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This is to certify that the

thesis entitled

m PBONC‘I'ION AND DIRECTOR'S MANUAL 0!
um 1!? [LS SUM'
LI ORIGINAL PLAY 3! ALBERT JMEOI

presented by

Karl. J. Robinson

has been accepted towards fulfihnent
of the requirements for

34. degree mm

I, ./
mane/41424 / , a

 

 

 

 

 

THE PRODUCTION AND DIRECTOR'S MANUAL OF
"THEN IT WAS SUMMER"

AN ORIGINAL PLAY BY ALBERT JOHNSON

by‘

Marie Josephine Robinson

‘4'“: ”464503-qu

A Thesis
Submitted to the Graduate School of Michigan
State College of Agriculture and Applied
Science in partial fulfillment of the
requirements for the degree of

MASTER OF ARTS
Department of Speech and Dramatics

1944 /

3131.

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vi

ACKNOWLEDGMENTS

I wish to eXpress my sincere appreciation to
Professor Donald 0. Buell, Director of Dramatics at
Michigan State College, without whose encouragement,
supervision and assistance this thesis would not have
been written. I also want to thank President JothA.
Hannah, Secretary Karl H. McDonel and Dean Lloyd C.
Emmons for the privilege of using the full facilities
of the Fairchild Theatre. “Gratitude is further ex-'
tended to Professor Paul D. Bagwell, Acting Head of
the Department of Speech and Dramatics, for his general
supervision and to Professor Cecil_H. Nickle, Technical
Director of the Department of Speech and Dramatics, for
his suggestions and assistance on staging and lighting.
I am also grateful to William K. Sticksel for valuable
assistance on photographs and photostats, to Mrs. Emma
Sue Hutson and Miss Leonore Tallmadge for checking
audience reactions at the test performance, andto my
cast and production crew for their faithfulness, c00p-
eration and willingness to work until the desired

effect was attained.

A. 1'". 37‘ ‘7. 6". ’
§._ LL 5 ‘J L. I L} a.)

 

THEN IT WAS SUWWER

 

 

 

The Department of Speech and Dramatics

presents

Then It Was Summer

a new play by
Albert Johnson

(Director of Drama, Cornell College, Iowa)

Directed by Marie I. Robinson

as a Master's Thesis Production
Fairchild Theatre February 16, 1944, 8:15 o'Clock

CAST OF CHARACTERS

(in order of appearance)

Mrs. Fairchild ............................... Annette Suravits
Peg Bradshaw, her niece ................... Betty Wright Burden
Gracie Bradshaw, the younger niece ............. Harriet Wilcox
Lt. Glenn Craig, U.S.M.C. .................... Cyril David Jones
FCIy Fairchild ................................ Margaret Masher
Della, the housekeeper ............................ Sally Clark
Guy Walker ................................. John McCaughna
Mrs. Zachary, a neighbor ...................... Rosemary Ward
Beulah Zachary, her daughter ................... Carol Reihmer

Scene: Living room of the Fairchild home in the country.
Act I A Iuly evening in 1942.

Act II Late Saturday afternoon, a year later.

Act III Early the following morning.

PRODUCTION CREW

Production Manager ........................... Marvel McGirr
Stage Manager .................................... Gloria Bell
Assistant Stage Manager .......................... Betty Butler
Prompters ...................... Renee Scott, Elizabeth Robinson
Construction ................. Iacqueline Meehan, Marjorie Rice
Costumes ............... Barbara Lipton, Chairman; lean Geyer

Properties. . .Lois Banzet, Chairman; Fred Buttner, Eileen Fink,
Lu Johnson, Fred Meyers

Art Work ....................................... Helen Gower
Makeup ............. Gloria Bell, Eleanor Chase, lean Granville
ACKNOWLEDGMENTS

We wish to express our sincere thanks to the following for their aid in producing
”Then It Was Summer": Don Buell, Director of Dramatics, for general supervision
and encouragement as well as for countless details: C. H. Nickle, Technical Direc-
tor, for assistance on setting and lighting,- Emery Foster and staff of the student
Union Building; the Michigan State News: lean Wahl, for assistance on music;
Gordon Reavely, manager of the auditorium. Our heartfelt appreciation!

Part

Part

Part

Part

TABLE OF CONTENTS

I THE SCRIPT

A. The Original Script
B. The Script as Produced for the Thesis
Performance

II PRODUCTION MATERIAL

A. Stage Setting
1. Technician's Blueprint
2. Elevation Drawing
5. Setting

B. PrOperty List

-C. Costume Information

D. Makeup Information

E. Lighting
1. Technician's Blueprint
2.. Chart
5. Instructions

F. Rehearsal Schedule

G. Crew Record

H. Publicity

III DIRECTOR'S PROBLEMS

A. Technical
1. Action
2. Pantomime
3. Picturization

4. Rhythm
B. Dramatic.
1. Lines
2. Characters
3. Action
C. Conclusion
IV CRITICAL ANALYSIS

Critical Review of "Then It Was Summer"

82

165
164
165
166
169
174

180
181
183
184
185
186

189
197
202
210
214
216
217
219
220

221

- ~ ~75

J. 1‘ 101,36 dUJJuILLL

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ilAAJA¥

A Play in Three Acts

U

Albert Johnson

Original Lanuscript

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.Ltl. 1.4 A H113 JUL... Lat.

Cast of Characters

Th3. FAIRCiILD, A pleasant, well-educ ated v10. an— ——Fav's mother.

PEG EfiADSHAU, Hrs. Fairchild's niece-—about 19, spoiled and attractive.
GRACIE BRADSHAW, Peg's younger sistcr—-vivacious and pretty.

IISUTC“ GLETN CRAIG, V.3.7.3., about 25——strong and sensitive.

FAY FAIRCIILD—-about 23——fifted, gracious, and strong.
DELLA-—Tiddlc—aged housekeeper.

(‘v Y‘rlTT/Y‘fi'fi
)

to. ”Annlu--a yours minister.

‘—J

?”\(_‘ ’1 ‘ fit "\ .~. - «
Anghv O Lang. {“de f-—a far.ii ‘JJOILlan 0

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: LLAE ZACIAfiY——her 13-year—old dauihtcr.

The action of the play takes place in the living room of the Fair-
child home on the edge of a small town in Iowa. It is a substantial old
farm house, and the room is furnished in good taste. Us left is a rand
piano with a large bowl of summer florers and books of music on it.
Down ri ht is a sofa, dawn loft a big Ling chair ard a small table, up
right is a fireplace with flowers on the mantel ani chairs near by.

Down risht a door loads to the dining ro~m and kitchen. Donn left a

door 19193 to a terrace and the garden intend. Vp:taoe of the terrace

L.)

the piano. Up left carter is the fr01t entrance, and the right of the
entrance is t‘ne stai1ea3.
Time: Act I, a July even ng in 322.
Act II, late Saturday afternoon, a year later.

Act III, early the following morning.

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Then It Was Summer
Act I

(AT THE RISE FAY FAIRCHILD IS PLAYING THE LAST FEW KEASURES OF SCHUKANN'S
"KRYSLERINA". GLENN GfiAIG, LIEUTENANT U.S. KARINES, IS SEATED ON THE
WINDOW SEAT NEAR THE PIANO MATCHING FAY AND LOST IN THE MUSIC. MRS.
FAIRCHILD, FAY'S MOTHER, IS AERANGING FLUUERS ON THE MANTEL; EG AND
GRACIE BRADSHAW, COUSINS, ARE SPRANLED ON THE DAVEHPORT AJD THE FLOOR
RESPECT IVELY . )
IE5. FAIRCHILD (AS FAY FINISHES) Oh, that's lovely, dear.

PEG So that's what a year at Julliard does for you. Fay, it's swell.

GRACIE Do you think in a couple of hundred years I could play like
that?

GLENN (QUIETLY AND WITH FEELING) Thanks, Fay. That will be something
to take away with me.

PEG I could hear a lot more like that.
GRACIE So could.I. I wish you were staying around this summer, Fay.

Les. FAIRCHILD Well, I wish she was too. Two weeks seems a pretty
short time to be home after being way off in New York all year.

GLENN With an audience like this I don't see how you can run out on
them, Fay.

FAY (LAUGHING) Oh, you know how mothers and cousins are. They like to
bolster me up—-make me think I'm good.

GLENN I think you're good and I'm neither your cousin or your mother.
FAY You just happen to like Schumann.

PEG Or maybe he just likes your playing-—

GRACIE Or maybe he just likes you.

FAY Well, Glenn, what shall we do now till the others come?

GLENN Others?

FAY Have you forgotten?

GRACIE Oh, Glenn's off in another world. It's your playing, Fay. I'll
bet he's forgotten all about the farewell party.

GLENN Golly, I had forgotten. That's awfully nice of you, Fay, but--

PO

FAY Oh, it was Peg and Gracie's idea really. They thought we ought to
give our visiting lieutenant a regular send off before he sails the
briny deep.

GLENN Oh, these socially minded cousins of yours, Fay! It's swell of
you, Peg and Gracie, but big parties scare me.

GRACIE I didn't think anything could scare a marine.

PEG It's not a big party, Glenn-—just some of the town kids you met
when you were here last Christmas.

MRS. FAIRCHILD They ought to be getting here. There won't be much time
for a party if Glenn has to catch that train.

PEG Has anyone called to see if the train is on time?
FAY Gracie did——didn't you, Gracie?
GRACIE Yes. It's on time.

PEG Are you sure?

GRACIE Mr. Jenkins down at the station said it was sure to be late, so
it's on time.

HRS. FAIRCHILD What kind of double talk is that Gracie?

GRACIE 'Well, when he says it's on time it's always late, so it must
work the other way around.

(MRS. FAIRCHILD IS HAVING TROUBLE NAKING ONE FLOWER STAY WITH THE REST.
GLENN HAS MOVED ACROSS AND IS WATCHING HER.)

GLENN Looks like you've got a rocky in the.midst, Nrs. Fairchild.
MRS. FAIRCHILD It certainly is out of step, isn't it?

GLENN Do you mind if I stick my big paw in?

HRS. FAIRCHILD I think it needs your commanding touch.

GLENN (FIXING THE FLOWER IN POSITION) There, baby, now you stay there
or I'll pin your ears back.

133. FAIRCHILD Splendid!

GRACIE It takes a marine to put them in their place.

FAY He does it with black magic.

LES. FAIRCHILD ‘Well, Della, is everything ready for the lawn party?
3

DELLA Land, yes. The place is lit up like a Pythian convention.

ERS. FAIRCHILD Thank you, Della.

DELLA They'll be here any minute. I'll go fix the punch pretty soon.
GRACIE What are you going to put in it?

DELLA (WITH A LOOK THAT SAYS "WHAT DO YOU THINK?") Sassafrass tea.

GLENN Della, how am I ever going to thank you for all the bother I've
caused you these past three days?

DELLA Pshaw, it hasn't been any bother. he just hate to see you go,
don't we Mrs. Fairchild?.

LES. FAIRCHILD ‘We certainly do, Della.
DELLA It's like I always say to hrs. Fairchild, the best thing about
her having an attractive daughter like Fay is the nice young men she

brings home.

GLENN (MISCHIEVOUSLY) Oh, so she brings home others. Here I thought
I was special.

GRACIE Oh, you are special, Glenn. You're very special.

PEG Gracie, do you ever stop to think that maybe somebody else ought
to be saying what you say?

GRACIE 'Who? Fay? Yell, why didn't she say it?
FAY There are some things that don't have to be said, Gracie.

GRACIE Oh, I don't think so, I think everybody ought to say everything
he thinks.

GLENN (SEILING) You're a delightful eXponent of your own philosophy,
aren't you, Gracie?

DELLA (WHO HAS BEEN COUNTING ON HER FINGERS) Eleven, I count eleven
who's been invited. Is that right?

FAY That's right, isn't it, Peg?
PEG Uhuh, eleven.

GRACIE I'm hungry. Count me as two.
DELLA Two! Huh, you act it!

GRACIE well, I like that.

 

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LES. FAIRCHILD You see, there's one person at least who doesn't spoil
you, Gracie.

GHACIE Oh, she does, though. Everybody Spoils me. You watch——Della
will give me a double portion of cake and ice cream. See if she doesn't.

PEG 'Well, I'm glad you recognize that everybody spoils you.

GRACIE Oh we're all spoiled. Even you, Fay. Grandma Bradshaw says
the Bradshaws and the Fairchilds have all been spoiled from way back.
We've had things too soft.

HRS. FAIRCHILD Nell, Gracie, maybe you can change all that when you
grow up and have your family.

G 'NN I shouldn't think the farming business would be soft enough to
spoil anybody.

GhACIE Oh, it isn't the farming. It's the money. Take Fay,for
instance. Hasn't she always had everything? Uncle Frank is just like
Daddy. Life is all served up and handed to us on a silver platter.

GLENN Well, for my money, I'll take that kind of serving and a good
big helping of it. I don't know so much about you Bradshaw girls, but
from what I've seen of this home—-well, it's just about tOps.

FAY Thank you, lieutenant. That's a very pretty speech.

GLENN No, it isn't. I'm no good at pretty Speeches, but I've been
trying to find my tongue all day to say thanks. I guess there's
something contagious about Gracie's chatter.

NBS. FAIhCHILD You don't need to say thanks to anybody. We're just
so happy to have you visit us and it's been nice that you and Fay

could be together before she has to take that summer position and you
go sailing off to goodness knows where.

PEG How soon do you go to this summer hotel, Fay?

FAY In a couple of weeks. It's really not much of a position. I just
play the piano evenings for the guests. It's the experience and the
contacts that mean most.

PEG Oh, it sounds wonderful. I'm green with envy.

GRACIE How could you be green with envy? You can't even play chop-
sticks.

PEG ‘Well, you're not so hot yourself.

GRACIE I am, too. I'm good. I'm good enough to get invited to play ‘
the organ in church.

ABS. FAIHCHILD Why, Gracie, that's fine.

GRACIE Guy Walker said if he stayed here and preached and if Fay wasn't
going to be here and if hrs. Ramsey's arthritis didn't get better that
maybe I could play organ some this summer.

FAY Oh, Peg, you asked Guy to come tonight, didn't you?
PEG Uhuh. He'll be here.

FAY You remember Guy, don't you, Glenn—~Cuy Walker-~the town boy you
net when you were here last Christmas.

GLENN Sure. He's the Yale Divinity student. Nice chap, but he beat
the shirt off me at ice hockey. I've been wondering if he was still
around.

GRACIE Oh, he's very much around. He and Fay practically grew up
together, you know.

IRS. FAIRCHILD Guy Halker is now Reverend Walker. We're all quite
proud of him. He finished his study at Yale Divinity School this spring
and he's preaching in our community church this summer.

GLENN 'Well, that's fine.

GHACIE Our little town is small potatoes to him now, though. He has
a chance for a big city church next fall.

LES. FAIRCHILD Well, he may not take it, he told me last Sunday. He
feels rather attached to this little farm community. His parents were
killed in an auto accident when he was still in high school and the
town has more or less adopted him.

GRACIE You mean the Fairchilds more or less adOpted him. Uncle Frank
practically paid his way through college.

PEG Gracie, do you have to tell everything you know?

GRACIE Well, what's wrong with that? Everybody knows what Uncle Frank
has done for Guy'Walker.

GLENN (WHO HAS IOVED TO THE'WINDOH AND IS LOOKING OUT WHERE THE LAST
GLOW OF TWILIGHT IS BLANKEEING THE GARDEN) Well, I can see how he would
be attached to this country, all right. I don't see how anybody ever
tears himself away from this little bit of heaven. I'd like to wrap up
that flower garden and take it with me; but then I'd like to take the
sunset and the fields and those rolling hills out toward the river.

FAY We'll try to have it all here for you when you come back.

GLENN Is that a promise?

FAY Cross my heart.

GLENN This is the life, really. Why didn't somebody tell me there were
places like this and people like this? I've been gyped.

(THE SOUND OF A CAR HAS COKE UP AND GHACIE HAS GONE TO THE FRONT DOOR)
GRACIE Here they are-—first car load anyway.

PEG Good. (CROSSING TO DOOR) Shall we bring them in, Fay, or take
them into the garden?

FAY ‘Why don't you just take them all into the garden since it's a
lawn party.

(GEACIE AND PEG RUN OUT HAVING AND CALLI‘G)

HHS. FAIRCHILD I wonder what's keeping your father,Fay. Goodness, I
hope he gets home before Glenn has to go. I'll slip out and welcome
the guests, but don't you two hide away in here all evening.

PAY We won't,Hother.

GLENN Much as I shake at the thought of a party, I'll face the music
if only for you, Mrs. Fairchild.

has. FAIRCHILD Thank you. (EKITS)

GLENN I want to see your father. I sure hope he does get back. The
big so and so owes me a pipe.

FAY Oh, did you slick him again at gin rummy?

GLENN Oh, I cleaned him out at that last night—-won every peanut he
could scrape up. The pipe is a result of a little bet, though.

FAY" Well, how did you win a pipe from him, Glenn?

GLENN ‘When I was here last time, I said the Po Cu—i said, "Keep off
your thoughts from things that are past and done”, and he said I was
all wet and that Mohammed said it. Perfectly silly thing to argue

over, but we went round and round for the better part of an evening.

FAY (LAUGHING) Oh, I remember that you got off into a terrific
philosophic discussion.

GLENN Well, the distinguished gentleman and scholar your father was
wrong. I found my proof this afternoon right here in his own library.
(HE HAS CROSSED TO BOOK—CASE) Here, I've got the place marked.

GLENN (THUEBING THROUGH THE BOOK) You know, this is a fascinating old
volume. I wonder where your father picked it up. It's full of ancient
Chinese verse and famous sayings.

7

FAY Goodness only knows where he found it. Daddy used to be quite a
collector, you know. He used to drag mother to every rare book shop in
this country, and I guess some that weren't in this country.

GLENN What I wouldn't give for a library like this. I'd like to toss
every book into my bag and sneak them away.

FAY Neuldn't that be just the thing? You could read the marines to
sleep every night.

GLENN It wouldn't hurt some of those raggedy—end leathernecks to know
the stuff in these books. (HE HEADS A LONENT TO HILSELF) Here's some—
thing-—listen to this: "A Chinese General To His Wife Two Thousand
Years Ago-

Since our hair was plaited and we became man and wife,
The love between us was never broken by doubt.

So let us be merry this night together,

Feasting and playing while the good time lasts.

I suddenly remember the distance that I must travel—-"

(HE IS INTERRUPTED BY GUY'S ENTRANCE

‘ GUY (POKING HIS HEAD IN THE FRONT DOOE) Hello. I hear there's a party
and I'm invited.

FAY Oh, hello, Guy. Come in. Guy, you remember Glenn?
GUY Oh, surely. How are you, Glenn?

GLENN Hello, Guy-—glad to see you again. Been skinning anybody at
ice hockey lately?

GUY Say, some ice hockey would go good in weather like this.
GLENN We'd have to play in bathing suits, I guess.

GUY 'We would at that. Look, I didn't mean to intrude. The party
apparently is on the lawn--

GLENN It's all right. I'm glad for a chance to see you again. Fay
and I were just filching a little wisdom from some of the Fairchild
books.

GUY I was raised on that library. I'll bet I've borrowed more of
those books than all the neighbors put together.

FAY (TEASING) And forgotten more and had to be told to bring them
back or you would get spanked.

GUY That's right. Say, how is your father, Fay? I haven't seen him
since I got back except to say hello to him at church.

8

FAY Daddy isn't well, Guy. Lother worries about him a lot.
GUY I'm sorry to hear that-~not that old heart business again?

FAY I'm afraid it is. His heart isn't strong and he just keeps on
working like a mad man.

GUY Why the dickens does he?

FAY Oh, its the war and Daddy thinks he's got to feed the Army, the
karines and everyone else.

GUY He could retire, and he ought to.

‘AY Not Daddy. He'll go down with his boots on. 'We're restless
pioneer stock, we Fairchilds.

GLENN That's the stock that has made this country the best darned
nation in the world.

FAY Glenn, did I ever tell you about old grandfather Fairchild? He's
the one who used to have carrier pigeons bring him the market reports.

GLENN Carrier pigeons?

tr

T-‘f‘. '1"f,l "“
(Pbu vn ENS)

FAY It was back in tne days before they had ticker tapes and the
telegraph wasn't reliable. He would ship these pigeons into Chicago
every few days and friends in there connected with tne stock market
would fasten the data on the pigeons and release them. Then home they
would fly and grand—dad would get up in the middle of the night and
ride around like Paul Revere telling all the farmers to ship their
beef the next day.

GLENN Why, the old fox. He must have made a fortune.
FAY He made enough to start a bank.

GUY He made money for all his neighbors, too. I heard that story ever
since I was a kid.

PEG If the Fairchilds ever need a biographer, I guess you'd be the man,
wouldn't you, Guy?

FAY Guy has grown up with Peg and Gracie and me.
GUY Yeah, we've had some great old times.

33 Guy, do you remember the time you and Fay and a gang of us rode
horseback to old Professor Finkley's place, you know the funny little
baldheaded fellow that used to teach history in the high school? (GUY
AND FAY BOTH LAUGH) 9

I

 

FAY Huh——I'll bet Guy would rather forget that little incident.
GLENN Sounds good. Let's hear about it.

GUY Well, there isn't much to it. Seems pretty silly now--
PEG But it was fun at the time.

rAY You see we rode up to the professor's house at midnight——
PEG A whole gang of us on horses and--

YRS. FAIRCHILD (ENTEHIUG) You know I got the notion the party was out
on the lawn.

FAY All right, Mother, we're coming.
PEG Guy's just telling Glenn about the time we rode--

FAY And we all yelled and yelled until old Prof Finkley came to the
door in his night snirt.

GLENN Then what happened?

GUY Then we all shouted at the top of our lungs——

FAY The British are coming.

GUY AND PEG TOGETHER The British are coming.

GUY Then we rode away like a bat out of--well, like a bat.

LES. FAIRGHILD Yes, I remember that. And that's what we have for a
preacher, Glenn. (INDICATING GUY)

GUY Looks like you're stuck with me till September anyway.
YRS. FAIHCHILD Aren't you going on with the rest of the story, Guy?

GUY The rest of it isn't so good. Word got round that they were the
Fairchild horses and of course Fay's father got the blame.

LHS. FAIRGHILD He came very nearly taking a slipper to you too, young
“Alan 0

GUY Oh, he gave me quite a talking to, and, do you know what he said?
GLENN I'll bet it wasn't anything he learned in Sunday School.
GUY He used some pretty strong language and then he said, "Guy, you've
got a brand new set of brains and you ought to be able to sell them
second hand for a good price,because it certainly never has been used.”
(THEY ALL LAUGH)

lO

LBS. FAIHCHILD I'll bet you never rode horses to Professor Finkley's
again--

GUY Not horses-—we tried it later with cows but we weren't happy
about it-—

FAY I don't like to mention it, but do you suppose we're being missed
out there?

PEG This is supposed to be a farewell for Lieutenant Graig.
FAY Glenn, shall we tell them you're just a myth?

PEG Do you think he'd never be mithed? (THEY GIVE HER A LOOK AND
GROAN A LITTLE) Oh, dear——it's a pity I'm not witty.

FAY It's a pity you're so pretty with men like Glenn around. Coming,
Lieutenant?

GLENN Sure—-Coming, Guy?

GUY (TAKING A SNALL PRAYER BOOK Fkbh HIS POCKET) Oh, Glenn, in case
I don't get another chance, I brought you a little going—away token.

GLENN (TAKING TH? PRAYER BOOK) Well, that's darned nice of you. Thanks,
Guy.

FAY A prayer book. That's very touching, Guy.

GUY Oh, I'm just a sentimental preacher at heart, I guess.

GLENN (READING) ”For the powers of heaven shall be moved; and then they
shall see the son of man coming in a cloud with great power and.majesty.
But when these things begin to come to pass, look up, and lift up your

heads; because your redemption is at hand."

You know, if people could just learn how to use the Bible, we could
build a pretty good world.

FAY 'Well, Lieutenant, do you feel brave enough to face the merriment?

GLENN Now that I'm fortified with the word of God I can face even a
party.

FAY (TO GUY) Coming, Guy?
PEG ‘Wait for me. (SHE JOINS GLENN)
GUY In a minute. I have to tell your mother she's on a new committee.

FAY So that's why she wanted you for the local preacher-—so she could
be important and serve on all the committees.

ll

(FAY AND GLENN mm PEG am)

MRS. FAIRGHILD Now what have you cooked up, Guy Walker? You know I
don't like being on committees.

GUY Oh, this isn't much. I just want you to head the flower committee.
YRS. FAIHCHILD Does that mean I do all the work?
GUY It means you furnish the flowers.

135. FAIRCHILD Oh well, if that's all, I can do that. Heavens, the
place is swimming in flowers.

GUY I know it is. I don't think I can ever remember your place looking
as nice as it does this summer.

YRS. FAIRCHILD It's been a good year for flowers.

GUY Is Mr. Fairchild around? I want to get his advice about that loan
the church has down at the bank.

LES. FAIRCHILD Frank ought to be back. He took the car——said he had
to see Teel Watson over on our Hiverside place. I can't think what's
keeping him. He wanted to say goodbye to Glenn.

GUY ‘Well, there's no hurry about seeing him. I can talk it over with
him tomorrow or the next day. The loan doesn't come due until the first.

135. FAIRCHILD How much is the loan now?

GUY It's getting whittled down—~only $550.00 now.

HHS. FAIRCHILD Well, I'm sure Frank will renew it gladly.

GUY As long as I'm to be minister for a while, I'm going to see if I
can't get that loan paid off this summer. I've seen the Fairchilds
left holding the sack on too many of these church loans.

ENS. FAIRCHILD Well, we just try to do our part same as everyone else.

GUY It's a pretty big part. I don't know what this town would do
without you folks.

NR8. FAIHCHILD Fay's sorry she isn't going to be here to play organ
for you this summer at the church.

GUY Maybe you think I'm not sorry. But I guess this situation at the
lake means a good deal to her.

LES. FAIRGHILD It really does, Guy. It's a very nice hotel on the
shores of Lake Michigan and it's quite a center for important people.
She says it means more to her in some ways than her year of study at
Juilliard. 12

GUY Yes, I can see how it might. I mean in the musical profession so
much depends on contacts.

LES. FAIRCHILD Well, it would be awfully nice having her home. It
seems she's hardly been with us at all since she first w nt away to
college.

GUY Well, you know how it is——once we chicks start scratching for
ourselves.

YRS. FAIHCHILD Do you think that you'll take that church in Chicago?

GUY Well, a city church is quite an opportunity, but I don't know
how Chicago people would like some of my convictions.

HRS. FAIHCHILD Do you mean your stand on pacifism?
GUY Yes. A pacifist is a marked man these days.

LBS. FAIRCHILD Of course you know how I feel, but far be it from me
to try to argue anybody out of his beliefs.

GUY 'hhen I see chaps like Glenn going into the hideous affair, I get
a terrible feeling inside. I don't know-~I want to do my part to make
the crazy old world better, but-—well, I've had a lot of ideals
preached into me all my life. It isn't easy to think my way through.

IRS. FAIRGHILD You've thought a lot more than most young men and I
know that whatever convictions you have, you've come by honestly and
by the hard way.

GUY Is Fay going back to New York next fall?

LES. FAIHCHILD Yes, she has another year at Juilliard.
GUY Then what?

LES. FAIRCHILD I suppose it sounds a little funny for a country girl
like Fay, but she really has ambitions for a recital career and her
Juilliard teachers seem to think she has a good chance.

GUY She has a great gift. But then she's gifted in so many ways.

IFS. FAIRCHILD Some of the farm people think we've been awfully foolish
to give Fay so much schooling instead of training her for something

practical, but——well, I guess an only child just naturally gets spoiled
a little.

GUY The thing about Fay is that she is so darned practical in spite of
all her talent and training.

LRS. FAIHCHILD I guess children raised on farms absorb a lot of
practicality no matter what they study in school.

13

GUY Yes, I think they do. (SUDDJNLY NELELDENING) Say, I came out
here for a party and here I sit chinning with the hostess.

LRS. PAIRCiILD I'm not the hostess. I'm probably not even missed,
but I'll get you are. You'd better get out there and liven things
up. But mind you, no horseback excursions.

GUY How about cows?

Lia. FAINCNILD No cows either.

[f1

*1 '5 I T“ 1’, -'_A ,‘\T1 “*~'~'»-‘\
(DLLLA NTLNS IIITH HUGn Thur U1 DfllnhD)

NBS. FAIRCHILD (TU GUY) Now you see, here's Della with the punch and
cookies. PeOple will say you just dropped in for the refreshments.

GUY Well, who wouldn't drop in for Della's delicious refreshments.
I'll bet these are some of your famous cookies, Della.

DELLA Didn't get a very good do on them this time.

GUY (F»Anoind A NANDFUL CFF I‘HE P"'IE) No, they're not fit to eat.
('FELEPHUIJE RINGS A17 UGUY NAG IS NEAREST ANSWERS IT)

GUY Hello. No, you're ri .‘ht. his is the Fairchild place. Yes,
she's right here. (ubJDIuJ 1nL-“ TC LNS. FAINCHILD) It's for you,
Nrs. Fairchild.

LES. FAIftChILD (IN IHUNE) Hello-—(D mLLLA S1ARTS TU ;U BUT GUYI U1LUNS
HER TO STAY) Yes-~Yes, Dr. Cook (“Ilh SLDDEN ShCCN) Oh-—oh, dear
God—~I' ll be rig ht over. (SUE HANGS UP LOCKING STUNNED)

DELLA What is it, Hrs. Fairchild?

LES. FAINCUILD It's Frank-—Ne's had another heart attack.

GUY W'here is he? Illl take you to hijfl. 2y car's jUSt——

LRS. FAIRCIIIILD Dr. Cook has him over at the hospital. Somebody found
him parked at the side of the highway, unconscious.

GUY Was he hurt?

NR5. FAIRCHILD No, I don't think so. He just pulled off the road—-
you don't need to come, Guy. It's just a step to the hospital.

GUY (PUTTING AN AN: AHUU1D HEJS1UUSJJJ) 'm going with you.

DELLA 1'11 get Fay.

lh

LBS. FAIR HILD No, don't Della. There isn't anything to do. I'd
rather Fay wouldn't know till I see how he is. Then I can tell her
His/'5 elf 0

DR LA You want me to c0Le, hrs. Fairchild?
LES. FRINGNILD No-—just keep things going——Come on,

Gu
Frank—-thank goodness son ebodr found nlflP-(udu AND GUY
spans TRAIL OUT ,

uy- -Ch, poor
(10 LUT AS HE;
(DELLA IS ABOUT TU EXIT INTU TUE GAILDEN L.EN FAY A D GL1.L EN’ER)
GLENN Better let me give you a hand, Della.

DELLA Poo, it's light as a feather.

FAY aDaddy back yet, Della?

DELLA No .

FAY Where's Nother?

DRILA Nent sonewhere with Guy. She'll be right back.

FAY Tent with Guy? Nell, what's the idea? (BUT DELLA IS UFF) Ch,

(LAUGHING) I'll bet Guy's got her involved in another committee.
Nother hates committees like you hate parties.

p

GL 3231 kw, they make me feel Ii} {e Frank Sinatra's understudy--such a
fu uss over a uniform.

FAY It couldn't be the man inside the uniform?

GLENN Oh, they're a swell bunch, really. I can never thank you, Fay,
for these three days of heaven. Believe me, this little time on the
Fairchild farm xx'ill be some ething to think about and remember.

FAY Come back to us, Glenn. That's all the thary s I want.

GLENN You bet I will--the first darned chance.

FA‘ Sure you won't change your mind and let me take you to the train?

GLENN That's a queer twirp in me you won't understand.

FAY I can understand you not wanting the whole gang to see you off
like they wanted to, but--

GLEN’ N It's just that I-ewell, I hate saying goodbye.
FAY So do I.

15

fiw- ~,“1nvnf

GLLLL That's why I thought if I could just slip away—-Jake IIarvey,
your local taxi man is picking me up at the foot of the lane. Do you
know what I really want most of all, Fay?

FAY What?
GLENI I guess it's pretty sentimental--
FAY Who cares how sentimental who is?

GLENN I'd like to leave with your music ringing in my ears. Will you
play something and just let me slip avay?

FAY If that's the way you want it, I'd love to, Glenn. That shall I
play? Anything you'd especially like to hear?

37'!

G ?NN Play what you played a while ago—~"I RYSTG‘ILIA , isn't it?
FAY Yes. It's supposed to be t1e most romantic music in the world.

GLENN No. If you feel what I hope you feel, I couldn't bear it. If
you don't——well, that would be even tougher.

FAY I'm a spoiled, pampered person. All my life I've had everything
I wanted. I'm beginning to know n w what it's like to want something
very, very much.

GLENN If you've always ha d ml at you want, maybe we'd better see that
you get this. Ne can't have you throwing a tantrum.

FAY I want——I want t e war over.
GLENN That's a large order, but I'll do my damndest.
MY (IFLYING Ta ICUEP FRO; CRY HG I want it over right away.

LENN (TRYING TO BE LIGHT). Nell, you've got to give me and my battalion
time to meet the enemy.

FAY Oh, Glenn—-I want this—~just this, forever. Time in the afternoon
of summer, time when the snow is deep and you coxe to spend Christmas-
time-—just time with you. 513 IS FIGI ITING LAGL "E TEARS) I told
xvself I wasn't going to do this.

Y.’ TNAHC‘ I‘m v.73 1r

GLUE-IN TI'II’IES HEN III NIS {LILY} AND 1 loo3o HIE XIII-Y. T'IEY ARE oIA‘l'D I.

L -INDUN. AS THEY STAND IN- S L3ICE FUR AI 013?.T Db LLA SITE} 8,
U3LING T'E LIGHT UN AND THINIIUG NO CHE IS IN THE LUUI SHE URNS THE
"WITCH. UHLY ” SHALL TALL3 LAIF I“ L3F ZU."IN’} LTD LUUIIIGJT STIEALS
TNRUUGI T”E‘UIUDGJ EI.V LUII .G GLENN LAD FAY)

DELLA (AS SHE CRUSSES AID LII TS TNRLUGN TNE DINING RUUH DGUR) Land a
goodness-~place ablaze with lirhts.

lo

FAY Economical girl, Della.

LEIN Nice of her, wasn't it? (LGCAIAG CUT HE JI"D;Y ZITH “IS ARK
TILL ANL UI.D FAY Beautiful night.

(,1) C)

FAY Gorgeous.

GLENN Look how the noole ht picks out that field of grain.

FA' It's lil (e a silver lake.

GLENN One thing is sure——no matter where they Slip me, there won't
ever oe any place as Wonderful as this or anr eo:‘le who know so well
how to live. You've given me a taste of the real thing, Fay. I know
noW'what the fighting is all about.

FAY I wish I did.

GLENN I can tell you. It's to kill the demon that threatens to
destroy all t1 is.

FAY I'll try to see that it's all here for you to come home to.

GLENN You do that. Don't let a thing change. The fields in the
moonlight, and of gardens, music--

FAY They'll all be here waiting for you.

GLENN And you in that beautiful gonn——don't you change either, Fay.
FAY 0h——can't I progress a little?

GLENN You're perfect just as you are. You're what's going to keep me
tickirg. I'll think of you a thousand times just as you are in this
moment of moonlight.

FAY 0h, Glenn—-(UNABLE To Fina moans 5N3 SIGAS)

GLENN I want to think of you playing the piano, swimming, laughing,
and being happy always.

FAY Can't I work a little?

GLENN Not if it spoils those marvelous hands. You leave work to the
male animal. You were born to be a lady.

FAY Glenn, dearest, you mustn't put me on a pedestal. I'm not the
pedestal type reallV.

GLENN (LCCAING DUI AGAIN) There's a mist gathering over the hills by
the river.

17

FAY Lagical, isn't it?

GLENN Didn't Paul Engle write a poem about that once?
FAY If he didn't he should.

GLENN Look it up and read it for me sometime.

O
f
O

FAY I'm to keep up culture for two now, huh

j-r-PT

GLLNN‘ That's right. It's up to you to keep the grace of living a
going concern.

"1““

(1" LLUL. SKA-AJHHELLJ IN ”21:14 “I Jill} CVLES TIL; Dloti'jhufl I‘LL-LUng O} A TLLILINo
GLLNN LUUNS A1 hiS nAlCu)

GLENII I guess that's it.

FAY It's miles away. he never used to leave for the station till
'fter we’d heard the whistle.

G FNN You'll explain to the others how I‘m a puppy about saying
goodbye?

F AY I' ll e} :plain. I wish Nother would get back, though. I can't
imagine why she isn't. She'll be sunk if she isn't here to wave you
off.

GLENN I'd like to say so long to your dad too.

FAY And collect your bet?

GLENN That's right.

TRY I'll see that he sends it to you.

GLENN Don't you let him forget it.

FAY He won't. Daddy never forgets a promise.

GLENJ You and your dad are a lot alik Ne, do you know it?

FAY That's the nicest compliment anybody could possibly pay me.
GLENN Pretty fond of the old guy, aren't you?

FAY i‘here's never been any other man in L life-~until nox:.

GLENN Thank you, Fay. That makes me feel--just swell. I couldn't be

travelling in better company because your dad is a right guy if I ever
saw one.

18

(AdvFUfli DISTA.T TF‘IN LAIUILU IS HEARD, ”HIS TINE A LITTLE NEARER.
inEY bUTH hi AR I”I Btl SAY NUfilLC. FAY SLIPS QUI“”LI T3 THE FIANU

. I‘ 1“ fl 4 ' a\ '4 ' . -' 31‘ :‘ 1.\‘ Ii ' . — . :4 271'-”
11I‘4D DEGlL‘Jb 1.} 'v‘ 1 L111. 0 GLEN: l ICIIS UI' MIC.) E.&G Ith- Di LIV ..JQ 1 i -1‘L‘.LD n 1:;
v vrw. ' "r r\

DUOR. hL PnUS US A.D dCLDS FUN AN INSTALT LUCNING BACK AT Phi)
GLENN F ay--
FAY (STOPPING HER PLAYING, SCFTLY) Yes, Glenn--

GLENN I-—Nothing. I guess °-—I wanted to ask you something, but--
it can wait.

FAY (RISING AID TNRUNINGZ URGELF INTC HIS AXIS) Oh, Glenn, darling-

(STE IS TRYI :G HARD NC' IC CRY)

r17 “\‘v‘T

ILLNN Goodbye, sweetheart.

(HE NISSESI dLn LIPS AND THEN 'FEARS HILSELF NXAY AND IIURRIES CFF.
”P

a-rp'rn-«nw‘ gr"? _ .. _ . ‘ , :1 1r ITij-‘h {ft/‘1‘ 7 , -~~-
Alfibiltiut “.LJASIL: IS IISI‘LLDo IhY :LAJJLUADLiD LV I:I.LJ IIIMV'V hIxD CUI Hill‘Lqu

PLAYING)

“7'? 7,’T -vr\m

PEG ENTLNIN AS FAY IS PLAYING AFTEN GLCLN LEAvsb) I thought I'd
find you two in here-~and with the lights out. (ShE ”lUiNS UN THE
LIGHTS) Uh-—where's Glenn?

FAY Gone.

PEG Gone? But we wanted to take him--You means he's gone just like
that without saying goodbye?

FAY Yes, Peg.

PEG (SNUJII.G TEIAT SiE IS DEEPLY DIGAFPUINTLD) Uh--and I didn't get to
tell him goodbye?

GNACIE (E 4‘ENING) Fay are you 11 here? Uh, you're here too, Peg.
Listen, don't let them serve the ice cream till we get back.

FAY Who's we?
GIi.CIE George Summers and me. He wants me--
PEG Corporal Summers-~renember he's a corporal now.

GNACIE All right, Corporal Summers. We're going down in the Orchard.
He wants to teach me to bivwack. Say, what is bivwack aryway.

FAY I'm not just sure knowing George Summers, but I think Peg better
go with you.

19

PEG (S IANTIY FCR TLIE SINIRS) Not now. I'm going upstairs a minute.
Do you mind if I borrow one of your handkerchiefs, Fay?

F‘.‘ Help yourself.

GRA ACIE They're all asking for you and Glenn, Fay.

FAY (GUING TGTARD TNE DUUR AS JNNUIL ENIYS) Yes, I'm coming.
GUY (ENTERING Am STCPPIl-IG FAY) Fay-~Fay.

FAY (STUPIINGS DDLNLI) (ShL NUTICSS GUY'S EMILE AID LNONS SCC LIN NG IS
NRUNG) Guy, what is it?

GUY Brace yourself, Fay dear.
FAY (INTUI YIJELY CC.P nanDlNC) Something has happened to Daddy.
GUY He's had a slight heart attack.

(SINNING INTO GGIIR) Ch—-

GUY (CROSSING TU CCII CRT HER) It's probably not too serious——a little
rest and he'll be U.K.

FAY Where is he?

GUY Doc Cook has him down at the hospital. Your mother is with him.
FAY (RISING) Take me to him.

GUY Your mother said you were to wait here. Everything is all right
and there isn't a thing for you to do. She didn't want me to tell you

till she got back but I thought I should.

FAY Of course, you should. Guy, tell me the truth. Please don't hold
anything back.

GUY I'm not holding back a thing, Fay. You know I wouldn't. Your
father is O.K. Just that old heart flare up. Doc says he must have a
good long rest. That's the straight of it.

FAY Is Daddy conscious?

GUY Sure--take it easy, hone*. You're trembling like a leaf. I hate
upsetting you but I had to tell you.

FAY I feel I ought to go to him--poor Daddy--he works so hard.

GUY Just take it easy now. Your mother will be here directly. Doc
Cook's bringing her out. Where's Della?

2O

FAY In the kitchen I'll get her.

GUY I'll get her. Della was here when the call cane. I want to put
r fin”fi“ ~~- -~ “ *r wwmvoo

her mind at ease. (GUY IS CJLJSIJG TU TUE “lions“ Deed Ab Dmen o)
It's all right,Della. Doc says he's going to be all right.

DELLA Oh, thank the good Lord. (8113 quQQLS TC FAY) Now don't you
be upset none, dearie. It's just a stroke—~people have 'em every day.

FAY Stroke-~Guy, you didn't tell me--
GUY Look, are you going to take my word or Bella's--

DELLA Oh dear, I've gone and said the wron3 thiig. I'll go fix some
'1" ‘ .Lriyrs\

hot coffee. Your mother .l ill want some. (:J .“L 10/

GUY Leave it to Della to mane things around here worse than they
are, huh?

FAY Guy, I'm an awful heel.
GUY are you? I hadn't noticed.

FAY All 1y life I've taken Daddg for 3ranted. He's worked like a

,
slave to put me through eolle e and give no music and all I've ever
done is just accept and be a——n-—a lady of leisure.

GUY 3811, it's given your father and mother a lot of pleasure and
satisfaction to see you through. You know that. You're a talented
Lid ”'d--

F’Y Talented——nhat have I ever done with v talent? That have I ever
done for 11;] family or for anybody for t lat atter‘.‘

CUY You T.hat has cone over yon? You do loads of x<nde1rful things for
@JI‘JI—e Call t‘lfiLO tj-i_e

FAY (CKUSSING Tc TZLJPHULL) I'm 3oit3 to start ;<

(In PHUSB) Long distance, Operator.

P.1-

K4

,.,.. .j_.'-
in Jul eth;l:{;.

CUY Now what are you up to?

PAY (IQ GUY) You sc-id Doctor Cook said a lon3 rest—~(I. .nc-n)
tperator, I want to alk to Lr. Lee, Lakes hore hotel, akeshore,
.lCll”8l. Yes, nle se, this is AZA—R. No, I'll wait—-

GUY Fay, you're giving up your sumier job' Don't you think vou ought
to think this over?

FAY Job nothing-~my job is here. Anyway it was more of a vacation
than a job.

’7
r...

GUY Well, a little vacation, a chaQ e--

FAY Ly w11ole life has been a vacation. Daddy is going to be laid up
for the rest oft he summer. I'll be needed here.

GUY You're right, Fay. I'm really glad to see you ta1:e t1i 3 stand.
Only I just hate to see you do it without thinkin3 it over. I know
that Lakeshore business means a lot to you, Fay. Say, I've got an
idea--Hang up——cancel that call.

FAY Don't be silly.

GUY Listen, Fay. Ly parish work in the summer won't amount to more
than a couple of hours a day. You go ahead with your Lakeshore job.
I'll help your folLs.

FAY Guy, don't talk foolishness. We couldn't let you do that.

GUY I'd like to know why not. Hang that phone up and cancel the call.
I'll handle things for the Fairchilds. They've done plenty for me,
goodness knows.

FAY Guy, that's terribly sweet of you but we couldn't-—
GUY Now let's not have an argument.

FAY Don't you see that this is something I've got to do?
GUY No, it isn't. Running a farm is no job for you.

FAY Oh, you think I can't--You thinL—-(IH FHC1.E) Uello--(TO GUY)
I wasn't raised on t1is farm for nothing. Shat I don't know I can
learn.

GUY You're being inpulsive and heroic.

FAY I'm being nothing of the sort. (IS PdQKE) hello, Lr. Lee. This
is Fay Fairchild. Lr. Lee, I won't be able to take that position. Iy
father has had a heart attack and I'm needed at home. Yes-—Yes, that's
right. I' m terribly sorry—-'well, the t's awfully Lind of you. ThanL
you for understanding. Yes, Fr. Lee, and thaan a3ain. Goodb'e.
(SEED EDZNGS UP. DELLA EHYEAS 'JITh TLE TRAY CURTAIAIZIG Dis.so CF SE

C ¢ E‘un, )

U)

GUY Well, Della, meet the new manager of the farm. (HE INDICATE FAY)

DELLA (STOPPED DY THAT) What?

FAY I'm stepping into Daddy's sh -oes, Della, while he takes a long
earned rest.

(THAT IS TOO LUCd FOR DELLA ”RC BASES TIE 1R YAY TOA T” LE AKD JUS‘ SITS

Data)

22

(LRS. FA IGIILD ELIZA: A D FAY CRGSDF 3 TO HER)
FAY How is he, Hother?

YRS. FAIRGIILD Oh, so Guy told you-—Well, I knew he would—-Daddy is
fairly comfortable.

DELLA (RISING ALD HURRYINGC CFF) I'll 3et you some coffee, Hrs.
Fairchild. I've just been hottenin3' it up.

LRS. FAIRCHILD Thank you, Della. I'll c0me into the dinin3 roorn for
it.

GUY Well, Lrs. Fairchild, what do you thinL-—Fa y has cancelled her
job at Lakeshore to help run the farm.

LES. FAIRCHILD What?

FAY That's right, mom. Now don't tell me I won't be any 300d at it.
LES. FAIRCYILD Well, F'y dear, I——well, we can talk about it later.
DELLA (EETERING) Coffee's ready, Lrs. Fairchild.

GRACIE (ESTELILG FRGL GARDEI) I'm back--Now about refreshments?

DL LLA Land a 3oodness--The ice creaL—-

GRAG IE Let me at it. Bivwackihg 3ives you quite an appetite.

ELLA Look at it. Looks like a heat wave struck it.

GRACIE 'Rhee--Soupey as a soap opera. Oh, well, some people like their
ice cream just like they like their kisses.

DELLA How's that?

GRACIE ‘Wet.

DELLA Ah, you—-Gracie you 30 get the cake while I take this out.
GRACIE Oh, boy, will I——(ShE DA‘UFS OFF RIGHT)

GUY Here let me give you a hand, Della. (U5 CFEFS TEE ‘EYRAC E DOOR
FOR HER) Coming out, Fay, or would you rather not?

FAY Yes, I'd better join the 3uests. (AS SR3 ATD GUY EXIT) Well, Guy
it looks like I'll be around to play or3a n for you after all.

GUY (AS THEY “RE VFF) That's ri3ht.

DELLA (POKILE
with that cake

TTW-‘r v-v 7‘ n: {3-}: ‘r-rn 'r‘
admit.) UHAuLILL-JU n

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HIXS BEEN LIFTED. SHE NASA
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‘1.“

Act II

(RES. FAIRCRILD IS PUTTIRGA JASUUL CLEARER TUSETR'fln AS IRS. ZASHAR
ENTERS FRI/“l: THE DIRIRG RUOL. )
LRS. FAIRCRIm Come in, Mrs. Zachary. All through with the canning?

RRS. ZACHARY Noam, I'm not. I got just enough of that apple butter
to fill another couple of quart jars if I had the jars.

1R8. FAIRCRILD Let's see——I believe you ‘11 find so n1e jars on that
top shelf in the pantry behind all those boxes.

IRS. ZACHARY Yesum.

RRS. FAIRCHILD Ly you've done well with those apples, hrs. Zachary.
There's usually so much waste with early apples.

1.35. ZACRARY Hell, there's tEIem that throw away instead of cuttin'
out-~I always hold to cuttin' out.

135. FAIRCHILD I guess I'd have had to throw most of the fruit away
if you hadn't offered to do the canning on shares.

£25. ZAE ARI Well, I was just real glad to do it. I says to the
Hister, I says, that poor hrs. Fairchild's just got more than she
can handle.

3313. FAIRCHILD Oh, I wouldn't say that. Does look like it though
wh 1en I don't get around to my cleaning till late Saturday afternoon.

IRS. ZACHARY Well, it's hard when there ain't a man around—-top shelf
in the pantry, you say?

L33. FAIRC"ILD Yes.

IRS. ZACRARY (S‘TART TING GC) I says to the Kister, I don't know what
hrs. Fairchild would do if it wasn't for that dauchter of hers. Why
that Fay's a regular farmer. The Hister says she knows might near as
much about the cattle business as he does. Top shelf, you say——I tell

(-‘er-a

him she gets it from her pa. on; EIITS)

DELLA (ERTERIRG) Row hrs. Fairchild, I told you I'd do that cleaning
soon as I got home from the packing plant.

HRS. FAIRCHILD I know you did, Della, but you' re tired and there' 3 no
reason why I shouldn't do my own cleaning.

DELLA Tired nothing. Saturday's a short day. As long as I make my
home'with you, Nellie Fairchild, I'm going to do my stint. I told you
that when I took that packing house job. SHE HAS ARES T‘LIE vm
CLEAZ‘JELL IROL' 3.113. FAIRS IILD ARD BEGINS 'lt JAG ‘ULIJI “‘ IE RUSS

25

IRS. FAIRCEILD All right, Della. I'll do the dusting. SHE 33? R3
‘US'TIRC) Did you think to go by the post office, Della?

DELLA H‘CLIRG ABCYE T13 YAJULR‘ Chat was that?
1

LC”. FAIRCIILD Did you remeaber-—

DELLA TURRIRG FF JACUU I didn't set what rou said.
J L

135. FAIRSIIL I was wonderinr if you got the mail.

DELLA Ch yes——I nearly forgot to give it to you.

(833 TAILS SEVERAL CARDS A"D L“ZEC-S FRCI HER PURSE AID HALLS TIER TC
1R8. 1A1RC‘I13 L'RC GLANCES AT TUZ', TREI PLACSC ThEm LN TABLE 1RSIDE
LIBRARY DOOR)

SJLLA (111.11.111.11 ‘11} UN 1111:: 0.1.1111111 L111. 111.1) uxlvU1.L1\CI NICK/1.1.1: .1. 1.) Doesn't 100K
like there's a1;ything there from Fay's lieutenant.

LAC. FAIRCRILD ho. She'll be awfully disappointed——

DELLA Rhat was that? ($33 TCRRS CFF IRE CLEARZR)
HRS. FAIRCRILD It's been more than a month since we heard from Glenn.

(FAY LIIL LS, UNCLCR CI LRC. FAIRCRILD ALB DELLA. CHE IS DRCCCRD IR
UVCRALLS AND LUCAS hCT ARD IIRCD. 533 CRUCCCC AT CREE To T33 TACLC
RRCRZ T53 LAIL LICS ARD LUCRC TRRCUCR IT RURAICDLI)

Dm’LA (SRUU 1R3 ACUJET T33 CLEARZR ARD STILL RUT RCTICIRC FAT) Folks
in town think Lay and Guy Lalker ar getting pretty thick.
IRS. FAIRCRILD (RCT RCTICIRG FAI ARD SRCLTIRG ACCVE CLEARLR) People
like to talk.

DELLA (TURR1IG CFF CLEARCR) Rhat was that?
LRS. FAIRCJILD (STARTING TC SRCUT TICC RCAL1C1RC CRC DUEC 'T IAJL TC)
I ‘r--I av ls l”‘-"- t t'I‘" 41" ' d " d ‘ s "vl
1 sag Say peOp C 1A0 o a1A. Cuy s a fioo bod an so iC C enn.
I'm very fond of both the boys.

brim“ “

w-Ic‘. ‘n "3 1- a. . 'fi .' ”‘4 fi —-. 1~,I.-\\ ' ' _ '
1A1 (AC DCLLA C1AR1S Ur TAR ULLARLR/ Is this all the ma1l?

DELLA (1 RRING r1111.1 CLEARJR CFF ARD TOCUSIRG LN LRC. F.¥RC11CD ACCL11RG
I1 IC CnE LHO LPUAE) Ahat?

FAY Is this all the mail, Rother?
LRS. FAIRCHILD Ch, hello, Fay. I didn't hear you come in.

DELLA (ELLARRASCED OVER RRAT 5R3 RAB JUST CLER CAIIRC) Heavens to
Betsy—~Reither did I. 6

['3

d.

FAY I finished raking the hay over on the river side place.

IRS. FAIRCHILD 50 soon? That's Splendid.

FAY I take it this is the mail?

IE3. FALICHILD I'm afraid that's all Della could fin at the post
office.

FAY You wouldn't hold out on me, would you, Della?

DELLA Land no--And I didn't mean anything by v'hat I was saying when
you came in, in case you heard me. I was just telling your mother
how people talk, but you know how folks are and, well, Glenn's been
gone now a year or more. (DELLA DUSIS SIAIR BAMNISTELS UP STAGE)

LBS. FAIRCHILD Are you home to staLr, dear?

FAY No. I have to run over to Pete's place. Zachary is shipping in
the morning and we're sending a dozen of Pete's cattle with Zachary's

(\‘

shipment. (IRS. ZACRARI ERIERS) o:1, hello, hrs. Zachary.

LES. ZACRARY How do, Fay. Well, that does it, Hrs. Fairchild——twenty—
six quarts and a pint. It was only by sa1ueezing and the grace of God
that I got the pint.

FAY Is your husband all set to ship those steers in the morning, Hrs.
lary?

iRS. Z ChARl Yesum. He don't like to ship on Sunday that way, but

nowadays you got to ship when you can get the trucks.

FAY That's right and we've got to make the Io

risk of quite a loss. (Sdfi lS HUhRIIRG UUI IL

before supper time, Mother. (8&3 ELIIS

y market or run the

nda
‘ D WE) I'll be back

IRS. ZACdARY Beats all how they turn out, don't it? Folds all said
how the Fairchilds was spoilin' their daughter with all that education--
Now look at her——Regular farmer.

IRS. FAIRCHILD hell, it isn't the kind of a life her father and I
had wanted for her, but, when he died-—Well, there was no stopping
Fay from talzing over the manag.ement of the farms.

IRS. ZACHARY Well, I always say, if they got it in em, they'll turn
out all right in spite of education, and if they ain't got it in em,
you might just as well let em get educated cause t'iey won't amount to
anything anyway. (NOTICIHG DELLA FOR R3 FIF'LSI TILE Well, hello,
Della. I didn't see you.

DELLA (STARTING I‘”” CLLAYRR I'm fine. How's everybody over at the
Zachary place?

27

JRS. ZACHARY (SROUTIRC Just fine except he's ailin' some. I was
just tellin' Lrs. Fairchild--

DELLA (SICPI‘IKG “In; CLLL:::JAL) iiilat?

IRS. ZACRARY I was just saying he's ailin' some. It's his stomach,
you know. (DELLA STARTS TIE CLEARER AGAIR) Hell, I'll be over Ronday,
Lrs. Fairchild, and put up the berries.

IRS. FAIRCHILD (RAISING HER VSICB AZSVB TIE CLEARER) All ri~ht——
thanks again, Hrs. Zachary Tell Ir. Zach to take care of hijnself.

ary
W e'd be upa Qainst it if he were to get rea HI ill, you know.

"RS. ZACHARY What? Oh, yes. Well, he'll be all right. It's just
his stomach. (832 ERIIS)

'Vl

IRS. I“AIR3RILD (DUSI‘IRG TIE LOLLLASE I certainly miss tiose books
we gave to the I.S.C.

DELLA Yes, it's just that much more space for dust to collect.
IRS. FAIRC"ILD fly, a lot can happen in a year.

DELLA It sure can. TMiere' that Evie Roscoe, married just a year and
she's got two babies and a mother—'n—law.

'RS. IAIRCRILD I wonder how she's getting on with the twins.
DELLA Ch, she says the twins are no trouble--it's the mother-in-law.

GUY (2"TERIA ”SARIRG CVRRII LS) Hell, I finished the cultivating,
Hrs. Fairchild.

1‘

IRS. FAIRCRILD Oh, hello, 3 y.

DELLA 'Iell, maybe you C? n fix this vacuuln cleaner.

GUY What's the matter with it?

DELLA It's on a strike.

GUY Laybe it wants portal to portal pay. (TRLII n4? BIG OUTA D REVEALIRG
II FILLED TO CAPACITY) huh, looks to ne as if it's suffering from
inflation.

IRS. FAIRCRILD Guy you're a regular handy-andV. I don't know what we'd
do without you.

GUY Nothing to it. How are you anyway, Della?

DELLA Kinda tired. I'm glad it's Saturda . I'n go Mn into town tonight
and just relax.

R)
U)

GUY Better be careful, Della. A lot of those cadets from the training
camp are in the village this evening.

LL Rumph. Rhat do you take me for--little red riding hood?

GUY (HARDING HER CLE}.RSR BAG) Sure. Do you want to take this over
to your grandmother?

DELLA (TARIRGL ”A G) It might surprise you if I did have a date with
one of them Lavy men.

RS. FAIRCRILD Della——really?
DELLA What's more-~he's an officer.
IRS. FA RCRILD An officer?

GUY Ensign or lieutenant?

D‘7”A He says he's the chief petting officer. Ought to be some
date. (L”JTS)

IRIS. FAIRCRILD Rhile I'm thinking about it, I want to make out a
check for your time, Guy.

GUY Aw, forget it. T nat' 5 just a little gi ft from the preacher.
Got a screw driver?

IRS. FAIRGRILD It's nothing of the kind. The Fairchild's pay their
hired help. Let's see, you've put in about three weeks all t05ether
since that last time. (SR3 HAS TARER A CHECK BUCK FRtJ TIE DESK A D
IS ARI.“ OUT A CRECR)

GUY I wish you wouldn't do that. (PUTTING CLEARER DCUR) I'm stymied
till Della gets me a screw driver.

IRS. FAIRCRILD Well, I'm doing it, so save your wishes.

GUY All right, if you insist. Just make it out to the Red Cross and
we'll toss it in on the church's allotment.

IRS. FAIRCRILD hell, I think you ought to have a little something for
yourself. I'll make it out to you and you can do as you like with it.
Is his July 9th or lOtI

GUY July 10th, nineteen hundred and forty—three according to the
newspapers.

IRS. FA RCRILD Rever believe all you see in a newSpaper. (HARDING
WI 332; To GUY) Here you are, Guy, and thanks a million for everything.

GUY This is about twice as much as I'm worth.
2

\O

 

 

‘1‘L‘

LBS. FAIRGHIL Nonsense. You're a first rate farmer.

GUY Yes, I sometimes think I'm more of a farmer than I am a preacher.
(DELLA ELIE?" EIT'I EIPTY CLBAXEA BAG)

IRS. FAIRGLIILD You preach good sermons, you have large congregations——

DELLA And the young folks are crazy about you—-

J

gas. IAIRCHILD So what more do you want?

GUY Tell, I want a screw driver.
DLI LLA What?

GUY A screw driver. You know-~(PALTGAILING) Little thing for
unscrewing screws.

DELLA Ch. (EXITS)
GUY Fay come in yet?
LAS. FAIELCIILD In and out-—she'll be back directly.

DELLA (RE— ZkquIAu All; SGIEI DAIVZR AED HAEDIAG IT To GUY) I'll see
about supper. Is that stove still giving trouble, Lrs. Fairchild?

A33. FAIACnILD Oh, yes, it is, Della. I tried to get a man out to
fix it but there iust wasn't anvone who could come.
, u d

GUY All right, Della, I'll have a look at it.

123. FAIRCHILD See if it's working first, Della. It takes spells
of working just fine.

GUY Tempermental, huh?

DELLA It works for everybody but me. I don't think it likes my
packing house fragrance. (ELITE)

.I‘W rfiyv’o-I‘ flrfir

'13.“ -"'".~'T‘r or. . .. “';' L'UTV ~“-rr’a* "n “T“ "w *1 A
1...“). FniflquuD (U3' “Dina l’xh quI .Lu Lib .L..'.G OVAJJJJI no: UJ.‘ --\JVL/ Influt's
L‘ ,- n

tne trouble, Guy;

GUY Loose connection.

325. “AIAVI LD I don't mean that. Uhy are you so pessimistic about
your preaching?

GUY Oh, I don't know. Justa feelin I get.
125. FAIACIILD Hell, it's nonsense. Everybody likes your preaching

d
and oeople like you, too.

30

GU‘ Oh, this tow has been grand to me, though I sometimes wonder
if it isn't just because everybody thou3ht so much of my folks. You
know how it is when a {id loses his parents-—

L33. FAIRCEILD IeOple lice you for what yw are, Guy.

GUY I guess the trouble is I don't always like me for what I a:. I
shouldn't bother you with my worries, but you are aoout the only one
I can come to with personal matters.

IRS. FAIRCTILD Hell, I'm glad you feel that way. V w, what is it?

GUY I get to thinking out in the field—-I get to th'nking about all

the fellows I used to know. Some of theA ri3ht from this tow.. They're
all out there helpimi end t is war. Gus Turnies, killed in New Guinea,
Bill Franklin in some Lazi pris camp, and—-wc ell, you know the list

as well as I do.

LAB. FAIJCIILD Don't you think what y/m m"e doin3 is pretty important,
too?

n r P‘r

Gel Yeah——I guess sogebody has to fix the vacuum cleaners.
2.28. F! 23”ILD Seriously.

GUY Oh, I know all tie arg ume nts. I've been over and over tien a

T

thousand times, but just who am I that i should hase tuis soft security?
has. FAIdJnILD Is it so 5 ft I You haven't come by your convictions
without stru33le, I know that.

GUY I wonder what right I have to convictions that seen to contradict
he actions of so many chaps. They have their convictions too.

LLB. FAIAGdILD Ahat is all the fQ tin3 for if it isn't to save and
make safe the ri3ht to believe—~freedam of Speech, freedom of reli3ion,
and all the rest of it?

GUY I'm not doing much to help min the fight.

LAB. FAIAGAILD You're standing by what you believe a:;d I guess tiat is
J.

winning a fi3h t in a way. It's really harder for you t: a: it is for us
who follow th pattern.

GUY It isn't easy for tlose who have had to give up their normal
pattern I renenber how all of us——Pete Blage , Shorty Baker, Lugs
Beatty—-we used to sit and chin about the big thin3s we were going to
do. It hasn't been easy for those boys to put aside their dreaxs.

IhS. FAIRCHILD I know it hasn't. Nobody would choose warring nd
killing.

GUY Those fellows are as much pacifist as I an at heart.

31

LAB. IAIAGAIAD Aren‘t we all pacifists at heart?

GUY I think the real trouble with me is that pacifisn is not just a
conviction. It's a promise.

th. FKIRCHILD A promise?

GUY You know how my father was. He had an unhappy experience in the
last war. He got to be almost a fanatic about pacifism. I've never
told anyone, but it was almost his dying request that I give my life
in the fight for peace.

ins. FAIAGHILD Your beliefs are what they are-—mind you, I don't hold
with all your beliefs or with all your father's-~but I guess what I'm
trying to say is, we have to be true to ourselves.

GUY The thing that got me started on this again must have been a
dream I had last night. I haven't be~n able to get it out of my mind
all day.

XRS. FAIRCHILD Do you want to tell me about it?

GUY It's one of those illusive, subconscious things that can't really
be told. I dreamed about Glenn Graig. A terrible battle was going
on—-I was watching from some place of safety——it all happened in air
and water. Glenn was wounded and he was trying to swim. Just before
he went under, he turned and looked at 5e. It's that look that has
haunted me all day. It wasn't a look of accusation-~but there was
something in his eyes, a kind if pity—~then, you know how sometimes

in dreams you get a guilty feelin3-—well, it was as though I instead

of Glenn were facing eternity and I was facing it with an awful feeling
of guilt. '

IRS. FAIRCHILD Hell, I don't put much stock in dreams. If they're
pleasant I like to recall them. If they're not, I thirk the best thing
to do is forget them. '

GUY I keep thinking somethin3 has 1a pened to Glenn. Do you think
there is such a thing as telepathy?

IRS. FAIRCHILD I don't know, Guy. We haven't heard from him in a
long while.

GUY Is he still in the South Pacific?

LAG. FAIRCAILD Yes, I suppose he is. he said something about being
sent back to the states on some sort of mission.

GUY Oh? That would make Fay very happy.
IRS. FAIRCHILD How about you? hould it make you very happy?

GUY khy, yes--yes, I'd like to see Glenn.

32

m mp‘T—w 1-

LAD. rAlAJEIILD Guy, 1 wonder if you're being fair to yourself, or for
that matter, to Fay.

GUI What do you mean?
LAB. FH.II‘ KLD Don't you suppose I know how you feel about Fay?

GUY (S-IL HG A'f IIQA) People don't fool you much, do they, Lrs.
Fairchild?

LAS. FAIACHILD of course, I know you didn't give up that chance in
the Chicaso church just to help us with the farms and to be near Fay,
but It Lat did have a little to do nith it.

GUY when you come right dow n to it, I guess Fay, or rather my

feeling for her, has a lot to do with all this other I've been telling
you about.

LAB. FAIACKILD I thought so. No, Guy, I don't want to be a meddlesome
mother and you must understand tElet I'm very fond of Glenn just as I'm
very fond of you, out don't you think you owe it to yourself and to
Fay, and even to Glenn, to give yourself—~well, an even break as you
young folks call it?

GUY You mean tell Fay what I feel? Faj's in love wi h Glenn, Lrs.
Fairchild.

IRS. FAIACAILD She was in love with Glenn. He's been vray over a
year. A lot has happened-—Fay has changed a good deal. How do we
know who she's in love with now? Or for that matter who Glenn is
in love with?

GUY I know-—I’ve thought about it a lot-—I just want to do the square
thing, that's all.

n

1A5. FAI ACIzlLD Lell, I won't say anv more. I just hape to see peOple
be hurt, that's all.

“UY 'Ie can't get through this crazy old world without getting a
little hurt now and then.

I“ ~1-
v, LT

(PEG A441) C—I—LACIE BQUEJCE II: mauve}: m AMT DOOR)
PEG Hello, Aunt Nellie. Hello, Guy.

GAACIE Ihat's cooking?

Ans. FAIACH LD Oh, hello, Peg and Gracie.

GUY Hello, kids.

(s
f
3

PEG Is Fay home yet

33

115. FAIACHILD No, she's gone over to Pete's place to see about
some cattle. She'll be here directly. Sit down, girls.

GRACIE We want Fay to come to a swell party we're giving tonight
for some of the cadets from the training camp.

LAB. FAIACHILD That sounds nice. I hope ray won't be too tired.

PEG So do I. Gee, Fay used to be the life of the town. Now nobody
ever sees her.

GAACIE You sh uldn't let her work so hard, Aunt Nellie.
GUY Let her! Try and stop her.

EG Guy, what are you doing tonirht?

HACIE Yeah, why don't you bring Fay and come along?

GUY Thanks, girls, I'd love to but I've got a sermon to prepare.
Tomorrow is my working day, you know.

PEG 'hell, you'd better at least look in to see that we're behaving
ourselves.

GUY Oh, so you just want me for moral atmosphere, huh? Sorry, no
can do.

GAACIE If you ask me, I think you're Raking a :r ave mistake, Guy
You'd oug ‘nt to be making hay while tie sun shines. You know, before
Glenn gets back.

GUY Fay is making the hay. I only do the cultivating.

FAG Gracie, why don't you go chew your handkerchief? That's the

news from Glenn, Aunt Nellie?

LAB. FAIACGILD Well, we haven't heard from him in quite a while
FAG Oh?
GRACIE You see what I mean, Guy?

GUY (I "A”IYG) You know, since you've cone into my life, Gracie,
1:5 desire for feI.‘i nire oompa11ons11) is co: :letely satiated.

GAAC 33 Are you kidding? (SHE IS ”T'IIIII‘G TI". FIALI; 1:65.") Does anybody
ever play this thing anymore?

1L3. FAIACAILD It isn't like it used t; be around here, Gracie. Why
don't you come over ard la.r it evenin 55 for us‘.

PEG Oh, heavens etter not suggest it, Aunt -ellie—-she might do it.
LAo. FAIRCHILD TIIis house was hapIicr when there was music in it.
(DELLA EN”3AS A3 AACIZ GLATISU7‘ To STEEL CA THE PIA ” .3)

DELLA Steve's ac tin' up again.

GUY I was going to fix that, wasn't I1 T"ll, let's have a look

at it and then I've got to get home and start thinking about a

sermon.

DELLA That stove won't put anybody in a mind for writing sermons,
I can tell you.

L35. FAIACHILD (AS GdY AND DELLA BAIT I' ll cor.‘e show you where to
«'1‘?

find the tools. Excuse me, Igirls—-ma e yourselves at' I1 me. qu
G533 LFF)

PEG 'We'll run along in a minute. We've got to see some others.
He'll be back to see Fay.

(TITS TE?" HQhE RINQB RAD PEG AASWEAS IT)

M(I Aofil) Hello. Far? No, she isn't home yet. This is Peg
:7radshaw, her cousin. (TL GAAGIE) Stop playing, Gracie, so I can
hear. (IN PAONE) What was that? Sure, I can take it. (To GAACIE)
It's a telegram for Fay. Get a pencil and paper.

GAAJIE A telegram? 'Who's it from
PEG Shut up and get a pencil and——

GAACIE 'Uell, I'm trying to find one-—where?

PEG Look on the piano.

(GAACIE FINDSA 333011 Ah A * 312133 3111‘1311113 331% on 11L ‘"
2M 1133 1111313 113 P1cx3. 513 POAES 133 313 01053 TC 113 13331131 so
313 CAII £313,100)

PEG All right, I'm ready.

331013 WAIT s as PEG 3:3133.. as 513 Doss so 313 KEEPS KUDGING 030333
1o113 .333Iv3p A5 13G 11135 1c 115131 133 1333 '131 AAAY Al 1:13 5113

TILE)

PEG (III PhtAE Yes. Kill fatted calf-—yes--and call out band—~yes--
your wandering leatherneck arriving late Saturday afternoon—~yes-—love,
Glenn. (GAE AEADS IT BACK) Yes, I've got it. Thanks.

35

(TH? GIRLS GIVE A UHCCP) It's from Glenn! He's coging!
GRACIE Late Saturday afternoon—-why, that's now!

(CALLIHG IF) Aunt Kellie, Aunt Kellie.

YRS. F! RCHILD (EHTER HG) Xhat in the world

,4.
0..
[..J
(—...
p.
:5

L 2

2.34

1
C)
C

C‘l
H
'1
H
U)
'0

PEG It's a wire for Fay from Glenn.
GRAGIE He's here! He's on his wa3.

(Ins. IAIIw HILD IAII‘ IHH lAsAzIHE AJD READS HALF TO H3 SELF JHA“ THE
GIILs HAVE SCHIBILID)

“P‘GIE Why didn't those girls down at the telegraph office phone
that out hours ago?

PEG It probably just came, silly. .lsn't it exciting, Aunt Nellie?
LES. FAIRGHILD (ALAQST A5 IACIILD AS FIE GILLS) Late Saturday
afternoon-—I can hardly believe it-—You girls aren't up to some

joke?

P G No, Aunt Nellie.

til

GRACIE Let's go meet him—~let's go get Fay and meet him.

PEG fleet him? there?

GRACIE That's so-—there's no train at this time of day.

n?""’

13.. FAIRCnlLD No, here isn't. He must be motoring out with someone.
PEG Probably got a ride-~it's quicker.

GRACIH Haybe he's flying out.

PEG Golly, he may be here any minute.

HRS. FAIRCRILD :erey, I look a sight.

GRAGIE YippV! (SIHGS) From the halls of Iontezuma, to the shores
of Tripoli--

LRS. F. R HILD (HHILH GHACII Sixes) I'll tell Della and Guy.

(DI-:LLA EI:TE:—Ls pl :D [TAJKIJIE Git-11:35 LII-34L AAD DV'ZS A: 3:03;; JI'FI‘aiEY I}, STILL

SILIGILJG)
GRACIE If the arnw'and the navy ever reach those heavenly scenes--

36

PEG Gracie, behave yourself.
MRI IE They will find the gates are guarded by United States larines.

ELLA Rhat in thunder has struck everybody?

U

GRAGIE Think of it—-a Farine hero.
~RS. FAIRGHILD Glenn's coming, Della.
DELLA Glenn? ‘When?

REG Right away.

v
4

GRAGIZ Any minute.

1R3. FAIRGJILD A wire just came.

G-RACIE We took it over the phone. SHE SHCVES THE LAGAZ ARI I"TO
"~ I ‘ T. 1“ Ii" "-_ 7—,“ ,1 ‘ r... \

DL LLA' S Hnlmo ..H ."CLADG IT}

DELLA (RFADIRG) Rake your legs beautiful. You too can have a sun-
tan. Use——

m,

GRACIB ”ot that, simpleton——This—-the writing. (DELLA REA 8 IG

RCR’“II)

PEG Come on, Gracie. Te're going to get Fay.

LES. RCHILD You'll only miss her.

PEG Not if we hurry. Or would she rather be surprised?

1R3. FAIPGHILD Heavens, no. Not the way she's dressed. You'd better

.1...

sneak her in the back way and let her get cleaned up. She'd have a
fit if Glenn saw her like that.

V -. {\t'vr

GRACIE C.h. Come on. (THE GIRLS no“ OFF)

IRS. FAIRGIILD (LGUYIRG THE ROCK OVER) We just finished cleaning in
time. The place still isn't very tidy.

DELLA (PICRING UFP AYERS, ETC.) I'll rid up——You leave it to me.
LRS. FAIELG ILD (HELPING TIDY) I never thought the time would come
when I couldn't get round to my cleaning until Saturday afternoon.
I wish we had some flowers.

DELLA Rant me to trv and find some?

HRS. FAIRCRILD No, you go tell Guy the news while I run up and chan e.

37

DEL A Guy's gone-awent somewhere to get something or other for the
stove.

IRS. IRIRCRILD Ly, I'm a sight. I certainly hope Glenn doesn't come
until—-
,\ III/,W- Trfi U" ?i*_V_T‘T‘?‘_V TTIV"

117'” 1
LILJ IILL Ji DOC ’IL

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(8.11:: .LQ lIflJhDLI‘.‘C’ 1*ij ‘1‘.an 5111.1... 1:) 41.. D IS SIN Ink; 441.4“
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BID. x.) 111D II‘ atomic GLI'ICL DILGJQ DD II. IIIS ...IILR) ILA.) -Gn-quI.‘.C-. ' 3A )

GLENN Hello, Lrs. Fairchild.

U)
*1:
.4
c?
'3
3
J

GIVES

L‘J

123. IAIHIGIILD Glenn! (SR?
Iiow are you. I'm so glad—-

G ERR How are you, Lrs. Fairchild. You're lookinv great. (LCTICITG
DELLA AND? USRI NG T'G RER’ TI ARI I PULSIJE G"BRACE Della——How are you?

DELLA Just fine, Lieutenant. Ly, what a surprise this is.
GLELN Surprise? Didn't you get my wire?

L33. rAIJGGILD It just came, not five nanutes ago. I guess it was
delayed.

GLENN Ch, that's too bad. Golly, it's good to be here. Where is

everybody and hov is everyone? There's Fay?

LRS. FA RG”ILD She went over to Pete's place. Peg and Gracie went
to get her.

GLERN How are they, Peg and Gracie? Ch, this marvelous old house——I
can't believe I'm here. Kept pinchirg myself all the way out.

IRS. FAIRCLILD How did you come?

GL RN I can ht a ride with an army colonel who was driving out this
I"? 37"”fLiI‘ Corps 1'11an

DELLA You mean you flew out here?

GLERN Tell, that Buick he was driving didn't have wings but the colonel
didn't seem to know that. It's a wonder to me the cops didn't get us.

DELLA For speeding?

J—J‘JL- 1“ I

Row' 3 Fay?

II'" Well, you might say for flying too low. How have you all been?

I.RS. .AIRCIILD Fay's fine, Glenn. I'll bet you're tired and hot from
your drive. L'ould you like to go up to your room?

38

n :7": ‘1' .3 .9 _ I, , .L .1. vs TTf r. hf‘fi‘fi‘f
GLUNN . o, I 'm fine-—I JUSL Want to take b (IL; no ”LL;
T {qrf'q'w’vfl '1'," 1" I r"‘ '1- 1‘1 x .~~ ~17 -_1; {‘7‘} f -rv";\ 7 ’\.'~" TVA . ..‘ w'v'vvfi 95? 'qfil

Libyanllvpl 1.1.1 1; Liku...“ \, Jul» [IL-.D “Lu. 5.111;..1Ju L.U\Jl.l-\.‘..-' Lt. . ”-4 ,..L;.j}'-Vn) flat

happened to all the flowers?

L33. FAIiUIILD oh, we still have a.few.

GLENN But tlat anderful flower garden——It's all ve5 etables.
DELLA You 5otta grow food before flowers these days.

INS. FAIRCNILD That's some of the bust ZLFdOR soil on the place.
Speaking of food, I'll bet you' re hun r5.

DELLA I'll fix you something-

GLZNN No, don't bother.

‘ .

INS. FAINCNILD Dinner's not for a good while.

“-.-

-LLNN ‘flho wants to waste tine eating?
DELLA Well, I'll fix you something cool to drink anyhow.

GLENN (A5 DLLLA IS ALUUI TU LELJJ) Della, you're just the same as
ever. You're looking youn5er though.

GLENN I'm tellin' you, ladies, I'n prett5 ste rvei for the sig .t of
American femininity.

DELLA Ihat about all those native girls out there in the South Pacific

FT '1‘ 71.7

GLLNN Well if *ou like then unsLod unshonered and unshamoooed theV're

’ ’ J. ’ J
all right. But, after nearly twelve months among the grass skirts, I'll
take civilized women with all their drawbacks.

DELLA (BXITING) Ah, Lieutenant, you tickle me--he's a card, isn't he,
Lrs. Fairchild?

GLENN Nell, firs. Fairchild. New have you been really?

LNG. FAIRCNILD He're fine, Glenn. Of course, it's not the same here
as it was when Frank was living.

GLLNN I never wanted to be any place so much in L; life as I did to -
be here with you and Fag‘hhen I got the news. Ne was one of the finest
men I ever knew, your husband.

ENS. FAINCHILD Frank and I had a beautiful life together, Glenn. ;
just hope Fay will be as happy when she--(5hj CAN'T FINISH FOR P Gfiline

'7 ' ’r'; ‘1'7‘ V?“ F. :‘s‘
Dhu1k In; .LLAAU) q

)9

- r‘nnv

.Lnu She will be—4 e've got to see that she is. Yon've :i‘
a ”on derf7l exa e to go on, Hrs. Fairchild. Tflis hem- u?th it's
books an. uus'c and it's peep e who know how to livs——I've thought
about you a lot.

.L,'

5 7'" "m” ,5- .1 - 3 .- 7.. L 5
LnU. rnIRGniLD “Len did 5cm arrive in tie states

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_ LL-“ I cad5nt a plane as far as Lnana.

W J

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“a3, how's Guy? Is he still around?

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GLENN Sounds like Lend-Lease in reverse.
GNACIE (SINGING OFF STAGE) If the army and the navy ever reach those
heavenly scenes, they will find the gates are guarded by United States
Karines.
GLEIN (A 5 NE NEANS 'ENE SINGING) ‘Snat's that?
L55. FAINCLILD The marines have landed.
GLENN Is that Gracie singing?
ENS. FAIRCNILD It isn't Gladys Swarthout. (LOCKING CUT)
”LENN (LbCNING OUT) But where's Fay? Fay isn't with them.
\

INS. F nINCNILD (LEE ING “NE GIRLS AT TN- 'QON} Ie's here girls.

GhACIE (ZooLUqu IN7 AND RUNNING INTO CLENN'S ARLS Glenn-—how wonder-
full

GLENN Nelle, Gracie.

Df-‘P‘ V i ”‘1 ' ‘V "‘ , _ x‘" V‘ "'I '\ 5 C ‘
PL’ (BEING LoLE DIGLIFILD BUT YURI LG n Th3 SHALL; Glenn, it's
F‘rfir—

awfully good to see you! (ELIE cl bLNS NNN HAND)
GLENN Now are you, Peg.

1N3. FAINCHILD Where's Fay?

GLNCIE ”he missed her, Aunt Nellie.

awn

IEM' Ne took the short cut.

MRS. FAINC IILD Oh, she probably' went around throu3h town I"'ill you
“cu

girls excuse me. I' ll get rid of this apron. (3N3 EXITS UPS? no)
GLENN Nell, Peg and Gracie, what's doing? Golly, it's good to see you.

‘EG It's terribly nice to have you home, Glenn. I got your last
letter just this morning. Thanks so much for writing to me.

GLLNN I'm the one who should say th 1k . Letters are life itself out
there. You're looking‘wonderful, Peg.

GNACIE Now about me? Aren't I looking wonderful?

G 2.; You're as sweet and crazy looking as ever, Gracie.

GNACIE Sweet and crazy, huh. Iaplenut, that's He. Then I get hot,
T

.1.

PEG You know, it's quite a coincidence, your coming home this after-
noon. Ne're having a big party tonight.
1

GLENN Swell.
PEG Oh, but I forgot--you don't like big parties--

G nNN I never used to like them, but I'm so starved for a little fun
I can take even a party.

PEG Oh, it's just wonderful to see you, Glenn.
GUY 3N BRING FACE THE DINING 300;) Nell, knock me down!
r‘\

GLENN Guy—-how are you! (T133 NUJH TO “’ CH 'TIBA AND SIANE HANDS a)

GUY I thought Della was kidding. This is a real surprise. You're
looking great, Glenn.

GiACIE It's the tan. Doesn't he have a gorgeous tan? I wish I had
mt like that.

GLENN I'll send_you one, Gracie, and maybe a grass skirt to go with
GPAGIE That's a promise. I'll hold you to it. Especially the grass
‘ t

PEG That sounds lik you're going back, Glenn.

GLENN Yes, I only have till Tuesday. I'm only here on one of those
fluke chances.

GUY That's not very long

CF EDEN I350.

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GLENN What happened to this marvelous librar"?
PEG They gave a lot of books to the army.
GRAGIE Fay and Aunt Nellie never seem to have time to read a nymore.

GUY There's a million questions I want to ask you, Glenn, but I
expect you' re tired answering questions about the 1.ar.

GLEIN Oh, you get used to it. By the wav, I met a chaplain who said
he knew you, Guy.

GUY Is that so?

[+2

GLENN Yes-—a bi5,
name--Steve 'laylor.

blondish chap with a nice saile. Taylor was his
GUY Oh, sure, I remember Steve. Ne was a year ahead of me at Yale
Divinity. I used to get into terrific arhunents with him.

GLENN Nell, he's a hard hitting, God fearing son of the marines now.
GUY I envy him.

GLELWI He should envy you. I don't think he does, thou5h.

%«
k3

Ny situation isn't an enviable one.

GNACIE You don't envy Guy, do you, Glenn? I mean, his staying home
where he can see a lot of Fay while you're out fightin5.

PE Gracie, go thank Della for nailin5' that paclma5 e for mother,
will you?

GNACIE I will later. I should think Guy would be the one who is
envious. I knov I would be of a handsome hero coming home.

PEG Gracie, will you Hle se do as I say?

GLEN-I ”I88 NG TN 3 VbcI“ “N.L.TJL PIANO) What happened to all the
music? The piano used to be full of it.

2‘]

PEG Ln, it's around.

mCIE It's all put away. Fay doesn't have time to play except for
church

G-LENN But she's 5ot to play. Nusic is her life.

GUY I'll bet you get pretty hungry for music out there, don't you,
Glenn?

GLENN You get hun5ry for a lot of things when you have time to think
about it. (NE B33: 3 QLALKLII3 sz PIANO)

EEG He'll have to treat you specially to all the things you've
missed most.

GLENN Nhen I was here last there was a hu5e bowl of flowers on the
1)]..(11'10 0

PEG (TN VI'G TL PE LIGJT) They withered and had to be thrown out.

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( VILLA...’ 1.1.4 FV ' LO..I::. 1' Di [ti—4k. IUJL 1.4L;..‘.: Us 4'. AJLI-L UN ‘11:..L .344. L'J vJ:.)U.-E)

' 1*1 (V 35‘ 1"?ij .1;va , r1 ‘ - .-\.‘ w '\
1"“.‘I‘ww *A l I 1...;uAJ-JJ. /

A3

GLENN Got tired waitin5 for me to come back and smell then, huh?
ZLNL FA RCNILD (GGNING DCNNSTA NS) Nell, 5irls, how does it seem to

6

have a hero in the town?

evrvw 55130 To HEN) I'm no hero, Irs. Fairchild. Save that hero

\IAJJ'AVLI

stuff for the boys that stOp the flack.

we're mi5hty proud to have you Aere.

£23. I' AIRGN LD Well,
I'd lih eto get hone for a

GUY If you will all excuse no, 3
me feel pretty snobby.

and a change. Glenn's spotless whites ;31:e
Mty cool and

:ILEN Would you like to trade outfits? You look mi5L

relaxed in those overalls.

wouldn't change our situations. I'll

T'f

GUY I'm afraid swappin5 outfits
MD 1' Q } 71.1: "..io TAXES IT) It's

see you all later. (NE In.o HIS
good to he .ve you home, Glenn.

before I for5et it, I want to thank you for sonethih5, Guy.
me a little prayer book before I left?

»4 “unu-

f‘T Yw‘vwv -.1
l — { ‘ l
L11,

(“i-T" ‘f’DC‘

\AV ...‘/K) .

“T :5“ rTfY 1“ '\ H‘T 1. IN" "fl‘ ‘ ‘flft ' YY‘fi . H “-7, " V 1"“ ' '7 ’_I 1 " fi" fi'q\ ' " t
. ,- " " ' l1 ‘ 4 I .-Ya'«' "

. “‘F‘Jfiu LI ‘A'VDIJ JJ-A itLID-JLJ‘JLJ L _.\_/_ A I:“.a- l-ANJ- a. VJ- —J-¢/ Hell, I VuullU

t4) thank you for it -5ain. It saved :e from 5ettin; scratched up a

Kilt. It's a holy book for sure now.

,~"v--. g. a o ‘q 1 a w ‘
*‘ ILChILD mercy, it's riddled with oullet holes.

~-- .. .. ._..
uraaCIi Now exc1t1n51 I thought tnat only happened in stories.

tell your parishoners t1ere's rathin5 like a prayer
'3Ucfl: for stopping shrap.el.

r1~fi . O .I
qihf I wish we could find SOme way of stoppin5 it at the source.

~a|an~v Just Higgins doesn't see m to do it, but we re maxin5

ffi‘j‘“ ’1 ' r
”ktf Ill at' 3 Why you're 5Qin5 back:

h~'-'7 ... o o \ q
““44- well, na\be your way is ri5nt, Glenn.

14L435 It would be nice to believe that you r way is the right one,
Cfliar, but you see, I've had the pleasure of meetin; the enemy.

“LLIG The trouble is we didn" start neetin5 the eneay soon enough.

FN‘ ---
‘fihfidxd for which we can thank our [a cii fist upbringing.

AA

GUY I mean we should have met the enemy before he had a chance to
becore our eneW

awn-

G In” And given him a prayer book?

GUY And given him the kind of treatment in economic and political
relations the prayer book implies.

G ENE The cold facts are, we didn't, and from what I've seen of a
race raised on hatred, passive resistance would have meant that we
passively passed out of the picture.

GUY Passive resistance failed because it never had a fair trial.
PEEL’ But it did fail.

a l Possibly-—in a way--
2.21:8. FAIIW " IILD (HH‘IEIRL‘I—‘I‘IL‘IG TSIIAT SIZE FLARE} r.:-..i.Jl‘-11..J.S ‘0 BE ALI
ARGULEHT) 80, Glenn, you are going bacI; to the south Pacific?

v fly \?

GLERR Well, I'm.goin; back to the Pacif IiC area. I'm being sent into
China. I can't tell you what tart, of course.

A.

HRS. FAIRCHILD Oh, dear. I was so in hopes you could remain in this
country. It seems to me you boys who've seen so much action deserve
to be sent home now.

GLEEN As a matter of fact I was given my choice between a station
in China and one in the states.
YRS. FAIRCHILD And you chose China?

GEEHN Yes.

GRnCIE Uhatever for? I should think you would wan to be in this
country so you could spend your furloughs with Fay

CLERK Hell, Gracie, you don't almays do what you want to in this
business.

IRS. FAIRCHILD But you said you were given a choice.

GLENN In a way I was, but men with combat experience aren't too
plentiful, and you RindaL; ' ct the feeling you're needed-

945. :alRCRILD Yes I guess we all Izave to fit in where \We re most
I ( ' IS A KEGGK AT T33 Fgchi DcCi) I'll go Gracie.

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-Ru. EAI cilia oranln: Lib van/ on, it's neulai, ;eulaa Eac1ary.
Y] T

L5

‘ - v ’r-nw ~ ‘ .v V"! x I ~ v '» I“ 7"1 qu'v «\v ., V - .a-
CLULLR {RITZRIRG. SR; Ib R T“ .I IIRL Raoul IRI1IEL. ELI LARGE Fen
HER AGE) It's aLout--

-RS. FAIRC IILD (I TfL”DU3I"G HE” LIQUID) Leula., this is liu'tenaLt
Gra’g. '

CLERK How do you do, “iss Zachary.

BEULRR Ch, hon do 3ou do. You're Fey's fellu-—(3'T IS :32TLY

‘;V“"‘fi“' v—u—\ _ - a
I IRnooE.U/ Ion do ym; do. It's a.::wt——

IIB. FRIICIII And Eeulah, I uess you Lnou Gracie——

ZR LAR fies L3.. I've CORe-—

ERS. FAIRGRILD You know Reverend Guy Talker, of course.

GUI Hello, Reula h. How all the Zacharys?

BEULAR Jest fine, thanks. Irs. -‘airchild, it's about pace that I've
cone.

HRS. FAIRCHILD Yes. Rouldn't you like to sit down?

(LZULAH :xss A Sifo. SITS sccx, “gs T713 TRIES 3,5:3)

CEULRH Rell, i 's bout pana. Tana said I should run right over--
only she sai: it's the daughter I should tell to come.

1.73. FAIRC;'IIL You mean Fay. She isn't here right now.

GI JIE But We re e:{pectin; her any minute. Te went to get her but

she'd left and I

bfiTv" ‘1’

came right ove

Rs.rgninm>
BEULLH tell,

BLULAH

to come right

IRS. RC"ILD
LILY-S Elf o
£33.07 f 1 “81].,

right because

GUY

Yes, mam.

guess she came roun

mama said f
.rne

Yell,

r and mama said for

Perhaps I could take

it's about papa.

‘7

ICS, it's about your

Well, he's real 5

over.
father's *ui

If your

ov\1f

didn't gold
awful sick,

“10.1.13.
he's

for y
pa

pa

Uhat's the trouble, Beulah?

I

he

dbytmm.

or me to cove right over so
to tell the da Q hter.

the message, Beulah.

father——
ick and mama wants your daughter

te ill marbe I'd better run over

ou to but I reckon it would be 8.11

15

BEUL.H 'Hell, mama says the doctor says it's th appendicitis. Game
on him all of a sudden like.

IRS. FAIRCHILD Herciful goodness——I'll come right over.
GUY I'll take you, Lrs. Fairchild.
GLEHH Shall I come along?

IRS. FAIRCHILD Ch, I don't think you need to, Glenn. Did you say
the doctor's there, Beulah?

RR‘LAI Yes, man. He hurried right out cause papa we 3 all doubled

GRAGIE We could take you in our car, Hunt Hollie.

LES. FAIRCHILD Gue can tak me. You 3irls stay here and keep Glenn
company till Fay comes. (IRS. .RlLo LD R'HD GUY RUSH GFF)

GUY (AT THE EXIT) Come on, Beulah, don't you want to ride down with
us?

T'fi‘Tfi mr‘ 1'“-)1-1

BILLAH Oh, yes, mam--I mean, yes, sir--(SHJ TURRo lo Tflx CR; .-oRL
LOOK AT G EHH IH HIS '"IroRR)

GRRCIE 'bye, Beulah.
LEIH I hOpe your father gets along all right.

fl( “1‘1

MIH (RRLRRRRooR HITH ALL THE AITI'TIUI) Yes, mam. Thank you—-
goodbye--I' m pleased to meet you——(oRS III 3)

GRACI GIGGLIHG You made quite a hit with Beulah.

t4]

GLJHN Funny little kid, isn't she?

RACIE You make quite a hit WitIl all the girls, don't you, Glenn?
GLEHH I don't know. It's been so lon3 since I've been around any.
DELLA ER'E? LIHG) I fixed you a pitcher of iced tea.

GLEHH Oh, thanks, Della.

DELLA Hell, it's kinda hot and I thought it might taste good. (SHE
)lriufiuy

ILLS lilEl .1. .‘Ln. UL“. A TASKS AID ICURS A GLIoo Fifi. GLEHI'I AI: CHE PCB.
GRACIE) fhere' s enough for the others if they want some.

GnACL“ You know what I thir: you ought to do, Glenn?

G “HH 'Hhat?

A7

GRACIE I trlink you ou3ht to tale P'ay to church tomorrow and be sure
to sit with her.

G NN Any special reason?

GRACIE There certainly is. I guess you don't know about the custom
in this town.

GLENN Nhat custom is that?

GRACIE Then a fellow takes a 3irl to church and sits with ner, it's
the si3n th ey're en3a3ed to be married.

CLEXN Nell, that's quite a custom.
GRACIE I think you just ou3ht to rush Fay right off her foet--while

you' re home I mean, cause Guy's around all the time while you're
away—~or don't you consider Guy coupetition?

GLENN I'd never thou3ht much about it, Gracie.

ELLA Gracie, there's a bi3 piece of le mon custard pie left out in
the kitchen.

GRASIE Lemon custard, oh boy.

DTT A It will just 30 to waste if I don't get some nice girl to give
KB a hand for a minute.

GRACIB 0h, bribin3 me into some sort of l abor, huh?

DELLA 'Tain't much labor to it—-I just need four hands and I only
got two.

GRACIE Sure, I'll help you. Excuse me, Glenn--or .ma3rbe you 'd 11m
to earn the lemon custard——

GLENN No thafi :s——bad for my fi3ure.

zRuClo (AS 81E FCLLGRJ DRLLA LFF) Kine too, but oh well, who ever
said my charm was in my figure.

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LOOKS IRE! , HCT, A211) DIRT GL1 m: TU:~:3 ”:0 1333323? WILL; IT

4.3 FAY)

GLENN They've all 3one—-

FAY Glenn!

”L””I Fay! I didn't know you-—

#8

FAY I'm drea in3, Clenn——It's Glenn, where did you-—how did you-~Oh,
Glenn—~n'hy didn't you tell me?

‘NN ('1 'ALI1.G HER 'N HIS ANNE) Hello, sweetheart.
FAY 0h, Glenn, what a thrillinr surpriso——uhy didn't you let me know?

GLFNN I didn't mean it to be a surprise really. I wrote you I was
heading bac to the states. I guess my letter didn't come through.

FAY You said you might in one of your letters, ut I had no ide ea— -
Oh, this is wonderful--

G "NN I guess my Wire was delayed, too.

FAY Oh, it doesn't matter. You're here—-or am I dreading? I just
can't believe it's true. Did you just come? You've seen mother?

G’ENN Yes she and Guy iust Tot called over to the Zac;'1ary blace.
, J U L) A
Lr. Zachary had an attack of appehd1c1tis.

FAY Really——Oh, that's probab y only another false alarm. firs.
Zach lary is an awful alarmist. He 3ets a stomach ache and she thinlzs
he's dvin . Glenn cu're looking Wonderful!

:- , L)
GLENN I've been pinin3 away for si3ht of you

FAY Uhuh--you look it.

n'r'r'r

uLL.N It's darned good to see

19"-.

.1, Add.
FAY Overalls and all?

GLRNN Sure. But I didn't know you for a minute, dressed like that.
I honestly didn't.

FAY Oh, I wish I'd known you were coming. I'm tired and sticky and
totally unattractable.

.

{ISSING REL) I seem to be

A73“! r'n

$144.41"! (111.21 137‘ .1 :IUL LI: :IIS Ant. 3 JAULJ.” h D
’aking the best 01 it.

FAY BRUSRING HIS D HOLE) There, I've 3otten dirt on your 3or'eous
whites.

cm IN No, you haven't. Anyway, who cares? That have you been doin3?
FAY I Spent the afterh noon rahin3 hay.

G ZNN Go on--you're not really rakin3 hay. You mean you're doin3 it
yourself?

A?

lin: it, foedin3 it to cattle. I'm a far er, Gler .

H-

A r "..1.‘ .. i .

GLENN olly, I don't 3et 1t.
LY You iidL't believe me when I wrote you I was takin: over the

farms, huh?
GLENN You said 21na3in3 the farLS. You didn't soy anythin3 atout
doin3 the actual work in t' e Iiclds.

FAY You don't Lana3e the Fairchild farms with your feet on a desn.
Ly people never E1ave r1n tleir far like hat a11d I couldn 't now
even if I wanted to.

3 ENN Nell, I'll be darned-~it's swell——I Lean, I aduire your snunk
and all that, but what about your music that about all your plans?

FAY hhat about vour nlars '3 You hadn't exactly counted on a military
ca' reer, had you?

G SEN No, but that's different.
FAY No, it isn't. This is my war tine job, Glenn.

GLZNN 011, but ay darlin3, this is no life for a talented kid like
you. Iana 3in3‘ t}1e farms, Haroe——loo11n after thin3s, yes—-bu can't
you hire men to do the actual work?

ou' ve been a.ay. You haver't heard about the man

FAY I
h Wh nds are as scarce as hen's teeth.

S

(D C 1
'14
fl:
:1 9"

GLENN Do yo mean that draft boards are takin: men off the farms now?

FAY Not if they can fill their quotas otherwise. The draft boards
are doin3 their best to keep essential men in essential jobs, but
Uncle Sam needs a lot of en. You didn't think you and a few marines
could ET 1n the war alone, did you?

GLENN You wouldn't think a marine would think anything else, would
vOu'P
J o

. y.“ vr—y-p ‘Q‘r‘ v, ‘o\

FAY For your cochiness, you not a kiss. (SRL n1oo1o L1L,

C)

G ENN (l 1'OLDIWEIER NENDS AND BEARING CT TJYL) Fa darlinj--your

hands-nhat h:ve you done to those marvelous hands?

FAY Handsome youn3 officers who descend upon 3irls without warning
ought to be courtmarshalled or sonethin3.

LENN I'm sorry. I'm just so darned glad to see you.
FAY You're disappointed though, aren't you?

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JU‘Rlan 11‘qu. Fe :11 P1411111; Dl0h11xJImi \/ 111., no, fay.

5C

FAY You are, thou3h. You're terribly disappointed. You came back
:zpectinj to find me--well, lookin3 much as I did the ni3ht you went

at. 53.37 o

GLENH Hell, I guess the image I've been carryi n3 around with me
wasn't in overalls, but-—

FAY Oh I wish I had known vou were comin3—-I can still look fairlv
.9 J a, a
decent, you know.

GLEXN Fay, sweetheart, for at it—-you' re wonderft l——what do I care
what you have on—-what does it matter?

FAY You do care and it does matter. So it's no good your pretendings.
OLSEN It's lil :e I say——I've seen you a million times, day and ni3ht—-
each time I always thou3ht of you lookin3 your lovelic st. That was
natural because I never used to see you when you weren't looking quite
stunning. Cut believe me, Fay, what you happen to be wearing or the
fact that you're tired and hot when I cone poppin3 in unCXpected——well,
that doesn't matter. It's—-it's what's a33enin to you that matters.

FAY I was afraid you'd feel this way. I promised you thin3s wouldn't
chance, didn't I, Glenn, and that I wouldn't change.

GLENN Thin3s have chan ed, all ri ht. You know, I can't 3st used to
the idea that I won't be able to settle down for a nice chat with
“foxr fatiler after dinner.

FAY Your letters after Daddy's death were wonderful, Glen . You'll
never know how near you seemed to be throu3h all that.

GLENN That's good. I certainly wanted to be ri3ht here.

FAY I suppose if you could have been, maybe thin3s wouldn't have
changed so. ht least not in the sane way.

GLETN I got bac k as soon as I could. We've been kinda busy out there,
you know. I jugup ed att this chance to come home mostly because I had
to see you and—~malw sure I hadn't been dreaming all year.

F'Y Oh, I thank all the 3ods that ever were that you're here. You
ca n stay--I mean, you're back in this country for keeps, aren't you?
G EEK I have until Tuesday. I'm off for China in a week.

1% .Y Oh, Glenn--Oh, darlin3——I wish—-and you've come all the way out
here--and everything is so different from what you expected. Glenn,
I haven't wanted to let you down. I haven't wanted things to chan3e
and I haven't wanted to change either.

my. .—._

ILL“: But you have?

FAY You see to think I have, so I suppose I have changed.
GLSLN Do you want to know what I think?
FAY Of course.

\
CthN I think it's a damned shame that

a talent like yours is going
to waste.
FAY So 1ebody has to ral:e t1e hay and feed and fatten up the cattle.

G HE But not you——not you, darlin3. Somebody has to keep beauty
and the grace of livin3 a ive too. someood; has to he p the cock—
eyed world singin3 and lau3h n3 and believin3. God knows not nany
have the gift for that, but you have. Farnin3 isn't for you, Fay.
Your forte is keepin3 the drea" alive, the dreanxwe're all trying

so deSperately to save.

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AKA: Fndh MIL) That chapter in my life is over, C—lenn.
GLEIU But it can't be over. You have a destiny.

1"“?

rs- 1y destiny is here-—doin3 just what I'm doin3

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AELL Is ALL Tlh FIGUTI J lcui',

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1.11:; .L..lf_’J_LJ.1..J 3.1.x»- [\AILLLUIJLJ ..‘liu . ..JA‘». 1.-....) - uLLJ Ll _LJU..J‘L:S> I had to
comb the <arden, but I 3ot a few.

C.)

1 ~1a 7‘7

GLLHA So there are still flowers in the world——thank Cod.

PEG You'd better aereciate the? because they've started my .ay

fewfer. (DALE; fjl‘ahh) 61L VALVV «.LL .2. LA-u—J—LJQ—J} ”1.110118, :j‘rC)L]. 8638?

FAY Pe3 darlin3, they're lovely. Thanks so much.

FE? Excuse me—-I left Aun tHellie's scissors straddlin3 a delphiniui.

3731‘ 'PC
UALAJ Edi-LA.

‘AY IN AN EFFCA“ TC LI :IHF ” THE L063) ?lenn, dear, tlmi is silly
us to waste precious tir.e arjuin3. ill you let tfi1 se horrid overalls

out of your si3ht lon3 enough for me to 30 up and chan3e

as the;

O

-- “‘1“ ~ - 1|? \* '1'9'V‘FT‘I'T fr‘fi - ‘1' *‘fi‘. ‘ “ ~— V- ..‘, -_
3LL-I (FALL .C In ”Lil “LA -cco; I don't Lnow——you 313nt L
dov :n and I could ta ilL; to then while I wait for you.

FAY Hhat would you like to do?

OLSEN Ch, I'd like to )&lflt the totn. I haven't had a leave, you
know, since I left.

FAY Keither have I.

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don't VIHQI‘At to go.

1 J_ V 1__ J,

CLEIN I t1ink it .i ‘t to fun. I tsll you that, sex ae:ut Tohegian
Pete' s for dirm der, where we used to 3o-—y I Lnou, out By .lCLlC Point.

FAY ihat's close

00

rv-T—r ~-1,,.'. , “P.
ULHLULJ “duo coco. L; or Ou-l1()ujo .Llln

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rAl Close} LOO. rut tu31e is a funnd little niece over on the
: ,, 3:41 ,- .

‘IVGI‘ (1.19.11' s .9 till u; 8:1.

n~-‘

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unshu And If he line she canteiu_-—

KAI And if we like the noon--

I '1 w l |~"\

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, 21". - .-"“‘ .-‘ 3"' ' ' '1'1‘1' 1: ‘ ‘3-11'-_'_‘..-. .I. .3. -3 ,- -1 _. '""'"vr“
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PHI If "e can Leep from sneezin3 lon3 enou3fi, entc.t.i Glenr1, till
dou, while uI ry to re3ain W1'tever 3lamuur I may have had. I'll
hurry, Glenn.

FIG You're comin3 to our party. Didn't Glenn tell you?
LAX oh, we'll droy in later. You're (Juin3 out with a farm hand,
Glenn, like it or not.

..-‘

SLIM“ I'm 3oin3 out tith a gor 3eous girl and she'd better be gay.

1m
M
P.
(.1-

‘Al I'm as stiff as a beef reaiy for market, but I'll be gay

1"oll" "‘r".-‘ *1" " '1" ""

1‘..L . LG. (011.; unauuu b1 UIAIij
,- ~1'177*-‘\

(Fun! OAUHLILJHQ)

[13- .rA-‘AT {.1 A 1‘1- __ fl ‘? ‘

Dunbar» UOu. u 005 J01.

"("1 "' "I ' n 1 ‘V ’.,_ - ...‘ .. , ‘. .°‘ ' n" "" 1
Law I like god bless you better t;an Josundne t. 313 QHLUMES A LULD
this) I

53

OLSEN I didn't nean it Nu t for the sneeze. I was blessing you for
bringing in those flowers.

EEG Sneezes and all?
CLEAR Sneezes and all. I'n a sucker for flowers.

1

PEG Hell, maybe you'd like to make the tnilgs hen’ to other while I
get some water for then.

GLEIN Here——let's use ice tea. Zea's good for then.

-.r.,‘ .\

. _‘ ‘ _ 1,—— r‘ r. ~1’\ V1’f—.'fi - j‘v—‘C: 7—.r .‘ A. V.. ../ ‘
rsu Is tnere enough: (out gluionso in n buss“ s)

GLEEH ihere is if we use Gracie's glass too. Let me fix them and you
go sit down and nurse your allergy.

F3 (ononIINu Ifilo Hfin AAJJnsionisi) ”finee—-I never do this except
unen I get ri ant next to flowers. It's really not a bad allergy.

SLEHN That's good. I'd hate to have this act of kindness spoil
your evening.

EG It won't. But you and Is; better show up or the evening will
e spoiled.

GLEJN Are we ‘hat important?

PEG You're very important. You're menin; a ness of that bouquet,
though, if you don't mind my saging so.

GT HN I'm really not very good at it. I just like p aging with them.

\
PEG (GOING To HELP) I guess you'll have to endure my gesundheits.
(ans STIFLES A smzsgjj .

\
7. -—‘.-, 1-I'r'\w-\-v ' ,"'I"1“ .T . " . _ 0 kn. o ‘rj'fvj‘n'r —: ‘11:: -‘ ~ ‘I. ‘V- '."'
Gtiud (anomalho/ now you've got me doing it. (insi otln tnofln AND

—7~\—. l""-‘" "'V ‘~ qwry wrn IN,

Injh Deli Jillbd Sfl:;au0o ins” ins: sols --l do ZITJ LoUD SJCRTS)
GLEHK Together we sake quite a chorus.

PEG "ant a handher clief?

GLEN Emm$,ltww3mw.

rbu Government issued?

GLENN Re, I had to buy this one myself. It's Laleyan linen.

PEG (/11, it's loveljfo 31:4 ..)L.--uL;._JO nCAIl J)

St

GLSLN It's much bigger taan ttat one you have. You'd better take it.
PEG Oh, it's orand clean. I shouldn't.

GLENN Go ahead. I only use it to shine my shoes.

r~fir~1

you I suppose you tr uink I need it to shine my nose
GLENN (GNUGNLING) On the contrary.

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'N - ."x
L‘J‘aV‘l}

1:
“Ln--

fl“ '—\‘—\7
7
Q

GLNLN Keep it. It’s a gift frJLR Noe—woo of the Fiji Is lands.

‘EG Ch, I shouldn't.

n'rv-y

GLNLN Sure, keep it. I've got another one.
PEG There's SOLNe sort of inscri1tion embroidered on it.
GLENN That's Fiji dialect.

PEG Oh? That does it S'y?

GLENN (NGLDIIG IND NANDNENCHILF A;.D PALIZNDIJ“ TC READ) Uga pug pug,
cow, com, cow, com. (PEG GIGGLLo) In translation that means ”from
a lonely leatherneck to a girl who li .es Il owers and sneezes."

PEG Quaint peOple, those islanders. (INDY LLTN SLILE. ”HEN TNE

BtTN GF 1N3- TULN AND LGLL A”I liE LLo.3No. iNNN TNE A LIES l ETA IAIN.
PEG 8 ABGUT 1U o'NBé‘)

GLENN God bless you. (TIE SNJNZL IS oltrl‘D BI l'NG NLNGGIA )

PEG Thank you. You saved my life.

GLENN Did I? 1

PEG Yes. Didn't you know that some psycholei t has proved the heart
stops dead during the fleeting instant of a sneeze?

GLENN Did your heart stop on that last sneeze?
Pm” It stood still.
(soUHD CF CAN LUTLR GLTSIDE)

GLnNN Nell, maybe it will doa double quick to make up for a lost beat.

PEG Yes.
55

GLENN If I didn't 1 now tiiat as o dr heart pounding I'd swear it

cf

has a car motor. (“MEI DUI‘N LALC‘

‘1”
1111

LG Too bad to disillusion

a marine, but tllat poundir; is only Guy's
old jalopy. (INE no1u. 31‘GT S)

C.)

GLENN I hope they didn't find anything seriously 1.ronL.

PEG I hope so, too. The Zac} ary' 3 run the hill top place for Fay
and Aunt Nellie.

GLEIN Are they good farmers?

PEG They'rc good beef feeders. 'lhat's 1N1at tmler do. They fatten
beef. The Fairchild farms are mostly beei farms, you know.

G BEN Yes, I know. That's a pretty inpor ant business right now.

if)? wxfT- _fi'n fixr'y‘fl-
(L-‘LQ. i lLLELSILII—ID ALID ‘JLJI JAILQLZ)

..m...

1.No. 1A11o iLD ‘fihere's Fay?

3G he 8 up C1c1r1'1n'r Shall I get her?

ANS. FAINCNILD No, I'll go up. (NEE VLIGL 1NAIL3 LIF A3 SNE UULJ
7’35? r—F'_":\ ‘r- r- ‘- v' a\n,. 1 n 1 r- r. x ‘ r7:- ‘F‘F
LloTAle; Pay dear, the Nacaalys ale in a bad spot. Lr. Leenary
has gone to the hospital--

GLENN Khat's the situation, Guy?
GUY Emergency Operation.

, m r71 1 _‘_ ,‘q
13G Anat nap1eneo;

r7

GUI Lachary is to have an ap1endectomy, but he's in good hands. Doc
n 1f . O "" . '1‘ T -—:_ “ " 1"» o r“ t ‘ r'l' l‘ ‘* '.
oooA lo Qettinb Dr. haulines. Our real trouble ion t Lacnary.

PEG What then?

GUI Well, it's the fact that he's got 60 steers that have to be ready
to ship tomorrow morning. mzd t:1ere' 3 nobody to talce over the details.
PEG Can't Lrs. Zachary?

GUI No. She knows nothing about that end of the business. Anyway,
she's having forty kinds of fits—~poor woman.

‘» 1",“ 1“; SK"; 1413...}- *(fi 4-! \( T'T -- w:
-J .LI’U: l‘ulo 1:53. .Lu I:\ (L D “SJ—LLGG Jb'lvu.d)

335. I‘AIRCEILD (fi‘ 3'3 AND FAY C
He kept saying ”‘et lay Fairchild, get; ay-—she' s the only one that

knows the ropes."

FAY I wish I di Mn m the ropes. Zachary handles his own shipping
details. All I krou is we have to ship in the morning or take a

1

loss. On, Glenn, isn't this apiece oi rotten luck?

GLENN Well, I don't know, but whatever it is, let's see it through.

FAY I've got to take over the details of getting those steers

ready for loading. It just means no party for me toni3ht.

GLENN That won't kill us. For3et about the party. he'll all help
FAX There isn't any t1in3 for you to do. Tianks anyway, Glenn, but
it's a conpl icated business. Anybody who hasn't been through it just
Wouldn't be any help.

GUY fifiell, I've been through it. I helped Zachary a couple of times,
tolzing it over and you're going ' 3L1t on ..ith your plans.

FAY I couldn' t let you do that, C y. fies ides there are details
about t1i3 shipment only Zachary erd I know about. ‘Lhe sorting is

conplicated and I have to 3tt truc1ers

GU‘ I can figure thin3s out. Let me in u1dle it.

CL TIN So can I. Steers shouldn't be any tougher to handle than a
co pan;7 of marines.

ESQ Te've just 3ot to have you and Glenn at the party.

HAS. FAINCII 3 W al-0r3, Bay dear, and Guy ‘nd I will work this
thing; out soLC‘ w.

FAY AIA. I t.;;”“n the ese ferrs or

w: 't I? Glenn derlin , you "o
elon3 with Pe3 to the p rt;r aznl I' 113 ee

you tQLOFTQU.

GLENN Now look, Fay. I don't know nuch about this sort of thin3,
but is this sonethin3 that you have to lo toni _ht?

FAY Yes, it is Tlenn. Ch, I hate it like 6LJt1fl n; and I Ln A I'm
dise1o11t1n3 but it cru't be heILed.

:1

PEG But Fay, Glenn's here for such a short tine.

AI That's why I irsist that you take nim to the party and 316W hi4
little fun.

GLENN Tell, couldn't I just ta: LION: behind you and the steers?
That would be fun.

FAX It wouldn' t be a bit of fun, either for you or for “c.

GLENN Ur t11e steers?

‘J‘t
N]
1

.- T V ' I ‘V v '\ - "7'

1 1 e teers. .Ile&S€--Al 've got tM t._Ln on m,
'- rfi v7 . v‘, » p . l , : I' ‘ ', fl ' ' r‘

please, all of Jou--.13 -ane it i re c) , HJC .Eed th:n it lo

LES. .nlio"I;D Kell, however you work it out, you'll all nee some
.- lv-fi H""‘f‘1rfil

supper. I'll go and see what Della has ready. on“ sliis

GU‘ Everything would be sinple if you'd onlv let me handle this, Fay.

U

A” That' s terril_;l”: ice of you, G13, but I've told you I'm the
i, orle that Cali bland.» 8 it.

GUY 'Jell,; ou ca n't do it alone. There's t1e fe edin ——;cc'"r" onlv
just started the feeding. Feeding is no job for a nonan.

H.7‘v

GLuuN If you ask me, none sf it isn't any job for a woman.

FAI All right, Guy, you can help me witn the feeding.

‘v-u

GLZHH ullinnusoo oinufluo Id) 0. h. Iou two go handle the beef
industry and Peg and I will keep pleasure alive.

TRY Glenn, you're hurt.
CLEAR (SAIIJG To GoKILot HInSLLL) Hurt?

F‘X Glenn, I'm.sorry if you can't understand.

PEG Don't you see, Glenn, this is something that Fay and Guy have
to do together.

n"‘f‘1.’fi‘.‘"m n1 "“ ‘ ' f‘ ‘ ”"T ‘T‘ ‘ 71 ffiv _T"

G'IEJZJIJ (SUD‘T‘ .14.“- LY UHJ. .LJ.AI i l.l.4 I; .1:JJ:.J£ALLvLC V3 1.. ..l SIEUAIIULC) Oh, I see.
All ri ht, if th .at's new things are.

FAY Glenn, I know you don't understand and I'n sorry.

GLEKN Sure. I understa 1d. I cane back for souethinj that isn't
here. And if it isn't here, it n't any1xr1ere. So——back to tne barracLs.

t4.

GUY Glenn, you' re Ju101n~ to conclusions.

Avw—w v1

anon“ Pretty obvious conclusions. I used to wonder why the cler’y
was considered essential to civilian life. I know now. So they can
tage care of the beef--and the girls.

FAY Don't be sarcastic. That isn't like you.

GUY I'm only trying to do my part.

GLENN Well, you picked a nice, snug Spot for it. I wish you luck.

F33 Glenn, that isn't fair and it isn't like you.

V1
(.3

GLEUN It looks like anything is fair in love and war-—to coin a
phrase.

FAY You're bitter because you don't find thin3s just as you left
them, and—~well, that's too be d.

C “IN All right, so I'm bitter. 13 business doesn't sweeten up the
soul much. It helped a little when I thought I knew what I was

fi3htin3 for.

PEG Fey's ri3ht, though, Glenn. You see, everythin3 has changed so
here at home. ‘

h «x

JLLJN Sure. I've ch en eda little, too.
9AI Yes, you have, Glenn.

GUY But you're misunderstanding both—-
_There's no misunderstandixg.

GLZAI It's all quite clear.

PLG It's just inevitable.

GUY But Fey—-Glennf-

FAY I don't like ar3uments.

PEG You see, Guy--

GUY Peg, will you please—-

FA‘ Please, everyone-—I'm tired and I've got things to do.

GhACIE (itodinu LN) Pe3, do you know-what tine it is? We've got to

PSG Coming alon3, Glenn?

GLENN Sure. Let's see if there' 3 any fun left in this country. (fl
uvquAJgD U1.TEPIVIIEZ{ P-4G 3‘. .‘D C—lu’xCIE. FAY 513.1 98 STEAK; FOIL. All; hulk .f.

‘w-‘r- In

31.111 15.3 T.L.~I£ TrCr It. ‘JLCIY L4 ”(villi-1T TO DLI 3334-...1. ”£13.33: DEALIJ31 L431 ..Jiuo
DE" A That confounded stove s3ein.
GUI Isn't it v;orkin3?

DELLA Works fine-~only ever},r ti e I toucrz it I get a shock. C
‘W ”‘7 A71"!
LTF

get supper oifen it and the Vittles are burnin'. (GUY nusnsS
renown: DELLA)

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Act III

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TY"I."" "_ '“"."'"'T' \ I‘YTT

13G Anybody up yet? (DELLA BOSS 191 n.ni AND 3t“.l“- So .ntJiLln.,
Good morninr Della.

DLLL“ Oh, good morning, Peg.

PEG I know it's awfully early for Sunday morning, but I just have
to see Fay.

DST A I don't think she's awake yet. They were up till all hours
with then steers.

PEG I was up terribly late, too. Ch, Della, I had a wonderful time.
I don't think I've ever had such a wonderful time.

rou Lean at the party.

;*. He went for a long dri e——I

FAG 3e didn't eta 5r late at the par
['0 CELI‘d.

"J.
L.
was certainly mr teful for Dr» d s C

DELLA fihereabouts did you go?

rd

PEG on, for miles and miles along the river road.

ELLA 'Who all went along?
PH} Just Glenn and I. Oh, it was lovely in the moonlight. Glenn‘s
a‘wonderf ul bog, Della——he's just'wonderful.

Tfiv T

intA You gean you was out till all hours 1Wi dClen

h \fi 1". 1
rho Lnun.

v—w~

annLA Itmlmr Does F1; hnaf?
PL} That's what I cane over to tell her. She knew of course that

Glenn went with me to the party because—-well, you see, Fay and Guy
had to take care of thatt Aer-elcr over at the ZacE1ary place, but I
thought I ought to cope over and tell Fay—-nell, about developments.

DELLA .hat sort of develo'“o“ts'

33 I mean about Glenn and LG an. w‘1at' 3 ha [pened betwee us.
DAL-LA (31.).Loiutu pf St... 3.1.3:"? JLISI) Fe; Tradshaw, have you gone and
done something you snonldn't a?

51

P33 Hell, in a way I JUOSS I have-~but in e we
ELLA Either you did or you didn't—~you ou
PEG Ch, I did-—I mean, he dii~-well, me did, ‘

eturel.

DELLA Unull. TIIL'S the.t tn 3t CIIief petting
nat“el but it ain't innocent.
before folks start talking

I .' O'.

xv“ rm °.~ . ,3 1 3L.~ ~,-" “17-. -.- ' 4-
4.1} IJCI'G 131;, t! JL'UCI‘I UHl LUIl’ I‘KZC'AILU'. ’ LG JUL-3L)
'. V A ‘ 1 ‘ ’ f‘ v I‘J' ‘ “ *' "\ ' *' f I,"
river roae unu MnoCflfid tie an ) duMu.
V17- - .- 1 r I ' ' .'» l ‘_ 1 A L ‘ q V n
D”‘Ln A t .i,;enc1 ‘ien t1: Ioon ‘ULU UOwJ.

,—,-3
CL; “1

333 Tell, me were just tel i1; sudd RI; he
me and said, ”Icu're a sheet hid”, 3rd tgen he

fl A ' ‘
turn}. t.’ ;€I'.--

DE LA

1

7' ‘ ‘ ‘ . L.‘ ._~ .. _ J— -I v. w:
P33 Tnen he Urduuzc me none.

{It to 2L1l\:“l' Vii}.

c
yeu'd better

y I haven't.

out it was all perfectly

0 ’I J. ' 1‘
icer said. IU nay oe
4‘ n1 t‘-‘V ' .

cell Ie ail ecuut it

DELLA U:1——mine orou: ht n.e no 0 LJQ——Chlf mged the taxi driver, the
choir director and three de eec<:ness e . Glenn dIdn't come beck here
because nis be; is right where he l:ft it.

IE3 He said he was going to get a room 3t the inn. It was so late

if
(D

you. I told hi;
to.

he didn't want to disturb
but r‘dn't thir IR he ought
ELISE—

1
mere 0

r1--. ~ '."\""'." ’T V' 0-
.JV .1.“ 51

uLlQiA.-fi-.u-)

FAY (ch:;:

thourlt I heard voices dood

I o ..
COL-ll;

Hello, Fey. I hope I

i)E\ I
DSLLA I'll fix you some breakfast, Fag. I'm t1

it. (EIITS)

ELI fiell, Pe g——did the party a oIf ell r1~u ?
~33 It was nice, but we iidn't star long.

AI You mean you and Glenn?

P33 Yes. Oh, Fay, I feel kinda like a heel,

yesterduy evenin:——bet ween you and Glenn,

*1 --\r

i'hi

Knere is Glenn now?

He said he was going to the inn. It

F”.
p,-
C, J

62

could stay at our 1

H"I11 7' "' ‘ ‘_f""

JV‘O ’ “.VL‘o-L-‘- -
o

:iorutirrg,

L~11t
I mean—-

use

mTfi—fi frvrvx lx'fi'fiv‘VfiwW
. I ' I I
.L...L.9.JKJ H\' A. .LALL J .1.
ha -
4L VD.

n't Lace you un bL It I had to see *K)u.

:Inkin' .you'll need

after what haplened

late when--

p... a
,_)
(D

n t was nice of yen to sxow him a good tine, Peg. I'm sure
appreciates it.

PEG It was Glenn who showed ne a good time. Me's awfully nice.
FAY Yes—-I know.

’33 You know, he cal reall" se the life of the party. ienenber how

he use to hate parti 3 hell, ne was just the life of the party last
night. I've never s‘en him so gay.

P"

Pf." v, r
I ni DJ?

PEG He just talked a blue streak.
\
FAY That's nice. Yhat did he tel: about?

PEG You know that's the funny thins, FaJ-—he never talked a bit
about ygu and Guy.

FAY Ch, didn't he?

PEG 20, I don't think he mentioned either of you all night and he
never once mentioned the little quarrel.

”fiflxr 1

:nI That was very thoughtful of him. And you didn't orin: it up.

P23 Uell—-no. I thought--well, as Ion: as he saw how thi es are
between you and Guy-—he just seened to accept that—-

FAY Just like you did, eh?
PEG It's all worked out sort of natural——like w.en he kissed me.

FAY Oh, he kissed you.

PEG Yes.

FAY That was nice.

’EG Oh, and he talked on and on about all his eXperiences in the 332th
Pacific-not gruesome things—~but absut noonli ht in the tropics and
all the funny things that happened and the scrapes some of his men got

into with the native girls.

'AY Thanks for coming to see me about it. I'll come over sometime
and get you out early. Want sons coffee and toast?

PEG No, I'll have to get back. Clenn might just possibly drop round
for breakfast.

63

FAY So he might. Well, thank a5ain, Ie55y dear.
33 Fay—-you're not—-do you unde1stand?
FAY Cf course!

‘33 Pay, you aren't going to let this matter come between us? I
mean you and ne?

F'Y ”hy ShOUld I? There is one thir 5 that matters tr ou5h and I
wonder if I can di5 it out of your fm m1y little head.

P33 What is it, FaV?

FAY Do you think you're in love with Glenn?
PEG Oh yes——that is-—well, it's all ha1uened so suddenly and Glenn
seems to feel—-

AY I'm not aséin; you how Glenn feels——I'm as ki:1: how y ufeel—-
Oh, well, skip it.

PEG I've told you how I feel. C11, I-—I'n 1ot used to bein5 up this
early, and after sucha ' beautiful ni5‘ ht——it 1us t seems like I'm still
dreaming.

FAY Hell, pleasant dreaIs. 5One day you're going to wake up, Peg,
and find you're reallyin love. I'd like to 5ive you sone kind of a
bracer for that day, because you'll need it, but I 5uess every 5irl
has to find out what it's like for herself.

P23 You don't believe I am-—

FAY “lhis is just another conquest for you, darlin5. I know you. I
haven't 5rown up with you for nothin5. Rut you can take it from me,
Pe5, love isn't just a few kisses in the moonlight. You're sweet and
you have plenty of time to sake yourself char.in5 and attractive, but
you're naive and you're spoiled ard you're not very deep, darling, and
some day you're 50in5 to get euite a we 110p.

1123. TT‘T”CUILD (301.5133 Dc-‘=.'.":;.;'1‘;:.I;is) ii‘no's talkin5 '-'bout a wallop.
Personall Iy, I'd ra d1er have a waffle. 'Nho'll join me? You, Pe5?

PEG No, thanks, Aunt fiellie. I've just got to get home. Thanks for
being so swell about everythin5,.Fay. I'll think over what you said.

PAY You do thei. (PT" EXITS)

L33. FAIRCHILD I wonder how Pe5 mana5es to always look like something
out of Vo5ue.«

FAY I don't know but if she cers over here a5ain look n5 like that
so early in the morning, I'm joing to ruo her i'ace in the mud.

233. FAIi3 ILD You didn't sleep much last ni5h , dear. I heard
movin5 about in your room.

FAY Sorry ii I kept you awafie. Ye had quite a ti;e sortin5 the
steers and lea di n5. It was late when I 5ot to bed. I 5uess I was

restless.

".'

3A3. PAIRCAILD Is ever; thin5 all ri5ht, Pay;
FAY Fine—-s Mi nez1t went off on sc:1edule.
LLB. FAIACnILD I didn't LEQH about that. I nean about you.
FAY About me?

L13. FAIR3€ILD And Glenn ant C v Cr would you rather not talk
about it to your poor old mother.

IAY Silly——you' re not old and you're not poor and I don't need to

1

tell anything to angone w10 na 3 your uncanny intuition.

PAS. FAIICE LD I'm afra d a; intuition and my jud5rent stayed up

nest of the nI5ht havin5 an ar5unent.

‘5...

F’V Very inconsiderate of the:—- hat were they ar5uin5 about?

V ‘ ’fi 1"".l "’v a. -:.. ,— r‘ (\V H r w r‘ ‘-.",‘ .- v c‘ - r \r
AAo. IAIACAIID Ag :ux nexit oars Ar dau51ter snould marry one man

U

aAd my intuition says mle should mar y the other.

FAY An I supposed to 5uess which is which?

‘ a A 1" n"T1 .~' a‘ '\ ‘ " ‘ \ V ' '. fl. ._ r- r.‘ r o
AAo. :AIAoIII' Io, we shouldn't turn sometaIn5 as bi5 as love into
a ~ue331n5 5aue.

r

FAY You know what it is to love soieone very Auch, don't you:
433. IIILCXIID Yes, dear, I do. Sometimes the ache of it is alest
too much to bear.

J.

V ‘ L00 .

PAI Yes. Sometimes the pain of hate is too auch,
LAD. FIIICHIL? Hate? Khat do yo mean?

FAY I rean this war. I hate this dannable tar and the beasts t1at
st arted it.

ALA.
‘

1‘.
be.rbcrie monsters. The war and tae ;)ressure of Lt on sis bus
killed D3 d3". The war twists our lives and forces us to .
and do things we were never Lear t to do.

FiV I mean it. I hate them. ‘The"'re not 33n——“hev're no sters
C)

C‘ 7—, ’v w-Il‘fiyr‘ry'rv 2'? I 3 r - . 1 ‘E— rx -v
\J O r I‘LLLV . ~.LJ~JD ..- a” I) ..‘lrL’Ll ' ‘18 ul’lia*J‘ )er

‘V'I‘r Y‘."""- .‘ ' 4“
Phi. ..ILU lSIL'b?

L48. FLIR3HILD It's the farms end being awar from V3ur Lusic——And
all this tine you've never 033313ined.
FAY The U'S the good of conplaining? Cf course I want my music, I
tent to get ‘eck to mv mu.sie deynerLtel and I JCRt 13t ever" other
girl wants——Put xfiiet I person3ll; :aLt doesn't se 3 to oe very
inort311t——Iot nou-—;he 3373 who ere out there fiulth aren't
:Cttifi: Lueh personal hepy1n333. Anfl yet when one of thefi cenes
or e hoping for a little he;;iness——Cn, d n't 3i
.
L

f: -v"v ' >\ — ..r" c “ ‘ N
'34 " ‘ Haj 11:- Jet u4L~F1 C)‘
.- I . *3 ,n"""'v T 1,’ w r: r‘ IN

3”;th iPJb-L‘L J‘s-LL19 .8. .kr“.)-| J MICK-2r.

" " T ' .. 3, gm 4- -. --‘ . V": V - : '. F. 3r ’\ , -

V V L Ieel 113e 3n ClQPuTLC L33 ”itu 311- 5 wires e3'ose3.

‘“T FAIxCIIL Let's h3ve so”: breakfast—-T33 11 feel betesr——Up all

-LV 0

hours mith tnose steers—-

‘1' L. 3,.. .L w... .45 , ' .., n..-,].L. ..1 , --‘. “fjfl ~“V 34' . "r‘
IbI I never u i to and 1t——1t L303 to be sort 3L 3 t 1131, 3o-t139
q ’. r‘ I P, N‘L ‘ v 3" ‘ :n‘ ' "' 1.‘ "~‘y', " 1V ‘ " ‘\
3nd IOfidIDV b3t 13st \lt I eonll 33:0 3133ed e3oI 33d OEGIJ steel
3'. J- ' 1.; . l .g 341
rlont 1n 313 Porteinots3.

3. . .—. "r" ‘1 '- - - w~ ’3 I. 1 u . _u -. "I" _ .L. n ’ £ ‘ <‘ . .1 . “a
«4:3- L't't-La‘l-vh-L-LIU IOU] t.L.LILQo , .Lb I) Hut; LI..-e.l—i L (LL-.4. 1 .

1" cf . ‘y

4' "7 ‘7 ~. 4' r I v — As , "< '- r‘ - I-x . \ ‘t L
Isz NC JUb t nl't neel taylxxm.,33.whqd 3sout 1t.

.

*‘I ‘3 d HOPVeHs__«:rLHn~ n r‘“ wad
J.“ \I/ 0 LA CA‘J -3 ML.UL}$$‘I.L 31$.» '1"; ..Li . .

._.,‘ -v‘.-v':-,~..V .‘ r- ._ ‘ ’f_"r. fl"
J54“) o l'tLLALK—ILLl LJJU \JOUd 1.101‘1U.l.9 , \) xldr o

n' 'r 3‘ n .. ....,—,. ' 1 r ‘-, -3 L m 4- ..-‘ r73 ',.- . - . , n
VUL I've oeen Uf a qud N31Le. Just e3 e VJ to tell J33 33e13ru's

Operation went all rigzt. Am I reallys Me an eerl; bird?
FAY From the worg's point of view it‘s too e3rl; to be decent.

CU" There's notii.g li3e st3rtin> the daj'uith 3n exMthe opirion of
vourself.

d

L_Lb. IAIfiSHILD I'm going to ste rt my 333 with so3e br;33fast. Come
on into tile dininr room. t's see uh3t Della has. (8&8 33133)

C\
(J

L

GtI You're quite a contrast to the girl who loaded steers with me
FAY A futile stte pt to shuts off the ha ;. I'i fled you egpreciate it.

GUY I suppose you know i didn't note such an earl; coll just to give
you a report of Zachery.

GUI I wanted to see you before Glenn does

FAY 'fihat makes you think he’ll ever see ne again?
.’ i ”V v , D 1 . H r~ .- :T I rv r-. «n n r 4- ' ".c- 1“ r '.
doi de leit n o no. ne'll nave to Come tucL for tnut. out uSIde

from the , he'll see you.

FAY I'm not so sure.

vfl

GUI He'll see you because he is deepl; in love with you, ray.

FAY No. You're wrong about that. Glenn is in love with a memory, a
dream. He's in love‘mitn what I was or what he thought I was. I've

just been all over it with Peg.

GUI I should be the last man in the world to try convincing you that
some other man is in love‘with you, but I am also in a position to
know love when I see it. ‘

FAY Glenn is in love with a sgubol, Guy, u o€-ttern of life that just
94

doesn't exist any more. Thin;s have changed and I' ve crien: cu. He're
worlds apart. ~

GUI But that isn't the hey you Hunt it.

IAY I don't know what I want. I'm tired and I'm all tangled up in-
side. On, Guy, I'd just like to crawl off somewhere and have a good,
long cry.

GUY “n; don't you?

rAf I can't. I felt like crying all night but tears just won't come.

GUY Well, if you need a good shoulder-~10w escut a nice, stout onion
sandwich?

be just t e tlin' befo 1e oreakfast.

LL

FAY That woul«

cl‘

GUI Few loot, Fag. Let's get his thing before us and try to look at
it oojc ctively. Glenn's quite an idealist you know——tou;n, hard—boiled
;arine ofiicer though he is. Well, he comes back expecting to find
things just as the; xere. He visualiz you looliin lovely with flowers
in your hair and plading sonut.ing nis . and romantic at the piano.

67

(is
v
4.
U

FAY And I had to nake an entrance in overrlls tits haJ in mJ hair
and smelling like cattle.

GUY That was shock nurber one. Then h: ceuldn' t grasp the emergency
of the situation last night. You Anew it's lmi1d of hard for a man
to have to play second fiddle to a bunch of ste eers.

FAi frlat's what I mean-—everJthing has c:ang ed so.
GUY Hell, that was shock nunber two. Then he go e e
was cuttin: in on his girl——a oerfectly natural st rain of
very understandae le.

(D
(D
d
C
H.

FAI Guy, it's terribly 51..
over. It's just all over ant

?2
b '
c+s:
U)
Gt
5
(+-

GTI Does that mean that it's over as far as you're c: anernel, tee?

fi-, 'Irv-1I71°-1 T\‘r1"I1‘
:hl (A I In A EAqu) Yes.

GU‘ All right. Have it Jc-u oan wav. I don't know why I go stick-
ing ng'slide trombone in on this anwvaJ.

FAX Because you're a kind, sensitive person who cares about what
ha pens to people.

GUI I care about what happens to you.

FAY I know you do and I'n Jrateful, but it's not verJ kind of me to
go on letting you care as much as Jou see.'n to.

GUI I'm afraid there isn't much Jeu er aanedJ can do abvut that. I
used to have big ideas about the kind of a life Jou and I mi, ‘ht build
together, ray.

FAY Do you think I didn u know?

GtI I haven't felt that I had the right to tell you before, but after

what you've said abzut things being over, and more than that because
of a decision I ca e to last night, I can tell you new.

FAY Ihat do you mean——a decision?

n w is that I
u to n‘IarrJ me.

GUY I'll tell you later. The thing I want to tell
dreamed of coming home ire divinitdr school to ask JI

U K".
0
LJ

FAI And I shattered your dream. I seen to be awfullJ good at
shattering dreams. '

GUI It's just that when I got ca ck, Glenn was in the picture.
FA" And if there never had been any Glenn?

I'\

I.
00

GUI Then I guess that would have been up to you.
FAY And if there were no Glenn n01 no, wait--it isn't fair of me
to ask you that.

GUI The answer is there is a Glenn. Ly some strange twist of fate

there is a Glenn. he's seen his comrades killed by the hundreds and
he's faced death more times than he can remember, and yet destiny or
God, call it what you will, has brought him back to tEIis little torn.

FAY Guy, I can't bear it any longer, I can't go on hurting you. I
must somehow let you understand. I said my question "if there were
no Glenn” was unfair. It was unfair and unkind because I Know my
own answer.

G62 There is a Glenn.

FAY Even if there weren't—~I Lean, even thOUjh it's all just a menory
or a dream of what night have been, I can't think about marrying you,

GUI Because you really love Glenn.
FAY No, that has very little to do with it, really.
GUY You don't care enough.

FAY I care very deeply fo or you, Guy. Ch, I don't actually know what
I feel or for whom I feel it. It's just that I've let Glenn go and
he's going out to face danger and to-—possibly even give his life for
his drea. , the drea1 that I failed to fulfill, and you——-uy, you——
well it's hard to explain wi bout hurting you.

nt'Y Don't try. I understand. Glenn is facing da nger and offering
his life for his dree.n, 1is country, and in a 18; for you; while

I stay safely at hone anio o‘or't give my life for enytxin: or anybody.

6+)

FAY Wat's not QIite true. You are giving your life ever day for
those you love azid fort he things you believe in.

~ T'VWT ’- ‘v\

GUY But it's not the sage. ‘Il‘l etude. ”notnolion; Fay, you said
a WIile a; e that you are a s; bol to Glenn.

fAI I has a symbol.
C"Y All right. Be that symbol. is t1: t drea~ he's fighting to save.
FAY I couldn't now even if I were sure it were the thin; to do.

('1

¢UY Of course you can. Io Glenn you are a symbol of everyt in ~ he

believes in.

(3\
x o

n _—, P ,. ': . v. ° A..— r. ,. L 1.. =. . v ' m' .
HUI LOOL, live uu twls farm Lo lJCu uii poo one“ to yiur hUSlC. Inst
”Y .--“ p- 4" ‘q I ‘_ .-\ W -- 'I 3 :'-' 7 ~ . - . an" a: u ‘.. " . ‘. ' ..
g.ur Iorte ai er all. it's as ic line you tiut oJUUlj oe gde'ld'
r 3. A 7- ' . , w: ,' ._ - n n"". , _-
cllVU tJ€--tJe grace of ii\-rl, . lenu culls i .
17"" "‘ ,‘ 3 ~--. '1 4'17 , .q '1. ,‘1 ”P, ..... . 1.. A. (\f. r‘ ,, .1--,
-ni red unous I'd lime to, bit it oi. i; Crh't so done. Uu .uu Exa
'2 H ‘. 3' r‘ “ ‘ 4' . . V 1 l '!" l“‘.r~"' 'T. L. ‘3 ‘»* p - ”fi+
is lb I th't be articiiuce ucuut tie tiinds I ie;l _Uou.
n' x +'- Ln! H- .. rt. 1. . \m- .r. t. W, 'Wm a
ch I guess tie t_ian he i;el seepest are Lice. tne t‘thu we CcU
-, ...'..1 A . . - W ..1, ‘1? ,. 1-1 - h.‘ 1“- .. 7,-
never quite c Frogs. Funn;—— c no sou Liinfl curt/u,~ t_is crez; Cid
m A. ,2. -- .. ,.- 1 ' , - 1 ..1. .1 .2 : ,.', x.
73. lh‘t “lune axe ulj Le see tie tilt twut is inevituole—-t1e
‘~ . v—u- " ‘ qu‘ ‘ r“ I ‘-V 1 7- '\ 3'1“. I.-\ H. .- in: vv J "a .7~'L ch - f‘ . 1-
twlt- List mes to be QVLQ. lieu if Le “due bge guts .c 1» lo.
‘ In. W v 1 r “4- 1 . «L 1 »- '! r.
Phi i”_t bOUuQS u little trofodnd, nut es it eel;

GLI Just the I ?ot a ”liva
L‘ ' ..fi

wn~o L, v.1 le. »... \ o , "N"
“as bdihLlh; bulh;o QVer.

T"!

U

looks like.

"7" T r - -~-v ”n ‘n7 '3 tn 1‘ \V; ~rrn1 xr 'i 10 '. tn‘wj \ 1“ “F "u 7 man s '
.(Vl J. a-KAIUJ' 'Je L Li LV J\ S (in J J»& A .Lr‘CV—. (.L‘;.L.(a kl U0 ) )'gl.—_‘l Q LLIJ. '

v N J" 4 . ‘
CJOh this orning.
T‘.’ ‘7 (AL... I " 1 . “ v ‘A '. -‘ ' . v‘ 17 . | ' ," " 7‘
pal ills suuu 3 like SUJC pin; that u Yflt cone out in your ser on

THE oeruou? I hadn't thought of it lile
that. It may be the first real ser '

9

H

,4

‘i

G) ('7
(D

<:

(D \o

r preached.

SUI ‘ossile-—if I get a phone call.

at

,
I ‘ y T

Q
Q

of fe inin

4- ‘ \ -. .‘v‘v 1‘ '-
Aat rLt it ”uh be ‘u\

.AI Do I “ct a peek at it? I'd rcther like ta see what the inevitable

F51 Lust you tantalize he with Lgstery? iou 1;»1 i have an overdose
r

SUI You're quite sure your word is final about net living up to the

symbol?

FAX Do you think a girl likes being called a symbol? It sorhds

something that ought to be strucg, and I don't want t: be struck

.1
J.

ike

before breakfast. Thy don't you come in and have some toast with me

and let me in on this mystery?

GUI I'll j 3
the operator know K. I can be reached.

FAY Well, I've got to have soue coffee. I'm just not the tyge
tackle life withgut a stimulant.

oin 'ou in a minute. It occurs to me that I'd better let
1 e

A -

inis is dug Talker.
' (x; ectill' a all

Tqr.
“(is

'1 r ,i - ..—.— - .. - ..
UUI Kin loosinons; nello, Yrs. orunder.
...‘/nodr been trying to 2et ce? inut's good. I n

" L r r ‘~ '1- - -,‘_ r“ . ‘ vV' ‘ T, (“- ' :5 ’ ."“'

and I' m over at toe Iuirc1il-ls. 0. n. insdxs. (A; ”3 “undo '1 dLZn“
,__ ~ ’5 I.“ ’ H .. . \ (“L 1’ 11 («-1 J ‘V _o (q- -,—‘..... , 1‘“ ‘.."“
nLL_-r.-;..) 11L _L _J LAAJHL HVV Ll p11, [18 _LO, -1'.._Clulo CO ..C III. \quuuu -..'- 1.- -1 ..J/

GLLKK I've been looking for you, iuy.
GUI I've been hopping around a good bit this morning.

GLEUN I had to coge over for my be: end I figured I light find you
here.

v

_UI r’; and her :other are having brec.‘ :fcst. I'll call them. tr
sssll e join then?

GLSJU I' d like to tz lh to yo ou first, if m'u don'+ mind.
GUI Surely. Sit down, won't you?

GLEXN I paid you a cell at an un: odl‘r hour this morning, but you
weren't in your room.

SUI No, I wasn't in my roouxell ni3dt. I s gent the II HQ ht——nost of
it—-wslking, Glenn.

"V‘—‘-

“7 cu.‘ n ‘0 I r"v71? .""Y' ‘ 1 “Y 7 r" r w] v-lfi l f‘" r~r"0‘7*“' -) 1 yr" I r;QT r..-
.AJJJJLJI; go (1.1 \i I. lAILJ .1. av .L..1Lv MVL L3- nl LJJ‘JAL LL—La-J~LL fllxu A OLIKJ.‘ \ILLLlI

m M'V'1‘”

VLHLLD I;.i0 Llhifl INA; 3) Iunn" what a girl can do to a Helm, isn 't it?

T"

GUI Funny too how a men can keep his sense of humor.
2,

GLHMN Thanh Cod for a seise of humor.

GUI And thank Cod for a girl? (Ailln A PAUSE) That tobacco smells
good, Glenn.

GLEKN This is the pipe I won from Ief‘s father.
GUY A ripe's a good pal.

GLELN This one has seen me through a lot. It came just the day before
I got the news of Ir. Fairchild's death. (PAUSE) Guy, I'm not much
good at apologies. I guess I've never learned to accept failures

3ra ciously,.
GUI Peeple who seldom fail rarely do.

GLEHH I got a lot of things straightened out in uy mind, and I Lent
to say that I'm sorry I acted like a love—sick sophomore last evening

CUI I think I would have acted the same under siniler circumstances.

CL“"” I can tell you now that there have been tines when I hated you-—

“Lola

tines when I felt contelpt-— l
m
(

GUI I an underst and that and I don't blame you.

GLENN Ne get to feeling pretty ugly toward ybody who is sitting
safely at home. Ye have to ut un Li uite e f {ght out there to keep
from turning into savages sometixes, so it's only natural that some
of the old primitive e otions creep in. As I say, I can tell you
these things now becs use I d“ n't feel exitxin' but esteem and respect
for you now.

an
i

GUY That's pretty big of you, Glenn.

GLENN 30, it isrm' . Guy, there are three kinds of pacifists——the
coward, the opportunist, and the non Lith guts. If you were staying
out of the fighting because of fear thut would be one thing, but I
know that isn't true in your case. I know that it must cost you to
stick to your convictions. You're fighting your own particular war,
going through your own special kind of hell and it's all happening
inside.

darned decent of you but--convictions get to be sonething

GUY Th at '3
nd ml ence.

InniL Cut there we do it with hand :re so es and tomm3 guns, but it's
all on the surface. You have to fi3ht our hot tLes 1;. ith ideas and

o J
words, and I suppose, prayers.

GUY Ly weapons seem pretty ineffective.

GLENN Don't you believe it. ”inere's 3ot to be hen like you, Guy,
to keep things going. Sonebody he s to keep the world full of such
things as religion and culture u.d music and laug‘nter.

GUY And farming?

GLELN And farming.

GUI Fay feels she has let you down, Glenn.

GLZZN I'm the one who has let ler down.

V

GUY She thinlw she has shuttered all that you thought you were
fighting for.

P. V‘?

“LLLN Illusions are the dumnedest thin"3, Guy.
3UI Tell me, just what is it that you thin'; you're fighting for.

GLENN I thought I knew-~it's like this——my people came uo tie hard
way. I had things a little easier, Cod Know , but I'd like to feel
that all the things men has earned b3? sweat and brszn are n 't join; to
pass out of the picture thile we figst a nor to save them.

72

I
"1.11158 $23.5 _-

GLEHH Such U1in3; s as-—well, I've told you-—reli:i n, music, the light
of learning--sucn things as the means of living Imil a xvey of lif ethut

is digrified and civilized and worthy of the we t Len ha. dug up 8out
oi his heritage.

,UY 'xiuith you in your fight to save U1ct sort of world, but I'm
convinced trat in sevinj it we've got to lose part of it at le east for
a wfiile. . e'll lose it &1Ld we'll have to work all the harder to win
it back agzlin.

CLEII 1611, I'm glad you're with me in the fight.
GUY I 8”i, Glenn, I-—(£HE TELECHVIE gILCS. GLELI'Kfp I5 CI;JC_TQ IT

. “TH ...‘ \ ~ ‘1

Its-Q0 I >A‘J-L‘:) /

- ..r -.. , ‘ __ . A ,. ,‘ .1 \ ‘ _ , ._. _. . _ .
Gtsuu wello. Just a minute. (I. ELI} so eoue oifICIcl sounding is
asking fort me Eeverenc Cu;r ”alter. Are you here?

GUY I don't owe any bills and I don't think I'I.wented for murder, so

1 /-- . 11 ...‘ r; 0 ‘1 w“ ‘v j! V) ._ ‘
I guess I'm Here. KI“ EHIII) 43110. eyeuIiLQ. LA, Jes, Ur. svens.

7' ‘."‘ In_r_ ~~-r1 {:1"‘--.*'"rw ' ‘W‘r 1‘1 ' " ’V " II"‘T"".“ "I" ,".. .. .‘ ‘ H
.LJLQ O I: ‘ILLU: ILD (.LJL-J.‘—JLL.L.'; -- II.L..L L Ua-.Ao.L.J.lL. .JUL‘ :1 .iJll nu:~_j‘ Kill, “()051 IL.OI‘r‘llr]\J’

Slenn. I didn't hear y:u cone in. I'll tell Fay you're here.

CLERN Please don't bother her. let her finish. I'm talking to Tuy
a :‘Iinute angrv~ra‘:;f.

9
0

Rio. IuIICIILD Kell, you'd better have s oi of coffee wit 5 ge. I'm
taking nine out on the terrace. I have a sort of rende zvous with the
urens every morning. They make such a fuss over xe-—builds up my ego.

t‘

(1

G TIE I wouldn't have you Q: scf3oI at the wrcns for the world.
ther 4v rest.
. In; 4 cu - J

Iive

17'1‘ 1” wnr'rv T‘V‘ r*'-'r\ ,' n : . , '1 “..-
IIo. rI ”VIIID (TIIIU ceI, Join me letcr If ;>u Ii 8.

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GUI I Wise. Do you?

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GILER I'd ra ther you did, but I an't nagt to gehe it awkward for you.
I'll leave it iere. (n3 rule If on LAC EDGE ofi 1J3 1nCICL) You n'ght
just see that she fircs it. I hate to lug the thing all the way be A
with me. '

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GLEMN 1y miSCa.;e was in 00311; beck. (AC QAIQDUS nlo dArD) So long,
Guy. I wish you Cll the luck in the world and all the flap iness.

GUI (ignIhG AIS MAID) I1' I th Mu‘;t I co-ll manage it, I'd throw you

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T”!

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uoun and alt on you t1ll 1C; Cbmeo

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GUI Glenn, don't be a dCuLed-—d;rne3 fool! (ELI IS AfCLI TC DASA DDT
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GUI Hello.

FA" (CULIAG In) Surely all the telephone calls aren't for gou.

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tdd. F5113HILD GUY, I have some flowers out here for the service pals
3

morning. Do you W'11t tot‘ them then you go?

9

G'I All rirht, Lrs. Fairchild.

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Did ysu “eed it yet, Few? Zlendie 3.33, ”l certainly he ed to give

up 26 }Oilt$ but we haven't hi3 a st.sL for a m'nth. This is a specisl

treat”. {hen she can't finfi De; cod and t1. rest of her fa iL —— :-nd

the; go huntiu' one another ell ever the neiélberhssd. (DELLn LutSLS)

Txen here in the next picture th-y ;et bee; and the steeg's burned to

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(lnI onLS LVEAIHJ, it? JIIS Slufilgi .UI EXT HlLDeU)

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're jede-—den't tell me it's really a jeie IeCLlsce

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u ) ) a
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.)

FAY It's perfectly wonderful——th, i
GLENN I meant to give it to you yes

be the right moment. I wanted you t

dn'

FAY I thought you di t ‘ ave to 1

I've

'V

FAf SO your mission is fulfilled.
GLENN Fveept to apolo;ize for my as
wish you and Guy all the happiness
FAY I one you an apologd, Glenn, no

in

J- 1.,"
u only lor

t's-—it' s tworderful--G1enn.

terday, but there didn't seem to
0 have it before I left.

eave till Tuesday.

fl

I've seen you loo
red ** trophy.

hing e‘ttiful,

‘4

olescent beisvi or ~ester a;r anzi to
God's :reen earth.

‘

last evening, but for

he whole past year. I've disa cinted you and I'm so sorry that I
have no words for it.

GLENN That's all straight in my mind, so don't let it b other you. I
know now that we can't come none to the post. Guy said a while a:o
that convictions get to be indulgences in tines like tn see I guess
memories are injuirence , too.

FAY Tine is such a devil——I'd ive arv4oirf to go been “ year to that

nifht we stood here looning ou at t

GLENN Yes, but as I say, nenory is an indulgence.

PAY Possibly, but memor' is wnat's keeping us ooing—-¢emory and hOpe.

GLinfi Lemory and hope.

FAY I've shattered tnex both for yo‘. I br oke my promise. I promised

the things wouldn't change and tnat I woulfin't.

GLENH1”fig@ is inevitaole. I had gictured et'errt inr just as it was.

I come bacli starved for everything just as I left it-—nung “ Ior the

ra;;iness I- oad knOYthere. I'm over the at ck no1 I'm C. I. Everything
is—-fine—-just as it shoulci be. Irv to believ ethat I believe that.

FAY I don't believe it any more than you do. Everything is not fine.

The change ‘33 let ;"u doxn and I'm sorry.

LEJN The change has let me see through to the real Fay Fairchild. I
didn't “et it at first, but I do now. 'lie chanje Goosn't make any
difference in the way I feel and tr at's that Lakes it touét.

FAX Tfien you still feel as "\u did that nirnt a year agol

GLZYN It 11a dly seems fair for ne to so; not I feel nIT, but I'm not the
saint Guy is— -I “isn I were——yes, I still feel as I did a year ago only

a Lillion times more so.

no moonlight on the meadow.

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tile ‘JCLI‘.LSLIO L11QILL1/rC’Ll, Sir. 'UOd'); ‘ire o '(tLA-J HILI: 4:.) L; XL... J 4....) 4.4.. ... .u-JUL).L\/1‘i
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Lell, I'. in the army-—pra cticz1lly. I'm going in as a cfi1:lcin.
FAY Guy, thet's——thet's wonderful.

213. IAIXCXILD He's been telling me all about it. Quite a surprise,
isn't 1t?

r'V‘rw'w. v—;‘ "'. Y1.t~ .' I; 4 'V7\ II
dull“: (3.11-1-3 “1.433 ..II.I Lt.) Con *re tulations! You're a great 3.3;.
I take my hat off to you.

GUY You'll have to do wore than that. If I to in as a chaplain I

k

may get a captain's ruting. You'll have to salute me.
GLELN Like heck I will. I'm getting Ly captaincy tie minute i get back.

AY Glenn! You didn't tell me—-thet's marvelous.

P11

Y‘WI‘T—

Lag. .nlgChILD hell, congratulations!

GLY I guess it 's m. tur 1 to offer congratulations--con3rutulations and
(LtoAING AT FAY) felicitetions.

GLENN Thanks.
FAY Thank you.

gig I!“ getting }racie to play the orga .n t is morninj so Fav can sit
r11

ou in church, Glenn. You'll come, won't you? his night just
possibly be my last sermon, you know.

GLELN Shy, ;es, I'll be glad to, but isn't there SCAG local custom
connected with a yOUUIY couple a peurinc in your church for the first
time together?

GUY There cert sinly is.

CLERK In en I guess it's up to Fey.
GUY How about it, Pay?

FA How about it, mother?

. FAIRCHILD We've always raised you to note your own decisions. I
ut guess you'll have to m'he this one.

GUY Lrs. lairchild, I have always wented_to merry your daughter. I
should like to asL for that honor no“. I .hould like to have the honor
of marrying her to Lieutenant %=l nn 1 ra':.

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GUI Good gr rief, I'm late to m? 3 All; School 01A 83— —S‘d a te“ K?
i G

Ll .Ll
tl'. ...Qll't IL‘ . L17. era.”

lectuw last tiAe About 3‘ 5
See vou all later.
U
GLENN (A3 GUY C373 1L ILL ELLA} 0h, Guy.

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LAKE If I'm 501m; to be married, it looks like I'A stuck here till
Tuesday. (HE BRINGS LlS DAG, AJlJH H3 HAD LLFI' ALEJIDS “1;L ELLA,
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FA; AotAer, you unomservlr n5dAIll11, 100A! (:lACLAl-L ALA .L,ALAAL)

L35. .A-ALAiLA RES IAG To ELALLAE IAE HECALAJE Ch, Fay, how
perfectly beautiful—-wh;, the"'re jAde-- 11633 I was too excited to

notice——

FAY Real jade, mother, from China. Isn't h wonderful--l' ve never
had an'tning so perfect in m? life.

1A3. f'LlCXILD Glenn, it's lovelV.

TLEJL (LQLLIAG ”LLUU7A A LLLL A1 LLL4AASU, SJALAini of A Mi 1a reminds
ne of a bit of Chinese verse I found here last time——I nev {er 5ot to
finish it--Yes, here it is--

a)
\O

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”" PerfO‘mance

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down stage

upstage

left stage

right stage

center stage

left of center

ri;mt of center
down stage at center
Up stage at center
dotn stage right

Up stage right

CI‘OSSGS

All stave directiscs are given fro;

U

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\

QT'S Viewpoint.

Act I

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Pox \Uu CUUCA L) uU Lugt'S thet a geel at Jullle11 does for Joe.

it's swell.

_ —,~ '1

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Thet will be somet 1:; to tale one; Litfl me.

 

III} I could hear a lot :o1e like t‘sst .

‘7 -

CfiAJIJ (3113 USA 13 L333) So could I. l tlsh you vere starin-
this suguer, Fag.

 

\ ‘ T
“on0 J.

A 5
short ti_e to be nose after oeiuf 10* off in flew York all year.

 

1

l’

(A.

l" 01le

IICHILD ‘ ell, I wish he were too. [mo weeks seegs a pretty

”-7 fi‘--1 " ...’" A \ ' .'. ‘ n '1 (x : ,‘ ~t 1- ‘- . T ,. - . ~ \ '-
-Lsu" \Ao Du; ”Itl at -udleuee llne tAlS l dph't see now you can run

out on theL, ray.

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'r

\ ‘ ""I‘ ‘J 1| -..-. . ‘x. 1‘ ‘ ‘ “' (‘1— "L V“. ”1' '3 f. (
cousins are. 1se; llhe to oolster me to—-meue me t11uh l m Lloot}

-1.A\

*: m a v —- :1; ,
IJLI .Lu DHALL Ubt‘tt)

(IL L'
—

GLQRN (BITS DUUfi LI CLLLL scru CISIDE Jul) I think you're good and

I'm neither vour Cousin or your “other.

U

FAI You just hexpen to like

 

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fi1'ry *1 I'. W ‘1 1 - , _' , _' ‘1'_
udhu s or magoe He Just llLes Jou..‘

n

FAY Bell, Glenn, naets uzll we do new till tHe others co;e;

("'7

1')“,

C‘
u

FAY Have you forgotten?

F

GILACIE Uh, Glenn's off in another world. It's your playing,

I'll set he's forgotten all about the farewell pertV.

GLSnN Goll,, I had forgotten. That's an filly nice of y3u Fa

FAY Oh, it was Peg and Gracie's idea really. The; thought

to give our visiting lieuteno.r1t a regular send off before
he briny deep.

Fay.

, but——

we ought

he sails

 

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TIM“ "A ' (a 1" ‘ I ‘. -" I 1"" #w Tr"\‘ r‘ V T ‘ 1
Linoo, On, these socially ulnued Cousins oi vudro, Iedl It's smell
of you, Fe; and GraCie, but big “ ertie 3 scar 0 me.
afi’v'v :3 «v ' .1 I. "“ ' ""‘ .,,_, .
Canola I didn't ink uh thing coold 30019 a nurine

PEG It's not a big party, Glenn——just soge of the town k

when you were here las Christxa s.

1 :.
x.)
‘l

1&5. FAIRCnILD They ought to he go ..xnr here. There won't be
r i

F5 1‘
L3

time for a pa-ty lenn has to catch that train.
PEG Hes envone called to see if the train is on time?
FAY Gracie did-—didn't you, Gracie
" T}1f‘

GKACIE (Is To DESL th t..:- Yes. It's on time.

PIG Are you sure?

ids you met

I
“RIG {1

GRACIE hr. Jenkins drun at the station said it was sure to be late,

so it's on time..fiw

135. r”. RCHIL What kind of double talk is that Gracie?

GhuCIE (oxlfi”L G CH DESK) Tell, when he says it's on time it

 

altays late, so it must'work the other way round.x

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nidst, Krs. Fairchild.

ERG. FAIRCHILD It certainly is out of step, isn't it?

' ‘0,

GLLLN Do you mind if I stick mg bi; paw in
155. FAIhCHILD I 12m11: it needs your commendi :touch.

\YI’W {‘1‘ VY‘ TV"

0...... (FL: 1... 1 1.1.13; :21 I-‘oSI'i‘Ioli. 'MIGH) There, baby.

there or I'll pin your ears ba1c k.:1

. O.
\1)

1‘1 01'!

you stay

LRS.‘FAIRCdILD Splendid!
GRACIE It takes a marine to put them in their place.

FAX lie does it 1n - blac‘ CA n1a ic. (SRct“ Lgfiijs)

 

r1“ fi-fifi

(DELLA 1:3 11.11.... H)

 

has. FAIRCHILD Hell, Della, is everything ready, for the lawn party?

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DZLLA Land, yes. The place is lit Up like a “y h’eh conver tion.’“
M’i’. PA RCHILD That's fine, Della.
DELLA Thegr'll oe here any minute. I'll go fix the punch pretty
soon. SIARE LET ET)
GRACIE Hhat are y-u going to put in it?

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DLJHJJA anLLAI A LUU11 L” SJLLQ .allikl dd YU ’L .LAuL.oft') 36A313af1~ass tea. '

GRACIE Aell.

 

p‘- _‘ _,. V \ ‘ o \
GLEAA (As VAC; Della, how a; I ever going to thunk you for all the
oother I've caused you these past three days?
DELLA is EASI 18) I‘shexm it hasn't been Any bother. ,e just hute
to see you go, don't we Lrs. Fuirc hi ld?

 

ARE. A1113 AIL He certainl; do, Della.

DELLA It's. li ie I aluays ou' to er. FTiTChlld_ the best thin

E.
her having Httr ctive deu;hter lihe Fe“ is the hice young L
brings hOAe.ffi

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uELLA) Here I thought I was special.

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GRACIE Ca, you er“ sueciel, nlenu. You're ver; special.‘r

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1

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1ere are a we thin n the don't Auve to ce 5' A, AraCie.

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he thinks. :1

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G.JtSIE hell, I 1i l'e tap -le-o

LIB. TAILJJILD You see, there's one person at le :st Lho inc r't
spoil you, Gracie.

 

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i
a 1
and ice crea . See if one doesn't.

 

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Ia- hell, I'm lad JJJ reCovLise tlat CVCFJQOdJ bpulla you.
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spoiled. Eve en dou 3.x. -TohdJa -radshaL says the grddSQgHS ghd the

Fairchildsl move all bee spoiled fro; way back. Ve've had things too
soft.

313. TAITCHILD Hell, Tracie, maybe you can change all that when you
grow up and have your fagily

GLEEX .1 shouldn't think the forging business Lould be soft Chou; to
CV;)OJ.1L'L‘.‘b‘Jd; r

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GRASIB (fir, it isrflt;4die fiFLjJT“. It's t1u3;noncyu 'Fal;e is. i/n? in—
stance. I{"sn't 31e alnars he.d GV€“’+‘“U"’ Uncle Frank is Just like

93-
Dad dy.. Life is all served uin and h: .hdcd to us on a silver platter.

CLLHN (Is US) 3011, for my :orcy, I'll take that k'nd of serving and a
good his he 1;)in; of it. I don't know so much shout you P 'csh aw girls,
but from whe.t I'v e we of t} :is home--rsll, it's just about tops. '

1‘.‘-< T T‘f'«\t“‘r {Ha—M"

“Mir 3 U1: A.L..J.LLA..LJ. lIXMLE
FAX The 11% you, lieutenant. That's a very pretty speech.

JLEIN No, it isn't. I'm no good.at prett" sreeches, but I've been
trying to find a; tongue all do; to say thank . I guess there's some—
thing contagious about Gracie's chatter.

O
.‘J

IRS. FAIRCIIL You don't need to say thanks to anybody. We're just so
happy to have you visit us ard it's been nice that you and Fay could be
together before she has to talfe that 81:3:ner position and you go sailing
off to goodness knov.s there.

PEG How soon do you go to this summer hotel, Fay?
FAI In a couple of weeks. It's really not much of a position. I just
play the piano evenings for the guests. It's the experience 8 ed the

contacts that mean most.

{no Oh, it sounds wonderful. I'm green with envy.

GRASIE How could you be green uith envy? You can't even play chop-
sticks.

PJG Well, you're not so hot yourself.

{(fij‘rnj "I“ -~.—‘ ~1 ~‘- ‘

GRACIE \oilo El) (.ysan.IiLI, I am, too. I'm good. I'm good enough
to get invited to play the organ in church.

 

\

1" ’W I‘V" 17" ' ' .-
-Rs. FAIRCLII hay, Crac1e, that's fine.

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GRACIB (’CASTIUJ, RID VERY uC‘ChLI} Guy Xalhor s.id i_f he stayed here

and preached and ii 1Q nasn' t Loin; to be here aid “ rs. Ransey's

arthritis didn't get better th at chbe I could le :.n some this
——-—K———.—

summer 0

' ’1
T

FAY Ch, Peg, you asked Quy to cozw etonijht, didn't you?
PEG Uhuh, he'll be here.

FAY You renenoer Guy, don't you, Clenn—-fuy Salker—-the town boy you
met when you were here last Christnas.

GLEIU (Is DR) Sure. He's the Yale Divinity student. T“ice chap, but
he beat the shirt off xe at ice hockey. I've been IODjerilZ: if he was
still around.

' 'fi"f'\ —‘ ~”'1 1") ‘ -~‘.-' ' - 1" 75m. "1 ‘1“~-* ‘fnfi‘ {-4 . “ 1
Canola (Lotus Don .Iitogi 5 Ala Jo I; ;;c- lie, on, he's vexy much

1

around. He and fay practically grew up together, you knov
YRS. FAIRCHILD Guy Talker is now Reverend Rallzer. T"'e're all euite
proud of him. He finishedh is study at ale Divinity School this

spring and he's preaching in our community church this summer. (fICLo

UP ALIAIHDLR LE FLtfilxd)
GLENN Well, that's fine.
GLACIB Our little town is snal 1 potatoes to him now, though. He

a chance for a big city church next fall.
/
o

03;)

‘ .__

the. FAIRJRILD (it - Io DELI 313 ElISS FLoIZfiS liLRE) Hell, he may
not take it, he tell me las' sunday. ;e feels rather attached to
this little frrm com unity. He parents were Killed in an auto
accident fihe he was still in hiss school and the town has more or
less adopted “in.

FRAJIE You neon t”n I dilds more or less adorted hi1. Uncle
Mr :k practically pa id nis wry throufih college.

V

Lad Gracie, do you have to tell everything you know?

«V I fi—v-‘fi

unnoio ell, w hat's tron; aith that? Svervbo oi; knows W‘N It tncle

 

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he would be attm: ‘tei to t_i 3 count crL, ~ll ri It. I don't see how

an'body ever tears hirsel f axay fFflL tdis little cit of he :ven. I'd
like to x rap u that floyer garden and take it with HO; but then I'd
like to tarze t:e sunset and the fi- lds and these rollir: hills out

toward the river.

FAY (ILUC II") he'll try to have it all he: e isr ydu Khen you Cine
back.

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s the life, really. 'hy didn't semebddy tell me there
0 this 'nd p‘7“l like this? I've been gvped.

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CRAC I Here they are——first car load anyway.

A d r‘fi an vn Tyr- In“ 3
o v LVLJQJ..~J .LK/ a} u.

E all me brin then in Fay, or take them
into the garden;

FAY Thy don't you just take them right into the "ardeni It's all

4 r.
' ‘U L..-

readv.
———L

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hope he gets h: ‘Ife be.ore Glenn has to 3 (Is [filr I'll slip ou and
wt 1

o.
welcome the gu ., but d3n't you the lid 0 away in here all evening.

FRY he won'tlhother.

C)
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”Al Glenn, dis 1 ever tell you about olfl greuxquzer Tel: Elli?

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n-|s Lie out -ho used to lave Currier filepns olln, Aim ie alrket
resorts..“

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EAI It,ru:3 beck fill U16 3;;3 LA£<JP€ tir;*i.:fl tlelcnf1;e[es .zgl the
teleg 'fh wasn't “eliu le. de would slit these inoons into Cxico‘g
ever; few days and Irienls in the'e Coth”tGd “ith tfie stgc; .sr-
would fasten the fist; on the giQeons and “eleus the“. Txeu home t's”
:ould fl" uni Qragl-Qea touli Cot u; in the .iifile of the nith and
rid e around like Yeul levere tel l1: ell the fernors to ship their

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rul me Nude enouQJ to atgft u L Li.

7.

heerd thet story

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GUY He muse mone= for all his nei; bore,
ever sir ce I was a Lid.

 

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1:: ‘ if A Y ‘ 'n r' I 'l - : ‘v t - l' - 'q- l\ -. o- \ -

.5; UUJ n-s Qrotn u; wlta .eQ -ni ;ruele and he.

GUI Yeah, we've use sole great old times.

YflG Guy, do you resember tee time you and Fe” and a gang of us rode
iaorseb ecL to old? rofessor Tingley‘s place, you know the funny little
oeldheaded fellow that use a teecn history in the high schosl? GUY
nuD F321, :Zq'l‘ll LAUGh}

'A‘ Huh—-I'll bet Guy woull raM er IorQ et that little incident.

\

GLEJL sounds good. Let's 2L&P about it.
GUY Hell, there isn't much to it. Seems pretty silly now-—

PEG But it was fun at the time.

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TY‘V

rnI You see we rode up to the prolessor's house at midnithp-

 

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ou Know I LOt the motion the wurp' Lao out on use lath. this.
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Lotner, we're COminfi

ALL).

FEE Guy's just tellin5 Glenn about the tire we rode--

’l

FA“ And we all yelled yelled until old Prof Finkley cane to the
o

.L
or in his ni5nt shirt.

nw “- ’vY rv‘,

141434..“ 11811 What hag-panes?

GUY Then we all shouted at the top of our rugs--

FAY The British are comin5.

GUY Afi‘ I33 TQG.uTILR The Eritisn are coain5.

GUY Then we rode aaav like a bat out of--Hell, like a bat.

‘_' V "* *rp "‘ ‘ ”’1 “‘ '1’ ' “ ‘ ‘

Tn" 'H'T'T “ - . 'r , . . -'; n ,. 1 1,
ins. fnluuulbd (ill; “I s ulniu/ ies, I rememoer that. “no tlut's
vnat we nave or a pFC&CJCF, .lenn.

 

ntwr 'r . —n .2‘- _ _ _ . . 1, .93.! ‘ ._ J— ' 1 - .a‘. -\ ‘- v
ob; Looks line Jou're s uen Llod me till septemoer aflJWd’

1r--~s J‘1“‘-\fV'V'T-_

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rairenilJ horse Ind of urse FaJ‘s father 5ot the blame.

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rig“
1..

IRS. FAIZCJILD He cane very nearly tekin: a slip: er to qu too, groun5

”j
1

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F“

on, he gave me o ite a talk n5 to, and, do you Lnew what he said?

1

GLZhfi I' ll bet it 1% L't anJ thing he learned in Sunday Senool.

GUI He used sore pretty stron5 lan ua.5 and t;en he said, Guy, ;*ou've
got a brand new set of or. ns 'nd you3u51t to be able to sell them

second hand for a 500i
."u-v'vr " 0U 111'

used. " (lung; to; L“;

1i a
\riee because t e' certainly never have been
a

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135. FLIICHILD I'll bet you never rode horses to Professor Finhley's
a5ain-—

G'Y Not horses——we tried it later with cows but he weren't happy

about it-- .'

FAY (Is C) I don't like to nertion it, but do you sup or e x.e're
bein5 sed out there?

PJG This is supcosed to be a send —oif for Lieutenert Craie.

1

AI Glenn, shall we tell then ’ust a thn?

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From ~r~ ‘ ' _‘-. :fl , - l 4 ‘ ...-
Isa Do ~ou tninn he'd Iever oe .itner. \I;sI JIIs nsJ n LUV“ and

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FJI It's a pitJ Jon're so prettJ with nee like Glenn around. {Ts

 

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Glenn,m in case I don't 5st unotner cnance, I brou5ht you a little
5oin5— tolm .

raw ...- rvwnyr TI." [7. 77'» T‘ (""7") '1-1'1 \ 1 ‘ 5:
21.4.4.4“. (LIN; Auk) J.I..'J l;;11;a—JL- pble/ “8:1, t1:~t's €141”.le 11.1.08 Of :rOII.

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rnI n praJer been. Inat's veIJ tOdCdln:, oIJ.

GUY oh, I'm just a sentineimt l “ eacner at heart, I.5uess.

SLEIN (JEADIUZ) ”For the powers of heaven shall b~ moved; and then
tneJ small see the son of men co.xii5 in a cloud with great p wer and

majesty. ?ut when tnes e t1in s bejin to cone to ne.ss, look up, and
ift up Jour beads; because Jorr rele ption is at bani." (FLTS EZTLE

 

HJAI} You knew, if people could just learn new to use the Bible, me
could build a pretty 500d world.

FA‘ Hell, Lieutenant, do you feel brave enough to face the Jerriment?

-‘ v‘T .. ,r.71.-‘..n

nr- , a - .'"|" ~1-1r\ -- ' fi‘ ° ,' 1
Guam” (Is IR A eqrsno “II lb rnl/ ”on that 1' fort ilie d Hltd tne
word of God I can face even a TartJ.

 

FAX (To GUI) Comin5, GuJ?

GUY In a minute. have to tell Jour mother she's on a new committee.
FAX So that's why she wanted you for the local preecher——so she could
be important and serve on all tne o.-:ittees.

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ALA} halt for else. \ALQ LI. .LV‘ Luau.)

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k: 1'"; (ALGU 11.1‘4'1- Li I'AIQU i_‘JJJ ~J 5.1.41.)

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you cooked up, TuJ fialgerf Iou :new I don't liLe bein5 on connittees.

GU (

X LTD SoFA) Cn, t‘iis is I't much. I just want Jou to head
tTie fl

rco:nittee.

0L)

S
OW

9‘
0

IRS. FAIICJILD Does that seen I do all the tort

SUI It means vou furnis Ithe flowers. 2?

U

92

L48. IAILCJILD Oh, well, if that's ell, I can do that. Heavens,

the ylace is sw1umin5 in flowers.

GUY I know it is. I don't think I can ever renewber Jour place
looking as nice as it d es this sumner.

ins. FAIJCHILD It's been a 5ood Jeur for flowers.

GUY Is Ir. Fairchild er: und. I went to get his advice sbgut thut
loan the c ur ch has down at the bunk.

Lbs. FAIX3JIL' Frank oufiht to be back. He took the ca -—soid Ee had
to see Teel 'Jctson over on our Jiv r side place. I can't think u: :Ht'

Ii' 3.3..u.‘ i .I-II. I; 06" .' UL 14.1 ‘11 I: L. i.
“eejir5 11" e l’@ nted to "'J TO‘I‘:€ t‘ ler‘

GUI Well, there's no hurrJ "out seein5 him. I can telk it over
with him to orrow or the nert dg;. Ike loan m1>esn't come due until

he first.
Ins. FAIL3HILD How much is the loan now.

GCY It's gettin5 "Littl ed domn—-onlJ C 52.00 now.

Vt

- : ‘ 'THIA‘T-r—T- ‘ ’ - V- 7’“ c - I, -_'-. ’. fl '4 v
IAJ. TAIJJJIH “ell, I'm sure -runn mill rerew it 5Iedlr.

CtY As long as I'm to be minister for a while, I'm 5oin5 to see if
I can't get that loan paid off this sunner.

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1.-..0. LILLIHJIIIID (;:S)‘ I" JIIIJ 15': 1.14.}. JVAQLJ\/--3 1;. D 413.". I‘L» Sham.-.) ' Dr's
sorry she isn't 50 in: to be here to i.luJ tie or5en for you this summer
at the church.

)vv—

CHI Layne you think I'm IIot sorrJ. Zut I 5uess this situation at the
lake means a good de'l to her.

IRS. FAIH3JILD It reallJ does, CuJ. It's a vch nice hotel on the
shrres of lake Iichi5en and it' isite a center for in ortal;t people.
She ‘evs it means more to her in some rer tnun her Jeer of stud; ~t
J i

tI Yes, I can see her it ni5ht. I I in in the :usiccl profession
so much depends on canoects.

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to colle e.

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we chicks start scretc 1‘.inf for ourselves.

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IIM. IAIJJHIID D3 Jou thnn tnue Jou'Il teue taut caurcn in oMlCJ‘O.

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1 C113 ou here for a lawn naruv ad here I 11 shinning ‘with the
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found him parlied aL Ht 8 SIle a; L: AIQJUQJ, unCORSCIQUS.

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OLDER Better let Ae give yau a rend, Della.
DDDLA Poo, it's light A3 a feutner.

FAX (13 DA) Dadd"b k yet, Della?

DELLA Do.

FAY Liere's Aotner?

DV'LA “ent sohenhere with Cu;. She'll be right back.
7'1." /" " 1‘ ".1" ., ' . w -
:.l \As DADA L) “ent wiM _uJ? hell, Anut's the idea? (LUT DDLIA

DIF) Uh, (DJU,DIAJ} (£3 1) I'll bet Guy's got her involved in
another comgittee. Zother ix-tes coJAuttees like yo hate parties.

GLDQY Aw, they make me feel like FreLk Sinatra's understudy——such

a fuss over a uriform.
FAY It couldn't be tfie you in3ile t: e uniform?

GLEHK (IS C To CHAIR AID SIT: LN All) Uh, M Jed're a svell bunch,
really. I can meier t Auk y»u, Fer, ior tJ e3e t‘ree da"s of heavexi.
Believe me, tIIS little tiJe on tne Pairchi ild far will be serthing
to think about and remeloer.

 

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@1441.“ \IUIJ Uta-1.3;:JID l‘u'tiu I’L'Lx'L/D ..R'JXIL‘II') You bet I trill—”ti ie first
"ned chance.

FAY Sure you won't change your Aind and let me tat you to the trair?

”DDBDN That's a queer twirp in Le you we :‘t uxviers tend.

 

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CADAA ( AS tr A it's Just thet -—'ell, I hate SQJLMS boodbge.

AL-LJL-JQ ’

FAY So do I.

CLEAN That's ah I thought if I could just slip Aver—-JAAe Pi'rvey,
your local t dii r—n is nichin' me up at the foot of trte lane. (is
SAGA C) Do you know Lhut I really want most of all, F‘"?

“'-‘7' 1-r1. ”.Ll‘.
rAi “Jan;

4729 ethaJ _-

GLEJN I guess it's pretty sent

FAY 'Jho cares how sentigeutal who is

GLEHN I'd like to leave “iti1 your Lusic rinQin in 43 ears. Till
you play SOLGtHin: aLd just let LS slig sway?

FA" If that's the W“J you want it I'd love to, Glenn. Ks To r AUG)
that s l I play? 151;rthin' ;wnihi especiallngLike to neaiu

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Utah“ 13' Lfiat 'ou )luded 110 u u——EGCLAOJ9L'3 uuA,U_.

4.
ib?

"(17 ‘
FILL 1030

the world.

(ILIflTS; It's supposed to be tn most romontic music in

xZLELN Ho. If you feel what I
lIf you don't--well, that would be ev en tougher.

bore you feel, I couldn't bear it.

‘7 v 1“ 'r"'-" '1 \ ,1T""'~ "Tr-'1" "“' m fiT"“.’"\ . . r A.
In.(ituno ’o luv F-1u unun 1C seen“) I'M a spoiled, pg pered

V‘ a ' ,.v - - I ,wv 4- . - . -u - 1 . .

r38130n. all m; life ' 3 hid CV01 u1l11: I vented. 2'4 beginnlnd to

‘- . ... . ,. ' ‘ :1, , ,N , .r

xenon now *‘1at it's li:e to want so 0t- he verg, very LUCH.

fix 5‘"? 17' In, T‘I" 'P '3 070'" 1 r1!- ‘.V '1 ‘ 1__'_“ ~ .
~iilwmfihs ;o r“;) lf you've elm rs lml taut you n¢“t, usJee .~ 'd
‘—\ - fl 4. ‘ .1 - r, Ya" n L‘. .. ' F. ,. 1 M
L/ctter see t 1st ;@ uuet t1-s. .e -1:'t Jute JQu bJrOdan s tantru .

25"” I Lant-—I want the war over.

”""” mhst's a large order, but I'll do n? damn

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FAY Gorgeous.

*3 out that field of grain.

GLELH Look how the moonli3ht pious
I _ ' v‘~ ‘I‘u -;--\-— .--—,-.\
FAY It's like a Silver lshe. (As To Ilulo/

 

CLBJH (1323; To HAIZT 33A} One thing is sure——no matter where they
ship Le, there‘gon't ever be any place as wonderful as this or any

People who know so well how to live. You've 3iven me a taste of the
real thing, Fay. I know now what the fi3ntin3 is all about.

FRI Ivd$1I<fid.

Gliflfi I can tell you. It's to kill the demon that threatens to

(fiestroy all tnis.

HAY I'll try to see that it's all here for you to cone home to.
1 11.1.13) '

ch°n3 The fields in the

P"??”" You do that. Don't let a thing Lu 9-

J -_JHA"ILI'
Jiuaonlight and fragrance of gardens, music--

P‘rv They'll all be here waitin3 for ,3u.

4‘1).

C1ILHlJ 3own——don't you change either, Fay.

And you in tnat be dutiijl

I?1KI Ch-—can't I pro3ress a little?
{311331 'You're prefect fust as vou are. You're what's 30in3 to keep
hie ticking. I'll think of you thousen' ti es just as you are in

'tJnis moment of moonli3ht.

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(3153HI Hot if it Spoils those marvelous

liBaNe work to the isle animal. You

'11" T 0 F““““ Glenn, dearest, you mustn't FUt

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t”1e river.

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“‘* Lagical, isn't it:

CdL?

Didn't ‘"ul Engle write a poem about that once?

“‘-::

Er .- ‘3’ ‘ . ‘
"+ If ne didn't he snould.

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GLDLH Look lo up and read 1. 1dr Me oomec we.

FAY I'm to okeep Up culture fo two KOW, huh

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SLY (FQLLQUS RSI) Just take it easy now. Your nether wil be here
directl‘r Dee Cook's trim in? her out. Ebert's Fella?

d O
FAX In the kitchen I'll get her.

SUI I'll get her. Della was here when the cell eaIe. (CALLS) gella

 

I want to put her mind at ease. (GLI 1e CIUQJIIG Id SILL I: DILLA

ZmTZIS KITS 1hnI ei IQ; GALA.) It's all r "ht Della. Doe says he's
going to be all riggt.

 

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GLI Ale JQUI l quJ't Letleel.
KolA-oJ-n—‘J‘Lb‘ Ua-L/

FAI All xv life I've taken Dud;; .*-
slave to

V

pfi e
eene is jus t accept and be a—-u——e——ledy 0

LV

- ”1 . 1 . r“ -9. A ,1“:
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thnL you ouuut to e.lul Lilo ever

FRI Job nothin;-—.” J”D is mere. anywe; it was more of a vacation
tnan a JOD.

GU‘ Sell, a little vacation, a exan;*~-

1

FAX My whole life nas been a v

ac 'ddv is going to be laid up
for the rest of the summer. I'll

GUY You're right, Fa3r . (Is BL) 'm reall;f 3 ed to see you take this
stand. Only I justh nat e to see vou do it vitwout thinkinfi it over. I

uyz-‘i-

inul‘ C)

x" H
J

know that Laheshore ousiness Jeans a lot to you, Ea;. (L:
Say, I've got an idea——"an up—-canoel that call.

FAY Don't be silly.

GUY Listen, Fay. I; parish work in the suumer won't amount to JEOPG

than a couple of hours a day. You go ahead'with your Lakesmi

I'll help your folks.

F“ Sufi, don't talk foolishness. He couldn't let you do that.

GUY I'd like to Fm mom .hy not. Han“ that phone up and cancel the call.

I' ll handle th ir's for the laircliilis. They've done plenty for se,
odness lonows .

..r
0‘) r

FA’ Guy, that's terribly sweet of you but we couldn‘t—-
GUY Now let's not have an argunent.
FLY Don't; ou see that t‘lis is somethin" I've got to do?

GUY No, it isn't. fiunoin; a farm is no job for you.

 

FAY 0:1, you think I can‘t——You think-—(lu YHQME) Hello——(i 0 CU I) I
wasn't raised on this farm for nothing. Ihat I don't know 10 can ilearn.
GU" You're being impulsive and heroic. (13 TO Cttt d)
O
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FAH' I'm.being not:1inj of the sort. lt..o is ncalanos) (la 1 mg)
Ekillo, Kr. Lee. This is Fay Fairchild. a1. Lee, I non‘ bbC able to
tatie that position. Ly father has had a heart attack and I'm needed
at liore. Yes—-Yes, that's right. I'm terribly sorry—-Uell, that's
“ fully} 11ind of you. Thank y:)u for rderstandin3 Yes, “r. Lee,

"K njfi-v-w- \
and thanks again. Goodoye. (onS hn.e:3 U1. DELLA a l‘llS U74

 

GUY (F HUNT 0F SOFA) Well, Della, meet tile new ma nager of the farm.
Ti

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Cf- ’13

LY QAYLY Is 3L) I'm stepping into Dadd"'s shoes, Della, while he
a“33 a lon“ earne ed rest.

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103

L13. FAIJCHILD \3,1 1? LL!) eh,
would-—Daddy is fairly comfortabl

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D" WLA (X LR”IIF LFF UL) I'll get ysu so..e coffee,

n' it up.

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T13. .£JHQCHIII) 'fhanli ;"u , Della.

 

the dining room for it.

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4.4.x) ~J v.111.-..}

GUY hell,1rs.Fairc:1ild, mgat d yeu think-~Fa;

o
joo at Laiesb ore to helm run 4“he farm.

:15. FAIACHILD Hgat?

“.7f ”1

o G‘; told you——Kell, I knew he

I'll come into

1H1 1hat's ight, mom. 2 w don't tell me I won't be

Vr“

”no. 1 .VhiLJ Hell, Fay dear. I--well, we can talk

vv’ ‘

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cancelled her

f‘nvr

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00d at it.

p.
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about it later.

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.

yple Litter to fill another couple of quart jars 15 I Esfl the ours.

'J

‘ ‘:'~ ‘I' ‘ 1' 1, .‘ " '..,. ,-.,., for.“ 41,-.
.uo. -nln3.ILD Let' see—-I relieve you‘ll flfii QUMC u.ars on that

s o
top ejelf in two partrf bei’nd all those boxes.

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r'm , . ..r .. . ' ...r L ..: L1 1.- 1.1,,

11erc's L3 all; so muen masts Lit: earl; aggles.

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u l t e H
out——I always hold to cuttin' out.

IRS. FAII'1ILD I guess I'd have had to throw most of the fruit away
if you Iladl't offered to do the canning on shares.

I”? ZACHAul ell, I was *ust real glad to do it. I sure to the
sister, I sa 3, th at >oer firs. Fairchild's just got sore than she
can 1ardle.

3L3. FAIJUHILD Oh, I wouldzfl say that. Does look like it though
when I don't get around to m” tcleaning till late Saturday afternoon.

d

L33. LACIAJY hell, it's hard ”hen there ain't a man arounr—-(31An13
ULT) top shelf in the pantry, you say? i

( r1- .. ,n,s..\

" ‘1‘ “.“v :“""I’ L) Yes
L‘LJQ QMALULLJ-J-J goo 1.11.1an \JA-JA-Jn.‘.__4'.\. A" U'J...._.\/'

L13. ZACXAnY (o.aiIluu ofo) I says to the Fister, I don't know what
hrs. Fairchild would do if it wasn't for that daughter of hers. Why
that Fay's a regular farmer. The Lister say 3 she knows might near as
much about the cattle business as he does. Top slflel you sey——I tell
him she gets it from her pa. (SHE ELITE} (L13. FnLuUTIno ”iUIXJ VACUUM

-‘v‘

(1;../ /A'"

\- - a -V~s(-q *1: 1r‘.‘1 T‘Y‘I‘Y 'I '1'! 1"7‘. "TT‘ - V‘ “I rv‘T" rfwlv"—~" H'Tfi- ‘ 21‘ "v "n '-u )T ff‘\
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DQLLA (onlonIHC) How Yrs. Fairchild, I told you I'd do tM1 t cleani us.

soon as I got hone from the packing plant. (L43. iniuouloj ‘IUL13
moms; e191? ;
106

IIS. FAIACIILD I1 (now you did, Della, bu_t vou're tired and there's
no reason why I ShOLlen't do mJ 01"n Clear 'ng.

DELLA Tired nothing. Saturday's a short day. As long as I make my
home with you, Nellie Fairchild, I'm going to do my stint. I told

'- ‘r r. \,. 'r C J r- , . .2 «_u-‘T-t aaaaa ‘ ‘- rI‘TVvT‘

Jou tnat wnen I took taut paCAin; house Job. (CAI hAS i'A.IA .AC
'11 ' 1V1 3 f“ -‘ 1": ‘ T- "'1‘ _‘T' 7‘ '" ~‘,1~7"-'_=1 I71“ 1? r'ur?~f~ (‘4 r1* \

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“'1 pwfim '7' ‘ro

his. FAIACAILD All right, Della. I'll do the dusting. SAE E.oi1.o
DUSTIAG) (Is UC TC ’ACCE, Did vou think to go by the post office,
Della?

 

DELLA (ITLLIAC AZCVE THE VASUUE) hnat was that?
LEE. FAIACHILD Did you renember——
DLLEA ( UALIIIIC— CED“ VACU‘CL.) I didn't get that you said.

1'V'r*

HAS. FAIACA-L' I was won; erin“ if you got the m Cil.

DELLA Uh yes——I nearly forgot to give it to you.

.'(-V "4'; r7251. TT1TT 1'7“ FIV'VWKN 1. QT“ “U“r~:-'\ "‘TTT“ r‘}A"T“| T \T‘fi
I‘LL.) L‘UI I U ..I‘II4I4 III‘:.J Jih.) I‘. (14.1.4 I I'CC I .‘CIJIJ o LJIIC'J I L. .43 SZJr-FJ;LILLJ CHILIJO
‘ '1, T. , ‘CT- " " YT'.‘ - " * ' 4'1 - . ‘ F71 ~ ' “ " f‘T' first
“CV-42.} Juli—'11 lUILLJ l LLUAF lidJ-b L ULLUU éHO-hD o-1314:JLJ $.lu4- LU I-JLL.) o Li‘s—LIL.JII4L14:)-H-Il{; \XUI‘IquuQ
1'! M'M‘V‘u‘

AT THEA, FnZA PLACES TAEA CA TABLC iCCiDE DCCA)

DELLA (Ks BA‘: TC SCFA DR A.D TLA"3 CA .ACL L.) Doesn't look lime
there's anything there from ray’s lieutenalt.

1:18. FAIACAILD Ho. She'll be awfullV disc opointed--

'vxr wfi'r‘ :1 “1 nV1fiqvv-fi—

DIJ' 1414p wuhut "as hat? 3-13 IUICI..) K): ' TI' -.'4 C414...“L.....14..Cj

‘*””‘ILJ It's been more than a month since we heard from Glenn.

7 -."Q
Li‘hd. Lmdfii

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-" 7'1“ *1 fr? 713 ‘ x 1 ' T"? """' “‘F" YTIT‘T‘.T*‘HTV\
UIILIJQ .LII..J .l- .J‘IIL 141)]: III D LWIIC.) I. ‘I:L\.4U [.1 .Li IIUICILJC—J ..Jpl/

DELLA (IUA“S VAC’UA CA ADAIA) (SHCCTIAG AACVE TIE CLEAREA AID STILL
ACT ACIICI Q I‘AI) Jolks in town think Faya nd Cug'fialker are gettin'
pretty thicli.

' r! T T n T‘.'r “"7" f‘ I I A"! 'f‘ FC.‘ "-“ /
SEALS. III‘LIILC: LII—D (MCI Ink IICIIC‘" IIIL mud OCLbbJCCLJIIZ IXEUV .4 CJ—J:5’$I 4.).) FeOF'le

like to talk.

DELLA Chat was that?

1 ‘ fv"T'_lf1"T" . 9.. ' :fi.‘71“"" 71"“ "' Tm v717f'j5-71' j-w- -, q"? 1,1 . ——\ {1'7 wx a Tr_ \ \ I F
1...;3. I lLI-L.\41..Ll4D (QT ICICIJCI 'CT 4...; L4 .. UI IIIIJV I4I4L I IuIC. 4U CI i' \4...C.44‘L-. 4C, Sexy-_—

I saJ pGO}l€ lil:e to talk. CuJ's a good boy and so is Glenn. I'm
very fond of both tn 1e boys.

lC7

7T7 ("I r" n 7‘1""‘ 1-: v...)

.1 In. w": ,‘. ~-_ 0
Fitf ULS DELLA 5131.....‘3 o. ...:. u 31.4.44) IS t.‘._LS all the ...clll

..3

fifiw qu:,~v~Pv'(-1 r1' 3? NT '1"'~'r ,‘ r119 r,"r~ 7? ..‘w ”‘p vvn ; x7 ‘ ~2I' Tfil‘f‘ 5‘ V‘ -I‘Yfl
UA—Jl—JLh i '17.;m- L.L‘—J VJ—Jdlb‘LLAL kl J- Iii-J 4L Vl-J ’V.~Li\.4 kiln} ‘fi—O. .L ‘L‘AiQIIILD 1.800 Ub-l’ 50\I
(:"w1 fr

I}. 18 011.4 I: .U 81 Vi. .1) ulléitv?

FIY Is this all ‘he mail, Hother?

1 * ITM‘ -"TI'"-
l

17. . (‘1 1,. V-n- "
runs. is :LClglLD V1);161 1.0 Half. kL/gfi‘JJ-I A ...tl».
F‘V'S IIALE) I di in't zed 3you co: e i212

Trfi,’1’TT'."'.' “hfl nv“ (_‘vvvfi 7!“" 'xh
JI‘UUUL- p- L “.0 U11 ...J .L- Jll~uo

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DELLA (...--.'.I.i.A..S‘D CV1; 1.1...1‘ 313 11.5.3 JUSi pie... om-..” Heavens to
Eetsy——IE either did I.

F'“ I finished raking the hay over on the river side place.

J. ‘3‘

113. .Ale.lAD So soon? That's splendid.

Abs. FAIICHILD I'm afraid that's all Della could find at the post
office.

FAY (KS 33) You wouldr't hold out on me, would yen, Della?

 

—-.vfl~

UAALA Land no—-And I didn't gee n anything by what I was saying when

 

- /“ V r‘ rv~ . - *T‘r’ I." I“ v" T W" . . *r- 1 v r

you eaAe in, in case Jou “card Me. A has Just telling your nother
fix -/- F " a 1 '- u 1' -1 ‘v ”‘1 "1" r» *1 - -.- J v r n

how peoPle talA, out you Anon lo” foils ale and, hell, CleAl's bee:

.. .. A n *‘ "‘ r m N “‘1’“: rr'rr“ v 11- :"2‘

none now a wear or more. (UA.LA S.‘LAIQ .c use. --AJAD }-A -

u /

~~—r~ [ r‘ 9V'PT >-_ w . ‘ l~ -. . _L h ., . (N

Luvs. PJ'XILLCLlJ—J—D life JOLL lily/Hue DO Stud-0., ’ dedr:

F"! CTrIn »~~- I"? "TT'T‘W (1 \ ' ‘ "r~'- frrz") 7 7w vnav~\ :1, I
4. vii.) \..'. 11.». e; u. ..._-. -.1 J .‘..\.L...- K. . ..-'. win...” ..Jliqltul ;.Qo

 

have to run over to Pete's l
and we're serdir13 a dozen of

..._ (...‘ r ‘ fi— y 'n u ‘7' --‘~vrr‘v-\fi ,‘ .‘
{tat-L). Kldsili»:p_.. Li‘LL-JALLJ/

‘ I I\ - ."\ 1" ~- “' .-
Lecner; lo 3 .lpgin; in trie :;.or1in;

e
' v' ' 1— "If "V l'\ r .
ete's steers n ti paCuaryIS s‘ioxlent.

: ‘r ' 7' \ ‘ '_ P," ,-. .~ -. ~
FA. QJ nello, -rs. dieiirr.

1r» 'II‘VQ‘ T‘\-l.-\v' \ T?‘ ' ‘ ‘j‘\‘ V“ Llr. r' :. ‘Lr
- «uh-3 . 361's. AILALY (m . :JJJ‘L-y -D/ -.O‘Ilr do, 1' blur. il(:) 1 Ullat J\F)CS J—t , A-urs 0

Fair Chilil-—tll€l" L. 'F—SiK k. LL‘LLLI'tS €3.35. {-1 Dillt . It KILLS Ol‘l 7' b? SVUCGZil’l’Z’
J. «J v i g
and the grace of Cod Vi:—-$ I rot the pint. ‘

 

Y‘I“r
anh

your ‘13bsnd all set to ski) thos steers _n the morning,

1

f‘ ' I" ‘1'...)
Lil‘s o paCduI‘J L

era
(1)

L13. ZACHAAY Yesum. me don't like to ship on Sande, tlr at away, but
nowada"s you got to ship when ynu csn 3et the trucks.

‘1. .' u _' J — A- .,,.+ 4.- ...‘. L1. .-_ ,- r- . '- . - 1
4AI East's r_L3nt And we've .o. to AAAe cue -eziC; Aurget or run tn
' -.1. / "i" '1'." Y"" rv‘"r'n ‘7 ”1 ~1- ' - ..~.\ T '1 1 .. .
r101; Of killite a. 10:33 0 \U-.-J J...) ~.v “I... .L.-.‘..‘i vb; LL; J AJV‘y-J.) .L'J.1 }“8 0t :CI‘.
3" 3- \ Hr'fi V11 VP“ ~\._ Y'fi-vwsf‘ vav n1~—~-o—-‘ _. -y 11 YT (pn--‘TT~\
b‘EfCI‘e Jumper ti..-0, ...'S'L'-lero U 1.4 aJ-L.L.L~)/ .L IHM-JU .LJ-4'.L a.-.). u; I. -. .-L.-.i_. LADLl-m L‘J/y

 

I H r: 1 4" 4:.” I 'f A u 1' xx ‘L v- 4‘ \ ~‘~ ‘I' ,— ‘ .‘ "‘ .‘r-1 'f" v.1 y",

«but-U. .1..sz..le He‘its L111. inf-3 b133,” bdrl‘. Olfb, :01- bit.“ . JLL-Q 9.1.1 SILLd

‘2‘ f ’V . ’N '0': A. .‘V ,‘r "I 1 -.: I - ', ‘I\ ~-- '1 Iva.“ ‘ I‘, ‘. I“ r r ’2 ~‘\
JUL txe PairCLlllo ”u. 053iiln' t eir ouu-Lter lit ull t1et elucctiou——
v.” I -L o - - .

hon looL at her-—Ie uler fermel.

IRS. "AIRCIILD hell, it isn't the kind
bed rented for her, Dlt when he

7

F.\-r flap“ 4...! .3, i, I '31 4..., 1,.
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n ' v . rcLL -.r r
u life men ietoer crd i
4 J-
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O“‘u

AIS. ZAJIAII Hell, I eluefs sag, l' the; got it in 'e;, they'll turn
out all right in suite of educ;.ion, Lei f the ain't got it in 'em,
l e d c

_L 1'~—>
U
you might just as we t 'e; -et educete ause t ey W3n't arount

to nothin' armvay.
DELLA HelloJ Vrs. Zecfierl.
LIB. ZACHAAI Hell, hello, Della. I didn't see you.

TNT" " ’¢-':'“"3'“-T"."‘ ’77:?“ ‘."""" ‘ F" "‘T“ 5"“? ’ -"\ T , ' T- . V
alpha tuliptiln " l.1-"1 (4;... ‘44:” h ...L K... I ...‘; .1 ...4.-. J) .L'I'I flue. ILUII'S ever;-

\A

body over a the Zachary place?

 

If-“ . 'fi",' h.,.,.,- .._ \ O _ o o _

Ila. ZACAAAI (QALUIIHG) Just fine except Ae's alllh' so e. I W53
just tellin' hrs. Fairchild——

7‘7—\- 1'. (“-77. 1‘,“1‘r‘-/‘ 'Il' -r-_~ n- V“ ~--~- \ ~ 1 r‘

dbl—ILA (QAULL .LJdLJ .LAi J JmJIS.‘ .4. L/ n SAIL-tor

LES. ZACIAAI I was just sefiu; he's uili-‘ sogc. It's his stomach,
you 1mm w. (DGLLA oiAli'j THE CIZAAEI AGAIN) hell I'll be over
Header, Lrs. Fairchild, and put up then berries. W'

a r. fl1'1'*, rv—v‘ '-=-'f‘ ‘.~"," ' ~VW. ~ ~ {11 #1 ‘1 ”—.. -—-"N\ , o
In»). L‘ALAL'ZLALUD (Itlliulgsj LILLL .IK).LK13 nLUJq .L.;.4 314.411..~'.14.u/ All I‘lSIYIt--
thanks ajein, firs. Lechury. Tell 1r. Zachary to take care of h mself.

e'd be up against it if he were to get really ill, yJu know.
1A3. ZACHAhI What? oh, yes. Hell, he'll be all right. It's just
his stomach. (3J3 LLITS)M?
2.33. FAIJ’JIIILD (DUJI‘ZZG Til}; LGLLJASLJ I ccrteinlr .9188 those boolzs
we gave to the U.S.b.

\] Tv

‘T'*" ' *3"‘f*T".‘ 1-VT‘F1"? ‘r' v17f7“ 2."YTATY r-"' (*1 1' f,‘! '17 ' g . 1 "
Dfi Lupuo ll. Jnocp-.uniou I. 'l neuuln.) I68, it's dust tflqt

[I J-

much more space for dust to collect.

 

LES. FAIRCXILD k;, a lot can happen in a year.

'1"-

DGLLA It sure can. There' s that Evie Roscoe, "married just a year
and she's got two babies rd a mother—in- ‘v.‘”

333. FA’ASXILD I wonder how she's ; Mt in; on with the twins.

sLe says the thins are n3 trouble-—(31AIZG VACUU; ON THIS

the mother—in— la

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date‘nlth one Qf the- Luv, meg.
11-1.). ramLJLilLu‘ Della— T—Callff
DALLA fihat's ..re—-4e a an 51.1-0‘.W
g... FAIuQLILD An officer}

Gui Ensign or lieutgxgutE

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3L3. FAIRCHILD It's nothing of the kind. The fair cnild's pay tncir
Eiired help. Let's see, you've put in about tr

ince that last tire. (dd? 1R5 TRLDR R 3
I3 1.41;;Il‘w17 UL)? in 3.13311)

v <v-"

GUY I wish you wouldn't do that. (PUTTIR; CLDRRLR BLUE) I'm
r v

stymied till Della gets me a screw d i er.
135. FRIRC ILD ell, I'm doing it, so save your I.is ‘1es.

GUY All rignt, ii‘ you insist. Just make it out to the Red Cross
and.we'll toss it ino on the church's allotment.

L35. FRIRCHILD Hell, I t?) nk you ought to have a little something
for yourseli. I'll make it out to vou and you ce.n do as you like
with it. Is this July ith or 10th

GUY July lCth, nineteen hundred and forty-three according to the
newspapers.

YES. FRIRCRILD Lever believe all; ou see in a newspaper. (Is .R
33 GUY) (RRL IX“ CHEER 1L th) Here you are, Guy, and thanks a
million for everyth 1ing.

GUY Tn1s 15 about twice as much as I'xxvorth.

“""‘f1 T1:*.'~'~,n'j""j 1*, _ 1 . ,1. ‘ \‘11 ~'--rr-\ m.-
ILL. IRIRjulLD .onsense. You' re a firs t 13 te farmer. (RLILR o _u
T‘Y‘l'? :17! r-g "‘ ‘T 1715‘ (‘1' iv'z-fl‘;"yv .-\ 1', 'r 1‘ ~ r3 T-..,.. ,. . ‘7‘1 —---———_

II
U..JU-LJ :JLLSL ALJ :ID 1\./.LI./ J“¥—AJ1L ..n1\~.,.5 .L1. n' .JL- J.I|A--/

n r - 1 I we 1*- T . v' 1 ‘\ -\ rx ‘1‘ ‘ s - t w n ‘4
th les, I soRct I es tainl 1'm Lore of a farner tRan I am a preaCLer.
VjI—, F‘ ‘, "v“! tr "7" -~r111r n1 *1 ‘ "W“- 75 r' n ‘i
(D ...LLn 4.1.11...) '.'._L FA :41. 1' 1 1 ugl'ln. 1.1.1. gnu /

LES. FRIRCIIID 1ou oreach 3ood sermons, you have large con re3 at1o ns

“h?- T ‘ ’ “L rP‘A‘ If" T‘Jr\ . r; I‘: . A An 1' a*‘ I' 'r t“ V“ l '
uLLLR (Ls LR 1o 1L1) Rnd tRe youn3 folns are eras? aoout you——

b

 

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1RD. IRIRL-1LJ uQ Hflqu Rore so J); Huhtf

GU‘ Hell, I want a screw driver.

33:44.45 Y:‘dql'lcgl ?
' ° — ‘ - .- .— \ .' _.
GUY “ screw dr1vcr.You *A0~-*(fnh*anh—tn/ Little tT11n3 for

unscrewing screws.

V‘V" T f ("1' ' "1"!“ C:
Daub“ p11 0 Lutll C)

GUY Fay cone in yet?

3n.,:~

LRS. lRIRJ D In arid out—~she'll be bacR dilectl‘

lll

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ouu Sdpper. \IIII-I II.IIJ “IJILVI-I.I I.I) 13 LlIt stove st1ll

 

g1v1nj trouble, I33. FI1rch1ld?

“AQU'J .

“7 FAIJCHILD Cl '65, it '3 DIlla. I tried to vet a Lam out to
(3

’ )
1

1 1
fix it, but tzerc Uust wasn't affonI who could come.

GUY All righ‘, Della, I'll Have a look at it.
TLS. FLIICLILD 3081f it's Icrf H“ fisst, DollI. It LflkIs spells

of‘worlin: just fine.

at"! m Q. -, 1 .:.r>
III lemyprueutal, Jug;

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(«w-rm \

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tacl:in” mouse frfigrance. \IIIlo

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“hat's tie trouble, “uJ?

1 Tmrjrm' -r\ T ,I I . ' ,-.
CL! (I 1.a;I1; Ioooe CQHMECtlv”.

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III. IIIII.IID 1 don't IeIn IIII. -10 Ire you so Leos141It1c quut

your preachizg?

rfiYY‘If fxi‘ ,~ J- ‘r 7 I x v1 ‘57. -' ‘ i . v :-
J.I In, I th'b Inuw. uaot L feel1n; I get.

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In; ge;¢le 1Ie yIu, ac.

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2,.. 4. ~.,1.:, A .0... , .\ n 1. a”. n ,. . , ° -3, -

MR;e fiiatt11e right Us seiicVe——lrceicw I Syneci, 1 eedou e: reli 101,

and aIl the rest of it?

’ f""'.'f‘ A 7‘1 .1": - ; ,‘ . v L .'.~ - ' + q 1 a
nu! \Risns “Rs silo vn spin R; 1'4 Rot duidv Mien so help him tRe
0,1 ,.‘_

Libllt.

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lug. rAiRVIILu iou're st~hdiuw LJ mist usu oeliewe 'LJ I ;uess tAu
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\ I" I" A D 1 I H. t- J ‘

ler us Lad ioilow Lee reitrrr

v.4- : w r— " z. J‘"\,~--‘ _".\ 3"“ 1‘rrJ i '-~’: ~,~ 1* . Arm ~~r~1
it isn't easr fer Ludoe LUO “eve hug U0 C,ive ub tReir Lurmul
w
...’ I—.. I,‘ . s-y r r .‘ ' I V h‘ , v. :‘.xI' _'r-1»-r‘
rm. 1 ememse JOh ull oi us——Iete .lsue, snort; Liner, iuts

“1.4.; 1 D
fab be ' U
Cestty-—we used to sit ani c;in about the bi: t wixgs we were going
to do. It hasn't been ess" for these bags to put aside their dreams.

- u 1

- ,- r'1- ~—~ -s----, 1. ,, .., ' - ‘. .-.,. ' r r ' ~~ r» .,
LAC). Pi-LLLLJI..L.L4U I “1.0:. it flclsfl't . 1 UL‘IC ’1; ”1101.111 CI'OO doe IRII‘FIII‘J QIAd
killing. .

*"f ..r- .1 ’rq rl‘J r' , ‘ . ;:\ ‘_-”‘ '- ‘I"' -~ \, {'11 n ' , H r '7‘ 1
Gui (RIQQQ, is JR ch u I? e. llnnvj IJOQG fCltho ure as Mucn

pacifist as I am at heurt.

IRS. FAIRGXILD Aren't we all pacifists st heart?

K" Y.‘ -- r ~ 1 -.‘ . -. ‘ ~f) -. \ (11' 'r) . '0. 4‘1v . :‘ ~. —..
ubf Ithin'- he real trJuble witi he is thgb p Cilisu lo not Just
a Conviction. It's a p“snise.

‘ '.-\ WIT ,1'7~";: '. ‘1 ”f6 r_,

- 4.1.0 o l‘MLLJIliUQ h 1;}. CHLOE;

A- "I. .r 1r -. n Y -~~-' "fivv I“ In v'--I\r~ - rV 'v— I ' _ — . ‘ I \ I. 1‘
Gt: LOU Rush 30w “w futuer hub. (is R nRes.D -1“- 1 me had an

 

1 U
unhappy experience in t} 1e las t 1.-1. he est to be slicst a static
about pacified. I've never 0 . e, out it was alios his dying
reguest that I give my life in the fi ht for peace.

‘
‘1 h 5 "rr- -.
.gu (4-11 : JIL

7". .-‘ fi'v-v-

Rue. I‘AIRJIIL Yourbeliefs are what t
with all your beliefs or with all
trying to say is, we have to be t

are——mind'you, I don't hold
30 Mier' ——Lut I guess Mlat I'm
rue to ourselves.

C
H
H2"?

7 -.| \v- v " - -"‘- - .- ' e~ , ' - 77,” \ o_ ~a _0 ~ <
GLI (is ID "Ainon L1 )Lno A 3 LULLS oLf/ Tne t11n: that got

 

star ed on this L;L15 Aus' hare bCGi a dreaml I h'd la st n1; t. I
haven't been able to get it out of A; Aind all day.

3"“

.~:~ 7“".“"‘1 '*‘ *1 ** -- ..... _+ “ , h‘ . '1 r'
..111). L‘niAuLiibu 1J0 you h"iC~I..b t0 I181]. 1.16 cLL‘LILt lL.’

GUI It's one of those illusive, subconscious thirgs that can't really
be told. I dreamed about Glenn Graig. A terrible battle was going

on-—I was uatchin; from Save GIQCC of safet3-—it all naggened in air
and mater. Glenn was wounded an: he was tr"in: to swim. Just before
.1
he went under, he turned and looi:ed at me. CLLTJS “Q TDI“I”3; It's
that look that has hau1 ted re all day. It1 has n't a look accusation——
but t1ere was sometIin' in his "es a kind 01 Uit”--tfi€fi ILRJS
q , J. (J ’
I

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C.)
q 7/ ‘Av 1,-\c .v - ~. - ‘ ' .,. , .. ‘L p
ILHAAD AAQ. 1A1L111LJ/ ;ou . no.. not sertiAcs in dreaAs you ;eL a

L:uilt;r feeling-~(As DI TC CIAII) vell, it was as t1ou5I1 I instead
of Glenn were facing eternit; anti I was f .3 it with a: awful
feeling of guilt.

 

 

.

LES. FAIACHILD (RISES, is 1U IAZIE UC A33 JLKIIJUTS ULSTISG) flell,
I don't put much stocn in dreams. I1 e"re yleasant 1 line to recall
t1en. If they're not, I think the bes tning to do is forget them.

GUY II me p thinxin; so et i113 has hanpened to Glenn. Do you think
tnere is such a thin; as te lie patny?

LAB. FAIRCHILD I don't know, Guy. Ye haven't heard from him in a
long» v.hile.

GUY Is he still in the South Iacific?

 

."':| flleil.fi'7 TY I'T’T'YT‘F‘ ' P‘TYH 1-‘ I ‘- "I " 7"“"f .' ""1.‘ h' I'TVH m ..“1 *" T‘T'J“ fififi

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JULIJJLL) .Leo , I SUI"; ‘00:“) :6 ..LS . .10 QLALLI a uni; u .111; GLLJ 11‘th UBlLLQ SCHU
‘- - ' 4- ‘ -‘~, 7". "V . I: "

bacA to tI1e staLcs on Same sort of Aission.

71 v“. ' ,1 . .1 ...‘..J» Pr- - -
GMT on? I‘.1aL 1.0111.) 1110.118 1a.; ver‘,r 181111,; .

1

‘r‘!‘ 7-:an . - n " '1. '4..r1.. . . . A,
1111'). FALAAJLLD . ”ow ace ut you; 1.01111 1L ...cLLe you verdr 1111911,

0“.
I
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"1",“ /“ TWfo~v I‘."*‘T\

GUY Why, 3e3--yes, I'd like to see Glenn. (311s LA ritcl A1A1.)

 

[ww-

11:113. FIAT-.111) .-.l.
or for that maLL e

Guy, I tender if you're bei 1:”? fair to gours elf,

[-4
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L01 Uhat do you mean?

h
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AAS. rAIAdAILU uon't JOu SuNPOoG I know LQJ Jou feel about Fa;

nffiv n vy1‘-‘

uLi (ST’ILI .q A1 ALA) People don't fool ygu Lucn, do they,
Fairchild?

‘
A

TI'S.

 

1'A.—. v‘1“"‘"\’VT‘.’- "— In- "I "'V‘ ‘ ‘fi‘ '| . 1.1.1.. 1,11. .3 _ ', ,
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'-.. _ . 4 L. 11-1- .1 .1 '. f + A. ---'-'-'.. w. 4‘.-
tnat d1ance 1n tAe 311ca;o enurcn Uu Lo help us L1LA Lie 1arns and

4L .
L t

st
to be near Fay, but that did have a lit
lll;r

GUY When you core ri5h down to it, I guess Fay, or rather .my feeling
for her, he s a lot to do viU1 all Uiis oUier I've been tell nn you
a‘o out .

IRS. FAIRCHILD (BITS In CHAIR) I Uioqult so. “0, Huy, I don't want
to be a meddlesome mother ard you mus t unde: stand that I'm very fond

Glenn just as I'm very fond of you, out do n‘t you t1izlk vou on e it
to yourself and to Fay, an Id even to Glenn, to 5ive yourself--well, an
even break as you youn5 fol! s c ll it

 

GUI You mean tell Fay what I feel? Fey's in love with Glenn, Lrs.
Fairchild.

PIS. FAIRCHIL- She was in love with Hle n. He's Jeen era” over a
vear. A lot has happened-—Fav has chan5eda good de Eiow do 1.e
know who she's in love with n ”'? Or for that matter who !%l nn is

in love with?

OI I know——I've thou5nt about it a lot——I just want to do the square

7"\(\ H," 1“? ‘5'“. 7", " 1W! ’1‘. ‘ run fi"~' \

L‘ALQ. L luVAL-LLJ (LbLLUAKS ou~D .18 J‘- J‘ 4",. Jay“) ..‘Cll, I Y0, Ol'l't 1.6.3" (223;?
more. I just hate to see people be hurt, that's all.

 

‘

GUY We can't 5et tr Irou51 tnis crazy old world without getting a
little hurt now and then..

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$44.} a J.L.nv II) 1.1;. XMVAJ Ln. $-41 iILk/i. lquithQJ athv... 1 .L...I,~,'\."..I-- ...ml;

 

rEG Hello, Aunt Kellie. Hello, GUY.
U1“T "ff. ' 7‘“\
(.1 ...JL—u—JLJJK/L L4}

\_,/V\__/

JRACIE Yhat‘s cooking?

J
5
)
fl

the. .AIRCHILD Uh, hello, Peg and Gracie. )
) ('1‘ 11.3.3
GUY Hello, kids.
PEG Is Fay home yet?
L33. FAIRCHILD Ho, she's gone over to Pete's place to see about som
cattle. She'll be here directly. Sit down, girls. (PH“ "Tm" “H ‘H”

“.4 I JLLQ K...“ th—iu
11 m T" n1: ,' (17'? (“"7“ 'v” 1* “7‘. :1" *1 ' “
C3 .1. ILL—[1L C 2 J';.nv.L.'.J QL AubupQ K. n ubi'r. L)

GRACIE ”e want Pay to come to a swell party we're giving toni5ht for
so e of the cadets from the training camp.
r'xn 1T1" "

IRS. FAIRV Ina That soun 3 nice. I hope Fay won't be too tired.

PEG So do I. Gee, Fay used to be the life of the town. New nobody
ever sees her.

ll5

1

GRACIE You SMIOlen't let her work: so nerd, Aunt Kellie.
GLY Let her: Trya nd sto; her.

PEG Guy, what are you doing tonight?

GFACIE Yeah, why don't you bring Fay and cone along?

G”Y Thanks, girls, I'd ove to but I've got a s rm on to prepare.
H

U
fomorrow is my working day, you know.

PEG Well, you'd better a least look in to see that we're behaving
ourselves. VT

GUY Ch, so you just want me for moral at mo “sprnere, huh? Sor~y, no

can do. “‘

fidACIE (FLCIS GEAR CI STCILCKLfFAYES F23?) If you ask me, I think

”ou're m :in3 a grave zista“e, Guy. You'd ought to be making hay
bile the st n snines. You knou, before Glenn gets back. " ‘

 

 

 

 

 

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from Glenn, Aunt Kellie : -
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desire for fe inine comp n.1lonsiip is co pletel; sutiuted.

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1 ' “"

LLS. F1T ”TII It isn't like it used to oe around Jere, C‘aCi . ”my

ELLJHJA ..Lu'

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don't you come over and play it evenihqs for us?

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DELL“ Steve's actin' up again.

llo

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1 can tell you.

 

 

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ZdACIE A telegrnn: ‘ggo's 1L from?
fEG Shut up and get a pencil emf——

GRAQIE hell, I'm tr31n; to find ele——“berc‘.

‘1' '1 f‘

44 Look on tze desk.

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yea All right, I'm real;

...--|

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PEG (IN FHLNE) 263.1;111 fatted calf--yes——end call out ba4d——yes——

yaur walderin; leath rxee x arriv1n; late Saturday afternoon——yes-~
love, Glenn. (343 WLAQD IT LAC.) Yes, I've got it. Tha.lw .

...'1.. . -"‘ , a... y “<.—‘ ..---. -- ‘.

QQRAJIE DAJCRS iLeU a 2.... L, -. R ...q U ..-.-;
(THE GIRLS GIVE A KHQeP) It's from C enu! He's COLLH”1

GhACIE Late 4QLL14'" a4terno o ——-hy, that's n 5

PEG (CALLInG LE?) Aunt Kellie, Aunt Nellie

I -- n 1‘: :- r' rw'rT vrv—W- ‘.“'/‘1‘ V "1

.nljou-LD (3L1-”.u-; “net in the world is biting

you girls?

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11-4110 01911115.: lLD (“l—4111\1UJ. 11:) Late

afternoon—-I can hardl" believe it-—1.ou gir s aren't up
joke?

GhACIE (Y 8 LC) Let‘s so set hi1—-lot's 5et Fay

PEG Leet him? Zhere;

3....--“ "‘."f"c~ r‘.” """"‘" ‘ \ ’"Lr ~ ‘ ‘.
anolm (olnno on upUbJ b) lAet'o so-—t1ere's

time of day.
.10 11Iu3t be 35.0110.” in:

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+110. f:&L1L.111.L.LJD LIICI‘C lbLi't.

someone .

140,

’3G Prob dbly got a ride-—it's quicker.

Ia"be he's flying out.

 

 

"W \ \ -.. (-y . - r- ‘\" ”‘t
PLG (Ks To SCFA R) Goll;, he m.d be here org nunute.
HRS. FAILCHILD Leroy, I look a Slght.

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Lontezuma, to tne 530103 01 Tripoll——(L.LLA 3.“.T3 IE)

 

LAKE. LILL.L.V11.LLD (:i.1:L1.1 G1Lh3l3 SILL—4‘13)

Y
LLAJAB

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-LvLAQlU)

813313 If the army and
PEG Gracie, behave yourself.

ruck everybody?

llC

”hat in thunder has st

DV‘LI.

7*r‘: 7‘:
U.L.L 1.111....”

SL1. L1 Lila dag,

to some

811d Fleet 1111 to

no train at this

OUU ‘inli 11

-:the halls of

I'll tell Della and Guy.

.W

I, 3111.111

the navy ever reae h those 11eavenly scenes--

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\_./

Think of it——a larine hero.

1““-- 110-" v‘v-

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Lao. ‘nILcAILD (As 3 oL Li; Glenn's cominé, nella.

 

DELLA Glenn? Lhen?

PLG Rig ht anau.

*1 r. "1 ‘V‘ v a, m: _
GnnolL nuf minute.

\r-«n‘

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.iw. 13.1. 1.3.1an A UlI‘e JUSb 00.118.

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T7“ '3'? (3'7 T'v 1.‘ *"' _ 1 L .. .. 1': .r"\

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DELLA (READING) Lake your legs beautiful. You too can have a sun—

tan. Use-—vt

”EACIE Not that, sL fleton--11is——the writing. DELLA READS TO

JL

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PEG (Is UN) Come on, Gracie. Ke're going to

V ”3 ’1

PEG Not if we hurrV. (JICPS ) Or would she rather be surprised

.3,

£18. FAIRCNILD He eavens, no. Not the way she's dressed. You'd better
we ' her in the ca ck way and let her get cleaned up. She'd have a

“L

fit if Glenn saw I1er like that.

CRAB L 0.3. Cone on. (IAN GIRLS RUN LFF INA; SK TN: FLLTCT XI? CBS)
LIB. FAINCNILD (LCCLINC T33 acct QVLL) ‘Ue just finished cleaning

in time. The place still isn't very tidy.

DELLA (PICNING U’ IAPZLS DL) I'll red up——You leave it to me.

3L3. FAINCNILD (NZL‘ING TIDI DR) I never thought the tL1e would

come when I couldn't get round to my cleaning until Saturday after—
noon. I wish we had some flowers.

DELLA Ekun;te to try and find sone?

INS. IAIZL CHILD (Is CL TC 3133) No, you go tell Guy the news while
I run up and cha: go.

 

"W

—-q—.-...

to get something or other for the stove.

A L) GUV'S gone——wen somewhere

ll?

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LJO. .A.t.t-- L; I' a Sigit. I certo irlr hepe Glenn d.€3h't Come
until——

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GLZUN (Is RC) Hello, Yrs. Fairchild.

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rou. I'm so glad—-

 

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flelayed.

 

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GICHt
Be; and Gracie went to get her.

3

/'.' fi‘ 1 .L‘

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mouse—-I CAA't oel love I'm iere. Aegt tlncdiiu rself Inc no;
out .

 

?. ‘~‘ iI-"-"‘,‘-'T7'fi VT, f : ‘f’, F‘ ‘1’-

.AJ. Alfiohi.u How did you come:

ry" " TV '."‘ "". ~"-" “ :|‘,I' ' ‘ T ‘ I.‘ ~1~~r "—\’ '“TI“T'Y“1 \ "

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CL Fl l'i 1 1A 9;. L‘Ad'r OlOllv -A x, my“) .1. -LAl _ \lvt -._~.) 5‘\~H ‘oir 30.5 -)3
£118.11.

DELLA You mean you flew out here?

GLENN (X3 3 To C) Hell, that fuick he has dr

but the colonel didn't seem to know thet. It's a wonder to me t
cop s didn't get us.

 

DELLA For speeding?

fi‘r ww‘nT I-' VF, “ .~
( JLQAIA. ”811., d". UL]. 11

you all been? How

l‘l

:i”ht say for flying too low. (Is DC) How have
' Fay;

AIS. FAIJCAILD Fey's fine, Glenn. (AIJES) I‘ll bet you're tired
and hot f1 c.1n your drive. Keuld " ou like to go up to your room?
120

Y'vq

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GLLNJ (A: UL) Lo, I'm iino-—I d4st want to taLe every ;'1Inj in. (an

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Dk/UPLS‘I Huiltklt HELP?” 5A8 {-11 to {All the fl 0119145?
L13. IAILSHILD Oh, we still have a few.
GLEXX Eut that wonderful flower garden-—It's all ve ‘etoIles.

DLLLA You cotta "row food before flowers these oavs.

DU Q I.

LJS. FAIRCHILD IIat's soge cf the best garden soil on the place
Speaking of food, I'll bet you're an "
DELLA I'll fix you seietninf. SILLTS LII L333 UL)

‘ ’W 79" " ‘ "T',‘ "‘
GLLAH SIcl‘S LL“) no, don't botlier.

‘ ”‘n‘; ‘1: ‘:;."‘-'*""‘ 11 I1 I? r 12“ ' 4 .4- -
LAo. rAIAsAlL (LLIQ LI LVIA A, Dinner's not for a good tulle.

 

SLEJK :30 wants to waste time eating?
DELLA (AT LACE UL) Hell, I'll fix you something cool to drink anyhow.

GLENN (Ks C) (L3 DILLL IS LL~LT To LLLJE) Della, you're just the
sage as ever. (JongfiLY) Iou're loolzing youn,1_er tth

DELLA Ah, you——

ELDER (33D DL) I'm telling you, ladies, I'm pretty starved for the
sight of Lmerican feIuninitr.

DELLA Khat about all tiose native girls out there in the South Pacific?
GLENN tell, if you like then unshod, unsnowered and unsnanpooed,

they're allr W1 . Put, after rearly twelve months a? onr'the grass
skirts, I' llt '

('7 (1..

he civilized women u:1th all their dr w‘. acks.

DELLA EXITINC) Ah, Lie Htexant, 5ou ti ckle me-—ie's a card, isn't
he, firs. Fairchild:

 

LV-V‘vv‘r 1r," r11,»1 1”“? V‘I‘ "‘: ‘__‘_.r‘n'""‘ , "I .‘ “ 1‘7" fl VII {'1\‘ V.’
.LJL‘LLVLi (“b it; 1:41;). PILL 1......TIlLD I)... [14.1) all.) VI» ILL-L- VI‘ 'vIII-ILI‘L u} “€11,
I ‘ . 1--" , ,-_ . L. Ix .. "‘
Lrs. Faircnild. m1 have Jou been really:

‘H‘T ’-

Lad. FLILCHILD Le're fine, Glenn. of course, it's not the same here
as it ..as wnen Fr anL I 3 living. -

GLELH I never wanted to be any place so mien in m5 life as I did to
be here with you and Fay when I got the news. He has one of the
finest men I ever knew, your husband.

CA5. FAIRSHILD Frank and I had a beautiful life together, Glenn. I
"‘1 ' ~'r 1T-”n“"*1

just hope F ay vaill be as hapor “hen she—— LAL CA. I FILES} FCX FIIAILUJ

«In/1‘ ”7'1" (‘1?1n-Lc

1....‘1‘le 1.1.11 1.4m LS)

121

h‘v‘y 7'1“

GLLLu She mill be-—.e've got to see that she is. (AISLE ALD Lo;Lo
axcuuo BLGL L} CEAIi C) You've given her a wonderful exanrle to go
on, hrs. Fairchild. This home with it's books and music and it's
people who know how to live-—I've thought about you a lot.

 

 

HRS. FAIRCHILD Hhen did you arrive in the states?
CLLILJIJ (153021.14 mioIJ.D LL‘I ALIA SIILL LQLLIITZ‘) Vie put in at San
Francisco yesterday uorning.

‘I’

LLB. 1uidCIILD Yesterday 1morning, but how—-
GLENN I caught a plane as far as Omaha.

113. ‘lnonlLD And vou came straight to us. Put what about your
fa T.ily, will you get to——

GLLLI (LCCLS CLT ‘I Do" L) Iother's on the coast. .I had a few hours
with her yesterday and I'L seeing her again on mv uav back Dad's
overseas, you know.

1 “v:- r nnthT' ‘11., 1.1 ' *c' ‘ ' ‘-’
th. FL noniLQ Then you're 501n3 DdCh.

GLEHH Yes, but I have until Tuesday. Let's not waste ti me talking
about me. (Is LC) Is Fay playing piano a lot? You know, it's a
fur y thing, I think I want to hear her play al ost as much as I
want to see her. Say,l “0"5 Guy? Is he still around? (Is C)

11115. 11—1113 TILD C“.
s

, yes. I don't know what we'd have done without
Guy. He' 3 been uch a nelp

with the f arming.
GLZHN That's great.

LES. FAIRCHILD Guy will be back any minute. Shall I ask him and
Pew and Gracie to stav for dinner or would vou rather have vour

o 3 d 0
first evening Lith Fag alone‘:

GLLJL (Ks DC Iell, if you wouldn't mind and Fag's all for it, I
thought I'd like to take her somewnere.

LLB. FAILCHILD Of course, but where do you think you can 30 in this
little town.

.\ "v _'

11LL111' Oh, we can drive so;_;e‘.‘-.-":1ere. ljothing wrong with your car, ..LS
there:

L33. FAILCIILD Hothin; mr :13 but mind you we onjv have a :0 r d
a r

,
're really entitled to C cald but Fag doesn't think it'

(“f‘ 01

i otic.

p)

GLEHI (Ks L) A card—~G car d——Lh, sure. Gee, you kinda lose touch.

LAB. FAIACHIL Part of tie r A 3
gasoline, but in order to hold a C ear rd yau have to drive A minimum
3 t e

of sev n hundred miles

plan. The id ea is to save

ELSAL Sounds like Lend-Lease in reverse
‘“'"T“ ( ‘“ '” AF? SLASL) If the "““v find the navy ever reach those

CémV-‘le 0.1.5.4}.LA‘LI OJ...» L.
heavenly see mes, they ill fizrd the gates are gm _1rded} '" United Ste tes

Aiil‘i 1183 .

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.* fivV\v Tu-f-ijv-a. '.'r , yvr‘\ ~ ‘ fi_ (-1 ... a ‘a r .c‘ ”‘0
CALAMA (iAAAADerAA) Is tflat ArACie singing.

 

_W--n,\

iARB. 1.1AAJILA It isn't Gladys SAarthOAt. (LUUAIEI Lbi)

CELEAI (LLLAIAG pug) Zut where's ray? Fay isn't Lith them.

V "—- c 'T" — ‘17- T _- ‘ -<’\"“"1' ‘-"f‘ rF- vw - r1 \ rn'vu“ - -\ -f 1 ’ o 1

A 4L3. FILLLL‘J..l.l—HJ (KIA—JLJLLAJ‘LJ $A&A—J (IL. 54:3 {ll «Lafi‘J :JVV-~/ lle'S Iler‘e :lrLs.
l/“"""\ 1'- 'm/‘r mm ‘P-' IV a """""" "n" 'Fiu '1T " " (N ‘0 "-f-u‘.l A1“) .

CLLh‘L/LQ ..LJLJ‘D. V+5I\J +1. :ou .LL. “‘1.“ .Li. A U L144...“ ‘4) flung} ULCerL——h OW

Wonderful !

 

 

 

 

 

 

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W
(“31$Ly, it's good to see you.

Pfir“ fl I 0 1 0 F!
*“J‘ It's terriely nice to 23v xlenn. I “ot your last

,
l . . m. .‘ ", . ...
eat”her Just tAis Aorling. AAA.3 so muen for m itixxg to me.

C!
$3
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0 I ' ' 7“
L¥t ‘tnere. You're loozinngonderful, reg.

C1“ 7*” I'm the one who should 55y t~anxs. Letters are life itself

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123

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3.114 I never ‘sed to like then, but I'm so starvefi £1? a lit+le
fun I can take even a pgrtf.

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'fiACIZ ”hut's a fronise. I'll hull y;u to it. Ls eciallg the
Sflirt. Q

‘l ‘ ["1

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*Uu 1.- DJunus like J '1e Dal“; push, 1.lenn.

..I
4
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(13 DL) Ies, I only have t1ll Tuesday. I'J Gal? Acre on oxe
8e lune chgnces.

 

 

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r
‘1’ '\v

‘*L~xli Khat hapkened to this marvelous library?

EQU' They gave a lot of Docks to the ar1Ty.

121

GLACIE Fay and Aunt Nellie never see; to have time to read a3,10re.

GUY There's a million cuestions I “ant to 33: you, Glenn, but I

expect you're tired an3L3-In_ gue3 ions aoout the tar.

GLBLK on, you get used to it. (M ' Ilo “noU D 5.31 CF SLFA L; 2y the
may, I met a chaplain who saiii 1e

1 'KTAJy'l 1., .
c.1163“ 0"“, .DLJ 0

CI Is that so?

 

LELEK (X3 R IU GUI) I 3-—a big, blondish chap with a nice Siile.
TaJlor was his name— -3 eve Iaglor.

d of m at Yale

GUI oh, sure, I rexember Steve. He was a year ane
3 him.

Divinity. I used to get into terrific arg‘I nents wi

n... ...‘, 'T' _ . . , ...’, “T1,. 0 :‘rrr! IT". Y‘?" ‘4- - :- {31‘ if! I-.. 1;” ‘r‘ ‘\F "' -\ ‘ r. r
2‘13;er (III-311D Ll: UUL 'o ..2-1\.zk.1.1IJ-.I.t 11..) ..ILJ..L.3'~ '31 up.) III) Hell, 18 I S a Hard
‘ ' .-, n .0 .r . .. I .. r- P- .' ...-
filttII‘.3 uOd IEQI‘IH- b on LII Luci bluLLI‘I-IICS 113;:1'.’ .

K-J, LI

{*1 - 1

I: I envy him.

v-\ vvvvv

CLELI (Ks Dig, 1133A.) K... -In..'3) He should. emf}.r you. I don't tninl; he
does, tnough.

GUY Ly situation isn't an enviable one.

GRACIE You don't envy Guy, do you, C enn :i
where he can see a lot of Fay while you're out Ii iWi ”n

PEG Gracie, go thank Della for nailing that package for mother,
Infill brou

GAACIE I will later. I should think Guy would be the one who is
envious. I know I .oulo‘ be of a handsone hero coming home.

T)..." o .
*uG G~aCie, Wlll you olea so do as I 3a;

.L

5'1: “'3

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LIL‘EL XI (hISQlUJU 31.1111 ALL/3.1.3 $138.94.- 1414-4 l-LJ'U‘LJ/ “flab i

TuSic? Pie piano used to be full of it.

...:a
CD
#4

.. . - n 1..
-Igenel LO all tne

1:239 st... ~
\I U11, _L Q uruhxon

r‘ 3.. . .
“J“: 1' It's all put away. Fa; doesn't have tine to play except for
ChUrch.

‘,

.’W“ W‘\.7\ T‘- _' ' ‘ :
~nhLLE nut she's got to play. LUSIC Is ner life.

QT .r . . . 0.,
”JY I'll bet you got pretty nungry for muSIc out there, don't you,
(5 N. 17'1 ‘ ‘3. ‘
“flew? (.18 "I10 bLI‘A 11.)

n1- ... , , . 1 . , . ,
JLELH You get ur“ry ior a lot of tnings when you nave time to LHIMA
«w

3 T

QUOUt it. (11.3 IJSJII.5 Ul-tb-l..LI~J IL)...» IIAIK. U)

125

PEG He'll have to treat you sueCialig to all th things you've
hissed most.

" SSH Lhen I has here last there was a huge bor :l of flm .ers on
the piano.

V‘\" V‘ 'T‘r-v4'1‘ (7'1

vsr‘ :‘y‘cjflj 'fl (lrx I , ui""' " - r ””9 'r V< \ .L‘ .<
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'7‘"!

tng Got tired'uaiting for he to come back and smell them, huh?

‘ .,,.‘ ' "1' f‘WT,‘ 7‘ "'T‘r‘TVJI“ /" 1-"‘\ if ‘ r0. -\ ‘/ ~‘l-v ’fi
1*...“th £11.1th 1:LU JJ .1...) J-.. -..Q lulu“); KUS Dav) (Hell, (_illnlb, i103"; doe?)

its to have a hero in tie toun?

 

\

GLZIN (GQIAT' lo H3:) I'm no hero, Yrs. Fairchild. ‘ a've that hero
tuff for the boys that stop the flack.

325. FAIJCHILD hell, we're nighty proud to have you here.

GUY (STAUDS UP) If you will all excuse me, I'd like to get home

I, '1 '1 .v— '»‘d "1 ‘1 " ‘EF‘CJ Cl ""'C‘ ' .'1 ("fl 7 P \7" II ‘I‘C" ““ f l
lOrI o. S .O..C3I‘ d.“ c. C-lQllbv. J en“ .3 SIJOL 80:) U; lilVih. Lleuxe me 86
pretty shabby.

CLELH Mould you ike to traue outfits? You look mighty cool and
relaxed in those overalls.

GUY I'm afraid swapping outfits wouldn't change our situations. (Ks UL)

I'll see you all later. (MB LFFLLS WIS HATE To GLEJY TIC TAKES II
It's good to have you home, Glenn.

CLZYN (Is C) Ch, before I forget it, I want to thank you for some-
thine Guv Do *su reueaber #1VIH“ me a little prayer book before

GUY Yes.

”T‘T‘Y vyv‘ .- ‘ "/'1‘T"P.T."‘ A '-\‘ '1 "rm J T.) f ‘—‘I“ ,Ag' ' r'“ \ fi— 77“. 'V‘\ ‘.: .
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‘fi ‘l "rx '5’.‘ ‘ n -—-v~ a I 'v - ,..-‘ ,.. -‘ ,‘ (w ' 3“ _ ‘
to than.\ you ior it quain. I saved me fro“ bettan scrateied up
“ o f ‘ ' 1 "‘ "CI ‘ F‘ a: ,"
bit. It's a self OOOn ior sure how.
)r-fw "1: "‘f1',‘ 7 7' ., ' q -' J‘ ~— -'-L' «- L 1
.MN. rnIisnIuD Mercy, it's rlooled alol bullet soles.
‘\ va- hf j \v ['1 r' ----- F- 1' h, P17 F‘I ply—W" “_'x 11 1-)"1 '1'" hi‘\
‘JerlCI: (Ata~’ 'K/ ..Ju l\/ ‘VELAJI: . J, l:;..—J\) ..IVIVLL. U‘LJI‘. .Lx,‘ n,).-‘\_.. . ‘55). f LJ_.’.‘J ‘L_.‘..J/

._., 1,.._.'\J. 4-1 .1. ,- .., 2 : 1 an- _‘
how excitiupl I tuouQuu tzau onl; hut “he ed in stor'es.

CLEI’ You can tell your yarishiouers there's uvt‘ 2* like a prayer
soot for steroiu shrapnel.

W‘T “'I‘T --. H.“.‘ \“V“' r "', 1“ v ‘ ‘" ' m I ' ‘ '- ' r.‘
ensu“ Just hisiin locsn't seen to do it, but we're La} n3 near—wag.

' ‘ 1 (w
('v,\" t"\," f: r I
Q ’___A.) DL~C¢LQ

”I“, I 1‘ r ._v1 v 1' \
kiwi imat ' S ‘Hflf .‘f‘JJ ' re

"tr ’fir fi‘ -‘ , _ _ , _ ‘ f 1_
at; the D.) hell, Lavbe your wag is Tlgut, Glenn.

 

CLEXH (SLICKTLY AIG;Y, is UL) It would be nice to believe that your
may ‘3 tne ri.nt one, Gug, rt you see, I've had the pleasrre of
meetin 3the er1eng

 

GUI (QZICKLY) The trouble is me did 't start meeting the enemy soon

6131.01.16 il.

f1~' "V!~VT fi","f'1*‘v"'r‘f\

u , . ‘ ‘ T:',~\ -y‘, : 1, ;‘ ,'\ IN , ‘1' . -.| \-\ 1, . VN (C'. ’.
uhuuu sillsill/ Tor tiles me e an t n our paelfist Hy orinQinQ.

GUI I mean we should have set the eneiy before he had a chance to
become our ere ".

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GUI And given him the kind of treatment i1 econoxic and political

relations the prayer book ixplies.
GLZJZ T‘ne coli facts are me didn't, and from what I've seen of
resistance ouli nave meant tna me
+—

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race ri sed on natred , pass
passivel;r passed ext of t e y

iad a fair trial.

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GUI Pam ive resistance i ailet ‘e

n3 wwcv,,

organ Cut it did fail.

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“MCtnnhi/ 90, Glenn, you are Doinw back to tie ;outi ratific.

 

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'ou watt tart, of ecu so.

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“no. ruinouit on, c was so in hopes you could remain in this
country. It seems to me yeu boys W‘o're seen so much action deserve
to be sent hone now.

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CLEJI As a matter of fact i was 51v:n my choice betmeen a station
' ' " *‘f‘ n - a I.—‘ '~" v?“ ~\‘
in China and one in me states. (A; To -.3 UVIn L,

 

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LMiULAH Yea, mam. He “u“ried r5 ht out CGUSJ Dana was all doublei

'P'“!

‘:*ui3l l- He could take you in ‘ur car, Aunt Nellie.

Y'."‘\ 1* ‘.

FAIRCHILD Guy can tale me. Iou stay here and keep Glenn comt'n"
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GIUuu.. I think you ought to take :"'
ssure to sit with her.
CLLLHI Any special reason?

(".1 ‘4. ' I , .' " _q... fl
inere certuiulf is. i guess J-

4- ,-
uO'uIl .

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LILLnVJ.)
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3.11 ugls

’W' --‘. - -. a

€4I..J. nhat custom is that?

Gian»: V1 ,., f 11 'n.. .. ..
MVJ-JJ “.1811 8. e 4.01! Dal. O (.1

tdie sign they're en;a:ed * obe harried.

'fiT vr.v '- ! ‘ L

‘414E-u dell, taat's quite a custom.
‘3*qu' IE I think you just u;ht to rush Fey
v'C’u're home I mean, curse Guy's around all

6
Y1 f

(31‘ don't you consider Guy ceupetitiou.

(3*ekilil I'd never thought mucu eoout it, T

IQNL‘i-‘A (J..ul.4--_'t:.1lI1 u)
3‘63 left out in the kitchen.

21". -.
‘L*\ l; Leuon custard, boy.

“a; to church tomorrow

"/u don't

girl to church and sits

Gracie, there's a big

and be

lillC3VJ

about the custom

richt off her feet—~uhile

the ti“e while you're

v‘ecie.

piece of lemon custa

IW' .‘vfaf
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d

G.-

"j
\

DELLA It will just go to "
give me a hand for a minute.

A , "’N’“ 33"“! ..'H‘f "f’; ,1- 1"\ 'v .-
‘J-an.LIb (v.41 lug-C) {duly U3, DIJ

xQJtC if I don't

et some nice

girl to

,..
Q

'bing Ce into some sort of labor,

DELLA 'Iein't much labor to iL--I just need four h 1&5 Cni I on]:r
got two.
GRACIE Sure, I'll help un. (RISES) Excuse me, GlenA——or mz~be

Jou'd lire to es rn Lne lemon

Iv T“-.7

ISO the.

custard——

figure.

 

 

 

 

GLL.A an—-bad for my
-. , .‘fl , , « ‘r T“‘E"\ ‘3 " _ _ ..
CAAJIL (AS oHE ioLLCuo DLLLA '32) Aine too, but on, vell, who ever
said my charuiwss in m* fiture. (ELIC DCTH HZ; GLASS CI SSE LIT'AIY
lALLL)
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FI.I LJILAS CL. 313 Is DALQCSL IA CJIAALLG AID LOCKS I'IZE , HCT,
AAD DI11'1 GLLLK IQJhS AID DCLSU'I ALAIILE IT IS FAI)
C LIX Itey’ve all gone——
FAY Glenn!
GLEJN hear! I didn't know you—-
FAY (JésVo--3LAILC o v.iuo——,1ILGJ) dre eewing, Flenn——It's Glenn
finere did you—-z¢»o did you——Qh, Ilenn--.1' didn" you tell me
" 'Y'HVTJ’ .- 1' Y" ‘. ‘P‘r \ ' 7“- ‘ _ 15
GLJonoi‘i: ('1‘th I‘VG‘ IIQLL it“ :-.TEJ tub- 3) :18110 , S‘ilueetleart 0
FAY Ch, Glenn, whe a thrilling surprise-—IHJ diin't you let m know?
CLEAR I didr't Aeen it to be a suryrisereu113r. I wrote you I was
Healins be Ck to Lee states. I guess m; letterfl idfli t come t rough.
‘I "7' ’V a '
EAI You said you nig';it in one o1 your letters, out I had no idea——
Cd, this is aonderiul.
rv- ‘ h I. 0 -
CLAA I guess my Wire was delayed, too.
Viv" '7 "-.\. . 0‘_ - V l 1.. ' 1w. 1 - O
*b«. (is DA; Uh, it doesA't nutter. Iou're nere——or um I dreaming?
CTUSt can't believe it's true. Did you just come? ‘fo‘; 've se n
HQfiLlier?
G TN (Is DC) Yes, she and Guy just got celled over to tne ZeC1ary
Place. Tr. Zachery hes CL ette k of Appendicitis. (I*C”‘TJCL” THIS
:‘fifi‘ 1~—‘ .- [—1-13-\
2:: GLJJAIII l, ULLU H.) .4. I‘ll.)
IVY _ A . a a _ A _ . - " '-
f“f seally——oh, that's prooeol; onl; another fa ls e :ler irs. Keener"
1° €31 awful alarmist. He gets a sto sch ache en'i 5: th inks he's

I‘lfir. ..
“alzil. Glenn, you're lookin?

"onderfull

"'9
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."VT V" -~ ~ 0 A a N r I "1" ‘1
» I've been plLan sue; ior

‘»J.L..._u IAV

git of -..

m
H-

FAI Uhuh--"ou loo: it.

GLELX It's darned good to se you, Fug.

F51 Overalls and all?

CLEAN Sure Tut I didnlt knew ye u for a minute, dressed li
I honestl" didn't.

F51 Ch, I wish I'” known ysu were suing. I'n tired and sticky and
totally unattractive.

..'-Q” .. 'y-v-.‘ l —w ..., ..-‘.w-rT -‘.- TW-‘s'h ,Yh‘\ T ‘
' “ ' 1.. 1 seem to oe

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u impittlu ['st4 .x...{)‘~.).4..-J 1.4.2)

ant...“ \Txu In? 3 11.4... .1.“ .14..) In“..-
neging the best of

’9' f 1‘01]! C‘ V’*"r‘ r'F:V 1" ""r1 " \
l‘kL LJLLUOLL-L-Alk; 1.10 KIL\.A..L VAUA‘L/

uniforn.

There, I've gotten dirt on your :0 rgeous

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I spent the afternoon rukir1* hag.

\_l

:‘W 9. 1'7“ Vlr
J» 11;. JLS

 

rv'7"" Go on—-you're not really d;ing hay. You neen you're doing

$44141.“

:it yourself?

FAY (Ks I) Railing 1t, bailing
.faumer, Glenn.

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_;szx Golly, I don't get it.

1..

I“" You didn't believe rwe when I wrote you I was taking over the
iIarms, huh?

AT‘¢~“T ‘r o‘ . r ~r. P-v: ~§ 1 J‘v-- v‘ ‘1... j : l'vv 1' ’. N. (\‘x-
\JLMNH Iou Bald nunnéing 1e _ . Iou didn't sq; anvtning uuUUt

t 0
I.)
(loin: the actual work in the f1elds.
L

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1 Li You don't

4.8 TU DES“)
‘3CNildn't now even if I .anted to.

-nnuse the Fairc1ild farts with your feet on a desk
13 people never have run tnei r I: rms like t1.at and I

~I4""" Well, I'll be darned-—it's swell——I ween, I e_mire your spunk

‘% A!
A I " '11 r‘ ‘ » 1‘ '. 07" r' I 1 . ~ .1 1 a \
‘elhl all the t, but thut aOth "our nu51c .nut uoout all vour nluns?
d ’ u .
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'L “i (L413. .LH'J {AH J. Li». L)-:vi:/ hllub £3.20th JrOUI‘ {319.1185 .LQ‘J Lludh't

 

ein<10tly counted on a military career, had you?
(IN “_ W“ \
‘44»:3nd No, but that's different.

‘ “i- Ho, it isn't. This is mv war tine job, Tlenn.

w -\, 1

GusUN oh, out ”ay darling, this is no life for e taler ted Lid like
*V‘ Lunevinf the farms, mnyl3e-—loeking after tqinds, yes——but can't

I], V . ‘ "11.) LJ

. ‘1' U, ‘1 ‘ ,._ . t“, 7",r
you mire men to 03 tee set d1 n

It

“’Y I guess you have ‘D we Trev. You haven't leerd eoout the man
Fern hands are '3 scurce as hen's teeth.

a ELI Do you mean that dra it boarls are t11zin~ men off th eferms new

V1

FAY h‘ot if ther can fill their quotas other ise, but Uncle Sam needs
a lot of men. You didn't think you and a feJ znrines could win the

u'ar alone, did you?

GLELH You u uldn't think a marine ould think anything else, would

4 ,r
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n {OT Jour COCLlHCqQ, J51 Do a ”iss. ons “13333 n11;
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‘J144.1 id ALVLJ-LJIAMI :I31L AL‘LLID; ltl‘.) dlquLL’IU ‘. 1A.-_4‘..) ‘ C’u" (AarALnJ-4Jruur

hands——whet have y3u do;e to tnose marvelous hands?

 

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b.1114 (-J\1.J.._1"Xw 1. .u-., 114) ..-» .111 1..) 1V4441/444/

 

FAY Handsome young officer who descend upon girls without warning
ought to be courtmarsqelled or something.av

(17‘4“‘I -v- '~ ~v~ T e . ‘F‘J' -. r r- A

un.nJ 'n sorrd. I'm Jhob so d1 nel , lad see you.
TW~1vr ‘ o “(I .1 ,_ ,, .L - A ,'

Fu+ You're disep oi nted thou n, aren't Joni

qw- h

' (1'1-‘.vr'-~'n 'y; '1 "1 ' 1r, ' I' , , Yfir
a“A4--‘L: (i-LJ..LLJ',7 Dbl 1‘»; (if; 4411.1» D105- 1 VILILQIJ) IC-‘r’ {1'}, 1‘ (Alf.

-rl‘_ _‘4

JVV ‘ . .,,.‘-. h, ”n“ -..‘” ..., .-
Ixu. You are, tnougn. (Lotus n11 Dnoh Lu H11) You' re te rribl;r
iuughpo1nted You came back expecting to find me——well, lookin:

much as I di dthe night .'zen away.

ULLJCI "ell 1, I guess the image I've been C3rryin; around witi Le
'gstl't in overalls, but--

 

 

En‘ (TYLE: T1 I.I3) ch, I tisn I had kn3vn you were cominf-—I can
still“ loo< faix ly decert, you know.

Jb.uu2 Fa}, sweetheart, fQT"ot it--Yeu're ton;lerfu -—‘Iat do I care
1 ‘ t matter?

“I --L ‘ - ‘. .
““4 you lave on--wnet noes 1

(“.‘I” 4- ‘fi ‘_ Vfi ‘ -~.~ , .. ..‘ ‘,\ . _ .‘
{“1 (z ' T‘ «1. ” W F‘ ‘ You do care enfi it does matter. so

A
‘0 AL 41.1“ 4.-\-'1-4 VA. VH4J..../

1 r. 7“
t 3 rk>"o od y3u pretendings.

H
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GILL“ (IIIIMIHIQC) It's like t5is-—I've sedn you a million Lime es,
day and mi: Wt—— each Lige I alwugs theught of you looking your
loveliest. That was neturul because never 'sed Le see yen when
you “Jeren't look n: grite stunning. ut believe he, Fay, what

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JQU nail-L to we xfleermQ or LI
' V" 7',‘ u . wr-

ulen I code n: in une 3e

: fl '3 “ vw 1‘ - 'r— ‘ J‘ 4
.Lt ' C) \I‘IV.1’.CLU ‘ S to (1 J11 U

I

fact that yju're tired and hot

I th;t does n'L ;; ter. It's—-
t

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Ciarge.

 

LL , x.» .A.
Se‘ used to the idea LVaL I wun't be gale Lo 3e3tle drum for a nice
Che+ wiLh yeur futher after dinner.

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GLJJJ Lat not yAu——net gee, lerli; . cemetei; LAG to '00; beAv+r
eAd the 3rece of Iivix; fliIe Les. Qom:’“°f hes to keen the each—
eged Merle sin3in3 chi IA; ;iM' and ‘ce‘i~vi 3. God fine 3 not men;
have the 3ift for t;; , Out jeu LAJe. Feluizg isn't f0“ yeA, F&f.
Iour forte is heef'n3 the dreem clive, the fireA; ue'ee L11 tr’in3

so cesverately t s've.

FAX (AIIJ ALIEI DECIAIAA ALE ALSALLLIAL} no. Chet cecpter in A;

life is over, Glenn.

3LAAK but it ccn't we OVJP. You have c testing.

}.I o

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IA L” QCSulHJ s “ere—-AAIA3 Just LiAt l'A Anin3.

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h—I—n—

(AA; LAIIS)

‘”” IJ AJ LIEAAT EU LISJIEJ £13 AtQD; Glenn, dear,
of us to waste precious tiAe AlgLix . Kill ye Alet thes-
overells out of your 3 31L Ion; enou3h for me to 30 up an

L1;
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TV*‘VK v- ~-’Y"H'v YY"!='\

CLERK (IALAlul v All AAA LOAD, I don't know—~you mi ht toss them
down azd I COAld tal‘: to th»u Wfli1.a3 I weit for van.

0

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FAX Hhat weul i you liAe to do

GLEXK Oh, I d like to paint the town. I heven
i.OJ, since I leit.

FAY Aeither have I.
GLEAN Pe3 and Gracie said semethin; about a party——

1

FA! Ch, are they :avin3‘ the ? Eel , we can get out oft hat if you
don't want to go.

tnink it mifht be fun. I tell you whet, hew about Bohegien
or r :here we Lscd to ge——ycu know, out by Picnic Point.
135

PEI Thst's Closed.

enlfifi Usat about Cres s—Ieats Inn?
1- 1”,

ed te’. Cut there is a funxr little place ever on e” river

CLELH Good. Sew abeut a canoe? Inerg'll be a ne3n.
FAY Splendid.
G‘“;N And if we like the eeneein‘- --

FRI And if. Ie liLe the moon—-

If-‘v -a- *7 " .. '41. I.“ ’. 4— “(NF
HALL—1.5.3 he Ilfluxlt fUl.Ce all {sbLiLA U t 1e Hell" d l- 1.4L ..JJ Ineliuuj

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PEG Excuse me. (JIIBLU)

r'h‘f If you can keep from s'cesin, long enough, entertain Glezm, will
you, while I try to r gain w etever glamour I may have had. I'll
hurry, Glenn.

F33 You're Cumin; to our perty. Didn't Glenn tell you?
FAI *h, we'll are} in later. (SiALIS ULT UL) You're going out with

 

a fern 12nd, Glenn, like it or net.
7 7‘1” . . ,- ..: . n ,.,-\ ,. . m ....- , '9" K I..-
C144: I I'J’J (J'JLIL‘ ()L.t LII/:1 O. QUTOC'Jho CLI‘]. «.1: Ad 3.19 I 'd bet 9“ be “at a

FAY I'm as stif reed; for ne‘ket, but I'll be gay if it

f a
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ens“- God bless you.

c)
F1

like God bless yeu better than Gesundheit.

dn't mean it just for the sneeze. I wzs blessing yeu for

SLZJH I di
in U ese fle..ers.

lariiigirg;
PEG Sneezes and all?

CLERK sneezes and 41. I'm a sucker for flowers.

 

-.-, - - -.‘. 3 .. ... — _q\ ..- -. . _ _: ,
Ps3 (Ls TU L Ly fie inlsg, “ell, me"be you'd like to mane the tnlngs
hen: togetner while I Set sese veter fer Ulem. (STALTS LIT UL)

«r"-‘\ 7 _‘

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136

eod for them.

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GLELH There is if we use Creeie's pl use too. let me ‘ix t“e;a *"

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you go Sit do.n and nurse your allcrk‘

 

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tros deed duriL“ th efleetin; insta:

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utgflu Did ' our heart sto on tiet mob sneeze:

7‘ “m

you It stood still.

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CLLLL Well, maybe it will do a double ; ie; to more up for a lost
beat.

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*’”T I hoge they dien't find anything seriously'urong.

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PJG I here so, too. The Zechary's run the hill top plat e fo F<y

"rd Aunt Kellie.

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FAY T‘iat's terribl" nice of you, Guy, but I've told you I'u the only
01 6 132211 t can mans-Cg?) it.

GUI ‘acll, you can't do it slore. ghsrfi's the feeoing——lacnarv onlv
just started toe feeding. That's no joo for a woman.

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beef industry and Fe; and I Kill Loep sleasure alive.

FAX Glenn, you're hurt.

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151 Glenn, I'm sorry if you can't uhderstand.

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All right, if thst's how things are.

 

 

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‘

CLEMH Pratt; obvious Co olosions. I used to wonfler x“; the 0191;;

‘Was considered esso Ui“l to civilian life. I Lao: now. Lo too; can
tafie care of the beef-—agd the "isls.

7- ' ~V :. '-,V.-‘
1‘ I Don't be saroosuic. Txot lJL't likfi J0m-

KZUY I'J onl; tr,in; to do 4; ksrt.

 

(TILES: 1911, you yiflhes a nice, slug soot for it. I Kisfi luuoh.
PAY TCILIIS TC TIIT'} 31011:, that isn't fair.

“13:3 It looks like QLJLQiZ; is fiir in love Lfld‘uCT.

LAZ’ or' e Littcr Loooose , 1 3..'€ 1i“- :1“ JhdL 1s JOE 181+
K;Q;b oai——woll, stt's too bad. (;"U”" in)" -3 LIL}

 

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...-.-

Act III

 

 

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morA1n_, -ut 1 Just gufe LO see ray.

-— .

DEL ’ I don' t t::1133e'3 ewole yet.
I: ‘ith tl.Ci.. Steers

h:y wus up till all hours

 

“\ r‘

as ‘ ~v \
‘QU I was up terrioly late, too. '(As A; Qt, 4-1Iu, I had a wonder—
ful tine. I don't think I've ever had seen a waud W11 U1 e.

}

ALA Oh, you mean at the part“.

P33 He didn't stag late at the yerty. (IACJS) fie went for a long
drive—~I was certainly grateful for Daddy 3 C card.
DELLA Where abouts did you go?

1

PEG “h, for miles a d miles AlOij the river roe d.
DELLA 'fiho all'went along?

PEG Just Clexn ard I. Oh it tes lovelv in the Woonlijht. Glenn's
a wonderful ooy, Delle——he A just wonderful. (ollfi3)

DLLLA (THIS FAFZI DQUI——Te 3333 QF oofA-—TTLLILJI3TT) You mean you
"as out till all hours wit: Glenn? u

1 1
fgu Huh.

DELLA itmmn Does Fey know?

PEG That's what I ceme over to tell her. SLe Loon of course that
Glenn tent with me to the part" because——well, YJH see, Fey and Guy
had to telxatalre of tiet e ‘l’éflxdf over at the _gm:m;‘r place, but I
thought I ought to cone over and tell Fey--well, about devela‘uents.

DELL Uhat sort of develop er
FAG I {mean abou t Hle ezd me end what's no;

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“‘aasnew, have you gone arxi do me

 

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JAALA Either yea did

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119M;

“here 13 Glenn now:

, 1.. 3- J. .r
oing to tne inn. It Hus

FAY It was nice of you to Slow him a good tine, Peg. I
appreciated it.

Pod It was Glenn who showed me a good tide. 'o's anfillj
FAY Yes--I know.

FLU You lwznov he can really be the life of a party.
he use to nate pgrties? Zell,
night. I've never seen hi; so gay.

FAY Ln?

- l. 1.
blue strean.

flu me just talker] a
FAV That's nice-—uhst did he say?
EEG You know that's the funny thing, Fey-—ne never

bout you and Guy.

FAY Oh, didn't he?
PJG No, I don't think he gentioned eitner of you all niflt

never once mentioned the little uuarrel.

That was very thou;htful of h:;. And you

FAY

‘Q‘1

Lw Hell——no.
cetween you and

long as he
to accept that—-

I thou:ht——well,

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FAY Just like you did, eh

””1va "' q\

PLJ‘C} (5;. 1'“ ..’IS UL. .L-LAJ—J ‘1)lJU/ It ' S Lill “or”-
he kissed

sort of

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1A1 Eh.i nks for coring
get you out early.

I'll come over
Kent some coffee

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If. 3 . ., xv. 1. ~-.
ILL.) J A; .1 «A 1 u.~k-L U/

so la te when-—

'm sure E

he was just t11e life of tie p

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and toiled on end on ucout ell n1s exn;r1ences
J

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G)

nice.

talked a bit

 

 

 

 

 

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rnI I'm not LsLin you “on Glenn 1eelo——1'MLL311 , Tow qu feel——
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tulS eurlr, unc “fter oh33 L 00 'u,1uu 1.9.1——1L bust scone li1ze I'm
still dree.:in:
fiowr 1‘ 1 ”an , J \ ~v_‘ m —- Hw‘ fvr'fi- '1' --\ Y1" 1r\ C‘. " ._’
fin; “ell, pieuslut ureu s. (A. L .L 1L1, \.L“ .1111) que de,
- -' .. . .m. . 11.. . ... . .11-- .- '1 1'
rou're :olnb to wine Up, 15;, uud 11nd Jen're rcuii- -n love. i'd
'- ‘- L N. . '- ". I r- , J“- r~ r“ . -\ an --,“
liLe to Q1ve you L,ne 11nd of a trucer for tiLt deg, becutse doi'll
O 1 - 1 ~ 0 ,1 ‘- 1‘: -~.. w .l. 02‘!“ _ it r ‘
need 1t, out I guess ever; girl his to 11nd out mist '3 li‘ . for

herself.

PIG You don't believe I an—-

FAY This is dust .111ot'1e" c noiest ”or you, darling. I know you. I
haven't grown up with ‘u ior notning. ?ut you can eke it r m r ,
Peg, lo e isn't just a few kisses in the moonlifht. You're SJeet and
you hw mr llentv {sf time to note yourself char in: Lid ottrLc tive, but

In

.1. a!

’V" A

I
I "
b.) i. U]. d (-A-I L
“(It ["11
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d you're not very
" ”"llo

‘0
uuLs.

re
to

Live and

you're

""1'\‘1'
\/ L;
U

going

“'7';" 1‘. ""‘-"|'Y".'7 I. " 1‘] _1 |
m‘itth). 1‘ hLoVAL+lJJ (_Jiul»:;LQ Lat...)
Pers onallgg I'd rot er nave a

1:3 DA.)

A

tal“irj about
.“ma'll. Ioir1;;ci

a
U

Uho's
ffle.

w-v-~l

VI“

PEG Ho, than s, unt Kellie. ejuot got to "et home.

Iv
l

W\ . - .... . ... .L a.
o1e1o; The1ls for being so Lie 1 ubgwt ever tfiin ‘uJ-
over what you said.

116

deep,

[__.J

1...;

O
3

firl'n" end

---‘. .5. A- ‘
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1 ..
out of Jouue.

FAI (X3 C) ldon't know

that so early

 

Yq-T

i [1.1.1.1111le
lll

.... .3 0
moving aoout your room.

1 ' ‘f
AI.

tine sortin~

Sorry if I kept you
the steers

Init if
in too morning, I

You didn't sleep

awaie.
QVLd 106.3: liff'ul'

STCIGC

_ r I“ 1 1 I C
L Q Q—L‘ia k' r5

see over
'; going to rub her face in the mud.

1 _. ,° , _
defl lust nigo

look like sogething

sin lookir'

here L. like

heard you

 

 

T 1 .-

1 Duess I as restless.

7..-, ...fi.-—' ’1""" 7‘. [La-I 1".‘3 ‘1' «VT;-
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I‘iki l‘ihe—"SLTITJALLOKU 218111; 01f

LLB. FAILCSILD I didn't

FAY About me?

T fi-lY—ov D 1.1?"'r1 n‘ :).\‘\
1:1.L1L3.£4.u hini 1.,AJ-CII1.L.

your poor old

$114.1 LD 0

about it to

h-wr

1n Silly-~Iou're not old
anything to anyone was

tell

on schedule.

.\ .~ .-~.". . J— . ‘1. r .
“194111 QCIOL. L1 L1 10.1) 0

r1..." '
1171de O 1 UL‘
:LOt. LCI‘ o

~3- ‘V
1(a)

70111" llllCL

L) Is everytuin

W13vou're not

I no

poor
intuition.

11v~;r

3 Te had quite a
t ”Hen I got to bed.

an about you.

would you rather not talk

and I don't need to

LS5. FAIRCHIID I'm Lerid my intuition Lnd judgments tL"ed up
most of the night having Ln Lr'ument.

FAY Jory incoxsiderLte of the;— —Tth'were they er juing about?

‘.""‘ ..' "-"'.'—T9 /-"~ ' “' ‘ v- ‘ «r- h r ‘ w
1uo.anan1LD \As To C; u; Jud e1t oa:w 1qr daU1ter should rrg
one man and my intuition says see should errf the other.

FAY Am I supgosed to guess whic1 is which?

'1 hi."- r‘l-v—_>t‘v-T-_~l Tr
Labs). L‘ILLLLV-A.L.LJD (no,

51188 8111:;

5:11.118 0

F'Y

‘\a‘ Y1.‘P~~qva-r

1 1
near

we shouldn't

You know west it is to love

SOILSOI‘LG

T
J. do.

....LD. 1 ”134.1'Q.L.L.1..1 Yes, ,

too much to bear.

FAY Yes. Sonetixes the puin of hate is
L43. FAILUXILD He knot do you :nean?
FAY I mean this Eur. (ildflJ) I “1

that started it.

Someti;

vur
veIJ

1mich, :ion't

too mu01, too.

LLte this damnable

war and tze beasts

u -- m‘ “I ‘Y‘F“V‘

‘~ fl ”1' F (-
-..LQ. 1n .uuillud I‘d”. , dear——

vfi-Tf

I -r \ " ' ’t ‘ -' L "'l" ,N v" ‘ ' ‘l ‘ v 1 " 1 v-‘ x'
in- \is C) I mean it. i mite tsem. lher‘ze not gen——t1e.'1e moisters,

m‘.
l

barbaric monsters. 3e war and the pres :3ure 01 it in
killed Dad y. The war twists our lives and force
and do things we w‘re never Least to do.

--.- § .‘ nwv-v-T 0"

’ .C“ T 77":
1.48.0. L ILA“. .111“..in 1. Q.

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£11153 0 .1. nl1tu1...--JJU (11-) :quL. Luz} .Lt/ ' S t.le falfiisy (“111d be 1.1% Gaul; fI‘OJ.- ”full?
muSie——And all tmis tide you've never eemplainen.

 

Vfia~r ‘

Pnl (TULJS AID Ct 33 A FZJ 31313) Ihat's the good of complaining.
Of course I Wst 4; music, I want to get back to my music desperately
and I want what ever;r other girl “tits——;at w}1et I persm Hilly wa.nt
doesn't seem to be verv iupertaLt--xet i'w—-The boys who re 0 dt
there fi¢*tir* aren't "etti n.ueh IKFSwLul haflfpl ess. And yet when
or .e of V en ee.es heme hopinf for " little heygin dess—-(SITS CY IAYC
23333) Ch, don't Lind L8, I'ether. I'm edgy and urset and slightly
ceniused.

‘
/

 

L

dear.

,ric pas Mltfl all my tires e::pesed.3‘

1n.-‘ ._V‘*“"-TT’

“is. .nius.--3 Let'- have some breakfast—- Yei'll feel betv er——Up all
aeurs with tnese “t

FAY I never used t.

sertirg
{L11C1 lOC‘U,in ... but 0

.1

ninl i —-It used to be sort of a t'ri
ex steer

L

3 b ll,
r P.‘: 0‘ ..' r~1 " “ r ‘ 'r ‘1 ’1'?
.ist hi it I Cull; nave Lieked eue; erJ

q
L be:

 

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‘ "_‘1 "I ""1 YT ' {A‘ . u . " fi‘ '-
hlb. lnILJ.L-LQ good Morning, 1&3.
ATV 'r- 'V" T .. .. ---. ...! -' T - .... ‘ .- J—. 1 ...
gel (is JL} i've been up u Quad ”Alle. oust ehie e; to tell Jou
—
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Zae1er 's e eresi a HOLD ill r-pwu. um i resil; sue] en eerlj gird.

7y ' f ..-. ‘L 1" .v \ ‘11 5‘ <. _f ‘ fl 3‘ ... ‘0 I.“ / - 1 .~ ' .- 1 ' ---.“
r51 FTOJ sue xerm‘s peiut 01 View it's tje purl‘ ta be ascent.4

ELI There's n>t‘i u; like stertin; the in; with en enilt ed opinion of
ysurself. P

 

 

 

 

 

 

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GUI low looL, Fey. (QIIS II 5 II; C) Let's Jot t“is tLin; tcfo"e

us and try to look at it otJecL Vrfil Cleru's suite em idealist

you kuou——tou h, herd—toiled. l: zine oiiicer though Be is. Iell,

he 0; -mes back ezyectieg LL ;:1u1 t ings just es tter were. Ie

viSLLalizes you loLlinQ level; with flozers in your hair e12 pleflng
wuet in Lgisty Lid re. ugtic eL the gien .

FAI AndI bed to MuLe en entrence in overalls rite hay in my hair

and s ellin; ike csL Lle.

GUY That mus shock nugber one. Then he couldn't gresL the Clergency

of a:e situation lest ul' ' You know it's Lin” of hard fo" a gen

to have to pled see nd iiddle to a bunch of steers.

N ‘ ': lilhqp ‘- 'r‘ I ‘ ‘ '3‘| —J \ g< ‘ ~ V" I", .- (1 ‘\
J. “A. Atdb O \J--aLJ JLAQQLA-~C Vrt“. (1 LJ. 'J—Al,;l -LQL.) .lL~‘$L)C‘-. Q‘u.

GUI Hell, that was s ocl num1-1er two. Then h got the notion that I
was cuttiz1; in on his 311' l——a perfectly natural st~ein of jealots y——
very understandable.

FAI Guy it's terribly s eet of you—~bLL don' t you see-—it's all
over. I 3 just all over erd that's that

c+u

GUI Does that mean that it's over as far as you re conceruefi, too?

V I V \.
.1» r

.' .2. fir-n‘n“ A "7 ' r 7* \ V c, ’ " ' ' "\ ",._ *.
I'LL hi lg“. It rJiUOA) ...GO 0 KILiQw-—Q.Q LL)

GUI All right. (111.3335, Is ') eve it 3; )LI' e111 1:51;". I don't -{11011
why I go sticking my slide tromoone in on this ar"wuys.

 

FAI Because you're a kind, sersiti ve person who cares bout that
happens to people.

f)

sens to you.

1.

t” I care about what he;
AI I know you do and I'm gr atef ul, out it's 11ot ver;r Liri of me

to go on letting "ou co re es muc1 as you seem to.

V

GUY I'm afraid+ were isn't muc1 you or arro‘dy can do eoout that. I
used to he -ve big ideas about the h rd of a life you and I might build
together, Ea;.

FAY Do you think I didn't 1:110...
GUY (Ks L, I he en't felt that I had tl' e right to tell vou before,

ut after Jhat you've said eo ut t‘*.i::s H.1n; ever, an; more t1en t31at
1

because of a decision I ce.e to les n 33'. I can tell you new.

flIV V."..v'. ' r _ .‘ o o '\\r‘
rnf duet do you MC¢M-—u dec1s1eu

 

 

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.’

GUY Agd faPJing.

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uLI Tell L ,JUSL JILL is 1L LnLt gou t11nn JeL're f15ht1ng or

ZLELL (Is 3) I tho1"ht I LneL-—it's like tLis——flj People cage up
the hard way. I hLJ thinvs LliLLle easier, Tod knows, but I'd like
feel that all th -in»3 LLn has eLrLJj by weLt an brawn aren't

to pass out of the we ure while L

4’
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50115 -51t L war Lo save LL L.

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LIUI QLLC” ”1.45) (lo--

CLBEN Suen t311r5s Ls —-nell, I've toll :ou——reli ion, muS' ic, the
li5ht of le rnir n5-—qu01 thinjs »s the d13 of living . d a we; of

a
life that is .3131ified Lri civilize: Lnd worth3 of tne best men has
dug up OUt Of his heritage.

r. 1'. 'P \
fl

”UY (“Isms Ls C) I'L ui
world, out I'm Convinced
of 1t at least or a whil.
all the harder LO'Lin it

ti veu in your fi5ht to save thL' sort of
the" in savin; it ue' ve 5ot to lose part
e. Ie'll lose it and we'll have to work

SL255 '.ell, I'L 'lad you're L’Lh Le in the fi ht.

f"" ‘._.. . -.. -, n... ..‘,v._‘. v.‘,_

r‘ 1 r. r. .. n ~r mm. 7 .. Ln

bf (LSD ____1:_L) I c..-;, -.lenn, l--(i....'. lgpudu'ua LIN/rs. -1: nu mix. Io
1‘ '3 ""fi“.

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a aoL1L5 1or tue Leverend JLJ hL1~I

 

 

GUY I don't o‘.e Ln; bills ad I doz't tiirk I'm wanted 1'or Herder,
_ - "1" “" V " " r ‘ -171»- ‘I\

so I guess I'm here. \LLL I ”L_LL “HUI 9;) (I 1nL..L/ Hello.

Speakin5. Ln, yes, 1r. E'Lns.

11-6.}?1'LJLIILD (1.3.. ’l‘LlLLlL. 2‘- ‘LI__._} Gig, ml: 3:". like to--C.“n, jood

Lor fling , Glenn. I didn't hear you cone in. I'll tell I'Ly you're

here.

GLLN“ Please don' L bote1 her. Let her finish. I'm talking to

‘5
Guy 3. minute anyway.

J.

L3”. FAILSHILD hell, you' d better 31p of coffee iLh- me. I'm
taking mine out on the ter‘aee. (Ls A6) I hive a sort of rendezvous
with the wrens eve1y morLing. The LLLe such a fuss over Le--b1ilds
up my ego. ”'

 

‘1’nt the wrens for the‘Lorld. Give

5.:
(D
1
J
$3

(3..

P .
U)
c:
(.

GLLLH I wouldn't ha
tnem.my best.

1- -

..-‘.tu. 11$..L1L4114LD K:_.L.:\j‘ UUJ?) JO

in LB leter if you like.

 

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.2 J_ . r: L. 11 .' ., ,, _, ' r. 1 ' ., ' \ .. r‘ L 1 “‘1 j ""“ 7*
little overcome ab pelt: ;1veu a coo1ce 1L t:1e gutter-—I bee—-<Uumiuu
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1 -‘_‘ v]! ' ' ‘7 r‘ r V. 1 n ‘— ‘I- E 1 1‘ I ..s—. 4- 1'" Lari
u, -1. DVoLs. les, cell me blew. 'll De :6 re a fe. “inutes lo ‘ er.
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PHD IHLHE n- D -‘Llla 1V slim“; _es, 1 Lulu; I'D Nita you in Jour fthb.
1- “ --_r ‘ ‘r‘ ‘ ' _ h ‘1 " T“ . : ‘, : r ~ '- m « "
th (ls Do, 51d I nesr 1rs. rulrcnlld SdJ so.et lb“ abs 1t coffee?
- —r\frv 1A '0 ._> 51"“ .0 _O ‘A ) r ‘. 1 n o ,. ‘ ' 1.-
SLAM“ Yes, one sL d we cos d Jul“ oer on tie terrace 1fi.e 1‘s1cd.
'"1’ 'T" ..3 T‘ L 1 1',
Gel l‘hlsl. Do you;
r‘I 7""" .,- 1 r v-\. ‘ rw 1 "' ‘ 3‘ F
‘J ALAuA‘I' I 'JLL I‘LLIJ Aili’: ulOAAL). I {11.981 't reg-.11; f Jdld I‘wrzlb. I WEI; ted to 8(‘;.‘"
‘ 1r s r '-1 ‘ v' r r~ "‘ “ 1 '1
to you, GJJo .0 ve bole ”ll uz, lobin Hood's Itlh.
’“D’ ‘” ‘ r to S”

. , l .
. 'fo“ 1‘ ’- r‘
‘l~§‘—‘~U‘ k) e I IL :0.

UUL

CLSJH Ho. It is-'t easy to s
at this recogni1ous stuff. I

from the Sout}1 Pacific
to her (H3 ILLES A SILLL

To GUI)

l I'AJ

T"
.LA.

am (no: IAKIJC} 11'; Don't you

yourself?

Gilli-11¢ I'd rL1t1er you did, but
you. I'll le eeve it here (H3

I

see tha.t st ‘.e finds it. '1ut e
with m .
GUI (AT C) It would be irite

ELDER Yes—~have to travel lig;

SUV Vou're “akin; a Listcke,

GLEHE Ly mistake was in co::in

Guy. I wish you all he luck
1- w n_- -7- ,vv  -\ " ' \ ~—

G‘ Y (TrixiLG 11.10 A1113} if I til

down and sit on you till Fey 0

T" 177

 

L 1 mp. .3 . 1

GLLHH Tye oest man LIES, out

T‘l1'(l'-_"r\ 1'7; 77"“ V“"1\| '_"'71 fvrT» ' “~31.

.L .LVHQ UL il..-.) Jun-1} $14.: Alt.-'...t.1.._;o
r/ v' ‘-"T r; .,, __ ‘ \
Didb 14.10 (JUL. 3.1.11 _J¢b-L1J._J)

 

you 1.":_t to say

to me would be easie VY

1' "V1

"1.". ”1“" "
A VVALAJ-

" ‘ "1 (1‘1
AAJiLA; A -ArvAl- AAA—Q ILA .3 511A- 3-

think you'd better give it to

“'1]"1lf¢‘-
3.4:.1'1 C.

I don't want to make it

-flJ DHJLJL/

1r-

' PT
i :10 :1 V“

to lo _ the him; all tie mg
.L

1’. 1‘ I1 .‘1 "u‘ A... ’. "
; mulesrce——a peelsge line

U;

P 1'1- r'
,lt,|} \f\ )u in;O‘.-’.

r_7“,’r~. jj-f'f \
ll-LL) .1..'h~.1‘~.';)

J
the hajpi

~ —~ 1r1~

EAL; “111

and

35
all

"'7‘
1141

the world

3 back.

in 1

(.3

OUiht I V

V could maneg it,

Clues o

iitsu.

U

Lpret

II"‘

jui
you

ty good at
DtLi‘.) See 8'

Lil. ..a‘

1 {In
4..)

rd
v n°nk
IOU 1.11
‘\v r
' («Cix

IBSS.

I'd.throw

ometiies.

to Fey.

or to either of you. I'm not much good
brought a little renegberance for la?

1' d be very grateful if "ou would give it

1’-

vf a I'D
U .Al‘ob’v

..‘»-
Tdf

for
t just

1~t
L. 0

So long,

you

o" 1":
\JLALJHL.

V“

(,1,
AA

1
LJ

.3111. Glenn, do.’ t be a daLned——dvm ed fovl' (IUI IS AL LT TO 3153

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1....) - r1 19-1.3 \-- u-t1.a-, bud, move some flo-e 3 out mere for

'. ' A, 'n ., ' fi -, . .. .. . ..- - ,. .. 1"
t;.1ea serv1ee Ldlu MOFUlh . Jo Juu tlnt to t— Le them when yeu we:

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-...35, FAIZZXILD firs. “r*tLiS Will be “t ere to erren”e 1% She's
..~vj?1;lly good at arrangin.. Peg nearly Cleaned us out. You can see
iJf lf' “hi'~ t”9 30 out here are enough and if they aren't You can
4.3211163 ”If 88 from the (--.- w "m

 

 

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EILIM. (Ks D3 .-D -) Lend a goodness. Burder paper all over the place.

 

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Dbfifivoodz Did you read it yet, Fey? Ilondie says, ”I certainly hated
to SiLve up 20 points est we haven't led a steak for a month. This is
a Sifncial treat. ' Toes she can't find Dagwood and the rest of her
f“3113’-—1rd tie” go Elurtin' one an"txer all over the n ighborhood.
(DQLqu LALCHS) loom here in the next pietsre th J:€t b3 L and the
Stewli's burned to our eel! Int '“Tlor‘zdie S‘;"S ”.’EO poi-nts and it's as
tough

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had Chfer"t i”; he wants?

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GLEAN Itl 13rdl; 3-13 fair for LG to SC] holl Ifcel nO‘ but I'!

not the saint Guy i3——I H131 I Here—— e3 I still feel 33 I did a year
ago only a million ti323 gore so.

."#-'- v ‘Y‘i'\ a? 3 ~ ‘ c o

.3 lan. d11) iou were acsut to 333 33 SQMCtleS that night

you l31t. Lou said it could wait till you bot back.
333HH 1aat question see3s a little out of place now.

\ 1 .' 3 - ‘ ~ _a o g , I“
FAI (HL1H3 Cl3333) Leca u3e you tflifli Cu] is in love nitn me.

 

31:33 I——

7.1-“, KW" I I“ 77“ ' .__ .'l "“ ‘."/- ‘N j" 4\ F... V :7 .—- ..‘ «ry- -
4 - - 131've ceen c3re13llg unidinu n9 eges,

‘. I. .
2.11.3 JLJVUI: .L'v .-...-“ ..\,.. A'kJ. 9/

Glenn. I knot t1cg're 3 little rel and not very attrdctive, but-—

111‘ 11.1..» Lubblu .- AJ 1.31 .13... .LAuLV -11....
daincd ood at tWis heroic, maynunipous .-.11'“s-—1'1 train: to give
'M dcce1t, intelligent

,1 11-1. .I_.1.- . ., 1 ._ 3,3131.-- ... 31 ,. ,1 , ‘ —.3- 1 ._ 1
3L3Hn ( -r I" "‘ '19 3llb) F3 ——l——oh hell, I'm no

IOU up, Tag "arling, because tict 30033 t‘Ic
'thiug to do. I i'dn't ask for your love a “ 3 ecause every—
e

C1
gwe e1:

‘thi1: was so uncertain. I didn't know u‘ . I :Juld be back, if ever.

CL

0 UL.

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II'thouglfiL I nfi3j1t evwn1 chalgxa and 1cr33fc  1; I: L'ou.

‘1
p...

IIAY P—ut you di111:'t?

”v'r- You followed me half way round the world.

kJ-L-aululv

T

h”‘ . _ 0"!
13«’ Do gou thinL 1 won't 3&313:
kiLELN I know now that you‘till follow me evergwhere and forever.

T? Y '7‘ ..' .I. V 1 .. 1 - n 1 1 ,. '._3 _
Iii i'm a hard litblc nuuoer to Snaue, 3103't I? Tuat's necuuse my
, 17 J
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«:CIur's smou1l ever 3 01 leutiQ I t31n1 mine t3uld stoy, too.
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PROPERTY LIST
ON STAGE

Furniture
grand’piano
piano bench
two-seater sofa
full size sofa
end table
long library table
hall table
hall chair
desk
desk chair
fPrim
floor lamp
hanging on wall center
books in bookcases
book of Chinese poetry on bottom right shelf
stack of magazines on bottom left shelf
knick-knacks on shelves
wastebasket
curtains
wine drapes over bay window curtains
6 colored pillows on large sofa
2 colored pillows on small sofa
on piano
highly colored scarf
large vase
stacks of music
on library table
colored scarf
book ends
5 books
table lamp
telephone
5 magazines
small vase
2 figurines
on end table
colored scarf
cigarette box
ash tray
glass snow storm
silent butler
on desk
vase
desk lamp

166

desk pad

desk pen and pencil set
blotter

letter opener

letter holder

desk calendar

writing paper

ashtray

scissors in drawer
check book in drawer

on hall table

table lamp
colored scarf
knick-knacks

ADDITIONAL PROPS

lior Act 1

On Stage
ox of candy on desk

scissors on library table
flowers for 3 vases on library table
sewing basket with embroidery on piano

Personal
suItcase beside library table---Glenn

hat on library table---Glenn

flower for hair---Peg

prayer book---Guy

tray with plate of cookies and 4 glasses of
punch---Della

tray with 4 saucers of ice cream---Della
cake on cake plate---Gracie

For Act 2

n

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vacuum hand cleaner'
connected line for vacuum
2 dust cloths.

Personal

a and purse---Della

5 letters in purse---Della

straw hat---Guy

screw driver---Della

suitcase---Glenn

garden flowers---Peg

prayer book with holes in it---Glenn
handkerchief---Beu1ah

tray with pitcher of iced tea and 2 glasses---
Della

167

handkerchief and compact---Peg
handkerchief with inscription---Glenn

For Act 3

Un Stage
unday paper

Personal
pIpe--—Glenn
tobacco pouch---Glenn
small box with jade necklace inside---Glenn
coffee cup and saucer---Mrs. Fairchild

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180

Light Area

Beams

l,2,9,10
3,4,11,12
6,7,8
5 on flag
Bridge
floorlight
door left
chair right
floorlight
davenport
door left
floorlight
door right
door right
0 floorlight

HCOGD'chnhOINI-J

Seventh
Border
white
red
blue
amber

Third
Section
of Foots

Floods

1,2 offstage R

offstage R

5 hall
6 window
left stage

LIGHT CHART

Dimmer Circuit
Number Number

7A
7B
7C
6D

1A
2A
3A
4A
18
28
SB
4B
10
2C

1D
2D
5D
4D

5A

5B

6A

6B

59
58
66
57
56
55
67
54
55
52

90-91

92-72

93

101

181

Color I
straw lO-o
pink lO-O

day blue 10-10
white

straw 10-0
pink 10-0
straw 10-0
straw 10-7
pink 10-0

day blue 10-6
straw 10-0
pink 10-0

day blue 10-8
straw 10-0-
white 6-0
red 7-0
blue 6-0
amber 9-0
white 7-0
amber 6-0
red

blue

amber in 9-0
1 and 2 .

pink in‘S

bluegreen 6-6
in l

dayblue in

2 and 3

straw 6-4

amber in 7-0

1 and 2

pink in 3

I II

10 10
10
10

10
10
10
10
10
10
10
10
10

03 mm 01 010101

03034
(00340}

7

III

10
10

10
10
10
10
10
10
10
10
10
10

10
10

10
10

10

Light Area Dimmer Circuit Color I I II III
number Number
Spotlights
1000W1 right window 5C 86 amber in 10-0 10 10
l and 2
pink in 3
1000W2 right window 40 85 bluegreen -7 10
in l
dayblue in
2 and 3
lOOOWS right window 4C 84 bluegreen -7 10
Individual
Lines
1 Floorlight spot 7 5B 70
2 Floorlight spot 10 20 89
4 Floorlight Spot 4 4A 100
5 Floorlight flood 5 6A 97
Sky
Border
white 10
red 9
blue 10-10 10 10
amber
Floods
5D 26,77, bluegreen 10-8 10 10
94,69, in l
96 dayblue
in 2, 5
Notes

First figure under I is at the opening of the play.
Second figure is just before the lights go out.
Second I is when the lights come on again.

The sky floods are all hooked together.

Floorlight 1 is
Floorlight 2 is
Floorlight 4 is
Floorlight 5 is

connected with bridge spot 7."
connected with bridge spot 10.
connected with bridge Spot 4.
connected with flood 5.

182

INSTRUCTIONS FOR LIGHTS
ACT 1
Start out in amber.
The last glow of twilight comes about page 5.’
Floorlights on stage should be lighted by page 8.
Moonlight is up before page 14.
Floorlights are turned on again by page 16.
Have floor lights and spots covering them and borders
on wall switch. After borders are dimmed out, switch
them over to wall switch. Desk lamp and its Spot
are not on the wall switch.
ACT 2
The time is late afternoon.
Have line on stage for vacuum cleaner.
ACT 3

The time is early morning.

183

Tuesday
Wednesday
Thursday
Friday
Monday
Wednesday
Thursday
Friday
Tuesday
Wednesday
Thursday
Friday
Monday
Tuesday
Wednesday
Thursday
Friday
Monday
Tuesday
Wednesday

REHEARSAL SCHEDULE FOR

“THEN IT WAS SUMMER"

January
January
January
January
January
January
January
January
February
February
February
February
February
February
February
February
February
February
February

February

All rehearsals

18
19
20
21
24
26
27
28

(0-03 4 0P» 0‘ to l-‘

1Q
11
14
15
16

Nursery
Stage
Stage
Nursery
Storeroom
Nursery
Stage
Nursery
Nursery
Storeroom
Nursery
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage

Stage

Finish blocking
Act 1

Act 1

Acts 1 and 2

Act 1 memorized
Act 2

Act 2

Acts 2 and 5
Act 2 memorized
Act 5

Act 5 memorized
Acts 2 and 5
Act 1 with props
Act 2 with props
Act 5 with prOps
All Acts

All Acts

Dress Rehearsal

Dress Rehearsal

. PERFORMANCE

start at 7:00. Friday rehearsals

will last beyond 10:00, so plan on it:

For performance calls are as follows:

Cast call-~7:00

Crew-~7:15

184

Curtain-~8:15

Construction

 

5 people

CREW RECORD

total number of hours 28

The scenery units used for the production were

already constructed.

For future productions an

allowance of 50 construction hours and 15 paint-

ing hours should be made.

Setting and Striking Set

12 peOple
lO peOple

Property Crew
'_§_people

Costuming Crew
‘_§_pe0ple

Lighting
_§_peOple

Makeup
5 people

total number of hours
for setting set , 51

total number of hours
for striking set 22

total number of hours 50
total number of hours 30

total number of hours 54

total number of hours 10

 

185

GrandITotal'225

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MICHIGAN STATE COLLEGE
OF AGRICULTURE AND APPLIID OCIINCI
EAST LANSING

lebruary, 12. 191414
DIVIIION OF [JIM Am
DHAII'I'IIN'I’ 0' "new AND MAT!“

The Department of Speech and Dramatics wishes to extend to
you a special invitation to attend the premiere perfomance
of TEEN IT WAS SUMMER. a new play by Albert Johnson, Director
of Dramatics at Cornell College in Iowa. his is the first
graduate thesis production sponsored by the department and we
are fortunate in securing such an interesting play. The theme
deals with the return of our boys to a changed postVar world
and the adjustments which they will be forced to males.

n1. director of TEN IT WAS sum is Miss Marie J. Robinson.
of Lockport. New York. She comes to us with a Bachelor“ degree
from hereon College in Boston and with new years' experience
as Director of Dramatics in the Lockport High School. ihe ploy
will be staged using the full facilities of Fairchild master:
the cast will include many of the promising younger actors of the
department.

We are looking forward to this production of an original
play. and we hope that you will be our guests on Wednesday evening.
February 16th. at 8:15 o'clock.

Since rely yours.

RIMEM 01' S OR AND DRAMATICS

 
  

m n. Bayell
Acting Head .-

Donald 0. Duell
Director of Dramatics

187

Further publicity will be found in the February 15,
February 16 and February 17 issues of the "Michigan
State News", copies of which are in the pocket of

the back cover of this book.

188

Part III

Director's Problems

A. TECHNICAL
1. Action

Action is the term given to stage business, to the
movement and positions of the characters on stage. It
includes crosses, gestures, handling of prOperties--all
details of movement and business.

According to Brown and Garwood1 there are two kinds
of action:

1. fundamental
2. imposed

Fundamental action is the movement inherent in the
play, which is required for the plot. Most of the pure-
ly fundamental action, such as the playing of the piano,
exits and entrances, was given in the original script in.
Part I. This had to be analyzed, however, for rightness.
That is, it had to bring out the thought of the play, add
to the character, or in some way contribute to the under-
standing of the audience in regard to that character. It
had to fit the people who were acting the characters as
well as the characters themselves. Otherwise, the action
would have been unnatural, stiff and awkward.

Imposed action is that business which is added to
the play. In the form of stage movement it is essential
to interpret the thought, build atmosphere and create,

1Gilmor Brown and Alice Garwoodd "General

Principles of Play Direction , Samuel
French, 1957 , New York

189

.0

vitalize and embellish the characters. Such imposed busi-
ness is also necessary to keep the attention and interest
of the audience as well as helping to enlist their sympa-
thy and insure their understanding.

Further consideration must be given stage action so
that important characters are placed in prominent positions
for essential lines. They must be spaced pr0per1y to in-
sure attention and to strengthen domination of the scene
at the time required to gain meaning. At all times the
audience's attention must be focused on that which serves
to further the plot.

These are the things that are emphasized and poifited
up by the use of stage action.

The imposed business will be found underlined in the
script as produced. By the use of such descriptive adjec-
tives as gaily, jokingly, defensively, etc., one perceives
the interpretation. With movement about stage one holds
the interest of the audience. Through Special action for
each person, such as constant Sprawling and jumping about
for Gracie, restless movement for Glenn upon his return
from active duty, etc., one creates the characterization.

Care always must be taken, however, that all action
is motivated, characteristic and natural.

To illustrate the above remarks, let us take specific

scenes from the play. At the beginning of Act 1 the feel-

190

ing of "at-homeness", of easy and casual living must be
shown to the audience. Mrs. Fairchild was given some action
with flowers--fundamental action, since it was mentioned in
the lines on page 85, when Glenm.put a flower in place for
her. More fundamental action was present. Fay's piano
playing, Della's entrance and exit and Glenn’s looking out
the window as he talked of the view of the countryside he
would miss-~these were all inherent in the original script.
However, this was not enough to keep the attention of
the audience. Therefore, I have added a great deal of im-
posed business. Mrs. Fairchild fixed three vases of flow-
ers to give the impression of a huge flower garden and to
bring out the fact that she had leisure to fuss over the
niceties of life, rather than having to prepare refresh-
ments for the party. Glenn wandered around the room to
point out the things that impressed him. He went to the
piano and the audience started to realize the importance
of music in the play. He helped Mrs. Fairchild with the
flowers; listened to and Joined in the chatter and repartee
of the party atmosphere; moved up to the French window to
look at the countryside several times; perchedon the desk.
to strengthen the impression of being at ease in the house;
took a book from the bookcase, etc.--all of which served to
keep attention, dress action and build character. Further
it laid the foundation for his feeling of unfamiliarity and
loss in Act 2, when he wandered about the room missing the

191

flowers, the books and the music, as well as the relaxed
and easy pattern of life.

Gracie I used to enliven the act, to build party at-
mosphere and a feeling of joviality. (I felt she should be
the epitome of lighthearted enjoyment, uninhibited and un-
worried by any war clouds or curbing of her pleasures.“ To
give this impression to the audience I had her sprawled on
the floor as the curtain rose, but sitting up after her
first few lines, so that she continuously effervesced in
both lines and action. Furthermore, I placed a box of
candy on the desk so that Gracie and later Peg could move
aboutand thus help to keep the audience alert and inter-
ested. Gracie, of course, had several pieces of candy to
support the greedy child type of character, indicatedin
ithe lines regarding refreshments. Another bit of imposed
.business for Gracie was sprawling on the sofa, adjusting
pillows to make herself thoroughly comfortable. This also
gave rise to an Opportunity to add to the feeling of barb-
ed sisterliness indicated as existing between Peg and
Gracie on page 86 in the lines about piano playing. Peg
was given the action of taking Gracie's pillow, which al-
lowed Gracie to look for and finally retrieve it. All
this served to point up the important trivialities of
peOple not directly concerned with anything but pleasure
and personal happiness.

In Act 1, page 85, it was important that the audience

192

realized exactly how much being at the Fairchilds had
meant to Glenn. They had to understand that the atmos-
rflnere of home, the beauty of life as the Fairchilds were
ILiving it, had.made an indelible impression on Glenn's
Inind. This was illustrated by his first two speeches on
page 85 . Because there were so many people on stage at
1Ihis time, Glenn had to be so located that audience atten-
‘tion would be centered on him. Therefore, I had him cross
lipstage center. Since attention is drawn to a moving ob-
Ject in preference to a still one, this caught the eye of
the audience. Placing Glenn at center and having him
stand, while the others were seated, with the exception
of Mrs. Fairchild (who was standing behind the piano at
right in a subordinate position), emphasized Glenn's lines
in the mind of the audience. _ .
Again on page 91 of Act 1 the long scene between Mrs.
Fairchild and Guy needed breaking up to prevent monotony.
This was obtained by having Mrs. Fairchild work on her em-
broidery and subsequently cross to the desk for scissors
and return to her chair. Guy also moved about the room--
around the piano, across to the desk, back toWard Mrs.
Fairchild--not only to break the unrelieved conversation,
but also to indicate his uncertainty, his struggle between
patriotism and pacifism. This also illustrates what I mean
by motivating action. A man torn between two alternatives
usually does not sit quietly in a chair and meditate. He
195

feels the need of action. ’This was obviously characteristic
of both Guy and Glenn, for, according to their lines in Act

5 on page 155 , they spent the night walking as they attempt-
ed to decide their future actions.

This continued throughout the play. Imposed action
with letters and dust cloth was added to the inherent action
with the vacuum cleaner in Act 2 on pages uy7,108 and 109,
Gracie bounced about the stage, playing the piano, dancing
and singing on pages 117,118 andllQ of Act 2. At the top
of pagelj8lis a thumb nail sketch showing how she skipped
around all the furniture--more imposed business added to the
inherent business of dancing a mock jitterbug with Della.

At the end of her song, Gracie fell over the arm of the.
sofa, but quickly bounced up again to show Della the maga-
zine with the message written on it--more imposed business
to show her vivaciousness and childishness. To point up
the fact that Glenn was glad to get back to the Fairchild's
I had him swing Della off her feet as he hugged her on page
120. Glenn's continuous wandering on pages 1 20,121 and 122
'was deliberately added to indicate his restlessness and his
evident hunger for things as he remembered them. Beulah's
handkerchief twisting and awkward handling of her feet on
pages 128 .129 and 150 pointed up her preoccupation with and
worship of the Marine hero. Throughout the scene between
Fay and Glenn on pages 152,155,154 andfiufi both characters
were continuously moving. This was to give the impression

194

of uneasiness, of a feeling of restraint between them which
could not be eliminated. Therefore, they never relaxed
enough to sit down and just quietly talk.

At the beginning of Act 5 a contrast in action served
to heighten the impact of certain lines. I had Peg, who
was elated, dreaming and definitely catty at this time,

moving about stage from left to right and from right to

left as she pictured herself in a hazy wonderland with
Glenn. She was too high in the clouds to remain prosai-
cally seated on mere furniture. In contrast Fay was tired.
out physcially from loading the cattle, mentally from being
unable to make Glenn understand her responsibilities and
emotionally from her quarrel the previous night. Therefore,
I had her remain almost motionless in her chair as Peg pa-
raded her conquest. This allowed me to build a minor cli-
max in having Fay break her motionlessnessby rising when
Peg told her of Glenn's kiss. Then the friction between

the two increased both in actionand in lines until they-
were facing‘each other at the top of page 146 almost in the
attitude of two fighting cocks. On page 148 Fay told her
Mother how she really felt about losing her music and Glenn.
This was important to the plot, so I had her turn from the
French window and come downstage right center as she broke
out with, "What'sthe good of complaining?" This position
and turning to face the audience emphasized the lines sat-

195

isfactorily. The scene between Guy and Fay on pages 150,
151 and 152 required for the most part that they be sepa-
rated to point up the fact that Fay was not in love with
Guy. On page 150 when he was trying to help her, he
moved to the center chair to be closer to the sofa on
which Fay was seated. This was a natural action, in that
you move closer to those you try to help. The rest of the
time, however, Guy's general position was at left, while
Fay was at right. This brought out more adequately the
barrier between them. In the same way when Glenn apolo-
gized to Guy, he was at the tip of the piano and Guy was
seated on the sofa down right, but as they went on talking
Glenn wandered away and came back, following the mood of
the conversation.

All the way through the play you will note that the
character whose lines were most essential at a certain time
was either placed center stage, as in the examples given a-'
bove, or on one side with all the others ranged against him,
as when Fay made her decision to run the farm and give up
her music, or had attention called to him by action and dif-_
ference in standing or sitting, as in all the examples given.

It is in this way, then, that action is motivated,
characteristic and natural and is used to interpret the
thought, build atmosphere, create characterizations, hold
the audience's attention and insure their understanding
and sympathy.

196

2. Pantomime

As everyone undoubtedly realizes "pantomime" is the
term given to action without words. It is the telling of
a story, a thought or a mood through the use of bodily
action or gesture without Spoken lines. It is used to
dress the action, emphasize important lines and build char-
acterizations. For this particular play the main value of
pantomime was in the develOpment of character.

Thus,Gracie's constant eating of candy was but an ad-
ditional indication of the childishness indicated in her
lines concerning her desire to be counted as two when re-
freshments were prepared and portraying her interest in the
ice cream. Further pointing up of this characteristic was
found in having her eat a piece of cake as she carried it
out to the party at the end of Act 1. This was actually
pantomime, since no lines were necessary to add to the im-
pression of a greedy child.

Fay's piano playing must be placed in the same cate-
gory. Actual dialogue conveyed the information and brought_
about the realization of the importance of music to her hap-
piness. It was a vital and integral part of her. By add-
ing the pantomimic business of having her turn to the piano
in times of high emotional stress, credibility and a feel-
ing of rightness was given to Glenn's protest against the
complete change in her life. .Therefore, it was wise F9 em-

phasize the predominance of music in her life by having her
197

play after Glenn's departure in Act 1, by having her seek
solace in music after the quarrel in Act 2 and by having
her relieve her sorrow in music after realization that
Glenn's suitcase was gone in Act 5.

Further pantomime was essential for Glenn. By his
wandering about the living room on his return a year later,
his fingering of the books, seeking for music, looking for
flowers--by all these pieces of pantomime to support his_“
lines, one obtainedthe impression that he had been dream-
ing of and picturing for himself all these things. “His,“
disappointment in and anger with Fay was then more under-
standable, as was his disappointment that things were not
as they had been when he left.

The same held true for all characters. Beulahfs awk-
wardness and hero worship was much moreevident through
the addition of shy smiles in Glenn's direction, through”
twisting a handkerchief almost to shreds and through dif-
ficulty in handling her feet. The ease and grace of liv-
ing was well typified by Mrs. Fairchild's floral arrange-
ments and embroidery work in Act 1, just as the change of
war was noticeable in her use of dust cloth and vacuum in
Act 2. Peg's preoccupation with pleasure and flirtatious
behavior was pointed up when she fussed with a flower in
her hair, attached herself to Glenn at theslightest pro-

vocation and draped herself artistically on the sofa.
198

Mrs. Zachary was given the business of wiping her hands on
her apron, as well as putting hands on hips to emphasize
her canning work and the awkwardness of her character. Guy
I treated in a different way. Since he was in the minis-
terial profession, where one is more or less self-contain-
ed, well-controlled and observant, I felt it might be ad-
vantageous to have him correspondingly inactive for the_
most part. He was, therefore, restricted to shaking hands,
working with the vacuum cleaner and occasionally using a
few hand gestures. His pantomimic business was negligible,
unless one considers inaction a type of pantomime.

It should be realized that such action is usually the
director's and actor's contribution, rather than the
author's.

At this point it might be well to explain why I have
not included pantomime as necessary for the develOpment of
atmosphere. I have found that the develOping of character
brings with it a corresponding building of atmosphere. In-
stead of added action for the purpose of creating certain
atmOSphere, I have worked with the character. As the actor
responds completely to the character and parallels in his
imagination what the character lives in reality, be sub-
merges his own personality in that of the person he is en-
acting. Then he uses the pantomimic action which is that

of the character to unconsciously create the atmoSphere,

199

the mood necessary for that particular time. I have always
found that concentration upon the character and his reactions
in any given scene brings about a more effective atmosphere,
since it is an unconscious and natural development as was
originally intended in the play.

Unlike stage business,which completes the picture or
character, pantomime may further the story without the use
of lines, as is well illustrated in Act 5 on page 157,

Fay noticed that Glenn's suitcase was gone and went to the
piano for consolation. Glenn returned for his pipe, lis-
tened to the music for a moment and then picked up the neck-
lace. As he placed the jade pendant about Fay's throat the
audience knew that things were going to turn out satisfac-
torily, although not a word had been said. .The whole mood
and feeling was sustained through pantomime.

In addition to building characterization and telling
the story pantomime is valuable for dressing the action.
Thus, when Fay laughingly promised Glenn that she would try
to keep things just as they were, it added to the lightness
of the mood to have her childishly cross her heart as she-.
promised. Also, as Mrs. Fairchild in Act 2 put the mail on
the desk, the action was completed by having her naturally
look over the letters as she crossed with them. In Act 5
on page 158 the misunderstanding between Fay and Glenn was
emphasized by keeping them apart. It was heightened with

200

the additional business of having her turn her back to him
until they started to build to the reunion. This is the
type of thing that is meant by dressing action.

Another asset derived from pantomime is that of em-
phasizing lines. In Act 1 this was exemplified on page 98
with Glenn's line, "Not if it Spoils those marvelous .
hands." This was emphasized by having him hold her hands.
This also brought about the means of underlining Fay's
next line--she pulled her hands away. .By having Peg offer_
both hands to Glenn on page 125 , Act 2, her delight at see-
ing him once again was more definitely brought out.v Again
in ACt 5 on page 156 Glenn's decision to leave was made
very definite as he left a package for Fay, picked up his
bag and departed in spite of Guy's protests.

Obviously then, pantomime is essential in dressing
the action, conveying the story, emphasizing important

lines and building characterizations.

201

c

5. Picturization
In the matter of picturization the most concrete defi-

2

nition is given by Alexander Dean , who says:

"Picturization is the visual interpretation of each
moment in the play. It is the placing of characters
so as to suggest their mental and emotional attitudes
toward one another so that the dramatic nature of
the situation will be conveyed to an audience with-
out the use of dialogue or movement. (This visual
interpretation of the play should be developed as
fully as the auditory.)"

Although picturization is the means of setting the
locale, dressing the action and assisting the interpreta-
tion of a play, its main value lies in the atmOSphere it
can produce. It is by the blending of color and lines in '
furniture, scenery, lights and costumes,by thegrouping
and positions of the actors that one achievesthe desired
result. Through minor details the result is intensified.

Thus, in Act 1 the feeling of ease, relaxation, hap-
piness and luxury,and gracious, unhurried living was
gained by the use of harmonizing colors in costumes,
lighting and furniture as well as by the party chatter
and music and gayness of the lines. Flowers, books, orna-
ments, highly colored scarfs, soft lights-~such small de-
tails conveyed a subtle sense of happiness and security as
well as lasting beauty. Just as subtly the feeling of un-
hurried living was removed as parts of the picture were

2Alexander Dean, "Fundamentals of Play
Directing", Farrar and Rinehart, Inc.,

1941, New York
202

destroyed. Flowers were removed, music put away, books
taken off the shelves--in short, the elimination of the
trim emphasized the privations and exigencies of the shift
to the "home front". There was a contrast between easy
living and war living--an atmOSphere suggested to the mind
by the pictures drawn on the stage.

The balance in furniture may be noted by a quick
glance at the stage setting. Counter balancing the piano
at right was the sofa left; the small sofa right was off-
set by the desk and chair right; the chair down center com-
pensated for the table up center and so on.

Lighting effects are also of assistance in obtaining
a desired picture balance. The flood of moonlight through
the French doors and bay window right was off-set by the.
moonlight through the smaller window left and the illumi-
nation of the lamp on the hall table left..

It is also vital that stage pictures balance for the
audience--that is, that there is a sense of equilibrium on
the stage which is apparent to the audience. This may be
achieved by the positions of the actors on stage, the
placement of furniture and lighting. Therefore, in Act 1
Fey, as the dominant figure toward the end of the act, suc-
cessfully balanced her Mother, Della and Guy, who were cen-
ter and left of her, without disturbing the audience's
sense of equilibrium. In the party at the beginning of the

205

play, however, when no one character was outstanding, the
grouping was more mathematically divided. Fay and Glenn

were right stage, Peg and Gracie left and Mrs. Fairchild

was at center. Variations in position were necessary to

avoid monotony of picturization. In the constant ebb and
flow of positions and resulting pictures a play resembles
the fluid light changes of a prism.

At the beginning of beginning of Act 1 a definite at-
tempt was made to present a pretty picture in order to em-
phasize the beauty and grace of this way of life. This
was achieved through a blending of scenery and the group-
ing of the characters. Fay in a white and red-figured
chiffon formal was playing at the piano. Glenn in the
colorful dress uniform of the Marines leaned in the curve
of the piano, so placed to emphasize his feelings toward
Fay and his delight in her music. Mrs. Fairchild, gowned
in a formal black crepe, was in the gold and wine striped
chair at center, relaxed and at ease. Peg was on the sofa,
with her formal peach crepe carefully draped on the blue
sofa, but she was turned toward the piano and Fay. Sprawl-
ed at full length on the floor in a typical child's atti-
tude and dressed in a pale blue "small girl" party dress
was red-haired Gracie. She, too, directed attention to the
music by prOpping herself up on both arms as she watched
Fay play. This concentration upon one central point gave

the entire picture a feeling of harmony, a sense of fitting
204

together. A dull, rich wine two-seater sofa; a colorful
Spanish shawl on the piano; pale yellow, pink and peach
gladiola on the table, desk and piano; richly oriental
scarfs on end table and library table; multi-colored pil-
lows on the sofa; books in a riot of blue, green, gold,
purple, yellow, black and orange colors; wine drapes on
the bay window; various knick-knacks on book shelves and
tables--all these added life, color and beauty to the set.
With the removal of the flowers, some of the pillows,
the shawl from the piano, several shelves of books, etc.,
one obtained the feeling of a stepped-up routine of only
time enough to handle the necessities of living. There was
no settling down into pretty pictures in the next two acts.
People bustled in and out intent upon raking hay, canning.
apple butter, arranging for parties, cleaning and dusting,
fixing a stove-~there was no time for family and friends to
gather for relaxation and music. This chOpping up, this
brusqueness made the type of pictures for Acts 2 and 5 dif-
ferent. It was hard to construct a lovely scene with but
two or three peOple dressed for the most part in everyday
or working clothes. There was empty space that had to be
filled with only a few characters, so that one did not get
the pictoral quality present in Act 1. The problem here
was to make a few characters build pictures for a group.
This demanded a corresponding change in the type of picture

used-~the use of two people in a smaller area, as when Guy
205

and Fay talked together in Act 5; the use of the entire
stage, as when Peg and Fay clashed in Act 2, and when Glenn
and Fay eXplained themselves in Act 5.. In these last two
acts the attention was centered on individuals and not on
peOple as a whole and the pictures reflected the importance
of these two-somes.

Only the quarrel scene in Act 2 brought a group on
stage. The problem in this scene was to give the effect of
discord, of disjointure. This was obtained by having Guy
downstage right, Mrs. Fairchild upstage right center, Fay
downstage right center, Peg seated on the sofa left and
Glenn off center left. In this way there were no parallel
lines allowing the fusing of several characters or their
body positions, either vertically or horizontally. Further
there was no focal point of interest, such as Fay's piano
playing at the beginning of Act l._ All were intent upon
their own reactions in the quarrel.. Then, too, there was
no blending of colors-~Fay in white, Peg in beige, Mrs.
Fairchild in green and white, Guy in blue overalls-~all
these were more or less negative and , since the colors
were not harmonious, the discordant effect was heightened.

Through the use of certain stage areas one embellishes
and varies the stage pictures. For those scenes where a
feeling of intimacy and understanding wasessential, I used
the downstage right or left. Thus, Guy and Mrs. Fairchild

in Acts 1 and 2 were down right; Glenn and Fay were downstage

206

left with the book, and right and center for their reunion
in Act 5; Glenn and Guy were downstage right in Act 5, when
Glenn made his apologies for the insults of the quarrel,
etc.. Conversely the area upstage right was used when a
feeling of idealization was needed. Thus, Glenn stood at
the French window, looking over the countryside and dream-
ing aloud about the things he would remember while away, as
Fay played softly at the piano. He was removed from the
audience by being upstage and was at the same time removed
from reality in his thoughts. A few minutes later both Fay
and Glenn stood in the moonlight, impressed and almost over-
come by the beauty of the night and their love for each
other. It was an area that lent itself superbly to this
type of idealization. That it made abeautiful picture was
evident from the exclamations of delight the audience made.
upon seeing it. _A more compact sense was gained by the use
of the sofa area. Small family groups and conversations of.
no particular importance were placed in this section. Thus,
Glenn and Gracie, seated on the sofa in Act 2 while Glehn
waited for Pay to arrive, achieved a friendliness through
their proximity, but were neutral enough in area so that
the scene did not gain undue significance.

In planning the set itself I took into consideration
definite pictorial qualities. Obviously the piano had to
be as prominent on stage as it was in the lives of the char-

207

acters. Therefore, all of the right side of the stage was
devoted to the piano. Then, by placing the French window
and bay window up right and down right respectively, it was
easy to plan an atmOSphere of beauty with moonlight picking
out Fay at the piano and Glenn at the French doors. Thel
use of an arch gave me a chance to give more depth to the
stage, which always enhances a picture, so the hall was add-
ed to the set. 'This was balanced on the other side by the
terrace. The space between the two Openings in the rear
wall needed breaking up. This was obtained by placing the
library table with lamp, telephone, magazines, books, vase
and knick-knacks on it between the two Openings and suspend-
ing a hanging with floral design above it. Since Mr. Fair-
child was an avid collector of books, high bookcases with
many shelves were placed prominently on the left. It was
saved from being too dull by having a window between the two
sections, which also assisted in regard to lighting effects
and more effective pictures.‘ Two sofas were used to give
the impression of spaciousness, of a leisurely way of life
that had time for easy conversation and relaxation and for .
the slow building of friendships. Indicative of this, also,
was the use of the center chair, which could be turned to
make a cozy corner with the two-seater sofa, or moved so it
became part of the entire room. With the furniture thus
spaced:it lent itself adequately to the grouping of the_

actors in the attempt to create atmosphere through picturi-

208

zation.

Picturization, then, is essential in setting the locale,
dressing the action and assisting in the interpretation of
the play. It achieves these things through a blending of
color and lines in furniture, scenery, lights and costumes
and through the balance of set and movement. However, as
has been pointed out, the main value of picturization is in
the creation of atmosphere. This depends more particularly
on the actors themselves, on their positions, their group-
ing, their relationships to each other through placement and
contact, their facial eXpressions as well as bodily move-
ments, emotional attitudes and feeling in regard toeach
other. It is only when all these things are technically as
perfect as possible to the director that his picturization
may be called complete, artistic and effective. Its impor-
tance to the director may be estimated when one realizes
that the audience gains the mood and feeling of the play

from the pictures drawn for it on the stage.

209

4. Rhythm

The speed of movement of lines and action is called
the rhythm of the play. This refers to the pace at which
the lines are given as well as the reactions, gestures and
movements of the characters. According to Brown and Gar-
wood rhythm may be used "to stimulate and unify an emo-
tional response in the audience". That is, increased pace
will bring increased interest, while sustaining and build-
ing the speed over a period of time brings about a corres-
ponding tension and emotional build in the audience.

The rhythm of this play may be clearer if musical
terms are used in explaining it. At the beginning of the
play, when the eXposition is being given, the rhythm was
a slow andante movement. There was no particular rush
apparent in any of the lines. With Glenn's departure,
however, one built up to a minor crescendo, with a slight
accelerando, which took him away. The major crescendo of
the first movement was found in the report of Mr. Fair-
child's illness, and the accelerated pace was apparent in
IFay's quick decision to run the farms herself and her sub-
sequent telephone call. As Mrs. Fairchild returns and Fay‘s
ciecision was accepted and the party went on there was a
(iimfinuendo both in interest and in pace followed by 8.3107
(curtain. The second movement found a definite accelerando
tin pace until the play proceeded at allegro. This was step-

, 210

ped up almost to tempo di marcia with the excitement of
Glenn's return. It subsided somewhat as Fay and Glenn

made plans for the evening, but returned prestissimo and
accelerando as Fay and Glenn quarreled over the loading of
the cattle. This part of the act was enacted con spirito,
con fuoco and con brillance, for it was the high spot of
the entire play. The third movement was a moderato one,
which increased to allegro moderato in the conflict between
Peg and Fay and then found a slower movement in the conver-
sation between Guy and Fay. With the reunion of Fay and
Glenn the tempo increased to allegretto, but soon resolved
itSelf to the andante grazioso of the beginning of the play
with poetry and music once more important. Throughout the
play the basic theme was present in a steady, continued
best, but the variations upon that pace, the rate of speed,

added life and vitality to the entire production. Cues as
to the changes were obtained from the fact that it was a
problem solving play and therefore could not be too fast;
:from the lines, which were for the most part long and
“thoughtful; from the actions and motives of the characters;
:Erom the fact that the play took place during war time and
Vwas located in the country. These are the factors that
(determine your Speed of movement and give you the rhythm of
iihe play. The lines must change for change in rhythm, al-
tdlough a fundamental rhythm prevails throughout the entire
Ffilay; Where the lines do not build it is difficult to have

211

a climax. Since rhythm is greatly dependent on the spac-
ing of climaxes, lack of such peaks may bring about a lack
of rhythm and a correSponding lack of response in the audi-
ence.

The rhythm of "Then It Was Summer" may best be por-

trayed by a graph of the acts.

A61: 1 Fei‘vuv':

1“ acts

01...; “3‘4" “w"
0 c raft»!-

  
 
 
   

o... ..L+L+
PW
Expert‘I‘M a

I found the rhythm of Act 1 in the piano playing of Fay
and the party atmosphere prevalent in the household. It
was a slow, relaxed rhythm, calling for a corresponding
easiness in the delivery of lines, quickening only slight-
ly with the wrench of Glenn's departure and speeding up
only temporarily with Mr. Fairchild's stroke. Della was
the exception to this slow rhythm. I deliberately picked
11p her pace to vary the slower rhythm and make it more
effective .

Gun-(.1

lkct 2

    
    

G‘Chh’t Lardv+vn
Gk“; S

“iv-m

u; .
WOV "J Wont

212

Act 2 brought about an increased tempo due to the necessary
changes for war on the home front. PeOple were rushed; there
was not as much time to do nothing in as formerly; therefore,
the pace also quickened. Beulah was intentionally slowed
down to pick up her character and provide necessary contrast
in pace. The peak of speed and interest came in the quarrel
between Fay and Glenn.

A c t 5 «(UNI-M 0“

‘tda don‘ Q‘QKV‘

 
  

F... a
{\‘3

0
Gem... Glenn? .
‘ Kumcmhm

- - ,thuc
‘3‘.

The third act fell into a slower rhythm, with falling action
throughout most of the act. 80 many problems had to be re-
solved that action had to be sacrificed. Even the reunion
scene, climaxing because of interest, had long lines and
weighty deliberations, which could not help but slow down
the rhythm.

Condensed
Ad’ i. Ami, a

At} I

 

From the opening of the play to the quarrel scene, then, the
rhythm built. From the quarrel to the end of the play it

definitely slowed down.
215

B. DRAMATIC

The basic problem of the director in the production of
a play is that of coordination. He uses the technicalities
already enumerated and discussed-~action, movement, panto-
mime, picturization, rhythm, balance, costumes, scenery,
setting, lighting, construction and rehearsals--and coordi-
nates and bends them so that they interpret the basic pur-,
pose for which the author has written his play. The direc-
tor must make a smooth whole out of the multiple details of
dramatic technique and play presentation.

To do this he must first decide what is the main idea
which must be conveyed. As a result of the many problems
touched in this play there was a rather confusing mixture,
making it difficult to decide which should be stressed in
preference to what other idea. Was Guy‘s attempt to com-
bine war and religion more important than Della and Mrs.
Zachary's contributions to the home front? Was Fayfsvsacri-
fice of her cherished concert career of equal significance
with Glenn's desire to have nothing change? Was it more es-
sential to maintain the beauty of life men were dying to
preserve or to promulgate the idea of women at war?, How
did butterfly Peg rate? Was Mrs. Fairchild doing all she
could to help win the war and yet maintaining morale and
family relationships? From all these had to be selected
the ideas that needed emphasis and those which required

subordination. '
214

A careful analysis of "Then It Was Summer" brought me
to the conclusion that the play is primarily a problem-sol-
ving play. It is a warm, straightgforward attempt to anaf
lyze the effect of war on a normal, happy American family.
One difficulty is that of adjustment for those whose lives
have been dedicated to peace, as is illustrated by Guy, the
divinity student. An ardent pacifist, he is torn between
his convictions and his patriotism. Women and their jobs on
the home front is another problem. The main one, however,
concerns the inevitable change at home and the difficulty of
returning soldiers realizing the inevitability and necessity
of this change--Fay and Glenn's special nemesis. More par-
ticularly, Glenn, returning from active combat in the Paci-
fic is hurt and resentful that things are not just as they
were when he left. Flower gardens have been turned into
victory gardens to meet the food shortage; women have taken
over men's jobs to meet the man power shortage. This con-
fuses Glenn, who had felt that he was fighting to preserve
the grace of living and nowdiscovers that that is a way of
life no longer existing. How he and Fay face this problem '
‘of change is the story of the play. The main problem, then,
concerns the adjustments of war, which are necessary for the
peOple at home as well as the soldiers abroad. The other
problems listed are the minor ones of the play'and must be
'subordinated to the main idea.

The play attempted to accomplish its purpose in three

ways: 215

1. Lines

There were few comedy lines in the play, with the excep-
tion of the characters of Beulah and Gracie. There was an
attempt at lightness in a few lines between Glenn and Fay,
but they soon became tngrossed in sentiment and consequent
seriousness. The lines of Mrs. Zachary and Peg could not
be classed as comedy, since each contributed more to the
plot than to comedy. Della added some comedy, but even she
was more practical than humorous, while Guy's lines indicat-
ed that he was a serious theologian.

There were, however, many long Speeches in the play
eXpressing the various theories mentioned. This presented
a difficulty in interpretation, for thy had to be vitalized
in order to hold the attention of the audience. For the
most part this was accomplished by adding action which broke
up the speeches. Further cutting up of the lines was ac-
complished through the use of pauses, gestures and facial
eXpressions.

This also necessitated the actual cutting of some lines.
Part of the scene between Guy and Mrs. Fairchild in Act 1,
page es, was eliminated, since it simply reiterated what
the audience already knew. Fay's constant repetition of
"I'm sorry" in Act 3 was ineffectual and was consequently
deleted. Most of the lines, however, were cut by action,
as has already been explained in the material under action

and pantomime.
216

2. Characters

The author used nine dissimilar characters, but each
is characteristic of a school of thought rather than of a
personality. Not once did the humaneness of a character
transcend or supersede the idea, the philosophy, the thought
the author implanted in him.

The main problem with characters in this play was to
prevent the minor ones from taking the spotlight. Gracie
could easily have stolen every scene in which she appeared
simply because of the vivaciousness of her character.
Therefore, she had to be toned down. Her action had to be
carefully planned so thatit never detracted from any im-
portant lines of the others on stage with her. AThe same_
applied to Della, Beulah and Mrs. Zachary.‘ Since all were
comedy characters to some extent and were very sharply
drawn, caution was necessary to prevent their domination.
of the more important characters. Glenn wasassisted be-
cause of the natural glamor attached to a man in Marine
uniform. Peg, however, had to have specific action with
her linesin order to compete successfully with her more
lively younger sister and with Fayas the leading lady.

Fay and Guy presented more of a problem since many of their
lines were theoretical and since they were for the most
part extremely well poised. Fay was given importantstage
positions to build her dominance, but Guy was allowed to__m
form a contrast by a deliberate "uh-stressing" the majority

217

of the time. Mrs. Fairchild was emphasized by action and
position. In this way the main characters were brought
into prominence in the minds of the audience, while the
minor ones were subordinated.

To some extent the characters may be ranged thus:

Fay (women at war) Glenn (grace of living)
Mother
(equally divided)
Guy (practical appli- Peg (gayness and en-
cation of religion joyment)
in a war world)
Della (re-stressing' Gracie (atmOSphere)
the home front
idea)
Beulah

(comedy relief)
Mrs. Zachary
(slight furtherance
of plot)
This points out the fact that there are as many on one
side as on the other. Balance in the original script

was almost too perfect for the stressing of any one prob-

lem.

218

3. Action

Once more one realizes that each idea has its equi-
valent in action. In Act 1 Fay's piano playing and evi-
dent genius; the gaiety of a party; the memory of a love-
ly home to sustain one in elemental struggle for life and
the right to such gracious living; church committees,
flowers, dusting--all these things helped to eXpress. H
ideas. The only difficulty was that there was action back-
ing for almost every idea expressed, which made it hard to
emphasize the main one. Action in Act 2 consisted of dust-
ing and vacuuming, repair work and farm work, telegram ex-
citement and party planning, hilarious singing and the
bustle of Glenn's return, Zachary's illness andthe 99H?
flict between business and pleasure, anger and tearseemore
action really than in either Act 1 or Act 5. Act 5 pre-
sented more talk than action. Della read the funnies with
great enjoyment; Peg indulged in somefeminine cattiness
and gloating; Mrs. Fairchild carried on as usual with coffee
on the terrace; Guy made a series of phone calls resulting
in his decision to become a chaplain; Fay and Glenn solved
their problem and found happiness in each other--but there
was really little action present.

Most of the action in the play seemed to be included
for the purpose of building characterizations. _There was
little action supporting the ideas, which brought about a
problem in vitalization. _

219

C. CONCLUSION

To recapitulate, the director's main problem is to de-
cide on the author's primary purpose. He must first select
the main idea of the play, the thing the author intended.
when he wrote the play. Then this idea must be brought out
by the various devices discussed in the foreegoing pages.

The next problem the director faces is one of selec-'
tion, of emphasis and subordination, of blending of lines,
characters and actions, of mastery of dramatic technique--
in short, a problem requiring understanding and technical
skill and a command of both technical and dramatic values
as enumerated. The director is the creator drawing on his
understanding, sympathy and knowledge of life to aid him
in vitalizing the basic idea of the play. ,

In "Then It Was Summer" I tried to remember that the
characters were enacting roles which found.a ready parallel
in reality inthe world of today. They were facing problems
that the people in the audience were having to solve.
Therefore, I attempted to keep the play as natural, as
real and human as possible, so that the audience might

obtain a clearer understanding of their own problems.

220

Part IV

Critical Analysis

‘.4

CRITICAL ANALYSIS

"Then It Was Summer" deals with a timely theme--what
effect will the war have on peOple? That Mr. Johnson
understands the problem is evident from his script and
that he handles it well was evident from the reception
the production received.

Certainly one must realize that Mr. Johnson has
courage in presenting a play of current interest when the
main trend of plays today is toward the "escape".type of
thing. Obviously the commercial interest is secondary
with him and he presents what he feels is important with
great sincerity.

Due to the timeliness of the theme, the understanding
and sympathetic portrayal of the problems and the sincerity
of the presentation, the audience thoroughly enjoyed the
play. They also liked the lighter touches evident in most
of the minor characters. With all its seriousness the,
play still brought abOut 105 laughs-~about 50 in Act 1,

50 in Act 2 and 25 in Act 5. These were carefully record-
ed on scripts by two graduate students of the Department

of Speech and Dramatics of Michigan State College and are
indicated in the script as produced with a red star, thuszfi

In working on the play I discovered that it played
much better than it read. Once the actors got into the
play they were much interested in seeing what they could
give to the characters. They wanted to make the peOple as

221

real to the audience as they had become to them. They
wanted to present the problems of the play so clearly
that they would become important to the audience. That
we were successful in this attempt was evident in the
favorable commentary of the audience.”

We had an invited college audience with many profes-
sors present. These older, more seriously minded peeple
were more interested in the problem of adjustment to a
war world, although the college students present were also
concerned. The timeliness of the theme certainly caused a
great deal of interest in the play.

However, the test production of the play revealed
several weak points, which have already been covered to
some extent in Part III. More specifically, lines, char-
acter predominance and lack of action on stage presented
problems.

The lines, as indicated on page 152, were mostly
serious, long and undramatic, demanding the addition of a
great deal of action and the actual cutting of some of
them in order to retain vitality and interest. The author
seems to be so concerned with the idea behind the person
that he forgets the character and prOpounds theories at
every Opportunity. Thus, Guy discusses his indecision with
Fay, with Mrs. Fairchild and with Glenn--with almostevery-
one who will listen to him. One scene of such length as
that with Mrs. Fairchild is really enough to make evident

222

his struggle between conviction and patriotism. Again Mr.
Johnson theorizes even in the love scene between Fay and
Glenn. He creates an emotional build, then suSpends it
while he has the actors make speeches to each other. This
does not seem natural. Further, more comedy lines are need-
ed for relaxation. Although this is primarily a problem
play, one cannot preach most of the time and hold the atten-
tion of the audience. Just as the doctor sugar-coats the
pills, so must the author disguise the lesson. It is much
easier to swallow the moral when it is coated with laughter,
for example. Moliere satirized his contemporaries and cri-
ticized them most definitely, but he did it in such a way
that even those being criticized laughed at themselves.
When their laughter died away they were left with something
to think about and perhaps a few corrections to be made.
This does not mean that comedy lines should predominate.

The suggestion is that bits of humor be added to Guy and
Glenn and Fay and Mrs. Fairchild, Whichwould not only add
to the effectiveness of the theories, but would also help
to humanize the characters.

This brings us to a consideration of the characters,
which has also been discussed in Part_III.‘ As pointed out,"
the balance is too even to allow the main characters to stand
out. All through Act 1 it is difficult to know what charac-
ters to watch and at the end of the act one is no nearer a

Solution. This may arouse curiosity, but it undoubtedly

223

brings confusion, which is not conducive to understand-
ing or sympathy. According to lines and characters all
scenes are of equal importance, which causes doubt as to
which scenes should be stressed. Such doubt is detri-
mental to the well-knit play, in which each line and
every character should in some way further the plot.
Since the characters are not clear cut, there is an addi-
tional problem of giving them business and of creating a
reality in their problems. The suggestion in this regard
is that the minor characters be made minor and the major
ones be given more emphasis. All the characters need to
talk more naturally rather than be forced to sound the
author's ideas.

The third big problem was the lack of dramatic ac-
tion, also covered in Part III. In the entire play there
is but one scene which moves by itself, which allows for a
major climax. This is the quarrel sceneat the end of Act
2. (Lines are shorter, feelings are loosed, theories are
subordinated and the characters come alive for a few mo-
ments. However, by Act 3 they are once again concerned
with talk. Again the second act curtain isthe only one~W
that may be called a dramatic curtain and even that is re-
moved from the moment of action by Della's complaint about
the stove. Naturally it weakens the emphasis on the quar-
rel. There is no sense of excitement, of completeness,
surprise or curiosity when the other curtains descend.

224

They are in stage terminology "weak" curtains. Most of the
play is exposition with the entire third act devoted to
falling action. All theories are resolved, all problems
solved--supposedly. Unless one accepts the suggestion_that
change is inevitable and adjustments are necessary, how-
ever, the main problem is no nearer solution than when it
first appeared. At the close of the play Fay and_Glenn
still hold to the same Opinion they had at the beginningwt
of Act 2and their marriage cannot be considered the answer
to all their disagreements. Does Fay go back to her music?
What will happen to the farm? These things are not clear.
Really the entire play seems to be a talking about what has
happened offstage, although very little happens on stage
while the play is in prOgress. Things take place and the
audience is told about them rather than going through the
occurrence with the actors.

These three things, then, are serious faults which
should be corrected, although they combined to make a bet-
ter problem for a thesis production. They were a definite
challenge to any director. How I met them has already
been discussed.

Mr. Johnson deserves a great deal of credit for his
main idea, which is excellent. He has realized a problem
which is existent today and he has tried to envision What”
its implications will be. He has grasped one of the major
problems of the war and attempted to bring it home to the

225

audience. With more attention to technical and dramatic
form, this play might well become one of the most impor-
tant dealing with contemporary war problems. I feel that
if he had been content to get the one lesson of inevitabil-
ity of change over to the audience a much better job would
have been done on the play. Instead he has tried to solve
several problems-«women on the home front, war jobs,
pacifism and its place in the world today-~too much to be
encompassed by any one play. His realization of the exist-
ing problems, however, indicate that he is one of the

alert and thinking men of the country. With revision of
the play he might also become one of the better known

contemporary dramatists.

226