Hobson's Choice: A Lancashire Comedy in Four Acts Part 22

ALICE. Good night, Maggie. (_The same quick kiss_.) And thank you.

MAGGIE. Oh, that! (_She goes with her to stairs_.) I'll see you again soon, only don't come round here too much, because Will and me's going to be busy and you'll maybe find enough to do yourselves with getting wed.

ALICE. I dare say. (_Upstairs_.)

(_The general exit is continuous, punctuated with laughter and merry "Good nights!"_)

MAGGIE. Send us word when the day is.

ALBERT. We'll be glad to see you at the wedding.

MAGGIE. We'll come to that. You'll be too grand for us afterwards.

ALBERT. Oh, no, Maggie.

MAGGIE. Well, happen we'll be catching up with you before so long. We're only starting here. Good night.

ALBERT & ALICE Good night, Maggie.

(_They go out, closing door_. MAGGIE _turns to_ WILL, _putting her hands on his shoulders. He starts_.)

MAGGIE. Now you've heard what I've said of you to-night. In twenty years you're going to be thought more of than either of your brothers-in-law.

WILLIE. I heard you say it, Maggie.

MAGGIE. And we're to make it good. I'm not a boaster, Will. And it's to be in less than twenty years, and all.

WILLIE. Well, I dunno. They've a long start on us.

MAGGIE. And you've got me. Your slate's in the bedroom. Bring it out.

I'll have this table clear by the time you come back.

(_She moves round to_ R. _of table and hustles off the last remains of the meal, putting the flowers on the mantel and takes off cloth, placing it over the back of the chair_, R. WILL _goes to bedroom and returns with a slate and slate pencil. The slate is covered with writing. He puts it on table_.)

MAGGIE. Off with your Sunday coat now. You don't want to make a mess of that.

(_He takes coat off and gets rag from behind screen and brings it back to table. He hangs his coat on a peg_, R.)

What are you doing with that mopping rag?

WILLIE. I was going to wash out what's on the slate.

MAGGIE. Let me see it first. That's what you did last night at Tubby's after I came here?

WILLIE. Yes, Maggie.

MAGGIE (_sitting at table up_ R. C., _reading_). "There is always room at the top." (_Was.h.i.+ng it out_.) Your writing's improving, Will. I'll set you a short copy for to-night, because it's getting late and we've a lot to do in the morning. (_Writing_.) "Great things grow from small."

Now, then, you can sit down here and copy that!

(_He takes her place at the table_. MAGGIE _watches a moment, then goes to fire-place and fingers the flowers_.)

I'll put these flowers of Mrs. Hepworth's behind the fire, Will. We'll not want litter in the place come working time to-morrow.

(_She takes up basin, stops, looks at_ WILL, _who is bent over his slate, and takes a flower out, throwing the rest behind the fire and going to bedroom with the one_.)

WILLIE (_looking up_). You're saving one.

MAGGIE (_caught in an act of sentiment and apologetically_). I thought I'd press it in my Bible for a keepsake, Will. I'm not beyond liking to be reminded of this day.

(_She looks at screen and yawns_.)

Lord, I'm tired. I reckon I'll leave those pots till morning. It's a slackish way of starting, but I don't get married every day.

WILLIE (_industrious at his slate_). No.

MAGGIE. I'm for my bed. You finish that copy before you come.

WILLIE. Yes, Maggie.

(_Exit_ MAGGIE _to bedroom, with the flower. She closes door_. WILL _copies, repeats letters and words as he writes them slowly, finishes, then rises and rakes out fire. He looks shyly at bedroom door, sits and takes his boots off. He rises, boots in hand, moves towards door, hesitates, and turns back, puts boots down at door, then returns to table and takes off his collar. Then hesitates again, finally makes up his mind, puts out light, and lies down on sofa with occasional glances at the bedroom door. At first he faces the fire. He is uncomfortable.

He turns over and faces the door. In a minute_ MAGGIE _opens the bedroom door. She has a candle and is in a plain calico night-dress. She comes to_ WILL, _s.h.i.+nes the light on him, takes him by the ear, and returns with him to bedroom_).

CURTAIN.

[Ill.u.s.tration.] Red papered chamber of an old-fas.h.i.+oned design.

Antimaca.s.sars on chairs. All sorts of china ornaments. Dogs, vases, artificial flowers, lace curtains on window, books, boot boxes, cus.h.i.+ons with lace covers, fire lit. Gas brackets each side of mantelpiece. Old pictures, velvet-framed views.

ACT IV

_The scene represents_ HOBSON'S _living-room, the door to which was seen in Act I. From inside the room that door is now seen to be at the left, the opposite wall having the fire-place and another door to the house.

It is eight o'clock on a morning a year later.

In front of the fire-place is a horsehair arm-chair. Chairs to match are at the table. There are coloured prints of Queen Victoria and the Prince Consort on the walls on each side of the door at the back, and a plain one of Lord Beaconsfield over the fire-place. Antimaca.s.sars abound, and the decoration is quaintly ugly. It is an overcrowded, "cosy" room_.

HOBSON _is quite contented with it, and doesn't realize that it is at present very dirty.

There is probably a kitchen elsewhere, but_ TUBBY WADLOW _is cooking bacon at the fire. He is simultaneously laying breakfast for one on the table. At both proceedings he is a puzzled and incompetent amateur.

Presently the left door opens, and_ JIM HEELER _appears_.

JIM (_crossing_). I'll go straight up to him, Tubby.

TUBBY (_checking him_). He's getting up, Mr. Heeler.

JIM. Getting up! Why, you said--

TUBBY. I told you what he told me to tell you. Run for Doctor MacFarlane, he said. And I ran for Doctor MacFarlane. Now go to Mr.