN: And who cooks for us?
ELAINE:
Oh, Martha's going to be here, don't worry. a
ROSE:
(cutting in again). Wha t horse did you take, Daddy?
CAPTAIN: The chestnut.
ROSE:
Oh, he's a darling!
CA PTAIN : He'a misohievous job! (abgorbed at once) Got a bit of a
whistle, I thought.
Talbot doesn t seem to know. Wonder-
ful stayer, though. Never have to push him along.
ROSE:
Where did you go?
CAPTAIN: : Round by Lowley Woods, then back along the Bridle. I've
never known the air 8o crisp and clean
you could
drink it today!
There 18 silence while he takes a sip
of tea, then he turns to ELAINE.
Bob in his room?
ROSE:
(at onçe) No. He's upstairs wi th Martha.
CAPTAIN: (to ELAINE) What's he upstairs for?
ELAINE:
Oh, don't be silly, Harold


Act 1.
Scene 1.
CAI PTAIN: How long have they been there?
AUDRY:
(laughing) A couple of hours!
His face falls and he glances at
his watch. Then he realises that
she 18 pulling his leg and gives her
a concu piecent, so-you "re-Rame-for-a-
loke-are-you look.
CA PTAIN: (to ROSE) Call your sister down.
ROSE goes to the door on the left and
calls out, i "MARTHA I Tea 8 ready:
MAR RTHA answers from u pstairs, "Coming!"
ELAINE:
(with a confiding emile at AUDRY) What are you afraid of,
Harold?
CAPTAIN: She's better down here - that's all.
To ROSE as she returns: to her sea t
he 18 now in a general state of
suspiciouaness.
Was she on the 6.13?
ROSE:
Of course she was.
ÇA PTAIN: Did you catch 1t together?
ROSE:
I had the afternoon off.
ELAINE:
Really, Herold, you .8aw her come in for lunch!
He pushes his cup towards ROSE for
tea, a then broode in silence. MARTHA
a ppears at the door, followed by BOB.
The CAPTAIN looks vp sharply.
MA RTHA :
Hullo, Daddy.
CAPTAIN: Hullo.
She goee over to him. BOB sits on
the arm of AUDRY's chair.


Act 1.
Scene 1.
BOB:
Any tea?
AUDRY:
(pointing. to a cup) Thet's yours.
CAPTAIN: (aa MARTHA bends over to kiss him) Do you have to spend
all evening upstairs?
MARTHA : All evening?
BOB:
(with a laugh) à He thinks we've been making love!
MA RTHA :
Shut up, you.
(putting his arm round AUDRY)
Not a hope of that!
(to ELAINE) She posted me in the next room while,she
changed! I had to talk through the door!
ELAINE :
(quietly) Well, then, she knows how to behave.
BOB:
Audry's much nicer!
She 1sn't such a Miss
CAPTAIN: D'you neea any help over there, Audry?
ELAINE:
(laughing) Where?
CAPTAIN: Over at the house.
ELAINE:
(to AUDRY) Oh I thou ght he wanted to sit on the other arm!
AUDRY:
I've just got the walls done. And the curtains go up
tomorrow.
CAPTAIN: I OU ght to come over and see how you're getting along.
ROSE:
(smiling at AUDRY) He'd have lots of su ggestions
ELAINE:
I expect he made them long ago.
BOB :
He did!
I heard him in the garden!
CAPTAIN:
wanting to keep his dignity as father
of the family but also rather amused
Now,
be silly
No, I meen if there's any way I
can 'hdrp' What about 'the morning?
BOB:
Here we go.


Act 1.
Scene 1.
AUDRY:
I'l1 get everything ready, Captain, then I'll have you
all over for a party.
BOB:
So you can put that in your pi pe and smoke it.
CAPTAIN: (dieregarding him) Is the rent too high?
AUDRY:
No, of course not.
CAPTAIN: That's e fair rent, you know.
I worked it out strictly
on the basis of costs, land tax, rates and 80 forth.
It's not a, perny more than 1t should be.
You wouldn't
find another place with four rooms, kitchen and ba throom,
standing in 1ts own garden, apple trees and a nice lawn,
for thet price.
ELAINE:
All right, Harold -
CAPTAIN: It's a fact. I'm just talking facts. (to MARTHA )
Have you seen your mother's new coat?
MARTHA :
(looking up slowly) Wha t new coa t?
ELAINE:
(hesitantly) I bought it in the summer.
I was showing
it to Audry.
CAPTAIN: Didn't you see it?
MARTHA shakes her head, as if reject-
Ing the matter
She's giving it a trial flight next week some time
with Audry.
MA RTHA :
(interested now
to ELAINE)
What do you mean?.
ELAINE:
We 're having the evening out.
There 1e silence. MARTHA turns
away. ELAINE sighs.
ELAINE:
(to AUDRY)
They're 80 enthusiastic, aren't they?
CA PTAIN: (to MARTHA) ) You'll have five mouths to feed tha t night,
1f Dick turns up.


Act 1.
Scene 1.
BOB:
What, 18 she cooking?.
MARTHA :
(to ELAINE, with resentment) It's all arranged, i8 1t?
ELAINE:
What do you mean
all arranged? Wo don't even know
ourselves when we're going.
MAI RTHA : Don't you think I have enough to do at the office, with-
out looking after your family?
(in an outburst) I
brov ght up your son for you: wha t else do you want?
ELAINE is stung by this and does
not speak at once.
BOB:
Don't be so rude, Martha.
MARTHA : And don't put your spoke in!
ELAINE:
You brought up my son for me, did you?
And who do you
think's been doing the shopping for thirty years, and
cooking your meals, and making your beds? Just because
you took him on your knee for a minute every day!
CAPTAIN: You needn't take her up.
She's tired.
You can see. tha t.
ELAINE:
No, it's because I'm having an evening out. But it
doeen't ma tter.
We'll forget about it, Audry.
ROSE:
More wine, Audry?
AUURY:
No, thanks.
ROSE:
More tea,. Daddy?
CAPTAIN: (his eyes still on ELA INE) Not for me a
BOB gets up from AUDRY's chair and
stretches.
ELAINE:
(tenderly, to BOB) Did you. have a good sleep, darling?
BOB:
Yes, thanks.
ROSE:
That's right. He's tired from doing nothing all and
every day.


Aot 1.
Scene 1.
ELAINE:
tha t won't leet for long, don't you worry, my girl.
on., got 8 fine career ahead of him.
ROSE:
It's been ahead of him for nearly twelve months now.
BOB:
And what's it got to do with you, Helen of Troy?
ROSE:
This - I go out at seven o'clock in the morning to
keep this house on 1t's feet!
CAPTAIN: (finding thie distasteful) Rose
BOB:
Oh, well we can't all be 11ke yon
good as well as
beautiful.
He strolle away from the group near
the atove, his hands in his pooketa
and begins singing to himself
Ring-a-ring-a-rosee,
Pocket full o'
He pauses, then adde nonchalantly
but distinctly
noses.
The othere can hardly restrain their
amilee, and ROSE titters.
Let's have a dance!
He turne on the radio, triee several
statione, then finde some 1azz, which
he pute on full volume. ELAINE puta
her hande over her ears and laughe.
BOB turns and holda out his arme to-
wards her. inviting her to come and
dance with him. She sha kes her head,
but he calls out urgently, beginning
to move in the rhythm of the
musio,
COME ON So she gete up, excited,
a little nervous, saying what seems
Iike
for the music 18 80 loud


Act 1.
Soene 1.
'BUT I CAN'T DO IT!' The CA PTAIN,
MARTHA and ROSE are watching her
curiously and inten tly.
He quickly swee ps her into the dance,
doing a modern jitter-bug, but she
cannot grasp the steps. So he drawe
her closer to him with a laugh and
takes up the conventional ballroom
position. At once she begins to
shine. Her movements are graceful,
and she takes long steps, her head
high, as 1f she 18 used to dancing
in large and fashionable ballrooms.
Her face changes.
She a ppears wrapt
and lost. She seems no longer to
belong to the room. The CAPTAIN
watohes her with awe, a little smile
on his lips, and his eyes narrowed.
MA RTHA seems crushed: she 18 standing
quite still by the stove, staring at
her mother from under her eyebrows.
Only ROSE 18 disengaged: she watches
the couple wi th a remo te and apprais-
ing eye, as 1f she 18 trying to divine
some thing 1n ELAINE.
The music stops. We Bee in a moment
how ELAINE would look 1f she led a
grander life. She sigha delightedly,
then turns round to facé the mirror
on the wall. The others still watch
her. BOB leans on the table, panting.
ELAINE draws herself to her full
height, her hands above her head, gaz-
Ing at her reflection, as 1f 1magining
the 11fe she might have had. The
others seem absent to her. There 1s
silence. Then the radio starts again,
with another tune. But she switches
Itoffat once with a 11ght flick of
her hand. MARTHA 18 still gazing
at her, orushed.
ELAI INE:
Oh, Bob
I haven't danced for years
not rea lly
danced!


Act 1.
Scene 1.
AUDRY:
(who has been wa tohing Martha ) Wha t about Martha?.
BOB:
Remembering himself with a start
and going to her.
Yee, Mart
oome on! m
MA RTHA :
No, 1t's all right.
ELAINE:
(to AUDRY) ) A woman should dence every day
she really
should!
BOB:
(takes MARTHA '8 hand, but ehe will not move) Marty!
(to ELA INE
You tell her!
ELA INE:
(indifferently, without looking at her) Yes, go on,
da rling.
BOB ewitches the radio on again.
At last MARTHA goes with him reluct-
Iy, and they begin a Jitterbug step.
But she 18_very eluggi sh. It 18
cleer thet she 18 at home in the
aance, but the 1ife hae gone out of
her and she barely follows BOB'e
stepe. ROSE 18 wetching her, fas-
cinated. ELA INE seated a gain,
stretches ba ck ma mificently.
To make her more lively BOB begine
to dance faster. Then, determined
to ehake her out of her mood, he takee
her up in his_ arms and beging madly
whirling her round. At first she
amiles unwillingly bu t then
she tries to get down and he resiste
her
she grows furiove. Ehè shoute
at him, "Bob: Let me down!" But
only when she i8 almost punching his
In the face does he drop her. She
ewitchee the radio off with an angry
gesture and then looks down at her
crumpled skirt.
MARTHA : Now look what you've done! And it'e new on today!


Act 1.
Scene 1.
She stamps. hér foot and, seeing him
quite unconcerned, goes up to him,
white with anger and her lips pursed.
and smacks him round the cheek. Every-
body 18 shocked. He stands quite
still for a moment, staring at her,
then marches off to his room on the
right and slams the door. There 18
silence.
ELAINE:
Martha, really
CAPTAIN: There's no need for that, Martha.
MARTHA :
(quietly) Oh yes, there is.
And now he can sulk all
he wants to.
AUDRY:
Is is new on today?
ROSE:
She bought it at the sale last week.
AUDRY gets up_and takes a closer. look
at MARTHA 8 skirt.
AUDRY:
Oh, you can't see a thing.
ELAINE:
After all, Martha, 1t was only in fun. (she draws MARTHA
towards her) Now go and make it up, da rling.
MAF RTHA shakes her head 11ke a child,
as 1f on the edge of tears, and ELAINE
puts her arm round her shoulder, then
ruffles her hair, untilat.last MARTHA
looka up with a little emile.
Go on, my baby.
Be nice to him.
MA RTHA : Wha t did he have to
ELAINE: It doesn't matter now.
MARTHA go es over to BOB's room and
enters.
CAPTAIN: (to ELAINE, after gazing at BOB's closed door) You
encourage them, don't you?


Act 1.
Scene 1.
ELAINE:
Wha t
to be polite to each other, Harold?
CAPTAIN: You start 1t, then you
ELAINE: Me start it?
CAI PTAIN: Anyway, get her out of that room
ELAINE turns away and he jumps up
with Budden fury, shou ting at the
top of his voice, which 18 surprising-
ly powerful.
Martha : Martha! :
MARTHA appears from BOB's room, look-
ing frightened.
MA RTHA : Yes?
ELAINE:
You father wante you here.
BOB comes out also, completely puzzled.
The CAPTAIN goes to the garden-door
and pulle 1t open.
CAPTAIN: (to ELAINE, gazing across at her menacingly) One in the
family"s enough!
ELAINE:
Bubdued by his anger, but wanting
to show defiance in front of the
others.
One whe t?
BOB:
(passing ELAINE) What's he talking abou t?
The CAPTAIN goes ou t, alamming the
door after him.
CU RT A I N


ACT ONE.
SCENE TWO.


Act. 1.
Scene 2.
The evening before the Show. It 1s
late and the curtains are drawn. The
door of BOB's bedroom 18 open and the
light there 18 on.
ROSE 18 attending to the stove.
MARTHA walks acrose to the window and
peeps out. She appears cold, and is
drawing her jumper closer about her
shoulders.
ROSE goea back to her usual place on
the settee and takes up her knitting.
But after a few Beconds she throws
It back on the table hopelessly.
There 18 absolute silence in the house.
MA RTHA remains by the window, anxious
and pinched-looking.
MARTHA :
Where did she say they were going?
ROSE:
She didn't - a And I'll tell you another thing
MARTHA :
(peering at her, for a momen t like her fa ther) Wha t?
ROSE:
This won't be the last of her evenings out
she'a
got an ally now :
MARTHA :
(breathlessly)
She haen't been seeing Talbot, has she?
ROSE silences her wi th a glance, for
she has been BOB coming out of his
bedroom. He stande in the doorway
Iooking across at them.
BOB:
What's the matter with everybody tonight?
MA RTHA doesn't even turn round. ROSE
takes up her knitting again.
ROSE:
Minding their own business mostly.
BOB:
(strolling over to the radio) What a rotten dinner tha t
was.
MA RTHA : Now don't switch that on!


Act 1.
Scene 2.
BOB:
But what's the matter?
MARTHA : It's late.
And we're going to bed.
BOB:
It's because she's out. Honestly a a. girl of twenty-
seven like you!
MA RTHA : It's none of your business
I've told you that before.
There 18a noise on the step outside.
the door. in the garden. Both the
girls start. The door opens. It
1s the CAPTAIN. He remains by the
dooring, holding 1t alar as if he in-
tendèd - to leave again at once.
CAPTAIN: How's the time?
ROSE:
Just after eleven.
CAPTAIN: Didn't I hear that bus?
ROSE:
It 1en't due in for another minute.
CAPTAIN: I could have sworn I heard it come in
ROSE:
That's the 10.00.
Why don't you go to bed?
CAPTAIN: With the Show tomorrow? I'm over with the grooms, girl:
ROSE:
Oh, yes! (to MARTHA ) I'd clean forgotten the Show.
CAI PTAIN: (hot on his subject again) 'All the tackle's down
twenty-nine pairs of boots; thirteen saddles, there's
enough leatherwork for a Squadron of horses there
MA RTHA : You're letting the draught in, Daddy - .
CA PTAIN: : (coming to his Benses slowly) Well, you know where I am
He goes.
ROSE:
'W1 th the grooms' . .
They'd have kissed his shoes twenty
years ago.
BOB :
(putting his arm round MARTHA ) Let's go over and watoh
them at 1t - come on:


Act 1.
Scene 2.,
MA RTHA :
(shaking her head) You go.
He kisses her lightly on the 11ps and
makes as 1f to push him away, but in
truth she 1s quite pleesed. ROSE
watches them.
ROSE:
You two
BOB:
Why?
ROSE:
Aren't you ashamed, in front of other people?
BOB:
If you could see your eyes when I do this
He lowers his head on to MARTHA's,
with a tender, voluptuous expression.
ROSE:
You just look damned silly.
BOB:
with mock eharpness, pointing hie
finger at her imperiouely
Then why were your eyes burning?
MAF RTHA :
(amused despite herself)
They were burning.
ROSE:
Here's the bus:
They 1isten, but there 1s nothing.
BOB:
(to aggravate them) There are lots of other buses she
could catch - there's the 11.33, the 12.17, the 1.03,
the 2.46
MARTHA :
Sesh:
This time there 1s a sound_on the step
outside and ELAINE entere, dressed in
her new au tumn coat. She 18 flushed,
and her eyes are lively and dark. Her
face 18 carefully made up. AUDRY 18
behind her.
BOB:
about Hullo! (with a glance at MARTHA ) We were just
you
talking


Act 1.
Scene 2.
ELAINE:
Hullo, darlings. (full of the evening) Well, we certainly
did have a lovely time a
AUDRY:
You ought to have seen the dinner we ate:
ELAINE:
(to AUDRY) We really should make a party of it one
evening all of us together - (to ROSE and MARTHA )
You'a adore -
She stops, seeing their delibera tely
Impaseive facea. There 1s ailence.
BOB:
(helplessly to ELAINE) Don't you mind
ELAINE:
(quietiy) All right.
The evening's finished now.
(turning back to AUDRY) You see how they are?
She goes out loft, taking off her coat.
AUDRY :
(to MARTHA 1 and ROSE) Why can't you be' nicer with her?
There 1s the sound of a bus outaide.
MARTHA and ROSE stare at each other.
ELAI INE comes back into. the room . She
le dressed in a black evening gown,
too splendid for a simple vieit to town
BOB:
(watching her)
I've never seen you dressed like that
ELAINE:
(kiseing him on the cheek) Oh, yes you have, darling
but you were too small.
ROSE:
(to her mother, almost trembling)
Wasn't that the bus?
ELAINE: Wha t?
RCSE:
That was the 10.42 just came in!
ELAINE: What about 1t? (realising)
. 1 We got a lift back.
MA RTHA : A lift?
AUDRY:
(to BOB) What's the matter with these two?
ELAINE:
Shell we have some tea?
AUDRY:
I think I'll go to bed, Elaine.


Act 1.
Scene 2.
MARTHA :
You got a 11ft?
ELAINE:
Yes.
MA RTHA:
Who from?
ELAINE:
(dishonestly) Oh, some man. (without reprimand) Wha t
are you looking at me like that for?
ROSE:
She's just curious.
ELAINE:
Oh, he was some man at the Metropole.
He walked out
juet as we did.
AUDRY:
What do they think, for God's sake?
ROSE
He just came up to you?
ELAINE:
He saw us walking away
and he had a car
80 he
offered UB a lift home.
MARTHA : Wha t was his name?
ELAINE:
How do I know?
MARTHA
Does he live here?
ELAINE:
No. Beyond the Quarry, I think
Where's your father?
ROSE:
Over at the stables.
ELAINE
Isn't it the Show tomorrow?
Nei ther of her daughters pay any
atten tion to this.
BOB:
Yes.
AUDRY:
Hasn't Dick turned up?
MARTHA: He sent word across to say he'd be spending the night there.
ELAINE:
(to AUDRY) Is he booked for a race?
AUDRY:
Yes, after lunch, I think.


Act 1.
Scene 2.
ELAINE:
(sitting down with a tired sigh). Still, tha t was a
beautiful evening.
AUDRY:
(to BOB) You ought to have seen the food!
ELAINE:
(also to BOB) We had trout, and a lovely wine, and
it was all so quiet - You would have loved it, wouldn't
you, darling?
He nods, glancing rather doubtfully
at MARTHA.
ROSE :
Well
80 long as he didn't have to work for it.
BOB:
Now then, Trojan beauty
ELAINE:
(cutting them off) If Dick's not here you'd better see
Audry home, Bob. You'a better take a torch.
ROSE:
Daddy can take her.
He'll be back soon.
AUDRY:
I'd rather go alone, then!
BOB:
Where's the torch?
ELAINE:
In one of those drawers. (Indicating the sideboard)
but stay . and have some tea, Audry.
AUDRY:
No, I'm 80 tired.
I'11 come over in the morning.
BOB finde the torch.
BOB:
All set, Audry.
MARTHA :
I'd like a walk, too.
BOB :
(triumphantly) She's jealous!
That's the style, Martha:
He rushes. across and draws her
into his arms.
I'll play you and Audry against each other:
ROSE:
You'd better watch out for Dick, then.
ELAINE:
All right, Rose, he's only playing. .


Act 1.
Scene 2.
ROSE:
Is he?
AUDRY:
Good night, everybody
ELAINE:
Good night, dear.
And thank you ever 80 much.
ROSE:
Good night, Audry.
The three of them leave the house,
BOB taking AUDRY's arm as well ae
MARTHA's.
ELAINE closes the door after them
and at once turns to ROSE, who 1s
putting her knitting in a bagz
preparing. to go to bed.
ELAINE:
Really, Rose
How do you
think I feel when you ask me questions like that
'Who
gave you a l1ft? What was his name? Where does he come
ROSE:
Martha asked most of the questions
ELAINE:
But it always feels like you, darling - as 1f the
intention came from you.
ROSE:
(lowering her gaze) It's all this
ELAINE:
What, darling?
ROSE:
(awkwardly) It's the way thinge are going
there's
Audry e
ELAINE:
(laughing) What on earth's Audry got. to do with it?
ROSE:
her sort of life
divorce
going out all
the time
And you don't seem to mind 1f Martha goes
the same way.
ELAINE:
Can you really compare the two?


Act 1.
Scene 2.
ROSE:
Of course you can.
I don't BU ppose Audry was very
different from Martha before she married - - no weaker,
I mean.
ELAINE:
'Goes the same way'?
no, 1t's ridiculous:
ROSE:
But you encourage them. :
ELAINE:
Encourage who?
ROSE:
Martha and Bob
just as Daddy said.
ELAINE: And I enoourage them to do wha t?
ROSE:
To behave like a married couple.
ELAINE stops, for the first time
aware of danger.
ELAINE:
(going closer to her daughter
speaking in a low voice) )
What are you saying?
ROSE:
Nothing particular.
ELAINE:
But what do you mean
'married couple'?
ROSE:
(with a shrug) I don't know
he's always mauling
her about
ELAINE:
In here?
ROSE:
Oh, on this sofa
over there in his room
ELAINE:
But have you any real evidenoe.
I mean
? (gazing
down
almost to herself) My daughter wouldn 't
not
in my house!
ROSE:
But you didn't even know she was in love wi th him until
I toid you!
ELAINE:
She 11kes her cousin.
Don't you exaggerate? They're
cousins, after all
Perha pe they pet each other a
bit
Do they? i wonder if you don't exaggera te
all this!


Aot 1.
Scene 2.
ROSE:
But just suppose she got herself into trouble.
wouldn't worry!
ELAINE:
If anything like tha t happened in this house - I
He coulan't, Rose
against me, against your father
ROSE:
Then what about those women at Lowley Ga te? That boy
was going out with married women at the age of seventeen!
ELAINE:
You believe that kind of talk?
ROSE:
Yes
because women are just a joke for him!
ELAINE:
(shaking her head slowly) But you're wrong, darling -
I'm sure of that
I know that laugh for what it 1s,
I know that way of being saucy to people a (she pauses)
You never saw his grandfather, did you?
ROSE:
(in a bored voice) No.
ELAINE:
I used to stand outside the drawing room door just to
hear him talk - he made everything 80 rich and warm!
ROSE:
(flatly)
Yes - I've heard it before. Bob's the
living 1mage of him - : (with sudden sharpness)
But
why have Mart and I got to keep him alive?
ELAINE:
Oh, dear, the eternal subject
ROSE:
Well, you couldn't keep this house going on Daddy's
retirement pay, could you?
ELAINE:
But don't you think your father. and I have some sort of
duty towards the boy, darling?
Can you imag gine what
1t's l1ke to live motherless all your life?
ROSE:
That doesn't mean he can't work.
Even an angei can fall.
Adam did,. 80 - why shouldn't Bob?
ELAINE:
We agreed to take him for at least a year, without
conditions.
ROSE:
It's more than a year now.


Act 1.
Scene 1.
ELAINE:
You'd think it nice if I told him to go out and earn
his living straight away? Nothing very warm and
loving about that!
ROSE:
He's nearly twenty-one:
I don't see it's very unkind
to ask him to work.
As it is he mopes all day, he's
always sloughing round with his hands in his pockets,
he's always trying to flirt with somebody,h1e hand's
always on tha t radio - 1f you think that's how a
young man ought to live - well:
The door from the garden' opens and
i the CAPTAIN enters. He looka
anxioualy into the room, a then seee
ELAINE.
CAPTAIN: Ah, you're back.
ELAINE:
(to ROSE) Now get to bed, darling.
You'll never
wake up in the morning.
ELAINE tidies the table, puts the
chairs in place, turns down the
flue-tap on the etove while ROSE
begine banking up the fire for the
night.
CAPTAIN: (watching ELAINE) Was the 10.42 on time?
ELAINE:
I think 80.
CAPTAIN: Where did you go?
ELAINE:
To the Metropole.
CAPTAIN: For dinner?
ELAINE:
Yes.
He gazes at her dress and figure.
CAPTAIN: Did you wear the coat?
ELAINE:
Yes.


Act 1.
Scene 2.
CAPTAI IN: One of the grooms said yop weren't on the 10.42.
(pause) I said you must have been.
ELAINE:
Well, I waen't.!
CAPTAIN: (screwing up his face, to listen better) What?
ELAINE:
I said I wasn't.
CAPTAIN: What ha ppened, then?
ELAINE:
(with a sigh) We got a lift back.
There 18 a pause during which he
tries not to ask the next question,
but it gets the be tter of him.
CAPTAIN: Who from?
ELAINE:
A man
I don't know who
he offered us a lift.
She busies herself with tidying the
room, then preventa further questione.
Rose says we've got to find some work for Bob.
The CAPTAIN pauses, needing time to
absorb this.
CAPTAIN: Why?
ELA INE:
She's probably right.
After all, he's got to start work
some time.
CAPTAIN: Yes, but
(he waves his hand vaguely) He's only a boy.
ROSE:
He's nearly twenty-one,
CAPTAIN: Oh, he's all right hanging round here for a bit. He helps
me in the yard.
He's got it in him.
There's no need
to push him into anything.
ROSE:
(quietly) You see? You both want to spoil him.
(to the CAPTAIN) And the other day you were shouting at


Act 1.
Scene 2.
someone to come out of that room! It wasn't him you
shouted at.
But he was the cause.
CAPTAIN: (shelving 1t). All right, let's have a talk about 1t
in the mo rning.
(with a - yawn)
Was that dinner
expensive? (going to the door left)
ELAINE:
Audry paid.
CAPTAIN: Did she, by God?
Well, good night.
ELAINE:
Good night.
He goes.
ROSE:
'Tomorrow'
. (she takes up her knitting bag) He
can never set about thinge today.
ELAINE:
Well, 1t 1en't easy
Nei ther of us want to push
the boy into anything.
ROSE:
You just have to choose be tween him and Mertha.
ROGE goes out left. ELAINE goes to
the garden door and looks out into the
night.
There 18 no sign of MARTHA
and BOB.
She comes back into the
room, thoughtfully, and at first we
think she 18 going to wait for them.
But she decides against it. She goee
out left, leaving the door open and
switching out the 11ght. Only a dim
light from the corridor 1s shining
across the room.
There 1s silence. Nothing happens for
some time. Then we hear a step out-
side. The door opens. There 18
whis pering. MARTHA and BOB have come
in, thou gh we can barely Bee them.
They tiptoe across towards the light.
They are holding each other close.
Suddenly he grasps hold of her shoul-
ders, turns her sharply round to face


Act 1.
Scene 2.
him and kieses her on the mou th.
After a few seconds she puehes hin
away with a gasp, and he laughe Boftly.
They. go towarde the door on the left
and MARTHA elowly and carefully
that it does not creak
oloses 1t.
The room la in darkness for a moment.
Then ehe switches up the light. They
go to the settee and sit down, she
half lying across him with her head
on his chest and her feet tucked up.
MA RTHA :
Daddy left that door open. He's 80 funny.
He sleepe
with one eye open.
BOB 18 staring before him.. MARTHA
has closed her eyes, but he seems wide-
awake. Now. that he 18 not being de-
1ibera tely jolly we can Bee that there
L8 a kind of wietful melangholy in
his face. And wi th thie there 18
alao impa tience.
They remain 11ke this for some time.
BOB:
Martha e
MARTHA: :
(w1 thout opening her eyes) Yes?
BOB:
Why don't we go in my room?
MA RTHA :
(opening. her eyee et once) Because of Daddy.
BOB:
He's asleep.
He's been ohopping wood all day.
MARTHA: He Benses things.
BOB:
We can turn out the 1ight here and
MA RTHA :
(in distress) What for, Bob?
It'e always the seme!
She Jumps up, flinge herself away
from the settee.
Why can't you leave me in peace?


Act 1.
Scene 2.
BOB:
(getting up) Oh, peace: Every time I touch you 1t's
pea ce TT
MA RTHA :
You aren't content just to be wi th me, are you?
BOB:
Going up to her. and trying to pull
her towards him.
Don't be silly! (raising his voice) I do wan t you with
me, but not there
(indicating the settee) Why can't
we be alone Bome time?
MAI RTHA :
I told you, didn't I? Because of Daddy.
BOB:
(keeping hold of her)
It's because of you.
It le you,
isn't 1t?
MARTHA: : Well, why do you have to be pawing me about all the time?
BOB:
'Pawing' you?
MARTHA :
You don't have to be touching someone all the time!
BOB:
You said you 11ked kissing
MA RTHA :
Oh, why can't we be quiet sometime s?
BOB:
(turning away) We're always quiet.
MARTHA : Are you sure you love me? Me?
BOB:
Your body's you, 1en't it?
MARTHA :
Not all, no.
BOB:
(pulling her again) Oh, come on, Marty!
She resists, calling out 'Bob' but
in a muffled voice.
Come on!
There is a noise on the stairs.
MARTHA :
(frightened) There!
It's Daddy!


Act 1.
Scene 2.
They. Btand çuite still, their hands
at their sides, waiting. It 18
ELAINE. She 1s in a dressing-gown
which, like her coat, gives her a
very striking. and dramatic ap ppearance.
She seems paler. She etands at the
door surveying them bo th withing smil-
ing, in a very dignified way.
BOB:
Hullo!
MA RTHA :
(easier) I thought 1t wa S Daddy.. I
ELAINE:
(coming further into the room and speaking coldly) Now
don t you think 1t's time for bed?
I mean
MA RTHA :
(astonished by her tone) What's the matter?
ELAINE:
(euddenly sweet
putting her arm round her daughter)
Oh, I don't know. Lumipera all this coming and going. You
know what your father's like :
MA RTHA :
I'm coming up now.
ELAINE:
(she lets her arm fall from Martha) And you know, darling,
I can hear every word you say upstairs.
She pauses, then speaks in a sharp,
sca thing tone, her face hard.
It ien't very nice, is it?
MARTHA is stunned and bewildered. She
stares at her mothor, her mouth o pen.
ELAINE:
(hugging her again) All right, derling. Don't be long.
(kisses her, then walke away) Good night, Bob.
BOB:
Good night.
ELAINE leaves again, the door open
behind her. MARTHA remains standing
quite still.


Act 1.
Scene 2.
BOB:
(softly)
Don't worry about her.
She's jealous.
He draws her tovards him.and tries
to ki88 her. She does nothing to
resiet him, only stares before her.
MA RTHA : I I'm going to bed..
BOB:
Why do you let . her upset you like tha t?
She looks down and shakes her head
in silenoe. She breaks free of him.
MARTHA :
Good night, Bob.
She hurries to the door anxiovely and
goes out, closingit behind her.
He stares after her. He looks round
for Bomething to do. He goes to the
settee and lounges there for a moment,
puts his feet up on another chair,
Yawne. Then he looke at his watch.
He has thought of something to do.
He goee to the door leading into the
garden, listens to the silence of the
house for a moment, then alipe out,
switching off the 11ght as he goes.
- U R T A I N.


ACT TWO. .
SCENE ONE.


Act 2.
Scene 1.
The day of the Show, about noon.
There 1s bright sunehine, and both
the garden-door and the door on the
left are open. Nothing stirs ou t-
side, and 1t might be a summer's day.
The breakfast things, on the table
near the hearth, have still not been
cleared away. There are places for
four people.
ELAINE 18 standing in the doorway
gazing into the garden, 80 that she
has her back towards us. She 18
dressed for housework.
Some time passes, then BOB's door on
the right opens and he comes out. He
18 dressed sportively, in blue
trousers and yellow sweater, with a
silk scarf.
He sees ELAINE. He
creeps up behind her and suddenly
puts his hands over her eyes from
behind.
ELAINE:
(with a lump) Bob!
(she turns with a smile) You can
be a fool!
BOB:
(kissing her on the cheek) Hullo:
ELAINE:
Look how lovely it 1s:
He puts his arm round her shoulder and
they stand looking into the garden.
It must be horri ble working in an office every day like
Rose and Martha.
BOB:
They could work on the farm.
ELAINE:
And how muoh money would they get?
Dick earns a quarter
of their salary. Less. And he's over at the stables
all hours of the night
BOB:
Oh, he enjoys 1t!


Act 2.
Scene 1
ELAINE:
(laughing) And what about you, darling? What's your
line of work?
She hugs him and looks up into his
eyes.
Kiesing pretty girls?
BOB :
What about some coffee?
ELAINE:
(turning)
I've just made some.
Taking him by the hand towards the
stove.
Why don't you get up earlier, Bob?
BOB:
I had a late night.
ELAINE: But Martha came up just after me.
I know.
(rather darkly)
I was reading.
ELAINE :
(taking the coffee from the stove) This is the fourth
I've mede this morning. First theres Martha, then Rose,
then the Captain and Dick
and by the time you're
finished it's neariy time for lunch.
BOB:
Where is everybody?
ELAINE:. The Captain's at the Show.
Dick's upstairs.
BOB:
Is he riding?
ELAINE:
Oh, yes
risking his life as usual.
BOB:
I 11ke to see him on horseback .
ELAINE:
Did you ever think about riding?
BOB:
No - I've seen too many spills.
ELAINE:
Coward.
BOB:
Just Bensible.


Act 2.
Scene 1.
ELAINE:
(stopping and looking at him) That's the first I saw
of the Ca ptain, taking a hurdle at a military point-to-
point.
BOB:
He even looks like a horse - : (tickled by his own fancy)
Have you seen him walk across the garden from behind?
Getting up and imitating his walk.
ELAINE:
(with a smile) That's your line of work
playing the
fool.
She gives him his coffee, then sits
down and looks at him more soberly.
But you can't go on like that for ever, Bob.
BOB:
Are you angry about last night?
ELAINE:
I waen't angry with you, darling,
Gets up, opens the stove, rakes it
and refills 1t with coal before she
speaks again.
After all, you're a young man.
There'd have to be some-
thing wrong with you 1f you didn't find Martha attractive,
wouldn't there?
BOB:
You didn't look at me once last night
you only talked
to her
and when you said good-night you had your back
turned.
ELAINE:
Well, I told you: I wasn't angry with you.
BOB:
But what's she done?
ELAINE :
She haen't realised
that's all
BOB:
Realised what?
ELAINE:
Let me ask you a question. Are you in love with her?
BOB:
(after a pause) ) Yes, I think s0. :


Act 2.
Scene 1.
ELAINE:
(thumping the table with Budden anger) Exactly!
'I think 80"! I think s0 TT You aren't, Bob, you
know you aren't!
Her face 18 flushed and he stares
at her in surpri 8e. *
BOB:
How do you know tha t?
ELA INE:
(smiling sadly) Oh, darling, I know your face
I've
seen 1t before. You're playing, Bob
BOB:
No, I'm not.
ELAINE: You're plaving. And when your grandfa ther said some-
thing very, very Beriove he had the same look a 'I think
and he ueed to cock his head a little to one side,
juet like you. My mo ther would aek, 'But woulan't you
like a houee in the country and a settled routine?' And
he'B look at her with those same eyee and say, 'Yes.
I think 8o.' Then he'a disappear for another six months.
BOB:
(looking down, pouting a 11ttle)
Well, I never met him
ELAINE:
Look at me, derling: I'm not trying to ecold you. I'm
not saying he waen' t a serious man.
He was the most
serious man I ever set eyee on.
But not for thinge 11ke
a house and marriage and children.
That's what I loved
him for.
I could marry her
ELAINE:
But will you ma rry her?
BOB :
(looking away) I haven't thought about it.
ELAINE:
of course you haven't.
He never gave marriage a thought
until he was quite an old man.
BOB:
I'm me
not some gouty old boy who lived fifty y eare
ago! Honestly
ELA INE:
He never had gout. He looked as firm as a rod until the
last month of his 1ife.


Act 2.
Scene 1.
BOB:
I'11 go away then
ELA INE:
Look, darling, I'm not asking you to think about marriage.
In fact, 1t's the very opposite. of course you're
different people, you concei ted boy! (after a pause,
thoughtfully)
How could I be angry with you? I've
got you to thank for my evening out.
BOB:
ELAINE:
It was you who gave me the confidence
did you know
that? Do you think I could have done it a year ago?
Go out to a hotel
eit there, take coffee with Talbot
in the lounge afterwards 1 I wouldn't have dared!
She puts her hand delioately on his
head, and kisses him.
And last night, all the time we were talking to him,
I had in the back of
mind, 'Bob's at home. He'li save
me.' And that's how mY felt when I was a child, towards
your grandfather:
'Uncle's there. He'l1 understand'.
BOB:
But why shouldn't you go out? You cook their meals and
clean the house, you do more than any other woman I've seen!
ELAINE:
That's just the point, darling
I've a conscience to
be roused:
And they know 1t!
BOB looks at her with clear eyes,
seeming to appraise her.
(quietly) You're very strong, aren't you?
ELAINE:
Why?
BOB:
When you go out this house feels empty and cold
Martha
looks out of the window all the time
they never forget
you
(he pauses) She wouldn't miss me like that
(he stopa. again) There's always something wrong when
we "re together. Yet she says she loves me :
ELAINE:
(suddenly) Did you ever go further than kissing, Bob?
BOB:


Act 2.
Scene 1.
ELAINE:
Are you sure?
BOB :
I said no!
ELAINE:
I'm her mo ther, darling
BOB:
But God
she's twenty-seven!
ELAINE:
Listen to me, Bob. You just.enjoy running efter her
it's no more than that!
BOB:
How do you know?
ELAINE:
Didn't you eay 80 yourself?
There 1en't a shred of
confidence between you! And I won't have my daughter
going the same way a8 me. What did I fall in love with
when I was ei ghteen? a uniform and a brusque manner!
And I've been wretched ever since!
BOB:
(gazing_at the table and mumbling re ther) Thet'e nothing
to do with me
ELAINE:
In the end it's 'the same. And I won't let you do it to
each other! (wi th a aigh) But there! I can't really
stop you!
There 1s silence between them for
some time, and he continuee to gaze
at the table.
BOB:
Perha ps- she'1l marry some : body like the old boy after all.
ELAINE:
Oh, not while I'm alive.
BOB:
kidding her, for he 18 now tired of
the diecnesion.
You can't help fate, you know.
ELAINE:
(emiling at him refleotively) There
that'e how serious
you are about the whole thing.
BOB :
(lumping up) Oh, come on, let's go out: It's a lovely
day!


Act 2.
Scene 1.
He 11 fte her clean out_ of her chair
and plants her on the floor.
BOB:
Let's go to the Show!
Come on!
He begins swing her round and round
in a kind of dance, at the same time
singing:
Captain Bétman's wife will go; with her népher to the Show
ELAINE:
stopping. him and looking out of the
window.
Shall I?
BOB :
(leading her to the doorway) : Look, you can see the top
of the ma rquee!
ELA INE:
(taking off her pinafore) All right.
A thought auddenly occurs to her
Bhe 1e delighted.
Bob - let's have lunch over there!
BOB:
Of course.
Wha at else did you think?
ELAINE:
There '11 be nobody here
- (seeing the table) Oh,
Bob
what about the breakfast things a just help me
a second!
She 1s very excited.
BOB :
Oh, come on:
There's a big race at half-past eleven!
ELAINE: - But I-can't go iike this!
BOB:
Why not?
ELAINE:
I'll have to change. :
BOB :
Well, you can't!
ELAINE:
But don't you want to be proud of me?


Act 2.
Scene 1.
BOB gazes at her for a moment: she
1s dressed in a suit_with a blouse
buttoned at the neck. An idea occurs
to him.
BOB:
Look:
He takes off his silk scarf quickly,
opens her blouse at the neck. Ties
the scarf neatly round her, then
stands back.
There!
He leads her to the mirror 80 tha t
she can see herself.
Now we'll get some ehoes.
Where are they?
ELA INE:
(laughing)
There are some in the bathroom.
He goes out left while she brushes her
hair in the mirror. After a few
moments he returns with some brown
shoes. He bends down while she leans
on him, one hand on his shoulder, and
he helps her off with the house-shoes.
ELAINE:
I knew you'd get those. You've got such a wonderful
gentility
He holds each shoe ready for her to
put her foot in. And now she 1s
standing in them. He has stepped
back, and they are both ready to admire €
them when a volce calls from upstairs o
"Mummy!
They stop.
ELAINE:
You go on, darling.
BOB:
I thought he was riding?
ELAINE: :
It 1sn't time yet.


Act 2..
Scene 1.
ELAI INE goes to the door on the
left and calls up.
ELAINE:
Yes, darling?
DICK:
(from upstairs) Have you seen my new riding boo ts?
ELAINE:
Your fa ther may have taken them..
DICK:
(furioualy) What the hell's he playing at?
It's
alwaye the same!
ELAIRE: Are you riding now?
DICK:
No, this afternoon.
ELAINE:
What's the hurry, then?
DICK:
I've got the weigh-in before lunch.
ELAINE:
Well, I aidn't say he had.
I said I thou gh t he had.
She glancos about the room anxiously,
then speaks to BOB 1n a lowor voice.
You go ahead, darling.
BOB:
It's all right.
I'11 wait.
ELAINE:
No, go ahead,
I want a word with Dick.
Only a few
minutes.
BOB:
(darkly, looking at her closely) Why?
ELAINE:
(laughing) Wha t do you mean a 'why'? i you cheeky
boy! Now just leave me alone!
BOB:
Vith a last curious glance at her
before he goes:
Cheerio, then.
She looks in several places but finds
nothing. At last she calls upstairs:
ELAINE:
He must have taken them, Dick!


Act 2.
Scene 1.
There is no reply. She goes to the
door on the left and calls up again:
Dick!
DICK:
Yes?
ELAINE:
Your father must have taken them.
DICK:
Well, damn him!
He is coming downstairs.
ELAINE:
He's only at the marquee.
You can get them easily enough.
DICK:
Bue it's alwaye the same! (entering) He', S always taking
my stuff! We're stuck upstairs in that bloody hen-roost,
he pushes 'all my stuff in the corner
: I don't know!
DICK is a thick-set young man about
BOB 8 age. He has an affable face,
but there 1s some thing a little too
tight about his lips, as 1f he were
keeping some thing back all the time.
We are aware of a certain uncontained
violence in him. When he smiles
always briefly
his face reveals
great kindness and delicacy. But
he hae none of BOB's 11ghtness of
manner. He tends to move awkwardly,
as if he were being watched. He 1s
dressed in riding clothes.
ELA INE:
(wearily, having heard 1t many times before) All right,
Dick.
DICK:
I told him six monthe ago
the left half of the ward-
robe's mine and the right's yours. But it makes no
difference.
He's still using my ehirts and cuff-links.
All my riding crops have gone.
I've had to take half my
stuff to Audry's. It's like having a big fat-arsed baby
round the place!
ELA INE:
Why don't you tell him, then?


Act 2.
Scene 1.
DICK:
Because he's soft in the head!
Because he doeen't
know how to l1sten!
ELA INE:
(coldly) But why tell me? That's what I mean.
DICK:
subeiding, then noticing her elegance,
unusual in the morning.
Where are you off to?
ELAINE:
The same place as you. You're going to the Show, aren't
you?
DICK:
Yes.
ELAINE:
Well, do you mind if I go as well?
DICK:
(in embarraesment t under her cold gaze) Oh, can 1t
ELAINE:
But I'd l1ke to have your permission.
DICK:
Can 1t, I said!
ELAINE: And can't you find nicer things to say about your father?
DICK:
(awkwa rdly) He gets on my nerves -
ELAINE:
(gazing at him rather derisively)
Just because he takes
a pair of boots?
DI CK:
I tell you, he's alwaye taking things.
I'm fed up with
1t. And he's always over at the stables interfering.
ELAINE:
How?
DICK:
Oh, asking for the loan of a horse.
Then he comes back
and says there's a bit of a whistle'.
He's got whistles
on the brain:
Every horse in the stable's
a whistle
according to him.
Captain Whistle
chaepot what the
grooms call him.
ELAINE:
Well, he used to be one of the finest horsemen in the
country


Act 2.
Scene 1.
DICK:
Yes
(reciting 1t) 'and he rode beside the royal
landau and everybody commented on his style'.
ELAINE:
And perha ps they' have all got whistles.
DICK:
What - eeven teen horses?
Don't talk rot! (he laughe) -
You never did know much about the stables, did you?.
ELA INE:
Come here, darling.
He goes close to her and she tidies
his shirt carefully.
ELAINE:
Won't you be cold?
DICK:
ELAINE:
You'd better take a jacket.
DICK:
I'm going to leave this house
ELAINE:
Why?
DICK:
I'm sick of sharing a bedroom, for one thing.
ELA INE:
And what are the other thinge?
DICK:
Oh, there's too much going on here.
ELAINE:
You've taken your clothes over to Audry's?
DICK:
Yes.
ELAINE:
Ie she a better housekeeper than me?
DICK:
She can cook, and it's quieter over there.
ELAINE:
You haven't been in to dinner for nearly a week.
(turning away) All right, go if you want to
DICK:
After a pauee during which he looks
at her doubtfully.
I can have a room at the stables.


Act 2.
Scene 1.
ELA INE:
You - want that room again, don't you?
indicating BOB's bedroom.
DICK:
It was always mine until last year!
ELAINE:
Do you hate him?
DICK:
ELAINE:
What'e the matter, then? He's your cousin.
DICK:
(confused) Oh
ELAINE: What's the matter?
DICK :
I tell you, I want some peace!
ELAINE:
But why can't you find your peace with ue? My children
aré so difficult!
DICK:
He's cock of the walk all the time
ELAINE:
Oh, that's just your 1magination!
DICK:
No, it 1sn't Audry noticed it.
ELAINE
(with a sharp look) Has she been talking to you?
DICK:
She said wha t a marvellous personality he'a got.
Why
shouldn't she?
It's the tru th.
ELAINE:
And you're jealous of him?
DICK:
ELAINE:
What's the trouble, then?
DICK:
I don't know
it's when I come home and he's here.
All the girls are looking at him
He can do what he
likes with Dad : I can't behave na turally whèn he's
here.
ELAINE:
Why not?
He pauses and gazes at her in a
desporate way for a moment


Act 2.
Scene 1.
DICK:
Because I want to be l1ke him
ELAINE:
What (she stares at him) Oh, you fool!
DICK:
I try to make jokes l1ke him over at the stablée. It
only lasta two minutes.
Then I feel all heavy. I can't
try here because everybody knows what I'm like.
ELAINE:
And why -can't you just be yourself?
DICK:
(with a shrug)
Because I don't like 1t.
He makes
everything exciting
She gazes before her, thinking about
this, lost to the conversation for a
moment.
But I don't.
People don't look up when I come into the
room.
ELAINE:
(looking at him again) I had a talk wi th Rose last night.
Can you get him a job wi th Talbot?
DICK:
Over there?
ELA INE:
Yes.
DICK:
What can he do?
He can't ride.
ELA INE:
There's the farm.
DICK:
Oh - I can imagine him. on a.farm!
ELA INE:
He'd work. I'm sure of that.
DICK:
(delibera tely)
Talbot's got some land in Scotland.
ELAINE:
In Scotland yes, but -
DICK:
You want him here, don't you?
ELAINE:
It's what we agreed with hi 8 fa ther.
DICK:
Tha t was for a year, and the year's up now.


Act 2.
Scene 1.
ELAINE:
But how can we send him away, Dick?
DICK:
It's better for him in the long run.
She gazes at him reflectively for
a few moments.
ELAINE:
You really like him, don't you?
DICK:
I said it's better for him.
ELAINE:
You funny boy
Turns and looks at the door of BOB's
room. Then, to herself:
He makes everything exci ting
(with a shudder)
I couldn' 't bear it!
This house again!
DICK:
(quietly) He wa 8 over at Audry's last night.
ELAINE:
(waking up) Wha t do you mean?
He gazes at her. She looks. startled
At Audry's place?
DICK:
Yes.
ELAINE:
She was out with me:
DICK:
Afterwards.
ELAINE:
How do you know?
DICK:
One of the erooms saw him.
ELAINE:
He just went over for a chat probably
DICK:
He didn't come back till two in the morning.
The groom
woke me. He thought it was funny.
They had the light
out.


Act 2.
Scene 1.
She 1e_silent. She doeen't look
at him. He_stends watching the
gradual change 1n her feelinge.
ELAINE:
(auddenly, to herself ) The fool
* (a_pause) - It's a
disease
DICK:
(casvally) No, it isn't.
He just needs to get away a
Going towarde the garden door.
I haven't got time to talk.
Turning to face her agein.
Shall I aek for a job up north?
She 18. in the same position ag before,
8 taring before her. There 18 an
abeolute silence in the houee. Then
she shrugs in a reeigned way.
ELA INE:
I suppose so
There iB another pauee, then she half
turns to him and node slowly. wi thout
Iooking at hin.
Yes
Then you'll get your peace.
DICK:
Chaerio, then.
He goes. ELAINE remains standing
there. There 1s a pause, then BOB
appeara from the garden.
Hullo.
ELAINE:
(turning. startled) What ere you doing here?
BOB:
I was over by the pond.
You were so long
What's
the matter?
ELAINE:
You know what's the matter.
I can see it in your face.


Act 2.
Scene 1.
She walks up close to him.
Wha t were you doing at Audry's last night?
BOB:
I went for a drink.
She con tinves to stand there watching
him, then, white with anger, she
smacks him smartly acrosg the face.
ELAINE:
Well, don't.
In future, dor t.
He looks at once frightened and hurt.
She cannot bear to see him like thie
and slowly she draws him towards her,
giving way to pfty and grief.
Don't make me like tha t, darling.
Don't make me like
that.
BOB:
Let's go.
He gently pushes her away by the
shoulders and takes her hand, as
she_tries to prevent her teare.
Come on.
She looks up at him, searching his
face.
ELAINE:
I can't let them send you away, darling!
BOB:
Hia eyes averted, trying to pull her
by the hand.
Come on
it's late.
They go into the garden.
CU R T A I N.


ACT TWO.
SCENE TWO.


Act 2.
Scene 2.
The same day, late in the evening.
MA RTHA and ROSE have just finished
a meal. The curtain rises during
a pause 1n their conversa tion. MARTHA
has a jumper round her shouldera and
18 eitting in a huddled way, as 1f
she were cold. A little shiver goes
throu gh her. There 18 silence.
MA RTHA :
Shall I go and have a look?
ROSE:
(guite calm) Whatever for?
MARTHA :
Some thing might have happened
ROSE:
No thing's happened.. They're all at the marquee
don 't
you worry abou t that.
MA RTHA : But she never goes to the Show .
ROSE:
(shrewdly) Yes, I wonder wha t was in her mind..
She begins piling the plates in a
slow, thoughtful way.
There's always something in her mind :
MA RTHA :
(brooding like a child) We ought to move out
they'd
come to their senses then
Fancy leaving the break-
fast things!
ROSE:
(with a smile)
They could try living on Dick's money.,
Or Daddy's pension.
MARTHA gets up with a eigh. She goes
over to the window slowly, dragging
herself, and draws her jJumper closer
about her Bhoulders. She pulls the
curtain a little to one side and peera
out at the dark garden. ROSE wa tchee
her.
MARTHA :
(turning) What's the time?
ROSE:
It's after eleven.


Act 2.
Scene 2.
There 18 silence again as MA RTHA
continues gazing out of the window.
MA RTHA :
(auddenly, her voice raised) I specially asked her
Shall I bring something in for tonigh t?' and she said,
'No, I'11 be going to Lowley Gate, darling
ROSE:
(smiling cynically)
'Darling'
MARTHA :
And now there 1en't a thing in the house!
ROSE:
Do you remember last year when we tried to drag her over
there?
It was a Sunday and she said she couldn't bear
seeing Dick take the hurdles! Well, she seems to have
got herself a stronger 8 tomach this year
There 18 silence again. ROSE tidies
the table some more, still seated.
She watchee MARTHA e back for a moment,
then speaks again.
She wa 18 wi th Bob, I expect.
MAI RTHA : starts a little bu t does not
8 peak.
She'd do anything for him.
She'a let the housework go.
(after a pause) Are you in love with him, Martha?
MARTHA : Yes, I think so
ROSE:
Does he want to marry you?
MARTHA :
(hesitantly) He never said
ROSE:
He ought to get away from here.
He'd be more of a man.
But there, she'd never allow it
MA RTHA :
Who Mummy?
ROSE:
(rising) Of course.
MARTHA 18 about to pass on from thie
when she stops and returns to the
subject.


Act 2.
Scene 2.
MA RTHA :
Why not?
ROSE:
Oh, I mean for herself.
She'd hate it for herself.
MARTHA :
Why?
ROSE:
Well, you know how she loves him.
MARTHA :
(nodding slowly) Yee.
ROSE goes out left with a pile of
plates.
MARTHA 1s lost in her thoughts. Then
she speaks again; the alightest
trembling in her voice.
What sort of love?
She turne round for an answer and
Bees that ROSE has_gone. She then
walks absently over to the table and
begins clearing up. But her thoughte
overwhelm her and she puta every thing
down again, ezing before her.
The garden door o pens smartly. She
starte and ewinge round.
It 1s AUDRY smiling and brea thless.
She closes the door and comes quickly
Into the room, taking her coat off.
AUDRY: : I Hullo, Martha!
MA RTHA :
Hullo.
AUDRY:
(stopping)
What's the matter?
MARTHA: :
Nothing.
ROSE:
(appea ring in the doorway) Where is everybody?
AUDRY:
They're still over there.


Act 2.
Scone 2.
ROSE:
At thie time of night?
AU UDRY:
They've been having supper in the marquee. Too posh for
me! I thought I'd stay with 'the grooms.
ROSE:
Who's in the merquee?
AUDRY:
Oh, all the nobe:
There's champagne and chicken sand-
wiches and fruit sundaes!
Did you hear about Dick?
ROBE:
AUDRY:
He fell at the first fence.
It was the nearest thing
I ever saw!
The filly nearly rolled over him.
got a graze down his side, that's all
goodnees knows
why, he didn't even fall that side.
ROSE:
Was Mummy watohing?
AUDRY:
Yes
she wa 6 with me and Bob.
ROSE givea Martha a quick glance,
MARTHA staree before her, her mouth
alightly open.
ROSE:
Who did ehe go with, then?
AUDRY:
Bob, I think.
You know how she's always told me ehe
can't etand these Showe a but there she was, bang in
front of the first fence!
MA RTHA : Was she weaing her new coat?
AUDRY:
No. (laughing) Wha't a funny question!
ROSE:
Is Bob etill there?
AUDRY:
No. He came back with the Ca ptain.
They're feeding the
chickens.
Elaine forgot.
They haven't had a peck of
food all day!
ROSE:
(to MARTHA ) Did you hear tha t?
She even forgot to
feed the chickens!
MA RTHA :
(suddenly 11stening) Who's tha t?


Act 2.
Scene2'.
AUDRY: :
I heard something, too:
There 1s silence. Then the door
slowly_opens. It 18 ELAINE. Though
she opened the door slowly she 18 out
of breath. She must have been run-
ning across the garden. But she
makes herself look as collected as
possible.
Her face 1s flushed healthily from
having been in the air all day, and
at this moment she doesn't look at
all 11ke the mo ther of a growing
family. They all watch her in
silence.
She stares out into the night for a
moment, 88 1f 8 omeone had been pursuing
her; then she closes the door quickly.
ELAINE:
(coming alowly into the room) I'm sorry about tonight.
Walking past AUDRY and addressing her
her daughters.
You had to cook for yourselves.
Putting out her hand in a strange
gesture to MARTHA.
You, Martha
MA RTHA :
Where did you get that scarf?
ELAINE:
Looking down at 1t ae 1f she had
forgotten 1t.
Bob put it round me this morning.
ROSE watches her closely, trying to
divine her. She 18 fascina ted by
ELAINEs manneri sma, which always
have some thing ex pert and alluring
about them.


Act 2.
Soene 2.
ELAINE looks towards the garden-door.
again, tense and still. They watch
in puzzlement. Suddenly she clutches
AUDRY'S arm.
ELAINE:
Go and get Dick, Audry!
AUDRY:
Dick?
He's over at the stables.
ELAINE:
He's outside.
AUDRY:
Where?
ELA INE:
I don't know.
AUDRY :
What's the matter?
ELAINE:
He followed me back.
Go and get him: He walked along-
side me. He didn't utter a word. I said, "Are you
tired after the race, Dick?' and still he didn't say
anything!
ROSE:
(concerned) Did he get a concussion?
ELAINE:
I was there when he fell, darling w he's been cheerful
enough all day.
He frightened me, Audry!
AUDRY:
(taking up. her coat) I'll see what he's up to.
ROSE:
Shall I come?
AUDRY:
She leaves.
ELAINE: He looked 80 terrible
ROSE:
He must have got a conoussion.
ELA INE:
He must have done
ROSE:
Where did you find him?
ELAINE:
He came to get me
at the ma rqu ee.


Act 2.
Scene 2.
ROSE:
And what did he say?
ELAINE : I didn't Bee him at first, we were all standing round
the table - you know how dark those lampe are
and
he just took me by the arm and led me outside.
It wa 8
8o strange.
I thought your father wanted me.
Bu't all
the way across he didn't say 8 word.
MA RTHA :
Was Talbot at the mai rquee?
ELAINE:
Yes.
MARTHA :
Were you talking to him?
ELAINE:
I - I hardly spoke to Talbot, darling.
ROSE:
Her eyee narrowing a little
feel her 8 ympathy being cut off.
Was he standing next to you, then?
ELAINE:
Who?
ROSE:
Talbot.
ELA INE:
Yes.
ROSE:
(severely) Daddy told you never to talk to him again.
ELAI INE:
There was this Show, darling
Everybody was there.
But it wasn't that.
Dick saw me talk with him long
before.
Talbot came up to me and said, 'Your son had
a stroke of terrible bad luck there, Mrs. Betman. His
filly
MA RTHA :
(with disgust) Oh, do shut up.
ELA INE:
(starting) Is that them?
They all look towards the door. There
1sa pause. - ELAINE steps back fur-
ther towards the 8 tove, as 1f for the
protection of her daughters. She
seeme on the point.of-tears, with the
suspence. Some time passes but the
door does not open.


Act 2.
Scene 2.
ROSE:
What are you so frightened about?
ELAINE: You didn't see his eyes!
ROSE:
Dick wouldn't
MA RTHA : He's probably as fed vp as I am:
ELAINE:
But I haven't done anything, darling!
MA RTHA : What made you go out thi 8 morning, then?
ELAINE:
It was a lovely day.
MARTHA : And we have to fend for ourselves!
You didn't even do
the ehopping 1 you left all the breakfast things! Why
didn't you tell me you.'d
The door opens. AUDRY. comes in.
Behind her 18 DICK, white with fury.
He seems blind to everything except
ELAINE.
He goes slowly across to her, staring
her in the eyes all the time. She
looke at him in fear but does not
retreat, seeming paralysed. There 1s
a very slight, unrelenting smile on
his face. He cat tohes hold of her
roughly. 80 that she almost loses her
footing.
DICK:
I've been watching you at it all day, sidling up.to him
and Bhowing him all your teeth 1 I've just about had
enough of it:
AUDRY: :
Dick A 1 e
DICK:
Leave this to me :
ROSE and MARTHA come nearer, intri gued,
and also frightened by the thought of
what their mother m1 ght have done.
ROSE:
(breathlesely, peering at ELAINE) What's she done, Dick?


Act 2.
Scene 2.
DICK:
(taking no notice of ROSE) But you didn't mention me,
did you? You didn't get the rise I've been waiting.
eighteen monthe for!
Shaking her in his fury, so that
her hair falls out of place. She
seems quite 11mp in his graap, offer-
ing no resistance atall.
I've been five years in those bloody stables and if you
think I'm
to have him breathing down my neck you're
mistaken! soing, bad enough having him here all day!
Pulling her close to him and speaking
quietly.
Listen to me, you're going back there first thing tomorrow
morning, and you're going to tell him it's not on!
(noticing her scarf) Wha t are you doing with that?
He pulls 1t off roughly and throws
Itto the floor. AUDRY picka 1t up
and puts 1t on the table.
AUDRY:
(saucily) Are you all right now?
MARTHA : Wha t ha ppened, Dick?
DICK:
(releasing ELAINE) She's been hanging round Talbot all day.
MARTHA : I thought 80
DICK:
(turning on her) Oh, you and your 'thought-so' a d'you
think I give a damn what she does with Talbot? A fet lot
your eyes can see! Wha t do you think she went out last
night for a exercise?
MA RTHA :
When?
DICK:
(pointing a finger at AUDRY) With her.
ELAINE gives AUDRY a quick, betrayed
look.
AUDRY:
Dick


Act 2.
Scene 2.
DICK:
Talbot was there!
MARTHA :
(utterly shocked ) Wha t?
ROSE:
(to ELAINE) You never said
AUDRY:
(wearily)
I'm sorry, Elaino
I 0 I didn't know
MAE RTHA:
(flatly, to ELAINE) How long had that been arranged?
ELAINE:
(almost in a whiaper) It hadn't.
ROSE:
You mean to say you didn't know he'd be there?
ELAINE nods.
DICK:
And he gave you a lift back, didn't he?
She nods again.
ROSE:
You said it was eomeone from Lowley Ga te:
AUDRY:
What's wrong with Talbot? We only talked a
ELAINE:
(on the verge of teara) They ha te me: My children
hate me!
DICK:
Well, why don't you tell the truth, you fool, instead of
standing there trying, to look tragic! (to MARTHA) Look
at her etanding there!
I tedl you, she s as cunning as
they come! You ought to have seen her showing Talbot
all her teeth - she didn't leave his table for a split
second!
Suddenly a thought occurs to him.
I say
she hasn't been over there at nights, hae she?
(gazing at MARTHA ) Has she?
MA RTHA :
(with a shrug) Who knows what she gets up to
ELA INE : I'm here every night!
Trrning to MARTHA with toars in her


Act 2.
Scene 2.
eyes. DICK watches her with a
kind of ruthless triumph.
You wicked little girl!
Outraged and sobbing she moves towarde
MARTHA to strike her, but DICK pulle
her back.
DICK:
Leave her alone!
She gasps with pain and clutches the
place on her arm where he has just
taken hold of hor. Now he Beeme im-
mensely powerful next to her, though
that was not our 1mpression this
morning.
ELA INE:
Screaming. at him, her head bent for-
ward, the tears pouring down her face.
I haven't been out:
I haven't been out!
AUDRY:
(going towards DICK) You swine
DICK:
(at once on the defensive) That's right
I'm the
ewine! It doeen't matter wha t she does!
She knows how
to cover herself up!
AUDRY:
What's she done to hurt you?
DICK:
Ask her yourself!
AUDRY:
There's no need to shout!
You epoilt fool
DICK:
(dropping his voice, in contempt)
She's rotten
AUDRY:
Why is she rotten?
DICK:
I know I've got no brains!
A remark that seems to burst out
undér great pressure.
She's always treated me like dirt!


Act 2.
Scene 2.
DICK:
(to ELAINE) Bob: Bob! Bob! I'm sick of that name
being pushed down my throat - 1
Coming here and sleep-
ing in my bed! But you wouldn't lift a finger for
would you? Oh,no! Dick can always sleep on the camp me,
bed upstairs!
Dick won't mind having his kit pushed in
the corner to collect the dust! He's used to 1s, 1sn't he?
MA RTHA :
(quietly) What's Bob got to do with it?
DICK:
(still gazing at ELAINE) Go on. You heard wha t she
Wha t's Bob got to do with 1t?
said.
ELAINE makes no reply. only pute her
hand up to her face.
DICK:
He's Talbot's agent
ROSE and MARTHA stare at him.
ROSE:
Agent t?
MA RTHA : When?
DICK:
When she 11kes. (pointing_at ELAINE) ) When she likes
because Talbot's got no say. She knows how to smarm him
MA RTHA :
(to ELA INE) Is it true?
(ELAINE does not
What's
Bob got to do with you?
move)
DICK:
Agent!
He doesn't know the backside of a horse from the
front!
MA RTHA :
(to DICK) Who told you all this?
DICK:
Talbot!
He said, 'You'11 be having a new boss soon, and
you're going to like him.' Not a word to me: Imagine
that!
AUDRY:
(on DICK's side for the first time) What ha ppened,
Elaine?
You can 't expect him to work under Bob...
MARTHA: :
She doesn't care about Dick.
AUDRY:
(persisting) What ha ppened, Elaine?


Act 2.
Scene 2.
They wait for her to speak. At last
she does, sobbing a little.
ELAINE:
He came in the marquee
we talked about the fruit
crop - he asked abont Dick
when kas he riding?
we had some coffee *
But she burste into tears again and
cannot go on.
DI CK:
What's all that got to do with 1t?
AUDRY:
How did 1t happen, darling?
ELAINE:
I thought I'd help!
It was silly, of me
* (to DICK)
I wanted you and Bob to be friends!
DICK:
With him as my boss?
You must be off your head!.
ELAINE:
(thrusting home )
Talbot suggested 1t
not me.
DICK:
Stunned by this, then furious again.
That's a lie!
ELAINE:
Sharply, knowing she has got him
on the raw.
It 1en't a lie!
DICK:
(not wanting, the truth) You asked for the job! Talbot's
close - he Ts not the man to say it first a
ROSE
(to ELAINE, with killing.directposs) Then why go to
Show at all? You've never been before.
ELAINE:
(turning to her slowly, weak and pale) I don't know
ROSE:
You don't know?
DI CK:
She alwayé knows what she's up to:
ELAINE:
Bob asked me to go :
ROSE:
Exactly.
That's what I mean.


Act 2.
Scene 2.
ELAINE:
I wanted to find him work on the farm up north..
DICK:
(his eyes narrowed ) Yes, but you regretted that little
scheme, didnt you?
MA RTHA : Who said he should work up north?
DICK:
(defiantly) I did!
Because I'm not having him in
those B tables!
ELA INE:
Talbot .said, 'Why doesn't he come as my agent?' And
I thought how lovely : He and Dick could work
together - e
AUDRY:
(to DICK) Would he really be your boss?
DI CK:
Of course he would.
AUDRY:
But does an agent go near the stables?
DICK:
(rather poutingly) He'd be there all day
AUDRY:
But he can't even ride!
DICK:
That'd be a joke, seeing him ride
AUDRY:
Well, then, I don'* a see how he'd affect you.
DICK:
And I say he would.
So that's that.
There is a pause, during which ELAINE
gazing at DICK, prepares to recover
her position.
ELAINE:
Is Bob the kind to breathe down your neck?
DICK:
I tell you
I'msick of his name!
AUDRY:
You're jealous of him, aren't you?.
DICK:
Gazing at her in silence, realising
that she has abandoned him.
AUDRY:
What's the trouble, then?


Act 2.
Scene 2.
DICK:
(guietly) I can't be myself when he's around.
And
if he was over there all day my work'd go to pot. (he
adds,sadly) Like everything else I do
There 1s silence.
ELAINE:
It 1en't as 1f he asked for the job himself. Why, he
doeen't even know he's been offered it!
DICK:
(almost to himself) You're behind him all the time.
Dest troying me
ELAINE:
Destroying you, my child?
If Talbot had given me a
chance to talk about your riee, don't you think I'd have
done 1t? But he didn't. The moment I mentioned Bob
he said, 'Do you know, I think that boy might do as my
agent.
I'll start him at a nominal wage, and I'll
him a year to learn'.
give
DICK:
You and your lies
But he 1s convinced.
ELAINE:
Tho se were his exact words.
DICK:
On the edge of tears, 1t seems.
The bastard
The bastard!
MA RTHA :
That's what you get for five years of drudgery.
expéct 1t from Talbot.
DICK:
All right.
As if the others had been waiting
Impatiently for this decision.
I'1l leave.
I'll clear out of here tomorrow.
AUDRY:
Don't be a fool!
MARTHA: He 1s a fool: believing every word she saye! (to
Go and give Talbot a piece of your
DICK)
ROSE:
Sssh!


Act 2.
Scene 2.
There has been a noise at the garden-
door. They all turn. The CAPTIIN.
enters, followed by BOB.
The ÇAPTAIN stops near the door,
peering at the silent group before him
He sees ELAINE dishevelled and pale,
with the trace of tears on her face.
He looks at them 'all one by one.
CAPTAIN: (fascinated and tremulously expectant ) What's up?
He comes slowly towards them, waiting
for an answer.
Wha t was all that shou ting?
None of them will speak. At last
AUDRY saye something.
AUDRY :
It's all about Bob.
BOB:
CAPTA IN: (to DICK, savagely) Have you been upsetting your mo ther
again?
DICK:
Close to hysteria - the sound of
father'a voice 18 1n 1tself enough
to touch 1t off.
That's right!
That's right! I'm upsetting her aga: in!
CAPTAIN: - Well, what's wrong with Bob?
BOB has meanwhile gone a little pa st
ELAINE
glancing at her.curiou sly
towards the table. He sees his own
scarf, picks it up, gazes at 1t, then
puts it down again. He 18 calm,
guite un troubled by all the menacing
glances round him.
BOB :
(to MARTHA ) Do you know what's up?


Act 2.
Scene 2.
She turns her head quickly away,
and he shrugs.
AUDRY:
Talbot wants Bob 88 hi B agent.
BOB:
His what?
AUDRY:
H1s agent.
She sees his look of utter bafflement,
and despite the situa tion she burste
into a giggle.
Believe 1t or not.
BOB:
Agent
for what, though?
AUDRY: :
You look efter his accounta and pay the wages and all tha t
Staring at one, then the other
You're pulling my leg!
AUDRY:
Talbot said so today.
BOB:
Did he?
He gazes at her in silence.
The old fool
ROSE:
(with a hint of a smile) That's what I thought!
BOB:
(pointing at Dick) But what's he worried about?
AUDRY:
He doesn't want you at the stables.
BOB:
(etaring at Dick)
Stables?
The CAPTAIN, who has been gazing at
BOB with admiration since AUDRY broke
the news, now turne to DICK with a
look of contempt.
CAPTAIN: You jealous fool!


Act 2.
Scene 2.
DICK:
It's nothing to do with Bob
BOB:
(to DICK) I won't come near the stables!
DICK:
(in embarrassment, shuffling) It isn't that
BOB :
You don't think I'm taking the Job, do you? : It's just
a joke!
CA PTAIN: : (taken aback by this) What! You'd turn it down, Bob?
BOB:
Can you see me working out accounts and paying ou t wa
then?
ges,
CAPTAIN: Why not?
ELAINE:
(to the CA PTAIN) Talbot said he'a give him a year to
learn
and a nominal wage at firet.
CAPTAIN: That's right.
It's a wonderful chance, Bob.
I could
give you a bit of a hand myself -
ROSE:
(to the CAPTAIN) How do you think Dick's going to feel?
CAPTAIN:
After looking.onquirinely at DICK for
moment.
What's he got to do with it? '
ROSE:
He's been working over there five years.
Then Bob comes
along as his boss.
It's ridiculous!
CAPTAIN: But he hasn't got the brains!
DICK:
(bitterly, to ELAINE)
It's working out nicely, 1sn't it?
CAI PTAIN: (turning to him) Well, do you think you've got the brains?
DICK:
CAPTAIN: : - What's the trouble, then?
It's a first-olass opportunity
for Bob.
DICK:
She's the trouble.


Act 2.
Scene 2.
BOB:
I tell you, D1 ck
I'm not taking it!
CAPTAIN:
Looking with enquiry at ELAINE
see how painfully slow the working of
hie mind 18.
Your mo ther?
DICK:
Yes, my mother.
CAPTAIN: (to ELAINE) What's he talking about?
ELAINE:
(gazing firmly at her son)
He says he can't be himself
when Bob's in the room. (making his argument very lame)
And if Bob worked at the stables his whole life would go
to pot.
BOB looks away in embarrassment.
CAI PTAIN: What's that supposed to do wi th you?
ELAINE:
He says I spoil Bob.
DICK:
I didn't say tha t!
(recklessly, to the CAPTAIN) She's
been taiking to Talbot! She got him the Job!
At the: mention of the name 'Talbot'
both the girle start and look at their
fa ther. He changes at once.
CAPTAIN: What's tha t?
ELAINE:
(quickly, lest any more should be said.) He's lying.
Talbot Baw me in the ma rqvee and said, 'Wha at about Bob
being my agent?'
CAPTAIN: (to DICK) What about that?
DICK:
She smarmed it out of him!
ELAINE:
You mean you wish I had!
You've been working there
five years and Talbot passes you over for Bob!
So of
course you have to say 1t's me behind it:
CAPTAIN: (darkly, to ELAINE) How long wa 8 Talbot there?


Act 2.
Scene 2.
DICK:
All day.
Everyone 18 tense. The CAPTAIN's
suspicion 18 mounting. But AUDRY
saves the eituation.
AUDRY:
He just came up and offered the job and that wa 8 that.
CAPTA IN: : (guickly) Were you there?
DICK:
She wasn't
AUDRY:
(furiously, to DICK) I' wae standing by her all the
time! Now shut up!
CAPTAIN: Why didn't he come to me?
AUDRY:
You were in the stables, weren't you?
He looked hi gh
and low for_you. Ask any of the riders. (pointing to
DICK)
He's jealous - : He's a spoilt boy!
The CAPTAIN 1s convinced.
AUDRY :
(aure of her victory now) Wha t ha 8 Bob ever done against
you, Dick?
BOB:
(quietly) Oh, leave him alone
CAPTAIN: That's right, leave him alone. (brutally) To hell with
his whims!
DICK:
(in an outburst, feeling caught) To hell with Dick, you
mean! You can shove his kit in the corner
give him
a camp bed to sleep on
It's only Dick!
At once he and his father are in the
midet of a first-claes row, L clearly
one of many.
CAPTAIN: And what about you
coming in at all hours and shooting
your mouth off?
Don't you thinkwe've had enough of that?
Camp bed!
What else do you use this place for except a
camping ground?
DICK:
All right
let him have the job - I'm clearing out :


Act 2.
Scene 2.
CAPTAIN: And good riddance!
You walk round the place like a
bloody scarecrow and then when somebody ena ps up the job
you've been too slackto get for yourselr, you come crying
to Mummy!
DICK:
(childishly, at the edge of tears) And just you keep
out of the stables in future!
CAPTAIN: Have they made you king of the stables now, then?
Smacking out his words with fine
contempt.
At three pounds, seventeen shillings and threepence a
week? Who gives a damn what you think? Do I? Does
Talbot?
Do you think your mother does? I heard your
big mouth from the other side of the garden just now
and you can sling 1t somewhere else!
You and
preferences!
A tuppenny-halfpenny groom who can yoUr, even
jump a hurdle on the best little filly we've had in the
stablee for years!
DICK:
Absolutely broken by this reference
to his riding abilities.
I fell at the fence
CAPTAIN:
Taking advantage of Dick's failure
to find his words.
We saw you fall all right!
DICK:
(with tears) The going wa s hard!
CAPTAIN: Wi th rain last Monday?
DICK:
I nearly got the cup
1 e
CAPTAIN: Three years ago
yes, we've heard about that!
DICK:
(retreating towards the garden-door)
You fool!
You
fool! (pointing at ELAINE) Who do you think she was
wi th last week at the Metrop pole?
Talbot was there!
Ask Audry!
Talbot was there!


Act 2.
Scene 2.
There 18 a silence of shocked horror.
The CAPTAIN 1s completely s tunned.
He etares at his son with a dark,
beaten, lowering expression, 11ke a
grea t animal.
Then he marches with
audden long 8t trides straight up to
him and delivers him a fearful punch
on the chest which sends him reeling
back to the floor.
AUDRY:
(rushing to him) Dick!
DICK:
(picking himself up and reaching feverishly for the door)
She's Talbot's whore!
He opens the door. The CAPTAIN does
not move towards him again. DICK
repeate 1t just before he goes.
She's Talbot's whora, you fool:
He rushes out. AUDRY calls after
him Dick! then rushes out also.
The CAPTAIN remains staring at the
door, whioh 18 still half open, frown-
ing, his feet astride and his shouldere
bent forward. He has his back to
the others. There 1s silence, and
they all watch him fearfully. ELAINE
moves a little towards the other side
of the room, hor fingers fumbling
nervously for the table behind her.
The CAPTAIN goes slowly to the door
and with a delibera te, final movement
kicks. it closed. Then he turns
sharply.
CAPTAIN: (to ELAINE) Go upstairs.
ELAINE:
Without conviction, knowing wha t muet
come .
Now, Harold
CA PTA IN: (with quiet menace) Get upstairs


Act 2.
Scene 2.
She turns and goes alowly to the door
on the left. He stands in the same
spot, waiting un til she had reached
the door.
Then he walks quickly
after her. ROSE 18 fascinated and
followe both of them with her eyes.
There 1s_no fearor regret in her face,
but ra ther a look of expectancy ond
pleasure.
When the CAPTAIN 18 out of
the door she rushes across and stares
after them as they go up. the stairs.
Then, when the door upstairs 18 slam-
med to, she leeves the room altogether
presumably to steal up and eavesdrop.
BOB :
(awed and troubled, almost in a whisper) Was she in love
wit th Talbot.
MA RTHA node.
When ?
MARTHA: After I was born. (passively)
Rose was his child.
BOB :
(his mouth open with astonishment ) Rose?
MAI RTHA : Wha t do I care 1f everybody knows? Let her look after
herself
From upstairs there is the sound of
raised voices. MARTHA and BOB listen
tensely. Then there 18 the sound of
some thing be ing moved - furni ture,
perha ps
the CAPTAIN striking her
steps acrose the floor
heavy,
violent sounde which frighten BOB but
do not seem to disturb MARTHA a who
continues staring passively before her.
Unable to bear the sound any longer,
BOB rushes to the door. MARTHA looks
up at once.
MA RTHA :
Come ba ck!


Act 2.
Scene 2.
BOB:
I'll go up and
MARTHA :
(shouting at him). Come ba ck!
Then, quie tly, as he turne back to
her
It's none of your business
BOR$
What's happening, Mart?
MARTHA :
Sho's getting some medicine.
He etares at the door, tense and abso-
lutely still, leaning forward in
readinese, 80 to opeak, while the
noise of violence continuea.
Suddenly there 1e the sound of feet
rushing aoross the floor above, and
then an incoherent yell from ELA INE.
A door upstaire 18 flung open and we
hear her scream out. "Bob! Bob!
A look of fear comes into MARTHA 'a
face for the first time, when she
heara her mother call hia name. He
rushee out of the room and up the
stairs. She 18 too dazed to 8 top
him now.
There 1e the sound of movemant above,
and of mufflad voices. MARTHA stares
at the open door, listening. Then a
door vostaira slame, and there 18
quiet. We heer footeteps on the
stairs again, and at laet the two of
them appear: ELAINE whig mpering and
pale, her hair diehevelled and the
lapel of her jacket torn, and BOB
holding her close to him.
BOB:
He's mad!
MA RTHA :
Wha t wa 8 he doing?


Act 2.
Scene 2.
BOB:
Punching her in the face
he might have killed her:
MARTHA :
Gazing Lat ELAINE as BOB takes her
to the settee and sits down at her
side.
Where does 1t hurt?
ELA INE:
(throu gh her tears, hardly audible)
Go to bed
MARTHA:
(seeing the lapel of her lacket) Look. He tore her coat.
BOB:
I'll see to her.
MA RTHA :
(to ELAINE) When are you coming up?
ELA INE:
(convulsed, 80 that she can hardly speak) I'm sleeping
down here.
MARTHA: Why?
ELAINE: :
I don't want to see you.
You're all wicked.
MARTHA: (to BOB) Will you stay wi th her, then?
BOB:
Yes.
She's better down here.
MA RTHA :
(going to the door)
Good night, then.
BOB :
Not looking at her, only comforting
ELA INE, drawing her head on to hie
shoulder.
Good night.
MARTHA gives then a curiou 8 look as
she opens the door. She 10 just
a bout to leave when she hesitates.
MAF RTHA :
Where will she sleep?
BOB:
Meaning the settee on which he and
ELAINE are seated.
Here, of course.


Aot 2.
Scene 2.
MARTHA :
Wha t about blankets?
BOB:
I'11 Bee to that.
But MARTHA remains standing in the
doorway, 8 ta ring at them both with
a kind of brooding fascination, trying
to think of more questions to ask.
Suddenly BOB looks up and she starts.
BOB:
What's the matter?
MA RTHA : I was only wondering
BOB:
I know where they are.
Go to bed.
MA RTHA :
All right, then.
Good night.
She leaves the room, closing. the door
behind her. ELAINE remaine shaking
1n his arma, her head hidden in his
shoulder. For a long tine he saye
nothing. The rest of the house 1s
quiet.
BOB:
It's all right now
She does not move, and he takes a
handkerchief out of his pocket.
Stop crying.
Here.
He leans her head back a little and
dries her eyes with the handkerchief.
It's all right now.
He sees a place on her cheek.
He's given you a bruise.
ELAINE:
He frightens me, Bob!
Lock the door!
BOB:
Don't be silly
Hes he done it before?


Act. 2.
Scene 2.
She opens her eyes for the first time,
and, looking up at him, nods vehemently
like a child after tears.
BOB:
You never told mè
ELAINE:
They hate me. e
Even Martha hates me.
BOB:
I've never seen him like that before
mad!
ELAINE:
You haven't seen Dick.
The same look
(with absolute
pessimiem)
There must be something wrong in me. e
BOB:
Why?
ELAINE.
They all give me that terrible look
Giving him a sudden, close truth-
demanding look.
Am I ha teful to you?
BOB:
ELA INE:
Never?
Not for a single momen t?
ELAINE:
(gazing at him tenderly)
So she didn't put you against me -
BOB:
Who?
ELAINE
Martha.
Could she? !.
BOB:
(at a loss) Could she what?
ELAINE:
Could - she ever pu't you against me ?
BOB:
ELA INE:
If I hadn't called you, would you have come?
BOB:
(warmly) Yes!
I tried to.
But


Act 2.
Soene 2.
This appears to be a great relief to
ELAINE. She leans against him more
easily, staring at the floor 1n that
strange peacefulness and reminiscence
that come after tears.
ELAINE:
How quiet it 18
I've always loved this house for
its quiet.
There 18 a pauee, during which they
sit gazing before them.
BOB:
Do you still love Talbot?
There 18 a long pause, during which
she considers, in the great calm that
has taken hold of the room, a. his
question.
F- AINE:
We were never really in love.
BOB :
What was Dick saying about the other night, then
the Metropole?
ELAINE: :
(with quiet scorn)
Talbot ha ppened to walk in the lounge.
We talked about the weather.
Remembering the scene with her family.
The fools.
We haven't touched ea ch other for twenty years,
and they still can't think of anything else:
BOB:
Talbot's in love with you. I saw 1t by hi 8 eyes this
morning
€ Is that why he never married?
ELAINE:
Shrugging her shoulders carelessly,
then going on to speak
And 1f I give him one glance bac ck there's trouble for two
days afterwards.
BOB:
What ha ppened today?
You talked to him for hours!
ELAINE stares before her in silence,
trying to recollect her motives.


Act 2.
Scene 2.
ELAINE:
I didn't care
Then she adde, after some thought,
dreamily.
I wasn't going to let them send you away.
BOB:
ELAINE:
They want you sent away.
BOB:
Who?
ELAINE:
Rose and Dick.
What does Martha say?
ELAINE:
Nothing
BOB:
(after a pauee) Where to?
ELAINE:
To the north,. where Talbot has another farm.
BOB:
With akind of shocked innocence
divining, perha ps for the first time
in his life, a the coldness that lay in
others.
But why?
ELAINE:
To make you a 'man'
BOB:
I can look for a job myself.
ELAINE:
(continuing with her thoughte)
as 1f you aren't man
enough.
BOB:
- They must hate me too!
There 1s a sound from upstairs. They
both stop. She 18 terrified again
and clings to him. Then they hear
the CAPTAIN s voice. He 18. calling
Elaine
ra ther quietly
down
the stairs.


Act 2.
Scene 2.
BOB jumps up, almost pushing ELAINE
away from him, fullof a pugnacious
determination now, brou ght on by his
discovery that they want to send him
awa Y. He-pulls the door roughly open
and answers "Yes? in a sharp perem-
tory way.
CAPTAIN:
Faintly
even meekly
from the
top of the stairs.
Is Elaine down there' ?
BOB:
She's going to sleep here.
There 18 a pause.
CAPTAIN: All right.
BOB waits until the CAPTAIN has re-
turned to his room, then he closes
the door again.
BOB:
He's quiet now.
Shall I get the blankets?
She nods and he goes to the sideboa; ard. o
She stirs herself. The crisis 18
over.
ELAINE:
Bring me the mirror, Bob.
He takes out two blankets, then un-
hooke the mirror from the wall. He
throwe the blankets on the settee and
site down at her side, in the same
position as before. He holde the
mirror up for her to see herself.
ELAINE:
(examining her face) It's going to be a terrible brui se.
BOB:
The fool!
Fancy punching out like that!
ELAINE:
He'll have to pay for the jacket, too. (looking up at him)
Do I look awful?


Act 2.
Soene 2.
BOB:
(more cheerfully) No.
Your face has had a wa tering
that's all. Ishan't let them hurt you again!
ELAINE:
Won't you?
(pondering)
I believe you won't
Looking in the mirror again.
Oh, my poor hair:
BOB:
Let me do 1t.
He begins smoothing and parting her
hair, carefully and professionally
like a hairdresser.
ELA INE:
I used to do yours once.
BOB :
I remember.
I used to cry for you at home.
ELAINE:
Her head down, to make iteasier for
him.
You never did!
BOB:
I used to ruffle my hair just before I got here - then
you'a say, 'Let's go up to the barber's, shall we?' And
you'a sit me down in front of the dressing table upstairs
with a white oloth round my neck.
ELAINE:
You remember
BOB:
There.
He draws a little back from her, the
better to judge her hair. She takes
vp the mirror again.
ELAINE:
(as she scrutinises herself)
That's lovely
After a pause, during which she puta
the last touches to her hair.
Where do you want to work, then?
BOB:
I haven't thought.


Act 2.
Scene 2.
ELAINE:
Wouldn't you love being agent here?
BOB:
I could learn, I suppose
But what about Dick?
ELAINE:
He'd get used to it:
BOB:
He never would.
And it 1sn't right!
ELAI INE:
Dully, put ting the mirror down, as 1f
she feele the dead weight_of all mora. 1
ludgement in the world.
It isn't right.
So let's stay as we are.
BOB:
Feeling that he has somehow let her
down.
I'd do it for you
ELAINE.
Do if for yourself, silly!
I ehan't be working there!
BOB:
They'd hate me even more, wouldn't they?
ELAINE:
Move over to the big house, then! - As agent you could do
that.
BOB:
Could I?
He thinks seriouely about 1t for the
first time. f
But the work
ELA INE:
Now don't be ridiculous, Bob!
BOB:
Could I do it, do you think?
ELAINE:
Of courne you could.
BOB:
I'a get the hang of 1t perha ps
It-might be exciting -
(pause) I like old Talbot.
(in_an easier vein) Tha t
nose makes him look funny.
Suddenly he laughs and jumps in his Bea
So that's where she got 1t!


Act 2.
Scene 2.
ELAINE:
(scrutinising him, then guardedly)
Who?
BOB:
Rose of course!
ELAINE:
Who told you?
BOB:
A dickie-bird told me!
Quite indifferent to any displeasure
he might "cause her.
I was watching him today
she's got his trunk to a T:
ELAINE:
At eese again, and touched by hie
lightness.
There's no blame in you at all
She puts her hand vp to his face, re-
flectively.
I've been followed all my life by blame : And you say,it
so nicely.
It's better than being punched in the face!
BOB:
Looking. at her bruise, touching the
skin round 1t.
Does it hurt?
ELAINE:
It's beginning to sting.
BOB:
Let me bathe it for you.
ELAINE: You can kiss it better.
BOB:
(kissing her lightly on the cheek) Like tha t? I always
used to kiss you there. And one there. (he kisses her
on the other cheek.) You always laughed!
ELAINE :
(smiling) Did I?
BOB:
And tickled me : Like this!
He tickles her, and she struggles,
laughing.


Act 2.
Scene 2.
ELAINE: Bob!
e You're the eame fool.
You haven't changed!
BOB:
I loved today at the Show. I'm glad I dragged you along.
(thinking)
She 1en't 11ke that.
ELAINE:
Who?
BOB:
Martha.
She deadens everything
ELAINE:
What would she say if she eaw U8 here?
BOB:
What?
There 18 a long pause. A look of
revelation comes into his face.
BOB:
(in a ohanged voice) You had a rhyme
'One for the
eyes, One for the brow, One for the 1ips, I'll teach you
There 1s another silence between them,
during which he gazes into her eyes
intently, then he repeats 1t, kissing
her lightly each time and pausing be-
tween each line.
One for the eyes
One for the brow
One for the lips
I'll teach you how
Neither of them move. The silence
deepens. Then slowly he draws her
to him and kisses her full on the
11ps. They remain 11ke that, clasped
together like lovers. Her eyes are
closed.
Then, ae 1f only now realising wha t
has ha ppened, she tries to struggle
free. But he holds her fast. She
struggles again and this time breaka
free from him, brea thing heavily, and
stares down at him, while he remaine
on the Bettee, dazed and blinking.


Act 2.
Scene 2.
At last shè manages to apeak, in a
strained, hoarse voice.
ELA INE:
Put those blankets back. A
He takes up the blankets behind him
and goes to the sideboard. When he
has thrown them clumeily in he does
not turn round to look at her again
but stande facing the wall, where the
mirror was, his hands on the sideboard
Now go to bed.
Without looking at her he goes across
to his room and closes the door. He
switohes. the light on inside and for a
moment we see his silhouette pass
a crose the glass panel of the door.
She stands there for some time, simply
8 taring in the direction of his roon.
Then she turns. She 1s about to open
the door on the left when she looks
back, as 1f undecided. But then she
opens the door and starts to go out.
She sto ps again. She cannot face
the world upstairs.
Suddenly she
draws back, closes the door again, and
turne round, her decision made. Then
she hurries across to BOB's room, opens
the door, stands gazing in for a
moment, and enters, switching out the
light on the stage. We see her
silhouette pass across the panel of
the door as BOB'8 did.
The stage 18 now in darkness, save for
the oblong of light from this panel.
Some time passes. The house i8 in
ailence.
The door on the left opens. The


Aot 2.
Soene 2.
light comes in from the corridor,
and silhouetted against 1t 1s the
figure of the CAF PTAIN. He looks
about the room, then he walks silent-
ly in, without switching the light up.
In the middle of the room he suddenly
stops as ELAINE' silhouette appeare
once more in the panel of BOB'B door.
He draws back, with. a little gasp.
A few seconde pass, and then we hear
ELAINE s Boft laugher, ra ther amorous
and provocative, from the other roon.
Her silhouette disappears a gain.
He turns. and walks slowly and blindly
back to the door on the left, as 1f
feeling his way, B tunned.
He closes the door behind him.
I UR T A I N.


AOT THREE.
SCENE
ONE.


Act Three
Scene 1.
A week later, about half-past noon on
a Sunday. It i8 a bright, crisp day.
BOB'B door 18 standing o pen.
The room 18 empty. Then the garden
door opens sharply and the CAPTAIN
a tamps in, puffing and blowing with
the cold. He 18 dressed smartly, in
a grey suit, with starched white collar
His smartness gives him a distinguish-
ed air, and we are reminded tha t years
ago people looked up to him.
CAPTAIN: (at once, wi thout looking round the room) You'll need
your overcoa t this morning, by God! (peering into BOB 's
room) Are you ready?
(from his room) Coming.
CAPTA IN: (turning back towards the window) I've been up on the
Downs with the filly
you can drink the air this morn-
ing, drink 1t!
There '11 be 1ce on the pond tonight.
BOB enters from his room. He is
getting into a jacket. He also 18
1n hi8 Sunday best. He 18 pale,
and in hia movements there is none
of the abandon we have come to as-
sociate with him.
BOB:
Is he back, then?
CA PTAIN: (looking at his watch) No. He'l1 be a few minutes yet.
He likes a talk w1 th the Vicar afterwarde.
0ld-fashioned
idea, the Church - but it's wha t people expect. They
like him to play the Squire.
BOB :
(about to return to his room, but stopping)
When do I
start - did he say?
CAPTAIN: You know what sort of man he i8.
One word's enough,
two's two many.
BOB:
But what's this interview for?


Act 3.
Scene 1.
CA PTA IN: To gét the agreement out.
An agent's not l1ke a
groom, you know.
BOB:
Does that' mean a contra ct?
CAPTAIN: of course. * ab (peering at him) Why?
BOB :
For how many years?
CAPTAIN: Well
a year to learn the ropes
the last man stayed
two years - I'd say three years in all. He '11 ask
that as a minimum.
BOB:
(etaring before him) Three years
CAPTAIN: Why - (glancing at him hesitantly)
does it seem a bit
long to you?
BOB :
Where would I live?
CAPTAIN:
With an automatic gesture towa rds
BOB's room, which he corrects at once.
Well, you could take a room at the house, 1f you felt too
crowded here I .
That's what the last man did. Depends
on how things turn out.
BOB :
Yes
on whether he likes me
Ie he going to like
CAPTAIN: (after a pause) Why shouldn't he?
BOB:
Well, I didn't get the job.
It seems a bit funny.
He's only seen me twice.
CAPTAIN: Still, I think he knows what he's up to
BOB :
I hope 80. (suddenly remembering. some thing)
Have you
seen my riding crop? It's - a Joke! (going to his room
to fetch 1t) I can't even ride yet! (from his room)
Like Dick said - I can't tell the backside of a horse
from the front!
CAPTAIN: (contemptuously)
Dick!


Act 3.
Scene 1.
BOB:
(coming back with the riding orop) Look.
It's a present
from Elaine.
CAPTAIN: (sharply) ELAINE?
BOB:
(flushing)
Aunt Elaine.
CAPTAIN: (angrily) And what the hell's the use of that? (flinging
the crop on the sideboard) You start by punishing
self, not the horse! (quietly again) So you'11 be ioern
ing a bit about horseflesh, will you?
BOB:
(indifferently)
I suppose 80.
CAPTA IN: What's got into you, Bob?
Can't you ma ke your own
decisions any more?
BOB:
(uneasily) How do you mean?
CAPTAIN: You're coming along with me and in six months from now
you'11 be sitting a horae like Ta lbot! By God - (taken
away) I'1l punch it into you!
Look at this! (withe
kind of angry humour indicating his bow-legs) In ten
years from now you'11 have stilts like mine! You'11
walk along as 1f you'd got a horse between your legs.
oall that my triumphal arch! And it's the trademark of
a man, Bob!
Pausing, as 1f to recover from his
anger
Well, here's the first lesson. (boring into Bob with his
eyes) Are you listening?
BOB:
(sensing something in his manner) - Yes.
CAPTAIN:
Speaking quietly, after a cautious
glance at the door on left.
Talbot's going to like you all right. But he wants a
simple young man
nothing flashy.
So watch out for
yourself. (musing) One of the finest young horsemen in
the country onçe
though I eay it myself. (looks up
Buddenly) He's not a happy man, you know.


Act 3.
Scene 1.
BOB:
Why?
CAPTAIN: That man could have had a wonderful big family, 11ke his
Dad before him.
He never did. He never married. The
ground we stand on's going to be B old up on his death and
tha t'11 be the end of the Talbots. (pausing) All be-
cause of a bloody fool of, a woman.
BOB:
What happened?
CAPTAIN: There's not a more generou 8 man in the County. Never
tried to do anybody any he rm. Seen him walk?
BOB nods, and the CAPTAIN, his chin
lifted high, gravely 1mitates Talbot's
long, easy stride.
He took over both estates when he was eighteen, he loved
the work, he was a strapping young chap, Bob. Master
of the Hunt when I mo ved here
everybody loved him,
nose and all.
Gazing at BOB fixedly, his 11ps ra ther
tight, as 1f there 1s a hidden mean-
ing 1n what he_is saying.
It makes him look like an eagle Bome times. I've seen
him on horseback at the edge of the woods staring down
his. beak like a sleepwalker.
Snap.your fingers in his
ear and he wouldn't turn hi 8 head.
Because he's eaten
up with regrete.
BOB:
(ra ther faltering under his gaze) Why?
CA PTAIN: : A woman tripped him up.
There is silence between them.
BOB:
(forcing himself to ask the question) When?
CAPTAIN: About the time he was Master of the Hunt.
BOB:
Was ahe married?


Act 3.
Scene 1.
CAPTAIN: She was married all right. (going on quickly) Now
that's a thing you've got to avoid. A woman can twine
herself round your 11fe.
You start by being a fine
young chap, full of oats, and then some thing snaps.
(slowly) He never could resist a woman, Bob.
But
that was one too many.
He stares at BOB in silence.
BOB does not know what to do with
his face and he stands there until
the CAPTAIN at last rescues him by
a brisk change of tone.
But whatever you say about him he's a fine leader and a
just man.
So put yourself at his service, without reser-
vation. Never tell him you're expected back home, or you
want an evening in town. No family:
Just Bob Runnel.
Agent. (grimly, in military fashion) At your service, sir!
The garden door opens and AUDRY comes
in, also muffled up.
AUDRY:
My, 1t's cold!
The CAPTAIN turns swiftly, and sub-
sides when he gees who it 18.
CAPTAIN: Ah a * Hullo, Audry.
AUDRY:
Hullo!
Talbot's back!
CAPTAIN: We'd better go.
AUDRY:
(going towards door on left) I'l1 tell Elaine! She'll be
80 excited!
CA PTAIN: There's no time, Audry
AUDRY: :
(turning back to them) No, wait a minute! (opening the
door) Elaine!
Tshe turns to look at Bob) Where 'e your
smile gone to these daye? (laughing) I've never seen
anybody look 80 frightened of a bit of work!


Act 3.
Scene 1.
ELAINE is in the corridor.
Come and look at our new agent, Elaine!
He's come to
collect for the graveyard fund!
ELA INE enters. Her hair is well-
groomed and she has made up her face
carefully. Her woollen dress, with
an unsoiled pinafore round her Haist,
1sa little too smart for morning
housework.
ELAINE:
Hullo, Audry. (to BOB, walking a cross to him) Are you
off, darling?
Tto AUDRY a gain) He's nervous, I expect.
AUDRY:
He's not exactly sitting up and begging for it, is he?
ELAINE gives him a brief glance of
concern and goes close to him, to put
his clothes 1n final order. At this
moment MARTHA enters from the left.
Unlike her mother she has taken no
trouble with her appea rance at all.
Her clothes are thrown on and her hair
1s untidy. She goes towarde the stove
AUDRY:
Hullo, Martha.
MARTHA:
Hullo, Audry.
BOB follows her anxiously w1 th his
eyes. The CAPTAIN also watches her
closely.
BOB:
Why don't you walk us over to the house, Mart?
MA RTHA :
(after glancing at ELAINE) I'm not dressed or anything.
BOB:
We can wait.
CAPTAIN: slip a coa t on, Mart.
You look all right.
AUDRY:
You need an overcoat this morning
there's little bite
of 1ce on my pa th
e I


Act 3.
Scenel.
MARTHA: (hesitantly) Shall I
ELAINE:
(with a elgh) Don't take her away from me just at
this moment, Bob.
MARTHA stope, offering no. resiatance.
ELAINE turns round to her.
Do you really want to go, darling? (to BOB again) You
know we're having lunch in the big room today
there
are aeven of ve and the places aren't even laid yet. Rose
hasn't come in from church.
At UDRY:
I can give you alhand.
ELAINE:
With a ahrug and a puzzled Bort of
emile at BOB
All right, but
MARTHA:
(to the CAPTAIN) I'a better stay.
ELA INE: :
Derling, 1f you want to go
CA PTA IN: (after a frowning_glence at his_wife) Well, make up your
minds.
MA RTHA :
(passively) I'll stay here.
BOB:
(unable to meet her eyea)
Cheerio, then.
ADDRY:
Good luck, Bob!
The CAPTA IN opene the door. MA RTHA
st tande watching them.
ELAINE:
(following them to the door) Good luck, darling.
She stande in the doorway for a momen t 9
watching them go across the garden.
ELAINE:
(turning back into the room
about her 'duties again)
sit next to the Captein this time, will you, Audry? He
lovos 1t 80. (amiling at her) Would you mind?


Act 3.
Scene 1.
AUDRY:
Oh, I'm.used to him now!
ELAINE:
(going acrose left) Build the fire, will you Martha?
(as she goes out) We must have a curtain put in front
of that door
every time 1t's opened the room gets
frozen again
MARTHA stands in the same place,
gazing before her. When ELAINE
has gone AUDRY speaks to her in
a low, hurried voice.
AUDRY:
Dick's driving me mad.
Can't you talk to him, Martha?
MARTHA takes some time to abeorb
this as she stares before her, then
she ep peaks Blowly and flatly.
MARTHA : He's a fool.
Bob's never done him any harm.
AUDRY goes quickly to the door on
the left and oloses it without a sound
AUDRY:
He doesn't mind Bob.
It's her.
MA RTHA :
(dreamily)
It's always her . a
AUDRY: :
She makes too much fuss of him if you ask me :
MA RTHA:
(her curiosity darkly aroused) Who?
Of Bob?
AUDRY:
Yes.
MARTHA: Why?
As if she hadn't the energy to go
on but still wanting to see what 1s
in the other woman's mind.
Fuss?
AUDRY:
Well, always walking out with him a going to Lowley Ga te.
MA RTHA :
(trembling)
They went to Lowley Gate?


Act 3.
Scene 1.
AUDRY:
What's the matter?
MARTHA: You said they went to Lowley Ga - te.
AUDRY:
Yes. That's all right, 1en't it? (staring at her)
Ien't it?
MARTHA : Yes
Wha t did they do?
AUDRY:
They had tea toge ther.
Why? You're all so funny here
MAI RTHA :
subsiding from her tension and
speaking with childlike helpleseness.
I don't know
AUDRY watches her for a time in
silence.
AUDRY:
You behave as funny as Dick!
MAI RTHA:
(half to herself)
Dick doesn't like them being together
AUDRY:
(doubtful whether she should go on)
Well, she overdoes
it. Just to spite him!
MA RTHA :
(alert - ) To what?
AUDRY:
To spite Diok
it's 80 silly!
MAI RTHA :
(with Budden 11ght) Yes!
She can't
the row they
had: Of course she's going to spite forget of course
she's going to make a big show with Bob!
AUDRY:
(hotly) Yes, but 1t's me who suffers for it! And
yesterday was the last straw! She came over at half-past
twelve and said would I come and help her do the washing-
with that sweet smile of hers. And when I got here
there was Bob sprawling all over his bed and a tray of
breakfast things on his table - half past twelve:
MA RTHA :
(hardly able to get out her words) And Dick?
AUDRY:
Dick? What do you mean?
MA RTHA : Waen't he there too?


Act 3.
Scene 1.
AUDRY:
No. Just Bob.
(In an ou tburst) Do you know, 1f she
wasn't the age she was I'd think they were a couple of
lovers, I would really!
MAI RTHA :
Looking at her in a terrible beseech-
Ing way.
You wouldn't
AUDRY:
(stopping)
What?
(gazing at her) What's the matter?
MAI RTHA :
(on the verge of tears) Audry -
At last she bursts into child-like
sobs, standing quite still, her
hands at her sidee.
Audry
AUDRY :
(going to her in astonishment) Martha! (stroking her
hair) My little Martha! Wha t did I say?
Wha t
aid I say, then?
MAI RTHA tries to speak, as a child
will throu gh its tears, but it 18
no use.
AUDRY:
I'll get your mother!
MARTHA tries to stop her with a
gesture, but she cannot_ make herself
understood. AUDRY runs across to
the door on the left and calls out
VElaine! Elaine! Then she re-
turns to MARTHA, worried and frightened
Don't cry, Martha.
Wha t did I eay? Please don't cry!
ELAINE appears.
ELAINE:
Martha!
Hurrying Lacrose to her daughter.


Act 3.
Scene 1.
BLAINE:
What happened, darling?
There, darling, come to your
mother! (to AUDRY) All right. I'll take her.
What ha ppened?
AUDRY:
I don't know.
She juet
She's upset.
ELAINE:
I'll take her upstairs.
She'll be all right.
Lowering her head and trying to look
into MARTHA's eyes.
Darling, wha-t's the matter.
Tell me what's the matter:
ELAINE draws her cKose, comforting
her in the warm, soothing tones that:
must b9 soignantly familiar to MARTHA
from her childhoud.
This brings
MARTHA 8 tears in a greater flood,
and she breaks down in her mo ther 8
clutching her and crying out, "MUMMY,
oh, MUMMY: TT
ELAINE: Come upstairs, there's a good girl. (To AUDRY) She'll
be all right. Don't worry.
The gardan door opens and ROSE enters.
She 18 dressed rather demurely for
church, and she hae a Psalter in her
hand.
ROSE :
What's the ma tter?
AUDRY:
I said something
I can't understand it.
ROSE:
What happened, Mart?
ELA INE:
(stopping) Rose, Audry: just ta ke her up to her room,
darlings. There' S so much to do down here.
ROSE:
Mart
ELAINE:
Thank you, Audry.
ROSE and AUDRY leave with MARTHA.


Act 3.
Scene 1.
ELAINE goes to the stove and takes up
the kettle of water. A8 she starta
to leave the room she happens to
glance back at the window.
She at
once puts the kettle on the stove
again, and hurries to the mirror,
where she combs her hair and makes
up her face. Then she takes off
her pinafore.
The garden door opens and BOB comes in.
Neither of them speaks et once. He
stands near the door, not responding
to her smile.
ELAINE:
(softly) My darling
What happened?
(glancing
out of the window) Where's the Captain?
BOB:
He's still at the house.
She goes and closes the garden door,
then turns to him more anxiously.
ELAINE:
What happened, then?
Did he take you on?
Yes.
ELAINE:
(with great relief ) How wonderful!
She gazes into his eyes and kisses him
on both cheeks. Then she puts her
arms slowly round his shoulders.
Don't I deserve a kiss this morning?
He draws her closer and kisses her on
the lips
but awkwardly and without
feeling. And he does 80 only after
glancing at the window and at the door
on the left.
ELAINE looks up into his eyes.
What a fine job to have, Bob!


Act 3.
Scene 1.
Slowly she realises that he i8 not
with her and takes her arms down
clearly a relief to him.
You don't seem very happy abou t it
BOB:
Dick was over there.
ELAINE: Dick? At the interview?
BOB:
Yes.
Talbot asked me if I'd agree to a term of five
years.
ELAINE:
(elated) Five years, darling!
BOB:
And I said yes.
Then he seid he wanted to be alone with
Dick and the Captain.
ELAINE:
Why?
BOB:
(gloomily) Something's going on over there!
ÉLAINE pauses thoughtfully.
ELA INE; (with a shrug) He wants you to be friends
(looking
at his hesitantly) Couldn't it be that?
BOB:
They're up to some thing! -
ELAINE:
(inwardly very still) But what, darling?
BOB:
He seemed to know something. He hardly looked at me.
There 1s silence between them while
they ponder this.
ELAINE:
And what did he seem to know?
BOB:
The truth.
(with a trace of resentment) You know what
I mean.
ELAINE:
Then who told him?
BOB:
He'd only have to use his.eyes


Act 3.
Scene 1.
ELAINE:
But we never saw him once!
BOB:
We saw the grooms though:
And you know how they talk.
We walked past the stables every day.
ELA INE:
(nodding)
Yes.
(wearily)
The grooms talk
We should have been more discreet.
ELAINE:
But I was 80 happy
BOB:
The Captain knows.
ELAINE:
Did he say anything?
BOB:
No thing direct.
Anybody could have found out
ELA INE:
(quietly, looking down) I loved this house
Helpless with her words as we have
not seen her before.
I wanted to make the most of it.
(pause)
They frighten
you, don't they?
BOB:
Well, you can feel their ha tred
ELA INE:
Ah, I've had tha t fear in my throat, Bob
I'm used to
it now. (matter-of-factly)
Martha knows,
too.
BOB:
How can I look her in the eyes!
ELAINE:
Aren't you prepared to suffer a little, then?
I've been
in this pri son for years!
BOB:
We needn't suffer
ELA INE:
We need, we need!
BOB:
No, no
ELAINE:
You fool
of course the Captain knows:
He only has
to look me in the eyes! Well, let them all find out,
one by one - and gloàt and pry and whisper as they 've


Act 3.
Scene 1.
ELAINE
been doing for thirty years
'Where's she been? Who's
(contd. she been with? How long's she been away?' Let them!
I didn't ask to fall in love!
It ha ppened! Well, let
their hatred happen!
(with a eweeping gesture) I don't
see them any more! And 1f they suffer, let them! It's
their turn now!
BOB:
(in a low 'voice) Even Mertha?
The name Beems to stun her. She 18
silent. Then she nods sadly and
bitterly.
ELAINE:
Yes, my God, even Martha
I can't bear seeing her
cry
BOB:
You couldn't go on doing that - 4
ELA INE:
Oh, I could. I could see her wither away before my eyes,
if only I had you
BOB :
You couldn't -
ELAINE:
Do 1 shock you; then?
(with a trace of diegust) I shook
all of them in time
Should I just lie down and eay,
'All right, my life wesn't real like other people's. It
was only to be used'?
BOB :
They'11 have their revenge, Elaine.
ELA INE:
Oh, yes, but when I've had mine. All this week they've
been staring at me 11ke dead fish - every time I come
in with my face made up, every time I put on a new dress.
None of them speak to me now.
Even Audry looks at me as
if I'd gone mad.
BOB:
And that's what I can't beer - their silence
their
staring all the time :
ELAINE:
Why can 't you be blind to their stares?
I've tried it!
(with a laugh) It works, you know! It's just you r silly
fears!
BOB:
(sadly) I expect it is


Aot 3.
Scene 1.
ELAINE:
(putting her arms round hie shoulders again)
Defy them, Bob - Just for me. You could come in tired
in the evening, we could have dinner together
could go to the Metropole on Sundays
we could walk
I could come across the fielde and see you at work!
They'1l soon forget, Bob, really they will!
BOB:
Perhape it's silly, but
ELAINE:
BOB:
You never let me have a minute's peace!
Every time I
try and talk to Martha you interfere.
I can't go to my
room without you coming too.
Whenever the others say
my nzme you lift up your head.
If Martha says, 'Have
some tea, Bob, . you tell her 'It's all right, 1'11 be
getting him some tea in a moment'.
(he pauses) Did
you follow me to Audry's yesterday?
ELA INE :
Yes
BOB:
(looking about the room) God, you're right - 1t's like
a prison here!
ELAINE:
Have I turned 1t into a prison for you?
BOB:
You and them
(he looks at her with very clear eyes)
You quarrel, yet you all be long together
ELAINE:
No, Bob.
Don't be like that
Don't leave me alone
with them!
MARTHA appears on the left.
BOB:
(his eyes averted from ELAINE) Leave you alone
ELAINE:
(murmuring to him, almost in tears) No, Bob, you
mustn't, you mustn't!
Suddenly he catches aight of MARTHA
and springs away from ELAINEat once,
almost pushing her over in his panic.
He staresaat MARTHA with his mouth
open. Then ELAINE turne swiftly,
half bent forward, and sees her too.


Act 3.
Scene 1.
She stands there, doomed and broken-
looking, and none of them speake for
some time.
MARTHA :
We're ready to serve.
ELAINE nods elowly, then walks, al-
most stumbles, to the door on the left,
past her. MARTHA remains standing
in exactly the same position as before,
simply gazingat BOB. He returne her
. gaze in a stupefied fashion after
ELAINE has gone. Then, in a sudden
determined movement, as 1f rushing to
get air, hè pulls open the garden door
and leaves. The stage ie empty save
for MARTHA.
U R T A I N.


ACT THRES. -
SCENE
TWO.


Act 3.
Saene 2.
About a week later, in the évening.
There ie a large bunch of pinka on the
side-board, still wrapped in pa per.
The CAPTAIN 18 gea ted at the table
near the etove, and ROSE 18 helping
him off with hiB riding boots. Mean-
while MARTHA i8 Bweeping out BOB's
room; she collects the dust inte a
pen and takos 1t to empty in the stove.
The CAPTAIN watches heras she comee
acrose the stage.
CAI PTAIN: What's the matter, Mart? You look washed-out.
ROSE:
It's all thie overtime.
CAPTAIN: You ought to cut 1t out for a bit.
MARTHA :
(at the stove) It's better to work.
CAPTAIN: Oh, well
we'll be back to normel eoon.
ROSE now helpe bim on wi'th his bedroom
alippers. These with riding breeches
a gapof brown aosk be tween them
nake a ridiculoue oombina ation, but
they all appear used to 1t. * ROSE
poure him a cup of tea.
CA PTAIN: God knows how they '11 get him out of bed in the morning.
(pause) You never know, but he might wake up at dawn
on'e Jay.end look out of the window and think, now this is
where I belong :
There's nothing like the first cold
air in the morning - 1t never comes like that again.
God knows 1f it's UB and our kind, but the air's polluted
after tha t - by the time you girls are up there 's no-
thing to see.
ROSE;
Seven o'clock's early enough for me, thank you.
MARTHA continues to go beck and forth
from BOB's room, bringing the waste-
pa per basket etc. ROSE goes to the
flowere and unwraps them.


Act 3.
Scene 2.
CAPTAIN: (noticing the flowers for the first time) Where did
those come from?
ROSE:
I bought them outside the office a to celebra te.
He gives her an enigmatic look, then
returns to hie own thoughts.
CAPTAIN: He's got the mark of a sani re on him no doubt about
that.
ROSE:
He' '11 never have the money to be a squire!
She lays out the flowers on the side-
boa rd and takee a large vase down
from the mantelpiece.
ÇA PTAIN
There's a chance if he pulls hi 8 weight.
ROSE leaves the room, left, with the
vase in her hand, presumably to get
water.
Grand: Simply grand!
A better 11fe than I had
wi thout
a horse to my name, let alone a stable! - There wasn't a
man from here to Land's End could master a horse like me!
The old Equerry said
MA RTHA ;
(quietly) All right, Daddy
He dreame on in silence, staring at
the floor.
CAPTAIN: I could go up and see him.
I'd get him up at dawn
shake a leg, Bob!
(hitting the table with Budden con-
viction) I'm damed if he ien't a squire in the making!
ROSE comes back with her vase and
takes it to the sideboard.
ROSE:
(putting the flowers in) You and the squires! They're
ancient history these days!
CAPTAIN: (still dreaming) By God
I can just see him with a
bit of horseflesh between his legs


Act 3.
Scene 2.
Imitating the actions of a rider
puttinga horse at a jump.
down goes his neck - the bit nice and firm
horse
and rider together in apirit
more important than
all your style - and baok
Pulling back as the horse descends
to tha turf again.
without a hair out of place, hi 8 hands nicely down
Gri pping his hande against the horse's
neck, as they would be. in holding
the reins.
and the landing as smooth as a piece of velvet!
And in
three months from now
by God, he wouldn't look out of
place in the Lowley Hunt, I can tell you that!
ROSE:
He'11 never have Dick's touch wi th a horse
not after
fifty years.
CAPTAIN: Dick?
Bob's got the personality . e
ROSE:
It's the way a boy's brought up, I suppose.
CA PTA IN: (fulminating to himself) Captain Whistle!
They are
all whistlers over there - I swear that chestnut"s got
a whistle like B fa ctory-hooter, only they can't hear it.
She landed fifth in the seven furlongs
end they swore
she c'd lead the field all round! (pause) Well, she
didn't. And Captain Whistle wa s right.
ROSE:
Putting the vase of flowers on the
table before him.
You never could manage Mumy. That was the trouble.
CA PTA IN : She was always too clever for me.
Too quick.
ROSE:
And you let her see 1t.
CAI PTAIN: Yet she stayed.
She had her little fancies.
But she
always ca me back.


Act 3.
Scene 2.
MA RTHA :
(in a tone of contempt )
She ought to be ashamed of
herself.
CAPTAIN: I've seen that woman cry tears over you because
scratched your knee.
She nursed Bob's grandfather you've
to his grave
you were children in arms at the time down
she stayed by hig bed day and night.
ROSE:
Oh, don't exaggerate
CAPTAIN: Tha t man was heaven and all creation to her. And he
didn't so much as mention her name in his will.
to himself) Sitting up there all day
(to MARTHA (half )
Has ehe ea ten anything?
MA RTHA : No.
ROSE:
What does she do all day?
MA RTHA : Just sits by the window, I suppose.
ROSE:
That little episode's over.
Like with that widow from
Jacques's Field
a fortnight of her and he'd had
enou gh. (to MARTHA )
Do you remember?.
MARTHA : Oh, Bhut up
ÇA PTA IN: (quietly, watching ROSE) They had a nasty row last week.
ROSE
(allears) A row?
CAPTAIN: In front of the grooms, too.
ROSE:
Wha t about?
CAPTAIN: She'd been following him round a bit too much, I
The boy likes his freedom.
And he said, 80.
suppose.
He pauses, and they wait for him to
speak with fascinated attention.
Anyway, she walked straight into the hou se
ROSE:
Which house?


Act 3.
Scene 2.
CAPTAIN: (1erking his head towards the window) Over
there.
She walked straight in, up the stairs to Talbot's
study
ROSE:
CAPTAIN: But he wouldn't give way!
ROSE:
What was she after?
CAI PTAIN: She wanted him to keep the boy here.
She saw what was
coming.
But he said, No: either Bob worked up north
or he didn't get a job at all.
And anyway, he said,
Bob had made up his own mind.
That finished her.
MAI RTHA :
So she knows
ROSE:
Who told you?
CAPTAIN: Talbot himself.
(leaning forward and speaking more
quietly)
Now how do you think tha t wonan feels?
ROSE:
(with a defensive shrug) I don't kno w.
CAPTAIN: You went up to him in church, didn't you?
Tha t's wha t
he told me. He took me aside. 'What's this going on
at the house?' he 8a1d. 'We'll have to get the boy away.
She'll fasten on him for 11fe.'
ROSE:
And wasn't it true what he Baid?
CAPTA IN: Every word he said was true.
ROSE:
Wha t did I do wrong, then?
CAPTAIN: It was family bueiness.
ROSE :
(bitterly) Talbot's been in the family, I think?
CA PTAIN: I don't like to see one of my daughters chastising her
own mother
that's all.
MA RTHA :
What about the other way round?


Act. 3.
Scene 2.
CA PTAIN: (turning on her sharply) I know about that.
I don 't
like 1t either way round. (ne looks at his watch, then
addresses ROSE) You'd better call Dick, 1t's nearly time.
And bring your mother down.
She '11 catch her death of
cold.
ROSE:
(without moving) Oh, she's all right.
The CAPTAIN shows signe of anger.
MARTHA : Rose
ROSE:
(rising) All right.
She leaves the room left. The CAPTAIN
and MARTHA sit in silence for some - time
CAPTAIN: Who cooked the meal tonight?
MARTHA :
I did.
Another pause.
CAPTAIN: (heeitantly)
Spoken to Bob?
She shakes her head without looking
at him.
(awkwa rdly)
You ought to say goodbye.
He pushes his cup and saucer towarde
her.
Got another one there?
She rises in silence and pours him.
another cup of tea, her face set and
pale.
MARTHA :
(in a low voice, bitterly) You used to keep UB a part,
remember?
CAPTAIN: (abashed) All right, Martha.


Act 3.
Scene 2.
The door opens and ROSE_enters. She
18 followed by ELAINE.
ROSE:
Here she is.
ELAINE 1s pale and ha gga rd. She
stares about the room while the others
watch her in suspenee.
CA PTA IN: Come and sit down, Elaine.
He jumps up, pulling the chair nearer
the fire. Absently she walks over
to it and throws herself down, staring
before her. He sits at another place,
embarrassed
What's the point of going on like this? You '11 get 111
1 there's the house to think about!
RO'SE leans over and touches one of
ELAINE'S hands.
ROSE:
(to the Captain) Good Lord!
Feel this hand!
CAPTAIN: Get her a cup of tea.
MA RTHA : I'1l get a blanket.
ROSE goes to the stove while MARTHA
leaves the room to fetch a blanket.
ELAINE:
Where's Bob.
CAPTAIN: Over at the stables.
ELAINE:
Where did he go for lunch?
CAPTAIN: To Audry's.
ELAINE:
(alert, looking at him for the first time) With Audry again?
CAPTAIN: Amildly) What
you
about? Dick took
Trere wasn t muaro chance talfinenaho of
here, was there, MAPEgoross.
you upstairs all day?


Act 3.
ELAINE:
(nodding) Mm. It's the end now
Scene 2.
ROSE:
Here. Drink thie.
MARTHA returns with a blanket.
ELAINE:
Will you let me 8ee him?
CAI PTAIN: 'Let' you, Elaine? He's in and out of the house all
day.
ELAINE:
He hasn't Baid hullo for nearly a week.
CAPTAIN: He's got a mind of his own.
ELAINE: You put him againet me.
ROSE:
What?
ELAINE: You went to Talbot. One of you did.
That's why he's
taking Bob away from me.
The othere are silent. The CA PTAIN
Iooks uncomfortable.
ROSE:
I went to Talbot.
ELAINE:
That's what I said.
(to the CAPTAIN) You see how
things ere?
Hie spirit's in her (jerking her head
towarde the window) They worked it out
ther
well, you'd expect 1t, wouldn't you, seeing toget that
CAPTALN:
(sharply, for the first time) Shut up!
ROSE:
What did she say?
MA RTHA :
(giving her mother a sobering look) Hadn't
you better stop?
ELAINE:
(with a bitter laugh, to MARTHA ) You've got a
your head, then!
tongue in
CAPTAIN: Do you ever speak to Us these days?
ELAINE:
(with disgust) Ue! Ue! That's what he said
all toge ther", he said. Like an obscene, swea
'You're
and I can't get away from 1t:
ting body


Act 3.
Soene2.
ROSE:
She's going off her head
ELAINE:
(to herself) How does anybody make love to an 'us'
(to ROSE) Is 1t all fixed, then?
ROSE:
What?
ELAINE:
The contract.
ROSE:
How do I know?
CAPTAIN: Of course 1t's fixed.
ELAINE:
He's being sent away : (to the CAPTAIN) And you
never had a moment of pity for me?
CAPTAIN: Listen, Elaine
he signed the contract, not me.
ELAINE:
You frightened him. You turned this house into a dark,
shameful house.
(Pointing at ROSE and MARTHA ) Look
at their oyes!
CAPTAIN: Rose spoke out of turn.
That's all the wrong they've done.
ELAINE: And your talk helped.
CAPTAIN: My talk?
ELAINE:
Weren't you out with him every day?
And every day he
came back looking more like a criminal . a
CAPTAIN: And what about the shouting he did at the stables last
week? Did I ask him to shout at you?
ELAINE:
(dreamily, as 1f dazed by the recolleotion) He didn't
shout
CAPTAIN: I heard him myself.
ELAINE:
Bob never shouts : (she stares before her, nursing the
blanket in her hands.
CAPTAIN: Now get this into your head, Elaine
that boy's leaving
of his own accord.
Nobody forced his hand.


Act 3.
Scene 2.
ELAINE:
(pleading, as 1f she hadn't heard him) Tell him to
live here the same as before, Harold! Talbot won't
mind.
Not if we want 1t.
CAPTAIN: It's too late now. And anyway
(he pauses) It's
Martha as well.
ELAINE:
(staring at the table) Ah
Martha
(nodding) Ua.
CAPTAIN: He wants his freedom now.
ELA INE:
And I was so much in love e.
ROSE:
Aren't you ashamed?
ELA INE:
(seeing the flowers) ) Whose are these?
Nei ther of the girls answer, 80 the
CAPTAIN speaks.
CAPTAIN: Rose brought them home.
ELAINE:
To make the house brighter?
She rises, letting the blanket fall
to the floor.
But they're too many for the vase, my dear
you always
did have a little vulgarity in your nature.
She takes some of them.out.
Now a few in several places gives a much better effect.
She pulls the rest out with trembling
fingers, then fetches a smaller vase
from the mantelpiece.
Did you put some in his room?
ROSE eimply stares at her.
No? Well, it would have been rather more gracious.
I'il get some wa ter.


Act 3.
Soene 2.
She goes out left with the vase and
flowers.
ROSE:
(glancing at the door to make sure she has gone) You'd
better tell her. It's time.
The CAPTAIN looks at his watch again.
Then he rises and goes to the window,
pulling the curtain back a little.
CAPTA IN: The garage light's on. He'11 be here in a minute.
ROSE:
She looke half-mad. Perhaps he 'd better not come!
She'll make a scene!
MARTHA: :
Let her, then.
ROSE:
With Talbot waiting out there?
CA PTAIN; It's three minutes to eight.
So he can't stay long. e
(with a sigh) And tha t 11 be that.
ELAINE returns with the vase, leaving
the door open behind her.
ELAINE: There.
Now we'll put them on his table.
And I'll tell
him they're from Rose.
They stare after her as she walks
towards BOB's door with the vase.
She opens 1t, Bwitches on the 11ght,
steps inside, then atops short with
a gasp. The vase falls from her.
hende and sma shes on the floor of
his room. A moment passes and she
turns towards them again, her ex-
pression ghastly.
He's gone! :
He's gone!
CAPTAIN: (jumping up and going towards her) Elaine
ELAINE:
(screaming at the topof her voice) Don't touch me!
(he stopa)
Where's he gone?
Where's he gone?
breaking down) Won't you ever speak to me?


Act 3.
Soene 2.
CAI PTAIN: Elaine
He's going away tonight.
ELAINE:
(absolutely defeated) Tonight
CAI PTAIN: Talbot's taking them up by car.
ELA INE: de
And you didn't tell me
CAI PTA1 IN: It was only deoided last night.
ELAINE:
(to her daughters) Both of you knew!
But no! - I
must be ashamed! (stamping her foot) Ashamed! Well
be ashamed of this, then.
She goes nearer the table, leaning
over them, while the CAPTAIN stande
by watching, rather frightened.
This is what your mother does.
This is wha t you can
keep in your minds as long as you live.
She pauses, preparing her worde.
We took a room at Lowley Ga te
CAPTA IN: : Elaine!
ELAINE:
It had a double bed.
Do you hear what I say? We
weren't disturbed.
The street was very quiet. It was
freer than here. Those hard-working daughters weren't
coming in from the 6.13 bue. (with bitter ridioule)
Why does it always have to come in at 6.13?
Like a
piece of clockwork!
On Monday, look, they're stepping
off the 6.13!
Tuesday, but look, they're stepping off
the 6.13 again! (almost in teara) And Wednesjay
what a marvel
It's the 6.13 again: Are their minds
made of clockwork as well as their feet? But then they
bring in money, don't they?
That's why they can eit
and stare and plot and whisper and torment me - torment
their mother every day; drive her misery déeper and deeper
till 1t kills her, it's going to kill her! My body's
going to die very quickly:
(turning to the CAPTAIN)
Mark that, Captain Betman!
The little pleasure you ever
got won't be happening any more!


Act 3.
Scene 2.
CAI PTAIN: He's coming now, Elaine.
ELA INE :
Throwing herself down on a chair,
in tears, her head on the table.
But wha t can I do? Oh, what can I do?
Suddenly she looks up.
He's coming here now?
CAPTAIN: Yes.
ELA INE:
He'1l take pity 1 not 11ke you
A car-horn, double-noted, suggesting
a large car, sounds twice from the
distance.
ELAINE:
What's tha t?
ROSE goee to the door left.
ELAINE wa tches everyt thing.
ROSE:
Dick! They're ready!
ELAINE:
Looking at her husband with a dreadful
sunken expresion, her voice low.
You're lying to me
He isn't coming:
Suddenly leaping up and rushing to
the garden-door.
Bob!
Bob!
The CAPTAIN stops her.
ÇA PTAIN: Now pull yourself together, Elaine!
ELAINE:
(trying to claw at him with her nails) Let me Bee him!
Please, please, please e


Act 3.
Scene 2.
CAPTA IN: (ahouting above her cries) Now I've told you he's coming.
Do you want Talbot over here? (to ROSE) What the hell's
Dick up to?
MA RTHA :
Look at the state she's in .
The car-horn sounds again. ELAINE
Iooke up asif 1t were a sen tence of
death.
ROSE: :
Di ck! Come on!
From upstairs Dick's voice 1s heard
All right!
We heer him coming
down the stairs. He en ters and goes
straight over to BOB's room.
CAPTAIN: Go and get him quick!
DI CK:
Stopping in the doorway, as he Bees
the debris of the vase.
Hullo, what's this?
He looks back at ELAIN E enquiringly,
then after gazing at her for a moment
shrugs 1t off.
More tantrums, I suppose!
He goes into BOB's room, then returns
with a suitcase.
Is this all?
ROSE:
Yes.
He goes out, slamming the door.
There 1s silence.
CAPTAIN: (holding out a handkerchief) Here, wi pe your eyes.
She takes the hendkerchief absently,
but does nothing with 1t.
Don't let him find you 11ke that.


Aot 3.
Scene2.
ELAINE: You're lying
lying
There is silence. Again the car-horn
gounds. The CAPTAIN goes to BOB'a
room and closes the door. Then he
comes to the cen tre of the room again,
in suspense. He grows more anxious.
He goes to the window and pulls back
the ourtains a little, peeping out.
ELAINE puts out her hand in a sudden
gestureof hope, towards him.
ELAINE:
He's coming?
CA PTA IN: (letting the curtain fall again) Of course, Elaine.
Again they wait in silence. Then
suddenly they heara car start up and,
after 1ts engine has been runninga
Iittle time, drive away.
ELAINE breaks into silent sobs, which
shake her body.
CAPTAIN: (unable to believe 1t) No
He is stunned and turns helplessly to
his wife.
Elaine
You know what a stickler Talbot is for time, e
ELA INE:
My beloved!
My beloved!
CA PTAIN: : (glancing round desperately)
Rose
ROSE remains standing quite still.
There is a knock on the door. ELAINE
comes to life at once and rushes to
the garden door. She pulls 1t open,
peers into the darkness, then stope.
AUDRY appears.
AUDRY :
Wha at's the matter?
Elaine!


Act 3.
Scene 2.
She comes in and closes the door,
staring at ELAINE.
CAPTAIN: (sharply)
Have they gone?
AUDRY:
Yes. What's the matter with Elaine?
CAPTAIN: She's upset about Bob.
AUDRY:
But he'11 be back soon, darling!
(ELAINE walke blindly
away) Why didn't she come over? We were waiting!
MARTHA :
(going to her mother) Mummy
AUDRY:
(to ROSE, in astonishment)
Just over Bob?
ROSE shrugs and takos up her knitting.
CAPTAIN: (staring at the floor for some time) Ho could have
dropped in.
(nodding to himself) He could have done
that.
CUR? TA I N.