Ah, Wilderness! BY EUGENE O’NEILL TO GEORGE JEAN NATHAN who also, once upon a time, in peg-top trousers went the pace that kills along the road to ruinCOPYRIGHT, 1933, BY BUGENE O'NEILL Caution Professionals and amateurs are hereby warned that Ah, Wslderness!, being fully protected under the copynght laws of the United States of Amenca, the Brush Empue, including the Domnion of Canada, and all other countnes of the Copynght Union, 1s subject to a royalty, A!l nghts, im cluding professional, amateur, motion picture, recitation, pablic reading, radio broadcasting, and the nghts of translation into foreign languages, are stnctly reserved. In sts present form this play 1s dedicated to the readin ibhe only All iquines regarding this play should be addressed to Pachar J’ Madden Play Company.at s1 Malson Ave, New York City, NYAh, Wilderness! was first produced at the Guild Theatre, New York City, by the Theatre Guild, on October 2, 1933, and closed on June 7, 1934. Following 1s the onginal cast Nar Mutxza, owner of the Evening Globe George M Cohan Ess, his usfe Marjone Marquis Axmiun, their son Walham Post, Je Ricuanp, their son Elisha Cook, Jr Mitpnsp, their daughter Adelaide Bean Tommy, thesr son Walter Vonnegut, Jr Sw Davis, Essse’s brother, reporter on the Waterbury Standard Gene Lockhart Lry Miter, Nat's ssster Eda Hememann Davm McComner, dry-goods merchant Richard Sterling Muniz: McComusr, hus daughter Ruth Gilbert Wonr Ssuay, a classmate of Arthur's at Yale John Wynne Becta Ruth Holden Nora Ruth Chorpenning BanTENDER Donald McClelland SatEsMAN John Butler Durected by Phihp Moeller Settings designed ¥y Robert Edmond JonesSCENES ACT ONE Sittng-room of the Miller home in a large small-town mn Connecucut— early morning, July 4th, 1906 act TWO Dining-room of the Miller home—evening of the same day ACT THREE SCENE 1 Back room of a bar in a small hotel~ro o'clock the same night SCENE 1 Same as Act One—the sitting-room of the Miller home—a little after 11 d'lock the same night act Foun SCENE 1 The Miller sitting room again—about 1 o'clock the following afternoon ScENE A stnp of beach along the harbor—about 9 o'clock that night SCENE THREE Same as Scene One—the sittingroom—about 10 o'clock the same nightAH, WILDERNESS! ACT ONE Sosne—Sstmgroom of the xantun home m a large small-town m Connects cut—about 7 30 1m the morning of July 41h, 1906 The room ss fairly large, homely looking and cheerful sn the morning sun ght, furnshed with scrupulous medtum-priced tastelessness of the period Beneath the two windows at left, front, a sofa with silk and satm cushions stands against the wall At rear of sofa, a bookcase with glass doors, filled with cheap sets, extends along the remaining length of wall In the rear wall, left, 18 a double doorway with shdmg doors and pornéres, leadmg sto a dark, windowless, back parlor At right of this doorway, another bookcase, this time a small, open one, crammed unth boys’ and girls’ books and the best-selling novels of many past years—books the family really have read To the nght of this bookcase 1s the mate of the double doorway at sts left, with shding doors and portieres, this one leadsng to a well-lighted front parlor In the nght wall, rear, a screen door opens on a porch Farther forward sn this wall are two windows, with a writing desk and a chasr between them At center 1s a big, round table with a greewshaded reading lamp, the cord of the lamp running up 10 one of five sockets in the chandelier above Five chairs are grouped about the table—three rockers at left, right, and night rear of xt, two armcharrs at rear and left rear A medsum-proed, so rug covers most of the floor The walls are papered white «nth a cheerful, wey He desgn Voices are heard xm a conversational tone from the dining-room beyond the back parlor, where the family arc just finishing oreakfast Thew mens MILLBR's voice, raised commandingly, “Tommyl Come back here and finish your mkt” At the same mament Foncux appears im the doorway from the k parlor—a chubby, sunburnt boy of eleven wiils dark eyes, blond har wetted and plastered down sn a part, and a shirty, good-natured face, a rm of matk visible about his lips Bursting with boriled-up energy and a longmg to et started on the Fourth, he nevertheless has ested Shediently at he mother's tommy (calls back pleadingly) Aw, Tommy (fidgeting, but obedsently) T'm full, Ma And I said excuse me May I, Ma? and you sad all nght (His rarmmn’s shee heard speaking obs: mother, mowien's, vosos Yes Crony en she cally “All raght, Tommy,” sump: for the screen door to the porch and Toney asks eagerly) Can I'go at right Like a sprinter relenied by out now? the sartng shot) MoTHEn’s vorox Ccorrectingly). May raTumn’s voron (shouts after him)’ u But you set of your crackers away 279280 from the house, remember! (But romay 15 already through the screen door, which he leaves open behind him’) (A moment later the family appear from the back parlor, comsng from the dyasng-room First are MILDRED and ARTHUR MILDRED 1s fifteen, tall and slender, with bsg, wregular fea- tures, resembling her father to the complete effacing of any pretense at ettiness But her big, gray eyes are Scownful, she has sivacity “and a fetching smile, and everyone thinks of her as an attractive gil She 1 dressed in shertwarst and skirt 1m the fashion of the period Canruur, the eldest of the Miller children who are still omg home, 35 nineteen He 4s tall, heavy, barrel- chested and muscular, the type of football lmesman of that period, with a square, stolid face, small blue eyes tnd thick sondy havr Fs manner at solemnly collegiate He ss dressed sm the latest college fashson of that day, which has receded a bit from the ex. treme of preceding years, but still runs to d shoulders and pants half-pegged at the top, and so small at their wide-cuffed bottoms that they cannot be taken off with shoes on MILDRED (as they appear—inqussr- tively) Where are you going today, An? artHur (with supenor dignity) That's my business (He ostenta tously takes from his pocket a tobac- co pouch with a bg Y and class numerals stamped on it, and a heavy bulldog briar pipe with silver Y and numerals, and starts filling the pipe ) auprep Cteasingly) Bet I know, yust the same! Want me to tell you her imeal? ER! (She laughs ssruum, pleased by this snsinuation BUGENE O'NEILL at his lady-kalling actvsties, yet finds i beneath has dy nity to reply He 06s to the table, Tehes hiss pipe and picks up the local morning paper, and slouches back tnto the armchas at left rear of table, beginning to whistle “Oh, Waltz Me Around Again, Willie” as he scans the head- lines MILDRED sits on the sofa at left, front ) (Meanwhile, their mother and thesr AUNT LiLy, thesr father’s sister, have appeared, followng them from she back parlor Mus MILLER 15 around fifty, a short, stout woman with fad- ang light-brown has sprinkled with gray, who must have been decidedly pretty as a girlin a round-faced, cute, small-featured, wide-eyed fashion She has big brown eyes, soft and ma- ternal—a busthng, mother-of-a-family manner She 1s dressed im shertwasst and skirt (amy mater, her sistersn-law, 19 forty-two, tall, dark and thin She conforms outwardly to the conven- tional type of old-maid school teacher, even to wearmg glasses But behind the glasses her gray eyes are gentle and tired, and her whole at- mosphere 1s one of shy kindliness Her voice presents the greatest con trast to her appearance—soft and full of sweetness She, also, 15 dressed sn a shartwasst and sksrt ) MRS MILLER (as they appear) Get- tang milk down him 1s like— (Sud- denly she 1s aware of the screen door standing half open) Goodness, look at that door he’s left open! The house wall be ahve with fies!’ (Rushing out to shut st) I've told him again and again—and that's all the good 1 does! “It’s just a waste of breath! (She slams the door shut ) xazy (smiling) Well, you -an't ex: pect a boy to remember to shut doorsAH, WILDERNzss! —on the Fourth of July (She drffidently to the strasght-backed chasr before the desk at right, front, leaving the comfortable chairs to the others ) ns aucen That's you all over, Lily—always making excuses for bum You'll have hum spoiled to death 1 spite of me (She sinks sn rocker at right of table) Phew, I'm hot, aren't you? This 1s going to be a scorcher (She picks up a magazine from the table and begins to rock, fanning her- self ) (Meanwhile, her husband and her brother have appeared from the back parlor, both smoking cigars NAT MIL LER 1s ant his late fiftres, a tall, dark, spare man, a little stoop-shouldered, ‘more than a little bald, dressed with an awkward attempt at sober respect- ability imposed upon an innate heed- lessness of clothes Hts long face has sarge, wrregular, undistinguished fea- tures, but he has fine, shrewd, humorous gray eyes (sw pavis, hus brothersnlaw 1s forty-five, short and fat, bald-headed, with the Puckish face of a Peck's Bad Boy who has never grown up He 1s dressed in what had once been avery natty loud light sust but 1s now a shapeless and faded nondescrspt sn cut and color ) sw (as they appear) Oh, I hike the job frst rate, Nat Waterbury’s a mifty old town with the hd off, when you get to know the ropes I rang in a joke in one of my stones that tickled the folks there pink Water- wagon—Waterbury—Waterloo! mitten (grinning) Dam good! si (pleased) I thought st was pretty fair myself (Goes on a bit ruefully, as sf oppressed by a secret sorrow) 281 Yes, you can see life in Waterbury, all ‘nght—that 1s, xf you're looking for hfe in Waterbury! mms iLER What's that about Waterbury, Sid? sw I was saying 1's all nght an ate way~but there's no place Ike home (As sf to punctuate this remark, there begms a senes of bangs from just beyond the porch outssde, as Toma snaugurates his celebration by setting off a package of firecrackers The as- sembled family pump sn thesr chasrs ) MRS MILLER That boy! (She rushes to the screen door and out on the porch, callmg) Tommy! You mind what your Pa told you! You take your crackers out m the back yard, you hear me! anrnun — (frownmg — scornfully) Fresh kad! He did at on purpose to scare us MILLER (grinning through his an noyance) Damed youngster! He'll have the house afire before the day's out sm (grins and singz) “Dunno what ter call ‘im But he’s mighty like a Rose—velt” (They all laugh ) ux Sid, you Crazy! Cam beams at her mms Mutua comes back from the porch, still fuming ) MRS. MILLER Well, I've made him pow back at last. Now we'll have a fitle peace (As sf to contradict this, the bang of firecrackers and torpedoes begins from the rear of the house, le and continues at intervals282 throughout the scene, not wearly sa loud as the first explosion, bust suffi- ciently emphatic to form a disterrb- ng punctuation to the conversation ) maiten Well, what's on the tappee for all of you today? Sid, you're com- mg to the Sachem Club picnic with me, of course am (a bit embarrassedly) You bet I mean I'd like to, Nat—that 1s, if MR MULLER (regarding her brother sath smiling suspen) Hm! T know what that Sachem Club pic- nic’s always meant? umy (breaks sn sn a forced joking tone that conceals a earnest ness) No, tot this nme, Essie Sid’s a reformed character aot been on the an Water! At least, that's what be swore tome as night sm (avording her eyes, humshated— joking st off) Pure as the dnven snow, that’s me They're running me for president of the WCTU (They all laugh ) ans Mien Sid, you're a caution You tum everything nto a joke But you be careful, you hear? We're go- ing to have dinner in the evening to- night, you know-the best thore sun ner you ever tasted and I don’t want you coming home—well, not able to ‘appreciate it xizy_Ob, I know he'll be careful to- day Won't you, Sid? sr (more embarrassed than ever— joksng x off melodramatically) Lily, 1 swear to you if any man mea dnok, I'll fall hrn—that 1s, of he changes his mmd! (They all laugh BUCENE O'NEILL except Lax, who bites her Wp awd saffens.) ns MuLLER No use talking to him, Lily You ought to ‘tow Ener by th ome We can only hope for the aaiien Now, you women stop pick- ingon Sid i's the Fourth of Joly end even a downtrodden newspaperman has a nght to enjoy himself when he’s on his bohday mans azsn I wasn't dhinking only of Sid MILLER (awith a wink at the others). What, sre you insinuating I ever—? mas Mutcen Well, to do you jus- luce, no, not what you'd really call— But I've known you to come back from this damed ‘Sachem Club pic- mc— Well, I didn't need any litle bard to whisper that you'd been some place besides to the well! (She smiles good-naturedly mmtan chuckles ) sw (after a furtwve glance at the stsff and silent :urx—changes the subject abruptly by turnmg to aRTHUR) How are you spending the festve Fourth, Boola-Boola? CanrHus shf- fens dignifiedly ) rrprEp (teasngly) I can tell you, if he won't Mrs munrsn (smiling) Off to the Rands’, I suppose, antun (with dignsty) I and Bert Turner ate taking Elsie and Ethel Rand canoeing We're going to have a pie lunch on Strawberry Inland us evening I'm staying at the Rends’ for dinner. inAH, WILDERNESS! saxitzn. You're accounted for, then. How about you, Msd? ampnep I'm going to the beach to Anne Culver’s anriun (sarcastically) Of course, there won't be any boys present! Johnny Dadd, for example? saxprEp (giggles—then with @ co- quetish toss of her head) Pooh! what do I care for him? He's not the only pebble on the beach matter Stop your everlasting teas- img, you two How about you and Lily, Esse? ming mnzun I don’t know [haven't made any plans Have you, Lily? taux Cqwetly) No. Anyiung you want to do Mas mitten Well, I thought we'd just sit around and rest and talk Mien You can gossip any day This 1s the Fourth Now, I've got a better suggestion than that What do you say t0 an automobile nde? I'l get out the Buick and we'll dive around town and out to the ght- house and back Then Sid and I wall let you off here, or anywhere you fav, and well go on to the pienic nans sewer V'd Jove at Wouldn't you, Lily? tity It would be mice muten Then, that's all settled. sm (embarrassedly) Lily, want to come with me to’ the Greworks die play at the beach tonight? 283 ens soutum That's nght, Sid You take her out Poor Lily never bas any fun, always sitting home with me Lity (flustered and grateful) I-Td hike to, Sid, thank you (Then an apprehensive look comes over her face) Only not sf you come home— you know ex (again embarrassed and hunsily- ated—again joking st off, solemnly) Enlanunded, Im afraid oe T hate to say at of your sister (They all laugh Even Livy cannot suppress a smile) aamiun (with heavy yoculanty) Lis ten, Uncle Sid Donte let me catch and Aunt Lily spoonmg on a bench tomght—or it'll be my duty to call a cop! (sm and ux both look painfully embarrassed at this, and the yoke falls flat, except for mmxoneD who can’t restrain a giggle at the thought of these two ancients spooning ) srs matter (rebukungly) Arthur! macen (dryly) That'll do you Your education in kicking a football around Yale seems to-have blunted your sense of humor ans Mitten (suddenly—startledly) But where's Richard? We're forget- fing all about hum Why, where 1s that boy? I thought be came in with us from breakfast mmr I'll bet he’s off somewhere wntng a poem to Mune) Me Comber, the silly! Or pretending to wnte one I think he just copies— anruun (looking back toward the dsningroom). He's stll ia the din-284 ingrooia, reading 2 book (Turning back—scornfully) Gosh, he's always reading now It’s not my idea of hav- ang a good time in vacation cen (caustically) He read hus school books, too, strange as that may seem to you That's why he came out top of his class I'm hoping before you leave New Haven they'll find fume to teach you reading 15a good abit sens Macten (sharply) That re- minds me, Nat I've been meaniny to speak %o you about those awhul books Richard 1s reading. You've got to give him a good talking to— (She gets up from her chasr) I'l go up and get them nght now I found them where he'd hid them on the shelf in his wardrobe You just wait tll you wee what— (She bustles off, rear night, through the front parlor ) sarten (plamly not relishing what- ever 15 coming—to sp grumblngly) Seems to me she might wait unal the Fourth 1s over before bringing up— (Then with a gnn) 1 know there's nothing to it, anyway When T think of the books I used to sneak off and read when I was a kid sm Me, too I suppose Dick 1s deep in Nick Carter or Old Cap Collier nuzen No, he passed thot penod long ago Poetry’s his red meat now- adays, 1 think—love poetry—and socialism, too, I suspect, from some dire declarations he’s made (Then briskly) Well, might as well get him on the carpet Cle calls) Wachasd (No answer—louder) Richard (No answer—then in a bellow) Richard! anraun (shouting) Hey, Dick, wake up! Pa's calbng you RUGENE O'NEILL RICHARD's voice (from the dining room) All nght I'm coming naccen Dar him! When he gets his nose in a book, the house could fall down and he'd never— GucHaRD appears im the doorway from the back parlor, the book he has been reading in one hand, a finger marking his place He looks a bit startled sul, reluctantly called back to earth from another world He ss going on seventeen, just out of 4igh school In appearance he 1s a perfec: blend of father and mother, so much so that each 15 convinced he 1s the smage of the other He has his mother’s light-brown hatr, his father's ray eyes, his features are nesther rge nor small, ke 1s of medrum height, nesther fat nor thin One would not call him a handsome boy, nesther 15 he homely But he 15 defi- nutely different from both of his par- ents, too There 15 something of ex- treme sensstweness added—c restless, apprehensive defiant, shy, dreamy, self-conscious sntellsgence about him In manner he 1s alternately plasn stm- ple boy and a posey actor solemnly playsng a role He 1s dressed sm prep school reflection of the college style of anruun ) rican Dad you want me, Pa? mutter I'd hoped I'd made that plan Come and st down a while He pomts to the rocking char at the right of table near his ) mcHan (coming forward—sewzing on the opportumsty to play up his pre- occupation—with apologetic. supers onty) I dhdn’t hear you, Pa T was off in another world (aapnep slyly shoves her foot out so that he trips over st, almost falling She laughs gleefully So does anraun )AH, WILDERNESS! anraun Good for you, Mid! That'll wake him up! micnanp (grins sheepsshly—all boy now) Darn you, Mid! I'll show you! (He pushes her back on the sofa and tickles her with his free hand, still holding the book sn the other She shrieks ) anrnur Give 3t to her, Dick! wmten ‘That's enough, now No more roughhouse You sit down here, Ruchard Gucianp obediently takes the chair at right of table, opposite hus father) What were you planmng, to do with yoursclE today? Gomg out to the beach with Mildred? nicHann (scornfully superior) That silly skirt party? I should say not! mrtpren He's not coming because Munel isn’t T'll bet he's got a date with her somewheres nrcnann (flushing bashfully) You shut up! (Then to his father) 1 thought Td just stay home, Pa— tlus morning, anyway auzicx Help Tommy set off fire- crackers, eh? nicranp (drawing himself up—with dignity) I should say not (Then frowning portentously) 1 don't be- heve im this silly celebrating the Fourth of July—all this lying talk about liberry—when there 1s no hberty! mritan (a twinkle m his eye) Hmm RIGHARD (getting warmed up) The Jand of the free and the home of the brave! Home of the slave 1s what they 285 ought to call it—the wage slave ground under the bec] of the capital- ist class, starving, crying for bread for his children, and all he gets 13 a stone! The Fourth of July 1s a stupid farce! marten (putting a hand to his mouth to conceal a grin) Hmm Them are mighty strong words You'd better not repeat such sent- ments outside the bosom of the family or they'll have you m yal sm And throw away the key picuann (darkly) Let them put me m jal Put how about the freedom of speech in the Constitut.on, then? That must be a farce, too (Then he adds grimly) No, you can celebrate your Foun of July I'll celebrate the day the people bring out the guil- lotine again and I sce Puerpont Mor- gan beng driven by in a tumbnl! Cbs fosher and sw are greatly amused, Linx 15 shocked but, taking her cue from thens, smiles MILDRED stares at him sn puzzled wonderment, never having heard this partcular line before Only anreun betrays the outraged reaction of a patnot ) antrum Aw say, you fresh lad, te that bull outside! You ought to get a punch in the nose for talking that. way on the Fourth! sauctun (solemnly) Son, af I didn't know it was you tallang, I'd think we had Emma Goldman with us antur Never mind, Pa Watt till we get him down to Yale We'll take that out of him! nicHanD (with high scom) Oh, Yale! You think there's nothing in the world besides Yele! After all, what is Yale?286 arson You'll find out what! ax (provocatively) Don’t let them scare you, Dick Give ‘em hell! uty (shocked) Sid! You shouldn’t swear before— nicHanD What do you think I am, Aunt Lily—a baby? I've heard worse than anything Uncle Sid says mitprep And said worse himself, bet! Miter Cwith a comic asr of resigna- tion) Well, Richard, T've always found I've had to histen to at least one stump speech every Fourth I only hope getting your extra strong one nght after breakfast will let me off for the rest of the day (They all laugh now, taking this as a cue ) nicHann Csomberly) ‘That's nght, Taugh! After you, the deluge, you think! But look out! Supposing it comes before? Why shouldn't the workers of the world umte and mse? They have nothing to lose but ther chans! (He recites threatensngly) “The days grow hot, © Babylon! ‘Tis cool beneath thy willow trees!” maten Hmm That's good But where's the connection, exactly? Something from that book you're reading? micHanp_ (supenor) No That's poetry This 1s prose mutter I've heard there was a chf- ference between ‘em What 1s the book? mucHann (smportantly) —Carlyle’s “French Revolution” E eo EUGENE O'NEILL aaten, Hmm So that's where you drove the tumbnl from and piled poor old Prerpont in it Then sers ously) Glad you're reading it Richard It's a dam fine book nicHARD (with unflattering astonssh- ment) What, have you read 1? sucien Well, you see, even a news- paper owner cant get out of reading a book every new and again nicuanp (abashed) I-I didn't mean—I know you (Then enthuss- astically) Say, isn't 1t a great book, though—that part about Mirabeau— and about Marat and Robespierre— MRS MILLER (appears from the front parlor in a great state of flushed an noyance) Never you mind Robes- pierre, young man! You tell me this minute where you've hidden those books! They were on the shelf in your wardrobe and now you've gone and hid them somewheres else You go right up and bnng them tc your father! Cmacasann, for @ second, looks idenly guilty and crushed ‘Then he bristles defensively ) MaLien Cafter a quick understanding glance at him) Never mind his get- tng them now We'll waste the whole morning over those damed books And anyway, he has a nght to keep his library to himself—that 1, af they're not too— What books are they, Richard? nicHanp (self-consciously) Well— there’s— ns sate m tell you, 1t he won't and you give him a good talking to Then, after a glance et nictaao, mollfiedly) Not that I blame Rich- ard There must be some boy heAH, WILDEANESS! knows who's trying to show off as advanced snd wicked, and he told hum about— nicuann, No! I read about them my- self, sm the papers and m other books mms mitten Well, no matter how, there they were on his shelf Two by that awful Oscar Wilde they put in jml for heaven knows what wicked- ness anrnun (suddenly — solemnly authorstatwe) He committed bigamy (Then as sw smothers a burst of rr bald laughter) What are you laugh- ing at? I guess I ought to know A fellow at college told me. Hhs father was in England when this Wilde was pinched—and he said he remembered once his mother asked his father about it and he told her he'd com- matted bigamy mitten Chiding a smile behind his hand) Well then, that must be night, Arthur Mrs miLteR I wouldn’t put it past him, nor anything else One book was called the Picture of something or other nicHanp “The Picture of Donan Gray” It's one of the greatest novels ever wnitten! mrs miter Looked to me like cheap trash And the second book was poetry The Ballad of I forget what nicuanp, “The Ballad of Reading Gaol,” one of the greatest poems ever wntten (He pronounces 1 Reading Goal [as in goalpost].) 287 mas sarzren, All about someone who murdered his wife and got hung, as he nchly deserved, as far as I could make out And then there were two books by that Bernard Shaw— nucuann ‘The greatest playwright alive today! mas muter. To hear him tell it, maybe! You know, Nat, the one wha wrote a play about—well, never mind —that was so vile they wouldn’t even let it play in New York! aiLen Hmm I remember airs mazren One was a book of his plays andthe other had » Tong tile couldn't make head or tai! of, only at wasn't a play nicHano (proudly) “The Quintes sence of Ibsenism ” smpnep Phew! Good gracious, what a name! What does it mean, Dick? I'l bet he doesn’t know nicHann (outraged) I do, too, know! It's about Ibsen, the greatest play- wnght since Shakespeare! ns miter Yes, there was @ book of plays by chat Ibsen there, tool ‘And poeme by Swan something onan “Poems, and Ballads” by Swinburne, Ma e t since Shelley! He tel the tach about real love! Mrs MILLER Love! Well, all I can say 1s, from reading here and there, that if he wasn’t Bung in ja) along with Walde, be should have been Some of the things I simply couldn't read, they were so indicent— All about—well, I can’t tell you before Ly and Mildred.288 BUGENE sw (with a wink at nicHARD—jok- smgly) Remember, I'm noxt on that ‘one, Dick I feel the need of a ht- tle poetical education uty Cscandalized, but laughing) Sid! Aren't you ashamed? mms Miter This 1s no laughing matter And then there was Kiplin —but I suppose he's not so bad An: last there: was a poem—a long one— the Rubay— What 1s it, Richard? nicnanp “The Rubaryat of Omar Khayyam ” That's the best of all! mittee Oh, I've read that, Essie— got a copy down at the office sm (enthusiastically) So have I It’s 3 pippin! xity (with shy excitement) IT've read xt, too—at the hbrary I like~ some parts of 1¢ ns micuer (scandahzed) Why, Lily! mactun Everybody's reading that now, Essie—and it don’t seem to do them any harm There's fine things am it, seems to me—true things mans mater (a bit bewildered and uncertam now) Why, Nat, I don't see how you— It looked’ temble blasphemous—parts I read sw Remember this one (He quotes rhetorically) “Oh Thou, who didst with pitfall and gin beset the path I was to wander in—” Now, I've al- ways nonced how beset my path Was with gin—in the past, you under- stand! (He casts a joking side glance at uiny The others laugh But uy 1s in @ melancholy dream and hasn't fieard hsm ) O'NEILL MRS MILLER (tartly, but evidently suppressing her usual smile where he tsconcerned) You would pick out the ones wath liquor in them! uu (suddenly—with a sad pathos, quotes awkwardly and shyly) 1 hke because 1's true “The Moving Finger wntes, and hav- ang wnt, Moves on ” nor all your Piety nor Wit Shall lure 1t back to cancel half a Line, Nor all your Tears wash out a Word of it” MRS MILLER (astonished, as are all the others) Why, Lily, I never knew you to recite poetry before! unex Csmmedsately guilty and apolo- getic) It just stuck in my memory somehow nrcnanp (looking at her as sf he had never seen her before) Good for vou, Aunt Lily! (Then enthustastically) But that isn’t the best The best 1s “A Book of Verses underneath the Bough, A Jug of Wine, A Loaf of Bread— and Thou Beside me singing m the Wilder- ness—” antuun (who, bored to death by all this poetry quoting, has wandered over to the window at rear of desk, right) Hey! Look who's coming up the walk— Old Man McComber! mrcen (srrstably) Dave? Now what in thunder does that damned old— Sid, I can see where we never are going to get to that picnicAH, WILDERNESS! ams MILLER (vexahously) He'll now were an this early, too No use ny en_ appa ry another thought That Nersh-she’sthatthick, she never can answer the front door night unless I tell her each me Nat, ‘ve got to talk to Dave I'll have her show him an here Lily you run up the back sas and get your things on I'll be up in a second Nat, you get nd of him the first second you can! Whatever can the old fool want— (She and uy hurry out through the back parlor ) anrnun I'm going to beat 1t—just time to catch the eight-twenty trol- ley aaparp I've got to catch that, too. Want ull I get my hat, Art! (She rushes sto the back parlor ) antuun (shouts after her) I can't wait You can catch up with me af you hurry (He turns at the back- parlor door—with a grin) McComber may be coming to see if your snten- tions toward his daughter are. dis- honorable, Dick! You'd better beat ut while your shoes are good! (He disappears through the back-parlor door, laughing ) ican (a bit shaken, but putting on a brave front) Think I'm scared of ham? muarxen (gazing at him—frowning) Can't imagine what— But it's to com- lain about something, I know chat Ponty wish I didn’t have to be pleas- ant with the old buzzard—but he's about the most valuable advertiser T've got sm (sympathetically) I know But tell bim to go to hell, anyway He needs that ad more dsn you 289 (The sound of the bell comes from the rear of the house, off left from back parlor ) fee matten There he is You clear out, Dick—but come nght back as soon as he's gone, you hear? I'm not through with you, yet ricHanp Yes, Pa MILLER You better clear out, too, Sid You know Dave doesn't approva jokes sm And loves me lke poison! Come on, Dick, we'll go out and help Tom- my celebrate (He takes nIcHARD's arm and they also disappear through the back-parlor door miLLER glances through the front parlor toward the front door, then calls in a tone of straned heartsness ) mitten Hello, Dave Come nght in here What good wind blows you around on this glonous Fourth?’ CA flat, brittle voice answers him "Good morning,” and a moment later DAVID MC COMEER appears in the doorway from the front parlor He 1s a thin, dned-up little man with a head 00 large for has body perched ona scrawny neck, and along solemn horse face wsth deep-set little black eyes, a blunt formless nose and a tiny sht of a mouth He 1s about the sama age as mute but 1s entirely bald, and looks ten years older He 3s dressed with a prim neatness in shiny old black clothes ) matter Here, sit down and make yourself comfortable (Holding out the cigar box) Have a cigar? Mc COMBER (sitting down im the chaw at the nght of table—acrdly). You're forgetting I never smoke,490 ecriiEr (foresng a laugh at ksmnself) ‘That’s so. So I was Well, I'll smoke alone then (He bites off the end of the cigar viciously, as if he wished st were Mc cOMBER's head, and sits down opposite him ) ccomen You asked me what Brings me here, so I'll come to the point at once I regret to say it's some thing — disagreeable — disgraceful would be nearer the truth—and it concems your son, Richard! nauinn (begmnmg to bristle—but calmly) Oh, come now, Dave, I'm sure Richard hasn't— Me compen (sharply) And I'm post- tive he has You're not accusing me of being a liar, I hope nazzen No one sad anything about har T only meant you're surely ms- taken if you think— mocomszn I'm not mistaken I have proof of everything in his own. handwnting! secur (sharply) Let's get down to brass tacks Just what 1s it you're charging him with? Mccomssn With dissolute and blasphemous—with deliberately attemptng to corrupt the morals of my young daughter, Munel satan Then I'm afraid I will have to call you a har, Davel ao commen (usthout taking offense in the same flat, brittle vowe) I thought you'd get around to that, so I fe some of the proofs with me T've a lot more of ‘em at home (He takes a wallet from his snide RUGENE O'NEILL coat pocket, selects five or six slips of , and las there ae 7 MILLER) These are samy the rest My wife “ielorered ee an ‘one of Munel’s bureau drawers hid- den under the underwear They're all in his handwnting, you can’t deny it Anyway, Munel’s confessed. to me he wrote them You them and then say I'm a har (amen hhas taken the shps and ss reading them frowsmgly mc comsen talks on) Evidently you've been too busy to take the Teh care about Richard's bringing up or what he’s allowed to read—though I can’t see why his mother failed in her duty But that's jour misfortune, and none of my siness But Munel 1s my busmess and J can’t and I won't have her in nocence exposed to the contamina- tion of a young man whose mind, judging from his choice of reading matter, 1s as foul— rerzuan (yrking a tremendous effort to control hss temper) Why, dammed old fool!’ Can't you see Richard’s only a fool kad who's just at the stage when he’s out to rebel against all authonty, and so he grabs at everything radical to read and wants to pass it on to his elders and hus gul and boy frends to show off what a young hellion he 1s! Why, at heart you'd bed Richard 1s just as annocent and as big a kid as Munel as! (He pushes the shps of paper across the table contemptuously) This stuff doesn’t mean anything to me—that 1s, nothing of what you thmk it means If you beheve this would corrupt Munel, then you must beheve she's easily corrupted! But I'll bet you'd find she knows a lot more about hfe than you give her cred't for—and can guess a stork didn bbrng her down your chimney!AH, WILDERNESS! wc comasr. Now you're imsulung my daughter. I won't forget that. mauier. I'm not insulang her I think Manel 1s a dam nice gurl That's why I'm gwing her credit for ordi sense. I'd say the same about my own Mildred, who's the same age mc comsun I know nothing about jour Mildred except that she's Known all over as fine (Then more sharply) Well, I knew you'd prove obstinate, but I certainly never dreamed you'd have the impudence, after reading those papers, t0 clam your son was innocent of all wrong- doing! mazen And what did you dream I'd do? mc compen Do what t's your plain duty to do as a citizen to protect other people's children! Take and give him a hiding he'd remember to the last day of his hfe! You'd ought to do it for his sake, if you had any sense— unless you want him to end up in jal! matter (his fists clenched, leans across the table) Dave, I've stood all I can stand from you! You get out! And get out quick, if you don’t want a kick an the rear to help you! mec comuen (again sn hss flat, brit- tle vowe, slowly getting to his feet) You needn't lose your temper I'm only demanding you do your duty by your own as I’ve already done by mine J'm punishing Muriel She's not to be allowed out of the house for a britney shes to be ay bed ‘every night by eight 3 yet she’s bI less, Sompared to that— 29% maien, I saxd I'd bad enough out of you, Davel (He makes « threaten- img movement ) ac comer. You needn't lay hands on me I'm going But there's one thing more (He takes a letter from Jus wallet) Here's a letter from Mu- nie] for your son (Puts st om the ta ble) It makes clear, I think, how she’s come to think about him, now that her eyes have been hope he heeds what's inside—for his ‘own good and yours—because if I ever catch him ‘hangmng about my place again I'll have him arrest And don't think I'm not gomg to make you regret the insults you've heaped on me Tm taking the iver tisement for my store out of your paper-and at won't go in again, I tell you, not unless you apologize 1n writing and promise to punish— in hell firstt As old ad, take xt out macren Yl see for your damn: and go to hell! mc comps That's plan bluff You know how badly you need it So do I (He starts snifly for the door ) mater Here! Lasten a minute! I'm just going to call your bluff and tell you that, whether you want to re- consider your decision or not, I'm go- ing to refuse to print your damned ad after tomorrow! Put that in your pipe and smoke xt! Furthermore, Pll start a campaign to encourage out- side capital to open a dry-goods store In opposition to you that won't be the public swindle I can prove yours asl ma compan (a hit shaken by this threat—but ww the same flat tone), TMI sue you for bel292. aemunn When I get through, there won't be a person in town will buy a dishreg m your place! Mc comBER (more shaken, his eyes shifting about furtwely) That's all bluf You wouldn’t dare— (Then finally he says uncertamly) Well, good day CAnd turns and goes out NAT stands looking after hins Slowly the anger drains from his face and leaves him looking a bit sick and dis- gusted sw appears from the back parlor He 1s nursmg a bum on his right hand, but his face 1s one broad grin of satisfaction ) sm I bumed my hand with one of Tommy's damned firecrackers and came in to get some vaseline I was hstening to the last of your scrap Good for you, Nat! You sure gave hum hell! MILLER (dully) Much good 1t'll do He knows it was all walk sm That's yust what he don’t know, Nat The old slanfint has a guilty conscience maxten Well, anyone who knows me knows I wouldn't use my paper for a dirty, spiteful nck like thar no matter what he did to me sm Yes, everyone knows you're an old sucker, Nat, too decent for your own But McComber never saw you hike this before I tell you you scared the pants off him (He chuckles ) surcen (still deyectedly) ¥ don't know what made me let go hike that The hell of skunks like McComber is that after being with them ten aninutes you become as big skunks as chey are EUGENE O'NEILL sim (notices the slips of paper on the table) What's this? Something he brought? (He picks them up and starts to read ) saucer (grimly) Samples of the new eese Pom thee books Be sie found—that Richard's been pass- mg on to Munel to educate her They're what started the rumpus (Then frownsmg) I've got to do somethmg about that young an- archist or he'll be getting me, and humself, in a peck of trouble (Then pathetically helpless) But what can 1 do? Putting the curb bit on would make him worse Then he'd have a harsh tyrant to defy He'd love that, dar him! sw (has been reading the shps, a broad grin on his face—suddenly he whistles) Phew! This 1s a warm lulu for fart! (He recites unth a joking sn- tensity) “My hfe is bitter with thy love; thine eyes Blnd me, thy tresses bum me, thy sharp sighs Dimde my flesh and spint with soft sound—” MILLER (with a grim smile) Hmm I missed that one "That must be Mr Swinbume's copy I've never read him, but I've heard something like that was the matter with him sm Yes, w’s labelled Swinbume— “Anactona” Whatever that is But wait, watch and listen! The worst 13 yet to come! (He recites with added comic intensity) “That I could dnnk thy veins as wine, and eat Thy breasts hike honey, that from ce to feetAH, WILDERNESS! Thy body were abolished and consumed, And tm my ech thy very Besh entoml MaLcen (an srrepresstble boyish grin coming 10 his fese) Hell and batle- lujah! Just picture old Dave digest- ing that for the first tame! Gosh, Id give a lot to have seen his face! (Then a trace of shocked reproof showing m his _vowe) But 3t's no joking matter That stuff 1s warm— too damned warm, af you ask me! I don't like this a damned bit, Sid That's no land of thing to be send- ing a decent gil (More wornedly) thought he was really stuck on her —as one gets stuck on a decent girl at his age—all moonshme and hold- ing hands and a kiss now and again But this looks—I wonder if he 1s hang- mg around her to see what he can ? CAngrily) By God, xf that's true, fe deserves that licking McComber says it’s my duty to give him! I've got to draw the line somewhere! sm Yes, it won't do to have him get- ting any decent gurl in trouble mrtter The only thing I can do 1s put at up to him straight (With pride) Richard’ll stand up to his gs no matter what I've never nown him to he to me sm Cat a nosse from the back parlor, looks that way—in a whisper) ‘Then now's your chance I'll beat xt and leave you alone—see if the women folks ate ready upstairs We ought to get started soon-if we're ever go ing to make that picme (He 1s half- way to the entrance to the front par- lor as icHanp enters from the back parlor, very evidently nervous about aac coman’s call ) 293 nicuanp (adopting « forced, smno- e tone) How’s your hand, Uncle id? sm All nght, Dick, thanks—only hurts @ hetle CHe disappears mu- Lun watches his son frowmngl, Ncnano. pes fom quick. de glance and grows more guiltly self- conscious ) RICHARD (forcing @ snicker) Gee, Pa, Uncle Sid's a bigger kid than Tommy 1s He was throwing fire- crackers in the air and catching them on the back of his hand and throw- ing ‘em off again just before they went off—and one came and he wasn’t quick enough, and it went off almost on top of — saiten Never mind that I've got something else to talk to you about besides firecrackers RicHanD Capprehenswely) What, Pa? matter (suddenly puts both hands on his shoulders—quietly) Look here, Son I'm going to ask you a question, and J want an honest an- swer I warn you beforehand if the answer 1s “yes” I'm going to punish you and punish you hard because you'll have done something no boy of mine ought to do But you've never hed to me before, I know, and I don’t beeve, even to save yourself punishment, you'd he to me now, would you? RICHARD (smpressed—with dignity) I won't he, Pa maiccer Have you been trying 0) have something to do with Munel-+ something you shouldn’t—you knot) what I mean294 macuaap (stares at hsm for a mo- ment, as tf he couldn't end then, as he does, a look of shocked sndignation comes over his face) No! What do you think I am, Pa? I never would! She's not that lund! Why, I-I love her! I'm going to marry her—after I get out of col- lege!’ She's said she would! We're ‘engaged! acer (with great rebef) All nght That's all T wanted to know fe won't talk any more about it CHe gives him an approving pat on the back ) micnanp_I don't sec how you could think— Did that old idiot McCom- ber say that about me? amutgr (joking now) Shouldn't call your future father-in-law names, should you? ’Tain't respectful (Then after a glance at mioHAnD's indignant face—posnts to the slips of paper on the table) Well, you can't exactly blame old Dave, can you, when you tead through that Interature you wished on his innocent daughter? nrcHanp (sees the shps for the first time and 1s overcome by embarrass- ment, which he smmediately tries to cover up with a superior careless- mess) Oh, 29 that’s why He found those, did he? T told her to be care- ful— Well, itll do him good to read the truth about hfe for once and get nd of his old-fogy ideas sartzan I'm afraid I've got to agree with him, though, that they're hard- ly Bt reading for a young gurl (Then with subtle flattery) They're all well enough, in thew Way, for you who're aman, but— Think it over, and see af you don’t agree with me BUGENE O'NEILL macuasp (embarrassedly). aw, 1 only did it because I liked them— I wanted her to face life as it 1s She's so damed afraid of life—afrad of her Old Man—afraid of people saying this or that about her—afrad of being in love—afrad of every- thing She's even afraid to let me lass her I thought, maybe, seadng those things—they're beautiful, are- n't they, Pa?—I thought they would ave her the spunk to lead her own fe, and not be~always thinking of being afraid. mur I see. Well, I'm afraid she’s still afraid (He takes the letter from the table) Here's a letter from her he said to give GacuaRD takes the letter from Nm uncertasnly, has expression changing to one of apprehension matien adds with a kindly smile) You better be prepared for a bit of a blow But never mind. ‘There's lots of other fish in the sea (racHanp 18 not listening to him, but staring at the letter with a sort of fascinated dread martin looks snto his son's face a second, then turns away, trouble and embar- rassed) Darn it! I better go upstars and get rigged out or I never wall get to that picme (He moves awk- wardly and self-consciously off through the front parlor RICHARD continues to stare at the letter for a momient—then rds up his courage and tears st open and begins to read sunfily As he reads his face grows more and more wounded and tragh, untl at the end his mouth draws down at the comers, as sf he were about to break sto tears With an effort he forces them back and his face grows flushed with humiliation and wronged anger ) RICHARD (blurts out to himself) The Itttle coward! I hate herl She can'tAH, WILDERNESS! treat me like that! I'll chow her! (At the sound of vosces from the front parlor, he quickly shoves the letter into the snside pocket of his coat and does his best to appear calm and srr dsfferent, even attempting to whistle “Watnng at the Church” But the whistle peters out miserably as his ‘mother, LiL and stp enter from the front parlor They are dressed in all the eliborate parphernalia of mo- toning at that pe iod—linen dusters, veils, goggles, 8D sm a snappy cap.) MRS MILLER Well, we're about ready to start at last, hank goodness! Let's hope no more callers are on the way What did that McComber want, Richard, do you know? Sid couldn’e tell us micHaRD You can search me Ask Pa MRS MILLER immediately sensing something “down” sm his manner— gomng to him wornedly) Why, what- ever's the matter with you, Richard? You sound as if you'd lost your last fnend! What 1s 1t? micuann (desperately) I~ I don't feel so well—my stomach’s sick Mas MILLER (immediately all sym- thy—smoothing his haar back from forehead) You poor boy! What 295 a chame—on the Fourth, too, of all days! (Turning to the others) Ma be I better stay home with fur, if he's sick uy Yes, I'll stay, too RicHaRD (more desperately) No! You go, Ma! I'm not really sick ba be all nght You T want to be alone! (Then, as a bang comes from in back as Tommy sets off cannon cracker, he jumps to hss feet) Darn Tommy and his damed fire- crackers! You can’t get any peace in this house with that damed lad around! Damn the Fourth of July, anyway! I wish we still belonged to England! (He stndes off in an indig- nant fury of misery through the front parlor ) mans maczen (stares after him wor nedly—then sighs philosophically) Well, I guess he can't be so very sick—after that (She shakes her head) He's a queer boy Sometimes Tcan't make head or tail of him sateen (calls from the front door beyond the back parlor) Come along, folks Let’s get started sm We're coming, Nat (He and the two women move off through the front parlor ) cuaTAIN ACT TWO Scaxa—Diningroom of the mattun home—a little sfter 6 o'clock in the ‘evening of the same day The room ss much 100 small for the medsum-pnced, formidab room sob, especially now when all the leaves of the table are in At le dimng- left,296 EUGENE O'NEILL toward rea, 1s double doorway with shidng doors and pornires leading ito the back parlor In the rear wall, left, 1s the door to the pantry At the might of door 1 the china closet with sts display of the family cut glass and fancy chma In the right wall are two windows looking out on a side lawn In front of the windows 15 a heavy, ugly sideboard with three preces of old silver on sts top In the left wall, extreme front, 15 a screen door opening on 'sde porch A dark rug covers most of the floor The table, wish'a chav at each end, left and right, three chairs on the far side, facing front, and two om the near side, their backs to front, takes up most of the available space The walls are papered sn a somber brown and MRS MILLER 1s supervising and hel rkered design the Second Girl, Nonan, 1n the pany sething of the table Nonant 1s a clumsy, heavy-handed, heavy footed, long jawed, beamsngly good-natured young Irish gurl—a “‘greenhorn ” rs mitten J really think you bet- ter put on the hghts, Norah It’s get- tng so cloudy out, and this pesky room 15 so dark, anyway noran Yes, Mum (She stretches awkwardly over the table to reach the chandelir thet suspended from the middle of the ceiling and man- ages to turn one light on—scorn- fully) Arzah the contraption’ ns Micen Cwomedly) Careful! nora Careful as can be, Mum (But in moving around to reach the next bulb she jars heavily against the table ) ws mien There! I knew it! I do wish you'd watch—! Nona (a flustered appeal sm her vowe) Arrah, what have I done wrong now? mas main (draws a deep breath then sighs helplessly) Oh, noth- ing Never mind the rest of the Jaghts You might as well go out n the kitchen and wait untu I ning sowan (relieved and cheerful agarn) Yes, Mum (She starts for pantry.) Mas area But there's one thing — (wonan turns apprehenswely) No, two things—thinge T've told you over and over, but you always forget Don't pass the plates on the wrong side at dmner tomght, and do be careful not to let that’ pantry door slam behind you Now you will try to remember, won't you? woran Yes, Mum (She goes mto the pantry and shuts the door be- hind her with exaggerated care as MRS MILLER watches her apprehen- swely MRS MILLER sighs and reaches up with difficulty and turns om another of the four lights m the chandelier As she 1s doing so, Uv enters from the back parlor ) uity Here, let me do that, Essie I’n taller You'll only strain yourself (She quickly lights the other two bulbs ) mrs mitten (gratefully) Thank you, Lily It’s a stretch for me, I’m getting so fat umy But where's Norah? Why did- n't she—? ns mitEn (exasperatedly) Oh, that gull Don’t talk about heri SheAH, WILDERNESS! be the death of me! She's that thick, you honestly wouldn't beeve it pos: sble uxt (smiling) Why, what did she do now? mas mitten Oh, nothing She means all nght umy. Anything else I can do, Essie? ns Mite Well, she’s got the table all wrong We'll have to reset at But you're always helping me It asn’t fair to ask you—in your vaca- ‘hon You need your rest after teach- amg a pack of wild Indians of kids all year iicy (beginning to help with the table) You know I love to help Ie makes me feel I'm some use mn this house instead of just sponging— ams mien (indignantly) Spong- mg! You pay, don't you? zrzx Almost nothing And you and Nat only take that litle to make me feel better about Irving with you (Forcing a smile) I don't see how you stand me—having a cranky old mad around all the time, as Maien What nonsense you talk! As af Nat and I weren't only too tickled to death to have you! Lily Miller, I've no patience with you when you go on hke that We've been over this a thousand times be- fore, and still you go on! Crazy, that’s what it as! (She changes the subject abrpsly) What time's xt getting to ity (looking at her watch). Quarter past six 297 Mns mixer I do hope those men folks aren’t going to be late for din- ner (She sighs) But I suppose with that darned Sachem Club picnic 1t’s more likely than not (xix looks , and sighs MRS MILLER gives her a quick side glance) I sea you've got your new dress on uty Cembarrassedly) Yes, I thought ~if Sid’s taking me to the fireworks— I ought to spruce up a httle Mrs Minter (looking away) Hmm (A pause—then she’ says ‘with an effort to be casual) You mustn't mind if Sid comes home feeling a bit—gay I expect Nat to—and we'll have to listen to all those old stones of his about when he was a boy You know what those picnics are, and Sid’d be running into all bis old fends um (agstatedly) I don’t think he wall—this time—not after his prom- se Ms MILLER Cavording looking at her) I know But men are weak (Then quickly) "That was a good notion of Nave, getting Std the job on the Waterbury Standard All he ever needed was to get away from the rut he was in here He's the lund that’s the victim of his fends He's easily led—but there's no real harm in bum, you know that (itr keeps silent, her eyes downcast stns MILLER goes on meaningly) He's making good money in Waterbury, too—thirty-five a week He's in a bet ter position to get mamed than he ever was zux (stiffly) Well, I hope he finds a woman who's" willing—thougb after he’s through with his betting on horse races, and dice, and playing298 there won't be much left fe Peet ee there oat woke Ing else he spent hus money on amas semizn Ob, he'd give up all thatfor the nght woman CSud- denly she comes dsrectly to the pom!) Lily, why don’t you change mand and marry Sid and reform Kim? You love him and always have uty (stiffly) I can’t love s man who drinks sins aexun You can’t fool me T know damed well you love him And he loves you and always has uuvx_Never enough to stop dnnking for (Cutting off mas Mitten's re Bly) No, at's no good in your talk: img. Essie We've been over this 2 thousand times before and Il sl- ways feel the same as long as Sid's the same If he gave me proof he'd— but even then I dont beheve I could It’s sixteen years sce I broke off our engagement, but what made me break it off 18 as clear to me to- day as it was then It was what he'd be liable to do now to anyone who marned h:m—his talang up with bad women, MRS MULLER protests half-hearted- ly) Aor he's always sworn he got raked into thet party and never had anything to do with those Barlots. mx Well, I don't beheve hus— didn’t then and don’t now I do be- eve he didn’t deliberately plan to, but— Oh, 1's no good tallung, Esse What's done 15 done But you know how much I ke Sid—in spite of ‘everything 1 know he was just born to be what he 1s—irresponsible, never meaning to harm. but harming 10 wpe of hums, Bur don't talk. to EUGENE O'NEILL me ebout marrying bim—becarise I never could. wns Mertian Cangnly) He's adumb stupid dumb fool, that’s what he is! ay (quietly). No He's just Sid. ms mizcia It's a shame for you— a measly shame—you that have made such «| wondefal wofe for any man—that ought to have own Lome und chiteod ae LiLy Cwinces but puts her arms around her affechonately—gently). Now don’t you go feelin for me I won't have that Here am, thanks to your and Net's kindness, wath the best home in the world, and as for the children, I feel the same love for yours as if they were mine, and I didn't have the pain of bear ing them And then there are all the boys and gurls I teach every year I like to feel I'm a sort of second mother to them and helping them to gow up to be good men and women. 30 I don’t feel such a useless old maid, after all. Mans. MILLER (hisses her smpulsive- Iy-her vance husky) You're a good woman, Lily—too good for the rest of us (She turns away, wiping a tear furtwely—then abruptly chang. mg the subject) Good gracious, if Tm not forgetting one of the most umportant things’ T've got to warm, that Tommy agamnst giving me away to Nat about the Sah He knows, be cause I had to send him to market for 1t, and he's hable to burst out Jaughing— uy Laughing about what? Mms mitten (gedlily) Well, I've never told you, becalse at seemedAH, WILDRaNEGS! sort of a meaking tick, but you Know bow Nat cares on about not being able to eat bluefish tity. I know he says there's @ cer- tain ol in at that poisons hum Mas mitten (chuckling) Poxsons hima, nothing! He's been eating blue- fish for years—only I tel) him each time it's weakfish We're having it tomght—and I've got to wam that young imp to keep his face straight laughsng) Aren't ed, Essie? LILY you as muen Not much, I'm not! I like bluefish! (She laughs) Where 1s Tommy? In the sitting-room? uux No, Richard's there alone I think Tommy’s out on the piazza with Mildred Cans Martin bus- tles out through the back parlor As soon as she ss gone, the smile fades jrom uy lips Her face grows sad and she again glances nervously at her watch ‘RICHARD appears from the back parlor, moving in an armless way His face wears a set expression of bitter gloom, he exudes tragedy For nicnanp, after his first outburst of gref and huyilanion, has begun to take a masochistic sahsfachon sn his great sorrow, especully im the concern which st arouses in the fam- tly circle On seeing his aunt, he gives her a dark look and turns and about to stalk back toward the sn tingroom when she to him piyingly) Feel any etter, Richard? nicuano (somberly) I'm all nght, Aunt Lily You mustn't worry about me ray (going to him) But I do worry about you I hate to see you so upset 299 mcuanp. It doesn't matter, Nothing matters. iat (puts her arm around hsm sym- pathetically) You really mustn't let youself take at 20 senously. You ow, something happens and things hike that come up, and we think there's no hope nucHanp Things like what come up? uity_ What's happened between you and Munel nucuarp (with disdain) Ob, ber! 1 wasn’t even thinking about her. J was thinlung about life xity But then—af we really, really Jove—why, then something else 1s bound to happen soon that changes everything again, and it’s all as at was before the misunderstanding, and everything works out all nghe mn the end ‘Tha’ the way ats with hfe RICHARD (with a tragie sneer) Life! Life 1s a Joke! And everything comes out alll wrong in the end! uity (a litle shocked) You mustn't talk that way But I know you don’t mean it nicHARD I do too mean itl You can. have your ally optimism, if you hike, Aunt Lily But don't ask me to be so bhnd I'ma pessimist! (Then with an ast of cruel cynicism) As for Munel, that’s all dead and past I was only lidding her, anyway, just to have a litle fon, and she took it seriously, ke a fool (He forces a cruel smile to his lips) You know what they say about women and trol- ley cars, Aunt Lily there's always another one along in a minute300 BUGENE xi (really shocked this time) I don't ike you when you say such homble, cynical things It isn’t nice sucuanp Nice! That's all you wom- en think of! I'm proud to be a cymic It's the only thing you can be when you really face life I suppose you think I ought to be heartbroken about Munel—a little coward that's afrard to say her soul's her own, and keeps tied to her father's apron strings! Well, not for mune! There's plenty of other fh an the se! (As 15 finishing, his mother comes back through the back parlor ) xs miutzR Why, hello You here, Richard? Getting hungry, I suppose? RICHARD (indignantly) I'm not hun- ey be ‘That's all you think of, Ma Food! mms satin Well, I must say I've never noticed you to hang back at meal ames (To tury) What's that he was saying about fish in the sea? ivy (smiling) He says he's through with Munel now Mag maiter Ctartly—giving her son @ rebuking look) She's through with him, he means! ‘The idea of your sending a nice girl hke her thin ut of those indecent books! (Deeply offended, micHanp disdamns to reply bus stalks woundedly 10 the screen door at left, front, and puts a hand on the knob) Where are you going? nicHanD (quotes from “Candida” sn a hollow vorce) “Out, then, into the night with me!” (He stalks out, slamming the door behind him ) mas mittee (calls) Well, don't vou go far, ‘cause dumner'll be ready O'NEILL am a munute, and I'm not -omng running after youl (She turns 10 LILy with a chuckle) Goodness, that toy! He ought to be on the stage! (She mimics) “Out—anto the mght” —and it ssn't even dark yet! He got that out of one of those books, I sup- Do you know, I'm actuall Prateful to old Dave McComber fot putting an end to his nonsense with Mune] I never did approve of Rich- ard gettmg so interested in girls He's not old enough for such silliness Why, seems to me it was only yes- terday he was still a baby (She sighs then matter-of-facily) Well, noth- ing to do now tll those men tum up No ase standing here ike gawks re might as well go in the siting- room and be comfortable LILy (the nervous, worred note in er voice again) Yes, we might as well (They go out through the back parlor They have no soower disap- peared than the screen door 1s opened cautiously and RICHARD comes back in the room ) RicHanD (stands mside the door, looking after them—quotes bitterly) “They do not know the secret in the poet's heart” (He comes nearer the table and surveys st, especially the cut-glass dish containmg olives, with contempt and mutters disdasnfully) Food! CBut the dish of olives seems to fasernate him and presently he has approached nearer, and stealthsly Lifts a couple and crams them mto his mouth He 1s just reaching out for more when the pantry door 1s opened shghtly and wonas peers in ) NoRAH Mister Dick, you thief, lave them olives alone or the missus'l] be sweanng it was me at them! nicann (draws back his hand as sf he had been stung—too flustered toAH, WILDERNESS! be anything but guslty boy for a sec ond) Il wasn ee ora Oho, no, of course not, divil fear you, you was only fecling cher pulse! (Then warningly) Mand what I'm saymg now, or I'll have to tell on you to protect me good name! (She draws back into the pantry, closng the door wicuanp stands, a prey to feelmgs of buterest humslia- tion and seething revolt against ev- cryone and everything A low whis- tle comes from yust outside the porch door He starts Then a masculine rorce calls "Hey, Dick” He goes over to the screen door grumpily— then as he recogmzes the owner of the voice, his own as he answers be- comes respectful and admiring ) micuand Oh, hello, Want Come onan (He opens the door and wart SELBY enters and stands just snside the door se.sy 1s nineteen, a class- snate of antuun’s at Yale He 1s a typical, good-looking college hov of the period, not the athletic but the hell-rasmg sport type He 1s tall, blond, dressed im extreme collegiate cut ) wrvr (as he enters—warningly, 1m a low tone) Keep it quiet, Kid I don't want the folks to know I'm here Tell Art I] want to see him a second—on the QT nicxarp Can't He's up st the Rands’—won't be home before ten, anyway wrvt Camtably) Damn, I thought he'd be here for dinner ‘(More srr tably) Hell that gums the works for fanr! RICHARD (imgratiatingly) What 1s xt, Wint? Con’t I help? 301 wir (gives him an aising lence) 1 might tell you, if jou cas Keep your face shut micnann T can wint Well, I ran into a couple of swift babies from New Haven this after, and I dated them up for to- night, thinking I could catch Art But now it’s too late to get anyone else and I'll have to pass it up I'm nearly broke and I can't afford to blow them both to drinks nicHaRD (with shy eagerness) I've ¢ eleven dollars saved up I could Joan you some war (surveys him appreciatwvely) Say, you're a good sport (Then shake ing has head) Nix, Kid, I don’t want to borrow your money (Then get- ting an sdea) But sav, have you got anything on for tonight? nicHaRD No waovr Want to come along with me? (Then quickly) I'm not trying to Jead you astray, understand But 1t'll be a help if you would yust sit around with Belle and feed her a few drinks while I'm off with Edith (He winks) See what I mean? You don’t have to do anything, not even take a glass of beer—unless you want to. nicuanp (boastfully) Aw, what do you think I am—a rube? wit, You mean you're game for anything that’s doing? ricHarD Sure I am! war Ever been out with any girls =I mean, real swift ones that there’s something doing with, not these dead Janes around here?302 saomann (hes boldly) Aw, what do you think? Sure I have! wat Ever dank anything besides sodas? nicuanp Sure Lots of tumes Beer and sloegin fizz and—Manhattans win (impressed) Hell, you know more than I thought (Then consid- ering) Can you Bx xt so your folks won't get wise? I don't want your old man coming after me You can t back by half-past ten or eleven, Sough, ail nght ‘Think you can ook up some lie to cover that? (As Richard hesttates—encouraging him) Ought to be easy—on the Fourth nicHanD Sure Don't worry about that wint But you've got to keep your face closed about this, you hear?— to Art and everybody else I tell you straight, I wouldn’t ask you to come af I wasn’t .n a hole—and if I didn’t know you were coming down to Yale next year, and didn’t think you're pene me the straight goods about javing been around before I don’t want to lead you astray nicuanp (scornfully) Aw, I told you that was silly wir Well, you be at the Pleasant Beach House at half-past nine then ‘Come in the back room And don’t forget to grab some cloves to take the Booze off your breath nicuanp Aw, I know what to do wir See you later, then (He starts out and ss yust about to close the door when he thinks of some- thing) And say, Vil say you're « BUGENE O’NEILL Haryard freshman, and you beck me up They don’t know a damn thing yut Harvard J don’t want them thunkang Tim traveling around with any high-school Jad nicHARD Sure That's easy war So long, then You better beat at nght after your dinner while you've got a chance, and hang around untl its time Watch your step, Kid nucuand So long (The door closes behind wir RICHARD stands for a ‘moment, a look of butter, defiant re- hellion commg over his face, and mutters to himself) Tl show her she can't treat me the way she's done! Tl show them all! (Then the front door 1s heard slamming, and @ mo- ment later Tommy rushes m from the back parlor ) tommy Where's Ma? nicuanD (surly) In the situng- room Where did you think, Bone- head? tommy Pa and Uncle Sid are com- ing Mid and I saw them from the front piazza Gee, I'm glad I'm aw- ful hungry, ain't you? (He rushes out through the back parlor, calling) Mal They'e coming! Lets have din- ner quick! (A moment later sna Maiian appears from the back parlor accompanied by rommy, who keeps insisting urgently) Gee, but Tm aw. ful hungry, Mal MAS MILLER I know You always are You've got a tapeworm, that’s what I think romacy. Haye we got lobsters, Ma? Gee, I love lobstessAH, WILDERNESS! une, nerzzn. Yes, we've got lobsters. And fish You remember what I told you about that fish (He snickers) Now, do be quiet, Tommy! (Then with a teasmg smile at RcHARD) Well, I'm glad to see you've got back cout of the night, Tuchard. Cie scowls and turns his back on her ity ap- pears through the back parlor, nere- ous and apprehensive As she does 50, from the front yard sto's vorce 18 heard singing “Poor John!” mas MiLtRR shakes her head forebod mgly—but, so great ss the comic spell for her even sn her brother's vorwe, a humorous smile hovers at the corners of her kps) Mmm! Mmm! Lily, Im afraid— uaty (bitterly) Yes, I might have known (aaucprep runs in through the back lor She 1s laughing to herself a Er shamefacedly ‘She rushes to her mother ) wmprep Ma, Uncle Sid’s~ (She whispers om her ear ) rs mutzen Never mnd! You shouldn't nouve such dhings--at your age! And don't you encourage him by Jaughing at hus foobshness, you ear! Tommy You needn't whisper, Mid Think I don't know? Uncle Sid’s soused again ams acter (shake: him by the arm sndignantly) You be quiet! Did I ever! You're getting too smart! Gives him a push) Go to your place and sit mght down and not an- other word out of youl tommy Caggneved—rubbing Ins fam as he goes to bis place) Aw, Ma 393 ns, MaLiEL, And it down, Fuchard and Mil You better, too, Lily, We'll get him nght in here and get some food in hun He'll be all nght then (arcHann, preserviny the pose of the bitter, desill pessimsst, sits down sm his place sm the chas at sight of the wo whose backs face fromt MILDRED takes the other chan facing back, at hss left. TOMMY hes already shd snto the end chawr at right of those at the rear of table facing front uy sits sn the one of thase at left, by the head of the table, leaving the middle one (sms) vocant While they are do- ing this, she front screen door 1s heard slarsming and Nav’s and sms laughing voices, raised as they come sn and for a moment after, then sud- denly cautiously lowered ‘sans wxL- LER goes 0 the entrance to the back parlor and calls peremptorily) You come night in here! Don't stop to wash up or anything Dinner's com- ang nght on the table uter’s vorce (jovully) AD night, Esne Here we are! Flere we are! MRS MILLER (goes to pantry door, gene tt and calls) All nght, Norab. ‘ou can bring in the soup (She comes back 10 the back-parlor en trance just as MILLER enters He asn't drunk by any means He 1s just mellow and benignly ripened His face 1s one large, smuling, beam of utter eciation of hfe All's nght with the world, so sats- fyingly night that he becomes sent mentally moved even to think of tt) matter. Here we are, Essel Righ- on the dot! Here we are! (He pulls her to him and gives her a smackin, ass om the ear as she yerks her hi away MacpRED and TOMMY giggle304 RICHARD holds rigidly aloof and dss Bap he ecaling gard fed on his plate uazy forces a smile ) mms mitten (pulling away—em- barrassedly, almost blushing) Don't, you Crazy! (Then recovering her- self—tartly) So I see, you're here! And if I didn't, you've told me four times already! muten (beamingly) Now, Esse, don't be crincal Don’t be carpingly entical Good news can stand re- peating, can’t at? ‘Course it can! (He slaps her jovially on her fat buttocks tommy and MILDRED roar seith glee And nonax, who has just entered from the pantry with a huge tureen of soup im her hands, almost drops st as she explodes in a merry few) ns mitten (scandalized) Nat! Aren't you ashamed! atten Couldn't resist st! Just sim- ply couldn’t resist 1! Groran, still standing with the soup tureen held out stiffly sm front of her, again guffaws ) MRS MILLER (turns on her with outraged sndignawon) Norah! Bring that soup here this minute! (She stalks with stiff dignsty toward her place at the foot of the table, right ) Noran (guiltily) Yes, Mum (She brings the soup around the head of the table, passing mien ) mmten (jovially) Why, hello, Norah! mma MILLER Nat! (She sits down stiffly at the foot of the table ) onan Crebuking him famslsarly) Arah now, don't be making me ough and geting me ito trouble! EUGENE O'NEILL mas mater Norah! Nona (a bit resentfully) Yes, Mum Here 1am (She sets the soup tureen down with a thud mn front of mas mitten and passes around the other side, squeezmg with dsf- ficulty between the china closet and the backs of chairs at the rear of the table ) rms mater Tommy! Stop spin- ning your napkin ning! How often have I got to tell you? Mildred! Sit up straght in your char! Do you want to grow up a humpback? Rich ard! Take your elbows off the table! MILLER Ccoming to his place at the head of the table, rubbing his hands together gensally) Well, well, well Well, well, well It's good to be home again Cxonan exits ito the pantry and Tets the door slam with a bang be- hind her ) Mas MrLtER (jumps) Oh! (Then exasperatedly) Nat, 1 do wish you wouldn't encourage that stupid gat} by talking to her, when I'm doing my bert to tram— MILLER Cbeamingly) All nght, Es: sie Your word 1s law! (Then laugh ingly) We did have the darndest fun today! And Sid was the hfe of that picnic! You ought to have heard hum! Honestly, he had that crowd gust rolhng on the ground and spht ‘ung ther sides! He ought to be on the stage ‘MRS MILY.ER (as NCRAI comes back with @ dish of saltsnes—begins le dling soup sto the stack of plates before her) He ought to be at this table eanng something to sober him, up, that’s what he ought to bel (SheAH, WILDERNESS! calls) Sid! You come nght in herel (Then to Nona, ng her a soup plate) Here, Norah (Nonaxt begins passing soup) Sit down, Nat, for goodness sakes Start eating, ev- erybody Don't wait for me You know I've given up soup sacrer (sts down but bends for ward to call 10 lus wife in a confi- dential tone) Essie—Sid's sort of embarrassed about coming~I mean Um afrad he's a hittle bit—not too auch, you understand—but he met such @ fot of fnends and-—well, you know, don’t be hard on him Fourth of July 1s ike Chnstmas—comes but once a year Don't pretend to notice, ch? And don't you kids, you hear! And don’t you, Lily He's scared of you LuLy (with suff meckness) Very well, Nat mitten Cheamsmg again—calls) All right, Sid The coast’s clear (ile be- gins to absorb his soup ravenously’) Good soup, Essie Good soup! CA ssoment later sx makes Ins en- trance frons the back parlor He 1s sn 4 condition that can best be described as blurry His movements have u hazy uncertainty about them Hs shiny fat face 15 one broad, blurred, Puckish, waughty-hoy grin, has eyes have a blurred, wondering vague- ness As he enters he makes a sol- emnly intense effort 10 appear casual and dead, cold soher He waves his hand asmlessly and speaks with a ally gravity ) sp. Good evening (They all an- swer “Good evening,” their eyes on ther plates He makes his way vaguely toward his place, contimusng fis grave effort at conversation) Beaunful evening I never remember 305 seeing—more beaunful sunset. (He bumps vaguely snto uny’s char as he attempts to pass behind her—imr mediately he 1 all grave polsteness) Sorry—sorry, Lily—deeply sorry Luz (her eyes on her plate—stiffly). Ie's all nghe sm (manages t0 get mto his chast at last—mutters t0 himself) Wha’ was I sayin’? Ob, sunsets But why butt in? Hasn't sun—perfect ght to set? Mind y'r own business (He pauses thoughtfully, considering this~then looks around from face to face, fang each with a vague, Blurred, wondering look, as if some deep puczle were confronting him Then suddenly he grins mustily and rods with satisfaction) And there you are! Am I night? ammuien Chumonng him Roght sm Right! (He as silent, studymg hus soup plate, as xf 1t were some strange enigma Finally he looks and regards his sister and asks with wondermg amazement) Soup? sms Mien Of course, it's soup What did you think at was? And you hurry up and eat it : sw Cagasn regards his soup with as- sonsshment) Well’ (Then sudden- ly) Well, all nght then! Soup be it! He picks up his spoon and begins to eat, but after two tries in which he finds st difficult to locate hus mouth, he addresses the spoon plarn- tively) Spoon, 3s this any way to treat a pal? (Then suddenly coms cally angry, putting the spoor down with a bang) Down with spoonst (He rasses Tus soup plate and de clams) “We'll dank to the ‘ead already and nurrah for the next who306 EUGENE ches.” (Bowing solemnly to night and left) Your yd besleh, ladies and ts (He starts drinking the soup Suen guffews ond uizons and omar giggle Even nicnanp for- gets his melancholy and snsckers, and MRS MILLER conceals a smile Only Lity remams stiff and silent ) MAE MILLER (with forced seversty) Sidi sm (peers at her muzzly, lowermg the soup plate a little from has ps) Eb? ns mutex Oh, nothing Never mind sw (solemnly offended) Are you— bicly rebuking me before assem- Fied-=? Ion't soup Inquid? Aren't I quids drunk? (Then considerng this to himself) What if they are drunk? It's a good man’s falng (He again peers mistily about at the company) ‘Am I nght or wrong? as maian Hurry up and finish your soup, and stop tallung nonsense! sw (turning to her—again offended ly) Oh, no, Essie, af I ever so fi & t myself as te dunk a leg of lamb, then you might have some— excuse for— Just think of waste ef- fort eating soup with spoons—fifty gruelling Lfts per plate—bilhons of soupeaters on globe—why, it’s sim- ply staggering! OFien darkly to hsm- self) Ne more spoons for me! If I want to develop my biceps, I'll buy Sandow Exerciser! (He drinks the rest of has soup sm a gulp and beams around at the company, suddenly all happiness again) Am I nght, folks? aan (who has been choking with Inaghter) Haw, bow! You're nigh, O'NEILL wp (peers at hin bi and shakes his head sadly) Poor old Nat! Always wrong—but heart of gold, heart of ‘purest gold And Fink aga, I regret to note Sister, my heart bleeds for you and you fathedess chucks PO MRS MILLER (restraining a giggle— severely) Sid! Do shut up for a minute! Pass me your soup plates, everybody If we wait for that gu to take them, we'll be here all night. (They all pass thesr plates, which MRS MILLER stacks up and then puts on the sideboard As she 1s do- ang thss, NoRAH appears from the pantry with a platter of broiled fish She is yust about 10 place these be- fore mitten when stp catches her eve msstily and rises to his feet, mak- ing her a deep, uncertain bow ) sw (raptly) Ah, Sight for Sore Eyes, my beautiful Macushla, my star-eyed Mavourneen— MBS MILLER Sid! Nona (immensely pleased—gives him an arch, fisrtatious glance) Ah sure, Mister Sid, u's you that have lased the Blamey Stone, when you've a drop taken! mas MiLLER (outraged) Norahl Put down that fish! NoraH (flusteredly) Yes, Mum (She attempts to put the fish down hastily hefore MaLtER, but her eyes are fixed nervously on Mns MILtER and she s MILLER a nasty Ss on the side of the head with the edge of the dish ) (The children, even mater Ouch! : snto laughter.) RICHARD,AH, WILDERNESS! ronan (almost lets the dish fall) Oh, glory be to God! Is at hurted you are? mauten (rubbing hus head—good- naturedly) No, no harm done. Only careful, Norah, careful onan Cgratefully) Yes, sorr (She humps down the dicho front of him with a sigh of relief ) sp Cwho 15 still standsng—with drunken gravity) Careful, Mavour- neen, carefull You mght have hit him some place besides the head Always aim at his head, remember— so as not (0 worry us (Again the children explode Also nonaH Even uy suddenly lets out an hysterical giggle and ss furous with herself for domg so) acy I'm so sorry, Nat didn't mean to laugh (Turning on sm furiously) Will you please sit down and sop making a fool of yourself! (sm grves her a hurt, mournful look and then sinks meekly down on his chasr ) onan (grinning cheerfully, gives LILY @ reassurmg pat on the back) Ab, Miss Lily, don’t mnd hum He's only under the influence Sure, there's no harm in him at all ‘MRS MILLER Norah! (wonaH exits hastily snto the pantry, Tettng the door slam with a crash be- hind her There ss silence for a mo- ment as MILLER serves the fish and st 48 passed around NORAM comes back with the vegetables and dis- appears again, and these are dished out.) take his first martian Gs about to ly and asks his Inte—stops 307 wife). ‘This ime, chance, ee ee Mas maLtzn (with « warning glance at tommy). Of course not. You Know we never have bluefish, on account of you matter (addressing the table now with the gravity of a man confessing hus strange peculiarities) Yes, 1 re- gret to say, there’s a certain peculiar oil in bluefish that invariably poisons me (At this, TOMMY cannot stand it any more but explodes into lege ter MRS MILLER, after a helpless glance at him, follows sust, then LL goes off snto uncontrollable, hysterr cal laughter, and nicuann and mu- DRED are caught in the contagion MILLER looks around at them with a weak smile, his dignity now ruffled a bit) Well, I must say I don’t see what's so damed funny about my being poisoned sw (peers around him—then with drunken cunnmg) Aha! Nat, I sus- pect~plot! This fish looks blue to me—very blue—in fact despondent, desperate, and— (He pomts his fork dramatically at wns MILLER) See how guilty she looks—a ver—venita- ble Lucretia Georgia! Can st be this woman has been slowly poisoning you all chese years? And how well— you've stood it! What 1ron constitu- tion! Even now, when you are nva- nably at death's door, I can't be heve— (Eve lable ‘one goes off to uncontrol- ighter > mauien (gnimpaly), Oh, ge us a rest, you damned fool! A yoke's a joke, but (He addresses his wife m a wounded tone) Is this true, Essie? sane, seritan Cunping the tears from her ayesdefandy) “Yes, t 18 true,308 af must know, and you'd never have suspected it, if it ‘reren't for that damed Tommy, and Sid polang hus nose in You've eaten bluefish for years and thrived on it and it's all nonsense about that peculiar ot martian (deeply offended) Kindly allow me to know my own constitu- thon! Now I think of at, I've felt up- set afterwards every damned ume we've had fish! (He pushes his plate away from him with proud renuncia- tion) I can't eat thie Mans MILLER Csnsultngly matter-of- fact) Well, don’t then There's lots of lobster coming and you can fill up on that Carcrann suddenly bursts out laugh- mg agamn ) MILLER (turns to him caustically) You seem in a merry mood, Puchard I thought you were the onginal of the Heart Bowed Down today sm (with mock condolence) Never mind, Dick Let them—scof! What can they understand about gicls whose hair sizzchels, whose lips are fireworks, whose eyes are red-hot sparks— muoRep (laughing) Is that what he wrote to Munel? (Turning to her brother) You silly goat, you! nuckanp (surlily) Aw, shut up, Mid What do I care about her? Til show all of you how much I care! Ms MILLER Pass your plates as soon as you're through, everybody T've rung for the lobster And that's all You don’t get any dessert or tea after lobster, you know (wonatt appears bearing a platter of cold borlell lobsters which she sets before sexxn, and disappears ) EUGENE O'NEILL tommy Gee, I love lobster! Gumzren puts one on each plate, and they are passed around and everyone starts im pulling the cracked shells apart ) mater (feelmg more cheerful after a couple of mouthfuls—determzming to give the conversation another turn, says to his daughter) Have a good nme at the beach, Mildred? mitpnep Oh, fine, Pa, thanks The water was wonderful and warm MILLER Swim far? mipreD Yes, for me But that isn’t so awful far nimuien Well, you ought to be ged swimmer, if you take after me ‘used to be a regular water rat when Iwas a boy I'll have to go down to the beach with you one of these days =though I'd be musty, not having been in in all these years (The rems- miscent look comes snto his eves of one about to embark on an oft-told tale of childhood adventure) You Know, speaking of swimming, I never go down to that beach but what xt calls to mind the day I and Red Sisk went in swimmung there and I saved his hfe (By this time the family are begsn- ning to exchange amused, guilty glances They all know what 15 coms- mg) sx (with a sly, blurry wink around) Hal Now we-have it again! maiten (turning on him) Have what? em Nothing—go on with your swimming—don’t mind me MILLER (glares at him—but smmeds- ately 1s overcome by the reminiscentAH, mood aga) Red Sisk—his father Kept ¢ blacksmith shop where the Union Market 1s now—we kids called him Red because he had the darned- est reddest crop of hair— sm (as sf he were talking to his plate). Remarkable'—the - curous amagiation—of litle children MRS MILLER (as she sees MILLER about to explode—iterposes tact- fully) Sid! Eat your lobster and shut up! Go on, Nat MILLER (gives sm a withering look ~then 1s off again) Well, as 1 was saying, Red and I went swimming that day Must have been—let me see—Red was fourteen, bigger and older than me, I was only twelve forty-five years ago—wasn’t a single house down there thenbut there was a stake out where the whistling buoy 1s now, about a mile out (rom- ay, who has been having difficulty restraming himself, lets out a sfled giggle mian bends a frowning gaze on him) One more sound out of you, young man, and you'll leave tins table ns Mitnen (quickly snterposing, trying to stave off the story) Do eat your lobster, Nat You didn't have any fish, you know Mite (not Iking the remmnder— pettishly) Well, if I'm going to be mterrupted every second anyway— (He turns to his lobster and’ chews im silence far a moment ) Mas MILLER (trying to switch the subject) How's Anne's mother’s theumatism, Mildred? Miprep Oh, she’s much better, Ma. She was in wading today She WILDERNESS! 309 says salt water's the only thing that really helps her bunion MRS MILLER Mildred! Where are your manners? At the table's no place to speak of — MILLER (fallen mto the reminiscent, obsession agasn) Well, as I was say- ing, there was I and Red, and he dated me to race him out to the stake and back Well, I didn’t let anyone dare me in those days I was a spunky Jad So I said all night and we started out We swam and swam and were pretty evenly matched, though, as I've said, he was bigger and older than me, but finally I drew ahead T was going along easy, with lots in reserve, not a bit tired, when sud- denly { heard a sort of gasp from be hind me—hke thts—"help ” (He sms- tates Everyone's eyes are firmly fixed on thes plates, except si's) And I tured and there was Red, his face all pinched and white, and he says weakly “Help, Nat! I got a cram an my leg!” Well, I don’t mind tell- ing you I got mghty scared I didn't know what to do Then suddenly I thought of the pile IF I could pull ham to that, I could hang on to bam tall someone’d notice us But the pile was sull—well, I calculate it must have been two hundred feet away sx Two hundred and fifty! matter (sm confusion) What's that? sw Two hundred and fifty! I've taken down the distance every time you've saved Red’s hfe for thirty years and the mean average to that pile is two hundred and fifty feet! (There 1s a burst of laughter from around the table sip continues com- plarningly) Why didn’t you let that310 RUGENE Red drown, a 1, Nat? I never knew him but Phucw Pd never have liked hum suiten (really hurt, forces a feeble smile to hss lips and pretends to be a good sport about 5. Well, guess you're night, Sid Guess I have told that one too many es and bored everyone But w’s a good true story for kids because wt llusteates the dan- ger of being {volhardy in the water~ MRS MILLER (sensing the hurt in hus tone, comes to his rescue) OF course it's a good story—and you tell at whenever ee Dimind (And you, Sid, if you were in any respon- sible state, Vd give you a good piece of my mind for teasing Nat hike that MILten (wath a sad, self-ptysny smile at hs wife) Getting old, guess, Mother—getting to repeat my- self Someone ought to stop me mas mitr3n No such thing! You're as young as you ever were (She turns on «1D again angrily) You eat your lobster and maybe it'll keep your mouth shut! si (after a few chews—nrepres- sibly) Lobster! Did you know, Tommy, your Uncle Sid 1s the man snvented Tobste? Fact! One day— when I was building the Pyrami took a day off and just dashed off lobster He was bigger'n’ older than me and he had the damedest reddest crop of hair but I dashed him of just the same, Am I nght, Nat? (Then suddenly m the tones of a side- show barker) Ladies and Gents— wns stten Mercy sakes! Can't you shut up? sm, In this cage you see the lobster You wall not believe me, ladies and O'NRILL gents, but it’s a fact that this inter- esting bivalve only makes love to his mate once 1p every thousand years— but, deane me, how he does enjoy at! (The children roar ui.y and wns MILLER laugh im spite of themselves then look embarrassed MILLER guf- faws—then suddenly grows shocked.) aatier Careful, Sid, careful Re- member you're at home tommy (suddenly in a hoarse whss- per to his mother, with an awed glance of admiration at his uncle) Ma! Look at hum! He's eating that claw, shells and all! ns mitten Chomfed) Sid, do you want to lull yourself? Take at away from hum, Lily! sx (with great dignity) But I pre- fer the shells All famous epicures prefer the shells—to the less delicate, coarser meat It's the same with clams. Unless I eat the shells there 1s a cer- tam, pecuhar oil that invanably potsons— Am I nght, Nat? MILLER (good-naturedly) You seem to be getting a lot of fun kidding me Go ahead, then I don’t mind mms waczen He better go nght up to bed for a while, that’s what he better do sup (considering this owlshly) Bed? Yes, maybe you're nght. (He gets to hs. feet) Tam not at all well—n very delicate condition—we ate pray- "— for a boy Am I nght, Nat? Nat, T kept telling you all day I was in delicate condition and yet you forcing demon chowder on me, al- though you knew full well—even if you were full—that there 1s a cer-oil in chowder that in- ‘They are again all laugh- ing—uity, rene > ans marin Wall you get to bed, you idiot! wp (mutters graciously) Immedi- ately—if not sooner Ce tums to pass behind wavy, then stops, star- ing down at her) But wat ‘There 1s still a duty I must perform No day 15 complete without st Lily, answer ance and for all, wall you marry me? Lay Cwith an hysterscal giggle) No, T won't—never! sx (nodding his head) Right! And perhaps t's all for the best For how could I forget the pre—precepts taught me at mother's dying knee “Sidney,” she said, “never mary a woman who drinks! Lips that touch Liquor shall never touch yours!” (Gaz- sng at her mournfully) Too bad! ‘So fine a woman once—and now such a slave to rum! (Turning to wat) What can we do to save her, Nat? Cin a hoarse, confidential whisper) Better put her i institution where she'll be removed from temptation! ‘The mere smell of it seems to drive her frantic! sans wattan (struggling with her laughter) You leave Lily alone, and go to bed! sw Right! (He comes around behind zuy's cha and moves roward the entrance 10 the back parlor—then suddenly turns and says with a bow) Good night, ladies—and gents We will meet—bye and bye! (He gives an tmstation of a Salvation Army drum) Boom! Boom! Boom! Come and be seved, Brothers! (He starts to sing the old Army hymn) aH, witpeansse! 3rr “In the sweet Bye and We ri Poet on thet beautiful shore” (He turns and marches solemnly out through the back parlor, singing) “Work and While you may oa meet in the sky bye and Gatisn and his wife and the chil dren are all roaring with laughter. Lary giggles hysterically ) mien (subsiding at last) Haw, haw He's a case, if ever there was one! Damed sf you can help laugh- ang at him—even when he's poking fun at youl ans mmten Goodness, but he's a caution! Gb, my sides ache, I declare! I was trying so hard not to—but you can’t help it, he’s so silly! But I sup- pose we really shouldn't It only en- courages him But, my lands~ uicx (suddenly gets up from her char and stands rigidly, her face sworkeng—yerkay) Thats past at you shouldn't—even I laughed—t does encourage—that’s been his downfall—everyone always laughing, everyone always saying what a card he 1s, what a case, what a caution, so funny~and he's gone on—and we're all responsible—making it easy for him—we're all to blame~and all we do 1s laugh marten (woredly) Now, Lily, now, you mustn't take on so It isn't ‘as serious as all chat. Lazy Cbstterly) May at w—to me Gee eee Phe coarsaly) Peo312 BUGENE , Nat I'm sorry, Essie I didn't mean to-I'm not Fechng myself to- might If you'll excuse me, Ill gon the front parlor and he down on the sofa awhike ams mrten Of course, Lily You do whatever you've a mind to Cary goes out) mater (frownimg—a litle shame- faced) Hmm. I suppose she’s nght Never knew Lily to come out with things that way before Anything special happened, Essie? mas arte Nothing I know—ex- cept he'd promised to take her to the fireworks matten Thats so Well, supposinj T take her I don't want her to feel disappointed mas suzen (shaking her head) Whld horses couldn't drag her there now sacen Hmm I thought she'd got completely over her foohshness about him long ago ms mitten She never will pater She'd beteer He's got fired out of that Waterbury yob—told me at the picmc after he'd got enough Dutch courage in him wns Matin Oh, dear! Isn’t he the 1! acer I knew something was wrong when he came home Well, TI Gnd a place for him on my paper again, of course He always was the best pews pettes this town ever had But I'll tell him he’s got to stop his damn nonsense O'NEILL ans mu.ten (doubifully) Yes reican Well, no use sang here mourning over spilt milk (He gets up, and RICHARD, MILDRED, TOMMY and uns _mitizr follow his example, the children quset and a bit awed) You kids go out an the yard and try to keep quiet for a while, so's your Uncle Sid’ll get to sleep and your Aunt Lily can rest roma (mournfully) Am't we go- ing to set off the skyrockets and Roman candles, Pa? satten Later, Son, later It isn't dark enough for them yet anyway srtprep Come on, Tommy I'll see he keeps quiet, Pa marten That's a good gul Cwm DRED and TOMMY go out through the screen door RICHARD remaims standing, sunk in bitter, gloomy thoughts. rtien glances at him— then sritably) Well, Melancholy Dane, what are you doing? nicuanp (darkly) I'm going out— for a while (Then suddenty) Do know what T thunk? Irs Aunt aly’s fault, Uncle Sid's to rn Its_all because he loves her, and she keeps him danglng after her, and eggs him on and ruins his hfe—bke all women love to nun men's hves! I don’t blame hum for drinking himself to death’ What does he care af he dies, after the way she’s treated am! I'd do the same thing myself af I were in his boots! Mns_ MILLER (sndignantly) Ruch- ard! You stop chat talk! RICHARD (quotes bitterly) “Dank! for you know not whence you come nor whyAH, WILDERNESS! Dank! for you know not why you go nor " aauten (losing his temper—harsh- ly) Listen here, young mani I've had about all I'can stand of your nonsense for one day! You're grow- ing a lot too big for your size, seems to me! You keep that damn fool tall to yourself, you hear me—or you're going to regret at! Mind now! (He strides angrily away through the back parlor ) 313 MRS MILLER (chill sndignant) Rich- ard, 'm of you, thav’s what I am (She follows her husband. mucuann stands for a second, bitter, humiliated, wronged, even his father turned enemy, his face growtng more and more rebellious Then he forces a scornful smile to his lips ) nicranp Aw, what che hell do 1 cate? I'l show them! (He tums and goes out the screen door) CURTAIN ACT THREE SCENE I Scanz—The back room of a bar sn a small hotel—a small, dingy room, dimly lughted by two fly-specked globes 1m a fly-specked gult chandelier suspended from the mddle of the celmg At left, front, 1s the swinging door leading so the bar Atrear of door, against the wall, 1s a nickel-sn-the-slot player-prano In the rear wall, right, 1s a door leading 10 the “Family Entrance” and the stairway to the upstarrs rooms In the middle of the nght wall 1 a window with closed shutters Three tables with stained tops, four charts around each table, are placed at center, front, at right, toward rear, and at rear, center A brass cuspidor 1s on the floor by each table The floor 1s unswept, littered with cigarette and cigar busts The hideous saffron-colored wallpaper 1s blotched and spotted It 1s about ro o'clock the same mght nicnann and BeLix are discovered sitting at the table at center, BELLE at left of st, RICHARD 1m the next char at the muddle of table, rear, facing front BELLE 15 twenty, a rather pretty peroxde blonde, a typscal college “tart” of the persod, and of the cheaper vanety, dressed with tawdry flashiness But she 1s a fasrly recent recruit to the ranks, and 1s still a bit remorseful behind her make-up and defiantly careless manner BELLE has an empty gin-nckey glass before her, nicuann a halfempty glass of beer He looks hornbly wmsd, embarrassed and guilty, but at the same time thrilled and proud of at last mingling with the pace that hl The player-pano 1s grinding out “Bedeha” The nantenven, a stocky young Inshman with a forly cunning, suipd face anda cymecally wise grimy stands just mside the bar enivance, watching them over the swinging door31g EUGENE sate Cunth an impatient glance at her escort—ratting. the joe aoe empty glass) Drmk up your beer, why ‘don't you? It’s getang fat mucuann Cembarrassedly) I let st get thet way on T hike at better when it’s fat (But he hastily gulps down the rest of his glass, as sf st were some “tasting medicme The santaNpen chuckles audsbly BELLE glances at him ) BELLE (nodding at the player-pano scornfully) Say, George, 1s. “Be- dehia” the latest to hit this hick burg? ‘Well, xt’s only a couple of years old! You'll catch up in hme! Why don't you get a new roll for that old box? BARTENDER (with a grin) Complamn to the boss, not me We're not us to having Candy Kiddoes hke you around—or maybe we'd get up to date BELLE Cwith a professionally arch grin at hum) Don't kid me, please T can't bear t (Then she sings to the music from the prano, her eyes now on RICHARD) “Bedelia, I'd like to feel yer” (The ARTENDER laughs She smirks at nicHARD) Ever hear those words to at, Kid? nicuann (who has heard them but ts shocked at hearing a gurl say them putting on a blasé air) Sure, lots of times That's old BELLE (edging her chawr closer and putting a hand over one of his) Then why don’t you act as if you knew what they were all about? mronanp (termbly pwustered) Sure, Tve heard that old parody lots of fumes What do you think I am? O'NEILL ‘3ELLE. I don’t know, Kid Honest t God, you've got me guessing hackle) Fi ene uC) le’s a hot sport, can’t tell at? I never seen such a ter My head’s dizzy banging you dnnks! BARTENDER (with @ Bacie (laughs srntably—to mron- ap) Don’t let him lad you You show him Loosen up and buy an- other drink, what say! RICHARD Chunmlrated—manfully) Sure Excuse me I was thinking of something else Have anything you like CHe tums to the BARTENDER who has entered from the bar) See what the lady will have—and have one on me yourself BARTENDER (coming to the table— with a wink at nurts) That's talk- nog! Didnt I say you were a spon? Til take a cigar on you (To setue) What's yours, Kiddo—the same? patie Yes And forget the house rules this time and remember a nickey 1s supposed to have gin in it BARTENDER (grinning) I'll try to— seeing 1's you (Then to nicHARD) What's yours—another beer? nicuarp (shyly) A small one, please I'm not thirsty nexis (caloulatedly taunting) Say, honest, are things that slow up at Harvard? If they had you down at New Haven, they'd put you in a landergarten' Don't be such a dead. one! Filling up on beer will only make you sleepy Have a man’s donk! nicHarD (shamefacedly). All nght Hay going to, Bnng me a sloe-ginAH, WILDERNESS! BELLE (to BARTENDER) And meke a a real one BARTENDER (with @ wink) I get you Something thar’ll warm bam u ch? (He goes into the bar, ch ng.) BELLE (looks around the room—1- muably) Chnst, what a dump! (acH- Anp 15 startled and shocked by this curse and looks down at the table) If this isn't the deadest burg I ever struck! Bet they take the sidewalks am after nme o'clock! (Then turning on him) Say, honestly, Kid, does your mother know you're oue? nicnanp (defensively) Aw, cut it out, why don’t you—trying to lad me! BELLE (glances at him—then resolves on a new tack—patting his hand) All nght I didn't mean to, Deane. Please don't get sore at me RicHarD I'm not sore nette (seductively) You see, it's thus way vith me 1 chunk you're one of the sweetest lads I've ever met— and I could like you such a lot af you'd give me half a chance—n- stead of acting so cold and indaf- ferent richard I'm not cold end indf- ferent (Then solemnly tragic) It’s only that I've got—a weight on my mind auxin (impatiently) Well, get it off your mind and give something else a chance to work (The BARTENDER comes im, bringmg the drinks ) BARTENDER (settmig them with a wink at wets) Thus'll wenn 315 hum for Forty cents, that 1s— sath the gue RICHARD (pulls out his roll and hands @ dollar bill over—with exaggerated carelessness) Keep the change (BELLE emits a gasp and seems about to protest, then thinks better of st The BARTENDER cannot believe his luck for a moment—then pockets the bull hastly, as xf afraid aicHanp will change his mind ) BARTENDER (respect in his voice). Thank you, sir nicanp (grandly) Don't mention at nanranpen I hope you like tha dank T took special pans with at (The voce of the SALESMAN, who has ust come sn the bar, calls “Hey! Anybody here?” and a com 1s tapped om the bar ) 'm coming, Che was TENDER goes out ) EBLLE (remonstrahng gently, a new appreciation for her escort’s possibili- tres 1 her voice) You shouldn't be so generous, Deane Gets him in bad habits A dime would have been plenty mucnanp Ah, that's all nght I'm no taghewad mexim That's the talk I ke to hear (With a quick look toward the bar, she stealthily pulls up her dress—te RICHARD'S shocked fascmaton—and takes a package of cheap cxgarettes from her stocking) Keep an eye out for that bartender, Kid, and tell me if you see him coming Girls ere only allowed to smoke upstars in the rooms, he said aucuanp Cembarrassedly) All nght. Tl watch.316 werxu Chaving lighted her cigarette und snhaled deeply, holds the pack- age out to hsm) Have a Sweet? You smoke, don’t you? nicuanp (taking one) Sure! I've been smoking for the fast two years on the sly But next year I'll be al- lowed—that 1s, pipes and cigars (He lights his csgarette with elaborate nonchalance, puffs, but does not m- hale-then, watching her, with shocked concern) Say, you oughtn’t to mhale like that! Smoking’s awful bad for girls, anyway, even af they don't— ELLs (cynically amused) Afraid xt will stunt my growth? Gee, Kid, you are a scream! You'll grow up to be a munister yet! (RICHARD looks shame- faced She scans him :mpatiently— then holds up her dnnk) Wall, bere’s how! Bottoms up, now! Show me you really know how to dank {rll ‘take that load off your mind Gucuann follows her example and they both drink the whole contents of thes glasses before setting them down) There! That's something hike! Feel better? mcHanp (proud of himself—with a shy smile) You bet sete Well, you'll feel still better im a mmute—and then maybe you won't be so distant and unfnendly, eh? eicHanp I'm not vette Yes, you are I think you yust don’t hke me nucnann (more manfully) I do too ike you seLte How much? A lot? EUGENE O'NEILL micanp Yes, 2 lot. suits Show me how much! (Then as he fidgets embarrassedly) Want me to come sit on your lap? aicHarp Yes—I— (She comes and sits on his lap He looks desperately uncomfortable, but the gin ss rising to his head and he feels proud of himself and devilish, too ) pettz Why don’t you put your arm around me? (He does so awkwardly) No, not that dead way Hold me tight You needn’t be afraid of hurt- img me I ke to be held tight, don’t you? nicuarD Sure I do BELLE ‘Specially when t's by a mce handsome krd ke you (Ruffling his hair) Gee, you've got pretty hair, do you know 1? Honest, I'm avfully strong for you! Why can't vou be about me? I’m not so awfully ugly, am 2 nicaanp No, you're—you're pretty nettz You don’t say it as af you meant it RICHARD 1 do mean at—honest pects Then why don't you kiss me? (She bends down her lips toward his He hesutates, then kisses her and at once shrinks back) Call that kissing? Here (She holds his head and fastens her lips on his and holds them there He starts and struggles She laughs) What's the matter, Honey Boy? Haven't you ever hissed like that before? micnanp Sure Lots of times,AH, WILDERNESS[ seria ‘Then why did you jump as af I'd batten you? (Squsroaing around om ss lap) Gee, fim getting Just crazy about you! What shall we do about at, eh? Tell me nicuann [don't know (Then boldly) 1-I’m crazy about you, too pate (hissing him agmn) Just think of che wonderful ume Edith and your frend, Want, are having upstairs—while we stt down here like two dead ones A room onl two dollars And, seeing I hike you so much, I'd only take five dollars— from you I'd do st for nothing—for you—only I've got to live and I owe my room rent in New Haven—and know how it ss I get een dollars From everyone else Honest! (She lasses hum again, then gets up from hus lap—briskly) Come on Go out and tell the bartender you want a room And hurry Honest, I'm so strong for you I can hardly wait to get you upstarrs! RICHARD (starts automatically for the door to the bar—then hesitates, a great struggle going on im his mind ~timidity, disgust at the money cle- ment, shocked modesty, and the guilty thought of munieL, fightsng st out with the growsg tipstness that makes him want to be a hell of a fellow and go im for all forbsdden fruit, and makes this tart a tomantic, evil vampire 1m hus eyes Finally, he stops and mutters sm confusion) I can’t BELLE What, are you too bashful to ask for @ room? Let me do it, then (She starts for the door ) RICHARD (desperately) No~I don’t want you to—I don’t want to 317 BELLE (surveying him, anger comm sng snto her eyes) Well, af you aren't the lousiest cheap skate! mucnarp I'm not a cheap shate! perce Keep me around here all might foohng with you when T migbt be out with some real hve ones—af there as such a thing in this hurg!— and now you quit on me! Don't be such a piker! You've got five dollarst I seen it when you pad for the dnnks, so don't hand me any hes! nicuand I~ Who sad I hadn't? And I'm not a piker IF you need the five dollars so bad—for your room rent—you can have at without—I mean, I'll be glad to give— (He ha, been fumbling in his pocket and pills out his mmedolar roll ond olds out the five to her ) BELLE (hardly able to beheve her eyes, almost snatches st from hss hand—then laughs and smmedsately becomes sentimentally grateful) Thanks, Kid Gee—oh, thanks— Gee, forgive me for losing my temper and bawling you out, wall you? Gee, you're a regular peach! You're the incest kad I've ever met! (She kisses hum and he grins proudly, a hero to himself now on many counts) Cee, you're @ peach! Thanks, again! RICHARD (grandly—and quite tspsily) It's—nothing—only too glad (Then boldly) Here—give me another kiss, and that'll pay me back Betis (hissing him) I'l give you a thousand, if you want ‘em “Come on, let's sit down, and we'll have another drnk—and ths time I'll blow just to show my Senseratae She calls) He » George Bnng us another round—the same! :318 RICHARD (@ remnant of caution com- sng to him) 1 don't know as I ought to— sszrs Ob, another won't hurt you And I want to blow you, see (They sit down sn their former places ) nicHann (boldly draws his cha closer nd pats am arm around her =npsly) I hike you a lot—now I'm getting to know you. You're a damed nice gil putts Nice 1s good! Tell me an- other! Well, if I'm so nice, why didn't want to take me upstairs? That's what I don't get nronan (lying boldly) I cd want to—only I~ (Then he adds solemnly) Tve sworn off (The BARTENDER €n- ters with the drinks ) BARTENDER (setting them on the table) Here's your pleasure (Then regarding RICHARD’ arm about her want) Hoko, we coming on, I see CRICHARD grins at him muzzily ) surre (digs into her stocking and gives hum a dollar) Here This 1s mine (He gies her change and she tips him a dsme, and he goes out She pits the five ncHARD had gwen her in her stocking and picks up her glass) Here’s how—and thanks again (She sips ) nicHann (Dorsterowsly) Bottoms up! Bottoms up! (He drenks all of his down and. sighs with exaggerated satisfaction) Gee, that's good stuff, all nght CHugging her) Give me another kiss, Belle BELLE (kisses him) What did you ‘ean a minute ago when you sad you'd swom off? EUGENE O'NEILL micHarp (solemnly> I took an veth Td be farthful BELLE (cymcally) Tull death do us part, ch? Who's the gu? rican (shortly) Never mind. peuta (bnsthng) Tm not good enough to talk about her, I suppose? re I didn’t—mean that You're all nght (Then with tpsy gravity) Only you oughtn’t to lead this kind of hfe Ie ssn't nght—for a nice girl like you Why don't you reform? seize (sharply) Nux on that hne of talk! Can it, you hear! You can do a lot with me for five dollars—but you can’t reform me, see Mind your own business, Kad," and don't’ butt an where you're not wanted! aicHanpD I—I didn’t mean to hurt your feelings BELLE I know you didn't mean You're only like a lot of people who mean well, to hear them tell at (Changing’ the subject) So you're faithful to your one love, eh? (Wath an ugly sneer) And how about her? Bet you she’s out with 2 guy unde some bush this minute, giving him all he wants Don’t be a sucker, Kid! Even the hetle fies do it! RICHARD (starting up im his chasr— angrily) Don't you say that! Don’t you darel BELLE (unsmpressed—with a cymscal shrug of her shoulders) All nghe Have at your own way and be a sucker! It cuts no ice with me nicHarD You den’t know her or— sELtx And don’t want to Shut up about her, can’t you? (She4H, WILDERNESS! stares before her bitterly nicHaRD subsides into scowlmg gloom He 1s becoming percepubly more rmtox- cated with each moment now The BARTENDER and the GALESMAN ap- pear just inside the swinging door The panrenvee nods toward pain, giving the SALESMAN @ wink The SALESMAN grins and comes into the room, carrying his highball im his hand He 1s a stout, jowly-faced man im the late thirtes, dressed with cheap natisness, with the professional breeziness and ocular, kid-'em-along manner of his kind nein looks up as he enters and he and she ex- change a glance of complete recognt- tion She knows his type by heart and he knows hers ) SALESMAN (passes by her to the table at right—grinning gensally) Good evening BELLE Good evening sarzsman (sitting down) Hope I'm not butting in on your party—but my dogs were giving out standing at that bar pette All nght with me (Grumg RICHARD a rather contemptuous look) T've got no party on. satusMan ‘That sounds hopeful nicuann (suddenly recites senti- mentally) “But I wouldn't do such, ‘cause I loved her too much, But I learned about women from her” (Turns to scowl at the sALusman— then to wsttt) Let's have ‘nother dnnk! 319 peti, You've bad enough Cuamaso subsides, muttermg to hsm sel SALESMAN What 1s it—a child or a child actor? a nerie Don't know Got me guess- ing satesman Well, if you could shake the cradlexobbing act, maybe we could do a httle business Batts That's I just pull Freight (She shakes nucHand by the arm) Listen, Kid Here's an old fnend of mine, Mr Smith of New Haven, just come m_ I'm going over and sit at his table for a while, see ‘And you better go home nrcHanp (blinking at her and scowl ing) I'm never going bomel I'l show them! ants Have it your own way—only let me up (She takes his arm from around her and goes te sit by the SALESMAN RICHARD stares after her offendedly ) nicnanp Goon What do I care what do? (He recstes scornfully\ “For a woman's only a woman, but a good cigar’s a smoke” SALESMAN (as BELLE sits beside his) Well, what kind of beer will you have, Sister? satis Mine's a gin nckey SALESMAN You've got extravagant tastes, I'm sorry to see nucrann (begins to recite sepul chrally)320 EUGENE “Yet each man knlls the thing he loves, By each let this be heard” SALESMAN (grinning) Say, this 1s nch! (He calls encouragement) That's swell dope, young feller Give uus some more nicuand (ignoring him—goes on ‘more rhetorically) “Some do xt with a butter look, Soine with a flattering word, The coward does 1t with a kiss, ‘The brave man with a sword!” (He stares at serie gloomily and mutters tragically) 1 did xt with a kass! I'm a coward satrsMman That's the old stuff, Kid You've got something on the ball, all night, all nght! Give us another— night over the old pan, now! BELLE (with a laugh) Get the hook! nicuanp (glowermg at her—trage cally) “ ‘Oho,’ they ened, ‘the world 15 wide, But fettered limbs go lame! And once, or twice, to throw the dice Is a gentlemanly game, But he does not win who plays with Sin In the secret House of Shame!’” pete (angrily) Aw, can at! Give uus a rest from that bunk! saLusman (mocksngly) This gal of yours don’t appreciate poetry She's @ lowbrow Buc I'm the kad that eats it up My middle name 1s Kelly and Sheets! Give us some more of the o’NEILL same! Do know “The Lobster and the Wise Guy"? (Tums 10 BELLE seriously) No Jadding, that's a peacherino { heard a guy recate it at Poli's Maybe this nut knows 1 Do you, Kid? (But nicHaRD only glowers at him gloomily without answering ) BELLE (strveyimg RICHARD con- temptuously) He's copped a fine slunful—and gec, he’s hardly had anything nicnann (suddenly—wuh a dire emphasis) “And then—at ten o'clock —Eilert Lovborg will come—with vine leaves in his har!” peLte And bats in his belfry, if he's you! nicanp (regards her bstterly then starts to ls fect bell:cosely—to the SALESMAN) I don't believe you ever Anew her in New Haven at all! You just picked her up now! You leave her alone, you hear! You won't do anything to her—not while I'm here to protect her! were (laughing) Oh my God! Listen to at! satesMan. Ssshb! This as a scream! Wart! (He addresses nicuann in tones of exaggcrated melodrama’) Curse you, Jack Dalton, af I won't unband her, what then? RICHAND (threatenimgly) I'll give you a good punch in the snoot, that's what! (He moves toward thesr table ) SALESMAN with mock terror— screams in falsetto) Help! Help! (The wanrenpen comes sn irrstably ) BARTENDER Hey Cut out the norse ‘What the hell’s up with you?AH, WILDERNESS! nICHARD (tipsily) He's too—damn hl fres} savesMan (with a wink) He's go- mg to murder me (Then gets a bright idea for eliminating micuanD ~senously to the manTENDER) It's none of my business, Brother, but if I were in your boots I'd give this young souse the gate He's under age, any fool can sce that nanTeNpER (guiltily) He told me he was over eighteen saesMan Yes, and I tell you I'm the Pope~but you don't have to be- lieve me If you're not looking for trouble, I'd advise you to get him started for some other gin mil] and Tet them do the lying, af anything comes up nantenven Hmm (He tums to nicHanp angrily and gues him a push) Come on, now On your way! You'll start no trouble n here! Beat t now! micwand I will not beat it! BARTENDER Oho, won't you? (He gives him another push that almost sends him sprawhng ) peLLe (callously) Give him the bum's rush! T'm ‘sick of his. hull! Gucnanp turns furiously and tries to punch the DARTENDER ) panTtNpra (avoids the punch) Oho, you would, would you? (He grabs rican hy the back of the neck and the scat of the pants and marches lim sgnomimsously toward the swinging door ) micuann Leggo of me, you ditty coward! 321 BARTENDER Quiet now—or I'll pn a Mary Ann on your jaw that'll quset you! (He rushes him through the Seren door and a moment later the outer doors are heard swinging back and forth ) SALESMAN (with a chuckle) Hand it to me, Kid How was that for a slick way of getting rid of him? BELiE (suddenly sentimental) Pooz kid I hope he makes home all nght T hiked him~before he got sou: SALESMAN Who 1s he? nerte The boy who's upstars with mv friend told me, but I didn’t pay much attention Name's Miller His old man runs a paper in this one- horse burg, I think he said SALESMAN (with a whistle) Phew! He must be Nat Miller's hid, then DARTENDEN (coming back from the bar) Wall he's on his way—with a good boot in the tail to help him! saLeswaN Gavith a malicious chuckle) Yes? well, maybe that boot will cost you a yob, Brother Know Nat Miller who runs the Globe? That's his kad BARTENDER (lus face falhng) ‘The hell he as! Who said so? savesman This baby doll (Getting up) Say, Til go keep cases on him— see he gets on the trolley ail right, anyway Nat Miller's a good scout CHe hurnes out ) BARTENDER (viciously) God damn the luch! If he ever finds out I served his lad, he'll run me out of town (He turns on seus furiously) Why322 EUGENE didn’t you put me wise, you lousy tramp, you! BELLE Heyl I don’t stand for that lund of talk—not from no hick beer- squirter ke you, see! BARTENDER (furiously) You don’t, don't you! Who was it but you told me to hand him dynamite in that fizz? (He gives her chair a push that almost throws her to the floor) Beat xt, you—and beat it quick—or I'l call Sullivan from the comer and have you run in for strect-walking! (He gives her a push that lands her agasnst O'NEILL the family-entrance door) Get the hell out of here—and no long waits! EELLE (opens the door and goes out —turns and calls back viciously) YU fix you for this, you thick Muck, af I have to go to jail for it (She goes out and slams the door ) parrenver (looks after her wor- riedly for a second—then shrugs hss shoulders) That's only her bull Then with a sigh as he returns to the bar) Them lousy tramps 1s al- ways getting this dump in Dutch! CURTAIN ACT THREE SCENE II Scuns—Same as Act One—Sitting-room of the mmien home—about 11 o'clock the same night MILLEN 15 sitting im his favorste rocking-chair at left of table, front He has discarded collar and tse, coat and shoes, and wears an old, worn, brown dressing-gown and disreputable-looksng carpet shppers Ile has huss reading specs on and 15 running over stems sn a newspaper But his mind 4s plainly preoccupred and worned, and he 1s not paying much attention to what he reads MRS MILLER sits by the table at right, front She also has on her specs A sewing hasket 1s 01 her lap and she ss trying hard to keep her attention fixed on the dosly she 15 domg But, as in the case of her husband, but much more apparently, her mand 1s preoceupted, and she 1s obviously ov tenterhooks of nervous uneasiness LILY 15 sitting sn the armchair by the table at rear, facing right She ss pre- tending to read a novel, but her attention wanders, too, and her expression 4s sad, although now st has lost all sts bstterness and become submissive and resigned again MILDRED sits at the desk at night, front, writing two words over and over agasn, stopping each time to survey the result ersucally, basting her tongue, sntensely concentrated on her work Tommy sis on the sofa at left, front He has had a hard day and 1s terAH, WILDERNESS! 323 nbly sleepy but wall not acknowledge st His eyes blink shut on him, his head begens to nod, but he isn't gruing up, and every trme he senses any of the family glancing in hus dsrection, he goads himself mto a bright-eyed wakefulness MILDRED (finally surveys the two words she has been writmg and 1s atssfied with them) There (She takes the paper over to her mother) ‘Look, Ma I've been practising a new way of writing my name Don’t look at the others, only the last one Don't you think xt's the real goods? MRs MILLER (pulled out of her pre- occupation) Don’t talk that horrible slang It's bad enough for boys, but for a young gul supposed to have manners~my goodness, when I was your age, if my mother'd ever heard me— aizprep Well, don’t you think x's mice, then? Mrs MILLER (sks back into pre- occupation—scanning the paper— vaguely) Yes, very nice, Mildred— very nice, indeed (Hands the paper back mechanscally ) Matpnep (is a lutle piqued, but smiles) Absent-minded! | don't be- eve you even saw it (She passes around the table to show her aun LILY MILIER gives an uneasy glance at lus wife and then, as sf afraid of meeting her eye, looks quickly back at his paper agasn ) Mrs MILLER (staring before her— sighs wornedly) Oh, 1 do wish Richard would Reniember you're not al- Towed out todav—for a punishment (She hurrses quay RicHARD sits in tragic gloom sw, without opening his eyes, speaks to him drowstly ) sin Well, how’s my fellow Rum Pot, as good old Dowre calls us? Got a bead? nicHann (startled—sheepishly) Aw, don't go dragging that up, Uncle338 Sid T'm never going to be such a fool again, I tell you sip (with drowsy cynscism—not un- mixed with bitterness at the end) Seems to me Ive heard someone say that before Who could it have been, I wonder? Why, if it wasn't Sid Davis! Yes, sit, I've heard hum say that very thing a thousand times, must be But then he’s always fool- ang, you can't take a word he says seriously, he’s a card, that Sid as! nucuanp (darkly) I was desperate, Uncle—even if she wasn't worth it I was wounded to the heart sm I bke to the quick better myself more stylish (Then sadly) But you're nght Love is hell on a poor sucker Don’t I know st? CricHanD 15 disgusted and disdams to reply sw’s chin sinks on hus chest and he begins to breathe noisily, fast asleep nicanp glances at hsm with aver- sion There 15 a sound of someone on the porch and the screen door 1s opened and sioncp enters She smiles on seesng her uncle, then gives @ Start on seeing RICHARD ) sarnren Hello! Are you allowed up? nicHarp OF course, I'm allowed up MILDRED (comes and sits im her father’s chair at right, front, of ta ble) How did Pa pumsh you? nicuanp He didn’t He went back to the office without seeing me mutpreD Wall, you'll catch it later (Then rebukingly) And you ought to IF you'd ever seen how awful you Tooked last mighel EUGENE O'NEILL nicuarp Ah, forget at, can’t you? autprep Well, are you ever going to do at agatn, that’s what I wane to know nicHarp What's that to you? mutpaep with suppressed excite ment) Well, if you don’t solemnly swear you won't—then I won't give you something I've got for you nicHand Don't try to kid me You haven't got anything MixpRED I have, too RicHarp What? mmprep Wouldn't you lke to know! T'll give you three guesses RicHARD (with disdamful dignsty) Don't bother me I'm in no mood to play riddles with kids! Matpnep Oh, well, af you're going to get smppy! Anyway, you havent promised yet nicHanp (a prey to keen curosity now) I promise’ What 1s 1t? sapnep What would you hike best an the world? aicuand I don’t know What? png And you pretend to be in Jove! If I told Mund that! rucuanp (breathlessly) Is. at—from her? saeprep (laughing) Well, 1 guess ws a shame to keep you guessing Yes It 1s from her I was walking ast her place just now when I saw fer waving from thet parlor win-At, WILDERNESS! dow, and I went up and she said give this to Dick, and she didn't have a chance to say anything else because her mother called her and sad she wasnt allowed to have company So T took at—and here at as (She gives um a letter folded many times into a tiny square RICHAND opens st with a trembling eagerness and reads MILDRED watches him _curiously— then sighs affectedly) Gee, st must be nice to be in love like you are— all with one person RICHARD Chis eyes shinimg) Gee, Mid, do you know what she says— that she didn't mean a word in that other letter Her old man made her write it And she loves me and only me and always will, no matter how they pumish her! autpnep My! Td never think she had that much spunk micanp Huh! You don’t know her! Think I could fall m love with a gurl that was afrud to say her soul's Ker own? ¥ should sav not! (Then snore gleefully st1l1) And she's going ta try and sneak out and met me tonight She says she thinks she can doit (Then suddenly feehng this enthusiasm before xt1pnLD 48 en- tirely the wrong note for @ cynical pesumst—with ‘ax affected bitter laugh) Hat T knew dimed well she couldn't hold out~ thit she'd ask to see me again (He misquotes erm cally) “Women never know when the curtan has fallen ‘They always want another act” aatprep Is that so, Smarty? RICHARD Cas sf he were weighing the matter) 1 don’t know whether I'll consent to keep this date or not 339 MitpRED Well, I know! You're not allowed out, you silly! So you can’t! micuann (dropping all pretense—de- fiantly) Can't I, though! You wait and see FI can't! Tl see her tonight af t's the last thing 1 ever do! I don’t care how I'm punished after! MutpneD (admirimgly) Goodness! I never thought you had such nerve! nicuanp You promise to keep your face shut, Mid—until after Ive left —then you can tell Pa and Ma where Tre gone—I mean, if they'te worry- ang I'm off like last mght ie sacprep All nght Onl you've got to do something for me when I ask nicuaap ‘Course I will (Then ex citedly) And say, Mid! Right now's the best chance for me ty get awav— while everyone's out! Mal be com- ang back soon and she Il heep watch- ang me hike a cat— (He starts for the back parlor) I'm gomg T'll sneak out the bach aitprep Cexcitedl)) But whar'll you do tll mghtime? Tr’s ages to wot nicuanp What do I care how Jong 1 wat! (Intensely sincere now) YD think of he:—and dream! I'd want a mullion years and never mind st~for her! (He gnes his sister @ superior scornful glance) The trouble with you 3s, you don't understand what love means! (He disappears through the back parlor sm pnetn looks after him admiringly stp puffs and begins to snore peacefully ) OURTAIN340 EUGENE O'NEILL ACT FOUR SCENE 11 Scene—A stnp of beach along the harbor At left, a bank of dark earth, running half-dsagonally back along the beac, marking the line where the sand of the beach ends and fertile land begsns The top of the bank ss grassy and the trakng boughs of willow trecs extend out over st and over a part of the beach At left, front, 1s « path leading up the benk, between the wil- Iows On the beuch, at center, front, a white, flat-bottomed rowboat 1s drawn up, 1+ bow about touchmg the bank, the panter trailing up the bark, evuiently made fast to the trunk of a willow Halfway down the sky, at rear, left, the crescent of the new moon casts a soft, mysterious, caressiitg light over everything The sund of the beach shimmers palely The forward half (eft of center ) of the rowbout ss mn the deep shadow cust by che willow, the stern section 1s in moonlight In the distance, the orchestra of a simmer hotel can be heard very faintly at wtervals nIGUAND 18 discovered sitting sdeways on the gunwale of the rowboat near the stern Tes facing left, watchmg the path Te 13 in a great state of anaious expectancy, squsming about uncomfortably on the narrow gunyale, licking at the sand restlessly, twirling his straw hat, with a bright-colored band si stripes, around on hus finger nicuarp (tunking aloud) Must be nearly mine Ican hear the Town Hall clock stnke, it's so still tonight Gee, I'll bet’Ma had a fit when she found out I'd sneaked out TH catch hell when I get back, but xtlll be worth taf only Munel tums up she didn’t say for cer tain she could gosh, I wish she'd come! am I sure she wrote nme? Cle puts the straw hat on the seat amsdships and pulls the folded Tetter out of hs pocket and peers at st sn the moonlight) Yes, 1t's nine, all night (He starts to put the note back an his pocket, then stops and kisses st —then shoves st away hastily, sheep- ssh, looking around him shamefaced- ly, as sf afraid he were hemg ob- served) Aw, that’s silly no, at asn'tather | not when you re really an love (He gumps to his feet resilessly) Dam it, I wish she'd show up! think of something else that'll make the time pass quicker where was I this time last night? waiting outside the Pleas- ant Beach House’ Belle. ah, forget her! now, when Munel’s commg that’s fine ime to thnk of!” but you hugged and kissed her not until T'was drunk, I didn’t and then it was all show- img off dammed fool! and 1 didn't go upstars with her even af she was pretty aw, she wasn't pretty she was all painted up she was just a whore — she wasAH, WILDERNESS! everything ditty Munel’s a mil- hon times prettier anyway Mu- nel and I will go upstairs when were nurned ” but that will be beautful bat I oughtn't even to think of that yet t's not night 'd mever—now and she'd never she’s a decent gul I couldn't love her af she wasn't but after we're married (He gnesa litle shiver of passionate long- ing—then resolutely turns lus mind away from these improper, alinost deer rating thoughts) That damned harkcep kicking me __T'll bet you it I hadn't been drunk T'd have given hum one good punch in the nose, even it he could have Iicked me after! (Then with a diver of shumejaced revulsun and self-dss- pust) Aww, you diserved a lich in the pants "making such a dumed slob of yourself rcating the Ballad of Reading Gaol to those lowbrovs! you must have been a fine oght when you got home! haying to be put to bed and getting sich!” Phaw! He squirms disgustedly) ‘Think of something else, can’t you? rete something | see af you re- wember "Nay, Tet us walk from fire unto fire Jrom passionate pain to deadher dehght— Tam too young to Ine without desire, ‘Too young art thou to waste this summemight—” gee, that’s a peach’ Il have to memorie the Test and recite st to Munel the next ime I wish I could write poetry _ahout her and me CHe sighs and stares around hi at the mght) Gee, it’s beaut ful tonight . as sf 1t was a special night for me ond Munel 341 Gee, I love tonight I love the sand, and the trees, and the grass, and the water and the sky, and the moon _ it's all im me and I'm m at God, t's so beautifull (He stands starmg at the moon with 4 rapt face From the distance the Town Hall clock begins to strike This brings hum back to earth with @ start) There's mine now He peers at the path apprehenswely) I don't see her she must have got caught Almost tearfully) Gee, Thate to go home and catch hell vathout having seen her! (Then calling a manly cynscisin to Its asd) Aw, who ever heard of 3 woman ever being on time —_T ought to know enough about hfe by this time not to expect (Then with sudden ex cxtement) There she comes now Gosh! (ile heaves a Inge sigh of rehef—then recites dramatcally to lumself, hus eyes on the approaching figure) “And lo my love, mie own soul's hicart, more dear Than mine own soul, more beau- tiful than God, Who hath my beng between the hinds of her—” (Then hastily) Mustr't let her know Tm socked” Tought to be mad about that first Ictter, anyway af Nomen are too sure of you, they treat you hike slaves let her suffer, for a change (He starts to stroll arourd with exaggerated careless ness, turnmg his back on the path, hands im pockets, whistlng with in souctance "Waiting at the Church” MURIEL MCCOMBER enters from down the path, left front She 1s fif tecn, Roing on exten She 1s a pretty gyi with a plump, graceful Ittle fe ure, fluffy, light-brown har, naive wondermng dark eyes, a roundk342 dimpled face, a melting drawly voice Just now she 1s im a great thrilled state of timid adventurous- ness She hesstates in the shadow at the foot of the path, wasting for RICHARD to see her, but he resolutely goes on whistling with back turned, and she has to call hsm ) murteL Oh, Dick RICHARD (turns around with an elab- orate sumulation of being disturbed im the midst of profound medita- tion) Oh, hello Is at nine already? Gosh, time passes—when you're thinking MuatEt (coming toward him as far as the edge of the shadow—disap- pomtedly) I thought you'd be watt- ing nght here at the end of the path rif be you'd forgotten I was even coming nicHanp (strolling a little toward her but not too far—carelessly) No, 1 hadn't forgotten, honest But I got to thinking about hfe scunie You might think of me for a change, after all the nsk I've run to see you! (Hesitating tmdly on the edge of the shadow) Dick! You come here to me I'm afrad to go out in that bright moonlight where any- one might see me RICHARD (commg toward her—scorn- fully) Aw, there you go again—al- ways scared of life! Murigt Csndignantly) Dick Miller, I do think you've got an awful nerve to say that after all the nsks I've run making this date and then sneahing out! You didn’t take the trouble to smeak any letter to me, I notice! EUGENE O'NEILL nicrarD No, because after your firs: letter, I thought everything was dead and past between us mune And I'll bet you didn't care one htele bit! (On the verge of hu- muiliated tears) Oh, I was a fool ever to come here! I've got 3 good notion to go night home and never speak to you again! (She half turns back to ward the path ) nicHann —frightened—smmediately becomes tembly sincere—grabbing ker hand) Aw, don’t go, Munell Please! I didn’t mean anything lke that, honest I didn’t! Gee, af you knew how broken-hearted I was by that first letter, and how damned happy your second lerter made me—! mutex (happily reheved—but ap- precsates she has the upper hand now and doesn’t relent at once) I don't believe you nucrarp You ask Mid how happy I was She can prove it suntet, She'd say anything you told her to I don't care anything about what she'd say It’s you You've got to swear to me— nicHanp I swear! unter. (demurely) Well then, all night, I'l) believe you nicuanp (his eyes on her face lov- ingly—genuime adoration in has voice) Gosh, you're pretty tomght, Mureel! Tt scems ages since we've been together! If you knew how I've suffered—! muntet I did, too RICHARD (urtable to resist falling sto has tragec lsterary pose for « moment).AH, WILDERNESS! The despaur in my soul— (He recstes dramatically) “Something was dead im each of us, And what was dead was Hope!” That was met My hope of happiness was dead! (Then with sincere boyish fervor) Gosh, Munel, it sure 1s wonderful to be with you aga! (He puts tim arm around > her awkwardly unt (shyly) I'm glad—it makes you happy ‘Tim happyp too ricHan Can’t I—won’t you let me 1-188 you-now? Please! (He bends hs face toward hers ) unter (ducking her head away— tumdly) No You mustn't Don't— cucuanp Aw, why can’t I? munisz Because-I'm afrad iicuann (discomfited—taking Tus larm from around her-a bit sulky and impatient with her) Aw, that's what you always say! You're always so afraid! Aren't you ever going to let me? unex I will—sometime. arcuanp When? unre Soon, maybe nicuanp Tonught, will you? mutex (coyly) Tl see nicHarD Promise? aunmet I promise—maybe. nicuarD All nght You remember you've promised (Then coaxngly) Aw, don’t let's stand here Come on out and we can sit down in the boat 343 MunEL Chesttantly) It’s so brght out there nuczanp No one'll see You know there's never anyone around here at night unre (1llogically) I know there ssn't That's why I thought 1 would be the best place But there might be someone nicwanp (taking her hand and tug- gimg at st gently) There isn't a sou! Coruna, steps out a little and looks up and down fearfully ricHanD goes on insistently) Aw, what's the use of a moon if you can’t see it! munret But t's only a new moon ‘That's not much to look at nicuanp But I want to see you I can't here in the shadow I want to— dnnk in—all your beauty mune, (can’t resist this) Well, all nght—only I can't stay only a few minutes (She lets him lead her to- sward the stern of the boat ) nicuanp (pleadimgly) Aw, you can stay a httle while, can't you? Please! (He helps her in and she settles her- self in the stern seat of the boat, fac- amg diagonally left front ) Murra A Intle while (He sits be- side her) But I've got to be home in bed again pretending to be asleep by ten o'clock That's the ume Pa and Ma come up to bed, a: Ja as clock work, and Ma always looks mto my toom nucuanp But you'll have oodles of tume to do that aunrex (excitedly) Dick, you have no idea what I went through to get344 here tomght! My, but it was excit- ang! You know Pa's pumshing me by sending me to bed at exghe sharp, and T had to get all undzessed andl into bed ‘cause at half-past he sends Ma up to make sure I've obeyed, and she came up, and I pretended to be asleep, and she went down again, and I got up and dressed in such a hurry—I must look a sight, don’t I? ricHarD You do not! You look won- derful! sunrex, And then I sneaked down the back staxs And the pesky old staurs squeaked, and my heart was in my mouth, I was so scared, and then Isneaked out through che back yard, keopmg in the dark under the trees, and My, but it was exciting’ Dick, you don’t realize how I've been pan: shed for your sake Pa’s been so mean and nasty, I've almost hated hum! RicHARD And you don’t realize what I've been through for you—and what T'm im for—for sneaking out— (Then darkly) And for what I'did last might —what your letter made me do! unter (made teribly curious by his ominous tone) What did my letter make you do? nicaaRD (beginning to glory im this) It’s too long a story—and let the dead past bury its dead (Then with real feeling) Only it 1sn’t past, Tcan tell you! What I'll catch when Pa gets hold of me! Munim Tell me, Dick! Begin at the beginning and tell me! nicHanp (tragically) Well, after our old—your father left our place t caught holy hell from Pa EUGENE O'NEILL MuRIEL You mustn't swear! RICHARD (somberly) Hell is the only word that can descnbe it And on top of that, to torture me more, he We me your letter After I'd read that I didn’t want to hive any more Life scemed ike a tragic Farce umret. I'm so awful sorry, Dick— honest I am! But you might have known I'd never wnte that unless— RICHARD I thought your love for me was dead I thought you'd never loved me, that you'd only been cru elly mocking me—to torture me! murrer Dick! J'd never! You know T'd never! nicHanp I wanted to die I sat and brooded about death Finilly T made up my mind Td lull myself. mune (excitedly) Dick! You didn't! nrcuanp I did, too! If there'd been one of Hedda Gabler's pistols around, you'd have seen if I wouldn't have done wt beautifully! I thought, when I'm dead, she'll be sorry she rumed my hfe! munrL (cuddling up a little to hum) If you ever had! I'd have died, too! Honest, I would! nicHarp But suicide 1s the act of a coward That's what stopped me (Then with a batter change of tone) And anyway, I thought to myself, she isn't worth 1t unter Chuffly) ‘That's a mice thing to say!AH, WILDERNESS! Ricuanp Well, if you meant what was in that letter, you wouldn’t have been worth 1t, would you? Munzex But I've told you Pa— nicuanp So I said to myself, Im through with women, they’ze all alike! wronrer I'm not Ricuanp And I thought, what dif- ference does it make what I do now? I might as well forget her and lead the pace that lulls, and drown my je You a Thad ferent lars saved up to somethin; for your binthday, but T thought she’s dead to me now and why shouldn't I throw it away? (Then hastily) I've still got almost five left, Munel, and I can get you something nice with that sunmer, (excitedly) What do I care about your old presents? You tell me what you did! nicrranp Cdarkly again) After t was dark, I sneaked out and went to a Jow dive I know about unter Dick Miller, I don't beheve ‘you ever! wicHarp You ask them at the Pleas- ant Beach House if 1 didn’t! They won't forget me in a hurry! unter (impressed and hornfied) You went there? Why, that's a ter nible place! Pa says it ought to be closed by the police! nicuaro (darkly) I sad it was a dive, didn’t T? Tes a “secret house of shame” And they let me into a secret room chind the barroom There 345 wasn't anyone there but Princeton Senior I know—he belongs to Tiger Inn and he's fullback on the football team—and he had two chorus guls from New York with him, and they were all dnnking champagne unter (disturbed by the entrance of the chorus girls) Dick Miller! T hope you didn’t notice— RICHARD (carelessly) I had a high- ball by myself and then I noticed one of the girls—the one that wasn’t with the fullback~looking at me She had strange-looking eyes And then she asked me if I wouldn't dnnk champagne with them and come and sit with her unter, She must have been a mice thing! CThen a bit faltersngly) And did—you? micranp (with tragic hitterness) Why shouldw’ I, when you'd told me in that letter you'd never see me again? sunzet (almost tearfully) But you ought to have known Pa made me- nicnard I didn’t know that then. (Then rubbing st ) Her name was Belle She had yellow hair—the kind that burns and stings you! munsex Till bet at was dyed! nicHARD She kept smoking one cy arette after another—but that’s noth- ing for a chorus girl sunre (sndignantly) She was low and bad, that’s what she was or she couldn't be a chorus girl, and her smolang cigarettes proves it! (Then falterngly aga) And then what happened?346 EUGENE woman (omeesty) Ob, em fs kept dnking champagne—I " th und—and then Thad a fight with the barkeep and knocked him down because he'd insulted her He was @ great big thug but— unter Chuffily) I don't see how he could—insult that kind! And why did you fight for her? Why didn’t the Princeton fullback — who'd brought them there? He must have been bigger than you RICHARD (stopped for @ moment— then quickly) He was too drank by that time sunset And were you drunk? nicnaap Only a little then I was worse later (Proudly) You ought to have seen me when I got home! I was on the verge of delmum tre- mens! muniet I'm glad I didn’t see 2 You must have been awful I hate le who get drunk I'd have ated yout nucstanp Well, xt was all your fault, wasn't 1f? Tf you hadn't wntten that letter— muntst, But I've told you I didn’t mean— (Then faltering but fascr nated) But what happened with that Belle—after—before you went home? nicuarp Oh, we kept dnnkng champagne and she said she'd fallen an love with me at first sight and she came and sat on my lap and kussed me sunmax (stiffening) Ob! O'NEILL micHARD (quickly, afrad he has gone too far) But it was only all in fun, and then we just kept on drink- ing champagne, and finally I said good night and came home Munrit And did you lass her? nrcanp No, I didn’t muna (distractedly) You did, toot You’re lying and you know it You ahd, too! (Then tearfully) And there Twas nght at that time lying in bed not able to sleep, wondenng how I was ever going to see you again and crying my eyes out, while (Shevsudlenty jumps 0 her foct m @ tearful fury) I hate you! I wish you were dead! I'm going home this min ute! I never want to lay eyes on again! And this tame I mean it! (She tries to jump out of the boat but he holds her back All the pose has dropped from him now and he 1s in a frightened state of contrition ) —! richard Csmplorsngly) Want! Listen! Mune!’ murret I don’t want to listen! Let me go! If you don’t I'll bite your Nand! nicuanp I won't let you go! You've got to let me explain! 1 never Ouch! (For munter. has bitten his hand and it hurts, and, sung by the pam, he lets go mstinetively and she Jumps quickly out of the boat and Saris winmng toward the path RICHARD calls after her with brtier despair and hurt) All aght! Coif you want to—if you haven’t the de- eney to let me explain’ T hate you, too! Il go and sce Belle! muniex (seeing he ssn’s following her, stops at the foot of the path—AH, WILDERNESS! defiantly) Well, go and see her— if eS eae gitl you like! What do I care? (Then as he only stares before lum broodingly, sittmg dejectedly im the stern of the boat, a pathetic figure of injured grief) You can’t explain! What can you ex- plan? You owned up you Jassed her! nicnarp I did not I said she kissed me Morte. (scomfully, but drifting back a step sm his deecton) And f suppose you just sat and let yourself be lussed! Tell that to the Mannes! Ronan Csnuredly) All nght! If you're going to call me a lar every word I say— muir (dnfang back another step) I didn't call you a har I only meant—it sounds ­” Don't you know it does? nicranp I don't know anything 1 only know I wish I was dead! unter (gently reproving) You oughmn’t at my that Ive oncked (Then after @ pause) And 1 sup- poss youl tell me you didn’t fall in ve with her? nictanp (scomfully) I should say not! Fall im love with that kind of girl’ What do you take me for? unix (practically) How do you Know what you did if you drank so much champagne? RicHarp I kept my head—with her Tm not a sucker, no matter what you think! muster (dnfting nearer) Then you didn’t—love her? 347 nicuanD I hated her! She wasn't even pretty! And I hed a fight with her before I lef, she got es told her I loved you and never could love anyone else, and for her to leave me alone Muriet But you said just now you were going to see her— nicuanp That was only bluf 1 wouldn’t—unless you left me Then I wouldn't care what I did—any more than I did last night (Then sudden- ly defiant) And what if I did lass her once or twice? I only did xt to get back at you! muriet Dick! nicHanp You're a fine one to blame me—when 1t was all your fault! Why can’t you be fair? Didn't I think you wwere out of my hfe forever? Hadn't you wntten me you were? Answer me that! unter But I've told you a mlhon tumes that Pa— nicHanb Why didn't you have more sense than to fet him make you wnte xt? Was st my Fault you didn't? muntex It was your fault for being, so stupid’ You ought to have known he stood right over me and told me each word to write If I'd refused, xt would only have made everythmg worse I had to pretend, so I'd get a chance to sce you Don’t you see, Silly? And I had sand enough to sneak out to meet you tonight, didn't I? CHe doesn’t answer She moves nearer) Still I can see how you felt the way you did—and maybe I am to blame for that So I'll forgive and for- t, Dick—af you'll swear to me you Stat even think of loving that' 348 mucuanp (eagerly) 1 didn’t! I swear, Mandl Tcoulds' I love you! Munir, Well, then—I stil love you nicuanp Then come back here, why don't you? unis (coyly) It’s getung late nicuanp It’s not near half-past yet unter (comes back and sits down by hum shyly) All nght—only I'l hhave to go soon, Dick (He puts hus arm around her She cuddles up close to hsm) I'm sorry—I hart your hand nicnanp That was nothing It felt wonderful—even to have you bite! Munust Cimpulsively takes his hand and kisses 1) There! That'll cure xt (She 18 overcome by confusion at her boldness ) micuan You shouldn’t—waste that

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