w

 

 

THE WRiTlNG OF AN ORIG‘NAL
THREE ACT PLAY AND THE
ANALYSJS OF THE PRGBLEMS
IN ITS COMPOSiTiON

Thesis for rho Degree 0% M. A.
MICHIGAN STATE COLLEGE

Reginald Valgméne Haiiand
1948

 

This is to certifg that the

thesis entitled

"The writing of an Original Three Act
Play and the Analysis of the Problems
in its Composition"

presented bg

Reginald V. Holland

has been accepted towards fulfillment
of the requirements for

. -.—-F-"-l_‘r.' .

 

 

“Mug—0g-_4§t€§ degree in__.eSP_9_e_9hL vDramatj-cs ’

and Eadie Education

rofessor

March 12, 19h8

 

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THE WEITIVG 0? AV CEIQIIAL TH;SE ACT ?LAY
AFB THE AFAIYSIS CF TUE PRCBJEKS

IN ITS CCYPCSITIOY.

by

Reginald Valentine Holland
W

A THESIS

Submitted to the Graduate School of Michigan"

State College of.Agriculture and Applied 7;‘

Science in partial fulfillment of the 37
requirements for the degree of to

MASTER OF ARTS
Department of Speech, Dramatics, and erlo

1948

+HESES

> \\\¥\<a

ACKI'OEIEIDGril-TT'TS

I wish to express my sincere thanks to Dr. Wilson F. Paul,
Head of the Department of Speech, Dranatics, and Radio, for making
it possible to write and produce an original three act play for a
thesis project. my gratitude is also expressed to Donald C. Duell,
Director of Dramatics, for his sympathetic understanding, encourage-
ment, and guidance during the writing of the play, and to Dr. Virgil
J. Scott, Department oi’lbglish, for his worthwhile criticism of
the play in its formative stages.

In directing a play it is difficult to adequately express
gratefulness to all those contrihuting to the production; however,
my special thanks Foes to the cast, who willingly gave their time
and talents, to Homer L. Paris and his crew for their cooperation in
producing the play, and to C. H. Nicrel and Theta Alaph Phi for
backing the production.

Acknowledgement is also due Dr. Charles P. Pedrev and
Stuart C. Chenoweth for their many helpful suggestions in writing

the thesis.

198851 ,

TABLE OF COVTETTS

PART I. PREFACE TO A NEH PLAY

. Introduction...............................
The Theme of the New Play..................
The Form of the New Play...................
The Type of the New Play...................
The Kind of a New Play.....................
The Style of the New Play..................

*ntchcucns-
0

MN

NOCDU't-l-‘m

PART II. THE SCRIPT

"Bolted Doors" - An Original Drama in Three
Iicts...OOOOOOOOOOOOOOOOOOOO. 26

Act oneOOOOOOOOOOOOOOOOOOOOIOOOOO‘OOOOOOO... 28

ACC TWO, scene loooooooo00000000000000.0000 62
N H scene 20000000000000000000000.0000 90

Act qureeOOOOOO0.0..OOOOOOOOOOOOIOOOOOOOOCO 115

PART III. ANALYSIS OF THE PROBLENS IV COKPOSITICN
A. EKGI‘dilmooo000000000000000000000000000.0000 1%

B. Aligning a Plausible Story From the
Source Material.......................... 147

C. From Story to Dialogue

1. The Original Draft in Dialogue....... 165
2. The Second Draft: Revision through
Character and Plot................. 168
3. The Third Draft: Theatrical Re—
vision............................. 172
A. The Fourth Draft: Revision through
Rehearsal.......................... 177

D. The PrOduCtionOOCOOOOOOOOO0.000000000000... 182

PART IV. MISCELLAKBCUS

Bibliography...0..00.0.00...OOOOOOOOOOOOOOOOOOO 188

PART I. PREFACE TO A NEW PLAY

A. Introduction

 

On March A, 1948, an original three act drama called "Bolted"
Doors" was given its first public performance in the Studio Theatre
at Michigan State College. The purpose of the play was to present
the story of a woman who was unable to escape the tragic realities
of her life even though she spent most of it as a recluse. That
drama was chosen as the medium for communicating the story is
understandable when the play is examined for the essential elements
which must be found in dramatic expressiono. Drama presents a series
of situations in which the characters express through action and the
spoken word what happens to them; it is the playwright who conceives
the story and the dialogue, but it is the actor who makes the play
come to life. In order to analyze the new play in the light of the
modern practice of objectively classifying material, it is well to
place it in a certain category; not that this play falls strictly
into one division and is excluded from all the characteristics of
other divisions, but it is apparent, for the purpose of discussion
at least, that it should be given a place in the scheme of drama.
Therefore, it was the intention of the playwright to create "A
realistic play in three acts: a serious drama of character".

If this classification for the new play is to be accepted,
it will be necessary to show how the play fulfills each part of the
classification and to explain each term in relation to the new play.
Therefore, the discussion will follow the conventional treatment of
analyzing the play from the point of view of theme, form, type, kind,

and style.

B. The Theme of the New Play

"The theme is the subject or text of the play. It is the
essential idea of the play, an idea which can be set down in a simple
statement of very few words."1 Mest authors of texts written on
dramaturgy agree that a theme, or premise as it is sometimes called,
is necessary to any play; it is the central idea which the play
expresses as a whole; it is the reference point for the Spectator
and a governing factor for the playwright in dialogue and action.
The theme is a thumb nail synOpsis of the play stated in one
sentence, whereas expressed in particular terms it becomes the plot.

Plays do not always start with a theme at the beginning of
their construction, but for the purpose of unity, the determination
of a theme as soon as possible in writing a new play is necessary
to keep the purpose clear. The theme will keep the plot coordinated
and working toward a unified end, and the characters precise, true,
and convincing.

Neither the theme nor any other part of the play stands by
itself; all must blend in harmony to make the play sound. It is on
this basis the theme of the new play may be stated as follows:
"Escape from.reality leads to a day of reckoning." It has been
the aim of the new play to uphold this theme in its composition and

presentation.

 

1. Samuel Selden, An Introduction to Playwriting, F. S. Crofts and
Co., New York, 1946, p. 58.

C. The Form of the New Play

Throughout the history of the dramatic form of communication
attempts have been made to define drama. Although these definitions
have differed, still they agree in principle to the essentials which
make up this form of narrative medium; namely, that a play is a
story of a conflict and crisis which is written essentially to be
represented on the stage by living actors. In a play it is first
necessary to have a dramatic situation. John Gassner states that
this may occur when "two or more characters are involved with each
other; when any character is involved with outside forces; or when
one part of a character's personality is involved with another part".2
It is true that a play may have only one of these dramatic situations;
or it is also possible that it may possess all three and provide a
richer dramatic experience because it does possess all three. It is
apparent that all these situations or involvements tend to lead to
a conflict or a crisis. The conflict theory of drama was presented
by the great French critic, Ferdinand Brunetiére in The Law of the
Dagmg and provides a comprehensive definition of this point of view.

"Drama is the representation of the will of man

in conflict with the mysterious powers or natural

forces which limit and belittle us; it is one of

us thrown living upon the stage, there to struggle

against fatality, against social law, against one

of his fellow mortals, against himself, if need be,

against the ambitions, the interests, the prejudices,
the folly, the malevolence of those who surround him.

"3

Although this Law sf Drama does form a definition which covers

the major source of dramatic material, William Archer has pointed out

 

2. John Gassner, Producing the Play, The Dryden Press, New York, lth,
p. 13.

3. William Archer, Play-Making: A Manual of Craftsmanship, Dodd, Mead
and Co., New York, ISBA, pp. 28—29;

that it does not present characteristics which are common to all
drama, and he attempts to go further in his analysis of the essence
of drama. "A play is a more or less rapidly developing crisis within
a crisis, clearly furthering the ultimate event."h Archer's defini—
tion has been criticized because there have been good plays written
which do not conform to his criteria. Therefore, Allardyce Nicoll
has attempted a broader definition which endeavors to distinguish
the drama as an art form separate from the other arts. "Drama is
the art of expressing ideas about life in such a manner as to render
that expression capable of interpretation by actors and likely to
interest an audience assembled to hear the words and witness the
actions."5

Although it may not be possible to formulate one definition
of drama which is all inclusive of dramatic art, one can examine
the new play in relation to all of the definitions to determine if
it fulfills the various premises. The new play sets forth a conflict
between an individual and outside forces, between the woman who has
attempted to run away from reality by living alone in a hotel suite
and keeping all humanity and progress locked out. It presents a
series of conflicts between this woman and those who attempt to dis-
cover the reasons for her seclusion. And it proffers a conflict
within the individual when the woman, confronted with the disclosure_
of her reasons for living alone all the years, must make her choice

of a course of action.

 

h. Archer, op. cit., p. 36.

5. Allardyce Nicoll, An Introduction to Dramatic Theory, T. X. Crowell,
New York, 1931, p. 45.

The play sets forth a series of crises which closely parallel
in intensity the important conflicts. These crises grow from the
beginning of the play as the woman is confronted with a choice of
revealing her secret or doing away with the force which is threaten-
ing to expose her; further, when her secret is discovered, and finally
when she is faced with a crisis which she is unable to meet — from
which she escapes only by taking her own life.

The play follows the convention of the modern theatre by
limiting the time of enacting the story to two and a half hours
duration, and has within a three act division of scenes, condensed
human experiences to show only the climaxes and moments of extreme

tension in a unity of action interpreted by actors on the stage.

D. The Type of the New Play

 

The play has been defined as a serious drama. Between classi-
cal tragedy and comedy there is a middle ground into which most of
our modern plays are placed. These plays do not have the universality
in scepe found in the classical drama and cannot be labeled as heroic
tragedy or comedy. The theme in serious drama treats the serious
side of life and sees life in terms of the events which occur in the
experiences of the modern world. It is said that the writer of serious
drama "is often closer to the public, which probably finds his outlook
on life more like its own..."6. This type of play has also been
called a "modern drama" and is defined by Allardyce Nicoll as dealing
"with human existence from the standpoint of ordinary civilization,
conscious of death, but treating it without reference to metaphysical
considerations, more intert on social relationships than on abstract
problems......"7. The theme of the serious play is that of social
consideration and its major thesis is the presentation of man living
and facing the problems of contemporary civilization. Serious drama
is further defined by John Gassner as an "intermediate type of play
(which) has dignity, a point of reference, tragic overtones or details
and a general tone of seriousness"8. On the writing of serious drama,
Barnard Hewitt states that the boundary between serious drama and

tragedy is often difficult to define and some serious type plays might

 

6. Milton Marx, The Enjoyment of Drama, F. S. Crofts and Co., New York,
191K), I). 1730

 

7. Nicoll 0p. cit., p. 240.

8. Gassner, op. cit., p. A6.

with some justification be treated as a subdivision of tragedy}3
Whenever one uses the term "tragedy", however, he is
immediately confronted with the classical connotation of the term,
and it is with a great deal of reticence that the word is used. It
is generally felt that either a play is a tragedy in the traditional
sense with all its implications, or the play cannot be classified by
so reverent a term. It is doubtful if one could call the new play a
modern tragedy without fear of being misunderstood. Many critics
of modern drama insist upon putting all modern plays of tragic
theme in the class of serious drama, and Alan Reynolds Thompson has
classified the plays of Ibsen, Strindberg and Chekhov in this cate-
gory.10 Thompson says of the modern serious play, "The majority of
modern dramas have not aspired to the height of tragedy. Neither
have they sunk so low as primitive melodrama. They are of a middle
sort, made to suit a middle class audience. They have been pre-
dominantly bourgeois, like modern society."11
It is not the purpose of this discussion to present the argu-
ment to its final end regarding the prOSpects of modern drama reach-
ing true tragedy; however, it is possible to show that a modern
serious play can be one of tragic nature without injuring the respect
for the word "tragedy". Therefore, the new play is defined as a

"serious drama of tragic nature". It must be stated at this point

 

9. Barnard Hewitt, Art and Craft of Play Production, J. B. Lippincott
Co., New York, 1940, p. 53.

10. Alan Reynolds Thompson, The Anatomy of Drama, University of
California Press, Los Angeles, 19h2, p. 317. '

11. Ibid, p. 3130

10

that no attempt will be made to present the play as an example of
tragedy in the traditional sense. However, the play does have

modern tragic overtones which are recognized by the twentieth century
audience.

Tragedy, as a form of drama, had its beginning in Greek theatre
and as a result the classic definition of Aristotle has remained the
basis of examination for the tragic play. By Aristotelian standards,
"Tragedy is an imitation of an action that is serious, and, having
magnitude, complete in itself; in language variously embellished, the
several kinds of embellishment being severally used in different parts
of the play; in a manner of an action directly presented, not narrated;
through pity and fear effecting the proper catharsis of such emotions."12
A play then, to be a true tragedy by classical standards, must realize
all the elements set forth in this definition. It is not difficult to
test the new play by some of these standards for it is an imitation
of an action that is complete in itself and directly presented. But
the play does not have the magnitude nor quantity in both plot and
character to uphold the tragic greatness necessary for classical
tragedy, nor does the play have the elements of spectacle and the amp
bellishment of language required. However, the elements of pity and
fear are present to some degree; whether they effect the "prOper"
catharsis of emotions is also a point of conjecture.

Are we then to say that the new play does not contain elements

of tragedy because it does not fulfill all the components set forth in

 

12. Lane C00per, The Poetics of Aristotle: Its Meaning and.Influence,
Longmans, Green and Co., New York, 1927, p. 29.

11

the Aristotelian definition; is it fair to use criteria by which
Greek tragedy was evaluated and assume that a modern tragedy must be
judged by the same criteria? 1t would seem much more logical to
interpret a modern play which embraces the tragic mood by examining
the relative dramatic values as they exist today and compare them to
those values which existed in the time of classical tragedy. Greek
tragedy gained much of its force through a supernatural element

that was extra—human, and it stirred the audience far beyond that of
a mere stage presentation. This supernatural element was presented
both by visible means and by suggestion through the language. It
was an element which lay far beyond the power of the individual
actors; they were motivated, not only by the didactic struggle

which existed on the stage, but much greater by a belief in the Gods
against whom the struggle was useless. It was this fateful element
which gave Greek tragedy a sense that more is involved than just the
struggle that appears on the surface.

In addition to the spirit of tragedy, some consideration must
also be given to the tragic hero. Classically he was a person of
high fame and flourishing prosperity which today is beyond the realm
of experiences of the ordinary man. He was an exceptional figure,
drawn on a scale beyond that of human comparison, and when the tragic

hero fell from prosperity to wretchedness and misery, usually bringing

with him the destruction of a kingdom or a state, his fall was greater

than it would be if the hero were a person of ordinary means. It
might be stated regarding the tragic hero that "for the Greeks,domestic

tragedy would have been impossible"13, as much so as the classical

 

13. Nicoll, 0p. cit., p. 103.

12

tragic hero is impossible today, unless perhaps we are to write a
tragedy about a Hitler, a Mussolini, or a Stalin. However, the
Greek hero was essentially a good man whose major fault lay in his
making the fateful wrong turn at every juncture. The fall of the
tragic hero in the new play is brought on by circumstances over
whichshe has no control. Her fall, although not as great in magni-
tude as the classic counterpart, is caused by natural forces acting
upon her, and her final decision to end her own life is made after
her doom has already been decided. She is caught by impending cir-
cumstances from which there is no escape, and death is her only alter-
native.

Elizabethan tragedy, in general, followed the patterns set
forth by classical drama. While the supernatural events caused by
the supreme belief in the fate of the Gods were not present in the
exact sense, still Shakespeare has used forces outside physical
nature to give a feeling of the supernatural. The ghost of Hamlet's
father, the witches, Banquo's Spirit, and the symbols in Macbeth
invest a sense that we are in touch with the intangible forces of the
universe. Shakespeare also depends upon both chance or luck and fate
for tragic effect, elements of which a modern audience is skeptical.

If we may use the term, modern tragedy is said to have begun
with Ibsen. It was Ibsen who brought tragedy from its lofty heights
and gave us people whom we know and understand as those living in
modern society. It is said that Ibsen substituted scientific forces
for those of the divine. Twentieth century plays of tragic nature
have followed his pattern and deal with presenting the tragic hero in

conflict with an ideal, a faith, or a class. And yet modern tragedy

13

has been severely criticized; in fact, there are many who say that
tragedy on the modern stage does not exist unless the play is a re-
vival of historical tragedy. Perhaps this statement is true; perhaps
tragedy in its true sense is impossible on the modern stage. Are

we to say then that we cannot have a tragic theme because the aud-

ience, as well as the playwright, today is dealing with a different

set of values than the Greek and Elizabethan audience? Perhaps the
problem is not to define modern tragedy in the light of classical
definitions, but to define tragedy by first admitting that our critical
sense of value has changed. .It is true that a modern audience will
attend the theatre to see a presentation of an historical tragedy and
accept the historical conventions of the supernatural, the fates, and
the tragic hero, because it is attending the theatre to see a revival.

It is not there to see the hero pitted against forces which exist in

the twentieth century. The same audience, if it were presented with

a modern realistic drama in which the same devices were used as in
classical tragedy, might leave the theatre in disgust. Modern audiences,
when they see a modern realistic play, usually expect the characters

to be real, to be peOple they know and can accept. Joseph WOod Krutch
may have been right when he states, "The tragic solution of the prob-
lem of existence, the reconciliation to life by means of the tragic
spirit is, that is to say, now only a fiction surviving in art."lh
He feels that not only have we ceased to write tragedy, but the human
values present in Elizabethan England and Periclean Athens are absent

from our world.

 

14. Mark Harris, The Case for Tragedy, G. P. Putnam's Sons, New York,
1932, p. 123.

 

14

In the age of the realistic theatre in the twentieth century,
what is needed perhaps is a definition which is willing to accept
the fact that the modern drama of tragic mood does not attempt to ful-
fill the standards of the classical definition. It is even doubtful
if writers of modern tragic drama would desire to have their plays of
tragic nature placed in comparison with historical tragedy, not only
because they realize that a modern realistic play cannot parallel
heroic tragedy; but because they have not attempted in the first place
to write a play to conform to the classical point of view of tragedy.
We cannot say that a play does not have elements of tragedy because it
does not present each characteristic brought out by the classical
point of view of tragedy, any more than we can say that a man is not
good because he does not have all the characteristics of a good man.
,In other words, the modern tragic theme, even though it does not
possess each value of classical tragedy, still possesses enough of
the tragic value to be recognized as such. Perhaps a more general
definition, one which would include the tragic events which occur in
our lifetime, is the criteria needed on which to base judgment of a
play written for the modern audience.

Eric Bentley, although he does not attempt to defend the modern
tragic play in the traditional sense and states bluntly that tradi-
tional tragedy does not exist on the modern stage, does bring forth
a definition which presents the modern point of view. "All tragedy,
so I would be inclined to state it, is a broad and deep account of
the life of the individual, and, at least by inference, his fellows,
in which neither man's problems nor his ability to cope with them is

belittled.........At the heart of tragedy is a tough dialectical

15

15 In

struggle in which the victory of either side is credible."
a more general way,,flilton Marx gives an interpretation of tragedy
as "a play written in a serious, sometimes impressive style, in
which things go wrong and cannot be set right except at great
cost or sacrifice".16 Both of these definitions would include the
modern serious drama of tragic nature, and the new play would fall
into this classification.

It is possible to examine the new play for its tragic values
with a point of approach which considers the tragic theme in a
broader sense. The play presents the story of a woman who is unable
to face the tragic realities of her life. Her weakness is her in-
ability to cope with the crises of events as they arise, and she
attempts to escape each time by running from them. She is not a
good woman; in fact, she is selfish and self-centered. All of her
acts are done for the fulfillment of her own desires with little
regard for those who Oppose her. She is essentially afraid of being
condemned by society for her acts against it, and mainly because the
rules of society do not uphold her methods of attaining her desires.
She is responsible for the death of her father. The act is done
with malice to prevent him from telling the man whom she has planned
to marry that she is an unwed mother. This fact would no doubt prevent
the marriage. It is ironical that his death comes after the secret has
been told to her lover. Not only does she lose him, but she must

escape the fear of society finding out that she has committed a crime

against it for which she will be punished. She does escape, tempor-

 

15. Eric Bentley, The Playwright as Thinker, Reynal and Hitchcock,
New York, 19A6, p. 55.

16. Marx, 0p. cit., pp. 87—88.

16

arily at least, by locking herself away from society behind the door
of a hotel suite, and admitting only those who are necessary for her
mere existence. She has locked out all connection with the events
of her past life, but escape is not complete for she receives checks
from an investment which belonged to her father. These checks, coming
to her each month, increase her fear because they seem to come directly
from him. Knowing that she has killed her father, and remembering his
threat that she will be repaid for what she has done, she is unable to
sign the checks. An investigation by the company issuing the checks
to find out why they have never been cashed, confronts this woman
again with a problem from which she has tried to escape by living the
life of a recluse. A visit by her former lover, who knows some of the
events which led to her running away from the world, causes her to
admit that she has lived her life in terror because she is guilty of
her father's death. At the end of the play she is not only confronted
with the man who knows her secret but also with her child whom she
rejected at birth. This child has known nothing of her parents during
her life and, even though she has now reached womanhood, she has been
unable to find a trace of her lineage. The final dilemma is reached
when the tragic victim, unable to escape from the catastrophy of ad—
mitting to her child that she is a murderer, again runs away from the
crisis of culminating events - this time through suicide. This, in
brief, is the tragic story of the play.

~The play presents a story which is of serious theme and a
broad and deep account of the life of an individual, who, because of
her nature, is unable to live as she would choose, for the realities

in her life will not let her escape. She is not an ideal person whose

l7

destruction is brought on by a flaw in her character; rather she is
never presented as an ideal person because the tragic flaw has always
been apparent in her character. She is a person we do not respect;

we never have and never will. In other words, the self-identification
which is present in observing the classical tragic hero has now become
a matter of self-examination; a characteristic which is present in so
many modern plays of tragic nature. We do not hold up the modern
tragic character as one with whom we should like to be identified, but
we examine ourselves to see what qualities the modern tragic hero has
which we also may possess. The modern tragic representation is much
closer to life than the classical hero, which no doubt accounts for
the change. We do understand this woman in the new play, but we hope
and trust that, were we faced with a similar problem, we could act in
a more conventional manner and thus prevent the tragic experiences
which befell her.

Perhaps it is on this point that the play contains some element
of melodrama. The choices which the woman in the play must make as
the plot develops may seem to have grown out of situations which are
presented merely for the sake of the situation. However, this is not
the case, for the situations have grown because of the character not
for her. Brander Mathews said that in high comedy or tragedy character
dominates plot, and in farce and melodrama the reverse is true.17 It
is the character who creates the plot in the new play and dominates
its structure, and it is her inability to face the events of her life
and meet them in the conventional manner which causes her eventual

downfall. _According to Barnard Hewitt a melodrama presents "human

 

17. Thompson, op. cit., p. 257.

18

characters involved in human problems, but the characters are not
fully rounded and the problems in which they are involved are arbi-
trarily contrived and arbitrarily resolved".18 Still a play may have
some moments which may seem to be melodramatic in nature, but if

these moments have grown logically from the character‘s action or even
inaction, and these moments stem from the character's strength or
weakness, we can accept the melodramatic situations because they

have arisen from direct character growth. The situations in the new
play are not then arbitrarily contrived and resolved if they rise
logically from well rounded human beings whose actions are motivated

by the strength or weakness of their characters./

When the mood of the new play is considered, a certain element
of suspense is present throughout the entire play. It is generally
recognized that suspense is one of the important requisites in melo-
drama, and yet it is apparent that suspense can also be present in
tragedy. It is the interest in the eventual outcome of the character
”struggle which creates susoense in a serious drama, whereas usually in
a melodrama suspense is often brought about deliberately by plot in-
volvement.

There are also touches of comedy in the new play but it certain-
ly cannot be considered as a comedy in its entirety. For example,
the opening scene between the two young lovers in Act Two should invite
a bit of humor. The scene was deliberately given a comic slant to

provide emotional relief for the audience. It is difficult to sustain

intense feeling of emotion throughout an entire play, and the moments of

 

18. Hewitt, op. cit., p. 58. -

19

high tension will seem to reach greater heights if they start from

a lower degree. Comic relief was written into the play after moments
of climax and before scenes in which emotion would reach an elevated
pitch in order to provide contrast.

As one can easily see, it is very difficult to place any play
in one classification and claim that the play is of one type and ex-
clude all terms by which other plays are defined. The new play does
have some features of melodrama and comedy as well as elements of
tragedy. But the final purpose of the play is to present a serious
story of a tragic nature. It is the story of a woman unable to Cope
with the problems of modern society, who is finally destroyed, not
by modern society, but because of her sins against the conventions of
modern society. Jot only does she die a tragic death but her whole
life is useless in her serious, frustrated struggle against realistic

forces from which she cannot escape.

20

E. The Kind of a New Play

 

In a general way, plays may be divided into three main kinds
relative to the major emphasis toward which the play is focused.
These are the play of plot, the play of character, and the play of
idea. Most good plays, it is true, are a combination of all three
kinds of emphasis to a certain degree, but usually one will be more
pronounced even though all three are present. In the play of plot,
the main purpose of the play is to tell the story; while elements of
character and idea may be present, they are there only to help tell
the story. The play is written for the story and the plot is emr
phasized by both the playwright and the producer. The audience will
be interested in the story and its eventual outcome far more than
with the characters or the idea which the play presents.

Plays of idea are often exemplified by the type of drama called
the propaganda play. The main purpose for which plays of this
nature are written are, not to tell a story or present characters,
but to leave an idea in the mind of the audience. Much of the social
drana of the present left wing theatre falls into the classification
of the play of idea. In brief, the main purpose of the idea play is
to preach or teach. The idea of the play is not to be confused with
the theme of a play. While the theme and idea of a play may be the
same,and good plays have, or should have, a theme, the idea play has
its existence primarily for the sake.of offering an idea or theme to
the audience, and both plot and character are subordinated for the
sake of the idea.

On the other hand, a play of character exits primarily for

the sake of the people presented in the play, and it is this classi-

21

fication of kind into which the new play falls. Again in the play
ofcharacter, a story and an idea will usually be present, but the
characters make the story and bring out the idea. The interest in the‘
play is centered upon the characters, and the story is important only
as a means of showing what the people in the play do to motivate the
action of the story. It is the characters who make the story, and

it is their action by nature as individuals which causes the action

of the plot. The plot in the new play grew almost entirely from an
attempt to justify the character of this strange woman who could run
away from society and hide behind the bolted door of a hotel room.

In striving to know this woman and by introspectively reflecting and
reasoning why she became a recluse, the story of the play developed

and strengthened into plot. When she became understandable as a human
being, the course of action was born and it was possible to fashion
a story based upon her character. The new play is a play of character,
and the plot and idea grow from knowing the characters in the play

so well that the action which first motivated them as individuals
formed and motivated the action of the plot and presented the idea of
the play. If the emphasis of the new play is veritable in its pre-
sentation, the character of the recluse will be remembered far longer

than the story she presents, for "the permanent value of a play rests

on its characterization".19

19. George Pierce Baker, Dramatic Technigue, Houghton Mifflin Co.,
Boston, 1919, p. 23h. ‘

 

22

F. The Style of the New Play

It could be dangerous to classify a new play by saying that
it fits into only one style and therefore could be produced in only
that style exclusively. It is not intended in calling the new play
one of realistic nature that the play could not be conceivably, and
perhaps convincingly, presented in a manner which included some
characteristics of another aesthetic style. It might be possible
to produce the new play in a manner by which certain parts were
stylized. However, it is doubtful if the play would lend itself to
an expressionistic production, or a presentation of symbolistic
nature. The play was written in a realistic style and a realistic
production would be more in keeping with the style of the material.

Realism in drama, as defined by Hugh S. Davies, is "an effect
of approximation to real life as close as compatible with the nature
of dramatic illusion. Its chief formal characteristic is that it
takes characters which are as far as possible just like ourselves,
and so falls between the categories of tragedy and comedy, as de-
fined by Aristotle. Like any other drama, but not more than any
other drama, it must be constructed according to the circumstances
of the stage and of the theatre"20. Life in a realistic play is
seen as an everyday eXperience and presents an illusion of reality
which can be checked against actuality. The material is treated
objectively and the emphasis is usually on character rather than
plot. It is the state of mind of the character in which the real—

istic playwright is interested. The dialogue in the new play is

 

20. Hugh S. Davies, Realism in the Drama, Cambridge University Press,
London, 1934, p. 119.

related to the language of real life as much as possible and in this
manner adds to the illusion of reality. The play creates the illu-
sion of a story happening to the characters on the stage at the moment,
and the characters behave as they would if they were observed through
a peep—hole. The realistic effect is obtained because the scenes are
psychologically plausible.

However, the new play is not intended to be an impartial natural-
istic approach to portray the lives of its characters. The material
in the story was selected carefully, based on the principal events which
occurred over a twentyaseven year Span in the life of the leading
character; and while the play has true-to-life scenes, no attempt was
made to present the "slice of life" found usually in naturalism at the
expense of a carefully constructed plot. The literal truthfulness in

naturalism, "the candid presentation of the natural world"21

, based

on scientific determinism is not adhered to in the play. Rather the
new play is based on a selective realistic approach. Realism is em-
ployed only to give the impression of reality and only selected details
are presented to create this impression. John Gassner sums up the
style of approach made in treating the material in the new play by
stating that selected realism "requires common sense, taste, and a
recognition that theatre creates the illusion of reality instead of
duplicating it for the sake of duplication; above all it demands

that the production concentrate on the meaning or point of dramatic

22
experience and strive to express it economically and clearly" .

 

21. Bentley, op. cit., p. 24.

22. Gassner, op. cit., p. 84.

The foregoing discussion has analyzed the new play from the
standpoints of theme, form, type, kind, and style in an effort to
find its relative place in the classifications of dramatic media.
The discussion has shown the bases of classification and has also
revealed the aim of the author to create "A realistic play in three

acts: a serious drama of character".

PART II.

THE SCRIPT

"Bolted Doors" - An Original Drama in
Three Acts

THE GRADUATE SCHOOL
and

.THE DEPARTMENT OF SPEECH, DRAMATICS,
AND RADIO EDUCATION

PRESENTS

“BflLTEll DOORS”

A Drama in three acts by Reginald V. Holland.

Directed by Produced by
REGINALD V. HOLLAND HOMER L. PARIS

Submitted in partial fulfillment of the requirements
for the degree of Master of Arts.

Studio Theatre, Auditorium
March 4, 5, 6, 1948 8:15 P. M.

CAST OF CHARACTERS

(In order of appearance)

 

 

 

 

Adam Spencer ................................. . ........................... John Cottrell
Richard Courtwright .................................. Ted Brink
Lorinda Spencer ..... Verna Jean Smith
Peter Murray ..................................... Fred Bell
Annabelle Gray ............................ .................... Sarah Dimmers
Charles, a waiter J. Kline Hobbs

PRODUCTION CREW

 

 

 

 

 

 

Assistant Director .................................. Dick Maher
Stage Manager ..... . ................. Keith King
Assistant Stage Manager .................................................... Claire Alubowicz
Crew ......................................................... Bunny Bunnell,

James Finucan, Barbara Beck, Bill Timm
Property Manager ........................................................................ Barbara Stover
Lighting Manager ........................................ . . Homer Paris
Publicity ............................................... Harold Callie
Construction by ............................................................... Stage Scenery Class

ACKNOWLEDGMENTS

We wish to thank the following for their aid in making the produc-
tion of BOLTED DOORS possible: Wilson B. Paul, Head of the Depart-
ment of Speech, Dramatics, and Radio Education, for his advice and
assistance; Cecil H. Nickle, technical director, for assistance and advice
in the settings, lighting and technical phases of the production; Ben
Wampler, designer, for his advice on the decor of the settings; Donald
0. Buell, Director of Dramatics, for his encouragement, advice and super-
vision; Virgil. Scott, English Department, for his help on writing the play;
Leslie Scott and the Staff of the Student Union Building for their kind-
ness in loaning properties; Jeanette Lee, Home Economics Department,
for the loan of costumes; and to all others whose c00peration made this
production possible.

"BOLTED DOORS"

A Drama in Three Acts

By

REE-INALD V . HOIJJU‘FD

26

27

CHARACTERS

(In order of appearance)

ADAM SPENCER, father of Miss Lorinda.
lflSS LCRIIDA SPEICER.

RICi-EAf-ED CCL’RTRIGHT.

WHABELLE GREY, secretary to Peter Murray.
PETER MURRAY, a young corporation lawyer.

CHARLES, a waiter.

SCHEES
ACT RTE
The game room of Adam Spencer's Fifth Avenue home, late in June,
1919.
ACT THO

Scene 1. The office of the Lehigh Valley Manufacturing Company
in Upper New York. Spring, the present.

Scene 2. The living room of Miss Lorinda Spencer‘s suite in
the Belmore Hotel in New York City, the next day.

ACT THREE

The same. The next morning.

28

"BOLTED DOORS"

3:.
l—B

$—

L13

hi

(.0
.3

Afternoon. June, 1919.

The game or sunroom of the Spencer
home. It is a cheerful room; a
room that was made for relaxation.
There is a door down right which
leads to the garden, French doors
up center and door down left. A
long table stands by the wall left
and on it are magazines, a brandy
decanter and glasses, and a small
tray on which is a glass and a
bottle of medicine. Right of the
table is a large comfortable
leather chair - ADAM SPEECHR'S

own — and beside the chair a

large flat ton smoking stand.

There is a bookcase up left, and
up right is a rather large portrait
of the late hrs. Spencer, and be-
side it a two seated leather couch.
A straight back chair stands
against the wall near the door down
right. There is a window up right
through which the garden is visible.

ADAH SPETCER and RICHARD COURTRIGHT
enter down left. ADAM SPEVCER is
a short man but heavy and red
faced. He is wearing a dark
smoking jacket. He has been ill
and it is an effort for him to
get around; the least exertion
causes him to breathe hard and
rapidly and he does not move more
than necessary. ADAM SPEYCER'S
age is sixty but he looks older.
What little hair he has left is
gray. RICHARD CCURTRIGHT is a
tall man of thirty. He is well
dressed in a light suit (three
button coat and very narrow
trousers). His shirt has a very
narrow collar and he wears a
narrow knit tie. He is a figure
of a young and secure business
man of the time, complete with a
small mustache. The men have
just finished lunch.

D)
\O

CCURTRIGHT
(Enters first, crosses to center.)
hat was an excellent lunch, hr. Spencer.

SPEYCER

(Sitting in Chair left.)
You call that a lunch - soup and salad. Ugh.
lunch at the Union Club for years and there a
meat and potatoes.

(He points off left.)
That cook out there pays too much attention to my diet, and what's
more she won't give me anything unless it's on the list the doctor
left here when I was sick. High blood pressure they call it. High
blood pressure, umphi It's just a slow way to starve a man to death.

(He settles in a chair stage right. Beside the chair is a

table with a brandy decanter and g‘asses.)
How would you like a Spot of brandy, Richard?

.Rabbit food! I ate
man got a real meal -

CCERTHIGHT ‘
(Teasing him.)
Fine - but do you think you should? Brandy's not on your diet.
High blood pressure you know!

SPIC'CER
Get that chess board. I'll beat your britches off for making a
remark like that. My grandfather used to say that a Spot of brandy
after a meal put color in your cheeks. He lived to be 9A and that's
good enough for me.
(He pours the drinks.)

CGUHTRIGPT
(Gets the chess board from the small table up right.)
I say, you'd better enjoy it while you can. No more brandy after
next Tuesday.

SPE.CEH
(Annoyed.)
And why not?
COBRTHIGHT

Prohibition. Next Tuesday is July lst.

C‘ D‘n‘r- C “up

a) I A—J' .4; I.
By George, that's right. But it won't bother me! You don't think I
keep a cellar to hold a furnace, do you?

(He takes a drink.)

CCURTRIGHT
(He laughs and crosses back to center with the chess board.)
Shall we play on the smoking stand here?

sovrgyw
-44.. ALL

(Hands COURTRIGHT the brandy.)
That's all right. Here, have your drink.....What do you think about

30

prohibition, Richard?

COURT .ICHT
Tell, many men still overseas aren‘t going to like it when they come
home and find they can't buy a drink. As for me, I'm very passive
on the subject. I can take this or leave it.
(He holds up the glass.)
Usually I leave it!

SPEFCER
I suppose that's a good way to be......Prohibition won't bother you
very much then. It looks like a permanent thing though; most of the
states have already ratified the 13th Amendment. But I say they're
goin: to have a big job enforcing that law. If a man wants a drink
he's zoin; to get it some way, even if he has to make it himself.
I'm afraid I never can feel as if I'll be breaking a law when I take
a little drink, will you?

CCURTRIGHT
To tell the truth, I probably won't take one, sir; not if it's illegal.

313317333
Dar: it- I will!
(He picks up a box of cigars.)
Would you like a cigar?

CCURTRIGHT
No thanks. I never smoke cigars.
(He takes out a cigarette.)

r1
bLi-Cfi in.

You don't? Short on vices, eh?

CCUR"HI HT
I'll have one of these.
(He lights S‘HTCLT'S cigar.
OP i; GIL?
Oh, you're one of those fancy cigarette smokers. I could never get
any satisfaction out of those blame Cigarettes myself; seems I just
get one li;‘;hted and it's time to pit it out.
(He takes a b - drcg on the Ci ar and enjoys it.)
This is a real smoke! But now I have to enjoy each cigar even more
than I used to since the doctor made me cut down. It's one after
lunch, one after dinner, and one in the evening. I used to smoke
about fifteen a day at least.
(He takes another big drag.)
I guess you never really enjoy hings until someone ta
from you.

1
t

' es th em away

WI T

CW1
Sa My this is fine brandy.

You're right there........

31

It is good....

(Takes a drink.)
Yes, when you get old they take things a.wa y from you. I wish I were
thirty again. Look at you - young, strong — everything for you is
to come......For me, it's past.

CCUI :ThQI LIT
I wouldn't say that, Mr. Spencer.

SPE"CEL
Son, that's because you don't understand what getting old means.
It's not the gradual process everyone believes. Then I was thirty
I didn't feel any differently than when I was twenty.....wnen I was
forty, I felt like I did at thirty. Then one day I was told I could
have only three cL;a rs. It was the sage as if the doctor had said,
"Adam Spencer you' re an old man'" I felt old after that, Richard.
Yes, I became an old man in one day.

COL ITTHIIHZT'
Surely the success you have gained in your life must be a great satis-
faction to you. You have that to look back on....

QD- n .1?

(Puts his glass on the smoking stand.)
That's exactly what I mean. When a man looks back on what he has done
instead of ahead to what he is eoing to do — then he's finished. I'm
starting to look back and I don‘t like it.

CCUREHIGHT
You're not finished, Mr. Spencer. It‘s just because you haven't felt
well these pas at few months that maL<es you think th t way The hard
work you did during the 'ar, too - you' re just tired that's all.

SPEYCER
(Slowly.)
I wish you were right, son.

CCURTHIGHT
(Picks up ‘PJ CRH'S glass and puts both glasses on the
table left.)
Of course, I'm right. When you start going back to the office every
day and get into your old routine again, you'll feel differently....
Where do you keep the chessmen?

SPEECHR
I think they're on tOp of the bookcase.....It's queer but I don't have
any d ire to go back to the office.
CLLILfi;u;rT
(Gets the chessnen and crosses upper left.)
Oh, come now!

T)

SPENCER _
Richard i had a special reason for as king you to lunch today.
It wasn t just to have our rejul ar chess game...

COW WIGHT
No?
(Puts the box of chessmen down and crosses back to chair
center.)

SPEACRR
I'm going to be very frank — you don‘t mind?

COURTRIGHT
Why, no. I' d pr refer you to be that way.
(He gets a cha.ir and places it 03posite the chess board
from ‘“nItLR and 03ens the box with the chessmen and
stands behind the Chair.)
SEVJ'CKTL .
I've known you a long time. why, I even celebrated with your father
the ni5ht you were born; I thi k I was as happy that you were a boy
as he. I've watched you grow up - followed you in the things you did,
and I'm as proud of you as if you were my own son. Many of the
happiest moments in my life were when you came to me and let me help
you with some of your problems of growing up. Yes, when your father
died, I always hoped you would in some small way, let me take his place.

CCUHTRIGHT
(Sits in chair center.)
You have done that, sir.

(Pause. )
I' ve never had a son, Richard. I've had most everything else in life,
but never a son. A good business....yes. Richard, do you know there's
been an Adam Spencer on Wall Street since 1810? Now the line is
finished.

CGURTRIC $HT
But you do have Lo inda.

(Very slowly.)

Yes, I have Lorinda; sorry to say, but I find little joy in her!
(Pause. He looks at RIC H-iRD a long time.)

You do love my daughter, don't you, Richard?

Cr\YJFrm \JZA
You know I do, sir. Very much.

SPEICER
Yes, I suppose you do.....I suppose you do.

33

COURTRTGHT
You don't seem very pleased, Mr. Spencer.

“”7- -f1~.-\
8.744; ‘ 'JL'JR

Don't I?

COLRTRIGHT
No, sir. Don't you think I‘m good enough for her?

SPIIS'CR‘
(Quickly.)
Yes, yes...of course I do, my boy.
CCURTRIGHT
Then what is it?
SPRUCER

Nothing. Jothing. It's just that.....

rs TY—‘mT:Tr‘U
Cxlb 1L1 .L’..L\TJ i

What, sir?

SPEUCE
Nothing. I'm a bit upset today is all.....I want to tell you something
but I don't know how to get started.
(He picks up a red and a white pawn and hiding one in each hand
holds them out to COURTRIGHT.)
Here, which hand do you went?
(COURTRIGHT taps a hand.)
Red - Good! I get white and first move.
(They start to set up the chessmen.)
I suppose it seems pretty good to get back in the bank again?

COURTRIGHT
It surely does.

SPENCER
What department are you in now?

COURTRIGHT
Back in investments. The same as before I went in the army.

SPEECF'
Investments. Yes, I knew you'd go back to that. You like the work,
don't you?

COUR RIGHT
Very much!.......But you wanted to tell me something, Mr.-Spencer.
Was it something about Lorinda? Was that why you asked me to lunch
today - to find out if I loved your daughter?

'“““CER
A. 21. ‘

EEOC.too-OOIYOoooooo-ti’lat l‘ura-Sll'b it.

3h

Pause.)
It's much bivaer! I told you tooay I felt I would soon be finished

Cat.)

as far as my business is concerned.
. A r u 'Ri:~.I.-:;I1 o
(Pause Looks at ”O ”P C’“ )
Dammit, Richard, how would you like to take up where I leave off? In

other words, I want you to take the place of the son I never had.

COURTRIGET
You mean you want me in your business?

SPEKCER
(Sits up in his chair.)
In it? No! I want you to run it!

CCURTRIGHT
(After a pause he stands, hen walks to side of chair center
and turns to SPETCER.)
That's a pretty big order, hr. Spencer.

SPSLCER
Of course it's a big order...But, I know you can handle it; you have
the experience and a business head, too. Why, what you're making at
the bank would be peanuts com ared to working for me. I'll make it
well worth yournhile, son!

COURTILIGI’ET
Oh, I know you would, sir. 3ut....

SPZLCER
But what? Are you interested?

COIRTRIGRT
Why certainly I'm interested. I'd be a fool to say I wasn't. Only...
(Walks down right.)

SPEYCER
(Pause.)
You mean Lorinda? Is that what you're thinking about?

CCURI‘PIGET
Yes, in a way.

sax-tan
Oh, forget Lorindal We don't even have to tell her......What do you
say?

COURTRIGHT
(Walks back to Spaces.)
You know I couldn't afford to turn down the proposition you're offering
{me O O O O

SPLJCLR

Then you'll take it?

35

C URT RIGHT
(Pause.)
I'll take it.

SP3“? GEE".
(Getting a little excited.)
You'll never be sorry, Richard. I'll make you one of the biggest men
in this country....hothing is going to stOp you.

COURYRIQ 'iT
I wish I had as much confidence in my ability as you have.

n ,“
DPLuCER

I'll show you how much confidence I have in you, son.....Are you

ready to go to work?

COURTRIGRT
(Surprised.)
Right now?

SPEIOER
Right now!

COLRTRIG T
(Laughing. Sits in chair center.)
wh;...~hy, sure. I'm ready!

SPERORR

(Leans back in his chair.)
All rirht. I've been thinking about investing some money but since I've
been sick I haven't had a chance to do it. There are two things I want
to do and the first concerns Lorinda. You probably knew that Lorinda's
mother left her quite a sum when she died. Well, I've been handling
that for her. Host of it is tied up in stocks and with the market
fluctuating like it has in the past few weeks, I'd rather the money
were in something safe like bonds. Don't you think I'm right?

COURTRIGHT
Yes, I do.

SPEHCER
What would you ad ise then?

f
FIUEZITI CIR

I'd rather not say, sir.

SP““O 3R
Well, why not?

COURTRIGH
(Rises. Crosses to right center.)
Look, I'll work for you, Mr. Spencer, but I'd rather not handle any of
Lorinda' 5 investments. It's a matter of principle, sir.

 

36

q 7317‘ * T?

(A bit angry. Pounds ann of chair.)
You and your principles.....Sometines I think you have too many,
Richard. I ne~er got where I am on Hall Street with principles.

COURmRIGHT
(Quickly. Walks down right.)
I'll do anything else.
(Turns to spasm.)
All I ask is not to have the responsibility for Lorind"'= money.
SIRI'CT
Oh, all right. he'll talk about that later. Now, there's a lot of
money being made on the stock market today and I've missed it. You've
been following the stocks?

I have!

SPIITCER
Humm......Kade any money?

A little.

You have, eh? Well, Richa want to get my feet wet, too. What

have you been buying?

OilOOOOO

0‘07".“ TH“?
L); .2; v.4“.

(Pause as he thinks it over.)
Oil? Humm. . . . .

CCUR ‘RIfi TE ET
Yes, sir. Sinclair Oil!

OD'T‘CVQ
tJL .LJ JJ!

Sinclair Oil - No! - I want something with a future. The war is over -
there's no future in oil.

CCIRIERICHIT
(Crosses to center.)
Oil's future is in automobiles.
PET E
But there's no future in automobiles. The market's too small; never
sell enough. Look at the price of cars today; why, they're only a
luxury for the rich.

37

cOdRTlquT
I can't go along with you there, sir.
(Crosses to SPEPCSR.)
henry Ford says he's going to make a car that will sell so cheaply that
everyone can afford to have it. He's going to change the automobile
from a luxury to a necessity.

SPENCER
The railroads won' let him!

C(LLTT
They can't stop him! Automooiles are in to stay!.....Just look at
what automobile so cks have done recently. Chandler Rotor gained 3A
points last tweak and General Rotors 10%. Chandler is paying a at
dividend the first of the month. They're all up ~ Stutz, Studebaker,
Chevrolet and even Kaxwell. I'm sure automobiles are going to have a

lot to do with the future of America, and thev can't run wi hout

LIGHT

 

gasoline.

SD"‘CLR
What do you know about Sinclair?

COIFT” CRT
Gained lO poi.m ts last week.

SP3? R
Huh! What are they selling at now?

COURTRIGI
61 yesterday.

SPENCER
Is the company solid?

CCURTRIGHT

Their net earnings increased 70p over last year. They just boug ht
land for four new refineries here in the east.

_ (Thinking.)
bl, hulii?oooooooo

COUR MIGH

O\
on

SPEXCER
(Pause and then quickly.)
All right, all right, son, I'll take your word for it! Go out to the
study and order me 200 shares. You'll find the name of my broker
listed beside the telephone.

CCUHTRIGT 1T
(Starts to exit left.)
I'll do it right away.

38

SPEICER

Wait a minute.

(CCCRTRIGHT stops at doorway.)
You tell that broker to leave Lehijh Valley Manufacturing alone. He's
been trying to get me to sell, but I have nearly a controlling interest
in the company and I want to keep it. “ow I' ll admit, today it may not
be worth much, but I think in a few ye 15, it will amount to something,
and if my judgment is correct......well, Lorinda will be able to buy
herself something extra.

CCURTRIGHT
Right. Anything else?

SP' CRR
No, that's all......I'll get these chessmen set up while you're gone.
(couaTzznsaT exits . SPRICER sits in his chair and starts to
set up the chessmen.)
Oil.....um.....oil......Sinclair Oil.....Right be all right!!

(As he sits there mumbling suddenly
the French doors o:en and LC.“ I DA
SPRICRR enters and sta.nds in the door-
way. She is impressive in her fine
clothes. She is we:ring a suit, the
skirt of which is rather tight at
the ankles and hangs about six inches
from the floor. Her stockings are
dark and her shoes high. She wears
a large hat with a veil pinned over
her face. She is vivacious, full of
energy, and the center of attention.)
LCRIE MD!
(Crosses down center.)
Hello, Daddy......

SPE”CE

(Rising and unsteadily taking a few steps toward her, cross-
ing to center.)
Lorinda, Lorinda. You're home ay ain. I can hardly believe it.

LORITDA
(Walking to him.)
Yes, I'm home again.

R“CRR
(He tries to kiss her but she permits him just a "pecl<" on
the cheek.)
Oh, it's good to have you here!
(LCRI.? DA walks to stage ri‘t t. SPRTCRR follows.)
Come here, Lorinda!...I've missed you so much, and worried about you
too!

(J)

39

LORINDA
(Crosses right, moving awar.)
That wasn't necessary.
(bP‘"CL‘ tries to put his arms around her.)
Be careful now.....You'll muss we:

SPCYCER
(Shocked.)
Lorinda, you've been gone so long!
LORI? I DA
(Turning to him.)
Only about six months.
(Pause.....She looks at him - she sees that she has hurt
him.)
Daddy, you don't look at all well to me.
(Crosses to S DEW CAR.)

SPEECER
Oh, I'm all ri5ht1
LCRINDA
You're sure? You've been doing what the doctor ordered?
r‘PE_.‘=-,’CETR.
Yes, of course.
LORIFDA

Oh, I should have been here to look after you.
(She leads him to the sofa right center.)
Now you sit here and be comfortable.
(SP3: ER sits.)
Isn't that better?

SPETCER
Yes but I'm all rirhtl I want to know about vou Lorinda. How are
’ g3 «4 ,
you?

LORIHDA
(Walks down left and crosses left.)
Well, how do I look?

SIEICBR
(After a pause.)
Wonderful! Wonderful! But I mean, how do you feel?

IORIYDA
(Starting to remove her veil and hat.)
I feel fine. The trip to Bermuda was wonderful. You haven't for-
gotten, have you, that I've been to Bermuda?

I haven't forgotten.

40

LCEINDA
And everyone thinks that's where I've been? Everyone?

spa"ca

‘JIV‘J‘

Yes, everyone!

LOZIIDA

(Crosses to a?” tin and puts an arm on his shoulders.)
Daddy, you' re a dear r. I' ll keep a secret for you sometime.

‘D‘; F-n'l‘w,
A .14: .bLJR

I hepe you'll never have to. But you're all right. I mean, you feel
good and everything?

LORINDA
(Crosses stage left.)
Perfect. I don't think I ever felt better in my life.

SPLTCLR
I'm glad to hear that.

L011} IDA
And, did you miss me?

SPEICE.

Of course, I missed you. I' e been worrying about you since the day
you left.

LORIIDA
(At left.)
You shouldn't have. I was in perfectly good hands.......Oh, it's good
to get into some decent clothes a5ain.
(She moves about like a fashion model.)
Can you tell? Do I look any different? I

S D -
- .LJ' CJJR
If anything, Lorinda, you are more beautiful now than before you went
aV‘fay o

LOiII‘I ’ A
(Laughing.)
When I went to Bermuda, you mean! Don't forget that!

SPEICER
I won't forget.
OEIIDA
(Going to 3:3:341.)
But do you thinlc myone sus>ects, father? Everyone really believes
I've been away on a trip?
”TAICER

CMmflmgmmyJ
No one suspects!

Al

10 RII DA
Thank you again, daddy, for helpin5 me keep my secret. Now, no one
will ever know I've hada Child but you and me. l‘~o one will ever

find out, will they?

'V‘TflT—I

L.oL
(Looking away.)

You're rijht, LorinCLa; no one will ever find out. But to think some-

thing like this should happen to you - my dau3hter . I still can't

believe it.

LORITCDA
(Walking down right.)
Don‘t let it bother vou so much. It haonens to thousands of virls.
(J - .L L)

SPLICER
(Turxing to her.)
But those girls aren't my daughter, Lorinda! You are....and tie only
child I have. 1 wish to God it hadn't happened to you.

LCZIIDA
It did though...and there's nothing we can do about it now. I want to
forget it........“ow do you like my new suit?

SPLTCL'
Forget it! Fordet it! Do you thLLnk with Just a shrug of your shoulders
you can pass this thing off? ror5 t it? I'll never forget it.

IOIIIBA
(Layir 3 her hat on the floor beside her as she sits on the
couch rig:1:t of S“; CGI.
C.:me now, it's not the at important to you. I should be the one to be
sad if anyone has any feeling about it. But I'm not. As far as I'm
concerned it's over and done with! It's a chaoter in my life that
is closed, and closed forever.....it will never be orened e3ein.

(«*3 m In
0; .J J‘JR
But how could you keep going ‘ith this Lerry, and secretly - hiding
allt hi sfrom me.

LOIIIDA
I loved him, daddy!

SPLICJI
Because he was a Lajor and in a uniform. I told you he was no good -
reckless, wild; he cared for nothing but himself.

LCFZII TDA
(Rising, crossing behind sofa.)
Don't you talk that Lay about Larry. wasn 't it enou3h that you drove
him out of this house. It was you who made me see him secretly.

42

SPEECLR

how, Lorinda, calm down.

LOEIYDA
(Stan din3 behind sofa.)
Is it my fault that he was sent overseas and killed before he had a
chance to marry me? He wouldl ave married me if he had known.
(Slowly.)
ilat is, if I had wanted him to.....

OED—Pp-” '7‘“
131 LA. Vin»

If you had wanted him to?

LCE‘I: f DA
That's what I said.

8331 3 CL.
If he hadn't been ki illed, do you nean to tell me you wouldn't have
made him marry; ' ou?

LCIIYDA
I'm not sure ‘ Me her I would or not!

I don't understand you............

LC J DA

If I had married h’m, thin gs would have been much more difficult than
they are now.......Yes, and I' m not sorry he is dead! I'll admit he
was excitin3; he was a very romrnti c fifwur , fa.ther. Ch, I did love
him then. he was tall md looked wonder_?ul in a uni Lorm.....les, we
danced well together. But it’s much more simple beca 1se he was killed.
Sort of an act of fate, you might call it. how I ha.ve no husband, no
child. I'm free to do anything, just 8 SI we 8 before.

(‘71 “'f‘T
Q-“ v.1].

I won't have you talk lihe t at!

LCRIKDA
(Lau3hin3. )
Just thin1<, he didn't know, did he? I 1.onder if he wouldh ne.ve been
thrilled to be a father? It' s tra3ic — his not oeing alive.....
SP1. LR

Lorinda!

L JI‘IIIDI‘i
(Sarcastically.)
But, daddy, you' re not sorry he is dead, are you? You told me yourself
that you would have killed him! Didn't you?
‘F C‘5

“1
1
LL. .41.»

Lorinda, stOp that!

A3

LTRITDA
(Crosses left behind smoking stand.)
Stop it? any shouldn' t I say I'm glad he is dead? FeC3use I reallv am.
I don't have a husband and it's much less complicated this way. You
think I can say this becailse, unfortunately, he was the father of my
child? True. It would the be en better if this hadn't happened. But
it did! And now it's ove r with. Ch, I said for it. I gave us months
of my life; I hid away from peeping eyes, and nosey old women, and said
my penalty. But vutside of those few months away, I have lost nothing.
Remember, father — I made a trip to Bermuda — as si Lnole as that.
SIS-Cd
(after a pause, he shakes his head.)
You haven t told me stout the child.

The child? Oh, yes, he chil‘! I sugpose since you're now a {rand—

father vou would lil :e to hear auout the ch1ild.?hey told me it was a
{virl '

(Shocked.)
Told you?........Didn't you see your child?

LCRITDA
No. I didn't see her. I didn't want to see her!

(‘ “I’ "-VCI‘“D
'JL. -—J Vl—JAB

Lorinda, wha skind of a mother are you?

(Fiercely.)
I'm a woman! I'm not a mother!

C: a n r “‘11-“
v P .L‘ C .LJ-‘\-

hhat did you name her, Lorinda?)

LOP LI"DA
(Crosses to 9),’3h¥ behind sofa.)
Oh 3105 se stoo rluyihg the grandfrther.
(Pause.)
I didn't maple her. I didn't think it necessary.

fl r. r w-rr-j
L) ‘ LL A—Ji L

(In anger. )
Lorinda, you ca.n 't act this wag tOWEITd your o;n chil d. After all she's
a Spencer. You can't treat her like this; she's part of you.

C‘ILII‘.’ DA

(Standing behind sofa.)

hot any more she isn't. Yes, she was part of me — when she made me

afraid to look into a mirror. It almost 1a:es me ill evezi to think
how I lookcd.

SPE"CER
hank God, Lorinda, I'm the only one to hear you‘talk like this.

LO RII 7171'!
(Sits by as“ on the couch.)
Come now, daddy, get down off that golden pedestal. Your daughter
had a rather distasteful event in her life that nut her out of cir—
culation for a shorttime. But now she‘s hack and as good as ever,

isn't she?

073;r~'C:'-7
x)- .4. .LJL

Have you made up your mind what you are goihv to do now?

k)

LCEIIDA
You mean you WOUld like to know my plans for the future?

“Uncut

0

Yes - if you have any.

PJ‘ *‘ r .
‘JL-.L;.JA
But I do! In fact, I know very definitely what I an going to do.

C‘ :11“ 3-1
UPJJI CLfJAv

yes‘?0000000000

LC T11 T DA
I'm going to marry Richard Courtright.

SPETCE:
Marry Richard?

LOTTITMJA
Yes, Richard! I've made up my mind. Nothing can change me.

on‘vrcvq‘
u.‘ 4. 1.1.!

But you don't love him.

LOEIT ‘ D}.
Love him? Since when has love become necessary for mar iage? I
realize that he is not all that a woman would desire in a man, but
he's firm and rather nice in his way.

0731:7pr
U- ‘4; V.LJ.L

There's nothing wrong in being firm and honest. He's too good for you,
. x , . ,
Lorinda. I don t think he'll nave you.

LOEINDA
But you know he's devoted to me, daddy, and fond of you, too.
once said I could make you happy by marrying him.

«z

OU.

CDT" ‘0‘“?1
0A .J 21.4“.

I would have been happy to have you marry hichard. “ow, I don't know.
hhat makes you so sure he will have you after what has happened?

#5

LCEITDA
But he'll never know.....I'm sure I‘ll never tell him, and I‘ve seen
to it that he won't find out any other way.

0
r\* "\' (1"“D
L.).~ 1L. \J- I‘ll!

How can he help but know? You can't have your child taken care of
withouta husband finding out some day.

LORIFDA
Didn't I tell you? I don't have the child. I_gave it away. It's
very simple, really; you just have to sign some papers and when the
child is oorn they take it and y>u wa Ill: away a free woman.

 

o \ V" 41‘;\
QLJJJI. CDR

Lorinda......you didn‘t! A terrible thing like that.....

LOZINDA
(hises and crosses down rifiht.)
Yes, I did. And why shouldn't I? I didn't ask the child to come....
A child didn‘t fit into my way of living and the easiest thing to do
was to give her away. So that's what I did.

0:57
-o

Jhere is the Chile no: Lorin

(At rijit )
.1.

Don t ask me where the chilh
did I wouldn” t tell you

is becau e I don' t know and even if I

1“." ' F'T'T)
a. 4—1. UHLM

No, Lorinda! You could have brought the child home until we found
the proper place for it; at least we could look fter it then

LCEIHDA
That was too much trouble. I think I marajed very nicely; in fact,
I'm rather proud of myself the way it all turned out.
SPEECER
(His ing.)
I won t let you do this! You forgot that I know about the child, too.

LCRINDA
I'm not worried about you, daddy. You're too proud of the name of
Spencer to say anything about your d? u; iter - eSjecially to Iicha rd.
You picked him for your son-in—law and now I'll see to it that your
wish comes true.

1‘3 N’T‘f‘ “h

S; is .UL‘AL
(Coming to Lou‘ :DA. )
You've gone too far this ti e, Lorinda. Do you think I can sit or and
see you ruin Aichard like you have ruined eVery other decent thing
you've touched? I‘ve seen enough! I've helped you each time you have

2.6

gotten into trouble. Even helped you go avay and have your child.
You've made a cheat out of me; you've made me lose what self respect
i have leis. I'm through lvi"¢ for yzu!

(3043 back to love seat.)

LORIUDA
Come now, daddy, you're being very melodramatic.
SFI”CAR
(Sits on love seat, ight side.)
Don t c all me daddy like that - each time you do, you m'ke something
curl up inside of me.

LJ II DA
(Crosses to SPENCER.)
But, daddy - I am your daujhter.
W3 ‘ 0'“)

I 3 ° . .' .
Yes, you re my daugater, but I wish you weren't. I wish to God you
weren‘t.

LCKITDA
That's not a nice thing to say.

SPIT":R
Nice? hhet do you know about being nice? I don't think you ever did
a nice thing in your li“ Ivu're a spoiler, Iorin‘a; everything you

.LC.
touch sooils. l won't let you spoil Richard.

LCRIUDA
n t . a
You don t really mean that vou know. I've been with you too long to
believe vou would do anrtnin' I didn't want you to.

QT)“f“:‘

u; ‘.J. UL»:
I do mean it. I won't let you marry Richard unless you tell him the
truth!

LOI-ilifflA
You're being very silly.

SP"; CIR.
Why can't you be a decent woman? You will have a chance. Tell him
the whole story - tell him that you are sorry and ashamed. Tell him
the truth about yourself.

LORIFDA
And if I don't?

Then I will!
LORIIDA

I'll never tell him. Neither will you! You' re ta .lhin like a martyr,
and you re no more a martyr than I am. i know w»at the name Spencer

A7

means to you. 1ou have never cared for me or what I did excest that
I was a Spencer. And now the Spencers have a child. ho, daddy,
you'll keep quiet.

5-”.CQR
(Rising with difficulty.)
Lorinda I mean what I saw. f vou don't tell Lichard I will!
9 o 3

LORIIDA
Are you threatenim; me?
(Crosses right.)

SPJTCJR
You may call it that if you wish.

LOT-LIT 'DA
You make me laush. 1rou should know by this time that I‘ll do exactly
what I want and if that means tellin5 a few lies, it doesn't bother
me a sit.

SPLICLR
(Pleadinjly.) h
Do it for me, Lorinda. Please......lou know I'm not well. Perhaps this
is the last thing you will have a chance to do for me.

LORIHDA
And lose the one thing I really want most? I war.t Fi chard. and I'm
going to have him. I'll do nothi n5 that might snoil mj,r Cih nces. All
I have to do is snap my fin5ers and he'll come running. He‘ll do any-
thing 4 wish. I'll get him and I'll get him my way. And that won't
be by telling him about the child.

(WW; I
0 CI I“)

It would kill me to have you marry that boy under your conditions.
(Crosses left.)

LORIYDA
(Starting to leave.)
It would! That's too bad. 15 38 I' 11 have to ta :e the t chance.

SPEVCER
(Following her, crossing between chsir and table right.)
Please, Lorinda........tell him!

LCRIZ‘IDA
No. I'll never tell him!

SPETCER
Think about it. Perhaps you'll change your mind. Perhaps you'll tell
him for your father's sake, Lo~inda.

LCL LIES DI.
ror youI sake?
(She laughs.)

#8

That's the weakest arfument you can think of!
U :its thrcu ;h door unsta5e.)

J“”nR
Lorinda........Come back here........torinda........

He starts to follow her a few steps
but the effort is very tr in;;, and
he crosses to side of sofa center.
Then he turns and looks at the pic-
ture of his wife on tie will. he
walks slowly, with great ei'iort.)

Mary, I've done a poor Job of raisin5 our dau5hter — a very poor 3 b..
You left too soon. And yet I'm glad you're not here to see her today.
You wouldn't like Lorinda at all, and you wouldn't like me because
I've failed you. I‘ve tried; I've tried so hard; maybe too hard.

But she's not a aughtcr we can be proud of....I've failed you, Kary.
I wish you could tell me what to do. I don't know. I don't know.

(As he stands there looking at the
T\"’\ TrT

picture, n1o;1dD CCUA21IHLT enters
and stmznis in th e doorway down lei t. )

COURERIGHT
Well, I placed your order, Hr. Spencer.

SELL 013R
(Quickly facing CflbnfTiC T )
Oh, Richard, it's you. You startled me for a moxnent. Living here
all alone plays tricks on me sometimes. Come on in.

COL‘! 11 THIGH T
(Crosses to chess table, noticing the chessmen on the table.)
Did you get the Che smen all set up for our game?
315i ER
(Moving to the chessboard.)
Yes, yes, I've been waiting for you, flichard.

COURThlGET
Let me see, I think the last time I was he1e you won two games from me.
SP3 GER \
(Having difficulty controlling himself, and as he IHOV 5 th
chessboard, he tigs over sevara nieces.)
I believe I did.
1".' fjr—T ‘7‘ 1111']

\JJL .vi.‘ 4&1. J-

4

Here, let edo that.

(Pau e as he looks at STEFCLR. )
ou had better take it easy, #r. Q61encer. You seem to be a bit un-
teady. Sit here. What halpened to you while I was rone?

~-1~.‘1‘ {‘fi

(He helos 5r; o H to the oig cM ir left.)

+<

U)

#9

C‘ T" 7“ Y 7"
0313.1- CLJR
(Leaning back in the chair and closing hiseyes.)
Thank you hichard.......This feels much better.
1 I )~ . ‘
(he Signs.)

C (EUR 1‘; LIGE ET
Are you all right now? Is there anything I can get you?

811; C15.
No. I'm all right....Just let me rest here a few minutes and I’ll
take you on. I'm over these little Spells in no time.

COIRTKITVT
.’ - _ n _ ,y_ I ~ \
DO(Grosses um le:t b0 Emel€.j
wh,t a ut you1 medicine here?

DOL(Picks up a tray with the medicine bottle from the table.)
Shouldn't you take some of this? here, I‘ll help you.

711"!“
b1: -—i- ’Jil‘q

ho....Ho.... 2 c medicine is only for extreme emergencres. I've only
had to take that once, but the doctor insists I keep it with me. It

would hold me until me can set here........I'm all right now. You
can put it Jack.

1. 11.
u 1:].

CnIDnT 2«T
(Puts the medicine sack on the table.)
The t‘s good......You had me worried for a moment.
SP1; C1313
Sorry abo at my acting like this; but get those chessmen ready and
we'll have our game.

COURTRIGHT
(Crosses bac k of SP1 GER and places hand on his shoulder.)
Not on your life. You sit right there and take it easy - no chess now.
Lwflll.sa ve it for11wd,her ti1e.

(Sit ting u) in his chair. m)
Come now, I can p_ay you a game.
oFUPTPIV”T
(Crosses to ct air center. }
No. You just sit back there like you were....You didn't
lunch if you had heard from Lorinda recently.

,1
(D
(‘1)
ca"

ell

Ci-

0;,“F- (\"fifi
U .11»

m
L‘

(Slowly.)
"31;". o o o o o o TEES, -L Ileard: fI‘Oifl ”181” tOCJ. “2.3/0
JCL,TI CRT
Very ea25eer1y. He Si.ts in chair center.
1ou did! why didn' t you tell me? u"nat did h have to s,y? I

5O

haven't had a letter from her for sOie tine 1nd the last one took ages
to reach me. When was yours dated?

vf}
Q (NE-31.1: C 4117;

Well.....l didn't notice, but it seeded quite recent.

’T'T "I '
Bermuda is too far away to suit re 1‘ ll bet si1e do eesh' t know you
have b en feeling worse or s _e 'd be lere. Did sh“ say when she was

coming home?

C‘

8:3 "'0” AR
No, she didn't say just when she was coming home, but I'm sure it will
be soon now.

CQURT? ICPT
I hope she'll let me know wwen sTe docI-cs. She didn't give me a chance
to see her sail, so I really want to meet her when she comes back.

SFUT ER

Oh, I'm sure she will.
What's she been doing, Cid she say?

(Haltin;ly.)
Just the usual thines - narties si‘htseeine buVinv clothes - nothing
C) I" , (J , '.- u) L)
really important.

COURTRIG T
(Rises end crosses to ricture ri :ht. )
I know Lorinda - if she's buying clothes, I'nl glad you're payiig the
bill and} 1't me.
(Lookizf e-t the picture.)
I saw vou admirihr the micture O.L' hrs. Spencer *hen I came in.
SPE’CER

Yes, someti:es I even ta.lk oher.
COURTTIGJT

Lorinda looks a lot like her, does n't st 6? Is Lorinda like her too?
I mean, the way she sets and Coes things?

(Quickly.)
Fo.......Lorinda is nothing like her mother.

1st WhiCh is on “bile floor right of the COUa’th,

i
5.
U}
‘5
cf.

-5. Spencer, this hat......isn't it Lorin.a's?
Crosses to center.)
hhat is 1t doing here?

51

"T‘V‘. Hfi 1r)
1 ._J -\’.—J‘L

I don't know.....I didn't notice it was there. Perha s the house—
keeper.....

C(URTEIGHT
‘ ..' .' , .I‘ a . . a‘_ r .‘ m» ' 'H ‘
Wait a minute. You're not iooling me.....Lor1uda's hone. She s here,
isn't she? I know she is!

13‘?“ ’ “V73
84- '.J . LIA»

“ n1 ’7‘“ 711

(Looking at Cfllni.,u11, and after a Ion
Yes. She's here.

“(w—1* Liv-1:1“
(Very excited.‘
Why didn't you tell me? She's all right, isn't Sie?

(:A“) 1% f1 11,
v4. _J‘U.. J1.

(Slowly.)
She's all right.

When did she et back?

Only today.

(Very excited.)
But why diun‘ t you te]_l me? I wanted to meet her. there is she now?
I must see her.

(He starts to the door upstage.)

D" *1“
JJ .!.Jlu

(ouoooin, him at chair center.)

Richard,,....ta111t a minute.......Come over here and sit dorn. I want
to talk to you.

COURT? GET
(Reluctantl7. )
Sir, I'd liZ :e to see Lorinda. I've been waitings ix month 5 for her to
get bee ck.

(an TJNH FnT‘Y‘D
01 L ‘JgI‘.

Please sit down, Richard. You'll have plenty of time to see Lorinda.
I have something I must talk to you about.

C C??? 17 BEIGE? T
But I want to see her now.

8.3 .17” U' 4R

Richard, olease.

52

GCU IL L .L‘JE 1T
(Sits on the chair right.)
All right, Mr. Spencer.

333V ER I
I have something to tell you, son. I don t want to, but I have to. You
told me you loved Lorinda very much?

nmvvn n \ ‘rrfi T
U\.'\‘1L_'.- “NJ

Very much, Er. Spencer. I'll marry her whenever she'll say the word!

Splj’Clfli
Then you are going to be hurt, Richard.

CW 7T‘“""
‘0 I l 'I o
I don t underStano what you mean. Nothlng has happened to her?
3171113133
Richard, I"e knoxn you for a long time. You're a fine young man;
one when I have always wanted for a son. I have to tell you this be-
cause you're all I have left.

COLRT'.3IC11T
What do you uean, Mr. Spencer?
3?; CJ
(3 long pause before he soeako.)
Boy, Lorinda was never in Eermuda.

f1 " 1'1T"(T“T'“1
UCT.-- .1. -.L&i...~

(Unhelieving y.)
Lever in Berauda.....she must llavc oeen.....I received her letters
from there.

@1311”???
‘..’.1 .11.. Un—‘JLv

Yes, I know you did. ,ut they here written: n this country and re-
mailed from Bermuda.

CCIJH5 -1. .‘LIG'I T '
What is this, anyway? If Lorinda wasn t there, then where was she?

CDT“ ‘7" "TD
H.311 UJJLL

She was somewhere near this city all the time.

COURTRIGYT
(Crosses down center.)
I don't understand, sir. She says she's in Bermuda. She's gone for
six months, and you say she has been near here all the time. It sounds
very stra.nge to me.

Yes, I know it does.

53

cCYRTnHKT
(Hslking to center.)
You knew all the time she wasn't in rekuta° then why did you let
believe it then I C818 Lsre to see you?

SPE"CER
Richard, I......

CC' ,RTIIG T
(Crosses to chess table. )
I hope you enjoyed grour chess genes ,Kr. Spencer. 10
myself. I went to know what she has to say about thi 5.
(He starts for the door up center.)

I ll see Ior inda

SPETCER
Wait, Richard.....I must tell you this. I :now I haven t tree ted you
fairly and I ecologize, but please let me exylein.

CCUHTRIGHT
(At door us center.)
Yes, sir.

077 “"7 :7
d...‘...l .UJJI

(Slowly and quietly.)
Lorinda left home because she was going to have a child.

wfn"b
(Turns Gult‘lv - shoe ted. Comes to center.)
A child! A child? I can 't believe it!
DPITCZW
Neither could I, but it hapgened.

{3.31I7”‘T .
J.‘ 3 : n .. -2
hen Lorinda _s malrledl

DZ‘. .‘v ‘71:“

«LA-1' .JgJA

No, Lorinda is not married.

CCUEI‘RICVT
(Turns away. )
Do y3u mind if I ask who the father is?

(‘37-an TD

Oi 1.1!.LJLJIL

Does that matter? The child will never have a father. He was killed
in the war before the baby was born.

n/7 (1” T
UU LL 1L
(Crosses right and rslks behind sofa.)
Anvone but Lorinda — I can't believe this could happen to her. And you,
b .I’IQ' Ill Ilicooooonl'xr.0000000.. '1",
her father, are t‘lll U e t ? ?

5h

SIE CE
Because Lorinda means to ma crry you now and tell you nothing of what
has happened to her.

bOUlPI GET
(Standing behind sofa.)
Harry me now? What does she think I am?
(Pause.)
ut what of the child? lu-tere is it?

(33

SD 1" T{"*1D
L n—JA. UJJc‘b

I wish I knew. She wouldn' t even see it. She had promised to give it
away even before it was born.

SOUR" ZN“?
And she was going to keep all this from me. Harry me as if nothing had
happened? You‘re sure of what you say?

SPE OER
that's what she is planning to do, Richard. I can't sit by and see my
daughter ruin you like she has ruined everything else that was good in
her life. Do you think I would feel the way I do today if it hadn't
been for the constant worry over my daughter? Don't marry her, Rich-
ard!

CUUZPnIFLT
(Crosses to SPEICER.)
You.realize what you re telling me, Mr. Spencer....You - her own
father. If what you say is true.....

SILT‘CER
It is true. Every word I told you!

(‘1 (.7671 :1] WT
UCgiti

(Crosses to right center.) ,
If anyone else had told me what you have, I would have struck him don
Mr. Spencer, I would have married Lorinda in a minute. It's'hard to
hear things like this about the woman you love. '
(Pause. He walks away and is silent for a moment, then quickly
turns to b?3"3dl.)
But, by God, I do believe you, Mr. Spencer. I don't want to believe you,
but I do......I would have done anything she asked without (flue tion...
I never would have told you this, yet alwaysi the be ck of my mind
I knew she was plavin me for a fool.....But In didn't want to see it.
I didn't want to believe that she was anything but sincere with me. I
guess I can see lots of things she did that I wondered about, but I
couldn't think she did them deliberately. Yes. I can believe you,”
Mr. Spencer.

"?””CnP
You won't marry her now!

55

‘1“ Thrn. 71-an

AL..L U.1
I don't know what to say. But I won 't let her deceive me. I couldn't
marry anyone who would do that!

N'T)V~* ,
i__'1...JJ.L

(Suddenly, as if he gust thoujht of it.)
Hill you do something for me, Richard?

CO RIRI GIIT

“Ila-t? o o o o o o

CGAC“R
Pror.ise me that you will.

CCUII RIC-III
(Slowly. Crosses back to center.)
fihy, yes....if I can.....

8. -4. “-CLJI-L
Iiichard, if anything happens to me, lind Lorinda' 5 child and see that
it is well taken care of.

CC? TIT”LI"'
(Slowly.)
That's a very strange revuest to make of me of all peOple....

3 \ ‘JO
tol.Cnn

Don't you see - vou're the oxly person I can ask to do this.

CD

CCKHITRIGED
But why me......?

SET" "CTF'D

L 14.. x 14.“.

I couldn't tell anions else about the child - I only told you to 1-'eep
you from marrying r-..y dau hter. Please help he.

COURCEIGHT
Do you realize what you're asking m to do, Mr. Spencer?

SPiS‘TCER
Yes, I do. I'm not asking you to do it for Lorinda — but for my sake,
ILiCIlardo Find that; Chjldo o o 0 .d0 it for 11180

CCU?“"IF"T
When you put it that way, I can hardly refuse you.

”““C.?
Then you'll do it?

CCUCWIC”T
Yes...if I can....I promise.

......

lhank you, ”1Vna1d....- an“ you....lou're a true son. And see that
Lorinda has help i: she ever needs it. Take care of her investments.

CCU R'i‘IIIGIIT
Knowing her as I do, I don't think she '11 ever need any heln, but if

she does, I'll be there.

You're a good boy — a fine boy!
CURILIGEIT
(Looks toward the door upstage.)
I think I hear someone coming and if its Lorinda, I'd rather not see
her now. I'll be out in the garden. I have to think this thing out.
(U alki;'1g to the door lef b, he exits.)

(SRJ"ouI seated in his chair picks up
a book and me“es believe he is read-
ing as LCRILDA enters unstege. She
has Chan ed her dress and is now wear-
ing one of a light color - long, with
puffed sleeves and narrow skirt.)

LOII”DA
(Comin: downsco e and standirv behind C1635 to13e. )

(Slowly- )
Not reading - Just thinking.

LGLITJA
Aoout wha ?

You, Lorinda, you.

LCII' IDA
(Crosses around center beside chair. )
I must bflmit you have chosen someone ir terestin-3, to tN1k about.

STE'CER
Have you chin ed your mind, Lorinda? It's not too .ate; you can start
over again and live a life of truth and sincerity. You can still have
a contented, happy life. We the kind of a daughter your “other and I
wanted you to be.

LC III? I DA
(Looks at picture.)
Mi mother's dead and I am perfectly Faun to be the kind of a daughter
I , i ._
I want to be, not what you want me to be.

57

C‘ T“! Th
UL 1.11.. “111.1

Lorinda, I've given you emrvtnlnb I always,have since you were a

small girl. I've loved you. Po: haws I haven t always shown it like
you wanted me to, but where I lacked affection, I gave you all monev
could buy.

LCRIVDA
(C rosses behind chess table.)
What are you driving at?

3-3:: 0.11171.
I‘m telling you, Lorinda, that I} rea'hed_ the end. I'm giving you

a choice - either you do as I say,8 or we are thlou h.

LCIITTA

:1 ”1 -L - -I-,..° ,_ ,. , ,. .1-L . \

(UTOSDBS o0 chair center anu s1 its.)
' . -1, ‘ .......n: . . .r.' . - o , m : .. .*
lou‘ re bein Veiy oranatic a ain, dadri.yl I1 you mean telling Licnard

‘. 1L --‘ 1 (‘1'~r
[JOLkLl U115 U630, .0000...

r\

In“, ‘1“ n: -'1-.
A JJ VJAJL

net's exactly wrat I mean!

"3

LCZI"DA
Then you're wasting your time. I'll never tell Richard. I wouldn't
dare talte that chcnce. I told you I am going to marry him without
telling him anything and that's exactly what mean to do.

SPL"CER
But you can't marry him and :ee:3 oack dle trlth about the child.

Marraige has its roots in truth, not deception. Rll him the truth,
Lorinda.

I_\JE' IJo D11.

And lose hi a? You know Richard - you know the kind of a person he is!
He' s a puritan. He'd never break a rule of society - he couldn't
stand it! You know very well if I told him I had a child he wouldn't
marry me.

(She suddently rises 911d looks at him.)
Maybe that‘s what vou wznt. Pe rha TS you don't want him to marry me.
Y's......that ‘s it, isn't it? You ton't let me have him because you
wamt hll

c“) r o ‘T)
ULdL‘L UiJLL

That 's not so, Lorinda. lou know it isn't.
LORINDa

(Crosses right. )

Oh, isn't it! fou 've alway been sorry I 1% sn't a boy; vcu've always

canted a son instead of a ”au'1ter. You even treated me like a son -

taught me to ride lorseoacg - to shoot a sun - to drive an automobile -

even to think nd talk like a man. Yes, I was your son until I had

a child — that Opened your eyes - sons don't give birth to children,

do they?

58

f‘T"

SH.“ Clix

Lorind

Q?

LCPIV
(Crosses to center.)
But you can't take Richard away from me. I' ll s;e to it taet no mliig
will keep me from having him - not even you.

(‘ “5"? ~ "11717.7
L) A awn. U . .1 . 1.

You won't tell}
(Standini 1R ldin front of his chair.)

v

Keverl

That's vour final word?

Pt}

U]

Then I'll tell him myself.

(Pause as oIJ“Cfil faces LCPI DA.)
Lorinda get out!

(Iknl o- look 3 at him. She can't believe what she hears.)
Did you hear whr t I stia9.........rtt out....fou' re no longer vented

i11 tiiis liozvse‘

Ifl'fiT‘V\\A

(Sarcasticellf.)
Daddy, I believe you really mean it!

S.sv' i
I do mean it!
(He walks over to the table left, t;kes out his checkbook and
writes a check.)
What you do from new on is your own affair. I went nothing to do with
you.....You're no good! I was hoping there vas {t leas‘ ' - V
decency left in you, but I cen.see now even that i
(Pause.)
I'm writing you a check. this will take care of you for sogeti e. row
get out!
(He turns away anu crosses to chair left,:&ftern ending her the
check.)
You and l are finished!

LCPIFDA
(Holding the check)(Crosses left.
any, you silly old fool! Do you think you can rid yourself of me
that easily? Do you think you can clear your conscience with a

check? You shoul‘I know by this tir that you can‘t buy me. Here's

59

what I think of you and your money too!
(She tears up the check and flings it to the floor.)
If you wanted your daughter different then she is, you should have
“v you're just a

7'1

changed her years ago - not waited until now. “1‘,
senile old man.

‘V

73' 11 ..‘T.‘)
O- 11:. .11“.

Go, Lorirda....before we ooth say thinrs the t will hurt each otier.

LCRINDA
I don't care if I hurt you or not. I know now that I've always wanted
to hurt you.....I hate you!

ojjnvnv -1
0141.11 v.41.

(He graSps the chair for support.)
Get out, Lorinda....There's no place in my house for a daughter who no
longer loves her father! Getout, I say!

LCHIKQA

,/

Facing him.)
Love you? I never have loved you. You know that. You and your money.
You think you can buy anything. And now you want to buy Richard from
me; you want to buy yourself a son. Your power is money, but you have
no power over me because I don't need your money.

(She walks toward him.)
I hate you. Do you realize what I said? I he te you!

cw ——..-,-,
ULLL \JAJP’.

(He sinks into the chéir and thro ugh LO FI DA'S speech is
struck with a severe heart attack.)
Stop, Lorinda.....don't say anymore!

LO“: DA
(Crosses to center.)
Stop?....Never!...I‘m just starting. I've been waiting to tell you
this for years.

, SPETCER
(He tries to get up to wet his medicine but is une ble to do so. )
Stop, Lorinda.......Hy medicine.......quickly, my medicine.

LORIIJDA
You thought you could control me with your money, but you can't buy
what you wanted most, can you?
SPH'CL .R
(Struggling to get up.)
My medicine, Lorinda.......Get it!

LCEITDA
Crosses to table left, getting the bottle and holding it
out of his reach.)
Is this what you went? Is this what you're begging for?

60

811:;h vaE

1'1

Yes! Yes, give it to me quickly!

O“I"LA
(Crosses to center.)
What are you now, big Hr. Spencer? You're begging like a little child.

)

STD: F ‘m:'

L J. \JLJ;

Please, Lorinda, I'm your father.

LORI I“ DA
(Laug hing. )
That doesn't mean a thing....I‘ll give it to yo u when I'm good and
ready.
SPZTCL
No, Lorinda....You can‘t do this. You can't. I
give it to me.

-¢

0 Please, please,

LORIIDA
Beg - — beg......You were going to tell Richard all about me. You were

going to keep me from marrying h-m. Tell him now - go ahead -tell
him!

SFET ER
This is the last '.i.* you'll ever do to 1: ,Lorinda. You'll never

forget what you‘ re doing now. You can't ever escape me. Wherever you
go I'll be with you.

LCRIEDA
You still threaten me - even now..........I'm not afraid of you!......
Your power is gone.

9:170:13 (During 10:? .11 urns Speech.)
Please......my daughter.......pleasc........Lorinda
(He is dead and he sits staring at her.)

LORIHDA
I have it all right here in my hand. Go ahead - sit there and stare
at me. I'm laughing at you. Yes, this is Lorinda - your daughter -
holding this bottle. Why don’t you reach for it? Don't you want it
anymore? Oh, I hate you!
(CCDLT”IGHT is seen standin" in the
doorway left behind LOHIRDA.)
Do you hear? I hate you!! Try to run my life if you can. I can
do whatever I wish to do without your interference. Tell Richard
and the world that you know “tbout my child.
(She hears the door close, turns and sees CCU“TTIGWT )
Richard.......Ric hdrdoooooooo
(She pauses.....looks at her fathwr.)
Oh, Richard, daddy is havin: an attack.
(in’itii-In‘i I‘UJIS OVCI‘ t0 3:)1‘1‘ 01.11““). )
I tried to give him some medicine, but I couldn't get any reasonse from

him. Do something, Richard.....Call the doctor. Do somethine. Any-
thin 3 o

CCURTEIDHT
(Slowly tulning to LCRIVDA.)
Your father is dead, Lorinda.

LORIKDA
No....Not dead!‘ He was just talking to me. I tried to give him this
medicine, but he di dn't take it. I did all I could, didn't I?
(oCu1111C31 ta es the medicine from her hind and puts it on
the smoking stand. He starts for the door right. LCRIfD
runs after him.)
Richard, where are you going? I need you; please don't leave me now.
(CGURTRICET turns at the door and looks at her in disgust.
Why are you leaving? I don't know what to do!
(COUHTRIGHT starts to Open the door but LCAICDA stands in
front of it.)
Richard, I love you! Don't you unccrot 1d? Iv WI nt to marry you. I
won't mak you wait aiy longer. Honest. I lov eyou, uichard. Be-
lieve no!
(”CIRJE‘CET just looks at her.)
Can't you see what it will mean? He can go away somewhere — just you
and I— togethe .. .llea 3e, Richard, you'll marry me, won't you?
Say you WI”....o.T€l to me - don't stand there looking at me like
that. I haven't done anything. Really I haven't.......I'll treat
you differently than I have, I promise. I'll be the kind of a wife
you want me to be....I love you, Richard! I do! I'm yours.....all
V0111. C) o
(L RIYDA puts her arms Mround LET-
REEL? and he thrusts her aside with
such force that she falls in a heap
on he floor. Without even looking
at her, CDVII“ICHT exits. Lights
start to cli .‘H. )

LOnIIDA

(Half sobbing.)
Richard.......come back.....ple se, don't leave me! Please...come
back. —
(Slowly she picks up a piece of the
torn check beside her on the floor.
She looks at it and turns and sees
her father. She is now afraid — she
is terrified. She tries to look away,
but cannot; she tries to exit upstage,
b1t in keeping awaf from her dead
father, she runs into the smoking
stand. The chessmen spill on the
floor.)

No....flo....don't stare at me like that! Leave me alone - don't stare
at me....don't.........don't.......no......no.
(She runs screaming and exits upstage. The doors remain open.
Dim out until only the father is seen in a single dim light.)

FAST CTRIAI”

62

THE TI E: The present. Afternoon, a spring day.

THE SCETE: (PETER ‘ZD1HY'S modest office on the
second floor of the Lehijh Valley hanu—
facturing Coméany loc ted in upper
New York State. Tne main entrance is
located downstage left; upstage from
the door is a secretary's desk which
faces the door. On stage right is a
large outside window and near the
window is PETED'S large,modern desk;
the desk is set on an angle, facing
both the audience and the main en-
trance; it is covered 1-d th the usual
amount of na 99ers, pens, a telephone,
etc. Upstage center is another door
which opens to the main 0 ffi ce; on
one side is a bookcase filled Lith
books and on the other side two filing
cabinets. On the whole, the office is
venynmflern:h1its fmmfishings. Ike
two pictures on the well are of the
founder of the company and its present
president.)

AT RISE: (As the c11rtain rises Ah? ABEILE GRLY,

PDTDR'S very attractive secretary, is
eted at the desk at left busily

trnlnu. Suddenly she .c'es an error
and with an "Oh, damm!" she pulls the
paper out of the typewriter and throws
it in the wastebasket. As she is
putting a new slieet in the typewriter

ne telephone on her desk rings.

She ans:-:ers it . . . . . . . .)

Ct

AI’I’A BELLE
1' v" n I "~' " 1 , 1; 1: - 1 0
mr. surrey s 011108....LO, I m sorry, “r. hurray isn t back 1rom
lunch yet.....Ies, I expect him most any minute now.....Yes, sir....

(She continues typing as anuu DIITDAY
enters carrying a long tubular case.

He is a good looking young men about

thirty dressed in a smart tweed bus-

iness suit. He is fu 11 of spi it and
pep as he enters.)

(In doorway.)
Ifello, beautiful! I just bought myself a present.

63

(He tosses hris hat on her de.sk, sits in chair ceiter,
ad begins to open the case.)

AHTABELLE
Hello, Peter.
(She stands.)
What is it?

PETE}
Just a minute until I get it out.
(Pulling a new fly rod from the case and starting to put it
togeLh_er.)

‘JTNA WLLE
(Crosses to PJLLN.)
It looks like some sort of fish pole.

PETER
(Near his desk.)
It is! It's a fly rod. Isn't it a beauty? I just paid forty bucks
for it.
(He runs his fingers on his nose and then rubs them on the
ferrules of the rod.)

“AJAILLI

hhat are you doing?

PLLLR
(Leaning on his desk.)
A little nose oil. You see if you get a little oil off your nose and
put it on the ferrules, the rod goes together easier.

AI 7? ..' A 73:11.3

Nose oil sounds Igrrihle! Do you have to use that?

.4

“11“?)
.LJ -uiv

No, you can use oil off your hair or most anything.
(He has it all together now and tries it. He stands and
leans agairst desk right.)
You know, these used to sell for fifty—nine dollars but old fiatxins
down the street sold it to me for forty dollars because I helped
him out with his income tax.

A} I T 11 3.21.1.3
(Crosses left center.)
Peter, you're just like an old woman.

orwrn

lJ .o. 4‘-Jl U

lirhy ?

AZ .7311 BEL] 113
(Turns to FnILI;.)
You can' resist a barmain, can you? If you thought you were getting

6h

one y u'd buy something even if you didn't need it. I'm sure that's
why you have this Job here as the con.:e;r lawyer - Just so you can
keep them from spending money unless they find a bargain.

PETER

Sure, this is a bargain.....but I needed it, too.

ATCILE
Did you? fihy?

PE?LR
I eXpect to use it when we go Lp north on our honeymoon.

LNTABLLLE
(Crosses left behind her desk.)
Jho 5 id I ws11ted to s;;end my honeymoon fishing?

PETER

Don't worry, honey, that isn't all we're going to do.

""‘1‘3 ILLZB
I didn't mean that.
(PETER strikes her lightly with the fish pole.)
Now,.Peter, stop that.....

‘fl'TCW
441.111

(Crosses to A”"AnLILu.)
Look.....if you' re going to marry me, you're going to have to learn
to fish.

AKNABLLLE
Oh, I know how to fish.
- . \
(Surprised.)
You do? You haven‘t told me that.

’“F‘ BLILE
(Taking the rod iron him.)

Sure, I used to fis ’11 a lot when I snent my summers at camp. It's been

quite some tine though.

PLTER

Well, trv that pole........Be careful........Don t jam it into anything

Isn't it balanced nicely?

ANK BLLLE
(Making a cast or two.)
It's not bad, is it? What does it weigh?
(Crosses right of PETER.)

TTI‘WI“R
1.1 .L LJA

Four and a half ounces - There you got one—-——

65

AZFITABZLLE
(Pantori he s catching a trout.)
Hhat do I do now?

P111131.»
Take it easy - play him awhile.......Don't reel him in too fast.....
Easy. 0 o o o 0 058-527 NOW. 0 o o o

AUHAEBLLE
Well, get the landing net, Peter.

';I 1I'J7‘
1.1.LLJ-L

(Grabs his hat and starts to land the fish.)
All right, now ease him over town rd. me....That's '

. AITA‘E
Don't lose him now!

PL TER
There.......I got himl.......Gee, that's a dandy, Annabelle.
(Holding up the fish.)

AifiifiLL
Now \fliat are you goinv to do with 4t?

D“- ‘n
A u- ;J-L

Toss it back in the stream - The season isn't open yet, you know.
(He tosses the fish away and crosses to her.)

Say, why didn't you tell me you k.ew how to fish? I nroba bly would

have asked you to marry me even sooner than I did. You h LUdle

that pole as if you know what ysu're doing.

AYEABILL'

(Giving him back the pole.

Oh, there are lots of things about me you don't know.
(Crosses to PATEE'S desk.)

\_/ [11

PETER
(Starts to take the pole apart.)
What for exam>le?

'?-~—9 -\- ~‘1
.‘11'_'JJ.J

(Picking up the nail on his desk.)
I‘ m proba ol;r a setter secretary than I am a housekeener...You'd better
look over the Iflvil that Cent while ygu were out instead Oi? playing
with that fish‘ pole

h" . '1 T“
Ll:« “.1

(Cros ses to upstare s:ide of deer.)
has there anything important?

‘VVAX.IIL
‘I

66

‘v

no. I don't think so. I've taken care of some of it.

W'WVT

ALA—h"
(Puts the fish pole in the case and sits at his desk. He
looks throu h tlae mail quicklgr. [TVAT LIE goes to her desk.

Ch, I hate to get ba k to work on a dagr lil e this. There' s something
abouta fish pole t1at gives me spring fever.

(He puts a letter aside.) ‘
You can answer this one, too, Annabelle. Tell Hr. Fredricks that the
22nd will be fine for me.

(AT‘u'JLLu starts to the again. PETQR stands up.)
Say, did you see this folder from Ul&t ho tel in Kaine where I spent
a week last summer?

(Crosses left, takin5 it to lei .)

Look at this Annabelle - sn' t ita beau 'iful soot? It's just as
9 ‘ _ .L
pretty around tnere as the picture shows, too.

(Lookin at I;
It is 11ice isn't i t?

p“mrn

gilgb

How would you like to go up there?

til :: 1:? 414143
Etien?

PE'LR
For our wedding trip. Just say the word and I'll write for reserva-
tions today. ‘

A‘?“‘:‘,‘. :71- 1“
unra3uLIn

I wish I could, Peter.

PETER
Then we could swing down and Spend some time with my folk - Mother
would love to have us.

312‘? 3'1 B ELLE
I know she would, Peter, and I think she's grand. That trip we took
before to meet your mother and father was just marvelous...Their
home is beautiful. Oh, I like them - very much.

1'.\m' "VQ
.21; Jib

They liked you, too, Annabelle.

ANPABELLE
Bu .t don't you see, Peter. I can't take you to meet my mother and
father because I' ve never had any. At least, not that I know any-
thing about.

PETER

Oh: Annabelle, we've been over
(Crosses to center, turns
And I'll tell

to .11
again that you' re m’

-'1

AN”: TA BELLE
Yes, I know. But -
(Pause.)
PT ._."'1"‘ £qu
(Crosses to AII’BnLLE. )

But nothin5....You love me, don' you?
“T m H4443
You know I do - very much.A
(Rises.)
I want to marry you, Peter, only.....

I.) T1 ‘I‘
£144,144»

Only......

‘11:}..L‘ J ~LLJT H
I'IH just sort of afraid.
p7? 117%“
' LJJ-v
Afraid? Afraid of what? Cf me?
AVPABSLLE
No, of course not. dut, how do you 'cnow I' llm
PETE-T
(Crosses down left.)
You don' see me worrrinz'I aoout that,
(Turns and sits on desk J_eft. )
How about me?

AFYABLLLE
(Seated at her desk.)
It's different with you, Peter - you've

don't even know what its like to have
one. I've always shuttled between some

and summer camp in the suxmaer. I nevcr
The only homes I've known were those in

—‘f'1--\
73L I“

a. .LJL

All the more reason we should be married;

your own.

ANYABJJJ‘
Yes, Peter. I hope I'll be aele to mawl
that you want.

T—xm‘v-‘fij
15.1 J. 4—1. L

er hand tenderly.)

A
*3

EL

' e

(x
U)

-54.

do you?

67

his before.
“*vumiit.)

somethf

nD

make a good wife?

I'll te1:e my chance.

How do you know I'll make a good husband?

led a normal life. I haven't!
a home because I've never had
girl's school in the winter

had any other place to go.

which I've been a guest.

then you'll have a home of

the kind of a hon efor you

68

I'm sure you will! Come on, sweetheart, let's set a date.....Please.
Name the day for our wedding.

HI: BLLLE
I will soon, I promise. Only sometimes I wish we were married already
and didn't need to have a wedding.

11m
“1.1.41.1:

I thought all wirls lil-ced weddings. I was sure you felt the same.

AT. “ '3'”: JLLE
I do, Peter — that is if our wedding could be like someone else'

PgiT
It can...You can have any kind you like — just as big as you please.
A“: .‘ 1X 1—LLJL
(discs. Cr<sses to center.)
That's just it. I can almost see it now - your side of the church
filled with relatives and friends and mi.e empty. I don't 1w ve anyone.
PETER

But you have lots of friends; I'm sure they will come.

AY”A‘.ILE
Yes, friends.
(Crosses to PETER.)
But do you realize, Peter, that I don't have a single relative that
I can invite — not even one - not a father to give me away - nor a
mother to be there. Just nobody, Peter.

PETER
Well, we don't have to have a big we'ding, you know. We could just
slip off sofl1ewnere and be :ma rried without any big ceremony and all that.

11.171711 BELLE

(Quickly. Crosses up center.)
No, I want a wedding — at least I think I do. Peter, sonetines I'm so
mixed up I don't know what I want. But if I only knew....even if I
were sure that m1 ijarents were both dead, I'd feel differently then,
but it's this not knowing - not knowing anything acout them or even
myself.

(Seated behind desk left.)
Don't you see, Peter, I don't want to act like this but I guess I
just can't help it sometimes. I'm sorry.

PBTEn
(Crosses to center.)
I understand, annidallc but this can't go on forever.....

“7‘131ILm
(Coming to PETER.)
I know it, Peter. I shouldn 't be talking like this, I kn w; I should

be very happy engaged to the nicest fellow there is, but I just
can't keep myself from thinking. You're very patient with me and I
appreciate it very much, you know.

Pglgn
(Turns to her.)
I only wish I could help you, Annabelle.

:17; 3&1,
I do, too, Peter. It's not being fair to you.

PLTER
(Cr oss es to his desk.)
It s not th at, but it seems strange to me that you have never had the
east clue. The part I don't understand about the things you 've told
me is how you went to school and these summer camps. The school that
you went to takes money, I know; surely someone paid that......and
yet you could never find out who.

f”"‘““LL
(Crosses to deals.)
I tried - I tried several times. I asked deans, the counsellors. Oh,
I asked everybody and the answer was always, "we don't know, Annabelle".
Then the 3r would tell me not to worry abou tit - that I would find out
someday, but I never have.

P1.”- \m7 111

What about money for clothes and things like that?
A} "r 'LnLL

I had a checkbook.
PETER

Gee, that was convenient, wasn' t it? Could you Sign the checks your—
self?

‘NNAB”LLE
Yes, but they had to be countersi ghed by my housemother.

(Quickly.)
What bank were they on?

LKNABJLLE
(Crosses cen ter. )
A New York bank. fhe t' s no lead, Peter, because I went to the bank and
talked with everyone from the Pr sident down and no one could give me
the answer I wanted.
PETER
well, what ha3pened to the check oook? You still have it?

\(IISE-Z' FH‘IJE
No. On the day I finished college I received a very nice letter

which congratulated me on my work t. ere but it also told me the check
book was discontinued. There was a check for one thousand dollars and
I was notified from thatd y I was on my wn. The letter was unsigned.

-1 um‘...
LLJR

And then?

ANNABLJLLE
Nothing. That's the last I ever heard.
(Sits in chair center.)

PSPLR

Someone looked after ou, Annabelle, and very well, I'd say.

a"

.‘t who, Peter - who? I'd like to kn w. I must hav 1e
'1

T)-—‘(n‘ "
- .JLLJ.

Yes, there must be, but we'll get nowhere talking about it like this
(Pause. He looks at his watch.)
I guess we 'd better get to work. I do have a lot to do this afternoon
and It don't want to keep you late eugzin to oni; t or we'll ste rt some
Ml .. Someone might think I lwave an interest in you.....

"Tikiillm.

(Stanciu3.)
Ser, that reMIHdS re, Tr. Tarrett called Just before "on cm't in. He
saLd he'd call back, but maybe y.:\u 'd better call hin. he seemed
s t

nna about?

A
(Cross es to her desk.)
He didn' t sa*.

u
PJT
(Picking up the u'JV)WO?L.)
Ckai. I'll call him. Tr. Barrett, lease......
PETER Speaks to AKIAPLIIE.)
Did; ou fil sh tnat report for hr. wright?

AITABILLE
I'm working on that now.

.ififnf

(Into the phone.)

hello, Kr. Barrett....Yes, harr:y........:cs, I have the files on
Lori Ida 05010132313? . . . . . ic.:a d Courzr; gilt? Um—hwn, Ifew York
banker, isn‘t 11e? All rifitt.....fou give u E dout five minutes and
I'll have all he inforgction ready on the pe ncer ca 30.....Yes, sir.
Eye.

0
V
(1
x.)

71

~-‘

(He hangs up the 'dhone and turns to AVNASJ In. )
Say, flnnabelle, l'lr. Barrett is sending in a Mr. Licnord curt“ rtt
in about five minute: to 570 over so e bl'd: on this 393ncer case.
Could you get all einfonk tion iron the iiles for me?

AI ‘J'A'JJJLL 3

7'11 '3 'v 'f A ‘. 1", r? '. 3"
Ine Spencer cas e?..........dho did you say has Voui_5 ii?
(Crosses to files.)
PJTIR
1-3.3- ,,.-,._1- ,.. . ‘-' 1,. in n 3 .. ,.:.. 3-.. - i . n - - ‘
Uuruififlbfihiflg u; his oesi one 31. Lr u e Lish bole .w r.)

t
l;ui;E rd Courtri ht, Esq. Ever hear of his?

AT #313111“,
(At the files.)
No. Who is he?

PE 'ZR

From what I can gather he's the bank er of Miss Lorinda Seen cer.
Barrett sent for him as a la st resort bef ore we go to court about her.

AI TA '- 71le
’.=.T~ .
nnat's he sending him in here for ?

PISTLR
You remember the Spencer'case - that old lady I went to New York to
see and didn't?

A‘ Y‘f Q1 7-; IT w:?
' 1411..;: _..._J'
011, 217-88....

PETER
Well, Barrett wants me to pump all the information I can from Court-
right about Kiss Spencer.

AI.- I 913241413
(Bringing a stack of letters to PETER' S desk.)
I never did unders and much aoout this case, and I can't see anyone
acting so strangely, especially a woman.

P'TLR
You mean no one else could act so strangel; but a \or:n —
“Jr hLLb
All ig t, now...
TIER
(Leans back in chair.)
Seriously, Annabelle, this i a funny one. Here for years we've been
sending her annual dividend checks and she .WES 't cashed one of them.
You know she owns a lot of the stock in this company. Left to her wr en

her father died, I think.

I“ 1.11 3; $113
(Looking over PLPEZ'S shoulder.)

But what could be ler reason for not wanting this moneV? It must
amount to a small fortune oy now.

PLTLT
And how! Fifty-six thousa.nd dollarsl That ain't hay, swee heart!
We could live on th it a long time.

AITAB;LIE
(Crosses to ri‘ht cew't r.)
I would thin, Peter, the company would see to it that those checks
are cashed.

BPS
’3 I 1 a -1. ‘ _. : q~v r ‘I‘ a
xhey are seeing to it. llet's why it's in m; hands now. Barlett

f‘

toll :e thct i‘ we couldn't get any satisfaction very shortly that
we would have to go to court shout it.

(He picks up a sts ck of letters.)
Look at this stack of letters. All uritten to Kiss Spencer. And
not one of them answered.

(“j-SE38. )
This nonegr h 3 been accu1ula tin; year after year until now it has
reached the point where the Board of Directors wants something done
about it. Of course, if we don't have to take it to court it will
8: No the on any's face end a lot of needless expense.

11777;". T
q-.. . Aw
%argain hunter! But just think 0
her name to get all this money.

we don't know.

someone not even bothering no sir
lere must he soxethinj to it t '

:3

E’ijiff313
(Sitting on u_p 7.:e corner of desk.)
Right! I've only been o:orkiwg on this for a shurt time, but I'm sure
there's a lot we don't know. That's why I'm anxious to see Ir.
Courtright; I hope he can give us the ensuxrs.
(Pointing to papers on desk.)
Is this ever;thing nON?

AFTAB lLE
f

Yes. This is everythin; fro:1 our ilcs at least. I could heCk the
Generul Files. Shall I look now?

D' ”1‘, an
A. .‘LJLLJ-L

‘. v " * ’L‘ 1‘ ‘L T \ ‘: r n‘ " 1 " t I" " . I‘. I" I ~"~
it all out. put wait until dlttl HI. courtIiult cones.
' . ‘. .' 1 *1
.‘1.‘_ ,1x 31:145..)
'1 . \ ‘ '_
(trosses so u
'-?“-r - .‘.'..‘ -._ . ..- - 1. ,.*_ 1- 3.1.3... *3 L“ x... ,. ._, n
‘““*U Mid go“ l+ti who «wore this m.>m n? uoesn't src LwWB .07 Mse Ior

58? moner?

73

fl-fi w‘vw
P.L1n

I don‘t know and that's whet nuszles me. All I know is thee the
company has been sending th ese c11ecks to her in Kew York and they've
never been cashed

(Standing.)
I'd lik» to see someone who censiick u_p her nose to fiftv-SIX

tho1send doll: ‘3. She ree:1ly must he some old girl!
11.17:}; ”3.31.2:

Is she old?
P 33:17
CPO sses t0 center.)
I've never seen her and I guess no one here really knows her age,
but she's probably 10 youngster. Yet, she's L2§§_Loricde S encer.
Could be she's an old maid. Just like you'll be if you don't harry
me soon.

XI Till-7731.13
(Sitting.)
But I don't have fifty-six thousand dollars.....

“w“. rn

I .ulgo'J-b
’1‘." t.1 I‘m-Ci”, you've get, 3731.: do n't need it, An: c1 oelle.
ATTIT 137111.33
(I5nor11u 5:31.)

J.

o . .. r q . a. o
I still don 't ouite see where this hr. bourtright lies in.
P3713.

(Sits on desk right.)
Well, he's N3 55 Spencer's banker. We CE n t fi.1d out :nvthinv Thout
her ourselves ard th:t's Uhv Courtright is here. He “Wroh Ilv know Tore

about her than enmro else.

.117"; . 3.1.175:
Could he ston you from going to co7urt?

*1 w“
D.T D
A. LJL‘J‘L

Pos “le — If he corqes all the waN up here from
INILISU Ilo‘ve a I‘ec LSOI’l.

‘
| T
J

new York to see us he

"T‘vlvh
1"“ IJ‘E’
.1-- .‘.lx .._,._,

If you could only get in tossee this Lorirda 87c:2ncer and talk to her.

NNP
.LJLNNJ '1
That's just it, Anlebelle! You can't get in to see her. told you

what a time I h51d 1.7h en I went to Lew York for the puroose. For two
whole days I tried every trick I knew to get in to see that wona1.
She is a legend at the hotel. No one sees her. Finally I was asked

to leave in no 5entle terms by the hotel detecoive.

p?"““.‘\fi:‘ 1'“:
i- .‘ I. l _.J

(Laug 711i3r1'7 .)

I‘d like to have seen;vou being escorted out!

Pr Irrr"
Yes, I'm sure you would.
(ihere is a knock on the doo

Get the door, Lill you, please. The mus7 be Hr. Courtright.

7h

(13:55:113 goes to door. RICIAED corse-
1"

7r~Trw—'”'1 -r717‘Tj~

333:1 ;.1 '3 He is a verv nicelv

VP‘L

dressed man of about sLon with very
gray hair. He could pass for an old
actor with his dark blue suit with a

white flower in the huttonhole.

He is

8.11 and verv well preserved for a man
of his veers; he is very straight and

”'1.

his manner is a 7.5 austere. He carries

his frev gloves and a Homherg.
walks toward him.)

CC LET ?.ILrhT
SOC -Yldil'lf: 111 dOOI'lAZSJo)
I'm Richard Courtri5ht.

AJTABLLLE
Core in, please.

‘ii‘m' D
_4 4. o. I“.

(Shal'Cirl._'; hands I-Ii‘bh CFJILTFIGV 7.‘1 )
Hr. Courtright, I'm Peter Hurray.

Av “.311 *(Vvvm
.L

DILLLLL

(Nedding.)
I'm verv happy to know you, Mr. Murray.
'3"'._"'I‘T .7'Q
(Pointing tow9.rd 'T"Lfio E.)

And this is my secretary, hiss Giey.

COURTIIGET
It's a pleasure, Kiss Grey.

'T'RJLL”
ow do you do, Ir. Court1i5ht .

TY

(Crosses to

Will you sit down, 5 r
(Indicating a chair on the left of his desk, near stage
center.)

is desk Tlfht.)
?

VA
I“;
AL

0

I
_..

mew 7
AJ 4L .L-JA

75

CP’[ yfi’T‘T3~'-1~:'T
(Kalking towerd the chair center.)
"1‘ 1r

in“. 1r‘
--L -5 ‘vU .
U

AET'1AIT
(Ne.lking to the door upstage.)
If you gentleLen will excuse me? I' ll see wh't I can fiz1d in the

other files 5, Kr. Murray,

COV““” WET
(matching 5-1777‘7-1 1.11:.)
By all means...
JTZR
SUI"€1V,SS LIl 6y...
(4...! NATALIA 833153. )

COCHTHICHT
(Sitting.)

A verv attractive secretarv y; u have, Kr. Hurray.

-1~1 3‘.
1.11.31.

May I tek grour hat, Hr. Courtri"}7t?
“1117.111,le~1 gives him the homberg and P.A ”L“ we ks over and
hangs it on the hall tree.)
Yes, Miss Grey is a verv nice person. And she's a very good secreterv,
too......A coga ninetion of good looks and brains - sorethin: vo u don't
always fin d to et-1er these days. I don't know what I'd do without her.
1A1AA returxs to his desk right. )

C, 11— 11 “1"- (‘1':11
x,

\JLu¢¢9‘\

She hasn't worked for you too long, has she?

flM"
JJJ.4L_J;

(Sits at his desk.)
Oh, she's been with me about six.months but she' 5 been with the company
Ion er.

C( ”Q L rullj :Iff F'ZI‘
Yes, I know.
PETER
(Very surprised.)
You know, did you say?

C“b“‘“ GET
(Quicklv, trving to cover up.)
well, I mean I had he erd she was working here ups ate.

1 ‘\ “n“..j
.4 -ul‘b

Do you know her?

76

CCURTR GiT
(Taken back a bit.)
No. No. That is, I just knew of her that 's all.
(Quickly changes the subject.)
I believe you wanted to ask me something about Kiss Lorinla Spencer.

PETL1
You'll nardon me for askinr Fr. Courtrieht but would you mind tellinv
i q) u , _
me what you know about H188 Grey?
(Rises.)

GCIHVERIGSKP
Nothing. Nothing. It's just that I heard you and Annabelle were
enge aged to be married.

(Surprised. )
Yes, that's right.

CCTIRTI" GET
May I offer you my congratulations9

PL mfiY
wh3,,,,,wnv....than1{ you. But how did you know about us?
CCURTRIGHT

I believe Mr. Barrett mentioned it when I was talking to him.

‘\ "1 7111
7 .
I’LL: l4“.
V

I would have sworn Hr. Barrett knows nothi‘ 15 other t11a.n that Miss
Grey is my secretary.

CCURW GET
(Hedging.)
Well, maybe it wasn't Kr. Barrett - someone - perhaps I overheard
talking in the main office.....It doesn‘t really matter.
0

r"!
PEIAR

But it does; we've been keeping our plans a secret around here.
(Crosses right.)

He didn't think it would be wise t

Miss Grey is my secretary. No. In
(Crosses back to desk.)

I really don‘t think anyone would know....
(Lee.ns toward 61H}; iGhT.)

....unless they were keeping track of Kiss Grey or me very carefully.

o announce our engagement since
‘ sure no one know in this office.

fl hfim”fl 'xwm

VOL .LLJ.."...LL:: J.
It's really unimportant, Kr. hurra.y£
ment to make conversation.

I merely mentioned your engage—

P“TER
I'm sorry but I can't be satisfied with that, sir. I can't help
but feel that you are acquainted with Miss Grey better than you

77

are willing to admit.

(Standing in back of chair right.)
You know her well enough to know her first name - you called her
Annabelle.

COURTRIGHT
I did?
PETE1

Yes, you did. You know her pretty well, don't you?

COURTRIGHT
Perhaps.

PETER
Mr. Courtright, I don't know how well you know Annabelle or how much
you know about her, but I don't mind telling you that the reason we
aren't married today is because she knows nothing of her parents —
she has an idea that she doesn't want to marry until she can find
out something of her background.

COURTRIGHT
I'm sure she's better off not knowing.

PETER
What do you mean, sir?

COURTRIGRT
I mean, some things are meant to be kept secret.

PETER
And you think you are qualified to judge which?

COUTTEIGHT
Yes, I'm positive I am!

lama

I'm not sure I believe you.

CCUHTRIGHT
That's up to you. However, I had no intention of bringing up this
conversation and I think it has gone far enough!

PETER
No, Hr. Courtright, you're the first real clue that Annabelle has
had regarding her past.

COURTRIGHT
But Annabelle knows nothing about our conversation, does she?

‘:"Imj"|R
_4 L A-’
No, she doesn't.

COURTRIGHT
(Looks at his watcli .)
Then let's drOp it. I' d rather we weren't talking about her when she
comes back.

But it's very important to me, sir. So far you are the only one who...

(Interrupting him.) .
Mr. Murray, I'm a busy ma . I have to catch a train back to Yew York
and I don't have too much time. Mr. Barrett told me you would like
to ask me something about Miss Lorinda S encer.

P3T3
(Sits in chair right.)
'Well, yes, I would.

COLRTTIGHT
Of what assistance can I be?

PETE-
Of course, being her banker, you knew that she received several dividend
checks from us which she never cashed.

COURTRIGMT
So Mr. Barrett told me. But,3ouite frankly,_I didn't know it until
today. All I knew until I arrived here was t :at he vrished to see me
regarding Miss Spencer - that there was a possibility of a court
action.

PLT I'SR
And you came up here to see if you could arcvent this case coming
up in court.

COURT:.IG”T
Quite naturally. Miss Spencer is one of my clients.

PETER
Well, tell me. Just what is Miss Spencer like, anyway? And why should
she refuse fifty—six thousand dollars?

CCZFKHGHT
One quest ion ata tin.e, my boy. I truthfully don‘t know why sae won't
accept the money, but anything she does, does not surprise me.
(AILABELLE enters and 3oes to her desk. )
However, I can tell you a little about the lady herself

PETER
(To CotRT1*""T )
Excuse me, please....
(Rises, goes two steos left.)

(0

Did you find anything else, L;ss Grey?

79

ANTI-631.13
(Sitting at her desk.)
No. I'm sure you have all the information available.

PETER
Thank you. You might take some notes on my conversation with hr.
Courtright.
(He turns to CCURTRIcTT.)
That is, if you don't mind, sir.

COURT? GET
No. That's quite all right.

‘0' "Tn-v3

.srll
You were telling about Kiss Spencer.

(Pointing to letters.)
We've written her several letters and received no answer. I've also
tried to reach her by telephone with no success.

CCURTRIGHT
I can understand that. She doesn't have a telephone.
PETER

Yes, so I found out!
(Sits — Gives counrniorr a cigarette.)

COURTRIGHT
You see, she's a strange woman. She lives in a large hotel suite with
no telephone, no radio; she never sees a neWSpaper, and she allows no
one to see her except by special appointment. I'm her banker, and I
only see her once a year.

PETER
Just once a year - Well, what is she like when you do see her? And
why do you suppose she doesn't want this money?

C L RT}? “T
In the first place she doesn't need the money. Miss Lorinda has little
use for it. Her life is simple; she hasn't left her hotel rooms since
God knows when.
(To ANNABELLE.)
She wears clothes that are thirty years behind time, but no one ever
sees her, so I guess that matters little.

P‘14I'I'1‘ I‘)
lJ L Lu L

A real hermit.

COURTEIGHT
That‘s it.....a hermit. She will see no one except those whom she
absolutely has to see. Even as her banker, my meetings are very short.
She wants to know how she stands financially and our meeting is over.
In fact, she seems to resent my being there.

PET we

Just how could I gt et to see her? I‘ve
and some thiugs th: t

80

tried

weren't in the book.

rue-'7‘. “n—**p--r-1
UK)»;\..L. "A “I 1
You tried? You mean you've been to kew York to see her?

‘Vm’ "V j
P I 1 H
1.1 .L .11 .

Yes, but I he d no luck at all.
Ctln.;TGIT
lflien runs this?
PFTUI
A counle of weeks aSo.
new "I‘rTrvrn
\J‘.’ I -IL..L\_A."L
'\ . ' an - _
(doickl¢.)
You didn't get in then?
P'Z‘TL:
Oh, I got to the door her suite all

Cryl vvhlpnTCTYT

Did she know you were there?

Df""17"7"

kanow she did. I talked to Charles,

of a five dollar bill, of course, got
LOVTPUTCIT

Yes?.....

1
Bi.) JR

She just ignored it. Told Charles to
tried to get something out of Charles
but he shut up like a clam. He would

more money I offered him - as much

a.s

right, but not in her rooms.

her we iter,
him to take

and with the help
her a me e.

Pic?”

QUC

tc ll me to oe on ry 1 I
since he sees her ever*d3t
have nothinv to do with any—

told me that what I would

give him was chicken feed to vhf the wade from ~1iss Spencer.
CO”ETRI_IT
Yes. I wouldn't expect much from Uharles.
PETER
I saw Kr. Perm nttmore, the hotel Mans; er, but he couldn't tell any-
thing. In is ob, he w s s _r1sec thzt anyone would insist upon
seeirlfj hero
COU“‘.IGHT
Then you didn‘t see her.
' ‘ "'1 “Q
I). ._JIL
No! I even tried to get in th Iouih the fire esca*e and that was

81

w1en the hotel detective threw me out.

CCURTIIGTT
(Pointing to the letters on Pngirs desk.)

I

And noth in3" from that correspondence?

desk and picks u1 letters.)

(Rises, stands beSit
'" r r eived one letter iron her. An I right,

' e1 ’ .. "'. —- I .-,‘
hot a Lnlfii. he re here
‘3': m . -
ruse ureg?

.TQILE
Yes, that's true.

CPI 77:) 3'1er fl'lr :71
Hell, if sr1e hasn't answered your letters, he doesn't want to see

C
n.)
you. You just don't see her and that's fi1eI.
PETER
(Crosses center.)
As definite as that. You know, I'm not used to bein: shut out of
places.

onETKIC"T
Believe me, Mr. Murray, no one gets in to see h iss Lorinda unless
she wants to see him.

PITER
(Crosses to 013 T3fl.“‘-?‘T*"—"m down center.)
But you do, Mr. Courtri 3ht. I' m sure she must have some reason for
holing up in a hotel that1 way. that is it? You‘re her banker.
Surely you know more than you're telling me.

COUETTIGNT
Perhaps-
(Tmnsame

PETSR
(Very insistent.)
After all, you must know something about her personal affairs. Htat
do you know about Kiss Spencer — person al-y, that is?

CCU ETTLIC‘THT

(A bit irritated.)
Yes, I'm her banker, and I have been for a good number of years.

Dause. Rises.
Mr. Murray, you're a elawyer, I can see by your manner. You know
that there are some thin3s we just don't tell about our clients.
And, hr. Murray, I'm certainly not11ere to submit to a th .rd degree.
After all, this isn't a courtroom and I' m not on the witness stand.

71')
PT .LIJLL

I'm sorry, sir, I didn‘t me an to offend you, but Ih ave to do sore-

thing about this situation. Just what would you suggest?
(Crosses left.)

I seem to be running into bottlenecks everywhere I turn!

Grey will vouch for that.

A-TAT4LLL
Yes. This case has him stoboed, hr. Courtright.

",1,“ '1‘,
.2.) i u- I.

You went to keep this out of court end so do we. what can

CCULLTZ? (VI-I‘IT
I really don't know what you can do.

PJZhR
(Crosses to center.)
Can vou as 11er Dun :er, helo me out?
a , _

CCIETEIITHIT
Perhaps - but I couldn't promise.

'1“ "3
P—J *a—JA‘;

You could get me in to see her?

CCUR .‘III I IEE'I‘
(51t5.)
I -- get you in? Io...no...th Wt s out of the question.

PETER
(Crosses down right.)
Why is it? I know you get in to see her.

CCU? IfGHT

Miss

Yes, but only on rare occesio one, and by Special appointment.

PETER
(Crosses behind desk right.)
But you would 3st in if th ere was an emergency.

counrniexT
An emergency - yes.

PETER

This is an emergency, Mr. Courtrijht. You said you wanted this kert

out of court.

(Sits.)

Then get me in to see her or else I'll have to proceed with this case.

CCURTRIGET
What good would that do?
PETER
get her to sign those checks

wh'at do you say?

But I‘ ll
itl

I'm not sure.
reason for not doing

COUPE iP”T
You don' t leave we much alternative, do vou?

P?“'
Not unless you want to (o to court.

CCLRTRIGHT

You're right. 1 don't want that.

PT?!“ T“

4.4 ‘J‘\-

Then y‘ou'll get me in to see her?

CCUR’: ICE :T
(To LIP-131133.)
Mr. Murray strikes a hard bargain, doesn't he?
'171."

‘ffi'WI-I’ ._.'

11

Sometimes he does, I'll admit.

PL‘

LR

*‘J

Nell?......
CCURTNIGHT
I‘ll see what I can do. I won‘t promise though.
PETER
That's good enough for me.

CCUFTBluHT
When could you come to New York?

Pi-‘JTIR
Anytime you say.

odUIYliifl
Suppose we meke it the day ai’ter tOlOFTOI
(Rises.)
That will give me a little time to make arren :ements.
PLTLR
(mises. )
1hat' 5 fine. J1ere «ill. 1 :neet vou?

CCI TFL'C'TZIGH T
J.

You know where Kiss Lorinda's suite is?

or know her

0

8h

v-

HLTLR
Yes.

’1 ‘Ti': 1V Tr‘Y'
ULU- if “Left.

I'll meet you there — let's say at ten o‘clock that morning.
PLTLR

Good. I'll be there.

CGULESIGPT
(Starts to go.)
Now, hr. Hurray — I must be hoing — that train won't heit for me.

P. NULL“. 13
(Getting ccuarxioxr's hat.)
The R you very much for coming, sir. I enjoyed our conversation.

CCEILTT‘IG‘TT
(Shakes hands.)
1 o 7' a I
I'm not sure whether I did or not. 1ou're a very inSistent young man.

PETER
Just doing my job, Mr. Courtright.

CC U“ ”'7 GIIT
Yes, I suppose you are.
(Or rosses to door right. )
I‘ll be e pectii‘g to see vou then - day after tomorrow.
LT 7'?

Ab

Yes, sir. It's been a fileasure, Hr. Courtright.

C(\UPLT-1IGIIT
(Stopping at A"nsuLI"” desk.)
It has been nice to see you, too. Goodbye, Annabelle.

AILABLLLE
(Rising.)
GOOdbye: MT. Courtright.

PLTLR

Goodbye.

(ULLALRZSJI exits. )
You know, Annabelle, this thing about Yiss Lorinda gets more and more
strange everv minute.

(Crosses to rij t and sits on de;k facing A ”'QLLLL.)
I don'tl (now rnuch more about her now than I did before I talked to
Courtright, and he didn't seem too surprised to learn that she
wouldn't have anything to do with this money, did he? I'm sure he
knows more about this woman then he cares to tell. Did you hear
him say, "There are just some things we don't tell about our clients"?
He's hiding something he doesn't want anyone to know!

85
1111:.fo B ELLE:
(Leaning on her desk.)

vbe vou can find out when you're in lew lork.

PETER
I hone so.

well, I accomplished something dn'MdV
(trosses to be ck of de es1< .)

At least I'm goinc to pet a cqance to see Miss Spencer - tncnks to
Mr. Courtright.

I really don't

[131:1 B'LJLIFJ
think he wanted you to.
PLTLR
I don‘t either — but I guess I wa s
(Sits at h’=

: desk.)

.L
+ ‘
U0 II?

He seemed afraid .ve this case go to court

.e lesser of two evils.

.svyv

.L-A?‘IIV
Yes, I'm sure he doesn‘t WE’nt th at.

PETER
(Pause.)
Are you sure you don't] 1m N
him before? '

or. Courtright that you've never seen

ELIE). TAR .JLLE
Of course not!

tht makes you say th t?

PZWT
How did he know vour name was Annabelle?

411111311133
(Two steps to center )
Did he call me that?

PETER
Sure he did.

AIEABLLLL

I remember now - when he left he said, ”Goodbye, Annabelle".
ETLI

That isn't all. T - '

too.

then you were out he asked so'e
He seemed to know that

4 tions about you,
ou hadn't worked for me too lone

AEFABLILE
to P‘“°1. )

LIL“

(Crosses
Honest, Peter, I

can 't remember seein~
are you? Please

him before. You're not kidding
don't Lid he atout this - it means too much b0 me.
PLTLR
I'm not kidding.

Pe dion'* have anything to do wit1 wour coninc to

work here, did he?

(Crosses center.)
No. I don't ti1ink so.

“"371 ‘1
ILIQR
How did you happen to come here? YOI never told me.

AI .‘ICABLLLE
(Loans against her desk right.)
I received a letter one day from the school telli M13 me about a job
no here and I came us to s~e aboutit. I was 1n red and here I
Hoth in; strange e.oout that t, is there?

PWG‘IT‘F’Q
b I ALA L
\V

1‘1 0 0

(Turns to PETSR.)
Peter, do Jou s g>pose Kr. Courtriiht does know sonethini; about me?
Do you think he could tell me anything?

PETER
He knew yo u were engaged to me.

"I'ATLLLI,
How could he know, Peter?

D;W“;
al. JJLJ4.

I didn't tell hi,

1v“ LILLE
_ (Crosses to PLEQZ.)
Then he does know something about me - I'm sure he does...He'd have
to, Peter, if he knows we're engaged.

11‘1—‘I
P, I
4.....th

Nay don't get so excited; there's probably noth to it. It's just
because we were talking about it before he came in and now we're
trying to associate it with something he said.

I‘\’v$yl -‘
“in. h! 1:.th
(Barnestly.)
But he did call me Annabelle and you said he knew we were engaged.

D‘Kn‘fl‘“ ‘Y‘?

4. 1.1 uIL

Annabelle, you're Just clutching for a broomstraw.

AHEABJLIE
(TUITIHT: avnrr )
@rbe you' re ri , ht, but it ‘s something........Peter, I've got to know.
I'll even grasp a broomstraw if it means finding out sonething about

87

W

myself. You don't know wnet it mee ns livin everyday, wondering where
you ca me from, who you are, who your parents were.
(Si 80)

Sometines I think I can‘t stand it much longer.

‘ (Pause.)
Annabelle....

Iii -.- .‘i. "4.1.1.4

rr'w 1:1 1:»

(Rises slowly.)
If you did find out a; out yourself, did you ever think it might be
something you didn't want to knc w?

AT‘A1'ILJ
(Turns. )

that do you mean, eter?

PLTER
Perhaps it's better not to know; perhaps it's better for you not to
find out.

.-I’1'£I-5 JIJE

(On the verge of tears.)

Oh, Peter, not you, too - don't be like everyone else, telling me
that it's all for the best? I couldn't stand that....I hev ve to know.
I'm alive.....I walk.....I breathe.....But who am I?

PL”JR
(Goes over and puts his anus around her.)
I know who you are — you're Annabelle Grey, and I love you very much.
That's good enough for me!
III I'IIL‘IIT ~
(Looks up and s;iles at him.)
I'm sorr;., Peter. I didn't mean to go all to pieces like this.
I' m all right now
(Ta (63 his hand. )
What are you going to do when you see Kiss Spencer.
P131311.
(Crosses and leans on desk left.)
I really don't know. I'll juSt have to wait until I see her, I guess.

""“ALILLn
You seem very positive that you'll see her this tine. Re: ember Cr.
Courtriggght would nzske no promises.

PETER

Oh, he'll get me in to see her. By the way, get me Kr. Parrett, will

88

you? I' d better tellh n21 that I'm going to Yew York. I' ll be glad
when this ca se is finish 1ed - it's been notl in" but a head me so far.
ASHE“: *3? ILIE

Mr. Barrett, please...hr. Murray's office calling.

(She hands PETER the 'phone as he walks by.)
Here you are.

(5 She walks back to her desk and sits.)

PS'NIR
Thanks. Hallo....Hr.3 arrett Peter Ifurray talkiio....no, Mr. Court-
right Just left.......Frankly, I didn't gs t very much out of him. But
he's going to get me in to see Kiss Spencer....Yes, day after tomorrow,.
All right. I'll call you then from jew York. Sye....
(Hangs up the 'nhone and sits thinking.)

(Rising quickly.)
Peter, take me to Eew Yor: with yaul

T\' 1'1”"v
1.11;-.1-

(Turning toward her urur“scl.)
Take you to hew York with me........hat for?

A. [A 3.7.1.. 511
(Crosses to PETIR.)
Peter, don't you see? I could corner Hr. Courtright and find out just
what he does know about me

(Stands.)
Kiss Spencer's?

j\”‘*’.l..IIT
Nhy not? Will you take ne with you, Peter?

“IF-FPO
14.51.1111

Well, I don't know; I hadn't thought about that....anbe we can work
it.......Wait a minute...
(He picks up the teleohone.)
Hello, get N . Barrett again, please, Hr. Murray calling.
(To An :13: ILE. )
I've got an idea....
(Back to the telephone.)
Hello, Mr. Barrett, this is Peter Iurray arain. I'd like to take I .iss
Grey to New York with me....Yes,t that‘s right- hiss Grey — You see,
maybe she could get Miss Spencer to talk better than I could...You
know, the woman's angle, Mr. Barrett....Yes, I think it's a good idea,
too. Thank you,sir.....Right. I'll see you as soon as we get back.
(He puts down the 'phone and turns to AIIASELLE crossiig to
center.)
All right, gal, you can pack your dWLd ,you're r‘oin; to New York with
me in the morning.

AI‘W‘FABLILE
(Running to P‘TLR.)
Ch, Peter, I'm so glad.
(She gives him a big kiss.)

PETE:

(Very, very pleased.)

Hey, if I get paid like that, I'll take you to New York eve yday

r
. (He holds her away from him and sternly teases her.)
Miss Grev don't vou realize that there is a time and olace for
u ) o .

everything....and it isn't here in the office during working hours!

RIFLEABLJLLE
Yes, Mr. Murray. I'll get to work right away, sir.

They both rush to their desks.)

finnm n 'firna v-T
fAOJ. vb-.idIL‘.

90

At JO
Scene 2
INS SI h: Aftew moon tie following day.

(I'ISS LCRI'DA' S li vin3 room in the Bel—
more Hotel in Is: York City. It is a
rat rme lar'e room, very cold in color.
Ups tage center is a large window with
the dark,heavy draperies drawn, and
even though it is midsfternoon, little
the afternoon sun can find its way
through the vrindov into the room. The
furniture is of old vinta3e but verv
eXpensive looking in its auu_duitv
Perhaps at one tine there may have
been bright colors in the furniture
but they have long since faded. Near
the center of the stage is a long,
heavv table 1cit‘1 a limp and two large
plants. DOHKE We e of the table is a
large, old sofa. At stage left is a
love seat and behind it a bridre lamp.
There is a small table on rollers up-
stage left, and upstage right is a tall
secretarv. There is la rge, heavy
chair at rig ht center stage with a
readi nr lamp beside it. The entrance
to the outside corridor in the hotel is
upsta3e left and the entrance to MISS
URL DA'S bedroom is downstafe rL :ht.
There is a straight back chair beside
the secretary and one right center
Each niece of furn re see 3 to be in
its precise place. It looks as if the
room is never used; there is nothing in
the room to show that anjo he lives in
it, exceet t?:e li:ht birnlrj on the
table, and a lerjr e w1ll clock pstage
left center with its SWI“”11 pendulum.

(As the curtain rises the stage is void
of characters. There is a rap on the
door up left and then silence. MISS
LORIV“A SPS GER e1ters from stage left.
She is in a dark dress of very long
length wh. ch might have been the latest
creation about tVUflbr-Five years ago
She is verv strai3ht and almost mascu-
line in her actions; ea C11 movement is
brisk and precise. Her hair is aluost
white and her face has a stern look,

91

one of authoritv. In her wav KISS
LCIIYDA' 2'3ht even be called a beauti-
ful woman. It is hard to tell her a5
bu.t for her hair, she nav be fortv;
but 1:7 her clothes, she may be sixtv.
Her action are not those of an old
woman, nor is her carris3e. Yet there
seems to be a fear about Ber as she
always ajpea.rs to be o_r‘ckly glancing
from one flies to anothe r, as it sne
is expecti15 to find soiethinq she does
not want to find. Alwavs she moves
quickly; never can she seem to remain
in one place very long. At times she
can be gracious; at times she is severe
and bitter.

o
9

As KISS It1I.DL enters the r001 she
stands at the doorway for a moment an
looks at door up left. There is another
knock on the door ~louder thi.s time,
and a key is heard i.n t e loci: as an
attcmnt is made to enter, but V e bolt
inside ore ents admittance.
LCPIKDA s ands lookin5 ah the door,
making no att empt to answer the l'nock.
The 1m we} is heard a3ain and is stepped
oy off s e fe1'1ale voices. ”Don't
knock on that door , get away from
there!" "I was just roing inside to
clean. " "Oh! but you never 50 in that
St ite to clean. Sine old ladv lives in
there and no one ever bothers her. You
go down to 1123; that man just checked
out. " Voices trail off in the distance.
IIS‘S IOIlI'bA 1alks to the door and
listens, then to the Vinco' and nulls
the draperies even closer together to
ut out a stray ray of sunshine that
may make its way into the room. She
shakes the draneries a bit while she
is at the window. walkin ‘ dox1stage
left she picks up a pillow that is on
the love seat, fats it a bit and then
replaces it. She turns on the lamp
on sta5e left. She crosses, sits in
the chair right and picks up her cro-
cheting wrich is lying on the arm.
She be5ins to crochet aLd then suddenly
down. She we l.<s to the table,
Ships o-ff a few dead lea.v es from the
plants and, as she moves some objects
on the taLle, a hook :alls to the

ct

out

‘1: “3

lo She “is”s it up to

_Jlen open .11 reads silently 10? a
moment. -zuxl size befins t _ o
It is a sonne t b Joh.':t Weaver.)

:‘,

A

LOT T“D'
”Uhf all this cry for Immortalitf?
Neither in Fame, nor in fact, ’0 I
Hoye that my mane or spirit will not die.
h, I she ll not :0 glfdlv. It will 0e
fii‘hr aje that I shall face the wlti ate;
in re will be songs un31 -. There will be flu,

K t ~melled; tiere =ill be il ‘ 041; J

c
een; 52nd Slewenl" ill ce ethe spat
rds....3u‘t I ;Lve thin“v tq:t
Among the wzmes s, 13' t-1:._n tne crouded tea-.11,
I felt a lyric, So ething mover Comm,
And made my se.0 ses clear I Rescuer it pass.

And if,£ fter lo on: years, one among men
Shorld say, 'dhy he touchej Beauty oncel....

J
‘r 4.1-... "‘1.
"(311,....o..L.u’-dn........

!

-L‘

I 1‘! I ~ w ' 1 1 - I
\bne Stages looxiug Lt the book, one redests use leSt

L
'1‘“. - '— .. ‘3. 4
'u- , 2e tort el ruuhul orcel'
3,"? "r "' rcI'. -,» r‘ ‘ fl, ' w— - ~ ‘r. I ‘ 0“ J‘ : " " h ‘
axe oedlxs to le1 ISOiElJ, so: rmit i,suerlcsllf, .no

the book dorm on the tebl.e and 5375 softly...)
TOM 0:1 «3:1 ;; s8.‘_7.t__"1

"‘ M '~ ">’ ' " “ ~ ’ ‘ ‘ ‘ V ‘L‘ 4" ‘v - x- (‘1 F‘ A ' :fi
(LOJ; Jesse cs s.e looms adUuu uLU room tgn sits or tJe
fl“- \‘
SLLC'LO)
_r- " O V"
)etilub 000017.0'.’ .LOI’ ....eooo
5,- .1-. ~ ,...° ‘ J . . rm.
(n’aln sue be lbs b0 la‘ n soitlv,
'_ \_' ~-' ‘4

ironically....8re steps as suesenly
as she began. L.e old clock strike
three. 310“lv s} e tnrws towzrj the
.1.
LI

cloclc and loolzs s 7

DJ

;”t for O Iwmnent
end then stands. 8 stares to“: rd
the audience and the CUZtC suddenly
gains her eomyosure; brushes her
dress and euic“ly walks to the door
left aui slides the bolt. A ULITJY
enters carryinv a lurfe fIES He is
a 511 all: an dressed in olaek wits a
' "e is; eooifiz sijct: earl no
doubt has been a waiter for nearly
all of those sixty "e .rs. He sets
the trav on the trill rollin e t: ble
‘ ' walks to trle
~‘e roos; she does not
show what nus gone on before t“e
ytugff;entercl the door.. Ibth the
ULIfJC and LC II EA seem to h1ve a
sres;ect for one {notger.)

iéc

 

" i ” ._ , ‘ _f_ ‘ .°__ :0_ s 3 1|- _ v
23. Jenn V. A. ”GEVer, Tkrpi‘“ Pei t, Allrse A. Lnopf, Lew York,

VI: mv".
51 L... ._.._J

-- 4

1“

Good day, 4:55 Snencer.

Lnfi"T *

W “ “R‘ "‘ 1 rfi
hood day, Chilles.

All thrw>1"3 the c aversetion the
Vvl'r'n \"\

' I -.-,.1,.'. -- . ,j .
:ll.1- 4-11-. 15.) 3"." KIWI-1“ fer?“- 1" TJO SBI‘Ve

LCZITDL' dinn1er. Is'e rolls the table
to the Center of the r ow enfl sets
‘Lhe t’*ol.e Iritll tile rfiir:qax3 -e Ii'_, CHI
til etr ray. The fooo i in covered

3 L
I 4 n‘fi I h- ‘I -
dis es I.hioh he selves Le‘ one 3?
" fl - x ‘7 ~ r 1 r J r“ P' —'-
one. Alter the toole l5 Set, he fiets

e chrir fro uvstege lent and helos
her as she is seated.. All is VVTV’
snoothl V (I010, Lor tlzis is a jail”
occure;-ee. This if the one tie ehen
day that LCCITT L talks with someoie.
LLLITDA sta:ids on stare left and

|

J '

" ' I ' “ r"v '3 fl ’ ~ - ‘ 1 h.‘ r‘
cri LJ.L(JC«l]_L “/- IV wtCTJ (Pk) L L. I @- KILL“ I; 3.1 .. (.l‘ S
r J- 1“ -«\ ‘4 “ we fl
CL CJO ,Léow.r Lions 1
81‘s 3:31

LCTICDI
oe anyone at my door when you came i1?

fl
’)
c:
In

No, Risso Spencer.

LCZ’II D'I
There (as someone - someone rapped three ti,es.

flTVVVx Tan

\1..JL Mu
I'm sorry, ma'm.

LOTIFDA
I won't Have it Charles: You tell Hr. Fennemore that C‘
soueone was at my door and i want it stopped WTme"1ztcl
CH.ACJUS
(Rolling the table center.)
It was probably some of the new help — there is e hew'weid or this
floor. She probeLlV didn't know yTu were never to be distLrbed.

LOCI-CI: IDA
I don't care who it was; I won't have it!

}-(
(D
C]

‘,"‘"r“""~
LC A :.L_ .Jai
u .w > I A ”a _ .L y. —‘
anafl 00 "Du nave -or me DOUa“?
U L
fly~‘ V“ 7“”
C.-—1ALIJJJ O I
r " 5 ‘fi '-‘-.T.'. . : .1-L
LO:)LSLJ C31I $1.1) . E.’ 1"." 111d" 1;.) L).."_I'.\J K13_l lfl—L‘Jllb?

. V

I guess it will do.

I said it will do, diCL't.Ii?

starts fleeing the SilVGF’LIC. )

LC§IIDA
er a pause.)

L
U
silvermere off before you put it on the table.

n- . '. ~w 'r‘d
Vai‘;-‘ 4 4mg

A
‘4
J
(D
U)

C‘-

L;
O
(I

:j. . . 'J-‘ . , a: ‘
~iiwerzerezcblle medull.)

LCIIfTI
es tonzrrr C KILLS.)
ell you that everyday?

': .1 7"T he
C. ‘5«vL‘.—l’k)

Tr~“T' T '
._J\,.,.L..J1X

0‘ - . ~— 9‘ - - P \ —,- r ‘ , ,‘.‘ 1‘ I , -‘ ,- J‘ — _"’ r~ J- v ‘ n
alrelg, I 3e, jou EIOh’h eeeg wee} Lor LJGC you so lor be

f1': I vwv --‘

U- L. .thS

1-\ 'u ‘ 1‘ ‘. - ‘1'

41098 a knife on tee floor.)
oorry I1? '71!

a. ’:_ 1‘ ' _° [1 \

:1018 up the Ln; e.)

A_—~'\vT~Q\

Ir... _'. I LA-1

V

Someti es, Charles, I Bhiflfi you' re getti n” too ol d to be
You've been serving me for a long ti e.

C:'!:: 1‘”
.13 4- JV

About eight years, Kiss Spencer.

q

C“

n r ,1.
C L 1’} LA

I e:: :ect

Do you like it? firifigifir m" meal um here each eff I mean?

You pay me hiHll I serve v l, ma'm.

C - I Jigs.
(Crosses right.)
Yes, I ray you well because you don't sk CU st:0hs, because you mind
your own business while you're in here. I hope this food is better
than what I have been get in; recertly. Khet‘s the matter with those
cooks enyvey?

C"I*JZC
It's not ti; cooks' fcult :i a'm - It's just thet

- Juihgs are lm.rd to
get L1 t the Kershell plan and all.

LII/'31?—
Karshell rlen? Rio is Harshell - someone new at the hotel?

CHAELJS
(Getting the chair.)
Ch, no, ma'm. It' his olan th

s , t's gonna help the starving of eeOple
of Jurope. He' re senuing £001

0 Europe - that's why it‘s hard to get.

C" 5‘0

n

LCZIIDA
I'm not interested in Euro e. First it was the war - I hec‘ a 11erd
enough time keeping tth out of this room - and how lure: ll; it's
always somethih". I' m wil.Lin5 to 92y for what food I et {me I Lest

you to bring me the best. Do you urde rstanLW

CHAILES
Yes, ma'm. Your dinner is ready.
(he eats a chair and helps her into it and then hejihs to
serve her.)

.I

Fr‘-.~fi.
Lt.l,tn

flurk mfih
7h

(leer

her.)

You seem to Law little to 88;? today, Charles.

' n . n...‘ .2 -L, -, .w .' . 4.1, ”9".” ,‘_ ,.
is a eeese in ble thVersetion as the helper sesves

nv-,\~\ '-('V
U- 4‘1.-. 1.x)

If you don't say nothin', nooodv khoLs hrthlhl
LOEITDA

li€€n1flf;lfl126?

Keahihg - the less I talk to you, the less chance I ave to sew some-
thingI shouldn‘t

LC‘I I- .v 3:":
f“

You don‘t like your job, do you, Charles?

C'V‘L"Q

...‘.-- -JU

5 gas; left center.)

V:o1LL; I Stx vr; 3~311 2N31J_, Igi';1.

C'T'i’ Dr";
_stir§ t.e food .)
. 3:. " '- '\ -— I - n - 1'. -- va \ ‘1 -“ J‘ V. .- s
This IOOd is not hot. Jh; can't you bling m0 iOOo uflut'b hot?

Cl .23.. -LZ-S
. .ut it's eleven floors up here and the
itchent

J

I tx‘y

1
UILG I);

f‘ \
s a 2.cu1g -nf;.iron1

LCDI"DA
I? 3ou I.er(n't so slow-.' in getting ug here, it probably vould be hot.
fihat do you do, stOp on every floor and gossip about

CIHIIILIS

KO, na'm.

LO LII "DA
Do you ever talk about mo?

CHARLES
NO, ma'm.

Lt: 73'
You know I don't believe you.
C: :A 14.33
3

Why should I want to tolk oout you?

LQBITDA
You're human, Ch ml . Ard I know servants — thev're never haopy
unless thav can talk aoout the peoole they serve. Isn't that so?

“'2... \ -‘.- . k7. V,. .L.’ \
(I‘INJTIU .:.ei‘rH1osoi<nl.
1

May I your your coflee now?
You didn't an or my rues tion.

v
no, ma'm.

IC‘””DX
Well, are you going to ausmer me?
n:- l ' -\(‘
Uiu‘i IL)

No, ma'm.

\O
\1

LORI: 11%

C‘ L‘.‘ v. ~ V r *- ’Ca.‘-- .9_v' y ww' ‘ ~ w -' '- C" vv- C ‘ "‘ ‘ T.‘-, r\ ‘. '7‘ J- r
cometlnes I fiOuuuf tho I jut u} “lei Jou, Ddt I su3qose ii in weren’t

- ‘- ‘ . J— .-.. _.", J 1.x- -. , ,3 ‘ ,- ,.. _. . -. .‘ , - .-.-_ ,
you wno orou_ht n3 "OOH u , It PJhlJ D: :0 tone even vorse. no leust,
"" '1" '3 4' v-nlr "4‘ ""7 -3... -r' \r \ Imam? Y’l’ '3 " 11 ‘wr-V a '1 " 7 t7?
{UH (3.1.1 (w 1.1.5 (‘-M‘O'-’.LI u-i-.‘...' '9 0 J-\- 1:. - '-Jl¢ bf] 0/0-; sAC-Jb k’OOCl. AAJ—n ’

4— ». 3...; 1-3 .. . r .."—L —' .-. . ' J.

and that‘s this loolirg clue me IS — em I right?

"37' ~'\fi
Cg.l‘— LJJL)

LC - I? '13.“.
Yes, Charles, you may your my coffee.

(31 ~me
-1!.. .14er

(Pourirg the coffee.)
Right, ma'm.

LOXITDA
What do the other people in the hotel sav about me?

C::1L:I_;:J\s
Ho one knows you live here.

LCRIIDA
I mean the other pee, le :rho work here - those women al.-ho rapped on my
door. I heard them ta 11 mi , about me.

07:: I.“ ”.‘C‘
L St . .LALIL)

l7.) I'nou 3 cu exist.

ra-n
.._J

Very fen of the

' LC- - iI DP
But they do talk about me, don't th y?

Chi? ES
(Crosses left around sofa.) . I
Is much as they do the other permanent guests......It s a beauti—

"‘ .O

E.
“C. 1.} -‘.f'~l- ~1J‘C‘.,‘. \ .h r‘ C-fi- _
.LLs-.. Lung- OL-.LI».J.._‘.-(/’ 1-;08 .th‘CCI‘.

I": T71 './it

C :' L517. 133
(dtlxirc to window up center.)
Yes, lots of sunshine today. You ought to J_et sore of it in your room.
(Goes over to the draperies as :If to pull thenl apart.)

LCEITDA
(Fiercel".)
Ch€.rles, leave those alone! I don't li; e sunshine; in fact,I}1ate it.
I want those draperies closed; I never want you to touch them, do you
understand?

.1.

CT'VILU
(Crosses toward LOYIPDA le‘t center.)
Yes, ma'm. I was only going to....

LCRIYLA
Never mind what you were icing to do. If I cez't see out, than I'm
sure no one cun see in. Pour me some more coffee.

n'vsm ‘j‘fi
Ul'l:s...I_.'_ab
Yes, mu'm.
‘1- ‘ r. .1 _-_.L . n. 3 - , H 1. . ,.
(Crosses nee: to cewter end pours use ceiiee.)

LC?I"DA
Did I have any mail this morning?

CF'CAIIES
I would have brought it up if you had, ne‘n. A telegram. cue lor
you, though.

LCRII'DA

A telegram - where is it?

CTATLES
(Taking it from his pocket.)
I have it here.

LCHIT '3}.
Well, give it to me.
(He hands her the telegram.)
Why didn't you bring it up before?

Cl 191' {ILLS
How could I have gotten in to give it to you?

LOIIHEfi

(leads the telegram.)
Ch, never mind...................I'm :oing to have e visitor.
(Rises and stands behind chair.)

(17"“fi To!
UILALL.LIJQ.JL)
.‘ r (1‘ : IT J‘ L 1’; . 9
are 3ou going U0 let 1im in.

LOCITDA
( 1.11-2.1 c113)
Him? How did you Pnow it was a men?
(Holdinj up the telegram.)
Did you read this?

CHARLES
“F *1- "~ “ ' A
.l {1'} , no, llLL EL.

I know you're lying. But it doesn't aetter since it's only iicherd
Courtrivht. I suopose you know mno no is, too.....?

flu .'. n'r ‘7‘”
\J. _.‘L; .Jdbgk)

Yes. He's your benher. He's been here before.

LORITDA
(To herself.)
But this is not tile tim e for him to come.
(Crosses down right
Clear these things away. He says "8.round three" and it's that now.

thlllJES
Then, you're going to see him?

LORI? DA
Yes, I'll see him. Get these dishes out of here.

CI V'r‘ L":S
But You've eaten hcwr ly LnWL‘ _ng...

LO T1 DA
Stop muttering and get out.

CKAZIES
Yes, ma'm.
(Puts chair up left.)
Is there anything more you want of me today?

LOTIVDA
No. Only be quick .ith 1arhat "ou' re doing.
Yes, Ifla' 1' L.
(Rolls taole ups Mar ele

1“)

t.)

. LC“I"““
(Reads the telegr J11 again. )
I can't understand why Mr. Courtright would want to see me today.
(Crosses up right.)
Charles is there anything wrong outside - I mean in government or
business? But I don't suppose you would know, would you?

C"'“LJ3

Prices are mighty high, Miss Spencer.

CRIYDA
They are?

0112115

Some places butter costs a dollELr a pound.

{RIVER
No, I Bean is theIe so ethihg wrong on the stoc‘
5 "LES
(Picks up trgyfrom table.)
I don't know, ma‘m. Lots of pooyle are vorri ed about th Russians. Some
peonle thizk the whole world is going Communistic.

LCRIIDA
Even in America?
CI-{ATLES
(Starts for door left.)
Some say so, but I don't think the Democrats k'ill let thc’ t hannen.

AA

LOW I DA
Do you know who Mr. Courtright is? would you know him if you sezyhin?

C: :11: ILJS
I think so.

L RIVDA
If you see him outside, send him.in.

TYF?

[111:

Yes, ma'm.
(he exfis with try. LORIIDA brushes her

dress and scrclohtens herself up for her
visitor. IARLES enters again.)

Mr. Courtright is outs “Jd , ma'm.
LCRITDA
(Crosses to left of devenport.)
Well, don't stand there. Send him in. Send him in!

I ”aft 4- :LA—JS

118 8111-513. g‘..i_./--;I'. J VAL 1.1. ~__‘7_-_ CU QI‘Q.)

T A‘V‘T"Y\ e

J...l\ s¢.L 94L
J. . x L. 1.. . -1 ,- In n, . x- .. .', ,n. ._
Put 1N3x01b m1 1x:aoor,.flxase hf. Annual nt.
"1 1 r“ C‘ (' " '. "‘rw ' “ (\7". t” ‘- 1 -: 191'» "“L‘ f “j " '\ 41' \‘
VIOCQBJ DO 10-1. .1 Cz-.c'.ULJI -LT‘. -..'.O1Lu L}... :I‘JAL' 0/

\) ; _-'__ -
[*‘1 ' v
(selloni; ,.uLh _ surl,cioi:.}
It‘ CH {A an ' fl ' n *r'\ 1 -'~' ' "“n L. r"- w: " :‘ 1 ‘ f“ I 't‘ . ‘\ f 6"" 1 I. ~ ,1 T ~_—-' r. :1 Qmur,
.1-'uu L); ‘C’- \JLJ.’ ‘1' _;_3'.J._ uuk g~. V Cx. :7 L.) (.L..L. 7.9., ]‘(‘kaL’ U 1,, .\_/ .1. L. C; -_'v[’£,.
‘YPQU '117' 4 1 fin (.1 1 I 1 r.”
A. v' I - ‘4. L111 1’ O

i \
,.

N 31 1" ‘ ‘
y r, . 1 r - r~
. L\./$ 5" NJ? ‘—.. )

"J
H
A1
:1
H
:'
a
:1
_J
b
1‘
c)

‘.r r‘ T 7— v v '- "I ' . a- I h 11": " "‘ " *1 ~- J1 LV . a A rx-u-.- L ’ ”J
led, 1‘ve zezn null. And L; t me? am A”: «fishes 0; this PNmMECCpUu

Tothing row I533 w“p“CCl, I t‘.o e.
(He sees her still holiin the tele;rau.)

. '. a w‘.» a —. ~1- ‘1 -' . j - D‘~ p ' .
LBS. in- e u; WLIuef Just _.Ve it to is. ,Jt v13 Ae
Y ,. ,. - J . -, .

. :13 Are EVIL ,‘81 e?
f‘,\|"*‘_\rfi‘?-.T 17"?
‘J - ‘- . . .L . v.‘I .-
n ‘ A \VflrL _"‘ V.“ \
orosses lelo Cc.uer./
I ) ‘L ”ff 1 ‘L ‘n ' '2‘ :4] .23 "arr- .1 1~,g I 1-'~ L I] 'L wry) (“F‘ r ,r
sent 33-1- LI-..e UL, _V )i o». Lt 85C 1. * .‘m‘Izlutxh. 3L. 0 '_,'..Les.3 c .
1 r ' - H 777‘ r " I‘ ‘\ " ' ’- '~ "' r‘ ' ~~' ‘
1 voyllk' ‘jI't/(‘ ’ Ellen I ‘r'c S SLII‘e “' x-)u ‘.":(\/l1_]_C‘. lb LI 1 ’8 .Li; UL) l:l‘.‘€ I“, 11 O

‘ 1

I've SUCCMCOLQ.
,o— - m
L‘. _ - 111%.
Please he s=eted ur. Gourtr ”“t, 9”” let's at to t;«
n, 7" r'm‘rr- «or:
\J‘ L '..‘.K _
i" ' 'l- ‘1 ‘V r L
(sits on loge ser lett.)
T‘liq ‘1' ‘r‘rrw 1
I “_14
L‘ITII‘ MI
1 . J v 1 A ' L . -. - -'-> - r. - - n -"
You wouldn‘t oe here unl_e €05 lb Leie werv ;WpOTLeHL’ (no
'1. ‘- v~~~ I,-- ’ r - fi" _ L1 ‘ I . - n 'r.
tzuzt l 1m3ullxl't ssee )Cfll Uhltfipu I. tncnr51t 3i,a~.s.
.1; rY‘v'15"fl ""."V '71
\J\ _'3.‘ “l"; - L
1! J J- A, I- .. 4* ( ,'-?, x . ‘-. 4L ~-- . »' -. ..A
Dm t 3 u ev'c T baln oi Lnytiifi; bib tu5i2605?
71"“ !
LCJJJ DA
fou know I don't.
‘1 . 4- \ (\L r _.O“ \
(Glob :Jb :OIWn. /
" ‘ ’ l "U' )" ‘7 I. ‘| I”? —‘ ‘- 4.." ' (fi '3’. ,, 1 " 1"
Is there so-etA nO Iron A-t1 r" doli125s 05 the tAn ?
I: 'm
CCALTV 'Vl; -t m-led _ i
-— .' .. .' -,_ L1. I.‘ .4. L ,_ :- . '" .1 .I.. , f.’ . . .‘,.
LO....IL lofl u onot. It' 3 twin” I don't unite hflLeTS

“‘4 7". ‘ .' .'A1' "'
any, Ar. Loultli it, i
heed in; l” irtciel {f a
“Y ousu‘ess C‘flllL; .
Yo. To 7 are not as on
discues Liraneial effci
r _: '1n 4.
You muse re: ize to u I
nen ieceuse I made 9 3
V01 ve +01 to LHEt ne_

1) TOTE. S e

v—T X"

.4)".

LCTI

O
1!.07‘ T“ k, .

gnnll

thou ht thet a men with vour experience
. a“ I“ r f? 1 rvw' r. ’\ o. . 't -
irs wetzu unde‘st no er 1 t i1 iel ti
w -- . ..- H:AAL~, r . L3
LAtg'IC not too 00.;fl ivoee, eze ne3?

nr: rm ‘: "7'11

‘*flieaeed as Ll] tllat. It's
r: thLL this call is made, his
don't see vou tit once a year

eto your father to look
LCDIVDA

o: e. I know would

you made to

do nothi:

-.,-- J.“

i I l
-U. fl

.1 2':
‘ 1

,‘1r-T
"J _ ; ..._A.i‘. ex?

. -.-—- 5W5“ —-'»-.' Y

I
. J-

for
rther......Eut you're

ruit onlgr'to
5 Spencer.
and onl
after jou.

‘10
-v

V
"Cl" OW

102

ICIIVDA

.’ r l" “L ‘4 -— "» ~ r ~ AF‘ ¢a~ la.- y , .
I' ve been owls to look albefi your tore ts oceans- you'wa ‘IVGN me
a" t -' —. -.A v~ r ---. , L1 ~
a free 13 n; In Jnflc;lfig ”neg.
(‘7‘! ‘ T‘v A
L LVI- 111
r .1- ' I- . -
Iou sulll ufiVU - —
f1 7*- "1"-‘v*.~7'rr-1
KICI 1’ 1. .1 24'. -
Y" "1? T ‘ '. 1 r " 1' n-x - r" v“ w fiJ‘} ’. "1 ‘ ' I. 1 r“ '1“.
:VO. 120:1'7311 I6 liefirllyq :11 till- L;.LIOULJ;LQ
(\T‘ ‘3'- Q
L‘v' ‘IZ .ljli
’ ’ 1' l'. . ’ F" "V W 1",- " l "\ 1" fix "' '
wug, tflut'o aoouro. lou nave my com.lete LTMIEtl

“iv-V1"- 'I‘1tIrfi
(:31 ‘.-llv'A-.L

T f“ ’ T ". 1 fi— ‘ ‘I r -\ w. 4-“. - 6 LJ‘ 1 _I" .~:‘/\ \ v.

rhgic I, ILLSS Lr3encen7? u almmlt Illa «a Ube: (x. ,.,-, O I; .ortll of 1H1-
, h _‘l ‘ _‘ 1‘, . ' .,. , 1 - , “'17. . ‘ r1 '- - s“ «r v

ClnCclleo oncons fron,tne Lon._h l1m noflhfmCuurjrg Co pang?

LCTIYDA
ruuot, rises, M11ksdovn rif;
lef're n3 1'1'?;......3ut how o;

PJ-

VT _‘ _
(1 Sltflj s
.
U

Oh, those — hh 4 you Enos.

,r
‘l

u,

Ilh(‘TV~-~P'1' ‘V‘/‘ -m
V‘. ~ 1‘ .1..‘.‘.'. s.

(_ rV ._l_1 '\' 1 r __ _Lfi' ' h ' _,
I talked Elba a.y1u hi‘fll M“: - t1e cog" any lluger.

Lmfij"‘wn

1.-. -..._-_ an

A lawr'er.....13ut thos e ou.-0-3 - I, I Just neglected. to (To r'rtl-w
;.‘|-7_‘

EUOQb Lflcm. Infb '8 all.

."""'T‘"""‘1"‘1.1
A

- -1. . _- .LLI‘II

O

(.LL31’1 .}
'0, that isn 't ll.......Cnv doesn't neglect to cash
:year for such a lon forloi. One doesl't linore §5‘
r. (V

o
J- , ,' fl . . -. . p r. 1‘ r‘. '. r‘ :2 ‘1 2‘ Y‘
there is d very gooo reuoon. hhtt Lb -t, llss QQGmCUT

:MjCkS ffCCl- aftéfl‘
0000001111]. {-388
?

w!

LC“IZC
I don't wish t
s all you care
View OVHF. I d
av to “MTU Hr. Coflrt i

Ifo rea son at all..
(oval )USI‘1BSS '

:{ajr congolfer
81131.0 re. . Go

I .1

C(\1_TV__F'1I I_::'fi’_wm

1

(toroing toward men center. )
ISITt it's not Quite as siwple as that You can't toss unis off by a
—31111u; of voUV'r”mNfiL ers like:§rr1 do ev¢~“"‘TV1 else.....€.xi a
}3CXlted door in a hotel room won' t ho1_c 'ou thls tins. If you don't
C1C> "owot}ln about those checks 5Lu :1 to 3, fou'll find "ours balf
:L11 court.

LC:I"DI

:[Il nourt9

103

Yes — shi I'm sure you don"
r1 _ -.‘ ~_ \
(orasses bO l:Lt.)

I

You might have to tell somethiij you don‘t want known.

('1
i I
F3
:1
.L
C

LOCITLA
(Crosses to center.)
meet to you mean?

3C.TT"Y"|? IN ”MI

xubfi. .;-4._'.

I‘m not sure, but I know vou woul n't shut vourself us in a hotel
room all these years unless you have a very good reason — - unless
you are afraid of sorethihg, or unless you have done serething you
don‘t want the world to find out.

Richard Courtri_h t....I don't have to listen to you!

CCLUC“W*YIT
(Ignoring her.)
Uhat are you going to do about the checks?....Bo you want this thing
rought into court?

CDITDA
(Crosses in front of him.)
I don‘t know.....1 don’t know.....
(Turnstm>center.)
But they can't take this this: to court.

"n‘mrh 1” ‘T'r‘v'rt‘l
(.1 ‘ l

Yes, they can - And if I know tiis young Peter Currey, he won't wait
much longer.

LC.1

It's my Honey......l can do 5

(EH

Mi)
w:- o ‘r"\ ,r’. ’1‘ 1‘ “I J.
.L l‘flSu MIL/.1.; -‘_U .

O

f\, T""1“\:r17"'1
,5.

k J.

Yes, if you cash those chec1:s.....All H e congeny is interested in
is getting this: a.tt er off their books.....8i5n those checks sud you
can do as you please vith the money. iou have the checks, 1“Wen't
3'011?

(Sits as sofa center.)

LC“ITDA
Yes....yes, I have quw....ull of them.
(3 ing: uO the secretnr"o )

In here.
Well, ret them and let's iet this thing over with.
LCEI”DR

(Bringing bass a stack of Jette s tied with string.)
They're all here, I'm sure.

;‘- f v - n-\7"~r 1*".‘FN-rrn
‘ r 7 pa --.q V. ‘ . g __
(8)1;8 LLJCD ULL'JJ-1 t0 vpu.-._-,.._u4..lo)
7

here you are.

CTTiffill'T
”This is beyond we....
(He senIrI tes tile checks from the letters.)
25:17 have you kept the :ze Ill th Ase yeI rs?
.

(Crosses right.)
But t1 e7 czr 't go into court over this....It is not i hor,en

“ "YY
33.:T.IwM7

10h

Of course it's not inocrtz=it. ....Co e no”, you sign these and I'll

1

take them with me a
(Le draws a
pen.

1']
Q. C

1
(1

h?

V-

LCTITDA
But just a minute.......Let me thiek.....
(Stending CKHflI right.)
CCULT? C"T
(Impatient as he puts the checks on the table for
Come now, Kiss Spencer, you're zIstin; tine...
(LCIIVDA stands looking at him.)

(He sees her staring at him.)

dew sit t‘e“ to your account at the bank.
air uj to the table and jets out his fountain

to sign.)

are no diffzrent than :.n7 other checks, end I know fcu have
a

J— 1" ~--.,q . 'r' ‘4 fij-O‘.‘ ‘ r- L w I r TV‘ A ‘1 '3 1 ~ "1 w"
DO LEI .3 :,l_. , u- 1.1.53) LJO 1.<.. -KJ .‘.fi-I .i~\:__.L

0
It's not tliI't i: sltati'xt.....fl'1e7 won't go to court over this....

rIr‘T'" WNIIN. "'1
\J‘ I "

(Severely.)
But the7 will, I tell you! Ir. MurrI—:7 is coming to see rou
about it.

LC TTI’TH
Tomorrow?
(She still ste ds loolcir'

m
ct‘
ff
; J.
0

V

CGUZTTIGET
Yes, tomorrow - I had to make an fino‘r‘1en for hi1
It was the only t ‘
immediately.

o0 SE3

Leir'm
But I won't see him}

:‘OU. .
sing I coulo do to keep him from joint to court

105

corefiwww~~

"' ‘7' 1‘ (\l- . . n ’r- . .7 :1 r“ 1 ”‘ I’r‘
IOU WOH'U “Ive to ll ,ou Slqn these CJUCLQ.

LC 1‘33

*0

sur

,_.
c7"

(_.>

0
(She st ands loolcin7 at him.)

C.
U)
0-0 (D

I won't

T\v1V7T \YT'II
\ L .LuLALJIJL

I don't unders tenl......o0u,....si n these; it will m: 77 take I morent.
(He welks over to her.)

Why, Kiss Lorinda, fIiEC'S ewrong? I're as white as s ghost....8urely

you're not afraid of thos ch ects....0r, are "qu?..,,Yes, You're

afraid to sign them, Liss norlng_,,,,fih4.'s it, isn't it?

Yo

.a

Lefzroa
(Crosses dox.n left. )
Io. Co: I m not ei’re .id. ...I'm not afraid of them I tell fou....
3:177:11} IC‘JIT
(Pulls chair out.)
Lhen, sit down and Sign then.....

(Pause.)
I will......I'll Sign them....

(She sits down ouickly und 5
Pen. UCIHCCICYE stends behind her.

She starts to sign one oi the checks,
but c i't do it. She looks across
theziroonv lioruxiiiex}....ésii Ilguvst 3J1
d UJlSEGP s77" slovlr )

fi' l‘l
.‘,

are at me like one; - ”ls II, o; c sts7e at
(”he covers her efes and then looks ansin.)
Iou can't find we ne1e.......?m on‘t stI re I.t me tell Isu.

(She ju7ws up and slowly backs into Cu nZiIGEf Is he stands
1hing her.)

‘0-1
C“
( )

(v wi77rovf

Softly.)
Who was staring at you? Uhat did you see, lorinds? Why c n't you
sifn time e ch oiis.

LOIIVDA

(Bacl :in: to up right. )
I can't do it.....Do you heer?.....I can't do it.....It's been the same
everytiue I try...I can't do it.........

CCU ‘E“"”Il‘
But wh3r? th con‘t you sit n them?......You seemed to see someone -

who was it?

106

(Crosses to sine so I right.)
I don't know.......I an‘t Thou}.....Pl€€SC: SO CWLT 3?" leave me
alone.

, (Crosses right.)
No! I won't go until I know the reason for
(Pa-1136 o)

nra you foiwg to tell me?

1.

this.....fhere is a reason.

LCUITDL
1" \T I n I-'- 1531 v.-
4'. 0.0.0.1.00 (\er LI (4].... ""_)u.
(Crosses eft.)
Take those Checks and get them ovt of
tell 111(h1vthlng

nerel Please yo awa7. I wOn't

(Sits in Chair right.)
Perhews I CE n tell 7ou why yvu Ire so aTrIid. Perhs

0

why 7ou can' t 11Ike yourself mign thrse checks....

I can tell you

C0

. LCxIYDA
(Turning Quickly tO'r r’ him.)
What do 7ou Etnot?....I've lived alone for all these years and no one
knows IF”“l.f — not even yau.

y.)

,fiq"'w'17"7"'(7~ {'rp
UL" JbILL-I .T-. .

But remember - I knew 7our ffltner vxry roll. Les, fierHIps I krer him

7. LJ- ,..- ._ r- .. .
Deubb’l‘ Lil-10!]. :rJLl l le-L23.ooo

LCHiI'D:
to ward c nter.)
.11 ~r - r '- ‘. 1 "1

{.1

~-- 1 ~,_- 7 :— In . ‘7 . . .- 1 '- 7.

out LC (“CXI'U tel- Ltm1caiythin csmnii 0, he CUHIQL' ,-u4Jr....os, I
I w r 1.1 r, ,- 7~ 1 '7 I . ' n v". 0". r: '3 ~7- " V'J' ’-

IMO” 4e LOulQn'L......H€ HI: Irreio to tell uncone unfit uh? :1 .....even

'1' , - ‘. ,M'. ,1.

ll lib 1’10.qu LL81
a 1'? m" "777:1
U£\-~-IJ_— lb ‘4 .1-

He didn‘t hate 7ou. It was 7ou who hated h‘

.1 .Li"; .

LCZIFUA
(Looks It C TCTIIIW“ and S7eaks slowly, lvitterly.)
Yes, I hated him.......Does that tell ”ou Invto17', Kr. Courtrifiht?
I h.:1ted him.when he wts alive...and I've hI.ted him every minute since
he has been dead....

’1/7"‘\ '11)'Tf‘17,".1
\/\L¢;.- ..L..'.:-L

Vou were glad when he died....Iou wanted to s: e him dean, di.cq1't you?

107

{fi/‘T I‘FWEII‘ .7 7m

(Stands.)
Are you sure? You had re sons to wish he were desi.... He knew the
kind of a daughter he th - r vicious,r -ee rtless daurF ter 1ho rould
stop t no t1 m; until she got what she wanted. Rut he had taken

all he  could; he Iouldn't Co along with your nlans CnV‘lorgeI.
He was in the 15”?) wasn't he? Oh, yes, you "nted him de': C11

r‘.)

LOZIIDA
(Crosses left center.)
You're lying - you're making this up.

P1 \f‘jf‘fif’\""ifjf’1
ILL. _L'.I- 4.

K0 - it's taken me a long time to see through this cont-etely but,
now I'm beginning to understand.

LOTIITV‘ 1)::
What do you mean?

n
\J a. . . .

Why did you come to live at this Lotel? thy did you shut veurself

off from the world line t is? ou —Lorir1da Spencer - vhose sole

object in life was to have a good time and do ex;ctl;* vhzt you

wented even though i meart sushi“: aside those «ho loved you...

(sits.)

To think I loved you once, LOI:indC. Yes, I did you know. Tolsy
I can laugh at you and your hermit‘s life.

(Quickly.)
But I'm.not a nerwi t! I just 1ould r ther live by myself.

1rv ~r~ mp" vrn
( ...:..L' _ .L

(Slowlv. )
I esce.oed vnu, Lorinda A very narrow escaoe it was, too...I've often
wondered rhat it 1.0uldE1Cve been like to be mCrried to you. Thank
God, I didn' t heve to find out.

L(“I"D
Get out of here! Do vou Ye r me?
CTTT?T7JIHTT
(Coming to her.)
I told you I wouldn't leave until I found out Cbout tuose checks.

A~\W§o~\ I
LL'- .LI L11

{'3
O
<
C
"5
F:
1.10
'23
{.1.
O
S:
0

You'll

are“ TCH

\i‘. ‘uL—‘u—~\ll_

fl " ‘

They came from your father's investment, didn't they; An 1! ve s‘tment
the't bec: .me yours after his (ieeth. It's strange thet the onlv Imoney
you Ieiuse is tth .hich COIlES directlvf rom your father.

(Becoci‘zaw
Lhat ere you talking

her

V6-

LCKIICX

. .. ... . - i - , _. ‘1
”Tr (181V'311'L‘. CIObSCS ldLu C'J'Utjro)
'1 I
QUOUU?
fif'Y"W‘1Y-T-VP‘T‘m
b‘LL Li. .L‘.1 ..L

+nw.)

Lit/.3.

to cen

108

ennection between

Perhaps th e is some direct 1088 and your
D,- 1' .I
.LCJJLICI‘O
LCIITD!
(Crosses down left.)
You're just imngining thirgs.
C(‘"T~ F1" THY "T1
'ou know I‘m not. As I said bezore, I coulcl newv ouite Justi?y in my
mind.3xnrr running; from.evIdeflrh13 aid li"‘“5‘ClJ.Lvriwnirself in

away
hotel rooms.
(Crosses right
I lUIew you had a reason,
reason was ctron; enou;

these

a

‘h.

-v-—1r‘A

r"-
LR; .1.; .IA
T": f1J- A. "C f,--.r-_) wr- J'UVfiiv: -,a r‘y II." ‘;
"1.ch L; I euuon Cal 9 J LU. b':‘._5_-3._L ' C” -)O U
CC"”“ T“C
.. .-L.‘.~.__\11..L
, K h m -. . _ \
(Turns to ner — e lop; pause.)
Your chi d
Lugd‘ 7J5
2 u: to
Ii"- CLLIlUI
ELVICIII‘T
Yes, your child. I Ere" "\o t ner.

q- I~~-\)t_

.-:1

)

5o orcluund

L

(fifv 1\yr"\-T‘I,-"1Vy“‘
Uv'L 21;-..1 .-O

\

to

('m

Iou COLlflr'“

i‘I’T _ ‘
‘ .4
But

n v-.‘ .11~.--.—.
‘Jrl‘ --..' .'.L

Your fat er did.

LCiITEI

IDLDlL; :IOU . o o .316 Tice J00 ti ell. O O O

3.11

He couldn't have

CPLvhmv‘1-dv~rfi
just before h died. You would
have 1Crry you and told

never h‘ve tol<i me, Lorinda.

1e nuut“ne

(.3
v

‘_‘. G
v

He told

1.0 L1 HIV/01.4. 1C1.

.'

1318 l:

'r IC

1&1

frvvnn

_L ' -‘A‘i
(Seated on love seat left.)
inen you've knowin ll these yezr s?

”nfi“s‘*fi“T
.41 b-‘,',

A
‘1
U)

1..

«1?- \ -1-\. I‘
LL. . - an

'11 (11L ,1“ ‘ - -. W _ —. ~ , 1
ihmu vau>1nry you r£flflgfll'b Pfiiijrrne?

C- 11* no:o1.11

';a...'.

That, and other thing:. It only we de no see you as you really were.

Y‘.T""
LCll_oA
~ 1- ~ -J- ‘7 -- -‘ u 1.. ,1 -
Do you “nod wnut neopeneu to my ouugnter?
CCIIFEIJLT

X.’.c
leg/‘00....

LCPIKDA

You‘re starting a lit tle late to think about me; now, aren't you?

LOII‘IE TBA
Tell me where she is: You know, don't you?

CnV'T'1111-IC'::{I1
lVU-Lvl._l.

Yes, I know. But you'll never see her! I'll see to that.

r “~‘H‘n-
L“..'J_ .HA
'7‘. . T. r J »' A. -
loll 4e, wnere sne is!

n.» 1 jr-w*wa-‘-_-.
ax '.-J.- _LJ..J..

No, I'll never t ll you: I've lookeo 9ft your daughter, Lorinfie.
I've watched he er grow e ”on d5.v to Meco e a 61beautiful young u f£:n.
And eeoh d_ay I' ve er'n to des ..... se you wore one more for what you
aid to her. I have but one feeling left for you, Lorinda, and that
is contemptl

LL): v :’ DIX
P 17' 9’: p“ r ‘7 1“ "1 (“.1 ' 3 a.)
go ,ou rolsvu mo uuuQntel.

,hfi-
CO; -

I~ .fi.

I only helped,in an unseen wav.

mr‘l.

}_.

LORITDA
(Rises and crosses to CWViTTIGXT.)
mell me about her, hichsrd.
I‘“II1Y “-1111 ‘urn
Crosses right.)
I‘ll tell you nothing. You don't
about her.

\0
<:
.10
5..)
CL
(T‘
o)
(”J
"j
<
(D
cf"
L
(D

. . {7‘ ‘- . ,~‘..
pleasure oi nearly

o.“ 35
. , f‘ '~ I' '1 1" 1"Y .71."?1“ .-
(A ueuse a8 SnG lools st o. .. i.

.. :r':)u Trill.
7‘7 ,. _, '1 , ~ ,_
0.51 -’ Mr... “S .JWOI ' I‘m.
n
f

h - P - \ ‘J" -v- '7‘
no you know slouu n, clild.

‘ C
h — .. . 1 —
“4.111. A‘. -(‘-.,.,..)~-v,

”OH H.

A;
”1"‘T "\ 'YTJ"‘* T'j"
\.l‘. L -5 A ,_ A.

To one.

LCII"m

F‘ [‘1‘ '7" "'1‘! ‘..,""1 3'} {P
Jlr.a'~v l ..'. ' L“: \I.‘ -

You have no reason not belieVe me,

L-ogilr'o,
(slowly. )
‘7
1‘: O o

I1."nT v7 - -'-,v ‘.
J\.- L); ..

Your secret has
but for your

‘f','" F 'rn
1 .

-..L._ -11.;
'I "n
06-3811 Sr‘.lU
1 -‘.-¢.‘J- '_ -\
dZLIJI 'JJ .0515" :3

Rest assured.
of you, Lorinda,
Iifiiliilé
(Seated on sofa.)
You know

rooms; ‘"11} lave tne t

known secret all

7T7
IALJ

.. u .' v ”7.11. a
9704;” C I ‘___l',', if 13-x.- 'o

'1, 1"? H11.\Ir":\.1--
U‘ _t—A'J‘r-‘v
- J. ‘

()le 5
1“_~~10‘ “ fl 1
1.; v14): c. C .

~_I

(”on

L; .44.- - 1

vou mean9
0

.’v ,TT‘fi-"VWT'WTI’TI
DC ,1-‘.-.L(i.‘..L
Wfl. L301 nab.)

,Wl
it Jd uni just'
Wou wouldn' t

(CTO 053
W‘S WH‘

0118 Cililul.
nave COW/3

31 ere e
you
f

n~...in' to e ‘
Mere si’rsid 0‘ sometlfi izuj. You I'ere afrefi

ILSCkS o
Prom the

these
C11CC1:6

makes you unable to sivn

her.
stand for soxething
(He waits for an answer.
vou won't answer that question,
your father, Lorinda

r1: ,. n ,, 7:." ..-:.
Lqeb’ 3.7.1.1 1901‘. Lila-A;

\/

If
afraid of

AfiT‘H"
LK .L.L/r'1

(igui ckl;r . )
But he's dead. I sew him deed.

I
'1“ 1*
-AlJ’ UALer

WIL LII

now whv I have lived all these y

'ld CCiUSSd "ou to come

I'll answer it for

110

rr‘ b"’) L1"? (V + "-\" I
( -lLA Ll..:r LI;«-,.l.;isJ JO lhA"

O
Joule hive you tol“?

have you?

~.—- J—l, M‘ .L
4-18, uflOUUf‘. DO u

1,.
Si-...€o

LIN3°.,

L

e rs here alone in
';e

1
~-

9“ l'
‘1‘451'.3t

.CulYWc n, imit 3mm;

oesn
,
-ou
that

ld didn't
eof her.
thing

'3Ile Clli
here be

d C3}~ t1"

r,
l.

PC "LLS
LG Si:3‘.6

J- ., ‘- - L1 ..,, J.
tuulo and mlau UO

‘ I
- r. ‘0 fi
[Jr—“£77312

t?

H.

S

[—10

you.....You‘

because

can't
nere to live alone.

I.“ e

lll

cnvhm 7Tn_7 m
\L f' i i

.4Lr_._~11.

Yes, he' s deei. But you've never bCen Quite sure. You tried to
escape him oy running awey....you di5n't even go to your father's

funeral, did you?

A17'T'Y' ‘
-".....LI n
I couldn't!
U1 I'LL _L: ”P

No, you couldn‘t because you bad to escape from him.
(Pause.)
But you had no reason to he afraid of your father.....unless...
CIEIT'DA
Unless, what.....?
”(RTE—CLI’“3"‘
Unless you killed him, Lorinda.
LCEIVDA
(:LISBS {1100111115 Ell-:23)
10. Lol I did11't 12ill hi

‘

-'1 "C'N‘T' ‘, ‘ “F1
7 n7“ ~- CA I

(VOIIO"1oJ her.)
That res your reeson for coming here, wasn't it? You hed to get away
froa h2m ev- on thoujh he was dead. But it's iwboesihle — even here.
5 whgr you c.n t sign these checks. Such tim= you try, you see
itti1g in his cha r, sterice at you, just as he was when I
1

S .
valkeo in on you the day he lied.

CRIT DA
fi- “TNT 77 T.

(Turning to coL3-nL;
No. No! You don’t know vhet vou' re seying.

!'

HAITPNr‘i-C H7711
You‘re afraid of these checks because they cone from your fe t71er
and you killed him}

LCZLI} .5 DA
But you were there - you know how he died

03 “mRIGVL
Yes. I saw him in that room with you. I also saw you holding his

bottle of medicine.

LCALITDA '
I was trying to give it to him.

CDC“ 1L. 11:18”? T
Or did you take it away from him? That medicine meant life or death
to your father. D:i-d you keep it awwy from him so he would die?

LCIITDA
n .'. J.
(orosses right.)
I0, I didn't, I tell you.

(Pause - then softl; .)
I1 I _ ,
ine oottle was unOpened, Lorinda.

n *" "11‘7/“VTT1
0

(Turns to b Lzlxlo1L

' V ' .
'1- ~fi¢‘~ Q 'r' ' L
U .'.J.c_. 9 Lil [U DO 0 o o o 0

I didn'

fif‘T firm -Tr' 171
VH~¥;L~‘.4-|L.\-.‘A-J.

I heard what you were saying when I came in.

LCF IDA
(Coaiig to CCIRTCIEIT.)
But you didn't see him die. There Lcs no one t ere wnen he d:
just my fatner and ne......¥fiet did vou hear? You've got '0 tell tel
V(WTTID—‘
You don't know, do you? You don 't :no” fliisn I came in the room?

nT fivfi‘
LALI.‘ ILJ‘X

There was no one there. iou couldn't have seen MIot happened.
STUFTTIGIT

Are you sure?

LGlITDA
No, I'm not sure.....How much do you know?

COTE?“ Ll EIGHT
I've leoir ed enouja todev to know tho-t vou were resnonsible for your
father‘ 5 death. The things I've wondered aoout for years all add up
to murderl
Crosses right.)

You're mad!
CTIIT.IGfT
(Crosses to c- onto r.)
I know now why you cane mere to live in seclusion. You Lcnt,o to be
sure no one would find out what you had done!

"7"?" TE."-
Lk-w -.'_ .3111
f.‘r\--—y~ '1--‘- w — <

(Crosses to o ul;wl;n;.
But you can't prove this.

n, \1Y7j1fi1'3r77'11 11‘1
‘1‘ . _ l...‘-' ‘ 1 l

."..d..

I don't have to - “ou nrovcd it Ire“ f we I‘se "ou Cnn"; si’n tqose

K-
Checks - vour father won't let foul :e key be dead as far as the
world is concerne‘, out he's alive to you, isn‘t he?

113

LC-LIH 111'
(To ~~j -.. t.)
Yes.....Yes.....He is olive: He's here all the tine!
CTN DTITHUT

4

And vou'll never escape him - — It mus, have been terrible to liv
alone all J£1es years with your conscience - wonderin: eoci ‘L, '
you would do \OHLDJ‘P~ that Lould give away your secret.

(Pause.)
I've found your secret, Lorinda — it‘s taken me years, but you know
I‘ve leaeuxithe truth.

7‘. oh-
LU;I-Ufl
Jun-11 ., , rd- 1.1”?“ p ~ e- '5'“: ,19
O Lacll LIEOI’IC) ciJOLuJ bulc, a. c 5011, “_LVLILIN.
1L I

You're not going r
'11 pay you well. I'll “ive you EnViiliug

.L

L;
Promise me you Lon t.
you ask.

(1/\.Y :3"1"‘f'"'_"‘n
\JKK u,’.-L_L'H.T L

.4

You can't buy me, Lorinda. Lou know you can't. You tried years 230..
Remember?
Ie star 3 for the door.)

Ave-r“ r.
L\,.-¢J-' .311
in, . ., I
"here are you oinQ?
"fiLV“rv1-"L‘H“"Vm

I
.~

Does it matter?

IITRILUJR
(Crosses bellr chnnmmoort.)
But what are you going to do?

(At door.
I don't knOW'yet — I'll have to thin: it over. Tut vou can be
assured that I‘ll make you suffer for what you've( Jone, Lorind_- —
and in my own way, too. Your secret is no longer safe behind this
bolted door.

, LCIIIIDA
I wish you were dead!

CCLRETIPIT
Yes, I believe you do.
(Pause.)
But I‘ll be here to see you in the morr Ln.....tu ten, let us say, and
I wouldn't advise you to kee} me locked out. Mr. turrev and I went
to talk to vou about a little matter of some uncr§10d c ec 5. Good
da;,....Xiss Svencer.

(He exits. LoLI"T stands looking
at the door for a moment end walks
over to it 5nd slides the bolt. She

‘gs.

CUR-L” Tr

walks

Checl
of t‘

A

‘ 1‘ «if

onlv

L'\ (a I‘{
~‘ I
.1 In 4.-

.‘

.' ‘. . ,. -— '~‘ -. ‘—

to one tanle and UPC;
1 -.-.

€38 fiOU.)

S
. .I- .i V.- t r. I] .‘ ”1‘1-
G Sucigte mph. 1-1., bus
0

u

J

. Slowly

my- '1 r‘ H
. LL1(? _-L'- tt: (4‘

FKLLS.

1‘ . O . v-‘ .1. ‘0 ,~v— 1'“ a.-. .. ~ V O .V‘ _—
u’uz,‘ ll'_i;u II‘UJJ tr.“ :JLLI'IllJ"

114

the

center
to the
leaving
CheCkS.)

115

ACT TVTSE
V f '1‘ .' .. It‘ 0 a“ P: ‘ ‘7 ‘1‘ ‘A‘ 4- Vir‘ ,1 ‘-
Tuo TI.n: Ten oficlock in tne lornl1a the lOlth-

k )

ing day.

.11 1‘." ijrr INT)
. "J LJUJ' 1.).

liviof rooI of If IQDA SSZ'CZI'S
Bl Sail-48. I
A? TIES: (As the C1r axin r see there is no one
on stage and one roon looks much the
same as it did the previous scene.
T e clock becins to strice. As it
reac _es six, L--I QR enters and stands
in tl1e doorvev down right until the
clock has finished strihinf ten. She
enters and goes to the door uo left as
if to open t :nd then stoos suddenly

J

1"elr'1i...‘1"1 he teole center end ste nds
looking et t1e coor. She is obviously
afru3 d. 82 1e rts beck to1-rc-.r-:1 the

st?
.L
lb.

1‘4

door down ri {gain she scoos and
looks at the door uh left. Slowly

she walks over to door up left. She
stands looking at the bolt and fin wally
slides it open. She opens the door
sli3l1tlv and see ”I"XII“ ngiTRIC.
standing there. rIe enters and walks
down center. LCPI‘D-' bolts the door
and. walks up 1‘i31‘1t.)

(As he ent is .)
Good morning, Miss Lorinda. I see you were vaitiu; for re.

(He turns and looks at her.)
You don t seen ver" h: oo3r to have me here. An I not welcome this
:norrruip?

(She does not answer.)
Don't you save engthinw to sf,

"“7"".2- '1“ "" —-,—.~ .3'1'I1 "wow "0* ‘17 V t (‘1' D c f
DUIuNJ’IlLI' .L(‘-.C_._I"’ !-._-. cine C uubl‘ do .Tl 1'1? Tb bO eupe OI .JO 8..

r
are you going to do, Richard?

Ethel;
"r‘. '7‘? j :r‘ 1.7m
J\- LI .V- 'r . I
0-:- V‘.- r- -L - , . . f“ ._ -. f- i a .3- ~— '\1 -. r ‘ \ -. -. - ,-- .— f . -. 9
It's Ob l‘fllrzu I '1}. 5,017,115, to do, it t S Llidb ",qu ml U I.-_‘O_L-'l__‘ b0 .30, LOI‘lndt-l

LOTIVDA
(Ceding to him.)
But you haven't told anyone?.....

r" 1:") '71 *7?
‘Ir. ‘ Ifa‘ T

‘.‘¢\.... \s

)ffl
" {

O
I

not yet I haven't.

You won' will

(:1 C'

fwr-
JuQDVIJ

F!

Y: x ‘5‘ ' "L “ \L'P)
{LC 14 .311 I.) US... ..v

w w. ,
110 0116’ 11:18

been here si:.ee "ou left y

CTI"“11

‘- -,1:‘-
63 o JI Mei".

l.

(3C1 1.313"ij

I . \
‘1‘— J.’ — . r. L - '- J- ‘ 5‘.L \
(oicoihw ob one love seep leis.
—‘ ‘ 1 ‘ I’\ I‘ v . : .
he Should oe alod athl e now.
A“"‘"
LRJ‘Iu-‘L' D‘l\
‘ .- . -4. _._ - .' .
I QOL't W-uc b0 See hit.
(1““T-""“’TI"‘""I‘"
u.~. -L-...._I_? 1..
_.v I w rx.‘ r. W"\ 3 1
L0. oer L.s1rose umfll oo
C'ILIJ D11
v I... -. _. ._ 1: . .. -.' , L ,- _I ,4“ -.
IOU maQ no r t - “EKIHQ his so 1‘85 «cu here!
‘1‘.“v'*‘v-1x\’f"‘"yn
UK-L_-L-b—L...I .;
. I“ vr-V J‘1vyrxL 1' ' .-~ I' H 1, 11 .. “L " ‘-',| r 4
PCI‘li; Ll.) ;.Lf‘.b'S cl“ .L Cl-.t' a I SmOuujl 1‘31; 121". lulu‘r‘a-
(‘3‘. ""x!
L. I DA
v
17:01
nI'"'—_‘-'1j'r' 'r'n
Ul»/\/...J.:.4.\..I.I.J.
r n__-_ ‘3_ - {1 ~ . 7 r, .11- __ 1' 7_ 3 1.1" 7‘ :_ 3”,” w a '
dict)? Lei J- lOIl'IJ my k:;uCl‘:’1(_.cf, _TORLuQS _Lu v'b‘fll'- .1.-
L1“- DA
‘7. v\ I.-' ‘N\
-ou motlom’t
AT‘.‘ 4—17-7—"1' -_1
I .L'. ,__,. J.
II .- . .I -934. '~ .. ,, ._.‘J- n
In, WOLlun'b to? —I'n 51m“ i ld he s t.r hicnes-.
sew Lr. Lirrsy, L:riI y; “ou cve no chm ce.
m—«l-.—-\j
L,_ Il Utl
I -r— y-r'? ."'\“ '1' ,_,'.L "I.v
Jut I love no.4-L b0 or; no aid.
(‘1I’-Y|"'\"1’ mrvrn
\J , \_.'_'.._ .L
.9.‘ 1‘I‘* "-,J..., Him.- ' , .:'I w. ‘ ' ,-. ...
I- .17.], Wed flout") pbdllb hlh' OJ. f». Ilolllll'I-‘d' b0 Star.

116

"'1 ?'r\‘..r~nw"‘9 1rd v.~v "' "\‘r-I 01-34)
‘1...) $~le-C'.L'V . - I 01 AI It ‘J .L..[ u,_;_(_,.
r1.— ‘r_~*1‘~ (errj
b“u‘ ALA‘. ‘7‘..—
.- “J—
l'libo)
_p‘/— '1- '_, , ‘ I‘. .‘TO -rv««‘~, ru *\~'q "Y 3 _ ‘ 3" 3." - .. "i ",‘ ‘Fl'l Ij‘lrI'KV‘)
a l- b 4.13.. — ;1I-.‘-‘u 3&1... QCUII I’.'. l, l _L; I.).L J-io l"-u_.l’l.;.._ .
I““*e;, I2:3I1c?
rT.'F'~ nl“
.'._1 Uri
31/1“ '1""'/‘\ -m
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_.TI bLLE. OLDAJDIT - I'JLLIJL .Iib '..I..c. 0 '.€ ...LI\.: LU e U).

to court.

117

LC 7.1:”le
1701 1k)! I ;rm1'L saaalrii I 11611;"n1. 111$ c dl‘b y ALiLePVErgle 111516——
, ' o

.' 1.’ “(N 1f i 5" 1‘} _I '1’ '1] ’3 J‘ ‘n ' 'J ~ 1"" lflWpt
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CDJ e 3-915 Cd 1. (.1 Q ”‘J‘ .1]. CtiJ. LI If] .n C 11 bA3—fl w L)— .

(A knock is ”CAin hnfiro on the floor no
left. C"V7Til“7? 8103: Ind s1mrts
t<x::1V1 tfiLo 5k)or‘ In Exeft; 'thifll hcu filiiis
L11:01:13? "no Moos to tbe door down right.)

Lori r1 ........LOI-od8......co 9 out Lore I tell Vehl

I P’ '. ,nr‘ ‘. a 1- r1 ‘ — _ .-‘ j , - ‘v
(A lmvoc S €;clh nech on tag coo: u»
1". “'"i‘ 1'17“me ' 1-1-- -- r. -
1&1». vuu.u¢1l;i mums 1; Qoen to the
I“ I ‘l‘ j_|"!. fifi f"1"" '1‘3‘1‘ “ 11' r\'..1 \‘x‘."(‘
JOOI LL 4‘ ... '—’J- U , {_J_._- -1\>'.‘-r\.l U: '. t:- "O_ \J (... in O -\;41 Lb.)

1., ,1.. 1 71‘.» I. - n H
tge oool. n JbJILLJ eguers Lollokcd

r1 .1 .-.,n.‘ .
UOOU 110111141”;

A» 1 v‘ w -. r ' ‘1“- *w‘ -." ~-.-~-’- - 1} .-. 'C‘ 1“ '" -'n ' 1- ‘ - t ~ ‘~ -~ -' L-E
KK«)O‘.L :11311;.L;1(', ‘41 o 3C11.-1 41/--. .;u ‘- .L 1-0-}1‘3 1.x. JAE/".11 u 119 ' _ .“4 1:. _. ..' g
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Hixv , 11.0 — L)L.J’ 1.11.7..a 1;.th "' .1. o o o 0.1. 1.31 1Lfib' {/Ct‘ L10 ukv L, £321..
.- 1"1“ ’1
- -.J'. -- .
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.1.“ _ A.‘ .21. ,...',.j .f. _ .1. fi',‘ '3. 1 _ ‘ ....L A :7
secchurJ, omen, boo, LU -idhu puu LLSS ogeuccr more 1U edge Us ”nve
r ~l- ' ~ -‘-\«1 4 7. 1 T‘.... L1» A _. _, ...:A. . ~ H. .’-: u d ‘ - 4 r‘
anuer no“ n ~ ho1rd. M; Me 1.3, 1161b *3 I133 o£oncer:
nr 1 7M1" “T."JT'T‘
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one u ;;V.L\/‘. 0,10 7.: ..(JLQ (IC- \1'.-..~C€ — ULLL; ..'- .'.L 113 .—u Ella/11L U .10 neceu.>;.l’"-"
". ‘ -. P1 .— ‘L ' V" 'f v v r» -‘. ‘Y’ - n ‘ ' 1". ‘ -- 1 r ' I‘ - J- r‘,
for L1bb u oy DO rhmuLno I14 wumuo fobnu1Vu ;ou won't.nced a "eereULry.
”Hm“
ALA LJL1
I .1 '- "1' ' 1n ‘1 «‘4' 71"; C‘ ("x '2" 1' 1 ‘ 'rfi. I .1 d C191 0'1"""‘
(4.04:1 b 1.111.431’.-- 1‘48...) QVKA'ICBI‘ -'40u_-_CL Lil—11': --_L U‘AG uUL‘uL‘ O.
I'\~‘ -.'r
41-.-,11 .-.L_. _‘,I
-'J- 4- r' 4. . -- I n J. ' 1
I'll Resp ouxue OUu o; Uhe wag, LT. Jouror193t.

ifi/~‘v~‘:-1——’TI—.—~r‘
u '1 -.-...1. -..4.

You don't -fnow what a t1ue I've 11~.d to convince her Just to see
you, Kr. Iurrag - Ho. I'd rather not nave anyone else here.

‘fiP‘-‘

(Crosses to A -_; LLH.)

118

1‘ ‘0" "“ L ~ “- f" t'“ r¢" ' T . .-‘ -“I r - h
1111. Ilffilu, 11:. v0” -.L;l' I131}, _L'll O, 1; «L; lint IliuJJ. .L V i r) (‘1
,. V”: ' ,_..'. -- .VV‘J .. T , .iL L,. ‘,. L ., ,.‘
a*453ul.“o -11-_L1 LJO SL9 [.uu. .L. J;.~_I_uu UL 1.x go ".‘o

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-E’bvl S“-l..4. 1 CU. Sgbneu L10 .1.flO».’ (HILLJE (.. --Lu c‘muLuJ “U. .L L- a .LOJ'JJU;
f‘

‘. _fl . _ H a . ~ _ . ‘ "_._ _' ‘
r1411 COL..]_-r.4'. g. ' SE}: (31" D ‘J; Le (3-1. ‘i L" ( 1.! 6L; u-l_\jns .

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\Ju ‘. ' .l 4-.

xv- ‘ ') 1“ 7 “. 3‘ "‘ P h "L -‘ ’ l' ,r " v r “ 1 V ‘L ' r t". 1

I'm.surc Me's iIDULAQn. dUb I'll talk so fwu, only DOh noa — who
.. .11. ,. -

80. _c: OoIICI l

n
l

(oU.UciU; in the doorway down right. on; is var} cola and
C‘lm.)

YOL didn't tell me I wzs to have no visitors, HT. Courtright.
r1\""-1 701"“:
‘J \ ..- .l'~.7..‘ _
(Crox s;s dO‘n r:7.;¢t to LCiIiDfl.)
I didn't know, Kiss Lori as — I was expocbi 5 only Kr. Kurrny miself.

v:.~v1-‘v‘

I‘J -.J-L
(Crosses down left.)
I'Llihu 131" Ar. I took the liscrty of brim
Grey. I nidn 7

sro

.
m- .FJ. r
171;.) “(f SCCl'tioc..I‘ff, IILSS

i)

(1‘
c4—
,_2
1.1
Y
_J
V
L l
,_.4
H
'x
p
i
:J
D.
o

r‘lr- 1 -:-'.-\v m
\J l AaL~ _L‘J'i‘ L
L “| ~1' I \- L‘sl- ~. '1. r‘ r\-:-r M , -‘ -‘ ‘7-
I M s Jbst selling thug slag I aim m't txinl: s SfiCruu 1* Louln as
‘ -~ 'I' ‘-1. A '\ 1m 1"‘V .( r- "q a ' I" \ ,—
:ecessmlg. hiss u1¢g his UuoC la. ;n#.
r- "‘“w '
'l' .1 ' JUL-:3
v .' 1" W, " ,. 1. _ .1 v.
ies, I'll Do ii you mom‘s noes we.

LORITDA
Nell, since you're in Pere, th may rs well stay.

T'fi—w‘”"1"m
K. .....LA -.L..Al-4.

, I. ,
I'm sure we oon L neeo lis

3n ‘~*‘\
LC '.I LIA
..- , ‘_‘ ... 3'13“; 'fim‘fifi "1' r1
(Ignorinb o u;imi.f;.)

Fla ‘ se sit do .n.

119

CCIIIZTZ LII" rEI” I
T" L I r ' ' ’V \_ _ ‘ 3 ‘ J_ J- ._ ..
duo LIBS ore; neeo not CULJ. I insis

C1-
d’
5.—

r

a

..J
<:

O

0

q- . ".' i. .7 1. V I ... -- ' "'1‘ -° ,. 3.. -L~° . ..., n .1.
Ci, ouOJ UlC :IIMJ oflfl lab S UUb ”HIS OVUF. Ifllo 1Q Sb‘ll My dfioru-
‘vr (1 .-L-- ‘4. f- .fi. -, I l .0 "‘ 1 ' . 1-
I.(/Lx L) , Ixr. 'J \J l‘JA1J- ‘ J o J. ..' A S 5‘ ‘1’ 11(3)]. 8 LIL'Lr J .L J— C.j 58 o 1 01'." Silt (1)1171 ’

a. ,, - oo
qll of you! .... I‘ 11 })e il‘eni; I have no desire to see anyone, but
3

(AYIAflLLE is seated on t 0 love se.‘ t
down left. C'TYTTZI” T sits on tne
sofa. LEE ETA remains StEJ 1 ing rirht.)

q

Dun-1‘ W)

-... J. ;_4A. L

Thank you, Li er. S“1‘el§r Von. know we mean no harm h? our vis Cit.

e
e're here merely to help you.

IIYTIIIIR
I've gotte along for many years without your help. I'm sure I don't
need it now.

Periaps you'll help us then.

LCRITDA
I'm not in the habit of helping peO'fi e I ~.on't “now.

n,1'~*3 '17 1"" m

u/.. .... 2-1.". ......

p

Miss Spencer is not in the nchit oi helsiu; :n one.

.4

LCZITDA
(Ignoring C.R?thlf.)
Neil, Hr. Hurray, y u have finE-lly sncceeo ed
here g‘finst my will. I'm sale vou found out 1.ren "ou were mere

i.r1 ETC)I‘(3i_Y‘;f **’ L11“ rrfajr i-r1
('1’

we; ore and ntdc e nuisance of yourself that I oi rn t want to see

you. I still don't!

1314‘ "‘11.”.

I anologi for being a nuis nce, liss Spencer, but I bed to talk to

Ze
you. Really, I can be a {gentle 1an. #11:; don't you wish to see we?

ICE-LII": l
(Sitting in tPe chair rj ht.)
Ilet £12.7- I‘eéisons for‘ n01; S’de_Ln: ...—‘97:) 138 as JUEIGZ' “1:13:7'. . . .Bria‘u‘ ' l'e in ijel‘e nO‘J.
LHIELt C10 ,YOU 1.3.3.7110?

J_.J|

th e Lehi"j1 VFlloy K nufseiurint Conéen3..

-.

PEV'P
I've been sent to see you 0:;

LC"? I I ’DA
I know that. Come to the point!

2 H 1' 'T
‘JJIAJLL

Yes, ru2K1. As a
for a number of

rn‘ 1_ :3 , _ _
a J luv {:1

4.11938 C". {:0 '

“L re‘reoert
11676? seen

[68, thezt strue.....whzt of it?

firth.
.. .LJ.

Standing. ) .
You must realize tlat the coz an?
unnecessary e berressment...lt has

V
1.16:"? TL 0 o o

the

LOTIIDA
(Annoyed.)
Yes, yes.....go on.

D :r'x'1w
- - -.‘1.L

I'm sure you underS'and he company
money accumulated on its books without
he have been very patient with you, Iii
several lettexs, out we never Iec ived
them?

I received them.

Can you tell me why you

LCLI”DA

Because I believe what I do with

of your Compen].

EJLI Lljil
3.1311 to
th e

t's true - JJ 1 ask
do whetever you wish vdth

{BIA

oney.

don't choose

And if I to

Then we
wish to, YOU UNdCTSb&JC, but if
leave US no Hltezmstive.

vou
L-

LC:I“EA
That won't be necessary.

Then you'll si3n than9

principle stockholder,

" , L .-: _.
COOS l’lOU ...LS’J

Cannot
wono ering aaout it....
3s 33e:1ce m1

have never cesl

1 1".“ ‘m npx'
113-, ANOH "'cl

do is Sign

will be forced to take this net
won't coopercte with us, you

120

. - I 1 . ' ,. ‘ ,.
"Tu V8 OCLII reCt:.L\/ll-‘;fi Ch“ .
O O
“s from vour investment.
U

n't that true?

_;"Yl_l 3‘.

Y
a

to c:
stockholders'

.use you any

intere t at

have tte large amount of

we sent you

an ens “I ..I trust you got
led the checks?

is my business and not that

the Ciezks end

ter into court. 3e don't

LCELIIUA
. .. 1 1 . , . I . -
Lo. I com o nave one CIQCKS...

1 " "1 11)

...

- AJ.WAI.O

'7 J- ‘ .1 1-
J- ‘J:-",)!-L‘_—;‘.b . o o .

LCIITDA
(Standiag.)
I don't have then; now, will flou

flrVVVh-Yv-W'n" m

\JK,‘_‘..L;_.—L'\IJ.J.A
0’ OJ. '1 ‘ J11 fl' (\rI. "'I‘ » 11" J' * I' - "1' "ur"-‘.
ohe's no u tellir' the trWLU 3 one had LJEH ,esuero }. I Saw ou;x.

LC III DA
restorday, but I don't have them now....

f1n7'hfin1‘2T'Nr'fl
UK- L -..L _'__-.,.'. . .L

V

Lnat dld you do nlbl them?

LO’LI ‘DA
(Defiz ntly. )
I burned them.

Drwflj 1"“
A .‘_'1.1...AJ.L

(Shocked.)
You mean you actually burned TSG,COO? I don't undorsoand....
CCUTTTTifiT
(mising. )
Liss Lorinda oosn't w'rt vou to un<1er-rbe;d...
(GoinL: IANfi rd LC I I.1.)
So that's 1.hat you did. I expected 5023 .hi L iko that, just what
I didn't know.

(He wolko 010531“ to her. )
' l

r‘ -. qq I “"' .- .1 -'-I‘ -r , 1 -,~ rI~ -- ’1 1 1';- w
.30 JOLL \)L I.’ Cut. VIICHLQ 00 0‘ ‘0. J.1LC;)C3 1736105113 LIUIA‘. [1 III (I (3 St( {IQ I I1_ “"711 u'OUld
I J-Ar . r-
0.0 L1-LT L! o o o o .1.)th I ‘-:.O.
’nV-q‘i— h
L“; .L D11

13....30. You don't!

CCUZT‘ICIT
Yes, I do, F158 Lorinda...but I can‘t orove it.
Pause as he W' :5 away from her.)
I could tell 1hat I know however; it would be var? intercotiro to
Mr. Hurray.

LCEJ ‘ ... ‘ x311.
(Walking toward h1n.)
You don't dare.

'd(~,111",r11 ’1 r:
UK b.~.L' -r3.-L\' T

Oh, don't I.....?

A! Illlu‘ I! .

LCRIIDA
(Crosses to Psrss.)
Don't believe him; he doesn't know what he's slkinj about. He's
just nede up a ientestis story...ahu it's all lies, lies...ell of
it.
(Going to IQTJT )
1

I‘ve 561015.71 h_1 3-01" 8. 10:314." tLe .. you c.731’1't kriliifft’; E: thl‘lii‘ :6 Sil’z‘rS.

I .

\- .. ._
(Following LGII TL.)

I

Hiss Lorinda, I meant wrat

(Ignoring CCU-¢11QC1.)

Why vears 8:0 even as a young wzn he w.s selfish and deceitful.
rundnber the time when he tried to.......

nth" wwl—fii'm

l I

\I-/'\.:LLJJL~...L .A ...
n _o 1- 1." A' ‘W .‘

orosses r15ht, sco,J1." L .I Du.)

_\_ _- Tn , .2 £ - I 'PL
this nonse se. any, vou don' tknow whet lt 18 b0 be an none-t

women and vou CE ll me deceitful‘

PfiV‘IT‘ R
VLIA. LJAlt

Ch, I won't listen to you talk like this! I tell vou, Fr. Hurray, he
knows nothing of these checks. You couldn' ' beM_, eve his word against
()

mine, could you I assure you he's not a man to be trusted in the
leaS-L b .

CCT TII3XT
q
1

(at r15ht, very angry.)

You can't shut me up Mith vour slancr MI us telk, Lorinda Spencer.
hither you tell th 2n Coout those checks or I kill! Tlen we'l
{now just who the lying and deceitful nelson is arouns here.

(3 o 343:3.)
‘ : ‘T’N .. ‘ 3‘ ‘1' Or (I ‘—'- 1 t- h 3. I 21' } ‘I t"] Ir t “a I I :1 c: 1.r':.1'— 1r ‘1 1'3
1116 ;.A1‘,oin5, to 5.”.11 1cm», ant _-ct L11 o,;. o r(1 tni.,.pld, L4N115
men?

h‘fi‘m
H‘er '
.1.._J...'J.b

[jr‘TI—I' 11 ‘V‘Aiyvfi

(Crosses to out :41m 1.
No. I don' t think all this is quite necessary, Mr. Jourtrthl Mt
CCURTEIGKT

.1..
You stay out of this. If you want the results you came after, yiu'd
better let me handle this my way.

1* 7731137:lest

But it shoul in't be necessary to talk that way to anyone.

LC’LLIT'LJ 'T‘A ‘
(To PL: 43.)

Make him get out of here. Please.
not while he's 1 ere. Make him go.
PLTJR
"1 (”.r‘ .L -’1’--'_111'..""1 \
(bI‘OSob‘u L10 U'L.-l_“1...z__..)
Yes, ’JU'd better leave, Kr.

".r‘-qh_

lil.i1.’n.--"l
(Leading LCZITDP over to t“
Here.....come and sit do
excited.
KLGRI“DA :.1 Lt: sill: sit

n.....Ihere's no need

123

I'll tell you everything, nly

Court rijgt.

e love me t.)

for anyone to get so

\_.I

CCTT'WTfiTtfifffTI

(Crosses r15.ht center.)
No, I won't ]_e: vs...not until I hrve hed a chance to talk.
LC:*J*31
Please make him 50....I'll tell you nn't-1n - only after he‘s gone!
PLTYR
(Walking tow-33rd CC’L'xl. {Ilir T.)

I said vou had better leive, hr.

\1.
«.1

OCT '1’) (TV

COLII'tI‘I' ht. o o o o

.anrm

-..-.va.-.L

(C: osses to up ri:_jht ce ter. )

do. I'd rather you left. Let me t lk to her alone...I should have
known better than to let you in in the first place.

LCTJ"DL
You neerd what I said, l'ir. Hurr£.y -I' ll 5'27 nothing thile he's still
h re.

P-1T 41‘
(Following CLERTTIGTB, almost threwteniu'l_ .)

I-Ir. Jourtriigizt . . . . .I .2“.an it. . . .I said I; t outl' .

P"C’””7 —"T

( 3:1": Chin~ ; _.
Well, all r;?"ht tnen..
belligerent.

.all right!

Pv\rr1 VT)
1.2;-1 L

(Chenirt the door ior C(
This way, Lr. vourtri

(htooooo

I'll go. You don't have to get

Thad.)

'17“~”m ' '-'i1 )
..L o

Brit? '1 :k’ZWT
(At the door.)
-urrcT, vou're en innetuous voun; fool. I know more ~oout this than

you do. Iou 're us! :ing a Ilot :e

in listening to her.

124

jw-w-j
‘ Higlb

You h ard W'“t Kiss Sgercer srjd - out!
(PBTQE pushes him out rnd shuts and lolts the door.
Walks toward LCLITUR.)
I'm very sorry, Kiss Spencer, that Kr. Sourtright ejoke as he did.
LCIIVD;
(Very sweetly.)
Thank you very much for getting rid of him like you did.

*v'“nw 7*)
... JiLi..LL

(Seated on sofa right center.)
an, I Had. no idea that he would act like that. Thht wrs the matter
with him anyway?

(
fihy, I don't know. But of I.
when he was here Eie frigltered me so...

You shou? on't let him in to see you i you're afrui d of him.
LOZIYDA

I know, but he has been m" banker for such

I do I don't have contact with anyone on t e. I wouldn't

know anyone else who would handle my affair . I think there

must be something wrong with hin.....The lest few times he' 8 been

here to see me he hasn't acted lihe

,. J--', .' :. - :1
lOHL, tile. LIVILIQ 14418

F“
E
G
C)
H
i...
r N
r

C
Q)
P-J
.1.—J
.

Don't see him when you're all alone!

Yes, I guess 1’ou'rt': rifbt...I won't let him come Brain...I'm so glad

that vou were here...I can't oh nk vou enourn for settine him out.
U :4 -1. L.) k)

pfim"o

“'1. c . I '0 -IIH-L 1 P0 1 u‘
inat's all right, hiss S;encer...I'm glee I was here. If he bOtners
you anymore I would get in touch with .r. Tennemore, or even the
police; you Clon't have to Ltand for that you know.

LCV‘II 'Y\ A
(The 1.01‘C "pol'<Y”' st rtles her.)

11e nolice....IIr1e'n, I'm sure he won't bother me anymore....

But I a be careful.

LCRI"7'
I can assure you I will.

125

CL”: ' ‘n'l r~ c ' Mr; 1»- '17,.“ "' 1'“ Q , ‘ = 1 C“? r: 3 n :1 4*" "~ - V f r“ . D
JAB ;.~~Deg) Que. ..‘vfl. ..o LJC) «5-x, CI; -CI gave; 1.7).; Lu’it'; IOOJ'I d L) l). to
!_

<74 ‘0 ). a.- -— \
ellt so doox Itht./
nd now, Mr. KurrFV, since the’natter of those checks is settle

I have several thj21gs I have to do today....

“om
- .13. AI

I w

tter isn't ertctly settled. You said
n't you reuelber?

(Bis ng.)

T. r . .
I'm sorry, n s Spenc<;r, that r
you would tel us enout them.

l-v O l—J.

fl
~
U

”URN-9 v“ I
Ily'i..l.. JA

I h ve told gou shout then. I told you I dx‘ stroyed then. I turned
then....dhet KO“€ is thjre to tell? They're gone, aren't they?
“xv-Tern

,4»
‘- —¢'L -.'.I.

You're ri ht. filose checks are gone, but that doesn't ole vr the
company's books. They'll just have to issue you another to cover
the amount.

L011 Tm
(:JI‘OS SE38 to P _.T‘::.)
You mean they'll send me LLOTG checlx 5?

yes, Ulcht-I'S lfli QIIbOCCCO

(in; r::ri:.e;1.)

But I don't want than. Don't you understand?

Pglj 14-»

You don't tent ;§o,OOT?
L’f I‘I.’ 'DA
To....no...I don't....I don't want anything that comes from outside.
All I want is to be lef“ elone in here.
(She co es to l Iii.)
Pro ise me you on't let the.‘n send me anymore - Vill you do bhdt?

‘3' —-7-.‘—‘

- ...-544‘..-

Ihy, I can't do that, 3353 Spencer. They WOUldn't believe me if I
tOld tleu YOU ‘4uJ'C Wfint the money.....?ut whv? Can You tell
that" .
(III273A
(“<13 (in: away.)
IfO: I CEH'D ‘tEII you why. Tell them whet Vou like, but don't send me

anymore..... '

13m“?

A. 4.1... 'AL.L

(Following LirT“n:.)
But there must be a r nwon....'hct is it? Perhaus I Cpn help you...

126

LORI? 51391
I don't need tLe uoney..
(Pause, then turning towcrd P T41.)
Yes, that's it. I have enough money. Isn't thft : good enough
reason?

3.4L] '3‘ .
But i1 vou don't neecl the money, ther why don't you give it to sore
worthy cause?

a": "1“.
l~.L».I..'../11
I‘. A -, r, 1-1 . t "‘3'”:
VIODSCS \JL-LCI._.‘-T,' O INA- . .s_. :JLIV‘ -J.
(‘ '- — ‘ ~- I" w , v ofi I -- v‘.
ooue worthy CcUbE...filmt QO 3ou mean?

41.77-21. fl $411.53.)
You could give it to some charitable institution.
where they help people who are in need.

C 3
O
(t
9:]
p:
O
(D

QI' 'DA

(Quickly.)
Yes...yes...thet‘s whet I could do. Then you wouldn't h3ve to send
the checks to me, would you? I would never have to bo ther with them
at all 0

(M lLs over to PJTEE quickly.)
You could fix.it so I would never receive those checks? You could
do that, couldn't you, Kr. Hurray?

13' ”11-3“
-4 ...-LL;
hay, yes, I think that could be arranged. Do you have any firrticuler

organization that you would like to give tae honey to, Llss onencer?

LOII”DA
Io. You ta.ke care of all the details. You pick the ortenizution —
any one — I don't care. Then t}; ey tould never send me enrmore cnec«
1:01-le they?

‘ZTER
Well, no. I suppose we could nexe arrange ents for the none3 t 50
directl" to a couritv and I'm sure I could find one that would be
nleesed to receive your donations. Cf course, you would have

to allot the nonev, but I'd be verv happy to take cere of this for
you...I could bring the p: pers up to 3ou tomorrow. Jill th at be all

‘1 .Lr—rht?

LCRIHI ‘A
(Crosses up left center.)
Yes, yes...anything "ou 53y I'll be expecting you again tomorrow.
AQUATZLIU
(Ilisin; r Crosses up to Lfilvfil.)
I think this is a “onderful thing 10 you to do, Kiss Spencer. "here
should oe more fine peonle lik eyou in the world.

127

DQTgR
(Cr sses to door. )
Yes, Fis ience I...tnis is a fine gesture. He'll be up to see you,

s S:
‘ t ten—thirty.

C7I DA

(Trying to hurry them out.)
yes. 0 o otl’lpt I'Iill’ be fille.

PETIR
I \
(Unbolting the door.)
You will be sure to let us in now, won't you?

LOIITDA
Yes, of cou“se, I will......Goodhye to you.
LY".“ ILLi
Coodbve, Kiss Lorinda. ltI Izss seen a real pleasure talking to you.
You're a wonderful person.

P3? ECR Opens the door and as he does
so CcLT3IlC”T rushes in. He goes past
PQTLm and down left.)

LII-3R
("alkingz after ”f1':‘”:"'3;:1‘.)

Here.....here....where are vou sciwij Kr. Courtright?

COTITZIT
Never you mind....I have a few'thi ngS to sa 3 to Miss Lorinda end I'll
ask you to sta7 out of it this thI l

1'1'11‘71
-LJP \.

But there is no need to 597 anything to her now; evervthing is all

Yr,

settled. I know I Iiss Lor us doesn't w1ish to see 7ou.

C(x'fT1fi1I/1vr1
(Surprised. )
All settled? What do vou mean?

PTTLR
Liss 3Iencer Izas decided to send the nonev to some chs‘itshle institu-
tion. And I'm sure I can take care of this for her. Now, if you will

come with me we can work out the details together...th3t is, if Miss

Spencer still wishes you to handle her affpj irs after the wgv vou
acted today....l'm sure I wouldn't blame he rif she were to find some—

one else.

CCURTT “HT
(Pause.)
Hr. Hurray, you're a fool. She had you devise some way so she wouldn't
have a thin; to do with those checks, didn‘t sne?

128

9"

AA...)
”1 ,1 V 1 -.1...J- 3" J.‘ ,. -n C'- -2 .L 7‘. ,1 -,',.,. 1, -‘, q ,1 .-
uny, yes, but wise Oi ti t; one JUSh MOCQQ't uloh to as hotIeIeu is

£711-. 0 o 0

717—1?" 7“"!
\JCLS'. .1.. Iii.

31 So, by playing the hart of an innocent old lady,
ike she has everyone else.

Is

4

Y

ceived you

(2.
(D

,1)

U:

H)»

A7 'I 'I‘IBIILE
(Crosses down left.)
She hssn 't deceived us. She's just afraid of the world that exists
outside these rooms and she's loci :ed the world out for tI"t re?son.

J

"\T ”1?”. '_ :4“..ch V f“?
Miss Snencer is not afraid of the world, nor any of the peonle in i-t.
he' s airaid of? Idrself.....If you're such snlert ls 7er, have you

s
found out why she refuses to sign th ose cmlIccs?

(Crossinf down right fr on behind sofa. )e
IIéIIe hirl ]e(A‘J(1.....0-Le 1":1". IIUI‘I‘IIroooooonle' S

COURT;MI -£T

Don't worry....I'll get OLt of eIe as soon as I have had my say...
(To LORIEDA.)

I've tried to protect 70u.....Tried to shield you from these peOple but

now I'm through: Now, I wa.nt to tall: and you won't stop me!

LC’: ..III. '3‘.L
( Dleading to r‘TJT.)
Get him out of here......Get him out of hero, I s 7....

”/111'771'1‘7‘12 r'n
'v'uI ML LJ 3.11.

(”slid M.g toward LC:I"LL.)
You.....givin; money to a charitable institution - you'd give it to
anyone as long as gnu d dn't hcve to touch it, wouldn't you?.....You -

th 's a laugh, n 't it, Miss Lorinds?

(He laughs at I‘er - s Jacks sws7 on him
Yes, Ukmfls a lmi h..I cezise the hauflin
sninster turns over thousands to the poor.”

(He laughs again.) '
Why, you‘ll be a hero, won 't you? Do you think you can clear your
conscience b7 makin: uch s feslure? Do you think that 7ou can set
rid of your haunts and fezrs this eesil7? Ch, yes, you'll rid 7our-
self of the Chocks thst Iw ve becn co 31in; to haunt you, but that won't
do it, Liss Lortnci...."ou ll still is haunted hy what you have done.
You'll never escnne....levcr....fiot as long rs I'm alive. Tow you'll
sta rt worrving snout 18 &:nd w? I :now....You'll worry more than when
you thought no one Itnew you.r secret......3ut now I know, too...

giVing money to the poor —
O

s now...."3ccentric

(D H) P
"S 07

LFIhTT’IFJ‘
(v‘Ic‘inr a way froI him 8nd SIIIir” _ nto the chair rijht.)
ho. ho! 1W0 Please leave me alon e.

129

(lustin; over to CCCLELIETI.)
ugot are you d01r; - irirhtening Kiss 5 :c: cer li1:e tr1s?
C“TZ?3'IiI§T
1 f‘ r“ r " 9‘ J’ “ . -A r- f‘ r T A f‘ I'D l :1 ‘ I v
Ask :er Thheb I'3 bulkluti Jout....As1 ner why - e' s CIrqu to have we
talk and why he tried to bribe me 7ester 46

s;‘
day to en ie qu; ct...

(Very intense.)
Don't 7ou b:-21ieve a thing he's
(She $115 toiwa‘fe t
Ill tell you that it :is...Yes, I'll tell you....He's tr7inj to black-
m'. il:1e....Don' t 7ou underst"nu —tret's wh'.t he is trfinj to do?
He war ted that znone7 for hjus l], and now that we're goinr to give
it to a worthy cause, he's not going to get it........Help

me, Hr.
hurray.....Don‘t let him do tiis to Me.

“1'171'V.

11.11 .1;L

So tiet 's w: u-t it is.....Tnet's whv 7ou we e so secretive concerning
Kiss Spencer.

Yes, yes - that '5 why!

10'; ._JTLIi
I didn't exuect this of you, Uourtright. I can see wh7 you wouldn't

tell me 1he tyou knew - you were afraid I would suSpect SO“€thTfi”

..... Q“ o o
CCIII:: [:1-;I‘:T::.L "1
(Turning to PSTJR.
That's not true....You demm fool, let me finish what I have to 527‘

AJ‘.
PDTLR
You thought 7011 had a perfe ect set—up didn't you? An old lady liming
alone in a hotel roou....l' m sure the police woul d eiqterested, Hr.
Courtright. Elachmcil is a fretty tough ran in this state.

f‘rV 'r-yVfi'. ‘1‘;
{,1 T

Yes, 733: thwt '5 Fif”t - CEll the uolice. Go (he‘d, cell the police.
'm sure Kiss Lorinda tMOIld like th t. Do vou Lent then to call
the police, Kiss Lorinde?.....Go on, tell t1me1....
(PE se. LOCITD! sta: es et CCYLJZITLT.

Tell the3 to cell the police, miss Lorinda....or are you afraid to?

l)

D1377"?
.L .4 L 3.1.. “s.

what about it - shell I call the police
(lie palses e.nd_ LC ‘I"UA fiill st ares at tncu.)
AnneWJell go out and send Lor U e nolice....Th3re's a house hhone near

the elevator.
(LKY'T'LLU starts for the door.)

130

I.» m.L DA
No.....Ko.....You can't do thet....
She runs to the coor end oolua it, then
nands eeloss ‘t to reeo A ;;L LL from to

'- pl
‘. V "n - V
O

a. _|_Oi‘f‘1 ~ . all S

(1‘

n \1"‘_‘.TT‘I“_:'7'{"TTFT‘.
\JC ..-_‘......LL‘- J.

(Cr ass: 5 do*.n ri ‘ht.)
Now, will you be quiet anl listen to me?

‘. :.,." 1..- .1. ,. ,' .-. ,- in _ n A- '7‘ . ' h- \ . -1 “.r- 4.1:
hll rignL,1>ut Sucre tdlhlfi; and bulk f ou. i‘ve had ENDLI:Q oi unis
EOing eround in Circles!

1.07 77—.- T‘I‘L'Tt’jif’?
(Verv calmlv.)

I'll tell Tau what I know, I promise, but first you mus

1nfioelle leave I'd rat er she d dn‘t hear what I E

:""fin J13
(Vergr surprised. Crosses down center.)
I leave? 'uhat ha ve I got to uo with this, Lr. Courtrignt?
(Pause. )
Or are you join3 to te l something thgt MLlfihb answer mv cuestions?
( CEILDA looks verv s'rm s cxly at arrnng IE.)

C. v

c: r~~1r~ AMT
AJL b‘.\—‘_A.

(Very gently.)
I won't tell you, Annabelle....I'm asking you, ves, e

ve
to leave. Believe me, it's for your oxn 1'fjiness. PlcPse,‘tuxe
my ‘;ord for it and go.

v ‘4

r, ..., .. ,7.qu
{L A .'L- ,. ._L..'_..I.J

(Coming over to CCTLTII? I.
No. I won't go out of here. I :avc P righ' o hear that you have to
va. If vou are voing to tell sou 'hin" that concerns me, I wrst
J ' ,- "3 C O ‘

e
know.....I've been 11 icin. Pr: to find out 3

\J

n ,.v~—_-_. "If-T‘s“ v__ 11
va, -I.-.-.--. .1. .L

Pyfixi.)
It'9 for "our 500d, too; if fou love ner, make

' l

( Jequ': mica
Please, make ner 50....
her leave thi mouent.

37'11‘.':o
¢ - J .L .lJJ K:

I.“ I“
(orosaes lo ft cente r.)
~Lq—...I,. 1" - ‘ ”v- -- - — - - 1‘ '--‘\ -"- r,~ I'd-1 n‘l,‘ I“ ,~. :w' I: . - rw 1
I bhmflA I “”0” hi” you want he do leuve, L1. Co 1 t — ~t gee some

connection 1it11 the conversation we Fed e couole of dafs 8:0.

ocr7T“Tfi7T

i,‘ .-w ,. v - ,' . w .. r -_h' J. ,- .1 * A ~ ,. fl. 1
yea it noeo - .ow Will you Oul_cV8 uflvt "u refill o~ oco lor ner

131

FIT-v -~-\7~«TT ."
. AWL- 1.1.4..”

d-
‘A‘ v.‘» -'s.- ‘
(:LL‘LbuJ-zzh, over to P ..1.,
T - ru. .L . 7-.- . , .. v,” .IL, ~, .. LL -
InO....Ln1, no! LAxL'L m2;xa.¢e ledV€3TNL.o LLuL: fll'u, L133- uh, 1%3Ler?

02-.., I ' 3" ‘1“.‘r 7.31 ..r. o 3
U'C-y, CKL'; J ‘JZLU' ’ ‘..-;.CLL\D(/. . . g

-
,1
u

U‘I‘j .fi

1 _1“ _.‘LL
(‘11-’71 '7‘ ’ FM ‘7 '3 1'N"“7" ‘ \
w- ‘V\.A,_c - with? (2.» ~/’:-l_x.)‘;../

‘ 3- - ..7, ”1. ,L- . 7‘ _
:1: 7‘. C1-l 'C .110” \‘L-q-Ju L10 3.; flOp'.’....f’€.-"1lc ‘S...

r)

g ‘3: I‘ '~‘ an~—1

f1;.w4 .L—17‘i AL.L.J

{“1 V _I .- _- _L n,-q~~-» .1.— .I‘Y' m \
(.-.-(3,133 _ LJO J; __ “L L14.” 7.)

. 7 7., , . .L‘ -. r . - _ T-
You no “now 3 ”CUHLN. mDOML ,

x.) 3

don't you?

\Y")""| 'W‘fi‘l'rfl
U .1.

.uL.» “I.-.

1343....765, Iwr Laar, I (k3.....fuui I prwx;?se tc>qull_‘1'4 so .fJ; e.

‘_,-.,~-~
J. .J l. .I.J. ..

z-ter Ir. unrur‘“LL will tclk to ynu.

“U
(I)
’1
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..4
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\.
C’)
\o
H
1‘ \
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1*)
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kl
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...]

u ‘vuv. ""l' T ..7.‘

.‘-__ I; ...;Aig

’T V~ -’ J.- 1 Av '- A o I) ‘ ~ '- ‘*- VP .r- 7 ‘ - ,‘v‘
no. LOW. I hewp U0 gnou uow.....Ple an! I'Lu ELL,OJ so loq .

“i vm'rp

,. ,. _ ,:.:-, -.,- 3.. .‘ J- ..H ..7. ”~77. . . -
earn sonanLwc, pull, JJJ-L,-_L .L.LL¢j-LLL.WQI.

fl" T"_"'1 ‘7‘,"7'" *1
1 I
\JMH\~-4-.J.V.—--LJLL.

Pleadifir to
Mo ‘11 tall He, won't you?

It IL’LI'L'i-‘E'it not be 6mm I t to fiery,

'fi‘JLfl ..s. ,- n,
(gins c: t, c-OI LL.
. - J- . -;‘-7. ~ 1 - .1 r - 0v- \ 1. a‘ ~r,‘ ’- - ~ 1 " ~— - L r 1. ’- t~ . -- - "- '2 ~~ r-
1 'LL HULL (4-; $171.1.d. 2L9. cat, - LJLL 11a.» 7:: to Lbll LLC 11f:«V!::1/‘ 0.11 L)“. 5:, LCI'T'Jrvwa-Y ,ufi
,L ,- _-._ _m. ,7. ,- . - .' ., _- . .--: - 4.
Cf. cell {Alcoa 86135; 7,1 -Lnk,1‘..'ll«c;.: (“wt-in- - " ‘~"-— "JV-7‘“ {iiifl-'--1-LL 5nd Ur,"~‘~fl_ L10

_7-7 ~ .-.-, _n .- .,..-_.'..
Gee to; eLn;r smHII aluS 0L Inf0“4LuLon.

7-.
cf-

- - .' .. ‘n - . .L. 3- 97- . ,-‘ ,L ’1 ‘ - .. 1 ..
I'fl Lorri IL thu Ls LrLe, “fin Tulle. eLLsVC me uned I fc—ll fmu
,\ .L _._L. ,1 v _ - ‘, F. J ‘3 . “" -L r. ’- ~_ - .. -. ’-
ILL .11 't Lea-IL, t L 1: SAUL-”‘2 CALI-:er. Ib 1'.”th :01" 50111" 01-31 h? 131.1638

that you were nu ever told.

' 'I ..~ V“ 77-. r ”*V
.H- 1. A“. .- AIJI‘OL'I
r: :‘ "'"‘7‘.' I r 7 -' ,- ‘. 7. I, "- ' f "”3 H“ 7 *1
(Lk,a’-..1.;..'J/1 SUCK/LLB L1 “ac-”.- 0.1. I; ; 1'. II. “1.10)
'4. ,,. 1,7 l -r _- L... _- - .v.‘ 7 , , ...
1 b you SCH I never Ll] oc . 3L u :w7 Anvil I anon Lho I an.

' . . ,‘L n. _, ‘,l r. ,. _ - '. ..".
Ber fillint VOL]. LL";- 1V (‘3 ..C‘. JD .1. ELM"; I18 - -' *-

“rvsm«~~vfi
v.5. _‘.I-,_L‘.7-.' l
I don't want to tell you, Annabelle.

.97.-- ._‘
u

"T "T
«L;

. . -.,_-~ -' '1
Slit; 'jvlbl 1.11-4.0 o o o
."1 l7'“’1"‘,""\ 5'1
QC; .'L_..=_J T -
- [-1—*~ V ’1 ‘7'“! I-\' ”V n - ‘ ‘,‘-—- l ‘1 17‘ '
(Looksat L5.--Jn, nhO (“avers ”.0” d :er ”-1 ere
1' rs -* r I ~-.«- - LIN ‘ w" \
crosses and stends oeh ed tug role.,

I“ 1" ‘ '.Y Al, n1-
.T. ("JL' 14104.0 0
I
... ‘ r~~ - --- Va.- — ~7.
IL 1.;1. £414.14“;
r-‘ - . f!- ‘
(\J Cl-‘Ur (I‘:C_'. JC) 0)
w .1 V . h. ' - .. l‘, 7-, . - ‘ ..1.
I as - I we. IOU kne; RV l;.tl* - “do we: mere — gl t
L,
*r\ ‘ J‘T‘fiY' j'f‘ff‘)”: ‘ ‘.11r!“".1-\"Q
ba’,;.ere UILC_' ,J_-.-‘J';I-L _ Gil-(.1, u-1_L. :‘ .

CF““““’“HT

‘- ' ...L\-i.-

_\ ..A.

Yes...I knew all about

A. 1
,

Then, tell LO, ;lees—

‘."Y"."1Y“‘T‘/"Z' 'm
e -1. ;- -.1.\-r.= ' I.

C)
,5

Yes, I knew your lrwily5 AHJ?bClle - very well.
'V‘““,T I \
(To L014; 1TH.)

.' w-r r " " r“ 1 ‘~ ' ' 1 1“ n
Perness no one “new teem wettel then I.

[;T“’7£L:ETJIJIJEZ
Are they still

\ -L k
(Pause.)
Thev left tnis Merle, as *du cnfi I know It, snortlv

{‘

‘ "'7' ". ‘3' 3:1
‘1 l le.‘ l]_l'~;
m1 3 I 1 r, f) _v o I- ‘1 3- '\ _._ _o “(‘0
iflbn neve no llVlng lblibiVCu;
,o1/\""". "'1' I”"‘ 77:1
kJ‘- V- HAILu‘Q;
1r ' .‘ J. «r-v V 1 ,‘J.
IOU mlgnu sz tch.
I? “"‘ V\ v T - ‘
:L‘.- .X __ 11.1.4411
m“ .I r7 -4. m, 1‘- 7:- a , ' n
lell A; Queue LM- . ‘zere alt tge; llVe:

r1 ‘. ‘W V"“" n ‘ "‘1
L} t .. -. ei'yt, . J.
"‘z' 'I I f ' t ’1'?’ \
Lj—‘LS .1". C -' -.-I" Y‘LL‘. u.)
r, ' °‘ ,, V" 1.. 2. r. _ I.— "o I ‘ ”A PT. , , ..n
here in *eu . rl la n v:“g UULNU_th no e. IMe} here peonle Ol ;
MW. ripewj e 9.7,”, ‘7,“ Cl '\ «11-. ..-..._.,,(7 ‘r‘fit. «.41. . M p .p .1.}-,O {"."'€“
Allfi‘lL' J ......L. _ .1.“ v A \IU ’_ \4. ._K A lC-..—'.__L U.-K; ‘ x) Gnu C— J‘;-_, J..L?'
1. n” .- - a .L‘,‘ ‘.-' -.. ,.,:_ .. - . 1', Gt V‘J. ' 1,? ‘ u-
I “7781f - he VICD CL“? CL U ‘C (ulxcL‘d/L‘U E (.11 Zn .11-1']. LJUIVJBU .1.—n 3.1-5 Cliff.
ATV-r? I -‘ . J'- 1,1 v ‘0 o -" firfi ‘, — ~‘l ‘. —< 'L I“ .. . no
(Leglheam grits tuua‘bpcx o; {Ale solt.vww3*e sue ls sn,rnlln5

\
Center.)

132

't?

efter ycu were

efilqs’

t persons

11*)

'\5
s

133

rné' ' '3 :7 L';‘-
at. _ .o-L .....ww‘ ...—J

>7 -4
(L
U)

dead, too?

n pr 7“) "17“ IH‘ 11
Kl‘v L.-'..L.A IL.

(Looks at LCPITDA. )
Yes, he died yeers ago. You would have JOVQCI M 1, I know - he was
jolly and even though your grandmother had oied m'nv vefrs before,

he live d his life with a soiri.t I Isve tries to 7"te I would

have liked to LEVe been such a men as was your grsnofsther, Annabelle.

'I’ITAF‘ J 'JI_ ICE
'

But ho: is it t1e t you know all of these thix 3? Do VH1....hClonx to

CA“? T ‘11:):

Lo, my dear, I don't.
9-“.- C A. ‘ —.1 .1 ‘ fix ’1’. ”1' “
(ulSiu , CLUSSGQ llgflt Center. )

ATTEFEIIE
Still 7ou knOW'so much about we - you even knew Peter E
be married.

-d I are to

I

an 1'1“T

U»;

ves, I've knotn eW rth . o5 you did since you were a smell cLilo.

.L

AVVA?JLLE
But how could you?

LF’T‘TTFT}TT
Because of a oromise I H ede to vour grandfather just before he died.

‘""K ELIE
A promise?

0‘1 ‘1,"““.‘ ‘7”?

,v-._../....J .' ..

Yes. I save my word to;your gr d1ofather th:t if anything happened to

C)

rim I would look after you.

AYTKBTLLE
Then you have been the unknown person in my life...?

Av'f— '711-)‘r'(‘|,- rrn

n‘
o \ L141 _ ‘41-: '.
PerhéIps you Might call me that....

AITIETLLE
And you have kept your plucmse - oh, you ve -

CCLVSIIG’M
It vesn' t only the promise, annebelle - oerhsos at first I cared for

“Du onl“ because of;: y ool_ to your grandf Lither, but soon I
‘ourd v'self doing things for you bocsuse of the fine hereon you are.

AT- " 'A 3211.3
(Cros sses to CIC 7 TTI”‘T.)
It was you the11 who took care of me, looked eft’
se11t me tr rough collzge - paid for all of those things?
vns Tnnm

I g

C wlleL‘I7.’ a...
Yes, I hope I've helped, my deer.

_ I .51. £lele
Oh, Mr. Courtright, how can I ever thank you enough.

5‘-

And I wont to Join in unoeov ‘hs, sir. eslzel]

L]
grateful to you for whet you 've do

CCIJIJTKIT :72"?

No need for that. I have been T811 d a thousand t ..... "es b0
5;row u;_; to see you as you are tod;§ hfis been 11y rex rd.

bo' more gproud of you if you were 3y own d€1rt'hter.

RITASILLE
(Slowly.)
But, I'm not, an I?

mm“ 1:» _TTTIQI T
U\. \- I N}..-

Iot what, Riv dea r?

AFThRElLB
Not your daughter ~ you're not my father.
CCL’ITTRIZIET
No, I'm sorry — I'm not your father, although I'd like to

‘"7L7'lLs
(Sits at sofa.)
You knew hi3? unet 8 he like?
."*“T 1:131 m
T o 1:. 7' x. fir J: u ‘1' lilf -.:_I‘L_ L; I-) V. 0
I0 I didn't Pno1 h I knew h11, *h ugh
. Alfifllr) ;TIJJ_J
Yes....
CCURTRIGHT

(Also sits on sofa.)

13h

a .ll'JECfS be

watch you
I couldn't

lie.

Your father was a hero, my dear. He gave kiis life lor his country
(30-1

before you were born — he was kill
(LORINDA is bewildered.)

He never saw A111 belle then?

in France in the first Jorld War.

135

1 ° n

i
No. He never saw his deuj ter. I'm sure he would be please; II he

could see her today.

ATYABELLE
(Velj'h f.:11v. )
But my mother, Hr. Courtright — you haven't told 1e about

I

.IGI‘.

DRURRRIflKT
. I .
ho - no - I hrven t neve I?

3
(He looks at LC? IIDA. She is steu1lng e.t hir3 due crosses
right behind deVenport.)

J

AITARXILL
Tell me — I know I have thought about her more than anyone else.

COURTRIGHT
Yes, I suppose a girl would na urally think first of her nether.

"RIDALLD
I wondered so often that she was like

(Rising.)
What did you want her to be like, Annabelle?

(Slouly.)

I'm not sure — why do you ssh?

CC‘va-rv m m T
Have you ever pictured your mother? Has she been someone reel to you?

AWYARRLIS
Oh, yes, yes. She has. I've dreamed of soueone.....

Cpl Trln 1:11:71?

Who was she?

A IVA '3,L7LL_.
(In a verv soft, subdued way she sue ;s:s -
is dreaming — seeing so1eon: in e f.1t“"r.)
I'm not sure who she st. Probably the sum total of all the mothers
I've known. The best in each of them put together to 11leke one nerson.

V

(I1

-'- f ,- J ‘fl fl ‘
.lJOSb LC ii she

CofliRICEI
Yes. She must be wonderful.

A1'AquLZ
Oh, she is - she's kind, and beautiful. I think I've 1€ssed her on the
street a number of times. Often I've stopped and looked at herf ace.
I've seen her in the street car, the subwrv, shopping in the stores.
I've prayed that someday I Hil“ht find11er.

'(_)

136

:1? PEG!“ i

L
(Sits again at sol..)
She seems like someone elie

<‘,

end near‘t jwm?

J’"Tfi -P LLB
Yes. And still, I've e.lweys thou ht t_i:t rzy real riother must be deed.
I know if she were alive she never would have let me be so lonel 7

CC TI . IJIT
But, Annabelle, if your real mother werer1t all t21e2e L1*H~“ you
hoped her to be?

TJIYCJIJII
r. COLIrtrL ht?

9‘
..

What do you mean, I

L1()1r:‘£11‘-IF;I{T
Did you ever ‘hinh that this picture you hsve drawn might not be
accurate?

le’flfixIEZIIJIJIS
Yes - that's why I have been so afraid — tLa"s why I have had to
u

f‘ "‘ W‘T‘Iffl:: II!

l‘lL-Ld L

You‘ve been Hf? io? Why, Anneoelle?

f.'?':13 ZIJLZJ
(LO‘ITD D’ walks slowlv to door right during this sneech. )
I don't know. I‘ ve we inted to learn everything and yet - vet some times
I've been afraid, too. Sometimes I' ve felt there was sozethine evil
following me wherever I go. So lethi no sinister lurking in the shadows
of mv family. Perhaos that's why I have fashioned a mother who could
only 0"“ st in my mind.

Try-yr!“

Ade-lli‘v
- . ‘I‘I‘I’u‘o‘ TI‘
' , A I
ffi-C Y1" A‘Li .' J‘L'J' JL'LJO

i;
J
fear that has kept us from being married.

CO" RTEIC HI
I see. And this mother of YQUIS, she was your ideal....

A: T: .'.="..::- .1 :JLI
Yes, I've tried to live mv life as I inagined she had lived.

(RisL-ig, turning to 5.3;" AB fills.)
Annabelle, you didn't expect to find anyone in real life like the
mother of your dream.
-217371713II13
(LORITDA is at the door watching ALTABLLIL.)
I'm not sure......

137

("in- Y'fi -,r1-— "V‘.'1:-‘r~v1

dyx'g... .L-':..Lvi-.i
But lf she weren't like her - your real mother, I mean — what teen?

III ”I YSLIIJE
I don't know - I don‘t know1

n .Y'_‘)r'1‘r\"*‘f§7‘1
VCL -11.“: L‘ l

(W 1.1.0 klI. )
uOUld it make wn difference?

LYVLJ.L*9
How can I answer vour ouest ' ion, Mr. Courtright?

CCURTRIGHT
But what would you do if I told you your dreams Could never come true?

. ‘TTALZI'”
Ple ese don' ttorture me like this. Rll we — tell me about my mother.
hast difference does it make what I would do - how I would feel? I
ieve to know - Tell me please.

(As ATT.5 LLB ste rte this S\eecn
LCITI "D47. disep _oee

rs into hc r bedroom
dorm “L h C“ sloxly closes the moor.
“‘ 3 anv of the Characters

[AVme‘fil~‘a‘VV-m

L I} -1.. Lik". J.

l a '- r . r-
('L er a fauoe.)
‘ -— ‘ V‘\-v F P ". p p. - - A v- I.“ c - VFW! -\ ‘ (~ I 1 . p rv 'L ‘1
L; veer, My d-cr — ii ,ou only finer Vudt you ere oSfllfib me to co!

.1..

But I have a ight to know - you have h At these th7n;s from me all
these ye.re - w9en't that SUle ie 1t? fire you going to build up all
m; hop es and CHL]Cl"thN and 3 ill leave me knowing only a little
more Llien I did before?

”orntruxvzr

But I've told you aDOIt vour fc‘ll" I‘ve assured ygu that your

family was one of the best. ”met more can you 25x:

7.7 TL? JLLE
Tell me about my mother - that‘s what I went to know!

C-"‘\1' *- "n”‘V‘ wvm

VL.I,L.;.L2T_.' .L
(Slowly.)
NOuld it help if I told you I loved your mother once?
AZTETATTL.’ LIE
You were in love with mv Lother?

‘ 'rc'nc'T “r -r”1
C‘: vulni‘fi J.

Yes, I loved her. Reed I tell Tau more?

138

ATYAEELLE
Oh, yes, yes! I must know everything ab,ut her - everythim And
you can tell ne.....

Tfii'm'r" "1
C(Tm . ...!(’7‘_L

\—

(Slowly.)

Io...I can't make that choice, my dear. Chet decisi01does not belong
to (tn-SI: 1:83...

to me. If you must know about your mother, you‘ll hev e
(He turns to where LCZIIDA was standing out sF e
there.)

Lorinda — 'Fere are you?

(He sterts toward the door down right.)

Lorinda, Lorinda.

(He has taken a stea or two then a shot is heard off right.)

is no longer

(coccrmIo T stops, he looks at A in? 113
and P TEE who stand frozen. Th en C KET-
I.IJHT rushe into the oe_1r001 Pl“fl3
runs to the door dovn right. ATTAEZLLE
follows. PJTJR looks in and then turns
and stops ATTAB T E.)

j“ _)
iJ—J.“ ‘LLL'n

(Turning AVIABLLLL around ant. lerJ'M3 her centtr
Ho....Uol Don't look in there. Quickl; - Go out and col

L4 (F)

A‘.,“*".?~."\ 7‘ ‘ J n . r. -. ..., .. ,. . "
(AIroooLLu neslteteo a modent end tnen
goes to toe door uo left. She seeus

' J- . . a J .'. - _ .
e.'b3_o 02;.-ul\.oI cal .o sl.e LL;I? s LilCi

fl” “‘1 vrfi 1 r L ‘_: ’-
lQCGS l)..l._a;'(. FRO is 'W_ UCILLPL’; 1101“.)
-,-- ..-
pd}. .LLL
'T“ ‘ ' F ..11 , pin ' 0 ~ \
flurry, non, Annooellel bu'll l u ohone 1n tne hallrsv.

1

ATIAEQLLE tries1 to Open the door but sue cannot oecause of
the bolt.)

n.5,. ': -f‘XT 7‘ 214111.:
I can't oven the door.....

37“"! 1D

...1.

It's oolt ted, Annabelle - unlock it.

J

(EEWEE unlocks the door for her.

A 1&:.tld goes out. PETE? closes the
door and wzJ_ks to the door down right
and is about to erter as OVER? IGVT

comes out, and slowly closes the door.)

CCYIleG'T
It’s no use, Mr. Murray - she's deul.
(He w:lks slowly scross to stege right. PITJZ stands watch-
ing nim. Su denly 1e tu Us and feces PETJE.
You knew, didn't you!

139

1""‘F'15‘T‘3
J. -1 ...-Jim

3 ",HJ. 1.. J

m‘- ,- I, -. '1“ . .‘~- ‘ r..', .‘ ‘ .‘ - - v I\ - Q.- .. F‘x
-LhLb Sle huS ANIMWJClle'S “ LLLL- .? Is “alIVL«,u Sou Jeub?

nr"7‘f‘."“7‘*;"f.”"
UK » 4 4L. ".L‘..~ _ -

T")T"'1',""
.L ,-J.L ..L

:es...\_e.3....I 135:1“ soy sure.
(1074:1188. .)

1 0 S 1 V O u
. .I F‘ .3 _ 0";
I

' ale. sue LL10 -LL

.‘

Tsat‘s a questian I Cinnst answer.

(Pause.)
We Imu t never tell 1"H”“Lll m} she was...
(3 03.3 x)v;rd 3:331.)

‘--~—1 r111 1“)
A .1.—J .1. ._Jcl. L

It would be better not to, I agree.

.‘1r3*"’\",1‘3"[‘("1"r'1
Lia. 1. -'. ;II.J.\J..
~~1 n'x \

(Crosses right to P333u.,
You’ve got to help we, son.

YD—V'I P\
A J—JL‘L»
I will, Sir; I'll do all I can, you knOL that
1 _ ° l-
U

hula iwusrclle° she's been hurt enou :1 as 1

v . L J- ,. ....L" '
I Iaon'c lec can using

K

*1. .
(J)
O

('1' LTY‘rnvt‘V‘fllr'ym
\J‘...’ ..L‘

1

r 7 3 foOWow _ .
leSQQQQSALC 'NUSt never .L_L-.'.‘~L LLLJQ

3""! '1 . , ,.. A . _' ‘ . I
(L LAJsLLs e.ters culckly arm c0.es
fl '— 0‘ 'v | ~- -- -r w r". L‘Y-——1 'h 7 r1 “'fl“*"~‘fi
dOl'y—l'io Ll’.‘._'__ E UU‘Hc- I“). 3--) - 4.1. (f- ..L C I -| L _ .. 1 L I

who steed wctching her.)
I called a doctor.

mo"1 3, )
L!

O
’1' ... .'. .... ‘
la b uOO lace, Ht Mb€lleo

(Crosses to center.)
m . ‘. _
#4183, SHU‘Sooooo?
PET”;

Yes, she's dead.

(ATTAESTlIE tdlns and slowlv w€l£s
3

love seat and is scatec. 31;; 0

303::u:3:: follow her.)

140

””7”" v1“ 'r‘vvufi
U\"- 1‘4...‘L¢.h_<.-.l.

‘
w

‘1 . "l " l " ~ > ‘1‘ A - '. \ \ - ‘~ I I“
1111;; 11~1s t~e (:31 a, s:1c>c:. UL) ,ga,:., ; 3' ..ev I‘.
I~~$vI ‘ va ’—
‘k- AL_ JL‘Q

Tr a~.— - “4—“! ...
(‘1 el L301. L;_LU' o)
0‘. , V -, .‘I :1“... v- ... . .1 . 1).. 3 J.
quC'S OCH-.1.. o 0 CI .LULUld .‘LEl C-II'J. Ilk)".r 5...; u.) mun-L o

”CFO .1. ‘LA'IH‘ -s'CI‘o coco-
A"TA?3LLE
1:7 1x>t1 L; .. .CEI, I: hrlozr sfle 13f;3. Zlorx't trfi' {mo ‘teflgl .ie (LLIZ?CIN131;I;'.
;JTKTYIQI Ki? £31d :3? :1 3333 s neectjl;s:.. [J'TA;ITIIQJ pRLHBGS etid
then looks 3t C5”TTIIVI7.)
She wss mgr. oti r, warn‘t she? You ?oou, Yr. CmJErtr-jht.

not?“ ""57"" *"n
, , 1-

‘.,Ig. '..._-'..L' -
l 'n - I" x- ,-. r- w
(.1111‘3‘11 C1- 3-0 1'” p'.- -130 o)
‘r -< n‘-. ’1‘ ‘ ' ~‘.-~ .-\-1' ur ‘ ~r~11>~ .«' -/.
les, AflNabUlle - Llss lorurmalwum;;<31r. 0» er.

' ’ V r" \ ‘V ‘1'“ -' '7 ‘1 r ' _.r‘
h'-E " 21.5) ILA.) 17' "y )L1 “J ““1 L) ‘31. 11C to 3_ Jr V6 0

t' It

|L_' .

3
I
-—L.

You knew all the t

(Slovly.)

l‘.”""\' 'T-T“
11....‘1 ..JJ‘JLJLJ

" .. 4-... 3' .; . ‘. 4..“ 0t. , J- . - 3 -. 1 .3 .--- )1.
out hJJ old sxe CO -tr one must LHVC known I Mao u 3r d. lter. one
1
0

r1 ~ '1", T-"P‘ '1‘1
u‘r. LIL; -_L‘ Lil

r rm 1" A! 3 . .7' ..rm 1,

Tzes. I'chwlre £31e t1<l. Ihlt :nLe Lufiul'u .lw1t ¢KNJ to gdiOW}
n”f “ILLS

n A _‘ fl ,1. AI\""‘ ‘*"T'£v’v""
(UI‘ODbeL’) DO C\_/- ..‘.:1‘-_..‘ 1 L1.)
tfi._ * ‘2 ‘7, 1,. 3
“my? way? sou “now, don't rou?

Yes, I know.

_I -- -- h~w~r 7 ~71
2i . “hull LL;
Then tell me.

n ~vyvj .1“"f‘qur¢1
\Jx.‘ ILL. _ALp—L"4L.«L

Crorses to door ri ht.)
‘T A I“ r r—.—. - r. - v to ‘-~ “ '1 n‘.‘ (‘ ’. I“ ' " 1" r' I“;
LO, Ann.oelle- I toll on thgt w.s LB? bJo-ulun to NVAC, not llne.
‘ -‘: ‘1‘. ~ r: 7‘1" . ‘ ‘- ' fl‘. " . 1‘ ". 1 'vy“ ' qr " ‘ ". V
“lss Loiln a Luxua. er declelon. Sxe o»on't vkl&;‘<m3 to Anon...1

 

.‘V‘Fl'fi-I‘L r1
“_-ZL )3 ..-L.)

n a“ Q r l
- r — In
.1 LiK3\.. I 1..I_-~C_) fit:

,_.
(‘3

I ‘F ~~~ v_‘( I —' -~<- I \'
In": (_L: o o o .J- » J1;.)U;1€I‘ THICLL‘JL t A

5“
L.
U)
U)
[—4
O
H

J
1?
O
O
O
O
O
D I
l ‘ .
l
U]
m
H o

141

’. ‘ " —' ’ "~ ‘L rs " "I‘\' r“ ’1 '5 I ' '~ ’.\ r~' ' '. .
Chile but one stn't mailiuuo...indE'o true, lsn't ;t?

nrvv w :1fi'rc1r"m
D'-1-'--.-_.{JiI.L

(Slow v .)

IJ‘ '* 1"r " -. r -. ". 1*1‘. " ‘3
Yes, lu'o true sue wee never dullitflo

Then that was her reason for couidc here to live alone ell thes years.
She was ashamed - he con 1 hi't face ner Ither - oer friends knowing
she was an unwefi xother.

(Crosses to CQM3 TELEUT.
That was way she came here to live.... Sh~

‘ e had no otger reason for
lir in“ like this. Io other re sow Ir. Courtright?
(Hero '8 a ‘e' 3‘ 8rd ("TUTTIUT turns ever.)
Nhy don' t you answer qe?

CT? T~~1-a-1-n~v n
‘...L, ---L '

(Slowly turns anc1feces fiiYITJLLU.)
one had no ot er reason for com! io; here to l

!-J.

ve, AN _1fl)elle.

.~—uv-Q .‘~‘ ‘
1. T T

‘ l
.‘L, _..‘- -..: ,_ .1

Oh, if I could onlj have known before now — before t was too late.

How 45.113331 it must hes-w been living-j here — how long he years were...”

I could have helped her; it woulin‘t have made any oifference to me.
(She goes to PLTJ9.

‘
l L) ' L

We would have loved her jus t as muCA, wOll] L3_t we, Peter?

'
_‘
.J
J.

{1

W77?“

.LLJ... ‘1.) '1.
Tee, innabelle, we wouldb WV loved her, I'm sure.
r~~-'-,~ 7'1

-‘n‘ l.:‘..;/'; .LJJJ

(e011: to cc*:c::?"r )
T‘. ,. .1.... . .
out you knew d1 these unlu( - vcu were tdu only one. It was you

who kegtus anlrt - kept me from fin'di rg my tether.

‘u

C'LJTJT”T
No, Annabelle - you don't understand.

‘-vfi—IQ—‘ TT—l
‘ .
IL- .j..'k--"__£ .LJ‘J

Oh, don't I? You told me you loved my nether
have 3'ou;
revenge.

he woulin 't
1e loved so;eone else. And this is your way of ghoul},
1et's true, isn't it?
(Tne1e is a long oause. CCU;TTI””T does not answer her
question.)
I know it's true. It was you rho made 1% er soJTfer all mlese r are -
no“1og her secret and going no thir about it. But you wanted her
to suller, didn't you — to ory her back because of re! You got your
revenge....You kill e-d her....do :ou understand? 1 cu killed her the
same as if you 1w C1 fired the shot!

_ 1 _ "3. J-
QIICUO i)U.LJ 8

51
T-

rip

CCLT-HZ"T
Ho, Annabelle.

Avnvu -—~-

-X.‘ I 115_
(001.1. ems si e 10015
Yes, she sacrificed ever_ thiug

0
net I feared in my life r” no

t

a

b

t mv mother, bL Lt

1J1. T’IJE

.‘

r s ' -‘ ‘ Ma '2 v - ‘2 — "UL \
oward the 200. :0vn rIQLt. )
_- ..u - .. J. f
JLLQL to J‘ )U‘BC _.e. LITE? €Vll

I v'O'Ll .

1&2

(Pause, as sle looks at C'UITL G1T9.nd turns awzf fr03 him.)
Oh, God to think vou mi :vt have oeen my father.

" \

(She Qoes to PETuZ.)

Take me awev frorx he e, Peter, guieylri You have been very kind to
wait for m' and I'm no IOD'; er afrdld to marry you because I know my
mother - sHe was ? I dre 3 i her to be....I promise I'll Spend the
rest of my life :€llrg *0 f your patierce. It's you I we rt now -
nothizlg else. Let's lee 3, Peter. I can't stay here with him.
P3TER
Yes, Annabelle I‘ll help youl forQe t ttbt hrs i“jpened 'erel
(AUTAEgLLH and P3333 ouicxrf 50 t0 the
door to 1 :it. PATfR Opens it rod etlts
first. A‘-I“IIIJ stands a noment and
looks at CfUETiLEHT. Her look is of

(‘FY-_:
‘J\..\. .u-
Ov-v-n’o ....‘V.

4'- .'

......

I

"'3”

(Starts toward
f‘trlr‘."'i1)‘l'-?l]_ 6. o o o o .An‘labCIlel o o o o

..__

';:,It

' l
. 4-... .

utter contempt.

(‘5

,\
30/

_T

(He his t: on a fer stefs es . WI.I E exits and sls
He steps and stards lootinf at tHe door - then walls
and sljdes the bolt walks down cente er and sLLnoi. g
sofa, slowly sw~e.rs)
How well you have bolted your doors, Xiss Lori: cw
He slowly sinks into the so
stage left &n be he rd voic
is the room right Here, dost

CURTJXIU BLC

on“
J..L3_.J

tm1iqk you...." A loud reo i
the 300r up left. C“URTHIGU
in thought. "qld a poundir
on the door.

’ :- To '- fi .

..‘IJTI. .3 A‘LLLD 0

fl..-

LL”.

a

a

in

1

,”e door.
M10 over
flOI‘L) Of

D

Q'V"
..

1 as off
5. ”This
I.” ”Yes
heard on
is lost
is heard

143

PART III. ANALYSIS OF THE PROBLE’S IN COMPOSITION

1AA

Ex. ffitorolmrn

“sec" 0: A “larwrijnt to coule

L~o

Sonethir; must strike the
Within him a desire to crea.te a drgma. George Pierce F-zer at?
«J- P-‘F‘O-

‘v" 7‘ J- r~ ) I. r~ _ V . r- .qT-‘L l," : ~. I - " -' 1‘, -I- 1- /4 ,—. *1 -- r “‘
t;.¢'.'.u c1 Ole-fir Curl .Jtdrt 1F()i:1..10_)b C~rl.-L1L1.J.I.:'_’ (TILL _LIL p.38 p.-be.l.:.‘vt:‘ (1'.le

varied list found in _“3*‘c iecln "me, one me? read

:3.
._J I
U)
6
O

:N_.

‘0
*3
C
F _

L. . , . .. ...--. : :A.° .- ,. °.,,.- w ,L- w :
tfimt d ploy mtg have its or: 1, In ”A here incloert — hoteo In a

I
newspaper” “ It was from a feature story Vthi vooe'“eo in tne

niov A,

‘ _ ’ ' ._‘ — r-» r: n "\ .‘ 4- -L 1. ‘ f. r~' ‘\ “7‘ I.‘ I ‘1 ' V I . ' ’ ~.- '. 'fi
JGtPQlt nree rrtss thub tAe Ccrd iocc for tne JCJ -mog ”we L

”Her Lniverse - A Hotel Suite

I
k“ y—-e- . -- ‘ ."» -‘- I. / Y‘T' . , .- T - I ‘71-\ .\ j ‘2‘ {w l,— 0
UL .L: . n.) .1. -411, Le J1_|.J \.'. I . . 1 ..L. /--:'1 L1 31;) ’ \_.‘.

. ,‘ ,1 4; f‘ h .f‘ .I ' I -. “1‘1“: 1r ‘ ‘ ’
1‘ I‘d: LI ‘5: v-1.LC\.-V;O I ldJTlE; .a-‘..l"€
" V‘ ‘V “ ' ,. ,. 'r r. 1 ' $.,. ' " 4
-H 1”“ - Poe SEFAHyE Sale or non Merv POwBIS
,in 7.. J, . J. 1.1,... H - r. 1 "or ‘ ..
closeu Aer «oor b0 ole merld--cno 3K),LOO has

come to lijxt.

Since l?39 the Clfi Alce 11 130al Co., at
UC I‘RJItOIi, Pam, 118.3 been serzv‘iinff her dividend
CACCLZS due 1£163]? 51:? 632801,: ' “i; of an e tate.

Lies Powers, a gravi:f srinster v
the fishionetle Hotel 'A:ymour, has 5 eaoiss ly
refuaed to c.5h thew

Under a 1927 law, the State of Pennsylvania
has gone into court in an ef ort to get the morey
because it has been u_qcleL so Lor six veers.

ezoorters went to toe hotel. Thev w rted to

I
NP)r' .\

fL d out Hrv serene would turn down c),LOO. gut

1

I) (1‘

the ooo~s to Miss PONers' five—room s‘ite were
bolted.

Re.lp3' P. Iohak, mannfer of
Kalanction. 'Lhat's 729,0:0?
o oelieved to be worth 15 mi .

Kiss Powers hrgw't left the Hotel—-even for
welk--for th— last 15 veers. And for at least
four years, sh t he er sui e.

She wears t:e othes of the COS and awxnr‘etlv
she still live in the $03. She hes no radio.
She never reads a ne. $

0&1 7 four vis i-tors are fiermitted to cross the
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person wno nos LJCLFUJolf More money ugfln Sue Con EVUP snags, '07

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,he 9W r“”e CCIiON.

The app:sl of the st01y is Hyde essevti5llf by tic Cirrfictcr
of she woman,and it is almost a universal ajpoal — one which would
56 are i iteres-ed in this
woman as a maisonnlitv rid, CJJOSQ izxsciefelv ubon reidir" the

- ‘ c,

story, we ask ourselves use

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L' 2

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1 1

story seemeq “holess.

or"
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En; one P w ole; W«s no 54 coplon. :ary Powers 155 & horson vaose

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Chc;th8F Could be plehdfloed BLIGCu¢Vblf in dfdmculC Lona.

 

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her utter fa

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to become an Ultra uuflcrn mom u ‘ho :vvn smrpas~qs our thectations.

It was with this idea ln wzhfi t3“t tBC First ;oorf 1L5 atte‘bteu.
lHe experiment with the SFOPV Sl‘ntefl for conefir YTS un—

successful, anfl several attcmpts to rewrite i* ended in fgilure. It

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very obrofibl; Lo accepu all Daub one day loroahen. -o llhu uwct
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.4
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lounl wulCh coula oulll Om tremqud a“ ca bl :uler oezcrl,es bQ-5

148

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sitieclOA-hj golnol ; OJL care, ”’3 ids co Kilce c co k . U.b
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idec cries '.LL r trL.ed1 0 Le, or ~ Lt01,—pl j‘. at l Lt,

.Vv 7
*\

tru file you master the idea.” my conical treatmevt at
seeped impossible to lSHSI‘ leic:*lly the cuestior, ”Ir ,feers a? ,
did tgis HQan choose to live in one hotel?”3 it Llso seemed ix-
possible to teLc her ort of tbe hotel ov toe same TCEwOMLLL Tue
force which drove her to H :2co"e a recluse was oro r 11v r>t one of

i n
l

ESPEI.

O

conedy, but of more Serious cr eVen traric ngture, Pni, t re,

12‘“- e storv.

'_ v.

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one COmlC Lie 6 see221 lflCJHgTMOUQ nitn Lu- basic L es of
,. .' ., . - 0-1L .. 1: L - L11, L - LL.“ L1. ..L' 3, : 1
1e e seemed no tb1iw, lelu but to olSCerl cue bofv ml phOlJCS nulcn

endeavored b0 treat the material r.th a comic t ewe and start afresh

- - .0 J. O -. _— -\ r '- _f .L -L 1 I n I ‘3 , ..
by Mrfiul‘i‘b a TJlCLl‘,’ 1.4. o- UZLCI . 1% WC“ 3. mass}. ble

’3 «1. ~ ‘1' - I“ J v.-l\/‘ —~ “v- 7'. .3 fi*- P- .‘~r- ‘A ~ ,~.‘,, ‘
to :or fit the observation nude L, Lilllam “roger, "“ut, tuOdbA toe

presence of.lo;ic should never oe forced ubon the spectetor's atten-

tion, still less slculd he be d;
1 1128
aosenco.

"“3 ‘1“ a“ ,- 2— -' L 4.; ‘1 ,, 11. L2 .m‘fl .
lue CM:J€lekuflTt 0L c11101w2533riou52 coermatJegmn 31, use 36..“ ooln

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tax/lab ;_L'.-‘.(-.LU .1-L; IMCCQCLLI‘ DO 1'”ijbe tflb‘ (2111.11 Jr mg C.‘ 30;) al.-91.1.4. L1“ ' \JI' C01. {Cd}.

-1Lr4.

It began with an attempt to reason,in a logical manner,vlus could htve

v

happened some t1=-.r'e12t;r ocic’: years 6".."0, in tl’1e life 0

1

2 ._ . Jr. .. ' - ,L 2.‘ .- --. , .n - - ,,4-7 .' r1- ‘
young wen n,uh¢L Hudlu CehLS 11er to dive u, chPJbllhg one

person descriaoi :' ariel. It would he necessarv to

‘

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‘flSl‘aGI‘ bhio (lie-thigh m SILCil 0. 1.6113701" UL-<LLJ U116 afloat)? li'Olll'w. DC accepted

0

by those who would see t11e olfiy. The process oi arriving at a suit-

Lon becaue one of Lsxing ouesbi ms 1nd Spilculftj“j as to

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~7. Faker, Op. C112”, p33. [+7-14-

nrk \ I " '4‘ \/I
as. Arcner, op. Cit., p. 29o.

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of] Lab _LL/ 1""): ll“? \iU U _. 1' L, . #11121" L, E:C 1179*; A ' g5. «fl-"Cf r 1.: «” \befi'f OJ. _‘ .;-CJ_t-illt

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¢¢P1 sno he LS k ll. lcc'w- to what 'ur lop sis c-crct.rj. -r.

3'1 ‘ - _' A... ‘, . 3 - ‘r _ -? -. —»l- J- r 1 -_ 7 4‘. ' _ 3 1‘ “1 r .3 n} 1 _ , n .
o thzi‘ut qrc:.4)315 .r. -arrCU. r.ouc .uw.m;lle .n» ianS tort there
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Cal-Gut; Gin; U; . axial} Buu C JUL, Piotr.
T“ - - Q . - - ‘ ‘ -. . ls ‘ “I" ‘ “ L L ‘ "‘ '. '. “ A: " ‘ "L ’r 1‘ .3. ”. - (v
;;‘LH'TLL‘ to vN'SLIes., -.r. : Juncut a 4/1 uncull~ l e ~eidiiky
‘w- - L: ,- .~--v -. -L- -. — - . r P! w o r L a r‘ J- L- " u-s ’1 L1- A
COD-fl, cECLJloD 8.3-2.2. 'Su - -1.SS Lul‘_;.ll'..J«-:, EKfl-r l? “W o.f. o ”..C S Oué: O: ..fw

prominent cto ”AOJhpT of

‘1

the lar c amo ount of top:

doesn't Wish to take court
in so COing, as Sue ot (2r*

'7‘»

‘Lory stockholder. Kr.

v:
.1

Ce r3ri rg

-.,.- .1- 3. , .. -.
10%; time. co vanv

a‘ Lorind

action

'iss mikes no don nds on them gNC is a satia-
Barre t calls Peter for HCVLCG on the

court ac ion to be followed, *zd Tics ore; Co as Jn to make some notes
of the convcrsation Kr. Courtrj It is Vt?“ mUCh L5 Irst ole cowoanf
going to court, a1c (Uc;"0fi 3y the others, tells of Kiss Lorinfie's
life — of her living all alonL in Lev Li :M;DU o; rooms and scci'; n“

o.c. Ar. jarrctt . r.c- tlrt no rouli rig or pct 30 to court if toe
whole aitnation can be cle rt vb in 20'6 otWer "“3. 3: also agroto to
iiVe Er. Courtri3ht some t“fle to oec if he crn 3 fl: cc 7358 Lortcoz.
Ky. Uourtri’.t LXitqo

I; . 3".» -’» F‘L ‘I n ' _‘2 ‘fi
".1. l_.'L‘I1ICUb UCI'ULU’Q‘Q

’r- . v .. - .-'...
1.1w iorli so Cb L01-irlg.

‘=1 c ‘ o Lrw .= vs-
° ' 41‘v ‘ " 1.; ‘
.v-LJ-l u‘ .i;‘.. .L L'Jkll 9.).ng ;__L

154

lets slip that Ir. Courtri -t is ole one “Lo v.9 r:::ov;iolc ior Tiss
Grer bei'i hired at the Valley If:nui‘a;c‘i:,1_1r-'n.?'=:7 Cox. ‘7 E of. IL": warrett
e;its,leavigé Peter an? nnnasslle talkin_ Volt uoqrtri_h*'s oosalhle
"onlectiou “l.” nqvnuclle a dot. inucbelle hes rever tet I“. Court—
right no kWCk n otlin; of his help. The thefi udnits to Page Her
reason f0“ not verr" o; kin ijpenirtelv. It is boceu35 she doesn't

b on enough enout .ersclf or who her parents were - 0113*r that sie was

I fi. n r ~“ 0 \ I - -' :- ~ 1 - ‘. 1“ l:" r - r' "... r A ‘
I‘LLCCU. LIE‘F (n 01'. CAUCLOT (I’lf‘ '__LS Lilbo vhf) .WLC trd «Uni-260

1 a :-:---.« w E. mum :— 1 ~ ”r -1. ‘t‘ 41 ~r
SCALC'O dflu. until LJV‘; r 1'1 lol" -..; :1, ;u 00;). kil’C—I 16"; o 5.18 H.110

o-

_ VA.. ’51-? . ... ,_ ..., _
about h rsell oelore she can Larry [C

uOdrurl-nL couii know about Annabelle, but feel ocrham ”
out easing their trip to 'ew York

Scene 2
The scene opens in the hotel room of His cs Lorimdz_t

o ,1 1 o o .l‘ - 11

311“ I‘OOLl Oi. .18? exoensive

1)

j _J

iv

H.

but kept in very good order. Fhere is an ou‘rcn

leads to the Eu the'ioor on

the hotel;

w -1 ' .1-. .7. ,-. .1.-. ,,'_ A - '.L .
DSHPOOJ. Lpsteye tnere are UHO l-r e «logo‘s Nita an 01$
4.” Ann L: +-w 1 -.., ' ‘ A L...» ° 3L& 3 3~ ' '
JJ‘vl‘x‘El 14.. U1]. I-Jkl") L/HU ... (.3 I1_-.1. I'JTVJE} U_ibl‘ '7 .15 _i.-Luul€} 1__L‘. -El in

J

from the Iternoon cold room. All of

1 -" Irv '
b'\'(/-1..L (

p "(‘ '1
L 1 Jul

J-‘, r, .- E w
tour nonder Wflct

Seencer.

a girl's
kDQW'more

e.-
(tr.

3 they can find

It

exitirule

A
Q

.' ~‘ ‘ '3" r ‘ f‘ '1 “ 'u ‘r r ' -—. h -: * f- [‘7‘ . '— r‘ . - q a r
lugs old dull “no QIQJ. Che 100d iVes the lflhrficSlOD ox CA8 zelonr-
' . . .' A .1 1 ,‘
in; £0 a runccq )UlSOU.
If: ‘ v ‘ "1“ D 1“ r o ' DJ- (3 . n —» swu- n . r 1.»
miss Loilwon cmtci: ircx ctrlc lblu. he is u veli strnigut,

older womnn dr ssed in s of at least thirty rear:

'1

f :0 o

(‘1. a7,“ _ ._-_ '4 1’. T” w. l 1,: q , ‘A .7 t-
oquplmU rt Lme ooo as, and lOOth; .iKJru,
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WlflUCWIrli lon-i:3 are SJ.d8 t EINJL whb tle
7 ' —- - ‘ 'r« " 4’ I ‘ "| ‘» I I “.1 _. ‘ 7 _ ' 1 " fl‘fl .
do? 1:1:)b",,.-1.r:;;t:» ul'b ch L- r MU. (lilacs . 11/.1 Crl l l
“L 'w P w ' "- ‘: L J‘ I “V" ' ".7 '1‘ 'L 1 w . J- r‘ '\ 1
see n (n1 mittei (.e or) tell nut -Le s
D x - ..- - -- -1. .- 3, . .. ., v - v.1 t v' ,. ,.
OJ- -.b’l‘ .A.WL;.L*:;!L'J.: 4.5.; (‘14 Tlfl‘dLi - VIOL, (Lab lo 11".-
2' a u' a V n -;r i,, . » J..4-
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(I)

wall; €V€T7thl ; Must b

t:.‘ . . ‘ ~ ‘ ‘r\ ‘E ‘ 'i " I" ‘L A A? f ‘ H * w
one .13 llECB 9.0.26 _)L_€J 0 Cl be out. r‘Ila'}. 7,7615 ; :6? PM -
P”: “‘1: “1 yr , N q 1‘\ 1" *0 1 \ A" ‘i‘V‘ C‘." p\ '\ ._l‘ :
.1. v.‘.. I . L“ c.. CC);3_ (3_'_ )0 6 U1 ' ’ ~11 ._, 1 (J a g 1.

sh bevios DO ream aloud. iu is s
all this cry for immorta_ity°” It
Cflle asuoruj fiorz GhCflllCi sagr, 'dEgr, Eie
throws the book aside violently as

he touched Feeuty owce'”. “

1.
u

30'1")“. e

1.

erds wit»

toucred 5

she rcoee

155

.- I ‘V- .. -- , , I- , uj
,11' SH .1 195]“! (’6. UL) u-.'€
‘I : ‘~
swell nv 0 so» 37‘s.
,_.

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1““, 'E‘ 1:?(3ll'li " F) F' 1'
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UCLA. lit) DC JD (1. L.“ (1‘.

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- l ".313; c. EWCLI: I v OH 11.8

Y, I‘ 1’ r .- — V . *F

iv? face eu>us no esotiow.
r ‘N -' i ,. —- I .-,-L
ecceo+e oer h; :at.

” Ell-"lJfr. "2*”:e Simrieilgf
John V. A. Fevver.. ..“39y
”And if, efter long refrs,
9:4?tf' ormzc' ... ..." file

to those last lines - ”'flhv
is hystcric:lly and then

r ‘1 ‘2‘ r . 1‘ '- 4-
stoss us suxcenly A? sue up 9n.
«'17.- . , ‘. , . . :1 1. .2 1.1K, E .. ,1 L? J L ..1 - . " J. .7 1‘ .
ore oe over clu looms or ole clock and on-n rolls a s ~ll b ole

L <_ ‘. . ‘.' J" :1 ..- j, . ,., ° .. , ,, '..— -' . s. l. ’. : -1 . - r- .1- .. ,. 4. f.
to toe mlbule cl JG r004, olmcim- a c :lr t ope r "ML oi so; u3>le,
, , 7 '1 .' u; . .. ., - ‘ . _, ,. . . . 1, 9 1 E 2‘ 4-..-.. ..- k, h z. . x.
(11141 DOlLEsmlfL LOHt: SllV?‘.L' core to.“ on i 1 01:1 Lfl-C-B J; or er. AS 518 was i, we
L ..7‘ - o , . . L“. -- . I, .4- :1 ,- 4.1- ., n J. .9 .- 1,- .7 v- H, - ‘ ,-
UH {-516 .L or '.)1. b, Ulla: ClQC-- S) UI'J.;C€;3 i.) LPG. C: «..rhj U' -34‘ L» _.LL‘ C " YO(».‘( C LI 'Jll 9 ‘ GUI“
4" ~ 1'): ‘n ‘r "' ~ ‘ ' F- - -" " Wu '- L1" 1 If .-. ' r' '3 I r- "n '- 3' -c‘ v r‘. _;_1‘_ 3* rn‘m '1' "1 o I“
no x'TiLCu by}: ‘03; arm db .1.: o ‘8 HOC 3.. r. L :LLoT‘ b 1 Jul i: ._i.;.-u _;\..-_ wl.’ mi"

1 ‘ ‘ 4-7 ‘ ‘ 1 I ‘ 1 1 O
and oroceeos to luy tne buOle as sno wetcnes; he EHal‘s ger es sze sits
“ I - '1 w 1' ‘ ‘1‘ ‘ J 1“ " v- .I 1r *1 -— '- ‘.- x v‘ '. ‘ ‘I‘ ~ ' A 1—--
CLOPKL, errx snmoies ;;<r'_io<nl. .Lle LLCflg.llJ lfitb ..il_:7e rn>s 1lt E1eilxre -n3r.
"1 l - 1 o ‘ ‘ ‘ >._ .‘ . V r- . ._‘~ ' _I u. _ _L 5 . . ' _j 1' _f n V r‘ _ ‘ W 1‘ ‘ ,~-.'~
bloc 1.1:", E Lulu, regal, -.v Lo 4 310.“ UO Eu! m In,“ 7 -513 z _ .;,I‘ t ' 1.476317 ATOW at UN

*, 1,.0 A w. .‘L .-- ,:._ ‘nrl. w. - , ~ -, _ : , ., 'H
to Her ocgore3 toe W~le elol ins t'do we med been u~ ‘ltu _U Callie?

‘ ~ . I' E a r‘ J- : P- r 31,» -l‘ *x . ~~-.l.w— r» \.» ru -
but trere wms no rc.*oa-c b0 his Lno;: one is Vcifi ew,rv for the
\_ —o . \ 1~ . (... .- h, v . - 'v - v . . - '1‘ ,-— I. r‘, . u“) v v ': - - .L

telegr m Emilees see mill Lexy a VlSthF Lwo m~y ~rrive so; linuue.
(W. Li. . 0 fl ‘4... '. , 4 r , ._ ,J J- 1. .‘ .. .L 3' ‘ . .L _3
one there;01e sencs tLe w itcr grew rith Her Uweduen (loner ‘no tells

156

21in to lnflin; i“ iiJfli in EJiithT.

As the WLiter Siltg, -r. Sourtri It enter. o” 'rvots Tia: Lor-
inda. She scofis at h“m an? demzods to 1'nor. the rexaor for his cell.
Stue IRfilllHlS 11ig1 til t she; di'“? 110i; lilce in“ Ey'm(:1‘e1‘ Infiltil'e £11.3n11.m3d
".md "d'lOY‘iC‘I‘J-VC 1”".YT‘ " .L":' 0+0 1“. "‘ ‘1'1C': .:.‘ (nil 1 3;" (u LT“ ”)‘fifi '_.;"\C‘ +1“

(4.. r...“ .. one“; al-...L uO an; u‘v .1...b .--LL.)_..T‘.LSS v..~.1.\-v...,CeV‘_-o IS f... .1.. .) o.e
matter 0: the uncaswed checks. She tells him tbot if sFit is ell he
ce-e ior, she is not interested “nfi he can leave ni‘rt awnv Courtrljht
asks r11y, but she ines no =nswer. He then asPs if it UPS because at
one time tuis congeny belonged to her fLthr. She WCWtS to know NVPt

he leans by th t, Id he exoleins thnt he knew sue hetJd her frtheP,

but didn t realize it waste the ‘xtent that she wouldn't accent any

-« - -~ - -. ‘ l_\ .‘V 9".“

1.101) U r 1211.]. Cf}. Ctr-"Ire .L .L O
‘f: A ... I .1. 1 1'
Miss Loriuos

f" 5 J" '. .v A .v . us‘v 'L '- I ~ ~ 0- ‘ V , ~- '1 H 1\ ~-
vOllf'oI‘lgillt 44.15;. L. -Cnou , m G. .‘IQJUCI‘; 110?.

J.

He reminds her'tmu.

2.". Ill

he

IV

s interests.

,5 ~
3;.

flys into

Q“

.-.‘-..-L ‘. IL 1. ... 4. ,L ‘. n .‘..J. . z- 3,- (“*1 . 1 in.
what; 8116 er‘oll b .-.‘I'Lo Iii; no “6,1" 'r L; 1"" _L‘LUl -.‘rl. USE: tells 30?. .1 m If,
T ‘ r” ’. ’I‘l ' ' fl - ‘ T: I ,—}~ . '5 ‘ - “.1 “L 1V“ — 'r ~ r- .“1 , o' 1 - ~ $.-
SLA: “L; a 4-11 ....Lc L (..c f. .18 c‘:-:-w'l:;€:S UL»; L113 -IlUL-ab orb «C1 Il‘JU 2.6.3". “61"
d L — - ) - ’ ' ‘ . ~1 ~— —. ' . - 1 ’ ‘ w ,- ~' I a 7‘. I‘ '1 V: r': ‘ u ' ~ 3 w ( fy — — YA
lull/-51" i \)I' t: (”O " Ur- i .: 4ch QT?) 1-; :3 death 3 r. N {1 lg; :35 101‘].an Sci. 1:63?
A, 4.1.. .. . ‘._r ,3 L J L , .Lj, ... ‘ _ , . 7, ,. .1. 3, 3: ‘ ,. .g_
Issuer use UOlu $8? to leeve bub rouse, thmu me ole not wont to see
her nryoore.
CT- - ... - .. ,- .. . ‘z- -. ‘-' CA. -.» 1 -'— 1. r . 1 P.
one SdJS Sue Wfia ylad rlen he elem. COURu“L it 4.11:5 ucr LOT
n i 1 .. ' - ,.. - . T: - ,. , ,1... a -... J. -1.-“ ,, -1-,
1191” lo ouGl“ b (it-3L on, a r in. '3 Cl -C CL C. '..1‘OL~.'31’1 use “o. Lie luv— 11 .2 to
" ' " 'l 1 1' "‘ ' "" ‘ V‘ "Ii ‘ 1 ‘I. ° “ ':‘ ‘ ' -' V v“ ' ~ ‘I. - L “ ‘1 f \ .‘
leurn due t no 31.01: oak tr]. w. 1-1’1Lmb, .3’12‘ .16 tells her tug. he 1 Hier—
Lr .- .. .-‘LJ *' ,. 3 .. ,1 .- 1'..er - . , r :.
dendo UVUFLEJJPD. me recllze~ hrv 2r lat_er sent -er we" . Ie has
1 - ‘ r '1 ' ‘ ‘ I i' ‘ " 1'1L ‘\ 1""? T "1'. '\ ‘."- ‘3 ‘ . 'r ' t 1 31‘ "x "‘ 'l’ ’L ‘y‘ ’\ ‘u'.
Lo.orlxxr e OL ' er cu.rllo r! . ss lJDlthx..LS aniv-w3 — o:ulfnlj b-Ufl' ;t
- .~ —' ---. . .. . . .. 0 , . a - ..‘J. r‘ . J- ' VJ, L . j .. .uH. v, 1 ,. _
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no o‘e ‘7 .H q s Jv-r> o rer ~crtt O‘“'T3L”b t 313 «r t ”o ‘k
I
“ 1 ‘ " '\‘ ' “ 'L ' -’ DJ“ " 1 '1“ : V“ . "' - z" " V T ‘ '. 1t 1 0‘- I - J- r a 1 'rf“—\
SGLH htl" (3.0 IluEfil" K); LIE-3.] 3.1.LC1. 3-x? HOPE). fulfill L-Olfl-‘ .‘rui “(4'1 L. U'. ' Ci. “Vie

157

Q I I
_ .. P, .‘ ‘7 (-‘— .‘-‘. ...C '7-
LLLAL 0-1.9 _-u -'v-.’-:- u‘xJ -..LI 3.

The scene Opens in one hellrzv of

'\

~ r-Un. , r» ., an ",L, 4‘ ‘ ‘I- ;.-.L - TTm—yr...‘ ‘1 .-.-u 3h «.1
11.03-31 101.5 ..:e]_1.LOl e 1:0 Vol ._1. -. e12! <31" . o4. UV . u 7):; :1 -.,£.'.. L, .2 x. 1,!
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Lor*au¢ was no QUuLTd go ScC uned.

Peter dGCLdUS that at three CFPC Lftmrnoon he and Anngbelle

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loaver interested in Kiss Lorinda, but risks: to know what K

right {no Kiss Lorind? know about Fer. Peter vcwderm if 1?.

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. vOdrtTi'ft Hill not yivfi Annabulle inf igaafifde S¥ti;
fin(llr dociu;z to at the; in to see b5 Lgriqda if t”

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door and db JAbelJ lot/O to; coor ODCLo emu ue covers. Annabelle

and Peter welt anxiously. Soon Hr. Ssurtrlght 09ers tne Joor and

asms them to come in.

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in Act Cue, Scene 2. Che scene 09: s igloqiately foll'miflg Act .10,

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very straij t god is very fiGFL ht :5 she sees Peter find inrabulle
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ruin his company. Peter wishes to know vhy. Kiss Loanda lets him

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know in no uncerte'n terns that the matter i? none oi 313 business.

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o tne company. hiss Lorinda tells them to get out. ‘

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that it now is not onlf for her lttflér hut for everything. .e er

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fieter tells 0155 Lor me: an: SUOfJ o. “.5 love Jar anr'Llle, end hww

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I‘iss IJJrirwla 5;: ithcnmietexi, EH: ecijallg: ir1 Arn13Tuallfiz's 13t012'.
She looks at Annabelle for & lorg time. She Fegius to question Aura-
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1. The Original Draft in D

C. From Stqu to Dialogue

 

1alogue

 

165

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166

SCCWC. forrc‘t also :e““r? as 6 7mil to *LZVU U‘ t‘w 3rCL ‘ b 301“”-
ri ht ”we“ Cq‘bu.:“_ ‘01: 'NhLV'lla, Nut this situ tion 00013 be
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he jlu-'”:, no Cmn'wu, the sxmilarce rmnlf“wsn~ Pu 'nvL "1t~r3rbgfl i7
the love "ffoir butwegn Ann [0116 .v3 ieutr Unrq x'Lb tun“” of
kn1sijie::s LC) i_b 1"LI 51b IJLE : )bjj‘t “‘5: I‘laqf s**iifiu<£3.

The CM n5u rnlcfl affected the play to the greatest crbent v05

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was at thns pomnt tHe story was not 0363?. fiven In 1919, for a

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enacts TQQPCqCHucd L crime one an COIUHlptCQ. ii was And Lillca

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167

fear and shame and arrive at a plausible force commensurate with the
events. A woman who had killed her father to keep him from telling
that she was the mother of an illegitimate child would certainly
fear the checks which seemed to come from her dead father, and would
be motivated enough by his untimely death to drive her into becoming
a recluse.

When this new force was injected into the play, it changed
almost completely the approach to the main character. No longer did
we have a woman who became an unlikeable person because she had lived
many years away from society, but we had a more consistent character
who was evil from the very beginning. Therefore, when this new Miss
Lorinda emerged, she changed the basic structure of the play.

The scene in which we see Miss Lorinda for the first time in
the refuge of her hotel room.must show her now as a hateful nerson.
In her Opening scene with the waiter she must treat him with meanness;
if we are to understand her as a person who has killed for her own
selfish ends, we must get that impression from the very first.

The ensuing scene between Miss Lorinda and Richard Courtright
had to be written with an entirely new approach. No longer was Miss
Lorinda's refusal to sign the checks brought on by a hate for her
dead father, but because she was actually afraid of the checks and
what they represented. Although Courtright knew about Lorinda's
child, he must suSpect more. He must be able to relate Lorinda's
refusal to sign the checks with what he knows of her past, and he
must make her admit the real reason for becoming a recluse was not
because of her child, but because she was trying to escape from her

Crime.

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;, :fi'i wCo L14IA;‘Lfllfi flc)llfl_‘€r CCWSiSUCHMJ'ulhl one hep rfhd‘;flfix.

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Ib MOB DOM HGCBanlV CO “PBQBQt u eitoutlon VDEIG Lorinda lb CO?-

II

her secret. Her first choice is to eliminate all 1&0 knew Per secret

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Ly UUlugtcvwfl’lmlofl nHflmOLlld, Texanécn«l.0)urtriiit, and when gae

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fails in this attempt, she taje
‘UZ'tATs tragixzzryte,leaves .rtmn1Ille if1za oilarnéq file
finally discovered her mo ler afta‘ long yefrs of searchinf, but the
mother she ‘ound is a murderer.

1:1 I J. 4_ ‘fi

In brief tTe . at draft of the play nreeented uh

a following
a beencer in
order to line the reaaon for the uncae ed checks; Annabelle ace m-
paniea him. She wisLes to see Ir. Cour trig
EKlfiethlji; oi'Eigr :mr“t. ITr. CXNthIfigjit :L851”1€fITTI Loru 'i" iflaat Edie
has killed her father. Annabelle and Peter are able to 5et in to

’ 7_

sec hiss Lorirda throu,h Lr. Courtli: t's help and they oi scover not

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MUTJUFGT. hLSo Lorinea escaIe; by 3flClNJ 261 o.n l

 

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J. .3 . .-._-1 , .' ‘0! . . V. * 4.. .‘ _ V- "11. ‘ ,-.- .,-'. ”I :u. ,.. 4.”.
a crying and dlfllcult Lnoers king. -ne lJThu 3‘8 a oreeentad

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'- '« ,4 . .' .m‘,‘ ’ -: ' _. 4- T . ._ y -r» v ( r.‘ r ‘ . [—
rou h and often Stilted; the plot was weak: and t
- ° J. . *3 1‘, 1-. 1- ( ' , o . L‘- (- . fl, , 1 ._ A H n -.
fiCOwSlSuCWb. ATOUleV unS K 13 TGHSOH lOF tna.e ILJJUQ Cwfl is

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LI‘rCeC. 0 one r CL, 0.]. ‘h’.l'.104_.{f'bf¢lfo In we :..:I-J‘r-I_'MI__!-u ole has on

169

a I ‘ I 1 I I I‘ -~ 3 o
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171

Richard and tell him nothing of her child. Richard admired her
father very much, and when he discovers what she has done, he cannot
be satisfied until he has seen Lorinda suffer for her sins. In his
mind, she must pay for deserting her child and destroying her father.

With the approach to the play from a character standpoint, the
entire third act was not in harmony with the new version. If we were
to understand Annabelle, we had to know what she would do when she
actually found out the kind of a person her mother was. She must
have suspected there was a reason she was never told of her parents,
and that the knowledge was withheld because the reason was too ter-
rible for her to learn. Knowinc Annabelle, and realizing she could
never be happy if she learned the truth about her mother, it was de—
cided to keep the truth from her. A new third act was written which
allowed Annabelle to find her mother, but Lorinda's suicide happens
before Annabelle is able to discover her mother‘s secret. Annabelle
is made to realize that it is best she not learn the secret of her
mother's past.

The second draft of the play attempted revision through under-
standing character and endeavored to follow Baker's formula for pre-
senting pe0ple on the stage. "A play which aims to be real in de-
picting life must illustrate character by characterization which is in

32 .. . .. .
character." It is impractical tn this discu851on to follow through
the play and point out each change in minor plot structure necessitated
by keeping the characters consistent. There were many. By the end

of this revision, the plot began to take some Shape of its final

 

32. Baker, op. cit., p. 308.

172

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173

it th- direction thicn is sust:C e1 tlr - bwut t’e play ”73

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182

D. The Production

For the playwright with a first play the experience of
production is a compressed education in three hours. Through re-
hearsal one has judged the relative strength or weakness of the play,
but the judgment has been flavored with an intense knowledge of each
scene from its germ idea to the acting script. However, a play is
written for an audience of mixed background, interest, and imagina—
tion, and the author is unable to foretell the feeling of this group
until he can observe its reaction during production.

It is felt, on the whole, that the new play sustained
interest, and the audi nce was genuinely concerned with the eventual
outcome of the struggle. The characters were definite personalities.
They appeared to be real peOple on the stage, and each an individual.
It was expected that one would find places in the play that would
seem weak, and if the play were to be produced at some future date,
changes in some scenes would have to he made. The playing time of
the production was approximately two hours and twenty—five minutes.
Therefore, it would be possible to delete certain parts of the play
and still remain within the running time of the average three act
performance. In general, the material of the play had proved play—
able and the characters had appeared to be well rounded individuals.

If one were to begin to revise the play, most of the changes
would be made in the first act. One had the impression that some
members of the audience did not know just what kind of a play they
were to expect during he Opening part of the first act. The theme
of the play was not introduced soon enough. The forces of emotion

which bring the play to its ultimate conclusion must be realized

183

from the very beginning of the first act.

There were several factors which led to a mixed feeling
on the part of the audience. The play, Opening in 1919 with the
costumes of the period, gave rise to many associations ydth the
style of that period. Modern audiences have a tendency to view high
shoes, narrow trousers, and tight sLirts with a tongue—in-check
attitude. They have seen characters in other plays dressed in the
same manner and most of these plays have been either comedy or melo-
drana. They eXpect the sane when they are suddenly confronted with
similarly dressed characters. It therefore seems necessary to
establish immediately the idea that the play is a serious one and
not old fashioned melodrama.

In addition to the pictorial elements, there were other
factors which associated the play with melodrama. The events which
took place in the first act have long been related to plays of this
nature. If one uses ideas dealing with an illegitimate child, the
father threatening to drive his daughter from her home, the play
seems to present the same situations apparent in melodramatic plays
at the turn of the century, and it is difficult for the audience to
accept those ideas as divorced from.melodrama.

At times there can he a very narrow dividing line between
the situation in serious drama and melodrama. "Characteristic of
most serious dramas are tense situations, moments in which colflict

"1+1

between Opposing forces is brought vividly to a head. However,

if the languace and emotion become overemphasized, the situation

L4

 

Al. Marx, op. cit., p. 17h.

18

may have a melodramatic effect. There seemed times, not only in

the first act but in other parts of the play, when this effect was
noticed. To some extent the cause can he found in the lines them-
selves. A certain amount of change in the writin: to "tone down"
the emotional impact would help in these scenes. Another reason

for the effect can be traced to the actor. It is possible that an
actor can give a melodramatic style to a scene through his inter-
pretation, especially if he has a tendency to force emotion into

his playing. Kzny amateur actors find the only way hey are able to
project emotion is through forcing heir voices and actions to a
point of exaggeration, and by this manner of playing they change a
serious dranetic scene into one of bombastic melodrama. A more ex,
perienccd player could act the same scene in a restrained manner and
keep the serious intent.

The first appearance of Lorinda in Act One brought out a
problem that had not been anticipated. The audience was not ready
to accept a Jezebel of her temperament, and they were surprised.

One could solve this problem by planting an indication of her
lcharacter preceding Lorinda's first entrance; or the lines of her
first scene might be rewritten to show a more human quality. It is
also possible that an actress of greater experience could give a
subtle baseness to the character, and thus make Lorinda more accept-
able and less of a surprise to the audience.

The soliloquy in which Adam Spencer talks to the picture
of his dead wife seemed unnecessary and out of place. In some other

9

part of the scene it would be far better to give this information

1

arding the problem of raising his daughter. Perhaps this infor-

nation is what is needed to give a description of Lorinda nrior to
her first appearance.

In the sequence of acts in the play, the question arose
whether Act One might be presented in acne other position in the
play; it might be treated as a ”flash back". If the events in Act
One were conveyed after the woman had been seen in the hotel suite
as a recluse, as in Act Two, Scene 2, then the significance of the
action which takes place in 19l9 might be clearer to the audience.

1

There would be less chance of misunderstan inn tne tyne of play in

J

the initial scene.

Act Two, Scene 1 perforted satisfactorily. The fish pole

episode between Peter and Annabelle brought a good response from the

audience. In the entire scene there was much exposition, but most

of it seemed to be accepted without it becoming too apparent that

the scene was presenting infornation. However, one might delete

some of the lines which gave exposition, esoeciallv those concerning

Annabelle's life, and leave more to the imagination of the audience.
The Opening of Act Two, Scene 2, with only one character on

stage appeared to be protracted. It is necessary to have Miss Lorinda

alone on stage to show the feeling of her solitude, but the action

can be carried by pantomime. The reading of the poem was incongruous.

A modern audience is not prone to accent soliloouies. The ensuing

short scene between Lorinda and the waiter proved to be one of the

best in the play. During Act Two, Scene 2, a great amount of suspense

was created and was sustained consistently. At the very end of the

scene the burning of the checks proved effective. Some of the

dialogue between Kichard and Lorinda seemed a bit labored at times.

186

No doubt much of the strain came from the actors who tried to show
emotion by vocal volume. However, some of the lines could very well
be revised and made less emotional.

The suspense established in Act Two, Scene 2, not only
carried over into Act Three but grew in intensity. Apparently the
audience was definitely interested in he outcome of the meeting
between the mother and daughter. The scene in Act Three during which
Annabelle finds out about her parents held up very well, even though
Lorinda remeired on stage for a long period without speaking. Lorinda's
suicide seemed motivated and it did not come as a surprise to the
audience. Perhaps no one realized the exact moment it would happen,
but when it did, her action was not unlooked for.

The production, however, revealed a weakly motivated exit
in the third act. Peter's belligerencv when he bullies Courtright out
of the room, even though it is done at Kiss Lorinda's insistence,
seemed inapprOpriate. In order to remove Hr. Courtright from the scene,
some other device might have been more effective.

The ending of the play was well received. It had been a
wise move to have the curtain fall at the moment when the audience
was in sympathy with Courtright.

The production had provided the test needed by the new play.
It gave the playwright a chance to see the effect produced by the
drama upon an audience. It disclosed the weak moments as well as the
scenes with power, and encouraged the author to plan revisions of the
play in an effort to create something better than the version of this

production.

187

PART IV. I‘fISCZLIA‘I'TEOUS

188

 

Books

Archer, William, Play—Naking; A Manual of Craftsmanshio, Dodd,
Mead and Co., Few York, l93h.

Baker, George Pierce, Dramatic Technioue, Houghton Mifflin Co.,
Boston, 1919.

 

Bentley, Eric, The Playwright as Thinker, Reynal and Hitchcock,
New York, 19A6.

 

Cooper, Lane, The Poetics of Aristotle: Its Mganin; and Influence,
Longmans, Green and Co., New York, 1927.

 

Davies, Hugh 8., Realism in the Drama, Cambrid e University Press,
London, 193A.

 

Egri, Lajos, The Art of Dramatic Writing, Simon and Schuster, Few

 

 

Gassner, John, Producing the Play, The Dryden Press, New York, 19h1.

Harris, Mark, The Case for Tragedy, G. P. Putnam's Sons, New York,
1932.

 

Hewitt, Barnard, Art and Craft of Play Production, J. B. Lippincott
Co., New York, 1940.

Lawson, John howard, Theory and Technioue of Playwriting, G. P.
Putnam's Sons, New York, 1936.

 

Marx, Hilton, The Enjoyment of Drama, F. S. Crofts and Co., New York,

l9h0.

 

Maugham, W. Somerset, The Summing Up, Penguin Books, Inc., New York,,
1938.

 

Nicoll, Allardyce, An Introduction to Dramatic Theory, T. X. Crowell,
New York, 1931.

 

Selden, Samuel, An Introduction to Playwriting, F. S. Crofts and Co.,
New York, 19A6.

 

Thompson, Alan Reynolds, The Anatomy of Drama, University of California
Press, Los Angeles, 19A2.

 

Weaver, John V. A., "Sonnet", Turning Point, Alfred A. Knopf, New
York, 1930.

 

189

Newsoaner

”Her Universe - A Hotel Suite", Detroit Free Press, March 6, 19h7.

 

I .3» 1.7... v ’-I_...~ ahflul- _ .
. l u 0 ! A

 

 

MICHIGAN STATE UNIVERSITY LIB

III
2

ARIES

 

3 1193 03015 436