A Family Man Part 26

RALPH. When you've had a sleep. For the sake of the family name, John, don't be hasty.

BUILDER. Shut the stable door? No, my boy, the horse has gone.

RALPH. Well, Well!

With a lingering look at his brother, who has sat down sullenly at the writing table, he goes out into the hall.

BUILDER remains staring in front of him. The dining-room door opens, and CAMILLE's head is thrust in. Seeing him, she draws back, but he catches sight of her.

BUILDER. Here!

CAMILLE comes doubtfully up to the writing table. Her forehead is puckered as if she were thinking hard.

BUILDER. [Looking at her, unsmiling] So you want to be my mistress, do you?

CAMILLE makes a nervous gesture.

Well, you shall. Come here.

CAMILLE. [Not moving] You f--frighten me.

BUILDER. I've paid a pretty price for you. But you'll make up for it; you and others.

CAMILLE. [Starting back] No; I don't like you to-day! No!

BUILDER. Come along! [She is just within reach and he seizes her arm]

All my married life I've put a curb on myself for the sake of respectability. I've been a man of principle, my girl, as you saw yesterday. Well, they don't want that! [He draws her close] You can sit on my knee now.

CAMILLE. [Shrinking] No; I don't want to, to-day.

BUILDER. But you shall. They've asked for it!

CAMILLE. [With a supple movement slipping away from him] They? What is all that? I don't want any trouble. No, no; I am not taking any.

She moves back towards the door. BUILDER utters a sardonic laugh.

Oh! you are a dangerous man! No, no! Not for me! Good-bye, sare!

She turns swiftly and goes out. BUILDER again utters his glum laugh. And then, as he sits alone staring before him, perfect silence reigns in the room. Over the window-sill behind him a BOY'S face is seen to rise; it hangs there a moment with a grin spreading on it.

BOY'S VOICE. [Sotto] Johnny Builder!

As BUILDER turns sharply, it vanishes.

'Oo beat 'is wife?

BUILDER rushes to the window.

BOY'S VOICE. [More distant and a little tentative] Johnny Builder!

BUILDER. You little devil! If I catch you, I'll wring your blasted little neck!

BOY'S VOICE. [A little distant] 'Oo blacked the copper's eye?

BUILDER, in an ungovernable pa.s.sion, seizes a small flower-pot from the sill and dings it with all his force. The sound of a crash.

BOY'S VOICE. [Very distant] Ya-a-ah! Missed!

BUILDER stands leaning out, face injected with blood, shaking his fist.

The CURTAIN falls for a few seconds.

SCENE III

Evening the same day.

BUILDER's study is dim and neglected-looking; the window is still open, though it has become night. A street lamp outside s.h.i.+nes in, and the end of its rays fall on BUILDER asleep. He is sitting in a high chair at the fireside end of the writing-table, with his elbows on it, and his cheek resting on his hand. He is still unshaven, and his clothes unchanged. A Boy's head appears above the level of the window-sill, as if beheaded and fastened there.

BOY'S VOICE. [In a forceful whisper] Johnny Builder!

BUILDER stirs uneasily. The Boy's head vanishes. BUILDER, raising his other hand, makes a sweep before his face, as if to brush away a mosquito. He wakes. Takes in remembrance, and sits a moment staring gloomily before him. The door from the hall is opened and TOPPING comes in with a long envelope in his hand.

TOPPING. [Approaching] From the "Comet," sir. Proof of your interview, sir; will you please revise, the messenger says; he wants to take it back at once.

BUILDER. [Taking it] All right. I'll ring.

TOPPING. Shall I close in, sir?

BUILDER. Not now.

TOPPING withdraws. BUILDER turns up a standard lamp on the table, opens the envelope, and begins reading the galley slip. The signs of uneasiness and discomfort grow on him.

BUILDER. Did I say that? Muck! Muck! [He drops the proof, sits a moment moving his head and rubbing one hand uneasily on the surface of the table, then reaches out for the telephone receiver] Town, 245.

[Pause] The "Comet"? John Builder. Give me the Editor. [Pause] That you, Mr Editor? John Builder speaking. That interview. I've got the proof. It won't do. Sc.r.a.p the whole thing, please. I don't want to say anything. [Pause] Yes. I know I said it all; I can't help that.

[Pause] No; I've changed my mind. Sc.r.a.p it, please. [Pause] No, I will not say anything. [Pause] You can say what you dam' well please.

[Pause] I mean it; if you put a word into my mouth, I'll sue you for defamation of character. It's undignified muck. I'm tearing it up.

Good-night. [He replaces the receiver, and touches a bell; then, taking up the galley slip, he tears it viciously across into many pieces, and rams them into the envelope.]

TOPPING enters.

Here, give this to the messenger-sharp, and tell him to run with it.

TOPPING. [Whose hand can feel the condition of the contents, with a certain surprise] Yes, sir.

He goes, with a look back from the door.