More Portmanteau Plays

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—

NATHANIEL

I am here, Jonathan.

JONATHAN

I'm coming to you. I'm coming back to you with all my hopes and dreams.

NATHANIEL

We're waiting for you, Jonathan.

JONATHAN

I've made my wish that's coming true!!

[He jumps into space.

Curtain

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.