If: A Play in Four Acts, Lord Dunsany [any book recommendations TXT] 📗
- Author: Lord Dunsany
Book online «If: A Play in Four Acts, Lord Dunsany [any book recommendations TXT] 📗». Author Lord Dunsany
Goes it? 'Ow d'yer think it goes?
BERT
I don't know, Bill. 'Ow is it?
BILL
Bloody.
BERT
Why, what's wrong?
BILL
Wrong? Nothing ain't wrong.
BERT
What's up, then?
BILL
Nothing ain't right.
BERT
Why, wot's the worry?
BILL
Wot's the worry? They don't give you better wages nor a dog, and then they thinks they can talk at yer and talk at yer, and say wot they likes, like.
BERT
Why? You been on the carpet, Bill?
BILL
Ain't I! Proper.
BERT
Why? Wot about, Bill?
BILL
Wot about? I'll tell yer. Just coz I let a lidy get into a train. That's wot about. Said I ought to 'av stopped 'er. Thought the train was moving. Thought it was dangerous. Thought I tried to murder 'er, I suppose.
BERT
Wot? The other day?
BILL
Yes.
BERT?
Tuesday?
BILL
Yes.
BERT
Why? The one that dropped her bag?
BILL
Yes. Drops 'er bag. Writes to the company. They writes back she shouldn't 'av got in. She writes back she should. Then they gets on to me. Any more of it and I'll...
BERT
I wouldn't, Bill; don't you.
BILL
I will.
BERT
Don't you, Bill. You've got your family to consider.
BILL
Well, anyway, I won't let any more of them passengers go jumping into trains any more, not when they're moving, I won't. When the train gets in, doors shut. That's the rule, and they'll have to abide by it.
[Enter JOHN BEAL.]
BILL [touching his hat] Good morning, sir.
[JOHN does not answer, but walks to the door between them.]
Carry your bag, sir?
JOHN
Go to hell!
[Exit through door.]
BILL
Ullo.
BERT
Somebody's been getting at 'im.
BILL
Well, I never did. Why, I knows the young feller.
BERT
Pleasant spoken, ain't 'e, as a rule?
BILL
Never knew 'im like this.
BERT
You ain't bin sayin' nothing to 'im, 'ave yer?
BILL
Never in my life.
BERT
Well, I never.
BILL
'Ad some trouble o' some kind.
BERT
Must 'ave.
[Train is heard.]
BILL
Ah, 'ere she is. Well, as I was saying...
Curtain
SCENE 4
In a second-class railway carriage.
Time: Same morning as Scene 1, Act I.
Noise, and a scene drawn past the windows. The scene, showing a momentary glimpse of fair English hills, is almost entirely placards, "GIVE HER BOVRIL," "GIVE HER OXO," alternately, for ever.
Occupants, JOHN BEAL, a girl, a man.
All sit in stoical silence like the two images near Luxor. The man has the window seat, and therefore the right of control over the window.
MIRALDA CLEMENT
Would you mind having the window open?
THE MAN IN THE CORNER [shrugging his shoulders in a shivery way]
Er—certainly. [Meaning he does not mind. He opens the window.]
MIRALDA CLEMENT
Thank you so much.
MAN IN THE CORNER
Not at all. [He does not mean to contradict her. Stoical silence again.]
MIRALDA CLEMENT
Would you mind having it shut now? I think it is rather cold.
MAN IN THE CORNER
Certainly.
[He shuts it. Silence again.]
MIRALDA CLEMENT
I think I'd like the window open again now for a bit. It is rather stuffy, isn't it?
MAN IN THE CORNER
Well, I think it's very cold.
MIRALDA CLEMENT
O,
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