123 Walmer Road,
Toronto, Dec 11.

Dear Miss Helburn;

I was pretty excited when you wrote and told me you liked my play. First I was surprised and then it seemed right that you should, because the way that argument worked out with you was something like this: I was feeling very jolly and had proven to my satisfaction to you that you couldn't like it, and I had had a couple of drinks anyway, but when I got home and was going to bed I sort of got the feeling that I had won the war but lost the peace. I found I kept asking myself, "But just the same, why didn't she find Hamlet hard to take at the beginning- there must have been something very human about him right at the start," and then *ah!* was I from all argument I saw you had your finger right on the point on which general sympathy depended, and I simply had to do something about it.

I agree the two leads would have to be rightly cast, but mainly the boy, Mike, although I can think of four or five actors who have the right quality. By the way I saw where Walter Connolly was looking for a play: How do you think he would do for the father? Or how about Dudley Digges, Arthur Byron, Jay Fasset, or Henry Hull?

I never can bear the thought that a particular play depends upon a particular actor that everybody knows, but I wish you had some fairly mature juvenile in mind with a quality maybe like that of Henry Fonda, or John Garfield, though not necessarily either one of those. Maybe you see the role differently.

Well, I'm still figuring it was mysterious running into the three of you that night, so my warmest thanks to you.

Ever yours,

November 7, 1940.

Dear Morley Callaghan:

It isn't that we don't like TURN AGAIN HOME as much as ever, but we don't see our way clear to a production date as yet - we doubt whether this season is the right one for it so it seems futile to go on holding on since we cannot get it on before our year will expire.

You can be sure we wouldn't have gone on this long if we hadn't been so interested in the script but we are really thinking it might be better to wait until a later season when the public will not be attuned so hungrily to comedy. However, of course you may find someone else who wants to do it this year. If you don't, we will still be hoping and waiting.

Lawrence is in Washington or I am sure he would write you himself.

Cordial greetings to you.

Sincerely,

1-1-13 (new)

Andrew

Too dark, eh!

(as he turns away)

That's where Mike and I used to head for every Saturday morning.
Right at the crack of dawn he'd be there by the bed shaking me.
I'd like in the boat and he'd do the rowing and we'd bellow out
deep sea chanties. Funny how he got sore if anything got in the
way of that little trip. It seemed so important to him.

Anna

I see what you mean.

Andrew

Yes, when he was a kid he - he used to want to be like me -
You know - do what I'd do - talk the way I talked. It was odd.

(anxiously)

Look, Anna, you don't think he'd hold a grudge, do you?

Anna

(laughing)

Isn't it funny. I seem to know him better than you do.

Andrew

(eagerly)

Then it isn't true?

Anna

Oh, I know he often looks pretty <u>alone</u>, solemn, but that's when
he's <u>wonderful</u> wondering about the world. And that's when I feel
the gentleness in him.

(looking flustered)

Say, don't tell him I was talking like this, will you?

Andrew

(pleased with her)

Of course I won't. You see, Anna, the way it is with me and Mike...
Well, there's a strange kind of loneliness for a man cut off from his
son. I'm tired of business. What's the use of sitting around in a
bank watching over the fortunes of other people and the estates they
build for their sons. I know it's just a dead end for me. Maybe some
day, Anna, you'll look back over your life. You'll find there'll be
one part you can put a circle around. Right there, you'll see, was
home. And the rest of your life's just a longing to get back home.

Anna

But you weren't really cut off from Mike, Mr. Aikenhead. Not while
he kept in touch with his sister.

Andrew

What a blessing he was so fond of Sheila.

(he smiles warmly at her as he stands up)

How easy it is for you to make me feel close to Mike. Look, maybe
if we were getting some bait to go fishing. You and me together -
come here.

(taking a small pocket flashlight from his pocket he
crosses to the right, front, to the bit of grass.)

It's damp there, see, Anna. Lovely big dew worms.

Anna

(bending down as he flashes the light)

Look, there's a big fat one.

3-1-2

### Anna

(ashamed, and not looking at him)

Girls don't think about such things.

### Mike

No wonder you're ashamed. You certainly ought to be

(Putting his arm around her he tries to raise her head. Her eyes are wet with tears of relief as she smiles.)

### Anna

I wasn't just trying to provoke you, Mike. I wasn't fair to you.

You were worrying about me and watching me, weren't you? That means you must have felt love for me.

### Milee

(in the same indignant, lecturing tone)

A fine girl like you with a guy like Huck! Actually letting him paw you. It was simply incredible to me, Anna....

(as he looks down at her he suddenly pauses. A different expression comes on his face. His voice sinks to a wondering whisper.)
God in heaven. How soft and white you look when you're crying!

### Anna

Oh, Mike.

### Mike

(as if telling himself something as he stares at her raptly)

Yeah, me wondering what'll stop me wanting to break things... If they touch me. You're all I need. - Lovely and warm and soft... There to shut out everything in the world.

### Anna

(puzzled by the change in him)

You look so deathly pale.

### Mike

(his tone growing more sensual as he puts out his hand to touch her)

Huck was right, Anna. It's the way you look at everybody. It's like a great promise in you. You seem to say, "Hug me and you'll fade off the earth." That's a sweet dream for a man. Come on, give us a kiss.

(Anna, startled by the change in him, kisses him shyly on the head)

### Anna

You seem so different. What is it?

### Mike

(grinning loosely as he tightens his arms around her)

Ah, I won't let you get away from me now.

### Anna

I don't want to get away from you, Mike.

1-1-3

Martha

Listen!

Dave

(As the sound fades out)

Sure, I hear it.

Martha

(Eagerly)

No wonder Andrew's in there gloating. You ready to get
out -

Dave

(Impatiently)

Aw, you've got Mike on the brain. He only came this after-
noon.

Martha

(Passionately)

Well, Andrew swore he was through with him didn't he?

(The sound of the strumming of a guitar
comes from the house. With a wave of her
arm MARTHA turns, indicating the whole
place)

I was poor once, Dave. And when I was just the housekeeper
here I dreamed of it all for you. I've been hurt in a hundred
ways - I'm not wanted - yet I got all I wanted - a promise
of things for you.

(To the strumming of the guitar comes a
girl's voice from the house, idly sing-
ing just snatches of songs, broken off)

Andrew promised, Dave - you and his daughter.

(DAVE has turned, looking toward the
house)

Dave

Sheila his daughter! ... Oh, gee, with her leaving -

Martha

(Emphatically)

I say you won't go.

(DAVE is still looking up at the
house)

Dave

And Mike back here to rule the roost.

1-1-9

(DAVE takes a step back, his face twisted)

Dave

(Crying out as he stares at Andrew)

Oh, gees, that cockeyed look again.

(He takes a challenging step toward Andrew shouting)

Go on. Spit on me. I didn't ask you to let Mike go.
He can have your dough and the crazy look in your eyes
along with it.

Andrew

(Trembling with fury)

Just the sound of your voice - that mocking grin --

Martha

(In a scared voice)

Andrew -

Andrew

(Turning)

Eh?

Martha

(Stepping up to him)

If you dare put your hands on him --

Andrew

(Taking hold of himself, then to Dave)

Aw, you brash young fool. Go away.

Dave

(Excited)

I'll get right off the earth. Don't worry about me.

(He strides off right, rapidly)

Martha

(In a frightened tone)

Oh, you've a soul full of violence! What pushes you at him, Andrew?

Andrew

(Staring at her intently)

Huh!

Martha

(With emotion)

Dave's the only part of my life you can hurt now, Andrew, -
and if I thought you'd drive him away or cut him off I'd
talk to Mike - I'd put a spark to the hate he hides in his
heart for you, I'd give you both a little push at each other.

1-1-13

Andrew

Too dark, ehl

(As he turns away)

That's where Mike and I used to head for every Saturday
morning. Right at the crack of dawn he'd be there by my
bed shaking me. I'd lie in the boat and he'd do the rowing
and bellow out deep sea chanties. He used to get sore if
anything got in the way of that little trip. It seemed so
important to him.

Anna

(Nodding)

I see what you mean.

Andrew

Yes, when he was a kid he - he used to want to be like me -
you know - do what I'd do - talk the way I talked. It was
odd.

(Anxiously)

Anna

(Laughing)

Andrew

(Eagerly)

Then it isn't true?

Anna

Oh, I know he often looks pretty solemn, but that's when he's
wondering about the world. And that's when I feel the gentle-
ness in him.

(Pausing, looking flustered)

. Andrew

(Pleased)

Of course, I won't, Anna. - How easy it is for you to make
me feel close to him.

(He looks around, standing up)

Listen, maybe if we were getting some bait to go fishing -
you and me together - Come here -

(Taking a small pocket flashlight out of
his pocket, he crosses to the right, front,
to the bit of grass)

It's damp there, see. Lovely big dew worms, Anna.

Anna

(Bending down as he flashes the light)

Look, there's a big fat one.

3-1-8

Mike (cont.)

(ANNA only continues to stare at him
and he shouts)

Stop staring at me, do you hear?

Anna

I can't help it.

Mike

What the hell's the matter with me?

Anna

I don't know. I'm scared. Before you came in here I had
nothing but love for you, but now I look at you and it's like
being with a stranger.

Mike

Say, do you think you're going to get away with that?

Anna

I'm not trying to get away with anything, Mike.

(He makes a grab at her but she slips off the bed. He crawls over the bed and she backs away)

I'm not turning you down, Mike. I'm not. I'm not.

(She crouches tense, watching him. Je lunges after her and she ducks and backs around the table)

Get away. I'll do something. You're not going to touch me now.

Mike

Come back here. I'll show you.

(As he suddenly grabs her and holds her, she starts kicking him)

Stop it, you little fool. That won't do you any good.

(He grows enraged)

I'll tear every stitch off you.

(He picks her up and tries to carry her but she claws him. Then she trips him with her leg and he stumbles and they fall on the floor. She tries to roll away but he holds her down)

Lie there, do you hear?

(He starts ripping her dress. Suddenly she bites his hand)

Ouch, you little cat. Come on, come on, come on...Anna...Let me...Won't you let me.

(She curls herself up on the floor like an animal, her knees hunched up. He kneels beside her holding her hand)

Anna

(Very quietly)

Please let me up.

3-1-2

### Anna

(Ashamed and not looking at him)
Girls don't think about such things.

### Mike

A fine looking girl like you wasting herself on Huck! You ought to be with someone like me who'd give you a break.

(Putting his arm around her he tries to raise her head, and her eyes are wet with tears of relief as she smiles)

### Anna

The longer I waited here the more I began to feel I hadn't been fair to you. When you keep watching over someone, worrying and brooding over them that's when you're truly in Love, isn't it?

### Mike

God in heaven, you're a cozy, lovely, little piece. How soft and white you look when you're crying.

### Anna

I wasn't trying just to provoke you by going with Huck.

### Mike

Provoke me! You had me running after you all evening.

### Anna

You could have called me.

### Mike

I didn't know what I wanted.

(Grinning at her loosely)

Huck was right, Anna. There's something soft about you. It's lovely but it's soft, as if nobody would know you've got something to give to somebody. The way you look at everybody makes them want to hug you, and honey, I'm going to hug you. I'm going to feel whatever it is that's lovely and warm about you. Why don't you kiss me?

### Anna

(Startled by the change in him and the way he keeps grinning at her)

You look so deathly pale.

(Putting her hands up to his head and kissing him shyly)

### Mike

I wouldn't let you get away from me now.

### Anna

(Puzzled)

I don't want to get away from you.

### Mike

(Grinning at her and looking around

2-2-24

Mike

(Tensely)

Aw, go and sit in the fire.

Bill

What fire? I don't care whether you look like your grandmother.

(Turning to the paper again)

Wasn't this kid Dave sort of sweet on your sister?

(MIKE gets up slowly and takes a
couple of steps toward Bill, his
manner suddenly threatening)

Mike

That's a pipe dream, see.

(Suddenly he shoots his hand out
and grabs the lapel of Bill's coat.

BILL astonished, tries to jerk away)

Bill

God almighty. Take your hand off me.

(MIKE, smiles weakly, dreadfully
confused)

Mike

(Weakly)

It's not that...It's...it's that pin on the lapel of your
coat. My school pin. Where did you get it?

Bill

I took it off a coat in your room. It looks like a war
veterans button. With it and a line of crap as high as a
telegraph pole I can sell women lots of veterans' calendars,
see. Have a heart, Mike.

Mike

(As he sits down, shamefaced)

Sure, Bill. I don't know. Guess I was thinking of Dave.

(Then in a haunted tone)

You can't eat for a couple of years with a guy in the same
house and then have him die on you without remembering little
things, can you?

Bill

(Consolingly)

The finest piece of cheese the worms have had a change to
nibble at in a long time.

Nathaniel

Those spoiled rich kids. They can't get drowned like you
or me or the guy next door.

(He pauses, significantly)

Now if it was your old man you were worrying about...

(A pause as MIKE stands up slowly,
staring at Nathaniel tensely)

TURN

AGAIN

HOME

ANDREW AIKENHEAD

MARTHA AIKENHEAD

DAVE

ANNA

MIKE AIKENHEAD

NATHANIEL BENJAMIN

SHEILA AIKENHEAD

THE FARMER

THE POLICEMAN

THE WAITER

HUCK FARR

BILL JOHNSON

FIRST PLAINCLOTHESMAN

SECOND PLAINCLOTHESMAN