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He and She - Rachel Crothers · Classic Fiction Book Collection

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