COSTUMES

THE BLUE BIRD

A Fairy Play in Five Acts

by

MAURICE MAETERLINCK

Translated by

Alexander Teixeira de Mattos

CHARACTERS

Tyltyl

Mytyl

Light

The Fairy Berylune

Neighbour Berlingot

Daddy Tyl

Mummy Tyl

Gaffer Tyl [Dead]

Granny Tyl [Dead]

Tyltyl's Brothers and Sisters [Dead]

Time

Night

Neighbour Berlingot's Little Daughter

Tylo, the Dog

Tylette, the Cat

Bread

Sugar

Fire

Water

Milk

The Wolf

The Pig

The Ox

The Cow

The Bull

The Sheep

The Cock

The Rabbit

The Horse

The Ass

The Oak

The Elm

The Beech

The Lime-tree

The Fir-tree

The Cypress

The Birch

The Chestnut-tree

The Ivy

The Poplar

The Willow

Stars, Sicknesses, Shades, etc.

SCENES

ACT IThe Wood-cutter's Cottage.

ACT IIScene 1: At the Fairy's.

Scene 2: The Land of Memory.

ACT IllScene 1: The Palace of Night.

Scene 2: The Forest.

ACT IVScene 1: Before the Curtain.

Scene 2: The Graveyard.

Scene 3: The Kingdom of the Future.

ACT VScene 1: The Leave-taking.

Scene 2: The Awakening.

COSTUMES

TYLTYLwears the dress of Hop-o'-my-Thumb in Perrault's

Tales. Scarlet knickerbockers, pale-blue jacket, white

stockings, tan shoes.

MYTYLis dressed like Gretel or Little Red Riding-hood.

LIGHTThe "moon-coloured" dress in Perrault's Peau d’ane;

that is to say, pale gold shot with silver, shimmering

gauzes, forming a sort of rays, etc. Neo-Grecian or Anglo-

Grecian (a la Walter Crane) or even more or less Empire

style: a high waist, bare arms, etc. Head-dress: a sort of

diadem or even a light crown.

THE FAIRY BERYLUNEand NEIGHBOUR BERLINGOTThe traditional

dress of the poor women in fairytales. If desired, the

transformation of the Fairy into a princess in Act I may be

omitted.

DADDY TYL, MUMMY TYL, GAFFER TYLand GRANNY TYLThe

traditional Costume of the German woodcutters and peasants in

Grimm's Tales.

TYLTYL'S BROTHERSand SISTERSDifferent forms of the Hop-o'-

my-Thumb costume.

TIMETraditional dress of Time: a wide black or dark-blue

cloak, a streaming white beard, scythe and hour-glass.

NIGHTAmple black garments, covered with mysterious stars and

"shot" with reddish-brown reflections. Veils, dark poppies,

etc.

THE NEIGHBOUR'S LITTLE GIRLBright fair hair; a long white

frock.

THE DOGRed dress-coat, white breeches, top-boots, a shiny

hat. The costume suggests that of John Bull.

THE CATThe costume of Puss-in-Boots: powdered wig, threecornered

hat, violet or sky-blue coat, dress-sword, etc.

N.B.The heads of the DOGand the CATshould be only

discreetly animalised.

BREADA rich pasha's dress. An ample crimson silk or velvet

gown. A huge turban. A scimitar. An enormous stomach, red and

puffed-out cheeks.

SUGARA silk gown, cut like that of a eunuch in a seraglio,

half blue and half white, to suggest the paper wrapper of a

sugar-loaf. Eunuch's head-dress.

FIRERed tights, a vermilion cloak with changing reflections,

lined with gold. An aigrette of iridescent flames.

WATERA pale-blue or bluish-green dress, with transparent

reflections and effects of rippling or trickling gauze. Neo-

Grecian or Anglo-Grecian style, but fuller and more

voluminous than that of LIGHT. Head-dress of aquatic flowers

and seaweed.

THE ANIMALSPopular or peasant costumes.

THE TREESDresses of different shades of green or the colour

of the trunks of trees. Distinctive attributes in the shape

of leaves or branches by which they can be recognised.

ACT I

The Wood-cutter's Cottage. The stage represents the interior of a woodcutter's

cottage, simple and rustic in appearance, but in no way poverty-stricken. A recessed

fireplace containing the dying embers of a woodfire. Kitchen utensils, a cupboard, a bread-pan, a grandfather's clock, a spinning-wheel, a water-tap, etc. On a table, a lighted lamp. At the foot of the cupboard, on either side, a DOG and a CAT lie sleeping, rolled up, each with his nose in his tail. Between them stands a large blue-and-white sugar-loaf. On the wall hangs a round cage containing a turtle-dove. At the back, two windows, with closed inside shutters. Under one of the windows, a stool. On the left is the front door, with a big latch to it. On the right, another door. A ladder leads up to a loft. On the right also are two little children's cots, at the head of which are two chairs, with clothes carefully folded on them. When the curtain rises, TYLTYL and MYTYL are sound asleep in their cots. MUMMY TYL tucks them in, leans over them, watches them for a moment as they sleep and beckons to DADDY TYL, who thrusts his head through the half-open door. MUMMY TYL lays a finger on her lips, to impose silence upon him, and then goes out to the right, on tiptoe, after first putting out the lamp. The scene remains in darkness for a moment. Then a light, gradually increasing in intensity, filters in through the shutters. The lamp on the table lights again of itself, but its light is of a different colour than when MUMMY TYL extinguished it. The two CHILDREN appear to wake and sit up in bed.

TYLTYL

Mytyl?

MYTYL

Tyltyl?

TYLTYL

Are you asleep?

MYTYL

Are you?

TYLTYL

No; how can I be asleep when I'm talking to you?

MYTYL

Say, is this Christmas Day?

TYLTYL

Not yet; not till tomorrow. But Father Christmas won't bring us anything this year.

MYTYL

Why not?

TYLTYL

I heard mummy say that she couldn't go to town to tell him.... But he will come next year.

MYTYL

Is next year far off?

TYLTYL

A good long while.... But he will come to the rich children tonight.

MYTYL

Really?

TYLTYL

Hullo!... Mummy's forgotten to put out the lamp!... I've an idea!

MYTYL

What?

TYLTYL

Let's get up.

MYTYL

But we mustn't.

TYLTYL

Why, there's no one about.... Do you see the shutters?

MYTYL

Oh, how bright they are!

TYLTYL

It's the lights of the party.

MYTYL

What party?

TYLTYL

The rich children opposite. It's the Christmas Tree. Let's open the shutters.

MYTYL

Can we?

TYLTYL

Of course; there's no one to stop us.... Do you hear the music?... Let us get up.

The two CHILDREN get up, run to one of the windows, climb on to the stool and throw back the shutters. A bright light fills the room. The CHILDREN look out greedily.

TYLTYL

We can see everything!

MYTYL

(who can hardly find room on the stool) I can't.

TYLTYL

It's snowing!... There's two carriages, with six horses each!

MYTYL

There are twelve little boys getting out!

TYLTYL

How silly you are!... They're little girls.

MYTYL

They've got knickerbockers.

TYLTYL

What do you know?... Don't push so!

MYTYL

I never touched you.

TYLTYL

(who is taking up the whole stool) You're taking up all the room.

MYTYL

Why, I have no room at all!

TYLTYL

Do be quiet! I see the tree!

MYTYL

What tree?

TYLTYL

Why, the Christmas Tree!... You're looking at the wall!

MYTYL

I'm looking at the wall because I've got no room.

TYLTYL

(giving her a miserly little place on the stool) There!... Will that do?... Now you're better off than I!... Isay, what lots and lots of lights!

MYTYL

What are those people doing who are making such a noise?

TYLTYL

They're the musicians.

MYTYL

Are they angry?

TYLTYL

No; but it's hard work.

MYTYL

Another carriage with white horses!

TYLTYL

Be quiet!... And look!

MYTYL

What are those gold things there, hanging from the branches?

TYLTYL

Why, toys, to be sure!... Swords, guns, soldiers, cannons.

MYTYL

And dolls; say, are there any dolls?

TYLTYL

Dolls?... That's too silly; there's no fun in dolls.

MYTYL

And what's that all round the table?

TYLTYL

Cakes and fruit and tarts.

MYTYL

I had some once when I was little.

TYLTYL

So did I; it's nicer than bread, but they don't give you

enough.

MYTYL

They've got plenty over there.... The whole table's full.... Are they going to eat them?

TYLTYL

Of course; what else would they do with them?

MYTYL

Why don't they eat them at once?

TYLTYL

Because they're not hungry.

MYTYL

(stupefied with astonishment) Not hungry?... Why not?

TYLTYL

Well, they eat whenever they want to.

MYTYL

(incredulously) Every day?

TYLTYL They say so.

MYTYL

Will they eat them all?... Will they give any away?

TYLTYL

To whom?

MYTYL

To us.

TYLTYL

They don't know us.

MYTYL

Suppose we asked them.

TYLTYL

We mustn't.

MYTYL

Why not?

TYLTYL

Because it's not right.

MYTYL

(clapping her hands) Oh, how pretty they are!

TYLTYL

(rapturously) And how they're laughing and laughing!

MYTYL

And the little ones dancing!

TYLTYL

Yes, yes; let's dance too! They stamp their feet for joy on the stool.

MYTYL

Oh, what fun!

TYLTYL

They're getting the cakes!... They can touch them!... They're eating, they're eating, they're eating!

MYTYL

The tiny ones, too!... They've got two, three, four apiece!

TYLTYL

(drunk with delight) Oh, how lovely!... Oh, how lovely, how lovely!

MYTYL

(counting imaginary cakes) I've got twelve!

TYLTYL

And I four times twelve!... But I'll give you some. A knock at the door of the cottage.

TYLTYL

(suddenly quieted and frightened) What's that?

MYTYL

(scared)

It's Daddy!

As they hesitate before opening the door, the big latch is seen to rise of itself, with a grating

noise; the door half opens to admit a little old woman dressed in green with a red hood on her head. She is humpbacked and lame and near-sighted; her nose and chin meet; and she walks bent on a stick. She is obviously a fairy.

THE FAIRY

Have you the grass here that sings or the bird that is blue?

TYLTYL

We have some grass, but it can't sing.

MYTYL

Tyltyl has a bird.

TYLTYL

But I can't give it away.

THE FAIRY

Why not?

TYLTYL

Because it's mine.

THE FAIRY

That's a reason, no doubt. Where is the bird?

TYLTYL

(pointing to the cage) In the cage.

THE FAIRY

(putting on her glasses to examine the bird) I don't want it; it's not blue enough. You will have to go and find me the one I want.

TYLTYL

But I don't know where it is.

THE FAIRY

No more do I. That's why you must look for it. I can do without the grass that sings, at a pinch; but I must absolutely have the blue bird. It's for my little girl, who is very ill.

TYLTYL

What's the matter with her?

THE FAIRY

We don't quite know; she wants to be happy.

TYLTYL

Really?

THE FAIRY

Do you know who I am?

TYLTYL

You're rather like our neighbour, Madame Berlingot.

THE FAIRY

(growing suddenly angry) Not a bit!... There's not the least likeness!... This isintolerable!... I am the Fairy Berylune.

TYLTYL

Oh! Very well.

THE FAIRY

You will have to start at once.

TYLTYL

Are you coming with us?

THE FAIRY

I can't, because I put on the soup this morning and it always boils over if I leave it for more than hour. (Pointing successively to the ceiling, the chimney and the window) Will you go out this way, or that way, or that way?

TYLTYL

(pointing timidly to the door) I would rather go out that way.

THE FAIRY

(growing suddenly angry again) That's quite impossible; and it's a shocking habit! (Pointing to the window) We'll go out this way.... Well?... What are you waitingfor?... Get dressed at once.

(The CHILDREN do as they are told and dress quickly)

I'll help Mytyl.

TYLTYL

We have no shoes.

THE FAIRY

That doesn't matter. I will give you a little magic hat. Where are your father and mother?

TYLTYL

(pointing to the door on the right) They're asleep in there.

THE FAIRY

And your grandpapa and grandmamma?

TYLTYL

They're dead.

THE FAIRY

And your little brothers and sisters.... Have you any?

TYLTYL

Oh, yes; three little brothers.

MYTYL

And four little sisters.

THE FAIRY

Where are they?

TYLTYL

They are dead, too.

THE FAIRY

Would you like to see them again?

TYLTYL

Oh, yes!... At once!... Show them to us!

THE FAIRY

I haven't got them in my pocket.... But this is very lucky; you will see them when you go through the Land of Memory.... It's on the way to the Blue Bird, just on the left, past the third turning.... What were you doing when I knocked?

TYLTYL

We were playing at eating cakes?

THE FAIRY

Have you any cakes?... Where are they?

TYLTYL

In the house of the rich children.... Come and look, it's so lovely. (He drags the FAIRY to the window)

THE FAIRY

(at the window) But it's the others who are eating them!

TYLTYL

Yes; but we can see them eat.

THE FAIRY

Aren't you cross with them?

TYLTYL

What for?

THE FAIRY

For eating all the cakes.... I think it's very wrong of them not to give you some.

TYLTYL

Not at all; they're rich.... I say, isn't it beautiful over

there?

THE FAIRY

It's no more beautiful there than here.

TYLTYL

Ugh!... It's darker here and smaller and there are no cakes.

THE FAIRY

It's exactly the same, only you can't see.

TYLTYL

Yes, I can; and I have very good eyes. I can see the time on the church clock and daddy can't.

THE FAIRY

(suddenly angry) I tell you that you can't see!... How do you see me?... Whatdo I look like?

(An awkward silence from TYLTYL) Well, answer me, will you? I want to know if you can see!...Am I pretty or ugly? (The silence grows more and more uncomfortable) Won't you answer?... Am I young or old?... Are my cheeks pinkor yellow?... Perhaps you'll say I have a hump?

TYLTYL

(in a conciliatory tone) No, no; it's not a big one.

THE FAIRY

Oh, yes, to look at you, any one would think it enormous.... Have I a hook nose and have I lost one of my eyes?

TYLTYL

Oh, no, I don't say that.... Who put it out?

THE FAIRY

(growing more and more irritated) But it's not out!... You wretched, impudent boy!... It's much

finer than the other; it's bigger and brighter and blue as the sky.... And my hair, do you see that?... It's fair as the corn in the fields, it's like virgin gold!... And I've such heaps and heaps of it that it weighs my head down.... It escapes on every side.... Do you see it on my hands? (She holds out two lean wisps of grey hair)

TYLTYL

Yes, I see a little.

THE FAIRY

(indignantly) A little!... Sheaves! Armfuls! Clusters! Waves of gold!... Iknow there are people who say that they don't see any; butyou're not one of those wicked, blind people, I should hope?

TYLTYL

Oh, no; I can see all that isn't hidden.

THE FAIRY

But you ought to see the rest with as little doubt!... Human beings are very odd!... Since the death of the fairies, they see nothing at all and they never suspect it.... Luckily, I always carry with me all that is wanted to give new light to dimmed eyes.... What am I taking out of my bag?

TYLTYL

Oh, what a dear little green hat!... What's that shining in the cockade?

THE FAIRY

That's the big diamond that makes people see.

TYLTYL

Really?

THE FAIRY

Yes; when you've got the hat on your head, you turn the diamond a little; from right to left, for instance, like this; do you see?... Then it presses a bump which nobody knows of and which opens your eyes.

TYLTYL

Doesn't it hurt?

THE FAIRY

On the contrary, it's enchanted.... You at once see even the inside of things: the soul of bread, of wine, of pepper, for instance.

MYTYL

Can you see the soul of sugar, too?

THE FAIRY

(suddenly cross)

Of course you can!... I hate unnecessary questions.... The soul of sugar is no more interesting than the soul of pepper.... There, I give you all I have to help you in your search for the Blue Bird. I know that the flying carpet or the ring which makes its wearer invisible would be more

useful to you.... But I have lost the key of the cupboard in which I locked them.... Oh, I was almost forgetting? (Pointing to the diamond) When you hold it like this, do you see?... One little turn more and you behold the past.... Another little turn and you behold the future.... It's curious and practical and it's quite noiseless.

TYLTYL

Daddy will take it from me.

THE FAIRY

He won't see it; no one can see it as long as it's on your head.... Will you try it? (She puts the little green hat on TYLTYL's head) Now, turn the diamond.... One turn and then.

TYLTYL has no sooner turned the diamond than a sudden and wonderful change comes over everything. The old FAIRY alters then and there into a princess of marvellous beauty; the flints of which the cottage walls are built light up, turn blue as sapphires, become transparent and gleam and sparkle like the most precious stones. The humble furniture takes life and becomes resplendent; the deal table assumes as grave and noble an air as a table made of marble; the face of the clock winks its eye and smiles genially, while the door that contains the pendulum opens and releases the Hours, which, holding one another by the hand and laughing merrily, begin to dance to the sound of delicious music.

TYLTYL

(displaying a legitimate bewilderment and pointing to the Hours) Who are all those pretty ladies?

THE FAIRY

Don't be afraid; they are the hours of your life and they are glad to be free and visible for a moment.

TYLTYL

And why are the walls so bright?... Are they made of sugar or of precious stones?

THE FAIRY

All stones are alike, all stones are precious; but man sees only a few of them.

While they are speaking, the scene of enchantment continues and is completed. The souls of the Quartern-loaves, in the form of little men in crustcoloured tights, flurried and all powdered with flour, scramble out of the bread-pan and frisk round the table, where they are caught up by FIRE, who, springing from the hearth in yellow and vermilion tights, writhes with laughter as he chases the loaves.

TYLTYL

Who are those ugly little men?

THE FAIRY

Oh, they're nothing; they are merely the souls of the Quartern-loaves, who are taking advantage of the reign of truth to leave the pan in which they were too tightly packed.

TYLTYL

And the big red fellow, with the nasty smell?

THE FAIRY

Hush!... Don't speak too loud; that's Fire.... He's dangerous.

This dialogue does not interrupt the enchantment. The DOG and the CAT, lying rolled up at the foot of the cupboard, utter a loud and simultaneous cry and disappear down a trap; and in their places rise two persons, one of whom has the face of a bulldog, the other that of a tom-cat. Forthwith, the little man with the bull-dog face, whom we will henceforward call the DOG, rushes upon TYLTYL, kisses him violently and overwhelms him with noisy and impetuous caresses; while the little man with the face of a tom-cat, whom we will simply call the CAT, combs his hair, washes his hands and strokes his whiskers, before going up to MYTYL.

THE DOG

(yelling, jumping about, knocking up against everything, unbearable)

My little god!... Good-morning, good-morning, my dear little god!... At last, at last we can talk!... I had so much to tell you!... Bark and wag my tail as I might, you never (MORE) understood!... But now!... Good-morning, good-morning!... I love you!... Shall I do some of my tricks?... Shall I beg?... Would you like to see me walk on my front paws or dance on my hind-legs?

TYLTYL

(to the FAIRY) Who is this gentleman with the dog's head?

THE FAIRY

Don't you see? It's the soul of Tylo, whom you have set free.

THE CAT

(going up to MYTYL and putting out his hand to her, with much ceremony and circumspection)

Good-morning, Miss.... How well you look this morning!

MYTYL

Good-morning, sir. (To the FAIRY) Who is it?

THE FAIRY

Why, don't you see? Its the soul of Tylette offering you his hand.... Kiss him.

THE DOG

(hustling the CAT) Me, too!... I've kissed the little god!... I've kissed thelittle girl!... I've kissed everybody!... Oh, grand!... Whatfun we shall have!... I'm going to frighten Tylette! Bow,wow, wow!

THE CAT

Sir, I don't know you.

THE FAIRY

(threatening the DOG with her stick) Keep still, will you, or else you'll go back into silenceuntil the end of time. Meanwhile, the enchantment has pursued its course: the spinning-wheel has begun to turn madly in its corner and to spin brilliant rays of light; the tap, in another corner, begins to sing in a very high voice and, turning into a luminous fountain, floods the sink with sheets of pearls and emeralds, through which darts the soul of WATER, like a young girl, streaming, dishevelled and tearful, who immediately begins to fight with FIRE.

TYLTYL

And who is that wet lady?

THE DOG (cont'd)

THE FAIRY

Don't be afraid, it's Water just come from the tap. The milk-jug upsets, falls from the table and

smashes on the floor; and from the spilt milk there rises a tall, white, bashful figure who seems to be afraid of every thing.

TYLTYL

And the frightened lady in her nightgown?

THE FAIRY

That's Milk; she has broken her jug. The sugar-loaf, at the foot of the cupboard, grows taller and wider and splits its paper wrapper, whence issues a mawkish and hypocritical being, dressed in a long coat half blue and half white, who goes up to MYTYL with a sanctimonious smile.

MYTYL

(greatly alarmed) What does he want?

THE FAIRY

Why, he is the soul of Sugar!

MYTYL

(reassured)

Has he any barley-sugar?

THE FAIRY

His pockets are full of it and each of his fingers is a sugarstick. The lamp falls from the table and, at the same moment, its flame springs up again and turns into a luminous maid of incomparable beauty. She is dressed in long transparent and dazzling veils and stands motionless in a sort of ecstasy.

TYLTYL

It's the Queen!

MYTYL

It's the Blessed Virgin!

THE FAIRY

No, my children; it's Light. Meanwhile, the saucepans on the shelves spin round like tops; the linen-press throws open its foldingdoors and unrolls a magnificent display of moon-coloured and sun-coloured stuffs, with which mingles a no less splendid array of rags and tatters that come down the ladder from the loft. But, suddenly, three loud knocks are heard on the door at the right.

TYLTYL

(alarmed) That's daddy!... He's heard us?

THE FAIRY

Turn the diamond!... From left to right! (TYLTYL turns the diamond quickly) Not so quick!... Heavens! It's too late!... You turned it too briskly; they will not have time to resume their places and we shall have a lot of annoyance. The FAIRY becomes an old woman again, the walls of

the cottage lose their splendour. The Hours go back into the clock, the spinning-wheel stops, etc. But, in the general hurry and confusion, while FIRE runs madly round the room, looking for the chimney, one of the loaves of bread, who has been unable to squeeze into the pan, bursts into sobs and utters roars of fright.

THE FAIRY

What's the matter?

BREAD

(in tears) There's no room in the pan!

THE FAIRY

(stooping over the pan) Yes, there is; yes, there is. (Pushing the other loaves, which have resumed their original places) Come, quick, make room there. The knocking at the door is renewed.

BREAD

(utterly scared, vainly struggling to enter the pan) I can't get in!... He'll eat me first!

THE DOG

(frisking round TYLTYL) My little god!... I am still here!... I can still talk!... Ican still kiss you!... Once more! Once more! Once more!

THE FAIRY

What, you too?... Are you there still?

THE DOG

What luck!... I was too late to return to silence; the trap closed too quickly.

THE CAT

So did mine... What is going to happen?... Is there any danger?

THE FAIRY

Well, I'm bound to tell you the truth: all those who accompany the two children will die at the end of the journey.

THE CAT

(to the DOG) Come, let us get back into the trap.

THE DOG

No, no!... I won't!... I want to go with the little god!... I want to talk to him all the time!

THE CAT

Idiot! More knocking at the door.

BREAD

(shedding bitter tears) I don't want to die at the end of the journey!... I want toget back at once into my pan!

FIRE

(who has done nothing but run madly round the room, hissing with anguish) I can't find my chimney!

WATER

(vainly trying to get into the tap) I can't get into the tap!

SUGAR

(hovering round his paper wrapper) I've burst my packing-paper!

MILK

(lymphatically and bashfully) Somebody's broken my little jug!

THE FAIRY

Goodness me, what fools they are!... Fools and cowards too!... So you would rather go on living in your ugly boxes, in your traps and taps, than accompany the children in search of the bird?

ALL

(excepting the DOG and LIGHT)

Yes, yes! Now, at once!... My tap!... My pan!... My chimney!... My trap!

THE FAIRY

(to LIGHT, who is dreamily gazing at the wreckage of her lamp) And you, Light, what do you say?

LIGHT

I will go with the children.

THE DOG

(yelling with delight) I too!... I too!

THE FAIRY

That's right.... Besides, it's too late to go back; you have no choice now, you must all start with us.... But you, Fire, don't come near anybody; you, Dog, don't tease the Cat; and you, Water, hold yourself up and try not to run all over the place. A violent knocking is again heard at the door on the right.

TYLTYL

(listening) There's daddy again!... He's getting up this time; I can hearhim walking.

THE FAIRY

Let us go out by the window.... You shall all come to my house, where I will dress the Animals and the Things properly. (To BREAD) You, Bread, take the cage in which to put the Blue Bird....

It will be in your charge.... Quick, quick, let us waste no time.

The window suddenly lengthens downwards, like a door. They all go out; after which the window resumes its primitive shape and closes quite innocently. The room has become dark again and the two cots are steeped in shadow. The door on the right opens ajar and in the aperture appear the heads of DADDY and MUMMY TYL.

DADDY TYL

It was nothing.... It's the cricket chirping.

MUMMY TYL

Can you see them?

DADDY TYL

I can.... They are sleeping quite quietly.

MUMMY TYL

I can hear their breathing. The door closes again.

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