diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 4026-h.zip | bin | 0 -> 58128 bytes | |||
| -rw-r--r-- | 4026-h/4026-h.htm | 4958 | ||||
| -rw-r--r-- | 4026.txt | 3333 | ||||
| -rw-r--r-- | 4026.zip | bin | 0 -> 55233 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/frsmn10.txt | 3428 | ||||
| -rw-r--r-- | old/frsmn10.zip | bin | 0 -> 54487 bytes |
9 files changed, 11735 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/4026-h.zip b/4026-h.zip Binary files differnew file mode 100644 index 0000000..53bd19c --- /dev/null +++ b/4026-h.zip 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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</BODY> + +</HTML> + + diff --git a/4026.txt b/4026.txt new file mode 100644 index 0000000..5b9a5b5 --- /dev/null +++ b/4026.txt @@ -0,0 +1,3333 @@ +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: ASCII + +*** 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. + + + + + + + + + + + +"THE FIRST MAN" + +A PLAY IN FOUR ACTS + + +BY + +EUGENE O'NEILL + + + + + +CHARACTERS + + + CURTIS JAYSON + MARTHA, his wife + JOHN JAYSON, his father, a banker + JOHN, JR., his brother + RICHARD, his brother + ESTHEE (MRS. MARK SHEFFIELD), his sister + LILY, his sister + MRS. DAVIDSON, his father's aunt + MARK SHEFFIELD, a lawyer + EMILY, JOHN JR.'S wife + RICHARD BIGELOW + A MAID + A TRAINED NURSE + +TIME--The Present + + + + + +SCENES + + +ACT I + +Living-room in the house of CURTIS JAYSON, Bridgetown, Conn.--an +afternoon in early Fall. + +ACT II + +CURTIS' study--morning of the following day. + +ACT III + +The same--three o'clock in the morning of a day in early spring of the +next year. + +ACT IV + +Same as Act I--three days later. + + + + + +ACT I + + +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. + +It is around four o'clock of a fine afternoon in early fall. + +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. + +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. + +MARTHA--Oh, pooh! Don't go milling around for trouble. When I was a kid +I used to get fun out of my horrors. + +BIGELOW--But I imagine you were more courageous than most of us. + +MARTHA--Why? + +BIGELOW--Well, Nevada--the Far West at that time--I should think a +child would have grown so accustomed to violent scenes-- + +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. + +BIGELOW--[Smiling.] And then you met Curt. + +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. + +BIGELOW--A romanticist--and he still is! + +MARTHA--[Pointing at CURTIS with gay mischief.] What! That sedate man! +Never! + +CURTIS--[Looking up and smiling at them both affectionately--lazily.] +Don't mind him, Martha. He always was crazy. + +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.] + +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? + +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. + +CURTIS--[With a laugh.] The man is mad, Martha. + +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! + +CURTIS--[With sudden seriousness.] I'm not considering it any longer. +I've decided to go. + +MARTHA--[Starting--the hurt showing in her voice.] When did you decide? + +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. + +BIGELOW--And a big honor, too, isn't it, to be picked as a member of +such a large affair? + +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? + +MARTHA--[Dully.] No, Curt. + +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. + +BIGELOW--[With a grin.] Aha! Now we come to the Missing Link! + +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. + +BIGELOW--[More soberly.] And there you hope to dig up--our first +ancestor? + +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. + +BIGELOW--[Turning to MARTHA.] And you were with him on that Asian +plateau? + +MARTHA--Yes, I've always been with him. + +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. + +MARTHA--[Quietly.] Do you need me now, Curt? + +BIGELOW--[Starting up.] Yes, if you two want to work together, why just +shoo me-- + +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. + +BIGELOW--Aha! Now it's you who are mocking at something you know +nothing about. [An awkward silence follows this remark.] + +CURTIS--[Frowning.] I guess you're forgetting, aren't you, Big? [He +turns and walks into his study, closing the door gently behind him.] + +MARTHA--[After a pause--sadly.] Poor Curt. + +BIGELOW--[Ashamed and confused.] I had forgotten-- + +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. + +BIGELOW--[After a pause.] How old were they when--? + +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. + +BIGELOW--[Shocked.] Good heavens! + +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! + +BIGELOW--And is it that keeps driving him on now? + +MARTHA--Oh, no. He's found himself. His work has taken the place of the +children. + +BIGELOW--And with you, too? + +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. + +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. + +MARTHA--[Smiling.] Old age! + +BIGELOW--I'm knocking at the door of fatal forty. + +MARTHA--[With forced gaiety.] You're not very tactful, I must say. +Don't you know I'm thirty-eight? + +BIGELOW--[Gallantly.] A woman is as old as she looks. You're not thirty +yet. + +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.] + +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. + +MARTHA--Not at all. + +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. + +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? + +MARTHA--Fine. + +BIGELOW--I'll run, then. Good-by, Lily. [She nods. BIGELOW goes out +rear.] + +MARTHA--[Cordially.] Come on over here, Lily. + +LILY--[Sits on couch with MARTHA--after a pause--with a smile.] You +were forgetting, weren't you? + +MARTHA--What? + +LILY--That you'd invited all the family over here to tea this +afternoon. I'm the advance guard. + +MARTHA--[Embarrassed.] So I was! How stupid! + +LILY--[With an inquisitive glance at MARTHA'S face but with studied +carelessness.] Do you like Bigelow? + +MARTHA--Yes, very much. And Curt thinks the world of him. + +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. + +MARTHA--[Flushing.] I think it's very fine of him. + +LILY--[Shaking her head.] His reform is too sudden. He's joined the +hypocrites, I think. + +MARTHA--I'm sure he's no hypocrite. When you see him with the children-- + +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? + +MARTHA--[Surprised.] No, of course not, Lily. + +LILY--Well, I'm the bearer of a message from the Jayson family. + +MARTHA--[Astonished.] A message? For me? + +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. + +MARTHA--[Stunned.] I? Unwisely intimate--? [Suddenly laughing with +amusement.] Well, you sure are funny people! + +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. + +MARTHA--[Beginning to feel resentful--coldly.] No, I didn't--and I +don't care to know it now. + +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. + +MARTHA--But-compromises about what? [Forcing a laugh.] I refuse to take +it seriously. How anyone could think--it's too absurd. + +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. + +MARTHA--But it was on account of his children. They were always with +him. + +LILY--The town doesn't trust this sudden fond parenthood, Martha. We've +known him too long, you see. + +MARTHA--But he's Curt's oldest and best friend. + +LILY--We've found they always are. + +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-- + +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. + +MARTHA--[Immediately sympathetic.] You're lonely, that's what, Lily. + +LILY--[Drily.] Don't pity me, Martha--or I'll join the enemy. + +MARTHA--I'm not. But I'd like to help you if I could. [After a pause.] +Have you ever thought of marrying? + +LILY--[With a laugh.] Martha! How banal! The men I see are enough to +banish that thought if I ever had it. + +MARTHA--Marriage isn't only the man. It's children. Wouldn't you like +to have children? + +LILY--[Turning to her bluntly.] Wouldn't you? + +MARTHA--[ Confused. ] But--Lily-- + +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? + +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? + +MARTHA--[As if confessing it reluctantly.] Yes--perhaps--in the last +two years. + +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? + +MARTHA--Curt isn't that kind. The actual work--the romance of +it--that's his life. + +LILY--But if he goes and you have to stay, you'll be lonesome-- +[meaningly] alone. + +MARTHA--Horribly. I don't know what I'll do. + +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. + +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. + +LILY--If you confronted Curt with the actual fact, he'd be reconciled +soon enough, and happy in the bargain. + +MARTHA--[Eagerly.] Do you really think so? + +LILY--And you, Martha--I can tell from the way you've talked that you'd +like to. + +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.] + +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. + +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.] + +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! + +MARTHA--[In a whisper.] Yes. + +LILY--[Kissing her affectionately.] You dear, you! [Then after a +pause.] How long have you known? + +MARTHA--For over two months. [There is a ring from the front door bell +in the hall.] + +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! + +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? + +ESTHER--Let's wait. They ought to be here any moment. + +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.] + +SHEFFIELD--Where is Curt, Martha? + +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. + +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.] + +ESTHER--[Smiling.] Lily! + +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.] + +MARTHA--[Taken aback for a moment but restraining her +resentment--gently.] Yes, I do, Mrs. Davidson. + +MRS. DAVIDSON--[Seemingly placated by this reply--in a milder tone.] +You must call me aunt, my dear. [Meaningly.] All the Jaysons do. + +MARTHA--[Simply.] Thank you, aunt. + +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.] + +CURTIS--[Absent-mindedly.] Hello, everybody. [Then with a preoccupied +air to MARTHA.] Martha, I don't want to interrupt you--but-- + +MARTHA--[Getting up briskly.] You want my help? + +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.] + +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.] + +MRS. DAVIDSON--[Rather harshly.] Why doesn't Curt hire a secretary? +That is no work for his wife. + +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--? + +LILY--[Eagerly.] Sure. I love to serve drinks. If I were a man, I'd be +a bartender--in Mexico or Canada. + +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.] + +ESTHER--[Pettishly.] Even people touched by a smattering of science +seem to get rude, don't they? + +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? + +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.] + +ESTHER--[Betraying a sudden frightened jealousy.] What do you mean, +Lily? What are you so mysterious about? What did she say? What--? + +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.] + +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.] + +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? + +LILY--[Appearing in the doorway.] Here's tea--but no stick for you, +sot. [The MAID brings in tray with tea things.] + +JOHN--[Heavily.] It seems it would be more to the point to inquire +where our hostess-- + +JAYSON--[Rousing himself again.] Yes. And where is Curt? + +LILY--Working at his book. He called Martha to take notes on something. + +ESTHER--[With a trace of resentment.] She left us as if she were glad +of the excuse. + +LILY--Stuff, Esther! She knows how much Curt depends on her--and we +don't. + +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.] + +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.] + +JAYSON--[Impatiently.] Stop fooling, Lily. Let's get to our muttons. +Did you talk with Martha? + +LILY--[Briskly.] I did, sir. + +JAYSON--[In a lowered voice.] What did she say? + +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. + +ESTHER--[Volubly.] And just imagine, she'd even forgotten she'd asked +us here this afternoon and was going motoring with Bigelow. + +LILY--With his three children, too, don't forget. + +EMILY--[Softly.] They have become such well-behaved and intelligent +children, they say. [Again all the others hesitate, staring at her +suspiciously.] + +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. + +EMILY--[With the pathos of outraged innocence.] Oh! + +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! + +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? + +DICK--[His pose crumbling--angrily.] Go to the devil! + +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. + +LILY--Martha is properly unimpressed by big frogs in tiny puddles. And +there you are. + +MRS. DAVIDSON--[Outraged.] The idea! She takes a lot upon herself--the +daughter of a Wild Western coal-miner. + +LILY--[Mockingly.] Gold miner, Aunt. + +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-- + +ESTHER--[Excitedly.] Yes, you did, Lily. What did you mean? + +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.] + +MRS. DAVIDSON--[Her face lighting up--joyously.] A son! Curt's son! + +JAYSON--[Pleased by the idea but bewildered.] A son? + +DICK--[Smartly.] Lily's kidding you. How can she know it's a +son--unless she's a clairvoyant. + +ESTHER--[With glad relief.] Yes, how stupid! + +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. + +ESTHER--Lily! + +EMILY--Oh! + +JAYSON--[Testily.] Keep still for a moment, Lily, for God's sake. This +is no subject to joke about, remember. + +LILY--Martha told me. I know that. + +JAYSON--And does Curt know this? + +LILY--No, not yet. Martha has been afraid to tell him. + +JAYSON--Ah, that explains matters. You know I asked Curt some time +ago--and he said it was impossible. + +EMILY--[With a lift of her eyebrows.] Impossible? Why, what a funny +thing to say. + +SHEFFIELD--[Keenly lawyer-like.] And why is Martha afraid to tell him, +Lily? + +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. + +JAYSON--[Eagerly.] Yes, I believe that myself. [Pleased.] Well, this is +fine news. + +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.] + +ESTHER--[Resentfully.] I don't, either. Why, Curt's the biggest-hearted +and kindest-- + +EMILY--I wonder how long she's known--this? + +LILY--[Sharply.] Two months, she said. + +EMILY--Two months? [She lets this sink in.] + +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! + +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! + +EMILY--[Growing crimson--falteringly.] I--I didn't mean-- + +JOHN--[Furiously.] Where the honor of the family is at stake-- + +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.] + +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. + +LILY--[Trying to save the situation--gayly.] Yes. You can trust me as +understudy for the part of hostess any time. + +MARTHA--[Forcing a smile.] Well, I'm glad to know I wasn't missed. + +EMILY--[Sweetly.] We were talking about you--at least, we were +listening to Lily talk about you. + +MARTHA--[Stiffening defensively.] About me? + +EMILY--Yes--about how devoted you were to Curt's work. [LILY gives her +a venomous glance of scorn.] + +MARTHA--[Pleased but inwardly uneasy.] Oh, but you see I consider it my +work, too, I've helped him with it so long now. + +JAYSON--[In a forced tone.] And how is Curt's book coming, Martha? + +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. + +MRS. DAVIDSON--[Indignantly.] The name of Jayson has been-- + +JAYSON--[Pleadingly.] Aunt Elizabeth! + +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! + +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. + +MARTHA--So glad you came. Do come in again any time. We keep open +house, you know--Western fashion. [She accentuates this.] + +DICK--[Hurriedly.] Delighted to. [He starts for the door in rear.] + +LILY--[As if suddenly making up her mind.] Wait a second! I'm coming +with you-- + +DICK--Sure thing--only hurry, darn you! [He goes out.] + +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.] + +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? + +MARTHA--I'd love her--and try to understand her. + +SHEFFIELD--[Meaningly.] She's a bad ally to rely on--this side of the +fence one day, and that the next. + +MARTHA--Is that why you advised her to become a lawyer, Mr. Sheffield? + +SHEFFIELD--[Stung, but maintaining an unruffled front.] Now, now, that +remark must be catalogued as catty. + +MARTHA--[Defiantly.] It seems to be in the Bridgetown atmosphere. I +never was--not the least bit--in the open air. + +JAYSON--[Conciliatingly.] Oh, Bridgetown isn't so bad, Martha, once you +get used to us. + +JOHN--It's one of the most prosperous and wealthy towns in the +U.S.--and that means in the world, nowadays. + +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. + +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.] + +JOHN--[Exploding.] Well, of all the damned cheek! + +ESTHER--She shows her breeding, I must say. + +EMILY--[With horror.] Oh, how rude--and insulting. + +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.] + +SHEFFIELD--[Judiciously.] One must make allowances for one in her +condition, Aunt. + +JAYSON--[Snatching at this.] Exactly. Remember her condition. Aunt +[testily] and do sit down. [The old lady plumps herself down again +angrily.] + +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.] + +CURTIS--[Looking around.] Where's Martha? What's the important thing +she called me out for? + +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.] + +EMILY--[Softly.] Martha had to leave us to go motoring with Mr. Bigelow. + +ESTHER--[Hastily.] And the three children. + +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? + +ESTHER--Curt! You're not! + +EMILY--And leave Martha here--all alone--for five years? + +JAYSON--Yes, you can't take Martha with you this time, you know. + +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. + +JAYSON--[Worriedly.] Hmm! But would you persist in going--alone--if you +knew it was impossible for her--? + +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! + +MRS. DAVIDSON--[Sternly.] No. SHE cannot go. And it is YOUR duty-- + +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. + +MRS. DAVIDSON--[Harshly.] The women I understand prefer rearing their +children to selfish gallivanting over the world. + +CURTIS--[Impatiently.] But we have no children now, Aunt. + +MRS. DAVIDSON--I know that, more's the pity. But later-- + +CURTIS--[Emphatically.] No, I tell you! It's impossible! + +MRS. DAVIDSON--[Grimly.] I have said my last word. Go your own road and +work your own ruin. + +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.] + +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. + +ESTHER--He certainly appeared put out when he heard she'd gone motoring +with Big. + +JAYSON--[Moodily.] This dislike of the very mention of children. It +isn't like Curt, not a bit. + +JOHN--There's something rotten in Denmark somewhere. This family will +yet live to regret having accepted a stranger-- + +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.] + +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] + + + + + +ACT II + + +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. + +It is mid-morning, sunny and bright, of the following day. + +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. + +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. + +CURTIS--[With a trace of annoyance.] Oh, I can see well enough from +here. + +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! + +CURTIS--[As if the subject bored him.] Oh, Martha gets along well with +anyone. + +BIGELOW--[Sits on the couch again--with a sceptical smile.] You think +so? With everyone? + +CURTIS--[Surprised.] Yes--with everyone we've ever come in contact +with--even aboriginal natives. + +BIGELOW--With the aboriginal natives of Bridgetown? With the well-known +Jayson family, for example? + +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-- + +BIGELOW--Too darn preoccupied, if you'll pardon my saying so. It's not +fair to leave her to fight it alone. + +CURTIS--[Impatiently.] Fight what? Martha has a sense of humor. I'm +sure their petty prejudices merely amuse her. + +BIGELOW--[Sententiously.] A mosquito is a ridiculous, amusing creature, +seen under a microscope; but when a swarm has been stinging you all +night-- + +CURTIS--[A broad grin coming over his face.] You speak from experience, +eh? + +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. + +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. + +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. + +CURTIS--[With an indulgent smile.] So you'd like to be known as a +reformed character, eh? + +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. + +CURTIS--[Indifferently.] Yes, I suppose so--if you're made that way. + +BIGELOW--Meaning you're not? + +CURTIS--Not any more. [Frowning.] I tried that once. + +BIGELOW--[After a pause--with a smile.] But we're wandering from the +subject of Martha versus the mosquitoes. + +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. + +BIGELOW--Where do you think of settling her then? + +CURTIS--No settling about it. I'm going to take her with me. + +BIGELOW--[Surprised.] On the Asian expedition? + +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. + +BIGELOW--Her birthday? I wish the children and I had known--but it's +not too late yet. + +CURTIS--[With a grin.] Thirty-nine candles, if you're thinking of +baking a cake! + +BIGELOW--[Meaningly.] That's not old--but it's not young either, Curt. + +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.] + +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. + +CURTIS--[With a grin.] Big was just this minute remarking that, Martha. +[BIGELOW looks embarrassed.] + +MARTHA--[Laughing at him.] Well, I declare! Of all the horrid things to +hear-- + +BIGELOW--[Still embarrassed but forcing a joking tone.] +He--prevaricates, Mrs. Jayson. + +MARTHA--There now, Curt! I'm sure it was you who said it. It sounds +just like one of your horrid facts. + +BIGELOW--And how can I offer my felicitations now? But I do, despite +your husband's calumny. May your shadow never grow less! + +MARTHA--Thank you. [She shakes his proffered hand heartily.] + +BIGELOW--And now I'll collect my flock and go home. + +CURTIS--So long, Big. Be sure you don't mislay one of your heirs! + +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.] + +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. + +CURTIS--[Taking one of her hands and patting it.] Nonsense! + +MARTHA--[Shaking her head and smiling with a touch of sadness.] No. I +feel it. + +CURTIS--[Puts his arms around her protectingly.] Nonsense! You're not +the sort that ever grows old. + +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. + +CURTIS--[Looking at her.] You haven't any silver threads. [Jokingly.] +Am I to suspect--? + +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. + +CURTIS--One whole year! That's frightful, isn't it? + +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? + +CURTIS--[Squeezing her.] Silly girl! + +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? + +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. + +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? + +CURTIS--[Kisses her again--tenderly reproachful.] Martha! + +MARTHA--And I have helped--really helped you, haven't I? + +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.] + +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. + +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. + +MARTHA--[Softly.] I mean--together--Curt. + +CURTIS--So do I! + +MARTHA--But you're going away--and I can't go with you this time. + +CURTIS--[Smiling to himself over her head.] Yes, that does complicate +matters, doesn't it? + +MARTHA--[Hurt--looking up at him.] Curt! How indifferently you say +that--as if you didn't care! + +CURTIS--[Avoiding her eyes--teasingly.] What do you think you'll do all +the time I'm gone? + +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-- + +CURTIS--[Inquisitively.] Unless what? + +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-- + +CURTIS--[Vaguely uneasy now, trying to peer into her face.] But, +sweetheart-- + +MARTHA--[Giving way weakly to her feelings for a moment--entreatingly.] +Then don't go! + +CURTIS--[Astonished.] Why, I've got to go. You know that. + +MARTHA--Yes, I suppose you have. [Vigorously, as if flinging off a +weakness.] Of course you have! + +CURTIS--But, Martha--you said you'd be lonely unless--unless what? + +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.] + +CURTIS--[Almost indignantly.] But that's impossible, Martha! + +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. + +CURTIS--[Stunned.] You mean it--is a fact? + +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? + +CURTIS--[Agitatedly.] But Martha--you don't understand. How can I +pretend gladness when--[Vehemently.] Why, it would spoil all our plans! + +MARTHA--Plans? OUR plans? What do you mean? + +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. + +MARTHA--[Stunned.] Permission--to go with you-- + +CURTIS--[Excitedly.] Yes. I couldn't conceive going without you. And I +knew how you must be wishing-- + +MARTHA--[In pain.] Oh! + +CURTIS--[Distractedly--jumping to his feet and staring at her +bewilderedly.] Martha! You don't mean to tell me you weren't! + +MARTHA--[In a crushed voice.] I was wishing you would finally decide +not to go--to stay at home. + +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. + +MARTHA--[Weakly and helplessly.] I understand all that, Curt. + +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-- + +MARTHA--I realize all that, Curt. + +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. + +MARTHA--[Growing calm now.] You are forgetting--what I told you, Curt. +You must face the fact. I cannot go. + +CURTIS--[Overwhelmed by the finality of her tone--after a pause.] How +long have you known--this? + +MARTHA--Two months, about. + +CURTIS--But why didn't you tell me before? + +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? + +CURTIS--[Eagerly.] You mean--then--you would have been glad to +go--before this had happened? + +MARTHA--I would have accepted it. + +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. + +MARTHA--Yes it was, Curt. I wished it. I sought it. + +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. + +MARTHA--[Gently.] They forgive me, Curt. And you will forgive me, +too--when you see him--and love him. + +CURTIS--Him? + +MARTHA--I know it will be a boy. + +CURTIS--[Sinking down on the couch beside her--dully.] Martha! You have +blown my world to bits. + +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? + +CURTIS--[Miserably.] That's unfair, Martha. I think of it as OUR +work--and I have always believed you did, too. + +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. + +CURTIS--Martha! [Bitterly.] And all the time I believed that more and +more it was becoming the aim of your life, too. + +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-- + +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? + +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! + +CURTIS--[Intensely preoccupied with his own struggle--vaguely.] But I +thought-- + +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.] + +CURTIS--[Starting as if awaking from a sleep.] Understand? No, I can't +understand, Martha. + +MARTHA--[In a gasp of unbearable hurt.] Curt! I don't believe you heard +a word I was saying. + +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. + +MARTHA--Curt! + +CURTIS--I've depended on you. This is the crucial point--the biggest +thing of my life--and you desert me! + +MARTHA--[Resentment gathering in her eyes.] If you had listened to +me--if you had even tried to feel-- + +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. + +MARTHA--If you were human you would think of my life as well as yours. + +CURTIS--I do! It is OUR life I am fighting for, not mine--OUR life that +you want to destroy. + +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. + +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.] + +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? + +CURTIS--But I can't be away from you! + +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. + +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-- + +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! + +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? + +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. + +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. + +MARTHA--I wonder where your work leaves off and you begin. Hasn't your +work become you? + +CURTIS--Yes and no. [Helplessly.] You can't understand, Martha! ... + +MARTHA--Nor you. + +CURTIS--[With a trace of bitter irony.] And you and your work? Aren't +they one and the same? + +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. + +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.] + +MARTHA--[In a whisper.] Yes, you love me. But who am I? There is no +recognition in your eyes. You don't know. + +CURTIS--[Frightenedly.] Martha! Stop! This is terrible! [They continue +to be held by each other's fearfully questioning eyes.] + +[The Curtain Falls] + + + + + +ACT III + +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. + +JAYSON--[Looking up anxiously.] Well? + +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-- + +JAYSON--Martha is having an exceptionally hard ordeal. + +RICHARD--Since three o'clock this morning--yesterday morning, I should +say. It's a wonder she isn't dead. + +JAYSON--[After a pause.] Where is Curt? + +RICHARD--[Harshly.] Still out in the garden, walking around bareheaded +in the cold like a lunatic. + +JAYSON--Why didn't you make him come in? + +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-- + +JAYSON--[After a pause.] Yes, there's a lot in all this we don't know +about. + +RICHARD--I suppose the reason he's so down on the family is because +we've rather cut her since that tea affair. + +JAYSON--He shouldn't blame us. She acted abominably and has certainly +caused enough talk since then--always about with Bigelow-- + +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.] + +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. + +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. + +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-- + +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.] + +JAYSON--[Anxiously.] Well? + +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! + +RICHARD--[Seriously.] Second the motion. + +JAYSON--[Peevishly.] You're young idiots. Keep your blasphemous +nonsense to yourself, Lily! + +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. + +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.] + +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. + +ESTHER--Sssh! Lily! Don't you know you're shouting? And what silly talk! + +LILY--I'll show you whether it's silly! I'll-- + +RICHARD--[Impatiently.] Are you coming or not? + +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.] + +ESTHER--[With a sigh.] I thought I went through something when mine +were born--but this is too awful. + +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? + +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. + +EMILY--Do you think the baby-- + +ESTHER--I don't know. I shouldn't say it but perhaps it would be better +if-- + +EMILY--That's what I think. + +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? + +JAYSON--[Suddenly.] How is Curt? + +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. + +JOHN--[Surlily.] Don't forget I have to be at the bank in the morning. + +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? + +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-- + +ESTHER--[Impatiently.] For goodness sake, don't you start to pity +yourself! + +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. + +JAYSON--[Impatiently.] Has he quieted down, that's what I want to know? + +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-- + +JAYSON--[Angrily.] Keep that to yourself! Remember you have no proof. +[Morosely.] Think all you want--but don't talk. + +EMILY--[Pettishly.] The whole town knows it, anyway; I'm sure they must. + +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. + +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.] + +JAYSON--[Impatiently.] Well, Mark? Where's Curt? + +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.] + +JAYSON--[Furiously.] For God's sake, couldn't you stop him? + +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-- + +JAYSON--[After a pause.] Then he--Bigelow will be here soon? + +SHEFFIELD--[Drily.] It depends on his sense of decency. As he seems +lacking in that quality, I've no doubt he'll come. + +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. + +EMILY--[Snappishly.] Go if you want to! I won't! [Then with a +sacrificing air.] I think it is our duty to stay. + +JAYSON--[Exasperated.] Sit down. Wash your hands indeed! Aren't you as +much concerned as any of us? + +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.] + +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.] + +SHEFFIELD--Sstt! [As JAYSON looks up--in a whisper.] Let's go out and +leave him alone. Perhaps he'll sleep. + +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. + +CURTIS--[Harshly.] No, Dad. Leave me alone. + +JAYSON--[Piqued.] As you wish. [He starts to go.] + +CURTIS--And send Big in to me as soon as he comes. + +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.] + +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! + +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! + +CURTIS--[Grimly.] I have. I am. + +BIGELOW--[Slapping his back.] Buck up! [Then anxiously.] How's Martha? + +CURTIS--She's in hell, too-- + +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. + +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. + +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! + +CURTIS--[Impatiently.] Oh, for God's sake! [Bitterly.] I didn't want +you here to discuss Bridgetown gossip. + +BIGELOW--I know, old man, forgive me. [In spite of the closed door one +of MARTHA's agonized moans is heard. They both shudder.] + +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. + +BIGELOW--[Trying to distract him.] Deuce take it, Curt, what's the +matter with you? I never thought you'd turn morbid. + +CURTIS--[Darkly.] I've changed, Big--I hardly know myself any more. + +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? + +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. + +BIGELOW--Us? You mean you still plan to take-- + +CURTIS--[Angrily aggressive.] Yes, certainly! Why not? Martha ought to +be able to travel in a month or so. + +BIGELOW--Yes, but--do you think it would be safe to take the child? + +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! + +BIGELOW--[Astonished.] Curt! + +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! + +BIGELOW--[Bewildered.] What, Curt? + +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? + +BIGELOW--[Stunned.] Good God, you don't mean you hate--Martha? + +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! + +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? + +BIGELOW--[Staring at his friend's wild, distorted face with growing +horror.] Curt! Can't you realize how horrible-- + +CURTIS--Yes, it's horrible. I've told myself that a million times. +[With emphasis.] But it's true! + +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! + +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.] + +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-- + +CURTIS--No. She read it in my eyes. I saw that look in hers--of +horror--horror of me! + +BIGELOW--[Gruffly.] You're raving, damn it! + +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? + +BIGELOW--[Distractedly.] For God's sake, don't think about it! It's +absurd--ridiculous! + +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. + +BIGELOW--Curt! + +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? + +BIGELOW--But that life was your life, Curt-- + +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. + +BIGELOW--Curt! + +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. + +BIGELOW--Curt! Are you sure you ought to tell anyone this? + +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? + +BIGELOW--No. And I think you've done enough morbid raving, if you ask +me. + +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. + +BIGELOW--[Afraid to believe the obvious answer.] Curt! + +CURTIS--Yes. My thought was that the child might be born dead. + +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? + +CURTIS--I've tried. I cannot. There is some inexorable force in me-- + +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-- + +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. + +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? + +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! + +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-- + +CURTIS--[Fiercely.] I can't help but wish it! + +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! + +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! + +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.] + +ESTHER--[Suddenly.] She has stopped--[They all listen.] + +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.] + +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! + +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.] + +NURSE--[Looking at CURTIS, in a low voice.] Mr. Jayson, your wife is +asking for you. + +BIGELOW--[Promptly slapping CURT on the back.] There! What did I tell +you? Run, you chump! + +CURTIS--[With a gasp of joy.] Martha! Darling, I'm coming--[He rushes +out after the NURSE.] + +BIGELOW--[Comes forward to get his hat and coat from the sofa--coldly.] +Pardon me, please. [They shrink away from him.] + +EMILY--[As he goes to the door--cuttingly.] Some people seem to have no +sense of decency! + +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.] + +JOHN--Scoundrel! + +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.] + +ESTHER--[Unable to restrain her jealousy.] So it's a boy. + +EMILY--Did you hear Curt--how he yelled out "No"? It's plain as the +nose on your face he didn't want-- + +ESTHER--How awful! + +JOHN--Well, can you blame him? + +EMILY--And the awful cheek of that Bigelow person--coming here-- + +ESTHER--They appeared as friendly as ever when we came in. + +JOHN--[Scornfully.] Curt is a blind simpleton--and that man is a +dyed-in-the-wool scoundrel. + +JAYSON--[Frightenedly.] Shhh! Suppose we were overheard! + +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.] + +JAYSON--[Testily.] Aunt Elizabeth, where are you going? + +MRS. D.--[Tenderly.] I must see him again, the dear! [She goes out.] + +ESTHER--[Devoured by curiosity--hesitatingly.] I think I--come on, +Emily. Let's go up and see-- + +EMILY--Not I! I never want to lay eyes on it. + +JOHN--Nor I. + +ESTHER--I was only thinking--everyone will think it funny if we don't. + +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.] + +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! + +[JAYSON and SHEFFIELD spring forward and lead CURT to a chair by the +fire.] + +JAYSON--[Anxious.] Curt! Curt, my boy! What is it, son? + +EMILY--[Catching the NURSE as she tries to go.] Nurse! What is the +matter? + +NURSE--[Slowly.] His wife is dead. [They are all still, stunned.] She +lived just long enough to recognize him. + +EMILY--And--the baby? + +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.] + +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! + +SHEFFIELD--[Honestly moved but unable to resist this opportunity for +Latin--solemnly.] De mortuis nil nisi bonum. + +JAYSON--[Who has been giving all his attention to his son.] Curt! Curt! +EMILY--Hadn't the doctor better-- + +JAYSON--Shhh! He begins to recognize me. Curt! + +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.] + +EMILY--[Looking from one to the other meaningly as if this justified +all their suspicions.] Oh! + +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.] + +EMILY--[Putting all her venomous gratification into one word.] Well! + +[The Curtain Falls] + + + + + +ACT IV + + +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." + +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.] + +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. + +JAYSON--[Testily.] Sshhh! Have you no respect for anything? + +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! + +EMILY--[Indignantly.] When I saw Curt--that's why I cried--not for her! + +JAYSON--What a scene Curt made! I actually believe he wanted to throw +himself into the grave! + +DICK--You BELIEVE he wanted to! Why, it was all Mark and I could do to +hold him, wasn't it, Mark? [SHEFFIELD nods.] + +JAYSON--Intolerable! I never expected he'd turn violent like that. He's +seemed calm enough the past three days. + +LILY--Calm! Yes, just like a corpse is calm! + +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! + +JOHN--[Firmly.] He must be brought to time. + +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. + +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-- + +DICK--Oh, I guess Curt isn't all fool. He knows that's the very best +way to keep people from suspecting. + +ESTHER--[Indignantly.] But wouldn't you think that Bigelow person--It's +disgusting, his sticking to Curt like this. + +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. + +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. + +EMILY--Really, Lily, at this late hour--after the way Curt has +acted--and her last words when she was dying-- + +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.] + +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-- + +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! + +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. + +JAYSON--Yes, hurry, she shouldn't be left alone. [ESTHER and LILY +follow the old lady out, rear.] + +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.] + +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-- + +SHEFFIELD--I wouldn't worry. Bigelow is taking that job off our hands, +I imagine. + +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. + +JAYSON--[Worriedly.] But, if Bigelow should fail-- + +SHEFFIELD--Then we'll succeed. [With a grim smile.] By God, we'll have +to. + +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. + +SHEFFIELD--But didn't you hint to him there was now this matter of the +child to be considered in making his plans? + +JAYSON--[Lamely.] I started to. He simply flared up at me with insane +rage. + +DICK--[Looking out the window.] Say, I believe they're coming in. + +JAYSON--Bigelow? + +DICK--Yes, they're both making for the front door. + +SHEFFIELD--I suggest we beat a retreat to Curt's study and wait there. + +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.] + +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-- + +CURTIS--[Fixedly.] I will never see it! Never! + +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? + +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. + +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.] + +CURTIS--[Dully.] Good-by, Big. + +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! + +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.] + +SHEFFIELD--[Clearing his throat.] Curt-- + +CURTIS--[Suddenly.] What time is it, do you know! + +SHEFFIELD--[Looking at his watch.] Two minutes to four. + +CURTIS--[Impatiently.] Still an hour more of this! + +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.] + +MRS. DAVIDSON--[Suddenly murmuring aloud to herself--happily.] He's +such a dear! I could stay watching him forever. + +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? + +CURTIS--Yes. + +SHEFFIELD--[Drily.] Then Mr. Bigelow didn't persuade you-- + +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.] + +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-- + +CURTIS--[With nervous vehemence.] I don't want your help. You will help +me most by keeping silent. + +EMILY--[ With a meaning look at the others--sneeringly.] Yes, no doubt. + +ESTHER--Sshhh, Emily! + +JAYSON--[Helplessly.] But, you see, Curt-- + +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.] + +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. + +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.] + +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.] + +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.] + +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.] + +JAYSON--[Placatingly.] Yes, it is for the best, Curt. + +ESTHER--Yes, Curt dear, you mustn't be unreasonable. + +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.] + +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.] + +JAYSON--[Calling after her imperiously.] Lily! [But she doesn't answer +and he gives it up with a hopeless sigh.] + +CURTIS--[Harshly.] What time is it? + +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? + +CURTIS--[Harshly.] I've told you that. + +SHEFFIELD--And then you'll join this expedition to Asia? + +CURTIS--You know that. + +SHEFFIELD--To be gone five years? + +CURTIS--[Shrugging his shoulders.] More or less. + +SHEFFIELD--Is it your intention to return here at any time before you +leave for Asia? + +CURTIS--No! + +SHEFFIELD--And your determination on these plans is irrevocable? + +CURTIS--Irrevocable! Exactly. Please remember that. + +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. + +CURTIS--[Savagely.] Her murderer! You are right! [They all look +shocked, suspicious.] + +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? + +CURTIS--It lives and Martha is gone--But, enough! I've said I never +wanted it mentioned to me. Will you please remember that? + +SHEFFIELD--[Sharply.] Its name is Jayson. Curt--in the eyes of the law. +Will YOU please remember that? + +CURTIS--[Distractedly.] I don't want to remember anything! [Wildly.] +Please, for God's sake, leave me alone! + +SHEFFIELD--[Coldly.] I am sorry, Curt, but you cannot act as if you +were alone in this affair. + +CURTIS--Why not? Am I not alone--more alone this minute than any +creature on God's earth? + +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-- + +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? + +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? + +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? + +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! + +SHEFFIELD--[Sharply.] In the world's eyes, it will appear precious like +a desertion on your part. + +CURTIS--Oh, arrange it to suit yourselves--anything you wish-- + +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-- + +CURTIS--No! + +SHEFFIELD--[Ignoring the interruption.] You can make plans for the +child's future in that time, become reconciled to it-- + +CURTIS--No! + +JAYSON--[Pleadingly.] Curt--please--for all our sakes--when the honor +of the family is at stake. + +DICK--Yes, old man, there's that about it, you know. + +CURTIS--No! + +EMILY--Oh, he's impossible! + +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. + +CURTIS--[Bewilderedly.] But--I don't see--Oh, damn your eyes of the +public! + +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. + +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-- + +EMILY--[Spitefully.] Perhaps they know more than you think they do. + +CURTIS--[Turning on her--sharply.] Just what do you mean by that, eh? + +ESTHER--Emily! Shhh! + +JAYSON--[Flurriedly.] Be still, Emily. Let Mark do the talking. + +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? + +CURTIS--No, and I never intend-- + +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. + +CURTIS--Well, let them! Do you think I care a fiddler's curse how +people judge me? + +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? + +JAYSON--Yes, my boy. As a Jayson, I know you don't wish-- + +ESTHEE--[With a sigh.] Yes, you really must think of us, Curt. + +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. + +JAYSON--Curt! This is--really--when we've tried to be so considerate-- + +JOHN--[Bursting with rage.] It's an outrage to allow such insults! + +DICK--You're not playing the game, Curt. + +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. + +CURTIS--[Turning on her.] Martha's sake? [Brokenly.] Martha is gone. +Leave her out of this. + +SHEFFIELD--[Sharply.] But unfortunately, Curt, others will not leave +her out of this. They will pry and pry--you know what they are--and-- + +EMILY--Curt couldn't act the way he is doing if he ever really cared +for her. + +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-- + +EMILY--[Shrinking from him frightenedly.] Oh! John! + +JOHN--[Getting to his feet.] I protest! I cannot allow even my own +brother-- + +DICK--[Grabbing his arm.] Keep your head, old boy. + +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. + +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-- + +EMILY--[Scornfully.] Superiority, indeed! + +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-- + +EMILY--[Furiously.] You're only acting--acting for our benefit because +you think we don't-- + +CURTIS--[Turning on her--with annihilating contempt.] Why, you--you +poor little nonentity! [John struggles to get forward but Dick holds +him back.] + +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-- + +JAYSON--Emily! [The others are all frightened, try to interrupt her. +CURT stares at her in a stunned bewilderment] + +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! + +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.] + +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.] + +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! + +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.] + +MRS. DAVIDSON--[As if suddenly coming out of a dream--frightenedly.] +What is the matter? Why is John mad at Curt? + +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-- + +ESTHER--[Pityingly.] Curt, dear, we don't think anything except what +you've made us think with your crazy carrying-on. + +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-- + +MRS. DAVIDSON--I? Don't what, Curtis? My, how sick you look, poor boy! + +CURTIS--You--don't believe--this child-- + +MRS. DAVIDSON--He's the sweetest baby I ever saw [proudly] and Jayson +right to the tips of his toes. + +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.] + +DICK--It's all right. I saw him go in. + +JAYSON--[Frightenedly.] But--good God--he's liable--why didn't you +follow him? + +DICK--The doctor and nurse are there. They would have called out, +wouldn't they, if-- + +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? + +ESTHER--Nothing, Aunt dear, nothing! + +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! + +JAYSON--Aunt! + +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.] + +EMILY--[Spitefully.] I fear it will be necessary to tell Aunt-- + +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! + +ESTHER--[Resentfully to EMILY.] See what not holding your tongue has +done--and my children will have to suffer for it, too! + +SHEFFIELD--[Severely.] If Emily had permitted me to conduct this +business uninterruptedly, this would never have occurred. + +EMILY--That's right! All pick on me! Cowards! [She breaks down and +sobs.] + +DICK--[From the doorway. Coming back into the room.] Sstt! Here he +comes! + +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. + +ESTHER--[Voicing the general relief. Joyfully.] Oh, Curt! You won't go +now? You'll stay? + +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. + +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. + +CURTIS--I thank you, Aunt. [Kisses her reverentially.] + +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. + +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.] + +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.] + +CURTIS--I must go. [He kisses his aunt.] Teach him his mother was the +most beautiful soul that ever lived. Good-by, Aunt. + +MRS. DAVIDSON--Good-by, Curtis! [Without looking at the others, he +starts for the door, rear. They all break out into conscience-stricken +protestations.] + +JAYSON--[Miserably.] Curt! You're not leaving us that way? + +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.] + +LILY--[Enters from the rear.] You're not going, Curt? + +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. + +LILY--[Miserably.] No, Curt--I swear-- + +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.] + +JAYSON--[His grief overcoming him.] My boy! We are wrong--we +know--but--at least say you forgive us. + +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.] + +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.] + +[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:] + +DICK--Well, it isn't as bad as it might have been, anyway. He did +acknowledge the kid--before witnesses, too. + +JAYSON--[Testily.] Keep your remarks to yourself, if you please! [But +most of his family are already beginning to look relieved.] + +[The Curtain Falls] + + + + + + + + + + +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.txt or 4026.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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/4026.zip b/4026.zip Binary files differnew file mode 100644 index 0000000..f57b8f4 --- /dev/null +++ b/4026.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..e8ff8b3 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #4026 (https://www.gutenberg.org/ebooks/4026) diff --git a/old/frsmn10.txt b/old/frsmn10.txt new file mode 100644 index 0000000..0540922 --- /dev/null +++ b/old/frsmn10.txt @@ -0,0 +1,3428 @@ +The Project Gutenberg Etext of The First Man, by Eugene O'Neill +#3 in our series by Eugene O'Neill + +Copyright laws are changing all over the world, be sure to check +the laws for your country before redistributing these files!!! + +Please take a look at the important information in this header. +We encourage you to keep this file on your own disk, keeping an +electronic path open for the next readers. + +Please do not remove this. + +This should be the first thing seen when anyone opens the book. +Do not change or edit it without written permission. The words +are carefully chosen to provide users with the information they +need about what they can legally do with the texts. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**Etexts Readable By Both Humans and By Computers, Since 1971** + +*****These Etexts Are Prepared By Thousands of Volunteers!***** + +Information on contacting Project Gutenberg to get Etexts, and +further information is included below, including for donations. + +The Project Gutenberg Literary Archive Foundation is a 501(c)(3) +organization with EIN [Employee Identification Number] 64-6221541 + + + +Title: The First Man + +Author: Eugene O'Neill + +Release Date: March, 2003 [Etext #4026] +[Yes, we are about one year ahead of schedule] +[The actual date this file first posted = 10/12/01] + +Edition: 10 + +Language: English + +The Project Gutenberg Etext of The First Man, by Eugene O'Neill +*******This file should be named frsmn10.txt or frsmn10.zip****** + +Corrected EDITIONS of our etexts get a new NUMBER, frsmn11.txt +VERSIONS based on separate sources get new LETTER, frsmn10a.txt + +This etext was produced by Charles Franks, Robert Rowe and the +Online Distributed Proofreading Team. + +Project Gutenberg Etexts are usually created from multiple editions, +all of which are in the Public Domain in the United States, unless a +copyright notice is included. Therefore, we usually do NOT keep any +of these books in compliance with any particular paper edition. + +We are now trying to release all our books one year in advance +of the official release dates, leaving time for better editing. +Please be encouraged to send us error messages even years after +the official publication date. + +Please note neither this listing nor its contents are final til +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg Etexts is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. + +Most people start at our sites at: +http://gutenberg.net +http://promo.net/pg + + +Those of you who want to download any Etext before announcement +can surf to them as follows, and just download by date; this is +also a good way to get them instantly upon announcement, as the +indexes our cataloguers produce obviously take a while after an +announcement goes out in the Project Gutenberg Newsletter. + +http://www.ibiblio.org/gutenberg/etext03 +or +ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03 + +Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90 + +Just search by the first five letters of the filename you want, +as it appears in our Newsletters. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +time it takes us, a rather conservative estimate, is fifty hours +to get any etext selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. This +projected audience is one hundred million readers. If our value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour this year as we release fifty new Etext +files per month, or 500 more Etexts in 2000 for a total of 3000+ +If they reach just 1-2% of the world's population then the total +should reach over 300 billion Etexts given away by year's end. + +The Goal of Project Gutenberg is to Give Away One Trillion Etext +Files by December 31, 2001. [10,000 x 100,000,000 = 1 Trillion] +This is ten thousand titles each to one hundred million readers, +which is only about 4% of the present number of computer users. + +At our revised rates of production, we will reach only one-third +of that goal by the end of 2001, or about 4,000 Etexts unless we +manage to get some real funding. + +The Project Gutenberg Literary Archive Foundation has been created +to secure a future for Project Gutenberg into the next millennium. + +We need your donations more than ever! + +As of July 12, 2001 contributions are only being solicited from people in: +Arkansas, Colorado, Connecticut, Delaware, Florida, Georgia, Hawaii, Idaho, +Illinois, Indiana, Iowa, Kansas, Louisiana, Maine, Massachusetts, Minnesota, +Missouri, Montana, Nebraska, New Mexico, Nevada, New Jersey, New York, North +Carolina, Ohio, Oklahoma, Oregon, Rhode Island, South Carolina*, South Dakota, +Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, +Wisconsin, and Wyoming. + +*In Progress + +We have filed in about 45 states now, but these are the only ones +that have responded. + +As the requirements for other states are met, +additions to this list will be made and fund raising +will begin in the additional states. Please feel +free to ask to check the status of your state. + +In answer to various questions we have received on this: + +We are constantly working on finishing the paperwork +to legally request donations in all 50 states. If +your state is not listed and you would like to know +if we have added it since the list you have, just ask. + +While we cannot solicit donations from people in +states where we are not yet registered, we know +of no prohibition against accepting donations +from donors in these states who approach us with +an offer to donate. + + +International donations are accepted, +but we don't know ANYTHING about how +to make them tax-deductible, or +even if they CAN be made deductible, +and don't have the staff to handle it +even if there are ways. + +All donations should be made to: + +Project Gutenberg Literary Archive Foundation +PMB 113 +1739 University Ave. +Oxford, MS 38655-4109 + + +The Project Gutenberg Literary Archive Foundation is a 501(c)(3) +organization with EIN [Employee Identification Number] 64-6221541, +and has been approved as a 501(c)(3) organization by the US Internal +Revenue Service (IRS). Donations are tax-deductible to the maximum +extent permitted by law. As the requirements for other states are met, +additions to this list will be made and fund raising will begin in the +additional states. + +We need your donations more than ever! + +You can get up to date donation information at: + +http://www.gutenberg.net/donation.html + + +*** + +If you can't reach Project Gutenberg, +you can always email directly to: + +Michael S. Hart <hart@pobox.com> + +hart@pobox.com forwards to hart@prairienet.org and archive.org +if your mail bounces from archive.org, I will still see it, if +it bounces from prairienet.org, better resend later on. . . . + +Prof. Hart will answer or forward your message. + +We would prefer to send you information by email. + + +*** + + +Example command-line FTP session: + +ftp ftp.ibiblio.org +login: anonymous +password: your@login +cd pub/docs/books/gutenberg +cd etext90 through etext99 or etext00 through etext02, etc. +dir [to see files] +get or mget [to get files. . .set bin for zip files] +GET GUTINDEX.?? [to get a year's listing of books, e.g., GUTINDEX.99] +GET GUTINDEX.ALL [to get a listing of ALL books] + + +**The Legal Small Print** + + +(Three Pages) + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this etext, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you may distribute copies of this etext if you want to. + +*BEFORE!* YOU USE OR READ THIS ETEXT +By using or reading any part of this PROJECT GUTENBERG-tm +etext, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this etext by +sending a request within 30 days of receiving it to the person +you got it from. If you received this etext on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM ETEXTS +This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG-tm etexts, +is a "public domain" work distributed by Professor Michael S. Hart +through the Project Gutenberg Association (the "Project"). +Among other things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this etext +under the "PROJECT GUTENBERG" trademark. + +Please do not use the "PROJECT GUTENBERG" trademark to market +any commercial products without permission. + +To create these etexts, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's etexts and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other etext medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] Michael Hart and the Foundation (and any other party you may +receive this etext from as a PROJECT GUTENBERG-tm etext) disclaims +all liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this etext within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold Michael Hart, the Foundation, +and its trustees and agents, and any volunteers associated +with the production and distribution of Project Gutenberg-tm +texts harmless, from all liability, cost and expense, including +legal fees, that arise directly or indirectly from any of the +following that you do or cause: [1] distribution of this etext, +[2] alteration, modification, or addition to the etext, +or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this etext electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + etext or this "small print!" statement. You may however, + if you wish, distribute this etext in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word + processing or hypertext software, but only so long as + *EITHER*: + + [*] The etext, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The etext may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the etext (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + etext in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the etext refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Foundation of 20% of the + gross profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Literary Archive Foundation" + the 60 days following each date you prepare (or were + legally required to prepare) your annual (or equivalent + periodic) tax return. Please contact us beforehand to + let us know your plans and to work out the details. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +Project Gutenberg is dedicated to increasing the number of +public domain and licensed works that can be freely distributed +in machine readable form. + +The Project gratefully accepts contributions of money, time, +public domain materials, or royalty free copyright licenses. +Money should be paid to the: +"Project Gutenberg Literary Archive Foundation." + +If you are interested in contributing scanning equipment or +software or other items, please contact Michael Hart at: +hart@pobox.com + +[Portions of this header are copyright (C) 2001 by Michael S. Hart +and may be reprinted only when these Etexts are free of all fees.] +[Project Gutenberg is a TradeMark and may not be used in any sales +of Project Gutenberg Etexts or other materials be they hardware or +software or any other related product without express permission.] + +*END THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.10/04/01*END* + + + + + +This etext was produced by Charles Franks, Robert Rowe and the +Online Distributed Proofreading Team. + + + + + + +"THE FIRST MAN" + +A PLAY IN FOUR ACTS + +BY EUGENE O'NEILL + + + + + +CHARACTERS + + +CURTIS JAYSON +MARTHA, his wife +JOHN JAYSON, his father, a banker +JOHN, JR., his brother +RICHARD, his brother +ESTHEE (MRS. MARK SHEFFIELD), his sister +LILY, his sister +MRS. DAVIDSON, his father's aunt +MARK SHEFFIELD, a lawyer +EMILY, JOHN JR.'S wife +RICHARD BIGELOW +A MAID +A TRAINED NURSE + +TIME--The Present + + + + + +SCENES + + +ACT I + +Living-room in the house of CURTIS JAYSON, Bridgetown, Conn.--an +afternoon in early Fall. + +ACT II + +CURTIS' study--morning of the following day. + +ACT III + +The same--three o'clock in the morning of a day in early spring of +the next year. + +ACT IV + +Same as Act I--three days later. + + + + + +ACT I + + +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. + +It is around four o'clock of a fine afternoon in early fall. + +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. + +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. + +MARTHA--Oh, pooh! Don't go milling around for trouble. When I was +a kid I used to get fun out of my horrors. + +BIGELOW--But I imagine you were more courageous than most of us. + +MARTHA--Why? + +BIGELOW--Well, Nevada--the Far West at that time--I should think a +child would have grown so accustomed to violent scenes-- + +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. + +BIGELOW--[Smiling.] And then you met Curt. + +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. + +BIGELOW--A romanticist--and he still is! + +MARTHA--[Pointing at CURTIS with gay mischief.] What! That sedate +man! Never! + +CURTIS--[Looking up and smiling at them both affectionately-- +lazily.] Don't mind him, Martha. He always was crazy. + +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.] + +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? + +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. + +CURTIS--[With a laugh.] The man is mad, Martha. + +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! + +CURTIS--[With sudden seriousness.] I'm not considering it any +longer. I've decided to go. + +MARTHA--[Starting--the hurt showing in her voice.] When did you +decide? + +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. + +BIGELOW--And a big honor, too, isn't it, to be picked as a member +of such a large affair? + +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? + +MARTHA--[Dully.] No, Curt. + +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. + +BIGELOW--[With a grin.] Aha! Now we come to the Missing Link! + +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. + +BIGELOW--[More soberly.] And there you hope to dig up--our first +ancestor? + +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. + +BIGELOW--[Turning to MARTHA.] And you were with him on that Asian +plateau? + +MARTHA--Yes, I've always been with him. + +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. + +MARTHA--[Quietly.] Do you need me now, Curt? + +BIGELOW--[Starting up.] Yes, if you two want to work together, why +just shoo me-- + +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. + +BIGELOW--Aha! Now it's you who are mocking at something you know +nothing about. [An awkward silence follows this remark.] + +CURTIS--[Frowning.] I guess you're forgetting, aren't you, Big? +[He turns and walks into his study, closing the door gently behind +him.] + +MARTHA--[After a pause--sadly.] Poor Curt. + +BIGELOW--[Ashamed and confused.] I had forgotten-- + +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. + +BIGELOW--[After a pause.] How old were they when--? + +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. + +BIGELOW--[Shocked.] Good heavens! + +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! + +BIGELOW--And is it that keeps driving him on now? + +MARTHA--Oh, no. He's found himself. His work has taken the place +of the children. + +BIGELOW--And with you, too? + +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. + +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. + +MARTHA--[Smiling.] Old age! + +BIGELOW--I'm knocking at the door of fatal forty. + +MARTHA--[With forced gaiety.] You're not very tactful, I must say. +Don't you know I'm thirty-eight? + +BIGELOW--[Gallantly.] A woman is as old as she looks. You're not +thirty yet. + +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.] + +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. + +MARTHA--Not at all. + +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. + +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? + +MARTHA--Fine. + +BIGELOW--I'll run, then. Good-by, Lily. [She nods. BIGELOW goes +out rear.] + +MARTHA--[Cordially.] Come on over here, Lily. + +LILY--[Sits on couch with MARTHA--after a pause--with a smile.] +You were forgetting, weren't you? + +MARTHA--What? + +LILY--That you'd invited all the family over here to tea this +afternoon. I'm the advance guard. + +MARTHA--[Embarrassed.] So I was! How stupid! + +LILY--[With an inquisitive glance at MARTHA'S face but with +studied carelessness.] Do you like Bigelow? + +MARTHA--Yes, very much. And Curt thinks the world of him. + +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. + +MARTHA--[Flushing.] I think it's very fine of him. + +LILY--[Shaking her head.] His reform is too sudden. He's joined +the hypocrites, I think. + +MARTHA--I'm sure he's no hypocrite. When you see him with the +children-- + +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? + +MARTHA--[Surprised.] No, of course not, Lily. + +LILY--Well, I'm the bearer of a message from the Jayson family. + +MARTHA--[Astonished.] A message? For me? + +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. + +MARTHA--[Stunned.] I? Unwisely intimate--? [Suddenly laughing with +amusement.] Well, you sure are funny people! + +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. + +MARTHA--[Beginning to feel resentful--coldly.] No, I didn't--and I +don't care to know it now. + +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. + +MARTHA--But-compromises about what? [Forcing a laugh.] I refuse to +take it seriously. How anyone could think--it's too absurd. + +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. + +MARTHA--But it was on account of his children. They were always +with him. + +LILY--The town doesn't trust this sudden fond parenthood, Martha. +We've known him too long, you see. + +MARTHA--But he's Curt's oldest and best friend. + +LILY--We've found they always are. + +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-- + +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. + +MARTHA--[Immediately sympathetic.] You're lonely, that's what, +Lily. + +LILY--[Drily.] Don't pity me, Martha--or I'll join the enemy. + +MARTHA--I'm not. But I'd like to help you if I could. [After a +pause.] Have you ever thought of marrying? + +LILY--[With a laugh.] Martha! How banal! The men I see are enough +to banish that thought if I ever had it. + +MARTHA--Marriage isn't only the man. It's children. Wouldn't you +like to have children? + +LILY--[Turning to her bluntly.] Wouldn't you? + +MARTHA--[ Confused. ] But--Lily-- + +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? + +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? + +MARTHA--[As if confessing it reluctantly.] Yes--perhaps--in the +last two years. + +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? + +MARTHA--Curt isn't that kind. The actual work--the romance of it-- +that's his life. + +LILY--But if he goes and you have to stay, you'll be lonesome-- +[meaningly] alone. + +MARTHA--Horribly. I don't know what I'll do. + +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. + +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. + +LILY--If you confronted Curt with the actual fact, he'd be +reconciled soon enough, and happy in the bargain. + +MARTHA--[Eagerly.] Do you really think so? + +LILY--And you, Martha--I can tell from the way you've talked that +you'd like to. + +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.] + +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. + +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.] + +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! + +MARTHA--[In a whisper.] Yes. + +LILY--[Kissing her affectionately.] You dear, you! [Then after a +pause.] How long have you known? + +MARTHA--For over two months. [There is a ring from the front door +bell in the hall.] + +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! + +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, Ieft, 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? + +ESTHER--Let's wait. They ought to be here any moment. + +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.] + +SHEFFIELD--Where is Curt, Martha? + +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. + +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.] + +ESTHER--[Smiling.] Lily! + +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.] + +MARTHA--[Taken aback for a moment but restraining her resentment-- +gently. ] Yes, I do, Mrs. Davidson. + +MES. DAVIDSON--[Seemingly placated by this reply--in a milder +tone.] You must call me aunt, my dear. [Meaningly.] All the +Jaysons do. + +MARTHA--[Simply.] Thank you, aunt. + +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.] + +CURTIS--[Absent-mindedly.] Hello, everybody. [Then with a +preoccupied air to MARTHA.] Martha, I don't want to interrupt you-- +but-- + +MARTHA--[Getting up briskly.] You want my help? + +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.] + +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.] + +MRS. DAVIDSON--[Rather harshly.] Why doesn't Curt hire a +secretary? That is no work for his wife. + +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--? + +LILY--[Eagerly.] Sure. I love to serve drinks. If I were a man, +I'd be a bartender--in Mexico or Canada. + +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.] + +ESTHER--[Pettishly.] Even people touched by a smattering of +science seem to get rude, don't they? + +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? + +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.] + +ESTHER--[Betraying a sudden frightened jealousy.] What do you +mean, Lily? What are you so mysterious about? What did she say? +What--? + +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.] + +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.] + +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? + +LILY--[Appearing in the doorway.] Here's tea--but no stick for +you, sot. [The MAID brings in tray with tea things.] + +JOHN--[Heavily.] It seems it would be more to the point to inquire +where our hostess-- + +JAYSON--[Rousing himself again.] Yes. And where is Curt? + +LILY--Working at his book. He called Martha to take notes on +something. + +ESTHER--[With a trace of resentment.] She left us as if she were +glad of the excuse. + +LILY--Stuff, Esther! She knows how much Curt depends on her--and +we don't. + +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.] + +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.] + +JAYSON--[Impatiently.] Stop fooling, Lily. Let's get to our +muttons. Did you talk with Martha? + +LILY--[Briskly.] I did, sir. + +JAYSON--[In a lowered voice.] What did she say? + +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. + +ESTHER--[Volubly.] And just imagine, she'd even forgotten she'd +asked us here this afternoon and was going motoring with Bigelow. + +LILY--With his three children, too, don't forget. + +EMILY--[Softly.] They have become such well-behaved and +intelligent children, they say. [Again all the others hesitate, +staring at her suspiciously.] + +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. + +EMILY--[With the pathos of outraged innocence.] Oh! + +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! + +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? + +DICK--[His pose crumbling--angrily.] Go to the devil! + +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. + +LILY--Martha is properly unimpressed by big frogs in tiny puddles. +And there you are. + +MRS. DAVIDSON--[Outraged.] The idea! She takes a lot upon herself-- +the daughter of a Wild Western coal-miner. + +LILY--[Mockingly.] Gold miner, Aunt. + +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-- + +ESTHER--[Excitedly.] Yes, you did, Lily. What did you mean? + +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.] + +MRS. DAVIDSON--[Her face lighting up--joyously.] A son! Curt's +son! + +JAYSON--[Pleased by the idea but bewildered.] A son? + +DICK--[Smartly.] Lily's kidding you. How can she know it's a son-- +unless she's a clairvoyant. + +ESTHER--[With glad relief.] Yes, how stupid! + +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. + +ESTHER--Lily! + +EMILY--Oh! + +JAYSON--[Testily.] Keep still for a moment, Lily, for God's sake. +This is no subject to joke about, remember. + +LILY--Martha told me. I know that. + +JAYSON--And does Curt know this? + +LILY--No, not yet. Martha has been afraid to tell him. + +JAYSON--Ah, that explains matters. You know I asked Curt some time +ago--and he said it was impossible. + +EMILY--[With a lift of her eyebrows.] Impossible? Why, what a +funny thing to say. + +SHEFFIELD--[Keenly lawyer-like.] And why is Martha afraid to tell +him, Lily? + +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. + +JAYSON--[Eagerly.] Yes, I believe that myself. [Pleased.] Well, +this is fine news. + +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.] + +ESTHER--[Resentfully.] I don't, either. Why, Curt's the biggest- +hearted and kindest-- + +EMILY--I wonder how long she's known--this? + +LILY--[Sharply.] Two months, she said. + +EMILY--Two months? [She lets this sink in.] + +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! + +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! + +EMILY--[Growing crimson--falteringly.] I--I didn't mean-- + +JOHN--[Furiously.] Where the honor of the family is at stake-- + +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.] + +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. + +LILY--[Trying to save the situation--gayly.] Yes. You can trust me +as understudy for the part of hostess any time. + +MARTHA--[Forcing a smile.] Well, I'm glad to know I wasn't missed. + +EMILY--[Sweetly.] We were talking about you--at least, we were +listening to Lily talk about you. + +MARTHA--[Stiffening defensively.] About me? + +EMILY--Yes--about how devoted you were to Curt's work. [LILY gives +her a venomous glance of scorn.] + +MARTHA--[Pleased but inwardly uneasy.] Oh, but you see I consider +it my work, too, I've helped him with it so long now. + +JAYSON--[In a forced tone.] And how is Curt's book coming, Martha? + +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. + +MRS. DAVIDSON--[Indignantly.] The name of Jayson has been-- + +JAYSON--[Pleadingly.] Aunt Elizabeth! + +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! + +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. + +MARTHA--So glad you came. Do come in again any time. We keep open +house, you know--Western fashion. [She accentuates this.] + +DICK--[Hurriedly.] Delighted to. [He starts for the door in rear.] + +LILY--[As if suddenly making up her mind.] Wait a second! I'm +coming with you-- + +DICK--Sure thing--only hurry, darn you! [He goes out.] + +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.] + +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? + +MARTHA--I'd love her--and try to understand her. + +SHEFFIELD--[Meaningly.] She's a bad ally to rely on--this side of +the fence one day, and that the next. + +MARTHA--Is that why you advised her to become a lawyer, Mr. +Sheffield? + +SHEFFIELD--[Stung, but maintaining an unruffled front.] Now, now, +that remark must be catalogued as catty. + +MARTHA--[Defiantly.] It seems to be in the Bridgetown atmosphere. +I never was--not the least bit--in the open air. + +JAYSON--[Conciliatingly.] Oh, Bridgetown isn't so bad, Martha, +once you get used to us. + +JOHN--It's one of the most prosperous and wealthy towns in the +U.S.--and that means in the world, nowadays. + +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. + +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.] + +JOHN--[Exploding.] Well, of all the damned cheek! + +ESTHER--She shows her breeding, I must say. + +EMILY--[With horror.] Oh, how rude--and insulting. + +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.] + +SHEFFIELD--[Judiciously.] One must make allowances for one in her +condition, Aunt. + +JAYSON--[Snatching at this.] Exactly. Remember her condition. Aunt +[testily] and do sit down. [The old lady plumps herself down again +angrily.] + +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.] + +CURTIS--[Looking around.] Where's Martha? What's the important +thing she called me out for? + +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.] + +EMILY--[Softly.] Martha had to leave us to go motoring with Mr. +Bigelow. + +ESTHER--[Hastily.] And the three children. + +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? + +ESTHER--Curt! You're not! + +EMILY--And leave Martha here--all alone--for five years? + +JAYSON--Yes, you can't take Martha with you this time, you know. + +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. + +JAYSON--[Worriedly.] Hmm! But would you persist in going--alone-- +if you knew it was impossible for her--? + +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! + +MRS. DAVIDSON--[Sternly.] No. SHE cannot go. And it is YOUR duty-- + +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. + +MRS. DAVIDSON--[Harshly.] The women I understand prefer rearing +their children to selfish gallivanting over the world. + +CURTIS--[Impatiently.] But we have no children now, Aunt. + +MRS. DAVIDSON--I know that, more's the pity. But later-- + +CURTIS--[Emphatically.] No, I tell you! It's impossible! + +MRS. DAVIDSON--[Grimly.] I have said my last word. Go your own +road and work your own ruin. + +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.] + +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. + +ESTHER--He certainly appeared put out when he heard she'd gone +motoring with Big. + +JAYSON--[Moodily.] This dislike of the very mention of children. +It isn't like Curt, not a bit. + +JOHN--There's something rotten in Denmark somewhere. This family +will yet live to regret having accepted a stranger-- + +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.] + +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] + + + + + +ACT II + + +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. + +It is mid-morning, sunny and bright, of the following day. + +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. + +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. + +CURTIS--[With a trace of annoyance.] Oh, I can see well enough +from here. + +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! + +CURTIS--[As if the subject bored him.] Oh, Martha gets along well +with anyone. + +BIGELOW--[Sits on the couch again--with a sceptical smile.] You +think so? With everyone? + +CURTIS--[Surprised.] Yes--with everyone we've ever come in contact +with--even aboriginal natives. + +BIGELOW--With the aboriginal natives of Bridgetown? With the well- +known Jayson family, for example? + +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-- + +BIGELOW--Too darn preoccupied, if you'll pardon my saying so. It's +not fair to leave her to fight it alone. + +CURTIS--[Impatiently.] Fight what? Martha has a sense of humor. +I'm sure their petty prejudices merely amuse her. + +BIGELOW--[Sententiously.] A mosquito is a ridiculous, amusing +creature, seen under a microscope; but when a swarm has been +stinging you all night-- + +CURTIS--[A broad grin coming over his face.] You speak from +experience, eh? + +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. + +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. + +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. + +CURTIS--[With an indulgent smile.] So you'd like to be known as a +reformed character, eh? + +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. + +CURTIS--[Indifferently.] Yes, I suppose so--if you're made that +way. + +BIGELOW--Meaning you're not? + +CURTIS--Not any more. [Frowning.] I tried that once. + +BIGELOW--[After a pause--with a smile.] But we're wandering from +the subject of Martha versus the mosquitoes. + +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. + +BIGELOW--Where do you think of settling her then? + +CURTIS--No settling about it. I'm going to take her with me. + +BIGELOW--[Surprised.] On the Asian expedition? + +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. + +BIGELOW--Her birthday? I wish the children and I had known--but +it's not too late yet. + +CURTIS--[With a grin.] Thirty-nine candles, if you're thinking of +baking a cake! + +BIGELOW--[Meaningly.] That's not old--but it's not young either, +Curt. + +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.] + +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. + +CURTIS--[With a grin.] Big was just this minute remarking that, +Martha. [BIGELOW looks embarrassed.] + +MARTHA--[Laughing at him.] Well, I declare! Of all the horrid +things to hear-- + +BIGELOW--[Still embarrassed but forcing a joking tone.] He-- +prevaricates, Mrs. Jayson. + +MARTHA--There now, Curt! I'm sure it was you who said it. It +sounds just like one of your horrid facts. + +BIGELOW--And how can I offer my felicitations now? But I do, +despite your husband's calumny. May your shadow never grow less! + +MARTHA--Thank you. [She shakes his proffered hand heartily.] + +BIGELOW--And now I'll collect my flock and go home. + +CURTIS--So long, Big. Be sure you don't mislay one of your heirs! + +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.] + +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. + +CURTIS--[Taking one of her hands and patting it.] Nonsense! + +MARTHA--[Shaking her head and smiling with a touch of sadness.] +No. I feel it. + +CURTIS--[Puts his arms around her protectingly.] Nonsense! You're +not the sort that ever grows old. + +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. + +CURTIS--[Looking at her.] You haven't any silver threads. +[Jokingly.] Am I to suspect--? + +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. + +CURTIS--One whole year! That's frightful, isn't it? + +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? + +CURTIS--[Squeezing her.] Silly girl! + +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? + +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. + +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? + +CURTIS--[Kisses her again--tenderly reproachful.] Martha! + +MARTHA--And I have helped--really helped you, haven't I? + +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.] + +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. + +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. + +MARTHA--[Softly.] I mean--together--Curt. + +CURTIS--So do I! + +MARTHA--But you're going away--and I can't go with you this time. + +CURTIS--[Smiling to himself over her head.] Yes, that does +complicate matters, doesn't it? + +MARTHA--[Hurt--looking up at him.] Curt! How indifferently you say +that--as if you didn't care! + +CURTIS--[Avoiding her eyes--teasingly.] What do you think you'll +do all the time I'm gone? + +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-- + +CURTIS--[Inquisitively.] Unless what? + +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-- + +CURTIS--[Vaguely uneasy now, trying to peer into her face.] But, +sweetheart-- + +MARTHA--[Giving way weakly to her feelings for a moment-- +entreatingly.] Then don't go! + +CURTIS--[Astonished.] Why, I've got to go. You know that. + +MARTHA--Yes, I suppose you have. [Vigorously, as if flinging off a +weakness.] Of course you have! + +CURTIS--But, Martha--you said you'd be lonely unless--unless what? + +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.] + +CURTIS--[Almost indignantly.] But that's impossible, Martha! + +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. + +CURTIS--[Stunned.] You mean it--is a fact? + +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? + +CURTIS--[Agitatedly.] But Martha--you don't understand. How can I +pretend gladness when--[Vehemently.] Why, it would spoil all our +plans! + +MARTHA--Plans? OUR plans? What do you mean? + +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. + +MARTHA--[Stunned.] Permission--to go with you-- + +CURTIS--[Excitedly.] Yes. I couldn't conceive going without you. +And I knew how you must be wishing-- + +MARTHA--[In pain.] Oh! + +CURTIS--[Distractedly--jumping to his feet and staring at her +bewilderedly.] Martha! You don't mean to tell me you weren't! + +MARTHA--[In a crushed voice.] I was wishing you would finally +decide not to go--to stay at home. + +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. + +MARTHA--[Weakly and helplessly.] I understand all that, Curt. + +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-- + +MARTHA--I realize all that, Curt. + +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. + +MARTHA--[Growing calm now.] You are forgetting--what I told you, +Curt. You must face the fact. I cannot go. + +CURTIS--[Overwhelmed by the finality of her tone--after a pause.] +How long have you known--this? + +MARTHA--Two months, about. + +CURTIS--But why didn't you tell me before? + +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? + +CURTIS--[Eagerly.] You mean--then--you would have been glad to go-- +before this had happened? + +MARTHA--I would have accepted it. + +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. + +MARTHA--Yes it was, Curt. I wished it. I sought it. + +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. + +MARTHA--[Gently.] They forgive me, Curt. And you will forgive me, +too--when you see him--and love him. + +CURTIS--Him? + +MARTHA--I know it will be a boy. + +CURTIS--[Sinking down on the couch beside her--dully.] Martha! +You have blown my world to bits. + +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? + +CURTIS--[Miserably.] That's unfair, Martha. I think of it as OUR +work--and I have always believed you did, too. + +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. + +CURTIS--Martha! [Bitterly.] And all the time I believed that more +and more it was becoming the aim of your life, too. + +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-- + +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? + +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! + +CURTIS--[Intensely preoccupied with his own struggle--vaguely.] +But I thought-- + +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.] + +CURTIS--[Starting as if awaking from a sleep.] Understand? No, I +can't understand, Martha. + +MARTHA--[In a gasp of unbearable hurt.] Curt! I don't believe you +heard a word I was saying. + +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. + +MARTHA--Curt! + +CURTIS--I've depended on you. This is the crucial point--the +biggest thing of my life--and you desert me! + +MARTHA--[Resentment gathering in her eyes.] If you had listened to +me--if you had even tried to feel-- + +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. + +MARTHA--If you were human you would think of my life as well as +yours. + +CURTIS--I do! It is OUR life I am fighting for, not mine--OUR life +that you want to destroy. + +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. + +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.] + +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? + +CURTIS--But I can't be away from you! + +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. + +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-- + +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! + +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? + +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. + +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. + +MARTHA--I wonder where your work leaves off and you begin. Hasn't +your work become you? + +CURTIS--Yes and no. [Helplessly.] You can't understand, Martha! ... + +MARTHA--Nor you. + +CURTIS--[With a trace of bitter irony.] And you and your work? +Aren't they one and the same? + +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. + +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.] + +MARTHA--[In a whisper.] Yes, you love me. But who am I? There is +no recognition in your eyes. You don't know. + +CURTIS--[Frightenedly.] Martha! Stop! This is terrible! [They +continue to be held by each other's fearfully questioning eyes.] + +[The Curtain Falls] + + + + + +ACT III + +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. + +JAYSON--[Looking up anxiously.] Well? + +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-- + +JAYSON--Martha is having an exceptionally hard ordeal. + +RICHARD--Since three o'clock this morning--yesterday morning, I +should say. It's a wonder she isn't dead. + +JAYSON--[After a pause.] Where is Curt? + +RICHARD--[Harshly.] Still out in the garden, walking around +bareheaded in the cold like a lunatic. + +JAYSON--Why didn't you make him come in? + +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-- + +JAYSON--[After a pause.] Yes, there's a lot in all this we don't +know about. + +RICHARD--I suppose the reason he's so down on the family is +because we've rather cut her since that tea affair. + +JAYSON--He shouldn't blame us. She acted abominably and has +certainly caused enough talk since then--always about with +Bigelow-- + +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.] + +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. + +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. + +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-- + +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.] + +JAYSON--[Anxiously.] Well? + +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! + +RICHARD--[Seriously.] Second the motion. + +JAYSON--[Peevishly.] You're young idiots. Keep your blasphemous +nonsense to yourself, Lily! + +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. + +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.] + +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. + +ESTHER--Sssh! Lily! Don't you know you're shouting? And what silly +talk! + +LILY--I'll show you whether it's silly! I'll-- + +RICHARD--[Impatiently.] Are you coming or not? + +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.] + +ESTHER--[With a sigh.] I thought I went through something when +mine were born--but this is too awful. + +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? + +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. + +EMILY--Do you think the baby-- + +ESTHER--I don't know. I shouldn't say it but perhaps it would be +better if-- + +EMILY--That's what I think. + +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? + +JAYSON--[Suddenly.] How is Curt? + +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. + +JOHN--[Surlily.] Don't forget I have to be at the bank in the +morning. + +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? + +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-- + +ESTHER--[Impatiently.] For goodness sake, don't you start to pity +yourself! + +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. + +JAYSON--[Impatiently.] Has he quieted down, that's what I want to +know? + +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-- + +JAYSON--[Angrily.] Keep that to yourself! Remember you have no +proof. [Morosely.] Think all you want--but don't talk. + +EMILY--[Pettishly.] The whole town knows it, anyway; I'm sure they +must. + +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. + +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.] + +JAYSON--[Impatiently.] Well, Mark? Where's Curt? + +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.] + +JAYSON--[Furiously.] For God's sake, couldn't you stop him? + +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-- + +JAYSON--[After a pause.] Then he--Bigelow will be here soon? + +SHEFFIELD--[Drily.] It depends on his sense of decency. As he +seems lacking in that quality, I've no doubt he'll come. + +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. + +EMILY--[Snappishly.] Go if you want to! I won't! [Then with a +sacrificing air.] I think it is our duty to stay. + +JAYSON--[Exasperated.] Sit down. Wash your hands indeed! Aren't +you as much concerned as any of us? + +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.] + +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.] + +SHEFFIELD--Sstt! [As JAYSON looks up--in a whisper.] Let's go out +and leave him alone. Perhaps he'll sleep. + +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. + +CURTIS--[Harshly.] No, Dad. Leave me alone. + +JAYSON--[Piqued.] As you wish. [He starts to go.] + +CURTIS--And send Big in to me as soon as he comes. + +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.] + +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! + +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! + +CURTIS--[Grimly.] I have. I am. + +BIGELOW--[Slapping his back.] Buck up! [Then anxiously.] How's +Martha? + +CURTIS--She's in hell, too-- + +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. + +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. + +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! + +CURTIS--[Impatiently.] Oh, for God's sake! [Bitterly.] I didn't +want you here to discuss Bridgetown gossip. + +BIGELOW--I know, old man, forgive me. [In spite of the closed door +one of MARTHA's agonized moans is heard. They both shudder.] + +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. + +BIGELOW--[Trying to distract him.] Deuce take it, Curt, what's the +matter with you? I never thought you'd turn morbid. + +CURTIS--[Darkly.] I've changed, Big--I hardly know myself any +more. + +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? + +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. + +BIGELOW--Us? You mean you still plan to take-- + +CURTIS--[Angrily aggressive.] Yes, certainly! Why not? Martha +ought to be able to travel in a month or so. + +BIGELOW--Yes, but--do you think it would be safe to take the +child? + +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! + +BIGELOW--[Astonished.] Curt! + +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! + +BIGELOW--[Bewildered.] What, Curt? + +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? + +BIGELOW--[Stunned.] Good God, you don't mean you hate--Martha? + +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! + +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? + +BIGELOW--[Staring at his friend's wild, distorted face with +growing horror.] Curt! Can't you realize how horrible-- + +CURTIS--Yes, it's horrible. I've told myself that a million times. +[With emphasis.] But it's true! + +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! + +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.] + +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-- + +CURTIS--No. She read it in my eyes. I saw that look in hers--of +horror--horror of me! + +BIGELOW--[Gruffly.] You're raving, damn it! + +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? + +BIGELOW--[Distractedly.] For God's sake, don't think about it! +It's absurd--ridiculous! + +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. + +BIGELOW--Curt! + +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? + +BIGELOW--But that life was your life, Curt-- + +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. + +BIGELOW--Curt! + +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. + +BIGELOW--Curt! Are you sure you ought to tell anyone this? + +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? + +BIGELOW--No. And I think you've done enough morbid raving, if you +ask me. + +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. + +BIGELOW--[Afraid to believe the obvious answer.] Curt! + +CURTIS--Yes. My thought was that the child might be born dead. + +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? + +CURTIS--I've tried. I cannot. There is some inexorable force in +me-- + +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-- + +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. + +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? + +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! + +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-- + +CURTIS--[Fiercely.] I can't help but wish it! + +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! + +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! + +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.] + +ESTHER--[Suddenly.] She has stopped--[They all listen.] + +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.] + +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! + +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.] + +NURSE--[Looking at CURTIS, in a low voice.] Mr. Jayson, your wife +is asking for you. + +BIGELOW--[Promptly slapping CURT on the back.] There! What did I +tell you? Run, you chump! + +CURTIS--[With a gasp of joy.] Martha! Darling, I'm coming--[He +rushes out after the NURSE.] + +BIGELOW--[Comes forward to get his hat and coat from the sofa-- +coldly.] Pardon me, please. [They shrink away from him.] + +EMILY--[As he goes to the door--cuttingly.] Some people seem to +have no sense of decency! + +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.] + +JOHN--Scoundrel! + +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.] + +ESTHER--[Unable to restrain her jealousy.] So it's a boy. + +EMILY--Did you hear Curt--how he yelled out "No"? It's plain as +the nose on your face he didn't want-- + +ESTHER--How awful! + +JOHN--Well, can you blame him? + +EMILY--And the awful cheek of that Bigelow person--coming here-- + +ESTHER--They appeared as friendly as ever when we came in. + +JOHN--[Scornfully.] Curt is a blind simpleton--and that man is a +dyed-in-the-wool scoundrel. + +JAYSON--[Frightenedly.] Shhh! Suppose we were overheard! + +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.] + +JAYSON--[Testily.] Aunt Elizabeth, where are you going? + +MRS. D.--[Tenderly.] I must see him again, the dear! [She goes +out.] + +ESTHER--[Devoured by curiosity--hesitatingly.] I think I--come on, +Emily. Let's go up and see-- + +EMILY--Not I! I never want to lay eyes on it. + +JOHN--Nor I. + +ESTHER--I was only thinking--everyone will think it funny if we +don't. + +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.] + +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! + +[JAYSON and SHEFFIELD spring forward and lead CURT to a chair by +the fire.] + +JAYSON--[Anxious.] Curt! Curt, my boy! What is it, son? + +EMILY--[Catching the NURSE as she tries to go.] Nurse! What is the +matter? + +NURSE--[Slowly.] His wife is dead. [They are all still, stunned.] +She lived just long enough to recognize him. + +EMILY--And--the baby? + +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.] + +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! + +SHEFFIELD--[Honestly moved but unable to resist this opportunity +for Latin--solemnly.] De mortuis nil nisi bonum. + +JAYSON--[Who has been giving all his attention to his son.] Curt! +Curt! EMILY--Hadn't the doctor better-- + +JAYSON--Shhh! He begins to recognize me. Curt! + +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.] + +EMILY--[Looking from one to the other meaningly as if this +justified all their suspicions.] Oh! + +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.] + +EMILY--[Putting all her venomous gratification into one word.] +Well! + +[The Curtain Falls] + + + + + +ACT IV + + +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." + +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.] + +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. + +JAYSON--[Testily.] Sshhh! Have you no respect for anything? + +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! + +EMILY--[Indignantly.] When I saw Curt--that's why I cried--not for +her! + +JAYSON--What a scene Curt made! I actually believe he wanted to +throw himself into the grave! + +DICK--You BELIEVE he wanted to! Why, it was all Mark and I could +do to hold him, wasn't it, Mark? [SHEFFIELD nods.] + +JAYSON--Intolerable! I never expected he'd turn violent like that. +He's seemed calm enough the past three days. + +LILY--Calm! Yes, just like a corpse is calm! + +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! + +JOHN--[Firmly.] He must be brought to time. + +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. + +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-- + +DICK--Oh, I guess Curt isn't all fool. He knows that's the very +best way to keep people from suspecting. + +ESTHER--[Indignantly.] But wouldn't you think that Bigelow person-- +It's disgusting, his sticking to Curt like this. + +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. + +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. + +EMILY--Really, Lily, at this late hour--after the way Curt has +acted--and her last words when she was dying-- + +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.] + +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-- + +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! + +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. + +JAYSON--Yes, hurry, she shouldn't be left alone. [ESTHER and LILY +follow the old lady out, rear.] + +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.] + +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-- + +SHEFFIELD--I wouldn't worry. Bigelow is taking that job off our +hands, I imagine. + +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. + +JAYSON--[Worriedly.] But, if Bigelow should fail-- + +SHEFFIELD--Then we'll succeed. [With a grim smile.] By God, we'll +have to. + +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. + +SHEFFIELD--But didn't you hint to him there was now this matter of +the child to be considered in making his plans? + +JAYSON--[Lamely.] I started to. He simply flared up at me with +insane rage. + +DICK--[Looking out the window.] Say, I believe they're coming in. + +JAYSON--Bigelow? + +DICK--Yes, they're both making for the front door. + +SHEFFIELD--I suggest we beat a retreat to Curt's study and wait +there. + +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.] + +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-- + +CURTIS--[Fixedly.] I will never see it! Never! + +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? + +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. + +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.] + +CURTIS--[Dully.] Good-by, Big. + +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! + +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.] + +SHEFFIELD--[Clearing his throat.] Curt-- + +CURTIS--[Suddenly.] What time is it, do you know! + +SHEFFIELD--[Looking at his watch.] Two minutes to four. + +CURTIS--[Impatiently.] Still an hour more of this! + +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.] + +MRS. DAVIDSON--[Suddenly murmuring aloud to herself--happily.] +He's such a dear! I could stay watching him forever. + +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? + +CURTIS--Yes. + +SHEFFIELD--[Drily.] Then Mr. Bigelow didn't persuade you-- + +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.] + +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-- + +CURTIS--[With nervous vehemence.] I don't want your help. You will +help me most by keeping silent. + +EMILY--[ With a meaning look at the others--sneeringly.] Yes, no +doubt. + +ESTHER--Sshhh, Emily! + +JAYSON--[Helplessly.] But, you see, Curt-- + +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.] + +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. + +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.] + +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.] + +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.] + +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.] + +JAYSON--[Placatingly.] Yes, it is for the best, Curt. + +ESTHER--Yes, Curt dear, you mustn't be unreasonable. + +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.] + +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.] + +JAYSON--[Calling after her imperiously.] Lily! [But she doesn't +answer and he gives it up with a hopeless sigh.] + +CURTIS--[Harshly.] What time is it? + +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? + +CURTIS--[Harshly.] I've told you that. + +SHEFFIELD--And then you'll join this expedition to Asia? + +CURTIS--You know that. + +SHEFFIELD--To be gone five years? + +CURTIS--[Shrugging his shoulders.] More or less. + +SHEFFIELD--Is it your intention to return here at any time before +you leave for Asia? + +CURTIS--No! + +SHEFFIELD--And your determination on these plans is irrevocable? + +CURTIS--Irrevocable! Exactly. Please remember that. + +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. + +CURTIS--[Savagely.] Her murderer! You are right! [They all look +shocked, suspicious.] + +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? + +CURTIS--It lives and Martha is gone--But, enough! I've said I +never wanted it mentioned to me. Will you please remember that? + +SHEFFIELD--[Sharply.] Its name is Jayson. Curt--in the eyes of +the law. Will YOU please remember that? + +CURTIS--[Distractedly.] I don't want to remember anything! +[Wildly.] Please, for God's sake, leave me alone! + +SHEFFIELD--[Coldly.] I am sorry, Curt, but you cannot act as if +you were alone in this affair. + +CURTIS--Why not? Am I not alone--more alone this minute than any +creature on God's earth? + +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-- + +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? + +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? + +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? + +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! + +SHEFFIELD--[Sharply.] In the world's eyes, it will appear precious +like a desertion on your part. + +CURTIS--Oh, arrange it to suit yourselves--anything you wish-- + +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-- + +CURTIS--No! + +SHEFFIELD--[Ignoring the interruption.] You can make plans for the +child's future in that time, become reconciled to it-- + +CURTIS--No! + +JAYSON--[Pleadingly.] Curt--please--for all our sakes--when the +honor of the family is at stake. + +DICK--Yes, old man, there's that about it, you know. + +CURTIS--No! + +EMILY--Oh, he's impossible! + +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. + +CURTIS--[Bewilderedly.] But--I don't see--Oh, damn your eyes of +the public! + +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. + +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-- + +EMILY--[Spitefully.] Perhaps they know more than you think they +do. + +CURTIS--[Turning on her--sharply.] Just what do you mean by that, +eh? + +ESTHER--Emily! Shhh! + +JAYSON--[Flurriedly.] Be still, Emily. Let Mark do the talking. + +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? + +CURTIS--No, and I never intend-- + +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. + +CURTIS--Well, let them! Do you think I care a fiddler's curse how +people judge me? + +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? + +JAYSON--Yes, my boy. As a Jayson, I know you don't wish-- + +ESTHEE--[With a sigh.] Yes, you really must think of us, Curt. + +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. + +JAYSON--Curt! This is--really--when we've tried to be so +considerate-- + +JOHN--[Bursting with rage.] It's an outrage to allow such insults! + +DICK--You're not playing the game, Curt. + +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. + +CURTIS--[Turning on her.] Martha's sake? [Brokenly.] Martha is +gone. Leave her out of this. + +SHEFFIELD--[Sharply.] But unfortunately, Curt, others will not +leave her out of this. They will pry and pry--you know what they +are--and-- + +EMILY--Curt couldn't act the way he is doing if he ever really +cared for her. + +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-- + +EMILY--[Shrinking from him frightenedly.] Oh! John! + +JOHN--[Getting to his feet.] I protest! I cannot allow even my own +brother-- + +DICK--[Grabbing his arm.] Keep your head, old boy. + +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. + +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-- + +EMILY--[Scornfully.] Superiority, indeed! + +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-- + +EMILY--[Furiously.] You're only acting--acting for our benefit +because you think we don't-- + +CURTIS--[Turning on her--with annihilating contempt.] Why, you-- +you poor little nonentity! [John struggles to get forward but Dick +holds him back.] + +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-- + +JAYSON--Emily! [The others are all frightened, try to interrupt +her. CURT stares at her in a stunned bewilderment] + +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! + +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.] + +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.] + +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! + +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.] + +MRS. DAVIDSON--[As if suddenly coming out of a dream-- +frightenedly.] What is the matter? Why is John mad at Curt? + +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-- + +ESTHER--[Pityingly.] Curt, dear, we don't think anything except +what you've made us think with your crazy carrying-on. + +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-- + +MRS. DAVIDSON--I? Don't what, Curtis? My, how sick you look, poor +boy! + +CURTIS--You--don't believe--this child-- + +MRS. DAVIDSON--He's the sweetest baby I ever saw [proudly] and +Jayson right to the tips of his toes. + +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.] + +DICK--It's all right. I saw him go in. + +JAYSON--[Frightenedly.] But--good God--he's liable--why didn't you +follow him? + +DICK--The doctor and nurse are there. They would have called out, +wouldn't they, if-- + +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? + +ESTHER--Nothing, Aunt dear, nothing! + +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! + +JAYSON--Aunt! + +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.] + +EMILY--[Spitefully.] I fear it will be necessary to tell Aunt-- + +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! + +ESTHER--[Resentfully to EMILY.] See what not holding your tongue +has done--and my children will have to suffer for it, too! + +SHEFFIELD--[Severely.] If Emily had permitted me to conduct this +business uninterruptedly, this would never have occurred. + +EMILY--That's right! All pick on me! Cowards! [She breaks down and +sobs.] + +DICK--[From the doorway. Coming back into the room.] Sstt! Here he +comes! + +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. + +ESTHER--[Voicing the general relief. Joyfully.] Oh, Curt! You +won't go now? You'll stay? + +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. + +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. + +CURTIS--I thank you, Aunt. [Kisses her reverentially.] + +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. + +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.] + +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.] + +CURTIS--I must go. [He kisses his aunt.] Teach him his mother was +the most beautiful soul that ever lived. Good-by, Aunt. + +MRS. DAVIDSON--Good-by, Curtis! [Without looking at the others, he +starts for the door, rear. They all break out into conscience- +stricken protestations.] + +JAYSON--[Miserably.] Curt! You're not leaving us that way? + +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.] + +LILY--[Enters from the rear.] You're not going, Curt? + +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. + +LILY--[Miserably.] No, Curt--I swear-- + +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.] + +JAYSON--[His grief overcoming him.] My boy! We are wrong--we know-- +but--at least say you forgive us. + +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.] + +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.] + +[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:] + +DICK--Well, it isn't as bad as it might have been, anyway. He did +acknowledge the kid--before witnesses, too. + +JAYSON--[Testily.] Keep your remarks to yourself, if you please! +[But most of his family are already beginning to look relieved.] + +[The Curtain Falls] + + + + + +End of Project Gutenberg's The First Man, by Eugene O'Neill + diff --git a/old/frsmn10.zip b/old/frsmn10.zip Binary files differnew file mode 100644 index 0000000..287235c --- /dev/null +++ b/old/frsmn10.zip |