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JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 —— ACT H SCENE ONE Two weeks later, Evening. ALISON is standing over the gas stove, pouring water from the kettle into a large teapot. She is only wearing a slip, and her feet are bare. Tn the room across the hall, Jimmy is playing on his jazz trumpet, in intermittent bursts. ALISON takes the pot to the table C., which is laid for four people. The Sunday paper jungle around the two armchairs is as luxuriant as ever. It is late afternoon, the end of a hot day. She wipes her forehead. She crosses to the dressing table R., takes out a pair ol stockings from one of the drawers, and sits down on the small chair beside it to put them on. While she is doing this, the door opens and HELENA enters. She is the same age AS ALISON, medium height, carefully and expensively dressed, Now and again, when she allows her rather judicial expression of alertness to soften, she is very attractive. Her sense of matriarchal authority makes most men who meet her anxious, not only to please but impress, as if she were the gracious Tepresentative of visiting royalty. In this case, the royalty of that middle-class womanhood, which is so eminently secure in its divine rights, that it can afford to tolerate the parliament, and reasonably free assembly of 41 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON; its menfolk. Even from other young women, like aLIson, she receives her due of respect and admiration. In jimmy, as one would expect, she arouses all the rabble-rousing instincts of his spirit. And she is not accustomed to having to defend herself against catcalls. However, her sense of modestly exalted responsibility enables her to behave with an impressive show of strength and dignity, although the strain of this is beginning to tell on her a little. She is carrying a large salad colander. Did you manage all right? Of course. Pve prepared most of the meals in the last week, you know. Yes, you have. It's been wonderful having someone to help. Another woman, 1 mean, (crossing down L.) . 'm enjoying it. Although 1 don't think 1 shall ever get used to having to go down to the bathroom every time 1 want some water for something. It is primitive, isn't it? Yes. It is rather. She starts tearing up green salad on to four plates, which she takes from the food. cupboard. Looking after one man is really enough, but two is rather an undertaking. Oh, Cliff looks after himself, more or less. In fact, he helps me quite a lot. Can't say l'd noticed it. You've been doing it instead, 1 suppose, Isce. You've settled in so easily somehow. Why shouldn't 1? It's not exactly what you're used to, is it? 43 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: Ts ClifE in love with you? (stops brushing for a. moment) . No. . don't think so. And what about you? You look as though T've asked you a rather peculiar question. The way things are, you might as well be frank with me. I only want to help. After all, your bchaviour together is a little strange—by most people's standards, to say the least. You mean you've seen us embracing each other? Well, it doesn't seem to go on as much as it did, I admit. Perhaps he finds my presence inhibiting—even if Jimmy's isn't. We're simply fond of each other—there's no more to it than that. Darling, really! lt can't be as simple as that, You mean there must be something physical to0? 1 suppose there is, but it's not exactly a consuming passion with either of us, I's just a relaxed, cheerful sort of thing, like being warm in bed. You're too comfortable to bother about moving for the sake of some other pleasure, I find it difficult to believe anyone's that lazy! I think we are. And what about Jimmy? After all, he is your husband. Do you mean to say he actually approves of it? It isn't easy to explain. Tt's what he would call a question of allegiances, and he expects you to be pretty literal about them. Not only about himself and all the things he believes in, his present and his future, but his past as well. All the people he admires and loves, and has loved. The friends he used to know, people T've never even known—and probably 46 1 EN HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: HELENA; ALISON: wouldn't have liked. His father, who died years ago. Even the other women he's loved. Do you understand? Do you? T've tried to. But 1 still can't bring myself to icel the way he does about things. 1 cant believe that he's right somehow. Well, that's something, anyway. If things have worked out with Cliff, it's because he's kind and lovable, and P've grown genuinely fond of him. But it's been a fluke. It's worked because Cliff is such a nice person anyway. With Hugh, it was quite different. Hugh Hugh Tanner. He and Jimmy were friends almost from childhood. Mrs. Tanner is his mother— Oh yes—the one who started him off in the sweet business. That's right, Well, after Jimmy and 1 were married, we'd no money—about eight pounds ten in actual fact-and no home. He didn't even have a job. He'd only left the university about a year. (Smáles.) No—left. 1 don't think one “comes down” frora Jimmy's university. According to him, it's not even red brick, but white tile. Anyway, we went off to live in. Hugh's flat. It was over a warehouse in Poplar. Yes. I remember seeing the postmark on your letters. Well, that was where 1 found myself on my wedding night, Hugh and 1 disliked each other on sight, and Jimmy knew it. He was so proud of us both, so pathetically anxious that Wwe should take to each other. Like a child showing off his toys. We had a little wedding 417 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 HELENA: ALISON: HELENA: ALISON: HELENA: ALISON: celebration, and the three of us tried to get tight on some cheap port they'd brought in. Hugh got more and more subtly insulting— he'd a rare talent for that. Jimmy got steadily depressed, and 1 just sat there, listening to their talk, looking and feeling very stupid. For the first time in my life, 1 was cut off from the kind of people 'd always known, my family, my friends, everybody. And I'd burnt my boats. After all those weeks of brawling with Mummy and Daddy about Jimmy, 1 knew I couldn't appeal to them without looking foolish and cheap. It was just before the General Election, 1 remember, and Nigel was busy getting himself into Parliament. He didn't have time for anyone but his constituents. Ob, he'd have been sweet and kind, 1 know. (moving in C.) . Darling, why didn't you come to me? You were away on tour in some play, 1 think. So 1 was. Those next few months at the flat in Poplar were a nightmare. I suppose 1 must be soft and squeamish, and snobbish, but 1 felt as though I'd been dropped in a jungle. 1 couldn't believe that two people, two: educated people could be so savage, and so— so uncompromising. Mummy has always said that Jimmy is utterly ruthless, but she hasn't met Hugh. He takes the first prize for rtuthlessness—from all comers. Together, they were frightening. They both came to regard me as a sort of hostage from those sections of society they had declared war on. How were you living all this time? I had a tiny bit coming in from a few shares 48 1 had left, but it hardly kept us. Mummy had made me sign everything else over to her, in. trust, when she knew 1 was really going to marry Jimmy. : Just as well, I imagine. : They soon thought ol a way out of that. A brilliant campaign. They started inviting themselves—through me—to people's houses, friends of Nigel's and mine, friends of Daddy's, oh everyone: 'The Arksdens, the “Tarnatts, the Wains— + Not the Wains? : Just about everyone Y'd ever known. Your: people must have been among the fewwe missed out. It was just enemy territory to them, and, as 1 say, they used me as a hostage. We'd set out from headquarters in Poplar, and carry out our raids on the enemy in W.1, S.W.1., S.W.3. and W.8. In my name, we'd gatecrash everywhere—cocktails, week-ends, even a couple of houseparties, Lused to hope that one day, somebody would have the guts to slam the door in our faces, but (hey didn't. They were too well-bred, and probably sorry for me as well. Hugh and Jimmy despised them for it. So we went on plundering them, wolfing their food and drinks, and smoking their cigars like ruffians. Oh, they enjoyed themselves. ; Apparently. : Hugh tairly revelled in the role of the barbarian invader. Sometimes 1 thought he might even dress the part—you know, furs, spiked helmet, sword. He even got a fiver out o£ old Man Wain once. Blackmail, of course. People would have signed almost anything to get rid of us. He told him that we were about 49 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 HELENA: ALISON: HELENA: ALISON! HELENA: ALISON: HELENA: and leave me behind. Anyway, they broke up. A few months later we came up here, and Hugh went off to find the New Millennium on his own. Sometimes, I think Hugk's mother blames me forit all. Jimmy too, in a way, although he's never said so. He never mentions it. But whenever that woman looks at me, 1 can feel her thinking “If it hadn't been for you, everything would have been all right. 'We'd have all been happy.” Not that 1 dislike her—1 don't. She's very sweet, in fact. Jimmy seems to adore her principally because she's been poor almost all her life, and she's frankly ignorant. 'm quite aware how snobbish that sounds, but it happens to be the truth. Alison, listen to me. You've got to make up your mind what yow're going to do. You're going to have a baby, and you have a new responsibility. Before, it was different—chere was only yourself at stake. But you can't go on living in this way any longer. (To her.) T'm so tired. 1 dread him coming into the room, Why haven't you told him you're going to have a child? I don'tknow. (Suddenly anticipating Helena's train of thought.) Oh, i0's his all right. There couldn't be any doubt of that. You see— (she smiles) . ve never really wanted anyone else. Listen, darling—you've got to tell him. Either he learns to behave like anyone else, and looks alter you—— Or Or you must get out of this mad-house. (Trumpet crescendo.) This menagerie. He doesn't seem to know what love or anything else means. 00) ALISON: (pointing to chest of drawers up R.). You see that bear, and that squirrel? Well, that's him, and that's me. HELENA: Meaning? ALISON: The game we play: bears and squirrels, 3 squirrels and bears. 53 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 Helena looks rather blank. Yes, it's quite mad, 1 know. Quite mad. (Picks up the two animals) That's him... And that's me. ... HELENA: 1 didn't realise he was a bit fey, as well as everything elsel ALISON: Ob, there's nothing fey about Jimmy. 1€'s just all we seem to have left. Or had left. Even bears and squirrels seem to have gone their OWN Ways now. HELENA: Since l arrived? ALISON; It started during those first months we had alone together—after Hugh went abroad. It was the one way of escaping from everything— a sort of unholy priest-hole of being animals to one another. We could become little furry creatures with little furry brains. Full of dumb, uncomplicated affection for each other. Playful, careless creatures in their own cosy 200 for two. A silly symphony for people who couldn't bear the pain of being human beings any longer. And now, even they are dead, poor little silly animals. They were all love, and no brains. (Puts them back.) HELENA: (gripping her arm) . Listen to me. You've got to fight him. Fight, or get out. Otherwise, he will kill you. Enter Clif. CLIFF: There you are, dullin”. Hullo, Helena. Tea ready? ALISON: Yes, dear, it's all ready. Give Jimmy a call, will you? cur: Right. (Felling back through door.) Hey, you horrible man! Stop that bloody noise, and come and get your tea! (Coming in C.) Going out? HELENA: (crossing to L.). Yes, 54 : Pictures? : No. (Pause.) Church. : (really surprised) . Oh! 1 see. Both of you? : Yes. Are you coming? : Well... . 1-1 haven't read the papers properly yet. Tea, tea, teal Let's have some tea, shall we? He sits at the upstage end of the table. Helena puts the four plates of salad on it, sits down E., and they begin the meal. Alison is making up her face at her dressing table. Presently, Jimmy enters. He places his trumpet on the bookcase, and comes above the table. Hullo, boyo. Come and have your tea. That blinkin” trumpet-why don't you stuff ¡it away somewhere? : You like it all right. Anyone who doesn't like real jazz, hasn't any feeling either for music or people. He sits R.end of table. : Rubbish. - =. (to Clifr) . That seems to prove my point for you. Did you know that Webster played the banjo? : No, does he really? : Hesaid he'd bring it along next time he came : (mutiering) - Oh, nal + Why is it that nobody knows how to treat the papers in this place? Look at them. 1 haven't even glanced at them yet—not the posh ones, anyway. : By the way, can 1 look at your New— ; No, you can't! (Loudly.) You want anything, you pay for it. Like I have to. Price— : Price ninepence, obtainable from any bookstalll You're a mean old man, that's what you are. 55 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 10 CLIFF; JIMMY: HELENA: JIMMY: HELENA: JIMMY: HELENA: JIMMY; ALISON: ALISON: JimmxY: HELENA: as well. It starts off *"'here are no dry cleaners in Cambodia!” What do you call it? “The Cess Pool”. Myself being a stone dropped in it, you see— : You should be dropped in it, all right. (to Jimny) . Why do you try so hard to be unpleasant? He turns very deliberately, delighted that she should rise to the bait 50 soon—he's scarcely in his stride yet. What's that? Do you haye to be so offensive? You mean now? You think T'm being offensive? You under-estimate me. (Turning to Alison.) Doesn't she? 1 think you're a very tiresome young man. A slight pause as his delight catches up with him. He roars with laughter. Oh dear, oh dear! My wife's friends! Pass Lady Bracknell the cucumber sandwiches, will you? He returns to his meal, but his curiosity about Alison's preparations at the mirror won't be denied any longer. He turns round casually, and speaks to her, Going out? That's right. : On a Sunday evening in this town? Where on earth are you going? (rising) - 'm going out with Helena. That's not a direction—that's an afíliction. She crosses to the table, and sits down C. He leans forward, and addresses her again. 1 didn't ask you what was the matter with you. I asked you where you were going. (steadily) . She's going to church. p 58 JIMMY: ALISON: -JIMMY: He has been prepared for some plot, but he is as genuinely surprised by this as Cliff was a few minutes earlier. You're doing what? Silence. Have you gone out of your mind or something? (To Helena.) Yow're determined to win her, aren't you? So it's come to this now! How feeble can you get? (His rage mounting within.) When 1 think of what 1 did, what I endured, to get you out— (recognising an onslaught on the way, starts to panic). Oh yes, we all know what you did for mel You rescued me from the wicked clutches of my family, and all my friends! Pd still be rotting away at home, if you hadn't ridden up on your charger, and carried me oli The wild note in her voice has re-assured him. His anger cools and hardens. His voice is quite calm when he speaks. The funny thing is, you know, 1 really did have to ride up on a white charger—ol! white, really. Mummy locked her up in their eight bedroomed castle, didn't she. There is no limit to what the middle-aged mummy will do in the holy crusade against rufhians like me. Mummy and 1 took one quick look at each other, and, from then on, the age of chivalry was dead. I knew that, to protect her innocent young, she wouldn't hesitate to cheat, lie, bully and blackmail. Threatened with me, a young man witheut money, background or even looks, she'd bellow like a rhinoceros in labour —enough to make every male rhino for miles turn white, and pledge himself to celibacy. But even 1 under-estimated her strength, Mummy 59 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 11 CLIFF: JIMMY: may look over-fed and a bit fabby on the outside, but don't let that well-bred guzzler fool you. Underneath all that, she's armour plated— He clutches wildly for something to shock Helena with. She's as rough as a night in a Bombay brothel, and as tough as a matclot's arms. She's probably in that bloody cistern, taking down. every word we say. (Kicks cistern.) Can you *ear me, mother. (Sits on ¿t, beats like bongo drums.) Just about get her in there. Let me give you an example of this lady's tactics. You may have noticed that I happen to wear my hair rather long. Now, if my wife is honest, or concerned enough to explain, she could tell you that this is not due to any dark, unnatural instincts 1 possess, but because (a) 1 can usually think of better things than a haircut to spend two bob on, and (b) 1 prefer long hair. But that obvious, innocent explanation didn't appeal to Mummy at all. So she hires detectives to watch me, to see if she can't somehow get me into the News of the World. All so that 1 shan't carry off her daughter on that poor old charger of mine, all tricked out and caparisoned in discredited passions and ideals! The old grey mare that actually once led the charge against the old order—well, she certainly ain't what she used to be. It was all she could do to carry me, but your weight (to Alison) was too much for her. She just dropped dead on the way. (quietly) . Don't let's brawl, boyo. It won't do any good. Why don't we braw1? It's the only thing left I'm any good at. 60 | JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 13 um: (to Alison) . You don't believe in all that stuf. "Why you don't believe in anything. Yowre just doing it to be vindictive, aren't you? Why —wbhy are you letting her influence you like this? - (starting to break) . Why, why, why, why! (Putting her hands ouer her ears.) That word's pulling my head off! + And as long as you're around, 1'11 go on using it. He crosses down to the armchair, and seats himself on the back of it. He addresses Helena's back. ; The last time she was in a church was when. she was married to me. I expect that surprises you, doesn't it? Tt was expediency, pure and. simple. We were in a hurry, you see. (The comedy of this strikes him at once, and he laughs.) Yes, we were actually in a hurryl Lusting for the slaughter! Well, the local registrar was a particular pal of Daddy's, and we knew he'd spill the beans to the Colonel like a shot. So we had to seek out some local vicar who didn't know him quite so well. But jt was no use. When my best man—a chap P'd met in the pub that morning—and 1 turned up, Mummy and Daddy were in the church already. They'd found out at the last moment, and had come to watch the execution carried out, How 1 remember looking down at them, full of beer for breakfast, and feeling a bit buzzed. Mummy was slumped over her pew in in a heap—the noble, female rhino, pole-axed at lastl And Daddy sat beside her, upright and unafraid, dreaming of his days among the Indian Princes, and unable to-believe he'd left his horsewhip at home. Just the two of them 65 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 14 in that empty church—them and me. (Coming out of his remembrance suddenly.) 'm not + sure what happened after that. We must have HELENA: JIMMY: been married, 1 suppose. 1 think I remember being sick in the vestry. (To Alison.) Was 12 Haven't you finished? He can smell blood again, and he goes on calmly, cheerfully. (to Alison) . Are you going to let yourself be taken in by this saint in Dior's clothing? 1 will tell you the simple truth about her. (Articulating with care.) She is a cow. 1 wouldn't mind that so much, but she seems to have become a sacred cow as well! : You've gone too far, Jimmy. Now dry upl HELENA; TIMMY: Oh, let him go on. (to Clifp) . 1 suppose you're going over to that side as well. Well, why don't you? Helena will help to make it pay off for you. She's an expert in the New Economics—the Economics ol the Supernatural. It's all a simple matter of payments and penalties. (Rises.) She's one of those apocalyptic share pushers who are spreading all those rumours about a transfer of power. His imagination is racing, and the words pour out. Reason and Progress, the old firm, is selling out! Everyone get out while the going's good. Those forgotten shares you had in the old traditions, the old beliefs are going up—up and up and up. (Moves up L.) There's going to be a change over. A new Board of Directors, who are going to see that the dividends are always attractive, and that they go to the right people. (Facing them.) Sell out everything you've got: all those stocks in the old, free inquiry. :66 (Crosses to above table.) The Big Crash is coming, you can't escape it, so getin on the ground floor with Helena and her friends while there's still time, And there isn't much ofit left. Tell me, what could be more gilt- edged than the next world! It's a capital gain, and it's all yours. He moves round the table, back to his chair R. You see, I know Helena and her kind so very well. In fact, her kind are everywhere, you can't move for them. They're a romantic lot. They spend their time mostly looking forward to the past. The only place they can see the light is the Dark Ages. She's moved long ago into a lovely little cottage of the soul, cut right: off from the ugly problems of the twentieth. century altogether. She prefers to be cut off from all the conveniences we've fought to get for centuries. She'd rather go down to the ecstatic little shed at the bottom of the garden to relieve her sense of guilt. Our Helena is full of ecstatic wind— (he leans across the table at her) aren't you? He waits for her to reply. (quite calmly) . IUs a pity you've been so far. away all this time. I would probably have slapped your face. > They look into each other's eyes across the table. He moves slowly up, above Cliff, until he is beside her. Yow've behaved like this ever since 1 first came. + Helena, have you ever watched somebody die? She makes a move to rise, No, don't move away. She remains seated, and looks up at him. It doesi't look dignified enough for you, 67 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 16 HELENA: JIMmY: ALISON: JIMMY: ten years old than you will probably ever know all your life, They all sit silently. Presently, Helena rises. Time we went. Alison nods. T' just get my things together. (Crosses to door.) Y'l sec you downstairs. EXIT. A slight pause, (not looking at her, almost whispering.) Doesn't it matter to you—what people do to me? What are you trying to do to me? I've given you just everything. Doesn't it mean anything to you? Her back stifjens. His axe-swinging bravado has vanished, and his voice crumples in disabled rage. You Judas! You phlegm! She's taking you with her, and you're so bloody feeble, yow'11 let her do it! Alison suddenly takes hold of her cup, and hurls it on the floor. He's drawn blood at last. She looks down at the pieces on the floor, and then al him. Then she crosses, R., takes out a dress on a hanger, and slips it on. As she is "zipping up the side, she feels giddy, and she has to lean against the wardrobe for support. She closes her eyes. (softly) . AU want is a little peace. Peace! God! She wants peacel (Hardly able to get his words out.) My heart is so full, 1 feel ill-and she wants peace! She crosses to the bed to put on her shoes. Cliff get up from the table, and sits in the armchair R. He picks up a paper, and looks at that. Jimmy has recovered slightly, and manages lo sound almost detached. 70 T rage, and shout my head off, and everyone thinks “poor chap!” or “what an objectionable young man!” But that girl there can twist your arm off with her silence. I've sat in this chair in the dark for hours. And, although she knows I'm feeling as 1 feel now, she's turned over, and gone to slecp. (He gets up and faces Cliff, who doesn't look up from his paper.) One o£ us is crazy. One of us is mean and stupid and crazy. Which is it? 15 it me? Is it me, standing here like an hysterical girl, hardly able to get my words out? Or isither? Sitting there, putting on her shoes to go out with that— (But inspiration has deserted him. by now.) Which is it? Cliff is still looking down at his paper. 1 wish to heayen you'd try loving her, that's all. He moves up C., watching her look for her gloves. Perhaps, one day, you may want to come back. I shall wait for that day. I want to stand up in your tears, and splash about in them, and sing. 1 want to be there when you grovel. 1 want to be there, I want to watch it, 1 want the front seat. Helena enters, carrying two prayer books. I want to see your face rubbed in the mud— that's all 1 can hope for. There's nothing else. I want any longer. : (after a moment) . There's a 'phone call for you. : (turning) . Well, it can't be anything good, can it? HE GOES OUT. ENA: All ready? aLison: Yes—I think so. mn JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 17 HELENA: You feel all right, don't you? (She nods.) What's he been raving about now? Oh, what does it matter? He makes me want to claw his hair out by the roots. When 1 think of what you will be going through in a few months' time—and all for him! It's as if yowd done him wrongl These men! (Turning on Cliff.) And all the time you just sit there, and do nothingl cure: (looking up slowly). That's right-1 just sit here. HELENA: What's the matter witch you? What sort of a man are you? cur: Um not the District Commissioner, you know. Listen, Helena—I don't feel like Jimmy does about you, but I'm not exactly on your side either. And since you've been here, everything's certainly been worse than ¡it's ever been, This has always been a battlefield, but I'm pretty certain that i£ TI hadn't been here, everything would have been over between these two long ago. l've been a—a noman's land between them. Sometimes, it's been still and peaceful, no incidents, and we've all been reasonably happy. But most o! the time, it's simply a very narrow strip of plain hell. But where 1 come from, we're used to brawling “and excitement. Perhaps 1 even enjoy being in the thick of it. 1 love these two people very much. (He looks at her steadily, and adds simply) And I pity all of us. HELENA: Are you including me in that? (But she goes on quickly to avoid his reply.) 1 don't understand him, you or any of it. All 1 know is that none of you seems to know how to behave in a decent, civilised way. (In 72 command now.) Listen, Alison—I've sent your father a wire. ALISON: (numbed and vague by now) . Oh! Helena looks at her, and realizes quickly that everything now will have to depend on her own authority. She tries to explain patiently. HELENA: Look, dear—he'll get it first thing in the morning. 1 thought it would be better than trying to explain the situation over the *phone. l asked him to come up, and fetch you home tomorrow. arison: What did you say? HELENA: Simply that you wanted to come home, and ; would he come up for you. ALISON: 1 see HELENA: 1 knew that would be quite enough. 1 told him there was nothing to worry about, so they won't worry and think there's been an accident or anything. I had to do something, dear. (Very gently.) You didn't mind, did you? ALISON: No, I don't mind. Thank you. HELENA: And you will go when he comes for you? “ALISON: (Pause.) Yes. 'l go. HELENA: (relicved) . 1 expect he"ll drive up. He should be here about tea-time. 1011 give you plenty of time to get your things together. And, perhaps, after you've gone—Jimmy (saying the word almost with dificulty) will come to his senses, and face up to things. ALISON: Who was on the "phone? HELENA: 1 didn't catch it properly. It rang after Pd sent the wire off—just as soon as 1 put the receiver down almost. 1 had to go back down. the stairs again. Sister somebody, 1 think. ALISON; Must have been a hospital or something. 73 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 19 COLONEL: ALISON: COLONEL; ALISON: COLONEL: ALISON: ACT HU SCENE TWO The following evening. When the curtain rises, ALISON is discovered R., going from her dressing table to the bed, and packing her things into a suitcase. Sitting down L. is her father, COLONEL REDFERN, a large handsome man, about sixty. Forty years of being a soldier sometimes conceals the essentially gentle, kindly man underneath. Brought up to command respect, he is often slightly withdrawn and uneasy now that he finds himself in a world where his authority has lately become less and less unquestionable. His wife would relish the present situation, but he is only disturbed and bewildered by it. He looks around him, discreetly scrutinising everything. (partly to himself). Tim afraid it's all beyond me. 1 suppose it always will be. As for Jimmy —he just speaks a different language from any of us. Where did you say he'd gone? He's gone to see Mrs, Tanner. Who? Hugh Tanner's mother. Oh, I see. She's been taken ill—a stroke. Hugk's abroad, as you know, so Jimmy's gone to London to see her. He nods. He wanted me to go with him. 77 JOHN OSBORNE: LOOK BACK IN ANGER, ACT 2 20 EL: Didn't she start him off in this sweetstall business? E Yes N What is she like? Nothing like her son, 1 trust? N: Not remotely. Oh—how can you describe her? Rather—ordinary. What Jimmy insists on calling working class. A Charwoman who married an actor, worked hard all her life, and spent most of it struggling to support her husband and her son, Jimmy and she are NED fond of each other. : So you didn't go with him? : No. : Who's looking after the sweet-stall? ; Cliff, He should be in soon. EL: Oh yes, of course—Cliff, Does he live here too? : Yes. His room ¡is just across the landing. : Sweetstall. It does seem an extraordinary thing for an educated young man to be occupying himself with. Why should he want to do that, of all things. P've always thought + he must be quite clever in his way. : (no longer interested in this problem). Oh, he tried so many things—journalism, advertising, even vacuum cleaners for a few weeks. He seems to have been as happy doing this as ing else. : T've often wondered what it was like—where you were living, 1 mean. You didn't tell us very much in your letters. : There wasn't a great deal to tell you. There's not much social life here. : Oh, T know what you mean. You were afraid of being disloyal to your husband. w: Disloyal! (She laughs.) He thought it was high treason of me to write to you at all! 1 used to have to dodge downstairs for the post, 79 
