AustLit

                           Sabotage: a Radio Play of the Times

by

Catherine Shepherd

(1940)

---

CHARACTERS

RICHARD GALE, A schoolmaster.

KAREN, his wife.

DENIS MORLAND, A prefect.

JOHN MCFIE, Senior master.

ANNE, his wife.

MR. BOLES, Headmaster

MAISIE, a "Help."

THREE SCHOOLBOYS.

---

Music: a pianoforte solo. Steps.

MAISIE:   Mrs. McFie is just coming through the gate. 

KAREN:   Oh, good. tell her to some straight in, Maisie. 

Steps going away. Distant voices. 

KAREN:   (Calling) Come in, Anne. (Music stops)

ANNE:   It's nice to hear you playing, Karen. I thought you'd rather given it up lately. 

KAREN:   I suppose I have. 

ANNE:   Why?

KAREN:   (Lightly) Just not much time. You know how it is with a family. There's always something — buttons to sew on Emily, or David's socks to darn. And Richard likes bridge. 

ANNE:   All the same, it's a pity you don't play more. 

KAREN:   Come and sit over here by the fire. What on earth have you got there?

ANNE:   Bandages, pet. I really came to practise on you. the first aid exam is tomorrow night. 

KAREN:   All right — anything you like except a fractured skull. I've just had my hair set. 

ANNE:   I'd be quite satisfied with a broken collar bone and a crushed foot. 

KAREN:   I'll put up with either of those. 

ANNE:   I've been watching the football. 

KAREN:   I meant to; but then it seemed such a good opportunity to get the piano out for a bit. Richard was out, and mother took the children for the afternoon. 

ANNE:   It was awfully cold on the field. I didn't stop long, Morland was playing brilliantly. 

KAREN:   Was he? I'm glad. 

ANNE:   He's such a nice boy. 

KAREN:   Yes. Are you sure that isn't a granny you're tying?

ANNE:   No, dear — I never am. (Pause) Is Morland still as keen on Richard as he used to be?

KAREN:   I don't know. I don't see much of school, you know. 

ANNE:   I heard a story that there'd been a row in class between Richard and Morland... But it didn't sound very likely to me. Richard's discipline is so spartan, and Morland used to admire him so much...

KAREN:   I haven't heard anything about it. 

ANNE:   John said Morland has been a bit under the weather lately. 

KAREN:   Feeling the strain of examination work, perhaps. 

ANNE:   Yes. It's a pity they have to work so hard, just at the end... When they're developing and trying to think things out. I expect Richard would know how to manage Morland, though. 

KAREN:   Do you know anything about smocking, Anne? I'm trying to make a dress for Emily. 

ANNE:   I'll fix it. Wait til I get this sling on you. 

KAREN:   I warn you, I'm going to make some tea in a moment, broken bones or not. 

ANNE:   All right. Is that nice and comfortable?

KAREN:    I was never so happy in my life. If Richard comes in, you can continue the good work on him!

ANNE:   I don't think I should dare suggest it. Richard looks a bit grim these days. You know, I'm a little afraid of him. 

KAREN:   That's something new for you. 

ANNE:   It is. I just feel as if Richard's nerves are a bit on edge. But perhaps I imagine it. He's certainly as popular as ever with the boys. The juniors were swarming around him at the match this afternoon...

Fade in murmur of crowd watching end of football match. Boy' voices close at hand. very cheerful and impudent. 

1ST. BOY:   we won! we won!

2ND. BOY:   Gosh! Morland played well, didn't he sir? Didn't Morland play well?

RICHARD:   Very well. Don't crack the drum of my ear, Lawson. 

2ND. BOY:   Sorry, sir!

1ST. BOY:   He can't help that funny voice, Mr. Gale. The doctor left a spanner behind when he took Lawson's tonsils out. It's awful, isn't it?

2ND. BOY:   (Hoarsely) Aw, don't be funny!

3RD. BOY:   Mr. Gale, please, Barker wants to take your photograph. He's got a new camera. 

1ST. BOY:   Please, sir, can I?

RICHARD:   Barker, must you? Couldn't you find anyone else for your experiments?

1ST. BOY:   Oh, no. You, Mr. Gale. Come on, please; it won't take a minute. 

RICHARD:   All right. Let's get it over. Where do you want it?

1ST. BOY:   Over by the goal posts. That'll get the school at the back. 

RICHARD:   (Dramatically) A Napoleonic stance? So?

Laughter. 

3RD. BOY:   Go on. Get it now!

1ST. BOY:   Where's the sun? Get your ugly mug out of the way, Lawson!

2ND. BOY:   You've got your fat hand over the lens, anyhow!

RICHARD:   Get on with it! Get on with it!

1ST. BOY:   Oh, please, sir, just a minute...

3RD. BOY:   You're pressing the wrong thing. That's the time exposure. 

1ST. BOY:   It's not, is it, Mr. Gale? It's... Oh, gosh! I've taken it!

2ND. BOY:   You moved the camera, you poor sap!

RICHARD:   Going to develop the film yourself, Barker?

1ST. BOY:   Yes, rather, I'll do it tonight. I'll show it to you when I print it. 

3RD. BOY:   You might give me one...

2ND. BOY:   I say, does anybody know the time?

RICHARD:   Time you hurried yourselves or you'll be late. Go on. Go for your lives. 

Fade out boys' voices. Steps. Door. 

KAREN:   That you Richard? You must be frozen, standing on the field in that wind. Anne and I are roasting ourselves by the fire. 

RICHARD:   Hullo, Anne! the wind was rather cold. 

KAREN:   Have some tea? It's still quite hot. I'll make some fresh if you'd rather?

RICHARD:   No, this'll do. 

ANNE:   I've been tying poor Karen up in splints and slings all the afternoon. 

RICHARD:   How nice!

ANNE:   Oh, and Karen played to me. You ought to get her to play more often, Richard. It's a shame to give it up. 

KAREN:   (Quickly) I haven't given it up. 

ANNE:   Well, I must be off. I suppose John will be home, if the match is over. Thank you for being such a good patient, my dear. 

KAREN:   I expect we will see you at the Wallace's tomorrow?

ANNE:   Oh, yes, I'll be there. I met Mrs. Wallace in town this morning. She was fearfully depressed because she'd just been to see Geof Vicars, her broker, and he told her the war was as good as lost already. he said it really wasn't worth going on, and she thought she'd better stop Frank joining up, but I told her what John said about everything being on the up and up... And we had chocolate and waffles and she got quite cheerful again. I'm going to ask John if she doesn't think that man Vicars is a Fifth Column. It sounds very like it to me. 

KAREN:    Don't say that, darling. He's coming here to play bridge tonight.

ANNE:   Oh, dear, what a faux pas! i didn't know he was a friend of yours. Good-bye Richard. Don't bother to come to the door. I'll let myself out...

Steps. Door. 

RICHARD:   Don't you ever get tired of that woman's tongue?

KAREN:   I'm fond of Anne. 

RICHARD:   she's never quiet. 

KAREN:   I enjoy a little conversation sometimes. You may not realise it, Richard, but lately you're often silent for days together. 

RICHARD:   Am I? I'm sorry, Karen. 

KAREN:   (Quickly) It's all right. I know you're awfully busy. A master in a school this size has a lot of nerve strain. I do understand that. I'm glad the holidays are coming. 

RICHARD:   Have you been confiding your grievances to Anne McFie?

KAREN:   Of course not. I should never discuss you with anyone. 

RICHARD:   What did she mean about your giving up the piano? 

KAREN:   Nothing. I was playing when she came, and I suppose she thought I didn't play as much as I used to. 

RICHARD:   Why don't you?

KAREN:   I do, when I have time. 

RICHARD:   You don't play to me, in the evenings, now. 

KAREN:   No, perhaps not. 

RICHARD:   Why? 

KAREN:   I thought you didn't want me to. 

RICHARD:   Nonsense!

KAREN:   But it's true, Richard. Why pretend? I know you well. I can feel what you think. My playing worried you. It got on your nerves in some way. So I stopped. 

RICHARD:   I see. 

KAREN:   Of course I didn't say that to Anne. She was just being rather a busybody, and sticking her plump little feet in, where angels fear to tread, in the way she has. (Pause) Are you getting warmer? Put some more wood on. It's going to be an awfully cold night. There's snow about, I think. 

RICHARD:   Shouldn't be surprised. 

KAREN:   I'll pull down the blinds. 

Steps. Movements.

KAREN:   The garden's very wintry and desolate. I like it — dark empty flower beds and bare trees. (Pause) How did the match go?

RICHARD:   We won. Dennis Morland scored twice in the last quarter. 

KAREN:   He was playing brilliantly, Anne said. 

RICHARD:   A bit erratic. 

KAREN:   I haven't seen him for some time. Is he getting on all right in school?

RICHARD:   He's inclined to be rather too pleased with himself at present. 

KAREN:   What a pity. Being captain of games, do you think?

RICHARD:   Probably. (Pause) The children staying to tea with your mother?

KAREN:   Yes. She loves to have them. You know, Richard, David's getting so absurdly like you. sometimes, when he smiles at me, it's quite uncanny. It's you. 

RICHARD:   There's something I meant to speak to you about, Karen. Last night, when I said goodnight to him, he offered to say some verses to me — some religious stuff. 

KAREN:   Religious? It was only "Four corners to my bed, four angels round my head..." wasn't it?

RICHARD:   Yes. Did your mother teach it to him? I thought she understood that the children were not to have myths and bible stories put into their heads. 

KAREN:   It wasn't mother; it was Maisie. 

RICHARD:   Maisie?

KAREN:   She didn't mean any harm, Richard. She just thought it might help David to go to sleep. He's so nervous of the dark. 

RICHARD:   Please make it clear to her that, if such a thing happens again, she must go. 

KAREN:   I'll speak to her. (Pause) I wish David weren't so afraid pf the dark. 

RICHARD:   Give him a night-light. 

KAREN:   You're a materialist, aren't you?

RICHARD:   I believe in practical remedies. 

KAREN:   For spiritual ills?

RICHARD:   I don't think there is anything very spiritual, as you call it, in a small boy's fear of the dark. 

KAREN:   Perhaps not. But I don't think that by banishing darkness you are really helping him. It is still there, lurking for him at some time when there is no one to give him a light. It is the cause of fear that should be removed. 

RICHARD:   By feeding his mind with well-meaning myths, that he will reject later?

KAREN:   By giving him faith in something stronger than darkness or evil. 

RICHARD:   I'd rather not mislead him. 

KAREN:   I'm not sure that we're right about it, Richard...

RICHARD:   Look here, I've got a pile of work to get through this evening, and I'd better get on with it. Just see that Maisie doesn't try any more missionary experiments on David and Emily. 

KAREN:   All right. (Pause) I'm glad we won that match. The team are doing splendidly this season, aren't they?

RICHARD:   Yes. 

KAREN:   Richard... don't be too hard on Dennis Morland, will you?

RICHARD:   Why should I be?

KAREN:    I think you've taken a dislike to him for some reason. He hasn't been here lately to chat to you. 

RICHARD:   I've told you. I think he's becoming a little too pleased with himself. 

KAREN:   He's a sensitive sort of boy, and he used to admire you so much. 

RICHARD:   Karen, I'd rather you didn't try to interfere in school matters. 

KAREN:   I'm sorry. I just happen to be interested in Morland. He's leaving this year, and it's a pity for anything to go wrong. He's so... worth while. 

RICHARD:   I don't think you need to worry yourself. There's your mother's car, I think. 

KAREN:   Yes, it is. I'll get David and Emily to bed straight away, so that you can get on with your work without being disturbed. 

RICHARD:   Good. 

Music. Fade out. Distant traffic noises.

KAREN:   Hullo, Morland. 

MORLAND:   Oh, good afternoon, Mrs. Gale. 

KAREN:   You're late going home. 

MORLAND:   I've been going through some contributions for the magazine.

KAREN:   What were they like?

MORLAND:   Pretty awful!

KAREN:   Are you putting any of your own poems in?

MORLAND:   (Diffidently) One. I think. 

KAREN:   That's good. I say, you're getting very wet, aren't you? The rain's coming properly now. 

MORLAND:   I'm all right. 

KAREN:   Your overcoat will be soaked. Come under these trees and shelter for a minute. Why didn't you take the tram?

MORLAND:   I like walking this way, though the gardens. 

KAREN:   The trees look lovely and wintry, don't they?

MORLAND:   Yes. That's why I... (Abrupt confusion) Yes, they do. 

KAREN:   I've been rather wanting a word with you, Morland. There's something the matter, isn't there?

MORLAND:   (Uncomfortably) What sort of thing?

KAREN:   That's what I'm wondering. It's been on my mind for some time, but a schoolmaster's wife can't be too interfering. All the same, one takes an interest in the boys — some more than others — and in school affairs. 

MORLAND:   Yes.... of course. We like you too. 

KAREN:   That's very nice of you. You see, you're quite an important person — prefect, captain of games, editor of the magazine. I've always seen a lot of your activities. You and my husband always got on so well. 

MORLAND:   (Fiercely) There's nothing wrong. 

KAREN:   Now don't fly out at me. 

MORLAND:   I'm sorry. I didn't mean to be rude. 

KAREN:   You weren't. Anyway, I should have minded my own business, shouldn't I?

MORLAND:   No... really... It was decent of you, Mrs. Gale. 

KAREN:   I expect I've been imagining things. But, you see, It seemed a terrible pity to let anything spoil your last year at school, and I felt impelled to be tactless and interfering!

MORLAND:   As a matter of fact, there is something... but... honestly, I can't tell you about it. Mr. Gale knows... The rain's stopped, and I think I'd better be getting on. 

KAREN:   It hasn't stopped at all, so please walk under the trees and don't get pneumonia. 

MORLAND:   All right. Good-bye.

KAREN:   And change your shoes when you get in!

MORLAND:   (Laughing) All right...

Music. Fade out. Faint rustle and movement of class of boys. 

RICHARD:   (Concluding a lesson) So you see — nothing is accomplished by the muddling efforts of mediocre brains. You must have individual genius...

Bell clanging in distance.

(I am aware that is the bell, Barker. It is not a signal for you to relax!) get this into your heads, and keep it there; Average intelligence is low. To progress, a people must have a leader, and follow him with confidence. All the great achievements of history have been the result of one man's power to lead a people to victory. Lawson, out of your lethargy, and give me an example to illustrate this point. (Pause) Comer on, Lawson, wake up! One of the great achievements of history? Well, Barker?

BARKER:   W-w-waterloo, sir!

Laughter.

RICHARD:   Not a brilliant effort, Barker! However, the bell as gone. (Pause) You may go. 

Clamour of voices - fading.

LAWSON:   Please, will you come down to the field and coach us this afternoon, sir?

BARKER:   I ran four times around the cinder track this morning, sir!

LAWSON:   I'm playing half, today...

BOY 3:    Will you come down to the field, Mr. Gale? We've got a match on Friday, you know..

RICHARD:   All right. Cut along now. If Morland's there, ask him to come and speak to me. 

BARKER:   Yes sir...

LAWSON:   He's just gone to the quad...

BOY 3:   (Fading) I'll get him. Morland...

Fade out voices. Pause. Steps.

RICHARD:   Morland...

MORLAND:   Yes, sir?

RICHARD:   You might take these essays back to Sixth with you.

MORLAND:   Very well, sir. 

RICHARD:   I expect Mr. Boles has told you, there has had to be a slight alteration in the material for the magazine?

MORLAND:   He told me that he was going to put in an account of the early history of the school, and that you were cutting my poem on Liberty.

RICHARD:   Yes.

MORLAND:   (Fiercely) Is it the metre or the ideas that you didn't like in my poem, Mr. Gale?

RICHARD:   My dear boy, why adopt that resentful tone? The reason for cutting the poem out of the magazine was lack of space. 

MORLAND:   I thought perhaps you didn't care for it. 

RICHARD:   If you really want my opinion, I consider neither the ideas, nor the stanza quite within your scope. 

MORLAND:   I should think that Liberty is a thing that anyone can understand. 

RICHARD:   Don't you think that discipline really gets better results?

MORLAND:   No, I don't think.

RICHARD:   As an athlete, you must realise the value of control, Morland. A single purpose, an instant mechanical reaction to the direction of the will, muscles trained to carry out its commands with precision — that's what you need! That's how you achieve perfection. No hesitation, no argument, no fumbling and uncertainty. A machine! That's the secret to power. 

MORLAND:   (Impetuously) You think that is how the whole world should be governed, don't you, Mr. Gale. 

RICHARD:   (Suavely) we're not discussing politics, Morland. 

MORLAND:   But that is what you think. You believe that democratic government is muddling and inefficient, don't you?

RICHARD:   I remember you challenged me rather aggressively in a lesson some weeks ago. We won't go over that ground again. 

MORLAND:   I didn't mean to be aggressive. But you speak about mechanism, as if it were everything. I mean... insects can mechanize themselves. Look at the ants! But after all, it's a dead end. You can't  go any further. 

RICHARD:   And how much further do you want to go?

MORLAND:   It isn't enough... just to live, even if you have all the food you want and a decent house to live in. That's all right. You want that first, perhaps, before you can get any further... But there's a lot more... painting and music and poetry...

RICHARD:   That sounds fine, But there are plenty of people who talk grandly of liberty and the Arts. they think that a little sentimental humanitarian chatter will compensate for the existence of slums and all kinds of misery and injustice. 

MORLAND:   Those things can be improved. Haven't we got anything to be proud of? You speak as if...

RICHARD:   (Curtly) Take the essays, will you?

MORLAND:   You're always sneering at the Empire and....

RICHARD:   Take the essays. 

MORLAND:   Very well...

Steps. Fade out. Music. 

KAREN:   Maisie, help me tidy this room a little. Mr. and Mrs. McFie are coming in to watch the march-past. 

MAISIE:   I'd best put away the Children's bricks. They're all over the place. 

KAREN:   Yes. Oh, dear, what was that? I've trodden on another of David's lead soldiers. He will be angry. 

MAISIE:   There, that's the lot. That's a nice little tank he's got. 

KAREN:   His father gave it to him. 

MAISIE:   It makes me laugh to see him play with it. Like a real little man, he is. 

KAREN:   (Sighing) It rather frightens me. He's so small, and he ploughs the wretched tank through his soldiers with such ruthlessness. 

MAISIE:   Little boys like them sort of games. I reckon it's natural. 

KAREN:   I shouldn't like to think of David grown up, still playing his little-boy games. Oh, Maisie, I'd like to feel he was going to know a world where there'd be no more games of that sort for him to play; where the evil power of a soulless man could never again breed up a race of pitiless robots...

MAISIE:   Maybe it'll be like that. It won't be Ted's fault if things don't get put straight.

Sound of march in distance... Drums. 

There's the music! I reckon they're leaving the Town Hall. There's a big crowd in the street. I'll open the windows. 

Crowd effects. Music gets gradually louder. '

You'll get a lovely view from here. 

KAREN:   There's my husband coming in with Mr. and Mrs. McFie.

MAISIE:   My Ted's in the March. 

KAREN:   How exciting. I thought he looked very fine in his uniform when he was here last Saturday. 

MAISIE:   Too right, he does! There, I'll take the box of the children's things along to the nursery. 

Steps. Door. Fade in voices. 

RICHARD:   Here we are!

KAREN:   How are you, Anne? Hullo, John!

ANNE:   I'm fine. 

McFIE:   How are you, Karen? It's nice of you to ask us in like this. We wanted to see the march, and Anne hates crowds. 

ANNE:   You have to be tall to enjoy a crowd. 

McFIE:   You couldn't get a better view than this. They won't be long now, by the sounds of it. 

KAREN:   How did you get on with the First Aid exam?

Anne:   So, so! I nearly strangled a woman, trying to stop her carotid artery. She said I got her windpipe as well. Then I did some artificial respiration on a man with a back like a block of granite. I pounded up and down in the most exhausting way, and didn't seem to make any impression. But he was very helpful, and made a sort of wheezing sound to show the air going in and out. It was like playing a harmonium, only not with my feet, of course!

KAREN:   It sounds marvellous!

RICHARD:   Have a drink?

McFIE:   Thanks. 

RICHARD:   What about you, Anne?

ANNE:   Well, only a spot. How are the babes, Karen?

KAREN:   Very well. They're in the garden, playing with Lynette Oldfield. If you hear any heart-rendering shrieks, It'll be my poor Emily. She will try to do everything the others do, and she's much too small. 

ANNE:   I adore Emily...

McFIE:   I told you the Head wants to see you, Gale, didn't I?

RICHARD:   Yes. I'll dash off as soon as there's a chance to get across the street. 

KAREN:   What have you been doing, Richard?

RICHARD:   (Easily) That's what I'm wondering. 

McFIE:   Don't worry, Karen. Your husband is the Head's little white-headed boy. Probably he's getting a raise in salary. 

RICHARD:   Hardly that, I'm afraid. 

ANNE:   You know he absolutely eats out of your hand, Richard. 

Music and crowd effects much louder. Cheering. 

KAREN:   Here they come! Stan here, Anne. This is the best place. 

ANNE:   This is lovely. I can see beautifully. John, don't hold your whisky up like that. Everyone can see it, and there are some of the boys down there. 

McFIE:   They don't imagine I'm a teetotaler, do they?

ANNE:   I don't suppose they do. But if they see you like that, they'll tell your parents they saw Macroaring drunk in Mr. Gale's house... I say, isn't there a crowd! There's something awfully exciting about it, isn't there? It makes me want to cry. 

Band. Tramp of feet. Crowd effects. 

ANNE:    Hurrah! Where's something for me to wave? John, give me your bandana. 

KAREN, McFIE, ANNE, AND RICHARD:   Hurrah!

Effects fade.

McFIE:   Here's to them! Good luck and happy landings!

KAREN:   To our men!

ANNE:   Good luck to them!

KAREN:   And may we never fail them!

Pause, while effects fade right out. 

McFIE:   Finished with my handkerchief, Anne?

ANNE:   Here you are. What's all the furniture in the hall, Karen?

KAREN:   Just some old things out of the nursery. We've had it done up. I want to stick the high chair and the small cot in the cellar. But it's all full up with packing cases. When's Mr. Vicars going to take those book of his away, darling?

RICHARD:   I don't know. There's plenty of room. I'll fix it up when I come in. I'd better dash off to see the Head. 

ANNE:   I'll come too. Thanks very much, Karen. 

McFIE:   Good-bye...

Music. Fade out. Knock at door. 

BOLES:    Come in.

Steps. 

RICHARD:   McFie told me you wnated to see me?

BOLES:   Yes, I do. Quite a small matter. (Pause) Sit down, Gale. 

RICHARD:   Big crowd out to see that march. 

BOLES:   Yes. Very impressive, I thought. A fine lot of fellows. Our cadets marched well. 

RICHARD:   So I thought. 

BOLES:   Morland is a finely built boy...

RICHARD:   Yes, he looks well in uniform. 

BOLES:   Actually... it was a small matter in connection with Morland that I wanted to speak to you about. 

RICHARD:   Morland?

BOLES:   Just a little misunderstanding. I've had a note from the boy's father. Something in one of your lessons seems to have been... er... misinterpreted...

RICHARD:   Indeed? (Easily) What am I supposed to have said?

BOLES:   (Uncomfortably) It seems absurd, of course, but Morland somehow gained the impression that you... er,,, wished to influence the boys against their own country...

RICHARD:   (Laughing rather harshly) Good heavens! A traitor within the gates!

BOLES:   Hardly as bad as that! Of course, I don't pay much attention to this sort of thing. I know how easily an idea can be misrepresented. The boy has got quite the wrong impression. I'm sure you can easily put the matter right. 

RICHARD:   I think, sir, that the truth of the matter is this: Young Morland is a bit top-heavy. He's going through an argumentative stage and is inclined to dispute most things, in an aggressive manner. He's not quite as clever as he thinks he is, and I've had to put him in his place once or twice lately. He hasn't liked it. 

BOLES:   Yes, I dare say. He's won a fair amount of distinction, and possibly it's gone to his head. A pity... Here's his father's letter, if you care to see it. 

Pause. A rustle of paper. 

RICHARD:   He certainly doesn't mince his words. "Disloyal attitude... destructive criticisms.. Nazi teaching.." (Lightly) You wouldn't like me to resign or anything?

BOLES:   My dear Gale, don't be absurd! You have my complete confidence. In fact, you're one of the most valuable men on my staff. Mr. Morland has been given a garbled version of what you actually said. I just want you to use a little tact. A story of this kind won't do the school any good, So have a few words with the boy, and see that the thing is cleared up. That's all...

RICHARD:   I'll speak to Morland.

BOLES:   (Relived) that's right. I knew you would understand. Well, I won't keep you, Gale. The end of term will soon be upon us. Busy time! We pedagogues earn our holidays,. I think you will agree. 

RICHARD:   Many times over!

BOLES:   I've been pleased to see your influence with the boys, Gale. Quite between ourselves, I think McFie intends to resign in order to join the forces. If that is so, I hope to offer you the job of senior assistant headmaster. 

RICHARD:   That's very good of you, sir. 

BOLES:   Not at all. You've got great powers, Gale. Things go ahead when you take them on. I consider you thoroughly efficient. You should go far... Well, I'm glad the little matter in this letter is settled. I shall send Mr. Morland rather a curt reply, I don't mind telling you. 

RICHARD:   Thank you, sir...

Steps. Fade in music. Fade out. Door. 

KAREN:   (Impulsively) Richard, you know those old boxes in the cellar?

RICHARD:   What about them?

KAREN:   I'm sorry. Did I interrupt you? Are you busy?

RICHARD:   No. Go on. 

KAREN:   You sounded a bit terse. 

RICHARD:   I'm correcting exam papers, that's all. 

KAREN:   I won't bother you then. 

RICHARD:   (Irritably) What about the boxes? They're not in your way, are they? I've put the nursery stuff in there all right. 

KAREN:   It seems rather funny of Mr. Vicars to leave his books here, that's all.

RICHARD:   You know the reason. He had to move out of his flat. 

KAREN:   That was ages ago. 

RICHARD:   He still has no room for them, I suppose. 

KAREN:   Why should we have them?

RICHARD:   Because I offered to take them. I really don't see your objection to having them.

KAREN:   (Uncertainly) I don't know... It's rather silly, I suppose. I don't like Mr. Vicars, and I don't like having his boxes here. I suppose they really are books. 

RICHARD:   That's absurd. What do you imagine is in them? Counterfeit notes, or a dismembered corpse?

KAREN:   I can't explain. 

RICHARD:   No, I don't suppose you can. Suppose you look after things that really need your attention for a change! How about getting Maisie to empty the ashtrays in this room?

KAREN:   I'll do them. She's busy slicing oranges for marmalade. 

RICHARD:   And stop fancying things. 

KAREN:   (With a sigh) There's something that I don't understand about you, Richard, I wish I did. 

RICHARD:   Oh, for God sake Karen! You'll drive me ma, if you start this kind of thing. 

KAREN:   There's something between us — something that I don't understand, and that I'm afraid of. You're not happy, are you?

RICHARD:   My dear, I'm as happy as one ever is at the end of term withe papers to correct and marks to average. 

KAREN:   All right. I won't say any more. (Pause) Is the light right for you? Shall I pull the blind up a bit more?

RICHARD:   Yes, thank you. 

KAREN:   The days are getting longer...

Music. Fade out. Click of gate. Steps. 

MORLAND:   Good afternoon, Mrs. Gale. 

KAREN:   Oh, hullo, Morland. I've been gardening, as you see. Some of the bulbs are beginning to come. 

MORLAND:   So they are. 

KAREN:   You want to see my husband, I expect?

MORLAND:   I do... rather...

KAREN:   He won't be long. Come in. 

MORLAND:   I don't think I'd better. You see, I'm in the most awful mess after football. I should have waited and changed. 

KAREN:   that doesn't matter. I'm used to mess, with Davis and Emily rampaging in and out of the house all the time. Come and have some tea with me. It's just ready. 

Steps. Door. 

In here by the fire. There hasn't been an accident, has there?

MORLAND:   No... oh, no. I just came round after the game, becuase I wanted to see Mr. Gale. 

KAREN:   He won't be more than a few minutes, I expect. Sit here and get warm. Sugar and milk?

MORLAND:   I won't have any tea, thank you. 

KAREN:   Well, have some cake. Don't tell me you're not hungry after football?

MORLAND:   I'd rather... not. 

KAREN:   All right. I suppose I'd better not offer you a cigarette?

MORLAND:   I guess not. (Pause) I've had the most awful row with Mr. Gale. 

KAREN:   I'm sorry.

MORLAND:   I expect he'll turn me out as soon as he sees me. 

KAREN:   It can't be as bad as that, surely? What have you done?

MORLAND:   (Moodily) Been frightfully rude to him. 

KAREN:   Why?

MORLAND:   (Passionately) I couldn't help it. He was rotten to me. He always is...

KAREN:   But why should he be?  What started it?

MORLAND:   I told him I... I hated some things he said in class. 

KAREN:   What sort of things?

MORLAND:   Things that made everything... the Empire... democracy... the way our country's grown up... seem father feeble. It wasn't very much really... only all the time you can feel him sneering, trying to make you think it's none of it worth while. 

KAREN:   Are you sure he meant that, Morland?

MORLAND:   Oh, yes. I know he did. But all the chaps like him, and I can't make them see. Oh, It's rotten! It's rotten!

KAREN:   Don't you think that perhaps he meant to show you the defects in government that will one day be improved? Democracy has a lot to learn, you know. 

MORLAND:   He meant far more than that — honestly. And he hates me for trying to argue about it. It's been beastly... all this term... and then, just before the game this afternoon, we had an awful row. I... I don't quite know what I said. 

KAREN:   Perhaps he'll understand. 

MORLAND:   I had to go for him... I couldn't help it. Why, if we believed all he said we'd...

KAREN:   Go on. 

MORLAND:   We'd be machines. He thinks there's nothing so strong as a machine. It can't stop to think, or argue. There's no good fighting against it. The thing to do is to become part of it. Then you don't get hurt. He says all the world must become part of it. 

KAREN:   Morland, what on earth do you mean? When did Mr. Gale say all this?

MORLAND:   It's what he's always saying. But he doesn't make it plain. People don't understand. 

KAREN:   And how is it that you understand?

MORLAND:   Perhaps it's because I've talked to dad. He was in the last war, you know. He thinks a lot about the way people live... governments... new ideas. He says machines can only destroy things. He says that if a people loses freedom to think, it can't create anything — music, or poetry or painting. 

KAREN:   I think he's right. 

MORLAND:   You believe democracy is worth fighting for, don't you?

KAREN:   yes, I do. Remember, it is what we make it. It's our responsibility to make it finer and fairer. We have freedom in our hands. It can only fail if we shrink from our responsibilities....

Door. Steps. 

KAREN:   Richard, Morland is waiting to see you...

RICHARD:   I've nothing to say to you Morland. 

MORLAND:   I know I shouldn't have spoken to you like that, sir....

RICHARD:   I don't wish to hear any more. Mr. Boles. will deal with you. 

MORLAND:   But you won't let me speak to you?

RICHARD:   No. Your insolence this afternoon was quite enough. 

MORLAND:   Mr. Gale, please listen to me. I know I shouldn't...

RICHARD:   Be silent. 

MORLAND:   It's not fair. You know its not fair. You've been rotten to me over everything. Just because I didn't agree with what you said... Just becuase...

RICHARD:   Get out!

MORLAND:   It's true. I can see what you're doing, though I can't stop you. It's so easy for you. You've got a right to make us listen to you...

RICHARD:   Get out! You're beside yourself. And you'd better pull yourself together before you see Mr. Boles. He won't appreciate this kind of hysterical tyrade any more than I do. 

MORLAND:   You want us to think that the things dad and all the other men fought for aren't worth anything....

RICHARD:   You'd better go, Morland. I'm not going to stand any more of this. 

MORLAND:   Yes—I'll go... (Nearly in tears) I can't do anything...'

Steps fading... Distant door. 

KAREN:   Richard, that was cruel. 

RICHARD:   I don't need your advice as to the treatment of the boys, Karen. 

KAREN:   Morland is such a nice boy, and you've hurt him so horribly. 

RICHARD:   I'm sorry, but I don't  consider that public insolence and insubordination should be encouraged in a prefect of the school. 

KAREN:   You goaded the boy on. He came here prepared to talk quietly enough. He knew he put himself in the wrong, and wanted to come to an understanding with you. I think you might have been generous. 

RICHARD:   Suppose we close the subject. 

KAREN:   Very well...

Music. Fade out. Steps. 

MAISE:   (Singing) "There'll always be an England,
                                 While there's a country lane"...

KAREN:   Are the children in bed all right, Maisie?

MAISIE:   Yes. They're waiting for you to go down and say goodnight to them. They had a fine time at the beach all afternoon. 

KAREN:   It wasn't too cold?

MAISIE:   No. the sun came out, and it was lovely. Have you got a headache? Will I make you a cup of tea?

KAREN:   No, thank you. 

MAISIE:   You've tired yourself out, tidying up in the cellar this afternoon. You look to me as if you'd been movin' something too heavy for you. 

KAREN:   Perhaps I have. Anyway, it's time you were off, Maisie. You haven't forgotten it's your evening off, have you?

MAISIE:   (Gaily) Have I wot! But I don't mind waiting to make you a cup of tea. 

KAREN:   Honestly, I don't want one. I'll just go and tuck up the children. 

MAISIE:   I expect Mr. Gale will be in any time now.

KAREN:   I expect so...

Music. Fade out. Steps. 

RICHARD:   (Relieved) Karen... There you are! I thought you must be out. The house seemed so quiet when I came in. 

KAREN:   It's Maisie's evening off. the children are in bed. I've been reading nursery rhymes to Emily... (With a sudden wild misery)
                 "There was a crooked man
                   Who walked a crooked mile,
                   He found a crooked sixpence
                   Beside a crooked stile. 
                   He bought a crooked cat
                   Who bought a crooked mouse, 
                   And they all lived together
                   In a crooked little house.."

RICHARD:   Karen!

KAREN:   (More quietly) I'm so cold. Let me come by the fire. 

RICHARD:   (Urgently) Karen, what is it?

KAREN:   This afternoon. I opened one of the cases in the cellar. 

RICHARD:   You dared to do that? You dared?

KAREN:   (Without expression) There aren't any books in it. It's full of leaflets. Each leaflet has a photograph of Hitler and "The strongest man in the world" printed on it. 

RICHARD:   (Wildly) You crazy fool! Couldn't you keep out of it? Couldn't ou mind your own business?

KAREN:   But, Richard, this is my business — most terribly my business. 

RICHARD:   (Thundering) Karen, you shall, you must leave this thing alone...

KAREN:   I'm trying to face it. You see, I knew there was something the matter. I've felt it for a long time. But I had no idea it was anything as horrible as this. Somehow I can't get my mind to accept it. 

RICHARD:   There is no need for you to accept anything. this is mu business. If you had left things alone — not gone spying — there would be no need for this scene. 

KAREN:   (Interrupting) Spying! You can talk of spying! In my heart I knew a long time ago... no not long really... only a few weeks... That day when Annie and John McFie came in to watch the march-past. Do you remember? as we waved, I saw your face. You were standing behind John. We were excited— rather carried away. the men looked so fine... then I saw your eyes, Richard. There was torment in them. You were afraid. You hated us for cheering. You hated those marching men...

RICHARD:   You imagined it. 

KAREN:   No. I knew then that you were not with us. In some way you were isolated, fighting the enthusiasm and the hope that was in us. 

RICHARD:   well, what of it? You have watched and imagined. And now you have found what you were looking for. What do you intend to do?

KAREN:   (With detachment) You are... a Nazi agent, aren't you?

RICHARD:   (After pause) I suppose you would call it that. 

KAREN:   (Desperately) I hoped... I knew, and yet I felt it couldn't be true. Other people perhaps... in other countries. There were traitors. But could anyone in our country? There've been warnings about Fifth Column, jokes about Fifth Column. But such a thing didn't seem real. Could a man sell his own people? What is there on earth that could make such a thing worth while? You, Richard..... you. It.. doesn't seem possible. 

RICHARD:   (With sudden terror) Karen, don't look like that. I can't bear it. Whatever I've done, I've believed it was for the best, for us all — for you, and the children. 

KAREN:   But you couldn't... you couldn't. You'd know I'd give my life rather than this. 

RICHARD:   (Breaking up) It's too late to undo anything now. Karen, forget what you know. You understand the danger to all of us. 

KAREN:   It's like a nightmare. Richard, please make me understand. How did it start? How could you let yourself be persuaded?

RICHARD:   (Wearily) It was just after we got engaged....

KAREN:   As long ago as that? We were so happy then... 

RICHARD:   Things were different then. The Nazi regime had just been established in Germany. It seemed good. A lot of people thought so. Our own government seemed to be making a mess of things — floundering the slump. there seemed injustice, waste, poverty everywhere. The Nazis were able to get things done competently. I admired the fascists for their method and unity of purpose. I joined an organisation. At the meetings we studied Nazi doctrines, planned how to spread them. I wanted money so that I could marry. My salary was small. I felt I was justfied in working for any system which could govern with competence and .. progressive plan... 

KAREN:   Yes — go on. 

RICHARD:   I accepted an offer made to me... to be secretary of a small branch of the league. The pay was good. The work consisted in distributing pamphlets and circulars to members.... and ... supplying any useful information that came my way.

KAREN:   A spy's work!

RICHARD:   Yes — a spy. It sounds hideous — as you say it. 

KAREN:   It's hideous, however you say it... however you think of it. Oh, Richard!

RICHARD:   Karen... don't...

KAREN:   Was part of your work to teach Nazi doctrines to the boys in the school? 

RICHARD:   As far as it could be done... without causing trouble. Karen, can't you believe me when I tell you that I was convinced that what I taught them was true?

KAREN:   Richard, shall I tell you what I think? I think that you have known for a long time you were wrong. I think that perhaps to begin with you were convinced. You were, as you say, impatient of muddling incompetence and half measures. You admired the mechanism the Nazi government had constructed. But as you saw their cruelty to their own people, and their growing lust for power — you began to shout your doctrines aloud in an effort to reassure yourself. You were afraid — afraid of your own doubts. You've been trying to stop up all the holes. But the tide will come in, Richard. You can't stop it. You've tried to thrust back the thought of a god, who could not inspire cruelty, and of beauty, which could only be created by free spirits. Isn't that true? Isn't that true?

RICHARD:   I don't know. 

KAREN:   You do know. In your heart you know. Why did you try so hard to hurt Morland? That wasn't what you were meant to do, was it — to antagonize people, and let them see your treachery? You should have been more subtle. You should have used Morland's faith in you, and twisted his very ideals into the distorted cross that is your symbol... But you didn't. you saw in Morland something that you knew to be true, a loyalty that hurt you and defied you. And so you struck out wildly. 

RICHARD:   Perhaps you are right... I don't know... It was only.... after the war started... that I began to realise... the truth about... the work i was doing. I haven't done very much, Karen. I swear to you. Those leaflets... I didn't even know what they were. Vicars told me that I must have the cases here. I thought... I guessed that....

KAREN:   Yes, I understand. You were afraid to refuse?

RICHARD:   Karen, It could mean so much to you.. to the children...

KAREN:   (Pause) Richard, this afternoon, after I opened that case, I wrote a note to Major Whiteman. He has to do with the department of information. I enclosed one of the leaflets and said you had something important to tell him. He rang up a little while ago. He'll be here in about half an hour. 

RICHARD:   (Staggered) What have you done? What have you done?

KAREN:   It was the only thing to do. For your own sake, my dear — for the children.. and for all the things I believe make for the happiness of our country. You may not have done very much harm — how can we know how much? But you are part of the rottenness, the evil, deadly thing that would wreck our security, as it has wrecked others. '

RICHARD:   Oh... Karen, Karen. 

KAREN:   Do you understand, and forgive me for taking this decision for you?

Pause.

RICHARD:   Yes...

KAREN:   Richard, I love you.... I love you. I could not bear to see you — so nerve-wracked and unhappy. 

RICHARD:   Karen, I'm sorry. Anyway, there's an end of it all and I think I'm glad. (Pause) There's not very lonmg is there?

KAREN:   Not very long. 

RICHARD:   Will you play to me? As you used to... before I grew afraid of the beauty that was in it?

KAREN:   Will it bring you reassurance, Richard? The knowledge that I love you... the knowledge the power of the spirit can defend us against all the dangers of the world....

Music. Piano solo. Fade out.