BETTY: I remember that.
VI: I don’t remember.
ANN: Maybe you were too young. Maybe she didn’t play.
VI: I’m older than Peter.
ANN: He was a boy.
VI: What’s that—?
ANN: Where was that place, Peter?
(They look at him, then:)
PETER: Start counting.
ANN: What—?
BETTY (Over this): What are we—?
PETER: Count!
(Ann looks at the others, then covers her face and begins to count. Peter and Betty go off to hide. Betty hesitates, then goes in a different direction. Peter goes off toward the kitchen.)
MIKE (To Vi): Hide!
VI (Whispers): Where?!
MIKE (Whispers): Anywhere?
(He suggests behind the sofa. She hurries there, just as Ann finishes her count.)
ANN: Coming, ready or not—
(Peter walks back in. The others look at him.)
PETER: It was behind the ironing board in the kitchen cupboard. There’s a hole. It’s still there. (Beat) But I don’t fit.
SCENE 3
The next morning.
Peter, barefoot, sits, his legs over the arm of a chair, a book in his lap. (He had been reading and is interrupted by Vi.) Vi stands in front of a mirror, straightening her clothes, fixing her hair. She wears her best clothes. As she fixes she talks:
VI: First this girl says to her “family” that she can’t take communion. Her “Auntie” is all upset—we have a heathen in the house! We’ve taken in a heathen! Then she has to tell them, well—it’s because I’m a Catholic.
(Betty enters, dressed. She carries toast on a plate.)
So she can’t take communion.
BETTY (Who has heard the story): But then she does.
VI: That’s right.
BETTY (Beginning to eat the toast): And she writes to her mother and obviously—
VI: You weren’t even there. (Turns back to Peter) Writes to her mother and her mother writes to the local Catholic priest and he comes to the house. And the girl tells him that, yes, she’s taken communion in the Protestant church and—
BETTY: And she rather liked it.
VI: And so the priest, he says to her, “Child you will never again be allowed to take communion in a Roman Catholic service.” (Beat) Ten years old and he excommunicated her.
(She leans over and begins to draw a line down the back of her leg—to look like a stocking seam.)
Finally they had to find another family for her. She became—nervous. (Finishes the seam, and turns to Betty to explain her clothes) They’re making a picture in Leicester Square. (Reaches for the newspaper, tosses it to Betty) Looking for people to be society. You have to bring your own clothes. Pays a guinea for the day. And lunch. (Turns back to Peter) How did we get started talking about . . .?
(Suddenly, with newspaper still in hand, Betty goes to Vi and tries to lift up her skirt.)
(To Betty, pushing her hand away) What are you—? Stop it!
PETER: Betty?!!
VI: Get away from me!
(Beat.)
BETTY (Explaining): I just wanted to—to make sure she was wearing her drawers.
VI: Why wouldn’t I—??
BETTY (To Peter): Her audition yesterday? She came home and told me—while you were waiting to go in, she was sitting next to a girl. Vi notices her lift up her skirt—to cross her legs—and nothing. (Turns to Vi) So—? What?
(Vi says nothing. Betty continues to explain:)
So what does she say to Vi? You’re staring at her and what does this “actress” say?!
VI (Quietly): “We’ll see who gets the part.”
PETER: That’s disgusting.
BETTY: Isn’t it.
VI: That’s not what it’s usually like. And you don’t have to tell everyone—
BETTY: He’s your brother! And he’s a man. What do you think about that—as a man?
PETER: I said, I thought it was disgusting.
BETTY: He’s disgusted, Vi.
VI: She didn’t get the part!
BETTY: How do you know that? Did you get it?! (Reaches to look again under Vi’s skirt)
VI: It’s not even an audition. It’s only an extra!!!
(Betty flips up the skirt. Vi has her drawers on. Betty lets the skirt fall. Vi is upset, nearly in tears. She moves away from her sister.)
I have to go. Excuse me. Where’s my hat?
(Peter gestures.)
BETTY: Let me get the shopping money and I’ll walk with you as far as the tube.
(She goes to the kitchen. Peter and Vi look at each other for a moment.)
PETER (To say something): Betty doesn’t have to work today?
VI: The surgery doesn’t open until noon on Tuesdays.
PETER: But Mike left—
VI: He goes to the hospital on Tuesday mornings. (Beat) Betty does the shopping on Tuesdays. Ann used to do it but with . . .
(Betty has returned with coat and bag.)
BETTY (More explanation): And I don’t mind one bit either. Ann shouldn’t be carrying heavy . . . anything. Mike wouldn’t hear of it, for one. (To Vi) He’s so—thoughtful. Mike. Isn’t he?
(Vi nods.)
We think Ann’s the luckiest woman in the world. Don’t we?
(Vi hesitates, then nods. Short pause. Betty stands looking at Peter.)
PETER: What?
(Beat.)
BETTY: Seeing you there, like that—with a book. You know what I just remembered? What I just realized I miss? Sitting around—together—all reading together. To each other.
VI: When have we ever done that?
BETTY (Staring at Peter): Not for years.
(Beat.)
VI: Did Mother used to read to us?
PETER (Shakes his head): No, Father did. (To Betty) For what? About a month? He’d come home from the newspaper and he’d read to us. Religiously—for a month. Then it just stopped. (Shrugs) Why?
BETTY: I don’t know.
VI: How do you remember and I don’t?
PETER (Over this): It’s a good thought. We should do it.
BETTY: Now that we’re all together.
PETER: Exactly.
(Beat.)
BETTY: I feel like I don’t know anything.
PETER (Holding up his book): I doubt if Zane Grey is going to make you feel—
BETTY: It’s a start.
(She turns, notices something about Vi’s collar that isn’t right, so she straightens it as a mother might. Then without saying anything more, they leave.
Peter puts down his book, goes to the screen or clothes rack and tub that lean against a wall. Sets the tub upright, places the screen/rack around the tub, then heads off to the kitchen.
After a moment, Ann enters from her bedroom. She wears a dressing gown. She goes and sits on the sofa, stands, turns on the radio, quickly turns it off. Sees the leftover piece of toast, takes a bite.
Peter returns carrying two large buckets of water for his bath.)
ANN: God, are my sisters loud.
PETER: Did we wake you?
ANN: You didn’t.
PETER: I’m going to take a bath. Is that all—?
ANN: You live here, Peter.
(He smiles, nods, goes behind the screen and begins to pour the water in. Ann watches, then:)
We had such a nice bath, remember? It had little feet and little claws. So you could pretend you were on some animal. Or flying bird.
(Peter pours the second bucket.)
PETER: I never pretended that. (Beat) But it was a nice big tub.
(Short pause.)
ANN: But now we have a telephone. (Looks at the phone) That’s something good. Better. (Explaining) Because of Mike and the surgery—
PETER: I assumed.
ANN: So we mustn’t assume that everything just gets worse.
(Peter looks at her. She looks away.)
I think I pee twenty times a night. Did I wake you?
PETER (As he heads back to the kitchen with the buckets): I slept like a baby.
ANN: You’re home.
(Peter’s gone.)
PETER (Off): What?!
ANN (Calling): I said you’re—
(She stops herself. Takes another bite of toast. Looks at Peter’s book. He returns with another bucket.)
I said you’re home.
(He looks at her. He’s forgotten the conversation.)
Never mind. Where’s . . .?
PETER: Vi’s gone to be in a picture. Betty’s shopping. (Goes to pour the water into the tub)
ANN: I used to go shopping.
PETER: But now you have to be careful what you carry.
ANN: Do I? Is that warm?
PETER: I’ve been heating it on the stove. (Goes again)
ANN (Continuing the shopping drift): The queues are forever! You need the patience of Job!
(Peter’s gone, Ann continues but really to herself or no one.)
Or nothing else to do. And that is just the impression you get standing in some of those endless queues—that people now have nothing to do. (Beat) Or nothing they want to do.
(Peter returns with another bucket.)
PETER: So now Betty does the shopping. That must be great for you. (Starts to go to the tub)
ANN (Holding up his book): You reading this?
PETER: Yes, I—
ANN (Reading the inscription): “To Petey from your Auntie Fay.”
PETER: She gave it to me as a going away—
ANN: Riders of the Purple Sage. Kids book?
PETER: Not necessarily.
ANN: Looks like a kids book.
PETER: It’s—
ANN: Do you miss her?
(Beat.)
PETER: What??
ANN: Do you miss her? “Auntie Fay?” (More adamant) Do you miss being called “Petey”?!! When you left we called you Peter!!
(Short pause. Peter goes behind the screen and pours the water into the tub. He comes out—sets down the bucket.)
Full?
PETER: Enough.
ANN: What do you remember of Mother?
(Peter is stopped by this.)
Betty remembers—so much more than me. But then she was here. She wasn’t sent away. She was the lucky one—right?
PETER (After a beat): Yes.
ANN: Is that what you think?
PETER: Ann—
ANN (Almost yelling): That she was the lucky one?! I’ll tell you about your sister. Put this in your head. (Beat) When Mother took Vi and me to the station, Betty was with us of course. She’s told me, walking home with Mother, Mother all of a sudden fell onto the pavement and started sobbing. She hit her fists against a wall. She crawled. Betty, who wasn’t very large—isn’t, but certainly wasn’t then—tried to pick her up. (Beat) At sixteen she suddenly saw a lot. When mother died, Father was home on leave. So when the telegram came, Betty had to read it—to Father, who, because it was ever so slightly ambiguously written kept saying—“But there’s still hope, isn’t there? Isn’t there? Please tell me that there is hope.” (Beat) So she had to convince him. Convince those two sky blue watery eyes. Convince Father that Mother was—gone. (Beat) Lucky her.
PETER: I didn’t—
ANN: Take your bath.
(Peter just looks at her.)
(To herself, rubbing her eyes): I need sleep. (Reaches over and turns the radio back on—dance music plays) Young man, there are things you don’t know . . . (Shrugs) Come here.
(Peter comes to her.)
Raise your arms.
PETER: What? Why—?
ANN: I said, raise your arms.
(Peter is confused, but he raises his arms. She looks at him seriously, then suddenly tickles him hard in the armpits. He pulls away.)
(Laughing) You are such a sucker! You always were! Do you do everything anyone asks you to do?!
(Peter looks at her totally confused.)
Grow up. Take your bath. It’s getting cold.
(Peter turns and heads for the screen.)
Not only does he sound like a Canadian. He’s come back with the wits of one!
(Peter stops, thinks of what to say, says nothing, then goes behind the screen to take his clothes off and get into the bath.)
Do you mind if I stay . . .?
(No response. She listens to the radio for a moment. Behind the screen Peter is undressed. We hear him get into the water.)
Did Betty tell you we’re having company tonight?
PETER (Off, behind the screen): Some doctor—
ANN: I tried to tell Mike—your first full day here, why do we need—
PETER (Off): He’s trying to help me, Ann.
(Beat.)
ANN: Hugh. That’s the man’s name. Hugh. (Beat) Betty’s been trying to hook him.
PETER (Off): That’s not the impression—
ANN (Over this): And God knows I hope she does. Maybe then she’d move those doe eyes of hers off my husband.
PETER (Off): Ann, I don’t want to—
ANN (Over this): Not that he doesn’t encourage her. Not that he doesn’t encourage all of them. Wait till you see his other nurse—she looks like she’s twelve. He likes them young, that should be clear. (Beat) Isn’t it?
(No response.)
Peter?
PETER (Off, behind the screen): This doctor, Betty said, was invited so I could meet him. Mike’s trying to give me a choice. This man needs help, too.
(Beat.)
ANN: Oh. So that’s the reason he’s invited. I’m sorry—I got it all terribly wrong.
PETER (Off): Ann, Betty said—
ANN: Oh—Betty said, Betty said! Let me tell you something—you believe everything your sisters tell you, Petey, and I fear for your future.
(Beat. Then Peter suddenly finds this funny and laughs. Ann smiles and laughs, too.)
PETER (Off): I don’t care why this Hugh is—
ANN: Sh-sh! I like this.
(A song has come on the radio she likes. It is “Goodnight Children Everywhere.” Peter listens as well, so that for a moment we don’t hear the water moving around.)
RADIO:
Goodnight children, everywhere
Your mummy thinks of you tonight.
Lay your head upon your pillow,
Don’t be a kid or a weeping willow.
Close your eyes and say a prayer
And surely you can find a kiss to spare.
Though you are far away
She’s with you night and day.
Goodnight children, everywhere.
ANN (Over this): Vi and I had a special signal when this came on. We’d snap our fingers . . . (Snaps them once) . . . and it meant “Mother.” That I was thinking about Mother. And . . . (Two snaps) Father. No one else knew.
RADIO:
Sleepy little eyes and sleepy little head
Sleepy time is drawing near
In a little while
You’ll be tucked up in your bed
Here’s a song for baby dear:
Goodnight children, everywhere . . .
(The pain is nearly unbearable, finally Ann turns it off before it finishes.)
PETER (Off): They played that in Alberta, too. Some American lady sang it.
(Pause. Then from behind the screen Peter snaps his fingers once. Ann nearly collapses when she hears. She then snaps once as well.) (Off) When the letter arrived about—Mother—Auntie read it to me. They’d sent it to her, to open it. (We hear him play with the water, slap it—to do something) Auntie read it out loud over the kitchen table, then folded the letter very carefully, put it back into the envelope, then handed it all to me. (Beat) She kissed my head and said, “They are savages. In Europe, that’s what they are. No better.” And then she took me outside—into their garden—and pointed to the mountains. “There,” Auntie said, “is a better world. Mountains don’t lie. Mountains don’t cheat. They don’t murder. They don’t make war.” And then we both cried.
&
nbsp; (Ann picks up the photo on the table and looks at her parents.)
That night, she brought out photos of Mother.
(Ann is amazed by the coincidence of picking up a photo and having Peter, who can’t see her, mention photos.)
Not at all like those on the table there. Of Mother and Auntie dancing. (Beat) You knew that Mother had been a dancer—
ANN: I think maybe I forgot.
PETER (Off): Really? So maybe that’s where Vi gets her acting—
ANN: I don’t know.
(Beat.)
PETER (Off): In fur coats. With their arms around each other. Kicking out a leg. Auntie had spent two years in London. They looked like children. Mother and her. Younger even—than us. With big smiles on their faces. Auntie said they were best friends. For those two years. (Beat) It’s how Mother met Father—dancing.
ANN: What??
PETER (Off): According to Auntie. And she was there. (Beat) There was another photo—they’re in some costume with feathers, black shoes with a strap across—
ANN: Mary Janes.
PETER (Off): I kept asking Auntie—what’s this? When was this? She said, she couldn’t remember. She just had the photos. (Beat) Then she pulled out one of us. Betty, Vi, you and me. I couldn’t be more than two. (Beat) There we were sitting in a drawer, thousands of miles away from here. (Beat) I didn’t even know Mother knew her. I thought she was a farmer’s wife. Then she brought out the photos.
(Short pause.)
ANN: I had to look through Mother’s clothes. There was a dress—like that. With feathers. I thought it was . . . for a party. It’s still in the cupboard . . .
(She goes to talk to Peter behind the screen, we hear him splash as he tries to cover himself up.)
PETER (Off): Ann! (Short pause) What are you staring at?
ANN: Nothing. Nothing. (Comes back out) I’ll get that dress out. Wouldn’t it be great if it is the one in the photograph you saw? (Goes and looks in the mirror) I could try it on . . . (Short pause) Mike thinks I’m going to stay fat.
PETER (Off): You’re not fat, you’re pregnant! Did he say—?
ANN: It’s what he thinks. His first wife was terribly skinny.
PETER (Off): I didn’t know he had a first—
ANN: She was young, too. Then she got older. Why did you give Betty and Vi those pretty clothes and me a necklace?
PETER (Off): What?
(Again Ann goes behind the screen.)
ANN (Off): Why did you do that, Peter?
PETER (Off): Ann!!!
(Short pause.)
Goodnight Children Everywhere and Other Plays Page 27