He seems bureaucratic. His administration of the home is in such a way that he goes into unnecessary procedures to satisfy his soul and curiosity. In the scene he is also autocratic in the sense that he is domineering the household. To support these facts here are some quotes from his mouth:
- ‘I never turn back once I start something’ –self-conscious
- ‘I must have the truth! It’s the only way to live-by the truth’ –bureaucratic
- ‘Lift up up higher. I’m determined to get the truth’ –autocratic
When Wilfred collapses, we see a slightly different side to Rafe. He is a steady and stable character (a common father reaction when disaster strikes-mentality that ‘I am the man in the house and I can sort it out’). We also see a caring side to him. As the boy is fallen he calls for water and tends Wilfred. Here is one of his quotes, ‘mind yourself-mother-let me do it.’ This shows that he cares for his wife and children and is a true father figure. When Wilfred wakes up and tells the truth, Rafe does not want anything more said about the matter. He is probably pleased that his way has worked. But when Arthur starts to bombard him, he is actually willing to listen. This shows a humble side to his nature and the fact that he accepts that everybody needs correction.
In directing this film, I would tell the actor playing Rafe to show that he is masterful and powerful by being an overshadowing figure. He should also be firm and authoritative and move around with his head up and his hands in his pocket to show his pride and self-consciousness. He should speak in a firm and articulate tone. As the scene ends, I would tell the actor to look concerned that Wilfred collapsed but still keep his head high because his resolution has succeeded.
RAFE’S IMPRESSIONS: ACT2 SCENE 3
This is the scene after Rafe discovers that his overcoat is missing. In this scene we see a completely different side to him altogether.
When he discovers that his overcoat is missing, the manner in which he requests its whereabouts is calm and polite. This is what he says when he requests about the overcoat, ‘Mother! Mother! Where you have you put my overcoat? It’s not in the wardrobe. Can you come and help me find it love or I’ll be late? The tone with which Rafe is talking in does not seem harsh or authoritative but it is more of a pleading tone than a demand than a demanding on, as was the case in the herring scene. Words like can, help, and love make his sentence sound polite and at ease.
When Daisy is emotionally drained by what she has done and asks Rafe to hold her in his arms, we see a caring and passionate Rafe. He does not take thing s far too soon and is willing to listen to what Daisy has to say to him. He says, ‘I’ll hold you lass there, there. Now tell me what’s wrong? Tell me all about it. Surely you can tell me anything.’
In this scene, Rafe does not immediately go forward of events. Probably in his mind he already knows that his wife has done something with his overcoat but he wants to hear it from her. This is a sign that he is patient. He doesn’t jump into blaming her and starting another ‘inquest’ into the truth. He slowly wants to hear the information as it comes.
When daisy told him she needed money for Florence and that she sold the overcoat, Rafe is worried and concerned. He is not bothered by the fact that his wife has sold his new overcoat. What bothers him is the fact that his wife did not ask for money from him because of his outward-nature (stern, uneasy to talk to and an intimidating presence). He understands that his wife had to take such drastic measures because of the person that he is externally. He opens up his ‘real internal self’ and tells Daisy that he loves her. He says, ‘don’t you realise that I love you for what you call your faults.’ These words from his mouth are assuring and probably ‘sweet’ in Daisy’s ears.
When Daisy asks for his forgiveness he in turn begs for forgiveness in admission that all of this is his fault. ‘Nay, you must forgive me. I drove you to it. I try to do good by force and force seems to blind a man.’ He seems to have realised that he is not being the man that he really is.
This whole picture created here is in contrast to the self opinionated, self-assured and self-conscious Rafe seen in the first scene. When Daisy persists with her apology Rafe says, ‘I don’t care about the coat or the desk. All I’ve ever cared about is you and our four children.’ Now the real Rafe is revealed. He is a family man who loves his family but fails to get the message in the appropriate way. Furthermore, he opens up to his wife and tells her how he has come to be the man that he is. He is humbling himself and reveals the things that he would have never said while he was still proud. He finally appreciates the fact that no one is perfect. Some of the childhood facts that he tells his wife about are:
His upbringing and how it was shattered by the experiences of his mother ever being tormented by the presence of bailiffs. He tells of how he had to hide from bailiff men every time he made his way home from school. Every time he met them he had to sneak off and climb over walls so as not to be seen. His mother used to hide he truth from his dad. She always kept her debts hidden from him. This in fact is the reason why he has turned out to have an obsession with the truth. He also mentions one particular incident when he was young. In this incident, he had just come from school and he found two bailiff chaps in the dining room. Going to the kitchen, he found his mother trying to gas herself at the gas stove. That horrific memory has stayed with him always and from that day he had vowed never to have a debt in his life, not even to owe a single penny. He tell of the misery he went through and how nothing could ever pay back those memories. Eventually, this culminates in him turning out to be the sort of man that he is externally but not the man that he really is internally.
In directing this film, I would tell the actor playing Rafe to show emotion and be supportive. He should stand facing Daisy to show that he is giving her maximum attention. He should speak in a polite and pleading tone, one that shows remorse. He should have a distraught and dishevelled look as he runs up the canal in search of Daisy to show that he has lost those thoughts of dignity and control. I would also tell the actor playing Daisy to physically run out of the house and if in a theatre, even just down the aisle of the theatre.
