Complete Plays of John Galsworthy Part 150

ARNAUD. Madame! Madame! [He listens for her breathing; then suddenly catching sight of the little bottle, smells at it] Bon Dieu!

[At that queer sound they come from behind the screen--all four, and look. The dark night bird says: "Hallo; fainted!" ARNAUD holds out the bottle.]

LANGUID LORD. [Taking it, and smelling] Good G.o.d! [The woman bends over CLARE, and lifts her hands; ARNAUD rushes to his service-table, and speaks into his tube]

ARNAUD. The boss. Quick! [Looking up he sees the YOUNG MAN, returning] 'Monsieur, elle a fui! Elle est morte'!

LANGUID LORD. [To the YOUNG MAN standing there aghast] What's this?

Friend of yours?

YOUNG MAN. My G.o.d! She was a lady. That's all I know about her.

LANGUID LORD. A lady!

[The blond and dark gentlemen have slipped from the room; and out of the supper-party's distant laughter comes suddenly a long, shrill: "Gone away!" And the sound of the horn playing the seven last notes of the old song: "This day a stag must die!" From the last note of all the sound flies up to an octave higher, sweet and thin, like a spirit pa.s.sing, till it is drowned once more in laughter. The YOUNG MAN has covered his eyes with his hands; ARNAUD is crossing himself fervently; the LANGUID LORD stands gazing, with one of the dropped gardenias twisted in his fingers; and the woman, bending over CLARE, kisses her forehead.]

CURTAIN.

THE PIGEON

A Fantasy in Three Acts

PERSONS OF THE PLAY

CHRISTOPHER WELLWYN, an artist ANN, his daughter GUINEVERE MEGAN, a flower-seller RORY MEGAN, her husband FERRAND, an alien TIMSON, once a cabman EDWARD BERTLEY, a Canon ALFRED CALWAY, a Professor SIR THOMAS HOXTON, a Justice of the Peace Also a police constable, three humble-men, and some curious persons

The action pa.s.ses in Wellwyn's Studio, and the street outside.

ACT I. Christmas Eve.

ACT II. New Year's Day.

ACT III. The First of April.

ACT I

It is the night of Christmas Eve, the SCENE is a Studio, flush with the street, having a skylight darkened by a fall of snow.

There is no one in the room, the walls of which are whitewashed, above a floor of bare dark boards. A fire is cheerfully burning. On a model's platform stands an easel and canvas.

There are busts and pictures; a screen, a little stool, two arm.

chairs, and a long old-fas.h.i.+oned settle under the window. A door in one wall leads to the house, a door in the opposite wall to the model's dressing-room, and the street door is in the centre of the wall between. On a low table a Russian samovar is hissing, and beside it on a tray stands a teapot, with gla.s.ses, lemon, sugar, and a decanter of rum. Through a huge uncurtained window close to the street door the snowy lamplit street can be seen, and beyond it the river and a night of stars.

The sound of a latchkey turned in the lock of the street door, and ANN WELLWYN enters, a girl of seventeen, with hair tied in a ribbon and covered by a scarf. Leaving the door open, she turns up the electric light and goes to the fire. She throws of her scarf and long red cloak. She is dressed in a high evening frock of some soft white material. Her movements are quick and substantial. Her face, full of no nonsense, is decided and sincere, with deep-set eyes, and a capable, well-shaped forehead. Shredding of her gloves she warms her hands.

In the doorway appear the figures of two men. The first is rather short and slight, with a soft short beard, bright soft eyes, and a crumply face. Under his squash hat his hair is rather plentiful and rather grey. He wears an old brown ulster and woollen gloves, and is puffing at a hand-made cigarette. He is ANN'S father, WELLWYN, the artist. His companion is a well-wrapped clergyman of medium height and stoutish build, with a pleasant, rosy face, rather s.h.i.+ning eyes, and rather chubby clean-shaped lips; in appearance, indeed, a grown-up boy. He is the Vicar of the parish--CANON BERTLEY.

BERTLEY. My dear Wellwyn, the whole question of reform is full of difficulty. When you have two men like Professor Calway and Sir Thomas Hoxton taking diametrically opposite points of view, as we've seen to-night, I confess, I----

WELLWYN. Come in, Vicar, and have some grog.

BERTLEY. Not to-night, thanks! Christmas tomorrow! Great temptation, though, this room! Goodnight, Wellwyn; good-night, Ann!

ANN. [Coming from the fire towards the tea-table.] Good-night, Canon Bertley.

[He goes out, and WELLWYN, shutting the door after him, approaches the fire.]

ANN. [Sitting on the little stool, with her back to the fire, and making tea.] Daddy!

WELLWYN. My dear?

ANN. You say you liked Professor Calway's lecture. Is it going to do you any good, that's the question?

WELLWYN. I--I hope so, Ann.

ANN. I took you on purpose. Your charity's getting simply awful.

Those two this morning cleared out all my housekeeping money.

WELLWYN. Um! Um! I quite understand your feeling.

ANN. They both had your card, so I couldn't refuse--didn't know what you'd said to them. Why don't you make it a rule never to give your card to anyone except really decent people, and--picture dealers, of course.

WELLWYN. My dear, I have--often.

ANN. Then why don't you keep it? It's a frightful habit. You are naughty, Daddy. One of these days you'll get yourself into most fearful complications.

WELLWYN. My dear, when they--when they look at you?

ANN. You know the house wants all sorts of things. Why do you speak to them at all?

WELLWYN. I don't--they speak to me.

[He takes of his ulster and hangs it over the back of an arm-chair.]

ANN. They see you coming. Anybody can see you coming, Daddy.

That's why you ought to be so careful. I shall make you wear a hard hat. Those squashy hats of yours are hopelessly inefficient.