Belinda: An April Folly in Three ActsMilne, A. A. (Alan Alexander)
General
Belinda: An April Folly in Three Acts
Milne, A. A. (Alan Alexander)
English drama -- 20th century
BELINDA. Oh, I thought you meant this year. (_Sitting up_.) Well
now, let me see. (_Slowly and thoughtfully_.) One. (_She pushes
up her first finger_.) Two. (_She pushes up the second_.) Three.
(_She pushes up the third finger, holds it there for a moment and then
pushes it gently down again_.) No, I don't think that one ought to
count really. (_She pushes up two more fingers and the thumb_.) Three,
four, five--do you want the names or just the total?
TREMAYNE (_moving up_ L. _and then over_ R.). This is horrible.
BELINDA (_innocently_). But anybody can propose. Now if you'd asked
how many I'd accepted--
(_He turns sharply to her--annoyed_.)
Let me see, where was I up to?
(_He moves down_ R.)
I shan't count yours, because I haven't really had it yet.
(BETTY _enters down_ R. _and stands behind settee_.)
Six, seven--Yes, Betty, what is it?
BETTY. If you please, ma'am, cook would like to speak to you for a
minute.
(TREMAYNE _goes up_ R.C.)
BELINDA (_getting up_). Yes, I'll come.
(BETTY _goes out, leaving the door open_. BELINDA _crosses Before
the table_.)
(_To_ TREMAYNE.) You'll forgive me, won't you? You'll find some
cigarettes there. (_Points to table up_ R. TREMAYNE _moves by the
back of the settee and holds the door for_ BELINDA. _She turns to him
in the doorway_.) It's probably about the lamb cutlets; I expect your
little one refuses to be cooked.
(_She goes out after_ BETTY.)
(_Left alone_ TREMAYNE _stalks moodily about the room, crossing
it and kicking things which come in his way. Violently, he kicks a
hassock which is above the table_ R. _to under the table_ C.,
_then he takes up his hat and moves towards the swing doors and half
opens them. He pauses and considers--then he comes down to the centre
table, throws down his hat, moves round the left end of the table, finds
the dog in the way and then sits on the table with his hands in his
pockets, facing the audience. As he has been moving about the room, he
has muttered the names of_ BAXTER _and_ DEVENISH.)
DEVENISH (_entering from the door_ R., _which he closes and goes
to foot of the settee R.--surprised_). Hullo!
(_A pause_.)
TREMAYNE (_jealously, and rising_). Are you Mr. Devenish?
DEVENISH. Yes.
TREMAYNE. Devenish the poet?
DEVENISH (_coming up and shaking him warmly by the hand_). My dear
fellow, you know my work?
TREMAYNE (_grimly_). My dear Mr. Devenish, your name is most
familiar to me.
DEVENISH. I congratulate you. I thought your great-grand-children would
be the first to hear of me.
TREMAYNE (_moving to_ L.). My name's Robinson, by the way.
DEVENISH (_connecting him with_ DELIA). Then let me return the
compliment, Robinson. Your name is familiar to me.
TREMAYNE (_hastily, and going towards_ DEVENISH). I don't think I'm
related to any Robinsons you know.
Public-domain text, read in full here on John Shaqi.
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