SCENE.--_A room in TULLY'S flat. Lights out to open. A similar room in
construction in every way to scene in Act I excepting that it is
furnished differently. Two French windows at back opening on to
balcony, door R. leading to hall and street. Door L. leading to
bedroom. It is twilight as the curtain rises. A letter and telegram
lie unopened on table about L.C. and a settee is placed well in view
below door L. A plan of the scene will be found at the end of the
play. URSULA, TULLY'S maid, enters R., switches on lights--switch
above door R. Lights go up._)
URSULA (_in sombre tones_). You can come h'in.
(_Enter AUNT HANNAH. She is very tall and stout, old-fashioned, but a
lady._)
AUNT HANNAH (_entering_). Thank you, thank you, (_goes to chair R. of
table L.C._) thank you. (_Sits._) Oh, dear me, I am glad to sit down.
Phew! I only left the hospital this morning.
URSULA (_standing C._). You don't say.
AUNT HANNAH. Yes. I was in a terrible 'bus accident about three weeks
ago, and I had three of my ribs broken.
URSULA. You don't say.
AUNT HANNAH. It was my first experience of a motor 'bus too. They're
most dangerous things. Aren't you afraid of them?
URSULA. I ain't afraid of nothink.
AUNT HANNAH. Dear me, what courage! What courage!
URSULA (_crossing to L. of table L.C._). Take anything?
AUNT HANNAH. N-o, no thank you. I've had my _tea._ And so my nephew's
out?
URSULA. Been h'out since lunch.
AUNT HANNAH. Didn't he say he expected me?
URSULA. About three weeks ago he mentioned your name, but not since.
AUNT HANNAH. Yes, that was when I came up from Exeter. I was coming on
to see him then when I was injured in the 'bus, and they took me
straight away to the hospital.
URSULA. You don't say!
AUNT HANNAH (_tapping walking-stick on floor_). But I _do_ say. But I
sent him a telegram saying I was coming to-day.
URSULA (_pointing to table_). Telegram.
AUNT HANNAH. Oh yes. Oh yes! Unopened?
URSULA. Come h'after the master left.
AUNT HANNAH. Oh dear! What a pity! But he'll be home shortly, I
suppose, or doesn't he keep good respectable hours?
URSULA. Nothing to find fault with.
AUNT HANNAH. Has he any--er--lady friends?
URSULA. H'only one--h'Ag--er--ness.
AUNT HANNAH. I hope she's a good girl.
(_Noise off. PAMELA, MAMIE, JOHN and TULLY continuing argument loudly
off R. as at end of Act II._)
Oh, what's that?
URSULA. People next door, I suppose.
(_Noise ceases._)
AUNT HANNAH (_opening her cloak_). Dear me! It's close!
URSULA. Removing your things?
AUNT HANNAH. Yes, I should like to. (_Rising._)
URSULA (_goes to door L., opens door and holds door open_). Bedroom
this way.
AUNT HANNAH (_crossing to door_). How very convenient. And I find
every one in London so very kind and polite.
URSULA (_closing door almost on AUNT HANNAH_). In there!!
(_Noise off again._)
AUNT HANNAH. Thank you. Thank you!
(_Exit AUNT HANNAH door L._)
URSULA (_closes door, crosses up R._). 'Orrible neighbours--'orrible
neighbours!
(_Exit URSULA door R. TULLY appears in pyjamas, peeping through
curtains R. of C. he steals into room and runs down to chair L.C.,
looks round room. JOHN crawls on through window R. of C. with blanket
over him, following TULLY on._)
TULLY. Home at last. Home at last!
JOHN. It's all right! (_Throws blanket on chair at back._) I've made a
barricade with the geranium pots. Nobody could get over without making
a _terrible_ smash. We should be sure to hear them.
TULLY. Good, then we're safe for the moment. (_Groans loudly._)
JOHN. Don't make a scene! Don't make a scene!
(_Going up to window. AUNT HANNAH enters and seeing TULLY in pyjamas
she gives a scream and goes off door L. quickly. JOHN and TULLY both
start and look round the room._)
JOHN (_to TULLY_). Don't do it! Don't do it!
TULLY. I distinctly heard a woman's voice.
JOHN (_approaches window gingerly_). 'Sh! Don't make a noise. I'm
listening for the flower-pots to fall.
TULLY. What will happen if Mr. Trippett and the doctor come in and
find us gone?
JOHN. They dare not enter while the two women are arguing, perhaps
fighting. I'm only thinking what a little cat Mamie was to come out
just when everything was going so splendidly.
TULLY. Whatever induced you to run after a girl like that?
JOHN. Is there anybody in this flat?
TULLY. Only the maid.
JOHN. Well, send her out.
TULLY. She's just _been_ out.
JOHN. Never mind--send her out fifty times if it'll only help us.
(_TULLY groans._)
Don't give way! Don't give way! I've got an idea. I'm going to cut the
electric wires of the whole block of flats. I think I know where they
run. Now you go and get her out of the house. Don't lose a moment.
Please go, Bertram!
(_TULLY groans and exits door R._)
(_Calling after him._) It isn't often I ask you to do anything!
(_JOHN thinks. He has a brilliant idea. Takes out his penknife and
goes to wall at back, feels along wall._)
No, that's not it. (_Looks at wall below door L._) Ah, that looks more
like it. Yes. (_Plunges his knife into wall, a jet of soda water comes
out through rubber tube fixed in flat below door, the spout of a soda
syphon is pushed in other end of rubber tube outside, and at the cue_)
Got it! Got it! (_The water is squirted through._) Oh, damn, confound!
(_JOHN immediately places his hand over tube and with his handkerchief
stops the flow of water. Syphon is removed and placed on floor ready
for next squirt of water._)
TULLY. Help! Help! Help! (_Heard off._)
(_TULLY dashes on door R. and slamming door holds on to handle as if
besieged._)
JOHN. What's up? What's the matter with you?
TULLY (_trembling all over_). The maid doesn't recognize me without a
moustache. She thinks I'm a burglar--and she's chasing me with a
poker.
JOHN. Chasing you?
TULLY. Yes, and if this woman gets in, she'll brain us both. Come and
help, for heaven's sake!
JOHN. I can't let go here.
TULLY. Why not?
JOHN. I thought if I could cut the main electric cable and put out the
lights next door, that the doctor and Trippett would be compelled to
leave the flat--
TULLY. Good! Go on, cut the cable.
JOHN. I have tried, I have tried! And I've cut the water-pipe instead.
It'll flood the place.
TULLY (_still holding onto door_). Oh, I'd do anything to get out of
this.
JOHN. For heaven's sake don't be so selfish, just when everything's
going so splendidly! (_Still holding on to water-pipe._)
(_AUNT HANNAH opens door L. and just enters--sees JOHN and TULLY and
with a cry exits hurriedly. JOHN and TULLY both turn on each other._)
JOHN. Don't do it! _Don't do_ it!
TULLY. I didn't do anything. If you shout like that I shall have a fit
in a moment.
JOHN. Well, we don't want to stand here all night.
TULLY. Can you reach that key out of the other door?
JOHN. I've told you I can't let go here.
TULLY. If this woman gets in our lives won't be worth having.
JOHN. Whatever made you engage such a brute?
TULLY. I can't live here alone without protection.
JOHN. What's her name?
TULLY. Ursula!
JOHN. Ursula! Give her a month's notice.
TULLY. No, I don't want to lose her.
JOHN. Women--are--no--use--unless--they--are--mastered!
TULLY. I've always heard that it was best to avoid women who are
mustard.
JOHN. Mastered--not mustard! And take off those pyjamas!
TULLY. And I ought to be playing the flute to-night down at the
Mission.
JOHN. Hang your mission! I'm trying to think what I can do here. Lend
me your handkerchief--I'll plug it up with mine and then tie it up.
TULLY (_waving his handkerchief_). Catch! Catch!
JOHN. How can I catch from here?
(_TULLY runs across with handkerchief--his pyjama trousers round his
ankles--gives handkerchief to JOHN--then sits chair C._)
You'll split those pyjamas!
TULLY (_removing pyjamas_). This is the most awful afternoon I've ever
had in my life. I shall never be the same man again.
JOHN (_ties up tube with handkerchief_). There, that'll hold, I think.
Now, I'll go and cover your retreat. (_Crosses to R._)
TULLY (_picking up telegram from table L.C._). Oh! Here's a telegram!
Telegrams always make me feel so nervous! (_Opens it and reads._) It's
from Aunt Hannah, she's coming up to-day. I've been expecting her for
the last three weeks. I am the only relation she has, and in order to
avoid the death-duties she's going to make a Deed of Gift to me
amounting to several thousand pounds!
JOHN. Several thousand pounds! Now that _is_ mean. Look at the trouble
you've put me to. You might have lent me the money and so saved me a
fortnight's illness.
TULLY (_rises_). Will you accept the £500 from me?
JOHN. I suppose I must.
TULLY. That _is_ good of you!
JOHN. Not at all! You have such a winning way with you. One can't help
doing as you wish.
TULLY (_smiles broadly_). That's taken a great load off my mind. The
old lady is very generous. Directly she arrives we must both be very
nice to her.
JOHN. Trust me for that. And I _can_ be nice when I like.
TULLY. I know you can. But what about the 'Bus Company?
JOHN. Oh yes. I'll get you to go back and say I withdraw my claim.
TULLY. Yes. I'd love to do that. (_Picking up letter from table L.C._)
JOHN. I'll buy Mamie a new necklace, and tell Pam the whole
truth--that Mamie is not your wife, but your little bit of fluff named
Agnes.
TULLY. No, I draw the line there, Mamie's _your_ fluff. _You_ must
shoulder that responsibility.
JOHN. But you're a single man. It doesn't matter about you.
TULLY. Oh yes it does. I've got to think of my reputation down at the
Mission.
JOHN. Oh, hang your mission!
TULLY. Oh, dear! (_Becomes very serious as he reads letter._)
JOHN. What's up?
TULLY. It's a letter from the Motor 'Bus Company.
JOHN. Motor 'Bus Company?
TULLY. They're going to sue _me._
JOHN. Sue _you_, what for?
TULLY. The fat woman who had three ribs broken says that I am
liable--that my fall on her was premeditated and nothing to do with
the accident. Oh, and listen to this. (_Reading._) "Our representative
will have much pleasure in calling upon you this evening at seven
o'clock."
JOHN. It's gone seven now.
TULLY. They're sending some one here to-night?
JOHN. Yes, who will they send--either Trippett or the doctor. They are
both in the neighbourhood.
TULLY. Then they may be here at any moment!
JOHN. But this is a simple matter now you've got the necessary money
coming in.
TULLY. But which one will they send, because it depends on that who
_you_ are and who _I_ am.
JOHN. Well, I'll get you to creep back and tell Pam that I withdraw my
claim--then, if the doctor calls you must get back in time to see him,
and if Trippett calls, I'll see Trippett.
TULLY. But that won't help _me_ out--if they are going to sue
me--possibly for hundreds--I'm not going to lend you this money unless
I can see a clean sheet for myself--you got me into this mess, you
must get me out of it! (_Sits C. and groans._)
JOHN. You _are_ ungrateful. After all I've _done_ for you. Are you
going to lend me the £500 or are you not?
TULLY. Certainly. But I didn't fall on top of this fat woman, and I'm
not going to be made to pay. You had the fun, you ought to suffer.
(_JOHN crosses to L. and rings bell, alarmed._)
What are you going to do?
JOHN. Do as you wish. I'm going to get you out of this trouble. I've
rung for Ursula.
TULLY. Ursula!
(_URSULA enters R., holding poker at her side. TULLY bus. trying to
hide his lip._)
JOHN (_crosses to door R._). Oh, er, good evening Ursula! (_In his
best manner._)
URSULA (_abruptly_). Evening!
JOHN. We want you to do us a favour, if you will?
URSULA. A favour?
JOHN. We want you to lend us some ladies' clothes--just for an hour or
so.
URSULA. What sort of clothes?
JOHN. Oh, nothing--er--white--nothing under--underhand--just super
clothes--and if you do this, your master will be very much obliged to
you and he'll raise your wages.
(_Bus. TULLY aghast. JOHN motioning to him to keep quiet._)
URSULA. I'll see--I'll see.
(_Exit URSULA door R._)
TULLY (_rises and comes down C._). John! What are you going to do?
JOHN. I think you will acknowledge this _is_ an inspiration. These
'bus people think they are going to corner us, I can see _their_ move.
But you and I are _far_ too smart for them.
TULLY (_in doubt_). Are we?
JOHN. It has only just struck me, _but you are the living image of the
fat old lady in the 'bus!_
TULLY (_offended_). Oh! John!
JOHN. Without the fat, of course. If you get into these clothes and
pad yourself all round, no one will know the difference.
TULLY. No, I couldn't do that. It's illegal!
JOHN. I'm doing this to get _you_ out of the pickle. I'm not doing it
for my own sake, please bear that in mind.
TULLY. But what good will it do?
JOHN. If the doctor or Trippett calls here, I shall say that I am
Tully, that is Tully's brother, that I have had an interview with the
lady in the 'bus accident and she is strongly of opinion that the 'Bus
Company is liable.
TULLY. But they'll dispute it at once.
JOHN. Naturally--then we are prepared. I shall just bring you into the
room dressed as the lady, with nothing to do but to bear out my
statement.
TULLY. No, I couldn't do it. I couldn't do it! (_Turns L._)
JOHN. Bertram! I have an idea--an idea that wouldn't occur _to one man
in a million_,
(_Enter URSULA, with bundle of clothes. Crosses to JOHN._)
and you want to ignore it. Bertram! Bertram!
URSULA. Clothes! (_Gives clothes to JOHN and exits door R._)
JOHN (_takes clothes_). Thank you, Ursula, thank you. (_Gives clothes
to TULLY._) The very thing--but you'll want a fearful lot of
padding--you're so thin. (_He gathers up cushions from couch and
arm-chair and pushes them into TULLY'S arms._) Here we are, top-hole,
beautiful padding!
TULLY. But, John, what about a bodice. I must have a bodice!
JOHN. What do you want a bodice for?
TULLY. For all this part. (_Pointing to chest._)
JOHN. I'll go and get a bodice off Ursula. Meanwhile you go into the
bedroom and get into these clothes as quickly as you can. Shave your
top lip clean. Don't forget the cushions. Arrange
them--diplomatically--you know--come out and go in--and all that sort
of thing, and I'll go and get the bodice.
(_JOHN exits door R._)
TULLY. I don't know where a woman comes out and goes in!
(_Stands looking round hopelessly, then goes to door L., opens door
and is about to enter bedroom. AUNT HANNAH screams off. TULLY shuts
door quickly, rushes up to window L. Crash of falling flower-pots
heard off R. TULLY drops clothes, etc., and rushes to door R. MAMIE
enters windows R.C. breathless and excited._)
MAMIE. Oh, there you are, Bertie! Where's Jack? Where is he?
TULLY (_coming C._). Somewhere in the house.
MAMIE. Is there anyone else in the house besides Jack?
TULLY. Only the maid--and Bogie.
MAMIE. Bogie--who's Bogie?
TULLY. My little dog.
MAMIE. Do you know that Mrs. Ayers still thinks I am your wife.
TULLY (_wriggles and nods_). Yes, I'm so sorry.
MAMIE. What?
TULLY. I mean--delighted. (_Wriggles again._)
MAMIE. Oh, don't wriggle! Things are far too serious for wriggling.
You heard about the necklace that was lent to me by my friend the
Rajah?
TULLY. Yes, I _have_ heard about it.
MAMIE. Then I want you, as my husband, to take the matter into your
hands and tell Mrs. Ayers that unless the necklace is returned to me
_at once_, _you_ will take proceedings.
TULLY. Oh, I couldn't do that, I'll call John. (_Going to door R._)
MAMIE (_pulling TULLY back_). No, don't call John. It's only natural
if you are supposed to be my husband that you should help me in this
matter. And if you don't, you'll get it in the neck right where the
chicken got the axe. (_On the verge of tears, she crosses and sits C.,
searching in her handbag for letter._) Just read this letter. It's
from the Rajah--I've never had such things said to me in my
life--boo--boo--boo! (_Crying._)
TULLY (_patting back of chair_). Don't cry, child, don't cry.
MAMIE. Where did I put it? In my bag? No! (_Rising._) I remember, I
put it in my dress for safety.
TULLY. Oh! oh!
MAMIE. Would you mind unhooking my dress at the back, please.
TULLY (_very embarrassed_). Really I'm a single man!
MAMIE. Well, these are single hooks.
TULLY (_crosses to door R._). I'll call John!
MAMIE. Please don't call John.
TULLY (_calling through door and whistling_). I must have some one in
the room--Bogie! Bogie! Bogie!
MAMIE. Bertie! Bertram! Come here! (_BERTRAM going towards her._) I
want to show you something very important.
TULLY (_backing away from her_). I'll take your word for it!
MAMIE. It's the Rajah's letter. Just the top two hooks, please--as
quickly as you can. (_Approaching TULLY with her shoulder towards
him._)
TULLY. Really, I don't understand. I'm quite a novice.
MAMIE (_annoyed_). You don't want me to _tear_ the thing off?
TULLY (_advancing timidly_). For heaven's sake, don't do that!
MAMIE. Well, pull your socks up, Bertie, and undo the top one.
(_TULLY pulls up his socks._)
What _are_ you doing?
TULLY. Pulling my socks up.
MAMIE (_sidling up to him_). Go on, the top one.
(_TULLY unfastens the top hook._)
Ah, that's better. (_Trying to get letter from bodice._) Now, the next
one.
TULLY. No, no more.
MAMIE (_sweetly_). Now the next one.
TULLY (_shaking head decisively_). No more!
MAMIE. Do please, Bertie dear! Bertie darling! Bertie sweetheart!
TULLY (_smiles broadly and giggles_). Well, just this one. No more
after that.
MAMIE. No, no more after that.
TULLY (_giggles_). They are nice little hooks. Shall I go any further?
MAMIE. No, not at present. (_Secures letter._) I've got it. Just read
that!
(_Crash of flower-pots off R._)
It's the Rajah! (_Very frightened._)
TULLY. No, more flower-pots. (_Going up to window R._) More creepers!
(_In a loud whisper._) It's Mrs. Ayers!
MAMIE. I'll hide here and listen. Come and hide me, Bertie.
(_MAMIE crouches down at foot of table L.C. behind TULLY. PAMELA
enters window R._)
PAMELA (_coming down C._). Oh--Mr. Tully--where is John?
TULLY. He's very busy with my maid.
PAMELA. With your maid?
TULLY. Yes, he's trying to get some clothes off her.
PAMELA (_annoyed_). What?
TULLY. Trying to borrow some clothes I should say.
(_JOHN enters from door R., sees PAMELA and exits hurriedly, MAMIE
tickles TULLY'S legs._)
PAMELA. Well, someone must come at once. Mr. Trippett refuses to leave
the flat until he has seen John, and the doctor is coming round to
_your_ door.
TULLY (_crossing to R. towards PAMELA_). But John is going to withdraw
his claim against the Company, and I'm going to tell Mr. Trippett so.
PAMELA. Then please come at once.
(_TULLY and PAMELA go up._)
MAMIE. Stop! Before you go, I'd like you to ask Mrs. Ayers to give me
back my necklace. (_Below table L.C. standing._)
PAMELA. I've already told you, Mrs. Tully, that this necklace does not
belong to you. (_To TULLY._) And please ask your wife to apologize.
(_Goes down R._)
TULLY (_crosses to MAMIE_). Miss Scott--Miss Fluff--(_bangs hand on
table and adopts an authoritative tone_)--my wife--will you apologize?
MAMIE (_round sharply to TULLY_). Certainly not!
(_TULLY collapses in chair._)
You know as well as I do that that necklace does _not_ belong to Mrs.
Ayers. Please ask her to return it to me.
TULLY (_crosses to PAMELA_). Mrs. Ayers, will you please return the
necklace to Mrs.--er--Mrs. wife?
PAMELA. I shall do nothing in the matter until I've seen John.
TULLY (_crosses to MAMIE_). She will do nothing in the matter----
MAMIE (_pushing TULLY up stage_). Out of my way!
(_TULLY watching his opportunity, works up to window, picks up clothes
and cushions and steals out by window R._)
(_MAMIE crosses to PAMELA._) Now, Mrs. Ayers, that necklace was lent
to me and its real owner is waiting at the door of your flat. If I
don't take it back to him at once you'll have the police on your
track. Am I to take it back or not?
(_PAMELA hesitates._)
You refuse? You refuse?
PAMELA (_hands necklace to MAMIE_) Oh, very well, take it to him.
(_Crosses to writing-desk up L._) I don't want a vulgar scene over a
paltry thirty-shilling necklace. (_Sits._)
MAMIE. Thirty shillings! That shows how much _you_ know, and also that
this necklace cannot possibly be _your_ property--I'm sorry you made
such a mistake. (_Going up to window R._) Thirty shillings--that's
really good--I must tell the Rajah that! Ha! Ha! Ha! Ha!
(_Exit MAMIE window R., laughing loudly._)
PAMELA (_rushes to door L., opens it_). John! John!
(_AUNT HANNAH screams. PAMELA closes door, rushes across to door R.
URSULA enters door R. holding poker in hand and looking very
formidable, she advances in a threatening manner._)
(_PAMELA starts with a little cry at sight of URSULA and backs up to
window R. trembling with fear._)
URSULA. What are you doing 'ere? What are you doing 'ere?
PAMELA. I beg your pardon, I was looking for my husband.
URSULA. Well, he's not 'ere. He's not 'ere! (_Loudly._)
PAMELA. No, I'm sure he wouldn't be----
(_Exit window R. calling:_ "John! John!")
(_URSULA opens door R. and beckons._)
URSULA. It's all right. You can come in now, little man. All gone!
JOHN (_entering_). Thank you, Ursula, thank you! (_JOHN is carrying a
bodice._)
(_URSULA gives JOHN the glad eye and exits with a little backward kick
of the leg. JOHN crosses to door L., opens it and throws bodice into
bedroom._)
Here you are, it's the best she's got!
(_AUNT HANNAH screams off._)
Eh? What's that, speak up, I can't hear. (_Crossing to door R._)
(_AUNT HANNAH enters, JOHN turns and bursts into laughter, mistaking
AUNT HANNAH for TULLY in disguise._)
AUNT HANNAH. You dare not attack a woman even if you _are_ a burglar!
(_With fear and anger._)
JOHN (_roars with laughter_). Excellent! Splendid! The very thing. I
shouldn't have known you.
AUNT HANNAH (_dignified_). I want to leave this house.
JOHN (_still laughing loudly_). Ha! Ha! Ha! You are the living image
of the fat old woman in the 'bus.
AUNT HANNAH. I _am_ the lady who was in the 'bus, sir, and I know
you--I know _you_ now. You were the coward who, to save his own skin,
so cruelly tried to crush me.
JOHN (_laughing_). Good! Good! If you only keep it up like that you'll
be splendid.
AUNT HANNAH. I tell you, sir, I had three of my ribs broken.
JOHN (_laughing_). Ribs! You don't look as if you had any ribs. You
are all, cushions! (_Digging AUNT HANNAH in the ribs._) Ha! Ha! Ha!
AUNT HANNAH (_screams_). Oh! Oh! (_Up to table._) Oh, my poor
side--oh, my poor heart.
JOHN (_imitating_). Oh, my poor side, oh, my poor heart! Ha! Ha! Ha!
Oh, don't make me laugh! You've got the funniest mug I've ever seen.
And you do "go out" and "come in" a lot, more "come in" than "go out."
(_Rocks with laughter._)
AUNT HANNAH. I'm going to leave this house, sir, and if you attempt to
stop me, I'll call for the police. (_Tries to pass JOHN, he stops
her._)
JOHN. If you jump about like that, your clothes will fall off.
AUNT HANNAH. Ouch! Ouch! (_Turns up stage._)
JOHN. Oh! You ought to see your back view! Ha! Ha!
AUNT HANNAH. How dare you! How dare you!
(_Bell rings off R._)
JOHN (_over to AUNT HANNAH_). Hark, that may be our man. Pull yourself
together.
AUNT HANNAH. Don't you touch me!
JOHN. Stop it, you idiot. Don't forget if that's the doctor, you're
here to discuss the 'bus accident with me. Now, go into that bedroom,
and don't come out till I call you!
AUNT HANNAH. I wish to leave this house.
JOHN (_opens door L. and is pushing AUNT HANNAH off gradually_). Come
on, don't play the giddy ox. (_Pushes her into bedroom._) Kennel!
Kennel!
AUNT HANNAH. Don't you touch me! How dare you! Oh--o--o--oh!
(_Exit._)
(_JOHN bangs the door after her. URSULA enters door R._)
JOHN. What is it? What is it?
URSULA. Dr. Bigland to see the master.
JOHN. Dr. Bigland! Good! Show him in!
(_Exit URSULA door R._)
JOHN. Who am I now? I know, I'm Tully. No, I'm not, I'm Tully's
brother, Tully's twin brother. (_Stands C., braces himself up and
removes moustache._)
URSULA (_enters, announcing_). Dr. Bigland!
DOCTOR (_enters--URSULA exits_). Yes. I expected something of this
kind.
JOHN (_reserves mock dignity_). I haven't the pleasure of your
acquaintance.
DOCTOR. You are Mr. Tully.
JOHN. Tully is my name.
DOCTOR. Hadn't I the pleasure of meeting you a short while ago next
door?
JOHN. No, that was my brother.
DOCTOR. Your brother? Good heavens! What a likeness!
JOHN. Yes, we're often mistaken for each other. If the true facts of
the case were known I believe we were very nearly twins.
DOCTOR. Remarkable! I apologize.
JOHN. Not at all. But didn't my brother tell you it was my brother? I
mean, didn't he tell you it was me?
DOCTOR. He said it was his brother who was in the motor 'bus accident.
JOHN. Quite correct.
DOCTOR. The object of my visit is in reference to that matter.
JOHN. Will you take a seat?
DOCTOR. I thank you. (_Sits by table L.C._) Now, as regards yourself.
At the time of the accident there was a lady in the 'bus who had three
ribs broken, and we understand that this was caused by your fall on
top of the lady.
JOHN. Yes, but I make no claim against the lady.
DOCTOR. No, but the lady wishes to make a claim against you.
JOHN. I don't think so. The lady herself is here, now, and quite ready
to deny your allegations against me. (_Goes to door L._)
(_DOCTOR rises, places hat on chair he has been sitting on and goes
R._)
You can come in!
(_AUNT HANNAH enters with timid little jerks._)
(_Aside to AUNT HANNAH_). It's the doctor.
AUNT HANNAH (_tearfully_). Oh! O-h-h! It's Dr. Bigland. (_Crosses to
doctor._)
(_JOHN rubs hands with great satisfaction._)
DOCTOR. Now, my dear lady, calm yourself; remember what I told you,
you must keep calm.
JOHN. You see, the poor woman's nerves are shattered, and all through
riding in your beastly 'buses. (_Signals to AUNT HANNAH to be quiet,
to which she pays no heed._)
DOCTOR (_to AUNT HANNAH_). You know this _gentleman_ who was in the
'bus accident with you?
AUNT HANNAH. Yes, and I live in fear of him.
DOCTOR. That's quite all right. There's nothing to be frightened of.
Now sit down, sit down and compose yourself.
(_AUNT HANNAH backs up to chair C., is about to sit on DOCTOR'S hat.
DOCTOR rushes up and snatches hat away._) Ah! (_Shouts._) Not on my
hat! (_Places hat on table down R._)
(_AUNT HANNAH jumps up on DOCTOR'S shout, throws arms round JOHN'S
neck. JOHN pushes her into chair C._)
AUNT HANNAH. Oh dear, dear, dear! O-h-h!
DOCTOR. Now I understand you wish to thrash out this matter of the
accident.
(_Taking notebook from pocket._)
JOHN (_crosses to DOCTOR_). Yes, we are both desirous that it should
be cleared up, aren't we?
AUNT HANNAH. Doctor, _I_ am.
JOHN (_looks over DOCTOR'S shoulder and watches him writing_). Will
you begin?
DOCTOR. No, I will not begin. I will hear what the lady has to say and
make my report.
JOHN. Good! (_Signalling to AUNT HANNAH._) Well--er--madam--the Doctor
and I have been discussing the matter, and he is under the impression
that you think that _I_ am to blame for the injury you have suffered.
Now I want you to prove to him that such is not the case.
AUNT HANNAH. But it _is_ the case.
(_JOHN starts._)
The Doctor is quite right!
(_DOCTOR makes notes. JOHN bus. shaking his head at AUNT HANNAH and
signalling._)
JOHN. I say, the Doctor thinks that I was to blame, and I want you to
deny this scandalous accusation. (_Signals._)
AUNT HANNAH. I can't deny it.
JOHN. But you don't understand.
AUNT HANNAH. I beg to state that I _do_ understand.
(_AUNT HANNAH holds finger up. JOHN smacks her hand._)
JOHN (_frowning and signalling_). Let me explain. A short while ago
when you and I were discussing this matter, you agreed with me that
the 'Bus Company and they alone were responsible for your injuries.
AUNT HANNAH. I did not agree with you in any way! It's a wicked
falsehood.
DOCTOR. Exactly as I thought.
JOHN (_to AUNT HANNAH_). You silly fool! Oh, I beg your
pardon--think--think--didn't you distinctly say you were going to sue
the 'Bus Company?
(_Nodding "Yes" to AUNT HANNAH._)
AUNT HANNAH (_rising and crossing to couch L._). I don't remember
discussing the matter with you at all, sir.
JOHN. Then the accident must have affected your memory. (_Aside to
AUNT HANNAH._) You half-witted idiot, you'll spoil everything.
AUNT HANNAH. And abuse will certainly not make me alter my decision.
DOCTOR (_crossing C._). Now, my dear lady, you are firmly of the
opinion that the injury you sustained was due to the premeditated
action of this gentleman when riding on one of the Company's vehicles?
AUNT HANNAH. That is my case exactly.
(_DOCTOR makes notes, JOHN frantic._)
DOCTOR. Very well. And the amount of damages you claim?
AUNT HANNAH. I claim--(_JOHN threatens her with his fist_). I
claim--I----
DOCTOR. I claim! I claim! What do you claim?
AUNT HANNAH. I claim-- (_JOHN threatens her._) Five hundred pounds!
DOCTOR. Five hundred pounds. (_DOCTOR writes in book._)
(_JOHN in a fury is threatening to strike AUNT HANNAH. DOCTOR turns
and catches him--they both bow. DOCTOR writes in book again. JOHN
bangs back of couch. AUNT HANNAH starts with a shriek. DOCTOR starts
also._)
DOCTOR. Now, sir, are you prepared in any way to accept this
liability?
JOHN (_right up to DOCTOR, furiously_). No--most certainly not!
DOCTOR (_closing book and crossing R._) Then there's nothing more to
be said.
JOHN (_crossing to DOCTOR_). Oh yes there is, I'm a little smarter
than you imagine, and I can tell you something. That isn't a woman
you've been talking to, that's a man!
(_AUNT HANNAH very indignant. DOCTOR laughs._)
Oh, you can laugh, you can laugh, but I can _prove_ it.
(_AUNT HANNAH screams, very nervous._)
DOCTOR. You can do what, sir?
JOHN. Prove it!
DOCTOR. Not in my presence, you don't!
(_DOCTOR exits hurriedly._)
(_JOHN rushes to door R. and with his back against it glares at AUNT
HANNAH._)
AUNT HANNAH (_rising in terror_). Don't you look at me like that, sir.
Don't you look at me like that!
JOHN. Take off those pads.
AUNT HANNAH. Pads!
JOHN. Take off those pads!
AUNT HANNAH. I don't wear pads.
JOHN (_advancing on AUNT HANNAH_). You cheat! You dirty little
turncoat--to make a fool of me like that.
AUNT HANNAH (_jumping round table L.C. to R._). Don't you touch me,
sir. Don't you touch me!
JOHN. Take off those rags, or I'll thrash you! (_Grabs at her skirt,
which he tears off, leaving AUNT HANNAH in a very pronounced
petticoat. JOHN pushes AUNT HANNAH till she falls on to couch down
L._)
(_Enter PAMELA from window R.C._)
PAMELA. John! John! I'm surprised at you--treating a woman like that.
(_Crosses to AUNT HANNAH, kneeling by her._)
JOHN. A woman! (_Gazes into AUNT HANNAH'S face._) Oh, good lor', it's
a woman!
(_Sinks into chair R. of table L.C._)
PAMELA. Yes, a woman. There, there, calm yourself, calm yourself. (_To
JOHN._) Mr. Tully told me you were trying to get clothes off someone!
JOHN. Where--_is_--TULLY?
PAMELA. I left him in our flat. He was telling Mr. Trippett that you
withdraw your claim. John, she's fainted! (_Rises--looks round._) Get
some water, get some water, John. (_PAMELA goes up behind table L.C.
looking for water._)
JOHN. I haven't the faintest idea where to get water--I don't know
this beastly flat--(_Suddenly thinks of water-spout._) Ah! I know.
Stand back. Pam--stand back!
(_Gets hold of tube water-spout. JOHN takes the plugged handkerchief
from wall and the water-pipe squirts directly on to AUNT HANNAH'S
face. JOHN plugs the pipe again and crosses to AUNT HANNAH, assisting
her to rise. AUNT HANNAH, when water falls on her, screams and makes
movement with arms as if swimming._)
JOHN. Why, who are you?
AUNT HANNAH. I'm Mr. Tully's aunt.
JOHN. Mr. Tully's aunt!
AUNT HANNAH. Yes, I am Aunt Hannah!
JOHN. Aunt Hannah! Go and look after her, Pam.
(_PAMELA picks up AUNT HANNAH'S skirt and assists AUNT HANNAH off door
L. AUNT HANNAH muttering until off._)
(_Exit AUNT HANNAH and PAMELA down L._)
JOHN (_dazed, and gazing at door_). Another five hundred gone.
TULLY (_off, window R.C._). Everything's going splendidly!
Everything's going splendidly!
(_TULLY enters windows R.C., comes right down C. and faces audience.
He is dressed in woman's clothes which are much too big for him and is
padded out with the cushions._)
JOHN (_looks up--sees TULLY_). Take it away! Take it away! You're too
late!
TULLY. Don't I look all right?
JOHN. All right? You look more like a goat than a woman!
TULLY. I thought I looked like a little bit of fluff. What's happened?
(_Turns to JOHN._)
JOHN. Do you realize that the stout--lady--in the 'bus accident
_was--your--aunt!!!_
TULLY (_going up to JOHN_). The fat woman was Aunt Hannah? How do you
know this? How do you know this?
JOHN. Because she is here now--in your bedroom.
TULLY. Really. You've seen her?
(_JOHN nods._)
Have you been very nice to the old lady?
JOHN. Nice! You should have seen what I did to her!
TULLY. Oh, it's not as bad as all that surely?
(_Enter PAMELA. TULLY picks up skirts and dashes off door R._)
PAMELA (_laughing_). What's that?
JOHN (_crossing to PAMELA_). That's Tully; I think he's gone mad.
PAMELA (_crossing R._). And so has Mrs. Tully. Do you know she swore
the pearl necklace you gave me belonged to her?
JOHN. Did she really?
PAMELA. Yes. I can't help laughing. I gave it to her.
JOHN (_starting_). You gave her the necklace.
PAMELA (_laughing_). Yes. I certainly didn't want a scene with a woman
like that.
(_JOHN goes mad with delight, dances down L._)
JOHN. Ha! Ha! You gave it to her. You gave it to her. Then the Rajah's
got it back again--the Rajah's got it back again.
PAMELA. Don't give way, John.
JOHN. Ha! Ha! I must give way. (_Still dancing._)
PAMELA. But you don't know _what_ I gave her. I didn't give her the
_real_ necklace. (_JOHN stops dancing._) I was wearing the _imitation_
one that cost thirty shillings.
JOHN (_his spirits down to zero_). You gave her the imitation one?
PAMELA. Yes.
JOHN. Are you sure?
PAMELA. Yes, I have the real one here. It has a crown on the clasp.
(_Shows necklace._) See! (_She realizes her mistake._) John! John!
I've--I've given her the _real_ one--I remember now--I changed it at
mother's. I _did_ change it. John, I've given her the _real_ necklace!
(_Bursts into tears and sits R.C._)
JOHN (_dances all round the room with joy, then over to PAMELA_).
There, there, dear, don't go mad. It can't be helped. We all make
mistakes.
PAMELA. Something must be done. This will kill mother.
JOHN. We must chance that.
PAMELA (_starting up_). Couldn't Mr. Tully get the necklace back for
me?
JOHN. No, impossible!
PAMELA. Impossible, why?
JOHN (_takes PAMELA'S arm confidentially_). I'll tell you a secret,
Pam, Tully's a wrong 'un.
PAMELA. A wrong 'un?
JOHN. Yes, he's a dark horse. And I'll tell you something else. That
isn't _Mrs._ Tully; that's Tully's little weakness. He calls her
Agnes, and that's the type of man Mr. Tully is.
PAMELA (_with a knowing nod of the head_). I had my suspicions. Then
perhaps there's time for me to catch her before she finds the Rajah.
(_She rushes off windows R.C._)
JOHN. Come back, Pam. Come back!
(_Exit PAMELA._)
(_Enter AUNT HANNAH door L., without her hat._)
AUNT HANNAH. Where is my nephew, sir? Where is my nephew?
JOHN. Ah, Aunt Hannah! He's afraid to meet you until you forgive me
for all I've done. There's been a most absurd mistake caused by your
likeness to Bertram. If you'll only let me explain.
AUNT HANNAH. Really, I don't think it matters. (_Looking at her wet
clothes._)
JOHN. But you've no idea what a wonderful likeness there is--except of
course--_you_ look the younger.
AUNT HANNAH. Oh, no, I don't. (_Coyly._)
JOHN. Oh yes you do.
AUNT HANNAH. Oh, no, I don't!
JOHN. Then all is forgiven?
AUNT HANNAH. Why, of course!
(_TULLY runs on from door R., sees AUNT HANNAH._)
TULLY. Aunt Hannah! (_Over to her, kisses her._)
AUNT HANNAH. Bertie, my boy, my boy!
(_PAMELA enters from windows, R.C._)
PAMELA. John, it's too late; the Rajah's gone and taken the necklace
with him!
JOHN. Thank heaven! And I'll save up _your_ money and buy you
another--and that's the truth!
PAMELA. But you always _do_ tell me the truth, John.
JOHN. But in future I'm going to tell you better truth. And now we can
go home in safety. (_PAMELA and JOHN going up to window R.C._) Oh,
Bertram, where are you going?
TULLY. I'm going to take Auntie down to the Mission.
JOHN. Then, good-night!!
(_Exit PAMELA and JOHN window R.C._)
AUNT HANNAH. Bertie, I'll just go and put my bonnet on.
(_Exit AUNT HANNAH door L._)
(_MAMIE puts head round door R._)
MAMIE. Bertie!
TULLY. Oh!
MAMIE (_enters and over to TULLY_). I've got rid of the Rajah. Will
you take me out to supper?
TULLY. Certainly not!
MAMIE. Don't be unkind.
TULLY. I couldn't dream of such a thing.
MAMIE. Oh, Bertie, why not?
TULLY. I've promised to take Auntie down to the Mission.
MAMIE. Tell Auntie you're going on a much nicer mission. You _will_
come--say yes--Bertie! Bertie!
TULLY (_suddenly making up his mind to take the plunge_). Oh,
Fluffie!!
(_TULLY kisses MAMIE excitedly. He moves head quickly to and from
MAMIE'S cheek, more like pecks than kisses. URSULA enters from door R.
AUNT HANNAH from door L. PAMELA and JOHN from windows R.C. All enter
simultaneously and seeing TULLY kissing MAMIE they exit simultaneously
with varied exclamations and expressions._)
CURTAIN.
[Image: Plan for Act I]
ACT I
EXPLANATORY
A. French windows. K. Standard lamp.
B. Door opening on and up. M. Pot with Marguerites.
C. Fireplace. N. Telephone.
D. Table. P. Fender.
E. Writing-desk. R. Book.
F. Settee. S. Newspaper.
G. Arm-chair. T. Magazines.
H. Small chair. U. Telephone Directory.
J. Small table.
ACT II
The small table (J.) down L. in Act I is moved to down C., the chair
from in front of the writing-table is moved to the left side of the
small table (now C.) and the arm-chair (G.) is moved to the right side
of the small table (now C.). Otherwise the furniture is not altered.
[Image: Plan for Act III]
ACT III
EXPLANATORY
A. French windows. J. Small table.
B. Door opening on and up. K. Dinner-wagon or Sideboard.
C. Fireplace. M. Telegram.
D. Table. N. Letter.
E. Writing-desk. P. Fender.
F. Couch. R. Blotting-pad.
G. Arm-chair. S. Cushions.
H. Small chair.
Transcriber's Note
This transcription is based on images digitized by Google from a copy
made available by the University of Iowa. These images are posted at:
https://books.google.com/books?id=eelNAQAAMAAJ
In general, this transcription attempts to retain the formatting,
punctuation and spelling of the source text. Some changes were made to
correct for minor errors and inconsistencies, especially in formatting
or punctuation. The following changes were made to the text:
-- p. 5: Pamela. Must I remind you that--Changed "Pamela" to
"PAMELA" for consistency.
-- p. 10: JOHN (_rising and crossing to Pamela_). Hang it all--Changed
"Pamela" to "PAMELA" for consistency.
-- p. 18: "John stayed here, Kew." (_Reading._) John stayed here,
Bloomsbury."--Inserted opening quotation mark before "John" after
"(_Reading._)".
-- p. 24: (_Protests in action against the suggestion until John says
"BERTRAM," when a broad smile comes across his face._)--Changed
"John" to "JOHN" for consistency.
-- p. 30: MAMIE (_Very amused all the time_). Ripping, isn't
it?--Changed "_Very_" to all lower case for consistency.
-- p. 33: _MAMIE assists him into arm-chair. JOHN groaning all the
time._--Changed the period after "_arm-chair_" to a comma.
-- p. 33: Now then, Mr--_John_ Ayers, isn't it?--Inserted a period
after "Mr" for consistency.
-- p. 40: MAMIE (_turns her ring round to look like wedding ring and
holds hand up conspicuously_).--For consistency, reformatted this line
as a stage direction.
-- p. 42: Two weeks have elapsed since the events--Inserted an opening
parenthesis for consistency.
-- p. 45: TULLY. No, John, you called last time--Inserted a period at
the end of the sentence.
-- p. 47: TULLY. You haven't give me a chance yet!--Changed "give" to
"given".
-- p. 50: (_PAMELA rushes in dramatically, closing the door after
her._) John! John! The doctor--the doctor.--For consistency and
clarity, the stage direction part of this line has been formatted on a
line separate from the dialogue, and the character title "PAMELA" has
been inserted before "John! John!"
-- p. 54: DOCTOR (_picks up hat and follows her._) Allow _me.--_Moved
the period after "_her_" to after the closing parenthesis for
consistency.
-- p. 58: why _her_ husband is in _your_ bedroom!"--Deleted quotation
mark at end of sentence.
-- p. 61: MAMIE. But I dare not go home without it. (_Throwing her
arms round JOHN'S neck_,) Darling, do please!--Changed the comma
after "_neck_" to a period.
-- p. 69: JOHN (_over to doctor_). Surely, you're not going
to--Changed "doctor" to "DOCTOR" for consistency.
-- p. 71: Do you think Mr Trippett--Inserted a period after "Mr" for
consistency.
-- p. 77: JOHN (_thinks. He has a brilliant idea. Takes out his
penknife and goes to wall at back, feels along wall_).--For clarity
and consistency, this section has been reformatted. The opening
parentheses was moved to before "JOHN" and whole stage direction has
been formatted as a direction separate from dialogue.
-- p. 82: Thank you, Ursula, thank you--Inserted a period at the end
of the sentence.
-- p. 95: _makes movement with arms as if swimming._--Added a closing
parenthesis after "_swimming._"
-- p. 96: Ha! Ha! I must give way (_still dancing._)--Inserted a
period after "way" and capitalized "_still_".
-- p. 101: The small table (J.) down L. in Act. I is moved to down
C.--Deleted the period after "Act".
End of Project Gutenberg's A Little Bit of Fluff, by Walter W. Ellis