A Family Man . Galsworthy John

Thank you, ma'am.

      She turns and hurries out into the kitchen, Left. BUILDER gazes after her, and MRS BUILDER gazes at BUILDER with her faint smile.

      BUILDER. [After the girl is gone] Quaint and Dutch – pretty little figure! [Staring round] H'm! Extraordinary girls are! Fancy Athene preferring this to home. What?

      MRS BUILDER. I didn't say anything.

      BUILDER. [Placing a chair for his wife, and sitting down himself] Well, we must wait, I suppose. Confound that Nixon legacy! If Athene hadn't had that potty little legacy left her, she couldn't have done this. Well, I daresay it's all spent by now. I made a mistake to lose my temper with her.

      MRS BUILDER. Isn't it always a mistake to lose one's temper?

      BUILDER. That's very nice and placid; sort of thing you women who live sheltered lives can say. I often wonder if you women realise the strain on a business man.

      MRS BUILDER. [In her softly ironical voice] It seems a shame to add the strain of family life.

      BUILDER. You've always been so passive. When I want a thing, I've got to have it.

      MRS BUILDER. I've noticed that.

      BUILDER. [With a short laugh] Odd if you hadn't, in twenty-three years. [Touching a canvas standing against the chair with his toe] Art! Just a pretext. We shall be having Maud wanting to cut loose next. She's very restive. Still, I oughtn't to have had that scene with Athene. I ought to have put quiet pressure.

      MRS BUILDER Smiles.

      BUILDER. What are you smiling at?

      MRS BUILDER shrugs her shoulders.

      Look at this – Cigarettes! [He examines the brand on the box] Strong, very – and not good! [He opens the door] Kitchen! [He shuts it, crosses, and opens the door, Right] Bedroom!

      MRS BUILDER. [To his disappearing form] Do you think you ought, John?

      He has disappeared, and she ends with an expressive movement of her hands, a long sigh, and a closing of her eyes. BUILDER'S peremptory voice is heard: "Julia!"

      What now?

      She follows into the bedroom. The maid ANNIE puts her head out of the kitchen door; she comes out a step as if to fly; then, at BUILDER'S voice, shrinks back into the kitchen.

      BUILDER, reappearing with a razor strop in one hand and a shaving-brush in the other, is followed by MRS BUILDER.

      BUILDER. Explain these! My God! Where's that girl?

      MRS BUILDER. John! Don't! [Getting between him and the kitchen door] It's not dignified.

      BUILDER. I don't care a damn.

      MRS BUILDER. John, you mustn't. Athene has the tiny beginning of a moustache, you know.

      BUILDER. What! I shall stay and clear this up if I have to wait a week. Men who let their daughters – ! This age is the limit. [He makes a vicious movement with the strop, as though laying it across someone's back.]

      MRS BUILDER. She would never stand that. Even wives object, nowadays.

      BUILDER. [Grimly] The war's upset everything. Women are utterly out of hand. Why the deuce doesn't she come?

      MRS BUILDER. Suppose you leave me here to see her.

      BUILDER. [Ominously] This is my job.

      MRS BUILDER. I think it's more mine.

      BUILDER. Don't stand there opposing everything I say! I'll go and have another look – [He is going towards the bedroom when the sound of a latchkey in the outer door arrests him. He puts the strop and brush behind his back, and adds in a low voice] Here she is!

      MRS BUILDER has approached him, and they have both turned towards the opening door. GUY HERRINGHAME comes in. They are a little out of his line of sight, and he has shut the door before he sees them. When he does, his mouth falls open, and his hand on to the knob of the door. He is a comely young man in Harris tweeds. Moreover, he is smoking. He would speak if he could, but his surprise is too excessive. BUILDER. Well, sir?

      GUY. [Recovering a little] I was about to say the same to you, sir.

      BUILDER. [Very red from repression] These rooms are not yours, are they?

      GUY. Nor yours, sir?

      BUILDER. May I ask if you know whose they are?

      GUY. My sister's.

      BUILDER. Your – you – !

      MRS BUILDER. John!

      BUILDER. Will you kindly tell me why your sister signs her drawings by the name of my daughter, Athene Builder – and has a photograph of my wife hanging there?

      The YOUNG MAN looks at MRS BUILDER and winces, but recovers himself.

      GUY. [Boldly] As a matter of fact this is my sister's studio; she's in France – and has a friend staying here.

      BUILDER. Oh! And you have a key?

      GUY. My sister's.

      BUILDER. Does your sister shave?

      GUY. I – I don't think so.

      BUILDER. No. Then perhaps you'll tell me what these mean? [He takes out the strop and shaving stick].

      GUY. Oh! Ah! Those things?

      BUILDER. Yes. Now then?

      GUY. [Addressing MRS BUILDER] Need we go into this in your presence, ma'am? It seems rather delicate.

      BUILDER. What explanation have you got?

      GUY. Well, you see —

      BUILDER. No lies; out with it!

      GUY. [With decision] I prefer to say nothing.

      BUILDER. What's your name?

      GUY. Guy Herringhame.

      BUILDER. Do you live here?

      Guy makes no sign.

      MRS BUILDER. [To Guy] I think you had better go.

      BUILDER. Julia, will you leave me to manage this?

      MRS BUILDER. [To Guy] When do you expect my daughter in?

      GUY. Now – directly.

      MRS BUILDER. [Quietly] Are you married to her?

      GUY. Yes. That is – no – o; not altogether, I mean.

      BUILDER. What's that? Say that again!

      GUY. [Folding his arms] I'm not going to say another word.

      BUILDER. I am.

      MRS BUILDER. John – please!

      BUILDER. Don't put your oar in! I've had wonderful patience so far. [He puts his boot through a drawing] Art! This is what comes of it! Are you an artist?

      GUY. No; a flying man. The truth is —

      BUILDER. I don't want to hear you speak the truth. I'll wait for my daughter.

      GUY. If you do, I hope you'll be so very good as to be gentle. If you get angry I might too, and that would be awfully ugly.

      BUILDER. Well, I'm damned!

      GUY. I quite understand that, sir. But, as a man of the world, I hope you'll take a pull before she comes, if you mean to stay.

      BUILDER. If we mean to stay! That's good!

      GUY. Will you have a cigarette?

      BUILDER. I – I can't express —

      GUY. [Soothingly] Don't try, sir. [He jerks up his chin, listening] I think that's her. [Goes to the door] Yes. Now, please! [He opens the door] Your father and mother, Athene.

      ATHENE enters. She is flushed and graceful. Twenty-two, with a short upper lip, a straight nose, dark hair, and glowing eyes. She wears bright colours, and has a slow, musical voice, with a slight lisp.

      ATHENE. Oh! How are you, mother dear? This is rather a surprise. Father always keeps his word,