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THEFT

A Play In Four Acts

By Jack London

1910

Time of Play, To-Day, in Washington, D. C.It Occurs in Twent y Hours

CHARACTERS Margaret Chalmers

H o w ar d K no x

Thomas Chalmers

Master Thomas Chalmers

Ellery Jackson Hubbard

Anthony Starkweather

P a g e 1



Mrs Starkweather

Connie Starkweather

Felix Dobleman

Linda Davis

Julius Rutland

John Gieford

MatsuSakari

Dolores Ortega

S enat or D ow s et t M r s D o ws ett

Housekeeper, Servs

W if e o f S en at or C halm er s

A C on gr ess man f ro m O rego n

A United States Senator and several times millionaire

S on o f M ar ga re t a nd S en at or C ha lm er s

A Journalist

A g reat m ag nat e, and f at her o f M ar garet C halm er s

His wife

Their younger daughter

Secretary to Anthony Starkweather

M ai d t o M ar gar et C hal mer s

Episcopalian Minister

Labor Agitator

S ecret ar y o f J apan es e E mb as s y

Wife of Peruvian Minister

Agents, etc

P a g e 2



AC TOR S' D ES CR IP TI ON O F

CHARACTERS

M arg ar et C halm er s. T went y- seven y ears o f age; a s tr on g, m at ur e w om an , b ut q ui te f em in in e w here h er

h ea rt o r s en se o f b ea ut y a re c on ce rn ed . H er e ye s a re w id e a pa rt . H as a d az zl in g s mi le , w hi ch s he k no ws

h ow t o u se o n o cc as io n. A ls o, o n o cc as io n, s he c an b e f ir m a nd h ar d, e ve n c yn ic al A n i nt el le ct ua l

w om an , a nd a t t he s am e t im e a v er y w om an ly w om an , c ap ab le o f s ud de n t en de rn es se s, f la sh es o f

e mo ti on , a nd a br up t a ct io ns . S he i s a f in is he d p ro du ct o f h ig h c ul tu re a nd r ef ine me nt , a nd a t t he s am e

time possesses robust vitality and instinctive right-promptings that augur well for the future of the race.

H ow ar d K no x. H e m ig ht h av e b een a p oet, b ut w as t ur ned p ol it ician. I nf lamed w it h l ov e f or h um an it y.

T hi rt y- fi ve y ea rs o f a ge . H e h as h is v is io n, a nd m us t f ol lo w i t. H e h as s uf fe re d o st ra ci sm b ec au se of i t,

and h as f ol lo wed h is v is io n i n s pi te o f abu se and r id icul e. P hy si call y, a w el l- bu il t, p ow er fu l m an .

Strong-featured rather than handsome. Very much in earnest, and, despite his university training, a trifle

a wk wa rd i n c ar ri ag e a nd d em ea no r, l ac ki ng i n s oc ia l e as e. H e h as b ee n e le ct ed t o C on gr es s o n a r ef or m

t ic ke t, a nd i s a lm os t a lo ne i n f ig ht h e i s m aki ng. H e ha s n o pa rt y t o ba ck h im , t ho ug h h e h as a f ol lo wi ng o f

a few independents and insurgents.

T ho mas C halm er s. F or ty -f iv e t o f if ty y ears o f age. I ro n- gr ay m us tach e. S li gh tl y s to ut . A g oo d l iv er ,

m uc h g iv en t o S cot ch a nd s oda , w it h a w ea k he ar t. I s l ia bl e t o c ol la ps e a ny t im e. I f a ny th in g, s li gh tl y l az y

o r l et harg ic i n h is emo ti on al l if e. O ne o f t he " ow ned" s en at or s r ep resent in g a d ecad en tN ew E ng land s tate,

h im se lf m as te r o f t he s ta te p ol it ic al m ac hi ne . A ls o, h e i s n ob od y' s f oo l. H e p os se ss es t he b ra in a nd

s tr en gt h o f charact er t o p lay h is p ar t. H is m os t d is ti ncti ve f eatu re i s h is t em perament al o pp or tu ni sm .

M as ter T ho mas C halm er s. S ix y ears o f age. S tu rd y and h ealt hy d es pi te h is g rand mo th er 's b el ief t o t he

contrary.

E l lery J acks on H ub bard . T hi rt y- ei gh t t o f or ty y ears o f age. S mo ot h- sh av en . A s tar j ou rn al is t w it h a

national reputation; a large, heavy-set man, with large head, large hands—everything about him is large.

A m an r ad iati ng p ro sp er it y, o pt im is m and s el fi sh ness . H as n o m or al it y w hatever. I s a con scio us

individualist, cold-blooded, pitiless, working only for himself, and believing in nothing but himself.

Anthony Starkweather. An elderly, well preserved gentleman, slenderly built, showing all the signs of a

ma n who ha s l ive d c le an a nd ha s b ee n a lmo st a n a sc et ic . One t o w hom th e j oys of t he f le sh ha ve h ad

l it tl e m eani ng . A col d, con tr ol led m an w ho se o ne p as si on i s f or p ow er . D is ti ncti vely a m an o f p ow er . A n

e ag le -l ik e m an , w ho , b y k ee nn es s o f b ra in a nd f or ce o f c ha ra ct er , h as c ar ve d o ut a f or tu ne o f h un dr ed s

o f m il li on s. I n s ho rt , an i nd us tr ial and f in an ci al m ag nate o f t he f ir st w at er and o f t he f in es t t yp e t o b e f ou nd

i n t heUn it ed S tates . E ss en ti al ly a m or al m an , h is r ig id New E ng land m or al it y h as s uf fered a s ea chang eand developed into the morality of the master-man of affairs, equally rigid, equally uncompromising, but

ess en ti al ly J es ui ti cal i n t hat h e b el ieves i n d oi ng w ro ng t hat r ig ht m ay com e o f i t. H e i s abs ol ut el y cer tain

P a g e 3



t hat civ il izat io n and p ro gr es s r es t o n h is s ho ul ders and u po n t he s ho ul ders o f t he s mall g ro up o f m en l ik e

him.

M rs . S tark weat her. O f t he h el pl es s, com fo rt ab ly s to ut , eld er ly t yp e. S he h as n ot f ol lo wed h er h us band i n

h is m or al evo lu ti on . S he i s t he creat ur e o f o ld cus to ms , o ld p reju di ces, o ld New E ng land eth ics. S he i s

r at her con fu sed b y t he m od er n r us h o f l if e.

C on ni e S tar kw eath er . M ar garet 's y ou ng er s is t er , t went y y ears o ld . S he i s n ot hi ng t hat M ar garet i s , and

e ve ry thi ng t ha t M ar ga re t i s n ot . N o e ss en ti al e vi l i n h er , b ut h as n o m in d of h er ow n— hop el es sl y a

creature of convention. Gay, laughing, healthy, buxom—a natural product of her care-free environment.

F eu x D ob leman. P ri vat e s ecr et ar y t o A nt ho ny S tark weath er . A y ou ng m an o f cor rect s ocial d ep or tm en t,

t ho ro ug hl y and i n all t hi ng s j us t t he s or t o f p ri vate s ecretary a m an l ik e A nt ho ny S tark weat her w ou ld

h av e. H e i s a w eak- so ul ed creat ur e, t im or ou s, alm os t eff em in at e.

L i nd a D av is . M ai d t o M ar garet. A y ou ng w om an o f t went y- fi ve o r s o, b lo nd , S cand in av ian, t ho ug h

A meri can- bo rn . A col d w om an , alm os t f eatu reless b ecau se o f h er l on g y ears o f t rain in g, b ut w it h a h oth ea rt d ee p d ow n, a nd c ha ra ct er iz ed b y a n i nt en se d ev ot io n t o h er m is tr es s. W il d h or se s c ou ld d ra g

n ot hi ng f ro m h er w here h er m is tr es s i s con cern ed .

Junus Rutland. Having no strong features about him, the type realizes itself.

J oh n G if fo rd . A l ab or a gi ta to r. A m an o f t he p eo pl e, r ou gh -h ew n, n ar ro w a s a l ab or -l ea de r m ay w el l b e,

e ar ne st a nd s in ce re . H e i s a p ro pe r, b et te r t yp e o f l ab or -l ea de r.

M at su Sakar i. S ecret ar y o f J apanes e E mb as s y. H e i s t he p er fecti on o f p ol i tenes s and t alk s cl as si cal

book-English. He bows a great deal.

D ol or es O rt eg a. W if e o f P er uv ia n M in is te r; b ri gh t a nd v iv ac io us , a nd u se s h er h an ds a g re at d ea l a s s he

talks, in the Latin-American fashion.

S en at or D ow set t. F if t y y ear s o f age; w el l p res er ved.

M r s. D ow s et t . S to ut and m i dd l e- aged.

ACT I

A ROOM IN THE HOUSE OF SENATOR CHALMERS

Scene. In Senator Chalmers' home. It is four o'clock in the afternoon, in a modern living room

w it h a pp ro pr ia te f ur ni sh in gs . I n p ar ti cu la r, i n f ro nt , o n l ef t, a t ab le p re pa re d f or t he s er vi ng o f tea, all excepting the tea urn itself. At rear, right of center, is main entrance to the room. Also,

d oo rw ay s a t s id es , o n l e ft a nd r ig ht . C ur ta in d is cl os e s C ha lm er s a nd H ub ba rd s ea te d l ou ng in gl y

P a g e 4



a t t h e r i g h t f r o n t .

Hubbard

( After an apparent pause for cogitation.) I c an 't u nd er st an d w hy a n o ld w he el -h or se l ik e E ls wo rt hs ho ul d k ic k o ve r t he t ra ce s t ha t w ay .

Chalmers

D is gr un tl ed . T hi nk s h e d id n' t g et h is f ai r s hare o f p lu ms o ut o f t he T ar if f C om mi tt ee. B es id es , i t' s h is l as t

t er m. H e' s ann ou nced t hat h e' s g oi ng t o r et ir e.

Hubbard

( S n or t i ng c o nt e mp t uo us l y , m i mi c k in g a n o l d m a n' s p o mp o us e n un c i at i on .) " A R es ol ut io n t o

Investigate the High Cost of Living!"—old Senator Elsworth introducing a measure like that! The old

buck!—— How are you going to handle it?

Chalmers

It's already handled.

Hubbard

Yes?

Chalmers

( Pulling his mustache.) T ur ne d i t o ve r t o t he C om mi tt ee t o A ud it a nd C on tr ol t he C on ti ng en t

E xp en ses o f t he S en at e.

Hubbard

( G r i nn i n g h i s a p pr eci at i o n.) A nd y ou 'r e c ha ir ma n. P oo r o ld E ls wo rt h. T hi s w ay t o t he l et ha l c ha mb er ,

a nd t he b il l' s o n i ts w ay .

P a g e 5



Chalmers

E ls wo rt h w il l b e r et ir ed b ef or e i t' s e ve r r ep or te d. I n t he m ea nt im e, s ay a ft er a d ec en t i nt er va l, S en at or

Hodge will introduce another resolution to investigate the high cost of living. It will be like Elsworth's, only

i t w on 't .

Hubbard

( Nodding his head and anticipating.) An d i t wi ll g o t o t he Comm it te e on Fi na nc e a nd c om e ba ck f or

action inside of twenty-four hours.

Chalmers

By the way, I see C a r t wr i g ht 's M a g az i n e has ceased muck-raking.

Hubbard

Cartwrights never did muck-rake—that is, not the big Interests—only the small independent businesses

that didn't advertise.

Chalmers

Y es , i t d ef tl y con ceal ed i ts r eact io nary t en dencies.

Hubbard

A nd f ro m n ow o n t he c on ce al me nt w il l be s ti ll m or e d ef t. I 'v e go ne i nt o i t m ys el f. I h av e a m aj or it y o f t hes to ck r ig ht n ow .

Chalmers

I t ho ug ht I h ad n ot ic ed a s ub tl e c ha ng e i n t he l as t t wo n um be rs .

Hubbard

( Nodding.) W e' re s ti ll g oi ng o n m uc k- ra ki ng . W e h av e a s pl en di d s er ie s o n A ge d P au pe rs , d em an di ng

P a g e 6



better treatment and more sanitary conditions. Also we are going to run "Barbarous Venezuela" and

show up thoroughly the rotten political management of that benighted country.

Chalmers

( Nods approvingly, and, after a pause.) A nd n ow c on ce rn in g K no x. T ha t' s w ha t I s en t f or y ou a bo ut .

H is s pe ec h c om es o ff t om or ro w p er s ch ed ul e. A t l as t w e' ve g ot h im w he re w e w an t h im .

Hubbard

I h av e t he i ns a nd o ut s o f i t p re tt y w el l. E ve ry th in g' s a rr an ge d. T he b oy s h av e t he ir c ue , t ho ug h t he y d on 't

k no w j us t w hat' s g oi ng t o b e p ul led o ff ; and t hi s t im e t o- mo rr ow aft er no on t heir d is patches w il l b e s in gi ng

along the wires.

Chalmers

( Firmly and harshly.) T hi s m an K no x m us t b e cov er ed w it h r id icul e, s wamp ed w it h r id icul e,

annihilated with ridicule.

Hubbard

I t i s t o l au gh . T ru st t he g re at A me ri ca n p eo pl e f or t ha t. W e' ll m ak e t ho se l it tl e W es te rn e di to rs s it u p.

T he y' ve b ee n s we ar in g by K no x, l ike a l it tl e t in go d. R oa rs of l aug ht er f or t he m.

Chalmers

Do you do anything yourself?

Hubbard

T ru st m e. I h av e m y o wn a rt ic le f or C ar tw ri gh t' s b lo ck ed o ut . T he y' re h ol di ng t he p re ss es f or i t. I s ha ll

w ir e i t alo ng h ot -f oo ted t o- mo rr ow eveni ng . S ay —— ?

Chalmers

( After a pause. ) W el l?

P a g e 7



Hubbard

W as n' t i t a r is ky t hi ng t o g iv e h im hi s c ha nc e w it h t ha t s pe ec h?

Chalmers

I t w as t he on ly f ea si bl e t hi ng . H e n ev er h as g iv en u s a n o pe ni ng. O ur s er vi ce m en ha ve c am pe d o n h is

t ra il ni gh t a nd da y. P ri va te l if e a s u ni mpe ac ha bl e a s h is p ubl ic l if e. B ut n ow i s o ur c ha nc e. T he g od s h ave

g iv en h im i nt o o ur h an ds . T hat s peech w il l d o m or e t o b reak h is i nf lu en ce—

Hubbard

( Interrupting.) T ha n a F ai rb an ks c oc kt ai l.

( Both laugh.) B ut d on 't f or ge t t ha t t hi s K no x i s a l iv e w ir e. S om eb od y m ig ht g et s tu ng . A re y ou s ur e,

when he ge ts up t o ma ke t hat spe ec h, tha t he won't be a ble to bac k it up?

Chalmers

No d ang er a t a ll .

Hubbard

Bu t t he re a re h oo ks a nd c ro ok s b y w hi ch f ac ts a re s om et im es o bt ai ne d.

Chalmers

( Positively. ) K no x h as n ot hi ng t o g o o n b ut s us pi ci on s a nd hi nt s, a nd u nf ou nd ed a ss er ti on s f ro m t he

yellow press.

( Man-servant enters, goes to tea-table, looks it over, and makes slight rearrangements. ) (

Lowering his voice.) H e w il l m ak e h im self a l au gh in g s to ck . H is charg es w il l t ur n i nt o b oo merang s. H is

s pe ec h w il l be l ik e a s he et f rom a Su nda y s up pl em ent , wi th no t a f ac t t o b ac k i t up . ( Glances at

S er va n t .) W e' d be tt er be g et ti ng o ut o f he re . Th ey 'r e g oi ng t o ha ve t ea .

( T h e S er va n t , h o w ever , m a kes exi t . ) C ome t o t he l ibr ar y a nd ha ve a hi gh -ba ll . ( T he y p au se a s

Hubbard speaks.)

P a g e 8



Hubbard

( W it h q ui et g le e.) A nd t o- mo rr ow A li B ab a g et s h is .

Chalmers

Ali Baba?

Hubbard

That's what your wife calls him—Knox.

Chalmers

O h, y es , I b el ie ve I 'v e h ea rd i t b ef or e. I t' s a bo ut t im e h e h an ge d h im se lf , a nd n ow w e' ve g iv en h im t he

rope.

Hubbard

( S i nk i ng v o ic e a n d b e co mi n g d e pr e ca t in g ly c o nf i de n ti a l.)

O h, b y t he w ay , j us t a l it tl e f ri en dl y w ar ni ng , S en at or C ha lm er s. N ot s o f as t a nd l oo se u p N ew Y or k

w ay . T ha t c er ta in l ad y, n ot t o b e m en ti on ed —t he re 's g os si p a bo ut i t i n t he N ew Y or k n ew sp ap er o ff ic es .

Of c our se , a ll s uc h s tor ie s a re ki ll ed. But be di sc re et , b e di sc re et I f Gh er st g et s h ol d of i t, he 'l l pl ay i t up

against the Administration in all his papers.

( Chalmers, who throughout this speech is showing a growing resentment, is about to speak,

when voices are heard without and he checks himself.)

( Enter. Mrs. Starkweather, rather flustered and imminently in danger of a collapse, followed by

Connie Starkweather, fresh, radiant, and joyous. )

Mrs. Starkweather

( W it h a pp ea l a nd r el ie f.)

Oh——Tom!

( C ha lm er s t ak e s h er h an d s y mp at he t ic al l y a nd p ro te c ti ng ly .)

P a g e 9



Connie

( Who is an exuberant young woman, bursts forth.) Oh, brother-in-law! Such excitement! That's

w ha t' s t he m at te r w it h m ot he r. We r an i nt o a g o- ca rt . O ur c ha uf fe ur w as no t t o bl am e. I t wa s t he

w om an 's f au lt . S he t ri ed t o c ro ss j us t a s w e w er e t ur ni ng t he c or ne r. B ut w e h ar dl y g ra ze d i t. F or tu na te lyt he b ab y w as n ot h ur t— on ly s pi ll ed . I t w as r id icul ou s. ( Catching sight of Hubbard. ) Oh, t he re you a re ,

M r. H ub ba rd . H ow d e d o.

( Steps half way to meet him and shakes hands with him. ) ( Mrs. Starkweather looks around

h el pl es sl y f or a c ha ir , a nd C ha lm er s c on du ct s h er t o o ne s oo th in gl y.)

Mrs. Starkweather

O h, i t w as t er ri bl e! T he l it tl e c hi ld m ig ht h av e b ee n k il le d. A nd s uc h p er so ns l ov e t he ir b ab ie s, I k no w.

Connie

( T o C h al m er s .) H as f at he r c om e? W e w er e t o pi ck h im u p h er e. W he re 's M adg e?

Mrs. Starkweather

( Espying Hubbard, faintly.) Oh, the re i s M r. Hubba rd.

( Hubbard comes to her and shakes hands.) I s im pl y c an' t ge t us ed t o t he se r api d w ays of mode rn l if e.

T he m ot or -car i s t he i nv en ti on o f t he d ev il . E very th in g i s too q ui ck . W he n I w as a g ir l, w e l iv ed s ed at el y,

d ec or ou sl y. T he re w as t im e f or m ed it at io n a nd r ep os e. B ut i n t hi s a ge t he re i s t im e f or n ot hi ng . H ow

A nt ho ny k ee ps hi s h ea d i s m or e t ha n I c an un de rs ta nd . B ut , t he n, A nt ho ny i s a w on de rf ul m an .

Hubbard

I a m s ur e M r. S ta rk we at he r n ev er l os t h is h ea d i n h is l if e.

Chalmers

U nl es s w hen h e w as cou rt in g y ou , m ot her.

Mrs. Starkweather

P a g e 1 0



( A trifle grimly.) I' m not s o s ure a bout t hat .

Connie

( Imitating a grave, business-like enunciation.) F at her p ro babl y con ferr ed f ir st w it h h is as so ci at es ,

t hen t ur ned t he aff ai r o ver f or con si derati on b y h is cor po rati on l aw yers , and , w hen t hey r ep or ted n o

f la ws , c he ck ed t he f ir st s pa re h al f h ou r i n h is n ot eb oo k t o a sk m ot he r i f s he w ou ld h av e h im .

( T he y l a ug h .) An d l ooke d a t hi s wa tc h a t l ea st t wi ce wh il e h e w as pr opo si ng.

Mrs. Starkweather

A nt hony w as not s o bus y t he n a s a ll t ha t.

Hubbard

H e h ad n' t y et t ak en u p t he j ob o f r un ni ng t he Un it ed S ta te s .

Mrs. Starkweather

I 'm s ur e I d on 't k no w w ha t h e i s r un ni ng , b ut h e i s a v er y b us y m an —b us in es s, p ol it ic s, a nd m ad ne ss ;

madness, politics, and business.

( S he s t op s b re at hl e ss ly a nd g la nc e s a t t e a- ta bl e.) Tea. I should like a cup of tea. Connie, I sha ll s tay

f or a c up of t ea , a nd t he n, i f you r f at he r h as n' t c om e, w e' ll go hom e. ( T o C h al m e rs .) W he re i s T om my ?

Chalmers

O ut i n t he c ar wi th Ma dge .

( Glances at tea-table and consults watch.) She s houl d be bac k now.

Connie

M ot he r, y ou m us tn 't s ta y l on g. I h av e t o d re ss .

P a g e 1 1



Chalmers

O h, y es , t ha t d in ne r.

( Yawns.) I w is h I c ou ld l oa f t o- ni gh t.

Connie

( Explaining to Hubbard.) T he T ur ki sh C harg e d 'A ff ai res— I n ev er can r em em ber h is n am e. B ut h e' s

g reat f un —a p os it iv e j oy . H e' s g iv in g t he d in ner t o t he B ri ti sh A mb as sado r.

Mrs. Starkweather

( S ta rt in g f or wa rd i n h er c ha ir a nd l is te ni ng i nt en tl y.) T here's T om my , n ow .

( V oi ce s o f M ar ga re t C ha lm er s a nd o f T om my h ea rd f ro m w it ho ut . H er s i s l au gh in gl y p ro te st in g,

w hi le T om my 's i s g le ef ul ly i ns is te nt .) ( Margaret and Tommy appear and pause just outside door,

ho ld ing e ac h ot he r' s h an ds , f ac in g e ac h ot he r, t oo i mm er se d i n e ac h o the r t o b e aw ar e of t he

presence of those inside the room. Margaret and Tommy are in street costume.)

Tommy

( Laughing.)

But mama.

Margaret

( Herself laughing, but shaking her head.) N o. T om my F ir st —

Margaret

N o; y ou m us t r un a lo ng t o L in da , n ow , m ot he r' s b oy . A nd w e' ll t al k a bo ut t ha t s om e o th er t im e.

( Tommy notices for the first time that there are persons in the room. He peeps in around the

door and espies Mrs. Starkweather. At the same moment, impulsively, he withdraws his hands and

runs in to Mrs. Starkweather. )

Tommy

P a g e 1 2



( Who is evidently fond of his grandmother. ) Grandma!

( They embrace and make much of each other. )

( Margaret enters, appropriately greeting the others—a kiss ( maybe ) to Connie, and a slightly

c ol d h an ds ha ke t o H ub ba rd .)

Margaret

( T o C h al m er s .) N ow t ha t y ou 'r e h er e, T om , y ou m us tn 't r un a wa y.

( Greets Mrs. Starkweather.)

Mrs. Starkweather

( Turning Tommy's face to the light and looking at it anxiously. ) A t ri fl e t hi n, M ar garet.

Margaret

O n t he con tr ary , m ot her ——

Mrs. Starkweather

( T o C h al m er s .) Don' t you t hi nk s o, Tom?

Connie

( Aside to Hubbard.) Mother continually worries about his health.

Hubbard

A s tu rd y y ou ng st er , I s ho ul d s ay .

Tommy

( T o C h al m er s .) I 'm a n I nd ia n, a re n' t I , da ddy ?

P a g e 1 3



ha nd i n e ac h of t he ir s.)

Chalmers

( Nodding to Hubbard, in low voice to Hubbard and starting to make exit to right. ) That high-ball.

( Hubbard disengages himself from proximity of Connie, and starts to follow.)

Connie

( Reproachfully.) If you r un away, I won't st op for te a.

Margaret

D o s top, Tom. Fa the r wi ll be he re i n a fe w mi nut es .

Connie

A regular family party.

Chalmers

A ll r ig ht . W e' ll b e b ac k. W e' re j us t g oi ng t o h av e a l it tl e t al k.

( Chalmers and Hubbard make exit to right. ) ( Margaret puts her arm impulsively around

C o n ni e— a s heer l y s po n t a neo u s a ct o f a f f ect i on — ki s s es h er , a n d at s a m e t i m e evi nces p r ep ar a t i o n

t o l ea ve. )

Margaret

I 'v e g ot t o g et m y t hi ng s o ff . W on 't y ou w ai t h er e, d ea r, i n c as e a ny bo dy c om es ? I t' s n ea rl y t im e.

( Starts toward exit to rear, but is stopped by Connie. ) M ad ge .

( Margaret immediately pauses and waits expectantly, smiling, while Connie is hesitant.)

I w an t t o s pe ak t o y ou a bo ut s om et hi ng , M ad ge . Y ou d on 't m in d?

( Margaret, still smiling, shakes her head.) J us t a w ar ni ng . N ot t ha t a ny bo dy c ou ld b el ie ve f or a

P a g e 1 5



moment, there is anything wrong, but——

Margaret

( Dispelling a shadow of irritation that has crossed her face.)

I f i t c on ce rn s T om , d on 't t el l m e, p le as e. Y ou k no w h e d oe s d o r id ic ul ou s t hi ng s a t t im es . B ut I d on 't l et

h im w or ry m e a ny m or e; s o d on 't w or ry m e a bo ut hi m.

( C on ni e r em ai ns s il en t, a nd M ar ga re t g ro ws c ur io us .) W el l?

Connie

It 's n ot a bo ut T om —

( Pauses.) I t' s a bo ut y ou .

Margaret

Oh.

Connie

I d on 't k no w ho w t o be gi n.

Margaret

B y c om in g r ig ht o ut w it h i t, t he w or st o f i t, a ll a t o nc e, f ir st .

Connie

I t i sn 't s er io us a t a ll , b ut —w el l, m ot he r i s w or ry in g a bo ut i t. Y ou k no w h ow o ld -f as hi on ed s he i s. A nd

w he n y ou c on si de r o ur p os it io n— fa th er 's a nd T om 's , I m ea n— it d oe sn 't s ee m j us t r ig ht f or y ou t o b e

s ee in g s o m uc h o f s uc h a n e ne my o f t he ir s. H e h as a bu se d t he m d re ad fu ll y, y ou k no w. A nd t he re 's t ha t

d re ad fu l s pe ec h h e i s g oi ng t o g iv e t o- mo rr ow . Y ou h av en 't s ee n t he a ft er no on p ap er s. H e h as m ad e t he

most terrible charges against everybody—all of us, our friends, everybody.

P a g e 1 6



Margaret

Y o u m ea n M r. K no x, o f c ou rs e. B ut h e w ou ld n' t h ar m a ny bo dy , C on ni e, d ea r.

Connie

( Bridling,) O h, h e w ou ld n' t? H e a s g oo d a s p ub li cl y c al le d f at he r a t hi ef .

Margaret

W he n d id t ha t ha ppe n? I ne ve r h ea rd of i t.

Connie

W e ll , h e s ai d t ha t t he m on ey m ag na te s h ad g ro wn s o u np ri nc ip le d, s un k s o l ow , t ha t t he y w ou ld s te al a

m ou se f ro m a b li nd k it ten.

Margaret

I don't se e what f at he r has to do with tha t.

Connie

He m ea nt h im j us t t he s am e.

Margaret

Y ou s il ly g oo se. H e cou ld n' t h av e m eant f at her. F at her? W hy , f at her w ou ld n' t l oo k at any th in g l es s t han

fifty or a hundred millions.

Connie

A nd yo u s pe ak t o hi m a nd m ake m uc h o f h im w he n y ou m ee t h im pl ac es . Yo u t al ke d w it h h im f or ha lf

an h ou r at t hat D ug dale r ecep ti on . Y ou h av e h im h er e i n y ou r o wn h ou se—T om 's h ou se—w hen h e' s

s uc h a bi tt er e ne my of Tom 's . ( During the foregoing speech, Anthony Starkweather makes entrance

from rear. His face is grave, and he is in a brown study, as if pondering weighty problems. At

sight of the two women he pauses and surveys them. They are unaware of his presence. )

P a g e 1 7



Margaret

Y ou a re w ro ng , C on ni e. H e i s n ob od y' s e ne my . H e i s t he t ru es t, c le an es t, m os t r ig ht -s ee ki ng m an I h av e

ever s een .

Connie

( Interrupting.) H e i s a t ro ub le -m ak er , a d is tu rb er o f t he p ub li c p ea ce , a s ha ll ow -p at ed d em ag og ue —

Margaret

( Reprovingly.)

N ow y ou 'r e q uo ti ng s om eb od y— — f at he r, I s up po se . T o t hi nk o f h im b ei ng s o a bu se d— po or , d ea r A li

Baba—

Starkweather

( C le ar i ng h is t hr oa t i n a dv e rt i se me nt o f h is p re se nc e .) A -h em .

( Margaret and Connie turn around abruptly and discover him.)

Margaret

And Connie Father!

( Both come forward to greet him, Margaret leading.)

Starkweather

( Anticipating, showing the deliberate method of the busy man saving time by eliminating the

superfluous.) F ine , t ha nk y ou . Q ui te w el l i n e ve ry p ar ti cu la r. Th is A li B ab a? W ho i s A li B aba ?

( Margaret looks amused reproach at Connie.)

Connie

P a g e 1 8



M r . H ow ar d K no x.

Starkweather

And why i s he c al le d Ali Ba ba?

Margaret

T ha t i s m y n ic kn am e f or hi m. I n t he d en o f t hi ev es , yo u k no w. Y ou r em em be r yo ur A ra bi an N ig ht s.

Starkweather

( Severely. ) I h ave b ee n wa nt in g t o s pe ak t o yo u f or s om e t im e, M ar ga re t, a bou t t ha t ma n. Y ou k no w

t ha t I h av e ne ve r i nt er fe re d w it h yo ur w ay o f l if e s in ce y ou r m ar ri ag e, n or w it h y our a nd T om 's

h ou sekeep in g arr an gement s. B ut t hi s m an K no x. I u nd er st an d t hat y ou h av e even h ad h im h er e i n y ou r

house—

Margaret

( Interrupting.) He is ve ry l iabl e to be he re t hi s a ft ernoon, a ny t ime , now.

( C on n ie d i sp l ay s i r ri t at i on a t M a rg ar e t.)

Starkweather

( C o n ti n u i ng i m p ert u r b ab l y.) Your house— you, my da ug ht er , a nd t he wi fe of S ena tor Cha lme rs . A s I

s ai d, I h av e n ot i nt er fered w it h y ou s in ce y ou r m ar ri ag e. B ut t hi s K no x aff ai r t rans cend s h ou seho lda rr an ge me nt s. I t i s o f p ol it ic al i mp or ta nc e. T he m an i s a n e ne my t o o ur c la ss , a f ir eb ra nd . W hy d o y ou

have him here?

Margaret

B ec aus e I l ike h im . Be ca us e he is a m an I a m pr oud to c al l " fri end ." Be ca us e I wi sh t he re we re m or e

m en l ik e hi m, m an y m or e me n l ike h im , i n t he w or ld. B ec aus e I h av e e ve r s ee n i n h im no thi ng b ut t he be st

a nd h ig he st . A nd , b es id es , i t' s s uc h g oo d f un t o s ee h ow o ne v ir tu ou s m an c an s o d is co nc er t y ou c ap ta in s

o f i nd us tr y and arb it er s o f d es ti ny . C on fess t hat y ou are v er y m uch d is co ncer ted, f at her, r ig ht n ow . H e

w il l b e he re i n a f ew m in ut es , a nd y ou w il l be m or e di sc on ce rt ed . W hy ? B ec au se i t i s a n a ff ai r t ha t

transcends family arrangements. And it is your affair, not mine.

P a g e 1 9



Starkweather

T hi s m an Knox i s a da ng er ous c ha ra ct er —one t ha t I a m not p le as ed t o s ee a ny of m y f am il y ta ke up

w it h. H e i s n ot a g ent le ma n.

Margaret

H e i s a s el f- ma de m an , i f t ha t i s w ha t y ou m ea n, a nd h e c er ta in ly h as n' t a ny m one y.

Connie

( Interrupting.) He s ays t ha t mone y is the ft —a t l ea st whe n i t i s i n t he ha nds of a we al thy pe rs on.

Starkweather

He is uncouth—ignorant.

Margaret

I h appe n t o know t ha t he i s a gr ad ua te of t he U ni ve rs it y o f O re gon .

Starkweather

( Sneeringly. ) A c ow c oll eg e. B ut t ha t i s not w ha t I m ea n. He i s a de ma gogue , s ti rr ing up t he wi ld- be as t

passions of the people.

Margaret

S ur el y y ou w ou ld n ot c al l hi s a dv oc ac y o f t ha t c hi ld l ab or b il l a nd o f t he c on se rva ti on of t he f or es t a nd

coal l an ds s ti rr in g u p t he w il d- beas t p as si on s o f t he p eo pl e?

Starkweather

( Wearily.) Yo u don' t u nde rs ta nd . W he n I s ay he i s da nge ro us i t i s b ec au se he t hr ea te ns a ll t he

P a g e 2 0



s tabi li ti es , b ecau se h e t hr eatens u s w ho h av e m ad e t hi s cou nt ry and u po n w ho m t hi s cou nt ry and i ts

prosperity rest.

( Connie, scenting trouble, walks across stage away from them. )

Margaret

The captains of industry—the banking magnates and the mergers?

Starkweather

C al l i t s o. C al l i t w ha t y ou w il l. W it ho ut us t he c ou nt ry f al ls i nt o t he h an ds of s cou nd re ls l ike t ha t m an

K no x a nd s ma sh es t o r ui n.

Margaret

( Reprovingly.) N ot a s co un dr el , f at he r.

Starkweather

H e i s a s en ti ment al d ream er , a h ai r- br ai ned ent hu si as t. I t i s t he f oo li sh u tt er an ces o f m en l ik e h im t hat

place the bomb and the knife in the hand of the assassin.

Margaret

H e i s a t l ea st a g oo d m an , e ve n i f h e d oe s d is ag re e w it h y ou o n p ol it ic al a nd i nd us tr ia l p ro bl em s. A nd

h ea ve n k no ws t ha t g oo d m en a re r ar e e no ug h t he se d ay s.

Starkweather

I impugn neither his morality nor his motives—only his rationality. Really, Margaret, there is nothing

i nh er en tl y v icio us abo ut h im . I g rant t hat. A nd i t i s p reci sely t hat w hi ch m ak es h im s uch a p ow er f or evi l.

Margaret

When I t hink of a ll the mis er y and pa in whi ch he i s t ryi ng to re me dy—I ca n s ee i n him only a power for

g ood . H e i s n ot w or ki ng f or hi ms el f bu t f or t he m any . T ha t i s wh y h e ha s n o m on ey. Yo u h ave h ea ve n

P a g e 2 1



alone knows how many millions—you don't; you have worked for yourself.

Starkweather

I , t oo , w or k fo r t he ma ny . I gi ve wor k t o t he ma ny. I m ake l if e pos si bl e f or t he m any. I a m on ly t ookeenly alive to the responsibilities of my stewardship of wealth.

Margaret

B ut w ha t o f t he c hi ld l ab or er s w or ki ng a t t he m ac hi ne s? I s t ha t n ec es sa ry , O s te wa rd o f w ea lt h? H ow

m y h ea rt h as a ch ed f or t he m! H ow I h av e l on ge d t o d o s om et hi ng f or t he m— to c ha ng e c on di ti on s s o t ha t

i t w il l n o l on ge r be n ec es sa ry f or t he c hi ldr en t o t oi l, t o ha ve t he p la yt im e o f c hi ld ho od s tol en a wa y f ro m

t he m. Th ef t— th at i s w ha t i t i s, t he p la yt im e o f t he c hi ld re n c oi ne d i nt o pr of it s. Th at i s w hy I l ike H owa rdK no x. H e c al ls t he ft t he ft . H e i s t ry in g t o d o s om et hi ng f or t ho se c hi ldr en . W ha t a re y ou t ry in g t o d o f or

them?

Starkweather

S en ti ment . S en ti ment . T he q ues ti on i s t oo v as t and com pl icat ed , and y ou cann ot u nd er st an d. N o w om an

can u nd er st an d. T hat i s w hy y ou r un t o s en ti ment . T hat i s w hat i s t he m at ter w it h t hi s K no x— sent im en t.

Y ou can 't r un a g ov er nm en t o f n in et y m il li on s o f p eo pl e o n s en ti ment , n or o n abs tr act i deas o f j us ti ce and

right.

Margaret

But if you eliminate justice and right, what remains?

Starkweather

T hi s i s a p ra ct ic al w or ld , a nd i t m us t b e m an ag ed b y p ra ct ic al m en —b y t hi nk er s, n ot b y n ea r- th in ke rs

w ho se h eads are add led w it h t he h al f- di gest ed i deas o f t he F rench E ncyclo pedi st s and R ev ol ut io ni st s o f a

c en tu ry a nd a h al f a go .

( Margaret shows signs of impatience—she is not particularly perturbed by this passage-at-arms

with her father, and is anxious to get off her street things.)

D o n' t f or ge t, m y d au gh te r, t ha t y ou r f at he r k no ws t he b oo ks a s w el l a s a ny c ow c ol le ge g ra du at e f ro m

O re go n . I , t oo , i n m y s tu de nt d ay s, d ab bl ed i n t he or ie s o f u ni ve rs al h ap pi ne ss a nd r ig ht eo us ne ss , s aw m y

v is io n a nd d re am ed m y d re am . I d id n ot k no w t he n t he w ea kn es s, a nd f ra il ty , a nd g ro ss ne ss o f t he

huma n cl ay. But I gr ew out of tha t a nd i nto a ma n. Some m en ne ve r gr ow out of t ha t s ta ge . Tha t i s w ha t

i s t he t ro ubl e wi th Kno x. He i s s ti ll a dr ea me r, a nd a d ange ro us o ne .

P a g e 2 2



( He pauses a moment, and then his thin lips shut grimly. But he has just about shot his bolt.)

Margaret

W ha t d o yo u m ea n?

Starkweather

H e h as l et h im se lf i n t o g iv e a s pe ec h t o- mor ro w, w he re in h e w il l b e c al le d u po n t o d el iv er t he p ro of s o f

all t he l ur id charg es h e h as m ad e again st t he A dm in is tr at io n— ag ai ns t u s, t he s teward s o f w ealt h i f y ou

please. He will be unable to deliver the proofs, and the nation will laugh. And that will be the political end

of Mr . A li B aba a nd hi s d re am.

Margaret

I t i s a b ea ut if ul d re am . W er e t he re m or e l ik e h im t he d re am w ou ld c om e t ru e. A ft er a ll , i t i s t he d re am er s

t ha t bui ld a nd t ha t n eve r d ie . P er ha ps you wi ll f ind t ha t he i s n ot s o e as il y t o be de st roye d. B ut I c an' t s ta y

a nd a rgu e w it h y ou , f at he r. I s imp ly mu st g o a nd g et m y t hi ngs o ff .

( T o C on ni e .) Y ou 'l l h av e t o r ec ei ve , d ea r. I 'l l b e r ig ht b ac k.

( Julius Rutland enters. Margaret advances to meet him, shaking his hand.) Y ou m us t f or gi ve me

f or d es er ti ng f or a m om en t.

Rutland

( Greeting the others. ) A f ami ly c ou nc il , I s ee .

Margaret

( On way to exit at rear.) N o; a di sc us si on on d re am s a nd dr ea me rs . I l ea ve y ou t o b ea r m y pa rt .

Rutland

( Bowing.) W it h p le as ur e. T he d re am er s a re t he t ru e a rc hi te ct s. B ut —a —w ha t i s t he d re am a nd w ho i s

the dreamer?

P a g e 2 3



Margaret

( Pausing in the doorway.) T he dr ea m o f s oc ia l j us ti ce , of f ai r p la y a nd a s qua re d ea l t o e ve rybo dy.

T he d r eam er —M r . K no x.

( Rutland is so patently irritated, that Margaret lingers in the doorway to enjoy.)

Rutland

T hat m an ! H e h as i ns ul ted and r ev il ed t he C hu rch— my cal li ng . H e—

Connie

( Interrupting.) He s ai d t he c hur chm en s tol e f ro m God . I r eme mbe r he onc e s ai d t he re ha d be en o nl y

on e t rue Ch ri st ia n a nd t ha t He di ed o n t he C ro ss .

Margaret

He q uo ted t hat f ro m N iet zs che.

Starkweather

( To Rut land , i n qui et gl ee .) He ha d you t he re .

Rutland

( In composed fury.) N ie tz sc he i s a b la sp he me r, s ir . A ny m an w ho r ea ds N ie tz sc he o r q uo te s N ie tz sc hei s a b lasp hemer. I t aug ur s i ll f or t he f ut ur e o fA meri ca w hen s uch p er ni ci ou s l it er at ur e h as t he v og ue i t h as .

Margaret

( Interrupting, laughing.) I l ea ve t he q ua rr el i n y ou r h an ds , s ir k ni gh t. R em em be r— th e d re am er a nd

t he d re am . ( Margaret makes exit. )

Rutland

P a g e 2 4



( S ha ki ng h is h ea d.) I c an no t u nd er st an d w ha t i s c om in g o ve r t he p re se nt g en er at io n. T ak e y ou r

d au gh ter, f or i ns tance. T en y ears ago s he w as an ear nest , s in cere l ieut en an t o f m in e i n all o ur l it tl e

charities.

Starkweather

H as s he g iv en chari ty u p?

Connie

I t' s s et t lement w or k, n ow , and k in der gart ens .

Rutland

( Ominously.) I t' s w ri te rs l ik e N ie tz sc he , a nd m en w ho r ea d h im , l ik e K no x, w ho a re r es po ns ib le .

( Senator Dowsett and Mrs. Dowsett enter from rear. )

( Connie advances to greet them. Rutland knows Mrs. Dowsett, and Connie introduces him to

Senator Dowsett.)

( In the meantime, not bothering to greet anybody, evincing his own will and way, Starkweather goes across to right front, selects one of several chairs, seats himself, pulls a thin note-book from

inside coat pocket, and proceeds to immerse himself in contents of same. ) ( Dowsett and Rutland

pair and stroll to left rear and seat themselves, while Connie and Mrs. Dowsett seat themselves at

tea-table to left front. Connie rings the bell for Servant.)

Mrs. Dowsett

( Glancing significantly at Starkweather, and speaking in a low voice. ) T ha t' s y ou r f at he r, i sn 't i t? Ih av e s o w an te d t o m ee t h im .

Connie

( S o f t l y.) Y ou k no w h e' s p ec ul ia r. H e i s l ia bl e t o i gn or e e ve ry bo dy h er e t hi s a ft er no on , a nd g et u p a nd

go away abruptly, without saying good-bye.

Mrs. Dowsett

P a g e 2 5



( Sympathetically.) Yes, I know, a man of such large affairs. He must have so much on his mind. He is

a w on derf ul m an —m y h us band s ay s t he g reat es t i n con temp or ar y h is to ry —m or e p ow er fu l t han a d ozen

presidents, the King of England, and the Kaiser, all rolled into one.

( S er va nt e nt er s w it h t ea u rn a nd a cc es so ri es , a nd C on ni e p ro ce ed s t o s er ve t ea , a ll a cc om pa ni ed

b y a p p r o p r i a t e p a t t er — " T w o l u m p s ? " " O n e, p l ea s e. " " L em o n ; " et c. )

( Rutland and Dowsett come forward to table for their tea, where they remain.)

( C on ni e, g la nc in g a pp re he ns iv el y a cr os s a t h er f at he r a nd d eb at in g a m om en t, p re pa re s a c up

for him and a small plate with crackers, and hands them to Dowsett, who likewise betrays

apprehensiveness.)

Connie

T ak e i t t o f at he r, p le as e, s en at or .

( Note:—Throughout the rest of this act, Starkweather is like a being apart, a king sitting on his

throne. He divides the tea function with Margaret. Men come up to him and speak with him. He

sends for men. They come and go at his bidding. The whole attitude, perhaps unconsciously on his

part, is that wherever he may be he is master. This attitude is accepted by all the others; forsooth,

he is indeed a gr eat man and maste r. The only one who i s not really afraid of him is Margaret ; y et

she gives in to him in so far as she lets him do as he pleases at her afternoon tea.) ( Dowsett

carries the cup of tea and small plate across stage to Starkweather. Starkweather does not notice

him at first.)

Connie

( W ho h as b ee n w at c hi ng .) Tea , fa ther , won' t you have a cup of t ea ?

( Through the following scene between Starkweather and Dowsett, the latter holds cup of tea and

cr a cker s, h el p l es s ly, a t a d i s a d va nt a g e. A t t h e s a me t i m e R u t l a nd i s s er ved w i t h t ea a n d r em ai n s

at the table, talking with the two women. )

Starkweather

( Looking first at Connie, then peering into cup of tea. He grunts refusal, and for the first time

looks up into the other man's face. He immediately closes note-book down on finger to keep the

place.) O h, i t' s y ou . D ow se tt .

( Painfully endeavoring to be at ease.) A p leasu re, M r. S tar kw eat her, an ent i rel y u nexp ect ed p leasu re

t o m ee t y ou h er e. I w as n ot a wa re y ou f re qu en te d f ri vo lo us g at he ri ng s o f t hi s n at ur e.

P a g e 2 6



Starkweather

( Abruptly and peremptorily.) W hy d id n' t y ou c om e w he n y ou w er e s ent f or t hi s m or ni ng ?

Dowsett

I wa s s ic k—I wa s i n be d.

Starkweather

Th at i s n o e xc us e, s ir . W he n you a re s ent f or yo u a re t o c om e. U nd er st an d? T ha t bi ll w as r epo rt ed

back. Why was it reported back? You told Dobleman you would attend to it.

Dowsett

It w as a s li p up . S uc h t hi ng s w il l h ap pe n.

Starkweather

W ha t w as t he m at te r w it h t ha t c om mi tt ee ? H av e y ou n o i nf lu en ce w it h t he S en at e c ro wd ? I f n ot , s ay s o,a nd I 'l l g et s om e o ne wh o h as .

Dowsett

( Angrily.) I r ef us e t o b e t re at ed i n t hi s m an ne r, M r. S ta rk we at he r. I h av e s om e s el f- re sp ec t—

( S t a r kwea t h er g r u n ts i n cr edu l o us l y.) S om e d ec en cy —

( S t a r kw ea t h er g r u n t s .) A p os it io n o f p ro mi ne nc e i n m y s ta te . Y ou f or ge t, s ir , t ha t i n o ur s ta te

o rg an izat io n I o ccup y n o m ean p lace.

Starkweather

( Cutting him off so sharply that Dowsett drops cup and saucer.) Do n' t y ou s how you r t ee th t o m e.

I c an m ak e y ou o r b re ak y ou . T ha t s ta te o rg an iz at io n o f y ou rs b el on gs t o m e.

( Dowsett starts—he is learning something new. To hide his feelings, he stoops to pick up cup and

saucer.) Le t i t al one ! I am ta lki ng to you.

P a g e 2 7



( Dowsett straightens up to attention with alacrity. ) ( C on ni e, w ho h as w it ne ss ed , r in gs f or

S er va n t .) I b ou gh t t ha t s ta te o rg an iz at io n, a nd p ai d f or i t. Y ou a re o ne o f t he c ha tt el s t ha t c am e a lo ng

w it h t he m ac hi ne . Y ou w er e m ad e s en at or t o o be y m y o rd er s. U nd er st an d? D o y ou u nd er st an d?

Dowsett

( Beaten.) I — I u nd ers t an d.

Starkweather

Tha t b il l i s t o b e ki ll ed .

Dowsett

Y e s, s ir .

Starkweather

Quietly, no headlines about it.

( Dowsett nods.) Now you can go.

( Dowsett proceeds rather limply across to join group at tea-table.) ( C h al m er s a nd H u bb ar d

enter from right, laughing about something. At sight of Starkweather they immediately become

sober.) ( No hands are shaken. Starkweather barely acknowledges Hubbard's greeting.)

Starkweather

Tom, I want t o se e you.

( Hubbard takes his cue, and proceeds across to tea-table.)

( Enter Servant. Connie directs him to remove broken cup and saucer. While this is being done,

Starkweather remains silent. He consults note-book, and Chalmers stands, not quite at ease,

waiting the other's will. At the same time, patter at tea-table. Hubbard, greeting others and

a cc ep ti ng o r d ec li ni ng c up o f t ea .)

( S er va n t m a kes exi t ).

P a g e 2 8



Starkweather

( C lo si ng f in ge r o n b oo k a nd l oo ki ng s ha rp ly a t C ha lm er s.) Tom, t his a ff ai r of your s i n Ne w Yor k

m us t c om e t o a n e nd . U nd er st an d?

Chalmers

( Starting. ) H ub ba rd h as b ee n t al ki ng .

Starkweather

N o, i t i s n ot H ubb ar d. I h av e t he r ep or ts f ro m o the r s ou rc es .

Chalmers

I t i s a h ar ml es s a ff ai r.

Starkweather

I h app en t o kn ow b et te r. I ha ve t he wh ol e r ec or d. I f you w is h, I c an gi ve yo u e ve ry de ta il , e ve rym ee ti ng . I k no w. T he re i s n o d is cu ss io n w ha te ve r. I w an t n o m or e o f i t.

Chalmers

I n ev er d re am ed f or a m om en t t ha t I w as —e r— in di sc re et .

Starkweather

N ev er f or ge t t ha t e ve ry i nd is cr et io n o f a m an i n y ou r p os it io n i s i nd is cr ee t. W e h av e a d ut y, a g re at a nd

s ol em n d ut y t o p er fo rm . U po n o ur s ho ul ders r es t t he d es ti ni es o f n in et y m il li on p eo pl e. I f w e f ai l i n o ur

d ut y, t hey g o d ow n t o d es tr ucti on . I gn or an t d em ag og ues are w or ki ng o n t he b east - pass i on s o f t he

people. If they have their way, they are lost, the country is lost, civilization is lost. We want no more Dark

Ages.

Chalmers

R ea ll y, I n ev er t ho ug ht i t w as a s s er io us a s a ll t ha t.

P a g e 2 9



Starkweather

( S hr u gg i ng s h ou l de r s a nd l i ft i ng e y eb r ow s .) Af te r al l, why should you? You ar e onl y a c og i n the

m ac hi ne . I , a nd t he s ev er al m en g rou pe d w it h m e, a m t he m ac hi ne . Y ou a re a u se fu l c og —t oo u se fu l t olose—

Chalmers

Lose?—Me?

Starkweather

I h av e b ut t o r ai se m y h an d, a ny t im e— do y ou u nd er st an d? —a ny t im e, a nd y ou a re l os t. Y ou c on tr ol

y ou r s ta te . V er y w el l. B ut n ev er f or ge t t ha t t o- mo rr ow , i f I w is he d, I c ou ld b uy y ou r w ho le m ac hi ne o ut

f ro m u nd er y ou . I k no w y ou c an no t c ha ng e y ou rs el f, b ut , f or t he s ak e o f t he b ig i ss ue s a t s ta ke , y ou m us t

be careful, exceedingly careful. We are compelled to work with weak tools. You are a good liver, a

f le sh -p ot m an . Y ou d ri nk t oo m uc h. Y ou r h ea rt i s w ea k. —O h, I h av e t he r ep or t o f y ou r d oc to r.

Nevertheless, don't make a fool of yourself, nor of us. Besides, do not forget that your wife is my

da ug ht er . S he i s a s tr on g wo ma n, a c re di t t o bo th o f us . B e c ar ef ul t ha t yo u a re n ot a d is cr ed it t o he r.

Chalmers

A ll r ig ht , I 'l l b e c ar ef ul . B ut w hi le w e a re —e r— on t hi s s ub je ct , t he re 's s om et hi ng I 'd l ik e t o s pe ak t o y ou

about.

( A pause, in which Starkweather waits non-committally. ) I t' s t hi s ma n K nox , a nd M adg e. H e

c ome s t o t he ho us e. T he y a re a s t hi ck a s t hi eve s.

Starkweather

Yes?

Chalmers

( Hastily.) O h, n ot a br ea th of s us pi ci on or a ny thi ng of t ha t s or t, I a ss ur e y ou. B ut i t do es n' t s tr ike m e a s

exact ly app ro pr iate t hat y ou r d au gh ter and m y w if e s ho ul d b e f ri en dl y w it h t hi s f ir e- eati ng anarchi st w ho

i s a lw ay s a tt ac ki ng u s a nd a ll t ha t w e r ep re se nt .

P a g e 3 0



Starkweather

I s ta rt ed t o s pe ak w it h h er o n t ha t s ub je ct , b ut w as i nt er ru pt ed .

( Puckers brow and thinks. ) You a re he r hus ba nd. W hy do n' t y ou t ake he r i n ha nd you rs el f?

( Enters Mrs. Starkweather from rear, looking about, bowing, then locating Starkweather and

proceeding toward him.)

Chalmers

What can I do? She has a will of her own—the same sor t of a will tha t you ha ve. Besi des, I think she

knows about my—about some of my—indiscretions.

Starkweather

( Slyly.)

Harmlessindiscretions?

( C h a l mer s i s a b o ut t o r ep l y, b u t o b s er ves M r s . S t a r kwea t h er a p p r oa ch i ng .)

Mrs. Starkweather

( S pe ak s i n a p ee v is h, c om pl ai ni ng v oi c e, a nd d ur i ng h er h ar r an gu e S ta rk we at he r i mm er s es

himself in notebook.) O h, t he re y ou a re , An tho ny. Ta lki ng po li ti cs , I s up po se . We ll , a s s oon a s I g et a

c up of te a we mus t g o. Tom my i s no t l ooki ng a s we ll a s I c ould wi sh. Ma rga re t l ove s hi m, but s he doe s

not t ake t he r igh t c ar e of hi m. I do n' t kn ow wha t t he w or ld i s c om ing t o wh en m ot he rs do n ot kn ow how

t o r ear t heir o ff sp ri ng . T here i s M ar garet, w it h h er s lu m k in derg ar tens , t ak in g car e o f every bo dy els e' s

chi ld ren b ut h er o wn . I f s he o nl y p er fo rm ed h er chu rch d ut ies as eag er ly ! M r. R ut land i s d is pl eased w it hh er . I s ha ll g iv e h er a t al ki ng t o— on ly , y ou 'd b et te r d o i t, A nt ho ny . S om eh ow , I h av e n ev er c ou nt ed

muc h wi th Ma rga re t. She is a s s et i n doi ng wha t s he pl ea se s a s you a re . I n my t ime c hi ldr en pa id r es pe ct

t o t he ir par ent s. Thi s i s wha t c ome s of s pe ed. The re is no ti me for anyt hi ng. A nd now I m ust ge t m y t ea

a nd r un . C on ni e h as t o d re ss f or t ha t d in ne r.

( Mrs. Starkweather crosses to table, greets others characteristically and is served with tea by

Connie.)

( Chalmers waits respectfully on Starkweather. )

Starkweather

P a g e 3 1



( Looking up from note-book. ) T ha t w il l d o, To m.

( C ha lm er s i s j us t s ta rt in g a cr os s t o j oi n o th er s, w he n v oi ce s a re h ea rd o ut si de r ea r e nt ra nc e, a nd

Margaret enters with Dolores Ortega, wife of the Peruvian Minister, and Matsu Sakari, Secretary

of Japanese Legation—both of whom she has met as they were entering the house. )

( C ha lm er s c ha ng es h is c ou rs e, a nd m ee ts t he a bo ve a dv an ci ng g ro up . H e k no ws D ol or es O rt eg a,

whom he greets, and is introduced to Sakari. )

( Margaret passes on among guests, greeting them, etc. Then she displaces Connie at tea-table

and proceeds to dispense tea to the newcomers. )

( G ro up s s lo wl y f or m a nd s ea t t he ms el ve s a bo ut s ta ge a s f ol lo ws : C ha lm er s a nd D ol or es O rt eg a;

Rutland, Dowsett, Mrs. Starkweather; Connie, Mr. Dowsett, and Hubbard.)

( C ha lm er s c ar ri es t ea t o D ol or es O rt eg a.)

( S ak ar i h as b ee n l in ge ri ng b y t ab le , w ai ti ng f or t ea a nd p at te ri ng w it h M ar ga re t, C ha lm er s, e tc .)

Margaret

( Handing cup to Sakari.) I am ver y t imi d i n of fe ring you this , for I am s ur e you must be appal le d by

o ur b ar bar ou s m et ho ds o f m ak in g t ea.

Sakari

( Bowing.) I t i s t ru e, y ou r A me ri ca n t ea , a nd t he t ea o f t he E ng li sh , a re q ui te r ad ic al ly d if fe re nt f ro m t he

t ea i n m y c ou nt ry . B ut o ne l ea rn s, y ou k no w. I s er ve d m y a pp re nt ic es hi p t o A me ri ca n t ea l on g y ea rs a go ,

whe n I wa s a t Ya le . It wa s pe rpl exin g, I a ss ur e you— at f irs t, onl y a t f ir st I r eal ly b el ie ve t ha t I a m

beginning to have a—how shall I call it?—a tolerance for tea in your fashion.

Margaret

You are very kind in overlooking our shortcomings.

Sakari

( Bowing.) O n t he con tr ar y, I am u naware, alw ay s u naware, o f any s ho rt co mi ng s o f t hi s m ar velo us

country of yours.

P a g e 3 2



Margaret

( Laughing.) Y ou are i ncor ri gi bl y g raci ou s, M r. S ak ar i. ( Knox appears at threshold of rear entrance

a nd p au se s i rr es ol ut el y f or a m om en t )

Sakari

( Noticing Knox, and looking about him to select which group he will join.) If I may be allowed, I

s hall n ow r et ir e and con su me t hi s— tea.

( Joins group composed of Connie, Mrs. Dowsett, and Hubbard.)

( Knox comes forward to Margaret, betraying a certain awkwardness due to lack of experience

i n s uc h s oc ia l f un ct io ns . H e g re et s M ar ga re t a nd t ho se i n t he g ro up n ea re st h er .)

Knox

( T o M a rg ar e t .) I don't know why I come he re. I do not be long. All t he ways a re s tra nge.

Margaret

( Lightly, at the same time preparing his tea.) The s am e Ali Ba ba —onc e a ga in i n t he de n of t he f ort yt hi ev es . B ut y ou r w at ch a nd p oc ke t- bo ok a re s af e h er e, r ea ll y t he y a re .

( Knox makes a gesture of dissent at her facetiousness. ) N ow d on 't b e s er io us . Y ou s ho ul d r el ax

sometimes. You live too tensely.

( Looking at Starkweat her. ) T he re 's t he a rc h- an ar ch o ve r t he re , t he d ra go n y ou a re t ry in g t o s la y.

( Knox looks at Starkweather and is plainly perplexed. ) T he m an w ho h an dl es all t he l if e i ns ur an ce

f un ds , w ho con tr ol s m or e s tr in gs o f b an ks and t ru st com pani es t han all t he R ot hs ch il ds a h un dr ed t im es

o ve r— th e m er ge r o f i ro n a nd s te el a nd c oa l a nd s hi pp in g a nd a ll t he o th er t hi ng s— th e m an w ho b lo ck sy ou r chi ld l ab or b il l and all t he r es t o f t he r em ed ial l eg is lati on y ou adv ocat e. I n s ho rt , m y f at her.

Knox

( Looking intently at Starkweather. ) I s ho ul d h av e r ecog ni zed h im f ro m h is p ho to gr ap hs . B ut w hy d o

you say such things?

Margaret

P a g e 3 3



B e ca us e t he y a re t ru e.

( He remains silent.) Now , a re n' t t he y? ( S he l a ug hs .) Oh, you don' t nee d t o ans we r. You know the

t ru th , t he w ho le b it ter t ru th . T hi s is a de n of t hi eve s. T he re i s M r. H ub ba rd o ve r t he re , f or i ns ta nc e, t he

trusty journalist lieutenant of the corporations.

Knox

( W it h a n e xp re ss io n o f d is gu st .) I know him. It was he that wrot e the Sta ndard Oil s ide of the story,

aft er h av in g abu sed S tand ar d O il f or y ears i n t he p seud o- mu ck -r ak in g m ag azin es . H e m ad e t hem com e

up to hi s pri ce, that was al l. He' s the s tar wri ter on Cartwright's , n ow , s in ce t hat m ag azin e chang ed i ts

policy and became subsidizedly reactionary. I know him—a thoroughly dishonest man. Truly am I Ali

B aba , a nd t rul y I w ond er wh y I a m he re .

Margaret

Y ou a re h er e, s ir , b ec au se I l ik e y ou t o c om e.

Knox

W e do ha ve m uc h i n c omm on, you a nd I .

Margaret

The future.

Knox

( G ra ve ly , l oo ki ng a t h er w it h s hi ni ng e ye s.) I s om et im es f ea r f or m or e i mm ed ia te r ea so ns t ha n t ha t.

( Margaret looks at him in alarm, and at the same time betrays pleasure in what he has said.) For

you.

Margaret

( Hastily.) D on 't l oo k a t m e t ha t w ay . Y ou r e ye s a re f la sh in g. S om e o ne m ig ht s ee a nd m is un de rs ta nd .

P a g e 3 4



Knox

( In confusion, awkwardly.) I w as u na wa re t ha t I —t ha t I w as l ook ing a t you —— in a ny w ay t ha t— —

Margaret

I 'l l te ll you why y ou a re he re . B ec aus e I s ent f or you.

Knox

( W it h s ig ns o f a rd or .) I woul d c ome whe ne ve r you s ent f or me , a nd go w he re ve r you mi ght s end m e.

Margaret

( Reprovingly.)

P leas e, p lease—— I t w as abo ut t hat s peech. I h av e b een h ear in g abo ut i t f r om ever yb od y— ru mb li ng s

a nd m ut te ri ngs a nd d ir e pr op he ci es . I kn ow how bu sy y ou a re , a nd I o ugh t no t t o ha ve a ske d yo u t o

c om e. B ut t he re wa s n o o th er w ay, a nd I w as s o a nxi ou s.

Knox

( Pleased.) I t s ee ms s o s tr an ge t ha t y ou , b ei ng w ha t y ou a re , a ff il ia te d a s y ou a re , s ho ul d b e i nt er es te d i n

t he w el fare o f t he com mo n p eo pl e.

Margaret

( Judicially.) I do see m like a trai tor in my own camp. But as father said a while ago, I, too, havedr ea me d my d re am . I di d i t a s a g ir l— Pl at o' s Republic , M oo re 's Utopia —I wa s ste eped i n all t he

d ream s o f t he s oci al d reamers .

( During all that follows of her speech, Knox is keenly interested, his eyes glisten and he hangs on

h er w or ds .)

A nd I d re am ed t ha t I , t oo , m ig ht d o s om et hi ng t o b ri ng o n t he e ra o f u ni ve rs al j us ti ce a nd f ai r p la y. I n m y

h ea rt I d ed ic at ed m ys el f t o t he c au se o f h um an it y. I m ad e L in co ln m y h er o- he s ti ll i s. B ut I w as o nl y a

gi rl , a nd wh er e w as I t o f ind t hi s c aus e? —how t o wor k f or i t? I wa s s hut i n by a t hous an d r es tr ic ti ons ,

h ed ged i n b y a t ho us an d con vent io ns . E very bo dy l au gh ed at m e w hen I exp ress ed t he t ho ug ht s t hat

burned in me. What could I do? I was only a woman. I had neither vote nor right of utterance. I must

r em ai n s il en t. I m us t d o n ot hi ng . M en , i n t heir l or dl y w is do m, d id all . T hey v ot ed , o rated, g ov er ned. T he

place for women was in the home, taking care of some lordly man who did all these lordly things.

P a g e 3 5



Knox

Y ou u nd er st an d, t hen, w hy I am f or equ al s uf fr ag e.

Margaret

B ut I l ea rn ed —o r t ho ugh t I l ea rne d. P ow er , I di sc ove re d e ar ly . M y f at he r ha d p ow er . H e w as a

m ag na te —I b el ie ve t ha t i s t he c or re ct p hr as e. P ow er w as w ha t I ne ed ed . B ut h ow? I w as a w om an .

A ga in I d re am ed m y d re am —a m od if ie d d re am . O nl y b y m ar ri ag e c ou ld I w in t o p ow er . A nd t he re y ou

ha ve the c lew to me and wha t I am and have become. I met the man who was to be come my hus band.

H e w as c le an a nd s tr on g a nd a n a th le te , a n o ut do or m an , a w ea lt hy m an a nd a r is in g p ol it ic ia n. F at he r

t ol d me t hat i f I ma rr ie d him he woul d make him t he power of hi s s tat e, make him gover nor , s end him t ot he U ni te d S ta te s S en at e. A nd t he re y ou h av e i t a ll .

Knox

Y e s ?— — Y es ?

Margaret

I m ar ri ed. I f ou nd t ha t t he re w er e g re at er f or ce s a t w or k t ha n I h ad e ve r d re am ed of . T he y t oo k m y

h us band away f ro m m e and m ol ded h im i nt o t he p ol it ical l ieut en an t o f m y f at her. A nd I w as w it ho ut

power. I could do nothing for the cause. I was beaten. Then it was that I got a new vision. The future

belonged to the children. There I could play my woman's part. I was a mother. Very well. I could do no

better than to bring into the world a healthy son and bring him up to manhood healthy and wholesome,

clean , n ob le, and ali ve. D id I d o m y p ar t w el l, t hr ou gh h im t he r es ul ts w ou ld b e ach ieved. T hr ou gh h im

w ou ld t he w or k o f t he w or ld b e d one i n m ak in g t he w or ld h ea lt hi er a nd ha pp ie r f or a ll t he h um an

c re at ur es i n i t. I pl ay ed t he m ot he r' s p ar t. Th at i s wh y I l ef t t he p it if ul l it tl e c ha ri ti es o f t he c hur ch a nd

d ev ot ed m ys el f t o s et tl em en t w or k and t en em en t h ou se r ef or m, est ab li sh ed m y k in derg ar tens , andw or ke d f or t he l it tl e m en a nd w om en w ho c om e s o b li nd ly a nd t o w ho m t he f ut ur e b el on gs t o m ak e o r

mar.

Knox

Y ou a re m ag ni fi ce nt . I k no w, n ow , w hy I c om e w he n y ou b id m e c om e.

Margaret

P a g e 3 6



A nd t hen y ou cam e. Y ou w er e m ag ni fi cent . Y ou w er e m y k ni gh t o f t he w in dm il ls , t il ti ng again st all p ow er

a nd pr iv il ege , s tr iv in g t o w re st t he f ut ur e f ro m t he f ut ur e a nd r ea li ze i t h er e i n t he pr es en t, n ow . I w as s ur e

y ou w ou ld b e d es tr oy ed . Y et y ou are s ti ll h er e and f ig ht in g v al iant ly . A nd t hat s peech o f y ou rs

to-morrow—

Chalmers

( W ho h as a pp ro ac he d, b ea ri ng D ol or es O rt eg a' s c up .) Yes , t hat speech. How do you do, Mr.

Knox.

( They shake hands. ) A c up of t ea , Ma dge . For Mr s. Or te ga . Two l umps , ple as e.

( Margaret prepares the cup of tea.) E ve ry bo dy i s e xc it ed o ve r t ha t s pe ec h. Y ou a re g oi ng t o g iv e u s

particular fits, to-morrow, I understand.

Knox

( Smiling.) R ea ll y, n o m or e t ha n i s d es er ve d.

Chalmers

T he t ru th , t he w ho le t ru th , and n ot hi ng b ut t he t ru th ?

Knox

Precisely.

( Receiving back cup of tea from Margaret. )

Chalmers

B el ie ve m e, w e a re n ot s o b la ck a s we 'r e p ai nt ed . T he re a re t wo s ide s t o t hi s q ue st io n. L ik e y ou, w e d o

our bes t to do what is ri ght . And we hope, we s till hope, t o win you ove r to our side.

( Knox shakes his head with a quiet smile. )

Margaret

O h, T om , b e t ru th fu l. Y ou d on 't h op e a ny th in g o f t he s or t. Y ou k no w y ou a re h op in g t o d es tr oy h im .

P a g e 3 7



Chalmers

( S m il i n g g r i ml y.) Th at i s wh at u sua ll y h appe ns t o t ho se who a re no t w on ove r.

( Preparing to depart with cup of tea; speaking to Knox.) Y ou m ig ht accom pl is h m uch g oo d, w er e

you with us. Against us you accomplish nothing, absolutely nothing.

( Returns to Dolores Ortega.)

Margaret

( Hurriedly.) Y ou s ee . Tha t is why I wa s a nxi ous— why I s ent f or you. Eve n Tom a dmi ts t ha t t he y whoa re n ot w on o ve r a re d es tr oy ed . T hi s s pe ec h i s a c ru ci al e ve nt . Y ou k no w h ow r ig id ly t he y r ul e t he

H ou se a nd g ag m en l ik e y ou . I t i s t he y, a nd t he y a lo ne , w ho ha ve g iv en y ou o ppo rt un it y f or t hi s s pe ec h?

Why?—Why?

Knox

( S m i li n g co n f id en tl y.) I kn ow t he ir l it tl e s ch em e. T he y ha ve h ea rd m y c ha rg es . Th ey t hi nk I a m g oi ng

t o m ake a f ir eb ra nd s pe ec h, a nd t he y a re r ea dy t o c at ch m e w it hou t t he p ro of s. T he y a re r ea dy i n e ve ry

w ay f or m e. T he y a re g oi ng t o l au gh m e d ow n. T he A ss oc ia te d P re ss , t he W as hi ng to ncor resp on dent s— al l are r eady t o m an uf actu re, i n every n ew sp ap er i n t he l an d, t he g reat l au gh t hat w il l

d es tr oy m e. B ut I a m f ul ly p re pa re d, I h av e—

Margaret

The proofs?

Knox

Yes.

Margaret

Now?

P a g e 3 8



Knox

They will be delivered to me to-night—original documents, photographs of documents, affidavits—

Margaret

T el l m e no thi ng . B ut o h, do b e c ar ef ul ! B e c ar ef ul !

Mrs. Dowsett

( Appealing to Margaret.) D o g iv e m e s om e a ss is ta nc e, M rs . C ha lm er s.

( Indicating Sakari.) M r. S ak ar i i s t ry in g t o m ak e m e r id ic ul ou s.

Margaret

Impossible.

Mrs. Dowsett

B ut he i s. He ha s h ad t he e ff ront er y—

Chalmers

( Mimicking Mrs. Dowsett.) Effrontery!—O, Sakari!

Sakari

T he d ea r l ad y i s p le as ed t o b e f ac et io us .

Mrs. Dowsett

He ha s h ad t he e ff ro nt er y t o a sk m e t o e xp la in t he c aus e o f hi gh p ri ce s. M r. D ow se tt s ays t he r ea son i s

t hat t he p eo pl e are l iv in g s o h ig h.

P a g e 3 9



Sakari

S uc h a m ar ve lo us c ou nt ry . T he y a re p oo r b ec au se t he y h av e s o m uc h t o s pe nd .

Chalmers

A re n ot h ig h p ri ce s d ue t o t he i nc re as ed o ut pu t o f g ol d?

Mrs. Dowsett

Mr . S ak ar i s ug ge st ed t ha t h im se lf , a nd w he n I a gr ee d w it h h im h e p ro ce ed ed t o d em ol is h i t. H e h as

treated me dreadfully.

Rutland

( C le ar i ng h is t hr oa t a nd e x pr e ss in g h im se lf w it h p on de r ou s u nc t io n.) Y ou w il l f in d t he s ol ut io n i n

the drink traffic. It is liquor, alcohol, that is undermining our industry, our institutions, our faith in

God—everything. Yearly the working people drink greater quantities of alcohol. Naturally, through

resulting inefficiency, the cost of production is higher, and therefore prices are higher.

Dowsett

P ar tl y s o, p ar tl y s o. A nd i n l in e w it h i t, a nd i n a dd it io n t o i t, p ri ce s a re h ig h b ec au se t he w or ki ng c la ss i s

n o l on ge r t hr if ty . I f o ur w or ki ng c la ss s av ed a s t he F re nc h p ea sa nt d oe s, w e w ou ld s el l m or e i n t he w or ld

m ar ket and h av e b et t er t im es .

Sakari

( Bowing.) As I u nde rs ta nd i t t he n, t he mor e t hr if ty you a re t he m or e you s ave , a nd t he mor e you s ave

t he m or e you h ave t o s el l, t he mor e you s el l, th e be tt er t he t ime s?

Dowsett

Exactly so. Exactly.

Sakari

P a g e 4 0



T he l es s y ou s el l, t he h ar de r a re t he t im es ?

Dowsett

J us t s o.

Sakari

T he n i f t he p eo pl e a re t hr if ty , a nd b uy l es s, t im es w il l b e h ar de r?

Dowsett

( Perplexed. ) Er —i t wo ul d s ee m s o.

Sakari

The n i t wo ul d s ee m t ha t t he pr es ent ba d t im es a re d ue t o t he f ac t t ha t t he pe opl e a re t hr if ty, r at he r t ha n

not thrifty?

( Dowsett is nonplussed, and Mrs. Dowsett throws up her hands in despair.)

Mrs. Dowsett

( Turning to Knox. ) P er ha ps y ou c an e xp la in t o u s, M r. K no x, t he r ea so n f or t hi s t er ri bl e c on di ti on o f

affairs.

( Starkweather closes note-book on finger and listens.) ( Knox smiles, but does not speak. )

D o lo re s O r t eg a

Pl ea se do , M r. K no x. I a m s o d re adf ul ly a nxi ous t o k no w w hy l iv ing i s s o h igh n ow. O nl y t hi s m or ni ng I

u nd er st an d m eat w en t u p again .

( Knox hesitates and looks questioningly at Margaret.)

Hubbard

P a g e 4 1



I a m s ur e M r. K no x c an s he d n ew l ig ht o n t hi s p er pl ex in g p ro bl em .

Chalmers

S ur el y y ou , t he w hi rl wi nd o f o rato ri cal s wo rd s i n t he H ou se, are n ot t im id h er e— am on g f ri en ds .

Knox

( Sparring. ) I h ad n o i de a t ha t q ue st io ns o f s uc h n at ur e w er e t op ic s o f c on ve rs at io n a t a ff ai rs l ik e t hi s.

Starkweather

( Abruptly and imperatively. ) W ha t c au se s t he h ig h p ri ce s?

Knox

( Equally abrupt and just as positive as the other was imperative. ) T h ef t !

( It is a sort of a bombshell he has exploded, but they receive it politely and smilingly, even

though it has shaken them up.)


W hat a r om an ti c exp lanati on . I s up po se every bo dy w ho h as any th in g h as s to len i t.

Knox

N ot q ui te, b ut alm os t q ui te. T ak e m ot or cars , f or examp le. T hi s y ear f iv e h un dr ed m il li on d ol lars h as b een

s pent f or m ot or -car s. I t r eq ui red m en t oi li ng i n t he m in es and f ou nd ri es , w om en s ew in g t heir eyes o ut i n

s weat -s ho ps , s ho p g ir ls s lavi ng f or f ou r and f iv e d ol lars a w eek, l it tl e chi ld ren w or ki ng i n t he f acto ri es and

cot to n- mi ll s— al l t hese i t r eq ui red t o p ro du ce t ho se f iv e h un dr ed m il li on s s pent t hi s y ear i n m ot or -car s.

And a ll t hi s h as be en s tol en f rom t hos e w ho di d t he w or k.

Mrs. Starkweather

I a lw ay s k ne w t ho se m ot or -c ar s w er e t o b la me f or t er ri bl e t hi ng s.

P a g e 4 2




B ut M r. K no x, I h av e a m ot or -c ar .

Knox

S om eb od y' s l ab or m ad e t ha t c ar . W as i t y ou rs ?


Me rc y, n o! I b ou ght i t— — a nd p ai d f or i t.

Knox

T he n d id y ou l ab or a t p ro du ci ng s om et hi ng e ls e, a nd e xc ha ng e t he f ru it s o f t ha t l ab or f or t he m ot or -c ar ?

( A pause.)

Yo u d o no t a ns we r. T he n I a m t o u nd er st and t ha t yo u h ave a m ot or -c ar w hi ch w as ma de by s om eb od y

e ls e' s l ab or a nd f or whi ch you gav e no l abor of your ow n. Thi s I c al l t he ft . You c all it prope rt y. Ye t i t i stheft.

Starkweather

( Interrupting Dolores Ortega who was just about to speak. )

B ut s ur el y y ou h av e i nt el li ge nc e t o s ee t he q ue st io n i n l ar ge r w ay s t ha n s to le n m ot or -c ar s. I a m a m an o f

af fai rs . I d on 't s t eal m ot or - car s.

Knox

( Smiling.) No t c onc re te l it tl e mo to r- ca rs , n o. Y ou d o t hi ngs on a l ar ge s ca le .

Starkweather

Steal?

P a g e 4 3



Knox

( S h ru g gi n g h i s s h o ul d ers .) If you will have it so.

Starkweather

I a m l ike a c er ta in g en tl em an f ro m M is so ur i. Y ou 'v e g ot t o s ho w m e.

Knox

A nd I 'm l ike t he m an f rom Te xa s. It 's got t o b e put i n my h and.

Starkweather

I shift my residence at once to Texas. Put it in my hand that I steal on a large scale.

Knox

V er y w el l. Y ou a re t he g re at f in an ci er , m er ge r, a nd m ag na te . D o y ou m in d a f ew s ta ti st ic s?

Starkweather

G o a he a d.

Knox

Y ou exercis e a con tr ol li ng i nt er es t i n n in e b il li on d ol lars ' w or th o f r ai lw ay s; i n t wo b il li on d ol lars ' w or th o f

industrial concerns; in one billion dollars' worth of life insurance groups; in one billion dollars' worth of

banking groups; in two billion dollars' worth of trust companies. Mind you, I do not say you own all this,

but that you exercise a controlling interest. That is all that is necessary. In short, you exercise a controlling

i nt er es t i n s uc h a pr opor ti on o f t he t ot al i nve st me nt s of t he Uni te d St at es , a s t o s et t he pa ce f or a ll t he

r es t. N ow t o m y po in t. I n t he l as t f ew y ea rs s ev en ty b il li on s o f d ol la rs h av e b ee n a rt if ic ia ll y a dd ed t o t he

cap it al izat io n o f t he n at io n' s i nd us tr ies. B y t hat I m ean w at er —p ur e, u nadu lt er at ed w at er . Y ou , t he

m er ge r, k no w w ha t w at er m ea ns . I s ay s ev en ty b il li on s. I t d oe sn 't m at te r i f w e c al l i t f or ty b il li on s o r

e ig ht y bi ll ion s; t he a mou nt , w ha te ve r i t i s, i s a h uge o ne . A nd w ha t d oe s s ev en ty b il li ons o f w at er m ea n? I t

m ea ns , a t f iv e p er c en t, t ha t t hr ee b il li on s a nd a h al f m us t b e p ai d f or t hi ng s t hi s ye ar , a nd e ve ry y ea r,

m or e t ha n t hi ng s a re r ea ll y w or th . T he p eo pl e w ho l ab or h av e t o p ay t hi s. T he re i s t he ft f or y ou . T he re i s

P a g e 4 4



hi gh pr ic es f or you. W ho put in t he w ate r? Who ge ts t he t he ft of t he w at er? Ha ve I put i t i n your ha nd?

Starkweather

A re t he re n o w ag es f or s te wa rd sh ip ?

Knox

C al l i t a ny na me y ou p le as e.

Starkweather

Do I not ma ke two dol la rs whe re one wa s bef or e? Do I not ma ke for mor e happines s t ha n wa s bef ore I

came?

Knox

I s t ha t a ny m or e t ha n t he d ut y a ny m an o we s t o hi s f el lo wm an ?

Starkweather

O h, y ou u np racti cal d ream er. ( Returns to his note-book.)

Rutland

( T hr ow in g h im se l f i nt o t he b re ac h.) Whe re do I s te al, Mr . Knox? —I who ge t a me re s al ar y for preaching the Lord's Word.

Knox

Yo ur s al ar y c om es o ut o f t ha t w at er I me nt ion ed. Do y ou w an t t o kn ow w ho pa ys yo ur s al ar y? N ot

y ou r p ar is hi on er s. B ut t he l it tl e chi ld ren t oi li ng i n t he m il ls , and all t he r es t— al l t he s laves o n t he w heel o f

l ab or p ay y ou y ou r s al ar y.

Rutland

P a g e 4 5



I ea rn i t.

Knox

T he y p ay i t.

Mrs. Dowsett

W hy , I de cl ar e, M r. K no x, y ou a re w or se t ha n M r. S ak ar i. Y ou a re a n a na rc hi st .

( S he s im ul at es s hi v er in g w it h f e ar .)

Chalmers

( T o K n o x. ) I s up po se t ha t' s p ar t o f y ou r s pe ec h t o- mo rr ow .


( C l ap p in g h e r h an ds .) A r ehe ar sa l! He 's t ryi ng i t out on us !

Sakari

How would you remedy this—er—this theft?

( Starkweather again closes note-book on finger and listens as Knox begins to speak.)

Knox

Very simply. By changing the governmental machinery by which this household of ninety millions of

people conducts its affairs.

Sakari

I thought—I was taught so at Yale—that your governmental machinery was excellent, most excellent.

P a g e 4 6



Knox

I t i s a nt iq ua te d. I t i s r ea dy f or t he s cr ap -h ea p. I ns te ad of be in g o ur s er va nt , i t h as ma st er ed u s. W e a re

i ts s la ve s. A ll t he po li ti ca l b roo d o f g ra ft er s a nd h yp oc ri te s h av e r un a wa y w it h i t, a nd w it h us a s w el l. I n

s hor t, f ro m t he m un ic ip al it ie s up , w e a re do mi na te d b y t he g ra ft er s. I t i s a r ei gn o f t he ft .

Hubbard

B ut a ny g ov er nm en t i s r ep re se nt at iv e o f i ts p eo pl e. N o p eo pl e i s w or th y o f a b et te r g ov er nm en t t ha n i t

possesses. Were it worthier, it would possess a better government.

( Starkweather nods his head approvingly. )

Knox

T ha t i s a l ie . And I s ay to you now t ha t t he a ve ra ge m or al it y a nd de si re fo r r ight c onduc t o f t he pe opl e of

t he U ni ted S tates i s f ar h ig her t han t hat o f t he g ov er nm en t w hi ch m is repr es en ts i t. T he p eo pl e are

ess en ti al ly w or th y o f a b et ter g ov er nm en t t han t hat w hi ch i s at p resent i n t he h an ds o f t he p ol it icians , f or

t he b en ef it o f t he p ol it icians and o f t he i nt er es ts t he p ol it icians r ep resent . I w on der, M r. S ak ar i, i f y ou

ha ve e ve r he ar d t he s tor y of t he f ou r a ce s.

Sakari

I ca nnot say that I have.

Knox

Do y ou u nd er st an d t he g am e o f p ok er ?

Sakari

( Considering. ) Y es , a m ar ve lo us g am e. I h av e l ea rn ed i t— at Y al e. I t w as v er y e xp en si ve .

Knox

W el l, t hat s to ry r em in ds m e o f o ur g raft in g p ol it icians . T hey h av e n o m or al com pu ncti on s. T hey l oo k

u po n t heft as r ig ht —emi nent ly r ig ht . T hey s ee n ot hi ng w ro ng i n t he arr an gement t hat t he m an w ho d eals

t he c ar ds s ho ul d g iv e h im se lf t he b es t i n t he d ec k. N ev er m ind w ha t h e de al s h im se lf , t he y' ll h av e t he d ea l

P a g e 4 7



ne xt a nd m ake u p f or i t.


B ut t he s to ry , M r. K no x. I , t oo , u nd er st an d p ok er .

Knox

I t oc cur re d ou t i n Ne va da , i n a m in ing c amp . A t end er fo ot wa s wa tc hi ng a ga me o f pok er , H e s to od

behind the dealer, and he saw the dealer deal himself four aces from the bottom of the deck.

( From now on, he tells the story in the slow, slightly drawling Western fashion.) T he t end er fo ot

w en t a ro un d t o t he p la ye r on t he o pp os it e s ide of t he t abl e.

" Sa y, " h e s ay s, " I j us t s ee n t he d ea le r g iv e h im se lf f ou r a ce s o ff t he b ot tom ."

T he p la ye r l oo ke d a t h im a m om en t, a nd s ai d, " Wh at o f i t? "

" Oh , n ot hi ng ," s ai d t he t end er fo ot , " on ly I t ho ug ht y ou m ig ht w an t t o k no w. I t el l y ou I s ee n t he d ea le r

g iv e h im self f ou r aces o ff t he b ot to m. "

" Lo ok h er e, M is te r, " s ai d t he p la ye r, " yo u' d b et te r g et o ut o f t hi s. Y ou d on 't u nd er st an d t he g am e. I t' s

H IS d eal, ain 't i t?"

Margaret

( Arising while they are laughing.) W e' ve t al ke d p ol it ic s l on g e no ug h. D ol or es , I w an t y ou t o t el l m e

a bo ut y ou r n ew c ar .

Knox

( As if suddenly recollecting himself.) And I must be going.

( In a low voice to Margaret.) D o I ha ve t o s ha ke ha nd s wi th a ll t he se pe opl e?

Margaret

( S h a kin g h er h ea d, s p ea ki n g l ow .) Dear delightful Ali Baba.

P a g e 4 8



Knox

( Glumly.) I s uppo se I 've m ade a f ool of m ys el f.

Margaret

( Earnestly.) O n t he c on tr ar y, y ou w er e d el ig ht fu l. I a m p ro ud o f y ou .

( As Knox shakes hands with Margaret, Sakari arises and comes forward ).

Sakari

I , t oo, m us t go. I h ave ha d a c ha rm ing h al f hour , M rs . C ha lme rs . But I s ha ll not a tt emp t t o t ha nk you .

( He shakes hands with Margaret.)

( Knox and Sakari proceed to make exit to rear. )

( Just as they go out, Servant enters, carrying card-tray, and advances toward Starkweather. )

( Margaret joins Dolores Ortega and Chalmers, seats herself with them, and proceeds to talk

motor-cars.)

( Servant has reached Starkweather, who has taken a telegram from tray, opened it, and isr e ad i ng i t .)

Starkweather

Damnation!

Servant

I be g y ou r p ar don , s ir .

Starkweather

S en d S en at or C ha lm er s t o m e, a nd M r. H ub ba rd .

Servant

P a g e 4 9



Y e s, s ir .

( S e rv a nt c r o s s es t o C h al m er s a n d H u bb a rd , b o th o f w h o m i m me d ia t el y a r i se a n d c r o ss t o

S t a r kw ea t h er .)

( W hi le t hi s i s b ei ng d on e, M ar ga re t r ea ss em bl es t he t hr ee b ro ke n g ro up s i nt o o ne , s ea ti ng h er se lf so that she can watch Starkweather and his group across the stage. )

( Servant lingers to receive a command from Margaret. )

( Chalmers and Hubbard wait a moment, standing, while Starkweather rereads telegram. )

Starkweather

( Standing up.) D ob leman h as j us t f or war ded t hi s t el eg ram. I t' s f ro m N ew Y or k— fr om M ar ti naw.

T her e' s b een r ot t en nes s. M y p ap er s and l et t er - fi les h av e b een r ans ack ed . I t 's t he con fi dent ial

stenographer who has been tampered with—you remember that middle-aged, youngish-oldish woman,

T om ? T hat 's t he o ne.— Wh er e's t hat s erv an t?

( S er va n t i s j u s t m a ki n g exi t . ) H er e! C om e h er e!

( S er va n t co m es o ver t o S t a r kw ea t h er . ) Go t o t he te le phone and ca ll up Dobl ema n. Te ll hi m t o c ome

here.

Servant

( Perplexed. ) I be g pa rdon, s ir .

Starkweather

( Irritably.) M y s ec re ta ry . A t m y h ou se . D ob le ma n. T el l h im t o c om e a t o nc e.

( S er va n t m a kes exi t . )

Chalmers

B ut w ho c an be t he p ri nc ipa l b eh in d t hi s t he ft ?

( S t ar k we a th e r s h ru gs h i s s h ou l de r s .)

P a g e 5 0



Hubbard

A b lack mail in g d ev ice m os t p ro babl y. T hey w il l att em pt t o b leed y ou —

Chalmers

Unless—

Starkweather

( Impatiently. ) Y es ?

Chalmers

U nl es s t he y a re t o be us ed t o- mor ro w i n t ha t s pe ec h of Kn ox.

( Comprehension dawns on the faces of the other two men. )

Mrs. Starkweather

( W ho h as a ri se n.) An th ony , w e m us t go n ow . A re y ou r ea dy? C on ni e h as t o dr es s.

Starkweather

I a m n ot go ing n ow . Y ou a nd Co nni e t ak e t he c ar .

Mrs. Starkweather

Y ou m us tn 't f or get y ou are g oi ng t o t hat d in ner.

Starkweather

( Wearily.) Do I e ver forge t?

( Servant enters and proceeds toward Starkweather, where he stands waiting while Mrs.

Starkweather finishes the next speech. Starkweather listens to her with a patient, stony face. )

P a g e 5 1



Mrs. Starkweather

O h, t hese everl as ti ng p ol it ics! T hat i s w hat i t h as b een all aft er no on —h ig h p ri ces, g raft , and t heft ; t heft ,

gr aft , a nd hi gh pr ic es . I t is te rr ibl e. Whe n I wa s a gi rl we di d not t al k of s uc h t hi ngs. We ll , c om e on,

Connie.

Mrs. Dowsett

( Rising and glancing at Dowsett.) And we must be going, too.

( During the following scene, which takes place around Starkweather, Margaret is saying

good-bye to her departing guests.)

( Mrs. Starkweather and Connie make exit. )

( Dowsett and Mrs. Dowsett make exit. )

( The instant Mrs. Dowsett's remark puts a complete end to Mrs. Starkweather's speech,

Starkweather, without answer or noticing his wife, turns and interrogates Servant with a glance. )

Servant

M r. D ob le ma n h as a lr ea dy l ef t s om e t im e t o c om e h er e, s ir .

Starkweather

Show him in as soon as he comes.

Servant

Y e s, s ir .

( S er va n t m a kes exi t . )

( Margaret, Dolores Ortega, and Rutland are left in a group together, this time around tea-table,

w he re M ar ga re t s er ve s R ut la nd a no th er c up o f t ea . F ro m t im e t o t im e M ar ga re t g la nc es c ur io us ly

at the serious group of men across the stage. )

( Starkweather is thinking hard with knitted brows. Hubbard is likewise pondering. )

P a g e 5 2



Chalmers

I f I w er e c er ta in K no x ha d t hos e pa pe rs I w oul d t ake hi m by t he t hr oa t a nd s ha ke t he m o ut of hi m.

Starkweather

N o f oo li sh t al k l ik e t ha t, T om . T hi s i s a s er io us m at te r.

Hubbard

B ut K no x h as n o m on ey . A S tark weat her s t en og raph er com es h ig h.

Starkweather

T he re i s m or e t ha n K no x b eh in d t hi s. ( Enter Dobleman, walking quickly and in a state of controlled

exci t em en t . )

Dobleman

( T o S t a r kw ea t h er . ) Y ou r ecei ved t hat t el eg ram, s ir ?

( Starkweather nods.) I g ot t he N ew Y or k o ff ice— Mart in aw —r ig ht alo ng aft er ward , b y l on g d is tance.

I t ho ug ht b es t t o f ol lo w a nd t el l y ou .

Starkweather

Wh at d id M ar ti naw s ay ?

Dobleman

T he f il es s ee m i n p er fe ct o rd er .

Starkweather

Thank God!

P a g e 5 3



( During the following speech of Dobleman, Rutland says good-bye to Margaret and Dolores

Ortega and makes exit. )

( Margaret and Dolores Ortega rise a minute afterward and go toward exit, throwing curious

glances at the men but not disturbing them. )

( Dolores Ortega makes exit. )

( Margaret pauses in doorway a moment, giving a final anxious glance at the men, and makes

exi t . )

Dobleman

B ut t he y a re n ot . T he s te no gr ap he r, M is s S ta nd is h, h as c on fe ss ed . F or a l on g t im e s he h as f ol lo we d t he

practice of taking two or three letters and documents at a time away from the office. Many have been photographed and returned. But the more important ones were retained and clever copies returned.

M ar ti na w s ay s t ha t M is s S ta nd is h h er se lf d oe s n ot k no w a nd c an no t t el l w hi ch o f t he o ne s s he r et ur ne d

are g en ui ne and w hi ch are cop ies.

Hubbard

K no x n ev er d id t hi s.

Starkweather

D id M ar ti naw s ay w ho m M is s S tand is h w as act in g f or ?

Dobleman

Gherst.

( The alarm on the three men's faces is patent.)

Starkweather

Gherst!

( Pauses to think. )

P a g e 5 4



Hubbard

The n it i s not s o gr ave a fte r a ll . A ye ll ow j our na l s ens at ion i s t he be st G he rs t c an ma ke of i t. And,

d ocum en ts o r n ot , t he v er y m ed iu m b y w hi ch i t i s m ad e p ub li c d is cr ed it s i t.

Starkweather

Tr us t G hers t f or m or e abi li ty t han t hat. H e w il l cer tain ly exp lo it t hem i n h is n ew sp ap er s, b ut n ot u nt il aft er

Kn ox ha s u se d t he m i n h is s pe ec h. O h, t he c un ni ng d og! N eve r c oul d he h ave c hos en a be tt er m ode a nd

m om en t t o s tr ik e at m e, at t he A dm in is tr at io n, at every th in g. T hat i s G hers t all o ver. P layi ng t o t he g al lery .

I nd uc in g K no x t o m ak e t hi s s pe ct ac ul ar e xp os ur e o n t he f lo or o f t he H ou se j us t a t t he c ri ti ca l t im e w he n

so many important bills are pending.

( T o D o bl e ma n .)

D id M ar ti na w g ive y ou a ny i de a o f t he n at ur e o f t he s to le n do cu me nt s?

Dobleman

( Referring to notes he has brought.) O f c ou rs e I d on 't k no w a nyt hi ng a bou t i t, bu t h e s pok e of t he

Goodyear letters—

( Starkweather betrays by his face the gravity of the information. )

t he C al edo ni an l ett ers , all t he B lack R id er cor res po nd en ce. H e m ent io ned, t oo , ( Referring to notes.)

t he A st on bu ry and G lu tz l et ters . A nd t here w er e o th er s, m an y o th er s, n ot d es ig nated.

Starkweather

This is terrible!

( Recollecting himself.)

T ha nk y ou , D ob le ma n. W il l y ou p le as e r et ur n t o t he h ou se a t o nc e. G et N ew Y or k a ga in , a nd f ul le st

d et ai ls . I 'l l f ol lo w y ou s ho rt ly . H av e y ou a m achi ne?

Dobleman

A t ax i, s ir .

Starkweather

P a g e 5 5



A ll r ig ht , and b e car ef ul .

( Dobleman makes exit )

Chalmers

I do n' t k no w t he i mpo rt of a ll t he se l et te rs , bu t I c an gu es s, a nd i t d oe s s ee m s er io us .

Starkweather

( Furiously.) Se ri ous ! Le t me t ell you tha t t he re ha s bee n no e xposur e l ike t his i n t he hi st ory of the

cou nt ry . I t m eans h un dr ed s o f m il li on s o f d ol lars . I t m eans m or e— th e l os s o f p ow er . A nd s ti ll m or e, i tm ea ns t he m ob , t he g re at m as s o f t he c hi ld -m in de d p eo pl e r is in g u p a nd d es tr oy in g a ll t ha t I h av e l ab or ed

t o do f or t he m. O h, t he f ool s! T he f ool s!

Hubbard

( S ha ki ng h is h ea d o mi no us ly .) T he re i s n o t el li ng w ha t m ay h ap pe n i f K no x m ak es t ha t s pe ec h a nd

delivers the proofs.

Chalmers

I t i s u nf or tu na te . T he p eo pl e a re r es tl es s a nd e xc it ed a s i t i s. T he y a re b ei ng c on st an tl y p ro dd ed o n b y

t he m ou th in gs o f t he r ad ical p ress , o f t he m uck- raki ng m ag azin es and o f t he d em ag og ues. T he p eo pl e are

l ik e p ow der await in g t he s park .

Starkweather

This man Knox is no f ool, if he is a dr eamer . He i s a shr ewd kna ve . He i s a fighte r. He comes f rom the

W es t— th e o ld p io ne er s to ck . H is f at he r d ro ve a n o x- te am a cr os s t he P la in s t o O re go n. H e k no ws h ow

t o p la y h is c ar ds , a nd n ev er c ou ld c ir cu ms ta nc es h av e p la ce d m or e a dv an ta ge ou s c ar ds i n h is h an ds .

Chalmers

A nd n ot hi ng l ik e t hi s h as ever t ou ch ed y ou b ef or e.

P a g e 5 6



Starkweather

I h av e a lw ay s s to od a bo ve t he m uc k a nd r uc k— cl ea r a nd c le an a nd u na ss ai la bl e. B ut t hi s— th is i s t oo

m uc h! I t i s t he s pa rk . T he re i s n o f or ec as ti ng w ha t i t m ay d ev el op i nt o.

Chalmers

A political turnover.

Starkweather

( Nodding savagely.) A n ew p ar ty , a p ar ty o f d em ag og ue s, i n p ow er . G ov er nm en t o wn er sh ip o f t he

r ai lw ay s and t el eg raph s. A g radu at ed i ncom e t ax t hat w il l m ean n o l es s t han t he con fi scat io n o f p ri vatecapital.

Chalmers

A nd all t hat m as s o f r ad ical l eg is lati on —t he C hi ld L ab or B il l, t he n ew E mp lo yers ' L iabi li ty A ct , t he

g ov er nm en t con tr ol o f t he A lask an coal f ield s, t hat i nt er ference w it h M ex ico. A nd t hat b ig p ow er

c or po ra ti on y ou h av e w or ke d s o h ar d t o f or m.

Starkweather

I t m us t n ot b e. I t i s a n u nt hi nk ab le c al am it y. I t m ea ns t ha t t he ve ry p ro ce ss o f c api ta li st ic d ev el opm en t i s

h in de re d, s to ppe d. I t m ea ns a s et ba ck o f t en y ea rs i n t he p ro ce ss . I t m ea ns w or k, e nd le ss w or k, t o

o vercom e t he s et back . I t m eans n ot alo ne t he p as sage o f all t hi s r ad ical l eg is lati on w it h t he con sequ en t

d is ad va nt ag es , bu t i t m ea ns t he f in ge rs o f t he m ob c lut ch in g a t o ur g ri p of c on tr ol . I t m ea ns a na rc hy . I t

m ea ns r ui n a nd m is er y f or a ll t he b li nd f oo ls a nd l ed -c at tl e o f t he m as s w ho w il l s tr ik e a t t he v er y s ou rc es

o f t heir o wn exi st en ce and com fo rt .

( To mm y e nt er s f ro m l ef t, e vi de nt ly p lay ing a ga me , i n t he c our se of w hi ch he i s r unni ng a wa y. B y

hi s ac ti ons h e s ho ws t hat h e i s pu rs ue d. He i nt en ds t o c ros s s tag e, b ut i s s top pe d b y s ig ht of t he

m e n. U n ob s er v e d by t h e m, h e r e tr a ce s h i s s t e ps a n d cr a wl s u n de r t h e t ea - ta b le .)

Chalmers

W it ho ut d ou bt , K no x i s i n p os se ss io n o f t he l et te rs r ig ht n ow .

Starkweather

P a g e 5 7



T he re i s but on e t hi ng t o do, a nd t ha t i s— ge t t he m ba ck.

( He looks questioningly at the two men.)

( Margaret enters from left, in flushed and happy pursuit of Tommy—for it is a game she is

playing with him. She startles at sight of the three men, whom she first sees as she gains the sideo f t he t ea -t ab le , w he re s he p au se s a br up tl y, r es ti ng o ne h an d o n t he t ab le .)

Hubbard

I'll undertake it.

Starkweather

T he re i s l it tl e t im e t o w as te . I n t we nt y ho ur s f ro m no w h e w il l b e o n t he f lo or m ak ing h is s pe ec h. T ry

m il d m easu res f ir st . O ff er h im i nd ucem en ts —any i nd ucem en t. I emp ow er y ou t o act f or m e. Y ou w il l f in d

he ha s a pr ic e.

Hubbard

A nd i f n ot ?

Starkweather

The n you mus t ge t t he m a t a ny c os t.

Hubbard

( T en t a t i vel y.) Y ou m ea n— ?

Starkweather

I m ea n j us t t ha t. B ut n o m at te r w ha t h ap pe ns , I m us t n ev er b e b ro ug ht i n. D o y ou u nd er st an d?

Hubbard

P a g e 5 8



Thoroughly.

Margaret

( Acting her part, and speaking with assumed gayety. ) W ha t a re y ou t hr ee c on sp ir in g a bo ut ? ( All three men are startled. )

Chalmers

W e a re a rr an gi ng t o b oo st p ri ce s a l it tl e h ig he r.

Hubbard

A nd s o b e a bl e t o a cc um ul at e m or e m ot or ca rs .

Starkweather

( Taking no notice of Margaret and starting toward exit to rear. ) I m us t be g oi ng. H ubba rd, you

ha ve you r wo rk c ut out f or y ou. Tom , I wa nt yo u t o c om e wi th m e.

Chalmers

( As the three men move toward exit. ) H om e?

Starkweather

Y es , we ha ve muc h t o do.

Chalmers

T hen I 'l l d ress f ir st and f ol lo w y ou .

( T u rn i ng t o M a rg ar e t .) Pick me up on the way to that dinner.

( Margaret nods. Starkweather makes exit without speaking. Hub-bard says good-bye to

Margaret and makes exit, followed by Chalmers. )

P a g e 5 9



( Margaret remains standing, one hand resting on table, the other hand to her breast. She is

thinking, establishing in her mind the connection between Knox and what she has overheard, and

i n p ro ce ss o f r ea ch in g t he c on cl us io n t ha t K no x i s i n d an ge r.)

( Tommy, having vainly waited to be discovered, crawls out dispiritedly, and takes Margaret by

t he h an d. S he s ca rc el y n ot ic es h im .)

Tommy

( Dolefully.) Don' t you want to play a ny more? ( Margaret does not reply). I was a good Indian.

Margaret

( S ud de nl y b ec om in g a wa re o f h er se lf a nd b re ak in g d ow n. S he s to op s a nd c la sp s T om my i n h er

arms, crying out, in anxiety and fear, and from love of her boy. ) Oh, Tommy! Tommy!

Curtain

ACT II Scene. Sitting room of Howard Knox—dimly lighted. Time, eight o'clock in the evening.

En tr anc e f rom ha ll way a t s id e t o r ight . A t r ig ht r ear i s l oc ke d d oor l ea di ng t o a r oom wh ic h de es

not belong to Knox's suite. At rear center is fireplace. At left rear door leading to Knox's

b ed ro om . A t l ef t a re w in do ws f ac in g o n s tr ee t. N ea r t he se w in do ws i s a l ar ge l ib ra ry t ab le l it te re d

with books, magazines, government reports, etc. To the right of center, midway forward, is a

Hat-top desk. On it is a desk telephone. Behind it, so that one sitting in it faces audience, is

r ev ol vi ng d es k -c ha ir . A ls o, o n d es k, a re l et t er s i n t he i r e nv el op es , e tc . A ga in st c le ar w al l -s pa ce s

a re b oo kc as es a nd f il in g c ab in et s. O f s pe ci al n ot e i s b oo kc as e, c on ta in in g l ar ge b oo ks , a nd n ot more than five feet high, which is against wall between fireplace and door to bedroom.

C ur ta in d is c lo se s e mp ty s t ag e.

( After a slight interval, door at right rear is shaken and agitated. After slight further interval,

d oo r i s o pe ne d i nw ar d u po n s ta ge . A M an 's h ea d a pp ea rs , c au ti ou sl y l oo ki ng a ro un d ).

( Man enters, turns up lights, is followed by second Man. Both are clad decently, in knock-about

b us in es s s ui ts a nd s ta rc he d c ol la rs , c uf fs , e tc . T he y a re t ri m, d ef t, d et er mi ne d m en).

( Following upon them, enters Hubbard. He looks about room, crosses to desk, picks up a letter,a nd r ea ds a dd re ss).

P a g e 6 0



Hubbard

Th is i s K no x' s r oo m all r ig ht

F ir st M an

Tr us t u s f or t ha t.

S ec on d M an

W e w er e l uc ky t he g uy w it h t he w hi sk er s m ov ed o ut o f t ha t o th er r oo m o nl y t hi s a ft er no on .

F ir st M an

H is ke y ha dn' t c om e d own ye t wh en I e nga ge d i t.

Hubbard

W el l, ge t t o w or k. T ha t mu st b e hi s b ed roo m.

( He goes to door of bedroom, opens, and peers in, turns on electric lights of bedroom, turns them

out, then turns back to men. ) You know wha t i t i s—a bunc h of doc um ent s a nd le tt er s. I f we f ind i t

t he re i s a c le an f iv e h un dr ed e ac h f or y ou , i n a dd it io n t o y ou r r eg ul ar p ay .

( W hi le t he c on ve rs at io n g oe s o n, a ll t hr ee e ng ag e i n a c ar ef ul s ea rc h o f d es k, d ra we rs , f il in g

cabinets, bookcases, etc. )

S ec on d M an

O ld S tar kw eat her m us t w an t t hem b ad .

Hubbard

S h- h. D on 't e ve n b re at he h is n am e.

P a g e 6 1



S e co nd M an

H is n ib s i s d am ned exclu si ve, ain 't h e?

F ir st M an

I 've n ev er g ot a d ir ec t i ns tr uc ti on f ro m h im , a nd I 'v e w or ke d f or h im l ong er t ha n y ou .

S ec on d M an

Y es , a nd y ou wor ke d f or h im f or ove r t wo ye ar s be for e you kn ew wh o w as hi ri ng yo u.

Hubbard

( T o F ir st M an .) You'd better go out in the hall a nd keep a watch for Knox. He may come in any ti me.

( First Man produces skeleton keys and goes to door at right. The first key opens it. Leaving door

slightly ajar, he makes exit. )

( Desk telephone rings and startles Hubbard.)

S ec on d M an

( G r in ni n g a t H u bb ar d 's a l ar m .)

I t' s o nl y t he p ho ne .

Hubbard

( Proceeding with search.) I s up po se y ou 'v e d on e l ot s o f w or k f or S ta rk —

S ec on d M an

( Mimicking him.) S h- h. D on 't b re at he h is n am e.

( T e le p ho ne r i ng s a ga i n a nd a g ai n , i n si s te n tl y , u r ge n tl y .)

P a g e 6 2



Hubbard

( Disguising his voice.) Hello—Yes.

( S ho ws s ur pr is e , s ee ms t o r e co gn iz e t he v oi ce , a nd s mi le s k no wi ng ly .)

N o, t hi s i s n ot K no x. S om e m is ta ke . W ro ng n um be r—

( Hanging up receiver and speaking to Second Man in natural voice.) S he d id ha ng up qui ck.

S ec on d M an

Y ou s eemed t o r ecog ni ze h er .

Hubbard

N o, I on ly t hou ght I di d.

( A pause, while they search.)

S ec on d M an

I 've ne ve r s poke n a w or d t o hi s ni bs i n m y l if e. An d I 've dr aw n hi s pa y f or ye ar s t oo.

Hubbard

W ha t of i t?

S ec on d M an

( Complainingly. ) He don' t know I e xi st .

Hubbard

( Pulling open a desk drawer and examining contents.)

T he p ay 's all r ig ht , i sn 't i t?

P a g e 6 3



S e co nd M an

It sure is, but I guess I earn every cent of it. ( First Man enters through door at right He moves

h ur ri ed ly b ut c au ti ou sl y. S hu ts d oo r b eh in d h im , b ut n eg le ct s t o r e- lo ck i t.)

F ir st M an

S om eb od y j us t l ef t t he elevato r and i s com in g d ow n t he h al l.

( Hubbard, First Man, and Second Man, all start for door at right rear.)

( First Man pauses and looks around to see if room is in order. Sees desk-drawer which Hubbard

h as n eg le ct ed t o c lo se , g oe s b ac k a nd c lo se s i t.)

( Hubbard and Second Man make exit. )

( First Man turns lights low and makes exit. )

( S ou nd o f l oc ki ng d oo r i s h ea rd .)

( A pause.)

( A knocking at door to right. A pause. Then door opens and Gilford enters. He turns up lights,

strolls about room, looks at watch, and sits down in chair near right of fireplace. ) ( Sound of key

in lock of door to right. ) ( Door opens, and Knox enters, key in hand. Sees Gifford.)

Knox

( Advancing to meet him at fireplace and shaking hands.) How did you get in?

Gifford

I l et m ys el f i n. T he d oo r w as u nl oc ke d.

Knox

I m us t h av e f or go tt en i t.

Gifford

P a g e 6 4



( Drawing bundle of documents from inside breast pocket and handing them to Knox.) W el l, t he re

t hey are.

Knox

( Fingering them curiously.) Y ou a re s ur e t he y a re or igi na ls ? ( Gifford nods.)

I c an' t t ak e a ny c ha nc es , you kn ow . I f Ghe rs t c ha nge d hi s m ind a ft er I g ave m y s pe ec h a nd r ef us ed t o

show the originals—such things have happened.

Gifford

That 's wha t I tol d hi m. He wa s f irm on gi vi ng dupl ica tes , a nd for awhi le i t looked a s if my t ri p to Ne wY or k w as w as te d. B ut I s tu ck t o m y g un s. I t w as o ri gi na ls o r n ot hi ng w it h y ou, I s ai d, a nd h e f in al ly g av e

in.

Knox

( Holding up documents.) I c an' t t el l you w hat t he y me an t o m e, nor how gr at eful —

Gifford

( Interrupting.) T ha t' s a ll r ig ht . D on 't m ent io n i t. G he rs t i s w il d f or t he c ha nc e. I t w il l d o o rg an iz ed l ab or

a h ea p of go od . A nd yo u a re a bl e t o s ay yo ur o wn s ay a t t he s am e t ime . H ow' s t ha t c om pe ns at io n a ct

coming on?

Knox

( Wearily.) T he s am e o ld s to ry . I t w il l n ev er c om e b ef or e t he H ou se . I t i s d yi ng i n c om mi tt ee . W ha t c an

y ou exp ect o f t he C om mi tt ee o f J ud iciary ?— co mp os ed as i t i s o f ex- rail ro ad j ud ges and ex- rai lr oad

lawyers.

Gifford

T he r ai lr oad b ro th er ho od s are k een o n g et ti ng t hat b il l t hr ou gh .

Knox

P a g e 6 5



W el l, t hey w on 't , and t hey n ev er w il l u nt il t hey l earn t o v ot e r ig ht . W hen w il l y ou r l ab or l eaders q ui t t he

s tr ik e a nd b oy co tt a nd l ea d y ou r m en t o p ol it ic al a ct io n?

Gifford

( Holding out hand.) W el l, s o l ong. I 've got t o t rot , and I ha ve n' t ti me t o t ell you why I t hi nk poli tic al

action would destroy the trade union movement.

( Knox tosses documents on top of low bookcase between fireplace and bedroom door, and starts

to shake hands.) Y ou 'r e d am n c ar el es s w it h t ho se p ap er s. Y ou w ou ld n' t b e i f y ou k ne w h ow m uc h

G hers t p ai d f or t hem.

Gifford

Yo u d on 't a pp re ci at e t ha t o th er c ro wd . I t s to ps a t n ot hi ng .

Knox

I won 't t ake my e ye s of f of t he m. A nd I 'l l t ake th em t o be d wi th me t o- ni gh t f or s af et y. Be si de s, t he re i s

n o da nge r. No bo dy bu t y ou kn ow s I ha ve t he m.

Gifford

( Proceeding toward door to right.) I 'd h at e t o b e i n S ta rk we at he r' s o ff ic e w he n h e d is co ve rs w ha t' s

h ap pe ne d. T he re 'l l b e s om e b ad h al f h ou rs f or s om eb od y. ( Pausing at door.) G iv e t hem hell

t o- mor ro w, go od a nd pl ent y. I 'm goi ng t o be i n a ga ll er y. So l on g. ( Makes exit. )

( Knox crosses to windows, which he opens, returns to desk, seats himself in revolving chair, and

b e gi ns o pe n in g h i s c or r es p on de nc e .) ( A knock at door to right. )

Knox

C om e i n.

( Hubbard enters, advances to desk, but does not shake hands. They greet each other, and

Hubbard sits down in chair to left of desk. ) ( Knox, still holding an open letter, re-volves chair so

as to face his visitor. He waits for Hubbabd to speak. )

P a g e 6 6



Hubbard

The re is no use beating about t he bus h with a man like you. I know t hat. You ar e direc t, and s o am I.

Y ou k no w m y p os it io n w el l e no ug h t o b e a ss ur ed t ha t I a m e mp ow er ed t o t re at w it h y ou .

Knox

O h, ye s; I know.

Hubbard

W ha t w e w an t i s t o h av e y ou f ri en dl y.

Knox

T hat i s eas y eno ug h. W hen t he I nt er es ts b ecom e u pr ig ht and h on es t—

Hubbard

Sa ve t ha t f or y ou r s pe ec h. W e a re t al ki ng p ri va te ly . W e c an m ak e i t w el l w or th y ou r w hi le —

Knox

( Angrily.) If you t hink you c an bri be me —

Hubbard

( Suavely. ) No t a t a ll . Not th e s li ght es t s us pic io n of i t. The poi nt i s t hi s. Y ou a re a c ongr es sm an. A

con gr es sm an 's career d ep en ds o n h is m em bers hi p i n g oo d com mi tt ees. A t t he p resent y ou are b ur ied i n

t he d ea d C om mi tt ee o n C oi na ge , W ei gh ts , a nd M ea su re s. I f y ou s ay t he w or d y ou c an b e a pp oi nt ed t o

the livest committee—

Knox

( Interrupting.) Y ou h av e t hese app oi nt ment s t o g iv e?

P a g e 6 7



Hubbard

Sur el y. E ls e wh y s hou ld I be he re ? I t c an be ma na ge d.

Knox

( Meditatively. ) I t ho ug ht o ur g ov er nm en t w as r ot te n e no ug h, b ut I n ev er d re am ed t ha t H ou se

app oi nt ment s w er e h aw ked aro un d b y t he I nt er es ts i n t hi s f as hi on .

Hubbard

Y ou h av e n ot g iv en y ou r ans wer.

Knox

Y ou s ho ul d h av e k no wn m y ans wer i n adv an ce.

Hubbard

T he re i s a n a lt er na ti ve . Y ou a re i nt er es te d i n s oc ia l p ro bl em s. Y ou a re a s tu de nt o f s oc io lo gy . T ho se

w ho m I r ep re se nt a re g en ui ne ly i nt er es te d i n y ou . W e a re p re pa re d, s o t ha t y ou m ay p ur su e y ou r

r es ea rc he s m or e d ee pl y— we a re p re pa re d t o s en d y ou t o E ur op e. T he re , i n t ha t v as t s oc io lo gi ca l

l ab or at or y, f ar f ro m t he j an gl in g s tr if e o f p ol it ics, y ou w il l h av e every o pp or tu ni ty t o s tu dy . W e are

prepared to send you for a period of ten years. You will receive ten thousand dollars a year, and, in

a dd it io n, t he d ay y ou r s te am er l ea ve s N ew Y or k, y ou w il l r ec ei ve a l um p s um o f o ne h un dr ed t ho us an d

dollars.

Knox

And t his i s the wa y me n a re bought

Hubbard

I t i s p ur el y an edu cati on al m at ter.

Knox

P a g e 6 8



Now i t i s you w ho a re b ea ti ng a bo ut t he b us h.

Hubbard

( Decisively.) V er y w el l t he n. W ha t pr ic e do y ou s et on y our se lf ?

Knox

Y ou w an t m e t o q ui t— to l ea ve p ol it ic s, e ve ry th in g? Y ou w ant t o b uy m y s ou l?

Hubbard

M or e t ha n t ha t. W e w an t t o b uy t ho se d oc um en ts a nd l et te rs .

Knox

( S h ow i ng a s l i gh t s t ar t .) W hat d ocum en ts and l ett ers ?

Hubbard

Y ou a re be at ing a ro und t he bu sh i n t ur n. The re i s n o ne ed f or a n hone st m an t o li e e ve n—

Knox

( Interrupting.) To you.

Hubbard

( Smiling.) E ve n t o m e. I w at ch ed y ou c lo se ly w he n I m en ti on ed t he l et te rs . Y ou g av e y ou rs el f a wa y.

Y ou k new I m eant t he l et ters s to len b y G hers t f ro m S tark weat her' s p ri vate f il es —t he l et ters y ou i nt en ded

using to-morrow.

Knox

P a g e 6 9



Intend using to-morrow.

Hubbard

P re ci se ly. I t i s t he s ame th ing. Wha t i s t he pr ic e? Se t i t.

Knox

I h ave not hi ng t o s el l. I a m not on t he ma rke t.

Hubbard

O ne m om en t. D on 't m ak e u p y ou r m in d h as ti ly . Y ou d on 't k no w w it h w ho m y ou h av e t o d ea l. T ho se

l et te rs w il l not a pp ea r i n y our s pe ec h t o- mor ro w. Ta ke t ha t f rom m e. I t wo ul d be f ar wi se r t o s el l f or a

f or tun e t ha n t o g et n ot hi ng f or t he m a nd a t t he s am e t im e no t u se t he m.

( A knock at door to right startles Hubbard.)

Knox

( Intending to say, "Come in" ) C om e—

Hubbard

( Interrupting.) H us h. D on 't . I c an not b e s ee n h er e.

Knox

( Laughing.) Y ou f ea r t he c on ta mi na ti on o f m y c om pa ny . ( The knock is repeated. )

Hubbard

( In alarm, rising, as Knox purses his lips to bid them enter.) Don' t le t anybody in. I don' t want to be

s ee n h er e— wi th y ou . B es ide s, m y p re se nc e w il l n ot p ut y ou i n a g oo d l ig ht .

P a g e 7 0



Knox

( Also rising, starting toward door.) What I do is always open to the world. I see no one whom I

s houl d no t p er mi t t he wo rl d t o kno w I s aw.

( Knox starts toward door to open it. ) ( Hubbabd, looking about him in alarm, flees across stage

a nd i nt o b ed ro om , c lo si ng t he d oo r. D ur in g a ll t he f ol lo wi ng s ce ne , H ub ba rd , f ro m t im e t o t im e,op en s do or , an d pe er s o ut at w ha t i s go in g on .)

Knox

( O pe ni n g d oo r, a nd r e co i li n g.) M arg ar et! M r s. C hal mer s!

( Margaret enters, followed by Tommy and Linda. Margaret is in evening dress covered by

evening cloak.)

Margaret

( Shaking hands with Knox. ) Forgi ve me, but I ha d to see you. I c ould not get you on the te lephone. I

c al le d a nd c al le d, a nd t he be st I c oul d do w as t o g et t he w ron g n um be r.

Knox

( Recovering from his astonishment.) Yes. I am glad.

( Seeing Tommy.) Hello, Tommy.

( Knox holds out his hand, and Tommy shakes it gravely. Linda stays in back-ground. Her face is

troubled.)

Tommy

H ow do you do?

Margaret

The re w as no ot he r wa y, a nd i t wa s s o ne ce ss ar y f or m e t o wa rn y ou. I br ough t T om my a nd L ind a

alo ng t o chapero n m e.

( S he l oo ks c ur io us ly a ro un d r oo m, s pe ci al ly i nd ic at in g f i li ng c ab in et s a nd t he s ta ck s o f

government reports on table. ) Y ou r l ab or ato ry .

P a g e 7 1



Knox

Ah , i f I w er e o nl y a s g re at a s oc io log ic al w iz ar d a s E di so n i s a w iz ar d i n p hy si ca l s ci en ce s.

Margaret

B ut y ou a re . Y ou l ab or m or e m ig ht il y t ha n y ou a dm it —o r d ar e t o t hi nk . O h, I k no w y ou —b et te r t ha n

you do yourself.

Tommy

Do y ou r ea d a ll t ho se b oo ks ?

Knox

Y es , I a m s ti ll goin g t o s chool a nd s tudyi ng ha rd. W ha t a re you goi ng t o s tudy to be whe n you gr ow up?

( Tommy meditates but does not answer. )

P res id en t o f t hes e g reat U ni ted S tat es ?

Tommy

( S ha ki ng h is h ea d.) F at he r s ay s t he P re si de nt d oe sn 't a mo un t t o m uc h.

Knox

No t a L in co ln ?

( Tommy is in doubt. )

Margaret

B ut d on 't y ou r em em be r w ha t a g re at g oo d m an L in co ln w as ? Y ou r em em be r I t ol d y ou ?

P a g e 7 2



Tommy

( S ha ki ng h is h ea d s lo wl y.) But I don' t w ant t o be ki ll ed.— I' ll t ell you wha t!

Knox

What?

Tommy

I w ant t o be a s en at or l ike f at he r. H e m ake s t he m da nc e.

( Margaret is shocked, and Knox's eyes twinkle.)

Knox

Mak es w ho m d ance?

Tommy

( Puzzled.) I don' t know.

( W i th a dd e d c o nf i de n ce .) B ut he ma ke s t he m da nc e j us t t he s am e.

( Margaret makes a signal to Linda to take Tommy across the room.)

Linda

( Starting to cross stage to left. ) C om e, Tom my. Le t us l ook out of t he wi ndow.

Tommy

I 'd r at he r t al k w it h M r. K no x.

Margaret

P a g e 7 3



Pl ea se d o, T om my . M am ma w an ts t o t al k t o M r. K nox .

( To mmy y ie ld s, an d c ro ss es t o r ig ht , wh er e he j oi ns Li nda i n l ook ing o ut o f t he w in do w.)

Margaret

You mi ght as k me t o ta ke a se at

Knox

Oh! I be g pa rdon.

( He draws up a comfortable chair for her, and seats himself in desk-chair, facing her.)

Margaret

I have only a few minutes. Tom is at father's, and I am to pick him up there and go on to that dinner,

aft er I 'v e t ak en T om my h om e.

Knox

B u t y ou r m ai d?

Margaret

L in da ? W il d ho rs es c ou ld no t d ra g f ro m h er a nyt hi ng t ha t s he t ho ug ht w ou ld h ar m m e. S o i nt en se i s h er

f ide lit y tha t it al mos t s ha me s m e. I do not de se rve i t. Bu t t his is not wha t I c am e t o you a bout .

( S he s pe ak s t he f ol lo wi ng h ur ri ed ly .) A ft er y ou l ef t t hi s aft er no on , s om et hi ng h ap pened. F at her

r ecei ved a t el eg ram. I t s eemed m os t i mp or tant . H is s ecretary f ol lo wed u po n t he h eels o f t he t el eg ram.

F at he r c al le d T om a nd M r. H ub ba rd t o h im a nd t he y h el d a c on fe re nc e. I t hi nk t he y h av e d is co ve re d t he

l os s o f t he d oc um en ts , a nd t ha t t he y b el ie ve yo u h av e t he m. I d id n ot h ea r t he m m en ti on y our n am e, y et I

am abs ol ut el y cer tain t hat t hey w er e t al ki ng abo ut y ou . A ls o, I cou ld t el l f ro m f at her' s f ace t hat s om et hi ng

w as t er ri bl y w ro ng . O h, b e c ar ef ul ! D o b e c ar ef ul !

Knox

Th er e i s n o da ng er , I a ss ur e y ou .

P a g e 7 4



Margaret

B ut yo u d o n ot k no w t he m. I t el l y ou yo u d o n ot k no w t he m. T he y w il l s to p a t no th in g— at n ot hi ng .

F at he r b el ie ve s h e i s r ig ht i n a ll t ha t h e d oe s.

Knox

I k no w. T ha t i s w ha t m ak es h im s o f or mi da bl e. H e h as a n e th ic al s an ct io n.

Margaret

( Nodding.) I t i s hi s r el igi on.

Knox

An d, l ik e any r el ig io n w it h a n ar ro w- mi nd ed m an , i t r un s t o m an ia.

Margaret

He b el ieves t hat civ il izat io n r es ts o n h im , and t hat i t i s h is s acred d ut y t o p reserv e civ il izat io n.

Knox

I know. I know.

Margaret

B ut you? But you ? You a re i n da nge r.

Knox

N o; I s ha ll r em ai n i n t o- ni gh t. T o- mo rr ow , i n t he b ro ad l ig ht o f m id da y, I s ha ll p ro ce ed t o t he H ou se a nd

give my speech.

P a g e 7 5



Margaret

( Wildly.) O h, i f any th in g s ho ul d h ap pen t o y ou !

Knox

( Looking at her searchingly.) You do ca re?

( Margaret nods, with eyes suddenly downcast.) F or H ow ar d K no x, t he r ef or me r? O r f or m e, t he

man?

Margaret

( Impulsively.) O h, w hy m us t a w om an f or ev er r em ai n q ui et ? W hy s ho ul d I n ot t el l yo u w ha t y ou

a lr ea dy k no w? —w ha t y ou m us t a lr ea dy k no w? I d o c ar e f or y ou —f or m an a nd r ef or me r, b ot h— fo r—

( S he i s a fl am e, b ut a br up tl y c ea se s a nd g la nc es a cr os s a t T om my b y t he w in do w, w ar ne d

i n s t i nct i vel y t h at s h e m u s t n ot g i ve w a y t o l o ve i n h er ch i l d 's p r es en ce.)

L in da! W il l y ou t ak e T om my d ow n t o t he m achi ne—

Knox

( Alarmed, interrupting, in low voice.) W ha t a re y ou doi ng?

Margaret

( Hushing Knox with a gesture. ) I 'l l f ol lo w y ou r ig ht d ow n.

( Linda and Tommy proceed across stage toward right exit. )

Tommy

( Pausing before Knox and gravely extending his hand.) G oo d e ve ni ng , M r. K no x.

Knox

( Awkwardly. ) G ood e ve ni ng , T om my . Y ou t ak e m y w or d f or i t, a nd l oo k u p t hi s L in co ln qu es ti on .

P a g e 7 6



Tommy

I s ha ll . I 'l l a sk f at he r a bo ut i t.

Margaret

( Significantly.) Y ou a tt en d t o t ha t, L in da . N ob od y m us t k no w— th is .

( Linda nods.)

( Linda and Tommy make exit to right. )

( Margaret, seated, slips back her cloak, revealing herself in evening gown, and looks at Knox

sumptuously, lovingly, and willingly.)

Knox

( Inflamed by the sight of her. ) D on 't ! D on 't ! I c an 't s ta nd i t. S uc h s ig ht o f y ou f il ls m e w it h m ad ne ss .

( Margaret laughs low and triumphantly.) I don't want to think of you a s a woman. I must not. Allow

me.

( He rises and attempts to draw cloak about her shoulders, but she resists him. Yet does he

succeed in partly cloaking her.)

Margaret

I want you to see me as a woman. I want you to think of me as a woman. I want you mad for me.

( She holds out her arms, the cloak slipping from them. )

I w an t— don 't y ou s ee w ha t I w an t? ——

( Knox sinks back in chair, attempting to shield his eyes with his hand.)

( S li pp in g c lo ak f ul ly b ac k f ro m h er a ga in .)

L ook a t me .

Knox

P a g e 7 7



( Looking, coming to his feet, and approaching her, with extended arms, murmuring softly. )

Margaret. Margaret.

( Margaret rises to meet him, and they are clasped in each other's arms.)

( Hubbard, peering forth through door, looks at them with an expression of cynical amusement. His gaze wan-ders, and he sees the documents, within arm's reach, on top of bookcase. He picks

up documents, holds them to the light of stage to glance at them, and, with triumphant expression

o n f ac e, d is ap pe ar s a nd c lo se s d oo r.)

Knox

( Holding Margaret from him and looking at her.) I l ove you. I do love you. But I had re sol ved neve r

t o s pe ak i t, n eve r t o l et yo u k now .

Margaret

Si ll y ma n. I ha ve known l ong t ha t you l oved m e. You ha ve t old me s o of te n a nd in s o ma ny wa ys. You

cou ld n ot l oo k at m e w it ho ut t el li ng m e.

Knox

Y ou s aw ?

Margaret

H ow c ou ld I he lp s ee ing? I w as a wo ma n. O nl y, wi th you r voi ce yo u ne ve r s po ke a wo rd. Si t do wn ,

t he re , w he re I ma y l oo k a t you, a nd l et me t el l y ou. I s ha ll d o t he s pe ak ing n ow.

( S he u rg es h im b ac k i nt o t he d es k- ch ai r, a nd r es ea ts h er se lf .) ( She makes as if to pull the cloak

a r ou nd ' h er .) Sha ll I ?

Knox

( Vehemently. ) No, no! As you are. Let me fea st my eye s upon you who a re mine . I mus t be dreaming.

Margaret

P a g e 7 8



( W it h a l ow , s at is fi ed l au gh o f t ri um ph .) Oh, you me n! As of ol d, a nd a s for eve r, you mus t be

w oo ed t hr ou gh y ou r s en se s. D id I d is pl ay t he w is do m o f a n H yp at ia , t he s ci en ce o f a M ad am C ur ie , y et

w oul d yo u k ee p y ou r i ro n c ont rol , t hr ot tl ing t he v oi ce of y ou r he ar t w it h s il en ce . B ut l et m e f or a m om en t

be Lilith, for a moment lay aside this garment constructed for the purpose of keeping out the chill of night,

a nd o n t he i ns ta nt y ou a re f ir e a nd a fl am e, a ll vo lu bl e w it h l ove 's d es ir e.

Knox

( Protestingly.) Ma rg ar et ! I t i s not f ai r!

Margaret

I love you—and—you?

Knox

( Fervently and reverently. ) I love you.

Margaret

Th en l is te n. I ha ve t ol d you of m y gi rl hood a nd my dr ea ms . I wa nt ed t o do wh at you a re so nobl y d oin g.

A nd I d id n ot hi ng . I c ou ld d o no th in g. I w as n ot p er mi tt ed . A lw ay s w as I c om pe ll ed t o h ol d m ys el f i n

c he ck. I t wa s t o do w ha t yo u a re d oi ng, t ha t I m ar ri ed . An d t ha t, t oo, f ai le d m e. M y h us ba nd b ec am e a

h en ch ma n o f t he I nt er es ts , m y o wn f at he r' s t oo l f or t he p er pe tu at io n o f t he e vi ls a ga in st w hi ch I d es ir ed t o

fight.

( S he p au s es .) I t ha s be en a l ong fi ght , a nd I ha ve be en ve ry t ir ed, f or a lwa ys di d I c onf ront f ai lur e. M y

h us ba nd —I d id n ot l ov e h im . I n ev er l ov ed h im . I s ol d m ys el f f or t he C au se , a nd t he c au se p ro fi te d

nothing. ( Pause.) O ft en , I ha ve l os t f ai th— fa it h i n e ve ryt hi ng , i n G od a nd m an, i n t he ho pe o f a ny

r ig ht eo us ness ever p revail in g. B ut again and again , b y w hat y ou are d oi ng , h av e y ou awakened m e. Ic am e t o- ni gh t w it h n o t ho ug ht o f s el f. I c am e t o w ar n y ou , t o h el p t he g oo d w or k o n. I r em ai ne d— th an k

G od !— I r em ai ne d t o l ov e y ou —a nd t o b e l ov ed b y y ou . I s ud de nl y f ou nd m ys el f, l oo ki ng a t y ou , v er y

w eary . I w an ted y ou —y ou , m or e t han any th in g i n t he w or ld .

( Sh e h ol ds o ut he r a rms .) Come t o me . I wa nt you—now.

( Knox, in an ecstacy, comes to her. He seats himself on the broad arm of the chair and is drawn

i nt o h er a rm s.)

Knox

P a g e 7 9



B ut I ha ve be en t ir ed a t t ime s. I w as v er y t ir ed t o- ni ght —a nd you c ame . A nd now I a m gl ad, on ly gl ad .

Margaret

I ha ve be en w ant on t o- ni ght . I c onf es s i t. I a m pr oud of i t. B ut i t wa s no t—pr of es si on al . I t w as t he f ir stt ime i n my l if e. Al mos t d o I r egr et —a lmo st do I r egr et t ha t I di d n ot d o i t s oone r— it ha s b ee n c rowne d

w it h s uc h s uc ce ss . Y ou h av e h el d m e i n y ou r a rm s— yo ur a rm s. O h, y ou w il l n ev er k no w w ha t t ha t f ir st

embra ce meant to me. I a m not a c lod. I am not iron nor st one . I am a woman—a warm, br eathing

woman—.

( Sh e r is es , a nd dr aw s h im t o h is f ee t.)

Kiss me, my dea r lord and lover . Kis s me. ( T h ey e m br a ce .)

Knox

( Passionately, looking about him wildly as if in search of something.) What shall we do?

( S ud de nl y r el ea si ng h er a nd s in ki ng b ac k i n h is o wn c ha ir a lm os t i n c ol la ps e.) No. It cannot be. It

i s i mp os si bl e. O h, w hy c ou ld w e n ot h av e m et l on g a go ? W e w ou ld h av e w or ke d t og et he r. W ha t a

com radesh ip i t w ou ld h av e b een.

Margaret

B ut it is not too late.

Knox

I h ave no r ight t o you.

Margaret

( Misunderstanding.) M y hu sba nd? H e ha s n ot be en m y hus ba nd f or y ea rs . He h as no r ight s. W ho , bu t

y ou w ho m I l ov e, h as a ny r ig ht s?

Knox

No; it i s not tha t.

P a g e 8 0



( S na pp i ng h i s f i ng e rs .) T ha t f or hi m.

( Breaking down.) Oh, if I were only the man, and not the reformer! If I had no work to do!

Margaret

( Co mi ng t o t he ba ck of hi s c hai r an d c ar es si ng hi s ha ir .) W e c an w or k t og et he r.

Knox

( S ha ki ng h is h ea d u nd er h er f in ge rs .) D on 't ! D on 't !

( S he p er si st s, a nd l ay s h er c he ek a ga in st h is .) You make it so hard. You tempt me so.

( He rises suddenly, takes her two hands in his, leads her gently to her chair, seats her, and

r e se a ts h i ms e lf i n d e sk - ch a ir .) Li st en. I t i s not y our hu sba nd. But I ha ve no r ight t o you. No r ha ve you

a right to me.

Margaret

( Interrupting, jealously.) And who but I has any right to you?

Knox

( S m il i n g s a dl y.) No; it is not t hat. Ther e i s no othe r woman. You a re the one woman for me. But the re

a re m an y o th er s w ho h av e g re at er r ig ht s i n m e t ha n y ou . I h av e b ee n c ho se n b y t wo h un dr ed t ho us an d

c it iz en s t o r ep re se nt t he m i n t he C on gr es s o f t he U ni te d S ta te s. A nd t he re a re m an y m or e—

( He breaks off suddenly and looks at her, at her arms and shoulders.) Y es , p le as e. C ov er t he m u p.

He lp m e n ot t o f or ge t.

( Margaret does not obey.) T he re a re m an y m or e w ho h av e r ig ht s i n m e— th e p eo pl e, a ll t he p eo pl e,

w ho se cau se I h av e m ad e m in e. T he chi ld ren— th er e are t wo m il li on chi ld l ab or er s i n t hese U ni ted S tates.

I c an no t b et ra y t he m. I c an no t s te al m y h ap pi ne ss f ro m t he m. T hi s a ft er no on I t al ke d o f t he ft . B ut w ou ld

n ot t hi s, t oo , b e t he ft ?

Margaret

( Sharply. ) H ow ar d! W ak e u p! H as o ur h ap pi ne ss t ur ne d y ou r h ea d?

P a g e 8 1



Knox

( Sadly. ) A lm os t— an d f or a f ew w il d m om en ts , q ui te . Th er e a re a ll t he c hi ld re n. D id I e ve r t el l y ou o f

t he t en em en t c hi ld , w ho w he n a sk ed h ow h e k ne w w he n s pr in g c am e, a ns we re d: W he n h e s aw t he

s al oo ns p ut u p t heir s wi ng d oo rs .

Margaret

( Irritated.) But wha t ha s a ll t ha t t o do wi th one ma n a nd one woma n lovi ng?

Knox

S up po se w e l ov ed —y ou a nd I ; s up po se w e l oo se d a ll t he r ei ns o f o ur l ov e. W ha t w ou ld h ap pe n? Y ou

r em em be r G or ki , t he R us si an p at ri ot , w he n h e c am e t o N ew Y or k, a fl am e w it h p as si on f or t he R us si an

r ev ol ut io n. H is p ur po se i n v is it in g t he l an d o f l ib er ty w as t o r ai se f un ds f or t hat r ev ol ut io n. A nd b ecau se

h is m ar ri ag e t o t he w om an h e l ov ed w as n ot o f t he e ss en ti al ly l eg al s or t w or sh ip ed b y t he s ho pk ee pe rs ,

a nd b ec au se t he n ew sp ap er s m ad e a s en sa ti on o f i t, h is w ho le m is si on w as b ro ug ht t o f ai lu re . H e w as

l au gh ed a nd d er id ed o ut o f t he e st ee m o f t he A me ri ca n p eo pl e. T ha t i s w ha t w ou ld h ap pe n t o m e. I

s ho ul d b e s la nd er ed a nd l au gh ed a t. M y p ow er w ou ld b e g on e.

Margaret

A nd e ve n i f s o— wh at o f i t? B e s la nd er ed a nd l au gh ed a t. W e w il l h av e e ac h o th er . O th er m en w il l r is e

up t o l ea d t he pe op le , a nd l ea di ng t he pe op le i s a t ha nkl es s t as k. Li fe i s s o s ho rt . W e m us t c lu tc h f or t he

m or se l o f h ap pi ne ss t ha t m ay b e o ur s.

Knox

Ah, i f you kne w, a s I l ook i nt o your e ye s, how e as y i t w oul d be t o t hr ow e ve ryt hi ng t o t he w inds . But i tw ou ld b e t heft .

Margaret

( Rebelliously.) Le t i t b e t he ft . Li fe i s s o s ho rt , d ea r. W e a re t he b igg es t f ac ts i n t he w or ld— to e ac h

other.

Knox

P a g e 8 2



I t i s not mys el f a lone , nor a ll m y pe ople . A mom ent a go you s aid no one but I ha d a ny r ight to you. You

w er e w ro ng . Y ou r chi ld —

Margaret

( In sudden pain, pleadingly.) D on 't !

Knox

I m us t. I m us t s ave m ys el f— and yo u. T om my h as r ig ht s i n yo u. Th ef t a ga in. W ha t ot he r na me f or i t i f

you steal your happiness from him?

Margaret

( Bending her head forward on her hand and weeping.) I h av e b ee n s o l on el y— an d t he n y ou —y ou

c am e, a nd t he w or ld g re w b ri gh t a nd w ar m— a f ew s ho rt m in ut es a go y ou he ld m e— in y ou r a rm s— a

f ew s ho rt m in ut es a go a nd i t s ee me d m y d re am o f h ap pi ne ss h ad c om e t ru e— an d n ow y ou d as h i t f ro m

me—

Knox

( St rug gl ing t o c ont rol h im se lf no w t hat s he i s n o l ong er l ook ing at h im .) No; I ask you to dash it

f rom y our se lf . I a m n ot t oo s tr on g. Y ou m us t he lp m e. Y ou m us t c al l y our c hi ld t o y ou r a id i n he lp ing m e.

I could go ma d for you now—

( Rising impulsively and coming to her with arms outstretched to clasp her.) R ig ht n ow —

Margaret

( Abruptly raising her head, and with one outstretched arm preventing the embrace.) W ai t.

( She bows her head on her hand for a moment, to think and to win control of herself. )

( Lifting her head and looking at him.) S i t d ow n— pl eas e.

( Knox reseats himself. )

( A pause, during which she looks at him and loves him.) Dear, I do so love you—

( Knox loses control and starts to rise. ) No! Sit the re. I wa s wea k. Ye t I a m not s orr y. You ar e ri ght.

W e m us t f or eg o e ac h ot he r. W e c anno t be t hi ev es , e ve n f or l ov e' s s ake . Y et I a m gl ad t ha t t hi s h as

P a g e 8 3



h ap pe ne d— th at I h av e l ai n i n y ou r a rm s a nd h ad y ou r l ip s on m ine . T he m em or y o f i t w il l b e s we et

always.

( S he d ra ws h er c lo ak a ro un d h er , a nd r is es .)

( Knox rises. ) Yo u a re r ig ht . T he f ut ur e b el ong s t o t he c hi ld re n. Th er e l ie s du ty —y ou rs , a nd m in e i n m y

s ma ll wa y. I a m g oi ng n ow. We mu st not s ee e ac h ot he r e ve r a ga in . W e m us t w or k— and f or ge t. Butr em em ber, m y h eart g oes w it h y ou i nt o t he f ig ht . M y p rayers w il l accom pany every s tr ok e.

( S he h es it at es , p au se s, d ra ws h er c lo ak t ho ro ug hl y a ro un d h er i n e vi de nc e o f d ep ar tu re .)

D ear— wi ll y ou k is s m e— on ce—o ne l as t t im e? ( There is no passion in this kiss, which is the kiss of

r e nu n ci a ti o n. M a rg a re t h e rs e lf t e r mi n at e s t h e e m br a ce .)

( Knox accompanies her silently to the door and places hand on knob.) I wi sh I ha d s ome thi ng of

y ou t o h av e w it h m e a lw ay s— a p ho to gr ap h, t ha t l it tl e o ne , y ou r em em be r, w hi ch I l ik ed s o. ( S he n od s.)

D on 't r un t he r is k o f s en di ng i t b y m es seng er . J us t m ai l i t o rd in ar il y.

Margaret

I s ha ll m ai l i t t o- mo rr ow . I 'l l dr op i t i n t he bo x m ys el f.

Knox

( Kissing her hand.) G oo d- by e .

Margaret

( lingeringly.) But oh, my dear , I am gla d and proud f or what has happene d. I would not e rase a single

l in e of i t.

( Sh e i nd ic at es f or K no x t o op en do or , wh ic h h e doe s, b ut wh ic h h e i mm ed iat el y c lo se s a s s he

co n t i nu es s p ea kin g .) Th er e m us t b e i mm or ta li ty. T he re m us t b e a f ut ur e l if e w he re yo u a nd I s ha ll m ee tagain. Good-bye.

( T he y p re ss e ac h o th er 's h an ds .)

( Exit Margaret. )

( Knox stands a moment, staring at closed door, turns and looks about him indecisively, sees

c hai r i n w hi ch Ma rga re t s at , go es ov er t o i t, k ne el s do wn , an d bur ie s hi s f ac e.)

( Door to bedroom opens slowly and Hubbard peers out cautiously. He cannot see Knox.)

P a g e 8 4



Hubbard

( Advancing, surprised.) W ha t t he d eu ce ? E ve ry bo dy g on e?

Knox

( Startled to his feet.) W he re the de vi l di d you c ome fr om?

Hubbard

( Indicating bedroom.) In there. I was in there all the time.

Knox

( Endeavoring to pass it off. ) Oh , I h ad f or got te n a bout y ou. W el l, my c al le rs a re go ne .

Hubbard

( Walking over close to him and laughing at him with affected amusement. ) Ho ne st me n a re s uc h

d ub s w he n t he y d o g o w ro ng .

Knox

Th e do or w as c los ed a ll t he t ime . Y ou w ou ld n ot h ave d ar ed t o s py u po n me .

Hubbard

There was something familiar about the lady's voice.

Knox

Y ou h ear d! —w hat d id y ou h ear?

Hubbard

P a g e 8 5



O h, n ot hi ng , n ot hi ng —a m ur mu r o f v oi ces— an d t he w om an 's —I cou ld s wear I h av e h eard h er v oi ce

before.

( Knox shows his relief. ) W ell , so long.

( S t a r t s t o m o ve t o w a r d exi t t o r i g h t .) Y ou w on 't r eco ns id er y ou r d ecis i on ?

Knox

( S ha ki ng h is h ea d.)

Hubbard

( Pausing, open door in hand, and laughing cynically.) And yet it was but a moment ago that it

s ee me d I he ar d you s ay t he re wa s no on e who m y ou wo ul d n ot pe rmi t t he wo rl d t o k now you s aw.

( Starting. ) What do you me an?

Hubbard

Good-bye.

( Hubbard makes exit and closes door.) ( Knox wanders aimlessly to his desk, glances at the letter

h e w as r ea di ng o f w hi ch h ad b ee n i nt er ru pt ed b y H ub ba rd 's e nt ry o f f ir st a ct , s ud de nl y r ec ol le ct s

the package of documents, and walks to low bookcase and looks on top. )

Knox

( Stunned.) T he t hi ef !

( He looks about him wildly, then rushes like a madman in pursuit of Hubbard, making exit to

r ig ht a nd l ea vi ng t he d oo r H yi ng o pe n.) ( Empty stage for a moment. )

Curtain

ACT III Scene. Th e l ib rar y, u se d as a s or t o f s em i- of fi ce b y St ar kwe at he r a t s uc h t im es w he n he i s i n

P a g e 8 6



W as hi ng to n. D oo r t o r ig ht ; a ls o, d oo r t o r ig ht r ea r. A t l ef t r ea r i s a n a lc ov e, w it ho ut h an gi ng s,

which is dark. To left are windows. To left, near windows, a fiat-top desk, with desk-chair and

d es k- te le ph on e. A ls o, o n d es k, c on sp ic uo us ly , i s a h ea vy d is pa tc h b ox . A t t he c en te r r ea r i s a l ar ge

screen. Extending across center back of room are heavy, old-fashioned bookcases, with swinging

glass doors. The bookcases narrow about four feet from the floor, thus forming a ledge. Between

l ef t e nd of bo ok cas es an d al cov e at l ef t r ea r, h ig h up o n wa ll , han gs a l ar ge pa int ing o r s te el

e ng ra vi ng o f A br ah am L in co ln . I n d es ig n a nd f ur ni sh in gs , i t i s a s im pl e c ha st e r oo m, c ol dl y r ig id a n d s l i g ht l y o l d -f a s hi o ned .

I t i s 9: 30 i n t he mo rni ng of t he da y s uc ce edi ng pr ev io us ac t.

Curtain discloses Starkweather seated at desk, and Dobleman, to right of desk, standing.

Starkweather

All right, though it is an unimportant publication. I'll subscribe.

Dobleman

( Making note on pad.) V er y w el l, s ir . T wo t ho us an d.

( He consults his notes.) The n t he re i s V a n der w at er 's M a g az i n e . Y ou r s ub scri pt io n i s d ue.

Starkweather

How much?

Dobleman

You have been paying fifteen thousand.

Starkweather

I t i s t oo m uc h. W ha t i s t he r eg ul ar s ub sc ri pt io n?

Dobleman

A do ll ar a y ea r.

P a g e 8 7



Starkweather

( S ha k in g h i s h e ad e m ph a ti c al l y .) It is too much.

Dobleman

P ro fess or V an derw at er als o d oes g oo d w or k w it h h is l ectu ri ng . H e i s r eg ul ar ly o n t he C haut au qu a

C ou rs es , and at t hat b ig m eeti ng o f t he N at io nal C iv ic F ed er at io n, h is s peech w as excep ti on al ly t el li ng .

Starkweather

( Doubtfully, about to give in.) All right—

( He pauses, as if recollecting something.) ( Dobleman has begun to write down the note.) No. I

r em em ber t here w as s om et hi ng i n t he p ap er s abo ut t hi s P ro fes so r V an derw at er —a d iv or ce, w as n' t i t?

H e h as i mp ai red h is aut ho ri ty and h is u sefu ln es s t o m e.

Dobleman

I t w as h is w if e' s f aul t.

Starkweather

I t i s i mm at er ial. H is u sefu ln es s i s i mp ai red. C ut h im d ow n t o t en t ho us an d. I t w il l t each h im a l es so n.

Dobleman

V e ry g oo d, s ir .

Starkweather

A nd t he cus to mary t went y t ho us an d t o Cartwrights .

Dobleman

P a g e 8 8



( Hesitatingly.) T hey h av e ask ed f or m or e. T hey h av e enl ar ged t he m ag azin e, r eo rg an ized t he s to ck ,

staff, everything.

Starkweather

H ub bard 's w ri ti ng f or i t, i sn 't h e?

Dobleman

Ye s, s ir . A nd t houg h I do n' t kn ow , i t i s w hi spe re d t ha t he i s on e o f t he he avy s toc kho lde rs .

Starkweather

A v er y c apa bl e ma n. He ha s s er ve d me we ll . Ho w muc h d o t he y wa nt ?

Dobleman

T he y s ay t ha t N et tm an s er ie s o f a rt ic le s c os t t he m t we lv e t ho us an d a lo ne , a nd t ha t t he y b el ie ve , i n v ie w

o f t he excep ti on al s er vi ce t hey ar e p repar ed t o r en der , and ar e r end er i ng , f i ft y t ho us an d—

Starkweather

( Shortly.) A ll r igh t. H ow m uc h ha ve I g iv en t o Un iv er si ty o f H ano ve r t hi s ye ar ?

Dobleman

Seven—nine millions, including that new library.

Starkweather

( Sighing.) Education does cost. Anything more this morning?

Dobleman

( C o n s ul t i n g n o t es .) J us t o ne o th er —M r. R ut land . H is chu rch, y ou k no w, s ir , and t hat t heol og ical

P a g e 8 9



c ol le ge . He t ol d me he ha d be en ta lki ng i t ove r wi th you. He is a nxi ous t o know.

Starkweather

H e' s v er y k ee n, I m us t s ay . F if ty t ho us an d f or t he c hu rc h, a nd a h un dr ed t ho us an d f or t he c ol le ge —I a sk y ou , can di dl y, i s h e w or th i t?

Dobleman

T he chu rch i s a v er y p ow er fu l m ol der o f p ub li c o pi ni on , and M r. R ut land i s v er y i mp ress iv e. ( Running

o ve r t he n ot es a nd p ro du ci ng a c li pp in g.) Thi s i s wha t he s ai d i n his se rmon t wo w eeks a go: " God ha s

g ive n t o M r. S ta rkw ea th er t he t al en t f or m ak in g m on ey a s t ru ly a s G od h as g iv en t o o the r m en t he g en iu s

which manifests itself in literature and the arts and sciences."

Starkweather

( Pleased.) He says it well.

Dobleman

( Producing another clipping.) And t hi s he s ai d a bo ut y ou i n l as t Su nda y' s s er mon : " We a re t o- da y

r ej oi ci ng i n t he g re at l ig ht o f t he c on se cr at io n o f a g re at w ea lt h t o t he a dv an ce me nt o f t he r ac e. T hi s v as t

we al th ha s be en s o c ons ec ra te d by a ma n wh o a ll t hr ough l if e h as wa lke d i n a cc or d wi th t he w or d, The

love of Christ constraineth me.'"

Starkweather

( Meditatively. ) Dobl eman, I ha ve me ant we ll . I me an we ll . I s ha ll al ways mea n wel l. I bel ieve I a m oneo f t ho se f ew m en , t o w ho m G od, i n h is i nf in it e w is do m, h as g iv en t he s te wa rd sh ip o f t he p eo pl e' s w ea lt h.

I t i s a h ig h t ru st , a nd d es pi te t he a bu se a nd v il if ic at io n h ea pe d up on m e, I s ha ll r em ai n f ai thf ul t o i t.

( C ha ng in g h is t on e a br up tl y t o b us in es s li ke b ri s kn es s .) Ve ry we ll . S ee t ha t M r. Ru tl and ge ts wha t

h e h as a sk ed f or .

Dobleman

V er y g oo d, s ir . I s ha ll t el ep ho ne h im . I k no w h e i s a nx io us t o h ea r.

( Starting to leave the room.) S ha ll I ma ke t he c he cks out i n t he us ual wa y?

P a g e 9 0



Starkweather

Y es : e xc ep t t he R ut la nd o ne . I 'l l s ig n t ha t m ys el f. L et t he o th er s g o t hr ou gh t he r eg ul ar c ha nn el s. W e t ak e

t he 2: 10 t ra in f or N ew Y or k. A re yo u r ea dy ?

Dobleman

( Indicating dispatch box.) A ll , e xc ep t t he d is pa tc h b ox .

Starkweather

I 'l l t ak e c ar e o f t ha t m ys el f.

( Dobleman starts to make exit to left, and Starkweather , taking notebook from pocket, glances

into it, and looks up. )

Dobleman.

Dobleman

( Pausing.) Ye s, si r.

Starkweather

M rs . C ha lm er s i s h er e, i sn 't s he ?

Dobleman

Y es , s ir . S he c am e a f ew m in ut es a go , w it h h er l it tl e b oy . T he y a re w it h M rs . S ta rk we at he r.

Starkweather

Pl ea se t el l M rs . Ch al me rs I wi sh t o s ee he r.

P a g e 9 1



Dobleman

Y e s, s ir .

( Dobleman makes exit. ) ( Maidservant enters from right rear, with card tray. )

Starkweather

( Examining card.) Show hi m i n.

( Maidservant makes exit right rear ). ( Pause, during which Starkweather consults notebook.) (

Maidservant re-enters, showing in Hubbard.)

( Hubbard advances to desk. ) ( S tar kw eat he r i s s o g la d t o s ee hi m t hat h e ha lf r is es f rom hi s c ha ir

to shake hands.)

Starkweather

( Heartily.) I c an o nl y t el l y ou t ha t w ha t y ou d id w as w on de rf ul . Y ou r t el ep ho ne l as t n ig ht w as a g re at

r el ief. W here are t hey?

Hubbard

( Drawing package of documents from inside breast pocket and handing them over. ) T he re t he y

a re —t he c om pl et e s et . I w as f or tu na te .

Starkweather

( Opening package and glancing at a number of the documents while he talks. ) Y ou a re m od es t,

Mr. Hubbard.—It required more—than fortune.—It required ability—of no mean order.—The time wass ho rt .— Yo u h ad t o t hi nk —and act —w it h t oo g reat i mm ed iacy t o b e m er el y f or tu nate.

( Hubbard bows, while Starkweather rearranges package.)

T he re i s no ne ed f or m e t o t el l yo u h ow I a ppr ec ia te your s er vi ce . I ha ve i nc re as ed m y s ubs cr ip ti on t o

Cartwright's t o f if ty t ho us an d, a nd I s ha ll s pe ak t o D ob le ma n, w ho w il l r em it t o y ou a m or e s ubs ta nt ia l

ack no wl ed gm en t t han m y m er e t hank s f or t he i nest im ab le s er vi ce y ou h av e r en dered.

( Hubbard bows.)

Y ou —ah— yo u h av e r ead t he d ocum en ts ?

P a g e 9 2



Hubbard

I g lanced t hr ou gh t hem. T hey w er e i nd eed s er io us . B ut w e h av e s pi ked K no x' s g un s. W it ho ut t hem, t hat

s pe ec h o f h is t hi s a ft er no on b ec om es a f ar ce —a h ow li ng f ar ce . B e s ur e y ou t ak e g oo d c ar e o f t he m.

( Indicating documents, which Starkweather still holds.) Ghe rs t ha s a l on g a rm .

Starkweather

He c annot re ac h me he re . Be si des , I go to New York to-day, and I sha ll c ar ry the m wi th me. Mr.

Hubbard, you will forgive me—

( Starting to pack dispatch box with papers and letters lying on desk. ) I am very busy.

Hubbard

( Taking the hint.) Ye s, I unde rs ta nd. I s ha ll be goi ng now. I ha ve t o be a t t he Cl ub in f ive mi nut es .

Starkweather

( In course of packing dispatch box, he sets certain packets of papers and several medium-sized ac coun t b ook s t o o ne s ide i n a n o rde rl y pi le . He t al ks w hi le h e p ac ks , an d H ub bar d w ai ts .) I s hould

like t o t alk wit h you some more—in New York. Next ti me you a re in town be sure to se e me. I am

thinking of buying the Parthenon Magazine , a nd of c ha ng in g i ts p ol ic y. I s ho ul d l ik e t o h av e y ou

n eg ot ia te t hi s, a nd t he re a re o th er i mp or ta nt t hi ng s a s w el l. G oo d d ay , M r. H ub ba rd . I s ha ll s ee y ou i n

New York—soon.

( Hubbard and Starkweather shake hands.)

( Hubbard starts to make exit to right rear. )

( Margaret enters from right rear.)

( Starkweather goes on packing dispatch box through following scene. )

Hubbard

Mrs. Chalmers.

( Holding out hand, which Margaret takes very coldly, scarcely inclining her head, and starting to

pass on.) ( S p ea k in g s u dd e nl y a nd s a va g el y .) Y ou n ee dn 't b e s o h ig h a nd l of ty , M rs . C ha lm er s.

P a g e 9 3



Margaret

( Pausing and looking at him curiously as if to ascertain whether he has been drinking.) I do not

understand.

Hubbard

Y ou a lw ays t re at ed m e t hi s wa y, b ut t he t ime f or i t i s p as t. I won 't s ta nd f or your s up er ior goo dne ss a ny

m or e. Y ou r ea ll y i mp re ss ed m e w it h i t f or a l on g t im e, a nd y ou m ad e m e w al k s ma ll . B ut I k no w b et te r

n ow . A p re tt y g am e y ou 'v e b ee n p la yi ng —y ou , w ho a re l ik e a ny o th er w om an . W el l, y ou k no w w he re

you were la st ni ght. So do I .

Margaret

You are impudent.

Hubbard

( Doggedly.) I s ai d I k ne w w he re y ou w er e l as t n ight . Mr . Kn ox a ls o kno ws w he re yo u we re . B ut I 'l l

w ag er y ou r h us band d oesn 't .

Margaret

Y ou s py !

( Indicating her father.) I s up po se y ou h av e t ol d— hi m.

Hubbard

Wh y s ho ul d I ?

Margaret

Y ou a re h is c re at ur e.

P a g e 9 4



Hubbard

I f i t wi ll e as e your s us pens e, l et m e t ell you t hat I have not tol d him . But I do prot es t t o you t ha t you m us t

treat me with more—more kindness.

( Margaret makes no sign but passes on utterly oblivious of him.) ( Hubbard stares angrily at her

a n d m a kes exi t ) ( Starkweather, who is finishing packing, puts the documents last inside box, and closes and locks it. To one side is the orderly stack of the several account books and packets of

papers.)

Starkweather

G o od m or ni ng , M ar ga re t. I s en t f or y ou b ec au se w e d id n ot f in is h t ha t t al k l as t n ig ht . S it d ow n.

( Sh e g et s a c hai r f or he rs el f an d s it s d own .)

Y ou a lwa ys we re ha rd t o m ana ge , M ar ga re t. Y ou ha ve ha d t oo m uc h wi ll f or a wom an. Ye t I di d m y

best for you. Your marriage with Tom was especially auspicious—a rising man, of good family and a

gentleman, eminently suitable—

Margaret

( Interrupting bitterly.) I d on 't t hi nk y ou w er e c on si de ri ng y ou r d au gh te r a t a ll i n t he m at te r. I k no w

y ou r v ie ws o n w om an a nd w om an 's p la ce . I h av e n ev er c ou nt ed f or a ny th in g w it h y ou . N ei th er h asm ot her, n or C on ni e, w hen b us in es s w as u pp er mo st , and b us in es s alw ay s i s u pp er mo st w it h y ou . I

s om et im es w on de r i f y ou t hi nk a w om an h as a s ou l. A s f or m y m ar ri ag e— yo u s aw t ha t T om c ou ld b e

u sefu l t o y ou . H e h ad t he v ar io us d is ti ncti ve p oi nt s y ou h av e m en ti on ed . B et ter t han t hat h e w as p li ab le,

cap ab le o f b ei ng m ol ded t o p er fo rm y ou r w or k, t o m an ip ul at e m achi ne p ol it ics and p ro cu re f or y ou t he

l eg is la ti on y ou d es ir ed . Y ou d id n ot c on si de r w ha t k in d o f a h us ba nd h e w ou ld m ak e f or y ou r d au gh te r

w ho m y ou d id n ot k no w. B ut y ou g av e y ou r d au gh te r t o h im —s ol d h er t o h im —b ec au se y ou n ee de d

him—

( Laughs hysterically.) I n y ou r b us in es s.

Starkweather

( Angrily.) M ar ga re t! Y ou m us t n ot s pe ak t ha t w ay. ( Relaxing.)

A h, y ou d o n ot c ha ng e. Y ou w er e a lw ay s t ha t w ay , a lw ay s b ent o n h av in g y ou r w il l—

Margaret

W ou ld t o G od I h ad b ee n m or e s uc ce ss fu l i n h av in g i t.

P a g e 9 5



Starkweather

( Testily.) T hi s i s a ll be si de t he q ue st io n. I s en t f or y ou t o t el l y ou t ha t t hi s m us t s to p— th is a ss oc ia ti on

w it h a m an o f t he t yp e a nd c ha ra ct er o f K no x— a d re am er , a c ha rl at an , a s co un dr el —

Margaret

I t i s n ot ne ce ss ar y t o a bu se hi m.

Starkweather

I t m us t s to p— th at i s a ll . D o y ou u nd er st an d? I t m us t s to p.

Margaret

( Quietly. ) I t ha s s top pe d. I doub t t ha t I s ha ll e ve r s ee hi m a ga in. He wi ll n eve r c om e t o my hous e a ga in,

a t a ny r at e. A re y ou s at is fi ed ?

Starkweather

P er fectl y. O f cou rs e, y ou k no w I h av e n ev er d ou bt ed y ou —t hat —t hat w ay .

Margaret

( Quietly. ) H ow l it tl e y ou k no w w om en . I n y ou r c om pr eh en si on w e a re a ut om at on s, p up pe ts , w it h n oh ea rt s n or h ea ts o f d es ir e o f o ur o wn , w it h n o s pr in gs o f c on du ct s av e t ho se o f t he i mm ac ul at e a nd

puritanical sort that New England crystallized a century or so ago.

Starkweather

( Suspiciously.) You me an t ha t you a nd t hi s ma n—?

Margaret

P a g e 9 6



I me an not hi ng ha s pa ss ed be twe en us . I m ea n t ha t I a m Tom 's w if e a nd Tom my' s mot he r. W ha t I di d

m ean, y ou h av e n o m or e u nd er st oo d t han y ou u nd er st an d m e— or any w om an .

Starkweather

( Relieved.) It is well.

Margaret

( Continuing.) And i t i s s o ea sy. The c onc ept i s s impl e. A woma n i s hum an. Tha t i s a ll . Ye t I do be li eve

it is news to you.

( Enters Dobleman from right carrying a check in his hand. Starkweather, about to speak, pauses.) ( Dobleman hesitates, and Starkweather nods for him to advance.)

Dobleman

( Greeting Margaret, and addressing Starkweather. ) T hi s c he ck . Y ou s ai d y ou w ou ld s ig n i t y our se lf .

Starkweather

Ye s, t ha t i s R ut la nd 's . ( Looks for pen.)

( Dobleman offers his fountain pen.) No; my own pen.

( Unlocks dispatch box, gets pen, and signs check. Leaves dispatch box open. ) ( Dobleman takes

ch eck a n d m a kes exi t t o r i g h t . )

Starkweather

( Picking up documents from top of pile in open box.)

T hi s m an K no x. I s tu di ed h im y es te rda y. A m an o f g re at e ne rg y a nd i de al s. U nf or tun at el y, h e i s a

s en ti ment al is t. H e m eans r ig ht —I g rant h im t hat. B ut h e d oes n ot u nd er st an d p ract ical con di ti on s. H e i s

m or e d an ge ro us t o t he w el fa re o f t he U ni te d S ta te s t ha n t en t ho us an d a na rc hi st s. A nd h e i s n ot p ra ct ic al .

( Holding up documents.)

B eh ol d, s to len f ro m m y p ri vate f il es b y a y el lo w j ou rn al s neak t hi ef and t ur ned o ver t o h im . H e t ho ug ht

t o b ut tr es s h is s pe ec h w it h t he m t hi s a ft er no on . A nd y et , s o h op el es sl y u np ra ct ic al i s h e, t ha t y ou s ee t he y

are alr eady b ack i n t he r ig ht fu l o wn er 's h an ds .

P a g e 9 7



Margaret

Th en h is s peech i s r ui ned?

Starkweather

A bs ol ut el y. T he w he el s a re a ll r ea dy t o t ur n. T he g ood p eo pl e o f t he U ni te d S ta te s w il l di sm is s h im w it h

r oar s o f l aug ht er— a g oo d p hr ase, t hat : H ub bar d' s, I b el i ev e.

( Dropping documents on the open cover of dispatch box, picking up the pile of several account

books and packets of papers, and rising. ) On e m om ent . I m us t put t he se a wa y.

( S t a r kwea t h er g o es t o a l cove a t l eft r ea r . H e p r es ses a b u tt o n a nd a l cove i s l i g h t ed b y el ect r i ci t y,d is co ve ri ng t he f ac e o f a l ar ge s af e. D ur in g t he f ol lo wi ng s ce ne h e d oe s n ot l oo k a ro un d, b ei ng

occupied with working the combination, opening the safe, putting away account books and

packets of papers, and with examining other packets which are in safe. )

( Margaret looks at documents lying on open cover of dispatch box and glancing quickly about

room, takes a sudden resolution. She seizes documents, makes as if to run wildly from the room,

stops abruptly to reconsider, and changes her mind. She looks about room for a hiding place, and

he r e ye s r es t on p or tr ai t of L inc ol n. Mo vi ng s wi ft ly , pi ck ing u p a l igh t c ha ir on t he w ay , s he goe s

to corner of bookcase nearest to portrait, steps on chair, and from chair to ledge of bookcase

w he re , c li ng in g, s he r e ac he s o ut a nd u p a nd d ro ps d oc um en ts b eh in d p or t ra it . S te pp in g q ui ck l y

do wn , w it h ha ndk er chi ef s he wi pe s l edg e on w hi ch s he h as s too d, a ls o t he s eat o f t he c ha ir . Sh ec ar ri es c hai r ba ck t o wh er e s he f ound i t, and r es eat s h er se lf i n c hai r b y d es k.) ( S t a r kw ea t h er

locks safe, emerges from alcove, turns off alcove lights, advances to desk chair, and sits down. He

i s a bou t t o c lo se a nd l oc k di spa tc h b ox w he n h e di sc ov er s d oc um ent s a re m is si ng . H e i s v er y qui et

about it, and examines contents of box care-fully. )

Starkweather

( Quietly. ) H as a ny bo dy be en i n t he r oo m?

Margaret

No.

Starkweather

( Looking at her searchingly.) A m os t u np re ce de nt ed t hi ng h as oc cu rr ed. Wh en I w ent t o t he s af e a

m om ent a go, I l ef t t he se do cum en ts on t he c ov er of t he d is pa tc h b ox . No bo dy ha s b ee n i n t he r oom b ut

P a g e 9 8



y ou . T he d oc um en ts a re g on e. G iv e t he m t o m e.

Margaret

I ha ve not be en out of t he room.

Starkweather

I kno w t ha t. Gi ve t he m t o me .

( A pause.) You have the m. Give t he m t o m e

Margaret

I h av en 't t hem.

Starkweather

That i s a l ie . Give t he m t o me.

Margaret

( Rising.) I t el l you I ha ven' t the m—

Starkweather

( Also rising.) That is a lie.

Margaret

( T ur ni ng a nd s ta rt in g t o c ro ss r oo m.) Ve ry wel l, if you do not be lie ve m e—

Starkweather

( Interrupting.) W he re a re y ou g oi ng ?

P a g e 9 9



Margaret

Home.

Starkweather

( Imperatively. ) No, you a re not. Come ba ck here .

( Margaret comes back and stands by chair.) Y ou s ha ll n ot l ea ve t hi s r oo m. S it d ow n.

Margaret

I p re fe r t o s ta nd .

Starkweather

S i t d ow n.

( She s ti ll s tand s, and he gr ips he r by ar m, f or ci ng h er d own i nt o c ha ir .) S it d ow n. B ef or e y ou l ea vet hi s r oo m y ou s hall r et ur n t ho se d ocum en ts . T hi s i s m or e i mp or tant t han y ou r eali ze. I t t rans cend s all

o rd in ar y t hi ngs of l if e a s yo u h ave kn ow n i t, a nd yo u wi ll c om pe l m e t o do t hi ng s f ar ha rs he r t ha n yo u c an

possibly imagine. I can forget that you are a daughter of mine. I can forget that you are even a woman. If

I have t o t ea r t hem fr om you, I s hal l ge t t he m. Gi ve the m t o me .

( A pause.) What a re you goi ng t o do?

( Margaret shrugs her shoulders.) What have you to say?

( Margaret again shrugs her shoulders.) Wha t ha ve you t o sa y?

Margaret

Nothing.

Starkweather

( Puzzled, changing tactics, sitting down, and talking calmly.) L et u s t al k t hi s o ve r q ui et ly . Y ou h av e

no s hr ed of r ight of a ny s ort t o t hos e doc um ent s. The y a re mi ne . The y w er e s to le n by a s ne ak t hi ef f ro m

P a g e 1 0 0



m y p ri vate f il es . O nl y t hi s m or ni ng —a f ew m in ut es ago —d id I g et t hem b ack. T hey are m in e, I t el l y ou .

T he y b el on g t o m e. G iv e t he m b ac k.

Margaret

I t el l y ou I ha ve n' t t he m.

Starkweather

Y ou h av e g ot t he m a bo ut y ou , s om ew he re , c on ce al ed i n y ou r b re as t t he re . I t w il l n ot s av e y ou . I t el l y ou

I s ha ll h ave t he m. I wa rn y ou. I d on' t w an t t o p roc ee d t o e xt re me me as ur es . G ive t he m t o m e.

( He starts to press desk-button, pauses, and looks at her.) W el l?

( Margaret shrugs her shoulders.) ( He presses button twice.) I h ave s en t f or Dobl em an. You ha ve

on e c ha nc e be for e he c ome s. G ive t he m t o m e.

Margaret

Fa the r, wi ll you be lie ve me j us t thi s once ? Le t me go. I t el l you I ha ven' t the docume nt s. I t ell you tha t if

you l et me le ave t hi s room, I s hal l not c arr y the m awa y wit h me. I te ll you t his on my honor . Do you

believe me? Tell me that you do believe me.

Starkweather

I do b el ie ve yo u. Yo u s ay t he y a re no t o n y ou. I be li eve you . Now t el l m e whe re t he y a re —you h ave

them hidden somewhere—( Glancing about room.) —And you c an go at onc e.

( Dobleman enters from right and advances to desk. Starkweather and Margaret remains silent. )

Dobleman

Y ou r ang f or me .

Starkweather

( W it h o ne l as t q ue s ti on in g g la nc e a t M ar ga re t , w ho r e ma in s i mp as s iv e.) Yes, I did. Have you

been in that other room all the time?

P a g e 1 0 1



Dobleman

Y e s, s ir .

Starkweather

D id any bo dy p as s t hr ou gh and ent er t hi s r oo m?

Dobleman

N o, s ir .

Starkweather

V er y we ll . W e' ll s ee w ha t t he m ai d ha s t o s ay.

( He presses button once.) Ma rga re t, I gi ve yo u o ne l as t c ha nc e.

Margaret

I ha ve t ol d you t ha t if I l ea ve t his r oom, I s hal l not t ake the m wi th me .

( Maid enters from right rear and advances.)

Starkweather

H as a nyb od y c om e i nt o t hi s r oo m f ro m t he ha ll i n t he l as t f ew m in ut es ?

Maid

N o, s ir ; n ot s in ce M rs . C ha lm er s c am e i n.

Starkweather

Ho w d o y ou k no w?

P a g e 1 0 2



Maid

I wa s i n t he h al l, s ir , d us ti ng a ll t he t im e.

Starkweather

T hat w il l d o.

( Maid makes exit to right rear. ) D ob leman, a v er y u nu su al t hi ng h as o ccur red.

M rs . C ha lm er s a nd I h av e b ee n a lo ne i n t hi s r oo m. T ho se l et te rs s to le n b y G he rs t h ad b ee n r et ur ne d t o

me by Hubbard but the mome nt be fore . They were on my des k. I turne d my back f or a moment to go tot he s af e. W he n I c am e b ac k t he y w er e go ne .

Dobleman

( Embarrassed.) Yes , s ir.

Starkweather

Mr s. C ha lm er s t oo k t he m. S he h as t he m n ow .

Dobleman

( Attempts to speak, stammers .) E r —er —y es , s i r

Starkweather

I wa nt t he m ba ck. Wha t is t o be done ?

( Dobleman remains in hopeless confusion.) W el l!

Dobleman

( S pe a ki n g h u rr i ed l y a nd h op e fu l ly .) S -s en d f or M r. H ub ba rd. H e g ot t he m f or y ou b ef or e.

P a g e 1 0 3



Starkweather

A g oo d s ug gest io n. T el ep ho ne f or h im . Y ou s ho ul d f in d h im at t he P ress C lu b.

( Dobleman starts to make exit to right. ) D on 't l ea ve t he r oom . U se t hi s t el eph on e. ( Indicating desk telephone.) ( Dobleman moves around to left of desk and uses telephone standing up.) From now

on no one l ea ve s the r oom. I f my da ught er c an be gui lt y of s uc h a the ft , i t i s pl ai n I c an t rus t no one— no

one.

Dobleman

( Speaking in transmitter. ) R ed 6 -2 -4 . Y es , p le as e.

( Waits.)

Starkweather

( Rising.) C al l S en at or C halm er s as w el l. T el l h im t o com e i mm ed iately .

Dobleman

Yes, sir—immediately.

Starkweather

( Starting to cross stage to center and speaking to Margaret. ) C om e o ve r h er e.

( Margaret follows. She is obedient, frightened, very subdued—but resolved.)

W hy h av e y ou d on e t hi s? W er e y ou t ru thf ul w he n y ou s ai d t he re w as n ot hi ng be tw ee n y ou a nd t hi s m an

Knox?

Margaret

F at her; d on 't d is cus s t hi s b ef or e t he—

( Indicating Dobleman.)—the servants.

P a g e 1 0 4



Starkweather

Y ou s ho ul d h av e con si dered t hat b ef or e y ou s to le t he d ocum en ts .

( Dobleman, in the meantime, is telephoning in a low voice.)

Margaret

There are certain dignities—

Starkweather

( Interrupting.) Not for a thief.

( S pe ak in g i nt en se ly a nd i n a l ow v oi ce .) Ma rga re t, i t i s not t oo l at e. G ive t he m ba ck, a nd no on e s ha ll

know.

( A pause, in which Margaret is silent, in the throes of indecision.)

Dobleman

M r. H ub bard s ay s h e w il l b e h er e i n t hr ee m in ut es . F or tu nately , S en at or C halm er s i s w it h h im .

( Starkweather nods and looks at Margaret. ) ( Door at left rear opens, and enter Mrs.

Starkweather and Connie. They are dressed for the street and evidently just going out. )

Mrs. Starkweather

( S pe ak in g i n a r us h.) W e a re j us t go in g o ut , A nt ho ny . Y ou w er e c er ta in ly w ro ng i n m aki ng us a tt em ptt o t ak e t ha t 2: 10 t ra in . I s imp ly c an 't m ak e i t. I kno w I c an' t. I t wou ld ha ve b ee n m uc h w is er —

( Suddenly apprehending the strain of the situation between Starkweather and Margaret. )—Why,

w ha t i s t he m at te r?

Starkweather

( Patently disturbed by their entrance, speaking to Dobleman, who has finished with the

telephone.) Lo ck t he doo rs .

( Dobleman proceeds to obey.)

P a g e 1 0 5



Mrs. Starkweather

Mer cy m e! A nt ho ny ! W hat h as h ap pened?

( A pause.) M ad ge ! W ha t h as h ap pe ne d?

Starkweather

Y ou w il l ha ve t o w ai t h er e a f ew m in ut es , t ha t i s a ll .

Mrs. Starkweather

B ut I m us t k ee p m y e ng ag em en ts . A nd I h av en 't a m in ut e t o s pa re .

( Looking at Dobleman locking doors.) I d o n ot u nd er st an d.

Starkweather

( Grimly,) You wi ll , s hor tl y. I c an t rus t no one a ny mor e. W he n my da ught er s ee s f it to s tea l—

Mrs. Starkweather

S teal! —M ar garet! W hat h av e y ou b een d oi ng n ow ?

Margaret

Where is Tommy?

( Mrs. Starkwater is too confounded to answer, and can only stare from face to face. ) ( Margaret

looks her anxiety to Connie.)

Connie

H e i s a lr ea dy d ow n i n t he m ac hi ne w ai ti ng f or u s. Y ou a re c om in g, a re n' t y ou ?

P a g e 1 0 6



Starkweather

L et hi m wa it i n t he ma chi ne . M ar ga re t wi ll c om e w he n I g et d on e w it h he r.

( A knock is heard at right rear. ) ( Starkweather looks at Dobleman and signifies that he is to

o p en d oo r .)

( Dobleman unlocks door, and Hubbabd and Chalmers enter. Beyond the shortest of nods and

r ec og ni ti on s w it h e ye s, g re et in gs a re c ut s ho rt b y t he s tr ai n t ha t i s o n a ll . D ob le ma n r el oc ks d oo r.)

Starkweather

( Plunging into it.) L oo k h er e, T om . Y ou k no w t ho se l et te rs G he rs t s to le . M r. H ub ba rd r ec ov er ed

t hem f ro m K no x and r et ur ned t hem t o m e t hi s m or ni ng . W it hi n f iv e m in ut es M ar garet s to le t hem f ro mme —he re , r ight i n th is r oom. She ha s n ot l eft t he r oom. The y a re on he r now . I w ant t he m.

Chalmers

( Wh o i s obv io us ly i nc apa bl e of c op ing w it h hi s wi fe , an d w ho i s pa nt ing f or b re at h, hi s h and

pressed to his side.) Ma dge , i s t hi s t ru e?

Margaret

I h av en 't t he m. I t el l y ou I h av en 't t he m.

Starkweather

W h er e a re t he y, t he n?

( S he d oe s n ot a ns we r.)

I f t he y a re i n t he r oo m w e c an f in d t he m. S ea rc h t he r oo m. T om , M r. H ub ba rd , D ob le ma n. T he y m us t

be recovered at any cost.

( W h i l e a t h o r ou g h s ea r ch o f t h e r o o m i s b ei n g m a d e, M r s . S t a r kwea t h er , o ver co me, ha s C o n ni e

as si st he r t o s eat at l ef t. M ar gar et al so s eat s he rs el f, i n s am e c hai r at d es k.)

Chalmers

( Pausing from search, while others continue.) There is no place to l ook for them. They are not in the

P a g e 1 0 7



r oo m. A re y ou s ur e y ou d id n' t m is lay t hem?

Starkweather

N on se ns e. M ar ga re t t oo k t he m. T he y a re a b ul ky p ac ka ge a nd n ot e as il y h id de n. I f t he y a re n' t i n t her oom , t he n s he ha s t he m on he r.

Chalmers

Madg e, g iv e t hem u p.

Margaret

I h av en 't t hem.

( C ha lm er s, s te pp in g s ud de nl y u p t o h er , s ta rt s f ee li ng f or t he p ap er s, r un ni ng h is h an ds o ve r h er

dress. )

Margaret

( Springing to her feet and striking him in the face with her open palm. ) How dar e you!

( C ha lm er s r ec oi ls , M rs . S ta rk we at he r i s t hr ea te ne d w it h h ys te ri a a nd i s c al me d b y t he f ri gh te ne d

Connie, while Starkweather looks on grimly. )

Hubbard

( Giving up search of room.) P os si bl y i t w ou ld b e b et te r t o l et m e r et ir e, M r. S ta rk we at he r.

Starkweather

No ; t hos e pa pe rs a re h er e i n t hi s r oo m. I f no bo dy l ea ve s t he re w il l be n o p os si bl e c ha nc e f or t he pa pe rs

t o g et o ut o f t he r oo m. W ha t w ou ld y ou r ec om me nd d oi ng , H ub ba rd ?

Hubbard

( Hesitatingly.) U nd er t he c ir cu ms ta nc es I d on 't l ik e t o s ug ge st —

P a g e 1 0 8



Starkweather

G o on.

Hubbard

F ir st , I w ou ld m ak e s ur e t ha t s he —e r— Mr s. C ha lm er s h as t ak en t he m.

Starkweather

I h av e m ad e t ha t c er ta in .

Chalmers

B ut w ha t m ot iv e c ou ld s he h av e f or s uc h a n a ct ?

( Hubbard looks wise.)

Starkweather

( T o H ub ba r d.) Yo u kno w mo re a bou t t hi s t ha n wou ld a pp ea r. Wh at i s i t?

Hubbard

I 'd r at he r not . It is to o—

( Looks significantly at Mrs. Starkweather and Connie.)—er—delicate.

Starkweather

T hi s aff ai r h as g on e b ey on d all d el icacy. W hat i s i t?

Margaret

P a g e 1 0 9



No! No!

( Chalmers and Starkweather look at her with sudden suspicion. )

Starkweather

G o o n, M r. H ub ba rd .

Hubbard

I 'd —I 'd r at he r n ot .

Starkweather

( Savagely.) I say go on.

Hubbard

( W i th s i mu l at e d r e lu c ta nc e .) L as t n ig ht —I s aw —I w as i n K no x' s r oo ms —

Margaret

( Interrupting.) O ne m om en t; p le as e. L et h im s pe ak , b ut f ir st s en d C on ni e a wa y.

Starkweather

N o o ne s ha ll l ea ve t hi s r oo m t il l t he d oc um en ts a re p ro du ce d. M ar ga re t, g iv e m e t he l et te rs , a nd C on ni e

can l eave q ui et ly , and even w il l H ub bard 's l ip s r em ai n s ealed. T hey w il l n ev er b reat he a w or d o f

w hatever s hamefu l t hi ng h is eyes s aw . T hi s I p ro mi se y ou .

( A pause, wherein he waits vainly for Margaret to make a decision.) G o o n, H ub ba rd .

Margaret

( W ho i s t er r or -s t ri ck e n, a nd h as b ee n w av er i ng .) N o! Don' t! I 'l l t el l. I 'l l gi ve you ba ck t he

documents.

P a g e 1 1 0



( All are expectant She wavers again, and steels herself to resolution.) No ; I ha ve n' t t he m. S ay a ll

yo u ha ve t o s ay.

Starkweather

Y ou s ee . Sh e ha s t he m. She s ai d s he w oul d gi ve t he m ba ck.

( T o H ub ba r d.) Go on.

Hubbard

Last night—

Connie

( S p r in g in g u p .) I won' t s ta y!

( Sh e r us he s t o l ef t r ea r an d f in ds do or l oc ke d.) Let me out! Let me out!

Mrs. Starkweather

( Moaning and lying back in chair, legs stretched out and giving preliminary twitches and jerks of

hysteria.) I shall die! I shall die! I know I shall die!

Starkweather

( S t er n ly, t o C o n ni e.) Go bac k t o your mot he r.

Connie

( Returning reluctantly to side of Mrs. Starkweather, sitting down beside her, and putting fingers

i n h er own e ar s.) I w on 't l is te n! I w on 't l is te n!

Starkweather

( Sternly.) T ak e y ou r f in ge rs d ow n.

P a g e 1 1 1



Hubbard

H ang i t a ll , C ha lm er s, I w is h I we re o ut of t hi s. I don' t wa nt t o t es ti fy.

Starkweather

T ak e y ou r f in gers d ow n.

( C on ni e r el uc ta nt l y r em ov e s h er f i ng er s.) N ow , H ub ba rd .

Hubbard

I p ro te st . I a m b ei ng d ra gg ed i nt o t hi s.

Chalmers

Y ou c an 't h el p y ou rs el f n ow . Y ou h av e c as t b la ck s us pi ci on s o n m y w if e.

Hubbard

A ll r ig ht . S he—M rs . C halm er s v is it ed K no x i n h is r oo ms l as t n ig ht .

Mrs. Starkweather

( Bursting out.) Oh! Oh! My Madge! It is a lie! A lie! ( Kicks violently with her legs.) ( Connie

soothes her.)

Chalmers

Y ou 'v e g ot t o p ro ve t ha t, H ub ba rd . I f y ou h av e m ad e a ny m is ta ke i t w il l g o h ar d w it h y ou .

Hubbard

( Indicating Margaret.) Look at her. Ask her.

P a g e 1 1 2



( C ha lm er s l oo ks a t M ar ga re t w it h g ro wi ng s us pi ci on .)

Margaret

L inda wa s wi th m e. And Tom my . I ha d t o s ee Mr . K nox on a v er y i mpor ta nt m at te r. I w ent t he re i n t hem ac hi ne . I t oo k L in da a nd T om my r ig ht i nt o M r. K no x' s r oo m.

Chalmers

( Relieved.) A h, t ha t p ut s a d if fe re nt c om pl exi on o n i t.

Hubbard

T ha t i s n ot a ll . M rs . C ha lm er s s en t t he m ai d a nd t he b oy d ow n t o t he m ac hi ne a nd r em ai ne d.

Margaret

( Quickly.) But onl y for a moment

Hubbard

Mu ch l on ger— mu ch , m uch l on ger. I k no w h ow l on g I w as k icki ng m y h eels and w ai ti ng .

Margaret

( Desperately.) I s ay i t wa s but f or a mom ent —a s hor t m ome nt .

Starkweather

( Abruptly, to Hubbard.) W he re w er e y ou ?

Hubbard

I n K no x' s b ed ro om . T he f oo l h ad f or go tt en a ll a bo ut m e. H e w as t oo d el ig ht ed w it h h is —e r— ne w

visitor.

P a g e 1 1 3



Starkweather

Y ou s ai d yo u s aw .

Hubbard

T he b ed ro om d oo r w as a ja r. I o pe ne d i t.

Starkweather

W ha t di d yo u s ee ?

Margaret

( Appealing to Hubbard.) Have you no mercy? I say it was only a moment.

( Hubbard shrugs his shoulders.)

Starkweather

W e' ll s et tl e t he l en gt h o f t ha t m om en t T om my i s h er e, a nd s o i s t he m ai d. C on ni e, M ar ga re t' s m ai d i s

h er e, i sn' t s he ? ( C on ni e d oe s n ot a ns we r .) A ns we r m e!

Connie

Yes.

Starkweather

D ob le ma n, r in g f or a m ai d a nd t el l h er t o f et ch T om my a nd M rs . C ha lm er 's m ai d.

( Dobleman goes to desk and pushes button once.)

Margaret

P a g e 1 1 4



N o ! N ot T om my !

Starkweather

( Looking shrewdly at Margaret, to Dobleman.) M rs . C ha lm er 's m ai d w il l d o.

( A knock is heard at left rear. Dobleman opens door and talks to maid. Closes door.)

Starkweather

L oc k i t.

( Dobleman locks door.)

Chalmers

( Coming over to Margaret.) S o y ou , t he i mm ac ul at e o ne , h av e b ee n p la yi ng f as t a nd l oo se .

Margaret

Y ou h ave no r ight t o t al k t o me t ha t w ay, Tom—

Chalmers

I a m y ou r h us ba nd .

Margaret

Y ou h av e l on g s in ce c ea se d b ei ng t ha t.

Chalmers

W ha t d o yo u m ea n?

P a g e 1 1 5



Margaret

I m ea n j us t w ha t y ou ha ve i n mi nd a bo ut y our se lf r ig ht n ow.

Chalmers

M ad ge, y ou are m er el y con ject ur in g. Y ou k no w n ot hi ng again st m e.

Margaret

I k no w every th in g— an d w it ho ut evi dence, i f y ou p leas e. I am a w om an . I t i s y ou r atm os ph er e. F au gh !

Y ou h av e e xh al ed i t f or y ea rs . I d ou bt n ot t ha t p ro of s, a s y ou w ou ld c al l t he m, c ou ld h av e b ee n e as il y

ob ta ine d. B ut I w as no t i nt er es te d. I h ad m y bo y. W he n h e c am e, I ga ve yo u up , To m. Y ou di d no t s ee mt o n ee d me a ny m or e.

Chalmers

A nd s o, i n r et al iati on , y ou t oo k u p w it h t hi s f el lo w K no x.

Margaret

No, no. I t is not true, Tom. I tell you it is not true.

Chalmers

Y ou w er e t he re , l as t ni gh t, i n h is r oom s, a lo ne —ho w l on g w e s ha ll s oo n f in d o ut —

( Knock is heard at left rear. Dobleman proceeds to unlock door.) And now you have st ol en your f at her' s p ri vate p ap er s f or y ou r l ov er .

Margaret

He i s not m y love r.

Chalmers

Bu t y ou h av e a ck no wl ed ge d t ha t y ou h av e t he p ap er s. F or w ho m, s av e K no x, c ou ld y ou h av e s to le n

P a g e 1 1 6



them?

( Linda enters. She is white and strained, and looks at Margaret for some cue as to what she is to

do.)

Starkweather

T ha t i s t he w om an .

( T o L in da .) C om e h er e.

( Linda advances reluctantly. ) W he re w er e you l as t n ight ? Y ou kn ow wha t I me an .

( She does not speak. ) A ns we r m e.

Linda

I d on 't k no w w hat y ou m ean, s ir —u nl es s—

Starkweather

Y es , t ha t' s i t. G o o n.

Linda

But I don' t thi nk you ha ve any ri ght t o as k me s uc h que st ions . What i f I —i f I did go out wi th my young

man—

Starkweather

( T o M a rg ar e t .) A v er y f ai th fu l y ou ng w om an y ou 'v e g ot .

( Briskly, to the others.) T he re 's n ot hi ng t o b e g ot o ut o f h er . S en d f or T om my . D ob le ma n, r in g t he b el l.

( Dobleman starts to obey.)

Margaret

( S t o pp i n g D o b lem a n.) N o, n o; n ot T om my . T el l t he m, L in da .

P a g e 1 1 7



( Linda looks appealingly at her.)

( Kindly.) Do n' t m in d m e. Te ll t he m t he t rut h.

Chalmers

( Breaking in.) T he w ho le t ru th .

Margaret

Yes, L in da, t he w ho le t ru th .

( Linda, looking very woeful, nerves herself for the ordeal.)

Starkweather

Never mind, Dobleman.

( T o L in da .) V er y w el l. Y ou w er e a t M r. K no x' s r oo ms l as t n ig ht , w it h y ou r m is tr es s a nd T om my .

Linda

Y e s, s ir .

Starkweather

Yo ur m is tr es s s ent yo u a nd T om my o ut o f t he r oo m.

Linda

Y e s, s ir .

Starkweather

Y ou w ai ted i n t he m achi ne.

P a g e 1 1 8



Linda

Y e s, s ir .

Starkweather

( Abruptly springing the point he has been working up to.) H ow l on g?

( Linda perceives the gist of the questioning just as she is opening her mouth to reply, and she

does not speak. )

Margaret

( W it h d el ib er at e c al mn es s o f d es pa ir .) H al f an h ou r— an h ou r— an y l en gt h o f t im e y ou r s hamefu l

m in ds d ic ta te . T ha t w il l d o, L in da . Y ou c an g o.

Starkweather

N o y ou d on 't . S ta nd o ve r t he re t o o ne s id e.

( To the others.) The pa pe rs a re i n t hi s ro om, a nd I s ha ll ke ep my mi nd c er ta in on th at poi nt .

Hubbard

I t hi nk I h ave s ho wn t he m ot iv e.

Connie

You a re a be as t!

Chalmers

Y ou h av en 't t ol d w ha t y ou s aw .

Hubbard

P a g e 1 1 9



I s aw t he m i n e ac h o th er 's a rm s— se ve ra l t im es . T he n I f ou nd t he s to le n d oc um en ts w he re K no x h ad

t hr ow n t he m d ow n. S o I p oc ke te d t he m a nd c lo se d t he d oo r.

Chalmers

H ow l on g aft er t hat d id t hey r em ai n t og et her?

Hubbard

Qu it e a t im e, q ui te a l on g t im e.

Chalmers

An d w he n y ou l as t s aw t he m?

Hubbard

T hey w er e i n each o th er 's arm s— qu it e ent hu si as ti call y, I m ay s ay , i n each o th er 's arm s. ( C h al m er s i s

crushed.)

Margaret

( T o H ub ba r d.) Y ou c ow ar d.

( Hubbard smiles.)

( T o S t a r kw ea t h er . ) W he n a re y ou g oi ng t o c al l of f t hi s ho und o f y our s?

Starkweather

W he n I g et t he p ap er s. Y ou s ee wh at y ou' ve b ee n m ad e t o pa y f or t he m a lr ea dy. N ow l is te n t o m e

c lo se ly . T om , y ou l is te n, t oo . Y ou k no w t he v al ue o f t he se l et te rs . I f t he y a re n ot r ec ov er ed t he y w il l

precipitate a turn-over that means not merely money but control and power. I doubt that even you would

be re-elected. So what we have heard in this room must be forgotten—absolutely forgotten. Do you

understand?

P a g e 1 2 0



Chalmers

Bu t i t i s adu lt er y.

Starkweather

I t i s n ot n ec es sa ry f or t ha t w or d t o b e m en ti on ed . T he p oi nt i s t ha t e ve ry th in g m us t b e a s i t w as f or me rl y.

Chalmers

Yes , I u nd ers t an d.

Starkweather

( T o M a rg ar e t .) You he ar . Tom wi ll m ake no t ro ubl e. N ow g ive me t he pa pe rs . The y a re m in e, you

know.

Margaret

I t s ee ms t o me t he pe opl e, w ho h ave be en l ie d t o, a nd c aj ol ed, a nd s to le n f ro m, a re t he r ig ht fu l own er s,n ot y ou .

Starkweather

A re y ou d oi ng t hi s o ut o f l ov e f or t hi s— th is m an , t hi s d em ag og ue?

Margaret

F or t he p eo pl e, t he chi ld ren, t he f ut ur e.

Starkweather

Faugh! Answer me.

Margaret

P a g e 1 2 1



( Slowly. ) Al mos t I do not know. Almost I do not know.

( A knock is heard at left rear. Dobleman answers. )

Dobleman

( Looking at card Maid has given him, to Starkweather. ) M r. R ut land .

Starkweather

( Making an impatient gesture, then abruptly changing his mind, speaking grimly.) V er y w el l.

Br ing hi m i n. I 've pa id a l ot f or t he Chur ch, now w e' ll se e wha t t he Chur ch c an do f or m e.

Connie

( Impulsively crossing stage to Margaret, putting arms around her, and weeping.)

P le as e, p le as e, M ad ge , g iv e u p t he p ap er s, a nd e ve ry th in g w il l b e h us he d u p. Y ou h ea rd w ha t f at he r

s aid. Thi nk what i t me ans t o me i f t hi s sc andal c ome s out . Fa ther wi ll hus h i t up. Not a s oul wi ll da re to

breathe a word of it. Give him the papers.

Margaret

( Kissing her, shaking head, and setting her aside.) N o; I c an 't . B ut C on ni e, d ea re st —

( C o n ni e p a u ses .) I t i s not t rue , Conni e. He —he i s not my l ove r. Te ll me t ha t you be li eve m e.

Connie

( C a r es s i ng h er .) I d o be li eve yo u. Bu t wo n' t y ou r et ur n t he pa pe rs —f or m y s ake ?

( A knock at door. )

Margaret

I c an 't .

( Enter Rutland.)

P a g e 1 2 2



( Connie returns to take care of Mrs. Starkweather. )

Rutland

( Advances beamingly upon Starkweather. ) M y, w ha t a f am il y g at he ri ng. I ha st ene d o n a t o nc e, m y

d ea r M r. St ar kw ea th er , t o t ha nk yo u i n p er so n, e re y ou f le d a wa y t o N ew Y or k, f or y our g en er ou sl y

splendid—yes, generously splendid—contribution—

( Here the strained situation dawns upon him, and he remains helplessly with mouth open,

looking from one to another.)

Starkweather

A t heft h as b een com mi tt ed , M r. R ut land . M y d au gh ter h as s to len s om et hi ng v er y v al uabl e f ro m m e— a

package of private papers, so important—well, if she succeeds in making them public I shall be injured to

s uch an ext en t f in an ci al ly t hat t here w on 't b e any m or e g en er ou sl y s pl en di d d on at io ns f or y ou o r any bo dy

el se . I have done my be st t o pers ua de her t o re turn what s he has s tole n. Now you try. Br ing he r to a

r eali zati on o f t he m ad ness o f w hat s he i s d oi ng .

Rutland

( Q ui te a t s ea , h em mi ng a nd h aw in g.) A s y ou r s pi ri tu al adv is er , M rs . C halm er s— if t hi s b e t ru e— I

recommend—I suggest—I—ahem—I entreat—

Margaret

P le as e, M r. R ut la nd , d on 't b e r id ic ul ou s. F at he r i s o nl y m ak in g a s ta lk in g h or se o ut o f y ou . W ha te ve r I

m ay h av e d one , o r n ot d on e, I b el ie ve I a m d oi ng r ig ht . T he w ho le t hi ng i s i nf am ou s. T he p eo pl e h av e

been lied to and robbed, and you are merely lending yourself to the infamy of perpetuating the lying andt he r ob bi ng . I f y ou p er si st i n o beyi ng m y f at her' s o rd er s— yes, o rd er s— yo u w il l l ead m e t o b el ieve t hat

y ou a re a ct ua te d b y d es ir e f or m or e o f t ho se g en er ou sl y s pl en di d d on at io ns . ( Starkweather sneers.)

Rutland

( Embarrassed, hopelessly at sea.) T hi s i s, I f ea r— ah em —t oo d el ic at e a m at te r, M r. S ta rk we at he r,

f or m e t o i nt er fe re . I w ou ld s ug ge st t ha t i t b e a dv is ab le f or m e t o w it hd ra w— ah em —

Starkweather

P a g e 1 2 3



( Musingly.) So t he Chu rc h f ai ls m e, t oo.

( T o R ut l an d .) N o, y ou s ha ll s ta y r ig ht h er e.

Margaret

Fa the r, T om my i s d ow n i n t he m ac hi ne a lon e. W on' t y ou l et m e g o?

Starkweather

Gi ve m e t he p ap er s.

( Mrs. Starkweather rises and totters across to Margaret, moaning and whimpering.)

Mrs. Starkweather

Ma dge , Ma dge , i t c an 't be t ru e. I do n' t be li eve i t. I kno w yo u ha ve n ot do ne t hi s a wf ul t hi ng . No

d au gh te r of m in e c oul d b e g ui lt y o f s uc h w ic ke dn es s. I r ef us e t o b el ie ve m y e ar s—

( Mrs. Starkweather sinks suddenly on her knees before Margaret, with clasped hands, weeping

hysterically.)

Starkweather

( S te pp in g t o h er s id e.) Get up.

( Hesitates and thinks. ) No; go on. S he mi ght l is te n t o yo u.

Margaret

( Attempting to raise her mother. ) D on 't , m ot he r, d on 't . P le as e g et u p.

( Mrs. Starkweather resists her hysterically.) Y ou d on 't u nd er st an d, m ot he r. P le as e, p le as e, g et u p.

Mrs. Starkweather

Ma dge , I , y our m ot he r, i mpl or e yo u, o n my b end ed kn ee s. Gi ve up t he p ape rs t o yo ur f at he r, a nd I s ha ll

f or ge t a ll I ha ve he ard. Thi nk of the f am il y name . I don't bel ieve i t, not a word of it ; but t hi nk of t he sha me

P a g e 1 2 4



and d is gr ace. T hi nk o f m e. T hi nk o f C on ni e, y ou r s is ter. T hi nk o f T om my . Y ou 'l l h av e y ou r f at her i n a

t er ri bl e s tate. A nd y ou 'l l k il l m e. ( Moaning and rolling her head.)

I'm goi ng to be sic k. I know I a m going to be s ick.

Margaret

( Bending over mother and raising her, while Connie comes across stage to help support mother.)

M ot he r, y ou d o no t u nd er st and . M or e i s a t s ta ke t ha n t he go od n ame o f t he f ami ly or —( Looking at

Rutland.) —G od . Y ou s pe ak o f C on ni e a nd T om my . T he re a re t wo m il li on s o f C on ni es a nd T om mys

w or ki ng a s c hi ld l ab or er s i n t he U ni te d S ta te s t o- da y. T hi nk o f t he m. A nd b es id es , m ot he r, t he se a re a ll

l ie s you ha ve he ar d. The re i s not hi ng be twe en M r. K nox a nd me . He i s not m y l ove r. I a m not t he —t he

shameful thing—these men have said I am.

Connie

( Appealingly.) M ad ge .

Margaret

( Appealingly.) Conni e. Tr us t me . I a m r ight . I know I a m r ight .

( Mrs. Starkweather, supported by Connie, moaning incoherently, is led back across stage to

chair.)

Starkweather

M ar ga re t, a f ew m in ut es a go , w he n y ou t ol d m e t he re w as n ot hi ng b et we en y ou a nd t hi s m an , y ou l ie d t o

me —li ed t o me a s onl y a wi cke d woma n c an l ie .

Margaret

I t i s c le ar t ha t y ou b el ie ve t he w or st .

Starkweather

T here i s n ot hi ng l es s t han t he w or st t o b e b el ieved. B es id es , m or e h ei no us t han y ou r r el at io ns w it h t hi s

m an i s w ha t y ou h av e d on e h er e i n t hi s r oo m, s to le n f rom m e, a nd pr ac ti ca ll y b ef or e m y v er y e ye s. W el l,

y ou h av e cro ss ed y ou r w il l w it h m in e, and i n aff ai rs b ey on d y ou r p ro vi nce. T hi s i s a m an 's g am e i n w hi ch

P a g e 1 2 5



y ou a re a tt em pt in g t o p la y, a nd y ou s ha ll t ak e t he c on se qu en ce s. T om w il l a pp ly f or a d iv or ce .

Margaret

T ha t t hr ea t, a t l ea st , i s w it ho ut p ow er .

Starkweather

A nd by t ha t m ea ns we c an br ea k K nox a s e ff ec tua ll y a s by a ny ot he r. Th at i s one t hi ng t he g ood s tupi d

people will not tolerate in a chosen representative. We will make such a scandal of it—

Mrs. Starkweather

( Shocked. ) Anthony!

Starkweather

( G la nc in g i rr it ab ly a t h is w if e a nd c on ti nu in g.) Another thing. Being proven an adulterous woman,

morally unfit for companionship with your child, your child will be taken away from you.

Margaret

N o, n o. T ha t c an no t b e. I h av e d on e n ot hi ng w ro ng . N o c ou rt , n o f ai r- mi nd ed j ud ge , w ou ld s o d ec re e

o n t he e vi de nc e o f a c re at ur e l ik e t ha t.

( Indicating Hubbard.)

Hubbard

M y e vi de nc e i s s upp or te d. I n a n a dj oi ni ng r oo m we re t wo m en . I ha pp en t o k no w, b ec au se I pl ac ed

t he m t he re . T he y w er e y ou r f at he r' s m en a t t ha t. T he re i s s uc h a t hi ng a s s ee in g t hr ou gh a l oc ke d d oo r.

They saw.

Margaret

A nd t hey w ou ld s wear t o— to any th in g.

P a g e 1 2 6



Hubbard

I d ou bt no t t he y w il l k now t o wh at t o s we ar .

Starkweather

M ar ga re t, I ha ve t ol d you s ome , m er el y s ome , o f t he t hi ngs I s ha ll do. I t i s no t t oo l at e. Re tu rn t he

papers, and everything will be forgotten.

Margaret

Y ou w oul d c on do ne t hi s— th is a du lt er y. Y ou , w ho h av e j us t s ai d t ha t I w as m or al ly u nf it t o h av e m y

o wn b oy , w il l p er mi t m e t o r et ai n h im . I h ad n ev er d ream ed , f at her, t hat y ou r o wn i mm or al it y w ou ld

d es cend t o s uch v il e d ep th s. B el ievi ng t hi s s hamefu l t hi ng o f m e, y ou w il l f or gi ve and f or get i t all f or t he

sa ke of a fe w s cra ps of pa pe r that s ta nd for money, t ha t st and f or a lic ense to r ob and st ea l fr om the

people. Is this your morality—money?

Starkweather

I have my mor ali ty. It i s not mone y. I am onl y a s te wa rd; but s o hi ghl y do I conc eive t he dut ie s of mystewardship—

Margaret

( Interrupting, bitterly.) T he t he ft s a nd l ie s a nd a ll c om mo n l it tl e s in s l ik e a dul te ri es a re no t t o s ta nd i n

t he w ay o f y ou r h ig h d ut ies— th at t he end h al lo ws t he m eans .

Starkweather

( Shortly.) Precisely.

Margaret

( T o R ut l an d .) T here i s J es ui ti sm , M r. R ut land . I w ou ld s ug gest t hat y ou , as m y f at her' s s pi ri tu al

adviser—

P a g e 1 2 7



Starkweather

E no ug h o f t hi s f oo lery . G iv e m e t he p ap er s.

Margaret

I h av en 't t hem.

Starkweather

W ha t' s t o b e d on e, H ub ba rd ?

Hubbard

Sh e h as t he m. S he ha s a s mu ch a s a ckn ow le dge d t ha t t he y a re not e ls ew he re i n t he r oo m. Sh e ha s n ot

been out of the room. There is nothing to do but search her.

Starkweather

N ot hi ng e ls e r em ai ns t o b e d on e. D ob le ma n, a nd y ou , H ub ba rd , t ak e h er b eh in d t he s cr ee n. S tr ip h er .

R eco ver t h e p aper s.

( Dobleman is in a proper funk, but Hubbard betrays no unwillingness.)

Chalmers

N o; t ha t I s ha ll n ot p er mi t. H ub ba rd s ha ll h av e no th in g t o d o w it h t hi s.

Margaret

I t i s t oo l at e, T om. Yo u ha ve s too d b y a nd a ll ow ed m e t o be s tr ippe d of e ve ryt hi ng e ls e. A f ew c lo the s

do not matt er now. I f I am to be s trippe d a nd s ea rched by men, Mr . Hubba rd wil l se rve as wel l as a ny

o th er m an . P er haps M r. R ut land w ou ld l ik e t o l en d h is ass is tance.

Connie

P a g e 1 2 8



Oh , M ad ge ! G iv e t he m u p.

( Margaret shakes her head.)

( T o S t a r kw ea t h er . ) The n l et me s ea rc h he r, f at he r.

Starkweather

Y ou a re t oo w il li ng . I d on 't w an t v ol un te er s. I d ou bt t ha t I c an t ru st y ou a ny m or e t ha n y ou r s is te r.

Connie

L et m ot her, t hen.

Starkweather

( Sneering. ) M ar garet cou ld s mu gg le a s teamer- t ru nk o f d ocum en ts p as t h er .

Connie

B ut not t he m en, f at he r! Not th e me n!

Starkweather

W hy n ot ? S he h as s ho wn h er se lf d ea d t o a ll s ha me .

( Imperatively. ) Dobleman!

Dobleman

( T hi nk in g h is t im e h as c om e, a nd a lm os t d yi ng .) Y -y -y es , s ir .

Starkweather

C al l i n t he s er vant s.

P a g e 1 2 9



Mrs. Starkweather

( Crying out in protest.) Anthony!

Starkweather

Wou ld yo u pr ef er h er t o b e s ea rc he d b y t he m en ?

Mrs. Starkweather

( Subsiding.) I shall die, I shall die. I know I shall die.

Starkweather

Dobleman. Ring for the servants.

( Dobleman, who has been hesitant, crosses to desk and pushes button, then returns toward door.

) S en d i n t he m ai ds a nd t he h ou se ke ep er .

( Linda, blindly desiring to be of some assistance, starts impulsively toward Margaret.) S ta nd o ve r

there—in the corner.

( Indicating right front.)

( Linda pauses irresolutely and Margaret nods to her to obey and smiles encouragement. Linda,

protesting in every fiber of her, goes to right front. )

( A knock at right rear and Dobleman unlocks door, confers with maid, and closes and locks

door.)

Starkweather

( T o M a rg ar e t .) T hi s i s n o t im e f or t ri fl in g, n or f or m aw ki sh s en ti ment al it y. R et ur n t he p ap er s o r t ak e t he

consequences.

( Margaret makes no answer.)

Chalmers

You have taken a hand in a man's game, a nd you've got to play it out or quit . Give up the paper s.

P a g e 1 3 0



( Margaret remains resolved and impassive.)

Hubbard

( Suavely. ) A ll ow m e t o p oi nt o ut , m y de ar M rs . C ha lm er s, t ha t y ou a re n ot m er el y s te al in g f ro m y ou r

f at he r. Y ou a re p la yi ng t he t ra it or t o y ou r c la ss .

Starkweather

And causing irreparable damage.

Margaret

( Firing up suddenly and pointing to Lincoln's portrait ) I do ubt no t he c au se d i rr epa ra bl e da ma ge

w he n h e f re ed t he s la ve s a nd p re se rv ed t he U ni on. Ye t he r ec og ni ze d n o c la ss es . I 'd r at he r be a t ra it or t o

m y c la ss t ha n t o hi m.

Starkweather

Demagoguery. Demagoguery.

( A knock at right rear. Dobleman opens door. Enter Mrs. Middleton who is the housekeeper,

followed by two Housemaids. They pause at rear. Housekeeper to the fore and looking

expectantly at Starkweather. The Maids appear timid and frightened.)

Housekeeper

Y e s, s ir .

Starkweather

Mr s. M id dl et on , y ou h av e t he t wo m ai ds t o a ss is t y ou . T ak e M rs . C ha lm er s b eh in d t ha t s cr ee n t he re

a nd s ea rc h he r. St ri p a ll he r c lot he s f ro m he r a nd m ake a c ar ef ul s ea rc h. ( Maids show perturbation.)

Housekeeper

P a g e 1 3 1



( Self-possessed.) Yes, sir. What am I to search for?

Starkweather

P ap er s, d ocum en ts , any th in g u nu su al . T ur n t hem o ver t o m e w hen y ou f in d t hem.

Margaret

( In a sudden panic.) T hi s i s m on st ro us ! T hi s i s m on st ro us !

Starkweather

S o i s y ou r t heft o f t he d ocum en ts m on st ro us .

Margaret

( Appealing to the other men, ignoring Rutland and not considering Dobleman at all.)

Y ou c ow ar ds ! W il l y ou s ta nd b y a nd p er mi t t hi s t hi ng t o b e d on e? T om , h av e y ou o ne a to m o f m an ho od

in you?

Chalmers

( Doggedly.) R et ur n t he p ap er s, t he n.

Margaret

Mr. Rutland—

Rutland

( V er y a wk wa rd ly a nd o il il y.) M y d ea r M rs . C ha lm er s. I a ss ur e y ou t he w ho le c ir cu ms ta nc e i s

u nf or tu nate. B ut y ou are s o p al pabl y i n t he w ro ng t hat I can no t i nt er fere—( Margaret turns from him in

w i t her i n g s co r n.) —T hat I can no t i nt er fere.

P a g e 1 3 2



Dobleman

( Breaking down unexpectedly. ) I c an not s ta nd i t. I l ea ve your e mpl oy, s ir . I t i s out ra ge ous . I r es ig n

now, a t onc e. I c annot be a pa rty t o t hi s.

( Striving to unlock door.) I a m go in g a t on ce . Yo u br ut es ! Y ou b rut es !

( Breaks into convulsive sobbings.)

Chalmers

A h, a no th er l ov er , I s ee .

( Dobleman manages to unlock door and starts to open it. )

Starkweather

Y o u f oo l! S hu t t ha t d oo r!

( Dobleman hesitates.) Shut i t!

( Dobleman obeys.) Loc k i t!

( Dobleman obeys.)

Margaret

( S m i li n g w i s t fu l l y, b en ig n an t l y.) T hank y ou , M r. D ob leman.

( T o S t a r kw ea t h er . ) F at he r, y ou s ur el y w il l n ot p er pe tr at e t hi s o ut ra ge , w he n I t el l y ou , I s we ar t o

you—

Starkweather

( Interrupting.) R et ur n t he d ocum en ts t hen.

Margaret

I s we ar t o you tha t I have n' t t he m. You wi ll not f ind t he m on me .

P a g e 1 3 3



Starkweather

Y ou ha ve l ie d t o me a bou t Knox, a nd I ha ve no r ea son t o be li eve you w il l not l ie t o me a bout t hi s

matter.

Margaret

( Steadily.) I f you do t hi s t hi ng yo u s ha ll c ea se t o be my f at he r f or eve r. You s ha ll c ea se to e xi st s o f ar a s

I a m c on ce rn ed .

Starkweather

You ha ve t oo muc h of m y own wi ll i n you f or you e ve r t o for ge t whe nc e i t c ame . Mr s. Mi ddl eton, go

ahead.

( Housekeeper, summoning Maids with her eyes, begins to advance on Margaret.)

Connie

( In a passion.) Fa the r, i f yo u do t hi s I s ha ll n eve r s pe ak t o you a ga in.

( Breaks down weeping.) ( Mrs. Starkweather, during following scene, has mild but continuous

shuddering and weeping hysteria.)

Starkweather

( Briskly, looking at watch.) I 'v e w as te d e no ug h t im e o n t hi s. M rs . M id dl et on , p ro ce ed .

Margaret

( W il dl y, b ac k in g a wa y f r om H ou se ke ep er .) I w il l n ot t am el y s ubm it . I w il l r es is t, I pr om is e yo u.

Starkweather

Us e f or ce, i f n eces s ar y.

( Th e M ai ds ar e r el uc ta nt , bu t Ho us ek ee pe r c om ma nd s t he m w it h h er e ye s t o c los e i n on

Margaret, and they obey.)

P a g e 1 3 4



( Margaret backs away until she brings up against desk. )

Housekeeper

C o m e, M rs . C hal mer s.

( Margaret stands trembling, but refuses to notice Housekeeper. ) ( Housekeeper places hand on

Margaret's arm.)

Margaret

( V io le nt ly f li ng in g t he h an d o ff , c ry i ng i mp er io us ly .) S ta nd b ac k!

( Housekeeper instinctively shrinks back, as do Maids. But it is only for the moment. They close in

u po n M ar ga re t t o s ei se h er .)

( C ry i ng f r an ti ca ll y f or h el p.) Linda! Linda!

( Linda springs forward to help her mistress, but is caught and held struggling by Chalmers, who

t wi st s h er a rm a nd f in al ly c om pe ls h er t o b ec om e q ui et .)

( Margaret, struggling and resisting, is hustled across stage and behind screen, the Maids

warming up to their work. One of them emerges from behind screen for the purpose of getting ac hai r, up on w hi ch Ma rga re t i s e vi de nt ly f or ce d t o s it . Th e s cr ee n i s o f s uc h he ig ht , t ha t

o cc as io na ll y, w he n s ta nd in g u p a nd s tr ug gl in g, M ar ga re t' s b ar e a rm s a re v is ib le a bo ve t he t op o f

it. Muttered exclamations are heard, and the voice of Housekeeper trying to persuade Margaret

to sub-mit.)

Margaret

( Abruptly, piteously.) No! No!

( T he s tr ug gl e b ec om es m or e v io le nt , a nd t he s cr ee n i s o ve rt ur ne d, d is cl os in g M ar ga re t s ea te d o n

c ha ir , p ar tl y u nd re ss ed , a nd c lu tc hi ng a n e nv el op e i n h er h an d w hi ch t he y a re t ry in g t o f or ce h er

t o r el i nq u i sh .)

Mrs. Starkweather

( C r yin g w i l dl y.) A nt ho ny ! T hey are t ak in g h er clo th es o ff !

( Renewed struggle of Linda with Chalmers at the sight.)

P a g e 1 3 5



( S ta rk we at he r, c al li ng R ut la nd t o h is a ss is ta nc e, s ta nd s s cr ee n u p a ga in , t he n, a s a n

afterthought, pulls screen a little further away from Margaret. )

Margaret

No! No!

( Housekeeper appears triumphantly with envelope in her hand and hands it to Hubbard.)

Hubbard

( Immediately.) T ha t' s n ot i t.

( G la nc es a t a dd re ss a nd s ta rt s.) I t' s a dd re ss ed t o K no x.

Starkweather

Te ar i t op en. R ea d i t.

( Hubbard tears envelope open.) ( W hi le t hi s i s g oi ng o n, s tr ug gl e b eh in d s cr ee n i s s us pe nd ed .)

Hubbard

( Withdrawing contents of envelope. ) I t i s o nl y a p ho to gr ap h— of M rs . C ha lm er s.

( Reading.) "For the future—Margaret."

Chalmers

( Thrusting Linda back to right front and striding up to Hubbard. ) Give it to me. ( Hubbard passes

it t o him, and he look s at i t, c rumples i t in hi s hand, and grinds i t under f oot.)

Starkweather

Th at i s n ot wh at w e wa nt ed, M rs . M id dl et on . G o on w it h t he s ea rc h.

( T he s ea rc h g oe s o n b eh in d t he s cr ee n w it ho ut a ny f ur th er s tr ug gl in g.) ( A pause, during which

screen is occasionally agitated by the searchers removing Margaret's garments.)

P a g e 1 3 6



Housekeeper

( Appearing around corner of screen.) I f in d n ot hi ng e ls e, s ir .

Starkweather

I s s he s tr ip pe d?

Housekeeper

Y e s, s ir .

Starkweather

Every stitch?

Housekeeper

( Disappearing behind screen instead of answering for a pause, during which it is patent that the

u lt im at e s ti t ch i s b ei ng r em ov ed , t he n r ea pp ea ri ng .) Yes , s ir.

Starkweather

Nothing?

Housekeeper

Nothing.

Starkweather

Throw out her clothes—everything.

( A confused mass of feminine apparel is tossed out, falling near Dobleman's feet, who, in

c o ns e qu e nc e , i s h ug e ly m o rt i fi e d a nd e m ba r ra s se d .)

P a g e 1 3 7



( Chalmers examines garments, then steps behind screen a moment, and reappears. )

Chalmers

Nothing.

( Chalmers, Starkweather, and Hubbard gaze at each other dumbfoundedly. )

( Th e t wo M ai ds c om e ou t f ro m b ehi nd s cr ee n a nd s tan d n ear d oo r t o r igh t r ear .)

( Starkweather is loath to believe, and steps to Margaret's garments and overhauls them. )

Starkweather

( T o C ha l me r s, l o ok i ng i n qu i ri n gl y t o wa r d s c re e n.) Are you sure ?

Chalmers

Ye s; I m ad e c er ta in . S he h as n' t t he m.

Starkweather

( T o H o us e k ee p er .) M rs . M id dl et on , exami ne t ho se g ir ls .

Housekeeper

( Passing hands over dresses of Maids.) No, sir .

Margaret

( From behind screen, in a subdued, spiritless voice.) M ay I d re ss —n ow ?

( Nobody answers.) I t— it i s q ui te chi ll y.

( Nobody answers.) Wi ll you l et Linda c ome t o me , ple as e?

( Starkweather nods savagely to Linda, to obey.) ( Linda crosses to garments, gathers them up,

a nd d i sa pp e ar s b eh i nd s c re e n.)

P a g e 1 3 8



Starkweather

( T o H o us e k ee p er .)

Yo u m ay g o.

( Exit Housekeeper and the two Maids.)

Dobleman

( Hesitating, after closing door.) Shall I lock it?

( Starkweather does not answer, and Dobleman leaves door unlocked. )

Connie

( Rising.) May I ta ke mother awa y?

( Starkweather, who is in a brown study, nods. ) ( Connie assists Mrs. Starkweather to her feet.)

Mrs. Starkweather

( Staggering weakly, and sinking back into chair. ) Le t me re st a moment, Connie . I 'l l be be tte r. ( To

Starkweather, who takes no notice. ) Anthony, I am going to bed. This has been too much for me. I

s ha ll b e s ic k. I s ha ll n ev er c at ch t ha t t ra in t o- da y.

( S hu dd er s a nd s ig hs , l ea ns h ea d b ac k, c lo se s e ye s, a nd C on ni e f an s h er o r a dm in is te rs s me ll in g

salts.)

Chalmers

( T o H ub ba r d.) What 's to be done ?

Hubbard

( S h r ug g in g s h o ul d ers .) I' m a ll a t s ea . I ha d j us t l ef t t he l et te rs wi th h im , w he n M rs . Ch alm er s e nt er ed

t he r oo m. W ha t' s b ec om e o f t he m? S he h as n' t t he m, t ha t' s c er ta in .

P a g e 1 3 9



Chalmers

B ut w hy ? W hy s ho ul d s he h av e t ak en t he m?

Hubbard

( Dryly, pointing to crumpled photograph on floor.) It se ems ver y cl ear t o me.

Chalmers

Y ou t hi nk s o? Y ou t hi nk s o?

Hubbard

I t ol d you wha t I s aw l as t ni ght a t hi s r ooms . The re i s no ot he r e xpl ana ti on.

Chalmers

( Angrily.) And that's the sort he is—vaunting his moral superiority—mouthing phrases about theft—our

t heft —and h im self t he g reat es t t hi ef o f all , s teal in g t he d earest and s acredest t hi ng s—

( Margaret appears from behind screen, pinning on her hat. She is dressed, but somewhat in

d is ar r ay , a nd L in da f ol lo ws , p ul li ng a nd t ou ch in g a nd a rr an gi ng . M ar ga re t p au se s n ea r t o

Rutland, but does not seem to see him.)

Rutland

( Lamely.) I t i s a s ad h ap pe ni ng —a he m— a s ad h ap pe ni ng . I a m g ri ev ed , d ee pl y g ri ev ed . I c an no t t el l

y ou , M rs . C ha lm er s, h ow g ri ev ed I a m t o h av e b ee n c om pe ll ed t o b e p re se nt a t t hi s— ah em —t hi s

unfortunate—

( Margaret withers him with a look and he awkwardly ceases. )

Margaret

A ft er t hi s, f at he r, t he re i s on e t hi ng I s ha ll d o—

P a g e 1 4 0



Chalmers

( Interrupting.) Go t o your l over , I s uppose .

Margaret

( Coldly. ) Ha ve i t th at wa y if you c ho os e.

Chalmers

A nd t ak e h im w ha t y ou h av e s to le n—

Starkweather

( Arousing suddenly from brown study.) B ut s he ha sn 't t he m o n he r. Sh e ha sn' t be en ou t of t he r oom .

The y a re not i n t he r oom. The n wh er e a re t he y?

( During the following, Margaret goes to the door, which Dobleman opens. She forces Linda to

go out and herself pauses in open door to listen.)

Hubbard

( Uttering an exclamation of enlightenment, going rapidly across to window at left and raising it.

) I t i s n ot l ocked. I t m ov es n oi seless ly . T here's t he exp lanati on .

( T o S t a r kw ea t h er . ) W hi le y ou w er e a t t he s af e, w it h y ou r b ac k t ur ne d, s he l if te d t he w in do w, t os se d

t he p ap er s o ut t o s om eb od y w ai ti ng —

( He sticks head and shoulders out of window, peers down, then brings head and shoulders back.

) —N o; t he y a re n ot t he re . S om eb od y w as w ai ti ng f or t he m.

Starkweather

B ut h ow s ho ul d s he k no w I h ad t he m? Y ou h ad o nl y j us t r ec ov er ed t he m?

Hubbard

P a g e 1 4 1



D id n' t K no x k no w r ig ht a wa y l as t n ig ht t ha t I h ad t ak en t he m? I t oo k t he u p- el ev at or i ns te ad o f t he

d ow n w he n I h ea rd h im r un ni ng a lo ng t he h al l. T ru st h im t o l et he r k no w w ha t h ad h ap pe ne d. S he w as

t he o nl y o ne w ho cou ld r ecov er t hem f or h im . E ls e w hy d id s he com e h er e s o i mm ed iately t hi s m or ni ng ?

T o s te al t he pa ck ag e, of c ou rs e. A nd s he h ad s om e o ne wa it ing ou ts ide . S he t os se d t he m ou t a nd c lo se d

the window—

( He closes window.) —Y ou n ot ic e i t m ak es n o s ou nd .— an d s at d ow n a ga in —a ll w hi le y ou r b ac k w asturned.

Starkweather

Marg ar et , i s t hi s t ru e?

Margaret

( Excitedly. ) Y es , t he w in do w. W hy d id n' t y ou t hi nk o f i t b ef or e? O f c ou rs e, t he w in do w.

H e— so mebo dy w as w ai ti ng . T hey are g on e n ow —m il es and m il es away. Y ou w il l n ev er g et t hem. T hey

a re i n h is h an ds n ow . H e w il l u se t he m i n hi s s pe ec h t hi s a ft er no on . ( Laughs wildly.)

( Suddenly changing her tone to mock meekness, subtle with defiance. ) Ma y I go— now?

( Nobody answers, and she makes exit. ) ( A moments pause, during which Starkweather,

Chalmers, and Hubbard look at each other in stupefaction. )

Curtain

ACT IV

Scene. Same as Act I. It is half past one of same day. Curtain discloses Knox seated at right front a n d w a i ti n g . H e i s d ej ect ed i n a t t i t u d e.

( Margaret enters from right rear, and advances to him. He rises awkwardly and shakes hands.

S he i s v er y c al m a nd s el f- po ss es se d.)

Margaret

I k ne w you w ou ld c om e. S tr an ge t ha t I h ad t o s end f or y ou s o s oon a ft er l as t n igh t—

( W it h a la rm a nd s ud de n c ha ng e o f m an ne r.) W ha t i s t he ma tt er ? Yo u a re s ic k. Yo ur h and i s c ol d.

P a g e 1 4 2



( She warms it in both of her hands. )

Knox

It is fl ame or fr eez e wi th me.

( Smiling.) A nd I 'd r at he r f la me .

Margaret

( Becoming aware that she is warming his hand.)

S it dow n a nd t el l me wha t i s t he ma tt er .

( Leading him by the hand she seats him, at the same time seating herself. )

Knox

( Abruptly.) A ft er y ou l ef t l as t n ig ht , H ub bard s to le t ho se d ocum en ts b ack again .

Margaret

( V er y m a t t er - o f - f a ct .) Y es ; he wa s i n you r b edr oom w hi le I w as t he re .

Knox

( Startled. ) Ho w d o yo u kn ow t ha t? A nyw ay , h e di d no t kn ow w ho yo u w er e.

Margaret

O h yes he did.

Knox

( Angrily.) And he ha s d are d— ?

P a g e 1 4 3



Margaret

Y es ; n ot t wo h ou rs a go . H e a nn ou nc ed t he f ac t b ef or e m y f at he r, m y m ot he r, C on ni e, t he s er va nt s,

everybody.

Knox

( Rising to his feet and beginning to pace perturbedly up and down.) The cur!

Margaret

( Quietly. ) I b el ie ve , a mo ng o the r t hi ngs , I t ol d h im he w as t ha t m ys el f.

( S he l a ug hs c y ni c al l y.) Oh, i t wa s a pr et ty f ami ly pa rt y, I a ss ur e yo u. Mo the r s ai d s he di dn' t be li ev e

i t— bu t t hat w as o nl y h ys teri a. O f cou rs e s he b el ieves i t— th e w or s t. S o d oes C on ni e—ever yb od y.

Knox

( S to pp in g a br up tl y a nd l oo ki ng a t h er h or ro r- s tr ic k en .) Y ou d on 't m ea n t he y c ha rg ed —— ?

Margaret

N o; I do n' t m ea n t ha t. I m ea n m or e. T he y di dn 't c ha rge . T he y a cc ept ed i t a s a pr ov en f ac t t ha t I w as

guilty. That you were my—lover.

Knox

On that man's testimony?

Margaret

H e h ad t wo w it ne ss es i n a n a dj oi ni ng r oo m.

Knox

( Relieved.) A ll t he b et te r. T he y c an t es ti fy t o n ot hi ng m or e t ha n t he t ru th , a nd t he t ru th i s n ot s er io us . I n

P a g e 1 4 4



o ur c as e i t i s go od, f or w e r en oun ce d e ac h o th er .

Margaret

You do n' t kno w t he se m en. I t i s e as y t o gue ss t ha t t he y ha ve be en w el l t ra ine d. Th ey wo ul d s we ar t oanything.

( S he l a ug h s b i tt e r ly .) T hey are m y f at her' s m en , y ou k no w, h is p ai d s leut h- ho un ds .

Knox

( C ol la ps in g i n c ha ir , h ol di ng h ea d i n h an ds , a nd g ro an in g.) How you mus t ha ve s uff er ed. W ha t a

t er ri bl e t im e, w ha t a t er ri bl e t im e! I c an s ee i t a ll —b ef or e e ve ry bo dy —y ou r n ea re st a nd d ea re st . A h, Ic ou ld n ot u nde rs ta nd , a ft er o ur p ar ti ng l as t n ig ht , w hy y ou s ho ul d h av e s en t f or m e t od ay . B ut n ow I

know.

Margaret

No you don' t, a t a ll .

Knox

( Ignoring her and again beginning to pace back and forth, thinking on his feet. ) W ha t' s t he

d if ference? I am r ui ned p ol it ical ly . T heir s ch em e h as w or ked o ut o nl y t oo w el l. G if fo rd w ar ned m e, y ou

w ar ne d m e, e ve ry bo dy w ar ne d m e. B ut I w as a f oo l, b li nd —w it h a f oo l' s f ol ly . T he re i s n ot hi ng l ef t b ut

you now.

( He pauses, and the light of a new thought irradiates his face.) D o y ou k now , M ar ga re t, I t ha nk

G od i t h as h ap pe ne d a s i t h as . W ha t i f m y u se fu ln es s i s d es tr oy ed ? T he re w il l b e o th er m en —o th er

l ea de rs . I bu t ma ke wa y f or a not he r. T he c aus e o f t he pe opl e c an n eve r b e l os t. An d t ho ug h I a m dr ive nf rom t he f ight , I a m dr ive n to you. W e a re dr ive n t oge the r. I t i s fa te . Aga in I t ha nk God f or i t.

( He approaches her and tries to clasp her in his arms, but she steps back.)

Margaret

( S m il i n g s a dl y.) A h, n ow yo u f la me . The t abl es a re r ev er se d. La st ni ght i t wa s I . W e a re f or tu na te t ha t

w e c ho os e d iv er se t im es f or o ur m oo ds —e ls e t he re w ou ld b e n au gh t b ut o ne s we et m el ti ng m ad d is as te r.

P a g e 1 4 5



Knox

B ut i t i s no t a s i f w e h ad d on e t hi s t hi ng d el ibe ra te ly a nd s el fi sh ly . W e h av e r eno un ce d. W e ha ve

s tr ug gl ed a ga in st i t u nt il w e w er e b ea te n. A nd n ow w e a re d ri ve n t og et he r, n ot b y o ur d oi ng b ut F at e' s.

Af te r t his a ffa ir t hi s morni ng the re is not hi ng f or you but to c ome t o me . And a s f or me , de spi te my bes t, I

a m f in is he d. I h av e f ai le d. A s I t ol d y ou , t he p ap er s a re s to le n. T he re w il l b e n o s pe ec h t hi s a ft er no on .

Margaret

( Quietly. ) Y es t he re w il l.

Knox

I mp os si bl e. I w ou ld m ak e a t ri pl e f oo l o f m ys el f. I w ou ld b e u na bl e t o s ub st an ti at e m y c ha rg es .

Margaret

Y ou w il l s ub st an ti at e t he m. W ha t a c ha in o f t he ft i t i s. M y f at he r s te al s f ro m t he p eo pl e. T he d oc um en ts

t ha t p ro ve h is s te al in g a re s to le n b y G he rs t. H ub ba rd s te al s t he m f ro m y ou a nd r et ur ns t he m t o m y f at he r.

An d I s te al t he m f rom my f at he r a nd p as s t he m ba ck t o yo u.

Knox

( Astounded.) You?—You?—

Margaret

Y es ; t hi s ve ry m or ni ng . T ha t w as t he c aus e o f a ll t he t ro ub le . I f I h ad n' t s tol en t he m no thi ng w ou ld ha veh ap pened. H ub bard h ad j us t r etu rn ed t hem t o m y f at her.

Knox

( Profoundly touched.) And you di d thi s f or m e— ?

Margaret

D ea r m an , I d id n' t d o i t f or y ou . I w as n' t b ra ve e no ug h. I s ho ul d h av e g iv en i n. I d on 't m in d c on fe ss in g

P a g e 1 4 6



that I st art ed t o do i t for you, but i t soon grew so te rri ble t ha t I wa s afr aid. I t gre w so ter rible that had it

been for you alone I should have surrendered. But out of the terror of it all I caught a wider vision, and all

t ha t yo u s ai d l as t ni ght r os e be for e m e. A nd I kne w th at you we re r ight . I t hou ght of a ll t he pe op le , a nd of

t he li tt le c hi ldr en. I di d i t f or t he m, a ft er a ll . Yo u s pe ak f or t he m. I s tol e t he pa pe rs s o th at you c oul d us e

t he m i n s pe ak in g f or t he p eo pl e. D on 't y ou s ee , d ea r m an ?

( C h an gi n g t o a ng r y r e c ol l ec t i on .) Do you know what t he y c os t me ? Do you know what wa s done t om e, t o- da y, t hi s m or ni ng , i n m y f at he r' s h ou se ? I w as s ha me d, h um il ia te d, a s I w ou ld n ev er h av e d re am ed

i t pos si bl e. Do yo u know w ha t t he y di d t o m e? The s er va nt s w er e c al le d i n, a nd by t he m I w as s tr ip pe d

before everybody—my family, Hubbard, the Reverend Mr. Rutland, the secretary, everybody.

Knox

( Stunned.) Stripped—you?

Margaret

E very s ti tch. M y f at her com mand ed i t

Knox

( S ud d en l y v i si o ni n g t h e s c en e .) My God!

Margaret

( Recovering herself and speaking cynically, with a laugh at his shocked face.) No; it was not so

bad as that. There was a screen.

( Knox appears somewhat relieved. ) B ut i t f el l d ow n i n t he m id st of t he s tr ug gl e.

Knox

B ut i n h ea ve n' s n am e w hy w as t hi s d on e t o y ou ?

Margaret

S ea rc hi ng f or t he l os t l et te rs . T he y k ne w I h ad t ak en t he m.

( Speaking gravely.)

P a g e 1 4 7



So yo u s ee , I ha ve e ar ne d t ho se pa pe rs . A nd I h av e e ar ne d t he r igh t t o s ay w ha t s ha ll b e d on e w it h

t he m. I s ha ll gi ve t he m t o yo u, a nd yo u w il l u se t he m i n yo ur s pe ec h t hi s a ft er no on.

Knox

I d on 't w an t t he m.

Margaret

( G oi ng t o b el l a nd r in gi ng .) O h y es y ou d o. T he y a re m or e v al ua bl e r ig ht no w t ha n a ny thi ng e ls e i n t he

world.

Knox

( S ha ki ng h is h ea d.) I wi sh i t ha dn 't ha ppe ne d.

Margaret

( Returning to him, pausing by his chair, and caressing his hair.) W ha t?

Knox

T hi s m or ni ng —y ou r r ecov er in g t he l et ters . I h ad adj us ted m ys el f t o t heir l os s, and t he l os s o f t he f ig ht ,

and the finding of—you.

( He reaches up, draws down her hand, and presses it to his lips.) S o— gi ve t he m b ac k t o yo ur

father.

( Margaret draws quickly away from him.) ( Enter Man-servant at right rear. )

Margaret

S e nd L in da t o m e.

( Exit Man-servant. )

P a g e 1 4 8



Knox

W ha t a re y ou d oi ng ?

Margaret

( Sitting down.) I a m g oi ng t o s en d L in da f or t he m. T he y a re s ti ll i n m y f at he r' s h ous e, h id de n, o f a ll

places, behind Lincoln's portrait. He will guard them safely, I know.

Knox

( With fervor.) M ar ga re t! M ar ga re t! D on 't s en d f or t he m. L et t he m g o. I d on 't w an t t he m.

( Rising and going toward her impulsively.) ( Margaret rises and retreats, holding him off.) I want

you—you—you.

( He catches her hand and kisses it. She tears it away from him, but tenderly. )

Margaret

( S t il l r e tr e at i ng , r o gu i sh l y a n d t e nd e rl y .) Dear, dear man, I love to see you so. But it cannot be.

( Looking anxiously toward right rear. ) N o, n o, p le as e, p le as e s it d ow n.

( Enter Linda from right rear. She is dressed for the street. )

Margaret

( Surprised. ) W he re a re y ou g oi ng ?

Linda

T omm y a nd t he nur se a nd I w er e g oi ng dow n t ow n. Th er e i s s om e s hoppi ng s he w ant s t o do .

Margaret

V er y g oo d. B ut g o f ir st t o m y f at he r' s h ou se . L is te n c lo se ly . I n t he l ib ra ry , b eh in d t he p or tr ai t o f

Lincoln—you know it? ( Linda nods.)

P a g e 1 4 9



Y ou wi ll f in d a pa cke t of p ape rs . I t t ook me f ive s ec onds t o put i t t he re . I t wi ll t ak e y ou no l onge r t o ge t

i t. Le t no on e s ee y ou. Le t i t a ppe ar a s t ho ugh yo u h ad b rough t T omm y t o s ee hi s gr andm ot he r a nd c he er

h er u p. Y ou k no w s he i s n ot f ee li ng ve ry w el l j us t n ow . A ft er y ou g et t he p ap er s, l ea ve T om my t he re a nd

bring them immediately back to me. Step on a chair to the ledge of the bookcase, and reach behind the

portrait. You should be back inside fifteen minutes. Take the car.

Linda

T om my a nd t he n ur se a re a lr ea dy i n i t, wa it in g f or m e.

Margaret

B e car ef ul . B e q ui ck .

( Linda nods to each instruction and makes exit. )

Knox

( Bursting out passionately.) T hi s i s m ad ne ss . Y ou a re s ac ri fi ci ng y ou rs el f, a nd m e. I d on 't w an t t he m. I

w an t y ou . I a m t ir ed . W ha t d oe s a ny th in g m at te r e xc ep t l ov e? I h av e p ur su ed i de al s l on g e no ug h. N ow I

want you.

Margaret

( Gravely. ) Ah, t he re you ha ve e xpr es se d t he pi th o f i t. Y ou w il l now f or sa ke i de als f or m e—( He

a t t em p t s t o i n t er r u p t .) No, no; not that I am less than an ideal. I have no silly vanity that way. But I

w an t y ou t o r em ai n i de al , a nd y ou c an o nl y b y g oi ng o n— not by b ei ng t ur ne d b ac k. A ny bo dy c an p la y

t he c ow ar d a nd a ss er t t he y a re f at igu ed . I c ou ld n ot l ove a c ow ar d. I t wa s y ou r s tr en gt h t ha t s av ed us

l as t ni ght . I c oul d not h ave l ove d y ou a s I do, now , h ad y ou b ee n w ea k l as t ni ght . You c an onl y ke ep my

love—

Knox

( Interrupting, bitterly.) B y f or eg oi ng i t— fo r an i deal . M ar garet, w hat i s t he b ig gest t hi ng i n t he w or ld ?

L ov e. T he re i s t he g re at es t i de al o f a ll .

Margaret

( Playfully.) Love of m an a nd woma n?

P a g e 1 5 0



Knox

W hat el se?

Margaret

( Gravely. ) T here i s o ne t hi ng g reat er —l ov e o f m an f or h is f el lo wm an .

Knox

O h, h ow y ou t ur n m y p re ac hm en ts b ac k o n m e. I t i s a l es so n. N ev er mo re s ha ll I p re ac h. H en ce fo rt h—

Margaret

Yes.

( Chalmers enters unobserved at left, pauses, and looks on.)

Knox

Henceforth I love. Listen.

Margaret

Y ou a re o ve rw ro ug ht . I t w il l p as s, a nd y ou w il l s ee y ou r p at h s tr ai gh t b ef or e y ou , a nd k no w t ha t I a mr ig ht . Y ou can no t r un away f ro m t he f ig ht .

Knox

I c an— and wi ll . I w ant y ou, a nd y ou w ant m e— the m an 's a nd wo ma n' s ne ed f or e ac h o the r. C om e, g o

w it h m e— no w. L et u s s na tc h a t h ap pi ne ss w hi le w e m ay .

( He arises, approaches her, and gets her hand in his. She becomes more complaisant, and,

i ns te ad o f r ep ul si ng h im , i s w il li ng t o l is te n a nd r ec ei ve .) As I ha ve s ai d, the f ight wi ll go on jus t t he

s am e. S cor es of me n, be tt er m en, s tr ong er me n, t ha n I , w il l r is e t o t ake my pl ac e. W hy do I t al k t hi s

w ay ? B ec au se I l ov e y ou , l ov e y ou , l ov e y ou . N ot hi ng e ls e e xi st s i n a ll t he w or ld bu t l ov e o f y ou .

P a g e 1 5 1



Margaret

( Melting and wavering.) A h, y ou f lame, y ou f lame.

( Chalmers utters an inarticulate cry of rage and rushes forward at Knox)

( Margaret and Knox are startled by the cry and discover Chalmer's presence. )

Margaret

( Confronting Chalmers and thrusting him slightly back from Knox, and continuing to hold him

o f f f r o m K n o x. ) N o, T om , n o d ra ma ti cs , p le as e. T hi s e xc it em en t o f y ou rs i s o nl y a ut om at ic a ndc on ve nt io na l. Y ou r ea ll y d on 't m ea n i t. Y ou d on 't e ve n f ee l i t. Y ou d o i t b ec au se i t i s e xp ec te d o f y ou a nd

because it is your training. Besides, it is bad for your heart. Remember Dr. West's warning—

( Chalmers, making an unusually violent effort to get at Knox, suddenly staggers weakly back,

signs of pain on his face, holding a hand convulsively clasped over his heart. Margaret catches

hi m a nd s upp or ts hi m t o a c ha ir , i nt o w hi ch he c ol la ps es .)

Chalmers

( Muttering weakly. ) M y h ea rt ! M y h ea rt !

Knox

( Approaching.) Ca n I do a nyt hi ng?

Margaret

( Calmly.) No; i t is a ll r ight . H e wil l be be tte r pr ese nt ly.

( She i s b endi ng ov er Cha lme rs , he r ha nd o n hi s wr is t, whe n s udd enl y, as a s ig n he i s r ec ov er in g,

h e v i ol en tl y f l in gs h er h an d o ff a n d s tr ai gh te ns u p.)

Knox

( Undecidedly.) I shall go now.

P a g e 1 5 2



Margaret

N o. Y ou w il l w ai t u nt il L in da c om es b ac k. B es id es , y ou c an 't r un a wa y f ro m t hi s a nd l ea ve m e a lo ne t o

f ace i t.

Knox

( Hurt, showing that he will stay.) I am not a coward.

Chalmers

( In a stifled voice that grows stronger. ) Yes; wait I have a word for you.

( He pauses a moment, and when he speaks again his voice is all right.)

( Witheringly. ) A n ic e s pe ci me n o f a r ef or me r, I m us t s ay . Y ou , w ho b ab bl ed y es te rd ay a bo ut t he ft .

The mos t hi gh, r ighte ous a nd nobl e Al i Ba ba , who ha s c ome int o t he de n of t hi eve s a nd who is a ls o a

thief.

( Mimicking Margaret.) " Ah , y ou f lame, y ou f lame!"

( In his natural voice.) I s ho ul d cal l y ou ; y ou t hi ef , y ou t hi ef , y ou w if e- st ealer, y ou .

Margaret

( Coolly. ) I s ho ul d s ca rc el y c al l i t t he ft .

Chalmers

( Sneeringly. ) Ye s; I for got . You me an i t i s not t he ft f or him t o t ake wha t a lr ea dy be longs t o him .

Margaret

N ot q ui te t ha t— bu t i n t ak in g w ha t h as b ee n f re el y o ff er ed t o h im .

Chalmers

P a g e 1 5 3



Y ou m ea n y ou h av e s o f or go tt en y ou r w om an ho od a s t o o ff er —

Margaret

J us t t ha t. L as t ni ght . A nd M r. K no x d id h im se lf t he h on or of r ef us in g m e.

Knox

( Bursting forth.) Y ou s ee, n ot hi ng els e r em ai ns , M ar garet.

Chalmers

( Twittingly.) Ah, "Margaret."

Knox

( Ignoring him.) The situation is intolerable.

Chalmers

( Emphatically) . I t i s i nt ol er ab le . D on 't y ou t hi nk yo u h ad b et te r l ea ve t hi s h ou se ? E ve ry m om en t o f

your presence dishonors it.

Margaret

D o n' t t al k o f h on or , T om .

Chalmers

I m ake no e xc us es f or mys el f. I f anc y I ne ve r f oole d you ve ry m uc h. B ut a t a ny r at e I ne ve r us ed my

o wn h ou se f or s uch p ur po ses.

Knox

( S pr i ng in g a t h im .) You cur!

P a g e 1 5 4



Margaret

( Interposing.) N o; d on 't . H is h ea rt .

Chalmers

( Mimicking Margaret.) N o d ra ma ti cs , p le as e.

Margaret

( Plaintively, looking from one man to the other. ) M en a re s o s tr an ge ly a nd w on de rf ul ly m ad e. W ha t

a m I t o d o w it h t he p ai r o f y ou ? W hy w on 't y ou r ea so n t og et he r l ik e r at io na l h um an b ei ng s?

Chalmers

( Bitterly gay, rising to his feet.) Y es ; l et u s c ome a nd r ea son t oge the r. Be r at io na l. S it d ow n a nd t al k

i t o ve r l ik e c iv il iz ed h um an s. T hi s i s n ot t he s to ne a ge . B e r ea ss ur ed , M r. K no x. I w on 't b ra in y ou .

Margaret—

( Indicating chair,) Si t down. Mr . Knox—

( Indicating chair.) Si t d ow n.

( All three seat themselves, in a triangle.) B eh ol d t he p ro bl em —t he ever ancient and ever y ou ng

t ri an gl e o f t he p layw ri gh t and t he s ho rt s to ry w ri ter— tw o m en and a w om an .

Knox

Tr ue , a nd y et n ot t ru e. T he t ri an gl e i s i nc om pl et e. O nl y o ne of t he t wo m en l ov es t he w om an.

Chalmers

Yes?

Knox

P a g e 1 5 5



A nd I am that man.

Chalmers

I f an cy y ou 'r e r ig ht .

( Nodding his head.) But how a bout t he wom an?

Margaret

She l ove s on e of t he t wo m en .

Knox

And w ha t a re you go ing t o d o a bo ut i t?

Chalmers

( Judicially.) She ha s not ye t i ndi ca te d t he ma n.

( Margaret is about to indicate Knox.) B e car ef ul , M ad ge. R em em ber w ho i s T om my 's f at her.

Margaret

T om , h on es tl y, r em em beri ng w hat t he l as t y ears h av e b een can y ou i magi ne t hat I l ov e y ou ?

Chalmers

I'm afraid I've not—er—not flamed sufficiently.

Margaret

Y ou h av e p os si bl y s po ke n n ea re r t he t ru th t ha n y ou d re am ed . I m ar ri ed y ou , T om , h op in g g re at t hi ng s o f

you. I hope d you woul d be a powe r f or good—

P a g e 1 5 6



Chalmers

Politics again. When will women learn they must leave politics alone?

Margaret

And als o, I hoped f or love . I knew you didn't l ove me whe n we ma rrie d, but I hoped for it to c ome.

Chalmers

And —e r— ma y I be pe rmi tt ed t o a sk i f yo u l ove d m e?

Margaret

N o; b ut I h op ed t ha t, t oo , w ou ld c om e.

Chalmers

I t w as , t he n, a ll a m is ta ke .

Margaret

Y es ; y ou rs , a nd m in e, a nd m y f at he r' s.

Knox

W e ha ve s at do wn t o r ea so n t hi s ou t, a nd w e ge t n ow he re . M ar ga re t a nd I l ov e e ac h o th er . Y ou r

triangle breaks.

Chalmers

I t i sn 't a t ri an gl e aft er all . Y ou f or get T om my .

Knox

P a g e 1 5 7



( Petulantly. ) M ak e i t f ou r- si de d, t he n, b ut l et u s c om e t o s om e c on cl us io n.

Chalmers

( Reflecting.) Ah, i t i s m or e t ha n t ha t. The re i s a f if th s ide . The re a re t he s tol en l et te rs w hi ch Ma dge ha s just this morning restolen from her father. Whatever settlement takes place, they must enter into it.

( C ha ng in g h is t on e.) Look her e, Ma dge, I a m a fool . Le t us ta lk se ns ibly, you a nd Knox a nd I. Knox,

y ou w an t m y w if e. Y ou c an h av e h er —o n o ne c on si de ra ti on . M ad ge , y ou w an t K no x. Y ou c an h av e h im

o n o ne con si derati on , t he s am e con si derati on . G iv e u p t he l et ters and w e' ll f or get every th in g.

Margaret

Everything?

Chalmers

Everything. Forgive and forget You know.

Margaret

You will forgive my—I—this—this adultery?

Chalmers

( Doggedly.) I 'l l f or gi ve a ny th in g f or t he l et te rs . I 'v e p la ye d f as t a nd l oo se w it h y ou , M ad ge , a nd I f an cy

y ou r p layi ng f as t and l oo se o nl y evens t hi ng s u p. R et ur n t he l et ters and y ou can g o w it h K no x q ui et ly . I 'l l

see to that. There won't be a brea th of s candal. I' ll give you a divorce . Or you c an stay on with me if youwa nt to. I don' t c are . What I wa nt i s the le tt ers . Is i t a gre ed?

( Margaret seems to hesitate. )

Knox

( Pleadingly.) M arg aret .

Margaret

P a g e 1 5 8



Chalmers

( Testily.) Am I not gi ving you e ac h othe r? W ha t mor e do you want ? Tommy st ays w it h me . If you want

T om my , t he n s ta y w it h me , bu t y ou m us t g iv e u p t he l et te rs .

Margaret

I s ha ll no t g o wi th M r. K nox . I s ha ll no t g iv e u p t he l et te rs . I s ha ll r em ai n w it h T om my .

Chalmers

So f ar a s I a m c onc er ne d, K no x do es n' t c ou nt i n t hi s. I w an t t he l et te rs a nd I wa nt To mm y. I f yo u don 't

g iv e t he m u p, I 'l l d iv or ce y ou o n s ta tu to ry g ro un ds , a nd n o w om an , s o d iv or ce d, c an k ee p h er c hi ld . I n

any event , I s hall k eep T om my .

Margaret

( S p ea k in g s t e ad i ly a n d p o si t i ve l y .) Li st en, T om ; a nd yo u, t oo, H ow ar d. I h ave ne ve r f or a m ome nt

e nt er ta ine d t he thou ght of gi vi ng up t he l et te rs . I m ay ha ve l ed you to t hi nk s o, but I wa nt ed t o s ee j us th ow l ow , yo u, T om , c ou ld s in k. I s aw h ow l ow y ou— al l o f yo u— th is m or ni ng s an k. I h av e

l earn ed —m uch. W here i s t hi s f in e h on or , T om , w hi ch p ut y ou o n a m an -k il li ng r ag e a m om en t ago ?

Y ou 'l l b ar te r i t a ll f or a f ew s cr ap s o f p ap er , a nd f or gi ve a nd f or ge t a du lt er y w hi ch d oe s n ot e xi st —

( C ha l me r s l a ug h s s k e pt i ca l ly .) —t hough I know whe n I s ay i t you wi ll not be li eve me . At a ny ra te , I

s ha ll not gi ve up t he l et te rs. Not if you do t ake Tom my a wa y fr om me. Not e ve n for Tomm y wi ll I

s acri fi ce all t he p eo pl e. A s I t ol d y ou t hi s m or ni ng , t here are t wo m il li on T om my s, chi ld -l ab or er s all , w ho

c an no t b e s ac ri fi ce d f or T om my 's s ak e o r a ny bo dy 's s ak e.

( C ha lm er s s hr ug s h is s ho ul de rs a nd s mi le s i n r id ic ul e.)

Knox

Su re ly, M ar ga re t, t he re i s a w ay o ut f or u s. G iv e up t he l et te rs . W ha t a re t he y? —o nl y s cr ap s of p ap er .

Why match them against happiness—our happiness?

Margaret

B ut a s y ou t ol d m e y ou rs el f, t ho se s cr ap s o f p ap er r ep re se nt t he h ap pi ne ss o f m il li on s o f l iv es . I t i s n ot

P a g e 1 5 9



o ur h ap pi ne ss t ha t i s m at ch ed a ga in st s om e s cr ap s o f p ap er . I t i s o ur h ap pi ne ss a ga in st m il li on s o f

l iv es —l ik e o ur s. A ll t hese m il li on s h av e h eart s, and l ov es , and d es ir es , j us t l ik e o ur s.

Knox

But i t i s a gr ea t s oc ia l a nd c os mi c pr oc es s. I t do es n ot de pe nd on one ma n. Ki ll of f, a t t hi s i ns ta nt , e ve ry

l ea de r o f t he p eo pl e, a nd t he p ro ce ss w il l g o o n j us t t he s am e. T he p eo pl e w il l c om e i nt o t he ir o wn . T he ft

w il l b e u ns ea te d. I t i s d es ti ny . I t i s t he p ro ce ss . N ot hi ng c an s to p i t.

Margaret

Bu t i t c an b e r et ar de d.

Knox

You and I are no more t ha n str aws in re lati on to it. We c annot s top it any more than s tra ws c an st op a n

o ce an t id e. W e m ea n n ot hi ng —e xc ep t t o e ac h o th er , a nd t o e ac h o th er w e m ea n a ll t he w or ld .

Margaret

( S ad l y a nd t e nd e rl y .) A ll t he w or ld and i mm or tali ty t hr ow n i n.

Chalmers

( Breaking in.) Ni ce s it ua ti on , s it ti ng h er e a nd l is te ni ng t o a s tr an ge ma n w oo m y w if e i n t er ms o f

sociology and scientific slang.

( Both Margaret and Knox ignore him.)

Knox

De ar , I wa nt you s o.

Margaret

( Despairingly.) Oh! It is so hard to do right!

P a g e 1 6 0



Knox

( Eagerly.) H e w an ts t he l et te rs v er y ba dl y. G iv e t he m up f or T om my. H e w il l gi ve T omm y f or t he m.

Chalmers

N o; e mp ha ti ca ll y n o. I f s he w an ts T om my s he c an s ta y o n; b ut s he m us t g iv e u p t he l et te rs . I f s he w an ts

you s he ma y go; but s he mus t give up t he l et te rs .

Knox

( Pleading for a decision.) M arg aret .

Margaret

Ho wa rd . D on 't t em pt m e a nd p re ss me . I t i s h ar d e no ug h a s i t i s.

Chalmers

( Standing up.) I 've h ad e nough of t hi s. T he t hi ng m us t be s et tl ed, a nd I l ea ve i t t o you , K nox. G o on

w it h y ou r l ov e- ma ki ng . B ut I w on 't b e a w it ne ss t o i t. P er ha ps I —e r— re ta rd t he —e r— th e f la me

process. You two must make up your minds, and you can do it better without me. I am going to get a

d ri nk a nd s et tl e m y ne rv es . I 'l l b e b ac k i n a m in ut e.

( He moves toward exit to right. ) She w ill yie ld, Knox. Be w ar m, b e wa rm.

( Pausing in doorway.) A h, yo u f la me ! Fl ame t o s ome pu rpo se . ( Exit Chalmers. )

( Knox rests his head despairingly on his hand, and Margaret, pausing and looking at him sadly

for a moment, crosses to him, stands beside him, and caresses his hair.)

Margaret

It is har d, I know, dea r. And it is har d for me as wel l.

Knox

P a g e 1 6 1



Knox

I exh au st m y arg um en ts —b ut s ti ll I l ov e y ou .

Margaret

A nd I love you for it.

( C ha lm er s e nt er s f ro m r ig ht , a nd s ee s M ar ga re t s ti l l c ar es si ng K no x' s h ai r.)

Chalmers

( W it h m il d e la ti on , t ou ch ed w it h s ar c as m.) Ah, I s ee you ha ve ta ke n my advi ce , and r ea ched a

decision.

( T he y d o n ot a ns we r. M ar ga re t m ov es s lo wl y a wa y a nd s ea ts h er se lf .) ( Knox remains with head

bowed on hand.) No?

( Margaret shakes her head.) W el l, I 'v e t ho ug ht i t o ve r, a nd I 'v e c ha ng ed m y t er ms . M ad ge , g o w it h

K no x, t ak e T om my w it h y ou .

( Margaret wavers, but Knox, head bowed on hand, does not see her. ) T he re w il l b e n o s ca nda l. I 'l l

g iv e y ou a p ro pe r d iv or ce . A nd y ou c an h av e T om my .

Knox

( S ud de n ly r a is i ng h i s h e ad , j o yf ul l y, p l ea di n gl y .) M arg aret !

( Margaret is swayed, but does not speak.)

Chalmers

Y ou a nd I n ev er h it i t o ff t og et he r a ny t oo e xt ra or di na ri ly w el l, M ad ge ; b ut I 'm n ot a lt og et he r a b ad s or t.

I a m e as y- go in g. I a lw ay s h av e b ee n e as y- go in g. I 'l l m ak e e ve ry th in g e as y f or y ou n ow . B ut y ou s ee t he

f ix I a m i n. Y ou l ov e a no th er m an, a nd I s im pl y m us t r ega in t ho se l et te rs . I t i s m or e i mp or ta nt t ha n y ou

realize.

Margaret

( Incisively.) Y ou m ak e m e r ea li ze h ow i mp or ta nt t ho se l et te rs a re .

P a g e 1 6 3



Knox

G iv e h im t he l et ters , M ar garet

Chalmers

S o s he h as n' t t ur ne d t he m ov er t o yo u ye t?

Margaret

No ; I s ti ll h av e t he m.

Knox

Gi ve t hem t o h im .

Chalmers

S el li ng o ut f or a p et ti co at . A p ret ty r ef or mer.

Knox

( Proudly.)

A b et te r l ov er .

Margaret

( T o C h al m er s .)

He i s we ak t o- day. Wha t of it ? He w as s tr ong l as t ni ght . He wi ll wi n bac k hi s s tr engt h a ga in. I t is hum an

to be we ak. And in his very wea kne ss now, I ha ve my pride , for it is the weaknes s of love . God knows I

ha ve bee n weak, a nd I am not ashamed of it . I t wa s the we akne ss of love. It is har d to s tif le one 's

womanhood always with morality. ( Quickly.)

B ut d o n ot m is ta ke , T om . T hi s o f m in e i s n o c on ve nt io na l m or al it y. I d o n ot c ar e a bo ut n as ty g os si py

P a g e 1 6 4



t on gu es a nd s en sa ti on -m on ge ri ng s he et s; n or d o I c ar e w ha t a ny p er so ns o f a ll t he p er so ns I k no w,

w oul d s ay i f I w en t a wa y w it h M r. K no x t hi s i ns ta nt . I w ou ld g o, a nd g o g la dl y a nd p rou dl y w it h h im ,

d iv or ce o r n o d iv or ce , s ca nd al o r s ca nd al t ri pl e- fo ld —i f— if n o o ne e ls e w er e h ur t b y w ha t I d id . ( To

Knox. )

H o wa rd, I t el l yo u t ha t I w ou ld g o wi th y ou n ow , i n a ll w il li ng ne ss a nd j oy , w it h M ay -t im e a nd t he s on gs

o f a ll s in gi ng b ir ds i n m y he ar t— we re i t no t f or t he o th er s. B ut t he re i s a h ig he r m or al it y. W e mu st n oth ur t t ho se o th er s. W e d ar e n ot s te al o ur h ap pi ne ss f ro m t he m. T he f ut ur e b el on gs t o t he m, a nd w e m us t

n ot , d ar e n ot , s ac ri fi ce t ha t f ut ur e n or g iv e i t i n p le dg e f or o ur o wn h ap pi ne ss . L as t n ig ht I c am e t o y ou . I

wa s we ak— ye s; m or e t ha n t ha t—I w as i gn or an t. I di d no t kno w, e ve n a s l at e a s l as t ni ght , t he

monstrous vileness, the consummate wickedness of present-day conditions. I learned that today, this

m or ni ng , a nd n ow . I l ea rn ed t ha t t he m or al it y o f t he C hu rc h w as a p re te ns e. F ar d ee pe r t ha n i t, a nd

v as tl y m or e p ow er fu l, w as t he m or al it y o f t he d ol lar. M y f at her, m y f am il y, m y h us band , w er e w il li ng t o

c ond one w ha t t he y be li ev ed w as m y a du lt er y. An d f or w ha t? Fo r a f ew s cr aps of p ape r t ha t t o t he m

r ep resent ed o nl y t he p ri vi lege t o p lu nd er , t he p ri vi lege t o s teal f ro m t he p eo pl e.

( T o C h al m er s .) He re a re you, Tom, not onl y wil li ng a nd e age r to give me i nto t he a rms of t he ma n you believe my lover, but you throw in your boy—your child and mine—to make it good measure and

a cc ep ta bl e. A nd f or w ha t? L ov e o f s om e w om an ?— an y w om an ? N o. L ov e o f h um an it y? N o. L ov e o f

G od ? N o. T hen f or w hat? F or t he p ri vi lege o f p er petu at in g y ou r s teal in g f ro m t he p eo pl e— mo ney, b read

and b ut ter, h at s, s ho es , and s to ck in gs —f or s teal in g all t hese t hi ng s f ro m t he p eo pl e.

( T o K n o x. ) Now , a nd a t l as t, d o I r ea li ze how s te rn a nd a wf ul i s t he f ight t ha t mus t be wa ge d—t he f ight

i n w hi ch y ou and I , H ow ar d, m us t p lay o ur p ar ts and p lay t hem b ravely and u ncom pl ai ni ng ly —y ou as

wel l as I, but I e ve n more t ha n you. This is t he de n of thie ve s. I a m a chil d of thie ve s. All my f ami ly i s

c om pos ed of t hi ev es . I h ave be en f ed a nd r ea re d on t he f rui ts of t hi eve ry. I ha ve be en a pa rt y t o i t a ll my

l if e. S om eb od y m us t c ea se f ro m t hi s t he ft , a nd i t i s I . A nd y ou m us t h el p m e, H ow ar d.

Chalmers

( Emitting a low long whistle.) S tr an ge t hat y ou n ev er w en t i nt o t he s uf fr ag et te b us in es s. W it h s uch

speech-making ability you would have been a shining light.

Knox

( Sadly. ) The worst of it is, Margaret , you a re right. But i t is hard tha t we cannot be ha ppy sa ve by

s te al in g f ro m t he h ap pi ne ss o f o th er s. Y et i t h ur ts , d ee p d ow n a nd t er ri bl y, t o f or eg o y ou . ( Margaret

thanks him with her eyes.)

Chalmers

( Sarcastically. ) Oh, belie ve me, I am not too anxious to give up my wife. Look at her. She 's a prett y

g oo d w om an f or a ny m an t o p os se ss .

P a g e 1 6 5



Margaret

T om , I 'l l a cc ep t a q ui et d iv or ce , m ar ry M r. K no x, a nd t ak e T om my w it h m e— on o ne c on si de ra ti on .

Chalmers

An d w ha t i s t ha t?

Margaret

T ha t I r et ai n t he l et te rs . T he y a re t o be u se d i n hi s s pe ec h t hi s a ft er noon .

Chalmers

N o t he y' re n ot .

Margaret

W hat ev er h ap pens , d o w hatever w or st y ou can p os si bl y d o, t hat s peech w il l b e g iv en t hi s aft er no on .Your worst t o me will be none t oo grea t a pr ice f or me to pa y.

Chalmers

N o l et ters , n o d iv or ce, n o T om my , n ot hi ng .

Margaret

T he n w il l y ou c om pe l m e t o r em ai n h er e. I ha ve do ne no th in g wr on g, a nd I d on 't i ma gi ne yo u w il l m ake

a s can dal .

( Enter Linda at right rear, pausing and looking inquiringly.) Th er e t he y a re n ow .

( T o L in da .) Ye s; gi ve t he m t o me .

( Linda, advancing, draws package of documents from her breast. As she is handing them to

Margaret, Chalmers attempts to seise them. )

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Knox

( Springing forward and thrusting Chalmers back.) Th at yo u s ha ll n ot !

( C ha lm er s i s a ff li c te d w it h h ea rt -s ei z ur e , a nd s t ag ge rs .)

Margaret

( Maternally, solicitously.) T om , d on 't ! Y ou r h ea rt ! B e c ar ef ul !

( Chalmers starts to stagger toward bell ) H ow ar d! S to p h im ! D on' t l et hi m r in g, o r t he s er va nt s w il l

ge t t he l et te rs a wa y f ro m us . ( Knox starts to interpose, but Chalmers, growing weaker, sinks into a

chair, head thrown back and legs out straight before him. ) L ind a, a gl as s o f w at er .

( Linda gives documents to Margaret, and makes running exit to right rear. ) ( Margaret bends

a n xi ou s l y over C h a l mer s .) ( A pause.)

Knox

( T ou c hi n g h e r h a nd .) Give them to me.

( Margaret gives him the documents, which he holds in his hand, at the same time she thanks him

w it h h er e ye s.) ( Enter Linda with glass of water, which she hands to Margaret.) ( Margaret triest o p la ce t he g la ss t o C ha lm er 's l ip s.)

Chalmers

( Dashing the glass violently from her hand to the floor and speaking in smothered voice. ) Bring

m e a w hi ske y a nd s od a.

( Linda looks at Margaret interrogatively. Margaret is undecided what to say, shrugs her shoulders in helplessness, and nods her head.)

( Linda makes hurried exit to right.)

Margaret

( T o K n o x. ) You will go now a nd you wi ll give t he s pe ec h.

Knox

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( Placing documents in inside coat pocket.) I wi ll gi ve t he s pe ech.

Margaret

A nd a ll t he f or ce s m ak in g f or t he g oo d t im e c om in g w il l b e q ui ck en ed b y y ou r w or ds . L et t he vo ic es o f

t he m il li on s b e i n i t.

( C ha lm er s, l eg s s ti ll s tr et ch ed o ut , l au gh s c yn ic al ly .)

Y ou k no w w he re m y h ea rt l ie s. S om e d ay , i n a ll p ri de a nd h on or , s te al in g f ro m n o on e, h ur ti ng n o o ne ,

w e s hall com e t og et her— to b e t og et her alw ay s.

Knox

( Drearily.) A nd i n t he m eant im e?

Margaret

W e m us t w ai t

Knox

( Decidedly.) W e wi ll wa it .

Chalmers

( S t r a i gh t en i ng u p .) For me to die? eh?

( During the following speech Linda enters from right with whiskey and soda and gives it to

C ha lm er s, w ho t hi rs ti ly d ri nk s h al f o f i t. M ar ga re t d is mi ss es L in da w it h h er e ye s, a nd L in da

m a kes exi t t o r i g h t r ea r . )

Knox

I h adn 't t ha t i n m in d, b ut n ow t ha t y ou m en ti on i t, i t s ee ms t o t he p oi nt . T ha t h ea rt o f yo ur s i sn 't g oi ng t o

c ar ry y ou m uc h f ar th er . Y ou h av e p la ye d f as t a nd l oo se w it h i t a s w it h e ve ryt hi ng e ls e. Y ou a re l ik e t he

c ar te r w ho s te al s h ay f ro m h is h or se t ha t h e m ay g am bl e. Y ou h av e s to le n f ro m y ou r h ea rt . S om e d ay ,

s oon, l ike t he ho rs e, i t wi ll qu it We c an a ff or d t o wa it . I t won 't be lo ng.

P a g e 1 6 8



Chalmers

( After laughing incredulously and sipping his whiskey.) W el l, K no x, n ei th er o f u s w in s. Y ou d on 't

ge t t he wo ma n. N ei the r do I . Sh e r ema in s un de r my r oof , a nd I f an cy t ha t i s a bout a ll . I w on' t di vo rc ehe r. W ha t' s t he g oo d? B ut I 've g ot h er t ie d ha rd a nd f as t by T om my. Yo u w on 't ge t he r.

( Knox, ignoring hint, goes to right rear and pauses in doorway.)

Margaret

W or k. B ra ve ly w or k. Y ou a re m y k ni gh t. G o.

( Knox makes exit . )

( Margaret stands quietly, face averted from audience and turned toward where Knox was last to

b e s ee n.)

Chalmers

Madge.

( Margaret neither moves nor answers.) I say, Madge.

( He stands up and moves toward her, holding whiskey glass in one hand.) Tha t s pe ec h i s goi ng t o

make a de vil of a row. But I don' t thi nk i t wi ll be so bad as your fa the r sa ys. It looks pr ett y da rk, but

s uc h t hi ngs bl ow ove r. Th ey a lw ays do bl ow ove r. A nd s o w it h you a nd me . M aybe we c an ma na ge t o

f or ge t a ll t hi s a nd p at ch i t up s om eh ow .

( Sh e gi ve s n o s ig n t hat s he i s a wa re o f hi s e xi st en ce .) W hy don' t you s pe ak? ( Pause.)

( He touches her arm.) M ad ge .

Margaret

( T ur ni ng u po n h im i n a b la se o f w ra th a nd w it h u nu tt er ab le l oa th in g.)

D on 't t ou ch m e!

( C h al m ers r ecoi l s .)

Curtain

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london - theft

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