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He and She · He and She

• 0:00
  Act one scene the Hereford Studio. The room is in the basement floor of
• 0:06
  a large old fashioned house in lower New York, and shows that it has
• 0:10
  been made over and adapted to the needs of a sculptor. At right center
• 0:15
  back are double doors opening into the work room. At right of these doors
• 0:20
  is a recess showing it has been cut in the ceiling of the half of
• 0:24
  the room, which is towards the audience is much higher than the other part,
• 0:28
  showing that the room which is on the floor above has been used to
• 0:31
  give height to this part of the studio. The brake made in the ceiling
• 0:35
  is supported by an interesting old carved column, very evidently brought for Italy,
• 0:41
  and in the overhanging part of the wall is set a very beautiful old Italian
• 0:45
  frieze in bass relief a few faded colors. Showing. At lower left is
• 0:50
  a large studio window. At lower right is a single door leading into hall.
• 0:56
  At upper left corner a cupboard is built in in harmony with the construction
• 1:00
  of the room and showing when opened, drawers and compartments for holding sculptor's tools,
• 1:06
  et cetera. Before the window at right center is a scaffold built to
• 1:11
  hold a section of the frieze. At its base is a revolving table holding
• 1:15
  modeling, clay tools, et cetera. In front of the scaffold is a
• 1:19
  short pair of steps. At center is a long table holding rolls of sketches,
• 1:25
  a desk set, a book or two pencils, compasses several pieces of
• 1:30
  modeling. There are a number of chairs about, and a piece of rich
• 1:34
  brocade and vivid coloring thrown over the back of one. The room is simple,
• 1:38
  dignified, beautiful, full of taste and strength. Soft afternoon sunshine streams
• 1:46
  in from the wide window. Keith Mackenzie and Tom Herford are lifting one section
• 1:51
  of a boss relief freeze about three by five and placing it on the scaffolding.
• 1:56
  Mackenzie is about thirty five tall, good looking in a pleasing commonplace way,
• 2:01
  also wearing a sculptor's working clothes, but of a practical and not artistic
• 2:06
  sort. Tom Herford is forty, a fine specimen of the vigorous American artist
• 2:10
  type, virile, fresh, alive, and generous in nature and viewpoint.
• 2:16
  He wears the stamp of confidence and success. Tom As they lift the freeze,
• 2:23
  come on there. She is put her over know this way about half
• 2:29
  a foot. That's right there. Let's have a look. Tom goes down
• 2:35
  to hanging switch and turns on the light. As he does so, he
• 2:38
  says, wait, the lights are turned up, turning to Keith, what
• 2:46
  do you think? It's a great thing, Governor, I'm going to be
• 2:52
  a walk away for you. You'll win it as sure as guns. I
• 2:54
  know it. I bet you land the one hundred thousand dollars a share.
• 3:00
  Is your standing there, Governor? Oh, I don't know. The biggest
• 3:05
  fellows in the country are going in for this competition. Well you're one of
• 3:10
  the biggest. I think you're the biggest, and you've turned out the best
• 3:15
  thing you've ever done in your life, going to stand above table. That's
• 3:22
  damned nice of you, Mackenzie. It does look pretty good out here,
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  doesn't it. He goes up on the steps to touch the freeze. Keith.
• 3:30
  After a pause, Governor Tom, working at his freeze, hmmm,
• 3:38
  I want to ask you something, not from curiosity, but because i'd like
• 3:47
  to know for my own sake. You needn't answer, of course, if
• 3:53
  you don't want to go on fire away, have you ever been sorry that
• 3:59
  missus as a sculptor instead of just your wife. Not for a minute.
• 4:06
  I've been thinking a lot about it all lately, about you and Ruth.
• 4:11
  You mean, yes, she'll marry me in the fall if I let her
• 4:17
  keep on working, And well, I hang it all. I don't want
• 4:28
  her to. I can take care of her now. At first it was
• 4:32
  different when I was grubbing along. But since I've been with you, you've
• 4:38
  put me on my feet. I'll never be great, I know that,
• 4:43
  all right. But I can take care of her tom working at freeze.
• 4:48
  But she wants to keep on, doesn't she? Yes? But good heavens
• 4:55
  boy, you're not bitten with that bug. I hope. I want my
• 4:59
  girl by my own fireside, to live for me alone. Oh. Why
• 5:05
  Ruth Kreele's a howling success, the way she's climbed up in that magazine.
• 5:11
  Why in the name of Christopher do you want her to stop keith at right
• 5:15
  end of table, figuring mechanically on some papers on table. How can she
• 5:20
  keep on at that and keep house too? Well? They do you know
• 5:26
  somehow? Oh, missus Hereford's different. She's working right here with you,
• 5:31
  and her time is her own. But Ruth tied down to office hours,
• 5:38
  and it's slavery, that's what it is. She doesn't think, so does
• 5:43
  she. I want a home. I want children, of course, but
• 5:47
  that doesn't mean she'll have to give up her profession forever. Oh. I'm
• 5:51
  strong for women doing anything they want to do in general. But when is
• 5:58
  the girl you love to Mary? It's different. It ought not to be
• 6:03
  when you come down to brass tacks and coming quickly in from the workroom and
• 6:09
  stopping as she sees the freeze. Oh, Tom Ann Herford is thirty eight,
• 6:15
  intensely feminine and a strong, vibrating personality which radiates warmth and vitality.
• 6:21
  She wears a long linen working smock, a soft, rich red in color.
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  Her sleeves are rolled up, and her general appearance shows that she is
• 6:30
  at work and has stopped only to look at Tom's freeze. Looks great out
• 6:34
  here, doesn't it? Missus? Hereford? Aren't you more sure now than
• 6:44
  ever? It will win? Starting to speak and checking herself, what nothing,
• 6:54
  Your horses are marvelous, Tom. I wish I could see it all
• 6:59
  together, are now, don't you? The rest of the twenty sections,
• 7:04
  so we could see how much we how much we feel the running. Don't
• 7:13
  you feel it in this piece? Of course I do tremendously. I think
• 7:21
  it's wonderful. He goes into workroom and what were you going to say a
• 7:28
  minute ago about the freeze? Uh? I don't know, don't hedge.
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  Several times lately you've started to say something and haven't got it out. What
• 7:40
  is it? Any suggestions? How do you feel about it yourself? Boy?
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  Are you satisfied? Does that mean you aren't? I asked you,
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  Well, it's the best that's in me. Why what's the matter? You
• 7:58
  don't like it? After all? Like it? It's a strong, noble,
• 8:03
  beautiful thing. But dearest, is it just exactly what your first conception
• 8:13
  of it was? Has it turned out just as you first felt it?
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  Why? Yes? Well, not absolutely? In detail, of course,
• 8:24
  it's improved a lot, I think in the working. But in the main,
• 8:28
  yes, it's just the same. Why do you say that? You
• 8:33
  know, of course, but say it? Say it? What have you
• 8:37
  got in your mind? I don't know that I can. But in the
• 8:41
  beginning it had a feeling of swiftness, of rushing, swirling, as if
• 8:48
  your soul were let loosen. It tom too big, too free to be
• 8:54
  held in and confined. But somehow, now that it's finished, go on,
• 9:03
  that wild thing has gone out of it. It's crystallized into something magnificent,
• 9:11
  but a little conventional. Good heavens, Anne, you can't call that
• 9:18
  conventional. Well orthodox then it's noble, of course, But that inexplainable thing
• 9:26
  which made it great is gone. For me. Perhaps it's just me my
• 9:37
  imagination because I care so much. It is imagination. It's much stronger than
• 9:43
  when I began, is it. Of course you're trying to put something fantastic
• 9:50
  into it which was never there at all. That's not me. What I've
• 9:54
  done. I've got through a certain strong, solid boldness. That's why I
• 9:58
  think this stands a good chance. It's the very best thing I've ever done.
• 10:03
  Anne by all Keith opening the workroom door, Governor, will you show
• 10:09
  Gweedle in to me about something? Please? Just a minute. There is
• 10:13
  a slight pause. Tom looks at the freeze. I don't see what you
• 10:18
  mean at all, dear girl. Thanks a lot, but I think you're
• 10:22
  wrong this time. He goes into workroom. Anne looks again at the freeze
• 10:28
  as Ruth Creole comes in from hall and going quickly to Ruth. Oh Ruth,
• 10:35
  bless you. She kisses her warmly. I came straight from the office
• 10:39
  and I'm dirty as a pig, and points to Tom's freeze. Is that
• 10:45
  it? Ann? Nods? Well, oh, Ruth, I'm sick in
• 10:52
  the bottom of my soul. I hope, I hope I'm wrong. I
• 10:58
  must be wrong. Tom knows better than I do, but I can't help
• 11:03
  it. I tell myself I'm a fool. And the more I try to
• 11:07
  persuade myself, the more it comes back. Ruth. It isn't the same,
• 11:11
  It isn't. Whatever it was that lifted it above good work and made
• 11:16
  it a thing of inspiration is gone. It's gone gone. Have you told
• 11:26
  Tom how you feel? Just this minute? He says, I'm wrong,
• 11:33
  absolutely, that it's the best thing he's ever done. I hope to God
• 11:37
  you are wrong, but I bet you're not. You know, did you?
• 11:43
  Have you told him the other thing? Not yet? But I've finished
• 11:48
  it absolutely. I worked down here last night till three o'clock this morning.
• 11:56
  Well how is it? Oh? I don't dare think it can't be as
• 12:01
  good as it seems to me. Of course it can. Why shouldn't it
• 12:07
  be. Aren't you going to offer it to him right away, before it's
• 12:09
  too late. How can I It frightens me to pieces to even think of
• 12:16
  it. But oh, my dear, my dear, it's alive and fresh
• 12:24
  and new. It is. It is. If he only would take it,
• 12:30
  my idea, and put his wonderful work, his wonderful execution into it,
• 12:37
  perhaps he'll be fired with it, jump at it. I'm afraid he
• 12:43
  won't, and I'm afraid of this for him. It would nearly kill him
• 12:48
  to lose. He's counting on winning. Keith and everybody are so dead sure
• 12:56
  of him. Show him yours good goodness, Be careful. He'll be back
• 13:03
  in a minute. I'll skip upstairs and make myself presentable. Go in my
• 13:07
  room. Dear Ruth goes out through hall. Tom and Keith come back from
• 13:13
  workroom. Ann goes to Tom. They stand a moment looking at the freeze,
• 13:18
  and slaps Tom on the back without speaking, and goes on into workroom.
• 13:22
  Keith after a pause, I agree with you in general, Governor,
• 13:28
  but when it comes down to the girl you love and want to marry,
• 13:31
  it's different. Why is it The world has got to have homes to live
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  in, and who's going to make him if the women don't do it,
• 13:41
  Tom, smiling at Keith tolerantly. Oh, come, come, do you
• 13:48
  mean to say you wouldn't rather your sister Daisy was married and keeping her own
• 13:52
  house instead of working here as your secretary. But she isn't married, and
• 13:58
  she won't live with Ann and me unless it's a business proposition. I respect
• 14:03
  her tremendously for it. Tremendously Well. Daisy's a big, plucky and dependent
• 14:09
  thing anyway, But Ruth's a little, delicate, fragile with a mind bigger
• 14:16
  than most of the men. You know. Oh, mind, be damned,
• 14:22
  I want a wife. Daisy coming in from the hall? Oh,
• 14:26
  Tom, it's out here, how corking. Daisy Herford is twenty eight,
• 14:31
  strong, wholesome, handsome, with the charm of health and freshness. She
• 14:37
  wears a severe serge gown and carries a pencil and stenographer's pad. Well,
• 14:41
  Sis, how do you like it? I adore it. I hope you
• 14:46
  haven't any doubts now about winning. Well, I've plenty of them. But
• 14:50
  somehow today it looks as if it stood a pretty good chance. Chance.
• 14:54
  I never was so sure of anything in my life. Daisy, Maybe you
• 14:58
  know just what ought to beware with this stuff. I've been itching to get
• 15:03
  at it. Let's put all the tools on that side I have started,
• 15:09
  and throw the trash in here, pushing the box with her foot. Can
• 15:13
  you help me now? Yes? Tom? Do you want me to write
• 15:18
  to the ward people about that marble again? Yes? I do. Shake
• 15:22
  them up, tell them if it isn't here by the first of the month,
• 15:24
  I won't take it. Daisy making a note in her notebook. Umm
• 15:31
  Millicon Herford rushes in from hall at left millicin to sixteen, pretty, eager,
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  full of vitality and will half child, half woman. She is charmingly
• 15:43
  dressed in an afternoon frock and picture hat, and is at the moment happy
• 15:46
  and exhilarated. Father, where's mother in the workroom? But you can't go
• 15:52
  in? As Millicent starts to workroom. Why not? She's finishing something and
• 15:58
  said not to let anyone stop her. Oh dear, I think I might.
• 16:02
  It's awfully important. Couldn't I just poke my head in the door a
• 16:04
  minute, not for a second, sakes, I wish mother wouldn't work in
• 16:08
  my Christmas vacation. It's an awful bore. Don't you think she might stop?
• 16:14
  A little while I'm at home, Aunt Daisy, none of my business.
• 16:17
  Don't ask me. If you ask me, yes, I think she
• 16:22
  might. That's nonsense. Your mother's doing about everything that can be done to
• 16:26
  make your vacation a success, isn't she Yes? Course, then I don't
• 16:30
  see that there's any reason why she shouldn't be allowed a little time for herself.
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  But I want her now. Aren't my new pump stemmy, Aunt Daisy?
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  Aren't they what stemmy? Wake up? Aunt Daisy? Oh, the
• 16:45
  luncheon was gorgeous, All the girls were there, and the matinee was heavenly.
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  What play The Flame of Love? You needn't laugh, father, It's
• 16:55
  the best play in town. The leading man is a peach. Honestly,
• 16:57
  he's the best looking thing I ever saw in my life. We were all
• 17:00
  crazy about him. Belle Stevens took off her violets and threw them right at
• 17:04
  him. She makes me tired, though. I don't think seventeen is so
• 17:08
  terribly much older than sixteen, do you, Aunt Daisy? Daisy still at
• 17:14
  the cupboard. It depends on whether you're sixteen or seventeen how much older it
• 17:18
  is. I don't care. I wouldn't wear a ring as big as hers
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  if I had one, Oh, Aunt, Daisy, may I borrow your
• 17:26
  ear rings? Going to Daisy? Help yourself? Thanks, you're a duck.
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  I could compostulate you for that. How much longer do you think mother
• 17:34
  will be? Daddy couldn't say? Well, tell her that I have to
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  see her the minute she comes out, don't forget. She hurries off through
• 17:44
  hall. She's grown up over night. Somehow I can't get used to it.
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  And she went away to school a few months ago. Just a girl.
• 17:55
  Amazing, isn't it not a bit? What do you expect? She's
• 18:00
  free now, cut loose boarding school? Does that pretty quickly? I suppose
• 18:04
  so, and I suppose it's good for her. Looking at the freeze,
• 18:10
  he goes into the workroom. The Governor's darn cheerful about the freeze today,
• 18:15
  I should think he would be. It's great. Keith and Daisy go on
• 18:18
  clearing out cupboard. I'd give a good deal to know what missus Hereford actually
• 18:22
  thinks of it, Why she loves it? She looks at it with such
• 18:27
  a sort of uh. I don't know. I can't help wondering if she
• 18:37
  is so dead certain of it as the rest of us are. I hope
• 18:41
  she doesn't discourage Tom. After all, he likes it and he knows more
• 18:44
  about it than anybody else, AND's criticism is wonderful, of course, but
• 18:48
  still Tom is the artist. You're just as jealous for your brother as you
• 18:53
  can be, aren't you, Daisy? All right for the missus to be
• 19:00
  clever, but you want Tom to be supreme in everything, don't you?
• 19:06
  He is leaning over the box. You're a brick, Daisy. Have you
• 19:11
  ever been in love in your life? Well? What do you mean?
• 19:15
  Lifting her head? Startled and embarrassed? I've been thinking an awful lot lately
• 19:21
  about this business of married women working. What do you think of it?
• 19:26
  Now? Honestly? What difference does it make? What I think? Of
• 19:30
  course, there's no reason on earth why you shouldn't be in it. You
• 19:34
  don't care a hang for men? And you mean men don't care a hang
• 19:38
  for me? No, I don't. I don't mean that at all.
• 19:44
  But you're so independent men are sort of afraid of you. Oh, don't
• 19:48
  apologize. You mean I'm a plain, practical girl, meant to take care
• 19:52
  of myself. Well that's what you want to be, isn't it. Never
• 20:00
  mind, about me. Let's change the subject. You needn't be so touchy.
• 20:04
  I talk awfully frank about my affairs and you never say a word about
• 20:08
  yourself. Why should I? I'm not interesting and you're not interested. I
• 20:14
  am too. You're the best pal a fellow ever had. I don't know
• 20:18
  any other girl I could have worked with all this time, day in and
• 20:23
  day out, and not either been dead, sick of or sort of you
• 20:30
  know, sweet on in a way you needn't rub it in? Why daisy,
• 20:36
  old girl? What is the matter? What are the dickens? Are
• 20:41
  you so huffy about? Just let me and my idiosyncrasies alone. Please,
• 20:47
  heavens, can't I say what I think? No, you can't. I
• 20:52
  don't want to hear it. I know just what I seem like to other
• 20:56
  people, so there's no use explaining me to myself. Oh I'm and twas
• 21:00
  if you were in love, would you give up your job? But I'm
• 21:07
  not in love, so stop thinking about it. Gosh, I thought you
• 21:11
  had common sense, but you're just as queer as the rest of them.
• 21:17
  What I want to know is if a girl loves a man well enough to
• 21:21
  marry him, why in hell she can't stay at home? And what's the
• 21:26
  matter? As Keith cuts his finger on the tool he is holding. Did
• 21:30
  you cut your finger? Not much, Daisy, with a sudden tenderness.
• 21:36
  Let me see it's nothing. It is too hold still. I'll tie it
• 21:41
  up for you. She ties his finger with her own handkerchief. Anything that
• 21:45
  holds still, anything the matter with one of your fingers would put you out
• 21:49
  of commission. Ah, might be a good idea. I don't think Ruth
• 21:55
  believes in me much. Doesn't think I'll get much farther. I don't know.
• 22:00
  I think you've got plenty for her to believe in. Well, speaking
• 22:03
  of angels, how are you Ruth? As Ruth comes in from the hall,
• 22:07
  Oh, hello, dear, hello, what's the matter? Nothing?
• 22:15
  Keith was waxing emphatic about you, and overemphasized a finger. She turns back
• 22:19
  to cupboard. I'm sorry, touching Keith's hand as he comes down to her.
• 22:25
  How are you dead? This day's been twenty four hours long. Sitting
• 22:30
  at left end of table, Keith coming down to Ruth. Has anything gone
• 22:36
  wrong? No, but a young author from the eloquent West has been fighting
• 22:41
  me since nine o'clock this morning? What about? He's got a perfectly magnificent
• 22:47
  story or idea for one rather, but it's so crudely written that it's impossible
• 22:52
  to publish it. I suppose you can rewrite it for him. No,
• 22:56
  he won't let me. Wants to do it all himself. Oh he's so
• 23:00
  stubborn and so funny, and so splendid, so outlandishly conceited, and so
• 23:07
  adorably boyish. I wanted to slap him one minute and kiss him the next.
• 23:11
  Why didn't you do both? And you'd have forgot to what you wanted?
• 23:15
  I was afraid to risk it. Keith, nodding towards Tom's freeze.
• 23:19
  Doesn't that hit you in the eye awfully? Like Tom? Isn't it strong
• 23:23
  and splendid? What are you thinking? Oh? Nothing? Only I wish
• 23:30
  Anne had. I wish Anne had gone in for this competition too. What
• 23:36
  Why on earth should she? Why shouldn't she? Ruth? You're daffy about
• 23:41
  Anne? Always have been. Uh, she does beautiful work for a woman.
• 23:48
  But ye gods, she's not in this class and she never will be
• 23:53
  if she's held back and told she's limited. I think she has genius,
• 23:59
  and this sooner she makes a bold dash and tries for something big, the
• 24:03
  better nonsense. Tom's pushed her and believed in her always. You can't say
• 24:07
  he's held her back. Ruth to Keith, I've heard you say she is
• 24:12
  genius lots of times. So she has. In a way, she has
• 24:21
  more imagination than the governor. But great Peter, when it comes to execution
• 24:26
  and the real thing, she just isn't in it with him. How could
• 24:33
  she be? She's a woman. Don't be any more anti diluvian or prehistoric
• 24:40
  than you can help, Keith. Don't you think Anne's more original and really
• 24:45
  innately gifted than Tom is? Daisy? I do not. She's terribly good,
• 24:49
  of course, no doubt about that, But good Lord, Tom's great,
• 24:53
  a really great artist. Daisy starts to haul door. Why do you
• 24:59
  go, Daisy? Must I have bushels of letters to get off? You
• 25:03
  look as fresh and rosy as if you were just beginning the day. How
• 25:07
  do you do it? Oh? I'm not expressing my soul in my job,
• 25:11
  nearly earning my bread and butter. I suppose that's why I look so
• 25:14
  husky. At twilight, Daisy goes out through hall. Ruth looking after Daisy.
• 25:21
  Do you know I don't believe Daisy likes me anymore. Keith sitting on
• 25:26
  left end of table near Ruth kiss me. Ruth leans her head towards Keith.
• 25:32
  He kisses her cheek. She's so marvelously good natured queer. She's getting
• 25:37
  snappy at me lately. I'm awfully glad you came. Does it hurt touching
• 25:42
  his finger? Not much? I wonder why she doesn't like me? What
• 25:48
  are you talking about? I asked her stay to dinner too, That's nice.
• 25:53
  I can't bear to see you so tired, dear. I'll be all
• 25:57
  right when I have some tea. This time next year, you could be
• 26:02
  in your own home, away from those damnable office hours and the drudgery.
• 26:07
  If you only would, If you only would, It never seems to occur
• 26:15
  to you that I might be a little less tired but bored to death without
• 26:18
  my job. If you really cared for me the way you used to,
• 26:23
  you wouldn't be bored. Oh, let's not begin that. But do you
• 26:29
  love me? Dear? Do you? I've been telling you so for a
• 26:33
  pretty long time, haven't I Are you tired of it? There isn't any
• 26:38
  reason on earth why you should think I am well? I do think it.
• 26:45
  I worry about it all the time. I know you're brilliant and successful,
• 26:49
  but you after you say you love me, and I don't see you're
• 27:02
  awful pretty today your face is like a flower. Oh, yes it is.
• 27:11
  I love you so, dear, old boy. I love you.
• 27:15
  Oh do you, Ruth, do you? I've never loved anyone else.
• 27:21
  You've filled all that side of my life, and you've made it beautiful.
• 27:25
  We must hang together, dear, putting both her hands over one of his,
• 27:30
  and understand and give things up for each other. But it must be
• 27:33
  fifty to fifty, dearest. I can make you happy, Keith, Oh
• 27:37
  I can, and I'll be so happy and contented with you if you'll only
• 27:42
  Keith turns away impatiently. I've never had a home for a minute in my
• 27:48
  whole life, nor a relative since I was three, of any sort or
• 27:52
  description, not a soul who belonged to me. But you. I want
• 27:57
  you to have the sweetest little home in the world. Think of having our
• 28:02
  own little dinners and all the nice people we know at our table hours.
• 28:07
  Yes, but how can you do it if you're away all day? Oh
• 28:14
  Keith, dear boy, you the whole trouble is you think housekeeping is making
• 28:18
  a home, and the two things aren't the same at all, at all,
• 28:22
  at all. Well, they can't be separated, Oh yes they can.
• 28:30
  Love. Love makes a home, not tables and chairs. We can
• 28:34
  afford more if I work too. We can pay someone to do the stuff
• 28:37
  you think I ought to do. And you'll go on climbing up in your
• 28:41
  work, and I'll go on in mine, and we'll both grow to something
• 28:45
  and be somebody and have something to give each other. It will be fair.
• 28:51
  We'll be pulling together pals and lovers like Tom and Anne. That's why
• 28:56
  they're so ideally happy. Yes, but we're different, and we couldn't.
• 29:02
  You're not bear, Keith, great guns, Ruth, neither are you.
• 29:07
  I am. I am perfectly. Their voices rise together, Tom coming back
• 29:12
  from the workroom, what's the row? Hello, Ruthie creole, Ruth giving
• 29:18
  her hand to Tom. Hello you nice Tommy Herford. I always lose my
• 29:23
  heart to you in your working clothes. You have my heart in any kind
• 29:27
  of clothes. Keith's cross with me. Tom, You're much nicer to me
• 29:32
  than he is. You never spring any of your revolutionary speeches on Hereford you
• 29:37
  save all your really soothing remarks for me. Tom, Am I a revolutionary?
• 29:42
  Aren't I? Just? A little cooing dove? Absolutely? Daisy coming
• 29:48
  in from hall. Doctor Remington's here. Millicent's bringing him down, but he
• 29:52
  says he wants to sit upstairs on the parlor sofa, not down in the
• 29:56
  cellar. Tom, will you sign these letters now? Daisy puts the letters
• 30:00
  on the table. Tom goes towards the table as Millicent comes in from the
• 30:04
  hall, bringing doctor Remington by the hand. Doctor Remington is sixty five.
• 30:10
  He's inclined to portliness, and his keen humor and kindliness are combined with an
• 30:15
  understanding and wisdom which make him a very strong and a very lovable man.
• 30:21
  His manner and speech are a little deliberate. He has a twinkling readiness to
• 30:25
  tease, but the weight and dignity of a successful and important physician. Hello,
• 30:30
  Hello, Hello, how are you? Keith? Taking Remington's overcoat?
• 30:36
  How are you Doctor Remington? Ruth comes to the door to take his hat
• 30:40
  and stick. Hello mc kenzie. And here's that pretty little Ruth thing.
• 30:45
  Knowing so much it makes my head ache. So long as it's your head
• 30:48
  and not mine, I don't mind. Oh, thank you for the chocolate's
• 30:52
  grandfather. They're just the kind I adore. I could absolutely compostulate you,
• 30:56
  giving him a violent hug. Five pounds Daddy, you're a fine doctor.
• 31:03
  Chocolate's about the best medicine I know of. If you want a girl to
• 31:06
  love you? Where's your mother in the cave? Pointing to workroom. Can't
• 31:11
  she be excavated? Go and dig her out? They won't let me.
• 31:15
  You do it, hasn't anybody got the courage to do it. Keith starts
• 31:21
  towards the door with box not me. Well, Mackenzie, go and tell
• 31:25
  her to let the work go to thunder and come and see her dad.
• 31:27
  Keith goes into workroom. Is that the thing that's going to get the hundred
• 31:32
  thousand for you? If yes, well go to it, boy. I
• 31:37
  hope you hit it. Sitting in a large chair at left, thanks,
• 31:41
  I'm doing my darndest. Daisy, you've got some of these dimensions wrong.
• 31:45
  Keith will have to give them to you again. Oh, I'm sorry.
• 31:49
  It's a good thing you're working for your own brother, Daisy. Nobody else
• 31:52
  would have you. You're the only person in the whole world who isn't impressed
• 31:56
  with my business ability? Stuff wager you say in your prayers every night,
• 32:01
  Oh Lord, deliver me from this job and get me a good husband.
• 32:06
  Daisy laughing with the others and going to Remington. That's a very steamy tie
• 32:10
  you're wearing. Do you get me? Not exactly. All I know is
• 32:15
  I'd rather be steamy than seedy. Keith opening the workroom door. Don't you
• 32:21
  want me to carry that in for you? Missus Hereford Ann from within?
• 32:24
  No, No, I'd rather do it myself. It's too heavy for you.
• 32:30
  No, it isn't. Anne comes in carrying the figure of a woman
• 32:34
  in the nude, about a foot high. The figure is in wet clay
• 32:37
  and stands on a modeling board. Steady there, steady, let me take
• 32:42
  it. Don't touch it. Hello there, Hello, Daddy. I couldn't
• 32:47
  come out until I finished my lady. Isn't she nice? She's ready to
• 32:52
  be cast? Now come and look at her, Tom, She isn't so
• 32:54
  bad. She looks pretty good to me. She looks a little chilly to
• 32:59
  me. Why don't you put a full suit of clothes on one of them,
• 33:02
  just for a change. Anne? You nice, horrid, sweet,
• 33:07
  adorable cross, old thing? Why didn't you come yesterday? I don't know
• 33:13
  why. I love you so and you never do anything I want you to.
• 33:16
  If I did, I wouldn't be half as irresistible. Aren't you going
• 33:21
  to stop for the day now and pay a little attention to me? I
• 33:23
  am mother? When can I see you alone? I mean after a while.
• 33:29
  Have you had a nice day, dear, gorgeous? But I have
• 33:31
  to see you about something you do? Holding Millicent? Look at her,
• 33:37
  dad, hasn't she grown? Mother? May I stay at home from school
• 33:42
  one more day? Gracious? Is that what you want to see me about?
• 33:46
  That's just one thing, can't I? Mother? All the girls are
• 33:51
  staying over, mayn't I please? Please? I have to think a little.
• 33:55
  Let's wait and talk it over, daisy. Aren't we going to have
• 34:00
  some tea? It will be ready in a minute, thank god. Then
• 34:02
  we'll go upstairs. No, down here, it's much nicer. You'll have
• 34:08
  to get used to it. Dad, Well you be thinking, but you
• 34:12
  be thinking, yes, for I've just got to stay over. I've just
• 34:15
  got to. It would be perfectly ridiculous if I didn't. She goes out
• 34:19
  through Hall Remington, nodding after Millicent getting more like you every day, hann
• 34:25
  she's your grandchild, you know. I like him that way. I'd rather
• 34:30
  she was stubborn as a mule than have a wabbly spine and taking off her
• 34:34
  smock. But a little wobbling once in a while is rather a pleasant thing
• 34:38
  to live with. For instance, it would make me very happy, indeed,
• 34:44
  if you wobbled enough to admit that this is a beautiful studio, and
• 34:49
  that having it in the house where we live is the most sensible thing in
• 34:52
  the world. It would be all right if you'd stay upstairs and mind your
• 34:57
  own business. Tom, If you don't look out, you'll be so mad.
• 35:00
  You'll be upstairs keeping house, and Anne will be downstairs keeping shop.
• 35:04
  I don't know how i'd keep house, but Anne could keep shop, all
• 35:07
  right. Is that the way you feel about it, mackenzie? When you
• 35:10
  are married, are you going to stay at home and polish up while Ruth
• 35:14
  goes on running the magazine. It looks as if that's the way it'll have
• 35:17
  to be, Ruth bringing the cake down to table. That's a splendid suggestion.
• 35:22
  Doctor Remington. Keith thinks somebody's got to do it for a successful marriage,
• 35:28
  and I won't, so why not, you, dear, pointing at
• 35:30
  Keith. Keith looks at Ruth and turns away in hopeless disgust. Remington winking
• 35:37
  at Ruth and lowering his voice to her. Keep at it. He'll come
• 35:40
  to it. Anne laughs as she cuts the cake. I don't see that
• 35:45
  it's so funny Remington going to table to get a piece of cake. You
• 35:51
  bet it's not funny, dazy, would you like your husband to wash the
• 35:54
  dishes if you happen to be too much occupied to do it yourself. I'd
• 35:59
  kill him if he did. Bringing the cream and sugar to large table.
• 36:02
  Yeah, well, with one perfectly normal woman in the room, I'm much
• 36:06
  more comfortable. He settles himself elaborately in his chair at left. I'm serious.
• 36:14
  I'd like to know if there's anything queer or preposterous and a fellow wanting
• 36:19
  a girl to give up hard slavish work and let him take care of her
• 36:23
  when she marries him, when she wants to do the work, don't leave
• 36:28
  that out. I don't see that you, Keith, or any fellow has
• 36:31
  any kick coming, so long as the girl makes you happy. I'd like
• 36:36
  to hear your angle on it. If you don't mind, doctor, Yes,
• 36:40
  Keith loves to hear his mid Victorian ideas well supported. Oh I'm not
• 36:45
  so mothy ton as I may look. In fact, I'm a damn sight
• 36:49
  more advanced than you women are. You're still yelling about your right to do
• 36:52
  anything on land or sea you want to do. We gave you that long
• 36:57
  ago. So nice of you sitting below the table at right. Why talk
• 37:02
  about it all? Then? What else is there to it? Put this
• 37:06
  in your pipe. The more women make good, the more they come into
• 37:08
  the vital machinery of running the world, the more they complicate their own lives,
• 37:15
  and the more tragedies they lay up for themselves, the more they escape.
• 37:19
  You mean, Anne, as she pours the tea. There isn't a
• 37:22
  single hard thing that can happen to a woman that isn't made easier by being
• 37:28
  able to make her own living. And you know it. Oh, it's
• 37:31
  a hopeless subject for conversation. What everybody says is true. There's the rub.
• 37:37
  Two three. Keith gives a cup of tea to Remington. Go on,
• 37:42
  what were you going to say? Yes? Go on, dad,
• 37:45
  Remington to Anne, you hang on to yourself then till I get through the
• 37:51
  development of women hasn't changed the laws of creation? Oh yes it has.
• 37:57
  Remington looks at her. Sorry, go on. Sex is still the strongest
• 38:02
  force in the world. He looks at Anne again, Anne smiling, go
• 38:07
  on. And no matter how far she goes, she doesn't change the fundamental
• 38:13
  laws of her own individuality, type, character, ego, psychology, species,
• 38:22
  breed, spots, no mechanism, mechanism, and when the sensitive involved
• 38:30
  complex elements of a woman's nature become entangled in the responsibility of a man's work,
• 38:37
  and the two things fight for first place in her She's got a hell
• 38:39
  of a mess on hand, But her psychological mechanism has changed. No,
• 38:46
  yes, yes, I think it has. It couldn't, but it has.
• 38:52
  Women who are really doing things nowadays are an absolutely different breed from the
• 38:59
  one sided domestic animals they used to be. But men don't realize how deeply
• 39:04
  and fiercely creative women love their work. That's just it, just what I'm
• 39:08
  getting at. A woman of genius puts in her work the same fierce love
• 39:13
  she puts into her child or her man. That's where her fight is.
• 39:17
  For one or the other of them has got to be the stronger in her.
• 39:22
  It isn't the question of her right to do things, nor her ability.
• 39:25
  God knows, plenty of them are beating men at their own jobs.
• 39:29
  Now why, I sometimes think she'll go so far that the great battle of
• 39:32
  the future will be between the sexes for supremacy. But I tell you she
• 39:38
  has tragedies ahead of her, the tragedy of choice between the two sides of
• 39:45
  her own nature. Well, thank you. I'll take any and all of
• 39:49
  the hard things that go with my job, but none of the ones that
• 39:52
  come from being a dub and giving it up. How about you, Daisy?
• 39:57
  Could any man on earth make you stop typewriting and live for him alone?
• 40:01
  Oh I'm not in this class. Anne and Ruth both have men to
• 40:05
  depend on if they want them. I'm taking care of myself because I've got
• 40:08
  to, and I must say. This soul tragedy of choice stuff makes me
• 40:13
  a little tired. She starts toward Hall Remington, stopping Daisy by taking her
• 40:17
  hand. If I were twenty or thirty years younger, I'd go in for
• 40:22
  you strong. Yes, I know, I'm just the kind that older men
• 40:27
  appreciate very deeply. She goes out. Poor Daisy Poor Daisy. She's the
• 40:32
  happiest, most independent thing in the world, straightening the things on the table,
• 40:38
  Keith having taken the tea tray away, much to be envied, no
• 40:43
  strings to her independence, and so cocky and spunky. Nobody can even ask
• 40:50
  her if she's ever been in love. Sure science she has been, then,
• 40:53
  but she never has. How do you know? I've been pretty close
• 40:58
  to her all my life. No blighted bud about Daisy. She's putting up
• 41:01
  a darn good bluff. I must say, bluff. What do you mean?
• 41:07
  Father thinks there isn't a girl alive who wouldn't rather have a beau than
• 41:10
  a job I do. And Daisy looks so self reliant she has to be
• 41:15
  cocky to keep up appearances under her skin. She's not half the man,
• 41:21
  that little ladylike looking thing. Ruth is now, Doctor Remington, you may
• 41:25
  go upstairs. I haven't time now, I've wasted it all down here.
• 41:30
  Oh, come and look at the living room just a minute. It's too
• 41:32
  beautiful. Has it got a carpet on it yet? Yes? Absolutely finished?
• 41:38
  Because I don't mind saying. My feet are like ice from this confounded
• 41:43
  brick floor. Oh, the beautiful tiles. I'll take a little less Italian
• 41:47
  beauty and a little more American comfort in mine. Ruth, Remington and Keith
• 41:52
  go out through hall, Tom stopping Anne as she starts with the others.
• 41:58
  Anne, about this thing, Why in the name of heaven didn't you say
• 42:02
  you were disappointed at it? Long ago? I kept hoping each day I
• 42:07
  was mistaken that what I missed would come back. But when I saw it
• 42:14
  out there, I'm afraid of it. Tom, afraid of what that I'll
• 42:20
  fail, lose it and nods nonsense, you're tired of it. There can't
• 42:27
  be such a change in it as all that. The idea is absolutely the
• 42:30
  same, and I've worked as I never I know, I know. But
• 42:36
  oh the beauty, the beauty of the work, that's the pity, pity.
• 42:43
  I mean, somebody without half your skill as an artist may have an
• 42:47
  idea, an idea that's new. Oh bosh, nothing can be done anyhow,
• 42:53
  it's too late. Besides, I don't agree with you, I honestly
• 42:58
  do not. Ian. I know you're saying that because you're trying to boost
• 43:01
  me and get the best out of me. But the thing's done, you
• 43:05
  know, don't confuse me. I must get on. Now. What's the
• 43:08
  use of talking about it? It's too late. No, it isn't.
• 43:14
  It is, of course it is. You can't expect me to begin all
• 43:17
  over again and put into it a subtle, intangible something I don't even feel.
• 43:22
  Damn it. It will have to fail then, and taking hold of
• 43:27
  Tom quickly, it can't. You've got to win, Tom, You've got
• 43:32
  to. It's the most important thing you've ever done. Think of where it
• 43:37
  will put you. Think of the money I have thought. I've done the
• 43:44
  best that is in me. I tell you it is the best, the
• 43:46
  very best I've ever But it isn't. It isn't. It isn't as great
• 43:52
  as your last two things. Oh Tom, listen, you don't know how
• 43:59
  hard it is to say it. I'd rather you won this than anything that
• 44:04
  could possibly happen. You know that, don't you. Of course? But
• 44:08
  this isn't getting anywhere. It will have to go in as it stands.
• 44:13
  Wait, I I've wanted to talk to you about something for a long time,
• 44:17
  but I wasn't sure. And now I am well, Millicent coming back
• 44:27
  through hall, Thank goodness, mother, I can't wait any longer. Ann
• 44:31
  to Millicent. Oh just a minute, dear, No, that's all right,
• 44:36
  there's nothing more to be said. I appreciate what you mean, yes
• 44:40
  I do, but it doesn't get me. And all I can do is
• 44:46
  to go after it as I see it. He goes into workroom and stands
• 44:52
  looking at the freeze. Milicent pulling Anne toward table. Mother, come here,
• 44:58
  mother, please? Why what I wanted to sit down? Putting Anne
• 45:04
  into a chair above the long table. Every one of the girls are staying
• 45:07
  over tomorrow. It looks as if you were having such a slow time that
• 45:12
  you didn't have anything to do but go back to school if you didn't stay.
• 45:15
  And I want why Fanny's going to have a party tomorrow night, just
• 45:20
  a little one, and I want to have eight of them to dinner first,
• 45:22
  sitting at right end of table. Oh only eight. You see Fanny's
• 45:29
  brother's home too, and you see it's everybody has dinners and things before they
• 45:34
  go out to the dance, you know, And will you? Mother?
• 45:37
  Can't? I but dearest, you've done so much since you've been home.
• 45:42
  You can't get back to school too soon. New York is dreadful, it
• 45:46
  really is. The sensible mothers can't compete with the idiotic ones who let girls
• 45:52
  do all these silly things. But don't be foolish, mother. And school
• 45:57
  does begin tomorrow, and they expect, they don't expect us to be back.
• 46:01
  All the really smart girls stay over. It's only the deadly slow ones
• 46:06
  who are there on time. Please, mother, please, There'll only the
• 46:09
  eight of us. And Fanny's done so much for me. I think it's
• 46:13
  as little as I could do to have her brother to dinner, don't you?
• 46:15
  Is he nice? Yes? He is. He's older, you know,
• 46:20
  and more fun. He got full dress clothes, is Christmas long tails,
• 46:23
  you know? And he looks perfectly. Mother. You're not listening.
• 46:28
  Anne's eyes have gone back to the freeze again. Yes I am, dear,
• 46:32
  Yes, I am full dress clothes. Well, may I, dearest,
• 46:39
  I may be frightfully busy tomorrow. I may have to do the most
• 46:45
  important thing I've ever done in my life. And if I do, it
• 46:49
  would be awfully hard to have. Oh now, mother. Fanny's mother had
• 46:54
  a party or something for her every single night. She took her to the
• 46:59
  plaza to dance after the matinee today, And I've never been to a hotel
• 47:01
  or anywhere exciting in my life. You try to keep me so young,
• 47:06
  mother, and jimminy cricket. I'm sixteen, positively ancient. Well, sixteen's
• 47:13
  old enough for anything, will you? Mother? Please? Please? Kissing
• 47:17
  her mother's throat? But what would I do if I had to do this
• 47:22
  other thing? What other thing? Can't it? Wait? No, it
• 47:27
  can't, that's just it. Your father may I'm may be working with him
• 47:32
  all day tomorrow. You needn't have such a terribly elaborate dinner, you know,
• 47:37
  But I'm crazy to do it. In fact, I just have to.
• 47:40
  I've already asked most of them and they're dying to come. You didn't,
• 47:45
  kitten, how could you? But mother, it's so important and I
• 47:51
  don't see how I can get out of it now. You wouldn't want me
• 47:53
  to be compromised or anything, would you? Anne? Laughing and kissing Milicent,
• 48:01
  you blessed baby. You ought to be spanked. You're an angel,
• 48:06
  Mummy? You will, won't you? Putting her cheek against Anne's. What
• 48:09
  have you got in your ears? Ear rings? Of course? Heavens take
• 48:15
  them off, oh mother, all the girls wear them. Take them off,
• 48:20
  but they have so much style style, your granny? Take them off
• 48:25
  or bite em off. Millicent squirms and giggles as Anne bites her ears.
• 48:30
  Wait wait, I will? I think you're mean to make me. You
• 48:36
  have such terribly strict ideas. Your ears are much prettier than these things.
• 48:42
  Can't you understand that nothing is so attractive as just being natural? Why cover
• 48:46
  up with stuff like this? You are funny. You'll stay at home and
• 48:52
  meet every one tomorrow night, won't you. I want them to see you.
• 48:54
  You are sweet, mummy? Do you love me a lot? Of
• 48:59
  course? Kissing Anne? Anne rising suddenly and going to look at the freeze.
• 49:06
  I am so unhappy. Why what's the matter? I should think you'd
• 49:10
  be tickled to death if father's going to get all that money. Tom coming
• 49:15
  in from the workroom quickly, you say, he stops seeing Milicent. Aren't
• 49:22
  you coming up now to plan it all in a few go on? Milicent?
• 49:27
  Millicent skips out. Why didn't you speak the minute you saw it go
• 49:30
  wrong? Or thought you did? I was never sure until today, dear.
• 49:37
  I don't agree with you at all, but still it isn't exactly inspiring
• 49:40
  knowing you think I'm going to fail Tom. I'm sorry, it's all right,
• 49:46
  but you know I care more about what you think than anybody in the
• 49:50
  world, and I it's sort of a knockout. I had to tell you
• 49:54
  the truth. When I was sure, I had to Tom, listen,
• 50:04
  since you've been working at this, an idea has come to me. At
• 50:08
  first I thought the idea was too big for me, that I never could
• 50:13
  carry it out. And then I said, I won't let myself be afraid.
• 50:20
  And it's grown and grown night and day. Last night I finished it
• 50:25
  down here the drawings. I want you to look at them, and if
• 50:34
  if you like it, if you think the idea is better than yours,
• 50:37
  I want you to take it, use it instead of yours. Why Anne,
• 50:43
  you're not serious? She nods. Good, Heavens child. You know
• 50:49
  you know how tremendous this thing is as well as I do. Yes,
• 50:52
  I do. But I tell you my idea is big. Oh I knew
• 50:58
  you'd look like that when I told you. You can't believe it, of
• 51:01
  course, But Tom, it's there, something vital and alive, with a
• 51:09
  strange charm to it. And I offer it to you, dear, if
• 51:14
  you want it. Tom taking her in his arm strongly and kissing her passionately.
• 51:20
  You generous, darling, it's like you to do this, you dear,
• 51:25
  I love you for it, and responding warmly to his love, I
• 51:31
  want you to have it. It's more than I ever dared dream I could
• 51:36
  do. But Darling, you couldn't possibly do anything for a scheme as big
• 51:40
  as this. Why do you take that for granted? Why do you say
• 51:45
  that before you've even seen my sketches? Tom, after a pause, well
• 51:52
  where are they? And taking a key out of her pocket in the lower
• 51:57
  drawer of my cupboard, Tom taking the key. No, don't come with
• 52:02
  me, but I I don't want you to explain anything. I want it
• 52:07
  to strike me fresh. But I'm going to hit it hard, right from
• 52:10
  the shoulder. If it's good, all right. If it's bad, all
• 52:15
  right, And I expect you to take it like a man. Anne nods.
• 52:19
  Tom hurries into workroom as Ruth comes in from hall. Have you told
• 52:22
  him? Yes? He's gone to look at my sketches now, Anne,
• 52:29
  I've been thinking you're a fool to give away your ideas, make your models
• 52:32
  and send them in yourself. What certainly, why not, oh, Ruth?
• 52:39
  I couldn't. Someday I will someday someday You've got the biggest idea you've
• 52:46
  ever had. Do it, send it in yourself, on your own feet.
• 52:52
  Tom would think I was out of mine. You know it's good,
• 52:54
  don't you, Yes, I do. It belongs to you. Oh and
• 53:00
  if you don't take care of it and give it its chance, you kill
• 53:02
  something which is more important than you are. Don't forget that. You're not
• 53:07
  just the talented woman. You've got downright genius, and you ought to make
• 53:12
  everything give way to that everything. If you don't, you're weak. Wait
• 53:17
  and see what Tom says. He'll know he's so dead right about my stuff
• 53:23
  always. Oh, you lucky people pulling together. If Keith only had a
• 53:30
  little of it towards me, and what shall I do ann with quick sympathy?
• 53:36
  What dear He's never, never, never going to know what a sacrifice
• 53:40
  it will be for me to stop just as I'm getting what I've slaved and
• 53:45
  struggled for all these years. And I can't bear to hurt him. Dear
• 53:50
  old Keith, he just can't see and he loves you. So Keith,
• 53:55
  coming in from hall, Why did you come back down here just to run
• 54:00
  away from you? No? I didn't going to him, sweetly, you
• 54:06
  know I didn't. Anne. As Daisy comes in from hall, Daisy,
• 54:10
  tell me the minute Tom comes out. Keith to Ruth, I'll be back
• 54:17
  in a minute. I've got to cover some stuff in there. Exit Anne
• 54:22
  and Ruth. You're a wonder Daisy. You don't mind sitting up late to
• 54:29
  get your letters off, do you? Oh? No, I'm healthy.
• 54:34
  You're a peach. I'm sorry I made you huffy. All I meant was
• 54:42
  that no man would ever think he could ask you to marry him unless he
• 54:46
  had an awfully big bank roll to offer. Remington comes in from hall to
• 54:52
  get his hat and stick, just in time to hear Keith's last remark.
• 54:55
  Daisy rises consciously. Keith goes into work. Remington goes to end of table.
• 55:01
  I suppose that speech sounded rather queer. He was talking about Ruth.
• 55:06
  Of course, don't apologize or you'll make me suspicious. Now. It sounded
• 55:12
  very much as if he were making love to you. Oh, I wish
• 55:15
  to god he would. You'd be a much better wife for him than the
• 55:20
  other one. You you know you would. Why don't you go in and
• 55:23
  get him cut the other one out? How dare you say such a thing
• 55:28
  to me? Why shouldn't I say it, because you have no right to.
• 55:31
  I haven't the slightest interest in Keith Mackenzie, not the slightest No,
• 55:36
  I can see that. What do you mean? Remington suddenly understanding, why,
• 55:42
  my dear girl, I didn't mean anything. I'm sorry. I don't
• 55:45
  know why in the world you said such a thing to me. Well,
• 55:49
  well forget it. You don't think from anything I've ever done or said,
• 55:52
  I don't think anything. I don't know anything. I don't see why you
• 55:57
  said it. And coming from what's the matter. As Daisy breaks away from
• 56:02
  Remington, who is holding her by the wrists, let me go, please,
• 56:07
  I'm in a hurry, Daisy rushes out through hall. What on earth
• 56:10
  are you doing to Daisy? She's doing things to me? What convincing me
• 56:16
  off some of my old fashioned ideas. Tom rushes in from the workroom with
• 56:21
  a large roll of drawings, and they're wonderful, Oh Tom, Tom,
• 56:27
  spreading the roll of sketches on the table and helping him. Beautiful, astoundingly
• 56:32
  beautiful. Well as I know you, I didn't think you had it in
• 56:37
  you. I can't believe it. Are you going to use it? Oh,
• 56:42
  my dear girl, that's different. Now, don't be hurt. Why
• 56:45
  Anne, it isn't possible you You're mistaken, way off. I don't know
• 56:52
  what's got into you. This is imaginative and charming and graceful, full of
• 56:59
  abandon and face and even vitality by God's child. It isn't in this class,
• 57:06
  but you could strengthen it. It will grow. You'll see more in
• 57:09
  it, really you will. Don't make up your mind yet. What are
• 57:15
  you talking about? What has she done? Drawings for a freeze like this?
• 57:21
  And they're amazing, doctor, positively amazing. You don't say, wait,
• 57:25
  let's see what Mackenzie says Mackenzie and pounding on the workroom door. Keith,
• 57:31
  Keith, come here quickly. Looks beautiful to me, daughter, When
• 57:36
  did you do all this? Do you mean to say you didn't know anything
• 57:39
  about it? Tom? Not a thing she's been Keith comes in here,
• 57:45
  Mackenzie, look at this. Here's a scheme missus Herford's worked out begins here
• 57:51
  see see get it? What do you think, missus Herford? Yes?
• 57:57
  Do you get it? Of course? Well? What do you say?
• 58:01
  I say, it's as beautiful as anything I ever saw? Great? And
• 58:07
  what do you think of it for a big place like mine for that.
• 58:12
  Yes, oh, I too fanciful, isn't it? Would the crowd understand?
• 58:22
  It needs a big, clear, striking thing like that, don't you
• 58:28
  think? Then you don't think it's as good as mine for this competition as
• 58:32
  yours? Heavens know? And standing at right facing the three men, then
• 58:39
  do you know what I'm going to do? What make my models and send
• 58:45
  them in myself? Why not? You don't mean it? Daughter? I
• 58:52
  do? I mean it with my whole soul. Why would you want to
• 58:58
  do anything so foolish? Because I made it, because it's my work.
• 59:04
  You all say it's good. Why shouldn't I send it? I don't mind
• 59:07
  failure. I only wanted to stand its little chance with the rest. I
• 59:14
  love it. It means more to me than I can possibly Why shouldn't I?
• 59:20
  I want to? Then do it? Why not? It's your own
• 59:23
  affair. Go ahead, putting out the hand of a good palship to her,
• 59:30
  not Tom, thank you, you're splendid. The curtain falls, end
• 59:37
  of Act one, Act two. Time four months later, about nine in
• 59:43
  the evening, the living room in the Hereford House. The room is long
• 59:46
  and wide, dignified and RESTful in proportions. At center back a large fireplace
• 59:52
  with a severe mantle in cream marble. A wide window covers the entire left
• 59:58
  wall, and wide doors at right lead into the library. A single door
• 1:00:02
  at back left of fireplace leads into hall. The walls are hung in a
• 1:00:07
  soft, dull silk, which throws out the strong, simple lines of the
• 1:00:12
  woodwork. A bright wood fire is burning, and soft lights throw a warm
• 1:00:16
  glow over the gray carpet and the furniture, which is distinguished and artistic but
• 1:00:22
  distinctly comfortable, giving the room the air of being much lived in and used.
• 1:00:28
  At curtain, the room is empty a moment, Daisy is singing in
• 1:00:31
  the library. At right, Ellen, a maid, middle aged and kindly,
• 1:00:37
  comes from hall carrying a silver coffee service. Daisy as she comes in
• 1:00:42
  from library, here's your coffee. Girls, come in here. Put the
• 1:00:45
  flowers over there, Ellen, Ellen moves the vase of flowers and makes room
• 1:00:51
  for the coffee service on table. Right center. Ruth comes in from the
• 1:00:54
  library with a book. Ellen goes to fire and pokes it, then straightens
• 1:01:00
  the writing things on the desk. Anne, here's your coffee, Anne calling
• 1:01:05
  from library. I don't want any thank you? What time is it,
• 1:01:08
  Daisy? About nine? Why? Oh the postman? I'm waiting for the
• 1:01:15
  last mail? Well, don't I watched pot? You know? To Ruth,
• 1:01:20
  she's watched every mail for a week. I almost think Anne will be
• 1:01:23
  more disappointed than Tom himself if he doesn't get the commission. They take their
• 1:01:28
  coffee to the fire. I hope to goodness he does. Everybody's so dead
• 1:01:31
  sure of him, almost too sure. I'm beginning to be frightened myself.
• 1:01:37
  The time's about up, Anne, hurrying in from the library. That's the
• 1:01:42
  postman, isn't it. No, ma'am begging your pardon? It ain't I'm
• 1:01:47
  listening to are you? Ellen? Keep on and bringing up the minute it
• 1:01:53
  comes, faith, I will. I've got the habit myself lately of watching
• 1:01:58
  for the mail. You every time I hear the whistle, I drop whatever
• 1:02:02
  I'm doing like it was hot, and run, do you? And just
• 1:02:06
  before I open the door, I say, the Holy Saints be praised.
• 1:02:09
  I hope it's come this time, whatever it is they're looking for. She
• 1:02:14
  goes out through the hall. Oh, dear, it gets worse as the
• 1:02:17
  time grows shorter, and working yourself up like this won't make Tom get the
• 1:02:22
  commission. Stop thinking about it. But I can't, Daisy dimple, he
• 1:02:28
  ought to hear tonight if he's ever going to Well, I'll be glad when
• 1:02:31
  it's all over and we know one way or the other and can settle down
• 1:02:35
  to ordinary life again. It's almost given me nervous indigestion. Listen, there's
• 1:02:40
  the postman, Ruth jumping so that her cup and saucer almost fall. Oh,
• 1:02:45
  An, you're getting me so excited. I'll listen for the postman all
• 1:02:50
  the rest of my life. I know I shall. Oh Tom must get
• 1:02:53
  it. He must. If he does, I'll wire millicented. Taking up
• 1:02:59
  a picture of Millicent which stands in a frame on the table. I think
• 1:03:02
  I'll run up to school Sunday just to give her a good hug. I
• 1:03:07
  get so hungry for her. Isn't it splendid? The school is so really
• 1:03:12
  what it ought to be? Yes, so much that's sweet and rite that
• 1:03:16
  one can't get in New York for a girl. Daisy sewing on a frock
• 1:03:21
  which is nearly finished. She seems pretty keen about it herself. Yes,
• 1:03:25
  rather Easter vacation, when I was working day and night to get my models
• 1:03:30
  off. She was perfectly contented to stay at school. She's an adorable kiddy.
• 1:03:36
  But I don't envy you your job. Why. I think being a
• 1:03:39
  mother is the most gigantic, difficult, important, and thankless thing in the
• 1:03:45
  world. That's the most sensible remark I ever heard. You give vent to,
• 1:03:49
  Ruth. There's something much more glorious in it than being thanked. You'll
• 1:03:54
  miss the most wonderful thing in the world, Ruth. If you don't have
• 1:03:58
  children, no, I know, but work has taken that all out of
• 1:04:02
  me it does you know? It would bore me stiff to take care of
• 1:04:05
  a baby. That's a pleasant prospect for Keith. Do you expect him to
• 1:04:11
  do it? Ruth? Making herself comfortable on the couch. I'm not going
• 1:04:15
  to have children and going to sit at the fire. That's perfectly fair.
• 1:04:20
  If he knows no reason why you should. If you don't want them,
• 1:04:25
  well, I think it's a rotten way to live. Wait till you decide
• 1:04:28
  to marry somebody yourself, young lady, and see how you like giving up
• 1:04:31
  everything that interests you most. Well, by jove, if I ever do
• 1:04:35
  marry, I'll marry and do all the things that belong to my side of
• 1:04:39
  the game. No half way business for me. You might as well be
• 1:04:42
  a man's mistress and be done with it, Ruth, half serious, half
• 1:04:46
  joking. That's the ideal relationship for a man and woman, each to keep
• 1:04:50
  his independence in absolutely every way and live together merely because they charm each other.
• 1:04:57
  But somehow we don't seem to be able to make it resc respectable.
• 1:05:00
  I suppose that's very clever and modern. Oh no, it's as old as
• 1:05:04
  the everlasting hills. The trouble is children are apt to set in and mess
• 1:05:09
  things up. It's hard on them. So far as I can see,
• 1:05:12
  most everything that's modern is hard on children. How's the gown getting on,
• 1:05:15
  Daisy? Most finished? That's awfully pretty. Slip it on so we can
• 1:05:20
  see. Oh I can't, Anne rising and walking to Daisy. Yes,
• 1:05:27
  you can over that one. Just to give us an idea. I'll look
• 1:05:31
  a tub, and it really makes me quite respectably straight up and down.
• 1:05:34
  You're a perfectly scrumptious size and shape, isn't she Ruth magnificent? Yes,
• 1:05:42
  Ruth. Skinny women always enthuse over their fat friends. Ruth rising and goes
• 1:05:46
  to Daisy. Oh you aren't fat, Daisy, that is not too fat?
• 1:05:53
  How does this go? It's terribly complicated, isn't it? No?
• 1:05:56
  Perfectly simple? Wait, this goes over here? No it doesn't, does
• 1:06:00
  it? Yes? It does right there? Don't you see? The style
• 1:06:04
  of the whole gown depends on that. You must have it on wrong side
• 1:06:08
  before nonsense? Can't you see, Anne? It's as simple as can be.
• 1:06:13
  Yes, I know, dear. But does this go on the shoulder
• 1:06:17
  or down on the hip? They all talk at once for a moment on
• 1:06:21
  the subject of where the end of the girdle fastens? Oh? Here,
• 1:06:26
  I see, of course there. Now does it make me look big?
• 1:06:30
  You want to look big, don't you? Well? I want to look
• 1:06:31
  life size. Don't you see how much better I am through here than I
• 1:06:35
  was last year? Anne, touching her hip much. The female form divine
• 1:06:42
  is improving all the time, anyway, gradually getting back to what it was
• 1:06:46
  in the beginning. I don't expect to look like you in it, Ruth.
• 1:06:50
  Oh don't you dear? Then? Why don't you have it stick out
• 1:06:54
  this way as much as possible so everybody will know you mean to look broad?
• 1:06:58
  There's everything in that, you know. I think it would be awfully
• 1:07:00
  good on you to fill out what you haven't got. Then everybody would know
• 1:07:04
  you didn't mean to look so narrow. Even if you are, you're both
• 1:07:09
  delightful, perfect specimens of your types. When I look at Ruth, I
• 1:07:15
  think the most alluring charm a woman can have is beautiful bones without a superfluous
• 1:07:20
  ounce of flesh on them. And when I look at you, Daisy,
• 1:07:25
  I think, after all, there's nothing so stunning as a big, strong
• 1:07:30
  girl with perfectly natural lines, so natural that we know she'd be even better
• 1:07:36
  looking with no clothes on at all. Heavens, Anne, your sculptor's eye
• 1:07:42
  is a little embarrassing. Evidently you think my clothes help me out a good
• 1:07:45
  deal. But at least I'm free and comfortable too. Can you touch the
• 1:07:48
  floor, Daisy? Of course the two women bend, touching the floor with
• 1:07:54
  the tips of their fingers. Tom Remington and Keith come in from the hall.
• 1:07:59
  What what's going on? What are you trying to do, Ruth,
• 1:08:02
  swim or fly? We're just saying that the Waiste measure expands as we broaden
• 1:08:08
  in our ideas. Is that the fashion now yes broad and free. That's
• 1:08:15
  one thing you women have to acknowledge men have more sense about than you have.
• 1:08:18
  What what our figures? We've had the same shape since the Garden of
• 1:08:24
  Eden, and you've had hundreds of absolutely different kinds. Turn around, Daisy,
• 1:08:28
  I want to try something. She accidentally sticks a pin into Daisy's shoulder.
• 1:08:32
  Ouch. Oh, I'm sorry. You seem to be so close to
• 1:08:38
  your clothes. What are you doing to her? She's sticking pins into me
• 1:08:43
  for her own good? Isn't that pretty? What the frog is that?
• 1:08:48
  New? Witch? Do you mean to say you don't realize I have on
• 1:08:53
  something different from what I wore at dinner. No use dressing for Keith.
• 1:08:57
  He never sees anything. I'm going to undress now now, perhaps that will
• 1:09:00
  interest you more. Ann begins to unfasten the gown much more. Was that
• 1:09:06
  the postman? No, it was not the postmanhabit is getting on my nerves.
• 1:09:12
  You're all jumping and listening till you'll have Saint Vitus dance if you don't
• 1:09:15
  stop. How can we help it? After all, a few other competitions
• 1:09:19
  have been lost and won, and people have lived through it. It's not
• 1:09:24
  the only thing in life you'd think it was if you had one hundred thousand
• 1:09:28
  dollars at stake. Allen comes in from hall and takes out the coffee tray.
• 1:09:32
  Are we going to have some bridge who wants to play? I know
• 1:09:35
  you do, Daddy. I have to get even with you for that last
• 1:09:39
  rubbery. Tom, you can't do it. I want to play with you,
• 1:09:43
  doctor. Come on, I'm afraid to play against you. Remington turning
• 1:09:47
  at the library door. What's that? What the postman? Oh? Ruth
• 1:09:55
  and Daisy go into library right with Remington ann to Tom and Keith coming you
• 1:10:01
  go, Keith, I want to look at the paper a minute. No,
• 1:10:05
  my game's no good. You go now. Don't stay out here and
• 1:10:10
  listen and wait. If there is any mail, Ellen will bring it up
• 1:10:15
  straight. I won't. I'll be with you in two minutes. Anyway,
• 1:10:20
  Tonight doesn't necessarily decide it. There may be still two or three more days.
• 1:10:27
  Isn't that so? Keith? Yes? I think so. Remington.
• 1:10:30
  Ruth, Daisy calling from the library, Come on, co coming, She
• 1:10:38
  goes in. That's straight, I do think so. A pause, Tom
• 1:10:44
  reads, don't you I'm trying to but these last few days of waiting have
• 1:10:49
  been don't lose your nerve Herford. I'm just as sure as I was the
• 1:10:55
  first day. If by any wild chance you don't get it, it will
• 1:11:00
  be a fluke. Oh no, oh no, not by any means.
• 1:11:05
  The men judging this, no, I trust them with anything. The fellows
• 1:11:11
  who lose will have no kick coming on that score. Well, I don't
• 1:11:15
  see how you can lose. A man's a fool to let himself count on
• 1:11:18
  an uncertainty. I don't mean that I've lost sight of the fact that I
• 1:11:21
  might lose, not for a second. But I confess, as the time
• 1:11:26
  has grown shorter, I've realized I want it even more than I thought I
• 1:11:30
  did. Of course you want it. Aside from the glory. It's an
• 1:11:35
  awful lot of money, governor, an awful lot of money. It is.
• 1:11:44
  It would put us straight, clear up the house entirely, and make
• 1:11:46
  it possible to do that things a fellow wants to do. That's what I'm
• 1:11:50
  after. Then, no more competitions for me, Thank you? Is that
• 1:11:56
  the phone? I'm as bad as Anne jumping and listening, damn it.
• 1:12:00
  I want to know one way or the other. Of course you do.
• 1:12:04
  The curse at waiting is enough to make you cut your throat Ellen, opening
• 1:12:10
  the hall door the telephone for mister Herford. Who is it? I couldn't
• 1:12:15
  just get the name, sir, want me to go if you don't mind,
• 1:12:18
  old man. Ellen goes out, Keith starting to the door and turning.
• 1:12:25
  It couldn't be. You wouldn't get to word that way, would you.
• 1:12:30
  Huh? Oh, nonsense, No, no, nonsense, I'll go,
• 1:12:36
  No, I you go, old man, that's not it. Of
• 1:12:42
  course. Tom listens a moment, showing a tense anxiety, Ruth coming in
• 1:12:47
  from the library. They're waiting for you, Tom. The cards are dealt.
• 1:12:50
  Where's Keith? He'll be back in a minute. Aren't you going in?
• 1:12:55
  Why don't you take my place? I don't feel a bit. I
• 1:12:58
  did offer to but doctor Remington and said he would like to play bridge this
• 1:13:00
  evening, not teach it. Wouldn't it be seventh Heaven to speak the truth
• 1:13:04
  on all occasions as unconcernedly as doctor Remington does. Imagine the sheer bliss of
• 1:13:11
  letting go and spitting it all out. Have you ever counted the lies you
• 1:13:15
  told in just one day, Tom, No, I've never had the time.
• 1:13:19
  Tom starts to go into the library and turns to see if Ruth is
• 1:13:23
  coming. No, I'm going to wait for Keith. Tom goes in,
• 1:13:27
  Ruth reads for a moment. Keith coming back from the hall. That was
• 1:13:32
  what Millicent or her school or something. Such a bad connection. They're going
• 1:13:42
  to call again in a few minutes. Hmmm is that dress new, dear?
• 1:13:47
  I've had it three years. It's awfully pretty. I wish you'd wear
• 1:13:53
  it all the time. I do. Aren't we going in to play?
• 1:13:58
  No, I don't feel like it. Come and sit down, dear.
• 1:14:00
  Oh are you going to sit way over there? Not specially drawing chair near
• 1:14:05
  the couch. Keith sits facing Ruth comfortable, not very Have you read this?
• 1:14:14
  No any good? Yes? Good enough? She rises, going to
• 1:14:19
  the fireplace. What's the matter? I thought you wanted to talk. Where
• 1:14:26
  are you going? No place? You got the fidgets too sort of?
• 1:14:31
  Well, stop it. Herford's going to be all right. There'll be news
• 1:14:36
  in a day or so. Now. I wasn't thinking of that. I
• 1:14:41
  have something to tell you, m then why don't you come and tell it?
• 1:14:45
  And if you aren't fine about it, it will be the greatest disappointment
• 1:14:48
  in my whole life. Going to Keith and putting a hand on his shoulder.
• 1:14:53
  You mean, if I don't think just what you want me to about
• 1:14:58
  it? Go I suppose I know anyway, then if you do but you
• 1:15:04
  don't, it's so wonderful you couldn't guess. And you just have to see
• 1:15:10
  it the right way, because if you don't, it would mean you're what
• 1:15:12
  I know, you're not down in your real soul, Keith, you're generous
• 1:15:16
  and fair and right. Suppose you communicate it to me first and discuss my
• 1:15:23
  soul afterwards. Ruth sitting on couch facing Keith. Well, oh, you
• 1:15:30
  will be sweet, won't you, keithy, I can see it's going to
• 1:15:33
  be something very pleasant for me. It is, if it's wonderful, if
• 1:15:41
  I'm not a fool and a pig, yes, I know. Go on,
• 1:15:47
  go on now, don't begin that way, please, dear, don't
• 1:15:51
  shut up your mind before I even tell you. Suppose you do tell me?
• 1:15:57
  Well, last week there was a row in the office over a matter
• 1:16:00
  concerning the policy of the magazine, and I differed with all the men in
• 1:16:03
  my department. At last I was sent for by the editor in chief.
• 1:16:06
  He was terribly severe at first, and I was frightened to pieces, but
• 1:16:11
  I stuck to my guns and bless your soul. He sent for me again
• 1:16:15
  today and said they had had a meeting of the directors and that they decided,
• 1:16:19
  oh it's two. What what they had decided to make me editor of
• 1:16:25
  the Woman's magazine? Fighting back her tears? Isn't it funny? And I
• 1:16:30
  suppose all this introduction means you accepted without even asking me why? Of course?
• 1:16:39
  Oh, Keith, don't you understand what this means to me? I
• 1:16:42
  understand that unless it means more to you than I do, you wouldn't hesitate
• 1:16:47
  a minute to chuck it. It's hopeless well, never never see it the
• 1:16:54
  same way. You've never made the slightest effort to see it my way.
• 1:17:00
  What you ask of me is to cut off one half of my life and
• 1:17:02
  throw it away. What I ask of you is only an experiment to let
• 1:17:08
  me try and see if I can't make things comfortable and smooth and happy for
• 1:17:12
  us and still take this big thing that has come as a result of all
• 1:17:15
  my years of hard work and fighting for it. You'll never stop if you
• 1:17:20
  don't now. Once you get deeper in, you'll be swamped, eaten up
• 1:17:27
  by it, don't Keith? I can't bear it. It's too unutterably selfish,
• 1:17:32
  Keith, rising and pushing his chair away. All right, I'm selfish,
• 1:17:38
  but I'm human, and I'll bet my hat. I'm just like every
• 1:17:43
  nine men out of ten. What in the name of heaven does letting a
• 1:17:47
  girl amount to if you don't want to take care of her from start to
• 1:17:53
  finish. A man's no good if he doesn't feel that way, I tell
• 1:17:58
  you he's a pup and ought to be shot. Ruth rising, But what
• 1:18:05
  about me and what I want and have to have in order to be happy?
• 1:18:11
  That's it? That is the point. You won't be happy without it.
• 1:18:15
  You want the excitement of it, that hustle and bustle outside. I
• 1:18:19
  want it, just as you want your work. And you haven't any more
• 1:18:24
  right to ask me to give up mine than I have to ask you to
• 1:18:27
  stop yours. You simply don't love me. What rot? What nonsense?
• 1:18:33
  You don't love me, it's helpless. You've decided then you won't compromise,
• 1:18:40
  so we'll end it. What do you mean, Ruth going to the hall
• 1:18:45
  door. You've made your own choice, will end it now, Keith following
• 1:18:49
  her, No, Ruth, I won't give you up. You have you
• 1:18:55
  have given me up? Ruth. Wait, it's best, Keith. Don't
• 1:19:00
  hate me. You'll see it's best. In a little while, we'll learn
• 1:19:03
  to be friends. I want you to be happy, dear boy. I
• 1:19:06
  do, and I couldn't make you, so we'll end it now. It's
• 1:19:11
  the best for both of us, Ruth. She goes out, quickly closing
• 1:19:15
  the door. Keith turns to the fire, Daisy knocking and opening the library
• 1:19:21
  door. Excuse me, may I come in to get my sewing? Where's
• 1:19:26
  Ruth? Keith, with his back to Daisy, don't know. Well,
• 1:19:31
  don't bite my head off. I can always tell when you and Ruth have
• 1:19:34
  been discussing the emancipation of women, sitting below table and taking her dress to
• 1:19:40
  sew. You all think you're superior beings, of course, Keith, beginning
• 1:19:46
  to walk about. Yes, you do. You're just as bad as the
• 1:19:50
  rest of them. Worse the minute woman makes enough to buy the clothes on
• 1:19:57
  her back, she thinks she and God all are running the earth, and
• 1:20:01
  men are just little insects crawling around. Daisy laughs, Oh, you can
• 1:20:09
  laugh. It's so, and you know it. Every one of you that
• 1:20:15
  have got the bee and your bonnet of doing something doing something are through with
• 1:20:24
  men. Look at you. You've cut men out entirely, and you think
• 1:20:30
  you're too smart to marry one, now, don't you. Isn't that the
• 1:20:35
  reason? Daisy threading her needle? Don't bully rag me say it all to
• 1:20:42
  Ruth. I tell you it's all rot business for women. It spoils every
• 1:20:48
  one of you. Why aren't you in a home of your own instead of
• 1:20:53
  hustling for your bread and butter? It's because you're too damned conceited. You
• 1:21:00
  think you know more than any man you ever saw, and you think you
• 1:21:03
  don't need one. You wait, you'll see someday. Going back to the
• 1:21:13
  fire, you amuse me. There you are, That's about what I'm for.
• 1:21:18
  There's a button off your coat looks horrid. I know I've got it.
• 1:21:25
  Putting his finger in waistcoat pocket. Have you got it there? Keith
• 1:21:29
  shows her the button. Come here, I'll do it. Never mind,
• 1:21:32
  I'll nail it on. Come here, Keith goes slowly to her. You'll
• 1:21:38
  have to take your coat off. It's bad luck to sew anything on you.
• 1:21:41
  Oh, go on, take it off. Keith takes off his coat
• 1:21:45
  reluctantly and watches Daisy as she examines the coat. Good, gracious, the
• 1:21:49
  lining's ripped too, Yes, poor old fellow, are these some of your
• 1:21:55
  stitches? Keith, drawing the chair from center and sitting left before Daisy.
• 1:22:00
  What's the matter with them? Looks like carpet thread snipping some threads. See,
• 1:22:06
  I'll just draw this together and that'll be all right. She begins to
• 1:22:10
  sing, an old diddy. Keith gradually hums with her, keeping time with
• 1:22:14
  his hands and feet and relaxing into a good humor. Keith soothed for a
• 1:22:18
  moment. How does it happen you're so handy with a needle? I thought
• 1:22:26
  you were all for business. Well I can sew a button on if you
• 1:22:30
  can. I tell you it changes all women business. They make a little
• 1:22:38
  money themselves and want luxury and won't live without it sometimes. Yes, but
• 1:22:45
  there are lots and lots and lots of women taking care of themselves, putting
• 1:22:49
  up the bluff of being independent and happy. Who would be so glad to
• 1:22:54
  live in a little flat and do their own work just to be the nicest
• 1:22:57
  thing in the world to some man? Wouldn't you think that Ruth would like
• 1:23:00
  that? Better than the office. No, not the lamplight and the needle
• 1:23:04
  for Ruth. Keith, don't ask her to give up her work. Don't
• 1:23:09
  you see? She's more clever in her way than you are in yours.
• 1:23:13
  She'll go further, and if you make her stop, she'll hate you someday
• 1:23:16
  because she'll think you've kept her back. That's a hard thing to say,
• 1:23:20
  but it's the truth. You mean I'm a failure? No, No,
• 1:23:27
  I don't mean that, Keith. I work, Gosh how I work,
• 1:23:32
  But I'll never do anything. Why haven't I got what missus Hurford's got.
• 1:23:40
  She sent models off for this freeze that any man would be proud to send.
• 1:23:45
  Why couldn't I seems kind of mixed up and unfair, doesn't it?
• 1:23:50
  You bet it's unfair. I work like a dog and never get anywhere.
• 1:23:58
  If Ruth throws me over, I'll never have the home I'm working for.
• 1:24:02
  That's what I want, a home. I'll never have it now. Oh,
• 1:24:10
  yes, you will. I'm done for. No, you're not.
• 1:24:15
  There are too many women in the world who could love you. I'm no
• 1:24:20
  good. Some woman might think that you you're the way you work and your
• 1:24:26
  honesty and loyalty are the greatest things a man can have. Some woman might
• 1:24:31
  use all her cleverness and ingenuity to make the little flat beautiful, to show
• 1:24:35
  you what your own home could be, to give you a better dinner than
• 1:24:39
  you thought you could afford. Keith, sitting with his head in his hands.
• 1:24:44
  All that kind of a woman is a thing of the past. Oh
• 1:24:48
  no, they're not. They're lying around thick. The trouble is a woman
• 1:24:54
  can't ask. Even if a man is just at her hand and she knows
• 1:24:59
  she could make him happy, she can't tell him. She can't open his
• 1:25:02
  eyes. She has to hide what might make things right for both of them,
• 1:25:06
  because she's a woman. Oh love doesn't cut much ice with a woman.
• 1:25:14
  Women are all brains nowadays. That's enough to use all the brains a
• 1:25:18
  woman's got to make a home, to bring up children, and to keep
• 1:25:24
  a man's love. Keith, raising his head slowly and looking at Daisy.
• 1:25:29
  I never expected to hear you say a thing like that. There's some excuse
• 1:25:34
  in you being in business, Yes, of course, rising and holding the
• 1:25:40
  coat. I'm not the marrying kind, Keith getting into the coat. Much
• 1:25:45
  obliged, would you be willing to give up work and marry a man on
• 1:25:50
  a small salary. If you loved him? You make me laugh? What's
• 1:25:56
  the matter, Daisy? Nothing? I never see aw tears in your eyes
• 1:26:00
  before. Women are funny things. Yes, we're funny. There's only one
• 1:26:08
  thing on earth funnier. What men? Rummington coming in from the library.
• 1:26:14
  Did I leave my other glasses in here? Daisy? Beginning to look for
• 1:26:17
  them? I haven't seen them. I've lost one game because I didn't have
• 1:26:21
  him, and I don't propose to give him another. What a shame?
• 1:26:24
  Help look for them, Keith. I'm pretty blind, but thank god,
• 1:26:28
  not quite as bad as you. Keith. What? There's nothing the matter
• 1:26:31
  with my eyes? Rummington, looking insinuatingly at Daisy. Don't you think there
• 1:26:38
  is? Daisy? Daisy trying to look unconscious. Are you sure you left
• 1:26:43
  those glasses in here? It's as bad a case of shortsightedness as I ever
• 1:26:46
  saw. Oh. The doctor holds her and turns her, pushing her toward
• 1:26:51
  Keith. Daisy, don't you see that queer blind look in his eyes?
• 1:26:58
  No? I don't. What do you mean? Remington laughs? Do you
• 1:27:02
  see the joke? Daisy? It's no joke, is it? Daisy,
• 1:27:08
  I don't know what on earth you're talking about. I'm going to get those
• 1:27:11
  glasses going to hall door. You probably left them in your out in the
• 1:27:15
  call I mean in your hall in the coat. I mean that's all right,
• 1:27:19
  Daisy. We know what you mean, at least I do. Oh
• 1:27:23
  you, Ellen comes in from hall. What is it? Ellen? The
• 1:27:27
  telephone? Miss Herford for me? They said, any one of the family,
• 1:27:30
  I'll go. She goes out, followed by Ellen. There's a woman
• 1:27:35
  who knows how to take care of a man. I'm afraid that's not her
• 1:27:39
  object in life. They all have something else to do. What's the matter
• 1:27:45
  with you? I'm done for Ruth. You mean she won't marry me unless
• 1:27:49
  she goes on working. She's right too. What of course you haven't any
• 1:27:57
  more right to ask that clever little woman to throw a half her life and
• 1:28:00
  to be the tail to your kite. Then you have to ask her to
• 1:28:04
  cut her throat. Open your eyes and look around. There are always other
• 1:28:10
  women. Oh never, never in the world for me. I give you
• 1:28:15
  about three months. Do you think I could ever? Certainly I do.
• 1:28:20
  Look at Daisy, for instance, a fine, sweet, wholesome girl with
• 1:28:25
  no kinks and no abnormal ambitions. Daisy, don't blow your brains out for
• 1:28:30
  a couple of days. Talk it over with her. She thinks you're about
• 1:28:34
  the finest thing going. What fact. Don't try to hold on to the
• 1:28:40
  woman who's getting away from you, but take the one who is coming your
• 1:28:44
  way. You're crazy, mad as a hatter. What are you giving me?
• 1:28:51
  Just a little professional advice? Free. She's head over heels in love
• 1:28:56
  with you. I tell you, Daisy coming in from home in great excitement.
• 1:29:00
  She has a case for glasses in her hand. Doctor Remington. That
• 1:29:04
  was long distance. They telephoned from school that Millicent has gone, gone,
• 1:29:11
  gone? Where left school suddenly tonight without saying a word to anyone? What?
• 1:29:15
  As soon as they knew they phoned the station and found she had taken
• 1:29:19
  the train for New York. What train the one that gets here at nine
• 1:29:24
  o'clock? Keith, looking at his watch, it's nine fifteen? Now?
• 1:29:29
  Shall I tell Anne? No? No, wait, we'll give her fifteen
• 1:29:31
  minutes more to get to the house. No use frightening Anne? Do you
• 1:29:35
  think she is coming home? Why do you say that? Keith? What
• 1:29:40
  puts such an idea into your head? Why wouldn't she say so whire or
• 1:29:45
  right or something. Oh, it's too horrible, doctor. Oughtn't we to
• 1:29:50
  tell them now? No? No, but we're wasting time. What if
• 1:29:55
  she shouldn't come. I think i'll dash down to the station anyway, the
• 1:30:00
  train might be late. No, no, they'll ask where you'd gone.
• 1:30:04
  Wait fifteen minutes. I think she'll be here. I don't want to frighten.
• 1:30:09
  Ann comes in from the library. Well I never saw people so wildly
• 1:30:14
  keen about playing as you are. What's the matter with you? I've been
• 1:30:18
  waiting all this time for my glasses. Come on, Daisy. Taking the
• 1:30:24
  glasses from Daisy, he goes into library. You look worried, Daisy.
• 1:30:29
  No, I'm only Ellen coming in from hall with eight letters on a small
• 1:30:33
  tray, the mail missus Herford. Oh. She snatches the letters, taking
• 1:30:39
  off the three top ones. It's come Tom's letter. What Ellen goes out
• 1:30:45
  through hall left center It is It is as true as I live, Great
• 1:30:50
  Scott. Then he's got it, he's got it. Sh ask him to
• 1:30:56
  come here. It's too good to be true. It's too good, Daisy.
• 1:31:00
  He goes into the library. I can't tell you how glad I am.
• 1:31:02
  Missus Herford. I can't tell you. Anne, scarcely able to speak,
• 1:31:09
  ask him to come here. Keith going into library. Missus Herford wants
• 1:31:14
  you Governor Tom within come and play, Anne and throwing the other letters on
• 1:31:20
  the table. Come here just a minute, Tom, please, Tom coming
• 1:31:25
  to door? What is it? Shut the door? It's come showing the
• 1:31:30
  letter. Tom opens and reads it. A look of sickening disappointment comes into
• 1:31:34
  his face. No, oh, Tom, I was their second choice.
• 1:31:41
  Oh Tom, don't take it like that. What difference does it make?
• 1:31:45
  After all? You know you did a big thing. It's all luck.
• 1:31:50
  Anyway, I'll pull up in a minute. Well it means taking hold of
• 1:31:56
  something else pretty quick, going at it again. Yeah, yes, keeping
• 1:32:01
  at it. That's it. What a terrible lot chance has to do with
• 1:32:08
  it. Oh, no, that isn't it. Yes, it is too.
• 1:32:12
  No, I failed. I didn't get it. That's all. You'll
• 1:32:16
  do something greater next time because of this. Taking her hand. You're a
• 1:32:23
  brick now, see here. Don't you be cut up about this. It's
• 1:32:28
  not the end of everything, you know. Stop that you're not crying?
• 1:32:31
  I hope, No, I'm not, of course I'm not. Oh my
• 1:32:38
  boy, I never loved you so much, never believed in you as much
• 1:32:44
  as I do. Now this is only a little hard place that will make
• 1:32:48
  you all the stronger. Dear, old girl, what would I do without
• 1:32:54
  you? I'll tell the others and get it over rising He stops, staring
• 1:32:59
  at one of the letters on the table, and Tom taking up a letter.
• 1:33:04
  And here's one for you too. What she tears? Open the letter?
• 1:33:10
  Tom, They've given the commission to me. Look read it? Is
• 1:33:17
  that? What it says? Is it? Now? Aren't you glad to
• 1:33:21
  let me do it? You haven't lost, We've got it. Say you're
• 1:33:30
  glad, Say you're proud of me, Dear, that's the best part of
• 1:33:35
  it all, of course I am, Dear, of course I am.
• 1:33:40
  Oh Tom, I wanted you to get it more than I ever wanted anything
• 1:33:45
  in my life. But this is something to be thankful for. Doesn't this
• 1:33:50
  almost make it right? Yes, dear, Yes, don't think of me.
• 1:33:56
  That's over that part of it. Tell the others, now, wait,
• 1:34:00
  aren't you going to I only want to be sure that you're just as
• 1:34:03
  happy that I won as I would have been if you had. Of course
• 1:34:10
  I am, you know that, kissing her Tell the others thin, Tom,
• 1:34:15
  I can't Tom opening the library doors? What do you think has happened?
• 1:34:20
  Daisy rushing in? Tom? Got it? Didn't you? Tom?
• 1:34:25
  You did? You did? Oh? I'm so glad. She kisses him,
• 1:34:30
  Keith following Daisy in. Well, Governor, what did I tell you?
• 1:34:35
  Remington in doorway? Pretty fine, isn't it? You tell them Tom
• 1:34:42
  and got it? What isn't it great? You won't believe it, but
• 1:34:47
  you can see the letter? Now, Father? Don't you think getting that
• 1:34:54
  is better than being nurse maid and housekeeper? Now? Don't you honestly?
• 1:34:59
  I do not what I do not? Oh? I can laugh at your
• 1:35:04
  theories. Now you haven't got a leg to stand on, has he?
• 1:35:08
  Tom be a dear father and say you're glad. I'm not. I'd rather
• 1:35:14
  you'd failed a thousand times over for your own good. What are you going
• 1:35:17
  to do with Millicent while you are making this thing? How can you be
• 1:35:21
  so hard and narrow? Father? What if you did win? You've got
• 1:35:26
  something far greater than making statues to do? Doctor, you're excited, not
• 1:35:30
  a bit. I'm only telling the truth. This is your business, you
• 1:35:34
  know, and it would have been far better for both of you if you'd
• 1:35:38
  won the thing. I don't see the argument. Anne got it because you
• 1:35:42
  sent it a better model than I did. I don't see that anything else
• 1:35:45
  has anything to do with the case. Tom goes out through hall and turning
• 1:35:50
  to sit on the couch. At least Tom's glad I got it. He's
• 1:35:55
  stung to the quick. You've humiliated him in his own eyes. He goes
• 1:36:00
  to the fireplace. I can't understand why you feel this way about it.
• 1:36:03
  Father, Oh, it's natural enough, Anne, turning to Daisy in amazement.
• 1:36:10
  Aren't you glad for me? Daisy? Yes, but I I'm awfully
• 1:36:14
  sorry for Tom. She goes out through hall. What's the matter with them
• 1:36:18
  all? Keith? Oh, as Daisy says, it's natural, missus Hereford.
• 1:36:27
  He goes out after Daisy. Remington coming down to Anne, daughter,
• 1:36:32
  I'm afraid I was a little too stiff just now. I didn't mean to
• 1:36:35
  be unkind. Anne rising and starting to haul door. Oh it doesn't matter,
• 1:36:44
  Remington stopping her. Yes it does matter. I wouldn't hurt you for
• 1:36:48
  the world. But you've always fought me, father. You never thought I
• 1:36:55
  had any right to work, never believed in my ability. Now that I've
• 1:37:00
  proved I have some Why can't you acknowledge it? And this is a dangerous
• 1:37:08
  moment in your life. Tom's beaten, humiliated, knocked out. You did
• 1:37:14
  it? He can't stand it. What have I done? Tom has a
• 1:37:18
  big nature. He's not little and petty enough to be hurt because I won.
• 1:37:25
  You're blind. He's had a blow tonight that no man on earth could
• 1:37:30
  stand. Not Tom, I won't believe that. Yes, I say,
• 1:37:35
  I know what I'm talking about. And be careful how you move. Now,
• 1:37:40
  use your woman's tact, your love. Make Tom know that he is
• 1:37:44
  the greatest thing in the world to you, that you'd even give up all
• 1:37:47
  this work idea if he wanted you to what Tom wouldn't let me ask him?
• 1:37:58
  Ask him, see what he'd say. Why I wouldn't insult him.
• 1:38:02
  He'd think I thought he was. Tom comes in from the hall. Anne
• 1:38:08
  checks herself and turns away quickly to fire Tom. After a pause. What's
• 1:38:14
  the matter? Nothing? Nothing, Anne and I were just having a little
• 1:38:18
  argument as usual. I'll be back in a few minutes. Looking at his
• 1:38:23
  watch, he goes into hall. Tom going slowly to Anne, I hope
• 1:38:28
  you're not still fighting about the your freeze. They're all so funny, Tom,
• 1:38:34
  the way they act about it. It hurts. But as long as
• 1:38:39
  you're glad, it doesn't matter what anyone else thinks. Say you're glad,
• 1:38:45
  dear. I want you to be as happy as I would have been if
• 1:38:49
  you had won. You know I am dear. You know that, Anne,
• 1:38:56
  with a sigh of relief. Anne sits at left of fire. Think
• 1:39:00
  I'll have to work. I can't even go to the country in the summer.
• 1:39:05
  Tom sitting opposite Anne at the fire. And what will you do with
• 1:39:10
  Millicent this summer? Oh, there are lots of nice things for her to
• 1:39:15
  do. The money, I think what it will mean to you. Let
• 1:39:20
  me tell you one thing, Anne, in the beginning, I'll never touch
• 1:39:25
  a penny of the money. What not a cent of it? What are
• 1:39:30
  you talking about? That's your money? Put it away for yourself. I
• 1:39:34
  never heard you say anything so absolutely unreasonable before in my life. If you
• 1:39:41
  think I'm unreasonable, all right, But that's understood. About the money.
• 1:39:45
  We won't discuss it. Well, we will discuss it. Why shouldn't you
• 1:39:51
  use my money as well as I yours? That's about as different as day
• 1:39:56
  and night. Why is it because I'm taking care of you. It's all
• 1:40:01
  right if you never do another day's work in your life. You're doing it
• 1:40:05
  because you want to. I'm doing it because I've got to. If you
• 1:40:10
  are alone, it would be a different thing. But I'm here, and
• 1:40:14
  so long as I am, I'll make what keeps us going. But I'll
• 1:40:17
  help you. No, you won't. I will. I'm going on just
• 1:40:25
  as far as I have ability to go. And if you refuse to take
• 1:40:29
  any money I may make you refuse to use it for our mutual good.
• 1:40:36
  You're unjust and taking an unfair advent. Oh Tom, what are we saying?
• 1:40:45
  We're out of our senses, both of us. You didn't mean what
• 1:40:49
  you said, did you? It would? I simply couldn't bear it if
• 1:40:56
  you did. You didn't, did you? I did? Of course,
• 1:41:03
  Tom, After all these years of pulling together, Now that I've done something,
• 1:41:13
  why do you suddenly balk? Tom? Rising? Good heavens do you
• 1:41:18
  think I'm going to use your money? Don't try to run my end of
• 1:41:23
  it. It's the same old story when you come down to it. A
• 1:41:27
  woman can't mix up in a man's business. He moves away. Mix up
• 1:41:31
  in it isn't it a good thing for you that I got this commission.
• 1:41:39
  No, I don't know that it's a good thing from any standpoint to have
• 1:41:43
  it known that I've failed and my wife succeeded. I thought you said you
• 1:41:46
  were glad proud of me. It's too distracting, too, takes you away
• 1:41:54
  from more important things. What things Melicent in me? Of Tom? Don't
• 1:42:04
  you know that you and Millicent come before everything on earth? To me?
• 1:42:10
  No, you do, We don't now. Your ambition comes first, and
• 1:42:17
  she rises going to him. Tom, I worship you. You know that,
• 1:42:23
  don't you. I'm beginning to hate this work and everything connected with it.
• 1:42:28
  But you taught me, helped me, pushed me on. What's changed
• 1:42:33
  you? I let you do it in the first place because I thought it
• 1:42:36
  was right. I wanted you to do the thing you wanted to do.
• 1:42:41
  Well. I was a fool. I didn't see what it would lead to.
• 1:42:45
  It's taking you away from everything else, and there'll be no end to
• 1:42:49
  it. Your ambition will carry you away to the home and Millicent and I
• 1:42:54
  are nothing to you. Tom. Look at me, be honest. Are
• 1:43:00
  you sorry? Sorry I got this commission? I'm sorry. It's the most
• 1:43:05
  important thing in the world to you? Why do you say that to me?
• 1:43:12
  How can you haven't I just seen it. You're getting rid of Milicent
• 1:43:16
  now because you don't want her to interfere with your work. No, you're
• 1:43:21
  pushing her out of your life. No, you said just now, you
• 1:43:27
  are going to send her away alone in the summer. I don't like that.
• 1:43:30
  She's got to be with you. I want you to keep her with
• 1:43:34
  you. But that's impossible. You know that if I stop working now,
• 1:43:41
  I might as well give up on the freeze entirely. Then give it up?
• 1:43:45
  What, give up the whole thing forever? Why shouldn't you? Do
• 1:43:49
  you mean that? Yes, Tom, I love you. Don't ask this
• 1:43:59
  sacrifice me to prove my love. Could you make it? Could you don't
• 1:44:04
  ask it? Don't ask it for your own sake. I want to keep
• 1:44:11
  on loving you. I want to believe you were what I thought you were.
• 1:44:15
  Don't make me think you're just like every other man. I am a
• 1:44:20
  man, and you're my wife, and Millicent's our daughter. Unless you come
• 1:44:26
  back to the things a woman's always had to do and always will, we
• 1:44:30
  can't go on. We can't go on. And following him around the table,
• 1:44:35
  Tom if you're just a little hurt, just a little jealous because I
• 1:44:43
  won. Oh that's natural. I can understand that. Oh don't. But
• 1:44:51
  oh Tom the other to ask me to give it all up. I could
• 1:45:00
  never forgive that. Take it back, Tom, take it back, Good
• 1:45:06
  God, An, can't you see you're a woman and I'm a man.
• 1:45:11
  You're not free in the same way. If you won't stop because I ask
• 1:45:15
  it, I say you must. You can't say that to me, You
• 1:45:19
  can't. I do say it. No, I say it because I know
• 1:45:26
  it's right. It isn't. I can't make you see it. It isn't.
• 1:45:31
  I don't know how, but everything in me tells me it's right.
• 1:45:35
  Tom, listen to me. If you won't do it because I ask you,
• 1:45:41
  I demand it, I say, you've got to, Tom. You
• 1:45:45
  can kill our love by just what you do now. Then this work is
• 1:45:50
  the biggest thing in the world to you. What is more important to us,
• 1:45:56
  both to our happiness than just that? Millicent calling outside door left center
• 1:46:03
  mother a startled pause as Anne and Tom turned towards hall door. Mother,
• 1:46:10
  I'm home. Where are you? Millicent opens the hall door and rushes into
• 1:46:14
  the room. Millicent, what are you doing here. I came home mother?
• 1:46:20
  Why because I had to? Are you ill, dear? No?
• 1:46:27
  No? Is anything wrong at school? No? But I won't go back.
• 1:46:32
  But why won't you? What's the trouble? I won't go back,
• 1:46:36
  but you can't do a thing like that. I won't allow it. You
• 1:46:41
  wouldn't let me come home when I wanted to, and now I can't go
• 1:46:44
  back. I won't. Everything's different now. I won't go back, and
• 1:46:47
  you can't make me. She turns and rushes out of the room, and
• 1:46:51
  Tom and Anne stare at each other as the curtain falls. And of Act
• 1:46:57
  two, Act three time half an hour later, scene same as Act too,
• 1:47:04
  Ruth is writing at the desk. Daisy opens the hall door and stops
• 1:47:09
  listening back into the hall. What's the matter? Nothing? I was looking
• 1:47:14
  to see. Who went up the stairs? It's doctor Remington. How's Millicent?
• 1:47:17
  Now? Anne's with her getting her to bed? Do you know yet
• 1:47:20
  why she came home? I don't know whether Anne's got it out of her
• 1:47:24
  yet or not. What do you think? Why on earth didn't she tell
• 1:47:27
  them at school? I haven't the dimmest but she didn't do it without some
• 1:47:30
  good reason. I'll bet anything on that. Milicin's a pretty level headed youngster.
• 1:47:35
  She's a pretty self willed one. Anne will send her right back,
• 1:47:39
  of course, I don't know whether she will or not. Millicent's got some
• 1:47:43
  rather decided ideas of her own on that. But she'll have to go.
• 1:47:46
  Why shouldn't she. Anne will make her. Tom will have something to say
• 1:47:50
  about it. It's for Anne to decide, surely, not at all.
• 1:47:56
  I don't see why. She is Tom's child too, you know, and
• 1:48:00
  his house, and he pays the bills at school. And if he doesn't
• 1:48:02
  want her to go back, you can bet she jolly well won't go.
• 1:48:05
  I only hope Millicent tells the whole business, whatever it is. Anne is
• 1:48:10
  so excited over the Freeze. I don't know whether she'll have the patience to
• 1:48:13
  handle Millicent right or not. She's not easy. It's awful for Anne to
• 1:48:16
  be upset now, of all times, when she has to begin this gigantic
• 1:48:20
  work. Oh I wish that damned Freeze were in Guinea and that Anne had
• 1:48:25
  nothing to do but take care of Tom and Millicent like any other woman.
• 1:48:29
  I'd give anything if she hadn't won the competition, Daisy, Oh I would
• 1:48:32
  I have a ghastly feeling that something horrible is going to come of it,
• 1:48:36
  if it hasn't already come. What do you mean? I tell you it
• 1:48:40
  is not possible for a man and woman to love each other and live together
• 1:48:44
  and be happy unless the man, is it? Speaking of the dark ages?
• 1:48:48
  You ought to live in a harem? How any girl who makes her
• 1:48:51
  own bread and butter can be so old fashioned as you are. I can't
• 1:48:56
  see you've got so used to your own ideas you forget that I am the
• 1:48:59
  appage normal woman. The world is full of nonsense. You're almost extinct.
• 1:49:04
  I'm the average normal woman the world is full of and it's going to be
• 1:49:09
  fuller and fuller. All that on plenty of us left indicating herself on judgment
• 1:49:14
  Day. I want to laugh when I think how mistaken we've been calling you
• 1:49:17
  a bachelor girl. Why you'd make the best wife of anybody. I know,
• 1:49:21
  I suppose you mean that as an insult, but you seem so self
• 1:49:26
  reliant. Men are sort of afraid of you. Remington coming in from hall
• 1:49:30
  and feeling a certain restraint in the two girls. Am I in the wrong
• 1:49:33
  camp? No, no, come in, I have to stay someplace I'm
• 1:49:39
  going to hang around till Millicent quiets down, and then I'll clear out.
• 1:49:43
  Is she ill? Oh no, just a little worked up and excited.
• 1:49:46
  Why do you think she came home, doctor Remington? I don't know what
• 1:49:50
  to think unless she has boy in the head. Goodness, No, not
• 1:49:56
  yet. She's sixteen. You can't choke it off to save your life.
• 1:50:00
  Oh, she's a baby. Don't fool yourself. She won't wait as long
• 1:50:04
  as you two have to sit by her own fireside with children on her knee.
• 1:50:10
  Oh, that's the only thing in the game that's worth a cent anyway,
• 1:50:15
  As Keith comes in from the hall, isn't that so? Keith?
• 1:50:18
  What's that? I've just been telling these two that love and children are the
• 1:50:23
  greatest things on earth. Ruth doesn't agree with me, but Daisy, I
• 1:50:29
  must go. I must go out to Anne. Ruth goes out, let
• 1:50:32
  me go. They both seem terribly anxious to get out. When you come
• 1:50:35
  in, Keith, or maybe I'm in the way, I'll go, don't
• 1:50:39
  be silly. I really must see if I can do anything for Anne.
• 1:50:42
  No, you mustn't. She's waiting for me to see Mellicent. By the
• 1:50:45
  way, Keith tomorrow's Sunday. I always take a run into the country in
• 1:50:49
  the motor on Sunday. Come along and bring either Ruth or Daisy. Take
• 1:50:55
  your choice. I know which one I'd take. He goes into the hall.
• 1:50:59
  Isn't he a goose? What it bore you to go? Daisy?
• 1:51:02
  Nonsense, Ruth will It would be awfully good of you. Tomorrow's going to
• 1:51:09
  be a hard day for me to get through. Ruth told me tonight that
• 1:51:14
  she I'm afraid it's all over. Why don't you compromise. There's nothing to
• 1:51:21
  compromise about. She's all wrong, don't you think so? Oh, don't
• 1:51:28
  ask me. I don't know anything about it. Wait a minute. I
• 1:51:34
  won't you go tomorrow, Daisy? Ask Ruth? It will be a good
• 1:51:39
  chance to make up. You're so practical and like such different things. Maybe
• 1:51:47
  you'd think flying along through the country and lunching at some nice little out of
• 1:51:54
  the way place was too frivolous. Oh yes, I don't like anything but
• 1:51:59
  being shut up in the house all day, pounding at my typewriter and splitting
• 1:52:02
  my head to get the bills straight. To actually go off with a man
• 1:52:06
  for a whole day and have a little fun like any other woman would be
• 1:52:10
  too unheard of. Of course, I couldn't do anything as silly as that.
• 1:52:14
  Oh, I wouldn't be amusing anyway, doctor Remington, while he's sixty,
• 1:52:19
  and you'd be thinking of Ruth. And I'd sit there like a stick,
• 1:52:23
  the sensible, practical woman who couldn't possibly be interesting and fascinating, because
• 1:52:27
  no man would take the trouble to find out how devilish and alluring and altogether
• 1:52:30
  exciting I could be if I had the chance. She throws open the door
• 1:52:33
  and goes out. Keith stares after her, Tom coming in from a library.
• 1:52:39
  After a moment, I thought you'd gone, Mackenzie. No, but
• 1:52:43
  I'm going, Remington coming back from hall. Good night, Mackenzie. I'll
• 1:52:48
  dig you up in the morning ten o'clock, sharp mind, and I'll call
• 1:52:53
  for a daisy first. Keith at hall door, All right, much obliged,
• 1:52:59
  doctor, turning back. How'd you know it was daisy? I didn't,
• 1:53:04
  but I do now. Good night. He goes out. Well,
• 1:53:10
  how is she? How is Milicent? Oh she's not ill, but the
• 1:53:14
  child's nervous as a witch, all strung up. She's worried about something,
• 1:53:17
  got something on her mind, and naturally her head aches and she has a
• 1:53:21
  little fever, but that won't hurt her. Got something on her mind?
• 1:53:27
  What she didn't confide in me? What could she have on her mind?
• 1:53:31
  I don't think she's committed murder, but she's got a mind. You know,
• 1:53:35
  there's no reason why she shouldn't have something on it. Well, I
• 1:53:40
  don't know what to do with her. If you think she ought not to
• 1:53:43
  go back to school, say so. Tell Anne, those are your orders.
• 1:53:46
  I don't give orders to Anne the devil, you don't. She'd like
• 1:53:51
  it. A woman, a dog, and a walnut tree. The more
• 1:53:55
  you beat him, the better they be. The walnut tree business doesn't work
• 1:53:59
  with Anne. I made a fool of myself tonight by telling her I wouldn't
• 1:54:02
  touch the money she gets out of this thing. She doesn't understand. I've
• 1:54:06
  made her think I'm jealous because she won. Well, aren't you? No,
• 1:54:12
  I tell you it's something else. Something sort of gave way under my
• 1:54:15
  feet when I opened her letter. I know, I know, Doctor,
• 1:54:20
  for the lord's sake, don't think I'm mean. I don't want to drag
• 1:54:24
  her back, but she seems somehow she doesn't need me. Anymore. That's
• 1:54:30
  what hurts. Of course, it hurts much as I've loved to have her
• 1:54:34
  with me, working away at my elbow. Wonderful as it all was.
• 1:54:39
  Sometimes I've wished I hadn't seen her all day, that I had her to
• 1:54:44
  go home to, fresh and rested waiting for me, and that I was
• 1:54:48
  running the machine alone for her. She'll never understand I've acted like a skunk.
• 1:54:55
  Yes, I guess you have, so have I unjust pig ha no
• 1:55:00
  more right to say the things I've said to her than I have to spank
• 1:55:03
  her, except that she's the most precious thing in the world to me,
• 1:55:09
  and I'd rather see her happy as a woman than the greatest artist in the
• 1:55:14
  world. That's it. I want her here mine. But I suppose that's
• 1:55:19
  rotten and wrong. Yes, I suppose it is. But you're despising yourself
• 1:55:26
  for something that's been in your bones. Boy since the beginning of time.
• 1:55:30
  Men and women will go through hell over this before it shakes down into shape.
• 1:55:34
  You're right, and she's right, and you're tearing each other like mad
• 1:55:39
  dogs over it because you love each other. That's it. If another man
• 1:55:44
  had got it, i'd take my licking without whining. What's the matter with
• 1:55:47
  me? Why can't I be that way? To her? Remington, shaking
• 1:55:51
  his head with a wistful smile. Male and female created He them, I
• 1:55:57
  don't take back any of the stuff I said to her before she went into
• 1:56:00
  this. She's fighting you now for her rights. But she laid her genius
• 1:56:04
  at your feet once, and she'll do it again. And coming in from
• 1:56:09
  the hall and speaking after a pause, well, father, what do you
• 1:56:14
  say about Melicent? My advice is that you let her stay at home for
• 1:56:18
  a while. This is only a caprice, and it would be the worst
• 1:56:24
  thing in the world to give in to her unless you say, as a
• 1:56:28
  physician that she is too ill to I don't say she's too ill physically.
• 1:56:34
  You must decide for yourself. I'll go up and see her again, and
• 1:56:38
  if she isn't asleep, then I'll give her a mild sleeping powder. Anne,
• 1:56:43
  I put her in your arms first, and the look that came into
• 1:56:46
  your eyes then was as near divinity as we ever get. Oh, my
• 1:56:51
  daughter, don't let the new restlessness and strife of the world about you blind
• 1:56:56
  you to the old things, the real things. He goes out Anne,
• 1:57:01
  after a pause, you agree with me, don't you that it's better for
• 1:57:06
  her to go back? Do whatever you think is best? But what do
• 1:57:11
  you think? It doesn't matter what I think, does it? Millicent?
• 1:57:15
  Opening the door? Mother, aren't you coming back? Millicent wears a soft
• 1:57:20
  robe over her nightgown. Her hair is down her back. Millicent, why
• 1:57:26
  did you get out of bed? I couldn't sleep, running and jumping into
• 1:57:30
  the middle of the couch. Run back quickly in a minute. It's so
• 1:57:33
  quiet upstairs. I couldn't sleep. I'm used to the girls. You'll catch
• 1:57:38
  cold. Goodness, Mother, I'm roasting Melicent? What shall I do with
• 1:57:44
  you? Is that what you and Dad were talking about? What did grandfather
• 1:57:47
  say? I don't care what he says. I'm not going back to school.
• 1:57:53
  You're on my side, aren't you? Dad? Whatever your mother thinks
• 1:57:56
  is right? Of course? Is it true what Daisy told me that you
• 1:58:00
  got the contract for a big freezing not father? Is it? Is it?
• 1:58:03
  Father? Looking from one to the other, Yes, it's quite true,
• 1:58:09
  Milicent, go to bed. I think that's perfectly horrid. Mother.
• 1:58:13
  Why should they give it to you? I think father ought to have it.
• 1:58:15
  He's the man. Don't you think people will think it's funny that you
• 1:58:19
  didn't get it. I should think it would make the loose confidence in you.
• 1:58:23
  A pause, Tom stalks out, closing the door. Is father hurt
• 1:58:28
  because you got it? I should think he would be. Milicent, I've
• 1:58:32
  had quite enough of this. Go up to bed at once? Will you
• 1:58:36
  come up and sleep with me? Of course? Not walking about restlessly?
• 1:58:43
  Why not? Neither one of us would sleep a week. That wouldn't matter.
• 1:58:47
  I don't want to be alone. Come now, I won't speak to
• 1:58:51
  you again. What have you decided about school? I'll tell you in the
• 1:58:56
  morning. I won't go up till you tell me. Millicent, you will
• 1:58:59
  go once, I say, Oh, mother, don't be cross, sit
• 1:59:02
  down and talk a minute. It's late, dear, you must that's nothing.
• 1:59:09
  We girls often talk till twelve? Till twelve? Do the teachers know
• 1:59:14
  it? Oh mother? You're lovely? Don't you suppose they know that?
• 1:59:17
  They don't know everything that's going on. Come and sit down, mommy.
• 1:59:23
  No, you must go to bed. But I won't go back to school.
• 1:59:27
  And going to Millicent, who is still on the couch, you make
• 1:59:30
  it terribly hard for me. Millicent, you don't know what's good for you.
• 1:59:34
  Of course I don't expect you to, but I do expect you to
• 1:59:40
  be obedient. But mother, I tell you I don't be so rebellious.
• 1:59:45
  Now come upstairs, please, dear. And but I won't go back to
• 1:59:48
  school. Mother, dear, I won't you say I treat you like a
• 1:59:53
  child. You force me to. If you don't want me to punish you,
• 1:59:58
  go upstairs at once, and don't say another word. I won't go
• 2:00:01
  back. Stop, I say, I know what I want to do.
• 2:00:05
  I'm sixteen, and their voices rising together. You are my child. You
• 2:00:11
  will obey me, but I won't. You don't understand. I can't,
• 2:00:15
  Mother, I can't. I can't. Why why can't you? Because because
• 2:00:21
  I I'm going to be married, you silly child. It's the truth,
• 2:00:27
  mother, I am. Don't say a thing like that, even in fun.
• 2:00:30
  It's the truth. I tell you I'm going to be married sometime.
• 2:00:34
  You are, of course, you mean no, now soon. That's why
• 2:00:39
  I left. That's why I'm not going back. And after drawing a chair
• 2:00:44
  to the couch and sitting before, milicented, what do you mean? I
• 2:00:47
  he we're engaged? He who you don't know him? Who? He?
• 2:00:55
  He's perfectly wonderful. Who is he now, mother? Wait, he isn't
• 2:01:00
  rich. Well, he's poor, but he's perfectly wonderful. He works,
• 2:01:05
  and he's so noble about it. What does he do he he oh,
• 2:01:11
  mother, it's hard to explain because he's so different. What does he do?
• 2:01:15
  Well? Just now, he drives the motor at school, because you
• 2:01:20
  see, he's so proud. He drives the motor. A chauffeur, you
• 2:01:26
  mean people call him that, of course, but he isn't sit down an
• 2:01:30
  rises mother, Ann goes to the door and locks it, going back to
• 2:01:35
  Millicent who had risen. Now, mother, don't look like that. Sit
• 2:01:40
  down, don't look like that. Let me tell you about it? And
• 2:01:44
  sitting again? Yes, tell me about it. Oh, I hardly know
• 2:01:48
  how to begin. He drives the motor, the school motor. You say
• 2:01:53
  yes to the trains, you know, and into town and to church.
• 2:01:56
  Who is his father? Why? I I don't know who he is.
• 2:02:00
  I've never met his father. What is his name? His father's name,
• 2:02:04
  I don't know the boy's name, Willie Kern. How does he happen to
• 2:02:10
  drive a motor? Well, I don't know just how it happened. He's
• 2:02:13
  so clever. You know, and of course he isn't really a chauffeur at
• 2:02:15
  all. What is he then, Oh mother, he just happens to run
• 2:02:19
  the school motor. And what did he do before that? Why he he
• 2:02:24
  ran another motor. Oh now, mother, you don't understand at all.
• 2:02:28
  She breaks into sobs and throws herself full length on the couch. An sits
• 2:02:32
  rigidly. Just because he's poor and clever and drives a motor. There's no
• 2:02:35
  reason why you should act this way. Sitting up, He's going to do
• 2:02:40
  something else. He's going to come to New York to get a different position,
• 2:02:44
  and we'll be married as soon as he gets it. And that's why
• 2:02:46
  I came home to tell you. So there you see, I can't go
• 2:02:49
  back to school. She rises and starts to the door. Milicent, come
• 2:02:55
  here. That's all there is to tell I'm going to bed now and rising.
• 2:03:00
  You know this is the most wild and impossible thing in the world.
• 2:03:03
  I don't It isn't impossible. I'm going to marry him. I love him
• 2:03:08
  better than you or father or anybody in the world, and I'm going to
• 2:03:11
  marry him. Stop. Do you want to disgrace this? How any child
• 2:03:15
  of mine could speak, even speak to such a Oh the disappointment. Where's
• 2:03:23
  your pride? How could you? How could you? Milicent? If you'll
• 2:03:30
  promise me to give this up, I won't say a word to your father.
• 2:03:34
  No, no, I'm going. Don't unlock that door. I want
• 2:03:40
  to go now. You'll never see that boy again. Never speak to him,
• 2:03:45
  never write to him, never hear of him. I shall send you
• 2:03:47
  away where he'll never know, Milicent coming back to couch, you won't.
• 2:03:54
  He loves me, and I love him. He understands me. All that
• 2:03:58
  vacation when you wouldn't let me come home and all the other girls had gone,
• 2:04:01
  he was just as good to me as he could be. He knew
• 2:04:03
  how lonely I was, and he we got engaged that vacation. You wouldn't
• 2:04:09
  let me come home, Milicent. You don't know what you're saying. You
• 2:04:15
  don't know what you're doing. Oh, yes, I do, mother,
• 2:04:17
  it's you that don't know. You don't understand. Anne kneeling before Milicent,
• 2:04:24
  my darling, why didn't you tell me this when you said you wanted to
• 2:04:29
  come home? Why didn't you tell me? Then? Sobbing, Anne buries
• 2:04:33
  her face in Millicent's lap. I would have told you if you'd let me
• 2:04:38
  come home, but you wouldn't, and I was so lonely there without the
• 2:04:41
  girls, and we got engaged. You don't understand, mother, Anne,
• 2:04:45
  lifting her face to millicented. Oh yes, I do, dear, Yes,
• 2:04:49
  I do. Tell me all about it. When did you first know
• 2:04:55
  him? How did you happen to speak to him? I mean to love
• 2:05:00
  him? Oh? Mother, why he? I just did. He's so
• 2:05:05
  handsome and so nice. You haven't any idea how nice he is, mother,
• 2:05:11
  haven't, I, dear? What is he like? Tell me everything?
• 2:05:15
  How did it begin? He the first time I really knew he was
• 2:05:19
  so different? You know, yes, dear, was one Sunday morning.
• 2:05:24
  I was ready for church before anybody else, and I went out to get
• 2:05:28
  into the motor and ran down the steps and fell, and he jumped out
• 2:05:31
  and picked me up and put me in the motor, and of course I
• 2:05:34
  thanked him. And we had to wait quite a while for the others,
• 2:05:38
  and I found out how different and really wonderful he was. All the girls
• 2:05:43
  were crazy about him. Here's his picture drawing out a locket which is on
• 2:05:46
  a chain around her neck. It's just a little snapshot which I took myself
• 2:05:50
  one morning. You can't really tell from this how awfully good looking he is.
• 2:05:55
  Anne seizes the locket and looks closely at the picture. His eyes are
• 2:05:59
  the most one, and his lashes are the longest I ever saw. You
• 2:06:02
  can't see his teeth and they are well, you just love his teeth.
• 2:06:06
  Mother, What I dear? Have you seen very much of him? Have
• 2:06:13
  you seen him any place besides in the motor? I mean? Millicent hesitates,
• 2:06:16
  Tell me, dear everything I shall understand. Well, of course,
• 2:06:21
  mother, I had to see him someplace else after school began again and the
• 2:06:26
  girls were all back, and I wasn't going for the mail anymore. Of
• 2:06:29
  course, where did you see him? And why? You see? It
• 2:06:33
  was awfully hard, Mummy, because I couldn't tell anybody. Nobody would have
• 2:06:39
  understood except Fanny. She's such a dear. She's been so sympathetic through the
• 2:06:43
  whole thing, and she has helped me a lot. There's a fire escape
• 2:06:46
  out of our room. And Mondays and Thursdays at nine o'clock at night,
• 2:06:49
  Oh what, mother? Nothing go on? Dear? At exactly nine o'clock
• 2:06:55
  I'd put on Fanny's long black coat and go down and he was always there,
• 2:06:59
  and we all always went and sat down in the arbor just a little
• 2:07:01
  while the arbor. Where was the arbor down the path of the other side
• 2:07:06
  of the drive, not far from the house, because of course nobody went
• 2:07:11
  near there at that time of night in cold weather, And and we'd talk
• 2:07:15
  a while, and then I'd run back. You don't mind, do you,
• 2:07:18
  mother? What else could I do? And he kissed you, of
• 2:07:23
  course, of course, And you've kissed him, Milicent, lowering her eyes.
• 2:07:30
  Why yes, mother, we're engaged. And what did he say to
• 2:07:34
  you there in the arbor. I can't tell you everything he said? Mother?
• 2:07:40
  Why not, Milicent? I'm your mother. No one on earth is
• 2:07:45
  so close to you, Oh, loves you so much or cares so much
• 2:07:49
  for your happiness and understand so well. I remember when I was engaged to
• 2:07:58
  your father. I wasn't much older than you, I know, dear.
• 2:08:05
  Tell me what he said. He thinks I'm pretty, mother, yes,
• 2:08:09
  dear, And he thinks I'm wonderful to understand him and to know what he
• 2:08:13
  really is in spite of what he happens to be doing. Yes, And
• 2:08:18
  how long did you usually stay there in the arbor? Oh? Not?
• 2:08:22
  Very long. Only last time it was longer. He teased me so,
• 2:08:26
  and I couldn't help it, he he I. How long was it that
• 2:08:31
  time? Oh? It it was almost two hours last time. And what
• 2:08:35
  did you do all that time? Wasn't it cold? He made me put
• 2:08:39
  on his overcoat, He just made me. Anne holding Millicent close in her
• 2:08:45
  arms. And he held you close and kissed you and told you how much
• 2:08:50
  he loved you. Yes, I love him so, mother, But I
• 2:08:56
  to night was the last night to go again? But I Anne, holding
• 2:09:00
  Millicent off as she searches her face. Yes, dear, I I was
• 2:09:05
  afraid to go. Why, oh, mother, was it wicked to be
• 2:09:09
  afraid? I ran away? I wanted to be with you. Anne snatches
• 2:09:13
  Millicent in her arms. Her head falls against Millicent, and Millicent's arms hold
• 2:09:18
  her close as she sobs. Someone tries the door and knocks Tom in the
• 2:09:24
  hall, and and yes, why is the door locked? Millicent and I
• 2:09:30
  are talking. Wait just a few minutes, and Tom tell her grandfather not
• 2:09:35
  to wait to see Millicent again tonight. She's all right, sure, I'm
• 2:09:41
  sure, Millicent in a whisper, after listening a moment, What are you
• 2:09:46
  going to tell? Father? Anne sitting on the floor. Well, you
• 2:09:50
  see, dear, you are too young to be married now, much too
• 2:09:56
  young. And oh now, mother, if you're going to talk in that
• 2:10:01
  way, wait till you see him. That's just what I want to do.
• 2:10:05
  I've got such a lovely plan for us for the summer, but I
• 2:10:09
  want to be married just as soon as he gets his I know his position,
• 2:10:15
  and while he's looking and getting settled, you and I will go abroad.
• 2:10:20
  You're awfully good, mother, But if you really want to do something
• 2:10:24
  for me, i'd rather you give me that money to be married. But
• 2:10:26
  Milicent, my dear child, I have to go. I'm so tired.
• 2:10:33
  I've been working awfully hard this winter. You're the only one in the world
• 2:10:39
  who could really be with me and take care of me. I need you,
• 2:10:45
  poor mother. I don't want to be selfish, and if you need
• 2:10:48
  me, I'll go. Anne catching Millicent in her arms. Thank you,
• 2:10:52
  dear. If you promise me that I can be married when I get back,
• 2:10:56
  Anne getting to her feet. If you still want to marry him when
• 2:11:01
  you come back with me, you may, I promise, mother. I
• 2:11:09
  didn't know you loved me so much, didn't you, Dear? And I
• 2:11:11
  go to bed. They start to the door together. Anne catches Millicent again,
• 2:11:16
  kissing her tenderly, as though she were something new and precious. What's
• 2:11:20
  the matter, mother? Nothing? Dear? Good night? Good night.
• 2:11:24
  Tom coming into doorway as Millicent unlocks and opens the door, not in bed
• 2:11:31
  yet. Milicent throwing her arms about her father's neck. Oh Dad, I'm
• 2:11:35
  so happy. She goes out. Anne sitting at the fire. Come in,
• 2:11:41
  Tom, I want to talk to you about Millicent. Tom closing the
• 2:11:46
  door and going to Anne. What's the matter. She thinks she's in love?
• 2:11:52
  What our baby? She wants to be married? What do you mean
• 2:12:00
  that's why she came home? Good? Heavens? Anne married? What does
• 2:12:05
  she got mixed up in? How did such a thing happen? How could
• 2:12:09
  it because I didn't let her come home when she wanted to. Don't say
• 2:12:15
  anything, Tom, I can't bear it now, Tom putting a hand on
• 2:12:20
  her head tenderly. Don't dear, don't It might have happened anyway. Oh
• 2:12:26
  the things that can happen. Has she told you everything? Everything? What
• 2:12:33
  have you said to her? What are you going to do? I'm going
• 2:12:37
  to take her away and win her till she gives up on her own free
• 2:12:43
  will. I shall have to have the wisdom of all the ages. I
• 2:12:50
  shall have to be more fascinating than the boy. That's a pretty big undertaking,
• 2:12:54
  Tom, I wonder if I'm equal to it. You mean you're going
• 2:12:58
  to give up your freeze and go away with her? Anne nods her head.
• 2:13:03
  You can't do it, Anne, Anne, rising and moving away.
• 2:13:09
  Oh yes I can. You cannot. Don't lose your head. You're pledged
• 2:13:15
  to finish it and deliver it at a certain time. You can't play around
• 2:13:18
  and lose with a big piece of work like that. You'll have to make
• 2:13:22
  my freeze, Tom, I will not. I utterly and absolutely refuse to
• 2:13:28
  you. Make Milica behave and break this thing up, and you go on
• 2:13:30
  with your I can't, I can't. She's been in danger, absolute danger.
• 2:13:37
  How I'll tell you. I'll tell you. She ran away to me,
• 2:13:45
  to me, and I was pushing her off, My little girl.
• 2:13:50
  She's got to be held tight in my arms and carried through. And I'm
• 2:13:54
  not going to allow this to wipe out what you've done. I'll settle her,
• 2:13:58
  Tom, And you can't speak of it to her, not breathe it.
• 2:14:03
  Of course, I will. No, you won't. If we cross
• 2:14:09
  her, she'll get it him some way, somehow. I'm not going to
• 2:14:13
  let you sacrifice yourself for a wayward. It's my job. She's what I've
• 2:14:20
  given to life. If I fail her, now, my whole life's a
• 2:14:26
  failure. Will you make my freeze? Dear? Will you? No?
• 2:14:33
  It's yours. You've got to have the glory of it. And I haven't
• 2:14:37
  been fair, But you're going to have this and all that's coming to you.
• 2:14:43
  I'm not going to let anything take it away from you. It's too
• 2:14:46
  important. My god, You've not only beaten me, you've won over the
• 2:14:50
  biggest men in the field with your own brain and your own hands, in
• 2:14:54
  a fair fine hard fight. You're cut up now, but if you should
• 2:14:58
  give this thing up, there'll be times when you'd eat your heart out to
• 2:15:01
  be at work on it, when the artist in you will yell to be
• 2:15:05
  let out. I know, I know, And I'll hate you because you're
• 2:15:11
  doing it, and I'll hate myself because I gave it up, and I'll
• 2:15:16
  almost hate her. I know. I know. You needn't tell me why.
• 2:15:26
  I've seen my men and women up there, their strong limbs stretched,
• 2:15:33
  their hair blown back. I've seen the crowd looking up. I've heard people
• 2:15:37
  say a woman did that, and my heart has almost burst with pride,
• 2:15:46
  not so much that I had done it, but for all women. But
• 2:15:52
  then the door opened and Milicent came in. There isn't any choice, Tom.
• 2:16:01
  She's a part of my body, part of my soul. Will you
• 2:16:09
  make my freeze? Dear? Will you falling against him? Tom taking her
• 2:16:16
  in his arms, My darling, I'll do whatever makes it easiest for you.
• 2:16:22
  Don't think I don't know all all it means to you. My God,
• 2:16:28
  it's hard. Anne releasing herself and going to the hall door. Put
• 2:16:33
  out the light. I hope she's asleep. They go out into the lighted
• 2:16:39
  hall. After a moment, the curtain falls and of Act three and of
• 2:16:46
  He and She by Rachel Cruthers