Heartbreak House Part 22

His heart is breaking: that is all. [The captain appears at the pantry door, listening]. It is a curious sensation: the sort of pain that goes mercifully beyond our powers of feeling. When your heart is broken, your boats are burned: nothing matters any more. It is the end of happiness and the beginning of peace.

LADY UTTERWORD [suddenly rising in a rage, to the astonishment of the rest]. How dare you?

HECTOR. Good heavens! What's the matter?

RANDALL [in a warning whisper]. Tch--tch-tch! Steady.

ELLIE [surprised and haughty]. I was not addressing you particularly, Lady Utterword. And I am not accustomed to being asked how dare I.

LADY UTTERWORD. Of course not. Anyone can see how badly you have been brought up.

MAZZINI. Oh, I hope not, Lady Utterword. Really!

LADY UTTERWORD. I know very well what you meant. The impudence!

ELLIE. What on earth do you mean?

CAPTAIN SHOTOVER [advancing to the table]. She means that her heart will not break. She has been longing all her life for someone to break it. At last she has become afraid she has none to break.

LADY UTTERWORD [flinging herself on her knees and throwing her arms round him]. Papa, don't say you think I've no heart.

CAPTAIN SHOTOVER [raising her with grim tenderness]. If you had no heart how could you want to have it broken, child?

HECTOR [rising with a bound]. Lady Utterword, you are not to be trusted.

You have made a scene [he runs out into the garden through the starboard door].

LADY UTTERWORD. Oh! Hector, Hector! [she runs out after him].

RANDALL. Only nerves, I a.s.sure you. [He rises and follows her, waving the poker in his agitation]. Ariadne! Ariadne! For G.o.d's sake, be careful. You will--[he is gone].

MAZZINI [rising]. How distressing! Can I do anything, I wonder?

CAPTAIN SHOTOVER [promptly taking his chair and setting to work at the drawing-board]. No. Go to bed. Good-night.

MAZZINI [bewildered]. Oh! Perhaps you are right.

ELLIE. Good-night, dearest. [She kisses him].

MAZZINI. Good-night, love. [He makes for the door, but turns aside to the bookshelves]. I'll just take a book [he takes one]. Good-night. [He goes out, leaving Ellie alone with the captain].

The captain is intent on his drawing. Ellie, standing sentry over his chair, contemplates him for a moment.

ELLIE. Does nothing ever disturb you, Captain Shotover?

CAPTAIN SHOTOVER. I've stood on the bridge for eighteen hours in a typhoon. Life here is stormier; but I can stand it.

ELLIE. Do you think I ought to marry Mr Mangan?

CAPTAIN SHOTOVER [never looking up]. One rock is as good as another to be wrecked on.

ELLIE. I am not in love with him.

CAPTAIN SHOTOVER. Who said you were?

ELLIE. You are not surprised?

CAPTAIN SHOTOVER. Surprised! At my age!

ELLIE. It seems to me quite fair. He wants me for one thing: I want him for another.

CAPTAIN SHOTOVER. Money?

ELLIE. Yes.

CAPTAIN SHOTOVER. Well, one turns the cheek: the other kisses it. One provides the cash: the other spends it.

ELLIE. Who will have the best of the bargain, I wonder?

CAPTAIN SHOTOVER. You. These fellows live in an office all day. You will have to put up with him from dinner to breakfast; but you will both be asleep most of that time. All day you will be quit of him; and you will be shopping with his money. If that is too much for you, marry a seafaring man: you will be bothered with him only three weeks in the year, perhaps.

ELLIE. That would be best of all, I suppose.

CAPTAIN SHOTOVER. It's a dangerous thing to be married right up to the hilt, like my daughter's husband. The man is at home all day, like a d.a.m.ned soul in h.e.l.l.

ELLIE. I never thought of that before.

CAPTAIN SHOTOVER. If you're marrying for business, you can't be too businesslike.

ELLIE. Why do women always want other women's husbands?

CAPTAIN SHOTOVER. Why do horse-thieves prefer a horse that is broken-in to one that is wild?

ELLIE [with a short laugh]. I suppose so. What a vile world it is!

CAPTAIN SHOTOVER. It doesn't concern me. I'm nearly out of it.

ELLIE. And I'm only just beginning.

CAPTAIN SHOTOVER. Yes; so look ahead.

ELLIE. Well, I think I am being very prudent.

CAPTAIN SHOTOVER. I didn't say prudent. I said look ahead.

ELLIE. What's the difference?

CAPTAIN SHOTOVER. It's prudent to gain the whole world and lose your own soul. But don't forget that your soul sticks to you if you stick to it; but the world has a way of slipping through your fingers.

ELLIE [wearily, leaving him and beginning to wander restlessly about the room]. I'm sorry, Captain Shotover; but it's no use talking like that to me. Old-fas.h.i.+oned people are no use to me. Old-fas.h.i.+oned people think you can have a soul without money. They think the less money you have, the more soul you have. Young people nowadays know better. A soul is a very expensive thing to keep: much more so than a motor car.