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MAUD. [Who has put the table between them] I won't stand being shaken.

BUILDER. [Staring at her across the table] You've got my temper up and you'll take the consequences. I'll make you toe the line.

MAUD. If you knew what a Prussian expression you've got!

BUILDER passes his hand across his face uneasily, as if to wipe something off.

No! It's too deep!

BUILDER. Are you my daughter or are you not?

MAUD. I certainly never wanted to be. I've always disliked you, father, ever since I was so high. I've seen through you. Do you remember when you used to come into the nursery because Jenny was pretty? You think we didn't notice that, but we did. And in the schoolroom—Miss Tipton. And d'you remember knocking our heads together? No, you don't; but we do. And—

BUILDER. You disrespectful monkey! Will you be quiet?

MAUD. No; you've got to hear things. You don't really love anybody but yourself, father. What's good for you has to be good for everybody. I've often heard you talk about independence, but it's a limited company and you've got all the shares.

BUILDER. Rot; only people who can support themselves have a right to independence.

MAUD. That's why you don't want me to support myself.

BUILDER. You can't! Film, indeed! You'd be in the gutter in a year. Athene's got her pittance, but you—you've got nothing.

MAUD. Except my face.

BUILDER. It's the face that brings women to ruin, my girl.

MAUD. Well, when I'm there I won't come to you to rescue me.

BUILDER. Now, mind—if you leave my house, I've done with you.

MAUD. I'd rather scrub floors now, than stay.

BUILDER. [Almost pathetically] Well, I'm damned! Look here, Maud— all this has been temper. You got my monkey up. I'm sorry I shook you; you've had your revenge on my toes. Now, come! Don't make things worse for me than they are. You've all the liberty you can reasonably want till you marry.

MAUD. He can't see it—he absolutely can't!

BUILDER. See what?

MAUD. That I want to live a life of my own.

He edges nearer to her, and she edges to keep her distance.

BUILDER. I don't know what's bitten you.

MAUD. The microbe of freedom; it's in the air.

BUILDER. Yes, and there it'll stay—that's the first sensible word you've uttered. Now, come! Take your hat off, and let's be friends!

MAUD looks at him and slowly takes off her hat.

BUILDER. [Relaxing his attitude, with a sigh of relief] That's right! [Crosses to fireplace].

MAUD. [Springing to the door leading to the hall] Good-bye, father!

BUILDER. [Following her] Monkey!

At the sound of a bolt shot, BUILDER goes up to the window. There is a fumbling at the door, and CAMILLE appears.

BUILDER. What's the matter with that door? CAMILLE. It was bolted, Monsieur.

BUILDER. Who bolted it?

CAMILLE. [Shrugging her shoulders] I can't tell, Monsieur.

She collects the cups, and halts close to him. [Softly] Monsieur is not 'appy.

BUILDER. [Surprised] What? No! Who'd be happy in a household like mine?

CAMILLE. But so strong a man—I wish I was a strong man, not a weak woman.

BUILDER. [Regarding her with reluctant admiration] Why, what's the matter with you?

CAMILLE. Will Monsieur have another glass of brandy before I take it?

BUILDER. No! Yes—I will.

She pours it out, and he drinks it, hands her the glass and sits down suddenly in an armchair. CAMILLE puts the glass on a tray, and looks for a box of matches from the mantelshelf.

CAMILLE. A light, Monsieur?

BUILDER. Please.

CAMILLE. [She trips over his feet and sinks on to his knee] Oh! Monsieur!

BUILDER flames up and catches her in his arms

Oh! Monsieur—

BUILDER. You little devil!

She suddenly kisses him, and he returns the kiss. While they are engaged in this entrancing occupation, MRS BUILDER opens the door from the hall, watches unseen for a few seconds, and quietly goes out again.

BUILDER. [Pushing her back from him, whether at the sound of the door or of a still small voice] What am I doing?

CAMILLE. Kissing.

BUILDER. I—I forgot myself.

They rise.

CAMILLE. It was na-ice.

BUILDER. I didn't mean to. You go away—go away!

CAMILLE. Oh! Monsieur, that spoil it.

BUILDER. [Regarding her fixedly] It's my opinion you're a temptation of the devil. You know you sat down on purpose.

CAMILLE. Well, perhaps.

BUILDER. What business had you to? I'm a family man.

CAMILLE. Yes. What a pity! But does it matter?

BUILDER. [Much beset] Look here, you know! This won't do! It won't do! I—I've got my reputation to think of!

CAMILLE. So 'ave I! But there is lots of time to think of it in between.

BUILDER. I knew you were dangerous. I always knew it.

CAMILLE. What a thing to say of a little woman!

BUILDER. We're not in Paris.

CAMILLE. [Clasping her hands] Oh! 'Ow I wish we was!

BUILDER. Look here—I can't stand this; you've got to go. Out with you! I've always kept a firm hand on myself, and I'm not going to—

CAMILLE. But I admire you so!

BUILDER. Suppose my wife had come in?

CAMILLE. Oh! Don't suppose any such a disagreeable thing! If you were not so strict, you would feel much 'appier.

BUILDER. [Staring at her] You're a temptress!

CAMILLE. I lofe pleasure, and I don't get any. And you 'ave such a duty, you don't get any sport. Well, I am 'ere!

She stretches herself, and BUILDER utters a deep sound.

BUILDER. [On the edge of succumbing] It's all against my—I won't do it! It's—it's wrong!

CAMILLE. Oh! La, la!

BUILDER. [Suddenly revolting] No! If you thought it a sin—I—might. But you don't; you're nothing but a—a little heathen.

CAMILLE. Why should it be better if I thought it a sin?

BUILDER. Then—then I should know where I was. As it is—

CAMILLE. The English 'ave no idea of pleasure. They make it all so coarse and virtuous.

BUILDER. Now, out you go before I—! Go on!

He goes over to the door and opens it. His wife is outside in a hat and coat. She comes in.

[Stammering] Oh! Here you are—I wanted you.

CAMILLE, taking up the tray, goes out Left, swinging her hips a very little.

BUILDER. Going out?

MRS BUILDER. Obviously.

BUILDER. Where?

MRS BUILDER. I don't know at present.

BUILDER. I wanted to talk to you about Maud.

MRS BUILDER. It must wait.

BUILDER. She's-she's actually gone and—

MRS BUILDER. I must tell you that I happened to look in a minute ago.

BUILDER. [In absolute dismay] You! You what?

MRS BUILDER. Yes. I will put no obstacle in the way of your pleasures.

BUILDER. [Aghast] Put no obstacle? What do you mean? Julia, how can you say a thing like that? Why, I've only just—

MRS BUILDER. Don't! I saw.

BUILDER. The girl fell on my knees. Julia, she did. She's—she's a little devil. I—I resisted her. I give you my word there's been nothing beyond a kiss, under great provocation. I—I apologise.

MRS BUILDER. [Bows her head] Thank you! I quite understand. But you must forgive my feeling it impossible to remain a wet blanket any longer.

BUILDER. What! Because of a little thing like that—all over in two minutes, and I doing my utmost.

MRS BUILDER. My dear John, the fact that you had to do your utmost is quite enough. I feel continually humiliated in your house, and I want to leave it—quite quietly, without fuss of any kind.

BUILDER. But—my God! Julia, this is awful—it's absurd! How can you? I'm your husband. Really—your saying you don't mind what I do—it's not right; it's immoral!

MRS BUILDER. I'm afraid you don't see what goes on in those who live with you. So, I'll just go. Don't bother!

BUILDER. Now, look here, Julia, you can't mean this seriously. You can't! Think of my position! You've never set yourself up against me before.

MRS BUILDER. But I do now.

BUILDER. [After staring at her] I've given you no real reason. I'll send the girl away. You ought to thank me for resisting a temptation that most men would have yielded to. After twenty-three years of married life, to kick up like this—you ought to be ashamed of yourself.

MRS BUILDER. I'm sure you must think so.

BUILDER. Oh! for heaven's sake don't be sarcastic! You're my wife, and there's an end of it; you've no legal excuse. Don't be absurd!

MRS BUILDER. Good-bye!

BUILDER. D'you realise that you're encouraging me to go wrong? That's a pretty thing for a wife to do. You ought to keep your husband straight.

MRS BUILDER. How beautifully put!

BUILDER. [Almost pathetically] Don't rile me Julia! I've had an awful day. First Athene—then Maud—then that girl—and now you! All at once like this! Like a swarm of bees about one's head. [Pleading] Come, now, Julia, don't be so—so im practicable! You'll make us the laughing-stock of the whole town. A man in my position, and can't keep his own family; it's preposterous!

MRS BUILDER. Your own family have lives and thoughts and feelings of their own.

BUILDER. Oh! This damned Woman's business! I knew how it would be when we gave you the vote. You and I are married, and our daughters are our daughters. Come, Julia. Where's your commonsense? After twenty-three years! You know I can't do without you!

MRS BUILDER. You could—quite easily. You can tell people what you like.

BUILDER. My God! I never heard anything so immoral in all my life from the mother of two grownup girls. No wonder they've turned out as they have! What is it you want, for goodness sake?

MRS BUILDER. We just want to be away from you, that's all. I assure you it's best. When you've shown some consideration for our feelings and some real sign that we exist apart from you—we could be friends again— perhaps—I don't know.

BUILDER. Friends! Good heavens! With one's own wife and daughters! [With great earnestness] Now, look here, Julia, you haven't lived with me all this time without knowing that I'm a man of strong passions; I've been a faithful husband to you—yes, I have. And that means resisting all sorts of temptations you know nothing of. If you withdraw from my society I won't answer for the consequences. In fact, I can't have you withdrawing. I'm not going to see myself going to the devil and losing the good opinion of everybody round me. A bargain's a bargain. And until I've broken my side of it, and I tell you I haven't—you've no business to break yours. That's flat. So now, put all that out of your head.

MRS BUILDER. No.

BUILDER. [Intently] D'you realise that I've supported you in luxury and comfort?

MRS BUILDER. I think I've earned it.

BUILDER. And how do you propose to live? I shan't give you a penny. Come, Julia, don't be such an idiot! Fancy letting a kiss which no man could have helped, upset you like this!

MRS BUILDER. The Camille, and the last straw!

BUILDER. [Sharply] I won't have it. So now you know.

But MRS BUILDER has very swiftly gone.

Julia, I tell you— [The outer door is heard being closed] Damnation!

I will not have it! They're all mad! Here—where's my hat?

He looks distractedly round him, wrenches open the door, and a moment later the street door is heard to shut with a bang.

CURTAIN

ACT III

SCENE I

Ten o'clock the following morning, in the study of the Mayor of Breconridge, a panelled room with no window visible, a door Left back and a door Right forward. The entire back wall is furnished with books from floor to ceiling; the other walls are panelled and bare. Before the fireplace, Left, are two armchairs, and other chairs are against the walls. On the Right is a writing-bureau at right angles to the footlights, with a chair behind it. At its back corner stands HARRIS, telephoning.

HARRIS. What—[Pause] Well, it's infernally awkward, Sergeant. . . . The Mayor's in a regular stew. . . . [Listens] New constable? I should think so! Young fool! Look here, Martin, the only thing to do is to hear the charge here at once. I've sent for Mr Chantrey; he's on his way. Bring Mr Builder and the witnesses round sharp. See? And, I say, for God's sake keep it dark. Don't let the Press get on to it. Why you didn't let him go home—! Black eye? The constable? Well, serve him right. Blundering young ass! I mean, it's undermining all authority. . . . Well, you oughtn't—at least, I . . . Damn it all!—it's a nine days' wonder if it gets out—! All right! As soon as you can. [He hangs up the receiver, puts a second chair behind the bureau, and other chairs facing it.] [To himself] Here's a mess! Johnny Builder, of all men! What price Mayors!

The telephone rings.

Hallo? . . . Poaching charge? Well, bring him too; only, I say, keep him back till the other's over. By the way, Mr Chantrey's going shooting. He'll want to get off by eleven. What? . . . Righto !

As he hangs up the receiver the MAYOR enters. He looks worried, and is still dressed with the indefinable wrongness of a burgher.

MAYOR. Well, 'Arris?

HARRIS. They'll be over in five minutes, Mr Mayor.

MAYOR. Mr Chantrey?

HARRIS. On his way, sir.

MAYOR. I've had some awkward things to deal with in my time, 'Arris, but this is just about the [Sniffs] limit.

HARRIS. Most uncomfortable, Sir; most uncomfortable!

MAYOR. Put a book on the chair, 'Arris; I like to sit 'igh.

HARRIS puts a volume of Eneyclopaedia on the Mayor's chair behind the bureau.

[Deeply] Our fellow-magistrate! A family man! In my shoes next year. I suppose he won't be, now. You can't keep these things dark.

HARRIS. I've warned Martin, sir, to use the utmost discretion. Here's Mr Chantrey.

By the door Left, a pleasant and comely gentleman has entered, dressed with indefinable rightness in shooting clothes.

MAYOR. Ah, Chantrey!

CHANTREY. How de do, Mr Mayor? [Nodding to HARRIS] This is extraordinarily unpleasant.

The MAYOR nods.

What on earth's he been doing?

HARRIS. Assaulting one of his own daughters with a stick; and resisting the police.

CHANTREY. [With a low whistle] Daughter! Charity begins at home.

HARRIS. There's a black eye.

MAYOR. Whose?

HARRIS. The constable's.

CHANTREY. How did the police come into it?

HARRIS. I don't know, sir. The worst of it is he's been at the police station since four o'clock yesterday. The Superintendent's away, and Martin never will take responsibility.

CHANTREY. By George! he will be mad. John Builder's a choleric fellow.

MAYOR. [Nodding] He is. 'Ot temper, and an 'igh sense of duty.

HARRIS. There's one other charge, Mr Mayor—poaching. I told them to keep that back till after.

CHANTREY. Oh, well, we'll make short work of that. I want to get off by eleven, Harris. I shall be late for the first drive anyway. John Builder! I say, Mayor—but for the grace of God, there go we!

MAYOR. Harris, go out and bring them in yourself; don't let the servants—

HARRIS goes out Left. The MAYOR takes the upper chair behind the bureau, sitting rather higher because of the book than CHANTREY, who takes the lower. Now that they are in the seats of justice, a sort of reticence falls on them, as if they were afraid of giving away their attitudes of mind to some unseen presence.

MAYOR. [Suddenly] H'm!

CHANTREY. Touch of frost. Birds ought to come well to the guns—no wind. I like these October days.

MAYOR. I think I 'ear them. H'm.

CHANTREY drops his eyeglass and puts on a pair of "grandfather" spectacles. The MAYOR clears his throat and takes up a pen. They neither of them look up as the door is opened and a little procession files in. First HARRIS; then RALPH BUILDER, ATHENE, HERRINGHAME, MAUD, MRS BUILDER, SERGEANT MARTIN, carrying a heavy Malacca cane with a silver knob; JOHN BUILDER and the CONSTABLE MOON, a young man with one black eye. No funeral was ever attended by mutes so solemn and dejected. They stand in a sort of row.

MAYOR. [Without looking up] Sit down, ladies; sit down.

HARRIS and HERRINGHAME succeed in placing the three women in chairs. RALPH BUILDER also sits. HERRINGHAME stands behind. JOHN BUILDER remains standing between the two POLICEMEN. His face is unshaved and menacing, but he stands erect staring straight at the MAYOR. HARRIS goes to the side of the bureau, Back, to take down the evidence.

MAYOR. Charges!

SERGEANT. John Builder, of The Cornerways, Breconridge, Contractor and Justice of the Peace, charged with assaulting his daughter Maud Builder by striking her with a stick in the presence of Constable Moon and two other persons; also with resisting Constable Moon in the execution of his duty, and injuring his eye. Constable Moon!

MOON. [Stepping forward-one, two—like an automaton, and saluting] In River Road yesterday afternoon, Your Worship, about three-thirty p.m., I was attracted by a young woman callin' "Constable" outside a courtyard. On hearing the words "Follow me, quick," I followed her to a painter's studio inside the courtyard, where I found three persons in the act of disagreement. No sooner 'ad I appeared than the defendant, who was engaged in draggin' a woman towards the door, turns to the young woman who accompanied me, with violence. "You dare, father," she says; whereupon he hit her twice with the stick the same which is produced, in the presence of myself and the two other persons, which I'm given to understand is his wife and other daughter.

MAYOR. Yes; never mind what you're given to understand.

MOON. No, sir. The party struck turns to me and says, "Come in. I give this man in charge for assault." I moves accordingly with the words: "I saw you. Come along with me." The defendant turns to me sharp and says: "You stupid lout—I'm a magistrate." "Come off it," I says to the best of my recollection. "You struck this woman in my presence," I says, "and you come along!" We were then at close quarters. The defendant gave me a push with the words: "Get out, you idiot!" "Not at all," I replies, and took 'old of his arm. A struggle ensues, in the course of which I receives the black eye which I herewith produce. [He touches his eye with awful solemnity.]

The MAYOR clears his throat; CHANTREY'S eyes goggle; HARRIS bends over and writes rapidly.

During the struggle, Your Worship, a young man has appeared on the scene, and at the instigation of the young woman, the same who was assaulted, assists me in securing the prisoner, whose language and resistance was violent in the extreme. We placed him in a cab which we found outside, and I conveyed him to the station.

CHANTREY. What was his—er—conduct in the—er—cab?

MOON. He sat quiet.

CHANTREY. That seems—

MOON. Seein' I had his further arm twisted behind him.

MAYOR [Looking at BUILDER] Any questions to ask him?

BUILDER makes not the faintest sign, and the MAYOR drops his glance.

MAYOR. Sergeant?

MOON steps back two paces, and the SERGEANT steps two paces forward.

SERGEANT. At ten minutes to four, Your Worship, yesterday afternoon, Constable Moon brought the defendant to the station in a four-wheeled cab. On his recounting the circumstances of the assault, they were taken down and read over to the defendant with the usual warning. The defendant said nothing. In view of the double assault and the condition of the constable's eye, and in the absence of the Superintendent, I thought it my duty to retain the defendant for the night.

MAYOR. The defendant said nothing?

SERGEANT. He 'as not opened his lips to my knowledge, Your Worship, from that hour to this.

MAYOR. Any questions to ask the Sergeant?

BUILDER continues to stare at the MAYOR without a word.

MAYOR. Very well!

The MAYOR and CHANTREY now consult each other inaudibly, and the Mayor nods.

MAYOR. Miss Maud Builder, will you tell us what you know of this—er— occurrence?

MAUD. [Rising; with eyes turning here and there] Must I?

MAYOR. I'm afraid you must.

MAUD. [After a look at her father, who never turns his eyes from the MAYOR's face] I—I wish to withdraw the charge of striking me, please. I—I never meant to make it. I was in a temper—I saw red.

MAYOR. I see. A—a domestic disagreement. Very well, that charge is withdrawn. You do not appear to have been hurt, and that seems to me quite proper. Now, tell me what you know of the assault on the constable. Is his account correct?

MAUD. [Timidly] Ye-yes. Only—

MAYOR. Yes? Tell us the truth.

MAUD. [Resolutely] Only, I don't think my father hit the constable. I think the stick did that.

MAYOR. Oh, the stick? But—er—the stick was in 'is 'and, wasn't it?

MAUD. Yes; but I mean, my father saw red, and the constable saw red, and the stick flew up between them and hit him in the eye.

CHANTREY. And then he saw black?

MAYOR. [With corrective severity] But did 'e 'it 'im with the stick?

MAUD. No—no. I don't think he did.

MAYOR. Then who supplied the—er—momentum?

MAUD. I think there was a struggle for the cane, and it flew up.

MAYOR. Hand up the cane.

The SERGEANT hands up the cane. The MAYOR and CHANTREY examine it.

MAYOR. Which end—do you suggest—inflicted this injury?

MAUD. Oh! the knob end, sir.

MAYOR. What do you say to that, constable?

MOON. [Stepping the mechanical two paces] I don't deny there was a struggle, Your Worship, but it's my impression I was 'it.

CHANTREY. Of course you were bit; we can see that. But with the cane or with the fist?

MOON. [A little flurried] I—I—with the fist, sir.

MAYOR. Be careful. Will you swear to that?

MOON. [With that sudden uncertainty which comes over the most honest in such circumstances] Not—not so to speak in black and white, Your Worship; but that was my idea at the time.

MAYOR. You won't swear to it?

MOON. I'll swear he called me an idiot and a lout; the words made a deep impression on me.

CHANTREY. [To himself] Mort aux vaches!

MAYOR. Eh? That'll do, constable; stand back. Now, who else saw the struggle? Mrs Builder. You're not obliged to say anything unless you like. That's your privilege as his wife.

While he is speaking the door has been opened, and HARRIS has gone swiftly to it, spoken to someone and returned. He leans forward to the MAYOR.

Eh? Wait a minute. Mrs Builder, do you wish to give evidence?

MRS BUILDER. [Rising] No, Mr Mayor.

MRS BUILDER Sits.

MAYOR. Very good. [To HARRIS] Now then, what is it?

HARRIS says something in a low and concerned voice. The MAYOR'S face lengthens. He leans to his right and consults CHANTREY, who gives a faint and deprecating shrug. A moment's silence.

MAYOR. This is an open Court. The Press have the right to attend if they wish.

HARRIS goes to the door and admits a young man in glasses, of a pleasant appearance, and indicates to him a chair at the back. At this untimely happening BUILDER's eyes have moved from side to side, but now he regains his intent and bull-like stare at his fellow-justices.

MAYOR. [To Maud] You can sit down, Miss Builder.

MAUD resumes her seat.

Miss Athene Builder, you were present, I think?

ATHENE. [Rising] Yes, Sir.

MAYOR. What do you say to this matter?

ATHENE. I didn't see anything very clearly, but I think my sister's account is correct, sir.

MAYOR. Is it your impression that the cane inflicted the injury?

ATHENE. [In a low voice] Yes.

MAYOR. With or without deliberate intent?

ATHENE. Oh! without.

BUILDER looks at her.

MAYOR. But you were not in a position to see very well?

ATHENE. No, Sir.

MAYOR. Your sister having withdrawn her charge, we needn't go into that. Very good!

He motions her to sit down. ATHENE, turning her eyes on her Father's impassive figure, sits.

MAYOR. Now, there was a young man. [Pointing to HERRINGHAME] Is this the young man?

MOON. Yes, Your Worship.

MAYOR. What's your name?

GUY. Guy Herringhame.

MAYOR. Address?

GUY. Er—the Aerodrome, Sir. MAYOR. Private, I mean?

The moment is one of considerable tension.

GUY. [With an effort] At the moment, sir, I haven't one. I've just left my diggings, and haven't yet got any others.

MAYOR. H'm! The Aerodrome. How did you come to be present?

GUY. I—er

BUILDER's eyes go round and rest on him for a moment.

It's in my sister's studio that Miss Athene Builder is at present working, sir. I just happened to—to turn up.

MAYOR. Did you appear on the scene, as the constable says, during the struggle?

GUY. Yes, sir.

MAYOR. Did he summon you to his aid?

GUY. Yes—No, sir. Miss Maud Builder did that.

MAYOR. What do you say to this blow?

GUY. [Jerking his chin up a little] Oh! I saw that clearly.

MAYOR. Well, let us hear.

GUY. The constable's arm struck the cane violently and it flew up and landed him in the eye.

MAYOR. [With a little grunt] You are sure of that?

GUY. Quite sure, sir.

MAYOR. Did you hear any language?

GUY. Nothing out of the ordinary, sir. One or two damns and blasts.

MAYOR. You call that ordinary?

GUY. Well, he's a—magistrate, sir.

The MAYOR utters a profound grunt. CHANTREY smiles. There is a silence. Then the MAYOR leans over to CHANTREY for a short colloquy.

CHANTREY. Did you witness any particular violence other than a resistance to arrest?

GUY. No, sir.

MAYOR. [With a gesture of dismissal] Very well, That seems to be the evidence. Defendant John Builder—what do you say to all this?

BUILDER. [In a voice different from any we have heard from him] Say! What business had he to touch me, a magistrate? I gave my daughter two taps with a cane in a private house, for interfering with me for taking my wife home—

MAYOR. That charge is not pressed, and we can't go into the circumstances. What do you wish to say about your conduct towards the constable?

BUILDER. [In his throat] Not a damned thing!

MAYOR. [Embarrassed] I—I didn't catch.

CHANTREY. Nothing—nothing, he said, Mr Mayor.

MAYOR. [Clearing his throat] I understand, then, that you do not wish to offer any explanation?

BUILDER. I consider myself abominably treated, and I refuse to say another word.

MAYOR. [Drily] Very good. Miss Maud Builder.

MAUD stands up.

MAYOR. When you spoke of the defendant seeing red, what exactly did you mean?

MAUD. I mean that my father was so angry that he didn't know what he was doing.

CHANTREY. Would you say as angry as he—er—is now?

MAUD. [With a faint smile] Oh! much more angry.

RALPH BUILDER stands up.

RALPH. Would you allow me to say a word, Mr Mayor?

MAYOR. Speaking of your own knowledge, Mr Builder?

RALPH. In regard to the state of my brother's mind—yes, Mr Mayor. He was undoubtedly under great strain yesterday; certain circumstances, domestic and otherwise—

MAYOR. You mean that he might have been, as one might say, beside himself?

RALPH. Exactly, Sir.

MAYOR. Had you seen your brother?

RALPH. I had seen him shortly before this unhappy business.

The MAYOR nods and makes a gesture, so that MAUD and RALPH sit down; then, leaning over, he confers in a low voice with CHANTREY. The rest all sit or stand exactly as if each was the only person in the room, except the JOURNALIST, who is writing busily and rather obviously making a sketch of BUILDER.

MAYOR. Miss Athene Builder.

ATHENE stands up.

This young man, Mr Herringhame, I take it, is a friend of the family's?

A moment of some tension.

ATHENE. N—no, Mr Mayor, not of my father or mother.

CHANTREY. An acquaintance of yours?

ATHENE. Yes.

MAYOR. Very good. [He clears his throat] As the defendant, wrongly, we think, refuses to offer his explanation of this matter, the Bench has to decide on the evidence as given. There seems to be some discrepancy as to the blow which the constable undoubtedly received. In view of this, we incline to take the testimony of Mr—

HARRIS prompts him.

Mr 'Erringhame—as the party least implicated personally in the affair, and most likely to 'ave a cool and impartial view. That evidence is to the effect that the blow was accidental. There is no doubt, however, that the defendant used reprehensible language, and offered some resistance to the constable in the execution of his duty. Evidence 'as been offered that he was in an excited state of mind; and it is possible —I don't say that this is any palliation—but it is possible that he may have thought his position as magistrate made him—er—

CHANTREY. [Prompting] Caesar's wife.

MAYOR. Eh? We think, considering all the circumstances, and the fact that he has spent a night in a cell, that justice will be met by—er— discharging him with a caution.

BUILDER. [With a deeply muttered] The devil you do!

Walks out of the room. The JOURNALIST, grabbing his pad, starts up and follows. The BUILDERS rise and huddle, and, with HERRINGHAME, are ushered out by HARRIS.

MAYOR. [Pulling out a large handkerchief and wiping his forehead] My Aunt!

CHANTREY. These new constables, Mayor! I say, Builder'll have to go! Damn the Press, how they nose everything out! The Great Unpaid!– We shall get it again! [He suddenly goes off into a fit of laughter] "Come off it," I says, "to the best of my recollection." Oh! Oh! I shan't hit a bird all day! That poor devil Builder! It's no joke for him. You did it well, Mayor; you did it well. British justice is safe in your hands. He blacked the fellow's eye all right. "Which I herewith produce." Oh! my golly! It beats the band!

His uncontrollable laughter and the MAYOR'S rueful appreciation are exchanged with lightning rapidity for a preternatural solemnity, as the door opens, admitting SERGEANT MARTIN and the lugubrious object of their next attentions.

MAYOR. Charges.

SERGEANT steps forward to read the charge as

The CURTAIN falls.