by David Mamet
ARTHUR: He’s a good man.
GRACE: I’m sorry, Arthur?
ARTHUR: Good man. Pharaoh’s dream. Dream of the King of Egypt. Seven Fat Years, Seven Lean Years. Good sermon.
GRACE: I couldn’t hear him …
They enter the front hallway.
2. INT. WINSLOW HALLWAY. DAY.
GRACE: (Cont’d.) What’s the use in being good if you’re inaudible?
DICKIE sets down the books; CATHERINE et al. begin taking off their wraps; DICKIE goes to the gramophone.
CATHERINE: A problem in Ethics for you, Father.
DICKIE: Not everything is a problem in ethics.
CATHERINE: Never prove it by me …
DICKIE: What, never?
CATHERINE: Well, hardly ever.
ARTHUR: “And the seven fat cows were devoured by the seven lean and hungry cows.”
DICKIE: Yes, and don’t I feel like those lean and hungry cows.
ARTHUR: My point precisely.
VIOLET: (As she bobs into the room) Lunch in about an hour, sir.
GRACE: (Looking out of the open front door) Oh, my. It’s going to rain. (She closes the door.)
ARTHUR: I could have told you that, I feel it in my leg.
A MAID enters and starts taking coats.
DICKIE: (Looking into the hallway) Excuse me, would you please mind the gramophone?
ARTHUR: … the center of a well-regulated home.
GRACE takes CATHERINE aside for a whispered conference.
CATHERINE nods. GRACE passes into the dining room and begins to direct the laying of the table.
DICKIE: It helps me concentrate.
ARTHUR: Concentrate on what, pray?
DICKIE and ARTHUR proceed into the hallway near the entrance to the drawing room. Beyond them we see the WORKMAN, putting up the Christmas tree, as CATHERINE climbs the front staircase.
ARTHUR: (Cont’d.)… Catherine …?
CATHERINE: Yes, Father, I just wanted to see about the …
DICKIE: … to study, Father … to study …
ARTHUR: … what did you say?
DICKIE: I said, the gramophone, the music of the gramophone helps me to study, Father.
ARTHUR: Study is not what you appeared to be involved in when I came downstairs last night, your friend and you.
DICKIE: Edwina, Father, Edwina had just stopped by to, she’d just stopped by on the way from Graham’s dance to fetch a book, and …
ARTHUR: And so, you are involved with her in what, a sort of what, a “reading club”?
2A. INT. WINSLOW HOUSE, CATHERINE’S ROOM/UPSTAIRS LANDING. DAY.
A suffragette poster, many books. CATHERINE darts in, checks her hair in the mirror, reaches in her desk.
ANGLE. INSIDE THE DESK.
She takes from the desk a book and puts it under her arm. From behind the book she takes a packet of cigarettes and puts it in her reticule. She reaches for matches, shakes the box, finds it empty, and puts it back.
ANGLE. ON CATHERINE AT THE DESK.
She starts out of the room, goes back, opens the drawer of her desk, and takes out a ring box. She opens it.
ANGLE, INS. THE RING BOX CONTAINS A DIAMOND ENGAGEMENT RING.
ANGLE. ON CATHERINE.
She closes the box and puts it in her pocket.
3. INT. WINSLOW DRAWING ROOM. DAY.
Beyond we see the WORKMAN putting up the tree and GRACE coming into the drawing room. She casts a glance up the stairs.
DICKIE: (VO) A right to be a certain measure, a certain measure, Father, of, for want of a better word, of autonomy.
GRACE enters the drawing room.
GRACE: I’m sorry, what were we discussing?
DICKIE: Edwina.
GRACE: Edwina, what a fast and flighty … (She looks at DICKIE and sees his hurt expression.) I’m sorry, Dickie, you’re rather keen on her, aren’t you …?
ARTHUR: You would have had ample evidence of that fact, had you discovered them in the attitude in which I came on them last night.
DICKIE: We were doing the Bunny Hug.
GRACE: … the what, dear?
DICKIE: The Bunny Hug.
CATHERINE enters.
CATHERINE: It’s like the Turkey Trot. Only more dignified.
4. INT. WINSLOW DRAWING ROOM. DAY.
They enter the drawing room. Beyond them, we see the garden and the terrace.
DICKIE: No, more like the Fox-Trot, really, Fox-Trot, or the Kangaroo Glide.
ANGLE, INS. ON THE DESKTOP, IN THE DRAWING ROOM.
An old magnifying glass, next to it a box of matches.
CATHERINE’s hand takes the matches.
ARTHUR: More to the point, whichever animal was responsible for the posture which I found you and your friend in last night …
GRACE clears her throat.
ARTHUR: (Cont’d.) Or let me say, to make an end, that I doubt, I doubt the gramophone aids you in what you call your studies.
GRACE: (At the window) Yes. It’s raining.
She casts a glance at CATHERINE, who looks out at the rain and down at a small watch pinned to her shirtwaist, then shrugs at her mother.
DICKIE: Ah ha … ah ha …
ARTHUR still feeling in his pocket.
ARTHUR: … has anybody got a coin? (He inclines his head toward the workman setting up the tree.)
DICKIE: … and at this Festive Season, Father, at this Festive Season—to throw it to me, to bring that up again …
GRACE: Nobody’s bringing that up …
VIOLET comes in, takes a drinks tray and newspapers from a MAID, and brings it forward. The MAID leaves.
DICKIE: Yes, they are. Ronnie. Ronnie. Ronnie Got Into Osbourne, as I did Not. Why? As he Applies himself … and Ronnie …
ARTHUR looks at DICKIE, indicating the presence of VIOLET, and DICKIE subsides.
VIOLET: Good sermon, Miss?
CATHERINE: (Looking out the window) Mmm? “Joseph interprets Pharaoh’s dreams.”
VIOLET: Oh, Lord, it’s coming down …
CATHERINE walks to the bookcase and takes down a book, looks out the window, and sits. VIOLET leaves.
ARTHUR: Anybody got a coin …?
DICKIE: If I may, sir, I’m, going to my room.
ARTHUR: (Of the gramophone) Might I suggest you take that object with you?
DICKIE: May I ask why?
ARTHUR: It’s out of place in a drawing room.
He walks DICKIE to the door of the drawing room. DICKIE leaves, and ARTHUR, GRACE, and CATHERINE move through to the study.
5. INT. WINSLOW STUDY/DRAWING ROOM. DAY.
ARTHUR: (Cont’d.) It’s pelting down out there.
GRACE: What, dear?
ARTHUR: I said it’s raining.
He sits down next to his Bible with his drink and lights a cigarette. In the background a MAID lights the drawing room fire.
ARTHUR: (Cont’d. Of his drink as he sits by the fire in the fireplace)… quite insufficient for the Lean and Hungry cows. (He takes a pair of spectacles from his vest pocket and holds them up to examine CATHERINE’s book.) What are you reading?
CATHERINE: Len Rogers’s memoirs.
ARTHUR puts his spectacles down on the desk, next to the large magnifying glass.
GRACE: And who is Len Rogers, dear?
CATHERINE: He was a Trades Union Leader.
GRACE: Was he a Radical?
CATHERINE: I’d say so.
GRACE: Does John know your … Political …?
CATHERINE: Oh, yes.
GRACE: And he still wants to marry you?
CATHERINE: Seems to.
CATHERINE nods to her mother.
Pause.
GRACE: Oh, by the way, I’ve asked John to come early for lunch.
ARTHUR: (Who has been almost dozing off) What?
CATHERINE: He’s coming early for lunch.
ARTHUR: Mm.
CATHERINE: You won’t let me down and Forbid the Match, or anything, will you, because I warn you, If you
do, I shall elope.
ARTHUR: (Taking her hand) Never fear, my dear. I’m far too delighted at the prospect of getting you off our hands at last. Does Desmond know, by the way …?
CATHERINE: I’m not sure I like that “at last.”
ARTHUR: Have you told Desmond, yet?
GRACE: Do you love him, dear?
CATHERINE: John? Yes, I do.
GRACE: Do you? You don’t behave as if you were in love.
CATHERINE: How does one behave as if one is in love?
ARTHUR: One doesn’t read …
He pats his pockets for his spectacles. CATHERINE finds them on the desk and hands them to him.
ARTHUR: (Cont’d. Reading the book) One doesn’t read The Social Evil and the Social Good. One Reads Lord Byron …
ANGLE, INS.
ARTHUR puts his spectacles and the book down on the desk. We read the cover of the book, “The Social Evil and the Social Good, by hen Rogers.”
CATHERINE: Ah, yes, is that so?
ANGLE. ON THE ROOM.
CATHERINE: (Cont’d.) I see …
GRACE: (Sighing) I don’t think you modern girls have the feelings our generation did.
CATHERINE: Very well, Mother. I love John in every way that a woman can love a man. Does that satisfy you?
GRACE rises and moves, embarrassed, to the window.
GRACE: … just look at the rain.
There is the sound of a doorbell. And the family begins to arrange itself.
GRACE: (Cont’d. Turning from the window) Hullo, I thought there was someone in the Garden.
CATHERINE: Where?
GRACE: (Pointing) Over there, do you see?
CATHERINE: (Leaving the window) Well, whoever it is, is getting terribly wet.
There is the sound of voices outside in the hall.
GRACE: Was that John?
CATHERINE: It sounded like it.
GRACE: (After listening) Yes, it’s John. (To CATHERINE) Quick! In the drawing room!
CATHERINE: All right.
She dashes across toward the drawing room.
GRACE: Here! You’ve forgotten your bag.
She darts to the table and picks it up.
ARTHUR: (Startled) What on earth is going on?
GRACE: (Whispers) We’re leaving you alone with John. When you’ve finished cough or something.
ARTHUR: (Testily) What do you mean, or something?
GRACE: I know. Knock on the floor with your stick—three times. Then we’ll come in.
ARTHUR: You don’t think that might look a trifle coincidental?
GRACE: Sh!
GRACE and CATHERINE walk into the drawing room, closing the adjoining doors behind them, and stand by the hall door to eavesdrop. ARTHUR goes into the hallway.
6. INT. WINS LOW HALLWAY. DAY.
VIOLET takes JOHN’s rain-soaked umbrella and coat by the front door. The WORKMAN passes through the hallway, tugging his hat, taking his toolbox with him.
ARTHUR: ’S anybody got a coin …?
VIOLET: (Announcing) Mr. Watherstone.
JOHN WATHERSTONE approaches, a well-set-up young man in his late twenties, wearing a morning coat and striped trousers. In the dining room a MAID continues with preparations for lunch.
ARTHUR: How are you, John? Got a coin …?
JOHN feels in his vest pocket.
ARTHUR: (Cont’d.) Good of you to come. I’m glad to see you …
JOHN gives ARTHUR a coin and looks, as if to say, “Will this do?”
ARTHUR: (Cont’d.) Yes, thanks. Violet …
VIOLET comes over, and ARTHUR motions her to give the coin to the departing WORKMAN.
JOHN: How do you do, sir?
ARTHUR: Let’s sit, shall we? My arthritis’s troubling me a bit.
They move toward the study.
JOHN: I’m sorry to hear that, sir. Catherine told me it was better.
ARTHUR: It was better, now it’s worse. Do you smoke …?
7. INT. WINSLOW BACKSTAIRS HALLWAY. DAY.
VIOLET takes a shawl down off a peg and starts out after the WORKMAN. As a MAID passes her with a tray of food for the dining room, VIOLET tastes a bit.
VIOLET: … stay outta the study.
8. EXT. WINSLOW GARDEN. DAY. ANGLE.
In the garden, the WORKMAN, walking quickly, his head down in the rain. VIOLET, hurrying up to him, gives him a coin.
ANGLE.
Over the shoulder, back of a BOY in a naval uniform. Standing in the rain, he retreats into a niche in the garden wall to avoid being seen by VIOLET.
In the BG we see the WORKMAN pass through the garden gate and the gate slam and swing open again.
9. INT. WINSLOW STUDY. DAY.
ARTHUR and JOHN, getting settled; beyond them, the window, and the garden in the rain. ARTHUR offers his cigarette case to JOHN.
Pause while JOHN lights his cigarette and ARTHUR watches him.
ARTHUR: Well, now I understand you wish to marry my daughter.
JOHN: Yes, sir. That’s to say, I’ve proposed to her and she’s done me the honor of accepting me.
ARTHUR: I see. I trust when you corrected yourself, your second statement wasn’t a denial of your first?
JOHN looks puzzled.
ARTHUR: (Cont’d.) I mean, of course, you do really wish to marry her?
JOHN: Of course, sir.
ARTHUR: Why, of course? There are plenty of people about who don’t wish to marry her.
JOHN: I mean of course because I proposed to her.
ARTHUR: That, too, doesn’t necessarily follow. However, we don’t need to quibble. We’ll take the sentimental side of the project for granted. As regards the more practical aspect, perhaps you won’t mind if I ask you a few rather personal questions?
JOHN: Naturally not, sir. It’s your duty.
ARTHUR: Quite so. Now, your income. Are you able to live on it?
JOHN: No, sir. I’m in the regular army.
ARTHUR: Yes, of course.
JOHN: But my army pay is supplemented by an allowance from my father.
ARTHUR: So I understand. Now your father’s would be, I take it, about twenty-four pounds a month.
JOHN: Yes, sir, that’s exactly right.
ARTHUR: So that your total income with your subaltern’s pay and allowances, plus the allowance from your father, would be, I take it, about four hundred and twenty pounds a year?
JOHN: Again, exactly the figure.
ARTHUR: Well, well. It all seems perfectly satisfactory. I really don’t think I need delay my congratulations any longer. I propose to settle on my daughter one-sixth of my total capital, which, worked out to the final fraction, is exactly eight hundred and thirty-three pounds, six shillings, and eight pence. But let us deal in round figures and say eight hundred and fifty pounds.
JOHN: I call that very generous, sir.
ARTHUR: Not as generous as I would have liked, I’m afraid. However—as my wife would say—beggars can’t be choosers.
JOHN: Exactly, sir.
ARTHUR: Well, then, if you’re agreeable to that arrangement, I don’t think there’s anything more we need discuss.
JOHN: No, sir.
ARTHUR: Splendid.
ARTHUR takes his stick and raps it, with an air of studied unconcern, three times on the floor. Nothing happens.
JOHN: Pretty rotten weather, isn’t it?
ARTHUR: Yes, vile.
He raps again. Again nothing happens.
ARTHUR: (Cont’d.) Would you care for another cigarette?
JOHN: No, thank you, sir. I’m still smoking.
ARTHUR takes up his stick to rap again, then thinks better of it. He goes slowly but firmly to the dining room door, which he throws open. CATHERINE and GRACE enter.
10. EXT. WINSLOW GARDEN. DAY.
The boy in the naval uniform (RONNIE, aged twelve, moving up to look in the window), i.e., RONNIE, from the rear. Beyond him JOHN and ARTHUR.
ANGLE, CU RONNIE, THE RAIN COMING DOWN HIS FACE.
ANGLE, RONNIE’S POV. INT. THE STUDY.
ANGLE. EXT. THE TERRACE. DAY.
RONNIE, standing in the rain, looking in the window. He moves into some shelter and takes an envelope out of his pocket. He holds it.
ANGLE, INS. THE ENVELOPE, BEARS AN OFFICIAL-LOOKING SEAL.
ANGLE, CU.
RONNIE, looking down at the envelope and through the glass at his father.
ANGLE, XCU INS. THE ENVELOPE, BEARS THE SEAL “THE ROYAL NAVAL ACADEMY, OS BOURNE.”
ANGLE. INT. THE STUDY.
ANGLE.
RONNIE looks up.
11. INT. WINSLOW STUDY/DRAWING ROOM. DAY.
Pause.
GRACE is unable to repress herself. As she and CATHERINE talk, they move into the drawing room.
GRACE: (Coyly) Well?
ARTHUR: Well, what?
GRACE: How did your little talk go?
ARTHUR: (Testily) I understood you weren’t supposed to know we were having a little talk.
GRACE: Oh, you are infuriating! Is everything all right, John?
JOHN nods, smiling.
GRACE: (Cont’d.) Oh, I’m so glad. I really am.
JOHN: Thank you, Mrs. Winslow.
GRACE: May I kiss you? After all, I’m practically your mother, now.
JOHN: Yes. Of course.
He allows himself to be kissed.
ARTHUR: While I, by the same token, am practically your father, but if you will forgive me—
ANGLE. ON VIOLET.
She enters to clear up the drinks tray. ARTHUR sees something in the garden.
ARTHUR: (Cont’d.) Oh, now, he’s gone and left the garden gate open.
ANGLE, ARTHUR’S POV.
The garden gate, swinging wildly in the rainy wind.
ANGLE.
VIOLET gestures to the MAID, as if to send her out to close the gate.
ANGLE.
On the drawing room floor, the happy foursome.
ARTHUR: (Cont’d.) Grace, I think we might allow ourselves a little modest celebration at luncheon. Will you find me the key of the cellars?
He goes out through the hall door.
GRACE: Yes, dear. (She turns at the door. Coyly) I don’t suppose you two will mind being left alone for a few minutes, will you?
She follows her husband out. JOHN goes to CATHERINE and kisses her.
12. EXT. WINS LOW GARDEN. DAY.
