8

(He opens the door and we see the other
door he has referred to. The door into
drawing room is left open - i.e. door A)

There's a memory for you ! But what the hell made
you want to deceive me?

(He leans against R lintel of door)

Mrs. Otery

It's of no consequence. That's the cupboard door
at the end of the passage.

Harry

Cupboard?

(Reflecting)

It's no cupboard - it's a room with two stone windows -
and wooden rafters.

Mrs. Otery

It's -- it's the oldest part of the house.

Harry

It comes back to me that I used to sleep there.

Mrs. Otery

That may be. If you'll come -
(She is always wanting him to follow her)

Harry

And you pretend it's a cupboard! I'm curious to see
that room first.

Mrs. Otery

(Thin-lipped and determined, moving step
towards him)

You can't go in there.

Harry

(Pause)

(Bluntly)

Your reasons?

Mrs. Otery

I - I locked it. I tell you it's just an empty room.
Nothing in it but dust and decay. The threshold hasn't
been crossed for months by any - human being.

Harry

There must be a key.

Mrs. Otery

It's -- it's lost.

9

Harry

Curious your anxiety to stop me, seeing you knew I
would find the door locked. Was it just an admirer's
kindness to save me from taking half a dozen steps?

Mrs. Otery

(In a little outburst of appeal)

Leave that room alone.

Harry

(Studying her)

You're all shivering.

Mrs. Otery

(Controlling herself)

I'm not.

Harry

(Looks towards fire)

I suppose it's because this room is so clay cold.

Mrs. Otery

(Falling into the trap)

That's it.

Harry

(Sharply, turning on her)

So you are shivering!

(She doesn't answer)

Can I put a light to those bits of sticks?

(Moves to fireplace L.)

Mrs. Otery

If you like. My orders are to have fires once a week.

(FIRE CUE 3. He lights the sticks in fireplace, which burn up easily, but will be exhausted in a few minutes. She furtively closes door A. and comes down C.)

I believe I'm just wasting my time. **You** can't have the money to take a house like this.

Harry

Not me. It's not my billet. It was just curiosity sent me here. To me for Australia again now that I've brought the war to a successful conclusion.

(He goes to her)

What's wrong with this house?

(He gets more serious from this point)

Mrs. Otery

(On her guard)

There's nothing wrong with it.

Harry

Then how is it going so cheap?

10

Mrs. Otery

It's -- it's in bad repair.

Harry

How has it stood empty so long?

Mrs. Otery

It's -- it's far from a town.

(The light begins to fade slowly at this point.
LIGHT CUE 4.)

Harry

What made the last tenant leave in such a hurry?

Mrs. Otery

You've heard that, have you? gossiping down at the
White Horse.

Harry

I've heard some other things as well. I've heard
they had to get a caretaker from a distance, because
no woman here about would live alone in this house.

Mrs. Otery

A parcel o' cowards!

Harry

I've heard that that caretaker was bold and buxom when
she came, and that now she's a scared woman.

Mrs. Otery

(Huskily)

I'm not.

Harry

I've heard she's been known to run out into the fields
and stay there trembling all night.

(She doesn't answer. He is cunning)
Of course I see it couldn't have been you.

(Crosses R.)

Just foolish stories that gather about an old house.

Mrs. Otery

(Relieved)

That's all.

Harry

(R. suddenly to trick her, looking at door at back)
What's that?

(Mrs. Otery screams, the pent-up fear in her
getting the mastery for the moment)
I got you that time. Forgive the ruffian ! What was
it you expected to see?

(No answer)

Is it a ghost? They say it's a ghost. What sort of
a wally-walloo is it gives this house an ill-name?

11

Mrs. Otery

(Harshly)

Use as brave words as you like when you've gone, but
I advise you, my lad, to be cautious while you're here.

(More matter of fact)

There's no use showing you the rest of the house. If
you want to be stepping, I have my work to do.

Harry

My train's not for an hour yet, and we've got on so
nicely, I wonder if you would make me a mug of tea.
Not a cup; we drink it by the mugful where I hail from.

Mrs. Otery

(Ungraciously)

I see no reason - but I've no objection.

Harry

Since you're so pressing I accept.

Mrs. Otery

Come down to the kitchen.

(She goes R. above him)

Harry

(Crosses L to chair)

No, no, I'm sure the Prodiga, I got his tea the first day
in the drawing-room -- though what made them make such a
fuss about that covey beats me.

Mrs. Otery

I see what you're up to. You're meaning to go into that
room. I wouldn't if I was you.

Harry

Maybe if you were me you would. But I thought you said
it was locked.

Mrs. Otery

Unless I have your promise --

Harry

What the blazes has your ghost to do with me! It's a
woman, isn't it?

(Her silence is a sort of assent: he is serious)

What has brought her back to this house?

(No answer - he becomes sarcastic)

See here, I'll sit in this chair - saying my prayers
in case she tries to get me.

(Sits L)

It's an even thing that she may be some relative of mine,

12

and if so the least she can do is to introduce herself
and tell me for what uncanny object she haunts my
ancestral home. By jugs! There's a lot of ghosts might
gather round this chair now if they knew that Harry my
lad had come back. Well, I'm ready for them - Let 'em
all come.

(He puts chair arms.)

You're a mouldy damp old dear.

(to Mrs. Otery)

It's not the ghost's chair by any mishap, is it?

(No answer)

You needn't look so scared, woman, she doesn't walk till midnight, does she? That's their hour, as I've always heard.

Mrs. Otery

You're a brave lad, you're thinking!

(Going towards door, looking at knife still sticking in wood)

I wouldn't leave that knife lying about, sonny.

Harry

Oh come, give the old girl her chance. She is old

I suppose?

Mrs. Otery

I've warned you. I'll not be more than ten minutes.

Harry

She can't do much in ten minutes.

(Mrs Otery fixes him with her eyes, and then goes out R. It is beginning to get dark.)

He sits in chair, smoking. While he is
doing so the door A. opens about two feet
silently and remains so. Harry is convinced
there is someone in the middle of the stage;
he turns his head slowly round, then rises
and moves slowly over to R C, pushes his hand
over his eyes as if dazed. He is so sure
this is the place that, for a moment, he looks
nowhere else. Enough time (three seconds)
elapses to have made it possible for an unseen
person to have gone from middle of stage to
door A. Then door A. silently closes. He
turns round to look at this door just too
late to see it close. He has been genuinely
startled. He now goes to door A, opens it
and calls out, "Is anyone there?" He brushes
his eyes, like one who has been dazed. He
leaves door A open. He goes to knife to
get it. He takes the knife but throws it again
into the box top, implying that there it is
for the ghost if she can get it. He sits down
again in the chair L and looks round sharply

PROPERTY PLOT - Scene 2

Aubusson carpet

Cabriole leg table

On it - 3 well bound books

10 various engravings

On floor R of it - a "Gainsborough" drawing
between 2 white cardboards

Small stuffed easy chair

High-backed wing arm chair

Ribbon backed Chippendale arm chair

Ribbon backed Chippendale ordinary chair

Early Victorian footstool

Fire screen with peacock tapestry panel on tripod legs

Queen Anne bureau

On it 2 small black bronze vases

Black bronze flower stand containing
poppies

In right hand drawer a "Turner" drawing

Queen Anne chest on stand

On it a clock with the working figure of
a smith striking an anvil

2 brass candlesticks

Brass fender and set of brasses

Chesterfield settee

On it a copy of "The Times" 1880

2 soft cushions

Knitting and needle for Mrs. Morland

Small occasional table with pie crust top

On it workbasket 1820

3 books

Paper knife

Brass log box

Mantlepiece

On it 4 Chelsea figures

3 papier-mache vases

Over it painted oil color in gilt frame.

In built recess up L. On shelf 3 papier mache vases
On base 3 large green papier mache
vase containing apple-
blossoms. 2 ditto blue vases. 2
ditto colored vases

In recessed book case

4 sets of bound books
On shelf at top 2 blue china cups
and saucers
2 blue china plates
1 green vase

7 oval head and shoulder crayons in gilt frames in small
panels
1 pair pink flowered linen curtains to window
Stone hearth 4 inches high quite bare and clean in
this scene

NOTE: the coverings for this scene on the settee, arm-chairs, chair bottoms, footstool, and cushions should be of a soft pink flowered lihen, very delicate and toning in with the apple-blossoms. The curtains are made of the same material and hang straight down reaching to the floor.

An apple tree in full blossom comes over the stone balustrade at the back and one arm chair of it goes right across the balcony from R to L

PROPS off stage - fishing rod - (2 lengths) and reel

Clock chime

PERSONAL PROPS Pocket magnifying glasses for Amy and Morland.

14

## SCENE II:

Change 1¼ minutes.

(With the briefest pause possible we again see the same room, but it is now the cheerful cosy room of thirty years earlier - as warm and homely as it has hitherto been cold and neglected. We see some of the things Harry has referred to - the curtains, the clock, the tapestry with peacocks on it, etc. There are a number of coloured prints on the wall for Mr. Morland in an amateur way is a collector. It is a sunny forenoon in May; the window is open, and the apple tree in full blossom is much in evidence - one of its branches has even got a little way into the room.)

There are three people in the room, all a little over forty years of age. They are the Squire and his wife, ie. Mr. and Mrs. Morland, and the local clergyman. Mr. Morland is only a little squire of very moderate means. For instance, though we never see servants in the house it may be said he had not more than three and they are all women. He is the type of man who passes his life pleasantly and not unprofitably and in being a J.P., and will discuss for days or months the advisability of putting a new roof on a tenant's cowshed.

He is the friend of everyone in the neighborhood, and is always crushed when visiting London by the fact that people pass him without nodding to him. His wife is a very delightful little lady, a mixture of sunshine and shrewd sense, her preserves, ciders, roses, lavendar, etc. are undoubtedly the best in the district, and she has a joke that has kept her merry through all her married life,

14a

viz her husband. She adores him,
however, and they are a very lovable
couple. Mr. Amy is a dear creature
of a clergyman, quite unlike Mr.
Morland in appearance, and they are
close friends except when they have
momentary quarrels about prints,
for print collecting is their hobby,
and each likes to show the other
his latest purchase and gloat over
it until the other says jealously
that it is worthless, when they
nearly come to blows. A very common
scene between them is such a one as
now follows. The two men are
sitting by a table, looking at some
prints, unframed, which Mr. Morland
is showing to his guest. Mrs.
Morland is outside the talk, she
is sitting by the fire, placidly
knitting, occasionally smiling to
herself over their words.)

(Morland has a print hanging in his
hand which he gives to Amy)

(LIGHT CUE 6. Music stops as lights
come up)

15

Amy

(R of table R C)

Very interesting. A nice little lot. I must say,
James, you have the real collector's flare for en-
gravings.

Morland

(L of table - R.C.)

Oh well, I'm keen, you know, and when I run up to
London I can't resist going a bust - in my small way.
I picked these up quite cheap.

Amy

Did you really? You have the real flare.

Morland

Oh, I don't know.

Amy

Yes, you have, James. You got these at Holman's in
Dean Street, didn't you? Yes, I know you did. I saw
them there. I wanted them, too, but they told me you
had already got the refusal.

Morland

Sorry to have been too quick for you, George, but it's
my way to nip in. You have a very nice collection your-
self.

Amy

I haven't your flare, James.

Morland

I admit I don't miss much !

Amy

No.

(Complacently)

You missed something yesterday at Holman's though.

Morland

How do you mean.

Amy

You didn't examine the little lot lying beneath this lot.

Morland

I turned them over - just a few odds and ends of no
account.

16

Amy

(Beaming over his own cleverness)
All except one, James.

Morland

(In an agony)

Something good?

Amy

(With wicked meekness)
Just a little crayon drawing by Gainsborough.

Morland

What! You've got it?

Amy

I've got it. I'm a poor man, but I thought 15/-
wasn't too much for a Gainsborough.

Morland

(Gasping)

Fifteen shillings! Is it signed?

Amy

No, it isn't signed.

Morland

(Significantly)

Ah !

Amy

(Sharply)

What do you precisely mean by that 'Ah!' James? You
can't be so ignorant as to think it was usual to sign
them. If it had been signed could I have got it for
15/-? You are always speaking about your flare - I
suppose I can have a little flare sometimes, too.

Morland

I'm not always speaking about my flare, and I don't believe
it is a Gainsborough.

(Mrs. Morland coughs as a sign to her husband
to be more polite. He understands and obeys)

After all perhaps it is, George.

Amy

Please don't get hot, James. If I had thought you would
grudge me my little find - which **you** missed - I wouldn't
have brought it to show you.

Morland

So you've brought it!

17

(Amy takes up drawing between cardboards
from under his chair.)

Morland

That's it!

(Looking at it)

Amy

This is it! There! I have the luck this time! I hope
you will have it next.

(Facing Morland, smiling.)

(Mr. Morland examines it with forebodings and
magnifying glass)

Well?

Morland

(With a sigh of relief)

Interesting, George - quite. But definitely not a
Gainsborough.

Amy

I say definitely a Gainsborough.

Morland

Definitely not a Gainsborough.

(Puts down print. They are getting pugnacious)

I should say the work of a clever amateur.

Amy

But look at the drawing of that cart and the figure
beside it.

Morland

Weak and labored. Look at that horse!

Amy

Well, Gainsborough did some very funny horses.

Morland

Granted. But he never placed them badly. That horse
destroys the whole balance of the composition.

Amy

James, I had no idea you had such a small nature.

Morland

You're making yourself ridiculous.

(Mrs. Morland coughs)

My dear old fellow, no one would have been more pleased
than myself if you had picked up a Gainsborough, but this!

(Examines it with glass)

Besides, look at the paper!

Amy

What's wrong with the paper, Mr. Morland?

18

Morland

It's machine-made. Gainsborough was in his grave years
before that paper was made.

(Amy examines paper in a frenzy with glass and
is evidently convinced against his will, while
Morland is horribly pleased.)

Amy

Oh !

(Puts print between cardboard)

(Mrs. Morland coughs)

Morland

Mind you, I think it's a very pretty thing.

Amy

Not you.

Morland

Don't get into a tantrum about it, George.

Amy

I'm not in a tantrum - and I would be obliged if you
wouldn't George me.

(With huffy dignity and nearly crying, he rises.)

(Mrs. Morland puts down her knitting)

Smile on, Mr. Morland, I congratulate you on your triumph.

You have hurt an old friend to the quick. Bravo ! Bravo!

(Goes to Mrs, Morland and shakes hands)

I thank you, Mrs. Morland, for a very pleasant visit.

Good morning.

(to him)

Good morning.

(Mrs. Morland's attitude throughout has been
that of one accustomed to these scenes, smiling
occasionally, but going on calmly knitting.
She now rises to play her familiar part having
already carefully put down her knitting)

Mrs. Morland

I shall see you into your coat, George.

Amy

(C.)

I thank you, Mrs. Morland, but I require no one to see
me into my coat.

(He goes and she trots blandly after him,
Morland, left alone, puts print in drawer
of Queen Anne bureau R, chuckling.)

Morland

Silly fellow! Silly fellow - a Gainsborough !

20

Morland

(Cross to fireplace L)

He's a good chap, George, but he has no flare. He might
as well order his bar ngains, as he calls them, by telephone.

Mrs. Morland

(Resumes her work)

By what?

Morland

(Believing in what he is telling her)

Telephone it's called. It's a new invention. There'd an
article about it in this paper. Very wonderful ! The
writer says that in a few years' time people sitting here,
for instance, will be able to talk to people in London.

(He sits by her L of settee)

Mrs. Morland

(Placidly)

Nonsense, James.

Morland

It seems to be true. And he's quite confident about
it. He says all we'll have to do is to ring a bell and
say 'Hullo, are you the Gainsborough shop?' It's all
to be done by wires.

(He indicates a pull bell)

Mrs. Morland

I could speak from here to anyone in London?

Morland

Anyone in England, he says.

Mrs. Morland

Then millions of wires would be needed for me alone!
Besides the billions of millions for other people.

(He is impressed by this argument)

Morland

(Admiring her cleverness. He takes her hand)

Well done, Fanny, you got him there! He never thought
of that.

Mrs. Morland

(Complacently)

I sometimes have a little bit of a flare, myself.

Morland

And yet, there's no denying as he says that there are
more things in heaven and earth than are dreamt of in our
philosophy.

Mrs. Morland

(Becoming grave)

You and I know that to be truek James.

22

a trúmp," he said, and then he slipped behind the
screen to see how much it was.

Mrs. Morland
He is a very delightful creature - but he isn't a
boy any more.

Morland
It's horrible of you to put such ideas into my head.
I'll go down to the boat-house at once.

(Half rises)
If this new invention with wires was in working order,
Fanny, I could send him packing without rising from my
seat. First we are to ring a bell.

(He pulls at an imaginary bell)
Then speak into a sort of cup:
(He makes the cup out of the newspaper)

"Hullo - boathouse, is my little Mary Rose there?"

(To the surprise of both there is an answer
from Mary Rose unseen)

Mary Rose
(In a quaking voice)
I'm here, daddy.

(They look round the room)

Morland
Where are you, Mary Rose?

Mary Rose
I'm in the apple tree.

(They look at each other and smile. Mrs. Morland
is going to rise, but Morland checks her and
resumes his telephonic manner)

Morland
What are you doing in the apple tree?

Mary Rose
I'm hiding.

Morland
(Still as into telephone)

From Simon?

Mary Rose
No, I'm not sure whom I'm hiding from. From myself, I
think.

(Squeaking)
Daddy, I'm frightened.

(Mrs. Morland rising is again checked by him
as she is going in anxiety - she sits again)

What has frightened you?

Morland
Simon?

23

Yes - partly.

Mary Rose

Who else?

Morland

(Squeaking again)
I am most afraid of my daddy.

Mary Rose

(Rise)
Of me? Afraid of me?

Cross C.

Morland

Odd!
(Goes to R window)

Mrs. Morland
(Rises and puts knitting on table by end of settee)
You absurd pair! Mary Rose, come in at once and let
this be the last time you enter a drawing-room by climbing
up a tree.

(MARY ROSE enters, walking lightly along a branch. She is a very pretty girl of about nineteen, capable of the wildest gaiety and fun, a gleeful child, overfull of happiness and little aware of the future that lies before her.)

(She is really extremely impulsive, capable of many emotions at present hidden beneath the surface. As we see her for the first time she is a girlish mixture of joy and fright over the terrific event that has been happening at the boathouse.)

Mary Rose

Mother!
(She runs to her mother, hides in her bosom. Mrs. Morland is by no means as dense about what is to be told as her husband is.)

Mrs. Morland
You don't mean that anything has really frightened you, Mary Rose?

Mary Rose

(Looking up)
I'm not sure., Hold me tight, mother.
(Butts back into her)

Mrs. Morland
Darling, has Simon been distressing you?

Mary Rose
(Almost vindictively)
Yes, he has..
(Then to Mr. Morland)
It's all Simon's fault.

25

Oh, James'. Dearest, tell me what Simon has been
saying to you.

(Mary Rose is shy and butts into her)

Then whisper it, my love.

(Mary Rose gets hold of her mother's ear and
whispers into it)

Yes, I thought it was that.

Mary Rose
(Childishly)

You'll not let daddy wallop me, will you?

Mrs. Morland

James, you may as well be told bluntly; it isn't your
fiver that Simon wants - it's your daughter!

Morland

What!

(Rises)

(Mary Rose runs to him)

Mary Rose
(Coaxingly)

You'll scold him, won't you, dad?

Morland

(Almost speechless)

By - by -- by -- by all that's horrible, I'll do more
than scold him. The puppy, I'll -- I'll --

Mary Rose
(Appealing, with hands on his arms)

Not *more* than scold him, daddy - not *more*. Mary Rose
couldn't bear it if it was *more* !

Morland

(Rather shaky now, but kind, holding her at
arms length)

You are not in love with Simon, are you?

(Her face gleams; she nods)

What in particular do you see in him?

Mary Rose
(In a long drawn out ecstacy)

Ohh-h-h-h ! Daddy -

(She butts him and runs to her mother)

Mummy - to her

(She butts her)

I'm so awfully sorry that this has occurred.

(She screws up her face and weeps openly and
hysterically)

26

Mrs. Morland

My own, my pet.

(Soothing her)

But he is only a boy, Mary Rose - just a very delightful
hoy !

(Morland sits R.C.)

Mary Rose

(Her eyes shining and her manner almost solemn)

Oh, mother, that is the wonderful, wonderful thing. He
was just a boy - I quite understand that -- he was a
mere boy till to-day at eleven o'clock -- and then, daddy,
he suddenly changed, all at once he became a man. It was
while he was - telling me. You'll scarcely know him now,
mother.

Mrs. Morland

Darling, he breakfasted with us. I think I shall know
him still.

Mary Rose

Oh - he's quite different from breakfast time. He doesn't
laugh any more -- he would never think of capsizing the
punt intentionally now -- he has grown so grave, so manly,
so -- so protective - he thinks of everything now - of free-
holds and leaseholds - and gravel soil - and the hire system -
and -

(breaks down again)
and hot and cold --

Morland

(Firing up a little)

He's got as far as that, has he! Does he propose that this
marriage should take place tomorrow?

Mary Rose

(Eagerly, to soften the blow)

Oh no, not for quite a long time. At earliest, not till
his next leave.

Mrs. Morland

Mary Rose'.

Mary Rose

He is waiting down there, mummy.

(Rises and stands C)

May I bring him in?

Mrs. Morland

Of course, dearest.

Morland

(Rise, hastily)

Don't come with him, though.

27

Mary Rose
Oh ! You know how shy Simon is.

Morland
(Testily)
I do not.

(He crosses to fireplace)

Mrs. Morland
(Touching his arm)

Your father and I must have a talk with him alone, dear.

Morland
Yes, that's always done.

Mary Rose
Is it - oh well - he so wants to do the right thing, mother.

Mrs. Morland
I'm sure he does.

Mary Rose
Do you mind my going upstairs into the apple room - (she looks at ceiling)

and sometimes knocking on the floor. I think it would
be a help to him to know I am so near by.

Mrs. Morland
It would be a help to all of us, my sweet.

Mary Rose
I shan't be able to hear what you are saying, but how
I shall imagine it.

(Goes to Morland)

I love him so ! You -- you won't try to put him against
me, daddy?

Morland
I would do my best if I thought I had any chance.

(He kisses her and she then kisses her mother.)

(She runs off R and is heard clattering up the
stairs. This clatter of Mary Rose on the stairs
is always noticeable. No other person does it.)

Mr. Morland goes kindly to Mrs. Morland, whose
eyes are wet)

Poor old mother!

(Sits by her, L of settee. She has moved R of it)

Mrs. Morland
Bod'r old father! You know, James, there are times when -

(Mary Rose runs in with two parts of a fishing rod)

Mary Rose
(Mysteriously)

There's a reason for this.

28

(Puts rod on table R - exit)

Morland

Simon's fishing rod - what can they be up to?

Mrs. Morland

Such nonsense!

(Mary Rose is heard clattering up stairs)

James, what a pleasant sound in this house is Mary Rose
clattering up and down the stairs and making more noise
than all the rest of us put together.

Morland

How awful if we're to cease to hear it.

Mrs. Morland

There couldn't be a nicer boy, James.

Morland

No, but -

(He stops and looks at her)

Mrs. Morland

Yes, there's that.

Morland

It got me on the quick when she said: "y ou won't try to
put him against me, daddy" - because that is just
what I suppose I have got to do.

Mrs. Morland

He must be told.

Morland

(Suddenly)

Fan, let's keep it to ourselves!

Mrs. Morland

It wouldn't be fair to him.

Morland

(Rises and moves down stage)

No - it wouldn't. He'll be an ass if it bothers him.

Mrs. Morland

(Timid)

Yes.

Morland

He's coming! Old girl !

Mrs. Morland

James dear, we must be firm with him.

29

Morland

Yes. Oh, dear! I think I look my firmest in a stiff chair.

(He sits L.)

(Simon comes in R. a manly fellow of 23, in naval uniform. Though played by the same actor he should be very different from HARRY. He is as smart as Harry is slouching; he is essentially a jolly young fellow while Harry was hard, bitter and rather morose; his manner is frank and open while Harry was rather a cynic, he has an educated voice while Harry's had the tang of the Bush. He is fresh-complexioned while Harry was sallow. At present he is in a state of mingled exultation and trepidation)

Simon

(In a sort of foolish hysteria)

Ha, ha, ha, ha, ha! ha, ha, ha!

(C)

Morland

You will need to say more than that, you know, Simon, to justify your conduct.

Mrs. Morland

Oh, Simon, how could you?

Simon

It seems almost like stealing.

(Crosses to f9replace)

Morland

It _is_ stealing.

Simon

Ha, ha, ha -

(L.C. between them -)

Ha, ha, ha!

(Here there is knocking on the floor above which gives him courage. The father and mother smile but pretend not to hear it)

It's beastly hard on you, of course - but if you knew what Mary Rose is -- !

Mrs. Morland

We feel that even _we_ know to some extent what Mary Rose is.

Simon

Yes, rather!

(Cleverly)

and so you can see how it has come about.

(He feels he has scored)

I would let myself be cut into little chips for her, I would

30

almost like it.

(Regretfully)

Perhpas you have thought that in the past I was rather
a larky sort?

Morland

Well, rather breezy. But we see an extraordinary change
in you, Simon, since breakfast.

Simon

(Eagerly)

Have you noticed that? Mary Rose has noticed it, too.
That's my inner man coming out.

(Carefully saying things to make a good impression)
To some young people marriage is a thing to be entered on
lightly, but that is not my style. What I want is to
give up larks, and all that, and insure my life and read
the political articles.

(More knocking above which reminds him of
something else)

Oh yes! and I promise you it won't be like losing a
daughter, but like gaining a son.

Mrs. Morland

Did Mary Rose tell you to say that?

Simon

(Guiltily)

Well -

(More knocking)

Oh, another thing, I should consider it well worth being
married to Mary Rose, just to have you, Mrs. Morland,
for a mother-in-law.

Morland

(Pleased)

Well said, Simon - I like you the better for that.

Mrs. Morland

Did she tell you to say that also?

Simon

Well!

(More knocking)

At any rate never shall I forget the respect and affection
I owe to the parents of my beloved wife.

Morland

(Testily)

She's not your wife yet, you know.

Simon

But can she be? Mrs. Morland, can she be?

31

Mrs. Morland

That's as may be, Simon. It is only a possible
engagement that we are discussing at present.

Simon

Yes, of course. I used to be careless about money,
but I have thought of a trick of writing the word "Economy"
in the inside of my watch so that I'll see it every time
I wind up. My people -

Morland

We like them, Simon.
(More knocking)

Simon

(Crosses to C above table R and looks up)

I don't know whether you've noticed a sound from up above.

Morland

I did think I heard something!

Simon

That's Mary Rose.

Mrs. Morland

No !

Simon

Yes. She's doing that to help me. I promised to knock
back as soon as I thought things were going well.
(He puts fishing rod together)

Mrs. Morland

So that's what the fishing rod was for!
(They are moved. He stands on chair C to knock
on ceiling)

Simon

What do you say? May I?

Morland

(Wistfully)

I think, Fanny, he might?
(Simon is still on chair C)

Mrs. Morland

(braver)

No.

(Tremulously; she goes R.C. Morland goes up C)

There is a little thing, Simon, that Mary Rose's father
and I feel we ought to tell you about her before - before
you knock, my dear boy. It's not very important, I
think, but it's something she doesn't know of herself,
and it makes her a little different from other girls.

32

Simon

(Getting off chair - sharply)

I won't believe anything against Mary Rose.

Mrs. Morland

We have nothing to tell you against her.

(Asking her husband to do his part)

James!

(He is standing behind her; after placing chair C. to face table. Simon goes quickly R and leans on bureau. He still has the rod.)

Morland

It is just something that happened, Simon. She couldn't help it. It hasn't troubled us in the least for years, but we always agreed that she mustn't be engaged before we told the man. We must have your promise before we tell you, that you will keep it to yourself.

Simon

(Disturbed, but dogged)

I promise.

Mrs. Morland

You must never speak of it even to her.

Simon

(Standing on R of table, back to bureau)

Not to Mary Rose? I wish you would say quick what it is.

Morland

(Sits in chair behind table R)

It can't be told quite in a word. It happened seven years ago, when Mary Rose was twelve. We were in a remote part of Scotland - in the Outer Hebrides.

Simon

I once went ashore there from the "gadfly" - very bleak and barren, rocks and rough grass -- I never saw a tree.

Morland

It's mostly like that. There's a whaling station. We went because I was fond of fishing. I haven't had the heart to fish since. But where we were there is an inland loch, and in it - a little island - a little island

(The mention of the island moves both Mr. and Mrs. Morland and he has difficulty in going on)

Mrs. Morland

It is quite a small island, Simon - uninhabited -

Morland

No sheepeven - I suppose there are only about six acres of it.

33

### Mrs. Morland

There are trees there, quite a number of them - a very uncommon thing in the Hebrides. Scotch firs and a very few rowan trees - they have red berries, you know. There seemed to us to be nothing very particular about the island - except perhaps, that it is curiously complete in itself. There is a tiny pool in it that might be called a lake out of which a stream flows. It has hillocks and a glade - a sort of miniature land. That was all we noticed, though it became the most dreadful place in the world to us.

### Morland

(Because she is agitated, he touches her hand)
I can tell him without your being here, Fanny.

### Mrs. Morland

I would rather stay.

### Morland

I fished a great deal in that loch ! The sea-trout were wonderful. I often rowed Mary Rose across to the island and left her there to sketch. She was fond of sketching in those days - we thought them pretty things. I could see her from the boat most of the time, and we used to wave to each other. Then I would go back for her when I stopped fishing.

### Simon

Didn't you go with them, Mrs. Morland?

### Mrs. Morland

Not often, Simon. I was mostly in our little house, not far away in the village. We didn't know at the time that the natives had a superstition against landing on the island, and that the island was supposed to resent this. It had a gaelic name which means "The Island that Likes to be Visited." Mary Rose knew nothing of this, and she was very fond of her island. She used to talk to it-- call it her darling -- things like that.

### Simon

Tell me what happened.

### Morland

It was on what was to be our last day. I had landed her on this island as usual, and fished for some hours. In the early evening I put up my rod while still in the boat and from there I could see her sitting on a stump of a tree that was her favourite seat, and she waved gaily to me and I to her. Then I rowed over to fetch her, with, of course, my back to her. I had less than a hundred yards to go, but Simon, when I got across she wasn't there.

(Mr. and Mrs. Morland are agitated)

36

Simon

I don't know what to think. It has had no effect
on her at any rate.

Morland

None whatever - and you can guess how we used to watch.

Mrs. Morland

Simon, I am very anxious to be honest with you. I have
sometimes thought that our girl is curiously young for
her age - as if - you know how just a touch of frost may
stop the growth of a plant and yet leave it blooming -
it has sometimes seemed to me as if a cold finger had
once touched my Mary Rose.

Simon

Mrs. Morland!

Mrs. Morland

There's nothing in it.

Simon

That's her youth, her innocence - which seems a holy thing
to me.

Mrs. Morland

And indeed it is!

Simon

If that's all -

Morland

Simon, we have sometimes thought that she had momentary
glimpses back into that time, but before we could question
her in a cautious way about them the gates had closed
and she remembered nothing. You never heard her talking
casually to some person who -- who couldn't possibly be
there?

Mrs. Morland

Did you, Simon?

Simon

Never. At least - no.

Mrs. Morland

And if she does you mustn't worry her about it, Simon;
but as a matter of fact nothing of the kind has happened
for quite two years. She seems to have outgrown it.

Simon

It's a little curious that she has never spoken to me of
that holiday in the Hebrides. She tells me everything.

37

Mrs. Morland

No, that isn't curious -- it is just that the island
has faded out of her memory. I should be troubled if
she began to recall it. Well, Simon, we felt we had to
tell you. That's all we know, I am sure it is all we
shall ever know. What are you going to do?

Simon

(Stoutly)

What do you think?

(Pushes out chair back; he gets on it, knocks and
gets answering knocks in return. The shadow has
passed from his face and he is smiling happily again.
MORLAND crosses L.C. and sits)

You heard!

(Getting off chair and putting back against wall)

That means it's all right.

(Coming below table)

You'll see how she'll come tearing down to us!

Mrs. Morland

(Below table)

You dear boy,

(She butts him)

and you'll see how I shall go tearing up to her!

(She goes off R. SIMON opening the door for her)

Simon

(Comes C.)

I do love Mary Rose, sir.

Morland

So do we, Simon. I suppose that made us love her a little
more than other daughters are loved. Well, it's dead and
done with, and it doesn't disturb me now at all - I hope you
won't let it disturb you.

Simon

Rather not. I say, what can be the explanation?

Morland

I am sure you will think of a number of things, but we have
thought of them all before - and it's no good. We did wisely,
didn't we, in not telling her?

Simon

Oh, lord, yes. 'The Island that Likes to be Visited'.

It's a rather sinister name, I think.

(Boyishly)

I say, let's forget all about it.

(He looks at ceiling)

38

I almost wish her mother hadn't gone up to her. It will
make Mary Rose longer in coming down.

Morland

(With humourous solemnity)

Fanny will think of nicer things to say to her than you
could think of, Simon.

Simon

Yes, I know.

(Then he sees he is being chaffed)

You're chaffing me!

(Laugs)

(MORLAND rises, laughing)

You see, sir, my leave is up to-morrow.

(MARY ROSE is heard clattering down the stairs. He
goes up R. Mary Rose comes rushing in)

Mary Rose'.

(She darts past him into her father's arms)

Mary Rose

It isn't you I'm thinking of - it's father! It's poor
father! Oh, Simon,

(Turns to him)

how could you! Isn't it hateful of him, daddy?

(her head on his shoulder)

Morland

I should just say it is.

Are you crying, Mary Rose?

Mary Rose

Yes.

Morland

Is your mother crying too?

Mary Rose

(Squeaking)

Yes.

Morland

I see I'm going to have a beastly day.

(Xs between them)

I bet you even lunch will be an hour late. You two, if
you don't mind very much being left alone, I think I'll go
up and cry,

(Simon runs to open door for him)

with your mother in the apple room.

(He goes to door R.)

It's close and dark and musty up there, and when we feel
we can't stick it any longer I'll knock on the floor,
Simon, as a sign that we are coming down.

40

Mary Rose

I am glad.

(She goes and sits L. side of settee)

Simon, I want to ask you something.

Simon

What?

Mary Rose

Do you love me?

Simon

Dearest - precious - my life - my sweetheart. Which word
do you like best?

(All very solemn)

Which? Darling be brave, and tell me!

Mary Rose

I'm not sure. They are all very nice.

(She looks away)

Simon

I think just Mary Rose is the prettiest name of all. What
do you think is the nicest name for a man?

(He sits)

If you would answer dear it would make such a difference to me.

Mary Rose

I think there is one name almost nicer than Simon.

Simon

What?

Mary Rose

It's Harry!

(They look at each other - he surprised)

I don't know why it seems such a nice name to me. I have
never known a Harry - but I should rather like if ever -

(She hides her head in him)

Simon

What are you thinking of, Mary Rose?

Mary Rose

Please don't ask me, Simon dear.

Simon

I won't.

(He squeezes her)

Mary Rose

(Looks at ceiling)

I think we are selfish.

Oughtn't we to ask those beloveds

41

to come down?

Simon

Well, it isn't selfishness. You see, I have a ton of things to tell you. About how I put it to them, and how I remembered what you told me to say - and the way I got the soft side of them! They have heard it all already, so it would really be selfish to bring them down.

Mary Rose

(Wondering)

I'm not so sure. It's mouldy there, and you can't stand straight up.

Simon

(Rises)

I'll tell you what we'll do. We'll go back to the boat-house and then they can come down and be cosy here.

Mary Rose

(Gleeful)

Let's! We can stay till tea-time.

Simon

It's fresh down there - put on a jacket - my heart-string.

Mary Rose

Jacket - bother!

Simon

(Firmly)

My child - you are in my care now - I am responsible for you -

(Burlesque manner)

I *order* you to put on a jacket.

Mary Rose

Simon, you do say the loveliest things!

(Rises)

I'll put it on at once.

(Sits again L. and he sits beside her)

Simon, I'll tell you an odd thing about me - I *may* be wrong, but I *think* I'll sometimes love you to kiss me, and then at other times it will be better not.

Simon

All right. Tell me, what were you thinking as you sat there, waiting.

(She puts her hand to her chin and leans forward)

Do tell me. Tell your Simon.

## ACT II.
### PROPERTY PLOT.

1. 2 boat runner grooves.

2. Small fishing boat on truck, 6 ft. long by 3 ft. 6 in. beam.

3. Small stunted Rowan tree 5 ft. high covered with clusters of red berries.

4. Bundle of loose twigs for "Simon" to make up fire.

5. 4 property stones to look wet.

6. Tree stump sticking up 1 ft. above the platform, covered with loose moss underneath, the moss is carved the letters MAR.

7. Pieces of grass matting.

8. Small stump for tying boat up to.

A. 6 rock pieces.

2 lines to pull boat on and off.

IN BOAT: Painter. 2 wet looking oars.

Pair of wood rowlocks.

Fishing rod in two pieces.

A landing net. 2 property trout. 2 pieces of newspaper - varnished to look wet.

Fishing Creel:

In it,- 2 bottles ginger ale, dummy.

1 pot of pickles. 1 pot of Marmalade.

Plates, knives, forks, 2 of each.

2 apples in paper bag. Small table cloth.

2 serviettes. Sponge cake sandwich in paper for "Cameron's" "butcher meat".

OFF STAGE R. 2 property trout filled with sponge cake wrapped in burnt paper out of sight by Fire R.

32 foot organ pipe stopped & bellows.

Wind Machine.

Rain barrel.

PERSONAL PROPS. Pipe, Pouch, Box of safety matches for "SIMON".

ACT II.

LIGHTING PLOT.

OPENING DARK.

Cue 7: (When Curtain up)
Bring up Blue Float and Nos. 2 & 3 Blue Battens
by Master Wheels to full when Blues are 1/2 up
follow on with White & Amber Float and Nos. 2 & 3
White & Amber Battens to full.

Follow with float and P & OP Amber Perches to
flood under tree and round tree and stump, and
Nos. 2 & 3 White Battens to full and bring up
2 Blue ground rows at back on panorama cloth
to full.

When everything up take out all Blues excepting
ground rows at back.

Cue 8: Fire lights up (by resistance)

Cue 9: Smoke effect.

Cue 10: Fire put out by resistance.

Cue 11: Bring up Blue Float and No. 1, 2 & 3 Blue Battens.
Baby Spot No. 2.

Cue 12: Check out by Master Wheels all White & Ambers
This operation to take at least 17 seconds.

CURTAIN.

## ACT II.

(House slowly out)

(Start Prelude)

(Curtain rises in darkness at Music cue
and lights gradually come up until maximum
is reached with end of Music.)

LIGHT CUE (7)

SCENE:

The Scene is laid on an island in the outer Hebrides with water at the back, on which a real small rowing boat can appear when required from R. On the back-cloth we see the mainland, which is 200 yards away.

There is one Scotch fir L.C. much beaten by the winds. This tree's effect is sombre, but a gay touch is given to the scene by a Rowan tree gleaming with red berries R.C. There is a mossy bank C which we shall discover later is an old tree stump overgrown with moss. Moss, stones and long grass everywhere, the moss of different colours, which has a pretty effect. It is a rather lovely scene, yet with a rather austere Corot effect. The wings are a mass of thick brushwood and tall grass or reeds and trees; you can't reach this spot by land except by squeezing through them. It is a sunny August day.

MARY ROSE is heard laughing gaily, and presently she and SIMON enter down L. He is no longer in uniform; he is in suitable tweeds, knickerbockers etc. She is also wearing serviceable garments but not tweed, something soft, of pretty but subdued colour, mauve, which must also be very simple and emphasize her youthfulness. About four years have elapsed since the last act, and they are an exuberantly happy married pair.

MARY ROSE is more wildly impulsive than ever. SIMON is an adoring husband, who likes to pit his matter-of-factness against her enthusiasms.

2

Mary Rose

(Up R.C. looking round thrilled and flinging down
her hat)

I think! - I think! I don't think at all - I'm quite sure! -
this is the place.

(Breathless)

Simon, kiss me - kiss me, quick! You promised to kiss me quick
when we came to the place.

Simon

(In his bantering way)

(Up to her)

I'm not the man to break my word.

(He kisses her)

At the same time, Mary Rose, I would point out to you that
this is the third spot you have picked out as being the
"place" and three times have I kissed you quick on that
understanding. We can't go on like this.

(Leans against fir tree)

Mary Rose

It was here! Here! I told you of the big fir and the rowan
tree.

Simon

There were a fir and a rowan tree at each of the other places.

Mary Rose

(Triumphantly)

Not this fir - not this rowan!

Simon

You have me there.

Mary Rose

Simon, I know I'm not clever, but you must admit I'm always
right.

(She addresses the rowan tree R.C.)

Darling rowan, you don't look a bit older, How do you think
I am wearing? I'll tell you a secret.

(To rowan)

Put your arm round me.

(She pulls a branch of the rowan round her)

I'm married!

(The rowan branch springs back into its place)

It didn't like that, Simon. It's jealous.

(Cajoling the branch)

3

Dearest - I have been married for nearly four years - this
is him. His name is Lieutenant Simon Sobersides.
(With a sudden new thought)
Oh!

Simon
What is it now?
(He is beginning to smoke his pipe)

Mary Rose
That moss! I feel sure there is a tree-stump beneath it -
the very root on which I used to sit and sketch.
(She goes on her knees R of tree stump C)

Simon
(Both clear away some moss)
It's a tree-stump right enough.

Mary Rose
I think, I think I cut my name on it with a knife.

Simon
Yes, here it is. M.A.R. There it stops. It's always at
the third letter that the blade breaks.
(He goes to fir tree L.C. and leans on it)

Mary Rose
My ownest seat, how I have missed you!

Simon
Don't you believe it, old tree-stump. You just came vaguely
back to her mind because we happened to be in these parts.
And what a trumpery island you prove to be! About 100
yards across!

Mary Rose
Even if it's true, you needn't say it before them all.
(Speaks to tree stump)

Old dear, here is one for each year I have been away.
(She kisses it eleven times)

Simon
Eleven! Go on, give it all the news. Tell it we don't
have a house of our own yet.

Mary Rose
(To tree stump)
You see, dear, we live with my daddy and mother, because
Simon is so often away at sea. But I have a much more

4

wonderful secret than that. This will startle you. I - have -
got - a baby! A girl? No, thank you! He is two years and
nine months, and he says such beautiful things to me about
loving me -

(anxiously to rowan tree)

Oh, rowan, do you think he means them?

Simon
I distinctly heard it say yes.

Mary Rose
(Looking at mainland L and starting up)

Oh!

Simon
You needn't pretend you can see him.

(She runs up to back of platform. He turns up also)

Mary Rose
I do! Don't you? Something white. He is waving his bib to us.

Simon
That's nurse's cap.

Mary Rose
Then he's waving it. How clever of him. Now they've gone.

(She waves - Simon also)

By-bye - I'll see you in an hour. Isn't it funny to think
that this is the place where I used to wave to father. We
were happy here!

Simon
I'd be happier here if I wasn't so hungry. I wonder where
Cameron is.

(Comes down L)

I told him after he landed us to tie up the boat at any
good place on the island and make a fire. I suppose I had
better have a shot at the fire-making myself.

(Cross R.)

Mary Rose
How can you think of food at such a time -

Simon
All very well, but you will presently be eating more than
your share.

(He begins preparations for a fire) (There are
loose twigs strewn about the stage R.)

5

### Mary Rose

Do you know, Simon, I don't think Daddy and mum like this island.

(Sits on stump C.)

### Simon

(Guardedly, though he has long ceased to credit the queer story)

Oh? Why not?

(He sometimes watches her covertly)

### Mary Rose

I don't know, but they never seem to want to speak of it.

### Simon

That's nothing; forgotten it, I suppose.

### Mary Rose

I'll write to them this evening.

(Gleefully claps her hands)

They will be surprised to know we are here!

### Simon

(Knowing that it would alarm them)

I wouldn't write from here. Wait till we cross to the mainland to-morrow.

### Mary Rose

Why not from here?

### Simon

Oh - no reason. But if they have any reason for disliking the place, perhaps they wouldn't like our coming.

(He wants to change the subject)

### Mary Rose

What reason could they have?

### Simon

I can think of none.

(Sits R. by fire)

### Mary Rose

For a long time you didn't seem to want to come yourself.

### Simon

(Deceiving her)

Only because it was so difficult to get at. I have always had it in my mind though that I should like to come and see this island.

6

Mary Rose

Because I had been so fond of it?

Simon

(Though he is really thinking of the queer story)
Of course.

Mary Rose

Today you wanted to come across without me. Why was that?

Simon

Did I? Oh, that was merely because you seemed tired. I
thought I might pull across and have a prowl round your
little island by myself.

Mary Rose

Thinking of me as a child on it.

Simon

Exactly. And about a dream your father once told me he
had about it.

Mary Rose

A dream?

Simon

He didn't call it that, but I see clearly now it must have
been a dream,

(He really does think so)

Mary Rose

You must tell me about it.

Simon

Some day.

(To change the subject)

I wonder where Cameron is?

Ah! I hear the oars.

(Leaning over to her)

He's an odd fish. You know I expected him to speak broad Scotch

Mary Rose

Not a Highlander, Simon, not a soft-voiced Highlander - They
are very different.

(Boat is pulled on from R.)

Simon

Ah, here he comes at last.

(The boat appears from R.)

Mary Rose

Do be polite to him, dear you know how touchy they are.

(For nearly all the rest of the Act Simon and Mary Rose
are sitting on ground)

7

(He is a gawky youth of 20, or more, dressed as the poorest sort of ghillie, but proud, and with accomplishments. He speaks in the soft voice of the high-lander, which has nothing in common with lowland Scotch - He has fine courteous manners. He stands in the boat, painter in hand)

Cameron

Is it the wish of Mr. Blake that I tie up the boat here.

(Simon puts a match to the twigs)

Fire cue (8)

Simon

That's the idea.

(He ties it to a small tree stump)

Cameron

I am now tying up the boat according to Mr. Blake's wishes.

Is it the wish of Mr. Blake that I should land?

Simon

Yes, yes, Cameron, with the luncheon.

(Mary Rose leaves tree stump and sits to R. of it)

Cameron

I can give Mr. Blake the basket without landing.

Simon

No, no - we like you almost as much as the luncheon.

(Lands and comes behind them)

Cameron

Is it the wish of Mr. Blake that I unpack the basket?

(Puts down basket)

Simon

We'll look after that if you bring a trout or two. I want you to show my wife, Cameron, how you cook fish by the water's edge.

(Mary Rose lays the tablecloth and puts out serviettes - Simon takes out 2 plate_s and a paper bag with 2 apples in it)

Cameron

I will do it with pleasure.

(Going, stops L.C.)

There iss one little matter; it iss of small importance.

You may haf noticed that I always address you as Mr. Blake.

I notice that you always address me as Cameron. I take no offence.

(Is going again up to boat)

8

**Mary Rose**

Oh, dear! I am sure I always address you as Mr. Cameron.

**Cameron**

That iss so, ma'am. You may have noticed that I always address you as "ma'am". It is my way of indicating that I consider you a very genteel young matron, and of all such I am the humble servant.

(Going, turns again)

In saying I am your humble servant I do not imply that I am not as good as you are. With this brief explanation, ma'am, I will now fetch the trouts.

(Cameron goes to water's edge takes 2 trouts from boat)

**Simon**

That's one in the eye for me, but I'm hanged if I mister him.

**Mary Rose**

Simon, do be careful. If you want to say anything to me that's dangerous, say it in French.

(Laying meal pickles and marmalade, jars, which are wrapped in newspaper)

(Cameron is washing two trout of about a quarter of a pound each)

**Cameron**

The trouts, ma'am, having been cleaned in a thorough and yet easy manner by pulling them up and down in the water, the next procedure iss as follows.

(Cameron wraps up in a piece of newspaper each tøut and then soaks them in the water comes down stage and crosses to fire R.)

Fire cue (9)

**Mary Rose**

It looks like a conjuring trick. What is he doing now?

**Simon**

He is soaking the paper.

You watch.

**Cameron**

I now place the soaking little parcels on the fire, and when the paper begins to burn it will be a sure sign that the trouts iss now ready, like myself, ma'am to be your humble servants.

(Crosses to C. as if to go up to boat)

9

Mary Rose

Don't go.

(She takes out sandwiches)

Cameron

If it is agreeable to Mistress Blake I would wish to go back
to the boat.

Mary Rose

Why?

(Pause - Cameron looks around uncomfortably)

It would be more agreeable to me if you would stay.

Cameron

Then

(Looks around)

I will remain against my better judgment.

(He leans against fir x tree L.C.)

Simon

Good man - and look after the trout. It's the most heavenly
way of cooking fish, Mary Rose.

Cameron

It iss a tasty way, Mr. Blake, but I would not use the word
heavenly in this connection.

Simon

I stand corrected.

(Tartly)

I must say -

Mary Rose

Prenez **garde**, mon **brave**!

Simon

Mon **dieu**! Qu'il est **un drole**!

Mary Rose

Mais **moi je l'aime**; **il est tellement** -

(In English)

What is the French for an original?

Simon

(In English)

That stumps me.

Cameron

Colloquially **coquin** might be used, though the classic writers

10

would probably say simple <u>un original</u>.

Simon

(This staggers them)

I say, this is serious. What was that book you were reading,
Cameron, while I was fishing?

Cameron

It is a small Euripides I carry in the pocket, Mr. Blake.

Simon

Latin, Mary Rose!

Cameron

It may be Latin, but in these parts we know no better than
to call it Greek.

Simon

(Laughing)

Sold again! Come on, Erasmus, sit down and have pot-luck
with us.

Cameron

I thank you, Mr. Blake, but it would not be good manners for
a paid Man to sit with his employers.

Mary Rose

When I ask you, Mr. Cameron?

Cameron

(Doggedly)

It iss kindly meant, ma'am, but I haf not been introduced
to you.

Mary Rose

Oh, but - do let me. My husband,

(Simon rises)

Mr. Blake - Mr. Cameron.

(They bow)

Cameron

I am glad to make Mr. Blake's acquaintance. I hope he is
ferry well.

Simon

The same to you, Mr. Cameron. How do you do? Lovely day,
isn't it?

11

Cameron

It iss a fairly fine day.

(He is about to sit again)

Simon!

Mary Rose

Simon

Oh! Do you know my wife? Allow me - Mr. Cameron - Mrs.
Blake.

(He sits)

Cameron

I am ferry pleased to make Mistress Blake's acquaintance.
Iss Mistress Blake making a long stay in these parts?

Mary Rose

No, alas; we go across to-morrow.

Cameron

I hope the weather will be favourable.

Mary Rose

Thank you. And now you know you are our guest.

(Gives him paper parcel of sandwiches)

Cameron

I am much obliged.

(Looks at sandwich)

Butcher meat! This is very excellent.

(Turning to face audience)

Mary Rose

This Scotch air gives one such an appetite.

Cameron

I thank you for that.

(He nibbles at a sandwich and then bursts into
surprising fit of laughter that makes him human
and even attractive. He stops, as if ashamed)

Please to excuse my behaviour. You haf been laughing at me
all this time, but you did not know I haf been laughing at
myself also, though keeping a remarkable control over my
features. I will now haf my laugh out, and then I will ex-
plain.

(He has another roar of laughter and moves down stage -
and round up to fir tree which he leans his arm and
head at and then controls himself and turns to face
them)

I will now explain. I am not the solemn prig I haf pretended
to you to be, I am really a fairly attractive young man,
but I am shy and I had been guarding against your taking

12

liberties with your employee, not because of myself, who
am nothing, but because of the noble profession it is my
ambition to enter.

Mary Rose

Do tell us what that is.

Cameron

It is the ministry. I am a student of Aberdeen University,
and in the vacation I am a boatman, or a ghillie or anything
you please to help to pay my fees.

Simon

I honour you for that.

Cameron

I am obliged to Mr. Blake. And I may say, now that we know
one another socially, that there is much in Mr. Blake which
I am trying to copy.

Simon

Something in me worth copying! Hurrah!

Cameron

It is not Mr. Blake's learning - He has not much learning,
but I have always understood the English language without it.
What I admire in Mr. Blake is his ferry nice manners and
general deportment.

(Simon bows)

in all of which I have a great deal to learn yet, and I watch
these things in Mr. Blake and take memoranda of them in a
little note book.

Mary Rose

Mr. Cameron, do tell me that I am in your little notebook?

Cameron

You are not, ma'am, it would not be seemly in me. But it
is written in my heart - and also I have said it to my
father - that I will remain a bachelor unless I can marry
some lady who is a ferry like Mrs. Blake.

Simon

Why did I never think of saying that -

Mary Rose

Is your father a crofter in the village?

13

Cameron

He iss, ma'am, when he is not at the University of Aberdeen.

Simon

My stars! Does he go there, too?

Cameron

He does so. We share a very small room between us.

Simon

Father and son! Is he going into the Ministry, too?

Cameron

Such is not his purpose. When he has taken his degree he
will return and be a Crofter again.

Simon

In that case I don't see what he is getting out of it.

Cameron

(With dignity)

He is getting the grandest thing in the world out of it.

He is getting education.

Simon

You make me feel small. I -

Mary Rose

(Suddenly)

The trout!

(Cameron puts down his parcel of sandwiches on
stage L.C.)

(The paper has begun to burn. Cameron crosses to R.
rescues the trout. Then an duplicate trout - is
burnt paper - and contain sponge cake. Mary Rose
hands Simon the two plates on which Cameron puts
the fish cake)

Mary Rose

They do look good.

Simon

(Hands Mary Rose one plate)

Scrumptious! Mr. Cameron?

(Offering his plate to Cameron)

Cameron

No, I thank you.

(He crosses to L.C. and picks up his sandwiches)

I have lived on trouts most of my life. This butcher meat
is more of an excellent novelty to me.

14

(To Mary Rose)
Like it?

Simon

(Opening her fish)
N'yum, n'yum.

Mary Rose

(To Cameron who is now standing leaning against fir tree)
Do sit down, Mr. Cameron.

Cameron

I am doing ferry well here, I thank you.

Mary Rose

But please?

Cameron

(Doggedly)
I will not sit on this island.

Simon

Hullo!
(Curiously)

Simon

Come, come, are you superstitious, you who are going into
the ministry?

Cameron
This island has a bad name, I haf never landed on it before.

Why, Mr. Cameron? How extraordinary! I was once staying
near here long ago, when I was small and I often came to
the island.

Mary Rose

(Surprised)
Is that so? It was not a chancey thing to do.

Cameron

But it's a darling island.

Mary Rose

That is the proper wayto speak of it.

Cameron

I am sure I never heard a word against it. Have you, Simon?

Mary Rose

(Guardedly)
Perhaps a little. They tell me in the village that its
Gaelic name has an odd meaning - "The Island that Likes to be
Visited" - but there's nothing terrifying in that.

Simon

15

(Simon is peeling an apple)

Mary Rose

The name is new to me, Mr Cameron. I think it's sweet.

Cameron

As to its being sweet, Mistress Blake, that iss as it may
be.

Simon

What is there against the island?

Cameron

For one thing they are saying it has no right to be here.
It was not always here, so they are saying. Then one day
it was here.

Simon

That little incident happened before your time, I should
say, Mr. Cameron.

Cameron

It happened before the time of anyone now alive, Mr. Blake.

Simon

I thought so. And does the island ever go away for a bit
in the same way?

Cameron

There are some who say it does.

Simon

But you have not seen it on the move yourself?

Cameron

(With dignity)

I am not always watching it, Mr. Blake.

Simon

Anything else against it?

Cameron

There is the birds. These trees would be very nice for
them - but no one has ever seen a bird alight on this island.
(Comes to them)

It's name is against it for another thing, for, mark you,
Mistress Blake, an island that had visitors would not need
to want to be visited - and why has it not visitors? Because
they are afraid to visit it.

16

Mary Rose

Whatever are they afraid of?

Cameron

That iss what I say to them. What effer are you afraid of,
I say.

Mary Rose

But what are _you_ afraid of, Mr. Cameron?

Cameron

(Who never does sit down)

The same thing that they are afraid of. There are stories,
ma'am.

(Moves to fir tree)

Mary Rose

Do tell us, Simon, wouldn't it be lovely if he would tell
us some real eerie Highland stories!

Simon

Oh, I don't know. They mightn't be pretty. I warn you, my
friend, I'm not a sympathetic listener. You'll find me a
bit of a cynic about your island.

Mary Rose

Please, Mr. Cameron, I love to have my blood curdled.

(She munches an apple)

Cameron

There is many stories. There is that one of the boy who was
brought to this island - and they are saying that he was no
older than your baby.

Simon

What happened to him?

Cameron

No one knows, Mr. Blake. His people they were gathering
rowans, and when they looked round he was gone.

Simon

Lost?

Cameron

He could not be found. He was never found.

Mary Rose

Never! How dreadful! Had he fallen into the water?

17

Cameron

That iss a good thing to say, that he had fallen into the
water. That iss what I say.

Simon

But you don't believe it?

Cameron

I do not.

Mary Rose

What do the people in the village say?

Cameron

<u>Some</u> say he is on the island still.

Simon

This hop, skip and a jump of an island!
(Cameron starts affrighted)

What do the wise ones say?

What does your father say?

Cameron

He thinks they are not always here but that they come and go.

Simon

They! Who are <u>they</u>?

Cameron

(Uncomfortably)

I do not know.

Mary Rose

At any rate the child must have wandered away. How could
his people let him?

Cameron

How could they prevent it, ma'am? He had heard the call of
the island.

Simon

I am curious. Let's get at the meaning of this if it has
a meaning. How can the island 'call'?

Cameron

(Uncomfortably)

I do not know.

Simon

Do you know anyone who has heard the call?

18

Cameron

I do not. No one can hear it, but those for whom it is
meant.

Mary Rose

But if that child heard it, the others must have heard it
also - they were with him.

Cameron

They heard nothing.

(Goes to them puts his foot on tree stump)

This is how it is. I might be standing close to you, Mrs.
Blake, as it were here, and you there, and I might hear it, very
loud, terrible or soft whispering - no one knows - but I
would have to go, and you would not have heard a sound.

Mary Rose

(To Simon)

Dear, isn't it creepy.

Simon

I expect we could soon pick holes in it. How long ago is
this supposed to have happened you credulous Highlander?

Cameron

It was before I was born.

Simon

(Smiling)

I thought so!

Mary Rose

Simon, don't make fun of my island. Do you know any more
ducky stories about it, Mr. Cameron?

Cameron

(He stands erect)

It may be so that I do and it may be so that I do not - but
I will not tell them if Mr. Blake says things the island
might not like to hear.

Simon

Not "chancey" I suppose?

Cameron

That is so.

Mary Rose

Simon! Promise you will be careful.

19

Simon

Well, go ahead, Cameron.

Cameron

(Both turn to him)

This story is of a young English miss, and they are saying
she was about ten years of age.

Mary Rose

Not so much younger than I was when I came here. How long
ago was it?

Cameron

I think it is 12 years ago this summer.

Mary Rose

Simon, it must have been just one year after I was here!

(Simon has become uneasy because he realizes that
it is her story that is coming)

Simon

(Getting on to his knees)

Very likely, but I say, we mustn't stay gossiping here. We
must be getting back. Did you bail out the boat?

(He puts a plate in basket)

Cameron

I didn't, but I will do it now if such is Mr. Blake's wish.

(Going)

Mary Rose

The story first, I won't go without the story.

Cameron

Well, then.

(Returning to L. of tree stump)

The father of this miss he was fond of the fishing, and he
sometimes landed the little maid on the island while he
fished found it from the boat.

Mary Rose

(To Simon)

Listen to that!

Just as father used to do with me!

Simon

I daresay lots of bold tourists come over here - do they
not?

Cameron

That is so - if ignorance is boldness, and if there is no

20

prudent boatman with them - then he will not land them
whether they wish it or not. He should get the Humane
Society's Medal for saving their lives.

Simon

(Not wishing the story repeated before Mary Rose)
Now I really think we must be starting.

Mary Rose

No, dear.

(To Cameron)

Please.

Cameron

One day the father pulled over for his little one as usual.
He saw her from the boat; she was sitting on the island,
and it is said she kissed her hand to him. Then in a moment
more he reached the island, but she was gone.

Mary Rose

Gone?

Cameron

She had heard the call of the island though no sound came
to him.

Mary Rose

Doesn't it make one shiver!

Cameron

My father was one of the searchers. For many days they
searched.

Mary Rose

But it would not take many minutes to search this little
island.

Cameron

They searched, ma'am, long after there was no sense in
searching.

Mary Rose

What a curdling story!

Darling, it might have been me!

Is there any more?

Cameron

There is more. It was about a month afterwards - her father
was walking on the mainland, over there - and he saw something
moving on the island. All in a tremble, ma'am he came across
in the boat, and it was his little miss.

Mary Rose

Alive?

21

Cameron

Yes, ma'am.

Mary Rose

He got her again. I am so glad, but it rather spoils the
mystery.

Simon

(Curious to know how she feels about it)

How, Mary Rose?

(Cameron moves down stage L.)

Mary Rose

Because of couse she could tell them what happened stupid.

(To Cameron)

Whatever had it been?

Cameron

It iss not so easy as that, Mistress Blake. She did not
know that anything had happened. She thought she had been
parted from her father for but an hour.

Mary Rose

Dear!

(She puts out her hand, Simon takes it and puts his left arm round her)

Simon

You and your bogies and kelpies and wraiths, you man of the
mists!

Mary Rose

(Smiling to Simon)

Don't be alarmed, Simon;

I was only pretending to believe.

Cameron

That iss the wise thing to do when you are on the island. I
believe it all when I am here, though I turn the cold light
of remorseless Reason on it, when I am in Aberdeen.

Simon

(Chaffing)

Is that "chancey", my friend? An island that has such ex-
traordinary powers could surely send its call to Aberdeen or
farther.

Cameron

(Troubled)

I had not thought of that.

That may be ferry true.

(He starts)

22

Simon

Beware Mr. Cameron, lest some day when you are preaching
far from here the call may pluck you out of the very pulpit
and bring you back to the island in one jump.

Cameron

I do not like Mr. Blake's talk. I will go and bail the boat.
(He goes casts off and we see him push off the boat -
while they continue to talk. The boat drifts out of
sight R.)

Mary Rose

(Deliciously thrilling)

Suppose it were true, Simon?

Simon

But it isn't.

Mary Rose

No, of course not, but if it had been, how awful for the girl
when her father told her.

Simon

(Studying her cautiously)

Perhaps he never told her. He may have thought it wiser not
to disturb her.

Mary Rose

Poor girl! Yes, I suppose that would have been best. And yet
- it was taking a risk.

Simon

How?

Mary Rose

Well, not knowing what had happened she might come back and -
and be caught again! Little island, I don't think I like
you to-day.

Simon

If she ever comes back, let's hope it is with an able-bodied
husband to protect her.

Mary Rose

Nice people husbands!

(Luxuriating in pretended shudders)

You won't let them catch me, will you, Simon!

(Head on his shoulder)

Simon

Let 'em try! And now to pack up the remnants

(Burlesquely)

and escape from the scene of the crime.

23

(He begins to do so)

We'll never come back again, Mary Rose, I'm too frightened.

(He leaves out only the tablecloth - pickles and marmalade)

(This is in burlesque to make her bright)

Mary Rose

It's a shame to be funny about my island.
(To Island)

You poor lonely dear - I never knew about your liking to be
visited - and I daresay this is my last visit.
(To Simon)

The last time of anything is always sad, don't you think?

Simon

(Reclining - feet towards fire)

There must always be a last time, dearest, dear.

Mary Rose

Yes - I suppose so for everything. There must be a last
time I shall see you, Simon.

(Half playfully smoothing his hair)

Someday I shall flatten this tuft for the 1000th time and
then never do it again.

Simon

Someday I shall look for it, and it won't be there. That
day I shall say "Good riddance."

(She is whimsical rather than sad in what follows)

Mary Rose

I shall cry.

Simon

Goose.

(He kisses her)

Mary Rose

Some day, Simon, you will kiss me for the last time.

Simon

That wasn't the last time at any rate!

(He kisses her again)

(A strange trembling passes through Mary Rose's frame.
She doesn't know what it means, but perhaps the audience
feel that this is his last kiss)

Simon

(Troubled)

What is it?

Mary Rose

I don't know - Something seemed to come over me,

24

Simon

(Brightly)

You and your last times!

(Takes her right hand)

Let me tell you, Madam, there will be a last time when you
will see your baby.

Oh!

Mary Rose.

Simon

Well, he can't always be infantile, but the day after you
have seen him for the last time as a baby you will see him
for the first time as a little gentleman. Think of that.

Mary Rose

Often I think of that. The loveliest time of all will be
when he is a man and takes me on his knee instead of my
putting him on mine! Think of it! How gorgeous!

(With one of her sudden changes)

Don't you think the saddest thing is that we seldom know when
the last time has come? We could make so much more of it.

Simon

Oh, lor no! To know would spoil it all I suppose I ought
to stamp out the fire.

(Rises)

Mary Rose

Wait for Cameron.

(Quaintly)

I want you to come and sit here, Simon, and make love to me.

(She moves a little to the R & indicates with her hand
where he is to sit. He crosses down stage below her
and stands by the tree stump for a moment facing her)

Simon

What a life*

(She puts her hand to her chin)

you and your chin. You always take your chin in your hand
and lean forward solemnly when you think, I am to say pretty
things to you. And the prettier they are the more solemnly
do you lean forward.

(He sits leaning against the stump)

I don't know that I can oblige today.

(She takes her hand from her chin and smiles)

Mary Rose

Then I shall make love to you.

(In her quintest way, and putting her arms round his
neck)

25

Have I been a nice wife to you, Simon? I don't mean always and always; there was that awful day when I flung the butter-dish at you! I am so sorry. But have I been a tolerably good wife on the whole - not a wonderful one, but a wife that would pass in a crowd?

(Rams head at his neck)

Simon

Look here, if you are going to ram your head into me like that, you must take that pin out of your hair.

Mary Rose

Have I been all right as a mother, Simon? Have I been the sort of mother that Harry Morland Blake could both love and respect?

Simon

That's a very awkward question. You must ask Harry Morland Blake that.

Mary Rose

Have I -

Simon

Shut up, Mary Rose. I know you, you'll be crying in a moment, and you don't have a handkerchief for I wrapped it round the trout, whose head came off.

Mary Rose

At any rate, Simon Blake, say you forgive me about the butter-dish.

Simon

I am not so sure of that.

Mary Rose

And there were some other things - almost worse than the butter-dish.

Simon

I should just say there were!

Mary Rose

Simon, how can you? There was nothing so bad as that.

Simon

(With a groan)

I can smile at it now, but at the time I was a miserable man. I wonder I didn't take to drink.

26

Mary Rose

Poor old Simon! But how stupid you were, dear not to understand!

Simon

How could an ignorant young husband understand that it was a good sign when his wife flung the butter-dish at him!

Mary Rose

You should have **guessed**.

Simon

About the coming glory? About Harry? How could I? I had always understood that when a young wife had a remarkably private statement to make to her husband - that she took him aside and went red - or white - and hid her shamed head on his bosom - and whispered the whole guilty secret. I admit I was hoping for that, but all I got was the butter-dish!

Mary Rose

I suppose different women have different ways.

Simon

I hope so.

(Severely)

And that was a dastard trick you played me afterwards.

Mary Rose

Which? Oh that!

Before **he** was born!

(Demurely)

I just wanted you to be out of the way till he **was** born.

Simon

I don't mean your getting me out of the house - sending me to Plymouth. The dastardliness was in not letting them tell me, when I got back, that, - that he **was** born!

Mary Rose

(Gurgling)

It was very naughty of me! You remember, Simon when you came in you tried to comfort me by saying it wouldn't be long now! - and I let you maunder on, you darling!

(Nestling up to him)

Simon

Gazing at me with solemn innocent eyes. You unutterable pig, Mary Rose!

Mary Rose

You should have been able to read in my face how clever I had been. Oh, Simon, when I said at last "Dearest, what

27

is that funny thing in the basinette?# and you went and looked, nevershall I forget your face!

(Getting close to him - laughs)

Simon
I thought at first, it was some baby you had borrowed.

Mary Rose
I sometimes think so still!
(Childishly)
I didn't did It
(Again nestling up to him)

Simon
You are a droll one! Always just when I think I know you at last I have to begin at the beginning again.

Mary Rose
(Suddenly)
Simon!

Simon
Yes.

Mary Rose
If one of us had to - to go, and we could choose which one -

Simon
(With a groan)
She's off again!

Mary Rose
Well, but if - I wonder which would be best. I mean for Harry, of course.

Simon
Oh, I should have to hop it.

Mary Rose
(Starting - gets on her knees)
Dear!

Simon
Oh, I haven't popped off yet. Steady, you nearly knocked over the pickles.

(He looks at her curiously)
If I did go, I know your first thought would be "The happiness of Harry mustn't be interfered with for a moment". You would blot me out for ever, Mary Rose, rather than he should lose one of his 100, laughs a day.

28

Mary Rose

(Guiltily)
Oh.

Simon

It's true, isn't it?

Mary Rose

(Her hands on his shoulders)

It's true at any rate that if I was the one to go, that's what I should like you to do.

(She rises)

Simon

Get off the table cloth.

Mary Rose

(With a new thought)

Oo!

Simon

What is it now? Don't step on the marmalade.

(She comes L.)

Mary Rose

Simon, isn't life lovely! I'm so happy, happy, happy!

Are you?

Simon

Rather!

Mary Rose

But you can tie up marmalade! Why don't you scream with happiness? One of us has got to scream.

Simon

(She L. C. Then moves round Fur Tree)

Then I know which one it will be. Scream away, it will give Cameron the jumps.

(The boat with Cameron draws in)

There you are Cameron. We are still safe, you see. You can count us - two.

(Folding table cloth - puts it in basket and rises)

Cameron

(In boat)

I am ferry glad.

Simon

(Handing him the luncheon basket)

You needn't tie up. Stay there and I'll stamp out the fire myself.

29

Cameron

As Mr. Blake pleases.
(Takes basket)

Simon

Ready, Mary Rose?

Mary Rose.

Yes.

(Runs down to tree stump)

(FIRE CUE (10)

(While Simon is trying to kill the fire with his foot.

Cameron puts on jacket and sits in the boat reading his
Euripides and Mary Rose has her farewell to the island)

(LIGHT CUE (11)

Good-bye, old mossy seat

(Leans over stump- pointing to letters)

Good-bye M. A. R. nice rowan. Good-bye little island, that
likes too much to be visited.

(Puts arms round tree L.)

Perhaps I'll come back when I am an old lady with wrinkles,
and you won't know your Mary Rose.

Simon

(Turns to her)

I say, dear, do dry up. I can't help listening to you when
I ought to be getting this fire out.

Mary Rose

I won't say another word!

(Holds her tongue - sits on stump)

Simon

Just as it seems to be out, sparks come again. Do you think
if I were to get some wet stones -

(He looks round again and sees that she is whimsically
holding her tongue with her hand. They laugh to each
other)

You child!

(Organ Pipe begins - followed by wind mabhine and rain
barrel - Music is then heard. An effects increase L.
violin with crescends. L. Music and die suddenly at end
of it)

(He is then occupied for a little time in bringing wet
stones from the loch and dumping them on the fire kneels
and watches the result. Cameron is still in the boat read-
ing. Mary Rose is sitting demurely but gaily, holding her
tongue, like a child. Something else is happening. The
island has begun to "call" to Mary Rose. the sound is like
the wash of waves on some untrodden shore, with wind
whistling through it and a strange moaning, got best, per-
haps, from a great organ pipe. It is mysterious and
threatening and is at first as soft as a whisper but it

30

rapidly increases in volume till it is horribly loud. It is furtive, fearsome, seductive, but beneath it there is lovely music and calls of Mary Rose, as if there were something very beautiful about the "calf" which is trying to assert itself but is largely drowned in the other more eerie sounds. To the eye all is as placid and sunny as before. We hear the call and Mary Rose hears, it, but Simon and Cameron continue as above, hearing nothing. At first Mary Rose continues sitting, only conscious of a sound, but soon she is like one mesmerised. She has risen now. Once one arm goes out to Simon for help, but thereafter she is oblibious of his existence. She is not frightened, but neither is there joy in her face. She has a wraptface. When the storm is at its loudest she passes L. through the brushwood out of sight, L. her left arm out-stretched. Then the "call" dies away and there is a silence - the island has got her)

### Simon

(On ground by fire and addressing Mary Rose as he thinks, but without looking at where he imagines her to be)

I think that makes it all right, and that we can leave it now. I don't see any sparks.

(Without looking up)

You need't be so silent as all that.

(He rises and looks round where she should be. Her absence merely makes him smile)

Where have you got to? I say, no hiding. We must really be going. Mary Rose.

(Laughingly)

Dearest, don't! Mary Rose!

(He disappears L. in search in the direction she had gone. Cameron realizes there is trouble, but is reluctant to come ashore. Simon's voice is heard twice calling Mary Rose! Cameron has the courage to land and come R.C. Simon reappears still undisturbed)

### Simon

(Lightly)

Cameron! I can't find her!

### Cameron

Oh! Mr. Blake.

(Cameron's face shows what is in his mind and fills Simon with dread)

(Simon beside himself looks off L. again, then dartes off R. calling "Mary Rose - three time")

(LIGHT CUE (12)

FROM
CHARLES FROHMAN,
EMPIRE THEATRE BUILDING,
BROADWAY & 40th STREET,
NEW YORK

MARY ROSE

ACT III

NOTICE

The within typewritten copy of the unpublished manuscript of a play entitled "Mary Rose" of which Sir James M. Barrie, Bart., London, England is the author and sole proprietor, has been prepared exclusively for the personal use of managers and members of the theatrical profession, to whom the name is loaned by the author for purposes of perusal only. It is not to be printed, copied, reproduced in any form, or published in any manner, nor produced upon the stage, without the written consent of the author. The within copy of such play is to be returned, upon demand, to Charles Frohman, Inc. Empire Theatre, Broadway & 40th St. New York City.

Dated, New York, June 2, 1920.

JAMES M. BARRIE
Author and Proprietor

LIGHTING PLOT,
Act 3,
Scene 1.

3

4 Louis Candle brackets with yellow shades have now been installed in the room with a switch below door on wall R. The position of these are marked in the Plan thus. 3 light bracket. 2 light bracket.

To open.

**FLOAT.** White and amber circuit full up
White circuit full up.

No. 1 Battn.

2 & 3 sections white & amber full up.
ditto ditto white circuit full up.

LENGTHS

To window. Large white & amber full up.
Door up L.C. Small amber length (4 lamps)
Door R. Ditto

PERCHES

1 amber 1/2 watt from PS. on table R.

Log Fire L.

Burning brightly
Fire amber - watt through fire-place on to settee

Working.

Cue (1) Check bunch light at window slowly.
Check whit float to 1/2.
Remaining Float & Battn. to 3/4.

Cue (2) (Moreland turns up switch) Brackets light up.
Floats & Batts back to full.
(After Moreland has drawn curtains)
Take everything exterior to the room out.

Cue (3) Bring No 3 Baby spot in

Cue (4) Everything slowly fades out. No 3 Baby spot being last away.

BLACK OUT.

A C T III.

SCENE:-

The scene is the home of the Morlands
again - the cosy room of Scene 2
Act 1. In essentials it is as we saw
it last, but there should be some
minor changes for 28 years have pass-
ed since we saw it last. Thus chintzes
have been removed. It is, however,
still a bright and happy room, warm
with geniality and homeliness.

TIME:-

The time is a pleasant autumn after-
noon just before twilight comes.
Through the window we see the apple
tree, in its autumn fruit and foliage,
but a pleasant sight still. There is
a bright log fire burning, and round
it sit MR and MRS MORLAND and MR AMY.
They are all over seventy now, but on
the whole are well-preserved and full
of vigour. Mrs·Morland who looks a
greater dear than ever is sitting in
easy chair beyond fire, so that her
face is well seen by us. She is
reading a copy of Punch with the help
of a magnifying glass and is evident-
ly finding it very funny as her face
shows. AMY is on couch beside her and
Mr Morland is poking fire. Mr. Amy,
who has been half asleep, wakes up
and sees the silent laughter on Mrs.
Morland's face, and nudges Mr Mor-
land to draw his attention to it.
She is unconscious that they are wat-
ching her. She looks up and catches
them at it.

DISCOVERED:-

Rev. Amy is nodding as curtain rises-
He is sitting on L cushion of settee
MRS. MORLAND on R cushion- MORLAND
is facing the fire standing. Amy
wakes & pulls Morland's coat, who turns.

Oh, you bad men!

Mrs. Morland

What is it, Fanny?

Morland

Mrs. Morland
It's this week's Punch - so very amusing!

Mrs. Morland

2

Amy

Ah, Punch - it isn't what it used to be.

Morland

Nothing like.

Mrs. Morland

I think it's twice as good now. You see if you can look at
that without laughing.

(She gives Punch to Amy who tries to read, holding it
at arm's length)

(Pause)

You're trying not to laugh.

(He gurgles. Morland takes it, reads and is highly
amused. All three guffaw)

Morland

I think I can say that I enjoy a joke as much as ever.

(Hands back Punch to him and he to Mrs. Morland)

Mrs. Morland

You light hearted old man!

Morland

(Sits on arm of chair down L.)

Not so old, Fanny. Will you please to remember that I am
two months younger than you.

Mrs Morland

How can I forget it when you have been casting it up against
me all our married life.

Morland

Only occasionally, my dear, when you needed to be kept in
order. Fanny and I are 71. You are a bit younger, George.

Amy

Oh, yes. Oh, dear yes!

Morland

You never say _exactly_ what your age _is_.

Amy

I'm in the sixties. I'm sure I have told you that before.

Morland

It seems to me you have been in the sixties longer than it is
usual to be in them.

Mrs. Morland

(Warningly)

James!

3

Morland

No offence, George, I was only going to say that at 71 I certainly don't feel my age. How do you feel, George at - at 62.
(Pause)

Do you feel your 62 years?
(Louder, as if Amy were a little deaf)

Amy

(Testily)
I am more than 62.

Morland

Who would have thought it!

Mrs. Morland

James!

Amy

I certainly don't feel more than 62. It was only last winter that I learned to skate!

Morland

I still go out with the hounds. You forgot to come the last time, George.

Amy

If you are implying anything against my memory, James -

~~Morland~~

What do you say?

Amy

I was saying that I have never used glasses in my life.

Morland

(Sharply, takes off glasses)

If I wear glasses occasionally it certainly isn't because there is anything defective with my eye-sight. But the type used by newspapers now-a-days is so vile

Amy

There I agree with you. Especially Bradshaw.

Morland

(Not hearing him)

I say the type used by newspapers now-a-days is vile. Don't you think so?

Amy

I have just said so.

(Tiredly)

You are getting very dull of hearing, James.

4

Morland

Me? I like that, George! Why I have constantly to shout to
you now-a-days.

Amy

What annoys me is not that you are a little deaf - you can't
help that. But from the nature of your replies I often see
that you are pretending to have heard what I said when you
didn't. That's rather vain, James.

(Mrs. Morland's attitude throughout the scene is that of a mother amused by two children and smiling to herself)

Morland

(Rising in dudgeon, crosses R.)

Vain! Now you have brought this on yourself, George. I
have got something here I might well be vain of, and I meant
not to show it to you because it will make you squirm.

(Amy crosses R.)

It'll make you squirm.

(Mrs. Morland taps warningly with magnifying glass on
book. Morland produces a water colour, unframed, from
a drawer, in bureau R.)

Morland

(In answer to Mrs. Morland's tap)

I didn't mean that, George. I'm sure you'll be delighted.
What do you think of that?

(Amy examines it at arm's length. Morland attempts to
take it. Amy very annoyed)

I'll hold it out to you, as your arms are so short.

(Amy indignantly refuses)

Amy

Very nice, What do you call it?

Morland

Have you any doubt? I haven't the slightest. I'm as sure as
that I am standing here that it's an early Turner

(Amy sits down to table R.C. Morland sits R. of same)

Amy

Turner!

Morland

Fanny thinks so too. I'm as certain of it as that two and two
make four.

Mrs. Morland

Can we be quite certain James that two and two do make four.
Everything is questioned now-a-days. And four seems rather a
small number.

5

Morland

(Gives picture to Amy, who examines it with glass)
What else can it be? Holman suggested a Girton or even
a Dayes. Absurd! Why Dayes was only a glorified drawing-
master.

(Sits)

I flatter myself I can't make a mistake about a Turner.
There's something about a Turner difficult to define, but
unmistakable - an absolute something. It's a charming
view, too - Kirkstall Abbey obviously.

(Both holding picture)

Amy
Rivaulx, I'm sure.

Morland

I say Kirkstall.

(Mrs. Morland taps)

(Morland takes his hand from painting)

You may be right - the place doesn't matter.

Amy

There's an engraving of Rivaulx in this Copperplate book we
were looking at. Where is it? Here it is. Wait a minute.
(He turns up the book)

I've got it - Rivaulx. Why, this is funny. It's an en-
graving of this very picture. Hello, hello, hello!
(Takes magnifying glass from pocket)

And it's signed E. Dayes.

(Morland in a tremble examines the picture close
to his eyes with the aid of his glass and gets a
shock)

I wouldn't eat it, James. So it's by Dayes, the drawing
master, after all! I'm sorry you have had this disappoint-
ment, James.

(Smiles expansively)

Moreland

I - I - I ---

(Furious)

(Mrs. Morland taps)

Fanny, I won't - 62! You 62!

(Goes up stage and returns in fury)

Amy

(Affronted, rises)

This is very painful. Your chagrin I can well understand,
but surely your sense of manhood - I regret that I have
outstayed my welcome. I bid you good afternoon. Thank
you, Mrs. Morland, for your unvarying hospitality.

(He is going)

6

Mrs. Morland

(As in Act I - rises)

Amy

It is very kind of you, but I need no one to see me into
my coat.

(Struts off and she blandly follows. Morland
throws the picture in drawer and the Copperplate
book and Crosses L. Amy returns in his coat and
muffler. Mrs. Morland leading him. She curtseys
to Morland, then to Amy who yields. She goes up
stage toward window)

Light cue
(1)

James, I cannot leave this friendly house in wrath.

Morland

I'm an irascible old beggar, George. What I should do
without you -

Amy

Or I without you.

(Goes to Morland - they shake hands)

Or either of us without that little old dear,

(Looking at Mrs. Morland)

to whom we are a never failing source of mirth.

(She curtseys)

Good day again. Tell Simon when he comes that I shall
be in to see him tomorrow. Good-bye, Fanny.

(Shakes her hand)

I suppose you think of the pair of us as in our second
childhood?

Mrs. Morland

(She wraps muffler across his mouth)

Not your second, George. I have never known any men who
have quite passed their first -

(Amy, laughing, shakes his hat at her jocularly
and goes, followed up to door by Morland)

Morland

Good-night, George. He's a good fellow, but funny how
touchy he is about his age.

(Filling his pipe)

And he has a way of falling to sleep while one is talk-
ing to him.

Mrs. Morland

He's not the only one of you who does that.

(She stands looking out of window - Dusk is
beginning to come now. He stands beside her)

(She turns facing audience, pensively)

7

Morland

Eh? What are you thinking about, Fanny?

Mrs. Morland

I was thinking about the apple tree, and that you have
given the order for its destruction.

Morland

(Firmly)

It must come down. It is becoming a danger - might fall
on some one down there any day.

Mrs. Morland

I quite see it has to go.

(Reminiscent, but not emotional)

But, her tree! How often she made it a sort of ladder
from this room to the ground.

Morland

Who? Oh, yes, of course. Did she use to climb the apple
tree? Yes, I think she did.

Mrs. Morland

(Kindly)

Had you forgotten that also, James?

Morland

(Doleful)

I'm afraid I forget a lot of things.

Mrs. Morland

(Softly)

Just as well.

Morland

It's so long since she - how long is it, Fanny?

Mrs. Morland

Twenty-five years - quarter of a century. It will soon
be dark. I can see the twilight running across the fields;
draw the curtains, dear.

Light cue
(2)

(He turns on the lights and then, draws the curtain: they are electric lights now. Figure on clock strikes the half hour)

CLOCK CHIME.

8

Mrs. Morland (Cont.)

(She comes to settee and sits)

Simon's train must be nearly due, isn't it?

Morland

(Coming down to back of settee L)

In ten minutes or so. Did you forward his telegram?

Mrs. Morland

No. I thought he would probably get it sooner if I kept
it here.

Moreland

I daresay.

(She has gone to settee and lifted up some knitting.
He is troubled. He takes the knitting out of her
hand and drops it on settee Cushion R.)

Mrs. Morland

What is it, dear?

Morland

(Contrite, behind settee)

I am afraid I was rather thoughtless about the apple tree,
Fan.

Mrs. Morland

(Smiling)

Oh, no.

(Taps his hand)

Morland

Yes, I hurt you.

Mrs. Morland

Such nonsense! Have another smoke, James.

Morland

(Doggedly) (Comes C.)

I will not have another smoke. I'm to give up smoking for a
week as a punishment to myself.

Mrs. Morland

Foolish man!

Morland

Why is my heart not broken? If I had been a man of real
feeling my heart would have broken 25 years ago - just
as yours did.

9

Mrs. Morland

Mine didn't, dear.

Morland

In a way it did. At the time I thought I could never raise
my head again, but there's a deal of the old Adam in me
still.

(Moving about)

I ride and shoot and laugh and give pompous decisions on
the bench and wrangle with old George as if nothing much
had happened to me. <u>My</u> heart-broken! I never think of
the island now, I daresay I could go back there and fish!

(Despite his self abnegation he finds that he has
produced his pipe and tobacco pouch)

Look at that!

(He puts pipe in pocket and throws the pouch at
her feet and she picks it up)

I'm a man enamoured of myself! Why, I have actually been
considering, Fanny, whether I should have another dress
suit!

(Sits by her)

Mrs. Morland

(Fills his pipe, which she takes from his left
pocket, smiling)

And why shouldn't you?

Morland

At my age! Fan, this should be put on my tombstone: "In
spite of some adversity he remained a lively old blade
to the end".

Mrs. Morland

Perhaps that would be a rather creditable epitaph for any
man, James, who has gone through as much as you have.
What better encouragement to the young than to be able
to tell them that happiness keeps breaking through?

(She puts pipe in his mouth)

Morland

If I smoke, Fanny, I shall despise myself more than ever.

Mrs. Morland

To please me.

(She strikes match and holds it to his pipe)

Morland

I don't feel easy about it. I don't feel at all easy.

(He smokes and smiles contentedly)

At any rate I won't get the dress suit!

(Determinedly)

10

Mrs. Morland

Your dress suit is shining like a mirror.

Morland

(Eagerly)

Isn't it? I only thought of a jacket suit. The V-shaped
waistcoat seems to be what they are all wearing now.

Mrs. Morland

Would you have braid on the trousers?

Morland

I was wondering. You see - Oh, Fanny, you are just
humouring me!

Mrs. Morland

(Resumes her knitting)

Not at all. And, as for the old Adam in you - Dear Adam,
there is still something of the old Eve in me. Our trip
to Switzerland two years ago with Simon, I enjoyed every
hour of it. The little card parties here, am I not called
the noisy one; think of the girls I've chaperoned and
teased and laughed with them just as if I'd never had a
girl myself.

Morland

Your brightness hasn't been all pretence?

Mrs. Morland

No, indeed. I have passed through the valley of the shadow,
dear, but I can say thankfully that I have come out again
into the sunlight.

(A little tremulously)

I suppose it is all to the good that as the years go by
the dead should recede farther from us.

Moreland

Some say they don't.

Mrs. Moreland

You and I know better, James.

Moreland

Up there in the misty Hebrides I daresay they think of
her as on the island still. Fan, how long is it since -
since you half thought _that_ yourself?

Mrs. Morland

So many years ago. Perhaps not the first year - I did cling
for a time -

11

Morland

The neighbours didn't like it. I pretended to agree with them before I did.

Mrs. Morland

She wasn't their Mary Rose, you see.

Morland

And yet her first disappearance -

Mrs. Morland

It's all unfathomable. It's as if Mary Rose was just something beautiful that you and I and Simon had dreamt together. You have forgotten much, but so have I. Even that room -

(looks towards the door) (A)

That was hers so long - even during all her short married life - I often go into it now without remembering that it was hers.

Morland

It's strange! It's rather terrible.

(A little bitterly)

You're pretty nigh forgotten, Mary Rose!

Mrs. Morland

You know that isn't true, dear. But Mary Rose belongs to the past, and we have to live in the present - for a little longer. Even if we could drag her back to tell us what these things mean I think it would be a shame.

Morland

Yes, I suppose so. Do you think Simon is a philosopher about it also?

Mrs. Morland

Don't be bitter, James, to your old wife. Simon was very fond of her. He was a true lover.

Morland

(The bitterness creeping back)

Was! Was! Is it all 'was' about Mary Rose?

Mrs. Morland

It just had to be. He had all the clever ones of the day advising, suggesting, probing. He went back to the island every year for a long time.

12

Morland

Yes, and then he missed a year, and that somehow ended it.

Mrs. Morland

He never married again.

Most men would.

Morland

He's mighty keen on his work. What a jolly hearty fellow
he is.

Mrs. Morland

If you mean he isn't heart-broken, he isn't. Mercifully
the wound has healed.

Morland

I'm not critcising, Fan. I suppose anyone who came back
after 25 years - however much they had been loved - it might-
we - would we know what to say to them, Fanny?

Mrs. Morland

Don't, James! Simon is late, isn't he?

(She rises) (Puts knitting on table L. Warms her
hands by the fire)

Morland

Very little.

(Looks at watch)

I heard the train a short time ago - and he might be here -
just - if he had the luck to find a cab - but if he is
walking across the fields he can't be for ten minutes
or so.

Mrs. Morland

Listen?

(He rises)

Morland

Yes, wheels! That's probably Simon. He had got a cab.

Mrs. Morland

(Goes up toward door R)

I do hope he won't laugh at me for having lit a fire in
his room!

Morland

(With pretended gravity, at fireplace with his
back to her)

I hope you put him out some bed socks.

15

Morland

It won't, I'm sure.

Simon

I daresay not. But they say - however!

Mrs. Morland

Simon, I had forgotten. There's a telegram for you.

Simon

Avaunt!

Mrs. Morland

I put it in your room.

(Meaning the room A at back)

(Exit up L.C.)

Simon

I do hope it's not recalling me. I had hoped for at least
five clear days.

(Mrs. Morland returns and gives him telegram)

Mrs. Morland

We didn't open it.

Simon

(To Morland)

Two to one it's recalling me.

Mrs. Morland

It came two days ago.

Simon

Two days ago! I wonder now -

Mrs. Morland

I don't like them, Simon, never did; they've broken so many
hearts.

Simon

They've made many a heart glad, too.

(Simon opens the telegram and gets a dreadful shock.)

Mrs. Morland is frightened)

Mrs. Morland

It can't be so bad as that.

(He rises and gives telegram to Morland)

We are all here, Simon.

(His first thought when he comes to is for her.)

(Appealing)

James!

17

Mrs. Morland

My - my - she will be - very changed.

Simon

However changed, mother, wouldn't I know my Mary Rose
at once. Her hair may be as gray as mine - her face -
her little figure - her pretty ways - though they were
all gone, don't you think I would know Mary Rose at
once!

(He is suddenly stricken with a painful thought -
rises.)

Oh, my God, I saw her, and I didn't know her.

Mrs. Morland

Simon !

(Taking his R. hand)

Simon

It had been Cameron with her. They must have come
in my train, Mother. It was she I saw going across
the fields - her little walk when she was excited,
half a run, I recognized it, but I didn't remember
it was hers.

Morland

(Comforting)

It was getting dark.

Simon

(Almost in a whisper)

Mary Rose is coming across the fields.

(He goes out R. The old man and woman are
feeling their age. Morland goes to window
and peers out through the curtains. Mrs.
Morland goes on her knees to pray.)

Morland

It's rather dark. I - I shouldn't wonder though there
was a touch of frost tonight, I wish I was more use.

(Turns and sees Mrs. Morland. He comes and
helps Mrs. Morland to rise and they sit on
settee as Cameron comes in R. He is already quite
elderly in appearance. He is grave and troubled -
a good man. He is wearing a heavy overcoat and
muffler, which prevent our seeing that he is
in Scotch clerical dress.)

Morland

(Turning his head. A pause as Cameron comes C.)

Mr. Cameron?

Cameron

(C)

Yes.

(They remain on settee)

18

Mrs. Morland

Tell us quickly, Mr. Cameron, is it true?

Cameron

(Standing C)

It iss true, ma'am. Mr. Blake met us and he iss with
her now. I hurried on to tell you the things that were
necessary. It is goo d for her you should know them
at once.

Mrs. Morland

Please.

Cameron

You must be prepared to find her -- different.

Mrs. Morland

We are all different. Her age -

Cameron

(Still at end of sofa)

I mean, Mrs. Morland, different from what you expect.
She is not different as we are different. She is just
as she was on the day she went away.

(Mrs. Morland holds up her hands)

These five and twenty years, she thinks they were just
an hour in which Mr. Blake and I had left her in some
incomprehensible jest.

Mrs. Morland

James! Just as it was before!

Morland

But when you told her?

Cameron

She will not have it.

Mrs. Morland

She must have seen how much older you are.

Cameron

She does not know me, ma'am, as the boy who was with
her that day. When she did not recognize me I thought
it best - she was so troubled already - not to tell her.

Morland

But now that she has seen Simon. His appearance - his
grey hair - when she saw him she would know.

Cameron

(He turns his head)

I am not sure. It is dark out there.

19

Morland

She must have known that he would never have left her
and come home.

Cameron

That secretly troubles her, but she will not speak of it.
There is some terrible dread lying on her heart.

(Comes down R.C.)

Morland

(Weakly)

A dread!

Mrs. Morland

I know! Harry ! James, if she should think that Harry
is still a child.

Cameron

I never heard what became of the boy.

Mrs. Morland

Poor Harry ! That room

(Looking at door A. Cameron looks too)

was his nursery. He was very high-spirited. He ran
away to sea when he was 12 years old. We have had a few
letters from Australia - very few - we don't know where
he is now. (James, what a difference it would have made
in Harry's life if he had not thought himself motherless
from the time he was 2 years and 9 months old.)

Morland

How was she found, Mr. Cameron?

Cameron

(Comes up to R end of settee again)

Two men fishing from a boat saw her. She was asleep by
the shore at the very spot where Mr. Blake made a fire
so long ago, There was a rowan tree beside it. At
first they were afraid to land, but they did. They said
there was such joy on her face as she slept that it was
a shame to waken her.

Morland

Joy? But when they did waken her?

Cameron

She knew nothing.

(Goes to below table R and stops suddenly
looking at door R as if he heard steps.)

Mrs. Morland puts up her hands)

Mrs. Morland

Nothing - !

20

## Morland

I have sometimes thought -

(They rise. He stops speaking for he has heard a door below. Mrs. Morland is now L.C. and Mr. Morland L. near the fire - they take one step forward toward door C. then stop as if they could go no further. He takes her hand to strengthen her. Then we hear MARY ROSE clattering up the stairs just as before. If this is properly done in Act I it should have a strange effect now. The door opens and Mary Rose runs in. She is just as we saw her last - the same age and in the same clothes, much faded. SIMON comes in after her)

## Mary Rose

### Mother!

(She leaps to her in the old impetuous way, the mother with arms outstretched. But the change in her mother's appearance startles Mary Rose and she stops short. All this scene is very still and quiet)

What is it?

## Mrs. Morland

### My love,

(Mary Rose stands affrighted)

## Morland

### Mary Rose!

## Mary Rose

### Dad!

(She runs to him and again stops)

(He has the same effect on her; not so much afraid as just wondering, she then hurries backward toward Simon, who is standing down C; her right arm outstretched)

What is it, Simon?

(He takes her hand. She turns to him. As she faces him she sees his grey hair and slightly shrinks.)

## Simon

### My beloved wife!

(He takes her in his arms and she is glad to be there, and lays her head on his shoulder, but soon she softly disengages herself for there is more on her mind)

## Mrs. Morland

### Mary Rose -- Mary Rose.

(Mary Rose turns to her mother and puts her head on her shoulder.)

21

Morland

(Feeble old man, not able to cope with the situation)

We are so glad you -- had you a comfortable journey,
Mary Rose? You would like a cup of tea, wouldn't you?

Is there anything I can do?

(Mary Rose's eyes go to door A; she wants to rush to that inner room, but dare not. All look towards door)

Mary Rose

(Runs to her father, coaxingly)

Tell me!

Morland

Tell you what, dear?

(Mary Rose looks at door A. All eyes follow hers)

Mary Rose

(Runs R appealing to Cameron)

You?

(Mrs. Morland sits L R of settee)

(He touches her hand and turns away. She goes to Simon and makes much of him - stroking his arm, etc. - it is all cajoling and very, very quiet.)

Simon ! My Simon ! Be nice to me, Simon. Be nice to me, dear Simon, and tell me.

Simon

Dearest love, since I lost you, - it was a long time ago -

Mary Rose

(Appealing tearfully)

It wasn't - Please - it - wasn't!

(Goes to Mrs. Morland)

Tell me, my mother dear.

Morland

I don't know what she wants to be told.

Mrs. Morland

I know.

Mary Rose

(Low, like an unhappy child)

Where is my baby?

(They can't answer. She looks from one to the other - then hurries down passage into the inner room, followed by Simon, Mrs. Morland goes after him. Mr. Morland and Cameron are left alone. There is a pause. They are very

22

(conscious of what may be going on in the
inner room.)

(Cameron sits above table R.)

Morland

(Going R to Cameron, unable to face the situation)

Have you been in this part of the country before, Mr.
Cameron?

(Subsides into chair L of table R.C.)

(LIGHT CUE 3.)

Cameron

(At back of table)

I have not, sir. It is my first visit to England.

(They are merely making talk - hardly hearing
each other - their minds are on that inner
room.)

Nefer, except in the railway train, I have been so far
from the sea. You cannot hear the sea in this place
at all. It is strange to me.

Morland

We are 90 miles or more from the sea, but our Downs
are much admired. I hope you will give me the pleasure
of showing them to you while you are here.

Vameron

(Vaguely, but kind to the old man)

I thank you very much, Mr. Morland, but - in such
circumstances do not trouble about me at all.

(He rises.)

(They are both listening, but no sound comes
from the inner room)

Morland

I am a print collector in a small way. I do not know
if you are interested in prints. I have a pencil sketch
by Cousins -- undoubtedly genuine.

Cameron

I regret my ignorance on the subject. This matter, so
strange - so inexplicable -

Morland

(Without emotion - he has no more capacity for it)

Please don't talk of it to me, sir. I am - an old man.

I have been so occupied all my life with little things -

very pleasant -- I cannot cope -- cannot cope --

(Cameron puts a sympathetic hand on his shoulder.)

Morland speaks in a quavering whisper.)

Do you think she should have come back, Mr. Cameron?

(They are both looking at the door as the Scene
changes. MUSIC -3-1/2 mins. change. LIGHT CUE 4

BLACK OUT

BLACK CLOTH DOWN

LIGHTING PLOT. SCENE 2.

Open. Black Out.

Cue. (5) When black cloth is up.

Twig fire and ½ watt fire lamp slowly up
2 & 3 sections blue float slowly up to ½.

Cue (6) 2 & 3 sections White and Amber float come up to ⅜.

Cue (7) Same sections up to ¾.

Cue (8) 2 half watt focus stage lamps on Star cloth come on from back.

Cue (9) Fire slowly dies out.

Cue (10) Float out.

Cue (11) Baby spot No. 3. slowly in "Mary Rose" should become visible to the audience at the same time as "Harry" sees her.

Cue (12) Fire slowly comes in again.

Cue (13) Bring in Baby spot No. 2. very slowly followed by No. 1.

Cue (14) As "Mary Rose" moves over to chair check out
Baby Spot No. 3. Nos. 1 & 2 come up to full.
The half watt focus fire lamp should be so
placed that it strikes "Harry's" face full
but not "Mary Rose" when she is sitting on
his knee.

Cue (15) Take out Baby Spot 1 & bring in No. 3. only ⅔ up.

Cue (16) Take out Baby Spot 2 & slowly take fire light off.

Cue (17) (As "Mary Rose") begins to move her arms upwards bring in Baby Spot No. 4. to full and No. 3 to full.

Cue (18) As "Mary Rose" turns up stage and faces window
a shooting star effect, star going from left
to right is seen.

Cue (19) When "Mary Rose" is full facing window a shooting star effect, star going from left to right is seen.

Cue (20) As "Mary Rose" begins to move up stage No. 3, Baby Spot slowly goes out.

The only light left on the stage is now the candle which is masked from the window as it is on the mantle-board and this ends the scene.

24

(He looks about him, like one taking his bearings. Then he stares at passage, then at her.

LIGHT CUE 7.

Gimme the tea! (Takes it from her)

(She crosses L. and puts candle on broken mantel shelf. He drinks tea)

That's better. Thank you, missis.

(She takes cup from him. He stares at her. She realizes that he has had some queer experience)

Mrs. Otery

Have you seen anything?

Harry

(He takes a step to R of chair and looks at door A, walks backwards to R.S.)

(In his rough way)

Come here.

(She crosses to him)

as I sat there I wasn't sleeping, mind you - it's no dream - but things of the far past connected with this old house - things I knew naught of - they came crowding out of their holes and gathered round me till I saw - I saw them all so clear. I don't know what to think, woman. Never mind that. Now then - tell me about this - ghost.

(He sits on a large packing case R)

Mrs. Otery

It's no concern of yours.

Harry

Yes, it is some concern of mine! The folk that used to live here - the Morlands -

Mrs. Otery

That was the name. I suppose you heard it in the village?

Harry

I've heard it all my days. It's the name I bear. I'm one of the family.

Mrs. Otery

(Who has suspected it)

Oh !

Harry

I suppose that's what made them come to me as I sat here. Tell me about them.

Mrs. Otery

It's little I know. They were gone from here before my time. The old man and his wife, they grew too frail

26

haunts this house?

(She shivers but doesn't answer. He
pretends to be cynical again)

(To himself)

There's no such thing as ghosts. And yet -
(Looks at chair)

is it true about folk having had the house and left
in a hurry?

(She nods)

Because of a ghost - a thing that can't be?

(But he is not so sure. He takes a hasty
glance at the door A.)

Mrs. Otery

When I came in your eyes were staring. I thought
you had seen her.

ever

Harry

Have you/seen her yourself?

(She nods)

Where? In this room?

(She looks toward door A)

Ah ! Has she ever been seen out of that room?

Mrs. Otery

All over the house - in every room and on the stairs.
(As if defying his incredulity)

I tell you I've met her on the stairs, and she drew
back to let me pass and said "good evening," too, timid-
like, and at another time she has gone by me like a
rush of wind.

Harry

What is she like? Is she dressed in white? They're
allus dressed in white, aren't they?

Mrs. Otery

She looks just like you or me. But for all that she's
as light as air. I've seen - things.

Harry

So ! She's harmless it seems?

Mrs. Otery

There's some wouldn't say that. Them that left in a
hurry. If she thought you were keeping it from her she
would do you a mischief.

Harry

Keeping what from her?

Mrs. Otery

Whatever it is she prowls about this cold house searching
for, searching, searching. I don't know who or what
it is.

27

Harry
(Grimly, though he is really moved)

Maybe I could tell you. I daresay I could even put
her in the way of finding him.

Mrs. Otery
Then I wish to God you would, and let her rest.

Harry
(Bitterly to himself)

My old dear, there's worse things than not finding
what you're looking for - there's finding them so
different from what you had hoped.

(Clinging to his cynicism)

A ghost! Oh no - and yet and yet -- See here, I am
going into that room.

(He rises suddenly - making a clatter
and crosses C.)

Mrs. Otery
As you like. I care not.

Harry
I'll break open the door.

Mrs. Otery
No need; it's not locked; I decieved you about that.

Harry
And you think she's in there.

(LIGHT CUE 8)

Mrs. Otery
She may be.

(This makes him shiver)

(LIGHT CUE 9)

Harry
Leave me here now. I have a call to make.
(She knows he means he is going into the
inner room)

Mrs. Otery
I dunno. You think you're in no danger, but --

Harry
(Kindly - touches her shoulder)
That's how it's to be, missis.
(She hesitates and then goes to door R)

Just ten minutes you were out of the room, did you say!

Mrs. Otery
That was all.

(Exit.)

28

Harry

God!

(Moves L to doorA)

(Though so far he has carried it off with bratado
the uncanniness of the situation has gripped him
and deeper than this is his pity for Mary Rose.
He is going into passage when he returns for candle,
and holding it goes down passage. LIGHT CUE 10
This takes all the light from the room, which be-
comes quite dark. We see him open the door of
the inner room and go in, and we probably expect
something to happen there. But he holds up light,
evidently seeing nothing, and disappears for five
seconds. He returns down passage, shielding the
candle with his hand so that it casts no light
in front of him until he takes his hand away, when
he and we see MARY ROSE standing R.C. LIGHT CUE 11
She looks as we saw her last except that she is
paler. She is wearing what seem to be the same
clothes but the color has gone out of them. The
candle in his hand lights his face, but she is
in a blue-gray light with which the room is
suffused and is a vague figure. The effect is
that he is always in light and she in semi-darkness.
There must be no attempt at theatrical effects.
The room is much darker than in scene with care-
taker. She does not move at present, but when
she does her movements should be noiseless and
thus in contrast to his.)

(Harry who is just L of C gets a shock when he
sees her, but is very quiet. All the best of
him is really brought to the surface by this meet-
ing, and he is very anxious in his rough way to
be kind. Throughout he accepts her as a ghost,
and it will be largely owing to his doing so that
we do it ourselves. She is a little afraid of him,
and he is at first too taken aback to speak, though
he holds his ground, He is not afraid of her. No
one could be afraid of this wistful little ghost.
She bows to him timidly, and at that he does shiver
a little and draws back a step.)

Mary Rose

(After peering into his face; remaining in one
place, and always a childish ghost)

Have you come to buy the house?

LIGHT CUE 12

30

Harry

(Holds candle nearer his face)

I wonder. Take a look.

(She inclines toward him and looks childishly)

You might have seen me in the old days - playing about -
outside in the garden - or even inside.

(She is a little disturbed, but doesn't know why.)

Mary Rose

You -- you are not Simon, are you?

Harry

No. My name is Harry.

(He knows this may trouble her.)

Mary Rose

(Instantly stiffening)

I don't think so. I strongly object to your saying that.

Harry

I'm a queer sort of cove, and I would like to hear you
call me Harry.

Mary Rose

I decline.

(Courteously)

I regret, but I absolutely decline.

(She has now some distrust of him)

Harry

No offence.

(His great pity for her now shows in his face)

Mary Rose

(Noticing it)

I think you are sorry for me.

Harry

(With heart)

I am that.

Mary Rose

(Childishly)

I am sorry for me, too.

Harry

(Moved)

If only there was something I -

(He is wanting desperately to help her -
he looks at the chair)

I don't know about ghosts - not a thing -

(going to chair)

can they sit down? Could you -

(He wants to put her in the chair.)

(He turns chair toward her)

31

That is your chair.

Mary Rose

(Taken aback)

Harry

What do you mean by that?

That is where you were sitting.

(Uncomfortable)

Harry

Were you in this room when I was sitting there?

(Glancing at passage)

Mary Rose

I came in to look at you and just stood behind.

(He shivers. A sudden idea makes him feel
in his pocket and cross with candle to where
he had left his knife R. It is gone)

Where is my knife?

Harry

(Cross C. LIGHT CUE 13)

Were you standing behind the chair with my knife in your
hand?

(She is sullenly silent)

Give me my knife.

(She has it in her left hand. He takes it, and
puts it in his pocket)

What made you take it?

I thought you were perhaps the man.

The man?

Harry

The man who stole him from me.

I see! Gobake! in a sort of way I suppose I am.

Give him back to me.

Mary Rose

I wish I could. But I'm doubting he is gone beyond recall.

(Unexpectedly)

Mary Rose

Who is he?

32

Harry

(Surprised)

Do you mean you have forgotten whom you are searching for?

Mary Rose

(She nods)

I knew once. I can't remember. It's such a long time ago. I am so tired. Please can I go away and play now ?

Harry

Go away? Where? You mean back to that -- that place?

(She nods)

What sort of a place is it? Do they play there? Is it good to be there?

Mary Rose

Oh ! lovely, lovely, lovely !

Harry

It's not just the island, is it? - that's so lovely, lovely -

Mary Rose

No.

Harry

Is the island just the beginning of the loveliness?

Mary Rose

Yes!

Harry

I thought that. Are they ghosts at that place?

Mary Rose

(Surprised and emphatic)

No !

Harry

You're sure?

Mary Rose

Honest Injun.

Harry

Are they the dead?

Mary Rose

What is that?

Harry

(Musingly but not aside)

It's near like as if some bit of heaven had fallen down splash into that loch.

33

Mary Rose

(Caroling)

Please, I don't want to be a ghost any more.

Harry

(Crosses L. and puts candle on mantelshelf)

It's no use your expecting me to be able to help you
out of that. I'm at my wits end, Ghostie! Come to
me. I wish you would

(he sits L)

(He indicates that he wants in a tender way to
take her on his knee)

Mary Rose

(Understanding)

Certainly not.

Harry

No? If you'll come I'll try to help you.

(She goes and sits oh his knee without
assistance from him.

LIGHT CUE 14)

Well, well ! See here, when I was sitting by the fire
alone I seemed to hear you as you once were saying that
some day when he was a man you would like to sit on
your Harry's knee.

Mary Rose

(Quoting her own words in Act II in a dull,
mechanical tone)

The loveliest time of all will be when he is a man
and takes me on his knee instead of my taking him on
mine.

(The fire and candle now light him, but not
her and she is still unsubstantial-lacking)

Harry

Do you see who I am now?

Mary Rose

Nice man.

Harry

Is that all you know about me.

Mary Rose

Yes,

Harry

There's a name I'd like fine to call you by but best
not to worry you - Poor Ghostie.

(He is helpless)

I wonder if there was ever a man with a ghost on his
knee before.

35

Harry

What a nice mother you would be -
(She sticks out her chin)

I couldn't think of a nicer mother -
(Chin further forward)

I couldn't think of near such a nice mother)
(Hand on chin)

Do you mind the trift that used to stand up at the
back of -- of Simon's head?

Mary Rose

(Merrily)

Naughty tuft!

Harry

I have one like that.

(He takes off his hat with right hand and the
tuft shows.)

Mary Rose

Oh dear, oh dear, what a naughty tuft.

(She sees to smooth it down, but, being a
ghost, she doesn't really touch it - nor
in his arm round her though she is on
his knee.)

Harry

My name is Harry.

Mary Rose

(Happily, looking at him, but without much
meaning)

Harry, Harry,

(Clasps her hands and looks up)

Harry, Harry !

(They have been quite gay for the moment)

Harry

But you don't know what Harry I am - it's kind of queer.

You've got at last what you've been looking for
though you don't know it -- your search is over.

But this brings us no nearer what's to be done with you.

I'd willingly stay here though I have my clearing in
Australy, but you're just a ghost -- it's no life for
a woman. They say there's ways of laying ghosts, but
I'm so ignorant.

Mary Rose

Tell me!

Harry

I wish I could; you're even more ignorant than I am.

Mary Rose

Tell me.

36

Harry

All I know about ghosts for certain is that they
are unhappy because they can't find something, and
then once they've got the thing they want, they go
away happy and never come back.

Mary Rose

Oh, nice!

(Her head has dropped as with fatigue)

Harry

But when do they go to? - That's what does us -- you've
got the thing you want at last and -- You're dog tired.
What you need now is to get back to that place you say
is lovely, lovely, lovely.

Mary Rose

Yes. Yes!

Harry

You know it's lovely, lovely, but you can say no more
about it. Queer - you that know so much can tell
hothing, and them that know nothing can tell so much.
If there was any way of getting you to that place.

Mary Rose

Tell me!

Harry

(Desperate)

They would surely come for you, if they wanted you.

Mary Rose

(Frightened by the soundness of the argument)

Yes.

Harry

(Who is entirely honest)

It's like as if they had forgot you.

Mary Rose

(In distress)

Yes.

Harry

It's as if nobody wanted you - nobody needed you.

Mary Rose

Yes.

(She gets off his knee and backs two steps
then turns and glides to R.C. )

Bad man !

LIGHT CUE 15

37

Harry

It's easy to call me names - but the thing fair
beats me, there's nothing I wouldn't do for you. But
what can I do - a mere man's so helpless - so helpless.
(Rises) LIGHT CUE 16

How should the likes of me know what to do with a
ghost who has lost her way on earth.

(He goes to the window; organ pipe begins,
followed by music. No other effect)

Whata night of stars - good old glitterers. I dare-
say they are in the know, but I'm doubting you are
too small a thing for them to give you a helping hand.
(Coming down)

I might - No, that wouldn't do.

(He comes toward chair and sees that a change
is coming over her.)

What is it? Do you hear anything? There isn't a sound.

(Though he hears nothing the call of the Island
begins to be heard by Mary Rose and us when he said
"Give you a helping hand" and continues to end
of play. Then the lovely music breaks through
them. At first we only see her vaguely standing
there, (LIGHT CUE 17) but gradually a heavenly
light is cast upon her face, and we see her
arms going out in an ecstacy of joy. The great
glory is coming to her. In the music are sweet
voices calling "Mary Rose! Mary Rose!" (LIGHT
CUE 18) She slowly turns with arms still out-
stretched till she is facing the window. LIGHT
CUE 19) Now a shooting star shoots down as if
it were her star come for her and the organ
pipes stop and then - (LIGHT CUE 20) still with
arms out - she walks out at the window - straight
out - trustingly into the Empyrean. The music
comes to an end. Harry who has been staring at
her, but is not much seen in the darkness, for
it is only she who is lit up, goes to window and
stares out.)

SLOW CURTAIN

YALE

COUTURIER