Belinda: An April Folly in Three Acts Part 8

TREMAYNE (_hastily inventing, moving down_ L. _below the hammock_). They use you as a sign-post in the village. Past Mrs.

Tremayne's house and then bear to the left--

BELINDA. And you couldn't go past it?

TREMAYNE. I'm afraid I couldn't. Thank you so much for not minding.

(_Going up to the_ L. _of her_.) Well, I must be getting on, I have trespa.s.sed quite enough.

BELINDA (_regretfully_). And you haven't really seen the garden yet.

TREMAYNE. If you won't mind my going on this way, I shall see some more on my way out.

BELINDA. Please do. It likes being looked at. (_With the faintest suggestion of demureness_.) All pretty things do.

TREMAYNE. Thank you very much. (_Turns to go up c_.) Er----(_He hesitates_.)

BELINDA (_helpfully_). Yes?

TREMAYNE. I wonder if you'd mind very much if I called one day to thank you formally for the lesson you gave me in p.r.o.nunciation?

BELINDA (_gravely_). Yes. I almost think you ought to. I think it's the correct thing to do.

TREMAYNE (_contentedly_). Thank you very much, Mrs. Tremayne.

BELINDA. You'll come in quite formally (_pointing to_ R. _with her sunshade_) by the front-door next time, won't you, because-- because that seems the only chance of my getting to know your name.

TREMAYNE. Oh, I beg your pardon. My name is--er--er--Robinson.

(_She is highly amused and looks round towards the house, recalling to her mind_ DELIA.)

BELINDA (_laughing_). How very odd!

TREMAYNE (_startled_). Odd?

BELINDA. Yes; we have some one called Robinson (_nodding towards the house_) staying in the house. I wonder if she is any relation?

TREMAYNE (_hastily_). Oh no, no. No, she couldn't be. I have no relations called Robinson--not to speak of.

BELINDA. You must tell me all about your relations when you come and call, Mr. Robinson.

TREMAYNE. I think we can find something better worth talking about than that.

BELINDA. Do you think so? (_He says "Yes" with his eyes, bows, and moves up_ C. _The piano is now forte. BELINDA accompanies him up a little, then stops. He turns in entrance up C., and they exchange glances_. TREMAYNE _exits to_ R., _behind yew hedge. BELINDA stays looking after him, then moves down to back of table and picking up the book of poems, gives that happy sigh of hers, only even more so_.) O-oh!

(_Enter_ BETTY _from porch_.)

BETTY. If you please, ma'am, Miss Delia says, are you coming in to tea?

BELINDA (_looking straight in front of her, and taking no notice of_ BETTY, _in a happy, dreamy voice_). Betty, ... about callers .... If Mr. Robinson calls--he's the handsome gentleman who hasn't been here before (_puts book down_)--you will say, "Not at home." And he will say, "Oh!" And you will say, "I beg your pardon, sir, was it Mr. Robinson?" And he will say, "Yes!" And you will say, "Oh, I beg your pardon, sir---" (_Almost as if she were BETTY, she begins to move towards the house_.) "This way---" (_she would be smiling an invitation over her shoulder to_ MR. ROBINSON, _if he were there, and she were_ BETTY)--"please!" (_And the abandoned woman goes in to tea_.)

CURTAIN

ACT II

_It is morning in_ BELINDA'S _hall, a low-roofed, oak-beamed place, comfortably furnished as a sitting-room. There is an inner and an outer front-door, both of which are open. Up_ C. _is a door leading to a small room where hats and coats are kept. A door on the_ L.

_leads towards the living-rooms_.

DEVENISH _enters from up_ L. _at back, pa.s.ses the windows of the inner room and crosses to the porch. He rings the electric bell outside, then enters through the swing doors_ R.C. BETTY _enters_ R.

_and moves up at back of settee_ R. _to_ DEVENISH _by the swing doors. He is carrying a large bunch of violets and adopts a very aesthetic att.i.tude_.

BETTY. Good morning, sir.

DEVENISH. Good morning. I am afraid this is an unceremonious hour for a call, but my sense of beauty urged me hither in defiance of convention.

BETTY. Yes, sir.

DEVENISH (_holding up his bouquet to_ BETTY). See, the dew is yet lingering upon them; how could I let them wait until this afternoon?

BETTY. Yes, sir; but I think the mistress is out.

DEVENISH. They are not for your mistress; they are for Miss Delia.

BETTY. Oh, I beg your pardon, sir. If you will come in, I'll see if I can find her. (_She crosses to the door_ R. _and goes away to find_ DELIA, _dosing the door after her_.)

(DEVENISH _tries a number of poses about the room for himself and hit bouquet. He crosses below the table_ C. _and sits_ L. _of it and is about to place his elbow on the table when he finds the toy dog which has been placed there is in his way. He removes it to the centre of the table and then leans with his elbow on table and finds this pose unsuitable so he crosses to above the fireplace and leans against the upper portico, resting on his elbow which slips and nearly prostrates him. He then crosses up to_ L. _of the cupboard door at back centre and leans on his elbow against the wall_.)

(_Enter_ DELIA _from the door_ R.)

DELIA (_shutting the door and going to_ DEVENISH). Oh, good morning, Mr. Devenish.

[Ill.u.s.tration :]

(DEVENISH _kisses her hand_.)

I'm afraid my--er--aunt is out.

DEVENISH. I know, Miss Delia, I know.

DELIA. She'll be so sorry to have missed you. It is her day for you, isn't it?

DEVENISH. Her day for me?

DELIA. Yes; Mr. Baxter generally comes to-morrow, doesn't he?

DEVENISH (_jealously_). Miss Delia, if our friends.h.i.+p is to progress at all, it can only be on the distinct understanding that I take no interest whatever (_coming to back of table_ C.) in Mr.

Baxter's movements.