THE ANIMAL KINGDOM
The Youngest
You and I
In a Garden
White Wings
John
Paris Bound
Holiday
Hotel Universe
Tomorrow and Tomorrow
The Animal Kingdom
ALL RIGHTS RESERVED
Copyright, 1931, by Philip Barry
CAUTION: Professionals and amateurs are hereby warned that "THE ANIMAL KINGDOM," being fully protected under the copyright laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union, is subject to a royalty. All rights, including professional, amateur, motion pictures, recitation, public reading, radio broadcasting, and the rights of translation into foreign languages are strictly reserved. In its present form the play is dedicated to the reading public only. All inquiries, regarding this play should be addressed to Samuel French, at 25 West 45th Street, New York, N. Y., or 811 West 7th Street, Los Angeles, Calif.
MANUFACTURED IN THE UNITED STATES OF AMERICA
BY THE VAIL-BALLOU PRESS, INC., BINGHAMTON, N. Y.
"The Animal Kingdom" was first produced by Gilbert Miller and Leslie Howard at the Broadhurst Theatre in New York City on January 12, 1932. It was directed by Gilbert Miller and the settings were designed by Aline Bernstein.
Rufus Collier
Tom Collier
Cecelia Henry
Daisy Sage
Joe Fisk
Franc Schmidt
Owen Arthur
Grace Macomber
Richard Regan
Action and Scene
The action of the Play takes place in the course of about eighteen months, last year and this. The Scenes are as follows:
Act One
Scene 1. At Tom Collier's, in Connecticut. An evening in April.
Scene 2. At Daisy Sage's, on Thirty-eighth Street. Later the same evening.
Act Two
Scene 1. At Tom Collier's. An evening in January.
Scene 2. At Daisy Sage's. An afternoon in May.
Act Three
Scene 1. At Tom Collier's. A Sunday morning in October.
Scene 2. At Tom Collier's. Later the same evening.
The library of TOM COLLIER'S house in the country near New York. About seven o'clock on an April evening, two years ago.
The library is a fair-sized, comfortable room in a small, partially converted farmhouse, situated in a countryside which is neither fashionable nor suburban. There is an entrance from the hall at Left and one into the dining-room through another hall at Back Right. In the center wall at Back, there is a fine old fire place, framed with pine panelling. The side walls are of white plaster, windows in the one at Right, with bookshelves around them. At Left, a small staircase leads to the upper floor. The furniture, of no particular period, is well chosen and, in the case of chairs and sofa, invitingly comfortable. It is a cheerful room, now filled with the late evening sun.
Upon the sofa, sits OWEN ARTHUR. In an easy chair, turned away from him, is RUFUS COLLIER. CECELIA HENRY is seated in a straight chair beside a table at Right Center. OWEN is about thirty-five, well built, well dressed, agreeable looking. RUFUS is in his early fifties, small, slight and gray. He wears silver-rimmed spectacles, which add to his picture of himself as the man of decision. CECELIA is twenty-eight, lovely of figure, lovely of face, beautifully cared for, beautifully presented.
[Pg 4]For some moments, all sit staring in front of them, saying nothing. Finally OWEN clears his throat, waits a moment, and without turning, ventures:
OWEN
There's quite a fine view from the hill behind the house. (A silence.)—Or did I tell you that?
RUFUS
Yes.
OWEN
Sorry.
[Another silence. Then CECELIA speaks.
CECELIA
You've really never been here before?
RUFUS
I?
CECELIA
Yes.
RUFUS
Never.
CECELIA
It seems a little strange.
RUFUS
I've never been asked before. (He glances about him.) What anyone wants with a place at the end of the world like this, is beyond me anyhow.
OWEN
I make it in less than an hour, as a rule.
[Pg 5]RUFUS
Oh, you come often, do you?
OWEN
Fairly. I find there's nothing like it after a stiff week in Court. I'm a new man since Friday.
RUFUS
You seem to be a fixture with him. I'm surprised he hasn't given you the go-by, as well.
OWEN
I'm too fond of him. I won't allow it.
RUFUS
But you're well-off, you work hard, you live like a gentleman—his natural enemy, I should say.
OWEN
We make few demands on each other. And he knows how I love this place.
RUFUS
But there's nothing here! No social life, no—
OWEN
Exactly.
CECELIA
His press is in the Village, isn't it?
RUFUS
Press? What press?
CECELIA
The Bantam Press. (He stares.) You know—for books.
[Pg 6]RUFUS
Oh, so it's publishing now, is it?
CECELIA
I think it has been, for some time.
RUFUS (to OWEN)
How's it going, do you know?
OWEN
Very well. Last year he only lost something like—
RUFUS
—Don't tell me!
[He rises and goes to the window.
CECELIA
You're not awfully fond of your son, are you, Mr. Collier?
[RUFUS turns to her.
RUFUS
Miss—I beg your pardon—you said your name was—?
CECELIA
Henry. Cecelia Henry.
RUFUS
Miss Henry, if you had spent the time and money and effort I have to make that young man realize who he is and what he ought to be doing in the world—how long have you known him?
CECELIA
I'm comparatively new, I'm afraid.
[Pg 7]RUFUS (to OWEN)
Perhaps, from longer experience, you might enlighten her.
OWEN
I presume what Mr. Collier means is that on ordinary terms, Tom doesn't seem to have got very far.
CECELIA
There's still time, isn't there?
RUFUS
Thirty-one—thirty-two in October—and he's wasted his life from the cradle.
CECELIA
It must have been pathetic to see him wasting it at three.
RUFUS
I assure you, his genius for it showed even then. I send him to Harvard, and he lasts two years there. I send him to Oxford, and he commutes from Paris. I put him in the Bank, and he—(He sighs profoundly.)—The world at the feet of that boy, the whole world. And all he's ever done is to run from it.
OWEN
Tom has his own ideas about what he wants to do with his life. (RICHARD REGAN has come into the room. He is about thirty-two, with the figure of an athlete, red hair, and a genial, ugly Irish face that appears at some time to have been thoroughly mauled. He wears dark trousers and a white linen [Pg 8]jacket, and carries a slip of paper in his hand.)—Yes, Regan?
REGAN
There's a radio-message came by phone for him.
OWEN
You can leave it here. I'll tell him.
[REGAN folds the message and places it upon the table.
REGAN
Right. (He turns and beams upon them.)—Everything satisfactory?
OWEN
Yes, thanks.
REGAN
Comfortable, Miss?
CECELIA
Quite, thank you.
REGAN
Like a drink, anyone?
RUFUS (exasperated)
No, no! Nothing! We were talking!
REGAN (with a wave of his hand)
Go right ahead. Make yourselves to home. He'll be along.
[He goes out. CECELIA laughs.
CECELIA
—The butler? But he's charming!
[Pg 9]RUFUS
He looks like a prize-fighter.
OWEN
He was.
[RUFUS begins to hover curiously about the radio-message, wanting to read it, not quite able to bring himself to.
RUFUS
Why did he send me word to come out here tonight? Exceedingly important? Don't let anything interfere?
OWEN
I don't know. I found a message asking me to get Miss Henry at my Aunt's in New Canaan, and come back on the run. He had to go to town for something.
RUFUS
Well, I'll tell you what's in my mind—God knows I don't want it there.—That girl he's been living with for the last three years—
[OWEN glances quickly at CECELIA.
OWEN
Just a minute, Sir.
CECELIA
It's all right, Owen.
RUFUS
Good Lord, it's no secret, is it? (To CECELIA.)—You're not her, are you?
[Pg 10]CECELIA
Not that I know of.
RUFUS (to OWEN)
Who is she, anyhow? What is she?
OWEN
—An extremely nice girl—hard-working, talented. She draws for the fashion magazines, and very successfully.
RUFUS
Admirable.—Well, I believe he's got me out here to tell me he wants to marry her—or has already.—I've no doubt he'll bring her with him.
OWEN
Seriously—can you see Tom marrying anyone?
RUFUS
I can see her marrying him. It has happened before, and to better men.
[Again he hovers about the radio-message.
OWEN
If it was going to them, it would have long before this. Besides, she left for her magazine's Paris office three months ago, for an indefinite stay.
RUFUS
Maybe she's coming back.—In fact, I'm certain that she's why we're here. It offers the perfect opportunity to cut himself off finally and completely from the life he was born to. I'm surprised he has missed it as long as he has. Well—I've stood for his rowdy friend[Pg 11]ships, I've put up with his idleness, his ill-mannered insolence, his—
[CECELIA rises and faces him.
CECELIA
I'm sorry, Mr. Collier, but I'll have to ask you to let it go at that.
RUFUS
Ah? Why so?
CECELIA
—Because it so happens that I'm why we're here.
RUFUS
How's that?
CECELIA
It's me Tom's going to marry, and I've heard enough against him to last me quite a while.
[RUFUS stares. OWEN starts forward.
OWEN
—You that Tom's—?!—Good Lord, C, what are you talking about?
CECELIA
Marrying. On May first, to be exact. (To RUFUS.) He asked you out here to tell you, and, I imagine, to receive your good wishes. (RUFUS still stares.)—Thanks so much.
[She reseats herself, OWEN continues to gaze at her, speechless.
RUFUS
What did you say your name was? I'm sorry, but I—
[Pg 12]CECELIA
Cecelia Henry. My mother was Cecelia Bond, of Baltimore. She married Stephen Henry, also of Baltimore. Except for a few distant cousins, such as Owen here, I'm alone now—poor, but quite respectable. Will it do?
RUFUS
Tom has very little of his own, you know.
CECELIA
It will be ample, thank you.
RUFUS (after a moment)
Miss Henry, I'm inclined to like you. I think you have what I call "character."
CECELIA
Really? You're too kind.
RUFUS
You'll need it with him.
CECELIA
I don't agree with you. Tom is the most interesting, most attractive man I've ever known. I consider myself shot with luck. And you make me a little tired with your abuse of him.
RUFUS
—Very loyal.
CECELIA
Not at all. I simply believe in him.—Not in his so-called "past" perhaps—I'm not quite a fool—but certainly in what's to be.
[Pg 13]RUFUS
Faith is a beautiful thing.
CECELIA
I think so.
RUFUS
Well, if you can make a respectable citizen of Tom Collier at this date, you'll have nothing but praise from me, my dear.
[He picks up the radio-message and draws it through his fingers.
CECELIA
It seems not to occur to you that when Tom has someone who really understands him to work and care for—
OWEN
Understands him!
CECELIA
Yes. Completely. (Again to RUFUS.)—He'll make what you call "a citizen" of himself.
[RUFUS adjusts his spectacles and reads the message.
RUFUS
You think?
CECELIA
I know.—And if what you laughingly refer to as my "faith" is of any use to him—
RUFUS
"Love will conquer all." Yes, yes—of course—(He [Pg 14]sighs and refolds the message.)—But forgive me a few doubts.
[OWEN leans forward.
OWEN
Oh? How's that, Sir?
RUFUS
"Darling. Am coming back. Arrive on 'Paris' at eight tonight. Much love. Daisy."
[He looks at CECELIA. There is a slight pause. Then:
CECELIA
Well?
[RUFUS rises, and regards her intently.
RUFUS
—Yes, you seem to be a first-rate girl.
CECELIA
I've heard some rather agreeable things about you, now and then. It would be pleasant sometime to—
RUFUS (smiling)
—To see one or two of them? Well, my dear, perhaps some day you shall.—And now if you'll let me have Mr.—er—Mr. Arthur to myself for a moment—(He moves toward the doorway.)—There are a few dull but practical facts about—er—about your fiancé, I should like to—(He turns to OWEN.)—Would you mind?
[OWEN moves to follow him. RUFUS goes out.
CECELIA
Wait a minute, Owen, will you please?
[OWEN stops and turns.
[Pg 15]OWEN
Well?
CECELIA
I'm sorry you had to learn about it so—abruptly.
OWEN
It doesn't matter much, does it?
CECELIA
I don't know.
OWEN
Perhaps I was supposed to hear it with little cries of pleasure.
CECELIA
The point is, that I intended to tell you on the way over, but somehow couldn't.
OWEN
I'm touched by your reluctance to deliver the blow.
CECELIA
Don't be nasty, Owen.
OWEN
It was kind of me to bring you together, wasn't it?
CECELIA
An inspiration. I'm sure I'm most grateful.
OWEN
I can't make it out. You aren't in the least the sort of girl I'd expect Tom to be interested in.
[She laughs.
[Pg 16]CECELIA
Thanks!
OWEN
You know what I mean.
CECELIA
Perhaps it's the artist in him. You see, he has the charming illusion that I'm a real beauty.
OWEN
—And I can't make you out, either.
CECELIA
It's quite simple: I'm in love at last.
OWEN
Have you the remotest idea of what you're letting yourself in for?
CECELIA
I think so.
OWEN
I'm the one friend you and Tom have in common.
CECELIA
—But such a lovely friend, Owen. Don't ever leave me—us.
OWEN
There's not a taste, not an attitude—
CECELIA
Perhaps there will be. Give us time.
OWEN
C—how on earth did it happen?
[Pg 17]CECELIA
Very suddenly, very sweetly.—Yesterday. (He turns away.) I'm sorry. You asked.
[A moment. Then:
OWEN
—I'll see what it is Mr. Collier wants, if you don't mind.
[OWEN goes out. CECELIA looks after him for a moment, then removes her hat, seats herself in a large chair, hidden from the doorway, and thoughtfully lights a cigarette. A moment, then TOM COLLIER appears in the doorway, REGAN close behind him. TOM is in his early thirties, slim, youthful, with a fine, sensitive, humorous face. He carries several packages in his arms.
TOM
Where are they?
REGAN
Well—they were.
[CECELIA rises and turns.
CECELIA
Hello, Tom.
TOM (to REGAN)
Take my hat. (REGAN removes it from his head.) Thanks. Now get out.
REGAN
I just wanted to tell you that—
[Pg 18]TOM
Later.
[He is gazing fondly at CECELIA.
REGAN
But there's a—
TOM
Get, will you, Red?
[REGAN goes out, murmuring:
REGAN
—Radio-message come for you.
[But TOM scarcely hears him. Suddenly he drops his parcels upon the table, goes to CECELIA and takes her in his arms.
TOM
Darling, darling—
[He is about to kiss her, but she averts her head.
CECELIA
No. You're late. I'm furious with you.
TOM (blankly)
Late?
[She looks at him for a moment, then smiles and kisses him lightly.
CECELIA
There.—All right?
TOM
Terrible. I've taken up with a thrifty spinster.
[Pg 19]CECELIA
It's all you deserve.
[He laughs.
TOM
How do you like it?—I mean the place.
CECELIA
I love it.
TOM
I call it "the house in bad taste."—Look out for taste, C. There's too much of it in the world. (He goes to the packages on the table.) See here—what I fetched from town for you.
CECELIA
What are they?
TOM
A celebration: good things to eat and drink.—Where are they? Father? Owen?
CECELIA
In the other room.
TOM
What do you think of Father?
CECELIA
Well—
TOM
Keep a civil tongue in your head.
CECELIA
It may take a little time.
[Pg 20]TOM
You can learn to like him and beer together. Mother was the prize: you missed something, there. Father means well, but you have to stand him off. Give him an inch, and he takes you home in his pocket. Did you really say you'd marry me?
[He slips her arm through his and leads her to a chair.
CECELIA
I'm afraid I did.
TOM
Heaven help us both.—Just this one marriage please, darling. I haven't been very good about marriage. I was exposed to a very bad case of it as a baby. We must make a grand go of it.
CECELIA
We shall, never you fear.
[TOM smiles. CECELIA seats herself in the chair, TOM upon the arm of it.
TOM
—Just do everything I say, and it will be all right.
CECELIA
—With pleasure.
[He gazes at her.
TOM
C, what a marvellous object you are. (He picks up her hand, looks at it.) Look at those fine small bones in your wrist.
[Pg 21]CECELIA
What about them?
TOM
This—(He kisses the wrist.)—You're so cunningly contrived.
CECELIA
What?
TOM
I say, you're put together on the very best principles.
CECELIA
I don't see so many blunders in you either, Thomas.
TOM
No, mine is entirely beauty of soul. Shall I tell you about my soul, C?—With lantern-slides?
CECELIA (softly)
Put your arms around me, Tom.
[He draws her to him and kisses her. Then:
TOM
—Oh God, I feel good!
CECELIA (in a breath)
—So do I.
TOM
—Let's have all our good things together. (He turns and calls loudly:) Red! Oh, Red! (Then turns again to CECELIA.) That's a very good rule of life, darling: all one's good things together.
[Pg 22]CECELIA
Is it, dear?
[REGAN appears beaming. TOM rises from the chair.
REGAN
Hello. Not so loud.
TOM
—Glasses with ice, Red, and run all the way.
REGAN
O.K.
[He goes out. TOM calls again:
TOM
Owen? Father! (Then turns and regards CECELIA once more.) Oh, my lovely C—you lovely thing, you.
CECELIA
Stop it, Tom. You're really embarrassing me. I feel quite naked.
TOM
That's fine. (He goes to her and draws two fingers gently across her cheek.) It's such a fine binding, darling—such a good book. (RUFUS re-enters, followed by OWEN.) Hello, Father, hello, Owen—terribly nice you're here. You've met Miss Henry, Father?
RUFUS
I've had that pleasure, yes.
TOM
It is a pleasure.—How are the horses?
[Pg 23]RUFUS
Do you care?
[TOM laughs.
TOM
Not a bit.
RUFUS
Then why ask?
TOM
Politeness.
RUFUS
You said five o'clock. It's seven.
TOM
Did I? Is it?—Listen,—- you and Owen—I want to tell you what this is all about.
RUFUS
We know. We've heard.
[TOM looks to CECELIA.
CECELIA
He was abusing you so, I had to tell him.
[TOM laughs delightedly.
TOM
And it didn't discourage you?
CECELIA
On the contrary.
TOM
Stout heart. (Then, gravely, to RUFUS.) Why, thank you very much, Sir, but I think I'm the one to be [Pg 24]congratulated. Yes, indeed we are. Yes, I'm sure we shall be. (REGAN comes in with a tray of glasses filled with ice.) Oh—er—this is my father, Red.
REGAN
Glad to meet you, Sir.
[RUFUS bows slightly. REGAN undoes one of the packages and produces a bottle of champagne.
TOM
—And my fiancée, Miss Henry.
[Bottle in hand, REGAN stares at him, puzzled.
REGAN
Your—?
[Then goes to CECELIA, seizes her hand, shakes it warmly and goes out. CECELIA laughs.
CECELIA
He is priceless!
TOM
A magnificent fellow, Red. We box every morning. I gave him that ear—but you watch, I'll pay for it. (To RUFUS.) You keep pretty fit, don't you, Father?
RUFUS
Quite. Do you mind?
TOM
I'm delighted. My only wonder is that some designing woman doesn't snap you up. Look how C got me (To CECELIA.)—Like rolling off a log, wasn't it?
CECELIA
Easier, much.
[Pg 25]RUFUS
I keep my defenses well in line.
[TOM laughs, and turns to OWEN.
TOM
Did you hear what he said? (To RUFUS.)—Millions for defense, eh, Sir?—But not one cent for cab-fare. (REGAN has come in again with the bottle, now opened, and is filling the glasses.) That's the boy, Red. Pass them, will you? Then get dinner going. I could eat an ox. (REGAN passes the glasses. TOM turns to CECELIA.) Are you hungry too, Angel?
CECELIA
Simply famished.
TOM
Good. I like a girl who likes her food. Once I said to Daisy—(He stops, waits a moment, then smiles and raises his glass.) Well—here's how and why and wherefore—and you know where marriages are made. (All drink. REGAN has a glass of his own, which he downs at a gulp.)—Speaking of eating, I ran into Jim Winter—you know Jim, Owen—in town today. He wants me to go salmon-fishing in Canada in June. I think I'll take him up on it. I've never done it.—It sounds like great sport, eh, Red?
REGAN (putting down his glass.)
Did you get your radio, Tom?
TOM
What radio's that?
[Pg 26]REGAN
There on the table.
[He goes out.
CECELIA
In June, did you say?
TOM
Yes. It won't be for long. (He takes a swallow from his glass and puts it down.) My, what a noble wine. (He picks up the radio-message.)—I'll be back in three weeks at the outside.
CECELIA
Then we'll be married in July.
TOM (turning)
July! You said May.
CECELIA
Not if you're going straight off on a trip.
[There is a silence. He regards her soberly.
TOM
—That's easy, then. I won't go.
CECELIA
Perhaps you'd better think it over.
TOM
No, darling. I don't have to.
CECELIA
All right, Tom. (She smiles and raises her glass to him.)—To May first.
[All drink. TOM opens the radio-message, reads it [Pg 27]and refolds it carefully. All are watching him. He thinks a moment, frowning, then turns to OWEN.
TOM
Owen—would you like to show Father the new bantam-cock?
[OWEN rises and moves toward RUFUS.
OWEN
The red one?—Right.—Will you come along, Sir?
[OWEN goes out. RUFUS does not stir. TOM goes to him, and slips his arm through his.
TOM
You must see him, Father. He's a beauty, that bird. He fights at the drop of a hat. (He draws him toward the door, OWEN following.)—Even if you don't drop it, he fights. I'm sure he'll be interested to meet you, too, Sir.
[He withdraws his arm, and RUFUS goes out. TOM closes the door after him, hesitates a moment, then returns slowly to CECELIA.
CECELIA
Don't tell me if you don't want to, Tom.
TOM
But I do. I intended to at the first opportunity anyhow, and—(He glances at the radio-message once again.)—And it seems that suddenly here it is.
[And puts it in his pocket.
CECELIA
Am I to be a good soldier?
[Pg 28]TOM
No. There's no need to be.—Though I'm sure you would be, if there were.
CECELIA
Thanks, dear.
TOM
C, for quite a long time I've known—known intimately—a girl who's been very important to me—
CECELIA
Yes.
TOM
—Who always will be very important to me.
CECELIA (smiling)
—That's harder.
TOM
It shouldn't be. Because it has nothing to do with you and me, not possibly.
CECELIA
I'm relieved to hear that.
TOM
In fact, as it stands, I think she'll be glad for us.
CECELIA
I hope she will.
TOM
I'm sure of it.—C, Daisy has done more for me than anyone in this world. She's the best friend I've got. I believe she always will be. I'd hate terribly to lose [Pg 29]her. It's been a queer sort of arrangement—no arrangement at all, really. There's never been any idea of marriage between us. It's hard to explain what there has been between us. I don't believe it's ever existed before on land or on sea. Well—
[He hesitates again.
CECELIA
Is she attractive, Tom?
TOM
To me, she is. She's about so high, and made of platinum wire and sand.—You wouldn't like me half so well, if Daisy hadn't knocked some good sense into me.
CECELIA
Well, someone's done a good job.
[TOM laughs.
TOM
I'll tell her that. (Then seriously.) I sent her a long cable about us this morning. She couldn't have got it, because this—(He taps his pocket.) this is from the boat. She lands tonight.
CECELIA
I see.
TOM
I want to be sure that you understand it—understand it both ways. I'd rather not go—terribly deeply into it if you don't mind.
CECELIA
I don't, Tom.
[Pg 30]TOM
We've been—everything possible to each other of course, and—
CECELIA
Yes, Tom.
TOM
But at the same time, free as air. There's never been any responsibility to each other involved in it—
CECELIA
I can understand that.
TOM
Can you, C? Because I never could.—Anyhow, that's the way it's been.—We haven't been what you'd call "in love," for quite a long time, now, so—
CECELIA (smiling)
Does she know that?
TOM
She knew it first. Well—I don't know what more there is to say about it, except that there's no reason at all for you to worry, and—you won't, will you?
CECELIA
No, Tom. Not if you tell me I needn't.
TOM
I do.—And finally, that I think she ought to know the—news about us, pretty promptly.
CECELIA
Yes. Probably.
[Pg 31]TOM
Is whatever I do about it all right with you?
CECELIA
Absolutely.
TOM
Thanks, C.
CECELIA
There's just one thing I'd like to ask. May I?
TOM
Why of course, darling. What?
CECELIA
Are you quite sure that—? (She sees OWEN and RUFUS coming in.)—Poor Mr. Collier. I'm sure you loathe chickens. I quite agree with you.
RUFUS
—Vicious little beast.
[REGAN comes in beaming.
REGAN
Come on, everyone! Dinner!
TOM
You haven't put the car away, have you?
REGAN
Say, how many hands have I got?
TOM
Don't. I'll need it.
[REGAN goes out. TOM turns to his father.
[Pg 32]TOM
Father, I'm afraid I'll have to ask you to do the honors at dinner.
RUFUS
The—? Why? How's that?
TOM
I find I've got to go straight back to town.
[A silence. Then:
OWEN
But I thought this was to be a celebration.
RUFUS
I had the same impression.
TOM
I'm sorry: it can't be helped.
OWEN
Is it so important to go in just this minute, Tom?
TOM
Yes—unfortunately.
[RUFUS is eyeing him shrewdly.
RUFUS
Why? What's wrong?
TOM
Nothing at all. It's simply that someone's arriving from Europe. I've missed the landing, as it is.—(To OWEN.)—Someone I've known a long time, and am fond of.
[Pg 33]OWEN
Oh, I see.
TOM (to RUFUS)
I must—well, the fact is, I must tell her my—my good news.
RUFUS
Now you listen to me—
[TOM confronts him.
TOM
—And it seems to me extremely important that I should do it at once. In fact, I can't do otherwise.
[RUFUS bursts out:
RUFUS
—You have the effrontery, the colossal bad taste, on the night of celebrating your engagement to a fine, trusting, loyal girl, to go from her—your fiancée—to your—to your—
[TOM smiles.
TOM
—The same old difficulty with words, eh, Sir?—Never mind. None of them would apply to Daisy.
RUFUS
It's beyond me. It's the confoundest impertinence I've ever known.
TOM (smiling)
But you see, for all your splendid moral judgments, you know so very little, Sir.
[Pg 34]RUFUS
I suppose you know better.—If you leave here tonight—
[TOM'S smile vanishes.
TOM
—Yes. Much better. (He returns to CECELIA, lifts her hand and kisses it lightly.)—Until tomorrow, my Angel.
[He nods Good-night to OWEN and RUFUS, and goes out.
CURTAIN
The sitting-room of DAISY SAGE'S flat, later the same night.
DAISY'S flat occupies the top floor of an old house in the Murray Hill section of New York. The sitting-room also serves as a workroom for DAISY. Victorian in atmosphere, it is light and cheerful and has been decorated and furnished with an original and unerring feeling for the period. There is a fire place of simple design at Left and above it, a door opening into the bedroom. The entrance from the hall is up Right, and into the pantry, down Right. The sofa and chairs are fine old Victorian pieces, but comfortable in spite of it. There are three large windows in the back wall. Below them stands DAISY'S work-table, piled with old magazines and sketches, drawing-boards, crayons, pens and pencils.
Opposite TOM, JOE FISK is seated. Between them stands FRANC SCHMIDT, violin under her chin, playing, and playing well, the concluding measures of a César Franck sonata. She is thirty, hard, rugged—in appearance more of a handsome farm-girl than musician. JOE is twenty-eight, fine Irish, nervous, intense, attractive. FRANC concludes the piece.
[Pg 36]JOE
Good!—You'll get there, Franc, if you work.
[She returns the violin to its case and seats herself near them. She speaks with a slight German accent.
FRANC
—Only I played it much better, much.
TOM
He just wasn't impressed, eh?
FRANC
Oh, yes.—He could book me on the Big Time, he said.
JOE (incredulous)
Vaudeville?
FRANC
—That is, if I would learn to roller-skate.
TOM
He wanted you to play on skates?
FRANC
—A sensation, he said.
[JOE and TOM laugh with delight. JOE goes to her, takes her face between his hands and kisses her resoundingly upon the brow.
JOE
My darling. My Dutch darling.
[She brushes him aside.
FRANC
Get away.
[JOE calls in the direction of the bedroom:
[Pg 37]JOE
Daisy!—Did you hear about Franc and the booking-agent? (He turns to FRANC.) Where is she?
FRANC
—Probably taking another bath. It will be her third in six hours. That's what Europe does for you.
TOM (indicating the pantry)
—No. She's in there, I think.
JOE (incredulously)
Six hours! Two o'clock—?
FRANC
It's past it.
TOM
Will you two never go home?
JOE (calling in the direction of the pantry)
Daisy! We're going! (To TOM and FRANC.)—And I promised myself tomorrow I'd do a chapter or die.
TOM
How's it coming?
JOE
All right. At least it's begun to move.
TOM
What are you calling it?
JOE
"Easy Rider."
TOM
I like that.
[Pg 38]FRANC
But what does it mean?
JOE
Good God, must it mean something? (Again he calls.) Daisy!
FRANC
Yes. Your eyes have got smaller. You should get to bed.
TOM
Both of you should—go on, will you?
JOE
Why?
TOM
I want to talk to Daisy.
JOE
Look here, Tom, what is on your mind?
TOM
I've got something to tell her.
JOE
News?
TOM
Yes.
JOE
Good news?
TOM
Very.
[Pg 39]FRANC
Will she cheer?
TOM
I think so.
FRANC
Tell us, Tom!
TOM
No.
JOE
Why not?
TOM
I want to tell Daisy first. (To FRANC.) You know, I've been thinking: Johnny Bristed might get a concert for you.
FRANC
I don't want it yet. I'm not ready yet.
[Again JOE calls.
JOE
Daisy!
[DAISY SAGE comes in from the pantry. She is twenty-six, slim, lithe, a stripling, but with dignity beyond her years and a rare grace to accompany it. In contrast to CECELIA'S lush beauty, she is plain, but there is a certain style of her own, a presence, a manner that defies description. Instantly and lastingly attractive, like no one else one knows; in short "a person," an "original." She wears white pajamas that might as well be a dress, and carries a tray containing coffee and sandwiches.
[Pg 40]DAISY
—And furthermore, I don't believe I like France as much as I say I do. (She puts down the tray.)—And I don't for a minute believe that you're leaving.
FRANC
Joe must. So must I.
DAISY
—You stay the night, if you like, Tom. You can have my room. I've got all the work in the world to do before morning.
TOM
Why, thanks, Daisy, but—
DAISY
As you like. (She seats herself, and gives them coffee and sandwiches.) I had thirty sketches to get through on the boat.—Oh, what lovely intentions.
FRANC
Was it rough?
DAISY
No, but Pilard was on board and we spent hours on end in the smoking-room—talk, talk, and more talk.
JOE
He's a fine painter, Pilard.
TOM
He's a good painter.
JOE
Fine, I said.
[Pg 41]TOM
—And last week Henry Collins could write. Hold on to your standards, Joe.
JOE
You teach me, will you, Master?
TOM
Collins' life shows in his work. He can't make up his mind whether he wants to be a writer or a man-about-town.
JOE
Why not both?
TOM
—Because, little Joe, his work is the only true mistress a real artist ever had. When he takes on the world he takes on a whore.
FRANC
That goes for all good men, not only artists.
DAISY
—But all good men are, aren't they?—Look at Tom.—You don't have to put marks on paper or dents in stone to qualify, do you?
TOM (to JOE)
—Yes, and pays for her favors with something a lot more precious than twenty dollars left on the mantelpiece.
[JOE reflects.
JOE
I had twenty dollars once. Now, when was it?
[Pg 42]DAISY
There's a statue in Florence that made me think of you, Tom.
[TOM laughs.
TOM
Me! How?
DAISY
It's a David by Donatello.
TOM
You mean with the curls and the derby hat?
DAISY
That's right!
[TOM shakes his head.
TOM
—No David, me. I'm just the no-account-boy. Ask Father—he'll tell you.—Hand me another sandwich, Joe.
[JOE gives him one.
JOE
No-account, is it?—You've done more for people than any one man I know.
TOM
Why thanks, Joe.—It's not true, of course, but thanks.
JOE
And done it in the damndest, most unassuming way I've ever heard of.
[Pg 43]TOM
Oh, go to hell, will you?
JOE (to FRANC)
I could name a dozen first-class talents that, if he hadn't nosed 'em out, would have—
TOM
Say, are you two going to hang around here all night?
JOE
We haven't seen her either you know.
[FRANC puts down her cup.
FRANC
I must teach you again how to make coffee, darling.
DAISY
Your country's the one, Franc.
FRANC
Ach! There is no more new music in Germany today than there is here.
JOE
I thought there was plenty here.
FRANC
Like what?—If someone goes—(She hums the opening bar of the "Rhapsody in Blue.")—at me again, I shall become mad.
[DAISY gazes at the bulging brief-case on the floor beside the work-table. Her smile fades.
DAISY
Oh, that work!—Look at it.
[Pg 44]TOM
Is there much of it?
DAISY
At least eight hours.
JOE
I wish we could help.
TOM
—You can. Good-night, Joe.
DAISY
—And Briggs was at the dock.
TOM
I didn't get your radio till seven.
DAISY
That didn't matter. Anyhow I hate being met. Anyhow, I tell myself I do. Briggs was frantic. Apparently they've held the presses for two days.
TOM
You're a bad girl.
DAISY
I'm a scoundrel. I swore it would be on his desk at nine. I'll be lucky if I'm through by noon.
[JOE laughs, and rises.
JOE
Urge us to stay once more and we may give in.—Come along, Franc. I'll see you across the hall.
[FRANC rises and takes up her violin-case.
[Pg 45]FRANC
—It is good to have you back, too, Tom. You are better than all of us, but Daisy. She is better than best. Between you, you stir up our lazy bones, you hold us together, you bind our wounds. You two are the—ach!—my blood is turned to beer.—Auf wiedersehen. Good-night.
[She goes out.
JOE
I'll drop in tomorrow afternoon about five, if I can.
DAISY
Fine. I ought to be up by then.
[She follows FRANC into the hall.
JOE (to TOM)
Will you be here?
TOM
I'm afraid I'll have to go to the country.
JOE
Shun the country. Things come out of the ground there in Spring.
[He goes out. TOM is alone for a moment. Then DAISY re-enters.
DAISY
—Love them as I do, I thought they'd never go.
TOM
So did I.
[She puts her arms around him and looks up at him.
[Pg 46]DAISY
Hello, you dear Tom.
TOM
Hello, Daisy.
[She kisses him lightly.
DAISY
Now it seems I haven't been away at all. (And leaves his arms.) Oh, it's grand to be back!
TOM
It's grand having you.—Was the trip really all that you hoped it would be?
DAISY
It was better.—If only you'd been along. Oh Tom—the pictures! I got drunk on them every day, twice a day.
TOM
I was sure you would.
DAISY
And at night when the galleries were closed I sat around and dreamed of them.—The silly contempt I always pretended to have for painting—self-protection, of course—the stuff I draw.
TOM
But some of it's good.
DAISY
You're right, my boy. Some of it is. (She goes to the table and picks up a portfolio.) Look—full—sketches.—And not a dress, a hat, a pajama among [Pg 47]them. A market-wagon—the angle of a doorway—an open trunk. A melon cut in half—three glasses and a corkscrew—all manner of funny objects. Oh Tom, two of the most exciting things have happened to me! Not one—two! (She moves toward the sofa.) Come—sit down—
TOM
What are they?
DAISY
I'm bursting with them. (She makes room for him beside her on the sofa, looks at him lovingly, smiles contentedly, touches his arm.) Good, this—isn't it?
TOM
But what, Daisy? Did you fall in love with Pilard?
DAISY
Well I should say not! (She laughs.) Pilard! (Then.) What's that? (From the distance the strains of a violin are heard, playing variations on the scales.) Oh—Franc. Still working.—Guess what I found in my room when I came in? (He looks at her questioningly. She laughs.)—It seems the Swede maid Franc got me doesn't approve of you:—Four shirts, three socks, five ties and a razor, all done up in a great big white handkerchief.
TOM
You'd better go back to colored ones.—Maids, I mean.—
DAISY
—Remember Gladys?
[Pg 48]TOM
Remember Hannah?
DAISY
Remember Marietta? (They laugh together happily. She slips her arm through his, and for a moment drops her head upon his shoulder.) Oh Tom, God love you.
TOM
God love you, my dear. (For a moment there is silence, except for the sound of FRANC'S violin. Then she raises her head and they speak simultaneously.) Daisy—
DAISY
Darling—(She laughs.) What?
TOM
No—you tell me—
DAISY
Well, my heavy sledding ought to be over in a few weeks—by the first of May, anyway. What have you got on the fire—much?
TOM
Yes. A great deal. The fact is—
DAISY (in a rush)
—Work night and day until May. Then come to Mexico for a month with Daisy. I'm dying to go. Pilard was full of it. I know it's what I need for awhile, because—well, first—oh, I feel like a fool. [Pg 49]You mustn't breathe a word of it. (He shakes his head.)—Tom, I think I can paint.
TOM
But that's no surprise. I've always thought if only you'd—
DAISY (quickly)
Then you've always been wrong!—It's new. It's since these two months.—I believe that if I work my eyes out, and my fingers to the bone, someday I may paint.—You must be hard with me—no parties—no hell-raising—work.—And you mustn't let me show until you know I'm ready to. Is that agreed?
TOM
All right.
DAISY
You have a funny instinct about such things. I count on you.—As for the second thing—(She hesitates.)—You know—suddenly I feel shy with you. (She rises.) I don't like it. I don't like it a bit.
TOM
We've—it's been a long time.
[DAISY goes again to the work-table.
DAISY
Too long.—Perhaps I'd better wait to tell you the second thing.
TOM
No. Tell me now.
[Pg 50]DAISY
Oh, my dear—what's wrong with us? Come here to me. (He goes to her, takes her hands in his.) That's better. Now I don't feel it so much. (But still she looks at him anxiously. Finally she releases her hands, turns and fumbles among her work-materials, picks up a pencil.)—These are German pencils. They can't touch ours. You'd think they could, but they can't. Give me a "Venus-6B," every time. (She stares fixedly at the pencil for another moment, then puts it down and turns to him.) You're a free man, Tommy. You always have been, with me. No questions asked. But please, Mexico in May together, because listen—No! Don't look at me. Look the other way—(He averts his head. She goes on, rapidly.)—I stayed three days with the Allens at Vevey and they've got the sweetest small boy about two and I got crazy about him and I want one, I want one like the devil. I'm crazy for one, and would you please be good enough to marry me, and—
TOM
Daisy, I—!
DAISY
Oh, it needn't be terribly serious!—It's not a life-sentence—just for a short while, if you like—it'd be such a dirty trick on him, if we didn't.—After I get my stuff through for the June issue—then Mexico for a month—I love you so much, I was a fool ever to think I didn't, and—ah, come on, Tom—be a sport—. (She is breathless.)—Give me a cigarette—
[But he does not.
[Pg 51]TOM
Daisy—
DAISY (quickly)
All right. No go. Let's forget about it. What a foul necktie that is. The colors are awful.
TOM
Daisy, I—Oh God, God Almighty—
DAISY
Well, what is it? (He covers her hand with his.)—You're going to tell me something terrible.—What is it?
TOM
I'm going to be married.
DAISY (incredulously)
To be—?!
[Then silence. She averts her head.
TOM
Listen to me, darling, listen: you don't really care so much. You can't. It's simply that we—you and I—after all this time, naturally we'd feel—
DAISY
It must have happened pretty quickly.
TOM
It did. A month ago we hadn't even met. It was—
DAISY
You can spare me the details, please. I don't even want to know who she is.
[Pg 52][He moves away from her. FRANC'S violin begins to be heard again.
TOM
—Her name is Cecelia Henry.
DAISY
It sounds familiar. I've heard or read that somewhere. Where?—Well, well, will wonders never cease?—If I'd thought you were in a marrying mood, I might have thrown my own—(She picks up a small, limp hat from the table.)—could you call it a hat?—in the ring a bit sooner. (She drops the hat upon the table.)—Behold, the Bridegroom cometh—and no oil for my lamp, as usual.—A foolish virgin, me—well, foolish, anyway.—When's it to be? Soon?
TOM
—About the first of May, we planned.
DAISY
I see.—Of course, in that event Mexico would be out, wouldn't it?
TOM
—But I never dreamed you'd—oh God, I feel so awful.
DAISY
Does she know about us?
TOM
Yes.
DAISY
Honest Tom.
[Pg 53]TOM
Oh, shut up.
DAISY
Remember me, Tom.
TOM
Oh my dear—as if ever in this world I—(Suddenly, fearfully.) Daisy!—There's to be no nonsense about not seeing each other as friends again, or any of that, you know—
DAISY
No?
TOM
No. We're grown-up human beings. We're decent and we're civilized. We—
DAISY
But there will be that nonsense. Oh yes—there'll be that, all right.—"Cecelia Henry"—Now I know where it was!
[She picks up a magazine and begins to run through it.
TOM
—But I don't understand it. I don't see why we shouldn't. I thought for a long time we'd been out of danger so far as—well, so far as—
[He cannot finish it, but DAISY can.
DAISY
—Wanting each other goes?
[Pg 54]TOM
But haven't we?
DAISY
Speak for yourself, Tom.
[He looks at her, waits a moment, then speaks.
TOM
—You too, Daisy.—You first, I thought.
DAISY (slowly, thoughtfully)
It's true, that side of it was never so much to us, was it? Not in comparison—not after those first crazy months. But I thought that was natural. I was even glad of it—glad to find it was—other needs that held us together. (She looks away.)—Closely—without claims—not a claim—but so closely. (A moment. Then suddenly, sharply.) Tom—do you have to marry her?
TOM
I want to marry her.
DAISY (into the magazine)
I was just thinking—perhaps you simply want her—want her most awfully.
TOM
It's more than that, much more.
DAISY
I don't see how you can tell quite yet.—For all our big talk, we still belong to the animal kingd—(She stops and looks closely at a photograph in the magazine.) Here she is!—Oh, these neat, protected [Pg 55]women. I've drawn so many of them, dressed so many more.
TOM
If you knew her—
DAISY
But I don't, you see.—(She holds the magazine at arm's length, gazing at the photograph.) Such a pretty face—lovely eyes, Tom. She's a prize, my boy. (She closes the magazine and replaces it upon the table.)—But look out for that chin.
TOM
Why?
DAISY
Just look out for it. (She goes to him.)—Does she love you? Will she love you, head over heels, regardless, as I—shall I say "as I once did"? Would you rather?
TOM
Daisy—don't—
DAISY
I hold you dear, Tom—you—for what you are—just as you are. I thought it was my special gift. But maybe she has it too. I hope, I hope—
[He gropes for her hand, raises it to his lips kisses it.
TOM
There's no one like you—never will be. I know that.—But this—it's the damndest thing—I can't tell you—
[Pg 56]DAISY
Don't try.—I'll pray for you every night, Tom. I really shall, you know I do that.
TOM
Oh, my sweet dear—
DAISY
Yes—be good enough to remember me kindly, if you will.
[She returns to the table.
TOM (wretchedly)
Oh, don't talk that stuff!
[He goes to the fire place. She takes up her work-board.
DAISY
Now just stand like that a minute, will you? Erect!—Will you stand erect, please?
[He turns. She looks at him keenly.
TOM
What's all this about "remembering"? You sound as if we were—
[She draws one strong line upon the paper and lets the work-board drop.
DAISY
There! That's all I want of you, all I shall keep of you. So goodbye, you Tom Collier.
[He looks at her, puzzled.
TOM
"Goodbye"?—Until when—?
[Pg 57]DAISY (so lightly)
Doomsday, my darling.
TOM
Daisy, what are you talking about!
DAISY
Just that.
[He advances to her, takes her shoulders in his hands.
TOM
Now you listen to me: If you think I'm going to allow two people as important to each other as you and I are, to be separated by any such false, ridiculous notion as this, you're mistaken. Just you try it.
DAISY
Tell me goodbye!
TOM
I'll do nothing of the sort.
DAISY
Yes! You have to.—Sharp, decent, clean—no loose ends between us two!
TOM
But it's not decent!—It's soft. It's sentimental. It's the sort of thing you've never had any use for—taught me never to.
DAISY
Goodbye!
[Pg 58]TOM
I will not say it.
DAISY
Goodbye!
TOM
No.
DAISY
You must!
TOM
You'll never get me to. So give up.
[DAISY throws back her head and closes her eyes in pain.
DAISY
Oh, sweet heaven, what a world! I could do better by people than this—
TOM
Daisy dear—listen to me—
DAISY
—And I want you to take those things of yours—you hear? I don't want them hanging around the place, not me.—That new maid had a very fine hunch about us, didn't she?—Packed you all up, yes. Second sight—well, she gets the gate for it, the big Swede.
[He stands gazing at her.
TOM
I don't believe in this. I don't believe in any of it.
[She indicates the bedroom.
[Pg 59]DAISY
—Go in and get them, will you? Fetch, Thomas. It's quite a neat, tidy little bundle. You won't be ashamed of it.—But if it stays around—well, I don't quite see myself crying into an old shirt, do you?—I have work to do, my son—a great deal of it. (He does not move.) No? Won't fetch?—Then kindly permit me to—(She moves toward the bedroom.)—And then you must say goodbye to me—you will, won't you? You've said it so many times, so brightly—Say it this time sadly.—We'll make it an un-marriage ceremony, to keep it all quite regular. You must grasp my hand in yours—one splendid gesture—and murmur "Goodbye, my Daisy. Thanks very much. A charming association." (She goes into the bedroom.)—And may we never, never meet again so long as we two shall live.—You will, won't you?
[He has been staring fixedly after her. Suddenly he straightens.
TOM
—No.
[He moves swiftly to the hall doorway, picks up his hat and goes out. A moment. Then DAISY comes in again, with a small bundle tied up in a large white handkerchief.
DAISY
—See?—The wash is back.—Now do as Daisy says, and say—
[She sees that he has gone. She moves toward the [Pg 60]door, stops against the work-table. The bundle droops in her hand, drops upon the table. There she stands, staring at the door. Again, FRANC'S violin is heard, playing the scales.
CURTAIN
At TOM COLLIER'S. About half-past seven on a Saturday night the following January.
The living-room has undergone a certain change. Small, feminine touches, such as new lamps, cretonne curtains at the windows and slip-covers of the same material on chairs and sofa, have made a woman's room of it.
CECELIA and GRACE MACOMBER are seated near the fire place having after-dinner coffee. GRACE is just over thirty. Without a single feature to remark upon except a slim and well-kept body, she manages, with the aid of coiffeurs, dressmakers and manicurists, to impress one as an attractive woman. She puts down her coffee-cup and moves closer to the fire.
GRACE
My dear, I'm congealed. I can't say I envy you the trip into town.
CECELIA
It's not my idea.
[She takes up a piece of needlepoint and begins to work upon it.
GRACE
But why do you do it? It's so grim.
[Pg 64]CECELIA
Tom wants to.
GRACE
Such devotion.
CECELIA
It's her first big concert and he thinks for some reason we ought to be there.
GRACE
Who is she, anyway?
CECELIA
Schmidt, her name is.
[GRACE laughs.
GRACE
My dear! Not really!
CECELIA
Franc Schmidt, at that.—Tom says she's supreme.
GRACE
Oh—she's a friend, then.
CECELIA
She used to be.
GRACE (with meaning)
I see.
[CECELIA smiles.
CECELIA
No, Grace. I doubt if you do.
[Pg 65]GRACE
I suppose publishers have to hobnob with all sorts of queer people.
CECELIA
We see very few people of any description any more.
GRACE
Don't tell me about the hermit life you live! I think the least you could do would be to come to my Sunday breakfasts now and then. Tomorrow's will be such fun. Do, C.
CECELIA
Perhaps we shall.
GRACE
—Not if you go in tonight.
CECELIA
Perhaps we shan't go in.
GRACE (knowingly)
Ah-ha! (She looks about her.)—You know, you could do so much with this house.
CECELIA
—If we weren't so poor.
GRACE
Don't be funny. Your name's Collier, isn't it?
CECELIA
Somehow that doesn't seem to make the difference it might.
[Pg 66]GRACE
Well, I think it's brutal the way old Rufus K. hangs onto it.
CECELIA
We seem to manage somehow.
GRACE
I'd take knives, my dear, and gouge it out. (A moment. Then)—What would he be doing now, for instance? Tom, I mean.
CECELIA
Didn't he say he had letters to write?
[GRACE seats herself again.
GRACE
He's really extraordinary. He defeats me.
[CECELIA laughs.
CECELIA
What's so extraordinary about writing letters?
GRACE
The minute dinner's finished? Before coffee, even?—I guess I'm just not familiar with publishers' eccentricities.
[Again CECELIA laughs.
CECELIA
He's a little worried tonight, poor dear.—Some more coffee?—(She gives GRACE a second cup.)—He has a rather difficult ordeal to face.
GRACE
The concert?
[Pg 67]CECELIA
No. Discharging Regan.
GRACE
Reg—?
CECELIA
—When, as and if he gets back from his weekly bat in town.
GRACE
You mean that desperate butler? Oh my dear, I'm so glad! He must have embarrassed you to death,—But how did you manage to persuade Tom to let him go?
CECELIA
I had nothing to do with it.
GRACE
No? (She laughs gaily.) I believe that! (TOM comes in from the other room, with two or three magazines, which he is unwrapping.) Ah! With us again.
TOM
With you again. (He looks at his watch.) Look here, C—hadn't we better be getting under way?
CECELIA
We've got hours. Let's not sit and wait in a stuffy theater.
[A silence. Then:
GRACE (brightly)
I read the new book you published last week, Tom.
[Pg 68]TOM (without interest)
Yes? What did you think of it?
GRACE
Superlative, my dear. I was simply ravished!
TOM
Well, that's something, isn't it?
[GRACE laughs.
GRACE
—Isn't he beyond words? (To TOM.) You're the world's funniest man. You couldn't possibly be funnier.
TOM
You don't know me.
GRACE
Oh yes I do! Don't you adore it, C? The book, I mean—
CECELIA
I like it very much. (She glances at TOM.) In fact I'm afraid it was I who made Tom do it.
TOM
And I'm afraid I still think it's the worst tripe The Bantam ever published.
GRACE
—But my dear! Everyone's simply devouring it!
TOM
There'll be a lot of sickness this winter.
[Pg 69]CECELIA
You're so foolish about it, Tom. (To GRACE.)—He'll make enough on that one book to bring out ten he really cares for.
[TOM unwraps a second magazine.
TOM
I suppose that's the way it works.
CECELIA
Of course it is. It's simply common sense.
TOM
I suppose so.
CECELIA
Besides, I don't care what you say, it really is amusing.
TOM
It's tripe.
GRACE
Isn't there such a thing as having too high a standard?
TOM
No, there's not.
[She looks at him, startled.
CECELIA
What Grace means—
TOM (more emphatically still)
No, C. There is not.
[Pg 70]CECELIA
All right, darling. (He looks over one of the magazines. A moment. Then.) Oh—I meant to tell you: your father wants us to dine with him Wednesday, and spend the night.
[GRACE pricks up her ears.
TOM
Get us out of it, won't you?
CECELIA
Again? How can I?
TOM
Oh, say I'm up to my ears in work, or something else he won't believe. Say the old boat is frozen stiff.
GRACE
I could easily send you in, in the closed car. Sammy and I might even join you.
TOM
Thanks. We cannot accept your sacrifice.
GRACE
But this weather—in that racer! It couldn't be more sobbing.
TOM
Oh yes it could!
[GRACE rises.
GRACE
Well, I guess I'd better be "barging along," as they say. I'm sure it's getting colder by the minute.
[Pg 71]TOM
Yes—I think we'd best bring the brass monkeys in tonight.
[He returns to his magazine.
GRACE
The—? Oh, by the way, do you happen to know a stage-director named Prentice Frith?
TOM
You know, I'm awfully afraid I don't?
GRACE
He's supposed to be the absolute top in amateur dramatics.
TOM
I can't imagine how I've missed him.
GRACE
He's coming out especially for my Sunday breakfast tomorrow—
TOM
That's perfectly fine. That's just what Sunday breakfast needs, isn't it?—Of course the coffee must be very hot, as well.
[GRACE stares. CECELIA rises quickly. Finally GRACE turns to her.
GRACE
Good-night, C.
CECELIA
Good-night, Grace. Must you really?
[Pg 72]GRACE (moving toward the hall door.)
Yes. I'm afraid I must.
[She goes out, followed by CECELIA. TOM lights a cigarette, seats himself upon the stairs and continues to glance through the magazine. A door is heard to close in the hall. A moment, then REGAN comes in and makes his way quietly, but only fairly steadily, toward the dining-room door. He has almost reached it, when TOM turns.
TOM
Hi, Red.
REGAN
'Evening.
TOM
Did you have a good day in town?
REGAN
Fine, thanks.
TOM
Lots of beer?
REGAN
No.
TOM
No?
REGAN
—Ale.
TOM
Why ale?
[Pg 73]REGAN
It's quicker.
TOM
It's bitter.
REGAN
It's bitter and quicker.
TOM
You don't seem to be in very good shape.
REGAN
I'm in awful shape.
TOM
You'd better get to bed.
REGAN
—Just where I'm headed.
[He moves toward the door again.
TOM
—See here a minute first, Red—
[He turns, TOM goes to him and confronts him sternly.
REGAN
Yes?
[TOM hesitates. Then.
TOM
The fact is, that—(He stops, and concludes.)—Bring a couple of bottles of beer, will you?
[Pg 74]REGAN
Right.
[He goes out. TOM draws a deep breath of smoke, sinks down upon the sofa, and exhales it slowly. CECELIA comes in from the hall.
CECELIA
You ought to be ashamed, Tom.
TOM
Why?
CECELIA
You were terrible to Grace.
TOM
Why we should be exposed to a woman like that at all, is more than I can make out.
CECELIA
She's perfectly kind and friendly.
TOM
She's a silly, idle, empty, destructive woman. And the woods are full of her.
CECELIA
Grace destructive?—She doesn't know enough to be.
TOM
It's pure instinct with her. If she were malicious, that might be interesting.—Come on—it's nearly eight.
CECELIA
She thought you were trying to insult her.
[Pg 75]TOM
Do you have to change or are you ready?
CECELIA
It seemed to me you were unnecessarily rude.—I have to change.
TOM (rising)
I'll warm up the car.
CECELIA
Now we've simply got to go to her breakfast in the morning.
TOM
Not me.
CECELIA
But you'll have to make some gesture toward her.
TOM
I only know one.
CECELIA
Tom—please be serious.
TOM
Darling, I've spent my life trying to get away from her kind of people.
CECELIA
Just what do you call her kind?
TOM
Well—people utterly without stature, without nobility of any sort.
[Pg 76]CECELIA
It takes all kinds to make a world, doesn't it?
TOM
Yes—and then what have you got? (He laughs, takes her face between his hands, and kisses her.) Go get dressed.
CECELIA
All the same, I insist that if—. What did you say to Regan?
TOM
Why, I—(He stops and smiles.)—I told him to bring some beer, but I expect he's forgotten it.
CECELIA
Oh, I see.
TOM
—Anyhow, I've been thinking: He never drinks on duty. Why shouldn't he have a right to get slightly mellow on his one day off?
CECELIA
"Slightly mellow"!—When he came back last week, he could hardly stand. When I said "Good evening" to him he didn't even answer.
TOM
Maybe he couldn't speak.
CECELIA
Probably not.—I said "Don't forget the furnace, Regan," and all he did was to bow like this, with a foolish grin—so low he nearly toppled over.
[Pg 77]TOM
It's pretty hard to gauge a bow under those conditions.
CECELIA
Of course I think it's selfish of us to keep him.
TOM
Selfish?
CECELIA
We're certainly depriving him of any chance he ever had to make anything of himself.
TOM
But hang it, C—he broke his hand. He'll never fight again.
CECELIA
I don't mean fighting.
TOM
These are hard times: I don't know what else there is for him.
[CECELIA shrugs and rises.
CECELIA
All right. Do as you like about him. I'll leave it to you.
TOM
—And anyhow, I feel for some reason that Red's good luck for me. He's—I don't know—we understand each other. I'm awfully fond of him.
[Pg 78]CECELIA
You must be, to ruin whatever chance in life he might have.
[A moment. Then:
TOM
I wouldn't do that, C. You know I wouldn't.
CECELIA
You're doing it, though. What possibly could be more degrading to a man than housework?
TOM
You're making a regular Simon Legree of me. Where's my whip?
CECELIA
No, it's simply that in your delightful, casual way, you've never thought of his side of it.
TOM (thoughtfully)
—I wouldn't do that to Red. I really wouldn't. (A moment. Then:) Ring for him, will you?
CECELIA
Not me. I have nothing to do with it.
[TOM stares in front of him for a moment, then goes to a bell in the wall, presses it and returns to the fire place.
TOM
I don't know how I'll tell him.
[A silence. He ponders it. Then:
[Pg 79]CECELIA
I suppose you feel we really must go into town tonight—
TOM
Why, yes. Why?
CECELIA
She'll play again, won't she?
TOM
I hope so—and often. But the first concert's an occasion, you know.
CECELIA
I suppose all your old friends will be there, en masse.
TOM
Without a doubt. (Then, to himself.)—All week long I've been trying to tell Red—
CECELIA
—The one you were so fond of—the Daisy something—
TOM
—Daisy Sage.
CECELIA
What's she doing now?
TOM
Painting, I believe.
CECELIA
Well?
[Pg 80]TOM
I don't know. But I should imagine so.—I haven't seen her.
CECELIA
Don't you see any of them anymore?
TOM
No.
CECELIA
But why not, dearest?
[A moment. Then:
TOM
They won't see me.
CECELIA
—Won't see you!
TOM
No.—Go on now, please, like a good girl, and get ready. (She turns, passing her hand over her eyes, and moves toward the stairs.) What's the matter?
CECELIA
Nothing.
TOM
But dear—what is it?
CECELIA
Just this blasted headache, that's all. I've had it all day.
TOM
What a shame.—The cold air will fix you up.
[Pg 81]CECELIA
It's that that gave it to me. I'm—honestly, Tom, I don't think I can face it. Why not telegraph, instead? Best wishes, and all that.
TOM
It wouldn't do.
CECELIA
I'm sure she'd be every bit as glad to have a telegram.
TOM
You don't understand, C. Franc has been working for years for this. She—(REGAN comes in with bottles of beer and two glasses on a tray.)—Just put them there, will you? (He does so, and turns to go.)—And wait a minute. What's the rush? Stick around.
REGAN
Certainly.
[He waits, steadying himself in the doorway. TOM turns again to CECELIA.
TOM
—Sorry, darling, a telegram wouldn't do. I've got to be there. But there's no particular reason why you should come. I can go alone.
CECELIA
I'll come.
TOM
No, you hop into bed with a flock of aspirin. I'll be out again bright and early.
[Pg 82]CECELIA
—I'll come, too.
[She goes out, up the stairs. TOM waits a moment, then turns to REGAN.
TOM
—Drag up a chair.
[REGAN brings a chair to the table.
REGAN
One more's about all I need. (TOM opens the beer and fills the glasses.) This morning if all the bad heads in the world'd been put together in a row, my head would've got up and sneered at the rest of them.
[TOM laughs and raises his glass.
TOM
Here's how.
[REGAN raises his.
REGAN
How. (He drinks, and beams.) That's the stuff.
TOM
It builds you up.
REGAN
Yo! (He takes an old pack of cards from his pocket.)—Seen this one?
TOM
I don't think so.
[REGAN holds the pack up before him and releases one card after another with his thumb.
[Pg 83]REGAN
—Tell me where to stop, and remember the card.
TOM
All right.
REGAN
Got it?
TOM
I've got it.
[REGAN makes a concealed "pass," shuffles the pack rapidly and hands it to him.
REGAN
Where is it?
[TOM looks through the pack.
TOM
Gone, of course.
REGAN
Feel in your pocket.
[TOM feels in his breast-pocket.
TOM
Not this time.
REGAN
No? (He reaches into the pocket, draws out a card and shows it to him.) That it?
TOM
Marvellous.
[REGAN gloomily returns the pack to his pocket.
[Pg 84]REGAN
I paid five dollars for that one. I'll let it go for two ninety-eight.
TOM
Not interested. (A moment.)—Was it cold in town, today?
REGAN
—I don't envy those guys selling apples on the corners.
TOM (soberly)
No.—Not much of a job, that.
REGAN
Women's work.
TOM
Pretty tough times, all right.
REGAN
—Some of 'em, by God, are down to selling those white flowers that stink so. (Again he raises his glass.) Two hundred for steel!
[They drink.
TOM
I'm feeling the pinch a bit myself.
REGAN
—Say, look here, Tom—
TOM
What?
[Pg 85]REGAN
If I—(But he thinks better of it and concludes.)—nothing.
[They finish their glasses, TOM refills them.
TOM (suddenly)
Red, I might as well tell you straight off—
REGAN
What?
TOM (after a moment)
—Nothing.
[They drink.
REGAN
—All goes to show you ought to put something by.
TOM
It certainly does.
REGAN
—Clean up while you're young and close your mitts on it.
TOM
That's it.
[A silence. Then:
REGAN
How's your father these days?
TOM
Never better.
[REGAN shakes his head.
[Pg 86]REGAN
Tsch-tsch-tsch.
TOM
Red, do you ever think of your future?
REGAN (ruefully)
I guess I'll go to hell, all right, (TOM laughs.) Oh—you mean here.—Now that's a funny thing, because listen, Tom—
TOM
What?
REGAN
I've been thinking: maybe I—(He falters, and cannot go on.)—Oh, what the hell—
TOM
But what?
[REGAN holds out his glass.
REGAN
Fill her up, will you?
[TOM refills both glasses.
TOM
Not much future in buttling, eh, Red?
REGAN (with a deprecatory gesture)
Oh, well—
TOM
I'm—I'm certainly very grateful for all you've done.
[Pg 87]REGAN (uncomfortably)
Ah!—Be still, will you?
TOM
I am, though.
REGAN
That's fine, from you.—I'll never forget, when I was—and you—(He gulps.) I'll never forget it.
[He sniffs, and drinks.
TOM
Put it there, old man. (They clasp hands across the table.) You're a fine fellow.
REGAN
You're the top, boy. I don't know what you'll think of me, when I—
[Again, he is unable to continue.
TOM
When you what?
REGAN
When I—well, what would you say, for instance, if I—(He looks at him, then looks away.) Nope, it's no good—
TOM (anxiously)
You're not in trouble, are you?
REGAN
Trouble? Me? What trouble?
[TOM once more refills the glasses. Then, steeling himself:
[Pg 88]TOM
—Then look here, Regan—
REGAN
Well, Chief?
[TOM looks at him. The steel melts.
TOM
—Good old Red.
[REGAN raises his glass.
REGAN
Tom Collier for President. The People's Choice.
TOM
Listen a minute—
REGAN
Wait! (He takes another deep draught.) Tom, I've just got to tell you. I've—I've—(He grasps for TOM'S hand and misses it.)—Don't hold it against me, Tom, but I'm quitting you. I've took another job.
[TOM half-rises in astonishment.
TOM
You've—?!
REGAN
Oh, I know what you'll say!
[TOM drops into his chair again, and stares.
TOM
Holy cats, Red—
REGAN
I couldn't stand it any longer. She don't like my [Pg 89]ways. I mean the Missus. I get on her nerves.—Last week Moe Winters told me he wanted to open a country gym and would I run it with him, on the order of Muldoon's, but with a little bar attached and, well, God help me, I give him my word.
TOM
What's there in it for you?
REGAN
Don't put it that way, Tom.
TOM
But I really want to know.
REGAN
Two hundred a month, and a smell at the gate, if any.
TOM
It sounds like a good deal.
REGAN
Ah, the hell with it!—Let's let it go. I'll phone him.
TOM (alarmed)
No! (REGAN looks at him.) When do you start?
REGAN
He wanted me last Wednesday. I've been trying all week to get up the nerve to tell you. But—
TOM
How long will it take you to pack?
[REGAN grins.
[Pg 90]REGAN
Well, there's my hat-trunk and my shoe-trunk, and the trunk for my fancy-dress ball-clothes—
TOM (firmly)
You leave by noon tomorrow, you hear? Not a minute later.
[REGAN'S grin fades.
REGAN
O.K., Chief.—I'm sorry you had to take it this way.
TOM
Don't be a fool. I'm overjoyed for you.
REGAN (uncertainly)
Fact?
TOM
Absolute. (He raises his glass.) Here's to the new job.
REGAN
—Take it from me, boy, you're the goods.
TOM
You've got your points, too, you know.
[REGAN rises, swaying slightly, and raises his glass.
REGAN
Anyhow—
[TOM rises and raises his.
TOM
Anyhow.
[Pg 91][They drain their glasses, put them down and again clasp hands.
REGAN
You'll explain to the Missus?
TOM
Of course.
REGAN
Tell her I'm sorry—hope no inconvenience—but—
TOM
I'll explain.
REGAN
So long, Tom.
TOM
Good-bye, Red.
REGAN
So long, Tom.
TOM
Good-bye, Red.
REGAN
I'll give you a ring how it goes.
TOM
Do that.
REGAN
Keep your bib clean.
TOM
I will, old boy.
[Pg 92][Suddenly REGAN sobers, looks at him intently for a long moment, then touches him on the shoulder and says:
REGAN
Good luck, Tom.
[Turns abruptly, and swiftly and steadily goes to the door and out. TOM takes a deep breath and seats himself at the table, with his back to the stairs, in utter dejection. He picks up REGAN'S pack of cards and moodily glances through it. CECELIA comes down the stairs in a lovely negligee. A moment, then she speaks lowly.
CECELIA
Tom—
TOM (without turning)
Hello. Ready?
CECELIA
Did you tell him?
TOM
I'll miss that guy. I'll miss having him around.
[She goes to him.
CECELIA
I know, dear. But it's for the best. I'm sure of it.
[TOM puts down the cards.
TOM
I've got a feeling that my luck's going with him.
[Pg 93]CECELIA
No, no!—I'm your luck.
[She draws him into her arms and takes his head against her breast. A moment. Then:
TOM
You feel good, C.
CECELIA
Do I, dear?
TOM
You haven't any clothes on. Go on—dress—dress quickly—we've got to run.
[She moves from him toward the stairs, where she turns again.
CECELIA
—Come and help me? (He looks at her for an instant, then goes to her. She turns into his arms. He holds her to him for a moment, then she leans away from him, provocatively.) No, you'd better not. (She glances down at the negligee, arms out.) Look—I came across it in the bottom drawer, and my spine simply melted.—Do you remember it?
[He picks up the edge of the loose sleeve and kisses it.
TOM
—Quebec.
CECELIA
Then you do!—That funny little French hotel—
TOM (gazing at her)
Yes.
[Pg 94]CECELIA
—Darling place.—Wasn't it cold that morning?—Frost on the windows an inch thick.—Remember?
TOM
—We couldn't see out—
CECELIA
We didn't want to.
TOM
No one else could see in.
CECELIA
Breakfast before the fire—shivering.—Remember—?
TOM
I remember.
CECELIA
We didn't finish it—
TOM
No.
CECELIA (with a little laugh)
There was only one way to keep warm.
[He moves toward her.
TOM
Oh C, darling—
[She retreats, up one step of the stairs.
CECELIA
No.—You'll make us late.
[Pg 95]TOM
What of it?
CECELIA
It's late already. It's—we might miss the concert altogether.
TOM
What if we do?
CECELIA
Tom, you're the limit! Ten minutes ago you said—. (A moment. Then, in another voice.) Tom—
TOM
Oh yes, darling. What—
CECELIA
You go in alone. I've decided to stay here.
TOM
You've—?
CECELIA
Yes. It's too cold. I'm going to tuck myself into my warm bed, and—you'll need your heavy coat, won't you? It's here—(She goes into the hall, returning with an overcoat which she leaves upon a chair.) Good-night, love. I'll miss you—(He is about to take her in his arms, but she retreats, with the same provocative smile and an admonitory gesture.) No, no!—Good-night, dear. Keep warm.
[He turns from her. She mounts the stairs, turns once, smiles down upon him curiously, and goes out leaving the door open. A moment. Then he takes up [Pg 96]his coat, crosses the room, puts out the lights, and is returning to the hall doorway, when he hears CECELIA singing lowly to herself from upstairs. He stops, listens a moment, then moves slowly to the side table, where he leaves his coat upon a chair and takes up the telephone.
TOM
Western Union, please. (A moment.) Western Union? (The curtain begins to fall.) I want to send a telegram.
CURTAIN
At DAISY SAGE'S. Late afternoon on a fine bright day the following May. The sitting-room is as before, except for the painting-materials upon the work-table, and a large easel, turned away from the front, at the window.
JOE is seated upon the sofa, smoking. FRANC stands at the window, looking out. A moment, then she turns abruptly to JOE.
FRANC
—But what if she doesn't come?
JOE
She'll come.
[FRANC leaves the window and seats herself, tense, upon a chair near him.
FRANC
My nerves are like that.
JOE
Have a cigarette?
FRANC
No.
[Pg 98]JOE
It ought to be quite a meeting. Only that once, months ago—think of it.
FRANC
And in a speakeasy!
JOE
—Like old times, though, like a reunion. That is, until they came for him.—You know, I think the last thing he wanted to do was to go on to that party with them.
FRANC
She is a pretty, the wife.—But did you notice? In his top hat, when he put it on, suddenly he looked like only anybody.
JOE
Domestication works fast, when it works.
FRANC
—Well, Daisy has not spoke of him one time since. Never, never will she forgive us this.—Give me a cigarette. What did he say to you?
[He gives her a cigarette and lights it for her.
JOE
He just telephoned that he wanted to see me, said it seemed years.—Your hand's shaking.
FRANC
I know it.—What did you tell him?—Why shouldn't it shake?
[Pg 99]JOE
I said I'd be back at five. Then I left a note on the door: "Had to go to Daisy's. Come there."—It wouldn't if you smoked less.
FRANC
At five. (She looks at her watch.) Ach, Gott!
JOE
You're getting emotional in your old age, Frankie.
FRANC
—But why did you do it? It was well enough left alone.
JOE
I like Tom, and he sounded pathetic. I imagine he saw her exhibition, and—
FRANC
What makes you think he did?
JOE
He said he was telephoning from the Overton Gallery.—I wonder what he thought of it.
FRANC
What did you?
JOE
I know so damn little about painting.
FRANC
I know less.—But it all seemed to me so fresh—done with such spirit.
[Pg 100]JOE
That's it!
FRANC
—Bold—what-you-call it—un—in—without compromising.
JOE
Yes.—And the real stuff. No fakiness.
FRANC
—Every one of them Daisy. No little Matisses or Picassos.
[A moment.
JOE
But Franc—
FRANC (nerves again)
Yes? All right. What?
JOE
What really did you think of them?
[She shrugs.
FRANC
I tell you I am not—what-you-say—competent to judge.
JOE
What did they do to you, Franc?
[She looks at him sharply, hesitates. Then:
FRANC
—Nothing. I am sorry. But nothing—
[Pg 101]JOE
Nor to me.
[She grasps his arm.
FRANC
—But we must believe in her, Joe!
JOE (in pain)
We do, don't we?—Oh Lord, if only all my friends made shirts for a living.
FRANC
Yes. You could say "That is not a good shirt" quite easily.
JOE
This afternoon—after a few minutes we duck out on them, understand?
FRANC
Joe, I don't like it. I am afraid of this. I think it is not wise.
JOE
—If only they'd have one of their good old-time rows. I'll bet he and that wife of his never had a decent scrap in their lives.
FRANC (thoughtfully)
—And still, maybe seeing him, Daisy finds it is all over—finished—cold. Sometimes that is so. I hope for her it will be so.
JOE
Listen, child: it's May, and the trees are in bloom.
[Pg 102]FRANC (scornfully)
You should write in German.
JOE
Poor Tom. Poor guy. He's up against it for fair now, Franc.
FRANC
Why now more than usual?
JOE
Well, I ran into Hal Foster today, and—
FRANC
Foster—?—The one who did those stories?
JOE
That's the boy. He's finished a new novel that's even better, they say. Apparently Tom thinks he can grab it for The Bantam, and stage a comeback on the strength of it. A sort of a last straw. He's to meet him this afternoon.
FRANC
Oh, good!
[JOE shakes his head.
JOE
No, not so: Foster told me that hard up as he is, he'd be damned before he'd go with a house that was responsible for "Young Ecstasy" and—
FRANC
But you should have talked to him, Joe!
[Pg 103]JOE
I did, till I was blue in the face. He just kept saying "Then how about you?" It was no use explaining how Tom thought I'd do better with—(JOE glances quickly at the door, and rises.) Look out!
FRANC
Him?
JOE
Yes, or—(DAISY comes in.) Oh, hello, Daisy!
[DAISY pulls off her hat and gloves and looks at them.
DAISY
My, you're hearty. (To FRANC.) What's the matter?
FRANC
With me?
DAISY
Yes. You look queer.
FRANC
I don't like the Spring. I don't like May and the trees in bloom.
DAISY
No? Nor do I. I say it's maple-syrup, and I say the hell with it. (She seats herself near them.) Well, the show's over. It's been a fine week. I've learned a lot about new painters, the so-called Public and the so-called Press.
FRANC
There are no judges of one's work but oneself, Daisy.
[Pg 104]DAISY
Then you don't by any chance agree with them?
FRANC
I would sooner sleep with an art critic than agree with him.
DAISY
It's touching the way my friends have rallied round. Stout hearts. Thanks, thanks.—But oh heaven!—If only someone I love and trust would be honest with me!
JOE
And what do you call what we've been?
DAISY
Friendly, Joe, very friendly.
JOE
I tell you: let's all get drunk.
DAISY
No thanks. (For a brief moment she covers her face with her hands, then looks up again.) It's all right. It's over. Let's talk about something. Who knows anything?
[A silence. DAISY'S head sinks again. Finally FRANC ventures:
FRANC
Jim and Nancy Peters are going to have a baby.
DAISY (absently)
A boy?
[Pg 105]FRANC
I think so.
DAISY
Good for them.
[Another silence. Then:
JOE
—Er—Tom Collier rang me up this afternoon.
[A moment. Then:
DAISY
Oh? How is he?
JOE
He sounded sunk.
DAISY
That's too bad. (She cools her wrists. Then, to FRANC.)—You know, it's hot.
FRANC
It is hot.—Don't be bitter, Daisy.
DAISY
I heard grand things about Nova Scotia yesterday.—Why should I be bitter?
FRANC
You shouldn't.—About what? Where is it?
DAISY
North, way north.—Bitter! Me!—They say it's beautiful beyond words, and you can live there on oh, so little.
[Pg 106]JOE
He said—I mean Tom did—that—
DAISY
Joe, you seem to have an idea that I might be interested in what he'd say—
JOE
Well—
DAISY
But as it happens, I'm not. (To FRANC.) There are miles of green meadows and a seacoast that's nobody's business. Woods, as well. (To JOE.)—I suppose he was full of explanations about those choice eggs The Bantam Press has been laying lately.
JOE
No, he didn't mention them. He only said—
DAISY
Why tell me? (To FRANC.) The only out's the swimming. It's too cold. But other things make up for it. (To JOE.)—He always gets colds in the Spring—I suppose his voice was gone entirely—
JOE
It didn't seem to be.
DAISY (to FRANC)
It's like Maine, they say. Only better, much.
FRANC
Not too many people?
[DAISY closes her eyes.
[Pg 107]DAISY
No people. Gloriously, happily, mercifully, no people. (The buzzer at the door sounds.) Joe—will you? (To FRANC.)—Speaking of no people. (JOE presses a button to open the door. DAISY continues to FRANC.) Imagine Joe thinking that at this date I should give a damn what—
[TOM comes in with a brief-case in his hand.
TOM
Joey! How are you? (He drops the brief-case upon the work-table.) Franc!
FRANC
Tom, you look fine.
[He turns to DAISY.
TOM
Hello, Daisy.
DAISY (so coolly)
Hello. How have you been?
TOM
In rude health, thanks.—And you?
DAISY
Never better.
TOM
Oh, it's fine to see you! I've been starving for you—all of you.
DAISY
Thanks.
[Pg 108]TOM
How's the job?
DAISY
The magazine job?
TOM
Yes.
DAISY
I gave it up last winter.—A trifle—shall we say "quixotic"?—of me?
TOM
Shall we? (He looks from one to the other of them.) Listen: I love you three, I love you. (He takes FRANC'S head in his hands and kisses her brow.) Oh Lord! (Gives JOE a friendly shove.) Lord Almighty—(Laughs joyfully, seats himself and gazes fondly at them. There is a long silence. Finally:) Holy cats! Talk to me, will you?—Am I a leper? (Silence. He leans forward.) Now listen, the lot of you: I've had enough of this nonsense. For months you've been avoiding me like the plague and I won't stand for it. You're important to me and by heaven, I'm going to hang onto your coat-tails, dog your footsteps, sit on your doorsteps, until you're ready to grant that a man can marry, and go on being a friend.—Is that understood?—Well, then: who's seen Sandy Patch?
[Then, in a rush:
JOE
I have.
[Pg 109]FRANC
So have I.
DAISY
We all have.
TOM
What's he doing?
JOE
A war group in bronze for some town in Texas. He's making them look like sheep.
TOM
Good boy!
DAISY
—Except that they'll probably throw it back at him.
JOE
He'll get paid, though. Sam Frankl sees to that for him now.
TOM
How's your book doing?
JOE
Fair.—Of course nothing like The Bantam's "Indian Summer" or "Young Ecstasy."
TOM
Ouch.
JOE
What the devil made you take them on?
[Pg 110]TOM
Money.—Ah, but Joey, I'm reforming! Did you know it?
JOE
In time, I hope.—How?
TOM
Williamson, Warren can have those bright boys now, and welcome.
JOE
It's about where they belong.
TOM
Wait till you see The Bantam's new list.
JOE
I'm waiting.
TOM
—That was certainly a foul format Brandon gave your book.
JOE
The words are there.
TOM
If you can read them. What's the stock they printed it on—paper-towelling?—I hear you're a hit, Franc.
FRANC
It has gone well enough.
[He looks at DAISY, hesitates. Then:
TOM
I—I saw your exhibition today.
[Pg 111]DAISY
Oh really?—Funny I missed you. What did you think of it?
TOM
Well—
DAISY (suddenly, eagerly)
Tell me!
TOM
I don't think you were ready to show yet. How did it happen?
DAISY
Saunders and Munn arranged it.
TOM
Your old editors? The fashion boys?
DAISY
What about it?
[TOM shakes his head.
TOM
Daisy, Daisy.—How were the notices?
DAISY
Appalling.
TOM
I suppose their reasons were all wrong—
DAISY
Of course.—What are yours?
[A moment. Then:
[Pg 112]TOM
Well, you've been painting less than a year—
DAISY
Yes.
TOM
—And yet you had about thirty canvases to show.
[Now DAISY is well on her mettle.
DAISY
Thirty-two.
TOM
It's a lot, Daisy.
DAISY
So you didn't care for any of them.
TOM
Oh yes!—One I loved particularly: the one of the doorstep, with the milk-bottles. I'd like to own that one.
DAISY
—Number Seven.—Sorry, it's not for sale.
TOM
Two hundred—?
DAISY
Nope.
TOM
Two-fifty!
[Pg 113]DAISY
Nope.
TOM
Seventy-five—
DAISY
Nope.
TOM
Four hundred and one—
DAISY
Nope.
TOM
I wouldn't take it as a gift.
DAISY
That's all right, then.
TOM
Of course your drawing's a marvel. Lord, how that's come along!
DAISY
—Only what?
TOM
Good draughtsmanship's not to be sneezed at, is it?
DAISY
Certainly not. Look at Belcher.
TOM
No—at Goya.
[Pg 114]DAISY
Thanks so much.
TOM
Of course it depends on what you want to be. I thought it was a painter.
[FRANC rises.
DAISY
So did I.—Goya painted pretty well, too, I thought.
TOM
In the first year? I doubt it.
DAISY
I wasn't aware it took a definite length of time.
TOM
—And living in cities all your life, you know.
DAISY
Perhaps I'd better hie me to some sylvan dell.
TOM
I don't think it would hurt a bit.
DAISY
—Listen, you: if you can show me a purer cobalt than the winter sky over the East River any afternoon at four—
TOM
That's not the point.
[DAISY'S voice is higher.
DAISY
What is?
[Pg 115]TOM
Fever—rush—hysteria—all day, every day.
[DAISY turns away.
DAISY
Oh, go to hell, will you?
[FRANC moves toward the door.
TOM
Sure. When do we start?
FRANC
Come along, Joe.
[JOE follows her.
DAISY
—And leave me with this mossback? This—(Again she turns upon TOM.)—So I'm to sit under a parasol and paint tight little cows in streams, am I?
TOM
That's not what I said.
[Unnoticed by DAISY, JOE and FRANC have gone out.
DAISY
—Something suitable as an over-mantel for the Home of Her Dreams, I suppose.
TOM
Now you're being bull-headed.
DAISY (turning)
Bull-headed!—He calls me bull—(She sees that FRANC and JOE are no longer there.) Oh, you snakes—
[Pg 116]TOM (with a gesture)
Well—
DAISY
Well? What more, Teacher?
TOM
All I said and all I'm saying is, you can't expect, the first crack out of the box, to—you've got to work, Daisy.
DAISY
Sweet heaven! What else have I been doing? What have I done but?
TOM
—But differently—with such pains. You're turning out too much, you know it.
[Suddenly the fight goes out of her.
DAISY
Maybe, maybe.—Anything's too much.
TOM
Ah, darling—
DAISY
No!—Don't soften on me. Stay tough!
TOM
I do believe that's it, though. I believe it's the whole story: still hung over from the old job. Pressure, pressure all the time. Still rushing countless sketches through against a magazine's deadline.
[She looks away from him. Her hand gropes blindly for his and finds it.
[Pg 117]DAISY
—Anyway, against some deadline—
TOM
Daisy—darling—
DAISY
You're cruel, inhuman. You're a brute.
TOM
Oh Daisy—
DAISY
Thanks for being.
TOM
If you mean it—
DAISY
From my heart—(She looks at him, smiling now.) Oh, you skunk—
[He laughs, relieved.
TOM
Worse. Much worse.
DAISY (serious again)
Who but you, Tom? (She points her finger at him.) Look: only you and strangers honest with me ever.
[He draws her down beside him on the sofa.
TOM
—The country's the place to work, Daisy. Listen: There's a grand little house about six miles from us. Woods, hills, meadows—you can get it for almost nothing.
[Pg 118]DAISY
That's about my price.
TOM
It could easily be painted up. What about a white roof for it?
DAISY
Oh, lovely idea!
TOM
C discovered it. She can find out all about it. I'll tell her who it's for.
[But at this, DAISY'S mood changes.
DAISY
Don't dream of it.
TOM
Why not?
DAISY
I've got other places in mind.
TOM
Anyhow, go somewhere.
DAISY
Sure—somewhere.
TOM
You're going to be good, Daisy. Don't think I don't think you're good.
DAISY
I won't. I won't think anything.
[Pg 119]TOM
This is a big day for me, do you know it?
DAISY
How?
TOM
Well, I've been seeing the folly of my ways here lately. Poor C—I must have been sweet to live with this past week. She's been grand about it, though.
DAISY
I'm sure she has.
TOM
I—suddenly, for some reason, I saw that I'd got off the track—my track. It was pretty painful— But I'm getting back on, I think.
DAISY
I'm glad, Tom. You must, you know.
TOM
Did you ever hear of a fellow named Hal Foster?
DAISY
No. What does he do?
TOM
Writes. My God, how he writes!—And nobody knows it—not yet—
DAISY
Have you got him?
[Pg 120]TOM
I'm getting him. He's done a fine, poisonous short novel that makes Candide look sick. (In growing excitement.) I'm going to make a grand type-job of it, advertise it all over the place, and sell it at two bucks. I don't care if I lose my shirt on it.—I'm to meet him at six this afternoon, to make arrangements.
DAISY
It must be nearly that now. You'd better go.
TOM
—Daisy.—Have you missed me, Daisy?
DAISY
You? Well, I'll tell you, it's this way: I—
[But she stops and looks at him, drops her bantering tone, and nods, dumbly.
TOM
Much?
[Again she nods, and adds, under her breath:
DAISY
—Skunk, skunk.
TOM
Oh, and I you!—It's a lot of nonsense, this. It's ridiculous.
[She looks at her watch.
DAISY
It is six.
TOM
Hell.
[Pg 121]DAISY
You'd better run.
TOM
We need each other, we two do.
DAISY
You think?
TOM
Most terribly. I'm convinced of it. There never were such friends as you and me. It's wicked to give that up, to lose anything so fine for no good reason.—Why you, of all people, for a shabby, lowdown question of convention, fit only to be considered by shabby, lowdown—
DAISY
Wait a minute!
TOM
A hundred times I'd have given my eyes to see you, to talk to you—
DAISY
Well—here I am—
TOM (eagerly)
Daisy—may I come again?—Just now and then, you know?
DAISY (after a moment)
—If you like—just now and then.
TOM
Oh my sweet dear—thanks!
[Pg 122]DAISY
But don't say "sweet dear." That belongs to another life, years ago.
TOM
Oh—there are to be rules, are there?
DAISY
One or two. One strict one—
[She hesitates.
TOM
What?
DAISY
Never secret. Never hidden.
TOM
No, no!
DAISY
—Always open, as before.
TOM
But of course, of course!
DAISY
I couldn't go it otherwise.
TOM
Why should a friendship be hidden? What's there to hide?
DAISY
It gets misunderstood.
[Pg 123]TOM
It won't, it can't, or the whole world's rotten.
DAISY
It's been pretty ripe for a long time, Tommy.
TOM
"Tommy"! (He laughs exultantly and draws her into his arms. They stand rocking back and forth, laughing in delight.) Oh my darling, how grand this is!
DAISY
I see you run to tweeds this season.
TOM
I even have a horse now—practically a county squire.
DAISY
Look out for it.
TOM
Oh, it's tame.
DAISY
I mean going county.
TOM
Never you fear! I wouldn't be let. I'm a terribly queer duck to them.
DAISY
"Lit'ry," I suppose.
TOM
"Very artistic."
[Pg 124]DAISY
Are they good and dull?
TOM
Crashing.
DAISY
—And respectable.
TOM
My God, how!
DAISY
We aren't respectable.
TOM
Not a bit. Never shall be.
DAISY
For which, praise heaven.
TOM
Heaven, I praise you that Daisy and I are not—. Kiss the boy, Daisy.
DAISY
No.—You've got to go.
TOM
Why? Would it take long?
[She laughs, and pecks his cheek.
DAISY
There.
TOM
Ask me am I happy—
[Pg 125]DAISY
It's all right, isn't it?
TOM
Magnificent.—All as before.
DAISY
Yes.—But for one thing.
TOM
What?
[She leaves his arms.
DAISY
We aren't in love any more.—Now run. You might miss what's-his-name.
TOM
How about lunch tomorrow?
DAISY
It's fine with me.
TOM
The old place?
DAISY
I'd love it.
TOM
One o'clock?
DAISY
One o'clock.
TOM
—And we'll dine at John Donovan's. He's opened a new place on Forty-eighth Street.
[Pg 126]DAISY
Dine?
TOM
Why not?
DAISY
All right.
TOM
The next day's Wednesday, isn't it? I said I'd drive out in the morning to see Pat Atkins. He's been sick again.
DAISY
Poor dear. I'm sorry.
TOM
He's better now.—Come along with me, Daisy.
DAISY
Wednesday? No—Wednesday, I—
TOM
If it's a good day we'll take a picnic. What do you say?
DAISY
I—I guess so.
TOM
Fine!—We'll get back in time to—let's see, can I stay in town Wednesday night? Yes, of course, I can. I want to see that black woman dance.
DAISY
Which one?
[Pg 127]TOM
Down on Grand Street.
DAISY
Oh yes, I've heard about her!
TOM
We can look in, anyway.—Thursday I'm at the Press all day. But Friday—
DAISY
Wait a minute, Tom.—You said only now and—
TOM
I'll bring Hal Foster in about four on Friday. Will you be here?
DAISY
I—I think so.
TOM
Good-bye then, darling. Till tomorrow!
DAISY
Good-bye, Tom.
[He takes her face in his hands, kisses it several times, then her mouth, briefly:
TOM
Sweet dear, sweet dear—. (He releases her.) One o'clock?
DAISY
One o'clock.
[He goes swiftly to the door, where he turns once more.
[Pg 128]TOM
—Ten minutes to one!
[He is gone, his footsteps heard upon the stairs. She stands rigid, exalted, her eyes shining. Then she sees his brief-case, left behind him upon the work-table. She stares at it for a long time, apprehension growing in her eyes. Then she murmurs "Franc," runs to the door, flings it open and calls in terror:
DAISY
Franc!
[Then returns, puts TOM's brief-case upon a chair, then places a work-box upon her table and begins filling it with tools and materials. FRANC comes in.
FRANC
Daisy?—What is it? Your voice frightened me.
DAISY
Franc, you're the one woman I know who can hold her tongue.
[FRANC shrugs.
FRANC
What is not my business—(She sees what DAISY is doing, and her casual air is replaced by a real anxiety.) Packing? What's this? What for? You and—? Oh, Daisy, hold on a minute. Wait, Liebchen. Think, are you wise, Daisy—
DAISY
I'm going alone—a long way, for a long time.
FRANC
To that place you said?
[Pg 129]DAISY (a sudden idea)
Yes!
FRANC
Wait! I come with you—
DAISY
No, I don't want anyone now. Later, maybe.
FRANC
But what is it, dear?
DAISY
I guess I'm running for my life, Franc.
FRANC
—Tom again.
DAISY
—Still.
FRANC
It's no better—
DAISY (packing furiously)
—It's worse.
FRANC
Poor child.
DAISY
No, no! I'm glad.—But I've got to get out.
FRANC
Yes, that is wise.
[Pg 130]DAISY
No one's to know where I've gone to.
FRANC
No.
DAISY
No mess—it's to avoid one I'm going.
FRANC
—But compose yourself, Daisy. Be calm.
DAISY
I can't! Look—(She points to the brief-case.) He went without it. He'll come back for it. And if I see him again for one more minute I'll die.
FRANC
He loves you, Daisy?
DAISY
I don't know. I don't believe he knows. But—(She looks up from her packing.) Oh Franc—he's so young!—Did you notice how young he looked?
FRANC
Yes, like a child.
DAISY
All slim and brown and sandy.
FRANC
Quick, Daisy!
DAISY (far away)
He'll always be like that—even when he's old. I [Pg 131]know!—And the way he stands—that funny way—stiff—with his feet out—
FRANC
—What they call duck-footed, eh?
DAISY (indignantly)
Not at all. It's a perfectly natural way to stand. It's a fine, strong way to stand.
FRANC
Hurry, darling. Run quick!
DAISY
Yes, yes, I must.
[She resumes her packing.
FRANC
Will you take a trunk?
DAISY
The small one.
FRANC
How do you go—by train?
DAISY
I don't know. Boat, I think.
FRANC
But when? From where?
DAISY
I guess Boston. (A moment.) Perhaps I'd better see him just once more. Maybe if I can explain to him how impossible it is for us to—
[Pg 132]FRANC
No!—And you go to Boston tonight.
DAISY
Yes. Yes, that's right, (FRANC goes into the bedroom. DAISY continues to pack for a moment, then calls:) Franc!
FRANC
What now?
DAISY
When those things come back from the Gallery, cover them, will you?
FRANC
Yes, dear.
DAISY
—Number Seven—do you hear me, Franc?
FRANC
I hear.
DAISY
Pack Number Seven and send it to him at the Press.
[FRANC re-enters.
FRANC
All right, dear.
DAISY
You're lunching with him tomorrow.
FRANC
So?
[Pg 133]DAISY
At the old place, at one o'clock.
FRANC
One o'clock.
DAISY
Franc—
FRANC
Yes, darling?
[DAISY gathers up some paint-tubes.
DAISY
When you see him—
FRANC
Yes, darling—
DAISY
Kiss him for me. (She realizes what she has said, and murmurs:) Kiss him for me—(Then hurls a tube into the box, in fury.) Kiss him for me!
[The buzzer sounds imperatively. DAISY starts in alarm. FRANC takes her arm.
FRANC
Come—and don't speak—
[She leads her toward the bedroom, stopping to press the button at the fire place. They go out. TOM is heard running up the stairs. He hurries in, calling:
TOM
Daisy—? (There is no answer. He goes to the table, and calls again:) Daisy!
[Pg 134] [A moment. Then DAISY'S voice is heard faintly from the next room.
DAISY
Hello—
TOM
I forgot my case. (He finds it upon the chair and picks it up.) It's all right. I've got it. (At the door he turns once more and calls:) Don't be late tomorrow! Remember! Twelve-thirty!
[And goes out. Again footsteps are heard upon the stairs, and a door slams below.
CURTAIN
At TOM COLLIER'S, six months later. Ten o'clock of a bright Sunday morning. Alterations have been made, and the old library has become a chaste dining-room. Now, at last, TOM'S house is CECELIA'S house, which is to say, The House in Good Taste.
The door beside the fire place at Right opens, through the hall, upon a large new living-room. The library furniture has been replaced with a dining-room table, sideboard, serving-table and chairs. The large table is set for breakfast and there are various breakfast dishes being kept hot upon the serving-table.
CECELIA and OWEN are at breakfast, CECELIA seated and OWEN standing, napkin in hand, half turned in the direction of the serving-table, toward which GRACE is moving with a coffee-cup.
GRACE
Oh no, thanks! I love to serve myself. It's so English.
[OWEN reseats himself. GRACE refills her cup and returns to the table with it. CECELIA presses a button upon the table.
CECELIA
I'll order some more hot.
[OWEN takes a swallow of water, puts down his napkin and pushes back his chair.
[Pg 138]OWEN
Well, for the morning after a party, I feel pretty good. Where's the birthday-boy?
CECELIA
Still recovering upstairs.
GRACE
He was never more amusing. Honestly, when he did that skit from his new magazine, I thought I couldn't stand it. I was in stitches.
OWEN
—What's happened to the artistic element? Still asleep?
CECELIA
Miss Sage and Fisk insisted upon walking to the station with La Schmidt. It turned out that she had to take an early train.
GRACE
I've never known a musician to make such difficulties about playing.
CECELIA
She's used to her own violin.
GRACE
But is there any differ—? (Then, thoughtfully.) Yes—I suppose there is.—The Sage is rather a number, isn't she? Do you know she actually spent six months in Tierra del Fuego?
OWEN
Nova Scotia.
[Pg 139]GRACE
I mean Nova Scotia.
CECELIA
Yes, I'd heard.
GRACE
The places they go!—C, I wish I knew how you get hold of such interesting people.
CECELIA
I asked them as a particular favor, for Tom's birthday. I insisted on it. It was part of the surprise party.
[GRACE sighs.
GRACE
—They invariably say they'll come to me, and then at the last minute something always happens.
CECELIA
—Besides they're very old friends of his. I said he was longing to see them.—I think he really has missed them a little.
OWEN
Clever Cecelia.
CECELIA
Why?
OWEN
Real security at last, eh?
[Pg 140]CECELIA
Do you object?
[GRACE looks at them suspiciously.
GRACE
What are you talking about? (There is no answer. She rises.) Oh, you subtle people! I wish I were subtle.
[CECELIA presses the bell again.
CECELIA
I wish someone would answer this bell.
[GRACE looks about her.
GRACE
Darling, you have done wonders with this house. It's all in such perfect taste, now.
CECELIA
I wish Tom was as enthusiastic about it as you are.
GRACE
Oh, men never like changes.
CECELIA
Unless they think of them themselves.—We're having a charming time about the roof.
OWEN
The roof?
CECELIA
It's got to be fixed—and ever since he came back from Bermuda last winter he's been saying he wanted a white roof—been wanting to whitewash it white.
[Pg 141]GRACE
What!?
OWEN (simultaneously)
The roof here?
CECELIA
Yes. They're all white in Bermuda.
OWEN
But this isn't Bermuda.
CECELIA
I've tried to explain that to him.
OWEN (to GRACE)
But I don't think I've ever seen a white roof around here, have you?
GRACE
Let me think. (She thinks, painfully. Then:)—No.
CECELIA
He says, What does that matter? He wants one. He thinks they're pretty. He thinks—(In sudden irritation.) Oh, he can be exasperating! (To OWEN.) His father sent him a check for his birthday: he may accept it, he may not.
GRACE
Not accept a check?
CECELIA
—Because it's from him.
GRACE
Well, I'm amazed.—A whopper, too, I'll bet.
[Pg 142]CECELIA
I don't know. I didn't see it.
OWEN
I thought he'd got over the nonsense about his father.
CECELIA
So did I. Everything has been simply beautiful for months. He's been so pleased with Tom, and the way business has been going. Apparently someone told him about it.
OWEN
Williamson, probably.
CECELIA
—Or Warren. I don't know which.
GRACE
Are they the ones that want to buy The Bantam Press?
CECELIA
—To buy into it, yes.
GRACE
How does Tom feel about that?
[CECELIA shrugs.
OWEN
He's made the price so high they'll have to refuse it.
CECELIA
Not if you tell them not to, Owen!
[Pg 143]OWEN
I thought I'd explained all that to you.
[A moment. Then:
CECELIA
—I suppose I'll have to get the coffee myself. (She rings again.) I told Tom that with him back, the maids would do nothing.
OWEN
It does seem funny, seeing him around again.
GRACE
I was overcome last night.—How did it happen, C?
CECELIA
The new job didn't pan out. Tom ran into him somewhere and telephoned to ask if he could bring him out for a day or two, he'd been ill. There was nothing to do but say yes. Now, of course, he wants to keep him.
GRACE
Why not—you know—just give him something, and—?
CECELIA
He won't take anything without earning it. Tom swears he'll teach him manners—at least to the extent of calling us "Sir" and "Madam." He said it was the one birthday-present he really—(She sees REGAN standing, beaming, in the doorway.) Oh.
REGAN
Did someone ring?
[Pg 144]CECELIA
Several times. Will you bring some hot coffee, please?
REGAN
Sure thing.
[He takes the coffee-pot and goes out with it.
[GRACE laughs.
GRACE
Manners!
CECELIA
I'm afraid he's hopeless.
GRACE
You know, I can't get over old Rufus K. actually sending checks. He can be nice, can't he?
CECELIA
Extremely. Did I tell you? He's invited us to spend the winter with him in town.
GRACE
Not in the big house?
CECELIA
Yes.
GRACE
But it's the most unheard-of thing I've ever heard of!
CECELIA
We may not go. Tom's not too keen for that, either.
GRACE
He's mad!—Of course you can persuade him. It will [Pg 145]be such—(TOM comes down the stairs, a trifle white and wan.) Ah! Good morning, host!
TOM
Is it?—How are you, Grace? Hello, Owen. (He seats himself and eyes the food distrustfully.) Did Franc get her train?
CECELIA
I imagine so.
TOM
I meant to get up. Where are Joe and Daisy?
CECELIA
They went walking.
[TOM settles back painfully in his chair.
GRACE
Oh come now! It's not as bad as that.
TOM
Lady, you don't know. (To CECELIA.) Was I dreadful?
CECELIA
You were delightful.
TOM
Oh, don't say that!—That means I put on an act.
GRACE
You were the life of the party.
[TOM cringes.
TOM
Good Grace.
[Pg 146][REGAN comes in with the coffee-pot and a glass of what appears to be milk.
REGAN (heartily)
How're'ye, Tom, my boy!
TOM
—'Morning, Red.
[REGAN puts the coffee-pot upon the serving-table. TOM looks guiltily at CECELIA, who turns away. REGAN comes beaming from the serving-table, the glass in hand.
REGAN
Look what Baby brought you—
[TOM rises and goes to him.
TOM
—Just a minute. (He puts his arm through his, turns him away from the others and low enough to be heard by no one but him, murmurs:) Look, Red—if you don't mind, I think you'd better be "Regan" from now on, and us "Sir" and "Madam."—You're a pretty good actor.
[REGAN stiffens into the Perfect Butler.
REGAN (audibly)
Right, Sir. H'I knows me place, Sir.
[TOM laughs, and returns to the table.
TOM
Don't lay it on.
[Pg 147]REGAN
Oh no, Sir.
[He offers the glass obsequiously. TOM takes it.
GRACE
Milk?!
TOM
—Punch. (He makes a face over it and returns it to REGAN.) Could you possibly brush the nutmeg off?
REGAN
I think so, Sir.
TOM
Try. Move heaven and earth.
[REGAN returns to the serving-table with the glass and removes the nutmeg. DAISY comes in from the hall.
GRACE
Oh, hello!
DAISY
Good morning.
CECELIA
How was the walk?
DAISY
Very pleasant, thanks. We went miles. It's a lovely village.
CECELIA
It is nice.
[Pg 148]DAISY
Whose house is the pretty white one on the Square?
CECELIA
Near the Post Office? (To GRACE.) Isn't that Judge Evans's?
GRACE
Yes.
DAISY (to TOM)
I hope you remembered to find the new magazine-proofs for me.
[TOM takes some folded proof-sheets from his pocket.
TOM
Right here.
[DAISY extends her hand.
DAISY
Please—
TOM
If you'd really like to—
DAISY
I should, very much.
[She takes the proofs and goes to the stairs, where she seats herself upon the bottom step. REGAN returns the glass of punch to TOM.
TOM
That's better.
[JOE comes in from the hall. REGAN coughs discreetly behind his hand.
[Pg 149]REGAN (not presuming to look directly at his master)
Beg pardon, Sir—
TOM
Yes?
REGAN
—If I may say so, Sir—it has always seemed to me that life is like a sailboat—
TOM (smiling)
Ah?
REGAN
In good weather, no better ridin' anywhere—but the very deuce, Sir, in a storm, Sir.
[TOM laughs and waves him away.
TOM
Get out!
[REGAN bows gravely.
REGAN
Very good, Sir.
[And goes out. CECELIA'S fixed smile leaves her face. She takes a deep breath. DAISY laughs softly, JOE loudly. GRACE turns to JOE.
GRACE
Oh hello!
[JOE recovers himself and advances into the room.
JOE
How are you?
[Pg 150]GRACE
Pleasant walk?
JOE
If you like the country.
GRACE
I'll bet you made a good plot, too.
JOE
A good—?
GRACE
I know you writer-men!
DAISY (from the stairs)
—Remember your prescription for me, Tom?
TOM
Prescription?
DAISY
"The country's the place to work," you said.
JOE
Something did it for you, Daisy.
TOM
—Daisy herself.—You can spend the night, can't you, Joe?
JOE
It's up to Daisy.
DAISY
I'm not certain, yet. Must we say straight off?
[Pg 151]CECELIA
Of course not.—Do, though. We'd so love having you.
TOM
I've got to run over to Greenwich to see one C. B. Williamson, but I'll be back this evening.
JOE
The publisher?
TOM
Yes. Why?
JOE
What have you got to do with that old pirate?
[TOM smiles.
TOM
Shh!—It's a secret.
[JOE stares.
JOE
My God!
GRACE
You're coming to my house for Sunday breakfast, you know.
JOE
Thanks, we've had it.
GRACE
Oh, but mine is a very special breakfast!—
[Pg 152]JOE (to TOM)
—I liked the old Press building better.
TOM
We needed more room.
CECELIA (to TOM)
Don't you want some coffee or something?
TOM
This is fine. Will you join me in a milk-punch, Daisy?
DAISY
Would you mind awfully if I didn't?
TOM
I'm not sure.
GRACE
Not disapproving, is she?
[DAISY laughs pleasantly.
DAISY
Not in the least.
TOM (to JOE)
—You couldn't publish a magazine in that old shack.
JOE
Don't tell me it's that smart.
GRACE
I think it's going to be a sensation. I'm practically a collaborator, aren't I, Tom?
[TOM laughs.
[Pg 153]TOM
Grace is my reaction-agent. She submits to tests.
[DAISY stares at the proofs.
DAISY
Is this all of it?
TOM
—The dummy for the first number.
DAISY
No name yet—
TOM
No.
JOE
—Any Sunday papers, by any chance?
TOM
—In the living-room. I'll send for them.
JOE
It's all right. I'll read them there.
[He goes out. TOM looks after him. GRACE rises.
TOM
Extraordinary fellow, Fisk.
GRACE
My people will be arriving. Who's going to run me home?
[She holds out her hand to TOM. He takes it and rises.
[Pg 154]TOM
We'll go in Joe's Ford, and shock the village.
GRACE
Divine!
DAISY
Bring it back, Tom.
TOM
You bet.—How about your coming with us?
[DAISY rises upon the stairs.
DAISY
Thanks, but I want to finish this.
TOM
Be sure to like it.
DAISY
I'm afraid I'm no judge.
GRACE
Tom, I've got to tell you: I think the idea of a white roof in this country is idiotic.
[She tucks his hand under her arm and they move toward the door.
TOM (as they go out)
So do I. It's insane. Whatever made you think of it?
[DAISY mounts the stairs and goes out, CECELIA watching her. OWEN moves toward the living-room. CECELIA'S low voice stops him.
CECELIA
Owen—
[Pg 155]OWEN
What, C?
CECELIA
Why did she come?
OWEN
Daisy? I thought you wanted her, for all those highly special reasons.
CECELIA
—First she said she couldn't. Then she telephoned back she would.
OWEN
Well?
CECELIA
I believe she came for some special reason of her own.
OWEN
Quite possibly.
CECELIA
What, though?
OWEN
Search me.
CECELIA
Twice last night I caught her watching me in the most curious way. Once when I was with Fisk, once with you.—But you know, I'm not the least bit jealous any more. I'm even inclined to like her.
[Pg 156]OWEN
That's big of you.
CECELIA
I suppose Fisk is one of hers, too.
OWEN (frowning)
How do you mean?
CECELIA
Sweet innocent!
OWEN
How's that?
CECELIA
I should think by this time you'd know a promiscuous little—(She sees his frown deepen, and with a gesture, concludes:)—Oh, well—
OWEN
You're a strange girl, C.—And a pretty cruel one.
CECELIA
—Not at all. I tell you I don't mind in the least. In fact I really don't see why Tom and she shouldn't be as good friends now as—well, as you and I are.
OWEN
Their history is a little different.
CECELIA
Why? Don't you like our history?
OWEN
What there is of it.—A trifle uneventful, don't you [Pg 157]think?—Or shall we simply call it lacking in excitement?
[A moment. Then:
CECELIA
—You've been so strange, lately. So remote, Owen.
OWEN
I wasn't aware of it.
CECELIA
—Refusing to help us one bit with Mr. Williamson.
OWEN
But Tom doesn't want to be helped!
CECELIA
I do.
OWEN
C, I've told you. I simply can't do it.
[CECELIA turns from him coldly.
CECELIA
Very well.
OWEN
Certainly, you must realize—
CECELIA
Of course. (She moves toward the living-room) Come on—shall we?
OWEN
I've told you a dozen times, I'm counsel for Williamson's, and—
[CECELIA stops and turns to him.
[Pg 158]CECELIA
Exactly.—And so they do whatever you tell them to.
OWEN
Tom's price is out of all reason.
CECELIA
Not if they really want it.
OWEN
But hang it, he made it that to stand them off! He doesn't want them to have it.
CECELIA
Tom doesn't know what he wants. (Coaxing.)—Just one little word to them from you—on the telephone—before he goes over this afternoon—now—before he gets back from Grace's.
OWEN
There's something called legal ethics you seem not to understand, C.
CECELIA
And something called friendship? (He turns away. A moment. Then she looks at him sideways.) Owen—(He gestures "What?") "Lacking in excitement," you said.—For you?
OWEN
For you, I meant.
CECELIA
I suppose you're the judge of that, too.
[Pg 159]OWEN
I don't know who else.
CECELIA
Of course you couldn't possibly be wrong.
OWEN
Could I?
CECELIA (softly)
—And I'm not a human being at all, of course.
[He advances toward her.
OWEN
C—!
CECELIA (quickly)
Do one thing for me: just tell them it might be a good thing for them.—It might, mightn't it?
OWEN
But even so, I—don't think I can.
CECELIA
—That it is high—admit that—but it might be a good thing. (He ponders it, frowning.)—Owen—telephone him—just one little word, Owen—(He is about to protest again, but is stopped by her even gaze and her hand upon his arm. Finally he nods assent. She breathes:) You darling—(He inclines toward her, but she leans away from him. Suddenly he glances up at the staircase. She senses that someone is coming, and begins to talk rapidly, in a different voice:)—And of course it will be the most [Pg 160]marvellous thing for Tom if Williamson agrees. You can imagine what it will mean to him.
OWEN
Yes, of course.
[DAISY comes down the stairs, the magazine-proofs still in hand.
CECELIA
His father will be pleased as Punch, too, but the main thing is—(She looks at DAISY in pretended surprise.) Oh, hello! Owen and I were just talking about The Bantam Press combining with Williamson's. Owen engineered it.
OWEN
Oh no, C. If there's any credit due—
[CECELIA laughs, and exclaims:
CECELIA
Never mind! (Then again, to DAISY.)—I'm so excited about it, I can hardly speak. (Then, to OWEN.)—Why, Owen—do you realize?—But you wanted to telephone, didn't you?
OWEN
Why, er—why—yes, yes, I did.
[CECELIA moves toward the living-room.
CECELIA
It's in here, now. (He follows. She speaks over her shoulder to DAISY.) Coming along?
DAISY
In just a moment.
[Pg 161][OWEN and CECELIA go out, encountering JOE coming in. DAISY gazes after them.
JOE (to CECELIA)
I thought I'd get ready for breakfast—lunch—whatever it is.
CECELIA
But you look lovely!
[She follows OWEN out, into the living-room, DAISY moves to the table, where she sits, staring in front of her, slowly comprehending. JOE approaches her, as REGAN comes in.
JOE (to DAISY)
What do you say we—(REGAN clears his throat portentously.)—God, Red, get that fixed, will you?
[REGAN lifts a lemon in two fingers.
REGAN
Have you seen this one?
JOE
I had grapefruit.
REGAN
Give me a five-dollar bill. (JOE finds one for him. REGAN folds it and closes his hand upon it.) Which hand?
JOE
That one. (REGAN opens both hands. DAISY is still staring, wrapt in thought.) Good!—Only where does the lemon come in?
[REGAN beckons him nearer, cuts the lemon with a [Pg 162]fruit-knife, extracts a five-dollar bill from it, shows it to him, picks up a tray, and moves toward the door.
REGAN
Thank you, sir.
[He goes out with the tray and JOE'S five dollars. JOE turns to DAISY about to speak, but she speaks first.
DAISY
Are you packed, Joe?
JOE
Not yet. Why?
DAISY
I want to go.
JOE
What's the rush?
DAISY
I want to get out of this house.
JOE
But why all of a sudden?
DAISY
I want to get out, that's all.
JOE
Tom?
DAISY
Yes.
[Pg 163]JOE
Poor devil—
DAISY
Yes.
JOE
Of course he's terribly on the defensive: you can see that.
DAISY (dully)
Can you?
JOE
Of course. He felt us disapproving, and simply gave us the works.
DAISY
Maybe.
JOE
He was awful last night, all right.
DAISY
Go and pack, Joe.
JOE
And what an outfit they were!—I give you Grace Macomber in your Christmas stocking.
DAISY
Thanks.
JOE
I'll even throw her husband in, for good measure.
[Pg 164]DAISY
That would be too divine.
JOE
And all those pitiful second-hand opinions of Tom's! What's happened to him? What do you suppose has done it, for God's sake—
DAISY
That's what I came to find out.
JOE
Have you?
DAISY
Yes.
JOE
What?
DAISY
The most pitiful thing that can happen to any man.
JOE
But what?
DAISY
Go and pack, Joe.
JOE
It won't take a minute.—It certainly can't be C. I think she's a fine girl, don't you? I talked with her for quite awhile last night. She made great sense. I think she's a damned nice, attractive woman.
[DAISY moves away from him.
[Pg 165]DAISY
So was Delilah.
JOE
Deli—? Oh come on, Daisy!
DAISY
—And bring my bag down with yours.
JOE
But I don't get you at all.
DAISY (turning)
Will you go and pack?
JOE
Honestly, Daisy, you're the damndest girl.
[TOM comes in from the pantry, a whisky-and-soda in hand.
TOM
A drink anyone?
JOE
At this hour? I should say not.
[TOM seats himself at the end of the table, facing them.
TOM
Too bad.
JOE
Besides, we've got to go.
TOM
So soon? Too bad. (He takes a swallow of his drink, and smiles at them.) Godspeed—
[Pg 166]JOE (After a moment)
—There was a fellow once told me drink was in a way to becoming my own personal Hollywood—
TOM
Really? How amusing.
JOE
You, by a strange coincidence.
TOM
Oh not possibly!
JOE
—And it was you, incidentally, who taught me how to drink moderately.
TOM
No mean feat, I'm sure.
JOE (With a gesture)
Well, physician—
[TOM raises his glass again, still smiling.
TOM
Similia similibus curantur. Translated, the hair of the dog that—
DAISY
Go get ready, will you, Joe?
[JOE stares at TOM a moment, then mounts the stairs and goes out.
TOM
—So solemn—all so solemn. (He puts down his glass, unfinished.) I'm sorry you don't like my friends.
[Pg 167]DAISY
Your—?
TOM
They are, however.—Did you read the magazine?
DAISY
Most of it.
TOM
Couldn't finish it, eh?
DAISY
No. I didn't care for it.
TOM
Why not?
DAISY
It seemed to me that one oh-so-bright weekly was enough, without more of the same.
TOM
—Not sufficiently solemn. I see.
DAISY
Not half!—And so cheap, Tom! Oh, how can you?
[A moment. Then:
TOM
You can't please everybody.
DAISY
Never mind. It doesn't matter.
[TOM drops his cynical tone and speaks genuinely:
[Pg 168]TOM
Doesn't it, Daisy?
DAISY
Tom, ever since I got home I've heard from all sides how you've changed. I came here to find out if it was true, and if so why.
TOM
Well, is it?
DAISY
Tom—
TOM
And if so why? Why?
DAISY (a sudden cry)
Oh, Tom—I pity you with all my heart!
[He is at her side in an instant, her wrists in his hands.
TOM
Pity me! What are you talking about?
DAISY
I came to find out. I've found out. Now I'm going. (She calls.) Joe!
TOM
Found out what? Pity me why?
[DAISY looks down at her wrists.
DAISY
Would you mind? (He releases her. A moment. They [Pg 169]gaze at each other. Her eyes soften.)—And love you, Tom—love you with all my heart, as well. Remember that.
TOM (brokenly)
Daisy, I—(He recovers himself, and with the recovery the cynical smile returns. He advances, one hand out, his voice coaxing.) Give us a kiss, Daisy.
[She takes a step back from him, in horror. Her call is almost a scream:
DAISY
Joe! Are you ready?
[JOE'S voice is heard from the stairs.
JOE
Coming!
[JOE comes down the stairs with the bags. CECELIA comes in from the living-room.
CECELIA
Did someone call? (She sees the bags.) Why, what's all this?
DAISY
I'm sorry, but we've got to leave.
CECELIA
But what's happened?
DAISY
I suddenly remembered something. Please don't bother—-
CECELIA
But I never heard of such a—
[Pg 170]DAISY
I'm terribly sorry, but it can't be helped.
CECELIA
But can't you at least wait until after luncheon?
DAISY
I'm afraid not.
[She turns to JOE.
JOE (to CECELIA)
Good-bye. Thanks very much.
CECELIA
Good-bye. I must say it all seems very strange. (Then to DAISY.)—And when we've so loved having you.
DAISY
You were kind to ask us.
CECELIA
Well, if you insist, I suppose there's no help for it. Good-bye. Do come again when you can really stay.—Your coat's here, isn't it?
[She goes out into the hall.
JOE
Give me a ring sometime, Tom.
TOM
Right.
[JOE looks at DAISY. She nods her head in the direction of the door. He goes out.
DAISY
Good-bye, Tom.
[Pg 171]TOM
—Once I wouldn't say it, would I?
DAISY
Once you wouldn't—
TOM
Well, good-bye.
DAISY
—This time you do.—
TOM
Good-bye.
[She gestures helplessly, turns and goes out. For a moment he is alone. A door is heard to close, then CECELIA re-enters.
CECELIA
Honestly! If that wasn't the rudest thing! (He is silent.)—I presume you agree, don't you?
TOM
I don't know what it was.
[He stares in front of him, unseeing. She looks at him intently for a moment. Then:
CECELIA
Well—if we're going to Grace's—
TOM
I'll get my hat.
[He moves toward the hall. She follows.
CURTAIN
At TOM COLLIER'S. Ten o'clock the same night.
The dining-room is dimly lighted from the hall and living-room. There is a small fire burning in the fire place. Leaves have been removed from the table, which is now at its smallest. Two chairs are at the table, the others against the wall.
REGAN comes in from the hall with an armful of wood, some of which he places upon the fire, making it burn brighter. This done, he lights a small candle-lamp upon the table. Two places have been set and a light supper prepared: a platter of cold meat, a bowl of salad, sandwiches, fruit. There is a champagne glass at each place. A moment, then CECELIA calls from upstairs:
CECELIA
Regan?
REGAN
—Right here, Ma'am.
CECELIA
I thought I heard a car.
REGAN
Yes, Madam.
[Pg 173]CECELIA
Is Mr. Collier's supper ready?
REGAN
Yes, Madam.
[He lights a small lamp on the serving-table, pokes the fire again, and goes out into the hall. A moment, then CECELIA comes down the stairs, in another charming negligee, this time more severe in cut and somber in color. She examines the table, rearranges a few things and puts out the lamp upon the serving-table. Now the room is lit only by the candle-lamp and the fire upon the hearth. A door closes in the hall. She turns toward it, calling:
CECELIA
Tom?
[TOM comes in.
TOM
Hello. (He looks at the table.) What's all this?
CECELIA
I thought you might be hungry. I know what you think of Williamson's food. (He looks at the fire, then around him, curiously.) What's the matter?
TOM
—Lighted this way, it reminds me of some place.
CECELIA
Where?
TOM
I don't know.
[His voice is strange, as if speaking from a distance.
[Pg 174]CECELIA
Do eat something, dear.
[Again he looks about him, puzzled.
TOM
—I came back the long way, over the Pound Ridge road, through Middle Patent.
CECELIA
What made you do that, Silly—
TOM
I don't know, I wanted to drive.
[Now it is her he looks at curiously.
CECELIA
Tom—what is the matter?
[He shakes his head, as if to shake something out of it, and laughs shortly.
TOM
Sorry!
CECELIA (anxiously)
Everything went all right, didn't it?
TOM
Oh yes, perfectly. (A moment. Then:) In fact, it's settled.
CECELIA
Not already!
TOM
Yes. They've signed. All I have to do is to dig up a [Pg 175]notary in the Village and write my name under theirs.
CECELIA
Oh, Tom!
TOM
Are you pleased?
CECELIA
Aren't you?
TOM
I think something's happened to my nervous system. I feel awfully light.
CECELIA
You're famished. Come and sit down and eat—(She draws him to the table. He seats himself there, and for a moment drops his head in his hands.)—And tired, too, poor darling.
TOM
No—just light. So awfully light.—Thinking too much.
[She puts meat and salad upon a plate and sets it before him.
CECELIA
Here.
TOM
C—
CECELIA
Yes, dear?
[Pg 176]TOM
I think it's time we had a child or two, C.
[A moment. Then:
CECELIA
We'll talk about that.
TOM
Yes. We must. (Another moment.)—The trees along the road stood out like—(He rubs his eyes and looks up again.)—like whatever it is trees stand out like.
CECELIA
You've been going much too hard, you know.
TOM
It's good for me. I'm having visions. (Again he looks around him.)—What is it it reminds me of?
[She seats herself near him at the table.
CECELIA
—Nothing. You're just tired and hungry.
TOM
Please let me have my visions. (REGAN comes in with a pint of champagne.) Good evening, Mr. Regan.
REGAN
Good evening, Sir.
TOM
—Those buttons on your coat—you know, they're terribly bright.
REGAN
I'll try to bring 'em down.
[Pg 177]TOM
Do. It's essential.—Champagne, is it?
CECELIA
I thought you might feel like celebrating.
TOM
Well—
CECELIA
A little wine won't hurt you, Tom.
TOM (to himself)
—The little more, and how much it is—(Rousing himself.)—Fill them, Mr. Regan, (REGAN looks at him oddly, then fills the glasses. TOM raises his and squints at it.)—Infinite riches, in a little room.
[CECELIA laughs.
CECELIA
You've got the quotes badly.
TOM
Little lamb, who made thee?—Regan—dost thou know who made thee? (He holds out the glass to him.)—And a little more, old son. (REGAN refills the glass and goes out. TOM watches him, curiously.)—The discreet withdrawal—I've seen that before, too. (Looks around him again, then cries, suddenly:) I know! The Florentine!—A private room at the Florentine.
CECELIA
What's that?
[Pg 178]TOM
A kind of a hotel. Flora Conover's place.
CECELIA
It sounds wicked.
TOM
It used to be the best twenty-guinea house in London.
CECELIA
Twenty-guinea? What are you talking about?
TOM
In advance, at that.
[CECELIA glances at him.
CECELIA
Rather expensive, wasn't it?
TOM
But one went to Flora's to celebrate.—And the food was good, the waiter discreet, the wines excellent, the lady most artful.
CECELIA
Tom! How revolting—
TOM
But we must send the boys back happy, you know.
CECELIA
I don't care to hear about it, thank you.
TOM
Very well, my dear.
[A moment. He stares at his glass. Then:
[Pg 179]CECELIA
Weren't they difficult at all, Tom?
TOM
Who? Williamson's?—Easy.
CECELIA
And you actually got your own terms?
TOM
Except for their right to pass on my selections.
CECELIA
That's probably just a form.
TOM
Probably.
CECELIA
They want to feel they have some say.
TOM
That's all.—C, what have you done to your hair?
CECELIA
Why, nothing, why?
TOM
It looks lighter.
CECELIA
It isn't.
[He gazes at it for a moment longer, then eats a little, disinterestedly.
[Pg 180]TOM
I quashed the announcement they'd prepared for the papers.
CECELIA
Why? What was it?
TOM
"Williamson, Warren and Company have absorbed The Bantam Press, formerly owned by—"
CECELIA
"Absorbed"!
TOM
Yes. Like a sponge. I quashed it. For "absorbed" read "bought a controlling interest in."
CECELIA
Well—that's more like it.
TOM
—Poor little Bantam.—For "Bantam" read small little, plucked little capon.
CECELIA
Oh, don't, Tom! You know it's a good thing for you—it's a grand thing for you.
TOM
—Increased scope.
CECELIA
Of course.
[Pg 181]TOM
—Perfect distribution facilities.
CECELIA
But aren't they?
TOM
Williamson, Warren Books Girdle the Globe. Hear the eagle scream.—Poor little Bantam—peep, peep—
CECELIA
—And I thought you'd be beside yourself for joy.
[He gazes at her. She is.
TOM
C, your eyes are so bright.
[She laughs shortly.
CECELIA
Eat, you. You're seeing things.
[He looks at his plate.
TOM
C—
CECELIA
Yes, dear?
TOM
—Little love is no love.
CECELIA
—Meaning what, precisely?
[Pg 182]TOM
It wasn't necessary to lock your door against me last night.
[A moment. Then:
CECELIA
But I didn't.—I mean—not against—
TOM
Then why?
CECELIA
I'm—it's just that sometimes I'm afraid, alone at night.
[He is watching her.
TOM
I don't believe you.
[She laughs nervously.
CECELIA
Well, really!
TOM
I don't believe you, C. (She averts her head.)—Only I'd like you to know that that isn't necessary, ever.
CECELIA
Very well.
[Suddenly he reaches for her hand and takes it.
TOM
Why was it? Tell me instantly why it was.
CECELIA
Is that an order?
[Pg 183]TOM
Tell me.
[She tries to meet his gaze, but cannot.
CECELIA (with difficulty)
You mean—why I—why I didn't want you near me—
TOM
Yes.
CECELIA
—And you don't know—
TOM
No.
CECELIA
Well, if you don't, you ought to.
TOM
Tell me, I say.
CECELIA
You'd been so—consistently disagreeable, that's all.
TOM
About what?—Wanting Regan back?
CECELIA
No.
TOM
What, then?
CECELIA
Your father, chiefly. (She rises and goes to the serving-table.) He telephoned this afternoon. (A [Pg 184]moment.) He wanted to know if you'd got the birthdays-check. (Another moment.) I told him that you had, and had tried to call him. (He turns away.) Well, I had to say something!
[She reseats herself at the table with a plate for herself.
TOM
I don't know whether to send it back, or just not to cash it.
[He finds a check among the letters in his pocket, and looks at it, frowning.
CECELIA
—Of course, you simply can't allow yourself to show any kind of graciousness toward him.
TOM
No.
CECELIA
—As a way of telling you how pleased with you he is, he sends you a small check,—and you have the extraordinary bad taste to—(He holds the check out for her to see. Her eyes widen.) What!—Good heavens—I don't believe it!
TOM
There it is.
CECELIA
But there isn't that much money in the world!
TOM
In Father's world there is. He feels he can afford it, to get us to come and live with him.
[Pg 185]CECELIA
Of course, I don't understand your attitude about that, either.
TOM
Don't you, C?
CECELIA
He knows how inconvenient it is here in winter,—and having that great, huge, lovely house in town, it's perfectly sweet and natural of him to—to, well to ask—
TOM
Yes—you, to preside night after night at his deadly dinners, me to listen eternally to his delphic advice on what to do and how to live—in short, to allow him to own us. Of course, he's willing to pay. He always is.
CECELIA
Oh, how ridiculous you are, really!—His whole life long he's tried to help you, to do things for you—
TOM
—In order to own me. I tell you I know him.
CECELIA
You're the only child he's got, and he's an old man and a very lonely man. I think it's horrible beyond belief, the way you treat him. How you can be so hard, I don't know.
TOM
Hard!—I'm not hard enough. All my life I've been [Pg 186]trying to harden. I was born soft, that's the trouble with me.
CECELIA
You soft!
TOM
Yes. Born it.—And then brought up to refuse to face any truth that was an unpleasant truth, in myself or anyone else—always be the little gentleman, Tommy—charming and agreeable at all costs—give no pain, Tommy.
CECELIA
You seem to have outgrown it nicely.
TOM
Not yet, I haven't. No, not by a long shot. The inclination's still there, all right. Still going strong.
CECELIA
But don't be discouraged.
TOM (wearily)
All right, C.
CECELIA
—It's nothing but your old self-consciousness about money, again. It simply defeats me.—Honestly, has everyone who lives well sold his soul to the devil?
TOM (rising)
"Lives well"!—I'd give my eyes to live well. That's all I want for us.
[He goes to a chair at the window.
[Pg 187]CECELIA
Oh—definitions again.—We being so weak, of course, that a little luxury would completely ruin us.
TOM
—Little—little—everything's so little. Add it up, though. (His head sinks upon his breast.)—Add it up.
CECELIA
To my way of thinking, if a person can't stand—
TOM
Let's drop it.
CECELIA (coldly)
Very well. We shall.
[He looks up again.
TOM
—Now you've gone from me again—
CECELIA
A lot you care.
TOM
Oh C—my lovely C—Where are you? What's become of you?
CECELIA
There's something you call your damned integrity—
[TOM rises from his chair.
TOM (suddenly, sharply)
That's the word!
[CECELIA rises also.
[Pg 188]CECELIA
I see it's no use talking.
[A silence. He looks at her intently.
TOM
—This is what you call "being disagreeable."
CECELIA
Yes. Very.
[He returns to her.
TOM
—But how to be otherwise, when—
CECELIA (in a burst)
Possibly by being the fine, kind, generous man you ought to be!
TOM
To Father?
CECELIA
You might begin there.
TOM
—Accept the check with thanks—and go to live with him—
CECELIA
It's only for a few months—and I think to refuse his present would be extremely bad manners—just about in a class with those of your little lady of easy virtue, this morning. If—(She sees she has gone too far.) I'm sorry to have said that about her. I didn't mean—
[Pg 189]TOM
Never mind. (A long moment. Then:)—Suppose I should do as you say about Father—
CECELIA
Oh, Tom—do be the darling I know you are!
TOM
Would you like me better?
CECELIA
Much.
TOM
How much?
CECELIA
Oh—very much.
[He leans forward, watching her, hardly believing it possible.
TOM
No locked doors, anymore?
CECELIA (lowly)
Not one—ever—
TOM
That sounds—most inviting.
[She smiles.
CECELIA
Does it?
[Again he seats himself at the table.
[Pg 190]TOM
—And suddenly I'm beginning to see with an awful clearness—
[He stops.
CECELIA (smiling)
What? How stupid you've been?—And what I am to you?
TOM (after a moment)
Yes.
CECELIA
—And so you are going to be nice again?
TOM
You'll see.
[Again CECELIA'S smile.
CECELIA
—But how am I to be sure?
TOM
You've told me ways to convince you.
CECELIA
I do so hate us not to agree, Tom.
TOM
I know.
[She brings her chair closer and sits at his side.
CECELIA
I want so to feel—I don't know—together again, as we used to be.
[Pg 191][Once more, TOM looks incredulously around him, at the room. Then:
TOM
You're very pretty, you know—
CECELIA
Why, thank you, Sir.
TOM
—Very exciting, too.
[His manner has changed. From now on, he is no longer the husband sitting before the fire with his wife, but a host at supper with a pretty girl, whom later he will know better.
CECELIA
I don't know whether it's you or the wine speaking.
TOM
—Me.
CECELIA
Shall we have a little more?
TOM
Why not?
[She presses the button.
CECELIA
It's a party, then.
TOM
It's a party.
[Pg 192]CECELIA
Sometimes you're so thrilling, Tom.
TOM
You think?
[A moment. Then:
CECELIA
Put your arms around me, Tom—
[He inclines toward her, does not touch her, but looks full into her eyes, searching for something he still cannot believe he will find.
TOM
Are they around?
CECELIA (in a breath)
Oh—yes—yes—
[REGAN comes in.
TOM
Another small bottle.
[REGAN goes out. CECELIA laughs a little throaty, excited laugh.
CECELIA
We shouldn't. You know we shouldn't.
TOM
But we seem to be—
CECELIA
I feel—all at once I feel terribly naughty, somehow—
TOM
I suppose you're the prettiest girl I've ever seen—
[Pg 193]CECELIA (archly)
So nice of you to think so, Sir.
TOM
—So very attractive—
CECELIA
I like to be attractive.
TOM
So very seductive—
CECELIA
There, there! That's enough!
[He has found it. Coldly he salutes it:
TOM
You're a strange woman. Your lips drop honeycomb, your mouth is smoother than oil.
CECELIA
Now what are you quoting?
[REGAN comes in with the wine.
TOM
—Give the lady some, waiter. (REGAN fills CECELIA'S glass, then TOM'S, without a word.) You can leave the bottle. (REGAN places it upon the table, near him.)—And that will be all. (REGAN bows and goes out. CECELIA raises her glass and smiles invitingly. He raises his, murmuring:)—To the pleasant ways of life.
[She drinks. He does not.
CECELIA
—Such pleasant ways.
[She smiles at her glass.
[Pg 194]TOM
Is it good?
CECELIA
So good.—I'm feeling it a little.
TOM
That's what it's for, eh?
CECELIA
It must be.
TOM
"Champagne, the friend of lovers"—
[Her face inclines to him, then she averts her head.
CECELIA (softly)
No—not yet—
TOM
Artful child.
CECELIA
You think?
TOM
—Lovely, alluring thing—
CECELIA
I like you too, now.
TOM
Pleasant here, isn't it?
CECELIA
So pleasant. (She refills her glass and finds that his is still full.)—But you aren't taking any—
[Pg 195]TOM
It makes me see almost too clearly.
CECELIA
Take a little more, and everything will get so—lovely and vague and—the way I feel now.
TOM
—A good feeling, is it?
CECELIA (a whisper)
Delicious—(She gropes for his hand, holds it against her breast.) Oh—Tom—(He looks at her. She smiles again.)—One last toast? (He draws her to her feet, glass in hand.) But to what—what to?
TOM
You name it.
[A moment. Then:
CECELIA
To love—(She comes against him, steadies her glass in both hands against his breast, bends her head and takes it. He raises his glass, holds it for a moment near his lips, then sets it down, untouched, upon the table. She replaces hers beside it, and murmurs:) And darling—
TOM
Yes?
CECELIA
You—you are going to be an angel about—about things, aren't you?
[Pg 196]TOM
You'll see.
CECELIA
Oh, I knew you would!—I'm so happy—(She smiles, moves slowly toward the stairs, and mounts them, opening the door at the top. There she turns and whispers.) Don't be long—
[And goes out. TOM'S eyes following her. Then he turns and stares down at the table. Finally his hand finds the bell and presses it. A moment, then REGAN enters, in a business suit.
TOM
See here, Red, I—
REGAN (sharply)
Never mind! (TOM looks up. REGAN gestures.) All I mean is—well, I'm out for good, this time.
TOM
Why?
REGAN
I just don't like it here, that's all.
TOM
When do you want to go?
REGAN
As soon as I can.
TOM
To-night, then.
[Pg 197]REGAN
That's all right with me. I'm packed.
TOM
Look in and say good-bye as you're leaving.
REGAN
I'm leaving now.
TOM
Look in, anyhow. (REGAN turns to go.)—Have you got a fountain-pen? (REGAN finds a pen and gives it to him.)—Don't let me forget to return it. (REGAN goes out. Slowly, methodically, TOM opens the pen, shakes it, spreads the check upon the table and writes upon its back. Then, as carefully, he replaces the top of the pen, picks up the check and waves it back and forth, to dry it. REGAN re-enters with a traveling-bag. TOM returns the pen to him.)—Here you are. Thanks.
REGAN
Well—good-bye—
TOM
Get into the car.
REGAN
I can walk to the train all right.
TOM
Bring my coat and hat, will you? (REGAN does not stir.)—Will you bring my coat and hat, please? (REGAN puts down his bag and goes into the hall for them. TOM folds the check carefully, goes to the fire [Pg 198]place and places it upon the mantelpiece, one corner under a vase. REGAN re-enters with his overcoat and hat. TOM puts on the hat. REGAN holds the coat for him. TOM gets into it. He takes a cigarette from the pocket and puts it in his mouth.)
REGAN
What's the idea?
TOM
—Light, please—(REGAN holds a match for him. TOM pulls on his gloves.) Now, then—
REGAN
I can walk, I tell you.
TOM
Not at all. We'll drive in.
REGAN
We will—?
TOM (very gently)
I'm going back to my wife, Red.
REGAN
To your—?
[Puzzled, REGAN looks toward the lighted doorway at the top of the stairs.
TOM
—To my wife, I said.
[REGAN picks up his bag, and goes out, into the hall. TOM looks once around him, draws a deep breath of smoke, exhales it slowly, then turns and follows him.
CURTAIN
Other than changing a comma to a period and a regular bracket to a square bracket, minor variations in spelling and punctuation have been preserved.