Jill the Reckless by P. G. Wodehouse (best historical biographies .txt) 📕

remember his name even now. John Grant? Memory failed to produce any juvenile John Grant for her inspection.

Puzzling over this problem, Jill missed much of the beginning of the second act. Hers was a detachment which the rest of the audience would gladly have shared. For the poetic drama, after a bad start, was now plunging into worse depths of dullness. The coughing had become almost continuous. The stalls, supported by the presence of large droves of Sir Chester's personal friends, were struggling gallantly to maintain a semblance of interest, but the pit and gallery had plainly given up hope. The critic of a weekly paper of small circulation, who had been shoved up in the upper circle, grimly jotted down the phrase "apathetically received" on his programme. He had come to the theatre that night in an aggrieved mood, for managers usually put him in the dress-circle. He got out his pencil again. Another phrase had occurred to him, admirable for the opening of his article. "At the Leicester Theatre," he wrote, "where Sir Chester Portwood presented 'Tried by Fire,' dullness reigned supreme...."

But you never know. Call no evening dull till it is over.[45] However uninteresting its early stages may have been that night was to be as animated and exciting as any audience could desire—a night to be looked back to and talked about, for just as the critic of London Gossip wrote those damning words on his programme, guiding his pencil uncertainly in the dark, a curious yet familiar odour stole over the house.

The stalls got it first, and sniffed. It rose to the dress-circle, and the dress-circle sniffed. Floating up, it smote the silent gallery. And, suddenly, coming to life with a single-minded abruptness, the gallery ceased to be silent.

"Fire!"

Sir Chester Portwood, ploughing his way through a long speech, stopped and looked apprehensively over his shoulder. The girl with the lisp, who had been listening in a perfunctory manner to the long speech, screamed loudly. The voice of an unseen stage-hand called thunderously to an invisible "Bill" to commere quick. And from the scenery on the prompt side there curled lazily across the stage a black wisp of smoke.

"Fire! Fire! Fire!"

"Just," said a voice at Jill's elbow, "what the play needed!" The mysterious author was back in his seat again.

CHAPTER III JILL AND THE UNKNOWN ESCAPE I

In these days when the authorities who watch over the welfare of the community have taken the trouble to reiterate encouragingly in printed notices that a full house can be emptied in three minutes and that all an audience has to do in an emergency is to walk, not run, to the nearest exit, fire in the theatre has lost a good deal of its old-time terror. Yet it would be paltering with the truth to say that the audience which had assembled to witness the opening performance of the new play at the Leicester was entirely at its ease. The asbestos curtain was already on its way down, which should have been reassuring: but then asbestos curtains never look the part. To the lay eye they seem just the sort of thing that will blaze quickest. Moreover, it had[46] not yet occurred to the man at the switchboard to turn up the house-lights, and the darkness was disconcerting.

Portions of the house were taking the thing better than other portions. Up in the gallery a vast activity was going on. The clatter of feet almost drowned the shouting. A moment before it would have seemed incredible that anything could have made the occupants of the gallery animated, but the instinct of self-preservation had put new life into them.

The stalls had not yet entirely lost their self-control. Alarm was in the air, but for the moment they hung on the razor-edge between panic and dignity. Panic urged them to do something sudden and energetic; dignity counselled them to wait. They, like the occupants of the gallery, greatly desired to be outside, but it was bad form to rush and jostle. The men were assisting the women in their cloaks, assuring them the while that it was "all right" and that they must not be frightened. But another curl of smoke had crept out just before the asbestos curtain completed its descent, and their words lacked the ring of conviction. The movement towards the exits had not yet become a stampede, but already those with seats nearest the stage had begun to feel that the more fortunate individuals near the doors were infernally slow in removing themselves.

Suddenly, as if by mutual inspiration, the composure of the stalls began to slip. Looking from above, one could have seen a sort of shudder run through the crowd. It was the effect of every member of that crowd starting to move a little more quickly.

A hand grasped Jill's arm. It was a comforting hand, the hand of a man who had not lost his head. A pleasant voice backed up its message of reassurance.

"It's no good getting into that mob. You might get hurt. There's no danger; the play isn't going on."

Jill was shaken; but she had the fighting spirit and hated to show that she was shaken. Panic was knocking at the door of her soul, but dignity refused to be dislodged.

"All the same," she said, smiling a difficult smile, "it would be nice to get out, wouldn't it?"

"I was just going to suggest something of that very sort," said the man beside her. "The same thought occurred to me. We can stroll out quite comfortably by our own private route. Come along."[47]

Jill looked over her shoulder. Derek and Lady Underhill were merged into the mass of refugees. She could not see them. For an instant a little spasm of pique stung her at the thought that Derek had deserted her. She groped her way after her companion, and presently they came by way of a lower box to the iron pass-door leading to the stage.

As it opened, smoke blew through, and the smell of burning was formidable. Jill recoiled involuntarily.

"It's all right," said her companion. "It smells worse than it really is. And, anyway, this is the quickest way out."

They passed through on to the stage, and found themselves in a world of noise and confusion compared with which the auditorium which they had left had been a peaceful place. Smoke was everywhere. A stage-hand, carrying a bucket, lurched past them, bellowing. From somewhere out of sight on the other side of the stage there came a sound of chopping. Jill's companion moved quickly to the switchboard, groped, found a handle, and turned it. In the narrow space between the corner of the proscenium and the edge of the asbestos curtain lights flashed up: and simultaneously there came a sudden diminution of the noise from the body of the house. The stalls, snatched from the intimidating spell of the darkness and able to see each other's faces, discovered that they had been behaving indecorously and checked their struggling, a little ashamed of themselves. The relief would be only momentary, but, while it lasted, it postponed panic.

"Go straight across the stage," Jill heard her companion say, "out along the passage and turn to the right, and you'll be at the stage-door. I think, as there seems no one else around to do it, I'd better go out and say a few soothing words to the customers. Otherwise they'll be biting holes in each other."

He squeezed through the narrow opening in front of the curtain.

"Ladies and gentlemen!"

Jill remained where she was, leaning with one hand against the switchboard. She made no attempt to follow the directions he had given her. She was aware of a sense of comradeship, of being with this man in this adventure. If he stayed, she must stay. To go now through the safety of the stage-door would be abominable desertion. She listened, and found that she could hear plainly in spite of the noise. The smoke was worse than ever, and hurt her eyes, so that the figures of[48] the theatre-firemen, hurrying to and fro, seemed like Brocken spectres. She slipped a corner of her cloak across her mouth, and was able to breathe more easily.

"Ladies and gentlemen, I assure you that there is absolutely no danger. I am a stranger to you, so there is no reason why you should take my word, but fortunately I can give you solid proof. If there were any danger, I wouldn't be here. All that has happened is that the warmth of your reception of the play has set a piece of scenery alight...."

A crimson-faced stage-hand, carrying an axe in blackened hands, roared in Jill's ear.

"'Op it!" shouted the stage-hand. He cast his axe down with a clatter. "Can't you see the place is afire?"

"But—but I'm waiting for...." Jill pointed to where her ally was still addressing an audience that seemed reluctant to stop and listen to him.

The stage-hand squinted out round the edge of the curtain.

"If he's a friend of yours, miss, kindly get 'im to cheese it and get a move on. We're clearing out. There's nothing we can do. It's got too much of an 'old. In about another two ticks the roof's going to drop on us."

Jill's friend came squeezing back through the opening.

"Hullo! Still here?" He blinked approvingly at her through the smoke. "You're a little soldier! Well, Augustus, what's on your mind?"

The simple question seemed to take the stage-hand aback.

"Wot's on my mind? I'll tell you wot's on my blinking mind...."

"Don't tell me. Let me guess. I've got it! The place is on fire!"

The stage-hand expectorated disgustedly. Flippancy at such a moment offended his sensibilities.

"We're 'opping it," he said.

"Great minds think alike! We are hopping it, too."

"You'd better! And damn quick!"

"And, as you suggest, damn quick. You think of everything!"

Jill followed him across the stage. Her heart was beating violently. There was not only smoke now, but heat. Across the stage little scarlet flames were shooting, and something large and hard, unseen through the smoke, fell with a crash. The air was heavy with the smell of burning paint.[49]

"Where's Sir Chester Portwood?" enquired her companion of the stage-hand, who hurried beside them.

"'Opped it!" replied the other briefly, and coughed raspingly as he swallowed smoke.

"Strange," said the man in Jill's ear, as he pulled her along. "This way. Stick to me. Strange how the drama anticipates life! At the end of Act Two there was a scene where Sir Chester had to creep sombrely out into the night, and now he's gone and done it! Ah!"

They had stumbled through a doorway and were out in a narrow passage, where the air, though tainted, was comparatively fresh. Jill drew a deep breath. Her companion turned to the stage-hand and felt in his pocket.

"Here." A coin changed hands. "Go and get a drink. You need it after all this."

"Thank you, sir."

"Don't mention it. You've saved our lives. Suppose you hadn't come up and told us, and we had never noticed there was a fire!" He turned to Jill. "Here's the stage-door. Shall we creep sombrely out into the night?"

The guardian of the stage-door was standing in the entrance of his little hutch, plainly perplexed. He was a slow thinker and a man whose life was ruled by routine, and the events of the evening had left him uncertain how to act.

"Wot's all this about a fire?" he demanded.

Jill's friend stopped.

"A fire?" He looked at Jill. "Did you hear anything about a fire?"

"They all come bustin' past 'ere yelling there's a fire," persisted the door-man.

"By George! Now I come to think of it, you're perfectly right! There is a fire! If you wait here a little longer you'll get it in the small of the back. Take the advice of an old friend who means you well and vanish. In the inspired words of the lad we've just parted from, 'op it!"

The stage-door man turned this over in his mind for a space.

"But I'm supposed to stay 'ere till eleven-thirty and lock up!" he said. "That's what I'm supposed to do. Stay 'ere till eleven-thirty and lock up! And it ain't but ten forty-five now."

"I see the difficulty," said Jill's companion thoughtfully.[50]

"Well, Casabianca, I'm afraid I don't see how to help you. It's a matter for your own conscience. I don't want to lure you from the burning deck; on the other hand, if you stick on here you'll most certainly be fired on both sides.... But, tell me. You spoke about locking up something at eleven-thirty. What are you supposed to lock up?"

"Why, the theatre."

"Then that's all right. By eleven-thirty there won't be a theatre. If I were you, I should leave quietly and unostentatiously now. To-morrow, if you wish it, and if they've cooled off sufficiently, you can come