The following are the chief characters, together with the Artists who played
in the original production by the B.B.C. in 1930:
EDWARD Harold Scott
VANESSA Flora Robson
FATHER Wilfred Shine
MOTHER Mary O'Farrell
FANNY Ethel Lewis
MRS. DOLAN Florence Marks
A RECTOR Arthur Malcolm
A BOY Harold Rees
MRS. MACALEENAN Charlotte Tedlie
SADIE/NURSE Kitty Murphy
AND SOME OTHER VOICES.
In this play the many short scenes rise out of and sink into a rhythmic sound
of splashing, moving seas. This sound should be complex yet symphonic ... by
its rhythm and tone it may be possible to suggest not merely the waters in
which Edward is engulfed, but the beating of a heart, the tumult of fear, the
immutable laws and irresistible strength of Nature compared with our puny and
inconstant selves.
The setting of this play is Irish. This was immediately apparent in the accent
of the performers. But it has seemed wiser not to attempt more than the
sketchiest indications of this by phonetic spelling.
____________________________________
ANNOUNCER It is said that their past lives float before the eyes of drowning
men. From a ship, bound for China, a young clergyman has fallen overboard ...
even now he is struggling for life in the water ...
[The sound of Waves fades in.
His name is Edward. And before his eyes float pictures ... voices sound in his
ears ... voices ... voices ... his past life ...
[The Waves fade as the first scene begins.
____________________________________
SCENE I
NURSE Give it up, Edward ... give it up at once.
EDWARD No.
NURSE Come on now. Don't you be a bold child ... give it up when I tell you.
And come off that flower-bed ... Edward, give it up.
EDWARD No.
MOTHER What is it, nurse? What's the matter?
NURSE I can do nothing with him, ma'am ... he wanted to pull the flowers and
I toul' him not to ... but he went all the same, and pulled one.
MOTHER Oh, Edward, that was very naughty.
NURSE Ay ma'am, and not only that, but it was the best one of them all he
pulled ... sure nothing would do him but the very best rose itself ... and
then when he had it pulled I toul' him to give it up.
MOTHER And did he?
NURSE He did not indeed ... he has it still.
MOTHER Edward, you're a very naughty little boy ... you know quite well that
the flowers are not for you to pick. Give it up at once.
EDWARD No.
MOTHER Give it up at once, I say.
EDWARD No.
MOTHER If you don't give it up, Edward, mother will be really angry ... if
you don't give it up mother will smack you. (Pause ... she smacks him. He
cries.) Now give it up.
EDWARD No!
[WAVES.
____________________________________
SCENE II
FANNY Hide your eyes, Edward; you're to stand under the cedar, Edward, till
you hear us call "Cuckoo."
2ND CHILD The cedar's Home, Edward ... you see that, don't you?
EDWARD What?
2ND CHILD Home ... the cedar.... Oh, Edward, don't be so stupid.
FANNY Isn't he a little stupid?
2ND CHILD It's the way he blinks at one through those thick spectacles.
FANNY Hide your eyes, Edward ... shut them ... tight.
2ND CHILD And don't open them till we call "Cuckoo."
FANNY Ready?
2ND CHILD Come on, quick.
FANNY I know a splendid place ... he'll never find us.
2ND CHILD He'll never find us anywhere ... he's such a little silly....
[They fade away, laughing.
Pause ... then far-off ... "Cuckoo!" ...
"Cuckoo!" ...
MOTHER (Fading-in) ... but, children, it was very naughty and unkind of you
to stay hidden so long ... why, it's all hours. Look at the long shadows on
the grass.
FANNY But, mother, Edward was so stupid.
MOTHER Edward's a great deal younger than you are, Fanny ... you can't expect
him to be so good at all your games.... Just think, Father, they were hidden
in the hay-loft and Edward was searching for an hour and a half....
FANNY Hour and twenty-five minutes, Mum.
FATHER And what does Edward say about it? ... eh? ... well, Edward?
EDWARD D-dunno.
FATHER What a stupid answer ... is that all you can say? Where do you say you
were, girls?
FANNY In the hay-loft, father; it was lovely, we could see all over the
garden.
2ND CHILD We could see Edward hunting for us all over the garden.
FANNY We could see him crawling about in the shrubbery ... on his tummy.
2ND CHILD And in the vegetable garden.
FATHER You saw him eating the raspberries, too, I'll be bound.
EDWARD Oh, no, father, really I never....
FATHER All right ... all right ... don't you know what a joke is?
FANNY You should have seen him mooning about with the sun glittering on his
spectacles....
MOTHER Poor Edward--I think it was a great shame of you all to stay hidden
... when I found him he was quite frightened and miserable ... he was standing
by the big rhododendron, crying.
FANNY Cry-baby.
MOTHER I think it was very plucky of Edward not to give up.
FATHER Plucky ... I think it was just obstinate.
FANNY Just like Edward.... Just like you.
MOTHER Fanny, don't ... don't pinch him.
2ND CHILD Anyone else would have found us.
FANNY Why didn't you find us?
2ND CHILD I don't believe he was trying.
EDWARD Oh, I was! ... I was doing my best.
FANNY There you are ... doing his best, if you please ... that's what Edward
always says ... smug little beast.
MOTHER Fanny, I simply will not have you pinching him ... you were quite
right, Edward. Always do your best--you'll never go far wrong if you do that.
Always do your best, for no man living can do better.
[WAVES.
____________________________________
SCENE III
BOY Here, young Goggles, just you give up my bunji.
EDWARD No.
BOY Give it up.
EDWARD No.
BOY It's not yours, it's mine.
EDWARD It's n-not. It's mine.
BOY Whew, what a bung! ... I bought it.
EDWARD I kn-know, but you swapped it for my two-penny British Guiana
surcharged.
BOY Oo, you liar.
EDWARD I'm not.
BOY You are, you're a dirty liar.... I say, you chaps, here's young Goggles
trying to steal my bunji ... steal it.
VOICES Oo, I say.... Good Lor ... etc.
EDWARD It's mine. He swapped it in exchange for ...
BOY Li-ar!!!
2ND BOY Make him give it up.
BOY Dirty little swine.
EDWARD It's mine ... it's my bunji now.
BOY Are you going to give it up?
EDWARD No.
BOY Right.... Now, are you going to give it up?
EDWARD Ow ... you're hurting my arm.
2ND BOY Go on ... twist it, Saunders.
EDWARD Ow ... oo... .
BOY Give it up.
EDWARD No.
2ND BOY Swine ... give him gyp, Saunders.... I'll take his other arm.
EDWARD Oo ... look out you chaps--you're ... Ow....
BOY Give it up.
EDWARD No.... Ow ... mind my spectacles.... Oh, don't be a fool, Saunders.
Ow....
BOY Give it up ... Give it up ... Give it up.
EDWARD (Loudly, through agonised tears) No!!
[WAVES.
____________________________________
SCENE IV
FANNY (With a peal of laughter) Edward! It's not ... it can't be true.
FATHER What, Fanny ... what can't be true?
FANNY Edward says he means to be ordained!!
[A roar of laughter as if from a crowded dinner table.
FANNY Can't you imagine him? What price Edward in a dog-collar? Edward'll be
the sort of clergyman that wears a speckly boater hat. (Laughter) Look ...
he's blushing.
EDWARD I'm not.
FANNY You are ... look at him. Go on, Edward ... blush ... blush. (Laughter)
Seriously though, isn't it awful? Don't you think it's awful?
MOTHER What is?
FANNY Edward being a clergyman.... I mean ... well, look at him ... a
creature like that. Why on earth do you want to be a clergyman, Edward?
EDWARD Oh, well, I sort of felt ... well, in a way, I think we ought all
to....
FANNY Now he's going to give us a sermon. I suppose you think you're going to
pluck brands from the burning ... a sort of Holy Snap-Dragon.
MOTHER Fanny, dear!
FANNY Well, but mother, isn't it awful.... I mean the boy can't even say the
creed without a stammer.... Edward dear, I'm sorry, but the idea is just mad
... quite quite mad. If you take my advice, you'll give it up ... give it up,
do you hear?
EDWARD Yes ... I hear.
FANNY Well, are you going to give it up?
EDWARD N-no.
[WAVES.
____________________________________
SCENE V
FANNY Porridge, father?
FATHER Mm? ... Yes, please ... I see they're really going to move the Pillar;
they say Sackville Street's getting ...
FANNY They're always going to move the Pillar.
MOTHER Here you are, dear, and pass the cream to father.... Edward, pass the
cream to father.
FANNY Mother, can I ask Vanessa to stay?
MOTHER Why, yes, Fanny, of course.
FATHER Who's this?
FANNY Vanessa, father.
MOTHER She's that girl Fanny met at Leopardstown with the Hartigan's.
EDWARD The girl that played the piano so well?
FANNY Yes ... fancy Edward remembering that.
EDWARD You see, it's ... it's rather an unusual name.
MOTHER Porridge, Edward?
FATHER Pass the toast, Edward.
EDWARD Oh ... sorry, father.
MOTHER What's she like, Fanny?
FANNY Vanessa? ... oh, she's lovely ... very tall ... oh, but very tall ...
she rather reminds one of a swan.
FATHER Is she fair?
FANNY No, dark ... black eyes and long smooth black hair like a Spaniard.
FATHER Oh, then she must be a black swan.
[Laughter.
FANNY Bacon, father?
FATHER Thanks.
FANNY Edward?
EDWARD Mm?
FANNY Do you want bacon?
EDWARD Oh.
FANNY Look at him ... mooning again.... Don't gleam at me through those
spectacles and for goodness' sake finishupyourporridge.
MOTHER I say.
FANNY What?
MOTHER An idea.
FANNY Well? Father, put away the paper and listen.
FATHER Well?
MOTHER Let's give a dance!
FANNY (Delighted) Oh.
FATHER What?
MOTHER Yes ... we'll give a dance ... the very thing.
FANNY Splendid, what fun.
MOTHER We'll pull the carpet up in the drawing-room and polish the ...
FATHER But my dear child you can't possibly....
MOTHER Yes I can.
FANNY Now, father, don't be awful.
FATHER Oh, well, I suppose if you really want to....
MOTHER Of course we want to; don't we, Fanny?
FANNY Of course.
MOTHER Don't we, Edward?
EDWARD Y-yes.
FANNY Pooh! Edward can't dance. My dear, if we polish the floor Edward will
simply roll about like a porpoise in the sea.
MOTHER Fanny!
FANNY (Sings) "There is that Leviathan whom Thou hast made to take his
pastime therein."
MOTHER It's a splendid idea. I can't think why I never thought of it before.
FATHER Thank God you never did.
MOTHER But, my dear, it'll be simply perfect. We'll wipe everybody off ...
everybody.
FATHER You mean?
MOTHER All the bores ... all the people that need to be invited.
FANNY But, ma, there'll be such a crush that we'll never...
MOTHER Child dear, that's the whole point, there'll be such a crush that the
bores'll never be noticed; they'll tread one another under foot. We'll ask the
Archdeacon...
FATHER To a dance? He'll never come.
MOTHER He will of course ... and skip like a two-year-old.
EDWARD B-but he weighs eighteen stone.
FANNY We'll ask the Uniackes.
MOTHER And the Fosters.
FANNY And those awful people from Annagh-ma-Kerrig.
MOTHER And Mrs. Dolan.
FANNY Oh no, you can't have Mrs. Dolan.
MOTHER Why not?
FANNY Well, she's so common.
MOTHER No matter, she was always very kind about the Sale of Work; and she's
always asking us over to play Bridge.
FATHER What are you going to do about the music?
MOTHER I don't know ... the gramophone's never been quite the same since
Edward ...
FANNY Anyway, the gramophone wouldn't be loud enough. We'll take it in turns
to play the piano, Vanessa and me and Willy Richardson.
MOTHER We'll need to get it tuned then ... it's damp. Edward, you'll need to
ride over on your bi... Edward.
FANNY Edward! ... Look at him ... mooning again. What are you thinking about
now?
EDWARD N-nothing.
FANNY Oh yes you were, you were smiling ... what was it?
EDWARD Nothing.
FANNY Come on ... out with it.
EDWARD Well, I was thinking of that day at the Hartigans when ... when
Vanessa played Scriabin....
FANNY Scriabin ... fancy you remembering that.
MOTHER Well finish up your porridge, Edward, it'll be as cold as charity.
FATHER Edward ... will you pass thattoast!
[WAVES.
____________________________________
SCENE VI
MOTHER There she is.... I hear wheels on the gravel. .. Fanny, you go out and
meet her.
FANNY Right, ma.... Edward, pull your socks up. (Calls) Father, here's
Vanessa.
MOTHER Oh, listen to her ... your father's in the study working and now that
girl will have wakened him up. Edward, I think you should do something about
those socks, dear, and ring the bell for tea, they're wrinkled right down
over your ... that's better, and tuck in the little tab, it's sticking out at
the back of ... no the other boot ... now ring the bell and then we can ...
Ah, my dear, delighted to see you....
FANNY Mother, this is Vanessa.
MOTHER Delighted to see you ... did you have a very tiresome journey? I am
sure you did.
FANNY They were ten minutes late at Mullingar.
MOTHER And missed the connection ... but, no you wouldn't be here.
FANNY Aren't we going to have tea?
MOTHER We are--it'll be in any minute.
FANNY Good.
MOTHER You must be dying for your tea, just ... Edward, ring the bell again
... oh .. by the way, this is Edward.
[A moment's pause. The dialogue up to this has been very loud and rapid.
VANESSA (Quietly) How do you do.
EDWARD (In the same tone) How do you d-do.
FANNY (Speed again) Edward's at Trinity.
MOTHER La-da-da-daa our Young Collegian ... now, Edward, say something
learned ... say something in Latin. (Rattle of cups.) Ah, here's tea at last.
Shall I call father?
MOTHER Do, my dear. Thank you, Bridie, put the scones in the fender. Now,
Vanessa.... I may call you Vanessa?
VANESSA Do.
MOTHER How do you like your tea?
VANESSA Any way at all.
FANNY (Far-off) Father ... father ... tea's ready and Vanessa's arrived.
MOTHER Milk, my dear?
VANESSA Please.
MOTHER Edward, hand the sugar to Vanessa.
FANNY (Laughing) Just look at those two standing together ... the long and
the short of it.... Edward, you look like a Skye terrier talking to a Borzoi
... you ought to balance the sugar on your nose.
MOTHER Fanny! ... Vanessa, my dear, don't listen to her.
EDWARD W-Will you take s-s-sugar?
[WAVES.
____________________________________
SCENE VII
[Dance music on the piano ... buzz of subdued talk ... slish slish of dancing
feet.
MRS. DOLAN Why Mr. Edward, are you not dancing?
EDWARD Oh, it's you Mrs. Dolan ... you made me jump.
MRS. DOLAN Up in cloudland, eh? ... but are you not dancing?
EDWARD N-not just now.
MRS. DOLAN Silly boy ... silly fella ... why when I was your age I danced the
soles off of my shoes every blessed time I got the chance.
EDWARD Did you?
MRS. DOLAN Did I indeed ... amn't I tellin' you ... I don't know what's the
matter with you young fellows from college ... too clever to dance I suppose.
... I'll tell you what it is, we don't do this sort of thing half often enough
down here.... Ach, the room's just a picture, so it is, with the lighted
candles and the whirlin' couples ... all the handsome men and the lovely
lovely girls ... and candlelight so becomin' too ... just sets them all off
lovely.... I was saying, Mr. Edward....
EDWARD Eh? ... I beg your pardon.
MRS. DOLAN The candlelight ... I was saying it sets them all off lovely ...
so ... so soft like.
EDWARD Yes it is nice isn't it ... father said it would be too d-dark but
mother insisted on having c-c-c-candles.
MRS. DOLAN Quite right, Mr. Edward, quite right ... sure she's wonderful
taste your mother. I'll never forget the way she done the Cake and Candy at
the ... why if that isn't Lady Killevan dancing with the Archdeacon ... oh
he's too stout ... that's a lovely girl you have staying with you, Mr. Edward
... just lovely ... the poor Archdeacon looks warm ... and how well she hits
out the time ... grand just ... you can see the whole piano tremblin' ... Oh!
There! ... I knew that would happen. He should never have been dancin' and him
in his gaiters ... a lovely, lovely girl, Mr. Edward--just a picture sittin'
there at the piano and the candlelight so becoming and her in that black
velvet ... nothing I say like black velvet for showing off a white shoulder
... ah-ha, Mr. Edward ... Ah-ha-ha ... no wonder "we're" not dancing.... I
see what it is.... I can see ... oh-ho-ho, Mr. Edward, so that's the way the
wind is blowing ... ah-ha-ha-ha-ha-ha-ha....
[Her laughter fades into the Waves.
[WAVES.
____________________________________
SCENE VIII
EDWARD This is what we used to call the Robber's Island ... we used to come
here a lot when we were small--Fanny and I--shall we land?
VANESSA No, let's stay in the boat ... it's so lovely on the lake.... I love
it when the lake gets still and glassy.
EDWARD Shall we row round to the other side of the little Island, then we can
see the sunset?
VANESSA Yes ... let's.
[A moment's silence ... the creak of oars is heard and the light trickle of
water broken by the bow of their boat.
VANESSA Oh, Edward, what a heavenly wonderful sunset ... look, look at the
colour.
EDWARD Look at the reflection in the water.
VANESSA Don't row any more ... let her just drift.
[Silence again for a second.
EDWARD It's as still as g-glass ... as if the water were asleep.
VANESSA Look at the trees and sunset in the water ... the reflections are as
clear as the real trees.
EDWARD They often are ... and even clearer sometimes ... if you know what I
m-mean.
VANESSA Yes. I believe I do.
EDWARD Do you Vanessa?
VANESSA Rooks flying home to bed ... look down; they're reflected too ...
there's one trailing home behind the others ... late.
EDWARD That's m-me.
VANESSA Oh, Edward, why?
EDWARD (Not sentimental this ... humorously) Oh it's just something Fanny
said ... we were looking at the rooks once and there was one trailing behind
the others and Fanny said it was like me....
VANESSA What nonsense.
EDWARD Oh I don't know. I think it's probably true really ... in a way. And
now if ever one looks at the rooks flying home there's nearly always an Edward
one labouring along behind all the rest.
VANESSA The Edward rook seems tired to-night ... it's flying so slowly.
EDWARD Is it?
VANESSA I'm sure it isn't always the last ... very often it's at the head of
all ... the last shall be first, you know.
EDWARD So they say.
VANESSA Don't you believe it?
EDWARD I don't think I know what it means
VANESSA Oh, Edward, surely....
EDWARD Oh, I know what people say it means.
VANESSA I thought you were going to be a clergyman.
EDWARD That doesn't mean I understand what everything means in the Bible.
VANESSA No ... I suppose it doesn't ... though some clergymen ... no, I
suppose it's as well to admit frankly that one is groping.
EDWARD Yes ... groping ... searching. And the more one searches, the more
difficult the truth is to find.
VANESSA Like Hide and Seek, the meaning of things seems to call cuckoo from
behind the trees.
EDWARD And when we run to catch it we find that what we thought were
trees ...
VANESSA Are just reflections ...
EDWARD And the meaning of things is as far away as ever.
[Pause.
VANESSA Look, Edward, the first star ... funny to think of it racing and
spinning through space....
EDWARD Yes. And funny to think of us sitting here in this absurd little boat.
VANESSA Yes ... one certainly feels more important indoors ... but I'd rather
be out here.
EDWARD Would you?
VANESSA Yes.
EDWARD Vanessa.
VANESSA Yes?
EDWARD I want ... you're shivering ... you're cold.
VANESSA No, I'm not.
EDWARD But, of course, you must be ... what a fool I am ... I never noticed,
here's my coat.
VANESSA But you want it yourself.
EDWARD No, no, no, I don't ... here.... I'll wrap it ... round you ... so.
VANESSA (Gently) Edward ... Edward, don't ... Take your arms away.
EDWARD Vanessa.
VANESSA Please let me go.
EDWARD I love you.
VANESSA But Edward ...
EDWARD You know I love you.... Vanessa, I can think of nothing but you. That
night at the dance, when you were playing for them ... as you sat there at the
piano in the candlelight....
VANESSA Edward ... don't ... don't.
EDWARD I think of you all the time. When you're not there, I count the
seconds till I see you ... at nights I lie awake, and you seem to be there.
... I speak and you seem to answer ... sometimes we seem to have ... Oh, I
know this is silly ... but we seem to have quite conversations ... and
sometimes sort of adventures. Last night I dreamed that we were together on
the sea ... only it wasn't a dream exactly ... I was awake ... we seemed to
float over the sea, and there was singing ... many, many voices ... singing
for us.... Vanessa, look at me ... look at me ... look in my eyes ... can't
you love me ... can't you care for me ... a little?
VANESSA I do care for you ... I like you very very much ... but I don't love
you.
EDWARD (After a silence) No ... no, why should you? I don't know how I could
ever... it was ... well ... awful cheek.
VANESSA Oh, Edward, no ... you mustn't think ... dear Edward, I'd hate you to
think....
EDWARD When you look at me, I can see a tiny reflection of the star in your
eye ... just in the pupil. (Then with great emotion.) Vanessa, you won't ...
you aren't laughing at me ... you don't think because I'm so squat and ugly
and short-sighted and absurd ... you know I'm not half-witted, really ... not
all the time.
VANESSA You know I don't think that ... you know I don't ... oh, Edward, I'm
so sorry this has happened ... so very, very sorry. I'd no idea you felt like
... that you were going to ... Oh, let's go home now, quickly ... here, take
the oars and row fast, as fast as you can ... take the oars, Edward--row,
leave the island and forget it ... forget all this. You must forget me, Edward
... it won't be very hard ... we're both so young.
EDWARD Yes. We're both young.
VANESSA That should make it easier to forget.
EDWARD (Passionately) Forget ... I don't want to forget ... how can you think
it? (Then more quietly, but with intensity) I may not be very bright.... I
know I'm not at all clever or amusing ... but I can hold on to an idea once
I've got it.... I can hold on to a thing, and no power on earth can make me
give it up.
VANESSA The idea ... of ... love for me?
EDWARD Yes. Love for you.
VANESSA Give it up, Edward ... oh, Edward, give it up.
EDWARD (His challenge to the universe) No!
[WAVES.
____________________________________
SCENE IX
FANNY Come and look at Edward, everybody ... he's wearing his dog-collar.
[A general peal of derisive laughter.
Oh, Edward, you do look ... don't you think he looks like the Private
Secretary? Edward, where are your goloshes and your bath bun?
[Screams of laughter fading into Waves.
[WAVES.
____________________________________
SCENE X
FATHER Come in, my boy, shut the door ... sit down, sit down ... mind where
you sit, boy.
EDWARD Oh!
FATHER Upon my soul, Edward, you might look what you're doing.
EDWARD I'm sorry, father.
FATHER You've smudged it, too....
EDWARD What is it, father?
FATHER What is it? What is it? It's my meteorological chart ... haven't you
any eyes in your head?
EDWARD I didn't expect to find it in an armchair, father.
FATHER Oh, well ... ah-hum.... I was just writing it up and ... it was ...
it wasn't ... er ... but, sit down, sit down, sit down. I want to talk to ye.
Have a cigar.
EDWARD No, thank you, father.
FATHER Eh? Oh, very well. Have a cigarette.
EDWARD No, thanks.
FATHER What? Ain't you smoking?
EDWARD Er ... no ... you see, father, it's ... er ... Lent.
FATHER (Expressively) Hm! ... Well, so you're off to Belfast.
EDWARD Yes, father.
FATHER When do you go?
EDWARD Wednesday ... I have to go by the early train.
FATHER But ... that'll mean starting in the dark.
EDWARD I know. But, otherwise it means stopping a night on the way.
FATHER You've made arrangements where to stay ... in Belfast I mean?
EDWARD Well, no ... at least, yes, in a way. My vicar's going to put me up
till I get settled into digs.
FATHER I see. Hm.
EDWARD I believe there are plenty of good digs.
FATHER Well ... er ... see here, my boy.... I know a curate's screw isn't ...
well ... well, I mean it isn't easy to make ends meet, and your mother and I
would like to feel you weren't .... I mean, some of these fellows have perhaps
been accustomed to manage on less than you....
EDWARD Oh, but father, I ....
FATHER Will you let me finish, boy.... What I mean is ... well ... where was
I? ... oh, yes ... what I mean is, your mother and I ... that is I ... oh,
damn it all, here's a cheque to supplement your pay, and there'll be another
at Christmas. Here!
EDWARD Oh, father, it's most awfully g-g-g-good of you it is, really ... most
awfully ... but I ... well, I'd rather n-not t-take it.
FATHER What? Eh? Eh? What's that?
EDWARD No, father, I'd rather not take it ... really I'd rather manage on
what I earn.
FATHER Pooh! Nonsense, boy, nonsense, take it and don't be a damned fool.
EDWARD No, father, it's awfully good of you, and I'd love to take it, but--
really.
FATHER Well, take it, then ... take it, and don't make such a fuss about it.
EDWARD No. I can't, father. Thanks, very much. I can't really.
FATHER But, why on earth not?
EDWARD Well, I don't want to be different from the other men that are in the
Church.... I mean, most of them aren't ... well, their people can't afford
to....
FATHER Damme, I know that as well as you ... but, it's quite different for
them ... they're used to doing without things that you ...
EDWARD Yes, father, but that's just what I don't like.... I want to be on an
absolutely equal footing with the others.
FATHER Hm.... Socialism.
EDWARD Yes, if you l-like to c-call it so.
FATHER In other words, you want to abrogate the status of your family.
EDWARD No, father, it's got nothing to do with family.
FATHER But it has....
EDWARD It hasn't ... it's simply a question of m-money.
FATHER No it isn't ... it's a question of the Fitness of Things. But there it
is ... there it is ... it's always been the same with you. You're not like one
of the family at all.
EDWARD I'm afraid I'm n-n-not.
FATHER Now if you'd wanted to go into the army or into the navy even ... but
the Church! However, it's your life, my boy, not mine, thank God ... you must
just do whatever you think best. (Now very kindly and charmingly) But I wish
you'd take the cheque.
EDWARD N-no, father ... but ... thank you.
FATHER (Blustering because his feelings have been touched) All right, all
right, all right ... no need to thank me for what you haven't got.
EDWARD No, father, I'm very sorry....
FATHER Oh, don't be sorry, my boy, I'm not sorry ... not at all ... I'm very
glad ... I can find plenty of use for the money ... it'll just put a roof on
the new lodge at Mullaghmore. But it's late and you've an early start ...
you'd better be getting to bed.
EDWARD Yes, father, are you c-coming?
FATHER Well, I suppose it's about time ... it must be nearly twelve.
EDWARD I'll light your candle. Did you shut the hall-door?
FATHER Yes, I shut it when your mother went to bed.
EDWARD Your candle.
FATHER Thanks ... glass is falling.
EDWARD Is it?
FATHER Rain to-morrow ... 'fraid you'll have it wet for starting.... You
might put out the lamp ... oh, blow, man, blow ... here, I'll do it myself.
EDWARD Can you see where you're going?
FATHER Hold your candle straight, boy, you'll spill the grease.... Ow damn
that chair. (In the dark he has stumbled against it.)
EDWARD Good-night, father.
FATHER Good-night.
EDWARD And father
FATHER Eh?
EDWARD I do hope you're not offended.
FATHER Offended? ... ho ... er ... why on earth should I be?
EDWARD At my not t-taking the cheque.
FATHER No--no--no--Good Lord, no, not at all ... of course I can't help
feeling a bit ... well ... sorry that ... but don't lets talk of it again.
EDWARD No.... I wish ...
FATHER Well?
EDWARD I wish I could have been more ... well, you'd like to have seen me in
the Regiment.
FATHER Oh well....
EDWARD I wish I could have been a more satisfactory sort of son ... from your
point of view.
FATHER Eh? ... Ach away to Hell, son, and don't be morbid ... and for the
love of the Lord holdthatcandlestraight.
[WAVES.
____________________________________
SCENE XI
EDWARD (Shouting in an echoing church) ... Through all the ad-adventures of
l-life ... through all its ups and d-d-d-downs, we may trace ... that is ...
w-what I m-mean is ... well ... our lives are a s-s-s-sort of ... well ...
p-p-pattern. The b-b-bright days are the ... well ... sort of b-b-b-right
parts of the p-p-pattern ... er yes the b-b-bright ... well the ... er ... the
half lights as it were (The coughs and snuffles of the congregation are dimly
heard: now and then a yawn.) ... in a way ... and the d-d-d-ark d-d-days are
the d-d-d-ark p-parts of the ... er ... well our sorrows and t-troubles and
dis-dis-dis-disappointments and ... well.
And if at times the p-pattern of our ... well ... our lives seems to have
become dis-dis-dis-disordered why we must just p-put our t-trust in the Great
Designer ... he knows b-b-best. In His unfailing W-w-wisdom as I say in his
unfailing W-w-w--- In his unfailing ...W-w-w--
[Fade out into waves.
[WAVES.
____________________________________
SCENE XII
[A knock at a door.
EDWARD Is this 122 Bohemia Street?
SADIE It is.
EDWARD Does Mrs. MacAleenan live here?
SADIE She does.
EDWARD Are you ... is she your mother?
SADIE She is.
EDWARD Can I speak to her for a minute?
SADIE I couldn't tell ... she's out at the back ... wait till I see ...
(calling afar) Maw ... Maw ... there's a wee falla wantin' till speak till ye.
... she says she's busy and if it's the insurance you're after it's my da
ye'll need til ...
EDWARD It's n-not the insurance ... will you go and ask again ... say I must
see her ... tell her it's Mr. M-m-m-m.
SADIE Which?
EDWARD Mr. M-m-m-m-m-m ... the n-new curate.
SADIE I'll tell her ... Maw ... Maw, it's the wee curate from St. James' with
the awfullest stutter ever ye heard....
MRS. MACALEENAN (Approaching) Away you Sadie round to the back and get them
things off of the line the way they'll not get spotted in the wet. (Shout)
Min' yerself now ... if I catch you skylarkin' about with Maggie Quinn I'll
skelp ye ... come on in, sir... don't be standin' there in the wet ... and the
water drippen' down off of the spoutin' intil your hat, look-at.
EDWARD Is it? I didn't notice.
MRS. MACALEENAN It's very good of you til call ... come intil the wee room
here. Wait now till I dust the chair ... there! We're all through-other. The
morning's a busy time.
EDWARD I know. I wouldn't have called only ...
MRS. MACALEENAN Sure you're very welcome ... very very welcome ... will I
make a cup of tea?
EDWARD No ... Oh no thanks, really.
MRS. MACALEENAN Terrible wet weather ... terrible. Hugh was only saying this
morning it's more like ...
EDWARD That's your husband.
MRS. MACALEENAN Aye... him.
EDWARD He drives one of Macklin's bread vans?
MRS. MACALEENAN He does ... he's been with them since the war.
EDWARD Has he?
MRS. MACALEENAN He was in the army and got a job with Macklin's Ones after
... he's been with them ever since ... you see he'd been driving a lorry in
the war ... all through the war he was and never a scratch.
EDWARD Driving a lorry.
MRS. MACALEENAN Aye he was always fond of moty-cyars.
EDWARD Yes.
MRS. MACALEENAN Ye'll be fond of moty-cyars yourself, sir?
EDWARD I ... Oh, not specially, I ...
MRS. MACALEENAN Just excuse me a minute.... I've a pie in the oven ... I
want to see is it done yet ... I'm expectin' Hugh in for his dinner at three
the day. He's on the Clones delivery, that's seventy mile and more. He'll be
in at three ... excuse me till I look is it brown. Ach, there's that Young One
away down the street with Big Maggie Quinn, the wee rapscallion ... just wait
till I get my hand on her. It's browning rightly ... it'll just be ready by
three.
EDWARD Mrs. MacAleenan.
MRS. MACALEENAN (Arrested by his tone) Aye?
EDWARD Hugh won't be in by three.
MRS. MACALEENAN Is it ... ?
EDWARD I ... I've got bad news for you, I'm afraid.
MRS. MACALEENAN Bad news ... not ... not Hugh?
EDWARD Yes.
MRS. MACALEENAN Is he... quick, tell me quick, is he killed?
EDWARD He's ... yes ... I'd meant to break it gently, but he is ... yes. He's
killed.
[Pause.
MRS. MACALEENAN (Quietly) Shut the window and keep out the sound of that
rain, I can't bear it.... Mind my wee cactus plant.... Hugh killed....
Where ... where did it...
EDWARD Near Moira. The road was greasy ... there was a skid they think ... no
one happened to be passing at the time ... but the lorry had crashed into a
wall.... I came that way just after.... I was on the way to Portadown.
MRS. MACALEENAN And was Hugh ...
EDWARD When I got there he was dead.
MRS. MACALEENAN Had he ... was there ...
EDWARD He can have suffered nothing ... a doctor came soon after I got there
and he says from the way he was ... he says he can have suffered nothing ...
just quite instantaneous.
MRS. MACALEENAN They'll be bringing him here?
EDWARD Not ... not now. There's to be an inquest.
MRS. MACALEENAN I see.
EDWARD I came straight back to tell you ... I th-thought perhaps you'd rather
hear it ... I wanted to do what I could.
MRS. MACALEENAN Thank you.
SADIE Ma.... the fruit man's down the foot of Philip Road with his basket,
bananas is cheap the day ... will I buy one for my Da? ... will I ma ... ma
... will I?
MRS. MACALEENAN Ye'll get pennies in the cup on the dresser ... aye ye may
buy one.
SADIE (Shyly) Ma ... can I buy one for myself as well?
MRS. MACALEENAN Aye child.
SADIE (Shouting gleefully) Maggie ... I'm to get one ... My ma says I can get
one. I'll be out when I've got the penny. Tell wee Susie to ...
MRS. MACALEENAN Time enough for her to know when I tell her meself... ach the
poor chile ... she was that fond of her Da.
[She cries. Her sobs mingle with the waves and the moaning wind.
[WAVES.
____________________________________
SCENE XIII
RECTOR Oh, by the way, before I forget....
EDWARD Y-yes, sir?
RECTOR Pious Peter wants me to preach down at his place on the 25th.
EDWARD In the morning?
RECTOR Yes ... I rather thought of going.
EDWARD Yes, sir, and is Pious ... I m-mean is Mr. Peterson coming here?
RECTOR Well, no ... I ... er ... that is, I thought you could look after
things here.
EDWARD Very well, sir.
RECTOR That be all right?
EDWARD R-rather ... do you want me to preach?
RECTOR Well ... er ... yes ... that is ... yes. That's really what I wanted
to see you about ... I er ... wanted to give you a word ... I mean, I quite
appreciate the conscientious way your sermons are prepared ... that's
excellent ... very good, indeed ... but ... well, human nature's weak, you
know ... we can get too much even of a good thing ... I think, perhaps, you're
a wee bit inclined.... I mean last time you were a bit on the long side.
EDWARD Yes sir, my watch stopped.
RECTOR Was that it?
EDWARD Y-yes ... you see, I'd meant to go on for twenty minutes, but,
unfortunately, my watch stopped and I was wearing my short-sight glasses, and
I hardly liked to stop and put on my long-sight glasses to look at the clock
at the other end of the church.
RECTOR No ... quite so.
EDWARD So, I didn't realise till....
RECTOR I know, till they began to get restless.
EDWARD N-no, it wasn't that, they'd been a bit restless all the time. I don't
know why. No, I stopped because Dunwoody came up into the pulpit and whispered
that it was a quarter to two.
[WAVES.
____________________________________
SCENE XIV
MRS. DOLAN Well, Mr. Edward, this is delightful--delightful--delightful just
... such a surprise, too ... are you here for long?
EDWARD Oh, n-n-no, Mrs. Dolan.... I'm j-just down from Belfast for a f-
fortnight's holiday.
MRS. DOLAN Well, now! Fancy that! Isn't that nice now ... isn't that nice,
Miss Fan?
FANNY Very nice. Your call, Mrs. Dolan. Edward, I can see your cards.
MRS. DOLAN My call? Why, yes, so it is ... now, we mustn't any of us talk--
must we? I always say talking at Bridge, I say, is worse than ... did you say
it was my call?
FATHER Yes, Mrs. Dolan. Yes.
MRS. DOLAN So it is, though, so it is. One Heart.... Now, talking of hearts,
Mr. Edward, do you know what I read in the paper ... oh, but we mustn't talk,
must we ... hearts, now ... let me see....
FANNY Edward, I can seeyourcards.
EDWARD Sorry.
MRS. DOLAN Now, let me see ... do you know, I think I won't go one heart, no,
I'll go one ... no, I won't, that is if diamonds are ... oh, but I mustn't say
that must I ... no, do you know, I think, after all ... I think I'll ... yes
... I'll say ... nobid.
FANNY Father?
FATHER One spade.
FANNY Edward?
MRS. DOLAN Come along now, Mr. Edward ... what do you say? Don't be nervous.
I don't mind if we go down.
EDWARD No bid.
MRS. DOLAN No bid? Sure, that's very timid now ... faint heart never won fair
lady, remember.
FANNY Edward always holds rotten hands.
MRS. DOLAN Ah, well, you know the saying ... unlucky at cards, lucky in ...
FANNY (Loudly and rudely) One no trump.
MRS. DOLAN Dear me now, this'll never do ... will it, Mr. Edward?
EDWARD N-no.
MRS. DOLAN No, indeed it won't ... indeed, it won't ... oh, I remember now
what it was I read in the paper.
FANNY Yes, but, Mrs. Dolan, are you going to bid?
MRS. DOLAN I am ... I am, indeed, but wait now till you hear ... it's about
that girl ... I forget her name, the one you had staying with you that time at
the dance....
FANNY Vanessa?
EDWARD V-vanessa?
MRS. DOLAN The very one ... the very same one ... funny now that I should
forget a name ... me, that's usually so....
FATHER Come, come, come now, Mrs. Dolan, we're playing Bridge, you know.
FANNY Yes, father, but it's about Vanessa, you know. We must hear what it is
... in the paper, did you say, Mrs. Dolan?
MRS. DOLAN In the Independent ... you didn't see it?
FANNY No.
EDWARD (In a fever) Wh-what is it?
MRS. DOLAN She's married.
FANNY Married. I didn't even know she was engaged.
MRS. DOLAN Well, she's married ... there, now! Two hearts, I'll say on the
strength of it.... TwoHearts, colonel.
FATHER Two spades.
FANNY But, Mrs. Dolan, you must tell us more ... who did she marry? How odd
of her never to write.
FATHER Oh, come off it, Fanny ... let's get on with the game.
FANNY No, we must hear ... who's the man, Mrs. Dolan?
MRS. DOLAN Vincent, I think, was the name or Castleton ... or was it
Henderson? Some name like that, anyway .. . he comes from Birmingham.
FANNY Birmingham.
MRS. DOLAN Now, that's a nice lifey place. I had a cousin married on a man
whose good-brother had a business in Birmingham ... he had a club-foot, I mind
... and he said it was a nice, lifey place ... plenty going on there ... but,
dear me, dear me, dear me, this is not Bridge, is it, Colonel? No, no, no, now
let me see ... you bid a ... no, it was two of something.
FATHER Two spades.
MRS. DOLAN Ach, to be sure ... now then, Mr. Edward ... why ... look at him.
FANNY Edward.
FATHER Steady, old man.
FANNY He's going to faint ... water, father, get some water.
FATHER Right.
FANNY (Calling) And some brandy.
MRS. DOLAN The poor boy, it's something he must have eaten.
FANNY Loosen his collar, quick.
MRS. DOLAN Something he must have eaten.
FANNY Loosen his collar, quick.
MRS. DOLAN Something he must have eaten.
FANNY Loosen his collar, quick.
MRS. DOLAN Something he must, Vanessa.
FANNY Loosen his Birmingham quick.
MRS. DOLAN Birmingham married Vanessa.
FANNY Loosen his Birmingham quick.
MRS. DOLAN Edward can't marry Vanessa.
FANNY Birmingham, Birmingham, quick.
MRS. DOLAN Edward can't marry Vanessa. Edward can't marry Vanessa....
[Repeat ad lib., and fade.
FANNY (Simultaneous with Mrs. Dolan) Birmingham, Birmingham, Birmingham....
[After the two voices have died away, there is silence for a moment, then
faint and far off, slowly and dully, as in a dream, the following is heard.
NURSE ...ay, ma'am, and not only that, but it was the best one of them all he
pulled ... sure, nothing would do him but the very best rose itself ... and
then when he had it pulled, I toul' him to give it up.
MOTHER And did he?
NURSE He did not, he has it still.
MOTHER Edward, you're a very naughty little boy ... you know quite well that
the flowers are not for you to pick. Give it up at once.
EDWARD No.
MOTHER Give it up at once, I say.
EDWARD No.
MOTHER If you don't give it up, Edward, mother will be really angry ... if
you don't give it up, mother will smack you ... now give it up.
EDWARD No.
[WAVES.
____________________________________
SCENE XV
RECTOR Well, of course, my dear fellow, if you really feel you must ...
EDWARD Yes, sir, I feel ...
RECTOR Oh, then of course, I shan't detain you. I needn't say I shall be
sorry to lose so conscientious a curate.
EDWARD Thank you, sir.
RECTOR To the Chinese Mission you said?
EDWARD Y-yes sir, to the Trinity Mission at Kwen Lung.
RECTOR It's a long way. (Jocular) You're not afraid of the voyage?
EDWARD Oh, n-no, sir.
RECTOR But tell me, this is a very sudden decision surely.... I thought you
were quite happy here.
EDWARD Oh, well I was, yes, in a way.
RECTOR It's nothing I have done, I hope?
EDWARD Oh, n-n-no....
RECTOR Or left undone ... ?
EDWARD No ... no indeed, it's not ... you've always been most kind.
RECTOR Oh, well ... however, there it is, I suppose you have your own reasons
for taking such a step.
EDWARD Yes ... that's it.... I feel I must get away ... right away.... I--
well, I've had rather a sh-sh-shock ... in a way. I think the work there, too,
will be more s-s-suitable.
RECTOR (Dryly) Yes. I think perhaps it will.
EDWARD I know I've not made much of this.
RECTOR Oh, now I wouldn't just say that. In many ways ... well, in some ways
... (Brightly) Tell me when do you want to leave?
EDWARD Whenever you can spare me.
RECTOR Well, now, as it happens, I've just had word of a young fellow--son of
a friend of mine in Dublin--an extremely nice young chap ... tall, good-
looking, full of fun and spirits, a thorough sportsman.
EDWARD Does he wear glasses?
RECTOR Oh, Dear no.
EDWARD No, I th-thought not.
RECTOR No, he's just the type we want, and as luck would have it the
Archdeacon wrote to me a week or two ago and suggested ...
EDWARD That he should come here as your ass-ass-assistant?
RECTOR Yes ... of course, I should never have dreamed of having him as long
as you ...
EDWARD (With force) Did you write that to the Archdeacon?
RECTOR Well ... er ... hardly in so many words.
EDWARD Then you needn't bother telling it to me. I'm ready to go at once.
RECTOR Oh, come now, you mustn't take me up wrong ... of course, I should
never dream of getting this fellow if you were still going to be here ... it's
only that I thought you wanted to ... er ... well ... to give this up.
EDWARD (Slowly) Give it up.
RECTOR Yes ... come my dear chap, pull yourself together ... surely it's
quite a simple question ... do you, or do you not, want this curacy?
EDWARD No.
RECTOR You want to give it up?
EDWARD Yes.
[WAVES.
____________________________________
SCENE XVI
VANESSA It was nice of you to come, Edward.
EDWARD I wanted to say Good-bye.
VANESSA Well, I think it was awfully, awfully nice of you ... to come all the
way to Birmingham just for that.
EDWARD Oh, n-no.
[A constrained pause.
VANESSA Well ... well, anyway, I'm glad you've seen the house.
EDWARD Yes.
VANESSA It is rather sweet, isn't it?
EDWARD Oh, yes.
VANESSA I'm so fond of it ... I wish you could have met Laurence. I know
you'd like him.
EDWARD Yes.... I'm ... I'm sure I should.
VANESSA He is a dear ... oh, Edward--you won't mind this--I'd like you to
know.... Edward, I'm so wonderfully happy.
EDWARD (Fervently) I'm very glad.
VANESSA I knew you would be. .. . Dear Edward.
EDWARD Dear Vanessa.... I must go.
VANESSA Must you? Sure you can't stay for dinner?
EDWARD S-sure, thanks.
VANESSA But you'll have something ... have a whiskey and ... oh, no you don't
drink ... have some lemonade.
EDWARD N-no, nothing thanks.
VANESSA I'm so vexed you can't wait and see Laurence ... he'll be out from
town by seven.
EDWARD No ... I c-can't wait ... my train....
VANESSA No ... you mustn't miss the train ... well ... good-bye, and have a
good time in India.
EDWARD It's Ch-ch-china.
VANESSA Why, of course it is ... you told me. Well, don't go and get eaten by
the natives or anything.... (Laughing) You know Edward, it would be just like
you to go and get drowned on the way.
[They both laugh.
(Seriously) Edward, it was nice of you to come ... I ... appreciate it really.
EDWARD Good-bye.
VANESSA Good-bye.... I'll come to the door ... no umbrella? No, that's
Laurence's, yours is the black hat ... you'll write to say you've arrived?
EDWARD No ... n-no, I'd rather not.
VANESSA Would you like me to write?
EDWARD No.
VANESSA Then this really is ... Good-bye?
EDWARD Yes.
VANESSA Take care ... mind the step ... oh, Edward dear... good-bye.
[The door is heard to shut--firmly--finally. Then once more--the waves.
[WAVES.
____________________________________
SCENE XVII
FANNY Good-bye, Edward.... don't get lost in China--you must come back safe
home.
EDWARD Good-bye, Dad.
FATHER Good-bye, my boy--take care of yourself.
EDWARD R-rather.... Good-bye, Mum.
MOTHER Good-bye, my darling ... you'll write often ... often.
[A train is heard starting.
MOTHER (Calling forlornly through the noise of the train.) Good-bye.
[The train gathers speed.
EDWARD (Rhythm, no emotion.) Edward ... Vanessa ... Edward ... Vanessa.
Edward to China to China to China ....
MOTHER (Echo exactly, of her previous tone.) Good-bye.
EDWARD Edward Vanessa Vanessa Vanessa Birmingham Birmingham Birmingham....
VOICE Any more for the shore?
[Syren of a steamer. The train has faded away and the waves are heard now more
dominant than ever before.
EDWARD I wonder what time it is? ... time ... where am I? .. no ground
beneath my feet ... no sky ... then ... ah, yes, they say it floats before one
... floats ... the past ... the past, the present and the ... sudden death ...
from battle, murder and sudden.... Litany ... must say the litany....
Dunwoody, I want you to lead the responses in the litany ... a long ... time
... ago.... I was on board ... someone said good-night ... I went to my
cabin, at least, I thought it was mine ... perhaps I made a mistake.... I
suppose if anyone was watching they would see a chain of bubbles--floating,
bobbing to the surface ... bob, bob, bob, bob, bob, bob, bob, surface ... they
say one rises to the surface ... three times ... and after that.... I wonder.
... There go my spectacles ... sinking ... sinking ... I knew I'd shed themoff at last.... One thing, I'm glad I went down in my dog-collar.
[Waves.
FANNY Hide your eyes, Edward ... you're to stand under the cedar, Edward,
till you hear us call cuckoo.
VANESSA Edward, look, the first star.
EDWARD Vanessa.
MRS. DOLAN Ah-ha-ha, Mr. Edward.
VANESSA I suppose it's as well to admit frankly that one's groping.
EDWARD Yes, groping ... searching ... and the more one searches the more
difficult the truth is to find.
VANESSA Like Hide-and-Seek. The meaning of things seems to call cuckoo from
behind the trees.
MOTHER You know quite well that the flowers are not for you to pick.
MRS. DOLAN In the Independent ... you didn't see it?
EDWARD Wh-what is it?
MRS. DOLAN She's married.
MRS. MACALEENAN Mind my wee cactus.
VOICE Cuckoo.
FANNY Don't get lost in China--you must come back safe home.
MOTHER Good-bye.
VANESSA Look, Edward, the first star.
EDWARD Vanessa ... I love you.
VOICE Cuckoo.
2ND VOICE Cuckoo.
[Waves.
VOICE (Faintly, far-off) Cuckoo.
EDWARD (Answering) Com-ing.
[Waves--then silence.