TRANSCRIPT OF THE DIALOGUES OF THE ITV FILM A ROOM WITH A VIEW BY

N.RENTON

FLORENCE 1922

MAN: Buongiorno signora.

LUCY: Buongiorno. I booked a room.

MAN: Your passport, please. Thank you. Your signature here. Please. Here. And your husband

is not with you?

LUCY: No.

LUCY REMEMBERS

CHARLOTTE: Really, signora Bertolini, we particularly requested south faced room with a

view and this is not view.

MRS BERTOLINI: Mi dispiace, sono desolata.

LUCY: It’s a sort of view. It’s a courtyard view with two cats.

MAN: Una camera con vista.

LUCY: Si.

MAN: Il bagno è in the end of the corridor.

LUCY: Yes I know.

MAN: I’m sorry.

LUCY: No, leave them.

MAN: Va bene. Have a glass of water?

LUCY: No, no, I'm perfectly all right , thank you.

MAN: Prego.

1

CHARLOTTE: Any nook will good for me, but it does seem hard that you shouldn’t have a

view Lucy on your first visit to Florence. Your mother doesn’t forgive me.

LUCY: Please don’t go on about it.

CHARLOTTE: I wouldn’t, dear if it were just myself. I’m sure this meat has been used for a

soup, it has no flavor left at all.

MS ALAN: Have you been let down over your rooms?

CHARLOTTE: We have indeed. We were promised a view of the river, not on the courtyard

of cats.

LUCY: Please!

MR EMERSON: We have the view. We give our rooms. We’ll swap! How about that?

Excuse me, Miss. Did you hear me? We have got views. You can take our rooms. This my

son George. He won’t mind, will you, George?

GEORGE: Not a bit.

MR EMERSON: Women like the view. Men aren’t that bothered about them one way or the

other. So there you go. Problem solved, what do you say?

CHARLOTTE: Thank you very much for your offer, but we can’t possibly accept.

LUCY: Why not?

MR EMERSON: Exactly. Why not? Why people is so ... George, come on try to persuade

her.

GEORGE: You want the view, we have got it.

CHARLOTTE: You are very kind but ... I’m afraid it’s quite out of the question. Eat your

dinner, dear. This pensione is a failure. Tomorrow we will go elsewhere.

MR BEEBE: Oh dear. I’m shockingly late. Quite lost count of the time. I deserve to be

soundly whipped and send to bed.

MISS ALAN: Dear Mr. Beebe.

MR BEEBE: Good evening. Good evening, good evening.

2

CHARLOTTE: Good evening, Mr. Beebe.

LUCY: What a surprise! How lovely to see you! We met in Tumbridgewells.

MR BEEBE: We did ,yes. It’s …No, don’t tell me, I remember. It’s a beautiful name. Miss

Honeychurch.

MISS LAVISH: To experience true Italy, one must be a little daring. Eschew the Baedeker.

Dismiss the cicerone and venture out alone. Walking down these little vicolo, discover that

delicious ...

LUCY: It think that everybody here is english.

CHARLOTTE: Well, so i should hope. The italians are thoroughly unreliable.

LUCY: Yes, but one might as well be in England.

CHARLOTTE: Oh, Lucy, dear, we are here to see Italy, not to meet the italians.

MISS LAVISH: this is an adventure, this is Italy, and this is life

MR BEEBE: You must see something of country round about Florence. Drive up to Fiesole,

first fine afternoon ... Wonderful view. Such pure air.

MISS LAVISH: No, no, Mr. Beebe. They must go to Prato, first. There’s real Italy. It’s too

sweetly squallid for words.

MISS ALAN: No, no, San Miniato.

MISS LAVISH: No, take them to Prato, first. Mr. Beebe. I insist.

MR BEEBE: Miss Eleanor Lavish, it’s'a novelist. Rather advanced opinions.

MISS LAVISH: Indeed.

MR EMERSON: Off to the smoking room. Night-night

GEORGE: Goodnight.

EVERYBODY: Good night, Mr. Emerson. Goodnight.

MR EMERSON: Good night.

3

MISS LAVISH: Good night, Mr. Emerson. Young Mr Emerson.

GEORGE: Good night.

CHARLOTTE: Dreadful people .

MR BEEBE: The Emersons?

LUCY: They wanted to change the rooms with us, Charlotte told them that we can’t possibly. I

don’t know why.

CHARLOTTE: Of course you know why. One couldn’t be under an obligation to that sort of

person. They would take advantage.

MR BEEBE: Mr. Emerson has no tact and no manners and he’s as you say. But, you know, I

think it a genuinely good, so, and also his son.

CHARLOTTE: Then you think I should have accepted? Well, it would be lovely to have a view

across the Arno. For my cousin’s sake, I mean, of course. Any cranny will do for me.

MR BEEBE: Miss Bartlett, would you like reopen the negotiations on your behalf?

CHARLOTTE: Well, if you're sure that is...

LUCY: Yes, please, Mr. Beebe.

MR BEEBE: Then it’s as good as done.

CHARLOTTE: Lucy, dear, if we are to accept this favor, we should make show you have Mr

Emerson’s room, not his son’s. I’m sure your mother would say the same.

LUCY: Why?

CHARLOTTE: Because it creates an intimacy. One never knows where these things will lead.

And besides it’s also a bad… Some aspects of travelling are very distasteful that someone longs

to be at home.

LUCY: I don’t.

4

NEXT DAY

LUCY: I thought I was going to explore the town.

CHARLOTTE: I thought we would spend in the morning settling in.

LUCY: I can go my own. I can find the way with my Baedeker.

CHARLOTTE: No, no, my dear. You mustn’t think of it; I shall come too. My… my

headache is not really bad.

MISS LAVISH: Perhaps you like to come with me. I’m going to spend morning in Santa

Croce.

LUCY: That’s very kind of you. Thank you.

MISS LAVISH: I shall take you by delightful dirty back way .The true Florence, you know,

not the tourist’s dreary track. Buongiorno

THE STREET

MISS LAVISH: Take my word for it, miss Honeychurch. You will never regret a little civility

to your inferiors. Buongiorno. What an adventure! What would miss Bartlett think of us? She

does take very a good care of you, doesn’t she?

LUCY: I suppose she feels she has to. My mother pays the expenses. Ù

MISS LAVISH: Yes, I thought that would be the way. Buongiorno, buongiorno. There, now

this is the real Florence! And the true florentine smell! Every city has its own smell, you

know.

LUCY: I don’t think it’s a very nice smell.

MISS LAVISH: Yes, well, one doesn’t come Italy for niceness. One comes for life.

LUCY: Oh, isn’t that Mr Beebe?

MISS LAVISH: In a little pass for a walk I should wonder. Such a dear good man. Down here

I think. Yes

5

SANTA CROCE SQUARE

MISS LAVISH: It shall simply drift. Let the city seep into us . Buongiorno. Buongiorno. And

here we are! The Piazza Santa Croce. No! I forbid you to consult the Baedeker! You should

consult your feelings here. Oh dear. The british abroad walking through my Italy like a pair of

cows. It’s very naughty of me…But I should like to set an examination paper and over turn

back every tourist to compose it.

LUCY: Oh and you ask us?

MISS LAVISH: There’s my local color-box. I must have a word with him. Go into the

church, I will find you. Signor, signor, Buongiorno. Well, I wish to consult for a particular

aspect of the piazza...

INSIDE THE CHURCH

MR EAGER: You see the last resting places some of the more greatest figures italian history.

Michelangelo himself. Those of you who have read of him will know that his life is not

perhaps all that it should have been. And there we have Gioacchino Rossini whose delightful

opera give us such pleasure, but over whose personal life and it might be better if we drew a

veil. We must remember that, everything here was created by faith, in the full fervor of

medievalism. The frescoes, carvings, the very architecture express the spiritual yearning to be

at one with the almighty.

MR EMERSON: What a load of nonsense, eh? If you were an artists in those days, was the

only sort of work you could get. Full of paint picture of pretty girl say, or a baby to had to call

it the Madonna and the Holy Child. I beg pardon. Do you ...Go on .

MR EAGER: It is the mystery of the incarnation of our Lord that inspired these greats works.

MR EMERSON: No, no, no. It’s human life. It’s the wonder of human life! ‘Cause that’s all

there is, isn’t it? Is this? It stands to reason.

ME RAGER: Excuse me. This chapel is too small for two parties. We will move on.

6

MR EMERSON: My Lord, now I have offended him.

MR EAGER: Follow me, please!

MR EMERSON: No! Oi ! No, come back! No, no, I’ll go, you stay! Now I’ll have to go after

him.

GEORGE: Oh, dad, you’ll only make things worse!

MR EMERSON: No! I won’t. I didn’t mean to put you off your stroke, sir.

GEORGE: He’s like this everywhere he goes. He doesn’t mean any harm.

A Room with a View by N. Renton

LUCY: Is your father an atheist?

GEORGE: Afraid so. And socialist.

LUCY: Oh gosh! Are you an atheist and a socialist too?

GEORGE: Suppose I am.

LUCY: I say!

GEORGE: I’m not much for churches.

LUCY: Well, I’m not much for this one. I don’t know what remarks to make about it because

miss Lavish has gone with my Baedeker!

GEORGE: You can make up your own remarks.

LUCY: I'm not so sure I’m clever enough.

GEORGE: Of course you are! just say what you think.

MR EMERSON: Well, that didn’t do much good. He seemed to think I was just interrupting

him again. Which I was, I suppose, come to think of it. Oh, well ... never mind. Where’s

George?

LUCY: I don’t know. He just walked off.

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MR EMERSON: Yes, that sounds like George. He does that. Don’t be angry with him.

LUCY: I’m not

MR EMERSON: Sometimes his feelings get the better of him. What do you do when feelings

get the better of you?

LUCY: I play the piano.

MR EMERSON: That’s good! So you can let it all out, eh?

LUCY: Yes, I-I suppose so.

MR EMERSON: I suppose it is a bit late for George to learn. What do you think?

LUCY: Not necessarily. If he just wants to play for himself.

MR EMERSON: He likes the look of you. But why wouldn’t he? You are very pretty, pretty

more than that. There is a sort of eagerness about you. It is like you’re saying yes to life, all of

it, and George, he keeps seeing problems, but he wouldn’t have a problem with you, if you

took the trouble get to know him. I'm not asking you to fall in love with him, just help him to

get out of himself a bit. Wouldn’t it be good to express your feelings to another living soul,

instead of leaving your piano all the benefit of them?

LUCY: I do think you are very odd. And your son is… really none of my business, but don’t

you think he needs employment?

MR EMERSON: He's got a job. He’s a clerk on the railway.

LUCY: Well, perhaps he needs more. But something absorbing, something that can take his

mind off his troubles.

MR EMERSON: Like your piano I suppose.

LUCY: Yes, yes, or some hobby. Collecting postage stamps did no end of good for my

brother.

MR EMERSON: Collecting postage stamps, no, I don’t think it has going to do it for George.

LUCY: As I said, it’s really none of my business.

8

MR EMERSON: Okay.

GEORGE: Miss Bartlett’s here.

LUCY: Oh no!

MR EMERSON: Poor girl.

LUCY: I fail to see the point of that remark. I consider myself a very fortunate girl. Good day

IN THE PENSIONE, LUCY PLAYS THE PIANO

LUCY: Oh, I didn’t see you there.

MR BEEBE: I crept in and stayed, rapt. I’ve heard you before of course, in Tumbridge

Wells. You know what I said to the bishop, then?

LUCY: Well, obviously not. But I think you’re going to tell me.

MR BEEBE: I said, "If miss Honeychurch takes to live as she plays, it will be very exciting

for us. And for her.”

LUCY: Is that a compliment?

MR BEEBE: I think you can take it as a compliment.

LUCY: But it sounds rather alarming.

MR BEEBE: Well, life can be rather alarming when lived to the full.

LUCY: Do you live life to the full?

MR BEEBE: I should like to. But I'm afraid I haven’t the courage. I think you do though.

LUCY: I had the strangest conversation with the old Mr. Emerson today. He’s very direct,

isn’t he? It’s odd to think people like them coming to Italy and visiting churches.

MR EMERSON: Yes, it is. But the world is changing.

MISS ALAN: Good afternoon! Such a shame about the rain!

LUCY: I think it's cleared up. Charlotte has given the day up entirely.

MR BEEBE: You’re not thinking of sailing forth again, are you?

9

LUCY: I am

MISS ALAN: Not unaccompanied , I hope.

LUCY: Why not?

MISS ALAN: Well, you know, Italians...

LUCY: Miss Lavish goes everywhere on her own.

MS ALAN: Eleanor Lavish is not a young girl, my dear. Besides all the art galleries are

closed now.

LUCY: I only want to have a little walk and buy some postcards. Look, and the sun come out!

Goodbye!

MR BEEBE: I put it down to too much Beethoven.

PIAZZA DELLA SIGNORIA

MAN: Hey signorina, come sta? How are you?

LUCY: Excuse me, I’ m...

LUCY FAINTS

LUCY: What have I done?

GEORGE: You fainted.

LUCY: I’m awfully sorry.

GEORGE: There' s nothing to be sorry about. Best not look. Come on.

LUCY: My Baedeker. And my postcards. I must have dropped them.

GEORGE: Where?

LUCY: Just there

GEORGE: Miss Honeychurch! Just stay there, and wait for me.

LUCY: The man who killed the other one was sobbing and kissing him. I suppose Italians are

so very different from us. So ... passionate and quick to flare up then it’s all over.

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GEORGE: I don’t think they are so very different.

LUCY: Really? Don’t you? I don’t think that they are anything like us at all. What was that?

GEORGE: Nothing.

LUCY: What did you throw in the river?

GEORGE: Your postcards. They were all covered in blood. I didn’t want you to see them.

Your Baedeker is all right.

LUCY: Oh..

GEORGE: That poor man...

LUCY: Yes.

GEORGE: Half an hour ago it was so full of life. Now he’s dead. That is such a tremendous

thing. That he is dead, but we are alive.

LUCY: Well yes...

GEORGE: You don’t see what I mean.

LUCY: Mr Emerson, could I ask you something?

GEORGE: Of course.

LUCY: Not to mention any of this to anyone else. My fainting and you looking after me. I

feel so ashamed of myself.

GEORGE: There’s nothing to be ashamed of. I nearly fainted myself.

LUCY: But, you know people gossip so and I’ll be embarrassed knowing people knew.

GEORGE: All right.

LUCY: Thank you. What?

GEORGE: We are alive!

11

THE PENSIONE

MISS LAVISH: Absolutely the most wonderful material for my novel!

CHARLOTTE: Is it another historical novel, miss Lavish?

MISS LAVISH: Indeed not! This is a novel of the present days, the living breathing Italy!

And it will climax with a tragic stabbing just like today’s! Did you see anything of it while

you were out, miss Honeychurch?

LUCY: No

MISS LAVISH: Two young men, close friends a violent quarrel and one of them dies.

Apparently the quarrel was over five lira. Such a pathetic and trivial quote. Naturally, I shall

make them quarrel over a girl. She will be my heroine. I should call her Leonora. There will

be love, murder, abduction, revenge, and a deal of local colour in too, of course. and

descriptions of Florence itself, and the surrounding countryside. I will be introducing some

comic characters too, for light relief and let me give you all fair warning. I shall be unmerciful

to the british tourists.

CHARLOTTE: Oh, you wicked woman. I do hope that you will not be drawing the portraits

of anyone we know.

MISS LAVISH: I make no promises at all. You'll just have to wait and see if you recognize

anyone when the book comes out.

MR EMERSON: Good evening everybody!

MR BEEBE: My collegue, the reverend Eager, of the english church here, has proposed an

excursion tomorrow to Fiesole, if the weather stays good. I wonder how many of you might

be interested? I’m sure to count on miss Bartlett, miss Honeychurch.

CHARLOTTE: Oh, yes, that would be delightful. Lucy, Fiesole.

LUCY: Oh yes, I’d love to.

MR EMERSON: Come with us then

MISS ALAN: I think it might be a little strenuous for us, mr Beebe.

CHARLOTTE: Any interesting news, my dear?

12

LUCY: Not really. Freddy fell off a haystack and landed on his head, but he’s all right. Sir

Harry Otway now has four hideous semi-detached cottages to let. Here look for yourself.

MR EMERSON: But he wasn’t having it, no very nice to be all together though, won’t it? A

Bertolini party

CHARLOTTE: Hmm. But, um, Cecil and his mother have gone to Rome.

LUCY: Mm?

CHARLOTTE: They’ve taken a villa there. Do I know them?

LUCY: Of course, you do, Cecil Vyse.

CHARLOTTE: Oh yes, of course. That very clever young man. I thought he simpathicly

struck by you in Tumbridgewells. He told me he thought you shoo but was quite remarkable

and unprovincial. Would that be love, do you think?

LUCY: No, certainly not I should say. Anyway he’s in Rome and we’re in Florence.

CHARLOTTE: Perhaps we should go to Rome. We could get the train tomorrow. It will be an

adventure.

LUCY: Don’t be silly, Charlotte. We’re going to Fiesole tomorrow.

CHARLOTTE: We are. Silly me. Hm

IN THE STREET TO FIESOLE

MR EAGER: So, Mrs. Honeychurch, Are you travelling as a student of art?

LUCY: Oh, no, I'm just a tourist, really.

MR EAGER: We resident rather pity you tourists handed about like a parcel of goods. From

Venice to Florence. Florence to Rome, without ever having a chance to imbibe the true

essence of a place. You know that american girl in "Punch" who says to her father "say, pa,

what did we see in Rome?" and the father replies "well, I guess Rome was where we saw the

yellow dog, honey. " that’s your modern traveler for you.

LUCY: Do you think we should stay at home, then?

MR EAGER: No, no, no, no. by no means. If you’re prepared to look a little closer and ensure

a little from the beaten track.But really one has to leave the place and have a certain

13

education. From to why, only last month I found myself in front of Botticelli’s timeless

Primavera…

GIRL: Permesso, signore?

DRIVER: È la mi sorella. Abbiate pazienza.

MR EAGER: …oh, really, this is most irregular.

DRIVER: It’s my sister. My sister, signor.

MR EMERSON: Let her ride. Bella ragazza. What a lovely girl.

DRIVER: Grazie. Bella vero?

MR EAGER: On the right you will see the villa belonging lady Helen Baverstock. Surely

perhaps know her monographs…

MISS LAVISH: Oh yes.

MR EAGER:…in the series "Medieval Bayways." I’m sometimes invited to tea in her

beautiful gardens.

MISS LAVISH: Really?

MR EAGER: And above the wall, I hear the click of the electric tram full of tourists and I

think ...I think it’s something amusing you ,Mr. Emerson?

MR EMERSON: Ah, only that led seems awfully fond of his sister.

MR EAGER: Basta. Basta. Ferma la carrozza. Tell her she has to get down.

DRIVER: Lucia è la mi sorella. It’s too long to walk

MR EMERSON: Let the girl stay. She’s doing no harm.

MISS LAVISH: Yes.

MR EAGER: Emphatically no. They’re trying it on.

MISS LAVISH: Let them be, Mr. Eager.

MR EAGER: You’re not on a cook’s tour. And he knows perfectly well. Fai scendere questa

sgualdrina. Now you down. Down. Come on, down.

14

MISS LAVISH: Now this is what I call an adventure.

MR EMERSON: This is love!

MR EAGER: Outrageous. Absolutely outrageous.

MISS LAVISH: Come along, Mr. Eager!

MR EAGER: Give them a inch, they take a mile. Drive on!

MR EMERSON: Pardon.

MR EAGER: Miss Honeychurch…Ladies…

LUCY: I'm sorry.Mi dispiace? La sorella?

MR EAGER: Mr. Emerson, please. If I may, I have something to show a which I think you

will enjoy.

MISS LAVISH: Shall we take a stroll, ladies? Find another view.

MR EAGER: Now this …

CHARLOTTE: Yes, let’s!

MR EAGER: …is the very view that so inspired Alessio Baldovinetti five hundred years ago.

but where did he place his easel, we may ask.

MISS LAVISH: Now, look at, come on dear. come. now, watch…

MR EAGER: Uh come, Mr. Beebe. We men of the cloth must stick together.

MR EMERSON: Come on. Oh help your dad up. Come on. Pull, pull. Harder, come on, pull

harder.

CHARLOTTE: Oh, it’s so embarrassing. I made the mistake of asking young Mr. Emerson

what his profession was and he said “the railways." I was so sorry that I asked the question.

But fortunately, Mr. Beebe turned the conversation. But imagine? The railway.

MISS LAVISH: But of course. I mean, how perfect.

CHARLOTTE: Yes.

15

MISS LAVISH: Doesn’t he just looks the image of a porter on the...no, not, not, not, the

Great Western. But the South Eastern Line!

CHARLOTTE: Do hush. They’ll hear you.

MISS LAVISH: I can’t stop. Let me go my wicked way. Yes, yes, a porter.

CHARLOTTE: Yeah. Yeah

MISS LAVISS: A porter who one day hopes to be a station master. with a flag and a big

whistle!

CHARLOTTE: Stop, I beg you. Lucy , will you to tell her to stop?

LUCY: The Emersons can’t hear, and they wouldn’t care if they did. Anyway he’s a clerk.

MISS LAVISH: Oh how dull. Now you’ve spoiled my little fantasy. Pouf, wouf. you naughty

girl, go away.

CHARLOTTE: Yes Lucy, go and make yourself agreeable to Mr Eager, since he’s been so

kind as to arrange this little party.

LUCY: I don’t like Mr Eager. He’s a bore and a snob and a bully.

CHARLOTTE: Oh Lucy!

MISS LAVISH: Oh I do rather agree with you, dear. And I fear he has no soul.

CHARLOTTE: Oh, how tired one gets in the country!

MISS LAVISH: Well, shall we sit down?

CHARLOTTE: Oh, yes.

MISS LAVISH: Look. Observe my foresight. Mackintosh squares. But I have only two. Now,

who shall have the other one?

CHARLOTTE: Oh Lucy, of course. The ground will do for me. Imagine your mother’s

feelings if I let you sit in a damp, in your best muslin. And before you say anything, this is not

a cold. It’s only the tiniest little prickle in my throat.

LUCY: Scusi? Scusi?

16

DRIVER: Prego signorina.

LUCY: Can you tell me ...Puo’ dirmi dove? Oh, how do you say clergyman in italian ? Where

are the priests ...? Dove sono i buoni uomini?

DRIVER: I buoni uomini?

LUCY: Si

DRIVER: The good men. Capito.

LUCY: This way? The good man?

DRIVER: Si, I buoni uomini.

CHARLOTTE: Apparently the cotch driver led her off somewhere.

MISS LAVISH: How marvelous.

CHARLOTTE. Lucy! Lucy!

MISS LAVISH: Lucy!

CHARLOTTE: Lucy!

LUCY: Grazie. I'm really not sure this is the right way.

DRIVER: Si si. Ecco un uomo buono.

LUCY: Oh no! I did not mean ...

DRIVER: Yes, yes.

MR EMERSON: Where's George? We can’t go without George! George! George! George!

MR EAGER: Signor Giovanni, dov’e’?

DRIVER: È già andato. He’s gone.

MR EMERSON: George!

MR EAGER: Mr. Emerson, please!

MR EMERSON: I can’t find George

17

.

CHARLOTTE: How do you propose to silence him?

LUCY: The driver?

CHARLOTTE: No, George Emerson.

LUCY: I'm sure I won’t talk about it.

CHARLOTTE: I wish he could be as confidential as you, but a man who could ... could take

advantage of you like that, well, to…well to ... insult to in... broad daylight!

LUCY: Insult me? Is this what he did? Actually ... I rather enjoy it.

CHARLOTTE: And. .. and… and…if I had not arrived on the scene when I did, what would

have happened? What would have happened?

LUCY: I can’t think.

CHARLOTTE: Well, The more distance we can put away between you and him, the better it

will be a push to catch the morning train, but we must try.

LUCY: What train?

CHARLOTTE: The train to Rome, of course.

LUCY: I thought you might be dead. Yeah, struck by lightning or something.

GEORGE: No such luck. We are in love, aren’t we?

LUCY: No. You hardly know me

GEORGE: Yes, I do. I know you better than anyone else.

LUCY: Don’t talk nonsense. I'm not angry with you about what happened. It 's just the whole

thing’s impossible. Anyway …we’re leaving for Rome tomorrow morning so we won’t see

each other again.

GEORGE: We will. I will follow you and I’ll find you. Anyway ...

LUCY: Excuse me.

18

CHARLOTTE: Mr. Emerson, I would like one word with you in the... drawing room when

you’re dressed.

LUCY: Charlotte. What did you say to him?

CHARLOTTE: Enough, I hope to make him understand how very bad his conduct has been.

LUCY: And what did he say?

CHARLOTTE: Nothing at all. I am happy to report. It seems…I’ve been a failure. I can never

face your mother again after this disaster.

LUCY: Charlotte, it isn’t your fault and it isn’t a disaster either.

CHARLOTTE: But what will she say?

LUCY: She doesn’t need to hear about it

CHARLOTTE: Well…perhaps that will be for the best. Oh, thank you, Lucy dear. Thank

you. Thank you.

FIRENZE 1942

DRIVER: Want to make a little tour? Special price.

LUCY: Not today. Maybe domani. How's your sister, by the way?

ROME 1912

CECIL: Welcome to Rome. Lucy, if I may, and miss Bartlett.

CHARLOTTE: This is so kind of you, Mrs Vyse to let us impose on you.

MRS VYSE: Not at all. We’re delighted, aren’t we, Cecil?

CECIL: Indeed we are. It’s such a pleasure to show you Rome, my Rome. La piu bella città

del mondo.

MRS VYSE: Miss Bartlett.

CHARLOTTE: It is not fun? And what charming garden.

19

MRS VYSE: Did you enjoy Florence?

CHARLOTTE: I’m afraid that Florence was a great disappointment.

MRS VYSE: Really?

CHARLOTTE: Yeah. The pensione’s gone right downhill, i’m afraid ...

CECIL: I can’t tell you how glad I am, to have you here. I was beginning to think I might go

mad.

LUCY: Is it Rome that drives you mad or your mother?

CECIL: Bit of both. Rome would be wonderful if it weren’t so full of Romans. Modern ones,

I mean. If anyone would be able to fill Rome in some painless poising gas that preserved all

the buildings and works of arts but got rid of all of the dreadful people.

LUCY: But who will bring you your breakfast and drive you about.

CECIL: Lucy, you’re such a saint. You’re so practical. Santa Lucia, la bellissima.

LUCY: I’m not a saint. Far from it.

CECIL: Don’t. Saints are very well in their way, but one wouldn’t want to marry one?

CHARLOTTE: And there was a young man who was rather a nuisance.

MRS VYSE: Oh, yes, I see.

CHARLOTTE: So I-I-I think we made a wise decision to come to Rome, don’t you?

MRS VYSE: I do indeed. Cecil is very happy to see Lucy here.

CHARLOTTE: She him.

CECIL: Don’t move. You look just like one of those Leonardo women, whom we love not so

much for herself, but for her embodiment of the eternal female mistery.

LUCY: Golly?

CECIL: You do know that I’m very much in love with you, don’t you?

CECIL: Lucy. Ecco.

20

LUCY: But it’s just a door.

CECIL: Oh, come, come. Close your eyes.

LUCY: Closed.

CECIL: Open. Marry me.

WINDY CORNER SURREY. ENGLAND.

CECIL: I promessi sposi. Lucy has accepted me.

MRS HONEYCHURCH: I'm so glad. Welcome to the family. I feel sure you will make dear

Lucy happy.

CECIL: Well, I hope so.

FREDDY: Well done, Cecil.

CECIL: Thank you, Freddy.

LUCY: Freddy, come and give me a kiss.

MRS HONEYCHURCH: Not even a kiss from me?

FREDDY: Calm. Oh, steady on.

MRS HONEYCHURCH: I’m just so…my darling.

CECIL: The happy couple.

CECIL: Io adoro

LUCY: Io?

CECIL: Io?

LUCY: Io adoro

CECIL: Ro.

LUCY: Ro.

21

CECIL: Ro.

LUCY: Ro.

CECIL: Ro.

LUCY: Ro.

CECIL: Io adoro.

LUCY: Io adoro.

CECIL: Good.

FREDDY: All right. Well, I don’t like him. I think it's a disaster. He’s a disaster.

MRS HONEYCHURCH: You just have to learn to like him. I like him very much, I know his

mother. He’s good, he’s clever intelligent, he’s rich, and he’s well connected. and he has

beautiful manners.

FREDDY: You can never get him to play tennis, or touch and pass, or even french cricket.

Walking disaster. It’s too grand to play pin the tail on the donkey.

MRS HONEYCHURCH: How do you know that?

FREDDY: Look at him. It’s obvious. He doesn’t muck in the way a chap should or muck

about.

MRS HONEYCHURCH: I think you muck about a great deal too much

FREDDY: Do you know what said Mr Beebe about Cecil? "The ideal bachelor."

MRS HONEYCHURCH: And what does that mean?

FREDDY: Search me. Mr Beebe should know, being a bachelor himself.

MRS HONEYCHURCH: Well, clearly he was wrong in this case.

LUCY: Do you want to go for a walk? Come on.

CECIL: Really?

LUCY: Yes.

22

CECIL: Oh gosh. What about the rain?

LUCY: It’s not going to rain. Right. Now where shall we go? Over there. Yes, just there, just

passed the river.

LUCY: Well? I used to swim here with Freddy until they said I was too old to for mixing

bathing. We used to swim with nothing on. What do you think of that? I can say that sort of

thing to you now we're engaged, can’t I?

CECIL: Lucy, there 's... there 's something I wanted to ask you, which I have not asked

before.

LUCY: What?

CECIL: Up until now, I’ve never kissed you.

LUCY: No, no more you have.

CECIL: May I now?

LUCY: Of course you may, Cecil. You might have before. I can’t run at you, you know.

CECIL: I’m sorry.

LUCY: No, that’s perfectly all right.

CECIL: Shall we walk on?

LUCY: Yes.

MR BEEBE: Hello there.

FREDDY: Come play with us.

MR BEEBE: I have not come to play tennis. I’ve come for tea and gossip.

LUCY: We will be there in a minute.

FREDDY: Lucky this time, Mr Beebe. Oh, Lucy, come on.

LUCY: I’m trying. Freddy

MR BEEBE: Mr. Vyse.

23

LUCY: Um, I think I’m getting better.

MR BEEBE: I came for tea, do you suppose I shall get any?

CECIL: I should say so. Food is the thing one does get there.

MR BEEBE: Tea and gossip. I have got some extraordinary news.

CECIL: Ah, yes, what?

MR BEEBE: I’ll save it until Mrs Honeychurch and Lucy get here.

CECIL: I too have news.

MR BEEBE: Indeed?

CECIL: Lucy and I are engaged.

MR BEEBE: Engaged?

CECIL: Yes

MR BEEBE. You mean you asked to marry you?

CECIL: Yes

MR BEEBE: And she accepted?

CECIL: Well, it would seem so.

MR BEEBE: I am so sorry, Mr. Vyse. I should of course offer you my warmest

congratulations.

CECIL: No, I’m sorry, Mr Beebe, for giving you such shock. I fear Lucy’s choice doesn’t

meet with your approval.

MR BEEBE: No, no, no. Not at all.

MRS HONEYCHURCH: Mr. Beebe?

MR BEEBE: Not at all.

FREDDY: He will give me a game after tea, Luce.

LUCY: Well, that was fun.

24

FREDDY: Yes, a sort of.

MRS HONEYCHURCH: Mr. Beebe. Have you heard the news?

MR BEEBE: Yes. Congratulations. I , too, have the news, I’ve heard from the Miss Alans,

two rather frail but ultimately delightful old ladies we met at the pensione. and even more

amazing the Emersons have taken one of Sir Harry’s cottages in the village.

MRS HONEYCHURCH: Yes, interesting. now come, let's go talk about the wedding.

MR BEEBE: Yes, yes, Emersons. I’m sure you will like them.

CECIL: You seem put out, love. You don’t care for the Emersons?

LUCY: No! That’s to say they’re perfectly all right in my way, but it’s so off-putting when

people turn up in the wrong place.

FREDDY: What are they like? Good fun or not?

MR BEEBE: Fun. Something of philosopher, who is involved in the unions and also a

journalist of the radical papers, I believe. The son is somewhat wild and non-focused,

energetic though.

FREDDY: Good for gaming tennis?

MR BEEBE: I should think so and ju jitzu, acrobatics and tree climbing too I should wonder.

FREDDY: Top hole.

MR BEEBE: I think we might go and introduce ourselves to them and welcome them in the

neighborhood, don’t you?

FREDDY: Good idea.

MR BEEBE: This is the one I think. Hello, Mr. Emerson!

GEORGE: Hello!

MR BEEBE: I have brought someone to see you!

GEORGE: Down in a jiff!

MR EMERSON: Hello!

25

MR BEEBE: Hello! This is Freddy Honeychurch. He’s a neighbor.

GEORGE: Hello!

FREDDY: How do you do? Come and have a swim?

GEORGE: All right.

FREDDY: Top hole. Let’s go!

MR BEEBE: That’s the best conversation opening I have ever heard.

MR EMERSON: Enjoy!

FREDDY: What do you think?

GEORGE: Top hole, old chap.

FREDDY: It ‘s a bit small.

MR BEEBE: Well, it’s distinctly successful, as ponds go. No apologies necessary for the

pond. Aren’t those masses of willow-herb splendid? I love willow-herb in seed. What's an

aromatic herb? These abrupt changes in vegetation! Very charming. Very charming.

FREDDY: Tally ho! Mr Beebe, aren’t you coming in? Water is wonderful!

MR BEEBE: I-I think not.

FREDDY: Come on, strip off!

MR BEEBE: It’s very tempting. Shall I, George?

GEORGE: Absolutely! You will not regret.

FREDDY: Hey, hey.

GEORGE: Come on, Mr. Beebe! Come on!

MRS HONEYCHURCH: Whatever’s that? Oh dear.

CECIL: This way, ladies. Avert your eyes.

MR BEEBE: Good morning.

MRS HONEYCHURCH: Freddy? Be sure to dry yourself properly.

26

FREDDY: It’s not my fault. George has got my bag.

MRS HONEYCHURCH: Oh. Oh look. Oh, but it’s Mr Beebe.

GEORGE: Hello, Miss Honeychurch.

MRS HONEYCHURCH: Lucy, darling, Charlotte’s coming to stay. It seems her boiler has

broken, isn’t that lovely?

GEORGE: Hello, Miss Bartlett!

CHARLOTTE: Oh dear.

FREDDY: Mine! I’m a faster runner than you, George.

MR BEEBE: I have got one!

FREDDY: Did you see that?

MR BEEBE: I have one! I have one!

GEORGE: You just cheated.

MRS HONEYCHURCH: Whose is this? Oh, I suppose Charlotte brought it.

CECIL:"Under the loggia." "a Tuscan Tale, by Eleanor Lavish."

MR EMERSON: Oh, oh. She wrote it, in the end, did she? Good for her!

MRS HONEYCHURCH: Do you know the author, Mr Emerson?

MR EMERSON: Yes, yes, she was at the Bertolini with us, yeah. Very imaginative lady.

Fond of smells, you know?

MRS HONEYCHURCH: Ah.

CHARLOTTE: Such a shock when I saw him.

LUCY : I had rather a shock, first time I saw him, but it’s all right now. Mother has quite

taken to them, especially the old Emerson.

CHARLOTTE: But, my dear, has he talked? Does anybody know?

LUCY: Know what?

27

CHARLOTTE: About the incident, of course!

FREDDY: Watch your back, ladies!

LUCY: No. Of course not!

CHARLOTTE: I felt sure he would have told people. Once a cad, always a cad.

LUCY: Don’t be silly. Charlotte. He’s not a cad at all.

CHARLOTTE: I mean, you’re engaged Cecil Vyse now, aren’t you?

LUCY: Exactly! I am.

CECIL: Lucy! This is such a ridiculous book, I must share it with you. I believe you’re

familiar with the author.

LUCY: Eleanor Lavish! What fun! She was at our hotel. This must be the italian novel she

was writing.

CECIL: Possibly the worst book I’ve ever read. Look at chapter two.

LUCY: You are quite right, and too silly to bother with.

CECIL: Whoa, whoa, whoa, whoa, there. "Leonora sat pensive alone."

LUCY: No, don’t read it out.

CECIL: It demands to be read out loud. "The season was spring." "A golden haze." "Afar off,

the towers of Florence," "while the bank on which she sat, was carpeted with cornflowers. "

LUCY: Freddy! Come and play tennis!

FREDDY: Top hole!

CECIL: The best bit is further on. "she hastened into a beautiful meadow" sprinkled with

cornflowers and poppies." "he was there." "he turned."

LUCY: Mr Emerson, um, go and get the tennis balls.

CECIL: "she hastened into a beautiful meadow "sprinkled with cornflowers, again, and

poppies. "

28

LUCY: Stop it, Cecil, it isn’t worth reading, it’s rubbish.

CECIL: Temper “he was there.” “He turned and saw her.”“and swift were the steps, he took

toward her." no eloquence was his," “nor did he sudden from the lack of it." "he enfolded her

in his manly arms," "and pressed his lips on hers." "little did either know” “the grave events

had been set in train by this simple encounter".

LUCY: I think I’ll just take a little stroll.

CECIL: "our hero ..."

LUCY: No, by myself, Cecil.

CECIL: “Can hardly be blamed for acting on his instincts.” “for, remember: we are talking

about latin culture now,” “where the blood runs hot through the veins." "guided by nothing

more than his appreciation of the feminine form…”

LUCY: Oh, there you are! Shall we have tea?

MR EMERSON: Well, come the revolution, you know ...well, we still have fun, though, yes!

FREDDY: My point…

LUCY: Charlotte, you promised me not to tell anyone! How could you have told Miss

Lavish? And it must have been you, no one else knew!

CHARLOTTE: Oh dear. I will never be her friend again after this.

LUCY: She is not the one to blame. She…she is a novelist, she can’t help herself, I suppose.

But you...

CHARLOTTE: But …I ... it isn’t... it isn’t my fault, that it was read out aloud.

LUCY: If you had not told, it would never have been written! I suppose you realized that

George Emerson heard it? And that inspired him to... insult me again.

CHARLOTTE: Oh, I said he was a cad..

LUCY: Well, there you are, you see, that’s what you’ve brought about. and now what’s to be

done about it?

29

CHARLOTTE: Well, I mean I..I don’t know. Perhaps you could tell Mr. Vyse, and then he…

he might trash Mr Emerson! or…or…or…horsewhip him!

LUCY: What a vivid imagination you have, Charlotte. You should write novels yourself!

Now are you going to speak to George Emerson?

CHARLOTTE: Wh..i

LUCY: Well, you were ready enough to do it at the Bertolini.

CHARLOTTE: Yeah…, well...

LUCY: I see. I shall have to do it myself!

CHARLOTTE: Really? Well, if you’re sure you think that’s wise.

LUCY: You want me to, don’t you?

CHARLOTTE: Oh, Lucy. How could you ever think that?

LUCY: I don’t know, but I'm sure it’s true. And you realize there’s a very good chance he

might try to insult me again? I shall just have to take my chance.

CHARLOTTE: Oh, well. At least let me come with you!

LUCY: Come if you wish, but I shall never think of you in the same way again, Charlotte

FREDDY: You should have some of this jam. Jolly good.

GEORGE: No thanks. I'm not really in the mood to jam.

FREDDY: Really? I am always in the mood for jam.

LUCY: Go away, please Freddy. I want to speak to Mr. Emerson in private.

FREDDY: The seed cake’s jolly good, too. You could put the jam on that, if you like. Top

hole!

LUCY: Freddy! Go away.

FREDDY: All right. All right.

GEORGE: Look, I know that you think that ...

30

LUCY: No, you look! This has all become quite impossible. I think you should leave now and

never come here again. And if you see me in the village, I don’t want you to speak me ... or…

or anything. Is that clear?

GEORGE: Yeah, it’s clear but it’s nonsense. You like me. I think you love me.

LUCY: I love Cecil Vyse. You must know I’m engaged to him.

GEORGE: You may be engaged to him. But you don’t love him.

LUCY: How ... how dare you presume to think you know what my feelings are.

GEORGE: No, I just do. You don’t love Cecil Vyse. No one could. Not in that way. Maybe

his mother does, I don’t know. I'm not interested in him, I am interested in you. I’m in love

with you.

LUCY: And you think that gives you the right to insult me?

GEORGE: I shouldn’t have kissed you, I suppose. I wish I’d had more self-control. No, I

don’t, actually, ‘cause I-I didn’t insult you. How could I insult you? I think you're wonderful

and, besides, you kissed me back.

LUCY: I did not.

GEORGE: You did, you know.

LUCY: I’m not getting into an argument with you.

GEORGE: I tell you what…just get unengaged to Cecil Vyse. Get engaged to me. That’s

what I’d like and you would, too.

LUCY: That is completely impossible.

GEORGE: I know you think I’m the wrong class, but that sort of thing doesn’t matter

anymore. I’ve held you in my arms, and I know that felt right to you. If you marry that chap,

Cecil, it will be like ... burying yourself alive, I think you know that, too. We’ve got our

chance of something wonderful together, you and me. Maybe you're frightened, because it

isn’t what you planned, or because your mother or Mr Beebe might disapprove. But it’s your

life, it’s not theirs. Don’t throw it away. I just want us to have our chance. And if I can’t have

you, I don’t know if I can go on living.

31

LUCY: I’d like you to leave now, please. This conversation is over.

GEORGE: It’s so stupid. It’s so stupid. Well, goodbye.

LUCY: There. That’s that done.

FREDDY: There you are! What have you done with George Emerson? There still light

enough to play!

LUCY: Mr Emerson had to leave.

FREDDY: Oh, damn. Do you want to play ?

LUCY: No thanks.

FREDDY: Cecil?

CECIL: Freddy, as you well remarked this morning. Some chaps are good for nothing but

books. I plead guilty to being such a chap and I shall inflict myself upon no further.

CECIL: Thank you.

LUCY: Cecil? I don’t want us to be engaged any more. I’m very sorry about that, but I’ve

thought it over and I’ve realized, I’ve made a mistake. We’re too different from each other.

CECIL: Different how?

LUCY: I am not educated like you. I shall never be able to talk to your friends or be a proper

wife to you.

CECIL: I don’t understand you. This is not like you at all. You’re you are tired, I expect.

LUCY: Tired? That’s exactly like you! Always believe that women don’t mean what they

say, but I do mean it!

CECIL: You might have warned me if you’d felt something wrong.

LUCY: It’s been coming upon me for a while. There, there are all sorts of things against our

engagement. You don’t like Freddy, for one thing. And you don’t even like my mother.

CECIL: But I love you. And I did think that you loved me.

LUCY: I didn’t. I thought I did at first. I am sorry. I’ve been foolish.

32

CECIL: No, as you said, you don’t love me. But it might hurt a little less if I knew why.

LUCY: Because you are good with books, art and music, but you're not good with people.

CECIL: No, that’s true, you’re right. I wish I was good with people. I try to be but it always

comes out as supercilious and snobbish. And…and false. But I do love you in ... in my way. I

wish you had say all of this before.

LUCY: I’m sorry. I didn’t see it clearly before.

CECIL: No. You seem speaking with a new voice tonight. It’s almost as if someone else is

talking through you.

LUCY: You mean you then I’m in love with someone else?!

CECIL: No. no, I mean there’s a force in you that I hadn’t realize before. I suppose I should

thank you for doing this now.

LUCY: I must say you’ve been a really good sport about this.

CECIL: Will you shake hands with me, Lucy?

LUCY: Of course I will.

CECIL: Night, then. Uh, yes.

LUCY: Goodnight!

MR BEEBE: Hello there.

MRS HONEYCHURCH: Good morning, Mr. Beebe. Look what a mess the wind has made of

my dahlias. I counted on Powell to tie them up, now he’s had to go out with the trap. Not the

scissors, Charlotte, when both my hands are full already. Thank you.

MR BEEBE: Do I detect a certain atmosphere?

FREDDY: You do. Lucy’s chucked Cecil, and he has gone off all cut up about it, and ma’s

angry with Lucy and is taking it out on the dahlias.

MR BEEBE: Perhaps, I’ll just, uh…

FREDDY: Why not?

33

LUCY: Have they told you?

MR BEEBE: Yes. And I think you’re doing the right thing, if I may say so.

LUCY: No one else does.

MR BEEBE: Cecil Vyse is, like me, not the sort of man who should marry, but I don’t think

he’s discovered it yet.

LUCY: I think perhaps he did last night.

MR BEEBE: Did he? Good.

LUCY: I don’t think I’m the sort of girl who should marry.

MR BEEBE: Now that I’m not so sure about. But , as the saying goes, "they that marry do

well, they that refrain do better ". The miss Alans have written me again, which is what

brought me over. Our intrepid friends have arranged a trip to Constantinople. One fears for

their safety amongst the infidels. They start next week! Venice first, and then down the

Illyrian coast.

LUCY: Perfect! I know what I’ll do. I’ll go with them.

MR BEEBE: To Constantinople?

LUCY: Why not?

MR BEEBE: Would your mother spare you again so soon?

LUCY: Oh, she must spare me. I must get away ‘til everything is settle down. It’s going to be

impossible here and I do long to see Constantinople. You must help me persuade mother to let

me. I must get away.

CHARLOTTE: Well I think she should go. I think it’s absolutely imperative that she should

get away. but why Constantinople? Why not Tumbridgewells?

MR BEEBE: If Mr Vyse were still here, i could understand it better. Is there perhaps some

other influence that she feels the need to get away from?

CHARLOTTE: Yes.

MR BEEBE: What?

34

CHARLOTTE: What?

MR BEEBE: Or perhaps I should say who?

CHARLOTTE: Who? She shouldn’t stay here for a moment longer that is absolutely

necessary, and we must keep quiet until she goes and if you help, we may succeed,

otherwise…

MR BEEBE: Otherwise?

CHARLOTTE: Otherwise.

MRS HONEYCHURCH: I don’t understand. Why do you want to go away again so soon!

LUCY: Because I can’t bear the thought of people talking about me! About Cecil and me!

MRS HONEYCHURCH: We certainly wouldn’t! To be perfectly truthful, I never cared for

Cecil Vyse, and neither did Freddy. We would never mention his name, if that gives you any

comfort.

LUCY: Well, it’s not you, it’s other people!

MRS HONEYCHURCH: Charlotte? Mr Beebe? Well...

LUCY: No, not them.

MRS HONEYCHURCH: Who else in the village, do you think is so interested to your

affairs? I think you’re making a quite unnecessary fuss, dear.

LUCY: I'm sorry.

MRS HONEYCHURCH: What on earth have you been saying to Mr Beebe? He seems to

think you needed to go abroad for your spiritual well-being or something. And Charlotte was

very mysterious. I don’t mind saying this is all very hurtful for me.

LUCY: For you?

MRS HONEYCHURCH: Yes, for me! Other people have feelings as well as you. I think you

are tired of Windy Corner.

LUCY: Oh mother, what rubbish you talk! Of course I am not tired of Windy Corner!

MRS HONEYCHURCH: You want to leave us.

35

LUCY: I've seen so little of life. I should like to spend some time in London. I might also

share a flat there with some other girl.

MRS HONEYCHURCH: And mess with latchkeys and typewriters, I suppose. And agitate ,

and scream and be carried off kicking by the police.

LUCY: I just want to be independent!

MRS HONEYCHURCH: And to prepare yourself for this independent life, and you want to

go round Europe with two doddering old ladies? Then, very well. Take your independence

and be gone. Rush up and down the world. And come back thin as a lath with the bad food.

Despise the house that your father built, the garden that he planted for your pleasure, for your

future! Never mind. You want to go off and share an flat with another girl!

LUCY: It isn’t that I despise you or the house or anything!

MRS HONEYCHURCH: Then do you mind telling me what is it that makes you so desperate

to leave us all behind and what you hate so much about your life here?!

LUCY: Being gone on at like that, partly.

MRS HONEYCHURCH: How you remind me of Charlotte.

LUCY: Charlotte?

MRS HONECYCHURCH: More every moment.

LUCY: If you really want to know the truth, it’s because George Emerson has been making a

nuisance of himself and I want to get away somewhere where he can’t do it anymore! There!

Are you satisfied now?!

MRS HONEYCHURCH: George Emerson? Lucy, wait dear. Wait. Lucy? Lucy! Come back!

FREDDY: There no one to play tennis with!

MRS HONEYCHURCH: Come back and talk to me! Lucy!

FREDDY: What now?

MRS HONEYCHURCH: Lucy!

MAN: Good morning, miss.

36

LUCY: Good morning. Have they gone?

CHARLOTTE: Do you know, I’m ...I’m not entirely sure, gone or going. Anyway, where,

where, where are you off to now, dear?

LUCY: I want to see Mr Beebe.

CHARLOTTE: Oh, yeah.

LUCY: Charlotte? Charlotte?

CHARLOTTE: You should go to the vicarage.

LUCY: Mr. Beebe? Mr Emerson.

MR EMERSON: Hi, Miss Honeychurch. Sorry, I ...it’s good of you to come. Did they tell

you I was here?

LUCY: No.

MR EMERSON: Mr Beebe is in the church doing some religious, no doubt. Yeah. said he’d

be back in a few minutes.

LUCY: I am sorry to hear that you’re leaving.

MR EMERSON: Oh, that’s...that’s very kind of you. It’s all to do with you, of course.

LUCY: I beg your pardon?

MR EMERSON: I am so sorry. George thought he had the right to try, you know? Even

though you’re engaged to Mr. Vyse. I taught him to believe in love, to put his trust in it, and

you see, he did, and it did not work out for him, and is very down about it.

LUCY: I’m sorry to hear that. But I’m sure he will be...

MR EMERSON: I hope you’re not going to suggest collecting stamps again. Or picture,

postcards. To mountaineering or deep-sea diving, cause none of that will wash in his

particular predicament, you see, ‘cause he’s set his heart on you, 'cause he thinks you’re so

lovely. He’s right. You are.

LUCY: I think perhaps I ought to be going.

37

MR EMERSON: No, no, no. Please don’t, don’t, don’t go just. Just yet please. Do you

remember Italy?

LUCY: I’d really not discuss Italy.

MR EMERSON: But you remember it?

LUCY: Yes, of course I do.

MR EMERSON: He told me all about it, you know? No, not then. And even after he’d heard

about your engagement, he still thought he might have a chance, you know? And I thought he

might. But I’ve seen him look at you, and I’ve see you look at him. And now it’s all over.

And we are going away.

LUCY: Mr. Emerson, there’s really no need for you to move away if I am the cause of it. I’m

going to go travelling with the miss Alans, and after that I’m thinking of taking a flat in

London, so ...really, there’s...there’s no reason for you to leave your lovely cottage.

MR EMERSON: I see. I suppose Mr. Vyse will be going with you, will he? You don’t get

engaged to a man, and then go off travelling without him, do you? No. Of course I feel for

George, you know. I do. But none of this is your fault is it? Of course not.

LUCY: Mr. Vyse is not coming with me. I’ve broken off our engagement.

MR EMERSON: You have?

LUCY: Or rather, we ended it by mutual consent. Mr. Vyse, he finds is not the marrying kind

of man, and I don’t think I’m the marrying kind of girl.

MR EMERSON: Rubbish.

LUCY: I beg your pardon?

MR EMERSON: Rubbish. You’ve chucked the other fellow because you’re in love with

George.

LUCY: I’m not.

MR EMERSON: I know he is not quite the right social class for you, and no doubt your

family and your friends will make a great fuss about it. But who does matter about it? You are

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the girl for him, and he’s the man for you. I know it. He knows it and you know it, don’t you?

Look at her! She’s been in love with George all along.

MR BEEBE: George?

LUCY: I’ ve made such a muddle of things!

MR EMERSON: But you can unmuddle them.

LUCY: Everybody will be furious with me.

MR EMERSON: It doesn’t matter! It’s your life. Not theirs. And besides, they’ll come round.

They are good people. So is George. Take heart.

LUCY: Where is he?

MR EMERSON: He said something about taking one last swim.

LUCY: No! No!

LUCY: Wouldn’t they be shocked if they could see us now?

GEORGE: Who?

LUCY: All of them. My mother. Freddy. Mr. Beebe!

GEORGE: With Freddy’s all right.

LUCY: Mr. Beebe won’t spoke to me. He said he expected better things of me. Can’t imagine

what. And Charlotte!

GEORGE: It was Charlotte who made it all happened.

LUCY: No, silly. Charlotte tried to keep us apart.

GEORGE: No. She didn’t.

LUCY: Yes, she did. She made me go to Rome and get engaged to Cecil Vyse.

GEORGE: No. That day, at the vicarage father saw her. She told you we were there?

LUCY: No. She didn’t…Well she did in her way. You think she wanted this all along?

GEORGE: Wanted what?

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LUCY: You know. This.

GEORGE: This?

LUCY: Yes and this.

DRIVER: Signorina! Signorina! Are you there? Are you there Signorina? Fare un giro?

Signorina!

LUCY: Your english has improved, I think.

DRIVER: Improved?

LUCY: You speak english better than you did ten years ago.

DRIVER: Thank you. I learn english for tourists, Signorina.

LUCY : It’s signora, actually.

DRIVER: Sorry. Did he died in the war, your husband?

LUCY: Yes, he did. That girl who was with you last time. You said she was your sister, but

she wasn’t.

DRIVER: No, she wasn’t.

LUCY: Was she your sweetheart?

DRIVER: Yeah, until that day. After that, she never spoke to me again, and she married

another man.

LUCY: And you married another girl.

DRIVER: No. I didn’t marry anybody.

LUCY: Thank you. The last time we were here my italian was very bad and your english was

not very good, we made a sort of muddle together.

DRIVER: What is “made a muddle”?

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LUCY: We made a mistake. Do you remember? I asked you where the good men were. What

I meant was the, the clergyman. The priests. But you thought I meant something else.

DRIVER: No. No. But I think “I will show her a good man”.

LUCY: Well, he was a very good man. You were right.

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