virginia woolf's mrs. dalloway (stage play)

Virginia Woolf's Mrs. Dalloway

Adapted to Spectacle byDaniel Roche

Copyright © 2013 Daniel Roche Cover art by Daniel Roche

Acknowledgements

Woolf, Virginia. Mrs. Dalloway. London: Hogarth Press, 1925. All rights reserved.

This script was developed at San Francisco State University for educational purposes only as a creative writing exercise in stage adaptation. Professional performances or productions must be authorized with written consent by the playwright and Hogarth Press.

Virginia Woolf's Mrs. Dalloway by Daniel Roche 3

Characters:Clarissa Dalloway 18, A young woman must realize maturity is a

lifestyle. Mrs. Dalloway 50s, the perfect hostess. Peter Walsh 20s or 50s Spectacles and plays with a pocketknife.Septimus 30s, WWI veteran: shattered by the crack of dawn.

He wears a shabby brown coat - army boots.Rezia 20s, Septimus’ wife. Richard 50s or 20s, love comes in gifts.Dr. Bradshaw 50s, human nature dressed nicely.Sally Seton 20s, wildly innocent until married.Lucy* Housemaid.Miss Pym* Owner of the floral shop.Lady Bruton* A virile elderly woman of great breeding.

*Could be played by the same actor.

Setting:England.

Time:The possibilities could waver between 1920s fashion to conceptual interpretation.


Act I. Scene 1.(Mrs. Dalloway’s home and furniture leaks across the street and drains into the nearby park and flower shop. Strewn within her house and across the city are stages: large, small, some with curtains, while others appear as picture frames. Several are masked by scrim. Two decrepit chairs rest together, out of place, but familial. Big Ben ominously oversees Westminster. He has hundreds of second, minute, and hour hands stretching in all directions: a willow tree of time.)

(Cars honk, pigeons fly away, and people converse. Big Ben chimes. Silence.)

(Mrs. Dalloway enters wearing a yellow hat and a yellow dress.)

MRS. DALLOWAYLavender irises complement the couch, white orchids complement the tablecloth, and the yellow roses complement, (Searches) they complement the month of June. This is a pleasure, my pleasure…an errand that practically runs itself. Besides, there are still hours of preparation to attend to. (Beat.) Oh dear, the doilies off. Lucy, hallway cabinet, top shelf, adjacent to the good crystal, not the set from India. There should be a box of linen. (Beat.)

(Rearranges the doilies.)

Just a moment, Lucy, some of them may be upturned. (Beat.) These simply don’t belong. (Beat.) There we are. (Beat. Picks them all up.) Lucy, doilies are in bad taste. They’re a trend that should have passed-away centuries ago. I’ve placed them by the fine China - burn them if you wish. (Beat.) I’m off to Mulberry’s to see the evening arrangements.

(Mrs. Dalloway walks outside. Lights up on Living Room Stage - Bourton. Clarissa is wearing a similar hat and dress. She stands amongst flowers and a fountain. Both Mrs. Dalloway and Clarissa breathe for the first time.)

MRS. DALLOWAY CLARISSAWhat a lark! What a plunge! Good What a lark! What a plunge! Goodmorning my beautiful Westminster! Morning my beautiful Bourton!

(Mrs. Dalloway flips through her mail.)


CLARISSAThe countryside knows how to manicure a handsome morning, does it not? The air tastes like wild daffodils and the tree branches are stages set for birds to perform. Why there, taking center stage, the English Yellowcrest - active and buzzing. It’s a bird that knows how to complement nature.

(Peter enters from behind Clarissa. He stands young, robust.)

PETERMusing among the vegetables?

CLARISSAI’m absorbing the scenery. Have you seen Sally?

PETERI’m sure she’s fishing for eels or swimming naked in the Windrush.

CLARISSAShe’s delightfully mad isn’t she?

PETERExquisitely batty. (Pause.) I apologize if I interrupted.

CLARISSAYou didn’t.

PETERYou look as if you prefer the company of cauliflower to men.

CLARISSAIt’s the flowers. They put me in such an ecstasy. I could lie down and die right here.

PETER“Joy is not in things, it is in us.” Wilhelm said that.

CLARISSARichard Wagner…

PETERIt’s pronounced ‘Vagner,’ with a ‘V’ as in, “that is a very intelligent quote, Peter Walsh.”

MRS. DALLOWAYAnother letter, oh Peter, your words are dry sticks meant for kindling.

(Living Room Stage lights down - Westminster. Mrs. Dalloway opens the letter. Peter steps forward. He has matured by twenty years.)


PETERDear Mrs. Richard Dalloway, the perfect hostess.

MRS. DALLOWAYHonestly, Peter, beginning your letter with a tone.

(Mrs. Dalloway folds the letter and returns it to its envelope. Living Room Stage lights up: Bourton/Westminster. Clarissa watches.)

Lucy, I’ve changed my mind again. I prefer the silver rimmed China set as oppose to the gold. Gold feels tiresome for some reason. Mrs. Fellowes used gold during her bridge game last month. And please use a damp towel to remove the spots. Richard is a stickler for spots…in fact, Lucy, it’s best we simply re-wash the whole set.

(Mrs. Dalloway begins to exit.)

CLARISSADear Mrs. Richard Dalloway, the perfect hostess.

(Mrs. Dalloway stops. Considers. She returns to Peter’s letter and opens it.)

PETERI begin with the words of Alexander Pope who said, “our proper bliss depends on what we blame.” And as it stands, Clarissa, I blame India. It’s intolerable. Savage. The geckos scurry across my bed at all hours of the night. Curry may as well be added to the water as it’s in everything else. And the smell of the streets would make an English sewer blush. These brutes haven’t thought to put springs in the mattress. My back has dissolved into proper mush. I miss genuine tea. I miss chilled air. I miss England...

(Mrs. Dalloway folds the letter and drops it on the ground.)

MRS. DALLOWAYLucy, there's some rubbish on the veranda. Could you be a doll and pick it up?

(Mrs. Dalloway begins to exit. Peter advances.)

PETERI was out of line.

MRS. DALLOWAYIt was years ago.

PETERYou were standing alone, in the garden, next to the three-tiered fountain. I thought it was to be a moment for our beginning. It was to be the start of Mrs. Clarissa Walsh. Virginia Woolf's Mrs. Dalloway by Daniel Roche 7

MRS. DALLOWAYHonestly, there’s no need to return to this -

PETERYou never allowed there to be a real chance between us.

MRS. DALLOWAYI should be going.

PETERYou could have said yes. You could have thought about it - taken a moment, a pause, to consider my proposal.

MRS. DALLOWAYIt would have been impractical, Peter.

PETERI loved you.

MRS. DALLOWAY I was eighteen years old.

PETERNot exactly a child.

MRS. DALLOWAYWe would have been a poor fit.

PETEROr perhaps I couldn’t afford the right fit? The respectable street, the proper dress, the correct situation?

MRS. DALLOWAYI required freedom and you tended to attach yourself.

PETER“Love is the only gold.” Alfred Lord Tennyson.

MRS. DALLOWAYYou have a habit of smothering.

PETERAnd Richard Dalloway set you free?

MRS. DALLOWAYYes he did.


PETERYou love him?

MRS. DALLOWAYI do. He’s sensible, secure, (searches) patient -

PETER- because there's no need to be loving, caring, affectionate.

MRS. DALLOWAYRichard is all of those things. (Beat.) In his unique manner of (searches) we have warmth. Plenty of warmth!

PETERHe is the finest spouse to complement the perfect hostess.

MRS. DALLOWAYYou're being daft.

PETERBut you have to admit he provided you with the perfect golden cage to flaunt his lovely canary. (Beat.) Certainly much more than I could ever provide.

MRS. DALLOWAYI'm going to have to ask you to leave.

PETERThe moment I arrived in New Delhi I stopped loving you.

MRS. DALLOWAYWe’re both married now. A wedding ring brings all former lovers to a halt.

PETERYou still think about me.

MRS. DALLOWAYWe’ve been friends for a lifetime, you send me letters almost weekly - of course I still think of you. We’ve had wonderful moments together.

PETERI seem to only recall the hurtful ones.

MRS. DALLOWAYAt my age, I try to remember only those that make me smile.

(Pause.)

PETEROur walk in St. James Park? My lost spectacles? The youth in pink? Virginia Woolf's Mrs. Dalloway by Daniel Roche 9

MRS. DALLOWAYI haven’t thought about that in…You toppling over the bench, spectacles flying through the air, and landing right on the face of that little rascal!

PETER“Little girl. Excuse me, little girl. May I please have my spectacles back?”

MRS. DALLOWAY“No, sir. These are my spectacles, sir.”

PETER“Little girl, I’m afraid you’re mistaken. I believe those are mine.”

MRS. DALLOWAY PETER“No sir, I’m blind as a bat without them.” “No sir, I’m blind as a bat without them.”

PETER(Laughing.) As she proceeds to skip straight into a nearby tree!

MRS. DALLOWAYWhat makes children lie through their teeth like that?

(Peter backs away into the Living Room Stage.)

PETERMrs. Richard Dalloway, that is a lovely question.

(He gets on one knee in front of Clarissa.)

We’ve been friends for years -

CLARISSAPlease stand up -

PETERI may not be rich -

CLARISSAYou’re being impractical, Peter -

PETER”Love is the only true gold” -

CLARISSAStand up, don’t be absurd -


PETERClarissa Hart, I’ve seen you for what are - your vulnerable beauty and I -

(Scrim lights down. Lucy enters.)

LUCYMa'am? (Pause.) Mrs. Dalloway?

MRS. DALLOWAYLucy?

LUCYRubbish?

MRS. DALLOWAY(Beat.) Rubbish, yes. No, I’m terribly sorry, not here or there - I don't require your assistance.

(Mrs. Dalloway picks up the letter and places it on the table.)

MRS. DALLOWAYI should be gone for twenty minutes or so. Does the staff need anything?

LUCYMrs. Walker would like you to make a decision regarding the main course.

MRS. DALLOWAYI'll speak with her when I return. Be sure to bat down the curtains. If they remain dingy, buy new ones, but they should be installed no later than four p.m. And let’s cover the couch; if we can ward off the attack of dust bunnies for even a few hours it’s a battle won.

LUCYYes Ma'am.

Act I. Scene 2.

(Mrs. Dalloway exits. Lucy throws a velvet sheet over the couch.)

REZIAWe are at the front door. I'm going to open it.

SEPTIMUSStop - I can’t. What will I see?


REZIAYou will see the sun, Septimus…bright, blinding even. After that will be the tree line of the park…glowing, verde smeraldo. Last will be the street - covered in good people. My Septimus, are you ready to step outside?

SEPTIMUSYes. (Beat.) Not yet. (Beat.) We should wait for nightfall.

REZIAWe have to see Dr. Bradshaw.

SEPTIMUSIt was only a sentence. It was words put together ended by a period. It may have been a poor choice of words, but they’re gone now, Rezia. My lovely Rezia. And I promise you they will never leave my lips again.

REZIAYou said you want to hurt yourself.

SEPTIMUSBut don't you see, if you weren’t in the room to hear me that sentence would have fallen through the cracks in the floor. I’m being punished because it fell on your ears. (Beat.) I was entrenched for a moment. It happens to us all.

REZIAI’m opening the door.

SEPTIMUSWait. (Pause.) Tread softly.

(Rezia draws open The Park Stage curtains. Septimus covers his eyes. Rezia takes his hands and pulls them down to his side.)

REZIASee, a sunny day. There’s nothing to be afraid of.

(Rezia walks Septimus out. Septimus freezes.)

SEPTIMUSThat child.

REZIAYes, she plays on the streets.

SEPTIMUSShe uses barbed wire for a jump rope.


REZIANo, please focus, mio tesoro. Look, across the street - a cricket match!

SEPTIMUSIt slices her hands. Drops of blood splatter across her dress -

REZIASeptimus, a man walks his white dog! It looks like a tiny bear!

SEPTIMUSShe happily counts each hop, four-sey, five-sey, six-sey as razors grate her bones. Chunks of flesh fly off her body. She giggles, Rezia, she giggles -

REZIASeptimus! (Breathes.) Dr. Bradshaw’s medicine. He said you are to see what’s in front of you...only what’s in front of you. If you think, it will make you sick. Please listen to the doctor. See without any of your thoughts. For me.

(Rezia steps out from the Park Stage and into the park. The sun bursts. She spreads her arms and twirls.)

This warmth reminds me of the Junes and Julys of Italia. I can feel my home warming my skin. Take my hand. Come on.

(She takes Septimus’ hand. They walk together.)

My sisters and I would wake up just before the sun did. We would run outside to find flowers to decorate Mamma's hats: garofani, tulipani, and allium blu. We would sing, “oggi il sole dorme sul vento freddo.” ‘Today the sun sleeps on the cool wind.’

SEPTIMUSHold. (Sniffs.) I smell gas. (Checks wind.)

REZIAYou are imagining again.

SEPTIMUSIf the wind changes directions it will wreak havoc on the reinforcements. We shouldn’t push forward. June is too unpredictable of a month!

(Rezia soothes Septimus.)

REZIAThere’s a café with people happy and smiling.. They’re saying it was the war to end all wars. They’re saying there’s hope again. The world will never repeat itself…Septimus, pay attention, see the women wearing beautiful hats. Do you see them? The red, violet…


(Mrs. Dalloway and Miss Pym Enter. Miss Pym stands behind the floral counter.)

SEPTIMUSYellow…

REZIAThe most elegant yellow.

(Septimus and Rezia take a cautious step forward. This continues.)

SEPTIMUSShe smiles a false smile.

MRS. DALLOWAYGood morning, Miss Pym.

MISS PYMGood morning, Mrs. Dalloway, you’re looking like a summer carnation in full bloom.

MRS. DALLOWAYYou’re a rosebud, Miss Pym, years of blossoming still ahead of you.

MISS PYMI’m wilting and you know it. I can hear it in your voice. But thank you for trying, dear. (Beat.)

(She displays several elaborate flower arrangements.)

To woo all of Westminster. Crescent arrangements, triangular and oval, as well as Hogarth’s curves at your request.

MRS. DALLOWAYThey’re breathtaking!

MISS PYMYou have excellent taste. The colors are all the rage in the Queen’s gardens. Just yesterday I strolled through lilac irises and they appeared to be exploding in full bloom. The mother of pearl orchids looked ablaze -

MRS. DALLOWAY- I could die with excitement! -

MISS PYMAnd, of course, the roses of maize…they could light the night sky. (Beat.) The talk of your gala has spread like fire across the city. They say that even the prime minister will make an appearance.


MRS. DALLOWAYRichard sent an invitation, but we haven’t received a reply…as of yet.

SEPTIMUS- How can they hear each other? -

MISS PYMI spoke with Mrs. Walker and she said the main course was flown in from Bareilles, France?

MRS. DALLOWAYSanglier. Two hundred kilograms.

SEPTIMUSThere’s such a great distance between them.

MISS PYM (Pulls out a masterpiece flower arrangement.) A wild boar of that size requires a special centerpiece. A gift from ‘Mulberry’s Flowers’ to the Dalloway’s!

MRS. DALLOWAYMiss Pym, you’ve outdone yourself!

SEPTIMUSThey’re trying to converse across No Man’s Land.

REZIA…Never mind the people, focus on the flowers.

(Sounds of WWI slowly rise.)

SEPTIMUSEvery word they speak crawls forward with its head down.

MRS. DALLOWAYAre these bloody crane bills?

MISS PYMWood crane’s, dear.

REZIASeptimus, stay with me. See primrose, you love primrose -

MRS. DALLOWAYThank you.

(Mrs. Dalloway takes one of the arrangements.)

MISS PYMYou’re very welcome, my dear… Virginia Woolf's Mrs. Dalloway by Daniel Roche 1

(Planes fight through clouds.)

SEPTIMUSOh God, I can taste sulfur in the air…

REZIAHere Forget-me-nots…

MRS. DALLOWAYThe help will be by in the next hour or so to take the rest…

(No Man’s Land is riddled with sounds of machine guns and grenades. Screams of men.)

SEPTIMUSMy eyes water, my throat burns…

MISS PYMThe rest shall be waiting…

REZIABello! Orchids, your favorite! Septimus. Septimus, please, stay with me.

SEPTIMUSThe winds have changed. The winds have changed! Dig deep, Evans! Faster! Cover up, cover up, Evans. The cloud comes!

(A car backfires. Septimus screams and falls to the ground. He curls up and cries. Silence. Mrs. Dalloway and Miss Pym stare at the street. Pause.)

MRS. DALLOWAYThat must be the Prime Minister’s car.

MISS PYMNo dear, the Prime Minister’s car is blue, not gray.

REZIASeptimus. Stand up.

MRS. DALLOWAYAre you certain, Miss Pym, I could have sworn it was a cool gray with only a hint of blue?

MISS PYMI’m afraid you are mistaken; it’s baby’s breath sapphire with a trace of periwinkle. I’m confident about this, dear.


(Septimus slowly crawls towards the Park Stage.)

REZIASeptimus, people are beginning to watch us.

SEPTIMUSToday we crawl. It’s too dangerous to walk.

MRS. DALLOWAYI suppose you could be right…

MISS PYMI know I’m right, dear, I know my colors.

MRS. DALLOWAYMy memory could have been upturned.

MISS PYMIt’s an unfortunate side affect of our old age, dear.

MRS. DALLOWAYOld age? You speak for yourself, Miss Pym.

REZIAPeople are pointing fingers, my Septimus.

SEPTIMUSMy roots are entrenched in this pavement!

MRS. DALLOWAYDear, look at me, acting like a snapping weed. Gray, blue, we were in the presence of the Prime Minister. How exciting! Am I right?

MISS PYMYes I suppose, for an old bat like myself, I do have to leach onto these tiny triumphs to make my life more tolerable.

SEPTIMUSTrees are not to be cut down. Nature cries, weeps, for us.

(Rezia tries to shush Septimus.)

REZIAPlease, your voice.

SEPTIMUSWe need to crawl to remember where we came from and where we shall return.


MRS. DALLOWAYThe tiny triumphs, yes, of course. Well, I should be going - thank you - my staff will arrive in the next - but you know that. It was a pleasure. Thank you. I hope your day is - you’re a rosebud. I should leave. Goodbye.

(Mrs. Dalloway exits. She nearly trips over Septimus.)

MRS. DALLOWAYPardon me. (Gasps.) Oh dear.

SEPTIMUS"Fear no more the heat o’ the sun. Fear no more." (Beat.) You dig deep until you remember the moment.

MRS. DALLOWAYI’m sorry?

REZIAPlease forgive him. It’s a game he plays – we play together. This is my…husband.

MRS. DALLOWAYI’m afraid I don’t understand -

SEPTIMUS- when we’re first born, roots dangle from our bodies. They feed us happiness and ambition, the longing for human touch and hope…but as we get older, we choose to pull out these roots. One by one until there is nothing. No connections to the ground or each other and so we float. Aimlessly waiting to fall.

(Septimus waves a hand near Mrs. Dalloway’s feet.)

You have one single root left. And it’s hanging by a thread. You see, I’m the same.

(Septimus waves a hand over his body. He crawls to the Park Stage.)

REZIASeptimus, Dr. Bradshaw waits.

SEPTIMUSHuman nature can wait. I need rest. The smoke is coming.

(Sally enters smoking a cigarette.)

We can hide for now.

(Sally pulls up flowers from the ground. She uses scissors to cut off the heads of each flower.


Septimus exits. Rezia closes the curtains behind him.)

REZIAThe doctor says it’s a short dizzy spell from the war.

MRS. DALLOWAYI don’t understand, the war ended years ago.

REZIAYes, the doctor says it’s nothing. A different (searches.) perspective and he will be cured.

MRS. DALLOWAYI’m sorry for his ailment.

(Rezia curtsies. Exits.)

Act I. Scene 3.

(Mrs. Dalloway begins to exit. Stops. Sally Seton blows a plume of smoke at Mrs. Dalloway who lightly coughs and exits. Lights up on the Living Room Stage - Bourton. The river Windrush flows.)

SALLY(Humming Septimus’ Song). Blue. (Cuts.) Red. (Cuts.) Yellow. (Cuts.) Blue. (Cuts.) Red. (Cuts.) Purple. (Cuts.)

(Clarissa enters.)

CLARISSA(Gasps.) What are you doing?

SALLYI’m making art.

CLARISSAThat is not – No, why are you -

SALLYBlue. (Cuts.)

CLARISSAStop this instant.

SALLYRed. (Cuts.) Virginia Woolf's Mrs. Dalloway by Daniel Roche 1

CLARISSAI said stop it!

SALLY(Pause.) Yellow. (Taunting. Cuts.)

(Clarissa attempts to take the scissors away. Sally dashes out from behind the scrim taking a single flower with her.)

CLARISSAHand over those scissors.

SALLYWhat scissors?

CLARISSAI’m not playing games.

(Sally shows her empty hands.)

SALLYI have no idea what you’re referring to.

(Clarissa steps out from behind the scrim.)

CLARISSAI’m serious! Stop being a harlequin!

SALLYThere's no need for name-calling. Honestly, Clarissa, calling me a harlequin. You know I’m a decent girl…when I choose to be.

CLARISSAYou’re thinking of a harlot! (Stomps her foot.) You’re being obtuse!

SALLYOne more.

CLARISSASally Seton! -

SALLYYellow. (Cuts.) There. That should be enough.

(Sally hands over the scissors. Clarissa snatches them away.)


Miss Clarissa Hart, the protector of the tulip. If you cared as much for people as you do about flowers, I would think you would suitable companionship.

CLARISSAThat’s not your concern.

SALLYNo matter, my masterpiece is complete.

CLARISSAMasterpiece? How many have you…

(Sally walks offstage and returns with a large bag.)Clarissa grabs the bag and opens it.)

CLARISSAThis is a massacre! Why would you do such a horrible thing?

SALLYI couldn’t sleep, so I went for a walk along the river.

CLARISSAAnd that somehow justifies this butchery?

SALLYNo, it started with making a bouquet for breakfast when I became dreadfully sad. (Beat.) It was the river. I pitied it.

CLARISSAYou felt pity for the river?

SALLYYou can be so self-centered sometimes. Look at it - really look at it. Can’t you empathize?

(Pause.)

CLARISSAIt’s a river.

SALLYPrecisely. (Beat.) It flows endlessly, no change, no choice. It pretends to meander, but it fools no one. It’s trapped. No matter what it does, it’s confined to this single course of action. And you know the most tragic part?

CLARISSAI haven’t the foggiest.


SALLYTry.

CLARISSAIt’s far too (searches.) watery.

SALLYClarissa!

CLARISSAI’m at a loss.

(Kneels down. Touches the water.)

SALLYIt has no color, no voice. The world famous Windrush is anemic and tortured. While not centimeters away are these brilliant flowers flaunting, no, shouting at top of their voice, "Pink, Purple, Red" and the only thing this poor river can say back (pause.) “asparagus.” Poor soul.

CLARISSASo you kill the competition is that it? Make everything drab so the river feels better about itself? I can’t believe I’m debating the rights of the Windrush.

SALLYNo, these flowers are my gift. They’re a moment of voice. You see as I was kneeling down on the verge of tears, I threw a carnation in. A blue one. And I hear the Windrush say, “thank.” I threw two carnations in, purple and blue, and the Windrush said, “thank you.” So I reasoned an entire garden might be worth a soliloquy.

CLARISSAI want no part of this.

SALLYDo you have a better idea on how to get the Windrush to speak?

CLARISSAYou’ve gone too far.

SALLYNo, I’m being affectionate. These things are crucial when you follow them. It’s how I became a good listener.

CLARISSAThis is absolute -

SALLYShush. Did you hear that?

CLARISSA Virginia Woolf's Mrs. Dalloway by Daniel Roche 2

Hear what?

SALLYThe river. She's speaking.

CLARISSAI don’t hear anything.

SALLYYou don’t hear the river?

CLARISSAYes, I hear the river, but no, she’s…it’s not speaking -

SALLYThere it is. (Pause.) “As. Para. Gus.”

CLARISSAHave a good day.

SALLYSurely there's some mercy in that yellow dress. Place yourself in the Windrush’s position, wouldn’t you want an opportunity to have one moment to pour your heart out?

CLARISSAAs an eighteen-year-old young lady, I don’t have time to play your games. There are far more important things to attend to. Such as (searches), well (searches), things that need attending. (Beat.) Maturity is not a handout, it's a choice, one I made years ago.

SALLYOh, yes, of course, your sister! Was that when you made your choice “to become mature”? Surely you haven’t always clamored to be picturesque.

(Clariss puts the bag down.)

I heard your aunt mention it in passing. She was killed, is that right? A tree fell or she fell – your aunt tends to mumble.

CLARISSAI prefer to –

SALLY- not discuss it. Of course not. For you to open yourself up, well, that would certainly be the end.

CLARISSAAnd what would you know –

SALLY Virginia Woolf's Mrs. Dalloway by Daniel Roche 2

My parents don’t bicker they explode. They make the walls shake every night and the only place I’ve ever found peace is when I hide underneath my bed. When they find me I have no choice. I runaway. (Beat.) See, my deepest, darkest, secrets tossed out for the taking. Easy as that.

(Pause.)

CLARISSAMy sister, Sylvia. It was a willow. There was wind. (Pause.) A June breeze. (Pause.) Nothing more.

(Sally begins to exit.)

Where are you going?

SALLYThere’s no point in secrets if you won’t share them.

CLARISSABut. Wait. (Searches). What of the flowers?

SALLYThe crops need fertilizer.

CLARISSAYou can’t fritter away lilacs!

SALLYThan what do you suggest?

CLARISSAWe could replant them. Or reattach the heads to the stem with string or glue perhaps?

(Sally exits.)

(Sighs.) Fine. They're doomed.

SALLY (O.S.)Sorry?

CLARISSAThey’re doomed. They’re already dead.

(Sally enters.)

SALLYYes. They are.


I suppose we may as well try.

(Sally rushes to Clarissa.)

SALLYYou want to hear the Windrush speak?

CLARISSAIt will be a proper funeral in the least.

SALLYBrilliant, take up the bag. OK. Stand here. No here. We have to wait for the proper time. The sun must be at the right angle. Through the trees – no move here. It must bounce off the water and land on us, proper.

(Sally stands behind Clarissa and covers her eyes.)

It’s almost time. Allow your body to relax. Allow your shoulders to fall. Breath deeply in. Exhale. Now (Pause) the Windrush will tell us all the world’s secrets, but only if we’re willing to share our own. You must imagine yourself opening up, no façade, or mask, no performance. You are Clarissa Hart, naked, and without constraint. The flowers must soar high. Are you ready?

CLARISSAI am.

(The sunlight cuts through the tree branches and reflects off the water. Big Ben chimes.)

SALLYSet them free!

(Clarissa opens the bag and releases the flowers that fly in all directions. Rainbows drizzle across all of Bourton. Septimus' song hums. Sally uncovers Clarissa’s eyes. Clarissa twirls in the torrent of colors.)

Can you hear it? Can you hear what it's saying?

CLARISSAI do.

SALLYWhat is it? What do you hear?

(Peter enters.)


CLARISSAIt’s saying. (Beat.) It’s confirmed, my heart has found…

(Peter clears his throat. The colors fade.)

PETERYour aunt Helena has requested -

CLARISSAPeter! We - I didn’t hear you - we didn’t. I’m sorry. What is it?

PETERI was sent to fetch you for lunch.

(Peter exits. Sally leans in to Clarissa.)

SALLYThere's whom you're supposed to be with and there's love. It's rare the two are the same.

CLARISSAWhich do you choose?

SALLYNeither. I prefer with the Windrush. Flow on and on and on and let it all work itself out.

(Sally laughs and runs behind the scrim. Clarissa stays and watches Mrs. Dalloway enter.)

Act I. Scene 4.

MRS. DALLOWAYLucy, could you retrieve my medicine? I feel my heart palpating out of sorts. (Beat.) When I was a young lady, my aunt always said, a hostess may never succumb to illness prior to a party. Heart, body, and soul may be writhing in pain, but until the final guest retires you must remain -

(Richard enters with the pills. Clarissa exits behind the scrim. Living Room scrim light fades: Westminster.)

RICHARD- grinning, greeting, and loving every moment.

MRS. DALLOWAYRichard, I didn’t hear you come home!

(Mrs. Dalloway stands and leans in for a kiss. Distracted, Richard stares at the bottle of pills.)


RICHARDOnly briefly, I’m needed at a committee in a few. Are these drugs working?

(Notices Mrs. Dalloway leaning forward.)

Right, of course, how silly of me.

(Richard hesitates and then gives Mrs. Dalloway a light kiss on the cheek.)

Your heart acting up again.

MRS. DALLOWAYThere was a moment when I felt upturned, but I feel fine.

RICHARDOne or two?

MRS. DALLOWAYThe doctor said three in certain emergencies.

RICHARDThis is an emergency then?

MRS. DALLOWAYGuests arrive in less than five hours.

(Mrs. Dalloway attempts to move past Richard. They shuffle in each other's way.)

RICHARDPrior to their arrival, perhaps we should phone Dr. Bradshaw -

MRS. DALLOWAY- I'm in perfect health.

RICHARDBut surely a check-up won’t ruin -

MRS. DALLOWAY - it's unnecessary.

RICHARDWhat are you looking for?

(Mrs. Dalloway and Richard freeze. They face each other.)

MRS. DALLOWAY Virginia Woolf's Mrs. Dalloway by Daniel Roche 2

A glass. For water.

RICHARDFor the pills - yes, right.

(Richard turns around and pours a glass of water.)

RICHARDThere’s really no need to push forward if you’re -

MRS. DALLOWAY- For the last time, I’m not going to cancel due to a couple of backward ticks. I’m in perfect health.

RICHARDI’m aware this quaint party is important to you, but we a repeat of last spring…

(Mrs. Dalloway swallows the pills.)

MRS. DALLOWAYThis is not a quaint party, Richard.

RICHARDYou were bedridden for two months, Clarissa.

MRS. DALLOWAYThe Prime Minister will be joining us.

RICHARDClarissa.

MRS. DALLOWAYRichard. (Pause. Clarissa gives Richard the glass of water.)

RICHARDI'm concerned.

MRS. DALLOWAYThat's why I love you.

(Mrs. Dalloway leans forward. Richard hesitates then kisses her on the cheek.)

Which committee are you attending?

(Richard sets the pills on the table.)

RICHARDIt’s in regards to the Armenian situation. Virginia Woolf's Mrs. Dalloway by Daniel Roche 2

MRS. DALLOWAYWas that the woman you showed me? The one dressed in rags? The poor thing.

RICHARDIndeed.

MRS. DALLOWAYHer cheekbones nearly brought me to tears.

RICHARDIf only this new Turkish government had a thimble's worth of your empathy, Clarissa. During negotiations they’ve been cold and unwilling to face the truth. They’re denying the whole thing happened.

MRS. DALLOWAYHow could they? England knows what happened. They can’t deny what we see.

RICHARDThe House placed the mass murders in clear black and white photographs, on the table, directly in front of their ambassador. (Beat.) He referred to it as “a military exercise.”

MRS. DALLOWAYExercise in regards to what?

RICHARDHe would only add, “Our affairs.”

MRS. DALLOWAYThat’s nonsense, but speaking of affairs, for tonight -

RICHARDI suppose it’s a sovereign perspective. He claimed us westerners will never comprehend the inner workings of the east.

MRS. DALLOWAYYes, well, that is unfortunate. I spoke with Lucy regarding the curtains -

RICHARDOne point five million Armenians brutally massacred and all for a Turkish “military exercise” in “our affairs.”

MRS. DALLOWAYMiss Pym concocted this centerpiece to complement tonight’s main course!

RICHARDThat was gracious of her.


MRS. DALLOWAYI never would have considered putting hyacinth next to iris. And placing baby’s breath as the center - she is a talent.

RICHARDThe Dalloways have relied on her expertise for decades.

MRS. DALLOWAYYes, about that. I’m little concerned I may have lightly offended her earlier this morning.

RICHARDClarissa, Miss Pym is -

MRS. DALLOWAYOffended is a strong word. I may have ruffled her feathers. (Beat.) But in all fairness, wouldn’t you describe the Prime Minister’s automobile as gray, not blue?

RICHARDI believe it’s silver.

MRS. DALLOWAYDon’t be silly.

RICHARDIt appeared silver this morning.

MRS. DALLOWAYI saw it this morning as well and I can assure you it was not silver. Possibly a slate gray, or perhaps a xanadu, but certainly not silver.

RICHARDIt’s what I saw.

MRS. DALLOWAYThen maybe new spectacles are in order.

RICHARDDoes the specific color have any real consequence, Clarissa?

MRS. DALLOWAYI'm sorry?

RICHARDIf Prime Minister Law’s automobile were gray would it have any more significance than green or red or rose?

MRS. DALLOWAYThis is not a joke. Virginia Woolf's Mrs. Dalloway by Daniel Roche 3

RICHARDThe Prime Minister drives a brilliant pink car!

MRS. DALLOWAYYou laugh, but color gives things a clear definition. It allows for strong statements and personality to be displayed openly. It’s very important, Richard. Crucial, if you follow these things.

(Big Ben chimes.)

RICHARDThe time…The Armenians require England’s rescuing.

(Richard leans forward Mrs. Dalloway hesitates and then kisses him on the cheek. Richard grabs his coat and begins to exit.)

MRS. DALLOWAYYes, the Armenians are of the utmost importance. (Beat.) Will you be home for a late lunch?

RICHARDI thought we would attend Lady Bruton's gathering.

MRS. DALLOWAYLady Bruton is having a gathering?

RICHARDYes, I trust you received an invitation?

MRS. DALLOWAYI checked the mail this morning and there was nothing for me, at least nothing of note.

(Richard checks his coat pocket and removes a letter. Mrs. Dalloway takes it.)

It’s only addressed to you.

RICHARDI’m sure yours is on its way.

MRS. DALLOWAYThe afternoon mail comes at 2p.m. The gathering begins at 1p.m.

RICHARDThe help must have jumbled the invitations. (Beat.) You’re more than invited.


Of course. Why would I require my own invitation? We’ve only been married for thirty-three years.

RICHARDIt was a trivial mistake, I assure you.

MRS. DALLOWAYIt says, “My Dearest Mr. Richard Dalloway,” not “My Dears Mr. and MRS. Richard Dalloway.” This is your invitation, not ours, and certainly not mine.

RICHARDClarissa, darling, join us. You know Lady Bruton is always extraordinarily amusing! We’ll laugh about the whole miscommunication over afternoon cocktails.

(Mrs. Dalloway sets the invitation down.)

MRS. DALLOWAYIt’s no matter. I’m needed here. Lucy requires my assistance.

RICHARDVery well. (Beat.) I’m late. (Beat.) Clarissa, I have the utmost faith that your little party is going to be sublimely handsome!

MRS. DALLOWAYLittle?

(Richard leans in to hold Mrs. Dalloway.)

RICHARDAnd I trust to see you Lady Bruton's. 2p.m. sharp.

(Prior to embracing Mrs. Dalloway, Richard is distracted by her dress.)

What’s this? (Beat.) Oh dear, it appears as if you have a slightest tear. You may want to mend that before a serious scandal arises. (Beat.) See you this afternoon.

MRS. DALLOWAYUntil this afternoon.

(Mrs. Dalloway watches Richard exit. She hums while she adjusts the flowers, straightens the tablecloth, checks for dust, and moves furniture.)

Lucy, I’ve changed my mind about the tablecloth. I believe we should stretch the summer colors: pull on yellows, oranges, and reds. After a clear day like today, the guests will have sunshine on the mind - we should commit more to warmth. (Beat.) I want this house to exemplify genuine heartfelt welcome. Everything must be meticulously in position. Unease Virginia Woolf's Mrs. Dalloway by Daniel Roche 3

could be millimeters away. A straightened living room straightens the soul. A flawless wife enhances her husband. (Beat.) These napkins are wrong, Lucy! They’re insulting! Lucy? (Beat.) Perhaps, it’s the furniture. Perhaps it should be replaced. How thoughtless, Clarissa, how completely thoughtless, you silly, stupid, Clarissa. This is a social engagement and cedar is clearly a lonesome wood. (Calms.) I could refurnish this house by this evening and still make good time for my lunch date with Lady Bruton. (Beat.) My lunch date? It's not mine at all. It's his. If I was ever invited it was as accessory. (Mrs. Dalloway picks up the invitation.) My dearest Mr. Richard Dalloway. ‘My dearest, one and only, Mr. Richard Dalloway, you alone are cordially invited to dine in the company of scholars, politicians, knights, and lords.

(Living Room stage lights up. Clarissa enters from behind the scrim. She watches Mrs. Dalloway.)

Although I’m aware of your marriage to the Clarissa, I’ve recently received word that your wife’s dress is inappropriately torn, in which case under no circumstance is she to attend my lunch. Furthermore, I find her complete lack of depth utterly embarrassing. How she manages to live to day to day is beyond me. Why, she’s incapable of arranging the most simple of evening parties. And clearly she knows nothing of the real world!’ (Beat. Picks up a dish.) Lucy, how many times must I tell you? Gold clashes with yellow!

(Mrs. Dalloway lifts the plate over her head. Clarissa touches Mrs. Dalloway’s arm and it lowers. Mrs. Dalloway drops the plate from her side. It shatters. Pause.)

Lucy, I’m awfully terribly sorry, there was a minor mishap. When ever you have a moment.

(Clarissa escorts Mrs. Dalloway off. Sally escorts Peter on, from behind the scrim. Lucy enters and sweeps the broken glass.)

Act I. Scene 5.

PETERI’m a human mistake.

SALLYClarissa needs time.

PETERThe moonlight was set just…and the sound of the babbling water was…the fountain had three tiers on purpose! I calculated every detail of the proposal and she still said…How could this have happened?

SALLYShe was startled -

PETER Virginia Woolf's Mrs. Dalloway by Daniel Roche 3

- I was a fool to ask.

SALLYPeter you’ve been friends for ages -

PETERFriends, yes, but anything more is clearly one-sided. (Beat.) “Mrs. Clarissa Walsh.” “We’ll be having brunch with Peter and Clarissa Walsh.” Even the surname sounds fantasized. There are too many ‘S’s.

SALLYMrs. Sally Walsh. Peter and Sally Walsh. (Beat.) I’m afraid there are still too many ‘S’s.

PETERI'm leaving Bourton.

SALLYThat’s unnecessary.

PETERI'm a walking embarrassment.

SALLYPerhaps it was too soon. Nothing more. You took a chance and she said –

PETER- No.

SALLYEarlier. Tomorrow, ‘maybe.’ A year from now, a ‘yes?’ You took a chance.

PETER“A life spent making mistakes is not only more honorable, but more useful than a life spent doing nothing.” George Bernard Shaw. As it stands, Sally, I carry the honor of being unloved and the usefulness of humiliation.

SALLYCome along.

PETERWhere are we going?

SALLYThe water will make you better.

(Lucy exits. Sally, barefoot, escorts Peter on, from behind the scrim. The Windrush flows.)


I’m not particularly interested in getting my feet wet.

SALLYIt’s a wonder you haven’t killed yourself. Our feet need a daily drink of water. That’s what keeps our hearts ticking.

PETERI would prefer to keep my shoes on.

SALLYShoes! (Beat.) Shoes are a complete waste!

PETERYou have something against shoes?

SALLYI don’t believe in them.

PETERI never realized footwear was an ideology.

SALLYThey cut us off from what’s important. We’re supposed to trample across the grass, skip along the dirt, and hop across wet rocks barefoot. If you hide your feet behind shoes you cut off the roots!

PETERThan I choose to remain rootless.

SALLYIf you wish to remain in my company, you will remove your footwear.

(Sally dips her feet in the water.)

PETERYou aren’t serious?

(Sally turns away from Peter.)

SALLYYou will think clearer once you take them off and this extends to all articles of clothing. I’m quite brilliant in the nude.

(Peter removes his shoes.)

PETERYou're belligerently absurd. Roots, water, drinking. I should be packing my luggage and venturing to the nearest train.


(Peter dips his feet in the water.)

SALLYHow does it feel?

PETERWet.

(Beat.)

SALLYThere's nothing amazingly special about her you know. Well there is, but her exceptional qualities are almost in an average sort of way. She's amazingly standard.

PETERYou don't believe that.

SALLYNo, I don't. I was only consoling you through your rejection.

PETERI think of her as a glowing potential. She's a boundless possibility. I asked her to take a chance on me. But clearly she doesn't want to be with a pathetic intellectual who has no future goals, no fortune, no inclination to play social politics. No, her eyes are set purely on status and a golden cage to tidy her feathers. She would gladly die knowing she's the perfect hostess.

SALLYI don't believe she's that shallow.

PETERNo?

SALLYClarissa is a constant struggle. She's trying to search for purpose while projecting a regal pose, shoulders back, (touches her lips) and lovely pursed lips out. She's completely unsure but must, for whatever reason, act in complete and utter control. I would love to see her drop her pose.

(Peter lays down.)

PETER"Such a one do I remember, whom to look at was love."

PETER SALLYTennyson. Tennyson.

(Sally lays down. She holds Peter's hand.)

SALLYPeter Walsh, you are the type of man that will have a brilliant future with women. Virginia Woolf's Mrs. Dalloway by Daniel Roche 3

PETERRight now I feel as a child stuck in sand.

SALLYWhich makes you what every woman wants - a lost cause. (Beat.) She does care for you.

PETERShe does care for me. I believe that. But now I know Clarissa Hart loves what I can never provide. Security.

(Rezia opens the Park Stage Curtains. Septimus enters followed by Dr. Bradshaw. Rezia closes the curtains and follows.)

Act I. Scene 6.

DR. BRADSHAWLucia, as you can see our sessions are starting to take their toll.

REZIAHe seems better after you speak with him. But he is still on or off.

DR. BRADSHAWIn his state, he must be put into submission. The ‘on’ as you said, is a choice, and I’m more than happy to force that choice. When was his last solid episode?

REZIAOn Tuesday or Wednesday afternoon, we rode the bus to Hampton Court. He was my husband then.

(Rezia holds up Septimus up. Living room scrim lights up: Westminster past. As they stroll behind the scrim his shoulders straighten and he walks tall, independent. Septimus speaks as he once did.)

Septimus look at the daffodils in the park!

SEPTIMUSFloating lamps, Rezia, they're nature's floating lamps! (Beat.) Do you see the gentleman in the gray hat?

REZIAI do.

SEPTIMUSHe asked me if I could pass a message to you.


REZIAWhat message?

SEPTIMUS"Those hours, that with gentle work did frame -

REZIA- Septimus -

SEPTIMUS...The lovely gaze where every eye doth dwell, / Will play the tyrants to the very same / And that unfair which fairly doth excel:

REZIA- You’re making me blush -

SEPTIMUSFor never-resting time leads summer on / To hideous winter and confounds him there; / Sap cheque'd with frost and lusty leaves quite gone,

REZIA- People are beginning to stare -

SEPTIMUSI want them to look. (Beat.) Beauty o'ersnow'd and bareness every where: / Then, were not summer's distillation left, / A liquid prisoner pent in walls of glass, / Beauty's effect with beauty were bereft, / Nor it nor no remembrance what it was: / But flowers distill'd though they with winter meet, -

REZIA- Stand up Septimus! -

SEPTIMUS.../Leese but their show; their substance still lives sweet! (Beat.) That was his message. He said you stole his heart with your smile and only your hand in marriage could settle his loss.

REZIAHe didn't!

SEPTIMUSI told him yes.

REZIANo!

SEPTIMUSBut on one condition.

REZIA Virginia Woolf's Mrs. Dalloway by Daniel Roche 3

What condition?

SEPTIMUSOn the top of every hour, he must yell his love for you, in your native tongue:

(Big Ben chimes.)

I' benedico il loco e 'l tempo et l'ora che sí alto miraron gli occhi mei, et dico. Rezia, when I met you before the war, I felt...

(Septimus voice fades back to being broken as the Living Room Scrim lights dim: Westminster Present.)

REZIAWe exited the bus and walked near the river. We watched the birds. We watched the people. I looked at Septimus and he was the man I first saw. Strong, courageous, alight. But then he seemed fascinated by the water. The sun was setting and something clicked...

SEPTIMUSThis is when we kill ourselves.

REZIAHe was silent on the bus ride home.

DR. BRADSHAWYes, during our session, we discussed how childish his desire for suicide was. (Beat.) Didn't we Septimus?

REZIAI married him in hope to start a family, but how can I when my husband…

DR. BRADSHAW- acts like a child.

(Rezia pulls Dr. Bradshaw aside.)

REZIAI hate him for being sick. I see perfect strangers on the streets and I want to run up to them and tell them how unhappy I am. But as soon as I take a step forward and open my mouth, Septimus says a kind word and then another and another. And I think, maybe he's better now. Maybe this is the end of if.

DR. BRADSHAWUnfortunately it will take more time, but as you can see, Lucia, with the assistance of a short session, Septimus is now more than capable of maintaining a decent pose. His back is more straight, his shoulders are tight, and his ideas are contained. He appears just as he should appear: upright and unremarkable. The apogee of a solid citizen. (Beat.) Septimus? (Pause.) Septimus? Virginia Woolf's Mrs. Dalloway by Daniel Roche 3

SEPTIMUSYes?

DR. BRADSHAWHow do you feel?

SEPTIMUSParched.

REZIAI'll fetch you water. You should sit.

(Rezia holds Septimus' shoulder and leads him to a chair. Dr. Bradshaw stops her.)

DR. BRADSHAWNo Rezia, his discomfort is merely the byproduct of our session. Septimus must showcase independence.

(Rezia lets Septimus go. He stumbles.)

SEPTIMUSWater, Rezia.

REZIADr. Bradshaw?

(Dr. Bradshaw concedes. Rezia fetches a glass of water.)

DR. BRADSHAWSeptimus, you're feeling weak because we forced your mind to return to a solid foundation. You see, your thoughts over the course of months, years perhaps, have learned to escape from their cage and fly freely, which clearly we can't have. What we did during our session today was stomp those thoughts to the ground and lock them in their proper place. We essentially pinned down your mind.

(Septimus guzzles the water.)

SEPTIMUSMore.

REZIADr. Bradshaw?

(Dr. Bradshaw nods. Rezia fetches another glass of water.)


REZIAWill he return to who he was?

DR. BRADSHAWI will do better than who he was.

REZIAHe smiled when we first met.

DR. BRADSHAWThe techniques I prescribe will make him more focused, less idle, and more open to community. We are social animals, Rezia, that require constant attention. If you wish to see an example of my work, look no further than my wife.

(Living Room Scrim lights rise. Septimus sees Peter.)

SEPTIMUSEvans.

REZIAThat woman in your office - she was your wife?

DR. BRADSHAWMy very lovely Mrs. Bradshaw.

REZIAShe hid her face when we walked in. From what I could see she looked almost...

DR. BRADSHAWEfficient, meticulous, earnest? (Beat.) Six hours of piano a day, three hours of reciting my tenets, a short private session, and all on less than four hours of sleep. My wife is my most prized patient!

REZIAWill my husband be happy again?

DR. BRADSHAWYou must understand, melancholia is a selfish disease. I treat it as I would a common cold. Happiness comes once the disease is eradicated.

(Septimus crawls towards Evans.)

SEPTIMUSI thought I lost you in Veneto.


REZIASeptimus, what are you doing?

SEPTIMUSWhere are your wounds?

(Septimus inspects Peter.)

DR. BRADSHAWWhat is this nonsense?

(Rezia attempts to pull up Septimus.)

REZIASeptimus, the doctor is here.

SEPTIMUSEvans, where were you hit?

DR. BRADSHAWWho is this Evans? What is he talking about?

REZIAHe was his leader, commander in the war. I only met him once, a shy man. He died just before the truce.

DR. BRADSHAWThe war? How ridiculous! The war is over!

REZIAI had hoped your sessions would make them stop.

DR. BRADSHAWThey will, young lady, and immediately. (Beat.) Septimus, this is Dr. Bradshaw. End this tomfoolery at once! Stand up. Come now, stand up, back straight, shoulders locked.

SEPTIMUSWe need to dig further down. We're too exposed here. There's not enough forest cover.

DR. BRADSHAWI know you can hear me, Septimus. My voice is the voice of rightful reason. You will listen to it. This charade will end in ten seconds! Ten, nine, eight...

SEPTIMUS(Shushes.) I hear them coming, Evans.

DR. BRADSHAWEvans is dead!


(Living Room scrim lights up: Bourton. Peter sits up.)

SEPTIMUSWhat are you doing?

PETERMy feet are numb.

SEPTIMUSThe enemy is coming. Stay down!

DR. BRADSHAWI'm afraid sometimes you must be physical to break a patient from their self-absorbed fantasy.

(Dr. Bradshaw attempts to pick up Septimus. Septimus pushes him away. Sally sits up.)

PETERWe should be getting back to the house for supper. I'm sure Clarissa is looking forward to more of her silent treatment.

SEPTIMUSPlease stay down.

SALLYDid you dream?

PETERDreams are all rubbish.

SALLYTell me!

SEPTIMUSThis isn't a sacrifice. It's suicide! Get down!

(Septimus crawls after Peter.)

SEPTIMUSIt was a minor daydream, nothing worth noting.

SALLYWhat did you see?

(Dr. Bradshaw again tries to restrain Septimus.)

DR. BRADSHAW Virginia Woolf's Mrs. Dalloway by Daniel Roche 4

Listen to reason, Septimus!

SEPTIMUSEvans, please don't do this.

PETERI was in a forest. I was with man...I've never seen him before. He was yelling about something-a-rather. Nonsense, I suppose. I walked with my arms out to the side like this. I could hear footsteps in front of me. Then...

(The sound of a gunshot.)

SEPTIMUSEvans!

(Septimus covers his mouth and hides.)

PETERNothing more than rubbish.

(Peter and Sally exit. Living Room Scrim lights down: Westminster. Dr. Bradshaw picks up Septimus and places him in a chair.)

DR. BRADSHAWHave you finished playing war? Have you finished your self-centered fantasy?

(Septimus gathers himself.)

SEPTIMUSWar? What war?

DR. BRADSHAWIs this the sense of humor you were discussing, Rezia?

REZIAHe isn't smiling.

SEPTIMUSWhat war are you referring to?

DR. BRADSHAWThe Great War of course! The war you fought in!

SEPTIMUSRight, yes, of course. That was the little shindy of schoolboys with gunpowder.


I beg your pardon?

SEPTIMUSThe minor mishap between a handful of countries. It was hardly worth noting.

DR. BRADSHAWNeither of us are finding this to be comical. You of all people know millions of honorable people died fighting against -

SEPTIMUS- a runny nose.

DR. BRADSHAWI beg your pardon?

SEPTIMUSHuman nature caught a cold. It removed a handkerchief from its coat pocket, folded it several times, and blew. On the handkerchief were millions of dead honorable people. Plague, famine, war, these are all no more than Monday morning bug.

DR. BRADSHAWAnd what of the politics, liberty, justice!

SEPTIMUSThe Great War was human nature having a runny nose. Europe happened to be the handkerchief.

DR. BRADSHAWRezia, has he spoken like this before?

REZIANo.

DR. BRADSHAWSeptimus is sprinting fast, downhill, on a dangerous path. I can't stop him unless I know how grave his sickness truly is. Again, I ask for your honesty, has he spoken like this before?

REZIAI may have heard him mention it here or there.

SEPTIMUSMillions of our sons, mothers, fathers, brothers, sisters, neighbors, friends died because we didn't take proper care of ourselves.

DR. BRADSHAWEnough!

SEPTIMUSThe ignitable Human Nature is trying to snuff the match.


DR. BRADSHAWWhat is Human Nature to you, Septimus? Are we beasts? Monsters? Perhaps human nature is made up of bloodthirsty savages?

SEPTIMUS(Laughs.) In your world, yes. But in mine, you are Human Nature, Dr. Bradshaw.

DR. BRADSHAWYour husband's mind has returned to chaos.

SEPTIMUSYou hide your tears behind spectacles, your wrinkled skin behind a buttoned suit, blistered feet in shined shoes: You are rootless. We are one major disaster away from being naked, hunched over under a tree, and scared of a crack of thunder. That is where we came from and where we secretly desire to return. We take cold steps forward but always wishing to go back from whence we came!

DR. BRADSHAWRezia, I will make the preparations to take your husband to my clinic in the north.

REZIAWhen?

DR. BRADSHAWAs soon as possible.

REZIAI don't know if we can afford to stay long.

DR. BRADSHAWHe is my patient now. A challenge such as this will be my pleasure. Free of charge.

REZIAI'll prepare our bags immediately.

DR. BRADSHAWMy clinic doesn't permit family or friends.

REZIAI won't leave my husband alone.

DR. BRADSHAWI implement an intense program and I'm afraid those close to my patients have a tendency to corrupt my methods.

REZIAHow long will he be away?


DR. BRADSHAWSix months. Minimum.

REZIAYou can't do this.

DR. BRADSHAWFor the betterment of society he must go.

REZIAHe may be ill, but he's mine.

DR. BRADSHAWDo you want your husband to get better, Rezia?

REZIAYou said isolation was a disease! Community is important!

DR. BRADSHAWThere are certain individuals that meet the exception. Septimus' ego has chosen to function under a complete disregard to society, which has resulted in pure vanity. Worse yet, he is unable to distinguish between the present and the past. The past, under his circumstance, is dangerous to recall. I'll return this evening to escort Septimus from the house.

REZIAPlease don't do this.

(Dr. Bradshaw begins to exit.)

DR. BRADSHAWHe has a sickness, Rezia, and I refuse to let it become infectious. This is for your safety as well.

(Dr. Bradshaw exits.)

SEPTIMUSRezia, come here please.

(Rezia sits next to Septimus. Clarissa and Mrs. Dalloway enter. Clarissa escorts Mrs. Dalloway to the couch. Mrs. Dalloway carries her torn dress and a sewing kit.)

I'm not going to leave you Rezia.

CLARISSAYou are a beautiful woman Mrs. Dalloway.

SEPTIMUSI was lost. And for that I apologize. Virginia Woolf's Mrs. Dalloway by Daniel Roche 4

CLARISSAI'm sorry I fade from your present.

SEPTIMUSBut I'm here now.

CLARISSAYou should never forget me.

REZIAI need you to hold me. I need you to care for me as if I'm the one that is sick.

MRS. DALLOWAYI become black and white when you leave me. I need to be gray. I need you here by my side at all times.

SEPTIMUSCome along, we need rest.

(Septimus escorts Rezia behind the Curtained Stage.)

(Clarissa holds Mrs. Dalloway as she begins to sew her dress. Peter enters carrying a letter. He stands in front of the door, hesitates, exhales, and then knocks.)

Act I. Scene 7.

MRS. DALLOWAYI don't have time for an interruption. (Beat.) Lucy!

(Peter knocks.)

I'm not in!

(Lucy enters. Peter knocks.)

LUCYOf course, Ma'am. (Beat.) Coming!

(Lucy opens the door.)

PETERGood afternoon, I'm here to see Clarissa.

LUCY Virginia Woolf's Mrs. Dalloway by Daniel Roche 4

I'm terribly sorry, sir, Mrs. Dalloway is not in.

(Peter walks in.)

Sir!

PETERMrs. Dalloway will see me. Oh yes, she will see me.

LUCYSir, please, she is not home at the moment.

(Peter walks towards Mrs. Dalloway.)

PETERShe will see me. After five years in India, Clarissa will see me!

MRS. DALLOWAYI know that voice.

CLARISSAIt sounds much older.

PETERClarissa. Clarissa!

(Peter stands before Mrs. Dalloway. They freeze.)

LUCYI'm sorry, Ma'am, he rushed past me. Shall I phone the police?

(Mrs. Dalloway stands.)

MRS. DALLOWAYThank you, Lucy.

LUCYMa’am?

MRS. DALLOWAYThat will be all.

(Lucy curtsies. Leaves, stops, returns.)

LUCYMa'am?

MRS. DALLOWAYWhat is it? Virginia Woolf's Mrs. Dalloway by Daniel Roche 4

LUCYMrs. Walker is deeply concerned about the main course -

MRS. DALLOWAYThank you, Lucy -

LUCYShe insisted that I -

MRS. DALLOWAYYou may leave us.

(Lucy curtsies and exits. Pause.)

PETERClarissa, it's me - it's Peter. (Pause.) Peter Walsh.

MRS. DALLOWAYYes, of course it is. (Beat.) Of course it is! Oh my, I know who you are my dear Peter Walsh! How heavenly it is to see you again!

(Peter kisses both of Mrs. Dalloway's hands.)

PETERYou seem surprised. I trust you received my letter?

MRS. DALLOWAYI read it this morning! You look -

CLARISSA- Thin and withered. You have dry skin and you're teeth are showing hints of amber. And, honestly, you’re still carrying that silly knife of yours!

MRS. DALLOWAYExactly the same! You haven't changed a bit.

PETERThe house looks spectacular and you, you are as handsome as ever! You are beauty, Clarissa, and "beauty is truth, truth beauty!" Keats.

MRS. DALLOWAYEnchanting, Peter!

CLARISSAAlthough, his voice is a flood. That stare - remember that stare. Instrusive. His hazel eyes have always embraced the view.


PETERIt feels grand to breath civilization again! I could bask in the June sun all day.

MRS. DALLOWAYYou must be spent.

PETERIndia has taxed the nerves.

MRS. DALLOWAYPlease sit, my dear Peter. Tell me about your adventures. Tell me about the magic of the east!

PETERI should warn you, "a smile abroad is often a scowl at home."

PETER CLARISSATennyson. Tennyson.

MRS. DALLOWAYDon't tease me. I want to hear it all!

PETERTo begin, for every automobile in London there's an oxen in India. Entire cities are made of tiger's eye, and the drab desert splashes against the greens and reds pouring out from the jungles!

MRS. DALLOWAYAnd the people? Have they learned what sophistication is?

PETERThe people are romantic. They live on vivacity, Clarissa.

MRS. DALLOWAYI imagined they would be too busy fetching water from a well.

CLARISSA(Shushes). Let him finish. I want to hear this.

PETERThere's no denying they are centuries behind us, which is exhausting, but there are moments of vivacious spice, where it honestly feels like a superior culture.

MRS. DALLOWAYSuperior? You’re sense of humor hasn’t -

PETEREverything about them is in the public domain. Their beauty, their wretchedness, there is no reserve. There is no privacy. It's all shared in the open.


MRS. DALLOWAYIt sounds like a territory that is utterly confused.

CLARISSAIt sounds romantic.

PETERAnd how is life in Westminster?

CLARISSAEntirely uneventful and bland -

MRS. DALLOWAYWonderfully exciting! As I'm sure you've seen, London has completely healed from the skirmish in Europe. It has truly returned to its former charm as if the war never happened! Of course, there's still a flake of reminder here and there, but all talk is of England's future.

PETERAnd of your party this evening?

MRS. DALLOWAYYou've heard!

PETERThere’s talk of it on every corner.

MRS. DALLOWAYWe're expecting all of prominent Westminster to arrive, including, possibly, the Prime Minister himself!

PETERIt sounds exquisite.

(Beat.)

MRS. DALLOWAYSurely you're invited! Peter, I would cancel the whole function if I knew you weren't attending.

PETERI would be honored to be in the company of my dear, old friend, Clarissa Hart.

(Peter takes Mrs. Dalloway’s hand.)

MRS. DALLOWAYHart? I haven't been called that –

(Peter retracts his hand.)


It was a slip. I'm afraid I look at you and even now my mind wonders back to when…you are still my lovely friend. I meant nothing of it, Mrs. Dalloway.

(Mrs. Dalloway stands and begins to arrange flowers. She does not face Peter.)

MRS. DALLOWAYRight.

(Mrs. Dalloway smiles.)

CLARISSAI remember this smile. Three decades of dust may have fallen on it, but here he is...my Peter.

PETERThat's a charming centerpiece.

MRS. DALLOWAYIt is, isn't it? It was a gift.

PETERIt looks wonderful. Are those irises?

MRS. DALLOWAYThey are!

PETERAnd daffodils?

MRS. DALLOWAYYes!

PETERAbsolutely gorgeous.

(Peter plays with his knife. Mrs. Dalloway continues to arrange the flowers.)

CLARISSAHow I must bore you, Peter. You've spent your life traveling the world and I've ventured down the street. You probably think my life is frivolous cursed with monotony. I chose safety for a husband - a conservative. No art or poetry or music only politics. But on the inside I'm still here, Peter. There are still pieces of Clarissa Hart.

MRS. DALLOWAYI just can't believe my dearest Peter Walsh is meters away.

PETERMy fondest memories are standing right here in front of me. Virginia Woolf's Mrs. Dalloway by Daniel Roche 5

CLARISSAI may have buried myself but I never completely left. My passions were simply subdued with age and marriage. I am still young, a child even. But I had to choose between you and Richard....and there was Sally…

PETERDo you still garden?

MRS. DALLOWAYNot here, I'm afraid. I'm so busy, incredibly busy, with the house. Besides the sun has difficulties reaching the back patio. And Mrs. Mulberry's is but hop-skip away. Besides I much prefer walking the streets of London than the countryside of Bourton.

PETERBourton.

MRS. DALLOWAYThe country is sweet for a short time, but I've learned to appreciate paved paths and the sounds of the city. (Beat.) Although there are moments when I miss the openness of the fields. Do you remember the walks we took together in the evenings? The time we ventured as far as -

PETERI haven’t forgotten Bourton.

(Pause.)

CLARISSAOf course not.

PETERHow is Richard?

MRS. DALLOWAYRichard?

PETERYes, your husband Richard Dalloway, how is he?

CLARISSAHe's good. Fine. Remote -

MRS. DALLOWAYHe's keeping busy as always...currently he's attending a committee.

PETERMay I ask what it's in regards to?


It's of some importance in the east. Men and women are being asked to leave their homes. It's dreadfully sad.

PETERGood for him. The world needs more committees. Why try to actually solve issues when we can dissect them for years?

CLARISSAYour sarcasm is ugly.

MRS. DALLOWAYPerhaps you would like something to drink?

(Mrs. Dalloway stands.)

PETERAren't you going to summon your help?

MRS. DALLOWAYI'm more than capable of fetching a simple tray. Besides the staff is busy enough as it is. (Beat.) Do you still take milk and one lump of sugar?

PETERI do.

CLARISSAThirty years of running away and there's so little change in him.

(Mrs. Dalloway stirs the tea.)

PETERAre we going to discuss this, Clarissa?

CLARISSAI would prefer not to.

MRS. DALLOWAYWhat is there to discuss?

PETERI'm in love.

MRS. DALLOWAYIn love?

PETERI'm in love with a girl in India. I proposed to her. Virginia Woolf's Mrs. Dalloway by Daniel Roche 5

MRS. DALLOWAYI recall hearing talk of it some months ago.

CLARISSAThere were mornings I refused to wake.

PETERShe's the wife of a major in the Royal Army. I'm here to assist with the divorce.

MRS. DALLOWAYI hope it's not too difficult.

CLARISSAI feel ill.

MRS. DALLOWAYI wish you the utmost joy and happiness. Marriage is a great blessing -

CLARISSA- Is this a fever -

MRS. DALLOWAY- I'm sure she's a lovely woman. How old is she again? I heard rumors but…

PETERTwenty-five.

MRS. DALLOWAY CLARISSATwenty- five! She's no more than a child. I was once young. You found meFresh from the womb. Hardly a few attractive. Your eyes embracedsentences from her first words. me.

PETERClarissa, I believe my tea has been stirred enough.

(Mrs. Dalloway stops stirring.)

Could you face me? (Pause.) I want to know why.

CLARISSAI wanted...I thought I wanted...no, I did want. I did.

MRS. DALLOWAYWhy what?

PETERWhy you said 'no' to me. Virginia Woolf's Mrs. Dalloway by Daniel Roche 5

MRS. DALLOWAYIt was so many ages ago.

PETERFor me it could have played out moments ago. I'm on one knee giving my heart to you and you say, "Don't be absurd."

CLARISSAWhy do you do this to yourself, Peter?

PETERAm I absurd to you, Clarissa? Am I your joke? “There's Peter Walsh the catastrophe returned from his escape to India.”

(Clarissa comforts Peter as a mother to a child.)

CLARISSANo, of course not.

PETERAm I a misfit? Am I that unremarkable?

CLARISSAPlease, Peter, you have always been in my thoughts.

PETERTell me the truth, why did you say 'no?'

CLARISSAIt's no use.

PETERDid you not love me?

CLARISSAIt's no use. This is the end.

PETERPlease tell me the truth, Clarissa!

CLARISSAI can’t.

(Peter weeps. Mrs. Dalloway pats Peter's hand. Pause.)


Peter, it was a scene played so long ago. I hardly consider it worth rehashing.

CLARISSA(To Mrs. Dalloway.) When did you did you become this? When did you become a thorn?

MRS. DALLOWAYI've been married to Richard and you're about to be married. Our romantic past together faded...it dissolved.

CLARISSA(To Mrs. Dalloway.) You restrain yourself, lie, for what? Proper values? A proper impression of yourself? Can’t you see he’s tortured?

MRS. DALLOWAYYou see, we're both happy now.

PETERAre you happy?

CLARISSAWe’re a veil of happiness. Nothing more, nothing less.

(Clarissa exits.)

MRS. DALLOWAYVery happy. Always.

PETERRichard must smother you with adoration.

MRS. DALLOWAYThere are moments when he's (searches.) romantic. Yes.

(Lucy enters. Peter stands and wipes his eyes.)

LUCYI apologize for the intrusion, Ma'am, but I'm afraid Mrs. Walker is adamant that you make a decision.

MRS. DALLOWAYMrs. Walker will have to wait until my dearest friend Peter -

PETERNo, I should be going.

MRS. DALLOWAYPeter, please stay.

LUCY Virginia Woolf's Mrs. Dalloway by Daniel Roche 5

She said the meat requires a full six hours to cook.

PETERClarissa, (bows.) Mrs. Dalloway, thank you for the tea.

MRS. DALLOWAYPeter please wait.

LUCYUnless of course as she says, “you want gamey snodgrass.”

PETERGoodbye.

(Peter exits. Mrs. Dalloway chases after him.)

Peter! Peter, remember my party tonight! Remember my party! (Beat.) Lucy, prepare an additional plate for Mr. Walsh. We will need to send him a formal invitation. Phone all of the hotels in the area to find him. I want my letter in his hands straightway.

LUCYOf course, Ma'am.

(Lucy takes the dress. Mrs. Dalloway and Lucy exit. Living Room Scrim lights up: Bourton. Sally climbs on Big Ben. She hums to Septimus' tune (See Act II): "Ee um fah um so, Foo swee too eem oo." Clarissa enters.)

Act I. Scene 8.

CLARISSASally? Sally, where are you?

SALLYClarissa, this is God speaking.

CLARISSAWhat are you doing on the roof?

SALLYI feel safe up here.

CLARISSAIt's dangerous!

SALLYThat is largely a misconception.


CLARISSAIf you take one misstep the flowerbed is the only thing to break your fall.

SALLYOh, but wouldn't that be a lovely way to die? Soar through the air and just before my noggin' splits wide open - bushel violets keep me company.

CLARISSACome down this instant.

SALLYWhy don't you come up?

CLARISSAI'm perfectly content here.

SALLYNo you're not.

CLARISSAI haven't the proper balance.

SALLYWhat a horrible thing to say. (Beat.) You know, I've been sleeping on the roof the past few nights and I've discovered it's much more agreeable under the stars than under a ceiling. See, under a ceiling I'm only pretending to be safe. It could come crashing down at any moment. The stars, on the other hand, have every intention of staying put right where they are.

CLARISSAAnd how would you know what the stars want?

SALLYI ask them.

CLARISSAOf course you do.

SALLYHow else am I supposed to know what they want?

CLARISSAExtraordinary.

SALLYYes, I have been told I have French blood in my veins. (Beat.) I could help you find your balance if you would like? But I understand if you're too much of a boring stickler to ever take a chance in her life. Virginia Woolf's Mrs. Dalloway by Daniel Roche 6

(Clarissa wraps her summer dress around her legs. She begins to climb. Sally laughs and claps.)

SALLYSo the thorn is starting to dull?

CLARISSAI am a Hart. My family carries a rich history of exploring lost worlds and conquering new lands.

SALLYI never would have suspected.

CLARISSAYes, well, now you know. There I am.

(Clarissa loses her balance - shrieks. Sally pulls her in. They momentarily embrace.)

SALLYYou weren't jesting about your balance.

CLARISSAWhere shall I sit?

SALLYHere.

(Mrs. Dalloway enters. She rearranges furniture, straightens plates, dusts, etc.)

Do you know what I love?

CLARISSAI don't want to hear about love. I'm tired of it all.

SALLYIt's nothing to be tired of. Sick of, yes, done with, of course, but not tired.

CLARISSAWhat do you love?

SALLYYour arms.

CLARISSAMy arms! They're twigs! I'm a narrow pea-stick figure.

SALLY Virginia Woolf's Mrs. Dalloway by Daniel Roche 6

You're a stem. And this is…

(Sally inhales and holds up Clarissa’s face. Mrs. Dalloway watches.)

CLARISSAMy ridiculous little face -

SALLY- that is waiting to bloom.

CLARISSAI'm beaked like a bird.

SALLYAn English Yellowcrest.

CLARISSAI'm unremarkable.

(Sally places a flower in Clarissa's hair.)

SALLYThe hidden Clarissa Hart...more beautiful than most, but only when you search for her. (Beat.) Will you hold my hand?

CLARISSA MRS. DALLOWAYOf course. Of course.

SALLYWill you keep me warm?

CLARISSA MRS. DALLOWAYI will. I will.

SALLYWill you kiss me?

CLARISSAI beg your pardon?

SALLYHave you never kissed before?

CLARISSAYes, but no, I mean not. I have (searches) I (searches) mean it's not as if we - I have thought about you, but I simply...


(Sally kisses Clarissa.)

MRS. DALLOWAYMy first real kiss.

(Peter enters.)

PETERStar gazing are we?

MRS. DALLOWAYHis voice sounds like running one's face against a granite wall.

CLARISSAI don't wish to speak to him.

SALLYI'll distract, you stay. (Beat.) Peter, could you be a dove and help me down. Mrs. Helena asked that I fetch dessert.

PETERClarissa, will you be joining us? (Pause.) Why am I treated with the cold shoulder when you’re the one that said ‘no?’

SALLYCome on, leave her be.

(Sally and Peter exit. Pause.)

CLARISSAAgain you watch us, this.

MRS. DALLOWAYHad that not, after all, been my first love?

CLARISSAIt was, but not your last. And yet thirty years on and this is what you always return me to. I forever fall in Sally's arms.

MRS. DALLOWAYIt's my memory. I may see it as many times as I wish.

CLARISSAYou have others you know.

MRS. DALLOWAYThere is only one first. The others get lost in the shuffle.


Where is your first kiss with Richard? Peter?

MRS. DALLOWAYIt's not like one’s feeling for a man. It's completely disinterested, and besides, it has a quality, which could only exist between women. Between women just grown up. It's protective being by each other’s side.

CLARISSASafety in soft arms?

MRS. DALLOWAYIt springs from a sense of being in league together, a presentiment of something that binds us.

CLARISSAAnd what of marriage?

MRS. DALLOWAYWe spoke of marriage as a catastrophe.

CLARISSASo now you don't love Richard?

MRS. DALLOWAYI do. Of course I do!

CLARISSABut it's Sally you return to.

MRS. DALLOWAYThere was a time when I reminisced about Richard. I knew I was going to marry him when he first introduced himself. He kissed my hand and said, my name is Richard Dalloway, it's a pleasure to make your acquaintance.

CLARISSAAnd that was the moment I died.

MRS. DALLOWAYYou didn't die -

CLARISSA- perhaps I was buried? Suffocated? Drowned to unconsciousness?

MRS. DALLOWAYNo. It was simply a moment of rebirth.


Intermission.

ACT II. Scene 1.

(It's early afternoon in Westminster. The hustle and bustle of the morning has waned. The pigeons softly coo while the human traffic wafts and trickles. The dining table is set for Lady Brutan's gathering.)

(Septimus enters humming. He sings.)

SEPTIMUSEe um fah um soFoo swee too eem oo

(He weaves in and out of the stages. The past and present light up and dim with every few steps he takes.)

Ee um fah um soFoo swee too eem ooAnd sways and grates and moans in the summer breeze.

Ee um fah um soFoo swee too eem ooAnd slips and falls and cries in the summer breeze.

Ee um fah um soFoo swee too eem oo And we wonder why we pull our roots.And we wonder why we mourn our touch.

(Big Ben chimes. Septimus sits near the park bench. He continues to hum. Peter enters. He plays with his knife.)

PETER"Remember my party. Remember my party," she says, as a perfect hostess would say. "My dearest Peter, you look exactly the same!" I am the same. I ceased to age the moment you said -



PETERI will marry Daisy. We will find our love for each other and raise children, so they may carry forth and marry, love, and breed. And so on and so forth.

SEPTIMUSLook in my eyes with thy sweet eyes intently.

PETERI've seen the world while Clarissa…

SEPTIMUSAnd we wonder why we pull our roots.

SEPTIMUSWhile Clarissa throws her silly parties with an endless supply of uninteresting people. I can already hear the dullness in their laughs, "Crossley automobiles?" (laughs vainly). But of course, “the prime minister may be in attendance!” I refuse to leach onto these tiny triumphs to make my life more tolerable.

SEPTIMUSAnd we wonder why we mourn our touch.

PETERNo, I won’t attend. She reeks of desperation during these things. Her hands cupped in front and that rehearsed smile, "How heavenly it is to see you again!"


(Peter moves to Septimus.)

PETERExcuse me.

SEPTIMUSAnd sways and grates and moans in the summer breeze.

PETERI'm sorry to interrupt, but...

(Septimus gestures to wait.)

SEPTIMUSAnd slips and falls and cries in the summer breeze.

(Pause.) Virginia Woolf's Mrs. Dalloway by Daniel Roche 6

PETERWhat is that you’re singing?

SEPTIMUSIt’s an ancient love affair.

PETERIt's lovely.

SEPTIMUSIt's nonsense. (Beat.) I know you.

PETERI don't believe so.

SEPTIMUSThere are some gaps, but...

(Septimus stands and attempts to inspect Peter.)

SEPTIMUSYour face is off. Your clothes tailored. Posture weak. Mannerisms are...

PETER- Please stop -

SEPTIMUS- Upturned perhaps. (Smells.) No, you’re not him. He would never grow old and yet remain a boy -

PETER- Sir, please stand back -

SEPTIMUSBut the smell…(deeply sniffs.) Evans.

(Peter postures with his knife.)

PETERKeep your distance!

(Septimus stops. Laughs.)

I will use this if I must! (Beat.) Why are you laughing?

SEPTIMUSYour knife. Virginia Woolf's Mrs. Dalloway by Daniel Roche 6

PETERWhat about it?

SEPTIMUS It was purchased. Not earned. Put it down.

(Septimus opens his hands.)

I’m not a threat.(Septimus sits.)

You're too old to have served. Where were you when the war begun?

PETERI've been abroad, helping bring civilization to India.

SEPTIMUSThen you have no clue how shattered the world has become.

PETERI followed the war closely in the newspapers, as well as listened to every update that came over the airwaves.

SEPTIMUSThe civilian regales.

PETERYou were in it, then?

SEPTIMUSI was.

PETERMay I ask you -

SEPTIMUSOnly if you put the knife away.

(Peter closes his knife. Place it in his pocket.)

PETERWas it exciting?

SEPTIMUSOh yes, wonderfully exciting. Delightful.


And you fired your rifle?

(Septimus aims an imaginary rifle. Shoots).

Did you kill the enemy?

SEPTIMUSThere were no enemies or heroes for that matter, only paths crisscrossing and overlapping. We were boys playing on a deadly playground and not a teacher in sight.

PETERI can only imagine the fireworks.

SEPTIMUSThey filled the night sky to the horizon.

PETERIf I were young enough to be drafted I believe I would have made a grand officer.

SEPTIMUSEvans was a grand officer.

PETERThis Evans is one of your old army chums?

SEPTIMUSHe was. But he became the fate of human nature.

PETERI beg your pardon?

SEPTIMUSHe is where we all secretly want to be.

PETERI’m afraid I don’t understand.

SEPTIMUSEvans chose to buried alive in some place foreign. It’s what we all want, isn’t it? The choice?

PETERRight. (Beat.) It was a pleasure.

(Peter begins to leave.)

SEPTIMUSLeave the knife.

(Peter stops. Turns.) Virginia Woolf's Mrs. Dalloway by Daniel Roche 6

PETER(Pause.) Oh, that’s an army joke? (Smiles.) Have a good day.

SEPTIMUSYou amuse yourself with my tragedy. Leave the knife.

PETERI may not have fought, but I made sacrifices all the same. (Beat.) London was forced into darkness during the air raids. It was pitch black every night. The only sounds I heard were whimpers and prayers -

SEPTIMUSIt must have been frightening.

PETERTerrifying.

SEPTIMUSLeave the knife.

PETERI won't. I can’t. (Beat.) You're a soldier, you lived through God only knows, and you have your stories, but I’m (Pause.) fixed in this one event that plays out over and over again. This knife allows me to pretend to be somewhere else. It’s my foreign place. Surely you understand?

SEPTIMUSI know you never seen war because your eyes have color and your voice doesn't quiver. Your jaw doesn’t clench when you pause. You should be thankful.

PETERI am thankful. And happy. So very happy. And yet I can't let go.

SEPTIMUSYou see this is one of my better hours. My nerves are...A conversation such as this would typically drain me of sanity.

PETERThe war ended seven years ago. Surely you get on about these things.

SEPTIMUSGet on about these things?

PETERYou’re a soldier, stand up, dust off your trousers, and march forward. Never look back. Never mind the broken pieces. Sweep them up and toss them out the window. "You can never plan the future by the past." Edmund Burke.


SEPTIMUS"What's past is prologue." William Shakespeare.

PETERThe self-educated sort.

SEPTIMUSThere was a time in my life when I read voraciously.

PETERWhy did you stop?

SEPTIMUSI became a man. (Beat.) Do you still love this perfect hostess? Clarissa, is it?

(Clarissa enters. She meanders and occasionally watches Peter and Septimus.)

PETERYou heard, did you? At this point, I have no feelings for her just questions. I’m going to be married to a beautiful young, young, woman.

CLARISSAI did consider your proposal, Peter, after I gave you my answer.

SEPTIMUSDo you still love her?

CLARISSABriefly, mind you, but that summer in Bourton...I was young and when Richard arrived, I couldn't...

SEPTIMUSYou should be with her before human nature has its way. Stumble once and human nature gets on you.

PETERWhat does human nature have to do with any of this?

SEPTIMUSIt's our given attraction to fall. Yes, en masse we cry out for survival, but behind each of our doors is itch for resolution.

PETERI’m afraid you’ve -

(Peter turns to Clarissa.)


You thought you wanted to be with me, but I know you, Peter. Secretly you enjoy reaching for what you can never have. You take joy in misfortune.

REZIA (O.S.)Septimus?

SEPTIMUSMy innocence approaches.

REZIA (O.S.) SEPTIMUSSeptimus, where are you? (Singing.) Ee um fah um soSeptimus, please stop hiding. Fo swee too eem oo.

(Rezia enters.)

Septimus! Oh, thank God!

(Rezia embraces Septimus. She then hits his chest.)

I woke and you were gone! You left me! I can't be alone, Septimus!

SEPTIMUSI'm with you now.

(Peter pulls out a shilling.)

PETERPlease take this.

REZIAWe're not beggars.

PETERThis is not pity. It's for his words and song.

REZIAIf someone should see?

SEPTIMUSAnd if some one should see, what matter they?

(Rezia takes the coin. Rezia and Septimus exit.)

Act II. Scene 2.

(Living Room Scrim lights up: Bourton.)


PETERI have to confess.

CLARISSAYou're speaking to me now? I presumed our conversations were long buried.

PETERYou were the first to wear the cold shoulder, Clarissa. You shunned me - I'm only a victim of response.

CLARISSAI didn't intend to ostracize you, Peter. I needed time and you kept pushing for answers.

PETERWhether the intention was there are not, the affect was felt.

CLARISSADo you wish me to apologize?

PETERI wish you to say 'yes,' or at the very least, ‘I’m considering it.’

CLARISSAMy answer is the same.

PETERYou love me?

CLARISSAYes.

PETERBut you won't marry me?

CLARISSALove and marriage are two separate things.

(Peter stands. Clears his throat. He plays with his knife.)

PETERI've been following you on your walks into town.

CLARISSAYou've been stalking me?

PETERNo, not stalkin - that sounds sinister. Trailing you, perhaps, but lovingly so. You hadn't noticed?


CLARISSAOf course not. What sane person leaves the house knowing they're being followed?

PETERI saw watched you (Pause.) and I saw you, Clarissa. I saw you as Clarissa Hart.

CLARISSAPeter, what does that even...

PETERI saw you….I know who you are – truly. (Pause.) You fall apart when you walk alone, did you know that? You crumble, deteriorate when you think no one is watching. You shed Clarissa, after Clarissa, until you're this beautiful bare stem. And you look happy. Relieved to be unnoticed.

(Clarissa tries to leave. Peter stops her.)

I watched you stand in front Hatchard's bookshop. You starred at your reflection for what felt like hours. People poured into my line of vision, but my eyes held onto you. I never let you drown. But as my gaze struggled to keep you in sight - you closed your eyes. You stepped back into the crowd and then gave a tiniest of smile as the passers-by washed over your body. It was that moment I thought, “that is my Clarissa. There she is. She wants the to be lost in a sea of people.”

CLARISSALet go of my arm -

PETERAfter you walked away. I stood in front of Hatchard's -

CLARISSAI wish to leave –

PETERI had hoped your reflection may still be there, but there was only -

CLARISSAPeter, this is not a game –

PETERAn open book -

CLARISSALet go of me –

PETERIt was Shakespeare –


CLARISSAI'll cry out – I will scream!

PETERDo you remember what it said? (Shakes Clarissa.) It had a brown jacket. It was torn - weathered. Do you remember?

CLARISSANo.

PETERDo you remember, Clarissa?

(Clarissa screams. Peter lets go of her arm.)

What did it say?

CLARISSA"Fear no more the heat o’ the sun"

PETER"Fear no more the heat o' the sun / Nor the furious winter's rages." Fear no more, says the heart in the body; fear no more. (Pause.) If you wish, I will forget about the proposal. I will forget I saw you. On my word, will never play out again.

(Peter exits. Clarissa sits on the ground, cries. She picks up a flower and pulls off the petals one at a time. Living Room scrim fades: Westminster.)

Act II. Scene 3.

(Richard knocks on the front door. He knocks again.)

RICHARDLady Brutan?

LADY BRUTAN (O.S.)Is that the pleasure to my eye, Mr. Dalloway?

RICHARDIt is Richard, yes.

LADY BRUTAN (O.S.)You're early.

RICHARD Virginia Woolf's Mrs. Dalloway by Daniel Roche 7

I apologize.

LADY BRUTAN (O.S.)I easily forgive men of your charming repute. Please let yourself in.

(Richard enters. He removes his coat. Wipes his forehead with a handkerchief.)

Lunch will be served shortly. Make yourself at home, dear.

(Richard meanders. Touching furniture. Smelling the flowers.)

Delightfully warm today, isn't it?

RICHARDAlmost intolerable.

LADY BRUTAN (O.S.)Almost, but not quite. Did I ever tell you of my safari in Northern Rhodesia? I baked for weeks, but it was much more of the sensual type.

(Richard opens a music box. It plays Septimus' song.)

CLARISSAYou were so timid when we first met. You attempted to be composed amongst the guests but you looked limp...awkwardly meandering.

LADY BRUTAN (O.S.)Richard? Northern Rhodesia?

RICHARDYes, I recall you mentioning it, but only in passing.

(Clarissa stands and faces Richard.)

CLARISSAI introduced you to everyone as Mr. Wickham. You politely smiled and gave a nod, until hours later my mistake built up and you burst out with, "My name is Dalloway!" I was mortified while Sally roared with laughter. From then on she referred to you as 'my name is Dalloway.'

(Lady Brutan grandly enters. Richard closes the music box and kisses Lady Brutan's hand.)

LADY BRUTANI was at the edge of the empire being led by a young tracker, a Mr. Chuma. He had gorgeous back muscles - glistened in the sun and perched like an antelope. And his smile, if only you can imagine (deeply inhales, exhales.) Earl gray tea or perhaps a cocktail? Virginia Woolf's Mrs. Dalloway by Daniel Roche 7

RICHARDEarl gray, please.

CLARISSAWe discussed literature over dinner. You said no decent man ought to read Shakespeare’s sonnets because it was like listening at keyholes. I thought you were a romantic then - a very reserved romantic...simple...but a romantic nonetheless.

LADY BRUTANI was there for the lions’ season. You see lions can smell a woman from miles away - regardless of the specie. And they have a particularly keen nose for great breeding. (Beat.) One cube or two?

RICHARDOne, please, thank you.

CLARISSAYou were different from Peter. You were more proportioned.

LADY BRUTANMr. Chuma, of course, warned me of possible encounters and sure enough three days in, there ws a pride in full form. It was a feline orgy. The roars could heard from miles away. (Fans herself). There I was, a loving widow, alone in the African bush with only Mr. Chuma for company. Let me tell you, Mr. Dalloway, that was an intolerable heat.

RICHARDAs always, Lady Brutan, your stories are wildly entertaining.

CLARISSABut then we married and over the years we...

(Dr. Bradshaw knocks on the front door.)

LADY BRUTONYou may enter!

DR. BRADSHAWGood afternoon, Lady Bruton.

(Dr. Bradshaw kisses Lady Brutan's hand.)

LADY BRUTANGood afternoon, Sir William Bradshaw.

(Dr. Bradshaw greets Richard.)


Richard, how goes the country?

RICHARDSlow, but prosperous. How go the patients, Dr. Bradshaw?

DR. BRADSHAWGradual, but always improved.

LADY BRUTANGentlemen, please sit. Dr. Bradshaw, may I offer you tea or an afternoon cocktail?

DR. BRADSHAWI'm here for two reasons: one to gaze at the mature beauty before me, and two, to enjoy one of your famous cobblers.

LADY BRUTANYou are a man of proportion.

(Lady Brutan mixes Dr. Bradshaw a drink. She pours herself a hefty glass of scotch.)

RICHARDI can't get over how magnificent the portrait of the general is. I could write a novel of your family history.

LADY BRUTANIt can wait, it can wait, my history although rich is also boxed up at Aldmixton. My past will not be leaving me anytime soon.

DR. BRADSHAWNonetheless, the world deserves to know the name of Brutan for centuries to come.

LADY BRUTAN(To Dr. Bradshaw.) He has the appearance to entice my gaze and the words to make my knees crumble. If I were in my prime, Mr. Dalloway, if I were in my prime. (Fans herself.) We should cheers to convincing an old woman she's still in full bloom.

(They give cheers. Sip. Lady Brutan gulps.)

So, quickly, please let's get the tediousness out of the way. (Beat.) How are the wives?

DR. BRADSHAWMaking astounding progress. Just yesterday she played the piano for seven straight hours.

LADY BRUTANAnd Clarissa?

RICHARDClarissa is - Virginia Woolf's Mrs. Dalloway by Daniel Roche 7

CLARISSAPulled. Stripped. Resigned.

RICHARD- Grappling with another one of her parties. I trust you both received invitations?

LADY BRUTANI'm sure the help put it around here somewhere.

CLARISSAWhy do you choose to not see me as I am?

DR. BRADSHAWYes, Mrs. Bradshaw immediately wrote a reply using her newly mastered skill of calligraphy.

CLARISSAYou choose not to hear me as I am.

(Lady Brutan claps her hands. Clarissa picks up the music box and stands inches away from Richard. Richard is lost in thought.)

LADY BRUTANWonderful, we may now move on to a more robust conversation. Gentlemen I invited you here for a purpose. I intend to write a letter to the Times and I require your assistance with the proper diction.

DR. BRADSHAWWhat is the letter concerning?

(Voices become softer.)

LADY BRUTANEmigration. I feel we should take the young people from respectable families and place them in Canada with a fair prospect. They’re young, their roots are malleable, and England needs to expand.

DR. BRADSHAWIs emigration the answer?

LADY BRUTANIs there another suggestion?


DR. BRADSHAWIt's all about the proportion of the young mind. Virginia Woolf's Mrs. Dalloway by Daniel Roche 7

LADY BRUTANNo, no, we ship them off and let them fend. It will develop independence, concentration, backbone.


DR. BRADSHAWSending off an entire generation will not make England prosper.

LADY BRUTANThis generation is already lost to emotion and lust. They need maturity and maturity comes with work ethic. Throw them out into the world. They’ll learn to survive.

(Clarissa opens the music box. Septimus' song plays. Dr. Bradshaw and Lady Brutan are silent. Still.)

CLARISSAWhat did you think of me when we first met?

RICHARDI thought you were handsome. Fetching. We felt appropriate together.

CLARISSADid you feel passion?

RICHARDIn so many words.

CLARISSAWas there touch?

RICHARDAlways. Some. In the beginning, but such as marriages go, there's a level of solace that sets in. And these things tend to dim.

(Mrs. Dalloway enters. She begins to clear the table and make final preparations. Richard watches her.)

MRS. DALLOWAYLucy, I require your assistance to push the chairs against the walls.

RICHARDBut, I remember when we kissed. It was my first, in fact. I was so terrified I would make a mess of it. But you said Peter was your first and -

CLARISSAWas there love? Virginia Woolf's Mrs. Dalloway by Daniel Roche 8

RICHARDYes, of course, there was love. Always!

CLARISSASome. In the beginning, but such as marriages go? I learned to love you as I love shelter in a storm. After so many years I simply assembled your little gestures - a kiss on the cheek, a tiny compliment, you brushing up against me in bed...I saved these gestures in hope that one day I wake up see them blossom into my you as a young romantic again. I hoped to hear you say ‘I love you.’

RICHARDLove can be said in so many words. 'Thank you' for one. 'My dearest' in another.

CLARISSARichard, do you love me?

RICHARDI do.

CLARISSAMay I hear you say it?

(To Mrs. Dalloway.)

RICHARDClarissa, I do still so very much…

LADY BRUTAN(Snaps.) Richard? Richard?!?

(Clarissa slams the music box close.)

RICHARDYes, Lady Brutan.

LADY BRUTANDid you hear that Mr. Peter Walsh returned to us?

RICHARDI didn't. From India, is that right?

DR. BRADSHAWI heard he was in trouble with some woman. Typical Peter. He falls madly in love and then manages to make a mess of all things.

LADY BRUTANOnce again he has returned to our secure shores battered and unsuccessful. To help him is Virginia Woolf's Mrs. Dalloway by Daniel Roche 8

impossible.

DR. BRADSHAWPrior to him running off to India, I offered advice, free of charge, but he told me he would have none of it. He said something about a scene in repeat or some nonsense.

LADY BRUTANIf I recall, he had quite an infatuation for Clarissa?

RICHARDIt was a lifetime ago.

CLARISSAAnd it’s meaningless now, because I chose you, Richard.

LADY BRUTANSo you know the complete history of Peter and your wife?

CLARISSAThere was nothing to tell.

RICHARD'History' is bit overstating. It was a summer fling, no more. And it was prior to me even knowing my Clarissa. What does the past matter? (Beat.) I apologize Lady Brutan, but why are you so interested in my marriage?

LADY BRUTANA widow can hope can't she?

DR. BRADSHAWRichard, are you feeling well? You appear feverish.

RICHARDIt's this heat.

CLARISSANever mind these people.

LADY BRUTANPerhaps some scotch would lift your spirits?

CLARISSAI married you.

RICHARDNo, I'm terribly sorry, but I should be on my way.


CLARISSAI love you, Richard. Please say it back.

(Richard stands. Dr. Bradshaw assists.)

RICHARDI have to leave.

LADY BRUTANBut you just arrived.

CLARISSARichard -

DR. BRADSHAWPlease stay, Richard. We're just getting started.

RICHARDSomething slipped my mind, I need to run an errand for Clarissa –

CLARISSA-Please say it-

RICHARDfor this evening,

CLARISSAI love you -

RICHARDbefore this evening. I'm sorry.

CLARISSAI love you.

RICHARDI’m terribly sorry.

(Richard kisses Lady Brutan's hand. Shakes hands with Dr. Bradshaw. Mrs. Dalloway finishes making all preparations for the party.)

MRS. DALLOWAYLucy, I could use your assistance with the finishing touches.

LADY BRUTANHave I told you of my adventures in Asia? With my dealings in the cobra pit?


I'm afraid I haven't the pleasure.

LADY BRUTANBring your drink.

(Dr. Bradshaw and Lady Brutan exit.)

Act II. Scene 4.

REZIALet's bring in some light.

(The curtained stage opens. Septimus and Rezia sit in chairs. Rezia weaves a hat: ribbons, artificial flowers, and tassels are strewn about. Septimus mumbles.)

Septimus? (Pause.) Septimus?

SEPTIMUSI'm here.

REZIACould you hand me the blue ribbon?

SEPTIMUSWho is the hat for?

REZIAMrs. Filmer's daughter was married.

SEPTIMUSWhat is the name of Mrs. Filmer's daughter?

(Rezia holds up the hat.)

REZIAMrs. Peters. She's an awful woman with a spiteful tongue, but Mrs. Filmer gave us grapes morning, so I want to pay her back. (Beat.) I'm worried this may be too small.

SEPTIMUSIs that true?

REZIAIs what true?

SEPTIMUS Virginia Woolf's Mrs. Dalloway by Daniel Roche 8

The grapes.

REZIADon't be silly Septimus, they're right there next to you.

(Septimus reaches out and touches the grapes. He places one in his mouth. Savors it. Septimus speaks as he once did.)

SEPTIMUSIt's real. (Chuckles.) I can taste it. (Laughs.) There may not be a god, but there are grapes!

(Septimus pulls up Rezia and dances.)

REZIAYou're frightening me, Septimus!

(Septimus takes more grapes.)

SEPTIMUSHave one! My tongue baths in the juice. Please eat it. How does it taste?

REZIADelicious.

SEPTIMUSIt is delicious. It is. Life is delicious! (Beat.) This hat...my lovely Rezia, this hat is far too small. An organ grinder’s monkey would wear this hat!

(Rezia chuckles.)

If you place it on Mrs. Peters she will appear as a pig at a fair.

(Rezia laughs.)

You say she has a spiteful tongue?

REZIAVery cruel!

SEPTIMUSAs cruel as Helen’s betrayal?

REZIACrueler!

SEPTIMUSThen we shall make her the most beautiful hat to balance her ghastly tongue. (Beat.) What have Virginia Woolf's Mrs. Dalloway by Daniel Roche 8

you got in your work-box?

REZIARibbons, beads, tassels -

SEPTIMUSDump all of it out. We'll let chaos choose the design!

(Rezia dumps her workbox.)

There. Pink rose.

(Rezia hands Septimus pink roses.)

Yellow tassel.

(Rezia hands Septimus yellow tassel.)

White ribbon.

(Rezia hands Septimus white ribbon.)

SEPTIMUSThat's it. Keep it just as it is!

(Rezia places pins here and there.)

Be careful. Adjust the rose to the left. Flip the tassel over. There.

REZIABello.

SEPTIMUSWill it hold?

REZIAIt will hold for the moment.

SEPTIMUSJust look at it, Rezia. This may be our greatest triumph.

REZIAYou joke, Septimus. It's only a hat.

SEPTIMUSNo, we will have made the most repulsive woman, beautiful.

(Peter enters carrying a letter. Septimus gasps.)


REZIA What is it?

SEPTIMUSNothing.

REZIAI need to fetch my sewing kit. Don't touch it. The pins are barely holding.

(Rezia exits. Peter reads from a letter. Clarissa follows as she writes.)

PETERTo have gotten this letter by seven...she must have sat down and written it directly after I left.

(Scrim lights up; the past.)

CLARISSAMy dearest Peter Walsh, you are cordially invited -

SEPTIMUS- Evans -

(Septimus approaches Peter.)

CLARISSA- to attend the residence of Mr. and Mrs. Richard Dalloway as we celebrate the month of June.

(Peter holds the letter to the light.)

PETERAre these teardrops?

CLARISSAIt was heavenly to see you this morning and your company tonight would bring great affection to an old friend. Yours very truly, Clarissa Dalloway.

PETERI upset her. When I kissed her hand, cried in front of her, she saw, for a moment, (Pause.) regret...there was envy...how we would have changed the world had we been married. She saw it!

SEPTIMUSI know you hear me, Evans.

PETERI can see her quietly weeping as she mends her dress. The desperation, "Remember my party, Peter." She begs for the past...for me. (Beat.) Or this is a painful nudge. She’s gloating.


CLARISSAMy dearest Peter Walsh, you are cordially invited to attend the residence of Mr. and Mrs. RICHARD DALLOWAY as WE, husband and wife, celebrate the month of June...

SEPTIMUSWhy do you toy with me? -

PETERI hear her handsome voice -

SEPTIMUSI cared for you-

CLARISSAPoor Peter. Poor, poor, Peter Walsh. The charming young man turned failure. It seems there's always a misstep in front of him. (Beat.) Lucy, I intend on sending Peter a pity invitation, so I’ll require the tope writing paper, not the cotton. -

SEPTIMUSI was weak before the war and you took me in your arms and you protected me -

PETEROr perhaps...perhaps, this is -

CLARISSA- nothing more than an invitation to a dinner party. Nothing more, Peter.

SEPTIMUSYou knew who I was...what I was.

PETERBefore our summer in Bourton, in the city, we rode the omnibuses. It gave us an excuse to be alone together. We had a theory as all young people do. Heaps of silly theories.

(Clarissa joins Peter. Lights change to the past.)

CLARISSAPeter, I don't feel like I'm here, here, or here. I feel like I'm everywhere.

PETERClarissa you're falling apart - leaving fractions of yourself all over London.

CLARISSAThis isn’t in jest.

SEPTIMUSYou saw through my shyness.


When I meet someone, anyone, I pull off a piece of myself and give it to that person for them to carry off. The more people I meet, even strangers, the more I can feel myself being pulled apart. I can feel the strain.

SEPTIMUSI gave you all I had and I thought we were…I thought we had…but then you turned to me and kissed my forehead. The enemy was there and you knew, you knew, but you dropped your gun and walked away from me, to them, with arms opens. You left me behind, broken.

CLARISSAWe give ourselves away with each encounter.

SEPTIMUSI have so little left.

CLARISSA SEPTIMUSOnly the unseen parts remain. Only the unseen parts remain.

(Peter kisses Clarissa for the first time. He places his hand on Septimus' head. Big Ben chimes. Scrim lights down; Present. Peter and Clarissa exit. Rezia storms in through the curtains. There's pounding on the door.)

Act II. Scene 5.

REZIAYou cannot come in!

DR. BRADSHAWMrs. Warren Smith, open this door at once!

REZIAMy husband is better! He's cured!

DR. BRADSHAWHe is a sick man, Mrs. Smith!

REZIAYou cannot have him!

DR. BRADSHAWThere's no choice in the matter!

(Rezia curls up on the ground and leans against the door. She quietly cries. Dr. Bradshaw pounds away. Mrs. Dalloway enters. Mrs. Dalloway hums Septimus' song.)


MRS. DALLWAYComing!

(Opens the front door.)

Richard?

RICHARDI left my keys and...well...I thought I would...I needed to bring you these.

(Richard pulls out a bouquet from his back.)

They're roses. Red and white. I remember they're your favorite?

MRS. DALLOWAYThey're lovely!

(Richard enters.)

RICHARDI have something to tell you. I apologize, it's been far too long since I last…

(Richard takes Mrs. Dalloway's hand.)

MRS. DALLOWAYDon't be sorry, darling.

RICHARDClarissa I...

(Pounding on the door.)

MRS. DALLOWAYJust a moment, darling. We can't have the guests waiting at the front door.

RICHARDYes, of course.

(Mrs. Dalloway opens the door. Dr. Bradshaw enters.)

MRS. DALLOWAYSir William Bradshaw!

DR. BRADSHAWGood evening, Mrs. Dalloway. Richard.

RICHARD Virginia Woolf's Mrs. Dalloway by Daniel Roche 9

Dr. Bradshaw.

MRS. DALLOWAYNo Mrs. Bradshaw?

DR. BRADSHAWI'm afraid she came down with an illness in the last hour.

MRS. DALLOWAYYou look quite pale yourself. Is everything all right? Richard, could you fetch the doctor some tea?

DR. BRADSHAWWater, please. I require water.

MRS. DALLOWAYSit down. What happened?

DR. BRADSHAW(Gulps the water.) Earlier there was a minor mishap with one my patients. It was nothing, but I need a...just a moment please...

(Richard pulls Mrs. Dalloway away.)

RICHARDYes, of course. (Beat.) Clarissa, please I must say this.


MRS. DALLOWAYI’m sorry, I am the hostess.

RICHARDClarissa, please!

MRS. DALLOWAYSurely it can wait?


RICHARDBut it can’t.

(Mrs. Dalloway opens the door. Peter enters.)

MRS. DALLOWAYPeter! How heavenly you were able to make it!


PETERGood evening, Mrs. Dalloway. Richard, how are you?

RICHARDPeter, it's good to see you. I trust you had safe travels?

PETERI’m alive and for not that’s enough.

SALLY (O.S.)Mrs. Clarissa Dalloway, protector of the tulip!

CLARISSAIt can't be.

MRS. DALLOWAYSally Seton?

(Sally enters, pregnant, luxuriously dressed. Clarissa rushes in.)

SALLYSeton? I haven't been called that in years. It's Mrs. Brown now, Love.

CLARISSA- Yes you married. It slipped my mind -

MRS. DALLOWAYAnd you're carrying.

SALLYDon't fret...it's nothing. This is actually number five. Most likely another boy. (Beat.) Peter!

(Sally hugs Peter.)

PETERI heard you were tamed - Married, children, Manchester is it?

SALLYYes, my husband owns several cotton mills there. (Beat.) ‘My name is Richard Dalloway.’

(Sally and Richard hug.)

MRS. DALLOWAYThis is angelic...it is delicious you've come. You look -

CLARISSA- rich, happy, chained, blindly content. Virginia Woolf's Mrs. Dalloway by Daniel Roche 9

MRS. DALLOWAYFulfilled.

SALLYI was in the city and when I heard Clarissa was having a party, I felt I couldn't NOT come...must see her again. (Beat.) And who is this?

MRS. DALLOWAYSir William Bradshaw.

(Dr. Bradshaw stands and kisses Sally's hands.)

DR. BRADSHAWHow do you do?

SALLYA pleasure. (Beat.) I mean this in all good kindness...you don't look well, Sir Bradshaw.

DR. BRADSHAWYes, I fear I may be coming down with something. Please excuse me.

(All guests mingle at the party. Dr. Bradshaw slips into the past. Rezia jumps on Dr. Bradshaw. He pushes her off and approaches Septimus.)

REZIASeptimus, he's coming!

(Septimus begins to climb Big Ben.)

DR. BRADSHAWYou're making a fool of yourself, Septimus! Come off the roof!

SEPTIMUSThis is all that remains!

SALLYPeter, tell me about Burma!

PETER SEPTIMUSIt's exhaustingly humid! Compared to the Indians the people are a loincloth away Ee um fah um so.from utter savagery. Foo swee too eem oo.

(Dr. Bradshaw tries to climb after Septimus. Septimus continues to hum the song.)

SALLY DR. BRADSHAW Virginia Woolf's Mrs. Dalloway by Daniel Roche 9

I imagine their humanity, if they have You're a sick man, Septimus. I can help you any, is cruel and disassociated. heal. But you must come down!

PETERPlainly so.

(Richard pulls Mrs. Dalloway away from the group.)

MRS. DALLOWAYRichard, the guests.

RICHARDI…

MRS. DALLOWAYYes?

(All face Richard and Mrs. Dalloway in silence.

Richard takes Mrs. Dalloway's hand.)

I am happy. And this is happiness. This is happiness, Clarissa.

MRS. DALLOWAYI feel the same, Richard. This is happiness. (Beat.) I should attend to the guests.

(Richard, hesitates, kisses Mrs. Dalloway on the cheek.)

RICHARDOff you go then.

(Pounding on the door. Mrs. Dalloway greets the guests as they arrive. They are shadows. Richard silently mingles.)

MRS. DALLOWAYMrs. Walker, how heavenly it is to see you...Mr. and Mrs. Philips, a pleasure...please help yourself...The Whitbreds, it's been ages...

MRS. DALLOWAY CLARISSALady Clarke you're a hyacinth is disguise! I don't feel like I'm here, here, or here. I Mrs. Parkinson! You look splendid! feel like I'm everywhere. Pulled apart pieceLady Lovejoy. Miss Alice. Heavenly. by piece by piece by piece...

SEPTIMUSHuman Nature, you wish to steal what remains of me? Then I'll give it to you!


(Septimus jumps. Rezia screams.)

DR. BRADSHAWCoward!

(Dr. Bradshaw returns to the present, He gulps glass after glass of water. Dinner music and light conversation slowly fade in. Septimus' song. A siren in the distance. The shadows mingle.)

SALLYAnd the Burmese, have they given in yet to civilization?

(Peter shakes his head.)

PETERDo you hear that?

SALLYThe ambulance?

PETERThere is no such sound in all of Asia. That sound is the greatest triumph of our civilization.

SALLYSpeaking of triumph, Clarissa appears to be in her element.

PETERShe was destined to be the perfect hostess.

SALLYShe's more than that, Peter.

(Clarissa is falling apart.)

MRS. DALLOWAY CLARISSAMrs. Barnet you're going to have to tell me Piece by piece by piece by piecewhere you purchased your dress...Miss Alice piece by piece by piece by pieceI was terrified the invitation was lost... piece by piece by piece by pieceSir John and Lady Needham...Miss Weld piece by piece by piece by pieceLord Laxham...Prime Minister, it is an piece by piece by piece by piece.honor!

(Clarissa crumbles completely. All sounds fade.)

PETERIt is Clarissa. For there she is.


(Big Ben chimes.)

Lights out.

End of play.


virginia woolf's mrs. dalloway (stage play)

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