England -- Social life and customs -- 20th century -- Drama; English drama -- 20th century; Middle class -- England -- Drama
PERCY. Last Sunday it was the rain--and the week before it was foggy,
and the week before--
SYBIL. Don't be such a very rude boy!
_She puts her hand over his mouth and he takes it and holds it._
MRS. M. [_complacently._] You're a bad boy to make fun of your old
mother. I went to church this morning.
PERCY. You're getting a oncer, mother.
MRS. M. Well, I should only go to sleep if I went.
PERCY. Think of the example you set if you put in an appearance.
MRS. M. Yes, dear; I have thought of that, but it wouldn't do for them
to see me asleep.
FOSTER. [_who always has the effect of trying to smooth things over._]
I'm sure it is better for you to rest, Mrs. Massey, than walk such a
distance twice a day!
MRS. M. Yes, it is rather a long way. It's quite a quarter of an
hour's walk, and I don't care to ride on Sundays.
_LILY plays, choosing the mournful hymn, "Abide with me." CHARLEY
fidgets, goes to the piano and then back again to the window._
MASSEY. Can't you find a seat, Charles? You look uncomfortable.
CHARLEY. Plenty, thanks. Sybil only has half a one.
SYBIL. Oh, Mr. Wilson. [_She fidgets away from PERCY, who pulls her
back again._]
_LILY has played the tune through. She stops._
MRS. M. That's such a nice tune, don't you think, Walter?
FOSTER. Very!--rather plaintive, but soothing.
_LILY starts another--this time "Sun of my Soul."_
CHARLEY. For heaven's sake, Lil, play something cheerful.
_LILY stops, turns undecidedly on the stool, looks round imploringly
at CHARLEY, turns a few pages and then rises and goes out of the room
hurriedly._
SYBIL. She's crying!
MASSEY. What?
MRS. M. You've hurt her, Charley, speaking like that. There was
nothing to get cross about. She came this afternoon crying.
CHARLEY. I've done nothing! I--
_Exit MRS. MASSEY in much indignation._
MASSEY. Had a tiff?
CHARLEY. A tiff--we don't tiff.
MASSEY. Well, then, don't shout at her like that. [_To SYBIL._]
Here--are you sure she was crying?
SYBIL. Yes, quite.
MASSEY. That's queer. She didn't use to.
CHARLEY. She's been worrying, I expect. Women worry so quick.
MASSEY. What's she got to worry about? A bit hysterical, perhaps.
_Re-enter MRS. MASSEY._
MASSEY. Is she better?
MRS. M. She's got a headache, she says. But it isn't that; I know
what's the matter. When she came to-day she could hardly speak--
CHARLEY. [_interrupting._] Is she worrying over me?
MASSEY. What's she got to worry over you about?
CHARLEY. I happened to say--I got the hump, I think. . . . I feel a
bit restless. . . .
MRS. M. [_hotly._] You know what it is well enough. You want to go
away with that Tennant man and leave your wife--
MASSEY. [_shouting._] What!
_SYBIL looks shocked, PERCY astonished, while FOSTER tries to pretend
he didn't hear._
MRS. M. The poor child's breaking her heart because she says he wants
to leave her.
CHARLEY. I never said anything of the kind--I never thought of such a
thing, I--
MRS. M. _Do_ you want to go away with that man?
Public-domain text, read in full here on John Shaqi.
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