Archive of Our Own ^beta

CHARACTERS

EVA SMITH/DAISY RENTON

ISAAC HURLEY (landlord)

MR ARTHUR BIRLING

MARION KEEFE (manager of Milwards)

LOUISE CAMPBELL (store assistant at Milwards)

SHEILA BIRLING 

MRS SYBIL BIRLING

GERALD CROFT

ERIC BIRLING

ACT ONE

SCENE ONE

The street is bare, empty and barren. Nothing in sight but a young lady, who has mud all over her face and is wearing a torn dress, and a gentleman who looks well-off but not wealthy by any stretch of the imagination. The man is standing in the doorway of a house, his house, while the woman, EVA SMITH, is on her knees pleading with the man. His name is ISAAC HURLEY and is a known author and landlord around these parts. He shows this by holding a notebook with writing on it. The lighting is dark and grey as the audience needs to be straining to see the scene laid before them. 

EVA should be noticeably pretty but yet still haggard and needing a bath. ISAAC however has just gotten out of the bath and has not even a speck of dust on his clothing. This is important. ISAAC is very obsessive when it comes to cleanliness.

EVA: [begging] Please Mr Hurley. Please don’t make me leave. I’m already due on a week’s rent at the Wentworth place. I’ll pay it. I will, I swear. I just… I just need a job.

ISAAC: What happened to the one you had? At Birling and Company.

EVA: [nervously] Well… You see… I wanted more money. They weren’t paying enough, not as much as other factories. And so I convinced all the other women to strike. For a while, no one worked. Birling asked to see me; he wanted to congratulate me on my leadership. 

ISAAC: How did that end in you losing your job?

EVA: It turned out he was angry. He didn’t want to congratulate me at all. It was a rouse just to get me there. He explained to me how he couldn’t pay everyone more, but I protested. He suggested that I take the extra pay to manage a group of girls, but no one else would get any more money. He wanted me to gather the women back and get to work. I turned down the offer for higher pay in favour of staying true to myself and all of the women. The next day everyone was back working. No one could afford to be on strike, and Birling knew it. He pulled me over to the side and fired me.

ISAAC: As horrible as that is, you still owe me a lot of money and so you’d better get a job. And fast. Or you’ll well and truly be out on the streets. Now get in, I’m freezing standing out here. [He ushers EVA inside and then follows her into the sitting room, it is lacking in some furniture, as again, ISAAC is far from rich, but it is quite cosy and EVA feels content. The lighting is now a warmer colour and brighter.] I have to say it, I don’t want you abusing my kindness. If you don’t have a solid job by the middle of next week, I’ll forget your debt and I never want to see you again. More than once have I had a woman use me repeatedly for my lodgings. I will stand for it no longer.

EVA: Alright. [she pauses] May I clean myself up?

ISAAC: Most definitely. I won’t have you staying here covered in mud. There are spare garments on the bed upstairs. Will you be coming back down later?

EVA: If it is alright with you, I would rather get some sleep if I am to go searching for a job tomorrow.

ISAAC: [nods] Sleep tight. [EVA goes upstairs into the bathroom, humming a familiar tune] That girl has gotten herself into more bother than she realises. Why would she even think of turning down extra pay at Birling and Co? Silly little thing. Pretty. But silly nonetheless.

SCENE TWO

This scene takes place along the streets of the town. EVA is becoming desperate for a job as it has been two months since her job at Birling and Company ended abruptly. And yet, ISAAC is still letting her live with him as long as she is actively looking for a job each day. She is losing hope at this point which is shown by her posture and fallen face, but she is remarkably clean. It is around noon and EVA plans to conclude looking for the day very soon. She comes across a very nice clothing store called ‘Milwards’ and is almost too despairing to go inside, as she would have had to save up for months and months just to buy one thing in there.

EVA: [steps inside the shop] Good day to you, may I speak with the manager please?

SHOP ATTENDANT: Of course, right this way. [moves around to the back of the store] Mrs Keefe?

MRS KEEFE: [appears in view] Yes, my dear?

SHOP ATTENDANT: This woman would like to speak with you. 

MRS KEEFE: Very well. Go back to your post, thank you.

SHOP ATTENDANT: [bows head and leaves] 

MRS KEEFE: So, what is it you would like to speak with me about?

EVA: [respectfully] Well, Mrs Keefe, my name is Eva Smith and I am actually looking for a place of employment. 

MRS KEEFE: Eva. Nice name that. 

EVA: I came across your marvellous store and even though it is far too wonderful for you to even consider me, I wanted to ask if you would take me on. I have heard about the influx of influenza around these parts and I worried that you might be a few staff down. Is this the case?

MRS KEEFE: [pauses to think over what EVA has said] Why, yes actually. It is. How curious. One of our own was only struck down the day before yesterday and I was just about to get an article put in the newspaper about vacancies. Just now. How peculiar.

EVA: I am very sorry for your loss ma’am.

MRS KEEFE: Thank you, I appreciate it. So about that job. Where are you currently living?

EVA: In the Hurley place, with Mr Hurley himself ma’am.

MRS KEEFE: Are you to be wed?

EVA: No, [chuckles] he is simply a friend. I am staying with him as my landlord until things settle down. 

MRS KEEFE: That’s a mighty shame. I know Isaac Hurley. Do not be fooled by his rough exterior, he really is an old softy.

EVA: [smiling] Oh yes ma’am, I know from experience.

MRS KEEFE: He is the reason for your state of cleanliness I presume?

EVA: Yes ma’am.

MRS KEEFE: Good, I’d like you to stay clean, can’t have any old girl from off the streets working here. This is where the upper class come. Cleanliness is mighty important.

EVA: Yes ma’am.

MRS KEEFE: Have you ever been terribly ill?

EVA: No ma’am, I am the picture of health.

MRS KEEFE: Okay. [nods head] Yes. We’ll take you. 

EVA: That’s wonderful news ma’am. Thank you so much.

MRS KEEFE: We pay thirty shillings a week and you’ll be working ten until five, six days a week starting tomorrow. But you step a toe out of line and you’ll be back on the street explaining to Mr Hurley why you no longer have a job. Is that clear?

EVA: [excitedly] Yes ma’am, oh thank you so much.

MRS KEEFE: Get on home and we’ll see you tomorrow.

EVA: Thank you ma’am. I’ll see you tomorrow. Thank you again. 

EVA feels ecstatic and is looking forward to working at Milwards greatly. It seemed like things were starting to look up for her.

SCENE THREE

This scene is also set at Milwards, however it is six weeks in the future. EVA is plenty excited as just yesterday had she paid MR HURLEY and MR WENTWORTH back all she had owed. She is smiling at everybody and is practically dancing around the store.

LOUISE: My my, Eva, you seem perky today.

EVA: Oh yes, today is the day where everything turns my way again. [starts to weave through customers] 

MRS BIRLING: It wouldn’t be right at all.

SHEILA: Yes, you’ve said that. [holding a very delicate dress]

MRS BIRLING: That shape would look much better on a different sort of figure. All very well trying to follow the latest fashions, but one must know what suits one’s shape. That’s something you’ll learn.

SHEILA: [raising voice] I don’t need a lecture on style.

MRS BIRLING: [whispering fiercely] Kindly keep your voice down.

SHEILA: Mummy please can I look around on my own for a while? We could meet up in say half an hour or so.

LOUISE: [walks over to SHEILA and MRS BIRLING] Do you need any assistance Mrs Birling?

MRS BIRLING: Not at present Miss Campbell.

SHEILA: I’d like to try this on. [thrusting the dress at LOUISE]

MRS BIRLING: I was just saying, it’s not the right shape for her.

SHEILA: I think it would suit me.

EVA: [walks past]

MRS BIRLING: You, girl. Come over here. Would you?

EVA: [walks over to MRS BIRLING]

MRS BIRLING: [takes the dress from SHEILA and holds it against EVA, smiles] You see, it’s not an easy style to carry off.

SHEILA: I’d like to try it on.

EVA: [takes dress from MRS BIRLING] Yes of course, miss. [walks off]

SHEILA: [walks after EVA, puts the dress on, and comes back with EVA in tow] 

LOUISE: It looks lovely miss.

SHEILA: Does it? I’m not sure the colour is right.

EVA: [smiles]

SHEILA: [spitefully] What are you smiling at?

EVA: [nervously, all trace of the smile is gone] I… I wasn’t. I… was only-

SHEILA: You were sniggering, I’m not blind.

LOUISE: I’m sure she wasn’t miss.

SHEILA: Am I some sort of cause for amusement? Am I?

EVA: No, of course not!

SHEILA: [turning to LOUISE] I’d like to see the manager.

LOUISE: I’m sure she didn’t mean-

SHEILA: [angry] Now!

LOUISE: Yes, miss. [walks off]

EVA: I really wasn’t laughing miss. I would never.

LOUISE: [comes back, followed by MRS KEEFE]

MRS KEEFE: Miss Birling, would you kindly follow me to my office?

SHEILA: Of course. [both go to the office] 

MRS KEEFE: [sits down] What happened?

SHEILA: That girl finds me hilarious. Some cause for amusement. She was mocking me and I’d like to have her fired.

MRS KEEFE: [taken aback] Did she say anything to you Miss Birling? Anything that would cause emotional harm?

SHEILA: No, but listen here. If I find that girl in the shop the next time I come, I’ll get my father to close our account with you and I’ll take my business elsewhere. Surely it is less costly to replace an employee than a customer like me. [gets up and leaves]

MRS KEEFE: [goes to find EVA] Eva, my dear. I am so sorry but we are going to have to let you go.

EVA: What? But I-

MRS KEEFE: I know but there’s nothing I can do.

EVA: [nods and then leaves Milwards for good]

ACT TWO

SCENE ONE

About six months goes by, EVA is kicked out by ISAAC HURLEY who was full of remorse but without a steady wage from her, there was nothing he could do. There was nothing anyone could do. EVA notices the dirt and grime more now than she did before, not because there is more, but because she remembers what it was like to be clean. Without the reference from Milwards, she hadn’t been able to keep a job for longer than a week. Nobody wanted to take her on and because of her conscience, EVA refused to steal. She changed her name to DAISY RENTON and started staying at cheaper accommodation.

This scene starts at the Palace bar. It is where both classes go, but for very different reasons. 

MAN: You’re so beautiful. [lifting her hair to his nose] So very beautiful.

DAISY: [awkwardly] Thank you sir. 

MAN: A woman with your [whispers the word ‘abilities’] abilities should not go to waste. 

GERALD: [comes over and stands next to DAISY] Looking after my girl for me I see, I am indebted to you good sir. [turning to DAISY] I am so sorry I’m late darling. Ready to go?

DAISY: [catching on] Yes.

GERALD: [to the man] I hope to see you soon, thank you again. Goodnight.

MAN: [confused] Goodnight.

GERALD: [leads DAISY to the bar where he takes his arm off of her] Please forgive me, it’s just you looked very uncomfortable. I apologise if I am wrong.

DAISY: Yes, you’re right, thank you sir. It was very kind of you.

GERALD: Shall we have a drink?

DAISY: [face falls at the realisation that GERALD is just like everyone else at the bar, turns and sighs]

GERALD: You are unwell?

DAISY: No no, I’m… it’s only because I haven’t had any- I’ll be alright in a moment.

GERALD: Take your time.

DAISY: Sorry.

GERALD: Don’t be silly. Would you let me buy you dinner? I haven’t eaten myself as it happens. And I have a table booked at the country hotel. Please, it’s quiet there and respectable. Come on, what do you say?

They both go to the restaurant and have dinner. Afterwards, when DAISY is feeling more relaxed, GERALD suggests that DAISY stay at his friend’s rooms until she gets back on her feet. DAISY begins to cry and doesn’t stop until they get to the rooms.

GERALD: You’ve been crying this whole time and I didn’t want to push you but, why are you so sad?

DAISY: No one has ever been this nice to me before.

GERALD: What of your parents?

DAISY: Dead, both of them when I was very small.

GERALD: Oh God, I’m so sorry. [he pauses before placing his hand on her shoulder] Do you think you’ll be alright?

DAISY: Yes, I will. Are you sure your friend won’t come back?

GERALD: Absolutely sure. Trust me. Here. [he grabs her hand softly and places a pile of notes in it before closing her hand and letting it drop]

DAISY: I’ll pay you back.

GERALD: You don’t have to. I’ll come by tomorrow after work if that’s okay?

DAISY: Of course.

GERALD: Goodnight.

DAISY: Goodnight. 

Over the course of five months, DAISY became GERALD’s mistress. She would go out searching for a job still, but less frequently and then at six in the evening, be back to wait for GERALD. He would always leave while she was asleep. DAISY once questioned him on it with which he replied ‘I have to get to work early.’ She knew he was lying, but he never lied about the important things; how much he cared for her, how beautiful she was, and how little he wanted it all to end. But, end it did. In the September, GERALD was to go on a business trip. They broke their relationship off and DAISY was gone before he got back. Nothing had ever seemed so good for her, and so she decided to go to the sea and replay all of the events with GERALD over and over again.

SCENE TWO

This act takes place by the sea. The sun is out, shining so bright that the whole stage is illuminated. The waves crash against the sand and you can see DAISY sitting on a beach chair. She is writing in a journal. 

This scene is DAISY's inner monologue.

DAISY: As Choderlos de Laclos in Dangerous Liaisons said; "Now, I'm not going to deny that I was aware of your beauty. But the point is, this has nothing to do with your beauty. As I got to know you, I began to realise that beauty was the least of your qualities. I became fascinated by your goodness. I was drawn in by it. I didn't understand what was happening to me. And it was only when I began to feel actual, physical pain every time you left the room that it finally dawned on me: I was in love, for the first time in my life. I knew it was hopeless, but that didn't matter to me. And it's not that I want to have you. All I want is to deserve you. Tell me what to do. Show me how to behave. I'll do anything you say." [she pauses] I am in love. And though I lied about my name, called myself Daisy Renton, I lied no more. I am in love with Gerald Croft. A love like this will never cease. I will be haunted by it, every waking hour. When I come home to my husband and children, I will kiss him, but it will not be his lips I see, it will be Gerald's. When I pour him whiskey in the evenings, I will not be putting it on the table in front of him, I will be putting it on the table in front of Gerald. When we retire to bed after getting the children asleep, it will not be him staring at me from the other side of the bed, it will be Gerald. He's left his mark on me now. I cannot return from this. No other mortal man will be good enough. No matter how hard I look for a man who can fill this void left inside of me, I know now that I will never again be truly happy. Gerald was too good for me, he is an honorable man who understands that sometimes a woman needs to be left alone, but he always came back. Every single day he would visit me, sometimes it would only be for ten minutes, sometimes ten hours. But he would always come. Until the day he told me that we should break it off, he had to go on a business trip. He gave me some money. I left the next morning. He never saw me after that. I came here, to the sea [she looks up to the sun and closes her eyes] it's so beautiful here. I have so many memories. But now none of that matters. Gerald is all I can see when I close my eyes. His blond hair swept back from his face, his chiseled features, his kind blue eyes begging for him to be held. [she opens her eyes] But now he's gone, and I feel like my heart has been torn from my body. [a tear rolls down her cheek]

ACT THREE

SCENE ONE

Act three starts, once again, at the Palace bar. EVA, still under the guise of DAISY, managed to return to reality and she came back from the seaside. Leaving the serene place obviously affected DAISY as she is utterly defeated. Her shoulders are slumped and she is unwashed, she has a look of despair in her eyes as she sits at the bar.

DAISY: Y'know, everything was fine until I came back here. I should have stayed on the beach. Nothing bad ever happens at the beach.

ERIC: [walking over to DAISY] Excuse me miss, but who are you talking to?

DAISY: The long gone spirit of a man who I thought I loved.

ERIC: What?

DAISY: Doesn't matter.

ERIC: May I buy you a drink?

DAISY: With what money?

ERIC: [ignores the comment] What would you like? I dare you to go expensive.

DAISY: You trying to get back at someone?

ERIC: You could say that.

DAISY: I'll have a scotch and soda please.

ERIC: [nods and then turns to BARMAN] Good evening sir, may I have two scotch and sodas please?

BARMAN: Coming right up. 

DAISY: Who are you trying to get back at?

ERIC: My dad, he won't let me take part in the business. One day I'll be running it so he has to let me share the reins sometime. My sister, Sheila, is probably going to get married soon and even he is allowed to take over from time to time. He's not even related to us.

DAISY: Sounds complicated. 

BARMAN: Here are your drinks.

ERIC: Thanks, [hands over money] keep the change. It is, [pauses] what did you say your name was again?

DAISY: I didn't. I'm Daisy, Daisy Renton.

ERIC: It's wonderful to meet you Daisy. My name's Eric Birling. I don't suppose you- no, don't worry about it.

DAISY: What?

ERIC: Nothing.

DAISY: Tell me.

ERIC: I don't suppose you're here because you're a working girl.

DAISY: [hurriedly] No, no no no. [pauses, quietly] Unless you want me to be.

ERIC: No, that's quite alright. I just assumed. It's what most girls are here for. Would you like to go to a hotel with me? I'd rather you not have to be subject to all these drunk men. We can order room service and drink bottles of champagne?

DAISY: Sure, that would be lovely.

ERIC: Do you have a coat? [drinking his drink and then standing up]

DAISY: No. [she drinks all of her drink]

ERIC: Let's go then. [he loops his arm around hers and they walk to a hotel]

They get to the hotel and are about to order room service.

DAISY: Eric, won't your dad get mad?

ERIC: [drunkenly] Of course, but that's half the fun! 

DAISY: I think I'm going to go home.

ERIC: No! Don't be a spoilsport. Come along now, come over here, close your eyes and pick something from the menu. My treat.

DAISY: [under her breath] Don't you mean your dad's treat?

ERIC: Don't be like that. [he reaches for her hand]

DAISY: No, Eric, I'm leaving. I'm not going to be the reason for your dad to get mad at you. I won't do it! [about to cry]

ERIC: [calmly] Stop being silly, come here. [gestures for her to come over to him]

DAISY: [sits down next to ERIC] 

ERIC: [puts his arm around her] Okay, we won't spend any money. Do you like music?

DAISY: Of course. Music is the pathway to someone's soul.

ERIC: One second. [he picks up the phone in the room and makes an indistinct phone call]

DAISY: [excitedly] What is it Eric? 

ERIC: [after a short pause he goes to the door and opens it, the other side of the door stands a bellboy holding a phonograph] Thank you good sir. 

BELLBOY: [sets phonograph on table and turns it on, he nods to ERIC and then leaves]

The phonograph starts playing 'Oh You Beautiful Doll by Billy Murray and the American Quartet'.

DAISY: [at the end of the song] Oh Eric! That was magnificent.

Somehow, once again, DAISY fell prey to a handsome man and became a kept woman. But this time, she knew that she wasn't in love with ERIC. That was certain, but he was in love with her. He told her that he loved her the fourth time that they saw each other. She knew right then that she should leave and never come back, but she didn't. She was panicked, but unlike last time, she didn't flee; but she should have.

SCENE TWO

This scene starts at another hotel room. ERIC and DAISY have just spent the night together and ERIC is preparing to leave for work. 

ERIC: [doing up his tie] Do you need any more money? I can always get you more money. Anything for you.

DAISY: No, I don't need any money. I have to tell you something.

ERIC: [ignoring her] Come on, surely you'd like a new dress or a new hat. Anything?

DAISY: I really need to talk to you. [after a moment thinking] Eric, where are you getting the money from?

ERIC: My job.

DAISY: I know that but where?

ERIC: [shouting] My job, I told you!

DAISY: Did you steal it? To get back at your dad?

ERIC: [shaking his head] No, why would you even think that?

DAISY: [shouting and is about to cry] You're twenty one Eric. You should have the big job at your father's company but you don't. You hate your father. You have to much money for it to be yours. [crying]

ERIC: [softly] Daisy, stop crying. [moves over to DAISY] 

DAISY: No, I will not stay here and take any more of your stolen money. I'm leaving.

ERIC: [laughing] But where are you going to go? There is nothing left for you here Daisy. Are you going to go back to the man who left you a couple of months ago? The one who broke your heart into so many pieces that I've spent all this time clearing up the mess and I'm still not done.

DAISY: Please, Eric, stop. You don't know what you're saying. Don't do this.

ERIC: Just leave. [he turns his back on her and picks up the phone] I'll have another bottle of whiskey please. [pauses] Yes, thank you. [he hangs up the phone] Why are you still here?

DAISY: [leaves]

From here, DAISY goes back to the HURLEY place and stays there for a while until she cannot pay any longer. Then, she goes to the Brumley Women's Charity Organisation to seek assistance.

ORGANISATION WORKER: [holding a clipboard] Good morning miss, how are we today? 

DAISY: Tired. How long will it be?

ORGANISATION WORKER: [looks down at the clipboard] Just a minute. [she disappears and then comes back] Right this way. [she leads DAISY to a large room where five women sit at a table, there is another empty chair the other side of the table facing the women] Sit there. [she points to the empty chair and then leaves]

DAISY: [nods and then sits] 

MRS BIRLING: What's your name, dear? [it is clear that MRS BIRLING does not recognise DAISY]

DAISY: Mrs Birling.

MRS BIRLING: You foolish girl. Who told you to say that name?

DAISY: What? No one.

MRS BIRLING: You're lying. What's your real name?

DAISY: I told you, Mrs Birling.

MRS BIRLING: You don't understand. I do not like this insolence, child.

DAISY: My name is Mrs Birling.

MRS BIRLING: [raising her voice] No, miss, my name is Mrs Birling. Now, what is your name?

DAISY: [stutters, looks down to feet] Daisy Renton. [MRS BIRLING seems familiar]

MRS BIRLING: Well, Miss Daisy Renton, why do you need our help?

DAISY: I'm in a difficult situation-

MRS BIRLING: So is everyone else that walks through that door. Why should we help you?

DAISY: I was kicked out of housing a few weeks ago and since then I've been sleeping on doorsteps.

MRS BIRLING: So have so many other women. What's different Miss Renton?

DAISY: I'm pregnant and I cannot afford to feed myself let alone a child. Surely you of all people understand. I assume you have children Mrs Birling. [DAISY finally realises where she knew MRS BIRLING from]

MRS BIRLING: Yes, but it is not our responsibility, it is the responsibility of the father.

DAISY: The father tried to pay, but when I realised that he was stealing from his father's company I wouldn't take anymore.

MRS BIRLING: Is that all Miss Renton?

DAISY: Yes miss.

MRS BIRLING: [turns to the other women and they all start to whisper furiously, when they stop she turns back to DAISY] I'm very sorry, but we cannot help.

DAISY: But-

MRS BIRLING: No buts, we can't help you Miss Renton. Try going to another landlord, one who can appreciate what you could offer.

DAISY: [angrily] What is that supposed to mean?

MRS BIRLING: [angrily] It means that you'd better leave before you do something that you might regret.

DAISY: Fine. I'm going. [she leaves]

SCENE THREE

This scene is set in a back alleyway nearby the Brumley Women's Charity Organisation. It occurs only minutes after DAISY leaves. She is holding a diary with a pen attached, and a plain bottle of cheap disinfectant. She slides down the alley wall and starts writing in her diary. What follows is what she wrote.

DAISY: Today, April 3rd 1912, was a monumentally pointless day. I went to see the Brumley Women's Charity Organisation to ask for help with my current situation; the baby. But it did not go the way I would have hoped. I believe I may have angered Mrs Birling by calling myself by that name. After, she did not take very kindly to my presence. What with being out of work, the baby, and Eric on top of everything else, I am extremely troubled. I no longer know who I am any more, I have been called many names but none of which I really identify with. It is like turning in bed in the morning to see a stranger, but then you truly look and see that the stranger is you. You no longer see yourself for who you are but you see yourself as an anonymous. Nothing is real. Everything is a dream. I miss the feeling of being blinded by the world. Not knowing and not seeing anything, and I miss Gerald. I miss the simplicity of him. I miss the way he would always make everything seem okay. I just want everything to go back to the way it was before. Calm and undamaged, in a world falling apart it seemed kind. But I know that as long as this baby is inside of me, nothing can go back. Not even a thought could be sent through the ever changing ideals of time. And though I am not educated, I understand some things very well, one of those being my place this world. I wish and hope and pray that it will change, but I know that it will not. Class politics can only be changed by a man, and for a while there I thought that that man would be Gerald. But now I realise I was hoping for something too vast and almost unimaginable. Which is why today, April 3rd 1912, though a monumentally pointless day, will also be my last day on this harrowing Earth. If there is a God, I raise my glass to you. [DAISY picks up the bottle of disinfectant, raises it, then twists the cap and drinks it all in one go, the lights go off]