In
particular he was constantly making some of his characters tell the others
what we of the audience either already knew or quite easily guessed. To
exhaust my tedious-homely metaphor, if you put in a double measure of water
the mixture will refuse to rise. And that I imagine is essentially what
happened to _Just Like Judy_.
Irish _Judy_, a charmingly pretty busybody, outwardly just like Miss IRIS
HOEY, comes to _Peter Keppel's_ studio and hears that this casual youth has
got into a deplorable habit of putting off his marriage with her friend
_Milly_. She (_Judy_) will see to that! She assumes the _role_ of a
notorious Chelsea model, whom proper _Peter_ has never seen. _Peter_ knocks
his head on the mantelpiece, just where a shrapnel splinter had hit him,
and is persuaded that she, _Judy McCarthy_, affecting to be _Trixie
O'Farrel_, is his wife. It all seems very horrible to him, but, shell-shock
or no shell-shock, he sets to work to paint her portrait in a business-like
way, and at the end of four hours it doesn't seem at all horrible.
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