AN ANALYSIS OF TECHNIQUES USED IN DIRECTING EMLYN WILLIAMS' THE CQRN IS GREEN FOR THE 9km“? w .~ ARENA THEATRE AND FOR TELEVISION Thesis for the Degree of M. A. MICHIGAN STATE COLLEGE WiIIiam Henry Tchinson I952 ubs‘.’ ' 4‘.— I:— ‘7” ,_ fl”- __ This is to certify that the thesis entitled An Analysis of Techniques Used in Directing Emlyn Williams’The Corn is Green for the Arena There—{re and Er TeIevision. presented by William H. Tomlinaon has been accepted towards fulfillment of the requirements for M . A 1 degree in me ~ é/AQCjel Major professor Date February 11th, 1952 0-169 5‘ AN ANALYSIS OF TECHNIQUES USED IN DIRECTING EMLYN’WILLIANS' THE CORN Ig GREEN FOR THE ARENA THEATRE AND FOR TELEVISION by William Henry Tomlinson _ A THESIS Submitted to the School oforaduate Studies of Michigan State College of Agriculture and Applied Science in partial fulfillment of the requirements for the degree oi MASTER OF ARTS Department of Speech, Dramatics, and Radio Education February 1952 Grateful thanks are extended to Mr. Don Buell for his supervision in the completion of this thesis, and to Dr. David Potter and Mr. Clair Tettemer for their assist- ance. Acknowledgment is made to Dr. Wilson B. Paul for his help in making the entire production possible, to Dr. Armand L. Hunter for making available the facilities of the Television Development to Mr. David M. Davis for his technical assistance, to ean Marie Dye for use of the Little Theatre facilities in the Home Economics Building and sincere thanks to the members of the cast and crew for their untiring cooperation for both presen- tations. ‘- yaw We“! To my wife, Leah, for her sympathetic help and en- couragement. To Trent, who was most understanding and tolerant. TABLE OF CONTENTS CHAPTER I. II. III. EARLY ARENA THEATRE AND TELEVISION . . . . . The PrOblem 0 O O O O O O O O O O O O O 0 Comparison of theGeneral Theatre with TeleV1 Sion . . . O C O . C . C . . O C The Arena Theatre . . . . . . . . . . . . Physical Factors . . . . . . . . . . . . Director's Problems . . . . . . . . . . The Television Production . . . . . . . . The Director's Responsibilities . . . . Director's Problems . . . . . . . . . . THE ACTING SCRIPT FOR THE ARENA STAGING 0F TEE QQfifl.l§ QBEEE . . . . . . . . . . . . Act I Scene 1 . . . . . . . . ._. . . . . Act I Scene 2 . . . . . . . . . . . . . . Act II Scene 1 . . . . . . . . . . . . . . Act II Scene 2 . . . . . . . . . . . . . . Act III . . . . . . . . . . . . . . . . . THE ADAPTING AND DIRECTING PROBLEMS FOR TEE QQRN IS QREEN AS DONE IN THE ARENA STYLE . Selection Problems . . . . . . . . . . . . Adaptation Problems . . . . . . . . . . . Direction Problems . . . . . . . . . . . . .10 11 14 18 19 23 23 47 70 109 123 160 160 163 169 CHAPTER The The The Study Period . O Blocking Period. Enrichment Period. The Refinement Period. The Performance IV. VERSION OF THE V. THE ADAPTING AND TELEVISION PRODUCTION OF THE Selection Problems . . . Adaptation Problems. . Television Dialogue. Television Camera Shots. Selection of the Cast. Design Of the Studio . QQRN IS GREEN. CORN IS GREEN Television Furniture and Properties . The L-shaped Playing Area . 0 THE DIRECTOR-ACTOR SCRIPT FOR THE TELEVISION DIRECTING PROBLEMS FOR THE The Camera Working Area . . . . . . . . Direction Problems . Pre-planning . . First Read-through Rehearsal . Walk-through Rehearsal . . Dry Rehearsal . . . . . . . . . . . . . . Camera Rehearsal PAGE 170 I72 182 185 188 190 269 269 270 277 278 279 279 281 282 283 284 285 288 289 291 294 CHAPTER Dress Rehearsal . . . The Performance . . . _ VI. CONCLUSION . . . . . . . Similarities . . . . . Intermediate Results . Differences . . . . . Summary . . . . . . . GLOSSARY . . . . . . . . . . . BIBLIOGRAPHY . . . . . . . . . BIOGRAPHY . . . . . . . . . . ll. l2. 13. 14, LIST OF ILLUSTRATIONS Seating arrangement for the arena production Floor plan for the proscenium arch setting Floor plan for the arena setting, Act I, scene 1 O O O O O O O O O O O O O O O O O O 0 Floor plan for the arena setting, Act 1, scene 2 O O 0 O 0 O O O O O O O 0 O O O 0 O 0 Floor plan for the arena setting, Act II, Scene 1 O O O O O O O O O O O O O 0 O O O O 0 Floor plan for the arena setting, Act II, scene 2 O O O O O O O O O O 0 O O O O O O O 0 Floor plan for the arena setting, Act III . . Act I, Scene 1. Preparation for the entrance Of the squire O 0 O O O O O O 0 O O O I O O 0 Act I, Scene 1. "I'm frightened of it.". . . Act I, Scene 1. "Within a radius of five miles how many families are there round here?" Act I, Scene 1. "I'm going to start a school, immediately, next door in the barn, and you, my dears, are going to help me.". . . . . . . Act I, Scene 2. "Ma'am! Two more black boys for you:" O O O O O O O O O O O O O O O O C 0 Act II, Scene 1. "You know -- you was quite right to put her in her place. Clever chap like you learnin' lessons off a woman!" . . . Act III. "Bessie's telegram from her friend. They send it from Penlan -- I never seed one beforezt'. O O O O O O O O O O O O O O O O O O 161 164 167 168 169 172 '17s 193 197 202 203 204 241 264 FIGURE 15. 16. 17. 18. 19. 20. 21. 22. LIST OF ILLUSTRATIONS PAGE Performers relax during break in television rehearsal . . . . . . . . . . . . . . . . . 280 Floor plan for television setting . . . . . 281 Horizontal angles obtained from television camera lenses 0 O O O O O O O O O O O O I O 287 Director discusses composition of shot with performers . . . . . . . . . . . . . . . . . 288 Studio layout for television production . . 290 Television studio control room (Audio engineer's side) . . . . . . . . . . . . . 296 Television studio control room (Director's Side) 0 C C C O C O O O O O O O O C C C O O 297 Newspaper review of arena and television prOduCtion O O O O O O O O O O O O 0 O O I 0 323 EARLY ARERA TREATRE AED TELEVISION ,In the 1930's two decisive changes occurred in the American theatre. In 1932, Glenn Hughes, now Director of the School of Drama at the University of Washington, Seattle, revived the ancient technique of circular staging.l Six years later, in 1938, the cast of the Broadway production, Susan and God, left the environment of the theatre to present scenes from the play for a new medium of dramatic expression, television.2 The two dates marked a milestone in the history of American drama. The former represented the first modern arena production performed on the American stage. The latter introduced modern drama to the new electronic medium. Research into the early history of television showed that it developed as a series of unconnected prin- ciples. The discovery of selenium, the invention of the incandescent lamp, the propagation of radio waves, plus a vast number of equally important discoveries, contributed to the complex medium which has developed into television. 1 Glenn Hughes, _he Penthouse Theatre (New York: Samuel French, l942), p. 54. 2 David Sarnoff, Pioneering in Television (New York: RCA Department of Information, 1945), p. 96. 2 Early propositions for the mechanical reproduction of images had been recorded before the invention of the telephone in 1876.3 However, the first step toward electronic television, with which this thesis is concerned, did not begin until 1923, when V. K. Zworykin applied for a patent on the iconoscope, the "seeing eye" of this medium.4 This was followed by an all-electronic television receiver using the kinescope, or picture tube, in 1929. Further developments brought about the projection of the television image on a large screen, an increase in picture definition, and the remote pick-up of television programs by means of mobile equipment. In 1939, the Columbia Broadcasting System demon- strated mechanically-reproduced color television. This was followed in 1940 by the RCA electronic color tele- vision. During World War II, the development of commercial television was impeded by the lack of materials and per- sonnel. However, radar advanced technologically and con- tributed to the post-war advancement of television. 3 V. K. Zworykin, Television: Collected Addresses ggg er 9n the New Art and'ltg Recent Te§hn1caI Lg; Igggfig (New York: RCA Institute Technical Press, 1937), p. 2 4 David Sarnoff, ppJL git, pp. 95-6. 3 In 1945 the picture quality was increased with the introduction of the image orthicon, the more sensitive "seeing eye".5 An outstanding achievement occurred in television history in September, 1951. The American continent was spanned for the first time by a coast-to-coast hookup, enabling 30 percent of America's families to witness the Japanese peace treaty conference.6 The period of television history is brief compared with the history of the circular stage. The arena theatre goes back into the remote history of the world. As John Dolman, Jr. states: The drama cannot be said to have begun at any particular time or place. It has begun many times, and is always beginning over again somewhere in the world, and almost always in the same way: as an outgrowth of religious ceremony. The theatre, at first, was but an area set apart for the partici— pants, with the spectators standing round about.7 As the years passed by, stone seats and pavements were added for the visibility, audibility and comfort of the audience. As early as 1500 B.C., on the island of Crete, men and women enjoyed the music, dancing and games ¥ 5MP. 96. 6 News item in Th; Christian Sgieggg Monitor, September 5, 1951. 7 John Dolmen Jr., The Ag; 9; Play ngductigg (New York & London: Harper & Brothers Publishers, 1946), Po 274- performed in the open air theatres at the palaces of Knossos and Phaestos.8 A form of the arena style developed farther north on the peninsula of Greece. Another page in the history of drama was being recorded in the form of ceremonial dancing and choral singing. Greek drama, originated in honor of the wine god, Dionysus, was performed in a cir- cular space called the orchestrg or "dancing place" marked out on the ground at the foot of a hill. The circle was the beginning of the Greek theatre. And this theatre took many forms throughout the years. The Romans borrowed the arena style from the Greeks. The semi-circle of stone benches was still retained around the playing area. Later in history, the Mediaeval theatre adapted the drama for the church. The guilds took it over from the church and elaborated upon it by setting the stage out on the common for all to see. The audience could be found once more standing around the playing area. During the Renaissance, the theatre experienced a revival of interest in classical drama. Ballrooms and courtyards were converted for the dramatic presentation during this period. 8 C. E. Van Sickle, A Political and Cultural Histgry pf the Ancient florid (New York: Houghton Mifflin Company, 19475, p. 173. 5 The open courtyard was taken over by the Elizabethan theatre. A form of the arena theatre returned, once more. The audience watched the performance while standing around a platform. During this same period the drama was brought indoors for the last and greatest productions of Shake- speare. In the meantime, in Italy, the commedig dell' arte flourished in the streets without the use of curtain, pro- scenium, or artificial light. The Italian opera and the court theatre influenced the theatre during the period of the Restoration.9 In the twentieth century, the arena theatre was re- vived for the presentation of modern drama. At the same time, television introduced a new medium for dramatic ex- pression. THE PROBLEM The problem of this thesis concerned the oldest form of theatrical staging, the arena style, and the newest electronic medium, television. The purpose was to investigate the similarities and differences in techniques used and problems encountered while directing the same dramatic production for the arena theatre and television. 9 Dolman, pp; git,, pp. 365-368. The dramatic production chosen for this research was Emlyn Williams' comedy, The Corn 1; Green, produced in its full-length version for the arena performance, and revised to 50% of the playing time for television. COMPARISON OF THE GERERAL THEATRE WITH TELEVISION Before discussing the specific techniques used for both media, a general comparison of the theatre and tele- vision might be in order. In his book, Television Programming and Prodgction, Richard Hubbell makes several comparisons between the theatre and television. The arena theatre may be sub- stituted for the general theatre in most instances. (1) The theatre-goer must attend the performance; where- as in television, small groups may view the performance in the privacy of their homes. (2) In the theatre, once seated, there is a single, fixed vieWpoint from which a member of the audience watches the performance. In tele- vision, there are a myriad of moving points of view. (3) The actor on the legitimate stage uses theatrical techniques. In many instances, television rejects the purely theatrical conventions. (4) The audience iden- tifies itself with the protagonist in the theatre. There is an emotional satisfaction obtained from listening to him talk and watching his actions. In television, there seems to be a blending of actions and reactions. (5) In the legitimate theatre, the unities of time, place and action are maintained. In television, the questions of "unities" is a matter of speculation. They fit some— where between the flexibility of the cinematic drama and a strict adherence to the three unities.lo There is another comparison which may be made be- tween television and the theatre. In television, there is a highly mobile and flexible camera. Allardyce Nicoll points out that the camera eye is not limited. This camera movement need not, of course, be confined to the presentation simply of a variety of separate shots each static in nature. The mobility of the camera and of the camera eye is infinite. By the use of "panning" the director can make us turn our eyes over a great tract of land or over a vaster crowd than may be brought within the ordinary camera vision; by the employ- ment of a "travelling shot" he can make us IT- proach or retreat from a particular object. In contrast to this, the scenery in the theatre normally remains.static on the stage and the number of localities are restricted. As Messrs. Hubbell and Nicoll indicate, since there is a basis of comparison between the arena theatre and television, then the specific techniques of the two may be compared. 10 Richard Hubbell, Television Egggggmming gnd Prod t (New York & Toronto: Rinehart & Company, 1950 9 PP- 27-33. 11 Allardyce Nicoll, Film gnd the Thegtre (New York: Thomas Y. Crowell, 1936), p. 75. . - "u .. a. .n. . . 1| 3 L. T. L. l. .: r” 7: rs. 41. a. ... r. . . .h I L. .I. . t a. n . .. . .2 .q ‘ .C a: 73 Z n. ?. av .. A .3 Av .14 .o .. w . a. u A: a: 3C D» .n a .1 . v t. S. _ I .5 n». 4. .. . u A“ e. au I. r.. ”a .3 r: .r“ a: g _ _ A . v .r u ? . a: H ¢ rd. Mu” “U... u .r“ on \u/ "r. .14 o... n. as p: 3“ PC 11-. .ru r“ 2. n5 and. ... 1. o. 2.- ....4 [it _ f .2” n.” Mm rd . t . .. ”.1. 2. .u . . 2 .. . ... ._ .. E. . p... -n A. K 2. f. r. R G. r. r: p. ... Vv. t. .u -.. -.. ,o h 7v ‘0 . pa I5 u _ D l A v C So that there will be no misunderstanding of the terms used in later chapters, the next two sections of this chapter will discuss the general problems which faced the director while (1) working in the arena theatre and (2) presenting a television production. In both cases the physical staging factors and the director's problem of handling the play were considered. TIE ARENA THE ATRE The members of the audience in the arena theatre seated themselves completely around the playing area in which the cast performed. There are differences of opin- ion as to the preferable size, shape, acting area, seat- ing arrangement and equipment for this form of staging. The sizg of the arena is determined by the size of the audience. Generally speaking, any room or tent or place large enough to seat an audience is a sufficient starting point for an arena theatre.l2 There are limita- tions, however. In order to maintain the intimacy which is desired in this form of staging, it is feasible to limit the number of seats to a comparatively small group. A comparison of seating capacity for arena theatres through- out the United States showed that the number varied from about 85 seats to 150 seats for the smaller producing 12 Margo Jones, Theatre in the Round (New York & Toronto: Rinehart Company, Inc. 1951), p. 94. groups to about 300 seats to 500 seats for the larger arena theatres. The shape of the playing area varied with the pro- ducing group. The kusic Circus in Lambertville, New Jer- sey, has used the circular-type stage effectively. The Arena Theatre in the Hotel Edison in New York City has a rectangular stage. The Penthouse Theatre of Atlanta, Georgia, used an almost square performing area. The e1- lipse, or oval, has been used to an advantage at the Fordham University Theatre.13 The Ring Theatre at the University of Miami in Coral Gables, Florida, boasts a circular auditorium 100 feet in diameter which can ac- comodate conventional, horseshoe, or ring staging.l4 The geometric configuration of the playing area is usually predetermined by the producing company or left to the dis- cretion of the director, if the seats are movable. In the usual arena staging, the playing area is in complete darkness as the play begins. The actors take ad- vantage of this cover and find their way on stage. The ease with which this is accomplished has been brought about through the rehearsal period in which the actors are trained 13 Ibido, pp. 98-1000 14 News item in Thg Christian Science Monitor, August 3, 1951. 10 to find their positions in the dark. Lights focused down from above the playing area are substituted for the cur- tain. When these lights come on, the audience finds the actors ready to proceed with the performance. The end of the act reverses the process. During the period of the blackout, the actors leave the playing area. When the stage is clear, the house lights come up. Physicai Factors. Not only are the methods of staging important to the director, but also the techniques of staging which are to be employed in preparing for the arena performance. Sophie Rosenstein has compiled a series of "musts" listed as follows as numbers 1-5 in- clusive. Glenn Hughes has continued the sequence, listed as numbers 6-8 inclusive. These are some of the physical factors which should be considered before producing an arena production. (1.) The director must first select a play whose scene shifts can be made by change of pro- perties rather than by setting or light-effects. (2.) He must adapt the play by eliminating situations that call for the practical use of the setting; as, for example, the opening and closing of windows. (3.) He must have ingenuity in the selection of furnishings specially chosen for size, height, and character, as there is no set to help estab- lish atmosphere. ll (4.) He must also supervise makeup so that it remains lifelike to the closest observation. (5.) He must time his show carefully to cover prolonged entrances and exits often necessitated by long aisles.l (6.) Unusual importance is attached to cos- tumes . . . because the audience is close to the actor and because there is no scenery to distract the eye. (7.) . . . Properties used . . . must be thor- oughly realistic. (8.) . . . The property men go about their business with complete disregard of the audience, just as they would in the Chinese theatre.16Fur- niture is removed by one or two men . . . Diregtgg'g Erobiemg, SOphie Rosenstein continues with some salient director's problems in number 1-3, inclu- sive. Glenn Hughes contributes one of the characteris- tic problems which he encountered, in number 4. The author has contributed numbers 5-9 and 11, and Margo Jones' idea concerning the strength of playing area has been included as number 10. (1.) He must stress simplicity and truth of performance as the facial expressions receive as much scrutiny in arena production as they do in a screen closeup. 15 Sophie Rosenstein, Seven Husts, Theatre Arts Monthly, March, 1949. p. 61. The numerical listing is incIuded for the convenience of the reader and is not considered as part of the quotation. 16 Hughes, op. cit., pp. 30-7 12 (2.) He must increase the stage movement and business so that the position of the actor is always in flux. (3.) He must insure sufficient dress re- hearsiis to time and train actors to enter and exit. (4.) One of the characteristics . . . is that the tempo is faster than that of the con- ventional theatre. The reason for this is ob- vious: the play does not have to be projected so far. Actors speak naturally and do not need to wait for their words to carry to a distant balcony. Consequently, the standard playing time of a modern comedy is apt go be cut down by as much as fifteen minutes.1 (5.) The directivity of the actor's projec- tion and the resulting room balance must be taken into consideration. A balance in acous- tical level of two or more players presents a director's problem. (6.) Care must be exercised when there are two or more actors in the playing area. One of the actors may physically block the actions or reactions of the other actor. (7.) There is no place for a prompter. Once the performance starts, the cast is on its own. (8.) The proximity of the audience must be taken into consideration. A person seated in the front row can literally reach out and touch a performer enacting his role during the perform- ance. The actors should be trained to expect this closeness during the arena performance. 17 Rosenstein, op, cit., p. 61 18 Hughes, on. citi, pp. 30-7. If Mr. Hughes is Specifically referring to the Penthouse Theatre in Seattle, Washington, when he mentions that "the actors speak natur- ally", then his concept of acoustical projection under these circumstances may be correct. However if an arena performance is to be played in a room where the acoustics are not controlled, t en a projection problem confronts the director. clusive. (9.) On the proscenium arch stage, there are upstage, downstage, stage right and stage left positions which may be used as reference points. On the arena stage there are no defi- nite positions, except the reference points agreed upon by the director and actor. (10.) On the proscenium arch stage there are strong and weak areas. On the arena stage there are no weak playing areas, no up or down stage. The aisleways and the corners are the only relatively weak spots because one fourth of the audience usually have to crane their necks to see them. The proximity of the spec- tator keeps from rendering them totally weak, but these areas should be used only when the play calls for a piece of scenery or a prop which cannot possibly be placed in the central space. (11.) The problem of keeping the actors "opened up" during the performance must be taken into consideration. The preceding list contains general techniques for arena staging, but is not to be considered all-in- in the staging of an arena production and no attempt is made to include problems, or finer shadings of tech- niques that may be brought forth by the exigencies of a particular play. Whatever you choose to call it -- whether arena staging, theatre-in-the-round, ring 19 Jones, op, cit., p. 125 These are salient factors to be considered 13 14 or circular staging -- it gives to the director and actor a certain definite challenge not en- countered in the conventional theatre. There is a fluidity of movement, a three—dimensional quality to the playing, a closer intimacy between player and audience than can be achieved through the frame of the proscenium arch. To the designer and technician it creates new and exciting problems of lighting and decor. It is a legitimate artistic medium for which well-developed Bechniques have been evolved by creative minds.2 THE TELEVISION PRODUCTION Physically, the television audience is completely isolated from the playing area in which the cast performs. The actors in the television studio are playing to two or three people in their own living room. The theatrical at- mosphere is absent. The very mild form of mass hypnosis or hysteria which grips the audience in the theatre is not present in the intimate living room group.21 Unlike the arena theatre, the gig; of the actor's playing area is not determined by the size of the audience, but by the physical studio space.22 20 Vinton Freedley, "Broadway to Dallas", Thegire Artg Monthly, March, 1949, p. 63. 21 John H. Battison, Movie: for I_ (New York: The Macmillan Company, 1950) p. 229. 22 Murray Bolen, Fundgmentgls 9i iglevi ' n (Holly- wood: Hollywood Radio Publishers, Inc., 1950) p. 35-6. According to Mr. Bolen, the ideal studio has a main floor 60 x 100 feet. Forty of the 100 foot length shall have a ceiling at least 35 feet high. The area above this 40 feet shall have a catwalk around it for light anchorage and handling and shall have the accoutrements necessary to fly all or part of a set anchored to its ceiling. 15 The §hgpe of the television studio varies with the location of the station. Most television stations start with studios donated by radio; yet as production devices de- velop, programs become more popular, and more and more equipment is needed, it becomes in- creasingly evident that the limitations of a regular radio station are too confining. There isn't enough space to operate -- much less to store all necessary flats, props, and machinery. So the first step in graduating from the radio studio start is tackling the problem of space. The trend is toward movie studio proportions. The pergonnel required to operate the studio equip- ment is vast. The exact number of people working in the studio is determined by the amount of equipment. A gen- eral grouping of personnel would include: (1) technicians, (2) projectionist, (3) audio engineer, (4) video engineer, (5) film director, (6) cameramen, (7) dolly men, (8) floor men, (9) boom mike men, (10) news editors, (11) film and music librarian, (12) remote crewman, (l3) announcers, (l4) switcher, (15) technical director, (16) porters. The two people who are responsible for the integra- tion of the television program - the producer and director - coordinate this technical crew. Together they (the producer and director) must evolve the program format, secure suitable scripts, cast the show properly, and cajole and bully the officials in charge of each department in order to obtain the most effective art, cos- tuming, video effect, camera work, and lighting. 23 Ibid,, p. 34. 16 The producer is in command of all produc- tion details of the performance. The selec- tion of the script, cast and costumes; the maintenance of agency and station relations; the art work and commercials - all are under his jurisdiction. His job is to assemble all the component parts of a television program and whip them together into the best possible broadcast. Some of his myriad duties may be allocated to the director. An expert in his field, he directs actors, camera work, lighting and video effects, to integrate a well-balanced entertainment. Inevitably, the preponderance of production details falls upon the director who must be on his toes at all timgi to see that everything goes off smoothly. In the television dramatic production, there are other very important people to be considered. These are the actors and actresses -- the mobile camera subjects -- who memorize their lines, and sustain their perform- ance from start to finish for the viewer in his home. The close cooperation of the dramatic group and the tech- nical crew coordinated by the director, is a prerequisite for a television dramatic production. The success or failure of a television program depends upon this unified organization. Egg Teievi§ion.Cgmerg Chg . The camera chain consists of the television camera and all of the associated electronic equipment necessary to prepare a complete picture for tele- casting. 24 Sposa, 9p; giti, p. 160. 17 The camera is a metal box measuring approximately 18" x 10" x 24". On the front of the camera is a turret which contains the lenses. In most instances, the normal lens turret includes a 50 mm., a 90 mm., a 135 mm., and an 8%" lens. These numbers represent the focal length of each lens.25 The 50 mm. lens gives an angle of View approximating the human eye. The 90 mm., 135 mm., and 8%" bring the subject to be telecast optically closer to the camera, in that order. A manual device is located at the rear of the camera to rotate these lenses for the .desired optical effect. If a view resembling that seen by the human eye is desired, the turret is rotated and fixed in the position where the Number 2 lens (50 mm.) is directly in front of the Image Orthicon. This Image Or- thicon, or expensive vacuum tube, picks up the image and converts the light energy into electrical energy. The electrical energy then leaves the camera and is carried into the control room by means of a coaxial cable. Once in the control room, this energy is passed through a vast array of electronic devices which are part of the camera chain before it is ready to be relayed out into the atmos- phere as high frequency radio waves. 25 The lenses indicated are the focal length ac- cording to the Metric System. For convenience, an approxi- mate British Unit system has been devised. Since 25.4 mm. s 1 inch (app. 25 mm. - 1 inch), then, 50 mm. equals ap- roximately 2 inches, 90 mm. equals approximatel 4 inches, £35 mm. equals approximately 6 inches, and the 8% inch equals approximately 8 inches, the devised system becomes the 2, 4, 6 and 8 lenses, instead of the millimeter sySZem given above in the text. 18 This thesis is intended as a comparison of directing techniques; therefore, rather than include an advanced dis- cussion of the technical aspects of television, the reader is referred to several excellent books in this field.26 2h; Eigector's Responsibilities. The director's responsi- bilities are two-fold. He is a television-director and a cast-director. As the cast-director, he works with the performers. As the television-director, he selects the final camera sequences, and when on the air, calls the "shots", or pictures to be telecast. The techniques which the director uses will be discussed in the following section. Ehxsieal E§232£_- (1.) . . . The opening scene must be arrest- ing and establish the action of the play. The establishing shot is the one which orients the viewer and tells the locale of the action; for that reason it must be clear, uncluttered, and outstanding. (2.) It is essential that . . . (the back- ground) does not detract from the value of the scene and the actors. In a long shot, it is only too easy to overlook this and provide a background into which the characters blend so that they are lost. (3.) Producing for television . . . poses a very great strain on the director's ingenuity and capabilities. In one very severe way, it imposes great difficulties of scenic composition . . . The concern of the director is attention to items of detail, such as establishing atggs- phere and selection of suitable shots. . . 26 Battison, op, cit., Chapter 2. 27 Battison, op, git,, pp. 229-34. l9 (4.) Obvious falsity in make-up could well destroy the carefuiéy created illusions of an entire production. (5.) Television deals in time units . . . Speeded-up delivery coupled with speeded-up action would be ludicrous, and a lag in action could cause disastrous 1035 of audience atten- tion. Changes in the speed of character's ac- tions and in verbal delivery are not the only pace controls at the director's disposal. By frequent shifts of camera positions or of sub- jects being recorded by the cameras he can al- so affect the timing of his shows.28 (6.) The choice of colors for the clothes of the characters is also very important. Try to aim for contrasts between the clothes of the men, and in scenes where there are men and women close together it is better to help the viewer by having them exhibit as much difference as possible in their color combinations. (7. ) . . When the system will not show the details of perspective, a painted backdrop can be used with much of the furniture painted on it; the books and the bookcase can all be painted flat on the canvas. (8.) Certain things are impossible (in tele- vision), such as a rapid change of costume and scene. Dirggtoz's Prgblemg, A continuation of some of the di- rector's problems in television follows. Mr. Battison's concepts are included in numbers 1, 3, 6; Mr. Sposa has conceived numbers 2, 4, 5; and the author, numbers 7-11 inclusive. 28 Louis A. Sposa, Television Primer of Production and D e tion (New. York a London: McGraw-Hill Book Com- 29 Epido pp. 164-50 20 (l) . . . . The majority of shots will have to be §$oseups . . . Any overacting will be . . false. (2.) Unless a directo keeps a watchful eye on the cast . . . the actors may waste too much time with the stage business, recite their lines too fast or too slowly, or do any of various 1 things that change the pace of the production.3 (3.) No matter how many times the play is rehearsed, when it goes on the air live it might as well be the firstjtime as far as the risk of errors is concerned.3“ (4.) A sense of pace is essential to good direction. (5.) . . . The microphone boom suspends the ”mike” over the heads of the performers as the action changes and they move about the sets or as the dialogue drifts from one actor to another. The mike boom must he kept out of the picture, yet it should be as close to the performers as possible to avoid picking up extraneous sound.33 (6.) Variety in spacing (the performirs) produces interest and prevents monotony.3 (7.) The stage manager can give visual cues. There is no prompter for dialogue. (8. In television, the cast is performing for a small group in their own living room. There is no audience response, for example, in the form of laughter or applause. 3O Battison, 92‘ QLL‘,p. 238 & p. 229. 31 Sposa, op. cit-, p. 165. 32 Battison, pp; 2114, p. 231. 33 Sposa, 9p; glfi‘, p. 98. 34 Battison, pp; git; p. 240. 21 (9.) On the television stage there are no definite positions except those reference points agreed upon by the director and actor. (13.) There are to seek playing areas. (11.) The problem of kee;ing the actors close together during the‘p,rf0r“anoc must be taken into consideration. CHAPTER II THE ACTING SCRIPT FOR THE ARENA erasure OF 3:12 cogs L3 GREEN LIGHT$.readY- JONES and MISS_RON, ready. LIGHTS on. ACT ONE SCENE ONE The living room1 of a house in Glansarno a small village in a remote Helsh countryside. A sunny afternoon in June, in the latter part of the 19th century. As the light curtain illumin- ates the playing area, MR. JOHN GORONNY JONES and MISS RONBERRY are arranging books in their places. She is sitting on a tiny stool taking books out of a large packing case and fitting them on nar- row shelves in the low-slung bookcase. She flicks each one with a tiny lace handker- chief. She is a gentlewoman in her thirties with the sort of pinched prettiness that tends to look sharp before that age, especially when it makes sporadic attempts at coquetry. He is a shabby Welshman of forty, bespecta- cled, gloomy and intense, a volcano, harmless even in full eruption. He is perched on top of a ladder arranging books on a high imaginary shelf between the front door 'and the bay window, dusting them vigorously before putting them in place. 1 Illustrations of the playing area may be found in Chapter III. JONES is vigorously dust- ing one especially large volume at he top of his step-ladder as the play begins. IDWAL ready. MISS RQN. reacts to profanit épflfiéfsglto IDWAEMQQE9Fo 23 JONES: There . .(He at- t_empts to insert book_ into imaginary bookCase) If it fits . . . (Looking atmtitle) . . Dante s In- ferno . . You belong on the other side of the room with the "D's"! (Heaplaces book on ledge of lad er and picks up another. As he dusts the book he begins singing in WelSh. ) fl . . . Pechudur wyf, y dua'n fyw." (Etc. ) (HESS. new. looks.) MISS RON: (Seated on stool R.) Your voice has given me an agonizing headache. And if you must indulge in music -- (Puts_ books in case.) -- will you please not do it in Welsh? JONES: I wasn 't indulgin' in music, I was sing 'n' a hymn. (Slight pause.) And if a hymn gives you a headache there is nothing wrong with the hymn; there is something wrong with your head. (Comes down.) .MISS RON: I still don't see the necessity for it. JONES: I sing to cheer my- self up. (Takingfipacki_ng -—--—c~—-a—-.-—‘-.. -.--,. c3591w9r95395.L° MISS RON: 'What do the words mean? JONES: "The wicked shall burn in hell." (Exits into kitchen.‘ MISS RON. picks up packing case s_tarts_ up L. IDWAL MORRIS comes in tram garden.) " JDELSJRES E - EDWALHsesture.withvh1nt Qilbdw, bydmerelymbending kneesla bit. SARAHHPSSH_ready. v... “a“... m-..- TDWAL._9;i_t.o _-.-__. a- q. 24 MISS RON: Oh! (Hemismamthin, ragged boy oflthirteen,wvery timid.) Is the garden nice and ready? IDWAL: 'Sgwelwchi'n dda, d'wi'di torri‘r bloda. MISS RON: Translation! (Crosses with box to seat L. at bay window ~e then to B. OI“C.mtable.) (JONES Eeturns from kitchen crosses to below L._ehdfl9f C. table.) IDWAL: (Crosses in D,_R.w§.) Os gwelwchi'n dda, Mister Jones, d'wi'di torri'r bloda, a mae r domen yn hogla'n of- nadwy. (MISS,RQN._crosses to him and takes flowers.) JONES: He says he cut the sweet peas and the rubbish- heap is smelling terrible. MISS RON: (Crosses Up1§9_ desk.) Oh dear. His father must put something on it. (Ayrangeswflowershinhvase-) JONES: (Going uniladder.) That's the English all over. The devil is there, is he? Don't take him away, put a bit of scent on him. Gofyn i dy dad i roi rwbeth arno am heddyw. (HI.§§....BQ_N.=_-I-s,.9£ seek.) IDWAL: Diolch, syr. (fig runs-qtfointO.gardensesain.) MISS RON: I hope he will have the sense to give the message. J9me 191:9- British accent in last sentence. see enter.- m. "I e...” JDNES down.lsdd93o 25 JONES: (Still on ladder.) It is terrible, isn't it, the people on these green fields and flowery hillsides bein' turned out of Heaven because they cannot answer Saint Peter when he asks them who they are in.English? It is wicked, isn't it, the Welsh children not beint born knowing English -- (MISS RON. crosses R. to bookcase again.) -- isn't it? Good heavens, God bless my soul, by Jove, this that and the other: MISS RON: Anybody ianales will tell you that the people in this part of the country- side are practically barbar- ians. (SARAH PUGH comes out ofibedroom.’“She"is'a‘quOm' peasanttwomaf”jv1th;ajétrons Welsh accent.) Not a single caller for fifteen miles, and even then -- SARAH: (Grosses to 6.) Please, miss -- (MISS RON. grosses L.wa step.) -- I made the bed lovely. And I dust -- MISS RON: That will be all, dear, the Colonel is bound to have his own man-servant. (Picks up stool, crosses L. with it .places it below settle.) x SARAH: (Crosses up.t9 inset door.) Then I better have another sit down in my post office. JONES: What is the matter with your post office? SARAH: It has not had a letter for seven weeks. Nobody but he can write, and no good mg writin', because nobody but me can read. (JQNES crosses MBA?! exit. - JONES to sofa., Pick up Eepksflgaflssra. §Q§I§§M!98§¥9 {9.8% 31:9,: sis. ..§,ettle - JONESMplace b99k on ladderwshelf. 26 back of table.) If I get a telegram I put him in the window and I die straight off. (fihsusoesnout-) MISS RON: You see? (Crosses, up, gets flowers_from the desk, places_them on C. table.) I can't think why a Colonel‘- should elect to come and live in this place. (Batting flower 1nt0-n951tipniLtiofiL.,9.(tables) There . . . I have never gggn so many books! I do hope the curtains will not be too femi- nine. I chose them with such care -- (greases sownwback.of 9.9.99 .133...) JONES: Why are you taking so much trouble getting somebody else's house ready for them? MISS RON: (Examines cushion.) You need not have helped me' if you did not wish! (gypsses to settle for needle and thread.) I am frightened of the spinning-wheel, too, and the china; his own furniture is so distinctive. The desk. And the waste-paper basket . . So . . . so virile. (§its touch.) JONES: (anladder.) Are you hoping that the Colonel will live up to his waste-paper basket? MISS RON: That is horrid. JONES: And then you will have two on a string: him and the Squire -- MISS RON: Hr. Jones -- I JflflfifinimtteteoMISS_RQN9 SQUIBE.¢ster. 27 JONES: And if I was a bit more of a masher, there would be three. Worldly things, that is your trouble. "Please, Mistar Jones, my life is as empty as a rotten nutshell, so get me a husband before it is too late, double quick!" (A knock at front_d09:.) MISS RON: You insulting man -- (The SQUIRE enters. He is a handsome English_country gentleman in his forties, wearing knickerbockers and. gaiters;_a hard drinker, bluff, kind,_immensely vain; and, when the time comes, obtusely éhstinate- 'MISS RON: (Rises) Squire . . SQUIRE: (Crosses to her at L.) Delicious lady, delicious sur- prise, and a merry afternoon to ye, as our forbears put it . . . (Hatlcnptable L. G.) How are you, Jones, making the most of your half-day? JONES: (Rises ssfllasss£-) Good afternoon, sir -- SQUIRE: Squat -- (Crosses to chair R. C.) -— dear fellow, squat -- (MI§§WBON..sits on couch.) -- no ceremony with me! (Elacss.shair Ba C! sits.) And why, dear lady, were you not at the Travers- Ellis wedding? (JONESMSPQIts .QQanliIgiled9?°) MISS RON: Naughty! I sat next to you at the breakfast. SQUIRE: By Jingo! So you did! Images:- '28 JONES: Excuse me -- (grosses down between them. He goes into study.) SQUIRE: Deuced fine break- fast . . . MISS RON: We had a talk about children. SQUIRE: pig we? . . . Well, the next wedding we're at, there'll be pp chance of my forgettin' you, eh? MISS RON: Why? SQUIRE: Because -— (Eises, crosses R.) -- you'lI be the stunning, blushing bride! MISS RON: And who -- will be the -- ? SQUIRE: Now that's what I want to know, because I'm going to give you away? MISS RON: Oh! (JONES returns from study.) SQUIRE: (Crosses to table C.) Now who's it going to be? MISS RON: Squire, you are too impatient! I am taking my time! (JONES crosses up, places chair up, then to window seat 1: fiitsflt: dusts books.) SQUIRE: Too bad . . . (Looks about room, crosses to stool.) No sign of the new inhabitant? MISS RON: Any moment now, I think! The pony and trap met the London train at a quarter to twelve! 29 SQUIRE: Hasn't the fellow got his own private conveyance? MISS RON: I think not. SQUIRE: I do hope he's a right sort of chap. MISS RON: He wrote very civilly to Mr. Jones about the house -- SQUIRE: Oh, yes. Not a club, I remember, but the paper -- not bad texture. (Sitschair _R, g.) Funny sort of chap, though, eh? MISS RON: 'Why? IDWAL enter. SQUIRE: All these books. “"”“““'””' (A timidiknesk at 1:993 deer. IQNAL esters wvsry frightened. etaee§.__a_.siséancea from SQUIRE-) IDWAL: Os gwelwchi'n dds, syr, mae Mistar Tomos wedi 'ngyrru i yma ich gweld chi! SQUIRE: (Turned Y'know. it's as bad as being abroad . . . been among it half my life, and never get used to it . (LsamL2ma rs...) JONES: (Gene 9 “B... 193.12.832.13.- ) The groom told him, sir, that you wanted to see him. SQUIRE: Oh, yes -- well, come here where I can see you eh? . . . (IQWAL crossegnR“ of bimefiwlfiEituras ”its his.) ' IPWALWhesitatewtpvape Now, boy how old are you -- progcthggIRE. (TQ_JONE .) -- or whatever the Chinese is for it? JONES: He has Just turned thirteen, sir. BESSIEEAQQWMRS-"WATTY readz. IDWAL_s;it- IQWAL 393.9? .2 3O SQUIRE: Thirteen? Well, why aren't you working in the mine over in the next valley? Don't like to see young fellows wasting their time, y'know. JONES: He has got one lung funny. SQUIRE: Oh, I see . . . Rough luck -- here, laddy, there's a Sixpence for you, and remember all work and no play makes Taffy a dull boy! IDWAL: Diolch yn faw, syr -- (He runs out by front door.) SQUIRE: And tell your uncle I want Ranger shod -- IDWAL: Diolch, syr -- SQUIRE: And a gate mended -- IDWAL: Diolch yn faw, syr -- (He _runs_ out by front door.) AMISS RON: But he hasn't understood your orders! SQUIRE: Neither he has ~- JONES: He thought the Squire was havin' a chat. I will tell his uncle -- IDWAL: Tomos -- Aneurin -- dyma'r corbyd -- (JONES looks out window.) -- dewch i wel' d -- fe ddwe-dai wrth y Scweiar -- brysiwch! MISS RON: (Rises.) That must mean something -- (IDWAL appears at front door, panting with expectation.) IDWAL: Pliss, syr, dyma'r carbyd! Heqdarts back, ieavingfidoorwopen.) check entering props for BESSIE.anquRS.QWATTY. BESSIE.-_§9tsr 9 MRSQ. WATTY 99139? .0. EB§;MWATIX,9xiP. !H§3_MQFEA$M£9§dY- 31 MISS RON: (Crosses up L. 0., looks out window.) He must mean the Colonel -- how gratifying —- (BESSIE WATTY wanders shyly. in R._of door. 'She is an ex- tremely pretty. plump little girl 0f fourteen: it is.a moment before one realizes that her demureness is too good to be true,m,She wears her hair oyer_her shoulders, is dresSed very plainly in a shabby sailor suit and hat, and carries brown-paper_par- cels. She is followed by MRS. WATIY, a middleeaged Cockney servant,dressed for traveling, carrying a hamper in;heruarms.) SQUIRE: Capital -- (Crosses from_door.fl MISS BONtwcrosses to‘window_and.D.wR.) MRS. WATTY: (To R. of SQUIRE. To SQUIRE:) D'you speak English? SQUIRE: I do. IMRS. WATTY: Be a dear an' ’old this! (gives him hamper Enamexitsufrontdoor.) SQUIRE: Crikey! A Colonel with an abigail! (A step to- ward BESSIE. “Catching BESSIE's owl-like expression andistoppins short.) Why donit you say some- thing? BESSIE: I never speak till I'm spoken to. SQUIRE: Oh . . . Well, who was that? BESSIE: My Mummy. (ToaMISS_ RON.) I never had no daddy. 32 !@§;;§Aiizmsntet. (MRS..WATTY returnS. with two largeagarssls.mstosse§-te ,tapl?mms) MRS. WATTY: my Gawd -- (Pause.) -- they're heavy. {Eytswpassalawpn-iable-) MISS RON: What are the ? (Crosses R. Mrs. Natty.) MRS. WATTY: Books. (Iakes hamper.from S_ULREimerps§es to below desk. SQUIRE: (A step toL. of her.) Is your employer with you my good woman? (QXQSSBS to fi..,.9§_.c,,..§abi9..) MRS. WATTI: No, followed be'ind most of the way. Ought o be 'ere by now, I'll 'ave a see . . . (greaseamnp 39-;rontfldoer.) 'Ere we are. Tally-o! (SQUIRE crosses to couch_L.) ‘—_._4-- .u- “7% Thought we‘d~lost"you! 3333 "OFFAT 99E§ra (é_pe9§9.MMMl$$-MOEFA$.somes -- is £19m road wwheelingqarbie cyclegiwfihewi§,aboutm£ortxa a-hsalfhx.Eeglishxomaniwith sn-hons$twtess..clear.mbeaur tirui_eyes,wawhumorous.mouth, a direct friendly mannezli indLFDb929d§QiYitalit19 whishwiswpreyentedmfrom titin.diheflspectatoraby.its capes-tz.fcr_euddea-§1lsnces and_for.listening,HUHerflmost Prominent-characteristicmis her complete unsentimentality. She veafs Eistéawuhetiissllar ifiiwtfélfiéeémewésikiunexasz deratsdhskirtgwnwsatchel ha§§s_£rom,hexmsnoulder. JO 3 rises.) ...-.. mau- c..— -‘flfl Wr‘w‘h-H“ 33 MISS MOFF: I was hoping to pass you, but that last hill was too much for me. Good afternoon. ALL: Good afternoon. MISS MOFF: There's a smallish crowd already so I thought I'd better bring Priscilla inside. Watty, can you find somewhere for her? (MISS_MOFF. looks out imaginary window behind window seat.) MRS. WATTY: Dunno I'm sure. MISS MOFFAT: I think I'll have a look at the garden MISS MOFF. exit. first.‘ (She goes out into '"""m" ”'”““ garden. SQUIRE crosses $9 .B:.1;.L°°KS.0352) MRS. WATTY: (Wheeling bicycle singerlzmtowards kitchen.) That must be my kitchen in there; we'll 'ave to 'ang 'er with the bacon. (to BESSIE.) Come on, girl give us a 'and -- (BESS crossing L.) -- Don't stand there gettin' into mischief! BESSIE: I'm frightened of it. MRS. WATTY: It won't bite you! Most it can do is catch fire, and I'll 'ave a drop 0' MRS. WAITY exit. water ready for it. (Her " " ' 191.03 , fades. away. int,o.-.kitchen.,) Has anybody got a sweetie? MISS RON: No. BESSIE_exit, BESSIE: Oh . . . (She trails “ “ " " ' .arter MRS. ,WATTY .int.o.,.kit.chee- MISSMOFF’. enter . ygfirmflgg?¥n§nt9?! MRSxHWATI¥m911F- 34 MISS MOFF. returns, crosses to R. C.) MISS MOFF: It's bigger than I expected . . . There! (Puts satchel on desk.) Good afternoon! So this is my house . . . . SQUIRE: No, it isn't! MISS MDEF: 0h? Isn't this Pengarth? (Crosses in*to R.) The name of the building, I me an? MISS RON: Yes,it is - - (MRS. WATTY returns from kitchen,_motions,to_JONES to unpack books in hamper, and takes kettle_and its appurtenances back into kitchen.) ’”""’ " MISS MOFF: That's right, it was left me by my uncle, Dr. Moffat. I'm Miss Moffat. (Crosses to front of couch.) I take it you're Miss Ron- berry who so kindly corres- ponded with me? SQUIRE: But sure-- (To R. of MISS MOFF.) -- those letters were written by a man? MISS MOFF: Well, if they were I have been grossly deceiving myself for over thirty years . . . Now this is Jolly in- teresting. Why did it never occur to you that I might be a woman? SQUIRE: 'Well -- the paper wasn't scented -- MISS RON: And such a bold hand -- (Crosses down to L. hslewwsouch. 35 SQUIRE: And that long piece about the lease being ninety- nine years, don't you know -- MISS MOFF: Was there any- thing wrong with it? SQUIRE: No, there wasn't, that's the point. MISS MOFF: I see MISS RON: And surely you signed your name very oddly? MISS MOFF: my initials, L. C. Moffat? You see, I've never felt that Lily Christabel really suited me. (Crosses to R. of stool.) MISS RON: And I thought -- (Sits chair) -- it meant Lieutenant-Colonel . . . But there 13; a military title after it! MISS MOFF: .M. A., Master of Arts. SQUIRE: Arts? D'ye mean the degree my father bought me when I came down from the Varsity? MISS MOFF: The very same. Except that I was at Aberdeen, and had to work Jolly hard for mine. (IQWQQlQEMQESK-) SQUIRE: (Crosses to Boan’ Loco! her.) A female M. A.? find how long's that going to last? MISS MOFF: Quite a long time, I hope, considering we've been waiting for it for two thousand years. (Crosses semis {QNESA) §QUIREPex1to MR$.WWAIIXmenter. magmas -3ets-.f9.aa._c_up.- 36 JONES: Are you saved? MISS MOFFAT: I beg your pardon? (A.step-hs9k~) JONES: Are you Church or Chapel? MISS MOFFAT: I really don't know . . . . And now you know all about me, what do you do? (Crosses to above C. table, JONES goesydown R.) SQUIRE: I'm afraid I don't do anything. (Crosses, takes hat from table, crosses to front 9993.) MISS RON: Mr. Treverby owns the Hall! MISS MOFFAT: (Crosses to SQUIRE.) Really. I've never had much to do with the landed gentry. Interesting. SQUIRE: (A step forward) Au revoir, dear lady. 'Day, Jones. (He goes frigidly out by-front,door.) .MISS MOFFAT: ‘Well, nobody could say that I've made a con- quest there. . . . What's the matter with him? (Crosses L. MRS. WATTX comes.in.from kit? chen with tray and 3 cups, sugar.bow1.-9reamer.Wspoqns. to back of table C.) MRS. WATTY: I found the tea, ma'am; it looks all right -- MISS MOFFAT: Good -- MRS. WATTY: An' the big lug- gage is comin' after -- 37 MISS MOFF: (Crossing toward study.) This isn't a bad little room -- MRS. WATTY: Where's his lordship? MISS MOFF: Took offence and muss MOFF. exit. left. (Exits to study.) MRS. WATTY: (Looks at them both.) Took offence? At 'er? MISS RON: I am afraid so. (MRS. WATTY crosses to be- lcwqdesk.mg§tsmhamper.) MRS. WATTY: I'm jiggered! What d'you think of er eh? Aint she a clinker (To.back 0: CL table.) MISS RON: She is unusual, is she not? SOUND ready. MRS. WATTY: She's a clinker, “M"'“’W“W"”" that's what. Terrible strong- willed, 0' course, terrible. Get 'er into mischief, I keep tellin' 'er. Would bring me 'ere. I said no, I said, not with my past, I said. MISS RON: Your past? MRS. WATTY: Before she took me up. (10 B. OfWL. Q. table.) But what with 'er, and now I've Joined the Corpse, it's all blotted out. JONES: (To B. of her.) The Corpse? MRS. WATTY: (To_L._offlhim.) The Militant Righteous Corpse. Ran into 'em in the street I did, singin' and prayin' and collectin' full blast; and I been a different woman since. Are you saved? 38 JONES: Yes, I am. MRS. WATTY: So'm I, ain't it lovely? (JONES crosses R.)', MISS RON: But what was . . your past? .MRS. WATTY: Light fingers. (Crosses to R. of Table, front‘of,it.) MISS RON: Light fingers? You mean -- stealing? MRS. WATTY: Everywhere I went. (A step toward MISS RON.) Terrible. Pennies, stockings, brooches spoons, tiddly, anything. Every time there was a do, everything went; and I always knew it WIS .MI§§WN9F§;W¢RF9?- me! (MISS MOFF. enters.) I was just tellin' 'em about my trouble. SQQND: “g g 3£WE§¥J9999 MISS MOFF: Well don't tell them any more. (Song off- stage.) IS your kitchen all right? MRS. WATTY: I ain't sggg-no mice yet. (She goesminto kitchen..takesihampermflifih v. MISS MOFF: (Crosses to R. C.) I agree with the last tenant's taste. . . You have arranged my things quite splendidly, Miss Ronberry, I do thank you -- both of you . . . (JONES crosses up. MISS RON. rises.) I like this house . . . What's that singing? JONES: Boys coming home from the mine. 39 MISS RON: They burst into song on the slightest provo- cation. You mustn't take any notice -- (Crosses L. a step.) MISS MOFF: I like it . . . (Crosses to window.) And those mountains. That grand wild countryside . . . the foreign-looking people . . . But business . . . I've heard about that mine. How far is it? (Crosses C. up- stage.) JONES: (Points L., comes in.) It is the Glasynglo coal mine, six miles over the hills. MISS MOFF: Hm . . . (Looks_L.) MISS RON: We're hoping it will stay the only one, or our scenery will be ruined -- such a pretty landscape -- MISS MOFF: What is the large empty building next door? JONES: Next door? The old barn belongin' to the Gwalia Farm, before the farm was secretes-o burnt down -- (Song redeepnt.) MISS MOFF: So its free? JONES: Free? Yes -- (Crosses in to R. c., B. of L. 0, table.) MISS RON: (Rises.) I am over- staying my welcome -- so very charming -- JONES: I also -- all the vol- umes are dusted -- (Starts to go_toward her.) MISS MOFF: (Crosses front bay window.) I want you two people. Very specially. 4O MISS MOFF: (Cont'd.) First you, Miss Ronberry. (Sits couch.) I used to meet friends of yours at lectures in London. You live alone, you have Just enough money, you're not badly educated, and time lies heavy on your hands. MISS RON: The Wingroves! (Sits bay window.) How mean -- I should never have thought -- MISS MOFF: Isn't that so? MISS RON: Not at all. When the right gentleman appears -- MISS MOFF: If you're a spin- ster well on in her thirties, he's lost his way and isn't coming. Why don't you face the fact and enjoy yourself, the same as I do? NMSS RON: But when did you give up hope -- oh, what a horrid expression -- MISS MOFF: I can't recall ever having any hope. Visi- tors used to take a long look at my figure and say: "She's going to be the clever one.’ MISS RON: But a woman's only future is to marry and -- and fulfill the duties of -- MISS MOFF: Skittles! I'd have made a shocking wife, anyway. MISS RON: But haven't you ever -- been in love? MISS MOFF: N0. 41 MISS RON: How very odd. MISS MOFF: (JONES turns.) I've never talked to a man for more than five minutes without wanting to box his ears. MISS RON: But how have you passed your time since --? MISS MOFF: Since I had no hope? Very busily. In the East End, for years. MISS RON: Social service? MISS MOFF: If you like; though there's nothing very social about washing invalids with every unmentionable ail- ment under the sun . . . I've read a lot, too. I'm afraid I'm what is known as an edu- cated woman. Which brings me to Mr. Jones; the Wingroves told me all about you. JONES: (Crosses in toR. C.) my conscience is as clear as the snow. MISS MOFF: I'm sure it is, but you're a disappointed man, aren't you? JONES: (To R. of chair.) How can I be disappointed when I am saved? MISS MOFF: Oh, but you can! You can't really enjoy sitting all by yourself on a raft, on a sea containing everybody you know. You're disappointed be- cause you're between two stools. JONES: Between two stools? On a raft? 42 MISS MOFF: Exactly. Your father was a grocer with just enough money to send you to a grammar-school, with the result that you are educated beyond your sphere, and yet fail to qualify for the upper classes. You feel frustrated, and fall back on being saved. Am I right? JONES: It is such a terrible thing you have said that I will have to think it over. flattens.) MISS MOFF: Do -- (Rises.) But in the meantiméflI:H(Pause.) -- would you two like t6“Stop' moping and be very useful to me? MISS RON: Useful? MISS MOFF: Yes, tell me -- (Ergsses upstage.) -— within a radiusnof five miles, how many families are there round here? MISS RON: Families? There's the Squire, of course, and Mrs. Gwent-Price in the little Plas Lodge, quite a dear thing-- MISS MOFF: I mean ordinary people - (Down I. o- .beicw. and ..R . of table L. C.) MISS RON: The villagers? MISS MOFF: Yes. How many families? - MISS RON: I really haven't the faint -- JONES: (Up to R. of MISS MOFF.) There are about twenty families in the village and fifteen in the farms around. MISS MOFF, cross to 11.11.1401. " §.°NES.-£0119'. MISS. MOFF- 43 MISS MOFF: Many children? JONES: What age? MISS MOFF: Up to sixteen or seventeen. *JONES: Round here they are only children till they are twelve. Then they are sent away over the hills to the mine, and in one week they are old men. MISS MOFF: 1 see __ “1.93383 Q.) How many can read or~u-m_ write? JONES: Next to none. (Crosses-np..t9 .her...) MISS RON: Why do you ask? MISS MOFF: (At_abovewdesk. chair.) Because I am going to start a school for them. MISS RON: Start a school for them? What for? MISS MOFF: What for? (Crosses to R. table.) See these books? Hundreds of 'em, and something won- derful to read in every single one -- these nippers are to be cut off from all that, for ever, are they? Why? Because they happen to be born penni- less in an uncivilized country- side, coining gold down there in that stinking dungeon for some beef-headed old miser! JONES: That's right . . . (Egllgwslnera) MISS MOFF: The printed page, what-is it? One of the miracles of all time, that's what! And yet when these poor babbies set .J9.N§,§.-.c.}7 see. .129. Ml 8.8...MOFF- 44 MESS MOFF: (Cont'd.) eyes on it, they might just as well have been struck by the miracle of sudden blindness; and that to my mind, is plain infamous! JONES: My goodness, Miss, that's right 0 O O O MISS RON: The grgigary child- ren, you mean? MISS MOFF: Yes, my dear, the ordinary children, that came into the world by the same process exactly as you and I. When I heard that this part of the world was a disgrace to a Christian country, I knew this house was a god- send; I am going to start a school, immediately, next door in the barn, and you are going to help me. (greaseswtp .MISSUBON.) MISS RON: I? (Rises.) MISS MOFF: Yes, you! You're going to fling away your para- sol and your kid gloves, and you're going to stain those tapering fingers with a little honest toil! MISS RON: I couldn't teach those children, I couldn't! They -- they smell! MISS MOFF: If we'd never been taught to wash, so would we; we'll put 'em under the pump . . . . Mr. Jones -- (To him, L. of chair.) -- d'ye know what I'm going to do with that obstinate head of yours? JONES: My head? O -t',. I O ,1 i I i ll 0 I . l 45 MISS MOFF: I'm going to crack it open with a skewer. And I'm going to excavate all those chunks of rammar-school knowledge, give em a quick dust, and put 'em to some use at last ~- JONES: I am a solicitor's clerk in Gwaenygam and I earn thirty-three shillings per week -- MISS MOFF: I'll give you thirty-four -- and your lunch. MISS RON: (Crosses to MISS MOFF.) I have an enormous house to run, and the flowers to do -- MISS MOFF: Shut it up ex- cept one room, and leave -- (Crosses to desk, gets papers from satchel.) -- the flowers to die a natural death -- in their own beds. I've been left a little money and I know exactly what I am going to do with it ~- JONES: But those children are in the mine -- earning money -- how can they -- MISS MOFF: I'll pay their parents -- (grosses to Refer. MISS RON. 0. via above.) -- the few miserable pennies they get out of it . . . And when I've finished with you, 193 won't have time to think about snapping up a husband, and 193 won't have time to be so pleased that you're saved! Well? JONES: (Crosses to front of chair.) I do not care if you are not chapel, I am with you. EIRETS reedy~ MRS. WATTY ready. MRS. QWATTXenter e IBQBS.I.§SC1X..£QL ,Scene - .I I. Set-up. ,Arrange in dark. 46 MISS MOFF: Good! I have all the details worked out -- (Sits_chair) -- I'll explain roughly . . . . Come along -- (Pulls MISS RON. e-_flourishes papers. MISS RON. sits R. of her.__JONES crosses, sits L. of her_pn chair.) -- my dears, gather round, children -- gather round -- Of course, we must go slowly at first, but if we put our backs into it . . . Here we are three stolid middle-aged folk, settled in our little groove and crammed with benefits; and there are those babbies scarcely out of the shell, that have no idea they are even breathing the air . . . Only God can know how their life will end, but He will give us the chance to direct them a little of the way -- JONES: We have the blessed opportunity to raise up the children from the bowels of the earth where the devil hath imprisoned them in the powers of darkness,and bring them to the light of knowledge -- MRS. WATTY: (Coming in from Kitchen.) Here's the tea! 'MISS MOFF: Each of us can take several classes, not only for the children but their fathers and their mothers, and the older people too. ”GWEEPQT’File MORGAN EVANS, ROBBART ROBBATCH and WILL HUGHES 3n settle onstage. .MRS.: WATTS? ready- MBSsIWATTY-enter- ACT ONE SCENE TWO A night in August, six weeks later. The big desk, chair and settle are littered With books, exercise books and sheets of paper. Apart from these details, the room is unchanged. Three black-faced mining boys are seated on the settle. Their ages range from fifteen to seventeen. They wear the same clothes worn in the mine: caps dirty sweaters, trousers embedded with coal and tied with rope below the knees. They all look alike under their black; the ring- -leader is MORGAN EVANS, fifteen, quick and impudent. To his left is ROBBART ROBBATCH, a slow boy, a year or two older. The third boy is WILL HUGHES. They all hum aS the lights come on. "am-0‘-..— MRS. WATTY enters from bed? roompwithnampasket-efweeiled bed linen. MRS. WATTY: You 'ere again? ROBBART: Be mai'n ddeud? iMRS. WATTY: I said, you 'ere again? MORGAN: No, Miss. MRS. WATTY: What d'ye mean, .no, Miss? MORGAN: We issn't 'ere again, Miss. {ONE§..¥296X- J0N§§mester. MORGAN-sreeemte.eeeK. MORGANlimitete-duCk Waddle. LIISS KORE: seedy- JONES-exit- is__s._§-MQEE.___.eater. 48 MRS. WATTY: What are you, then? (Near bay window.) MORGAN: We issn't the same lot ass this mornin', Miss. MRS. WATTY: Ain't you? MORGAN: Miss Ronny-berry tell us to wait, Miss. MRS. WATTY: Ma'am! (Crossing up,t0.kit0hen.d00r-) MISS MOFF: (In_bedropm&) Yes? MRS. WATTY: Three more nigger- boys for you! (She goes into kitchen. BOYS hum again. ”Rum bottle buSiness -- MORGAN. JONES ébmes in from front door, areseee.ie-heskm9£.Lim§:;tebleo) MORGAN: Sh! Good evenin' Sll‘ . (9.17.0539 3.--‘.'3.Q,-.R,9.,A.Q:.. J NéS' ) JONES: Good evening. (Zips Detnxt_backaxwéw§FeRf) MORGAN: (Crosses to R._of table.) I seed you and the lady teacher be'ind the door! (Allaushwfromlhimmend-ptherso) JONES: You wait till you see Miss Moffat. She will give you what for. MORGAN: (Shaking finger at* _BOYS.) You wait till you see Miss Moffat. She will give you what for! (JONES goes 19? to kitchen._ ROBBART repeats: PYou wait till you see Miss Moffat. she will sive.yennwhat ,for!") Shh! (MISS MORE. comes frommbedreom-) MISSHMOFF.lexit. 49 MISS MOFF: I told you the shape of the bedroom doesn't allow for a door into the barn -- oh, she isn't here . . . . (Crosses C.) Sorry to keep you waiting, boys, but I have to go across to 'Mr. Rees, the carpenter, and then I'll be able to talk to you. In the meantime, will you go to the pump in the garden shed, and wash your hands. Through there. You'll find a lantern. Did you understand all that? (Starts up_-- stops.) MORGAN: Yes, Miss. OTHERS: Thank you, Miss. MISS MOFF: Good. (Starts to-gQ-) MORGAN: Please, Miss, can I have a kiss? MISS MOFFAT: (Returns.) What did you say? MORGAN: Please, Miss, can I have a kiss? MISS MOFF: Of course you can. (Puts her foot on bench -- takes.him~br-the.neek.and bends him over her knee and spanks igh.1..;n..;;w'1‘tn:tne"‘ plan? .8212 carries.) Can I oblige any- body else? (She goeswoutflby, _front door.,iM0RGAN.cresses. up C.) ROBBART: Please Miss can I 'ave a smack bottom? (All laugh.) WILL: Na-beth of Naw-stee. MORGAN: Cythral uffarn -- SO ROBBART: Nawn -— (Rises.) -- i drio molchi --"dewch hogia -- (All rise -- start_ off.) -- mae'n well nag eistedd yma -- dewch -- .IONES ready, MORGAN: Mae'n lwcus na "”””””"' *ddaru mi mo'i thrawo hi lawr a'i lladd hi -- ROBBART: Comaranau corgee foal. BOYS exit, MORGAN: Ka da geg. (They lumber,0ffiinto the garden.) JONES_enteg. (JONES' head appears timidlx from kitchen.- He sees they are gone,_gives a sigh of relief, and comes into room, carrying boOks, crOsses looks out windowl‘5 sits desk BESSIE enter with bag of and hums. BESSI, comes in candy. " “" from front door, crosses to table, puts hat on table. Sighs.) BESSIE: (Crosses to L. of JONES.) Would you like a sweetie. (Opens bag.) JONES: No thank you, my little dear. Have you had another walk? BESSIE: Yes, Mr. Jones. All by myself. JONES: Did you see anybody? guengTTY. Voice off. BESSIE: Only a lady and a “‘“I” ‘” *“””‘ entleman in the lane -- JONES_turns to work.) -- and Mother told me never to look . . . . (JONES_lOOKS,8t her.) I do miss the shops, London's full 0‘ them, you know. JONES: Full of fancy rubbish, you mean. EESSIE look.cautiousl¥ towardnkitshen. IDEALMrsero 51 BESSIE: I'd like to be always shopping, I would. Sundays and all. . . . MRS. WATTY: Bessie! BESSIE: Mr. Jones -- (Crosses "to_L..of.h1m.) Is it true the school idea isn't going on that well? JONES: Who told you that? BESSIE: Miss Ronberry was saying something to my Mum -— oh, I wasn't listenin'! . . . Besides, we've been here six weeks, and nothin's started ye . JONES: Everything is splendid. BESSIE: Oh, I am glad. (Crosses to back of table.) Miss Mof- fat's been cruel to no, but I don't bear no grudge. JONES: Cruel to you? BESSIE: She hides my sweets. (Going.) She's a liar, too. (Starts L., returns.) JONES: A liar? BESSIE: Told me they're bad for me -- (Crossesthiniof table.) And it says on the bag they're nourishin' . . . And the idea of learnin' school with those children, ooh . . . (Crosse.s_.L..,.toM_, door.) JONES: Why are you holding your hair like that? BESSIE: These are my curls. D'you think it's nice? JONES: It is nice, but it is wrong. MISS.BON. ready- IDWAL enter. MISS RON. enter. MISS MOEF. ready. .MISSMMOFF. enter. 52 MRS. WATTY: (Calling shrilly, inkitchen.) Bess-1e. BESSIE: (Starts L.) I've been curlin' each one round me finger and holdin' it tight till it was all right. (Stops. ) My finger' s achin' something terrible. (She goes into kitchen. JONES: Dewch ifewn. (IDWAL appears with school bell, puts it down R. below couch, starts back up to_R. door; Note: the bell is in a crate one foot square that opens on the side. “MISS_RON._comes in from study, sits settle at Stair.) IDWAL: Cloch yr ysgol, Mister Jones. JONES: Diolch, ymachgeni. (Pause.) Nosdawch. ‘ IDIAL: Nosdawch, Mistar Jones. (He goes out front 4009.) MISS RON: It says here that eight sevens are fifty-six. Then it says that seven eights are fifty-six -- I can't see that at all. (MISS MOFF. returns from front door, crosses to back of table, puts down papers.) We112 MISS MOFF: No good. MISS RON: Oh, dear. MISS MOFF: Mr. Rees says he's had a strict order ~— (Crosses down via R. of table to front of it. ) -- not to discuss lining the roof till the lease of the barn is signed. MRS- WATTY .readrmwith tea tray. MRS-WATT)? enter. S3 JONES: Who gave the order? MISS MOFF: That's what I want to know. MISS RON: And when will the lease be signed? MISS MOFF: Never, it seems to me. Did you call at the solicitor's? JONES: They have located Sir Herbert Vezey, but he is now doubtful about letting the barn and will give his decision by post. MISS MOFF: But why? (JONES turns away.) He'd already said it was no use to him. And my references were im- peccable . . . . Whiz (Sits couch.) MISS RON: You look tired. MISS MOFF: It's been a bit of a day. A letter from the mine to say no child can be released above ground -- that's all blethers, but still . . . A request from the public house not to start a school in case it interferes with beer-swilling and games of chance. A mass- age from the chapel people to the effect that I am a foreign adventuress with cloven feet; a bit of a day. (MRS. WA,,TTY,...oomesiinifrsmfl kitchen,.to.L.mend,ahove table.) MRS. WATTY: Drop 0' tea, ma'am, I expect you've 'ad a bit of a day . . . . MISS MOFF: Who was that at the back, anything important? MRS. WATTY exits. §é¥i§§39sszo ' 54 MRS. WATTY: Only the person that does for that Mrs. Gwent- Price. Would you not 'ave your school opposite her lady be— cause of her lady's 'eadaches. MISS MOFF: What did you say? MRS. WATTY: I pulverized 'er. I said it would be a shame, I said, if there was such a shindy over the way that the village couldn't hear Mrs. Double-Barrel givin' her 'us- band what for, I said. (Starts L.) The person didn't know where to put 'er- self. (She goes back into kitchen.) JONES: That has not helped the peace in the community, neither. MISS MOFF: I know, but she does make a tip-top cup of tea . . . . What's that? JONES: It is the bell, for the school. MISS MOFF: Oh, is it? MISS RON: (Rises. ) The bell? Do let us have a peep -- JONES (Crosses to R. C.) It was on Llantalon Monastery before it burnt down -- MISS MOFF: Look, it's got the rope, and everything . . . Well, it's good to see it any- way. MISS RON: (At L._end Q: chair The mason finished the little tower for it yesterda -- tggfiiéfi?)t°no tefnghoseH Eoys Cpe BOYS offstage to teasngONES. SARAH enter. SQUIREwreadY. 55 MISS RON: (Cont'd.) to put it up! It'll bring us luck! MISS MOFF: If it keeps them out of mischief till I'm ready - - MISS RON: (Crosses to JONES.) Mr. Jones, do go and tell them! (JONES backs again. -JONES goes toward garden...WILL HUGHEshshouts:.A"Ah.--.Mr. Jones can do it.” .All BOYS laugh.) MISS MOFF: Poor Jonesy, he's terrified of 'em. MISS RON: So am I. They're so big. And so black -- (Crosses up_L..w SARAH runs in,.excited.) SARAH: A letter from the gentleman that own the barn, I had a good look at the seal! MISS MOFF: At last -- MISS RON: What does it say? (R._of-table.) MESS MOFF: Sir Herbert still cannot give a definite de- cision until the seventeenth. Another week wasted. This is infuriating. MISS RON: Does it mean he may not let you have it? SARAH: Oh . . . MISS MOFF: He must -- it would ruin everything -- MISS RON: Sarah -- (Crosses up L. of her.) -- isn't there another empty building anywhere round here? SARAH.exit. SQUIREIenter. ROBBART and MORGAN ready. SQUIRE back_to front door. JONES ready. SQUIRE_regenter. KNOCK_offstage. ROBBART and MORGAN enter. 56 SARAH: There is the pig- styes on the Maes Road, but they issn't big enough. (She goes.) MISS RON: (Crosses back of L. C. table.) Oh, dear! Can't we start afresh some- where else? MISS MOFF: I've spent too much on preparations here -- be- sides, I felt so right here from the start -- I can: leave now . . . I'm a Christian woman, but I could smack Sir Herbert's face till my arm dropped off. (Front door is entered_uncere- moniOusly by the SQUIRE.) SQUIRE: Jolly good evenin', teacher. Remember me? (MISS RON. crosses down L.) MISS MOFF: Would you mind going outside, knocking, and waiting quite a long time be- fore I say "Come in"? SQUIRE: Jolly good! Parlor games, what? MISS RON: (Crosses in a step.) But, Miss Moffat, it's the Squire! Squire, you must for- get you ever saw me in this dress -- so ashamed -- I shan't be a moment -- (Shefl runs intonbedroom.) SQUIRE: Rat, tat tat, one two three four come in one two three four, forward march! My dear madam, you're not in class now! (Offstage knock.) Come in! (ROBBART_andWMOBGAN enter.fr9mmgardsn..”HetSHOEfe) ROBBART: Please, Miss, for the bell. JONES enter. JONES exit. 3013er exit . MORGAN.exito 57 SQUIRE: 'Evening boys! (Enter JONES.) 'Evening, Jones. I am appalled to ob- serve, my boys, that you are still soiling your fingers in that disgusting coal-mine! (ROBBART crosses to bell at couch.) JONES: Excuse me please . . . (He goes into study.) SQUIRE: What's that you've got there? ROBBART: Bell, syr, for the school. SQUIRE: Up with it, boys, up with it! (ROBBART lifts crate and carries it out arden door. MORGAN follows him. Ding dong bell -- teacher's in the well!'. . . . (Crosses to. couch.) Now, my dear madam -- MISS MOFF: I'm rather irritable this evening, so unless there's a reason for your visit -- SQUIRE: (§,) Oh, but there is! Very important message. Word of mouth. From a gent that's just been dining with me. Sir Herbert Vezey. MISS MOFF: Yes? . . . . Oh, do be quick . . . ! SQUIRE: He has definitely de- cided that he has no use for the barn -- but . . . (Crosses to R. of chair.) . . . he does not see it as a school, and under no circumstances will he let it as such, so he must regretfully decline, et cetera. (Crosses to frag: 93M99s£1-) MISS MOFF: He implied in his first letter that he would be willing to sell. .§QQEBEW2139.§O Ce 58 SQUIRE: Then some big-wig must have made him change his mind, mustn't he? MISS MOFF: You? SQUIRE: (Crosses to R. of chair.) I have not called on you, madam, because I have been eyeing your activities very closely from afar —- it is with dis-disapproval and -- er -- dis ~- MISS MOFF: It is unwise to embark on a speech with the vocabulary of a child of five. SQUIRE: I am not going to have any of this damned hanky- panky in my village! MISS MOFF: Yggr village! SQUIRE: My village! I am no braggart, but I'd have you know that everything you can see from that window -- (Gestures_R.hw1ndQW.) -- and you haven't got a bad view -- l gfln! Now, my dear madam ~- MISS MOFF: And stop calling me your dear madam; I'm not married, I'm not French, and you haven't the slightest af- fection for me! SQUIRE: Oh . . . First of all, I'm not one to hit a woman be- low the belt. If you know what I mean. Always be fiar -- to the fair sex . . . . All my life I've done my level best for the villagers -- they call me Squire, y'know, term of af- fection, jolly touching -- I mean, a hamper every Christmas, the whole shoot, and a whopping tankard of beer on my birthday, and on my twenty-firster they all got a mug -- (Crosses front of chair.) ' ' ' ’ MESS RON. ready. MISS RON. enter, but remain in corner. 59 MISS MOFF: Go on. SQUIRE: They jabber away in that funny lingo, but bless their hearts, it s a free country! (Crosses L. C.) But puttin' 'em up to read English, and pothooks, and givin' em ideas -- if there were more people like you, y'know, England'd be a jolly dangerous place to live in! What d'ye want to do, turn 'em into gentlemen? What's the idea? (Crosses R. C.) MISS MOFF: I am beginning to wonder myself. _ SQUIRE: Anyway, this buyin' 'em out of the mine is a lot of gammon. I own a half- share in it. MISS MOFF: That explains a good deal. . . SQUIRE: Why don't you take up croquet? Keep yourself out of mischief. (MISS RON. comes out of bedroom.) 'Well, dear lady,"anything‘I'can do to make your stay here a happier one -- (Crosses_L.) MISS MOFF: Thank you. SQUIRE: I must be getting back. If I know Sir Herbert -- (Crosses to door.) -- my best old port will be no more ~- MISS MOFF: Wait a minute. (SQUIRE comes down a step.) SQUIRE: Yes? ‘F'n u... .‘ N and A”, ‘.A‘.fi I . 1 “Bo. . ”"qu D‘v‘.;‘ e‘ MISS RON. walk to MISS MOFF. -SQUIRE exit . 60 MISS MOFF: I know I shall be sticking a pin into a whale, but here are just two words about yourself. You are the Squire Bountiful, are you? Adored by his contented sub- jects, intelligent and be- nignly understanding, are you? I should just like to point out that there is a consider- able amount of dirt, ignor- ance, misery and discontent abroad in this world and that a good deal of it is due to people like you, be- cause you are a stupid, con- ceited, greedy good-for—nothing .. (Up to him._ Enter MISS RON.) -- addle-headed nincompoop, and you can go to blue blazes. (Crosses him to down R.) Good night! * SQUIRE: I perceive that you have been drinking. (He goes. MISS RON..crosses to MISS MOFF.) 'MISS MOFF: That was undignified, but I feel better for it. (Sits bench R.) MISS RON: I am glad -- (Crosses_ to L._of bench.) -- because it was plain-spoken, wasn't it? Has he been nasty? So unlike the Squire -- MISS MOFF: He was kindness it- self. He advised me to go and live in a hole in the ground with my knitting. He has per- suaded the owner not to sell. MISS RON: Oh dear . . . of course . . - (Sitslgrsimmss MOFF. on bench.) . . . I always think men know best, don't you? MISS MOFF: Yes. 61 MISS RON: I'm wearing my mousseline de soie, and he never even noticed . . . (MESS MOFF. crosses to C.) . . . What will you do? MISS MOFF: Sell the house; take this brain-child of a ridiculous spinster, and smother it. Have you got a handkerchief? MISS RON: Yes, Miss Moffat. Why? MESS MOFF: I want to blow my nose. MISS RON: You ought to have had a cry. I love a cry when I'm depressed. (MISS MOFF. crosses to study.) Such an advantage over the gentlemen, I always think -- MISS MOFF: (Calls off.) MP. Jones -" JONES:(Off L.) Yes? MISS MOFF: Will you write letters to the tradespeople and the mine? We are giving up the school . . . . JONES: (0ff.) 0h! ‘MISS MOFF: (Crosses to desk R., gets tray with_exer- cise books, crosses to couch L.) I suppose we'd better 'start putting some order into this chaos, and get the busi- ness over . . . . What are these filthy exercise books doing among my papers? (4.! (1,) (I) _BESSIEereadyo BESSIswenter. 193331.391“. 62 MISS RON: (Rises to L. of desk.) Those hooligans just now. They said MI. Jones had picked them out because they could write English -- (Picks up books.) -- and would -- (Crosses to table C. front of it.) I mind my own some- dreadful-word business. MISS MOFF: I set them an essay on "How I Would Spend My Holiday." I must have been mad . . . . (Throws one book away and takes one from MISS RON.) MISS RON: (Reading - labor- iously.) "If -4 I has ever holiday -- (Crosses to desk R.) -- I has breakfast and talks then dinner and a rest, tea then nothing -- then supper then I talk and I go sleep." MISS MOFF: From exhaustion, I suppose. (BESSIEJcomes in from kitchen crosses back of couch, gets hat from table and starts for door U. R.) Where are you going? BESSIE: Just another walk -- (Sniffs.) Miss Moffat. (Crosses up R.) MISS RON: What's the matter, little dear? BESSIE: Mum's hit me. MISS RON: Oh, naughty mum. Why? BESSIE: Just because I told her she was common. (Shngoes out door up 3,) we, . ‘H RUEJQJ; a )r- .V. ‘ ‘2' "JCJ ROBBART and MORGAN ready. “(marsh and” ROBBART enter . 63 MISS RON: That child is un- happy. (Crosses to front of L. C. table.) MISS MOFF: I can't be bothered with her. Another time I'd have been faintly amused by -this one's idea of a holiday, judging by a rather crude drawing. MISS RON: What is it? MISS MOFF: A bicycling tour with me in bloomers. MISS RON: Tch, tch . . . (Grassesito_settle_at stairs.) MISS MOFFAT: ”'Holiday-time.‘ That carefree magic word! What shall it be this year, tobogganing among the eternal snows or tasting the joys of Father Neptune?" MISS RON: But that's beauti- ful! Extraordinary! MISS MOFF: I might think so too if I hadn't seen it in a book open on that desk. (Throwsmbopkiiniwastetbasket.) MISS RON: 0h! MISS MOFF: No, your Squire was right . . . I have been a stupid and impractical ass, and I can't imagine how -- (Looks at name on book.NShew begins_tomreadfi slowly, with difficulty.) The mine is dark . . . . If a light come in the mine . . . the rivers in the mine will run fast with the voice of many women; the walls will fall in, and it will be the end of the world.“ (MISS RON. turns to MISS MOFF. MORGAN enterswm"" from garden door.“ ROBBART is with him, stays_at door.) 3:33;}. e2 Meat-BI exit. 64 MORGAN: We put up the bell, Miss. LMISS RON: Shhh -- the garden -— (ROBBART exits, MORGAN starts stops at door." To MISS MOFF. Do go on -- (MISS RON. ,)crosses to back of couch.) MISS MOFF: (Reading.) “. . . So the mine is dark . . . " (Beading.) " . . . But when I walk through the Tan-- something -- shaft, in the dark, I can touch with my hands the leaves on the trees, and underneath . . . where the corn is green." (Looks atUMORGAN. ) MORGAN: Go on readin'. MISS MOFF: (Reading.) ". . . There is a wind in the shaft, not carbon mon- oxide they talk about, it smell like the sea, only like as if the sea had fresh flowers lying about . . . and that is my holiday.” (Looks at name on book. MORGAN starts off -- turns ui_ckly as she speaks.) re you Morgan Evans? MORGAN: Yes, Miss. MISS MOFF: Did you write this? MDRGAN:4 No, Miss. MISS MOFF: But it's in your book. MORGAN: Yes, Miss. MISS MOFF: Then who wrote it? LIES rea- p- -- P;.9.EI§.?93SY° MORGAN: I dunno, Miss. ' (MISS MOFF. nods to MISS RON., MISS RON exit. who patters discreetly into Study, closes door.) MISS MOFF: Did you write this? MORGAN: I dunno, Miss . . . What iss the matter with it? MISS MOFF: Sit down. (He sits bench R.) And take your cap off. (He takes off his” cap.) Spelling's deplorable, of course. "Mine" with two "n's," and "leaves" 1, e, f, s. MORGAN: What was it by rights? MISS MOFF: A "V," to start with. MORGAN: I never 'eard o' no "v's," Miss. MISS MOFF: Don't call me. Miss. MORGAN: Are you not a Miss? MISS MOFF: Yes, I am, but it is not polite. MORGAN: Oh. MISS MOFF: You say, "Yes, RUSS Moffat," or "No, Miss Moffat." M, 0, double f, a, t. MORGAN: No "v's"? MISS MOFFAT: No "v's." Where do you live? MORGAN: Under the ground, Miss. MISS MOFFAT: I mean your home. MORGAN: Llyn-y-MWyn, Miss . . . Moffat. Four miles from 'ere. Elmpha size word "Engli sh" . MORGANiteases,KISSHLOFF. 66 MISS MOFF: How big is it? MORGAN: Four 'ouses and a beer-'ouse. MISS MOFF: Have you any hobbies? MORGAN: Oh, yes. MISS MOFF: What? MORGAN: Rum. (Takes small bottle.ofwrummoutmofipooket.) MISS MOFF: Rum? Do you live with your parents? MORGAN: No, by my own self. My mother iss dead, and my father and my four big brothers wass in the Big Shaft Accident when I wass ten. MISS MOFF: Killed? MORGAN: Oh, yes, everybody wass. MISS MOFF: What sort of man was your father? MORGAN: 'E was a mongrel. MISS MOFF: A what? MORGAN: 'E had a dash of English. He learned it to me. MISS MOFF: D'you go to chapel? MORGAN: No, thank you. MISS MOFF: Who taught you to read and write? MORGAN: Mott? 67 MISS MOFF: Taught. The verb "to teach." MORGAN: Oh, teached. MISS MOFF: Who taught you? MORGAN: I did. MISS MOFF: Why? MORGAN: I dunno. MISS MOFF: What books have you read? MORGAN: Books? A bit of the Bible and a book that a feller from the Plas kitchen nab for me. MISS MOFF: What was it? MORGAN: _g_ Lagi as figmpgn 129' (MISS MOFF... risesimsrosses up R C.. looks at him. MORGAN rises.) Can I go now,pliss --? MISS MOFF: No. (MORGAN sits.) Do you want to learn any more? MORGAN: No, thank you. MISS MOFF: Why not? MORGAN: The other men would have a good laugh. MISS MOFF: (Crosses back to chair R. of table.) I see. Have you ever written anything before this exercise? MORGAN: No. MISS MOFF: Why not? MORGAN: Nobody never ask me to. What iss the matter with it? 68 MISS MOFF: (a... 9; table.) LlQfiTgwgggdy, Nothing's the matter with it. (Sits R.hof table.) Whether it means anything is too early for me to say, but it shows exceptional talent for a boy in your circumstances. MORGAN: Terrible long words, Miss Moffat. MISS MOFF: This shows that you are very clever. MORGAN: Oh. MISS MOFF: Have you ever been told that before? MORGAN: It iss news to me. MISS MOFF: What effect does the news have on you? MORGAN: It iss a bit sudden. It makes me that I -- I want to get more clever still. I want to know what iss -- behind of all them books . . . . MISS MOFF: (Risesiienossssmto L,m§J) Miss Ronberry . . . (Igihim.) Can you come to- morrow? MORGAN: (Rises.) Tomorrow -- no -- I am workin' on the six till four shift -- .MISS MOFF: Then can you be here at five? MORGAN: Five -- no, not be- fore seven, Miss -- six miles to walk -- MISS MOFF: Oh, yes, of course -- seven then. In the mean- time, I'll correct this for .qn! fifl“ 3‘ .n‘ 3.. u “VAN 69 MISS MOFF: (Cont'd.) spelling _ and grammar. (Crosses,L.w£ront. Muss RON. ready. or couch.) MORGAN: Yes, Miss Moffat. MISS MOFF: That will be all. Good night. MORGAN: Good night, Miss Moffat. (Crosses to doorfluP R.) MISS MOFF: Are you the one I spanked? (He turns at door, looks at her, smiles, blinks and goes.) Miss Ronberry! Crosses tQmLA then in to R. of C.) Mr. Jones! (MISSIRON. .runs _in.._,fr omistudy ,._.. as . MISS“. MOFF....is . Q ) MISS RON: Yes? MISS MOFF: I have been a deuce of a fool. It doesn't matter about the barn; we are going to start the school ~- (grosses C.) -- in a small way at first, in this room . . . . And I am going to get those youngsters out of that mine if I have to black my fact and go down and fetch them myself: Get Jonesy be- fore he posts those letters, and tell those others I'll be ready for them in five minutes. (MISS,R0NA Start; to,doormL.illwiMISSMMOFFo Crosses L.) We are going on with the school! (Crossgs C. MISS_RON. scampers into study. Her voice is heard_ calling: "Wéware going on with the schebllfu Beading.) " E . . ~ and when I walk -- in he EREeég cue: BELL. dark . . . I can touch with """’”WW” my hands . . . where the corn is green . . . . " ($9999; bellwrings.r:,3 LIGHTS SLOMLI DIM LIGHTS ready. RMEMH,JMW,SMME OLD TOM, BESSIE, IDWAL, JONES and MISS RON. on at opening. LIGHTS on. ACT THO SCENE ONE An evening early in August, two years later. The living room of the LOFFAT house in Glansarno, which has since been turned into a schoolroom. MISS LOFFAT'S school idea has progressed rapidly. The PUPILS are seated at the small desks. ROBBART ROBBATCH and JOHN OWEN are now wearing clothing which is quite present- able for the classroom. SARAH PUGH, the postmistress, is also attending the class along with her father, OLD TOM. The old man is anxious to learn and gives every indication of his interest to further his educa- tion. BESSIE NATTY and the timid Welsh boy, IDWAL MORRIS, are also in this scene. BESSIE is silent, bored and prettier than ever, though dressed as a sober little schoolgirl. JOHN GORONWY JONES is crouched at the desk chair correcting exer- cises at the large flat desk. As the playing area is lighted, MISS RONBERRY is seen at the front_of the class facing the small school desks. The PUPILS follow every move she makes as she closes the classroom dis- cussion. BESSIE'S negative at— titude is quite apparent as the scene opens. 71 MISS RON: Now that was quite better. Full of splendid feeling, and nice and pre- cise as well. Have you all ot my English translation? Steps down a step to them.) PUPILS: Yes, Miss Ronberry. MISS RON: Are you all quite sure of the meaning of 'Thou lovedest him, fair maid that doth not love thee back ” (PUPILngollowfiwith motion ofuliP§-) PUPILS: Yes, Miss Ronberry. OLD TOM: (In broken English.) "That doth not luff thee . o o ba-a-ck!" MISS RON: Capital Mr. Tom. (Bell on C._table.i Home sweet home, children! (Bings bell.) Boys and girls come out to play! (MISS.PUCH nudges.IDWAL,) IDWAL: Please, Miss Ronberry, can we have some more? MISS RON: Well,just the tiniest lesson. (Replacesibell.) We must keep to the curriculum. Now what would you like? IDWAL: Please Miss Ronberry, how do you spell it? MISS RON: What, dear? OLD TOM: Curriculum. (ERQY. 114113111114: “13.33:." ) - MISS RON: What would you like? The rivers of Europe or King Alfred and the cakes? OLD TOM: Multiplication table! (Some-sa¥H"Yes,F_-9thersflrez 1335213“9.111%“.idplisatiena. 3 ‘III ‘4 I'll ¥I$S.EQFFeHreadY- _MIESS MOFF. enter. ELIFIL$_9Xit' lKISS RON. repeat wide- eyed expression. IDWAL, exit. 72 MISS RON: Well, twice six are twelve! PUPILS: Twice seven are four- teen -- twice eight are six- teen -- OLD TOM: Twice thirteen are twenty-six! MISS RON: Capital -- school dismissed. (IDWAstresses front of desk,. All rise ex- cepthESSIE. MISS MOFF.walks in from garden. She isflmore alert and business-like than ever; is studying exercise book.th e goes into kitchen. PUPILS finally trickle out, shepherded by MISS RON. Besides BESSIE, there are left OLD_TOM, studying MISS RON. and IDWAL. MISS RON. finds herself with OLD TOM andiIDWAL.) IDWAL: (Comes down a_step.) NUss Ronberry, please, what is four times fourteen? MISS RON: Thank you so much for the flowers, Idwal, dear. (Crosses to TOM,) IDWAL: Yes, Miss Ronberry. (Es-fallawsmiheipthsrsuout-> MISS RON: Is there anything you would like to know? (Beck‘s step.) Mr. Tom? OLD TOM: Where iss Shakespeare? MISS RON: Where? . . . Shakespeare, Mr. Tom, was a very great writer. OLD TOM: Writer? (MISS Rom. turns.) Like the Beibl? 73 MISS RON: Like the Bible. OLD TOM: Dear me -- (Rises.) -- and me thinkin' the man was a place. (Crosses C.) If I iss been born fifty years later, I iss been top of the class. QIJI TOM exit. (Exits, MESS RON. follows him up. MISS RON: Oh, dear . . . . (Crosses via back to above first desk. BESSIE crawls over seats to small desk, sits.) Miss Moffat has been doing grammar with Ferm Two under the pear-tree for an hour, she must be dead . . . (Stops.) Why did you not get up when she crossed? BESSIE: My foot went to sleep. (At small desk R.) ‘ LZISS MOFF. ready. MISS RON: That dear, is a ' ‘ naughty fib. (Crosses to L. and er table.) BESSIE: (Sits) If you want to know, Miss Ronberry, I feel quite faint sometimes as if my heart'd stopped an the world was coming to an end. MISS RON: (At L. of_large table.) Bessie dear, how herald! (Crosses t9 Wind9w-) JONES: It may be in the nature of a premonition. MISS RON: A what? JONES: I had a premonition once. Like a wave of the ocean breakin' on a sea-shell. Some- LII _r, thin had said to me that mornin': c- gSs LOrF. enter. (MIS MOFF. enters from kitchen.) Last. sentence- intense lY Loud. MISS mom. exit . 74 JONES: (Cont'd.) "Walk, and think, and keep off the food, for thirteen hours." So I ordered my supper, and I went. Towards the end of the day, I was sittin' on a stile in a cloak of meditation; and a voice roared at me: "John Goronwy Jones, tomorrow morning is the end of the world! MISS MOFF: And was it? JONES: It was eight years ago. It was a splendid experience. MISS MOFF: (QTQSSeshtomL. of table,) Which proves how much the gift of prophecy can owe to an empty stomach . . . Anybody seen a Greek book? (Picking_up-tinydvolume.) Here it is . . . . MISS RON: Greek, Miss Moffat? MISS MOFF: Morgan Evans is starting Greek this month. MISS RON: No! I didn't know you knew Greek? MISS MOFF: I don't; I‘ve just got to keep one day ahead of him and trust to luck. (She disappear s.-..,i.r!.t,-9-,esr _.bedr?°m- ) MISS RON: (Sits desk) To think that two years ago he hardly knew English! BESSIE: Stuck-up teacher's pet. MISS RON: You must not think that, dear. Miss Moffat says he is clever. .MISS LEO???» ready. D"LQRCITAN ~_ ready . L‘ISS lZOER. enter . MORG AN enter. 75 BESSIE: He always looks right through me, so I don't know I'm sure. Stuck-up teacher‘s pet . . . . I got some scent on my hands, Mr. Jones, like to smell them? JONES: No, thank you, Bessie, I can smell them from here, thank you. BESSIE: Ooh, it's lovely . . . MISS RON: She has some wonder- ful plans for him -- I can tell by her manner. I think she is trying to send him to one of those Church schools so that he can get a curate- ship. Would not that be ex- citing? BESSIE: I think she' s ridin' for a fall. (JONES turns, looks and goes back _to his work. ) MISS RON: Bessie! Why? (Crosses.in_to.above-No.el desk.) BESSIE: All this orderin“ 'im about. I've got eyes in my head, if she hasn' t, and he' s gettin' sick of it. I think a lady ought to be dainty. She's no idea. 0511 SS MOFF:. . appear s...) MISS MOFF: Evans! (5 pause, MORGAN comes in from garden. Crosses toward study., He is now seventeen. He is dreSSed in a shabby country suit, and is at the mement the submissive Schoolboy,c very different from the firs ac He carries a sheet of writing and a pen. MISs ILIOFF. exit. 76 MISS MOFF.'s attitude to him seems purely impersonal. OTHERS watch them.) Finished? MORGAN: Yes Miss Moffat. (mss RON. sits desk. Rubs ink off her hands with pumice stone.) MISS MOFF: How many pages? MORGAN: Nine MISS MOFF: Three too many. Boil down to six. Have you got those lines of Voltaire? MORGAN: Yes, Miss Moffat. MISS MOFF: It's Just five -— have your walk now good and brisk . . . . (MORGAN starts to cross R. via front door.) MORGAN: Yes, Miss Moffat. (Stops.) MISS MOFF: But kill two birds and get the Voltaire by heart. If you can ever argue a point like that, you'll do. (MORGAN starts again.) Back in twenty minutes -- and take your pen from behind your ear. _ takes pen and throws it_on desk. She disappears into her bedroom.) BESSIE: Now turn a somer- sault and beg. (Pause. MORGAN crosses to above small desk. BESSIE looks away from them all. Suddenly soft and mysterious.) Can you smell scent? MORGAN: Yes. MORGANHexit. 77 BESSIE: Nice, isn't it? MORGAN: I don't know, I never come across scent before. (Faces front.) I did never come across . . . . scent be- fore .'. . . BESSIE: Bright, aren't you? Don't you ever get tired of lessons? (JONES looks in dis- approval. She begins to sing song, "With his bell bottom trousers.“ MORGAN crosses. He goes to front door, turns then goes, BESSIE bangs book on desk.) "There we go. And my Mummy ought to be back soon and then we'll know somethin'. ‘JONES: What is the matter? Where has she gone? BESSIE: One of her prayer meetings. Twenty miles to shake a tambourine in the open air. I think it's wicked . . . . She ought to be Just in time, and then we'll know. JONES: Know what? BESSIE: About that horrid Morgan Evans. It's been lessons every night with teacher, hasn't it, since we left the mine? And long walks in between, to blow the cobwebs away? But the last week or two we've been break- ing our Journey, so we've heard. JONES: How do you mean? BESSIE: A glass of rum next door at the Gwesmor Arms and MRS. WATTY ready with props: _umbrella and brown paper parcels. MRS. WATTY enter. J ’11 MISS KO- '1 . ready. miss MOFF._enter. 78 BESSIE: (Cont'd.) then another, and then another! JONES: (Perturbed.) Oh . . . (Rises -- crosses to L, of her turns.) Whoever told you that? BESSIE: A little bird. (JONES crosses to front of couch.) And if my Mummy's sciatica's better she's going to Jump up and look over the frosty part and then we'll know. (MRS. WATTY hurries in through front door, in high spirits. She wears an_1ll-fitting Militant Righteousness Corps uniform, and carries an umbrella and a brown paper parcel.) MRS. WATTY: (Comes in R. of No. 2 desk. ”JONES crosses to corner of No._l desk.) Guess what's 'appened to me! BESSIE: What? MRS. WATTY: I'm a Sergeant- MaJor! (MISS MOFF._has come out of bedroom.) MISS MOFF: (JONES turns to‘M MRS. WATTY: 0h, Ma'am, I didn't see you --- (Crosses to above L, of_table_L.) Watty you're not! ISS,MOFF.) MISS MOFF: Tell me more! (MISS RON. rises.) MRS. WATTY: You remember Sergeant-Major 'Opkins de- sertin' in Cardiff and marryin' a sailor? MISS MOFF: Yes? MRS. WATTY exit. MISS MOFF. exit. MRS. WATTY enter. Brush aside BESSIE. 1' ._ mISS MOFF. enter. BESSIE sit window seat. 79 MRS. WATTY: Well, (Crosses JONES C.) last week, not two months after she give up the Corpse, she was dead! MISS MOFF: And you've stepped into her shoes? MRS. WATTY: They're a bit on the big side; but I can put a bit of paper in. The uniform fits lovely though. (JONES crosses to R. desk.) I'll get you a cup 0' tea and an egg, Ma'am, you never ’ad that cold meat, Ma'am, I'll be bound? MISS MOFF: Folk eat too much anyway. (She goes back into her bedroom) BESSIE: Did you Jump? (JONES turns attention to WATTY.) MRS. WATTY: Coming back into room.) Just caught 'im. (to JONES sorrowfully) He was 'avin' a good drink sir . . . . (Crosses front to L. of BESSIE. JONES crosses to above table. To BESSIE.) Don't you dare tell 'er you little dollymop, or I‘ll rattle your bones -- (MISS MOFF. reappears.) MISS MOFF: Was it a nice service, Watty? (MISS RON. comes Addwnmaboxsflsgu 2-99.31“ MRS. WATTY: Beautiful, Ma'am. They said they 'oped the late Sergeant-Major was gone where we all want to go, but with 'er having deserted they couldn't be sure. Then we saved three sinners. You MRS. WATTY emphasize the word_"oof". MRS. HATTY exit . 80 MRS. WATTY: (Cont'd.) ought to been there . . . And the collection! (Starts for kitchen.) I 'adn't seed so much oof since the Great Liverpool Exhibition. MISS RON: But they didn't make a collection at the Liverpool Exhibition, did they? MRS. WATTY: No, but I did. (JONES crosses via front to front of couch. MISS RON. crosses down to small desk U. 0.. Mrs. WATTY goes to kitchen. MISS MOFF. crosses to R. of BESSIE.) BESSIE: Please, Miss Moffat, can I have the money for my ticket? MISS MOFF: What ticket? BESSIE: For Tregarna Fair tomorrow. You said I could go. MISS MOFF: On the contrary, I said on couldn't. (To desk R. Not in school hours. MISS RON: Are you feeling better, dear? (Crosses L. above and L. of BESSIE.) BESSIE: No, Miss Ronberry. It's all this sittin' down. It's been going on for two years now. I heard tell it ends in everythin' rottin' away. (MISS MOFF. sits at desk.) ~ - MESS MOFF: What's rotting away? 81 MISS RON: (Crosses toward R. a step.) Bessie says she's been sitting down for two MISS MOFF: She's lucky. My feet feel as if I've been standing for the same length of time. What are these, Ron? MISS RON. crosses to L. of MISS MOFF.) MISS RON: Two more accounts, I fear. MISS MOFF: Oh, yes. The Liddell and Scott and Evans' new suit -— tch . .v. . (Cheerfully.) I shall have to sell out a couple more shares, I expect. MISS RON: Oh, dear. MISS MOFF: Not at all. It's easy to squander money, and it's easy to hoard it; the most difficult thing in the world is to use it. And if I‘ve learned to use it, I've dong something. That's better. . . . My plans are laid, Ron, my dear, my plans are laid! But don t ask me what I'm hatching, because I can't tell you till tomorrow. MISS RON: You are wonderful! MISS MOFF: Go to Halifax. (MISS RON. crosses to and sits couch.)"'I‘m‘enJoying m self. (Huge 31 h from BESSIE. Bessie Watty, w at is_this dying duck business? ‘ BESSIE: Yes, Miss Moffat. MRS. WATTY ready with teacup containing small amount Of water. 82 MESS MOFF: Don't "yes, Miss Moffat," me. Explain yourself. BESSIE: my Mummy said all these lessons is bad for my inside. MISS MOFF: She told me they stop you eating sweets, but perhaps I am telling the lie. BESSIE: Yes, Miss Moffat. MISS MOFF: What's the matter with your inside? BESSIE: It goes round and round through sittin' down. P'r'aps what I want is a change. (Back on her elbows.) MISS MOFF: (Muttering.) "Adelphos, a brother" . . . There is nothing to prevent your going for walks between lessons. You can go for one now, as far as Sarah Pugh Postman, to see if my new chalks have arrived. (Pause.) Quick march. (BESSIE crosses to door.) "" BESSIE: I'm not goin'. MISS MOFF: What did you say? BESSIE: I'm not goin'. (Crosses down front obeo. 1 desk.)‘ Every- body's against me . . . . (Crosses in.) I'm going to throw myself off of a cliff, an' kill myself . . . . It'll make a nice case in the papers, me in pieces at the bottom of a cliff! . . . I'm goin' mad, mad, and I'm goin' to kill my- self, nothin' goin' to stop me -- stone dead at the bottom of a cliff -- ah -- ah -- ah --- MRS. WATTY enter. MRS. JATTY exit. 83 (MRS. WATTY striding in from kitchen with a cupful of cold water which she throws into BESSIE'S face.) MRS. WATTY:. (To MISS MOFF.) I made a mess 0' your rug, Ma'am, but it's worth it. (Crosses L. to L. of couch.) She's got bad blood, this girl, mark my word. MISS RON: She'll catch her death! MRS. WATTY: (Starts L.) Nothing like cold water, Ma'am. I learnt that with her father. 'E was foreign, you know. (She goes back into kitchen. MISS MOFF. rises -- crosses to BESSIE.) MISS MOFF: And how do you feel after that? BESSIE: I can't remember anything. I'm in a comma. MISS MOFF: (Taking her by arm. Starts L. with her to bedroom.) We'll sit on our bed for an hour with the door locked, shall we, and try to remember? And next week you go away into service --(JONES and MISS RON. look.) -- and see how we like that -- (She pushes her out of sight into the passage. MISS MOFF. returns.) I must count her as one of my failures. Fish out of water, of course. Guttersnipe species -- if there is such a fish. (Stops C.) She'll be more at home in service . . . . (Muttering.) "Dendron, a tree ---" MRS. WAT Y ready. MRS. WATTY enter. 84 MISS RON: I beg your pardon? . . . . Oh, Miss Moffat, I am bur ting with curiosity -- your plans for Morgan Evans . . . is it a curateship? MISS MOFF: (Slowly amused.) No, it isn't a curateship. (Crosses to desk R.) MISS RON: I really don't see anything funny about curates. (To JONES.) I mean, there is nothing wrong with curates, is there? JONES: (At settle.) No, ex- cept that they ought to go to chapel. MISS MOFF: Who has been writing in here? (MRS. WATTY appears at kitchen entrance.) MRS. WATTY: Your egg, Ma'am! (Crosses to back of table.) MISS MOFF: "Bessie Watty has the face of an angel!" (JONES takes hat from pe crosses via back to door. MISS RON: What an extraordinary MISS MOFF: But I know the . writing --- (Crosses up to him.) John Goronwy Jones, I'm ashamed of you. (Crosses him to C.) JONES: I shall see you tomorrow if we are spared. MISS RON: (Shocked.) 0h! JONES: You all misJudge that little girl. She has the face of a good woman in the melting pot. MORGAN ready. Hair and clothing dishevelled. JONES remove cane and derby hat from clothes tree. JONES exit. MORGAN enter. 85 MISS MOFF: (Crossing to kitchen.) I've got the face of a good woman, too, and well out of the melting pot, but I don't think I'd ever find it in writing. (She goes into kitchen.) MRS. WATTY: I never thought I'd live to call you a naughty man. (She follows MISS MOFF. into kitchen. JONES goes out through front door. _MISS RON. crosses L., gets her hat and shawl and crosses to small bookcase. MORGAN enters through front door. He is dishevelled, and it is fairly apparent that he has been drinking. His manner is defiant. ’” ' MISS RON: Oh, it's you, Morgan . . . . Miss Moffat is having something to eat. MORGAN: And I have been having something to drink, so we are Quits . (Crosse 3.. -down,_B.o., £3.) MISS RON: I will tell her that you are back --- (Crosses via front to_L. of couch.) MORGAN: I don't want to see no Miss Moffat. (Crosses.down to desk chair.) MISS RON: You mean "I don't want to see Miss Moffat." The double negative --- (Starts back of couch.) MORGAN: Now don't you start! . . . I like the double nega- tive it says what I want the way i like, and I am an: goin' to stand no interference from body! Voltaire indeed ... %%rumples paper, kicks it, crosses L. all the_way.) MI s5 MOFF . ready . ifilss MOFF. enter. 86 MISS RON: Morgan! I've never seen you like this before! (Crosses up back of table.) MORGAN: You haven't, have you? Well -- (Crosses R.) -- now I come to think of 'it, I haven't neither, not for two years, and I'm sur- prised by meself, and shocked by meself! (Crosses L. two steps.) Goin' inside one 0' them public houses and puttin' me nice clean boots on that dirty rail, and me dainty lady-fingers on that detest- able mucky counter! Pourin' poison rum down me nice clean teeth -- (Down_two steps.) -- and spittin' in a spittoon -- what's come over you, Mor- gan Evans? (Crosses down) You come back to your little cage, and if you comb hair and wash hands and get your grammar right and forget you was once the Middle-weight Champion of the Glasynglo Miners, we might give you a nice bit of sewin' to do . . . . (Down R. again.) Where's (Crosses C.) that' Bessie Watty, sendin' her mother to spy on me? I'll (Goes front of couch.)~knock her bloody block off . . . . MISS RON: (Outraged.) Morgan Evans, language!' Don't you dare use an expression like that to me again! MORGAN: (Facing her, leaning over couch.) I got plenty of others, thank you, and they are all comin' out. I am goin' to surprise quite a few --- (MISS-_MQ_FF- enters grow. kitchen.) ' ' "W‘A , .. K~AJ ‘ .1 MORGAN exit. _goes intoN s 87 MISS MOFF: Have a good walk, Evans? (Crosses in to front of couch.) MORGAN: Yes, Miss Moffat. MISS MOFF: Can you repeat the Voltaire? MORGAN: Not yet. MISS MOFF: It's very short. MORGAN: Paper blowed away. MISS MOFF: Oh. Copy it again, will you, and bring it to me. MORGAN: (Muttering. ) Yes, Miss Moffat. (Crosses to studx_entrance ) MISS MOFF: Would you like a drink? (MORGAN stops.) MORGAN: thank you. (He Otudy.) MISS MOFF: I hope he's not going to be slow at French. It'll make the Greek so much more difficult --- MISS RON: (Crosses to_table.) You don't think perhaps all this -- in his situation -- is rather sudden for him? I mean --- MISS MOFF: Not for him, my dear. He has the most bril- liantly receptive brain I've ever come across. Don' t tell him so, but he has. MISS RON: I know hio brain is all right --- SQUIRE ready. MI 83 LLOFF. exit . 88 MISS MOFF: I'm very pleased with his progress, on the whole . . . (Offstage knock. MISS RON. moves toward the door. MISS MOFF. stops her.) Wait a minute! (Crosses up via L. to window. Peering out toward front door.) Yes, it is O O O O MISS RON: Who? MISS MOFF: Royalty, the Con- servatives and all the Grand Lamas rolled into one. The Squire --- MISS RON: The Squire! Oh, my! MISS MOFF: It is indeed, oh my --- Let me have your shawl. (Crosses_over, gets shawl from MISS RON., crosses down to bedroom. MISS RON: To L. of large table.) But he hasn't been here since that dreadful evening --- MISS MOFF: (Going tobedroom) I behaved more stupidly that night than I ever have in my life, and that's saying some- thing --- MISS RON: But why is he here now? MISS MOFF: Never you mind . . . . All I can tell you is that it is to do with Morgan Evans, and that it is vital I make the right impression MISS RON: (As MISS MOFF. runs to bedroom.) What sort of impression? ‘— S 0-.-— ““3; SQUIRE: enter . MISS MOFF. enter with Shawl and bowl of flowers. 89 MISS MOFF: (Approaching bed— room exit.) Helpless and clingng, or as near as dammit -- (She disappears into her room as there is a second impatient knock offstage.) MISS RON: Come in! (The SQUIRE enters .) SQUIRE: Good afternoon. MISS RON: Your hat, Squire -- (Crosses to R. 0., front of No. l desk.) SQUIRE: No, thank you, I am not staying. MISS RON! Oh,dear, I do look a sketch . . . . (Moves back L. C.) SQUIRE: (Looks around.) So this is the seat of learning. (Crosses down R. C.) MISS RON: (L. C.) We are always on the point of a good spring-clean. How dreadful that we have no refreshment to offer you! SQUIRE: You can tell her from me that I am not here to be insulted again. MISS RON: Oh, I'm sure you aren't! I mean --- SQUIRE: (Crosses to R. of_ small desk.) She called me an addle-headed nincompoop. (MISS MOFF. comes in a shawl draped over her shoul er. She carries a bowl_of flowers.) MISS MOFF: Miss Ronberry, dear my roses are dying -- would you our out a little water for hem, I have such a headache I don't think --- M Q.“ .MISS Row. exit. SQUIREnwarm_slowly. 9O MISS MOFF: (Cont'd.) (Reigning surprise.) Squire! (Then crosses to front of couch.) SQUIRE: You wrote to me. ‘Perhaps you have forgotten? MISS MOFFAT: How could I for- get! I only thought that after the overwrought fashion of my behavior at our last meeting you must ignore my very ner- vous invitation -— Miss Ron- berry, a chair, dear, for the Squire --- (MISS RON. takes small chair from smalldesk1 places it L. of small desk.) SQUIRE: (Crosses in to L. of chair.) I have not a great deal of time to spare, I fear. MISS MOFF: Of course you haven't. I was just saying to Miss Ronberry, he's so busy he'll e e be able to fit it in! ‘ ss Ronberry, dear, would you get some water for them? (She hands bowl to MISS RON., who passes the SQUIRE and_goes into gar- den.) Tell me, Squire, how did your prize-giving fare this afternoon? SQUIRE: Rather a bore, y'know. MISS MOFF: I had so hoped to see you Judge. I love flowers. SQUIRE: It wasn't flowers. It was cows. MISS MOFF: Oh. It was your speech I wanted to hear, of course- I heard you made such an a using one at the Croquet. 91 SQUIRE: Oh, did they tell you about that? Rather a good pun, eh? (Laughing.) Ha, ha . . . I -- may I sit down? (He’sits chair L. of smallmdesk,_getting ridnpf-hat.) MISS MOFF: Do! SQUIRE: I thought Griffith, the butcher, was going to laugh his napper off. MISS MOFF: Indeed . . . Do you know, Squire, that makes me rather proud? SQUIRE: Proud? Why? MISS MOFF: Because he would not have understood a word if his little girls hadn't learnt English at my school. SQUIRE: Oh. Never thought of it like that . . . . (Asmshe puts_her hand to her head, saysMVOh".) Headache? MISS MOFF: Squire, you see be- fore you a tired woman. We live and learn, and I have learnt how right you were that night. I have worked my fingers to the bone battering my head against a stone wall. SQUIRE: But I heard you were a spiffing success. MISS MOFF: Oh, no. SQUIRE: (Muttering.) It's fair of you to admit it, I must say. MISS MOFF: You see, in one's womanly enthusiasm one forgets that the qualities vital to success in this sort of ven- ture are completely lacking ‘Vfi. A“ EQBQMLEG. 6i dY . WERE? ._ente..ro 92 MISS MOFF: (Cont'd.) in one: intelligence, courage and authority . . . the qualities, in short, of a man. SQUIRE: Come, come, you mustn't be too hard on your- self, y'know. After all, you've meant well. MISS MOFF: It's kind of you to say that. SQUIRE: What about this Jones chappie? MISS MOFF: He's a dear creature, but . . . I have no wish to be fulsome, I mean a man like yourself. SQUIRE: I see. MISS MOFF: One gets into such muddles! You'd never believe! SQUIRE: Well . . . I've never been on your side, but I'm sorry to hear you ve come a cropper. When are you giving it up? MISS MOFF: Oh . . . That again is difficult; I have all my widow's mite, as it were, in the venture --- (MORGAN appears_f:0ms§tgdyssarrying a paper. He has_regained_his self-contrglo) MORGAN: (Stops.) Please ex- cuse me. MISS MOFF: It's all right, Evans. Have you copied it? On my desk, will you? (EVANS crosses front is_deskmfi- tepéesk. ESQITQAN-SXite 93 MORGAN: Excuse me, sir . . . (Crosses back to study. Stop atL. of couch. Turning at' study door.) Thank you. (He goes.) ' SQUIRE: Nice, well-spoken lad. Relative? MISS MOFF: No. A pupil. He used to be one of your miners. SQUIRE: No! Is that so? MISS MOFF: I'm glad you thought he was a nice, well- spoken lad. miners, interesting . . . MISS MOFF: Because he is the problem I should like your ad- vice about. SQUIRE: What's he been up to, poaching? MISS MOFF: No. SQUIRE: A bit 0' muslin? MISS MOFF: No, no . . . There are none, anyway - - — SQUIRE: What about the little Cockney filly? MISS MOFF: Bessie Watty? Oh, no, I assure you -- she's a school girl --- SQUIRE: I dunno, all these young people growing up to- gether, y'know -- eh? MISS MOFF: I think it's good for them . . . . No, there's 94 MISS MOFF: (Cont'd.) nothing of that sort -- but he's a pro- blem just the same. And like a true woman I have to scream for help to a man. To you. SQUIRE: (Giyes away here.) Scream away, dear lady, scream away! MISS MOFF: WeIL he's . . . clever. SQUIRE: Oh, is he? Good at figures, and all that? Be- cause if he is, there's no reason why I shouldn't put him in my mine office, as junior office boy. What d'ye think of that? MISS MOFF: No. Figures aren't his strong point. SQUIRE: Thought you said he was clever. MISS MOFF: To begin with, he can write. SQUIRE: Oh, Well? MISS MOFF: Very well. SQUIRE: Then he could make fair c0pies. Eh? MISS MOFF: No. (Choosing her words carefully.) This boy.... is quite out of the ordinary. SQUIRE: Sure? MISS MOFF: As sure as one of your miners would be, cutting through coal and striking a diamond without a flaw. He 95 MISS MOFF: (Cont'd.) was born with very exceptional gifts. They must be -- they ought to be given every chance. SQUIRE: You mean he might turn into a literary bloke? MISS MOFF: He might, yes. SQUIRE: I'm blowed! How d'ye know? MISS MOFF: By his work. It's very.good. SQUIRE: How d'ye know it's good. MISS MOFF: How does one know Shakespeare's good? SQUIRE: Shakespeare? What's he got to do with it? MISS MOFF: He was a literary bloke. SQUIRE: Ye-es. fig was good, of course. MISS MOFF: This tenant of your, Squire, has it in him to bring great credit to you. SQUIRE: Yes, he is a tenant of mine, isn t he? MISS MOFF: Imagine if you could say that you had known -- well say Lord Tennyson, as a boy on your estate! SQUIRE: Rather a lark, what? Though it's a bit different, y'know. Tennyson was a Cam- bridge. My old college. MISS MOFF: Oh . . . (Bises, 96 MISS MOFF: (Cont' d. ) (crosses R. via front to bookcase near garden entrance. SQUIRE rises. ) Poor Evans. What a pity he was not born at the beginning of the eighteenth century! SQUIRE: Beginning of the eighteenth century -- now when was that . . . ? (Crossesflfrpntnofwcouch.) MISS MOFF: He would have had a protector. (Takes twombooks £29.19...b995c age . > SQUIRE: What against? MISS MOFF: A patron. (Crosses to R. of him.) Pope, you re- call, dedicated the famous "Essay on Man" to his pro- tector. (Crosses_ front of smaIl desk, hands him b_ooks. ) "To H. St John rd Boling- broke. " Mmm . . Ing_§ heard of it, now I remember --- SQUIRE: (Reading from book.) 0 MISS MOFF: Isn't it wonderful to think that that inscription is handed down to posterity? (Reading from other book.) "To the Right Honorable Earl of Southampton . . . Your Honor' 5 in all duty, William Shakespeare." SQUIRE: Oh! MISS MOFF: I often think of the pride that surged in the Earl's bosom when his en- couragement ave birth to the master iece (Crosses to L. of couch_. of a poor and”humble writer! 97 SQUIRE: Funny, (Crosses, sits couch.) I never thought of Shakespeare being poor, somehow. MISS MOFF: Some say his father was a butcher. The Earl realized he had genius, and fostered it. SQUIRE: Mmm! If this boy really is clever, it seems a pity for me not to do something about it, doesn't it? MISS MOFF: A great pity. (Crossing psitst._of_SQUIRE on couch.) And I can tell you exactly how you gag do something about it. SQUIRE: How? MISS MOFF: There's a scholarship going. SQUIRE: Scholarship? Where? MISS MOFF: To Oxford. SQUIRE: Oxford? MISS MOFF: (Moves closer.) A scholarship to Trinity College, Oxford, open to boys of secondary education in the British Isles. My school hardly comes under the heading of secondary education, and I wrote to your brother at Magdalen; he pulled some strings for me, and they have agreed to make a special case of this boy, on one condition. That you vouch for him. Will you? SQUIRE rise, stand in place, turn. 98 SQUIRE: My dear lady you take the cake. . . . Can't he be just as clever at home? MISS MOFF: No, he can't. For the sort of future he ought to have, he must have ‘polish -- he has everything else. The background of a university would be invaluable to him . . . . Will you? SQUIRE: (Crosses to L. of small desk.) Well, the "Varsity," (Crosses R.) y'know, hang it all . . . mind you, he'll never get it. MISS MOFF: I know, but he must have the chance --- SQUIRE: Still, y'know, even the mere prospect of one o' my miners --- MISS MOFF: Think of Shake- speare! SQUIRE: All serene. (MISS MOFF rises.) I'll drop a line to Henry next week. Rather a (Crosses in for hat from table.) lark, what? I must be off --- (Greases halfWEYluP.t0-QQOPo) MISS MOFF: (Crosses C. to below No. l desk.) I should be most obliged if the letter could be posted tomorrow. Would you like me to draft out a recommendation and send it over to the Hall? You must be so busy with the estate --- no a .I. 9&9 T.“ .1 .Mw ., .- ... LEISS RON. ready with ball-.01.“ .roseS- InISS-JRON 2.e.nter- 99 SQUIRE: I am rather. Polka supper tomorrow night . . . . Yes do do that. (Starts up to door.) Good- bye, dear lady! MISS MOFF: (Crosses in a step.) Thank you so very much, Squire -—- SQUIRE: (Crosses halfway down.) Happier conditions, and all that! Glad you've come to your senses! (Crosses up to door.) MISS MOFF: Thank you so very much, Squire! SQUIRE: Not at all, I'm all for giving a writer-fellow a helping hand. Tell my brother that, if you like 0 o e o (Exits. MISS MOFF. crosses up to door. 'MISS RON.‘hurries in from garden, carryingmbowl‘ gflrosss-) MISS RON: Well? (Puts vase onmdesk.) MISS MOFF: (Up R. below door.) That man is so stupid it sits on him like a halo. MISS RON: What happened? (Cr-.0856.3 5.. 399 -32.-. 91?. -MI .33 MOFF 2 > MISS MOFF: In ten minutes I have given the Squire the im- pression that he spends his whole time fostering genius én)the illiterate. (grosses MISS RON: But how? MISS MOFF: Soft soap and curtseying; with my brain, my heart and my soul. (Crosses upr.) I've beaten you at your “P“ 1. ion“! lOO MISS MOFF: (Cont'd.) own game, my dear; (Crosses R. between large and small desks.) I flirted with him! And he is going to write to Oxford; at least, (Crosses to chair back of table L.) I am ' going to write to Oxford for him. Hallelujah. MISS RON: Oxford? MISS MOFF: I am entering my little pit-pony for a scholarship to Oxford, child, Oxford University! MISS RON: But they don't have miners at Oxford Uni- versity! MISS MOFF: Well, they're going to. The lad is on this earth for eighty years at the most out of a few - millions; (Crosses down L.) MORGAN ready. let the proud silly ones grovel and be useful for a change, so he can step up on their backs to something better! I was bursting to say that to the Lord of the Manor -- so I must vent it on you . . . . Thank you for your shawl, my dear -- (Crosses towher.meakes her, tgudqorj) -— and now you've served your purpose, you can go home -- but you'd better watch out, I may beat you to the altar yet --- (She comes back_int9 room, crosses to desk-3.. gets papers-then_ crosses to L, table -: moves table..meves.milk ins to side- board “sits back_of table. MO Seatedmbefore_she_calls.) .BGAN enter. Evans! (MORGANficpmesflin_fr9m study carrying a pen,,books~ and papers. -MORGAN-crosses, gets small chair at B. 0., places it L2-0f_L2.table, ..... sits.) lOl MISS MOFF: (Cont'd.) Is this your essay on the Wealth of Nations? MORGAN: Yes. MISS MOFF: Say so and under- ‘line it. Nothing irritates examiners more than that sort of vagueness. (Pauses.w She hands him exercise.b00k.) I couldn't work this sentence out. (Hands him paper.) MORGAN: "The eighteenth cen- tury was a cauldron. Vice and elegance boiled to a simmer until the kitchen of society reeked fulminously, and the smell percolated to the marble halls above." (H§9§§,P€R§?-PaCk-) MISS MOFF: D'ye know what that means? MORGAN: Yes, Miss Moffat. MISS MOFF:‘ Because I don't. Clarify, my boy, clarify, and leave the rest to Mrs. Henry Wood. . . . "Water" with two t's . . . that's a bad lapse . . . . The Adam Smith sentence was good. Original, and clear as well. Seven out of ten, not bad but not good -- you must avoid long words until you know exactly what they mean. Otherwise domino . . . Your reading? MORGAN: Yes, Miss Moffat. Burke's "Cause of the Present Discontents." MISS MOFF: Style? MORGAN: His style appears to me . . . as if there was too much of it. IKCRGAN deliver ”yes" with little interest. 'flISS MOFF. rummage through desk,drawer. 102 MISS MOFF: His style struck me as florid. MORGAN: His style struck me as florid. MISS MOFF: Again. MORGAN: His style struck me as florid. MISS MOFF: Subject matter? MORGAN: A sound argument, falsified by -- by the high color of the sentiments. MISS MOFF: Mmmm. “The high 'color of the sentiments" . . . odd but not too odd, good and stylish . . . . For next time. (Dictating.) Walpole and Sheri- dan as representatives of their age; and no smelly cauldrons. (Opening_another book.) By the way, next Tuesday I'm starting you on Greek. MORGAN: Oh, yes? MISS MOFF: I am going to put you in for a scholarship to Oxford. MORGAN: Oxford? Where the lords go? MISS MOFF: The same. (Rises, crosses to desk R...+ looks above them below_desk.) I've made a simplified alphabet to begin with. It's jolly interesting after Latin . . . . Have a look at it by Tuesday, so we can make a good start -- oh, and before we go on with the lesson, I've found the nail- file I mentioned -- (MORGAN slams a book.) -- I'll show ou how to use it. I had them oth here somewhere --- ’l MORGAN-$tart.¥build-up92 103 MORGAN: I shall not need a nail file in the coal mine. MISS MOFF: In the what? MORGAN: (Turns to her.) I am going back to the coal mine. MISS MOFF: I don't understand you. Explain yourself. MORGAN: I do not want to learn Greek, nor to pronounce any long English words, nor to keep my hands clean. MISS MOFF: (Crosses.C. to lower end of No. l desk.) What's the matter with you? Why not? MORGAN: Because . . . because (Leans.9ver.wbotb.hands on table.) -- I was born in a Welsh hayfield when my mother was helpin' with the harvest -- and I always lived in a little house with no stairs, only a ladder -- and no water -- and until my brothers was killed I never sleep except three in a bed. I know that is terrible grammar but it is true. MISS MOFF: What on earth has three in a bed got to do with learning Greek? MORGAN: It has -- a lot! The last two years I have not had no proper talk with.English chaps in the mine because I was so busy keepin' this old grammar in its place. Tryin' to better myself . . . tryin' to better myself, the day and the night! . . . You cannot take a nail file into the "Gwesmor Arms" public bar! $93G“: emphasize the word Evans" each time. 104 MISS MOFF: My dear boy, file your nails at home! I never heard anything so ridiculous. Besides, you don't go to the Gwesmor Arms! MORGAN: Yes, I do, I have been there every afternoon for a week, spendin' your pocket money and I have been there now, (Rises.) and that is why I can speak my mind! (IWO steps L.) MISS MOFF: I had no idea that you felt like this. MORGAN: Because you are not interested in me. MISS MOFF: Not interested in you? MORGAN: How can you be inter- ested in a machine that you put a penny in and if nothing comes out you give it a good shake? "Evans, write me an essay; Evans, get up and bow: Evans, what is a subjunctive " My name is Morgan Evans, and all my friends call me Morgan, and if there is anything gets on the wrong side of me it is callin' me Evans! . . . And do you know what they call me in the Village? (Crosses to front of couch.). Ci bach yr ysgol!‘“The schoolmistress's little dog! What has (Crosses to her.) it got to do with you if my nails are dirty? Mind your own business! (Sits sofa, faces L. MISS MOFF. turns up tQ-NQ2.2 QPSKa) ---... ”.ml- LIGHTS ¥98dy2 IHORGAN rise, cross to table. EITESS MOFF. exit. “QdGAN stares at book on 105 MISS MOFF: I never meant you to know this. I have spent money on you -- I don't mind that, (MORGAN moves,) money ought to be spent. But time is different. Your life has not yet begun, mine is half Over. And when you're a spinster, some folk say it's pretty near finished. Two years is valuable currency. I have spent two years on you. (MORGAN-leaks.around2) Ever since that first day, the mainspring of this school has been your career. Some- times in the middle of the night, when I have been des- perately tired, I have lain awake, making plans. Large and small. Sensible and silly. Plans for you. And you tell me I have no inter- est in you. If I say any more I shall start to cry; and I haven't cried since I was younger than you are, and I'd never forgive you for that. (Crosses up to, . door -- gets cloak.) I am going for a walk. I don't like this sort of conversa- tion, please never mention it again. If you want to go on, be at school tomorrow. (Epipg.) If not, don't. MORGAN: I don't want your money, and I don't want your time! . . . I don't want to be thankful to no strange woman -- for anything! MISS MOFF: I don't under- stand you. I don't under- stand you at all. ( Putting onflhervcloakMthatuismhanging pfi‘clothes_tree, she goesmgut by front door. “MORGAN At '29-b1§-r-..--..B.E.5.313;?9.1.1.1? sin-.1“; om then knocks it to BESSIE take noise as entrance cue. table, flOor. ofbook .MH§IQIEQo MORGAN forces his way to desk, grabs chair and seats himself. _ Drinks from rum bottle 9n desk L. His fingers weave through his hair as he holds ghis head with both hands. He tensely pullshis fingers upward through his hair then suddenly claps his hands over both _ears. 106 garden.. She has put her .hair half up and wears earrings. She crosses in to R. C. ) BESSIE. Hello. (She clutches her leg.) Caught my knee climbin' down the rainpipe, ooh. . . (As he takes no notice. She crosses to' kitchen door.) P' r 'aps I'm invisible . . . (She marche s into kitchen singing—"BELL BOTTOM TROUSERS". Far away the sound of singi ng:_ men returning from the mine harmonizing "AR HXD A NOS" BESSIE returns from kitchen, crosses to table.) Mum's gone out. (_After_ a pause.) Expect she's gone to tell Mrs. Roberts about her meetin'. Though how she manages with Mrs. Roberts knowin' no English an' deaf as well . . (Afiter a pause.) Talking a lot, aren't I? MORGAN: Yes. BESSIE: Well, I'm not deaf. (Sits.Qn-table-R2hupperwsid9.) MORGAN: Been spyin'? BESSIE cross to desk whereIMORGAN is seated. BESSIE smell scent on wrist and slyly move hand toward MORGAN's face. Fade MUSIC. BESSIE deliver song on left, then right of MORGAN. BESSIE place left hand on MORGAN'S ri ght shoulder. ” BESSIE straighten MORGAN’ _S Phair With right hand. ..lace left hand on MORGAN' S left shoulder. MORGAN trymtowtouch BESSIE'S left hand as she 11 mar-.9154: slowly- 107 BESSIE: If people lock me in and take the key out of the keyhole, they can 't blame me for listenin‘ at it. 00, I think she' s wicked. MORGAN: Mind your own business. BESSIE: I won't. I like to know about everything I like doin' all the things I like, I like sweets, I don't care if it does make me fat, and I Igv e perfume. (Crosses to L. It makes me like I want to dream and dream .... (Crosses C. Singing stops.. A pause.) It' 3 funny . . . . we never been by ourselves before. (Steps back from MORGAN. She begins to sing in'Welsh. The tune is "Lliw Gwyn Rhosyn yr_ Haf. " Ends song and walks toward R. of MORGAN.) Didn' t know I knew Welsh, did you? You like that song, don't you? That's why I learn it. MORGAN: You are different when you sing. BESSIE: Am I? . . . What's this, medicine? (Ricks up rum bottle, drinks.I He takes bottle from her,_takes a drink and puts itIin his pocket.) Tastes like rubber. Nice, though. You know -- you was quite right to put her in her place. Clever chap like you learnin' lessons off a woman! MORGAN: That's right . . . 108 BESSIE: (Crosses to L. of him.) You don't 'ave to go to Oxford! Clever chap like you. MORGAN: That' 5 right . . . (Moves chair back slightly an- ticipating rise.) BESSIE: What a man wants is a bit 0' sympathy! (She smells her wrist as she sings again and backs toward garden._ He follows slowly and embraces her. LLQHTNCURTAIN-QU?pABRQPTL¥- ACT TWO SCENE TWO LICNIS ready. The same.“ A morning in November, three months later. 1KRS.,IA$TYWandwEISS _RQN. The room is much as it was. ready. The two small desks are cleared EI§H$$,QH- NBS NATTY is carrying in from kitchen a small table, new and light. MISS RON. is puShing chair in.from study past sofa into its Old place, next to the desk. MRS. WATTY: (Singing,) I'm saved I am, I m saved I am . . . . (MRS. WAIIY moves large table B a bit, so as to get through,rpicks up small table,wplaces it down C.) What would the chair be for, Miss? MISS RON: (Pla_ces chair at_ C.) The Squire' 5 coming. He' 3 invigilating. (Pushes desk chair into desk -- opens desk drawer takes out package with sealelexfordqpapers.) MRS. WATTY: Wgag was that, please, Miss? MISS RON: The Oxford people have appointed him and Miss Moffat to watch Morgan Evans while he is sitting the scholarship, so that he can- not cheat. MRS. NATTY: What a shame . . . . (Looks out imaginary window.” Crosses up, gets llO MRS. WATTY: (Cont'd.) small _chair,from above desk, places it front of small table C.) You'd never think it was nearly nine in the morning, would ybu? (Crosses to table.) MISS RON: It' s stopped snowing. MRS. WATTY: (Looksmout imaginary window.) Only just. The milkman said the road was blocked down by the bridge. (Straighten_s large table. Moves chair back of table to under table._ Moves lamps? MISS RON: How terrible if Morgan couldn't get through! MRS. WATTY: Countin' sheep all night I was. (Crosses to door. Picks up letter.) She didn‘ t 'ave a wink neither. I could 'ear her thinkin'. MISS RON: It is a very impor- tant day for her. MRS. WATTY: (Crosses down_R, ) Looks like that one' s Bessie. Would you mind? MISS RON. (Crosses to her.) That means sarah the Post got through - - - (Crosses to desk for lamp_ light. ) MRS. WATTY: She'd come the other way, down the 'ill —-- MISS RON: That's true 0 o 0 "Dear Mum" -- to think I taught her to write -- "Cheltenham is terrible. Can I have a shilling. I do the steps. Madam is Ii: .83 WEE: rea dy ° KISS _RON. react with wide- SYQQ stare". 5H .' Cl) MOFF enter. lll MISS RON: (Cont'd.) terrible. Your obedient girl." (Crosses toudesk.) MRS. WATTY: Obedient. (Laughs.) I like that . . . (Crosses to waste-basketpwith letter.) She's been away three months now, she ought to be gettin' used to it. (Crosses to small.table C., dusts R. side.) MISS RON: But do you not miss her? - MRS. WATTY: (Looks at MISS RON.) No! I don't like 'er, you know, never 'ave. MISS RON: But, Mrs. Watty, your own daughter! (MRS. WATTYHcrossesntolL.mofmtable, looks for dust, rubbsspot off table.) MRS. WATTY: I know but I‘ve never been able to take to 'er. First time I saw 'er, I said -- (Shakeshhead.) -- "no." (Crosseswtowkiteheullmfioing-) With 'er dad being foreign, you see. MISS RON: But couldn't your husband have taken her abroad to his own family? MRS. WATIY: Oh, my 'usband was quite different. British to the core. (MISS BON«.§Q£OS- MRS- WATTIMgees.intQ kitchen. MISSWRONT crosses to R. 01“ small table C.. then sits 99m. I....MI.SS_. m6.EF.~,_...cqm.e.s. in. > MISS MOFF: (Speaks as she crosses to desk.) It's stopped snowihgT”'CAboveldesk.) 112 MISS RON: It's a white world, as they say . . . . Do you think he will get through the snow? MISS MOFF: This morning he would get through anything. MISS RON: I am so glad. I thought perhaps he -- he had not been working satisfactorily -- MISS MOFF: At ten o'clock last night I had to take his books away from him. MISS RON: I am glad. MISS MOFF: I hope he won't get wet -- he must not (Picks up string plays with it.) be upset is any Way. ”What made you think he wasn't working well? MISS RON: Nothing, only . . . you remember the night you went for that long walk when he might be going back to the mine? MISS MOFF: (After a pause.) Yes? MISS RON: The next morning he started studying again, and yet it seemed so different. MISS MOFF: How? MISS RON: Almost strained . . . what a silly thing to say . . . I mean, as you did not say anything more about the mine --- MISS MOFF: He didn't say any more himself. He just turned up. I didn't embrace him on both cheeks but I said "righto." Since which time he has never stopped working. 113 MISS RON: I am so glad . . . Oh this arrived from (Elfifi MORFLMcrosseswtoflher_at couch,) the Penlan Town Hall!) It must be his birth certificate --- MISS MOFF: Good . . . . (Crosses back to desk.) I must send it off to the President of Trinity. Rather a nervous post mor- tem from him last night; two pages to ask if the youngster's legitimate; (Qpens envelope, looks at certificate.) thank Heaven he is. And no convic- tion for drunkenness; refer- ences have been spotless. That will help, I hope. MISS RON: Would it not be splendid if he . . . Ion! MISS MOFF: (After a pause.) Not very likel , I“am afraid. (Crosses up R. The syllabus rather attaches importance to general knowledge of the aca- demic sort. His is bound to be patchy -- on the exuberant side -- I have had to force it: two years (Crossesfidown B.) is not enough even for him. (Crccsseswte~_§.) If he checks himself, and does not start telling them what they ought to think of Milton, with fair luck he might stand a chance. (9298595,99w9m§3) He will have some pretty strong public school candi- dates against him, of course. Bound to. (A step downstage.) It depends ofi"how much the examiners will appreciate a highly original intelligence. ESI§§ME95FaWthQWRQQK- k31§%_ ¥~Rs..,_._warr¥_.enter- WA?TY,readyo 114 MISS RON: (Seated on,couch.) But wouldn't it be it n ! MISS MOFF: (Rgmatmdesk.) Yes, it would. People run down the Universities, and always will, but it would be a wonderful thing for him. I would be a wonderful thing for rural edu- cation all over the country. MISS RON: And most of all, it would be a wonderful thing for you! MISS MOFF: (Crosses to chair.) I suppose so. . . . It is odd to have spent so many hours with another human being, in the closest intellectual com- munion -- because it has been that. I know every trick and twist of that brain of his, exactly where it will falter and where it will gallop ahead of me -- and yet not to know him at all. I woke (Crosses R.) up in the middle of the night thinking of Henry the Eighth. I have a feeling there may be a question about the old boy and the Papacy. (Crosses to bookshelves be- low desk. Takes book from shelf .and” makes notations on piece of writing paper.) I‘ ll cram one or two facts into him, the last minute . . . . Oh, God he must win it . . . . (MRS, VJATTY comes in from kitchen, crosses to L. of MISS MOFF. ) He must .". . MRS. WATTY: (Hands her cup of tea. ) Cup a tea! Now, Ma' am, don' t get in a pucker! (Crosses L. via back.) Six more Saturday mornin' 5 like MR S. .“WATTYexit .° {ONES and, 33.3313...” 8‘13“ 115 MRS. WATTY: (Cont'd.) this in the next 'alf-year, (gets MISS RON'S cup from_table.) remember! MISS MOFF: The first paper is the important one -- I ex- ‘pect we'll get more used to the others --— MISS RON: Suppose the Squire doesn't come! MISS MOFF: He will. He has got to the point of looking on the lad as a racehorse. MISS RON: You don't think the snow might deter him? MRS. WATTY: I (Crosses_to kitchen.) Just seed 'is nibs' gardener clearin' a way from the gates. Shame the red carpet gettin' so wet. (MRS. WATTY goes back .1ntQMkit9hen.) MISS RON: (Crosses to desk.) Surely it is getting brighter this side . . . . (Looks out window.) Oh, I can see him! Morgan, I mean! MISS MOFF: Can you? MISS RON: Coming up the Nant, do you see? Ploughing through! MISS MOFFAT: What is the time? (Looks at her breaetwwatch.) MISS RON: Ten minutes to! MISS MOFF: He will have just two minutes --- (Sitsflat desk. A knock.) Good. Therers the Squire --- JONES and BESSIE enter. 116 MISS RON: He is as excited as any of us --- (Crosses up to door, stands L..of door, BESSIE enters, followed-by JONES.) Bessie! . . . But it cannot be you, your mother has just received -- (Backs away.) BESSIE: (Crosses in to B. of smallfidesks.) I left the same day I posted it. (She is shabbily dressed in semi- grown-up faShion, and wears a cloak. Her manner is Staccato, nervy and defiant. JONES leaves BESSIE'S bag up R. above de sk, then crosses in to L. of door.) MISS MOFF: This is unex- pected. BESSIE: Isn't it just? I have been travellin' all night, quite a wreck. I woke Mr. Jones up and he got the station-master to drive us over in his trap, in the snow; nice, wasn't it? MISS MOFF: You have arrived at an inconvenient time. (MISS RON. crosses LsIabove table.) ‘ " ‘ ” ”'“““ BESSIE: Fancy. (Crosses IdownqtoI chair, sits. T MISS MOFF: Have you come to see your mother? BESSIE: No. (JONES crosses above No. l schooI desk T MISS MOFF: Then why are you here? BESSIE: Questions and answers, just like school again! JONES and miss RON. exit. 117 MISS MOFF: (Crosses up_a.u step.) Why have you brought this girl here this morning? JONES: I did not bring her, Miss Moffat, she brought me --- MISS MOFF: (Crosses to chair.) Whom have you come to see? BESSIE: You. MISS MOFF: Me? (Crosses R. a step. BESSIE does not ” speak.) I can give you exactly one minute of my time. (Crosses to R. desk. Pause.) Is it money? (As BESSIE does not answer., To JONES and MISS EON.) Will you wait in the study? (Crosses to chair. JONES follows MISS RON into study.) One minute . . . Quickly! BESSIE: Why? MISS MOFF: Morgan Evans is sitting for his Oxford exami- nation here this morning. BESSIE: Well, ‘e needn't. MISS MOFF: What do you mean? BESSIE: Because he won't ever be goin' to Oxford. MISS MOFF: Why not? BESSIE: Because there's goin‘ to be a little stranger. (A pause.) I'm going to have a little stranger. (Sniffles.) MISS MOFFAT: Youre lying. BESSIE: Doctor Bretti The Firs, Cheltenham . . . . (M ss MOFF. crosses L. ”Looks L.) And if MISS RON. enters and exits. I 118 BESSIE: (Cont'd.) you don't believe it's Morgan Evans, you ask 'im about that night you locked me up -- the night you had the words with him! MISS MOFF: I see . . . . (A step R. at table.) Why couldn t I have seen before! (Turns to her.) Does he know? BESSIE: I've come to tell 'im! I was ever so upset, of course, and now I've lost me place ~- ooh, she was artful -- he'll have to marry me, or I'll show him up, 'cause I must give the little stranger a name - - - MISS MOFF: Stop saying "little stranger." If you must have a baby, then call it a baby! . . Hgve you told anybody? BESSIE: Mr. Jones, that's all -- MISS RON: (Enters.) The Squire is coming up the road! (She. sees. “Packagete.sissy- > BESSIE: 1'11 wait here for him. MISS MOFF: For the next three hours he must not be disturbed. You are not going to see him -- BESSIE: You can't bully me, the way I am! (Rises to R. of her.) 'Asn't sunk in yet, 'as it? I'm teaching you something, am I? You didn't know things like that went on, did you? Why? You couldn't see what was goin' on under your nose, 'cause you're too busy managin' every- thin'! Well, you can't manage him any longer, 'cause he's got to manage me now, the way I am, he's got to —- JONES and MISS RON. enter. JON S and MISS RON. U) l _§UIP7 ready. exit- 119 (JONES pokes his head in from study, he is in a state of panic. MISS RON. hovers be- hind him.) JONES: Morgan Evans has turned the corner up the hill-- MISS RON: So t1:ere isn 't much time! (JCNES follows 11183 R N. back intopstudy. ) MISS MOFF: I'm afraid I am going to do a little managing now. You are going into the kitchen, where your mother will make you breakfast; you will then lie down, ans as soon as this session is finished we will go upstairs and talk it all over when we are a little calmer. (A knock offstage.) BESSIE: He's here! I got to see him! (BESSIE starts up, MISS_MCFEN_detaiMs_her.) MISS MOIF: If you try and disobey me, I shall not answer for the consequences. (Holds her wrist. BESSIE: You wouldn't dare lay a finger on me --- MISS MOFF: Oh, yes, I would. If you attempt to stay in this room, or to blab to anybody .about this before we have had that talk -- even your mother -- I am in a pretty nervous state myself this morning and I shall strike you so hard that I shall probably kill you . . . . I mean every word of that. (Crosses_to kitchen. _Another knock.) “”"" ' SQUIRE enters. MORGAN ready. MISS RON._ready. MISS RON. enter. 120 BESSIE: (Laughs.) I don't mind. (Crosses via front to kitchen.) Three hours'll go soon enough. (Laughs. She goes into kitchen. MISS MOFF. shuts door after her crosses to front door. The SQUIRE enters, stamping snow from his boots; he carries several periodicals,,chiefly,sporting and dramatic.\ The rest of- the scene is played very quickly.) MISS MOFF: (Takes his coat and hat.) So very sorry -- how kind of you -- such a dreadful day ---(Hangs SQUIRE'S coat on clothes tree.) SQUIRE: (Crosses down to R. of table C.) Not at all,” Mistress Pedagogue, anything for a lark . . . . Glad it isn't me, what? . . . (Crosses to couch -- sits.) I've got a spiffy bit of' news for you. - MISS MOFF: Yes? SQUIRE: I've bought the barn from Sir Herbert, and we can move the whole shoot next door by March. What d'ye think? MISS MOFF: Wonderful --- (Prosses down_to desk R.) SQUIRE: we can knock a door straight through here to the barn. -- Aren't ye pleased about it? MISS MOFF: (As MISS_RON. runs in from study.) Yes, but you know, this examination, (Knock offstage. MISS RON. enters crossesSvia_back.)'“Rather‘ worrying -—- " LIGHTS ready. MORGAN enter. MISS_RON.’exit. 121 Mass RON: Good morning, Squire! Terrible weather —__ ' SQUIRE: Beastly --- (MISS RON. goes to front door to greet MORGAN as he comes in.“ She takes_his overcoat.) MISS MOFF: Wet? MORGAN: No, thank you -- good day, sir --- MISS RON: Let me take your things --- (She hangs his things on clothestree then Crosses via back to L. of, couch.) MORGAN: Thank you --- (Crosses down R.) MISS MOFF: Before I open the papers, I have a feeling they may bring up Henry the Eighth. Memorize these two facts, will you? (Hands him paper.) MISS RON: (Crosses toL. of small table 0., puts dewn.sprig of white heather.) White heather -- just a thought! (Shemruns‘into‘study.) MORGAN: Thank you -- SQUIRE: Good luck, my boy. MORGAN: Thank you, sir --- SQUIRE: Glad it isn't me! (MORGAthands_hergpaper.) JONES: (Po 5 his head round study door. Pob llwyddiant, ymachgeni! MORGAN: Diolch --- (MISS MOFFAT throws paper in basket. JONES goes back into study. MORGAN crosses to table, sits.) .Cue SOUND for CHINE. 122 MISS MOFF: Name and particulars, to save time. And don't get exuberant. MORGAN: N0. MISS MOFF: Or illegible. MORGAN: No. (Pause.) SQUIRE: But aren't you going to wish my little protege good fortune? MISS MOFF: (After pause, to MORGAN.) Good luck. MORGAN: Thank you. (Clock begins to strike.niA§-) MISS MOFF: Ready? (Takes, shears cuts envelope,_crosses R. to R. of small table and places examination paper in front of him. _Looking down at examination, smiles.) Henry the Eighth! (She looks toward kitchen, then at MORGAN.) LIGHT. ._ CURTAIN. SLOWLY .DIMS- MISS RON. ready. MISS “RON”. ..enter. JOHN OWEN re ady . MI SS. RON 9.3.1! ° ACT THREE Scene: The same. An afternoon in July. Seven months later. Three small school desks face a blackboard on its easel *which is placed on an angle in front of the kitchen exit. "Elizabeth, known as Good Queen Bess is written on it in block letters. As the light curtain illuminates the playing area, JONES stands in command beside blackboard. At two of school-desks sit IDNAL and ROBBART each poring over his slate. On settle_sit the SQUIRE his arms folded like a pupil' his eyes fixed on JONES, an next to him OLD TOM, laboriously copying in- scription on to his slate. “ JONES crosses to IDWAL's desk then to ROBBART's desk, looks at their work." " ' "‘ OLD TOM: Elissabeth . . . known . . . as . . . what in goodness is a "k" doin' there, that iss a pussell for me --- (JONES crosses back to black- board.) JONES: "I wandered lonely as a cloud." From The Daffodils, by Wordsworth. (MISS RON. hurries in from garden,_crosses up to_JONES.) MISS RON: What is the capital of Sweden? JONES: Stockholm. MISS RON: Thank you. (She hurries back into garden.) JOHN OWE N e nt er . IDWAL repeat verbally the words on blackboard 89 that impression is' made on audience. ‘ ' 124 OLD TOM: Please,sir, how many L's in "daffodils"? SQUIRE: Damned if I know. (JOHN OWEN comes in from study.) JOHN: Please, Mister Jones, Form Two Arithmetic Report -- Miss Moffat says will you come in school with it. (He goes back. JONES follows him through study. SQUIRE snores.) ROBBART: Mae o'n cysgu. Tyd. Idwal --- OLD TOM: Plenty Welsh at home, not in the class, please, by request, scoundrels and notty boys. IDWAL: (Rises.) Squire iss 'avin' a snore. Nai ddangos rwbeth ichi --- (He rises, runs to blackboard, takes chalk and duster, and swiftly rubs out and adds to the.in- scription till it reads: "NO . . . GOOD . . . BESSIE." SQUIRE.grunts.mpAs.heflstrikes period sticks his foot out.) JONES: (Beturns.) Now his- tory. (Stumbles over SQUIRELS foot.u*Grosseshto_blackboand.) Excuse me . . . Elizabeth —-- Who did this? (SQEIBEWQLQSSes Upwatqyiad cm > IDWAL: Please, Mr. Jones, per- haps it iss some terrible dunce that want to know what iss Bessie Watty been doin' the last few months. (g pause.) §5¥RAH ready. 125 JONES: Whoever it was . . . (SQUIRE starts R. -- crosses L. of JONES.) I am going to cane him! It was not you, sir, by any chance? SQUIRE: Not guilty . . . . Bessie Watty? Little Cockney thing? Nice ankles? JONES: I do not know, sir . . . . (Boys snicker.) Silence boys! (JONES crosses to boys.) Where is my duster? (SQUIRE crosses_to desk R., looks out window.) SQUIRE: Still no sign of him. JONES: You mean Morgan Evans, (Boys look up.) sir? He is not (SQUIRE-Crosses.frontitousettle,. sits.) expected before the train leaving chord half-past one --- SQUIRE: There's a sporting chance the Viva finished yester- day, and I sent the wagonette to meet the one-ten. JONES: Do you think that he may know the result when he arrives? SQUIRE: I doubt it, Miss Moffat said we'll hear by letter in a day or two . . . Think (Rises, crosses.via,fr9nt to front door gets hat from . clothes tree.) I'll propel the old pins down the highway, Just in case . . . IDWAL: Please sir what sort of a place is Oxford? SQUIRE: Dunno, I'm sure. Cam- bridge myself. (Goes.) 126 JONES: (At blackboard.) Now history. Repeat after me --- IDWAL: Please Mr. Jones, tell us about Bessie Watty! JONES: If you are kept in to- morrow, I will give you re- ligion. Repeat after me --- (School bell rings.) Dismiss! (ROBBART rises and straps books. §fi§l§_g_g§e_r. JONES crosses to desk..R...—n-SARAH hurries in from front door. She is dressed in her best.) IMISS RON. ready. SARAH: Please, sir, have you "Wm””“““w“' ' got my father -— (Crosses to- OLD TOM at.settle-L.) -- tiddona, 'nhad, ma'dy frwas di'n oeri -— OLD TOM: English, daughter, in the class, pliss! SARAH: You are an old soft, your porridge it iss gettin cold and you have not got your sleep --- OLD TOM: But I got my Queen Elizabeth --- (SARAH takes his slate .puts it_on ROBBABTJS. desk.) SARAH: And in the mornin' you got your rheumatics -- come on! MISS RON. enter. (SARAH helps OLDTOM torme- ' N183. -5919:an 0.11195. .in .f 1.‘ on; Berfifinz) ROBBART: Sarah Pugh, (Grossesw tgwR, C.) what you all clobbered up for? SARAH: Because for Morgan Evans. (They cross toward R.) ROBBARI and ID’fITALint- 127 JONES: Is there some news? (Crosies in to R. of chair R.MC- MISS RON: About Morgan? Oh, quickl ! (Crosses to R. of JONES. SARAH: (Between couch_and chair.) Not yet, Mister Jones. But when it comes, I know it iss good news, so what do I do? I open the dresser, out the lavender bags and into my Sundays! Home (Starts up to door with TOM.) dada, for Sundays --- JONES: Before we have defi- nite news, that is unwise --- SARAH: John Goronwy Jones, pliss sir, you are an old soft. Everybody is ready to meet him by the Nant! The grocer got his fiddle --- IDWAL: (Rises.) And William Williams the public got his cornet! ROBBART: And with me on me mouth-organ --- (Strike§_§hprd on mouthgorgan.) SARAH: And me singin‘! ROBBART: Tyd,Idwa1 --- (He runs out by front door, fol- lowed by IDNAL JONES crosses up and L. to small desk.) MISS RON: Perhaps preparing for news to be good means that it will be. Ell lg OLD Tom exit . JODDES indicate with eyes Who the, culprit is. 128 JONES: Everything is pre- ordained. Morgan Evans has either won the scholarship, or lost it. MISS RON: Let us all say to- gether (JONES moves out of scene.) "Morgan Evans has won the scholarship!" ALL: (Except JONES.) "Morgan Evans has won the scholarship!" SARAH: Tiddana 'nhad --- (Crosses to U, R.voffront door. OLD TOM crosses to door.) OLD TOM: I never got a letter yet, and nobody never put Sun- days on for me . . . . (He goes,outnbymfrpntfldoor.uiSARAH starts to go., MISS RON. crosses front to ijend‘of couch.) ' MISS RON: "No . . . (SARAH_ comes back to R._ofwblackboard. MISS RON. crossesmug to black- board.) good . . . essie." Good gracious! ' JONES: Where is my duster? (Loawake.hiridrghlaskbfloard.- ) MISS RON: What does that mean? SARAH: (JONES finds duster at IDWAL'S desk.) Bessie'Watty. Miss Ronberry, where is she? MISS RON: I don't know, dear. SARAH: Miss Moffat she hears from her, (JONES erases black- board.) in my post office. “‘ (Starts to go backing out.) We wass all wonderin . ‘(She goes out_by front door. JONES crosses to desk R.) MES.-. MQFF «.. 1'? ady . MISS MOFF. enter. 129 MISS RON: (Crosses.) Well, I have been wondering, too! (Sits couch.) She came back that morning and just went away again --- Morgan Evans was telling me only the day he left for Oxford that he didn't even ‘§ee her. Where is she? JONES: It is more important to know if Morgan Evans has won or not. MISS RON: I know . . . if he hasn't, it will break her heart. JONES: Would she feel it so keen as all that? MISS RON: I used not to think so, (JONES nods.) but since that day they have been so much better friends, it has been a pleasure to hear them conversing -- (JONES turns back to work.) -- perhapSit is the strain of all these examinations -—- (MISS MOFF.comes in from_study with exercise book. .Comes in to be- low settle L.)" ”"' " MISS MOFF: Gwyneth Thomas the plasterer's eldest; essay on Knowledge. "Be good, sweet maid, and let who will be clever --—" I wonder if the Reverend Kingsley had any idea what a smack in the eye that was for lady teachers? (Grosses ung, of_small_desk.) And then Gwyneth Thomas starts -- (Read- ing.) -- "It is not nice to know too much. I wish to be like Miss Ronberry, Miss Moffat is different, she knows every- thin ." (Crosses d.ow11._..t9--N.I._SS RON: Any news? JONES: Not yet. 130 MISS MOFF: I thought not . . . . (A_Pause.) Where is the Squire?' JONES: Gone to see if there is any sign. jMORGAN ready. MISS MOFF: (CrossesQ.) Thank the Lord, that man is really becoming a nuisance. He gave ,up Henley to be here this week -- (Sitst. arm of couch.) -- did you know? JONES: You do not appear nerv- ous? (grosses to R. of chair 39.0.)w MISS MOFF: I am past being nervous. If he has won, I shan't believe it. Flatly. MISS RON: And if he has lost? (JONES crosses_back to R. desk.) MISS MOFF: If he has lost . . . (After a pause.) . . . we must proceed as if nothing had hap- pened. The sun rises and sets every day, and while it does we have jolly well got to re- volve round it; the time to sit up and take notice will be the day it decides not to appear. In the meantime, Mr. Jones, your report is on your desk; (JONES crosses front to large desk with his bag and- papers.) Miss Ronberry, Form Two are waiting for your music LBS _ like a jungle of hungry para- bl'mq WATTY ready to remove keets. (Crosses up R.HC,_MISS Rogckboard. JONES and MISS RON, follows,,.JONES.) -9 BXIL. MISS.RON: Yes, Miss Moffat. (They retire througnwstudy. MISS MOFF. is.alone. ,She_ crosses via_back to R._Calls out to MRS, WATTY in_kitchen.) Watty, will you please remove the blackboard? MORGAN enter. 131 _MORGAN appears from garden.) MORGAN: I caught the early train. (Puts bag above large desk R.) I knew they would all be watching for me, so I got out at Llanmorfedd and got a lift to Gwaenygam. MISS MOFF: Does that mean --? MORGAN: Oh, no news. (fie Euts_down his bag and cap.) xcept that I am not ho eful. (Crosses_toflchair.R.C.§ MISS MOFF: Why not? MORGAN: They talked to me for one hour at the Viva --- MISS MOFF: That doesn't mean anything. Go on. (Crosses, sitsHL-.aad-0fucouch-) MORGAN: They jumped down hard on the New Testament question. As you said they would -- (A step L.) -- you are very pale. MISS MOFF: Better than a raging fever. Go on. MORGAN: (Sits chair ngC.) I spent fiVe minutes explain- ing why Saint Paul sailed from a town three hundred miles in- land. MISS MOFF: Oh, dear. (MORGAN'S English,has,immensely,improved, and he expresses_him§el§,gith P§§§:)' Parnell? MORGAN: Parnell . . . (Smiles.) Oh, yes -- I was going to stick up for the old chap, but when they started off with "that fellow Parnell " I told the tale against him for half an . hour. I wasn't born a Welsh- man for nothing. 132 MISS MOFF: Ha . . . And the French? MORGAN: Not good. I said "naturellement" to everything, but it didn't fit every time. MISS MOFF: And the Greek verbs? MORGAN: They were sarcastic. MISS MOFF: Did the President send for you? MORGAN: I had half an hour with him --- MISS MOFF: You did? MORGAN: Yes, but so did the other nine candidates! He was a very kind and grand old gentleman sitting in a drawing- room the size of Penlan Town Hall. I talked about religion, the same as you said --- MISS MOFF: Just as you advised -- MORGAN: Just as you advised. He asked me if I had ever had strong drink, and I looked him straight in the eye and said "NO. [I MISS MOFF: Oh! MORGAN: I was terrible -- terribly nervous. My collar stud flew off, and I had to hold on to my collar with one hand, and he did not seem im- pressed with me at all . . . . He was very curious about you. (Hises,) Did you know there was an article in the Morning Post about the school? MISS MOFF: Was there? . . . But what else makes you des- pondent? 133 MORGAN: The other candidates. They appeared to be brilliant -— I had never thought they would be, somehow! Two from Eton and one from Harrow, one of them very rich. I had never thought a scholarship man might .be rich. He had his own servant. And the servant looked so like my father I thought it was at first . . . (Crosses R. of small desk.) ”And as"I was leaving, the examiners appeared to be sorry for me in some way, and I received the impression that I had failed. I --- MISS MOFF: When shall we know? MORGAN: The day after tomorrow. They are writing to you. MISS MOFF: The villagers (Rises, crosses baywwindow.) are all in their best, and talking about a holiday tomorrow. It is very stupid of them, because if you have failed it will make you still more sick at heart --- MORGAN: If I have failed? (Crosses,standsmnear.wiedgwiseat.) Don't speak about it! MORGAN_start_emotional MISS MOFF: But we must! You QQIIQ. faced the idea the day you left for Oxford --- . MORGAN: I know, but I have been to Oxford, and come back, since then! I have come back --from the world! Since the day I was born, I have been a pris- MORGAN QIQSSW OIL. of oner behind a stone wall, and baywwindow seat. now somebody has given me a leg- '”"”“W“”"" up to have a look at the other side . . . they cannot drag me back again, they cannot, they must give me a push and send me over! MORGAN sit window seat. MORGAN stand. (Make this a strong scene for movement of MQBQANy)""”'“' ” MORGAN.9:9§§WFQP§%§PAE- 134 MISS MOFF: I've never heard you talk so much since I've known you. MORGAN: That is just it! I gan talk, now! The three days I have been there, I have been ~talking my head off! MISS MOFF: Ha! If three days at Oxford can do that to you, what would you be like at the end of three years? MORGAN: That's Just it again -- it would be everything I need everything! Starling and I spent three hours one night discussin' the law -- Starling you know, the brillian one . . . . The words came pouring out of me -- all the words that I had learnt and written down and never spoken -- I suppose I was talking nonsense, but I was at least holding a con- versation! I suddenly real- ized that I had never done it before -- I had never been able to do it. (With a-strong Welsh accent.) "How are you, Morgan? Nice day, Mr. Jones. Not bad for the harvest!" -- a vocabulary of twenty words; all the thoughts that you have given to me were being stored away as if they were always going to be useless -- locked up and rotting away -- a lot of questions with nobody to answer them, a lot of state- ments with nobody to contra- dict them . . . and there I was with Starling, nineteen to the dozen. I came out of his rooms that night, and I walked down the High. That's their High Street, you know. MORGANNlooknout.bay YinQOE: MORGAN speed_upwdialogse- MORGANUrapidwcross. SQUIRE ready. SQUIRE enter. 135 MISS MOFF: Yes, yes . . . . MORGAN: I looked up, and there was a moon behind Magd--- Maud- lin. Not the same moon I have seen over the Nant a different face altogether. Hverybody seemed to be walking very fast, with their gowns on, in the moonlight; the bells were ring- ing, and I was walking faster than anybody and I felt -- well, the same as on the rum in the old days! MISS MOFF: Go on. MORGAN: All of a sudden, with one big rush, against that moon, and against that High Street - - I saw this room; you and me sitting here studying, and all those books -- and everything I have ever learnt from those books, and from you, was lighted up -- like a magic lantern -- ancient Rome, Greece, Shakespeare, Carlyle, Milton . . . everything had a meaning because I was in a new world -- my world! And so it came to me why you worked like a slave to make me ready for this scholarship . . . I've finished. MISS MOFF: I didn't want you to stop. MORGAN: I had not been drink- ing. MISS MOFF: I know. MORGAN: I can talk to you too, now. MISS MOFF: Yes. I'm glad. (SQUIRE comes in from front door.iiM0RGAN rises, baCK L. ewstsp.). JONES.ready. E55. ,RQN°....re.ad_Y- JONES- enter. .MISS RON. enter. 136 SQUIRE: No sign of the feller- me-lad, dang it --- Evans! (Crosses to MORGAN, shakes hands.) There you are! . . . MORGAN: Good day, sir. - SQUIRE: Well? MORGAN: They are sending the result through the post. SQUIRE: The devil they are. (TO.MISSMMOFELWft,grossesR., sits chair at R. C.) D'ye know I am finding this wait- ing a definite strain? . . . (JONES, runs. ”in ifromfitsgdye) JONES: Somebody said they had seen Morgan --- MORGAN: Day after tomorrow. (Sits settle L.) JONES: ' on . . . SQUIRE: Examiners all right, my boy? MORGAN: Rather sticky, sir. SQUIRE: Lot of old fogies, I expect. Miss Moffat, (Turns to her.) I told you you ought to have made inquiries at the other place. However . . . (MESS RON. runs in from study _- stops L.) _ minuu.w . .H MISS RON: Somebody said the had seen --- . SQUIRE and JONES: The day after tomorrow! MISS RON: Oh . . . How are you, Morgan, dear . . . (Crosses via front to large desk below _JQNESHShOW-aSitat199° BESSIEHreadY- MORGAN and MISS MOFF. méiitjmmw..in...d... BESSIE enter. 137 JONES: The suspense is terrible. (JONES crosses_up to door,_looksout.) SQUIRE: I know. JONES: Even the little children are worrying about --- (He comes into room.) Morgan, my boy . . . are you not ex- hausted after your Journey -- would you not like something to eat? MORGAN: I am rather hungry, yes --- MISS MOFF: But how stupid of me -- Watty will boil you an egg -- come along --- MORGAN: (Rises.) Thank you. -- Excuse me ---(FollowstISS MOFFAT.9ff~) ”' MISS MOFF: (As she_goes into kitchen.) Did they spot the Dryden howler? MORGAN: No. (JONES‘crosses to kitchen, then crosses to couch.) SQUIRE: You seemed very anxious to get 'em out of the room. What's the matter —-- (BESSIE walks_in front door. She has completely changed; she might be ten yearswolder. Her hair is up; she.wears a cheaply smartcostume, with a cape and looks dazzlingly pretty.in a loose Opulent style. Her Whple personality has blossomed. ‘A pause. They stare at her.) BESSIE: Hello. (Crosses down,R:-9-) SQUIRE greet BESSIE as 8.- sitaassr - 138 SQUIRE: How d'ye do . . . . BESSIE: I'm very well indeed, thanks, and how are you, (To SQUIRE.) blooming? (Her ac- cent is nearer the ladylike. than it has yet been.) SQUIRE: Yes, thanks . . . . What is this? MISS RON: I really couldn't say . . . (Crosses ina step.) Good gracious, it's Bessie w ___ BESSIE: Right first time. Hello, Miss Ronberry, how's geography, the world still goin' round in circles? Hello, (Crosses to couch.) Mr. Jones, flirty as ever? SQUIRE: And to what do we owe this honor? BESSIE: Well, it's like this --- (Sits couch.) JONES: Miss Ronberry, will you please return to your class --- MISS RON: They are quite safe. (Crosses up to Ri.door.) I left Mary Davies in charge -—- BESSIE: No, you don't. We've had too many secrets as it is --- (MISS RON. crosses down to desk chair R.) JONES: Three days ago she sent money to you -- did you not receive the letter --- BESSIE: Yes, I did, and all the others, till I was sick of 'em. MRS. WATTY ready . MRS. WATTY enter. SQUIRE nod toward_BESSIE. 139 SQUIRE: What is all this? BESSIE: Last week I was glancing through the Mid- Wales Gazette, and I'm here to congratulate a certain young gent in case he has won that scholarship. JONES: Oh! MISS RON: But what has that got to do with you? BESSIE: You see, Miss, it's like this --- JONES: Don't say it -- don't say it! (Turns upstage away from her.) BESSIE: Four weeks yesterday, I had a baby. (A pause, MISS. RON. and SQUIRE stare at her. JONES gives a sigh of impotent despair.) SQUIRE: You had a what? BESSIE: A baby. Seven pounds thirteen ounces. (MISS RON. sits desk chair.) SQUIRE: Good God, how ghastly! JONES: (Turns to her.) It is a disgustin' subject and --- BESSIE: It isn't disgusting at all; if I had a wedding ring you‘d think it was sweet. (MRS. WATTY hurries in from kitchen, crosses via back to couch -— icks up MORGAN'S _suitcase.§ MRS. WATTY: Morgan Evans's luggage. (StartsiL.) Excuse me sir. (Catchessight of SQUIRE'S serious face.) Oh! . . . Any news? MISS MOFF. ready. MISS MOFF._enter. l4O SQUIRE: Well, yes . . . . MRS. WATTY: Bessie! (Drops bag above couch,R. End.) My, you do look a dollymop! Ex- cuse me, sir . . . . SQUIRE: Say anything you like --- MRS. WATTY: (c. R. of BESSIE.) Where d'you get them bracelets? BESSIE: Present. MRS. WATTY: Oh, that's all right. Where 'ave you been, you Madam? BESSIE: Turnin' you into a granny. MRS. WATTY: A gra . . . (Both laugh.) Well, fan_y! (MISS MOFF. comes in from kitchen. JONES crosses to window seat.) MISS MOFF: And I should try and have a sleep if I were you --- (Crossesdown L.) MRS. WATTY: You could ‘ave knocked me down With a feather! BESSIE: Hello. I've Just been telling them you-know-what. SQUIRE: And now I think it's time you told us who the fellow is. I am going to take drastic proceedings --- MRS. WATTY: That's right, dear -— who is it --- BESSIE: Well, as a matter of fact --- MISS MOFF: (To L. of couch.) No! I'll pay you anything . . . anything! l4l BESSIE: It's no good, Miss. (MISS MOFF. turns away.) It's Morgan Evans. (A pause.) SQUIRE: What! MISS ROM: (Rises.) I don't believe it . . . . MRS. WATTY: Oh, Ma'am. (Crosses up back_of desk above couch.) MISS MOFF: I've been dreading this for months. In a terrible way it's a relief. BESSIE: Bamboozlin' me every week he was, in the gutter! MISS MOFF: Lies, all lies, and I was glad to be telling them --- (Goes to settle. MRS. WATTY crosses, C. above and R. ofIdwal's desk.) MISS RON: I can't go on listening! I can't bear it! It all comes of meddling with this teaching -- she was in my class -- (Sits_desk chair JR.) -- what would Papa have said! This horrible unnatural happening -—- MISS MOFF: Don't talk nonsense, it isn't horrible, and it isn't unnatural! On the contrary, it's nature giving civilization a nasty tweak of the nose. (Sits settle.) The school- mistress has learnt a lesson, but it's a little late now. BESSIE: (Rises, crosses to up C.) Where is he? m‘h *5 a.“ II IMRS. WATTY: Over my dead body, my girl --- 142 BESSIE: (To B. of MRS. WATTY.) She's right, Mum, it's too late, I got a four-weeks-old baby, kickin' healthy and hungry, and I haven't got a husband to keep him, so his father's got to turn into my husband. That's only fair, (Crosses to_C. again.) isn't it? SQUIRE: (Rises.) I'm sorry, Miss Moffat, but I'm inclined to agree --- (Crosses up to kitchen.) BESSIE: I'll call him --- (§tartswL.) JONES: There is no need to call him! SQUIRE: What's the matter with you? JONES: (A step forward.) I am sorry to say that I have a strong feeling of affection for this young woman. BESSIE: Oh, yes -- (Crosses front of couch.) -- I've got the face of an angel, haven't I? JONES: And I am willing to do my duty by rehabilitating her in wedlock, (BESSIE Sits C. of couch.) and bestowing on the infant every advantage by brflxing it up a Baptist. SQUIRE: Are you serious? (Comes forward.) JONES: I am always serious. BESSIE: (To MISS MOFE,) You'd like that, wouldn't you? JONES assume dejected attitude. ' 143 MRS. WATTY: (Crosses down R. of couch.) Now we're not pre- tendin' it's a windfall, but for a girl who's took the wrong turnin' it's a present! And you'd 'ave your own way in evegything -- wouldn't she, s r JONES: Of, course —-- MRS. WATTY: Well, will you? BESSIE: No. I won't. I'd like to oblige . . . (Laughs.) but really I couldn't! (JONES turns away.) Besides, my friend would be furious. MRS. NATTY: Your friend? BESSIE: Ever such a nice gentle- man, sporting, quite a swell ' owns a race-course. (MRS._W&TTY looks suspicious.) You needn't look like that, I only met him ten weeks ago. (MRS. WATTX crosses up R. of.small desk.) I'd started servin' behind a bar for fun, I was the picture of health and ever so luck in the counter bein‘ very high. SQUIRE: I have never heard such a conversation outside a police court. I am seeking the safety of my own quarters -- (Crosses up to kitchen.) -- anything I can do, Miss Moffat -- BESSIE: I suppose 193 wouldn't care to stake a claim? SQUIRE: Good gracious --- (Exits kitchen.) (BESSIE laughs.) MISS MOFF: Doesn't this man of yours want to marry you? 144 BESSIE: 'E won't talk of anything else, but he won't have the baby. He says it would be different if the father'd been a pal of his -~ you can understand it really, can't you? (MISS MOFF. crosses up.) So I've got to give up my friend and marry Morgan Evans. Pity, 'cos my friend worships me. Ever since I left he keeps on sending me telegrams. I just got two at the sta- tion and I expect I'll get some more toni ht, isn't it rich? (Laughs. Mr. Jones wouldn't consider the baby without me? MISS RON: The baby without you! Your child! What about your -- your mother love? BESSIE: I expect you'll think I'm a wicked girl, but d'you know, I haven t got any! MISS RON: Oh, what a vile thing to say, vile --- BESSIE: (Rises, crosses to MISS RON. to L. of her.)””” Now, listen, dear .'. . you re seeing this baby as if it was yours aren't you -- you'd think the world of it, wouldn't you? MISS RON: It would mean everything to me . . . (Turns nc .—.nM-.. away.) .my whole life . . . BESSIE: I have a pretty near idea how old you are! When I'm your age I'll love the idea of a baby, but life EufisflRON-.€X1to 145 BESSIE: (Cont'd.) hasn't begun yet for me -- I'm just getting a taste for it -- (Crosses Q.) what do I want with a baby? MRS. WATTY: That's what we all want to know! BESSIE: Yes, Mum, but you know what it is --- MISS RON: You're inhuman (Rises, crosses front to i. first. MRS. WATTY crosses up to window seat.) that's what you are! To think you don't want it . . .'. (Exits bedroom e- runs last fewsteps.) BESSIE: I didn't mean to be nasty -- but inhuman indeed! (Crosses R. above_chair.) I didn't want the baby, nobody would have, but I was careful so it'd (Crosses C.) be all right, and now it is all right I want it to have a good time -- but I want a good time too! I could have left (Above chair it on a door-step, couldn't I? But I must see it s in good hands -4 and that's why I've come to Morgan Evans. MISS MOFF: (Crosses down to L. of BESSIE.) You want to make him marry you, on the chance he will become fond enough of the child to ensure its future -- your conscience will be clear and later you can go off on your own? BESSIE: I shouldn't be sur- prised --- MISS MOFF: In the meantime, it's worth while to ruin a boy on -- on the threshold of -- BESSIE: I don't know anything about that, I'm sure.(Calling.) Morgan! 146 MISS MOFF: Ssh! Wait a minute, wait . . . . There may be a way out -- there must be-- MRS. WATTY: (Io L. of MISS MOFF.) Gawd bless us, Ma'am -- I got it! MISS MOFF: What? MRS. WATTY: Why can't you adopt it? (JONES takes a step forward.) MISS MOFF: Don't be ridiculous. MRS. WATTY: Would that do you, Bessie? BESSIE: Well! I never thought. MRS. WATTY: Would it, though? BESSIE: Yes, it would. MISS MOFF: It MQEld? . . . But . . . but what would I do with a baby? I -- I don't even know what they look like! MRS. WATTY: They're lovely little things -- now it's all arranged —-- MISS MOFF: But it would be fantastic ---(Crosses”to R, of CQUCh: L:_MRStIWATI¥w¢?95$35 R 9... (if. Cha 1.1.1.3 .s .Q 9..) v. BESSIE: (Crosses down R. of MISS MOFF.) Oh, do, please‘ it'd puf eyerything to rights! I would know the baby was safe, Morgan Evans need never know a thing about it, I can marry my friend, and it will all be beautiful! He might grow like his father and turn out quite nice, and anyway I'm not really so bad, you know -- and he's on 147 BESSIE: (Conflfl.) the bottle now -- and I could give all the instructions before I go -- and you could have it straight away, see, because if it's going I don't want to have it with me longer than I can help, see, because I'd only start gettin' fond of it, see --- MRS.'WATTY: Come on, Ma'am, you've been pushin' us about for three years, now we'll give you a shove! MISS MOFF: But it's mad -- I tell you —-- MRS. WATTY: Not as mad as takin' me in was, with my trouble! You've allus been like that, you might as well go on --- MISS MOFF: (Crosses to C. of couch.) But IIWaS“fiever”meant t5‘bé"a mother -- I'm not like Miss Ronberry -- why, she is the one to do it --- J ONES: (Qrpoesee... in“ to,..I.e.-I-,0f couch.) She would never agree 43“W§“Were discussin' Merged Hopkins going to the workhouse -- and she said she could never hold with any child born like that. MISS MOFF: Oh . . . I suppose it would worry some folk . . . (Crosses R. to L._of_chair R. C.) But, Watty you're the grandmother, and surely you -- MRS. WATTY: Oh, I couldn't! I don't bear it no ill-will, 148 MRS. WATTY: (Cont'd.) but every penny I get goes to the Corpse. You're the one, dear, really you are. MISS MOFF: (Crosses to R. of BESSIE.) Bessie Natty, do you mean that if I do not adopt this child, you --- BESSIE: I will have to tell Morgan Evans, and he will have to marry me, I swear that. MISS MOFF: And do you swear that you would never let Morgan Evans know the truth? BESSIE: I swear. If there are any questions, I'll say it was my friend's. (A pa ause. ) MISS MOFF: Then . . . I give in. (Sussquqtl- ) BESSIE: That's lovely. My friend will be pleased. (Cro_s_ses up to R.) I'll pop back to the public- house for his telegram and send him a nice one back. Good-bye, all, we'll arran e details later, shall we? Crosses‘back, C tQ above MRS.W WATTY. ) My friend gave me this buckle, isn't it nice? He offered me a tiny one, real, but I think the false is prettier, don't you? JONES: (L. ofmcouch.) Are you going to take up a life of sin? BESSIE: (Crosses_Q.) I shouldn't be surprised. (JONES 2 steps u I'm only’reaIIy mesélf with a lot MORGAN ready. BESSIE exit. MORGAN enter. 149 BESSIE: (Cont'd.) of gentlemen round me, y'know, and a nice glass 0' port will never come amiss, neither. (Crosses R. C. gaggep.) That cold WSEEFmdldfijt really do the trick, Mum, did it? . . . (MRS. WATTYflge§tures to her.) Goodihye . . . (crosses C.) I only did it to spitemyofijmy'know. JONES: You are not fit to touch the hem of her garment. BESSIE: Oh, yes, I am! Just because she 5 read a lot 0' books. (Crossesuupstage.) Books, books! . . . Look at 'em all! I got more out of life at my age than she has out 0' them all her days -- and I'll get a lot more yet! What d'you bet me? (She goes. eut.by front door.mVMBS.;WATTY crosseslupltoldoor.) MRS.'WATTY: That's settled - - - (Comesldewns) JONES: For which we must be truly thankful . . . . (Greases, to study. MORGAN walks_in quickly”fr9n45it9hee.) MORGAN: Has she gone? (CroeseelviewbesEliawtable-) MISS MOFF: Why? MORGAN: The Squire just came in to see me. MISS MOFF: The fool! The idotic fool --- (MRSA_WAI1X grosseshto_window.) MORGAN:. Then it's true. . . (Siepsltowarther.mmA.pause.) He thought I knew. (Laugh§.) Then he said it was for the best -- that I ought to be 150 MORGAN: (Cont'd.) told . . . It is funny; she and I, we do not know each other at all -- it was a long time ago, and I never thought again about it -- and neither did she, I know she didn't . . . and here we are . . . . (Crosses to above desk_chair R.) It is funny; too, because if you and I had not made that bad quarrel, it would never have happened. . . It ought to make me feel older . . . but I feel more —- young than I have ever done before - - - (Turns R3) Oh, God, why should this happen? . . . . MISS MOFF: Steady . . . JONES: (A step_ferward.) There is no need for you to upset yourself, my boy. Miss Moffat is going to take care of -- of --- MORGAN: What? (Turns.) MISS MOFF: I am going to adopt it. MORGAN: What in hell do you take me for? JONES: Morgan, swearing! Be haru ti ~-- MORGAN: I will (Grosses to, Le ndlofhouchlyielfront . swear some more too, if people talk to me like that! What do you take me for? JONES: (Two_steps to him.) Then what would you like to do, my boy --- (MRS. WATTY crosses to single desk up L.) SARAMESBBX- 151 MORGAN: What would I like to do? (TOWBIIOIMJQNEs. Gettingumore and more Welsh.) It is not a question Of what I would like to do, or what I might be allowed but what I am going to do -- what any fellow with any guts in him must do! (Crossesmup R.) I am going to marry her! MISS MOFF: (With a cry, rises,ls:lcrosses to R. of couch.) I knew this would happen, I knew -—- MORGAN: What else is there, when I have made a fool of myself and of her, and of the poor -- (Up Rs.above.desk.) -— the poor -- I am not going to talk about any of it to anybody, all I will say is that Bessie Watty and I are going to get married as soon as we can, and that is final! MISS MOFF: I see. (Sits couch. ,SARAH hurries in. MRS.ANATTYmdownBtoBL.mof‘her.) SARAH: Bessie‘s telegram from her friend they send it from Penlan -- I never seed one before! MRS. WATTY: Poor chap, 'e'll be disappointed again . . . . (Opensotelesramslhandshit,to MISS MOE§,) What does it say, Ma'am? I . . Read it, Ma'am, take your mind off things . . MISS MOFF: "You have won the scholarship." (Reading.) "First, Evans, Second Fayver- Giles, Third, Starling. Con- gratulations." (§&Bfifll9lafls 152 ggfigfimgxlggn her hands and runs out by front door.‘ MORGAN laughs Bitterly.) ‘Lock”thé'School door, Watty, will you? MRS. WATTY: Crosses via front to study. Go in there, sir, I'll make you a cup of tea {ONES and MRS, WATTY exit. . . . . (JONES goes into kitcBen.m_MRS,”NATTYWfollows him._ MISS MOFF: Look at me, Morgan. (He crosses in 2 ste s, MORGAN faces her defiantly. I For the first time, we are together. Our hearts are face to face, naked and unashamed, because there's no time to lose, my boy; the clock is ticking and there's no time to lose. If ever anybody has been at the crossroads, you are now --- MORGAN: It is no good. (Crosses down R.) I am going to marry her. MISS MOFF: And I am going to speak to you very simply. I want you to change suddenly from a boy to a man. I under- stand that this is a great shock to you, but I want you to throw off this passionate obstinacy to do the right thing . . . Did you promise her marriage? MORGAN: No, never --- (IMQDS R.) MISS MOFF: Did you even tell her that you were in love with her? MORGAN: No, never --- MISS MOFF: Than your situation now is the purest accident;.t is to be regretted, but it has 153 MISS MOFF: (Cont'd.) happened before and it will happen again. So cheer up, you are not the central figure of such a tragedy as you think -- MORGAN: (Crosses 2 steps L.) That does not alter the fact that I have a duty to -- to them both --- MISS MOFF: She has her own plans, and she doesn‘ t want the child; and I am willing to look after it if you be- have as I want you to behave. If you marry her, you know what will happen, don't you? You will go back to the mine. In a year she will have left you -- both. You will be drinking again, and this time you will not stop. And you will enjoy being this besotted and uncouth village genius who once showed such promise; but it will not be worth it, you know. L-ORGAPh (Crosses fro_nt of R. C.,couch. ) There is a child, living and breathing on this earth, and living and breathing because of me --- MISS MOFF: I don't care if there are fifty children on this earth because of you. . . . (MORGAN sits couch.) You mentioned the word "duty, " did you? Yes, you have a duty, but it is not to this loose little lady, or to her off- spring either. MORGAN: You mean a duty to you? LIGHTS res. £13? . MISS MOFF: No. A year ago I should have said a duty to me, yes; but that night you showed your teeth . . . you gave me a lot to think about, you know. You caught me una- wares, and I gave you the worst possible answer back; I turned sorry for myself and taunted you with ingratitude. I was a dolt not to realize that a debt of gratitude is the most humiliating debt of all, and that a little show of affection wouldhave wiped it out. I offer that affec- tion to you, today. MORGAN: Why are you saying this to me now? MISS MOFF: Because, as the moments are passing, and I am going to get my way, I know that I am never going to see you again. (gwpause.) MORGAN: Never again? But why? MISS MOFF: If you are not to marry her, it would be madness for you to come in contact with the child; so if I am adopting the child, you can never come to see me; it is common sense. You have been given the push over the wall that you asked for. MORGAN: But you . . . will be staying here -- how can I never come back -- after everything you have done for me? MISS MOFF: D'you remember, the last six months, I've gone for a long walk over Moel EL! 91; 3%] ;0) ready- 155 MISS MOFF: (Cont'd.) Hiraeth, every morning at eight, like clockwork, for my health? MDRGAN: Yes? 'MISS MOFF: There's one bit of road, round a boulder -- and there's an oak-tree, and under it the valley suddenly drops sheer. Every morning regularly, as I was turning that corner, by some trick of the mind, I found myself thinking of you working for this scholarship, and winning it. And I exper- ienced something which must after all be comparatively rare: A feeling . . . of com- plete happiness. I shall ex- perience it again. No, Morgan Evans, you have no duty to me. Your only duty is to the world. MORGAN: To the world? MISS MOFF: Now you are going, there is no harm in telling you something. I don't think you realize quite what your future can become if you give it the chance. I have always been very definite about the things I wanted, and I have always had everything worked out to a T -- p'r'aps that's the trouble with me, I dunno . . . I've got 193 worked out, and it's up to you whether it will come right or not --- MORGAN: Go on. MISS MOFF: I rather made out to the Squire that I wanted you to be a writer -- the 156 MISS MOFF: (Cont'd.) truth might have sounded ridiculous; but stranger things have hap- pened. You have brains, shrewdness, eloquence, and imagination; and Oxford will give you enough of the graces. MORGAN: For what? MISS MOFF: Maybe to become a great man of our country. "If a light come in the mine" you said, remember? MORGAN: Yes. MISS MOFF: Make that light come in the mine and some day free these children. And you could be more, much, much more, you could be a man for a future nation to be proud of . . . . Perhaps I'm mad, I dunno, we'll see. It's up to you. MORGAN:‘ (Risesmbefore speaking.) JONES enter, Yes. (JONESWappearsitimidly ' ' from kitchen.) IQWAL and ROBBART ready. JONES: Is it all right to "wrwmmW‘hwh‘ ring the bell to say holiday tomorrow? (He comeswgpwngfi.) MISS MOFF: Yes. (Sheflsmiles. JONES smilesgmeis face lights up; he hurries to study door, and disappears. MISS MOFF. rises.) I think that's all. MORGAN: But I -- I do not know what to say. MISS MOFF: Then don't say it. (He turns, looks upstage. IDWALmandlBOBBARTmenter- MBS:-WATTY-F9§QY. 157 MORGAN: I have been . . . (A step up.) so much time in this“ rébm: MISS MOFF: And the lessons are over. MORGAN: (A step to her.) I shall -- éIWays remember. MISS MOFF: Will you? Well, I'm glad you think you will. (Gets bag from front of small desk. MORGAN crosses to her: she «gives 'hi,m;’fc_.h¢ fi:eeg“..'::-...ma runs_in from study, very ex— cited' to below stairs." ROBBARThappearswdownstageflof himi) IDWAL: Please, Miss Moffat, the band is out, and they say Morgan got to come down to Penlan Town Hall for Wales to see a real toff! MORGAN: Na, ddim diolch --- ROBBART: Tyd, man, tyd, they never forgive you! (An after- thought,) And please, Miss Moffat, Mr. Jones say is he to say school day after to- morrow, nine o'clock same as usual? MISS MOFF: Nine o'clock. The same as usual . . . . ROBBART: Yes, Miss Moffat. MISS MOFF: Yes. It's all over. MRS. WATTY: Bessie's sent a gentleman over to see you from the public-house —-- (Hands her birth certificate.) MISS MOFF: Tell him I can't see anybody --— (Takinghgfigr tificate.) What's this? MRS. WATTY: His birth certi- ficate, Ma'am. MISS MOFF: I had forgotten -- all about that. (MRS. WATTY starts tgflkitghenil MRS. WATTY: (Atwbackwgfmdesk up 9,) Come on, Ma'am, you 'ot to start some time. Crasses.L_.mo 39...: zeit- > MISS MOFF: Just coming. MRS. WATTY exit. (MRS. WATTthoesnin 0 kitchen. “““““*“”““W”‘ MISS MOFF. looks down Q?.bi¥th certificatE.”wA ause.) Moffat, my girl, you mus n't be clumsy this time. You mustn‘t be clumsy . . . (The sghselbell begins to ring, clear an con- fidenttf”8he”100ksfup§”asthe did oncebefore,’listening,’~ 5miiingffaint1Y4;-Shs_§Rrss andIWalks,towardhtheikitchen.) LIGHTS,_$LQ?{(P¥_.-PIM- CHAPTER III THE ADAPTING AND DIRECTING PROBLEMS FOR THE CORN l§ GREEN AS DONE IN THE ARENA STYLL SELECTION PROBLELS The Corn is Green was originally written for the proscenium arch theatre. The process of presenting this play to an audience which would sit completely around the cast offered problems not usually considered for the "pic- ture frame" theatre. Therefore, before definitely deciding upon.2hg 9923 is gaggn for circular staging, the director had to take several factors into account: the practical use of windows, doors and high furniture which were easily incorporated into the conventional set; the choice of a cast for this Welsh setting; the director's selection of costumes for this environment; and the movements executed by the cast to conform with arena techniques. After thoroughly studying the play and deliberating on the techniques which might be used, nothing was found in the play that could not be modified for presentation in the arena style. The setting for The Corn is Green was the living room of a house located in the remote countryside of Glan- sarno, Wales. A single set was used for the proscenium arch play, with minor changes made by the addition and re— moval of furniture. This was a point in favor of the trans- 160 fer to arena. The method of staging The Corn i Green, illustra- ted on the following page, proved the most economical and effective. Chairs were arranged around all four sides of the playing area, with space provided for aisles at each corner. This seating arrangement provided greater inti- macy than could be obtained in the proscenium arch theatre, since the audience was seated in the same Welsh living room as the characters who were reliving the play. Also, since no seat was more than eight feet from the playing area, there was a close actor-audience relationship. While this close relationship added to the intimacy of the production, it also introduced special problems not usually contemplated for the conventional stage. On the proscenium arch stage, the actor could create an illusion with a close approximation of age, since the audience was so far from the playing area. However, on the arena stage, this closeness required greater subtlety in the physical appearance of the actor. This was one of the difficulties of producing iss 922s is stsg with a college dramatic group. The age range of the characters in the play fell on either side of the age of the average college student. The children and mining boys were l7 years of age and younger at the beginning of the play. On the other hand, the adult characters varied anywhere from to Inn... 0. 2:00 at... .20 .hoaaocm (awed us... com filming-(1.: oz.h10 n E » E ii uao¢h uawn N. . (H III I\ so \ II IIIIIIIII . Ilse . sillsss "md-m n xx. o>aan4 > .t I else no: 00—- onmxa U3 0 U chEO F>