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The Plays of Oriel Gray

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  • Sur le Pont : A Play in One Act

  • The AustLit Record

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    Oriel Gray's Sur Le Pont is a one-act play set in the wardrobe room of the Talma Theatre in the small French provincial town of Arles in June 1944. The narrative begins shortly after an allied bombing raid has destroyed the armament compound hidden by the German military beneath the town's railway bridge.

    The members of the small theatre company, which is currently presenting a revue, become aware that one of them is now passing information to the military police in order to propel his career opportunities elsewhere.

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    See full AustLit entry
  • Sur le Pont

    by 

    Oriel Gray

    (1945)


    Characters

    EMILIE

    wardrobe mistress

    JULIE

    one half of the Bellini Sisters act - not actually sisters

    FIFINE

    the other Bellini Sister

    BARRON

    stage manager

    PAUL LANYON

    actor/entertainer

    CHARLES DURIER

    actor/entertainer

    ALBERT

    Lanyon's onstage partner

    ANNETTE

    actress/entertainer


    SETTING

    The wardrobe room of the Talma Theatre, in the French town of Arles, June 1944.

    The room is big and bare and dirty. On the back wall is a mirror with three globes over it. In front of mirror, a bench covered with newspaper – on it, some sticks of makeup, a box of powder and a big grubby puff. On stage a couple of chairs, on the right wall a rack with costumes hanging on it, standing out from the wall.

    Left, the exit which leads into the passage which runs onto the stage. This is blocked by a soundproof door (offstage). There is an atmosphere of damp and discouragement reflected by Emilie, the wardrobe mistress-cum-caretaker.

    As the curtain rises, Emilie is putting a stich into the back of the costume worn by JULIE, a raw boned, slightly horsey girl, showing signs of wear. She is one half of the Bellini sisters. The other half – Fifine – is a vivid, pretty empty headed little creature, who is rouging her lips in front of the mirror. Both girls wear brightly colours but frowsy revue costumes.

    Cheap jazz music before curtain rises, and continues as curtain goes up, coming from behind the soundproof doors. Fifine is whistling the theme. She breaks off and addresses Julie, as though continuing a conversation.


    FIFINE. No …… I still don’t see how they knew it was there. Of course you can’t hide an ammunition dump in a haystack but they say it was wonderfully camouflaged. Maybe we had bad luck ….

    EMILIE. Maybe you’re asking for more…you ought to know better than to whistle in a dressing room.

    FIF. Pooh! .... superstition. (But she crosses her finders) But Julie….

    JULIE. I’ll tell you again – it’s simple. (Explaining it patiently) We all know the Germans have an ammunition dump under the bridge. We all know it’s camouflaged so that it can’t be seen from the air. We know it – and the RAAF knew it too, I guess! because they bomb it, the bridge and the dump go sky high, and I get blown out of my bed, which is known as the fortunes of war. See?

    FIF. I know what happened last night, as well as you. But I don’t know --

    EM. You don’t know everything.

    JUL. given time, and a man – she will!

    FIF. (Delighted about it) Don’t be silly, Julie. But they must have known something. They went straight for the bridge and nothing else was damaged … (Faint applause off) Ooh, not very good tonight.

    EMILIE. (Goes to table for thread) … Or any night.  You have to be an artist to get a laugh out of Frenchmen these days.

    JULIE. That lets us out! (They listen to orchestra for a moment)

    BARRON. (OFF) Please – do shut this door after you. You can hear every sound ----

    (MUSIC CUTS OUT. FIFINE LAUGHS)

    FIFINE. Poor Barron – I’ll bet he’s sorry he ever took up stage management. But what else could he do?

    EM. What else …. With his eyesight ruined in the war?

    FIF. (Continuing her own thought) …he’s such a silly old stick.

    (Julie begins to jog to tune, humming it.)

    JUL. Pretty. (Squeals) Ow! That was me.

    EM. You shouldn’t be jigging about. There – that will hold.

    JUL. Anything extra for the skin grafting? Look – I’m bleeding.

    FIF. You are not. Emilie knows her job too well, don’t you, mama?

    EM. I should. For thirty seven years I’ve been wardrobe mistress at the Talma Theatre.

    FIF. Thirty seven! I should have died from boredom.

    JUL. Why didn’t you try for a job in Paris?

    EM. We’ve had our great days here, let me tell you. You wouldn’t know – but Sarah Bernhardt played in this theatre. She was in this wardrobe room – (To Julie) – standing right where you are now!

    JUL. What – right where the roof leaks?

    Fifine giggles but Emilie is remembering.

    EM. She played “Camille” that night. This was turned into a dressing room for her because it was close to the stage. She was very tired, and I helped her all I could. And when it was over, she said “Keep these for luck, Emilie”.. she remembered everyone’s name … and she handed me the camellias she carried in the death scene. Men’d go mad to get those camellias – but she gave them to me.

    FIF. (TO JULIE) Cheap tip.

    JUL. My father used to rave about her – but I saw her on the movies once, and she looked an awful old ham.

    EM. The movies! She didn’t understand them … she liked to be close to people …. And she did tip, Miss Fifine, and that’s more than can be said for most people I dress. (FIFINE OPENS HER MOUTH BUT THINKS BETTER OF REPLYING) And where would I be now, if I’d gone off to your wonderful Paris?

    FIF. There’s still some life in Paris – people still go to night clubs and women wear decent dresses, and men send you flowers and perfume in black glass bottles with stoppers this long! A girl can still make something of herself in Paris … instead of trailing round the XXX

    EMILIE. You would. You wouldn’t mind seeing French boys XXX on trains to work in Germany – you wouldn’t mind seeing French women queuing up for bread – you’d step off the footpath when the Germans passed you, and speak nicely if they spoke to you first. Oh you’d get along alright!

    FIF. What’s wrong with that? We’re not at war – France is out of it. And I don’t like the way you speak to me. I’m not fond of – of – (SHE GESTURES VAGUELY) them ….

    EM. I’ll say it for you – Nazis. (SHE SPITS FERVENTLY)

    JUL. That dirty habit may get you into trouble, Emilie, if you indulge yourself in public. I think it’s healthy, myself, but you know what they say about little pigs .. (She pushes her ears out) … hell of a lot of little pigs about nowadays.

    FIFINE. (Bristling again) Julie, are you accusing me of spying? I’ll go to Barron -

    JUL. Oh shut up. (Faint applause) You wouldn’t call them enthusiastic, would you? But they might warm up when Durier goes on.

    FIF. (AT EMILIE) Now he is an Artiste.

    EM. Him! .. (She snorts)

    JUL. He can make them laugh, though – and you said yourself that it takes an artist to do that. I don’t know what it is – but you’d think he’d eaten at everybody’s table, and knew exactly what to say to make them feel good.

    FIF. Oh, that’d make him ordinary …

    JULIE. I don’t know ….. it might make him a genius. But he certainly lifts the standard of this show – he pushes it up to second rate.

    FIF. And what about his radio session – fifteen minutes a week, all to himself, while we’re in this district. I wonder how he got that?

    JUL. The managements will try anything to make people listen … the Vichy radio will pay for a good act …. something to help sell their propaganda.

    FIF. I wish I had something I could sell to them --

    EM. Not over the radio you couldn’t.

    FIF. Why do you have to keep picking on me! Just because you’re old and ugly, you’re jealous if you see a girl having a bit of fun…!

    JUL. (SIMULTANEOUSLY) Don’t be a damn fool, Fifine – Emilie doesn’t mean anything…..!

    EM. (COMING OVER THEM) Fun..? With the Germans, I suppose?

    (Barron, the stage manager flies into the midst of the brawl. He is a harassed little man, wearing thick glasses.)

    XXX

    BARRON. I don’t want to be a nuisance, but couldn’t you chat in your dressing room. This is the wardrobe room, you know -

    FIF. I – I saw a rat in our dressing room. (ENCOURAGED) a huge grey one – with long black whiskers.

    JUL. (AFTER GLANCING TO THE DOOR) Congratulations. I didn’t know Monsieur Laval had been calling on you.

    EMILIE LAUGHS.

    BARRON. Julie … you should be more careful. That sort of talk does no good, and it may do harm to yourself, or the company. You should think of that. Now hurry on – you’re the last before interval and they’re not in the mood for long waits (GIRLS PREPARE TO GO) Don’t forget the new introduction – the shuffle and kick … (HE DEMONSTRATES AWKWARDLY)

    JUL. Speed up your buck and wing and we may let you into this sister act. Come along, Fifine – you’re beautiful enough for popular prices.

    (They go off, shepherded by Barron. Emilie is busy with the costumes and only glances up when PAUL LANYON comes in. he is a big handsome open-faced young man with an amiable manner)

    LANYON. I’m looking for Durier. (HE WAITS) Well – have you seen him?

    EM. In his dressing room.

    LAN. No, he’s not. (WAITS AGAIN)

    EM. (Gathers up costume and goes off) Isn’t he.

    LAN. (Grinning and shaking his head) Mouth like a trap. (He is obviously at a loss. He looks along the rack of costumes and is about to leave when ANNETTE comes in, saying)

    ANNETTE. Emilie – will you put a stitch in this strap. I think it’s alright, but I’d hate to take any chances. Oh hello, Paul.

    (Annette is a pretty, fragile girl, with a bright gentle manner and an indifferent singing voice. She has no ideas about her talent. She has average intelligence and a real sincerity)

    LAN. Emilie’s just gone out, Annette. Shall I call her?

    ANN. It doesn’t matter, thanks. A pin will do as well. (Goes to bench and comes back with pin)

    LAN. Did they like your song tonight?

    ANN. I don’t know. They didn’t applaud much – people don’t seem to care about singing the way they used to. Or perhaps they don’t care about my singing.

    LAN. Nonsense. You have a great voice --

    ANN. Nonsense. I have a little voice, and I sing little songs because that is the best I can do. It’s very nice of you, Paul, but I stopped dreaming of the Paris Opera after I had my first audition.

    LAN. Some voices aren’t meant for opera. You ought to be singing in a high XXX

    ANN. Sitting on a piano, wearing a black dress with little silver stars all over it? For years, I’ve been seeing myself in a dress like that.

    LAN. You could have it, you know. There are ways to make money and good clothes to buy with it – (CASUALLY) – if you really wanted them ….

    ANN. Yes … they say that the big gown shops are still running – doing well, too, selling to the – collaborators.

    LAN. (LIGHTLY) And you wouldn’t care for that?

    ANN. (VERY UNEMOTIONAL) I had a nice childhood – loved my father and mother, played with my brother and my little sister – teased Picot, our dog. When we knew that the Germans were coming, we packed our things and tried to get ahead of them. We shared a farm cart with some neighbours – my mother, my sister and me .. and Picot. (SHE SMILES) he was very old then but we couldn’t leave him behind. You know what it was like – the roads blocked with refugees – our army couldn’t get through. But the Nazis cleared them alright …. Bombs and machine gun bullets make a pretty clean sweep. My mother and I were flung clear of the road and somehow they missed us … but my sister was dying when we got to her. So was Picot. (SHE LOOKS AT HIM) I saw some awful things that day – but it hurts most to remember the way those two looked at me, and I couldn’t help them … my little sister and that old dog. So you see I wouldn’t like a dress from Paris – not now.

    LAN. No, you wouldn’t like anyone who collaborated with them. A lot of people feel that it’s the only way, Annette – you mustn’t be too surprised or too badly hurt, if – (HE HESITATES)

    ANN. Are you trying to tell me something, Paul?

    LAN. No – I’m just surmising. (WALKS TO MIRROR) I wish I could get a better partner for my act. Albert is terrible – he kills every laugh ……… Annette – Durier has the room above yours, hasn’t he? Did you hear him come in last night?

    ANN. Why?

    LAN. I remember you saying that you were a light sleeper and the walls of the boarding house were very thin. You were teasing him last week because he was moving about and he disturbed you. So – I was wondering about last night.

    ANN. You are trying to tell me something.

    LAN. I’ve nothing to tell you – nothing certain. I shouldn’t have spoken.

    ANN. But you did speak and you can’t stop now. What is it?

    LAN. (AS ONE WHO HAS COME TO A DECISION) Last night Durier had an interview with the military police here. He went in furtively – and he came away, smiling. What does it look like?

    ANN. You mean – he sells information …….

    LAN. He may not have done it before – I think he does it now. I had to warn you.

    ANN. (TRYING TO BE LOGICAL) But – How would an actor find out XXX

    XXX

    ANNETTE. But – why Charles? He’s not interested in politics. He’s never spoken in favour of the Nazis … (REMEMBERING. TO HERSELF) He’s never spoken against them …

    LAN. (PRESSING THE POINT) You’ve never asked yourself – Why was he given that radio session? He’s not a big name – And that station is controlled by Vichy.

    ANN. He’s very popular here – they find it hard to get people to listen … (BELIEVING HIM) It’s not true.

    LAN. He stays out late, doesn’t he … or he says goodnight to you all and goes out again when it’s quiet? (SHE TURNS HER HEAD) Perhaps he did that last night. He went out – and kept an appointment with the military police.

    ANN. He may have a good reason for late night. Perhaps he gambles somewhere. (SOFTER) Perhaps there’s another girl --

    LAN. You’d know that ………. I’m sorry to hurt you, Annette, but I had to warn you. You may be in danger with every word you say to him.

    ANN. (Desperately) I haven’t said I believed it ….

    LAN. Don’t say it. Only promise me that you’ll be on your guard … that you’ll come to me if you see or hear anything suspicious … anything you don’t understand. (VOICES OFF. URGENTLY) Will you promise, Annette?

    ANN. Of course – I promise.

    (Annette goes over to mirror and sits there with her head in her hands as Fifine and Julie re-enter with ALBERT, a tall clumsy young man with a booming voice)

    ALBERT. (AS THEY ENTER) ….. and I’d turn to the audience and say “Well, who the hell wants to look at her ankles?” That’s rough, but you get the idea? Of course, Lanyon hasn’t got that sense of humour himself, so – (UNABASHED) Oh hell XXX Lanyon.

    LANYON. (Pleasantly) Still telling people what you could do with my act.

    AL. Well, I get my few chuckles, even stooging for you.

    LAN. Very few, alas. I want to see Durier. Where is he?

    JULIE. On stage. Didn’t you hear them applauding. (She sits down and wriggles her toes out of her shoes and concentrates on massaging them)

    LAN. (SMILING) You know, it’s possible that they may applaud someone else.

    JUL. Only General de Gaulle.

    FIF. Ssh! (LANYON SHOOTS A QUICK LOOK AT JULIE AND GOES OUT)

    AL. (CALLING AFTER HIM) You wouldn’t like me to do that act alone tonight? (EXPLAINING) He looks tired.

    FIF. You’re a proper fool to talk the way you do, Julie. For a joke like that last one, you could find yourself in trouble with the police. And what about me? They might think I had something to do with it --- they might take me XXX

    ALBERT. That’s a good line.

    JUL. It’s not original.

    AL. Didn’t think it was. But it would get a laugh. (GAGGING) Man in a church … Pardon me, is this my pew – Ssh. Pardon me, is this where I sit ….

    BARRON. (RETURNING) SSH!

    AL. That’s it. Rough, but you get the idea?

    BAR. I wish I could make you people understand that you can hear every word on stage, if that door is left open. If you’d only shut it after you --! Now I don’t want to be disagreeable but I wish you’d go to your dressing rooms.

    JUL. We’ll do it for you. (She picks up shoes)

    BAR. Do your feet hurt you?

    JUL. Hurt? …… My arches fell long before Paris. (She plods off, followed by Fifine)

    BAR. Now you too, Albert --

    AL. I want to fix something.

    BAR. Fix it, then --- and don’t yell … please. (HE GOES)

    AL. (AS HE GOES) I say --- you wouldn’t like me to try the act alone?

    (Baron’s head appears round door)

    BAR. SSSH!

    AL. He’ll come round to it. (OVER TO ANNETTE WHO SWINGS ROUND TO FACE HIM) I haven’t said goodnight to you yet, have I?

    ANN. You always say goodnight to me – you kick on my dressing room door.

    AL. That doesn’t count – I always stand in the wings when you’re singing too.

    ANN. (SMILING) And I often stand in the wings and laugh at you.

    AL. Do you? That’s wonderful. Do you really think I’m funny?

    ANN. Of course. Wait till you get an act of your own. … you’ll be better than Chaplin.

    AL. Do you think so? It’s wonderful to have someone to encourage you. Of course, the thing is to know what appeals to your audience. Look at Durier. He gives them what they want.

    ANN. Yes ….

    AL. Queer sort of chap … very friendly, talks a lot, always ready for a laugh --- but somehow I feel he keeps to himself a bit. Mind you, I like him – liked him when I first met him, didn’t you.

    ANN. Yes ….. I liked him ….

    AL. I say, is anything wrong .. I mean, headache or something.

    XXX

    AL. Don’t have to try – with you.

    ANN. … You don’t think of how you can use people – how much they’re worth to you. You don’t even mind people crying on your shoulder. My own brother couldn’t have been better to me.

    AL. (CRESTFALLEN) Your brother ….?

    ANN. You don’t mind?

    AL. Well – seems to be something funny about the fellow who’s a brother to a girl. I don’t know why – but it’s always good for a laugh. (HE GRINS AWKWARDLY AND MAKES FOR THE DOOR) I’ll make a gag of it when I get my act.

    (HE GOES OUT THEN CALLS BACK.)

    AL. Did you want to see Charles. He’s here …

    ANN. (SPRINGING UP) No Albert – it was Paul who --- (SHE TRAILS OFF AS CHARLES DURIER COMES IN SWEETLY. DURIER IS A SMALL NEAT MAN, WEARING A DRESS SUIT AND STRAW HAT. HE HAS A SURFACE SHININESS, A SORT OF CHEAP GLITTER AND A FLASH OF A GENUINE PERSONALITY. NENEATH THAT HE MIGHT BE ANYTHING. HIS MOVEMENTS ARE QUICK AND CERTAIN)

    DURIER. (LOOKING BACK AS HE ENTERS) Another stricken heart? I think you’re going to be a trouble to this company. Ah – what I’d give to be a girl again! (GOES TO BENCH AND WORKS ON MAKE UP) But you must admit that Albert is hardly fair game, even when the season’s open. Even Emilie was doing pretty well with him till she stopped shaving her moustache. (HE COCKS A QUESTIONING EYEBROW AT HER) Something tells me that I’m not going over XXX (BACK TO MAKE UP) Look at this shadow! Ersatz make up as well as Ersatz coffee.

    ANN. (NOT MAKING MUCH ATTEMPT TO CONCEAL HER ANTAGONISM) You shouldn’t talk like that, Charles – not now, with so many – policemen – about.

    DURIER. You’d be surprised how many people talk like that in Arles .. in all France, I imagine.

    ANN. And how many are informed upon?

    DUR. I don’t know about that. Are you thinking of turning me in?

    ANN. You can’t be sure of anyone these days.

    (HE GETS UP, COMES ACROSS TO HER, PUTS HIS HANDS ON HER ARMS AND KISSES HER GENTLY)

    DUR. That may seal those treacherous lips.

    ANNETTE PULLS AWAY FROM HIM. HE STARES AT HER.

    DUR. I’m sorry … I’m making a lot of mistakes tonight. But I thought that between you and me --

    ANN. I told you – you can’t be sure of anyone these days.

    DUR. Sorry. (TO MIRROR) Tired tonight?

    ANN. I was home last night – home and in my bed – not sleeping perhaps. But that’s no crime, is it – and anyway lots of people attend to their affairs at night. (SUDDENLY) Do you sleep well, Charles?

    DUR. Pretty well ….. A heavy supper bothers me at night.

    ANN. Oh nothing bothers me but a guilty conscience – but then I suppose you’ve got beyond that, haven’t you?

    (DURIER PUTS MAKE UP DOWN CAREFULLY AND STANDS UP)

    DUR. Do you mind telling me what the hell you mean by this?

    ANN. You’ve got more than an idea what I mean. You see, I don’t sleep well, and I’ve often heard you moving about at night. I haven’t thought much about it – not even last night when you came in with me and then went out again. But now I realise that you’ve had reasons for your restlessness … a very special reason, last night.

    (INSISTENTLY, LOOKING INTO HIS FACE) You had, hadn’t you?

    DUR. (MAKING THE DECISION) Yes, I had a reason.

    ANN. Yet you wonder that I didn’t want to kiss you.

    DUR. I still wonder. Annette, I’m not ashamed of the thing I did last night – I did it for the best, for all of us, for – for France, if you don’t mind the melodrama. I thought you’d understand … I was wrong about you. I told you I was making a lot of mistakes.

    ANN. You thought I’d understand – that? You have a poor opinion of me. (HER ANGER COLLAPSES AND SHE LOOKS AT HIM PATHETICALLY) Even now, when I look at you, I can’t believe it. I’m saying to myself – this is one of the rotten things you think of when you let your thoughts run riot. But it’s true … you admitted it, didn’t you. It’s bad enough to do it to us – but to those poor people that pay you and like you and sing with you .. Oh, I don’t know how you can.

    (SHE TURNS AWAY. DURIER MOVES UP TO HER AND LANYON COMES QUITELY THROUGH THE ENTRANCE. He is about to speak, then pulls up quickly and listens.)

    DUR. I’m sorry I’ve hurt you – I’m sorry you’re so wrong about things. I’d almost made up my mind to tell you. (HE SRUGS, AS IF CASTING SOMETHING AWAY) What are you going to do about it?

    ANN. I don’t know. I’d do something to stop you if I could but I don’t know how --

    LANYON. Perhaps I can help you there …. (COMES INTO ROOM)

    ANN. Oh Paul ---

    LAN. Has he admitted anything – anything at all?

    ANN. I suppose … Yes, he has.

    LAN. What did he say Annette? Tell me everything?

    XXX someone must tell me what this is XXX

    LANYON. Shut up, Durier. We’ve had enough of your charming personality. Now, Annette….

    ANN. Well, I … (STRUGGLING WITH HER TEARS) He says he –

    (FIFINE SHOOTS INTO THE ROOM HUMMING A TUNE)

    FIF. Did anyone see a mask on a long thing .. you know .. (SEES IT ON BENCH – A LACY MASK ON A STICK) Looks a bit tatty, doesn’t it. (IT EVEN DAWNS ON HER) Am I interrupting something?

    DUR. Not at all. Lanyon was about to tell us a good story.

    FIF. Wish I could stay for it, but I’m on in a minute. That was a naughty one you put over in your session on Tuesday. You were very good ….. but why did you put in that awful old schoolroom thing for a “special request” – you know, the one that goes “Sur le pont, d’Avignon .. (SINGING IT)

    LANYON TURNS SLOWLY ON DURIER. DURIER BREAKS IN QUICKLY.

    DUR. I thought it might be a quaint touch ….

    FIF. Quaint is right. I used to sing it when I was a kid. I know Marcel – you know, the boy in the control room, the blond one? He says you’re always changing your mind about the special requests … he says you never stick to the programme. But I said you could change your mind if you wanted to and …. God, I’m on!

    (SHE RUNS OUT STILL SINGING “SUR LE PONT”. LANYON THROWS BACK HIS HEAD AND LAUGHS HEARTILY, HIS HANDS BURIED DEEP IN HIS COAT POCKETS)

    LAN. What fools we’ve been! “Sur le pont d’Avignon” … under the bridge at Arles, where the ammunition dump was hidden! The simplest code in the world … information given in the song you sing by “special request” …. By special request of the Royal Air Force! Let me congratulate you …… Please don’t move. (HIS HAND COMES OUT OF HIS POCKET HOLDING A SMALL AUTOMATIC) We don’t want any unpleasantness – yet.

    ANN. I don’t understand, Paul …? (TO DURIER) You … someone must tell me the truth now. You were selling information?

    DUR. Not selling it.

    LAN. Giving it then – to the RAF in this case – as accurately as on a school map, in the words of a song we used to sing in school.

    ANN. And you told me he was selling information to the Germans, so that I would questions him and report to you … You’ve made more than a fool of me – you’ve made me a traitor.

    LAN. And what is Durier.

    ANN. He hasn’t been false to France – not the France we want.

    LAN. You draw very fine distinctions.

    XXX

    DURIER. It’s a chance we take .. in France, in Norway … in Germany too. And even in Germany, we do not think of ourselves as traitors. (TO LANYON) This will be pretty good for you, I expect.

    LAN. I think they’ll appreciate it. Most Frenchmen are so damned unco-operative. They told me it would be worth my while to keep my eyes open – didn’t suspect you, but just wanted to check up. I thought it was rather stagy when they gave me this. (GESTURES WITH GUN)

    DURIER. (TRYING TO APPEAR EASY) Nice little gun ….

    LAN. Very efficient – fitted with a silencer, too – so if you’re thinking of making trouble, think again. Of course, I don’t want to kill you – they’ll pay more for you alive than dead – and this is a commercial proposition to me. Besides I rather like to think of you after a few hours with them – with a few scratches on that bright surface. (TO ANN) I don’t know what they’ll do about you – I’m rather sorry about that.

    ANN. (SULLENLY) Thanks. (WATCHING HIM) I’ve got to go on soon …

    LAN. I’m not sure ---

    SHE IGNORES HIM AND GOES TO BENCH.

    ANN. My make-up’s a mess. (DIPS PUFF INTO POWDER AND DABS AT HER FACE)

    LAN. (EYES ON DURIER) Hurry. I prefer you in front of the gun – even you, Annette.

    ANNETTE BRACES HERSELF FOR A MOMENT THEN STANDS UP QUICKLY – SHE SHOULD BE ALMOST UNDER LANDON’S ELBOW. SHE CLAPS THE POWDER PUFF ACROSS HIS EYES.

    SIMULTANEOUSLY DURIER MOVES UP, GRABS LANYON’S REVOLVER HAND AND TURNS IT INWARDS, SCREENING LANYON FROM AUDIENCE. AS LANYON TRIES TO CLEAR HIS EYES DURIER FORCES HIM BACK AGAINST THE RACK OF COSTUMES. ANNETTE IS KNOCKED BACKWARDS AGAINST THE BENCH. THERE IS A MUFFLED XXX REPORT AND LANYON’S YELL FOR HELP DIES AWAY IN A COUGH. HE CRUMPLES AND FALLS, HALF HIDDEN BY THE RACK.

    DURIER. (WETTING HIS LIPS) The revolver was – very silent.

    ANNETTE STARTES AT HIM THEN AT THE BODY.

    ANN. He’s dead ……… It’s very ugly.

    DUR. Not like a play ….? with a big spotlight and the curtains closing and I should be the hero making a speech XXX about Right … instead of doubting it ….. (TAKES OUT A PACKAGE OF CIGARETTES, PUTS ONE IN HIS MOUTH, STRIKES A MATCH BUT CANNOT ONTROL THE FLAME) Light it for me.

    ANNETTE DOES SO.

    ANN. I thought that – you people – never doubted …

    DURIER. We’re human – sometimes we must doubt ourselves. And it’s a bad feeling to kill – we’re not like them. But if it’s the only way, we take it, for if we doubt ourselves, XXX

    DURIER. Do you think you have to wear a brown skirt to be a Fascist? The Fascist can wear a silk hat – or a doctors gown – or sit in the Chamber of Deputies. He can be anyone who will sell another man’s life, and take the profits from it. Don’t be fooled by Fascism, Annette, ….. it can grow in France or England or America … and a German or a Japanese may be its fiercest enemy. You must understand that.

    ANN. Listen!

    (DURIER SWINGS TO FACE DOOR AS BARRON COMES IN, WORRIED)

    BARRON. Is Lanyon here. I can’t find him anywhere and he’s on next. I don’t know why people can’t stand by for their call. It really isn’t fair to expect me to stage manage and check on the lights, as well as acting as call boy….

    ANN. (DESPERATELY) He was in here, Monsieur Barron, but I think he went to his dressing room. Has anyone called him upstairs, or --?

    DURIER. (WEARILY) It’ll be alright, Annette. Barron – look at this.

    HE UNCOVERS THE BODY. BARRON GOES TO IT, PEERS THROUGH HIS GLASSES THEN TAKES GLASSES OFF AND RUBS THEM, LOOKING UP AT DURIER. HE PULLS A CLOAK ROM THE RACK AND COVERS THE BODY.

    BARRON. How did it happen?

    ANN. (BEWILDERED) It – it was an accident …

    DUR. (HE APPEARS COMPLETELY EXHAUSTED, COLOURLESS) He knew about our work – discovered the code method we were using. I would have been on my way to the military police now, but Annette gave me the chance to turn his gun on him. She was very brave.

    ANN. I was very stupid. I’m to blame for this. If anyone has to suffer, it should be me.

    BARRON. Better that nobody suffers – we don’t want any heroics. Too many suffering as it is --

    ALBERT. (OFF) Barron!

    BARRON LOOKS AT DURIER THEN GOES TO DOOR AND CALLS.

    BAR. Albert! Stop making that noise and come here.

    AL. (ENTERING) I’m ready for my call – but I can’t find Lanyon.

    BAR. Neither can I. It’s most annoying … but he hasn’t turned up.

    AL. Hasn’t he? That’s bad ….

    BAR. Was he alright when you saw him last. Not depressed or anything?

    AL. Seemed a bit thoughtful – almost gloomy … (NOW CONVINCED OF IT) I’d say he was depressed.

    XXX

    AL. Bad luck though – what about the act? Er – have to cut it I suppose???

    BAR. Yes ………. Look here – d’you think you can do the act alone tonight?

    AL. Do the act? On my own? With some of my own stuff …? It’ll be rough of course, but they’ll get the idea!

    BAR. Can you?

    AL. Can I – You watch me!

    BAR. I intend to. And if you’re no good, I’ll – I’ll fire you.

    AL. Gee, thanks … for the chance, I mean. (STARTS FOR DOOR) Lanyon mightn’t like this.

    BAR. They won’t wait all night.

    AL. Right! (BACK AGAIN) Wish me luck, Annette.

    ANN. Good luck, Albert. You’ll be very good, I know. This is your chance.

    AL. You won’t believe it, but I felt something was going to happen tonight. There was something in the air.

    BAR. Get on stage!

    ALBERT TEARS OUT.

    DURIER. I hope he’s good. Now … what about this. (POINTS TO BODY)

    BAR. I’ll get the truck round after the show .. take him out the back door and drop him in the river. One more French suicide shouldn’t worry them.

    DUR. They’ll know him .. ask questions, I suppose?

    BAR. We don’t know anything. (QUICKLY) He hasn’t reported you on suspicion?

    DUR. I don’t think so – he wanted to be smart and bring in the whole skin.

    BAR. Good. Well, young lady, it all rests on you. Can you keep your mouth shut – better still, can you tell a lie when they question you?

    ANN. I believe I can.

    BAR. Make sure of it – if you can’t be sure, tell us now, and we’ll try to get you away. We want workers, not martyrs for this job.

    ANN. I understand. I won’t fail you, and I’ll be very proud – (SHE FALTERS)

    BAR. That’s a good girl. (HE PATS HER SHOULDER. HE FISHES OUT KEY RING AND SELECTS KEY) I’ll lock this door when you go out. Emilie’s gone home, and I’ll think of some excuse. I’m off to see how Albert’s going. Back in a minute (GOES)

    DURIER IS SITTING, HIS HANDS HANGING LIMPLY. HIS HEAD DROOPING.

    XXX

    ANN. When it’s over .. and France is free again. And people like me will never know the people like you, who fought for us.

    DUR. I fight for myself – for a France where a man can sing to an audience, who’ll sing back and be glad they’re living …. You don’t want me to make a speech, do you.

    ANNETTE BENDS OVER HIM AND KISSES HIM

    ANN. (SOFTLY) That may loosen that close mouth…

    BARRON COMES IN QUICKLY

    BAR. Albert was very good …. (WAITS FOR A MOMENT, THEN) I’m sorry, Durier – but you’re on.

    DUR. (IN PROTEST) Tonight?

    BAR. They’re waiting for you – you wouldn’t want to disappoint them. They like you – you seem to cheer them up.

    DURIER DRAGS HIMSELF UP. HE GOES TO THE MIRROR, LOOKS AT THE PUFF AND SHUDDERS. HE SMOOTHS HIS HAIR AND PICKS UP HIS STRAW HAT. HE STANDS AT THE DOOR AND ANNETTE GOES UP TO HIM AND TOUCHES HIS SHOULDER. HE SMILES AT HER. HE STRAIGHTENS UP, PUTS THE HAT ON AT AN ANGLE WITH SOMETHING OF HIS OLD GLITTER)

    BARRON. (AS MUSIC COMES UP) That’s your introduction.

    DURIER. Right.

    HE GOES OUT.

    BAR. He’s a man, that actor …… Better go. I want to lock up.

    ANNETTE LOOKS BACK AT HIM

    ANNETTE. (AS SHE GOES) Don’t worry about me.

    BARRON SMILES, NODS. HE GOES OVER TO THE BODY AND LOOKS DOWN AT IT CONTEMPTUOUSLY AS THE CURTAIN FALLS.


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