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diff --git a/4026-h/4026-h.htm b/4026-h/4026-h.htm new file mode 100644 index 0000000..f2168e7 --- /dev/null +++ b/4026-h/4026-h.htm @@ -0,0 +1,4958 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<HTML> +<HEAD> + +<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=iso-8859-1"> + +<TITLE> +The Project Gutenberg E-text of The First Man, by Eugene O'Neill +</TITLE> + +<STYLE TYPE="text/css"> +BODY { color: Black; + background: White; + margin-right: 10%; + margin-left: 10%; + font-family: "Times New Roman", serif; + text-align: justify } + +P {text-indent: 4% } + +P.noindent {text-indent: 0% } + +P.poem {text-indent: 0%; + margin-left: 10%; + font-size: small } + +P.letter {text-indent: 0%; + font-size: small ; + margin-left: 10% ; + margin-right: 10% } + +P.stage {text-indent: 0%; + font-size: small ; + margin-left: 10% ; + margin-right: 10% } + +P.dialog {text-indent: -5%; + font-size: small ; + margin-left: 5% ; + margin-right: 10% } + +P.finis { font-size: larger ; + text-align: center ; + text-indent: 0% ; + margin-left: 0% ; + margin-right: 0% } + +</STYLE> + +</HEAD> + +<BODY> + + +<pre> + +The Project Gutenberg EBook of The First Man, by Eugene O'Neill + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The First Man + +Author: Eugene O'Neill + +Posting Date: June 4, 2009 [EBook #4026] +Release Date: March, 2003 +First Posted: October 12, 2001 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE FIRST MAN *** + + + + +Produced by Charles Franks, Robert Rowe and the Online +Distributed Proofreading Team. HTML version by Al Haines. + + + + + + +</pre> + + +<BR> + +<H1 ALIGN="center"> +"THE FIRST MAN" +</H1> + +<H2 ALIGN="center"> +A PLAY IN FOUR ACTS +</H2> + +<BR> + +<H3 ALIGN="center"> +BY +</H3> + +<H2 ALIGN="center"> +EUGENE O'NEILL +</H2> + +<BR><BR><BR> + +<H3> +CHARACTERS +</H3> + +<P CLASS="noindent"> + CURTIS JAYSON<BR> + MARTHA, his wife<BR> + JOHN JAYSON, his father, a banker<BR> + JOHN, JR., his brother<BR> + RICHARD, his brother<BR> + ESTHEE (MRS. MARK SHEFFIELD), his sister<BR> + LILY, his sister<BR> + MRS. DAVIDSON, his father's aunt<BR> + MARK SHEFFIELD, a lawyer<BR> + EMILY, JOHN JR.'S wife<BR> + RICHARD BIGELOW<BR> + A MAID<BR> + A TRAINED NURSE<BR> +</P> + +<BR><BR> + +<P CLASS="noindent"> +TIME—The Present +</P> + +<BR><BR><BR> + +<H2> +SCENES +</H2> + +<H3> +<A HREF="#act1">ACT I</A> +</H3> + +<P CLASS="noindent"> +Living-room in the house of CURTIS JAYSON, Bridgetown, Conn.—an +afternoon in early Fall. +</P> + +<BR> + +<H3> +<A HREF="#act2">ACT II</A> +</H3> + +<P CLASS="noindent"> +CURTIS' study—morning of the following day. +</P> + +<BR> + +<H3> +<A HREF="#act3">ACT III</A> +</H3> + +<P CLASS="noindent"> +The same—three o'clock in the morning of a day in early spring of the +next year. +</P> + +<BR> + +<H3> +<A HREF="#act4">ACT IV</A> +</H3> + +<P CLASS="noindent"> +Same as Act I—three days later. +</P> + +<BR><BR><BR> + +<A NAME="act1"></A> +<H3 ALIGN="center"> +ACT I +</H3> + +<P CLASS="noindent"> +SCENE—Living-room of CURTIS JAYSON'S house in Bridgetown, Conn. A +large, comfortable room. On the left, an arm-chair, a big open +fireplace, a writing desk with chair in far left corner. On this side +there is also a door leading into CURTIS' study. In the rear, center, a +double doorway opening on the hall and the entryway. Bookcases are +built into the wall on both sides of this doorway. In the far right +corner, a grand piano. Three large windows looking out on the lawn, and +another arm-chair, front, are on this right side of the room. Opposite +the fireplace is a couch, facing front. Opposite the windows on the +right is a long table with magazines, reading lamp, etc. Four chairs +are grouped about the table. The walls and ceiling are in a French gray +color. A great rug covers most of the hardwood floor. +</P> + +<P CLASS="noindent"> +It is around four o'clock of a fine afternoon in early fall. +</P> + +<P CLASS="noindent"> +As the curtain rises, MARTHA, CURTIS and BIGELOW are discovered. MARTHA +is a healthy, fine-looking woman of thirty-eight. She does not appear +this age for her strenuous life in the open has kept her young and +fresh. She possesses the frank, clear, direct quality of outdoors, +outspoken and generous. Her wavy hair is a dark brown, her eyes +blue-gray. CURTIS JAYSON is a tall, rangy, broad-shouldered man of +thirty-seven. While spare, his figure has an appearance of rugged +health, of great nervous strength held in reserve. His square-jawed, +large-featured face retains an eager boyish enthusiasm in spite of its +prevailing expression of thoughtful, preoccupied aloofness. His crisp +dark hair is graying at the temples. EDWARD BIGELOW is a large, +handsome man of thirty-nine. His face shows culture and tolerance, a +sense of humor, a lazy unambitious contentment. CURTIS is reading an +article in some scientific periodical, seated by the table. MARTHA and +BIGELOW are sitting nearby, laughing and chatting. +</P> + +<P CLASS="dialog"> +BIGELOW—[Is talking with a comically worried but earnest air.] Do you +know, I'm getting so I'm actually afraid to leave them alone with that +governess. She's too romantic. I'll wager she's got a whole book full +of ghost stories, superstitions, and yellow-journal horrors up her +sleeve. +</P> + +<P CLASS="dialog"> +MARTHA—Oh, pooh! Don't go milling around for trouble. When I was a kid +I used to get fun out of my horrors. +</P> + +<P CLASS="dialog"> +BIGELOW—But I imagine you were more courageous than most of us. +</P> + +<P CLASS="dialog"> +MARTHA—Why? +</P> + +<P CLASS="dialog"> +BIGELOW—Well, Nevada—the Far West at that time—I should think a +child would have grown so accustomed to violent scenes— +</P> + +<P CLASS="dialog"> +MARTHA—[Smiling.] Oh, in the mining camps; but you don't suppose my +father lugged me along on his prospecting trips, do you? Why, I never +saw any rough scenes until I'd finished with school and went to live +with father in Goldfield. +</P> + +<P CLASS="dialog"> +BIGELOW—[Smiling.] And then you met Curt. +</P> + +<P CLASS="dialog"> +MARTHA—Yes—but I didn't mean he was a rough scene. He was very mild +even in those days. Do tell me what he was like at Cornell. +</P> + +<P CLASS="dialog"> +BIGELOW—A romanticist—and he still is! +</P> + +<P CLASS="dialog"> +MARTHA—[Pointing at CURTIS with gay mischief.] What! That sedate man! +Never! +</P> + +<P CLASS="dialog"> +CURTIS—[Looking up and smiling at them both affectionately—lazily.] +Don't mind him, Martha. He always was crazy. +</P> + +<P CLASS="dialog"> +BIGELOW—[To CURT—accusingly.] Why did you elect to take up mining +engineering at Cornell instead of a classical degree at the Yale of +your fathers and brothers? Because you had been reading Bret Harte in +prep. school and mistaken him for a modern realist. You devoted four +years to grooming yourself for another outcast of Poker Flat. [MARTHA +laughs.] +</P> + +<P CLASS="dialog"> +CURTIS—[Grinning.] It was you who were hypnotized by Harte—so much so +that his West of the past is still your blinded New England-movie idea +of the West at present. But go on. What next? +</P> + +<P CLASS="dialog"> +BIGELOW—Next? You get a job as engineer in that Goldfield mine—but +you are soon disillusioned by a laborious life where six-shooters are +as rare as nuggets. You try prospecting. You find nothing but different +varieties of pebbles. But it is necessary to your nature to project +romance into these stones, so you go in strong for geology. As a +geologist, you become a slave to the Romance of the Rocks. It is but a +step from that to anthropology—the last romance of all. There you find +yourself—because there is no further to go. You win fame as the most +proficient of young skull-hunters—and wander over the face of the +globe, digging up bones like an old dog. +</P> + +<P CLASS="dialog"> +CURTIS—[With a laugh.] The man is mad, Martha. +</P> + +<P CLASS="dialog"> +BIGELOW—Mad! What an accusation to come from one who is even now +considering setting forth on a five-year excavating contest in search +of the remains of our gibbering ancestor, the First Man! +</P> + +<P CLASS="dialog"> +CURTIS—[With sudden seriousness.] I'm not considering it any longer. +I've decided to go. +</P> + +<P CLASS="dialog"> +MARTHA—[Starting—the hurt showing in her voice.] When did you decide? +</P> + +<P CLASS="dialog"> +CURTIS—I only really came to a decision this morning. [With a +seriousness that forces BIGELOW'S interested attention.] It's a case of +got to go. It's a tremendous opportunity that it would be a crime for +me to neglect. +</P> + +<P CLASS="dialog"> +BIGELOW—And a big honor, too, isn't it, to be picked as a member of +such a large affair? +</P> + +<P CLASS="dialog"> +CURTIS—[With a smile.] I guess it's just that they want all the men +with considerable practical experience they can get. There are bound to +be hardships and they know I'm hardened to them. [Turning to his wife +with an affectionate smile.] We haven't roughed it in the queer corners +for the last ten years without knowing how it's done, have we, Martha? +</P> + +<P CLASS="dialog"> +MARTHA—[Dully.] No, Curt. +</P> + +<P CLASS="dialog"> +CURTIS—[With an earnest enthusiasm.] And this expedition IS what you +call a large affair, Big. It's the largest thing of its kind ever +undertaken. The possibilities, from the standpoint of anthropology, are +limitless. +</P> + +<P CLASS="dialog"> +BIGELOW—[With a grin.] Aha! Now we come to the Missing Link! +</P> + +<P CLASS="dialog"> +CURTIS—[Frowning.] Darn your Barnum and Bailey circus lingo, Big. This +isn't a thing to mock at. I should think the origin of man would be +something that would appeal even to your hothouse imagination. Modern +science believes—knows—that Asia was the first home of the human +race. That's where we're going, to the great Central Asian plateau +north of the Himalayas. +</P> + +<P CLASS="dialog"> +BIGELOW—[More soberly.] And there you hope to dig up—our first +ancestor? +</P> + +<P CLASS="dialog"> +CURTIS—It's a chance in a million, but I believe we may, myself—at +least find authentic traces of him so that we can reconstruct his life +and habits. I was up in that country a lot while I was mining advisor +to the Chinese government—did some of my own work on the side. The +extraordinary results I obtained with the little means at my disposal +convinced me of the riches yet to be uncovered. The First Man may be +among them. +</P> + +<P CLASS="dialog"> +BIGELOW—[Turning to MARTHA.] And you were with him on that Asian +plateau? +</P> + +<P CLASS="dialog"> +MARTHA—Yes, I've always been with him. +</P> + +<P CLASS="dialog"> +CURTIS—You bet she has. [He goes over and puts his hand on his wife's +shoulder affectionately.] Martha's more efficient than a whole staff of +assistants and secretaries. She knows more about what I'm doing than I +do half the time. [He turns toward his study.] Well, I guess I'll go in +and work some. +</P> + +<P CLASS="dialog"> +MARTHA—[Quietly.] Do you need me now, Curt? +</P> + +<P CLASS="dialog"> +BIGELOW—[Starting up.] Yes, if you two want to work together, why just +shoo me— +</P> + +<P CLASS="dialog"> +CURTIS—[Puts both hands on his shoulders and forces him to his seat +again.] No. Sit down, Big. I don't need Martha now. [Coming over to +her, bends down and kisses her—rather mockingly.] I couldn't deprive +Big of an audience for his confessions of a fond parent. +</P> + +<P CLASS="dialog"> +BIGELOW—Aha! Now it's you who are mocking at something you know +nothing about. [An awkward silence follows this remark.] +</P> + +<P CLASS="dialog"> +CURTIS—[Frowning.] I guess you're forgetting, aren't you, Big? [He +turns and walks into his study, closing the door gently behind him.] +</P> + +<P CLASS="dialog"> +MARTHA—[After a pause—sadly.] Poor Curt. +</P> + +<P CLASS="dialog"> +BIGELOW—[Ashamed and confused.] I had forgotten— +</P> + +<P CLASS="dialog"> +MARTHA—The years have made me reconciled. They haven't Curt. [She +sighs—then turns to BIGELOW with a forced smile.] I suppose it's hard +for any of you back here to realize that Curt and I ever had any +children. +</P> + +<P CLASS="dialog"> +BIGELOW—[After a pause.] How old were they when—? +</P> + +<P CLASS="dialog"> +MARTHA—Three years and two—both girls. [She goes on sadly.] We had a +nice little house in Goldfield. [Forcing a smile.] We were very +respectable home folks then. The wandering came later, after—It was a +Sunday in winter when Curt and I had gone visiting some friends. The +nurse girl fell asleep—or something—and the children sneaked out in +their underclothes and played in the snow. Pneumonia set in—and a week +later they were both dead. +</P> + +<P CLASS="dialog"> +BIGELOW—[Shocked.] Good heavens! +</P> + +<P CLASS="dialog"> +MARTHA—We were real lunatics for a time. And then when we'd calmed +down enough to realize—how things stood with us—we swore we'd never +have children again—to steal away their memory. It wasn't what you +thought—romanticism—that set Curt wandering—and me with him. It was +a longing to lose ourselves—to forget. He flung himself with all his +power into every new study that interested him. He couldn't keep still, +mentally or bodily—and I followed. He needed me—then—so dreadfully! +</P> + +<P CLASS="dialog"> +BIGELOW—And is it that keeps driving him on now? +</P> + +<P CLASS="dialog"> +MARTHA—Oh, no. He's found himself. His work has taken the place of the +children. +</P> + +<P CLASS="dialog"> +BIGELOW—And with you, too? +</P> + +<P CLASS="dialog"> +MARTHA—[With a wan smile.] Well, I've helped—all I could. His work +has me in it, I like to think—and I have him. +</P> + +<P CLASS="dialog"> +BIGELOW—[Shaking his head.] I think people are foolish to stand by +such an oath as you took—forever. [With a smile.] Children are a great +comfort in one's old age, I've tritely found. +</P> + +<P CLASS="dialog"> +MARTHA—[Smiling.] Old age! +</P> + +<P CLASS="dialog"> +BIGELOW—I'm knocking at the door of fatal forty. +</P> + +<P CLASS="dialog"> +MARTHA—[With forced gaiety.] You're not very tactful, I must say. +Don't you know I'm thirty-eight? +</P> + +<P CLASS="dialog"> +BIGELOW—[Gallantly.] A woman is as old as she looks. You're not thirty +yet. +</P> + +<P CLASS="dialog"> +MARTHA—[Laughing.] After that nice remark I'll have to forgive you +everything, won't I? [LILY JAYSON comes in from the rear. She is a +slender, rather pretty girl of twenty-five. The stamp of college +student is still very much about her. She rather insists on a superior, +intellectual air, is full of nervous, thwarted energy. At the sight of +them sitting on the couch together, her eyebrows are raised.] +</P> + +<P CLASS="dialog"> +LILY—[Coming into the room—breezily.] Hello, Martha. Hello, Big. +[They both get up with answering "Hellos."] I walked right in +regardless. Hope I'm not interrupting. +</P> + +<P CLASS="dialog"> +MARTHA—Not at all. +</P> + +<P CLASS="dialog"> +LILY—[Sitting down by the table as MARTHA and BIGELOW resume their +seats on the lounge.] I must say it sounded serious. I heard you tell +Big you'd forgive him everything, Martha. [Dryly—with a mocking glance +at BIGELOW.] You're letting yourself in for a large proposition. +</P> + +<P CLASS="dialog"> +BIGELOW—[Displeased but trying to smile it off.] The past is never +past for a dog with a bad name, eh, Lily? [LILY laughs. BIGELOW gets +up.] If you want to reward me for my truthfulness, Mrs. Jayson, help me +take the kids for an airing in the car. I know it's an imposition but +they've grown to expect you. [Glancing at his watch.] By Jove, I'll +have to run along. I'll get them and then pick you up here. Is that all +right? +</P> + +<P CLASS="dialog"> +MARTHA—Fine. +</P> + +<P CLASS="dialog"> +BIGELOW—I'll run, then. Good-by, Lily. [She nods. BIGELOW goes out +rear.] +</P> + +<P CLASS="dialog"> +MARTHA—[Cordially.] Come on over here, Lily. +</P> + +<P CLASS="dialog"> +LILY—[Sits on couch with MARTHA—after a pause—with a smile.] You +were forgetting, weren't you? +</P> + +<P CLASS="dialog"> +MARTHA—What? +</P> + +<P CLASS="dialog"> +LILY—That you'd invited all the family over here to tea this +afternoon. I'm the advance guard. +</P> + +<P CLASS="dialog"> +MARTHA—[Embarrassed.] So I was! How stupid! +</P> + +<P CLASS="dialog"> +LILY—[With an inquisitive glance at MARTHA'S face but with studied +carelessness.] Do you like Bigelow? +</P> + +<P CLASS="dialog"> +MARTHA—Yes, very much. And Curt thinks the world of him. +</P> + +<P CLASS="dialog"> +LILY—Oh, Curt is the last one to be bothered by anyone's morals. Curt +and I are the unconventional ones of the family. The trouble with +Bigelow, Martha, is that he was too careless to conceal his sins—and +that won't go down in this Philistine small town. You have to hide and +be a fellow hypocrite or they revenge themselves on you. Bigelow +didn't. He flaunted his love-affairs in everyone's face. I used to +admire him for it. No one exactly blamed him, in their secret hearts. +His wife was a terrible, straitlaced creature. No man could have +endured her. [Disgustedly.] After her death he suddenly acquired a bad +conscience. He'd never noticed the children before. I'll bet he didn't +even know their names. And then, presto, he's about in our midst giving +an imitation of a wet hen with a brood of ducks. It's a bore, if you +ask me. +</P> + +<P CLASS="dialog"> +MARTHA—[Flushing.] I think it's very fine of him. +</P> + +<P CLASS="dialog"> +LILY—[Shaking her head.] His reform is too sudden. He's joined the +hypocrites, I think. +</P> + +<P CLASS="dialog"> +MARTHA—I'm sure he's no hypocrite. When you see him with the children— +</P> + +<P CLASS="dialog"> +LILY—Oh, I know he's a good actor. Lots of women have been in love +with him. [Then suddenly.] You won't be furious if I'm very, very +frank, will you, Martha? +</P> + +<P CLASS="dialog"> +MARTHA—[Surprised.] No, of course not, Lily. +</P> + +<P CLASS="dialog"> +LILY—Well, I'm the bearer of a message from the Jayson family. +</P> + +<P CLASS="dialog"> +MARTHA—[Astonished.] A message? For me? +</P> + +<P CLASS="dialog"> +LILY—Don't think that I have anything to do with it. I'm only a Victor +record of their misgivings. Shall I switch it going? Well, then, father +thinks, brother John and wife, sister Esther and husband all think that +you are unwisely intimate with this same Bigelow. +</P> + +<P CLASS="dialog"> +MARTHA—[Stunned.] I? Unwisely intimate—? [Suddenly laughing with +amusement.] Well, you sure are funny people! +</P> + +<P CLASS="dialog"> +LILY—No, we're not funny. We'd be all right if we were. On the +contrary, we're very dull and deadly. Bigelow really has a villainous +rep. for philandering. But, of course, you didn't know that. +</P> + +<P CLASS="dialog"> +MARTHA—[Beginning to feel resentful—coldly.] No, I didn't—and I +don't care to know it now. +</P> + +<P CLASS="dialog"> +LILY—[Calmly.] I told them you wouldn't relish their silly advice. [In +a very confidential, friendly tone.] Oh, I hate their narrow small-town +ethics as much as you do, Martha. I sympathize with you, indeed I do. +But I have to live with them and so, for comfort's sake, I've had to +make compromises. And you're going to live in our midst from now on, +aren't you? Well then, you'll have to make compromises, too—if you +want any peace. +</P> + +<P CLASS="dialog"> +MARTHA—But-compromises about what? [Forcing a laugh.] I refuse to take +it seriously. How anyone could think—it's too absurd. +</P> + +<P CLASS="dialog"> +LILY—What set them going was Big's being around such an awful lot the +weeks Curt was in New York, just after you'd settled down here. You +must acknowledge he was-very much present then, Martha. +</P> + +<P CLASS="dialog"> +MARTHA—But it was on account of his children. They were always with +him. +</P> + +<P CLASS="dialog"> +LILY—The town doesn't trust this sudden fond parenthood, Martha. We've +known him too long, you see. +</P> + +<P CLASS="dialog"> +MARTHA—But he's Curt's oldest and best friend. +</P> + +<P CLASS="dialog"> +LILY—We've found they always are. +</P> + +<P CLASS="dialog"> +MARTHA—[Springing to her feet—indignantly.] It's a case of evil +minds, it seems to me—and it would be extremely insulting if I didn't +have a sense of humor. [Resentfully.] You can tell your family, that as +far as I'm concerned, the town may— +</P> + +<P CLASS="dialog"> +LILY—Go to the devil. I knew you'd say that. Well, fight the good +fight. You have all my best wishes. [With a sigh.] I wish I had +something worth fighting for. Now that I'm through with college, my +occupation's gone. All I do is read book after book. The only live +people are the ones in books, I find, and the only live life. +</P> + +<P CLASS="dialog"> +MARTHA—[Immediately sympathetic.] You're lonely, that's what, Lily. +</P> + +<P CLASS="dialog"> +LILY—[Drily.] Don't pity me, Martha—or I'll join the enemy. +</P> + +<P CLASS="dialog"> +MARTHA—I'm not. But I'd like to help you if I could. [After a pause.] +Have you ever thought of marrying? +</P> + +<P CLASS="dialog"> +LILY—[With a laugh.] Martha! How banal! The men I see are enough to +banish that thought if I ever had it. +</P> + +<P CLASS="dialog"> +MARTHA—Marriage isn't only the man. It's children. Wouldn't you like +to have children? +</P> + +<P CLASS="dialog"> +LILY—[Turning to her bluntly.] Wouldn't you? +</P> + +<P CLASS="dialog"> +MARTHA—[ Confused. ] But—Lily— +</P> + +<P CLASS="dialog"> +LILY—Oh, I know it wasn't practicable as long as you elected to wander +with Curt—but why not now when you've definitely settled down here? I +think that would solve things all round. If you could present Father +with a grandson, I'm sure he'd fall on your neck. He feels piqued at +the John and Esther families because they've had a run of girls. A male +Jayson! Aunt Davidson would weep with joy. [Suddenly.] You're +thirty-eight, aren't you, Martha? +</P> + +<P CLASS="dialog"> +MARTHA—Yes. LILY—Then why don't you—before it's too late? [MARTHA, +struggling with herself, does not answer. LILY goes on slowly.] You +won't want to tag along with Curt to the ends of the earth forever, +will you? [Curiously.] Wasn't that queer life like any other? I mean, +didn't it get to pall on you? +</P> + +<P CLASS="dialog"> +MARTHA—[As if confessing it reluctantly.] Yes—perhaps—in the last +two years. +</P> + +<P CLASS="dialog"> +LILY—[Decisively.] It's time for both of you to rest on your laurels. +Why can't Curt keep on with what he's doing now—stay home and write +his books? +</P> + +<P CLASS="dialog"> +MARTHA—Curt isn't that kind. The actual work—the romance of +it—that's his life. +</P> + +<P CLASS="dialog"> +LILY—But if he goes and you have to stay, you'll be lonesome— +[meaningly] alone. +</P> + +<P CLASS="dialog"> +MARTHA—Horribly. I don't know what I'll do. +</P> + +<P CLASS="dialog"> +LILY—Then why—why? Think, Martha. If Curt knew—that was to +happen—he'd want to stay here with you. I'm sure he would. +</P> + +<P CLASS="dialog"> +MARTHA—[Shaking her head sadly.] No. Curt has grown to dislike +children. They remind him of—ours that were taken. He adored them +so—he's never become reconciled. +</P> + +<P CLASS="dialog"> +LILY—If you confronted Curt with the actual fact, he'd be reconciled +soon enough, and happy in the bargain. +</P> + +<P CLASS="dialog"> +MARTHA—[Eagerly.] Do you really think so? +</P> + +<P CLASS="dialog"> +LILY—And you, Martha—I can tell from the way you've talked that you'd +like to. +</P> + +<P CLASS="dialog"> +MARTHA—[Excitedly.] Yes, I—I never thought I'd ever want to again. +For many years after they died I never once dreamed of it— But +lately—the last years—I've felt—and when we came to live here—and I +saw all around me—homes—and children, I—[She hesitates as if ashamed +at having confessed so much.] +</P> + +<P CLASS="dialog"> +LILY—[Putting an arm around her—affectionately.] I know. +[Vigorously.] You must, that's all there is to it! If you want my +advice, you go right ahead and don't tell Curt until it's a fact he'll +have to learn to like, willy-nilly. You'll find, in his inmost heart, +he'll be tickled to death. +</P> + +<P CLASS="dialog"> +MARTHA—[Forcing a smile.] Yes, I—I'll confess I thought of that. In +spite of my fear, I—I've—I mean—I—[She flushes in a shamed +confusion.] +</P> + +<P CLASS="dialog"> +LILY—[Looking at her searchingly.] Why, Martha, what—[Then suddenly +understanding—with excited pleasure.] Martha! I know! It is so, isn't +it? It is! +</P> + +<P CLASS="dialog"> +MARTHA—[In a whisper.] Yes. +</P> + +<P CLASS="dialog"> +LILY—[Kissing her affectionately.] You dear, you! [Then after a +pause.] How long have you known? +</P> + +<P CLASS="dialog"> +MARTHA—For over two months. [There is a ring from the front door bell +in the hall.] +</P> + +<P CLASS="dialog"> +LILY—[Jumping up.] I'll bet that's we Jaysons now. [She runs to the +door in the rear and looks down the hall to the right.] Yes, it's +Esther and husband and Aunt Davidson. [She comes back to MARTHA +laughing excitedly. The MAID is seen going to the door.] The first wave +of attack, Martha! Be brave! The Young Guard dies but never surrenders! +</P> + +<P CLASS="dialog"> +MARTHA—[Displeased but forcing a smile.] You make me feel terribly ill +at ease when you put it that way, Lily. [She rises now and goes to +greet the visitors, who enter. MRS. DAVIDSON is seventy-five years +old—a thin, sinewy old lady, old-fashioned, unbending and rigorous in +manner. She is dressed aggressively in the fashion of a bygone age. +ESTHER is a stout, middle-aged woman with the round, unmarked, +sentimentally—contented face of one who lives unthinkingly from day to +day, sheltered in an assured position in her little world. MARK, her +husband, is a lean, tall, stooping man of about forty-five. His long +face is alert, shrewd, cautious, full of the superficial craftiness of +the lawyer mind. MARTHA kisses the two women, shakes hands with MARK, +uttering the usual meaningless greetings in a forced tone. They reply +in much the same spirit. There is the buzz of this empty chatter while +MARTHA gets them seated. LILY stands looking on with a cynical smile of +amusement. MRS. DAVIDSON is in the chair at the end of table, left, +ESTHER sits by MARTHA on couch, MARK in chair at front of table.] Will +you have tea now or shall we wait for the others? +</P> + +<P CLASS="dialog"> +ESTHER—Let's wait. They ought to be here any moment. +</P> + +<P CLASS="dialog"> +LILY—[Maliciously.] Just think, Martha had forgotten you were coming. +She was going motoring with Bigelow. [There is a dead silence at +this—broken diplomatically by SHEFFIELD.] +</P> + +<P CLASS="dialog"> +SHEFFIELD—Where is Curt, Martha? +</P> + +<P CLASS="dialog"> +MARTHA—Hard at work in his study. I'm afraid he's there for the day. +SHEFFIELD—[Condescendingly.] Still plugging away at his book, I +suppose. Well, I hope it will be a big success. +</P> + +<P CLASS="dialog"> +LILY—[Irritated by his smugness.] As big a success as the brief you're +writing to restrain the citizens from preventing the Traction Company +robbing them, eh Mark? [Before anyone can reply, she turns suddenly on +her aunt who is sitting rigidly on her chair, staring before her +stonily like some old lady in a daguerreotype—in a loud challenging +tone.] You don't mind if I smoke, Aunt? [She takes a cigarette out of +case and lights it.] +</P> + +<P CLASS="dialog"> +ESTHER—[Smiling.] Lily! +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Fixes LILY with her stare—in a tone of irrevocable +decision.] We'll get you married, young lady, and that very soon. What +you need to bring you down to earth is a husband and the responsibility +of children. [Turning her glance to MARTHA, a challenge in her +question.] Every woman who is able should have children. Don't you +believe that, Martha Jayson? [She accentuates the full name.] +</P> + +<P CLASS="dialog"> +MARTHA—[Taken aback for a moment but restraining her +resentment—gently.] Yes, I do, Mrs. Davidson. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Seemingly placated by this reply—in a milder tone.] +You must call me aunt, my dear. [Meaningly.] All the Jaysons do. +</P> + +<P CLASS="dialog"> +MARTHA—[Simply.] Thank you, aunt. +</P> + +<P CLASS="dialog"> +LILY—[As if all of this aroused her irritation—in a nervous fuming.] +Why don't the others come, darn 'em? I'm dying for my tea. [The door +from the study is opened and CURT appears. They all greet him.] +</P> + +<P CLASS="dialog"> +CURTIS—[Absent-mindedly.] Hello, everybody. [Then with a preoccupied +air to MARTHA.] Martha, I don't want to interrupt you—but— +</P> + +<P CLASS="dialog"> +MARTHA—[Getting up briskly.] You want my help? +</P> + +<P CLASS="dialog"> +CURTIS—[With the same absent-minded air.] Yes—not for long—just a +few notes before I forget them. [He goes back into the study.] +</P> + +<P CLASS="dialog"> +MARTHA—[Seemingly relieved by this interruption and glad of the chance +it gives to show them her importance to CURT.] You'll excuse me for a +few moments, all of you, won't you? [They all nod.] +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Rather harshly.] Why doesn't Curt hire a secretary? +That is no work for his wife. +</P> + +<P CLASS="dialog"> +MARTHA—[Quietly.] A paid secretary could hardly give the sympathy and +understanding Curt needs, Mrs. Davidson. [Proudly.] And she would have +to study for years, as I have done, in order to take my place. [To +LILY.] If I am not here by the time the others arrive, will you see +about the tea, Lily—? +</P> + +<P CLASS="dialog"> +LILY—[Eagerly.] Sure. I love to serve drinks. If I were a man, I'd be +a bartender—in Mexico or Canada. +</P> + +<P CLASS="dialog"> +MARTHA—[Going toward the study.] I'll be with you again in a minute, I +hope. [She goes in and shuts the door behind her.] +</P> + +<P CLASS="dialog"> +ESTHER—[Pettishly.] Even people touched by a smattering of science +seem to get rude, don't they? +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Harshly.] I have heard much silly talk of this being an +age of free women, and I have always said it was tommyrot. [Pointing to +the study.] She is an example. She is more of a slave to Curt's hobbies +than any of my generation were to anything but their children. [Still +more harshly.] Where are her children? +</P> + +<P CLASS="dialog"> +LILY—They died, Aunt, as children have a bad habit of doing. [Then +meaningly.] However, I wouldn't despair if I were you. [MRS. DAVIDSON +stares at her fixedly.] +</P> + +<P CLASS="dialog"> +ESTHER—[Betraying a sudden frightened jealousy.] What do you mean, +Lily? What are you so mysterious about? What did she say? What—? +</P> + +<P CLASS="dialog"> +LILY—[Mockingly.] Mark, your frau seems to have me on the stand. Can I +refuse to answer? [There is a ring at the bell. LILY jumps to her feet +excitedly.] Here comes the rest of our Grand Fleet. Now I'll have my +tea. [She darts out to the hallway.] +</P> + +<P CLASS="dialog"> +ESTHER—[Shaking her head.] Goodness, Lily is trying on the nerves. +[JAYSON, his two sons, JOHN and DICK, and JOHN's wife, EMILY, enter +from hallway in rear. JAYSON, the father, is a short, stout, +bald-headed man of sixty. A typical, small-town, New England +best-family banker, reserved in pose, unobtrusively important—a placid +exterior hiding querulousness and a fussy temper. JOHN JUNIOR is his +father over again in appearance, but pompous, obtrusive, +purse-and-family-proud, extremely irritating in his self-complacent air +of authority, emptily assertive and loud. He is about forty. RICHARD, +the other brother, is a typical young Casino and country club member, +college-bred, good looking, not unlikable. He has been an officer in +the war and has not forgotten it. EMILY, JOHN JR.'s wife, is one of +those small, mouse-like women who conceal beneath an outward aspect of +gentle, unprotected innocence a very active envy, a silly pride, and a +mean malice. The people in the room with the exception of MRS. DAVIDSON +rise to greet them. All exchange familiar, perfunctory greetings. +SHEFFIELD relinquishes his seat in front of the table to JAYSON, going +to the chair, right front, himself. JOHN and DICK take the two chairs +to the rear of table. EMILY joins ESTHER on the couch and they whisper +together excitedly, ESTHER doing most of the talking. The men remain in +uncomfortable silence for a moment.] +</P> + +<P CLASS="dialog"> +DICK—[With gay mockery.] Well, the gang's all here. Looks like the +League of Nations. [Then with impatience.] Let's get down to cases, +folks. I want to know why I've been summoned here. I'm due for +tournament mixed-doubles at the Casino at five. Where's the tea—and +has Curt a stick in the cellar to put in it? +</P> + +<P CLASS="dialog"> +LILY—[Appearing in the doorway.] Here's tea—but no stick for you, +sot. [The MAID brings in tray with tea things.] +</P> + +<P CLASS="dialog"> +JOHN—[Heavily.] It seems it would be more to the point to inquire +where our hostess— +</P> + +<P CLASS="dialog"> +JAYSON—[Rousing himself again.] Yes. And where is Curt? +</P> + +<P CLASS="dialog"> +LILY—Working at his book. He called Martha to take notes on something. +</P> + +<P CLASS="dialog"> +ESTHER—[With a trace of resentment.] She left us as if she were glad +of the excuse. +</P> + +<P CLASS="dialog"> +LILY—Stuff, Esther! She knows how much Curt depends on her—and we +don't. +</P> + +<P CLASS="dialog"> +EMILY—[In her quiet, lisping voice—with the most innocent air.] +Martha seems to be a model wife. [But there is some quality to the way +she says it that makes them all stare at her uneasily.] +</P> + +<P CLASS="dialog"> +LILY—[Insultingly.] How well you say what you don't mean, Emily! +Twinkle, twinkle, little bat! But I'm forgetting to do the honors. Tea, +everybody? [Without waiting for any answer.] Tea, everybody! [The tea +is served.] +</P> + +<P CLASS="dialog"> +JAYSON—[Impatiently.] Stop fooling, Lily. Let's get to our muttons. +Did you talk with Martha? +</P> + +<P CLASS="dialog"> +LILY—[Briskly.] I did, sir. +</P> + +<P CLASS="dialog"> +JAYSON—[In a lowered voice.] What did she say? +</P> + +<P CLASS="dialog"> +LILY—She said you could all go to the devil! [They all look shocked +and insulted. LILY enjoys this, then adds quietly.] Oh, not in those +words. Martha is a perfect lady. But she made it plain she will thank +you to mind your own business. +</P> + +<P CLASS="dialog"> +ESTHER—[Volubly.] And just imagine, she'd even forgotten she'd asked +us here this afternoon and was going motoring with Bigelow. +</P> + +<P CLASS="dialog"> +LILY—With his three children, too, don't forget. +</P> + +<P CLASS="dialog"> +EMILY—[Softly.] They have become such well-behaved and intelligent +children, they say. [Again all the others hesitate, staring at her +suspiciously.] +</P> + +<P CLASS="dialog"> +LILY—[Sharply.] You'd better let Martha train yours for a while, +Emily. I'm sure she'd improve their manners—though, of course, she +couldn't give them any intelligence. +</P> + +<P CLASS="dialog"> +EMILY—[With the pathos of outraged innocence.] Oh! +</P> + +<P CLASS="dialog"> +DICK—[Interrupting.] So it's Bigelow you're up in the air about? [He +gives a low whistle—then frowns angrily.] The deuce you say! +</P> + +<P CLASS="dialog"> +LILY—[Mockingly.] Look at our soldier boy home from the wars getting +serious about the family honor! It's too bad this is a rough, untutored +country where they don't permit dueling, isn't it, Dick? +</P> + +<P CLASS="dialog"> +DICK—[His pose crumbling—angrily.] Go to the devil! +</P> + +<P CLASS="dialog"> +SHEFFIELD—[With a calm, judicious air.] This wrangling is getting us +nowhere. You say she was resentful about our well-meant word to the +wise? JAYSON—[Testily.] Surely she must realize that some +consideration is due the position she occupies in Bridgetown as Curt's +wife. +</P> + +<P CLASS="dialog"> +LILY—Martha is properly unimpressed by big frogs in tiny puddles. And +there you are. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Outraged.] The idea! She takes a lot upon herself—the +daughter of a Wild Western coal-miner. +</P> + +<P CLASS="dialog"> +LILY—[Mockingly.] Gold miner, Aunt. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—It makes no difference—a common miner! SHEFFIELD— +[Keenly inquisitive.] Just before the others came, Lily, you gave out +some hints—very definite hints, I should say— +</P> + +<P CLASS="dialog"> +ESTHER—[Excitedly.] Yes, you did, Lily. What did you mean? +</P> + +<P CLASS="dialog"> +LILY—[Uncertainly.] Perhaps I shouldn't have. It's not my secret. +[Enjoying herself immensely now that she holds the spotlight—after a +pause, in a stage whisper.] Shall I tell you? Yes, I can't help +telling. Well, Martha is going to have a son. [They are all stunned and +flabbergasted and stare at her speechlessly.] +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Her face lighting up—joyously.] A son! Curt's son! +</P> + +<P CLASS="dialog"> +JAYSON—[Pleased by the idea but bewildered.] A son? +</P> + +<P CLASS="dialog"> +DICK—[Smartly.] Lily's kidding you. How can she know it's a +son—unless she's a clairvoyant. +</P> + +<P CLASS="dialog"> +ESTHER—[With glad relief.] Yes, how stupid! +</P> + +<P CLASS="dialog"> +LILY—I am clairvoyant in this case. Allah is great and it will be a +son—if only to make you and Emily burst with envy among your daughters. +</P> + +<P CLASS="dialog"> +ESTHER—Lily! +</P> + +<P CLASS="dialog"> +EMILY—Oh! +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] Keep still for a moment, Lily, for God's sake. This +is no subject to joke about, remember. +</P> + +<P CLASS="dialog"> +LILY—Martha told me. I know that. +</P> + +<P CLASS="dialog"> +JAYSON—And does Curt know this? +</P> + +<P CLASS="dialog"> +LILY—No, not yet. Martha has been afraid to tell him. +</P> + +<P CLASS="dialog"> +JAYSON—Ah, that explains matters. You know I asked Curt some time +ago—and he said it was impossible. +</P> + +<P CLASS="dialog"> +EMILY—[With a lift of her eyebrows.] Impossible? Why, what a funny +thing to say. +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Keenly lawyer-like.] And why is Martha afraid to tell him, +Lily? +</P> + +<P CLASS="dialog"> +LILY—It's all very simple. When the two died years ago, they said they +would never have one again. Martha thinks Curt is still haunted by +their memory and is afraid he will resent another as an intruder. I +told her that was all foolishness—that a child was the one thing to +make Curt settle down for good at home here and write his books. +</P> + +<P CLASS="dialog"> +JAYSON—[Eagerly.] Yes, I believe that myself. [Pleased.] Well, this is +fine news. +</P> + +<P CLASS="dialog"> +EMILY—Still it was her duty to tell Curt, don't you think? I don't see +how she could be afraid of Curt—for those reasons. [They all stare at +her.] +</P> + +<P CLASS="dialog"> +ESTHER—[Resentfully.] I don't, either. Why, Curt's the biggest-hearted +and kindest— +</P> + +<P CLASS="dialog"> +EMILY—I wonder how long she's known—this? +</P> + +<P CLASS="dialog"> +LILY—[Sharply.] Two months, she said. +</P> + +<P CLASS="dialog"> +EMILY—Two months? [She lets this sink in.] +</P> + +<P CLASS="dialog"> +JOHN—[Quickly scenting something—eagerly.] What do you mean, Emily? +[Then as if he read her mind.] Two months? But before that—Curt was +away in New York almost a month! +</P> + +<P CLASS="dialog"> +LILY—[Turning on EMILY fiercely.] So! You got someone to say it for +you as you always do, Poison Mind! Oh, I wish the ducking stool had +never been abolished! +</P> + +<P CLASS="dialog"> +EMILY—[Growing crimson—falteringly.] I—I didn't mean— +</P> + +<P CLASS="dialog"> +JOHN—[Furiously.] Where the honor of the family is at stake— +</P> + +<P CLASS="dialog"> +LILY—[Fiercely.] Ssshh, you empty barrel! I think I hear— [The door +from the study is opened and MARTHA comes in in the midst of a heavy +silence. All the gentlemen rise stiffly. MARTHA is made immediately +self-conscious and resentful by the feeling that they have been +discussing her unfavorably.] +</P> + +<P CLASS="dialog"> +MARTHA—[Coming forward—with a forced cordiality.] How do you do, +everybody? So sorry I wasn't here when you came. I hope Lily made +proper excuses for me. [She goes from one to the other of the four +latest comers with "So glad you came," etc. They reply formally and +perfunctorily. MARTHA finally finds a seat on the couch between EMILY +and ESTHER.] I hope Lily—but I see you've all had tea. +</P> + +<P CLASS="dialog"> +LILY—[Trying to save the situation—gayly.] Yes. You can trust me as +understudy for the part of hostess any time. +</P> + +<P CLASS="dialog"> +MARTHA—[Forcing a smile.] Well, I'm glad to know I wasn't missed. +</P> + +<P CLASS="dialog"> +EMILY—[Sweetly.] We were talking about you—at least, we were +listening to Lily talk about you. +</P> + +<P CLASS="dialog"> +MARTHA—[Stiffening defensively.] About me? +</P> + +<P CLASS="dialog"> +EMILY—Yes—about how devoted you were to Curt's work. [LILY gives her +a venomous glance of scorn.] +</P> + +<P CLASS="dialog"> +MARTHA—[Pleased but inwardly uneasy.] Oh, but you see I consider it my +work, too, I've helped him with it so long now. +</P> + +<P CLASS="dialog"> +JAYSON—[In a forced tone.] And how is Curt's book coming, Martha? +</P> + +<P CLASS="dialog"> +MARTHA—[More and more stung by their strained attitudes and +inquisitive glances. Coldly and cuttingly.] Finely, thank you. The book +will cause quite a stir, I believe. It will make the name of Jayson +famous in the big world outside of Bridgetown. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Indignantly.] The name of Jayson has been— +</P> + +<P CLASS="dialog"> +JAYSON—[Pleadingly.] Aunt Elizabeth! +</P> + +<P CLASS="dialog"> +LILY—Aunt means it's world famous already, Martha. [Pointing to the +sullen JOHN.] John was once a substitute on the Yale Freshman soccer +team, you know. If it wasn't for his weak shins he would have made the +team, fancy! +</P> + +<P CLASS="dialog"> +DICK—[This tickles his sense of humor and he bursts into laughter.] +Lily wins! [As his brother glares at him—looking at his watch.] +Heavens, I'll have to hustle! [Gets to his feet.] I'm due at the +Casino. [Comes and shakes MARTHA's hand formally.] I'm sorry I can't +stay. +</P> + +<P CLASS="dialog"> +MARTHA—So glad you came. Do come in again any time. We keep open +house, you know—Western fashion. [She accentuates this.] +</P> + +<P CLASS="dialog"> +DICK—[Hurriedly.] Delighted to. [He starts for the door in rear.] +</P> + +<P CLASS="dialog"> +LILY—[As if suddenly making up her mind.] Wait a second! I'm coming +with you— +</P> + +<P CLASS="dialog"> +DICK—Sure thing—only hurry, darn you! [He goes out.] +</P> + +<P CLASS="dialog"> +LILY—[Stops at the door in rear and catching MARTHA's eye, looks +meaningly at the others.] Phew! I need fresh air! [She makes an +encouraging motion as if pummeling someone to MARTHA, indicating her +assembled family as the victim—then goes out laughing. A motor is +heard starting—running off.] +</P> + +<P CLASS="dialog"> +ESTHER—[With a huge sigh of relief.] Thank goodness, she's gone. What +a vixen! What would you do if you had a sister like that, Martha? +</P> + +<P CLASS="dialog"> +MARTHA—I'd love her—and try to understand her. +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Meaningly.] She's a bad ally to rely on—this side of the +fence one day, and that the next. +</P> + +<P CLASS="dialog"> +MARTHA—Is that why you advised her to become a lawyer, Mr. Sheffield? +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Stung, but maintaining an unruffled front.] Now, now, that +remark must be catalogued as catty. +</P> + +<P CLASS="dialog"> +MARTHA—[Defiantly.] It seems to be in the Bridgetown atmosphere. I +never was—not the least bit—in the open air. +</P> + +<P CLASS="dialog"> +JAYSON—[Conciliatingly.] Oh, Bridgetown isn't so bad, Martha, once you +get used to us. +</P> + +<P CLASS="dialog"> +JOHN—It's one of the most prosperous and wealthy towns in the +U.S.—and that means in the world, nowadays. +</P> + +<P CLASS="dialog"> +EMILY—[With her sugary smile.] That isn't what Martha means, you +silly. I know what she's thinking about us, and I'm not sure that I +don't agree with her—partly. She feels that we're so awfully +strict—about certain things. It must be so different in the Far +West—I suppose—so much freer. +</P> + +<P CLASS="dialog"> +MARTHA—[Acidly.] Then you believe broad-mindedness and clean thinking +are a question of locality? I can't agree with you. I know nothing of +the present Far West, not having lived there for ten years, but Curt +and I have lived in the Far East and I'm sure he'd agree with me in +saying that Chinese ancestor worship is far more dignified than ours. +After all, you know, theirs is religion, not snobbery. [There is a loud +honking of an auto horn before the house. MARTHA starts, seems to come +to a quick decision, and announces with studied carelessness.] That +must be Mr. Bigelow. I suppose Lily told you I had an engagement to go +motoring with him. So sorry I must leave. But I'm like Lily. I need +fresh air. [She walks to the study door as she is talking.] I'll call +Curt. [She raps loudly on the door and calls.] Curt! Come out! It's +important. [She turns and goes to the door, smiling fixedly.] He'll be +out when he's through swearing. [She goes out, rear.] +</P> + +<P CLASS="dialog"> +JOHN—[Exploding.] Well, of all the damned cheek! +</P> + +<P CLASS="dialog"> +ESTHER—She shows her breeding, I must say. +</P> + +<P CLASS="dialog"> +EMILY—[With horror.] Oh, how rude—and insulting. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Rising rigidly to her feet.] I will never set foot in +this house again! JAYSON—[Jumping up to restrain her—worriedly.] Now, +Aunt Elizabeth, do keep your head! We must have no scandal of any sort. +Remember there are servants about. Do sit down. [The old lady refuses +in stubborn silence.] +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Judiciously.] One must make allowances for one in her +condition, Aunt. +</P> + +<P CLASS="dialog"> +JAYSON—[Snatching at this.] Exactly. Remember her condition. Aunt +[testily] and do sit down. [The old lady plumps herself down again +angrily.] +</P> + +<P CLASS="dialog"> +EMILY—[In her lisp of hidden meanings.] Yes, the family mustn't +forget—her condition. [The door from the study is opened and CURT +appears. His face shows his annoyance at being interrupted, his eyes +are preoccupied. They all turn and greet him embarrassedly. He nods +silently and comes slowly down front.] +</P> + +<P CLASS="dialog"> +CURTIS—[Looking around.] Where's Martha? What's the important thing +she called me out for? +</P> + +<P CLASS="dialog"> +ESTHER—[Forcing gaiety.] To play host, you big bear, you! Don't you +think we came to see you, too? Sit down here and be good. [He sits on +sofa.] +</P> + +<P CLASS="dialog"> +EMILY—[Softly.] Martha had to leave us to go motoring with Mr. Bigelow. +</P> + +<P CLASS="dialog"> +ESTHER—[Hastily.] And the three children. +</P> + +<P CLASS="dialog"> +CURTIS—[Frowning grumpily.] Hm! Big and his eternal kids. [He sighs. +They exchange meaning glances. CURT seems to feel ashamed of his +grumpiness and tries to fling it off—with a cheerful smile.] But what +the deuce! I must be getting selfish to grudge Martha her bit of fresh +air. You don't know what it means to outdoor animals like us to be pent +up. [He springs to his feet and paces back and forth nervously.] We're +used to living with the sky for a roof—[Then interestedly.] Did Martha +tell you I'd definitely decided to go on the five year Asian expedition? +</P> + +<P CLASS="dialog"> +ESTHER—Curt! You're not! +</P> + +<P CLASS="dialog"> +EMILY—And leave Martha here—all alone—for five years? +</P> + +<P CLASS="dialog"> +JAYSON—Yes, you can't take Martha with you this time, you know. +</P> + +<P CLASS="dialog"> +CURTIS—[With a laugh.] No? What makes you so sure of that? [As they +look mystified, he continues confidentially.] I'll let you in on the +secret—only you must all promise not to breathe a word to +Martha—until to-morrow. To-morrow is her birthday, you know, and this +is a surprise I've saved for her. [They all nod.] I've been intriguing +my damnedest for the past month to get permission for Martha to go with +me. It was difficult because women are supposed to be barred. +[Happily.] But I've succeeded. The letter came this morning. How +tickled to death she'll be when she hears! I know she's given up hope. +[Thoughtfully.] I suppose it's that has been making her act so +out-of-sorts lately. +</P> + +<P CLASS="dialog"> +JAYSON—[Worriedly.] Hmm! But would you persist in going—alone—if you +knew it was impossible for her—? +</P> + +<P CLASS="dialog"> +CURTIS—[Frowning.] I can't imagine it without her. You people can't +have any idea what a help—a chum—she's been. You can't believe that a +woman could be—so much that—in a life of that kind—how I've grown to +depend on her. The thousand details—she attends to them all. She +remembers everything. Why, I'd be lost. I wouldn't know how to start. +[With a laugh.] I know this sounds like a confession of weakness but +it's true just the same. [Frowning again.] However, naturally my work +must always be the first consideration. Yes, absolutely! [Then with +glad relief.] But what's the use of rambling on this way? We can both +go, thank heaven! +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Sternly.] No. SHE cannot go. And it is YOUR duty— +</P> + +<P CLASS="dialog"> +CURTIS—[Interrupting her with a trace of impatience.] Oh, come! That's +all nonsense, Aunt. You don't understand the kind of woman Martha is. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Harshly.] The women I understand prefer rearing their +children to selfish gallivanting over the world. +</P> + +<P CLASS="dialog"> +CURTIS—[Impatiently.] But we have no children now, Aunt. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—I know that, more's the pity. But later— +</P> + +<P CLASS="dialog"> +CURTIS—[Emphatically.] No, I tell you! It's impossible! +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Grimly.] I have said my last word. Go your own road and +work your own ruin. +</P> + +<P CLASS="dialog"> +CURTIS—[Brusquely.] I think I'll change my togs and go for a walk. +Excuse me for a second. I'll be right down again. [He goes out, rear.] +</P> + +<P CLASS="dialog"> +EMILY—[With her false air of innocence.] Curt acts so funny, doesn't +he? Did you notice how emphatic he was about its being impossible? And +he said Martha seemed to him to be acting queer lately—with him, I +suppose he meant. +</P> + +<P CLASS="dialog"> +ESTHER—He certainly appeared put out when he heard she'd gone motoring +with Big. +</P> + +<P CLASS="dialog"> +JAYSON—[Moodily.] This dislike of the very mention of children. It +isn't like Curt, not a bit. +</P> + +<P CLASS="dialog"> +JOHN—There's something rotten in Denmark somewhere. This family will +yet live to regret having accepted a stranger— +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Mollifyingly—with a judicial air.] Come now! This is all +only suspicion. There is no evidence; you have no case; and the +defendant is innocent until you have proved her guilty, remember. +[Getting to his feet.] Well, let's break up. Esther, you and I ought to +be getting home. [They all rise.] +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] Well, if I were sure it would all blow over without +any open scandal, I'd offer up a prayer of thanks. [The Curtain Falls] +</P> + +<BR><BR><BR> + +<A NAME="act2"></A> +<H3 ALIGN="center"> +ACT II +</H3> + +<P CLASS="noindent"> +SCENE—CURTIS JAYSON'S study. On the left, forward, a gun rack in which +are displayed several varieties of rifles and shotguns. Farther back, +three windows looking out on the garden. In the rear wall, an open +fireplace with two leather arm-chairs in front of it. To right of +fireplace, a door leading into the living-room. In the far right +corner, another chair. In the right wall, three windows looking out on +the lawn and garden. On this side, front, a typewriting table with +machine and chair. Opposite the windows on the right, a bulky leather +couch, facing front. In front of the windows on the left, a long table +with stacks of paper piled here and there on it, reference books, etc. +On the left of table, a swivel chair. Gray oak bookcases are built into +the cream rough plaster walls which are otherwise almost hidden from +view by a collection of all sorts of hunter's trophies, animal heads of +all kinds. The floor is covered with animal skins—tiger, polar bear, +leopard, lion, etc. Skins are also thrown over the backs of the chairs. +The sections of the bookcase not occupied by scientific volumes have +been turned into a specimen case for all sorts of zoological, +geological, anthropological oddities. +</P> + +<P CLASS="noindent"> +It is mid-morning, sunny and bright, of the following day. +</P> + +<P CLASS="noindent"> +CURTIS and BIGELOW are discovered. CURTIS is half-sitting on the corner +of the table, left, smoking a pipe. BIGELOW is lying sprawled on the +couch. Through the open windows on the right come the shouts of +children playing. MARTHA's voice joins in with theirs. +</P> + +<P CLASS="dialog"> +BIGELOW—Listen to that rumpus, will you! The kids are having the time +of their lives. [He goes to the window and looks out—delightedly.] +Your wife is playing hide and seek with them. Come and look. +</P> + +<P CLASS="dialog"> +CURTIS—[With a trace of annoyance.] Oh, I can see well enough from +here. +</P> + +<P CLASS="dialog"> +BIGELOW—[With a laugh.] She seems to get as much fun out of it as they +do. [As a shriek comes from outside—excitedly.] Ah, Eddy discovered +her behind the tree. Isn't he tickled now! [He turns back from the +window and lights a cigarette—enthusiastically.] Jove, what a hand she +is with children! +</P> + +<P CLASS="dialog"> +CURTIS—[As if the subject bored him.] Oh, Martha gets along well with +anyone. +</P> + +<P CLASS="dialog"> +BIGELOW—[Sits on the couch again—with a sceptical smile.] You think +so? With everyone? +</P> + +<P CLASS="dialog"> +CURTIS—[Surprised.] Yes—with everyone we've ever come in contact +with—even aboriginal natives. +</P> + +<P CLASS="dialog"> +BIGELOW—With the aboriginal natives of Bridgetown? With the well-known +Jayson family, for example? +</P> + +<P CLASS="dialog"> +CURTIS—[Getting to his feet—frowning.] Why, everything's all right +between Martha and them, isn't it? What do you mean, Big? I certainly +imagined—but I'll confess this damn book has had me so preoccupied— +</P> + +<P CLASS="dialog"> +BIGELOW—Too darn preoccupied, if you'll pardon my saying so. It's not +fair to leave her to fight it alone. +</P> + +<P CLASS="dialog"> +CURTIS—[Impatiently.] Fight what? Martha has a sense of humor. I'm +sure their petty prejudices merely amuse her. +</P> + +<P CLASS="dialog"> +BIGELOW—[Sententiously.] A mosquito is a ridiculous, amusing creature, +seen under a microscope; but when a swarm has been stinging you all +night— +</P> + +<P CLASS="dialog"> +CURTIS—[A broad grin coming over his face.] You speak from experience, +eh? +</P> + +<P CLASS="dialog"> +BIGELOW—[Smiling.] You bet I do. Touch me anywhere and you'll find a +bite. This, my native town, did me the honor of devoting its entire +leisure attention for years to stinging me to death. +</P> + +<P CLASS="dialog"> +CURTIS—Well, if I am to believe one-tenth of the family letters I used +to receive on the subject of my old friend, Bigelow, they sure had just +cause. +</P> + +<P CLASS="dialog"> +BIGELOW—Oh, I'll play fair. I'll admit they did—then. But it's +exasperating to know they never give you credit for changing—I almost +said, reforming, One ought to be above the gossip of a town like +this—but say what you like, it does get under your skin. +</P> + +<P CLASS="dialog"> +CURTIS—[With an indulgent smile.] So you'd like to be known as a +reformed character, eh? +</P> + +<P CLASS="dialog"> +BIGELOW—[Rather ruefully.] Et tu! Your tone is sceptical. But I swear +to you, Curt, I'm an absolutely new man since my wife's death, since +I've grown to love the children. Before that I hardly knew them. They +were hers, not mine, it seemed. [His face lighting up.] Now we're the +best of pals, and I've commenced to appreciate life from a different +angle. I've found a career at last—the children—the finest career a +man could have, I believe. +</P> + +<P CLASS="dialog"> +CURTIS—[Indifferently.] Yes, I suppose so—if you're made that way. +</P> + +<P CLASS="dialog"> +BIGELOW—Meaning you're not? +</P> + +<P CLASS="dialog"> +CURTIS—Not any more. [Frowning.] I tried that once. +</P> + +<P CLASS="dialog"> +BIGELOW—[After a pause—with a smile.] But we're wandering from the +subject of Martha versus the mosquitoes. +</P> + +<P CLASS="dialog"> +CURTIS—[With a short laugh.] Oh, to the deuce with that! Trust Martha +to take care of herself. Besides, I'll have her out of this stagnant +hole before so very long—six months, to be exact. +</P> + +<P CLASS="dialog"> +BIGELOW—Where do you think of settling her then? +</P> + +<P CLASS="dialog"> +CURTIS—No settling about it. I'm going to take her with me. +</P> + +<P CLASS="dialog"> +BIGELOW—[Surprised.] On the Asian expedition? +</P> + +<P CLASS="dialog"> +CURTIS—Yes. I haven't told her yet but I'm going to to-day. It's her +birthday—and I've been saving the news to surprise her with. +</P> + +<P CLASS="dialog"> +BIGELOW—Her birthday? I wish the children and I had known—but it's +not too late yet. +</P> + +<P CLASS="dialog"> +CURTIS—[With a grin.] Thirty-nine candles, if you're thinking of +baking a cake! +</P> + +<P CLASS="dialog"> +BIGELOW—[Meaningly.] That's not old—but it's not young either, Curt. +</P> + +<P CLASS="dialog"> +CURTIS—[Disgustedly.] You talk like an old woman, Big. What have years +to do with it? Martha is young in spirit and always will be. [There is +a knock at the door and MARTHA's voice calling: "May I come in, +people?"] Sure thing! [BIGELOW jumps to open the door and MARTHA +enters. She is flushed, excited, full of the joy of life, panting from +her exertions.] +</P> + +<P CLASS="dialog"> +MARTHA—[Laughing.] I've had to run away and leave them with the +governess. They're too active for me. [She throws herself on the +couch.] Phew! I'm all tired out. I must be getting old. +</P> + +<P CLASS="dialog"> +CURTIS—[With a grin.] Big was just this minute remarking that, Martha. +[BIGELOW looks embarrassed.] +</P> + +<P CLASS="dialog"> +MARTHA—[Laughing at him.] Well, I declare! Of all the horrid things to +hear— +</P> + +<P CLASS="dialog"> +BIGELOW—[Still embarrassed but forcing a joking tone.] +He—prevaricates, Mrs. Jayson. +</P> + +<P CLASS="dialog"> +MARTHA—There now, Curt! I'm sure it was you who said it. It sounds +just like one of your horrid facts. +</P> + +<P CLASS="dialog"> +BIGELOW—And how can I offer my felicitations now? But I do, despite +your husband's calumny. May your shadow never grow less! +</P> + +<P CLASS="dialog"> +MARTHA—Thank you. [She shakes his proffered hand heartily.] +</P> + +<P CLASS="dialog"> +BIGELOW—And now I'll collect my flock and go home. +</P> + +<P CLASS="dialog"> +CURTIS—So long, Big. Be sure you don't mislay one of your heirs! +</P> + +<P CLASS="dialog"> +BIGELOW—No fear—but they might mislay me. [He goes. CURT sits down on +couch. MARTHA goes to the window right, and looks out—after a pause, +waving her hand.] +</P> + +<P CLASS="dialog"> +MARTHA—There they go. What darlings they are! [CURTIS grunts +perfunctorily. MARTHA comes back and sits beside CURT on the +couch—with a sigh.] Whoever did say it was right, Curt, I am getting +old. +</P> + +<P CLASS="dialog"> +CURTIS—[Taking one of her hands and patting it.] Nonsense! +</P> + +<P CLASS="dialog"> +MARTHA—[Shaking her head and smiling with a touch of sadness.] No. I +feel it. +</P> + +<P CLASS="dialog"> +CURTIS—[Puts his arms around her protectingly.] Nonsense! You're not +the sort that ever grows old. +</P> + +<P CLASS="dialog"> +MARTHA—[Nestling up to him.] I'm afraid we're all that sort, dear. +Even you. [She touches the white hair about his temples playfully.] +Circumstantial evidence. I'll have to dye it when you're asleep some +time—and then nobody'll know. +</P> + +<P CLASS="dialog"> +CURTIS—[Looking at her.] You haven't any silver threads. [Jokingly.] +Am I to suspect—? +</P> + +<P CLASS="dialog"> +MARTHA—No, I don't. Honest, cross my heart, I wouldn't even conceal +that from you, if I did. But gray hairs prove nothing. I am actually +older than you, don't forget. +</P> + +<P CLASS="dialog"> +CURTIS—One whole year! That's frightful, isn't it? +</P> + +<P CLASS="dialog"> +MARTHA—I'm a woman, remember; so that one means at least six. Ugh! +Let's not talk about it. Do you know, it really fills me with a queer +panic sometimes? +</P> + +<P CLASS="dialog"> +CURTIS—[Squeezing her.] Silly girl! +</P> + +<P CLASS="dialog"> +MARTHA—[Snuggling close to him.] Will you always love me—even when +I'm old and ugly and feeble and you're still young and strong and +handsome? +</P> + +<P CLASS="dialog"> +CURTIS—[Kisses her—tenderly.] Martha! What a foolish question, +sweetheart. If we ever have to grow old, we'll do it together just as +we've always done everything. +</P> + +<P CLASS="dialog"> +MARTHA—[With a happy sigh.] That's my dream of happiness, Curt. +[Enthusiastically.] Oh, it has been a wonderful, strange life we've +lived together, Curt, hasn't it? You're sure you've never +regretted—never had the weest doubt that it might have been better +with—someone else? +</P> + +<P CLASS="dialog"> +CURTIS—[Kisses her again—tenderly reproachful.] Martha! +</P> + +<P CLASS="dialog"> +MARTHA—And I have helped—really helped you, haven't I? +</P> + +<P CLASS="dialog"> +CURTIS—[Much moved.] You've been the best wife a man could ever wish +for, Martha. You've been—you are wonderful. I owe everything to +you—your sympathy and encouragement. Don't you know I realize that? +[She kisses him gratefully.] +</P> + +<P CLASS="dialog"> +MARTHA—[Musing happily.] Yes, it's been a wonderful, glorious life. +I'd live it over again if I could, every single second of it—even the +terrible suffering—the children. +</P> + +<P CLASS="dialog"> +CURTIS—[Wincing.] Don't. I wouldn't want that over again. [Then +changing the subject abruptly.] But why have you been putting all our +life into the past tense? It seems to me the most interesting part is +still ahead of us. +</P> + +<P CLASS="dialog"> +MARTHA—[Softly.] I mean—together—Curt. +</P> + +<P CLASS="dialog"> +CURTIS—So do I! +</P> + +<P CLASS="dialog"> +MARTHA—But you're going away—and I can't go with you this time. +</P> + +<P CLASS="dialog"> +CURTIS—[Smiling to himself over her head.] Yes, that does complicate +matters, doesn't it? +</P> + +<P CLASS="dialog"> +MARTHA—[Hurt—looking up at him.] Curt! How indifferently you say +that—as if you didn't care! +</P> + +<P CLASS="dialog"> +CURTIS—[Avoiding her eyes—teasingly.] What do you think you'll do all +the time I'm gone? +</P> + +<P CLASS="dialog"> +MARTHA—Oh, I'll be lost—dead—I won't know what to do. I'll die of +loneliness—[yearning creeping into her voice] unless— +</P> + +<P CLASS="dialog"> +CURTIS—[Inquisitively.] Unless what? +</P> + +<P CLASS="dialog"> +MARTHA—[Burying her face on his shoulder—passionately.] Oh, Curt, I +love you so! Swear that you'll always love me no matter what I do—no +matter what I ask— +</P> + +<P CLASS="dialog"> +CURTIS—[Vaguely uneasy now, trying to peer into her face.] But, +sweetheart— +</P> + +<P CLASS="dialog"> +MARTHA—[Giving way weakly to her feelings for a moment—entreatingly.] +Then don't go! +</P> + +<P CLASS="dialog"> +CURTIS—[Astonished.] Why, I've got to go. You know that. +</P> + +<P CLASS="dialog"> +MARTHA—Yes, I suppose you have. [Vigorously, as if flinging off a +weakness.] Of course you have! +</P> + +<P CLASS="dialog"> +CURTIS—But, Martha—you said you'd be lonely unless—unless what? +</P> + +<P CLASS="dialog"> +MARTHA—Unless I— [She hesitates, blushing and confused.] I mean +we—oh, I'm so afraid of what you'll—hold me close, very close to you +and I'll whisper it. [She pulls his head down and whispers in his ear. +A look of disappointment and aversion forces itself on his face.] +</P> + +<P CLASS="dialog"> +CURTIS—[Almost indignantly.] But that's impossible, Martha! +</P> + +<P CLASS="dialog"> +MARTHA—[Pleadingly.] Now don't be angry with me, Curt—not till you've +heard everything. [With a trace of defiance.] It isn't impossible, +Curt. It's so! It's happened! I was saving it as a secret—to tell you +to-day—on my birthday. +</P> + +<P CLASS="dialog"> +CURTIS—[Stunned.] You mean it—is a fact? +</P> + +<P CLASS="dialog"> +MARTHA—Yes. [Then pitifully.] Oh, Curt, don't look that way! You seem +so cold—so far away from me. [Straining her arms about him.] Why don't +you hold me close to you? Why don't you say you're glad—for my sake? +</P> + +<P CLASS="dialog"> +CURTIS—[Agitatedly.] But Martha—you don't understand. How can I +pretend gladness when—[Vehemently.] Why, it would spoil all our plans! +</P> + +<P CLASS="dialog"> +MARTHA—Plans? OUR plans? What do you mean? +</P> + +<P CLASS="dialog"> +CURTIS—[Excitedly.] Why, you're going with me, of course! I've +obtained official permission. I've been working for it for months. The +letter came yesterday morning. +</P> + +<P CLASS="dialog"> +MARTHA—[Stunned.] Permission—to go with you— +</P> + +<P CLASS="dialog"> +CURTIS—[Excitedly.] Yes. I couldn't conceive going without you. And I +knew how you must be wishing— +</P> + +<P CLASS="dialog"> +MARTHA—[In pain.] Oh! +</P> + +<P CLASS="dialog"> +CURTIS—[Distractedly—jumping to his feet and staring at her +bewilderedly.] Martha! You don't mean to tell me you weren't! +</P> + +<P CLASS="dialog"> +MARTHA—[In a crushed voice.] I was wishing you would finally decide +not to go—to stay at home. +</P> + +<P CLASS="dialog"> +CURTIS—[Betraying exasperation.] But you must realize that's +impossible. Martha, are you sure you've clearly understood what I've +told you? You can go with me, do you hear? Everything is arranged. And +I've had to fight so hard—I was running the risk of losing my own +chance by my insistence that I couldn't go without you. +</P> + +<P CLASS="dialog"> +MARTHA—[Weakly and helplessly.] I understand all that, Curt. +</P> + +<P CLASS="dialog"> +CURTIS—[Indignantly.] And yet—you hesitate! Why, this is the greatest +thing of its kind ever attempted! There are unprecedented +possibilities! A whole new world of knowledge may be opened up—the +very origin of Man himself! And you will be the only woman— +</P> + +<P CLASS="dialog"> +MARTHA—I realize all that, Curt. +</P> + +<P CLASS="dialog"> +CURTIS—You can't—and hesitate! And then—think, Martha!—it will mean +that you and I won't have to be separated. We can go on living the old, +free life together. +</P> + +<P CLASS="dialog"> +MARTHA—[Growing calm now.] You are forgetting—what I told you, Curt. +You must face the fact. I cannot go. +</P> + +<P CLASS="dialog"> +CURTIS—[Overwhelmed by the finality of her tone—after a pause.] How +long have you known—this? +</P> + +<P CLASS="dialog"> +MARTHA—Two months, about. +</P> + +<P CLASS="dialog"> +CURTIS—But why didn't you tell me before? +</P> + +<P CLASS="dialog"> +MARTHA—I was afraid you wouldn't understand—and you haven't, Curt. +But why didn't you tell me before—what you were planning? +</P> + +<P CLASS="dialog"> +CURTIS—[Eagerly.] You mean—then—you would have been glad to +go—before this had happened? +</P> + +<P CLASS="dialog"> +MARTHA—I would have accepted it. +</P> + +<P CLASS="dialog"> +CURTIS—[Despairingly.] Martha, how could you ever have allowed this to +happen? Oh, I suppose I'm talking foolishness. It wasn't your seeking, +I know. +</P> + +<P CLASS="dialog"> +MARTHA—Yes it was, Curt. I wished it. I sought it. +</P> + +<P CLASS="dialog"> +CURTIS—[Indignantly.] Martha! [Then in a hurt tone.] You have broken +the promise we made when they died. We were to keep their memories +inviolate. They were to be always—our only children. +</P> + +<P CLASS="dialog"> +MARTHA—[Gently.] They forgive me, Curt. And you will forgive me, +too—when you see him—and love him. +</P> + +<P CLASS="dialog"> +CURTIS—Him? +</P> + +<P CLASS="dialog"> +MARTHA—I know it will be a boy. +</P> + +<P CLASS="dialog"> +CURTIS—[Sinking down on the couch beside her—dully.] Martha! You have +blown my world to bits. +</P> + +<P CLASS="dialog"> +MARTHA—[Taking one of his hands in hers—gently.] You must make +allowances for me. Curt, and forgive me. I AM getting old. No, it's the +truth. I've reached the turning point. Will you listen to my side of +it, Curt, and try to see it—with sympathy—with true +understanding—[With a trace of bitterness.]—forgetting your work for +the moment? +</P> + +<P CLASS="dialog"> +CURTIS—[Miserably.] That's unfair, Martha. I think of it as OUR +work—and I have always believed you did, too. +</P> + +<P CLASS="dialog"> +MARTHA—[Quickly.] I did, Curt! I do! All in the past is our work. It's +my greatest pride to think so. But, Curt, I'll have to confess +frankly—during the past two years I've felt myself—feeling as if I +wasn't complete—with that alone. +</P> + +<P CLASS="dialog"> +CURTIS—Martha! [Bitterly.] And all the time I believed that more and +more it was becoming the aim of your life, too. +</P> + +<P CLASS="dialog"> +MARTHA—[With a sad smile.] I'm glad of that, dear. I tried my best to +conceal it from you. It would have been so unfair to let you guess +while we were still in harness. But oh, how I kept looking forward to +the time when we would come back—and rest—in our own home! You +know—you said that was your plan—to stay here and write your +books—and I was hoping— +</P> + +<P CLASS="dialog"> +CURTIS—[With a gesture of aversion.] I loathe this book-writing. It +isn't my part, I realize now. But when I made the plans you speak of, +how could I know that then? +</P> + +<P CLASS="dialog"> +MARTHA—[Decisively.] You've got to go. I won't try to stop you. I'll +help all in my power—as I've always done. Only—I can't go with you +any more. And you must help me—to do my work—by understanding it. [He +is silent, frowning, his face agitated, preoccupied. She goes on +intensely.] Oh, Curt, I wish I could tell you what I feel, make you +feel with me the longing for a child. If you had just the tiniest bit +of feminine in you—! [Forcing a smile.] But you're so utterly +masculine, dear! That's what has made me love you, I suppose—so I've +no right to complain of it. [Intensely.] I don't. I wouldn't have you +changed one bit! I love you! And I love the things you love—your +work—because it's a part of you. And that's what I want you to do—to +reciprocate—to love the creator in me—to desire that I, too, should +complete myself with the thing nearest my heart! +</P> + +<P CLASS="dialog"> +CURTIS—[Intensely preoccupied with his own struggle—vaguely.] But I +thought— +</P> + +<P CLASS="dialog"> +MARTHA—I know; but, after all, your work is yours, not mine. I have +been only a helper, a good comrade, too, I hope, but—somehow—outside +of it all. Do you remember two years ago when we were camped in Yunnan, +among the aboriginal tribes? It was one night there when we were lying +out in our sleeping-bags up in the mountains along the Tibetan +frontier. I couldn't sleep. Suddenly I felt oh, so tired—utterly +alone—out of harmony with you—with the earth under me. I became +horribly despondent—like an outcast who suddenly realizes the whole +world is alien. And all the wandering about the world, and all the +romance and excitement I'd enjoyed in it, appeared an aimless, futile +business, chasing around in a circle in an effort to avoid touching +reality. Forgive me, Curt. I meant myself, not you, of course. Oh, it +was horrible, I tell you, to feel that way. I tried to laugh at myself, +to fight it off, but it stayed and grew worse. It seemed as if I were +the only creature alive—who was not alive. And all at once the picture +came of a tribeswoman who stood looking at us in a little mountain +village as we rode by. She was nursing her child. Her eyes were so +curiously sure of herself. She was horribly ugly, poor woman, and +yet—as the picture came back to me—I appeared to myself the ugly one +while she was beautiful. And I thought of our children who had +died—and such a longing for another child came to me that I began +sobbing. You were asleep. You didn't hear. [She pauses—then proceeds +slowly.] And when we came back here—to have a home at last, I was so +happy because I saw my chance of fulfillment—before it was too late. +[In a gentle, pleading voice.] Now can you understand, dear? [She puts +her hand on his arm.] +</P> + +<P CLASS="dialog"> +CURTIS—[Starting as if awaking from a sleep.] Understand? No, I can't +understand, Martha. +</P> + +<P CLASS="dialog"> +MARTHA—[In a gasp of unbearable hurt.] Curt! I don't believe you heard +a word I was saying. +</P> + +<P CLASS="dialog"> +CURTIS—[Bursting forth as if releasing all the pent-up struggle that +has been gathering within him.] No, I can't understand. I cannot, +cannot! It seems like treachery to me. +</P> + +<P CLASS="dialog"> +MARTHA—Curt! +</P> + +<P CLASS="dialog"> +CURTIS—I've depended on you. This is the crucial point—the biggest +thing of my life—and you desert me! +</P> + +<P CLASS="dialog"> +MARTHA—[Resentment gathering in her eyes.] If you had listened to +me—if you had even tried to feel— +</P> + +<P CLASS="dialog"> +CURTIS—I feel that you are deliberately ruining my highest hope. How +can I go on without you? I've been trying to imagine myself alone. I +can't! Even with my work—who can I get to take your place? Oh, Martha, +why do you have to bring this new element into our lives at this late +day? Haven't we been sufficient, you and I together? Isn't that a more +difficult, beautiful happiness to achieve than—children? Everyone has +children. Don't I love you as much as any man could love a woman? Isn't +that enough for you? Doesn't it mean anything to you that I need you so +terribly—for myself, for my work—for everything that is best and +worthiest in me? Can you expect me to be glad when you propose to +introduce a stranger who will steal away your love, your interest—who +will separate us and deprive me of you! No, no, I cannot! It's asking +the impossible. I am only human. +</P> + +<P CLASS="dialog"> +MARTHA—If you were human you would think of my life as well as yours. +</P> + +<P CLASS="dialog"> +CURTIS—I do! It is OUR life I am fighting for, not mine—OUR life that +you want to destroy. +</P> + +<P CLASS="dialog"> +MARTHA—Our life seems to mean your life to you, Curt—and only your +life. I have devoted fifteen years to that. Now I must fight for my own. +</P> + +<P CLASS="dialog"> +CURTIS—[Aghast.] You talk as if we were enemies, Martha! [Striding +forward and seizing her in his arms.] No, you don't mean it! I love you +so, Martha! You've made yourself part of my life, my work—I need you +so! I can't share you with anyone! I won't! Martha, my own! Say that +you won't, dear? [He kisses her passionately again and again.] +</P> + +<P CLASS="dialog"> +MARTHA—[All her love and tenderness aroused by his kisses and +passionate sincerity—weakening.] Curt! Curt! [Pitiably.] It won't +separate us, dear. Can't you see he will be a link between us—even +when we are away from each other—that he will bring us together all +the closer? +</P> + +<P CLASS="dialog"> +CURTIS—But I can't be away from you! +</P> + +<P CLASS="dialog"> +MARTHA—[Miserably.] Oh, Curt, why won't you look the fact in the +face—and learn to accept it with joy? Why can't you for my sake? I +would do that for you. +</P> + +<P CLASS="dialog"> +CURTIS—[Breaking away from her—passionately.] You will not do what I +have implored you—for me! And I am looking the fact in the face—the +fact that there must be no fact! [Avoiding her eyes—as if defying his +own finer feelings.] There are doctors who— +</P> + +<P CLASS="dialog"> +MARTHA—[Shrinking back from him.] Curt! You propose that—to me! [With +overwhelming sorrow.] Oh, Curt! When I feel him—his life within +me—like a budding of my deepest soul—to flower and continue me—you +say what you have just said! [Grief-stricken.] Oh, you never, never, +never will understand! +</P> + +<P CLASS="dialog"> +CURTIS—[Shamefacedly.] Martha, I—[Distractedly.] I don't know what +I'm saying! This whole situation is so unbearable! Why, why does it +have to happen now? +</P> + +<P CLASS="dialog"> +MARTHA—[Gently.] It must be now—or not at all—at my age, dear. [Then +after a pause—staring at him frightenedly—sadly.] You have changed, +Curt. I remember it used to be your happiness to sacrifice yourself for +me. +</P> + +<P CLASS="dialog"> +CURTIS—I had no work then—no purpose beyond myself. To sacrifice +oneself is easy. But when your only meaning becomes as a searcher for +knowledge—you cannot sacrifice that, Martha. You must sacrifice +everything for that—or lose all sincerity. +</P> + +<P CLASS="dialog"> +MARTHA—I wonder where your work leaves off and you begin. Hasn't your +work become you? +</P> + +<P CLASS="dialog"> +CURTIS—Yes and no. [Helplessly.] You can't understand, Martha! ... +</P> + +<P CLASS="dialog"> +MARTHA—Nor you. +</P> + +<P CLASS="dialog"> +CURTIS—[With a trace of bitter irony.] And you and your work? Aren't +they one and the same? +</P> + +<P CLASS="dialog"> +MARTHA—So you think mine is selfish, too? [After a pause—sadly.] I +can't blame you, Curt. It's all my fault. I've spoiled you by giving up +my life so completely to yours. You've forgotten I have one. Oh, I +don't mean that I was a martyr. I know that in you alone lay my +happiness and fulfillment in those years—after the children died. But +we are no longer what we were then. We must, both of us, relearn to +love and respect—what we have become. +</P> + +<P CLASS="dialog"> +CURTIS—[Violently.] Nonsense! You talk as if love were an intellectual +process—[Taking her into his arms—passionately.] I love you—always +and forever! You are me and I am you. What use is all this vivisecting? +[He kisses her fiercely. They look into each other's eyes for a +second—then instinctively fall back from one another.] +</P> + +<P CLASS="dialog"> +MARTHA—[In a whisper.] Yes, you love me. But who am I? There is no +recognition in your eyes. You don't know. +</P> + +<P CLASS="dialog"> +CURTIS—[Frightenedly.] Martha! Stop! This is terrible! [They continue +to be held by each other's fearfully questioning eyes.] +</P> + +<P CLASS="stage"> +[The Curtain Falls] +</P> + +<BR><BR><BR> + +<A NAME="act3"></A> +<H3 ALIGN="center"> +ACT III +</H3> + +<P CLASS="noindent"> +SCENE—Same as Act II. As the curtain rises, JAYSON is discovered +sitting in an armchair by the fireplace, in which a log fire is burning +fitfully. He is staring into the flames, a strained, expectant +expression on his face. It is about three o'clock in the morning. There +is no light but that furnished by the fire which fills the room with +shifting shadows. The door in the rear is opened and RICHARD appears, +his face harried by the stress of unusual emotion. Through the opened +doorway, a low, muffled moan of anguish sounds from the upper part of +the house. JAYSON and RICHARD both shudder. The latter closes the door +behind him quickly as if anxious to shut out the noise. +</P> + +<P CLASS="dialog"> +JAYSON—[Looking up anxiously.] Well? +</P> + +<P CLASS="dialog"> +RICHARD—[Involuntarily straightening up as if about to salute and +report to a superior officer.] No change, sir. [Then, as if remembering +himself, comes to the fireplace and slumps down in a +chair—agitatedly.] God, Dad, I can't stand her moaning and screaming! +It's got my nerves shot to pieces. I thought I was hardened. I've heard +them out in No Man's Land—dying by inches—when you couldn't get to +them or help—but this is worse—a million times! After all, that was +war—and they were men— +</P> + +<P CLASS="dialog"> +JAYSON—Martha is having an exceptionally hard ordeal. +</P> + +<P CLASS="dialog"> +RICHARD—Since three o'clock this morning—yesterday morning, I should +say. It's a wonder she isn't dead. +</P> + +<P CLASS="dialog"> +JAYSON—[After a pause.] Where is Curt? +</P> + +<P CLASS="dialog"> +RICHARD—[Harshly.] Still out in the garden, walking around bareheaded +in the cold like a lunatic. +</P> + +<P CLASS="dialog"> +JAYSON—Why didn't you make him come in? +</P> + +<P CLASS="dialog"> +RICHARD—Make him! It's easy to say. He's in a queer state, Dad, I can +tell you! There's something torturing him besides her pain— +</P> + +<P CLASS="dialog"> +JAYSON—[After a pause.] Yes, there's a lot in all this we don't know +about. +</P> + +<P CLASS="dialog"> +RICHARD—I suppose the reason he's so down on the family is because +we've rather cut her since that tea affair. +</P> + +<P CLASS="dialog"> +JAYSON—He shouldn't blame us. She acted abominably and has certainly +caused enough talk since then—always about with Bigelow— +</P> + +<P CLASS="dialog"> +RICHARD—[With a sardonic laugh.] And yet he keeps asking everyone to +send for Bigelow—says he wants to talk to him—not us. WE can't +understand! [He laughs bitterly.] +</P> + +<P CLASS="dialog"> +JAYSON—I'm afraid Curt knows we understand too much. [Agitatedly.] But +why does he want Bigelow, in God's name? In his present state—with the +suspicions he must have—there's liable to be a frightful scene. +</P> + +<P CLASS="dialog"> +RICHARD—Don't be afraid of a scene. [With pitying scorn.] The hell of +it is he seems to regard Bigelow as his best friend. Damned if I can +make it out. +</P> + +<P CLASS="dialog"> +JAYSON—I gave orders that they were always to tell Curt Bigelow was +out of town and couldn't be reached. [With a sigh.] What a frightful +situation for all of us! [After a pause.] It may sound cruel of +me—but—I can't help wishing for all our sakes that this child will +never— +</P> + +<P CLASS="dialog"> +RICHARD—Yes, Dad, I know what you're thinking. It would be the best +thing for it, too—although I hate myself for saying it. [There is a +pause. Then the door in rear is opened and LILY appears. She is pale +and agitated. Leaving the door open behind her she comes forward and +flings herself on the lounge.] +</P> + +<P CLASS="dialog"> +JAYSON—[Anxiously.] Well? +</P> + +<P CLASS="dialog"> +LILY—[Irritably, getting up and switching on the lights.] Isn't +everything gloomy enough? [Sits down.] I couldn't bear it upstairs one +second longer. Esther and Emily are coming down, too. It's too much for +them—and they've had personal experience. [Trying to mask her +agitation by a pretense at flippancy.] I hereby become a life-member of +the birth-control league. Let's let humanity cease—if God can't manage +its continuance any better than that! +</P> + +<P CLASS="dialog"> +RICHARD—[Seriously.] Second the motion. +</P> + +<P CLASS="dialog"> +JAYSON—[Peevishly.] You're young idiots. Keep your blasphemous +nonsense to yourself, Lily! +</P> + +<P CLASS="dialog"> +LILY—[Jumping up and stamping her foot—hysterically.] I can't stand +it. Take me home, Dick, won't you? We're doing no good waiting here. +I'll have a fit—or something—if I stay. +</P> + +<P CLASS="dialog"> +RICHARD—[Glad of the excuse to go himself—briskly.] That's how I +feel. I'll drive you home. Come along. [ESTHER and EMILY enter, +followed by JOHN.] +</P> + +<P CLASS="dialog"> +LILY—[Excitedly.] I'll never marry or have a child! Never, never! I'll +go into Mark's office to-morrow and make myself independent of marriage. +</P> + +<P CLASS="dialog"> +ESTHER—Sssh! Lily! Don't you know you're shouting? And what silly talk! +</P> + +<P CLASS="dialog"> +LILY—I'll show you whether it's silly! I'll— +</P> + +<P CLASS="dialog"> +RICHARD—[Impatiently.] Are you coming or not? +</P> + +<P CLASS="dialog"> +LILY—[Quickly.] Yes—wait—here I am. [She pushes past the others and +follows RICHARD out rear. ESTHER and EMILY sit on couch—JOHN on chair, +right rear.] +</P> + +<P CLASS="dialog"> +ESTHER—[With a sigh.] I thought I went through something when mine +were born—but this is too awful. +</P> + +<P CLASS="dialog"> +EMILY—And, according to John, Curt actually says he hates it! Isn't +that terrible? [After a pause—meaningly.] It's almost as if her +suffering was a punishment, don't you think? +</P> + +<P CLASS="dialog"> +ESTHER—If it is, she's being punished enough, Heaven knows. It can't +go on this way much longer or something dreadful will happen. +</P> + +<P CLASS="dialog"> +EMILY—Do you think the baby— +</P> + +<P CLASS="dialog"> +ESTHER—I don't know. I shouldn't say it but perhaps it would be better +if— +</P> + +<P CLASS="dialog"> +EMILY—That's what I think. +</P> + +<P CLASS="dialog"> +ESTHER—Oh, I wish I didn't have such evil suspicions—but the way Curt +goes on—how can you help feeling there's something wrong? +</P> + +<P CLASS="dialog"> +JAYSON—[Suddenly.] How is Curt? +</P> + +<P CLASS="dialog"> +EMILY—John just came in from the garden. [Turning around to where JOHN +is dozing in his chair—sharply.] John! Well I never! If he isn't +falling asleep! John! [He jerks up his head and stares at her, blinking +stupidly. She continues irritably.] A nice time to pick out for a nap, +I must say. +</P> + +<P CLASS="dialog"> +JOHN—[Surlily.] Don't forget I have to be at the bank in the morning. +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] I have to be at the bank, too—and you don't notice +me sleeping. Tell me about Curt. You just left him, didn't you? +</P> + +<P CLASS="dialog"> +JOHN—[Irritably.] Yes, and I've been walking around that damned garden +half the night watching over him. Isn't that enough to wear anyone out? +I can feel I've got a terrible cold coming on— +</P> + +<P CLASS="dialog"> +ESTHER—[Impatiently.] For goodness sake, don't you start to pity +yourself! +</P> + +<P CLASS="dialog"> +JOHN—[Indignantly.] I'm not. I think I've showed my willingness to do +everything I could. If Curt was only the least bit grateful! He isn't. +He hates us all and wishes we were out of his home. I would have left +long ago if I didn't want to do my part in saving the family name from +disgrace. +</P> + +<P CLASS="dialog"> +JAYSON—[Impatiently.] Has he quieted down, that's what I want to know? +</P> + +<P CLASS="dialog"> +JOHN—[Harshly.] Not the least bit. He's out of his head—and I'd be +out of mine if a child was being born to my wife that— +</P> + +<P CLASS="dialog"> +JAYSON—[Angrily.] Keep that to yourself! Remember you have no proof. +[Morosely.] Think all you want—but don't talk. +</P> + +<P CLASS="dialog"> +EMILY—[Pettishly.] The whole town knows it, anyway; I'm sure they must. +</P> + +<P CLASS="dialog"> +JAYSON—There's only been gossip—no real scandal. Let's do our united +best to keep it at that. [After a pause.] Where's Aunt Elizabeth? We'll +have to keep an eye on her, too, or she's quite liable to blurt out the +whole business before all comers. +</P> + +<P CLASS="dialog"> +ESTHER—You needn't be afraid. She's forgotten all about the scandalous +part. No word of it has come to her out in the country and she hasn't +set foot in town since that unfortunate tea, remember. And at present +she's so busy wishing the child will be a boy, that she hasn't a +thought for another thing. [The door in the rear is opened and MARK +SHEFFIELD enters. He comes up to the fire to warm himself. The others +watch him in silence for a moment.] +</P> + +<P CLASS="dialog"> +JAYSON—[Impatiently.] Well, Mark? Where's Curt? +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Frowning.] Inside. I think he'll be with us in a minute. +[With a scornful smile.] Just now he's 'phoning to Bigelow. [The others +gasp.] +</P> + +<P CLASS="dialog"> +JAYSON—[Furiously.] For God's sake, couldn't you stop him? +</P> + +<P CLASS="dialog"> +SHEFFIELD—Not without a scene. Your Aunt persuaded him to come into +the house—and he rushed for the 'phone. I think he guessed we had been +lying to him— +</P> + +<P CLASS="dialog"> +JAYSON—[After a pause.] Then he—Bigelow will be here soon? +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Drily.] It depends on his sense of decency. As he seems +lacking in that quality, I've no doubt he'll come. +</P> + +<P CLASS="dialog"> +JOHN—[Rising to his feet—pompously.] Then I, for one, will go. Come, +Emily. Since Curt seems bound to disgrace everyone concerned, I want it +thoroughly understood that we wash our hands of the whole disgraceful +affair. +</P> + +<P CLASS="dialog"> +EMILY—[Snappishly.] Go if you want to! I won't! [Then with a +sacrificing air.] I think it is our duty to stay. +</P> + +<P CLASS="dialog"> +JAYSON—[Exasperated.] Sit down. Wash your hands indeed! Aren't you as +much concerned as any of us? +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Sharply.] Sshh! I think I hear Curt now. [JOHN sits down +abruptly. All stiffen into stony attitudes. The door is opened and CURT +enters. He is incredibly drawn and haggard, a tortured, bewildered +expression in his eyes. His hair is dishevelled, his boots caked with +mud. He stands at the door staring from one to the other of his family +with a wild, contemptuous scorn and mutters.] +</P> + +<P CLASS="dialog"> +CURTIS—Liars! Well, he's coming now. [Then bewilderedly.] Why didn't +you want him to come, eh? He's my oldest friend. I've got to talk to +someone—and I can't to you. [Wildly.] What do you want here, anyway? +Why don't you go? [A scream of MARTHA's is heard through the doorway. +CURT shudders violently, slams the door to with a crash, putting his +shoulders against it as if to bar out the sound inexorably—in +anguish.] God, why must she go through such agony? Why? Why? [He goes +to the fireplace as MARK makes way for him, flings himself exhaustedly +on a chair, his shoulders bowed, his face hidden in his hands. The +others stare at him pityingly. There is a long silence. Then the two +women whisper together, get up and tiptoe out of the room, motioning +for the others to follow them. JOHN does so. SHEFFIELD starts to go, +then notices the preoccupied JAYSON who is staring moodily into the +fire.] +</P> + +<P CLASS="dialog"> +SHEFFIELD—Sstt! [As JAYSON looks up—in a whisper.] Let's go out and +leave him alone. Perhaps he'll sleep. +</P> + +<P CLASS="dialog"> +JAYSON—[Starting to follow SHEFFIELD, hesitates and puts a hand on his +son's shoulder.] Curt. Remember I'm your father. Can't you confide in +me? I'll do anything to help. +</P> + +<P CLASS="dialog"> +CURTIS—[Harshly.] No, Dad. Leave me alone. +</P> + +<P CLASS="dialog"> +JAYSON—[Piqued.] As you wish. [He starts to go.] +</P> + +<P CLASS="dialog"> +CURTIS—And send Big in to me as soon as he comes. +</P> + +<P CLASS="dialog"> +JAYSON—[Stops, appears about to object—then remarks coldly.] Very +well—if you insist. [He switches off the lights. He hesitates at the +door uncertainly, then opens it and goes out. There is a pause. Then +CURT lifts his head and peers about the room. Seeing he is alone he +springs to his feet and begins to pace back and forth, his teeth +clenched, his features working convulsively. Then, as if attracted by +an irresistible impulse, he goes to the closed door and puts his ear to +the crack. He evidently hears his wife's moans for he starts away—in +agony.] +</P> + +<P CLASS="dialog"> +CURTIS—Oh, Martha, Martha! Martha, darling! [He flings himself in the +chair by the fireplace—hides his face in his hands and sobs bitterly. +There is a ring from somewhere in the house. Soon after there is a +knock at the door. CURTIS doesn't hear at first but when it is repeated +he mutters huskily.] Come in. [BIGELOW enters. CURT looks up at him.] +Close that door, Big, for God's sake! +</P> + +<P CLASS="dialog"> +BIGELOW—[Does so—then taking off his overcoat, hat, and throwing them +on the lounge comes quickly over to CURT.] I got over as soon as I +could. [As he sees CURT's face he starts and says sympathetically.] By +Jove, old man, you look as though you'd been through hell! +</P> + +<P CLASS="dialog"> +CURTIS—[Grimly.] I have. I am. +</P> + +<P CLASS="dialog"> +BIGELOW—[Slapping his back.] Buck up! [Then anxiously.] How's Martha? +</P> + +<P CLASS="dialog"> +CURTIS—She's in hell, too— +</P> + +<P CLASS="dialog"> +BIGELOW—[Attempting consolation.] You're surely not worrying, are you? +Martha is so strong and healthy there's no doubt of her pulling through +in fine shape. +</P> + +<P CLASS="dialog"> +CURTIS—She should never have attempted this. [After a pause.] I've a +grudge against you, Big. It was you bringing your children over here +that first planted this in her mind. +</P> + +<P CLASS="dialog"> +BIGELOW—[After a pause.] I've guessed you thought that. That's why you +haven't noticed me—or them—over here so much lately. I'll confess +that I felt you—[Angrily.] And the infernal gossip—I'll admit I +thought that you—oh, damn this rotten town, anyway! +</P> + +<P CLASS="dialog"> +CURTIS—[Impatiently.] Oh, for God's sake! [Bitterly.] I didn't want +you here to discuss Bridgetown gossip. +</P> + +<P CLASS="dialog"> +BIGELOW—I know, old man, forgive me. [In spite of the closed door one +of MARTHA's agonized moans is heard. They both shudder.] +</P> + +<P CLASS="dialog"> +CURTIS—[In a dead, monotonous tone.] She has been moaning like that +hour after hour. I shall have those sounds in my ears until the day I +die. Nothing can ever make me forget—nothing. +</P> + +<P CLASS="dialog"> +BIGELOW—[Trying to distract him.] Deuce take it, Curt, what's the +matter with you? I never thought you'd turn morbid. +</P> + +<P CLASS="dialog"> +CURTIS—[Darkly.] I've changed, Big—I hardly know myself any more. +</P> + +<P CLASS="dialog"> +BIGELOW—Once you're back on the job again, you'll be all right. You're +still determined to go on this expedition, aren't you? +</P> + +<P CLASS="dialog"> +CURTIS—Yes. I was supposed to join them this week in New York but I've +arranged to catch up with them in China—as soon as it's possible for +us to go. +</P> + +<P CLASS="dialog"> +BIGELOW—Us? You mean you still plan to take— +</P> + +<P CLASS="dialog"> +CURTIS—[Angrily aggressive.] Yes, certainly! Why not? Martha ought to +be able to travel in a month or so. +</P> + +<P CLASS="dialog"> +BIGELOW—Yes, but—do you think it would be safe to take the child? +</P> + +<P CLASS="dialog"> +CURTIS—[With a bitter laugh.] Yes—I was forgetting the child, wasn't +I? [Viciously.] But perhaps—[Then catching himself with a groan.] Oh, +damn all children, Big! +</P> + +<P CLASS="dialog"> +BIGELOW—[Astonished.] Curt! +</P> + +<P CLASS="dialog"> +CURTIS—[In anguish.] I can't help it—I've fought against it. But it's +there—deep down in me—and I can't drive it out. I can't! +</P> + +<P CLASS="dialog"> +BIGELOW—[Bewildered.] What, Curt? +</P> + +<P CLASS="dialog"> +CURTIS—Hatred! Yes, hatred! What's the use of denying it? I must tell +someone and you're the only one who might understand. [With a wild +laugh.] For you—hated your wife, didn't you? +</P> + +<P CLASS="dialog"> +BIGELOW—[Stunned.] Good God, you don't mean you hate—Martha? +</P> + +<P CLASS="dialog"> +CURTIS—[Raging.] Hate Martha? How dare you, you fool! I love +Martha—love her with every miserable drop of blood in me—with all my +life—all my soul! She is my whole world—everything! Hate Martha! God, +man, have you gone crazy to say such a mad thing? [Savagely.] No. I +hate it. It! +</P> + +<P CLASS="dialog"> +BIGELOW—[Shocked.] Curt! Don't you know you can't talk like +that—now—when—CURTIS— [Harshly.] It has made us both suffer +torments—not only now—every day, every hour, for months and months. +Why shouldn't I hate it, eh? +</P> + +<P CLASS="dialog"> +BIGELOW—[Staring at his friend's wild, distorted face with growing +horror.] Curt! Can't you realize how horrible— +</P> + +<P CLASS="dialog"> +CURTIS—Yes, it's horrible. I've told myself that a million times. +[With emphasis.] But it's true! +</P> + +<P CLASS="dialog"> +BIGELOW—[Severely.] Shut up! You're not yourself. Come, think for a +moment. What would Martha feel if she heard you going on this way? +Why—it would kill her! +</P> + +<P CLASS="dialog"> +CURTIS—[With a sobbing groan.] Oh, I know, I know! [After a pause.] +She read it in my eyes. Yes, it's horrible, but when I saw her there +suffering so frightfully—I couldn't keep it out of my eyes. I tried to +force it back—for her sake—but I couldn't. I was holding her hands +and her eyes searched mine with such a longing question in them—and +she read only my hatred there, not my love for her. And she screamed +and seemed to try to push me away. I wanted to kneel down and pray for +forgiveness—to tell her it was only my love for her—that I couldn't +help it. And then the doctors told me to leave—and now the door is +locked against me—[He sobs.] +</P> + +<P CLASS="dialog"> +BIGELOW—[Greatly moved.] This is only your damned imagination. They +put you out because you were in their way, that's all. And as for +Martha, she was probably suffering so much— +</P> + +<P CLASS="dialog"> +CURTIS—No. She read it in my eyes. I saw that look in hers—of +horror—horror of me! +</P> + +<P CLASS="dialog"> +BIGELOW—[Gruffly.] You're raving, damn it! +</P> + +<P CLASS="dialog"> +CURTIS—[Unheeding.] It came home to her then—the undeniable truth. +[With a groan.] Isn't it fiendish that I should be the one to add to +her torture—in spite of myself—in spite of all my will to conceal it! +She will never forgive me, never! And how can I forgive myself? +</P> + +<P CLASS="dialog"> +BIGELOW—[Distractedly.] For God's sake, don't think about it! It's +absurd—ridiculous! +</P> + +<P CLASS="dialog"> +CURTIS—[Growing more calm—in a tone of obsession.] She's guessed it +ever since that day when we quarreled—her birthday. Oh, you can have +no idea of the misery there has been in our lives since then. You +haven't seen or guessed the reason. No one has. It has been—the +thought of IT. +</P> + +<P CLASS="dialog"> +BIGELOW—Curt! +</P> + +<P CLASS="dialog"> +CURTIS—[Unheeding.] For years we had welded our lives together so that +we two were sufficient, each to each. There was no room for a third. +And it was a fine, free life we had made—a life of new worlds, of +discovery, of knowledge invaluable to mankind. Isn't such a life worth +all the sacrifice it must entail? +</P> + +<P CLASS="dialog"> +BIGELOW—But that life was your life, Curt— +</P> + +<P CLASS="dialog"> +CURTIS—[Vehemently.] No, it was her life, too—her work as well as +mine. She had made the life, our life—the work, our work. Had she the +right to repudiate what she had built because she suddenly has a fancy +for a home, children, a miserable ease! I had thought I was her home, +her children. I had tried to make my life worthy of being that to her. +And I had failed. I was not enough. +</P> + +<P CLASS="dialog"> +BIGELOW—Curt! +</P> + +<P CLASS="dialog"> +CURTIS—Oh, I tried to become reconciled. I tried my damnedest. I tried +to love this child as I had loved those that died. But I couldn't. And +so, this being estranged us. We loved as intensely as ever but IT +pushed us apart. I grew to dread the idea of this intruder. She saw +this in me. I denied it—but she knew. There was something in each of +us the other grew to hate. And still we loved as never before, perhaps, +for we grew to pity each other's helplessness. +</P> + +<P CLASS="dialog"> +BIGELOW—Curt! Are you sure you ought to tell anyone this? +</P> + +<P CLASS="dialog"> +CURTIS—[Waving his remark aside.] One day, when I was trying to +imagine myself without her, and finding nothing but hopelessness—yet +knowing I must go—a thought suddenly struck me—a horrible but +fascinating possibility that had never occurred to me before. [With +feverish intensity.] Can you guess what it was? +</P> + +<P CLASS="dialog"> +BIGELOW—No. And I think you've done enough morbid raving, if you ask +me. +</P> + +<P CLASS="dialog"> +CURTIS—The thought that came to me was that if a certain thing +happened, Martha could still go with me. And I knew, if it did happen, +that she would want to go, that she would fling herself into the spirit +of our work to forget, that she would be mine more than ever. +</P> + +<P CLASS="dialog"> +BIGELOW—[Afraid to believe the obvious answer.] Curt! +</P> + +<P CLASS="dialog"> +CURTIS—Yes. My thought was that the child might be born dead. +</P> + +<P CLASS="dialog"> +BIGELOW—[Repelled—sternly.] Damn it, man, do you know what you're +saying? [Relentingly.] No, Curt, old boy, do stop talking. If you don't +I'll send for a doctor, damned if I won't. That talk belongs in an +asylum. God, man, can't you realize this is your child—yours as well +as hers? +</P> + +<P CLASS="dialog"> +CURTIS—I've tried. I cannot. There is some inexorable force in me— +</P> + +<P CLASS="dialog"> +BIGELOW—[Coldly.] Do you realize how contemptible this confession +makes you out? [Angrily.] Why, if you had one trace of human kindness +in you—one bit of unselfish love for your wife—one particle of pity +for her suffering— +</P> + +<P CLASS="dialog"> +CURTIS—[Anguished.] I have—all the love and pity in the world for +her! That's why I can't help hating—the cause of her suffering. +</P> + +<P CLASS="dialog"> +BIGELOW—Have you never thought that you might repay Martha for giving +up all her life to you by devoting the rest of yours to her? +</P> + +<P CLASS="dialog"> +CURTIS—[Bitterly.] She can be happy without me. She will have this +child—to take my place. [Intensely.] You think I would not give up my +work for her? But I would! I will stay here—do anything she wishes—if +only we can make a new beginning again—together—ALONE! +</P> + +<P CLASS="dialog"> +BIGELOW—[Agitated.] Curt, for God's sake, don't return to that! Why, +good God, man—even now—while you're speaking—don't you realize what +may be happening? And you can talk as if you were wishing— +</P> + +<P CLASS="dialog"> +CURTIS—[Fiercely.] I can't help but wish it! +</P> + +<P CLASS="dialog"> +BIGELOW—[Distractedly.] For the love of God, if you have such +thoughts, keep them to yourself. I won't listen! You make me despise +life! +</P> + +<P CLASS="dialog"> +CURTIS—And would you have me love life? [The door in the rear is +opened and JAYSON enters, pale and unnerved. A succession of quick, +piercing shrieks is heard before he can close the door behind him. +Shuddering.] My God! My God! [With a fierce cry.] +Will—this—never—end! +</P> + +<P CLASS="dialog"> +JAYSON—[Tremblingly.] Sh-h-h, they say this is the crisis. [Puts his +arm around CURT.] Bear up, my boy, it will soon be over now. [He sits +down in the chair BIGELOW has vacated, pointedly ignoring the latter. +The door is opened again and EMILY, ESTHER, JOHN and SHEFFIELD file in +quickly as if escaping from the cries of the woman upstairs. They are +all greatly agitated. CURT groans, pressing his clenched fists against +his ears. The two women sit on the lounge. MARK comes forward and +stands by JAYSON'S chair, JOHN sits by the door as before. BIGELOW +retreats behind CURT's chair, aware of their hostility. There is a long +pause.] +</P> + +<P CLASS="dialog"> +ESTHER—[Suddenly.] She has stopped—[They all listen.] +</P> + +<P CLASS="dialog"> +JAYSON—[Huskily.] Thank God, it's over at last. [The door is opened +and MRS. DAVIDSON enters. The old lady is radiant, weeping tears of +joy.] +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Calls out exultantly between sobs.] A son, Curt—a son. +[With rapt fervor—falling on her knees.] Let us all give thanks to God! +</P> + +<P CLASS="dialog"> +CURTIS—[In a horrible cry of rage and anguish.] No! No! You lie! [They +all cry out in fright and amazement: "CURT!" The door is opened and the +NURSE appears.] +</P> + +<P CLASS="dialog"> +NURSE—[Looking at CURTIS, in a low voice.] Mr. Jayson, your wife is +asking for you. +</P> + +<P CLASS="dialog"> +BIGELOW—[Promptly slapping CURT on the back.] There! What did I tell +you? Run, you chump! +</P> + +<P CLASS="dialog"> +CURTIS—[With a gasp of joy.] Martha! Darling, I'm coming—[He rushes +out after the NURSE.] +</P> + +<P CLASS="dialog"> +BIGELOW—[Comes forward to get his hat and coat from the sofa—coldly.] +Pardon me, please. [They shrink away from him.] +</P> + +<P CLASS="dialog"> +EMILY—[As he goes to the door—cuttingly.] Some people seem to have no +sense of decency! +</P> + +<P CLASS="dialog"> +BIGELOW—[Stung, stops at the door and looks from one to the other of +them—bitingly.] No, I quite agree with you. [He goes out, shutting the +door. They all gasp angrily.] +</P> + +<P CLASS="dialog"> +JOHN—Scoundrel! +</P> + +<P CLASS="dialog"> +JAYSON—[Testily—going to MRS. D., who is still on her knees praying.] +Do get up, Aunt Elizabeth! How ridiculous! What a scene if anyone +should see you like that. [He raises her to her feet and leads her to a +chair by the fire. She obeys unresistingly, seemingly unaware of what +she is doing.] +</P> + +<P CLASS="dialog"> +ESTHER—[Unable to restrain her jealousy.] So it's a boy. +</P> + +<P CLASS="dialog"> +EMILY—Did you hear Curt—how he yelled out "No"? It's plain as the +nose on your face he didn't want— +</P> + +<P CLASS="dialog"> +ESTHER—How awful! +</P> + +<P CLASS="dialog"> +JOHN—Well, can you blame him? +</P> + +<P CLASS="dialog"> +EMILY—And the awful cheek of that Bigelow person—coming here— +</P> + +<P CLASS="dialog"> +ESTHER—They appeared as friendly as ever when we came in. +</P> + +<P CLASS="dialog"> +JOHN—[Scornfully.] Curt is a blind simpleton—and that man is a +dyed-in-the-wool scoundrel. +</P> + +<P CLASS="dialog"> +JAYSON—[Frightenedly.] Shhh! Suppose we were overheard! +</P> + +<P CLASS="dialog"> +EMILY—When Curt leaves we can put her in her proper place. I'll soon +let her know she hasn't fooled me, for one. [While she is speaking MRS. +D. has gotten up and is going silently toward the door.] +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] Aunt Elizabeth, where are you going? +</P> + +<P CLASS="dialog"> +MRS. D.—[Tenderly.] I must see him again, the dear! [She goes out.] +</P> + +<P CLASS="dialog"> +ESTHER—[Devoured by curiosity—hesitatingly.] I think I—come on, +Emily. Let's go up and see— +</P> + +<P CLASS="dialog"> +EMILY—Not I! I never want to lay eyes on it. +</P> + +<P CLASS="dialog"> +JOHN—Nor I. +</P> + +<P CLASS="dialog"> +ESTHER—I was only thinking—everyone will think it funny if we don't. +</P> + +<P CLASS="dialog"> +JAYSON—[Hastily.] Yes, yes. We must keep up appearances. [Getting to +his feet.] Yes, I think we had better all go up—make some sort of +inquiry about Martha, you know. It's expected of us and—[They are all +standing, hesitating, when the door in the rear is opened and the NURSE +appears, supporting CURT. The latter is like a corpse. His face is +petrified with grief, his body seems limp and half-paralyzed.] +</P> + +<P CLASS="dialog"> +NURSE—[Her eyes flashing, indignantly.] It's a wonder some of you +wouldn't come up—here, help me! Take him, can't you? I've got to run +back! +</P> + +<P CLASS="dialog"> +[JAYSON and SHEFFIELD spring forward and lead CURT to a chair by the +fire.] +</P> + +<P CLASS="dialog"> +JAYSON—[Anxious.] Curt! Curt, my boy! What is it, son? +</P> + +<P CLASS="dialog"> +EMILY—[Catching the NURSE as she tries to go.] Nurse! What is the +matter? +</P> + +<P CLASS="dialog"> +NURSE—[Slowly.] His wife is dead. [They are all still, stunned.] She +lived just long enough to recognize him. +</P> + +<P CLASS="dialog"> +EMILY—And—the baby? +</P> + +<P CLASS="dialog"> +NURSE—[With a professional air.] Oh, it's a fine, healthy baby—eleven +pounds—that's what made it so difficult. [She goes. The others all +stand in silence.] +</P> + +<P CLASS="dialog"> +ESTHER—[Suddenly sinking on the couch and bursting into tears.] Oh, +I'm so sorry I said—or thought—anything wrong about her. Forgive me, +Martha! +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Honestly moved but unable to resist this opportunity for +Latin—solemnly.] De mortuis nil nisi bonum. +</P> + +<P CLASS="dialog"> +JAYSON—[Who has been giving all his attention to his son.] Curt! Curt! +EMILY—Hadn't the doctor better— +</P> + +<P CLASS="dialog"> +JAYSON—Shhh! He begins to recognize me. Curt! +</P> + +<P CLASS="dialog"> +CURTIS—[Looking around him bewilderedly.] Yes. [Suddenly remembrance +comes and a spasm of intolerable pain contracts his features. He +presses his hands to the side of his head and groans brokenly.] Martha! +Gone! Dead! Oh! [He appeals wildly to the others.] Her eyes—she knew +me—she smiled—she whispered—forgive me, Curt,—forgive her—when it +was I who should have said forgive me—but before I could—she—[He +falters brokenly.] +</P> + +<P CLASS="dialog"> +EMILY—[Looking from one to the other meaningly as if this justified +all their suspicions.] Oh! +</P> + +<P CLASS="dialog"> +CURTIS—[A sudden triumph in his voice.] But she loved me again—only +me—I saw it in her eyes! She had forgotten—IT. [Raging.] Never let me +see it! Never let it come near me! It has murdered her! [Springing to +his feet.] I hate it from the bottom of my soul—I will never see +it—never—never—I take my oath! [As his father takes his arm—shaking +him off.] Let me go! I am going back to her! [He strides out of the +door in a frenzy of grief and rage. They all stand transfixed, looking +at each other bewilderedly.] +</P> + +<P CLASS="dialog"> +EMILY—[Putting all her venomous gratification into one word.] Well! +</P> + +<P CLASS="stage"> +[The Curtain Falls] +</P> + +<BR><BR><BR> + +<A NAME="act4"></A> +<H3 ALIGN="center"> +ACT IV +</H3> + +<P CLASS="noindent"> +SCENE—Same as Act I. It is afternoon of a fine day three days later. +Motors are heard coming up the drive in front of the house. There is +the muffled sound of voices. The MAID is seen going along the hall to +the front door. Then the family enter from the rear. First come JAYSON +and ESTHER with MRS. DAVIDSON—then LILY, DICK and SHEFFIELD—then JOHN +and his wife. All are dressed in mourning. The only one who betrays any +signs of sincere grief is MRS. DAVIDSON. The others all have a strained +look, irritated, worried, or merely gloomy. They seem to be thinking +"The worst is yet to come." +</P> + +<P CLASS="dialog"> +JAYSON—[Leading MRS. D., who is weeping softly, to the chair at left +of table—fretfully.] Please do sit down, Aunt. [She does so +mechanically.] And do stop crying. [He sits down in front of table. +ESTHER goes to couch where she is joined by EMILY. MARK goes over and +stands in back of them. DICK and JOHN sit at rear of table. LILY comes +down front and walks about nervously. She seems in a particularly +fretful, upset mood.] +</P> + +<P CLASS="dialog"> +LILY—[Trying to conceal her feelings under a forced flippancy.] What +ridiculous things funerals are, anyway! That stupid minister—whining +away through his nose! Why does the Lord show such a partiality for men +with adenoids, I wonder. +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] Sshhh! Have you no respect for anything? +</P> + +<P CLASS="dialog"> +LILY—[Resentfully.] If I had, I'd have lost it when I saw all of you +pulling such long faces in the church where you knew you were under +observation. Pah! Such hypocrisy! And then, to cap it all, Emily has to +force out a few crocodile tears at the grave! +</P> + +<P CLASS="dialog"> +EMILY—[Indignantly.] When I saw Curt—that's why I cried—not for her! +</P> + +<P CLASS="dialog"> +JAYSON—What a scene Curt made! I actually believe he wanted to throw +himself into the grave! +</P> + +<P CLASS="dialog"> +DICK—You BELIEVE he wanted to! Why, it was all Mark and I could do to +hold him, wasn't it, Mark? [SHEFFIELD nods.] +</P> + +<P CLASS="dialog"> +JAYSON—Intolerable! I never expected he'd turn violent like that. He's +seemed calm enough the past three days. +</P> + +<P CLASS="dialog"> +LILY—Calm! Yes, just like a corpse is calm! +</P> + +<P CLASS="dialog"> +JAYSON—[Distractedly.] And now this perfectly mad idea of going away +to-day to join that infernal expedition—leaving that child on our +hands—the child he has never even looked at! Why, it's too monstrously +flagrant! He's deliberately flaunting this scandal in everyone's face! +</P> + +<P CLASS="dialog"> +JOHN—[Firmly.] He must be brought to time. +</P> + +<P CLASS="dialog"> +SHEFFIELD—Yes, we must talk to him—quite openly, if we're forced to. +After all, I guess he realizes the situation more keenly than any of us. +</P> + +<P CLASS="dialog"> +LILY—[Who has wandered to window on right.] You mean you think he +believes—Well, I don't. And you had better be careful not to let him +guess what you think. [Pointing outside.] There's my proof. There he is +walking about with Bigelow. Can you imagine Curt doing that—if he +thought for a moment— +</P> + +<P CLASS="dialog"> +DICK—Oh, I guess Curt isn't all fool. He knows that's the very best +way to keep people from suspecting. +</P> + +<P CLASS="dialog"> +ESTHER—[Indignantly.] But wouldn't you think that Bigelow person—It's +disgusting, his sticking to Curt like this. +</P> + +<P CLASS="dialog"> +SHEFFIELD—Well, for one, I'm becoming quite resigned to Bigelow's +presence. In the first place, he seems to be the only one who can bring +Curt to reason. Then again, I feel that it is to Bigelow's own interest +to convince Curt that he mustn't provoke an open scandal by running +away without acknowledging this child. +</P> + +<P CLASS="dialog"> +LILY—[Suddenly bursting forth hysterically.] Oh, I hate you, all of +you! I loathe your suspicions—and I loathe myself because I'm +beginning to be poisoned by them, too. +</P> + +<P CLASS="dialog"> +EMILY—Really, Lily, at this late hour—after the way Curt has +acted—and her last words when she was dying— +</P> + +<P CLASS="dialog"> +LILY—[Distractedly.] I know! Shut up! Haven't you told it a million +times already? [MRS. DAVIDSON gets up and walks to the door, rear. She +has been crying softly during this scene, oblivious to the talk around +her.] +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] Aunt Elizabeth! Where are you going? [As she doesn't +answer but goes out into the hall.] Esther, go with her and see that +she doesn't— +</P> + +<P CLASS="dialog"> +ESTHER—[Gets up with a jealous irritation.] She's only going up to see +the baby. She's simply forgotten everything else in the world! +</P> + +<P CLASS="dialog"> +LILY—[Indignantly.] She probably realizes what we are too mean to +remember—that the baby, at least, is innocent. Wait, Esther. I'll come +with you. +</P> + +<P CLASS="dialog"> +JAYSON—Yes, hurry, she shouldn't be left alone. [ESTHER and LILY +follow the old lady out, rear.] +</P> + +<P CLASS="dialog"> +DICK—[After a pause—impatiently.] Well, what next? I don't see what +good we are accomplishing. May I run along? [He gets up restlessly as +he is speaking and goes to the window.] +</P> + +<P CLASS="dialog"> +JAYSON—[Severely.] You will stay, if you please. There's to be no +shirking on anyone's part. It may take all of us to induce Curt— +</P> + +<P CLASS="dialog"> +SHEFFIELD—I wouldn't worry. Bigelow is taking that job off our hands, +I imagine. +</P> + +<P CLASS="dialog"> +DICK—[Looking out of the window.] He certainly seems to be doing his +damnedest. [With a sneer.] The stage missed a great actor in him. +</P> + +<P CLASS="dialog"> +JAYSON—[Worriedly.] But, if Bigelow should fail— +</P> + +<P CLASS="dialog"> +SHEFFIELD—Then we'll succeed. [With a grim smile.] By God, we'll have +to. +</P> + +<P CLASS="dialog"> +JAYSON—Curt has already packed his trunks and had them taken down to +the station—told me he was leaving on the five o'clock train. +</P> + +<P CLASS="dialog"> +SHEFFIELD—But didn't you hint to him there was now this matter of the +child to be considered in making his plans? +</P> + +<P CLASS="dialog"> +JAYSON—[Lamely.] I started to. He simply flared up at me with insane +rage. +</P> + +<P CLASS="dialog"> +DICK—[Looking out the window.] Say, I believe they're coming in. +</P> + +<P CLASS="dialog"> +JAYSON—Bigelow? +</P> + +<P CLASS="dialog"> +DICK—Yes, they're both making for the front door. +</P> + +<P CLASS="dialog"> +SHEFFIELD—I suggest we beat a retreat to Curt's study and wait there. +</P> + +<P CLASS="dialog"> +JAYSON—Yes, let's do that—come on, all of you. [They all retire +grumblingly but precipitately to the study, closing the door behind +them. The front door is heard opening and a moment later CURT and +BIGELOW enter the room. CURT's face is set in an expression of stony +grief. BIGELOW is flushed, excited, indignant.] +</P> + +<P CLASS="dialog"> +BIGELOW—[As CURT sinks down on the couch—pleading indignantly.] Curt, +damn it, wake up! Are you made of stone? Has everything I've said gone +in one ear and out the other? I know it's hell for me to torment you at +this particular time but it's your own incredibly unreasonable actions +that force me to. I know how terribly you must feel but—damn it, man, +postpone this going away! Face this situation like a man! Be reconciled +to your child, stay with him at least until you can make suitable +arrangements— +</P> + +<P CLASS="dialog"> +CURTIS—[Fixedly.] I will never see it! Never! +</P> + +<P CLASS="dialog"> +BIGELOW—How can you keep repeating that—with Martha hardly cold in +her grave! I ask you again, what would she think, how would she +feel—If you would only consent to see this baby, I know you'd realize +how damnably mad and cruel you are. Won't you—just for a second? +</P> + +<P CLASS="dialog"> +CURTIS—No. [Then raging.] If I saw it I'd be tempted to—[Then +brokenly.] No more of that talk, Big. I've heard enough. I've reached +the limit. +</P> + +<P CLASS="dialog"> +BIGELOW—[Restraining his anger with difficulty—coldly.] That's your +final answer, eh? Well, I'm through. I've done all I could. If you want +to play the brute—to forget all that was most dear in the world to +Martha—to go your own damn selfish way—well, there's nothing more to +be said. You will be punished for it, believe me! [He takes a step +toward the door.] And I—I want you to understand that all friendship +ceases between us from this day. You are not the Curt I thought I +knew—and I have nothing but a feeling of repulsion—good-by. [He +starts for the door.] +</P> + +<P CLASS="dialog"> +CURTIS—[Dully.] Good-by, Big. +</P> + +<P CLASS="dialog"> +BIGELOW—[Stops, his features working with grief and looks back at his +friend—then suddenly goes back to him—penitently.] Curt! Forgive me! +I ought to know better. This isn't you. You'll come to yourself when +you've had time to think it over. The memory of Martha—she'll tell you +what you must do. [He wrings CURT's hand.] Good-by, old scout! +</P> + +<P CLASS="dialog"> +CURTIS—[Dully.] Good-by. [BIGELOW hurries out, rear. CURT sits in a +dumb apathy for a while—then groans heart-brokenly.] Martha! Martha! +[He springs to his feet distractedly. The door of the study is slowly +opened and SHEFFIELD peers out cautiously—then comes into the room, +followed by the others. They all take seats as before. CURT ignores +them.] +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Clearing his throat.] Curt— +</P> + +<P CLASS="dialog"> +CURTIS—[Suddenly.] What time is it, do you know! +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Looking at his watch.] Two minutes to four. +</P> + +<P CLASS="dialog"> +CURTIS—[Impatiently.] Still an hour more of this! +</P> + +<P CLASS="dialog"> +JAYSON—[Clearing his throat.] Curt—[Before he starts what he intends +to say, there is the sound of voices from the hall. ESTHER and LILY +help in MRS. DAVIDSON to her former chair. The old lady's face is again +transformed with joy. ESTHER joins EMILY on the couch. LILY sits in +chair—front right. There is a long, uncomfortable pause during which +CURT paces up and down.] +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Suddenly murmuring aloud to herself—happily.] He's +such a dear! I could stay watching him forever. +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] Sshhh! Aunt! [Then clearing his throat again.] +Surely you're not still thinking of going on the five o'clock train, +are you, Curt? +</P> + +<P CLASS="dialog"> +CURTIS—Yes. +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Drily.] Then Mr. Bigelow didn't persuade you— +</P> + +<P CLASS="dialog"> +CURTIS—[Coldly and impatiently.] I'm not to be persuaded by Big or +anyone else. And I'll thank you not to talk any more about it. [They +all stiffen resentfully at his tone.] +</P> + +<P CLASS="dialog"> +JAYSON—[To CURT—in a pleading tone.] You mustn't be unreasonable, +Curt. After all we are your family—your best friends in the world—and +we are only trying to help you— +</P> + +<P CLASS="dialog"> +CURTIS—[With nervous vehemence.] I don't want your help. You will help +me most by keeping silent. +</P> + +<P CLASS="dialog"> +EMILY—[ With a meaning look at the others—sneeringly.] Yes, no doubt. +</P> + +<P CLASS="dialog"> +ESTHER—Sshhh, Emily! +</P> + +<P CLASS="dialog"> +JAYSON—[Helplessly.] But, you see, Curt— +</P> + +<P CLASS="dialog"> +SHEFFIELD—[With his best judicial air.] If you'll all allow me to be +the spokesman, I think perhaps that I—[They all nod and signify their +acquiescence. ] Well, then, will you listen to me, Curt? [This last +somewhat impatiently as CURT continues to pace, eyes on the floor.] +</P> + +<P CLASS="dialog"> +CURTIS—[Without looking at him—harshly.] Yes, I'm listening. What +else can I do when you've got me cornered? Say what you like and let's +get this over. +</P> + +<P CLASS="dialog"> +SHEFFIELD—First of all, Curt, I hope it is needless for me to express +how very deeply we all feel for you in your sorrow. But we sincerely +trust that you are aware of our heartfelt sympathy. [They all nod. A +bitter, cynical smile comes over LILY's face.] +</P> + +<P CLASS="dialog"> +ESTHER—[Suddenly breaking down and beginning to weep.] Poor Martha! +[SHEFFIELD glances at his wife, impatient at this interruption. The +others also show their irritation.] +</P> + +<P CLASS="dialog"> +EMILY—[Pettishly.] Esther! For goodness sake! [CURT hesitates, stares +at his sister frowningly as if judging her sincerity—then bends down +over her and kisses the top of her bowed head impulsively—seems about +to break down himself—grits his teeth and forces it back—glances +around at the others defiantly and resumes his pacing. ESTHER dries her +eyes, forcing a trembling smile. The cry has done her good.] +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Clearing his throat.] I may truthfully say we all feel—as +Esther does—even if we do not give vent—[With an air of sincere +sympathy.] I know how terrible a day this must be for you, Curt. We all +do. And we feel guilty in breaking in upon the sanctity of your sorrow +in any way. But, if you will pardon my saying so, your own course of +action—the suddenness of your plans—have made it imperative that we +come to an understanding about certain things—about one thing in +particular, I might say. [He pauses. CURT goes on pacing back and forth +as if he hadn't heard.] +</P> + +<P CLASS="dialog"> +JAYSON—[Placatingly.] Yes, it is for the best, Curt. +</P> + +<P CLASS="dialog"> +ESTHER—Yes, Curt dear, you mustn't be unreasonable. +</P> + +<P CLASS="dialog"> +DICK—[Feeling called upon to say something.] Yes, old man, you've got +to face things like a regular. Facts are facts. [This makes everybody +uneasy.] +</P> + +<P CLASS="dialog"> +LILY—[Springing to her feet.] Phew! it's close in here. I'm going out +in the garden. You can call me when these—orations—are finished. [She +sweeps out scornfully.] +</P> + +<P CLASS="dialog"> +JAYSON—[Calling after her imperiously.] Lily! [But she doesn't answer +and he gives it up with a hopeless sigh.] +</P> + +<P CLASS="dialog"> +CURTIS—[Harshly.] What time is it? +</P> + +<P CLASS="dialog"> +SHEFFIELD—You have plenty of time to listen to what I—I should rather +say we—have to ask you, Curt. I promise to be brief. But first let me +again impress upon you that I am talking in a spirit of the deepest +friendliness and sympathy with you—as a fellow-member of the same +family, I may say—and with the highest ideals and the honor of that +family always in view. [CURT makes no comment. SHEFFIELD unconsciously +begins to adopt the alert keenness of the cross-examiner.] First, let +me ask you, is it your intention to take that five o'clock train to-day? +</P> + +<P CLASS="dialog"> +CURTIS—[Harshly.] I've told you that. +</P> + +<P CLASS="dialog"> +SHEFFIELD—And then you'll join this expedition to Asia? +</P> + +<P CLASS="dialog"> +CURTIS—You know that. +</P> + +<P CLASS="dialog"> +SHEFFIELD—To be gone five years? +</P> + +<P CLASS="dialog"> +CURTIS—[Shrugging his shoulders.] More or less. +</P> + +<P CLASS="dialog"> +SHEFFIELD—Is it your intention to return here at any time before you +leave for Asia? +</P> + +<P CLASS="dialog"> +CURTIS—No! +</P> + +<P CLASS="dialog"> +SHEFFIELD—And your determination on these plans is irrevocable? +</P> + +<P CLASS="dialog"> +CURTIS—Irrevocable! Exactly. Please remember that. +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Sharply.] That being your attitude, I will come bluntly to +the core of the whole matter—the child whose coming into the world +cost Martha her life. +</P> + +<P CLASS="dialog"> +CURTIS—[Savagely.] Her murderer! You are right! [They all look +shocked, suspicious.] +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Remonstratingly but suspiciously.] You can hardly hold the +child responsible for the terrible outcome. Women die every day from +the same cause. [Keenly.] Why do you attribute guilt to the child in +this case, Curt? +</P> + +<P CLASS="dialog"> +CURTIS—It lives and Martha is gone—But, enough! I've said I never +wanted it mentioned to me. Will you please remember that? +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Sharply.] Its name is Jayson. Curt—in the eyes of the law. +Will YOU please remember that? +</P> + +<P CLASS="dialog"> +CURTIS—[Distractedly.] I don't want to remember anything! [Wildly.] +Please, for God's sake, leave me alone! +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Coldly.] I am sorry, Curt, but you cannot act as if you +were alone in this affair. +</P> + +<P CLASS="dialog"> +CURTIS—Why not? Am I not alone—more alone this minute than any +creature on God's earth? +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Soothingly.] In your great grief. Yes, yes, of course. We +all appreciate—and we hate to—[Persuasively.] Yes, it would be much +wiser to postpone these practical considerations until you are in a +calmer mood. And if you will only give us the chance—why not put off +this precipitate departure—for a month, say—and in the meantime— +</P> + +<P CLASS="dialog"> +CURTIS—[Harshly.] I am going when I said I was. I must get away from +this horrible hole—as far away as I can. I must get back to my work +for only in it will I find Martha again. But you—you can't understand +that. What is the good of all this talking which leads nowhere? +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Coldly.] You're mistaken. It leads to this: Do you +understand that your running away from this child—on the very day of +its mother's funeral!—will have a very queer appearance in the eyes of +the world? +</P> + +<P CLASS="dialog"> +EMILY—And what are you going to do with the baby, Curt? Do you think +you can run off regardless and leave it here—on our hands? +</P> + +<P CLASS="dialog"> +CURTIS—[Distractedly.] I'll give it this home. And +someone—anyone—Esther, Lily—can appoint a nurse to live here and— +[Breaking down.] Oh, don't bother me! +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Sharply.] In the world's eyes, it will appear precious like +a desertion on your part. +</P> + +<P CLASS="dialog"> +CURTIS—Oh, arrange it to suit yourselves—anything you wish— +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Quickly. ] I'll take you at your word. Then let us arrange +it this way. You will remain here a month longer at least— +</P> + +<P CLASS="dialog"> +CURTIS—No! +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Ignoring the interruption.] You can make plans for the +child's future in that time, become reconciled to it— +</P> + +<P CLASS="dialog"> +CURTIS—No! +</P> + +<P CLASS="dialog"> +JAYSON—[Pleadingly.] Curt—please—for all our sakes—when the honor +of the family is at stake. +</P> + +<P CLASS="dialog"> +DICK—Yes, old man, there's that about it, you know. +</P> + +<P CLASS="dialog"> +CURTIS—No! +</P> + +<P CLASS="dialog"> +EMILY—Oh, he's impossible! +</P> + +<P CLASS="dialog"> +SHEFFIELD—Perhaps Curt misunderstood me. [Meaningly.] Be reconciled to +it in the eyes of the public, Curt. That's what I meant. Your own +private feelings in the matter—are no one's business but your own, of +course. +</P> + +<P CLASS="dialog"> +CURTIS—[Bewilderedly.] But—I don't see—Oh, damn your eyes of the +public! +</P> + +<P CLASS="dialog"> +EMILY—[Breaking in.] It's all very well for you to ignore what people +in town think—you'll be in China or heaven knows where. The scandal +won't touch you—but we've got to live here and have our position to +consider. +</P> + +<P CLASS="dialog"> +CURTIS—[Mystified.] Scandal? What scandal? [Then with a harsh laugh.] +Oh, you mean the imbecile busy-bodies will call me an unnatural father. +Well, let them! I suppose I am. But they don't know— +</P> + +<P CLASS="dialog"> +EMILY—[Spitefully.] Perhaps they know more than you think they do. +</P> + +<P CLASS="dialog"> +CURTIS—[Turning on her—sharply.] Just what do you mean by that, eh? +</P> + +<P CLASS="dialog"> +ESTHER—Emily! Shhh! +</P> + +<P CLASS="dialog"> +JAYSON—[Flurriedly.] Be still, Emily. Let Mark do the talking. +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Interposing placatingly.] What Emily means is simply this, +Curt: You haven't even been to look at this child since it has been +born—not once, have you? +</P> + +<P CLASS="dialog"> +CURTIS—No, and I never intend— +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Insinuatingly.] And don't you suppose the doctors and +nurses—and the servants—have noticed this? It is not the usual +procedure, you must acknowledge, and they wouldn't be human if they +didn't think your action—or lack of action—peculiar and comment on it +outside. +</P> + +<P CLASS="dialog"> +CURTIS—Well, let them! Do you think I care a fiddler's curse how +people judge me? +</P> + +<P CLASS="dialog"> +SHEFFIELD—It is hardly a case of their judging—you. [Breaking off as +he catches CURT'S tortured eyes fixed on him wildly.] This is a small +town, Curt, and you know as well as I do, gossip is not the least of +its faults. It doesn't take long for such things to get started. +[Persuasively.] Now I ask you frankly, is it wise to provoke +deliberately what may easily be set at rest by a little—I'll be +frank—a little pretense on your part? +</P> + +<P CLASS="dialog"> +JAYSON—Yes, my boy. As a Jayson, I know you don't wish— +</P> + +<P CLASS="dialog"> +ESTHEE—[With a sigh.] Yes, you really must think of us, Curt. +</P> + +<P CLASS="dialog"> +CURTIS—[In an acute state of muddled confusion.] But—I—you—how are +you concerned? Pretense? You mean you want me to stay and pretend—in +order that you won't be disturbed by any silly tales they tell about +me? [With a wild laugh.] Good God, this is too much! Why does a man +have to be maddened by fools at such a time! [Raging.] Leave me alone! +You're like a swarm of poisonous flies. +</P> + +<P CLASS="dialog"> +JAYSON—Curt! This is—really—when we've tried to be so considerate— +</P> + +<P CLASS="dialog"> +JOHN—[Bursting with rage.] It's an outrage to allow such insults! +</P> + +<P CLASS="dialog"> +DICK—You're not playing the game, Curt. +</P> + +<P CLASS="dialog"> +EMILY—[Spitefully.] It seems to me it's much more for Martha's sake, +we're urging you than for our own. After all, the town can't say +anything against us. +</P> + +<P CLASS="dialog"> +CURTIS—[Turning on her.] Martha's sake? [Brokenly.] Martha is gone. +Leave her out of this. +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Sharply.] But unfortunately, Curt, others will not leave +her out of this. They will pry and pry—you know what they are—and— +</P> + +<P CLASS="dialog"> +EMILY—Curt couldn't act the way he is doing if he ever really cared +for her. +</P> + +<P CLASS="dialog"> +CURTIS—You dare to say that! [Then controlling himself a bit—with +scathing scorn.] What do know of love—women like you! You call your +little rabbit-hutch emotions love—your bread-and-butter passions—and +you have the effrontery to judge— +</P> + +<P CLASS="dialog"> +EMILY—[Shrinking from him frightenedly.] Oh! John! +</P> + +<P CLASS="dialog"> +JOHN—[Getting to his feet.] I protest! I cannot allow even my own +brother— +</P> + +<P CLASS="dialog"> +DICK—[Grabbing his arm.] Keep your head, old boy. +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Peremptorily.] You are making a fool of yourself, Curt—and +you are damned insulting in the bargain. I think I may say that we've +all about reached the end of our patience. What Emily said is for your +own best interest, if you had the sense to see it. And I put it to you +once and for all: Are you or are you not willing to act like a man of +honor to protect your own good name, the family name, the name of this +child, and your wife's memory? Let me tell you, your wife's good name +is more endangered by your stubbornness than anything else. +</P> + +<P CLASS="dialog"> +CURTIS—[Trembling with rage.] I—I begin to think—you—all of +you—are aiming at something against Martha in this. Yes—in back of +your words—your actions—I begin to feel—[Raging.] Go away! Get out +of this house—all of you! Oh, I know your meanness! I've seen how +you've tried to hurt her ever since we came—because you resented in +your small minds her evident superiority— +</P> + +<P CLASS="dialog"> +EMILY—[Scornfully.] Superiority, indeed! +</P> + +<P CLASS="dialog"> +CURTIS—Her breadth, of mind and greatness of soul that you couldn't +understand. I've guessed all this, and if I haven't interfered it's +only because I knew she was too far above you to notice your sickening +malice— +</P> + +<P CLASS="dialog"> +EMILY—[Furiously.] You're only acting—acting for our benefit because +you think we don't— +</P> + +<P CLASS="dialog"> +CURTIS—[Turning on her—with annihilating contempt.] Why, you—you +poor little nonentity! [John struggles to get forward but Dick holds +him back.] +</P> + +<P CLASS="dialog"> +EMILY—[Insane with rage—shrilly.] But we know—and the whole town +knows—and you needn't pretend you've been blind. You've given the +whole thing away yourself—the silly way you've acted—telling everyone +how you hated that baby—letting everyone see— +</P> + +<P CLASS="dialog"> +JAYSON—Emily! [The others are all frightened, try to interrupt her. +CURT stares at her in a stunned bewilderment] +</P> + +<P CLASS="dialog"> +EMILY—[Pouring forth all her venom regardless.] But you might as well +leave off your idiotic pretending. It doesn't fool us—or anyone +else—your sending for Bigelow that night—your hobnobbing with him +ever since—your pretending he's as much your friend as ever. They're +all afraid of you—but I'm not! I tell you to your face—it's all +acting you're doing—just cheap acting to try and pull the wool over +our eyes until you've run away like a coward—and left us to face the +disgrace for you with this child on our hands! +</P> + +<P CLASS="dialog"> +ESTHER—[Trying to silence her—excitedly.] Emily! Keep still, for +Heaven's sake! [The others all utter exclamations of caution, with +fearful glances at CURT.] +</P> + +<P CLASS="dialog"> +EMILY—[Becoming exhausted by her outburst—more faintly.] Well, +someone had to show him his place. He thinks he's so superior to us +just because—telling us how much better she was than—But I won't +stand for that. I've always had a clean name—and always will—and my +children, too, thank God! [She sinks down on the couch exhausted, +panting but still glaring defiantly at CURT.] +</P> + +<P CLASS="dialog"> +CURTIS—[An awareness of her meaning gradually forcing itself on his +mind.] Bigelow! Big? Pretending he's as much my friend—[With a sudden +gasp of sickened understanding.] Oh! [He sways as if he were about to +fall, shrinking away from EMILY, all horror.] Oh, you—you—you-filth! +</P> + +<P CLASS="dialog"> +JOHN—[His fists clenched, tries to advance on his brother.] How dare +you insult my wife! [He is restrained, held bake by his remonstrating +father and DICK.] +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[As if suddenly coming out of a dream—frightenedly.] +What is the matter? Why is John mad at Curt? +</P> + +<P CLASS="dialog"> +CURTIS—[His hands over his eyes, acting like a person stricken with a +sudden attack of nausea, weakly.] So—that's—what has been in your +minds. Oh, this is bestial—disgusting! And there is nothing to be +done. I feel defenseless. One would have to be as low as you are—She +would have been defenseless, too. It is better she is dead. [He stares +about him—wildly.] And you think—you all think— +</P> + +<P CLASS="dialog"> +ESTHER—[Pityingly.] Curt, dear, we don't think anything except what +you've made us think with your crazy carrying-on. +</P> + +<P CLASS="dialog"> +CURTIS—[Looking from one to the other of them.] Yes—all of you—it's +on your faces. [His eyes fix themselves on his aunt.] No, you +don't—you don't— +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—I? Don't what, Curtis? My, how sick you look, poor boy! +</P> + +<P CLASS="dialog"> +CURTIS—You—don't believe—this child— +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—He's the sweetest baby I ever saw [proudly] and Jayson +right to the tips of his toes. +</P> + +<P CLASS="dialog"> +CURTIS—Ah, I know you—[Looking around at the others with loathing and +hatred.] But look at them—[With a burst of fierce determination.] +Wait! I'll give you the only answer—[He dashes for the door in rear, +shakes off his father and DICK, who try to stop him, and then is heard +bounding up the stairs in hall. DICK runs after him, JAYSON as far as +the doorway. ESTHER gives a stifled scream. There is a tense pause. +Then DICK reappears.] +</P> + +<P CLASS="dialog"> +DICK—It's all right. I saw him go in. +</P> + +<P CLASS="dialog"> +JAYSON—[Frightenedly.] But—good God—he's liable—why didn't you +follow him? +</P> + +<P CLASS="dialog"> +DICK—The doctor and nurse are there. They would have called out, +wouldn't they, if— +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Getting angrier and angrier as her puzzlement has grown +greater—in a stern tone.] I understand less and less of this. Where +has Curtis gone? Why did he act so sick? What is the matter with all of +you? +</P> + +<P CLASS="dialog"> +ESTHER—Nothing, Aunt dear, nothing! +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—No, you'll not hush me up! [Accusingly.] You all look +guilty. Have you been saying anything against Curtis' baby? That was +what Curtis seemed to think. A fine time you've picked out—with his +wife not cold in her grave! +</P> + +<P CLASS="dialog"> +JAYSON—Aunt! +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—I never liked that woman. I never understood her. But +now—now I love her and beg her forgiveness. She died like a true woman +in the performance of her duty. She died gloriously—and I will always +respect her memory. [Suddenly flying into a passion.] I feel that you +are all hostile to her baby—poor, little, defenseless creature! Yes, +you'd hate the idea of Curtis' having a son—you and your girls! Well, +I'll make you bitterly regret the day you—[She plumps herself down in +her chair again, staring stubbornly and angrily before her.] +</P> + +<P CLASS="dialog"> +EMILY—[Spitefully.] I fear it will be necessary to tell Aunt— +</P> + +<P CLASS="dialog"> +JAYSON—Sshh! You have made enough trouble with your telling already! +[Miserably.] It should never have come to this pass. Curt will never +forgive us, never! +</P> + +<P CLASS="dialog"> +ESTHER—[Resentfully to EMILY.] See what not holding your tongue has +done—and my children will have to suffer for it, too! +</P> + +<P CLASS="dialog"> +SHEFFIELD—[Severely.] If Emily had permitted me to conduct this +business uninterruptedly, this would never have occurred. +</P> + +<P CLASS="dialog"> +EMILY—That's right! All pick on me! Cowards! [She breaks down and +sobs.] +</P> + +<P CLASS="dialog"> +DICK—[From the doorway. Coming back into the room.] Sstt! Here he +comes! +</P> + +<P CLASS="dialog"> +CURTIS—[Reenters. There is a look of strange exultation on his face. +He looks from one to the other of them. He stammers.] Well—my answer +to you—your rotten world—I kissed him—he is mine! He looked at +me—it was as if Martha looked at me—through his eyes. +</P> + +<P CLASS="dialog"> +ESTHER—[Voicing the general relief. Joyfully.] Oh, Curt! You won't go +now? You'll stay? +</P> + +<P CLASS="dialog"> +CURTIS—[Staring at her, then from one to another of the rest with a +withering scorn.] Ha! Now you think you have conquered, do you? No, I'm +not going to stay! Do you think your vile slander could influence me to +give up my work? And neither shall you influence the life of my son. I +leave him here. I must. But not to your tender mercies. No, no! Thank +God, there still remains one Jayson with unmuddled integrity to whom I +can appeal. [He goes to MRS. DAVIDSON.] I will leave him in your care, +Aunt—while I am gone. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Delighted.] It will be a great happiness. He will +be—the one God never granted me. [Her lips trembling.] God has +answered my prayer at last. +</P> + +<P CLASS="dialog"> +CURTIS—I thank you, Aunt. [Kisses her reverentially.] +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—[Pleased but morally bound to grumble at him] But I +cannot approve of your running away like this. It isn't natural. [Then +with selfish haste, fearing her words may change his mind and she will +lose the baby.] But you always were a queer person—and a man must do +faithfully the work ordained for him. +</P> + +<P CLASS="dialog"> +CURTIS—[Gladly.] Yes, I must go! What would I be for him—or +anyone—if I stayed? Thank God, you understand. But I will come back. +[The light of an ideal beginning to shine in his eyes.] When he is old +enough, I will teach him to know and love a big, free life. Martha used +to say that he would take her part in time. My goal shall be his goal, +too. Martha shall live again for me in him. And you, Aunt, swear to +keep him with you—out there in the country—never to let him know this +obscene little world. [He indicates his relatives.] +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—Yes, I promise, Curtis. Let anyone dare—! [She glares +about her. The noise of a motor is heard from the drive. It stops in +front of the house.] +</P> + +<P CLASS="dialog"> +CURTIS—I must go. [He kisses his aunt.] Teach him his mother was the +most beautiful soul that ever lived. Good-by, Aunt. +</P> + +<P CLASS="dialog"> +MRS. DAVIDSON—Good-by, Curtis! [Without looking at the others, he +starts for the door, rear. They all break out into conscience-stricken +protestations.] +</P> + +<P CLASS="dialog"> +JAYSON—[Miserably.] Curt! You're not leaving us that way? +</P> + +<P CLASS="dialog"> +ESTHER—Curt—you're going—without a word! [They all say this +practically together and crowd toward him. JOHN and EMILY remain +sullenly apart. CURT turns to face them.] +</P> + +<P CLASS="dialog"> +LILY—[Enters from the rear.] You're not going, Curt? +</P> + +<P CLASS="dialog"> +CURTIS—[Turning to her.] Yes. Good-by, Lily. [He kisses her.] You +loved her, didn't you? You are not like—Take my advice and get away +before you become—[He has been staring into her face. Suddenly he +pushes her brusquely away from him—coldly.] But I see in your face +it's too late. +</P> + +<P CLASS="dialog"> +LILY—[Miserably.] No, Curt—I swear— +</P> + +<P CLASS="dialog"> +CURTIS—[Facing them all defiantly.] Yes, I am going without a +word—because I cannot find the fitting one. Be thankful I can't. It +would shrivel up your souls like flame, [He again turns and strides to +the door.] +</P> + +<P CLASS="dialog"> +JAYSON—[His grief overcoming him.] My boy! We are wrong—we +know—but—at least say you forgive us. +</P> + +<P CLASS="dialog"> +CURTIS—[Wavers with his back towards them—then turns and forces the +words out.] Ask forgiveness of her. She—yes—she was so fine—I feel +she—so you are forgiven. Good-by. [He goes. The motor is heard driving +off. There is a tense pause.] +</P> + +<P CLASS="dialog"> +LILY—Then he did find out? Oh, a fine mess you've made of everything! +But no—I should say "we," shouldn't I? Curt guessed that. Oh, I hate +you—and myself! [She breaks down.] +</P> + +<P CLASS="dialog"> +[There is a strained pause during which they are all silent, their eyes +avoiding each other, fixed in dull, stupid stares. Finally, DICK +fidgets uncomfortably, heaves a noisy sigh, and blurts out with an +attempt at comforting reassurance:] +</P> + +<P CLASS="dialog"> +DICK—Well, it isn't as bad as it might have been, anyway. He did +acknowledge the kid—before witnesses, too. +</P> + +<P CLASS="dialog"> +JAYSON—[Testily.] Keep your remarks to yourself, if you please! [But +most of his family are already beginning to look relieved.] +</P> + +<P CLASS="stage"> +[The Curtain Falls] +</P> + +<BR><BR><BR><BR> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The First Man, by Eugene O'Neill + +*** END OF THIS PROJECT GUTENBERG EBOOK THE FIRST MAN *** + +***** This file should be named 4026-h.htm or 4026-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/4/0/2/4026/ + +Produced by Charles Franks, Robert Rowe and the Online +Distributed Proofreading Team. HTML version by Al Haines. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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