ACT IV

_SCENE:--Sitting-room at 55 Acacia Avenue. Early morning._

_LILY discovered, cutting sandwiches. Ring at door. LILY admits MAGGIE, who is dressed for the shop._

LILY. [_rather nervously._] You, Maggie! How early. What is it?

MAGGIE. I've come to help Mr. Tennant off, Lil. Where's Charley? Is he up?

LILY. Oh, yes. [_MAGGIE goes to the garden door and stands looking out._] He's been up a long while.

MAGGIE. So the great day has come. [_Turning._] Is Charley going, or isn't he, Lil?

LILY. [_nervously and avoiding MAGGIE'S eyes._] No, of course not.

MAGGIE. Why not?

LILY. Because--why, how can he? [_Tearfully._] Don't speak in that tone, Maggie.

MAGGIE. He would have decided to go, if you had encouraged him.

LILY. I _did_ encourage him. You heard me last night. I told him--and I told him again after we got home--"If you want to go, I'll never stand in your way."

MAGGIE. Yes, I heard. Is that how you told him last night?

LILY. It doesn't matter how I said it. He'll get over it. Everybody says he will--except you. And how could he go? It's just an idea he's got over Mr. Tennant.

MAGGIE. [_angrily._] Of course it's Mr. Tennant. Everybody speaks as if Mr. Tennant was a wicked person going round tempting poor husbands to desert their wives. "It's all that Mr. Tennant." "What a blessing when that man goes," etc., etc., as if he had a bad character. The truth is, that he's done a jolly good thing. He's stirred us all up. He's made us dissatisfied.

LILY. What's the good of that? Nobody can make things different if they wanted to.

MAGGIE. Don't talk nonsense. Hasn't he made things different himself? [_Getting a little heroic._] Heaps of fellows in London go on doing the same old thing, in the same old way, only too glad if it's safe. Look how everybody runs for the Civil Service. Why? Because it's safe, of course, and because they'll get a pension. Look at the post office clerks and Somerset House and lawyer's clerks and bank clerks--

LILY. Bank clerks don't get pensions--

MAGGIE. I know they don't, but once in a bank, always in a bank. Is there anything to look forward to--and aren't they all just--exactly _alike?_ I once went past a lot of offices in the city--I don't know what sort of offices they were. But the windows had dingy drab blinds, and inside there were rows and _rows_ of clerks, sitting on high stools, bending over great books on desks. And over each there was an electric light under a green shade. There they were scribbling away--and outside there was a most beautiful sunset. I shall never, never, forget those men.

LILY. They don't have long hours.

MAGGIE [_promptly._] Nine to six.

LILY. I always thought it was ten to four.

MAGGIE. Don't you believe it. That's what I thought once. You're thinking of the bank clerks, of course. My dear, the doors close at half-past three or four--but the clerks--why, they never see the daylight.

LILY. In the summer they do.

MAGGIE. [_impressively._] I don't care what you say, or what anybody says, it's not right. And if the men have got used to it, it's all the worse. They want stirring up--and it's the women who've got to do the stirring.

LILY. Whatever can _they_ do?

MAGGIE. Lots. It's the women who make the men afraid. In the old days the women used to help the men on with their armour and give them favours to wear, and send them forth to fight. That's the spirit we want now. Instead of that we say to the men:--"I shouldn't trouble, my dear, if I were you. You're safe here. Do be careful."

LILY. You're very unjust. Look at the Boer War, and how brave the women were then.

MAGGIE. That isn't the only kind of war. Is a soldier to be the only kind of man, that a woman's going to encourage? Can't she help the man who wants to make a better thing of life? Oh, what a lovely chance you had and didn't take it, Lil!

LILY. How can you talk like that! What a fuss you're making over a little thing.

MAGGIE. It wasn't a little thing. Here is Charley, with all sorts of "go" in him and fire and energy. Why couldn't you go to him and say, "I'm proud of you. Throw up the horrid business and go and seek your fortune." It was all he wanted, I do believe. Instead of which, he's got every blessed person against him--wife, mother-in-law, father-in-law, and all his friends and relations, and everything he can have. Everybody thinks him mad.

LILY. _You_ ought to have married him, I should think!

MAGGIE. Don't get spiteful, Lil!

LILY. Wait till you're married yourself to Walter--

MAGGIE. I'm not going to marry Walter.

LILY. [_struck with astonishment._] You're not going to marry Walter? Maggie!

MAGGIE. I've broken it off. I did it last night.

LILY. Whatever for? Did you quarrel? You were a little touchy last night, I thought--but Walter is so good tempered.

MAGGIE. I'm sure it's very good of him, but I don't wish to be forgiven and taken back. It was all through Mr. Tennant.

LILY. [_anxiously._] You don't love _him?_

MAGGIE. [_exasperated._] No, I'm not in love with _anybody;_ but all last week I was thinking and thinking, and it wasn't till last night that I found I was just marrying--to get away from the shop!

LILY. But he was _devoted_ to you and so kind.

MAGGIE. I don't want kindness. My shopwalker is very kind where I am, and I don't see any need to change.

LILY. How extraordinary you talk!

MAGGIE. Well, when I heard Charley talking last night, I thought what a fool I was to throw up one sort of--cage--for another.

LILY. But you _are_ free when you're married--

MAGGIE. Nobody is--more especially the woman. But the thing is, I shouldn't want to be, if I loved the man. But I don't love Walter, only his house. Now, I can leave the shop any day, when I've saved enough--and run away. But I couldn't run away from Walter.

LILY. [_horrified._] Run away--

MAGGIE. [_suddenly beginning to laugh._] Can you see me? Running away from Walter? _Walter!_ Oh! [_She laughs, but LILY looks very grave._]

LILY. You don't take the matter seriously.

MAGGIE. It shows how seriously I do take it. Have you ever heard of any girl, throwing up a good match, who wasn't dead serious?

_TENNANT enters._

TENNANT. Good morning. Oh, good morning, Miss Massey.

LILY. You're ready for breakfast, aren't you?

_Goes out._

MAGGIE. Aren't you surprised to see me here? I wanted to give you a send off.

TENNANT. Awfully good of you.

MAGGIE. You're quite a hero in my eyes, you know, and I feel I must cheer or do something extra. [_LILY comes in with porridge._]

LILY. You'll have some, won't you, Maggie?

MAGGIE. Thanks. Here, I'll pour out the tea.

_LILY goes out._

[_To TENNANT._] Aren't you just frightfully excited?

TENNANT. Can't say I am.

MAGGIE. [_sighing and looking admiringly at him._] I should be _wild,_ absolutely wild, if I were going.

TENNANT. I'm going to chance it, you know. There's no fortune waiting for me.

MAGGIE. That's the point of it. You know it's awfully unsettling, all this talk about Australia. You've made me so dissatisfied. I don't feel I can go back to the shop.

TENNANT. [_easily._] You'll get over that.

MAGGIE. Oh, I suppose so.

_LILY enters with toast and puts it down beside him._

TENNANT. [_turning._] Please don't bring anything else, Mrs. Wilson. I can't eat it.

LILY. But it's such a journey to the boat.

TENNANT. Oh, that's nothing--besides, I've got these sandwiches. [_Laying his hand on the package near him._]

LILY. Are you sure there are enough? I can soon cut some more.

TENNANT. Heaps, thanks. [_Earnestly._] Really, I shan't know what to do with them.

LILY. I'll put you an apple or two in.

TENNANT. No, don't--

LILY. Oh, but they won't take up much room.

TENNANT. [_resignedly._] Thanks very much.

_CHARLEY enters._

LILY. Oh, there you are. You'll have breakfast now, dear, won't you?

CHARLEY. I'll have it later. You here, Mag?

MAGGIE. Of course. Do you think this great event could go off without me?

_LILY and MAGGIE go out._

TENNANT. [_smilingly._] Miss Massey seems to think it's a sort of picnic.

CHARLEY. [_absently._] Does she?

TENNANT. She'd marry well out there, I daresay.

CHARLEY. Would she?

TENNANT. She looks strong and healthy. Her sort get snapped up in no time.

CHARLEY. You're catching the 10.15, aren't you?

TENNANT. [_surprised._] Yes. Why? Coming to the station?

CHARLEY. There's another just after twelve--

_TENNANT, who has been swinging his chair backwards, comes to a pause as CHARLEY comes up to him._

TENNANT. Is there? I don't know. But what--

CHARLEY. [_lowering his voice._] Look here, old chap, suppose I come too?

TENNANT. What!

CHARLEY. [_who keeps his voice rather low the whole time, though visibly excited._] Don't shout! I haven't told anybody--but I mean it. I want you to look out for me at Plymouth.

TENNANT. But, Wilson--I say--you--

CHARLEY. Don't! It's all settled. There's no use arguing. I've made up my mind. I'm going to leave here as usual and coming on by the second train and pick you up at Plymouth. Don't stare like that--I've thought it all out--

TENNANT. But your wife--your people here--you can't do it. When I've gone, you'll get over it.

CHARLEY. Get over it? I'm not going to get over anything. I've been a coward, see?--and now I'm going to cut and run. It's no good telling _Lil_--she wouldn't understand--but when I'm out there and get something and making a tidy little place for her, she'll be all right. She's nervous--the women are like that, you know--they can't help it--and her people, too--well, they're old, and when you're old, you're afraid.

TENNANT. [_interrupting._] You mean to go! to-day?

CHARLEY. Why not? Why not? If I put it off, I'll never go. It wants a bit of doing, and if you don't do these things at the time, well, you give in. I've packed a bag with some things--I did it this morning.

TENNANT. That's why you were up so early--

CHARLEY. I have written a note to Lil. [_Argumentatively._] It's the only thing to do--there's no other way--I say, Freddy, you'll stand by me? It's easy for chaps like you--

_LESLIE MORTON crosses behind sitting-room window._

TENNANT. [_uneasily._] Well--you know best--

CHARLEY. Of course--it's the only thing--

_The door opens and voices can be heard outside, laughing._

Who's this coming? It's that ass. . . .

_He rises as MAGGIE, LILY and MORTON LESLIE enter._

LESLIE. [_a little short of breath._] Where's that fool? Thought I'd come and give you a good-bye kiss, old fellow. I would cry, but I've only brought one handkerchief.

MAGGIE. Lily will lend you one of Charley's. But won't you miss the 8.15? Do be careful.

LESLIE. Miss Maggie, I'll tell you a great, an awful secret. [_He goes to her and says in a loud whisper._] I mean to miss it.

MAGGIE. I don't believe it--you couldn't do such a thing.

LESLIE. [_to CHARLEY._] Well, Wilson, how is it? You look--

CHARLEY. [_curtly._] I'm all right. You don't expect me to laugh all the time, do you?

LESLIE. Certainly not. I'm afraid you're still pining for the flesh pots--or is it cocoanuts--

CHARLEY. No, it's gourds--

TENNANT. Tin mugs, you mean.

LESLIE. Take my word for it, before a week's out, you'll be thankful you're sitting opposite your own best tea service, on a Sunday afternoon.

CHARLEY. I say, it's about time you were off, Freddy.

TENNANT. [_looking at his watch._] So it is.

LILY. You're sure you've got everything. [_To TENNANT._]

LESLIE. _Don't_ forget to write, please--and _do_ let us know what boat you're coming back by.

TENNANT. [_laughing._] Shut up! Where did I put my cap?

_They ALL make a rush for the cap, and MAGGIE brings it from the hall._

CHARLEY. [_picking up a paper off the table._] Here, is this yours?

TENNANT. Another map--it doesn't matter. Burn it.

CHARLEY. Australia!

TENNANT. [_looking at CHARLEY._] Put it in the fire.

CHARLEY. [_defiantly._] It might be useful. [_He opens it and fixes it with a pin against the wall._]

LILY. Now we shall be able to follow your travels, shan't we?

LESLIE. The time has come! Well, good-bye--old man. Allow me to prophesy you'll soon be back--remember what I said--

MAGGIE. [_from the door._] It's a most glorious morning! The sun is shining for you, Mr. Tennant--and there's not a cloud in the sky.

LESLIE. I hope you won't lose _all_ your money--

MAGGIE. The sea will be all beautiful with the dearest little ripples.

LESLIE. And if by any wonderful stroke of luck you do make anything, let us know. Good-bye.

MAGGIE. All the men are running off to the city--but _you're_ going to Australia.

_TENNANT is rushed out._

_LILY and CHARLEY follow him._

_MAGGIE runs in quickly and opens the sitting-room window, through which TENNANT can be seen shaking hands again and again with CHARLEY and LILY._

MAGGIE. Good luck!

LESLIE. [_shouting through window._] Give my love to What's-his-name, the Prime Minister!

MAGGIE. [_singing._] "For I've lately got a notion for to cross the briny ocean."

LESLIE. [_joining._] "And I'm off to Philadelphia in the morning."

_LESLIE drawls out the last word, bursts out laughing and turns away._

MAGGIE. Anybody would think you were excited.

LESLIE. If a man _will_ be a fool, Miss Maggie, he may as well go away a happy fool. A cheer costs nothing. So much for _him._ Now it's me.

MAGGIE. How many trains _have_ you missed?

LESLIE. [_seriously._] Quite two, I should think. But I promise you it shan't happen again.

_Goes out._

_CHARLEY and LILY enter._

LILY. [_wiping her eyes._] So he's gone. Poor man, I do hope he'll get on all right.

CHARLEY. [_easily and in a brighter tone._] He'll be all right. He can stand a little roughing.

LILY. It was such a pity you couldn't get the time to go and see him off, dear.

CHARLEY. Oh, that's nothing.

LILY. I'll have breakfast ready for you soon.

_Goes out._

CHARLEY. There's no hurry.

_MAGGIE is looking at the map._

MAGGIE. It's a big place.

CHARLEY. Um. A chance to get some fresh air there.

MAGGIE. [_turning._] So you're not going after all?

CHARLEY. Oh--er--how can I, Mag?

MAGGIE. It means such a lot, of course.

CHARLEY. Courage or cheek--I don't know which. Of course, it's quite a mad idea--any fool can see that.

MAGGIE. You're not a fool. It's the others who're fools. If only you could hold out a little longer. Lil would be all right. She might fret a little at first--but she's the clinging sort--

CHARLEY. But think what everybody would say!

MAGGIE. You're getting over it already!

CHARLEY. What else can I do? I--I--shall settle down.

MAGGIE. Settle down! Charley--why should you? _I've_ refused to settle down. Why can't you?

CHARLEY. What do you mean? What's it got to do with you?

MAGGIE. [_triumphantly._] I've refused to marry Walter.

CHARLEY. [_surprised, but not particularly interested._] What on earth for?

MAGGIE. It was all through Mr. Tennant--

CHARLEY. Tennant? You're--

MAGGIE. [_impatiently._] Oh, dear, NO. I'm not pining for him. But I found out, when there was all this talk about Mr. Tennant, that I was marrying Walter, because I wanted to be safe and was afraid of risk. Then I made up my mind I wouldn't do that. I tell you because--if a girl can risk things--surely a man--

CHARLEY. There wasn't any risk for you with Walter. I can't see it.

MAGGIE. A woman isn't tested in the same way as a man. It's the only way I have--

CHARLEY. Well, you know best, and if you don't like him--but everybody thought you did. I must say you've been rather hard on Foster. You led him on. I should have thought it was rather a good thing for you. Still. . . .

MAGGIE. [_sighing._] So it's no good, then, saying anything?

CHARLEY. [_uneasily._] No--er-- [_Turning to her._] Mag! What would you really think of me if I did?

MAGGIE. What? [_Looks at him for a second._] Charley--will you--after all?

CHARLEY. Supposing I don't give in--supposing I did go--

MAGGIE. Do you mean it?

CHARLEY. Are you sure about Lil--I'm ready to throw up everything--

MAGGIE. I would look after her--she would be all right in a week--I would do anything--

CHARLEY. But if I go it must be at once--at once, you understand.

MAGGIE. Yes, yes. . . .

CHARLEY. And if Lil thinks me a brute beast for leaving her like this--in this way--you'll explain--you'll stick up for me--

MAGGIE. This way? I don't--

CHARLEY. I'm going to-day, Mag. I've arranged everything. I couldn't stand it. I had to go. I've written to Lil. She'll be all right for money--I've thought of that and I shall soon send for her. I know I shall, and then she'll be glad I did it. I look a brute, but, Mag, it's got to be. [_Postman's knock on front door._] Hush! Here comes Lil--don't breathe a word--

MAGGIE. To-day!

_LILY enters with letters._

LILY. Here's the post. Two for you, dear. [_Gives letters to CHARLEY, who, however, doesn't look at them, but goes up to map._]

MAGGIE. [_quickly._] I'll call back for you, to go to the station.

CHARLEY. All right.

_MAGGIE goes out hurriedly._

LILY. I'm sure you're ready for breakfast now, dear--and you won't have very much time.

CHARLEY. I'm not very hungry.

LILY. It was so nice of Mr. Leslie to come in like that, wasn't it?

CHARLEY. Yes. He means all right.

LILY. [_as he eats._] They're very nice neighbours. I think we're very lucky to have them.

CHARLEY. Um. You were up very early. You'll be tired to-night.

LILY. These things don't often happen, do they, and I can keep better hours in future. We generally go along so regularly, don't we?

CHARLEY. [_suddenly turning from his breakfast._] Yes.

LILY. I've been thinking, dear, that we shall feel a little dull to-night without Mr. Tennant. Shall we go to the theatre?--something light--

CHARLEY. Oh--no--I don't think so--

LILY. Shall we ask the Leslies for whist?

CHARLEY. [_rising._] No--not them--it doesn't matter, Lil--unless you'd rather.

LILY. Oh, I shall be quite happy at home, by ourselves. I am so glad you would prefer that, dear. [_She goes up to him._]

CHARLEY. I haven't been up to much in the company line lately, have I?

LILY. You'll be better now, dear. What time shall you be home?

CHARLEY. OK--er--you know my usual--

LILY. Yes, dear. Don't be late. I've got something to tell you--which will please you, I think.

CHARLEY. Have you?

LILY. Would you like to hear it now?

CHARLEY. Is it important?

LILY. _Is_ it important? You'll have to be such a good man soon, dear--you'll have to set a good example.

CHARLEY. [_uneasily._] What do you mean?

LILY. Can't you guess? How dull you are! Bend down and let me tell you. [_She pulls down his face and whispers._]

CHARLEY. [_pulling himself away._] What! God! [_Taking her by the arms._]

CHARLEY. [_turning away a second, and then turning back._] Is that true?

LILY. Yes, dear.

CHARLEY. Lil--I. . . .

LILY. You _are_ pleased! But of course you are.

CHARLEY. Of course, dear.

LILY. Isn't it lovely to think of! And can't you imagine mother as grandmamma! Won't she be a fuss! Why, you're quite overcome. There! Go away and get ready. You didn't open your letters. There's the door. I suppose it's Maggie back.

_LILY goes out, and re-enters a moment after with MAGGIE._

_They meet CHARLEY going out, and MAGGIE, looking at him almost stops him._

MAGGIE. What have you been saying to Charley, Lil?

LILY. Why?

MAGGIE. I thought he looked a little--upset. . . .

LILY. He is rather. He's quite overcome, in fact. But then he would be, of course.

_MAGGIE closes door, still looking at LILY._

MAGGIE. What about?

LILY. What could I tell him, that would make him more pleased than anything else?

MAGGIE. I'm sure I don't know.

LILY. What generally happens when people are married?

MAGGIE. That! [_Pause._] Lily!

LILY. Charley is delighted.

MAGGIE. [_unconsciously speaking her thought._] So you've _got_ him after all.

LILY. [_indignant._] Maggie!!

MAGGIE. Why did you tell him _now?_

_LILY goes out, a little indignant._

_CHARLEY enters from kitchen, dressed for the office._

MAGGIE. Charley!

CHARLEY. What's up? Don't rot, Mag!

MAGGIE. And now--

CHARLEY. Oh, let's drop it. I was a fool all along--a bit of a beast, too--it's done with. . . .

MAGGIE. But--

CHARLEY. What's the good of talking? Don't make me out more of a brute than I am! No, the thing was meant to be! I was mad. After all, a man can't do just what he likes! It's better as it is. If this hadn't happened I should have done it--and a pretty mess, I daresay, I'd have been in--and dragged her in, too--

MAGGIE. If--

_LILY enters._

. . . I don't think I can wait for you, after all, Charley.

CHARLEY. Don't trouble.

MAGGIE. Good-bye.

_She goes._

LILY. You didn't open your letters, dear.

CHARLEY. What are they?

LILY. [_tearing one open._] About the new lodger--very quick replies. . . .

CHARLEY. [_hastily._] Oh, leave them over.

LILY. Ready?

CHARLEY. [_moving his neck uneasily in the high collar._] Yes--this beastly collar.

LILY. It's a pity they make you wear such things.

CHARLEY. I've got a short neck. I suppose you shouldn't be a clerk, if you've got a short neck. It doesn't fit the collars.

LILY. What an idea!

_CHARLEY stands looking at the map a moment. Suddenly he tears it down and throws it into the fire._

CHARLEY. Good-bye, Lil. [_He kisses her._]

LILY. Good-bye, dear.

_He picks up his silk hat and gloves and puts the hat on as he reaches the door._

_LILY runs to the door._

Good-bye.

CHARLEY. Good-bye. [_From outside._]

_There is a sound of the front door slamming._

_LILY starts chorus of hymn:_

Count your blessings, count them one by one. Count your blessings, see what God has done, etc.

CURTAIN

Transcriber's Note

This transcription is based on scanned images posted by the Internet Archive from a copy in the University of Toronto Libraries:

archive.org/details/chainsplayinfour00bakeuoft

The following changes were made:

- p. 2: LILY. Who's Poppy, dear.--Changed period to a question mark.

- p. 7: I've er--got some news for you.--Inserted dash after "I've".

- p. 12: You are quite free to do as you like, aren't' you, Mr. Tennant?--Deleted apostrophe after "aren't".

- p. 15: [_lifting the curtain and coming forward with Leslie._]--Changed "_Leslie_" to unitalicized all caps.

- p. 31: CHARLEY. (_digging his hands into the pockets. . ._--Changed opening parenthesis to opening bracket for consistency.

- p. 36: [_To Charley._] You must have something hot. . .--Changed "_Charley_" to unitalicized all caps.

- p. 45: _She brings back with her a tray, with cloth, etc.. and prepares for tea on a small table._--Changed second period after "_etc_" to a comma.

- p. 48: MRS. M. [_a little impatiently to Maggie._]--Changed "_Maggie_" to unitalicized all caps.

- p. 54: The work is not too hard, But you like change.--Changed comma after "hard" to a period.

- p. 63: Added stage direction: "_LILY and MRS. MASSEY go out._"--A few lines after Lily says "I'm quite ready to go", there is a stage direction for Lily and Mrs. Massey to re-enter, but the source text has no direction indicating their exit. A stage direction indicating their exit was added right after Lily's line.

- p. 78: _LIL goes out, and re-enters a moment after with MAGGIE._--Changed "LIL" to "LILY".

- p. 80: _LILY runs to the door._ Good-bye.--Placed line of dialogue ("Good-bye.") on a separate line from the preceding stage direction.

Some inconsistencies in the source text have been noted but allowed to stand as-is. For example, Lily's husband's name is spelled both "Charley" and "Charlie." On p. 58, Mrs. Massey says, "Sybil told me distinctly this afternoon that Charley wanted to go to Australia." She is clearly referring to Lily, but the line has been left as printed.

The html version of this etext attempts to reproduce the layout of the printed text. However, some concessions have been made. For example, all stage directions were indented the same amount from the left margin and coded as hanging paragraphs.