ACT ONE

I-1

### SCENE 1:

EIGHT O'CLOCK AT NIGHT.
CHRIS ENDICOTT'S KITCHEN,
DISCLOSING ITS UNTIDYNESS.
PILE OF UNWASHED DISHES IN
THE SINK -- TO POTS AND PANS
ON THE STOVE -- TO KITCHEN
TABLE COVERED WITH DIRTY
PLATES.

MRS. McHENRY IS HOUSEKEEPER
AND GENERAL HOUSEWORKER FOR
CHRIS. SHE IS MUNCHING
A CHICKEN LEG AS SHE LISTENS
WITH RAPT ATTENTION TO
A RADIO. (RECORDED)

HALLWAY OF ENDICOTT
APARTMENT. A BROWNSTONE
HOUSE ON WEST 11TH STREET.

THE FRONT DOOR INTO THE
LIVING ROOM IS OPEN AND THE
LIGHT FROM BEHIND DISCLOSES
CHRIS ENDICOTT AS HE
ENTERS FROM THE STREET,
COMING IN OUT OF THE RAIN.

I-2

CHRIS
(CALLS OUT) Hey, Mrs. Mac
Henry, y9u left the front
door open...

(TURN OFF RADIO)

CHRIS
(VOICE COMING FROM DISTANCE)
Hey, Mrs. Mac Henry --
did you hear me? --

MEDIUM SHOT OF LIVING ROOM,
A COMFORTABLE UNTIDY ROOM WITH
A COUCH, SOME EASY CHAIRS AND
A TYPEWRITER ON A LITTLE TABLE.
THE ONLY ARRESTING THING IN
THE ROOM IS A LARGE OVAL
PORTRAIT. IT IS A PAINTING
OF CHRIS' MOTHER -- ADRIENNE
ENDICOTT, IN HER COSTUME IN
HER MOST FAMOUS PLAY, "THE
HUNTRESS!. IT IS ADRIENNE
AT HER MOST BEAUTIFUL BEST
AND IT DOMINATES THE ROOM.

CHRIS PICKS UP TELEPHONE --
(DIALS)

Sandy, Sandy! I'm home
early, where are you?

I-4

MRS. McHenry
It's only eight o'clock.

CHRIS
Only eight o'clock! And
pouring ... Did he go to a
party?

MRS. McHENRY
I don't know.

CHRIS
You don't know? He went out
and you don't know where?

MRS. McHENRY
I know he's not here, so he
must be out.

CHRIS
Since when has he been in
the habit of going out after
dark?

MRS. McHENRY
He goes whenever he feels
like it.

CHRIS
A seven-year-old boy goes
out at night whenever he
feels like it?

MRS. McHENRY
You never said he wasn't to.

I-5

CHRIS

No -- and I never said he
wasn't to go to an opium den,
Mrs. McHenry. I want to
know where he is.

MRS. McHENRY

You hired me as a housekeeper,
not a nurse.

CHRIS

I hired you to look after
Sandy. I want to know where
he's gone.

MRS. McHENRY

Sit down, Mr. Endicott.
Take it easy. He always
gets home around this time.
Nothing's happened to him.
He just went out to play--

CHRIS

To play! It's pouring!
What kind of a night is this
for a little boy to go out and
play?

MRS. McHENRY

I told you, I'm not his
nurse. I'm not supposed to
look after him.

I-6

CHRIS
You've looked after him
for the last time.

CHRIS
Get your things and get out!

MRS. McHENRY
I want my pay.

CHRIS
You'll get it. Now get
out!

MRS. McHENRY
I've done a full day's work.
There was no way of telling
you'd be home early. You
ought to hear shat the
neighbors say. They say,
"What's the matter with
that Mr. Endictott, anyhow?
Don't he ever go home
early?"

CHRIS OPENS UP HIS WALLET --
GIVES HER A BILL AND DRIVES
HER BEFORE HIM BACK INTO
LIVING ROOM AND INTO HALLWAY.

CHRIS
: Get out!
(HE CROSSES TO TELEPHONE)

I-7

CHRIS

Hello? ... Is this the
police station? I want to
report that my little boy
hasn't come home yet ...

He's 8 years old ...

No, I don't know where he's
gone... No, his mother doesn't
know where he's gone either.

(PAUSE) His mother is dead...
...I don't know where to
look... His name's Sandy...

He's about 4 feet tall with
blue eyes and he's probably
wearing a brown coat. Yes,
I'll start checking-

CLOSEUP OF CHRIS PULLING OUT
HANDKERCHIEF. MOPPING HIS BROW.
PICKS UP PHONE BOOK ON TABLE,
GOES THROUGH IT WILDLY.

CHRIS

Hospitals...hospitals...
MEDIUM SHOT OF LIVING ROOM.
PHONE RINGS LOUDLY. HE SEIZES
IT WILDLY.

Hello?

CUT TO:

SCENE 8: IVY ESTABROOK'S LIVING.

I-8

IN HER PENTHOUSE.

CUT TO:

CLOSEUP OF IVY:

IVY IS AN ATTRACTIVE, SO:HISTICATED
BEAUTIFULLY DRESSED YOUNG WOMAN.

SHE IS TALKING IN PHONE.

IVY

Hello, Chris... Guess who
it is... Why, what's the
matter?

CHRIS

Everything's the matter...
I can't talk, Ivy... I want
to keep this wire clear...
Sandy's gone... I don't know
where;..I just got through
phoning the police... No, I'm
all alone. I fired her. I
don't know I'm nearly out of
my mind.

OVER HIS SHOULDERS CAN BE SEEN
A VERY SMALL, VERY COLD LITTLE
BOY, SANDY, LISTENING
INTERESTEDLY TO THE CONVERSATION.

CHRIS

It's such a terrible night...
So many things could happen
to him.. No, no, thanks, nothing--

(MORE)

I-11

CHRIS (CONT'D)

This is Mr. Endicott again....
 Yep ... he's back. He just
walked in ... I don't know.
He hasn't said yet... Thanks,
Sergeant.

(HANGS UP PHONE)

Well, fella, what've you
been up to? Where've you
been?

SANDY

(WIPING HIS NOSE ON HIS
SLEEVE)

Oh - around.

CHRIS HANDS HIM HANDKERCHIEF
WITHOUT A WORD.

CHRIS

Keep it.

(SANDY WIPES HIS NOSE
ON HANDKERCHIEF AND STUFFS
IT IN HIS POCKET)

You don't have to be afraid
to tell me where you went.

SANDY

I-- just went around.

CHRIS

Come on-- where did you go?

I-15

CHRIS

You haven't? I had one.
His name was Johnny McQuinn.
I used to go over to his house
the minute my mother left for
the theatre. They lived in
a basement on Second Avenue.
And when your grandmother
went on the road, Mrs.
McQuinn would let me stay
there till she came home.
She could cook rings around
anybody on earth, and she
had a way of making a game
out of everything. She'd
get you laughing so you
couldn't stand up.

{ HE BEGINS TO LAUGH AS HE TALKS ABOUT IT }

SANDY

There's some left if you
want it.

CHRIS

No, thanks.

{ SANDY WALKS TOWARDS THE LIVING ROOM. CHRIS FOLLOWS }

1-21

IVY

(A SHADE TOO SWEETLY)

Well, Sandy, at last we meet!

SANDY DOES NOT MAKE A MOVE TOWARDS
HER. HE REGARDS HER WITH HIS
STILL, LEVEL GAZE.

CHRIS

(GIVING HIM A GENTLE PUSH)

Shake hands.

IVY

Your father was frightened to
death when he came home and
found you'd run away. You
won't frighten him that
way again, will you?

SANDY

I didn't run away.

CHRIS

He's home. that's the main
thing.

IVY

And I think it's high time
you brought him to see me.
(SMILES AT SANDY) Would you
like to come see me, Sandy?

SANDY

(LOOKING DOWN AT CARPET)

I guess so.

I-24

IVY
Oh, Chris!
(HE KISSES HER AS THE
DOORBELL RINGS)

Don't answer it.

CHRIS
I've got to. It's that
girl who's coming to work
tonight.

IVY
Send her home.

CHRIS
And spend twenty-five bucks
for nothing? Not on your
life--

(DOORBELL RINGS)

PENELOPE
Oh, you're home.

CHRIS
Yes, Miss---

PENELOPE
Robertson.

CHRIS
(WITH SWEEPING GESTURE)
Miss Robertson-- come in.
(HE CLOSES DOOR. GOES TOWARDS
LIVING ROOM)

LIVING ROOM.

I-25

PENELOPE

Maybe you'd rather not work--

CHRIS

Miss Robertson, the Jones

Secretarial Service will charge
me twenty-five dollars, whether
you work or not. Therefore
work it is, regardless of my
personal wishes and desires.

(PENELOPE TAKES OFF HER COAT,
HAT AND MITTENS)

IVY

I suppose you want me to
go--

CHRIS

(TO PENELOPE)

Would you mind waiting for
a few minutes before we
start?

PENELOPE

I'm not paying for my time.

CHRIS

Let's grab a cab and I'll
take you home and come
right back. Make yourself
at home.

-27-

PENELOPE

Hi! My name's Penny.

(SHE STARTS DRYING DISHES)

You're just about my brother
Jimmy's size.

(HOLDS OUT CLEAN DISHTOWEL TO HIM)

Want to help?

(HE MAKES NO MOVE TO TAKE IT

AND SHE GOES ON WIPING WITHOUT HIM)

I've got four brothers. Jimmy's
the youngest. We live on a
ranch in Arizona. Jim's got
a pinto pony. He rides him
to all the round-ups.

(CLOSEUP OF SANDY AS SHE TALKS)

HE COMES FURTHER INTO THE KITCHEN
STEP BY STEP)

He takes care of him, himself.
Feeds him, waters him, saddles
him, rubs him down. His name's
Star, because he has a white
star on his forehead.

SANDY HAS PICKED UP THE TOWEL AND
STANDS BESIDE HER. CASUALLY SHE
HANDS HIM A PLATE. HE WIPES IT,
NEVER TAKING HIS EYES OFF HER FACE.
SHE DRIES ALONG WITH HIM.

-28-

SANDY

My name's Sandy.

PENELOPE

Sandy...that's a nice name.
PENELOPE BEGINS TO HUM A TUNE.
"PONY BOY". SHE IS SINGING IT
GAILY -- AS SHE SINGS, SHE GATHERS
UP THE DRY DISHES ON THE SINK AND
MARCHES WITH MILITARY PRECISION
TO THE CUPBOARD. STILL SINGING,
SHE SETS DOWN ONE DISH AT A
TIME TO THE BEAT OF THE MUSIC.
CLOSEUP OF SANDY WATCHING HER,
FASCINATED, HIS FACE ALIGHT.

SANDY

I know that song. It's
"Pony Boy".

SHE RETURNS TO THE SINK, PICKS
UP ANOTHER STACK OF DISHES. SANDY
FALLS IN BEHIND HER, PICKING
UP MORE DISHES AND GRINNING AS
HE DOES SO. SHE BEGINS TO
SING AGAIN, THIS TIME
DELIBERATELY MARCHING TWICE
AROUND THE TABLE, MAKING IT A
FOLLOW-THE-LEADER GAME. SANDY
FOLLOWS LAUGHING.

-30-

CHRIS

Step on it.

SANDY MARCHES OUT OF THE KITCHEN.

CHRIS LOOKS AROUND THE KITCHEN
AND THEN AT PENNY. SHE GOES
ABOUT HER WORK, WRINGING OUT
THE DISHCLOTHS, HANGING THEM
UP, ROLLING DOWN HER SLEEVES.

CHRIS

I suppose you can cook, too?

PENELOPE

Yes.

CHRIS

Well, if you're not all tired
out from your Herculean tasks,
I suppose we might as well get
to work.

HE WALKS AHEAD OF HER INTO LIVING
ROOM. HE SEATS HIMSELF IN ARMCHAIR.

SHE SITS AT TYPEWRITER ATTENTIVE,
BUSINESS-LIKE.

CHRIS

Two carbons, if you please.

I'll give this to you straight
on the machine. Now then,
let's see.

II-4

PENNY

Oh, Chris, that's a swell
present. Where did you
get it?

SANDY

My mother-- (STOPS) It's
mine. I can give it
away if I want to.

PENNY

I tell you what you do,
you put it away, and you
give it to him when you
get there.

PENNY

I wonder what's keeping
your father?

SANDY

Oh...I... (HE DOES NOT
MEET HER EYE) Will Jim
be at the train to meet
us when we get there?

PENNY

You bet he will!...
Had hour dinner?

II-6

CHRIS

(TO PENNY) How about you?

PENNY

Well -- yes -- thanks.

(CHRIS LEADS THE WAY TO
THE KITCHEN)

CHRIS

On the rocks?

PENNY

I guess so.

IVY

You will look like a real-
wild westerner in this.

Let's see you with the hat
on.

SANDY

(FROWNING)

It's a-- a-- some-- some--

PENNY

A sombrero.

CHRIS

Ivy, be a good girl, will
you, and go ahead and clear
the little table by the
couch. Sandy, you can
take this tray in for Ivy.

II-7

CHRIS (CONT'D)

I'm sorry you had to wait
around all evening.

PENNY

Oh, that's all right.

What time do you want me
here tomorrow?

CHRIS

Tomorrow's out.

PENNY

But you're not through.

CHRIS

I'll let you in on a secret.

Tomorrow I'm getting married.

PENNY

You mean--

CHRIS

Sandy doesn't know yet.

I'm going to tell him now.

PENNY

Well... congratulations.

CHRIS

Thanks. Sandy needs a

mother, and Ivy's the one.

I think we're both pretty
lucky.

II-8

PENNY

I don't think I'll have
that drink. I'd better
be going.

CHRIS

No...I mean would you
wait... As a matter of
fact I'm sort of scared at
the thought of telling him --
would you mind sticking
around...

(HE LEADS THE WAY TO THE
LIVING ROOM)

CHRIS

Well-- here's to happiness!

(POUR DRINKS)

Hey, Sandy, want to hear
some big news?
Don't you want to know
what the big news is?

SANDY

What?

NOT SPEAKING, STANDING STIFF
AS A RAMROD BESIDE HIS FATHER.

CHRIS

Well, Hopalong, how would you
feel about being best man
at a wedding?

II-12

IVY (CONT'D)

And this summer you'll go
to camp in New Hampshire
where you'll learn to
swim and--

SANDY

I can't go. I'm going
to Arizona.

CHRIS

No, you're not, fella--

SANDY

I'm going to the ranch
with Penny... She said so.
Didn't you, Penny?
Didn't you?

PENNY

I didn't know about your
father's plans.

SANDY

You _said_ I could go to the
ranch... You _said_ Jim had a
horse for me ... You _said_--

CHRIS

Well, whatever Penny said,
it's all changed now, Sandy,
and you're going to stay
with us.

II-13

SANDY

I'm not!....I'm not going
to stay with you!... I'm
not!

CHRIS

Hold on, fella, steady....
Take it easy!...

SANDY

I'm going to the ranch
with Penny... and-- and
Jim's going to meet us
at the train -- and -- he's
going to teach me to ride
on Duchess -- and I'll learn
how to saddle her and--
and feed her---
and rub her down -- and--
and--

CHRIS

Sandy! Hold on a minute...
listen to me!

II-16

CHRIS

Tell Ivy you're sorry for
behaving like this...You're
a big boy now...You're not
a baby...Come on, say you're
sorry.

SANDY

I won't say I'm sorry!...
She's *not* my mother! I
won't ever say she's my
mother. Penny! ... Penny ...
I want to go with Penny ...
Penny...

CHRIS

Sandy, you're making things
awfully tough for me.

SANDY

I don't like her. Tell her
to go home. Why doesn't
she go home?

CHRIS

Look, son, we can't go on
alone...I can't give you the
proper care...we need somebody
to look after us --

SANDY

Penny will look after us--

II-17

CHRIS

Sandy, I'm not going to
marry Penny. I'm going to
marry Ivy... Give her a chance.

SANDY

I want to go with Penny.

CHRIS

You stay in here and think
over the way you've acted...
you think over the things
you've said to Ivy when she
was trying her best to be
nice to you... Chris, she's going
to do everything she can to
make us happy... but you've got
to do your part, because
whatever you think or whatever
you feel, we're going to live
with her and it's up to you to
decide if you want to be
friends--

SANDY

I don't want to be friends with
her --

CHRIS

I'm going to shut the door.
I want you to stay in here,
until you come out and say

II-18

SANDY

I'm not sorry -

CHRIS

All right, that's up to you...

PENNY (SOFTLY)

Poor baby.

IVY

Well, I wouldn't exactly
call him a baby, would you?

PENNY

It's so terrible for him --
he needs --

IVY

Discipline.

PENNY

He needs -- affection.

IVY

You act as if he were your
child.

PENNY

The whole trouble Mrs.
Estabrook is that he hates
the thought of anybody taking
his mother's place --

IVY

Except you!...

II-20

PENNY

(READY TO LEAVE, HESITATES)

Mr. Endicott, I've got to
say something.

CHRIS

Yes?

PENNY

Don't send Sandy away to
school.

CHRIS

What?

PENNY

(SWIFTLY TO HIM) I think I know
Sandy. He's just like any
other little boy who's lost
somebody he loves and --
and has been uprooted suddenly.
He's scared to death,
Everything he sort of -- of
counted on, felt sure about,
has crumbled away. That's
why he doesn't want to go
to a strange place among
strange people. He wants--
He wants to be in a family --
to be part of it -- to -- to
feel -- important.

II-21

PENNY (CONT'D)

I don't suppose -- you wouldn't
let me -- but oh, I'd just
love to take him home with me
when I go --

CHRIS
Home?

PENNY

To the west. We have a big
ranch and he could stay with us.
He wants to go--

IVY

Miss Robertson, you don't
really think we'd let him go,
do you? We wouldn't dream of
parting with Sandy, would we,
Chris?

CHRIS
Of course not.

IVY
You see, we want him all to
ourselves.

PENNY (TURNING AWAY)
Well, if you're not working
tonight, I'll be going.
Goodbye.

II-23

IVY (CONT'D)

So naturally he resents me.
But don't worry darling...
and please don't let this upset
you to the point that you forget
our date tomorrow.

CHRIS

I feel it's so -- so <u>damned</u>
important for him to have a
mother. A boy needs a mother.
I needed mine...When she walked
out of the house I felt sick...
Do you know something? When
I was a little chap only about
half Sandy's age, I used to stand
by the window for hours after
she'd gone...I used to pretend
I had a string attached to her
and when I wanted to I could pull
her back to me.

IVY

She must have adored you.

CHRIS

Oh, she did, and I adored her.
She was everything you could
wish for and be proud of in a
mother.

II-24

IVY

That's what I want to be.

CHRIS

You will be.

(HE KISSES HER. HE STOPS)

I'd like to bring him up the
way I always planned to
bring him up.

IVY

He'll have a real home now
with us.

CHRIS

Yes, I know, but maybe our
suggestion that we send him
to camp and to school --
away from us -- was a mistake.

IVY

Oh, I just thought --

CHRIS

I know you were only thinking
of his good.

IVY

Yes, I was.

CHRIS

But if we could keep him with
us a while...let him get used
to the whole idea--like Penny
said.

(CONTINUED)

q

II-25

CHRIS (CONT'D)

He wants to be in a family --
to be part of it -- feel
important ...

IVY

I don't see how you can attach
too much importance to anything
she says. She's just a little
farm girl.

CHRIS

But that's not the point.
Sandy is the kind of kid --

IVY

Let's not talk about Sandy
any more.

CHRIS

But I want to talk about him.

IVY

Oh darling, we have all the
rest of our lives to decide
what's best for Sandy.

Let's talk about us!

SANDY

Chris!...Chris!...

CHRIS (RISE)

That's Sandy.

II-26

IVY

Oh darling, wait. Maybe
he'll go back to sleep again.
See?

SANDY

Chris!... Come here, Chris...

CHRIS

I'll be right back. Coming,
fella...

IVY

Chris, I'm going.

SANDY

Chris!... Chris!...

CHRIS

Coming, fella!

SHE GOES OVER TO CHAIR, PICKS
UP HER COAT, PUTS IT ON, TIES
ON BANDANNA, GOES TO TABLE, PICKS
UP HER PURSE. IN DOING SO, SHE
SEES PENNY'S NOTE TO SANDY LYING
ON THE TABLE BESIDE IT. SHE
PICKS IT UP, OPENS IT, READS IT,
THEN TEARS IT UP AND PUTS IT INTO
PURSE.

EXITS.

END OF ACT II

ACT THREE

III-1

SANDY'S BEDROOM.

IN DARKNESS.

SANDY, HIS BACK TO CAMERA,
ASLEEP IN BED, BEDCLOTHES,
PULIED UP OVER HIS SHOULDRES.

IN ARM CHAIR, CHRIS IS
STRETCHED OUT ASLEEP:
TELEPHONE -- RINGING

CHRIS ENTERS LIVING ROOM,
TO DESK, TO ANSWER PHONE.

CHRIS
Hello.... hello...

IVY
Hello, darling, did I
wake you?... I just called
to tell you it just came...
my bridal bouquet... Chris,
it's heavenly!... Thank you,
darling... I thought you'd
surely be up... I didn't
sleep all night.

CHRIS
Neither did I .. Sandy
was sick... Ran a temperature
and I had a doctor... He

III-2

CHRIS (CONT'D)

said it was probably because
he got so upset...
But Ivy, I can't leave
him here alone -- a nurse --
wait a minute...

IVY

Genevieve can come over
here and stay with him.

CHRIS

Look, darlkng. I won't leave
here until the doctor's been
in again and I know exactly
what's wrong with him...
Ivy... listen... well,
just listen a moment...
I tell you as a bridegroom,
at this moment, I'd be an
awful flop!

SANDY

Chris! ... Chris! ...
Come here.

CHRIS {IN PHONE)

He's calling me --

SANDY

CHRIS!....

111-6

PENNY

They're there now ...
What's burning?

CHRIS

The toast! I forgot it.

PENNY

It's easier on your eyes,
Sandy ... I'll be right
back.

(CROSSES TO KITCHEN)

Have you got any more
coffe?

CHRIS

Yes, - it's not fresh,
though. Look, Penny,
won't you catch it?

PENNY ( LAUGHS)

I'm an old measle hand from
the Rio Grande.

CHRIS

No, seriously! It's
contagious.

PENNY

Nursed all four of my
brothers through it.
I hope this doesn't spoil
your wedding plans.

111-8

PENNY

Good!

CHRIS

I kept remembering the
things you said about --
about his needing to feel
important.

PENNY

Everybody does. Aren't
you getting married today?

CHRIS

What? ... Oh ... I'm not
sure.

PENNY

You're not sure?

CHRIS

I can't leave Sandy alone
when he's got the measles--

PENNY

I could stay with him.

CHRIS

Do you mean that?

PENNY

Till the seventeenth.

CHRIS

What happens then?

III-16

PENNY (LAUGHS)

No. There's nothing to tell..

I -- just wasn't sure.

CHRIS

If you wanted him?

PENNY

Yes.

CHRIS

And now you're sure?

PENNY

I... (STOPS) I guess so.

CHRIS

Look, Penny, if you're not
absolutely and positively sold
on him -- if he isn't the
beginning and end of all
existence... Never get married to
anybody unless you can't live
another hour without him or
her -- what am I saying?

PENNY

It's good advice.

CHRIS

You - er - you know, of course,
that this applies to first
marriages -- not second ones.
Second marriages are different.

111-19

CHRIS

You put it here. I
remember.

PENNY

Yes.

CHRIS

Nobody's been in here,
except -- She wouldn't
touch it ...

PENNY

I think she tore it up.

CHRIS

But why?

PENNY

Because she doesn't like
me. Because she doesn't
want Sandy to like me --
because she's afraid of my
being around to talk to you
like this -- of making you
think --

CHRIS

Penny, I'm not in love with
her.

PENNY

You're too tired to know
whether you're in love or
not.

111-22

CHRIS

I want to talk to you.

IVY

I was just thinking of
Sandy. He needs the best
of care, but darling, if
you're set on having that-
that girl look after him,
by all means have her.
It's only that I thought
that she --

CHRIS

She's not what I want to
talk about, Ivy -- Sit
down a minute.

IVY

What is this about?

CHRIS

Ivy, you really don't
Sandy around, do you?

IVY

What?

CHRIS

You don't want him around,
do you?

111-23

IVY (COMING CLOSE TO HIM)

I want <u>you</u> around, Chris!
Aren't you glad I do?...

CHRIS

And Sandy knew that all
the time.

IVY

Oh Chris, why are you
trying to pick a quarrel
with me?...Maybe I don't
understand children...
Well, what of it?...

CHRIS (MOVING AWAY)

Ivy, listen to me...Stop
talking, and listen to me.
I want to get things
straight. I don't seem to
have been able to think
straight until now -- this
minute.

IVY

There's nothing to get
straight. I love you and
you love me, and this is
our wedding day --

111-24

CHRIS

What's the matter, Ivy?
Are you afraid to talk?

IVY

I just want to get married,
Chris. You asked me to.
Remember?

CHRIS

We're calling it off, Ivy.
By mutual consent.

IVY

I don't consent. Not after
the way you rushed me off
my feet... "Let's do it,
soon, Ivy!"... You may
have forgotten. But I
haven't... I've got the
memory of an elephant!...
"Ivy, darling, you under-
stand everything."

(SHE LAUGHS)

You bet I do. I understand
that you're a man of honor,
Chris and men of honor don't
wiggle out of it on the day
of the wedding ...

111-25

CHRIS

It's no good, Ivy.

IVY

Do you know why I consented,
Chris? I'll tell you why.
Because I'm crazy about
you ... And because I
wanted to see what I could
do with you, a little boy
from the sticks ... Small
town boy makes good! ...
I can do a lot for you,
Chris ... I'll make you a
big success ... I'll make
something of you!

CHRIS

Ivy, you don't have to make
anything of me --

IVY (GAILY)

Oh yes, I do. I can't let
you waste away as a hack-
writer. That's not good
enough for you, Chris.,,
You'll have trips and
penthouses and parties --
and when I go out with you,
they'll say look at Ivy with that famous
husband of hers!

111-26

CHRIS

You don't know what I'm
talking about, do you?

IVY

And I'll make something of
Sandy, too. He ought to
meet the right boys, go
to the right schools --

CHRIS

He's not going away to any
schools! He's staying
right here, with me --

IVY

And running the streets
nights, I suppose, when you
forget to come home!

CHRIS (WITH SLIGHT BOW)

I deserve that. Your're
right about that.

IVY

Of course I'm right! ...
Of course I'm right! ...
You don't realize how
much I can do for him.

111-27

CHRIS

I'm the one who's going to
-do things for him. I meant
it when I told him things
were going to be different
around here. They are.
That was the reason why it
seemed so important to me
that night to find a mother
for him immediately -- and
I wanted to believe you were
that mother.

IVY (LIGHTLY)

And I didn't pass?

CHRIS

No, Ivy, you didn't pass.
You may be many things to
many men, but you don't love
that small boy of mine.
He needs --

IVY

Why don't you take out time
to tell me what I need!

CHRIS

You need someone who'll come
when you whistle, Ivy, and
jump through a hoop when you hold it up.

(CONTINUED)

111-28

CHRIS (CONTINUED)

We'd never make a go of it
in a million years!

IVY

Yes we would, Chris -- of
course we would!

CHRIS

It's finished, Ivy.

IVY

You wouldn't be such a fool
as to let me go!

CHRIS

It's not a question of
letting you go. I've never
had you.

IVY

This isn't my idea of a
wedding day! Here's your
bouquet!...You can get me
a fresh one! <u>You'll</u> be
around tomorrow!

(SHE CROSSES OUT. DROPS BOUQUET)

(CHRIS PICKS IT UP. DROPS IT IN
WASTE BASKET.

(HE CROSSES TO BEDROOM)

CHRIS

She's gone.

111-30

CHRIS (CONTINUED)

space for Sandy. How about
it Penny, Have you got any
pull at Penn Station ...
come on, and we'll call
up Reservations right now.
(HE PULLS HER ALONG INTO LIVING
ROOM)

SANDY

Go on and call, Chris.
I don't hear you calling...
why don't you call?

CUT TO:

SCENE 30: CLOSE UP OF CHRIS AND PENNY KISSING. CHRIS GROPES FOR RECEIVER, TAKES IT OFF HOOK, IT FALLS TO THE GROUND AS HE HOLDS HER MORE TIGHTLY IN HIS ARMS.

FADE OUT

THE END