J. HARTLEY MANNERS THE OUSE NEXT DOOR A COMEDY IN THREE ACTS Walter H. Baker Company, Boston NEW PLAYS AND BOOKS Season 1925 BOSTON THEATRE GUILD PLAYS With an introduction by Frank W. C. Hersey, A.M., Instructor of English, Harvard Lni^ersity. A collection of five plays. "The Three Gifts" by Florence Converse, one male, three females. "Desert Smoke" by Dwight L. Clarke, four males, three females. "An Old Chester Secret" by Sallie Kemper, three males, two females. "Dorinda Dares ' by Angela Morris, two males, two females. "Buying Culture" by C. Antoinette Wood, one male, two females. These unusual plays have been selected because they were especially liked by the audiences which attended the first performances of them by the Theatre Guild of Boston. They differ in mood and purpose; they portray diverse groups of characters, and thus they produce a variety of effects. One of the plays is a realistic drama with mystical overtones; one a fantasy; one a domestic tragi-comedy; another a romantic comedy ; another a farce. Indeed, these plays have that chief quality which is the basis of the hope for much success they tell their story well, and in terms of the theatre. Each has its own unity of tone, and thus makes an impression not blurred by discordant elements. Each play develops a main situation a situation not huddled and inarticulate, but amplified and vocal with emotion. During its six seasons, the Guild has presented about thirty-six plays the five herein printed are the pick of the lot. Each play commands a five dollar production royalty the volume, bound in a special library edition. ^ Price, $1.25 per copy. FOLK LORE FROM MAMMY DAYS By Mary Johnson Blackburn The genuine black Mammy sleeps with her generation, and her songs are but echoes of a poetic past. We offer these songs and stories for the children of America who never knew the sweet and subtle charm of Mammy's voice. These are speaking pieces in verse and prose, ana most of them are in the words of an actual Mammy who was nurse to the author. They are the real thing, straight from Georgia, and they have stood the test of many public readings to enthusiastic au- diences. For those who are fond of Southern Lullabies there are about fifteen pieces which can be crooned or sung to music which is given at the end of the book. It is a collection which gives all the scope imaginable to the individual skill of the reciter, in music, expression, and acting. A capital collection of absolutely fresh material. Price, $1.25 cloth bound. Send tor a Copy of our New Free Catalogue. It Describes More Than a Thousand Plays. BAKER'S PLAYS, BOSTON, MASS. THE HOUSE NEXT DOOR ROYALTY NOTICE The Royalty for the amateur use of this play should be paid direct to the office of BAKER'S PLAYS 448 South Hill Street LOS ANGELES, CALIFORNIA The House Next Door A Comedy in Three Acts By J. HARTLEY MANNERS All rights reserved under the International Copyright Act. Performance forbidden and right of representation reserved. Application for the right of performing the above piece must be made to WALTER H. BAKER COMPANY, 41 Winter Street, Boston, Mass. See page eight for production royalty terms. BOSTON WALTER H. BAKER COMPANY PUBLISHERS The House Next Door THE CHARACTERS IN THE COMEDY The Cotswold Family SIR JOHN COTSWOLD, baronet. MARGARET, his wife. ULRICA, his daughter. CECIL, his son. VINING, his servant. CAPT. the HON. CLIVE TREVOR. The Jacobson Family SIR ISAAC JACOBSON, M. P. REBECCA, his wife. ESTHER, his daughter. ADRIAN, his son. MAXIMILIAN, his servant. WALTER LEWIS, musical agent. Copyright, 1912, by J. HARTLEY MANNER* As AUTHOR AND PROPRIETOR All rights reserved THE SCENES IN THE COMEDY ACT I SCENE. Morning room in Sir John Cots-wold's house in the Cotsvuold Park Estate, Kensington, London. ACT II SCENE. Drawing-room in Sir Isaac Jacobson's house. Next Door. The same afternoon. ACT III SCENE. Same as Act I. Three days later. 2082619 First produced at the Gaiety Theatre, New York City, Monday April 12, /pop, with the following company : The Cotswold Family SIR JOHN COTSWOLD LADY COTSWOLD . CECIL COTSWOLD . ULRICA COTSWOLD VINING Mr. J. E. Dodson. Miss Ruth Chester. Mr. W. J. Kelley. Miss Mabel Roebuck. Mr. A. T. Hendon. CAPT. the HON. CLIVE TREVOR Mr. W. H. Sams. The Jacobson Family SIR ISAAC JACOBSON, M. P., . LADY JACOBSON . ADRIAN JACOBSON . . ESTHER JACOBSON . . MAXIMILIAN . . . WALTER LEWIS . . Mr. Thomas Findlay. Miss Eleanor Moretti. Mr. Regan Hughs ton. Miss Farnia Marinojf. Mr. Charles Diem. Mr. Herbert Standing. To J. E. DODSON In grateful appreciation J. HARTLEY MANNERS December, 1911 ALL RIGHTS RESERVED "THE HOUSE NEXT DOOR " is fully protected by copyright, and all rights are reserved. Permission to act, read publicly or to make any use of it must be obtained from WALTER H. BAKER COMPANY, 41 Winter Street, Boston, Mass. It may be presented by amateurs upon payment of a royalty of ten dollars ($10.00) for each performance, pay- able to WALTER H. BAKER COMPANY one week before the date when the play is given. The professional and mechanical rights are held by the author and he may be addressed in care of the pub- Ushers. Whenever the play is produced, the following notice must appear on all programs, printing and advertising for the play : " Produced by special arrangement with the WALTER H. BAKER COMPANY, of Boston, Mass. The House Next Door ACT I SCENE. The action passes in the morning room of SIR JOHN COTSWOLD'S house. It is somewhat sparsely fur- nished, but everything in the room is old, massive, dig- nified in its simplicity. An old straight-backed piano down R., open, a piece of music on the rest. Chester- field R. c. Writing bureau at back, R. c. Breakfast table L. c., partly laid. Heavy door at back, c. j deeply recessed door L. ; smaller door down R. A large, old-fashioned window, L., lights the room, and through it can be seen the foliage of the railed-in gardens, all that is left of the once famous Cotswold Park. It is morning on a day in late spring and a faint, watery iunlight is struggling in through the partly opened windows. [As the curtain rises, the door-bell rings and VINING, a white-haired, subdued, precise servant, enters with basket of flowers, L., puts it in front of side- board, then hurries out c., leaving the door open. As he disappears, the door R. opens and ULRICA, a fair, Saxon, beautiful girl of twenty-two, enters anxiously ; walks over to door L. and listens appre- hensively. VINING reenters carrying more flower s t bouquets, wreaths, etc. 1 2 THE HOUSE NEXT DOOR ULRICA. [By doot L.] Good-morning, Vining. VINING. Good-morning, miss. \J5ringing her flowers, etc.] Mr. Cecil's servant from the opera just brought these. [Hands flowers. ULRICA. Oh, how lovely ! [Takes violets and large wreath.] I was so afraid the ringing would disturb my father. VINING. So was I, miss. I hurried as quickly as I could. ULRICA. [Burying her face in the flowers] Put these on the table, Vining, and bring me a vase. [Crosses to settee ; puts wreath down. VINING. Yes, miss. It was a wonderful night last night, miss. [Puts flowers on small table up R. , gets vase from sideboard and brings it to table. ULRICA. Were you there ? VINING. [At table] Yes, in the gallery. I carried Mr. Cecil's hymn-book to the first choir he ever sang in. I had to see his first appearance in opera at Covent Garden. THE HOUSE NEXT DOOR 3 ULRICA. [At table, puts violets in bowl.~] It was nice of you, Viriing. I'll tell my brother. \A barrel-organ commences "La Donna e Mobile" immediately under window. UL- RICA and VINING start and look nervously at door L.] Please send him away, Vining. My father will be so angry if it wakes him. VINING. Yes, miss. \Hurries out C. [ULRICA hurries to window and closes it. She smiles through her fears as she glances at the door L. She crosses, takes up wreath from couch, looks at the card and reads the inscrip- tion. Organ stops. ULRICA. " With the warmest wishes of Sir Isaac and Lady Jacobson." \Knoc ker is heard and door-bell rings ; a troubled look flits across her face as she stands unde- terminedly looking first at the wreath and then at the door L. She makes up her mind ; goes to the piano and places the wreath on the top of the piano. Opens the window again. VINING. [Reenters c.] Miss Jacobson. [VINING closes door c., after ESTHER'S entrance ; he goes down L., gets chair and places it foot of table and exits C., first arranging two wreaths and flowers on the small cabinet at doorway. Enter ESTHER JACOBSON, a dark, attractive, warm-hearted, impulsive and altogether roman- tic young lady of eighteen. She has an enthusi- astic, excitable, rapid method of talking and a pealing, infectious laugh. 4 THE HOUSE NEXT DOOB ULRICA. [Gives a little cry of pleasure R. ^"ESTHER, and em~ braces her.~\ My dear Esther, how early you are ! [Brings her down front of settee. ESTHER. [Impulsively and excitedly. ~\ Oh ! I've been up for hours. I scarcely slept last night at all ! I was so ex- cited. Oh ! Your brother. Last night ! Oh ! [ Words fail her, she sinks on the Chesterfield, C. ULRICA. [Standing beside her, R., smiling, holds her right hand.'] You liked him ? ESTHER. Liked him ? He is wonderful ! What an artist ! It isn't merely his voice, but his art. His carriage. His atmosphere. His personality. He was so true so simple so powerful. So dignified so great [Lack of breath stops her. ULRICA. [Places her hand over her mouth ; sits, laughing.'} You little enthusiast. ESTHER. [Jumps up c., turns, facing ULRICA.] His poise ! His grace ! And his last scene ! [Faces audience.~\ Oh ! [Impulsively turning to ULRICA.] And all the while I was watching him, I kept thinking: "I know him. I know him. He knows me. Insignificant me." And to think he's your brother. How happy you must be ! [Clasping her hands. ULRICA. Of course I am. THE HOUSE NEXT DOOR 5 ESTHER. And proud. ULRICA. Very proud. [Points to wreath on piano."] Look, your father's wreath. And ever so much the largest. ESTHER. What can a mere wreath convey ? How can mere prose do justice to such a master ? It would take a poet. And a great poet, too ! [ Very enthusiastically. ULRICA listens and looks at door L. ULRICA. Sssh! [Quiets ESTHER and crosses to door L. Listens. ESTHER. [Alarmed."} Is your brother in there ? ULRICA. No. My father's in there asleep. [Turning from door. ESTHER. Oh! ULRICA. [Crossing to L. of ESTHER.] Cecil spent his first night with us for years last night. This will be his first break- fast in the bosom of his family since he's become famous. ESTHER. [Pressing her heart."} Oh ! Oh ! If he were to come in. ULRICA. Well ? And if he were ? 6 THE HOUSE NEXT DOOR ESTHER. I think I should die. ULRICA. [Taking her by the hands, swinging her and laughing at her.~\ You silly, silly child. I believe you're in love with him. ESTHER. I am. ULRICA. Oho, I'll tell him. ESTHER. [Pulls herself away. ,1 If you do I think I'd kill myself. Tell me. How was he? Last night? After the per- formance ? [Eagerly. ULRICA. {Matter offact."] Just as he always is. Quite ordinary. And rather tired ! ESTHEI [c.] Ulrica! Tired perhaps ; but ordinary never! ULRICA. And very thirsty. ESTHER. Thirsty he thirsty ! " Don Giovanni " ? ULRICA. [Laughing."] Doesn't Don Giovanni drink in the ban- quet scene ? ESTHER. Yes. But out of goblets of gold, and with the world of pleasure and beauty around him. THE HOUSE NEXT DOOR 7 ULRICA. Well, Cecil drank out of ordinary glasses, and with us around him. Just us. [Laughs. Takes ESTHER in her arms and hugs her.~\ It's a shame to tease you. ESTHER. [SlilyJ} Ulrica, my brother comes home to-day ! ULRICA. [Starts ; releases ESTHER.] Adrian! Oh! [Turns away, R. ESTHER. Yes. Oh ! He's graduated with honors, and he holds the record for the half-mile. We are very proud of him. ULRICA. [Moves away thinking to R. of couch.~\ Of course ! Of course ! ESTHER. [Follows her toward R. c.] Come in this afternoon. ULRICA. [Eagerly turns.] May I ? ESTHER. Do. Adrian wrote me to ask you. ULRICA. Did he? Oh! ESTHER. [Laughing."} Ha, ha, ha ! ULRICA. [/ front of settee, indignantly.] What are you laugh* ing at? THE HOUSE NEXT DOOR ESTHER. [L.] He's he's oh ! awfully in love with you. ULRICA. Don't be silly. [Turns away. ESTHER. He ULRICA. is. He is. He is! \Goes to end of couch following :A.] Awfully in love ! Do you love him f ULRICA. [Sits R. end of settee. ~\ Esther ! ESTHER. Oh! \_Sits beside her on settee L.] I knew I'd forgotten something. On Sunday night we re giving a wonderful reception. Every one will be there. It is to celebrate my father being made a knight. Sir Isaac ! See ? After the opera last night my father and mother asked Cecil I mean your brother if he would sing for us. And he consented. ULRICA. Really ? [Rises. ESTHER. {Puts her right hand on ULRICA'S left.'] You must come too, dear, and your father and mother. [Taking ULRICA'S hand. ULRICA. [Shakes her head."] No. My father doesn't allow Sir Isaac's name to be mentioned in his presence. ESTHER. [Pouting, rises and goes a step to c.] Oh ! How stupid. Why does he hate papa so much ? Because he is a Jew* THE HOUSE NEXT DOOR 9 ULRICA. Partly ! ESTHER. How narrow. There are some very nice Jews. I know tue are ! \Goes toward ULRICA.] Because he's rich f ULRICA. A good deal. ESTHER. Father couldn't help it. The money seemed to just come to him and stay there. Because he bought up your father's mortgages on the Cotswold estate, and has come to live next door to him ? ULRICA. That, perhaps, most of all. ESTHER. Mother did that. She wanted to live next door. And to save arguments and fuss papa hates fuss he just gave in, and there we are. But oh, what a pity ! What a pity! [ The door C. opens quietly and CECIL, a handsome, powerful young man of thirty, enters. He is carrying a large photograph of a pugilist, ESTHER. \_Holds out her hand to ULRICA ; goes on impulsively. "\ Ulrica, how wretched, how stupid, how beastly money is. CECIL. [Coming down cheerily. .] Good -morning, Ulrica. ESTHER. \Rises, pressing her heart violently, in a whisper^ Don Giovanni ! 10 THE HOUSE NEXT DOOR CECIL. [Coming down L. of ULRICA, shows her photograph."} What do you think of this? i\ly old boxing master sent this round to me after the performance last night. Listen. [Reads.] " To my pupil, Mr. Cotswold, from the heavy- weight champion of England, Jake Blumenthal. You were very good. Jake." There! \_Holds up photo to L. , so that audience can see it, then hands it to ULRICA, who turns up stage a step.~\ Even he was at the Garden last night to see my success. Wasn't it nice of him? [CECIL looks at ESTHER, who is standing trembling, half turned away from him. He crosses to ESTHER, takes her hands; enthusiastically. .] Why, Esther! My child sweetheart! [Holding her by both hands. ~\ I'm delighted to see you again. Delighted ! ESTHER. [Struggling bashfully, ,] Please let me go ! CECIL. You're trembling ! Just as you used to years and years ago. [Looking at her admiringly] What a beautiful young lady you've grown into. Why, you're Sit down. [Gently presses her on to Chesterfield, then goes to ULRICA, whispers to her in pantomime, telling her to leave them. ULRICA behind couch laughs and tiptoes to door R. Puts photograph on piano in passing, just above book " The Ghetto" ESTHER. [Looks around and sees ULRICA at door ; jumps up alarmed.] Ulrica ! [ULRICA laughs and exits R. CECIL. [Laughing, goes to end of sofa] Splendid ! I've got you all to myself. THE HOUSE NEXT DOOR 11 ESTHER. But, Mr. Cotswold CECIL.. Now sit down The first time I've seen you for hundreds of years, and you want to run away, the mo- ment I speak to you. I'm surprised at you ! You seem to forget that we're old sweethearts. Do you remember when we were married ? ESTHER. [Blushing, hanging her head ; very faintly '.] Yes. CECIL. We toddled up to the altar like grown-up people, and took the marriage-vows, and then, just like some grown-up people, separated almost at once. How long ago it seems. Now here we are both grown up and you've for- gotten all about me. ESTHER. Oh, no, I haven't. [ Turns quickly. CECIL. Did you ever think of me ? [ESTHER nods."\ I've often thought of you often I ESTHER. Have you ? CECIL. Very often. Sometimes I was on the point of writing to you. But how dare a poor devil of a musical student write to the beautiful daughter of a merchant prince? Eh ? No right to, at all, had he? At least not until he made a success. Well, I've made it at last ! 12 THE HOUSE NEXT DOOR ESTHER. I know you have. [Turns to him.'] I am so very, very glad, Mr. Cots CECIL. [Checks her.'} Ah! Cecil! ESTHER. [Meekly.'] Cecil! CECIL. That's right. Do you know the first to come on the stage last night and congratulate me ? Your father ! He seemed as pleased as I was that I'd succeeded. ESTHER. He was. We were all pleased. CECIL. \Vere_y0* there? ESTHER. Yes. CECIL. Really? [ESTHER nods.'] Like the opera? [ESTHER nods.'] Like me ? [ESTHER nods vigorously^] Splendid. Coming again ? [ESTHER nods.'] Often? [ESTHER nodsJ] Magnificent. Do you sing? [ESTHER shakes her head?] But you play ? ESTHER. Oh, yes. {Nods. CECIL. Then I'll tell you what we'll do. We'll go through all the operas together. Shall we ? ESTHER. Oh, I'd love to. THE HOUSE NEXT DOOR 13 CECIL. You shall. I'll call and see you this afternoon. [Look of delight from ESTHER.] And every afternoon if you'll let me will you ? [ESTHER nods.~\ You'd really like to see me? [ESTHER nodsJ] Every day? \_Nod.~\ Posi- tive ? \_Nod.~] Tell me [bending toward her\ is there any of the child love left ? Or is it all gone ? ESTHER. Oh, no ! CECIL. Some left? How much ? [ESTHER'S eyes meet his ; she gives long sigh and drops her head.~\ As much as that ? [ULRICA enters from door R. ESTHER nods.'] Splendid ! [ESTHER hears door handle turn ; she jumps up and exclaims " Oh I " and crosses to R. c. ULRICA. Mother's coming. [Smiles at CECIL and ESTHER and goes out c., leaving door open. CECIL. [To ESTHER.] I'll take you home. ESTHER. [L. of CECIL.] No ! No ! Please ! CECIL. I'll call this afternoon after rehearsal. ESTHER. Will you? CECIL. Certainly I will till then {Takes her hand. 14 THE HOUSE NEXT DOOR ESTHER. Good-bye, Mr. Cots CECIL. Ah, Cecil Cecil ESTHER. [Bashfully.'] Cecil. CECIL. Au revoir, Esther. [Holding her hand. ESTHER turns L. and goes up c. to door, turns, catches CECIL'S eye ; business. Exit, closing door. CECIL gives expression of delight, turns to piano down R., sees wreath on piano, picks it up and reads card.~\ " With the warmest wishes of Sir Isaac and Lady Jacobson." Isn't that splendid ? \_Places wreath on couch. ULRICA enters c. To ULRICA.] Isn't she beautiful ? Isn't she perfect ? ULRICA. That's just what she said about you. [Takes small jug front sideboard, and fours water in vase on table. CECIL. [c.] Did she ? Has she been coming here often ? ULRICA. Yes to see me. CECIL. Does father like her? ULRICA. Oh, yes, in a grouchy way. But he hates the family worse than ever, especially now they're Sir Isaac and Lady Jacobson. THE HOUSE NEXT DOOR 15 CECIL. [Sitting on L. arm of settee, laughing.'] That must have been a shock to him. By the way, how's the son? ULRICA. [Blushing.] The son ? CECIL. Yes Adrian. Do you ever see him ? ULRICA. \_Eml larrassedJ] Sometimes. \_Comes around front of tabled} See, Cecil dear, your flowers they've just come from the theatre CECIL. [Rises; goes to her."] Why, you're blushing you're positively crimson. [ULRICA covers her cheeks with her hands. CECIL takes her hands away.'] Ulrica, you're in love too. ULRICA. Cecil! CECIL. \Holds her hands, taking her up c.] You are, you are. Own up. ULRICA. [Drops his hands ; places her hands on his shoulders.] Yes, I am. But, oh, please say nothing. Father would make things even more miserable for me than they already are. CECIL. Here's a pretty complication. I'm in love with Esther you're in love with her brother [Laughing,] I've iust come in time. 16 THE HOUSE NEXT DOOR ULRICA. Promise me you'll say nothing to father? CECIL. Say nothing! I'll say everything. I'll carry him by storm. ULRICA. Oh, no. CECIL. At the right moment. [Placing his hands on her shoul- ders.^ At the right moment. I'm not going to allow him to stand in the way of my happiness, nor in the way of yours. Here here where's breakfast? I'm starving! [Crossing to bell. ULRICA. [Excitedly."] Don't. Don't ring ! CECIL. Why not? ULRICA. If breakfast were served before father came in he wouldn't eat a thing all day. CECIL. Wouldn't he? Well, it's time he was up. Let us call him. [Going to door L. ULRICA. [Alarmed.'] No. Don't. Please. We always have to wait until father wakes. He won't allow any one to call him. CECIL. Great heavens! Suppose he slept all day? I'll call him at once. [Turning to door. THE HOUSE NEXT DOOR 11 ULRICA. [Insistently.] Cecil! You mustn't! If you do, he won't leave his room at all. CECIL. What nonsense. [About to knock at door. ULRICA. [Going right over to him] Don't. Please. We have enough trouble with him when everything goes smoothly t CECIL. [Turning to her] But it's so foolish. He must be even more difficult to manage than he used to be. ULRICA. {Evasively.] Oh, well. He's had a great deal of trou- ble. Don't ; please don't. CECIL. All right, I won't. But Ulrica tell me honestly how do you manage to live ? ULRICA. Mother and I have had to work. CECIL. What kind of work?. ULRICA. Translations, designs for dresses, anything that would earn a little now and then CECIL. Has it been as bad as that? 18 THE HOUSE NEXT DOOR ULRICA. Everything is mortgaged now and and Sir Isaac Jacobson bought the mortgages. Even this house is his. We owe him rent for it. But the bitterest thing to father was his coming to live next door to us. CECIL. {Goes to her, places his hand on her shoulder."] Well, all that is going to be changed. And at once. Last night's success made me. 1 go to America next. I'm going to make vast sums of money. And the first will go to repay everything I cost my family. [Enter LADY COTSWOLD, door R. ULRICA. Don't talk like that. We're all proud of you CECIL. Well, I'm not particularly proud of myself. MARGARET. [Coming down from door R. to C., smiling at her chil- dren.'] Good-morning, my dears. CECIL. [Goes to her, kisses her.~\ Good-morning, mother. MARGARET. [Looking lovingly at kim.~\ Are you rested ? CECIL. Quite. MARGARET. My boy, I do wish your father had heard you last night. THE HOUSE NEXT DOOL 19 CECIL. He will hear me. He must hear me. Every one will hear me ULRICA. Isn't he conceited, mother? CECIL. Why, the whole world is going to hear me. MARGARET. The world, dear? [Turning toward him. ULRICA. He's going to America, mother. MARGARET. [Turns to CECIL, alarmed, going to him."} Oh, no. Not America. Not across the sea, dear. CECIL. Across the sea are millions of dollars, and I'm going over to annex some of them, and then [embracing her\ , charming mother and devoted sister, no more worries, no more struggles. Everything shall be made easy for you. MARGARET. I don't want anything but my own near me. Espe- cially just now when your father is not quite himself. [Sell rings long and loudly. MARGARET and ULRICA. [Together, exchange glances and look at door L.] Father ! [Enter VlNlNG, C., carrying copy of " The Times" 20 THE HOUSE NEXT DOOE CECIL. Breakfast at last. I'm starving. [Crosses to end of couch. Bell goes on ringing till VINING reaches door L.J He seems just as impatient as ever. MARGARET. [Smiling.'] Good-morning, Vining. VINING. [Goes around back of table to doori..~] Good-morning, my lady. [Exit, L. CECIL. [Calling after him.~\ Dress him quickly, Vining, and hurry the breakfast. [The bell stops. MARGARET. [Hurriedly and anxiously, comes down to CECIL.] Be- fore your father comes in I must warn you. Be very careful. He knows nothing about your sister's little legacy. CECIL. What legacy ? MARGARET. Her aunt's. Don't you remember? CECIL. Why ? Has she got it already ? MARGARET. A year ago, Cecil. CECIL. I didn't know that. Why, that's splendid. Then you've not been so badly off as I thought. Why didn't you tell me ? THE HOUSE NEXT DOOR 21 MARGARET. We didn't like you to know how it had been spent. CECIL. Spent ? Is it spent ? All of it ? \Holding her hands. MARGARET. Yes, all of it. That is why I don't want you to ever refer to it before your father. He doesn't know. CECIL. \A thought suddenly coming to him.'] How was it spent, mother ? \_Pause.~] On me ? \_He looks from MARGARET to ULRICA. MARGARET nods. ULRICA bows her head.'] Why didn't you tell me ? MARGARET. Because we were afraid you would not have accepted it. CECIL. Nor would I. I'd have managed somehow. I'd have economized. Not lived as I did. MARGARET. We knew you'd succeed. And the singing lessons were expensive, and so CECIL. [Takes her hand.~\ I've triumphed through your strug- gles. But it shall be repaid. Every penny, and with interest. SIR JOHN. [Outside.'] Be careful, Vining, be careful. Do you think my feet are made of iron ? 22 MARGARET. [/ an anxious whisper.~\ Not a word before your father. And oh, please, be careful with him don't anger him, will you ? CECIL. It doesn't need me to anger him, to judge by his voice. Vining's done it already. MARGARET. Remember, dear, if he's a little impatient and irritable, he has had a great deal to put up with since misfortune came to us. CECIL. I'll remember. SIR JOHN. {Outside.} That'll do, that'll do. MARGARET. [Frightened.] Here he is ! SIR JOHN. {Speaking through the half-open door.~\ Once more just once and I'll discharge you. I'll not have fools around me. Knaves I must have. They're all round me, but fools I pay wages to no ' Understand me, no! {Enters L., banging- door abruptly behind him. He is fully dressed save for a dressing gown. He is carrying a copy of " The Times," creased down at the "letters."] Morning, everybody. Come ! Come come ! Where's breakfast ? [ViNiNG enters L. and crosses to door C.] Why isn't it on the table? You heard my bell ring? [L. C.] Why isn't breakfast on the table, Vining? What is the use of my telling you the same thing day after day day after day ? THE HOUSE NEXT DOOR 23 VlNING. Why, you distinctly said SIR JOHN. [Up c.] Don't answer me. Get out! [VlNING ex- its c. To MARGARET.] It seems a simple thing, my dear, to manage a household with a little order, a little method. Instead everything late. Always late. It's bitter, bitter. MARGARET. But, John, my dear, don't you know SIR JOHN. Talking won't mend it, my dear. {Turns suddenly, shudders.~\ Shut that window [SIR JOHN crosses to fire, throws " The Times" on table as he goes. CECIL starts for window t but ULRICA runs to get there first. CECIL. {Front of piano, speaks as SIR JOHN rubs his hands.~\ Good-morning, father. [ULRICA has closed window and stays there. CECIL picks up book. SIR JOHN. {Turning quickly.'] Why good? It's a particularly baa morning. My whole day is spoiled. Completely spoiled. {Sniffing^] What is it I smell ? {Seeing the roses, etc., on small table by door.'} Flowers ! Pah ! This is not a boudoir it's a breakfast room. Away with them. {He knocks them all on floor. CECIL picks up flowers and hands them to ULRICA.] Ulrica, take them out of my sight. Put 'em where I can neither see 'em nor smell 'em. [VlNING enters c. with breakfast dishes, toast, eggs, coffee, etc. ; arranges them on table assisted by MARGARET. SIR JOHN sees the wreath on sofa.'] What's this? A wreath? Great heavens! This isn't a mausoleum. 24 TEE HOUSE NEXT DOOR up large wreath and reads card through eye-glass."] With the warmest wishes of Sir Isaac and Lady Jacob- son." The impertinence! The damned impertinence! Sir Isaac ! Ha ! Vining, put that in the fire. [flings the wreath on the floor. VINING picks it up, puts it on tray, turns to MARGARET, c. She takes vase with violets from table and puts it on VINING' s tray. Then ULRICA puts two small wreaths and other flowers on tray. CECIL. [At piano, back of 'couch .] They are my flowers, father, it's my wreath. Vining, put them in my room. [VlNlNG exits C. with the flowers, etc. SIR JOHN. [Pacing about furiously.'} An insult. That's what I have to put up with continually insults. That damned Jew to present my son with a wreath. ULRICA. He didn't mean it as an insult, father. It was just a thoughtful, kindly act. SIR JOHN. I don't want his thoughts. I don't want his kindness. I don't want his wreaths not even when I'm buried. Though that, no doubt, would give him the greatest pos- sible pleasure. Wreaths. Pah ! [CECIL laughs with genuine amusement. SIR JOHN, angrily.~\ How dare you laugh, sir ? CECIL. When you talk like that, father, I think you're funny. THE HOUSE NEXT DOOR 25 SIR JOHN. Funny ! Funny ! How dare you ? I would remind you that you are speaking to your father, sir not to some low music-hall person the kind of society you seem to prefer. CECIL. Why should you think that ? SIR JOHN. Theatres! Operas! Music-halls! They're all alike. Mountebanks ! [All through the foregoing scene MARGARET and ULRICA have poured out the coffee and setved breakfast. ULRICA. Father, please come to breakfast. SIR JOHN. Breakfast ! The very thought of it revolts me. [Shud- ders.'] My appetite's gone. [CECIL crosses to top of table and sits. ULRICA puts cup of coffee by SIR JOHN'S plate.~] Entirely gone. My whole morning destroyed. [Goes to table, places ULRICA'S chair. Sits chair R. of table. They all arrange serviettes. SIR JOHN stirs coffee; sips it; furi- ously.~\ Who put sugar in my coffee ? MARGARET. [Nervously.'] I gave you the wrong cup, John. This is yours. (ULRICA passes cup to him, and his back to MAR- GARET. SIR JOHN. Of course. Naturally. Nothing could be right. 26 THE HOUSE NEXT DOOR CECIL. [Cheerily. ~\ Now. father, you must be reasonable. SIR JOHN. Reasonable ! [To MARGARET.] Margaret. {She looks upJ\ Kindly request your son not to bring his theatre manners to my breakfast table. Reasonable ! [Enter VINING, c., with ham, -which he places on sideboard. SIR JOHN stares in horror at opened egg.~\ Vining ! [VlNiNG comes to R. of SIR JOHN.] Take this egg away and des- troy it. [VlNiNG takes up the egg gravely and looks at it, solemnly shakes his head and exits C.] It's bitter. Bitter. Why ? I ask you, why ? Cannot even one's eggs be decent? Or at least of recent birth? Surely it is not too much to expect? Margaret, may I ask you where you contrive to purchase such abominations ? MARGARET. From the very best shop in the neighborhood, John. Mr. Solomon's. SIR JOHN. Solomon's ! Solomon s ! Is there no Christian dairy- man in the district ? Solomon's. What is England com- ing to when one has to buy even one's food from Jews? An island, eh ? Ha we're a small country entirely sur- rounded by Jews that's what we are. CECIL. Now, father SIR JOHN. Silence. [Pause.] Solomon's! I suppose you get your vegetables from Lazarus' ? and your meats from Isaac's ? and your groceries from Levy's? Jews, Jews, Jews wher- ever one turns. Three invisible brass balls suspended over the entire United Kingdom. [SiR JOHN takes toast from rack, butters it savagely, takes marmalade from jar, THE HOUSE NEXT DOOR 27 then pauses suddenly, looks from one to the other; they are all eating, not looking at him.'] Well, why doesn't some one say something ? Are you all dumb ? '[Pause.'] Not good enough to be spoken to, eh ? [A*a/5.] I'm funny, am I? Unreasonable? No Christian dairy- man in the district, eh? It's bitter! Bitter! [Goes on eating, takes apple from dish, cuts it, and eats it. CECIL. [Little pause, then cheerfully^ Well, you seem to be enjoying your breakfast, father, after all. SIR JOHN. [Looking at him malevolently^ I suppose I may have enough to eat in my own house, sir? \_Pushes away every- thing from him.~\ Finished. [Turns chair from table, throws himself back, folds his arms and crosses legs. CECIL. [SmilingJ\ Don't take everything I say amiss. SIR JOHN. I'd have you know I never take anything amiss. Ha ! Amiss. That's a nice way to talk ! [Drums his fingers on the table ; then looks at sideboard^ Ulrica, a slice of that ham, between two thin pieces of bread, if you please. [ULRICA rises, and goes to sideboard^ Amiss ! I come into this room to begin a new day in a life we live but once, and I find what? The whole room filled _/?/&.] Certainly not, Sir John ! SIR JOHN. I shall be greatly obliged. REBECCA. Delighted. [Bowing to SIR JOHN, then goes R. SIR JOHN precedes her and goes to door R. ; opens it. SIR JOHN bows to her, as she exits, then he closes the door. He turns, comes R. C. JACOBSON. Thank you ! [SiR JOHN stops, almost resenting " thanks" goes to Chesterfield, puts hat down, then gets envel- ope from his pocket. THE HOUSE NEXT DOOR 103 SIR JOHN. And now, sir ! [ Takes envelope from pocket, bank-note from envelope with his fingers, lets it flutter on the table, also envelope, then dusts hisfingers.~\ I beg to return that, if you please ! {Takes up hat from couch, JACOBSON. [Astonished ; looks at the note and then at SIR JOHN.] Wnat do you mean ? SIR JOHN. I mean that I have pocketed my pride sufficiently to call on you, sir, to settle our accounts. JACOBSON. Oh, I see. You wish to pay your rent. SIR JOHN. \Loudly, ,] No, sir. That I never pay ! [Pauses."] My daughter attends to it. JACOBSON. [Goes to table, picks up note."] Then what does this mean ? SIR JOHN. You know perfectly well what it means. It was in that envelope. Read it ! Do you know the handwriting ? JACOBSON. My wife's writing. Now I understand perfectly. Did your son commission you to call on me ? SIR JOHN. Commission ? Commission ! I would have you know that I am not in the habit of allowing myself to be sent on commissions by any one. Not even by my son. 104 THE HOUSE NEXT DOOR JACOBSON. But how did you get this ? SIR JOHN. [Hesitatingly.] My a my son was not in. I opened it fortunately. JACOBSON. Indeed ! You will forgive me saying it, but I am not accustomed to opening letters that are not addressed to me even to my own son. SIR JOHN. [Thoroughly angry. ~] That that is my affair. Luckily for you, sir, my son knows nothing of this insult. JACOBSON. I assure you SIR JOHN. One moment, if you please. I stand before you as the head of the Cotswold family. Insults offered to any member of my family are offered to me. JACOBSON. But really, Sir John, my dear Sir John. SIR JOHN. You needn't lay so much stress on the Sir I was bom with it. JACOBSON. [Quietly.'] I merely earned it. SIR JOHN. What? Earned? Bought, sir, bought and paid for. But let us finish this matter. THE HOUSE NEXT DOOR 105 JACOBSON. Please do. [Slightly bowing. SIR JOHN. [Excitedly. "] Be good enough to understand that the son of Sir John Cotswold does not accept payment for the honor of his visit. JACOBSON. Neither does one pay Sir John Cotswold's son, but the artist, who also honors by acccepting the invitation. SIR JOHN. You beg the question, sir. You juggle words. If my son should ever call on you which I hope most emphat- ically he never will do [JACOBSON looks at door L. ; smiles'] if he sings in your house which is absolutely out of the question at any and all times then he does so be- cause it amuses him amuses, sir and not for payment. Do you grasp that, sir? If you do not then you are but little better than a JACOBSON. [Interrupting.'] Sir John ! Let us try to keep this dis- cussion within moderate bounds. [ With dignity.'] Please remember you are in my house. SIR JOHN. Ha! Just so. Exactly. Your house. You do well to remind me. And who built this house, sir? My father, sir. And who leased the smallest hovel on this estate for the purpose of making a wretched living out of equally wretched chairs, sir? Your father, sir! Your father! JACOBSON. [ With growing heat."] And who owns the estate now ? 106 THE HOUSE NEXT DOOR SIR JOHN. [In white heat.'} You, sir, damme ! You ! And how ? By what means ? You got control of money as your race always does and you buy up by the most under- hand JACOBSON. Sir John ! SIR JOHN. I repeat, you buy up in the most underhand, secret, and surreptitious way, the mortgages ill luck compelled me to encumber the estate with. And had I not in my contract expressly reserved the right to live as tenant in one of my houses, you would have driven me out of that. JACOBSON. {Steps toward SIR JOHN, angered by the injustice of the insinuution.~\ You are absolutely SIR JOHN. Take care, sir ! Take care ! JACOBSON. {Controlling himself^ But I'm foolish to allow myself to be angry. Say what you please. You can't insult me. You can't be taken seriously. SIR JOHN. But I insist on being taken seriously. I want to in- sult you ! You shall be angry ! I've been angry for years ! Yes, damme, sir, years ! You not only get my estate but you buy up even my pictures ! Look at that, sir ! [Pointing to picture on the wall R.] My great, great- grandfather ! Look at it ! And blush if your constitu- tion and your skin will permit you such an emotion. You take everything you can from me. You even decoy my daughter's suitor, Captain Trevor. You buy even him 1 THE HOUSE NEXT DOOR 107 JACOBSON. [Smiling.'] The purchase is not complete. I return him to you debts and all. SIR JOHN. Stop, sir. You are flippant, sir. How dare you ! I don't allow any one to be flippant in my presence. JACOBSON. {Ironically.'] I beg your pardon. SIR JOHN. And now now ! Not content with all you have done to harm and humiliate me with your ill-gotten money you must needs try to buy my son buy a Cotswold for a hundred pounds. But you shall not ! No, sir ! I may be poor. I am poor ! Honorably poor, and I would rather be honorably poor, sir, than dishonorably rich ! JACOBSON. [With dignity.'] Sir John Cotswold, you will oblige me by leaving this house. SIR JOHN. [ With a scream?] What ? Leave the house ? You dare tell me you you you [ Words fail him. As he stands face to face with JACOBSON, trembling with rage, almost about to strike him, enter CECIL and ESTHER, door L., engrossed with each other, laughing and talking merrily. As they see SIR JOHN ana JACOBSON, they look at each other amazed. JACOBSON. [Quietly.'] Your son ! SIR JOHN. [Turning quickly ; aghast.'] Cecil! You I Htrel 108 THE HOUSE NEXT DOOR CECIL. Father 1 JACOBSON. Esther ! [Motions her to leave the room. CECIL takes her to door. She exits L. SIR JOHN. [70 CECIL.] How long have you been here, sir? CECIL. That's exactly what I was going to ask you. How do you do, Sir Isaac ? [Crosses to JACOBSON, offering his hand. SIR JOHN. Don't touch his hand. I forbid you. We've been in- sulted, grossly insulted by this man. There, sir look at it \_Pointing to note.~\ Look at it. The price of your degradation. Hired like a juggler at a fair ! CECIL. My dear father, even if you do open letters that are addressed to me, please leave the answering of them to me. SIR JOHN. Very well. Give that man his answer. Now. He sends you one hundred pounds to sing to him on Sunday night ! Give him his answer ! CECIL. [To JACOBSON.] Sir Isaac, I accept your invitation with my best thanks ! SIR JOHN. What ? You accept ? And the money ? You accept that too ? THE HOUSE NEXT DOOR 109 CECIL. Certainly. It's my means of livelihood \Turn- ing to JACOBSON.] I accept not merely your invitation, but your payment, Sir Isaac. I know perfectly well the instinct that prompted your offer. It was one of kindli- ness not of insult, and I apologize to you for my father's attitude and speech. SIR JOHN. You? Apologize for me! After that you may go to the CECIL. One moment, father. I wish you to hear this, too. [7b JACOBSON.] Sir Isaac, I ask you for your daughter's hand. [JACOBSON surprised. SIR JOHN. Cecil ! CECIL. {To JACOBSON.] Have I your consent? SIR JOHN. You haven't mine, sir. Marry into this family ? You do, sir, and I'll disown you. Marry that man's daughter and you never enter my house or look on my face again. Now choose. CECIL. My choice is made, father ! With Sir Isaac's consent I wish to make Miss Jacobson my wife. [Turns to JACOBSON. SIR JOHN. Very well. I leave you to your Jewish friends. To think that a Cotswold a a a Cotswold a a [Breaks into hysterical laughter. ULRICA and ADRIAN 110 THE HOUSE NEXT DOOR walk in radiant and happy, absorbed in each other. SIR JOHN'S laughter arrests them. They look in amazement '.] Ulrica ! What are you doing in this house ? ADRIAN. [Entirely misreading the situation. Mistaking SIR JOHN'S laughter for friendliness, rushes forward.'] My dear Sir John ! [Stretching out his hands.~\ You are the one man of all men I most wish to see ! SIR JOHN. [Hands behind his back.~] Who are you, sir? ADRIAN. Adrian, Sir John ! Adrian Jacobson ! Oh, but I am glad you are here ! Glad indeed to find you visiting my father in such a nice, friendly way. SIR JOHN. Friendly ! Nice ! ADRIAN. [Turning to SIR JOHN.] And I'll tell you why I'm glad. I am going to ask you the greatest favor one man can do another to make his whole life happy. To make two people happy Sir John, I want to marry your daughter. What do you say ? SIR JOHN. [Beside himself.'] Say ! This, sir ! This ! I'd rather see her dead, sir. Yes, dead! My daughter? You! t Looking at JACOBSON.] His son ! Ulrica come here ! ULRICA comes to his L.] Never never in my lifetime cross the threshold of this house again or speak to any member of this disgraceful family. ULRICA. Father ! THE HQUSE NEXT DOOR 111 ADRIAN. Sir John! SIR JOHN. Silence ! Come, Ulrica ! [SIR JOHN takes ULRICA by her right hand ; she is on his L. They cross behind couch R. ADRIAN sinks in chair L. ; CECIL crosses up to back of his chair and consoles him, and crosses to back of sofa. J ACOBSON steps up to back of small chair by table R.] Sir Isaac Jacobson, this I trust will be the last time 1 shall ever have the unpleasant necessity of speaking to you ! Let me pay you a tribute ! At least you are thorough. You would buy my family as you did my mortgages behind my back. Well, sir, let me tell you this, you can buy my estate, my furniture, my pictures, everything that has value to me even my son but my daughter \J>uts his right arm around her shoulder] you cannot buy ! The one tie left me that you with all your money cannot break. The rest I leave in your hands ! [ Turns with ULRICA to go. JACOBSON. One moment ! [ULRICA and SIR JOHN stop and turn."] Vou say I am thorough ! You would rather see your daughter dead than a member of my family I entirely agree with you, Sir John Cotswold ! You echo exactly my own feelings ! Such a marriage would be to me the profoundest humiliation ! Have no fear ! None of my family will ever mate with yours ! And in this, believe me, I shall indeed be thorough ! [SiR JOHN clutches ULRICA'S arm and almost staggers ; they turn and walk up to R. arch. The Barcarolle is heard on piano off door L.. , with ESTHER softly singing. CECIL turns, looks at door as music starts. ADRIAN watches ULRICA off. SLOW CURTAIN ACT III SCENE. Same as Act I. Three days later. [MARGARET is discovered at rise of curtain listen- ing anxiously at the door of SIR JOHN'S room L. Enter ULRICA, c. , with manuscripts. ULRICA. [Looking at her mother reproachfully.^ Mother ! MARGARET. [Starting guiltily, .] He doesn't stir, dear. ULRICA. Let him alone. [Sits at writing table up R., and commences to work. MARGARET. But suppose he's ill ? ULRICA. His appetite is too good for him to be ill. MARGARET. [Reproachfully.] Ulrica! ULRICA. Now please, mother, I've no time to fret over my father's temper. MARGARET. [Goes to chair L. of table, picks up needlework and sighs wearily^ He must be ill. If he were well he wouldn't go to bed for days. [Sits. 112 THE HOUSE NEXT DOOR 113 ULRICA. Don't take the least notice of him. He'll soon get up then. [ Works. MARGARET. He hasn't even had breakfast yet, dear, and it's almost dinner time. [Stitches in silence ; starts, hurries to door'L..] Yes, John ! [Pause.] Did you call? [Listens. ULRICA. {Turning.'} No, mother, he didn't. MARGARET. Sssh ! [ Warning ULRICA as she listens."] Vining is with him ! [Pause.'] He's having his breakfast. [Pleased. SIR JOHN is heard scolding VISING heartily.] I think he's bet- ter. His voice sounds stronger. [SiR JOHN shouts.'] Much stronger! [Pause.] Vining is leaving him. [Hurries to doors c. , opens them, goes half-way out of room, beckons, calling in a low tone] Vining ! Vining! [Reenters, fol- lowed by VINING carrying breakfast tray. Eagerly.] Well ? Is he better ? VINING. [At door, shakes his head sadly] No, my lady, worse ! MARGARET. What was the matter ? VINING. The coffee, my lady. He said it was bitter. MARGARET. Couldn't he drink it ? VINING. Yes, my lady. All of it. 114 THE HOUSE NEXT DOOR ULRICA. [To MARGARET.] See? VINING. He said the bacon was of another generation and wanted to know if we bought it where we bought our eggs. MARGARET. What is he doing now ? VINING. Reading The Times, my lady. MARGARET. [Wearily '.] That will do, Vining. [Exit VINING, c. MARGARET walks sadly back to chair L. of table, takes up her needlework, sighing deeply. ULRICA. [At writing table.'} What's the use of worrying, mother ? He s done this so often before. MARGARET. I know. When Cecil went on the stage he stayed in bed for two weeks. ULRICA. Now that Cecil wants to marry he may stay in bed for a month. MARGARET. And you, my dear? He said you wanted to marry, too. ULRICA. Oh ! He doesn't bother about me. He thinks that all he has to do is to forbid me. THE HOUSE NEXT DOOR 115 MARGARET. [Sadly.'} It can't be healthy to lie there all day. ULRICA. We have only ourselves to blame. We've always spoiled him. MARGARET. [Sighs."] I know. Still he's ULRICA. Don't try to excuse him, mother. I can't ! He's tyrannized over me quite long enough. But no more ! \_Enter VINING, c. ; inside door. MARGARET. up nervo Speak softly VINING. [In a whisper.'] Mr. Lewis, my lady. ULRICA. My brother isn't here. VINING. \In a whisper.'] He wants to see you, miss. ULRICA. Well, show him in. [Exit VINING. MARGARET. What can he want ? ULRICA. We'll soon know. [Starting up nervously; rises.] What is it? Sssh! >eak softly. 116 THE HOUSE NEXT DOOR MARGARET. [Listening at doort,.~\ I hope he won't disturb John. [/ VINING, C. VINING. [In a whisper.] Mr. Lewis. LEWIS. [Entering with his usual boisterous manner.'] Ah! Good-afternoon, ladies ! [MARGARET and ULRICA make signs for silence. He pauses and looks from one to the other in perplexity, then goes to back of table and puts down hat. MARGARET and ULRICA. Sssh! MARGARET. My husband is ill ! [Exit VINING, C. LEWIS. Oh! Fm sorry. Sorry, indeed. Is it serious? MARGARET. We don't know yet. LEWIS. Is it infectious ? [ Takes up hat as if going. MARGARET. [Impatiently] Dear me, no. [LEWIS shows relief and puts hat back on table. ULRICA. [Turns to LEWIS.] My brother is staying at the Vic- toria. THE HOUSE NEXT DOOR 117 LEWIS. I know. I'm on my way to call on him. [To MAR- GARET.] You'll excuse me. [Goes to ULRICA ; hands her a letter and winks at her.~\ Here ! ULRICA. [Rises, taking the letter.] What is this ? LEWIS. [Winking.] From next door. ULRICA. Next door? LEWIS. [Following her, nods vigorously; chuckles and winks again.] Mr. Adrian ! ULRICA. [By couch] For me f LEWIS. Rather. Got one for your brother from Miss Jacobson as well. ULRICA. [Coldly] Indeed! LEWIS. There's been a pretty how-de-do in there, and no mis- take. Sir Isaac's on his dignity now. Says his children mustn't visit here until Sir John's apologized. ULRICA. Who told you that ? LEWIS. Mr. Adrian. ULRICA. Mother, did you hear Mr. Lewis's news? 118 THE HOUSE NEXT DOOR MARGARET. No, dear. What is it ? ULRICA. Sir Isaac Jacobson declines to allow either Esther 01 Adrian to visit us until father apologizes. MARGARET. John ! Apologize ! Never ! No matter how much he might be in the wrong ! LEWIS. That's what I said. His pride. And I admire it. I do, indeed. And I admire Sir John ! Rather ! You know, Lady John [Stare of surprise from MARGA- RET.] I mean, Lady Cotswold I think Sir John is one of the finest gentlemen real gentlemen [Loud ringing from room L. MARGARET. Sssh! [Hurries to door L. and listens ; louder ringing heard continuously. SIR JOHN. [Screaming from inside room.'] Why doesn't somebody come? MARGARET. I'm here, John. Do you want me ? SIR JOHN. [Inside room L.] No ! I don if Who's in there ? [MARGARET looks timidly at ULRICA. ULRICA. [In front of couch R., smiling.'] Tell him ! SIR JOHN. [Inside room L.] Well ? Can't you speak? Who's in there ? THE HOUSE NEXT DOOR US MARGARET. Mr. Lewis, John ! [LEWIS has very satisfied smile. SIR JOHN. [Inside room L.] Lewis ! Lewis ! Outside with him ! Away with the Jews ! LEWIS. [Starting.] Well, upon my SIR JOHN. [Inside room L.] Do you hear me ? MARGARET. I hear you, John ! SIR JOHN. [Inside room L.] Send him away ! MARGARET. Yes, John [Pause.'] John ! [Pause.] John ! SIR JOHN. [Inside room L., mimicking her.] John ! John ! What do you want ? MARGARET. Are you going to get up, dear ? SIR JOHN. [Inside room L., angrily.] No, I'm not! MARGARET. [Timidly.] Do you want anything ? [Pause.] John ! [Pause] John ! SIR JOHN. [Inside room L., shouting] Go away ! 120 THE HOUSE NEXT DOOR MARGARET. [Sighs wearily, leaves the door.~\ I'm very sorry, Mr* Lewis! LEWIS. Not at all. Very natural of Sir John. Very natural indeed. MARGARET. He's not well. [Sits. LEWIS. Of course he isn't. {Confidentially over table to her.~\ But, Lady Cotswold, I'm really not a [Loud ringing at street door-bell. MARGARET. [Starting.'} Oh ! What's going to happen now? LEWIS. [Nervously.'} I think perhaps I'd better go. [Picks up hat and gloves and goes up C. ULRICA. [Goes to*vard him.'} Thank you very much for calling. J'm sorry you should have had such a reception. LEWIS. I quite understand. Pride ! I know. [ULRICA goes up to writing table; LEWIS follows.'} But, Miss Cotswold , I m not really a [Enter CECIL, c, CECIL. [Comes down C.] Hello, Lewis ! MARGARET. Sssh ! Please your father THE HOUSE NEXT DOOR 121 CECIL. [Turns to LEWIS.] I want to see you later. Meet me at the Victoria, will you ? Better still, pick me up here in half an hour. LEWIS. [By door c.] Right ! CECIL. Sorry to turn you out, but I've something very impor- tant and very private to do here first LEWIS. \_At door, winks at him and hands him letter.] Here ! I've got something for you ! CECIL,. Eh? LEWIS. [In his ear.] From Esther! [CECIL takes the letter ; looks at him in amazement. LEWIS, with finger on his lips; in door] Mum's the word! [Opens door; to ULRICA.] Miss Cotswold, you know I'm really a Presby- terian. " {Exit, C. CECIL. [Puts letter in pocket without opening it.] Is father still in oed ? [ Comes down C. MARGARET. [Sighs.] Yes. CECIL. He must get up! MARGARET. [Alarmed; rises] Cecil! 138 THE HOUSE NEXT DOOM CECIL. Now there's no help for it. He's got to. ULRICA. What is the matter ? CECIL. {Takes out note-case and counts notes.'] First of all, here's fifty pounds. [Puts it on table.'] That will pay our arrears in rent. MARGARET. {Joyfully] Oh! I'm so glad! Thank you, Cecil. That's been worrying me day and night. CECIL. Don't thank me, mother. I've a great deal to pay back yet, haven't I, Ulrica ? ULRICA. Cecil! CECIL. {Going quickly toward door L.] Now for it ! MARGARET. [Rushing between him and the door.~\ No! Cecil! Don't ! Please ! CECIL. {Gently taking her away from the door and putting her on his R.] Nonsense, mother ! It's got to be done. Let. us get it over at once. MARGARET. Oh but {Gesture of appeal. THE HOUSE NEXT DOOR 123 ULRICA. Let him alone, mother ! [Smiling. MARGARET wrings her hands in misery. CECIL. [Knocking at doorL.~] Father! \_Pause. Knocks again. ~\ Father ! [Pause. Knocks and calls loudly and rattles locked door.'] Father ! Open the door ! [CECIL, MAR- GARET and ULRICA stand listening. The doors C. open quietly aw