Kitabı oku: «More Portmanteau Plays», sayfa 7
ACT III
Jonathan Makes a Wish
[The scene is a summer house on the estate of John Clay. It is charmingly furnished with wicker chairs and a table. The building is hexagon shape and we look into half the hexagon. The doors at the left open on to the path that leads from the house. The doors at the back open onto a garden path that leads to a gate. Eight weeks have elapsed since the first act.
The curtain rises disclosing an empty stage. It is early evening and sunset is leaving only the faintest tinge above the hills. After a moment Jonathan enters. He is unchanged except that he still carries in his eyes some of the horror of his delirium. He opens the back windows and then sits above the table and begins to look at an illustrated paper.
Nathaniel enters carrying a manuscript. He seems a bit less carefree than at his homecoming, and he also seems closer to Jonathan.
NATHANIEL
Well, my boy—
JONATHAN
Uncle Nathaniel, did you know that Caproni was an artist?
NATHANIEL
You mean the Caproni who makes the wonderful aeroplanes?
JONATHAN
Yes, sir.
NATHANIEL
No, I didn't know it; but I'm not surprised.
JONATHAN
Aren't these pictures fine?
NATHANIEL
Excellent.
JONATHAN
He made them.... They're like great dragon-flies, aren't they?
NATHANIEL
A whole swarm of them.
JONATHAN
It must feel funny to fly through air.
NATHANIEL
Would you like to try it some time?
JONATHAN
Yes… but I'd have to get used to it.... It must be like diving.
NATHANIEL
When you were very ill you seemed to imagine you were falling.
JONATHAN
Did I talk much when I was unconscious?
NATHANIEL
You talked almost continuously.
JONATHAN
Did I?… You said you'd tell me what I said—when I was strong enough.... I'm pretty strong now.
NATHANIEL
Do you know what I did?
JONATHAN
I don't know.
NATHANIEL (showing manuscript)
Can you guess?
JONATHAN (Looks at manuscript)
"Jonathan Builds a Fear." What does that mean?
NATHANIEL
When you were delirious I listened to what you said and then I made a story out of it.
JONATHAN
You mean this is all about me?
NATHANIEL
It's about a little hunchback who thought he was you.
JONATHAN
I know. I was always trying to make somebody know me, and finally I thought I jumped from the top of a hill and I seemed to be falling for years and years....
NATHANIEL
Those were terrible days, my boy, and do you know, we were afraid you wouldn't live.
JONATHAN
It was a terrible feeling.
NATHANIEL
I know, but all that's over now; and there's the whole story about the little hunchback you never were.
JONATHAN
[Hank's whistle is heard. Jonathan rises very quickly and looks at Nathaniel.
NATHANIEL
He comes every now and then to ask about you and to get something to eat.
[Hank whistles again.
HANK'S VOICE (at back)
Hi!
NATHANIEL
Come in, Hank.—
HANK
Is the old man here?
NATHANIEL
No.
HANK (Enters through the gateway whistling)
Hello, boy.
JONATHAN
I'm well now. How are you?
HANK
I'm beginning to get cold, so I think I'll go south tomorrow and I thought I'd drop in to say good-bye.
NATHANIEL
I'll give you an overcoat, Hank.
HANK
No, thanks. It's too hot to carry it. I'll get one when I really need it, maybe.
NATHANIEL
Well, here's something for you.
[He offers him a five dollar bill.
Five dollars! No, thanks. If I had that much money I'd lose it maybe. Give me two bits and call it square.
[Nathaniel hands him a quarter.
Thanks.... Well… good-bye.... I'm glad your back wasn't broke.
JONATHAN
Good-bye, Hank.
HANK
Good-bye, Mister.... I'll see you next year maybe, when it's warm.—Say, kid, I'd like to see that Zenobia show again:—"Hail, noble duke," "All's well, Irene." "Not very well, noble duke."
[He goes out, chuckling to himself.
Aunt Letitia enters. As usual she has something to keep her hands busy. She seats herself comfortably in a chair that custom has evidently made her very own. In her work she shows the effect of time upon her eyes and she may feel a tiny draught that causes her to close the doors behind her and draw her scarf a bit more closely about her. Never has Aunt Letitia seemed more successfully the poor relation.
LETITIA
I thought you were out with John.
NATHANIEL
No.
[Jonathan is looking at the manuscript.
LETITIA (to Jonathan)
How do you feel, dear?
JONATHAN
Fine;… I think I'll go in the house and read this.
(To Nathaniel)
I'm glad it isn't true.
[He goes out.
NATHANIEL
It's the story of his delirium. I thought it would interest him—and relieve him.
LETITIA
Has John gone?
NATHANIEL
Only for a stroll—the doctor's orders.
LETITIA
Well?
NATHANIEL
Well?
LETITIA
Sit down.
NATHANIEL
In John's chair?
LETITIA
If you wish.
NATHANIEL
John's chair! The throne of the head of the family! (He sits in John's chair) Well?
LETITIA
Nathaniel dear, you are making John very unhappy.
NATHANIEL
And John has made me very unhappy, dearest Aunt Letty.
LETITIA
The feeling at the dinner table was almost unbearable tonight. There we sat strained and silent.
NATHANIEL
I am sorry. I try to avoid meals with John as much as possible.
LETITIA
You've been here eight weeks and John and I know nothing of you. For me it is enough that you are here; but John is the head of the family and he feels that you ought to treat him with greater deference.
NATHANIEL
It is revolting to me to have a tsar in the family.
LETITIA
Your father and your father's father and grandfather were rulers of the Clay family.
NATHANIEL
I don't question that.
LETITIA
You can't change John.
NATHANIEL
I don't want to change John.
LETITIA
Then why not tell him something about yourself?
NATHANIEL
It is none of John's affairs how or why I live. It is none of his affair how or why or when I shall marry Mlle. Perrault.
LETITIA
Perhaps not.
NATHANIEL
When I tell him anything, Aunt Letty, it will be one thing—I have stayed here because I love Jonathan, because he needs me. And I have listened to the boy's fears and to his hopes as they came out of his poor tortured little soul in his delirium. I have watched him during his convalescence, and I see in him a growing man in prison. John sees in him only the potential head of the family; but he is my flesh and blood as much as he is John's and I intend to set him free.
LETITIA
My beloved Nathaniel, John will not give Jonathan up to you.
NATHANIEL
I don't want Jonathan unless he wants to come to me, but I do want Jonathan's freedom.
LETITIA
Isn't he a bit young to have freedom.
NATHANIEL
Aunt Letitia, I don't mean a silly license.—I mean freedom. If you are cultivating a peach-tree you don't expect oranges on it even if it could wish to be an orange tree, but you can help to make it bear better peaches. Jonathan isn't a mechanical business person. His bent is in another direction.
LETITIA
What are you going to do?
NATHANIEL
Frankly, I do not know.
[Up to window.
All I know now is that I shall stay here until I find a plan.
[Jonathan enters.
JONATHAN
Where is Uncle John?
NATHANIEL
He has gone for a stroll.
LETITIA
What do you want, my dear?
JONATHAN
Uncle John sent word that he wanted to see me here at 7:30.
[Letitia and Nathaniel look at each other.
Jonathan takes out a large silver watch.
It's 7:29 now.
NATHANIEL
John will be on time—count sixty slowly—
[John enters. He is rather pale, seems pre-occupied and even more unapproachable than ever.
LETITIA
Did you have a pleasant stroll?
JOHN
I wasn't walking.
LETITIA
I shall go into the house, I think.
JOHN
No, Aunt Letitia, I would rather you'd wait, if you please.
[Nathaniel is an interested spectator. He cannot understand why Jonathan should be present for what will probably be an eventful family scene.
Nathaniel, will you sit down?
NATHANIEL
Certainly.—Where?
JOHN (tartly)
Would you like my chair?
NATHANIEL
Thank you.
[He sits in John's chair, much to John's annoyance.
JOHN
Jonathan, sit down.
[Jonathan sits. John also sits. Aunt Letitia knows what to expect. Nathaniel is more curious than angry. Jonathan is attending his first family conference.
Jonathan, I've sent for you because I want to talk to you seriously.
JONATHAN
Yes, sir.
NATHANIEL
Do you think the boy is strong enough?
JOHN
The doctor told me today that he would be quite equal to it.... Eight weeks ago, Jonathan, you made an effort to run away from your home, because I punished you. In your foolish defiance of all family authority you suffered a fall that might have resulted in a lasting and serious injury. Fortunately you have recovered fully from the result of your fall.
NATHANIEL
Excuse me, John, but all of us know this.
JOHN
One moment, please, Nathaniel.... I have now arranged that you begin your preparation for your life work immediately. You will leave for Somerset School the day after tomorrow.
JONATHAN (desperately)
Uncle John, I don't want to go to Somerset School.
JOHN
You will leave for Somerset day after tomorrow. Good night, Jonathan.
NATHANIEL
Why Somerset?
JOHN
Good night, Jonathan.
[Jonathan, dazed, goes out.
NATHANIEL
Jonathan will never go to Somerset School.
JOHN
Nathaniel, you forfeited your rights in the family councils when you ran away from home seventeen years ago.
NATHANIEL
This boy will run away again and again and I mean to save him from what I have suffered, if I can.
JOHN
Nathaniel, by what right do you attempt to interfere with my decisions?
NATHANIEL
By the right of blood and understanding.
JOHN
Blood and understanding? Where were you when Emily had to leave her husband and brought her boy into my home? Where were you when Emily died? I took Emily in and I took her boy in. As head of the family it was my duty to do so and as head of the family it is my duty to see that the boy is brought up in the best traditions of the family.
NATHANIEL
John, you can't force this boy into a mold.
JOHN
A boy of fourteen doesn't know his mind.... Do you know what Jonathan wants to be?
NATHANIEL
Yes, a writer of plays, a theatre director, and an actor.
JOHN
Imagine!… And I suppose you encouraged him.
NATHANIEL
No, but I didn't discourage him. The selection was wide enough for him to find some lasting life work.
JOHN
He never told me he wanted to be an actor.
NATHANIEL
Oh, my brother, every growing boy has a deep secret wish that he cannot bring himself to disclose! As you know, I always wanted to be a writer, but most of all I wanted to be a left-handed base ball pitcher. And although I'm irretrievably right handed I used to practice—religiously—pitching with my left hand.
JOHN
That was juvenile foolishness.
NATHANIEL
Yes, but it was genuine.
[John starts to speak.
What am I now? I am going to tell you, John—by and by. First, we must dispose of the boy.
JOHN
I shall decide about the boy.
NATHANIEL
No, John; the boy must decide for himself.
JOHN
He'd decide to be an actor.
NATHANIEL
If he did, what of it?
JOHN
I want members of my family to do useful work.
NATHANIEL
What is useful work? An actor serves his purpose just as a plumber or lawyer serves his.... The only difference is that all of us are not plumbers or lawyers while all of us are actors. Yes, John, we're all playing something—you are playing at head of the family, I'm—
JOHN
Still I do not regard acting as a worth-while or lucrative profession.
NATHANIEL
You never know, John.... Five generations ago the Clays were respectable carpenters. They weren't wealthy and they gave no promise of becoming wealthy. Then suddenly our revered ancestor became a successful maker of cypress drain pipes—sewer pipes, I think we used to call them! The family fortunes were founded!! Our ancestor bought a high hat and the esteem of his neighbors. Cypress was in time replaced by pottery. Conduits for wires and terra cotta building materials were added to our achievements and then in your régime superfine sewers became a specialty.
JOHN
Every kind of concrete work!
NATHANIEL
I beg your pardon! Concrete sewers and other concrete things.—Such is the foundation of the family.
JOHN
You are evidently ashamed of our business.
NATHANIEL
Not at all, but I cannot consider the manufacturing of sewers a greater achievement than acting.
JOHN
Nathaniel, are you an actor?
NATHANIEL
No.
JOHN
What are you?
NATHANIEL
For the present I am Jonathan's uncle.
JOHN
You have nothing to do with Jonathan.
NATHANIEL
The boy is not going to Somerset School.
JOHN
Nathaniel, I shall not tolerate your interference. Now I must ask you to leave this house.
NATHANIEL
What?
LETITIA
John… Nathaniel… my boys, it isn't my way to interfere; but please for my sake, for your mother's sake—think what you're doing.
JOHN (With some tenderness he lays his hand on Letitia's)
I have thought, Aunt Letitia. I can not allow this boy's life to be ruined as Emily's and Henry's and Nathaniel's were.
NATHANIEL
Ruined? John, I'll tell you how ruined my life has been and I'll tell you in terms you'll understand. My income last year was over $350,000!
JOHN
Are you acting now?
NATHANIEL
Yes, I'm acting—I'm acting in terms that you will understand.... You know that I'm your brother Nathaniel. Do you know who else I am? I am a writer and a playwright and a director in the United Baking Company and a stockholder in the National Munitions Company—munitions, John; think of it, millions, millions in them—and I'm willing and eager to take Emily's boy and educate him in the way he wants to live his life.
JOHN
What are these heroics?
NATHANIEL
I mean what I say. If need be I shall use brute force, financial force or any kind of force to free Jonathan from the misery that I endured in this house.
JOHN
You had everything you wanted.
NATHANIEL
Everything except freedom to think my own thoughts. John, some people are like reinforced concrete. Someone builds the iron frame and the wooden molds, then pours the cement and when it has hardened, the molds are removed and lo, you have a monolith—a solid unchangeable stone.
JOHN
You talk very well, Nathaniel, but I shall insist upon bringing up my sister's child in my way.
NATHANIEL
Would you have him run away as I did?
JOHN
He will never run away again. He has had his lesson.
[Jonathan enters carrying a suit case.
JONATHAN
May I speak to you, Uncle John?
JOHN
What are you doing with that suit case?
JONATHAN
I'm going away.
JOHN
Who gave you permission?
JONATHAN
Nobody.... I've been thinking since a little while ago and at first I thought I'd run away again; but that wouldn't be quite fair—so I came to tell you.
JOHN
Take that suit case back into the house.
JONATHAN
No, sir! I'm going and nobody can keep me here unless they tie me.
JOHN
Well, I'll tell you one thing—if you leave this house without my permission I'll cut you off without a penny and you'll never be allowed to come back again.
JONATHAN
Yes, sir. I know that; but I'm going and I came to tell you good-bye.
JOHN
Very well. You've made your choice—and I never want to see you again as long as you live. Good-bye, Jonathan. Good-bye, Nathaniel.
LETITIA
John, don't say things you'll regret. Jonathan doesn't mean what he's saying.
JONATHAN
Yes'm, I do mean what I say.
JOHN
Good night.
[He goes out.
LETITIA
Boys, you are so hot-headed—so much alike....
NATHANIEL
You dear, you have always been content to compromise while we two must go our own ways or not at all. You go to John. Help him as you can. He's not a bad man—he's just a structure of reinforced concrete. You love John and he in his way loves you. Go to John and comfort his outraged authority.
LETITIA
I'm sorry things have turned out this way. (She kisses them) Good night, my dears. Wait until morning if you can, my darling Nathaniel.
[She goes out.
NATHANIEL
Now you've done it!
JONATHAN
I couldn't help it.
NATHANIEL
What are you going to do?
JONATHAN
I don't know.... They say there's plenty of work on farms.
NATHANIEL
You can't write if you work on a farm.
JONATHAN
I can earn some more money and save. Other boys have worked their way through school and college. I can do that.
NATHANIEL
Of course—that is a way out of it. Yes… of course....
[Nathaniel opens the back doors and sees the thinnest crescent moon hanging in the sky.
The new moon.... They say if you make a wish on the new moon it will come true.
JONATHAN
You have to see it over your right shoulder.
NATHANIEL
You saw it over your right shoulder.
JONATHAN
I don't believe that, do you?
NATHANIEL
Well, suppose it were true, what would you wish?
JONATHAN
You mean for right away?
NATHANIEL
Yes.
JONATHAN [carefully looking over his right shoulder
I'd wish to be with you.
NATHANIEL
More than anything?
JONATHAN
Yes, sir.
NATHANIEL
More than being a writer or a theatre director or an actor?
JONATHAN
Oh, yes, I'm too young to start right away. I have to have an education first.
NATHANIEL
Suppose that wish couldn't be, then what would you wish?
JONATHAN
That you'd write me long letters and let me write you long letters.
[Takes up his suit case.
I'd better be going now.
NATHANIEL
Aren't you going to tell John and Aunt Letitia good-bye?
JONATHAN
No, sir. I don't think I'd better. Uncle John doesn't care and Aunt Letitia will understand.
NATHANIEL
Yes, she always understands somehow.
JONATHAN
Good-bye, sir.
NATHANIEL
Jonathan, suppose we go away together. I'm not wanted and you're not wanted.
JONATHAN
You're going to Paris to marry Mlle. Perrault!
NATHANIEL
Would you let me be your father, Jonathan?
JONATHAN
Sir?
NATHANIEL
You shall go to the schools where you will find the work you want.... Will you be my son?
JONATHAN
Do you like me that much?
NATHANIEL
I like you more than that much. You'll get some long trousers and we'll plan and plan. Suppose we run away together.
JONATHAN
Do you think we ought to leave some word, Uncle Nathaniel?
NATHANIEL
Of course. How stupid of me.
JONATHAN
You write it.
NATHANIEL
No, we'll both write it.
JONATHAN
I don't know what to say. I've only run away once.
NATHANIEL
So have I.
JONATHAN
Did you ever run away?
NATHANIEL
Yes—when I was eighteen.
JONATHAN
Oh!
NATHANIEL (taking up paper)
The message ought to be short.
JONATHAN
Why did you run away?
NATHANIEL
I wanted to write.
JONATHAN
You did!
NATHANIEL
Didn't you know I ran away?
JONATHAN
No, sir; they never would tell me what became of you.
NATHANIEL
They didn't know.
JONATHAN
How could you keep it from them?
NATHANIEL
I changed my name—Mr. Alexander Jefferson, Sr! What shall I say?
JONATHAN
I can't think.... Did Uncle John lock you in?
NATHANIEL
No, I just ran away.
JONATHAN
How long did it take you to make up your mind to go?
NATHANIEL
I thought about it first when I was twelve. My father was still living then.
JONATHAN
Did you go to Somerset School?
NATHANIEL
Yes—for three years.
JONATHAN
What did you do after you ran away?
NATHANIEL
I had a very hard time, my boy—at first. I worked at anything I could get, then I got into a newspaper office, then I wrote "autobiographies" of famous men.
JONATHAN
I thought you had to write your own autobiography—
NATHANIEL
Not nowadays. Then I wrote some successful short stories, then some very successful long ones—and now I am independent; but it took me ten bitter years to make my first success.... What shall I write here?
JONATHAN
I never could think of things to say when I was going away.
NATHANIEL
Neither could I.
JONATHAN
Don't you think "good-bye" would be enough?
NATHANIEL (writing)
Capital.... "Good-Bye—Nathaniel." Now you sign it.
JONATHAN (Signs)
"Jonathan."… Maybe we ought to put a line under it so Aunt Letitia won't feel so bad.
NATHANIEL (makes a line)
Dear Aunt Letitia will understand. She is the blessed kind who always does. Now, where shall we put it?… On John's chair, and maybe he'll understand too.
[He pins the note to John's chair.
JONATHAN
Don't you want to pack your things?
NATHANIEL
I'll wire for them.
[Susan enters.
On second thought, I'll ask Aunt Letitia to send them.
[He goes out.
JONATHAN
Hello, Susan.
SUSAN
Jonathan, I just saw Miss Letitia and she was crying.... What's the matter?
JONATHAN
I'm going away, Susan.
SUSAN
Where are you going?
JONATHAN
I'm going with Uncle Nathaniel. I'm going to be his son. And I'm going to a fine prep. school and learn to write and do what I like.
SUSAN
When are you coming back?
JONATHAN
I don't know. When I'm older maybe.
SUSAN
Can't we write any more songs?
JONATHAN
I'll send some words to you in letters.
SUSAN
Will you write every week?
JONATHAN
Yes.... Will you?
SUSAN
Yes. I wish I was going, too.
JONATHAN
So do I.
SUSAN
Maybe I'll come to see you graduate.
JONATHAN
That will be fine!
SUSAN (She kisses him very simply)
Good-bye, Jonathan.
JONATHAN
Good-bye, Susan.
SUSAN
I can hardly wait until you graduate.
JONATHAN
Neither can I.... Good-bye.
[Nathaniel enters.
NATHANIEL
On third thought, I decided to wire for my things.
SUSAN
Good-bye, Mr. Nathaniel. I hope you'll have a nice time.
NATHANIEL
Good-bye, Susan.
[He kisses her. She goes out.
JONATHAN
Good-bye, Susan.
SUSAN (calling)
Send me some picture postcards, Jonathan.
JONATHAN
I will.
[He watches her.
NATHANIEL (Goes to window)
Don't you want to make your wish on the new moon, Jonathan?
JONATHAN
I don't know what to wish now. The only one I could think of has come true.
NATHANIEL
Good… come, my boy.
JONATHAN
I'll write a long letter to Susan Sample every week.
NATHANIEL
You can write her a long letter from New York.
JONATHAN
And I can send her picture postcards from every place we go to.
[Arm in arm they go out talking.
