"Hail, noble duke.""All is well, I ween."
"Hail, noble duke.""All is well, I ween."
HANK
Say, are they talkin' to each other?
JONATHAN
Yes.
HANK
Which is the noble duke?
JONATHAN (pulling a string)
This one.
HANK.
And the other one's name is Iween, ain't it?
JONATHAN
No, his name is Rollo.
Jonathan Makes a Wish Act I.Jonathan Makes a WishAct I.
HANK
All right, fire ahead. I guess you know what you're doing.
JONATHAN (in assumed voice)
"Hail, noble duke."
"All is well, I ween."
"Not very well, noble duke."
"What is wrong?"
"Queen Zenobia is very mad, noble duke."
"What is she mad about, Rollo?"
[Uncle John enters suddenly.
JOHN
Jonathan—
[He sees Hank.
What does this mean?
HANK
I'm seein' a show.
JOHN
You get out of here this instant.
HANK
I ain't hurtin' nothin', mister, but I'll git out if you say so.
JOHN
What do you mean by this, Jonathan?
HANK
I'll git out. Thank you fer the show, boy.
[He goes out whistling.
John crosses to the door.
JOHN (calling after Hank)
Come on, get out of here quickly.
HANK (off)
I'm out, mister.
JOHN
Now, Jonathan, what do you mean by bringing such people into this place?
JONATHAN
I didn't bring him in. He came up while I was working.
JOHN
Do you call that silly stuffworking?
JONATHAN
I was getting it ready for Uncle Nathaniel.
JOHN
He's been putting that nonsense in your head, has he?
JONATHAN
He asked me to let him see all my plays.
JOHN
I suppose he told you to ask that dirty tramp in here.
JONATHAN
No, sir. He didn't see the tramp.
[Hank is heard whistling.
John crosses to one of the windows and opens it.
JOHN (calling)
You get away from there. Move on.
HANK'S VOICE
I guess the roadside's free, mister.
JOHN
We'll see about that.
[Hank whistles.
JOHN
Jonathan, I won't have you waste your time on this stuff. I've been pretty lenient with you and I've allowed you to keep your toys becauseEmily spoiled you; but you're too big for such things and I'm going to put my foot down right now. I'm not going to have this silly stuff around.
JONATHAN
Uncle Nathaniel doesn't think it's silly.
JOHN
I'll decide what is and is not good for you.
JONATHAN
The same thing isn't good for everybody.
JOHN
Don't talk back to me, young man.
JONATHAN
I've got a right to think.
JOHN
Jonathan!
JONATHAN
If my mother was living, she wouldn't call everything I like to do silly.
JOHN
Your mother didn't know what was good for you.
JONATHAN
My mother was the best woman in the world.
JOHN
That will do, Jonathan. Your mother was my sister and I am not saying anything against her. But I do say that stuff must go.
[He starts for the door.
JONATHAN
If this theatre goes, I go, too. I'm not—
[John walks over to the theatre and sweeps the whole structure onto the floor.
JOHN
Now.
JONATHAN
You dirty coward, you—
[John turns upon the boy and strikes him across the face.
In mingled rage and humiliation Jonathan sobs wildly once or twice, then controls himself and glares violently at his uncle.
JOHN
I'll let you think about it. I'll leave you here with your toys like a girl-baby.
[He goes out the door, closing it and turning the key in the lock.
Jonathan runs to the door.
JONATHAN
You let me out of here! You let me out of here!
[He pounds the door with his fists.
Then he turns in despair and humiliation.
He paces the floor a moment, not knowing what to do. Suddenly Hank's whistle is heard. The boy listens as though fascinated and goes to the window and watches Hank. Jonathan goes to his wrecked theatre and, taking it up, piles his manuscripts, the pink and the blue, on it. He hesitates to include one in the pile, offering once or twice to put it in his pocket, but he finally places it in grim determination with the others. Then he takes it off and stuffs it in his pocket. He stuffs the pile in the stove and sets a match to it, watches it a moment, then writes on a piece of paper, fastens it to the door. Then he finds a piece of rope on a packing case,moves the ladder under the gable window, fastens the rope to a peg in the wall, climbs the ladder, considers a moment, returns to the stove with the beloved manuscript, stuffs it in the fire, remounts the ladder and lets his weight onto the rope. As he disappears from view, the rope breaks and a cry and sound of falling are heard.
The flames from the burning theatre and manuscripts flicker against the wall for a silent moment.
The key is heard to turn in the lock and John and Nathaniel enter.
JOHN
Jonathan!
NATHANIEL
He's hiding.
JOHN
Jonathan!
NATHANIEL (Sees paper on door)
What's this?
JOHN
What does it say?
NATHANIEL
"Good-bye!... Jonathan."
JOHN (Looks suspiciously at Nathaniel)
Did you tell the silly boy about your running away?
NATHANIEL
I told Jonathan nothing about myself. You are the head of the Clay family and out of custom I respected your position; but, by God, John, you're a failure with this boy.
JOHN
He—
[Hank enters carrying Jonathan in his arms. Jonathan is limp and pitiful. His clothes are torn. He is moaning pitifully.
HANK
He fell on the rocks out there.
NATHANIEL
Put him over here.
[Hank places Jonathan on the bench near the piano. Nathaniel places the costume, which Susan left there, under his head for a pillow.
JOHN
What was he doing?
HANK
He was—
NATHANIEL
This is no time for questions, John. Call a doctor.
[Jonathan moans and rolls his head, looking vacantly at Hank now and then.
JONATHAN (moaning)
Good-bye.... Jonathan.
JOHN
We'd better take him in the house.
JONATHAN
My mother was the best woman—
NATHANIEL
He'd better stay here until the doctor comes.
[John exits.
JONATHAN
All on a summer's day—
[All the time Nathaniel has been passing his hands over Jonathan.
HANK
He's out of his head, ain't he?
NATHANIEL
Perhaps, but sometimes one's heart speaks in a delirium.
HANK
He acts like his back's broke.
NATHANIEL
My God—his back!
[Touches the boy's back.
Jonathan winces with pain.
JONATHAN
My back's broken, Hank.
HANK
Listen, he's saying my name. We wuz pals, sure nuff.
JONATHAN
My back's broken, Hank.
Six years have elapsed since Act I as years elapse in a boy's imaginings.Throughout this act the characters are disclosed without reason as in a dream; and the movement of the act represents four terrors of a delirium—anxious effort to make oneself known, a feeling of fetters, climbing and a sudden fall.
Six years have elapsed since Act I as years elapse in a boy's imaginings.
Throughout this act the characters are disclosed without reason as in a dream; and the movement of the act represents four terrors of a delirium—anxious effort to make oneself known, a feeling of fetters, climbing and a sudden fall.
[Before the curtain rises the voices of Jonathan, Hank, Nathaniel and John are heard, muffled and far away.
HANK
He fell on the rocks out there.
NATHANIEL
Put him over here.
JOHN
What was he doing?
HANK
He was—
NATHANIEL
This is no time for questions, John. Call a doctor.
JONATHAN
Good-bye.... Jonathan.
JOHN
We'd better take him in the house.
JONATHAN
My mother was the best woman—
NATHANIEL
He'd better stay here until the doctor comes.
JONATHAN
All on a summer's day—
HANK
He's out of his head, ain't he?
NATHANIEL
Perhaps, but sometimes one's heart speaks in a delirium.
HANK
He acts like his back's broke.
NATHANIEL
My God—his back!
JONATHAN
My back's broken, Hank.
HANK
Listen, he's saying my name. We wuz pals, sure nuff.
JONATHAN
My back's broken, Hank.
[The curtain has risen unnoticed.
A faint light that grows steadily brighter as light does when one comes out of a swoon discloses Jonathan and Hank seated on a log at the left of the stage, where the bench had been. Jonathan seems much older, and he is crooked and dirty and unkempt, and Hank is somewhat brutalised, less negative.
JONATHAN
My back's broken, Hank.
[Hank looks at him.
Tired?
HANK
Sure....
JONATHAN
I think Uncle Nathaniel would help me if he saw me.
HANK
He couldn't do nothin' for you. You can't straighten a crooked back....
JONATHAN
Hank, I'm tired of this and I'm going back.
HANK
Going back where?
JONATHAN
I'm going back home.
HANK
Your Uncle John won't let you in.
JONATHAN
Uncle Nathaniel will take me in.
HANK
He ain't there no more and besides he won't know you.
JONATHAN
Honest—don't you think he would?
HANK
Sure, he wouldn't.
JONATHAN
I wish I hadn't run away.
HANK
If you don't quit wishing I'll run away from you.
JONATHAN
You wouldn't leave me, would you, Hank?
HANK
Sure, I'd leave you.... What do you think I am—a wishing stone?... I want peace, Ido.... An' your wishing's disturbing my peace.... Every day fer six years you squeal about what you done.... Your Uncle John swatted you and you burned your theatre things and jumped out o' the window and broke your back and I saved you....
JONATHAN
I can't do anything with a broken back!
HANK
What do you want to do anything for?
JONATHAN
Sometimes I'd like to write a little.
HANK
Go ahead.... I'll wait for you.
JONATHAN
And I'd like to give a show. You know, Hank, I used to want to be an actor....
HANK
Sure, all kids want to be actors or go in a circus or do something where a lot o' people are lookin' on.
JONATHAN
But I can't be an actor now, because nobody'd want to look at me.
HANK
You act like that hump's ruined your life, when all you got to do's crouch over a little more and look sad and you can get anything you want. Why, it's money in your pocket, that's what that hump is; it's money in your pocket.
[He closes the conversation by whistling.
Say, go on over to that house and get us something to eat.
[Jonathan prepares for the quest and Hank rolls over to go to sleep.
As Jonathan crosses, lights disclose a hill with pleasant green slopes. At its foot stands a little cottage, all cool and pleasant with great glass doors. There are no locks and bolts to keep one out or to keep one in. A high plaster and brick wall flanks the cottage.
As Jonathan nears the cottage he meets Uncle John, whose austerity is more apparent than ever.
Jonathan cowers a moment, then attempts to smile.
JONATHAN
Hank said you'd turn me away if I came back.
JOHN
Were you talking to me, boy?
JONATHAN
I'm so sorry I ran away, Uncle John.
JOHN
Uncle John?
JONATHAN
Don't you know me, Sir?
JOHN
Indeed I do not.
JONATHAN
I'm Jonathan—
JOHN
Jonathan! My nephew Jonathan?—Ha! Ha!
JONATHAN
Don't you remember I didn't want to study engineering—I didn't want to go to Somerset School?
JOHN
Where is Jonathan?
JONATHAN
I'm Jonathan, sir. You remember I jumped out of the window and I tried to run away.
JOHN
You seem to know a lot about it. Where is Jonathan?
JONATHAN
I tell you I am Jonathan.... Don't you remember you struck me—You struck me across the face—that's what made me run away.
JOHN
I should have whipped him and put him to bed.
JONATHAN
I would have run away just the same, Uncle John.
JOHN
Don't call me Uncle John!
JONATHAN
But you are my Uncle John.
JOHN
I ask you whereisJonathan.
JONATHAN
Would you like to see him?
JOHN
I should like to know what has become of him.
JONATHAN
Would you let him come back home?
JOHN
No. When he ran away, I cast him out forever.
JONATHAN
Couldn't you forgive him if he was very, verysorry for what he had done?... Couldn't you forgive me, sir?... I am Jonathan. Honest I am Jonathan.
JOHN
Don't try to deceive me. Jonathan was impudent as you are; but he was a Clay: he was straight and fine.
JONATHAN
But I broke my back.
JOHN
Tell me where Jonathan is, you imposter.
[He takes Jonathan by the arm and twists it brutally.
Tell me.... Tell me.
JONATHAN
I don't know.... Let me go.... I'mnotJonathan.
JOHN
Tell me....
JONATHAN (in desperation)
He's dead.
JOHN
What!
JONATHAN
He's dead. He died somewhere.
JOHN
And so you tried to palm yourself off as Jonathan.
JONATHAN
I'm sorry.
JOHN
Don't you know you can't make your way with lies?
JONATHAN
Yes, sir.
JOHN
You ought to be whipped, but I suppose you don't know any better. I should have you arrested for vagrancy.
[Jonathan winces.
But I won't. I pity you, you dirty little beggar.
[He starts to walk.
You ought to wash your hands and face at least.
JONATHAN
Please, sir—one minute.... How are Mary and John third?
JOHN
Mary is ten—a big girl—and John third is eight—a strapping boy who will be a great help to me.
JONATHAN
And—how is Aunt Letitia?
JOHN
My aunt died of a broken heart.
JONATHAN
A broken heart?
JOHN
Because Jonathan ran away.
[Jonathan buries his face in his arms.
There! Don't cry for someone you've never seen.... Here, here, take this—
[He presses a coin into Jonathan's hand and goes out.
Jonathan looks at the coin, then after John, and seems to close his heart. He crosses to the sleeping Hank.
JONATHAN
Here, Hank.
HANK (taking the coin)
What'd he say?
JONATHAN
He didn't know me.
HANK
I guess you're not going back home now!
JONATHAN
No, I haven't any home.
HANK
Then quit your snifflin' an' go on over to that house.
JONATHAN
All right, Hank.
[Hank curls up and goes to sleep again.
Jonathan crosses to the cottage and finally summons the courage to knock on the door. As he does so the lights within grow bright and disclose a lovely little room with a beautiful piano in the centre. In a moment a young woman appears and opens the doors. It is Susan Sample. She is charmingly older; but she is dressed almost as she was in the old lumber room.
JONATHAN
Please, Miss—why—
SUSAN
What do you want?
JONATHAN
I—don't you know me?
SUSAN
No, I don't know you, little boy. What do you want?
JONATHAN
I—don't you really know me?
SUSAN
I've never seen you before.
JONATHAN
I know you.... You're Susan Sample.
SUSAN
Who told you?
JONATHAN
I'm— (He becomes conscious of his back) Why Jonathan told me.
SUSAN
Have you seen Jonathan?
JONATHAN
Yes.
SUSAN
Where is he?
JONATHAN
I don't know.
SUSAN
He ran away. Why doesn't he come home?
JONATHAN
Because—oh, I don't know.
SUSAN
Who are you?
JONATHAN
I'm a vagrant.
SUSAN
Are you hungry?
JONATHAN (looking toward Hank)
No. I'm not.... I'm not begging.... But will you do something for me?
SUSAN
Yes, if I can.
Jonathan Makes a Wish Act II.Jonathan Makes a WishAct II.
JONATHAN
Will you play for me?
SUSAN
Oh, yes.... What shall I play?
JONATHAN
Anything.
[Jonathan notices his dirty hands.
Excuse me a moment.
[He goes to a bird-bath and washes his hands, wipes them and returns to the piano.
Susan plays a bit of a nocturne with ease and grace.
JONATHAN
Do you remember this?
[He hums "All on a Summer Day."
SUSAN
Oh, yes.
[She plays the tune in a sophisticated musical way, but Jonathan is disappointed.
SUSAN
You don't like it?
JONATHAN
That isn't exactly the way it goes.
SUSAN
Oh, yes, it is.
[She plays it once more and sings it.
JONATHAN
No—no—no. It ought to go this way.
[He sings it as he had sung it years before.
SUSAN
You sing that just as Jonathan used to sing it.
JONATHAN
I like it that way.
SUSAN
Did Jonathan teach it to you?
JONATHAN
Yes.... A long time ago.
SUSAN
Did he tell you—
JONATHAN
About the lovely lady who danced to the tune? Oh, she was wonderful!
SUSAN
Jonathan ran away—and he never wrote to me or thought of me.
JONATHAN
He thought of you and he talked of you and he sang of you.
SUSAN
No.... I can't believe that.
JONATHAN
Jonathan loves you very much.
SUSAN
If a man loves a woman very much he can't go away from her for years and years.
JONATHAN
Suppose Jonathan had pride and was ashamed to let you know that he had failed.
SUSAN
Jonathan wouldn't fail. I know Jonathan.
JONATHAN
He—Susan Sample!
[Susan plays softly. She is lovely in the sunlight which is lengthening across the lawn.
[Jonathan watches her quietly. The love of the boy fans into flame and he reaches out toher, then in the consciousness of his deformity he turns away.
SUSAN
Will you tell me where Jonathan was when you last saw him?
JONATHAN
I don't know—The last time I saw Jonathan—he was tall and straight—and making his way.
SUSAN
Oh, well.
[Albert Peet enters. He is a little man of immaculate appearance and great preciseness.
ALBERT
Ah, Susan.
SUSAN
Albert, you are late.
ALBERT
Who is this?
SUSAN
This is a friend of Jonathan's.
ALBERT
Jonathan who?
SUSAN
Don't you remember Jonathan who had the toy theatre? He ran away from home.
ALBERT
Oh... and this is his friend? How do you do?
SUSAN
Do you remember this? I used to play it for you.
[She begins "All on a Summer's Day."
Jonathan and I made it up.
ALBERT (laughing)
Oh, yes.
SUSAN (to Jonathan)
Come on and sing it.
[Jonathan is not sure of the status of Albert Peet.
[Susan plays and she and Jonathan sing with great feeling.
ALBERT (looking at his watch)
Well, all this is very pleasant indeed, but we'll have to go, Susan dear.
[At the "Susan, dear" Jonathan turns quickly and sees the two holding hands. Susan holds up her left hand and shows an engagement ring on it. Jonathan is utterly crushed.
JONATHAN
I think I'd better say good-bye.
[He takes up his cap.
SUSAN
Good-bye. If you see Jonathan, tell him I'm going to marry Albert Peet. He'll know.
ALBERT
Good-bye.
[Albert and Susan walk off happily in the sunshine.
Jonathan looks after them.
Mlle. Perrault enters followed by Mary and John 3rd. Mlle. Perrault's dress is almost like the one she had worn when she first met Jonathan in the lumber-room, except that the colors are reversed and more brilliant. Mary is a lovely little yellow-haired child of ten and John 3rd is a stoical matter-of-fact boy of eight.The two children are evidently very fond of Mlle. Perrault, as fond as Jonathan and Susan had seemed. If the children seem thoughtless and cruel, it is because they are children and life has not yet laid a hard hand upon them. The sun rays are very low against the wall now so that anyone walking near it will cast a very heavy shadow.
MARY
John, look—he's a hunchback.
MLLE. PERRAULT
'Sh! Children.
[The children whisper.
Jonathan turns and seeing Mlle. Perrault smiles.
How do you do, little man.
JONATHAN
I am well, I thank you.
MLLE. PERRAULT
What are you doing here?
JONATHAN
I am with Hank.
MLLE. PERRAULT
Hank?
JONATHAN
Yes, Hank's my pal. There he is—asleep.
MLLE. PERRAULT
Oh, what a dreadful person.... Children, don't go near him.
JONATHAN
He's not so bad.
MLLE. PERRAULT
But he is a vagrant—a tramp. Why does he do nothing?
JONATHAN
He's happier that way.
MLLE. PERRAULT
Are you his son?
JONATHAN
Oh, no.
MLLE. PERRAULT
Where is your mother?
JONATHAN
My mother's dead.
MLLE. PERRAULT
Where did she live?
JONATHAN (Looks for a trace of recognition)
I'd better not tell you.
MARY
Oh, please tell us.
JONATHAN
I'd better not.
MARY
You ask him, John.
JOHN III
Uh-uh!
MARY
Why not?
JOHN III
I don't want to know.
MLLE. PERRAULT
Why don't you want to tellus? We won't tell anybody.
JONATHAN
Nobody'll believe me.
MARY
Why?
JONATHAN
You see, I ran away from home—
JOHN III
When you run away from home, you're no good.
MARY
Now, John, that isn't always so.
JOHN III
It is.
MARY
It isn't. Goldilocks and the Babes in the Wood and the Marquis of Carabas were all good, and they ran away from home.
JOHN III
But they had bad homes.
MARY
Was your home bad?
JONATHAN
I thought it was.
JOHN III
You thought it was. But was it?
JONATHAN
No.
JOHN III
Then you're no good.
MLLE. PERRAULT
Oh, John.
JOHN III
No, he isn't. Grandfather said nobody who ran away from home was any good!
MARY
Why did you run away from home?
JONATHAN
I mustn't tell.
MARY
Oh, you won't tell anything!
JOHN III (pointing to Hank)
What did you sayhewas, Ma'mselle?
MLLE. PERRAULT
He is a vagrant—
MARY AND JOHN III
What's a vagrant?
MARY
Ooh—
[Puts up her hand to make a wish.
JOHN III
Aw, I'm not going to make a wish. Grandfather'll get it for me anyway if I want it.
MARY
Now, John Clay III—
[Jonathan looks up quickly.
You always spoil things.
JONATHAN
Is that Mary Clay and John Clay?
MLLE. PERRAULT
Yes.
JONATHAN
They don't remember Jonathan, do they?
MLLE. PERRAULT
You mean Jonathan who ran away?
JONATHAN
Yes, ma'am.
MARY
Who's Jonathan?
JOHN III
He's David's friend. I know that. And he was very good.
MLLE. PERRAULT
What do you know about Jonathan?
JONATHAN
I knew him once—
MLLE. PERRAULT
He was a splendid little man! He could make such lovely songs.
JONATHAN
Do you remember the one he and Susan Sample made up?
MLLE. PERRAULT
Let's see—how did it go?
[Hums a little—tries several folk tunes. The children edge up to Jonathan during this and manage to touch his back several times, each keeping count. Jonathan smiles at them, thinking it's attention.
JONATHAN
No, it went this way.
[He sings a little of the song and Mlle. Perrault joins him. As he stops singing she switches the time to waltz time and begins to sway to it. The music is taken up as by a dream-orchestra and Mlle. Perrault dances a very lovely little waltz.
JOHN III
Oh, look at your shadow!
[Mlle. Perrault turns and sees her shadow on the wall.
I can make a bigger one than that.
MARY
Oh, come on, ma'mselle, let's all make shadows.
[The three of them stand in front of the wall.
JOHN III
Boy, you come, too.
MLLE. PERRAULT
Come, boy.
[Jonathan joins them standing so that his deformity doesn't show in the shadow.
Now, let's dance—Give me your hand—so.
[The four dance, while Mlle. Perrault hums "All on a Summer's Day." They are having a very good time when Susan and Albert enter.
Jonathan is a little conscious of Susan and Albert, and he manages to make several awkward moves.
MLLE. PERRAULT
Now, let's make everybody's shadow dance by itself.
MARY
Oh, come on.
JOHN III
You first, Mlle.
MARY
It's your turn, Mlle.
[Mlle. Perrault stands before the wall and makes a very lovely shadow.
John, you do it now.
JOHN III
I won't. I'm going to be next to last.... He's going to be last.
[Mary makes a pretty "statue."
MARY
Now, John—
[John III, holding a staff, stands bow-legged and pigeon-toed.
All of them laugh.
MLLE. PERRAULT (to John III)
You little Jackanapes! You!
JOHN III (to Jonathan)
You can't do that.
[Jonathan, still conscious of Susan, but more in the spirit of the game nevertheless, laughs almost gleefully.
JONATHAN
You just wait.
[He stands in front of the wall and does some comical movements with his feet and legs, then he turns in such a way that for the first time the shadow of his hump is thrown into a pitiful distortion on the wall. He doesn't see it at first, for he is lost in the game with the children.
JOHN III (yelling suddenly)
Oh, look!
[The children laugh immoderately, and Jonathan turns his head quickly, but in so doing alters the shadow. He smiles joyfully and then once more falls into the distorted picture.
MARY
Ooh—
JOHN III
That's funnier than mine.
[Jonathan turns his head this time and sees the full horror of the thing.
Mlle. Perrault and Susan have realized too late to protect Jonathan.
MLLE. PERRAULT
John! Mary! Tell the little boy good-bye. We must go.
[Jonathan looks toward Susan and Albert.There is pity in Susan's eyes and a smile in Albert's.
SUSAN
Albert, come—let's go!
[They pass into the house.
JOHN III [Almost as Susan speaks.
Wasn't he funniest of all!
MLLE. PERRAULT
Now, run along, children. Run along.
MARY
Look, I can make a hump-back.
JOHN III
So can I.
MARY
Not a good one!
JOHN III
You can't touch mine.
[He smacks Mary on the back and runs off, Mary following him.
MLLE. PERRAULT
Little man, I'm very sorry. You mustn't let them hurt you. They are only children.
JONATHAN
Yes, ma'am.... Thank you.
MLLE. PERRAULT
May I do something for you?
JONATHAN
No, ma'am... if you please... I must go to Hank.
MLLE. PERRAULT
Here, take this—
[She offers a coin.
JONATHAN
Oh, no, ma'am....
[He puts his hand behind him.
MLLE. PERRAULT
I am sorry.... Very, very sorry.
JONATHAN
Yes, ma'am.
[Mlle. Perrault goes out silently, and in a moment she is heard to call"Marie"—"John,"and a distant answer is heard.
Susan comes to the door and sees Jonathan. She crosses to him. He looks at her almost with madness in his eyes.
SUSAN
They didn't mean to hurt you.
[She lays her hand on his arm.
JONATHAN
Yes, I know.
[There is a moment of the tenderest, most understanding silence. He turns away.
Susan starts to reach in her bag, she even takes her purse out; but she replaces it unopened, and instead of bestowing alms, she takes a flower from her hair and presses it in Jonathan's hands.
He looks at her with years of pent-up gratitude loosed from his heart.
Silently, she turns away and goes into the house. Jonathan, left alone, turns so that his hump once more shows in the most distorted shadow. He lifts the flower and for a single moment, its shadow rises above the shadow of the hump, a tiny cross on his little Calvary. Then he lays the flower against his cheek and sits upon the log near Hank.
Hank awakens.
HANK (looking up stupidly)
What you got?
JONATHAN (hiding the flower)
Nothing.
HANK
Come across, Humpy.
JONATHAN
Don't you call me that!
HANK
So—ho! What you yelling at me for?
[He sits up.
JONATHAN
Nothing.... I didn't mean to yell.
HANK
What you got there?
JONATHAN
I tell you I haven't got anything, Hank.
HANK
Come on. Come across.
JONATHAN
It's not for you.
HANK
Come on.
JONATHAN (Rises and moves away)
No.
HANK.
Gimme it here....
[He grabs Jonathan and tears the flower from his hand.
JONATHAN
Stop that!
HANK
Great God! (Throwing the crushed petals on the ground) Say, what's the matter with you?
JONATHAN
I tell you, I'm going back.... I'm going back to my home.... I'm going to find my Uncle Nathaniel. I know he'll take me in. He won't blame me because I'm a cripple.... I know.... I know.... Didn't he say, "Poor Jonathan"?...
[At this moment Nathaniel enters, and the two stand face to face as they had stood in the lumber-room at their first meeting.
Hank slinks away.
Nathaniel is untouched by the years. Jonathan looks at him hopefully, but there is no glint of recognition In Nathaniel's eye.
JONATHAN (timidly)
Uncle Nathaniel.
NATHANIEL
What did you say, my boy?
JONATHAN (Less and less audible, as his disappointment increases)
Uncle Nathaniel.
NATHANIEL
I can't hear you.
JONATHAN
You—are—my—Uncle Nathaniel.
NATHANIEL
Come, come, my boy. I can't hear you.
JONATHAN
Aren't you—Mr.—Nathaniel—Clay?
NATHANIEL (kindly, but as to a stranger)
Yes, I am Mr. Nathaniel Clay.
[Jonathan smiles one of his old half smiles.
JONATHAN
My name's—Jonathan.
NATHANIEL
Jonathan!... I had a nephew whose name was Jonathan.
JONATHAN
Don't you know me?
NATHANIEL
You must forgive me, little man—but I do not remember you. Boys grow so quickly.
JONATHAN
Don't you rememberZenobia?
NATHANIEL
Zenobia?Who was she?
JONATHAN
Don't you remember the little theatre?
NATHANIEL
Oh, yes, my nephew Jonathan had a little toy theatre, and he wrote a play calledZenobia.... He burnt them.
JONATHAN
Was it wrong to burn them?
NATHANIEL
I don't know. You see Jonathan ran away, and I have never seen him since.
JONATHAN
Do you blame him?
NATHANIEL
Well, I can't say. When a fine boy like Jonathan runs away from home, he may have what he considers a good reason.
JONATHAN
Don't you know why he ran away?
NATHANIEL
I think I know.
JONATHAN
Would you tell me why?
NATHANIEL
That wouldn't do any good, my boy.... If you had an uncle who liked you very much, would you run away?
JONATHAN
No, sir—not if I had another chance....
NATHANIEL
What do you mean?
JONATHAN
Don't you really know me?
NATHANIEL
I'm sorry—no!
JONATHAN (pointing to Hank)
Do you know him?
NATHANIEL
That tramp?
JONATHAN
Yes, sir.... That's Hank.
NATHANIEL
Hank?
JONATHAN
Yes, the one I ran away with.
NATHANIEL
Did you run away, too?
JONATHAN
Yes, sir; I jumped out the window, and I fell and broke my back. Hank said—
NATHANIEL
What a dirty man!
JONATHAN
He's my pal.
NATHANIEL
You're evidently a fine young man inside.
JONATHAN
Oh, I'm sorry, sir, that I ran away.
NATHANIEL
You can't undo the past, my boy, but you can make the future.
JONATHAN
I can't straighten my back.
NATHANIEL
Perhaps not, but you can straighten your life.
JONATHAN
I'm only a beggar, sir.
NATHANIEL
There is something everybody can do.
JONATHAN
There isn't any place for me....
NATHANIEL
My boy, there is a place for everybody who wants a place.
JONATHAN
Do you remember what your nephew wanted to do?
NATHANIEL
Yes, he wanted to write plays and run a theatre and be an actor.
JONATHAN
I couldn't ever be an actor, could I?
NATHANIEL
No, my boy.
JONATHAN
Supposing you had your heart set on something and couldn't do it, what would you do?
NATHANIEL
I'd not give up.... I'd try something else.
JONATHAN
Supposing I were your nephew, what would you do?
NATHANIEL
I'd find out what you wanted to be.
JONATHAN
Don't I look like Jonathan?
NATHANIEL
Jonathan must be very tall now.
JONATHAN
If Jonathan weren't tall?
NATHANIEL
But heistall and splendid. I know Jonathan! And he's doing what he set out to do.
JONATHAN
I hope you'll find him, sir, and I hope he'll make you proud.
NATHANIEL (very earnestly)
My boy, how old are you?
JONATHAN
I'm twenty.
NATHANIEL
Twenty.... Will you try to pull yourself out of the rut?
JONATHAN
What do you mean, sir?
NATHANIEL
Look at that man. What is he to you?
JONATHAN
He's my pal.
NATHANIEL
You mustn't waste your life on such emptiness as his.
JONATHAN
I'm going to try, sir.... And if I make good, will you believe I'm Jonathan?
NATHANIEL
I'll believe you are you.... Here....
[He offers Jonathan a coin.
JONATHAN
Oh, no, sir.... I can't—from you—
NATHANIEL
Well, you are a strange beggar—
JONATHAN
I'm not a beggar at heart.... I don't want to be what I am. But I don't know which way to turn. I'm all mixed up.