## ACT ONE

### Scene 2.

Dining-room of the Miller home -- a little after six in the evening of the same day.

The room is much too small for the medium-priced, formidable dining-room set, especially now when all the leaves of the table are in. Down right, toward rear, is a double door-way with sliding doors and portieres leading into the back parlor. In the rear wall, right, is the door to the pantry. At the left of door is the china closet with its display of the family cut glass and fancy china. In the right wall are two windows looking out on a side lawn. In front of the windows is a heavy, ugly side-board with three pieces of old silver on its top. In the right wall, up stage, is a screen door opening on a side porch. A dark rug covers most of the floor. The table, with a chair at each end, left and right, three chairs on the far side, facing front, and two on the near side, their backs to front, takes up most of the available space. The walls are papered in a sombre brown and dark-red design. The chairs are numbered from one to seven to simplify direction. Armchair right end of table is ch. #1 - side chair above table and rt. is #2 - side chair center and above table is #3 - side chair above and left is #4. - Arm chair at left end of table is #5 - side chair below and left is #6 - side chair below and rt. is #7.

MRS. MILLER is supervising and helping the Second Girl, NORAH, in the setting of the table. NORAH is a clumsy, heavy-handed, heavy-footed, long-jawed, beamingly good-natured young Irish girl - a "greenhorn". NORAH D. stage back to audience. MRS. MILLER R. of table shining glass with a cloth.

(MRS. MILLER sighs and reaches up with difficulty, can't reach lights. As she is doing so, LILY enters from the back parlor)

Lily

Here, let me do that, Essie. I'm taller.

(As she quickly X's to between chairs #6 and 7 and turns on one light)

Mrs. Miller

(Gratefully, X's to L. of ch. #6)

Thank you, Lily.

Lily

(X's to above table and turns on other two lamps of chandelier)

But where's Norah? Why didn't she --?

Mrs. Miller

(Exasperatedly X's to between chairs #6 and 7)

Oh, that girl! She'll be the death of me! She's that thick, you honestly wouldn't believe it possible.

(Then kindly)

Lily

Is there anything I can do, Essie?

Mrs. Miller

(Surveying the table. Below table L. to R.)

She's got the table all wrong. We'll have to reset it. But you're always helping me. It isn't fair to ask you -- in your vacation.

Lily

(Beginning to help with the table. Above table R. to L.)

You know I love to help. It makes me feel I'm some use in this house instead of just sponging --

Mrs. Miller

(Indignantly, scolding - slams down fork, then speaks)

Sponging! You pay, don't you?

Lily

Almost nothing. And you and Nat only take that little to make me feel better about living with you.

(Forcing a pitiful attempt at a smile to her lips, works to below table at L. end)

I don't see how you stand me -- having a cranky old-maid around all the time.

Mrs. Miller

(Indignantly)

What nonsense you talk! As if Nat and I -- weren't only too

1-2-3

1-2-4

Mrs. Miller (cont'd)

tickled to death to have you! Lily Miller, I've no patience
with you when you go on like that.

(Then she changes the subject abruptly)

What time's it getting to be?

Lily

(Glances at the little watch pinned on the
bosom of her dress. She X's from L. of table
to down R., glances off through door)

Quarter past six.

Mrs. Miller

I do hope those men folks aren't going to be late for dinner --

(She sighs. Sets chairs)

But I suppose with that darned _Sachem_ Club picnic it's more
likely than not.

(LILY looks sad and worried, and sighs.)

MRS. MILLER gives her a quick side glance)

I see you've got your new dress on.

Lily

(Embarrassedly. Yes to chair #1 and sits)

Yes, I thought -- if Sid's taking me to the fireworks -- I
ought to spruce up a little.

Mrs. Miller

(Looking away)

Hmm.

(A pause -- then she says with an effort to
be casual)

You mustn't mind if Sid comes home feeling a bit -- gay. I
expect Nat to and we'll have to listen to all those old
stories about when he was a boy. You know what those picnics
are, and he'd be running into all his old friends.

Lily

(Agitatedly)

I don't think he will -- this time -- not after his promise.

Mrs. Miller

(Avoiding looking at her)

I know. But men are weak.

(Then quickly working to center of table
below it)

That was a good notion of Nat's, getting Sid the job on the
Waterbury _Standard_. All Sid's ever needed was to get away
from the rut he was in here. He's the kind that's the victim
of his friends.

(LILY keeps silent, her eyes downcast.)

MRS. MILLER goes on meaningly)

He's making good money in Waterbury, too -- thirty-five a week.

He's in a better position to get married than he ever was.

1-2-5

Lily

(Stiffly)

Well, I hope he finds a woman who's willing -- though after he's through with his betting on horse races, and dice, and playing Kelly pool, there won't be much left for a wife -- even if there was nothing else he spent his money on.

Mrs. Miller

Oh, he'd give up all that -- for the right woman.

(Suddenly she comes directly to the point, sharply. Sits chair #7 faces Lily, then speaks)

Lily, why don't you change your mind and marry Sid and reform him? He loves you and always has.

Lily

Never enough to stop drinking for?

(Cutting off Mrs. Miller's reply)

No, it's no good in your talking, Essie. We've been over this a thousand times before and I'll always feel the same as long as Sid's the same. If he gave me proof he'd -- but even then I don't believe I could. It's sixteen years since I broke off our engagement, but what made me break it off is as clear to me today as it was then, -- his taking up with bad women --.

Mrs. Miller

(Protests half-heartedly)

But he's always sworn he got raked into that party and never had anything to do with those harlots.

Lily

(Firmly but quietly and quickly)

Well, I don't believe him -- didn't then and don't now. I do believe he didn't deliberately plan to, but --

(Very prim)

Oh, it's no good talking, Essie. What's done is done. But you know how much I like Sid -- in spite of everything. I know he was just born to be what he is -- irresponsible. But don't talk to me about marrying him -- because I never could.

Mrs. Miller

(Angrily front)

He's a dumb fool -- a stupid dumb fool, that's what he is!

(Fuming)

It's a shame for you -- a measly shame --

Lily

(Affectionately but sharply)

Now don't you go feeling sorry for me.

Mrs. Miller

Good gracious, if I'm not forgetting one of the most important things! I've got to warn that Tommy not to give me away to Nat about the fish. He knows, because I had to send him to market for it, and he's liable to burst out laughing --

1-2-6

Lily
About what?

Mrs. Miller
(Guiltingly. Quickly)

Well, I've never told you, but you know how Nat carries on
about not being able to eat bluefish.

Lily
(Quickly)
I know he says it poisons him.

Mrs. Miller
(Chuckling)

Poisons him, nothing! He's been eating bluefish for years --
only I tell him each time it's weakfish. We're having it
tonight.

Lily
(Laughing)
Aren't you ashamed, Essie?

Mrs. Miller
Not much, I'm not. I like bluefish.

(She laughs. Rises)

Where is Tommy? In the sitting-room?
(X's to U.R. and exits)

Lily
No, Richard's there alone. I think Tommy's out on the piazza
with Mildred.

(MRS. MILLER bustles out through the back
parlor. As soon as she is gone, the smile
fades from LILY's lips. Her face grows sad
and she again glances nervously at her watch)

(RICHARD appears from the back parlor, moving
quickly toward door down right. His face wears
a set expression of bitter gloom; he exudes
tragedy. For Richard, after his first outburst
of grief and humiliation, has begun to take a
masochistic satisfaction in his great sorrow,
especially in the concern which it arouses in
the family circle)

Lily
Feel any better, Richard?

Richard
(On seeing his aunt, he gives her a dark look
and turns and crosses slowly to down center.
Somberly - Xing D.R.)

I'm all right, Aunt Lily. You mustn't worry about me.

Lily

(Going to him -- worriedly)

But I do worry about you. I hate to see you so upset.

Richard

(X's to D.C.)

It doesn't matter. Nothing matters.

Lily

(Puts her arm around him sympathetically.)

He takes a step. She goes with him)

You really mustn't let yourself take it so seriously. You
know, things like that come up, and we think there's no
hope --

Richard

(Breaks away to D.L.)

Things like what come up?

Lily

What's happened between you and Muriel.

Richard

(With disdain - quickly - a step D. stage)

Oh, her! I wasn't even thinking about her. Impressively
I was thinking about life.

Lily

(No tenderness - a bit brittle. X's to a
step above him)

But then -- if we really, really love -- why, then something
else is bound to happen soon that changes everything again,
and it's all as it was before the misunderstanding, and
everything works out all right in the end. That's the way
it is with life.

Richard

(With a tragic sneer - sits ch. D.L.)

Life! Life is a joke! And everything comes out all wrong
in the end.

Lily

(A little shocked - X's to him)

You mustn't talk that way.

(X's to chair #5 and sits)

But I know you don't mean it.

Richard

(Bitterly)

I do too mean it!

(LILY faces him)

You can have your silly optimism, if you like, Aunt Lily.

But don't ask me to be so blind.

(Proudly)

I'm a pessimist!

(Then with an air of cruel cynicism)

1-2-7

1-2-8

Richard (cont'd)

As for Muriel, that's all dead and past. I was only kidding
her, anyway, just to have a little fun, and she took it
seriously, like a fool.

(Pauses. He forces a cruel smile to his lips -
rises and X's to L. of Lily)

You know what they say about women and trolley cars, Aunt
Lily:

(Snaps finger)

There's always another one along in a minute.

(Returns and sits Ch. D.L. legs crossed)

Lily

(Really shocked this time. Scolds)

I don't like you when you say such horrible, cynical things.

It isn't nice.

Richard

Nice!

(Dislikes word "nice")

That's all you women think of!

(Front)

I'm proud to be a cynic.

(Uncrosses legs)

It's the only thing you can be when you really face life.

I suppose you think I ought to be heart-broken about Muriel --
a little coward that's afraid to say her soul's her own, and
keeps tied to her father's apron strings! Well, not for mine!

There's plenty of other fish in the sea!

(As he is finishing, his mother comes back
through the back parlor)

Mrs. Miller

(Xing to D.C.)

Why, hello. You here, Richard? Getting hungry, I suppose?

Richard

(Indignantly faces her)

I'm not hungry a bit! That's all you think of, Ma -- food!

(Faces front)

Mrs. Miller

(Dryly. X's to below Ch. #6)

Well, I must say I've never noticed you to hang back at meal
times.

(To Lily)

What's that he was saying about fish in the sea?

Lily

(Smiling)

He says he's through with Muriel now.

Mrs. Miller

(Tartly -- giving her son a rebuking look)

She's through with him, he means! The idea of your sending

1-2-10

Wint (cont'd)

(More irritably)

Hell, that balls up things for fair!

Richard

(Ingratiatingly)

What is it, Wint? Can't I help?

Wint

(Gives him an appraising glance, hands in pockets)

I might tell you, if you can keep your face shut.

Richard

(Hands in pockets, copying Wint)

I can.

Wint

(Glances U.R. and U.R.C.)

Well, I ran into a couple of swift babies from New Haven this
after. and I dated them up for tonight, thinking I could
catch Art -- But now it's too late to get anyone else and
I'll have to pass it up. I'm nearly broke and I can't af-
ford to blow them both to drinks.

Richard

(With shy eagerness, quickly)

I've got eleven dollars saved up. I could loan you some.

Wint

(Surveys him appreciatively, pats him on back)

Say, you're a good sport.

(Then shaking his head)

Nix, Kid, I don't want to borrow your money.

(Then getting an idea)

But say, have you got anything on for tonight?

Richard

(Hesitates a moment -- then determinedly)

No.

Wint

Want to come along with me?

(Then quickly, but genuinely)

I'm not trying to lead you astray, understand. But it'll be
a help if you would just sit around with Belle and feed her
a few drinks while I'm off with Edith.

(He winks)

See what I mean?

(Little embarrassed, but speaks quickly)

You don't have to do anything, not even take a glass of beer --
unless you want to.

Richard

(Boastfully)

Aw, what do you think I am -- a rube?

1-2-11

Wint

You mean you're game for anything that's doing?

Richard

Sure I am!

Wint

Ever been out with any girls -- I mean,
(Glances about)

real swift ones that there's something doing with, not these
dead Janes around here?

Richard

(Lies boldly)

Aw, what do you think? Sure I have!

Wint

Ever <u>drink</u> anything besides <u>sodas</u>?

Richard

Sure. Lots of times. Beer and sloe-gin fizz and -- Manhattan.

Wint

(Impressed, slaps him on back)

Hell, you know more than I thought.

(Then considering - "Plot", glances R.)

Can you fix it so your folks won't get wise?

(Puts his left arm about Richard's shoulder)

You can get back by half-past ten or eleven, though, all right.

Think you can cook up some lie to cover that?

(As RICHARD hesitates -- encouraging him)

Ought to be easy -- on the Fourth.

Richard

Sure. Don't worry about that.

Wint

(Pause)

But you've got to keep your face closed about this, you hear?

I tell you straight, I wouldn't ask you to come if I wasn't in
a hole -- and if I didn't know you were coming down to Yale
next year, and didn't think you're giving me the straight goods
about having been around before. I don't want to lead you
astray.

Richard

(Scornfully - front)

Aw, I told you that was silly.

Wint

Well, you be at the Pleasant Beach House at half-past nine then --

(RICHARD looks up)

Come in the back room. And don't forget to grab some cloves to
take the booze off your breath.

1-2-12

Richard

Aw, I know what to do.

Wint

(Lift)

See you later, then.

(Shakes hands)

(He starts out and is just about to close the door when he thinks of something, turns.)

RICHARD sticks his hand out to shake hands again)

And say, I'll say you're a <u>Harvard</u> freshman, and you back me up. They don't know a damn thing about Harvard. I don't want them thinking I'm travelling around with any high-school kid.

Richard

Sure. I'll fool them. That's easy.

Wint

So long, then.

(Shakes hands)

You better beat it right after your dinner while you've got a chance -- and hang around until it's time. Watch your step, Kid.

Richard

So long.

(The door closes behind Wint, who can be heard whistling. RICHARD stands for a moment, a look of bitter, defiant rebellion coming over his face, and mutters to himself after whistle stops)

I'll show her she can't treat me the way she's done! I'll show them all!

(U.R. Xes and sits chair #1)

(A moment later TOMMY rushes in from the back parlor)

Tommy

Where's Ma?

(In doorway)

Tommy

Richard

In the sitting-room. Where did you think, Bonehead?

(Surlily)

Tommy

Pa and Uncle Sid are coming. Mid and I saw them from the front piazza. Gee, I'm glad.

(Stands rear chair #6)

I'm awful hungry, ain't you? Ma! They're coming! Let's have dinner quick!

(A moment later MRS. MILLER appears from the back parlor with a bowl of daisies)

Gee, but I'm awful hungry, Ma!

Mrs. Miller

(Yes to above table - puts bowl of daisies
on center of table)

I know. You always are. You've got a tapeworm, that's what I think.

Tommy

Have we got lobsters, Ma? Gee, I love lobsters.

Mrs. Miller

Yes, we've got lobsters. And fish. You remember what I told you about that fish.

(He snickers)

Now -- do be quiet, Tommy!

(LILY appears through the back parlor, nervous and apprehensive. As she does so, from the front yard SID'S voice is heard singing a bit maudlinly: "I nearly died with aggravation. Then she shook her head, looked at me and said: Poor John! Poor John!" MRS. MILLER follows the example of the lady of the song and shakes her head forebodingly -- but, so great is the comic spell for her even in her brother's voice, a humorous smile hovers at the corners of her lips)

Mmm! Mmm! Lily, I'm afraid --
(Standing left of chair #5.)

Lily

(Bitterly - X's to rear of chair #2)

Yes, I might have known!

(MILDRED runs in through the back parlor. She is laughing to herself a bit shamefacedly. She rushes to her mother)

Mildred

Ma, Uncle Sid's --
(She whispers in her ear)

Mrs. Miller

Never mind! You shouldn't notice such things -- at your age!

Tommy

(Knowingly)

You needn't whisper, Mid. Think I don't know? Uncle Sid's soused again.

Mrs. Miller

(Yes to him, shakes him by the arm indignantly)

You be quiet! Did I ever! You're getting too smart!

(Gives him a push)

Sit right down and not another word out of you!

1-2-13

1-2-15

Mrs. Miller

(Pulling away -- embarrassedly, almost blushing -
stands with her back to him. He is directly Rt.
of her and both are about 4 feet below swing
door U.C.)

Don't, you Crazy!

(Then recovering herself -- tartly, surveying
him)

So I see, you're here! And if I didn't, you've told me four
times already!

Miller

(Beamingly)

Now, Essie, don't be critical.

(NORAH enters)

Don't be carpingly critical. Good news can stand repeating,
can't it? 'Course it can!

(He slaps her jovially on her fat buttocks.
TOMMY and MILDRED roar with glee. And NORAH,
who has just entered from the pantry with a
large tureen of soup in her hands, almost
drops it as she explodes in a merry guffaw)

Mrs. Miller

(Scandalized and flushed she stalks with stiff
dignity toward her place - stands L. of chair
#5 and glares at Nat)

Nat! Aren't you ashamed?

Miller

(Laughing, X's down C. and then U.C.)

Couldn't resist it! Just simply couldn't resist it!

(NORAH still standing with the soup tureen held
out stiffly in front of her, again guffaws)

Mrs. Miller

(Turns on her with outraged indignation)

Norah! Bring that soup here this minute!

(Sits in her chair #5)

Norah

(Guiltily)

Yes, Mum.

(She brings the soup via above table to Mrs.
Miller; as she starts to move NAT slaps her on
the back)

Miller

(Jovially)

Why, hello, Norah!

Mrs. Miller

Nat!

1-2-16

Norah

(Rebuking him familiarly)

Arrah now, don't be making me laugh and getting me into
trouble!

Mrs. Miller

Norah!

Norah

(A bit resentfully)

Yes, Mum. Here I am.

(Starts to put tureen on table while standing
at Mrs. Miller's right. MRS. MILLER mutters:
"Didn't I tell you." NORAH X's to left of Mrs.
Miller and puts soup tureen down with a thud
in front of Mrs. Miller and then passes around
to rear of table and squeezing with difficulty
between the china closet and the backs of
chairs at the rear of table)

(NAT watching off U.R.)

Mrs. Miller

(Picks up this immediately after reprimanding
Norah)

Tommy!

(Quick attack)

Stop spinning your napkin ring!

(Everyone looking at double doors U.R.)

How often have I got to tell you? Mildred! Sit up straight
in your chair! Do you want to grow up a humpback? Richard!
Take your elbows off the table.

Miller

(Coming to his place at the head of the table,
rubbing his hands together genially)

Well, well, well. Well, well, well. It's good to be home
again.

(NORAH exits into the pantry and lets the door
slam with a bang behind her)

Mrs. Miller

(Jumps)

Oh!

(Then exasperatedly)

Nat, I do wish you wouldn't encourage that stupid girl by
talking to her, when I'm doing my best to train --

Miller

(Beamingly)

All right, Essie. Your word is law!

(Then laughing)

We did have thedarndest fun today! And Sid was the life of
that picnic! You ought to have heard him!

1-2-17

Mrs. Miller

(As NORAH comes back with a dish of saltines --
begins ladling soup into the stack of plates
before her)

(She calls)

Sid! You come right in here!

(Then to Norah, handing her a soup plate)

Here, Norah.

(NORAH begins passing soup)

Sit down, Nat, for goodness sakes. Start eating, everybody.

Don't wait for me. You know I've given up soup.

Miller

(Sits down but bends forward to call to his
wife in a hoarse, confidential tone)

Essie -- Sid's sort of embarrassed about coming -- I mean, I'm
afraid he's a little bit -- not too much, you understand -- but
he met such a lot of friends and -- well, you know. Don't
pretend to notice, eh? And don't you kids, you hear! And don't
you, Lily. He's scared of you.

(NORAH leaves)

Lily

(With stiff meekness)

Very well, Nat.

Miller

(All beaming again -- calls)

All right, Sid. The coast's clear.

(He begins to absorb his soup ravenously)

Good soup, Essie! Good soup!

(A moment later SID makes his entrance from the
back parlor. He is in a condition that can best
be described as blurry. He is not staggering
but his movements have a hazy uncertainty about
them. His shiny fat face is one broad, blurred,
Puckish, naughty-boy grin; his eyes have a blur-
red, wondering vagueness. As he enters he makes
a solemnly intense effort to appear casual and
dead, cold sober. He waves his hand aimlessly
and says with a silly gravity)

Sid

Good evening.

(They all answer "Good evening", their eyes on
their plates. He makes his way vaguely toward
his place, left of Richard, ch. #4, continuing
his grave effort at conversation)

Beautiful evening. I never remember seeing -- more beautiful sunset.

(He bumps vaguely into Lily's chair as he attempts to pass behind her -- immediately he is all grotesque, grave politeness)

Sorry -- sorry, Lily -- deeply sorry --

Lily

(Her eyes on her plate -- stiffly)

It's all right.

Sid

(Manages to get into his chair at last -- he
is silent, studying his soup plate, as if it
were some strange enigma. Finally he looks
up and regards his sister and asks with won-
dering amazement)

Soup?

Mrs. Miller

Of course, it's soup. And you hurry up and eat it.

Sid

(Again regards his soup with astonishment)

Well!

(Then suddenly)

Well, all right then! Soup be it!

(Everyone relieved when SID starts to eat.
He picks up his spoon and begins to eat, but
after two tries in which he finds it diffi-
cult definitely to locate his mouth, he ad-
dresses the spoon plaintively)

Spoon, is this any way to treat a pal?

(Then suddenly comically angry, putting the
spoon down with a bang)

Down with spoons!

(He declams)

"We'll drink to the dead already, and hurrah for the next
who dies."

(Bowing solemnly to right and left)

Your good -- hic -- health, ladies and gents.

(He lifts his soup plates and starts drinking
the soup. MILLER guffaws and MILDRED and
TOMMY explode with laughter. Even RICHARD
forgets his melancholy and snickers, and
MRS. MILLER conceals a smile. Only LILY
remains stiff and silent)

Mrs. Miller

(With forced severity)

Sid!

Sid

(Solemnly offended, puts down plate)

Are you -- hic -- publicly rebuking me before assembled --?
Isn't soup liquid? Aren't liquids drunk? What if they are
drunk? It's a good man's failing.

(Speaks to Tommy)

Am I right or wrong, Tommy?

Mrs. Miller

Hurry up and finish your soup, and stop talking nonsense!

1-2-18

1-2-19

Sid

(Turning to her -- again offendedly)

Oh no, Essie, if I ever so far forget myself as to drink a leg of lamb, then you might have some -- excuse for --

(Picks up spoon)

Just think of waste effort eating soup with spoons -- fifty gruelling lifts per plate -- billions of soup-eaters on globe -- why, it's simply staggering --

(Beams at everyone, all happiness)

Am I right, folks?

Miller

(Who has been choking with laughter)

Haw, haw! You're right, Sid.

Sid

(Peers at him blurredly and shakes his head sadly)

Poor old Nat! Always wrong -- and drunk again, I regret to note. Sister, my heart bleeds for you and your poor fatherless chicks!

(Pats Richard's head)

Mrs. Miller

(Restraining a giggle -- severely)

Sid! Do shut up for a minute!

(Speaks seriously)

Pass me your soup plates, everybody. If we wait for that girl to take them, we'll be here all night.

(They all pass up their plates, which MRS. MILLER stacks up and then puts on the sideboard. As she is doing this, NORAH appears from the pantry with a platter of broiled fish. She is just about to place these before Miller when SID catches her eye mistily and rises to his feet)

Sid

(Speaks with broad Irish accent.)

Raptly, rises)

Ah, Sight for Sore Eyes, my beautiful Macushla.

Mrs. Miller

Sid!

Norah

(Immensely pleased -- gives him an arch, flirtatious glance)

Ah sure, Mister Sid, it's you that have kissed the Blarney Stone, when you've a drop taken!

Sid

My star-eyed mavoureen!

1-2-20

Mrs. Miller

(Outraged)

Norah! Put down that fish!

(NORAH puts down fish platter in front of Nat)

Lily

(Choking with angry shame, then turning on
Sid, furiously)

Will you please sit down and stop making a fool of yourself!

(SID gives her a hurt, mournful look and then
sinks meekly down on his chair)

Norah

(Grinning cheerfully, gives Lily a reassuring
pat on the back)

Ah, Miss Lily, don't mind him. He's only under the influence.
Sure, there's no harm in him at all!

Mrs. Miller

Norah!

(NORAH exits hastily into the pantry, letting
the door slam with a crash behind her. There
is silence for a moment as MILLER serves the
fish and it is passed around. NORAH comes
back with the vegetables, again door slams
behind her. She places vegetables for Lily
to serve on dinner plates)

SLAM

SLAM

Miller

(After giving Lily several served plates --
stops suddenly and asks his wife)

This isn't, by any chance, bluefish, is it, my dear?

Mrs. Miller

(TOMMY clamps hand over his mouth)

(With a warning glance at Tommy)

Of course not. It's weakfish. You know we never have blue-
fish, on account of you --

Miller

(Addressing the table now with the gravity of
a man confessing his strange peculiarities)

Yes, I regret to say, there's a certain peculiar oil in blue-
fish that invariably poisons me.

(At this, TOMMY cannot stand it any more but
explodes into laughter. MRS. MILLER, after a
helpless glance at him, follows suit, laughs
longest; then LILY goes off into uncontrollable,
hysterical laughter, and RICHARD and MILDRED are
caught in the contagion. NAT looks around at
them with a weak smile, his dignity now ruffled
a bit)

1-2-21

Miller (cont'd)

Well, I must say I don't see what's so darned funny about my
being poisoned.

Sid
(Peers around him -- then with drunken cunning.
Speaks sharply)

Aha! Nat, I suspect -- plot! This fish looks blue to me --
(Turns over fish)

-- very blue --
(He points his fork dramatically at Mrs. Miller,
who starts to chuckle and then laughs)

Look how guilty she looks -- a ver--veritable Lucretia Borgia!

Can it be this woman has been slowly poisoning you all these
years? And how well -- you've stood it!

(EVERYONE goes off into uncontrollable laughter)

Miller
(Grumpily)

Oh, give us a rest, you darned fool!

(EVERYONE quickly silent except TOMMY. NAT
glares at him. He stops)

A joke's a joke, but --
(He addresses his wife in a wounded tone)

Is this true, Essie?

Mrs. Miller
(Wiping the tears from her eyes -- defiantly.
Starts laughing again)

Yes, it is true, if you must know, and you'd never have sus-
pected it, if it weren't for that darned Tommy and Sid poking
his nose in. You've eaten bluefish for years and thrived on
it and it's all nonsense about that peculiar oil --

Miller
(Deeply offended)

Kindly allow me to know my own constitution!

(SID nods "Yes")

Now I think of it, I've felt upset afterwards every damned
time we've had fish!

(He pushes his plate away from him with proud
renunciation)

I can't eat this.

Mrs. Miller
(Insultingly matter-of-fact)

Well, don't then. There's lots of lobster coming and you can
fill up on that.

(RICHARD suddenly bursts out laughing again)

Miller
(Turns to him caustically)

1-2-22

## Miller (cont'd)

You seem in a merry mood, Richard. Why, I thought you were
the original of the Heart Bowed Down today.

(RICHARD suddenly sobers)

Sid

(With mock condolence)

Never mind, Dick. Let them -- scoff!

(Then with dramatic pathos, start low and
build)

What can they understand about girls whose hair sizzchels,
whose lips are fireworks, whose eyes are red-hot sparks --

Mildred

(Laughing)

Is that what you wrote to Muriel?

(Turning to her brother)

You silly goat, you!

Richard

(Surlily)

Aw, shut up, Mid. What do I care about her?

(Lift. To Essie)

I'll show all of you how much I care!

(LILY puts hand on him. He pushes it off
angrily)

Mrs. Miller

Pass your plates as soon as you're through, everybody. I've
rung for the lobster. And that's all. You don't get any
dessert or tea after lobster, you know.

(NORAH appears bearing a huge platter of cold
boiled lobster which she sets before Miller.
LILY takes Nat's plate and Mildred's plate and
puts them on her plate. She then picks up the
fish platter so that Nora can put the lobster
platter down. NORAH then X's to serving stand
Rt. of door U.C. and leaves the fish platter
and returns with the lobster plates which she
puts in front of Nat. She then takes the fish
plates and the fish platter and exits into pan-
try)

Tommy

Gee, I love lobster!

(MILLER puts one on each plate, and they are
passed around and everyone starts in pulling
the cracked shells apart. MRS. MILLER takes
the fish plates of Tommy, Richard, Sid and
herself and puts them on sideboard L.)

1-2-23

Miller

(Determining to give the conversation another
turn, says to his daughter -- serving lobster)

Have a good time at the beach, Mildred?

Mildred

Oh, fine, Pa, thanks. The water was wonderful and warm.

Miller

Swim far?

Mildred

Yes, for me. But that isn't so awful far.

Miller

Well, you ought to be a good swimmer, if you take after me.

(ESSIE amused - realizes another long winded
story is coming - glances at Nat - not re-
proachfully)

I used to be a regular water rat when I was a boy. I'll have
to go down to the beach with you one of these days -- though
I'd be rusty, not having been in all these years.

(The reminiscent look comes into his eyes of
one about to embark on an oft-told tale of
childhood adventure)

You know, speaking of swimming,

(SID looks at Nat)

I never go down to that beach but what it calls to mind the
day I and Red Sisk went in swimming there and I saved his
life.

(By this time the family are beginning to
exchange amused, guilty glances. They all
know what is coming)

Sid

(With a sly, blurry wink around. Dramatically)

Aha!

Miller

(Turning on him)

What's that?

Sid

Nothing -- go on swimming -- don't mind me.

Miller

(Glares at him -- but immediately is overcome by
the reminiscent mood again)

Well - Red Sisk -- his father kept a blacksmith shop where the
Union Market is now -- we kids called him Red because he had
thedarndest reddest crop of hair --

(Chuckles)

Well, as I was saying, Red and I went swimming that day. Must
have been -- let me see -- Red was fourteen, bigger and older
than me, I was only twelve -- forty-five years ago -- wasn't

1-2-24

## Miller (cont'd)

a single house down there then -- but there was a stake out
where the whistling buoy is now, about a mile out.

(TOMMY, who has been having difficulty re-
straining himself, lets out a stifled giggle.

MILLER bends a frowning gaze on him. ESSIE
slaps Tommy's arm)

One laugh more out of you, young man, and you'll leave the
table!

## Mrs. Miller

(Quickly interposing, trying to stave off
the story)

Do eat your lobster, Nat. You didn't have any fish, you know.

## Miller

(Not liking the reminder -- pettishly)

Well, If I'm going to be interrupted every second anyway --
Well, as I was saying, there was I and Red, and he dared me
to race him out to the stake and back -- Well, I didn't let
anyone dare me in those days. I was a spunky kid. So I said
all right and we started out. We swam and swam and were
pretty evenly matched; though, as I've said, he was bigger
and older than me, but finally I drew ahead.

(Looks at Sid almost daring him to interrupt)

I was going along easy, with lots in reserve, not a bit tired,
when suddenly I heard a sort of gasp from behind me -- like
this -- "help".

(He imitates. Everyone's eyes are firmly
fixed on their plates, except SID's. SID
is peering at him with bleery curiosity.
He puts right elbow on table. EVERYONE
leans over their plates in attempt to keep
from laughing)

And I turned and there was Red, his face all pinched and white,
and he says weakly: "Help, Nat! I got a cramp in my leg!"

Well, I don't mind telling you I got mighty scared. Then sud-
denly I thought of the pile. If I could pull him to that, I
could hang on to him till someone'd notice us. But the pile
was still -- well, I calculate it must have been two hundred
feet away.

## Sid

(Suddenly)

Two hundred and fifty!

(EVERYONE laughs)

## Miller

(In confusion)

What's that?

## Sid

I've taken down the distance every time you've saved Red's life

1-2-25

## Sid (cont'd)

for thirty years and the mean average to that pile is two hundred and fifty feet!

(There is a burst of laughter from around the table. SID continues complainingly)

Why didn't you let that Red drown, anyway, Nat? I never knew him but I know I'd never have liked him.

(Laugh)

## Miller

(Really hurt, forces a feeble smile to his lips and pretends to be a good sport about it)

Well, guess you're right, Sid. Guess I have told that one too many times and bored everyone. But it's a good true story for kids because it illustrates the danger of being foolhardy in the water --

## Mrs. Miller

(Sensing the hurt in his tone, comes to his rescue)

Of course it's a good story -- and you tell it whenever you've a mind to!

(Scold sharply)

And you, Sid, if you were in any responsible state, I'd give you a good piece of my mind for teasing Nat like that!

## Miller

(With a sad, self-pitying smile at his wife)

Getting old, I guess, Mother -- getting myself.

Someone ought to stop me.

## Mrs. Miller

No such thing! You're as young as you ever were.

(She turns on Sid again angrily)

You eat your lobster and maybe it'll keep your mouth shut!

## Sid

(Irrepressibly)

Lobster! Did you know, Tommy, your Uncle Sid is the man invented lobster? -- Fact! One day -- took a day off and just dashed off lobster.

(To Nat)

He was bigger'n older than me and had the darndest crop of red hair, but I dashed him off just the same! Am I right, Nat?

## Mrs. Miller

Mercy sakes! Can't you shut up?

(SID eats lobster)

## Tommy

(Suddenly in a hoarse whisper to his mother, with an awed glance of admiration at his uncle)

Ma! Look at him! He's eating that claw, shells and all!

1-2-26

Mrs. Miller

(Horrified)

Sid, do you want to kill yourself? Put that down!

(With great dignity)

But I prefer the shells. All famous epicures prefer the shells -- It's the same with clams.

(NAT howls)

Unless I eat the shells

(SID looks at Nat)

there is a certain, peculiar oil

(NAT stops laughing)

that invariably poisons me!

(EVERYONE laughs)

Am I right, Nat?

Miller

(Good-naturedly)

You seem to be getting a lot of fun kidding me.

(Chuckles)

Go ahead, then. I don't mind.

Mrs. Miller

He better go right up to bed for a while, that's what he better do.

(Sid
(Considering this owlishly)

Bed? Yes, maybe you're right.

(He gets to his feet)

(To Essie)

I am not at all well -- in very delicate condition -- we are
praying for a boy. Am I right, Hattie?

(They are again all laughing. LILY, hysterically)

Mrs. Miller
(Struggling with her laughter)

Will you get to bed, you idiot!

(Sid
(Mutters graciously)

Immediately -- if not sooner.

(He X's U.R.C. via rear of Lily and Richard.
As he is X'ing he sees Lily and speaks dram-
atically to no one in particular and continues
his X to above and right of Lily)

But wait. There is still a duty I must perform. No day is complete without.

(Stops down so his head is same height as
hers - stops to Rt. of her)

Lily, answer once and for all, will you marry me?

Lily
(With an hysterical giggle)

No, I won't -- never!

1-2-27

Sid
(Nodding his head, straightens up and backs up to above and Rt. of Nat)

Right! And perhaps it's all for the best. For how could I
forget the pre -- hic -- precepts taught me at mother's dying
knee. "Sidney," she said, "Sidney, my boy! Never marry a
woman who drinks! Lips that touch liquor shall never touch
yours!"

(Gazing at her mournfully)

Mrs. Miller
(Again struggling with her laughter)

You leave Lily alone, and go to bed!

Sid
Right! Good night, ladies -- and gents -- We will meet --
bye and bye!

(He gives an imitation of a Salvation Army drum)

Boom! Boom! Boom! Come and be saved, Brothers!

(He starts to sing the old Army hymn)

"In the sweet - Boom! Boom!

(He turns and marches solemnly out through
the back parlor, singing)

Eye and bye - Boom! Boom!

We will meet on that beautiful shore. Boom! Boom!

Work and pray. Boom! Boom!

While you may. Boom! Boom!

We will meet in the sky bye and bye."

(MILLER and his wife and the kids are all
roaring with laughter. LILY giggles hyster-
ically)

Miller
(Subsidizing at last)

Haw, haw. He's a case, if ever there was one! Darned if you
can help laughing at him -- even when he's poking fun at you!

Mrs. Miller
Goodness, but he's a caution! Oh, my sides ache, I declare.
But I suppose we really shouldn't. It only encourages him.
But my lands --!

Lily
(Suddenly gets up from her chair and stands rigidly, her face working -- jerkily)

That's just it -- you shouldn't -- even I laughed -- it does
encourage -- that's been his downfall -- everyone always laugh-
ing, everyone always saying what a card he is, what a case,
what a caution, so funny -- and he's gone on -- and we're all
responsible -- making it easy for him -- and all we do is
laugh!

(RICHARD turns and looks at Lily)

Miller

(Worriedly)

Now, Lily, now, you mustn't take on so! It isn't as serious
as all that!

Lily

(Bitterly)

Maybe -- it is -- to me. Or was -- once.

(Then she says contritely)

I'm sorry, Nat. I'm sorry, Essie. I didn't mean to -- I'm
not feeling myself tonight. If you'll excuse me,

(LILY starts for back parlor in upper Rt.
wall)

I'll go in the front parlor and lie down on the sofa a while.

Mrs. Miller

Of course, Lily. You do whatever you've a mind to.

(LILY goes out)

Miller

(Frowning -- a little shamefaced, looks after
her, then to Essie)

Hmm. I suppose she's right. Never knew Lily to come out
with things that way before. Anything special happened,
Essie?

Mrs. Miller

Nothing I know -- except he'd promised to take her to the
fireworks.

Miller

That's so. Well, supposing I take her. I don't want her to
feel disappointed.

Mrs. Miller

(Shaking her head)

Wild horses couldn't drag her there now.

Miller

Hmm. I thought she'd got completely over her foolishness
about him long ago.

Mrs. Miller

She never will.

Miller

She'd better. He's got fired out of that Waterbury job --

Mrs. Miller

Oh dear --

Miller

Told me at the picnic after he'd got enough Dutch courage in him.

1-2-28

1-2-29

Isn't he the fool!

Mrs. Miller

Miller
I knew something was wrong when he came back home. Well, I'll find a place for him on my paper again, of course. He always was the best news-getter this town ever had.

(Severely)

But I'll tell him he's got to stop his damn nonsense.

Mrs. Miller
(Doubtfully)
Yes.

Miller
Well, no use sitting here mourning over spilt milk.
(He gets up, and MILDRED, TOMMY and MRS. MILLER follow his example. The children quiet and a bit awed)

You kids go out in the yard and try to keep quiet for a while, so's your Uncle Sid'll get to sleep and your Aunt Lily can rest.

Tommy
(Mournfully, Xes to Nat - via below table)
Ain't we going to set off the sky rockets and Roman candles, Pa?

Miller
Later, son, later. It isn't dark enough for them yet anyway.

Mildred
(Lift. Xes R. exit)
Come on, Tommy. I'll see he keeps quiet, Pa.

(MILDRED and TOMMY go out through the screen door. MILLER looks after them)

Miller
That's a good girl.
(RICHARD remains sitting sunk in bitter, gloomy thoughts. MILLER glances at him, Xes U.R.C. -- then a bit irritably)

Well, Melancholy Dane, what are you doing?

(MRS. MILLER is above table)

Richard
(Darkly)
I'm going out --

(Then suddenly -- Lift)
Do you know what I think? It's Aunt Lily's fault, Uncle Sid's going to ruin.

1-2-30

Richard (cont'd)

(NAT and ESSIE react to this)

It's all because he loves her, and she keeps him dangling after her, and eggs him on and ruins his life -- like all women love to ruin men's lives! I don't blame him for drinking himself to death! What does he care if he dies, after the way she's treated him! I'd do the same thing myself if I were in his boots!

Mrs. Miller

(Indignantly)

Richard! You stop that talk!

Richard

(Overlap cue)

(Quotes bitterly)

"Drink! For you know not whence you come nor why.
Drink! for you know not why you go nor where!"

Miller

(Losing his temper -- harshly)

Listen here, young man! I've had about all I can stand of
your nonsense for one day! You're growing a lot too big for
your size, seems to me! You keep that damn fool talk to
yourself, you hear me -- or you're going to regret it! Mind,
now!

(He strides angrily away through the back
parlor)

Mrs. Miller

(Still indignant)

Richard, I'm ashamed of you, that's what I am.

(She follows her husband, RICHARD is bitter,
humiliated, wronged, even his father turned
enemy, his face growing more and more, rebel-
lious. He jumps to his feet, throws his napkin
down on table)

Richard

Aw, what the hell do I care?

(X'ing to screen door down Rt.)

I'll show them!

(He turns and goes out the screen door)

FAST CURTAIN.

## ACT TWO

### Scene I

The back room of a bar in a small hotel -- a small, dingy room, dimly lighted by two fly-specked globes in two fly-specked wall brackets Left and Right of hall door U.C. At Right, Front, is the swinging door leading to the bar. At rear of door against the rear wall, is a nickel-in-the slot player-piano. In the rear wall, Center, is a door leading to the "Family Entrance" and the stairway to the up-stairs rooms. In the middle of the Left wall is a window with closed shutters. Three tables with stained tops, three chairs around each table, one Right, one above and one Left. Table #1 is down Right - table #2 is against rear wall just L. of piano and just R. of door U.C. One chair below this table and one L. & R. Table #3 is U.L.

The hideous saffron-colored wall-paper is blotched and spotted.

It is about ten the same night.

RICHARD and BELLE are discovered sitting at table #3 U. Left. BELLE in chair above table and RICHARD in chair L. of table.

BELLE is twenty, a rather pretty peroxide blonde, a typical college "tart" of the period, and of the cheaper variety, dressed with tawdry flashiness. But she is a fairly recent recruit to the ranks, and is still a bit remorseful behind her make-up and defiantly careless manner. Belle has an empty gin-rickey glass before her, RICHARD a half-empty glass of beer. He looks horribly timid, embarrassed and guilty, but at the same time thrilled and proud of at last mingling with the pace that kills. The player-piano is grinding out "Bedelia". The BARTENDER, a stocky young Irishman with a foxily cunning, stupid face and a cynically wise grin, stands just inside the bar entrance, watching them. He is

2-1-2

leaning on the swinging door. The
player-piano plays but one chorus of
"Bedelia" and BELLE sings it. The
chorus starts with the curtain down
and it raises on word "If you'll be
my Chauncy Olcott" which is about the
8th measure of the chorus.

Belle
(With an impatient glance at her escort --
rattling the ice in her empty glass)

Drink up your beer, why don't you? It's getting flat.

Richard
(Embarrassedly)

I let it get that way on purpose. I like it better when it's
flat.

(But he hastily gulps down the rest of his glass,
as if it were some nasty-tasting medicine. The
BARTENDER chuckles audibly. BELLE glances at him)

Belle
(Nodding at the player-piano scornfully)

Say, George, is "Bedelia" the latest to hit this hick burg?
Well, it's only a couple of years old! You'll catch up in
time! Why don't you get a new roll for that old box?

Bartender
(With a grin)

Complain to the boss, not me. We're not used to having Candy
Kiddoes like you around -- or maybe we'd get up to date.

Belle
(With a professionally arch grin at him)

Don't kid me, please. I can't bear it.

(Then she sings to the music from the piano,
her eyes now on Richard)

"Bedelia, I'd like to feel yer."

(The BARTENDER laughs. She smirks at Richard)

Ever hear those words to it, Kid?

Richard
(Who has heard them but is shocked at hearing
a girl say them -- putting on a blase air)

Sure, lots of times. That's old.

Belle
(With a meaning smirk, edging her chair closer
and putting a hand over one of his)

Then why don't you act as if you knew what they were all about?

Richard
(Terribly flustered)

Sure, I've heard that old parody lots of times.

(Big Man)
What do you think I am?

2-1-3

Belle

I don't know, Kid. Honest to God, you've got me guessing.

Bartender

(With a mocking chuckle Xing to R. of
table #3)

He's a hot sport, can't you tell it? I never seen such a exper.
My head's dizzy bringing you in drinks!

Belle

(Laughs irritably -- to Richard)

Don't let him kid you. You show him. Loosen up and buy another
drink, what say?

Richard

(Humiliated -- manfully)

Sure. Excuse me.

(Gestures OK with hand)

I was thinking of something else. Have anything you like.

(He turns to the BARTENDER who has entered
from the Bar)

See what the lady will have -- and have one on me yourself.

Bartender

(Coming to the table -- with a wink at Belle
as he picks up empty glasses)

That's talking! Didn't I say you were a sport. I'll take a cig-
ar on you.

(To Belle)

What's yours, Kiddo -- the same?

Belle

Yes. And forget the house rules this time and remember a rickey
is supposed to have gin in it.

Bartender

(Grimning)

I'll try to -- seeing it's you.

(Then to Richard)

What's yours--another beer?

Richard

(Shyly)

A small one, please. I'm not thirsty.

Belle

(Calculatedly taunting)

Say, honest, are things that slow up at Harvard? Filling up on
beer will only make you sleepy. Have a man's drink!

Richard

(Shamefaced -- weakly)

All right. I was going to. Bring me a sloe-gin fizz.

Belle

(To Bartender)

And make it a real one.

Bartender

(With a wink)

I get you. Something that'll warm him up, eh?
(He goes into the bar)

Belle

(Looks after Barkeeper a moment then at RICHARD
who turns front embarrassed and starts to whistle
"Dearie". BELLE looks front irritably)

Christ, what a dump!

(RICHARD is startled and shocked by the curse and
looks at Belle, then down at the table)

If this isn't the deadest burg I ever struck! Bet they take
the sidewalks in after nine o'clock.

(Then turning on him)

Say, honestly, kid, does your mother know you're out?

Richard

(Defensively)

Aw, cut it out, why don't you -- trying to kid me!

Belle

(Glances at him -- then resolves on a new
tack -- patting his hand)

All right. I didn't mean to, dearie. Please don't get sore at
me.

Richard

I'm not sore.

Belle

(Seductively. He is not looking at her)

You see, it's this way with me. I think you're one of the
sweetest kids I've ever met -- and I could like you such a lot--

(RICHARD looks front)

if you'd give me half a chance
(Lift)

-- instead of setting so cold and indifferent.

Richard

(To Belle)

I'm not cold and indifferent.

(Then solemnly tragic turns front)

It's only that I've got -- a weight on my mind.

Belle

(Impatiently)

Well, get it off your mind.

(The BARTENDER comes in, bringing the drinks)

Bartender

(Setting them down -- with a wink at Belle)

This'll warm him up for you. Forty cents, that is -- with the
cigar.

Richard

(Pulls out his roll and hands a dollar bill

2-1-4

Richard - (Cont'd.)

over -- with exaggerated carelessness)

Keep the change.

(BELLE emits a gasp and seems about to protest, then thinks better of it. The BARTENDER cannot believe his luck for a moment -- then pockets the bill hastily, as if afraid Richard will change his mind)

Bartender

(Respect in his voice)

Thank you very much, sir.

Richard

(Grandly)

Don't mention it.

Bartender

(To Richard)

I hope you like the drink.

(To Belle)

I took special pains with it.

(The voice of the SALESMAN, who has just come in the bar, calls "HEY! ANYBODY HERE?" and a coin is rapped on the bar)

I'm coming.

(The BARTENDER goes out)

Belle

(Remonstrating gently, a new appreciation for her escort's possibilities in her voice)

You shouldn't be so generous, Dearie. Gets him in bad habits.
A dime would have been plenty.

Richard

Ah, that's all right. I'm no tightwad.

Belle

That's the talk I like to hear.

(With a quick look toward the bar, she stealthily pulls up her dress -- to RICHARD'S shocked fascination -- and takes a package of cheap cigarettes from her stocking)

Keep an eye out for that bartender, Kid, and tell me if you see him coming. Girls are only allowed to smoke upstairs in the rooms, he said.

Richard

(Embarrassedly, looks at her legs, then away toward swinging door D.R.)

All right. I'll watch.

Belle

(Holds the package out to him)

Have a Sweet?

2-1-5

Belle - (Cont'd.)

(Kidding him)

You smoke, don't you?

Richard

(Taking one)

Sure! I've been smoking for the last two years -- on the sly.

(She lights his cigarette, then her own and throws match on floor with elaborate non-chalance)

But next year I'll be allowed -- that is, pipes and cigars.

(He puffs but does not inhale -- then, watching her, with shocked concern as she inhales deeply)

Say, you oughtn't to inhale like that! Smoking's awful bad for girls, anyway, even if they don't --

Belle

(Cynically amused)

Afraid it will stunt my growth? Gee, Kid, you are a scream!

You'll grow up to be a minister yet!

(RICHARD looks shamefaced. She scans him impatiently -- then pushes his drink toward him, and holds up her drink)

Well, here's how! Bottoms up, now! Show me you really know how to drink.

(RICHARD follows her example and they both drink the whole contents of their glasses -- DICK longest -- without setting them down)

There! That's something like!

(Edges her chair toward him)

Feel better?

Richard

(Proud of himself -- with a shy smile)

(Edges his chair a bit L. When the business is complete the two chairs should be clear of the table)

You bet.

Belle

Well, you'll feel still better in a minute -- and then maybe you won't be so distant and unfriendly, eh?

(Pulling up her skirts a bit)

Richard

I'm not.

(Glances at her legs)

Belle

(Teasing seductively, pats his shoulder.

RICHARD turns away)

Yes, you are.

(Almost pouts - uncrosses legs)

I think you just don't like me.

Richard

(More manfully)

I do too like you.

2-1-6

Belle

How much?

(Crosses legs)

A lot?

Richard
(Again sees legs)

Yes, a lot.

Belle

(Looking toward him)

Show me how much!

(Then as he fidgets embarrassedly she rises
as she speaks)

Want me to come sit on your lap?

Richard

Yes -- I --

(SHE comes and sits on his lap. As he puts cigarette
in cuspidor L. of him, he looks desperately uncom-
fortable, but the gin is rising to his head and he
feels proud of himself and devilish, too)

Belle

Why don't you put your arm around me?

(HE does so awkwardly)

No, not that dead way. Hold me tight.

(Bends her head toward him as though for a kiss.)

RICHARD draws back scared)

You needn't be afraid of hurting me. I like to be held tight,
don't you?

Richard

Sure I do.

(Lets go of her)

Belle

(Tightening his arms about herself)

'Specially when it's by a nice handsome kid like you.

(Ruffling his hair)

Gee, you've got pretty hair, do you know it?

(HE turns front -- she pulls his face to her by his
hair)

Honest, I'm awfully strong for you! Why can't you be about
me?

(Crosses her legs)

I'm not so awfully ugly, am I?

Richard

(Sees leg)

No, you're -- you're pretty.

Belle

You don't say it as if you meant it.

Richard

I do mean it -- honest.

2-1-7

Belle

Then why don't you kiss me?

(She bends down her lips toward his. HE
hesitates then kisses her a quick short peck)

Call that kissing? Here.

(She holds his head and fastens her lips on
his and holds them there. HE starts and
struggles, then jerks his head away. She
laughs)

What's the matter, Honey Boy? Haven't you ever kissed like that
before?

Richard

(Front)

Sure. Lots of times.

Belle

Then why did you jump -- as if I'd bitten you?

(Squirming around on his lap)

Gee, I'm getting just crazy about you! What shall we do about
it, eh? Tell me.

Richard

I -- don't know.

(BELLE looks at him)

(Then boldly)

I - I'm crazy about you, too.

Belle

(Hugging him again. HE fumbles in holding
her)

(Speaks quietly)

Just think of the wonderful time Edith and your friend, Wint,
are having -- while we sit down here like two dead ones! A
room only costs two dollars.

(She kisses him again, then gets up from his
lap -- briskly)

Come on. Go out and tell the bartender you want a room.

Richard

(Starts automatically for the door to the bar --
then hesitates, a great struggle going on in his
mind -- timidity, disgust at the money element,
shocked modesty, and the guilty thought of Muriel,
fighting it out with the growing tipsiness that
makes him want to be a hell of a fellow and go
in for all forbidden fruit, and makes this tart
a romantic, evil vampire in his eyes. Finally,
he stops and mutters in confusion)

I can't.

Belle

(Lift - starts for bar R. via above table #1)

What, are you too bashful to ask for a room? Let me do it,
then.

(She Xes Richard)

2-1-8

Richard

(Desperately, he stops her)

No -- I don't want you to --

(Backs a step away from her)

I don't want to.

Belle

(Surveying him, anger coming into her eyes.)

Walking toward him, RICHARD backs up to
chair R. of table #3)

Well, if you aren't the loudest cheap skate --

Richard

(Angrily)

I'm not a cheap skate!

Belle

(Overlaps cue -- in her anger she gets "tough")

Keep me around here all night fooling with you when I might
be out with some real live one -- if there is such a thing
in this burg! -- and now you quit on me! Don't be such a
piker! You've got five dollars! I seen it when you paid
for the drinks, so don't hand me any lies!

Richard

(Sits chair R. of table #3, faces front)

I -- Who said I hadn't? And I'm not a piker.

(Reaches for money)

If you need the five dollars so bad -- you can have it without --

I mean, I'll be glad to give --

(He has been fumbling in his pocket and pulls out
his nine-dollar roll and holds out the five to her)

Belle

(Hardly able to believe her eyes, almost snatches
it from his hand)

Thanks, Kid.

(Then laughs and immediately becomes sentiment-
ally grateful)

Gee -- Oh, thanks -- Gee, forgive me for losing my temper and
bawling you out, will you? Gee, you're a regular peach! You're
the nicest kid I've ever met!

(She hugs him and he grins proudly, a
hero to himself now on many counts)

Richard

(Grandly -- and quite tipsily)

It's -- nothing -- only too glad.

Belle

(Belle sits chair above table #3. RICHARD is
in chair R. of table #3)

Come on, let's have another drink -- and this time I'll blow
you just to show my appreciation.

(She calls)

Hey, George! Bring us another round -- the same!

2-1-9

(BELLE watches him finish his drink)

Belle

What did you mean a minute ago when you said you'd sworn off?

Richard

(Solemnly)

I took an oath I'd be faithful.

Belle

(Cynically)

Till death do us part, eh?

(Hastily)

Who's the girl?

Richard

(Shortly, releases Belle)

Never mind.

Belle

(Bristling)

I'm not good enough to talk about her, I suppose?

Richard

I didn't -- mean that. You're all right --

(Then with tipsy gravity)

Only you oughtn't to lead this kind of life. It isn't right --
for a nice girl like you. Why don't you reform?

Belle

(Sharply)

Nix on that line of talk -- can it. You hear! You can do a lot
with me for five dollars -- but you can't reform me. See!

Richard

(Rebuffed)

I -- I didn't mean to hurt your feelings.

Belle

(Hurt away from him)

I know you didn't mean. You're only like a lot of people who
mean well, to hear them tell it.

(Changing the subject bitterly)

So you're faithful to your one love, eh?

(With an ugly smile, speaks hastily)

And how about her? Bet you she's out with a guy under some
bush this minute giving him all he wants. Don't be a sucker,
Kid! Even the little flies do it!

Richard

(Starting up in his chair -- angrily)

Don't you say that! Don't you dare --!

Belle

(Unimpressed -- with a cynical shrug of her
shoulders, lightly and quickly)

All right. Have it your own way -- and be a sucker! It cuts
no ice with me.

2-1-11

2-1-12

Richard
You don't know her or --

Belle
(Sharply)

And don't want to. Shut up about her, can't you?

(She stares before her bitterly. RICHARD subsides into scowling gloom. RICHARD turns away from Belle and is facing R. leaning over his elbow on his knees and his head in his hands)

(He is becoming perceptibly more intoxicated with each moment now. The BARTENDER and the SALESMAN appear just inside the swinging door. The BARTENDER nods toward Belle, giving the Salesman a wink. The SALESMAN grins and comes into the room, carrying his highball in his hand. He is a stout, jowly-faced man in his late thirties, dressed with cheap nattiness, with the professional breeziness and jocular, kid-em-along manner of his kind. BELLE looks up as he enters and he and she exchange glance of complete recognition. She knows his type by heart and he knows hers)

Salesman
(Xes to table #1 at R. grivving genially -- sits in chair R. of table, speaks insinuatingly)

Good evening.

Belle
(Retracing the smile and speaks with same inflection)

Good evening.

Salesman
Hope I'm not butting in on your party -- but my dogs were giving out standing at that bar.

Belle
(Smiles at salesman)

All right with me.
(Giving Richard a rather contemptuous look, nods her head toward him as she says)

I've got no party on.

Salesman
(Turns his chair to face them)

That sounds hopeful.

Richard
(Suddenly recites sentimentally)
"But I wouldn't do such, 'cause I loved her too much, But I learned about women from her."

(RICHARD raises his head looks with a scowl at the salesman, seeing him for the first time, then turns to Belle)

Let's have 'nother drink!

2-1-13

Belle

You've had enough.

(RICHARD subsides, muttering to himself -- arm about Belle, head on his chest)

Salesman

What is it -- a child poet or a child actor?

Belle

Don't know. Got me guessing.

Salesman

Well, if you could shake the cradle-robbing act, maybe we could do a little business.

Belle

That's easy. I just pull my freight.

(She then shakes Richard by the arm, pushes his arms away from her. RICHARD puts his arms about her again)

Listen, Kid. Here's an old friend of mine, Mr. Smith of New Haven, just come in.

(SALESMAN agrees, tips his hat but Belle ignores him)

I'm going over and sit at his table for a while, see. And you better go home.

Richard

(Blinking at her and scowling)

I'm never going home! I'll show them!

Belle

(Shrugging her shoulders -- lightly)

Have it your own way -- only let me up.

(She takes his arm from around her and goes to sit by the Salesman. RICHARD stares after her offend-edly)

Richard

Go on. What do I care what you do?

(Drops his head on his arms on table)

Salesman

(As BELLE sits beside him)

Well, what kind of beer will you have, Sister?

Belle

Mine's a *gin rickey*.

Salesman

You've got extravagant tastes, I'm sorry to see.

Richard

(Suddenly begins to recite sepulchrally)

"Yet each man kills the thing he loves,
By each let this be heard."

## Salesman

(Grinning)
Say, this is rich!
(He calls encouragement to Richard)
That's swell dope, young feller. Give us some more.

Richard
(Ignoing him -- goes on more rhetorically)
"Some do it with a bitter look,
Some with a flattering word,
(Rises and Xes a step toward them as he
continues)

The coward does it with a kiss,
The brave man with a sword!"

(He stares at Belle gloomily and mutters
tragically. Realizes he has to sit and
sees ch. L. of table #2 and Xes to it)

I did it with a kiss! I'm a coward.
(Sits in chair L. of table #2)

## Salesman

(Lift)
That's the old stuff, Kid. You've got something on the ball,
all right, all right! Give us another -- right over the old
pan, now!

(RICHARD rises, faces them and raises arm)

Richard
"Oho! They cried" --

Belle
(Turns on Richard and yells)
Get the hook!

Richard
(Glowering at her -- staggers to L. of table #1)
(Tragically)
"The world is wide,
But fettered limbs go lame!
And once, or twice,

(Bus. of throwing dice)
To throw the dice
Is a gentlemanly game,
(Leans over table to Salesman)
But he does not win who plays with Sin
In the Secret House of Shame!"

Belle
(Angrily)
Aw, can it!
(RICHARD goes U. stage and sits chair L. of
table #2)
Give us a rest from that bunk!

Salesman
(Mockingly)
This gal of yours don't appreciate poetry. She's a lowbrow.

2-1-14

2-1-15

### Salesman - (Cont'd.)

But I'm the kid that eats it up. My middle name is Kelly and Sheets! Give us some more of the same!

### Belle

(Surveying Richard contemptuously)

He's copped a fine skinful -- and gee, he's hardly had anything.

### Richard

(Regards her bitterly -- then suddenly starts to his feet bellicosely -- Xes to L. of table #1 -- to the Salesman)

I don't believe you ever knew this lady in New Haven at all! You just picked her up now!

(Xes to L. of her)

You leave her alone, you hear!

(Puts a protecting arm about her)

You won't do anything to her -- not while I'm here to protect her!

### Belle

(Laughing, pushes Richard L. to R. of table #1)

Oh, my God! Listen to it!

### Salesman

(Overlap cue - rises Xes D.C.)

Ssshh! This is a scream! Wait!

(Xes U. stage up to Richard. He addresses Richard in tones of exaggerated mock melodrama)

(BELLE stands R. of Salesman)

Curse you, Jack Dalton,

(Grabs Belle's hand)

if I won't unhand her, what then?

### Richard

(Threateningly)

I'll give you a good punch -- poonch -- in the snoot, that's what!

(He starts toward Salesman. BELLE howls with laughter and sits ch. above table #1)

### Salesman

(With mock terror -- screams in falsetto and dodges down stage to down R.)

Help! Help!

(The BARTENDER comes in irritably but he is used to this sort of thing and wants peace which he now tries to get)

### Bartender

Hey. Cut out the noise! What the hell's up with you?

### Salesman

(Laughing - winks at Bartender)

He's going to murder me.

2-1-16

Richard

(Tipsily - has by now seated himself in
chair L. of table #2)

He's too damn fresh.

Salesman

(Then gets a bright idea for eliminating Richard)

Say George!

(Seriously beckons to the BARTENDER who Xes to him)

It's none of my business, Brother, but if I were in your boots
I'd give this young souse the gate. He's under age; any fool
can see that.

Bartender

(Guiltilly -- Xes a step toward Richard)

He told me he was over eighteen.

Salesman

Yes, and I tell you I'm Teddy Roosevelt -- but you don't have
to believe me. If you're not looking for trouble, I'd advise
you to get him started for some other gin mill and let them do
the lying, if anything comes up.

Bartender

Hmm.

(He turns to Richard and tries to get him to
his feet)

Come on, now. On your way! You'll start no trouble in here!

Beat it now!

Richard

(On his feet)

I will not beat it!

Bartender

Oho, won't you?

(He gives him a shove toward R. RICHARD stumbles
R. and bangs piano keys as he runs into piano)

Belle

(Callously)

Give him the bum's rush! I'm sick of his bull!

(RICHARD turns furiously and tries to punch
the Bartender)

Bartender

(Avoids the punch)

Oho, you would, would you!

(He grabs Richard by the back of the neck and the
seat of the pants and marches him ignominiously
toward the swinging door)

Richard

Leggo of me, you dirty coward!

2-1-17

Bartender

Quiet now -- or I'll pin a Mary Ann on your jaw that'll quiet you!

(He rushes him through the screen door and a moment later the outer doors are heard swinging back and forth)

Salesman

(With a chuckle, Xes to chair L. of table #1)

Hand it to me, Kid! How was that for a slick way of getting rid of him?

Belle

(Suddenly sentimental)

Poor kid. I hope he makes home all right. I liked him -- before he got soused.

Salesman

(Standing L. of chair L. of table #1)

Who is he?

Belle

The boy who's upstairs with my friend told me, but I didn't pay much attention. Name's Miller. His old man runs a paper in this one-horse burg, I think he said.

Salesman

(Emits a whistle)

Phew! He must be Nat Miller's kid, then.

Bartender

(Coming back from the bar -- with a grin -- Xes to table #3 and picks up glasses)

Well, he's on his way -- with a good boot in the tail to help him!

Salesman

(With a malicious chuckle)

(Lift - Xes toward Bartender a step or two)

Yes? Well, maybe that boot will cost you a job, Brother.

Know Nat Miller who runs the Globe? That's his kid.

Bartender

(His face falling)

The hell he is! Who said so?

WARN
CURTAIN

Salesman

This baby doll.

(Xes to D.R. via below table #1)

Say, I'll go keep cases on him -- see he gets on the trolley all right, anyway. Nat Miller's a good scout.

(He hurries out)

Bartender

(Viciously)

Damn the luck! If he ever finds out I served his kid, he'll run me out of town.

Bartender - (Cont'd.)

(He turns on Belle furiously)

Why didn't you put me wise, you lousy tramp, you!

Belle

Hey! I don't stand for that kind of talk -- not from no hick beer-squirter like you, see!

Bartender

(Furiously)

You don't, don't you! Who was it but you told me to hand him dynamite in that fizz?

(He gives her chair a push that almost throws her to the floor)

(Then Xes to door U.L.C. and opens it - then Xes to her again)

Beat it, you -- and beat it quick -- or I'll call Sullivan from the corner and have you run in for street-walking!

(He gives her a push that lands her in family-entrance doorway U.L.C.)

Get the hell out of here -- and no long waits!

Belle

(Turns in doorway and calls back viciously)

I'll fix you for this, you thick Mick, if I have to go to jail for it.

(She goes out and slams the door)

Bartender

(Looks after her worriedly for a second -- then shrugs his shoulders)

That's only her bull.

(Then with a sigh as he picks up glasses from table #3, wipes table top as he says)

Them lousy tramps is always getting this dump in Dutch!

FAST CURTAIN

2-1-18

ACT TWO

Scene 2

Same as Act One -- Sitting-room of the Miller home -- about eleven o'clock the same night.

MILLER is sitting in his favorite rocking chair at left of table, front. Chair #4. He has discarded collar and tie, coat and shoes, for comfort's sake, and wears an old, worn, brown dressing-gown and disreputable-looking carpet slippers. He has his reading specs on and is running over items in a newspaper. But his mind is plainly preoccupied and worried, and he is not paying much attention to what he reads.

MRS. MILLER sits by the table at Right, front. Chair #1. She also has on her specs. A sewing basket is on her lap and she is trying hard to keep her attention fixed on the doily she is doing. But, as in the case of her husband but much more apparently, her mind is preoccupied with another matter, and she is obviously on tenterhooks of nervous uneasiness.

LILY is sitting in the armchair by the table at rear, facing Right. Chair #2. She is pretending to read a novel, but her attention wanders, too, and her expression is sad, although now it has lost all its bitterness and become submissive and resigned again.

MILDRED sits at the desk at Left writing two words over and over again, stopping each time to survey the result critically biting her tongue, intensely concentrated on her work.

TOMMY sits at the front end of the sofa at Right. He has had a hard day and is terribly sleepy but will not acknowledge it. His eyes blink shut on him; his head begins to nod, but he isn't giving up, and every time he senses any of the family glancing in his direction, he goads himself into a bright-eyed wakefulness.

2-2-19

Mildred

(Counts ten after curtain then finally surveys
the two words she has been writing critically
and is satisfied with them)

There!

(She takes the paper over to her mother, Xing D.
stage of table R. to Essie and sits on arm of
her chair)

Look, Ma. I've been practising a new way of writing my name.
Don't you think it's the real goods?

Mrs. Miller

(Pulled out of her preoccupation -- chidingly)

Don't talk that horrible slang. My goodness, if my mother'd ever
heard me --

Mildred

Well, don't you think it's nice, then?

Mrs. Miller

(Sinks back into her preoccupation then -- scanning
the paper with sightless eyes -- vaguely)

Yes, very nic, Mildred -- very nice, indeed.

(Hands the paper back mechanically)

Mildred

(Regards her mother's preoccupation and is a little
piqued, but smiles)

Absent-minded! I don't believe you even saw it!

(Turns U. stage without rising and shows it to
her aunt Lily)

(MILLER gives an uneasy glance at his wife and then,
as if afraid of meeting her eye, looks quickly back
at his paper again)

Mrs. Miller

(Staring before her -- sighs worriedly)

Oh, I do wish that Richard would come home!

Miller

(Soothingly)

There now, Essie. He'll be in any minute now. Don't you worry
about him.

Mrs. Miller

But I do worry about him!

(With another heavy sigh)

What time is it now, Nat?

(MILDRED puts arm about her mother's shoulder)

Miller

(Adopting a joking tone)

I'm going to buy a clock for in here. You have me reaching
for my watch every couple of minutes.

(He has pulled his watch out of his vest pocket --
with forced carelessness)

Only a little past ten.

2-2-20

Mrs. Miller

(Indignantly)

Why, you said it was that an hour ago! Nat Miller, you're
telling me a fib, so's not to worry me. You let me see that
watch!

Miller

(Guiltily)

Well, it's quarter to eleven -- but that's not so late -- when
you remember it's the Fourth of July.

Mrs. Miller

(Exasperatedly)

If you don't stop talking Fourth of July --!

(LILY looks at Essie, then goes back to reading)

Mildred

(Has brought her paper around to her father and
now she shoves it under his nose. As she leans
against L. edge of table R. facing Nat)

(Lift)

Look, Pa.

Miller

(Seizes on this interruption with eager relief --
scanning the paper)

Let's see. Hmm. Seems to me you've been inventing a new
signature each week lately. What are you in training for --
writing checks? You must be planning to catch a rich husband.

Mildred

(With an arch toss of her head)

No wedding bells for me! But how do you like it, Pa?

Miller

It's overpowering -- no other word for it, overpowering! You
could put it on the Declaration of Independence and not feel
ashamed!

(NAT passes paper to Mildred -- both laugh)

Mrs. Miller

(Desolately, almost on the verge of tears)

It's all right for you to laugh and joke with Mildred! I'm the
only one in this house seems to care --

(Her lips tremble)

Mildred

(A bit disgustedly)

Ah, Ma, Dick only sneaked off to the fireworks at the beach,
you wait and see.

Mrs. Miller

Those fireworks were over long ago. If he had, he'd be home.

Lily

(Soothingly)

He probably couldn't get a seat, the trolleys are so jammed,

2-2-21

2-2-22

Lily - (Cont'd.)

and he had to walk home.

Miller

(Seizing on this with relief)

Yes, I never thought of that, but I'll bet that's it.

Mildred

(Rises, Xes to L. of Essie and sits on L. arm of her chair)

Ah, don't let him worry you, Ma. He just wants to show off his heart-broken about that silly Muriel -- and get everyone fussing over him and wondering if he hasn't drowned himself or something.

Mrs. Miller

(Snappily)

You be quiet! I really believe you're that hard-hearted you haven't got a heart in you!

(With an accusing glance at her husband -- insinuatingly)

One thing I know, you don't get that from me!

(HE chuckles and resumes reading paper. She sniffs and looks away from him around the room. TOMMY, who is nodding and blinking, is afraid her eye is on him. He straightens alertly and speaks in a voice that is, in spite of his effort, dripping with drowsiness)

Tommy

(Speaks after Nat starts to read again)

Let me see what you wrote, Mid.

Mildred

(Cruellyly mocking)

You? You're so sleepy you couldn't see it!

Tommy

(Sits upright and then speaks valiantly)

I am not sleepy!

Mrs. Miller

(Has fixed her eye on him)

My gracious, I was forgetting you were still up! You run up to bed this minute! It's hours past your bed time!

Tommy

(Dolefully)

But it's the Fourth of July. Ain't it, Pa?

Mrs. Miller

(Again gives her husband an accusing stare)

There! You see what you've done? You might know he'd copy your excuses!

(Then sharply to Tommy)

You heard what I said, Young Man!

2-2-23

Tommy

(Rising Xes to Essie, touching her arm coaxingly)

Aw, Ma, can't I stay up a little longer?

Mrs. Miller

(Lift)

I said, no! You obey me and no more arguing about it!

Tommy

Aw! I should think I could stay up till Dick --

Miller

(Kindly but firmly)

You heard your Ma say no more arguing. When she says git, you better git.

(TOMMY accepts his fate resignedly and starts around kissing them all good night)

Tommy

(Xes to front of table R. leans over it and kisses Lily)

(Kissing her)

Good night, Aunt Lily.

Lily

(Fondly)

Good night, Dear. Sleep well.

Tommy

(Pecking at Mildred but obviously not kissing her)

Good night, you.

Mildred

Good night, you.

Tommy

(Sitting on arm of Nat's chair, snuggles against him)

Good night, Pa.

Miller

Good night, Son.

(Kisses him)

Sleep tight.

(TOMMY continues to sit there until NAT nudges him to go to bed)

Tommy

(Rises, Xes to Essie, kissing her)

Good night, Ma.

Mrs. Miller

Good night. Here! You look feverish.

(She feels his brow with her left hand)

2-2-24

Mrs. Miller - (Cont'd.)

No, you're all right. Hurry up, now. And don't forget your
prayers.

(TOMMY goes slowly to the doorway U.L. via D. stage to L. -- then turns suddenly when in doorway U.L., the discovery of another excuse lighting up his face, Xes to above his father's chair and just left of the table R.)

Tommy

Here's another thing, Ma. When I was up to the water closet
last --

Mrs. Miller

(Sharply)

When you were where?

Tommy

The bathroom.

Mrs. Miller

That's better.

Tommy

(Sits chair upper Left end of table - chair #3)

Uncle Sid was snoring like a fog horn -- and he's right next
to my room. How can I ever get to sleep while he's --

(He is overcome by a jaw-cracking yawn)

Mrs. Miller

I guess you'd get to sleep all right if you were inside a fog
horn! You run along now!

(TOMMY gives up, grins sleepily, and moves off to
bed. Exits through double door U.L. As soon as
he is off her mind, all her former uneasiness
comes back on Mrs. Miller tenfold. She sighs
moves restlessly, then finally asks)

What time is it now, Nat?

Miller

Now, Essie, I just told you a minute ago.

Mrs. Miller

(Resentfully)

I don't see how you can take it so calm! Here it's midnight,
you might say,

(ARTHUR starts to walk back stage as though
he had come up the stairs of the porch that
runs all the way around the house and was now
walking around to the front door)

and our Richard still out, and we don't even know where he is.

Mildred

There's someone!

(Runs to doorway U.L. into parlor)

Bet that's him now, Ma.

2-2-25

Mrs. Miller

(Her anxiety immediately turning to relieved anger)

You give him a good piece of your mind, Nat! You're too easy with him, that's the whole trouble!

(Someone whistling "March March Down the Field". Yale Song)

Mildred

(Gets chair from D.L.C. brings it to L. of Nat and sits)

No, that isn't Dick. It's Art.

Mrs. Miller

(Her face falling)

Oh!

(A moment later ARTHUR enters through the front parlor, whistling softly, half under his breath, looking complacently pleased with himself. Xes to U.L. end of table R.)

Miller

(Surveys him over his glasses, not with enthusiasm -- shortly)

So you're back, eh? We thought it was Richard.

Arthur

(Standing R. end above of Nat)

Is he still out? Where'd he go to?

Miller

That's just what we'd like to know. You didn't run into him anywhere, did you?

Arthur

No. I've been at the Rands' ever since dinner.

(Takes out pipe and pouch and begins to fill pipe)

I suppose he sneaked off to the beach to watch the fireworks.

Miller

(Pretending an assurance he is far from feeling)

Of course. That's what we've been trying to tell your mother, but she insists on worrying her head off.

Mrs. Miller

But if he was going to the fireworks, why wouldn't he say so? He knew we'd let him.

Arthur

(With calm wisdom)

That's easy, Ma.

(He grins superiorly)

Didn't you hear him this morning showing off bawling out the Fourth like an anarchist? He wouldn't want to renegotiate on that

2-2-26

Arthur --(Cont'd.)

to you -- but he'd want to see the old fireworks just the same.

(He adds complacently)

I know. He's at the foolish age.

(Sits chair U.L. end of table, gets parlor match from small glass container on table and lights cigarette)

Miller

(Stares at Arthur with ill-concealed astonishment, then grins, jokingly)

Well, Arthur, by gosh, you make me feel as if I owed you an apology when you talk horse sense like that!

(He turns to his wife, greatly relieved)

Arthur's hit the nail right on the head, I think, Essie.

Mrs. Miller

(With a sigh of relief)

Well,

(Worried again)

I wish he was home.

Arthur

(Takes out his pipe and fills and lights it with solemn gravity)

He oughtn't to be allowed out this late at his age. I wasn't -- Fourth or no Fourth -- if I remember.

Miller

(A twinkle in his eyes)

Don't tax your memory trying to recall those ancient days of your youth.

(MILDRED laughs and ARTHUR looks sheepish. But he soon regains his aplomb and changes the subject tactfully)

Arthur

(Importantly)

We had a corking dinner at the Rands'. We had sweetbreads on toast.

Mrs. Miller

(Arising momentarily from her depression)

Just like the Rands to put on airs before you! I never could see anything to sweetbreads. Always taste like soap to me. And no real nourishment to them. I wouldn't have the pesky things on my table!

(ARTHUR again feels sat upon)

Mildred

(Teasingly)

Did you kiss Elsie good night?

Arthur

(Gruffly)

Stop trying to be so darn funny all the time!

Arthur - (Cont'd.)

(Lift - leans over Nat toward Mildred)

You give me a pain in the ear!

Mildred

(Huffily, leans over Nat toward Arthur)

And that's where she gives me a pain, the stuck-up thing! --
thinks she's the whole cheese!

Miller

(Irritably, caught between them)

And it's where your everlasting wrangling gives me a pain, you
two! Give us a rest!

(MILDRED rises, returns to desk, writing her
name)

(There is silence for a moment.)

Mrs. Miller

(Suddenly sighs worriedly again)

I do wish that boy would get home!

Miller

(Glances at her uneasily, peeks surreptitiously
at his watch -- then has an inspiration and turns
to Arthur)

Arthur, what's this I hear about you having such a
good singing voice? Rand was telling me he liked
nothing better than to hear you sing -- said you did every
night you were up there. Why don't you ever give us folks at
home here a treat? Why not give us a song or two now? You can
play for him, can't you, Mildred?

WARN
LIGHT

Mildred

(With a toss of her head)

I can play as well as Elsie Rand, at least!

Arthur

(Ignoring her -- clearing his throat importantly)

I've been singing a lot tonight. I don't know if my voice --

Mildred

(Forgetting her grudge, rises and runs to Arthur.
Grabs her brother's hand and tugs at it)

Come on. Don't play modest. You know you're just dying to
show off!

(This puts ARTHUR off it at once. He snatches
his hand away from her angrily. MILDRED is
now standing U.R.C.)

Arthur

Let go of me, you!

(Then with surly dignity)

I don't feel like singing tonight, Pa. I will some other time.

Miller

(Sharply)

2-2-27

2-2-30

"Nothing's worth while but dreams of you..."
etc. -- playing up its sentimental values for
all he is worth. The effect on his audience
is that of the previous song, intensified --
especially upon Sid. LILY tries to read her
book but looks over it, her face growing
tragically sad. As he finishes, MILLER again
starts and applauds)

Mighty fine, Arthur! You sang that darned well.

(Kids laugh and ARTHUR calls "Thanks, Pat")

Didn't he, Essie?

Mrs. Miller

(Dolefully)

Yes, -- but I wish he wouldn't sing such sad songs.

(Then her lips trembling)

Richard's always whistling that.

Miller

(Hastily -- calls)

Give us something cheery, next one, Arthur, you know, just
for variety's sake ---

Arthur

(Off stage)

All right Pat.

Sid

(Suddenly turns toward Lily -- his voice husky and
choked with tears -- in a passion of self-denunciation)

You're right, Lily! -- right not to forgive me! I'm no good
and never will be! -- you shouldn't even wipe your feet on
me! -- no good to myself or anybody else! -- if I had any
guts I'd kill myself, and good riddance! -- but I haven't! --
I'm yellow, too! -- a yellow, drunken bum!

(He hides his face in his hands and begins to sob
like a sick little boy. This is too much for
LILY. All her bitter hurt and steely resolve
to ignore and punish him vanish in a flash,
swamped by a pitying love for him. She runs and
puts her arm around him -- even kisses him
tenderly and impulsively on his bald head, and
soothes him as if he were a little boy. MRS.
MILLER, almost equally moved, has half risen to
go to her brother, too, but MILLER winks and
shakes his head vigorously and motions her to
sit down)

Lily

(Rises and Xes to him)

There! Don't cry, Sid! I can't bear it! Of course I forgive
you. Haven't I always forgiven you? I know you're not to
blame -- so don't, Sid!

Sid

(Lifts a tearful, humbly grateful, pathetic face

to her -- but a face that the dawn of a cleansed
conscience is already beginning to restore to
its natural puckish expression)

Do you really forgive me -- I know I don't deserve it -- can
you really -- ?

Lily

(Gently)

I told you I did, Sid -- and I do.

MUSIC CUE
"WAITING
AT THE
CHURCH"

(MILDRED plays "Waiting at the Church"
starting with chorus and no introduction)

Sid

(Kisses her hand humbly, like a big puppy
licking it)

Thanks, Lily. I can't tell you --

(In the front parlor, ARTHUR begins to sing
rollickingly, "Waiting at the Church", and after
the first line or two MILDRED joins in. SID'S
face lights up with appreciation and, automatic-
ally, he begins to tap one foot in time, still
holding fast to Lily's hand. When they come to
"sent around a note, this is what she wrote,"
he can no longer resist, but joins in a shaky
bawl)

"Can't get away to marry you today, My wife won't let me!"
(As the song finishes, the two in the other
room laugh. MILLER and SID laugh. LILY
smiles at Sid's laughter. Only MRS. MILLER
remains dolefully preoccupied, as if she
hadn't heard)

Miller

That's fine, Arthur and Mildred. That's darned good.

Miller

(Offstage)

Thanks Pa.

Sid

(Turning to Lily enthusiastically)

You ought to hear Vesta Victoria sing that! Gosh, she's great!
I heard her at Hammerstein's Victoria -- you remember, that
trip I made to New York.

Lily

(Her face suddenly grown tired and sad again --
for her memory of certain aspects of that trip
is the opposite from what he would like her to
recall at this moment -- gently disengaging her
hand from his -- with a hopeless sigh)

(Yes to her chair upper Rt. end of table center
then speaks)

Yes, I remember, Sid.

(Sits. He is overcome momentarily by guilty
confusion. She goes quietly and sits down)

MUSIC CUE
ad Lib

2-2-31

in her chair again. In the front parlor,
MILDRED plays "I Can't Make My Eyes
Behave" rather quietly, she and ARTHUR
whistle it softly)

Music:
"I CAN'T
MAKE MY
EYES BE-
HAVE".

Mrs. Miller
(On music cue after a slight pause - suddenly
-- in a worried tone)

What time is it now, Nat?
(Then without giving him a chance to answer)

Oh, I'm getting worried something dreadful, Nat! You don't know
what might have happened to Richard! You read in the papers
every day about boys getting run over by automobiles.

Lily
(Frightenedly)

Oh, don't say that, Essie!

Miller
(Sharply to conceal his own reawakened apprehen-
sion)

Don't get to imagining things, now!

Mrs. Miller
Well, why couldn't it happen, with everyone that owns one
out tonight, and lots of those driving, drunk?
(On the verge of hysteria)

Oh, I know something dreadful's happened! And you can sit
there listening to songs and laughing as if -- Why don't
you do something?

(Music stops abruptly)

Why don't you go out and find him?
(She bursts into tears)

MUSIC
STOP

Lily
(Comes to her quickly and puts her arm around her)

Essie, you mustn't worry so! You'll make yourself sick!

Mildred
(Comes hurrying in from the front parlor)
(Runs to R. of Essie and sits arm of her chair)

What's the trouble?

(ARTHUR appears in the doorway beside her)

Ah, don't cry, Ma! Dick'll turn up in a minute or two, wait
and see!

Arthur
(Crowds in L. of Lily)

Sure, he will!

Miller
(He gets to his feet, frowning -- soberly)

I was going out to look -- if he wasn't back by twelve sharp.
But I'll go now, if it'll ease your mind. I'll take the
auto and drive out the beach road --

(He has X'd to U.L.C. by this time and is

2-2-32

ACT THREE

SCENE I.

SCENE:
The same -- Sitting-room of the Miller house -- about one in the afternoon of the following day.

AT RISE:
As the curtain rises the family are all waiting and watching Nat. NAT MILLER is standing down Left looking out window, smoking the end of a good cigar. There is quite a pause before he speaks. He looks at them then speaks. His face is set in an expression of frowning severity. MRS. MILLER is sitting in arm chair #1 right of and below table right. Her face is drawn and worried. She has evidently had no rest yet from a long sleepless, tearful night. SID is seated in arm chair #2, right of and above table right. He is himself again, his expression as innocent as if nothing had occurred the previous day to remotely concern him. And outside of eyes that are bloodshot and nerves that are shaky, he shows no after-effects except that he is terribly sleepy.

LILY is seated on upper end of sofa right. She is gently sad and depressed.

MILDRED is seated right of Lily on sofa right and left of Arthur. She is subdued and covertly watching her father.

ARTHUR is seated right of Mildred and left of Tommy on sofa right. He is self-consciously a virtuous young man against whom nothing can be said.

TOMMY is seated on down stage end of sofa right. He is right of Arthur. He is subdued and covertly watches his father.

The atmosphere is as stiltedly grave as if they were attending a funeral service. Their eyes keep fixed on the head of the house, who has gone to the windows at right and is staring out frowningly, savagely chewing a toothpick. Sid glances at Essie. Essie at Nat.

3-1-2

## Miller

(Finally -- Pause -- Counts 5, Xes UL. a step - SID looks at Nat. Irritably)

Damn it, I'd ought to be back at the office putting in some good licks!

(Starts U.L.)

I've a whole pile of things that have got to be done today!

## Mrs. Miller

(Accusingly)

You don't mean to tell me you're going back without seeing him!

## Miller

(Exasperately. Stops R. of arm chair D.L.C.)

'Course I'm not! I wish you'd stop jumping to conclusions!

(Puts cigar butt on tray on table right)

What else did I come home for, I'd like to know?

(He ends up very lamely and is irritably conscious of the fact and starts to X. U. L.)

## Tommy

(Art looks at Lily, SID glances at Lily then front. Then TOMMY speaks. Who has been fidgetting restlessly -- unable to bear the suspense a moment longer. Loudly)

What's Dick done? Why is everyone scared to tell me?

## Miller

(Seizes this as an escape valve -- turns and fixes his youngest son with a stern forbidding eye. Xes to Tommy)

Young man, I've never spanked you yet, but that don't mean I never will! You keep your mouth shut till you're spoken to -- or I warn you something's going to happen!

(Xes to below table C.)

## Mrs. Miller

Yes, Tommy, you keep still and don't bother your pa.

(Then warningly to her husband, just after he has Xed her)

Careful what you say, Nat. Little pitchers have big ears.

## Miller

(Peremptorily. L.C. - faces them)

You kids skedaddle -- all of you.

(TOMMY and MILDRED rise and exit U.L.)

Why are you always hanging around the house? Go out and play in the yard, or take a walk, and get some fresh air!

(MILDRED takes Tommy's hands and leads him out through the front parlor, U.L. ARTHUR hangs back, as if the designation "kids" couldn't possibly apply to him. His father notices this -- impatiently.)

You, too, Arthur!

(ARTHUR goes out with a stiff, wounded
dignity U.L.)

Lily

(Tactfully)

I think I'll go for a walk, too.

(She goes out through the front parlor.)

SID makes a movement as if to follow her)

Miller

I'd like you to stay, Sid -- for a while, anyway.

(Yes to lower end of sofa right via below
table as he continues.)

Where is Richard?

Mrs. Miller

(Flusteredly)

He's still in bed. I made him stay in bed to punish him --
and I thought he ought to, anyway, after being so sick. But
he says he feels all right.

Sid

(With another yawn)

'Course he does. When you're young you can stand anything without it fazing you. Why, I remember when I could come down on the
morning after fresh as a daisy and eat a breakfast of pork chops
and fried onions and --

(He stops guiltily and very shortly falls
asleep.)

Miller

(Bitingly)

I suppose that was before eating lobster shells had ruined
your iron constitution!

Mrs. Miller

(Regards her brother severely)

If I was in your shoes, I'd keep still!

(Then turning to her husband)

Richard must be feeling better. He ate all the dinner I sent
up, Norah says.

Miller

(Accusingly)

I thought you weren't going to give him any dinner -- to punish
him.

Mrs. Miller

(Guiltily)

Well -- in his weakened condition -- I thought it best --

(Then defensively)

But you needn't think I haven't punished him. I've given him
pieces of my mind he won't forget in a hurry. And I've kept
reminding him his real punishment was still to come -- that you
were coming home to dinner on purpose -- and then he'd learn
that you could be terribly stern when he did such awful things.

3-1-3

Miller

(Stirs uncomfortably. Rises and Xes to D.C.)

Hmm!

Mrs. Miller

And that's just what it's your duty to do -- punish him good and hard!

(Then hastily)

But you be careful how you go about it, Nat.

(NAT stops and glances at her - then to U.C. and U.R.)

Remember he's like you inside -- too sensitive for his own good.

(Front)

And he never would have done it, I know, if it hadn't been for that darned little dunce,

(NAT continues Xes to D.S. end of sofa)

Muriel, and her numbskull father -- and then all of us teasing him and hurting his feelings all day --

(To Nat)

-- and then you lost your temper and were so sharp with him right after dinner before he went out.

Miller

(Resentfully, looking at Essie. Reaches D.R. in time for line and sits after cue and then speaks)

I see this is going to work round to where it's all my fault!

Mrs. Miller

Now, I didn't say that,

(To Sid)

did I?

(Sees SID is now comfortably asleep)

And here's another thing. You know as well as I, Richard would never have done such a thing alone. Why, he wouldn't know how! He must have been influenced and led by someone!

Miller

Yes, I believe that. Did you worm out of him who it was?

(Then angrily)

By God, I'll make whoever it was regret it!

Mrs. Miller

No, he wouldn't admit there was any one.

(Then triumphantly. Rises, Xes to sofa. Sits above Nat)

But there is one thing I did worm out of him -- and I can tell you it relieved my mind more'n anything! You know, I was afraid he'd been with one of those bad women. Well, turns out there wasn't any Hedda. She was just out of those books he's been reading.

(Then lamely)

So somehow -- I can't kind of feel it's all as bad as I thought it was.

(Then quickly and indignantly)

3-1-4

3-1-6

Sid

She's one of the babies, all right -- judging from her elegant language.

Miller

(Handing him the letter)

See if you recognize the handwriting.

Sid

(With a reproachful look)

Nat, I resent the implication that I correspond with all the tramps around this town.

(Then looking at the letter)

No, I don't know who this could be.

(Handing the letter back)

But I deduce that the lady had a run-in with the barkeep and wants revenge.

Miller

(Grimly)

And I deduce that before that she must have picked up Richard -- or how would she know who he was? -- and took him to this dive.

Sid

Maybe. The Pleasant Beach House is nothing but a bed house --

(Quickly)

At least, so I've been told. I hope you're wrong, Nat. That kind of baby is dangerous for a kid like Dick -- in more way than one. You know what I mean.

Miller

(Frowningly)

Yup -- and that's just what's got me worried.

(Sits chair #3 L. rear of table)

Dann it, I've got to have a straight talk with him -- about women and all those things. I ought to have long ago.

Sid

Yes. You ought.

Miller

I've tried to a couple of times -- but, hell, I always get sort of ashamed of myself and can't get started right. You feel, in spite of all his bold talk out of books, that he's so darned innocent inside.

Sid

I know. I wouldn't like the job.

(Then after a pause -- curiously)

How were you figuring to punish him for his sins?

Miller

(Frowning)

To be honest with you, Sid, I'm darned if I know. It all

3-1-8

Mrs. Miller

Then you can see him when you do come home.

Miller

(Covering his evident relief at this respite
with a fuming manner. Rises)

All right! All right! I give up! I'm going back to the office.

(He starts for the front parlor)

Bring a man all the way back here on a busy day and then you --
No consideration --

(He disappears, and a moment later the front
door is heard shutting behind him)

Mrs. Miller

(Xes to Sid)

Well! I never saw Nat so bad-tempered!

Sid

(With a chuckle)

He's so tickled to get out of it for a while he can't see
straight!

Mrs. Miller

(With a sniff)

I hope I know him better than you.

(Then fussing about the room, setting this
and that in place, while SID yawns drowsily
and blinks his eyes)

And there was Richard sleeping like a baby -- so innocent-looking!

(Xes to desk)

You'd think butter wouldn't melt in his mouth! It all goes to
show you never can tell by appearances -- not even when it's
your own child. The idea!

Sid

(Drowsily)

Oh, Dick's all right, Essie. Stop worrying.

Mrs. Miller

(With a sniff. Still facing desk)

Of course, you'd say that. I suppose you'll have him out with
you painting the town red the next thing!

(As she is talking, RICHARD appears in the
doorway from the U.L.C. He shows no ill
effects from his experience the night before.
In fact, he looks surprisingly healthy. He
is dressed in flannel undershirt, trousers,
shoes, covered by heavy brown bathrobe. His
expression is one of hang-dog guilt mingled
with defensive defiance)

Richard

(With self-conscious unconcern, ignoring his
mother. Xes down stage to lower end of sofa-

3-1-9

Richard (Cont'd)

and sits. - He looks at Sid who looks at him -
they both start to grin. RICHARD grins
sheepishly and looks away from Sid as he
says:)

Hello, Uncle Sid.

Mrs. Miller

(Whirls on him. Yes to him)

What are you doing here, young man? I thought you were asleep!
Seems to me you woke up pretty quick -- just after your Pa left
the house!

Richard

(Sulkily)

I wasn't asleep.

Mrs. Miller

(Outraged)

Do you mean to say you were deliberately deceiving!

Richard

I wasn't deceiving -- You didn't ask if I was asleep.

Mrs. Miller

And imagine me standing there, and feeling sorry for you, like
a fool -- But you wait till your Pa comes back tonight. If
you don't catch it --

Richard

(Sulkily)

I don't care.

Mrs. Miller

You don't care? You talk as if you weren't sorry for what you
did last night!

Richard

(Defiantly)

I'm not sorry.

Mrs. Miller

Richard.

Richard

(With bitter despondency)

I'm not sorry because I don't care a darn what I did, or anything
about anything! But I won't do it again --

Mrs. Miller

(Seizing on this to relent a bit)

Well, I'm glad to hear you say that, anyway!

Richard

But that's not because I think it was wicked or any such old-

3-1-10

Richard (Cont'd)

fogey moral notion, but because it wasn't any fun. It didn't
make me happy and funny like it does Uncle Sid --

Sid

(Who has been dozing -- drowsily)

What's that? Who's funny?

Richard

(Ignoring him)

It only made me sadder - and sick - so I don't see any sense
in it.

Mrs. Miller

Now you're talking sense! That's a good boy.

Richard

But I'm not sorry I tried it once -- curing the soul by means
of the senses, as Oscar Wilde says.

Mrs. Miller

(Then solicitously, putting her hand on
head)

How's your headache? Do you want me to get you some Bromo
Seltzer?

Richard

(Taken down -- disgustedly - rises and
Yes to arm chair # 1 right of and below
table R. and sits)

No, I don't! Aw, Ma, you don't understand anything!

Mrs. Miller

(Practically)

Well, I understand this much: It's your liver, that's what!
You'll take a good dose of salts tomorrow morning, and no
nonsense about it!

(Then suddenly)

My goodness, I wonder what time it's getting to be. I've got
to go upstreet.

(She goes to the front parlor doorway U.L.
as she speaks.)

(RICHARD pays no attention to this)

You stay here, Richard, you hear? Remember you're not allowed
out today -- for a punishment.

(She hurries away. RICHARD is sitting in
tragic gloom. SID without opening his eyes,
speaks to him drowsily)

Sid

Well, how's my fellow Rum Pot? Got a head?

Richard

(Startled -- a bit sheepishly)

Aw, don't go dragging that up, Uncle Sid.

(Seriously)

I'm never going to be such a fool again, I tell you.

3-1-11

Sid

(With drowsy cynicism -- not unmixed with bitterness at the end. Absolutely **no** self pity)

Never again eh? Seems to me I've heard someone say that before.

Richard

(Darkly)

I was desperate, Uncle -- even if she wasn't worth it. I was wounded to the heart.

Sid

I like "to the quick" better myself -- more stylish!

(Then sadly and bitterly - as he uncrosses his legs)

But you're right. Love is hell on a poor sucker.

(Touches Richard's arm)

Don't I know it?

(SID's chin sinks on his chest and he begins to breathe noisily, fast asleep. There is a sound of someone on the porch and the screen door is opened and MILDRED enters U.L. She smiles on seeing her uncle, then gives a start on seeing Richard)

Mildred

(Xing to D.L.C.)

Hello! Are you allowed up?

Richard

Of course, I'm allowed up.

Mildred

(Xes to sofa via below table R.)

How did Pa punish you?

Richard

He didn't. He went back to the office without seeing me.

Mildred

Well, you'll catch it later.

(Then rebukingly. Sits on sofa)

And you ought to. If you'd ever seen how awful you looked last night!

Richard

(Stirs uncomfortably)

Aw, forget it, can't you?

Mildred

Well, are you ever going to do it again, that's what I want to know.

Richard

What's that to you?

3-1-12

Mildred

(With suppressed excitement)

Well, if you don't solemnly swear you won't -- then I won't
give you something I've got for you.

Richard

Don't try to kid me. You haven't got anything.

Mildred

I have, too.

Richard

What?

Mildred

Wouldn't you like to know! I'll give you three guesses.

Richard

(Sits upright and says warningly)

Don't bother me. I'm in no mood to play riddles with kids!

(Sinks back into chair again)

Mildred

Oh well, if you're going to get snippy! Anyway, you haven't
promised yet.

Richard

(A prey to keen curiosity now)

I promise. What is it?

Mildred

What would you like best in the world?

Richard

(Trying to control curiosity)

I don't know. What?

Mildred

And you pretend to be in love! If I told Muriel that!

Richard

(Breathlessly)

Is it -- from her?

(Turning chair toward Mildred)

Mildred

(Laughing.)

(Tempo)

Well, I guess it's a shame to keep you guessing. Yes. It is
from her. I was walking past her place just now when I saw
her waving from their parlor window, and I went up and she
said give this to Dick, and she didn't have a chance to say
anything else because her mother called her and said she wasn't
allowed to have company. So I took it -- and here it is.

(She gives him a letter folded many times)

3-1-13

Mildred (Cont'd)

into a tiny square. RICHARD opens it with
a trembling eagerness and reads. MILDRED
watches him curiously -- RICHARD then sighs
affectedly)

Gee, it must be wonderful to be in love like you are --

Richard

(His eyes shining with joy)

Gee, Mid, do you know what she says -- that she didn't mean
a word in that other letter. Her old man made her write it.

And she loves me and only me and always will, no matter how
they punish her!

Mildred

(A bit superior)

My! I'd never think _she_ had that much _spunk_.

Richard

(Seriously)

Huh! You don't know her!

(Sinks back in chair)

Think I could fall in love with a girl that was afraid to say
her soul's her own? I should say not!

(Then more gleefully still. Eagerly and
dramatically leans to her)

And she's going to try and sneak out and meet me tonight.
She says she thinks she can do it.

(Then suddenly feeling this enthusiasm be-
fore MILDRED is entirely the wrong note for
a cynical pessimist -- with an affected bitter
laugh, leans back in chair. SID half opens
eyes - then goes back to sleep)

Ha! I knew darned well she couldn't hold out -- that she'd
ask to see me again.

(He misquotes cynically)

"Women never know when the curtain has fallen. They always
want another act."

Mildred

(Huffily)

Is that so, smarty?

Richard

(Then as if he were weighing the matter.
Overlap)

I don't know whether I'll consent to keep this date or not.

Mildred

(Lift)

Well, I know! You're not allowed out, you silly! So you
can't!

Richard

(Dropping all pretenses -- defiantly)

Can't I, though! You wait and see if I can't! I'll see her

3-1-14

Richard (Cont'd)

tonight if it's the last thing I ever do! I don't care how
I'm punished after!

Mildred

(Admiringly)

Goodness! I never thought you had such nerve!

Richard

You promise to keep your face shut, Mid -- until after I've left
tonight -- then you can tell Pa and Ma where I've gone -- I mean,
if they're worrying I'm off like last night.

Mildred

All right. Only you've got to do something for me when I ask.

Richard

(Overlap cue - tempo)

Course I will.

(Excitedly)

And say Mid, right now's the best chance for me to get away -
while everyone's out. Ma'll be coming back soon and she'll
keep watching me like a cat.

(Rises and starts for door U.L.)

I'm going now - I'll beat it upstairs and get dressed.

Mildred

(Rises and runs to right of him)

But what will you do till night time -- it's ages to wait.

Richard

(U.L.)

What do I care how long I wait!

(With passionate intensity - away from Mid)

I'd wait a million years and never mind it -- for her!

(To Mid with superior scornful look)

The trouble with you is - you don't understand what love means.

(He exits)

FAST CURTAIN

ACT THREE

SCENE II.

SCENE:

A strip of beach along the harbor. At right, a bank of dark earth, running half-diagonally back along the beach, rises abruptly like a step a foot high marking the line where the sand of the beach ends and fertile land begins. The top of the bank is grassy and the trailing boughs of willow trees extend out over it and over a part of the beach. At right center is a path leading up the bank, between the willows. On the beach, at just left of center a white, flat-bottomed rowboat is drawn up, its bow about touching the bank, the painter trailing up the bank, evidently made fast to the trunk of a willow. The new moon casts a soft, mysterious, caressing light over everything. The willows right and the sand right are almost lost in shadows. And the willows fade into shadows off up left. The last of the path is in very pale moonlight which increases as you walk downstage and toward the left to the boat which is the high spot of the moon-light. The boat is turned bottom up and is directly across stage with the heavy rope attached to the bow drawn tightly into the willows. The sand of the beach shimmers palely. In the distance, the orchestra of a summer hotel can be heard very faintly at intervals.

DISCOVERED:

At rise RICHARD is discovered sitting sideways on the gunwale of the rowboat near the stern. He is facing right, watching the path. He is in a great nervous state of anxious expectancy, squirming about uncomfortably on the narrow gunwale, kicking at the sand restlessly, twirling his straw hat, with a bright-colored band in stripes, around on his finger.

(Thinking)

Richard

Gosh that music from the hotel sounds wonderful. Must be nearly nine.... I can hear the Town Hall clock strike, it's so still to-night... I'll catch hell when I get back, but it'll be worth it. If only Muriel turns up... am I sure she wrote nine?...

3-2-2

Richard (Cont'd)

(He puts the straw hat on the sand right
of boat and pulls the folded letter out of
his pocket and peers at it in the moonlight)

Yes, it's nine, all right.

(He starts to put the note back in his pocket,
then stops and kisses it -- then shoves it away
hastily, sheepish, looking around him shame-
facedly, as if afraid he were being observed)

Aw, that's silly... no, it isn't either...not when you're
really in love...

(He jumps to his feet restlessly)

Darn it, I wish she'd show up!...think of something else...
that'll make the time pass quicker...

(Sits again on boat)

last night?... the Pleasant Beach House... Belle... ah,
forget her!... now, when Muriel's coming... that's a fine time
to think of --! ... But I didn't go upstairs with her... even
if she was pretty... aw, she wasn't pretty....she was just a
whore...she was everything dirty... Muriel's a million times
prettier anyway....Muriel and I will go upstairs...when we're
married...but that will be beautiful...but I oughtn't even to
think of that yet...it's not right...I'd never -- now... but
after we're married...

(He gives a little shiver of passionate long-
ing -- then resolutely turns his mind away from
these improper, almost desecrating thoughts)

WARN
CLOCK

That damned barkeep kicking me... I'll bet you if I hadn't been
drunk I'd have given him one good punch in the nose...

(Then with a shiver of shamefaced revulsion and
self-disgust)

Aw, you deserved a kick in the pants... making such a darned
slob of yourself...! you must have been a fine sight when you
got home!...having to be put to bed and getting sick!...Phaw!..

(He squirms disgustedly)

Think of something else, can't you?...recite something...see
if you remember...

"Nay, let us walk from fire unto fire

From passionate pain to deadlier delight --

I am too young to live without desire,

Too young art thou to waste this summer night --"

(Leans back on his arms.)

...gee, that's a peach!... I'll have to memorize the rest and
recite it to Muriel the next time... I wish I could write
poetry...about her and me...

(He sighs and stares around him at the night)

Gee, it's beautiful tonight...as if it was a special night...
for me and Muriel... Gee, I love tonight... I love the sand,
and the trees, and the grass, and the water, and the sky, and
the moon... It's all in me and I'm in it... God, it's so
beautiful!

(He stares at the moon with a rapt face.

From the distance the Town Hall clock begins
to strike. After the second gong strikes

RICHARD hears the clock strike and it brings
him back to earth with a start)

CLOCK (9)

3-2-4

Richard (Cont'd)

far -- carelessly)

No, I hadn't forgotten, honest.

(Seriously)

But I got to thinking about life.

(He is right of bow of boat and below it)

Muriel

(Piqued)

You might think of me for a change.

(Hesitating timidly on the edge of the shadow,
and then edges right into deeper shadows)

Dick! You come here to me. I'm afraid to go out there where anyone might see me.

Richard

(Coming toward her -- scornfully)

Aw, there you go again -- always scared of life!

Muriel

(Indignantly)

Dick Miller, I do think you've got an awful nerve to say that after all the risks I've run making this date and then sneaking out! You didn't take the trouble to sneak any letter to me, I notice!

Richard

(Darkly)

No, because after your first letter, I thought everything was dead and past between us.

Muriel

(Woundedly)

And I'll bet you didn't care one little bit!

(On the verge of humiliated tears)

Oh, I was a fool ever to come here! I've got a good notion to go right home and never speak to you again!

(She half turns back toward the path)

Richard

(Frightened -- immediately becomes terribly sincere -- grabbing her by the shoulders - they then X to D.R.C.)

Aw, don't go, Muriel! Please! I didn't mean anything like that, honest I didn't! Gee, if you knew how broken-hearted I was by that first letter, and how darned happy your second letter made me --!

Muriel

(Happily relieved -- but appreciates she has the upper hand now and doesn't relent at once - faces him)

I don't believe you! You've got to swear to me.

Richard

I swear!

3-2-6

Richard (Cont'd)

(Then coaxingly)

Aw, don't let's stand here. Come on out and we can sit down
in the boat.

Muriel

(Can't resist this)

Well, all right --

(She lets him lead her toward the boat.

They sit on the left end of the boat.

RICHARD left of Muriel)

only I can't stay only a few minutes.

Richard

(Frightened at the idea of losing her --
pleadingly)

Aw, you can stay a little while, can't you? Please!

Muriel

A little while. But I've got to be home in bed again pretending
to be asleep by ten o'clock.

Richard

But you'll have lots of time to do that.

Muriel

(Excitedly)

Dick, you have no idea what I went through to get here tonight!
My, but it was exciting! I had to get all undressed and into
bed and Ma came up, and I pretended to be asleep, and she went
down again, and I got up and dressed in such a hurry -- I must
look a sight, don't I?

Richard

You do not. You look wonderful.

Muriel

(She likes this. But then dramatizes her
experiences)

And then I sneaked down the back stairs.

(Then reproachfully)

Dick, you don't realize how I've been punished for your sake.

Richard

(Importantly)

And you don't realize what I've been through for you -- and
what I'm in for -- for sneaking out tonight -- and staying away
all day ---

(Then darkly)

And for what I did last night -- what your letter made me do!

Muriel

(Made terribly curious by his ominous tone)

What did my letter make you do?

Richard

(Beginning to glory in this -- darkly)

3-2-7

Richard (Cont'd)

It's too long a story -- "and let the dead past bury its dead."

(Then with real feeling)

Only it isn't past, I can **tell you!** What I'll catch when Pa gets hold of me!

Muriel

Tell me, Dick! Begin at the beginning and tell me!

Richard

(Tragically)

Well, after your old -- your father left our place I caught holy hell from Pa.

Muriel

(Shocked)

Dick! You mustn't swear!

Richard

(Darkly)

Hell is the only word that can describe it. And on top of that, to torture me more, he gave me your letter.

Muriel

(Touched)

I'm so awful sorry, Dick -- honest I am!

Richard

I thought your love for me was dead. I wanted to die. I sat and brooded about death. Finally I made up my mind I'd kill myself.

Muriel

(Excitedly)

Dick! You didn't!

Richard

I did, too! If there'd been one of Hedda Gabler's pistols around, you'd have seen if I wouldn't have done it beautifully.

I thought, when I'm dead, she'll be sorry she ruined my life!

Muriel

(Cuddling up a little to him)

If you ever had! I'd have died, too! Honest, I would!

Richard

But suicide is the act of a coward.

(Then with a bitter change of tone)

And anyway, I thought to myself, she isn't worth it!

Muriel

(Huffily)

That's a nice thing to say!

3-2-8

### Muriel

Well, if you meant what was in that letter, you wouldn't have been worth it, would you?

### Richard

But I've told you Pa --

### Richard

(Over lap cue)

So I said to myself, I'm through with women; they're all alike --

### Muriel

I'm not.

### Richard

(Dramatic)

And I thought, what difference does it make what I do now; I might as well forget her and lead the pace that kills, and drown my sorrows!

(Sincerely)

You know I had eleven dollars saved up to buy you something for your birthday, but I thought:

(Dramatic)

she's dead to me now and why shouldn't I throw it away?

(Then hastily and sincerely)

I've still got almost five left, Muriel, and I can get you something nice with that.

### Muriel

(Excitedly)

What do I care about your old presents? You tell me what you did!

### Richard

(Darkly again)

After it was dark, I sneaked out and went to a low dive I know about.

### Muriel

Dick Miller, I don't believe you ever!

### Richard

You ask them at the Pleasant Beach House if I didn't! They won't forget me in a hurry!

### Muriel

(Impressed and horrified)

Why, that's a terrible place! Pa says it ought to be closed by the police!

### Richard

(Darkly)

I said it was a dive, didn't I? It's a "secret house of shame". And they let me into a secret room behind the barroom. There wasn't anyone there but a Princeton Senior I know -- he belongs to Tiger Inn and he's fullback on the football team -- and he

3-2-9

Richard (Cont'd)

had two chorus girls from New York with him, and they were all
drinking **champagne**. That time.

Muriel

(Disturbed by the entrance of the chorus
girls)

Dick Miller! I hope you didn't notice --

Richard

(Carelessly)

(Elaborate a bit - glances at Muriel to see
how she takes it)

I noticed one of the girls -- the one that wasn't with him -
looking at me. She had strange-looking eyes.

(Lift)

And then she asked me if I wouldn't drink champagne with them
and come and **sit** with her.

Muriel

She must have been a nice thing!

Richard

(Then rubbing it in)

Her name was Belle. She had golden hair -- the kind that burns
and stings you.

Muriel

I'll bet it was dyed!

Richard

She kept smoking one cigarette after another -- but that's
nothing for a chorus girl.

Muriel

(Indignantly. Away from him)

She was low and bad; that's what she was or she couldn't be a
chorus girl, and her smoking cigarettes proves it!

(Then falteringly again to him)

And then what happened?

Richard

(Carelessly)

Oh, we just kept drinking champagne --

(Point this a bit)

and then I had a fight with the barkeep and knocked him down
because he'd insulted her.

Muriel

(Huffily. Away from him)

I don't see how he could insult that kind!

(To him)

And why did you fight for her? Why didn't the Princeton full-back ---

3-2-10

Richard

(Slightly hesitant)

He was too drunk by that time.

Muriel

And were you drunk?

Richard

Only a little then. I was worse later. You ought to have
seen me when I got home!

(With great pride)

I was on the verge of delirium tremens!

Muriel

I'm glad I didn't see you. I hate people who get drunk!
I'd have hated you!

(Then faltering but fascinated)

But what happened with that Belle -- after -- before you went
home?

Richard

Oh, we kept drinking champagne and she came and sat on my lap
and kissed me.

Muriel

(Stiffening with almost a sob)

Oh!

Richard

(Quickly, afraid he has gone too far)

But it was only all in fun.

Muriel

And did you kiss her?

Richard

No, I didn't.

Muriel

(Distractedly)

(To him)

You did, too! You're lying and you know it.

(Then tearfully. Dramatize 3/4 front)

And here I was right at that time lying in bed not able to
sleep, wondering how I was ever going to see you again and
crying my eyes out, while you --!

(She suddenly jumps to her feet in a tearful
fury - faces him)

I hate you! I wish you were dead! I never want to lay eyes
on you again! And this time I mean it!

(She turns to leave. He grabs her left hand
in both of his and holds her back. All the
pose has dropped from him now and he is in a
terrible state of contrition and fear of losing
her - remains seated on boat)

3-2-11

Richard

(Imploringly)

Muriel! Wait! - Listen!

Muriel

(Facing front)

I don't want to listen! Let me go! If you don't I'll bite
your hand!

Richard

I won't let you go! You've got to let me explain! I never --!
Ouch!

(For Muriel has bitten his hand and it
hurts, and, stung by the pain, he lets
go instinctively, and jumps to his feet.
She, immediately, starts running toward
the path. RICHARD calls after her with
bitter despair and hurt)

All right! Go if you want to -- if you haven't the decency
to let me explain. I hate you, too! I'll go and see Belle!

Muriel

(Stops at foot of the path, -as soon as
Richard speaks. Remains facing up stage
until she speaks, then turns on him.)

Well, go and see her -- if that's the kind of girl you like!
What do I care?

(RICHARD sits L. end of boat.)

(Then as he only stares before him brooding-
ly, sitting dejectedly in the stern of the
boat, a pathetic figure of injured grief -
drifts a step toward him and then speaks)

You can't explain! What can you explain! You owned up you
kissed her!

Richard

I did not. I said she kissed me.

Muriel

(Scornfully, but drifting back a step in
his direction)

And I suppose you just sat and let yourself be kissed! Tell
that to the Marines!

Richard

(Injuredly)

All right! If you're going to call me a liar every word I
say --

(MURIEL drifts back another step. Then
suddenly defiant)

And what if I did kiss her once or twice? I only did it to
get back at you!

Muriel

Dick!

3-2-12

Richard

You're a fine one to blame me -- when it was all your fault!
Didn't I think you were out of my life forever? Hadn't you
written me you were? Answer me that!

Muriel

But I've told you a million times that Pa stood right over
me and told me each word to write. I had to pretend, so I'd
get a chance to see you. Don't you see, silly?

(He doesn't answer. She moves nearer D.R.C.)

Still I can see how you felt the way you did -- and maybe I
am to blame for that. So I'll forgive and forget, Dick --
If you'll swear to me you didn't even think of loving that --

Richard

(Eagerly)

I didn't! I swear, Muriel. I couldn't. I love you!

Muriel

Well, then -- I still love you.

Richard

Then come back here, why don't you?

Muriel

(Comes back and sits down by him shyly)

All right -- only I'll have to go soon, Dick.

(He puts his arm around her waist. She
cuddles up close to him - taking his right
hand which is about her waist)

I'm sorry -- I hurt your hand.

Richard

That was nothing. It felt wonderful even to have you bite.

Muriel

(Impulsively she kisses his hand)

There! That'll cure it.

(She is overcome by confusion at her boldness)

Richard

You shouldn't -- waste that -- on my hand.

(Then tremblingly)

You said -- you'd let me --

Muriel

Will it wash off -- her kisses -- make you forget you ever --
for always?

Richard

I should say so! I'd never remember anything about it - ever
again.

Muriel

(Shyly lifting her lips)

Then -- all right -- Dick.

3-2-13

### Muriel (Cont'd)

(He kisses her tremblingly and for a moment their lips remain together. Then she lets her head sink on his shoulder and sighs softly)

The moon is beautiful, isn't it?

Richard

(Kissing her hair)

Not as beautiful as you. Nothing is!

(Then after a pause)

Won't it be wonderful when we're married?

Muriel

Yes - but it's so long to wait.

Richard

Perhaps I needn't go to Yale. Perhaps Pa will give me a job. Then I'd soon be making enough to --

Muriel

You better do what your Pa thinks best -- and I'd like you to be at Yale.

(Then taking his hand)

Poor you! Do you think he'll punish you awful?

WARN
CURTAIN

Richard

(With intense sincerity)

I don't know and I don't care! Nothing would have kept me from seeing you tonight -- not if I'd have to crawl over red-hot coals!

(Then lapsing into literary Swinburnian passion)

You are my love, mine own soul's heart, more dear than mine own soul, more beautiful than God!

Muriel

(Shocked and delighted)

Sshhh! It's wrong to say that!

Richard

(His passionate devotion crying out in the commonplace -- intensely and adoringly)

Gosh, but I love you!

(She sinks into his arms again)

Gosh, I love you -- Darling!

Muriel

(Lifting her lips to his)

I love you, too -- Sweetheart!

(They kiss. Then she lets her head sink on his shoulder again and they both sit in rapt trance, staring at the moon. After a pause -- dreamily)

Where'll we go on our honeymoon, Dick? To Niagara Falls?

3-3-2

Mrs. Miller, (Cont'd.)

have worried my heart out if she hadn't. But now, it's all
right.

Miller

(Frowning a little)

I'd hardly go so far as to say that. Just because we know he's
all right tonight doesn't mean last night is wiped out. He's
still got to be punished for that.

Mrs. Miller

(Defensively)

Well, if you ask me, I think after the way I punished him all
day, and the way I know he's punished himself, he's had about
all he deserves. I've told you how sorry he was, and how he
said he'd never touch liquor again, he hated the taste of it,
and it didn't make him feel happy like Sid, but only sad and
sick, so he didn't see anything in it for him.

Miller

(With satisfaction)

Well, if he's really got that view of it driven into his skull,
I don't know but I'm glad it all happened. That'll protect him
more than a thousand lectures -- just horse sense about himself.

(Then frowning again)

Still, I can't let him do such things and go scot-free. No,
he's got to be punished, if only to make the lesson stick in
his mind, and I'm going to tell him he can't go to Yale,
seeing he's so undependable.

Mrs. Miller

(Up in arms at once. Scold angrily - build)

Not go to Yale! I guess he can go to Yale! If our other
children can get the benefit of a college education, you're
not going to pick on Richard --

Miller

(Irritably, at last breaking through her
eloquence)

Hush up, for God's sake! If you'd let me finish, I said I'd
tell him that now -- bluff -- then later on I'll change my
mind, if he behaves himself.

Mrs. Miller

(Relieved)

Oh well, if that's all --

(Then defensively again)

But it's your duty to give him every benefit. He's got an
exceptional brain, that boy has! He's proved it by the way
he likes to read all those deep plays and poetry.

Miller

But I thought you --

(He stops abruptly, grinning helplessly)

3-3-3

Mrs. Miller

(Challengingly)

You thought I what?

Miller

Never mind.

Mrs. Miller

(Sniffs, but thinks it better to let this pass)

You mark my words, that boy's going to turn out to be a great lawyer, or a great doctor, or a great writer, or --

Miller

(Grinning)

You agree he's going to be great, anyway.

Mrs. Miller

Yes, I most certainly have a lot of faith in Richard.

Miller

(Picks up book and opens it)

Well, so have I, as far as that goes.

Mrs. Miller

And as for his being in love with Muriel! I don't see but what it might work out real well.

(Lift lightly)

Richard could do worse.

Miller

(Kids her a little)

But I thought you had no use for Muriel, thought she was stupid --

Mrs. Miller

Well, so I did, but if she's good for Richard and he wants her --

(Then inconsequentially)

Ma used to say you weren't over bright,

(Nat grins "Oh")

but she changed her mind when she saw I didn't care if you were or not.

Miller

(Not exactly pleased by this -- huffily)

Well, I've been bright enough to --

Mrs. Miller

(Going on as if he had not spoken. Brightly and quickly)

And Muriel's real cute-looking, I have to admit that. Takes after her mother. Alice Briggs was the prettiest girl before she married!

Miller

Yes, and Muriel will get big as a house after she's married, the same as her Mother did. That's the trouble. A man never can tell what he's letting himself in --

3-3-4

Miller, (Cont'd.)

(He stops, feeling his wife's eyes fixed on him with indignant suspicion)

Mrs. Miller

(Sharply. Faces Nat)

I'm not too fat and don't you say it!

Miller

(Chuckles)

Who was talking about you?

(Flatteringly)

Why, no one'd ever call you fat, Essie. You're only plump, like a good figure ought to be.

Mrs. Miller

(Pleased but embarrassed)

Crazy.

(She then laughs - quite pleased)

(After a moment NAT turns to Mrs. Miller seriously)

Miller

You don't mean to tell me you're actually taking this Muriel crush of Richard's seriously, do you? I know it's a good thing to encourage right now but -- pshaw, why, Richard'll probably forget all about her before he's away six months and she'll have forgotten him.

Mrs. Miller

(Rebukingly. Sharply)

Don't be so cynical.

(Then, after a pause, thoughtfully)

Well, anyway, he'll always have it to remember -- no matter what happens after -- and that's something.

Miller

You _bet_ that's something.

(Then with a grin)

You surprise me at times with your deep wisdom!

Mrs. Miller

(Quickly)

You don't give me credit for ever having common sense, that's why.

(She goes back to her sewing)

Miller

(After a pause)

Where'd you say Sid and Lily had gone off to?

Mrs. Miller

To the beach to listen to the band.

(She sighs sympathetically)

3-3-5

Mrs. Miller, (Cont'd.)

Poor Lily! Sid'll never change, and she'll never marry him.
But she seems to get some queer satisfaction out of fussing
over him.

Miller

Arthur's up with Elsie Rand, I suppose?

Mrs. Miller

Of course.

Miller

Where's Mildred?

Mrs. Miller

Out walking with her latest. I've forgot who it is. I can't
keep track of them.

(She smiles)

Miller

(Smiling)

Then, from all reports, we seem to be completely surrounded
by love!

Mrs. Miller

Well, we've had our share, haven't we? We don't have to begrudge
it to our children.

(Then has a sudden thought)

But I've done all this talking about Muriel and Richard and
clean forgot how wild old McComber was against it. But he'll
get over that, I suppose.

Miller

(With satisfaction)

He has already. I ran into him upstreet this afternoon and
he was meek as pie. He backed water and said he guessed I
was right. Richard had just copied stuff out of books, and
kids would be kids, and so on. So I came off my high horse
a bit -- but not too far -- and I guess all that won't bother
anyone any more.

(Chuckles. Then rubbing his hands together --
with a boyish grin of pleasure)

And I told you about getting that business from Lawson, didn't
I? It's been a good day, Essie -- a darned good day!

(From off up is heard the footsteps of some one
coming around the piazza to the side door.)

MRS. MILLER looks up from her sewing listening
a moment)

Mrs. Miller

(In a whisper)

It's Richard.

Miller

(Immediately assuming an expression of becoming
gravity)

Hmm.

3-3-6

## Miller, (Cont'd.)

(He takes off his spectacles and puts them back in their case and straightens himself in his chair. RICHARD comes slowly in through the screen door which is open. He walks like one in a trance, his eyes shining with a dreamy happiness, his spirit still too exalted to be conscious of his surroundings, or to remember the threatened punishment. He carries his straw hat dangling in his hand, quite unaware of its existence - X's slowly to sofa down extreme right via below table R.)

## Richard

(Dreamily, like a ghost addressing fellow shades)
(After he has X'd to sofa and is seated he leans forward on his elbows as he says in a breathy voice)

Hello.

## Mrs. Miller

(Staring at him worriedly)

Hello, Richard.

## Miller

(Sizing him up shrewdly)

Hello, Son.

## Mrs. Miller

(With frightened suspicion now)

Goodness, he acts queer!

Nat, you don't suppose he's been -- ?

(Essie looks)

## Miller

(With a reassuring smile)

No. It's love, not liquor, this time.

## Mrs. Miller

(Only partly reassured -- rises - X's to L. of Richard - then speaks sharply)

Richard!

What's the matter with you?

(HE comes to himself with a start. She goes on scoldingly)

How many times have I told you to hang up your hat in the hall when you come in!

(He looks at his hat as if he were surprised at its existence)

Here. Give it to me.

(She snatches it out of his hand and starts to put it away in hall U.L. X'ing via above table Right. NAT speaks to her as she starts to move away from Richard. MRS. MILLER X's to Right of and above Nat's chair)

3-3-8

## Miller, (Cont'd.)

You sure were -- not only a fool but a downright, stupid, disgusting fool!

(RICHARD squirms, his head still lower)

It was bad enough for you to let me and Arthur see you, but to appear like that before your mother and Mildred --! And I wonder if Muriel would think you were so fine if she ever saw you as you looked and acted then. I think she'd give you your walking papers for keeps. And you couldn't blame her. No nice girl wants to give her love to a stupid drunk!

Richard

(Crimson and writhing)

I know, Pa.

## Miller

(After a pause - quietly but definitely)

All right. Then that settles the booze end of it.

(He sizes Richard up searchingly -- then suddenly speaks sharply)

But there is another thing that's more serious.

(Rises. Comes down to chair #4 below and left of table - sits - leans over table)

How about that tart you went to bed with at the Pleasant Beach House?

Richard

(Flabbergasted -- stammers)

You know -- ?

(A moment before Richard continues. NAT reacts - thinks the boy has admitted guilt, looks away from him hurt)

But I didn't!

(NAT reacts - looks quickly and searchingly at Richard)

If they've told you about her down there, they must have told you I didn't! I gave her the five dollars just so she'd let me out of it. She made everything seem rotten and dirty -- and -- I didn't want to do a thing like that to Muriel -- no matter how bad I thought she'd treated me -- even after I felt drunk, I didn't. Honest!

## Miller

How'd you happen to meet this lady, anyway?

## Richard

I can't tell that, Pa. I'd have to snitch on someone -- and you wouldn't want me to do that.

## Miller

(A bit taken back)

No. I suppose I wouldn't. Hmm. Well, I believe you -- and I guess that settles that.

(Then, after a quick, furtive glance at Richard, he nerves himself for the ordeal and begins with a shamefaced, self-conscious solemnity)

3-3-9

Miller, (Cont'd.)

(Rising and Xes R. looks about room)

But listen here, Richard -- hmm -- it's about time you and I
had a serious talk about -- hmm -- certain matters pertaining
to --- and now that the subject's come up of its own accord,
it's a good time -- I mean, there's no use in procrastinating
further -- so, here goes.

(But it doesn't go smoothly and as he goes on
he becomes more and more guiltily embarrassed
and self-conscious and his expression more
stilted. RICHARD sedulously avoids even glancing
at him, his own embarrassment made tenfold more
painful by his father's)

(Slaps Richard on the back affectionately - then
says with gusto)

Richard -

(Xes to chair D.L. of table R. - chair #4 and sits)

- you have now come to the age when -- Well, you're a fully
developed man, in a way -- and it's only natural for you to
have certain -- hmm -- desires of the flesh, to put it that
way -- I mean pertaining to the opposite sex -- hmm -- certain
natural feelings and temptations -- that'll want to be grati-
fied -- and you'll want to gratify them. --

(New attack)

Well, there are a certain class of women -- always have been
and always will be as long as human nature is what it is --

(Excuses)

It's wrong, maybe, but what can you do about it? I mean, girls
like that one you --

(Looks about room quickly to be sure no one
will hear this)

girls there's something doing with -- and lots of 'em are pretty,
and it's human nature if you -- But that doesn't mean to ever
get mixed up with them seriously! Don't think I'm encouraging
you to -- If you can stay away from 'em, all the better -- but
if -- why -- hmm -- Here's what I'm driving at, Richard. They're
apt to be whited sepulchres -- I mean, your whole life might be
ruined if -- so, darn it, you've got to know how to -- I mean,
there are ways and means ---

(Suddenly he can go no farther and explodes help-
lessly)

But, hell, I suppose you boys talk all this over among your-
selves and you know more about it than I do. I'll admit I'm
no authority.

(Speaks now with serious strength and force -
driving home his advice)

I never had anything to do with such women, and it'll be a
hell of a lot better for you if you never do!

Richard

(Without looking at him)

(Quietly)

I'm never going to, Pa.

3-3-10

Richard, (Cont'd.)

(Then shocked indignation coming into his
voice - looks at Nat)

I don't see how you could think I could -- now -- when you know

I love Muriel and am going to marry her. I'd die before I'd -- !

Miller

(Immensely relieved -- enthusiastically rises)

That's the talk! By God, I'm proud of you when you talk like
that!

(Then hastily)

And now that's all of that.

(Xes to Richard)

There's nothing more to say and we'll forget it, eh?

(Slaps him on neck affectionately. Xes to
D.L.C. to U.L. and then down left)

(After a pause:)

Richard

Oh, Pa.

(Standing below table R.)

(With a nod at Richard, winking at his wife)

Yes, I don't believe I've ever seen such a beautiful
night -- but then, you know, the moon is way down low -- almost

Huh?

Miller

(Blowing his nose as he Xes to d. left)

Richard

How are you going to punish me, Pa?

Miller

(Smiling - X's to left of him)

I was sort of forgetting that, wasn't I? Well, I'd thought
of telling you you couldn't go to Yale --

Richard

(Eagerly - jumps to his feet)

Don't I have to go? Gee, that's great! Muriel thought you'd
want me to. I was telling her I'd rather you gave me a job
on the paper because then she and I could get married sooner.

(Then with a boyish grin - sits on the R.
arm of chair #1)

Gee, Pa, you picked a lemon.

(Richard laughs)

That isn't any punishment. You'll have to do something besides
that.

Miller

(Grimly -- but only half concealing an answering
grin)

(Xes to Richard - angrily)

Then you'll go to Yale and you'll stay there till you graduate,
that's the answer to that! Muriel's got good sense and you
haven't!

(RICHARD accepts this philosophically)

3-3-11

## Miller, (Cont'd.)

And now we're finished, you better call your mother.
(Xes to U.C.)

(RICHARD X's to U.L.C. and calls "Ma", toward
screen door and a moment later she comes in
through screen door leaving it open behind her.
She glances quickly from son to husband and
immediately knows that all is well and tactfully
refrains from all questions)

Mrs. Miller
(Xes to desk chair. Relief and speaks lightly)

My, it's a beautiful night. The moon's way down low -- almost
setting.

(Sits desk chair)
(She sits in her chair and sighs contentedly.
RICHARD remains standing by the door, staring
out at the moon, his face pale in the moonlight)

## Miller
(Standing below table R.)
(With a nod at Richard, winking at his wife)

Yes, I don't believe I've hardly ever seen such a beautiful
night -- with such a wonderful moon. Have you, Richard?

Richard
(Turning to them - enthusiastically. Xes D.C.
a step)

No! It was wonderful -- down at the beach --
(He stops abruptly, smiling shyly)

## Miller
(Watching his son strangely -- quietly)

No, I can only remember a few nights that were as beautiful
as this -- and they were long ago, when your mother and I
were young and planning to get married.

Richard
(Stares at them wonderingly for a moment,
then quickly from his father to his mother
and back again, strangely as if he'd never
seen them before -- but then suddenly his
face is transfigured by a smile of under-
standing and sympathy. He speaks shyly)
(Xing D. a step)

Yes, I'll bet those must have been wonderful nights, too.
You sort of forget the moon was the same way back then --
and everything.

## Miller
(A trifle huskily. Xes to him, pats him on the
back then speaks)

You're all right, Richard!

3-3-12

Mrs. Miller

(Fondly)

You're a good boy, Richard.

(RICHARD looks dreadfully shy and embarrassed
at this. His father comes to his rescue)

Miller

Better get to bed early tonight, Son, hadn't you?

Richard

I couldn't sleep. Can't I go out on the piazza and sit for a
while -- until the moon sets?

Miller

All right. Then you better say good night now. I don't know
about your mother, but I'm going to bed right away. I'm dead
tired.

WARN
LIGHTS

Mrs. Miller

So am I.

Richard

(Goes to her and kisses her)

Good night, Ma.

Mrs. Miller

Good night. Don't you stay up till all hours now.

Richard

(Comes to his father and stands awkwardly before
him)

Good night, Pa.

Miller

(Puts his arms around him and gives him a hug)

Good night, Son.

(Xes a step down)

(Faces front)

(RICHARD turns impulsively and kisses him -- then
hurries out the screen door. MILLER stares after
him - then says huskily)

First time he's done that in years. I don't believe in kissing
between fathers and sons after a certain age -- seems mushy and
silly -- but that meant something!

(Xes to rear of the side chair that is left center
and faces MRS. MILLER who is still seated on desk
chair)

And I don't think we'll ever have to worry about his being safe! --
from himself -- again. And I guess no matter what life will do
to him, he can take care of it now.

Mrs. Miller

(Rises and Xes to lamp which is above table R.)

Yes, Nat. I'm going to turn out the light. All ready?

3-3-13

Miller

Yep. Let her go, Gallagher.

LIGHTS

(She turns out the lamp. MILLER Xes to U.L.C. and stands looking out of screen door. MRS. MILLER joins him and stands just below and right of him. In the ensuing darkness the faint moonlight shines full in through the screen door. Walking back together toward the front parlor they stand full in it for a moment, staring out. MILLER reaches out and puts his right arm around her and she puts her left arm around him. He says in a low voice, smilingly)

There he is. -- like a statue of Love's Young Dream.
(Then he sighs and she sighs. Then he speaks with a gentle nostalgic melancholy)

What's it that Rubaiyat says:

"Yet Ah, that Spring should vanish with the Rose!
That Youth's sweet-scented manuscript should close!"

(Then throwing off his melancholy, with a
loving smile at her)

Well, Spring isn't everything, is it, Essie? There's a lot to be said for Autumn. Autumn's got beauty, too. And Winter -- if you're together!

Mrs. Miller

(Simply)

Yes, Nat.

(She kisses him and then they move quietly out of the moonlight into the darkness of the front parlor)

CURTAIN

LIGHTING PLOT

(The lights are set inside of the 1st
scene 1st act - regardless of the scenes
they actually are used in.)

BRIDGE - 1000 Watts. Number from left to right.

Spot #1 - #112 pink, #71 amb.
sitting in arm chair left and above table R.

Spot #2 - Mixture (#112 P - #71 bastard amb. - #10
center of focus when standing center and about
four feet above lower edge of ground cloth.

Spot #3 - Steel blue "A" and oiled frost - (Boat)
center of focus when seated in straight chair left C.

Spot #4 - #112 pink, #71 amb.
center of focus when sitting in arm chair right and
above table R. Take in upstage end of couch.

Spot #5 - Mixture
center of focus when standing rt. of arm chair that
is left of and above Table Rt. To rear wall Rt. of
double doors U. R.

Spot #6 - Steel blue "A" and oiled frost. (Boat)
center of focus when seated arm chair below and
left of Table R.

Spot #7 - Mixture (Bar scene)
When seated on side chair left center and to the
seat of the desk chair.

Spot #8 - #112 pink, #71 amb.
Couch. Cover all of couch and the lower third of
the window.

Spot #9 - Steel blue "A" and # very light green.
shutters closed so that there is about 2 inches
square opening.

Shines into the double doors up left and favors the
right side of the doors so that it just takes in
the brass portiere holder. This light is to shine
on the tree tops in the 2nd scene 3rd act.

Spot #10 - 3 sheets of #71 bastard amber.
Take in side chair left center and to left as high
as the middle of the desk.

Spot #11 - Mixture
Chair above and left of Table R. and favor to the
Left.

LIGHTING PLOT (CONT'D)

Spot #12 - Steel blue "A" and oiled frost. (Boat)
Center of focus when standing left of arm chair
below and left of table R.

BRIDGE - 400 Watts. Number from left to right.

Spot #1 - Steel blue "A". (Boat)
When seated on side chair L.C. the top of the
focus is head high. Favor down stage.

Spot #2 - Mixture (Bar)
Center spot between side chair L.C. and desk
chair Upstage to edge of set.

Spot #3 - Steel blue "A" (Bar)
Center of focus when standing R. of side chair
L.C.

Spot #4 - Mixture
Center of focus when standing R. of side chair L.C.

Spot #5 - Mixture
When seated in arm chair left of and above table R.
the right edge of the focus should just cover you.
Then favor the lamp left. The upstage to edge of
rear wall.

Spot #6 - Steel Blue "A"
Center of focus when standing about a foot above
side chair left center.

Spot #7 - Mixture
Takes in side chair Left C. and desk chair and
side chair U.L. and to the lower third of the
door way above desk.

Spot #8 - MIXTURE - Bar.
Center of focus when standing one foot left of
and one foot above chair left of and below table R.

Spot #9 - Steel blue "A"
Center of focus when standing above chair left of
and below table Right.

Spot #10 - Mixture
Center of focus when seated in arm chair left of
and above table right - lower edge of second shelf
of bookcase U.C.

Spot #11 - MIXTURE
Center of focus when standing directly below table R.

Spot #12 - Mixture
When seated in arm chair left of and below table right
the bottom of the focus is head high. Favor left.

LIGHTING PLOT (CONT'D)

3.

"MIXTURE" consists of #112 pink, #71 bastard amber, #10 light amber.

FRONT SPOTS - 1000 Watts. Number from stage left to right.

Spot #1 - #112 pink and #71 amb. Sharp focus.
Extreme left - for Cohan during scene with DAVE and
for RICHARD in dining room scene.

Spot #2 - Mixture - Focus not sharp.
Overlap from Spot #1 toward right.

Spot #3 - Mixture - Focus set same as #2.
Overlap from Spot #2 toward right.

Spot #4 - #112 pink and #71 bastard amber. Sharp focus "NAT" in chairs left of and above and below Table R. Favor right.

Spot #5 - #112 pink and #71 bastard amber. Medium
Focus. "NAT" in chairs left of and above and below
table R. Favor left.

Spot #6 - Two sheets of #71 bastard amber.
Sharp focus. Down extreme right. "RICHARD" when
seated on sofa.

X-RAY - Three sections.

FROST - 200 Watts - 6 lamps.

Mixture - " " - " "

#130 Blue " " - " "

FOOTS - Three sections.

#112 pink & #71 bastard amber. 20 lamps 75 watts.

#114 pink 20 lamps 75 watts

#130 blue doubled 20 lamps 75 watts end 5 lamps
of this circuit in single sheets of #130 blue.

BRACKETS in the bar room are two lamp brackets each
lamp watts. Use a 400 watt spot off stage as
resistance and bring dimmer to one half.

FLOOR LAMP - FULL - 3 white 60 watt lamps.

TABLE LAMP - In hall of U.L. - is on in 2nd Sc. 2nd Act.
FULL - 2 flame tinted 25 watt lamps.

CHANDELIER in dining room - 4 one lamp brackets - 4
flame tinted 25 watt lamps - FULL

"AH, WILDERNESS!"

Property Plot

ACT ONE SCENE ONE - SITTING ROOM - 7:30 A.M. July 4th, 1906.

Large sofa down extreme right

3 sofa cushions on sofa

Large bookcase with glass doors against right wall
above sofa.

Books, various sets in large bookcase.

Square table in corner up right.

Brass jardinier and Boston fern on square table.

Portieres for sliding doors in rear wall right. Valance

Bookcase without doors with practical books up center

Portieres for sliding doors in rear wall left. Valance

Side chair against rear wall left of double doors up left.

Writing desk and desk chair against left wall below screen
door and above window in left wall.

On desk:

Writing pads of various sizes

Writing paper

Several pencils

Small whiskey glass filled with parlor matches

Ash tray on down stage end of desk

Sewing Basket on top part of desk.

In sewing basket:

Needles (One threaded)

Several spools of white thread

a number of dish towels that need to be hemmed.

Large Oval table, down stage below double doors R.

On oval table:

Newspaper (Nantucket Courier is best for this)

5 Magazines (1906)

1906 magazine light enough to be used as a fan.

A small glass filled with parlor matches.

Ashtray - A medium colored table throw.

Side chair down left center, on same level as desk chair.

Rocking chair down extreme left, below desk facing up Stg.

Arm chair (Ch. #1) down right of oval table

Arm chair (Ch. #2) up right of oval table

Rocking chair (Ch. #3) up left of oval table

Arm chair (Ch. #4) down left of oval table

Rug covering most of floor.

Folding screen in backing U.R.

Small square table (Dressing piece) in backing U.L.

On small square table:

A sea shell (Wired to table.)

A small vase (Wired to table)

A white linen cover

On window down right - 1 set of straight hanging

lace-net, sill length curtains.

1 set of tie-back lace-net curtains, floor length.

1 set of brocade tie-back, floor length curtains with valance (Brown with gold braid (over) and tassels)

"AH, WILDERNESS!"

Property Plot

ACT ONE SCENE ONE - CONT'D.

On window down left the same as window down right.

One oval framed picture of flowers on a black background over desk left.

ARTHUR hand props:

Tobacco Pouch - watch and chain

Blue Boar Tobacco

Pipe with initials oY8 on it (Large pipe)

NAT hand props:

Watch and chain

Cigar case

Five cigars

Spectacles with the "half-moon" lense.

DAVE MCCOMBER hand props

Breast pocket wallet.

5 slips of paper with two verses written on them. these are off up left, slips of paper must be small enough to fit into wallet.

One sealed envelope containing a letter, off up left

SID hand props

Cigar off up right

LILY MILLER hand props

Pince nez (In sewing basket on desk)

Small gold breast watch attached to the upper left breast of her dress with a gold Fleur-de-lis pin or chatelaine.

RICHARD hand props

Book of Carlyle's French Revolution off U RIGHT.

NOISE EFFECTS

3 twenty-two cal. blank pistols

1 45 cal. pistol for the torpedo effect.

(Noise to be off up left)

"AH, WILDERNESS!"

Property Plot, Cont'd.

ACT ONE - SCENE TWO - DINING ROOM - 6:00 P.M. Same Day.

Small table above screen door down right.
A potted "Rubber-plant"

Portieres for sliding doors in right wall above small table.
Valance.

Narrow serving table - against rear wall right of pantry door.
Seven dinner plates (Lobster plates) lace runner.

Large heavy china-cabinet against rear wall center of left
space between left wall and the swinging door U.C.
On the shelves are the "fancy" china of the family.

Large painting on wall over service table of a meadow and
a stream - the picture is in a gold frame.

Large painting on rear wall left of china cabinet of a
meadow.

Side-board against left wall between windows.
Fancy linen runner.

Several silver pieces decorate the top of the side-board.

One side chair down left facing front.

Dining room table (4'6" x 6'0") below china cabinet.

7 napkins

7 napkin rings

7 water glasses

1 table cloth

1 silencer cloth

Large cutglass water pitcher half filled with water.

Cut glass olive dish with olives

7 knives and forks

7 tea spoons

7 soup spoons

7 lobster forks

7 butter knives

Large soup ladel - at left end of table.

Serving silver for lobster

fish

vegetables

2 sets of salt and peppers

7 bread plates

12 Parkerhouse rolls on large bread plate

1 butter plate with 1/4 pound of butter

1 butter knife

1 dish towel - on R. end of table for Mrs Miller.

7 soup plates on left end of table

7 fish plates on right end of table

Bowl of daisies - off up R. for Mrs. Miller

Large china soup tureen with cover - off up center for Nora

Dish of saltines - off up center for Nora

1 vegetable dish with mashed potatoes.

1 vegetable dish of either peas, beans, carrots, etc.

1 platter of broiled Blue Fish - off U.C. for Nora

1 platter of cold boiled lobster - off U.C. for Nora

1 large red and grey rug covering most of the floor.

"AH, WILDERNESS!"

Property Plot, Cont'd.

For windows in left wall

1 set of brocade tie-back floor length curtains
with red braid and tassels

1 set of reddish brown brocade tie-back curtains
with red braid and tassels. Valance.

1 set of lace-net tie back curtains floor length.

1 set of straight hanging lace-net sill-length
curtains.

Armchair at right end of table

Armchair at left end of table

3 sidechairs upstage side of table

2 sidechairs downstage side of table

"AH, WILDERNESS!"

PROPERTY PLOT (CONT'D.)

ACT TWO - SCENE ONE - BACK ROOM OF A BAR - 10:00 P.M. Same Night.

Picture on up stage wall above player piano - hung at an angle - picture is of "Temptations"

3 round tables.

One up left

One up center, right of door in rear wall.

One down right center.

9 wicker seated chairs.

One left of each table

One right of each table

One below table Up center

One above the other two tables.

3 Brass cuspidors.

One against left wall in line with table U.L.

One below the other two tables.

Gin-rickey glass (Empty except for ice and a slice of lime on table U.L.)

Half empty glass of beer on table U.L.

3 ash trays and match holders (Parlor matches)

One on each table.

Dirty green shade for the bar room window D.L.

1 saloon picture on rear wall left of door.

1 saloon picture on left wall up stage of window.

2 sloe-gin fizzes - on tray offstage right. (Lemonade)

2 gin-rickeys - on tray off stage right. (Lime and water)

1 highball - off stage right for salesman.

Sweet Caparel box with cigarettes on table U.L. for Belle

Roll of paper money for Richard.

60¢ in change for the bartender.

Several paper bills for Belle

Towel for Bartender.

"AH, WILDERNESS!"

PROPERTY PLOT (CONT'D)

ACT TWO - SCENE TWO - SITTING ROOM - 11:00 P.M. SAME NIGHT.

Newspaper (Doubles from Act one) U.L. end of table.

Sewing Basket on down stage right end of oval table.

Spectacles, gold frame for Mrs. Miller

Embroidery hoops with a piece of embroidery

needles and thread

Novel of 1906 - on upper right end of oval table for
Lily

Practical piano off up left.

Sheet music on piano off up left.

Dearie

Waiting At The Church

Just Can't Make My Eyes Behave

Pad of medium sized paper on desk

Pencil on desk

The two down stage arm chairs that are below the oval
table are moved away from the table far enough
for a person to sit on the arm of each that is
nearest the table.

The screen door is left open for the upcurtain.

"AH, WILDERNESS!"

PROPERTY PLOT (CONT'D)

ACT THREE - SCENE ONE - SITTING ROOM - 1:00 P.M. Next Day.

SAME AS ACT ONE SCENE ONE

Cigar - off up right for Nat (Cut cigar in half)

Letter in opened envelope - copy actual words from
script. Page - off up right for Nat

Letter folded in tiny squares - off up left for
Mildred.

ACT THREE - SCENE TWO - BEACH - 9:00 P.M. - That Night.

White flat-bottomed boat down just left of center and
is upside down with the bow toward the Center.

A long heavy rope is attached to the bow of the boat and
is drawn tightly into the woods.

Town Hall Clock Strike effect. Clock strikes 9 on cue.

Sand ground cloth. Sand color in the center and fades
into a deep green.

ACT THREE - SCENE THREE - SITTING ROOM - Same Night.

SAME AS ACT ONE SCENE ONE

Books on up stage left end of oval table:

"Picture of Dorian Grey"

"Ballad of Reading Goal"

"Rubaiyat"

A book written by Geo. B. Shaw

Several other 1906 books.

Sewing basket on down stage right end of oval table.

Spectacles for Mrs. Miller

Embroidery hoops with a piece of embroidery.

Needles and thread.