it read at the inquest. Till then--
it's addressed to me, and I stick to it.

INSPECTOR. Very well, sir. Do you want to have a look at him?

COLFORD passes quickly into the bedroom, followed by the INSPECTOR.
MARGARET remains kneeling beside MABEL.

COLFORD comes quickly back. MARGARET looks up at him. He stands
very still.

COLFORD. Neatly--through the heart.

MARGARET [wildly] Keeps faith! We've all done that. It's not enough.

COLFORD. [Looking down at MABEL] All right, old boy!

The CURTAIN falls.

WINDOWS

From the 5th Series of Plays

By John Galsworthy

PERSONS OF THE PLAY

GEOFFREY MARCH....... Freelance in Literature
JOAN MARCH........... His Wife
MARY MARCH........... Their Daughter
JOHNNY MARCH......... Their Son
COOK................. Their Cook
MR BLY............... Their Window Cleaner
FAITH BLY............ His Daughter
BLUNTER.............. A Strange Young Man
MR BARNADAS.......... In Plain Clothes

The action passes in Geofrey March's House, Highgate-Spring-time.

ACT I. Thursday morning. The dining-room-after breakfast.

ACT II. Thursday, a fortnight later. The dining-room after lunch.

ACT III. The same day. The dining-room-after dinner.

ACT I

The MARCH'S dining-room opens through French windows on one of those
gardens which seem infinite, till they are seen to be coterminous
with the side walls of the house, and finite at the far end, because
only the thick screen of acacias and sumachs prevents another house
from being seen. The French and other windows form practically all
the outer wall of that dining-room, and between them and the screen
of trees lies the difference between the characters of Mr and Mrs
March, with dots and dashes of Mary and Johnny thrown in. For
instance, it has been formalised by MRS MARCH but the grass has not
been cut by MR MARCH, and daffodils have sprung up there, which MRS
MARCH desires for the dining-room, but of which MR MARCH says: "For
God's sake, Joan, let them grow." About half therefore are now in a
bowl on the breakfast table, and the other half still in the grass,
in the compromise essential to lasting domesticity. A hammock under
the acacias shows that MARY lies there sometimes with her eyes on
the gleam of sunlight that comes through: and a trail in the longish