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Title: The Animal Kingdom. A Comedy.
Author: Barry, Philip Jerome Quinn (1896-1949)
Date of first publication: 1932
   [copyright date 1931]
Edition used as base for this ebook:
   New York and Los Angeles: Samuel French;
   London: Samuel French Ltd., 1932
Date first posted: 16 May 2011
Date last updated: 16 May 2011
Project Gutenberg Canada ebook #788

This ebook was produced by Barbara Watson, Mark Akrigg
& the Online Distributed Proofreading Canada Team
at http://www.pgdpcanada.net






THE ANIMAL KINGDOM




PLAYS BY PHILIP BARRY

The Youngest
You and I
In a Garden
White Wings
John
Paris Bound
Holiday
Hotel Universe
Tomorrow and Tomorrow
The Animal Kingdom





THE ANIMAL KINGDOM

_A Comedy_

BY
PHILIP BARRY


SAMUEL FRENCH
NEW YORK LOS ANGELES
SAMUEL FRENCH LTD. LONDON
1932




_ALL RIGHTS RESERVED_

Copyright, 1931, by Philip Barry

_CAUTION: Professionals and amateurs are hereby warned that "THE ANIMAL
KINGDOM," being fully protected under the copyright laws of the United
States of America, the British Empire, including the Dominion of Canada,
and all other countries of the Copyright Union, is subject to a royalty.
All rights, including professional, amateur, motion pictures, recitation,
public reading, radio broadcasting, and the rights of translation into
foreign languages are strictly reserved. In its present form the play is
dedicated to the reading public only. All inquiries, regarding this play
should be addressed to Samuel French, at 25 West 45th Street, New York,
N. Y., or 811 West 7th Street, Los Angeles, Calif._


MANUFACTURED IN THE UNITED STATES OF AMERICA
BY THE VAIL-BALLOU PRESS, INC., BINGHAMTON, N. Y.




TO GILBERT MILLER AND LESLIE HOWARD




"THE ANIMAL KINGDOM" was first produced by Gilbert Miller and Leslie
Howard at the Broadhurst Theatre in New York City on January 12, 1932.
It was directed by Gilbert Miller and the settings were designed by
Aline Bernstein.




CHARACTERS


RUFUS COLLIER
TOM COLLIER
CECELIA HENRY
DAISY SAGE
JOE FISK
FRANC SCHMIDT
OWEN ARTHUR
GRACE MACOMBER
RICHARD REGAN


ACTION AND SCENE

The action of the Play takes place in the course of about eighteen
months, last year and this. The Scenes are as follows:

ACT ONE

Scene 1. At Tom Collier's, in Connecticut. An evening in April.

Scene 2. At Daisy Sage's, on Thirty-eighth Street. Later the
         same evening.

ACT TWO

Scene 1. At Tom Collier's. An evening in January.

Scene 2. At Daisy Sage's. An afternoon in May.

ACT THREE

Scene 1. At Tom Collier's. A Sunday morning in October.

Scene 2. At Tom Collier's. Later the same evening.





ACT ONE


SCENE I

_The library of_ TOM COLLIER'S _house in the country near New York.
About seven o'clock on an April evening, two years ago_.

_The library is a fair-sized, comfortable room in a small, partially
converted farmhouse, situated in a countryside which is neither
fashionable nor suburban. There is an entrance from the hall at Left and
one into the dining-room through another hall at Back Right. In the
center wall at Back, there is a fine old fire place, framed with pine
panelling. The side walls are of white plaster, windows in the one at
Right, with bookshelves around them. At Left, a small staircase leads to
the upper floor. The furniture, of no particular period, is well chosen
and, in the case of chairs and sofa, invitingly comfortable. It is a
cheerful room, now filled with the late evening sun._

_Upon the sofa, sits_ OWEN ARTHUR. _In an easy chair, turned away from
him, is_ RUFUS COLLIER. CECELIA HENRY _is seated in a straight chair
beside a table at Right Center_. OWEN _is about thirty-five, well built,
well dressed, agreeable looking_. RUFUS _is in his early fifties, small,
slight and gray. He wears silver-rimmed spectacles, which add to his
picture of himself as the man of decision_. CECELIA _is twenty-eight,
lovely of figure, lovely of face, beautifully cared for, beautifully
presented_.

_For some moments, all sit staring in front of them, saying nothing.
Finally_ OWEN _clears his throat, waits a moment, and without turning,
ventures_:

      OWEN

There's quite a fine view from the hill behind the house. (_A
silence._)--Or did I tell you that?

      RUFUS

Yes.

      OWEN

Sorry.

[_Another silence. Then_ CECELIA _speaks_.

      CECELIA

You've really never been here before?

      RUFUS

I?

      CECELIA

Yes.

      RUFUS

Never.

      CECELIA

It seems a little strange.

      RUFUS

I've never been asked before. (_He glances about him._) What anyone
wants with a place at the end of the world like this, is beyond me
anyhow.

      OWEN

I make it in less than an hour, as a rule.

      RUFUS

Oh, you come often, do you?

      OWEN

Fairly. I find there's nothing like it after a stiff week in Court. I'm
a new man since Friday.

      RUFUS

You seem to be a fixture with him. I'm surprised he hasn't given you the
go-by, as well.

      OWEN

I'm too fond of him. I won't allow it.

      RUFUS

But you're well-off, you work hard, you live like a gentleman--his
natural enemy, I should say.

      OWEN

We make few demands on each other. And he knows how I love this place.

      RUFUS

But there's nothing _here_! No social life, no--

      OWEN

Exactly.

      CECELIA

His press is in the Village, isn't it?

      RUFUS

Press? What press?

      CECELIA

The Bantam Press. (_He stares._) You know--for books.

      RUFUS

Oh, so it's publishing now, is it?

      CECELIA

I think it has been, for some time.

      RUFUS (_to_ OWEN)

How's it going, do you know?

      OWEN

Very well. Last year he only lost something like--

      RUFUS

--Don't tell me!

[_He rises and goes to the window._

      CECELIA

You're not awfully fond of your son, are you, Mr. Collier?

[RUFUS _turns to her_.

      RUFUS

Miss--I beg your pardon--you said your name was--?

      CECELIA

Henry. Cecelia Henry.

      RUFUS

Miss Henry, if you had spent the time and money and effort I have to
make that young man realize who he is and what he ought to be doing in
the world--how long have you known him?

      CECELIA

I'm comparatively new, I'm afraid.

      RUFUS (_to_ OWEN)

Perhaps, from longer experience, you might enlighten her.

      OWEN

I presume what Mr. Collier means is that on ordinary terms, Tom doesn't
seem to have got very far.

      CECELIA

There's still time, isn't there?

      RUFUS

Thirty-one--thirty-two in October--and he's wasted his life from the
cradle.

      CECELIA

It must have been pathetic to see him wasting it at three.

      RUFUS

I assure you, his genius for it showed even then. I send him to Harvard,
and he lasts two years there. I send him to Oxford, and he commutes from
Paris. I put him in the Bank, and he--(_He sighs profoundly._)--The
world at the feet of that boy, the whole world. And all he's ever done
is to run from it.

      OWEN

Tom has his own ideas about what he wants to do with his life. (RICHARD
REGAN _has come into the room. He is about thirty-two, with the figure
of an athlete, red hair, and a genial, ugly Irish face that appears at
some time to have been thoroughly mauled. He wears dark trousers and a
white linen jacket, and carries a slip of paper in his hand._)--Yes,
Regan?

      REGAN

There's a radio-message came by phone for him.

      OWEN

You can leave it here. I'll tell him.

[REGAN _folds the message and places it upon the table_.

      REGAN

Right. (_He turns and beams upon them._)--Everything satisfactory?

      OWEN

Yes, thanks.

      REGAN

Comfortable, Miss?

      CECELIA

Quite, thank you.

      REGAN

Like a drink, anyone?

      RUFUS (_exasperated_)

No, no! Nothing! We were talking!

      REGAN (_with a wave of his hand_)

Go right ahead. Make yourselves to home. He'll be along.

[_He goes out._ CECELIA _laughs_.

      CECELIA

--The butler? But he's charming!

      RUFUS

He looks like a prize-fighter.

      OWEN

He was.

[RUFUS _begins to hover curiously about the radio-message, wanting to
read it, not quite able to bring himself to_.

      RUFUS

Why did he send me word to come out here tonight? Exceedingly important?
Don't let anything interfere?

      OWEN

I don't know. I found a message asking me to get Miss Henry at my Aunt's
in New Canaan, and come back on the run. He had to go to town for
something.

      RUFUS

Well, I'll tell you what's in my mind--God knows I don't want it
there.--That girl he's been living with for the last three years--

[OWEN _glances quickly at_ CECELIA.

      OWEN

Just a minute, Sir.

      CECELIA

It's all right, Owen.

      RUFUS

Good Lord, it's no secret, is it? (_To_ CECELIA.)--You're not her, are
you?

      CECELIA

Not that I know of.

      RUFUS (_to_ OWEN)

Who is she, anyhow? What is she?

      OWEN

--An extremely nice girl--hard-working, talented. She draws for the
fashion magazines, and very successfully.

      RUFUS

Admirable.--Well, I believe he's got me out here to tell me he wants to
marry her--or has already.--I've no doubt he'll bring her with him.

      OWEN

Seriously--can you see Tom marrying anyone?

      RUFUS

I can see her marrying him. It has happened before, and to better men.

[_Again he hovers about the radio-message._

      OWEN

If it was going to them, it would have long before this. Besides, she
left for her magazine's Paris office three months ago, for an indefinite
stay.

      RUFUS

Maybe she's coming back.--In fact, I'm certain that she's why we're
here. It offers the perfect opportunity to cut himself off finally and
completely from the life he was born to. I'm surprised he has missed it
as long as he has. Well--I've stood for his rowdy friendships, I've put
up with his idleness, his ill-mannered insolence, his--

[CECELIA _rises and faces him_.

      CECELIA

I'm sorry, Mr. Collier, but I'll have to ask you to let it go at that.

      RUFUS

Ah? Why so?

      CECELIA

--Because it so happens that _I'm_ why we're here.

      RUFUS

How's that?

      CECELIA

It's me Tom's going to marry, and I've heard enough against him to last
me quite a while.

[RUFUS _stares_. OWEN _starts forward_.

      OWEN

--You that Tom's--?!--Good Lord, C, what are you talking about?

      CECELIA

Marrying. On May first, to be exact. (_To_ RUFUS.) He asked you out here
to tell you, and, I imagine, to receive your good wishes. (RUFUS _still
stares_.)--Thanks so much.

[_She reseats herself_, OWEN _continues to gaze at her, speechless_.

      RUFUS

What did you say your name was? I'm sorry, but I--

      CECELIA

Cecelia Henry. My mother was Cecelia Bond, of Baltimore. She married
Stephen Henry, also of Baltimore. Except for a few distant cousins, such
as Owen here, I'm alone now--poor, but quite respectable. Will it do?

      RUFUS

Tom has very little of his own, you know.

      CECELIA

It will be ample, thank you.

      RUFUS (_after a moment_)

Miss Henry, I'm inclined to like you. I think you have what I call
"character."

      CECELIA

Really? You're too kind.

      RUFUS

You'll need it with him.

      CECELIA

I don't agree with you. Tom is the most interesting, most attractive man
I've ever known. I consider myself shot with luck. And you make me a
little tired with your abuse of him.

      RUFUS

--Very loyal.

      CECELIA

Not at all. I simply believe in him.--Not in his so-called "past"
perhaps--I'm not quite a fool--but certainly in what's to be.

      RUFUS

Faith is a beautiful thing.

      CECELIA

_I_ think so.

      RUFUS

Well, if you can make a respectable citizen of Tom Collier at this date,
you'll have nothing but praise from me, my dear.

[_He picks up the radio-message and draws it through his fingers._

      CECELIA

It seems not to occur to you that when Tom has someone who really
understands him to work and care for--

      OWEN

Understands him!

      CECELIA

Yes. Completely. (_Again to_ RUFUS.)--He'll make what you call "a
citizen" of himself.

[RUFUS _adjusts his spectacles and reads the message_.

      RUFUS

You think?

      CECELIA

I know.--And if what you laughingly refer to as my "faith" is of any use
to him--

      RUFUS

"Love will conquer all." Yes, yes--of course--(_He sighs and refolds
the message._)--But forgive me a few doubts.

[OWEN _leans forward_.

      OWEN

Oh? How's that, Sir?

      RUFUS

"Darling. Am coming back. Arrive on 'Paris' at eight tonight. Much love.
Daisy."

[_He looks at_ CECELIA. _There is a slight pause. Then_:

      CECELIA

Well?

[RUFUS _rises, and regards her intently_.

      RUFUS

--Yes, you seem to be a first-rate girl.

      CECELIA

I've heard some rather agreeable things about _you_, now and then. It
would be pleasant sometime to--

      RUFUS (_smiling_)

--To see one or two of them? Well, my dear, perhaps some day you
shall.--And now if you'll let me have Mr.--er--Mr. Arthur to myself for
a moment--(_He moves toward the doorway._)--There are a few dull but
practical facts about--er--about your fianc, I should like to--(_He
turns to_ OWEN.)--Would you mind?

[OWEN _moves to follow him_. RUFUS _goes out_.

      CECELIA

Wait a minute, Owen, will you please?

[OWEN _stops and turns_.

      OWEN

Well?

      CECELIA

I'm sorry you had to learn about it so--abruptly.

      OWEN

It doesn't matter much, does it?

      CECELIA

I don't know.

      OWEN

Perhaps I was supposed to hear it with little cries of pleasure.

      CECELIA

The point is, that I intended to tell you on the way over, but somehow
couldn't.

      OWEN

I'm touched by your reluctance to deliver the blow.

      CECELIA

Don't be nasty, Owen.

      OWEN

It was kind of me to bring you together, wasn't it?

      CECELIA

An inspiration. I'm sure I'm most grateful.

      OWEN

I can't make it out. You aren't in the least the sort of girl I'd expect
Tom to be interested in.

[_She laughs._

      CECELIA

Thanks!

      OWEN


You know what I mean.

      CECELIA

Perhaps it's the artist in him. You see, he has the charming illusion
that I'm a real beauty.

      OWEN

--And I can't make _you_ out, either.

      CECELIA

It's quite simple: I'm in love at last.

      OWEN

Have you the remotest idea of what you're letting yourself in for?

      CECELIA

I think so.

      OWEN

I'm the one friend you and Tom have in common.

      CECELIA

--But such a lovely friend, Owen. Don't ever leave me--us.

      OWEN

There's not a taste, not an attitude--

      CECELIA

Perhaps there will be. Give us time.

      OWEN

C--how on earth did it happen?

      CECELIA

Very suddenly, very sweetly.--Yesterday. (_He turns away._) I'm sorry.
You asked.

[_A moment. Then_:

      OWEN

--I'll see what it is Mr. Collier wants, if you don't mind.

[OWEN _goes out_. CECELIA _looks after him for a moment, then removes
her hat, seats herself in a large chair, hidden from the doorway, and
thoughtfully lights a cigarette. A moment, then_ TOM COLLIER _appears in
the doorway_, REGAN _close behind him_. TOM _is in his early thirties,
slim, youthful, with a fine, sensitive, humorous face. He carries
several packages in his arms_.

      TOM

Where are they?

      REGAN

Well--they _were_.

[CECELIA _rises and turns_.

      CECELIA

Hello, Tom.

      TOM (_to_ REGAN)

Take my hat. (REGAN _removes it from his head_.) Thanks. Now get out.

      REGAN

I just wanted to tell you that--

      TOM

Later.

[_He is gazing fondly at_ CECELIA.

      REGAN

But there's a--

      TOM

Get, will you, Red?

[REGAN _goes out, murmuring_:

      REGAN

--Radio-message come for you.

[_But_ TOM _scarcely hears him. Suddenly he drops his parcels upon the
table, goes to_ CECELIA _and takes her in his arms_.

      TOM

Darling, darling--

[_He is about to kiss her, but she averts her head._

      CECELIA

No. You're late. I'm furious with you.

      TOM (_blankly_)

Late?

[_She looks at him for a moment, then smiles and kisses him lightly._

      CECELIA

There.--All right?

      TOM

Terrible. I've taken up with a thrifty spinster.

      CECELIA

It's all you deserve.

[_He laughs._

      TOM

How do you like it?--I mean the place.

      CECELIA

I love it.

      TOM

I call it "the house in bad taste."--Look out for taste, C. There's too
much of it in the world. (_He goes to the packages on the table._) See
here--what I fetched from town for you.

      CECELIA

What are they?

      TOM

A celebration: good things to eat and drink.--Where are they? Father?
Owen?

      CECELIA

In the other room.

      TOM

What do you think of Father?

      CECELIA

Well--

      TOM

Keep a civil tongue in your head.

      CECELIA

It may take a little time.

      TOM

You can learn to like him and beer together. Mother was the prize: you
missed something, there. Father means well, but you have to stand him
off. Give him an inch, and he takes you home in his pocket. Did you
really say you'd marry me?

[_He slips her arm through his and leads her to a chair._

      CECELIA

I'm afraid I did.

      TOM

Heaven help us both.--Just this one marriage please, darling. I haven't
been very good about marriage. I was exposed to a very bad case of it as
a baby. We must make a grand go of it.

      CECELIA

We shall, never you fear.

[TOM _smiles_. CECELIA _seats herself in the chair_, TOM _upon the arm
of it_.

      TOM

--Just do everything I say, and it will be all right.

      CECELIA

--With pleasure.

[_He gazes at her._

      TOM

C, what a marvellous object you are. (_He picks up her hand, looks at
it._) Look at those fine small bones in your wrist.

      CECELIA

What about them?

      TOM

This--(_He kisses the wrist._)--You're so cunningly contrived.

      CECELIA

What?

      TOM

I say, you're put together on the very best principles.

      CECELIA

I don't see so many blunders in you either, Thomas.

      TOM

No, mine is entirely beauty of soul. Shall I tell you about my soul,
C?--With lantern-slides?

      CECELIA (_softly_)

Put your arms around me, Tom.

[_He draws her to him and kisses her. Then_:

      TOM

--Oh God, I feel good!

      CECELIA (_in a breath_)

--So do I.

      TOM

--Let's have all our good things together. (_He turns and calls
loudly_:) Red! Oh, Red! (_Then turns again to_ CECELIA.) That's a very
good rule of life, darling: all one's good things together.

      CECELIA

Is it, dear?

[REGAN _appears beaming_. TOM _rises from the chair_.

      REGAN

Hello. Not so loud.

      TOM

--Glasses with ice, Red, and run all the way.

      REGAN

O.K.

[_He goes out._ TOM _calls again_:

      TOM

Owen? Father! (_Then turns and regards_ CECELIA _once more_.) Oh, my
lovely C--you lovely thing, you.

      CECELIA

Stop it, Tom. You're really embarrassing me. I feel quite naked.

      TOM

That's fine. (_He goes to her and draws two fingers gently across her
cheek._) It's such a fine binding, darling--such a good book. (RUFUS
_re-enters, followed by_ OWEN.) Hello, Father, hello, Owen--terribly
nice you're here. You've met Miss Henry, Father?

      RUFUS

I've had that pleasure, yes.

      TOM

It is a pleasure.--How are the horses?

      RUFUS

Do you care?

[TOM _laughs_.

      TOM

Not a bit.

      RUFUS

Then why ask?

      TOM

Politeness.

      RUFUS

You said five o'clock. It's seven.

      TOM

Did I? Is it?--Listen,--- you and Owen--I want to tell you what this is
all about.

      RUFUS

We know. We've heard.

[TOM _looks to_ CECELIA.

      CECELIA

He was abusing you so, I had to tell him.

[TOM _laughs delightedly_.

      TOM

And it didn't discourage you?

      CECELIA

On the contrary.

      TOM

Stout heart. (_Then, gravely, to_ RUFUS.) Why, thank you very much, Sir,
but I think _I'm_ the one to be congratulated. Yes, indeed we are. Yes,
I'm sure we shall be. (REGAN _comes in with a tray of glasses filled
with ice_.) Oh--er--this is my father, Red.

      REGAN

Glad to meet you, Sir.

[RUFUS _bows slightly_. REGAN _undoes one of the packages and produces a
bottle of champagne_.

      TOM

--And my fiance, Miss Henry.

[_Bottle in hand_, REGAN _stares at him, puzzled_.

      REGAN

Your--?

[_Then goes to_ CECELIA, _seizes her hand, shakes it warmly and goes
out_. CECELIA _laughs_.

      CECELIA

He is priceless!

      TOM

A magnificent fellow, Red. We box every morning. I gave him that
ear--but you watch, I'll pay for it. (_To_ RUFUS.) _You_ keep pretty
fit, don't you, Father?

      RUFUS

Quite. Do you mind?

      TOM

I'm delighted. My only wonder is that some designing woman doesn't snap
you up. Look how C got me (_To_ CECELIA.)--Like rolling off a log,
wasn't it?

      CECELIA

Easier, much.

      RUFUS

I keep my defenses well in line.

[TOM _laughs, and turns to_ OWEN.

      TOM

Did you hear what he said? (_To_ RUFUS.)--Millions for defense, eh,
Sir?--But not one cent for cab-fare. (REGAN _has come in again with the
bottle, now opened, and is filling the glasses_.) That's the boy, Red.
Pass them, will you? Then get dinner going. I could eat an ox. (REGAN
_passes the glasses_. TOM _turns to_ CECELIA.) Are you hungry too,
Angel?

      CECELIA

Simply famished.

      TOM

Good. I like a girl who likes her food. Once I said to Daisy--(_He
stops, waits a moment, then smiles and raises his glass._) Well--here's
how and why and wherefore--and you know where marriages are made. (_All
drink._ REGAN _has a glass of his own, which he downs at a
gulp_.)--Speaking of eating, I ran into Jim Winter--you know Jim,
Owen--in town today. He wants me to go salmon-fishing in Canada in June.
I think I'll take him up on it. I've never done it.--It sounds like
great sport, eh, Red?

      REGAN (_putting down his glass_.)

Did you get your radio, Tom?

      TOM

What radio's that?

      REGAN

There on the table.

[_He goes out._

      CECELIA

In June, did you say?

      TOM

Yes. It won't be for long. (_He takes a swallow from his glass
and puts it down._) My, what a noble wine. (_He picks up the
radio-message._)--I'll be back in three weeks at the outside.

      CECELIA

Then we'll be married in July.

      TOM (_turning_)

July! You said May.

      CECELIA

Not if you're going straight off on a trip.

[_There is a silence. He regards her soberly._

      TOM

--That's easy, then. I won't go.

      CECELIA

Perhaps you'd better think it over.

      TOM

No, darling. I don't have to.

      CECELIA

All right, Tom. (_She smiles and raises her glass to him._)--To May
first.

[_All drink._ TOM _opens the radio-message, reads it and refolds it
carefully. All are watching him. He thinks a moment, frowning, then
turns to_ OWEN.

      TOM

Owen--would you like to show Father the new bantam-cock?

[OWEN _rises and moves toward_ RUFUS.

      OWEN

The red one?--Right.--Will you come along, Sir?

[OWEN _goes out_. RUFUS _does not stir_. TOM _goes to him, and slips his
arm through his_.

      TOM

You must see him, Father. He's a beauty, that bird. He fights at the
drop of a hat. (_He draws him toward the door_, OWEN _following_.)--Even
if you don't drop it, he fights. I'm sure he'll be interested to meet
you, too, Sir.

[_He withdraws his arm, and_ RUFUS _goes out_. TOM _closes the door
after him, hesitates a moment, then returns slowly to_ CECELIA.

      CECELIA

Don't tell me if you don't want to, Tom.

      TOM

But I do. I intended to at the first opportunity anyhow, and--(_He
glances at the radio-message once again._)--And it seems that suddenly
here it is.

[_And puts it in his pocket._

      CECELIA

Am I to be a good soldier?

      TOM

No. There's no need to be.--Though I'm sure you would be, if there were.

      CECELIA

Thanks, dear.

      TOM

C, for quite a long time I've known--known intimately--a girl who's been
very important to me--

      CECELIA

Yes.

      TOM

--Who always will be very important to me.

      CECELIA (_smiling_)

--That's harder.

      TOM

It shouldn't be. Because it has nothing to do with you and me, not
possibly.

      CECELIA

I'm relieved to hear that.

      TOM

In fact, as it stands, I think she'll be glad for us.

      CECELIA

I hope she will.

      TOM

I'm sure of it.--C, Daisy has done more for me than anyone in this
world. She's the best friend I've got. I believe she always will be. I'd
hate terribly to lose her. It's been a queer sort of arrangement--no
arrangement at all, really. There's never been any idea of marriage
between us. It's hard to explain what there has been between us. I don't
believe it's ever existed before on land or on sea. Well--

[_He hesitates again._

      CECELIA

Is she attractive, Tom?

      TOM

To me, she is. She's about so high, and made of platinum wire and
sand.--You wouldn't like me half so well, if Daisy hadn't knocked some
good sense into me.

      CECELIA

Well, someone's done a good job.

[TOM _laughs_.

      TOM

I'll tell her that. (_Then seriously._) I sent her a long cable about us
this morning. She couldn't have got it, because this--(_He taps his
pocket._) this is from the boat. She lands tonight.

      CECELIA

I see.

      TOM

I want to be sure that you understand it--understand it both ways. I'd
rather not go--terribly deeply into it if you don't mind.

      CECELIA

I don't, Tom.

      TOM

We've been--everything possible to each other of course, and--

      CECELIA

Yes, Tom.

      TOM

But at the same time, free as air. There's never been any responsibility
to each other involved in it--

      CECELIA

I can understand that.

      TOM

Can you, C? Because I never could.--Anyhow, that's the way it's
been.--We haven't been what you'd call "in love," for quite a long time,
now, so--

      CECELIA (_smiling_)

Does she know that?

      TOM

She knew it first. Well--I don't know what more there is to say about
it, except that there's no reason at all for you to worry, and--you
won't, will you?

      CECELIA

No, Tom. Not if you tell me I needn't.

      TOM

I do.--And finally, that I think she ought to know the--news about us,
pretty promptly.

      CECELIA

Yes. Probably.

      TOM

Is whatever I do about it all right with you?

      CECELIA

Absolutely.

      TOM

Thanks, C.

      CECELIA

There's just one thing I'd like to ask. May I?

      TOM

Why of course, darling. What?

      CECELIA

Are you quite sure that--? (_She sees_ OWEN _and_ RUFUS _coming
in_.)--Poor Mr. Collier. I'm sure you loathe chickens. I quite agree
with you.

      RUFUS

--Vicious little beast.

[REGAN _comes in beaming_.

      REGAN

Come on, everyone! Dinner!

      TOM

You haven't put the car away, have you?

      REGAN

Say, how many hands have I got?

      TOM

Don't. I'll need it.

[REGAN _goes out_. TOM _turns to his father_.

      TOM

Father, I'm afraid I'll have to ask you to do the honors at dinner.

      RUFUS

The--? Why? How's that?

      TOM

I find I've got to go straight back to town.

[_A silence. Then_:

      OWEN

But I thought this was to be a celebration.

      RUFUS

I had the same impression.

      TOM

I'm sorry: it can't be helped.

      OWEN

Is it so important to go in just this minute, Tom?

      TOM

Yes--unfortunately.

[RUFUS _is eyeing him shrewdly_.

      RUFUS

Why? What's wrong?

      TOM

Nothing at all. It's simply that someone's arriving from Europe. I've
missed the landing, as it is.--(_To_ OWEN.)--Someone I've known a long
time, and am fond of.

      OWEN

Oh, I see.

      TOM (_to_ RUFUS)

I must--well, the fact is, I must tell her my--my good news.

      RUFUS

Now you listen to me--

[TOM _confronts him_.

      TOM

--And it seems to me extremely important that I should do it at once. In
fact, I can't do otherwise.

[RUFUS _bursts out_:

      RUFUS

--You have the effrontery, the colossal bad taste, on the night of
celebrating your engagement to a fine, trusting, loyal girl, to go from
her--your fiance--to your--to your--

[TOM _smiles_.

      TOM

--The same old difficulty with words, eh, Sir?--Never mind. None of them
would apply to Daisy.

      RUFUS

It's beyond me. It's the confoundest impertinence I've ever known.

      TOM (_smiling_)

But you see, for all your splendid moral judgments, you know so very
little, Sir.

      RUFUS

I suppose you know better.--If you leave here tonight--

[TOM'S _smile vanishes_.

      TOM

--Yes. Much better. (_He returns to_ CECELIA, _lifts her hand and kisses
it lightly_.)--Until tomorrow, my Angel.

[_He nods Good-night to_ OWEN _and_ RUFUS, _and goes out_.


CURTAIN




ACT ONE


SCENE II

_The sitting-room of_ DAISY SAGE'S _flat, later the same night_.

DAISY'S _flat occupies the top floor of an old house in the Murray Hill
section of New York. The sitting-room also serves as a workroom for_
DAISY. _Victorian in atmosphere, it is light and cheerful and has been
decorated and furnished with an original and unerring feeling for the
period. There is a fire place of simple design at Left and above it, a
door opening into the bedroom. The entrance from the hall is up Right,
and into the pantry, down Right. The sofa and chairs are fine old
Victorian pieces, but comfortable in spite of it. There are three large
windows in the back wall. Below them stands_ DAISY'S _work-table, piled
with old magazines and sketches, drawing-boards, crayons, pens and
pencils_.

_Opposite_ TOM, JOE FISK _is seated. Between them stands_ FRANC SCHMIDT,
_violin under her chin, playing, and playing well, the concluding
measures of a Csar Franck sonata. She is thirty, hard, rugged--in
appearance more of a handsome farm-girl than musician._ JOE _is
twenty-eight, fine Irish, nervous, intense, attractive_. FRANC
_concludes the piece_.

      JOE

Good!--You'll get there, Franc, if you work.

[_She returns the violin to its case and seats herself near them. She
speaks with a slight German accent._

      FRANC

--Only I played it much better, much.

      TOM

He just wasn't impressed, eh?

      FRANC

Oh, yes.--He could book me on the Big Time, he said.

      JOE (_incredulous_)

Vaudeville?

      FRANC

--That is, if I would learn to roller-skate.

      TOM

He wanted you to play on skates?

      FRANC

--A sensation, he said.

[JOE _and_ TOM _laugh with delight_. JOE _goes to her, takes her face
between his hands and kisses her resoundingly upon the brow_.

      JOE

My darling. My Dutch darling.

[_She brushes him aside._

      FRANC

Get away.

[JOE _calls in the direction of the bedroom_:

      JOE

Daisy!--Did you hear about Franc and the booking-agent? (_He turns to_
FRANC.) Where is she?

      FRANC

--Probably taking another bath. It will be her third in six hours.
That's what Europe does for you.

      TOM (_indicating the pantry_)

--No. She's in there, I think.

      JOE (_incredulously_)

Six hours! Two o'clock--?

      FRANC

It's past it.

      TOM

Will you two never go home?

      JOE (_calling in the direction of the pantry_)

Daisy! We're going! (_To_ TOM _and_ FRANC.)--And I promised myself
tomorrow I'd do a chapter or die.

      TOM

How's it coming?

      JOE

All right. At least it's begun to move.

      TOM

What are you calling it?

      JOE

"Easy Rider."

      TOM

I like that.

      FRANC

But what does it mean?

      JOE

Good God, must it mean something? (_Again he calls._) Daisy!

      FRANC

Yes. Your eyes have got smaller. You should get to bed.

      TOM

Both of you should--go on, will you?

      JOE

Why?

      TOM

I want to talk to Daisy.

      JOE

Look here, Tom, what _is_ on your mind?

      TOM

I've got something to tell her.

      JOE

News?

      TOM

Yes.

      JOE

Good news?

      TOM

Very.

      FRANC

Will she cheer?

      TOM

I think so.

      FRANC

Tell _us_, Tom!

      TOM

No.

      JOE

Why not?

      TOM

I want to tell Daisy first. (_To_ FRANC.) You know, I've been thinking:
Johnny Bristed might get a concert for you.

      FRANC

I don't want it yet. I'm not ready yet.

[_Again_ JOE _calls_.

      JOE

Daisy!

[DAISY SAGE _comes in from the pantry. She is twenty-six, slim, lithe, a
stripling, but with dignity beyond her years and a rare grace to
accompany it. In contrast to_ CECELIA'S _lush beauty, she is plain, but
there is a certain style of her own, a presence, a manner that defies
description. Instantly and lastingly attractive, like no one else one
knows; in short "a person," an "original." She wears white pajamas that
might as well be a dress, and carries a tray containing coffee and
sandwiches._

      DAISY

--And furthermore, I don't believe I like France as much as I say I do.
(_She puts down the tray._)--And I don't for a minute believe that
you're leaving.

      FRANC

Joe must. So must I.

      DAISY

--You stay the night, if you like, Tom. You can have my room. I've got
all the work in the world to do before morning.

      TOM

Why, thanks, Daisy, but--

      DAISY

As you like. (_She seats herself, and gives them coffee and
sandwiches._) I had thirty sketches to get through on the boat.--Oh,
what lovely intentions.

      FRANC

Was it rough?

      DAISY

No, but Pilard was on board and we spent hours on end in the
smoking-room--talk, talk, and more talk.

      JOE

He's a fine painter, Pilard.

      TOM

He's a good painter.

      JOE

Fine, I said.

      TOM

--And last week Henry Collins could write. Hold on to your standards,
Joe.

      JOE

You teach me, will you, Master?

      TOM

Collins' life shows in his work. He can't make up his mind whether he
wants to be a writer or a man-about-town.

      JOE

Why not both?

      TOM

--Because, little Joe, his work is the only true mistress a real artist
ever had. When he takes on the world he takes on a whore.

      FRANC

That goes for all good men, not only artists.

      DAISY

--But all good men are, aren't they?--Look at Tom.--You don't have to
put marks on paper or dents in stone to qualify, do you?

      TOM (_to_ JOE)

--Yes, and pays for her favors with something a lot more precious than
twenty dollars left on the mantelpiece.

[JOE _reflects_.

      JOE

_I_ had twenty dollars once. Now, when was it?

      DAISY

There's a statue in Florence that made me think of you, Tom.

[TOM _laughs_.

      TOM

Me! How?

      DAISY

It's a David by Donatello.

      TOM

You mean with the curls and the derby hat?

      DAISY

That's right!

[TOM _shakes his head_.

      TOM

--No David, me. I'm just the no-account-boy. Ask Father--he'll tell
you.--Hand me another sandwich, Joe.

[JOE _gives him one_.

      JOE

No-account, is it?--You've done more for people than any one man I know.

      TOM

Why thanks, Joe.--It's not true, of course, but thanks.

      JOE

And done it in the damndest, most unassuming way I've ever heard of.

      TOM

Oh, go to hell, will you?

      JOE (_to_ FRANC)

I could name a dozen first-class talents that, if _he_ hadn't nosed 'em
out, would have--

      TOM

Say, are you two going to hang around here all night?

      JOE

We haven't seen her either you know.

[FRANC _puts down her cup_.

      FRANC

I must teach you again how to make coffee, darling.

      DAISY

Your country's the one, Franc.

      FRANC

Ach! There is no more new music in Germany today than there is here.

      JOE

I thought there was plenty here.

      FRANC

Like what?--If someone goes--(_She hums the opening bar of the "Rhapsody
in Blue."_)--at me again, I shall become mad.

[DAISY _gazes at the bulging brief-case on the floor beside the
work-table. Her smile fades._

      DAISY

Oh, that work!--Look at it.

      TOM

Is there much of it?

      DAISY

At least eight hours.

      JOE

I wish we could help.

      TOM

--You can. Good-night, Joe.

      DAISY

--And Briggs was at the dock.

      TOM

I didn't get your radio till seven.

      DAISY

That didn't matter. Anyhow I hate being met. Anyhow, I tell myself I do.
Briggs was frantic. Apparently they've held the presses for two days.

      TOM

You're a bad girl.

      DAISY

I'm a scoundrel. I swore it would be on his desk at nine. I'll be lucky
if I'm through by noon.

[JOE _laughs, and rises_.

      JOE

Urge us to stay once more and we may give in.--Come along, Franc. I'll
see you across the hall.

[FRANC _rises and takes up her violin-case_.

      FRANC

--It is good to have you back, too, Tom. You are better than all of us,
but Daisy. She is better than best. Between you, you stir up our lazy
bones, you hold us together, you bind our wounds. You two are
the--ach!--my blood is turned to beer.--Auf wiedersehen. Good-night.

[_She goes out._

      JOE

I'll drop in tomorrow afternoon about five, if I can.

      DAISY

Fine. I ought to be up by then.

[_She follows_ FRANC _into the hall_.

      JOE (_to_ TOM)

Will you be here?

      TOM

I'm afraid I'll have to go to the country.

      JOE

Shun the country. Things come out of the ground there in Spring.

[_He goes out._ TOM _is alone for a moment. Then_ DAISY _re-enters_.

      DAISY

--Love them as I do, I thought they'd never go.

      TOM

So did I.

[_She puts her arms around him and looks up at him._

      DAISY

Hello, you dear Tom.

      TOM

Hello, Daisy.

[_She kisses him lightly._

      DAISY

Now it seems I haven't been away at all. (_And leaves his arms._) Oh,
it's grand to be back!

      TOM

It's grand having you.--Was the trip really all that you hoped it would
be?

      DAISY

It was better.--If only you'd been along. Oh Tom--the pictures! I got
drunk on them every day, twice a day.

      TOM

I was sure you would.

      DAISY

And at night when the galleries were closed I sat around and dreamed of
them.--The silly contempt I always pretended to have for
painting--self-protection, of course--the stuff _I_ draw.

      TOM

But some of it's good.

      DAISY

You're right, my boy. Some of it is. (_She goes to the table and picks
up a portfolio._) Look--full--sketches.--And not a dress, a hat, a
pajama among them. A market-wagon--the angle of a doorway--an open
trunk. A melon cut in half--three glasses and a corkscrew--all manner of
funny objects. Oh Tom, two of the most exciting things have happened to
me! Not one--two! (_She moves toward the sofa._) Come--sit down--

      TOM

What are they?

      DAISY

I'm bursting with them. (_She makes room for him beside her on the sofa,
looks at him lovingly, smiles contentedly, touches his arm._) Good,
this--isn't it?

      TOM

But what, Daisy? Did you fall in love with Pilard?

      DAISY

Well I should say not! (_She laughs._) Pilard! (_Then._) What's that?
(_From the distance the strains of a violin are heard, playing
variations on the scales._) Oh--Franc. Still working.--Guess what I
found in my room when I came in? (_He looks at her questioningly. She
laughs._)--It seems the Swede maid Franc got me doesn't approve of
you:--Four shirts, three socks, five ties and a razor, all done up in a
great big white handkerchief.

      TOM

You'd better go back to colored ones.--Maids, I mean.--

      DAISY

--Remember Gladys?

      TOM

Remember Hannah?

      DAISY

Remember Marietta? (_They laugh together happily. She slips her arm
through his, and for a moment drops her head upon his shoulder._) Oh
Tom, God love you.

      TOM

God love you, my dear. (_For a moment there is silence, except for the
sound of_ FRANC'S _violin. Then she raises her head and they speak
simultaneously._) Daisy--

      DAISY

Darling--(_She laughs._) What?

      TOM

No--you tell me--

      DAISY

Well, my heavy sledding ought to be over in a few weeks--by the first of
May, anyway. What have you got on the fire--much?

      TOM

Yes. A great deal. The fact is--

      DAISY (_in a rush_)

--Work night and day until May. Then come to Mexico for a month with
Daisy. I'm dying to go. Pilard was full of it. I know it's what I need
for awhile, because--well, first--oh, I feel like a fool. You mustn't
breathe a word of it. (_He shakes his head._)--Tom, I think I can paint.

      TOM

But that's no surprise. I've always thought if only you'd--

      DAISY (_quickly_)

Then you've always been wrong!--It's new. It's since these two
months.--I believe that if I work my eyes out, and my fingers to the
bone, someday I may paint.--You must be hard with me--no parties--no
hell-raising--_work_.--And you mustn't let me show until you know I'm
ready to. Is that agreed?

      TOM

All right.

      DAISY

You have a funny instinct about such things. I count on you.--As for the
second thing--(_She hesitates._)--You know--suddenly I feel shy with
you. (_She rises._) I don't like it. I don't like it a bit.

      TOM

We've--it's been a long time.

[DAISY _goes again to the work-table_.

      DAISY

Too long.--Perhaps I'd better wait to tell you the second thing.

      TOM

No. Tell me now.

      DAISY

Oh, my dear--what's wrong with us? Come here to me. (_He goes to her,
takes her hands in his._) That's better. Now I don't feel it so much.
(_But still she looks at him anxiously. Finally she releases her hands,
turns and fumbles among her work-materials, picks up a pencil._)--These
are German pencils. They can't touch ours. You'd think they could, but
they can't. Give me a "Venus-6B," every time. (_She stares fixedly at
the pencil for another moment, then puts it down and turns to him._)
You're a free man, Tommy. You always have been, with me. No questions
asked. But please, Mexico in May together, because listen--No! Don't
look at me. Look the other way--(_He averts his head. She goes on,
rapidly._)--I stayed three days with the Allens at Vevey and they've got
the sweetest small boy about two and I got crazy about him and I want
one, I want one like the devil. I'm crazy for one, and would you please
be good enough to marry me, and--

      TOM

Daisy, I--!

      DAISY

Oh, it needn't be terribly serious!--It's not a life-sentence--just for
a short while, if you like--it'd be such a dirty trick on him, if we
didn't.--After I get my stuff through for the June issue--then Mexico
for a month--I love you so much, I was a fool ever to think I didn't,
and--ah, come on, Tom--be a sport--. (_She is breathless._)--Give me a
cigarette--

[_But he does not._

      TOM

Daisy--

      DAISY (_quickly_)

All right. No go. Let's forget about it. What a foul necktie that is.
The colors are awful.

      TOM

Daisy, I--Oh God, God Almighty--

      DAISY

Well, what is it? (_He covers her hand with his._)--You're going to tell
me something terrible.--What is it?

      TOM

I'm going to be married.

      DAISY (_incredulously_)

To be--?!

[_Then silence. She averts her head._

      TOM

Listen to me, darling, listen: you don't really care so much. You can't.
It's simply that we--you and I--after all this time, naturally we'd
feel--

      DAISY

It must have happened pretty quickly.

      TOM

It did. A month ago we hadn't even met. It was--

      DAISY

You can spare me the details, please. I don't even want to know who she
is.

[_He moves away from her._ FRANC'S _violin begins to be heard again_.

      TOM

--Her name is Cecelia Henry.

      DAISY

It sounds familiar. I've heard or read that somewhere. Where?--Well,
well, will wonders never cease?--If I'd thought you were in a marrying
mood, I might have thrown my own--(_She picks up a small, limp hat from
the table._)--could you call it a hat?--in the ring a bit sooner. (_She
drops the hat upon the table._)--Behold, the Bridegroom cometh--and no
oil for my lamp, as usual.--A foolish virgin, me--well, foolish,
anyway.--When's it to be? Soon?

      TOM

--About the first of May, we planned.

      DAISY

I see.--Of course, in that event Mexico _would_ be out, wouldn't it?

      TOM

--But I never dreamed you'd--oh God, I feel so awful.

      DAISY

Does she know about us?

      TOM

Yes.

      DAISY

Honest Tom.

      TOM

Oh, shut up.

      DAISY

Remember me, Tom.

      TOM

Oh my dear--as if ever in this world I--(_Suddenly, fearfully._)
Daisy!--There's to be no nonsense about not seeing each other as friends
again, or any of that, you know--

      DAISY

No?

      TOM

No. We're grown-up human beings. We're decent and we're civilized. We--

      DAISY

But there _will_ be that nonsense. Oh yes--there'll be that, all
right.--"Cecelia Henry"--Now I know where it was!

[_She picks up a magazine and begins to run through it._

      TOM

--But I don't understand it. I don't see why we shouldn't. I thought for
a long time we'd been out of danger so far as--well, so far as--

[_He cannot finish it, but_ DAISY _can_.

      DAISY

--Wanting each other goes?

      TOM

But haven't we?

      DAISY

Speak for yourself, Tom.

[_He looks at her, waits a moment, then speaks._

      TOM

--You too, Daisy.--You first, I thought.

      DAISY (_slowly, thoughtfully_)

It's true, that side of it was never so much to us, was it? Not in
comparison--not after those first crazy months. But I thought that was
natural. I was even glad of it--glad to find it was--other needs that
held us together. (_She looks away._)--Closely--without claims--not a
claim--but so closely. (_A moment. Then suddenly, sharply._) Tom--do you
have to marry her?

      TOM

I want to marry her.

      DAISY (_into the magazine_)

I was just thinking--perhaps you simply want her--want her most awfully.

      TOM

It's more than that, much more.

      DAISY

I don't see how you can tell quite yet.--For all our big talk, we still
belong to the animal kingd--(_She stops and looks closely at a
photograph in the magazine._) Here she is!--Oh, these neat, protected
women. I've drawn so many of them, dressed so many more.

      TOM

If you knew her--

      DAISY

But I don't, you see.--(_She holds the magazine at arm's length, gazing
at the photograph._) Such a pretty face--lovely eyes, Tom. She's a
prize, my boy. (_She closes the magazine and replaces it upon the
table._)--But look out for that chin.

      TOM

Why?

      DAISY

Just look out for it. (_She goes to him._)--Does she love you? _Will_
she love you, head over heels, regardless, as I--shall I say "as I once
did"? Would you rather?

      TOM

Daisy--don't--

      DAISY

I hold you dear, Tom--_you_--for what you are--just _as_ you are. I
thought it was my special gift. But maybe she has it too. I hope, I
hope--

[_He gropes for her hand, raises it to his lips kisses it._

      TOM

There's no one like you--never will be. _I_ know that.--But this--it's
the damndest thing--I can't tell you--

      DAISY

Don't try.--I'll pray for you every night, Tom. I really shall, you know
I do that.

      TOM

Oh, my sweet dear--

      DAISY

Yes--be good enough to remember me kindly, if you will.

[_She returns to the table._

      TOM (_wretchedly_)

Oh, don't _talk_ that stuff!

[_He goes to the fire place. She takes up her work-board._

      DAISY

Now just stand like that a minute, will you? Erect!--Will you stand
erect, please?

[_He turns. She looks at him keenly._

      TOM

What's all this about "remembering"? You sound as if we were--

[_She draws one strong line upon the paper and lets the work-board
drop._

      DAISY

There! That's all I want of you, all I shall keep of you. So goodbye,
you Tom Collier.

[_He looks at her, puzzled._

      TOM

"Goodbye"?--Until when--?

      DAISY (_so lightly_)

Doomsday, my darling.

      TOM

Daisy, what _are_ you talking about!

      DAISY

Just that.

[_He advances to her, takes her shoulders in his hands._

      TOM

Now you listen to me: If you think I'm going to allow two people as
important to each other as you and I are, to be separated by any such
false, ridiculous notion as this, you're mistaken. Just you try it.

      DAISY

Tell me goodbye!

      TOM

I'll do nothing of the sort.

      DAISY

Yes! You have to.--Sharp, decent, clean--no loose ends between _us_ two!

      TOM

But it's not decent!--It's soft. It's sentimental. It's the sort of
thing you've never had any use for--taught _me_ never to.

      DAISY

Goodbye!

      TOM

I will not say it.

      DAISY

Goodbye!

      TOM

No.

      DAISY

You must!

      TOM

You'll never get me to. So give up.

[DAISY _throws back her head and closes her eyes in pain_.

      DAISY

Oh, sweet heaven, what a world! _I_ could do better by people than
this--

      TOM

Daisy dear--listen to me--

      DAISY

--And I want you to take those things of yours--you hear? I don't want
them hanging around the place, not me.--That new maid had a very fine
hunch about us, didn't she?--Packed you all up, yes. Second sight--well,
she gets the gate for it, the big Swede.

[_He stands gazing at her._

      TOM

I don't believe in this. I don't believe in any of it.

[_She indicates the bedroom._

      DAISY

--Go in and get them, will you? Fetch, Thomas. It's quite a neat, tidy
little bundle. You won't be ashamed of it.--But if it stays
around--well, I don't quite see myself crying into an old shirt, do
you?--I have work to do, my son--a great deal of it. (_He does not
move._) No? Won't fetch?--Then kindly permit me to--(_She moves toward
the bedroom._)--And then you must say goodbye to me--you will, won't
you? You've said it so many times, so brightly--Say it this time
sadly.--We'll make it an _un_-marriage ceremony, to keep it all quite
regular. You must grasp my hand in yours--one splendid gesture--and
murmur "Goodbye, my Daisy. Thanks very much. A charming association."
(_She goes into the bedroom._)--And may we never, never meet again so
long as we two shall live.--You will, won't you?

[_He has been staring fixedly after her. Suddenly he straightens._

      TOM

--No.

[_He moves swiftly to the hall doorway, picks up his hat and goes out. A
moment. Then_ DAISY _comes in again, with a small bundle tied up in a
large white handkerchief_.

      DAISY

--See?--The wash is back.--Now do as Daisy says, and say--

[_She sees that he has gone. She moves toward the_ _door, stops against
the work-table. The bundle droops in her hand, drops upon the table.
There she stands, staring at the door. Again_, FRANC'S _violin is heard,
playing the scales_.


CURTAIN




ACT TWO


SCENE I

_At_ TOM COLLIER'S. _About half-past seven on a Saturday night the
following January._

_The living-room has undergone a certain change. Small, feminine
touches, such as new lamps, cretonne curtains at the windows and
slip-covers of the same material on chairs and sofa, have made a woman's
room of it._

CECELIA _and_ GRACE MACOMBER _are seated near the fire place having
after-dinner coffee_. GRACE _is just over thirty. Without a single
feature to remark upon except a slim and well-kept body, she manages,
with the aid of coiffeurs, dressmakers and manicurists, to impress one
as an attractive woman. She puts down her coffee-cup and moves closer to
the fire._

      GRACE

My dear, I'm congealed. I can't say I envy you the trip into town.

      CECELIA

It's not my idea.

[_She takes up a piece of needlepoint and begins to work upon it._

      GRACE

But why do you do it? It's so grim.

      CECELIA

Tom wants to.

      GRACE

Such devotion.

      CECELIA

It's her first big concert and he thinks for some reason we ought to be
there.

      GRACE

Who is she, anyway?

      CECELIA

Schmidt, her name is.

[GRACE _laughs_.

      GRACE

My dear! Not really!

      CECELIA

Franc Schmidt, at that.--Tom says she's supreme.

      GRACE

Oh--she's a friend, then.

      CECELIA

She used to be.

      GRACE (_with meaning_)

I see.

[CECELIA _smiles_.

      CECELIA

No, Grace. I doubt if you do.

      GRACE

I suppose publishers have to hobnob with all sorts of queer people.

      CECELIA

We see very few people of any description any more.

      GRACE

Don't tell me about the hermit life you live! I think the least you
could do would be to come to my Sunday breakfasts now and then.
Tomorrow's will be such fun. Do, C.

      CECELIA

Perhaps we shall.

      GRACE

--Not if you go in tonight.

      CECELIA

Perhaps we shan't go in.

      GRACE (_knowingly_)

Ah-ha! (_She looks about her._)--You know, you could do so much with
this house.

      CECELIA

--If we weren't so poor.

      GRACE

Don't be funny. Your name's Collier, isn't it?

      CECELIA

Somehow that doesn't seem to make the difference it might.

      GRACE

Well, I think it's brutal the way old Rufus K. hangs onto it.

      CECELIA

We seem to manage somehow.

      GRACE

I'd take _knives_, my dear, and gouge it out. (_A moment. Then_)--What
would he be doing now, for instance? Tom, I mean.

      CECELIA

Didn't he say he had letters to write?

[GRACE _seats herself again_.

      GRACE

He's really extraordinary. He defeats me.

[CECELIA _laughs_.

      CECELIA

What's so extraordinary about writing letters?

      GRACE

The minute dinner's finished? Before coffee, even?--I guess I'm just not
familiar with publishers' eccentricities.

[_Again_ CECELIA _laughs_.

      CECELIA

He's a little worried tonight, poor dear.--Some more coffee?--(_She
gives_ GRACE _a second cup_.)--He has a rather difficult ordeal to face.

      GRACE

The concert?

      CECELIA

No. Discharging Regan.

      GRACE

Reg--?

      CECELIA

--When, as and if he gets back from his weekly bat in town.

      GRACE

You mean that desperate butler? Oh my dear, I'm so glad! He must have
embarrassed you to death,--But how did you manage to persuade Tom to let
him go?

      CECELIA

I had nothing to do with it.

      GRACE

No? (_She laughs gaily._) I believe that! (TOM _comes in from the other
room, with two or three magazines, which he is unwrapping_.) Ah! With us
again.

      TOM

With you again. (_He looks at his watch._) Look here, C--hadn't we
better be getting under way?

      CECELIA

We've got hours. Let's not sit and wait in a stuffy theater.

[_A silence. Then_:

      GRACE (_brightly_)

I read the new book you published last week, Tom.

      TOM (_without interest_)

Yes? What did you think of it?

      GRACE

Superlative, my dear. I was simply ravished!

      TOM

Well, that's something, isn't it?

[GRACE _laughs_.

      GRACE

--Isn't he beyond words? (_To_ TOM.) You're the world's funniest man.
You couldn't possibly be funnier.

      TOM

You don't know me.

      GRACE

Oh yes I do! Don't _you_ adore it, C? The book, I mean--

      CECELIA

I like it very much. (_She glances at_ TOM.) In fact I'm afraid it was I
who made Tom do it.

      TOM

And I'm afraid I still think it's the worst tripe The Bantam ever
published.

      GRACE

--But my dear! Everyone's simply devouring it!

      TOM

There'll be a lot of sickness this winter.

      CECELIA

You're so foolish about it, Tom. (_To_ GRACE.)--He'll make enough on
that one book to bring out ten he really cares for.

[TOM _unwraps a second magazine_.

      TOM

I suppose that's the way it works.

      CECELIA

Of course it is. It's simply common sense.

      TOM

I suppose so.

      CECELIA

Besides, I don't care what you say, it really is amusing.

      TOM

It's tripe.

      GRACE

Isn't there such a thing as having too high a standard?

      TOM

No, there's not.

[_She looks at him, startled._

      CECELIA

What Grace means--

      TOM (_more emphatically still_)

No, C. There is not.

      CECELIA

All right, darling. (_He looks over one of the magazines. A moment.
Then._) Oh--I meant to tell you: your father wants us to dine with him
Wednesday, and spend the night.

[GRACE _pricks up her ears._

      TOM

Get us out of it, won't you?

      CECELIA

Again? How can I?

      TOM

Oh, say I'm up to my ears in work, or something else he won't believe.
Say the old boat is frozen stiff.

      GRACE

I could easily send you in, in the closed car. Sammy and I might even
join you.

      TOM

Thanks. We cannot accept your sacrifice.

      GRACE

But this weather--in that _racer_! It couldn't be more sobbing.

      TOM

Oh yes it could!

[GRACE _rises_.

      GRACE

Well, I guess I'd better be "barging along," as they say. I'm sure it's
getting colder by the minute.

      TOM

Yes--I think we'd best bring the brass monkeys in tonight.

[_He returns to his magazine._

      GRACE

The--? Oh, by the way, do you happen to know a stage-director named
Prentice Frith?

      TOM

You know, I'm awfully afraid I don't?

      GRACE

He's supposed to be the absolute top in amateur dramatics.

      TOM

I can't imagine how I've missed him.

      GRACE

He's coming out especially for my Sunday breakfast tomorrow--

      TOM

That's perfectly fine. That's just what Sunday breakfast needs, isn't
it?--Of course the coffee must be very hot, as well.

[GRACE _stares_. CECELIA _rises quickly. Finally_ GRACE _turns to her_.

      GRACE

Good-night, C.

      CECELIA

Good-night, Grace. Must you really?

      GRACE (_moving toward the hall door_.)

Yes. I'm afraid I must.

[_She goes out, followed by_ CECELIA. TOM _lights a cigarette, seats
himself upon the stairs and continues to glance through the magazine. A
door is heard to close in the hall. A moment, then_ REGAN _comes in and
makes his way quietly, but only fairly steadily, toward the dining-room
door. He has almost reached it, when_ TOM _turns_.

      TOM

Hi, Red.

      REGAN

'Evening.

      TOM

Did you have a good day in town?

      REGAN

Fine, thanks.

      TOM

Lots of beer?

      REGAN

No.

      TOM

No?

      REGAN

--Ale.

      TOM

Why ale?

      REGAN

It's quicker.

      TOM

It's bitter.

      REGAN

It's bitter and quicker.

      TOM

You don't seem to be in very good shape.

      REGAN

I'm in awful shape.

      TOM

You'd better get to bed.

      REGAN

--Just where I'm headed.

[_He moves toward the door again._

      TOM

--See here a minute first, Red--

[_He turns_, TOM _goes to him and confronts him sternly_.

      REGAN

Yes?

[TOM _hesitates. Then._

      TOM

The fact is, that--(_He stops, and concludes._)--Bring a couple of
bottles of beer, will you?

      REGAN

Right.

[_He goes out._ TOM _draws a deep breath of smoke, sinks down upon the
sofa, and exhales it slowly_. CECELIA _comes in from the hall_.

      CECELIA

You ought to be ashamed, Tom.

      TOM

Why?

      CECELIA

You were terrible to Grace.

      TOM

Why we should be exposed to a woman like that at all, is more than I can
make out.

      CECELIA

She's perfectly kind and friendly.

      TOM

She's a silly, idle, empty, destructive woman. And the woods are full of
her.

      CECELIA

Grace destructive?--She doesn't know enough to be.

      TOM

It's pure instinct with her. If she were malicious, that might be
interesting.--Come on--it's nearly eight.

      CECELIA

She thought you were trying to insult her.

      TOM

Do you have to change or are you ready?

      CECELIA

It seemed to _me_ you were unnecessarily rude.--I have to change.

      TOM (_rising_)

I'll warm up the car.

      CECELIA

Now we've simply got to go to her breakfast in the morning.

      TOM

Not me.

      CECELIA

But you'll have to make _some_ gesture toward her.

      TOM

I only know one.

      CECELIA

Tom--please be serious.

      TOM

Darling, I've spent my life trying to get away from her kind of people.

      CECELIA

Just what do you call her kind?

      TOM

Well--people utterly without stature, without nobility of any sort.

      CECELIA

It takes all kinds to make a world, doesn't it?

      TOM

Yes--and then what have you got? (_He laughs, takes her face between his
hands, and kisses her._) Go get dressed.

      CECELIA

All the same, I insist that if--. What did you say to Regan?

      TOM

Why, I--(_He stops and smiles._)--I told him to bring some beer, but I
expect he's forgotten it.

      CECELIA

Oh, I see.

      TOM

--Anyhow, I've been thinking: He never drinks on duty. Why shouldn't he
have a right to get slightly mellow on his one day off?

      CECELIA

"Slightly mellow"!--When he came back last week, he could hardly stand.
When I said "Good evening" to him he didn't even answer.

      TOM

Maybe he couldn't speak.

      CECELIA

Probably not.--I said "Don't forget the furnace, Regan," and all he did
was to bow like this, with a foolish grin--so low he nearly toppled
over.

      TOM

It's pretty hard to gauge a bow under those conditions.

      CECELIA

Of course _I_ think it's selfish of us to keep him.

      TOM

Selfish?

      CECELIA

We're certainly depriving him of any chance he ever had to make anything
of himself.

      TOM

But hang it, C--he broke his hand. He'll never fight again.

      CECELIA

I don't mean fighting.

      TOM

These are hard times: I don't know what else there is for him.

[CECELIA _shrugs and rises_.

      CECELIA

All right. Do as you like about him. I'll leave it to you.

      TOM

--And anyhow, I feel for some reason that Red's good luck for me.
He's--I don't know--we understand each other. I'm awfully fond of him.

      CECELIA

You must be, to ruin whatever chance in life he might have.

[_A moment. Then_:

      TOM

I wouldn't do that, C. You know I wouldn't.

      CECELIA

You're doing it, though. What possibly could be more degrading to a man
than housework?

      TOM

You're making a regular Simon Legree of me. Where's my whip?

      CECELIA

No, it's simply that in your delightful, casual way, you've never
thought of his side of it.

      TOM (_thoughtfully_)

--I wouldn't do that to Red. I really wouldn't. (_A moment. Then_:) Ring
for him, will you?

      CECELIA

Not me. I have nothing to do with it.

[TOM _stares in front of him for a moment, then goes to a bell in the
wall, presses it and returns to the fire place_.

      TOM

I don't know how I'll tell him.

[_A silence. He ponders it. Then_:

      CECELIA

I suppose you feel we really must go into town tonight--

      TOM

Why, yes. Why?

      CECELIA

She'll play again, won't she?

      TOM

I hope so--and often. But the first concert's an occasion, you know.

      CECELIA

I suppose all your old friends will be there, en masse.

      TOM

Without a doubt. (_Then, to himself._)--All week long I've been trying
to tell Red--

      CECELIA

--The one you were so fond of--the Daisy something--

      TOM

--Daisy Sage.

      CECELIA

What's _she_ doing now?

      TOM

Painting, I believe.

      CECELIA

Well?

      TOM

I don't know. But I should imagine so.--I haven't seen her.

      CECELIA

Don't you see any of them anymore?

      TOM

No.

      CECELIA

But why not, dearest?

[_A moment. Then_:

      TOM

They won't see me.

      CECELIA

--Won't see _you_!

      TOM

No.--Go on now, please, like a good girl, and get ready. (_She turns,
passing her hand over her eyes, and moves toward the stairs._) What's
the matter?

      CECELIA

Nothing.

      TOM

But dear--what is it?

      CECELIA

Just this blasted headache, that's all. I've had it all day.

      TOM

What a shame.--The cold air will fix you up.

      CECELIA

It's that that gave it to me. I'm--honestly, Tom, I don't think I can
face it. Why not telegraph, instead? Best wishes, and all that.

      TOM

It wouldn't do.

      CECELIA

I'm sure she'd be every bit as glad to have a telegram.

      TOM

You don't understand, C. Franc has been working for years for this.
She--(REGAN _comes in with bottles of beer and two glasses on a
tray_.)--Just put them there, will you? (_He does so, and turns to
go._)--And wait a minute. What's the rush? Stick around.

      REGAN

Certainly.

[_He waits, steadying himself in the doorway._ TOM _turns again to_
CECELIA.

      TOM

--Sorry, darling, a telegram wouldn't do. I've got to be there. But
there's no particular reason why you should come. I can go alone.

      CECELIA

I'll come.

      TOM

No, you hop into bed with a flock of aspirin. I'll be out again bright
and early.

      CECELIA

--I'll come, too.

[_She goes out, up the stairs._ TOM _waits a moment, then turns to_
REGAN.

      TOM

--Drag up a chair.

[REGAN _brings a chair to the table_.

      REGAN

One more's about all I need. (TOM _opens the beer and fills the
glasses_.) This morning if all the bad heads in the world'd been put
together in a row, my head would've got up and sneered at the rest of
them.

[TOM _laughs and raises his glass_.

      TOM

Here's how.

[REGAN _raises his_.

      REGAN

How. (_He drinks, and beams._) That's the stuff.

      TOM

It builds you up.

      REGAN

Yo! (_He takes an old pack of cards from his pocket._)--Seen this one?

      TOM

I don't think so.

[REGAN _holds the pack up before him and releases one card after another
with his thumb_.

      REGAN

--Tell me where to stop, and remember the card.

      TOM

All right.

      REGAN

Got it?

      TOM

I've got it.

[REGAN _makes a concealed "pass," shuffles the pack rapidly and hands it
to him_.

      REGAN

Where is it?

[TOM _looks through the pack_.

      TOM

Gone, of course.

      REGAN

Feel in your pocket.

[TOM _feels in his breast-pocket_.

      TOM

Not this time.

      REGAN

No? (_He reaches into the pocket, draws out a card and shows it to
him._) That it?

      TOM

Marvellous.

[REGAN _gloomily returns the pack to his pocket_.

      REGAN

I paid five dollars for that one. I'll let it go for two ninety-eight.

      TOM

Not interested. (_A moment._)--Was it cold in town, today?

      REGAN

--I don't envy those guys selling apples on the corners.

      TOM (_soberly_)

No.--Not much of a job, that.

      REGAN

Women's work.

      TOM

Pretty tough times, all right.

      REGAN

--Some of 'em, by God, are down to selling those white flowers that
stink so. (_Again he raises his glass._) Two hundred for steel!

[_They drink._

      TOM

I'm feeling the pinch a bit myself.

      REGAN

--Say, look here, Tom--

      TOM

What?

      REGAN

If I--(_But he thinks better of it and concludes._)--nothing.

[_They finish their glasses_, TOM _refills them_.

      TOM (_suddenly_)

Red, I might as well tell you straight off--

      REGAN

What?

      TOM (_after a moment_)

--Nothing.

[_They drink._

      REGAN

--All goes to show you ought to put something by.

      TOM

It certainly does.

      REGAN

--Clean up while you're young and close your mitts on it.

      TOM

That's it.

[_A silence. Then_:

      REGAN

How's your father these days?

      TOM

Never better.

[REGAN _shakes his head_.

      REGAN

Tsch-tsch-tsch.

      TOM

Red, do you ever think of your future?

      REGAN (_ruefully_)

I guess I'll go to hell, all right, (TOM _laughs_.) Oh--you mean
here.--Now that's a funny thing, because listen, Tom--

      TOM

What?

      REGAN

I've been thinking: maybe I--(_He falters, and cannot go on._)--Oh, what
the hell--

      TOM

But what?

[REGAN _holds out his glass_.

      REGAN

Fill her up, will you?

[TOM _refills both glasses_.

      TOM

Not much future in buttling, eh, Red?

      REGAN (_with a deprecatory gesture_)

Oh, well--

      TOM

I'm--I'm certainly very grateful for all you've done.

      REGAN (_uncomfortably_)

Ah!--Be still, will you?

      TOM

I am, though.

      REGAN

That's fine, from you.--I'll never forget, when I was--and you--(_He
gulps._) I'll never forget it.

[_He sniffs, and drinks._

      TOM

Put it there, old man. (_They clasp hands across the table._) You're a
fine fellow.

      REGAN

You're the top, boy. I don't know what you'll think of me, when I--

[_Again, he is unable to continue._

      TOM

When you what?

      REGAN

When I--well, what would you say, for instance, if I--(_He looks at him,
then looks away._) Nope, it's no good--

      TOM (_anxiously_)

You're not in trouble, are you?

      REGAN

Trouble? Me? What trouble?

[TOM _once more refills the glasses. Then, steeling himself_:

      TOM

--Then look here, Regan--

      REGAN

Well, Chief?

[TOM _looks at him. The steel melts._

      TOM

--Good old Red.

[REGAN _raises his glass_.

      REGAN

Tom Collier for President. The People's Choice.

      TOM

Listen a minute--

      REGAN

Wait! (_He takes another deep draught._) Tom, I've just got to tell you.
I've--I've--(_He grasps for_ TOM'S _hand and misses it_.)--Don't hold it
against me, Tom, but I'm quitting you. I've took another job.

[TOM _half-rises in astonishment_.

      TOM

You've--?!

      REGAN

Oh, I know what you'll say!

[TOM _drops into his chair again, and stares_.

      TOM

Holy cats, Red--

      REGAN

I couldn't stand it any longer. She don't like my ways. I mean the
Missus. I get on her nerves.--Last week Moe Winters told me he wanted to
open a country gym and would I run it with him, on the order of
Muldoon's, but with a little bar attached and, well, God help me, I give
him my word.

      TOM

What's there in it for you?

      REGAN

Don't put it that way, Tom.

      TOM

But I really want to know.

      REGAN

Two hundred a month, and a smell at the gate, if any.

      TOM

It sounds like a good deal.

      REGAN

Ah, the hell with it!--Let's let it go. I'll phone him.

      TOM (_alarmed_)

No! (REGAN _looks at him_.) When do you start?

      REGAN

He wanted me last Wednesday. I've been trying all week to get up the
nerve to tell you. But--

      TOM

How long will it take you to pack?

[REGAN _grins_.

      REGAN

Well, there's my hat-trunk and my shoe-trunk, and the trunk for my
fancy-dress ball-clothes--

      TOM (_firmly_)

You leave by noon tomorrow, you hear? Not a minute later.

[REGAN'S _grin fades_.

      REGAN

O.K., Chief.--I'm sorry you had to take it this way.

      TOM

Don't be a fool. I'm overjoyed for you.

      REGAN (_uncertainly_)

Fact?

      TOM

Absolute. (_He raises his glass._) Here's to the new job.

      REGAN

--Take it from me, boy, you're the goods.

      TOM

You've got your points, too, you know.

[REGAN _rises, swaying slightly, and raises his glass_.

      REGAN

Anyhow--

[TOM _rises and raises his_.

      TOM

Anyhow.

[_They drain their glasses, put them down and again clasp hands._

      REGAN

You'll explain to the Missus?

      TOM

Of course.

      REGAN

Tell her I'm sorry--hope no inconvenience--but--

      TOM

I'll explain.

      REGAN

So long, Tom.

      TOM

Good-bye, Red.

      REGAN

So long, Tom.

      TOM

Good-bye, Red.

      REGAN

I'll give you a ring how it goes.

      TOM

Do that.

      REGAN

Keep your bib clean.

      TOM

I will, old boy.

[_Suddenly_ REGAN _sobers, looks at him intently for a long moment, then
touches him on the shoulder and says_:

      REGAN

Good luck, Tom.

[_Turns abruptly, and swiftly and steadily goes to the door and out._
TOM _takes a deep breath and seats himself at the table, with his back
to the stairs, in utter dejection. He picks up_ REGAN'S _pack of cards
and moodily glances through it_. CECELIA _comes down the stairs in a
lovely negligee. A moment, then she speaks lowly._

      CECELIA

Tom--

      TOM (_without turning_)

Hello. Ready?

      CECELIA

Did you tell him?

      TOM

I'll miss that guy. I'll miss having him around.

[_She goes to him._

      CECELIA

I know, dear. But it's for the best. I'm sure of it.

[TOM _puts down the cards_.

      TOM

I've got a feeling that my luck's going with him.

      CECELIA

No, no!--I'm your luck.

[_She draws him into her arms and takes his head against her breast. A
moment. Then_:

      TOM

You feel good, C.

      CECELIA

Do I, dear?

      TOM

You haven't any clothes on. Go on--dress--dress quickly--we've got to
run.

[_She moves from him toward the stairs, where she turns again._

      CECELIA

--Come and help me? (_He looks at her for an instant, then goes to her.
She turns into his arms. He holds her to him for a moment, then she
leans away from him, provocatively._) No, you'd better not. (_She
glances down at the negligee, arms out._) Look--I came across it in the
bottom drawer, and my spine simply melted.--Do you remember it?

[_He picks up the edge of the loose sleeve and kisses it._

      TOM

--Quebec.

      CECELIA

Then you do!--That funny little French hotel--

      TOM (_gazing at her_)

Yes.

      CECELIA

--Darling place.--Wasn't it cold that morning?--Frost on the windows an
inch thick.--Remember?

      TOM

--We couldn't see out--

      CECELIA

We didn't want to.

      TOM

No one else could see in.

      CECELIA

Breakfast before the fire--shivering.--Remember--?

      TOM

I remember.

      CECELIA

We didn't finish it--

      TOM

No.

      CECELIA (_with a little laugh_)

There was only one way to keep warm.

[_He moves toward her._

      TOM

Oh C, darling--

[_She retreats, up one step of the stairs._

      CECELIA

No.--You'll make us late.

      TOM

What of it?

      CECELIA

It's late already. It's--we might miss the concert altogether.

      TOM

What if we do?

      CECELIA

Tom, you're the limit! Ten minutes ago you said--. (_A moment. Then, in
another voice._) Tom--

      TOM

Oh yes, darling. What--

      CECELIA

You go in alone. I've decided to stay here.

      TOM

You've--?

      CECELIA

Yes. It's too cold. I'm going to tuck myself into my warm bed,
and--you'll need your heavy coat, won't you? It's here--(_She goes into
the hall, returning with an overcoat which she leaves upon a chair._)
Good-night, love. I'll miss you--(_He is about to take her in his arms,
but she retreats, with the same provocative smile and an admonitory
gesture._) No, no!--Good-night, dear. Keep warm.

[_He turns from her. She mounts the stairs, turns once, smiles down upon
him curiously, and goes out leaving the door open. A moment. Then he
takes up his coat, crosses the room, puts out the lights, and is
returning to the hall doorway, when he hears_ CECELIA _singing lowly to
herself from upstairs. He stops, listens a moment, then moves slowly to
the side table, where he leaves his coat upon a chair and takes up the
telephone._

      TOM

Western Union, please. (_A moment._) Western Union? (_The curtain begins
to fall._) I want to send a telegram.


CURTAIN




ACT TWO


SCENE II

_At_ DAISY SAGE'S. _Late afternoon on a fine bright day the following
May. The sitting-room is as before, except for the painting-materials
upon the work-table, and a large easel, turned away from the front, at
the window._

JOE _is seated upon the sofa, smoking_. FRANC _stands at the window,
looking out. A moment, then she turns abruptly to_ JOE.

      FRANC

--But what if _she_ doesn't come?

      JOE

She'll come.

[FRANC _leaves the window and seats herself, tense, upon a chair near
him_.

      FRANC

My nerves are like that.

      JOE

Have a cigarette?

      FRANC

No.

      JOE

It ought to be quite a meeting. Only that once, months ago--think of it.

      FRANC

And in a speakeasy!

      JOE

--Like old times, though, like a reunion. That is, until _they_ came for
him.--You know, I think the last thing he wanted to do was to go on to
that party with them.

      FRANC

She is a pretty, the wife.--But did you notice? In his top hat, when he
put it on, suddenly he looked like only anybody.

      JOE

Domestication works fast, when it works.

      FRANC

--Well, Daisy has not spoke of him one time since. Never, never will she
forgive us this.--Give me a cigarette. What did he say to you?

[_He gives her a cigarette and lights it for her._

      JOE

He just telephoned that he wanted to see me, said it seemed years.--Your
hand's shaking.

      FRANC

I know it.--What did you tell him?--Why shouldn't it shake?

      JOE

I said I'd be back at five. Then I left a note on the door: "Had to go
to Daisy's. Come there."--It wouldn't if you smoked less.

      FRANC

At five. (_She looks at her watch._) Ach, Gott!

      JOE

You're getting emotional in your old age, Frankie.

      FRANC

--But why did you do it? It was well enough left alone.

      JOE

I like Tom, and he sounded pathetic. I imagine he saw her exhibition,
and--

      FRANC

What makes you think he did?

      JOE

He said he was telephoning from the Overton Gallery.--I wonder what he
thought of it.

      FRANC

What did you?

      JOE

I know so damn little about painting.

      FRANC

I know less.--But it all seemed to me so fresh--done with such spirit.

      JOE

That's it!

      FRANC

--Bold--what-you-call it--un--in--without compromising.

      JOE

Yes.--And the real stuff. No fakiness.

      FRANC

--Every one of them Daisy. No little Matisses or Picassos.

[_A moment._

      JOE

But Franc--

      FRANC (_nerves again_)

Yes? All right. What?

      JOE

What really did you think of them?

[_She shrugs._

      FRANC

I tell you I am not--what-you-say--competent to judge.

      JOE

What did they do to you, Franc?

[_She looks at him sharply, hesitates. Then_:

      FRANC

--Nothing. I am sorry. But nothing--

      JOE

Nor to me.

[_She grasps his arm._

      FRANC

--But we must believe in her, Joe!

      JOE (_in pain_)

We do, don't we?--Oh Lord, if only all my friends made shirts for a
living.

      FRANC

Yes. You could say "That is not a good shirt" quite easily.

      JOE

This afternoon--after a few minutes we duck out on them, understand?

      FRANC

Joe, I don't like it. I am afraid of this. I think it is not wise.

      JOE

--If only they'd have one of their good old-time rows. I'll bet he and
that wife of his never had a decent scrap in their lives.

      FRANC (_thoughtfully_)

--And still, maybe seeing him, Daisy finds it is all
over--finished--cold. Sometimes that is so. I hope for her it will be
so.

      JOE

Listen, child: it's May, and the trees are in bloom.

      FRANC (_scornfully_)

You should write in German.

      JOE

Poor Tom. Poor guy. He's up against it for fair now, Franc.

      FRANC

Why now more than usual?

      JOE

Well, I ran into Hal Foster today, and--

      FRANC

Foster--?--The one who did those stories?

      JOE

That's the boy. He's finished a new novel that's even better, they say.
Apparently Tom thinks he can grab it for The Bantam, and stage a
comeback on the strength of it. A sort of a last straw. He's to meet him
this afternoon.

      FRANC

Oh, good!

[JOE _shakes his head_.

      JOE

No, not so: Foster told me that hard up as he is, he'd be damned before
he'd go with a house that was responsible for "Young Ecstasy" and--

      FRANC

But you should have talked to him, Joe!

      JOE

I did, till I was blue in the face. He just kept saying "Then how about
_you_?" It was no use explaining how Tom thought I'd do better
with--(JOE _glances quickly at the door, and rises_.) Look out!

      FRANC

Him?

      JOE

Yes, or--(DAISY _comes in_.) Oh, hello, Daisy!

[DAISY _pulls off her hat and gloves and looks at them_.

      DAISY

My, you're hearty. (_To_ FRANC.) What's the matter?

      FRANC

With me?

      DAISY

Yes. You look queer.

      FRANC

I don't like the Spring. I don't like May and the trees in bloom.

      DAISY

No? Nor do I. I say it's maple-syrup, and I say the hell with it. (_She
seats herself near them._) Well, the show's over. It's been a fine week.
I've learned a lot about new painters, the so-called Public and the
so-called Press.

      FRANC

There are no judges of one's work but oneself, Daisy.

      DAISY

Then you don't by any chance agree with them?

      FRANC

I would sooner sleep with an art critic than agree with him.

      DAISY

It's touching the way my friends have rallied round. Stout hearts.
Thanks, thanks.--But oh heaven!--If only someone I love and trust would
be honest with me!

      JOE

And what do you call what we've been?

      DAISY

Friendly, Joe, very friendly.

      JOE

_I_ tell you: let's all get drunk.

      DAISY

No thanks. (_For a brief moment she covers her face with her hands, then
looks up again._) It's all right. It's over. Let's talk about something.
Who knows anything?

[_A silence._ DAISY'S _head sinks again. Finally_ FRANC _ventures_:

      FRANC

Jim and Nancy Peters are going to have a baby.

      DAISY (_absently_)

A boy?

      FRANC

I think so.

      DAISY

Good for them.

[_Another silence. Then_:

      JOE

--Er--Tom Collier rang me up this afternoon.

[_A moment. Then_:

      DAISY

Oh? How is he?

      JOE

He sounded sunk.

      DAISY

That's too bad. (_She cools her wrists. Then, to_ FRANC.)--You know,
it's _hot_.

      FRANC

It _is_ hot.--Don't be bitter, Daisy.

      DAISY

I heard grand things about Nova Scotia yesterday.--Why should I be
bitter?

      FRANC

You shouldn't.--About what? Where is it?

      DAISY

North, way north.--Bitter! Me!--They say it's beautiful beyond words,
and you can live there on oh, so little.

      JOE

He said--I mean Tom did--that--

      DAISY

Joe, you seem to have an idea that I might be interested in what he'd
say--

      JOE

Well--

      DAISY

But as it happens, I'm not. (_To_ FRANC.) There are miles of green
meadows and a seacoast that's nobody's business. Woods, as well. (_To_
JOE.)--I suppose he was full of explanations about those choice eggs The
Bantam Press has been laying lately.

      JOE

No, he didn't mention them. He only said--

      DAISY

Why tell _me_? (_To_ FRANC.) The only out's the swimming. It's too cold.
But other things make up for it. (_To_ JOE.)--He always gets colds in
the Spring--I suppose his voice was gone entirely--

      JOE

It didn't seem to be.

      DAISY (_to_ FRANC)

It's like Maine, they say. Only better, much.

      FRANC

Not too many people?

[DAISY _closes her eyes_.

      DAISY

No people. Gloriously, happily, mercifully, no people. (_The buzzer at
the door sounds._) Joe--will you? (_To_ FRANC.)--Speaking of no people.
(JOE _presses a button to open the door_. DAISY _continues to_ FRANC.)
Imagine Joe thinking that at this date _I_ should give a damn what--

[TOM _comes in with a brief-case in his hand_.

      TOM

Joey! How are you? (_He drops the brief-case upon the work-table._)
Franc!

      FRANC

Tom, you look fine.

[_He turns to_ DAISY.

      TOM

Hello, Daisy.

      DAISY (_so coolly_)

Hello. How have you been?

      TOM

In rude health, thanks.--And you?

      DAISY

Never better.

      TOM

Oh, it's fine to see you! I've been starving for you--all of you.

      DAISY

Thanks.

      TOM

How's the job?

      DAISY

The magazine job?

      TOM

Yes.

      DAISY

I gave it up last winter.--A trifle--shall we say "quixotic"?--of me?

      TOM

Shall we? (_He looks from one to the other of them._) Listen: I love you
three, I love you. (_He takes_ FRANC'S _head in his hands and kisses her
brow_.) Oh Lord! (_Gives_ JOE _a friendly shove_.) Lord
Almighty--(_Laughs joyfully, seats himself and gazes fondly at them.
There is a long silence. Finally_:) Holy cats! Talk to me, will you?--Am
I a leper? (_Silence. He leans forward._) Now listen, the lot of you:
I've had enough of this nonsense. For months you've been avoiding me
like the plague and I won't stand for it. You're important to me and by
heaven, I'm going to hang onto your coat-tails, dog your footsteps, sit
on your doorsteps, until you're ready to grant that a man can marry, and
go on being a friend.--Is that understood?--Well, then: who's seen Sandy
Patch?

[_Then, in a rush_:

      JOE

I have.

      FRANC

So have I.

      DAISY

We all have.

      TOM

What's he doing?

      JOE

A war group in bronze for some town in Texas. He's making them look like
sheep.

      TOM

Good boy!

      DAISY

--Except that they'll probably throw it back at him.

      JOE

He'll get paid, though. Sam Frankl sees to that for him now.

      TOM

How's your book doing?

      JOE

Fair.--Of course nothing like The Bantam's "Indian Summer" or "Young
Ecstasy."

      TOM

Ouch.

      JOE

What the devil made you take them on?

      TOM

Money.--Ah, but Joey, I'm reforming! Did you know it?

      JOE

In time, I hope.--How?

      TOM

Williamson, Warren can have those bright boys now, and welcome.

      JOE

It's about where they belong.

      TOM

Wait till you see The Bantam's new list.

      JOE

I'm waiting.

      TOM

--That was certainly a foul format Brandon gave your book.

      JOE

The words are there.

      TOM

If you can read them. What's the stock they printed it
on--paper-towelling?--I hear you're a hit, Franc.

      FRANC

It has gone well enough.

[_He looks at_ DAISY, _hesitates. Then_:

      TOM

I--I saw your exhibition today.

      DAISY

Oh really?--Funny I missed you. What did you think of it?

      TOM

Well--

      DAISY (_suddenly, eagerly_)

Tell me!

      TOM

I don't think you were ready to show yet. How did it happen?

      DAISY

Saunders and Munn arranged it.

      TOM

Your old editors? The fashion boys?

      DAISY

What about it?

[TOM _shakes his head_.

      TOM

Daisy, Daisy.--How were the notices?

      DAISY

Appalling.

      TOM

I suppose their reasons were all wrong--

      DAISY

Of course.--What are yours?

[_A moment. Then_:

      TOM

Well, you've been painting less than a year--

      DAISY

Yes.

      TOM

--And yet you had about thirty canvases to show.

[_Now_ DAISY _is well on her mettle_.

      DAISY

Thirty-two.

      TOM

It's a lot, Daisy.

      DAISY

So you didn't care for any of them.

      TOM

Oh yes!--One I loved particularly: the one of the doorstep, with the
milk-bottles. I'd like to own that one.

      DAISY

--Number Seven.--Sorry, it's not for sale.

      TOM

Two hundred--?

      DAISY

Nope.

      TOM

Two-fifty!

      DAISY

Nope.

      TOM

Seventy-five--

      DAISY

Nope.

      TOM

Four hundred and one--

      DAISY

Nope.

      TOM

I wouldn't take it as a gift.

      DAISY

That's all right, then.

      TOM

Of course your drawing's a marvel. Lord, how that's come along!

      DAISY

--Only what?

      TOM

Good draughtsmanship's not to be sneezed at, is it?

      DAISY

Certainly not. Look at Belcher.

      TOM

No--at Goya.

      DAISY

Thanks so much.

      TOM

Of course it depends on what you want to be. I thought it was a painter.

[FRANC _rises_.

      DAISY

So did I.--Goya painted pretty well, too, I thought.

      TOM

In the first year? I doubt it.

      DAISY

I wasn't aware it took a definite length of time.

      TOM

--And living in cities all your life, you know.

      DAISY

Perhaps I'd better hie me to some sylvan dell.

      TOM

I don't think it would hurt a bit.

      DAISY

--Listen, you: if you can show me a purer cobalt than the winter sky
over the East River any afternoon at four--

      TOM

That's not the point.

[DAISY'S _voice is higher_.

      DAISY

What is?

      TOM

Fever--rush--hysteria--all day, every day.

[DAISY _turns away_.

      DAISY

Oh, go to hell, will you?

[FRANC _moves toward the door_.

      TOM

Sure. When do we start?

      FRANC

Come along, Joe.

[JOE _follows her_.

      DAISY

--And leave me with this mossback? This--(_Again she turns upon_
TOM.)--So I'm to sit under a parasol and paint tight little cows in
streams, am I?

      TOM

That's not what I said.

[_Unnoticed by_ DAISY, JOE _and_ FRANC _have gone out_.

      DAISY

--Something suitable as an over-mantel for the Home of Her Dreams, I
suppose.

      TOM

Now you're being bull-headed.

      DAISY (_turning_)

Bull-headed!--He calls me bull--(_She sees that_ FRANC _and_ JOE _are no
longer there_.) Oh, you snakes--

      TOM (_with a gesture_)

Well--

      DAISY

Well? What more, Teacher?

      TOM

All I said and all I'm saying is, you can't expect, the first crack out
of the box, to--_you've_ got to _work_, Daisy.

      DAISY

Sweet heaven! What else have I been doing? What have I done but?

      TOM

--But differently--with such pains. You're turning out too much, you
know it.

[_Suddenly the fight goes out of her._

      DAISY

Maybe, maybe.--Anything's too much.

      TOM

Ah, darling--

      DAISY

No!--Don't soften on me. Stay tough!

      TOM

I do believe that's it, though. I believe it's the whole story: still
hung over from the old job. Pressure, pressure all the time. Still
rushing countless sketches through against a magazine's deadline.

[_She looks away from him. Her hand gropes blindly for his and finds
it._

      DAISY

--Anyway, against some deadline--

      TOM

Daisy--darling--

      DAISY

You're cruel, inhuman. You're a brute.

      TOM

Oh Daisy--

      DAISY

Thanks for being.

      TOM

If you mean it--

      DAISY

From my heart--(_She looks at him, smiling now._) Oh, you skunk--

[_He laughs, relieved._

      TOM

Worse. Much worse.

      DAISY (_serious again_)

Who but you, Tom? (_She points her finger at him._) Look: only you and
strangers honest with me ever.

[_He draws her down beside him on the sofa._

      TOM

--The country's the place to work, Daisy. Listen: There's a grand little
house about six miles from us. Woods, hills, meadows--you can get it for
almost nothing.

      DAISY

That's about my price.

      TOM

It could easily be painted up. What about a white roof for it?

      DAISY

Oh, lovely idea!

      TOM

C discovered it. She can find out all about it. I'll tell her who it's
for.

[_But at this_, DAISY'S _mood changes_.

      DAISY

Don't dream of it.

      TOM

Why not?

      DAISY

I've got other places in mind.

      TOM

Anyhow, go somewhere.

      DAISY

Sure--somewhere.

      TOM

You're going to be good, Daisy. Don't think I don't think you're good.

      DAISY

I won't. I won't think anything.

      TOM

This is a big day for me, do you know it?

      DAISY

How?

      TOM

Well, I've been seeing the folly of my ways here lately. Poor C--I must
have been sweet to live with this past week. She's been grand about it,
though.

      DAISY

I'm sure she has.

      TOM

I--suddenly, for some reason, I saw that I'd got off the track--my
track. It was pretty painful-- But I'm getting back on, I think.

      DAISY

I'm glad, Tom. You must, you know.

      TOM

Did you ever hear of a fellow named Hal Foster?

      DAISY

No. What does he do?

      TOM

Writes. My God, how he writes!--And nobody knows it--not yet--

      DAISY

Have you got him?

      TOM

I'm getting him. He's done a fine, poisonous short novel that makes
Candide look sick. (_In growing excitement._) I'm going to make a grand
type-job of it, advertise it all over the place, and sell it at two
bucks. I don't care if I lose my shirt on it.--I'm to meet him at six
this afternoon, to make arrangements.

      DAISY

It must be nearly that now. You'd better go.

      TOM

--Daisy.--Have you missed me, Daisy?

      DAISY

You? Well, I'll tell you, it's this way: I--

[_But she stops and looks at him, drops her bantering tone, and nods,
dumbly._

      TOM

Much?

[_Again she nods, and adds, under her breath_:

      DAISY

--Skunk, skunk.

      TOM

Oh, and I you!--It's a lot of nonsense, this. It's ridiculous.

[_She looks at her watch._

      DAISY

It _is_ six.

      TOM

Hell.

      DAISY

You'd better run.

      TOM

We need each other, we two do.

      DAISY

You think?

      TOM

Most terribly. I'm convinced of it. There never were such friends as you
and me. It's wicked to give that up, to lose anything so fine for no
good reason.--Why you, of all people, for a shabby, lowdown question of
convention, fit only to be considered by shabby, lowdown--

      DAISY

Wait a minute!

      TOM

A hundred times I'd have given my eyes to see you, to talk to you--

      DAISY

Well--here I am--

      TOM (_eagerly_)

Daisy--may I come again?--Just now and then, you know?

      DAISY (_after a moment_)

--If you like--just now and then.

      TOM

Oh my sweet dear--thanks!

      DAISY

But don't say "sweet dear." That belongs to another life, years ago.

      TOM

Oh--there are to be rules, are there?

      DAISY

One or two. One strict one--

[_She hesitates._

      TOM

What?

      DAISY

Never secret. Never hidden.

      TOM

No, no!

      DAISY

--Always open, as before.

      TOM

But of course, of course!

      DAISY

I couldn't go it otherwise.

      TOM

Why should a friendship be hidden? What's there to hide?

      DAISY

It gets misunderstood.

      TOM

It won't, it can't, or the whole world's rotten.

      DAISY

It's been pretty ripe for a long time, Tommy.

      TOM

"Tommy"! (_He laughs exultantly and draws her into his arms. They stand
rocking back and forth, laughing in delight._) Oh my darling, how grand
this is!

      DAISY

I see you run to tweeds this season.

      TOM

I even have a horse now--practically a county squire.

      DAISY

Look out for it.

      TOM

Oh, it's tame.

      DAISY

I mean going county.

      TOM

Never you fear! I wouldn't be let. I'm a terribly queer duck to them.

      DAISY

"Lit'ry," I suppose.

      TOM

"Very artistic."

      DAISY

Are they good and dull?

      TOM

Crashing.

      DAISY

--And respectable.

      TOM

My God, how!

      DAISY

_We_ aren't respectable.

      TOM

Not a bit. Never shall be.

      DAISY

For which, praise heaven.

      TOM

Heaven, I praise you that Daisy and I are not--. Kiss the boy, Daisy.

      DAISY

No.--You've got to go.

      TOM

Why? Would it take long?

[_She laughs, and pecks his cheek._

      DAISY

There.

      TOM

Ask me am I happy--

      DAISY

It's all right, isn't it?

      TOM

Magnificent.--All as before.

      DAISY

Yes.--But for one thing.

      TOM

What?

[_She leaves his arms._

      DAISY

We aren't in love any more.--Now run. You might miss what's-his-name.

      TOM

How about lunch tomorrow?

      DAISY

It's fine with me.

      TOM

The old place?

      DAISY

I'd love it.

      TOM

One o'clock?

      DAISY

One o'clock.

      TOM

--And we'll dine at John Donovan's. He's opened a new place on
Forty-eighth Street.

      DAISY

Dine?

      TOM

Why not?

      DAISY

All right.

      TOM

The next day's Wednesday, isn't it? I said I'd drive out in the morning
to see Pat Atkins. He's been sick again.

      DAISY

Poor dear. I'm sorry.

      TOM

He's better now.--Come along with me, Daisy.

      DAISY

Wednesday? No--Wednesday, I--

      TOM

If it's a good day we'll take a picnic. What do you say?

      DAISY

I--I guess so.

      TOM

Fine!--We'll get back in time to--let's see, can I stay in town
Wednesday night? Yes, of course, I can. I want to see that black woman
dance.

      DAISY

Which one?

      TOM

Down on Grand Street.

      DAISY

Oh yes, I've heard about her!

      TOM

We can look in, anyway.--Thursday I'm at the Press all day. But Friday--

      DAISY

Wait a minute, Tom.--You said only now and--

      TOM

I'll bring Hal Foster in about four on Friday. Will you be here?

      DAISY

I--I think so.

      TOM

Good-bye then, darling. Till tomorrow!

      DAISY

Good-bye, Tom.

[_He takes her face in his hands, kisses it several times, then her
mouth, briefly_:

      TOM

Sweet dear, sweet dear--. (_He releases her._) One o'clock?

      DAISY

One o'clock.

[_He goes swiftly to the door, where he turns once more._

      TOM

--_Ten minutes_ to one!

[_He is gone, his footsteps heard upon the stairs. She stands rigid,
exalted, her eyes shining. Then she sees his brief-case, left behind him
upon the work-table. She stares at it for a long time, apprehension
growing in her eyes. Then she murmurs "Franc," runs to the door, flings
it open and calls in terror_:

      DAISY

Franc!

[_Then returns, puts_ TOM's _brief-case upon a chair, then places a
work-box upon her table and begins filling it with tools and materials_.
FRANC _comes in_.

      FRANC

Daisy?--What is it? Your voice frightened me.

      DAISY

Franc, you're the one woman I know who can hold her tongue.

[FRANC _shrugs_.

      FRANC

What is not my business--(_She sees what_ DAISY _is doing, and her
casual air is replaced by a real anxiety_.) Packing? What's this? What
for? You and--? Oh, Daisy, hold on a minute. Wait, Liebchen. Think, are
you wise, Daisy--

      DAISY

I'm going alone--a long way, for a long time.

      FRANC

To that place you said?

      DAISY (_a sudden idea_)

Yes!

      FRANC

Wait! I come with you--

      DAISY

No, I don't want anyone now. Later, maybe.

      FRANC

But what is it, dear?

      DAISY

I guess I'm running for my life, Franc.

      FRANC

--Tom again.

      DAISY

--Still.

      FRANC

It's no better--

      DAISY (_packing furiously_)

--It's worse.

      FRANC

Poor child.

      DAISY

No, no! I'm glad.--But I've got to get out.

      FRANC

Yes, that is wise.

      DAISY

No one's to know where I've gone to.

      FRANC

No.

      DAISY

No mess--it's to avoid one I'm going.

      FRANC

--But compose yourself, Daisy. Be calm.

      DAISY

I can't! Look--(_She points to the brief-case._) He went without it.
He'll come back for it. And if I see him again for one more minute I'll
die.

      FRANC

He loves you, Daisy?

      DAISY

I don't know. I don't believe _he_ knows. But--(_She looks up from her
packing._) Oh Franc--he's so young!--Did you notice how young he looked?

      FRANC

Yes, like a child.

      DAISY

All slim and brown and sandy.

      FRANC

Quick, Daisy!

      DAISY (_far away_)

He'll always be like that--even when he's old. I know!--And the way he
stands--that funny way--stiff--with his feet out--

      FRANC

--What they call duck-footed, eh?

      DAISY (_indignantly_)

Not at all. It's a perfectly natural way to stand. It's a fine, strong
way to stand.

      FRANC

Hurry, darling. Run quick!

      DAISY

Yes, yes, I must.

[_She resumes her packing._

      FRANC

Will you take a trunk?

      DAISY

The small one.

      FRANC

How do you go--by train?

      DAISY

I don't know. Boat, I think.

      FRANC

But when? From where?

      DAISY

I guess Boston. (_A moment._) Perhaps I'd better see him just once more.
Maybe if I can explain to him how impossible it is for us to--

      FRANC

No!--And you go to Boston tonight.

      DAISY

Yes. Yes, that's right, (FRANC _goes into the bedroom_. DAISY _continues
to pack for a moment, then calls_:) Franc!

      FRANC

What now?

      DAISY

When those things come back from the Gallery, cover them, will you?

      FRANC

Yes, dear.

      DAISY

--Number Seven--do you hear me, Franc?

      FRANC

I hear.

      DAISY

Pack Number Seven and send it to him at the Press.

[FRANC _re-enters_.

      FRANC

All right, dear.

      DAISY

You're lunching with him tomorrow.

      FRANC

So?

      DAISY

At the old place, at one o'clock.

      FRANC

One o'clock.

      DAISY

Franc--

      FRANC

Yes, darling?

[DAISY _gathers up some paint-tubes_.

      DAISY

When you see him--

      FRANC

Yes, darling--

      DAISY

Kiss him for me. (_She realizes what she has said, and murmurs_:) Kiss
him for me--(_Then hurls a tube into the box, in fury._) _Kiss_ him for
me!

[_The buzzer sounds imperatively._ DAISY _starts in alarm_. FRANC _takes
her arm_.

      FRANC

Come--and don't speak--

[_She leads her toward the bedroom, stopping to press the button at the
fire place. They go out._ TOM _is heard running up the stairs. He
hurries in, calling_:

      TOM

Daisy--? (_There is no answer. He goes to the table, and calls again_:)
Daisy!

[_A moment. Then_ DAISY'S _voice is heard faintly from the next room_.

      DAISY

Hello--

      TOM

I forgot my case. (_He finds it upon the chair and picks it up._) It's
all right. I've got it. (_At the door he turns once more and calls_:)
Don't be late tomorrow! Remember! Twelve-thirty!

[_And goes out. Again footsteps are heard upon the stairs, and a door
slams below._


CURTAIN




ACT THREE


SCENE I

_At_ TOM COLLIER'S, _six months later. Ten o'clock of a bright Sunday
morning. Alterations have been made, and the old library has become a
chaste dining-room. Now, at last_, TOM'S _house is_ CECELIA'S _house,
which is to say, The House in Good Taste_.

_The door beside the fire place at Right opens, through the hall, upon a
large new living-room. The library furniture has been replaced with a
dining-room table, sideboard, serving-table and chairs. The large table
is set for breakfast and there are various breakfast dishes being kept
hot upon the serving-table._

CECELIA _and_ OWEN _are at breakfast_, CECELIA _seated and_ OWEN
_standing, napkin in hand, half turned in the direction of the
serving-table, toward which_ GRACE _is moving with a coffee-cup_.

      GRACE

Oh no, thanks! I love to serve myself. It's so English.

[OWEN _reseats himself_. GRACE _refills her cup and returns to the table
with it_. CECELIA _presses a button upon the table_.

      CECELIA

I'll order some more hot.

[OWEN _takes a swallow of water, puts down his napkin and pushes back
his chair_.

      OWEN

Well, for the morning after a party, I feel pretty good. Where's the
birthday-boy?

      CECELIA

Still recovering upstairs.

      GRACE

He was never more amusing. Honestly, when he did that skit from his new
magazine, I thought I couldn't stand it. I was in stitches.

      OWEN

--What's happened to the artistic element? Still asleep?

      CECELIA

Miss Sage and Fisk insisted upon walking to the station with La Schmidt.
It turned out that she had to take an early train.

      GRACE

I've never known a musician to make such difficulties about playing.

      CECELIA

She's used to her own violin.

      GRACE

But is there any differ--? (_Then, thoughtfully._) Yes--I suppose there
is.--The Sage is rather a number, isn't she? Do you know she actually
spent six months in Tierra del Fuego?

      OWEN

Nova Scotia.

      GRACE

I mean Nova Scotia.

      CECELIA

Yes, I'd heard.

      GRACE

The places they go!--C, I wish I knew how you get hold of such
interesting people.

      CECELIA

I asked them as a particular favor, for Tom's birthday. I insisted on
it. It was part of the surprise party.

[GRACE _sighs_.

      GRACE

--They invariably _say_ they'll come to me, and then at the last minute
something always happens.

      CECELIA

--Besides they're very old friends of his. I said he was longing to see
them.--I think he really has missed them a little.

      OWEN

Clever Cecelia.

      CECELIA

Why?

      OWEN

Real security at last, eh?

      CECELIA

Do you object?

[GRACE _looks at them suspiciously_.

      GRACE

What are you talking about? (_There is no answer. She rises._) Oh, you
subtle people! I wish I were subtle.

[CECELIA _presses the bell again_.

      CECELIA

I wish someone would answer this bell.

[GRACE _looks about her_.

      GRACE

Darling, you _have_ done wonders with this house. It's all in such
perfect taste, now.

      CECELIA

I wish Tom was as enthusiastic about it as you are.

      GRACE

Oh, men never like changes.

      CECELIA

Unless they think of them themselves.--We're having a charming time
about the roof.

      OWEN

The roof?

      CECELIA

It's got to be fixed--and ever since he came back from Bermuda last
winter he's been saying he wanted a white roof--been wanting to
whitewash it white.

      GRACE

What!?

      OWEN (_simultaneously_)

The roof here?

      CECELIA

Yes. They're all white in Bermuda.

      OWEN

But this isn't Bermuda.

      CECELIA

I've tried to explain that to him.

      OWEN (_to_ GRACE)

But I don't think I've ever seen a white roof around here, have you?

      GRACE

Let me think. (_She thinks, painfully. Then_:)--No.

      CECELIA

He says, What does that matter? He wants one. He thinks they're pretty.
He thinks--(_In sudden irritation._) Oh, he can be exasperating! (_To_
OWEN.) His father sent him a check for his birthday: he may accept it,
he may not.

      GRACE

Not accept a _check_?

      CECELIA

--Because it's from him.

      GRACE

Well, I'm amazed.--A whopper, too, I'll bet.

      CECELIA

I don't know. I didn't see it.

      OWEN

I thought he'd got over the nonsense about his father.

      CECELIA

So did I. Everything has been simply beautiful for months. He's been so
pleased with Tom, and the way business has been going. Apparently
someone told him about it.

      OWEN

Williamson, probably.

      CECELIA

--Or Warren. I don't know which.

      GRACE

Are they the ones that want to buy The Bantam Press?

      CECELIA

--To buy into it, yes.

      GRACE

How does Tom feel about that?

[CECELIA _shrugs_.

      OWEN

He's made the price so high they'll have to refuse it.

      CECELIA

Not if _you_ tell them not to, Owen!

      OWEN

I thought I'd explained all that to you.

[_A moment. Then_:

      CECELIA

--I suppose I'll have to get the coffee myself. (_She rings again._) I
told Tom that with _him_ back, the maids would do nothing.

      OWEN

It does seem funny, seeing him around again.

      GRACE

I was overcome last night.--How did it happen, C?

      CECELIA

The new job didn't pan out. Tom ran into him somewhere and telephoned to
ask if he could bring him out for a day or two, he'd been ill. There was
nothing to do but say yes. Now, of course, he wants to keep him.

      GRACE

Why not--you know--just give him something, and--?

      CECELIA

He won't take anything without earning it. Tom swears he'll teach him
manners--at least to the extent of calling us "Sir" and "Madam." He said
it was the one birthday-present he really--(_She sees_ REGAN _standing,
beaming, in the doorway_.) Oh.

      REGAN

Did someone ring?

      CECELIA

Several times. Will you bring some hot coffee, please?

      REGAN

Sure thing.

[_He takes the coffee-pot and goes out with it._

[GRACE _laughs_.

      GRACE

Manners!

      CECELIA

I'm afraid he's hopeless.

      GRACE

You know, I can't get over old Rufus K. actually sending checks. He can
be nice, can't he?

      CECELIA

Extremely. Did I tell you? He's invited us to spend the winter with him
in town.

      GRACE

Not in the big house?

      CECELIA

Yes.

      GRACE

But it's the most unheard-of thing I've ever heard of!

      CECELIA

We may not go. Tom's not too keen for that, either.

      GRACE

He's mad!--Of course you can persuade him. It will _be such_--(TOM
_comes down the stairs, a trifle white and wan_.) Ah! Good morning,
host!

      TOM

Is it?--How are you, Grace? Hello, Owen. (_He seats himself and eyes the
food distrustfully._) Did Franc get her train?

      CECELIA

I imagine so.

      TOM

I meant to get up. Where are Joe and Daisy?

      CECELIA

They went walking.

[TOM _settles back painfully in his chair_.

      GRACE

Oh come now! It's not as bad as that.

      TOM

Lady, you don't know. (_To_ CECELIA.) Was I dreadful?

      CECELIA

You were delightful.

      TOM

Oh, don't say that!--That means I put on an act.

      GRACE

You were the life of the party.

[TOM _cringes_.

      TOM

Good Grace.

[REGAN _comes in with the coffee-pot and a glass of what appears to be
milk_.

      REGAN (_heartily_)

How're'ye, Tom, my boy!

      TOM

--'Morning, Red.

[REGAN _puts the coffee-pot upon the serving-table_. TOM _looks guiltily
at_ CECELIA, _who turns away_. REGAN _comes beaming from the
serving-table, the glass in hand_.

      REGAN

Look what Baby brought you--

[TOM _rises and goes to him_.

      TOM

--Just a minute. (_He puts his arm through his, turns him away from the
others and low enough to be heard by no one but him, murmurs_:) Look,
Red--if you don't mind, I think you'd better be "Regan" from now on, and
us "Sir" and "Madam."--You're a pretty good actor.

[REGAN _stiffens into the Perfect Butler_.

      REGAN (_audibly_)

Right, Sir. H'I knows me place, Sir.

[TOM _laughs, and returns to the table_.

      TOM

Don't lay it on.

      REGAN

Oh no, Sir.

[_He offers the glass obsequiously._ TOM _takes it_.

      GRACE

Milk?!

      TOM

--Punch. (_He makes a face over it and returns it to_ REGAN.) Could you
possibly brush the nutmeg off?

      REGAN

I think so, Sir.

      TOM

Try. Move heaven and earth.

[REGAN _returns to the serving-table with the glass and removes the
nutmeg_. DAISY _comes in from the hall_.

      GRACE

Oh, hello!

      DAISY

Good morning.

      CECELIA

How was the walk?

      DAISY

Very pleasant, thanks. We went miles. It's a lovely village.

      CECELIA

It is nice.

      DAISY

Whose house is the pretty white one on the Square?

      CECELIA

Near the Post Office? (_To_ GRACE.) Isn't that Judge Evans's?

      GRACE

Yes.

      DAISY (_to_ TOM)

I hope you remembered to find the new magazine-proofs for me.

[TOM _takes some folded proof-sheets from his pocket_.

      TOM

Right here.

[DAISY _extends her hand_.

      DAISY

Please--

      TOM

If you'd really like to--

      DAISY

I should, very much.

[_She takes the proofs and goes to the stairs, where she seats herself
upon the bottom step._ REGAN _returns the glass of punch to_ TOM.

      TOM

That's better.

[JOE _comes in from the hall_. REGAN _coughs discreetly behind his
hand_.

      REGAN (_not presuming to look directly at his master_)

Beg pardon, Sir--

      TOM

Yes?

      REGAN

--If I may say so, Sir--it has always seemed to me that life is like a
sailboat--

      TOM (_smiling_)

Ah?

      REGAN

In good weather, no better ridin' anywhere--but the very deuce, Sir, in
a storm, Sir.

[TOM _laughs and waves him away_.

      TOM

Get out!

[REGAN _bows gravely_.

      REGAN

Very good, Sir.

[_And goes out._ CECELIA'S _fixed smile leaves her face. She takes a
deep breath._ DAISY _laughs softly_, JOE _loudly_. GRACE _turns to_ JOE.

      GRACE

Oh hello!

[JOE _recovers himself and advances into the room_.

      JOE

How are you?

      GRACE

Pleasant walk?

      JOE

If you like the country.

      GRACE

I'll bet you made a good plot, too.

      JOE

A good--?

      GRACE

I know you writer-men!

      DAISY (_from the stairs_)

--Remember your prescription for me, Tom?

      TOM

Prescription?

      DAISY

"The country's the place to work," you said.

      JOE

Something did it for you, Daisy.

      TOM

--Daisy herself.--You can spend the night, can't you, Joe?

      JOE

It's up to Daisy.

      DAISY

I'm not certain, yet. Must we say straight off?

      CECELIA

Of course not.--Do, though. We'd so love having you.

      TOM

I've got to run over to Greenwich to see one C. B. Williamson, but I'll
be back this evening.

      JOE

The publisher?

      TOM

Yes. Why?

      JOE

What have _you_ got to do with that old pirate?

[TOM _smiles_.

      TOM

Shh!--It's a secret.

[JOE _stares_.

      JOE

My God!

      GRACE

You're coming to my house for Sunday breakfast, you know.

      JOE

Thanks, we've had it.

      GRACE

Oh, but mine is a very special breakfast!--

      JOE (_to_ TOM)

--I liked the old Press building better.

      TOM

We needed more room.

      CECELIA (_to_ TOM)

Don't you want some coffee or something?

      TOM

This is fine. Will you join me in a milk-punch, Daisy?

      DAISY

Would you mind awfully if I didn't?

      TOM

I'm not sure.

      GRACE

Not disapproving, is she?

[DAISY _laughs pleasantly_.

      DAISY

Not in the least.

      TOM (_to_ JOE)

--You couldn't publish a magazine in that old shack.

      JOE

Don't tell me it's that smart.

      GRACE

_I_ think it's going to be a sensation. I'm practically a collaborator,
aren't I, Tom?

[TOM _laughs_.

      TOM

Grace is my reaction-agent. She submits to tests.

[DAISY _stares at the proofs_.

      DAISY

Is this all of it?

      TOM

--The dummy for the first number.

      DAISY

No name yet--

      TOM

No.

      JOE

--Any Sunday papers, by any chance?

      TOM

--In the living-room. I'll send for them.

      JOE

It's all right. I'll read them there.

[_He goes out._ TOM _looks after him_. GRACE _rises_.

      TOM

Extraordinary fellow, Fisk.

      GRACE

My people will be arriving. Who's going to run me home?

[_She holds out her hand to_ TOM. _He takes it and rises._

      TOM

We'll go in Joe's Ford, and shock the village.

      GRACE

Divine!

      DAISY

Bring it back, Tom.

      TOM

You bet.--How about your coming with us?

[DAISY _rises upon the stairs_.

      DAISY

Thanks, but I want to finish this.

      TOM

Be sure to like it.

      DAISY

I'm afraid I'm no judge.

      GRACE

Tom, I've got to tell you: _I_ think the idea of a white roof in this
country is idiotic.

[_She tucks his hand under her arm and they move toward the door._

      TOM (_as they go out_)

So do I. It's insane. Whatever made you think of it?

[DAISY _mounts the stairs and goes out_, CECELIA _watching her_. OWEN
_moves toward the living-room_. CECELIA'S _low voice stops him_.

      CECELIA

Owen--

      OWEN

What, C?

      CECELIA

Why did she come?

      OWEN

Daisy? I thought you wanted her, for all those highly special reasons.

      CECELIA

--First she said she couldn't. Then she telephoned back she would.

      OWEN

Well?

      CECELIA

I believe she came for some special reason of her own.

      OWEN

Quite possibly.

      CECELIA

What, though?

      OWEN

Search me.

      CECELIA

Twice last night I caught her watching me in the most curious way. Once
when I was with Fisk, once with you.--But you know, I'm not the least
bit jealous any more. I'm even inclined to like her.

      OWEN

That's big of you.

      CECELIA

I suppose Fisk is one of hers, too.

      OWEN (_frowning_)

How do you mean?

      CECELIA

Sweet innocent!

      OWEN

How's that?

      CECELIA

I should think by this time you'd know a promiscuous little--(_She sees
his frown deepen, and with a gesture, concludes_:)--Oh, well--

      OWEN

You're a strange girl, C.--And a pretty cruel one.

      CECELIA

--Not at all. I tell you I don't mind in the least. In fact I really
don't see why Tom and she shouldn't be as good friends now as--well, as
you and I are.

      OWEN

Their history is a little different.

      CECELIA

Why? Don't you like our history?

      OWEN

What there is of it.--A trifle uneventful, don't you think?--Or shall
we simply call it lacking in excitement?

[_A moment. Then_:

      CECELIA

--You've been so strange, lately. So remote, Owen.

      OWEN

I wasn't aware of it.

      CECELIA

--Refusing to help us one bit with Mr. Williamson.

      OWEN

But Tom doesn't want to be helped!

      CECELIA

I do.

      OWEN

C, I've told you. I simply can't do it.

[CECELIA _turns from him coldly_.

      CECELIA

Very well.

      OWEN

Certainly, you must realize--

      CECELIA

Of course. (_She moves toward the living-room_) Come on--shall we?

      OWEN

I've told you a dozen times, I'm counsel for Williamson's, and--

[CECELIA _stops and turns to him_.

      CECELIA

Exactly.--And so they do whatever you tell them to.

      OWEN

Tom's price is out of all reason.

      CECELIA

Not if they really want it.

      OWEN

But hang it, he made it that to stand them off! He doesn't want them to
have it.

      CECELIA

Tom doesn't know what he wants. (_Coaxing._)--Just one little word to
them from you--on the telephone--before he goes over this
afternoon--now--before he gets back from Grace's.

      OWEN

There's something called legal ethics you seem not to understand, C.

      CECELIA

And something called friendship? (_He turns away. A moment. Then she
looks at him sideways._) Owen--(_He gestures "What?"_) "Lacking in
excitement," you said.--For you?

      OWEN

For you, I meant.

      CECELIA

I suppose you're the judge of that, too.

      OWEN

I don't know who else.

      CECELIA

Of course you couldn't possibly be wrong.

      OWEN

Could I?

      CECELIA (_softly_)

--And I'm not a human being at all, of course.

[_He advances toward her._

      OWEN

C--!

      CECELIA (_quickly_)

Do one thing for me: just tell them it _might_ be a good thing for
them.--It might, mightn't it?

      OWEN

But even so, I--don't think I can.

      CECELIA

--That it is high--admit that--but it might be a good thing. (_He
ponders it, frowning._)--Owen--telephone him--just one little word,
Owen--(_He is about to protest again, but is stopped by her even gaze
and her hand upon his arm. Finally he nods assent. She breathes_:) You
darling--(_He inclines toward her, but she leans away from him. Suddenly
he glances up at the staircase. She senses that someone is coming, and
begins to talk rapidly, in a different voice_:)--And of course it will
be the most marvellous thing for Tom if Williamson agrees. You can
imagine what it will mean to him.

      OWEN

Yes, of course.

[DAISY _comes down the stairs, the magazine-proofs still in hand_.

      CECELIA

His father will be pleased as Punch, too, but the main thing is--(_She
looks at_ DAISY _in pretended surprise_.) Oh, hello! Owen and I were
just talking about The Bantam Press combining with Williamson's. Owen
engineered it.

      OWEN

Oh no, C. If there's any credit due--

[CECELIA _laughs, and exclaims_:

      CECELIA

Never mind! (_Then again, to_ DAISY.)--I'm so excited about it, I can
hardly speak. (_Then, to_ OWEN.)--Why, Owen--do you realize?--But you
wanted to telephone, didn't you?

      OWEN

Why, er--why--yes, yes, I did.

[CECELIA _moves toward the living-room_.

      CECELIA

It's in here, now. (_He follows. She speaks over her shoulder to_
DAISY.) Coming along?

      DAISY

In just a moment.

[OWEN _and_ CECELIA _go out, encountering_ JOE _coming in_. DAISY _gazes
after them_.

      JOE (_to_ CECELIA)

I thought I'd get ready for breakfast--lunch--whatever it is.

      CECELIA

But you look lovely!

[_She follows_ OWEN _out, into the living-room_, DAISY _moves to the
table, where she sits, staring in front of her, slowly comprehending_.
JOE _approaches her, as_ REGAN _comes in_.

      JOE (_to_ DAISY)

What do you say we--(REGAN _clears his throat portentously_.)--God, Red,
get that fixed, will you?

[REGAN _lifts a lemon in two fingers_.

      REGAN

Have you seen this one?

      JOE

I had grapefruit.

      REGAN

Give me a five-dollar bill. (JOE _finds one for him_. REGAN _folds it
and closes his hand upon it_.) Which hand?

      JOE

That one. (REGAN _opens both hands_. DAISY _is still staring, wrapt in
thought_.) Good!--Only where does the lemon come in?

[REGAN _beckons him nearer, cuts the lemon with a_ _fruit-knife,
extracts a five-dollar bill from it, shows it to him, picks up a tray,
and moves toward the door_.

      REGAN

Thank you, sir.

[_He goes out with the tray and_ JOE'S _five dollars_. JOE _turns to_
DAISY _about to speak, but she speaks first_.

      DAISY

Are you packed, Joe?

      JOE

Not yet. Why?

      DAISY

I want to go.

      JOE

What's the rush?

      DAISY

I want to get out of this house.

      JOE

But why all of a sudden?

      DAISY

I want to get out, that's all.

      JOE

Tom?

      DAISY

Yes.

      JOE

Poor devil--

      DAISY

Yes.

      JOE

Of course he's terribly on the defensive: you can see that.

      DAISY (_dully_)

Can you?

      JOE

Of course. He felt us disapproving, and simply gave us the works.

      DAISY

Maybe.

      JOE

He was awful last night, all right.

      DAISY

Go and pack, Joe.

      JOE

And what an outfit they were!--I give you Grace Macomber in your
Christmas stocking.

      DAISY

Thanks.

      JOE

I'll even throw her husband in, for good measure.

      DAISY

That would be too divine.

      JOE

And all those pitiful second-hand opinions of Tom's! What's happened to
him? What do you suppose has done it, for God's sake--

      DAISY

That's what I came to find out.

      JOE

Have you?

      DAISY

Yes.

      JOE

What?

      DAISY

The most pitiful thing that can happen to any man.

      JOE

But what?

      DAISY

Go and pack, Joe.

      JOE

It won't take a minute.--It certainly can't be C. _I_ think she's a fine
girl, don't you? I talked with her for quite awhile last night. She made
great sense. I think she's a damned nice, attractive woman.

[DAISY _moves away from him_.

      DAISY

So was Delilah.

      JOE

Deli--? Oh come on, Daisy!

      DAISY

--And bring my bag down with yours.

      JOE

But I don't get you at all.

      DAISY (_turning_)

Will you go and pack?

      JOE

Honestly, Daisy, you're the damndest girl.

[TOM _comes in from the pantry, a whisky-and-soda in hand_.

      TOM

A drink anyone?

      JOE

At this hour? I should say not.

[TOM _seats himself at the end of the table, facing them_.

      TOM

Too bad.

      JOE

Besides, we've got to go.

      TOM

So soon? Too bad. (_He takes a swallow of his drink, and smiles at
them._) Godspeed--

      JOE (_After a moment_)

--There was a fellow once told me drink was in a way to becoming my own
personal Hollywood--

      TOM

Really? How amusing.

      JOE

You, by a strange coincidence.

      TOM

Oh not possibly!

      JOE

--And it was you, incidentally, who taught me how to drink moderately.

      TOM

No mean feat, I'm sure.

      JOE (_With a gesture_)

Well, physician--

[TOM _raises his glass again, still smiling_.

      TOM

Similia similibus curantur. Translated, the hair of the dog that--

      DAISY

Go get ready, will you, Joe?

[JOE _stares at_ TOM _a moment, then mounts the stairs and goes out_.

      TOM

--So solemn--all so solemn. (_He puts down his glass, unfinished._) I'm
sorry you don't like my friends.

      DAISY

Your--?

      TOM

They are, however.--Did you read the magazine?

      DAISY

Most of it.

      TOM

Couldn't finish it, eh?

      DAISY

No. I didn't care for it.

      TOM

Why not?

      DAISY

It seemed to me that one oh-so-bright weekly was enough, without more of
the same.

      TOM

--Not sufficiently solemn. I see.

      DAISY

Not half!--And so _cheap_, Tom! Oh, how can you?

[_A moment. Then_:

      TOM

You can't please everybody.

      DAISY

Never mind. It doesn't matter.

[TOM _drops his cynical tone and speaks genuinely_:

      TOM

Doesn't it, Daisy?

      DAISY

Tom, ever since I got home I've heard from all sides how you've changed.
I came here to find out if it was true, and if so why.

      TOM

Well, is it?

      DAISY

Tom--

      TOM

And if so why? Why?

      DAISY (_a sudden cry_)

Oh, Tom--I pity you with all my heart!

[_He is at her side in an instant, her wrists in his hands._

      TOM

Pity me! What are you talking about?

      DAISY

I came to find out. I've found out. Now I'm going. (_She calls._) Joe!

      TOM

Found out what? Pity me why?

[DAISY _looks down at her wrists_.

      DAISY

Would you mind? (_He releases her. A moment. They gaze at each other.
Her eyes soften._)--And love you, Tom--love you with all my heart, as
well. Remember that.

      TOM (_brokenly_)

Daisy, I--(_He recovers himself, and with the recovery the cynical smile
returns. He advances, one hand out, his voice coaxing._) Give us a kiss,
Daisy.

[_She takes a step back from him, in horror. Her call is almost a
scream_:

      DAISY

Joe! Are you ready?

[JOE'S _voice is heard from the stairs_.

      JOE

Coming!

[JOE _comes down the stairs with the bags_. CECELIA _comes in from the
living-room_.

      CECELIA

Did someone call? (_She sees the bags._) Why, what's all this?

      DAISY

I'm sorry, but we've got to leave.

      CECELIA

But what's happened?

      DAISY

I suddenly remembered something. Please don't bother---

      CECELIA

But I never heard of such a--

      DAISY

I'm terribly sorry, but it can't be helped.

      CECELIA

But can't you at least wait until after luncheon?

      DAISY

I'm afraid not.

[_She turns to_ JOE.

      JOE (_to_ CECELIA)

Good-bye. Thanks very much.

      CECELIA

Good-bye. I must say it all seems very strange. (_Then to_ DAISY.)--And
when we've so loved having you.

      DAISY

You were kind to ask us.

      CECELIA

Well, if you insist, I suppose there's no help for it. Good-bye. Do come
again when you can really stay.--Your coat's here, isn't it?

[_She goes out into the hall._

      JOE

Give me a ring sometime, Tom.

      TOM

Right.

[JOE _looks at_ DAISY. _She nods her head in the direction of the door.
He goes out._

      DAISY

Good-bye, Tom.

      TOM

--Once I wouldn't say it, would I?

      DAISY

Once you wouldn't--

      TOM

Well, good-bye.

      DAISY

--This time you do.--

      TOM

Good-bye.

[_She gestures helplessly, turns and goes out. For a moment he is alone.
A door is heard to close, then_ CECELIA _re-enters_.

      CECELIA

Honestly! If that wasn't the rudest thing! (_He is silent._)--I presume
you agree, don't you?

      TOM

I don't know what it was.

[_He stares in front of him, unseeing. She looks at him intently for a
moment. Then_:

      CECELIA

Well--if we're going to Grace's--

      TOM

I'll get my hat.

[_He moves toward the hall. She follows._


CURTAIN




ACT THREE


SCENE II

_At_ TOM COLLIER'S. _Ten o'clock the same night._

_The dining-room is dimly lighted from the hall and living-room. There
is a small fire burning in the fire place. Leaves have been removed from
the table, which is now at its smallest. Two chairs are at the table,
the others against the wall._

REGAN _comes in from the hall with an armful of wood, some of which he
places upon the fire, making it burn brighter. This done, he lights a
small candle-lamp upon the table. Two places have been set and a light
supper prepared: a platter of cold meat, a bowl of salad, sandwiches,
fruit. There is a champagne glass at each place. A moment, then_ CECELIA
_calls from upstairs_:

      CECELIA

Regan?

      REGAN

--Right here, Ma'am.

      CECELIA

I thought I heard a car.

      REGAN

Yes, Madam.

      CECELIA

Is Mr. Collier's supper ready?

      REGAN

Yes, Madam.

[_He lights a small lamp on the serving-table, pokes the fire again, and
goes out into the hall. A moment, then_ CECELIA _comes down the stairs,
in another charming negligee, this time more severe in cut and somber in
color. She examines the table, rearranges a few things and puts out the
lamp upon the serving-table. Now the room is lit only by the candle-lamp
and the fire upon the hearth. A door closes in the hall. She turns
toward it, calling_:

      CECELIA

Tom?

[TOM _comes in_.

      TOM

Hello. (_He looks at the table._) What's all this?

      CECELIA

I thought you might be hungry. I know what you think of Williamson's
food. (_He looks at the fire, then around him, curiously._) What's the
matter?

      TOM

--Lighted this way, it reminds me of some place.

      CECELIA

Where?

      TOM

I don't know.

[_His voice is strange, as if speaking from a distance._

      CECELIA

Do eat something, dear.

[_Again he looks about him, puzzled._

      TOM

--I came back the long way, over the Pound Ridge road, through Middle
Patent.

      CECELIA

What made you do that, Silly--

      TOM

I don't know, I wanted to drive.

[_Now it is her he looks at curiously._

      CECELIA

Tom--what _is_ the matter?

[_He shakes his head, as if to shake something out of it, and laughs
shortly._

      TOM

Sorry!

      CECELIA (_anxiously_)

Everything went all right, didn't it?

      TOM

Oh yes, perfectly. (_A moment. Then_:) In fact, it's settled.

      CECELIA

Not already!

      TOM

Yes. They've signed. All I have to do is to dig up a notary in the
Village and write my name under theirs.

      CECELIA

Oh, Tom!

      TOM

Are you pleased?

      CECELIA

Aren't you?

      TOM

I think something's happened to my nervous system. I feel awfully light.

      CECELIA

You're famished. Come and sit down and eat--(_She draws him to the
table. He seats himself there, and for a moment drops his head in his
hands._)--And tired, too, poor darling.

      TOM

No--just light. So awfully light.--Thinking too much.

[_She puts meat and salad upon a plate and sets it before him._

      CECELIA

Here.

      TOM

C--

      CECELIA

Yes, dear?

      TOM

I think it's time we had a child or two, C.

[_A moment. Then_:

      CECELIA

We'll talk about that.

      TOM

Yes. We must. (_Another moment._)--The trees along the road stood out
like--(_He rubs his eyes and looks up again._)--like whatever it is
trees stand out like.

      CECELIA

You've been going much too hard, you know.

      TOM

It's good for me. I'm having visions. (_Again he looks around
him._)--What _is_ it it reminds me of?

[_She seats herself near him at the table._

      CECELIA

--Nothing. You're just tired and hungry.

      TOM

Please let me have my visions. (REGAN _comes in with a pint of
champagne_.) Good evening, Mr. Regan.

      REGAN

Good evening, Sir.

      TOM

--Those buttons on your coat--you know, they're terribly bright.

      REGAN

I'll try to bring 'em down.

      TOM

Do. It's essential.--Champagne, is it?

      CECELIA

I thought you might feel like celebrating.

      TOM

Well--

      CECELIA

A little wine won't hurt you, Tom.

      TOM (_to himself_)

--The little more, and how much it is--(_Rousing himself._)--Fill them,
Mr. Regan, (REGAN _looks at him oddly, then fills the glasses_. TOM
_raises his and squints at it_.)--Infinite riches, in a little room.

[CECELIA _laughs_.

      CECELIA

You've got the quotes badly.

      TOM

Little lamb, who made thee?--Regan--dost thou know who made thee? (_He
holds out the glass to him._)--And a little more, old son. (REGAN
_refills the glass and goes out_. TOM _watches him, curiously_.)--The
discreet withdrawal--I've seen that before, too. (_Looks around him
again, then cries, suddenly_:) I know! The Florentine!--A private room
at the Florentine.

      CECELIA

What's that?

      TOM

A kind of a hotel. Flora Conover's place.

      CECELIA

It sounds wicked.

      TOM

It used to be the best twenty-guinea house in London.

      CECELIA

Twenty-guinea? What are you talking about?

      TOM

In advance, at that.

[CECELIA _glances at him_.

      CECELIA

Rather expensive, wasn't it?

      TOM

But one went to Flora's to celebrate.--And the food was good, the waiter
discreet, the wines excellent, the lady most artful.

      CECELIA

Tom! How revolting--

      TOM

But we must send the boys back happy, you know.

      CECELIA

I don't care to hear about it, thank you.

      TOM

Very well, my dear.

[_A moment. He stares at his glass. Then_:

      CECELIA

Weren't they difficult at all, Tom?

      TOM

Who? Williamson's?--Easy.

      CECELIA

And you actually got your own terms?

      TOM

Except for their right to pass on my selections.

      CECELIA

That's probably just a form.

      TOM

Probably.

      CECELIA

They want to feel they have _some_ say.

      TOM

That's all.--C, what have you done to your hair?

      CECELIA

Why, nothing, why?

      TOM

It looks lighter.

      CECELIA

It isn't.

[_He gazes at it for a moment longer, then eats a little,
disinterestedly._

      TOM

I quashed the announcement they'd prepared for the papers.

      CECELIA

Why? What was it?

      TOM

"Williamson, Warren and Company have absorbed The Bantam Press, formerly
owned by--"

      CECELIA

"Absorbed"!

      TOM

Yes. Like a sponge. I quashed it. For "absorbed" read "bought a
controlling interest in."

      CECELIA

Well--that's more like it.

      TOM

--Poor little Bantam.--For "Bantam" read small little, plucked little
capon.

      CECELIA

Oh, don't, Tom! You know it's a good thing for you--it's a grand thing
for you.

      TOM

--Increased scope.

      CECELIA

Of course.

      TOM

--Perfect distribution facilities.

      CECELIA

But aren't they?

      TOM

Williamson, Warren Books Girdle the Globe. Hear the eagle scream.--Poor
little Bantam--peep, peep--

      CECELIA

--And I thought you'd be beside yourself for joy.

[_He gazes at her. She is._

      TOM

C, your eyes are so bright.

[_She laughs shortly._

      CECELIA

Eat, you. You're seeing things.

[_He looks at his plate._

      TOM

C--

      CECELIA

Yes, dear?

      TOM

--Little love is no love.

      CECELIA

--Meaning what, precisely?

      TOM

It wasn't necessary to lock your door against me last night.

[_A moment. Then_:

      CECELIA

But I didn't.--I mean--not against--

      TOM

Then why?

      CECELIA

I'm--it's just that sometimes I'm afraid, alone at night.

[_He is watching her._

      TOM

I don't believe you.

[_She laughs nervously._

      CECELIA

Well, really!

      TOM

I don't believe you, C. (_She averts her head._)--Only I'd like you to
know that that isn't necessary, ever.

      CECELIA

Very well.

[_Suddenly he reaches for her hand and takes it._

      TOM

Why was it? Tell me instantly why it was.

      CECELIA

Is that an order?

      TOM

Tell me.

[_She tries to meet his gaze, but cannot._

      CECELIA (_with difficulty_)

You mean--why I--why I didn't want you near me--

      TOM

Yes.

      CECELIA

--And you don't know--

      TOM

No.

      CECELIA

Well, if you don't, you ought to.

      TOM

Tell me, I say.

      CECELIA

You'd been so--consistently disagreeable, that's all.

      TOM

About what?--Wanting Regan back?

      CECELIA

No.

      TOM

What, then?

      CECELIA

Your father, chiefly. (_She rises and goes to the serving-table._) He
telephoned this afternoon. (_A moment._) He wanted to know if you'd got
the birthdays-check. (_Another moment._) I told him that you had, and
had tried to call him. (_He turns away._) Well, I had to say something!

[_She reseats herself at the table with a plate for herself._

      TOM

I don't know whether to send it back, or just not to cash it.

[_He finds a check among the letters in his pocket, and looks at it,
frowning._

      CECELIA

--Of course, you simply can't allow yourself to show any kind of
graciousness toward him.

      TOM

No.

      CECELIA

--As a way of telling you how pleased with you he is, he sends you a
small check,--and you have the extraordinary bad taste to--(_He holds
the check out for her to see. Her eyes widen._) What!--Good heavens--I
don't believe it!

      TOM

There it is.

      CECELIA

But there isn't that much money in the world!

      TOM

In Father's world there is. He feels he can afford it, to get us to come
and live with him.

      CECELIA

Of course, I don't understand your attitude about that, either.

      TOM

Don't you, C?

      CECELIA

He knows how inconvenient it is here in winter,--and having that great,
huge, lovely house in town, it's perfectly sweet and natural of him
to--to, well to ask--

      TOM

Yes--you, to preside night after night at his deadly dinners, me to
listen eternally to his delphic advice on what to do and how to live--in
short, to allow him to own us. Of course, he's willing to pay. He always
is.

      CECELIA

Oh, how ridiculous you are, really!--His whole life long he's tried to
help you, to do things for you--

      TOM

--In order to own me. I tell you I know him.

      CECELIA

You're the only child he's got, and he's an old man and a very lonely
man. I think it's horrible beyond belief, the way you treat him. How you
can be so hard, I don't know.

      TOM

Hard!--I'm not hard enough. All my life I've been trying to harden. I
was born soft, that's the trouble with me.

      CECELIA

You soft!

      TOM

Yes. Born it.--And then brought up to refuse to face any truth that was
an unpleasant truth, in myself or anyone else--always be the little
gentleman, Tommy--charming and agreeable at all costs--give no pain,
Tommy.

      CECELIA

You seem to have outgrown it nicely.

      TOM

Not yet, I haven't. No, not by a long shot. The inclination's still
there, all right. Still going strong.

      CECELIA

But don't be discouraged.

      TOM (_wearily_)

All right, C.

      CECELIA

--It's nothing but your old self-consciousness about money, again. It
simply defeats me.--Honestly, has everyone who lives well sold his soul
to the devil?

      TOM (_rising_)

"Lives well"!--I'd give my eyes to live well. That's all I want for us.

[_He goes to a chair at the window._

      CECELIA

Oh--definitions again.--We being so weak, of course, that a little
luxury would completely ruin us.

      TOM

--Little--little--everything's so little. Add it up, though. (_His head
sinks upon his breast._)--Add it up.

      CECELIA

To my way of thinking, if a person can't stand--

      TOM

Let's drop it.

      CECELIA (_coldly_)

Very well. We shall.

[_He looks up again._

      TOM

--Now you've gone from me again--

      CECELIA

A lot you care.

      TOM

Oh C--my lovely C--Where are you? What's become of you?

      CECELIA

There's something you call your damned integrity--

[TOM _rises from his chair_.

      TOM (_suddenly, sharply_)

That's the word!

[CECELIA _rises also_.

      CECELIA

I see it's no use talking.

[_A silence. He looks at her intently._

      TOM

--This is what you call "being disagreeable."

      CECELIA

Yes. Very.

[_He returns to her._

      TOM

--But how to be otherwise, when--

      CECELIA (_in a burst_)

Possibly by being the fine, kind, generous man you ought to be!

      TOM

To Father?

      CECELIA

You might begin there.

      TOM

--Accept the check with thanks--and go to live with him--

      CECELIA

It's only for a few months--and I think to refuse his present would be
extremely bad manners--just about in a class with those of your little
lady of easy virtue, this morning. If--(_She sees she has gone too
far._) I'm sorry to have said that about her. I didn't mean--

      TOM

Never mind. (_A long moment. Then_:)--Suppose I should do as you say
about Father--

      CECELIA

Oh, Tom--do be the darling I know you are!

      TOM

Would you like me better?

      CECELIA

Much.

      TOM

How much?

      CECELIA

Oh--very much.

[_He leans forward, watching her, hardly believing it possible._

      TOM

No locked doors, anymore?

      CECELIA (_lowly_)

Not one--ever--

      TOM

That sounds--most inviting.

[_She smiles._

      CECELIA

Does it?

[_Again he seats himself at the table._

      TOM

--And suddenly I'm beginning to see with an awful clearness--

[_He stops._

      CECELIA (_smiling_)

What? How stupid you've been?--And what I am to you?

      TOM (_after a moment_)

Yes.

      CECELIA

--And so you _are_ going to be nice again?

      TOM

You'll see.

[_Again_ CECELIA'S _smile_.

      CECELIA

--But how am I to be sure?

      TOM

You've told me ways to convince you.

      CECELIA

I do so hate us not to agree, Tom.

      TOM

I know.

[_She brings her chair closer and sits at his side._

      CECELIA

I want so to feel--I don't know--together again, as we used to be.

[_Once more_, TOM _looks incredulously around him, at the room. Then_:

      TOM

You're very pretty, you know--

      CECELIA

Why, thank you, Sir.

      TOM

--Very exciting, too.

[His manner has changed. From now on, he is no longer the husband
sitting before the fire with his wife, but a host at supper with a
pretty girl, whom later he will know better.

      CECELIA

I don't know whether it's you or the wine speaking.

      TOM

--Me.

      CECELIA

Shall we have a little more?

      TOM

Why not?

[_She presses the button._

      CECELIA

It's a party, then.

      TOM

It's a party.

      CECELIA

Sometimes you're so thrilling, Tom.

      TOM

You think?

[_A moment. Then_:

      CECELIA

Put your arms around me, Tom--

[_He inclines toward her, does not touch her, but looks full into her
eyes, searching for something he still cannot believe he will find._

      TOM

Are they around?

      CECELIA (_in a breath_)

Oh--yes--yes--

[REGAN _comes in_.

      TOM

Another small bottle.

[REGAN _goes out_. CECELIA _laughs a little throaty, excited laugh_.

      CECELIA

We shouldn't. You know we shouldn't.

      TOM

But we seem to be--

      CECELIA

I feel--all at once I feel terribly naughty, somehow--

      TOM

I suppose you're the prettiest girl I've ever seen--

      CECELIA (_archly_)

So nice of you to think so, Sir.

      TOM

--So very attractive--

      CECELIA

I like to be attractive.

      TOM

So very seductive--

      CECELIA

There, there! That's enough!

[_He has found it. Coldly he salutes it_:

      TOM

You're a strange woman. Your lips drop honeycomb, your mouth is smoother
than oil.

      CECELIA

Now what are you quoting?

[REGAN _comes in with the wine_.

      TOM

--Give the lady some, waiter. (REGAN _fills_ CECELIA'S _glass, then_
TOM'S, _without a word_.) You can leave the bottle. (REGAN _places it
upon the table, near him_.)--And that will be all. (REGAN _bows and goes
out_. CECELIA _raises her glass and smiles invitingly. He raises his,
murmuring_:)--To the pleasant ways of life.

[_She drinks. He does not._

      CECELIA

--Such pleasant ways.

[_She smiles at her glass._

      TOM

Is it good?

      CECELIA

So good.--I'm feeling it a little.

      TOM

That's what it's for, eh?

      CECELIA

It must be.

      TOM

"Champagne, the friend of lovers"--

[_Her face inclines to him, then she averts her head._

      CECELIA (_softly_)

No--not yet--

      TOM

Artful child.

      CECELIA

You think?

      TOM

--Lovely, alluring thing--

      CECELIA

I like you too, now.

      TOM

Pleasant here, isn't it?

      CECELIA

So pleasant. (_She refills her glass and finds that his is still
full._)--But you aren't taking any--

      TOM

It makes me see almost too clearly.

      CECELIA

Take a little more, and everything will get so--lovely and vague
and--the way I feel now.

      TOM

--A good feeling, is it?

      CECELIA (_a whisper_)

Delicious--(_She gropes for his hand, holds it against her breast._)
Oh--Tom--(_He looks at her. She smiles again._)--One last toast? (_He
draws her to her feet, glass in hand._) But to what--what to?

      TOM

You name it.

[_A moment. Then_:

      CECELIA

To love--(_She comes against him, steadies her glass in both hands
against his breast, bends her head and takes it. He raises his glass,
holds it for a moment near his lips, then sets it down, untouched, upon
the table. She replaces hers beside it, and murmurs_:) And darling--

      TOM

Yes?

      CECELIA

You--you _are_ going to be an angel about--about things, aren't you?

      TOM

You'll see.

      CECELIA

Oh, I knew you would!--I'm so happy--(_She smiles, moves slowly toward
the stairs, and mounts them, opening the door at the top. There she
turns and whispers._) Don't be long--

[_And goes out._ TOM'S _eyes following her. Then he turns and stares
down at the table. Finally his hand finds the bell and presses it. A
moment, then_ REGAN _enters, in a business suit_.

      TOM

See here, Red, I--

      REGAN (_sharply_)

Never mind! (TOM _looks up_. REGAN _gestures_.) All I mean is--well, I'm
out for good, this time.

      TOM

Why?

      REGAN

I just don't like it here, that's all.

      TOM

When do you want to go?

      REGAN

As soon as I can.

      TOM

To-night, then.

      REGAN

That's all right with me. I'm packed.

      TOM

Look in and say good-bye as you're leaving.

      REGAN

I'm leaving now.

      TOM

Look in, anyhow. (REGAN _turns to go_.)--Have you got a fountain-pen?
(REGAN _finds a pen and gives it to him_.)--Don't let me forget to
return it. (REGAN _goes out. Slowly, methodically_, TOM _opens the pen,
shakes it, spreads the check upon the table and writes upon its back.
Then, as carefully, he replaces the top of the pen, picks up the check
and waves it back and forth, to dry it._ REGAN _re-enters with a
traveling-bag_. TOM _returns the pen to him_.)--Here you are. Thanks.

      REGAN

Well--good-bye--

      TOM

Get into the car.

      REGAN

I can walk to the train all right.

      TOM

Bring my coat and hat, will you? (REGAN _does not stir_.)--Will you
bring my coat and hat, please? (REGAN _puts down his bag and goes into
the hall for them_. TOM _folds the check carefully, goes to the fire
place and places it upon the mantelpiece, one corner under a vase_.
REGAN _re-enters with his overcoat and hat_. TOM _puts on the hat_.
REGAN _holds the coat for him_. TOM _gets into it. He takes a cigarette
from the pocket and puts it in his mouth._)

      REGAN

What's the idea?

      TOM

--Light, please--(REGAN _holds a match for him_. TOM _pulls on his
gloves_.) Now, then--

      REGAN

I can walk, I tell you.

      TOM

Not at all. We'll drive in.

      REGAN

_We_ will--?

      TOM (_very gently_)

I'm going back to my wife, Red.

      REGAN

To your--?

[_Puzzled_, REGAN _looks toward the lighted doorway at the top of the
stairs_.

      TOM

--To my wife, I said.

[REGAN _picks up his bag, and goes out, into the hall_. TOM _looks once
around him, draws a deep breath of smoke, exhales it slowly, then turns
and follows him_.


CURTAIN




TRANSCRIBER'S NOTE

Other than changing a comma to a period and a regular bracket to a
square bracket, minor variations in spelling and punctuation have been
preserved.




[End of The Animal Kingdom, by Philip Barry]
