مسرحيه The Doctor's Dilemma

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The Doctor's Dilemma



Act I

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On the 15th June 1903, in the early forenoon, a medical student,
surname Redpenny, Christian name unknown and of no importance,
sits at work in a doctor's consulting-room. He devils for the
doctor by answering his letters, acting as his domestic
laboratory assistant, and making himself indispensable generally,
in return for unspecified advantages involved by intimate
intercourse with a leader of his profession, and amounting to an
informal apprenticeship and a temporary affiliation. Redpenny is
not proud, and will do anything he is asked without reservation
of his personal dignity if he is asked in a fellow-creaturely
way. He is a wide-open-eyed, ready, credulous, friendly, hasty
youth, with his hair and clothes in reluctant transition from the
untidy boy to the tidy doctor.

Redpenny is interrupted by the entrance of an old serving-woman
who has never known the cares, the preoccupations, the
responsibilities, jealousies, and anxieties of personal beauty.
She has the complexion of a never-washed gypsy, incurable by any
detergent; and she has, not a regular beard and moustaches, which
could at least be trimmed and waxed into a masculine
presentableness, but a whole crop of small beards and moustaches,
mostly springing from moles all over her face. She carries a
duster and toddles about meddlesomely, spying out dust so
diligently that whilst she is flicking off one speck she is
already looking elsewhere for another. In conversation she has
the same trick, hardly ever looking at the person she is
addressing except when she is excited. She has only one manner,
and that is the manner of an old family nurse to a child just
after it has learnt to walk. She has used her ugliness to secure
indulgences unattainable by Cleopatra or Fair Rosamund, and has
the further great advantage over them that age increases her
qualification instead of impairing it. Being an industrious,
agreeable, and popular old soul, she is a walking sermon on the
vanity of feminine prettiness. Just as Redpenny has no discovered
Christian name, she has no discovered surname, and is known
throughout the doctors' quarter between Cavendish Square and the
Marylebone Road simply as Emmy.

The consulting-room has two windows looking on Queen Anne Street.
Between the two is a marble-topped console, with haunched gilt
legs ending in sphinx claws. The huge pier-glass which surmounts
it is mostly disabled from reflection by elaborate painting on
its surface of palms, ferns, lilies, tulips, and sunflowers. The
adjoining wall contains the fireplace, with two arm-chairs before
it. As we happen to face the corner we see nothing of the other
two walls. On the right of the fireplace, or rather on the right
of any person facing the fireplace, is the door. On its left is
the writing-table at which Redpenny sits. It is an untidy table
with a microscope, several test tubes, and a spirit lamp standing
up through its litter of papers. There is a couch in the middle
of the room, at right angles to the console, and parallel to the
fireplace. A chair stands between the couch and the windowed
wall. The windows have green Venetian blinds and rep curtains;
and there is a gasalier; but it is a convert to electric
lighting. The wall paper and carpets are mostly green, coeval
with the gasalier and the Venetian blinds. The house, in fact,
was so well furnished in the middle of the XIXth century that it
stands unaltered to this day and is still quite presentable.
**

EMMY [entering and immediately beginning to dust the couch]
Theres a lady bothering me to see the doctor.

REDPENNY [distracted by the interruption] Well, she cant see the
doctor. Look here: whats the use of telling you that the doctor
cant take any new patients, when the moment a knock comes to the
door, in you bounce to ask whether he can see somebody?

EMMY. Who asked you whether he could see somebody?

REDPENNY. You did.

EMMY. I said theres a lady bothering me to see the doctor. That
isnt asking. Its telling.

REDPENNY. Well, is the lady bothering you any reason for you to
come bothering me when I'm busy?

EMMY. Have you seen the papers?

REDPENNY. No.

EMMY. Not seen the birthday honors?

REDPENNY [beginning to swear] What the--

EMMY. Now, now, ducky!

REDPENNY. What do you suppose I care about the birthday honors?
Get out of this with your chattering. Dr Ridgeon will be down
before I have these letters ready. Get out.

EMMY. Dr Ridgeon wont never be down any more, young man.

She detects dust on the console and is down on it immediately.

REDPENNY [jumping up and following her] What?

EMMY. He's been made a knight. Mind you dont go Dr Ridgeoning him
in them letters. Sir Colenso Ridgeon is to be his name now.

REDPENNY. I'm jolly glad.

EMMY. I never was so taken aback. I always thought his great
discoveries was fudge (let alone the mess of them) with his drops
of blood and tubes full of Maltese fever and the like. Now he'll
have a rare laugh at me.

REDPENNY. Serve you right! It was like your cheek to talk to him
about science. [He returns to his table and resumes his writing].

EMMY. Oh, I dont think much of science; and neither will you when
youve lived as long with it as I have. Whats on my mind is
answering the door. Old Sir Patrick Cullen has been here already
and left first congratulations--hadnt time to come up on his way
to the hospital, but was determined to be first--coming back, he
said. All the rest will be here too: the knocker will be going
all day. What Im afraid of is that the doctor'll want a footman
like all the rest, now that he's Sir Colenso. Mind: dont you go
putting him up to it, ducky; for he'll never have any comfort
with anybody but me to answer the door. I know who to let in and
who to keep out. And that reminds me of the poor lady. I think he
ought to see her. Shes just the kind that puts him in a good
temper. [She dusts Redpenny's papers].

REDPENNY. I tell you he cant see anybody. Do go away, Emmy. How
can I work with you dusting all over me like this?

EMMY. I'm not hindering you working--if you call writing letters
working. There goes the bell. [She looks out of the window]. A
doctor's carriage. Thats more congratulations. [She is going out
when Sir Colenso Ridgeon enters]. Have you finished your two
eggs, sonny?

RIDGEON. Yes.

EMMY. Have you put on your clean vest?

RIDGEON. Yes.

EMMY. Thats my ducky diamond! Now keep yourself tidy and dont go
messing about and dirtying your hands: the people are coming to
congratulate you. [She goes out].

Sir Colenso Ridgeon is a man of fifty who has never shaken off
his youth. He has the off-handed manner and the little audacities
of address which a shy and sensitive man acquires in breaking
himself in to intercourse with all sorts and conditions of men.
His face is a good deal lined; his movements are slower than, for
instance, Redpenny's; and his flaxen hair has lost its lustre;
but in figure and manner he is more the young man than the titled
physician. Even the lines in his face are those of overwork and
restless scepticism, perhaps partly of curiosity and appetite,
rather than of age. Just at present the announcement of his
knighthood in the morning papers makes him specially self-
conscious, and consequently specially off-hand with Redpenny.

RIDGEON. Have you seen the papers? Youll have to alter the name
in the letters if you havnt.

REDPENNY. Emmy has just told me. I'm awfully glad. I--

RIDGEON. Enough, young man, enough. You will soon get accustomed
to it.

REDPENNY. They ought to have done it years ago.

RIDGEON. They would have; only they couldnt stand Emmy opening
the door, I daresay.

EMMY [at the door, announcing] Dr Shoemaker. [She withdraws].

A middle-aged gentleman, well dressed, comes in with a friendly
but propitiatory air, not quite sure of his reception. His
combination of soft manners and responsive kindliness, with a
certain unseizable reserve and a familiar yet foreign chiselling
of feature, reveal the Jew: in this instance the handsome
gentlemanly Jew, gone a little pigeon-breasted and stale after
thirty, as handsome young Jews often do, but still decidedly
good-looking.

THE GENTLEMAN. Do you remember me? Schutzmacher. University
College school and Belsize Avenue. Loony Schutzmacher, you know.

RIDGEON. What! Loony! [He shakes hands cordially]. Why, man, I
thought you were dead long ago. Sit down. [Schutzmacher sits on
the couch: Ridgeon on the chair between it and the window]. Where
have you been these thirty years?

SCHUTZMACHER. In general practice, until a few months ago. I've
retired.

RIDGEON. Well done, Loony! I wish I could afford to retire. Was
your practice in London?

SCHUTZMACHER. No.

RIDGEON. Fashionable coast practice, I suppose.

SCHUTZMACHER. How could I afford to buy a fashionable practice? I
hadnt a rap. I set up in a manufacturing town in the midlands in
a little surgery at ten shillings a week.

RIDGEON. And made your fortune?

SCHUTZMACHER. Well, I'm pretty comfortable. I have a place in
Hertfordshire besides our flat in town. If you ever want a quiet
Saturday to Monday, I'll take you down in my motor at an hours
notice.

RIDGEON. Just rolling in money! I wish you rich g.p.'s would
teach me how to make some. Whats the secret of it?

SCHUTZMACHER. Oh, in my case the secret was simple enough, though
I suppose I should have got into trouble if it had attracted any
notice. And I'm afraid you'll think it rather infra dig.

RIDGEON. Oh, I have an open mind. What was the secret?

SCHUTZMACHER. Well, the secret was just two words.

RIDGEON. Not Consultation Free, was it?

SCHUTZMACHER [shocked] No, no. Really!

RIDGEON [apologetic] Of course not. I was only joking.

SCHUTZMACHER. My two words were simply Cure Guaranteed.

RIDGEON [admiring] Cure Guaranteed!

SCHUTZMACHER. Guaranteed. After all, thats what everybody wants
from a doctor, isnt it?

RIDGEON. My dear loony, it was an inspiration. Was it on the
brass plate?

SCHUTZMACHER. There was no brass plate. It was a shop window:
red, you know, with black lettering. Doctor Leo Schutzmacher,
L.R.C.P.M.R.C.S. Advice and medicine sixpence. Cure Guaranteed.

RIDGEON. And the guarantee proved sound nine times out of ten,
eh?

SCHUTZMACHER [rather hurt at so moderate an estimate] Oh, much
oftener than that. You see, most people get well all right if
they are careful and you give them a little sensible advice. And
the medicine really did them good. Parrish's Chemical Food:
phosphates, you know. One tablespoonful to a twelve-ounce bottle
of water: nothing better, no matter what the case is.

RIDGEON. Redpenny: make a note of Parrish's Chemical Food.

SCHUTZMACHER. I take it myself, you know, when I feel run down.
Good-bye. You dont mind my calling, do you? Just to congratulate
you.

RIDGEON. Delighted, my dear Loony. Come to lunch on Saturday next
week. Bring your motor and take me down to Hertford.

SCHUTZMACHER. I will. We shall be delighted. Thank you. Good-bye.
[He goes out with Ridgeon, who returns immediately].

REDPENNY. Old Paddy Cullen was here before you were up, to be the
first to congratulate you.

RIDGEON. Indeed. Who taught you to speak of Sir Patrick Cullen as
old Paddy Cullen, you young ruffian?

REDPENNY. You never call him anything else.

RIDGEON. Not now that I am Sir Colenso. Next thing, you fellows
will be calling me old Colly Ridgeon.

REDPENNY. We do, at St. Anne's.

RIDGEON. Yach! Thats what makes the medical student the most
disgusting figure in modern civilization. No veneration, no
manners--no--

EMMY [at the door, announcing]. Sir Patrick Cullen. [She
retires].

Sir Patrick Cullen is more than twenty years older than Ridgeon,
not yet quite at the end of his tether, but near it and resigned
to it. His name, his plain, downright, sometimes rather arid
common sense, his large build and stature, the absence of those
odd moments of ceremonial servility by which an old English
doctor sometimes shews you what the status of the profession was
in England in his youth, and an occasional turn of speech, are
Irish; but he has lived all his life in England and is thoroughly
acclimatized. His manner to Ridgeon, whom he likes, is whimsical
and fatherly: to others he is a little gruff and uninviting, apt
to substitute more or less expressive grunts for articulate
speech, and generally indisposed, at his age, to make much social
effort. He shakes Ridgeon's hand and beams at him cordially and
jocularly.

SIR PATRICK. Well, young chap. Is your hat too small for you, eh?

RIDGEON. Much too small. I owe it all to you.

SIR PATRICK. Blarney, my boy. Thank you all the same. [He sits in
one of the arm-chairs near the fireplace. Ridgeon sits on the
couch]. Ive come to talk to you a bit. [To Redpenny] Young man:
get out.

REDPENNY. Certainly, Sir Patrick [He collects his papers and
makes for the door].

SIR PATRICK. Thank you. Thats a good lad. [Redpenny vanishes].
They all put up with me, these young chaps, because I'm an old
man, a real old man, not like you. Youre only beginning to give
yourself the airs of age. Did you ever see a boy cultivating a
moustache? Well, a middle-aged doctor cultivating a grey head is
much the same sort of spectacle.

RIDGEON. Good Lord! yes: I suppose so. And I thought that the
days of my vanity were past. Tell me at what age does a man leave
off being a fool?

SIR PATRICK. Remember the Frenchman who asked his grandmother at
what age we get free from the temptations of love. The old woman
said she didn't know. [Ridgeon laughs]. Well, I make you the same
answer. But the world's growing very interesting to me now,
Colly.

RIDGEON. You keep up your interest in science, do you?

SIR PATRICK. Lord! yes. Modern science is a wonderful thing. Look
at your great discovery! Look at all the great discoveries! Where
are they leading to? Why, right back to my poor dear old father's
ideas and discoveries. He's been dead now over forty years. Oh,
it's very interesting.

RIDGEON. Well, theres nothing like progress, is there?

SIR PATRICK. Dont misunderstand me, my boy. I'm not belittling
your discovery. Most discoveries are made regularly every fifteen
years; and it's fully a hundred and fifty since yours was made
last. Thats something to be proud of. But your discovery's not
new. It's only inoculation. My father practised inoculation until
it was made criminal in eighteen-forty. That broke the poor old
man's heart, Colly: he died of it. And now it turns out that my
father was right after all. Youve brought us back to inoculation.

RIDGEON. I know nothing about smallpox. My line is tuberculosis
and typhoid and plague. But of course the principle of all
vaccines is the same.

SIR PATRICK. Tuberculosis? M-m-m-m! Youve found out how to cure
consumption, eh?

RIDGEON. I believe so.

SIR PATRICK. Ah yes. It's very interesting. What is it the old
cardinal says in Browning's play? "I have known four and twenty
leaders of revolt." Well, Ive known over thirty men that found
out how to cure consumption. Why do people go on dying of it,
Colly? Devilment, I suppose. There was my father's old friend
George Boddington of Sutton Coldfield. He discovered the open-air
cure in eighteen-forty. He was ruined and driven out of his
practice for only opening the windows; and now we wont let a
consumptive patient have as much as a roof over his head. Oh,
it's very VERY interesting to an old man.

RIDGEON. You old cynic, you dont believe a bit in my discovery.

SIR PATRICK. No, no: I dont go quite so far as that, Colly. But
still, you remember Jane Marsh?

RIDGEON. Jane Marsh? No.

SIR PATRICK. You dont!

RIDGEON. No.

SIR PATRICK. You mean to tell me you dont remember the woman with
the tuberculosis ulcer on her arm?

RIDGEON [enlightened] Oh, your washerwoman's daughter. Was her
name Jane Marsh? I forgot.

SIR PATRICK. Perhaps youve forgotten also that you undertook to
cure her with Koch's tuberculin.

RIDGEON. And instead of curing her, it rotted her arm right off.
Yes: I remember. Poor Jane! However, she makes a good living out
of that arm now by shewing it at medical lectures.

SIR PATRICK. Still, that wasnt quite what you intended, was it?

RIDGEON. I took my chance of it.

SIR PATRICK. Jane did, you mean.

RIDGEON. Well, it's always the patient who has to take the chance
when an experiment is necessary. And we can find out nothing
without experiment.

SIR PATRICK. What did you find out from Jane's case?

RIDGEON. I found out that the inoculation that ought to cure
sometimes kills.

SIR PATRICK. I could have told you that. Ive tried these modern
inoculations a bit myself. Ive killed people with them; and Ive
cured people with them; but I gave them up because I never could
tell which I was going to do.

RIDGEON [taking a pamphlet from a drawer in the writing-table and
handing it to him] Read that the next time you have an hour to
spare; and youll find out why.

SIR PATRICK [grumbling and fumbling for his spectacles] Oh,
bother your pamphlets. Whats the practice of it? [Looking at the
pamphlet] Opsonin? What the devil is opsonin?

RIDGEON. Opsonin is what you butter the disease germs with to
make your white blood corpuscles eat them. [He sits down again on
the couch].

SIR PATRICK. Thats not new. Ive heard this notion that the white
corpuscles--what is it that whats his name?--Metchnikoff--calls
them?

RIDGEON. Phagocytes.

SIR PATRICK. Aye, phagocytes: yes, yes, yes. Well, I heard this
theory that the phagocytes eat up the disease germs years ago:
long before you came into fashion. Besides, they dont always eat
them.

RIDGEON. They do when you butter them with opsonin.

SIR PATRICK. Gammon.

RIDGEON. No: it's not gammon. What it comes to in practice is
this. The phagocytes wont eat the microbes unless the microbes
are nicely buttered for them. Well, the patient manufactures the
butter for himself all right; but my discovery is that the
manufacture of that butter, which I call opsonin, goes on in the
system by ups and downs--Nature being always rhythmical, you
know--and that what the inoculation does is to stimulate the ups
or downs, as the case may be. If we had inoculated Jane Marsh
when her butter factory was on the up-grade, we should have cured
her arm. But we got in on the downgrade and lost her arm for her.
I call the up-grade the positive phase and the down-grade the
negative phase. Everything depends on your inoculating at the
right moment. Inoculate when the patient is in the negative phase
and you kill: inoculate when the patient is in the positive phase
and you cure.

SIR PATRICK. And pray how are you to know whether the patient is
in the positive or the negative phase?

RIDGEON. Send a drop of the patient's blood to the laboratory at
St. Anne's; and in fifteen minutes I'll give you his opsonin
index in figures. If the figure is one, inoculate and cure: if
it's under point eight, inoculate and kill. Thats my discovery:
the most important that has been made since Harvey discovered the
circulation of the blood. My tuberculosis patients dont die now.

SIR PATRICK. And mine do when my inoculation catches them in the
negative phase, as you call it. Eh?

RIDGEON. Precisely. To inject a vaccine into a patient without
first testing his opsonin is as near murder as a respectable
practitioner can get. If I wanted to kill s man I should kill him
that way.

EMMY [looking in] Will you see a lady that wants her husband's
lungs cured?

RIDGEON [impatiently] No. Havnt I told you I will see nobody?[To
Sir Patrick] I live in a state of siege ever since it got about
that I'm a magician who can cure consumption with a drop of
serum. [To Emmy] Dont come to me again about people who have no
appointments. I tell you I can see nobody.

EMMY. Well, I'll tell her to wait a bit.

RIDGEON [furious] Youll tell her I cant see her, and send her
away: do you hear?

EMMY [unmoved] Well, will you see Mr Cutler Walpole? He dont want
a cure: he only wants to congratulate you.

RIDGEON. Of course. Shew him up. [She turns to go]. Stop. [To Sir
Patrick] I want two minutes more with you between ourselves. [To
Emmy] Emmy: ask Mr. Walpole to wait just two minutes, while I
finish a consultation.

EMMY. Oh, he'll wait all right. He's talking to the poor lady.
[She goes out].

SIR PATRICK. Well? what is it?

RIDGEON. Dont laugh at me. I want your advice.

SIR PATRICK. Professional advice?

RIDGEON. Yes. Theres something the matter with me. I dont know
what it is.

SIR PATRICK. Neither do I. I suppose youve been sounded.

RIDGEON. Yes, of course. Theres nothing wrong with any of the
organs: nothing special, anyhow. But I have a curious aching: I
dont know where: I cant localize it. Sometimes I think it's my
heart: sometimes I suspect my spine. It doesnt exactly hurt me;
but it unsettles me completely. I feel that something is going to
happen. And there are other symptoms. Scraps of tunes come into
my head that seem to me very pretty, though theyre quite
commonplace.

SIR PATRICK. Do you hear voices?

RIDGEON. No.

SIR PATRICK. I'm glad of that. When my patients tell me that
theyve made a greater discovery than Harvey, and that they hear
voices, I lock them up.

RIDGEON. You think I'm mad! Thats just the suspicion that has
come across me once or twice. Tell me the truth: I can bear it.

SIR PATRICK. Youre sure there are no voices?

RIDGEON. Quite sure.

SIR PATRICK. Then it's only foolishness.

RIDGEON. Have you ever met anything like it before in your
practice?

SIR PATRICK. Oh, yes: often. It's very common between the ages of
seventeen and twenty-two. It sometimes comes on again at forty or
thereabouts. Youre a bachelor, you see. It's not serious--if
youre careful.

RIDGEON. About my food?

SIR PATRICK. No: about your behavior. Theres nothing wrong with
your spine; and theres nothing wrong with your heart; but theres
something wrong with your common sense. Youre not going to die;
but you may be going to make a fool of yourself. So be careful.

RIDGEON. I sec you dont believe in my discovery. Well, sometimes
I dont believe in it myself. Thank you all the same. Shall we
have Walpole up?

SIR PATRICK. Oh, have him up. [Ridgeon rings]. He's a clever
operator, is Walpole, though he's only one of your chloroform
surgeons. In my early days, you made your man drunk; and the
porters and students held him down; and you had to set your teeth
and finish the job fast. Nowadays you work at your ease; and the
pain doesn't come until afterwards, when youve taken your
cheque and rolled up your bag and left the house. I tell you,
Colly, chloroform has done a lot of mischief. It's enabled every
fool to be a surgeon.

RIDGEON [to Emmy, who answers the bell] Shew Mr Walpole up.

EMMY. He's talking to the lady.

RIDGEON [exasperated] Did I not tell you--

Emmy goes out without heeding him. He gives it up, with a shrug,
and plants himself with his back to the console, leaning
resignedly against it.

SIR PATRICK. I know your Cutler Walpoles and their like. Theyve
found out that a man's body's full of bits and scraps of old
organs he has no mortal use for. Thanks to chloroform, you can
cut half a dozen of them out without leaving him any the worse,
except for the illness and the guineas it costs him. I knew the
Walpoles well fifteen years ago. The father used to snip off the
ends of people's uvulas for fifty guineas, and paint throats with
caustic every day for a year at two guineas a time. His brother-
in-law extirpated tonsils for two hundred guineas until he took
up women's cases at double the fees. Cutler himself worked hard
at anatomy to find something fresh to operate on; and at last he
got hold of something he calls the nuciform sac, which he's made
quite the fashion. People pay him five hundred guineas to cut it
out. They might as well get their hair cut for all the difference
it makes; but I suppose they feel important after it. You cant go
out to dinner now without your neighbor bragging to you of some
useless operation or other.

EMMY [announcing] Mr Cutler Walpole. [She goes out].

Cutler Walpole is an energetic, unhesitating man of forty, with a
cleanly modelled face, very decisive and symmetrical about the
shortish, salient, rather pretty nose, and the three trimly
turned corners made by his chin and jaws. In comparison with
Ridgeon's delicate broken lines, and Sir Patrick's softly rugged
aged ones, his face looks machine-made and beeswaxed; but his
scrutinizing, daring eyes give it life and force. He seems never
at a loss, never in doubt: one feels that if he made a mistake he
would make it thoroughly and firmly. He has neat, well-nourished
hands, short arms, and is built for strength and compactness
rather than for height. He is smartly dressed with a fancy
waistcoat, a richly colored scarf secured by a handsome ring,
ornaments on his watch chain, spats on his shoes, and a general
air of the well-to-do sportsman about him. He goes straight
across to Ridgeon and shakes hands with him.

WALPOLE. My dear Ridgeon, best wishes! heartiest congratulations!
You deserve it.

RIDGEON. Thank you.

WALPOLE. As a man, mind you. You deserve it as a man. The opsonin
is simple rot, as any capable surgeon can tell you; but we're all
delighted to see your personal qualities officially recognized.
Sir Patrick: how are you? I sent you a paper lately about a
little thing I invented: a new saw. For shoulder blades.

SIR PATRICK [meditatively] Yes: I got it. It's a good saw: a
useful, handy instrument.

WALPOLE [confidently] I knew youd see its points.

SIR PATRICK. Yes: I remember that saw sixty-five years ago.

WALPOLE. What!

SIR PATRICK. It was called a cabinetmaker's jimmy then.

WALPOLE. Get out! Nonsense! Cabinetmaker be--

RIDGEON. Never mind him, Walpole. He's jealous.

WALPOLE. By the way, I hope I'm not disturbing you two in
anything private.

RIDGEON. No no. Sit down. I was only consulting him. I'm rather
out of sorts. Overwork, I suppose.

WALPOLE [swiftly] I know whats the matter with you. I can see it
in your complexion. I can feel it in the grip of your hand.

RIDGEON. What is it?

WALPOLE. Blood-poisoning.

RIDGEON. Blood-poisoning! Impossible.

WALPOLE. I tell you, blood-poisoning. Ninety-five per cent of the
human race suffer from chronic blood-poisoning, and die of it.
It's as simple as A.B.C. Your nuciform sac is full of decaying
matter--undigested food and waste products--rank ptomaines. Now
you take my advice, Ridgeon. Let me cut it out for you. You'll be
another man afterwards.

SIR PATRICK. Dont you like him as he is?

WALPOLE. No I dont. I dont like any man who hasnt a healthy
circulation. I tell you this: in an intelligently governed
country people wouldnt be allowed to go about with nuciform sacs,
making themselves centres of infection. The operation ought to be
compulsory: it's ten times more important than vaccination.

SIR PATRICK. Have you had your own sac removed, may I ask?

WALPOLE [triumphantly] I havnt got one. Look at me! Ive no
symptoms. I'm as sound as a bell. About five per cent of the
population havnt got any; and I'm one of the five per cent. I'll
give you an instance. You know Mrs Jack Foljambe: the smart Mrs
Foljambe? I operated at Easter on her sister-in-law, Lady Gorran,
and found she had the biggest sac I ever saw: it held about two
ounces. Well, Mrs. Foljambe had the right spirit--the genuine
hygienic instinct. She couldnt stand her sister-in-law being a
clean, sound woman, and she simply a whited sepulchre. So she
insisted on my operating on her, too. And by George, sir, she
hadnt any sac at all. Not a trace! Not a rudiment!! I was so
taken aback--so interested, that I forgot to take the sponges
out, and was stitching them up inside her when the nurse
missed them. Somehow, I'd made sure she'd have an exceptionally
large one. [He sits down on the couch, squaring his shoulders and
shooting his hands out of his cuffs as he sets his knuckles
akimbo].

EMMY [looking in] Sir Ralph Bloomfield Bonington.

A long and expectant pause follows this announcement. All look to
the door; but there is no Sir Ralph.

RIDGEON [at last] Were is he?

EMMY [looking back] Drat him, I thought he was following me. He's
stayed down to talk to that lady.

RIDGEON [exploding] I told you to tell that lady-- [Emmy
vanishes].

WALPOLE [jumping up again] Oh, by the way, Ridgeon, that reminds
me. Ive been talking to that poor girl. It's her husband; and she
thinks it's a case of consumption: the usual wrong diagnosis:
these damned general practitioners ought never to be allowed to
touch a patient except under the orders of a consultant. She's
been describing his symptoms to me; and the case is as plain as a
pikestaff: bad blood-poisoning. Now she's poor. She cant afford
to have him operated on. Well, you send him to me: I'll do it for
nothing. Theres room for him in my nursing home. I'll put him
straight, and feed him up and make him happy. I like making
people happy. [He goes to the chair near the window].

EMMY [looking in] Here he is.

Sir Ralph Bloomfield Bonington wafts himself into the room. He is
a tall man, with a head like a tall and slender egg. He has been
in his time a slender man; but now, in his sixth decade, his
waistcoat has filled out somewhat. His fair eyebrows arch good-
naturedly and uncritically. He has a most musical voice; his
speech is a perpetual anthem; and he never tires of the sound of
it. He radiates an enormous self-satisfaction, cheering,
reassuring, healing by the mere incompatibility of disease or
anxiety with his welcome presence. Even broken bones, it is said,
have been known to unite at the sound of his voice: he is a born
healer, as independent of mere treatment and skill as any
Christian scientist. When he expands into oratory or scientific
exposition, he is as energetic as Walpole; but it is with a
bland, voluminous, atmospheric energy, which envelops its subject
and its audience, and makes interruption or inattention
impossible, and imposes veneration and credulity on all but the
strongest minds. He is known in the medical world as B. B.; and
the envy roused by his success in practice is softened by the
conviction that he is, scientifically considered, a colossal
humbug: the fact being that, though he knows just as much (and
just as little) as his contemporaries, the qualifications that
pass muster in common men reveal their weakness when hung on his
egregious personality.

B. B. Aha! Sir Colenso. Sir Colenso, eh? Welcome to the order of
knighthood.

RIDGEON [shaking hands] Thank you, B. B.

B. B. What! Sir Patrick! And how are we to-day? a little chilly?
a little stiff? but hale and still the cleverest of us all. [Sir
Patrick grunts]. What! Walpole! the absent-minded beggar: eh?

WALPOLE. What does that mean?

B. B. Have you forgotten the lovely opera singer I sent you to
have that growth taken off her vocal cords?

WALPOLE [springing to his feet] Great heavens, man, you dont mean
to say you sent her for a throat operation!

B. B. [archly] Aha! Ha ha! Aha! [trilling like a lark as he
shakes his finger at Walpole]. You removed her nuciform sac.
Well, well! force of habit! force of habit! Never mind,
ne-e-e-ver mind. She got back her voice after it, and thinks you
the greatest surgeon alive; and so you are, so you are, so you
are.

WALPOLE [in a tragic whisper, intensely serious] Blood-poisoning.
I see. I see. [He sits down again].

SIR PATRICK. And how is a certain distinguished family getting on
under your care, Sir Ralph?

B. B. Our friend Ridgeon will be gratified to hear that I have
tried his opsonin treatment on little Prince Henry with complete
success.

RIDGEON [startled and anxious] But how--

B. B. [continuing] I suspected typhoid: the head gardener's boy
had it; so I just called at St Anne's one day and got a tube of
your very excellent serum. You were out, unfortunately.

RIDGEON. I hope they explained to you carefully--

B. B. [waving away the absurd suggestion] Lord bless you, my dear
fellow, I didnt need any explanations. I'd left my wife in the
carriage at the door; and I'd no time to be taught my business by
your young chaps. I know all about it. Ive handled these anti-
toxins ever since they first came out.

RIDGEDN. But theyre not anti-toxins; and theyre dangerous unless
you use them at the right time.

B. B. Of course they are. Everything is dangerous unless you take
it at the right time. An apple at breakfast does you good: an
apple at bedtime upsets you for a week. There are only two rules
for anti-toxins. First, dont be afraid of them: second, inject
them a quarter of an hour before meals, three times a day.

RIDGEON [appalled] Great heavens, B. B., no, no, no.

B. B. [sweeping on irresistibly] Yes, yes, yes, Colly. The proof
of the pudding is in the eating, you know. It was an immense
success. It acted like magic on the little prince. Up went his
temperature; off to bed I packed him; and in a week he was all
right again, and absolutely immune from typhoid for the rest of
his life. The family were very nice about it: their gratitude was
quite touching; but I said they owed it all to you, Ridgeon; and
I am glad to think that your knighthood is the result.

RIDGEON. I am deeply obliged to you. [Overcome, he sits down on
the chair near the couch].

B. B. Not at all, not at all. Your own merit. Come! come! come!
dont give way.

RIDGEON. It's nothing. I was a little giddy just now. Overwork, I
suppose.

WALPOLE. Blood-poisoning.

B. B. Overwork! Theres no such thing. I do the work of ten men.
Am I giddy? No. NO. If youre not well, you have a disease. It may
be a slight one; but it's a disease. And what is a disease? The
lodgment in the system of a pathogenic germ, and the
multiplication of that germ. What is the remedy? A very simple
one. Find the germ and kill it.

SIR PATRICK. Suppose theres no germ?

B. B. Impossible, Sir Patrick: there must be a germ: else how
could the patient be ill?

SIR PATRICK. Can you shew me the germ of overwork?

B. B. No; but why? Why? Because, my dear Sir Patrick, though the
germ is there, it's invisible. Nature has given it no danger
signal for us. These germs--these bacilli--are translucent
bodies, like glass, like water. To make them visible you must
stain them. Well, my dear Paddy, do what you will, some of them
wont stain. They wont take cochineal: they wont take methylene
blue; they wont take gentian violet: they wont take any coloring
matter. Consequently, though we know, as scientific men, that
they exist, we cannot see them. But can you disprove their
existence? Can you conceive the disease existing without them?
Can you, for instance, shew me a case of diphtheria without the
bacillus?

SIR PATRICK. No; but I'll shew you the same bacillus, without the
disease, in your own throat.

B. B. No, not the same, Sir Patrick. It is an entirely different
bacillus; only the two are, unfortunately, so exactly alike that
you cannot see the difference. You must understand, my dear Sir
Patrick, that every one of these interesting little creatures has
an imitator. Just as men imitate each other, germs imitate each
other. There is the genuine diphtheria bacillus discovered by
Loeffler; and there is the pseudo-bacillus, exactly like it,
which you could find, as you say, in my own throat.

SIR PATRICK. And how do you tell one from the other?

B. B. Well, obviously, if the bacillus is the genuine Loeffler,
you have diphtheria; and if it's the pseudobacillus, youre quite
well. Nothing simpler. Science is always simple and always
profound. It is only the half-truths that are dangerous. Ignorant
faddists pick up some superficial information about germs; and
they write to the papers and try to discredit science. They dupe
and mislead many honest and worthy people. But science has a
perfect answer to them on every point.

A little learning is a dangerous thing;
Drink deep; or taste not the Pierian spring.

I mean no disrespect to your generation, Sir Patrick: some of you
old stagers did marvels through sheer professional intuition and
clinical experience; but when I think of the average men of your
day, ignorantly bleeding and cupping and purging, and scattering
germs over their patients from their clothes and instruments, and
contrast all that with the scientific certainty and simplicity of
my treatment of the little prince the other day, I cant help
being proud of my own generation: the men who were trained on the
germ theory, the veterans of the great struggle over Evolution in
the seventies. We may have our faults; but at least we are men of
science. That is why I am taking up your treatment, Ridgeon, and
pushing it. It's scientific. [He sits down on the chair near the
couch].

EMMY [at the door, announcing] Dr Blenkinsop.

Dr Blenkinsop is a very different case from the others. He is
clearly not a prosperous man. He is flabby and shabby, cheaply
fed and cheaply clothed. He has the lines made by a conscience
between his eyes, and the lines made by continual money worries
all over his face, cut all the deeper as he has seen better days,
and hails his well-to-do colleagues as their contemporary and old
hospital friend, though even in this he has to struggle with the
diffidence of poverty and relegation to the poorer middle class.

RIDGEON. How are you, Blenkinsop?

BLENKINSOP. Ive come to offer my humble congratulations. Oh dear!
all the great guns are before me.

B. B. [patronizing, but charming] How d'ye do Blenkinsop? How
d'ye do?

BLENKINSOP. And Sir Patrick, too [Sir Patrick grunts].

RIDGEON. Youve met Walpole, of course?

WALPOLE. How d'ye do?

BLENKINSOP. It's the first time Ive had that honor. In my poor
little practice there are no chances of meeting you great men. I
know nobody but the St Anne's men of my own day. [To Ridgeon] And
so youre Sir Colenso. How does it feel?

RIDGEON. Foolish at first. Dont take any notice of it.

BLENKINSOP. I'm ashamed to say I havnt a notion what your great
discovery is; but I congratulate you all the same for the sake of
old times.

B. B. [shocked] But, my dear Blenkinsop, you used to be rather
keen on science.

BLENKINSOP. Ah, I used to be a lot of things. I used to have two
or three decent suits of clothes, and flannels to go up the river
on Sundays. Look at me now: this is my best; and it must last
till Christmas. What can I do? Ive never opened a book since I
was qualified thirty years ago. I used to read the medical papers
at first; but you know how soon a man drops that; besides, I cant
afford them; and what are they after all but trade papers, full
of advertisements? Ive forgotten all my science: whats the use of
my pretending I havnt? But I have great experience: clinical
experience; and bedside experience is the main thing, isn't it?

B. B. No doubt; always provided, mind you, that you have a sound
scientific theory to correlate your observations at the bedside.
Mere experience by itself is nothing. If I take my dog to the
bedside with me, he sees what I see. But he learns nothing from
it. Why? Because he's not a scientific dog.

WALPOLE. It amuses me to hear you physicians and general
practitioners talking about clinical experience. What do you see
at the bedside but the outside of the patient? Well: it isnt his
outside thats wrong, except perhaps in skin cases. What you want
is a daily familiarity with people's insides; and that you can
only get at the operating table. I know what I'm talking about:
Ive been a surgeon and a consultant for twenty years; and Ive
never known a general practitioner right in his diagnosis yet.
Bring them a perfectly simple case; and they diagnose cancer, and
arthritis, and appendicitis, and every other itis, when any
really experienced surgeon can see that it's a plain case of
blood-poisoning.

BLENKINSOP. Ah, it's easy for you gentlemen to talk; but what
would you say if you had my practice? Except for the workmen's
clubs, my patients are all clerks and shopmen. They darent be
ill: they cant afford it. And when they break down, what can I do
for them? You can send your people to St Moritz or to Egypt, or
recommend horse exercise or motoring or champagne jelly or
complete change and rest for six months. I might as well order my
people a slice of the moon. And the worst of it is, I'm too poor
to keep well myself on the cooking I have to put up with. Ive
such a wretched digestion; and I look it. How am I to inspire
confidence? [He sits disconsolately on the couch].

RIDGEON [restlessly] Dont, Blenkinsop: its too painful. The most
tragic thing in the world is a sick doctor.

WALPOLE. Yes, by George: its like a bald-headed man trying to
sell a hair restorer. Thank God I'm a surgeon!

B. B. [sunnily] I am never sick. Never had a day's illness in my
life. Thats what enables me to sympathize with my patients.

WALPOLE [interested] What! youre never ill?

B. B. Never.

WALPOLE. Thats interesting. I believe you have no nuciform sac.
If you ever do feel at all queer, I should very much like to have
a look.

B. B. Thank you, my dear fellow; but I'm too busy just now.

RIDGEON. I was just telling them when you came in, Blenkinsop,
that I have worked myself out of sorts.

BLENKINSOP. Well, it seems presumptuous of me to offer a
prescription to a great man like you; but still I have great
experience; and if I might recommend a pound of ripe greengages
every day half an hour before lunch, I'm sure youd find a
benefit. Theyre very cheap.

RIDGEON. What do you say to that B. B.?

B. B. [encouragingly] Very sensible, Blenkinsop: very sensible
indeed. I'm delighted to see that you disapprove of drugs.

SIR PATRICK [grunts]!

B. B. [archly] Aha! Haha! Did I hear from the fireside armchair
the bow-wow of the old school defending its drugs? Ah, believe
me, Paddy, the world would be healthier if every chemist's shop
in England were demolished. Look at the papers! full of
scandalous advertisements of patent medicines! a huge commercial
system of quackery and poison. Well, whose fault is it? Ours.
I say, ours. We set the example. We spread the superstition. We
taught the people to believe in bottles of doctor's stuff; and
now they buy it at the stores instead of consulting a medical
man.

WALPOLE. Quite true. Ive not prescribed a drug for the last
fifteen years.

B. B. Drugs can only repress symptoms: they cannot eradicate
disease. The true remedy for all diseases is Nature's remedy.
Nature and Science are at one, Sir Patrick, believe me; though
you were taught differently. Nature has provided, in the white
corpuscles as you call them--in the phagocytes as we call them--a
natural means of devouring and destroying all disease germs.
There is at bottom only one genuinely scientific treatment for
all diseases, and that is to stimulate the phagocytes. Stimulate
the phagocytes. Drugs are a delusion. Find the germ of the
disease; prepare from it a suitable anti-toxin; inject it three
times a day quarter of an hour before meals; and what is the
result? The phagocytes are stimulated; they devour the disease;
and the patient recovers--unless, of course, he's too far gone.
That, I take it, is the essence of Ridgeon's discovery.

SIR PATRICK [dreamily] As I sit here, I seem to hear my poor old
father talking again.

B. B. [rising in incredulous amazement] Your father! But, Lord
bless my soul, Paddy, your father must have been an older man
than you.

SIR PATRICK. Word for word almost, he said what you say. No more
drugs. Nothing but inoculation.

B. B. [almost contemptuously] Inoculation! Do you mean smallpox
inoculation?

SIR PATRICK. Yes. In the privacy of our family circle, sir, my
father used to declare his belief that smallpox inoculation was
good, not only for smallpox, but for all fevers.

B. B. [suddenly rising to the new idea with immense interest and
excitement] What! Ridgeon: did you hear that? Sir Patrick: I am
more struck by what you have just told me than I can well
express. Your father, sir, anticipated a discovery of my own.
Listen, Walpole. Blenkinsop: attend one moment. You will all be
intensely interested in this. I was put on the track by accident.
I had a typhoid case and a tetanus case side by side in the
hospital: a beadle and a city missionary. Think of what that
meant for them, poor fellows! Can a beadle be dignified with
typhoid? Can a missionary be eloquent with lockjaw? No. NO. Well,
I got some typhoid anti-toxin from Ridgeon and a tube of
Muldooley's anti-tetanus serum. But the missionary jerked all my
things off the table in one of his paroxysms; and in replacing
them I put Ridgeon's tube where Muldooley's ought to have been.
The consequence was that I inoculated the typhoid case for
tetanus and the tetanus case for typhoid. [The doctors look
greatly concerned. B. B., undamped, smiles triumphantly]. Well,
they recovered. THEY RECOVERED. Except for a touch of St Vitus's
dance the missionary's as well to-day as ever; and the beadle's
ten times the man he was.

BLENKINSOP. Ive known things like that happen. They cant be
explained.

B. B. [severely] Blenkinsop: there is nothing that cannot be
explained by science. What did I do? Did I fold my hands
helplessly and say that the case could not be explained? By no
means. I sat down and used my brains. I thought the case out on
scientific principles. I asked myself why didnt the missionary
die of typhoid on top of tetanus, and the beadle of tetanus on
top of typhoid? Theres a problem for you, Ridgeon. Think, Sir
Patrick. Reflect, Blenkinsop. Look at it without prejudice,
Walpole. What is the real work of the anti-toxin? Simply to
stimulate the phagocytes. Very well. But so long as you stimulate
the phagocytes, what does it matter which particular sort of
serum you use for the purpose? Haha! Eh? Do you see? Do you grasp
it? Ever since that Ive used all sorts of anti-toxins absolutely
indiscriminately, with perfectly satisfactory results. I
inoculated the little prince with your stuff, Ridgeon, because I
wanted to give you a lift; but two years ago I tried the
experiment of treating a scarlet fever case with a sample of
hydrophobia serum from the Pasteur Institute, and it answered
capitally. It stimulated the phagocytes; and the phagocytes did
the rest. That is why Sir Patrick's father found that inoculation
cured all fevers. It stimulated the phagocytes. [He throws
himself into his chair, exhausted with the triumph of his
demonstration, and beams magnificently on them].

EMMY [looking in] Mr Walpole: your motor's come for you; and it's
frightening Sir Patrick's horses; so come along quick.

WALPOLE [rising] Good-bye, Ridgeon.

RIDGEON. Good-bye; and many thanks.

B. B. You see my point, Walpole?

EMMY. He cant wait, Sir Ralph. The carriage will be into the area
if he dont come.

WALPOLE. I'm coming. [To B. B.] Theres nothing in your point:
phagocytosis is pure rot: the cases are all blood-poisoning; and
the knife is the real remedy. Bye-bye, Sir Paddy. Happy to have
met you, Mr. Blenkinsop. Now, Emmy. [He goes out, followed by
Emmy].

B. B. [sadly] Walpole has no intellect. A mere surgeon. Wonderful
operator; but, after all, what is operating? Only manual labor.
Brain--BRAIN remains master of the situation. The nuciform sac is
utter nonsense: theres no such organ. It's a mere accidental kink
in the membrane, occurring in perhaps two-and-a-half per cent of
the population. Of course I'm glad for Walpole's sake that the
operation is fashionable; for he's a dear good fellow; and after
all, as I always tell people, the operation will do them no harm:
indeed, Ive known the nervous shake-up and the fortnight in bed
do people a lot of good after a hard London season; but still
it's a shocking fraud. [Rising] Well, I must be toddling. Good-
bye, Paddy [Sir Patrick grunts] good-bye, goodbye. Good-bye, my
dear Blenkinsop, good-bye! Goodbye, Ridgeon. Dont fret about your
health: you know what to do: if your liver is sluggish, a little
mercury never does any harm. If you feel restless, try bromide,
If that doesnt answer, a stimulant, you know: a little phosphorus
and strychnine. If you cant sleep, trional, trional, trion--

SIR PATRICK [drily] But no drugs, Colly, remember that.

B. B. [firmly] Certainly not. Quite right, Sir Patrick. As
temporary expedients, of course; but as treatment, no, No. Keep
away from the chemist's shop, my dear Ridgeon, whatever you do.

RIDGEON [going to the door with him] I will. And thank you for
the knighthood. Good-bye.

B. B. [stopping at the door, with the beam in his eye twinkling a
little] By the way, who's your patient?

RIDGEON. Who?

B. B. Downstairs. Charming woman. Tuberculous husband.

RIDGEON. Is she there still?

Emmy [looking in] Come on, Sir Ralph: your wife's waiting in the
carriage.

B. B. [suddenly sobered] Oh! Good-bye. [He goes out almost
precipitately].

RIDGEON. Emmy: is that woman there still? If so, tell her once
for all that I cant and wont see her. Do you hear?

EMMY. Oh, she aint in a hurry: she doesnt mind how long she
waits. [She goes out].

BLENKINSOP. I must be off, too: every half-hour I spend away from
my work costs me eighteenpence. Good-bye, Sir Patrick.

SIR PATRICK. Good-bye. Good-bye.

RIDGEON. Come to lunch with me some day this week.

BLENKINSOP. I cant afford it, dear boy; and it would put me off
my own food for a week. Thank you all the same.

RIDGEON [uneasy at Blenkinsop's poverty] Can I do nothing for
you?

BLENKINSOP. Well, if you have an old frock-coat to spare? you see
what would be an old one for you would be a new one for me; so
remember the next time you turn out your wardrobe. Good-bye. [He
hurries out].

RIDGEON [looking after him] Poor chap! [Turning to Sir Patrick]
So thats why they made me a knight! And thats the medical
profession!

SIR PATRICK. And a very good profession, too, my lad. When you
know as much as I know of the ignorance and superstition of the
patients, youll wonder that we're half as good as we are.

RIDGEON. We're not a profession: we're a conspiracy.

SIR PATRICK. All professions are conspiracies against the laity.
And we cant all be geniuses like you. Every fool can get ill; but
every fool cant be a good doctor: there are not enough good ones
to go round. And for all you know, Bloomfield Bonington kills
less people than you do.

RIDGEON. Oh, very likely. But he really ought to know the
difference between a vaccine and an anti-toxin. Stimulate the
phagocytes! The vaccine doesnt affect the phagocytes at all. He's
all wrong: hopelessly, dangerously wrong. To put a tube of serum
into his hands is murder: simple murder.

EMMY [returning] Now, Sir Patrick. How long more are you going to
keep them horses standing in the draught?

SIR PATRICK. Whats that to you, you old catamaran?

EMMY. Come, come, now! none of your temper to me. And it's time
for Colly to get to his work.

RIDGEON. Behave yourself, Emmy. Get out.

EMMY. Oh, I learnt how to behave myself before I learnt you to do
it. I know what doctors are: sitting talking together about
themselves when they ought to be with their poor patients. And I
know what horses are, Sir Patrick. I was brought up in the
country. Now be good; and come along.

SIR PATRICK [rising] Very well, very well, very well. Good-bye,
Colly. [He pats Ridgeon on the shoulder and goes out, turning for
a moment at the door to look meditatively at Emmy and say, with
grave conviction] You are an ugly old devil, and no mistake.

EMMY [highly indignant, calling after him] Youre no beauty
yourself. [To Ridgeon, much flustered] Theyve no manners: they
think they can say what they like to me; and you set them on, you
do. I'll teach them their places. Here now: are you going to see
that poor thing or are you not?

RIDGEON. I tell you for the fiftieth time I wont see anybody.
Send her away.

EMMY. Oh, I'm tired of being told to send her away. What good
will that do her?

RIDGEON. Must I get angry with you, Emmy?

EMMY [coaxing] Come now: just see her for a minute to please me:
theres a good boy. She's given me half-a-crown. She thinks it's
life and death to her husband for her to see you.

RIDGEON. Values her husband's life at half-a-crown!

EMMY. Well, it's all she can afford, poor lamb. Them others think
nothing of half-a-sovereign just to talk about themselves to you,
the sluts! Besides, she'll put you in a good temper for the day,
because it's a good deed to see her; and she's the sort that gets
round you.

RIDGEON. Well, she hasnt done so badly. For half-a-crown she's
had a consultation with Sir Ralph Bloomfield Bonington and Cutler
Walpole. Thats six guineas' worth to start with. I dare say she's
consulted Blenkinsop too: thats another eighteenpence.

EMMY. Then youll see her for me, wont you?

RIDGEON. Oh, send her up and be hanged. [Emmy trots out,
satisfied. Ridgeon calls] Redpenny!

REDPENNY [appearing at the door] What is it?

RIDGEON. Theres a patient coming up. If she hasnt gone in five
minutes, come in with an urgent call from the hospital for me.
You understand: she's to have a strong hint to go.

REDPENNY. Right O! [He vanishes].

Ridgeon goes to the glass, and arranges his tie a little.

EMMY [announcing] Mrs Doobidad [Ridgeon leaves the glass and goes
to the writing-table].

The lady comes in. Emmy goes out and shuts the door. Ridgeon, who
has put on an impenetrable and rather distant professional
manner, turns to the lady, and invites her, by a gesture, to sit
down on the couch.

Mrs Dubedat is beyond all demur an arrestingly good-looking young
woman. She has something of the grace and romance of a wild
creature, with a good deal of the elegance and dignity of a fine
lady. Ridgeon, who is extremely susceptible to the beauty of
women, instinctively assumes the defensive at once, and hardens
his manner still more. He has an impression that she is very well
dressed, but she has a figure on which any dress would look well,
and carries herself with the unaffected distinction of a woman
who has never in her life suffered from those doubts and fears as
to her social position which spoil the manners of most middling
people. She is tall, slender, and strong; has dark hair, dressed
so as to look like hair and not like a bird's nest or a
pantaloon's wig (fashion wavering just then between these two
models); has unexpectedly narrow, subtle, dark-fringed eyes that
alter her expression disturbingly when she is excited and flashes
them wide open; is softly impetuous in her speech and swift in
her movements; and is just now in mortal anxiety. She carries a
portfolio.

MRS DUBEDAT [in low urgent tones] Doctor--

RIDGEON [curtly] Wait. Before you begin, let me tell you at once
that I can do nothing for you. My hands are full. I sent you that
message by my old servant. You would not take that answer.

MRS DUBEDAT. How could I?

RIDGEON. You bribed her.

MRS DUBEDAT. I--

RIDGEON. That doesnt matter. She coaxed me to see you. Well, you
must take it from me now that with all the good will in the
world, I cannot undertake another case.

MRS DUBEDAT. Doctor: you must save my husband. You must. When I
explain to you, you will see that you must. It is not an ordinary
case, not like any other case. He is not like anybody else in the
world: oh, believe me, he is not. I can prove it to you:
[fingering her portfolio] I have brought some things to shew you.
And you can save him: the papers say you can.

RIDGEON. Whats the matter? Tuberculosis?

MRS DUBEDAT. Yes. His left lung--

RIDGEON Yes: you neednt tell me about that.

MRS DUBEDAT. You can cure him, if only you will. It is true that
you can, isnt it? [In great distress] Oh, tell me, please.

RIDGEON [warningly] You are going to be quiet and self-possessed,
arnt you?

MRs DUBEDAT. Yes. I beg your pardon. I know I shouldnt--[Giving
way again] Oh, please, say that you can; and then I shall be all
right.

RIDGEON [huffily] I am not a curemonger: if you want cures, you
must go to the people who sell them. [Recovering himself, ashamed
of the tone of his own voice] But I have at the hospital ten
tuberculous patients whose lives I believe I can save.

MRS DUBEDAT. Thank God!

RIDGEON. Wait a moment. Try to think of those ten patients as ten
shipwrecked men on a raft--a raft that is barely large enough to
save them--that will not support one more. Another head bobs up
through the waves at the side. Another man begs to be taken
aboard. He implores the captain of the raft to save him. But the
captain can only do that by pushing one of his ten off the raft
and drowning him to make room for the new comer. That is what you
are asking me to do.

MRS DUBEDAT. But how can that be? I dont understand. Surely--

RIDGEON. You must take my word for it that it is so. My
laboratory, my staff, and myself are working at full pressure. We
are doing our utmost. The treatment is a new one. It takes time,
means, and skill; and there is not enough for another case. Our
ten cases are already chosen cases. Do you understand what I mean
by chosen?

MRS DUBEDAT. Chosen. No: I cant understand.

RIDGEON [sternly] You must understand. Youve got to understand
and to face it. In every single one of those ten cases I have had
to consider, not only whether the man could be saved, but whether
he was worth saving. There were fifty cases to choose from; and
forty had to be condemned to death. Some of the forty had young
wives and helpless children. If the hardness of their cases could
have saved them they would have been saved ten times over. Ive no
doubt your case is a hard one: I can see the tears in your eyes
[she hastily wipes her eyes]: I know that you have a torrent of
entreaties ready for me the moment I stop speaking; but it's no
use. You must go to another doctor.

MRS DUBEDAT. But can you give me the name of another doctor who
understands your secret?

RIDGEON. I have no secret: I am not a quack.

MRS DUBEDAT. I beg your pardon: I didnt mean to say anything
wrong. I dont understand how to speak to you. Oh, pray dont be
offended.

RIDGEON [again a little ashamed] There! there! never mind. [He
relaxes and sits down]. After all, I'm talking nonsense: I
daresay I AM a quack, a quack with a qualification. But my
discovery is not patented.

MRS DUBEDAT. Then can any doctor cure my husband? Oh, why dont
they do it? I have tried so many: I have spent so much. If only
you would give me the name of another doctor.

RIDGEON. Every man in this street is a doctor. But outside myself
and the handful of men I am training at St Anne's, there is
nobody as yet who has mastered the opsonin treatment. And we are
full up? I'm sorry; but that is all I can say. [Rising] Good
morning.

MRS DUBEDAT [suddenly and desperately taking some drawings from
her portfolio] Doctor: look at these. You understand drawings:
you have good ones in your waiting-room. Look at them. They are
his work.

RIDGEON. It's no use my looking. [He looks, all the same] Hallo!
[He takes one to the window and studies it]. Yes: this is the
real thing. Yes, yes. [He looks at another and returns to her].
These are very clever. Theyre unfinished, arnt they?

MRS DUBEDAT. He gets tired so soon. But you see, dont you, what a
genius he is? You see that he is worth saving. Oh, doctor, I
married him just to help him to begin: I had money enough to tide
him over the hard years at the beginning--to enable him to follow
his inspiration until his genius was recognized. And I was useful
to him as a model: his drawings of me sold quite quickly.

RIDGEON. Have you got one?

MRS DUBEDAT [producing another] Only this one. It was the first.

RIDGEON [devouring it with his eyes] Thats a wonderful drawing.
Why is it called Jennifer?

MRS DUBEDAT. My name is Jennifer.

RIDGEON. A strange name.

MRS DUBEDAT. Not in Cornwall. I am Cornish. It's only what you
call Guinevere.

RIDGEON [repeating the names with a certain pleasure in them]
Guinevere. Jennifer. [Looking again at the drawing] Yes: it's
really a wonderful drawing. Excuse me; but may I ask is it for
sale? I'll buy it.

MRS DUBEDAT. Oh, take it. It's my own: he gave it to me. Take it.
Take them all. Take everything; ask anything; but save him. You
can: you will: you must.

REDPENNY [entering with every sign of alarm] Theyve just
telephoned from the hospital that youre to come instantly--a
patient on the point of death. The carriage is waiting.

RIDGEON [intolerantly] Oh, nonsense: get out. [Greatly annoyed]
What do you mean by interrupting me like this?

REDPENNY. But--

RIDGEON. Chut! cant you see I'm engaged? Be off.

Redpenny, bewildered, vanishes.

MRS DUBEDAT [rising] Doctor: one instant only before you go--

RIDGEON. Sit down. It's nothing.

MRS DUBEDAT. But the patient. He said he was dying.

RIDGEON. Oh, he's dead by this time. Never mind. Sit down.

MRS DUBEDAT [sitting down and breaking down] Oh, you none of you
care. You see people die every day.

RIDGEON [petting her] Nonsense! it's nothing: I told him to come
in and say that. I thought I should want to get rid of you.

MRS DUBEDAT [shocked at the falsehood] Oh!
'
RIDGEON [continuing] Dont look so bewildered: theres nobody
dying.

MRS DUBEDAT. My husband is.

RIDGEON [pulling himself together] Ah, yes: I had forgotten your
husband. Mrs Dubedat: you are asking me to do a very serious
thing?

MRS DUBEDAT. I am asking you to save the life of a great man.

RIDGEON. You are asking me to kill another man for his sake; for
as surely as I undertake another case, I shall have to hand back
one of the old ones to the ordinary treatment. Well, I dont
shrink from that. I have had to do it before; and I will do it
again if you can convince me that his life is more important than
the worst life I am now saving. But you must convince me first.

MRS DUBEDAT. He made those drawings; and they are not the best--
nothing like the best; only I did not bring the really best: so
few people like them. He is twenty-three: his whole life is
before him. Wont you let me bring him to you? wont you speak to
him? wont you see for yourself?

RIDGEON. Is he well enough to come to a dinner at the Star and
Garter at Richmond?

MRS DUBEDAT. Oh yes. Why?

RIDGEON. I'll tell you. I am inviting all my old friends to a
dinner to celebrate my knighthood--youve seen about it in the
papers, havnt you?

MRS DUBEDAT. Yes, oh yes. That was how I found out about you.

RIDGEON. It will be a doctors' dinner; and it was to have been a
bachelors' dinner. I'm a bachelor. Now if you will entertain for
me, and bring your husband, he will meet me; and he will meet
some of the most eminent men in my profession: Sir Patrick
Cullen, Sir Ralph Bloomfield Bonington, Cutler Walpole, and
others. I can put the case to them; and your husband will have to
stand or fall by what we think of him. Will you come?

MRS DUBEDAT. Yes, of course I will come. Oh, thank you, thank
you. And may I bring some of his drawings--the really good ones?

RIDGEON. Yes. I will let you know the date in the course of to-
morrow. Leave me your address.

MRS DUBEDAT. Thank you again and again. You have made me so
happy: I know you will admire him and like him. This is my
address. [She gives him her card].

RIDGEON. Thank you. [He rings].

MRS DUBEDAT [embarrassed] May I--is there--should I--I mean--[she
blushes and stops in confusion].

RIDGEON. Whats the matter?

MRS DUBEDAT. Your fee for this consultation?

RIDGEON. Oh, I forgot that. Shall we say a beautiful drawing of
his favorite model for the whole treatment, including the cure?

MRS DUBEDAT. You are very generous. Thank you. I know you will
cure him. Good-bye.

RIDGEON. I will. Good-bye. [They shake hands]. By the way, you
know, dont you, that tuberculosis is catching. You take every
precaution, I hope.

MRS DUBEDAT. I am not likely to forget it. They treat us like
lepers at the hotels.

EMMY [at the door] Well, deary: have you got round him?

RIDGEON. Yes. Attend to the door and hold your tongue.

EMMY. Thats a good boy. [She goes out with Mrs Dubedat].

RIDGEON [alone] Consultation free. Cure guaranteed. [He heaves a
great sigh].

[StevenSnomy]

حه نë? êîمî يه ٌهêًهٍ, ÷ٍî ٌٍàâêè يà ٌïîًٍ ?âë?‏ٌٍ? ُîًîّèى èٌٍî÷يèêîى نîُîنà è ëَ÷ّèى ًهّهيèهى نë? ôèيàيٌèًîâàيè?. تàونûé ٌàى âûلèًàهٍ ٌâîé ïٍَü â ٌٍàâêàُ: ىîويî ٌëهنèٍü çà êàونûى ىàٍ÷هى ٌàىîىَ è ًٍàٍèٍü يà ‎ٍî ىيîمî âًهىهيè, à ىîويî ïîëüçîâàٍüٌ? ٌَëَمàىè ïًîميîçèٌٍîâ è ïîëَ÷àٍü ïًèلûëü. تàêîé ïٍَü âهًيûé — êîيه÷يî وه âٍîًîé!
تàونûé نهيü êîىàينà ïًîôهٌٌèîيàëîâ ٌî âٌهمî ىèًà ïًهنîٌٍàâë?هٍ نî 60 لهٌïëàٍيûُ ïًîميîçîâ يà ôٍَلîë, لàٌêهٍلîë, ٍهييèٌ è ُîêêهé. ءهٌïëàٍيûه ïًîميîçû يàُîن?ٌٍ? â îٍêًûٍîى نîٌٍَïه, يَويî ëèّü çàًهمèًٌٍèًîâàٍüٌ? è ÷èٍàٍü ïًîميîçû.
حه çàلûâàéٍه, ÷ٍî ءهٌïëàٍيûه ïًîميîçû ٌîنهًوàٍ ïîâهًُيîٌٍيûé àيàëèç è ïًهنيàçيà÷هيû èٌêë‏÷èٍهëüيî نë? ïîنêًهïëهيè? ٌîلٌٍâهييîمî ىيهيè? ïهًهن ٌٍàâêîé è يه مàًàيٍèًَ‏ٍ ïîëîوèٍهëüيûé ًهçَëüٍàٍ â çàًàلàٍûâàيèè!
إٌëè âû ُîٍèٍه رز?ءبثـحخ çàًàلîٍàٍü يà ٌٍàâêàُ, آàى يَويû ïëàٍيûه ïًîميîçû, يàن êîٍîًûىè ًàلîٍà‏ٍ يàّè ëَ÷ّèه ïًîôهٌٌèîيàëüيûه àيàëèٍèêè!
VIP ïًîميîçû - ‎ٍî ًهçَëüٍàٍ êًîïîٍëèâîé ًàلîٍû يàّèُ ïًîôهٌٌèîيàëüيûُ ïًîميîçèٌٍîâ. زàêèه ïًîميîçû ٌîنهًوàٍ èٌ÷هًïûâà‏ùَ‏ àيàëèٍèêَ, îٌيîâàييَ‏ يà âٌهُ ôàêٍîًàُ, êîٍîًûه ىîمٍَ ïîâëè?ٍü يà èٌُîن ىàٍ÷à, à ٍàê وه èىه‏ٍ ïîâûّهييَ‏ ïًîُîنèىîٌٍü نî 75%! ? ٍàê وه êîيٌَëüٍàِè? ٌïهِèàëèٌٍà ïî èىه‏ùèىٌ? ïًîميîçàى.
آيèىàيèه! Betfaq يه ïًèيèىàهٍ ٌٍàâêè è يه ïًîâîنèٍ èمًû يà نهيüمè, à îêàçûâàهٍ èٌêë‏÷èٍهëüيî êîيٌَëüٍàٍèâيûه ٌَëَمè â âèنه ïًîميîçîâ ًهçَëüٍàٍîâ ٌïîًٍèâيûُ ٌîلûٍèé يà ٌَëîâè?ُ خôهًٍû. ====> https://betfaq.ru/p/196432/

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