on stage! in the darkness we hear music - the...
TRANSCRIPT
ON STAGE!
IN THE DARKNESS WE HEAR MUSIC - THE ASCENDING NOTES CREATING A THEATRICAL BUILD. AS THE LIGHTS COME UP WE SEE SIX ACTORS MOVING INTO PLACE. SURROUNDING THEM IS WHAT APPEARS TO BE A UNIT SET OF WALLS, WINDOWS AND DOORS. LATER WE SHALL SEE THAT IT IS SOMEWHAT OF A PUZZLE WHICH PULLS APART AND RECONFIGURES AS NEEDED TO SERVE THE PURPOSES OF THE PLAY . THE MUSIC LOWERS IN VOLUME AND ...
Narration The short story form in American fiction has been successfully used by some of our greatest authors. This success must, of course, be attributed to the skills of those authors, but high on this list of skills is the ability they possessed to spark the imagination of the reader. To grab the imagination of the reader and lead it along a sometimes direct, sometimes twisting and turning path to a predetermined conclusion. It is that "grabbing of the imagination" we wish to deal with today. You -the reader - have the ability to lift the words from the page and make them actions. The mind is the door. Imagination is the key. use the key to unlock the door and ...
<THE MUSIC CHANGES TO A COUNTRY, MISSISSIPPI RIVERBOAT THEME . TWO OF THE ACTORS LEAVE STAGE TO CHANGE CLOTHES WHILE THE OTHERS MOVE THE SET INTO POSITION FOR ''Mrs. MCWILLIAMS . )
Narrator samuel Langhorne Clemens . .. well, most of us know him as Mark Twain. Twain was born in 1835 in Florida, Missouri, and grew up in Hannibal, Missouri . He spent time working as a riverboat pilot on the Mississippi which must have provided him a good deal of background material for his writing. Later, he was a reporter in California, and later still a newspaper editor in Buffalo, New York. And he travelled ... a lot . Both here in America and in Europe. He also wrote a lot. The Adventures of Tom sawyer, A connecticut Yankee In
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Narration<cont> King Arthur's court, The Prince and the Pauper, Innocents Abroad, and the magnificent Adventures of Huckleberry Finn. He also wrote many short stories, "the celebrated Jumping Frog of calaveras county" being the first of his writings to bring him fame . His story "Mrs . McWilliams and the Lightning" is an excellent example of Mark Twain's homespun humour laced with his ascerbic wit. so, to start us off today ... on stage : Mark Twain. "Mrs . McWilliams and the Lightning."
·-MRS. MCWILLIAMS AND THE LIGHTNING
Narrator Fame does not always come quickly or easily . In the case of many writers, it never comes. But then, not everyone wants to be a celebrity . Even after he was a celebrity, William Faulkner tried to avoid the limelight -difficult to do when you've won a Nobel Prize for literature. William Faulkner chronicled the decline and decay of the aristocratic south. He was good at it. Probably because he grew up in oxford, Mississippi and witnessed much of what he wrote about. Although the novel regarded as his masterpiece, The sound and the Fury was written in 1929, Faulkner had no commercial success until 1931 when he published his novel Sanctuary. William Faulkner is considered one of the finest writers of the short story form and no story is more representative of his work than "A Rose for Emily" <MUSIC IN> <Actress enters dressed as Emily as she would look when she died> Death and funerals are disturbing things, but sometimes what the living learn about the dead can be even more disturbing. on stage:William Faulkner . "A Rose For Emily . "
<THE COMPANY MOVES ABOUT EMILY SETTING THE STAGE AND EVENTUALLY EMILY HAS DISAPPEARED LEAVING MEREDITH AND WILL COMING UP THE STAIRS INTO EMILY'S BED/SITTING ROOM.>
A ROSE FOR EMILY
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ANNABELLE LEE
Narrator <holding a dictionary> Pseudonym. <reading> According to the dictionary ... "a pseudonym is a fictitious name." Many writers use pseudonyms. We've already mentioned that samuel Clemens chose Mark Twain as his "pseudonym." Of course, most people know_that sam Clemens and Mark Twain are the same man, but how many people have ever heard of William Sydney Porter? In 1862 in Greensboro, North carolina William sydney Porter was born. But it was nearly 40 years later that his more familiar name was born . "o . Henry." Porter took his "pseudonym" - his fictitious name when he settled in New York in 1902 . The Gift of the Magi, The Ransom of Red chief, The Furnished Room - just a few of his many short stories. In his story -Makes the Whole world Kin - o . Henry shows us how much friendlier the world would be if instead of concentrating on ourselves and our differences, we tried to find out what we have in common with each other. so ... on stage: o. Henry. "Makes the Whole World Kin."
MAKES THE WHOLE WORLD KIN
Narrator What is it they say about "strange bedfellows?" Just goes to show you .. ,you can find something in common with just about anybody, and once you find it ... well ... <MUSIC IN>
Intermission
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<MUSIC IN AND FADE>
Narrator The roaring twenties. catchy music, dancing flappers and the eat's meow . The perfect spawning ground for the work of F. scott Fitgerald . By the way, his full name is Francis scott Key Fitzgerald. And he was born in st . Paul, Minnesota . The work that almost always comes to mind when you mention Fitzgerald is The Great Gatsby .. . which is a great book . And ~a very decent film adaptation was made with Robert Redford playing the role of Gatsby. But some of scott Fitzgerald's best work is in short story form , and that includes the story we have today- "Bernice Bobs Her Hair." <MUSIC IN> sometimes when we're trying really hard to "fit in," we can lose sight of how special we are as individuals. Fitzgerald probably knew people very much like the people
he wrote about in Bernice Bobs Her Hair, and seeing them come to life helps us to zero in on what his feelings might have been about those people . <MUSIC OUT> on stage : F. scott Fitzgerald. "Bernice Bobs Her Hair . "
BERNICE BOBS HER HAIR
Kur t vonnegut, Jr . was born in Indianapolis, Indiana in 1922 . His mother was a writer . .. unfortunately, she was not a very successful writer. vonnegut's father wanted Kurt to study biochemistry so that he would "learn something useful . " well, while studying biochemistry at cornell University vonnegut became the editor of the cornell Daily sun and learned a lot of things that would prove "useful" to his future . He went on to write novels, plays, short stories . In his collection of short works - "Welcome to the Monkey House" - there is a work titled "The Kid Nobody could Handle." It is that story we wish to do today . so .. onstage:Kurt vonnegut . "The Kid Nobody could Handle."
THE KID NOBODY COU~D HAND~E
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ON STAGE
Segment:ANNABEL LEE
Edgar Allan Poe Adaptation:Affierican Family Theater, Inc.
July '94
Narration
Roses are red, Violets are blue. Poe was a poet. What else did he do?
<Chilling .. . eerie sounds are heard and music continues under narration.>
Edgar Allan Poe, a master of the macabre . Poe believed in the transcendence of the imagination . He placed more value on the fantastic tban the commonplace. Indeed, he often made up stories about his own life to make himself seem more exotic. Long before anyone ever heard of the Twilight zone, Poe was l eading his reade.rs down the darkest corridors of their imaginations with his stories - The Fall of the House of Usher, The Pit and the Pendulum, The Tell-Tale Heart -and of course, his poems . You remember The Raven? The Bells? Now, who would think this writer of tales of horror would also writa about young love?
<Music out>
Yet ... in his poem ... Annabel Lee ... he does just that. could there have been some personal tragedy that made even this tale of young love a mournful story to chill the blood more quickly than an artie wind .
<The music changes to a contemporary "rap" sound.>
THE LIGHTING CHANGES AS THE ACTORS MOVE THE SET INTO PLACE . ALL EXCEPT THE NARRATOR, THE BOY AND ANNABEL LEE EXIT .
Narrator <reading>It was many and many a year ago, In a ki ngdom by the sea, That a maiden there l ived whom you may know ~Y the name of Annabel Lee;
<Music out>
I
Boy And this maiden she lived with no other thought Than to love and be loved by me .
Annabel Annabel Lee, he said ...
Boy Who said?
Annabel My father said. ~hen I told him that I thought I had fallen in love. :.
Boy Thought? You thought? Aren't you sure?
Annabel Well, .. I don't know ...
Boy <playfully chasing her> oh, yes, you do. You know very well ...
Annabel stop. All right. I didn't say "I thought ... " I said 'Daddy, I'm in love.'
Boy And so am I.
Annabel And that's when he said, "Annabel Lee, you are talkin foolishness."
Boy And what did you say?
Annabel Well, I said ... 'Is talkin foolishness anything like talkin French?' Daddy was not amused. <she coughs> -
BOY Are you alright?
Annabel I'm fine. This silly cough. <coughs again>
Boy Are you warm enough? Maybe you should ...
Annabel Now don't you start. MY father and my doctor make more fuss about this cough. And I'm just fine.
Boy Annabel Lee .. . Anng:Qel Lee ... Annabel Lee . . . I just love to say your name. Kiss your skin. Touch your hair.
Annabel Make sure that's all you touch. <she pushes him,playfully and he chases her again>
Boy I just wish we could stay here looking out at the sea ... forever. our own special kingdom .
Annabel You might get a little hungry.
Boy I don't need food. I just need Annabel Lee.
Annabel Oh? No corn-on-the cob?
Boy Uh-uh.
Annabel No buttermilk biscuits?
Boy Uh-uh.
Annabel With lots of butter?
Boy Uh-uh.
Annabel No peach ice-cream?
Boy What kind?
Annabel <a little concerned> Peach.
Boy Oh! well, I don't know ...
Annabel <jabbing him>Oh, you ...
Boy Ha! Gotcha!
Annabel Daddy says even if I do love you and you love me, it can't come to anything.
we can get married.
Not until I'm older. Daddy's permission.
Boy
Annabel As long as I'm underage I have to get
Boy What does he have against me?
Annabel Says you're from the wrong kind of family .
Boy And what kind of family is that?
Annabel I don't know. It's just the way Daddy thinks.
Boy And what do you think?
Annabel I think ... I'm not marrying your family. I'm marrying you.
Boy <As he embraces her>Annabel Lee ... Annabel Lee ...
Father <entering> Annabel Lee!
<Music resumes>
Narrator I was a child and she was a child, In this kingdom by the sea; But we loved with a love that was more than love -I and my Annabel Lee; With a love that the winged seraphs of heaven coveted her and me.
Father Annabel Lee. You come home this instant. coming up. You know you're not well.
Annabel Lee <to boy> Don't leave. I '11 be back.
Boy You know I'll wait forever.
Annabel
There's a storm
I • 11 try not to be away that long. <she coughs>
THE SKY DARKENS. THUNDER IS HEARD. LIGHTNING STREAKS ACROSS THE SKY. THE SOUND OF WIND. THE SOUND OF RAIN.
Annabel Lee. Hurry. your death.
Father The wind. The rain. You'~l catch
ANNABEL LEE RUNS TO HER FATHER. SHE TRIPS ANDS FALLS.
Boy Annabel Lee!
THE BOY STARTS TO GO TO HER BUT THE FATHER GIVES HIM A LOOK WHICH FREEZES HIM IN HIS TRACKS . THE FATHER REACHES DOWN, PICKS UP ANNABEL LEE AND CARRIES HER OFF. THE STORM BUILDS.
THE BOY WAITS. THE BOY FALLS ASLEEP.
Narrator And this was thg_.reason that, long ago, In this kingdom by the·sea,A wind blew out of a cloud, chilling MY beautiful Annabel Lee; so that her high-born kinsman came And bore her away from me, To shut her in a sepulchre In this kingdom by the sea.
THE STORM BUILDS TO A FRENZY. THEN SILENCE. NO SOUND AT ALL. THE BOY AWAKES WITH A START.
Boy Annabel Lee! Annabel Lee!
<A dirge is heard.>
A TOMB IS MOVED INTO PLACE AND PEOPLE ARE SEEN PLACING FLOWERS.
Narrator The angels, not half so happy in heaven, Went envying her and me -Yes! --that was the reason <as all men know, In this kingdom by thq .sea> That the wind came out of the cloud by night, Chilling and killing my Annabel Lee.
Boy <moving towards the tomb> Annabel Lee? Are you here? Annabel Lee? Where are you?
SOMEONE POINTS TO THE TOMB.
Boy<Cont> No . She can't be in there . That's dead. MY Annabel Lee isn't dead.
THEY AGAIN POINT TO THE TOMB .
Boy<cont> No! <runs to the tomb>
Father
a tomb . That's for the <calling~ Annabel Lee!
<blocking the entrance> stay away. stay away from her. She's gone where no one can reach her anymore. Leave her in peace. Go away .
<Music In>
Boy <as the others are leaving> No. I can't leave. I told her I'd wait . She's coming back. She said she'd come back.! told her I'd wait. Forever.
Voices Mad . He must be mad. someone shou l d do something . Mad as a hatter .
Narrator But our love it was stronge~ by far than the love Of those who were older than we ~ Of many far wiser than we -And neither the angels in heanven above· Nor the demons down under the sea, can ever dissever my soul from the soul Of the beautifu l Annabel Lee.
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THE MUSIC STOPS. THERE IS SILENCE, THEN THE SOUND OF SCRATCHING. THE LIGHTS ARE SLOWLY SHIFTING. NIGHT IS UPON US . AN OTHER-WORDLY GLOW LIGHTS THE TOMB. THE SCRATCHING GROWS MORE INSISTENT.
Boy Annabel Lee? Is that you? Have you come back?
THERE IS THE SOUND OF A LARGE LATCH OPENING.
Boy<cont> Annabel Lee? I'm waiting . Are you there?
<Music In>
Narrator For the moon never beams, without bringing me dreams Of the beautiful Annabel Lee; And the stars never rise, but I feel the bright eyes Of the beautiful Annabel Lee; And so, a l l the night tide, I lie down by the side of my darling -
Boy I'll never leave you, Annabel Lee. Never.
Narrator - my darling - my life and my bride, In the sepulchre by the sea, In her tomb by the sounding sea.
THE DOOR OF THE TOMB IS SLOWLY OPENING REVEALING THE SHROUDED FIGURE OF ANNABEL LEE HER HANDS OUTSTRETCHED .. . REACHING FOR THE BOY AS HE MOVES TOWARDS THE TOMB .
Boy Annabel Lee?
Narrator In her tomb by the sounding sea .
Boy Annabel Lee.
Narrator Annabel Lee.
<Music out>
Boy Annabel Lee!
BLACKOUT
·' J
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BERNICE BOBS HER HAIR
After the house lights go down, we hear a romantic popular tune of the 1920's. (It can be recorded or live.)
THE CURTAIN RISES on the dance floor of a Midwest Country Club. Most of the young people in the play are dancing the fox trot. One couple is sitting the dance out at R. DRAYCOTT DEYO, a boy of eighteen, is talking quietly with MARTHA CAREY and ROBERTA DILLON, at L. After a beat, MRS. HARVEY and MR. DEYO saunter on UR and wander downstage, closely observing the dancers and the dance. As they reach the downstage area, the sound of the music fades down, but not out, and the dance continues as they talk.
MRS . . ~~VEY. Charming, isn't it, Mr. Deyo?
MR. DEYO (doubtfully). Well ••• personally I find the waltz and the polka acceptable, but these modern dances ... ? You know, Mrs. Harvey, when the young set dances, it is often with the worst intentions. Particularly in the summer.
MRS . HARVEY. Really, Mr. Deyo, I don't think
MR. DEYO. One must be ever vigilant. On the dance floor and certainly in the parking lot!
MRS. HARVEY. Oh, Mr. Deyo, they're a nice bunch of youngsters. Why, your son .••
MR. DEYO (placing him above suspicion). Draycott is studying for the ministry. He's talking to those two girls. (He waves to DRAYCOTT across the dance floor. He waves back.) Doubtless, he is waiting for a waltz.
MRS. HARVEY (who finds Draycott a bore). Doubtless.
(MARTHA and ROBERTA leave DRAYCOTT and go into the powder room. One sits at the dressing table, the other stands behind her and they touch up their hair.)
MR. DEYO (philosophically). There are so many temptations for the young people today, Mrs. Harvey. All these yQung boys with their own automobiles • and there are girls in this very town would you believe it? ... who have bobbed their hair!
MRS. HARVEY. When I was a girl, I was never permitted to cut my hair.
MR. DEYO. You would never have been permitted such liberties. Don't know what the world is coming to, do you?
MRS. HARVEY. No.
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OTIS. Hair? (BERNICE nods.) Why would Warren want a box of hair ... ? (Beginning to understand. BERNICE shakes her head. OTIS is stunned.) And the only one I know that has hair this color is Marjorie -- oh my gosh ... is this Marjorie's hair?
BERNICE (smiling). Marjorie sleeps like a log.
OTIS. Oh!
BERNICE. Put it back now, Otis, and hurry. I ddn't wan
BERNICE BOBS HER HAIR
After the house lights go down, we hear a romantic popular tune of the 1920's. (It can be recorded or live.)
THE CURTAIN RISES on the dance floor of a Midwest Country Club. Most of the young people in the play are dancing the fox trot. One couple is sitting the dance out at R. DRAYCOTT DEYO, a boy of eighteen, is talking quietly with MARTHA CAREY and ROBERTA DILLON, at L. After a beat, MRS. HARVEY and MR. DEYO saunter on UR and wander downstage, closely observing the dancers and the dance. As they reach the downstage area, the sound of the music fades down, but not out, and the dance continues as they talk.
MRS. HARVEY. Charming, isn't it, Mr. Deyo?
MR. DEYO (doubtfully). Well ..• personally I find the waltz and the polka acceptable, but these modern dances ..• ? You know, Mrs. Harvey, when the young set dances, it is often with the worst intentions. Particularly in the summer.
MRS • HARVEY. Really, Mr. Deyo, I don't think
MR. DEYO. One must be ever vigilant. On the dance floor and certainly in the parking lot!
MRS. HARVEY. Oh, Mr. Deyo, they're a nice bunch of youngsters. Why, your son .••
MR. DEYO (placing him above suspicion). Draycott is studying for the ministry. He's talking to those two girls. (He waves to DRAYCOTT across the dance floor. He waves back.) Doubtless, he is waiting for a waltz.
MRS. HARVEY (who finds Draycott a bore). Doubtless.
(MARTHA and ROBERTA leave DRAYCOTT and go into the powder room. One sits at the dressing table, the other stands behind her and they touch up their hair.)
MR. DEYO (philosophically). There are so many temptations for the young people today, Mrs. Harvey. All these yQung boys with their own automobiles • and there are girls in this very town would you believe it? ..• who have bobbed their hair!
MRS. HARVEY. When I was a girl, I was never permitted to cut my hair.
MR. DEYO. You would never have been permitted such liberties. Don't know what the world is coming to, do you?
MRS. HARVEY. No.
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MR. DEYO. Take Warren Mcintyre ... MRS. HARVEY. He's dancing with my daughter, Marjorie. Over there in the blue (or whatever color the dress is] dress. (She nods in the direction of MARJORIE, a pretty eighteen-year-old dancing with good-looking WARREN, nineteen . )
MR. DEYO. He was such a fine boy. I don't approve of his family sending him East to college. Yale can give a young man dangerous ideas.
MRS. HARVEY (a bit frosty). I don't think Warren is dangerous.
MR. DEYO. I'm sure if Marjorie dances with him, he is quite acceptable. Now Marjorie is a lovely girl ..• and so is your niece. Isn't that her dancing with Otis Ormonde? (He nods toward BERNICE, a tall girl of eighteen, pretty but not as well put together as Marjorie. BERNICE is dancing with OTIS, a short, younger boy of sixteen.)
MRS. HARVEY. Yes, that's Bernice.
MR. DEYO. Charming. So refined. Which is ever so much more acceptable than being popular, don 1 t you think? (WARREN begins to walk to the porch.) Will she be visiting you long?
MRS. HARVEY. Just the month of August.
MR. DEYO (impulsively). My wife and I should like to give a little dinner for her.
MRS. HARVEY. I 'm sure she'd be very pleased.
(The music stops. The dancers applaud, couples break up. BERNICE goes into the powder room, passing MARTHA and ROBERTA, who come out. BERNICE sits at the little table, combing her hair. The young people talk quietly among themselves. WARREN reaches MRS. HARVEY and MR. DEYO.)
MRS. HARVEY. Good evening, Warren.
WARREN (taking out a cigarette case) • Mrs. Harvey, Mr. Deyo. Just thought I'd go out on the porch for a smoke. {He smiles at them, moves off to the porch where he tries, inexpertly, to light a cigarette.)
MR. DEYO (reacting to the cigarette as WARREN leaves). Oh! Yale! (MARJORIE, seeing WARREN go to the porch, follows him.)
MRS. HARVEY. Perhaps we should have a lemonade?
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MR. DEYO (tensely). Yes. Yes. I think I need one. (They exit UR. WARREN gets his cigarette lit just as MARJORIE reaches the porch.)
MARJORIE. Warren ... (WARREN coughs, turns, sees MARJORIE, holds up his cigarette and apologizes for it.)
WARREN. Excuse me. (He drops it and stamps it out.)
MARJORIE (wheedling). Warren ... do something for me? Dance with Bernice! She's been stuck with little Otis Ormonde for almost an hour.
WARREN (unhappy). Sure ••. but ... (Bluntly) ... When is she going back to Wiscons~n?
MARJORIE (petulantly). You don't like her!
WARREN. Oh, she's fine. She doesn't have much to say-- not after she talks about the weather. I wonder what she'd do if anyone said anything . you know •.. personal to her.
MARJORIE. Don't you dare!
WARREN. Not much chance. Look, Marjorie, since she's been here . . • I haven't gotten to see much of you .•. (Reminding her of his own desirability.) I'll be going back to ..• Yale . . • soon. (Every time he says "Yale" he seems to put quotation marks around the word.)
MARJORIE (wheedling, straightening his tie coquettishly). Oh, I know, Warren. But she is my cousin and my guest and I've got to see she has a nice time . . . find boys for her to dance with and all • . .
WARREN. I'll dance with her.
MARJORIE. You don't mind, do you? I'll see that you don't get stuck.
WARREN. Well .
MARJORIE. I'll go get her.
(WARREN nods and starts toward the powder room. Meanwhile, OTIS moves to G. REECE STODDARD, twenty-two, as Harvard Law School, and CHARLEY PAULSON, nineteen and shy, who are near the powder room.)
WARREN (joining the boys). Why the chair, Otis?
3
OTIS. Oh, this? I'm going to use it like the animal trainers in the circus. When Bernice comes out of that room, I'm going to force her back in. (They laugh.)
WARREN. Never mind, Otis. I'm relieving you. I'll dance with her.
OTIS (melodramatically, pressing the chair on WARREN). You may need this, old man.
(MARJORIE and BERNICE enter.)
BERNICE. Oh, Warren!
WARREN. Would you care to dance, Bernice?
BERNICE. Well . if you put down that chair.
WARREN (embarrassed). Of course. (He sets the chair down and they begin to dance downstage. WARREN can think of nothing to say. At last, desperately:) Ahhh ...
BERNICE. Yes?
WARREN (deflated). Nothing.
BERNICE (struggling for a topic, finally). It's hotter here than in Wisconsin.
WARREN. Is that so?
BERNICE. Yes. (Neither can think of anything else.)
(MR. DEYO and MRS. HARVEY re-enter UR.)
MR. DEYO. I see your niece is dancing with Warren. I hope he doesn't set her afire with his cigarette.
MRS. HARVEY. I'm sure she'll be safe. Excuse me. (She walks across upstage and down to powder room, sits· down at the table. MR. DEYO sits down in UR area.)
--WARREN (still trying). You going to be here much longer?
BERNICE. Till eleven. That's when the dance is over.
WARREN. I mean in town.
BERNICE. Oh.
WARREN. Will you be?
4
BERNICE. tries. )
Another week. (They dance a few more steps and she What kind of automobile do you have?
WARREN. I have a Stutz Bearcat. (Another beat of silence.) What kind of automobile do you have?
BERNICE. I have a Pierce Arrow.
WARREN. Oh. (MARJORIE goes into powder room.)
BERNICE. Then we both have automobiles. Isn't that a coincidence?
WARR.EN (bored out of his mind). What would happen if ... (He suddenly stops dancing and decides to risk a "personal remark.") You know what else you have?
BERNICE (nervous). What?
WARREN. You have a very kissable mouth!
BERNICE (shocked). Oh! (She doesn't know what to say or do. The music stops.) Excuse me. I think I left my comb in the powder room. (Upset, she walks quickly to the powder room, stooping right of the screen when she hears MARJORIE and MRS. HARVEY on the other side.)
MARJORIE. Oh, but, Mother, she's absolutely hopeless.
MRS. HARVEY. I just saw her dancing with Warren.
MARJORIE. I forced him to. (BERNICE, not wanting to hear this, starts back out of the powder room, changes her mind and moves closer to the screen to listen.)
MRS. HARVEY. She's pretty and sweet. And her mother says she's a very good cook.
MARJORIE. What of it? Men don't like her.
MRS. HARVEY. What's a little cheap popularity?
MARJORIE. It's everything when you're eightee~. I've done my best. I've been polite and I've made men dance with her but she bores them.
MRS. HARVEY. A little boredom is good for a boy's character.
MARJORIE. I've tried to drop hints about her clothes and things and then she looks furious. She's smart enough to know she's a wall flower. I bet she consoles herself by thinking she's virtuous and I'll come to a bad end.
5
MRS. HARVEY. Now, Marjorie .
MARJORIE. And you know what? I bet she'd give ten years of her life and her Pierce Arrow to have three or four men in love with her and be cut in on every few seconds at a dance.
MRS. HARVEY. Well, I know Bernice isn't very vivacious, but still . . .
MARJORIE. Vivacious! She's about as vivacious as a cigar store Indian.
MRS. HARVEY (rising). I should be getting back. (Realizing that ·MRS. HARVEY is coming out, BERNICE starts out of the powder room.)
Did yo~ know that Mr. and Mrs. Deyo like Bernice enough to give a dinner for her? (MARJORIE comes in front of the screen just in time to see BERNICE go.)
MARJORIE. Oh Do you think she heard me?
MRS. HARVEY (also seeing). I don't know. r better say something ... (BERNICE is walking quickly toward the porch.)
MARJORIE. It's my fault. I'll do it. (She goes after BERNICE.)
(The music starts and couples begin to dance. MRS. HARVEY goes around the back to MR. DEYO, then they exit UR. MARJORIE passes WARREN.)
WARREN. Want to dance, Marjorie?
MARJORIE. Just wait a minute, Warren. (She follows BERNICE onto the porch.) I'm sorry, Bernice.
BERNICE. I was just going into the powder room. I didn't mean to listen ..• at first. (MARJORIE shrugs, then turns away.) I guess I'd better go back to Eau Claire ... if I'm such a nuisance. (She waits for MARJORIE to say something. MARJORIE brushes an invisible speck from her skirt.) I've tried to be nice and . . . well . . . no one ever visited me and was neglected and insulted like that!
MARJORIE. I ... I promised Warren this dance.
BERNICE. Your friends don't like me. (MARJORIE takes a step toward the dance floor.) Of course I was furious last week when you hinted that that dress was unbecoming. Don't you think I know how to dress?
MARJORIE (half to herself). No.
BERNICE. What?
6
MARJORIE (turning to face BERNICE). I didn't hint anything. I said it was better to wear a party dress three nights straight than to alternate it with two ugly ones.
BERNICE. Do you think that was a very nice thing to say?
MARJORIE. I wasn't trying to be nice. (She stares at BERNICE defiantly. After a beat:) When do you want to go?
BERNICE (shocked). Oh!
MARJORIE. Didn't you say you were going?
BERNICE . Yes, but
MARJORIE. But you were only bluffing.
BERNICE (bursting into tears) . You're my cousin. I'm ... I'm visiting. I'm supposed to stay a month and if I go home my mother will know that . . . that . . .
MARJORIE. I'll give you my month's allowance. You can spend this last week anywhere you want to go. There's a very nice hotel . .
BERNICE (pulling herself together). I'll get my own railroad ticket thank you. (She waits a beat.) If that's what you want .
MARJORIE. If you're not having a good time, might as well go. No use being miserable.
BERNICE. I just don't know what my mother will say.
MARJORIE. Our mothers are all very well in their way, but they know very little about their daughters' problems.
BERNICE (haughtily). Please don't talk about my mother.
MARJORIE. I'm not. I just don't think she understands what having you here is like.
-BERNICE. Do you think you've treated me properly?
MARJORIE. I've done my best. You're just difficult material to work with.
BERNICE. And I think you're hard and selfish and you haven't a womanly quality in you!
7
MARJORIE. Don't tell me about the womanly woman. She's a weak, cowardly mass of affectations whose whole early life is occupied in whining criticisms of girls like me who have a good time.
BERNICE (shocked). What?
MARJORIE. There's some excuse for an ugly girl whining ... but you! You 1 re not ugly. You just don't know how to use what you've got. If you expect me to weep with you, you'll be disappointed. Go or stay, Bernice, as you like. Warren is waiting for me. (She starts to leave.)
BERNICE. Do you love Warren?
MARJORIE. No.
How do you know? BERNICE. MARJORIE. I have my own infallible test.
BERNICE. Which is . ?
MARJORIE. When I'm away from him, I forget all about him and go out with other men.
BERNICE. You are hard and cold!
MARJORIE. I'm popular!
BERNICE. Wait!
(She again turns to go.)
MARJORIE (turning back). Yes?
BERNICE (having difficulty saying it). Maybe ... maybe you're right about things. Possibly not. But if you' 11 tell me why your friends aren't interested in me, I'll see if I can do what you want me to.
MARJORIE (moving back to her). Do you mean it?
BERNICE. Yes.
MARJORIE. Without reservations? Will you do ~xactly as ! say?
BERNICE. Well ... if they're sensible things.
MARJORIE. In your case, sensible things won't help! If I tell you to take boxing lessons, you'll have to do it. Write horne and tell your mother you're staying another two weeks.
BERNICE. But what ... ?
8
MARJORIE. Do you know why you're tense with men? Because you're never sure you look well. When a girl feels she's perfectly groomed and dressed she can forget that part of her. That's charm. The more parts of yourself you can afford to forget, the more charm you have.
BERNICE. Don't I look all right?
MARJORIE . Look at your eyebrows!
BERNICE (looking up). I can't .
MARJORIE. They're straggly. They'd be beautiful if you took care of them.
BERNICE. Do you mean to say that men notice eyebrows?
MARJORIE. They are there in the middle of your face!
BERNICE. I thought you despised dainty, feminine things like that. MARJORIE. I hate dainty minds! But if a girl looks like a million dollars, she can talk about Russia or the League of Nations or ping pong and get away with it.
BERNICE. What else?
MARJORIE. Your dancing.
BERNICE. Don't I dance all right?
MARJORIE. No! You dance standing up straight like an ironing board. I suppose some little old lady once told you you look dignified that way. But it makes a man drag you around the floor, and that's not dancing.
BERNICE . Go on.
MARJORIE. And for goodness sake, stop talking about the weather and your car. Be surprising. You've either got to amuse people or feed •em or shock ' em.
BERNICE. Did you make that up?
MARJORIE. No. I read it in Oscar Wilde but who's going to know the difference? Well? Are you going to stay? (BERNICE nods. MARJORIE stares at her speculatively.)
BERNICE. You're a peach to help me. (MARJORIE continues staring. ) I know you don't like sentiment .
MARJORIE. Oh, I wasn't thinking about that. I was wondering whether we shouldn't bob your hair .
9
(BERNICE gasps. MARJORIE moves to the dance floor and joins WARREN. The music changes to a tango and the couples dance. A boy moves to the easel beside the terrace and removes the "Saturday Night Frolic" card. Beneath it another card reads, "Wednesday Night Revel." OTIS comes downstage and stands watching the dancers, his back to the audience. BERNICE sees him, comes down from the porch to his general area, waiting for him to ask her to dance. When he pays no attention, she does a few tango steps on her own. He still doesn't notice. At last she moves to him. )
BERNICE. Otis! (He turns, startled.) Do you think I ought to bob my hair, Mr. Ormonde?
OTIS (surprised at her asking him). Why?
BERNICE. Because I'm considering it. It's a sure and easy way of attracting attention.
OTIS (nervous). I don't know much about hair. Bobbed hair. Most girls I know have long unbobbed hair.
BERNICE. I want to be a society vampire, you see. I think bobbed hair is a prerequisite.
OTIS. Oh?
BERNICE. So I wanted to ask your advice. (OTIS is amazed. It's never happened before.)
OTIS. MY advice?
BERNICE. I hear you're so knowledgeable about girls.
OTIS. Oh? (Flattered.) Yeah!
BERNICE. So I've decided ..• I've decided to cut my hair. (Suddenly the music stops and her voice rings out, loud and clear.) I'm going to get the barber right here in the Country Club and get my hair bobbed. (The heads of all the dancers turn to her. A few laugh, a few applaud, one calls, "That '11 show 1 em, Bernice!" "You 1 11 look ritzy! 11 For a moment, BERNICE is about to die of embarrassment, then she pulls herself together and calls out:) Of course, I'm charging admission, but if you'll all come and encourage me, I'll issue passes for the seats down front! (All laugh appreciatively.)
WARREN. I'll take two passes right now. (BERNICE looks at him over her shoulder coquettishly, and laughs as though what he said was funny. He pours on the charm:) Do you believe in bobbed hair?
10
BERNICE. I think it's unmoral. But, of course, you've either got to amuse people or feed 'ern or shock 'ern. (She gets a big laugh from the boys. MARJORIE comes downstage, glaring at her angrily.)
(The music begins a fox trot . No one dances. Instead they all watch BERNICE, who turns back to OTIS and puts her ~rrns around him and begins to dance in her usual rigid manner.)
BERNICE. I want to ask your opinion of ..• (Suddenly remembering and speaking the thought.) . .. ironing boards.
OTIS. What?
BERNICE (suddenly melting in his arms) . I was thinking of something else. I want to ask your opinion of sev~~al people. I imagine you ' re a wonderful judge of character. (OTIS steps on her foot in excitement.)
OTIS. Excuse me.
BERNICE (gritting her teeth in pain). I didn't even notice. (They dance. A few other couples dance.) Otis. tell me truthfully . do you think I'm wearing too much rouge?
OTIS (astounded). R ..• r . r . . • rouge?
BERNICE. Oh, Otis . and another thing. I've been wanting to ask your opinion of the League of Nations.
OTIS (he doesn't have one) . The League of Nations?
BERNICE. Well, how about ping pong? What do you think about ping pong? (WARREN moves over to MARJORIE, who is still watching BERNICE.)
WARREN. Want to dance, Marjorie?
MARJORIE. In a minute, Warren. I'm busy now .
WARREN (annoyed; exaggeratedly polite). I beg your pardon. (He walks toR. The music stops.)
BERNICE. Oh, that's too bad. Let's dance again later. I just want to hear all of your thoughts. (She rushes to MARJORIE.) It's working!
MARJORIE (not sure she likes it). I can see.
BERNICE. The only thing is, I'm afraid of running out of conversation. I may have to repeat myself. With different men, of course. or do they compare notes?
11
MARJORIE. They don't. It wouldn't matter if they did. They'd . think you were· even trickier.
BERNICE. I'd feel safer if I didn't repeat.
MARJORIE. Say anything. As shocking as you like. (Sarcastically.) As you said, "You have to amuse people or feed •ern or shock •ern. 11 (The music begins again. OTIS and DRAYCOTT immediately appear before BERNICE.)
BERNICE (flirtatiously). Well •.. I haven't danced with Draycott yet. I suppose it's his turn. (She dances off with him. OTIS moves to WARREN at Rand calls after BERNICE.)
OTIS. When are you going to get your hair bobbed, Bernice?
BERNICE. Maybe day after tomorrow. Will you come and watch? I'm counting on you, you know.
OTIS. You wouldn't really do it, would you?
BERNICE. Well, it would be so convenient, Otis. It takes a frightful lot of energy to fix my hair. Especially in the summer. There's so much of it. So I always fix it first and powder my face and put on my hat, then I get into the bathtub and dress afterward. Don't you think that's the best plan?
OTIS. What was that? Me? (Walks off. To WARREN.) Gee ... everyone is cutting in on Bernice!
WARREN. Yes. Aren't they?
OTIS (regretfully). I used to have her all to myself.
WARREN. But then you didn't want her.
OTIS (denying the facts). Oh, I wouldn't say that. She's a very witty girl.
WARREN. Well, she certainly must have something.
OTIS. Not that it matters to you, the way you feel about Marjorie. (WARREN looks directly at OTIS. This is wha~ has been bothering him. )
WARREN. Marjorie is just a little too sure of me. (G. REECE taps CHARLEY.)
OTIS. Gosh! Look at that. G. Reece Stoddard cutting in on Bernice. And he goes to Harvard Law School!
12
WARREN (snapping). Harvard's not so much! (He starts toward BERNICE but MARJORIE intercepts him.)
MARJORIE. All right, Warren, .I'm ready to dance now.
WARREN (peeved) Later, Marjorie. (Walks off.)
OTIS (calling to everyone). next one's the Charleston! Marjorie?
Say, everybody get your partners ! The (Coming up to MARJORIE). Dance,
MARJORIE (disgusted). Why not? Everything else has happened to me tonight!
(The Charleston begins and all the couples dance. After a short while, BERNICE and WARREN stop dancing and he takes her out through the porch DR. MARJORIE watches this, furious. A boy removes the top card on the easel revealing another card reading, "Monday Afternoon Tea Dance." The music ends, couples break up, the boys form a conversation group. Most of the girls join OTIS and MARJORIE.) .
OTIS. Say, Marjorie, where's Bernice today?
MARJORIE (a little too off-hand). Oh, somewhere ... I don't keep track of her, Otis.
MARTHA (To OTIS, but watching MARJORIE for reaction). She found herself a Yale man.
OTIS (fake innocence). Oh? Is that where Bernice has been all week? Out with Warren?
MARJORIE (brazening it out). Isn't it funny? Why, the first time he came to the house and told the maid he was calling on Miss Bernice instead of me, she nearly died laughing. It's terribly funny. The idea of that dull little frump from Wisconsin taking a man from me.
OTIS. Bernice is not dull! She's ..• golly! .•. she's sophisticated.
MARJORIE (it's too much for her). Oh, otis, make like a hoop and roll away! (Surprised at her anger, OTIS moves off to the other boys.)
OTIS. But Marjorie, you always said you weren't in love with Warren. Surely it doesn't upset you that Bernice
MARJORIE. I'm not upset! Nobody takes a man from me unless I'm ready to let go of him.
13
OTIS (falsely). Oh, we all know that, Marjorie.
MARJORIE (really angry). I'm just happy that Warren found somebody who appreciates him. At last. (The music begins a quiet fox trot. MARJORIE grabs OTIS and starts dancing.)
(WARREN and BERNICE enter DR, running onto porch, laughing. He holds a ladies' umbrella over her head. They stop, out of the rain now, and he lowers the umbrella.)
BERNICE. Lucky I brought the umbrella, Warren, or my hair would just be soaked.
WARREN. We wouldn't want that, would we?
BERNICE (laughing, touching her loiHJ hair). It takes forever to dry.
WARREN. Do you really have to go back to Eau Claire next week, Bernice?
BERNICE. Mm-hnun.
WARREN. Couldn't you stay a little longer?
BERNICE. Oh, I'm afraid I'm wearing out my welcome.
WARREN. No!
BERNICE. Besides, you'll be going back East to school ••.
WARREN (correcting her). To .•. Yale .•. but not till week after next. Couldn't you stay that extra week?
BERNICE. No, Warren. My mother insists .
WARREN. Well, at least promise me you'll write to me the very minute you get home.
BERNICE (flirtatiously). I think you should write me first, Warren. That way, I'll know you're sincere.
WARREN (taking her hand). Oh, I'm sincere, Bernice. Honest.
BERNICE (pulling her hand back). Warren! Warren, they'll all be wondering where we have got to. (She runs around him and onto the dance floor. Music stops. WARREN follows her. All call, "Hello, Bernice." "Where were you?" "You're late!" and crowd around her.) Oh, would you see to my umbrella, Warren?
14
WARREN. I'll put it in the cloak room. (He runs off UR. As he goes, MARJORIE breaks through the crowd of boys, takes Bernice's arm and marches her downstage, away from them.)
MARJORIE. Excuse us, please. I want to talk to you.
BERNICE. Yes?
MARJORIE. You may as well get Warren out of your head.
BERNICE. What?
MARJORIE. You may as well stop making a fool of yourself over warren Mcintyre. He doesn't care a snap of his fingers about you. (They stare at each other, MARJORIE angry and threatening, BERNICE frightened by the strength of MARJORIE's feelings. MARJORIE walks · away.)
(WARREN re-enters UR, coming down to them.)
WARREN. Oh, when are you going back to scho.ol, Otis?
OTIS. Me? The day Bernice gets her hair bobbed.
MARJORIE. Then your education's over. That's only a bluff of hers.
OTIS (to BERNICE, disappointed). That a fact? (BERNICE, embarrassed, doesn't answer.)
MARJORIE (pleasantly). There's a lot of bluffs in the world. Even though you're young, Otis, you ought to know that.
OTIS (confused). Well ... maybe ... (He looks at BERNICE.) Was it really all a line, Bernice? (BERNICE turns to ROBERTA, sees WARREN beside her. He is staring at her, she stares back at him.)
BERNICE (stalling). I don't know
MARJORIE. Nonsense. Admit it!
BERNICE (upset, hanging on). I don't know!
OTIS. Come on, Bernice. Tell Marjorie where to get off.
BERNICE (still staring at WARREN). I like short hair turns to OTIS.) ... and I intend to bob mine.
MARJORIE. When?
BERNICE. Any time.
15
. (She
MARJORIE. No time like the present. (BERNICE looks to ~ARREN, who · says nothing.)
OTIS. Good stuff! a bobbing party.
BERNICE. What?
You said the Country Club barber. We'll have Right here in the ballroom.
MARJORIE. Go get him, Otis. Don't worry, she'll back out.
OTIS. Come on, Bernice .•• (BERNICE again stares at WARREN, then accepts the challenge, rather hysterically.)
BERNICE. All right! Why not? I don't care if I do! And bring a chair back and a tablecloth from the dining room to protect my clothes.
OTIS. Whoopee! (He runs off UL. BERNICE moves away from the others who ad lib, "Gosh, this is exciting." "I didn't think she would.")
MARJORIE (going to BERNICE). Call it off, Bernice. You tried to buck me ·and I called your bluff. (BERNICE looks at her, then summons some inner strength.)
BERNICE (to MARJORIE). What do you mean, bluff? (OTIS returns with a chair.) Put it down there, Otis. (He places the chair at C and BERNICE sits.)
OTIS. I got the table cloth, too.
BERNICE. Just shake it out, otis, and put it around my neck ... (OTIS does so) .•. just like in a barber shop.
OTIS. Here's the barber -- come on.
(A BARBER, MR. DEYO, dressed in traditional whites with scissors in his pocket, walks on.)
MR. DEYO/BARBER. Why can't she come down to the barber shop?
OTIS. 'Cause it's more fun up here. Can't have a party in the barber shop.
BERNICE (as BARBER reaches her). Is this all right?
BARBER (reluctant). Lady, you got such long hair •.•
BERNICE (with controlled hysteria). Bob it!
16
BARBER (shrugging). Okay, lady. It's your funeral. (He goes behind BERNICE, clicks his scissors as the others surround them on the downstage side, masking BERNICE from view.)
MARJORIE (at the first cut, appalled). Oh!
(MARJORIE turns away. The others watch, fascinated, a few mumbling, "Gosh, " • • • "I never thought" . • • "Gee. " The BARBER through this actually removes a false fall of hair from BERNICE's head. When the others step back, BERNICE _is revealed with short, straight, unbecoming hair. The BARBER removes the table cloth and exits UL. All stare at BERNICE.)
BERNICE (rising). You see ... I've done it ..•
WARREN. Ys:s. You did it.
BERNICE. Well? Do you like it?
WARREN (embarrassed, half-heartedly). Sure .•• (Two or three boys ad lib, "You look swell" ... "It's j.ust great" •.• "Real up to date" but none of them mean it.)
MARJORIE (to WARREN, taking his arm). Why don't we go have some tea, Warren?
WARREN (staring at BERNICE). Be glad to . . . (They start off UL.)
MARJORIE. Yes, come on -- you too, Otis.
OTIS. You coming, Bernice?
BERNICE. I'll be there in a minute ... go along ...
OTIS. I'll wait for you, if you like .
BERNICE. Oh Otis, just go! (OTIS exits. BERNICE stands for a minute, horrified by what she has done. Slowly, her hand reaches up and touches what's left of her hair.)
(MRS. HARVEY enters DR on the porch carrying a closed umbrella and walks through into the ballroom.)
MRS • HARVEY. is seeing.)
It finally stopped raining . • • Realizing what she Why, Bernice!
BERNICE. I •.• I bobbed it, Aunt Josephine.
MRS. HARVEY. I can see that.
(Unnoticed, MARJORIE appears UL.)
17
BERNICE. Do you like it?
MRS. HARVEY (not knowing what to say). Well ... I (MARJORIE moves down into the room, still unseen.)
BERNICE. I suppose I've shocked you.
MRS. HARVEY. No. But what will Mrs. Deyo think tomorrow night? You should have waited until after dinner if you wanted to do that.
BERNICE. It was sudden, Aunt Josephine. Anyway, what does it matter about Mrs. Deyo's dinner?
MRS. HARVEY. She's giving it for you. And she hates bobbed hair. She even made a speech at the last meeting of the Women's Club warning all the mothers against letting their daughters . . . she's giving the dinner for you.
BERNICE. I'm sorry.
MRS. HARVEY. Oh, Bernice! What will your mother say? She'll think I let you do it.
BERNICE. I'm sorry. (She rushes to the powder room and sits at the dressing table, staring at herself. As she goes, MRS. HARVEY sees MARJORIE.)
MRS. HARVEY (to MARJORIE). Well, I 1m meeting Mrs. Hudson, I'm late. (She moves UL. Before she exits, she turns back.) Why would she do such a thing?
MARJORIE. I don't know.
MRS. HARVEY. Do something, Marjorie! (She goes off UL. MARJORIE goes to BERNICE in the powder room.)
MARJORIE. Bernie~ ... I'm awfully sorry about Mrs. Deyo•s dinner. I give you my word of honor, I forgot al about it.
BERNICE (combing her short hair, abruptly). It's all right.
MARJORIE. I'll take you downtown tomorrow .. --. to the beauty parlor. They'll fix it so you look real slick. (BERNICE keeps combing and doesn't answer.) I didn't imagine you'd go through with it. I'm really awfully sorry.
BERNICE. floor. BERNICE will be
Oh, it's all right! (She rises, starts for MARJORIE slips into the chair, combs her own turns back and watches a moment.) I like it. becoming. (MARJORIE smiles at her.)
18
the dance hair.
I think it
(Music begins. Couples drift in ULand begin dancing.)
MARJORIE. It looks all right. For heaven's sake, don't let it worry you.
BERNICE . I won't.
(BERNICE turns and walks firmly out of the powder room and across downstage to the porch. OTIS enters UL, sees her, and runs after her, catching up to her on the porch. MARJORIE stays in the powder room softly combing her hair. The others dance a slow, soft, fox trot.)
OTIS. Bernice!
BERNICE (stops, not looking back). Yes?
OTIS. I like it.
BERNICE. Thank you, Otis.
OTIS. Would you ... would you care to dance?
BERNICE. Not now, thank you, Otis.
OTIS. Where are you going?
BERNICE. I have some errands to do.
OTIS. Gee! Won't you come back and dance? (BERNICE turns, looks at him, and smiles.)
BERNICE. No, thank you, Otis. (She turns to leave again, then thinking of something, turns back.) Otis, can you drive an automobile?
OTIS. Sure.
BERNICE. Would you do me a favor?
OTIS. Anything.
BERNICE . Would you come pick me up tonight? -very late. Twelve fifteen?
OTIS (surprised). Twelve fifteen?
BERNICE. There's a night train at one. I'm going to take it.
OTIS. All right.
19
BERNICE. And, Otis, don't mention this to anyone. And when you get there, I'll be out front. If I'm not, don't ring the bell or honk or anything. I'll come out.
OTIS. I'll be there.
BERNICE. Thank you, Otis.
(BERNICE exits R along the porch. The music gets louder. The dancers continue dancing. OTIS walks back into the ballroom, then comes downstage in front of the curtain line. The dancers continue as the curtain closes. At the same time, lights change to a moonlit effect and a door piece is pushed on DR before the curtain. When the curtain finally closes the music stops. OTIS waits a beat . We hear a church bell chime ... not the hour but chimes that ring at the half hour. The door opens and BERNICE comes out. She wears a coat, hat, and gloves . She carries a suitcase and a gift box. She puts down the suitcase and closes the door behind her quietly. She picks up the suitcase and crosses to OTIS . )
OTIS . I've been waiting.
BERNICE. I'm sorry. It took longer than I thought. Will we make the train?
OTIS . Oh, yes. We have time.
BERNICE . I had to write a note to Aunt Josephine.
OTIS. You didn't say good-bye? (BERNICE shakes her head.) Not even to Marjorie?
BERNICE (shaking her head again). I had to wait till Marjorie went to sleep. That's why I ' m late.
OTIS (not understanding). Oh?
BERNICE. Otis, will you do me one more favor?
OTIS. Of course . What?
BERNICE (handing him gift box). Tomorrow morn±ng, first thing, will you take this to Warren Mcintyre?
OTIS. Sure. What is it?
BERNICE. Open it. (OTIS opens the box, looks amazed. Puts his hand in and takes out a long fall of hair.)
20
OTIS. Hair? (BERNICE nods.) Why would Warren want a box of hair .. . ? (Beginning to understand. BERNICE shakes her head . OTIS is stunned. ) And the only one I know that has hair this color is Marjorie - - oh my gosh ... is this Marjorie's hair?
BERNICE (smiling). Marjorie sleeps like a log.
OTIS. Oh!
BERNICE . Put it back now, Otis, and hurry . I don ' t want to miss the train. (She walks off L quickly and OTIS follows her . )
BLACKOUT
21
A ROSE FOR EMILY
SCENE: The upstairs of a once-fashionable Southern horne built shortly after the Civil War.
AT RISE OF CURTAIN: Voices are heard corning up the stairs.
MEREDITH (offstage). I can't believe how many people were at the funeral. The whole town must have turned ·out.
(MEREDITH and WILL enter from the stairs. MEREDITH carries a notebook and pencil, writing frequently as she takes an "inventory" of the furnishings.)
.. WILL. That's not surprising. You see, we looked on Miss Emily as
a tradition, a duty, a care. A sort of hereditary obligation upon the town. The people carne to the funeral as a respectful affection for a fallen monument. 'Course some carne just to see the inside of this house. Nobody's set foot in here for the last ten years -- except Miss Emily, of course, and her servant, old Tobe.
EULOLA. (offstage) Will, are you all up there?
WILL. We're here, Mrs. Tate.
EULOLA. (offstage). Is it okay if I come up, Will? (WILL looks at MEREDITH for guidance. )
MEREDITH. Of course. I'd be curious, too, if I'd lived in the shadow of this house all my life.
WILL (at the stairs). You all come on up. But be careful. Those steps are steeper than the ribs on a washboard.
MEREDITH (examining a box and writing in her notebook). I appreciate you escorting me up here, Mr. Cartwright. I just didn't want to do the inventory on this part of the house all alone. It's so creepy in here. (She examines a corn sheller.) Goodness. What's this?
-WILL. A corn sheller. Don't tell me you folks don't have corn shellers over in Birmingham.
MEREDITH (writing in her notebook). I know what it is. I meant-what's it doing up here?
WILL. Miss Emily used to shell the corn in here and throw it out the window to the chickens.
1
MEREDITH. people?
Why didn't she shell it out in the corncrib like other
WILL. Because in many ways your Aunt Emily was not like other people.
(EULOLA enters and quietly surveys the area.)
EULOLA. My, my. Would you look at this. Squalor. That's what it is. Just plain squalor.
WILL (going to a rocker near the window). Here's the very rocking chair~she was sitting in the night we sneaked in and sprinkled lime all over the place. I was just a kid.
(SILAS enters.)
EULOLA. Silas Chambers, you got no call to be straining up those stairs.
SILAS. Now Eulola, you know wild horses wouldn't keep me out of here. I want to see every nook and cranny of this place. I'm just as nosy as the rest of you.
WILL. Still and all, don't be forgetting your bad lung, General.
EULOLA. You looked real nice at the funeral, Silas.
SILAS. Thank you, Eulola.
MEREDITH (to WILL) . I'd like to thank you for picking me up at the station this morning, Mr. Cartwright.
WILL. anyway.
It was nothing, really. I had to pick up some packages
MEREDITH. I must have looked a fright after riding all night without more than ten winks of sleep.
WILL. Oh, no, ma'am. You looked just fine.
MEREDITH. Why thank you, Mr. Cartwright.
WILL. I'd be just as happy if you called me "Will."
MEREDITH. Then I will -- Will. (MEREDITH and WILL laugh selfconsciously.)
EULOLA (a bit pointedly). It's too bad your papa couldn't come to the funeral.
2
MEREDITH. He had to stay home and supervise the cotton picking. Anyway, Papa will be here after picking season to settle Aunt Emily's estate.
EULOLA. You call this an estate?
SILAS. Is the house the way you remember it, Miss Meredith?
MEREDITH. Why, this is the first time I've ever been here, General Chambers.
WILL. You mean you never saw your Aunt Emily before?._
MEREDITH. Never. Actually, she was my great aunt. But us Wyatts were her closest relatives. Papa met her once or twice. He told me a little about her. Would you say she was a bit on the . . . eccentric side?
EULOLA. It might be closer to the truth to say she had a rather large hole in the bottom of her rain barrel.
SILAS. Eulola!
EULOLA. I'm just answering the sweet thing's question.
MEREDITH. What caused her to get that way?
SILAS. Who can say?
EULOLA. Maybe it was . . . just the vapors. or the sign she was born under.
WILL. Or even this house.
EULOLA. Or her daddy. (A beat.) He started it anyway. Putting it in her head that the Griersons were a little better than everybody else.
SILAS. Eulola' s right there. He kept telling Miss Emily that none of the young men in this town were good enough for her. But some of us did right well. I wish he'd lived long enough to see the way I ... (He is a bit embarrassed. His . ~oice trails off.)
EULOLA. No question the man had a strong hold on her. Why, even when he died, she wouldn't admit it.
MEREDITH. What do you mean?
3
SILAS. I was one of the first to get here after her daddy died. I recall her voice. It was different than I'd ever heard it before. Her voice was strong, but very strange. I remember it yet. (The scene changes to the past as ALL except MEREDITH move to the downstage area. Emily's voice is heard.)
EMILY (offstage) . Tobe, there seem to be some people here. Please show them in.
(EMILY enters.)
EMILY. May I ask why you all have come?
SILAS. Miss Emily. Words cannot express our sorrow. We insist on staying with you in ~his hour of need. My wife is corning over with two rhubarb pies, Miss Emily •.. to help feed the mourners.
EMILY. I still do not understand why you all are here.
EULOLA. You know why we're here, Miss Emily. To grieve after your poor father who passed on yesterday.
EMILY. My daddy is not dead.
SILAS. The scriptures must be obeyed, Miss Emily. We must bury the dead.
EMILY. My daddy is not dead. (She exits as ALL watch her. The scene changes back to the present and ALL rejoin MEREDITH upstage.)
MEREDITH. How on earth did they finally get through to the poor thing?
SILAS. They were about to resort to the law and force their way in. But she finally broke down.
EULOLA. They buried the man as quick as they could.
MEREDITH (examining the contents of a box, then writing in her notebook). Well, I am happy to report I've almost finished the inventory up here.
WILL. What about that door back there? Where does it lead?
MEREDITH. For heaven's sake, I didn't even notice it. somebody'll stay with me while I inventory in there. gives me the willies.
WILL. I'll keep you company, Miss Meredith.
I hope This place
MEREDITH. Why, thank you, Mr. Cart .•. Thank you, Will.
4
WILL (trying the door). This door's locked.
MEREDITH. Oh, my.
EULOLA. Probably nothing but a closet anyway. Or a storage area.
SILAS. It's a bedroom.
WILL. How did you know that?
EULOLA. He's been in this house before. He once carne courting over here, you know.
SILAS. Eulola, the years haven't slowed down your tongue one bit.
MEREDITH. Well, if it is a bedroom, I guess I'd better write down everything that's in there so Papa can evaluate it properly. I wonder why the door's locked.
EULOLA. Tobe's got the keys. I'll bet he's around here somewhere.
WILL (at the stairs, calling). Tobe! We need the keys to open up a door. You bring them on up, you hear?
EULOLA. I wouldn't depend on him. He's as odd as she was.
MEREDITH. When was the first time you noticed that Aunt Emily was . . . a little different.
SILAS. I never did think she was crazy.
EULOLA. Well, she was, Silas. But we understood why she acted the way she did when her father died. He had driven her off all the young men, and now he was gone, too. So, with nothing left, she had to cling to that which robbed her. As people will. And her daddy would have certainly driven away the next man, too, but he was no longer alive when the next man carne along. (The scene changes to the past . )
SILAS. You must be Mr. Homer Barron.
HOMER. Indeed I am. (SILAS and HOMER shake hands.)
SILAS. Mighty impressive set of mules and machinery, -Mr. Barron. We're sure you'll do an able job layin in the sidewalks here in Jefferson. Don't work too hard though, Mr. Barron. Leave a little time for recreation. Feel free to join us for libations and such down at the Elks Club whenever you can.
HOMER. That's kind of you sir.
5
SILAS. And we have some lovely young ladies here in Jefferson, Mr. Barron. I understand you're not married.
HOMER. To be honest, I'd rather pour cement than get stuck in it myself. (The MEN laugh.) But I'm certainly not above promenading with a handsome young lady after a hard day's work.
SILAS. or even before a hard day's work, I'd say. I saw you this morning with Levi Taylor's oldest daughter having a phosphate at Whitfield's Drug Store.
HOMER. She was showing me the town. I was obliged to show my appreciation.
SILAS. Have a fine stay in Jefferson, Mr. Barron.
HOMER. I plan to. I certainly plan to.
(EMILY enters.)
HOMER. Afternoon, ma'am. I'm Homer Barron. ·
EMILY (non-committally). Mr. Barron.
HOMER. I'm the foreman of the sidewalk paving.
EMILY. I hope you find it pleasant here. (She starts to exit as HOMER stops her.)
HOMER. I'm sure I will. And the more people I get to know, the more I'll like it.
EMILY. I suppose.
HOMER. That's why I'd be pleased to know you. Your name, at least. I'm from a big city where people don't hardly speak to each other. To me, one of the charms of a small town is people talking to everybody -- calling each other by name.
EMILY. My name is Emily Grierson. Now that we know one another, I'll bid you a good qay, Mr. Barron.
HOMER. Unless you're in some gosh awful hurry, Miss Grierson, I'd be pleased to buy you a strawberry phosphate over at the drug store.
EMILY (fighting the attractive invitation.) I ... I'm afraid I am in a hurry.
HOMER. Some other time then.
EMILY. Perhaps. (She starts to exit . )
6
HOMER (to himself). Grierson. (He stops EMILY again.) Excuse me, ma'am. You wouldn't be related to Samuel Grierson, would you?
EMILY. He was my daddy . He . .. passed on recently.
HOMER (sincerely). I'm sorry to hear that.
EMILY. How did you know my daddy?
HOMER. He was one of the early promoters of the sidewalk paving. He was on the committee that came calling on our company for estimates and details. I recall he was particularly impressed.
EMILY. he approved of you -- personally?
HOMER. Yes . I mean, he approved of the firm. And me, too, I suppose, since he knew I'd be foreman of the job. (A beat.) I'm sorry as I can be to hear of his passing. In a sense, I have him to thank -- in part -- for my job here.
EMILY. Yes. Especially if you had his .. ; personal approval. (A beat.) Well, I really must be going. (She moves a couple of steps away, then turns back to HOMER.) Mr. Barron, I will be home around five. It's the largest house on Elm Street. The name is on the fence. If you come properly calling, I might be available for that strawberry phosphate. The drug store is open until six.
(HOMER smiles and watches EMILY exit, then he exits in the opposite direction. The scene returns to the present . )
MEREDITH: She started seeing this Homer Barron?
WILL. Yeah, I remember my folks talking about it when Miss Emily took up with Mr. Barron.
EULOLA. The whole town was talking about it from what I heard.
SILAS . Everybody thought it was nice that she finally had an interest.
EULOLA. Although we knew that a Grierson would not think seriously of a Northerner. And when all was said and done, he really was nothing more than a day laborer.
MEREDITH. Did she stop keeping company with him?
EULOLA. Law , no .
WILL (moving to MEREDITH). When you care about somebody, their station in life shouldn't matter. Wouldn ' t you say so, Miss Meredith?
7
MEREDITH . . I quite agree.
SILAS (looking down the stairs). I don't think old Tobe's down there. If he is, he's keeping his distance.
WILL. Maybe I can jimmy this lock open with my pocket knife. (He begins to work at the lock.) If that doesn't work, I'll go out to the shed and look for a crowbar.
MEREDITH (going to the door). I wonder why she locked that door in the first place.
EULOLA. Child, that woman had locks on many things. The doors to her house as well as the doors to herself.
MEREDITH. Was it Mr. Barron who made her the way she was? Obviously, she was quite interested in him.
EULOLA. Interested? In the beginning, maybe. But before long, interest gave way to total commitment.
(The scene changes to the past as HOMER and EMILY enter.)
HOMER. Miss Grierson, I can't tell you how much I've enjoyed your companionship over those phosphates these past couple of weeks.
EMILY. Thank you, Mr. Barron. But I wonder if we're seeing each other a bit too frequently. You know how it is in a small town.
HOMER. Can't say as I do. I'm from the city. Remember? Anyhow, to show my appreciation, I'd like to invite you to the social mixer at the Elks Club this Saturday night.
EMILY. Oh, I couldn't do that.
HOMER. Sure you could. Anyway, it doesn't start till eight o'clock. All those busybodies with the wagging tongues won 1 t even see us. They'll already be in their nightcaps, reading their Bibles, getting ready for church the next day.
EMILY. I'm afraid the Elks Club is not a place for like me.
a person
HOMER. It'll be perfectly decent. I promise you the men will all be on their best behavior for the women.
EMILY. I'm sure there are others who would happily accompany you for the evening.
8
HOMER. I guess I'd be lying if I said that wasn't true. But the others just don't measure up to you, Miss Grierson. (Embarrassed
but pleased, EMILY turns away.) Do you know what first struck me as attractive about you?
EMILY. I ... can't imagine.
HOMER. That charming, serene look you have. Like those angels you see in the windows at church. I hope you'll consider that as the compliment it was meant to be.
EMILY. I will.
HOMER. And I also hope you'll consider the social mixer at the Elks Club.
EMILY. I ... I will give it some thought, Mr. Barron.
HOMER. You know, I believe the two of us have been acquainted long enough now to drop the formality of "Mister" and "Miss" when we address each other. Wouldn't you say so, Miss Grier ..• (He catches himself and BOTH laugh.) Emily?
EMILY. I'm inclined to agree with you -- Homer.
HOMER. Good. Now, you do some real serious thinking about Saturday night, you hear?
EMILY. I'll let you know.
HOMER. Good day. (A beat.) Emily. (He exits. EMILY watches after him a moment, then crosses toward the other side of the stage.)
EMILY. Eulola.
EULOLA. Emily! What can I do for you today?
EMILY. I need a shawl.
EULOLA. You want one for church or everyday wear7 --
EMILY. Neither. I had in mind something colorful festive.
EULOLA. Oh? Like for social gatherings and such?
EMILY. Yes.
something
EULOLA. I don't carry those, Emily. But I can send over to Jackson for one.
9
EMILY. Will it be in by Saturday?
EULOLA. Might be. if we rush order it.
EMILY. Would you p l ease rush order it?
EULOLA. As you wish, Emily. As you wish.
EMILY (slowly crosses C). Tobe. Give the parlor an extra special dusting this week. And pick some of those sunflowers out back. Put them in the two standing vases near the piano. I believe the time has come for us to liven things up a little around here. (She exits.)
SILAS. It's getting thicker than cornbread in pot likker with those two.
EULOLA. Well, it's probably the best thing that could happen to her. Even though he is a Yankee. But, then, I suspect Mr. Barron's just enjoying Miss Emily's company while he's down here. It'll be all over once he heads north.
SILAS. Yes, he'll probably jilt her, all right.
EULOLA. Just like a man.
(EMILY, wearing a colorful shawl, and HOMER enter.)
HOMER. I hope you had a lovely evening, Emily.
EMILY. It was quite nice, Homer. And you were right. The gentlemen were on their best behavior.
HOMER. You dance very well. Did you know that?
EMILY. Oh, I;m sure I was a bit awkward. That's the first time I've danced since daddy used to whirl me around when I was a little girl.
HOMER. Well, you did just fine tonight. see you into the house?
(A beat.) Can I ...
EMILY. Not at this hour, I'm afraid. I'll just say good night here in the front yard.
HOMER. That's fine with me. (He takes Emily's hand and pulls her a few steps away.) As long as we can say good night behind this big, old willow tree. It'll get that full moon out of our eyes.
EMILY. I ... I think I should go inside.
10
HOMER. I think you should, too. Right after this. (He kisses EMILY. )
EMILY (nervous, yet excited). Please, Mr. Barron. I really think . . .
HOMER. It's Homer. Remember?
EMILY. Please ... Homer. (HOMER kisses EMILY again. This time she doesn't resist.)
HOMER. You know, we had a red sky tonight. That means a good day tomorrow. I'm going to pick you up in the morning for a drive out in the country. · Ten o'clock sharp.
EMILY. Oh, but I couldn·; t.
HOMER. Oh, but you could. And you know something else? That little old seat in the back of the buggy was just made for holding a picnic basket. And that.' s going to be your responsibility. Now be sure to put in a sizeable amount of chicken legs and thigh~. And some deviled eggs might just hit the spot, too. Good night, Miss Emily Grierson. I look forward to the morning~ (He exits.)
EMILY (in a dither, but happily so). Homer. Now wait. I didn't say I'd go, you know. (A beat.) But I will. (She exits. The scene changes back to the present.)
WILL (at the door). Well, how do you like that? I finally get the lock undone and the door still won't open. It's probably all swole up from the years of humidity. I believe this thing's nailed shut.
MEREDITH. Nailed? What on earth for?
WILL (inspecting the door closely). Yes, sir. It's nailed to the jamb. From top to bottom. (At the other side of the door.) And over here at the hinges, too.
MEREDITH. How odd.
WILL. I'll go down and. get a crowbar. make him tell me the meaning of this.
And if__ I see Tobe, I' 11 (He exits.)
SILAS (looking at the door). There's something mighty interesting in there.
MEREDITH. You know what I'll bet's behind that door? A diary-or a journal, maybe -- detailing the romance between Aunt Emily and Mr. Barron.
SILAS. It's got to be ~ore important than that.
11
EULOLA. Anyway, the details of that romance were.not relegated to some hidden place behind closed doors. They were exhibited for the whole world to see.
(The scene changes to the past. HOMER and EMILY run on, holding hands and laughing. At C, HOMER lifts EMILY and whirls her around . Giggling, she protests. He sets her down and kisses her. She t.akes him by the hand and leads him off hurriedly. They exit laughing.)
EULOLA. Did you see them driving out to the country last Sunday? Him with his hat cocked -- pretty as you please -- up on his head. And a cigar fastened between his teeth.
SILAS. Old Tom Mellors said he saw them climbing out of tbe buggy right near his place, then heading on up to the paw-paw patch.
EULOLA. And when they came riding back into town, she had her head held up high just like nothing had happened. It's a disgrace to the town.
SILAS. Now there's no hard evidence of improprieties here. I say we shouldn't interfere.
EULOLA. You must go speak to her.
SILAS. (A beat.) Well, maybe I could have a word with Mr. Barron.
(HOMER enters and approaches SILAS.)
HOMER. The sidewalks are almost finished. I 1 11 be heading back up North real soon.
SILAS. Are you aiming to, uh, take anybody with you? If you get my meaning.
HOMER (a bit uncomfortably). Well, sir, it is something I have to put my mind to, sure enough.
SILAS. We hope you'll do the honorable thing, Mr. Barron. Miss Emily may not always seem •.. as stable as most folks. But she comes from mighty fine stock. There won't be much of a dowry. We thought her father had quite a bit of money to leave to her. But it didn't seem to turn out that way. (A bea~.) Anyhow, a marriage founded on money is like a house built on the sand. Wouldn't you agree, Mr. Barron?
HOMER. One-hundred percent. One-hundred percent.
SILAS. Yes. Perhaps we'll see you and Emily in church this Sunday. (Exits. )
12
(EMILY enters.)
EMILY. Horner.
HOMER. Oh. Good afternoon, Emily.
EMILY. You haven't called in a few days ... and I just wondered .
HOMER. Been real busy, Emily. That's all. · Just real busy.
EMILY. You ... haven't talked much about your work, but the sidewalks seem to be almost finished.
HOMER. We're getting there. (A beat.) Would you look at those fluffy clouds? Just like a flock of sheep. What a day. Bright and pretty. Just like you, .Emily.
EMILY. If I do have a brightness about me ... (A beat.) . you're the one who put it there.
HOMER. That's sweet of you to say, Emily. (A pause.) Well, back to work. No rest for the wicked. (He laughs and starts to leave.)
EMILY. Horner. What ... what about us?
HOMER. Why, we're doing just fine, I'd say. (A beat.) Look, no matter how busy I am tomorrow, I promise ...
EMILY. I mean ... what about us ... in the future?
HOMER. What do you mean?
EMILY. The sidewalks are almost finished.
HOMER. That's right.
EMILY. Will you be leaving? I mean ... leaving by yourself?
HOMER. Now, don't you worry a close touch with you people. from time to time. I've made them closer than you, Emily.
bit. I'm going to keep in real And I plan to come back and visit lots of friends here. And none of
EMILY (meaningfully). I am more than a friend to you, Homer Barron.
HOMER. I know, I know. That was just a manner of speaking.
EMILY. You said you cared for me -- rather deeply, you said.
13
HOMER. I did. And . . . I do.
EMILY. And I expected the same sentiments for you. Horner, the relationship that we've had could only be taken to mean it was leading in a certain direction .
HOMER. Exactly. That of a long-standing friendship .
EMILY. or a long- standing permanent arrangement. (A pause.) Horner, the time has come for me to know exactly what your intentions are.
HOMER (trying to calm EMILY by taking her hand). Emily. Dear Emily. Even when you're -- excited -- you still have that charming, serene look about you . Emily, this Sunday I'd like to . . .
EMILY . There will be no more rides to the country until you tell me . . .
HOMER. Emily, now listen. This Sunday I'd like to escort you to church. (A pause.)
EMILY. To church? Do you mean it?
HOMER. I said it, didn't I?
EMILY. Will we ... be talking to the preacher afterwards?
HOMER. Well, he might be busy right after the service, but .
EMILY. We can arrange for a meeting time with him during the week.
HOMER. We can certainly think about that. (He sees that EMILY is momentarily placated.) My, my, would you just look at that sky. Well, I'll see you Sunday. 'Bye, Emily. (He exits hurriedly.)
EMILY. I do declare. I do declare. Eulola!
EULOLA. Yes, Emily? What is it?
EMILY . I'd like to order a man's brush set.
EULOLA . Why, certainly. Would you like that in gold plate or silver plate, Emily?
EMILY. Silver, I believe. Can you make some letters on it?
EULOLA. We do fine monogram work. Costs a little extra, but well worth it. What letters did you want, Emily?
EMILY . 11 H. B. 11 on each piece, please.
14
EULOLA. It'll be ready Wednesday. But you'll need to pick it up that morning since we close on Wednesday afternoons. (Emily moves away.)
EMILY. I nearly forgot. Would you add a man's nightshirt to that order. Size ... large. (Leaves.)
SILAS. They finished the sidewalks. The whole construction crew left town -- including Homer Barron.
EULOLA. Homer Barron? He's gone? Without Miss Emily?
SILAS. The man was paid to supervise the sidewalk paving. That was his only obligation. (A paus·e .)
EULOLA. No. Don't you see? He's gone on ahead to prepare for Miss Emily's coming.
SILAS. He's gone on ahead to get away from her. I'm afraid he's gone for good.
EULOLA. I knew it all along. You could tell he was no good the way he fastened that cigar between his teeth. Poor Emily. This is going to kill her.
SILAS. More than likely, she's going to kill herself. Did you hear what she bought over at Doc Whitfield's drugstore yesterday?
EULOLA. What?
SILAS. Poison!
EULOLA. For rats and such?
SILAS. The kind she bought would kill an elephant.
MEREDITH. Did she try to kill herself?
EULOLA. No, though she might have been better off in the long run if she had.
MEREDITH. Was Mr. Homer Barron ever seen again?
SILAS. Well, he may have come back once.
EULOLA. Somebody thought they saw Tobe let him in through the kitchen door one evening. Probably came back for one last night of pleasure. Just like a man.
MEREDITH. Do you think she actually considered killing herself?
15
SILAS. You mean with rat poison? (MEREDITH nods affirmatively.) No. Turns out she did want it for rats after all -- or some kind of vermin, anyway. A new granary right over there ... (He points out the window.) .•. drew some rodents into the area, so apparently Tobe spread out the poison to get rid of them.
EULOLA. Created a terrible odor.
SILAS. The Board of Aldermen were going to send her word to do something about the smell. But nobody wanted to deliver it. So one night, Will and some of the boys sprinkled some lime around the cellar openings and all over the outbuildings. That's when we saw Miss Emily sitting right here. (He pats the rocker near the window.) All we could see was her outline. She looked like the shadow of an idol. (A pause.) In a week or two, the smell went away.
(WILL enters with a knife and a screwdriver.)
WILL. I couldn't find a crowbar. But we ought to be able to force the door open with these.
MEREDITH. I hope that does the job. I've just got to finish this inventory and catch that train tonight that hooks up Meredian with Birmingham.
WILL. I'd be happy to drive you down to Meredian, Miss Meredith, if you miss the train out of here.
MEREDITH (interested). You would?
WILL. Yes, ma'am. I'm sure Mr. Deavers would let me borrow his buggy.
MEREDITH. Who is Mr. Deavers?
WILL. The man I work for.
MEREDITH. Oh. You're not in a family business?
WILL. My daddy works in a mill.
MEREDITH. I see. (A beat.) I'm sure I'll be able to make that train. (She moves away from WILL. EULOLA and SILAS glance -at each other . )
SILAS. I've been thinking. Everybody believed Miss Emily's daddy left her this house and nothing else. But she always seemed to have money when she needed it. Like when she bought those items for Mister Barron.
16
EULOLA. It's true she never earned a dime, except on her china painting classes.
MEREDITH. China painting classes?
EULOLA. That was several years later when she temporarily came out of hiding.
SILAS. She didn't make much on it. Anyway, that was long after Homer Barron. I say there was money in this house. I think it's still here. (WILL stops working for a moment as ALL stare at the door.)
MEREDITH. If it's true, I'm sure Daddy would want to reward you all for helping me out so kindly. (After a beat, WILL redoubles efforts.) What happened after Aunt Emily stopped teaching the classes?
SILAS. world.
That was just about her last contact with the outside
MEREDITH. Nobody ever saw her again?
EULOLA. Now and then we'd spot her in one of the downstairs windows. That was all.
SILAS. Well, there was that one time -- just a few years ago -when I paid her a visit ~out her taxes.
MEREDITH. She wouldn't pay her taxes?
EULOLA. She wasn't required to. Not for a while, that is. Right after her father died, the mayor -- Colonel Sartoris, it was remitted her taxes on the property. But the next generation with its modern ideas -- became the mayors and the aldermen. And Miss Emily's taxes came into question.
(EMILY enters.)
SILAS. Emily, I think you know why we're here. (A beat.)
EMILY. ~ ·have no taxes in Jefferson. Colonel. §artoris explained it to me. Perhaps you can gain access to the city records and satisfy yourselves.
SILAS. But we have. Didn't you get a notice from the sheriff, signed by him?
EMILY. I received a paper, yes. But, I repeat, I have no taxes in Jefferson.
17
SILAS. But there is nothing on the books to show that, you see . We must go by the . . .
EMILY. See Colonel Sartoris. I have no taxes in Jefferson.
WILL. But Miss Emily . • •
EMILY . See Colonel Sartoris. I have no taxes in Jefferson. Good day, Silas. (Emily's tone becomes more gentle.) Why, I do believe one of those men was the Nix boy . . He's all grown up now. Too young to be a town official, but still grown up. He was one of my last china painting students. Remember those days, Tobe? we used to have as many as eighteen -- twenty -- children all over the flo.or, some of them sitting cross-legged in these old leather chairs. Dabbing their brushes into their paints. Creating little images that h~cl never been created before -- and would never be created again. Like snowflakes. Like the children themselves. Almost the same, but all different ... I don't think ever had a childhood, Tobe. Daddy wanted me to be a lady -- his little lady -- from the day I learned to walk. maybe that's why I loved the children so. For an hour once a week my hands became theirs, guiding their little fingers,· shaping their little pictures. Sharing their little victories. It gave me the chance to be the little girl I never got to be. Why did they stop corning? They . . . just stopped coming. And I've missed them so very much. Tobe, if the gentlemen are all gone now, you may close the front door. I don't believe we'll ever have the need to open it again. (She slowly exits as the scene changes back to the
present.)
MEREDITH. Did the door stay closed?
SILAS. Up until her death.
MEREDITH. Did the aldermen ask Colonel Sartoris about her taxes?
EULOLA. They couldn't. He'd been dead for ten years.
MEREDITH (picking up a framed picture from the table). Is this her and her daddy?
SILAS (looking at it). And her favorite horse. (He chuckles.) Old "Stonewall."
MEREDITH. She was pretty.
SILAS. In her youth -- yes.
EULOLA. But she began to fill out a little. And her hair started to turn gray.
18
MEREDITH. That was what struck me most when I was looking down at her in the coffin today. Her hair. It was a magnificent irongray.
EULOLA. Her hair turned iron-gray before she was fifty.
WILL (at the door). Damn. I broke the blade of the butcher knife. I'm not getting anywhere with this screwdriver, either. We might be able to break it down. But that means you'd have to replace the door.
MEREDITH. Bust it to pieces, if necessary. I'm just dying to know what's in there. Anyway, I've got to finish this inventory.
SILAS. Let me get in on this.
EULOLA. Mind your sciatica, Silas.
SILAS. Okay, let's try it. (Somewhat uncoordinated, they throw their shoulders against the door.)
WILL. I felt it give a little.
SILAS. Try it again. (They throw their shoulders against the door again.)
WILL. It's stubborn. But it's budging.
EULOLA. Silas, don't forget your bad leg.
WILL. Okay, together. One, two, three ... (They hit the door.) Again, one, two, three ... (They repeat the action.) Harder one, two, three ... (They break the door open as the WOMEN applaud and the MEN laugh and congratulate themselves.)
SILAS. Well, let's have a look.
WILL. No, General. I think it's only right that Miss Meredith takes the first tour of the "mystery" room. (ALL agree.)
MEREDITH. Very well. But I do wish we had a lamp. (She inches into the room.) It's so dark in here.
WILL. Your eyes will get used to it once you've been in there a little while. (MEREDITH disappears from view in the darkened room.)
MEREDITH (from inside the room). Well, at least I can see the outline of things.
WILL. Any hidden treasures?
19
MEREDITH. Not yet. From what I can tell, it's just a bedroom so far. A very dusty bedroom, I might add. (A pause.) Well, here's some nice crystal pieces on the dressing table. And something else. What is this?
EULOLA. Maybe the crystal's what she was hidi ng. Lord knows there's not much else of value around here.
WILL (calling to MEREDITH). What else did you find, Miss Meredith? (A pause.) Miss Meredith? (There is no answer. ALL look at each other . ) Miss Meredith, I said what did you find in there? (There is still no answer.)
EULOLA. Will, go on in. (He starts to go in but is met by the emerging MEREDITH . Shaken, she holds two or three pieces of silver toilet articles . )
SILAS. What's that you've got?
WILL (taking an item from MEREDITH) . Appears to be silver. Silverplate, anyway . It's all tarnished. Here's some engraving on it. (He examines it closely.) Looks like the letters "H.B."
MEREDITH (almost in a daze). That's not all I saw.
EULOLA (nervously). What do you mean, child? (MEREDITH doesn ' t reply.)
WILL. What else did you see?
MEREDITH. Near the bed, there was a chair. It seemed to have some clothes on it. Men's clothes.
EULOLA (almost in a whisper). Oh, my God.
SILAS. Did you see the bed itself? (MEREDITH doesn't answer.) I said, did you see the bed itself?
MEREDITH (looking straight ahead). No. I don't think so. (The OTHERS stare at each other. Unnoticed, MEREDITH, as though in a trance, is drawn back into the bedroom.)
WILL. Hold this , please . I think the rest of- you better go downstairs. (He notices that MEREDITH is gone.) Where did she go? Miss Meredith? My God! (He runs into the bedroom. A moment later, MEREDITH emits a loud cry.)
EULOLA. No. Please, God.
SILAS. Don't let it be.
20
·.
EULOLA. Lord, have mercy. (WILL leads the trembling MEREDITH from the bedroom. )
SILAS. Is it ... him?
WILL (nodding). What's left of him. His skeleton. And an old, rotted nightshirt . Lying in the attitude of an embrace.
EULOLA (quietly, in tears). Lord, have mercy. Lord, have mercy.
WILL. And there was something else. Next to Mr. Barron is a pillow where another head was once at rest.
SILAS. How can you tell? How can you tell someone was lying beside . . . this?
WILL. Because of what I found on the pillow. (He lifts his hand into the air.) A long strand of iron-gray hair. (ALL are motionless as the lights slowly fade.)
CURTAIN
21
THE KID NOBODY COULD HANDLE
The curtain is rising to reveal a stage with several playing areas . .
At R, there's a suggestion of a portion of a quite ordinary small restaurant. All that's required is a small table with a checked cloth and two chairs. If desired, however, this can be elaborated with another table or so and perhaps a section of counter. There should be a parking meter standing in front and to the side of the restaurant area.
At uc and to stage L, there are several chairs arranged as classroom seats, teacher's desk and a locker. A small podium at L, facing front, and any other available props that would suggest a high school music room. A few instrument cases placed besides the locker would be helpful·.
A small, humorless man, BERT QUINN, is revealed sitting at the restaurant table toying sourly with some food on the plate before him. If desired, a .few extras .may be seen crossing downstage, either to R or L, apparently on the sidewalk.
NEWT: (As curtain is rising) It's early morning-- some people going to work, some to school. (Indicates R) That's Bert Quinn's restaurant. Bert eats his own food -- not because he likes it but because he saves money that way.
(MARGIE is entering R with a Silex full of coffee)
BERT: (calling R without looking up) Margie
MARGIE: (As she's pouring more coffee into his cup) Yes, Mr. Quinn?
BERT: I'd like more -- (Realizing) Thank you. Did the Kid finish mopping?
MARGIE: No, sir.
BERT: (Irritated) Tell him to hurry, and then get to school.
MARGIE: (As she's going; casually) I tell . ~im eve~ morning.
NEWT: Bert. isn't really a well man. He can't sleep, can't digest his food and can't stop working. He has only two moods: one suspicious, the other arrogant. The first applies when he's losing money, the second when he's making it.
(NEWT steps upstage a few steps and nods L)
1
NEWT: Over here is Lincoln High School -- that large classroom is for the band -- run by George Helmholtz -- whose head is always filled with band music.
(George is setting up stuff)
NEWT: (Meanwhile) George dreams the same big dream. He dreams of leading as fine a band as there is on the face of the earth. And, in a sense, each year his dream comes true. It comes true because George is sure that a man couldn't have a better dream than leading a band. Faced by his unnerving sureness, the school board let George raid the budget to pay for band uniforms, and students play their hearts out for him. Even when the kids don't have any talent, George gets them to play on guts alone.
(Before going into the restaurant, GEORGE glances about, sees he's alone, takes a step forward and then raises his arms as though to lead a band.)
GEORGE: A-one, a-two, a-three
(He brings arms down and there's a burst of beautiful band music that he apparently leads for several seconds. He gestures for the end, the sound cuts out -- and humming the continuation of whatever music was played, he walks into restaurant. )
(NOTE: A rousing Sousa march would be a good choice and the sound cues should be carefully rehearsed)
NEWT: (Smiling) Now you gotta understand that music is all in But he cares so much, he makes everyone hear George's head.
it.
(GEORGE is seating himself at the table with BERT, and the sounds of heavy construction work may begin here, though kept as background)
BERT: (Calling R) Hi, George. Fried eggs, coffee and toast for Mr. Helmholtz.
GEORGE: Hello Bert! (Calls) Hello Margie. · ~
(A wiry YOUNG MAN, sullen, withdrawn, wearing jeans and gaudy shiny black boots with a jingli?g chain on them, is corning on, mopping mechanically)
GEORGE: (Eating) Urn. (Nodding to boy) Hello. (Without response, the boy keeps mopping. To Bert) No answer, huh?
BERT: Nah, he never answers.
2
GEORGE: (Still regarding the mopper) That boy. I've seen him around school, but I never knew his name.
BERT: (Smiling cheerfully) Billy the Kid. The stormtrooper. Flash Gordon. (Calling) Hey, Jim! Come here a minute. {As the sullen boy is approaching them, the mop dragging after) This is my brother-in-law's kid by another marriage --before he married my sister. His name's Jim Donnini, and he's from the south side of Chicago and he's very tough.
GEORGE: How do you do?
JIM: {Looking past him; emptily) Hi. {Wanders off with mop)
BERT: He's living with me you know. He's my school kid now. And he won't talk to me, either. (To JIM. Shortly he calls) Go on, kid, wash up and shave. (Robotlike, JIM goes off R, trailing the mop)
GEORGE: (Concerned) Where are his parents?
BERT: His mother' s dead. His old man married my sister, walked out on her and stuck her with him. Then the court didn't like the way she was raising him and put him in foster homes for a while. Then they decided to get him clear of Chicago so they stuck me with him. (Shaking his head) Life's a funny thing, Helmholtz.
GEORGE: (Pushing his eggs away) Not very funny, sometimes.
BERT: (Chewing toothpick) Like some whole new kind of people coming up. He's nothing like the decent kids we got around here. Did you notice those boots he wears? He loves those boots. He won't talk, won't run around with other kids, won't study. I don't think he can even read or write very good. All he does is polish those boots.
GEORGE: Does he like music at all? Or drawing? Does he collect anything?
BERT: You know what he likes -- he likes to polish those boots. The Qnly enjoyment he gets is when he's alone, comic books spread around, and polishing those boots. - (Remembering) Oh, he had a collection, too. I took it away from him and threw it in the river.
GEORGE: Threw it in the river?
BERT: Yeah. Eight knives -- some with blades as long as your hand.
3
GEORGE: Oh. (Concerned) This a new problem at some schools, I guess. (Wanting to sort it out) It's kind of a sickness, isn't it? That's the way to look at it, wouldn't you say?
BERT: Yes, sick. (Tapping his chest) And Doctor Bert is just the man to give him what's good for his ailment.
GEORGE: What's that?
BERT: (Hard) For a start -- no more talk about poor, little sick boy. That's all he heard from social workers and the juvenile court.
(JIM, still expressionless, is re-entering R, now wearing a leather jacket)
GEORGE: But actually
BERT: Actually he's a bum. Well, I'm going to ride his tail till he straightens up and flies right, or winds up in the can for life.
GEORGE:
BERT: JIM)
(Nodding toward JIM; warning) Bert
(Going right on) Believe it, boy!
One way or the other. (Bert goes off)
(Directly to
GEORGE: (Glancing at JIM and clearing his throat) So, do you -do you like listening to music? (JIM sighs heavily with boredom. George tries again) Ever drum with your fingers or keep time with your feet? (JIM leans his head back, closing his eyes, waiting for GEORGE to give up. GEORGE tries another approach) Those boots --what's the function of the chains? Are they to jingle? (JIM looks away, but GEORGE presses on) At least you whistle. Even whistling -- it can be like picking up the keys to a whole new world.
JIM: (Contemptuously) A new world --
GEORGE: (Eagerly) .A world as beautiful as any world can be. (JIM makes a soft Bronx cheer, but GEORGE .continues undaunted) There! You've illustrated the b~sic principle of the family of brass wind instruments. The glorious voice of every one of them starts with a buzz on the lips. (Apparently they've reached a parking place at L, and they're both facing forward)
JIM: (Fishing a cigarette from inside of his leather jacket) Any time.
4
GEORGE: (Noticing as JIM lights cigarette, keeping casual) Hey, that -- that won't do your lungs much good. (JIM's reply is to expel some smoke. GEORGE speaks carefully) Sometimes I get disgusted, too, and I don't see how I can stand it. I feel like doing all kinds of crazy things -- things that might even be bad for me . (JIM expels more smoke) And then -(Snaps fingers enthusiastically) And then, Jim, I remember I've got at least one tiny corner of the universe I can make just the way I want it. I can go to it, and enjoy it till I'm brand-new and happy again .
JIM: Aren't you the lucky one?
GEORGE: I am, for a fact . My corner of the universe happens to be the air around my head. I can fill it with music. (JIM is yawning, apparently getting out of · the car. GEORGE continues eagerly) Mr. Beeler, in zoology, has his butterflies. Mr. Trottman, in physics, has his pendulum. Mrs. Crane, in English, her books --
JIM: (Contemptuously) Mrs. Crane --
GEORGE: Making sure everybody has a corner like that is about the biggest job we teachers have. I -- (But he's stopped as JIM drops cigarette and walks out L) Jim --
(But the boy is gone. Unhappily GEORGE places wheel by post or sets it off L, then steps on the remainder of Jim's cigarette, scoops it into his hand, and takes it with him into his classroom where he puts it in a wastebasket)
NEWT: (Meanwhile) George Helmholtz's first class of the morning was C Band. C Band is where beginners thumped and wheezed and tooted as best they could, and looked down the long, long road through B Band to A Band, the Lincoln High School Ten Square Band, the finest school band in the world. (GEORGE is coming up to the - podium L, holding a baton)
GEORGE: (Speaking front, addressing imaginary class) Good morning, C Band. Now I know it's early -~ none of us warmed up yet. · (Raising his baton) But remember this -- (Believing it) You're better than you think you are: A-one, a-two, athree . . (Down comes the baton, and with it there's the sound of magnificent band music)
5
NEWT: (As GEORGE continues to lead) · Sounds great for C Band, doesn't it? (Shaking his head) Now remember that music you 1 re hearing isn't C Band. What that is -- it 1 s what George is hearing -- in his head -- the music as it is going to be -some day! Actually C Band set out in its quest for beauty -set out like a rusty switch engine, with valves stuck, pipes closed, unions leaking, bearings dry
(GEORGE is singing yump-yumps along with band as he brings this passage to a close)
NEWT: And George is still smiling at the end of that class hour.
GEORGE: (Front) Thanks. Thank you very much. I'll see you all tomorrow.
(With this, he's getting off the podium and corning forward into what is the beginning of some student (extras) traffic crossing downstage to L or to R, talking excitedly to each other as they cross. Note: MARGIE, with minor costume changes to look like a student, may do this)
STUDENTS: (Generally) No, it's true! ..• How do you know? ... Mr. Beeler was telling Mr. Trottman ... I heard Mrs. Crane was crying ... You're outa your mind ... Can't be true ... So how come her classes are canceled? Tomorrow, too. I better go find out what happened.
NEWT: George had gone into the hall for a drink of water, but he couldn't figure out what the students were talking about.
(The students are going off, leaving a confused GEORGE behind. As he looks L, JIM walks in, pausing to polish his boots on his pants leg)
GEORGE: Hello, Jim. What's going on? (JIM shrugs) I have to get back for rehearsal with B Band -- but I was thinking about you. The school has a lot of clubs and teams that meet after classes. It's a good way to get to know a lot of the other students.
JIM: (Coldly) Maybe I don It want to know . a lot of the other students. (Walking past GEORGE; heading R) Ever think of that? (As he's going off R, JIM walks hard to make the boot chains jingle)
(MRS. CRANE, a worried English teacher, is corning on L)
MRS. CRANE: (Keeping herself calm with an effort) George
6
GEORGE: Mrs. Crane -- I just heard your name -- some of the students
MRS. CRANE: (Unhappily) Can't hush it up. I suppose it's all over the school. Will you be at the faculty meeting?
GEORGE: Meeting?
MRS. CRANE: A special meeting this afternoon -- on vandalism.
GEORGE: (With casual concern) I hear that some schools --
MRS. CRANE: (Cutting in) My office was wrecked last night.
GEORGE: (Stunned) Your office? Here?
MRS. CRANE: (Swallowing with difficulty) I keep searching my mind-- whom I might•ve offended-- where I might've done less that I should for some student.
GEORGE: (Incredulous) You said -- wrecked?
MRS. CRANE: Books, diplomas, records, even the snapshots of my trip to England -- ripped, crumpled, trampled, drenched with ink!
GEORGE: (Aghast) No --
MRS. CRANE: Also the beginnings of eleven novels.
GEORGE: (Can hardly talk) I can't believe it!
MRS. CRANE: The meeting for whatever it 1 s worth four. (Starting R. Speaking mainly to herself) fault? Is it their fault? What's happening?
is at Is it my
(As she is going off R, and as the shocked GEORGE is going off L, the lights are dimming except for a spot on NEWT a DR)
NEWT: (During this) George was sickened. He couldn't believe it. And he had no one to discuss it with. It didn't become real to George until late that night, in a dream. In the dream, George saw a boy with barracuda teeth, with claws like baling hooks. The monster climbed into the band rehearsal room and started clawing to tatters the heads of the biggest and best drums in the state. George woke up terrified. There was nothing to do but to dress and go to school.
(The stage is still dark, but GEORGE has come into the classroom area at L with a lighted flashlight)
7
NEWT: George let himself in with his key and used a flashlight as he didn't want to attract attention. (The flashlight is exploring the band instrument cases) His treasures were safe. And with the contentment of a miser counting his money, George looked over the instruments one by one. Even now -- even under these circums tances, he could hear the great horns roaring, could see them flashing in the sunlight, with the Stars and Stripes and the banner of Lincoln High going before!
GEORGE: (Happy with relief) Thank Heaven!
NEWT: Then George heard a noise in the chemistry lab next door. (The flashlight snaps out) George went into the hall, then jerked open the lab door.
(The flashlight comes on again, revealing JIM holding a bottle·· that he has tilted over to pour)
GEORGE: You! You!
NEWT: Jim Donnini was splashing acid over . the periodic table of the elements, over the books, over the bust of Lavoisier. It was the most repulsive thing George had ever seen.
GEORGE: (Horrified) Put that down and get out of here!
JIM: What're you gonna do?
GEORGE: (In shock) I don't know. But come out of there -- come moving L)
JIM: You gonna call the fuzz?
GEORGE: (Bewildered) Call the fuzz?
Clean up. Save what I can. to my classroom. (They' re
JIM: (Bravado) It's about time this place got set on its ear.
GEORGE: Is it? (Struggling with concern) That must be so, if one of our students wants to destroy it.
JIM: What good is it?
GEORGE: Not much, I guess. (Unhappily) But 1t's the best thing human beings have managed to do yet.
JIM: (With contempt) The best thing
GEORGE: (Swallowing) Jim, if you smashed up all the schools, we wouldn't have any hope.
JIM: What hope? (GEORGE considers a moment)
8
GEORGE: The hope that someday everybody will be glad they're alive. (Takes a breath) Even you.
JIM: That's a laugh. All I ever got out of this garbage pile was a hard time. (Calculating) So what're you gonna do?
GEORGE : (Realizing) I have to do something, don't I?
JIM: (Contemptuously polishing a boot on his pants leg) I don't care what you do!
GEORGE: Isn't there anything you care about? Anything, but those boots?
JIM: (Challenging) Go on. Call up whoever you're gonna call -- Go ahead!
GEORGE: (An agony of indecision; speaking mainly to himself) I don't want to turn you in! I just want to find some way to reach you -- (Breaks off as he's struck by new thought. Rushing to get something from his locker. nearby. As he takes something from locker) I'll show you -- you'll see-- maybe this will convince -- (He brings velvet-covered object toward JIM) There! (He takes vel vet away, revealing a brightly polished trumpet) There's my treasure! It's the dearest thing I own. (He thrusts it into JIM's hands) I give it to you. Do what you please with it. If you want, you can smash it-- and I won't even move a muscle to stop you. It's yours! (JIM is holding the trumpet uncertainly) Go on! If the world has treated you so badly, it deserves to have that trumpet smashed.
JIM: (Tossing trumpet on desk; polishing boot again) I -- I don't want it.
GEORGE: Jim -- (Exploding) Those -- boots!
(GEORGE grabs Jim's belt 1 puts a foot behind him and dumps him onto the floor)
JIM: Hey! What are you
(GEORGE is jerking JIM's gaudy boots off -- they should fit loosely to come off easily -- and throwing them in corner)
GEORGE: (As he's doing it; savagely) I'll show you! there! (He pulls Jim to his feet again) All right -- I've taken them!
(JIM has apparently lost his socks with the boots. He stands looking down at his bare feet, shriveling as though intensely cold. GEORGE shoves the trumpet back into JIM's hands)
9
•
GEORGE: Listen to me. You have to know what you have in your hand. That trumpet? (JiM just stands, holding it) The special thing about it -- it belonged to John Philip Sousa! And I'm trading it to you-- for your boots. It's yours, Jim. John Philip Sousa's trumpet! It's worth hundreds of dollars, maybe thousands --
JIM: (In a tight voice) I don't want --
GEORGE: It 1 s better than boots. You can learn to play it. You're somebody, Jim. You're the boy with John Philip Sousa's trumpet.
(They stand facing each other for a moment. The energy goes out of GEORGE. He expels a breath)
GEORGE: (Subdued) Come on, I'll drive you home. I won't say a word about tonight. (Crossing to apparent light switch) I better turn these lights out.
JIM: Can ·-·I have my boots?
GEORGE: Nah. I don't think they're good for you.
(Apparently he turns off the lights, and for a moment the stage is dark)
NEWT: The next morning, there was George having his usual cup of coffee and eggs.
(JIM is coming on mopping as before, except now he wears some old gym shoes. The industrial noise, once registered, fades)
BERT: (Leaning forward) Is he what got you out of bed in the middle of the night? (Jerks head toward JIM) Hey kid! Go get Mr. Helmholtz his horn. (JIM raises his head and looks directly at GEORGE for an instant, then goes off R again, trailing the mop after him. To GEORGE) George, I'm curious.
GEORGE: What's to be curious about?
BERT: (Irritated.) You take away his boots and give him a horn, and I'm not supposed to get curious? · r•m not supposed to start asking questions?
GEORGE: I don't want to talk about it -- don't want to think about it.
BERT: (Derisively) You don't think about anything. I'm not supposed to know that you caugh~ him taking the school apart last night. It wasn't the first time .
10
• GEORGE: I just do what I do. The reason I came for breakfast, I
wanted to discuss with you about --
BERT: (Sharply) Nothing to discuss.
GEORGE: (Uneasily) What do you mean?
BERT: It's all over with the kid and me . Last night was the payoff.
GEORGE: What will you do?
BERT: I'm sending him back where he carne from.
GEORGE: To another string of foster homes?
BERT: Whatever the experts figure out to do with such a kid. (He sits back, relieved that he ' s said it. GEORGE takes this in and he's very concerned)
GEORGE: (A decision) You can't.
BERT: (Almost laughter) I can.
GEORGE: But that will be the end of him .
BERT: Why?
GEORGE: (Strong) Because he can ' t stand to be thrown away like that one more time .
BERT: (Getting up angrily) Him? He can't feel anything. I can 't help him I can ' t hurt him.
(JIM is corning on R, impassively holding the trumpet)
BERT: There isn't a nerve or feeling in him.
GEORGE: He's a bundle of scar tissue.
BERT: (Aware of him) Kid -- give back the horn. (Jim puts the trumpet on the table)
GEORGE : No, Jim. It's yours.
BERT: He doesn't want it. Take it while you got the chance.
GEORGE: (Continuing, to JIM) I gave it to you.
BERT: All he'll do is swap it for a knife or a pack of cigarettes.
11
•
' GEORGE:
yet. (Without turning to BERT) He doesn't know what it is It takes a while to find out.
BERT: Is it any good?
GEORGE: Any good? (Incredulous) It belonged to John Philip Sousa.
BERT: Who?
GEORGE: (Getting up uncertainly, his voice hushed with emotion) Who was John Philip Sousa? (GEORGE picks up the trumpet, utterly inarticulate)
NEWT: George couldn't believe they didn't know and he was to exhausted to explain.
(As BERT and JIM watch, each in his way bewildered, GEORGE kisses the cold mouthpiece and fingers the valves professionally)
NEWT: (During this) There was nothing George could say or show
BERT:
BERT:
them. They were deaf to him, and blind. And all George could see was the futility of men and their treasures. He had thought this greatest treasure he owned could buy a soul for a troubled boy. But his trumpet was worthless.
(With a cry, GEORGE suddenly bangs the trumpet on the edge of the table, then again. Note: This can be done with a substitute piece of metal so it can't be seen by audience)
Hey! What are ya --
(GEORGE is banging trumpet on floor behind table and then apparently stamps on it)
You crazy? Nuts!
(GEORGE, totally exhausted, tosses trumpet back onto table)
BERT: Ya busted it! Why'dya do that? (GEORGE is shaking his head) What's that prove?
GEORGE: I -- I don't know. I -- excuse me I want to go.
BERT: You're leaving the busted --
GEORGE: (Sharply) Yes!
BERT: Why?
12
1
GEORGE: (Wailing out of him) Because it's life and you don't understand. I can never explain it to you. (GEORGE, utterly miserable, goes off L)
NEWT: (Quietly) There was one thing George didn't notice. He didn't notice the eyes of Jim Donnini. Suddenly those eyes filled with pity and with alarm. They became human. They came alive.
(JIM picks up the trumpet and goes out R. BERT looks after him thoughtfully and then follows him off)
NEWT: (As this happens) The surprising thing -- somehow Bert Quinn caught the change -- and something like hope flickered for the first time in Bert's bitterly lonely face. (NEWT is alone now on the stage) There were some unanswered questions when the new semester began two weeks later at Lincoln High. (Smiles as he goes off R) But life was about to deal with them.
(With his exit, students are crossing downstage to R .and L, moving energetically and talking to each other as they go. This can include GRACE, MARGIE and MRS. CRANE, all dressed as students)
STUDENTS: (Generally) Is there practice for C Band or not? .. . How do I know? . . . There was supposed to be an announcement if it was canceled ..• Well, check the bulletin board . How can I check when C Band is the first practice? . What's wrong with Mr. Helmholtz? ... Beats me.
(During this last exchange, GEORGE is coming on L, holding his baton. The students, afraid he's overheard -- which he has hurry on off L. GEORGE turns to face the podium, his back to the audience, considering what to do)
(JIM, holding the apparently repaired trumpet, enters R, crossing unseen toward GEORGE)
JIM: (Speaking quietly) Mr. Helmholtz -- Mr. Helmholtz --(GEORGE turns slowly to see him) Is this where I come for c Band practice?
GEORGE: Yes. Yes, this is the place.
JIM: (Indicating horn) It was just bent a little. No trouble getting it fixed.
(Happiness is coming back into GEORGE, but he speaks carefully)
GEORGE: I see.
13
1
JIM: (Looking off L front) Where should I sit?
GEORGE: (Beginning to smile) For a start you can have the last seat of the worst trumpet section of the worst band in school.
JIM: (Agreeably) All right with me.
GEORGE: (Cheerfully) But with that trumpet -- Well ...
(Suddenly filling with his old enthusiasm, he hurries up onto the podium)
GEORGE: Let' s get started, C Band. What are we waiting for? Maybe.you•re C Band now, but with a little practice . well, you'll see.
(In a moment he's stopped by his own happiness and enthusiasm flooding back. JIM still stands L watching)
GEORGE: (Speaking front; starting over) Think of it this way. The aim of this band is to make the worlq sound more beautiful than . it did when we came into it. (With conviction) It can be done. You can do it.
JIM: (Bursting out of him) How?
GEORGE: (Pointing off L front) trumpet section.
You should be sitting in the
JIM: (Backing off; as he goes) But how?
(JIM has gone off L, now apparently a part of C Band)
GEORGE: (After him) Just -- love yourself -- and make your instrument sing about it. (He raises his baton) Keep the music flowing and it'll show you how to play.
(Down comes the baton, and with this, rousing and triumphant band music -- the magnificent band music GEORGE hears in his head -- fills the theatre)
(The curtain falls)
14
• CHARACTER DESCRIPTIONS
NEWT: He is a pleasant and observant man who sees below the surface, and in his casual way helps the audience to realize what is actually happening to the others in this play.
MARGIE: She is a waitress in a small restaurant, just starting work the first thing in the morning when we see her. Hence she is still a bit unfocused. She should have a waitress uniform of some sort.
GEORGE HELMHOLTZ: A high school music teacher, George is convinced that his dream of a perfect high school band is the best dream any man can possibly have. He is a kind and gentle man who wants to be useful, but when driven by events, he fi~ds a surprising strength.
BERT QUINN: He is a lonely, unhappy man who has trouble eating, sleeping, or enjoying himself. (He's well described by Newt early in the play.) Late in the play there is a moment when he suddenly has a hope about the boy Jim. While. this should not be overplayed, he should take a moment with it, so that with Newt's help, it will register with the audience.
JIM DONNINI: This is the "Kid Nobody Could Handle." he's been treated badly by life and his response is to retreat into blank nothingness, his eyes, as suggested, as expressionless as oysters. His other response is to strike back. His progression from sullen retreat to a first sudden hope for the future is marked and sincere. He should wear clothes that proclaim his rebellion, the most important part of which is a pair of shiny black boots, if possible with a jingling chain on them. (NOTE: Since these boots have to be pulled off on stage, they should be large enough to come off easily.)
MRS. CRANE: She is an understandably upset and concerned high school English teacher.
15