There was a sudden and appalling hush; eyes floated uncomfortably, not knowing where to look. The Director went suddenly pale, stopped struggling and stood, his hands on her wrists, staring down at her, horrified. ‘Yes, a baby—and I was its mother.’ She flung the obscenity like a challenge into the outraged silence; then, suddenly breaking away from him, ashamed, ashamed, covered her face with her hands, sobbing. ‘It wasn’t my fault, Tomakin. Because I always did my drill, didn’t I? Didn’t I? Always … I don’t know how … If you knew how awful, Tomakin … But he was a comfort to me, all the same.’ Turning towards the door, ‘John!’ she called. ‘John!’

He came in at once, paused for a moment just inside the door, looked round, then soft on his moccasined feet strode quickly across the room, fell on his knees in front of the Director, and said in a clear voice: ‘My father!’

The word (for ‘father’ was not so much obscene as—with its connotation of something at one remove from the loathsomeness and moral obliquity of child-bearing—merely gross, a scatological rather than a pornographic impropriety), the comically smutty word relieved what had become a quite intolerable tension. Laughter broke out, enormous, almost hysterical, peal after peal, as though it would never stop. My father—and it was the Director! My father! Oh, Ford, oh Ford! That was really too good. The whooping and the roaring renewed themselves, faces seemed on the point of disintegration, tears were streaming. Six more test-tubes of spermatozoa were upset. My father!

Pale, wild-eyed, the Director glared about him in an agony of bewildered humiliation.

My father! The laughter, which had shown signs of dying away, broke out again more loudly than ever. He put his hands over his ears and rushed out of the room.