The Inimitable Jeeves, Pelham Grenville Wodehouse [best free e reader TXT] 📗

had experience of one or two of these binges, and didn't want to run any risk of coming early and finding myself shoved into a seat in one of the front rows where I wouldn't be able to execute a quiet sneak into the open air half-way through the proceedings, if the occasion seemed to demand it. I secured a nice strategic position near the door at the back of the hall.

From where I stood I had a good view of the audience. As always on these occasions, the first few rows were occupied by the Nibs—consisting of the Squire, a fairly mauve old sportsman with white whiskers, his family, a platoon of local parsons and perhaps a couple of dozen of prominent pew-holders. Then came a dense squash of what you might call the lower middle classes. And at the back, where I was, we came down with a jerk in the social scale, this end of the hall being given up almost entirely to a collection of frankly Tough Eggs, who had rolled up not so much for any love of the drama as because there was a free tea after the show. Take it for all in all, a representative gathering of Twing life and thought. The Nibs were whispering in a pleased manner to each other, the Lower Middles were sitting up very straight, as if they'd been bleached, and the Tough Eggs whiled away the time by cracking nuts and exchanging low rustic wheezes. The girl, Mary Burgess, was at the piano playing a waltz. Beside her stood the curate, Wingham, apparently recovered. The temperature, I should think, was about a hundred and twenty-seven.

Somebody jabbed me heartily in the lower ribs, and I perceived the man Steggles.

"Hallo!" he said. "I didn't know you were coming down."

I didn't like the chap, but we Woosters can wear the mask. I beamed a bit.

"Oh, yes," I said. "Bingo wanted me to roll up and see his show."

"I hear he's giving us something pretty ambitious," said the man Steggles. "Big effects and all that sort of thing."

"I believe so."

"Of course, it means a lot to him, doesn't it? He's told you about the girl, of course?"

"Yes. And I hear you're laying seven to one against him," I said, eyeing the blighter a trifle austerely.

He didn't even quiver.

"Just a little flutter to relieve the monotony of country life," he said. "But you've got the facts a bit wrong. It's down in the village that they're laying seven to one. I can do you better than that, if you feel in a speculative mood. How about a tenner at a hundred to eight?"

"Good Lord! Are you giving that?"

"Yes. Somehow," said Steggles meditatively, "I have a sort of feeling, a kind of premonition that something's going to go wrong to-night. You know what Little is. A bungler, if ever there was one. Something tells me that this show of his is going to be a frost. And if it is, of course, I should think it would prejudice the girl against him pretty badly. His standing always was rather shaky."

"Are you going to try and smash up the show?" I said sternly.

"Me!" said Steggles. "Why, what could I do? Half a minute, I want to go and speak to a man."

He buzzed off, leaving me distinctly disturbed. I could see from the fellow's eye that he was meditating some of his customary rough stuff, and I thought Bingo ought to be warned. But there wasn't time and I couldn't get at him. Almost immediately after Steggles had left me the curtain went up.

Except as a prompter, Bingo wasn't much in evidence in the early part of the performance. The thing at the outset was merely one of those weird dramas which you dig out of books published around Christmas time and entitled "Twelve Little Plays for the Tots," or something like that. The kids drooled on in the usual manner, the booming voice of Bingo ringing out from time to time behind the scenes when the fatheads forgot their lines; and the audience was settling down into the sort of torpor usual on these occasions, when the first of Bingo's interpolated bits occurred. It was that number which What's-her-name sings in that revue at the Palace—you would recognise the tune if I hummed it, but I can never get hold of the dashed thing. It always got three encores at the Palace, and it went well now, even with a squeaky-voiced child jumping on and off the key like a chamois of the Alps leaping from crag to crag. Even the Tough Eggs liked it. At the end of the second refrain the entire house was shouting for an encore, and the kid with the voice like a slate-pencil took a deep breath and started to let it go once more.

At this point all the lights went out.

*         *         *         *         *

I don't know when I've had anything so sudden and devastating happen to me before. They didn't flicker. They just went out. The hall was in complete darkness.

Well, of course, that sort of broke the spell, as you might put it. People started to shout directions, and the Tough Eggs stamped their feet and settled down for a pleasant time. And, of course, young Bingo had to make an ass of himself. His voice suddenly shot at us out of the darkness.

"Ladies and gentlemen, something has gone wrong with the lights——"

The Tough Eggs were tickled by this bit of information straight from the stable. They took it up as a sort of battle-cry. Then, after about five minutes, the lights went up again, and the show was resumed.

It took ten minutes after that to get the audience back into its state of coma, but eventually they began to settle down, and everything was going nicely when a small boy with a face like a turbot edged out in front of the curtain, which had been lowered after a pretty painful scene about a wishing-ring or a fairy's curse or something of that sort, and started to sing that song of George Thingummy's out of "Cuddle Up." You know the one I mean. "Always Listen to Mother, Girls!" it's called, and he gets the audience to join in and sing the refrain. Quite a ripeish ballad, and one which I myself have frequently sung in my bath with not a little vim; but by no means—as anyone but a perfect sapheaded prune like young Bingo would have known—by no means the sort of thing for a children's Christmas entertainment in the old village hall. Right from the start of the first refrain the bulk of the audience had begun to stiffen in their seats and fan themselves, and the Burgess girl at the piano was accompanying in a stunned, mechanical sort of way, while the curate at her side averted his gaze in a pained manner. The Tough Eggs, however, were all for it.

At the end of the second refrain the kid stopped and began to sidle towards the wings. Upon which the following brief duologue took place:

Young Bingo (Voice heard off, ringing against the rafters): "Go on!"

The Kid (coyly): "I don't like to."

Young Bingo (still louder): "Go on, you little blighter, or I'll slay you!"

I suppose the kid thought it over swiftly and realised that Bingo, being in a position to get at him, had better be conciliated, whatever the harvest might be; for he shuffled down to the front and, having shut his eyes and giggled hysterically, said: "Ladies and gentlemen, I will now call upon Squire Tressidder to oblige by singing the refrain!"

You know, with the most charitable feelings towards him, there are moments when you can't help thinking that young Bingo ought to be in some sort of a home. I suppose, poor fish, he had pictured this as the big punch of the evening. He had imagined, I take it, that the Squire would spring jovially to his feet, rip the song off his chest, and all would be gaiety and mirth. Well, what happened was simply that old Tressidder—and, mark you, I'm not blaming him—just sat where he was, swelling and turning a brighter purple every second. The lower middle classes remained in frozen silence, waiting for the roof to fall. The only section of the audience that really seemed to enjoy the idea was the Tough Eggs, who yelled with enthusiasm. It was jam for the Tough Eggs.

And then the lights went out again.

*         *         *         *         *

When they went up, some minutes later, they disclosed the Squire marching stiffly out at the head of his family, fed up to the eyebrows; the Burgess girl at the piano with a pale, set look; and the curate gazing at her with something in his expression that seemed to suggest that, although all this was no doubt deplorable, he had spotted the silver fining.

The show went on once more. There were great chunks of Plays-for-the-Tots dialogue, and then the girl at the piano struck up the prelude to that Orange-Girl number that's the big hit of the Palace revue. I took it that this was to be Bingo's smashing act one finale. The entire company was on the stage, and a clutching hand had appeared round the edge of the curtain, ready to pull at the right moment. It looked like the finale all right. It wasn't long before I realised that it was something more. It was the finish.

I take it you know that Orange number at the Palace? It goes: