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    The Childrens Hour

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    The Childrens Hour

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    Helena Coll Arias
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    The Childrens Hour

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    Helena Coll Arias

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    © All Rights Reserved
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    of 34
    cast in the order of which they speak) Pecer Rocens Cornsaine Lo Fier Mus, Lax Morrag vey Mune Hoxex Bustos Rosas Wants Joser Lasum Mary Tiron Karey Wricer ‘Manritn Dost Docroz Josepe Cannist ‘Aoariia Mas. Amaia Tinroso ‘A Grocery Bor Aor t Living-room of the Wright-Dabie School, Lato afternoon in April Scans 2+ The same. Later that evening. ‘Aer IIL ‘The same as Act I. November. THE CHILDREN’S HOUR AcT I SCENE: A room in the Wright-Dobie School for gitls, a cone verted farm-bouse eighteen miles from the tovn of Lancet, Tt is a comfortabi tious room used as an afternoon study-room and at Downstage R, is a large window through which we see a stone wall covered with ivy. Up-stage of the wooden pilaster sup length of the room. similarly phone. On wall to L. of Bookcase is a bu , on which are four books and a clock, 71 i, Down R. in front downstage, is an iron cocl-or-wood scuttle, Two converted off amps bong from ceiling beam, x, and L. of Ii is early in an afternoon in Apel [AT RISE: MRS, LILY MORTAR is head back and ber eves closed, holding a book in her lop She is a lord woman of forty-five with obviously touched-up beir. Her elotbes are too fancy for a clas-room ig in chalr 1. of desk, ber Eight girls, from twelve to fourteen yeers old, are informally grouped on chairs and sofa. 1ANET is seated in chair D. R. of D. table, She is sewing on an apron, HELEN is seated in chair u, L. ofp, B table, sewing flowers on a red band sbich is intended for a bat. They both have sewing baskets beside using ber scissors on floor is front of ber, ROSALIE twbich sbe, nervoucty, follows the frantically studying for ‘sofa. CATHERINE is seated toring in a notebook, of sofa. Ste is facing 1. books, pencils, candy, et, ‘The eighth girl, PECGY ROGERS, is siting on L. arm of sofa. She is reading aloud from a book, She is bored and reads in a sing-song, tired voice. eolding @ and mi ming of ber hei 01s, in exana, is seated on R, end of ber, reading, LESLIE, obo is rg on floor leaning against 1, end I the girls bave schoo! books, note- ide them, pEcoY, (Reading as curtain rises) 1 hear him mock the luck of Caesar, which the Gods give men to excuse their after wrath: (Curtain is up, 4s.) “Husband, [ ecme. Now to that name my courage prove my ‘my other elements 1 give to baser life. So, have you st warmth of my lips. Farewel Iras, long farewell.” (PEGGY pokes CATHERINE.) I kiss you here. (wosLis pases some candy to LIS.) — (Looks up from atin book). Ail rite Ton dead. Te ser the exam was over and then go swimming. Ferebamus, ferebatis, fere, fere— (HELEN puts red band, on which sbe bas been sewing @ flower, on ROSALIE'S bead.) caTteRINE, (Jo L018. Ferebant, 8 Mrs, MoRTAR, (Opens ber eyes.) Evelyn, what are you doing? EVELYN, Uh, nothing, Mrs. Mortar. Mins, MORTAR, You're certainly doing somethi that you girls cannot sit quietly with your se mortal worde of the immortal bard, There wi (evenyy bes taken the band from Rosatis's bead and puts it on ber that thing? Who is sewing on thar? chief again. ars. MorTaR, You can’t wear that to church, Not when I chaperone the school. HELEN. (Takes band from EVELYN, puts it on D. R. table.) Might as well throw it away. jortan, Throw it away. If ever you had known the paags of ry, a8 I have known then — (Vaguely) Do something else ‘Women must learn these tricks, (Jo TEOCY and CATHERINE, Continue, please rect. Er, “The stroke of death is as a lover's pinch, which burs, and * (a. ¢. door has slouly opened and make staris to sneak {o the room, CATHERINE sees be, motions ber away. mane slowly and closing deor.) ledly, dreamy.) Lknow. (Then she goes beck to mum PEGGY. “Dost thou mvs thou vanishest, thou tell'st the world it is not worth leave taking.” (ROSALIE passes candy to HELEN.) CATHERINE, “Dissolve thick cloud, and rain; that I may say the Gods themselves do weep.” pEaGy. “This proves 1: me base: If she first meet the curled An- tony.” ns, montan, (Rapping on table.) We cannot have this. How many HELEN, Mrs, Mortar, we have exams tomorrow. We have to: (MRS, MORTAR, (Rises.) I cannot dlow you to use the sewing an tion hour t2 learn what you shosld have been learning the ent Peccy. (Trying to ngs, turns to MRS, MORTAR) Excuse me, « reads again.) “Hell make demand of her, and spend that kiss which ie my Heaven to have, Come, thow mortal wretch —” 9 MRS, MORTAR, (Crosses to 1, end of sofa. Jo PEGGY.) You're talking to aan asp. You're going to die. Try to feel, try. Try again. I'll give you the cue, ROSALIE. Whats a cue? MRS, MORTAR. A cue of their next speech. Specks to PEcoe, ay sharp teeth this knot intriasicate.” Be still. “OF life at once untie; poor be angry and dispaich, Peace, peace, dast thou not see ay bre ” Because you— saps, montan, (Crosses back to chair L. of desk, Sit.) I never missed a line in my life. Never. CATHERINE, (Rises, Crosses foward MRS. MORTAR to show her the book.) Yes, ma’am. Lock, (ms. MORTAR holds up ber band te stop CATHERINE.) Lois. Utor, fruor, fungor, potior and vascor take the dative, CATHERINE, (Returns to ber place on sofa. Kicks Low, Sits) Take the ablative, spi Pacey. (Jo caTitznine,) You've always correcting somebody. 101s, Utor, fruor, fungor, potiar and — Rs, MORTAR. (Raps on tate.) Lois, I cannot allow you to interrupt 1s this way. Pm sorry. ROSALIE. Were you ever in the movies, Mrs. Mortar? mans, stonrar, I had my offers. It’s a shallow art, Not for me. (Goes back to ber book ) ROSALIE, (EVELYN bas suddenly snipped another piece. RosALt® looks 1m tnirror.) Stop it. That's enaugh. OI to EVELYN.) You know what | That’s wi got my strapless dress, So there. EVELYN, That I want to see, You in a strapless dress! (cinis giggle) ROSALIE. I say you did it on purpose. Because he's coming to my house. EVELYN. He's coming to your house because he's your cousi, hat, A strapless dress — (Ant laugh.) 10 young women should think of yourg men, But is proper. ossut, Mrs. Mortar, was Mr. Morar very handsome? (any TiLroRD comes in 1. door ‘pens far exong’ crosses above D. Ls lable to L. of xs, sonzan,) Wel, young lady, where have you been? You were supposed to read Antony. Where have you been? ) I took 2 walk. ws, Morvan. Without asking my permission. The resule is that I kad to read Antony, and I have enough 0 do. You've been most dis courteous, (To class) And courtesy is breeding and breeding is most to be desired in woman, It’s what every man wants in woman. ROSALIE, May T have permission to write that down, Mrs. Mortar? EVELYN. We wroce it down last week ‘Mis, MonTAR, (JO MARY.) Mary, Iam waiting for your explanation Or I shall most certainly report Many. (Quickly.) [am sorry, Mrs. Mortar. 1 went to get you these flowers. I thought you would Ike them and I dida't know ie would take s0 long to pick ther, wins, MoRTAR, (Flatlered.) Well, well many. You were last week how much you liked flowers, and I thought that I would bring you some and — MRS. MORTAR. That was very sweet of you, Mary. (To class always are making u great st = candy 10 EVELYN. MAS. MORTAR Pi " carienive, “How much longer, © Catlin, are you going to abuse four patience?” (Zo Lois.) Now translate i, and for goodness sokes toy 10 get it right this time, (She and Lois are murmuring when KAREN [WRIGHT enters through U. c. door. Ske Jeeves door open. KAREN is on attractive woman of twenty pleasant in manner, witout sacrifice of warmth or dis at irs, gots to above desk. ion bas reached ber, an ennayed look. Ste 1s caeying some notebooks end papers which she places on desk) (or no reason.) “As sweet as balm, as soft a ir, ‘Antony —” JANET. Good afternoon, Miss Wright Loss. “Quo usque tandem abutere . . 2” )) Abatere. (Opens drawer in desk.) 5. Crosses to R, of KAREN.) Look at my fir, Miss Wright. Look what Evelyn did — KAREN, EVELYN, at bad, Miss Wright, but paper, and I was trying Ob, what shall shore here 's got funny hair, that way. (Feels her bair, looks pathetically at KARE do, Miss Wright? (Gesiuring) Irs long here, and and— KAREN. Come up to my room Tater and Fl see if 1 can fix it for you. (ROSALIE crosses D. 5 to R. of sofa, grabs pillow from under EVELYN, laces 1! on floor in front of w. exd of sofa, sits oni.) (MBS, MORTAR. And hereafter we'll have no more haircutting did you look for your bracelet? looked everywhere. I can’ find it. KAREN. Have a good look. It must be in your room somewhere. (3aRY comes in from, with her flowers im a oase. When she sees KAREN she loses some of ber assurance. KAREN Looks at flowers in surbrise.) many. (Crosses R, below dese to 0. afternoon, Miss Wright, (Cooks at KAREN, who is staring hard at flowers) MAS, MORTAR, She picked them fo late to class, but she heard me say ba sigh.) The firs wi the very first, are they, KAREN, Where did you get them? many, Near Conway's comfeld I think, KAREN. It wasn't necessary to go s0 far. There was a bunch exactly like this in the garbage can this morning. ROSALIE. Oh! (oiRis giggle ) (MRS, MORTAR. (After a second, rises) Ob, I can’t believe it! What a nasty thing to do! Garbage can flowen! (Crosses n. above sofa to above R. end of sofa. To many.) And'T suppose you have just as fie an excuse for being an hour late to breakfast this morning, and last week— exit through u. ¢. door. JANET, HELEN ad EVELYN cross up behind sofa, ROSALIE, PEOGY, LESLIE and Leis cross U. L. of sofa MAR, at- tempting a quick and un ber, toward 1. door. ROSALIE, PEGGY ard EVELYN go up the stars, Other iris go t, down ball.) 101s, (Toe last one, walking toward u. ¢. door) Ad, ab, ante, in, de, can't seem to remember the rest. (Re. 1. of desk, CATHERINE crosses above KAREN. Prac, pro, sub, super. Don’t worry, Lois. You'll come cut all right. (Lois smiles, exits through ¢. door, goes off, calling to CATH FERINE. KAREN picks up two books from floor in front of v. w. exd of soft, puts themt on D. R. table, takes pillow jrom floor n, of sofa, puts it on sofa, takes vase of flowers from 0. x. table to desk «s she talks) ‘Mary, Pve had the feeling—and | dor't think I’m wrong—that the ais here were happy; that they liked Mis Dobie and me, that they liked the schoo. many. Miss Wright, I have to get my Latin book. (ais Morrar comes D. R of sofa, sits Rend of sofa.) 13 AREN, I thought it was true until you came here a year ago. Bu think you've been happy here. Pve wanted to alk with you man before but I was hoping that you'd come to me, (Cooks at wa for‘an answt, gis none: thakes ber Bead) ta Many. Nothing, Miss Weight KAREN, (On front of desk) There must be something wrong or you woulda’? make up these stories so often. Why, for example, do you find it necessary to lie to us so much? any, Tm not lying. I went out walking and I saw she flowers and they looked pretty and I did't know te Stop i, Mary! Pm not inerested in bearing that T know you got the flowers out of the garbage can, now is why you feel you have to Many’s hand.) Mary, let's try to understand Be ‘you bave to take a walk, or that you just cat come to class, you'd like to go to the village by yours and understand, (wary slowly removes ber bands from xanes’s) T don't say that Tl always agree that you should do exactly what you want to do, But I've had feelings like that, tom—everybody has—ard I ‘won't be unreasonable about yours, But this way, this kind of lying you do, makes everything wrong. mary, (Cooking steadily at Kanew.) I got the flowers near Conways? come, KAREN, (Locks at MARY, sighs, rises, moves us, around n, end of desk, stands bebind dese for a moment.) Well, there doesn’t seem to be any other way with you; youll have to be punished, Take your recreation periods alone for the next two weeks. No horse-batk ri hockey. Don’t leave the schoo! grourds for any reason whatsoever. Is that leer? seany, (Carefully.) Saturday, too? KAREN, Yes. ‘Many, But you said I could go to the foat-races KAREN, ['m sorry, but you can’t go. any. Til tell my grandmother. here and the way I get punished for eve ry— MRS, MoRTAR. (Rise.) Why, Pa slap her hands! 1" litle thing 1 do. KAREN, Clgnoring a4ns, MoRTAR'S sheech, Jo many.) Co upstairs, Mary. any. I don't fee! well. Chal tof desk. Weary) Go upstainavw MARY, Is a bad pain. I've never had it before. KAREN, (Takes papers from desk, puts them ix drawer.) Go upstairs, Mary. Mary. My: breathe. (She takes long bre supstage) KAREN, (Sighs, shakes head, to MRS, MORTAR.) Ask Martha to phone Joe. jorrar, (Crosses u, sR. of desk, Lock: ink —? Heart trouble is very serious in a chi off.) et up. (KAREN crosses to t, her off t. After a moment off L. She is about the same soaks she is carrying in bottom shelf of from a box as KAREN enters from 1, of desk.) Did you get Joe? ig toc. rel i.) What happened to her? She was a few hi Ito he se couldn't go attack, (Takes vase and MARTHA. Where is she? (MARTHA crosses lo R, of desk.) KAREN. In there. Morta MARTHA, (Takes exant ‘wrong with her? ers from drawer of desk) A. (Throws flowers into waste-basket x. of cabi U, . of desk, begins to mark pal wonderful what kids can think up? Her [atest trick was aunt out of a lesson with those faded flowers we threw 0 threatened 40 go to her grand mother wit some tale abo treated. MARTHA, (Sits in chair R, of desk.) And, please God, Grandma would 45 believe her and take her away from here, (KAREN gets cigareties from desk drawer, offers one fo MARTHA.) KAREN. No, But we ought to do something, aMarrita, (Jakes cigarette.) How about having a talk with Mrs. Tilford? KAREN. (Smifing.) You want to do ie? MARTHA (KAREN lighls own cigarette) How about asking Joe 10 say something to her? She'd We don't get anywhere with might as well admit it. She's had more attention than am so bored with hearing myself say, ‘Mary, are you worcied about some the came, She causes trouble know how or why, but i's wrong, and we must do something abo KAREN, I know, All right, We'll ask Joe what he thinks. Be nice if she ide’t come back next term. (Laughs) And be very nice if our other nuisance didn’t come back, either, sarriia. (Caughs.) My aunt the actress? What's she been up to now? KAREN, The ustal foolishness, Last night at dinner she gove a full hour's lecture on the benefits of playing Cleopatra during a hurricane—that nes the pearls are the man in the box is a duke, and once he was Kane, Couldn't we get rid of her soon, Martha? 1 it hard on you, but she really ought not tobe here. MARTHA, (After a moment.) I know. kanes. We can scrape up enough money to send her away. Let's doit. Marna. (Affectionately pats ber arm.) You've been very patient about talk to her today. And I'l see to it that she goes "want to make Karen, (Cooks at ber waich.) Did you get Joe himeelf on the phone? 16 ‘MARTHA. He was already on his way, Isn't he always on his way over here? (Cor ion papers through nex! speeczes) KAREN. Well, Lam going to marry hin, D'm glad he wants to see me. sanriia, (Stowly.) You haven't talked about masriage for 2 long time — I mean, have you and Joe decided on —? be out smaietHta, So soon? Then we won't ke taking our vacation together? KAREN. OF course we will. The three of ws, You never told me that it was to be so soon. Yeu never told me about a house or — KAREN, We only decided the other night. (Crughs)) It's a big day for the school, I guess we're good teachers. Rosalie has finally put an could, MARTHA, (Rises, crosses & below sofa to betow m. end of sofa, In a bitter tone.) You really are going to lave, aren't you? xxaRES, Pm not going o leave, and yor know it. Why do you say things like that? We agreed a long time ago that my marriage wasn't going to sake any difference to the schoo! ‘MARTHA, But it will. You know it will Ie cart help it KAREN, That's nonsense. Joe doesn’t want me to give up here. Maris, (Moves up to, end of sofa.) I don’t understand you. It's ‘been so damned tard building this thing up, slaving and going without ings to make ends meet—think of having a winter coat without holes ing again—and now when we're geting on our feet, youre all iL is not going to interfere with my work here, You're making something out of nothing MaRrHa, (Sis R. arm of Sofa.) [e's going to be hard going on alone afterwards, 's s0— (Door ut, ¢. opens, BR JOSEPH CARDIN comes in. He is a large, pleasonttocking, carelessly 7 dressed man of about thirty-five, He carries a doctor's bag, closes door bebind him.) es to KAREN, Kisses ber.) Hello, darling. Hi, Martha, ello, Joe, anew, We tried to get you on the shone. Come in and look at your liele cou CARON, (Laughs) 1 don't like to look at her much. What's the matter Vernie's on my way over, Helped him with the new L. 2 baby — KAREN, Come and see her. She says she has a pain in her heart. (Crosses L above dest. Exits L., leaving door eben.) 1, above desk.) Our litte Mary pops up in every iy.) Go and see ter. Heart attacks are nothing to (ves tov, R, table) at er) Never played with one in my life, (E chair U. L, of D. R. (MRS, MORTAR enters L., clos- ing door, crosses above D.L. table to below desk.) ‘MRS, MORTAR. J was asked to leave the room. (MARTHA pays no alfen- tion.) Te seems that 'm not wanted in the room during the exemination, It was a deliberate saul 1s, monraR, T have been to good doctors in my better days. I say it’s customary to have an older woman present. manrisA, (Coughs) Tell that to Joe, Maybe hell give you a job as duenra for his oe. ss, siowTar. (Reminiscently) It war 1 who saved Delia Lamperts time she had that heart attack in Buffalo, right on the stage with- ‘out losing a Hine. Poor Delia! She London after he found there was no soap with me, Not nine months [ater he left her and ran away with Eve Cloun, who had made a gre ing the Infant Phenomenon when she was forty-seven, the British don’t ‘are about age. Deli’s heart attack came afterwards — 18 NaRTHA. (Sbarply.) Yes. If you've seem one heart atiack, you've seen them all. conTAR. So you don’t resint your aunt being snubbed and shumilisted? MARTHA, (Turns fo MRS, MORTAR, and—what’s even harder—very patent, ‘Mas. MORTAR. Patient with me? I lave worked my fingers to the bore to help you both— MARTHA, (Turns to papers.) Don’s tell yourself that too often, Aunt Lily; you'l come to believe i MBS, MORTAR. I know its true, Where could you have gotten a woman cof my reputation to give these chiferen voice letsons, ocution lessons? Patient with me? Here I've donated my services — aaaxtita, You are being paid. wus. wontar, That smal formance. maria, No wonder the theater's in trouble. It was very extravagant of them to pay you so muck. (Stddenly tired of the whole thing.) You've never been happy here, Aun: Lily. MRS. MORTAR, Satisfied enough, I guss, fer a poor relation, ‘marrits. You don’t like the school or the farm or — ¢ beginning you shoulda’s have bocg! s. Burying yourself cn a farm! Meeting no zen! You ing? I tsed to earn twice that for one per- 2 phe like regret it. (wanmita rises, taking paps with ber. Crosses above sofa to of MES. MORTAR.) MARTHA. We like fe here. (After a moment, leans over. soft to wns, morTAR) Aunt Lily, youve talked about London for a long tme. ‘Would you like to go over? is, mortAn. (Wit a sigh.) 1s been twenty years. I shall never live to see it again mantis, You can go any time you Ike. We can spare the money now, and it will do you a lot of good. Yor pick out the boat and Ill get the passage. (She has been talking rapidly, arccous to end the whole thing. Crosses t, to above desk) Now thas all fixed. You'll have a grand ‘ime seeing all your old friends, and if you live sensibly I ought to be able t let you hare enough to get along on. (Puls papers in desk drawer.) ‘MRS, MORTAR (STowly.) So you wantme to leave? 19 MARTHA. Gently.) Aunt Lily, you've wanted to go ever since T can remember. ‘xs, MORTAR, You're trying to get rid of me. ManTHA. That's it, We don’t want you around when we dig up the buried treasure. RS, MORTAR, So? You're turning me out? At my age! Nice, grateful irl you are! NARs. lng, crosses to below Lend of sofa) How can any. ‘8, and well be about the farm, about the school, you complain about Karen, and now Yyou have what you want and you're stll looking for something to com- plain about. MRS, MORTAR, (Rises. With dignity.) Please do not raise your voice. MARTHA, Be glad I don't do worse. ss, sontar. Pm not going to England, I refuse to let you ship me off any place you like. I shall go tack to the sage, Pll write to my agents ‘tomorrow, and just as soon as they have something for me Fil be out of here. (Moves away x MARTHA, The truth and it doesn’t make any difference whose Mas, MORTAR, (Turns fo MARTH.) You e money in the bank for you tomorrow. srs. mortar. You think I'd take your money? I'd rather scrub floors first. Mantua. Youll change your mind after the first floor. (Crosses to below desk.) Pve done the bese bby you for years, Aunt Lily. Your coming here wasn’t ever thought of as a permanent arrangement, You knew that. Youll be happier — MRS. MoRTAR, (Laughs knowingly. Moves up to R. of sofa.) 1 should hhave known by this time that the wise thing is to stay out of your way ‘when be's in the house. Manrita, What are you talking about now? Ms. MORTAR, (Crosses D. R.) Never mind. I should have known better. You always take your spite out on me MARTHA, Spite? (Crosses up R. of desk to above desk. Impatienily.) Ob, don't let's have any more of this today. Tm tired. P've been working since six o'clock this morning. ‘ss. MonTAR, Any day that he’s in the house is a bad day. mantis, (Crosses to 6.) When who is in the house? 20 as, moRTAR, (Crosses up to of soft.) Don’t think you're foeling me, young lady. I wasn’t born yesterday. And I dda't meet you last month, MARTHA, (Crosses R. to above of sofa.) 1 don't know what you're talking about. But { do know that the amount of disconsected nonsense jn your head tres me, and always kas, Now go ale your nap. MES, MoRTAR, (Crosses to MARTA.) I know what I know. Every ime ‘that man comes into this house, you're in a bad humor. (Crosses 1, Stage of MARTHA to above chair R. of dest.) Ie seems like you can't stand the idea of them being together. God when they get married, You're jealous 's what you'll do attitude of good-natured ir- ritation is gone, turns to seRS. MORI very fond of Joe, and you know it, ‘MRS, MoRtaR. (Crossing to ©.) I don’t know who you're fond of, Pve never understood you. (MARTHA moves away upstaje) You'd better got 2 beau of your own. That's what you need. Every womaa, no matter what she says, is jealous when anther woman gets a husband, Yourd just better set your cap for what comes along now — mania. (Comes back to above 1 end of sofa. Very sharply.) Aunt Lily, please stop that tak. I had too much of it for too many years. can't take any more, (MRS, MORTAR. (Crosses to MARTHA) You've always had a jealous and possessive nature, Even as a child. (MARTHA turns away.) If you had a friend, you always got mad if she liked anybody clse. That's what's happening now. And it's unnatural, Just as unnatural as can be I ay you need a man of your own, and— MARTHA. (Turns 10 MRS, MORTAR) The sooner you get out of here, the better, You are making me sick and I won't stand for you any longer. I want you to leave. And sow. I don't wish any delay about it — (At this point there is a sound outside c, door. MARTHA breaks off, angry end ashamed. mas. MORTAR crosses {, to above chair 2. of desk, After a moment, saxriia crosses to door, opets it. EreLyw and PEGGY are seen on staircase, PEGGY is picking wp some books she bas dropped. For a second mane stants still as they stop and look ct ber. Toes, afraid that ber anger with ber aut will color anything she might she crosses to above 1, ent of sofe and stands witb her back to then.) What were you doing outside the door? (eveLas ‘and PEGGY exter room.) EVELYN, (L. ¢. Harriedly.) We were going upstairs, Miss Dobie PEGGY. (RC) We came down to see how Mary was. a SS AR id you stopped long enough to see how we were? Did you heard voices and we coulda’tfelp— ‘onTAR. (Fake socal tone.) Eavesdropping is something ladies just don’t do. face the ebitdre rs now. We'll tale . (Slowly shuts door as they begin to climb stars.) MRS, woRTAR, You mean to say you're not going to do anything about that? MARTHA. ty) You should not be around children, 1s, Mortar, What exactly does that mean? manta, (Crosses doron to 1, end of sofa.) T things shouldn't be it that they can't hea. their home, and start looking at yourself, opens cud CARDIN comes in, (MRS, MORTAR, fead in air, gives suaRritn a malicious balf-smile and be thinks és a majesi ing door.) is Mary? 5 bis bag on desk, puts awey bis stetboscope:) Whats the th the Duchess? (Nods at door ¢.) ‘Marri, Rehearsing an exit in case she finds the right play. What about ‘Mary? ‘CARDIN. Nothing. Marita, (Sighs, I thought so CcaRas. (Cnughs.) Just o lite something she thought up, Heart trouble sounds important, and I guess she'd heard somewhere that faining seares peopl MARTHA. (Crosses L., leans against doun-stage side of desk) But its such a silly thing to do, She knew we'd have you in, (Sighs) Maybe she’s not as bright as we think she is. Any idiots in your family, Joe? Any inbreeding? CCARDIN, (Sits in ebair 1, of desk.) Don’t blame her on me. [e's another side of the family. (Caughs.) I don’t want any part of her. maria, Look, Joe, have you any idea what is the matter with Mary? I mean, bas she always been like this? ccaxpin, She's alvays been a honey. And her grandmother's spoiling hasn't helped any, either. Her father wos Aunt Ameli’s favorite som God knows why, but — 2 marti, We're reaching the end of our rope with her. This kind of thing cart go on. CARDIN, (Cooking at ber.) Aren't you takin ia MARTHA. (After « second.) 1 guess Iam. tnough and you won't know what to ta think somebody oughe to talk to Mr canois, (Ceusbs.) You wouldn't be meaning me now, MARTHA, Wel, she is your aunt and Karen aad I were talking about this aftemoon and — caRDIN, Pm marrying Karen but Tam not going to write Mary Tilferd into the contract. Incidentally, Karen tell you we'ce thinking of the old King house that’s up for sale? Maxi, (Sbirply.) She told me, incidentally. canots, What's the matter, Martha? MARTHA. Nothing. CARDIN. Cis face is grave, bis voice gentle.) Yes, there is, For a long time you and I have had something to talk about, Every time speak ‘of marrying Karen —— (MaRTHA turns aioay to ber.) Look here, Pm very fond of you and I've ked me, (Turns ber to him.) Don’t worry about the school, I don't want her to leave here, ‘poing to be like that, She'll still be with ‘you here — marrita. Pushes bis hands away.) Daman you! Leave me alone, Stop consoling me or patronizing me or feeling sorry for me or whatever you're doing. Leave me alone — (Puts her jace in ber bends, carpnt watches her in silence, then goes 10 9. L. ‘When she takes ber bands from ber fc 0 seriously? (Lights CCanDis, (Fakes ber bands in one of bis, patiing them with bis other hand.) You're not turing into anything except the nice woman you are, Puts an arnt around ber, and she leans ter head aga They are standing like that ween KAR=S comes in MARTHA, (To KAREN, as she wipes ber eyes.) Your friend’s got 2 nice shoulder to weep on. (Crosses R. to above L. nd of sofa.) KAREN, (Has crossed to R. of CARDIN, puts ber ers ar an admirable man in every way. Well, the angel ct very hurt and putting her clotnes back on, waprita. Her influence is abroad even while she's unconscious, Her 2 roommates were busy listening at the door while Aunt Lily and I were yelling at each other. KAREN, We'll have to move those girls away from one another. Away from Mary. (School bell rings from rear of the bouse.) Mantia, Thats my class. I'l send Peggy and Evelyn down. Beter put them in another room, KAREN. Yes, I will, (WARTHA exis C, leaving door open. She goes up KAREN goes toward 1, door. CaRDWN sits in D. L. chair) Mary! Mary! (any opens door, comes in, stands above chair 1. of desk, but- toning neck of ber dress, KAREN moves R. above desk to above cbalr L. of desk.) cARDIN. (Jo MARY.) Hows it feel to be back from the grave? Meet any interesting people? MARY. My heazt hurts, caRDIN. (Laughitg.) You like that story, don’t you? MARY. Hes my heart, and it hurts. I want to see my grandmoth to— (eveLyn ‘come down sters and enter areN, Come in girls, | want to talk to you ¢) We're awfully sorry, rally ‘m sorry, too, Pegay. (Thought ty) You and Evelyn never used to do things like this, Well have to separate you three. EVELYN, (Above L. end of sofa.) Ah, Miss Wright, we've been together almost 2 year. too long. Peggy, you will move into Leis’ room, Evelyn, Mary will go in with Rosalie, petted. You're al me. I get Blamed and punished for everything. (Jo can: Cousin Joe. All che time for everything, (Hany by now i c1 siolently and as KAREN balf moves toward her, canDis, who bas been frowning, picks MaRY up and puts ber down cr Sofa, EVELYN moves R. above sofa, PECGY moves up to bookease t. of c. door.) cannwn, (Sits beside mary on sofa.) You've been unpleasant enough to ‘Miss Weight, Lie here until you've stopped werking yourself into a ft. Come over to the office one day. Pl show you how to do a good faint. (Crosses to dest, picks up bis bag, smites at xAREX.) She's not going to hurt herself crying, (Crosses upstage between sofa and desk, be reaches over, bats Man's bead.) Take good eare of yourself. (Exits ¢.) KAREN Tl walk to the car with you. (Jo girls) Go up now and move m your things. Tell Lois to get her stiff ready. (Exits c. A second efter they leave, many springs up, throws a custion from sofa ot door.) EVELYN. (Closing door.) Don't do that. She'll hear you. (Psccy picks up cushion, puts it back on sofa.) ‘MARY. Who cares if che does? And she can hear that, to. (Takes small china kitchen omanent, a fi 1m table and throws it on floor. EVELYN and PEGGY gasp, and many’s bravado disappears for a moment. She rises) EVELYN. (Frighlened.] Now what are you going to do? (Stooping dowe to pick up the pieces, evzcyn helps ber.) R. of desk, eveLyN gets some scotcb tape from » bockeaie, comes to upstage of desk. Tor thing else. The wind could’ve knocked it over. EVELYN, Yeh, She's going to believe that one! stage of desi.) Gosh Peco. But well tell you everything that happens and well give you all the souvenirs and things, MARY. let you go if I can’t go. But I'll ind some way to go. What was she talking about when she moved you? What were you doing? PEGGY. We came down to see what wis happening to you, but the doors were closed and we could hear Miss Dobie and Mortar having an awfal row. Then Miss Dobie opens the door and there we were aRY. And a lot of crawling and erying you both did too, EVELYN, We were sort of sorry about listening. I guess it wasn't — 25 nts sss MARY. Ab, you're always sorry about everything. What were they say- ing? PEGcY. What was who sayi Mane, Dobie and Mortar, silly. PEGGY. (Evasively.) Just talking, 1 guess. EVELYN, Fighting. MARY, About what? EVELYN, Wall, they were talking about Mortar going away to England and — PEGGY. (Jo EVELYN.) You know, and I think maybe i’s worse to many, (Rises, crosses upsiade between sofa and desk to R. of EVELYN.) You do, do you? You just don't tell me and see what happens. (PEGGY sighs) EVELYN, Mortar got awful sore at that and said they just wanted to get rid of ber, and then they started taking about Dr. Cardin. ‘Many, What about him? FEcoY. We'd better get started moving; Miss Wright will be back fist ‘hing we kno Many. CHercely.) Shut up! Pokes evELYN,) Go on, Evelyn, BVELAW, They're going to be married. The two of them. marr, (Crosses R, to cbove . end of sofa.) Everybody knows that. Pecoy. But everybody doesn’t knov thet Miss Dobie doesn’t want them to get married, How do you like that? (c. door opens. ROSALIE WELLS sticks ber bead ROSALIE. T have u're going to move your things — MARY. Close that door, you idiot. (ROSALIE closes door, stands near il) What do you want? ROSALIE. (Crosses to WARY.) I'm trying to t move your things—not that I want you in wi the devil knows— you'd better start right now, Miss Wrights coming in a minut, Mary. (Sits back of sofa.) Who cares if she is? RosALie. Pm just telling you for your own good, the devil knows, PEGOY. (Starts to get up.) We're coming many, No, Let Rosalie move our things Rosas, You crazy? (Voice mounts.) PEGGY. (Rises, crosses t. below desk. Neroously) I and Il get your things. Come on, Evelyn, any. Trying to get oxt of telling me, huh? Well, you won't get out of it that way. Sit down and stop being such (PEGGY crosses ULL. Of desk, sits on 1. arm of cbr upstage of desk.) Rosalie, tell you what, 26 really wasn’t very nice to've listened, right, Bvelyn you go on up and move my things and don’t say 2 word about our down here, who was your French maid yesterday, Mary Tiford? you in the insane asylum? do for today. (Picks cushion up from sofa, ROSALIE backs away.) Now go on, Rosalie, and fix into town Pl let you wear my gold 1¢ next time we beads and my pear! pin. You osatie, (Draws back, moves about, the devil knows, Iking about anything in particular. You just run me the next time to lend you—lend you—my ik you're going fo boss me around, Mary Tilford. Marr. (Smiling.) No, indeed. (ROSALIE goes to c. door, opens ‘And get the things done neaty, Rosalie, Dor (ROSALIE exits slamming door, as MARY Iaughs, opens door, calls after ber.) My tenn evELYN, Now what do you think of that? What made her so agreeable? Mant. (Closes door, crosses downslage, sits in chair x, of desk.) Inte secret we got. Go on, now, what else did she say? Pecor. Well, Mortar said that Do! was like that when she was 2 litle gi 4 beau of her own because i was un anybody to like Miss Wright, and that was unnatural, Boy! Did Miss Dobie get sore at that! EVELYN, Then we didn't hear any more. Peggy dropped some books. ‘many. What'd she mean Dobie was jealous? Pecor. What's unnatural? EVELYN. Un for not. Not natural car. fanny, brea everpody gets maid ‘Many. A lot of people don't—they'e too uly PEGOY. (Claps band to her mouth) Oh, ry God! Rosele'll nd that copy of Mademoiseile de Maupin. Shell bzb ike the dickens. ‘MARY. Ah, she won't say a word. evetyw, (Leans toward sary.) Who gets the book when we move? a rn Eee any. You can have That's what I was doing this moming—Bnishing ‘There's one part want to go in with 's John’s cousin, you know, and I don’t want to talk about ing? You've only met him once, ick making us rove, She just wants to see how much fun she can take away from me, She hates me. psccy, No, she doesn’t, Mary. She treats you just like the rest of ‘usalmose better, ht, stick up for your crush. Take her side against mine, PEOCY. I didn’t mean it that way. EVELYN. (Looks at her watch, Rises.) We'd better get upstairs. many. I'm not going, je and I don’t care about the kitten. every. What do you mean? Many. (Caimy.) Pm going home, Pe

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