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ACT II
Jonathan Builds a Fear

Six years have elapsed since Act I as years elapse in a boy's imaginings.
Throughout this act the characters are disclosed without reason as in a dream; and the movement of the act represents four terrors of a delirium—anxious effort to make oneself known, a feeling of fetters, climbing and a sudden fall.

[Before the curtain rises the voices of Jonathan, Hank, Nathaniel and John are heard, muffled and far away.

HANK

He fell on the rocks out there.

NATHANIEL

Put him over here.

JOHN

What was he doing?

HANK

He was—

NATHANIEL

This is no time for questions, John. Call a doctor.

JONATHAN

Good-bye.... Jonathan.

JOHN

We'd better take him in the house.

JONATHAN

My mother was the best woman—

NATHANIEL

He'd better stay here until the doctor comes.

JONATHAN

All on a summer's day—

HANK

He's out of his head, ain't he?

NATHANIEL

Perhaps, but sometimes one's heart speaks in a delirium.

HANK

He acts like his back's broke.

NATHANIEL

My God—his back!

JONATHAN

My back's broken, Hank.

HANK

Listen, he's saying my name. We wuz pals, sure nuff.

JONATHAN

My back's broken, Hank.

[The curtain has risen unnoticed.

A faint light that grows steadily brighter as light does when one comes out of a swoon discloses Jonathan and Hank seated on a log at the left of the stage, where the bench had been. Jonathan seems much older, and he is crooked and dirty and unkempt, and Hank is somewhat brutalised, less negative.

JONATHAN

My back's broken, Hank.

[Hank looks at him.

Tired?

HANK

Sure....

JONATHAN

I think Uncle Nathaniel would help me if he saw me.

HANK

He couldn't do nothin' for you. You can't straighten a crooked back....

JONATHAN

Hank, I'm tired of this and I'm going back.

HANK

Going back where?

JONATHAN

I'm going back home.

HANK

Your Uncle John won't let you in.

JONATHAN

Uncle Nathaniel will take me in.

HANK

He ain't there no more and besides he won't know you.

JONATHAN

Honest—don't you think he would?

HANK

Sure, he wouldn't.

JONATHAN

I wish I hadn't run away.

HANK

If you don't quit wishing I'll run away from you.

JONATHAN

You wouldn't leave me, would you, Hank?

HANK

Sure, I'd leave you.... What do you think I am—a wishing stone?… I want peace, I do.... An' your wishing's disturbing my peace.... Every day fer six years you squeal about what you done.... Your Uncle John swatted you and you burned your theatre things and jumped out o' the window and broke your back and I saved you....

JONATHAN

I can't do anything with a broken back!

HANK

What do you want to do anything for?

JONATHAN

Sometimes I'd like to write a little.

HANK

Go ahead.... I'll wait for you.

JONATHAN

And I'd like to give a show. You know, Hank, I used to want to be an actor....

HANK

Sure, all kids want to be actors or go in a circus or do something where a lot o' people are lookin' on.

JONATHAN

But I can't be an actor now, because nobody'd want to look at me.

HANK

You act like that hump's ruined your life, when all you got to do's crouch over a little more and look sad and you can get anything you want. Why, it's money in your pocket, that's what that hump is; it's money in your pocket.

[He closes the conversation by whistling.

Say, go on over to that house and get us something to eat.

[Jonathan prepares for the quest and Hank rolls over to go to sleep.

As Jonathan crosses, lights disclose a hill with pleasant green slopes. At its foot stands a little cottage, all cool and pleasant with great glass doors. There are no locks and bolts to keep one out or to keep one in. A high plaster and brick wall flanks the cottage.

As Jonathan nears the cottage he meets Uncle John, whose austerity is more apparent than ever.

Jonathan cowers a moment, then attempts to smile.

JONATHAN

Hank said you'd turn me away if I came back.

JOHN

Were you talking to me, boy?

JONATHAN

I'm so sorry I ran away, Uncle John.

JOHN

Uncle John?

JONATHAN

Don't you know me, Sir?

JOHN

Indeed I do not.

JONATHAN

I'm Jonathan—

JOHN

Jonathan! My nephew Jonathan?—Ha! Ha!

JONATHAN

Don't you remember I didn't want to study engineering—I didn't want to go to Somerset School?

JOHN

Where is Jonathan?

JONATHAN

I'm Jonathan, sir. You remember I jumped out of the window and I tried to run away.

JOHN

You seem to know a lot about it. Where is Jonathan?

JONATHAN

I tell you I am Jonathan.... Don't you remember you struck me—You struck me across the face—that's what made me run away.

JOHN

I should have whipped him and put him to bed.

JONATHAN

I would have run away just the same, Uncle John.

JOHN

Don't call me Uncle John!

JONATHAN

But you are my Uncle John.

JOHN

I ask you where is Jonathan.

JONATHAN

Would you like to see him?

JOHN

I should like to know what has become of him.

JONATHAN

Would you let him come back home?

JOHN

No. When he ran away, I cast him out forever.

JONATHAN

Couldn't you forgive him if he was very, very sorry for what he had done?… Couldn't you forgive me, sir?… I am Jonathan. Honest I am Jonathan.

JOHN

Don't try to deceive me. Jonathan was impudent as you are; but he was a Clay: he was straight and fine.

JONATHAN

But I broke my back.

JOHN

Tell me where Jonathan is, you imposter.

[He takes Jonathan by the arm and twists it brutally.

Tell me.... Tell me.

JONATHAN

I don't know.... Let me go.... I'm not Jonathan.

JOHN

Tell me....

JONATHAN (in desperation)

He's dead.

JOHN

What!

JONATHAN

He's dead. He died somewhere.

JOHN

And so you tried to palm yourself off as Jonathan.

JONATHAN

I'm sorry.

JOHN

Don't you know you can't make your way with lies?

JONATHAN

Yes, sir.

JOHN

You ought to be whipped, but I suppose you don't know any better. I should have you arrested for vagrancy.

[Jonathan winces.

But I won't. I pity you, you dirty little beggar.

[He starts to walk.

You ought to wash your hands and face at least.

JONATHAN

Please, sir—one minute.... How are Mary and John third?

JOHN

Mary is ten—a big girl—and John third is eight—a strapping boy who will be a great help to me.

JONATHAN

And—how is Aunt Letitia?

JOHN

My aunt died of a broken heart.

JONATHAN

A broken heart?

JOHN

Because Jonathan ran away.

[Jonathan buries his face in his arms.

There! Don't cry for someone you've never seen.... Here, here, take this—

[He presses a coin into Jonathan's hand and goes out.

Jonathan looks at the coin, then after John, and seems to close his heart. He crosses to the sleeping Hank.

JONATHAN

Here, Hank.

HANK (taking the coin)

What'd he say?

JONATHAN

He didn't know me.

HANK

I guess you're not going back home now!

JONATHAN

No, I haven't any home.

HANK

Then quit your snifflin' an' go on over to that house.

JONATHAN

All right, Hank.

[Hank curls up and goes to sleep again.

Jonathan crosses to the cottage and finally summons the courage to knock on the door. As he does so the lights within grow bright and disclose a lovely little room with a beautiful piano in the centre. In a moment a young woman appears and opens the doors. It is Susan Sample. She is charmingly older; but she is dressed almost as she was in the old lumber room.

JONATHAN

Please, Miss—why—

SUSAN

What do you want?

JONATHAN

I—don't you know me?

SUSAN

No, I don't know you, little boy. What do you want?

JONATHAN

I—don't you really know me?

SUSAN

I've never seen you before.

JONATHAN

I know you.... You're Susan Sample.

SUSAN

Who told you?

JONATHAN

I'm— (He becomes conscious of his back) Why Jonathan told me.

SUSAN

Have you seen Jonathan?

JONATHAN

Yes.

SUSAN

Where is he?

JONATHAN

I don't know.

SUSAN

He ran away. Why doesn't he come home?

JONATHAN

Because—oh, I don't know.

SUSAN

Who are you?

JONATHAN

I'm a vagrant.

SUSAN

Are you hungry?

JONATHAN (looking toward Hank)

No. I'm not.... I'm not begging.... But will you do something for me?

SUSAN

Yes, if I can.

JONATHAN

Will you play for me?

SUSAN

Oh, yes.... What shall I play?

JONATHAN

Anything.

[Jonathan notices his dirty hands.

Excuse me a moment.

[He goes to a bird-bath and washes his hands, wipes them and returns to the piano.

Susan plays a bit of a nocturne with ease and grace.

JONATHAN

Do you remember this?

[He hums "All on a Summer Day."

SUSAN

Oh, yes.

[She plays the tune in a sophisticated musical way, but Jonathan is disappointed.

SUSAN

You don't like it?

JONATHAN

That isn't exactly the way it goes.

SUSAN

Oh, yes, it is.

[She plays it once more and sings it.

JONATHAN

No—no—no. It ought to go this way.

[He sings it as he had sung it years before.

SUSAN

You sing that just as Jonathan used to sing it.

JONATHAN

I like it that way.

SUSAN

Did Jonathan teach it to you?

JONATHAN

Yes.... A long time ago.

SUSAN

Did he tell you—

JONATHAN

About the lovely lady who danced to the tune? Oh, she was wonderful!

SUSAN

Jonathan ran away—and he never wrote to me or thought of me.

JONATHAN

He thought of you and he talked of you and he sang of you.

SUSAN

No.... I can't believe that.

JONATHAN

Jonathan loves you very much.

SUSAN

If a man loves a woman very much he can't go away from her for years and years.

JONATHAN

Suppose Jonathan had pride and was ashamed to let you know that he had failed.

SUSAN

Jonathan wouldn't fail. I know Jonathan.

JONATHAN

He—Susan Sample!

[Susan plays softly. She is lovely in the sunlight which is lengthening across the lawn.

[Jonathan watches her quietly. The love of the boy fans into flame and he reaches out to her, then in the consciousness of his deformity he turns away.

SUSAN

Will you tell me where Jonathan was when you last saw him?

JONATHAN

I don't know—The last time I saw Jonathan—he was tall and straight—and making his way.

SUSAN

Oh, well.

[Albert Peet enters. He is a little man of immaculate appearance and great preciseness.

ALBERT

Ah, Susan.

SUSAN

Albert, you are late.

ALBERT

Who is this?

SUSAN

This is a friend of Jonathan's.

ALBERT

Jonathan who?

SUSAN

Don't you remember Jonathan who had the toy theatre? He ran away from home.

ALBERT

Oh… and this is his friend? How do you do?

SUSAN

Do you remember this? I used to play it for you.

[She begins "All on a Summer's Day."

Jonathan and I made it up.

ALBERT (laughing)

Oh, yes.

SUSAN (to Jonathan)

Come on and sing it.

[Jonathan is not sure of the status of Albert Peet.

[Susan plays and she and Jonathan sing with great feeling.

ALBERT (looking at his watch)

Well, all this is very pleasant indeed, but we'll have to go, Susan dear.

[At the "Susan, dear" Jonathan turns quickly and sees the two holding hands. Susan holds up her left hand and shows an engagement ring on it. Jonathan is utterly crushed.

JONATHAN

I think I'd better say good-bye.

[He takes up his cap.

SUSAN

Good-bye. If you see Jonathan, tell him I'm going to marry Albert Peet. He'll know.

ALBERT

Good-bye.

[Albert and Susan walk off happily in the sunshine.

Jonathan looks after them.

Mlle. Perrault enters followed by Mary and John 3rd. Mlle. Perrault's dress is almost like the one she had worn when she first met Jonathan in the lumber-room, except that the colors are reversed and more brilliant. Mary is a lovely little yellow-haired child of ten and John 3rd is a stoical matter-of-fact boy of eight. The two children are evidently very fond of Mlle. Perrault, as fond as Jonathan and Susan had seemed. If the children seem thoughtless and cruel, it is because they are children and life has not yet laid a hard hand upon them. The sun rays are very low against the wall now so that anyone walking near it will cast a very heavy shadow.

MARY

John, look—he's a hunchback.

MLLE. PERRAULT

'Sh! Children.

[The children whisper.

Jonathan turns and seeing Mlle. Perrault smiles.

How do you do, little man.

JONATHAN

I am well, I thank you.

MLLE. PERRAULT

What are you doing here?

JONATHAN

I am with Hank.

MLLE. PERRAULT

Hank?

JONATHAN

Yes, Hank's my pal. There he is—asleep.

MLLE. PERRAULT

Oh, what a dreadful person.... Children, don't go near him.

JONATHAN

He's not so bad.

MLLE. PERRAULT

But he is a vagrant—a tramp. Why does he do nothing?

JONATHAN

He's happier that way.

MLLE. PERRAULT

Are you his son?

JONATHAN

Oh, no.

MLLE. PERRAULT

Where is your mother?

JONATHAN

My mother's dead.

MLLE. PERRAULT

Where did she live?

JONATHAN (Looks for a trace of recognition)

I'd better not tell you.

MARY

Oh, please tell us.

JONATHAN

I'd better not.

MARY

You ask him, John.

JOHN III

Uh-uh!

MARY

Why not?

JOHN III

I don't want to know.

MLLE. PERRAULT

Why don't you want to tell us? We won't tell anybody.

JONATHAN

Nobody'll believe me.

MARY

Why?

JONATHAN

You see, I ran away from home—

JOHN III

When you run away from home, you're no good.

MARY

Now, John, that isn't always so.

JOHN III

It is.

MARY

It isn't. Goldilocks and the Babes in the Wood and the Marquis of Carabas were all good, and they ran away from home.

JOHN III

But they had bad homes.

MARY

Was your home bad?

JONATHAN

I thought it was.

JOHN III

You thought it was. But was it?

JONATHAN

No.

JOHN III

Then you're no good.

MLLE. PERRAULT

Oh, John.

JOHN III

No, he isn't. Grandfather said nobody who ran away from home was any good!

MARY

Why did you run away from home?

JONATHAN

I mustn't tell.

MARY

Oh, you won't tell anything!

JOHN III (pointing to Hank)

What did you say he was, Ma'mselle?

MLLE. PERRAULT

He is a vagrant—

MARY AND JOHN III

What's a vagrant?

MARY

Ooh—

[Puts up her hand to make a wish.

JOHN III

Aw, I'm not going to make a wish. Grandfather'll get it for me anyway if I want it.

MARY

Now, John Clay III—

[Jonathan looks up quickly.

You always spoil things.

JONATHAN

Is that Mary Clay and John Clay?

MLLE. PERRAULT

Yes.

JONATHAN

They don't remember Jonathan, do they?

MLLE. PERRAULT

You mean Jonathan who ran away?

JONATHAN

Yes, ma'am.

MARY

Who's Jonathan?

JOHN III

He's David's friend. I know that. And he was very good.

MLLE. PERRAULT

What do you know about Jonathan?

JONATHAN

I knew him once—

MLLE. PERRAULT

He was a splendid little man! He could make such lovely songs.

JONATHAN

Do you remember the one he and Susan Sample made up?

MLLE. PERRAULT

Let's see—how did it go?

[Hums a little—tries several folk tunes. The children edge up to Jonathan during this and manage to touch his back several times, each keeping count. Jonathan smiles at them, thinking it's attention.

JONATHAN

No, it went this way.

[He sings a little of the song and Mlle. Perrault joins him. As he stops singing she switches the time to waltz time and begins to sway to it. The music is taken up as by a dream-orchestra and Mlle. Perrault dances a very lovely little waltz.

JOHN III

Oh, look at your shadow!

[Mlle. Perrault turns and sees her shadow on the wall.

I can make a bigger one than that.

MARY

Oh, come on, ma'mselle, let's all make shadows.

[The three of them stand in front of the wall.

JOHN III

Boy, you come, too.

MLLE. PERRAULT

Come, boy.

[Jonathan joins them standing so that his deformity doesn't show in the shadow.

Now, let's dance—Give me your hand—so.

[The four dance, while Mlle. Perrault hums "All on a Summer's Day." They are having a very good time when Susan and Albert enter.

Jonathan is a little conscious of Susan and Albert, and he manages to make several awkward moves.

MLLE. PERRAULT

Now, let's make everybody's shadow dance by itself.

MARY

Oh, come on.

JOHN III

You first, Mlle.

MARY

It's your turn, Mlle.

[Mlle. Perrault stands before the wall and makes a very lovely shadow.

John, you do it now.

JOHN III

I won't. I'm going to be next to last.... He's going to be last.

[Mary makes a pretty "statue."

MARY

Now, John—

[John III, holding a staff, stands bow-legged and pigeon-toed.

All of them laugh.

MLLE. PERRAULT (to John III)

You little Jackanapes! You!

JOHN III (to Jonathan)

You can't do that.

[Jonathan, still conscious of Susan, but more in the spirit of the game nevertheless, laughs almost gleefully.

JONATHAN

You just wait.

[He stands in front of the wall and does some comical movements with his feet and legs, then he turns in such a way that for the first time the shadow of his hump is thrown into a pitiful distortion on the wall. He doesn't see it at first, for he is lost in the game with the children.

JOHN III (yelling suddenly)

Oh, look!

[The children laugh immoderately, and Jonathan turns his head quickly, but in so doing alters the shadow. He smiles joyfully and then once more falls into the distorted picture.

MARY

Ooh—

JOHN III

That's funnier than mine.

[Jonathan turns his head this time and sees the full horror of the thing.

Mlle. Perrault and Susan have realized too late to protect Jonathan.

MLLE. PERRAULT

John! Mary! Tell the little boy good-bye. We must go.

[Jonathan looks toward Susan and Albert. There is pity in Susan's eyes and a smile in Albert's.

SUSAN

Albert, come—let's go!

[They pass into the house.

JOHN III [Almost as Susan speaks

Wasn't he funniest of all!

MLLE. PERRAULT

Now, run along, children. Run along.

MARY

Look, I can make a hump-back.

JOHN III

So can I.

MARY

Not a good one!

JOHN III

You can't touch mine.

[He smacks Mary on the back and runs off, Mary following him.

MLLE. PERRAULT

Little man, I'm very sorry. You mustn't let them hurt you. They are only children.

JONATHAN

Yes, ma'am.... Thank you.

MLLE. PERRAULT

May I do something for you?

JONATHAN

No, ma'am… if you please… I must go to Hank.

MLLE. PERRAULT

Here, take this—

[She offers a coin.

JONATHAN

Oh, no, ma'am....

[He puts his hand behind him.

MLLE. PERRAULT

I am sorry.... Very, very sorry.

JONATHAN

Yes, ma'am.

[Mlle. Perrault goes out silently, and in a moment she is heard to call "Marie"—"John," and a distant answer is heard.

Susan comes to the door and sees Jonathan. She crosses to him. He looks at her almost with madness in his eyes.

SUSAN

They didn't mean to hurt you.

[She lays her hand on his arm.

JONATHAN

Yes, I know.

[There is a moment of the tenderest, most understanding silence. He turns away.

Susan starts to reach in her bag, she even takes her purse out; but she replaces it unopened, and instead of bestowing alms, she takes a flower from her hair and presses it in Jonathan's hands.

He looks at her with years of pent-up gratitude loosed from his heart.

Silently, she turns away and goes into the house. Jonathan, left alone, turns so that his hump once more shows in the most distorted shadow. He lifts the flower and for a single moment, its shadow rises above the shadow of the hump, a tiny cross on his little Calvary. Then he lays the flower against his cheek and sits upon the log near Hank.

Hank awakens.

HANK (looking up stupidly)

What you got?

JONATHAN (hiding the flower)

Nothing.

HANK

Come across, Humpy.

JONATHAN

Don't you call me that!

HANK

So—ho! What you yelling at me for?

[He sits up.

JONATHAN

Nothing.... I didn't mean to yell.

HANK

What you got there?

JONATHAN

I tell you I haven't got anything, Hank.

HANK

Come on. Come across.

JONATHAN

It's not for you.

HANK

Come on.

JONATHAN (Rises and moves away)

No.

HANK

Gimme it here....

[He grabs Jonathan and tears the flower from his hand.

JONATHAN

Stop that!

HANK

Great God! (Throwing the crushed petals on the ground) Say, what's the matter with you?

JONATHAN

I tell you, I'm going back.... I'm going back to my home.... I'm going to find my Uncle Nathaniel. I know he'll take me in. He won't blame me because I'm a cripple.... I know.... I know.... Didn't he say, "Poor Jonathan"?…

[At this moment Nathaniel enters, and the two stand face to face as they had stood in the lumber-room at their first meeting.

Hank slinks away.

Nathaniel is untouched by the years. Jonathan looks at him hopefully, but there is no glint of recognition In Nathaniel's eye.

JONATHAN (timidly)

Uncle Nathaniel.

NATHANIEL

What did you say, my boy?

JONATHAN (Less and less audible, as his disappointment increases)

Uncle Nathaniel.

NATHANIEL

I can't hear you.

JONATHAN

You—are—my—Uncle Nathaniel.

NATHANIEL

Come, come, my boy. I can't hear you.

JONATHAN

Aren't you—Mr.—Nathaniel—Clay?

NATHANIEL (kindly, but as to a stranger)

Yes, I am Mr. Nathaniel Clay.

[Jonathan smiles one of his old half smiles.

JONATHAN

My name's—Jonathan.

NATHANIEL

Jonathan!… I had a nephew whose name was Jonathan.

JONATHAN

Don't you know me?

NATHANIEL

You must forgive me, little man—but I do not remember you. Boys grow so quickly.

JONATHAN

Don't you remember Zenobia?

NATHANIEL

Zenobia? Who was she?

JONATHAN

Don't you remember the little theatre?

NATHANIEL

Oh, yes, my nephew Jonathan had a little toy theatre, and he wrote a play called Zenobia.... He burnt them.

JONATHAN

Was it wrong to burn them?

NATHANIEL

I don't know. You see Jonathan ran away, and I have never seen him since.

JONATHAN

Do you blame him?

NATHANIEL

Well, I can't say. When a fine boy like Jonathan runs away from home, he may have what he considers a good reason.

JONATHAN

Don't you know why he ran away?

NATHANIEL

I think I know.

JONATHAN

Would you tell me why?

NATHANIEL

That wouldn't do any good, my boy.... If you had an uncle who liked you very much, would you run away?

JONATHAN

No, sir—not if I had another chance....

NATHANIEL

What do you mean?

JONATHAN

Don't you really know me?

NATHANIEL

I'm sorry—no!

JONATHAN (pointing to Hank)

Do you know him?

NATHANIEL

That tramp?

JONATHAN

Yes, sir.... That's Hank.

NATHANIEL

Hank?

JONATHAN

Yes, the one I ran away with.

NATHANIEL

Did you run away, too?

JONATHAN

Yes, sir; I jumped out the window, and I fell and broke my back. Hank said—

NATHANIEL

What a dirty man!

JONATHAN

He's my pal.

NATHANIEL

You're evidently a fine young man inside.

JONATHAN

Oh, I'm sorry, sir, that I ran away.

NATHANIEL

You can't undo the past, my boy, but you can make the future.

JONATHAN

I can't straighten my back.

NATHANIEL

Perhaps not, but you can straighten your life.

JONATHAN

I'm only a beggar, sir.

NATHANIEL

There is something everybody can do.

JONATHAN

There isn't any place for me....

NATHANIEL

My boy, there is a place for everybody who wants a place.

JONATHAN

Do you remember what your nephew wanted to do?

NATHANIEL

Yes, he wanted to write plays and run a theatre and be an actor.

JONATHAN

I couldn't ever be an actor, could I?

NATHANIEL

No, my boy.

JONATHAN

Supposing you had your heart set on something and couldn't do it, what would you do?

NATHANIEL

I'd not give up.... I'd try something else.

JONATHAN

Supposing I were your nephew, what would you do?

NATHANIEL

I'd find out what you wanted to be.

JONATHAN

Don't I look like Jonathan?

NATHANIEL

Jonathan must be very tall now.

JONATHAN

If Jonathan weren't tall?

NATHANIEL

But he is tall and splendid. I know Jonathan! And he's doing what he set out to do.

JONATHAN

I hope you'll find him, sir, and I hope he'll make you proud.

NATHANIEL (very earnestly)

My boy, how old are you?

JONATHAN

I'm twenty.

NATHANIEL

Twenty.... Will you try to pull yourself out of the rut?

JONATHAN

What do you mean, sir?

NATHANIEL

Look at that man. What is he to you?

JONATHAN

He's my pal.

NATHANIEL

You mustn't waste your life on such emptiness as his.

JONATHAN

I'm going to try, sir.... And if I make good, will you believe I'm Jonathan?

NATHANIEL

I'll believe you are you.... Here....

[He offers Jonathan a coin.

JONATHAN

Oh, no, sir.... I can't—from you—

NATHANIEL

Well, you are a strange beggar—

JONATHAN

I'm not a beggar at heart.... I don't want to be what I am. But I don't know which way to turn. I'm all mixed up.

NATHANIEL

All mixed up?

[Nathaniel turns and looks toward the hill.

Boy, there is a green hill far away. Climb to the top of it, look about and you will see—

JONATHAN

I know: the whole wide world!

NATHANIEL

Exactly.

JONATHAN

Yes, sir.

NATHANIEL

Go to the hilltop alone—and cry out to your heart's content.—There's nothing like a hilltop to make a man feel worth while!

JONATHAN

I knew that, sir; but I forgot it. I'm going—

NATHANIEL

Good-bye, boy; God bless you.

[The two clasp hands and Nathaniel goes.

JONATHAN

He believes in me....

[He watches Nathaniel with wide eyes, then calls to Hank.

Hank! Hank!

HANK

What you want?

JONATHAN

He didn't know me!

HANK

Who didn't know you?

[Hank lies down.

JONATHAN

Uncle Nathaniel.... He just passed by.... But, Hank, he believed in me! He believed I'd make good.

HANK

Say, what's the matter with you today?

JONATHAN

I'm goin' to leave you, Hank.

HANK

Huh?

JONATHAN

Old pal, I'm going to leave you forever. You've stuck by me—

HANK

Sure, I've stuck by you.

[Makes himself comfortable.

Ain't you saved me a heap o' trouble?

JONATHAN

But I'm going now, Hank. Good-bye. I'm going to the green hill far away.

[He starts away leaving Hank alone and asleep. The lights fade out.

Soft music is heard through the darkness and slowly the outline of the green hill appears close at hand. Jonathan outlined against the sky appears at the edge of the hill, climbing with difficulty.

NATHANIEL (The voice is heard with the music)

Nine ninety-nine—one thousand. You're nearly there, Boy.

JONATHAN

Nine hundred and ninety-nine—one thousand—I'm almost there.

NATHANIEL (far away)

A thousand and one—a thousand and two—

JONATHAN

A thousand and one, a thousand and two—I am here!

NATHANIEL (far away)

The world is here.

JONATHAN (as though addressing the world)

Listen.... I ran away. I ran away. I was fourteen. I saw visions of great things. I heard voices of the past and the future. I wanted to tell what I saw and heard.... Oh, you who made sport of my dreams, I am here at the top of the world! Uncle John, I have heard things you will never hear, and I have seen things you will never see.

JOHN (far away)

But your back's broken.

JONATHAN

Oh, Susan—Susan Sample—see—see. I told you I wasn't a beggar. See—see—Jonathan stands at the top of the world!

SUSAN (faintly)

But your back's broken.

JONATHAN

Oh, people of all the world, I am a boy who asks you to hear me and to understand. I only wanted to work out my way.... I planned my way because I couldn't help it—I wanted to build my own world—alone.... I climbed clear to the top—Jonathan stands before you—

VOICES

Jonathan's dead.

JONATHAN

Dead?… Oh, see the wreck of everything.... Jonathan is dead!

[He falls.

NATHANIEL

Boy—boy—Jonathan!—I believe you are you.

JONATHAN

Uncle Nathaniel!

[He rises slowly.

Oh, people of all the world, my Uncle Nathaniel understands.—I speak for all the boys of all times. Have patience—patience and understanding. Don't you remember when you were young? We come to you with hopes and dreams and wishes and fears,—and these are the things that life is made of—