An Inspector Calls J. B. PRIESTLEYPREFACE In this edition of An Inspector Call, you will find notes, questions and activities to help in studying the play in cl particularly at GCSE level. ‘The introduction provides biographical information on the author and the historical and theatrical context into which the play was first received, Also discussed are ways of performing and reading the play. The activities at the end of the book range from straightforward Keeping Track questions which can be tackled at the end of each act to focus close attention on what is happening in the play, through more detailed work on characters and themes in Explorations, to more advanced discussion questions under Themes and Criticism. There is also a bibliography with details both of J B Priestley’s work and some recent works of criticism and biography. Rightat the end of the book is a glossary, arranged by acts, for easy reference. If you are already using the Hereford edi Inspector Calls, you will find that the page numbering in the actual playscript is the same, allowing the two editions to be used easily side by side To Michael Macowan CONTENTS Preface Introduction Characters An Inspector Calls Act One Act Two: Act Three Questions and Explorations Act One Act Two ‘Act Three xplorations: A Characters B In performance m §Themes and Ci Bibliography Glossary xiv 27 50 73 74 75 76 78 79 80 81INTRODUCTION JB Priestley John Boynton Priestley was born in Bradford, Yorkshire on 13 September 1894. His mother died in the same year and his father, who was a schoolmaster, remarried four years later. At the age of sixteen Priestley decided to leave school rather than work towards a university scholarship. ‘I wanted to write’ he recalls in his volume of autobiography Margin Released ‘and | believed that the world outside classtooms and labs would help me to become a writer. enough sense to know that I must spend at least years trying my hand at it.’ Accordingly, rather than seeking, a job with a newspaper, in 1910 Priestley became a ‘very junior clerk’ with the local wool firm of Heim and Company. Ie was during this period before World War I that Priestley ined much of the experience which was to colour his wri career: in his own words, it was the years 1911-14 ‘that set their stamp upon me’. While gaining the practical work- experience which would later be of use, Priestley found himself surrounded by ‘people who read a great deal, cared a lot for at least one of the arts, and preferred real talk and hot argument to social chit-chat’. However, there were no professional writers among these people; rather Priestley, having grown up into his fathe st friend now found himself joining in with their political arguments: ‘I was politically-minded to some extent but never able to These discussions also influenced and framed the values which were later to predominate in Priestley’s writing, It was at this time that he began trying to write in earnest in his small front-attic bedroom at home. ‘I was a writer-poet, story-teller, humorist, commentator, social philosopher, at least in my own estimation.” ith the outbreak of war in 1914, Priestley joined the y, at the age of twenty. By the time he left the army in 9/he had seen active front-line service in France and had rrowly escaped being killed on at least one occasion when a verman shell exploded no more than two or three yards away om him. He was also the victim of a gas attack. These expe- ere to have an indirectly influential effect upon his ing: ‘L was lucky in that war and have never ceased to be aware of d . Despite successfully taking his degree, he had found at academic life did not suit him and in 1921 he lefe for jon with his newly-wed wife to work as freelance writer. the death of his wife from cancer and his subsequent ssayist throughout the 1920s, which culminated f his first novel The Good Companions y had become a best-s! ays wanted was now w 32, aged 38, that he wrote his first play, Dangerous prove that a man might produce long novels and ble to write effectively, using the strictest economy, for Despite poor reviews in the press, it had a success- which set Priestley on to a new stage of his career. armen, xt seven years Priestley established himself as a re in the London theatre with such plays as 933), Eden End (written in 1934 but, set in 1912) and When We Are Married success). One particular theme which 937) and Time and the Calways (1937) that was to 1 An Inspector Cals was that of the effects of anAN INSPECTOR CALLS ly had ‘an idea about a mysterious inspector visiting a « before the [Sccond World) war’. It was only iestley was reminded by chance of this idea fora play in 1944 that he rediscovered his ideas for the characters of the ing family in his notebook. Now, in the winter of 1944-5, Priestley set about writing ‘at top speed, finishing it within a week’, There being no London theatre available, he sent the script to Moscow, where it was produced simultaneously in ewo theatres in 1945. Itwas then produced in London during the following year. An Inspector Calls what is known as a well-made play. ts progression is chat from ignorance to knowledge (not only for the audience but also for the characters themselves). Priestley observes the classical unities of time, place and action in his structure: the time span of the play in perfor- mance corresponds with the actual time the events presented would take to unfold in rea life. The place ~ the Birlings’ dining-room — is constant throughout; and the action and dialogue all concribute to the central theme of the nothing extrancous to distract the audience's attention. The style of the play seems at first glance to be that of the straightforward, detective thriller: after the natures of the Birling family an¢ hed, the Inspector arrives with the news of the death by suicide of Eva ‘Smith. As the involvement of each of the members of the family is progressively established, the structure becomes that ofa ‘whodunit’, with the Inspector apparently slowly unray- clling the history of Eva Smith. The audience's interest is sustained not only by the progressive revel desire to find out who, Eva to her by his ski plot and by ensuring that the audience is left on tenterhooks at the conclusion of each act. As the involvement of each member of the fam becomes ix INTRODI ON clear, and as the Inspector's apparent omniscience drives each reveals its second stylistic Phe original morality plays the late middle ages intended to instruct their audiences wut the condition of man, caught between the religious need for goodness and the temptations of evil, Priestley, in a ye modern, secular manner, seems similarly concerned to tt his audience, While it is possible to see each of the gs as guilty to various degrees of the Seven Deadly Sins ide, sloth, gluttony, envy, covetousness, lust and anger) h would have ensured damnation for an carlier, val audience of morality plays, his modern audience, an familiar with the effects and privations of war, have been equally receptive to the modern moral intended them to take from the play. m co confession, the play In Performance le An Inspector Calls proved to be popular with their theatre critics. The problem seemed to ding of the character of Inspector Gool ightforward police inspector, was he a hoaxer, or rice, something more, and if so, what production of the play would need to solve ms by paying close attention to the s portrayed. To start with, the tone is I is 1912 and the Birlings and Gerald Croft are er self-satisfied way. The introductory author's desired tone for each of the need to be followed precisely by each of performance: Arthur Birling is ‘rather is ‘rather cold’, Sheila is ‘very Eric is characterised as ‘half-shy, half- lel Croft is described as the ‘easy well-bredAN INSPECTOR CALLS eee re eee young man about town’. In the opening exchanges however, the audience would be given an underlying sense of unease by the ironic references to the impossibility of war (which was, of course, to follow in 1914) and to the progress mankind is making, as represented by the Titanic (which was to sink on its maiden voyage). Clearly all is not as it seems to be, and when the doorbell rings as Arthur Birling is telling Gerald Croft and Eric that ‘a man has co mind his own business and look after himself’ the audience is primed for the main action of the play. The character of Inspector Goole is the catalyst for the evening’ events: he is described as creating ‘an impression of massiveness, soli : 8 - The instructions to the actors are both precise and demanding, requiring their con. sistencly improving presence to be sustained throughout the play. While Archur Birling is moved to anger by the Inspector, he is not affected by being confronted with the effects of actions until the Inspector is about to leave: in this respect the character of Arthur would remain consistent throughout the Play. Sheila, however, is moved to teats of shock and guilt: the Inspector is successful in making her see the consequences of her actions and this transformation takes place, apart from a brief interlude, entirely in front of the audience. This pro- gression from naive innocence to more marure understanding would need to be clearly conveyed to an au ence so that the contrast Sheila represents to the attitude of her parents would be fully realised, Gerald Crofts ‘easy manner’ is sit Inspector: he is ‘distressed’ by his real Smith’s/Daisy Renton’ life and death {o return, apparently contrite. Mrs Birling, however, remains catirely untouched by the Inspector's questioning: the cold manner required by Priestley would become a glacial INTRODUCTION mperviousness as she refuses to see how Evals death can have as a consequence of her actions. Finally Eric, -aled asthe father of Eva’s child, is affected in a similar way is sister and would need to show the full realisation of the fects of his dealings with her in performance. Only now, ‘ion that her actions have led to the cath of her grandchild, does Mis Bing break down, Just at the family appears about to disintegrate into mutual nation, the Inspector intervenes to deliver his final dgement: that while Arthur Birling started itll, they areal lame for Eva's death. es : au, ro is enquiries, the Inspector has remaine Be coat ‘i timea, even, he has ‘massively taken ge’. Sheila has regarded him ‘wonderingly and dubi- later she notes that no-one told him anything that he already know. Through his ration ofthe powerful ng nature of the character of the Inspector, a ilirough the revelation of the apparently incredible but all too of events in which the characters are all involved, moved both his play and his sud id the bounds of naturalism. It is this unreal ry of the Inspector's final prophecy of ‘fire and blood and Priestley’s reference to World War I — he success- ss the Inspector with an almost supernatural as been successful in bringing Sheila and Eric only fl and responsibility. This becomes ids return and the subsequent revelation that ¢ inspector at all. Who or what he was is resolved by Priestley, almost as if to nature of the Inspector. In his own . Gerald telephones the Infirmary, only to ino suicide taken there that day: whilexii AN INSPECTOR CALLS The effect of the Inspector, whoever he may have been, has been to split the family irrevocably. While Gerald, Arthay and Sybil laugh at what they perceive to be a hoax, Sheila and Eric are serious and aware of the consequences of their actions. Ar the last moment, Priestley adds his final twist to the plot, as Arthur answers the telephone only to hear the fateful news that an Inspector is about co arrive to investigate suicide. As the curtain falls all the characters are seen guilty and dumbfounded, lef to face a repeat ofthe evening’ events, the consequences of which, in a fully successfal Production, would be left for the audience to predict. Finally in performance, a detailed, naturalistic setting would be necessary in order to set the tone of the comfore success and self-satisfaction initially required: no further cene changes are required thereafter. Priestley is precise, however, in specifying that, until the Inspector’ arrival, the lighting should be pink and intimate: chis helps to reinforce the ly rose-tinted mood. Thereafter, with the Inspector’ arrival, lighting becomes ‘brighter and harder’ as the events of the play take their dramatic course and mood progressively changes Reading the Play All plays are written to be performed or at the very leas, read aloud. This is certainly true of An Inpector Calls for only in seeing the characters in action, in hearing them tell their wn stories and so add to the overall structure of the play, and final ns to the consequences of both effect Priestley seeks Arising from this, it will be possible to develop a sense of how the characters would show their opinions and reactions ia other physical ways on stage. While the play is divided into three acts, particular ‘scenes’ within the acts are easily identifiable (as the initial iNtRopUCTION aii s from one ere is established, as the focus moves eer ere evening’ events, for example). This lends paula pare ¢ idy ot to reading and reheat Boh sees weil prerch ete sorta cad oa ofall to understand the action and the relationships, chen co explore and experiment with the text to discover more dept and understanding of the characters, ‘Tim BezantCHARACTERS ARTHUR BIRLIING SYBIL BIRLING his wife SHEILA BIRLING his daughter ERIC BIRLING his son EDNA the maid GERALD CROFT INSPECTOR GOOLE All three acts, which are continuous, take place inthe dining- room of the Birlings’ housein Brumley,an_ industrial city in the North Midlands Icisan evening in spring, 1912. The play was first produced in London on 1 October 1946 at the New Theatre, with the following cast: ARTHUR BIRLING Julien Mitchell SYBIL BIRLIN Marian Spencer SHEILA BIRLING Margaret Leighton ERIC BIRLING Alec Guinness EDNA Marjorie Dunkels GERALD CROFT Harry Andrews INSPECTOR GOOLE Ralph Richardson «and produced by BASIL DEAN ACT ONE room ofa fairy lage suburban house, belonging mera bs aod sti of ot The ge ral eet s substantial and bea com nfo le, na home. a att sd hon back, as asin te prod ing this, you can have the dining-table centre edd there, and then act Tao and then ra smal table with flepbone on I yo cam shou smal table it nd by ths mete dning-table ad eee o wish to avoid ised to dispense with the dining-table becomes a nuisa re id be pink and intimate until the wsseEctOR arri 1uld be brighter and harder.) LUNGS and GERALD are seated at A and Gexa.p seated upstage. clearing the table, which bas no id champagne glasses, etc., and then re- ter of port, cigar box and cigarettes. Port the table. All five are in evening dress of the id white tes, not dinner-jackets. aKTH er portentous m but rather provintal i bis speech 1an and her busband's social2 [AN INSPECTOR CALLS ACT ONE 3 balf playful) Yes ~ except fe summer, when you never came near me, and I Really the things you the glasses fille. clearly relaxes. e days! the best sl can do— is very nice. Very nice. Good know you agreed that we should only have thisAN INSPECTOR CALLS crea HRLING uc and have been frie now = th 1n Birling and Company ~ and now you've ind perhaps we may look 1d Birlings are no smIRLING you. I only men say was ~ that Sheila’s ink you're a preity fortunate ornay yyhow, miniNG (raising bis glass) So here's wi fe can bring, GpRaLD MRS 8. ERIC corRALD sHEMA ‘suena Gena ‘sue Rs 8. ACT ONE 5 Yes, Gerald. Yes, Sheila id very best wi darling. Our congeat wank you. ater noks the hest! She's got temper sometimes ~ but she's not bad re drink? You can drink to me. (quiet and serious now) All right then. I drink to you, Gera For a moment they look at each other. juietly) Thank you, And I drink to you = and 1ope I can make you as happy as you deserve to be. Crying to be light and easy) You be careful ~ or Tl start weeping, (smiling) Well, pert (He produces a ring case.) (excited) Oh ~ Gerald - yo you wanted me (giving the case to her) Yes ~ the very ot help to stop it ¢ got itis it the one (aking out the ring) Oh ~ it’s wonderfull Look = amy ~ isn’t it a beauty? Oh — darling (She p bastily:) 4 . vho bas put ring on, admiringly) | think it's perfect. Now I really feel engaged a lovely ring. Be care with of my sight for anAN INSPECTOR CALLS No, thanks, Can't re RUNG lights bis cigar and anks. (Confidential ing T'd like to mention — in st By the way, there's p, rather embarrassed, begin some dissent, but 's only natural. But what I wanted (o say is = there's a fair chance that Oh — I say — congrat 100d ~ so long as we behave ourselves, don't get No, no, I couldn't do that. And don't say anyt ACT ONE when she comes back, you hint to her. And to keep out of trouble during the next few mon They both laugh mc enters wi No. Want another glass of por? (sitting down) Yes, pl helps himself) Mother says we mustn't stay too long. But I don’t think it matters. I left ‘em talking 's again. You'd think a girl had never hes before she gets married. Women 's the joke? Started telling stories? (Take decanter and mean something q ‘woman. Not just something to wear — and not only ign or token of thei That's true, (eagerly) Yes, I remember ~ (but he checks himself) (aking it what some of the boys get up to nowadays. More money to spend and time to spare than I had when was Eric’s age. They worked us hard in those days and kept us short of cash. Thought even = we broke out and it of fun sometimes. Tl bet you did. (solemnly) But this T don't want lecture you two young fellows again. But what so many of you don't seem to understand now, when things are so much easier, is that a man to make his own Way ~ has to look after himself — and his family 100, of course, when he has one10 EDNA EDNA aIRLING UNG Ric orray AN INSPECTOR d Ive ata man ter bi We hear the sharp ring of a front door bell. inuisc ve the benefit of my experience. e's Inspector to see me? na does, then goes out Tm still on the Bench. It may be so ) And IRLING INSPECTOR ‘BIRLING INSPECTOR INSPECTOR Act ONE u (sharply, staring at bim) W after ber. The wssv be creates at ities, dressed He speaks carefully, w disconcerting babit of looking hard at the person he addresses before actually speaking, whisky? on duty You're new, aren't Two howe the ifirmary. She'd2 AN INSPECTOR CALLS there and a who used more 1e ~ her real rather I was re, Gerald. And ¢ Inspector? Perhaps | lodgings. Perhaps you'd remei nectox fakes a photograph, about postcard And the same applies to me, I suppose? INspECTOR Yes. 1 can't imagine what it could be.4 AN INSPECTOR CALLS. ACT ONE 15 No, sir. I can't agree with you there. en may have ierwards, and would be very awkwa ward I be in an impossible pos \ wouldn't uu were saying, Dad, a man Go into what? (Oh ~ just before you came ~ I'd been giving theseI didn’t suppose you Chursting oud Wel 1 Eva Smith, Why: ther wages? We try for the od worker. I'd have let her stay Unless you brighten you . she didn't exactly go on the this about streets? rsserctoR.) Oh ~ sorry. Id know. Mummy sent SHELA IRLING INSPECTOR -BIRLNG MERLING IRLING AGT ONE Cmpressively) Vm aftemoon a young "7 nothing else, y'know. I've just po woman drank some dis \d died, after several hours of agony, tonight in the ‘Oh ~ how horrible! Was it an accident? No. She wanted to end her life, She felt she at's because 1 rged her from my employment nearly two years ago. st Yes, The girl h works. I was quite nk you we 1g. Don’ (rather distressed) wribly — and I've wish you hadn't tol young? ated it. een causing trou stified, know we'd have done the look like that Sheila, Sorry! I's just that I can’t help inking about this girl — destroying herself so een so happy tonight. Oh 1 ld me, What was she like? Quite18 AN INSPECTOR CALLS ACT ONE 9 Yes. Twenty You didn't come here j INSPECTOR No. The other four exchange bewildered and per glances. ne reason best known t0 you were making the most iny bit sorry. This makes. ing in) Why should you? He's fini i's one of us now. In fact, Iveproduces the closely, recognt: cry, gives a balf-stifled sob, and then seemed to her a wonderful taken on in a shop - and a ly after ber imazement for a moment. — why ~ why? nsercror I don't know ~ yet. That’ (still angrily) Well ~ if you don’t mind = T'l find my wife ~ tell (Tums at door, star orrAD sweMA What ~ what did this girl look like? inseector All in good2 AN NSS ACT ONE 23 don't see why — I don’ supp ): Look hee ‘enough of this. Inspector (dy): I dare say. (ueneasily): Vm sorry ~ but you see ~ we were having had a few drinks, including rather a lot of champagne ~ and I've got a headache ~ and as I'm only in the way here ~ I think Td beter turn in inspecror And I think you'd better stay here. suc Why should 1? wsrecror It might be less trouble. If you turn in, you might have to turn out again soon, I've told my father — he didn’t difference to her? ‘Yes, 'm afraid it did, It was the last real steady job she had, When she lost it~ for no reason that she could discover = she decided she might as well ry another kind of life (miserably) So I'm really responsible? No, not entirely. A good deal happened to her after that, But you're partly to blame. Just as your father is told him that if they didn’t get rid ofthat never go near the place again and I'd persuade mother to close our account with them. ‘And why did you do that? Because I was in a furious temper. ‘And what had this girl done to make you lose your temper? When I was looking at myself in the mirror I caught sight of her smiling at the assistant, and I was furious with her. I'd been in a bad temper anyhow. ‘And was it the girl's fault? No, not really. It was my own fault. (Suddenly, 10 ‘Gerai) All right, Gerald, you needn't look at me like that, At least, 'm trying to tell the truth. I expect, you've done things you're ashamed of too. (surprised) Well, I never said I hadn't. I don't see why— (cutting in) Never mind about that. You can settle that between you afterwards. (To sei) What happened? Vd gone in to try som idea of my own ~ mou soon as I tried it on, I knew they'd been4 AN INSPECTOR CALIS ACT ONE 25 thing, Well the workro Francis to show u as if she was wea was the right type for i type: She was avery prety ‘eyes — and that didn m, ancl when the assistant ~ Miss 1s, Twas very 0 the man. ad been very le creature, I don't suppose ees t she was very pretty and looked as if she na ire of herself. I couldn't be sorry for her. i been jealous SHENA Yes, I suppose so, ‘SHEILA well known in the because sh INSPECTOR, EMA GERAD ‘HEM myself: appen?” And sd and they were d not to have another one. At last sh job ~ under what name I don't know ~ in a big hop, and had to leave there because you were and passed \e had to try so first she changed her name to Daisy Ret (startled) What? (steadily) I said she changed her name to Daisy Re (putting bimself togetber) D'you mind if I give nyself a drink, Sheila? LA merely nods, still staring at bim, and be goes How do you know tha? of diary. And she said know ing as good again for her — last longer, I never before I went. INsPecTOR How did she take it? Geratp Better than I'd hoped, She was — very gallant - about it 'sall I want to know from you. GeRatD In that case ~ as I'm rather more — upset — by this to be ~ and (with irony) ‘That was nice for you. Go where? Home?40. AN INSPECTOR CALLS act Two a cena INSPECTOR look at it ns B ar reason why I should— suena INSPECTOR MRS B. (He prodi id at it) inspector (taking back the photograph) You recogni ns 8. No. Why should 2? inspector Of cou changed wwe changed so much. rather respect before. I knew were lying about those months last near me. I knew there e. And And I believe what you bout the way you helpe ty. And it was my f te whe asa, I don't understand insercror You mean yc ns 8. (angrily) 1 INSPECTOR pILING (angrily, 10 have this, Inspector. You inspector Apologize for what — doing my duty? HIRING No, for being so offensive abot Pm not going e, please, F: apparently don't ema Yes, 1 know what you mean, But 'm T mean, and y MRS 8. Gena so, Excuse me, He goes out. They watch him go in silence. We bear the front door slam, (to wsvecror) You know, you never i photograph of her. It wasn't nec because I was angry ld set her up as ss and then dropped her when it suited him, And now you're pretending you don't recognize a photograph of this girl?AN INSPECTOR CALLS S10 MRS HURLING, nent member ~ of the Brumley Women’s Charity Organization, aren’ p) Yes. We've done a great deal of useful work in helping deserving case 1 of the interviewing tee two weeks ag 1 was, what business yours? (severely) Do you want me to tell you = in plain 6, looking rather as ‘That must have been Eric. (alarmed) Have you been up to his room? ‘Yes. And I called out on both landings, It must c we heard go queer moods, and even though we don’ here— (cutting in, sharply) We do need him here. And ns 1. RLING werscron ssenctoe vas sono ‘2 acr Two,AN INSPECTOR CALLS promi was refused (very deliberately) Then remember that this girl was going to have a (horrified) No! Oh ~ hor could she have wanted — horrible! How IP and turned down ‘d been tuned out INSPECTOR It was because she was she went for BING Look here, this wasn't Gerald Croft— in, sharp) INSPECTOR MRS 8. jing to have a cl NCE 10 y' Nothing to do with ‘Thank goodness for that! Though I don't know id care now. And you've fe no hope of not d k you can bring nothing further to tell Inspector, you're q| he girl's claim ~ she s ‘good case ~ and so ot to discuss it any further, you have no power to make me change my mind. iyspector Yes I have. ns 8. No you haven't, Simply because I've done nothing, wrong — and you kn Inseecron (very deliberate J something temibl wrong ~ and that you're going to spend the rest ofAN INSPECTOR CALLS Two. (agitated now) Oh, s remember bet of you. And pl Twas j pack of lies. Afterwards, discovered that she knew who th yw it made me ith her. She was gi lous airs. She was ¢ ing elaborate fine were simply absurd in a sternly) Hier po 1ow is that she lies wi urnt IRLING (ries to protest, 1 at me INSPECTOR Mas 8 INSPECTOR Oh ~ she had some fancy ne 10 you for assistance because she takeAck Two. 49 inspector To do my du suena (distressed) see? Id be made an example inybody, then it of. Ifthe girl's death is due due to him. Inspscron And if her story is true — money— She stops, and exchanges a frightened glance with her busband. he was st BIRING —(lerrified now) Look Inspector, (rather agitated now) There's no poi ee tell us that ~ that my boy ~ is m axspecror (sternly) If he is, then we know what ‘we? Mrs Birling has just jut suppose we do, what then? entirely respons simuNc (thunderstruck) My G Mas 8. (agitated) | don't believe it. 1 won't you and begged you to stop— suena Mother — inspector holds up a band. We hear the front They wait, looking towards door. exc enters, ‘extremely pale and distressed. He meets iquiring stares Curtain falls quickly. Mas 8.INSPECTOR ACT THREE ‘and the others are staring at bim. You know, don't you? (as before) Yes, we know nic shuts the door and comes farther (distressed) Eric, | can't be T some mistake. You don't know what we've been vying, 's a good job fo Why? Because mother’s been the young man who saying he sh example of — he doesn't, isn't it? isy blaming everythin, a's enough, (bitterly) You haven't mack have you, Mother? But I didn't kno Besides, you're not the type - y you I never d Of course he does. I told you he did, Youtold her. Why, you Id her tonight because I knew everything was coming out ~ it was ‘come out tonight ~ s ight she Ceutting in, smoothly) Just a , Mr Birling. There'll enty of time, when I've gone, for y mic ACT THREE Jooks like interrupting s yo and thi Jim. He needs a drink (foenic) All right. Go on. rc goes for a whis the decan of things now I didn't get on. (To enc.) When two or three chaps. I ‘What happened I beg: Was she She told me afterwards that she was because she'd not had much to eat that lodgings t seems. I'm ime she dmc RIC AN INSPECTON \wing-room— (protesting) But — 1 (very sharply) You heard w Sybi He goes mother When di ic fortnight afterwards. By appointmen IRLING And you made love Yes, L wasn't in the town — the one friends with— (angrily) 1 do (very sha ACT THREE of you. Settle i ards, (To #nic.) Did you arrange t0 sé And of course Yes, and No, love her ~ and as if were a So what did you propose to de she hadn't a job ~ and didn’t left so to keep her I suppose ~ about fifty pounds Fifty Is ~ on top of drinking and g¢ (own! Where did you get fifty pound: Asenic does not reply ques miserably) | got My office? Yes ‘You mean ~ you {do you mean ~ not really? ot reply because now MR (savagely) Wel admittedAN INSPECTOR CALLS 1g us he supplied her money he stole from the office. (sbocked) Eric! You stole money? No, not really \ded! to pay it back. eard that story before. How could you back? Td have managed somehow. I had to have some money— that out of the office without somebody knowing, ‘There were some st sked for cash— Gave the firm's receipt and then kept the money, eh? Yes. ‘You must give me a list of those accounts. I've as soon as I can, You damned fool In't you come 1o me when you found yourself in this mess? the kind of father a chap could sin troubie ~ The gicl ey you were giving her in. (Sudden startled tone.) He know that? (alarmed Sh ACT THREE Well, he has to know. Cros tt Did she © in't have done, she didn’t even here. What happened? ING, distressed, shakes her bead but does not Come on, don't just look like that, Tell me — tell me = what happened? (with calm authority) Vl tell you. She went to your mother's committee for help, after she'd done with you. Your mother refused that help. (nearly at breaking poind Then — you killed her. She to protect me ~ and you turned her sd her ~ and the child she'd istressed nou) No ~ Eric ~ please ~ I didn inderstand— (almost threatening ber) You don't understand any ing, Ye LL You never even tried ~ y let, staring at bim. rent and listen, ach of you helped to kil Never forget it. (ie looks from one to the hen T don't think you ever suc36 INSPECTOR AN INSPECTOR CALLS. Just evening, person, Chitteriyy 1 kn started int (Rath started it. She wanted twer ings a week inst sixpence. ¥ ‘And now she’ \e wrong time. Mr ing the ses- is still quietly ollapsed into a chair, enc is ly active bears the, ACT THREE 37 towards the door, stops, looks gloomily at the other a drink, which he done, Most of this is bound to come be a public scandal. Well, I don't care now. You! You don't seem to care about anything. But 1 care. I was almost certain for a knighthood in the next Honours List— nic laughs rather bysterically, pointing at bim Caughing) Oh ~ for God's sake! What does it matter now whether they give you a knighthood or not? (sternly) It doesn't matter to you. Apparently nothing matters to you. But it may interest you to know that until every penny of that money you stole is re work ing. And there's going to be no more town ~ and picking up women in the Palace bar— oming to if) | should think not. Eric, But don't forget I'm — yes both of you (angrily) Drop that. There's every excuse for what both your mother and I did ~ it turned unfortunate! (scomnfilly) That's all. Well, what have you to say? Then don't begin. Nobody wants you to, I behaved badly too. I know I did. I'm ashamed of it. But now you're beginning all over agait pretend that nothing much has happened— Nothing much has happened! Haven't I alreadyAN INSPECTOR € ‘suena plenty « at I've tonight ~ when the five of us sat down to dinner at that ac Jnat you feeling so pleased with yourself? You told us that a ‘man has to make his own way, look after and mind his own business, Y these cranks who tell us that ‘everybody has to look after everybody els We were all mixed up together. Do Yes ~and then one of those cranks wa (Laughs bitterly.) 1 him that it's every suena (sharply attentive) Is Mans. Now what's the matter, Siena (slowly) It’s queer ~ very queer—(sbe reflectivel ith some excitement) I know what you're to say. Because I've been wondering myself Itdoesn’t much matter now, of course — but was he a police inspector? oles at them MRS B. RLING ac RIC SHEA MES 8. REE 59 1 want to know, th trying not to f Any more of that and you wasn't iP You tumet her tumed out of supposed swell, we know whi Didn't you? say his manner was q = and assertive— they dont of them, n't make any real difference, Of course it does. Ne (angrily ‘coming from you. You're the one it makes most difference to, You've confessedAN INSPECTOR CALLS ACT THREE cu suena ‘BURLING SHELA MRS 8. ‘SHELA sIRLING suena, he knows all abo inquest, and then in public ~ bu as for you, he can ruin you. You know. (siowty) We hardly ever told him anything he didn't , you allowed yourselve: we needn't bother him with totheAN INSPECTOR CALLS (slowly) That man wasn'ta police officer. certain? ost certain, That's what I came back to tell y (excitedly) Good lad! You asked about him, eh? Yes. I met a police sergeant I kno his Inspector Gool You didn’t tell him— (cutting in) No, no. 1 passed it off by sa having an argument with somebody. But the po his sergeant was dead certain they hadn't any he chap who came here, Int imagine a real p tous? ju were right. There isn't any such inspector ning to move) V'm going to make certain of What are you going to do? 1¢ Chief Constable ~ Colonel Robert, what you say, dear, one) Of course. (AP telephone.) Brumley eight seven five two. (To others as be waits.) is going to do this anyhow. I've had my ions all along, (At telepbone. (Here be can describe the appearance of the actor play yes... well, that set argument we were having here. ACT THREE 6 (He puts down the telephone and looks at the others.) 's no Inspector Goole on the police. That man. ‘wasn't a police inspector at all. As erence, y'know, In fact, it makes all Of course! (bitterly) 1 suppose we're all nice people now. If you've nothing more sensi at to say, keep quiet. ow. IFthat had been a police inspector an -ard you confess— (warningly) Arthur ~ careful (hastily) Yes, yes. aven't to know the rest of our tht saying that now. only one of you who d And now I say we must discuss and sensibly about (with bearty approvab You're absolutely right, myAN INSPECTOR CALLS ACT THREE 6 w fered one important ow was a fraud and we've be the end Good! (To ea ht. And yi ing to do with us. Just remember your own position, young man. If anybody's up to he neck in this business, yo BIRUNG Look ~ for God's sak Msn. (protest Anhur! miRuNG Well, my they're so to understand out po (shouting) Ai c helped to kill her ~ and d BIRUNG (also shouting, threal is to keep our heads. Now uc eric Of is. You don't know the whol SHEHA I suppose you're going to prove now youAN INSPECTOR CALLS spend last summer keeping this gil instead of seeing me, eh? last summer. I've the rest of us. T (angrily) He wasn't an Inspector. (flaring up) inspected us all right. And don't let's start dodging and pretending n Between us we drove Did we? Who says so? Bet say there's no more real evidence we did than there was that chap was a police inspector. Of course there is, No, there isn’t. Look at it, A man comes here pretending to be a fficer. It's a hoax of some kind, Now what does he do? Very artfully, working on bits of information he's picked up here there, he blufis us into confessing that we've all been mixed up in this gir’ life in one way or another. And so we have, But bow do you know it’s the same girl? All right, you all admitted something to do with a gitl. But how do you know it’s the same gitl? He looks round triumphantly at them. As they puzzle this out, be turns to B1RuNG, after pause, 1g. You sack a gil called Eva ve forgotten, but he shows you a photograph of her a remember. Right” Yes, that par’s straightforward enough. But what then? well, then he happens to know that Sheila once had ACT THREE now he was So he could have been lying all the time. Of course Id. Probably was. Now what happened I was upset because th only two weeks ago, pve were his exact words. ‘And like a fool | said Yes I had. I don't see now why you did that. She didn't call herself Eva Smith when she came to see you ‘committee, did she? No, of course she didn't. But, when he suddenly turned on meAN INSPECTOR CALLS. ACT THREE ions, [ answered more or less as he wanted me to answer, Mother, y it must have bee to see m ot may be letting Nor can mother, (angrily) iow can it? The git’s dea« What girl? There were prok different girls one I knew she? How do we Now answer 's point of bluff us all the time. so you see. Just rey it. And that's what he once — and then start questioning until we didn’t know where we were. Oh ~ that. He had th He could laugh his head off a hoax, onvinced itis. No police in No scandal— up I don't mind doing it. nphatically) And if there isn't— Anyway we'll see. (He goes fo telephone and looks up number. The others watch tensely:) ry eight nine eight six . . . Is that the i is Mr Gerald Croft ~ of Crofis We're rather worried aboutAN INSPECTOR CALLS one of our employees, Have you had a girl brought in this afternoon who committed suicide by drinking disinfectant ~ or any like suicide? Yes, I'll wait. ‘As he waits, the others show their nervous tension BIRLING wipes bis brow, sueita shivers, eric clasps and unclasps bis band, etc. Yes? .. You're cerain of that... Ise. Well thank you very much . .. Good night. (He puts down telephone and looks at them.) No girl has died in there today. Nobody's been brought in after drinking disinfectant. They haven't had a suicide for months, (triumphantly) Thete you are! Proof positive. The whole story's just a lot of moonshine. Nothing but an elaborate sell! (He produces a buge sigh )) Nobody likes to be sold as badly as but ~ for all that—(be smiles at them all) Gerald, have a drink (smiling) Thanks, | think 1 could just do with one now. (going to sideboard) So could | (smiling) And I must say, Gerald, you've argued this very cleverly, and I'm most grateful (going for bis drink) Well, you see, while | was out of the house I'd time to cool off and t ngs ing bim a drink) Yes, he didn't keep you on the run as he did the rest of us. I'll admit now he gave ‘The worse part is. But you're forgetting one thing | I can't forget. Everything we said had happened really had happened. If it didn't end tragically, then that's lucky for us. But it might have done. ovially) But the whole thing's different now. Come, me, you can see that, can't you? (Jmitating 1s ACT THREE soecron in bis final speech.) You al her. (Pointing atsaewa and nic, and laughing) And I wish you could have seen the look on your faces when he said that. iE moves towards door. Going to bed, young woman? (densely) I want to get out of this. It frightens me the way you talk. (heartily) Nonsense! have a good laugh over it yet. Look, you'd ‘gave back to him, hadn't you? Then yo (passionately) You're pretending everything's just was before. Tm not nothing real be sorry for, nothing to behaving just as we d |, why shouldn't we? ‘on in the same old way. re not, eh? looked, and angui and can't And I agree with Shei on’t stand there being he moming they'll be asAN INSPECTOR CALLS QUESTIONS AND EXPLORATIONS 1 Keeping Track “The questions in this section are designed to help your reading and understanding of the play in the areas of plot, character, structure and interaction. They may be used as you read the play or afterwards, for discussion or fo ig- Some are developed and expanded in the Explorations section. Act One 1 What do we learn about each foresees? What are we meant to think of this How does the tone change once the men are ad Birling learnt in the ‘good hard ‘What is the mood in the room before the Inspector enters? What should the Inspe: the audience? Why does Eric respon news? How does Bitling react to the reminder that he employed Eva ‘Smith? How should he react to the photograph? ‘Why does Birling start to ‘move restless How should Birling tell his story to the Inspector? How should Gerald, Eric and the Inspector listen to Birling’s story? ‘What is the mood in the room when Sheila enters? How does Sheila react to the Insp “The other four exchange be (page 18). How are each of Sheila, Eric, Birling and Gerald now feeling?(QUESTIONS AND EXPLORATIONS 3. How shou he actor 2 playing the foes take charge ‘massively’ being ‘staggered’ (page 32) about Eric's inking reveal of the family’s relationships? »w should Gerald ‘break off” (page 35) from telling his story? 10 How should Gerald tell his story to the Inspector? 11 How should the Inspector listen to Gerald? 12 How should each of Sheila, Mr Biting and! Mrs Biting listen and react 10 Ger 13. How had Daisy’ omchip with Gerald affected her? How did she react when it ended? 14 Why is Gerald ‘upset by this business (page 39)? How should his upset be shown? 15 What is the state of Sheila and Geral’ rela 16 How should the actress playing Mrs Birling look Inspectors photograph (page 41)? age 49) way? ym as Eric re-enters ig and Sheila react to Erie's the Inspector end up ‘taking charge, masterfully How should cach of the Birlings react ro the Inspector’ final speeches? How do the family react to each other once the Inspector has lef? Why does it ‘not much matter’ (page 58) to Sheila if the Inspector was Why does it matter'a devil ofa lot’ co Bieling iFhe was not a policeman? How should each of the members of the family react to Gerald's news? How does this news make each of the characters feel about ‘the members of the family react to Gerald’s theory about the Inspector's photograph? How should the characters wait for the result of Gerald's telephone call? How should they react to the news the call brings? How has each of the characters been affected by the evening’ ‘Why does the telephone ring when it does?76 AN INSPECTOR CALIS (QUESTIONS AND EXPLORATIONS ” 19 What is the effect characters? 20 Hows! the final telephone cal Use dialogue and st 9 show your understanding of character. the final telephone call affect the audience? Gerald Croft 2 Explorations 9 ‘Hear, hear. And [ thin! The questions having read d treatment of Daisy Renton/Eva Smith, ‘She didn't blame me at all. 1 wish to God she had now. How does Gerald feel about his oral or pract knowledge of the play; other response. A Characters Arthur Birling i. o make his own way ~ has to look after ‘What appears to be Arthurs outlook ‘Sybil Birling 13 ‘I must say, we are learning ‘What is Sybil Birling’s attitude to her fa she learns affect her as it does? 14 ‘Go and look for the father of the child. Is his responsibility” 's treatment of Eva Smith ashamed of or that wont bear Why does what {0 say — far too much ~ so she had to go. of Eva Smi ? Why cannot Arthur Arthur's encounter: Eva at the beginning of the strike. Arthurs meeting ith Eva at the end of the strike. 18 ‘Oh my God — how stupid it all is! Acco treatment of Eva Smith behaved badly too. [know I did. I'm ashamed of Sheila Birling ashamed of her treatment of Eva Smi tea flashback scene to show the scene in ‘encounter between Sheila and Eva Smith. Draft and create a flashback scene to show Eric’ first meeting. with Eva in che Palace Bar. Use dialogue and stage direction to show derstanding of character.78 AN INSPECTOR CALLS Inspector Goole 21 ‘Why ~ you fool — he knows. (page 26). OF course he knows.” Account for the Inspector's knowing and understanding the history of Eva Smith, “You see, we have to share something, If there's nothing else we to share our guilt.” What were the Inspector's ing the Birlings? How successful was he in ‘We are members of one body ~ We the function of the How real is the character of the Inspector? Select appropriate evidence from the text to suppoi Eua Smith 25. Create diary entries for Eva Smith after her encounters with cach of the Birlings and Gerald Croft. Include, if you wish, her final entry before her death. General 26 Select two of the characters, Wir the end of the play a that reveals their thoughts, feelings and emotions a this moment fe and create the events that would follow that end of the ry with the arrival ofthe real police inspector. Use dialogue and stage dit understanding of chi Select rwo of the characters. Wri publish, revealing the scandal of the B Performance 1 Draw up a set design brief for the play. What set, furniture and props would be required in order (o create the necessary atmosphere for the benefit of an audience? 2. Draw up a costume design brief for the play. How will you use to suggest character for the benefit of an audience? {QUESTIONS AND EXPLOR/ them? Do yo ‘What is the style of the modern day morality play audience's interest and attention be sustained during performance? Select one of the characters. What aspects of hi movement in order to achieve this? Design a poster advertising a production of th local theatre. Consider how to interest and att audience, without telling them too much abo Select one of the members of the Bicling family. Write a ng the text for reference, to show how ‘character to convey his own represent social attitudes, political : ightingale). How far can the Bi nd Gerald Croft be considered to be repres responsible for the death of Eva text to justify your opinion. acter of the Inspector? Use references from Ibscantiate your answer. Show how Priestley uses the form of the detective play in An Inspector Calls? Hos ‘An Inspector Callss ‘a cteaky mo agree wi "You cannot be happy when you are surrounded by people who are unhappy” (J B an audience respond to An Inspector Callsin performance?BIBLIOGRAPHY Biographical John Braine, J B Priestley, Weidenfeld & Nicholson, 1978 Vincent Brome, J B Priestley, Hamish Hamilton, 1988 JB Priestley, Margin Released, Heinemann, 1962 The Theatrical Context RA Banks, Drama and Theatre Arts, Hodder, 1985 John Elson, Post War British Theatre, Routledge, 1976 H Hunt, K Richards & J Russell-Taylor, The Revels history of Drama in English; Vol VII; 1880 — Present, Methuen, 1987 An Inspector Calls: History and Criticism John Elson, Post War British Theatre Criticism, Routledge, 1981 Holger Klein, J B Priestley Plays, Macmillan, 1988 Gareth Lloyd Evans, J B Priestley the Dramatist, Heinemann, 1964 ingale, An Introduction to 50 Modern British Plays, JB Priestley, The Art of the Dramatist, Heinemann, 1957 JB Priestley, Collected Plays Vol. 3, Heinemann 1950 | Page 60 o 66 70 ‘Act One Tring from the drawing room squiffy Seady he Buf the Kaiser the Balkans the Titanic in 1940 Bernard Shaves and HG Wellies Tm still on the Bench Go.0n the street short-handed tantalus ‘Act Two the stalls bar Palace Variety Theatre goggle-eyed The Press no bushing up ‘Ace Three far gone Elgon old tare cover this up fire and blood and ‘anguish ‘a Socialist or some tort of rank By Jingo a hoax moonshine GLOSSARY Eric playfully encourages. nperor Wilhelm Il of Germany The area of Europe comprising Yugoslavia’ former republics, where the spark for the first world war w: The famous liner, which sank. maiden voyage. Priestley writes, in 1944, with ironic hindsight, shared by his audience. both socialise sympathisers. Birling is a magistrate. the bar for the lower-class 1g cheap and Grank and unfocussed ‘rman who chases women for his own enjoyment the local newspapers no concealment ofthe facts drunk 4 pleasant person to be with the rowas prostitutes prevent the truth being seen of known Priestley’ ironic reference in which he served. like Wells or Shaw (see above) of, Priestley an expression of surprise a carefully constructed confidence trickFst publi by Wiliam Heinemann Led 1947 published in the Hereford Ply serie 1956 bled in the Heinemann Ply eis 192 80 catalogue eco fo hike available rom he Brith Library on rogues, ISBN 9780435252 82 5 Frater &¢ Dunlop Group Led, 503-508 The Chambers, Cheles Hi Londen SW10 OXF and by amateur companies wo Same! Feach Le, 26 Southamon Sire, London WC | Corer phot: ‘Typeset by TechType Abingdon, Oxon Prin (CTPS/80)