## SCENES

### ACT ONE

Scene 1. Sitting-room of the Miller home in a large small-town in Connecticut -- early morning, July 4th, 1906.

Scene 2. Dining-room of the Miller home -- evening of the same day.

### ACT TWO

Scene 1. Back room of a bar in a small hotel -- 10 o'clock the same night.

Scene 2. Same as Scene 1. -- Sitting-room a little after 11 o'clock the same night.

### ACT THREE

Scene 1. Same as Scenes 1 and 4 -- about one o'clock the following afternoon.

Scene 2. A strip of beach on the harbor -- about 9 o'clock that night.

Scene 3. Same as Scenes 1, 4 and 5 -- Sitting-room of the Miller home -- around 10 o'clock the same night.

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9

GUILD THEATRE

"EN AVION" (FLYING) CREATED BY CARON PARIS

"Mary of Scotland"

The Theatre Guild, which presents "Ah, Wilderness!", will offer in mid-November another play of world-wide importance, "Mary of Scotland," by Maxwell Anderson, with Helen Hayes and Philip Merivale in the leading roles.

"Mary of Scotland" is Mr. Anderson's first play since "Both Your Houses," his amusing and somewhat caustic study of politics which the Guild presented last year and for which the playwright was awarded the Pulitzer Prize. It is the second time Mr. Anderson has dipped into English history with his tremendous pen. Theatre-goers will remember with pleasure his "Elizabeth, The Queen," which the Guild presented in 1930 with Alfred Lunt and Lynn Fontanne in the leading roles.

For the title role, the Guild brings back to the legitimate stage Miss Hayes, whose poignant performances have won her a high place in the American theatre. Since her appearance here in "The Good Fairy" season before last she has devoted herself to motion picture work. Mr. Merivale also has recently returned from Hollywood. He was last seen in New York in the very successful "Cynara."

The play will be directed by Theresa Helburn. The settings and costumes will be by Robert Edmond Jones. The theatre at which "Mary of Scotland" will open will be announced later.

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## ACT ONE

### Scene 1.

Sitting-room of the Miller home in
a large small-town in Connecticut --
about seven-thirty in the morning
of July 4th, 1906.

The room is fairly large, homely
looking and cheerful in the morning
sunlight, furnished with scrupulous
medium-priced tastelessness of the
period. Beneath the two windows at
right, front, a sofa with silk and
satin cushions stands against the
wall. At rear of sofa, a bookcase
with glass doors, filled with cheap
sets, extends along the remaining
length of wall. In the rear wall,
right, is a double doorway with
sliding doors and portieres, leading
into a dark, windowless, back parlor.
At left of this doorway, another
bookcase, this time a small, open
one, crammed with boys' and girls'
books and the best-selling novels
of many past years -- books the family
really have read. To the left of this
bookcase is the mate of the double
doorway at its right, with sliding
doors and portieres, this one lead-
ing to a well-lighted front parlor.
In the left wall, rear, a screen door
opens on a porch. Farther forward in
this wall are two windows, with a
writing desk and a chair between them.
At center is a big, round table with
a green shaded reading lamp, the cord
of the lamp running up to one of five
sockets in the chandelier above. Five
chairs are grouped around the table --
three rockers at left, right, and left
rear of it, two armchairs at rear and
left rear. A medium-priced, inoffen-
sive rug covers most of the floor.
The walls are papered white with a
cheerful, ugly blue design. Chairs
grouped about table right are numbered
from one to four to simplify direction.

Arm chair below and R. of table is
chair #1, rocking chair above and
R. of table is chair #2. Rocking
chair above and left of table is
chair #3, and arm chair below and
left of table is #4.

VOICES are heard in a conversational
tone from the dining-room beyond the
back parlor, where the family are
just finishing breakfast. Then MRS.
MILLER'S voice, raised commandingly:
"Tommy! Come back here and finish
your milk!" At the same moment
TOMMY appears in the doorway from
the back parlor -- a chubby, sun-
burnt boy of eleven with dark eyes,
blond hair wetted and plastered down
in a part, and a shiny, good-natured
face, a rim of milk visible about
his lips. Bursting with bottled-up
energy on the Fourth, he nevertheless
has hesitated obediently at his
mother's call.

WARN CRACKERS

### Tommy
(Calls back pleadingly as he wipes milk from
his upper lip)

Aw, I'm full, Ma. And I said excuse me and you said all
right.

(Reaches door U.L. His father's voice is heard speaking to his mother. Nat - "Oh, let him run about." Then she calls: "All right, Tommy! And TOMMY asks eagerly in doorway U.L.)

Can I go out now?

### Mother's Voice
(Correctingly)

May I!

### Tommy
(Fidgetting, but obediently)

May I, Ma?

### Mother's Voice
(TOMMY jumps for the screen door to the porch at right like a sprinter released by the starting shot)

### Father's Voice
(Shouts after him from off stage U.R.T.)

But you set off your crackers away from the house, remember!

(But TOMMY is already through the screen door,
which he leaves open behind him)

1-1-2

1-1-3

(A moment later the family appear from the back parlor, coming from the dining-room. First is MILDRED. Mildred is fifteen, tall and slender, with big, irregular features, resembling her father to the complete effacing of any pretence at prettiness. But her big, gray eyes are beautiful; she has vivacity and a fetching smile, and everyone thinks of her as an attractive girl. She is dressed in shirtwaist and skirt in the fashion of the period. She runs to the screen door U.L., looks out and laughs as she calls)

Mildred

Look out for your hand, Tommy!

(ARTHUR, enters, as Mildred calls to Tommy, he X's to upper right end of table R. and begins to fill his pipe. He is the eldest of the Miller children who are still living home, is nineteen. He is tall, heavy, barrel-chested and muscular, the type of football linesman of that period, with a square, stolid face, small blue eyes, and thick sandy hair. His manner is solemnly collegiate. He is dressed in the latest college fashion of that day, which has receded a bit from the extreme of preceding years, but still runs to padded shoulders and pants half pegged at the top, and so small at their wide-cuffed bottoms that they cannot be taken off with shoes on)

(Inquisitively as ARTHUR appears)

Where are you going today, Art?

(Xes to left of Arthur)

CRACKERS

3 small

Arthur

(With superior dignity below chair #2)

That's my business.

(He ostentatiously takes from his pocket a tobacco pouch with a big Y and class numerals stamped on it, and a heavy bulldog briar pipe with silver Y and numerals, 08 and starts filling the pipe)

Mildred

(Teasingly)

Bet I know, just the same! Want me to tell you her initials?
E·R·!

(She laughs and Xes to sofa down R. and sits.)

ARTHUR pleased by this insinuation at his lady-killing activities, yet finds it beneath his dignity to reply. He lights his pipe and picks up the local morning paper, and slouches back into the armchair at right rear of table, beginning to whistle "Oh, Waltz Me Around Again, Willie," as he

1-1-4

scans the headlines. MILDRED sits on the sofa at right, front -- Meanwhile their mother and their AUNT LILY, their father's sister, have appeared, following them from the back parlor. MRS. MILLER is around fifty, a short, stout woman with fading light brown hair sprinkled with gray, who must have been decidedly pretty as a girl in a round-faced, cute, small-featured, wide-eyed fashion. She has big brown eyes, soft and maternal -- a bustling, mother-of-a-family manner. She is dressed in shirtwaist and skirt. LILY MILLER, her sister-in-law, is forty-two, tall, dark, thin. She conforms outwardly to the conventional type of old-maid school teacher, even to wearing glasses. But behind the glasses her grey eyes are gentle and tired, and her whole atmosphere is one of shy kindness. Her voice presents the greatest contrast to her appearance -- soft and full of sweetness. She, also, is dressed in a shirt-waist and skirt)

## Mrs. Miller

(As they appear)

Getting milk down him is like --

(Suddenly she is aware of the screen door standing half open - X'ing to screen door U.L.)

Goodness, look at that door he's left open! The house will be alive with flies! I've told him again -- and again -- and that's all the good it does! It's just a waste of breath!

(She slams the door shut, then Xes to table R. and gets a magazine, then X's to rocking chair D.L. and fans herself with magazine as she talks)

## Lily

(Smiling)

Well, you can't expect a boy to remember to shut doors -- on the Fourth of July.

(She goes diffidently to the straight-backed chair before the desk at left, front, leaving the comfortable chairs to the others. Gets towel from desk and starts to sew)

## Mrs. Miller

That's you all over -- Lily -- always making excuses for him. You'll have him spoiled to death in spite of me. Phew, I'm hot, aren't you? This is going to be a scorcher.

(She begins to rock, fanning herself, ad lib to Lily paying no attention to Nat and Sid)

(Meanwhile, her husband and her brother have appeared from the back parlor, both smoking cigars. NAT MILLER is in his late fifties, a tall, dark, spare man, a little stoop-shouldered, more than a little bald, dressed with an awkward attempt at sober respectability imposed upon an innate heedlessness of clothes. ARTHUR faces U. and looks at

1-1-5

Nat and Sid when they enter. Nat's long face has large, irregular, undistinguished features, but he has fine, shrewd, humorous gray eyes. SID DAVIS, his brother-in-law, is forty-five, short and fat, bald-headed, with the Puckish face of a Peck's Bad Boy who has never grown up. He is dressed in what had once been a very natty loud light suit but is now a shapeless and faded nondescript in cut and color.

Sid
(Overlap cues as they appear. Comes in first and X's to U.C.)

Oh, I like the job first rate, Nat. Waterbury's a nifty old town with the lid off, when you get to know the ropes. I rang in a joke in one of my stories that tickled the folks there pink.

(Faces Nat)

Waterwagon -- Waterbury -- Waterloo!

Miller
(Grinning, Xes to Ch. #3)

Darn good!

Sid
(Pleased)

I thought it was pretty fair myself.
(NAT sits chair #3)

(Goes on a bit ruefully, as if oppressed by a secret sorrow.)

Yes, you can see life in Waterbury, all right -- that is, if you're looking for life in Waterbury!

Mrs. Miller
(Looks at Sid thinking he has said something humorous)

What's that about Waterbury, Sid?

Sid

I was saying it's all right in its way - but there's no place like home.

(As if to punctuate this remark, there begins a series of bangs from just beyond the porch outside, as TOMMY inaugurates his celebration by setting off a package of firecrackers. The assembled family jump in their chairs. SID chuckles)

Mrs. Miller

That boy!

(She rushes to the screen door and cut on the porch calling. MILDRED rises, Xes to screen door U.L. SID follows her to U.L. Looks out after her)

Tommy! You mind what your Pa told you! You take your crackers out in the back yard, you hear me!

WARN CRACKERS

12 small '1 loud

Tommy

(Off stage)

All right, Ma.

Arthur

(Frowning scornfully)

Fresh kid! He did it on purpose to scare us.

Miller

(Grinning through his annoyance)

Darned youngster! He'll have the house afire before the day's
out.

Sid

(Grins and sings, X's to C.)

"Dunno what ter call 'im

But he's mighty like a Rose-velt."

(They all laugh)

Lily

Sid, you crazy!

(SID beams at her. MRS. MILLER comes back from
the porch, still fuming. Leaves door open.)

MILDRED closes door, stands looking out after
Tommy, laughing)

Mrs. Miller

(Enters and Xes to rocker D.L.)

Well, I've made him go out back at last. Now we'll have a
little peace.

(Sits in rocker)

(As if to contradict this, the bang of fire-
crackers and torpedoes begins from the rear
of the house, left, and continues at intervals
throughout the scene, not nearly so loud as
the first explosion, but sufficiently emphatic
to form a disturbing punctuation to the con-
versation)

(MILDRED exits U.L. Closes screen door after
her)

CRACKERS
6 small

Miller

Well, what's on the tappee for all of you today? Sid, you're
coming to the Sachem Club picnic with me, of course.

Sid

(A bit embarrassedly)

You bet! -- That is, if --

Mrs. Miller

(Regarding her brother with smiling suspicion)

Hmmm! I know what that Sachem Club picnic's always meant!

1-1-6

1-1-7

Lily

(Breaks in, in a forced joking tone that con-
ceals a deep earnestness)

No, not this time, Essie. Sid's a reformed character since
he's been on the paper in Waterbury.

(Slight reaction from SID)

At least, that's what he swore to me last night.

Sid

(Avoiding her eyes, humiliated -- joking it off)

Pure as the driven snow, that's me. They're running me for
president of the W.C.T.U.

(They all laugh. ARTHUR laughs longest)

Mrs. Miller

(Rises laughing)

Sid, you're a caution.

(Xes and puts magazine down on table, C.)

You turn everything into a joke. But you be careful, you
hear?

Lily

Oh, I know he'll be careful today, won't you, Sid?

Sid

(Xes to Lily, more embarrassed than ever --
joking it off melodramatically)

Lily, I swear to you if any man offers me a drink, I'll kill
him -- that is, if he changes his mind!

(They all laugh except LILY, who bites her
lip and stiffens)

Mrs. Miller

No use talking to him, Lily. We can only hope for the best.

Miller

(Overlap)

Now, you women stop picking on Sid.

(MILDRED enters screen door U.L. and Xes via U.
stage to U.R.)

It's the Fourth of July and even a downtrodden newspaper man
has a right to enjoy himself when he's on his holiday.

(SID nods "Yes")

Mrs. Miller

I wasn't thinking only of Sid.

Sid

(After a furtive glance at the stiff and silent
LILY -- changes the subject abruptly by turning
to Arthur. Xes to C.)

How are you spending the gestive Fourth, Boola-Boola?

(ARTHUR stiffens dignifiedly)

Mildred

(Teasingly, quickly, Xing to above Arthur)

I can tell you, if he won't.

(Xes to sofa D.R.)

Mrs. Miller

(Smiling, Xes to L.)

Off to the Rands', I suppose.

Arthur

(With dignity)

I and Bert Turner are taking Elsie and Ethel Rand canoeing.
And this evening I'm staying at the Rands' for dinner.

(SID Xes to door U.L.)

Miller

What about you, Mid?

Mildred

(Xes to and looking out window D.R.)

I'm going to the beach to Anne Culver's.

Miller

How about you and Lily, Essie?

Mrs. Miller

Well, I thought we'd just sit around and rest and talk.

Miller

You can gossip any day.

(MILDRED slight snicker, SID chuckles)

This is the Fourth. Now, I've got a better suggestion than
that.

(Everyone interested. A step in for SID)

What do you say to an automobile ride? I'll get out the Buick
and we'll drive around town and out to the lighthouse and back.
Then Sid and I will let you off here, or anywhere you say, and
we'll go on to the picnic.

Mrs. Miller

(Lift)

I'd love it. Wouldn't you, Lily?

Lily

(Lift)

It would be nice.

Miller

Then, that's all settled.

Sid

(Embarrassedly, Xes R. of Lily)

Lily, want to come with me to the fireworks display at the
beach tonight?

1-1-8

1-1-9

(NAT and ESSIE exchange a glance)

Mrs. Miller

(Standing R. of Nat)

That's right, Sid. You take her out.

Lily

(Flustered and grateful)

I -- I'd like to, Sid. Thank you.

(Then an apprehensive look comes over her face)

Only not if you come back you know!

(ESSIE Xes to book case U.C.)

Arthur

(With heavy jocularity - lift - quickly)

Listen, Uncle Sid. Don't let me catch you and Aunt Lily spooning on a bench tonight -- or it'll be my duty to call a cop!

(SID and LILY look painfully embarrassed at this, SID Xes U.L., sits chair U.L. and the joke falls flat, except for MILDRED who can't restrain a giggle at the thought of these two ancients spooning)

Mrs. Miller

(Rebukingly)

Arthur!

(Sharply over her shoulder)

Miller

(Dryly - overlap Mrs. Miller's "Arthur")

That'll do you! Kicking a football around Yale seems to have blunted your sense of humor!

Mrs. Miller

(Faces front)

Where's Richard?

Mildred

I'll bet he's off somewhere writing a poem to Muriel McComber the silly! Or pretending to write one. I think he just copies --

Arthur

He's still in the dining-room, reading a book. Gosh, he's always reading now. It's not *my* idea of having a good time in vacation.

Mrs. Miller

(Sharply Xes to L. of Nat)

That reminds me, Nat. I've been meaning to speak to you about those awful books Richard is reading. You've got to give him a good talking to --

(Starts off up Left)

1-1-10

Mrs. Miller (cont'd)

I'll go up and get them right now. I found them where he'd
hid them on the shelf in his wardrobe. You just wait till
you see what --

(She bustles off, rear left through the front
parlor. SID watches Essie exit)

Miller

(Plainly, not relishing whatever is coming --
to Sid, grumblingly -- rises, crosses to Sid)

Seems to me she might wait until the Fourth is over before
bringing up --

(Then with a grin)

I know there's nothing to it, anyway. Gosh, when I think of
the books I used to sneak off and read when I was a kid!

Sid

(Xes and sits chair #3, picks up paper)

Me, too. I suppose Dick is deep in Nick Carter or Old Cap
Collier.

Miller

(Xes to L. of Sid)

No, he passed that period long ago. Poetry's his red meat
nowadays, I think --

(ARTHUR and MILDRED look at father)

love poetry --

(MILDRED giggles)

And socialism, too, I suspect, from some dire declarations
he's made.

(ART - a bit of angry reaction)

(Then briskly - with a grin)

Well, might as well get him on the carpet.

(Fe calls)

Richard.

(No answer. Louder - Xes U.C.)

Richard.

(No answer -- in a bellow)

Richard!

Arthur

I'll get him, Pa!

(Shouting, Xes U. to R. Exits)

Hey, Dick, wake up! Pa's calling you.

Richard's Voice

(From the dining room. Irritated)

All right. I'm coming.

Miller

Darn him!

(Amused)

When he gets his nose in a book, the house could fall down and
he'd never ----

1-1-12

Arthur

Give it to her, Dick!

(SID enjoys tussel)

Miller

That's enough now. No more roughhouse.

(Indicates chair)

You sit down here, Richard.

(MILLER stalls a little. ART Xes and sits up
stage of Mildred. RICHARD obediently takes the
chair at right of table. Sits chair #1.)

What were you planning to do with yourself today? Going out
to the beach with Mildred?

Richard

(Scornfully superior)

That silly skirt party! I should say not!

Mildred

He's not coming because Muriel isn't. I'll bet he's got a
date with her somewhere.

(ARTHUR laughs)

Richard

(Flushing bashfully)

You shut up, Mid!

(Then to his father)

I thought I'd just stay home, Pa -- this morning anyway.

WARN
CRACKER
1 loud

Miller

Help Tommy set off firecrackers, eh?

Richard

(Drawing himself up - with dignity)

I should say not.

(Then frowning portentously. SID looks from
papers at Richard)

I don't believe in this silly celebrating the Fourth of July --
all this lying talk about liberty -- when there is no liberty!

Miller

(A twinkle in his eye)

Hmmm.

Richard

(Getting warmed up)

The land of the free and the home of the brave! Home of the
slave is what they ought to call it -- the wage slave ground
under the heel of the capitalist class, starving, crying for
bread for his children, and all he gets is a stone! The
Fourth of July is a stupid farce!

(SID and NAT exchange look - SID turns up
stage and reads paper)

1-1-13

Miller

(Putting a hand to his mouth to conceal a grin)

Hmm. Them are mighty strong words. You'd better not repeat such sentiments outside the bosom of the family or they'll have you in jail.

Sid

(Not looking up from paper)

And throw away the key.

Richard

(Darkly)

(Over lap cue)

Let them put me in jail.

(Lift)

But how about the freedom of speech in the Constitution, then? That must be a farce, too.

(Then he adds grimly)

No, you can celebrate your Fourth of July. I'll celebrate the day the people bring out the guillotine again and I see Pierpont Morgan being driven by in a tumbril!

CRACKER - LOUD

(His father and SID are vastly amused; LILY is shocked but, taking her cue from them, smiles. MILDRED stares at him in puzzled wonderment, never having heard this particular line before. Only ARTHUR betrays the outraged reaction of a patriot)

Arthur

Aw, say, you fresh kid, tie that bull outside! You ought to get a punch in the nose for talking that way on the Fourth!

(RICHARD looks front so mad he can't find words)

Miller

(Solemnly - pause - amused)

Son, if I didn't know it was you talking, I'd think we had Emma Goldman with us.

Arthur

(Virtuously - Lift)

Never mind, Pa. Wait till we get him down to Yale. We'll take that out of him!

Richard

(With high scorn)

Oh, Yale! After all, what is Yale?

Arthur

(Angrily)

You'll find out what!

1-1-14

## Miller

(With a comic air of resignation)

Well, Richard, I've always found I've had to listen to at least one stump speech every Fourth. I only hope getting your extra strong one right after breakfast will let me off for the rest of the day.

(They all laugh now, taking this as a cue.)

RICHARD, hurt and mad, tries to read his book)

What's that book, Richard?

## Richard

(Importantly, as though it were a 3 word title)

Carlyle's French Revolution.

(SID picks up paper, begins to read, back to audience)

## Miller

Hmm. So that's where you drove the tumbril from and piled poor old Pierpont in it.

(Then seriously)

Glad you're reading it, Richard. It's a darn fine book.

## Richard

(With unflattering astonishment)

What, have you read it?

(SID and NAT exchange glance)

## Miller

(Apologetically)

Well, you see, even a newspaper owner can't get out of reading a book every now and again.

## Richard

(Abashed)

I -- I didn't mean -- I know you --

(Then enthusiastically)

Say, isn't it a great book, though -- that part about Mirabeau -- and about Marat and Robespierre --

## Mrs. Miller

(Appears from the front parlor in a great state of flushed annoyance)

Never you mind Robespierre, young man!

(SID listens to this, Xes to L. of chair #2)

You tell me this minute where you've hidden those books! They were on the shelf in your wardrobe and now you've gone and hid them somewhere else. You go right up and bring them to your father.

(RICHARD, for a second, looks suddenly guilty and crushed. Then he bristles defensively)

1-1-15

Miller

(Sharply overlap cue)

Never mind his getting them now. We'll waste the whole morn-
ing over those darned books. And anyway, he has a right to
keep his library to himself.

(Look from ESSIE)

That is, if they're not too --

(SID looks over left shoulder at Nat)

What books are they, Richard?

Richard

(Self-consciously hesitant)

Well -- there's --

Mrs. Miller

I'll tell you, if he won't -- and you give him a good talking
to.

(Then, after a glance at Richard)

Two books were by that awful Oscar Wilde they put in jail for
heaven knows what wickedness.

Arthur

(Suddenly - solemnly authoritative)

He committed bigamy.

(Then as SID smothers a burst of ribald
laughter)

What are you laughing at? I guess I ought to know. A fellow
at college told me. His father was in England when this Wilde
was pinched -- and he said he remembered once his mother asked
his father about it and he told her he'd committed bigamy.

Miller

(Hiding a smile behind his hand)

Well then, that must be right, Arthur.

Mrs. Miller

(Lift angrily - to Nat)

I wouldn't put it past him, nor anything else. One book was
poetry. The Ballad of I forget what.

Richard

(Defiantly)

The Ballad of Reading Gaol, one of the greatest poems ever
written to them.

(He pronounces it Reading Goal - as in goalpost)

Mrs. Miller

And then there were two books by that Bernard Shaw -- You know,
Nat, the one who wrote a play -- that was so vile they wouldn't
even let it play in New York!

Miller

Hmm. I remember.

1-1-16

Mrs. Miller

And there was a book of plays by that Ibsen there, too! And
poems by Swin something ---

Richard

Poems and Ballads by Swinburne, Ma. The greatest poet since
Shelley!

(To Nat)

He tells the truth about real love!

Mrs. Miller

Love! Well, all I can say is from reading here and there,
that if he wasn't flung in jail along with Wilde, he should
have been. Some of the things I simply couldn't read, they
were so indecent -- And then there was Kipling's ---

(Sits as she speaks in chair #2)

--- but I suppose he's shot so bad. And last there was a poem
a long one -- the Rubay ---

(Sharply)

What is it, Richard?

Richard

(Front)

The Rubaiyat of Omar Khayyam! That's the best of all!

Mrs. Miller

(Grunts)

Humph!

Miller

Oh, I've read that, Essie.

Mrs. Miller

(Shocked)

Why, Nat!

Miller

Yes, got a copy down at the office now -- There's fine things
in it, seems to me -- true things.

Mrs. Miller

(A bit bewildered and uncertain now)

Why, Nat, I don't see how you ---

Richard

(Enthusiastically)

Gee - it's wonderful, isn't it, Pa? Remember this?

(Then even more enthusiastically)

"A Book of Verses underneath the Bough,
A Jug of Wine, a Loaf of Bread -- and Thou

Beside me singing in the Wilderness --"

Arthur

(Who, bored to death by all this poetry quoting,
looks out window down R.)

Hey, look who's coming up the walk -- Old Man McComber!

Miller

(Irritably)

Dave?

Arthur

(Rising)

Yeah!

Miller

Now what in thunder does that damned old ---

Mrs. Miller

(Vexatiously. Rises)

He'll know we're in this early, too. No use lying.

(Then appalled by another thought)

Lily, let's us run up the back stairs and get our things on.

Nat, you get rid of him the first second you can! Whatever
can the old fool want ---

(She and LILY hurry out through the back
parlor)

(NAT glances at his watch and crosses down
left then U. left)

WARN
BELL

Arthur

(Glancing at his watch)

I'm going to beat it -- just time to catch the eight-twenty
trolley.

Mildred

I've got to catch that, too.

(She rushes into the back parlor)

Arthur

(He turns at the back-parlor door -- with a
grin)

Say, listen, Dick! McComber may be coming to see if your in-
tentions toward his daughter are dishonorable! You'd better
beat it while your shoes are good!

(He disappears through the back-parlor door,
laughing)

Richard

(A bit shaken, but putting on a brave front)

Think I'm scared of him!

Miller

(Gazing at him -- frowning)

Can't imagine what -- But it's to complain about something, I
know that. I only wish I didn't have to be pleasant with the
old buzzard -- but he's about the most valuable advertiser
I've got.

Sid

(Sympathetically)

1-1-17

Miller

(Forcing a laugh at himself)

That's so. So I was. Well, I'll smoke alone then.

(He bites off the end of the cigar viciously,
as if he wished it were McComber's head, and
sits down on desk chair, faces McComber)

McComber

You asked me what brings me here, so I'll come to the point
at once. I regret to say it's something disagreeable -- dis-
graceful would be nearer the truth -- and it concerns your
son, Richard!

Miller

(Beginning to bristle -- but calmly)

Oh, come now, Dave, I'm sure Richard hasn't --

McComber

(Sharply)

And I'm positive he has. I have proof of everything in his
own handwriting!

Miller

(Sharply)

Let's get down to brass tacks. Just what is it you're charg-
ing him with?

McComber

With being dissolute and blasphemous -- with deliberately at-
tempting to corrupt the morals of my young daughter, Muriel.

Miller

Then I'm afraid I'll have to call you a liar, Dave!

McComber

(Without taking offense -- in the same flat,
brittle voice)

I thought you'd get around to that, so I brought the proofs
with me.

(He takes a wallet from his inside coat pocket,
selects five or six slips of paper, and holds
them out to Miller)

My wife discovered them in one of Muriel's bureau drawers
hidden under the underwear. They're all in his handwriting,
you can't deny it. Anyway, Muriel's confessed to me he wrote
them. You read them and then say I'm a liar.

(MILLER has taken the slips and is reading
them frowningly. McCOMBER talks on)

Evidently you've been too busy to take the right care about
Richard's bringing up or what he's allowed to read -- though
I can't see why his mother failed in her duty.

Miller

(Has finished the last of the slips and is
making a tremendous effort to control his
temper)

1-1-19

1-1-20

## Miller (cont'd)

Why, you damned old fool! Can't you see Richard's only a fool kid who's just at the stage when he's out to rebel against all authority, and so he grabs at everything radical to read and wants to pass it on to his elders and his girl and boy friends to show off what a young hellion he is! Why, at heart you'd find Richard is just as innocent and as big a kid as your Muriel is! This stuff doesn't mean anything to me -- If you believe this could corrupt Muriel, then you must believe she's easily corrupted! But I'll bet you'd find she knows a lot more about life than you give her credit for -- and can guess a stork didn't bring her down your chimney!

## McComber

Now you're insulting my daughter.

## Miller

I'm not insulting her. I'm giving her credit for ordinary good sense. I'd say the same about my own Mildred, who's the same age.

## McComber

I know nothing about your Mildred except that she's known all over as a flirt.

(Then more sharply)

Well, I knew you'd prove obstinate, but I certainly never dreamed you'd have the impudence, after reading those papers, to claim your son was innocent of all wrong-doing!

## Miller

(Interrupts - getting sore)

No?

(He tosses slips of paper on desk)

Just what did you dream I'd do?

## McComber

Do what it's your plain duty to do as a citizen to protect other people's children! Take and give him a hiding he'd remember to the last day of his life!

## Miller

(His fists clenched, leans toward McComber)

Dave, I've stood all I can stand from you! You get out! And get out quick, if you don't want a kick in the rear to help you!

## McComber

(Again in his flat, brittle voice, slowly getting to his feet but evincing no particular fear.)

Stands R. and below ch. D.L.C. NAT rises too)

You needn't lose your temper. I'm only demanding you do your duty by your own as I've already done my mine. I'm punishing Muriel. She's not to be allowed out of the house for a month and she's to be in bed every night by eight sharp. And yet she's blameless, compared to that --

1-1-21

## Miller

(Xes to him - belligerently)

I said I'd had enough out of you, Dave!

## McComber

(Quickly - taking a step backward)

You needn't lay hands on me. I'm going. But there's one thing more.

(He takes a letter from his wallet)

Here's a letter from Muriel for your son.

(Hands Miller the letter)

It makes clear, I think, how she's come to think about him, now that her eyes have been opened. I hope he heeds what's inside -- for his own good and yours -- And don't think I'm not going to make you regret the insults you've heaped on me.

(With a thin little sneer)

I'm taking the advertisement for my store out of your paper -- and it won't go in again, I tell you, not unless you apologize in writing and promise to punish --

## Miller

I'll see you in hell first! As for your damned old ad, take it out and go to hell!

## McComber

(Not impressed -- flatly)

That's plain bluff. You know how badly you need it. So do I. Well, good day.

(MCCOMBER turns and starts stiffly for double doors U.L. and exits through front parlor)

(MILLER stands looking after him. Slowly the anger drains from his face and leaves him looking a bit sick and disgusted. NAT then looks at letter, puts it in pocket of coat. He Xes to desk down left and is picking up the slips of paper McComber brought when SID enters. SID appears from the back parlor, his face is one broad grin of satisfaction)

## Sid

(Enters as he speaks)

Good for you, Nat! You sure gave him hell!

## Miller

(Dully - sits on desk chair)

Much good it'll do. He knows it was all talk.

## Sid

McComber never saw you like this before. I tell you you scared the pants off him.

(He chuckles)

(Notices the slips of paper in Nat's hand)

What's this? Something he brought?

(Sits on side chair D.L.C. facing Nat)

1-1-22

## Miller

(Grimly)

Samples of the new freedom --

(NAT gives Sid slips of paper. SID reads them)

from those books Essie found -- that Richard's been passing on to Muriel to educate her. They're what started the rumpus.

(Then frowning)

I've got to do something about that young anarchist or he'll be getting me, and himself, in a peck of trouble.

## Sid

(Has been reading the slips, a broad grin on his face. Edges chair a bit toward Nat. Suddenly he whistles)

Phew! This is a warm lulu for fair!

(He recites with a joking intensity)

"My life is bitter with thy love; thine eyes
Blind me, thy tresses burn me, thy sharp sighs
Divide my flesh and spirit with soft sound --"

## Miller

(With a grim smile)

Hmm. I missed that one. That must be Mr. Swinburne's copy. I've never read him, but I've heard something like that was the matter with him.

## Sid

Yes, it's labelled Swinburne -- "Anactoria". Whatever that is. But wait, watch and listen! The worst is yet to come!

(He recites with added comic intensity)

"That I could drink thy veins as wine, and eat
Thy breasts like honey,

(NAT looks at Sid who indicates it on paper)

.................... that from face to feet
Thy body were abolished and consumed,
And in my flesh thy very flesh entombed!"

## Miller

(Takes slips, glances at them and then an irrepressible boyish grin coming to his face)

Hell and hallelujah! Just picture old Dave digesting that for the first time!

(Both laugh)

Gosh, I'd give a lot to have seen his face!

(Then a trace of shocked reproof showing in his voice)

But it's no joking matter. That stuff is warm --

(Puts slips on desk)

too damned warm, if you ask me! I don't like this a damned bit, Sid. Don't know but what I agree with McComber. That's no kind of thing to be sending a decent girl.

(More worriedly)

1-1-23

## Miller (cont'd)

I thought he was really stuck on her -- as one gets stuck on a decent girl at his age -- all moonshine and holding hands and a kiss now and again. But this looks -- I wonder if he is hanging around her to see what he can get?

(Angrily)

By God, if that's true, he deserves that licking McComber says it's my duty to give him! I've got to draw the line somewhere!

### Sid

Yes, it won't do to have him getting any decent girl in trouble.

### Miller

(Which he doesn't want to do)

The only thing I can do is put it up to him straight.

(With pride)

Richard'll stand up to his guns, no matter what. I've never known him to lie to me.

### Sid

(At a noise from the back parlor, RICHARD softly calls "Uncle Sid")

Then now's your chance. I'll beat it,

(RICHARD enters from back parlor U.R. very evidently nervous about McComber's call)

and see if the women folks are ready upstairs.

(Lift)

We ought to get started soon -- if we're ever going to make that picnic.

(Exits U.L. through front parlor)

### Richard

(Forcing a snicker - X's to D.L.C.)

Gee, Pa, Uncle Sid's a bigger kid than Tommy is. He was throwing firecrackers in the air and catching them.

### Miller

Never mind that. I've got something else to talk to you about besides firecrackers.

### Richard

(Apprehensively)

What, Pa?

### Miller

(Rises. Suddenly puts both hands on his shoulders and looks into his eyes -- quietly)

Look here, son. I'm going to ask you a question, and I want an honest answer. I warn you beforehand if the answer is "yes" I'm going to punish you and punish you hard because you'll have done something no boy of mine ought to do. But you've never lied to me before, I know, and I don't believe, even to save yourself punishment, you'd lie to me now, would you?

Richard

(Impressed -- with dignity)

I won't lie, Pa.

Miller

(Slowly -- becoming terribly embarrassed)

Have you been trying to have something to do with Muriel --
something you shouldn't -- you know what I mean.

Richard

(Stares at him for a moment, as if he couldn't
comprehend -- then, as he does, a look of
righteous indignation comes over his face)

No! What do you think I am, Pa? I never would! She's not
that kind!

(MILLER, satisfied, looks away from Richard)

Why, I -- I love her! I'm going to marry her -- after I get
out of college! She's said she would! We're engaged!

Miller

(A great relief showing in his face -- gently.

Looks at Richard, smiles)

All right. That's all I want to know. We won't talk any
more about it.

(He gives him an approving pat on the back)

Richard

(Still indignant)

I don't see how you could think --

(Glances U.L. then to Miller)

Did that old idiot McComber say that about me?

Miller

(Joking now)

Shouldn't call your future father-in-law names, should you?

'Tain't respectful.

(Then after a glance at Richard's indignant
face -- he points to the slips of paper on
the desk)

Well, you can't exactly blame old Dave, can you, when you read
through that literature you wished on his innocent daughter?

Richard

(Crosses to desk. Sees the slips for the
first time and is overcome by embarrassment,
which he immediately tries to cover up with
a superior, airy carelessness)

Oh, so that's why. He found those, did he?

(Puts them in pocket)

I told her to be careful --

(Drops one - picks it up, puts it in pants
pocket)

Well, it'll do him good to read the truth about life for once
and get rid of his old-fogey ideas.

1-1-24

1-1-25

## Miller

(Growing nervous again)

I'm afraid I've got to agree with him, though, that they're hardly fit reading for a young girl.

(Then with subtle flattery)

They're all well enough, in their way, for you who're a man,

(An unconscious agreement from RICHARD)

but -- Think it over, and see if you don't agree with me.

## Richard

(Embarrassedly, but not ashamed)

Aw, I only did it because I liked them --

(X to L. of Nat)

and I wanted her to face life as it is. She's so darned afraid of life -- afraid of her Old Man -- afraid of people saying this or that about her -- afraid of being in love -- afraid of everything. She's even afraid to let me kiss her. I thought, maybe, reading those things -- they're beautiful, aren't they, Pa?

## Miller

(Amused - but trying not to show it)

Hmmm!

## Richard

I thought they would give her the spunk to lead her own life, and not be -- always thinking of being afraid.

## Miller

I see. Well, I'm afraid she's still afraid.

(He takes the letter from the table)

Here's a letter from her he said to give you.

(RICHARD takes the letter from him un-
certainly, his expression changing to
one of apprehension. MILLER adds with
a kindly smile)

WARN
CURTAIN

You better be prepared for a bit of a blow. But never mind, son. There's lots of other fish in the sea.

(RICHARD is not listening to him, but staring at the letter with a sort of fascinated dread.
MILLER looks into his son's face a second, then turns away, troubled and embarrassed)

Darn it!

(Lift)

I better go upstairs and get rigged out or I never will get to that picnic.

(He moves awkwardly and self-consciously off through the front parlor, U.L. RICHARD continues to stare at the letter for a moment, then sits in chair D.L.C. -- then girds up his courage and tears it open and begins to read swiftly. As he reads his face grows more and more wounded and tragic, until at the end his mouth draws down at the corners, as if he were about to break into tears.

1-1-26

With an effort he forces them back and his
face grows flushed with humiliation and
wronged anger)

Richard
(Blurts out to himself)

The little coward! I hate her! She can't treat me like
that! I'll show her!

Essie

(Off stage)

Sid, don't forget your goggles.

Sid

(Off stage)

I won't.

(At the sound of voices from the front parlor U.L., RICHARD quickly shoves the letter into the inside pocket of his coat and does his best to appear calm and indifferent, even attempting to whistle "Waiting at the Church". But the whistle peters out miserably as his MOTHER, LILY and SID enter from the front parlor. LILY crosses to table C., SID to door U.L. MRS. MILLER crosses to Richard. They are dressed in all the elaborate paraphernalia of motoring at that period -- linen dusters, veils, goggles, SID in a snappy cap)

Mrs. Miller

(Very chatty)

Well, we're about ready to start at last, thank goodness! Let's hope no more callers are on the way. What did that McComber want, Richard, do you know? Sid couldn't tell us.

WARN
CRACKER

Richard

You can search me. Ask Pa.

(SID crosses to Lily, helps her into coat. LILY ad libs "Thank you Sid.")

Mrs. Miller

(Immediately sensing something "down" in his manner -- going to him worriedly)

Why, whatever's the matter with you, Richard? You sound as if you'd lost your last friend! What is it?

Richard

(Desperately)

I -- I don't feel so well -- my stomach's sick.