TENDER ARE THE VINES An Original Three-Act Play By A THESIS Submitted to the College of Communication Arts of Michigan State University of Agriculture and Applied. Science in partial fulfillmnt of the requirements for the degree of MASTER OF ARTS Department of Speech 1956 ACKNOWLEDGEMENTS I wish to express my deep appreciation to Dr. Roger Busfield, Chairman of the thesis committee, for his helpful guidance through many drafts; and to the members of the committee, Dr. David Potter, Dr. David Ralph, and Dr. John Walker for their fine suggestions. I also wish to thank fellow members of the Lansing Writer's Group for their most helpful cements on a reading of an early draft. And, more familiarly, my gratitude goes to my husband, Dr. Jacob Scbmookler, whose encouragement, help, and understanding provided an impetus, not only for this work, but for my entire academic pursuit . ii TENDER ARE THE VINES An Original Three-Act Play By Pauline K. Schmookler AN ABSTRACT submitted to the College of Communication Arts of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech 1956 mm... ” a... h. figxég 7Major Professir iii ABSTRACT The problem of this study was to write an original full-length play which would be worthy of presentation in a theatre and would demonstrate the author's understanding of standard playwriting techr niques. This thesis is a presentation of the completed manuscript of the play, Tender Are the Vines, as it would be delivered to a director for production. Plot synopsis: The house is a shabby one in a poor neighbor- hood of a large city. But inside, behind the curtain of what used to be an ice-cream parlor, are books, music and Mollie Granoff. Into Mollie's house have come many people seeking the love and understanding they so desperately need. Helping others is something that Mollie has done all her life. She has raised and guided a large family of semi-orphaned brothers and sisters and, even though they are now married and no longer live at home, they are still emotionally dependent upon her. She has encouraged their dependence until "Dec“ comes into her life. For the first time Mollie is in love. But the demands of Mollie's family continue, and Mollie is unable, indeed unwilling, to reject them. Her can she ignore the pathetic and lonely Benny, her next- door neighbor, or Miss Patterson, a nurse at the hospital across the street. when Mollie finds IDocI is in trouble, she directs the same zeal toward "Doc's” problem that she has for so many others. A.struggle iv ensues between "Doc“ who wants to be left alone and Mollie who feels she must help him. "How," she asks, "can you measure in a teaspoon what you do for people?” A.family crisis forces "Doc" to realize that he can no longer attempt to isolate himself nor insist that Mollie rebuff the demands of her family and friends. Mollie, on the other hand, discovers that some measure of restraint is equally important. Their love is deepened and enriched by this shared knowledge. TENDER ARE THE VINES Cast (In order of appearance) Benny Selma Sander Mollie Doc Miss Patterson John Frisbie Flo The entire action takes place in Mollie's home. The time is the present. Scenes Act I : Scene 1 - Evening Scene 2 - Next afternoon Act II 2 Later, that afternoon Act III: About fifteen minutes later ‘71 --1 Act! Scene 1 The scene is in MOLLIE'S home. The room, a combina- tion living and dining-room, is just off the store, an ice-cream parlor, which has been closed for months. The room is furnished rather shabbily, but there are a few touches of color here and there which indicate a loving eye has tried to master the environment. It is obvious from the large round table and chairs grouped around it, that the room has served both cl. 9. living and dining room to a large family. On one wall is an old piano, closed now for many years. A bookcase, overcrowded with both well-worn books and with the cheaper paper back books is in the rear. The only conspiciously new piece of furniture is the rather handsome console radio-record player. To the left of center, in the rear, is the stairway going upstairs. The stairway divides, on stage, to allow for a landing. The rear, upstage wall, con- tains a window which faces out on the narrow alley. The same wall is obviously freshly papered. Upstage right is the outside door which opens up on the alley. This is the door the family and friends used when they wanted to avoid coming through the store and is the only outside door now in use. Downstage right is the opening which leads into the store. It is covered with a drape. Downstage left is the entrance into the kitchen. When the curtain opens BENNY is on stage alone. He is of medium height, stockily built, with heavy facial features; and about thirty-five years old. His hair is carefully parted in the middle. He is busy hanging up one of the last strips of wall- paper. He steps back to survey the results, shaking his head approvingly. The door bell rings. BENNY straightens up, hesitates for a moment, then goes to the door. SELMA comes in. She is the baby of the Granoff family, in her twenties, slender, very smartly dressed; her hair is coiffured in the latest style. ~2 SELMA Oh! (She obviously hadn't expected to see BENNI) Hi, Benny. (She comes in.) BENNY Hi! SELML (Looks around) Mollie in the kitchen? BENNY (Shakes his head) Unh-nnh. She '3 out. SELMA Out? That's funny. She called and said she wanted me to come right over. BENNY She said she'll be right back. SELNA (Notices the wall-paper) Oh, I get it. This is the surprise. (Looks at it critically) Can't say I care for the change. BM! (Hurt) Your sister likes it. SELMA It's nice, Benny...really...it Just makes the place look different, that's all. BENNY So ‘I SEIMA (Attempts to change the subject to placate injured BEEN!) When did Mollie leave? BERN! (Abruptly-m-still hurt) She said for y' ta wait. -3 SELMA (There is a pause. She starts to reply but changes her mind and moves to divert him. She sits down.) Uh. ..Benny...How's Ruthie? I haven't seen her in a long time. BENNY Y' mean y' ain't heard? SELMA Io. BENNY That dumb kid sister o'mine gets an idea in her head all of a sudden an' gets married. SELMA People do get married, Benny. BENNY Yeah. . . (There is an awkward pause) You been married a couple years yourself. SELMA Three. BENNY (Shakes his head) All you kids gettin' married...Makes a guy feel kinda old. (Another awkward pause, interrupted by the door Opening and SANDER enters. He is about 36 years old, short and beginning to bald a little. When he speaks he has a curious way of hesitating as though he wishes to assure himself that what he says will not offend anyone.) SANDER Hi, Selma. SHEILA Hi , Sander. SANDER (Sees IBM!) Hey. . .Benny. (rakes 3mm in the ribs) BENNY Long time no see. (Bear hugs SM) ’\ SANDER How's the boy? BENNY Livin'. Livin', boy. SANDER (To SELMA.) lhat's the big secret? Mollie wouldn't tell me what she wanted over the phone. 5mm Mollie's out...but it's the wall-paper Benny Just put up. SANDER Say...that's nice, Benny. BENNY Thanks. SANDER (To SELMA) But she wouldn't call us over here Just to look at wall-paper. (Turns to DENNY) Come on, Dem. Give. Vhat's Mollie up to? BENNY Y'got me, Sander. All I know is she Just goes to the phone an' calls you...right after the real estate guy left. 31mm Real estate? SANDER It must be about the store! She finally got a buyer for the store! SEEM That hole? A (Goes to the store opening and pulls back the curtain) Oooh...it's dark in there. BENNY That ain't a hole. It's good property! SELMA (lowering the curtain) Maybe. But when this part's closed off Mollie'll be a lot happier. She 's hated the store since Papa died. SANDER But...if it's the same buyer...he wanted the whole place. SELMA Oh? Mollie turned him down once. BENNY Sell it! Listen, this house'll outlast all the modern ones. I told Mollie I'd fix up the basement for her. An' I won't charge her a cent. The way this house'll last...she can live here forever... (Phone rings. BENNY looks to the other two.) SELMA Go ahead, Benny. You answer it. It might be my dear sister Plo...and I don't care to talk to her. BENNY Say, I gotta message for her. (Phone rings again) Okay! I'm comin' 1 (Picks up phone. In a self-consciously best voice) Hello? Granoff residence. Benny Prince, speakin'. (Pause) Benny, from next door. (Pause) Oh...) No, she ain't here. (Pause) Be back soon. (Pause) Yeah...yeah...I'll tell 'er. (He hangs up.) It was that orderly...Doc J‘ischer. SELMA (Excitedly) What did he want? BENNY Nothin'. Just t' talk t' Mollie. (To SANDER) He thought I was one-na her brothers. (Slyly) I shoulda said I was another boy friend. SANDER (Laughing) Benny. You still have romantic notions. BENNY (Slightly belligerent) So what? (Gives a little laugh) Haw. I'm serious...I shoulda said..."Who's this callin' my girl?‘ Y' know, like they say in the movies. It always makes the other guy jealous. . .and that's good! BENNY (CONT'D) (To SELMA) D'ya. ..D'ya think it's serious? SELMA. (Simply, sincerely) Serious? I hope so, Benny. I hope so. BENNY Yeah. . . (There is a slight pause) It's nice though...an' it's right she should get married. I only hope nothin' happens. SELMA What? ‘Hhat happens? BENNY I mean all your sisters and.brothers. Flo, George, Annie, Rudyu..the whole bunch! Burns me up th"way everytime Mollie wants t' do somethin'...somebody's always needin' her. SANDER Mollie doesn't mind. SELMA. Mollie never had time for love before. BENNY New, Selma...Mollie had lottsa fellahs that liked her. SELMA (Thinks this discussion of MOLLIE should end.) I need some coffee. Vent some Sander...Benny? SANDER Fine. BENNY Not f'me, thanks. (Gets down.on his knees to cut off a strip of wall-paper. SELMA goes to the kitchen.) SANDER what's new with you, Benny? Any nice girl in the picture? BENNY (Rises) A nice girl...where? SANDER I mean...is there any nice girl you're seeing? BENNY Nah! Vho needs 'em! (He cleans his cutting knife viciously.) SANDER I'll never forget when we were double dating you always wanted to propose to a girl the first night you met her. BENNY (flaring'up) All right. So I didn't get married like you did. So? Whatta.y'want? SANDER thhingo e e (Apologetically) I was just wondering... BENNY (Slightly mollified) Yeah... (Short pause) They're all squares t'day. Real squares! Besides, I got plenty 0' dates. Look, I got it good. Better'n you, boy. SELMA. (Coming in) Does anybody have a.match? That old stove's pilot light always wins! SANDER Here. (Hands her a match. Then, impatiently) 'Vhat's keeping Mollie? I've got to get home. SELMA She wants to see you. ' SANDER And...? SELMA You're quick enough to hang around.Mollie when you want something. SANDER (Embarrassed in front of BENNY. But he gives a little chuckle.) . For the baby of the family you're sure bossy. Isn't she, Benny? BENNY Yeah...It's a good thing she useta.wear a red snow suit. When she an! Ruthie'd come taggin' after us we could spot 'em.by Selma's red suit. Kinda showed up in the snow, didn't it? 5mm (Laughing) All right...all right...I'll just go out and wrestle with that stove again... (But before SELMA goes out, MOLLIE enters from the outside door. She is a mature woman, dark and very vivacious. Her dark eyes light up with pleasure at the sight of her brother and sister.) MOLLIE Ah...a gathering of the clan. BENNY I'm still here. MOLLIE (Take: off her hat) You're included. (Kisses SANDER) How's Barbara?...the children? SANDER line. Everybody's fine. MOLLIE (Comes to SELMA.and kisses her) Anything new? SELMA. Not since we talked yesterday. But...you're the one with the surprise, remember? MOLLIE (sthS) Yes. (To BENNY) You.finished, Benny? BENNY Yeah... MOLLIE Did.!lo call? BENNY No...she didn't. But your fellah did! MOLLIE (Her eyes light up.) Oh? Pu“ .' BENNY He said t' tell y' he'd be a little late. MOLLIE Thanks. SEEMA What's the surprise, Mollie? MOLLIE (Hesitates. To BENNY) Uh. . .shall I pay you now? BENNY (Catches the hint) New. Tomorrow'll be okay. Your credit's good. MOLLIE (As BENNY starts reluctantly for the door) Thank you, Benny. BENNY I. . .I '11 see ya. MOLLIE No. Stay, Benny. You might as well hear this too. I wanted to wait for l'lo...but... I've got a buyer for the house! SELMA (Shocked) The house! BENNY You're sellin' the house? SANDER You mean the store, don't you? MOLLIE No. The whole thing. The works. SEIMA But...you refused to sell only a few months ago... MOLLIE I decided yesterday. The agent had a hot prospect. (with an attempt at lightness) He came...he saw...he liked. So...it's done. That is almost. I wanted to get your okay on it. SANDER (Stiffly) You don't need our okay. It's your property. Papa left it to you. -lO MOLLIE Yes...I know he did. But... (She walks over to the store opening, looks at the curtain, then turns to face them.) It really belongs to all of us, doesn't it? I intend to divide the money. SELMA We don't want the money! MOLLIE (Confidently) We‘ll settle that when the deal 18 final. SELMA Why, Mollie? Why are you selling? MOLLIE (Looks slowLy around at their shocked faces) It's like tearing down an old institution, isn't it. The house and the Rock of Gibralter. (Gives a little laugh) Oh, come. Don't look like the bottom fell out of the world. We don't need it anymore. It's served its function. After all...you're all married. Papa...Papa's dead... (She goes to the window in the rear.) It's a big house for one person. And I'm hardly home, working at the hospital. SANDER (Like a child) But Mollie, we still come here. MOLLIE But you don't live here. And you can come someplace else just as easiLy. Besides, youlre off soon to Cincinnati. SANDER I...I don't know. I...hayen't heard.yet. MOLLIE (Immediately interested) Didn't you call them? You said.you.would! SANDER No...I thought I'd wait. Besides...if they really want me they'll call me. (He dismisses the matter) Look, about the house... MOLLIE (Impatientry) That can wait. You should call them, Sander. Right away. They don't even know if you're interested. SANDER I sent them my credentials... MOLLIE And the firm was interested. 50...? SANDER I...I wanted time to be sure... To talk to you again about it. MOLLIE (Positively) Wire them. Or better still...call. SANDER You...think it's okay? MOLLIE It's the best opportunity you've had! (Looks around at SELMA) Vell...you see. Another one off. That leaves just you and E10. rest...Rudy;..Anne...George...all scattered. (Wryly) It costs me a fortune in train fares. BENNY Anne came here t' have her baby. MOLLIE (Dryly) Let's hope her family is now complete! SELMA. (Whose thoughts are elsewhere) I...I don't know, Mollie. MOLLIE Don't tell me she's... SELMA -11 The What? Oh...I'm talking about the house. After all, it's all paid for. You'll have to pay a.fabulous rent for an apartment. MOLLIE Not in this neighborhood. ~12 SANDER Any neighborhood. (Gets up heavily) I've got to go. Barbara's expecting guests. (Phone rings) SELMA Shall I get it, Mollie? MOLLIE (Pats her hair in place) No, thanks. I'll get it. SANDER That must be Barbara. MOLLIE (Picks up phone) Hello? 0h...yes, Flo. I called... SELMA It's a good thing I didn't answer it. MOLLIE (Into phone) What? You're talking too fast. SELMA What does she want? BENNY Mollie tried t' get her before about the house. . MOLLIE (Still into phone) Ilo...I can't now; I'm expecting someone...yes, I'm busy tonight. Can't you tell me? (Pause) Look, I've got something I want to tell you... (Pause) What? Ilo...calm down. (Pause) All right, you can tell me tomorrow...Yes... I'll run over from the hospital at lunch time. I can be here in a couple of minutes. It's just across the street. (Slight pause) Yes...about eleven-thirty...All right. Goodbye. SANDER What's up? -13 MOLLIE I don't know. She was very upset. She wanted me to come right over. SELMA I'll bet! MOLLIE I never did get a chance to tell her about the house. BENNY Does she ever give anybody a chanct t' say anythin'? (There is a slight pause. Everyone is slightly uncomfortable at BENNY'S observation about a family matter.) SANDER This time for real. I've got to go. Goodbye everybody. MOLLIE Goodbye, Sander. You'll call Cincinnati? SANDER Yes...Yes, I will. (At door) Goodbye. And think about the house business before you decide, Mollie. MOLLIE (To SELMA) You'd like me to think about it too, wouldn't you? SELMA Well—l... (She hesitates) Nobody should tell you.what to do. It's your house. moms (With a little smile) Is it? SELMA (Turns away abruptly) I was going to make some coffee before you came in. Want some? MDLLIE Tea's more soothing, Selma. (SELMA.gives MOLLIE a startled look, then averts her face. She leases for the kitchen. MOLLIE turns to BENNY.) Ybu'll hare some with us? BENNY New...thanks. I shouldna stayed. My grandmother's goin' t' a lodge meetin'. I gotta drive her. -l# MOLLIE Again? 'BENNY (Node) Twict a month. She's a real bugger on that lodge 0' here. She says it's the only way shell be sure 0' bein' buried proper when she dies. (Shakes his head) An' I keep tellin' her I'll take care 0' that. MOLLIE You're good to her. BENNY (Starts to leave, then turns) Who's gonna buy it? MOLLIE The house? Oh...a shoemaker, I think he said. BENNY .A shoemaker? Here? (He looks around as if the room was suddenly profaned.) Selma's right, y'know. MOLLIE About what? BENNY Apartments are awful high. MOLLIE Not around here. I've priced them. BENNY (Thinking) Can you get one on this block, maybe? MOLLIE Maybe. It would be more convenient to the hospital. BENNY (Turns to leave again and hesitates) Is it because of your fellah? MOLLIE Why...you mean my selling the house? (Turns away abruptLy) The idea is my own. -15 BENNY (Wistfully) But y' got somebody now. That's the important thing. Y'see... (He stops.) MOLLIE Yes, Benny... (There is a pause. BENNY starts to answer but doesn't quite manage to get anything out.) Is something the matter? BENNY I...I'm... (He stops, then plunges in.) Lately I've been thinkin'. With my kid sister gettin' married an' all... (He stops again.) Aw, what's the difference! (He turns away.) MOLLIE Something ig_wrong! BENNY (Blurts out) I'm Sander's age. An' he's got two big kids already! (He stops.) MOLLIE (Encouragingly) Yes? BENNY (Low) The trouble is me... MOLLIE You? What are you talking about? BENNY I'm talkin' about me. (Yehemently) Me. The kind 0' guy I am. MOLLIE (Puzzled) There's nothing wrong with you, Benny. You're a fine man. BENNY T' you, maybe. Ybu.know me. But... (He stops, then blurts out) I can't get t' first base with no girl! ~16 MOLLIE 0h. 0 O BENNY I've tried. Honest. MOLLIE Yen just haven't met the right one yet. One of these days... BENNY (Bursts out) So how long's it gonna take? What am I a kid or somethin'? I wanna wife...an' a.home. So what happens? Everytime I go out, she turns out to be a nothin'! (There is a pause.) MOLLIE Where do you go...to meet girls? BENNY Aw...around. MOLLIE Do you ever go to the "Y" dances? BENNY Sometimes. MOLLIE No nice girls there? BENNY (With a shrug) Sure. MOLLIE So? BENNY (With a'bitter laugh) I try...A.lotta good it does me! (There is a slight pause. BENNY lowers his head.) Those kind don't give me a tumble. HOLLIE (Puzzled) You dance...I know... BENNY Yeah...I dance... (Suddenly) ‘Whatsa matter with me, Mollie? -17 MOLLIE (Startled) Nothing. I just don't understand. (A little indignant at the idea that he's not accepted) You're a nice guy. BENNY I guess I ain't. MOLLIE Sure you are... Ybu and Sander have always been a couple of nice guys. BENNY Sander's been married ten years already! MOLLIE You will be too. BENNY The trouble is... (He takes a deep breath.) The trouble is still me! MOLLIE Nonsense, Benny... (She breaks off what she was going to say.) Prom the way you talked I always thought you.enjoyed being single. That even.you preferred it that way. BENNY (Bitterly) Yeah! MOLLIE You always boasted so about your dates. BENNY (Explosively) SO'whattam I gonna say? That the girls don't like me? That the only ones I meet are drips? (He stops embarrassed.) I guess I shouldn't of said nothin'... You'll think... (He trails off.) MOLLIE (Reashes out to touch his arm) Benny... BENNY (Looks at her hand) It's just... I ain't gonna.have nobody. Nobody at all... I mean... I got my grandmother...but she's always talkin' about dyin'. Anyway, I can't talk t' her about it. -18 MOLLIE You can talk to me. BENNY Not if you're movin'... Sellin' the house an'... (He stops.) MOLLIE Yes? BENNY You're gettin' serious about that fellah Doc. You ain't gonna.haye time for talkin'. MOLLIE I'll always have time for you, Benny; BENNY (Looks up at her sharpky, then lowers his head.) Yeah... (He rises) Well... I gotta go. (He turns to leave) MOLLIE Benny. (He stops.) I've got time right now. BENNY You can't do nothin' about it. MOLLIE (ThoughtfulLy) If I could get you an introduction...It's different when.you're introduced to somebody. BENNY (Interested) Y'mean y'know somebody? MOLLIE Let's see...a...nice...single...woman. (Slight pause) BENNY (Hopefully) Nice lookin' too? -19 MOLLIE (Laugh!) We'll try to work that in too. (Suddenly) ‘Wait a minute. I do know somebody! BENNY (Caught in MOLLIE'S enthusiasm) Yeah? MOLLIE She's nice. Really nice. She's the head nurse in the operating room. BENNY Not too young! I don't wanna go out with no kid! MOLLIE No...she's...She's not that young. I'm sure you'll like her. BENNY D'ya... D'ya think she'll like me? MOLLIE Of course! Why shouldn't she? BENNY (Worried) Her bein' a.head nurse... Sound's pretty ritzy. MOLLIE She's not like that. She has to maintain discipline in the hospital of course...but... (Her eyes twinkle.) Even there. You wouldn't believe how they run the hospital like an army. Some nurses pull their rank on me since I'm just a nurses' helper. But Miss Patterson never doesL BENNY Yeah. 0 .but. 0 e SELMA.(Off—stage) Mollie! Where's the lump sugar? MOLLIE (Calls) There's a sugar bowl full on the second shelf. (To BENNY) I'll talk to her tomorrow. Sound good? BENNY I...yeah! Sounds okay. SEUMA (Comes in with tray) Tea's served. BENNY I...I better go. MOLLIE I'll let you know. BENNY (At door) I don't think I'll like a shoemaker next door. MOLLIE (Laughs!) Think of the convenience. (BENNY leaves.) SELMA (Pours and hands MCLLIE a cup of tea) Shoemaker? MOLLIE Private Joke. (Takes a sip of tea. She looks at SELMA.tenderly.) feel better? SELMA (Starts to protest) I wasn't.... (Gives a little laugh) The trouble is you know me too well. MCLLIE Selling the house is a shock to you, isn't it? SELMA Well... (With an attempt at lightness) The old place does have its charm! (She looks around.) Are you going to take all this stuff? MOLLIE Oh my! I forgot to ask Sander. I want all of you to take whatever you want. Can you.use anything? - SELMA In my apartment? Mark doesn't like things with a.history. ~21 MOLLIE (Teasingly) Maybe you'd like to take the piano? 5mm ‘ (Nith a nook shudder) No thanks. It would remind me of the hours of practice you made me put in on that darn thing. MCLLIE Don't worry, dear. I was planning to offer it to Flo for little Judy. (She looks around the room.) I won't take much. Just the books and the console, of course... (She smiles and reaches over to pat SELMA'S hand.) Your gift. It's meant so much to me...to both of us. SELMA Doc? MCLLIE (Node) We sit here for hours...Just listening to it... Oh! (She jumps up.) Look what I picked up today. He'll love it. It's one of the Bach Brandenburg Concertos. He'll Just love it. SELMA And you, Mollie? MOLLIE Bach is his favorite...I like... SELMA I didn't mean that. I mean, does he love you? MOLLIE (A.little taken back by SELMA'S forthrightness) I... I don't know. SELMA Has he said anything yet? MOLLIE No-o-o... He's...0h, I don't know. There have been times when I though-to e 0 (She gives a little laugh.) I guess marriage isn't part of his plans. SELMA What will you do? ~22 MOLLIE I'll wait...and hope. SELMA (Irritably) V What's holding him back? He's a fool not to snap you up. MOLLIE I've been around a long time... _ (Affectionately) Not everybody sees me as you do. (Seriously) But Doc's not a fool. He's...he's everything in a man I've ever dreamed about. (With a little laugh) As busy as I was, there were times that I dreamed. SELMA. (Suddenly) Promise me something, Mollie. MOLLIE Yes, dear? ’ SELMA Promise you'll think of yourself for a change. Promise you'll not let anybody or anything interfere. Nbbody; Not Sander...or Flo...or anybody. MOLLIE I am thinking of myself. I'm getting out of this mausoleum. Step number one! SELMA But, why...? (The door-bell rings before 5mm can finish.) Doc? . MOLLIE I think so. SELMA. Shall I answer it for you? MOLLIE Would you? I'll clear the tea things away. (She replaces cups on the tray. SEEMA goes to the door but it is 13mm on the threshold.) BENNY I left my ladder. I got a job early in the morning. SELMA (To MOLLIE. Looks at her watdh) I've got to run. Sure you won't both Join us? MOLLIE I asked him...Doc said...no. SELMA I'll call you tomorrow. (As she turns to leave, DOC is at the door. He is a big man with slightly greying hair. He is still in uniform. BENNY is on his way out with the ladder and nearly collides with DOC.) BENNY Excuse me. (As he sees DOC) Oh! Good evening. (He scurries out) DOC (Calling after BENNY) Good night. SELMA (To DOC) Hello... (Back to MOLLIE) Good night again. (She gives MOLLIE a significant look.) DOC Don't hurry off on my account. SELMA No...I was just leaving. Good night. MOLLIE Good night, dear. (SELMA leaves) Come in, Doc. DOC That was...no, don't tell me... Selma, wasn't it? The youngest? MOLLIE You're getting better all the time. You're beginning to tell them apart. DOC I sat up one night memorizing. I couldn't remember the name of the sister who had her baby here. —24 MOLLIE That was Annie. DOC I'll get them all straight someday. MOLLIE Selma wants us to join them tonight. DOC (Abruptly) I prefer to stay here. (In a lighter tone) I hope you don't mind my coming in my whites. It was so late and I didn't want to take time to change. MOLLIE You've been on duty all this time? DOC (Node) A couple of emergencies came in. MOLLIE You're not the only orderly in the hospital. DOC Tom was tied.up with a cardiac on Men's Medical. Hugh's off tonight and the day boys had gone...so... (He shrugs. He sinks down in the armchair.) Ooh...this feels good. I'm so tired. I think I'll be wheeling stretchers in my sleep tonight. MOLLIE Here, put your feet up on this stool. (She stands looking down at him.) You work too hard. DOC It's a job. MOLLIE No, it's more than that to you. DOC (Briskly) It's Just a Job, Mollie. You're always romanticizing. MOLLIE (Smiles) Am I? -25 MOLLIE (com 'D) (Crosses room) I've got a surprise. (She crosses to record player and puts on the record she had bought. She turns to watch with delight his expression.) DOC The second Brandenburg! Nice! (MOLLIE comes back and sits on the sofa.) So far away? (MOLLIE comes over to the stool and sits down. They sit thus for a few minutes, MOLLIE leaning back against DOC'S knee. DOC'S hand comes up slowly and begins to stroke MOLLIE'S hair. He gets up suddenly and crosses the room to the record player and turns off the record, staring down at it. MOLLIE watches in surprise.) I want to marry you, Mollie. I've...wanted to ask you for a long time. (MOLLIE does not answer. DOC turns around slowly to look at her.) Well, Mollie? MOLLIE Are you asking me? DOC Yes. MOLLIE (Incredulously) Just like that! DOC What's wrong. MOLLIE (Rises) If you can't see what's wrong... More of my romanticizing, you'll call it, but... (Vehemently) You've been married before. Maybe being in love isn't necessary to you. DOC As you say...I've been married before. (There is a pause.) MOLLIE Oh...I see. (In a low tone) Convenient. Isn't that what they call a.marriage like you're proposing? Convenient? Two older people. ~26 MOLLIE (CONT'D) (Bitterly) Why shouldn't they get married? They can pool their resources... DOG (Sharply) Mollie! Don't you know? I...I'm in love with you. MOLLIE (Slowly) You say it as though you didn't want to be. DOC (Turns away) I didn't. I... (Turns back to her) I do now. I have for a long time. It didn't help to tell myself I wasn't in love with you. MOLLIE (Softly) Why did.you have to fight it, Doc? (DOC does not answer.) I love you too. Very much. (They both look at each other. DOC takes her in his arms and they kiss. MOLLIE is transformed into a.young girl as she suddenly becomes shy. Breaking away, she looks up at him, then she is caught in a fervent, passionate embrace to which she responds with the fervor of long denied years.) I've waited a long time for you, Doc. A.long time. DOC It's been a long time for me too. MOLLIE I'm glad I waited... DOC I need.you, Mollie. More than I knew. MOLLIE (As she sinks on the sofa, teasingly) Not Just for convenience? DOC (Looks down earnestly at her) No...not Just for convenience. (He sits down beside her and puts his arm around her. There is a comfortable pause as they sit there.) -27 MOLLIE (Snuggles against him) All the same...a house with a man in it...that's mighty convenient. DOC (Sits up) ' A.house? I thought you were selling this place? MOLLIE I...well, I don't know. The kids are so against it. DOC Kids? You don't mean.your brothers and sisters? Why, they're all married with homes of their own! MOLLIE I know... (There is a pause. MOLLIE gets up and puts on the Brandenburg record. She stands there for a moment, then turns and comes back to DOC.) I put this house up for sale because of you. DOC (Surprised) Me? MOLLIE There are so many ghostly voices rattling around here. I wanted to go someplace where I could listen to myself... DOC (Smiling) And to me? MOLLIE Especially to you. DOC And now? MOLLIE (Decisively) All the more reason I should get an apartment. DOG (With a little smile) For both of us? MOLLIE For both of us. -28 DOC I want certain things. . .big windows. . .big closets. . .big rooms. . . MOLLIE For a big man. (Throws herself down beside him) Oh, Doc, won't it be wonderful? DOG (Catches her in his arms) Wonderful! (There is another comfortable pause.) MOLLIE Beautiful recording, isn't it? DOC (Dreamily) Beautiful. MOLLIE This ig.a.wonderful room, you.know. It's seen so many happy moments. (With a little laugh) You know, we used to have an old gramophone...right there... (She points to where the console is.) The kids used to dance...sometimes I would and they'd all stand around and watch and clap...I would bow... (She smiles, remembering) And all the birthday parties this room has seen! (Sits up and looks at him) Didn't you Just love birthday parties? DOC I...don't remember having any. MOLLIE (Incredulously) You never did? Not even as a little boy? DOC (Shortly) No. MOLLIE Didn't your mother...? DOC I was raised by an aunt. MOLLIE Oh... (A pause) I know so little about you. (DOC rises and goes over to the record player and stares down at the spinning record. MOLLIE crosses over to him.) MOLL IE Did I say something wrong? DOC (Doesn't turn) No. (He turns off record) MOLLIE You never want to talk about yourself. DOC (Stiffly) My childhood wouldn't interest you. MOLLIE But it would! (There is a pause. In a low voice) I'd be interested in anything that concerns you. (There is another pause. She makes a conversational effort to draw him out.) Losing a mother very young can be a terrifying experience...The Granoff children can testify to that. (DOC sits on the sofa again without answering.) All you've ever told me about yourself is that your wife died two years ago. DOC Yes. . MOLLIE (Somewhat impatiently) I suppose you.haye your reasons. (She turns away.) But I don't understand it! DOC Just...Just trust me. MOLLIE (Quidkly) I do! But...why do you always withdraw like this? DOC (Tereely) Don't hurry me, please. MOLLIE You think I'm prying, don't you? (DOC does not answer. MOLLIE speaks gently.) It's not prying to want to know about the person you love. Can't you see that? DOC It's asking questions. I don't like questions. MOLLIE Answers can be very healing. DOC (Vehemently) I came here tonight ready to tell you. Tonight, when I wanted to ask you to marry me. ..I was going to tell you what I couldn't talk about before. ..Something that's been dammed up for two long years... (He stops.) MOLLIE Yes , Do c? DOC (Moves away) It's no good. I can't talk about it. Give me time. MOLLIE I want to help you. DOC No, Mollie. There are some things that take time. Things that people have to work out in their own way and in their own time. MOLLIE (Coming close to him) Of course, darling. I'll always love you. (DOC draws her to him.) And I'll always try to make you happy. You'll see. I'll do anything to make you happy. DOC Just love me, Mollie. (She is in his arms as the CURTAIN FALLS -31 ACT I Scene 2 The time is the next afternoon. The stage is empty; MOLLIE enters from the kitchen carrying a tray with a bowl of custard on it. She begins to climb the stairs when the door—bell rings. MOLLIE comes back, places the tray on the table and opens the door. DOC enters. DOC Heady? MOLLIE Almost. How's the Dubrowsky boy? DOC (Tersely; but holding himself in control) It took Dr. Randolph a long time. MOLLIE Took? It'e finished.then? The boy's all right? DOC He was brought down a few minutes ago. . MOLLIE Oh, I'm so glad it's over. His mother was worried, poor thing. Surgery scared her so. I tried to tell her... DOC (Unsmiling) Is that part of your Job too? Soothing upset parents? We're supposed to how the line of demarcationp-Know our place and stay there! MOLLIE What's the matter, Doc? DOC Nothing. MOLLIE No. Something is the matter. You...You're not sorry about...about us? DOC No! Of course not! MOLLIE But something happened to upset you. what...? (She breaks off, seeing Doc's face looking annoyed.) I forgot. No questions. (. MOLLIE (CONT'D) (With a smile) I'll try to remember. DOC (Looks at her, his face easing) You're pretty wonderful, do you know? MOLLIE I wish I could understand. (Pause) But, I'll work on it. DOC Good girl. MOLLIE (Playfully) Of course. But you're okay yourself. DOC (Smiling now) I know. MOLLIE (Happily) we're both so...so nice for each other. DOC (Earnestly, draws close to her) Keep thinking that, Mollie. MOLLIE I will, Doc. Say... (She looks toward the upstairs) Did you.want to go looking for an apartment right now? DOC Isn't that what we agreed? MOLLIE Yes...but... DOC You're not changing your mind about selling the house, are you? MOLLIE (Hastily) Oh, no. (Firmly) -32 No...We'll go right to my agent. He's only a block from here, and he has listings in his window all the time. DOC I know; We could stop there...and later we could have dinner at Louigi's. MOLLIE (Disappointed) I can't. Dinner, I mean. FLO (Appears on landing. She is about forty years of age, with a sallow complexion. She looks older than MOLLIE although she is two years younger. Her face has a.perpetual unhappy, dissatisfied lOOke ) ‘ I thought you.were bringing up the custard! MOLLIE (To FLO) I forgot! (Remembering DOC) Oh...You've met Doc Fischer? FLO (Briefly) We've met. Well, did.you get the custard? MOLLIE It's there, on the table. (FLO comes down without a‘word, picks up the bowl and after a side glance at DOC goes upstairs.) DOC That was... MOLLIE My sister, Flo. DOC (Dismisses her) What's this about dinner tonight? MOLLIE It's because of Flo. She moved in this morning, and I really... DOC Moved in? Do you mean.another one moved in on you? MOLLIE It's Just for tonight, I'm sure. She has some foolish notion.that she's leaying her husband. You see, she called.yesterday...only she wouldn't tell me over the phone. When I ran across at lunch time she was here with Judy-she's Flo's little girl. Judy's eick...and...well, I couldn't say anything. -3" DOC (Shaking his head) Aren't you ever going to be free of your family? Why don't they leave you alone? MOLLIE It's Just that they're used to thinking of the house as home and me... DOC As their mother. YOu're not, Mollie. And even if you were, they're adults nOW...all grown up, you know. MOLLIE (Coolly) They are my family. DOC Don't get angzy, dear. But can't you see how they take advantage of you? I want you, Mollie...for myself... MOLLIE (Warm again, smiling) I'm not angny. I like the way you feel about me. (She comes up close to him. He puts his arms around her.) FLO (From upstairs) Mollie! MOLLIE (Disengages herself) I'd better see what she wants. Don't worry about Flo, Doc. After all, she had no other place to go. (Almost to herself) I'm almost glad she's come. (Briskly) At any rate, I'll see to it that she goes back to Howard. He's a.very nice person and.whatever happened can't be that serious that a good talking to can't fix. DOC That's kind of dangerous, isn't it? MOLLIE What? DOC Getting involved. -35 MOLLIE No. I've been involved, as you call it, all my life. Even though you tell me that I'm not their mother, I was— for all practical purposes. I had to be when Mama died. And I've, been working at it since I was sixteen. That's a long time, Doc...a long tine. I guess we're all used to it. DOC You'll be too busy being my wife to be busy with them. MOLLIE (Affectionatehy) That's what I want. More than anything in the world! Don't worry about the family. I'll handle them. The only thing we have to worry about is us. DOC And an apartment. Once we find a little place near the hospital, we could get married. . MOLLIE Married! I still can't believe it. DOC And the sooner...the better. FLO (From'upstairs) Mollie! MOLLIE (Calling) Coming! (To DOC) I'll be right down and we can leave right away. (MOLLIE goes upstairs and.DOC goes over to look at the records. He puts one on, listens a.moment, then the door-bell rings. DOC turns off the record and goes to the door. MISS PATTERSON is on the threshold. She is thin, in her early thirties. She has pretty features, but there is something sterile in.her pale, colorless face. Her short hair is bobbed, rather ridiculously like a small child's.) DOC Come in, Miss Patterson. Mollie's upstairs. MISS PATTERSON 0h...you're here? (She comes in.) Mollie asked me to stop over. (She looks at him curioushy.) -36 MISS PATTERSON (CONT'D) What happened...? Where did.you disappear to? DOC (Turns away) Disappear? MISS PATTERSON You were supposed to bring the Dubrowsky boy back to pediatrics. DOC I...I went out on the fire escape. MISS PATTERSON The fire escape! DOC {Evenly} Yes...I went to get some fresh air. MISS PATTERSON You're not ill? DOC No. MISS PATTERSON Well then...it's not like you at all. I had to call down to the men's ward to have them send an orderly up. They know we're supposed to bring the post-operative patients back. It was highly irregular. I never had to call downstairs before. I don't know what Miss Desmond thought. DOC (Exasperatedly) I'm sorry, Miss Patterson. (Sees her face) I really am. MISS PATTERSON (Slightly mollified) Well, I wouldn't speak to you at all about it except that...well, I must enforce discipline. It's been so difficult today...and.Dr. Rsndolph.was so angry about several things. DOC g2.was angny! (He begins to pace the floor.) MISS PATTERSON Is anything the matter? -37 DOC You saw it? The operation...What did you think of our Dr. Randolph? MISS PATTERSON I don't understand. DOC Didn't you see what that butcher did? A.first year medical student carving a cadaver would.put him to shame! Operative procedure! It was sheer butchery. MISS PATTERSON (Again the head nurse) We're not supposed to criticize our doctors. DOC (Savasely) But did.you.see the incision? The big clumsy exploration. For a simple hernia? I hope the boy'll be all right! (MISS PATTERSON does not answer. DOC turns to her exasperatedlyd Even in the suturing he was clumay. He worked as though he was sewing up a'burlap bag. Those sutures won't hold, especially when the kid starts coming out of the anesthetic. MISS PATTERSON (Slowly...almost absently; knowing he's right) You really have no right... DOC No... (Slowly) I have no right... MISS PATTERSON I did notice... (She stops, remembering she is a nurse.) You musn't get yourself so upset, Dec. You must remember we expect our staff to remain calm...to be conscientious...but calm. DOC Oh yes, calm. Conscientious but calm. MISS PATTERSON We can't allow our emotions to run away with us. DOC (Strangehy quiet) You...You're quite right. MISS PATTERSON (Curiously) How do you.know so much about operative procedure? DOC I...spent four years in the medical corps during the war. MISS PATTERSON Oh, I see... (Suddenly thinks of something) When you left the floor I thought you'd gone off with that doctor. DOC Randolph? MISS PATTERSON No...the doctor who was around looking for you. DOG For me? Someone on the staff? MISS PATTERSON I've never seen him before. He seemed most anxious to see you. DOC (Strangely perturbed) Did.he give his name? MISS PATTERSON He mentioned it...I can't quite remember. DOC Was it...Frisbie? Doctor John Frisbie? MISS PATTERSON Yes—s-s...I think so. (Firmly) Yes...I believe that's it! DOG (Agitatedly) You're sure? MISS PATTERSON Quite sure. I told him you'd probably be here. DOC (Excitedly) Ybu.told...Look, I've got to leave now. Would.you tell Mollie I'll call her? (He rushes out. MISS PATTERSON stares after him.) MOLLIE (Coming down the steps) Why...where's Doc? MISS PATTERSON He said he'd call. MOLLIE (Puzzled) Call? That's strange...did he say anything else? MISS PATTERSON No...I hope I didn't interrupt something. MOLLIE (Still puzzled) No...No, I'm sure you didn't. Sit down, Miss Patterson. MISS PATTERSON (Smiling) Elaine. MOLLIE Elaine... (But her mind is still on DOC) I don't understand why Doc left. MISS PATTERSON I told him there was a doctor looking for him...He must have gone off to see him. MOLLIE (Relieved) Oh. (Smiles. She is ready for the business at hand.) Elaine... the reason I asked you.to stop here was because I wanted to talk to you alone...away from the students. MISS PATTERSON I like coming here for any reason. MOLLIE Thanks. I like having you. And...I was talking about you. To a fellow I know. Benny Prince. He said he'd like to meet you. MISS PATTERSON (Surprised) Me? MOLLIE You. I said I'd ask if you.wanted to meet him. He's a little shy- bum very nice. MISS PATTERSON (Flustered) But how? I mean...did he ever see me? Here...or in.your father's store, maybe? MOLLIE He might have. I don't know. Maybe I mentioned.your name...I don't , remember. MISS PATTERSON (Agitated) Oh, Mollie, I...I don't know. MOLLIE Look, Elaine... (Smiling) What have you got to lose? He's lonesome and he's nice. So I told him about you. After all, you and I are friends, so what would be more natural than my thinking of you. (She has warmed up to her subject and is being charmingly'persuasive.) I didn't think you'd mind. MISS PATTERSON (Hastily) I don't mind. It's Just...well... MOLLIE (Pats MISS PATTERSON on the arm) Everything will be all right. You'll see. It's the first plunge that's hard. I'll call Benny and tell him.you'll be over tonight. Okay? MISS PATTERSON I...yes. I could come over tonight. MOLLIE Good! Then it's all settled. Make it about seven. MISS PATTERSON (Impulsively comes over to MOLLIE and puts her hand on MOLLIE'S arm) Thanks, Mollie. MOLLIE I'm glad I could...Elaine. New don't forget. Make yourself pretty. (MISS PATTERSON starts to leave, then) MISS PATTERSON Oh, Mollie, I Just thought...I was told this morning that the helper in Central Supply is leaving. I could speak to Miss White about you. -Hl MOLLIE You mean transfer from the Children's Ward? MISS PATTERSON (Node) It's better hours. No split shift and the atmosphere is calmer. You'd have much less demand on you. MOLLIE (Shakes her head) I wouldn't like working with sterilizers...and instruments. It's too... Well, this Job wouldn't mean anything to me if I couldn‘t be with the children. Thanks for thinking of me anyhow. MISS PATTERSON (Formally) I thought you might like it. MOLLIE It was very thoughtful of you. MISS PATTERSON (Appeased) I thought the hours might be better-especially now. (She looks at MOLLIE wistfully.) I'm glad for you. MOLLIE Doc? I know. Thanks. MISS PATTERSON I meant to congratulate him, but he rushed off in such a hurry... MOLLIE Well... ‘ (The door-bell rings. MOLLIE answers it. It is FRISBIE on the threshold. He is about fortyafive years old, slight in build, but with an authoritative air.) FRISBIE I beg:your pardon. I'm sorry to bother you, but I was told that Alex Fischer is here. I believe you call him Doc. MOLLIE Doc? Did you.eall him Alex...Alex Fischer? FRISBIE Yes. MOLLIE Oh...Come in, won't you? -#2 FRISBIE (Looking around) Is he here? (Sees MISS PATTERSON) Did he come back to the floor, nurse? MISS PATTERSON NO. He was here though... MOLLIE He left when he heard you were looking for him. MISS PATTERSON I told him... FRISBIE (Quickly) You told.him I was looking for him? MISS PATTERSON Yes. MOLLIE He must be trying to reach you. FRISBIE (Wryly) No. He wouldn't do that. He's avoided me before. MOLLIE Avoided...? May I ask what you.want him for? FRISBIE It's... It's urgent that I see him at once. (There is a pause.) MOLLIE I wouldn't know where he is now. He said he'd call here. FRISBIE I see... (To MISS PATTERSON) Is he Off duty now? MISS PATTERSON Yes...Until tomorrow at seven. FRISBIE (To MOLLIE) Where would.he be likely to go? ~43 MOLLIE I...I don't know. He'll call here, I'm sure. Are you certain it's Doc you want? FRISBIE Oh, yes. MOLLIE Is something wrong? Doctor...? ’ FRISBIE Frisbie. John Frisbie. MOLLIE Is something‘wrong, Doctor Frisbie? FRISBIE Wrong? MOLLIE I mean...Doc...Is something the matter? YOu said "most urgent." FRISBIE Let's Just say that it's very important that I see him. MOLLIE Would you like to wait for him here? FRISBIE No, thank you. I'll go back to the hospital. Perhaps he's in his room. Goodbye. (He turns to leave.) MOLLIE DOCtOre e e (FRISBIE turns.) Is it serious? I mean, can't you tell us what the trouble is? FRISBIE I didn't 3 there was any trouble. Goodbye. SBIE leaves.) MOLLIE He didn't say! But then he didn't say there wasn't. MISS PATTERSON Oh, no...Mollie... MOLLIE (Suddenly) I'd better find Doc...but...wait a.minute... MISS PATTERSON What? MOLLIE He said.Doc had avoided him before...What could he mean by that? (MISS PATTERSON looks at her blankly.) Miss Patterson...He knows Doc...he knew Doc before he came here. (She starts for the door.) MISS PATTERSON Where are you going? MOLLIE TO the hospital. I have to talk to Doctor Frisbie... (MOLLIE hurries out.) FAST CURTAIN 45 ACTII Scene 1 (The time is later, the same afternoon, near dinner time. MOLLIE is alone on stage, in the rear, getting out some towels. SELMA comes in from the outside. She does not see MOLLIE. She looks around for a.moment, then crosses the stage toward the kitchen.) ' MOLLIE Looking for me? SELMA Hi! I didn't see you. MOLLIE (Bringing towels forward and placing them on the table) Honestly! All the years I've had to cart towels upstairs because that tiny linen closet won't hold more than a few at a time! (Shakes her head) You certainly can't call this house modern. SELMA (Abruptly) Is it true what you told me over the phone? MOLLIE About Flo? (SELMA.nods.) Yes. She's here. She's upstairs with Judy. Judy's got a pretty bad cold. That's why Flo left the baby with his grandmother. SELMA (Exasperatedly) Why did.you do it? Why did you let her come? Honestly. Mollie... you.promised! MOLLIE Don't get upset, Selma. I know I promised. But she came. She was here when I got home for lunch this afternoon. So, what could I do? SELMA You could have told her to go to.... MOLLIE Selma! SELMA All right! YOu could have told her to go home. -h6 MOLLIE Don't start anything with her now, Selma, please. She ig_your older sister. SELMA SO? MOLLIE So, you should show her more respect. SELMA What has she ever done to earn it? MOLLIE She worked hardp-paying the bills-to bring you kids up. It was a long time before Papa.made ends meet. Don't forget that! SELMA. As if she ever let anybody forget it! But why have you.got yourself mixed.up with her now? The house is being sold and.you're supposed to be looking for an apartment... MOLLIE. (Unperturbed) I am looking for an apartment. Doc is coming by to pick me up. SEEMA (Not surprised) He's going with you”..that's a good sign. MOLLIE And what's more... (She pauses.) You'll never guess... SEUEA (Flippantly) Flo broke a leg! MOLLIE Honestly, Selma... (But she is too happy to reprove her further.) It's...it's something yoque been wanting. SELMA (Eagerly) The deal on the house fell through! I mean... (She breaks off, embarrassed at her eagerness.) ~47 MOLLIE No, that's the same. But... (She pauses, then significantly) 'm not. SELMA Did he...did.Doc...? MOLLIE Propose? (She nods.) Last night. SELMA (With a squeal of delight) Mollie! (She rushes over and embraces MOLLIE in a tight hug.) I'm so happy for you! MOLLIE Ooooh...the bride will have crushed ribs. SELMA Cruehed...whole...what's the difference? YOu're going to be married! When? MOLLIE Soon, I hope. We didn't set a date. SELMA (Babbling) Congratulations...or do you say that to the man? Anyhow, you know what I mean. (She hugs MOLLIE again. Then, seriously) For some reason...I could cry. MOLLIE Sweet... (Kisses her) Thanks. SELMA (Again deliriously happy) If I hgd_practiced the piano, I'd play a beautiful wedding march. Well...why not try? (She rushes over to the piano and attempts a few notes. The attempt ends in a dissonant chord.) Oh, nuts! Well, the spirit was willing. MOLLIE (Has moved to the window) I wish this were facing the street so I could watch the hospital door. I wonder what's keeping him? ~h8 SELMA Stayed on duty again, I guess. MOLLIE No...he didn't. He was here and left...There was this doctor...a Doctor Frisbie...looking for him. I don't know why. I followed Doctor Frisbie back to the hospital... SELMA Followed him? What for? MOLLIE It worried me. I wanted to find out what it was all about. SELMA. Did you? MOLLIE NO. He was very evasive. We looked for Doc but he wasn't anywhere around. I told Doctor Frisbie to stop back here later... (She looks troubled) I don't know why I told him that. Suppose he... (She breaks off and walks away.) SELMA. Suppose he what, Mollie? Something's wrong, isn't it. MOLLIE (Bursts out) What do I know about Doc after all? He's in some kind of trouble he won't talk about. And suppose... (She turns to SELMA.) Dr. Frisbie referred to Doc as "Alex." SELMA. So? “Doc” is a nick-name isn't it? MOLLIE I once asked.him. He said it was a name like any other. But he wouldn't tell me. He acts so strangely when I ask him anything about his life before he came here. Don't you see? This Dr. Frisbie must have known Doc before. Maybe he has something to do with the reason.Doc's upset. SELMA. Don't you start getting upset. After all... FLO (Comes down the stairs) Who's upset about what? SELMA (Under her breath) Oh...Oh... FLO I asked you, who's upset about what? MOLLIE It's nothing, Flo. SELMA No. Nothing... (Suddenly , significantly) And then again, maybe everything. MOLLIE Selma, please! FLO (To MOLLIE) Stop running interference. ('I‘o SEIMA) What do you mean? SELMA. Maybe Mollie has plenty to upset her. FLO Me, for instance? Is that what you mean? SELMA You, for instance. FLO Listen, you little snip... MOLLIE (Bastily) Please, Flo. . . Selma. . .Don't start. Please. towels. I was Just going to bring them up. FLO (After giving saw; a withering look) I need a basin, Mollie. MOLLIE Here, Flo, here are the Did Judy's fever go up? An alcohol sponge would be a good idea. Here, I'll get the basin. (She moves toward the kitchen.) -50 SELMA (Stops her, with a look at FLO) You've worked hard all day, Mollie. I'll get it. MOLLIE It's under the sink or in the cabinet where I keep the soap powder. SELMA I '11 find. it. (She leaves by the kitchen door.) FLO My, she's helpful. A.regular little girl-scout! MOLLIE (Ignores it) Do you have enough towels, Flo? rte Plenty. Now...What's this business about my upsetting you? SANDER (Enters from the street) Hi, Mollie. Oh...hello, Flo. (FLO nods. SANDER is obviously excited. To MOLLIE) Well...why don't you ask me? MOLLIE (Excitedly) They called.you. The offer came! SANDER (Node) It's fifteen.hundred a.year more! And Mr. Williams-—he's the fellow I've been corresponding with-~said I could start anytime I could leave here. Of course, I'll have to give the people here time to find a replacement, but... What do you think about it, Mollie? MOLLIE I think it's wonderful! It's a good opportunity for you. You looked them up as I suggested? (SELMA.has come out of the kitchen with the basin and stands listening.) SANDER Dun and Bradstreet! Arl rating! (He pauses a moment, a look of concern passes over his face.) The only'thing is...suppose... FLO (Deceivinghy earnest) Mollie thinks it's wonderful. What more can you want? SANDER Nothing. I....I Just wonder if... Well, suppose it doesn't work out. MOLLIE It will, Sander. After all, isn't this what you've been looking for? From what you told me about that boss of yours, this new Job is a step up. And in the right direction for the future. FLO (With veiled sarcasm) Ybu.listen to Mollie, Sander. SANDER (EarnestLy) I will. But this is a serious step. You Just don't make a change like this lightLy. , FLO Of course. That's why you should have Mollie make your decision. SANDER Mollie doesn't decide for me. SELMA. (Thrusting the basin forward at me) Here's your basin. You said.you needed it. FLO (Ignores SELMAJS outstretched hand) Yes...? Mollie doesn't decide for you... SANDER (Warmly) Mollie h§§_been very helpful with this new job business. In fact, it was her suggestion that I look around for something else. Yes, her suggestions were very useful. FLO Better than they taught you in college? SELMA what is it you want, Flo? FLO (Sharply) I'm talking to my brother. FLO (CONT'D) (Suddenly , mild again) Nb, we were Just saying that it's a good thing you've got Mollie here to tell you when to button your pants. You do ask her...or does Barbara tell you?_ MOLLIE Flo...! FLO What...Flo...! I'm Just commenting how he runs to you for every little thing. SANDER (Protesting) An important Job change isn't a little thing! SELMA. (To FLO) And what do you.think you're doing? FLO (Turning on her) What? SELMA Running home to Mollie every time you and Howard have a little argument: Is it any different? FLO (Flaring‘up) What are you talking about? Do you,know*what you're talking about? I don't ask Mollie for anything. I don't want her advice. I can make up my own mind, and I don't need Mollie telling me what to do. What's more, if that's what's been eating,you, I can tell you right now... I didn't come here for Mollie's help! SELMA Then why did you come here? FLO This is Papa's house and... It's none of your damned business: (She grabs the basin which SELMA had placed on the table, and hurries upstairs.) MOLLIE (To SANDER) Don't mind.her, Sander. She...she's Just not very happy right now. SELMA. I'd hate to see her when she's realLy'unhappy. ~53 SANDER You understand, Mollie. I really had decided to take the Job before I came here. MOLLIE I know, dear. It's Just good to get someone else's reaction to your decision. SANDER (Eagerly) That's it, exactly. That's what I told Barbara. (He pauses.) So you think it's a good thing. MOLLIE I do. And don't worry about it. You'll do Just fine. SANDER Thanks. I'll call you if there are any new developments. (Turns to leave, then stops) Oh... What did.you decide about the house? MOLLIE The sale contract is to be signed tomorrow. SANDER Oh...Well, so long. (He leaves.) SELMA (Stares after him) Poor Sander. (Shakes her head) Do you think he'll take the Job? MOLLIE Of course he will. He Just doesn't like to rush into things, that's all. But he's got a good head on his shoulders. (A slight pause) I'll miss him. Cincinnati is so far away. SELMA Not really so far. And it's one less to annoy you. MOLLIE Don't say that, Selma. You think that because the famiLy comes here occasionally... Nobody annoys me. SELMA Not even Flo? -514. MOLLIE (Walks toward the store entrance) You can't imagine how lonely this house is after having had so many of you home. Papa in his store...customers coming in and out... (She looks into the store and for a moment, she is transported back.) You had such a feeling of being useful.... (Outside bell rings) It must be Doe. (She goes to door and BENNY is standing in the doorway. He comes in and his very movements betray that he is very flustered.) BENNY Kin I talk t' ya, Mollie? MOLLIE Sure, Benny. Sit down. BENNY No, thanks. (He sees SELMA for the first time.) Oh...hi, Selma. (SELMA. waves her hand to him.) I don't wanna bother ya.if you're busy, Mollie. MOLLIE You're not bothering me. BENNY It's Just...well, it's Just that... (He looks uncomfortably over to SELMA.) SELMA (Gets the hint) I'll start supper, Mollie. The potatoes in the same bin? MOLLIE The same bin. (SELMA leaves to the kitchen. MOLLIE turns to BENNY.) Sit down, Benny. (He sits.) Can I get you some tea? BENNY (Embarrassed) I'm not a guest. What I came t' say...That is, what I came over here t' ask ya... (He stops.) MOLLIE (Prompting) Yes, Benny? BENNY (Blurts out) What I wanna ask ya is... Mollie, I'm worried. About this here date, I mean. MOLLIE But it's all set, Benny. I told you. Miss Patterson will be here at seven o'clock and I'll introduce you. Then...you're strictly on.your own. BENNY (Fidgets. Then) That's what's worryin' me. What'll I do? I mean...How d'ya act with her? Her bein' a nurse and all. How d'ya talk t' her? MOLLIE She's a woman like I am. You talk to me. BENNY Aw...Y'know what I mean, Mollie. It ain't the same. MOLLIE What do you talk about with other girls? BENNY Who talks? Those t'matoes... (He stops, embarrassed.) I Just don't know how t' act with a nice girl. MOLLIE Just be yourself, Benny. Just as you.ere. (Assurinsly) You'll do Just fine, I know. BENNY D'ya think so? MOLLIE I know so. BENNY (Still not convinced) I mean, I don't hafta.put on.any extra manners or nothin'? Her bein' so refined. MOLLIE You'll know what to do. I'm sure of it. Just remember. She's lonely and wants to meet you. YOu're lonely and want to meet her. So? What else do you need? -55 BENNY (Rising) Yeah... Thanks, Mollie. You're real... (He gropes for a word suitable to describe her.) ...swell! (He goes to the door.) MOLLIE I'll phone you when she comes in. BENNY Yeah. (Goes out slowLy; his whole body reveals him deep in thought. He is almost out of the door when he pokes his head back in.) D'ya think the movies is okay? T' take her to, I mean. MOLLIE It's fine. (BENNY leaves. MOLLIE looks after him thoughtfully, then goes about straightening the room. She looks toward the kitchen, and calls) Need any help, Selma? SELMA (Off-stage) Got it all started. (At the kitchen door) Can I invite myself to dinner? MOLLIE Do you even have to ask? But what about your husband? SELMA Mark's out of town. (Goes to cupboard in back) Table cloths in the same drawer? MOLLIE Nothing's changed. (She goes to window to peer out. SELMA.takes a cloth and spreads it over the table.) SELMA This feels good. Nothing's changed. It's as though I never got married and never left home. (She looks toward the upstairs.) If she weren't here, it would be like it was after everybody got married and left the house. Just the two of us...and Papa, of course. It was wonderful after Anna got married. Just the two of us left. Wasn't it nice? (MOLLIE doesn't answer. SELMA looks up.) Mollie? MOLLIE I'm sorry, dear, what did you say? SELMA You're worried, aren't you? You always stood over by that window whenever any of the kids hadn't come home yet. It's Doc, isn't it? (MOLLIE nods. SELMA.comes up to her.) YOu.can only see Benny's house out there. MOLLIE (Comes back into the room) I know. (SELMA goes to the chest in the back and takes out silver and sets three places at the table.) Set an extra place. If Doc comes in before supper he may stay and eat with us. SELMA With Flo for an appetizer? MOLLIE (With a smile) He can take care of himself. (Door-bell rings) Shall I leave you two alone? MOLLIE (Going to door) NO. I want him to know you. (MOLLIE opens the door. FRISBIE is there.) FRISBIE Sorry to bother you, but has Alex...has Doc come here yet? MOLLIE No, not yet. But won't you come in? (FRISBIE comes in) Sit down, Dr. Frisbie. ERISBIE NO, thanks. I have to find Alex. I've looked everywhere I could think of. MOLLIE He's not at the hospital? FRISBIE No. (Pause) YOu don't mind my coming here? MOLLIE No...no. That's quite all right. I'm glad you came. (Suddenly remembers SELMAJS presence) Excuse me. Selma, this is Dr. Frisbie. Dr. Frisbie...my sister, Mrs. Werner. SELMA (Bringing glasses to the table) Hello. FRISBIE (uncomfortably) How do you do. (To MOLLIE) I seem to have interrupted something. (Notices the set table) Your dinner? MOLLIE No. It's a little too early. (She laughs.) We Just get ready early from habit. FLO (From upstairs) Mollie! Where are the extra blankets? MOLLIE (To ERISBIE) Excuse me. (Goes to foot of stairs and calls up) They're in the little chest in my room. FLO (Off-stage) What? FRISBIE (UncomfortabLy) YOuérI busy...I'll... MOLLIE Oh. . .110. O O (Motions to SELMA) Selma, would you please. . .? SELMA (Who has been waiting curiously to find out what FRISBIE wants) Oh...sure...I'll get them. (She hurries upstairs.) FRISBIE (Turning to leave) Perhaps I can try his room again. MOLLIE (Hurriedly) Don't go, please. Sit down, won't you? (FRISBIE hesitates, then sits.) Would.you like a cup of tea...or coffee? FRISBIE No, thank you. (There is a slight pause. MOLLIE site, then plunges in.) MOLLIE What's this all about, Dr. Frisbie? FRISBIE I beg your pardon, Miss... MOLLIE Granoff, Mollie Granoff. FRISBIE (Acknowledges the introduction) Miss Granoff. (Gurtly) I am not at liberty to discuss it. MOLLIE You said it was important. FRISBIE Very important. (There is another pause.) MOLLIE Is Doc in trouble? . ERISBIE (Firmly) I'm sorry, but I can't discuss it. (Rises) I'll come back when... MOLLIE Oh, please. If Doc's in any trouble, I've got to know. (ERISBIE looks at her curiously.) You see, we're going to be married. FRISBIE (Surprised) Oh...I didn't know. (He sits down again.) Miss Granoff... How much has he told you about himself? MOLLIE I know very little about Doc. FRISBIE He never told you then about...about what he did before he came here? MOLLIE No. (Hastily) a I don't think it's because he didn't want to. Everything's so bottled up inside of him. Somehow I think he must have been... PRISBIE Yes? MOLLIE Hurt by somethings-or someone. FRISBIE He was. And he does need.help...badly. (Looks at her intently for a moment) That's why I'm here. ("1713) I've had quite a time trying to find Alex. I finally traced him from the last pharmaceutical house he worked for. They had sent some references here. I came right on out. (He rises.) I haven't much time. I've got to make him see that he belongs back in the clinic. MOLLIE Clinic? (There is a long pause when.Dr. Frisbie does not answer.) What clinic, Dr. Frisbie? (SEIMA comes down from upstairs. FRISBIE on point of replying doesn't say anything. SELMA. looks from one to the other. There is a momentary look of under- standing as SELMA.meets MOLLIE'S glance. SELMA.goes into the kitchen. MOLLIE asks slowly) You said something about a clinic, Dr. Frisbie. Yours? ERISBIE No. Net mine. (Suddenly) Miss Granoff, Alex is a doctor. A.very good one. ~61 MOLLIE (Slowly) A.doctor! A.real doctor? ERISBIE A real doctor. (Warmly) They don't make them any better. I want him to come back...to do the work he should be doing! MOLLIE Thence e'hye e .I ERISBIE (Goes on as if she had not spoken) To see that man work! There's something magnetic about him. Not just as a clinician, but as a man. He can walk up to a childp-a very sick childr-who refuses to take any nourishment...and Just talk to him. The children sense it somehow, the love he has for them. They Just feel he cares...and they do what he wants them to. He's... MOLLIE (Enthusiastically) I know. I've seen him work. I've known for a long time there was something special about him. Not about his being a doctor, of course... the kind of attention he gives the patients. (Thoughtfully) It's almost as if he can't help himself. ERISBIE The board wants him back. And I want him to come back. But he..... (He stops.) MOLLIE Yes? ERISBIE (Formally) I can't tell you. I'm sorry. It's for Alex to do that. MOLLIE You must tell me. I don't understand. Everything is so confused. Why would he leave the clinic and become an orderly here? Why? FRISBIE (Ill at ease) Please, Miss Granoff, I've said too much already. MOLLIE (Agitated) You've told me how good he is. I didn't have to be told. What I didn't see with my own eyes, I felt. (Pause) ~62 MOLLIE (CONT'D) Why did he leave the clinic, Dr. Frisbie? (There is a pause as ERISBLE doesn't answer.) Can't you see I want to help him and I can't unless I know what's wrong? _ FRISBIE You love him very much, don't you? MOLLIE Very much. ERISBIE Alex.means a great deal to me too. If it hadn't been for Claire (At CLAIRE'S name MOLLIE looks up sharply) and Alex that year we finished our internship... (He pauses.) Alex gave me my Job at the clinic. If I can help it, I'm not going to let him ruin his life. (He rises.) I'd better go try the hospital again. Perhaps he's returned to his room. MOLLIE You knew Claire...You knew his...wife...for a long time? FRISBIE (Briefly) Yes. MOLLIE (Senses that ERISBIE will say no more. But she is still very perturbed.) Just tell me this: Is Doc in trouble? ERISBIE (Kindly) Now, don't worry about that. But he's got to go back. That's all I can tell you, Miss Granoff. Now, if you'll excuse me. (He turns to go.) MOLLIE (Hastens after him) When Doc comes...How can I reach you? ERISBIE (He stops and thinks for a.moment.) Have me paged at the hospital. I can.be here in a few minutes. (He turns to leave again.) MOLLIE Dr. Frisbie? (He turns.) I'll do anything to help. Anything. (He goes out while MOLLIE stares after him, then she goes to kitchen door and calls.) Selma! SELMA (Enters) Oh, he's left? MOLLIE Yes. (Abruptly) Is dinner ready? SELMA Just about... (Slight pause. Bursts out) Well, what did he say? MOLLIE (Deep in thought. She does not answer. Goes to the foot of stairs) Flo! Dinner's ready. (To SELMA) Frisbie wants Doc to go back with him. SELMA Back? MOLLIE Doc's a doctor. SELMA A doctor! (Phone rings) MOLLIE (Rushes over to the phone) Hello? Oh...hello, Howard. No...she's...she's out at the moment. Oh, I'm sure she will. Yes...the minute she comes in. Yes...yes, Howard, I certainly will try. Goodbye. (To SELMA) I hate having to say that! - SELMA Poor guy... (She isn't thinking of Howard though.) But...why should.Doc be here as an orderly...? (MOLLIE is about to reply when FLO appears.) FLO Well, I guess I'm ready for dinner. MOLLIE I'll have it on in a minute. SELMA I've got it all set. (She goes to the kitchen.) MOLLIE (To FLO, almost absently) Did.you give Judy some Juice? FLO (Tartly) I heard you.when you.euggested it before. MOLLIE (Whose thoughts were elsewhere) What? FLO I'll give Judy her Juice and her baths and_her enemas Egg take her temperature when.I.think she needs them. (SELMA.comes in with the dinner. MOLLIE rises and takes some of the platters from her. They all sit down.) MOLLIE Potatoes, Flo...? FLO No. (There is a long pause as they eat silently.) SELMA My, this is cosy here. FLO What do you want? SELMA (Innocently) Me? Nothing. It Just reminds me of the good old days. Real cosy... FLO You.don't think I'm here because I like it, do you? SELMA (Abruptly) I'll get the coffee. (She leaves for the kitchen.) MOLLIE If you're so unhappy here, Flo... FLO Why don't I go back home, is that what you mean? MOLLIE I don't mind your being here. FLO I'll bet you don't. YOu'd like us all under the old roof, wouldn't you Mollie? MOLLIE (EvenLY) I said I don't mind you here...if you're civil. YOu've been tearing and lashing at everybody since you got here. FLO (Belligerently) So? MOI: L IE (Looks at her, then decides on another tack) Howard called. FLO Oh? MOLLIE I don't like to lie to him. (Softening) What happened, Flo? Is it the same reason as before? (FLO does not answer. SERMA comes in with the coffee pot. MOLLIE goes on persuasivelyu) All right. So he's not ambitious, and he doesn't make much money. That's no crime. He's a generous man and he's been a good father. Can you ask for anything more? FLO Sure, I could. Lots more. ( Suddenly) Oh, what's the use! MOLLIE (To SELMA who is pouring the coffee) Just a half cup, dear. (To FLO) Do you want to tell me about it? FLO Why? So's you could give me some of your precious advice? ~66 SELMA Maybe you could use some. FLO When.I want any information from you, I'll ask you for it. (Looks at SELMA with dislike) YOque so smug. Caught yourself a rich husband...YOu think you're so smart. SELMA So that's it! FLO (Turns back to MOLLIE) I want to talk to you.without your little echo over here. MOLLIE (Coolly) Selma's welcome here any time. FLO (Is on the verge of retorting, but hesitates. Then) What I had in mind was that I would go back to work. I saw Mr. Lewis and he'll gladly let me manage the store again. YOu can quit that crummy Job of yours and stay home with the kids. You'd like that and I'll like going'back to work. (SELMA,starts to say something, but MOLLIE cuts her short.) MOLLIE That isn't possible, Flo. I'm not going to be in this house. FLO Sure, I know. It's too big for you.elone. But if the kids and I are here... MOLLIE I... I'm selling the house. FLO Selling the house! Since when? MOLLIE Yesterday. I tried to reach you... FLO For my permission? I see you didn't need it. SELMA It's Mollie's house. Papa left it to her, remember? FLO Yes...I remember. Papa left it to her. MOLLIE I'm going to divide the money. You'll get your share, Flo. FLO Keep the money! (There is a pause.) MOLLIE Do you want any of the furniture? I thought you might want the piano for Judy. FLO (With a sneer) So now it's Judy you're educating. MOLLIE (Quietly) Nothing I do is ever right, is it? SELMA Not for her. FLO (Witheringly) Your apostle here... (To MOLLIE) Well...what'll you do now? MOLLIE I...I'm going to be married. FLO (Shocked) Married! SELMA It does happen to other people too. FLO (Ignores her. To MOLLIE) To whom? When? When did all this happen? What's going on around here! MOLLIE It's Dec. Dec Fischer. You've seen him here several times...the fellow who was here today. He asked me to marry him last night. no Him? The orderly? (MOLLIE and 53mm exchange glances.) MOLLIE Yes. ~68 FLO (Bursts out) Oh, for God's sake! What do you want him for? (Derisively) Brother, you must be desperate. MOLLIE (QuietIY) I'm not desperate. I happen to be in love with him. FLO At your age? SELMA You were no spring chicken when you got married. FLO You shut up! (To MOLLIE) We're talking about love... MOLLIE Even at my age...I'm in love with him. FLO (GrudBIY) Don't give me that. That guy'Just site around not saying a word to anybody. Once, he never even opened his mouth the whole time I was here. SELMA That's why. FLO (OminousLy) Selma, I'm warning.you. I've had all I'm going to take from yous SELMA Have you.readly? Well, isn't that interesting! (Gives a little laugh) You've taught me a lot in all the years you've carped at us. Well, I'm a big girl now. And if I'm as good as the master...you can consider yourself a good teacher. MOLLIE Stop it! Both of you! (Wearily) I'll go up and see how Judy is. FLO She's all right! I'll go when I finish my coffee. MOLL IE But she might need something. FLO So...? She'll wait. SELMA I'll go, Mollie. Sit and finish your coffee. FLO (As SELMA leaves for upstairs, FLO stares after her.) You ought to be very proud of your product. MOLLIE Don't start again, Flo. I don't want to argue with you. FLO I'm not arguing. (There is a slight pause. FLO looks at MOLLIE uncertainly.) Are you really going to sell the house? MOLLIE Yes. (There is a pause.) FLO What about my proposition? We could find another place to live. MOLLIE No, Flo, I'm sorry. I told you. FLO I heard you. I heard you. (Pause) Then you are serious about this marriage business? (There is another pause.) Where does that leave me? MOLL IE (Promptly) Go back to Howard. FLO (With a sharp laugh) You always had it didn't you, Mollie? The last word. An uncanny ability to get around everybody and yet get them to do what an, thought was right...and you're still doing it! MOLLIE I'm not trying to get around you. You asked me and I told you. It's as simple as that. FLO (QuietIY) You're really fantastic, you.know? YOu really are. You even did it to Papa. All those years...how you.managed.him! MOLLIE (Sharva) I didn't manage anybody. There was a houseful of growing, fighting kids. Somebody had to keep order. FLO And you did, is that it? MOLLIE I tried. FLO _ (The bitterness growing) With Papa's help. YOu got around him so he backed you.up on every- thing. Everything Mollie said was upheld... MOLLIE You exaggerate. Don't forget, I was at home...all the time. FLO I don't forget, not for a.minute, I don't forget. The way Papa.would sit here and the kids would ask him—~even about the smallest things- "Ask Mollie,“ he'd say. (Bitterly) And they'd run and ask Mollie, even though you were at the other end of the house. And I was sitting right here! Ask Mollie! (MOLLIE doesn't answer. She gets up and starts to clear the table.) Oh, I'm getting Mollie's silent treatment. What is it this time, Camille, or Juliet? MOLLIE (Looking at FLO intensely) What do you want, Flo? FLO (Elaborately indifferent) Nothing...absolutely nothing. I'm Just remembering a few things. About how right Mama was when she said you were so talented. Now I see the result of all the dramatics and all the dancing. I sit here and.watch with what grace you remove the dishes-awith that proper pained expression en.your face. It shows training! TOO bad I didn't have any. Then we could play this scene to perfection. MOLLIE (Puzzled) After all these years it bothers you that I went out for dramatics at the Settlement House? -71 FLO But the point is, Mollie dear, you were sent. You had the talent. "Look, Mama, watch me dance.I And everybody would come running because Mollie had learned a new dance step or some lines from a play. MOLLIE (Sits down again) I don't know why you're bringing all this up now. But let me remind you of a few things. You had the same chances I did, before Mama died. I even took you with me a few times. FLO You took me with you? To bask. in your bright light, you mean! MOLLIE (Annoyed) Look, all I wanted.... FLO (Her bitterness spilling out) You wanted! How did you—~auv of you—know what I wanted? Did anybody ever ask me? All homely little Flo was good for was to go out to work , at fourteen. Nobody ever asked me! We can't all act in plays or dance, but I wanted all right! Things nobody ever dreamed of. But I was a good little girl! I never said much, so nobody asked me. And I wasn't asked when I was told to go to work at fourteen. MOLLIE (Quietly) When Mama died, nobody was asked anything. We did what there was to do-that's all. And I became a mother at sixteen to a houseful of growing kids. FLO (Almost to herself) Just because you're quiet and never say much, nobody ever asks you. Then when you do talk, nobody listens. Nobody! (Rises and walks over toward the store) But you learn. Even Papa had to admit I was a good business woman. (With satisfaction) I was that! ‘ MOLLIE (Slowly) I knew you were bitter...but, I didn't know you felt quite like this. FLO Would you have been concerned, big sister? MOLLIE Of course. I was concerned about each one of you. I never dreamed you felt like this. FLO You didn't! Isn't that sad for you. One escaped.you. It gives me some kind of record, doesn't it? The one lone specimen of the Granoffs who escaped Mollie's treatment! MOLLIE (Puts her arm on FLO) You've been so hurt. I wouldn't have hurt you for anything, Flo. FLO (Flinging her off) Don't you feel sorry for me! Don't you dare! It doesn't bother me anymore, so don't you give me your saccharine sympathy. (With a superior smile) I've lived more than.you have even if you're two years older. I'm married, big sister. Corrections-I've been married and I have two kids to show for it. And what have you got? A.bunch of growneup kids, not even your own still tied to your apron strings. Hang on tight, Mollie. Because that's all you've got. Oh, yes...the orderly. YOu've got the orderly. (She laughs. She starts toward the stairs.) Dear Mollie...so helpful....always ready to do your damned bit. (Anerily) Your rotten, interfering bit! (She disappears around the bend of the stairs.) MOLLIE Flo! Wait.... What did I do wrong? (But FLO has gone. MOLLIE, to herself) What did I do wrong? (She shakes her head. Almost absently she begins to clear the table. She is very bewildered over FLO'S outburst. And every once in a while, she shakes her head as though trying to sort out the arguments to see them clearly; The door-bell rings. MOLLIE goes to the door and MISS PATTERSON stands on the threshold. Her short hair has been brushed and slightly dampened and a little curl, rather like an inverted question mark, has been enticed on each side of her head. She enters hesitatingly.) MISS PATTERSON (Looking around) Good evening, Mollie. He...Mr. Prince is not here yet? MOLLIE NO. I said I'd call him when you got here. He lives Just next door. (She goes to the phone.) MISS PATTERSON Wait, Mollie! I...I'm not sure. (MOLLIE looks puzzled. MISS PATTERSON takes a deep breath that ends in a sigh.) MISS PATTERSON (CONT'D) I wasn't going to come. (Hurriedly) I appreciate what you're doing but... (She pauses.) I haven't been out with anyone for a long time. The girls on my floor....They saw me setting my hair. There was a lot Of....comment. (She smiles uncertainLy.) Everyone there pays close attention to everybody else's social life. MOLLIE You mean you've changed your mind? MISS PATTERSON (Taking a deep breath) I mean, it's all right now. MOLLIE Good! (She starts to cross to the phone, when the door— bell rings. But before MOLLIE can get to the door BENNY has burst into the room. He stands there bursting with excitement. He is all spruced up with his hair hanging, despite his scrupulous brushing, in a cowlick. .At the sight of MISS PATTERSON} he is suddenly abashed at his display of eagerness.) BENNY (To MOLLIE) I shoulda.waited for ya t' answer the bell. MOLLIE You don't have to stand on formalities in this house, Benny. (Introducing) Miss Patterson... MISS PATTERSON (Smiling) Elaine. MOLLIE Elaine, this is Benny Prince. Benny, Miss Elaine Patterson. MISS PATTERSON How do you do? BENNY Pleased t' meet ya. ( -74 MOLLIE Now, if you'll both excuse me. I have dishes to do. (She gets the tray of dishes from the dining table and goes toward the kitchen, then turns.) Make yourselves at home. (She leaves. There is a long pause as MISS PATTERSON and BENNY covertly inspect each other: They have not moved.) BENNY AND MISS PATTERSON (Simultaneously) Well......... How.......... MISS PATTERSON Oh, I beg your pardon. BENNY That's all right. (He waves in.her direction, with a slight attempt at a bow.) Ladies first, I always say. MISS PATTERSON Well... (There is a.pause.) BENNY It's...it's nice t'meetcha. MISS PATTERSON Yes. (There is another pause.) BENNY It's a nice night, ain't it? I always say... (He stops, not sure what it is that he always says.) MISS PATTERSON (Encouragingly) Yes? YOu.were saying...Mr....Prince? BENNY Oh...that don't matter. Call me Benny, though. I ain't used t' no Mr. Prince business. It's kinda stuckdup. MISS PATTERSON (Smiles a little) All right, Benny. BENNY Say! YOu ain't half bad lookin' when.you smile. (Suddenly abashed) I mean...You're okay lookin'! Don't get me wrong or nothin'! It's Just that...well...when y' smile... (He searches for the right word.) You're...okay! MISS PATTERSON Thank you. (There is another awkward pause. BENNY reaches in his pockets for a cigarette and lights it. The act gives him a mellowed reassurance. He is ready to pursue the subject.) BENNY (Expansively) It's like I always say...gimme a girl with a nice smile any time! MISS PATTERSON Thank you. (She has not moved.) BENNY (Now he is ready for action. He has everything under control.) Well, whatta we standin' for? Whatta.ya wanna do t'night? [MISS PATTERSON Oh...I don't know. Anything you suggest. BENNY We could go t' the Wharton Street park and... (He stops and looks at her, then shakes his head.) No....I guess not... . (There is another slight pause. BENNY looks around for an ashrtray and not finding one, carefully cups his hand.under his growing ash and conveys it carefully down to his trouser cuff. MISS PATTERSON watches with widening eyes.) Tell y' what! Le's go t' the movies. There's a swell picture over t' the Cameo. Have y' ever been there? MISS PATTERSON No. BENNY It's a real classy place. It's worth the price Just t' see the lobby alone. Mirrors and pictures. Y' wouldn't believe it! That's all the walls is made of. And not advertisin' pictures or nothin'. There's real paintin's on.the wall. Almost as nice as wall-paper. F1 Ices. (BENNY flicks the ash in his trouser cuff again. MISS PATTERSON watches with growing distaste.) MISS PATTERSON (Politely) That will be fine. (She looks around, sees an ash~tray and silently hands it to him.) BENNY Oh...thanks. (Puts out his cigarette) It's like I always say...I don't take no date to no cheap place. (Calling to MOLLIE) Mollie, we're going! MOLLIE (Off—stage) What? MISS PATTERSON Good night, Mollie. MOLLIE (Off-stage) Good night. BENNY (To MISS PATTERSON as they leave) Maybe later we kin go t' the Wharton Street park. Whatta.ya say? (But we don't hear what MISS PATTERSON says for they are out of the door. MOLLIE comes on.) MOLLIE Have a good...oh! They've already gone. (She looks blankly'at the closed front door. Then, she walks over to the window and stands staring out of it. Suddenly, she walks to the landing and calls.) Selma! (She walks back to the window and peers out again. SELMA comes to the top of the landing. It is apparent that she has been reading for she has an Open book in her hand.) SELMA. Did.you call, Mollie? MOLLIE How's Judy? SELMA She was hot when I was in with her. MOLLIE I'm going out. SELMA (Curiously) You're going out? Can I go for you? Is it something you need? MOLLIE No thanks, dear. I'm going to run over to the hospital and see where Doc is. Something's wrong. This isn't like him not to at least call me. SELMA Anything I can do? MOLLIE Yes. Just stay near Flo in case she needs something for Judy. SELMA Well...I'll be in my old room. If she wants me she can yell. MOLLIE GO, dear. Go back and see if she wants something. SELMA Okay. (She turns to leave, then turns back.) Mollie, don't worry. (SELMA.leaves and MOLLIE gpes to the window once more. Then she straightens her hair and starts to the front door when the door-bell rings. Its suddenness startles her. She opens the door. DOC is on the threshold.) MOLLIE Doc...Oh, Doc. I'm so glad you're here! (She rushes into his arms to embrace him. He kisses her then holds her off searching her face intensely.) Where have you been? I've been so worried. DOC I should have called. But something happened. MOLLIE (Quickly) To you? DOC (Briefly) No. I'm sorry about this afternoon, Mollie...sbout the apartment. I've been out-walking...and I lost all sense of time. -78 MOLLIE You've been out until now? (He nods.) You must be starved. I'll get something for you. DOC I'm not hungry, thanks. MOLLIE But a cup of tea? You'd like that. (She stands over near the console.) Music? DOC (Smiling a little) Uh huh..... (He closes his eyes as the music fills the room.) And a cup of tea would be fine. MOLLIE (Hurries toward the kitchen) Sit down and I‘ll be right back. (She goes into the kitchen and.DOC sits in the large arm chair and draws his feet up on the stool. MOLLIE calls from the kitchen.) Maybe you'd like a little wine instead? DOC Just the ticket. MOLLIE (Offestage) I'll need your help. The bottle's on the top shelf. DOC (Lumbering to his feet) Coming, Mollie. (He goes to the kitchen door.) I knew I'd be good for something around here. (He enters the kitchen.) MOLLIE There...on the top shelf. (MOLLIE re—appears at the door and calls back over her shoulder.) The glasses are in the cupboard. ‘Would you pour some for us? I'll be right‘back. (She hurries over to the telephone and then, with a backward glance toward the kitchen door, dials a number. She speaks very low, but audibly over the music.) Hello? Reed Memorial? Main desk please. (MOLLIE waits, looking back now and then to the kitchen.) fl ~79 MOLLIE (CONT'D) Hello? Iu.like to have Doctor Frisbie paged. Frisbie...Yes...No, I can't wait. Just give him a.message please. Tell him to come across the street. Yes...be'll understand. (Doc stands in the doorway with the two filled wine glasses in his hands, while MOLLIE still has the receiver in her hand.) Yes... (MOLLIE sees Doc.) Oh...thank you. (She hangs up, looking guiltily over at DOG, wondering what he heard.) DOG Who'd you call, Mollie? MOLLIE The...hospital. DOG Was it about one of your children in the ward? (But DOG does not wait for an answer. He has other things on his mind. He hands her the wine glass.) Here. Drink this. You'll need it. (He goes over to the console and turns off the record.) You could have saved yourself the trouble. It was the Dubrowsky boy, you were calling about, wasn't it? He's the reason I went walking. I couldn't see or talk to anyone. MOLLIE why? What happened to him? DOC (Savaselfl He's dead. MOLLIE (Shocked) Dead! I can't believe it. DOG Didn't they tell you? (MOLLIE Just looks at him in disbelief) no. They're not very proud of this one. (Suddenly bursts out) won't they ever learn? How can they hays a.butcher like that on their staff? MOLLIE But the operation...It was a relatively simple one, wasn't it? -80 D00 Simple enough for even a secondsrate surgeon. But Randolph's bungling doesn't fit any category. MOLLIE Then how...? DOC Hemorrhage. Internal hemorrhage. (Fiercely) No reason for it. (He turns away.) None at all. MOLLIE It 's upset you. This is why you didn't come. DOG Yes...one of the reasons. MOLLIE (Slowly) Was the other reason Dr. Frisbie? DOG (Whirling around) Who? MOLLIE Dr. Frisbie. DOC Oh... He came here. MOLLIE Yes, he came here and I've talked to him. DOC You've talked... What did he tell you? MOLLIE (Carefully) He said...you were a doctor...a surgeon...one of the best. (Her assumed casualness leaves her. She comes close to DOC.) But he didn't tell me why you're hiding here. Why, Doc...? why are you working here as an orderly? DOG (Angrily) He had no right to tell you anything. ~81 MOLLIE He's your friend. DOC (Turning away) Why doesn't he leave me alone? MOLLIE He wants to help you. DOG I don't need his help! (Suddenly) How long was he here? MOLLIE The first time...for Just a few minutes. I followed him to the hospital, then... DOC You followed. . . (Slowly) You shouldn't have done that. MOLLIE I don't understand your secrecy. DOG I told you I'd tell you in w own time. You'd no right to follow him. MOLLIE (Flaring up angrily) If we're going to talk about rights, maybe we ought to consider whether you have any right to be angry at Dr. Randolph. You're angry and upset because an incompetent surgeon caused a child's death. But you.... DOG (Interrupting, brutally) You want so badly to know, don't you. Well, I'll tell you. I'm worse than incompetent. Dr. Randolph is incapable. He can't do better if he tried. He killed somebody because he simply doesn't know how to do better. But to be a good surgeon and...to kill. (He turns away.) Now you know the whole messy story. Now you know. (There is a shocked pause.) MOLLIE I know nothing. DOG There is nothing more to know. I held a life in my hands and I let it die. -82 MOLLIE (Whispers) I don't believe it. I won't believe it. DOG (Looks at her compassionately) It's true, Mollie. (Doe and MOLLIE stand looking at each other. The door-bell rings, but neither of them even hear the bell. The door-bell rings again. MOLLIE moves slowly to the door. FRISBIE is at the door.) MOLLIE Come in, Doctor Frisbie. (He enters. DOG has started at hearing his name and now stands stiffly, his back to them.) FRISBIE (Sees DOG. To MOLLIE) Thank you, Miss Granoff. (He walks over to DOG.) Hello, Alex. (DOG does not answer.) I'm glad I finally caught up with you. I've been looking for you all day. D00 (Turns, slowly) What do you want this time, John? FRISBIE Nothing. For myself...nothing. But for you...I want you to go back. DOC (Looks at I‘RISBID for a moment, then looks away) I'm acting boorish, but I've had a rough day. (Stretches out his hand) How are you John? FRISBIE I'm fine. You. . . ? MOLLIE Doctor Frisbie. . .. 7 (But neither of the men has heard MOILIE) DOC (To FHISBIE, as he shrugs his shoulders) As you see. FRI 5313: You're thinner. -83 MOLLIE (Bursts out. To DOC) Please! Are you Just going to stand there exchanging pleasantries? ( To FRISBIE) Just before you came in Doc told me that he... DOG Mollie! Leave it be! MOLLIE (Goes on as if he had not spoken) That he was responsible for somebody's death. FRISBID (CalmLy) Yes. I know Alex thinks so. But nobody else does now. It was one of those things that happens to every surgeon. DOG Does it, John? FRISBIE You've lost patients before. DOC Not like that! EHISBIE You're a fine surgeon, Alex. We want you.back. DOG I don't know why. FRISBID Everybody else knows why. DOG I appreciate your interest, John. I can't say I understand your persistence. (Gives a little laugh) Following me around... ERISBID And.you neatly eluding me. Why did you avoid me? Why did you.leave every Job as soon as I found out where you.were? (DOC does not answer.) Is it because you.knew your attitude is...unreasonable? DOC No! Leave me alone! -8# FRISBIE Do you remember that patient, Alex...the disturbed case on the third floor? Do you remember how he crawled out on the ledge and threatened to jump if anyone came near him? YOu didn't leave him alone, Alex; You crawled after him and used every persuasive method in your power. You didn't give up until he had put his hand in yours and came back with you“ Why did you try to save him? DOG He didn't know what he was doing. I do. FRISBIE (Quietly) Do you, Alex? DOC Yes! (In a low tone) Do you really think I can practice medicine again? Can I bring that patient back to life? MOLLIE What happened? DOC I told you.. I killed somebody. FRISBIE (To MOLLIE) He didn't kill anybody}. A.patient died during surgery. Every surgeon has to expect a certain mortality rate. DOG Mortality rate! A.nice statistical phrase! This was different, John. And you.know it. ERISBIE I know nothing. You.beat your breast publicly over the woman's death. All that publicity because you insisted you.had killed her! DOG (Vehemently) What would you call it when I walked into the operating room, knowing I was still unfit to operate. FRISBIE You're blaming yourself for nothing. In your upset frame of mind...that woman's death right after Claire died... DOC You.don't see, do you? I was a surgeon. I'm supposed to have a clinical detachment. (Shouts) I'm not a doctor if I can't be detached. MOLLIE You're also a.human being with human emotions. DOC A surgeon must feel no emotion. Hot in the operating room. And maybe not anywhere. FRI SBIE . Oh, for God's sakes. Suppose you did bungle the job. Suppose for arguments sake we concede you made a.mistake. You say you were over- wrought. You aren't now. You should be able to do as good a job as you ever did. You're still a good surgeon! DOC (SlowLy, in a low voice) I couldn't trust myself again. If you haven't confidence in.your ability you shouldn't take a.human life in your hands. (Looks at his hands) I felt them shake. I kept thinking that I had.to be careful. I thought...I even thought it was Claire. I had to be careful. (Bitterly) I was. Too careful. The Operation was a text-book success. But the patient died! It was...as though...Claire...died again. MOLLIE (Comes to him) You were under a strain. It's different now. YOu could go back. DOC Please...I don't want to talk any more. MOLL ID No. You must talk. Don't you see, dear... DOC I do see. Too clearly. I've had a long time to think. MOLLIE And what about today? What about someone like Randolph? (To FRISBIE) After I called you, Doc told me of the death of a little boy... DOC You called...? (He looks slowly from one to the other and feels suddenly he is being backed into a corner.) ~86 DOC (comm) Then the business with the wine...the phone call... And he came because you called him! FRISBIE Don't blame Miss Granoff. Alex. It doesn't matter how I knew you were here, the important thing is that I got to talk to you... DOC I don't need.you to talk to me. I know what I'm doing! FRISBIE I must make you see you're wrong...and I haven't much time. I've got to be back tomorrow morning. DOC I didn't ask you to come. FRISBIE Come back with me. DOC NO! I said no! MOLLIE Doc... DOC (Whirls on her) Or you either. I don't need you, either. Let me alone....both of you... (He bursts out of the house as MOLLIE and.FRISBIE stare after him.) CURTAIN FALLS ACT III (The time is fifteen minutes later. When the curtain rises, the stage is empty. From upstairs, MOLLIE and SELMA.descend. MOLLIE is obviously very upset.) SELMA ~ You did everything you could, Mollie. There's no point in berating yourself. MOLLIE But I should have said something...! I can't even think what... Anything, to change his mind! SELMA I guess Doc just doesn't want any help. Some people are like that. MOLLIE (Shakes her head) They become like that if nobody cares. Poor Doc! SELMA What about this doctor... MOLLIE Frisbie? (SELMA.nods.) He's leaving tomorrow. He Can't stay longer. (She takes a card from.her pocket and looks at it sadLy.) You can't say he didn't try! He's still hoping I can do something. I'm to call Hotel... (She looks down at the card again.) ...Carlton, if I can.get Doc to go back with him. SELMA If anybody can do it, you can. MOLLIE (Shakes her head) I don't know how. God knows I'd do anything! SELMA (With assurance) You'll think of something. You always do. MOLLIE There's so little time! (Suddenly) What if Doc leaves tonight? He's left other Jobs before when Dr. Frisbie found out where he was. SELMA. He wouldn't go without seeing you. MOLLIE No-o... (Her face becomes soft.) No, he wouldn't. (Suddenly, looks toward the stairs) Was that Flo calling? SELMA I didn't hear anything. MOLLIE I guess I'm just Jumpy. Doc...a sick child...Did you see how sick Judy looked? SELMA (Node) I looked in a few minutes before you came upstairs. I didn't stay though. I wasn't invited. FLO (Coming downstairs. To MOLLIE) Did you.put more Juice in the refrigerator? MOLLIE I think there's still plenty left. The pitcher's on the table. (As FLO starts crossing toward the kitchen) Flo! (FLO turns.) Judy looks very sick to me. You should call a doctor. FLO You at it again? MOLLIE No. Nb arguments. I'm just telling you. She's running a high fever. FLO Did you take her temperature? MOLLIE I didn't have to. I see enough sick kids every day to know a high fever when I see one. ' FLO All right, so you're the expert. But you don't see Judy every day. I'm the best judge of how she looks! And if I think she should have a doctor, I'll call one. (She leaves to the kitchen.) -39 SELMA Some day I'm going to tell that bitch... MOLLIE (Absently) Don't talk like that, Selma. (But MOLLIE is deep in thought. Something has occurred to her.) SELMA She's so damn unreasonable. (Sees MOLLIE deep in thought) What's the matter, Mollie? MOLLIE (Slowly) Nothing...and.yet...how could I have missed it! (Excitedly) Don't you see? I have the solution! It's been right here all the time. (She runs to the phone and starts to dial.) sums What is it, Mollie? MOLLIE (Is about to answer, but someone has answered her ring) Hello! Is Doc there? 0h...yes, George, this is Mollie. (Slight pause) Will you see? (To SELMA) He's calling him. SELMA What's this all about? MOLLIE (In phone) Doc? Oh...well, will you look for him? Yes...right away. I need him immediately. Tell him he must come. It's urgent... (Pause) Yes...very'urgent... (Pause) I can't tell you, George. But it's very important, and he must come immediately. (Slight pause) And George--be sure you say it just like that. Thanks. SELMA What are you doing? ~90 MOLLIE I don't know why I didn't think of it sooner! Judy is sick, and.Doc is a doctor, right? SELMA Yes, but he isn't... MOLLIE I'll persuade him. Don't you see? A.sick child...It's all here. Once he sees a patient as a doctor, it'll make all the difference. SELMA But...’ MOLLIE .All he has to know is that we have faith in him. He's lost that trust in himself. After that, it's just a short step to talking him in to going'back. SELMA (Embraces MOLLIE) Oh, Mollie...you're wonderful! MOLLIE (Thoughtfully) It won't be too easy. But once he sees Judy...I think he'll be easier to talk to. FLO (Coming in with the pitcher) There wasn't any juice left in the refrigerator. I had a time finding another can! Those grocery shelves of yours are a mess! (She goes to stairs.) MOLLIE (Blurting out) I've called a doctor to see Judy! FLO (Whirling about) You what? MOLLIE I called.... (She breaks off.) A doctor is coming to see Judy. (There is a slight pause.) FLO (Slowly) Who gave you the right? What the hell do you think you're doing around here? -91 SELMA She's not hurting anybody. MOLLIE You don't mind a doctor looking at Judy? FLO I wouldn't mind if you stopped interfering. I told.you before...I'll get a doctor if and when she needs one. MOLLIE But, Flo... (The phone rings. MOLLIE, nearest to the phone, picks it up.) Hello? Oh...Yes, she's here. Just a minute, Howard. (Holds phone toward FLO) He wants to talk to you. FLO (Sullenly) I don't want to talk to him. MOLLIE (QuietlY) Shall I tell him that? FLO Tell him whatever you like. Tell him I'm asleep-—-out--anything you like. MOLLIE (Suddenly) No...No, you tell him. FLO What do you.mean? All of a sudden you can't talk to him? MOLLIE (Hands her the phone again. She does not take her eyes off FLO.) Here. Ybu were so anxious for me not to interfere... FLO (Gives a short laugh) Oh, that! (Knowingly) You're paying me back. (Unpleasantky) Okay, bring your doctor, if that's what you want. MOLLIE No, Flo, you're twisting my motives around. I want the doctor, but this is something else. FLO Oh? MOLLIE ' (Quie'fly) I'm through lying for you. FLO How will it hurt you if you say I'm not here? MOLLIE Here's the phone, Flo. FLO What's the matter with you? I'm giving you a golden opportunity. It's what you want isn't it? MOLLIE (Looks at her, but does not answer. Into phone) I'm sorry, Howard. (She hangs up heavily.) FLO (Angrily bewildered. She hadn't expected MOLLIE to do that.) What did you do that for? What'll he think? MOLLIE (Slowly, but her anger is growing) Do you care? Do you really care what anybody thinks? FLO (Defiantly) No, not what you think. But Howard.... MOLLIE ...Is your husband. You're giving him the famous Flo lesson, is that it? FLO It's none of your damned business what I'm doing. MOLLIE You've made it my business! Like you've made it my business all your life. SELMA And you've made Mollie your whipping boy while you play hide-go—seek with Howard! FLO You stay out of this...! SELMA You mean I'm interfering? First Mollie, then me... MOLLIE (Interrupting. To FLO) Why do you leave Howard periodically....and come here? FLO I told you, it's none of your damned business. MOLLIE It's this house, isn't it? FLO What the hell are you talking about? MOLLIE I'm talking about you...and me...and this 'house. And the interfering I'm supposed to be doing. And the fact that you put me in the position to interfere! I'm talking about the fact that you don't really intend to leave Howard. ..and you never have. FLO I've left him all right! MOLLIE (Quietly) No. No, you haven't. You just run home when things get a little rough. And I'm right here...the scapegoat you've always used. I'm mighty useful to you! (FLO looks up sharply.) It's always suited your purpose to blame me for everything that goes wrong. (FLO does not answer.) SELMA And you messed things around here plenty because of your bitching. Half of Mollie's job has been to clean up your messes... MOLLIE (She has made no move to stop SELMA. To FLO) I'm convenient for that, aren't I. You always knew that, didn't you? (FLO stands sullenly, looking from one to the other, not answering.) Well, why don't you answer? (There is a long pause as FLO does not answer. She cannot answer for she has nothing to say. She looks away finally, and goes to the phone.) -94 FLO (Dials a number while MOLLIE and SELMA.watch. She sounds rather subdued and a little frightened.) Howard? Yeah...it's me. I...I'm coming home in the morning. No...I can't tonight. Judy's sick. No...nothing serious. Just a little fever. Yeah...I told you...The baby? He's at your mother's. (Pause) Well, what did.you think she'd say? (Some of her old assurance is returning. She is back in the driver's seat.) Oh, for God's sake...stop slobbering. I told you I'd come home. Nothing would keep me here. I wouldn't stay tonight, if the kid wasn't sick. Okay...goodbye. (She hangs up and turns to MOLLIE.) I'd rather go back to him any day, than stay here with you. (She goes to the stairs without looking at MOLLIE, then turns and gives MOLLIE a long, unforgiving look. As she leaves, MOLLIE makes a move forward as if to stop her, but her upraised hand drops to her side.) SELMA Sometimes I hate her! MOLLIE Don't, Selma! SELMA. (With satisfaction) I'm glad.you finally told.her. MOLLIE (UnhappilY) Did you see how she looked at me? SELMA. Oh, forget it! Everything you told her was true. And she knows it! MOLLIE (Crosses toward the easy chair) I wish...I wish it could have been different. I've tried. (She sits.) All these years how I've tried to reach her! SELMA Why don't you lean back and relax, dear. Here, I'll put the foot- stool up for you. (Looks down at MOLLIE who has thrown her head back wearihy) Some tea? MOLLIE (Does not open her eyes) No, thanks. SELMA. (Smilingly,'urges) I hear tea is very soothing. MOLLIE (Smiles, remembering she had said that) Okay! (SELMA goes to the kitchen. MOLLIE is leaning back comfortably. DOC bursts in. He looks anxiously around but does not see MOLLIE at first. Then he sees her in the chair. He comes close and peers down at her. A.tender, soft expression crosses his face.) DOC (Softly) Mollie? (MOLLIE does not answer. She has dozed.off. DOC kneels down beside the chair and kisses her.) MOLLIE (Stirring, opens her eyes) Oh, Doc...Doc...You didn't go yet. DOC (Tenderly) No. I just came in. Are you all right? (MOLLIE puts her arms up and draws him down to her. They kiss, a long kiss. Suddenly DOC leans away.) You're not sick, Mollie... MOLLIE No, of course not. DOC George said it was very urgent that I come. And when I saw you lying here, I thought... MOLLIE No, it's not for me. It's Judy. Flo's little girl... (She stops, afraid she has been too direct.) You.know that I trust you, dear... DOC Yes, but... MOLLIE And that I now know... (She stops.) It doesn't make any difference to me. -96 DOC (Stiffening) Yes? MOLLIE And that it doesn't change anything for me...I mean, I love you and trust you. DOC (Rises) What are you getting at? MOLLIE If I were very sick, I'd want you to take care of me. Over all the other doctors, I'd want you. DOC (Moving away) We've been all through that. I told.you. I'm no longer a doctor. (He turns. Then anxiously) You're sure you're not...? What's wrong, Mollie? MOLLIE Judy's sick, Doc. She needs a doctor to look at her. Her temperature is very high. DOC (Slowly) Did you call a doctor? MOLLIE (Carefully) Well...no. Flo...that 18.... DOC Is this why'you sent for me? (SELMA comes in from.the kitchen.with the tea. She sees DOC'S stiff back, and sensing the growing tension, leaves again for the kitchen.) MOLLIE I sent for you to take care of Judy. DOC (Impatiently) Get a doctor! MOLLIE (Speaking fast) No, Doc. Not Just a doctor. I want ygg to see Judy. Please, Doc, go upstairs and see Judy. DOC (Looks at MOLLIE incredulously) You do believe it, don't you? That people are quite simple beings. That all you.have to do is to move them around like chess pieces and they sit in the nice, neat square you put them in. MOLL ID No, Doc... DOC You can't manipulate people like that, Mollie. They can't move and jump and hop and become doctors because you tell them to. MOLLIE (Pleadingly) Please, Doc...We need you. DOC (Slowly) I don't think you need anybody. You don't need me. You never have. You've managed people for so long that you are quite self-sufficient. MOLLIE (Stunned) You're wrong! DOC Am I? The wine bit you.played.before...Calling Frisbie here. Now this! Quite the little manager, aren't you? MOLLIE (Close to tears) Is that what you call it when you love somebody? When you.want to help them because you love them? Is that wrong? DOC Love is understanding. It's knowing and accepting people for what they are. It isn't pushing them in a direction you think they ought to go. Your kind of love strangles and cripples. Don't you see that? MOLLIE (The tears are there, but because she is deeply hurt, she is defiant.) No, I don't see it. You don't understand. Ybu.think love is something you can isolate? Something that is neatly self-contained? It doesn't work that way... (In a low voice) I don't make people over. I don't want to. You don't know how I wanted to be left alone. Sometimes when my family comes to me with their troubles, I want to tell them to settle it themselves. DOC But you don't. (There is a slight pause.) MOLLIE (Simply) I try. DOC Not hard enough MOLLIE Don't you see....They need me! DOC And you enjoy it. Every minute of it. The demands they make of you are of your own doing. You never want them to stop coming to you. MOLLIE You never had a family. You don't know... DOC No...IBut I know how important it is for people to be independent. MOLLIE Your kind of independence? Standing off alone and ruining your life and your career? DOC (Nodding) liven my kind of independence. Right or wrong it's mine. W own mistakes...but of my own choosing. MOLLIE We don't always choose, Doc. Things happen...and when they do, we need somebody. Nobody can be all alone. Yet so many people are. They need somebody to care...You can't close your eyes and ears to people crying for somebody to care. For somebody to help them. DOC I didn't cry for help. I don't want any. Ho, Mollie, you can't twist this around to make it sound right. You've sold yourself an idea that you're everybody ' s keeper. . . MOLLIE (Accusingly) You're afraid of feeling... (She stops, looking up at him.) Maybe you're even afraid of love. You don't trust any emotion because you think that because you made a mistake once when you were upset... (She takes a deep breath.) Better to make a mistake in caring too much than not at all! DOC (Momentarily shaken) I...I don't know. MOLLIE (Her voice suddenly tender) You've confused yourself. You've been fighting against caring for people since you came here. But you couldn't, could you? DOG (Slowly) No...hut I didn't want to get involved. MOLLIE Not even with me? DOC Not even with you. .. (There is a long pause.) MOLLIE (Moves to the window) I...I guess you've said enough. DOC I'm sorry if I hurt you...but... (MOLLIE does not answer. DOC comes up to her.) Mollie? (MOLLIE stares out of the window, but still does not answer.) Well...I guess I'll go. (He turns to go to the door. He hesitates, looks back at MOLLIE who has not moved.) Goodbye. (MOLLIE does not turn. DOC stands uncertainly at the foor. Then he puts his hand on the door knob. There is a scream from off stage. SELMA.rushes out of the kitchen.) SELMA What happened? FLO (Rushing on from upstairs) It's Judy; She's having convulsions! (DOC has remained at the door. MOLLIE runs to stairs.) ROLL IE SelmaJ Come with me! ,_ (MOLLIE starts up the stairs with SELMA following.) —lOO FLO Mollie, wait! Which doctor should I get? Ours is on.the other side of town. (MOLLIE pauses. SELMA.goes on upstairs.) MOLLIE Get...Let's see...Get Dr. Randolph. He lives closest. Just a couple of blocks away. Call Lombard 2-5793. (She is almost upstairs.) FLO Mollie? (She is dialing.) Lombard what? MOLLIE (Turning back) 20 0.500.700.900030 DOC (Coming forward) Ho] That's the man who...Don't get him! He's....No, don't get him. MOLLIE (Had started when.DOC first spoke) I thought you. 0 e FLO (On phone) Hello? Is Doctor Randolph there? Oh...No...This is an emergen . (She hangs up.) MOLLIE (To FLO) Here! YUu gp up to Judy. I'll call the hospital. (FLO runs upstairs, while MOLLIE begins to dial.) DOC (Tersely) Hang up, Mollie! (MOLLIE looks up in surprise. DOC runs up the stairs. She stands frozen, holding the phone. Finally, she limply replaces it and starts up the stairs. On the landing she stands for a moment deciding whether or . not her presence is wanted or even needed. She turns, descends the stairs and crosses over down stage. She is bewildered at the turn of events and sits there deeply in thought. The outside bell rings, but MOLLIE does not hear it. It rings again, and after a slight pause, BENNY pokes his head in the door.) -lOl BENNY Mollie? You still up? I seen your light still on, so I rang th' bell. MOLLIE Excuse me, Benny, I didn't hear you. (There is a.pause. BENNY stands awkwardly not saying anything.) Is something the matter? BENNY (Shifts his feet uncomfortabLy) Well...Miss...This Elaine an' me....We had our date... MOLLIE (Wearily) I'd ask you to sit down, Benny. But.... (Sees his face and gives a little smile) Would.you come over tomorrow? Then we could have a nice long talk. BENNY (Disappointed) Oh, sure.. .sure. .. (He shuffles to the door. MOLLIE watches him. There is something rejected about him which reflects itself in his entire bodyu) MOLLIE Benny? (BENNY turns eagerly.) Maybe we can talk now. (BENNY comes back and stands uncomfortably.) Sit down, Benny. (He sits.) Now... (There is another pause. FinalLy) BENNY (Blurts out) I had a lousy time... MOLLIE (Concerned) Oh, I'm sorry. Hhat happened? BENNY This here...Elaine... (He stops.) MOLLIE (Encouragingly) Yes? ~102 BENNY (Explosively) She's a drip. A.regular drip! MOLLIE Miss Patterson? BENNY Yeah...her. She didn't have t' act so stuck up with me. Other people know somethin' too. Other people are people too. MOLLIE (Realizes his hurt) What happened? BENNY She made me feel like a regular nothin'! Like I'm a slob or somethin'! (Appealing) You now me, Mollie. I'm not a bum. I work hard an' I save my money. An' I take care 0' my grandmother. So what right has anybody got t'make me feel like nothin'! MOLLIE (Puzzled) That doesn't sound like Miss Patterson. She's so kind. BENNY T'you maybe. You don't scare her. You ain't a man. MOLLIE (Turns to look at him) 00...? BENNY I kissed 'er. One lousy, stinkin' kiss. An' she froze like a turnip. Right from the beginnin' it was no good. She starts right in at th' movies. She don't wanna go in. The picture ain't good. She don't like the paintin's on the walls. Honest, Mollie, you shoulda seen them. They're somethin' t' see! But are they somethin' for Miss Hoity—Toity? She's frozen standin' \there lookin'....like everything is nothin'! MOLLIE (Shaken) Oh , Benny! BENNY New, it wouldn't of been so bad except...I kissed 'er. I thought, maybe ....we11... She gets mad an' tells me I'm no gentleman. She'll buy me an ash tray. That somebody ought t' learn me manners. (He rises and paces back and forth in agitation.) Ip— . v I C v ~103 BENNY (CONT'D) Kin y' beat it? Me. My grandmother learned me manners from the time I was a little kid. Whatta she think I am? Does she think I was raised in some garbage can? MOLLIE (Rises. She has tears in her eyes and when she speaks, it is brokenly. ) Oh, Benny. It's 11w fault...the two of you...I should never have brought you together. You're too different and I thought... (She turns away.) I'm so sorry, Benny. BM It ain't your fault. Don't go blamin' yourself. MOLLIE (To herself) Moving chess pieces! BENNY What? MOLLIE I was wrong to bring you two together. BENNY Look, Mollie. I didn't come in here t' make you feel bad. You're my best friend. You're always so goalt' everybody. An' after all, I kinda asked ya t' find somebody. You're okay. Y' care what happens t' a. person. (MOLLIE has her back to him. He touches her gently on the shoulder.) Are y' listenin'? With you I feel like a real person...a somebody... like things I say means somethin'. I'm a real person with you. MOLLIE (Turns around and looks up at him) Of course you are! (Impulsively she reaches up and hugs him close to her, as if by the act alone she would remove the hurt she had inflicted. As she does so, BENNY '5 arms come slowly up to embrace her, but they hover uncertainly about MOLLIE. He is surprised at his newly discovered emotion. He does not dare to betray himself and his arms fall to his side. But MOLLIE has raised her head and has seen BENNY'S upraised arms and his struggle. She moves back looking incredulously at him. There is a long pause, as they look at each other. Then in a whisper) I'm sorry, Benny. —1ob BENNY (Moving away) I...I gotta go. (He goes to the door and turns.) You're a good...friend, Mollie. I'm...glad I have y' for a friend. (He turns abruptly.) Good night. (BENNY leaves.) MOLLIE (Stands for a moment looking after him, still stunned) I'm sorry, Benny. (DOC comes down on the 1anding,nand stands looking at MOLLIE who has her back to him. He seems shaken, 'uncertain: his air of assurance is gone.) DOC Mollie? (She turns.) Judy's better. MOLLIE (Simply, almost absently) Yes. DOC (Incredulously) You...You're so sure. MOLLIE I...told you“..before. (There is a pause. DOC is still on the landing; MOLLIE has not moved since BENNY left. They both look at each other, yearning toward each other, but neither can make the first move. Finally; DOC comes down the stairs.) DOC (Moving toward MOLLIE) Tell me again. MOLLIE I had.faith in you. DOC (Gives a short laugh) And that's all it takes. MOLLIE No. The rest was up to you. DOC You really think people can achieve something if given half a chance. -105 MOLLIE That's what I've always thought.) DOC And you provided them with that initial push. MOLLIE (She is about to say something, then pauses. She turns and walks away. Benny was Just here. DOG Oh? MOLLIE He was hurt tonight. Badly. (To herself) More than I even know! (There is a pause.) That initial push you speak of...Two fine people miserable...because of me.... (She turns toward DOC and speaks earnestly.) All the things you said before... (DOC starts to speak, but MOLLIE stops him.) No...Iet me say it...Everything you said...I've been thinking. Maybe I've hurt the others too. I don't know. Sander...Selm&t... (She gives a little bitter laugh.) Even Flo...The others...and you... Yet how can you measure in a teaspoon what you do for people? How do you measure love? When do you say, ”This is enough.“ (She struggles for a moment with threatening tears.) I...I wouldn't have hurt you...any of you...for anything. DOC (Gently, taking her in his arms) I know. (He kisses her gently at first, then passionately, longingly.) FLO (On the landing) Doc... (He turns.) Oh...Doctor...Judy's out of the tub now. Selma's putting her to bed. What shall I do now! (DOC does not answer immediately. He looks at MOLLIE, a long penetrating look. But MOLLIE has dropped her eyes. When DOC turns back to FLO, there is an authoritative tone in his voice.) DOC Get plenty of blankets...Keep her warm...and make sure she doesn't chill. She must be kept quiet. Give her fluids. I think that's all for now. ~106 FLO I want to take her home tomorrow. Can she leave? DOC (Shaking his head) I don't think so. She needs to stay quiet until her temperature is gone. But... (He looks back at MOLLIE.) I'll stop in tomorrow and.we'll see. FLO Thanks...doctor. (She leaves.) DOC (To MOLLIE) I'm not going back. MOLLIE Oh! DOC Not yet. I've got to be sure first. (There is a.pause.) Doctors are needed right here, aren't they? MOLLIE (In a whisper) Yes...’ DOC I feel I can try now... (Pause) It wasn't because I took care of Judy. MOLLIE Oh? DOC It's that wonderful blind faith of yours. It spills over, and it makes mistakes but...it's not afraid to care. (He comes close to her.) Will you.help me? MOLLIE (Humbly) You want me? DOC Very much. MOLLIE Even after what happened tonight? ~10? DOC Even then... MOLLIE (Determinedly) I shouldn't have made you come. DOC But you did. (He looks at her quizzicalky.) That half a chance I mentioned. MOLLIE (Promising) I'll be careful. I'll be very careful. DOC (Smiling) Yes...but not too careful... (He looks around.) This will make a good doctor's house. MOLLIE Not this house, Doc. I can't...I can't stay here. DOC It doesn't matter. You'll find another house. MOLLIE We'll find another house. (He takes her in.his arms. MOLLIE suddenly remembers.) Oh...Dr. Frisbie left this card... (She fumbles in her pocket.) You're supposed to call... (She suddenly covers her mouth aware that she had again initiated an action.) Oh, I'm sorry. DOC (Laughing, takes the card) Mollie...0h, Mollie... (He takes her in his arms again as THE CURTAIN FALLS ~108 BIOGRAPHY Pauline K. Schmookler was born in Philadelphia, Pennsylvania, and attended the public schools there. Her theatre training was mainly received at the Settlement Music School in Philadelphia.where as a child she entered the children's dramatic classes. Collatoral training in.ballet, modern dance, music and voice were also received at the School. Later, she entered the School's Little Theatre group and participated in many areas of play production, mainly acting. Some radio acting was done at station W'H A.T in Philadelphia. At fifteen, Mrs. Schmookler began to direct one of the children's groups at the School, progressing to the teen- age dramatic group. In Philadelphia she also directed some adult groups. Mrs. Schmookler taught creative dramatics at the Art Center in New Hope, Pennsylvania. Later, she was employed by the Neighborhood Center in Philadelphia to direct the teen-age group and supervise the center's dramatic program. Since coming to Michigan in 1949, she has taught acting in the Lansing Evening Schools in the Adult Education Program. Early attempts at writing for the theatre consisted of adapting several folk tales for the children's dramatic group. Further experience and training in writing were received at Michigan State University where Mrs. Schmookler received.her AsB. degree in 1955. As an undergraduate, she wrote a.number of short stories. In playwriting, she wrote two one- act plays. One, The Golden Grave-Stone, was produced at Michigan State in l94#a Tender Are The Vines is her first full—length play. “a“ 5m: «w hmmi on... End Date Due Demco-293 1——-—— HICHIGRN STQTE UNIV. LIBRQRIES llHllllllllllllllIIIHNIIIINIHIIII||l||llllHIIII|||H|l|||| 31293006279651