Touch and Go: A Play in Three ActsLawrence, D. H. (David Herbert)
General
Touch and Go: A Play in Three Acts
Lawrence, D. H. (David Herbert)
English drama
WILLIE. Yes, so do I. You're either going to make SUCH a mess that we
shall never get out of it--which I don't think you will do, for the
English working man is the soul of obedience and order, and he'd behave
himself to-morrow as if he was at Sunday school, no matter what he does
to-day.--No, what you'll do, Job Arthur, you'll set up another lot of
masters, such a jolly sight worse than what we've got now. I'd rather be
mastered by Gerald Barlow, if it comes to mastering, than by Job Arthur
Freer--oh, SUCH a lot! You'll be far less free with Job Arthur for
your boss than ever you were with Gerald Barlow. You'll be far more
degraded.--In fact, though I've preached socialism in the market-place
for thirty years--if you're going to start killing the masters to set
yourselves up as bosses--why, kill me along with the masters. For
I'd rather die with somebody who has one tiny little spark of decency
left--though it IS a little tiny spark--than live to triumph with those
that have none.
VOICES. Shut thy face, Houghton--shut it up--shut him up--hustle
the beggar! Hoi!--hoi-ee!--whoo!--whoam-it, whoam-it!--whoo!--
bow-wow!--wet-whiskers!----
WILLIE. And it's no use you making fool of yourselves---- (His words are
heard through an ugly, jeering, cold commotion.)
VOICE (loudly). He's comin'.
VOICES. Who?
VOICE. Barlow.--See 's motor?--comin' up--sithee?
WILLIE. If you've any sense left---- (Suddenly and violently
disappears.)
VOICES. Sorry!--he's comin'--'s comin'--sorry, ah! Who's in?--That's
Turton drivin'--yi, he's behind wi' a woman--ah, he's comin'--he'll none
go back--hold on. Sorry!--wheer's 'e comin'?--up from Loddo--ay---- (The
cries die down--the motor car slowly comes into sight, OLIVER driving,
GERALD and ANABEL behind. The men stand in a mass in the way.)
OLIVER. Mind yourself, there. (Laughter.)
GERALD. Go ahead, Oliver.
VOICE. What's yer 'urry?
(Crowd sways and surges on the car. OLIVER is suddenly dragged out.
GERALD stands up--he, too, is seized from behind--he wrestles--is
torn out of his greatcoat--then falls--disappears. Loud cries--
"Hi!--hoi!--hoiee!"--all the while. The car shakes and presses
uneasily.)
VOICE. Stop the blazin' motor, somebody.
VOICE. Here y' are!--hold a minute. (A man jumps in and stops the
engine--he drops in the driver's seat.)
COLLIER (outside the car). Step down, miss.
ANABEL. I am Mrs. Barlow.
COLLIER. Missis, then. (Laugh.) Step done--lead 'er forrard. Take 'em
forrard.
JOB ARTHUR. Ay, make a road.
GERALD. You're makin' a proper fool of yourself now, Freer.
JOB ARTHUR. You've brought it on yourself. YOU'VE made fools of plenty
of men.
COLLIERS. Come on, now--come on! Whoa!--whoa!--he's a jibber--go pretty
now, go pretty!
VOICES (suddenly). Lay hold o' Houghton--nab 'im--seize
'im--rats!--rats!--bring 'im forrard!
ANABEL (in a loud, clear voice). I never knew anything so RIDICULOUS.
Public-domain text, read in full here on John Shaqi.
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