A Group of Original Plays, Experimentally Produced

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A Group of Original Plays, Experimentally Produced

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A GROUP OP ORIGINAL PLAYS, EXPERIMENTALLY PRODUCED

by John Francis Pauley

A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Speech and Dramatic Art in the Graduate College of the State University of Iowa August 9, 1950

ProQuest Number: 10902183

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is d e p e n d e n t upon the quality of the copy subm itted. In the unlikely e v e n t that the a u thor did not send a c o m p le te m anuscript and there are missing pages, these will be noted. Also, if m aterial had to be rem oved, a n o te will ind ica te the deletion.

uest ProQuest 10902183 Published by ProQuest LLC(2018). C opyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C o d e M icroform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346

"YVs'aO hlX It'b what you was thinking. SADIE It's almost time to eat.

Wonder where Jane 1st

MQl+LX I don't want nothin' to eat. SADIE Nothing at all?

54

1-36 MOLLY

Nothin1,

Exoept cabbage. SA0XE

The doctor —

MOLLY

Kell with the doctor.

Cabbage or X starve —

-

3APXE But Ma — — MOLLY You heard me. SADI® If X went to the oorner and got you some ice cream? molly

Don't like lee oream. SADIE Please, Ma molly

CABBAGE\ SABI£ All right, Ma.

You win.

I'll cook you some cabbage, MOLLY

Put a ham bone in it. SADIE Honestly, Ma, you're awfully stubborn.

s 'r

.,-,8 c *

1-3?

MDLIY X ain't stubborn.

X Just know me own mind. SADIE

I'll Say you do. MOLLY Someone has to know their own mind 'round here.

To keep the

family goln' without any men. SADIE X do my beet. MOLLY X know you do.

Cause that's the way X taught you. SADIE

Seems like only yesterday that Pete died. MOLLY Now, don't go snlfflin*. SADIE X wasn't about to. MOLLY You know somethin'? SADIE What?

MOLLY X don't think Scott will ever get married. SADIE Let's hope he will.

1-38

mux Mope.

I think we'll have to work on Janie. sadie

Ha.

She's only eighteen. 8IQLLY

Xou were married when you were eighteen. SADIS Veil!

mux I wee seventeen. SADIS She Isn't even going with anybody. MOLLY What about be — —

be damned? SADIS

Mai

Kls name Is Bolo. MOLLY

Solo.

Sounds like & breakfast food. SADIS

Why that isn't serious.

He isn't even Cathollo. MOLLY

Well, why don't she get rid

o f him and find someone that is? SADIE

It's Just that he's handy. they were both little.

He's always been handy —

since

57

1-39 MOLLY

Garrett married a non-Catholic. SADIE that1* Just It.

Look at him. MOLLY

He drinks. SADIS Quite a bit. MOLLY He didn't drink until Yessle left him. 3ADIS That isn't the way Yessle tells It. HOLLY Hefferdust J (After a pause) He don't come to see me. SADIE Yes he does, lla.

You're the only one he oares about.

and me. HOLLY Funny way of showln' It. SADIE Every time he comes he brings you something. MOLLY Sure —

beer on his breath.

You

58 1-40 SADIE

AND love In hie heart.

mux Just like hie father, and his grandfather before him* SADIE They didn't drink —

all the time ■*«—

must Seems like all the good men drink. SADI# Fete didn't.

mhix And look vhat happened.

Didn't have strength enough to

last out the flu. SADIE Ha!

m u x you got the oabbage on cookin'? SADIE (Hieing) X was hoping you'd forget it.

mux Not me. SADIE (Exiting) I should have known better.

I'll put it on now.

59 * - 41 (looking up the street) Here comes Jane. HOLLY ionft forget the ham. (Sadie exits to the kitohen.

Jane enters

through the front door and goes immediately to the bedroom.) JAM

(Concealing package behind her) Hy "gross mutter!" MOLLY What you hi din** JANU X thought your eyes were supposed to be bad. HOLLY Something for me? JANE Maybe.

If you can guess what it is. MOLLY

Ahhhh —

what is it? JAK8

Ice cream. MOLLY Blackberry?

80 I * 42 JAMB they didn't have blackberry —

so I got strawberry.

MOLLY Well, give It here. JAMB I'll get & spoon. MOLLY Never mind.

Sadie!

SADIEI SADIE

(Off stage) Yes? MOLLY Bring me a spoon. SADIE (Off stage) In a minute. MOLLY You learn anything in school today? JANE Mot much.

I'm getting tired of school.

Chemistry

philosophy — — what good is it? MOLLY It's costing Soott a lot of money to put you through school. JANE that's the thing.

I think it's a waste of good money.

mux Soott1a coming home. JAMS Ha la!

Swell.

When? MOLLX

X don1t know,

pretty soon.

And he*s staying for a week. JAMS

Wonderful.

X want to talk to him. (Sadie leaves the kitchen with a bowl and a large spoon.)

X*ve got plans.

mux Such as? JAMS I*?a going to get married. (Sadie, hearing this in the doorway, stops amated and drops the bowl.) Mother!

woux Ylpeeeeel

Now

I ' l l get me great daughter! SADIE

Jane!

Xou*re fooling? JANS

NO, Mother.

X - 44 SADIE

fho*

Not

— wnt.i.v

Bedamned? JANE Grandma!

— —

Yea, it's Bolo. SADIE

He's not even — —

He's not a Oathollo* JANE

No, but he's good* SADIE It’s not enough*

You can't do it*

I won't let you*

JANE Mother! SADIE Have you lost your senses? JANE Grandma! MOLDY He's a lace-curtain black Irish heathen*

There's no good

in the likes of them turncoats. JANE But you both know him* likeable ---

He's no turn-coat.

He's Just a nice

1-46 SADIS He's a nice enough boy «*•*- but not for you. JANE But isn't it better if I convert hie? SADIE Father Frederick would say —

he's liable to make you lose

your faith JANE But I wouldn't. SADIE There's always that danger. JANE There's danger, even if I marry a Oathollo. SADIE Remember your uncle Garrett. JANE Unole Garrett!

There's other I could mention that fought

with their husbands and divorced and remarried — that be worse?

wouldn't

Isn't it better to marry someone you'll

love and be happy with?

Isn't It easier to stay a good

Catholio that way? SADIE That's enough.

Go to your room.

We'll hear no more about it.

JANE I'll go to my room —

but you can't stop me thinking about it.

64 I - 46 SADIE

X hope Scott gets here soon.

He'll reaeon with you.

JANS (At door) Mother, X love you an awful lot — - but I've made up my mind! (Exit) MOLLY (After a pause) Is me oabbage ready? SADIS

mi MOLLY You think she'll do it? SADIE She takes after you too much.

She's stubborn.

MOLLY X don't suppose a Black Irishman would get me a granddaughter. SADIE Maf what am I going to do? molly

We could invite him over — —

- and feed him some poison cake

But then Jane might turn out to be an old maid —

spite me.

to

1-47 SADIE

Father Frederick will be here to hear your confession to­ morrow.

I'm going to ask him what to do. (The phone rings in the hail way.

Sadie rises

the answer it.) It's Garrett.

Re wants to talk to you. MOLLY

(Taking up the phone and shouting) Hello, Garrett! — — —



Why don't you ever come up and see me.

You did not (TO Sadie)

He says he was up day before yesterday. SADIE 1 think it was the day before that. MOLLY You ain't been up for a week. only mother — — llng from —

That's no way to tre#t your

Well, you'd better — —

- Listen to me, Garrett — —

Where are you oalyou get right out

of that saloon and stay out, you hear me —

You're working

there?

Well, all right.

Well, ain't that Just too dandy — —

Goodbye. (She gives the receiver back to Sadie) SADIE He's working in a saloon?

MOLLY

X guess so.

somethin* about Wouldn't cha come In! SADIE

The Wooden Shoe Inn! MOLLY Yes, that's It.

Silly damn name. SADIE

He never will sober up now. MOLLY He better,

or I'll tan his back sides. SADIE

Poor Garrett. do you

Do you suppose if we made room for him here—

• no, that wouldn't work. MOLLY

He's eomln' up to see me. SADIE That's two black clouds —

wonder what'll be the third. MOLLY

He's old enough to know better SADIE (Going over to the door, calling) Jane! JANE

(Off stage) Yes, Mother?

87

X - 40 SADIE

Aren’t you going to eat supper? JANE (Off stage) You told me to go to my room. SADIE Well, you have to eat something. JANE All right.

I ’ll he down in a hit. SADIE

Maybe she’ll listen to you, Ua.

You tell her what’s wrong

with marrying Solo. HOLLY X ain't sure it’s wrong

or right

1 gotta make up me

mind first. SADIS Why, it can't he right.

Whatever are you thinking of? MOLLY

If only I could depend on that damn Scott. SADIE We oan.

He’ll he on our side. MOLLY

X mean to get married SADIE Honest to Sod, Ma, you have a one track mind.

m 1-50

must l guess It * 0 up to Jane* SADIE tou won’t help me.

WOUIX Can’t afford to.

She’a too damn stubborn.

If we

don’t let

her marry Bolo she'a liable to beoome a nun. SADIE Not much ohanee of that.

But it would be all right with me

if she did. mohur Nope.

1 think, maybe 1*11 have to have a talk with Bolo. SADIE

M&, you’re not going to poison him, are you? aiomc Now, where did you get such a crasy notion as that? SADIE But you said «--(J&ne enters quietly.

Sadie stops.)

JANE Talking about me?

mux tour ears burning? JANE

I’m sorry Mother!

69 I - B1 SADIE

You've ohanged your mind. JANE No.

But I ’m sorry I ’vs hurt your feelings. SADIE

Jane, will you speak with father Frederick? JANE tee.

If you want as to. SADIE

X do, very much. JANE But that won’t change my mind. MOLLY That a girl! SADIE Ha!

mux I ’ve made up me mind. JANE You agree with me.

You’re on my side. MOLLY

I’m on any side that'll get me a granddaughter — — grey eyes —



What oolor eyes does Bedamned have? JANE

Dark brown.

Almost black.

one with

HQUd:

AyyyJ

I knew it.

A blaok Irisher. JAKE

Orandaa, isn't it about time you dropped those ancient Irish feuds?

mux I never knew a good one — * or one that wouldn't steal your heart and then run away laughing at ye. JANE Oh, oh.

Scandal!

You fell for one did you?

WQUX 0o on with you. JANE It's not just an old wive's tale? SADIE Hal

Xou never told me anything about it.

m u x X never told anyone about it.

tour father thought he was

the first man 1 ever fell In love with SADIS Who was he?

MOl*Lt And he was — — hearted Irish — devils.

and he was — —

But beware of the black

the sin-loving —

the atone hearted

71 X - S3 JANE (Laughing) That's a funny way to describe Bolo.

Sin-loving, stone-

hearted. HOLLY They’ll lie to you.

Their tongues are coated with molasses. SADIE

If X agree to your becoming engaged —

will you finish

college firatt JANE Two years? SADIE You're still young.

And so is he. JANE

But it would be a waste of two years.

And 1 don't think I

want to be engaged for such a long time.

1 don't think it's

healthy. SADIE You're not old enough. JANE I'm eighteen.

Legal age to get married. SADIE

You'll have children before you've had any fun. JANE Who says children aren't any fun?

1-54 MOLLY

That a girl. SADIE X say they're not fun.

Not always, anyway. kqlly

Turn on the radio.

This sounds Just like my radio program. SADIE

Xt Isn't tine yet.

The news la on now. upLEY

Well, turn the news on. SADIE (Bringing eord over to her) Turn it on yourself.

Here's your switch.

(Molly clicks the button.) HOLLY Mow, get me cabbage. SADIE Jane, corae with me.

You can bring in her tray for her.

(Sadie goes out Into the kitchen.

Jane follows

her first pausing to wink at Molly.) HOLLY (Starting to sing.) Da de da da da.

Da de de del

(The radio Is In the last minutes of a newscast. Xt keeps getting louder.

Too loud.)

1 - 6 6

RADIO Ho cause of the explosion has yet been determined.

Damages

are roughly estimated at one hundred thousand dollars. — Here’s an item handed to »e —

-

There are three known dead

in the explosion so far — SADIE (Off stage) Jane, will you turn that down.

She’ll wake up the dead*

JAKE Sure. (She goes Into the bedroom to do this but stops to listen as some Item catches her attention.) RADIO Chief Tucker said that an investigation would proceed im­ mediately.

The explosion and resultant fire is the worst

slnoe the Peabody disaster In ’£5.

So far there are three

deaths and an unidentified man about fifty is In the hospital. The dead are Parsons, Ethyl Summers, and Joe Strunk.

Hiss

Summers was the bookkeeper of the eleotrlcal appliance shop. Parsons was a customer and Strunk the bartender of the Wooden Shoe tavern (Dies off under) SADIE (Entering ex<ed) WHAT 1 He said —

GarrettJ

Oh, ray QodJ

X - 55 BIQLLX What's the matter? SADIE (Coming in room) TheWooden Shoe. man

That *0 where Barrett was.

about fifty

The unidentified

0h# !#a, ehut off the radio.

(?fc>lly does so.) JAM Sow, take it easy -SADIE Call up.

Call up the hospital «*-JAKE

0* K, (The phone rings.

Jane answers) SADIE

It's the hospital.

They've identified Garrett.

Oh, my Cod.

And he hasn't been to church In ten years. JAKE What?

Garrett?

Xou're not sure?

him anyplace? SADIE It's him.

Holy Mary, mother of Godi

mux What happened?

But you can't find

1-57 SADIE

Jane,

Go up to the hospital.

I should go —

hut I'm too

weak. JAKE Well, thanks for calling.

Goodbye.

(She sits stunned for a minute.) SADIE Well!

Well! JANE

It's Mr. Appleton.

He owns the Wooden Shoe.

He says

Garrett was in the bar Just before the explosion. see him leave.

Now he ean't find him anyplace. —

thrown through the window,

He didn't He got

Mr. Appleton, that is.

He

thinks maybe Garrett's still in the wreckage.— SADIE Jesus, Mary, Joseph!

mux Garrett! H e 's dead? SADIE Maybe.

m u x (Stunned) Everybody dying, and me laying here — — SADIE He hasn't been to confession for ages. (She begins to weep softly.)

Garrett, my baby.

76 1-88 MOLLY

(low) Carrett dead! (Loud) dlmme an axe*

I'm going to out my throat. SADIE

Mai MOLLY (Trying to gat out of had) Glmrae an axel

Oimme an axe, X said. SADIE

(Restraining her) M&.

You'll hare another stroke.

JANE I JANE*. Come here

qulek. MOLLY I'm going to him.

I'm going.

Lemme go.

0>et out a 1 me way.

SADIE (To Jane coming In) Hold her feet.

Ha.

Ma.

Be good,

Carrett's gone, don't

you go too. MRS. DENTON (Coming in the door without knocking.) You hooi SADIE In here, Mrs. Denton.

1-59 BSRS. DENTON (Coming in) What*s the matter? — —

Oh, Mrs, Gibbons.

Is she — • is

•he violent? SADIE It’s not her.

It’a my brother.

He got hurt in the explosion.

m s . DENTON I heard about it on the radio.

Oh, was that your brother?

That’s too bad. MOLLY Get out a 1 here.

Lemrae go.

Gimme an axe. SADIE

Maybe I ought to eall a doctor? MOLLY Clarae an axe. MRS. DENTON WHAT does she want an axe for? SADIE She's delirious.

Oh, poor Garrett.

(Molly sinks back exhausted.) Mai

You’re not going to have a spell? JANE

She's all right.

She's not white like she was before. SADIE

(Sitting down) Ohhhhhhi

1-80 (She begins to weep softly.) JANE Are you all right, Grandma? MOLLY Why'nt God take me? No.'

I'm tired of lying here all the time.

He takes Garrett. (Loud)

Why'nt he take me? BIRS. DENTON la there anything I can do? JANE No, thank you. SADIE Be was ray only brother. JANE Mother, it isn't sure yet. SADIE He hasn't gone to church In ages. JANE Well, Mother, that's not your fault. SADIE That's easy to say.

But when he's your only brother —

(She commences to weep softly again.) MOLLY (Regaining some strength) Gimme an axe!

7S X - 61 m w c Gimme an axe! (Loudest) Gimme an axe! (Just about the same time as she says the first axe a little* old roly poly man appears on the walk.

Re has an lee cream cone In his hand whloh

by this time has melted* and run down his hand* Re stops and stares uncertainly at the house*

He

Is just slightly Intoxicated.) SADXfi Oh, my aod!

She111 die sure as sin.

Ma!

Ma!

Be good!

JAHE (Crying) Grandma.

Grandma*

Grandma* HOLLY

(Tearing away from them and flinging herself to the window **«.«) Lemma outta here (Sighting Garrett, screaming for joy) eeee yeee!

Alill! (Garrett comes up on the pereh. through the window. SADIE

Garrett!

Sadie sees him

86 1-62 (She rushes to the front door and flings her arms around him, crying in relief.

He has trouble

balancing the Ice cream cone.) Oh brother, brother, brother] MOLLY (Shouting) GARRETT i (Garrett goes sheepishly into the bedroom) GARRETT I brought you an lee cream cone. MOLLY (Happy he's alive) Oh, goody, goody, goody, —

ice orearnI

(She takes the extended cone) I haven't had any Ice cream In a month! (She tastes it) Blackberry — — •

(CURTAIN) End of Act one

Molly:

Oh, goody, goody, goody, —

Ice cream

r"

3*s*

83 XI - X

ACT TWO Some scene.

It la still light out doors*

At the rise

of the curtain Molly la looking out at the audience. Sadie and Jane are eating a leisurely dinner In the breakfast nook.

Molly’s attention Is attracted to the

window beside her. SADIE There4s more tea. JAM Hope, thanksf I *ve had enough. MOLL! (Low) 0-et out of there! SADIE what did Father Frederick say? JANE He wants to talk to Bolo. SADIE What for? JANE Bolo has to agree to take some basic Instructions and to bring up the children Catholic.

II - 2 sadib :

I was hoping hs would talk you out of the Idea. JANE I know. SADIE Did he say It was all right to marry him? JANE He wasn't very happy about It.

But he said if I Insisted

he would try to get a dispensation from the Bishop. SADIE You don't need my permission? JANE X don't need It, but I would like to have It. SADIE And If I say no? JANE Please don't. SADIE will you talk to Soott when he comes tonight? JANE I'll talk to the Dog Catcher If It'll make you feel any better, but I won't change my mind. SADIE No, you're so stubborn you'd fly Into the face of hell itself If you make up your mind to.

II -

Rl

3 m o lly

(Sor earning) (tat out of there you furry devil, before X oome out there and —

Get.

Qat.

(taeeeee ailiiiiiiii

(At the fIret elgn of the soream, Sadie rises quickly and starts to hurry to the bedroom. Rising she spills her tea on the table eloth.) SADIE (She oontlnues Into the bedroom.) Mai

What Is It? MOLLY

That damn squirrel. SADIE What? MOLLY Squirrel ™

In that tree. SADIE

What about him? MOLLY He's In the tree. SADIE (She looks out the window*) What's he doing?

Why, he Isn't doing anything.

(She sits down wearily.) How, Ma, why did you scream out like that? wasn't hurting you.

That squirrel

U - 4 (Molly Just lays and laughs.) Honestly* one thing after another. at squirrels.

You won’t eat.

You Just do these things to annoy me*

(Molly laughs harder.) JANE (Coming in bedroom) that’s the matter? SADIE She was yelling at a squirrel. JANE Yeah.

X heard. SADIE

that am X going to do with her? JANE tana her out. (Molly laugh0 again.) JANE Are you going to fInieh your tea* Mother. SADIE No «*—

X have to clean up the table cloth (To Molly)

You made me spill the tea all over It. (She exits) MOUY Hey I

X didn’t get any tea.

You 0orearn

n

- &

JANE 1*11 get you some. (She starts toward the kitchen, Just as Soott appears on the walk. and looks In,

He comes up to the window

He is twenty-five, ordinary, kind.)

soon Well, old lady! laty rear.

Still in bed?

Why don’t you get off your

Why didn't you oome down to the station to meet

me?

HOLLX Yeeeeeeeee! SOOTT Well, that's more like It.

Clad to see me? JAM

Scott, we didn't expect you until midnight. SOOT? 2 know.

X took the early train,

dot off early.

HOLUC You goln' to take me ridin'? SCOTT What? MOLLX 2 want to get out of this damn bed. SCOTT Well

we'll see —

Now, how about a kiss?

n -e m u m X can't.

Screen*a there. scoff

Oh, your’e going to let a little thing like a screen come between us, are you?

Well, if that *e the way you feel —

(He goea down the porch to the front door. Jane hurries out of the bedroom to meet hint.) JANE MotherI

Mother, Soott'a home. (Sadie comes out of the kitchen drying her hands.

Both embrace Soott at the entrance.

Scott goes into the bedroom and embraces Molly.) SADIE Hello, Soott! scon HI, Mom!

How's every little thing? — SADIE

All right!

scoff (In the bedroom) Well, old lady, got a kiss for me?

M>LLX Sure.

88

XI - 7 SCOTT How's everything been, Mom? SADIE Jane and I want to talk to you later, Scott, SOOTT Oh, oh!

Jane, you've flunked — — -Chemistry? JANE

Straight A's all semester. SOOTT Well, what is it? SADIE Later.

After you have a chance to visit with Ma.

I'll

finish the dishes. (She exits) JANE I'll help you. (She follows.) SCOTT What's going on? MOLLY I don't know.

They're always borrowing trouble.

you bring me anything? SCOTT Sure.

But first you have to guess what it is.

Didn't

Sfi II - 8

mux Ah *

What? SCOTT

Ah, you're no fun.

What do you want most —

outside of a

tide?

mux Me two feet. SCOTT Well — - outside of that. SAQUY I want a granddaughter — - with grey eyes,

You gonna get

married? SCOTT (Presenting It) 1 give up.

It's a new Billy.

A new pipe,

so much I thought you'd like a new one.

Whig (Unwrapping It) A new Billy! —



Pill it up for me. SCOTT

Key!

Walt until after you eat. WOhlX

Fill it up and I'll set it over here. SCOTT What's the hurry?

The old one stinks

do the old lady won't know. SCOTT Sure ah©1!! know.

She*XI smell It. MO U.Y

Shut the doorS SOOTT Well, all right.

Where’s the tobaccoY N OU jX

In the drawer there. SCOTT (Searching) Where?

mi*LX She hid lti SCOTT Why?

mux Pure bedevilment. SCOTT Want to try some of mine?

m u x Sure. SCOTT It’s kind of strong.

$2

n - 10 h o l ly

Fill It up.

I'll hide it, SOOT?

Well,

O.K.. (He does so,) MOLLY

Where's your girl? SGOTT Lucille?

Oh, she couldn't corae. MOLLY

You going to get married? SGOTT Me?

Well, someday.

What's the hurry? MOLLY

You're old enough. SOOT? (Handing her the pipe) Maybe I'm not dumb enough, MOLLY dive it to me. (She sticks the filled pipe under the blanket beside her.) SCOTT What on earth are you doing that for?

MOLLY

So*a she can't take It away SCOTT How, Grandma, MOLLY She will.

She did.

Ain't had my Billy for a month. SGOTT

What?

Why? MOLLY

Don't tell her. SCOTT Don't tell her?

Hey! MOLLY

She'll take It away! SGOTT O.K.

If you say so. —

Well, what've you been doing

since X saw you last? MOLLY Laying here.

On the flat of me arse. SCOTT

How about the radio I sent you?

Don't you like that?

MOLLY I got tired of it. SCOTT So you'd like to get out of bed, eh?

XX - IE MOLLY

I ’d like to get out and go.

And go,

And go.

SCOTT Well, maybe X o&n do something about it. molly

you oan get me damn feet to work? SCOTT No, but X oan get you a wheel ehalr.

And maybe if you’re

good and don’t torment Mother, we’ll take you out on the porch this summer.

How would you like that? MOLLY

Folne!

Weeeiiiii! SCOTT

I ’ll go down tomorrow and see about it. (Sadie enters with a tea-towel over her arm.) MOLLY Where1a me tea? SADIE The water’s on the stove.

1*11 bring it in as soon as it’s

ready. SCOTT Mother, here's a little present for you. (Hands her a small package.) SADIE (Unwrapping it)

SADIE What Is It?

A brooch.

(Pina It on her house dress.) (To Molly) Isn't It pretty? molly

Humph) SCOTT What happened to Jane?

X have something for her too. SADIE

She's washing supper dishes.

I *11 send her In.

— •

Have

you eaten? SCOTT Yeah)

X didn't want to bother you.

X ate on the train.

SADIE X put up some plum butter.

The kind you like* SCOTT

Swell)

i'll have some of that.



But later.

After

Orandma gets to sleep. SADIE Well, I'll get the tea.

Do you want a piece of bread or

anything else? MOLLY Nope.

Co get me tea. (Sadie exits)

XX - 14 (Scott starts to follow)

HOLLY Don't you leave, till I get me Billy. SCOTT (Laughing) O.K. Don't worry. JANE (Putting head in door.) You wanted me? SCOTT There's & present for you in my hag.

The little one.

It's

on the left side. JANE Oh, thank you.

Oan X get it out? SCOTT

Sure, go ahead. (Jane exits) MOLLY Where's me tea? SCOTT Well, have a little patience.

You'll get It when it's ready.

MOLLY Cimme my Billy) SCOTT You've got it.

Underneath the blanket.

II - 16

mux (Putting it in her mouth) You gotta light it. SOOTY Honestly, how did you live so long with so little patience? JANE Here1e your tea.

Oh, oh.

m u x Shhhh. SOOTY What*s the matter? JANE — —

Uhhh.

Nothin* •

Do you want this tea?

mux Set it down, JANE (Exhibiting several bracelets) Thanh you, Scott.

Just what I've been wanting.

fcnow? SOOTT A little bird told me. JANE Aren't they pretty, Orandma?

mux (Bringing tea) Sure!

How did you

XX - 16 JANE Grandmai

Where did you get the pipe?

Isn't it new?

MOLLY X got a present too. JANE Well, X think I'll be getting out of here.

Better shut the

door. SCOTT Why? JANE (Exiting) Ask Grandma. MOLLY Light me Billy. SCOTT What's going on? MOLLY The old lady's on a high horse. SCOTT (Tries to work a Zippo lighter. Out of fluid.

I'll get a match from the kitchen. HOLLY

Don't tell the old lady. SCOTT (He exits) Why?

It won't work.)

MOLLY (Calling after him) DON’T TELL HER. (Sadie appears in the breakfast nook*

She has

heard the last speech of Molly.) SADIE (To Soon as he appears.) Don’t tell me what? SCOTT (Wary) Nothin’• SADIE Did she tell you that I took away her pipe? SCOTT Yeah I Why? SADIE Doctor's orders. SCOTT Oh? —

How did ?he know she smoked? SADIE

He eald not to let her excite herself.

Smoking is a stimu­

lant, isn’t it? SCOTT 1 suppose so.

But after she's smoked all these years —

SADIE

She had an attach too much.

Monday.

And It was because she smoked

Sorry was with her, and she told me she smoked

all afternoon. HOLLY (Calling out) SOOTTl SADIE Shat *s she want? SCOT? A match. SADIE Did you find where I hid her pipe? SCOT? Hooo.

I brought her a new one from Chicago. SADIE

Scott!

I can*t have it.

Oh!

First cabbage.

Sow a

pipe again. HOLLY SCOT?I SCOTT Shat*11 I tell her? SADIE 1*11 tell her. (She goes into the bedroom.

Scott goes into the

kitchen for a match and then goes into the bed­ room. )

101

XI " 19 SABXE

See here, Mrs. Gibbons, you Know you can't have a pipe, lou'll get another spell,

you fcnow X told you — >

m i M He told! SADIE So, he didn't tell.

X found out—

(Hplly mafcee a face at Sadie.) Go ahead, make faces.

But you won't get the pipe.

tine you went to sleep.

Now it's

Give me your teeth.

(She gets a cup to put the teeth in.

Molly

shuts her jaws finely.) Give me your teeth, &ta! MOLLY Nope. SADIE But, Ha, it's time you went to sleep.

And if you don't give

me your teeth you're liable to swallow them in your sleep. MOLL!

Nope. SADIE Why? MOLL? lott won't give me my Billy.

102 IX - so SADIE

Ohl



I ’ra

I —

X can’t stand this constant bickering.

X won’t stand it. 3QOTT Mother 2 SADIE I ’m going to do something, X tell you. newer come baok.

I ’m going away and

It’s —

(She sinks down in the chair exhausted,) Day after day, X have to fight her to — — B80LL3C Go on and go* SCOff Come on, Grandma.

Be a good girl and give up the teeth. MOUtX

Mope. SADIE She’ll choke to death In the middle of the night. SCOff 1*11 sit up with her. SADIE We can’t sit up with her every night. SGOTf Kayhe she’ll forget it.

n - si HQUtX I won’t forget it. SADIE She won’t.

X know her. SGOff

Well, shall we give her her pipe. SADIE Oh, X don’t oare.

Honest to God, waa there ever a woman so

obstinate? MDLLY (She laughs) Mope. SADIE Laugh, darn you.

Just you wait until the priest cornea.

You’ll have to tell h i m

Oh!

(She stomps out of the

room,)

MOLLY Glome my smoke. BOOTY You’re terrible. MOLLY Did you get a match? BOOTY Yeah* (He lights the pipe.

Molly grins and smokes

delightedly as the lights dim down to black

n - 88 out, and eome up again immediately, except in the bedroom where Scott is gently closing the door.) SADIE Is she asleep? SGOTT Yeah, smiling like a baby. SADIE (Going to kitchen door) Jane! JANE (Entering) Yes, Mother? SADIE Will you tell him? JANE X suppose so. SOOTT Hey!

Why the long faces?

what’s the mourning for? JANE

(To Sadie) Couldn’t X wait until Bolo gets here? SOOTT Wait for what?

xx -

105

n sadijs

How long will that be? JANE A few minutes. SADIE X guese so. soon Well, it1a not all right with me.

how you*we gone and

aroused ay ourloslty and you*ve got to at least tell ae what we*re going to talk about when Bolo does get here* SADIS Jane wants to get married.

scon (Amazed) ?o Bolo? JANS What1 b wrong with Bolo?

scon hothlng.

Nothing. SADIE

He*s not Catholic) JANE Mother)

I thought we were going to wait until he came.

After all it concerns him ae muoh as it does me.

soon Does he know about all this? JANS Of course, silly. SCOT? then we'd better wait for him, I guess. (There is a pause.

Scott attempts to whistle.

Breaking that off he saysf) What shall we talk about

the weather?

Politics?---

(The two women disregard him and eaoh other. Scott resumes hie whistling with a shrug.

Soon

there is more melodious and louder whistling off stage.

Scott stops to listen and then ex­

claims in relief:) Thank the Lord, the marines are in sight of Shanghai. JANE (Running to the door to meet him) Bolo! (Bolo enters.

He is large, over six feet, shy

until he is angered.

He is powerful and sure of

himself - except with Jane who controls him pretty well.) BOLO All ready, hunk - a - honey?

11-25

JANE Bolo, I have to warn you.

Sit down.

No, come over here.

(They exit right) SADIE Seott, you have to talk her out of this.

She111 listen to

you. SGOTT Why me? SADIE She looks up to you.

You sort of take the plaoe of her father. SCOTT

I mean why do I have to talk her out of it? SADIE You know she can't marry out of the church, SCOTT It's been done before. SADIE And look how it came out. SCOTT Yeah — —

I know — —

Garrett. SADIE

You will tell her she shouldn't? SCOTT 1 suppose so.

But I doubt if it does any good.

108

II - 26 SADIE

Scott, I'm Beared.

I don’t know what to do.

lose my only daughter —

I don’t want to

and X don't want to — - I'm soared — SOOTT

Sow, Mother, it'll all come out.

Don't worry -—

JANE Let's get on with It. BOLO Yeah, out my neok quick

ao X won't feel It.

(They enter) SADIE Won't you sit down, Mr. Lane? BOLO Huh? — —

Oh, yeah. (He sits, saying:)

The dying man — — JANE What? BOLO Nothing. (Looking around) Do I begin? SADIE Soot12 SCOTT You want to marry Jane?

II - 27 BOLD More than anything. SCOTT Right aw&y? BOLO Whenever she’ll have me.

Ae eoon as possible. SCOTT

You love her more than anything? BOLO It might sound a little corny ~~~ but I love her more than I do my own life — —

I think. SCOTT

Then you won't mind becoming a Catholic for her sake. BOLD What? SADIE Take instructions and be baptised.

BOW I've already been baptised. SADIE This will only be provisional — —

in case the first one was

not correct. BOLO I talked to the priest — - He didn't mention my having to do anything like this — —

SOOTT Well, Bolo, it1# Ilk® this — -

f o r various reasons — -

Mother 1 b frightened about Jane marrying outside of the church.

In her experience

close experience.

JANE Bolo knows all about Uncle Garrett -—

SOOTT He does?

Well, then you see how It la BOLD

Well, supposing I don’t want to become a Catholic? SADIS You couldn’t help yourself —

If you wars honest and seriously

studied the church.

BOLO In the little bit that I talked to the priest already--he seemed to think that It was possible. was something called faith —

He said that there

something that all the honesty

and seriousness in the world wouldn’t provide --SADIE God will provide — —

BOLO Well, then, why rush him? JANE The most powerful converter in the world is good example, my good example.

SADIE

One rotten apple will destroy the whole barrel. BOLD flay, I don’t think I like being called a rotten apple--SADIE Don’t raise your voioe at me, young man.

I don’t like you.

BOLO And I don’t like you either. (Indicating Soott) Or you either.

You’re both too damn sanctimonious for me.

I

was willing to go along half-way, but you two won’t be satis­ fied with that.

Well, maybe I won’t even go half-way--JANE

BOLD’ . BOLO Come on, Janie , let’s get out of here. JANE Not until you apologise. BOLO 1*11 apologise. oome here — —

If we leave tonight and 1 don’t ever have to then I ’ll apologise. JANE

Bolo, if you don’t say you’re sorry, and mean it, I won’t ever go with you. BOLO I’m sorry.

But I guess I don’t mean it.

Now, are you coming?

112

IX - 30 JAMB Mo. BOLO 0, K.

See you in church. JANE

And you needn't come bach. BOLO (doing out the door and elomralng it hard enough to wahen Molly.) I WON'T! MOLLY (Talking without her teeth) Say, what 'a going on out there? SADIE Darn him.

Now he's wakened Ma. MOLLY

Say! SADIE (Into bedroom) It'a nothing, Ma. MOLLY What *s all the — - dtene.me teeth SADIE What?

113 II - 31 MOLLY

(Pointing) Me teeth1 (Sadie gets them out of the oup and puts them into her mouth.) Who*a making all the noise? SADIE Oh, Bolo got mad and left slamming the door. MOLLY What did he get mad at? SADIE At me. MOLLY Is he coming back? SADIE He said not.

I hope he doesn't. MOLLY

Janet

Jane come here. (Jane rises from the sofa where she has been crying, and enters.) JAKE (Between sobs)

What do you want Orandma? MOLLY Ain't you going to get married?

n-

itA 32 JANE

Never* MOLLY What about me granddaughter? JANE Not from me*

X never want to see another man ae long as—

(She flees crying Into the hall to her room.) MOLLY Sadie, you did this Just to spite me* SADIE Now, Ma. MOLLY I won't have me granddaughter —

with the little grey eyes.

SADIE Yes, you will.

If you Just be patient. MOLLY

1 ean't be patient.

I'm elghty-one.

Or ninety-one —

They're going to get married, and I'm going to see to it — SADIE Yes, Ma.

dive me back your teeth, and go back to sleep. MOLLY

And if you interfere again —

I'll

(Sadie takes out the teeth quickly, dextrously. Molly continues an unintelligible conversation

115 II - 33

which sounds angry and is apparently directed at Sadie, as the lights dim for the end of Scene one, Act Two.

life

n-a - x Scene two?

Two days later.

Holly is alone In her bedroom.

She peers out the window,

mutters a bit and then reaches under her pillow, taxes out a banana and peels it.

Garrett appears on the walX.

Just as Ntolly pushes half of the banana Into her mouth, she turns and sees him.

She shouts with her mouth full. MOLL*

Garrett! GARRETT Hello, Ma. MOLLY You sober? GARRETT Aw, Ha.

Course 1 am. HOLLY

Well, where Is he? GARRETT Outside. MOLLY Well, bring him in. GARRETT He made me go ahead and find out first — MOLLY Sure I'm alone.

Go get him.

if you were alone.

117 IX-2 - 2 garrett

where's sis? MOLLY Over to Denton1® —

gabbing

always gabbing.

GARRETT You think it1XX be aXX right.

mux Sure.

Scott* went fishing and Jane* s down town, shopping. garrett

AXX right. (He exits and returns almost immediately with BoXo.) MOLLY Gome on, come on in. BOU> Yes, mam. (He goes into the house.) 8IDLLY You too, Garrett. GARRETT I’d better stay out here on guard. MOLLY Aren’t you hungry? GARRETT A little.

IU Xi-a * 5 *

MOLLY

Go on oat In the kitchen and make yourself a sandwich. GARftETT All right.

Then I My father aaye you have to he firm with women, from the start or you'll he hen peeked.

mux He's the most hen peeked man X ever saw,

BOJLO Yeah, I guess so.

mux Then why pay attention to him? BO 10 X don't think X should he the only one to give In.

Jane

should he a little reasonable.

mux Are you willing to take Instructions, be married In the church, and raise the kids Catholic? BOLO Yeah.

But X ain't going to join nothin' X don't believe In. MOLLY

Xf X oan fix it up, will you get married right away — you get In any more fights.

before

BOLO

Yes, mam! MOLLY You think you could father a girl? BOLO Cee, asm.

I don't know



I «-—

I — —

I -~~-

MOLLY 1 got to have a grand daughter.

You see to it —

hear?

BOLO Yes, man!

But X'd rather have a son. MOLLY

Later

after I'a dead. BOLO

Why do you have to have a grand daughter? MOLLY Because X have to rest quiet in me grave.

X have to know that

the women are going to carry on. BOLO Well, gee, aaa, men oarry on better than women.

m u x That's a lie men Invented to salve their dignity. BOLO OH! MOLLY Bow, I'll tell you what we'll do

122

11-2 - ? (Sadie appears on the walk.

Bolo sees her and

rises in fright.) BOLO

She's coming. MOLLY t^uickJ

In there. (Pointing to the closet door.)

Hide,

I'll get rid of her. (Bolo exits into the oloset Juet as Sadie appears at the window.) SADIE

Well, you look fat and sassy. MOLLY All through gadding about? 3ADIE X was only gone half an hour. MOLLY That's the tenth time today you left. SADIB It's the first.

What's the matter, are you lonesome?

come in and sit and talk to you a while. MOLLY You needn't bother



- Hey.'

(This last to Sadie who has left the porch to come in the house.)

I'll

123 XX*»2 * 8 SA DIE (Entering bedroom) I*X1 read the paper to you. J0DLLX you nee&nH bother. SADIE Well, then we111 talk. M ObhX

do on up and see Norry. SADIS Well, that1s fine.

First you complain that X don11 stay home,

and then you try to get rid of me.

mux X talk too damn much. SADIE Are you sick? MOWt Of course X ain*t. SADIE That1a the first time X ever heard you say anything against yourself.

110ux Well, X Just got a feelin1 I*d like to be alone for a spell. SADIE why?

m

IX-2 - 9 MOLLY What do you mean why? SADIE There*a something funny going on here. MOLLY you wouldn’t see It If It was under your nose. SADIE Wouldn't see what? (Just then Barrett enters with a large sandwich In hie hand.

He sees Sadie and swallows a large

bite whole.) GA9RETT Sis I Where did you oome from? SADIE What are you talking about. (As she sees him look around for Bolo) What are you looking for?

Say «*—

What's going on?

GARftOT What? SADIE What are you up to Ha? MOLLY What? SADIE (Looking around and then going out into the living room.)

125

xx-a - xo Jane.1

J a n e , w h e r e & r e you? JAMS'. JANS (Enters from the other end of the stage)

Somebody calling me?

Mother? SADIE

(doing out to the porch) where*ve you been?

Where is he?

Where did you see him?

JAMS Mother, oalm down.

What are you talking about? SADIS

Bolo! JAMS Is he here? SADIS Sou haven' t been seeing him? JANS Mot since he slammed the door. SADIS (Sitting down, puzzled.) Something's going on. (Through the soreen) Ufe, what are you up to?

m u x AND GARRETT What?

n-2 - 11

m > u Oh!

Jane, where were you? JANS

Down town, shopping.

SADIE I give up.

I'll find out what you're up to old lady —

when I do -— — MOLLY Let me know. (Sadie exits to the kitchen fast.) Janie, oome here, child.

X want to talk to you.

JANE All right, Gross Mutter. mollx

(Undertone to Garrett) Go on out Into the kitchen. GARRETT Where did you put him?

m u z (As Jane enters) Shhhhhl JANE Secrets, huh?

GARRETT (Exiting) Yeah! —

X guess so.

and

MOLLY

Sit down, child.

Mow, did you see Bolo? JANE

Mo, Grandma.

I —

I went by his house —

but X guess he

wasn't home MOLLY You kind of like him, don't you? JANE X hate him. MOLLY What? JANE X wouldn't marry Bolo Lane if he was --(Molly interrupts with a coughing spell.) Grandma, are you having another spell? MOLLY Nope*

I'm all right.

Let's talk about something pleasant. JANE

He's stubborn, unreliable, inconsiderate, mean, & bully — MOLLY All men are like that, honey.

You got to put up with it.

JANE Oh, nq, X don't.

I won't ever get married. MOLLY

Mow if he was to say he was sorry — - and if he was to meet

n-% - is JAKE I wouldn't have him if he met me all the way (Sadie enters in time to hear this last.) SADIE . Are you talking about Bolo? JAKE Yes, X was. SADIE Why don't you try to forget him.

He doesn't care anything

about you or he'd have been around a long time ago to say he was sorry — UDUAf Maybe he was. SADIE X knew it.

That sneaky, mean, stubborn -— » JAKE

Mother! SADIE Jane, you'll be unhappy with him. JAKE X? X was even considering him -— SADIE You didn't talk to him?

JAMS NO.

He'll make you —

129 n-2 - 14

SADIE ( f o Molly) Did you? H«0LLY Maybe. JANE you did!

When? UADIS

Ma, you keep out of this* MDLLY He loves you, Jane. JANE He does?

Did he eay

bo?

MOLLY Yep.

Lese'n half an hour ago. JANE

Did he —

will he —

Is he — MOLLY

He'll meet you half-way. JANE Where is he? HOLLY (looking to the oloeet.) Bedamnedi

SADIE

Ha, you had him hiding in there — to say ™

Listening to all X had

oh, X --(She flees out of the room.) HDLLX

BEDAJIMEDl JANE Maybe he smothered (She rune over to the door and flings It open*) Bolo2 Oh, Bolo Q---~ (He come* out slowly*) BOLO Xs she gone? JANE Bolo, you are a sneafc — - you've been eavesdropping (She falls into his arms crying)

W U X Hush your clapper tongue*

It ain't his fault.

Xf Sadie

had only stayed away, Bolo and I'd have settled everything. BOLO I'm sorry.

X didn't hear much, really. JANE

Did you hear me say X loved you? BOLO

X held my ears.

? i ii.«.

I1-2 - 16 JANE fell, 1 do. BOLO dee, 1 love you too. MOLLY fell, kies er, be-—

Bolo.

Klee her end then go on out and

get the license, and see about getting married — BOJX) Yes mam! GARRETT (Sticking his head in the door.) Everything all right? JAKE Perfect. GARRETT (To llolly) Where was he? MOLLY Under the bed. GARRETT Oh!

E m OB’ ACT TWO*

ACT THREE

AGT Scene one:

Same scene.

One month later.

The living room is empty,

t h e traffic hetween the

kitchen and the sunporoh, stage right, 1® through the door from the kitchen to the sunporoh just off right of this door.

There Is a hum of voices from the porch.

Jane Is dressed In wedding finery, Bolo In a new suit. By contrast with the sounds off stage right, the bed­ room Is hushed. MOhLf (In bedroom) I wish 1 had a smoke. tfGHA Oh, no I

Not with all these people in the house. JANE (Sticking head In doorway)

How ya doing, Grandma?

Fine.

How's the new bride? JANK

Delirious.

Just delirious. MOLLI

Where's be —

-

134

in - e JANS He1a right here. BOW

(Sticking head In door) Hello, MTe. Gibbons! MOLLY Gome here. —

Gome here and give me a kiss.

(Bolo does a little sheepishly) How, go on out there and raise hell!

Yi hoo

30 L£ Yes raara* NORA (As the door closes) Hefe a nioe clean looking kid. tfCLLY Yep! TOA How is Sadie taking it? MOLLY Hot good! NORA Oh, she*11 get over It. ESOLLY She’s nuts. (Sadie sticks her head in the door in time to

135 III - 3 hear the last remark.) SADIE Who’s nuts? — • Who are you talking about? MOLLY Wo one. (Sadie cornea in the room with a dish of grapes.) SADIE Here, X brought you some grapes.

For you and Aunt Norry.

NORA Hone for me, thank you.

I don’t like ’em. HOLLY

Give ’era to me.

I ’ll eat ’em. 3ADIE

You’ll eat anything. (The door opens and Mrs. Denton sticks her head in the door.) ISIS. DENTON Hrs. French, I can’t find the spices. SADIE I ’ll come along and show you were they are. (Exiting) Wow be good, Ma, and don’t yell or anything! HOLLY (Mimicking)

HOw be good, Ma, and don’t yell or anything!

in - 4 (

NORA

Eat your grapes. (Molly commences to do so.

As she eats them

she looks around for a place to put the seeds* Finding none she starts to spit the seeds on the floor.) Jane marrledl

Seems like only yesterday that Sadie see

getting married.

We're getting old, Molly.

MDLUC Oan't get young. NORA 1 know.

Wouldn't It be nice If we oould.

Baok to the farm,

when we had pigtails. NOLLY And ate nothing but corned beef and sow belly? (A particular long shot with a seed reaches Nora's consciousness.) NORA Molly2 What are you doing? MO LUC Eatin* grapes. NORA What are you doin' with the seeds? MO LUC Spittin4 'em out.

137 XXX - 5 DOHA

(Going to the oloeet and returning with a tray.) Here, use this.

X better get a broom and sweep up the

one's you've already spread around the room. MOLUf Sit down) NORA (Remembering for a minute, she starts to smile -then a giggle)

mux What ye laughin' at? NORA X was just thinking of the time you and X went to Garrett's wedding —

mux That was a sorry day. NORA And old man Cooper was all dressed up to give the bride away — - He went down In the cave to get some elder — and you picked up their oat and threw It after him — MOLL* Never did like the Coopers,

they ruined me only boy NORA

And the oat lit right on his bald head — -

138

Ill - 6

mux (Smiling) Served him right.

He spoilt that Teeale. NORA

Now, Molly ~~~ it wasn't all her fault. MOLLY None a' the Gibbon*' would & run away from a marriage. NORA Maybe not. MOUX (Remembering) Didn't that oat scratch?

Nhewwww! NORA

Old Cooper knew who did it.

Don't think he didn't. MOLLY

Ahhhh!

Pussy Foot.

Soared a' hie own shadow. NORA

Tea, if we were only young again.

And knew what we do now.

MOLLY Yep! (She puts the dish in the window and puts a cloth in the window over them.) NORA What are you doing that for?

MOLLY

If I don't hide 'em, the old lady will take 'em away from me NORA Oh! MOLLY (Looking out of window.) Git,

Go on home,

Git out 'a here. NORA

(looking out too) What are you yelling at that little girl for? molly

Don't want her around here. NORA Who la she? NOLLY Neighbor kid. NORA You don't like her? MOLLY She told her mother she eeen me smoking. Sadie.

Her mother told

1 caught hell! NORA

She looked soared. MOLLY She always comes b&ok.

If I could only get a holt a' her.

m

I - a (She makes a motion of shaking a rag doll.) HOftA

Why don’t you keep the shade pulled down?

mux Can’t see out. SCOTT (Coming In the door cautiously.

He sniffs.)

All clear? MOLLY Whatcha sniffing for? SCOTT As If you didn't know.

Had your smoke? MOLLY

She won't give it to me. SCOTT I'll take care of it. breakfast.

Aunt Horry, they're starting to serve

You go eat, and I'll sit with Grandma. KOEA (Starting for door)

Better be careful. (She exits) SCOTT Well, old woman, and what would you like? MOLLY Me Billy.

14i

Ill - 9 scott

Isn't it just & mite early in the morning for smoking? MOM#

Nope. SCOTT (Going to dresser drawer) The old or the nee pipe. MOM# The old one. SCOTT (Holding up new pipe) What's the matter with the new one?

It looks as though it's

been smoked only a couple a' times? MOM# Made me slok. SCOTT It isn't even broken in, yet.

Sure you didn't make a pig

of yourself. MOLLY Nope. SCOTT Well, O.K., the old smelly one it is then. (He goes through the ritual of spreading a long dish cloth over half of Molly's front, tucking it In under the neck.

Next a pan to

Ill - 10 oat oh the ashes.

Then he fills the pipe, gives

it to Molly and lights it for her*

He takes out

the new pipe and fills it from his pouch.

Soon

there is a room full of smoke.) SCOTT I'll break this one in for you.

Just in case that one gets

broken.

m u x Abhhhh! SCOTT Happy, huh?

m u x Uh huh I (Pause) They get married all right? SCOTT

Y e p , you took care of that. MOLLY Sadie cry? SCOTT Tears all over the place. (Pause) MOLLY

How old am I? SCOTT What a funny question.

Eighty —

eighty-one.

Why?

MOLLY That's a long tine. SCOTT Sure la.

Think you’ll live forever? MOLLY

1*11 live to 88. SCOTT You'll be a great-grandmother, yet.

About time, too.

At

eighty-one you should be looking forward to being a greatgreat-grandmother• MQLLY When they bury me, I want to be all in white.

Everything

white. SCOTT Sow, what brought all this on? HOLLY And 1 don't want anyone wasting money on flowers! SCOTT Ho flowers? HOLLY If ya can't find me a white dress, just wrap me up in an old sheet.

White, no color. SCOTT

O.K.

A white sheet.

144

in - ;e

mux And don't leave until the grave'® filled with dirt.

SCOTT What?

MOLLY Stay there and watch them.

SCOTT why?

HOLLY Crave robber®.

SCOTT (Laughing) How, what would anyone want robbing your grave?

MOLLY Where do you think they get their bone® —

in the hospital?

SCOTT (Laughing) Oh, all right. premature?

I promise to stay.

But aren't you a little

That's a long way off yet.

MOLLY Hope.

I'm ready to go*

As soon as I get me granddaughter.

SCOTT But what if Cod isn't ready for you yet?

MOLLY He'd better hurry up.

in

- is

soon* What* 11 you do If He doesn't?

MDUff I'll«.«.---(There is a long alienee as Molly stares Into the past and Stott Into the future.) SADIE (Coming in. Scott,

Molly quickly hides the pipe.)

The room's full of smoke.

And Father Francis is

ooming. SCOTT So?

He knows Grandma smokes.

Tell you what.

head out the door with the pipe in my mouth.

I'll stick ray They'll

think it's me. (He does so.

Heturns immediately) SADIE

Help

m e clear this up. (They put the instruments of smoke away. Sadie sits down and begins to weep softly.) SCOTT

Mother, it's not that had. SADIE It'll end in divorce, I know it will. MOLEI Stop your hellering.

I didn't cry when you got married.

14S Ill - 14 SAPIS

Pete was & Catholic and I was older than she Is. MOLLY You were the same age as she Is. SADIE I was six months older.

Anyway kids were older then.

They

had more sense. MOLLY Hefferdust! SADIE Ha! SCOTT dot you that time, Mother. (Sadie weeps softly) Come on, ?&>ther, your eyes will get all red. (Sadie drys her eyes and goes out to face the crowd.

It’s her Job, she’ll do it.)

MOLLY I didn’t finish my Billy. BOOTY I’ll give you another one as soon as the people clear out.

MOLLY Humph!

SCOTT Now look pretty, and 1*11 get the camera and take your picture.

XII - 18 uo&uc (Pleasure) CtoooooooI SCOTT What's that In the window? tSDUX

Grapes. SCOTT Do you want me to put them In the Ice box for you?

mux Hope. SCOTT Well, then —

wait right here and i'll go get the camera.

(Exits)

m u x (To closed door) I won't go any place. (Pause) SCOTT (Coming baofc In) All set.

I'll take the picture Just as soon as Jane and

Bolo get here. MOUX I oughtta have my hair combed. (Jane comes In)

Ill - 16

SCOTT Jane, oomb her hair and fix her up pretty, huh? (Jane combs her thin hair and puts a red ribbon In her hair.)

SCOTT (Focusing camera) Look at the birdie!

Look at the birdie!

(Holly preens herself) Thatfs It.

Hoe smile — — for practice. (Holly doesn’t smile too well)

Hey!

You old bat!

Laugh!

(Molly laughs at the 'old bat* name. He takes the picture.) JANE (Still combing her hair) Scott!

She Isn't ready yet.

SCOTT That was just one for practice.

MOLLY Lemme take your picture.

SCOTT Oh, you think you could, huh?

MOLLY Oh huh.

Ill

- X?

SCOTS Tou*d probably point it the wrong way.

mux Uh huh. (BoXo comee In, followed by a long, lean priest In brown Franciscan habit, sandala. la short, his face lean and drawn, are hind.) BOliD Father Frederick*s here. MESH (Ritual) How*s all the sick, lame and lazy?

m U X (Ritual) Ready to sit up and take notice. FATHER You look like you*re getting enough to eat. BIOU# (Bothered) lou going to hear suy confession? FATHER Rot unless you*ve got something special.

W U X (Relieved) Mope.

His hair But his eyes

150 III - 18

FATHER I* 11 be back the middle of the month. for the wedding breakfast.

Right now I came over

Bid you get something to eat?

mux X ate me fill while the rest were at church. FATHER You’re getting to be quite a heathen.

X didn’t see you in

church last Sunday?

m u x Mope. SCOTT Father Frederick, would you be in a picture with Jane and Bolo? FATHER Sure, if Grandma's in it too. SCOTT How about one of all four of you? JANS All finished.

Even to the red ribbon.

(They group around the bed.) SCOTT I thought you liked all white.

HDhht That’s for when X ’ra dead.

151 i n - le

scon A little closer to Jane, Bolo. —

That1s better,

(Flash bulb) FATHER Well, I'd better see about getting something to eat. about It, Grandma? JfOLLY Sure. FATHER C’mon along

I *11 buy you a beer — -~ HOLLY

If I only had me two feet. FATHER Uh huh.

Well, be & good girl, (He exits) SCOTT

How, one more picture of the three of you. (They line up.

SSott taJces the picture.) JAWE

We'd better get bach to the guests.

Come on Bolo.

(They exit) MOLLY They come in and go right out.

Don't etay a minute.

SCOTT Well, I lifce that.

I'm still here.

How

/ S'jay

Scott:

A little closer to Jane, Bolo —

that's better.

153

in - so MO LUC You'll go back to Chicago.

SCOTT Yes.

I'll go•

HOLLY Then I'll be all alone.

SCOTT Grandma!

Mother *11 be here with you.

BiQLLY She don't like me.

SCOTT Now, is that a nice thing to say?

You know she likes you.

You shouldn't say things like that. believe you.

Some stranger might

Now aren't you sorry you said that? MOLUC

Nope.

SCOTT You are too. old mule.

But you won't admit it.

You're Just a stubborn

Now aren't you? (Molly l&ugha) (Garrett appears on the sidewalk.) SGQTT

1 flee Garrett decided to show up. WhlSX

Hello, Garrett.

154

xn - 21 GARRETT. (On porch, weaving) Helloi Ma. (He grins foolishly) MOLLtf You been drinking, damn you. GARRETT Just a little bit.

Just one glass a beer.

mux Well, come in here, don*t fall all over the party. GARRETT (Doesn*t move) I brought you an loe or earn cone.

But X lost it.

mux (Scott starts to leave) Go help him in. GARRETT (Hurt) 1 can come in, (He goes around the porch to the front door,

staggering.) (There is a hushed expectancy in the bedroom. Both seem to be awaiting something. the something happens,

Very soon

over the low murmur of

voices, that can be heard when the bedroom is

Ill - 82 quiet, there is a loud crash and the breaking of a few dishes.

Almost Immediately Jane, looking

shooked and hurt, enters.)

scon Don't tell me.

(larrett? JANE

Uh huh. (She commences to cry) Everything was going so well and he had to show up. SCOTT He's your unole, Jane. JANE I don't care if he is.

I've been afraid all morning that

Mother would start crying and carrying on.

Now he — -

(Crying hard) MOLLX What'd he do? JANE He «*— lap.

he knocked over the cake.

Right in Mrs. Denton's

Z tried to warn her MOLLI

Good*

The old bat.

Serves her right. JANE

(Sobbing) My wedding breakfast — - ruined.

in -

23 MDLLX

I didn't get any of that cake. SCOTT 1*11 see what X can do*

Don't pay any attention.

Come on,

dry your eyes, and we'll go out and Just act like nothing happened. (Garrett comes in the door, propelled by an un­ seen hand that immediately withdraws.

He looks

just a little sheepish.) garrett

(To Soott) Hello, Wobblie. SCOTT Hy, Garrett. GARRETT (To Jane) I, ah --

I sorta spoiled your cake, sis. (Jane bawls loudly.)

Don't worry, sis, I'll get you another one. JAKE (Exiting) You needn't bother. (She slams the door)

GARRETT Just thought I'd come up and wish sis luck.

— - I forgot to —

4,* ytp

k.'JA

I I I - 24

(He starts for the door)

SCOTT (Stopping him) Don't bother her now.

She's upset.

GARRETT 'Counts me, huh?

SCOTT Yeah. ?JQU£ Sit down and get a load off your feet.

GARRETT I can't stay long.

Gotta get back to work.

must (Surprised) Where?

GARRETT Helpin' out Dike Appleton at the Wooden Shoe, HOLLY I thought it blew up.

GARRETT Opened up a new one —

across the street. MDUX

(Sarcastic) Hioe an' handy.

amnm (Looking at Holly, then:) Yeah!

SCOTT At least you can stay and have a pieoe of cay -- something to eat?

GARRETT Hot hungry.

I'll just sit and talk to Ma for a while.

SCOTT I'll see if I can find you something to eat. Grandma?

How about you,

Hungry? MOLLY

I want a pieoe a* that cake.

SCOTT I'll see what I can do. (He exits,)

HOLLY Don't you oorae to my funeral drunk.

Hear me?

GARRETT I ain't drunk.

MOLLY You do, and I'll haunt you.

GARRETT All right. MOLLY And you ought a go to church.

You ain't been in a long time.

GARH&TT How, Ma.

I f you’re goln’ to pick o n me, I’m goin’ to leave. NOLLY

You stay right there,

’Till I fini eh with you.

(Garrett puts hie head in hie hands.

Molly

looks at him sympathetically, for a minute. Then disgustedly:) Oh, you ain’t so bad.

There’s a lot worse,

(Garrett looks up relieved — — as Scott enters with two plates of broken cake.) SCOTT It’s a little broken up — - but here it is. GAftHETT (Taking one plate) Thanks,

mux (As Scott extends her plate) Put it under me pillow. SCOTT (Pause) You’ll dream of the devil. MOLLY I’ll dream of a little baby girl, with grey eyes. see! Curtain

You’ll

J.60 in-s - i Soen© two:

Molly's birthday.

Ten months later.

About

eleven o'clock in the morning. She stage is empty exoept for Molly in bed as usual. She bush has flowers on it. fully out of the window.

Molly is looking wist­

The mailman comes backing

on stage with his stick held ready.

The dog barks

next door. KAILKAM

(From walk) Good morning, mam! MOLur Come here!

mim m (Shakes his head) Late this morning.

And there's no mail.

mux Can’t you talk a bit?

MAILMAN They ordered a speedup at the post office. another block to carry.

They gave me

Good morning.

(He goes up the walk.)

MOLLX (Starts to whistle.

She tires of this and

turns on the radio.

A few lines from a very sad

III-2 - 2 soap opera - Molly turns off radio.) Damn cry baby! (About the radio character) (Molly looks out the window No squirrels!

)

NO dog!

(Molly starts to sing, sad and plaintive.

She

tires of this, turns on the radio, happens to tune a sobbing woman - turns it off immediately.) Hefferdust! (She is silent for a moment staring straight ahead.

All is stillness.)

(Jane comes up the walk whistling.)

JANE (Getting to porch) Hy!

Grossmutter. MOLL?

Hello.

JANE Well, X like that.

Down In the dumps?

m u x Laying here, laying here. —

How long I been laying here

not able to get out?

JANE You get up in the wheel chair.

mhix How long? JANE Two years last Easter. MDLLX Two years!

JANE Where's Mother? MOUX Gadding about.

JANE Scott?

MOLLX Asleep.

He's to be called at eleven.

JANE It's almost eleven now.

Shall X call him?

f^OLLY Nope.

I'll do that.

JANE Well, X have to go find Mother.

We're working on a surprise

for you. MOUX X don't want no surprises.

You gonna have a baby?

JANE Could be —

Maybe on your next birthday!

ffi?: III-2 - 4 MOLLY Don*t want no birthday8. —

Hot* old am I? JANE

Eighty-two. Remember.

Mother told you last night. MOLLY

Too damn old.

Ought a shoot old people.

Like they do horses.

They*d he better off. JANE dee, you*re in the dumps. we’ve got for you.

Just you wait until you eee what

It’s a surprise.

Something you want.

MOLLY Don’t want nothin’. JANE You’ll see. (She goes up the walk to neighbor’s.) (There is a deep silence, ing at the clock.

ftolly is Intently look­

She holds up five fingers, and

slowly lowers one after the other. one is down, she —

When the last

)

mux (Screaming) Scotttttttl

det uppppp!

Scotttttttl

(She pauses and listens, then repeats) Soottttttttl

det up damn youuuuuuuuui

Scotttttttl

(She continues screaming and pounding the cane beside her until —

) SCOTT

(Way off stage — Oh Kayi

Oh Kay!

loud)

X heard you.

I'm up.

Oh, Kay.

(This finally reaches Molly and she quiets.

During

the above the dog that has been barking periodi­ cally at the postman stops In the middle of a bark and is quiet.) (Father Francis appears on the walk in his usual Franciscan robe.)

FATHER Good morning, Grandma.

MOLLY Hello. FATHER Hioe day to go fishing!

MOLLY It*s me birthday.

FATHER Well, congratulations. How many? MOLLY

(Confused - she doesn’t remember what Jane said.) ninety-two.

FATHER

Well, you1re almost ae old as the church.

MOLLY Too damn — —

too old. FATHER

Where's Sadie? MOLLY Gadding about. FATHER Next door?

I'll go look for her.

I tried to call last

night, but your phone wae out of order.

This is the day, eh?

MOLLY I'll yell for her.

Heeeeee allllllll. FATHER

(Exiting up walk) That's all right.

I'll find her. SCOTT

(Off stage closer) I'm up.

I told you I was getting up.

MOLLY Wasn't calling you. SCOTT Oh, you weren't?

What were you doing, exercising your lungs?

NDLLY Nope.

— - The priest'e here. SCOTT

So?

Were you yelling for help?

mux Nope.

For Sadie.

She*a got to get things ready. SCOTT

Well, I1A better get dressed. (Looking out window) There they come now. (Sadie comes down walk with Father Frederick.) SADIE I'm awfully sorry, Father Frederick.

If I'd known you were

coming this morning, I'd have had things, ready. FATHER That's all right.

You can give me a cup of coffee while

I'm waiting. (Sadie and the priest enter the front door and oontinue into the kitchen.) MOLLY Hey!

Sadie.1 (Sadie enters from the kitchen.) SADIE

What do you want?

ixr-s - 8

MOLLY The priest’s here#

X Know it*

I ’ll be right back*

I ’m heating the coffee for

him. MOLLY He’s going to hear me confession?

BJkpm (Exiting) Yes, and remember, you’we cussed out most of the neighbor­ hood, and all of the dogs. (Poor closed) MOLLY (To empty room) I don’t remember, SCOTT (Re-entering dressed) Good morning, my little alarm clock. MOLLY What time did you get home last night? SCOTT How, that’s my own business, Isn’t It? MOLLY You woke me up* SCOTT X did not.

I peaked In to see If you were all right.

You

1X12 - 9 were snoring louder then a boiler factory. MOLLY Humph! SADIE (Coming in) Scott, get that little stand out of the back room. (Scott exits) Sure he would come today.

Just because I haven’t combed

your hair. (She swipes at the hair a oouple of times.) MOLLY He don’t care If me hair ain’t combed. SAPIE well, i do. HOLLY How many times? HADIS

How many times what? MOLLY bid 1 cues? SADIE Plenty.

It’s been a month since you went to confession

at least ten times a day — - three hundred tides. (Molly scratches her head. table.)

Soott enters with

III-2 - 10 put It there.

Now get that white doilie out of that dresser.

(Scott does so and puts It on the table.) The holy water, next to It dish.

Pour some In the little

— *■ There, everything’s all ready.

Tell Father

Frederick he can come anytime now. (Scott exits) Now, all set? MOLLY All set. SADIE (Exiting) Don’t forget! (Door dosed) MOLLY I cussed, X smoked, I —

1 —

I — . I was mean to me

mother. FATHER (Entering) (He carefully closes the door. go to the kitchen.

Sadie and Scott

Father Frederick doesn’t say

anything as he adjusts the maniple on his arm, and places his prayer-hook on the stand.

He takes

a small leather case out of hie chest pocket and puts that on the stand.) (Turns to Molly) Now say after me

Bless me, Father, for I have sinned — —

IX1-2 - u molly

(Mumbling) Bless me father for X have sinned. FATHER My last confession was — —

one month ago «~MGLLY

One month ago. FATHER Since then I have committed the following sins

MOLLY Following sins — (Pause) FATHER The following sins (Pause) MOLLY Following sins. (Pause) FATHER (Kindly) Well? (Pause) MOLLY (quickly) I cussed — —

in-2 -

171

12 (Then slowly confused)

Three thousand tines. FATHER (Amazed) Three —

(Pause) MOLLY I tormented Sadie,

Three — —

three tines,

(Father nods) X smoked. FATHER (More amazed) Smoked? MOLLY (Mad) I smoked.

FATHER Oh?

Anything wrong with that?

MOLLY Sadie says there is.

FATHER I see.

Anything else?

MOLLY Nope.

FATHER Now, let*s say together the act of oontrltlon — Eternal FatherI

I am heartily sorry for having offended thee

(The prayer drones on - lights down on the bedroom.

Jane comes in the front door carrying

a long, pure white crepe dress.) JANE Mother! (Sadie comes in from the kitchen.) SADIS ShhhhhJ JANE Oh.

I forgot.



It*a all finished.

(Scott comes in from the kitchen.) How do you like it, Soott? SCOTT Beautiful.

When are you going to give it to her? SADIE

As soon as Father Frederick leaves. SCOTT That reminds me.

I have to call about my present. JANE

What's all the mystery about, Scott? SCOTT You'll see.

It's a surprise.

^

JANE Surprise for everybody? SCOTT for Orandma.

I ’ve been thinking about It for a long time#

I

got the idea when you wrote me that you oould keep Grandma up for several hours if you keep her legs propped up. SADIE It keeps all the blood from running to her feet. SCOTT Yeah. (He goes to the phone, dials and speaks In an undertone during the following.) JANE (About the dress) Think it’ll fit her? SADIE I hope so.

We used her old pattern, but she’s gained

weight, lying In bed and eating so much. JANE (Spreading out the dress) Oh, It’s big enough.

Looks like It could go over the bed

and all. .SADIE I’ll have to get her some all white shoes, if I can find any.

JANE In a way, it's kind of sad. SADIE (Matter of faot) It's what she wants. (The door opens and the priest comes out of the room,

lights up in the bedroom.

Scott puts down

the phone.) FATHER Hello Scott--- Well, Jane, how's married life treating you? JANE Just fine, Father. FATHER That's good —

Well, it's eleven-thirty —

I'll have to be

running along. (Scott comes out from phone.) Back for your Grandmother's birthday, Scott? SCOTT Wouldn't disappoint Grandma for the world. never hear the end of it. IJOhLX (Calling) Sadie! SADIE (Going into bedroom)

If I did I'd

I I. 4 M n x - g - 16

FATHER Going to be here for the parleh picnic next Sunday? SCOTT I'll be there. FATHER Good,

you can work in the Bingo game. (He exits) MOLLY

Well, X told him. SADIE Don't tell me, Ha.

I'm not supposed to know. MOLLY

Well? SADIE Well what? MOLLY Where's the surprise? SADIE What surprise? MOLLY Jane told me. SADIE Now, why would I work up a surprise for somebody as mean and onery as you? MOLLY Show it to me.

176 m - g - I? SADIE Oh, all right.

Jane.'

Bring It In.

(Jane does so, followed by Scott) MOLLY (Glowing) Ain’t It pretty.

Me dead petticoat! SADIE

Ma!

It’s a dress. molly

(After a pause) It’s too pretty to be buried In. SADIE (Beginning of tears) How, you don’t have to talk about — JAM

(Also tears) About being burled in a sheet. MOLLY Ain’t it nice? SADIE (More tears) And I ’m going to get you some white shoes. JANE (More tears) He decided to give it to you before -—

III-2 - 18 SCOTT 80 you wouldn’t have to worry.

MOLLY Hang It on the hook.

Where 1 oan see it. SCOTT

(Just a hint of a motion with his finger to his eye.) Well, I have to see a guy.

I ’ll he hack soon. SADIE

(Sniffles) Bolo will be here for lunch and we're having our party then. Can’t be late. SCOTT It'll only take me a few minutes. (He exits) MOLLY (To Jane) You get off work too? SADIE She quit, this morning. MOLLY Going to have a baby, huh? JANE Yep -—

I was going to surprise y o u --MOLLY

When?

./ 0

XIX-J3 - 19 JARS It won’t be long. SADIE —

Well, I have to see about dinner. JANE

Want me to help? SADIE (Exiting to kitohen) No, you keep Ma company.

It1s her birthday. MOLLY

What’oha going to name her? SADIE (At door) Anything but Sarah.

Poor little baby —

they’d call it

Sadie all its life. (Exits) JANE How about Mary, after you?

MOLLY That’d be nice. JANE Well, do you feel better after confessing all your sins?

MOLLY Yep.

Did you tell him you smoked? MOLLY (Slyly) You don’t think X tell him everything, do you? JANE' Grandma!

MOLLY When’a the baby gonna come? JANE About the first of November, IJDLLX (Disappointed) Oh. JANE What’s the matter?

Can’t you wait to be a great-grandmother?

MOLLY Suppose I ’ll have to. JANE (Laughing) Yes, X guess you will.

MOLLY Where’d Scott go?

JANE X don’t know.

He has a big secret.

About you.

He won’t tell

180 XIX-2 - ZX anyone a thing about It. MOLLY

A surprise? JANS A surprise. MOLLY Goody, goody.

X like surprises. JANE

You do? MOLLY Yep2

What Is It? JANE (Laughing)

X told you, X don't know. MOLLY You Just won't tell me. JANE All right.

It's a chariot.

A fiery chariot, for you to

ride to heaven. MOLLY Yeeellll —

a ridel JANE

Hey2 X was kidding! MOLLY Sadie's baking a o&ke.

X can smell It.

III-8 * 23 JANE You won't die until your belly's fullJ MOLLY Nope* JANE (Looking out window) Here oomes Bolo. MOLLY Has he got a surprise? JANE Looks like It. (Bolo appears on the walk.

He Is dirty from work.)

MOLLY What is it? JANE Well, can't you wait? HOLLY (Looking out window, disappointed) Flowers! (Bolo appears on the porch with a bunch of

g a r d e n flowers.) BOLO Hyi

JANE Where*d you get the flowers?

112-8 - 85 BOLO From Fete and Steve.

Far Grandma's birthday.

JANS From the bachelor a, Grandma.

From your boy friends.

m u z Oh2 Well

bring ’em In here. (Bolo goes around the house and in the door into the room.)

They wouldn’t be bachelors if I had me two feet.

JANS Both of them?

mux Yep,

BOLO (Entering) They said they'd be over tonight to see you.

m u x Whyn ’t they come for the party?

BOLO I —

I didn't ash them.

MOLLY Well, why didn’t you? JANE (Aa Bolo struggles for an answer) You'd better get cleaned up.

How long did you get off?

III-2 - 24 BOW) An hour for lunch and an hour extra* JANE It1XI take an hour to get all that dirt off. BO W (Exiting) Yeah.

I ’d better get started.

What’11 I do with these?

JANE Here, 1*11 take them out In the kitchen and put them in a vase. (Bolo goee out followed by Jane.) HOLLY (After a pause) They1re all gone again. — — * Leavin* me alone. (There Is another pause. window.

Molly looks out

Pause. Then — - )

Oarrettl (Calling) Garrett J (Garrett appears on the walk carrying In front of him a small, slightly dilapidated bush. comes up on the porch.) MOLLY It’s me birthday. GARRETT 1 know. MOLLY

He

n x - a - 26 MOLLY

You sober? GARRETT Sure! (He Is —

almost) MOLLY

What’s that? GARRETT A present. MOLLY What Is It? GARRETT A blackberry bush. MOLLY What did you bring it for? GARRETT You can plant it.

Next summer you can have all the berries

you want. MOLLY Where’d ye get it? GARRETT Out in the woods. MOLLY Got any berries on it?

GARRETT (Examines bush) Yeah — - one little one. MOLLY Well, bring it in, so X can see it. (Garrett goes around the porch, and comes into the bedroom, spilling leaves and dirt on the floor.) GARRETT Sadie111 be mad.

Some of it spilled. MOLLY

Let her.

It’s me birthday. GARRETT

X didn’t have any money. MOLLY (Indicating dress on floor.) See what Sadie made for me? GARRETT It’s purty. MOLLY It’s me dead petticoat. GARRETT Oh? MOLLY All white.

And white shoes go with it. (Sadie comes in the door with a vase full of flowers )

I8fi m - e - 2? SADIE What18 that? GAHftETT

A blackberry bush, SADIE Well! take It outside. MOLLY It*8 me birthday present. GARRETT You oan plant It

for next year. SADIE

Well, you oanft plant it In here,

fake it out on the porch —

GARRETT (Rising to do as he is told) All right.

m u x Dive me the berry. (Garrett hunts around and finding the one berry on the floor, he picks it up and gives it to Molly. She chucks it in her mouth.

He exits)

SADIE (Molly makes a face.

Spits the berry out.)

Ita! MOLLY It*s sour.

XXX-2 - 28 GARRETT (On porch) Where1XX X put it? MOLLY Right there, where X can see it. SADIE Will you stay for dinner? GARRETT (Slightly peeved) I'm not hungry! MOLLY It's a party. GARRETT Well, all right. (He re-enters) MOLLY What time is it? SADIE Five minutes past twelve. MOLLY I'm hungry. SADIE We'll have to wait until Scott gets here. right hack.

He said he'd he

XIX-B - 29 JANE (From the kitchen door) Mother!

Where's the cake decorator? SADIE

Xn the lower cupboard. JANE No, it isn't.

X looked. SADIE

(Going out door) X don't know where I put it, last time. (Door closes) MOLLY The priest was here. GARRETT (Wary) Yeah? MOLLY This morning.

You been to church. GARRETT

No. HOLLY When you going? GARRETT Next Sunday. MOLLY You go to confession.

I'll just have to look.

GARRETT All right. molly

You promise! oarrjstt

I promise *— (Scott sneaks In the front door and out Into kitchen) MOLLY Soon as you do that, you come and tell me, you hear? GARRETT I hear.

Well, I'd better be going. MOLLY

You stay here for the party.

We're going to have cake. GARRETT

I'm not hungry. MOLLY So, you're full a* beer. GARRETT I haven't had a drink. MOLLY Since when? GARRETT This morning.

111-2

-

31

MOLLY Well, while your stomach's empty, you get some good food in it, GARRETT All right.

All right. JANE (Head in door)

Garrett, they want you in the kitohen. (Garrett gets up and silently exits)

W U X (Suspicious) What they want him for? JANE I don't know. MDLLY You never know nothin'. JANE That's right.

Sees all.

Hears all.

me. MOLLY Humph. JANE Well, 1 have to be going. MOLLY Why?

JANE Surprise.

Knows nothing.

That's

mux oh! (Jane exits silently watched by Molly. cranes to see what Is taking place.

Molly

She can*t see.

Pause.) Hey! (There is no answer,

pause.)

(Scott comes in carrying a large birthday cake, followed by Jane and Bolo, followed by Sadie and Garrett.

All ere singing:) ALL

Happy birthday to you.

Happy birthday to you.

(Molly grins and Joins in on the next happy birthday.) Happy birthday dear

(mother)

(grandma)

Happy birthday to you.

mux Weeee! booty

(Presenting cake) Here you are!

mux Where1s the knife? SCOT? You want a piece now?

192

IJI-8 - 53

mux Sure. SADIE you111 spoil your dinner. MOLLY X don’t care. SADIE Put it on the dresser.

Tell her about your present, Soott. SCOTT

How would you like to go for a ride, Grandma? MOLLY Weeeee! (Soberly) Xf I only had me two feet. SOOTT We’re got that all arranged.

Look out the window. MOLLY

(Looking) Where? SCOTT Over there, in the driveway. MOLLY A hearse!

Who died?

m m - 8 - 34 300n Nobody.

We're going to take you for a ride In that ambulance .

It*s the only thing X could think of, where you could ride lying down and see out the windows. molly

Iff!i going for a ride in a hearse?

scon Sure, don't you want to?

m u x Sure2 Let's go. SADIE After dinner, Ha. MOLLS Now! SADIE Well —

all right. (ftiere is a very loud, very triumphant scream from Molly - pure joy.)

Ma, now you take it easy. yourself.

You're not supposed to excite

Remember what the dootor said. (Molly screams again)

(Molly is quiet) Soott, you and Garrett and Bolo get out of here for a minute, while we fix her up.

i H U B

- 35

n

miMX Hurry up* (Men exit) JANE Nice surprise, huh, Grandma?

mux Weeeeel SADIE

Mai (Molly is quiet again) I ought to ooab her hair* MOLLY Ho! JANE She1e all right. SADIE Get the wheel chair over here.

I'll put a blanket on it to

wrap her in. (The two women fuse around getting Molly ready.) BOEO Where1d you get the ambulance, Scott? SOOTT I rented it.

Wasn't sure I could get it this morning.

why took me so long.

It was in use. OAHHETT

I brought Ma a blackberry bush.

That's

SCOTT Oh! GARRETT Yeah, you can plant It and next summer there'll be berries in the yard. SCOTT That's swell, Garrett. GARRETT Had trouble getting It.

Out in the woods. SOOTT

Ohl SADIE (Calling out) All ready! MOELY fteeeeeee!

Come on, come on, come on. SADIE

lfa!

Don't excite yourself. SOOTT (In the room)

You take the right arm, Bolo. (Soott and Bolo lift Molly from the bed to the chair.

She continues to sing and shout with joy.

Sadie tries unsuccessfully to quiet her.)

SOOTT

All set? holly

teeeeee! SOOTT Here we go. (The procession starts to the living room, then to the front door.) MOLLY I'm going for a ride.

Yeeeeeeee! SADIE

Mai

Please don't get so excltedj MOLLY

Out of my way.

Yeeeeeee!

(In the midst of her loudest cry of happiness she chokes a little and is suddenly still,) Sadie M&j

Mai

Oh, my God, she's had another spell. SOOTT

(Listens to her breath) She's —

She's gone. (Garrett comes on the porch, sees the blackberry bush, picks it up and exits up the walk dragging the bush behind him,) Curtain

Scotts

She*8 -- She's gone
t-j

S O N D E L I S

C'

'ii o

CAST OF CHARACTERS Celeste Beautiful U s e

(Mama)

George Walker

(The Dark Prince)

Ira Mulford Sr. Martin

(Papa)

Willie Judge Footer Mr. Meek The V. P. Amelia Tippale The Old Man

(The Fool)

DsaoiuraoH or

t h e set

The setting for the entire play is the "aondelia Milk and Beer Tavern. «

The effect at first glance le one of

gaiety and slightly fantastic charm.

The set might he frag*

mentary, with odd angles and uneven lines.

At the stage

right tormentor there is a door to the outside, a glass door with the words "Milk and Beer" written on it.

The remainder

of the stage right wall is taken up with the bar with the usual bottles and glasses in back of it.

It is low with

three low stools in front of and facing it.

The rear wall

is at a slight angle to the curtain line with two double doors or perhaps a scrim screen disguising a bedroom through the wall.

The bedroom is on a higher level than

the rest of the room.

When the doors are open or the wall

disappears, the brightly colored, fairy-tale motif room can be seen as a kind of "inner below."

The remainder of the

rear wall is partially masked off by two booths, the backs of which run parallel to the curtain line and are high enough to hide anyone seated in the booths. two glass top tables with wire chairs.

Downstage left are The effect of the

set is one of reality In fancy, carried out by line, mass, color and furnishings. The lighting Is ordinary, perhaps there is a lamp post outside the door.

During the fantasy scenes there creeps

over the whole set an effect of mist, brought about by light change. 7

ACT OHS

I -

I

ACT ONE

A little after tomorrow*

Time: Place:

Europe— in front of the Iron Curtain.

At the rise of the curtain, Celeste is behind the bar drying glasses with a bar towel. around humming a song. very nice looking.

Beautiful Lise is dancing

She is not really beaut iful— but

She might he 36, dark, with most of her

features Just a little out of proportion. BEAUTIFUL U S E Isnft that a pretty tune, Celeste? (Celeste nods yes) BEAUTIFUL LISE (Breaks Into song) The dreamer awakes, The shadow goes by, The cock is a myth, Da da da da dl. (At the end of the song Beautiful U s e notices one of the glasses that Celeste has placed behind the bar.)

213

1-2 Celeste!

You've been dreaming again.

You're mixing the

beer glasses with the sohnapps..... (Celeste looks sad and then she runs and throws her arms around Beautiful Lise.) Now, child....that•s all right...You dance for me and I'll finish drying the glasses.

All right.

(Celeste nods and goes into a long glide as Beautiful Lise hums and then breaks into song. Then she danoes a slow waits.) Yet ponder it well, Good maiden, good youth, Though da da de dl. Its teaching Is truth. (Celeste breaks up the danoe and in the midst of the song she takes Beautiful Lise by the hands and together they dance around.

At the end of the song George

Walker enters and stands in the doorway.

He

applauds the dancers and they stop rather embarrassed.) GEORGE WALKER Very very pretty

Go on, don't let me stop you....

(Celeste, in evident fear, hides behind Beautiful Lise.)

BEAUTIFUL U S E Don't be afraid of him, child.

I'XI take care of you.

GEORGS Aren't you afraid of me, Beautiful Lise? BEAUTIFUL U S E Please....I'm not beautiful. GEORGE All right.

Just saying what I hear everyone else oall you. BEAUTIFUL U S E

Gome, Celeste. (She starts to escort Celeste to the double doors.) GEORGE Walt, don't run off.

I'm not going to hurt you. BEAUTIFUL U S E

Aren't you an evil man? GEORGE 1 suppose I am....but not as far as you two are conoerned. BEAUTIFUL U S E Come, Celeste.... (She takes Celeste over to the double doors and, shutting them firmly behind Celeste's exit, she turns to leave by the entrance.) GEORGE You're against me too, aren't you?

You don't like me.

BEAUTIFUL U S E You don’t speak the truth.... (She leaves.) GEORGE Walt...Beautiful Lise... .She’s gone* body likes me

They’re all gone.

No-*

Damn this place.

(The door opens and Ira Hulford enters.

He Is

about 34, In excellent health, sun-lamp brown, smooth with nervous energy.

When he moves, he

does so qulokly, almost Jerkily, yet completely controlled.

There Is a perpetual smile on his

face, but one gets the Impression that the smile Is painted on.

George doesn’t even look up.

Ira

stands looking at him for moments, he starts tap* ping hla foot and finally bellows:) IRA WALKER! GEORGE (Startled) Wha

What!

Oh, It’s you! IRA

Yes, Mr. Walker.

It’s I....... GEORGE

(Indicating chair) Sit down......

Sit down, he says*

Sit down*1 Just like that. GEORGE

Well, don't sit down, then. IRA WHAT IN HELL IS THE EXPLANATION OF ALL THIS?

GEORGE (Calm) I'd forgotten the sound of that voice....Sounds like old times.

IRA Maybe I'd better go out and come back In.... GEORGE (Resigned) Well, why not fire me and get it over with. IRA Fire you?

I'll flay you alive.

What in the name of. ...Just

what does this sentimental babble that you call a report.... (Ira takes a sheaf of papers out of his pocket and too angry for words he shakes it under George's nose.) GEORGE I quit. IRA (Fighting for control) ....I'm going to get this all straightened out....

(He site) Start at the beginning, George. GEORGE I'm a bastard..... IRA DAMN IT ALL TO HELLLLLLLL \ GEORGE All right....All right.... IRA “And therefore this investigation

I find it impossible to continue with Suggest I be relieved Immediately.GEORGE

"Suggest you come down here yourself.

Only a brute with a

heart of lead and the hide of an elephant can proceed any further.* IRA Meaning me? GEORGE You came. IRA In all my years as the Chief Inspector of Communications... GEORGE In both your years.....

Look, you used to be my aoe Inspector,

when Sols Pierre

fell down on this Job, who did I send here to wrap It up? Walker.

1 said to the Secretary, "Walker's the man.

take care of It If anybody can." Worse.

He'll

And then you fall me.

You send back this Infantile report.... GEORGE

I'd liked to have seen your faoe when you read It. IRA You explained nothing....Some damn foolishness about the people being too kind....Changing the whole outlook of the Job...... GEORGE Yes Indeed! IRA SONDELIS (Pronouncing It Son~dell'~lz) GEORGE Sondells (Pronouncing It Son'-de-lee*) (Ira stops disgustedly and nervously taps his forehead.

Suddenly he looks around the tavern.) IRA

Where Is everybody?

GEORGE They're giving me the treatment. IBA What? GEORGE Whenever I come in here they all leave. IRA Why? GEORGE (Disgustedly) Because I work for you.

Because I stink. IRA

Look.

I came down here to fire you.

Just give this to me straight. back to the oapitol

I've changed my mind.

So I can clean it up and go

You go back and tell them I'll be

back In a couple of days.... GEORGE That's what you think. IRA Damn it, do you want your Job or don't you? GEORGE To tell the truth

Yes. IRA

Aren't you going to tell me anything about what went on here these last two weeks?

220

X- 9 gsohih ;

Yeah.

What do you want to know? IRA

How far did you get?

(lot any idea who owns the outlaw wire*

less station? GEORGE I know who owne it. IRA (Eagerly) Who? GEORGE Or. Douglas Wartin, eminent physician of the village. IRA You know....And you haven't done anything about it? GEORGE There was nothing I could do.

Ho proof.

IRA Then why didn't you find some?

Or invent some?

GEORGE BoyJ

Have you got a surprise coming? IRA

Will you stop being cryptic... .Stop talking like a character and give me the facts......

GEORGE (Taking out a little notebook.) All of them? IRA From the beginning. GEORGE (Reading dully) The Village of Sondelie!

The country of Sonderlai

The

continent of Europe... .The Eastern hemisphere...The Earth. IRA X know all that.

Get to the problem... GEORGE

Outlaw wireless station, near Sondells...believed to be illegally operated by the villagers....interfering with J. Manelll's station.

J. Manelll irritated.

Pressure is on

Mulford to get something done about it.... IRA (Mad) I ENOW ALL THAT1 . GEORGE By the way, how is J. Manelll? IRA There111 be a complete reorganisation of the Department of Communications if this outfit isn't found and silenced....

GEORGE (Imitating J. Manelll's voice) "Finest wireless station in the world....Interference.... I'll have your scalp, Mulford, if you don't get those peas­ ants off the air.M Then he sat down behind the desk and he beat with his hands on the top and he almost cried.... "Finest wireless station in the world....Biggest listening audience... .and they have to broadcast on njjr frequency

M

IRA That's why he has the biggest audience. GEORGE They all wait for the old man.... IRA Who? GEORGE You know. hand.

The one who says:

“The end of the world Is at

Prepare, before it Is too late....N IRA (Chuckling)

The people in the capitol swear that's J. Manelll himself. Was he burned up when he found that out!

He rose on his en­

tire five feet one inch and he screamed at me: it's me.

"They think

They think I'm twisted, twisted In the head!"

geqrge

Isn't that about right? IRA Xeah.

Someone should.... (Recollecting himself)

He may be off his topper but he also has influence.

And I'm

going to get ripped. ...if I can't find the outlaw wireless.. But I'll find it.

That's how I got to be Chief Inspector of

Communications...By always getting the Job done. GEORGE Ira, remember you're talking to me. IRA Walker, you're discharged! GEORGE (Folding up the notebook) Right! IRA Well ....Give me the dope.

I'll give you another chance. GEORGE

(Reading again) Investigation of the records concerning Sondelis: tion 80.

63i wards of the state.

village. IRA What?

Popula­

16 3/4 natives of the

GEORGE (Shrugs) I dunno.

That's what the files said.

Activities normal,

with the exception of one very abnormal, outlaw wireless station.

Operates on frequency of 833 kilocyclea.

Same

frequency as.... IRA Skip all that.

Tell me about the villagers.

The loonies

and their keepers. GEORGE (Reading) There has been no orime reported in Sondelis in eighteen years.

None of the inhabitants are members of either po­

litical party.

They all vote mixed tickets.

There is one

school, set up from the first through the twenty-first grades....No one attends. IRA Why is that? GEORGE (Reading) No reason given.

Attempts to force attendance failed.

one would accept the position of truant officer. one newspaper, one apothecary shop, one tavern.... (Aside) this is it....

No

There is

225

1-14 IRA Go on. GEORGE One railroad station, one train a day. visitors per year.

Total of 6 and 1/8

Mostly tourists who have lost their

road maps, or who took a wrong turn in the road. IRA Any pretty girls? GEORGE Some.

One in particular. IRA

What's her name? GEORGE You'll find out.... IRA What's her name? GEORGE Take my advloe. IRA Why should I? GEORGE All right!

Her name's

No, you'll find out... IRA

Walker YOU'RE DISCHARGED!

X - 15

GEORGE You promised.... IRA X thought you knew better than to believe in anybody's word. GEORGE I do.... (Laughing) IRA What in hell are you smirking about? GEORGE You'll find out.... IRA Get baok to the oapitol....Hear me? GEORGE I'm going.

Why stay here?

They don't like me....They're

a mighty tough outfit here, Ifulford. IRA The trouble with you, Walker, is you're too lazy.

I only

wish you could stick around and watch an expert at work. The harder they come, the better 1 like it.... GEORGE No use wishing you good luck. IRA I don't need luck....

1 wouldn't mean it....

m

1-16 GEOHOE Maybe not.

Maybe not.

Tell you what I will do....You come

by auto? IRA Yeah. GEORGE H you want to take a drive out Into the country, 1*11 show you where they set up the wireless last

That won't do

you too much good. ...They keep moving It around.... 1AA I'll find It.

I brought a new direction finder with me.

It should be here by now. GEOAGE Well, do you want to see the last location, or not? IRA Of course!

Never leave a stone unturned.

That's how I

get things done. GEORGE That's how you find so many things that crawl.... IRA (Exiting) Yeah.

Well, let's go. GEORGE (Exiting and turning In the door)

Goodbye... .Sondells. •.wonderful

dizzy..... Sonde11 s.

1-17 (The slamming of the door signals Celeste and she slowly opens the double doors. The Fool peeks out under her arm.

She peaks out. They look

warily around and then vanish quickly as two figures oan be seen outside the door. Dr. Martin and Willie.

It is

Dr. Martin enters.

He Is

about 38, a graduate of medical school who has oome to Sondells to further his knowledge of psychiatry some twelve years ago...and has stayed as the village practitioner.

Willie follows him.

He Is tough, sarcastic, realistic, a member of the village that has been oaring for the wards of the state.

He is somewhere in his forties.) DR. MARTIN

(Sniffing, then opening the front door) We need some fresh air In here.... WILLIE (Seeing the beer glass) That Walker's got his crust.

Serving himself to my beer.

DR. MARTIN Oh, he'll go away.

Like Sols Pierre did before him.... WILLIE

One of these days they'll send in someone who won't go away.

1-18 DR. MARTIN Then w e ’ll have to try another method... .Don’t worry so much,

Willie....... WILLIE (Going over to the double doors)

Celeste. (Calling gently and rapping quietly) Celeste! (The doors open and Celeste enters. or 19, beautiful and a little wan.

She is 18 She is

dressed in a simple peasant dress with much color.) WILLIE Come on out here, Celeste, and smile at us.... (She trips over and kisses the doctor.) DR. MARTIN Thank you Celeste.

Sit down.

Tell me all you’ve been doing

today. (She Just smiles at him.) WILLIE Isn’t she pretty, Doc? DR. MARTIN A thing of beauty.

Created for admiration....and inspiration. WILLIE

That’s what I said. (Celeste goes over to finish the glasses.)

WILUE I wish she'd leave the cleaning up to me

Doesn't seem

right for her to be touching dirty glasses. DR. MARTIN She likes to help. WILLIE Care for a drink, Doc? DR. MARTIN Not this early, Willie.... (Judge Foster, V.P. and Mr. Meek enter.

The

Judge is a quiet, soft spoken man with an earnest rather Intense manner of speaking. about six feet four Inches tall.

Mr. Meek is Both are in

their fifties.) MEEK (Oratorlcally) Blessed are the Meek for they shall possess the land!

Good

morning brothers! DR. MARTIN Morning Meek, Judge. (The V. P. smiles foolishly and says to no one in particulars) V. P. But someone stole him! (No one pays any attention.)

1-20

JUDOS How about a drink all around, Willie? WILLIS The usual? JUDOS Right. MEEK Vitamin Gooktall for me. WILLIS 1*11 have the same. DR. MARTIN Just plain milk. WILLIE And a Bordeaux for the V. P. DR. MARTIN Bit down, gentlemen, sit down. JUDGE About time for our program, Isn't It? DR. MARTIN Turn on the wireless, willle. (Willie does so.) MEEK Anything new In the paper? DR. MARTIN Jean, the baker, Is 111.

1-21 MEEK He is?

We'll have to send the sick committee over to visit

him. DR. MARTIN Just a touch of Influenta. MEEK I hope he gets well by Sunday. DR. MARTIN Why Sunday? MEEK He's our concertinlst.

We need him for the spring Initiation, DR. MARTIN

Oh yeah!

Been looking forward to It ever since last year's

frolic. JUDGE Who are you going to Initiate this year, Meek? MEEK I don't know.

Have to find someone. V. P.

Yellow and green! WILLIE Celeste, will you serve these drinks. (Celeste comes from one of the booths, takes a tray from Willie with three drinks and serves the men around the table.)

JUDGE Good morning, Celeste.

you're looking pert this morning.

(Celeste nods.) WILLIE What'8 wrong with the wireless, Doc? DR. MARTIN They might be having a little trouble. yesterday.

Burned out a tube

Had to get a new one. MEEK

Say Willie, how about us initiating you next Sunday? WILLIE I'm a member already. MEEK Looks like we'll have to excommunicate someone before we can have an initiation. DR. MARTIN Throw someone out so you'll have someone to bring in? MEEK Everybody in town belongs to the Little Brothers of the Meek. DR. MARTIN That's too bad.

We could start all over. VOICE

(Over radio) The end of the world is at hand. Only a little time left.

Prepare to meet your doom.

Tomorrow morning at six thirteen.

The last of this vale of sorrow......

WILLIE (All, except Celeste and V. P., are gathered eagerly around the radio.) The old man's In good voice this morning. Dfl. MARTIN He recovered from that attaok of laryngitis nicely. SECOND VOICE (Over radio - woman's voice) Fellow citizens of Sondells.... WILLIE My, aren't we formali SECOND VOICE This is your local commentator, Natalie, here today to read you the local announcements, comments and items of interest The first is from M. G. P.

He says:

MI don't believe

it is necessary for the morning train to whistle three times when it goes through Sondells. it always wakes me up.

1 sleep late mornings and

Besides, there is only one crossing.

One whistle would be sufficient*N WILLIE He's absolutely right.... MEEK Shhhhhhhh!

235

1-24 SECOND VOICE The second message Is from Lise. Doctor."

That's all.

She says: "Thank

you,

Just "Thank you, Dootor."

Now, I

wonder who Lise could be? There's only one doctor. Lise.

But why.thanks?

body wonders says:

And which Doctor?

Ha ha ha.

And there's only one Beautiful

That's the mystery,

folks.

Every­

The next message is from Shy Sylvia.

She

"My mother doesn't allow me to accept flowers from

strange men.And flowers are flowers, violets.

So

I'm sorry."

even if they are only

I had to give them to the next door neighbors. Now I have a word or two for mothers on this

subject. (The doctor goes over to his table and sits down. Celeste comes over to him and smiles.

He rises

and pulls out a chair for her and she sits down.) DR. MARTIN Sit down,

Celeste.

I want to talkto you.

Did you hear

that over the radio Just now? (Celeste shakes her

head

negatively. The radio

is lower, but all the rest are listening assiduously.) It was from Beautiful Lise. sent her. Cezanne.

She thanked me.

For a print I

A little thing I picked up last week....by If only I_ had painted that picture.

would be over......... You're nice, Celeste.

My worries You sit here

2* I - 25 and never talk back. (Amelia Tippaie comes In carrying a mall sack and wearing two badges, on her left side a postman's and on her right a policeman's.) AMELIA (To Martin) Where's the judge? WILLIE (From the bar) Shhhhhhh! AMELIA (Noticing the Judge behind Willie) Oh, there he is. DR. MARTIN What's the matter, Amelia? AMELIA Trouble.

Have to get the judge's verdict. DR. MARTIN

With the mail?

Or with the police force? AMELIA

Police.

The mall is all right.

Right on time today.

ran into this down the street at the sweet shop. DR. MARTIN Something Important?

Enough to disturb his honor?

Just

AMELIA No.

Not that much of a hurry.

Let him listen to Natalie.

What did she have to say today? WILLIE (Coming over to her) Same thing.

Mostly stuff you picked up. AMELIA

(Taking matoh hooks out of her bag) That reminds me, I've got some messages for you. WILLIE Where are they? AMELIA Here on the insides of the match books.

I forgot to take

my order book with me today. WILLIE (Looking at the books) It's so small I can't read It. AMELIA I'll read 'em to you. WILLIE Wait'll I get set. (He goes to a drawer and gets out a pencil and a paper and gets ready to write.) AMELIA "If Jane thinks she is going to steal my husband from me, she has another think coming."

1-27

WILLIE Any signature? AMELIA Just...... indignant wife.' WILLIE dive me the next one. AMELIA "I know. » WILLIE What? AMELIA That’a all.

Just ttX know.M WILLIE

Did you get the minimum? AMELIA Twenty-five cents. WILLIE Sixty-nine cents for the first, twenty-five cents for the second.

That'll he ninety-four cents, take out ten percent

for your commission

you owe me eighty-five oents.... AMELIA

(Handing over change) Here you are...... Hello, Celeste. (Celeste nods smiling.

The radio suddenly swings

into muslo and all around the bar relax.)

Mighty fine program, this morning. JUDGE Z didn't know the widow was going out with Stephen. MEEK It'8 quite a match.

Figure on getting married any day now. AMELIA

What widow?

Are you talking about me? JUDGE

Hello, Amelia.

No, the widow over to Chevante! AMELIA

Oh...... Judge!

Trouble this morning. JUDGE

For me? AMELIA ¥es.

For the Judge. V. P. (Pounding very loudly)

I'll bet you did it! (Celeste goes over to the V.P. and pats him on the arm.

He quiets down immediately.)

If you see him you'll be sure and let me know? (Celeste smiles and nods yes. Celeste.

V. P. smiles at

She pats his hand affectionately and

then goes out the double doors.)

JUDGE (After a pause) But I don’t want any trouble.

X only want to be left alone.

X didn’t ask to be elected Judge. AMELIA Now don’t start that again.

You'll have to serve out your

term anyway. JUDGE X suppose so.

Nell, what Is It? AMELIA

Rachel Selina turned In a complaint. JUDGE Her husband been drinking moonshine again? AMELIA Nope.

This was against the confectioner. JUDGE

Oh?

What happened? AMELIA

Nothing.

He got in a bunch of new 25^ reprints.

literature, Rachel says.

Salacious

Section 16 of the village con­

stitution. JUDGE Why it can’t be that bad.

What kind of literture? AMELIA

It ain’t the re&dln'.

It’s the pictures on the front.

There*

ZiX 1-30 woman without many clothes on*

Her shoulders are bare*

JUDGE Well, what am X supposed to do about It?

Paint out the

pictures? AMELIA X dunno.

You know how Rachel Is. JUDGE

Well....well...here...take this ten dollar note and go

over

and buy all the books she finds objectionable..... AMELIA All right

What'11 I do with 'em? JUDGE

Throw them in the fire.....no that won't do....Let's see.... tear off the covers... .throw those in the fire and then give the rest of the books to the orphanage...... AMELIA OrphanageJ

X'm agin 'em.... MEEK

What's wrong with orphanages? AMELIA All little children have a right to a real mother and father. not an Institution

X almost had to send my three

young ones when Mr. Tippels.... (She begins to cry...Suddenly ashamed at her weakness she stops and with a large voice calls:) Willie!

Willie, gimme a drink.....

WILUE Now, Amelia, you oughtn't to drink, until you get the nail delivered.

Last time Mr. Meek had to finish your delivering. AMELIA

Just one drink.

Then I'll go* WILUE

Well, all right.

Just one.... OR. MARTIN

Is Natalie through already this morning? MEEK No, Just a musical intermission. (The V. P. pounds on the bar harder than ever.

His

gestures beoome extreme.) V. P. Speakj

Speak!

Speak!

(Celeste rushes in the double doors and over to the V. P.

She shakes her head negatively for the V. P.

not to shout.

He quiets down again.) AMELIA

I.......... Believe I ’ll have Just one more. here thinkin1 and I do feel sad. WILUE Now, Amelia.

You promised. AMELIA

I been settln1

(Willie node emphatically.) AMELIA Well, all right then. (She wearily picks up her mail bag and starts for the door.) MEEK It looks heavy.

Why don't I help you? AMELIA

(Exiting) Thank you, but no. bad day.

It isn't so heavy today.

Friday's the

That's when all the people get periodicals.

der why people read so many periodicals?

Won*

Or do they just

get them for looks? MEEK Poor Amelia!

Judge, you should know better than to mention

the word orphanage or widow or editors in front of Amelia. Start8 her thinking about her husband. she gets sad. drinks

And when she thinks,

When she gets sad...she drinks.

When she

the mall doesn't get delivered... .People com*

plain....Poor Amelia won't have her job anymore....her three children will have to go to the orphanage....and it'll be all your fault. JUDGE She'll still be the police force. cisions.

Plaguing me to make de­

MEEK Being Chief of Police in Sondells doesn't pay enough to feed three growing kids.

She needs both Jobs. JUDGE

I'll try to remember....orphanage, widow, editor, is that it? MEEK That's it, Judge..... (Suddenly the music stops and Natalie's voice can be heard.) DR. MARTIN Turn It up a little, Willie.

I can hardly hear her.

(Willie does so.) NATALIE'S VOICE Magnesia, citrate of. ..Here's a note. one

Some folks prefer plain citronella...

Doctor Martin isn't going to like this

MI think Beautiful Lise's hair is too long.

positively dangerous and vain.

It's

Everyone could have long

hair if they wanted it...... DR. MARTIN (Interrupting over the voice) Who sent that in? NATALIE'S VOICE I'll bet she combs it for hours on end....a plain waste of

245

I - 34 DR. MARTIN Shut It off! NATALIE’S VOICE It18 signed Anonymous well~wleher I (Willie cuts the radio off.) DR. MARTIN Did you accept that foul message, Willie? WILLIE Sure, Doc. DR. MARTIN That's a fine way to treat me, Willie. WILLIE Now wait a minute, Doc.... DR. MARTIN Who sent it in? W ILUE Now, Doc! DR. MARTIN Who sent It in? WILUE Sorry, Doc.

I can’t tell you. DR. MARTIN

By the Patron Saint of Bartenders you'd better tell me....

WILLIE Wj|it a minute, Doo.

This Is still mg place.

Don't go curs*

ing me In my own place. DR. MARTIN I'm sorry.'

I can leave 1 WILUE

Aw, listen to me a minute, Doo.

Just remember what you told

me when I first started helping you run this wireless.... It's for the people, Willie, you said....to get rid of their mad-onds at people, in a harmless, non-violent way....And you said I was to accept any message that wasn't downright insulting.... DR. MARTIN That last message was "downright." WILUE Now, Doc, like you'd say yourself....if you weren't so much In love...It's only some woman who's Jealous of Beautiful Lise's lovely hair.

Let her take it out publicly....over

the air....no harm done, huh?

You wouldn't object if some­

one said something like that about you, would you? DR. MARTIN Maybe not. WILUE You see, Doc?

Sit down and I'll buy you a drink.

DR. MARTIN Well, all right

I guess you're right, Willie.

I'm

sorry I was Irritated.... Foraget about it, eh? WILLIE Sure, Doo.... sure.... (The V. P. rises and walks out the door, saying to the outside:) V. P. It's very cold in that room. MEEK Where's he going?.... Sacre Bleu, it's time to meet the train.

Let's go.... (He leaves followed by the Judge.) DR. MARTIN

Leave the drink until later, Willie.

Let's see the express

pull in. WILLIE O.K., Doo.

You want to go Celeste? (She shakes her head negatively and goes out the double door, closing it.)

I don't know.

I don't think I'll go today, Doc. DR. MARTIN

Why not? WILLIE Every day, when I come back from meeting the train...There's Celeste in the middle of the floor...up on a stool on one

*i i 8

1-37 of them tables....and I think I hear voices

She oan't

talk, can she? DR. MARTIN I don't know.

X never heard her.

But there's nothing organ­

ically wrong with her vocal mechanism. WILLIE I'd better stay here and keep her company. DR. MARTIN Why should you?

If she likes to talk to herself... .if that's

the only way she can talk

let her have some time to do

it in. WILLIE It won't hurt her? DR. MARTIN To talk?

Does it hurt you? WILLIE

Maybe she has klnda nightmares....dreams? DR. MARTIN (Exiting) Why not?

Everyone has them....come on or we'll be late.... WILLIE (Following)

Well, if you say so....... (As soon as Willie is off stage, Celeste slowly opens one of the double doors.

Seeing the room

249

I • 38 la empty, she quietly goes over to the outside door and oloses it.

Then she hurries hack to the

double doors and pushes first one and then the other open.

Inside is revealed a small bedroom,

gaily painted In various fairy-tale motifs. •.Then she moves one of the tables to center stage and, placing a stool on it, she climbs on the table and seats herself on the stool with her back to the audience.

During this preparation soft delicate

muslo sneaks in and remains throughout the fantasy.) CELESTE (Singing) Woooooooooo hooooooo!

Wooooooooo hooooooo! CHORUS

(Answering in song) Here we arerrrrrrrrrJ CELESTE (Singing) Woooooo hoooooooJ

Woooooooo hooooooooi CHORUS

(Singing) Here we oomemmmmmmmmmmi (The Chorus enters dancing and singing around the table.

In following them around, Celeste turns on

the chair until she is facing the audience. faoe Is a picture of enraptured delight.

Her

The

250

I * 30 Chorus Is almost dancing $ ballet.

The leader of

the Chorus Is the V* P., now costumed as a fool. Dr. Martin and Beautiful Lise have white wigs. They are Papa and Mama.

George Walker has a dark

costume and looks much more evil than he did In the prologue.

They all address Celeste as Cinder*

ella.) ALL (Singing) The dreamer awakes, The shadow goes by, The cook is a myth, The tale is a lie. Yet ponder it well, Good maiden, good youth, Though the tale be a lie, Its teaching is truth. CINDERELLA (Applauding) Beautiful, my childrenI

X love you all. FOOL

Even the fool? CINDERELLA Especially you, Fool.

I - 40 FOOL (Indicating George) Even the Dark prince? CINDERELLA Good morning, your hlghneea. GEORGE (Gruffly) Good morning! CINDERELLA Have you stolen away any pretty maidens today? GEORGE (Sorrowfully) Only three, Cinderella! CINDERELLA Well, return them instantly... .do you hear? GEORGE I already have. CINDERELLA (To all) You may be seated. (They all sit on the floor in a semi-circle.) Whose turh is it to recite? FOOL The Dark Prince, if it please your majesty.

1-41

CINDERELLA Xt hardly pleases me.*.*Now, don't tell tales of war and terror..... GEORGE No, It*s a story about a golden haired little girl.... In a time almost forgotten now

This little girl.... CINDERELLA

lhat was her name? GEORGE We'll oall her Heavenly. CINDERELLA No one names little children that. GEORGE They did...... in the time of which I relate. FOOL Celeste means heavenly. CINDERELLA I know of no one named Celeste.

Go on your highness.

GEORGE Heavenly lived in a happy land... .with her father and her mother....In a place like Sondelis. town there was singing and laughter.

Everywhere in their Heavenly and her

parents were very, very happy..... .until the Black Prince came...... (George acts out the part of the Black Prince.)

X - 42 GEORGE "Where le the little daughter called Heavenly?" he said in a rough voice.

Everyone was afraid to answer him.

The Black

Prince walked over to one of the doora and putting hie foot forward he kicked the door open.

It fell apart into small

pieces... .like tooth picks... .Then he grabbed the old woman hiding behind the door and he twisted her arm.... "Where is Heavenly?N he asked. FOOL Your highness

Queen Cinderella warned you....no bloodshed. GEORGE

(Breaking off his story) Not one drop of blood will be shed. FOOL Take care, sir.....or you'll go too far. GEORGE Do you want to hear the story or not? (He pauses and no one says anything, so he continues.) So he twisted her arm... .The old lady pointed inside the house.

The Black Prince went in and there in her bedroom he

found Heavenly.

He closed the door....He walked over to the

frightened little girl.

He frowned down at her.

"Tell me,"

he said, "tell me all about your father and your mother PAPA Stop!

"

(Cinderella begins to weep.) george

(Hurring on) •Tell me and I will reward you with all the gold in the world

X will give you a dollar.* FOOL

That's enough! GEORGE And the little Heavenly...... PAPA Stop his mouth. (He and the Fool throw George to the ground and hold him there.

George continues speaking until

Mama tears a d o t h from her underskirt and gags him with it.) FOOL Help me hold him. GEORGS And the little girl told him all she knew.

That wasn't

enough, so she told him some of the things that she had heard other little children say.

She betrayed her parents!

Blaek Prince left and took them away with him. came back. (Loud) She betrayed her parents!

The

They never

I - 44 PAPA Stop his mouth. FOOL Hslp us Mama.

Get a gag. CINDERELLA

(Sobs) Please, your highness, please. (Having succeeded in gagging him, Papa and Mama go over to comfort Cinderella.

The Fool remains

in a position of threat over George.) I

I didn't mean to...... PAPA

How, Cinderella, don't cry. MAMA Don't you listen to the nasty old prince. father are right here with you

lour mother and

See?

FOOL Don't try to move

Black Prince! PAPA

How, Cinderella

Is this any way for a queen to act? CINDERELLA

lou won't go away will you?

I didn't betray you, did I?

You didn't die, did you? PAPA There, there, child.

CINDERELLA Why did you leave me?

Because X betrayed you? MAMA

We didn't leave you, child.

We're right here.

CINDERELLA You went away and you never came bach......! didn't mean to tell them anything.

I haven't told anybody anything since

you went away. PAPA You're a good girl, Cinderella. MAMA The beet and finest daughter a mother ever had. CINDERELLA And I won't tell them anything.

Nobody...nothing.

Nothing.

FOOL I know a limerick:

There was a young lady named Cindy, Who thought that to speak was a sin, CINDERELLA

Silence.....Fool.

Leave us, Fool.

And take the baggage

with you. FOOL Yes, your highness. (He looks at George) Will you be silent if X take the gag out of your mouth?

•r,'>

1-46 (George nods his head affirmatively.)

If you so much as open your mouth... .back in it goes. (He removes the gag.)

GEORGE Your royal highness! FOOL Gome on, Papa.

Help me put it in again.

CINDERELLA Let him speak! GEORGE I demand the privilege of knighthood. and Papa to mortal combat.

I challenge the Fool

honor has been stained.

CINDERELLA It's your own fault, Black Prince. GEORGE The law!

I demand the fulfillment of the law! CINDERELLA

I am the law! GEORGE (Exiting, angry) Not for long

Not for long. CINDERELLA

What did he mean by that?

" 1-4? FOOL Simple.

He means to start a revolution. CINDERELLA

Oh, dear.

What shall Z do? FOOL

Find a knight to champion your cause,

one that can defeat

the Black one in tournament. CINDERELLA You, Fool? FOOL One that can defeat him. CINDERELLA Papa is too old. PAPA I am not. MAMA You are too. CINDERELLA Oh dear! (Willie appears at the door trying to open it.) FOOL They're back. CINDERELLA Run!

(The Fool scoots off through the bedroom and Papa and Mama toddle off.

Willie unlooks the door and

enters before all the others have left, yet he ap­ parently doesn't notloe them.) WILLIE Now, what did you go and look the door for, Celeste? (Celeste turns sadly to him.) Aw

you've been crying...X didn't mean nothing by what

X said.

Now, oome down from that table end help me straight­

en things up..... (Celeste gets down, helped by Willie.) You know, Celeste, the train stopped.

It aotually did....

(Celeste looks interested.) Nobody got off

But they unloaded some baggage... .Things

that looked Important,... .You know what that means? haven't given up.

It's got something to do with the wireless

Oh, you needn't be frightened. you

They

We'll all take care of

Celeste, you left your doors open.

You'd better

close them. (Celeste goes over to the double doors and exits, shutting them.

Dr. Martin enters the front door.) WILUE

Did you find out what the big oase was? DR. MARTIN The baggage man said it was shipped to someone by the name of Ira Mulford.

From some radio supply house.

WILUE X knew it.

X knew It.

He'll probably be In on the next train. DR. MARTIN

Have you seen George today? WILUE No.

And X don't want to.

out when he gets here.

Look, Doc.

Let's throw this guy

Get some of the Little Brothers to­

gether, and tie him up and send him baok where he came from.

m,

MARTIN

That wouldn't be hospitable. WILUE Maybe not.

But It would be smart. DR. MARTIN

What are you worried about?

If he finds the wireless....

there'8 more where that one came from.

WILUE I know.

But they might take you.

Walker said they'd look

you up and keep you there forever... .if they felt like it.

DR. MARTIN We took care of George....we'll take care of this one. WILUE One of these days sweetness and light isn't going to work.

m. MARTIN Ha ha ha.

You're a good man...almost as good as the Judge.

Worrying about me.

Even if they do take me away...there

are lots more physicians.

L I

X - 50 WILLIE Not like you, Doo. DR. MARTIN Thank you, Willie. WILLIE And the whole town knows it.

They'd be mad; they would.

DR. MARTIN And that wouldn't be good. WILUE They'd start somethin' they couldn't finish. would move them out.

The state

To concentration camps. IB. MARTIN

Not concentration camps. WILLIE Brick buildings, with bars on them.

Same thing.

DR. MARTIN He won't catch me. WILUE You ought a give up the wireless, Doo. DR. MARTIN Why, Willie!

I thought you liked our little station Sondells. WI LUE

Yeah.

But not if they're going to throw you in prison over it.

m . MARTIN It's good for the people, Willie.

Think how many pent up

antagonisms are taken out over the air waves.

The wireless

is the finest single hit of therapy that science ever thought of....only oolenoe uses it too sclentifloally*..except here in Sondells.

We know how to use it,...and we aren't telling. WILLIE

X tell you one thing, Doc.

They ain't going to take you

without first taking me. DR. MARTIN You mean you'd use violenoe. WILLIE It would be all right for me, Doo.

I ain't looney.

DR. MARTIN You aren’t?

That’s right, you aren't.

I'd almost forgotten.

How long slnoe I came here, Willie? WILLIE I dunno, 'bout 5, 10 years.

m , MARTIN Long enough to forget that any of the villagers are looney... or rather long enough to forget that all the world isn't like the villagers of Sondells. (Foster enters.) FOSTER Did you see him? DR. MARTIN See who?

FOSTER

There’s a stranger in town. DR. MARTIN Already?

He must have come by car. FOSTER

Meek went out into the oountry to shut down the station. DR. MARTIN Suppose he turns out to be a lost tourist? FOSTER He won't.

They never do. DR. MARTIN

Well, X suppose It doesn't do any harm to be careful. FOSTER A drink, Willie. WILUE (doing behind the bar.) I say ride him out of town.

What'll you have?

FOSTER Double whiskey! (Martin goes back to his table and his paper. Willie stares at Foster and Foster stares back at him.

Meek and V. P. enter.)

(Pausing at the door) BLESSED ARE THE POOH IN SPIRIT. another dick in town.

For theirs

is

There's

1-63

FOSTER X thought you went out to shut down* MEEK I sent Amelia out.

A drink for the V. P. and me, Willie.

(The V. P. goes hack to hie ordinary epot. Periodically he hits the counter.) WILUE We got to do something.

M M A council of war! ?. P. He'd snuggle up to my back! FOSTER What do you say, Doc? DR. MARTIN (Putting down his paper) I say....you're all acting mighty guilty. natural.

Or you'll give everything away. WILLIE

Doc's right.

m m

0. K. FOSTER Fill 'er up, Willie. WILUE You already had two Judge.

Sit down.

Act

1-54 foster

This is an emergency. WILLIE You heard the doc.

Aot natural. POSTER

Well....CUve me a

What’e that you’re drinking? WILLIE

A vitamin oocktall. POSTER I’ll have one.

Without the duck egg. WILLIE

The reolpe calls for a duck egg.

Do you want a vitamin cock-

tall or not? POSTER X suppose so.

Only I like goose much better than duok.

eo dry. WILLIE These are tame ducks.

Mot so dry as wild ones. POSTER

What about a drink, Doo? DR. MARTIN (Looking up from hie paper) Thanks, Judge, X will. FOSTER What’ll you have?

Mot

2

1-55 BR. MARTIN Same as you. FOSTER Another duck* a neat

for the Boo, Wll lie. MEEK

X wish he*d eome. V. P. You did it.

You did It.

You won't confess.

(V. P. hits the har and speake, then he gets wad and stamps away from the bar and over to an empty booth.

Meek goes over and alts with him.) WILLIE

He's mad.

ffusta lost an argument. (They all turn to look at the V. P. Just as Ira enters the door.

Hie speech surprises all of

them.) IRA Good morning, fair cltljsene of fairest Son-dell-1 .... FOSTER It's he. WILLIE It's Son-da-lee. IRA I'm sorry.

Sondells, to be sure.

Fine morning, Isn't It?

I was Just admiring your thriving community. ing community.....

A very thriv­

WILLIE (Beligerently) We'd like to keep It that w&y! m . MARTIN Willie

remember? WILLIE

Oh!

Yeah.... IRA

The name la Ira Mulford.

Willie, set up drinks all around

On Ira Mulford, frlenda. FOSTER My name la Foster, Mr, Mulford. IRA Ho formalities, please.

The name is Ira, Foster. FOSTER

And this is Or. Martin. IRA Not the Dr. Martin. DR. MARTIN dust a Doctor Martin. IRA 01ad to know you, Doctor.

Never know when you need the

services of a good doctor, eh Doctor?

It pays to know one

1-5?

M . MARTIN (Sitting back down) dan't aay,

I don't know any myself. F08T m

And this is Willie, our esteemed bartender* IRA

Glad to fcnow you Willie.

A good bartender*s almost as good

as a good doctor, I always say.

WILLIS What'll you have? IRA How about a Grandeur? WILLIE For cripefl aafcei IRA (Condescendingly) Anisette, Kirschwasser, Curacoa, Nordh&user BrantCweln.... (Willie doesn't move except to slowly and dis­ gustedly shake his head.) IRA Ho? (Willie shakes his head.) Fares Pousse Cafe? (Willie repeats.) Continental? (Repeat) Daiquiri, Martini?

(Willie repeats) What's the matter with him? foster

He doesn't believe In mixing liquor.

Bad for the digestion

he says. IRA Well, I'll take one of whatever you take, Willie. WILLIE A vitamin cocktail? IRA Fine, Just so It's a cocktail. (Willie goes off to fix the drink.) foster

You're a stranger, aren't you? IRA A friend of the mayor's.

Just down for a visit. FOSTER

Sis Mayor's out of town,

visiting hie sl&er. IRA

Yeah.

I just found that out. FOSTER

1 see.... (There Is a pause.)

(Searching for an opening) Hice little town you got here.

FOSTER fee

as Willie said....We try to keep It that way. IRA

Willie, how about those drinks, for everybody?

FOSTER Hone for me, thanks.

XBA You aren't going to have a drink with me?

FOSTER

1 can't.

You see I've already used up my quota for this

morning....

XBA Ah

this Is a special occasion..•.

WILLIE What's special about it? FOSTER You see, Mr. Mulford....

IRA Ira! FOSTER You see, sir.

It1e up to Willie.....Itfs his ruling.

IRA

What?

WILLIE Two drinks to a customer....before noon! IRA A fine bartender you are....Refusing to sell drinks..*. WILLIE Sometimes I don't even serve the first one.... FOSTER You'll have to pardon me.....I'm overdue

at court.

IRA Glad to have met you, Foster. (The Judge doesn't acknowledge this.

Ira looks

around and then walks over behind Dr. Martin, reading the newspaper over his shoulder.) IRA My God!

They dropped an Atom Bomb.

Hades."

Where is Hades?

“Atomb Bomb destroys

WILLIE (Coming over with drink) Here's your drink.

Fifty cents! IRA

What?

oh, thanks.

Here, have one on me.

(He gives him a dollar bill.) (Reading) My God, this Is serious.

m . MARTIN What?

This Atom bomb.

My God, fella, don't you see?

start of another World War*

It's the

Maybe the last World War*

dr,

MARTIN

1 hope so* (Me goes on reading.) IRA You sure take it easy.

Say, where Is Hades?

1 didn't

think there was such a place— -outside of mythology, that is* DR. MARTIN This Is Hades, Mr. Mulford. IHA What? OH. MARTI& See the title of the paper*

the Hades Tribune!

IRA But I thought..••«• DR. MARTIN In the mind of the late editor this was Hades.

Bondelle was

Hades. IRA Then,,..then the bomb dropped around here. off?

Didn't it go

But the headline says It destroyed Hades....Somebody's

klddin'•. DR. MARTIN Sit down, Mb. Mulford.

M. Sit down, Ira*

MARTIN

I thought you said you ware a friend of the

Mayor's*

IRA X am....not very oloae, maybe, but I know him. DR. MARTIN Didn't he explain about our quaint little village. IRA Oh

1 get it

the editor's wacky. DR. MARTIN

Not very diplomatioally put, but substantially correct. IRA Say, you ought to be careful.

Somebody might read that paper

that isn't in the know. DR. MARTIN Mr

Ira, listen to me.

here.

We don't ask anything of t h e

world.

We have our own community life

We like and respect our privacy.

shall we say outside W© hope others

will do the same. IRA I see...... Everybody around here knows the editor's wacky.

m

X - 63 m . MARTIN Everybody around here, as you so quaintly put It, IS wacky. And they know It.

The only differenoe between us and people

where you come from la that we know we're

wacky.

XiU Are you

¥ DR. MARTIN

Am X a ward of the government... .No.

However, X wouldn't

bet that X was any more sane than the editor.

In fact, he

may have been the only sane person In the whole world. XHA Yeah, but obviously an Atom bomb didn't drop here. DR. MARTIN The Hades Tribune has carried the same headline since the day It was founded.

Xn fact the whole first page hasn't been

changed. IRA It hasn't?

Then what do you buy the paper for? DR. MARTIN

For the news. IRA. But if they don't replete.... DR. MARTIN Only the first page....usually.

Occasionally the whole paper

Is the same....except the want ads.

o7j fir-1

I - 64 IRA

look

are you pulling my leg? DR. MARTIN

Take a look for yourself....see the fussy print. getting careless.

They’re

Haven’t even cleaned the type. IRA

Well, I ’ll be....This calls for a drink. (He tastes the drink.

Spits it out.)

My Sod, what is it? DR. MARTIN It’s one of Willie’s specials. IRA I’m beginning to believe the whole thing is an elaborate Joke. DR. MARTIN No, Ira.

It*8 only that you are out of tune with the times.

IRA I’m out of tune, I like that. DR. MARTIN Tou’re a member of the minority, right now. you’re the one that is out of tune.

So, therefore,

Reasonable?

IRA My Qod!....... What an assignment! DR. MARTIN Do you think you’ll find what you are after?

4

>R, MARTIN

V o you want n o to find out that your mother*. *..or one of your teachers looked like her.... IRA (Shouts) No, damn you} (Or* Martin laughs.) You laugh at me

Are you sure you can afford to do that? m.

MARTIN

If you* 11 r©member....X warned you.... IRA Thanks

for nothing.

IB. MARTIN That's quite all right. IRA Maybe X ought a return the compliment.

And warn you.

IB. MARTIN You have.

You have...... IRA (Looking around)

Where In the devil is Willie?

I'm thirsty.

(He rises and goes behind the bar.

He is reading

the bottles when Willie enters, surveys the sltua~ tlon and objects.)

XI - 17 IRA Snake Bite Oil!........ Fly Sprayi ....... nr. Banton's Remedy for Catarrh, Lumbago, Barber's Itch, knocked Knees and Pigeon Toes.

Hey Boc; where's the liquor? WILLIE

Put that down! IRA Hello Willie.

Just making myself a drink. WILLIE

Who said you could? IRA All right.

You make one for me. WILLIE (Going behind the counter)

You got a lot a crustt

What'll you have? IRA

Gimme a little of Br. D&nton*s remedy. WILLIE That's not for sale. IRA Just for display, huh? WILLIE It's for my own use, wise guy! IRA Knocked Knees or Barber's Itch?

3

XI - 18

WILLIE Customer Irritation!

But it's curable.

Just leave the

village. IRA You hurt me, fellow.

Gimme a burbon! WILLIE

What did you say? IRA I said, please give me a burbon. WILLIE There you are.

Now go away some place.....far away. IRA

Sure this isn't fly spray? WILLIE If it is, it's on the house. (The V. P. enters and goes directly to his favor­ ite stool, disregarding their greetings.

He is

followed by Meek.) IBA Hy Veep! (Willie pours the V. P. a glass of liquid.) MEEK Blessed are the Meek....The Little Brothers of the Meek.... There'll be an initiation tomorrow.

Noon!

IRA Hey, Willie, does the Veep every pay for his drinks?

C>*

WI L U H X# that your business now? IHA X was only Inquiring. WILLIE We charge some people double.

I come out all right, don't

you worry. PR. MARTIN You've found someone to Initiate, Meek? MLLK Why, sure

Iral

IRA What do you mean, Ira?

Who said I'd join? njy.pt

Why, X thought

X ashed you and you didn't.... PR. MARTIN

Why not, Xra? IRA No, Doo.

The question Is

why should X?

IB. MARTIN To please Celeste. XRA How so?

m . MARTIN If Celeste cares for you, she would have the villagers like

XX - 20 you.

It's rather hard to love someone that no one else oares

for. IRA fat chance these people will ever like me. MEEK X like you.

Willie likes you.... WILLIE

Hey! IM.

MARTIN

Don't you, Willie? WILLIE

W\ MEEK What do you say, Ira....The Initiation Is tomorrow.... IRA Well.... MEEK In here.

In the tavern.

There'll be a big celebration

afterwards.... IRA Well

what can I lose? V. P.

Hurrah!

And the vioe president likes you.

How can you tell? MEEK X*ve got to go now and aafce the arrangementa. tion committee all set.

Get the initia­

I* 11 see you tomorrow...here....at

noon* IHA I'll be here* Hgicy (Exiting) Bleated are the me eh.... loyal to each other in everything • IBA (To oloaed door) Yeah? DR. MARTIN Loyal to e&ah other In everything.... IBA Sure, Doc

or almost everything* m * MARTIN

Everything, Ira*

Dp to now. IBA

Don't tell me, Doc. that looney*

You got

s o m e loonies here, but they ain't

It'a dog eat dog....and the devil tafce the hlnd!'■ » ■ij)A

11-22 m . MARTIN That *8 where you come from. XRA And here it *8 different?

W . M M TIN Why do you thinfc it la eo difficult to find your proof? XRA I'll find itv Doc.

A n d I'll show you.

It's dog eat dog....

and you'll he the one that's eaten.... DR. MARTIN What happens to you if you don't? XRA That won't happen.

It's never happened to me...It won't now. DR. MARTIN

Never-Fall Hulford, huh? IRA That's right, Doc.

That's absolutely right. V. P.

(Pounding on the bar.) You're Beelzebub] IRA Say.' (Going over to the bar, he is stopped by the entry of the old nan, frantic and dejected.)

'*;>t*v

n - 83

^ OLD MAN (Running over to Willie.)

M y message.

My message.

m

one is hearing

m y meeaage.

WILLIE Take it easy, old timer* c l l man

Tou don't understand*

It may soon be too late. IRA

Who's the character?

O L D MAH X have to send it.

The wireless.

What is wrong with the

wireless? StfTTTTIF (To Xra, oovering up) He always thinks he sees a wireless.

He's all right.

XRA What's all the excitement?

What message are you talking

about? OLD MAN Haven't you heard, sir?

The world is going to end tomorrow

......at three seventeen p.m. XRA Oh, so you're the guy.....

O L D MAH And I must warn the people of the world

It is my duty...

XX -

?-rl* f,'

im

(doing over to the V. P.) Oh, no, sir.

Three seventeen p.ra....... I'm sure Of it. XRA

Say, Doo.

He's pretty excited, isn't he? OH. MARTIN

Fery.

XRA Klnda had. •. .for his heart maybe. OR. MARTIN Probably. IRA What are you going to do about it, boo?

U i . MARTIN There's nothing X can do.•• .perhaps if you were to leave.••. XRA You could open up the station.

•ll!, 4-4»*'

ix - se d r . martin

V * afraid you have the wrong party. IHA That truth gag... .doesn’t wear off on you doe a It? DR. MARTIN No, Ira.

I'm not aa fine a person as Beautiful Lise... .1

never oould be. IBA Poes Beautiful U s e know you lie?

m . MARTIN (Slowly) I .......DON'T...... KNOW...... IRA O. K. Do g .

Just asking.

Gould you lie to her, Doc?

was to ask you a question? DR. MARTIN She wouldn't. IRA You're sure? DR. MARTIN Why not ask her? IRA Yeah. (He goea baok to the old man.) How about a drink, old timer?

If she

*t*]ij(

;>•)U

II - 26 OLD MAN

Can you help me

with

m y message? IBA

I might.

If you tell me why this message Is so Important.

O L D MAN It's & sad, sad world. IBA Yeah, ain't It? OLD MAN Maybe I could buy the station! IRA Who owns It? OLD MAN (Gagely) I don't know.

Maybe you do. IRA

Maybe.

You still haven't told me why you want to buy it. OLD MAN

Do my messages will go out.

Uninterrupted....They must.

They must. IRA Why not save your money, Just in case the world doesn't end. OLD MAN SIR I

IX - 27 IKA Well, you've been saying that it was going to end for the last•••• (He gets out his notebook.) six and a half months. OLD MAN Don't you think I know? IKA dure.

Only why not save your money, Just in oase? OLD MAN

What good is money?

Sines the world will end tomorrow? XRA

What good would a wireless station be OLD

?

MAN

(To Doctor) Do you have the time, please?

V H . MARTIN Three minutes after eleven. OLD MAN Only twenty*-eight more hours.

And fourteen minutes....

Something must be done! IKA You're sure persistent. OLD MAN The world has to end. IKA Yeah, but why?

Beoauae of all the unhappy people In the world. IBA I'm not unhappy. OLD MAN Neither am 1. IRA No one

I know la. OLD MAN

Not in Son&elis. XAA Then who's unhappy? OLD MAN The people out there.

Most of them. XRA

Out where? OLD MAN Everywhere

except in Sondells. IRA

Sol

You can't end the world, just because of a few people. OLD MAN

Not a few, my friend.

The majority. IRA

How do you know? OLD I've seen them.

MM

I've made visits out there.

How oan you tell?

ow mn By looking at them.

When they think no one sees them. XRA

Where? OLD MAN At & bar on Saturday night.

At a coffee oafe at three o*

clock In the morning. IRA What do they look like? OLD HAN X remember the flrat one I eaw. She was very beautiful.

Or would have been If ehe amlied.

Her mouth was all twisted. to her and she emlled.

Just before I came here.

Then she looked at the man next

Not really, but because she had to.

X became so afraid X ran out of that place.

Without pay­

ing for my coffee. XRA What did they do to you? OLD MAN That was the first.

I couldn't sleep that night.

began looking at people. to really watch people?

Then X

Have you ever taken the trouble

Don't have to.

Not interested. OLD HAN

the sadness beneath the gaiety, on.

the people everyone picks

After a while I oouldn't stand any more of it and I

knew that the world must end.....

XAA Why? CLP MAN Because God is merciful. IRA Oh, that's Just a few people. OLD MAS I counted them.

Working In factories when they would rather

be writing songs. speak to.

In love with somebody they were afraid to

Wanting a friend, and getting a gruff answer.

Most of the people are terribly unhappy, ay friend. IRA So they are?

So why should the world end Just because of

them? OLD MAN But don't you see? of life.

The good of the majority.

It has to be.

It's my mission, now.

I must do something about it. IRA The majority never did get their way.

That's the way I understand.

Things are different now. the dark ages.

Times have changed.

Those were

Today is the age of the common man.

common man is better off dead.

And the

Go....Can't you see how

logical it all la? IRA No, I can't.

But then maybe I'm wrong.

I'm a rugged in­

dividual! at. OLD MAN I'm sorry for you.

Really I am. IRA

Well, thank you. CU) MAN fou understand how urgent it ie? IRA I guess I do. OLD MAN you'll help me? IRA (Looking at Dr. Martin) I know someone.....if he's a good man....I'll ask him to help you.

Maybe he will. OLD MAN (Sits down wearily)

Oh, thank you, sir.

I feel better already.

IX - 38 v.

b

.

(Rounds on table) You oan't take him away from mei (Meek enters followed by the judge) MEEK Blessed are the

where's Celeste? DR. MARTIN

In her room. MEEK I've Invited the whole village.

To the banquet....All ex­

cept Celeste. (He goes over to her door, raps gently and calls:) Celeste! (The judge goes over and Willie gives him a drink.) (Meek sings:) Cs...les.....tial.... (Celeste opens the door and enters closing It.

Xra

goes to her.) Celeste...we're going to Initiate Ira into the Little Brothers of the Meek..•tomorrow.... and after the initiation we're going to have a barbecue

You'll come won't you?

(Celeste nods affirmatively.) Pine.

Wonderful.

Everyone will be here. JUDGE

Old timer!

You look done in!

33 ?

II - 33 OLD HAH (Indicating Xra) He*a going to get my program baok for me..*. MEEK What? (Willie motiona to Meek.)

out MAW He’s going to help me broadcast my message.... M m you look tired, old timer....are you feeling well? O U MAW Hare to get the message....have to

.I'm tired.

MEEK Come with me* sir.

I'll take you home. OLD MAN

(Stopping at the door) you'll be sure to let me know, sir? IRA I will.

I promise. (Meek and the Old Man exit.)

Say, he looks like he's on his last legs. JUD&E He has only one purpose in life. IRA yeah.

Something ought to be done about that.

BR. MARTIN What do you suggest? IRA Ifd do what I could. JUDCfE You'd leave Sondelia? IRA Celeste..do you want me to leave? (Celeste shakes her head negatively) You don't.

Well, that wouldn't help anyway

would it?

I guess it's up to someone else, eh, Doo? DR. MARTIN It oould hardly be up to you.

IRA Yeah, that's right Doc.

Come on, Celeste....let*a you and

me occupy this nice private booth.

You gentlemen will ex­

ouse us? DU. MARTIN Gladly. (Ira and Celeste disappear into the booth.) {Dr. Martin goes over and speaks quietly to Willie.) Find Meek and have him start up the wireless. WILUK (Loud) What?

DR. MARTIN Shhhhhhh.

Start up the station*

Twist a day.

Just for the

old timer. WILLIE Are you nuts? DR. MARTIN You saw him.

He's building up a bad east of anxiety. WILLIE

You're building up to a number aorose your cheat. PR* MARTIN We'll have to take that thanet. WILLIE Look, Dos, he's old.

He has to kick off some day anyhow.... DR. MARTIN

Willie! WILLIE It's all right to be a good guy....but there's a limit. DR. MARTIN Willie! WILLIS You gotta use sense too.... (Martin grabs Willie's arm and stares at him.) All right.

I'll do it. (Takes off his apron and exiting!)

You're as orasy as the rest of

of us.

(The Judge, meanwhile, has been observing Ira and Celeste bidden in the booth.) JUIXJE

(To Martin) He's kissing her.

m . martin Donft worry.

A little romance will be good for her. JUDGE

Not with that! Dft. MARTIN That....seems to be her oholce, JUDGE (Back to booth) Look here, Mulford. IRA (Coming out of booth) What *a the matter, Judge? JUDGE (Whispering) Leave her alone) IRA Saye who? JUDGE (Whispering) Leave her alone)

Aeww. (He gives the Judge a shove which lends his against the bar, Just as Amelia enters with her sail bag over her shoulder.)

I ' m tired of everybody butting in sy business. iftWM A Why, you big bully,

picking on an old man. IftA

The Amasoni AMELIA Aren*t you ashamed? IRA look*

I don(t want any trouble.

You and the judge and the

rest of this looney burg...just let me alone....

So, you let us alone..... .We don11 like you...... ISA To hell with you..... AMELIA (Going over to Judge) He's sorry. Judge.

He 1a sorry. ISA

Don't go protesting me, Amason. before he gets his feet wet.

Go on home to your husband,

m. MARTIN Uuietly) Amelia’s husband

Is dead, Ira. IRA

(Loud, to Amelia) Did she mother him to death? (Amelia sinks dejectedly Into a chair.) AMELIA Poor Mr. Tlppalsi DR. MARTIN Now you’ve done it. AMELIA Maybe the stranger’s right. OR. MARTIN No, he isn't Amelia.

Don’t you believe it. AMELIA

Where’0 Willie.

I want a drink. DR, MARTIN

He just stepped out for a minute.

I ’ll mix you one.

(He does so.) IRA Aw, to hell with It. (He exits into booth.) DR. MARTIN Hadn’t you better finish your mall deliveries?

Just one drink, please, doctor.

PH. MARTIN All right.

Here it is.

Just one. AMELIA

He was a fine man and a wonderful husband....wasn’t he, Dootor? DR. MARTIN Absolutely. AMELIA But I wasn’t a good wife..... .The stranger was right, we first oame to Sondelis

He wanted to start a newspaper

I didn’t want him to. of a strain on him. days.

I was afraid it would be too mu&

1 said no.

He wouldn’t eat.

when

And he moped around for

So finally 1 gave in. £&. MARTIN

He was very happy before he died, Amelia. AMELIA He was, wasn’t he. name.

The Eadee Tribune)

Had something to do with hell.

That was a funny He told me that

Sondelis was on the brink of the nether world....and that out there in.

that was the hell people talked about and believed

I never did exactly understand him. DR. MARTIN

I think maybe he was right.

AMELIA He worked too herd.

He worked himself to death.

It was my

fault....for letting him start the paper..... (She begins to ory.) Another drink, please, Doctor? Eft. MARTIN Sure, Amelia. (To Judge) Get Meek.

He’ll have to finish delivering the mail.

Looks

like a long session. (The Judge exits)

iJLCELIA It was all my fault. dr. It was not!

immx

People live by their beliefs, Amelia.

and die by that.

They live

Or they live without living....existing.

Xou wouldn’t have wanted him to merely exist, would you? AMftLXA I wanted hlo to live.

To help rae bring up our children.

m . MARTIN fou’re doing a good job of that. AMELIA And thanks to you. (Crying louder) lou’re a wonderful man, Doctor Martin.

II - 41 PR. MARTIN Now, now, Amelia.

Prink your drink and you’ll feel better. AJTELIA

You got me my two positions,

so I oould support ay little

lambs.... .You're awfully nice

I like you very much...

PH. MARTIN (Embarrassed) Please, Amelia. AMELIA I do too like you.....But 1 don’t show it, do I?

I'm going

to lose my position with the post offloe, aren’t I? eause X drink. PR. MARTIN Re'll take cars of that. AMELIA And my lambs will starve. (She erles loudly.) PR. MARTIN Amelia) AMELIA Because X drink! (She hurls the empty glass away from her.) PR. MARTIN Maybe you should try to finish your delivery.

Be*

AMELIA (After a pause) I can’t, Doctor. want to go

I'm too tired.

I'm awfully tired.

I don't

Can I have another drink? DH. MARTIN

Well.*

.1 suppose so. (He goes back of the bar.) AMELIA

You're a good man, Doctor.

You’re the best man....You’re the

seoond best man that ever lived.... DR. MARTIN Oh)

Who was the first? AMELIA

Why, Mr. Tippais, of course. (Willie enters.) WILLIE What happened?

m . MARTIN Mr. Mulford's big mouth. WILLIE Look, Doc.

Let me take care of him, will you? (Dr. Martin motions that Ira is in the booth.)

1 don't care if he can hear me.

Just say the word and I'll..

IRA (Coming out of the booth) Go ahead, Poo.

Say the word.

II - 43

m. MARTIN I might. IRA (After a pause.) Welli

PR. MARTIN It's no good, Willie. even a little violence.

It's not the way of Sondelis.

Not

For a little hit grows into a

great conflict. WILLIE What do we do?

Turn the other cheek. DR. MARTIN

Yes.

For as long as we can. IRA

Well, then, you gentlemen will pardon me.

I've more im­

portant business to attend to. (Exits into booth) WILLIE What does he mean? AMELIA Can I have another

little drink? WILLIE

What did he mean?

m . MARTIN (Taking out his purse) She's had four, counting this one.

Take it out of this.

WILUE (Making a drink) No, you don't, Doc.

This time it's on me. DR. MARTIN

Well, all right.

I think this one will do it.

(Meek entere) AMELIA Mr. Meek.

My friend Mr. Meek. MEEK

Amelia!

I'm disappointed. AMELIA

X know, Mr. Meek.

I'm just no damn good! DR. MARTIN

Now stop that.

(Picking up the mail hag) That's right, Amelia.

I'll Just finish up this sack of mall

for you. AMELIA I'm gonna get discharged. gonna starve.

Get discharged.

And it's all my fault

And the lambs are

I'm no damn good.

MEEK You're a very lovely, charming, wonderful woman.

And mother.

AMELIA (Amelia smiles) Awwww, Doctor.

Did you hear what he said?

He's a fine man.

gil-i\ •

IX - 45 Mr. Meek Is the third beet man In the world.

Ain’t that

right?

DR. MARTIN Absolutely. MEEK (Embarrassed) Well, I ’d better be getting on with this mail. (He exits) (Amelia finishes her drink.) MEEK (Sticking his head in the door) Who are the first two? AMELIA I'm tired.

I wish I was home in bed.

I'm awfully tired.

(Meek exits again.) DR. MARTIN Come on, Amelia*

I'll see you home. AMELIA

(Exiting) You're a good man, Doctor.

You’re the fifth beet man in

the world. (After they have gone Willie goes over and looks into the booth.) WILLIE Celeste!

What ere you doing in there?. .1.. .I've {Something

for you to do.

II - 46 IRA (Entering) Never mind, she's no serf. and bring u® a drink.

She's off duty.

Now, run along

Two drink®. WILLIE

Two, huh? (He awing® a haymaker whloh catches Ira in the stomach and Ira sink® semi-conscious to the floor. There le one scream from Celeste and she comes in from the booth and picks up Ira's hand.

The scream

frightens Willie so that he backs away to the bar. Celeste cries silently and Willie slowly goes out the front door.) IRA (Coming to) fily Cod It hurti

I couldn't breathe......

(Notices Celeste crying) Now, don’t you cry.

It’s all right.

(The radio comes in with music.) I feel fine, now.

Come on, let’s you and me dance.

(They do so.) We'll dance and dance. ...and forget there's anything in the world but just m

dancing.

love me don’t you, Celeste?

Around and around.....You do

vji

II 47 (She nods) And I love you and

and what more is there?

(The music stops and the Old Man's voice comes on the radio.) OLD MAN The end of the world is at hand! IRA (Stops dancing) Oh, no!

CURTAIN

ACT THREE

IXI - 1

ACT THREE The scene la the same.

At the rise of the curtain the

first impression is that of carnival atmosphere in Naples or Rio de Janeiro.

Willie has lowered a flowered curtain over

the hack of the bar so that no bottles are showing. ers are all over the room.

Stream­

Here and there are large and small

balloon animals filled with hydrogen so that they have to be tied down.

All of the actors on stage except Ira have paper

confetti, which they periodically throw around the place. There are profuse numbers of noise makers and "snakes.'1 Time:

Sunday, the next day, shortly after noon.

The lighting should be used to spot the various people when they have the center of the stage.

The lighting

is otherwise fairly dim, because the curtain over the out­ side windows has been lowered.

It will be raised when the

ladies Join the celebration. There is no attempt at the usual initiation dress. Perhaps all of the members on the stage (every male in the play and three or four extra males) wear little brightly oolored vests and carnival hats. dressed in short dentist Jackets.

Meek and the V. P. are Ira is dressed as in the

preceding acts. Just before the curtain rises, a song by all except

Ira and the V. P. oan he heard.

As the curtain rises, the

vests are dancing a polka around the dentist Jackets who are circling around Ira in the center. direction, the circle in another.

The polka goes in one Ira la bewilderedly try­

ing to follow first one and then the other.

The singing is

going full blast with the rise of the curtain and the oonfettl and noise makers Join in. Music is furnished by aconoertlnlst who describes a circle around the stage. ALL (Except Ira and the V; P. singing) OH, DANCE THE POINTER POLKA GLIPPITY CLOP, CLOP, CLOP. AND YOU MAX BE THE LUCKY ONE, WHEN THE CONCERTINAS STOP. (At the word "stop" the concertina stops.) EXTRA 1 Let's sing it again. MEEK Gentlemen!

Take your places for the inlti&tloh. EXTRA 1

Let's sing it again.

I like to sing. MEEK

Take your places.

(All form a circle outside of Meek and the V. p. Meek blindfolds the V. P. and places on his head a carnival hat which has a long pointer sticking out from the front.

During the song, the V. P. ap­

parently moves In a haphazard fashion.

Actually

he must so end on the word "stop" that the proper person Is designated.

He moves sometimes with and

sometimes against the motion of the others.

After

doing this, Meek takes Ira by the hand and places him In the circle between himself and the doctor. The oonoertinlst Is outside the circle.) MEEK Let the music play! (The concertina begins.) ALL (Except Ira and the V. P.

As they sing they dance

a circling polka step.) AS THE POINTER TURNS THE POLKA JUMPS, MAKES THE FEET 00 THUMP, THUMP, THUMP, EVERYBODY JOINS THE FUN. WHO WILL BE THE LUCKY ONE? OH, DANCE THE POINTER POLKA GLIPPITY CLOP, CLOP, CLOP. AND YOU M X BE THE LUCKY ONE WHEN THE CONCERTINAS STOP.

Ill - 4 (At the word "stop* the pointer is Indicating the Judge.

The others see this and then without music

they chant:) ALL (Except Ira and the V. P.) We like the Judge I Fee, fy and foo. We like the Judge! What he speaks is true! (All stop and wait expectantly.

The Judge clears

his throat.) JUDGE I was born in Sondelis. Didn’t like it much.

Went away to school.

Became a lawyer.

Bone years ago I came back for a vaca­

tion. Just aorta stayed.

For an extra week...months*...for

good. Before I Joined the

Little Brothers I was politically

ambitious.

Clot elected Judge of Sondelis.

wait until my term ends.

Just one more year to go.

I Joined the Brothers X was ambitious. Or I will be in a year. the Meek did for me

Now X can hardly Before

Now, I’m Just happy.

That'a what the Little Brothers of And now I ’m happy.

(The Judge goes quietly back to the circle as all the others buret Into a cheer. on him and blow the whistles.

They throw confetti At a sign from Meek

the concertInlet begins and the others begin sing­ ing and dancing again.) ALL (Except Ira and the V. P.) SHORT OR THIN, OR TALL OR PLOT. MAKE XOUa FEET GO THUMP, THUMP, THUMP. FATHER, BROTHER, UNCLE, SON THE POINTER POINTS TO THE LUC&X ONE. OH, DANCE THE POINTER POLKA, CUPPITX CLOP, CLOP, CLOP. AND XOU MAX BE THE LUCKX ONE WHEN THE CONCERTINAS STOP. (The pointer indicates the doctor.) ALL We like the doctor. Fee, fy and foo. We like the doctor. What he speaks is true. DR. MARTIN (Goes to center.) I came here to dissect. under a microscope.

To probe into the why*e.

I was a man of pride.

Little Brothers of the Meek

To observe

But 1 joined the

and now I am loved.

(Cheering and confetti again.)

ALL (Singing with the music.) ROUND AND ROUND THE CIRCLE JUMP, MAKE XGUE FEET 00 THUMP, THUMF, THUKP. JOIN THE POINTER POLKA TO? XOU MAX BE THE LUCKX ONE. OH, DANCE THE POINTER POLKA, CUPPITX CLOP, CLOP, CLOP. AND XOU MAX BE THE LUCKX ONE WHEN THE CONCERTINAS STOP. (Just before the word “stop* this time, the V. P. becomes excited and ducks his head violently. hat comes off with the word "stop.* silence for a moment.

The

This causes

Then, lead by Meek, all

chant:) We like the V. P. Fee, fy and foo. We like the V. P. What he says is true. (All pause to listen. speak.

The V. P. does not start to

After a silence one or two of the members

start the cheering and confetti.

The V. P. smiles

and starts to speak with the noise drowning him out.)

Ill - 7 MEEK (quieting everyone) Shhhh!

qulet.

Shhhhhhhh. V. P.

(Becoming audible as the noise subsides) I had a little green dog

with a yellow tail.

(One person during the following quiet yells one "Woopee. “ Meek shushes him.) But X lost him. (This is followed by silence.

Meek goes over quiet­

ly and replaoes the hat on the V. P.

Then all

cheer louder than at any other time.

The V. P.

smiles broadly and Meek signals the oonoertlna.) ALL (Except Ira and the V. P.) LIGHT FEET NEVER MAKE A OLUKP LIGHT FEET ONLI THUMP, THUMP, THUMP. ROUND AND ROUND THE CIRCLE RUN.... YOU MAI BE THE LUCKX ONE. OH, DANCE THE POINTER POLKA. CLIPPITX CLOP, CLOP, CLOP. AND XOU MAX BE THE LUCKX ONE WHEN THE CONCERTINAS STOP. (The pointer is in the direction of Ira.)

MBOr well, Brother Ira? IRA What am I supposed to say? MEEK Just what Joining the Little Brothers of the Meek means to you. IRA Well

.1 don’t know

I don’t know whether Joining is

going to he good for me or not.

I suppose I should Just say

a lot of stuff and let it go at that knew any people quite like you

I never

X like you....most of you

....Hell, 1 guess 1 like all of you. that’s good or bad.

But

X don’t know whether

X Just don’t know. JKJbJMV

Go on, Brother Xra. XRA Well, when X o&me here.

X o&n say this muoh....I*m not ex-

aotly the same person that X was the first day X walked in the door.....X don’t know whether for good or bad but you’ve changed me. •. •.X guess X '11 always be changed....somewhat..• (There is a pause, then with one accord:) ALL We like Xra Fee, fy and foo. We like Xra What he says is true.

XXX - 9

(Shaking his hand) Congratulations, Ira.

The Initiation is over.

Let the

banquet begin. (All the others come up to shake Ira's hand.

Meek

takes the V. p. over behind the bar and uncovers plates of sandwiches.

He places a large mustard

paddle in the V. P.'s hand and goes over to raise the curtain and open the door.

After congratulating

Xra, the doctor and the others go over and get tables and chairs out of Celeste's room.) XRA (Answering each hand shake) Thank you.

Xes, it's very good of you fellows

should buy the drinks bad after all.

Maybe I

Well, Doc, this outfit isn't so

Willie....! never thought you'd be sticking

out your hand to me

Judge

Is it all right now for

me to court Celeste?

mm (At the door) The banquet is ready) (Immediately all the women rush in, several of the people start singing a dancing song.

Celeste runs

over to Xra who takes her in his arms and those two begin dancing while others clap hands.

A

folk dance,

others grab sandwiches and eat.

The

doctor lochs around for Use, but she isn't with the others. ALL (Men and women) WE O O W A SPOT - A VILLAGE FAIR. EVERYONE, EVERYONE'S HAPPY THERE. SO SIm

AND DANCE ALL OVER THE PLAGE

SING FOE THE HEARTS THAT ARE FULL OF GRACE. SING A LAX, SING A LEE, SING AND DANCE FOR SONDELIS. SONDELIS*8 THE VILLAGE FAIR. EVERYONE, EVERYONE'S HAPPY THERE. SO JOIN IN THE DANCE, AND SKIP AWAY. JOIN IN THE SONG, A LEE A LAX. SING A LAX, SING A LEE, SING AND DANCE FOR SONDELIS. IRA Come on, Doc.

Grab a partner and dance. DR. MARTIN

I'm waiting for Beautiful Lise...• (Just then George Walker comes In the door.

He

surveys the eoene with Inner amusement, especially

*>/»«,

-IP

Ill - XI Ira dancing and singing with all the rest.

The

Judge notices George and nudges his neighbor.

The

nudging goes on from him until the singing stops. Ira finally turhe to see what is the matter.) GEORGE If J. Ifanelll could only see what I*ve Just seen. IRA What are you doing here?

GEORGE Observing.

D o n U let me stop you.

Let the dance go on!

IRA I ordered you back to the capltol. GEORGE I went back.

Then someone with a lot more authority ordered

me back here. IRA The Governor? GEORGE Mister Manel112 XRA What for....to take my place? GEORGE With a message for Mulford. IUA Well?

GEORGE Xt’e kind of confidential.

IHA Can’t it wait until tomorrow.

I ’m buoy.

g eo rge

Tomorrow will bo too late.

You have Just twenty-four hours

to olean up this assignment

or out you go.

XRA They can’t do that to me.

After all I've done to

it isn’t

fair.

GEORGE look who’s talking about being fair.

XRA Xf that’s the way they want it

you go baok and tell

Tlanelll.... X quit....

GEORGE Did I hear you right?

You give up.

XRA X said I quit.

The Job’s too dirty.

with it.

GEORGE Come on, Ira, tell the truth...

IRA What do you mean?

I want nothing to do

6&DKMC you’re licked.

Just as I was,

They’ve beaten the great

Mulford. IRA Hell, X could wrap this up any time I wanted to.

mx>rm But you don’t want to....you’ve got religion. IRA Gould be, yeeh?.... GEORGS Well, I warned you.... (Just then Beautiful Lise comes In the door. Everyone is quiet, expectant as the doctor escorts her over to the side by the booth where he takes out a wrapped painting.

He commences to unwrap it.

The doctor is oblivious to everything except the expression on Beautiful Lise’s face. to the audience.

She is turned

Her expression starts with a

smile and eager expectancy, gradually as the paint­ ing is uncovered, it turns to one of bewilderment, then to sadness.

Without any other word or indica­

tion from Beautiful Liee, the doctor dejectedly tears the painting into small pieces... .There is a barely audible sigh from the attentive audience. Lise watches the tearing fascinated, and when the

doctor finished and throve the pieces in the corner, she turns a*ay and sits weakly In & chair, looking away from the people on the stage.

Willie goes up

to the doctor and quietly places a hand on his shoulder.) IRA I could solve the whole case In five minutes.

mmm But you don’t want to.... iaA Bo.

NO.

mmm You couldn’t solve this case if you had ten years.

You’re

all washed up....You started well, but you couldn’t last. IRA Shut up or I ’ll.... GEORGE You’ll what? IRA Nothing. GEORGE The great Mulford....Isn’t quite so great anymore. IRA Leave me alone. GEORGE (Baroastic)

Ill - 15 Have pity on me, air*...My wife and children will starve. (Willie comes over to George and Ira.) WXUIK You’ve said enough.

You can go now. GEORGE

Boy, you*re really in solid here, hid.

Even Willie protects

you. IRA 1 didn’t ash him to* wiuxe

You aren’t wanted.

As of now, GEORGE

All right.

I ’ll go. (Pauses at the door)

Mister Mulford! XBA Yeah? GEORGE Seems like years since you yelled at me...when you first came here*

I wanted to do something then and X oouldn't.

How’s

a good time. (With this he stieks out his tongue and blows a “Bronx* cheer around it.) IRA (Going toward him) Why you little pipsqueak!

Ill - 16 *fttvfic Ira, remember you’re a little brother of the. ••• XBA You mean X have to take that off him?

mm Let him be.

He doesn’t know... XBA

I ’ll be damned if X do. (He breaks away from Keek and grabs Walker.) BOW do that Just onoe more! (Walker does.

Xra slaps him hard.)

I ’ll show you...you little runt.... (Xra pushes George in front of him over to a chair center.) Row, sit here and watch a real operator go to work. DR. MARTIN What are you going to do, Xra? Dog eat dog, doc.

XBA

I’m sorry but that’s the way it is....

Idse....suppose X were to ask you who owns the radio station, you know, don’t you? BEAUTIFUL LISE (Hesitant) Yes, X know.

IRA And you can’t tell a lie? bjeautiful u s e

(Appealing) Douglasi DH. MAKTXK Stop it, Ira.

Come on, Lise.

1*11 take you home.

IRA Sure, go ahead.

Hun away.

It*a easy to tell the truth,

when there*s nothing at stake.

That*s the whole thing wrong

with all you people.. Nothing3s at stake. DR. MARTIN Come, Lise. IRA Go ahead, Lise, run. be sure.

But you* 11 never know.

Running away.

Hiding from the truth.

away is a form of lying isn’t It? BEAUTIFUL LISE X.

1 suppose so. XRA

Tell me, Lise....who owns the radio station? (Beautiful Lise doesn’t answer.)

IRA Does Dr.

M a r t i n own the radio? (Silence)

You* 11 never Running

in - is (Trying a new track) Does Mr. Meek own the station? BEAUTIFUL U S E (On the verge of crying) No. IRA The Judge? (She shakes her head negatively.) Dr. Martin? (Silence) The druggist? (She shakes her head negatively*) Dr. Martin? (Silence.) Willie?

Amelia?

The Old Man?

(She gives a negative shake of her head to all.) Dr. Martin? (Silence) Lise, have you ever heard of lying by aotion.

If you refuse

to 3 ay yes or no, then you are acting out a lie. BEAUTIFUL U S E No! IRA (Triumphantly) No, he doesn’t own the station?

Ill - 19

j BEAUTIFUL

2ES

use

NO.......YES.... (She breaks down Into sobs.) DR. MARTIN

Damn you, MUlford..... (He starts toward T.ra, but Meek holds him back.) Yee, I own It.

I

I own the station.

Now leave her

alone. IRA (In for the kill) Yes or no, Lise.

Does Dr. Martin own the radio?

(Silence) DR. MARTIN Please, everybody I her apart.

Tell him I own It.

I own it.

Don’t let him tear

Let him take me away

TELL HIM!

(Silence)

XBA Yee or no, Lise.

Yes or no.

Yes or no....

BEAUTIFUL LISE (Brokenly) Yes.

Yes, he owns it...... IRA (Amazed)

She really can’t lie......... (Beautiful Lise slips in a faint to the floor.)

■V' *>V '

XII - 20 DR. MARTIN (Bending over and picking her up in hie arms.) Poor Lise.

Poor, poor Beautiful Lise.

Did he make you do it?

BEAUTIFUL LISE (Awakening) Douglas? UR* MARTIN Xes, U se? BEAUTIFUL U S E Douglas, I ’m sorry.

m . MARTIN Don’t think about It.

Now 1*11 take you home and you can

rest.... BEAUTIFUL U S E No, Douglas.

I’m all right. WILLIE

Why don’t you lie down a while.

On Celeste’s bed?

DR. MARTIN Just for a little while, Lise? BEAUTIFUL U S E I

m

tired. DR. MARTIN

I ’ll help you. (He assists her to rise and Willie goes over and

(opens the double doors,

The Doctor takes her into

the bedroom and gently places watch.

her on the bed.

All

Then he comes out and Willie gentlycloses

the doors.

Willie looks at the doctor and then

both look at Xra.) WILUE Let18 get him.

We'll fix him so he won’t be able to say any­

thing. PR. MARTIN Newer mind, Willie.

It's my Job.

(He walks slowly over to Ira.) (Slowlyi) Mulford, if you're not out of town in one hour

I'll kill

you. MEEK (Softly) Doctor!

That's not the way.

That's his way.

WILLIE Maybe it's the only way. IQSEK The only way

is the way of the meek. WILLIE

To hell with the raeek....Come on, Doc.

Let's get him now.

(No one moves except Willie.

Celeste interposes

herself between Willie and Ira, and looks at Willie pleadingly.)

WILLIE

You, too, Celestet (He looks at her for a moment and then turns on his heel and exits slamming the door.) (Xra goes over to Celeste and takes her arm.

ahe

looks at him a moment and then removes his hand, runs over to the bedroom and exits.) IRA (Galling after her.) Celeste!

What did I do? (After she ©loses the door)

All right, so X lost control.

A man can't change overnight.

Maybe I don't want to change.

I tried to understand you,

tried to be like you..........And look what it got me. on, Walker.

Gome

Let's get out of this looney burg. GEORGE

I wouldn't be caught dead with you.

(k> by yourself.

(He exits) MEEK. (Stopping Ira) Perhaps we're expecting too much of you. in too short a time

Expecting a change

Perhaps the Little Brothers should

forgive and forget..... IRA You can take your Little Brothers and shove all of them down

a rat hole.

X*n» fed up.

I talc© back all I ever saia....

Where*s the Judge? JUDGE Yee? IiU

You*re the legal authority in this dump, aren’t you? JUDGE Perhaps I am.

Whether I like it or not. IRA

Well, then it*s your duty to hold oourt and..... JUDGE It*s Sunday. IRA I can*t wait.

You heard the Doctor admit he owned the radio.

What are you going to do about it? JUDGE What do you want me to do? IRA I want you to hold court right/ now and remand Dr. Martin to ray custody.

To be taken to the capltol and there to be

tried....and convicted. JUDGE I can*t hold oourt here. XRA

I demand that you do something... .Wow.

I want to get out of

here ao fast 1*11 brush off all the star dust I ’ve been

Ill - 184 collecting. MEM Xrai

Won't you reconsider? IRA.

I Will not.

And if something isn't done

(looking at Martin) in one hour

I'll oall up the govenor and have him de­

clare martial law.

And close up the whole town.

Scatter

every looney in this burg to the ends of the country..... JUDOS You can't do that. IRA you think not?......... dust one hour. DR. MARTIN Perhaps we could oblige, Judge. (He whispers to the judge.) JUDGB Very well, young man. (Indicating

This will he the bench.

& table behind which he seats himself.)

Gradually all the people in the room sit around on the floor and on the chairs.

Ira and Dr. Martin

remain standing.) Shall we proceed.

You

(Indicating Ira) may speak first. law.

But remember this is a recognised court of

You will respect it as such.

Proceed.

Or be held In contempt..

Your honor, I demand that you remand to my ©are that man... Dr. Douglas Martin....because he has broken the laws of the land.

Your course Is plain.

the law-breaker.

Her© is the law and there is

You cannot set yourself up as higher than

the law or the law becomes a mockery.

Remember your duty to

your profession, surely one of the highest callings in the world.

If you do not Judge for me then the law is no more

in Sondells. (Threatening) Remember the consequences when you render your decision. JUDGS Mr. Mulford, I am quite capable of remembering. ing Justice.

Law, Jfr. Mulford, is changeable.

ferent in different countries.

Of render­ It is dif­

The English Common Law is

peculiar to the English-speaking countries.

The laws of

Germany, of Italy, of China, are peculiar to those indivi­ dual lands.

Here too, in Sondelis, we have a law.

The Law

of Sondelis - which w© believe to be superior to all other codes of law.

Are you willing to be Judged by that law? XRA

Your honor.

There 1® some mistake.

I am not being tried.

I sued for the trial of Dr. Martin. JUDGE

T h e n you are not willing to be tried under his laws, but you wish us to try him under yours?

't

III - 28 IM It*a not & question of my toeing willing. wrong.

I have dene no

What would toe the sense of trying me? JUDGE

Are you willing to be tried? more than that

If you are found Innocent...

If there Is any doubt of your guilt....

then we will proceed to the trial

o f Dr. Martin

in any

manner you specify.

IRA. Oh. very well then.

Get on with it. JUDGE

Dr. Martin, will you act as prosecutor? DB. MABIIH

It will toe a pleasure. m 1 object! JUDGE On what grounds

?

IRA I.......1

Oh, hell.

All right. Xou've got nothing on

me. JUDGE

Mr, Meek, will you read the first precept UESK (In an oratorical voice) Blessed are the poor in spirit......

o f the law?

*>:*?«>. y •j. 4

III - 2? JUDGE Have you obeyed this law, Up. Mulford?

How do you plead?

Guilty or Innocent? XRA Xnnooent.

X*m as poor as the next guy. DR. MARTXM (Prosecuting)

A man may have wealth and still be poor*in spirit.

And a

man may be poverty stricken and still not be poor in spirit. Are you not ruled by money, by power? to arrest and imprison me

Did you not oome here

regardless of any cause Z

might have had for the alleged crime I am supposed to have oommitted against your laws?

Did it ever occur to you that

you might be wrong and someone else right?

Or did your

wealth, your small amount of power, did the possession of that blind you to any course except that which would protect that small power? XRA I tell you V m not guilty. DR. MARTIti The Judge will decide that. XRA I demand a trial by jury. JUDGE He is within his rights.

n w

XXX - 28 M . MARTIN

Shall the people of Sondelis serve as Jury? XRA The loonies.

what do you take no for? m s

who then should you like? IRA Oh, let them be the Jury.

This Is all a fares anyway.

We

night as well do It up right. m s

Don't hellers it, young man.

the decisions of this oourt

are reoognised as binding in the Tillage of Sondelis. XRA I'll appeal!

jums that is your privilege. meek

(Who has been whispering with sons of the others.) four honor!

We hare been talking it over.

neoessary to go further with the trial.

We find it un~

We find the defend­

ant........ XRA Wait.

X objeot.

You can't render a decision before you

hear all the evidence. UF.ff.lC

X was about to say....

DR. MARTIN X agree with the defendant,

suppose we dispense with a

Jury and allow judge Poster to deolde. XRA Will the Judge hear all the evidence before he makes up his mind? JUDOK X find it insulting that you should ask suoh a question. However, slnoe you are worried

Yes, X will hear all the

evidence that you care to present* PR. MARTIN Are you willing to let the Judge hear the case and render the verdicts? XRA X have to be. JW&S

Very well, then proceed.....

mwa (After a pause) X was only going to say that we found you not guilty.... We don't believe you could be guilty....you a Little Brother. XRA What?

I've been tricked.

they were going to say

Damn you, Poo. you.....

(He starts for the doctor.)

You knew what

JUDGE Mr. Mulford!

You are charged with contempt..... XRA

But Judge. JUDGE

I t you do not settle down..,.I will continue the case for several weeks.... XBA Mot by & damn eight....Let’s get It over with.... (To the doctor) Well, doc, you’pe not a Little Brother of the Meek after all, are you?

Mot when the ohipe are down. DR. MARTIN

No.

X guess I’m not.

1 was too long with your kind, not

to backslide once In a while.... JUDGE Le’s see, where were we? d r . martin

Waiting for a decision on the first precept of the law.... JUDGE X find the defendant

guilty. IRA

I object. JUDGE Mr. Meek, read the second precept.

Blessed are the Meekl IRA Z*ll plead guilty to that..gladly.

And thank Ood for it.

MESK

(On a sigh from the Judge) Blessed are they that Mourn.... XRA Why should I mourn?

For whom? DR. MARTIN

Perhaps for yourself. XRA X may as well plead guilty. way anyhow

justice

Rls honor would find us that huh!

Blessed are they that hunger and thirst after Justlee.... XRA Not guilty. DR. MARTIN Do you know what the word justlee means? XRA Do you? DR. MARTIN How can you hunger and thirst after something you know nothing about?

m

- 38 IRA

You call this justice?

Why don't you and his honor do a

little hungering and thirsting yourself? PR, MARTIN (After a pause) Your honor,.,.nay I suggest that the fourth precept he held in aheyanoe.,.,for the present. IRA Z say no.

the Judge promised to find me guilty on all the

precepts,.or try you. JUDOS

that is right.

I find you guilty. XRA

Row do you find the prosecutor?

And yourself?

JUDOS I eonourr.

I find those two individuals guilty also. IRA

Well

then..... (He becomes speechless.)

Blessed are the merciful. DR, MARTIN Were you merciful to Beautiful Lise? IRA No.

No

I'm guilty.

«|Q !• %!>•J"fi

Ill - 33 MEEK Blessed are the elean of heart. IRA Yes.

Yea, I say

I love her.

You can't take that away

from me. DR. MARTIN Did you come here "clean of heart?" (leleste with a d e a n heart?

Did you first approach

If you're clean of heart now,

will you remain so always? IRA I ....... I ........ No! (He sits) DR. MARTIN What does your honor think? JUDGE Guilty. MEEK Blessed are the peacemakers. JUDGE (After a pause) Guilty. MEEK Blessed are they that suffer persecution for Justice's sake. d r . martin

What is the verdiot?

judge

Guilty. Eft. MARTIN The case against Xra Mulford rests. jud g e

The defendant nay address the oourt. XRA

Xou can’t aontonoo mo. another system.

I.....I....I’ve boon living undor

There lo no ouch thing ao Justice or meek*

nooo or poverty,

there* • only power and gold and ambition. •

that *• the law and all lt*o points.

And everyone here la

here beoauae they don’t believe that.

Xou’re all eraay.

Too crazy to see what’a right and what* a wrong. only one who knows.

I’m telling you.

I ’m the

Xou must believe me..

JUDGE

In Sondella, liy friend, it la you that are erasy.

For being

a lunatic la only a matter of being a member of the minority To us

your methods, your lying, your oheating, your be­

trayal of your friends

that is lunacy..... XRA

X didn’t know. JUDGE Aren’t these the laws by which all good people exist? XRA

X don’t know.

X don’t think.

.X don't know.

XXI - 35 JWXJE Bo you have anything further to say?

XRA. hoiking. juwe

Or. liartint

m . MARTIN X accuse this man, this Ira Hulford of being a despicable thing,

living on others.

A parasite.

Knowing no law, nor

honor, nor meroy, Justice, love, pity

nothing.

his hind come the evil men of the world.

In another few

years he, too, will kill masses. races.

Prom

He, too, will persecute

He, too, will plunge innocent people into cat&clasyas

of blood, until nowhere on the face of the earth will there be a man or animal that is not aware of his grossness and decay.

The law to him is a shield to hide behind.

Hot some­

thing to govern his relations with his neighbor, but a fence outside of which any evil aotlon Is Justified.

He stands

before this court,.. .more than that... .before the woman he professes to love

convicted.

Not for some crime of

passion....committed in the height of anger...worse than that....a deliberate, malicious, lnexous&ble crime against men.

It cannot be that such as he are members of the human

race....but rather a blight put here to recall to us that our happiness can be lost.....lf we do not protect It.

I

say there is not only single solitary saving grace In this

, '{( ;! Jr ,« I

III - 36 whole corpse of Iniquity.

X demand that ha he sentenced to

the Halt of the law. JtWB

Are you ready for your sentence? (Ira doea not answer.) 2 aentenoe you to Coventry.

And X oharge all the natives of

Bondella to oarry out that aentenoe. from thla day forward

So that In thla village,

you will never hear a human volee

addreaaed to you....In publlo or private.

And nay Cod have

mercy on your aoul. (Ira atanda before the makeshift bar of Justice defeated, with head bowed.

One by one, or perhapa

two by two, the villager a oome up to him, look, at him with aadneea, and then ellently go out the door, hast to leave la hr. Meek, who grabe him by the shoulder and pata him on the back onee or twice. Xra fllnehea from this gentle encouragement. he la alone on stage.

Soon

He walks over to the closed

double doors and gently taps on one of them, waits for a few momenta and then taps again a little louder,

then he, too, turns and goes out the

door, slowly oloalng It behind him, with a hopeful last glance toward Celeste's room.

Celeste opens

the door and runs In calling out and being follow, ed by the four members of her oourt.

Ifusle plays

i

XXX -37 In the background.) Ci n d e r e l l a Xra!

Xra! PAPA

Xou are not to talk to him child.

Xou heard the sentence.

CINDERELLA Mo.

No, X was In there...... PAPA

Xou were listening at the door..... CINDERELLA But....why didn't you let me answer him? me answer his knock.

why didn't you let

X wouldn't speak to him.

X didn't

before... .and he still loves me.••. PAPA He said he loved you.

But he didn't aot that way. CINDERELLA

He did so.

He did so.

POOI* Cinderella

Can'at tell me what la love?

CINDERELLA What is It, Pool? POOL It's an Itchy feeling you can't scratch...Ha ha ha.... CINDERELLA Please, Pool, no tom foolery..•.Xra'a gone...and he won't come hack.

J

I1')

there, there, child.. .*.There ore other men. CXNIKftSUA Who*

the fool there?

aExmas there1a always the loyal opposition..... CINDERELIA fh whoa are you loyal?

m>m% to myself.

You oould he loyal to me, too, If you'd Barry

me and make me your king*... OINBlftSUA Fapa, do you think he'll oome back?

FATA

2

don't know..... look at Mama.

tears in her eyes.

He did that.

look, Cinderella, at the Your Ira did that.

And

he'll do the same thing to you. CINDERELLA Ho.

Ho, he didn't,

that was somebody else.

Not Mama.

Was It, llama? (Mama Is silent) Zt was someone else, X tell you. a lie

A woman.

and that's why he made her cry.

tell lies.... FATA that's right, Cindy.....

A woman who told No one should ewer

(His steady gase foroee Celeste’s eyes down*) FOOL Tour Highness a llat

Queen Cinderella!.... ...when la a lie not

.. CINDERELLA

When one la In love*..... (Pause) GEORGE (Leaving) fhla la an excellent opportunity..... CINDERELLA Dark Prlnoe!

Where are you going?

X do not remember giving

you leave to go. CEORCE She lota have been drawn, and X an the winner.... (Exiting) Enjoy yourself while you nay. ••. CINDERELLA Why....why, h e 1a being insubordinate..*. PAPA Shat'a absolutely right.

While you alt here nooning over a

black sheep*•••he is starting his revolution.... CINDERELLA I just don’t oars anymore. tired.

I don’t care.

Let hln have the kingdom.

X ’m

■O' y In

111 - 40

KAMA Now, Cindy,

that’s no way to talk..*.. CINDERELLA

Let him have it.

I ’ll go after Ira.

Ira said h e ’d build

me a doll house.

And keep roe away from everybody.

Just he

and X and no Dark Prince to bother me..... PAPA And no Mama..•.

KAMA And no Papa..... FOOL X guess you’d be better off without a fool....a poor fool who can’t make you happy when you’re sad..... CINDERELLA Well, no.... PAPA Xbu can’t have both....he and us. CINDERELLA For

m y sake

couldn’t you forgive him Just this once? PAPA

(Angry) No.

Absolutely not!

m m What he did was unforgivable

Celeste, do you love us?

in * 4i OXB&EftKLLA Oh# of course time.

%

4o*

But 1 could forgive him Just one more

X know he* a sorry. PAPA

Would you have ue break the sentence.*..and apeak to him...? (Celeste node her head yes.)

lfAMA Cinderella! to Ira* queen*

You are a queen!

Above all you should not apeak

You must remember the responsibilities of being a You are not aortal as we are*

You are a queen!

FOOL What la the differenoe between a queen and... .and a fool?

0ISDBaiUA Where is no difference.

?00t# A fool Is a fool by occupation....

GIWDERKUA And a queen......? FOOL Is a fool by love. MAKA (Looking out the window) Here he comes. PAPA

Whs Dark Prince?

XXX - 42 MAMA Worse

It's he.... Ira I OXNWISLU

Where? (&ie hurries over to the window.) Where he Is.

He's coming here! PAPA

Come, let us hide.

No.

X want to stay here. PAPA (Crabbing one of hex* arms)

Help me. Fool! (Whe Fool comes up on the other side of her.)

CINDERELLA Let go of me.

X fm your queen! PAPA

(Letting her go) But I ’m your father. CINDERELLA X command here.

You obey.

Leave,

i t you wish.

I stay.

mm He*e almost here. PAPA

X f you don’t go with us....We’ll keep on going come back.

We won't

1*»/: ?i).V»J)

m

~ 45

CINDERELLA You won't? PAPA Never! CINDERELLA Kama? (Mena shakes her head negatively.} tool? FOOL We'll Join the Dark Prince.... CINDERELLA I'll come.........

Hurry, he's almost here. (All the oourt flee before Celeste.

She follows

them through the door, looking back longingly and then closing the doors.} (Ira comes in, looks around, and then goes slowly over to the dosed doors. the door.

He knocks gently on

After a pause, he knocks again.) IRA

(Gently, rising in loudness) Celeste!

Please, Celeste..... 1 only want to say goodbye.

Celeste!

Please, Celeste!

Goodbye, Celeste!

Goodbye!

XII - 44 (He turns and sees the doctor, regarding him silently, then:) Hello, Poo! PR. MARTIN Ecu1re leaving? IRA Yee.

m . MARTIN I 111 go with you, IHA Why, doo? DR. MARTIN That’s what you came for, isn’t it?

IRA Yeah. DR. MARTIN I.

I ’m sorry

You were right

for

For attaching you viciously...

I ’m guilty as well ae you.

I guess I

lived out there too lohg to he a true Little Brother. IRA No. Doc.

I had it coming.

It was good for me. DR. MARTIN

Don’t you want to turn me in? IRA That’s the last thing I want.......now.

in - 4« DA* MARTIN I'm not aeek enough to forgive you for what you did to Beautiful Use. ....But if you etay here.*...I'm aure the other Brothers

They'd treat you as if nothing ever

happened.

IRA Bo you really think so, Boot

you realise I only had the beat

intentlone.....at the firat, anyway. DR. MARTIN X auppoae so.

IRA Ck> baok and teXX then, doo.

Tell than I'm sorry.

I'd do

it myself but I'm still too ashamed. DR. MARTIN You won't ehange your mind again? IRA X don't think so.

I hope not. DR. MARTIN

Well

....You don't mind if 1 don't shake your hand?

IRA No, doe. (The dootor turns around and leaves.) I'll be damned. (Ira sits in a chair in a earner.) (The noise of Dr. Martin closing the door is a

signal.

Celeste opens the door to her bedroom

slowly.

underneath her a m the Fool

l o o k * out the

door to the outside, not noticing Xra.) FOOL 8 0 * 0 gone.

(Celeste runa over to the door looking out.) IRA (Looking up and toeing Oelette.) Celeste! (Startled by the voice, the Fool pulls quickly back into the bedroom and disappears, pushing Mena In front of him.

Celeste looks around

frightened! and starts for the door herself.) XRA Don't run away, Celeste

X only want to say goodbye....

Please listen to me....Please look at as.... (Celeste turns and looks at him.) Xou look sad.«..I've made you sad! haven't X? Celeste.

I'm sad because I*a.....I'm a failure

ure at living.

A fail­

X thought that X would never be a failure. •

But now I've stopped and added It all up and Is sero

I'm sad, too,

.the total

Minus sero....X had my chance...but X was too

mean..... (Celeste shakes her head negatively.) Xesf it's true. (Celeste shakes her head negatively.)

Xou don't believe that, do you*

Xou think I'm.... .whatever

I've been when I've been here with you.

Well, I'm not.

(Looks away and speaks after a pause.) X really shouldn't hope.

X shouldn't ask you.

But....well,

when I'm with you X don't feel so...«*X hope maybe you oan make me over,

they say that love has that power.

Do you

think it does. Celeste? (He looks at her.) Xou smile!

Xou think it does!

then X have the courage to

speak. (He looks deep in her eyes, then abruptly away.) Ho.

Hot yet.

Xou have the right to know the whole truth.

Don't stop me.

I'll tell you everything.

Then if it's

more than you oan stand. •. .why, just go out the door.

X

won't be looking at you. (Bask looking at her) Xou understand? that X love you.

Before X go ahead... .X want you to know That X want to marry you.

take you away from here.

I'll live here.

Oh, X won't And I'll....

I'll try every way X know how to make you happy. smiling.

And yet you're sad, too.

Xou're

Xou think I've....

(He turns away from her.) All right. I'll tell you.

I've traded on people all my life.

I've been nioe to them....until X got what X wanted*..for as

long &s they had anything to give me....then I've thrown them

f o r Someone elee that had more. ...or something I

over,

wanted.... (Pause) Don't think I've been so bad, Celeste.

Before I came here

I thought that mine was the only way. X know It'@ no ©3&* ouse, but you see where I was everybody acted that way. was the custom.

It

If I'd acted any different they probably

would have sent me here.

As a ward of the government,

(Pause) No, even now I'm not being honest. I was like then.

I'm sorry for what I ’ve done here.

(A long pause. I

.X

I'm not sorry for what

Ira is trying to say it.)

aoted the same way here. (Pause.

Xra listens for the sound of the door

closing.

Then with hope:)

But I'm not going to anymore. changed.

I was sure I had.

while ago.

With everyone but you.

I've. ...at least I hope I've Then today.

Don't you understand, Celeste.

Pride I suppose.

Just a little I had to know.

But I had to succeed where the others had

failed. (Pause) And I did succeed

.At the expense of poor Beautiful Lise.

I almost made her tell a lie. did something worse.

I wish she had.

Instead she

She betrayed the man she loved.

She

oouldn’t tell a lie. (Pause.

Ira Is thinking over his hollow triumph.)

And then I realised how empty It all was. stopped her. people.

Could have stopped me.

With gentle souls. (Pause

They could have

But they’re gentle

Your kind of soul, Celeste.

listening)

You still haven*t left, Celeste?

Could you forgive me?

Could you forgive me if Eeautiful Lise did?

If I went to

all of them and told them Just how mean I think I am? do it,

1*11

X almost did it before I came back... .but X was too

proud. (Pause) I •m afraid to look, Celeste. through your face?

What does your heart say

Are you. angry?

Or are you disgusted?

(Pause) You’re still there. But before I do.

I'm going to turn around now, Celeste.

Whatever your.answer is.

to turn in the doctor and the village.

I'm not going

So whatever you say,

whatever your answer is....You needn’t say yea if....just to save the doctor and the village and their wonderful wireless.

I ’m going back and report that the village of

Sondelis should be left entirely alone. know how much good it will do.

Forever.

I don’t

But whatever good can be

done 1*11 try. (Pause.

He turns slowly around.)

Then I ’m going to come back here and marry you. have me.

If you’ll

(He goes up to her slowly.

He takes her hand in hie)

Please, Celeste, say yea. (Pause) If you still can’t speak.....Just nod your head..You under­ stand me, don’t you? (Pause) You look sad.

You don’t think I ’ve changed.....

(Pause) Celeste, smile and then I ’ll know.

don’t nod your head.

Just smile.

And

And I ’ll be back.

(Pause) Smile, Celeste, and 1 won’t even leave.

I ’ll send them a

letter. (Pause, a long pause. no longer.

Then Celeste oan stand it

She breaks, cries, and throws her­

self on the chair sobbing.) Don’t cry.

X understand........ Well, it might have been..

It might have been. (He goes to the door.

Stops, comes back, and:)

May I kiss you goodbye, Celeste? (He picks up one of her limp hands and tenderly

kisses the fingertips.) It might have been. (He goes quickly out the door.) (Celeste is alone. quiet sobbing.

All that can be heard is her

Soon the Fool puts his head around

S &‘/O'•! III - 51 the double door.

He looks around, comes on and

then beckons the rest.

They all silently come on

stage around Celeste.

She doesn't pay any atten­

tion to them.

All are long faced, sad.

Mama

sniffles, Papa goes over and strokes her hair. Then Papa calls the reet over to the corner of the room where they seem to be in animated conver­ sation.

Papa is all smiles.

Gradually the others

smile too.) (The Pool leaves through the double door.) PAPA Don't cry, Cindy.

We have a surprise for you.... CINDERELLA

(Through tears) I don't want any surprises

Go away. PAPA

You'll see, eh?

Mama?

(George enters In mall and armor, carrying a long lanoe.) GEORGE queen Cinderella

former queen Cinderella.... .Allow me to

be the first to tell you

The revolution is successful....

You will be forced to accept exile or imprisonment. CINDERELLA Is this the surprise?

PAPA No.

It*a something else.... GEORGE

No delays

Give me your answer

which do you choose?

CINDERELLA I don't care.

He's gone... He won't come back this time. PAPA

But Cindy...... CINDERELLA Give him whatever he wants. •... GEORGE Exile then.

But you won't be allowed to take any of the

crown Jewels with you

Those are for my queen.... CINDERELLA

All right. (She rises wearily and takes off a make-believe crown which she places on the table

)

(The Fool enters, excited and fast, sliding almost into George.) Please, Fool,

This is no time for levity. FOOL

He's coming! GEORGE Who?

What do you mean?

FOOL You're going to got it.

Giro the queen hack her throne If

you want to live!

GEORGE You're bluffing! CINDERELLA, Thank you, Fool, for your loyalty. don't want the throne anymore

But you eee 1 really I'm too.......

(Ira appears In the double doorway.

Hie dr eee le

different— perhaps in Elizabethan costume or some suoh striking wear, like the rest of the oourt in period and style.) Ira!

Oh, Ira, my love.

You did come back after all. GEORGE

He can't come In here.

Re belongs out there with them.... IRA

(Bellowing) Park Prince! GEORGE (quivering now) Yes, sir! IRA Get out of here and don't ever come back....on our penalty. GEORGE Yes sir!

Ill -

M CINDERELLA

Oh, Xra, you're wonderful.

X love you.

X love you. •. •

XRA Hear this decision.....No one henoeforth in the kingdom of Xra and Cinderella

shall ever speak to the Park Prince

..in publio or in private. (George sneaks out.

The fool turns cartwheels.

llama and Papa dance a round.

Xra and Celeste

put two tables together and a chair on each table which they mount, smiling at the dancing and holding hands across the distance between their chairs.) As the Curtain comes down CURTAIN