II. Anna Christie   
Act III   
Cabin of the barge, at dock in Boston. A week later   
     
SCENE—The interior of the cabin on the barge, “SIMEON WINTHROP” (at dock in Boston)—a narrow, low-ceilinged compartment the walls of which are painted a light brown with white trimmings. In the rear on the left, a door leading to the sleeping quarters. In the far left corner, a large locker-closet, painted white, on the door of which a mirror hangs on a nail. In the rear wall, two small square windows and a door opening out on the deck toward the stern. In the right wall, two more windows looking out on the port deck. White curtains, clean and stiff, are at the windows. A table with two cane-bottomed chairs stands in the center of the cabin. A dilapidated, wicker rocker, painted brown, is also by the table.      1   
  It is afternoon of a sunny day about a week later. From the harbor and docks outside, muffled by the closed door and windows, comes the sound of steamers’ whistles and the puffing snort of the donkey engines of some ship unloading nearby.      2   
  As the curtain rises, CHRIS and ANNA are discovered. ANNA is seated in the rocking-chair by the table, with a newspaper in her hands. She is not reading but staring straight in front of her. She looks unhappy, troubled, frowningly concentrated on her thoughts. CHRIS wanders about the room, casting quick, uneasy side glances at her face, then stopping to peer absentmindedly out of the window. His attitude betrays an overwhelming, gloomy anxiety which has him on tenter hooks. He pretends to be engaged in setting things ship-shape, but this occupation is confined to picking up some object, staring at it stupidly for a second, then aimlessly putting it down again. He clears his throat and starts to sing to himself in a low, doleful voice: “My Yosephine, come aboard de ship. Long time Ay vait for you.”      3   
     
  ANNA—[Turning on him, sarcastically.] I’m glad someone’s feeling good. [Wearily.] Gee, I sure wish we was out of this dump and back in New York.      4   
  CHRIS—[With a sigh.] Ay’m glad vhen ve sail again, too. [Then, as she makes no comment, he goes on with a ponderous attempt at sarcasm.] Ay don’t see vhy you don’t like Boston, dough. You have good time here, Ay tank. You go ashore all time, every day and night veek ve’ve been here. You go to movies, see show, gat all kinds fun— [His eyes hard with hatred.] All with that damn Irish fallar!      5   
  ANNA—[With weary scorn.] Oh, for heaven’s sake, are you off on that again? Where’s the harm in his taking me around? D’you want me to sit all day and night in this cabin with you—and knit? Ain’t I got a right to have as good a time as I can?      6   
  CHRIS—It ain’t right kind of fun—not with that fallar, no.      7   
  ANNA—I been back on board every night by eleven, ain’t I? [Then struck by some thought—looks at him with keen suspicion—with rising anger.] Say, look here, what d’you mean by what you yust said?      8   
  CHRIS—[Hastily.] Nutting but what Ay say, Anna.      9   
  ANNA—You said “ain’t right” and you said it funny. Say, listen here, you ain’t trying to insinuate that there’s something wrong between us, are you?     10   
  CHRIS—[Horrified.] No, Anna! No, Ay svear to God, Ay never tank dat!     11   
  ANNA—[Mollified by his very evident sincerity—sitting down again.] Well, don’t you never think it neither if you want me ever to speak to you again. [Angrily again.] If I ever dreamt you thought that, I’d get the hell out of this barge so quick you couldn’t see me for dust.     12   
  CHRIS—[Soothingly.] Ay wouldn’t never dream— [Then, after a second’s pause, reprovingly.] You vas gatting learn to svear. Dat ain’t nice for young gel, you tank?     13   
  ANNA—[With a faint trace of a smile.] Excuse me. You ain’t used to such language, I know. [Mockingly.] That’s what your taking me to sea has done for me.     14   
  CHRIS—[Indignantly.] No, it ain’t me. It’s dat damn sailor fallar learn you bad tangs.     15   
  ANNA—He ain’t a sailor. He’s a stoker.     16   
  CHRIS—[Forcibly.] Dat vas million times vorse, Ay tal you! Dem fallars dat vork below shoveling coal vas de dirtiest, rough gang of no-good fallars in vorld!     17   
  ANNA—I’d hate to hear you say that to Mat.     18   
  CHRIS—Oh, Ay tal him same tang. You don’t gat it in head Ay’m scared of him yust ’cause he vas stronger’n Ay vas. [Menacingly.] You don’t gat for fight with fists with dem fallars. Dere’s oder vay for fix him.     19   
  ANNA—[Glancing at him with sudden alarm.] What d’you mean?     20   
  CHRIS—[Sullenly.] Nutting.     21   
  ANNA—You’d better not. I wouldn’t start no trouble with him if I was you. He might forget some time that you was old and my father—and then you’d be out of luck.     22   
  CHRIS—[With smouldering hatred.] Vell, yust let him! Ay’m ole bird maybe, but Ay bet Ay show him trick or two.     23   
  ANNA—[Suddenly changing her tone—persuasively.] Aw come on, be good. What’s eating you, anyway? Don’t you want no one to be nice to me except yourself?     24   
  CHRIS—[Placated—coming to her—eagerly.] Yes, Ay do, Anna—only not fallar on sea. But Ay like for you marry steady fallar got good yob on land. You have little home in country all your own——     25   
  ANNA—[Rising to her feet—brusquely.] Oh, cut it out! [Scornfully.] Little home in the country! I wish you could have seen the little home in the country where you had me in jail till I was sixteen! [With rising irritation.] Some day you’re going to get me so mad with that talk, I’m going to turn loose on you and tell you—a lot of things that’ll open your eyes.     26   
  CHRIS—[Alarmed.] Ay don’t vant—     27   
  ANNA—I know you don’t; but you keep on talking yust the same.     28   
  CHRIS—Ay don’t talk no more den, Anna.     29   
  ANNA—Then promise me you’ll cut out saying nasty things about Mat Burke every chance you get.     30   
  CHRIS—[Evasive and suspicious.] Vhy? You like dat fallar—very much, Anna?     31   
  ANNA—Yes, I certainly do! He’s a regular man, no matter what faults he’s got. One of his fingers is worth all the hundreds of men I met out there—inland.     32   
  CHRIS—[His face darkening.] Maybe you tank you love him, den?     33   
  ANNA—[Defiantly.] What of it if I do?     34   
  CHRIS—[Scowling and forcing out the words.] Maybe—you tank you—marry him?     35   
  ANNA—[Shaking her head.] No! [CHRIS’S face lights up with relief. ANNA continues slowly, a trace of sadness in her voice.] If I’d met him four years ago—or even two years ago—I’d have jumped at the chance, I tell you that straight. And I would now—only he’s such a simple guy—a big kid—and I ain’t got the heart to fool him. [She breaks off suddenly.] But don’t never say again he ain’t good enough for me. It’s me ain’t good enough for him.     36   
  CHRIS—[Snorts scornfully.] Py yiminy, you go crazy, Ay tank!     37   
  ANNA—[With a mournful laugh.] Well, I been thinking I was myself the last few days. [She goes and takes a shawl from a hook near the door and throws it over her shoulders.] Guess I’ll take a walk down to the end of the dock for a minute and see what’s doing. I love to watch the ships passing. Mat’ll be along before long, I guess. Tell him where I am, will you?     38   
  CHRIS—[Despondently.] All right, Ay tal him. [ANNA goes out the doorway on rear. CHRIS follows her out and stands on the deck outside for a moment looking after her. Then he comes back inside and shuts the door. He stands looking out of the window—mutters—“Dirty ole davil, you.” Then he goes to the table, sets the cloth straight mechanically, picks up the newspaper ANNA has let fall to the floor and sits down in the rocking-chair. He stares at the paper for a while, then puts it on table, holds his head in his hands and sighs drearily. The noise of a man’s heavy footsteps comes from the deck outside and there is a loud knock on the door. CHRIS starts, makes a move as if to get up and go to the door, then thinks better of it and sits still. The knock is repeated—then as no answer comes, the door is flung open and MAT BURKE appears. CHRIS scowls at the intruder and his hand instinctively goes back to the sheath knife on his hip. BURKE is dressed up—wears a cheap blue suit, a striped cotton shirt with a black tie, and black shoes newly shined. His face is beaming with good humor.]     39   
  BURKE—[As he sees CHRIS—in a jovial tone of mockery.] Well, God bless who’s here! [He bends down and squeezes his huge form through the narrow doorway.] And how is the world treating you this afternoon, Anna’s father?     40   
  CHRIS—[Sullenly.] Pooty goot—if it ain’t for some fallars.     41   
  BURKE—[With a grin.] Meaning me, do you? [He laughs.] Well, if you ain’t the funny old crank of a man! [Then soberly.] Where’s herself? [CHRIS sits dumb, scowling, his eyes averted. BURKE is irritated by this silence.] Where’s Anna, I’m after asking you?     42   
  CHRIS—[Hesitating—then grouchily.] She go down end of dock.     43   
  BURKE—I’ll be going down to her, then. But first I’m thinking I’ll take this chance when we’re alone to have a word with you. [He sits down opposite CHRIS at the table and leans over toward him.] And that word is soon said. I’m marrying your Anna before this day is out, and you might as well make up your mind to it whether you like it or no.     44   
  CHRIS—[Glaring at him with hatred and forcing a scornful laugh.] Ho-ho! Dat’s easy for say!     45   
  BURKE—You mean I won’t? [Scornfully.] Is it the like of yourself will stop me, are you thinking?     46   
  CHRIS—Yes, Ay stop it, if it come to vorst.     47   
  BURKE—[With scornful pity.] God help you!     48   
  CHRIS—But ain’t no need for me do dat. Anna——     49   
  BURKE—[Smiling confidently.] Is it Anna you think will prevent me?     50   
  CHRIS—Yes.     51   
  BURKE—And I’m telling you she’ll not. She knows I’m loving her, and she loves me the same, and I know it.     52   
  CHRIS—Ho-ho! She only have fun. She make big fool of you, dat’s all!     53   
  BURKE—[Unshaken—pleasantly.] That’s a lie in your throat, divil mend you!     54   
  CHRIS—No, it ain’t lie. She tal me yust before she go out she never marry fallar like you.     55   
  BURKE—I’ll not believe it. ’Tis a great old liar you are, and a divil to be making a power of trouble if you had your way. But ’tis not trouble I’m looking for, and me sitting down here. [Earnestly.] Let us be talking it out now as man to man. You’re her father, and wouldn’t it be a shame for us to be at each other’s throats like a pair of dogs, and I married with Anna. So out with the truth, man alive. What is it you’re holding against me at all?     56   
  CHRIS—[A bit placated, in spite of himself, by BURKE’S evident sincerity—but puzzled and suspicious.] Vell—Ay don’t vant for Anna gat married. Listen, you fallar. Ay’m a ole man. Ay don’t see Anna for fifteen year. She vas all Ay gat in vorld. And now ven she come on first trip—you tank Ay vant her leave me ’lone again?     57   
  BURKE—[Heartily.] Let you not be thinking I have no heart at all for the way you’d be feeling.     58   
  CHRIS—[Astonished and encouraged—trying to plead persuasively.] Den you do right tang, eh? You ship avay again, leave Anna alone. [Cajolingly.] Big fallar like you dat’s on sea, he don’t need vife. He gat new gel in every port, you know dat.     59   
  BURKE—[Angry for a second.] God stiffen you! [Then controlling himself—calmly.] I’ll not be giving you the lie on that. But divil take you, there’s a time comes to every man, on sea or land, that isn’t a born fool, when he’s sick of the lot of them cows, and wearing his heart out to meet up with a fine dacent girl, and have a home to call his own and be rearing up children in it. ’Tis small use you’re asking me to leave Anna. She’s the wan woman of the world for me, and I can’t live without her now, I’m thinking.     60   
  CHRIS—You forgat all about her in one veek out of port, Ay bet you!     61   
  BURKE—You don’t know the like I am. Death itself wouldn’t make me forget her. So let you not be making talk to me about leaving her. I’ll not, and be damned to you! It won’t be so bad for you as you’d make out at all. She’ll be living here in the States, and her married to me. And you’d be seeing her often so—a sight more often than ever you saw her the fifteen years she was growing up in the West. It’s quare you’d be the one to be making great trouble about her leaving you when you never laid eyes on her once in all them years.     62   
  CHRIS—[Guiltily.] Ay taught it vas better Anna stay avay, grow up inland where she don’t ever know ole davil, sea.     63   
  BURKE—[Scornfully.] Is it blaming the sea for your troubles ye are again, God help you? Well, Anna knows it now. ’Twas in her blood, anyway.     64   
  CHRIS—And Ay don’t vant she ever know no-good fallar on sea——     65   
  BURKE—She knows one now.     66   
  CHRIS—[Banging the table with his fist—furiously.] Dat’s yust it! Dat’s yust what you are—no-good, sailor fallar! You tank Ay lat her life be made sorry by you like her mo’der’s vas by me! No, Ay svear! She don’t marry you if Ay gat kill you first!     67   
  BURKE—[Looks at him a moment, in astonishment—then laughing uproariously.] Ho-ho! Glory be to God, it’s bold talk you have for a stumpy runt of a man!     68   
  CHRIS—[Threateningly.] Vell—you see!     69   
  BURKE—[With grinning defiance.] I’ll see, surely! I’ll see myself and Anna married this day, I’m telling you! [Then with contemptuous exasperation.] It’s quare fool’s blather you have about the sea done this and the sea done that. You’d ought to be shamed to be saying the like, and you an old sailor yourself. I’m after hearing a lot of it from you and a lot more that Anna’s told me you do be saying to her, and I’m thinking it’s a poor weak thing you are, and not a man at all!     70   
  CHRIS—[Darkly.] You see if Ay’m man—maybe quicker’n you tank.     71   
  BURKE—[Contemptuously.] Yerra, don’t be boasting. I’m thinking ’tis out of your wits you’ve got with fright of the sea. You’d be wishing Anna married to a farmer, she told me. That’d be a swate match, surely! Would you have a fine girl the like of Anna lying down at nights with a muddy scut stinking of pigs and dung? Or would you have her tied for life to the like of them skinny, shrivelled swabs does be working in cities?     72   
  CHRIS—Dat’s lie, you fool!     73   
  BURKE—’Tis not. ’Tis your own mad notions I’m after telling. But you know the truth in your heart, if great fear of the sea has made you a liar and coward itself. [Pounding the table.] The sea’s the only life for a man with guts in him isn’t afraid of his own shadow! ’Tis only on the sea he’s free, and him roving the face of the world, seeing all things, and not giving a damn for saving up money, or stealing from his friends, or any of the black tricks that a landlubber’d waste his life on. ’Twas yourself knew it once, and you a bo’sun for years.     74   
  CHRIS—[Sputtering with rage.] You vas crazy fool, Ay tal you!     75   
  BURKE—You’ve swallowed the anchor. The sea give you a clout once knocked you down, and you’re not man enough to get up for another, but lie there for the rest of your life howling bloody murder. [Proudly.] Isn’t it myself the sea has nearly drowned, and me battered and bate till I was that close to hell I could hear the flames roaring, and never a groan out of me till the sea gave up and it seeing the great strength and guts of a man was in me?     76   
  CHRIS—[Scornfully.] Yes, you vas hell of fallar, hear you tal it!     77   
  BURKE—[Angrily.] You’ll be calling me a liar once too often, me old bucko! Wasn’t the whole story of it and my picture itself in the newspapers of Boston a week back? [Looking CHRIS up and down belittlingly.] Sure I’d like to see you in the best of your youth do the like of what I done in the storm and after. ’Tis a mad lunatic, screeching with fear, you’d be this minute!     78   
  CHRIS—Ho-ho! You vas young fool! In ole years when Ay was on windyammer, Ay vas through hundred storms vorse’n dat! Ships vas ships den—and men dat sail on dem vas real men. And now what you gat on steamers? You gat fallars on deck don’t know ship from mudscow. [With a meaning glance at BURKE.] And below deck you gat fallars yust know how for shovel coal—might yust as vell vork on coal vagon ashore!     79   
  BURKE—[Stung—angrily.] Is it casting insults at the men in the stokehole ye are, ye old ape? God stiffen you! Wan of them is worth any ten stock-fish-swilling Square-heads ever shipped on a windbag!     80   
  CHRIS—[His face working with rage, his hand going back to the sheath-knife on his hip.] Irish svine, you!     81   
  BURKE—[Tauntingly.] Don’t ye like the Irish, ye old babboon? ’Tis that you’re needing in your family, I’m telling you—an Irishman and a man of the stokehole—to put guts in it so that you’ll not be having grandchildren would be fearful cowards and jackasses the like of yourself!     82   
  CHRIS—[Half rising from his chair—in a voice choked with rage.] You look out!     83   
  BURKE—[Watching him intently—a mocking smile on his lips.] And it’s that you’ll be having, no matter what you’ll do to prevent; for Anna and me’ll be married this day, and no old fool the like of you will stop us when I’ve made up my mind.     84   
  CHRIS—[With a hoarse cry.] You don’t! [He throws himself at BURKE, knife in hand, knocking his chair over backwards. BURKE springs to his feet quickly in time to meet the attack. He laughs with the pure love of battle. The old Swede is like a child in his hands. BURKE does not strike or mistreat him in any way, but simply twists his right hand behind his back and forces the knife from his fingers. He throws the knife into a far corner of the room—tauntingly.     85   
  BURKE—Old men is getting childish shouldn’t play with knives. [Holding the struggling CHRIS at arm’s length—with a sudden rush of anger, drawing back his fist.] I’ve half a mind to hit you a great clout will put sense in your square head. Kape off me now, I’m warning you! [He gives CHRIS a push with the flat of his hand which sends the old Swede staggering back against the cabin wall, where he remains standing, panting heavily, his eyes fixed on Burke with hatred, as if he were only collecting his strength to rush at him again.]     86   
  BURKE—[Warningly.] Now don’t be coming at me again, I’m saying, or I’ll flatten you on the floor with a blow, if ’tis Anna’s father you are itself! I’ve no patience left for you. [Then with an amused laugh.] Well, ’tis a bold old man you are just the same, and I’d never think it was in you to come tackling me alone. [A shadow crosses the cabin windows. Both men start. ANNA appears in the doorway.]     87   
  ANNA—[With pleased surprise as she sees BURKE.] Hello, Mat. Are you here already? I was down— [She stops, looking from one to the other, sensing immediately that something has happened.] What’s up? [Then noticing the overturned chair—in alarm.] How’d that chair get knocked over? [Turning on BURKE reproachfully.] You ain’t been fighting with him, Mat—after you promised?     88   
  BURKE—[His old self again.] I’ve not laid a hand on him, Anna. [He goes and picks up the chair, then turning on the still questioning ANNA—with a reassuring smile.] Let you not be worried at all. ’Twas only a bit of an argument we was having to pass the time till you’d come.     89   
  ANNA—It must have been some argument when you got to throwing chairs. [She turns on CHRIS.] Why don’t you say something? What was it about?     90   
  CHRIS—[Relaxing at last—avoiding her eyes—sheepishly.] Ve vas talking about ships and fallars on sea.     91   
  ANNA—[With a relieved smile.] Oh—the old stuff, eh?     92   
  BURKE—[Suddenly seeming to come to a bold decision—with a defiant grin at CHRIS.] He’s not after telling you the whole of it. We was arguing about you mostly.     93   
  ANNA—[With a frown.] About me?     94   
  BURKE—And we’ll be finishing it out right here and now in your presence if you’re willing. [He sits down at the left of table.]     95   
  ANNA—[Uncertainly—looking from him to her father.] Sure. Tell me what it’s all about.     96   
  CHRIS—[Advancing toward the table—protesting to BURKE.] No! You don’t do dat, you! You tal him you don’t vant for hear him talk, Anna.     97   
  ANNA—But I do. I want this cleared up.     98   
  CHRIS—[Miserably afraid now.] Vell, not now, anyvay. You vas going ashore, yes? You ain’t got time—     99   
  ANNA—[Firmly.] Yes, right here and now. [She turns to BURKE.] You tell me, Mat, since he don’t want to.    100   
  BURKE—[Draws a deep breath—then plunges in boldly.] The whole of it’s in a few words only. So’s he’d make no mistake, and him hating the sight of me, I told him in his teeth I loved you. [Passionately.] And that’s God truth, Anna, and well you know it!    101   
  CHRIS—[Scornfully—forcing a laugh.] Ho-ho! He tal same tang to gel every port he go!    102   
  ANNA—[Shrinking from her father with repulsion—resentfully.] Shut up, can’t you? [Then to BURKE—feelingly.] I know it’s true, Mat. I don’t mind what he says.    103   
  BURKE—[Humbly grateful.] God bless you!    104   
  ANNA—And then what?    105   
  BURKE—And then—[Hesitatingly.] And then I said— [He looks at her pleadingly.] I said I was sure—I told him I thought you have a bit of love for me, too. [Passionately.] Say you do, Anna! Let you not destroy me entirely, for the love of God! [He grasps both her hands in his two.]    106   
  ANNA—[Deeply moved and troubled—forcing a trembling laugh.] So you told him that, Mat? No wonder he was mad. [Forcing out the words.] Well, maybe it’s true, Mat. Maybe I do. I been thinking and thinking—I didn’t want to, Mat, I’ll own up to that—I tried to cut it out—but— [She laughs helplessly.] I guess I can’t help it anyhow. So I guess I do, Mat. [Then with a sudden joyous defiance.] Sure I do! What’s the use of kidding myself different? Sure I love you, Mat!    107   
  CHRIS—[With a cry of pain.] Anna! [He sits crushed.]    108   
  BURKE—[With a great depth of sincerity in his humble gratitude.] God be praised!    109   
  ANNA—[Assertively.] And I ain’t never loved a man in my life before, you can always believe that—no matter what happens.    110   
  BURKE—[Goes over to her and puts his arms around her.] Sure I do be believing ivery word you iver said or iver will say. And ’tis you and me will be having a grand, beautiful life together to the end of our days! [He tries to kiss her. At first she turns away her head—then, overcome by a fierce impulse of passionate love, she takes his head in both her hands and holds his face close to hers, staring into his eyes. Then she kisses him full on the lips.]    111   
  ANNA—[Pushing him away from her—forcing a broken laugh.] Good-bye. [She walks to the doorway in rear—stands with her back toward them, looking out. Her shoulders quiver once or twice as if she were fighting back her sobs.]    112   
  BURKE—[Too in the seventh heaven of bliss to get any correct interpretation of her word—with a laugh.] Good-by, is it? The divil you say! I’ll be coming back at you in a second for more of the same! [To CHRIS, who has quickened to instant attention at his daughter’s good-by, and has looked back at her with a stirring of foolish hope in his eyes.] Now, me old bucko, what’ll you be saying? You heard the words from her own lips. Confess I’ve bate you. Own up like a man when you’re bate fair and square. And here’s my hand to you— [Holds out his hand.] And let you take it and we’ll shake and forget what’s over and done, and be friends from this out.    113   
  CHRIS—[With implacable hatred.] Ay don’t shake hands with you fallar—not vhile Ay live!    114   
  BURKE—[Offended.] The back of my hand to you then, if that suits you better. [Growling.] ’Tis a rotten bad loser you are, divil mend you!    115   
  CHRIS—Ay don’t lose—[Trying to be scornful and self-convincing.] Anna say she like you little bit but you don’t hear her say she marry you, Ay bet. [At the sound of her name ANNA has turned round to them. Her face is composed and calm again, but it is the dead calm of despair.]    116   
  BURKE—[Scornfully.] No, and I wasn’t hearing her say the sun is shining either.    117   
  CHRIS—[Doggedly.] Dat’s all right. She don’t say it, yust same.    118   
  ANNA—[Quietly—coming forward to them.] No, I didn’t say it, Mat.    119   
  CHRIS—[Eagerly.] Dere! You hear!    120   
  BURKE—[Misunderstanding her—with a grin.] You’re waiting till you do be asked, you mane? Well, I’m asking you now. And we’ll be married this day, with the help of God!    121   
  ANNA—[Gently.] You heard what I said, Mat—after I kissed you?    122   
  BURKE—[Alarmed by something in her manner.] No—I disremember.    123   
  ANNA—I said good-by. [Her voice trembling.] That kiss was for good-by, Mat.    124   
  BURKE—[Terrified.] What d’you mane?    125   
  ANNA—I can’t marry you, Mat—and we’ve said good-by. That’s all.    126   
  CHRIS—[Unable to hold back his exultation.] Ay know it! Ay know dat vas so!    127   
  BURKE—[Jumping to his feet—unable to believe his ears.] Anna! Is it making game of me you’d be? ’Tis a quare time to joke with me, and don’t be doing it, for the love of God.    128   
  ANNA—[Looking him in the eyes—steadily.] D’you think I’d kid you now? No, I’m not joking, Mat. I mean what I said.    129   
  BURKE—Ye don’t! Ye can’t! ’Tis mad you are, I’m telling you!    130   
  ANNA—[Fixedly.] No I’m not.    131   
  BURKE—[Desperately.] But what’s come over you so sudden? You was saying you loved me——    132   
  ANNA—I’ll say that as often as you want me to. It’s true.    133   
  BURKE—[Bewilderedly.] Then why—what, in the divil’s name— Oh, God help me, I can’t make head or tail to it at all!    134   
  ANNA—Because it’s the best way out I can figure, Mat. [Her voice catching.] I been thinking it over and thinking it over day and night all week. Don’t think it ain’t hard on me, too, Mat.    135   
  BURKE—For the love of God, tell me then, what is it that’s preventing you wedding me when the two of us has love? [Suddenly getting an idea and pointing at CHRIS—exasperately.] Is it giving heed to the like of that old fool ye are, and him hating me and filling your ears full of bloody lies against me?    136   
  CHRIS—[Getting to his feet—raging triumphantly before ANNA has a chance to get in a word.] Yes, Anna belive me, not you! She know her old fa’der don’t lie like you.    137   
  ANNA—[Turning on her father angrily.] You sit down, d’you hear? Where do you come in butting in and making things worse? You’re like a devil, you are! [Harshly.] Good Lord, and I was beginning to like you, beginning to forget all I’ve got held up against you!    138   
  CHRIS—[Crushed—feebly.] You ain’t got nutting for hold against me, Anna.    139   
  ANNA—Ain’t I yust! Well, lemme tell you— [She glances at BURKE and stops abruptly.] Say, Mat, I’m s’prised at you. You didn’t think anything he’d said——    140   
  BURKE—[Glumly.] Sure, what else would it be?    141   
  ANNA—Think I’ve ever paid any attention to all his crazy bull? Gee, you must take me for a five-year-old kid.    142   
  BURKE—[Puzzled and beginning to be irritated at her too.] I don’t know how to take you, with your saying this one minute and that the next.    143   
  ANNA—Well, he has nothing to do with it.    144   
  BURKE—Then what is it has? Tell me, and don’t keep me waiting and sweating blood.    145   
  ANNA—[Resolutely.] I can’t tell you—and I won’t. I got a good reason—and that’s all you need to know. I can’t marry you, that’s all there is to it. [Distractedly.] So, for Gawd’s sake, let’s talk of something else.    146   
  BURKE—I’ll not! [Then fearfully.] Is it married to someone else you are—in the West maybe?    147   
  ANNA—[Vehemently.] I should say not.    148   
  BURKE—[Regaining his courage.] To the divil with all other reasons then. They don’t matter with me at all. [He gets to his feet confidently, assuming a masterful tone.] I’m thinking you’re the like of them women can’t make up their mind till they’re drove to it. Well, then, I’ll make up your mind for you bloody quick. [He takes her by the arms, grinning to soften his serious bullying.] We’ve had enough of talk! Let you be going into your room now and be dressing in your best and we’ll be going ashore.    149   
  CHRIS—[Aroused—angrily.] No, py God, she don’t do that! [Takes hold of her arm.]    150   
  ANNA—[Who has listened to BURKE in astonishment. She draws away from him, instinctively repelled by his tone, but not exactly sure if he is serious or not—a trace of resentment in her voice.] Say, where do you get that stuff?    151   
  BURKE—[Imperiously.] Never mind, now! Let you go get dressed, I’m saying. [Then turning to CHRIS.] We’ll be seeing who’ll win in the end—me or you.    152   
  CHRIS—[To ANNA—also in an authoritative tone.] You stay right here, Anna, you hear! [ANNA stands looking from one to the other of them as if she thought they had both gone crazy. Then the expression of her face freezes into the hardened sneer of her experience.]    153   
  BURKE—[Violently.] She’ll not! She’ll do what I say! You’ve had your hold on her long enough. It’s my turn now.    154   
  ANNA—[With a hard laugh.] Your turn? Say, what am I, anyway?    155   
  BURKE—’Tis not what you are, ’tis what you’re going to be this day—and that’s wedded to me before night comes. Hurry up now with your dressing.    156   
  CHRIS—[Commandingly.] You don’t do one tang he say, Anna! [ANNA laughs mockingly.]    157   
  BURKE—She will, so!    158   
  CHRIS—Ay tal you she don’t! Ay’m her fa’der.    159   
  BURKE—She will in spite of you. She’s taking my orders from this out, not yours.    160   
  ANNA—[Laughing again.] Orders is good!    161   
  BURKE—[Turning to her impatiently.] Hurry up now, and shake a leg. We’ve no time to be wasting. [Irritated as she doesn’t move.] Do you hear what I’m telling you?    162   
  CHRIS—You stay dere, Anna!    163   
  ANNA—[At the end of her patience—blazing out at them passionately.] You can go to hell, both of you! [There is something in her tone that makes them forget their quarrel and turn to her in a stunned amazement. ANNA laughs wildly.] You’re just like all the rest of them—you two! Gawd, you’d think I was a piece of furniture! I’ll show you! Sit down now! [As they hesitate—furiously.] Sit down and let me talk for a minute. You’re all wrong, see? Listen to me! I’m going to tell you something—and then I’m going to beat it. [To BURKE—with a harsh laugh.] I’m going to tell you a funny story, so pay attention. [Pointing to CHRIS.] I’ve been meaning to turn it loose on him every time he’d get my goat with his bull about keeping me safe inland. I wasn’t going to tell you, but you’ve forced me into it. What’s the dif? It’s all wrong anyway, and you might as well get cured that way as any other. [With hard mocking.] Only don’t forget what you said a minute ago about it not mattering to you what other reason I got so long as I wasn’t married to no one else.    164   
  BURKE—[Manfully.] That’s my word, and I’ll stick to it!    165   
  ANNA—[Laughing bitterly.] What a chance! You make me laugh, honest! Want to bet you will? Wait ’n see! [She stands at the table rear, looking from one to the other of the two men with her hard, mocking smile. Then she begins, fighting to control her emotion and speak calmly.] First thing is, I want to tell you two guys something. You was going on ’s if one of you had got to own me. But nobody owns me, see?—’cepting myself. I’ll do what I please and no man, I don’t give a hoot who he is, can tell me what to do! I ain’t asking either of you for a living. I can make it myself—one way or other. I’m my own boss. So put that in your pipe and smoke it! You and your orders!    166   
  BURKE—[Protestingly.] I wasn’t meaning it that way at all and well you know it. You’ve no call to be raising this rumpus with me. [Pointing to CHRIS.] ’Tis him you’ve a right——    167   
  ANNA—I’m coming to him. But you—you did mean it that way, too. You sounded—yust like all the rest. [Hysterically.] But, damn it, shut up! Let me talk for a change!    168   
  BURKE—’Tis quare, rough talk, that—for a dacent girl the like of you!    169   
  ANNA—[With a hard laugh.] Decent? Who told you I was? [CHRIS is sitting with bowed shoulders, his head in his hands. She leans over in exasperation and shakes him violently by the shoulder.] Don’t go to sleep, Old Man! Listen here, I’m talking to you now!    170   
  CHRIS—[Straightening up and looking about as if he were seeking a way to escape—with frightened foreboding in his voice.] Ay don’t vant for hear it. You vas going out of head, Ay tank, Anna.    171   
  ANNA—[Violently.] Well, living with you is enough to drive anyone off their nut. Your bunk about the farm being so fine! Didn’t I write you year after year how rotten it was and what a dirty slave them cousins made of me? What’d you care? Nothing! Not even enough to come out and see me! That crazy bull about wanting to keep me away from the sea don’t go down with me! You yust didn’t want to be bothered with me! You’re like all the rest of ’em!    172   
  CHRIS—[Feebly.] Anna! It ain’t so——    173   
  ANNA—[Not heeding his interruption—revengefully.] But one thing I never wrote you. It was one of them cousins that you think is such nice people—the youngest son—Paul—that started me wrong. [Loudly.] It wasn’t none of my fault. I hated him worse’n hell and he knew it. But he was big and strong—[Pointing to Burke]—like you!    174   
  BURKE—[Half springing to his feet—his fists clenched.] God blarst it! [He sinks slowly back in his chair again, the knuckles showing white on his clenched hands, his face tense with the effort to suppress his grief and rage.]    175   
  CHRIS—[In a cry of horrified pain.] Anna!     176   
  ANNA—[To him—seeming not to have heard their interruptions.] That was why I run away from the farm. That was what made me get a yob as nurse girl in St. Paul. [With a hard, mocking laugh.] And you think that was a nice yob for a girl, too, don’t you? [Sarcastically.] With all them nice inland fellers yust looking for a chance to marry me, I s’pose. Marry me? What a chance! They wasn’t looking for marrying. [As BURKE lets a groan of fury escape him—desperately.] I’m owning up to everything fair and square. I was caged in, I tell you—yust like in yail—taking care of other people’s kids—listening to ’em bawling and crying day and night—when I wanted to be out—and I was lonesome—lonesome as hell! [With a sudden weariness in her voice.] So I give up finally. What was the use? [She stops and looks at the two men. Both are motionless and silent. CHRIS seems in a stupor of despair, his house of cards fallen about him. BURKE’S face is livid with the rage that is eating him up, but he is too stunned and bewildered yet to find a vent for it. The condemnation she feels in their silence goads ANNA into a harsh, strident defiance.] You don’t say nothing—either of you—but I know what you’re thinking. You’re like all the rest! [To CHRIS—furiously.] And who’s to blame for it, me or you? If you’d even acted like a man—if you’d even been a regular father and had me with you—maybe things would be different!    177   
  CHRIS—[In agony.] Don’t talk dat vay, Anna! Ay go crazy! Ay von’t listen! [Puts his hands over his ears.]    178   
  ANNA—[Infuriated by his action—stridently.] You will too listen! [She leans over and pulls his hands from his ears—with hysterical rage.] You—keeping me safe inland—I wasn’t no nurse girl the last two years—I lied when I wrote you—I was in a house, that’s what!—yes, that kind of a house—the kind sailors like you and Mat goes to in port—and your nice inland men, too—and all men, God damn ’em! I hate ’em! Hate ’em! [She breaks into hysterical sobbing, throwing herself into the chair and hiding her face in her hands on the table. The two men have sprung to their feet.]    179   
  CHRIS—[Whimpering like a child.] Anna! Anna! It’s lie! It’s lie! [He stands wringing his hands together and begins to weep.]    180   
  BURKE—[His whole great body tense like a spring—dully and gropingly.] So that’s what’s in it!    181   
  ANNA—[Raising her head at the sound of his voice—with extreme mocking bitterness.] I s’pose you remember your promise, Mat? No other reason was to count with you so long as I wasn’t married already. So I s’pose you want me to get dressed and go ashore, don’t you? [She laughs.] Yes, you do!    182   
  BURKE—[On the verge of his outbreak—stammeringly.] God stiffen you!    183   
  ANNA—[Trying to keep up her hard, bitter tone, but gradually letting a note of pitiful pleading creep in.] I s’pose if I tried to tell you I wasn’t—that—no more you’d believe me, wouldn’t you? Yes, you would! And if I told you that yust getting out in this barge, and being on the sea had changed me and made me feel different about things, ’s if all I’d been through wasn’t me and didn’t count and was yust like it never happened—you’d laugh, wouldn’t you? And you’d die laughing sure if I said that meeting you that funny way that night in the fog, and afterwards seeing that you was straight goods stuck on me, had got me to thinking for the first time, and I sized you up as a different kind of man—a sea man as different from the ones on land as water is from mud—and that was why I got stuck on you, too. I wanted to marry you and fool you, but I couldn’t. Don’t you see how I’d changed? I couldn’t marry you with you believing a lie—and I was shamed to tell you the truth—till the both of you forced my hand, and I seen you was the same as all the rest. And now, give me a bawling out and beat it, like I can tell you’re going to. [She stops, looking at BURKE. He is silent, his face averted, his features beginning to work with fury. She pleads passionately.] Will you believe it if I tell you that loving you has made me—clean? It’s the straight goods, honest! [Then as he doesn’t reply—bitterly.] Like hell you will! You’re like all the rest!    184   
  BURKE—[Blazing out—turning on her in a perfect frenzy of rage—his voice trembling with passion.] The rest, is it? God’s curse on you! Clane, is it? You slut, you, I’ll be killing you now! [He picks up the chair on which he has been sitting and, swinging it high over his shoulder, springs toward her. CHRIS rushes forward with a cry of alarm, trying to ward off the blow from his daughter. ANNA looks up into BURKE’S eyes with the fearlessness of despair. BURKE checks himself, the chair held in the air.]    185   
  CHRIS—[Wildly.] Stop, you crazy fool! You vant for murder her!    186   
  ANNA—[Pushing her father away brusquely, her eyes still holding BURKE’S.] Keep out of this, you! [To BURKE—dully.] Well, ain’t you got the nerve to do it? Go ahead! I’ll be thankful to you, honest. I’m sick of the whole game.    187   
  BURKE—[Throwing the chair away into a corner of the room—helplessly.] I can’t do it, God help me, and your two eyes looking at me. [Furiously.] Though I do be thinking I’d have a good right to smash your skull like a rotten egg. Was there iver a woman in the world had the rottenness in her that you have, and was there iver a man the like of me was made the fool of the world, and me thinking thoughts about you, and having great love for you, and dreaming dreams of the fine life we’d have when we’d be wedded! [His voice high pitched in a lamentation that is like a keen]. Yerra, God help me! I’m destroyed entirely and my heart is broken in bits! I’m asking God Himself, was it for this He’d have me roaming the earth since I was a lad only, to come to black shame in the end, where I’d be giving a power of love to a woman is the same as others you’d meet in any hooker-shanty in port, with red gowns on them and paint on their grinning mugs, would be sleeping with any man for a dollar or two!    188   
  ANNA—[In a scream.] Don’t, Mat! For Gawd’s sake! [Then raging and pounding on the table with her hands.] Get out of here! Leave me alone! Get out of here!    189   
  BURKE—[His anger rushing back on him.] I’ll be going, surely! And I’ll be drinking sloos of whiskey will wash that black kiss of yours off my lips; and I’ll be getting dead rotten drunk so I’ll not remember if ’twas iver born you was at all; and I’ll be shipping away on some boat will take me to the other end of the world where I’ll never see your face again! [He turns toward the door.]    190   
  CHRIS—[Who has been standing in a stupor—suddenly grasping BURKE by the arm—stupidly.] No, you don’t go. Ay tank maybe it’s better Anna marry you now.    191   
  BURKE—[Shaking CHRIS off—furiously.] Lave go of me, ye old ape! Marry her, is it? I’d see her roasting in hell first! I’m shipping away out of this, I’m telling you! [Pointing to Anna—passionately.] And my curse on you and the curse of Almighty God and all the Saints! You’ve destroyed me this day and may you lie awake in the long nights, tormented with thoughts of Mat Burke and the great wrong you’ve done him!    192   
  ANNA—[In anguish.] Mat! [But he turns without another word and strides out of the doorway. ANNA looks after him wildly, starts to run after him, then hides her face in her outstretched arms, sobbing. CHRIS stands in a stupor, staring at the floor.]    193   
  CHRIS—[After a pause, dully.] Ay tank Ay go ashore, too.    194   
  ANNA—[Looking up, wildly.] Not after him! Let him go! Don’t you dare——    195   
  CHRIS—[Somberly.] Ay go for gat drink.    196   
  ANNA—[With a harsh laugh.] So I’m driving you to drink, too, eh? I s’pose you want to get drunk so’s you can forget—like him?    197   
  CHRIS—[Bursting out angrily.] Yes, Ay vant! You tank Ay like hear dem tangs. [Breaking down—weeping.] Ay tank you vasn’t dat kind of gel, Anna.    198   
  ANNA—[Mockingly.] And I s’pose you want me to beat it, don’t you? You don’t want me here disgracing you, I s’pose?    199   
  CHRIS—No, you stay here! [Goes over and pats her on the shoulder, the tears running down his face.] Ain’t your fault, Anna, Ay know dat. [She looks up at him, softened. He bursts into rage.] It’s dat ole davil, sea, do this to me! [He shakes his fist at the door.] It’s her dirty tricks! It vas all right on barge with yust you and me. Den she bring dat Irish fallar in fog, she make you like him, she make you fight with me all time! If dat Irish fallar don’t never come, you don’t never tal me dem tangs, Ay don’t never know, and everytang’s all right. [He shakes his fist again.] Dirty ole davil!    200   
  ANNA—[With spent weariness.] Oh, what’s the use? Go on ashore and get drunk.    201   
  CHRIS—[Goes into room on left and gets his cap. He goes to the door, silent and stupid—then turns.] You vait here, Anna?    202   
  ANNA—[Dully.]Maybe—and maybe not. Maybe I’ll get drunk, too. Maybe I’ll— But what the hell do you care what I do? Go on and beat it. [CHRIS turns stupidly and goes out. ANNA sits at the table, staring straight in front of her.]


[The Curtain Falls]

II. Anna Christie   
Act IV   
The same. Two days later   
     
SCENE—Same as Act Three, about nine o’clock of a foggy night two days later. The whistles of steamers in the harbor can be heard. The cabin is lighted by a small lamp on the table. A suit case stands in the middle of the floor. ANNA is sitting in the rocking-chair. She wears a hat, is all dressed up as in Act One. Her face is pale, looks terribly tired and worn, as if the two days just past had been ones of suffering and sleepless nights. She stares before her despondently, her chin in her hands. There is a timid knock on the door in rear. ANNA jumps to her feet with a startled exclamation and looks toward the door with an expression of mingled hope and fear.      1   
     
  ANNA—[Faintly.] Come in. [Then summoning her courage—more resolutely.] Come in. [The door is opened and CHRIS appears in the doorway. He is in a very bleary, bedraggled condition, suffering from the after effects of his drunk. A tin pail full of foaming beer is in his hand. He comes forward, his eyes avoiding ANNA’S. He mutters stupidly.] It’s foggy.      2   
  ANNA—[Looking him over with contempt.] So you come back at last, did you? You’re a fine looking sight! [Then jeeringly.] I thought you’d beaten it for good on account of the disgrace I’d brought on you.      3   
  CHRIS—[Wincing—faintly.] Don’t say dat, Anna, please! [He sits in a chair by the table, setting down the can of beer, holding his head in his hands.]      4   
  ANNA—[Looks at him with a certain sympathy.] What’s the trouble? Feeling sick?      5   
  CHRIS—[Dully.] Inside my head feel sick.      6   
  ANNA—Well, what d’you expect after being soused for two days? [Resentfully.] It serves you right. A fine thing—you leaving me alone on this barge all that time!      7   
  CHRIS—[Humbly.] Ay’m sorry, Anna.      8   
  ANNA—[Scornfully.] Sorry!      9   
  CHRIS—But Ay’m not sick inside head vay you mean. Ay’m sick from tank too much about you, about me.     10   
  ANNA—And how about me? D’you suppose I ain’t been thinking, too?     11   
  CHRIS—Ay’m sorry, Anna. [He sees her bag and gives a start.] You pack your bag, Anna? You vas going——?     12   
  ANNA—[Forcibly.] Yes, I was going right back to what you think.     13   
  CHRIS—Anna!     14   
  ANNA—I went ashore to get a train for New York. I’d been waiting and waiting ’till I was sick of it. Then I changed my mind and decided not to go to-day. But I’m going first thing to-morrow, so it’ll all be the same in the end.     15   
  CHRIS—[Raising his head—pleadingly.] No, you never do dat, Anna!     16   
  ANNA—[With a sneer.] Why not, I’d like to know?     17   
  CHRIS—You don’t never gat to do—dat vay—no more, Ay tal you. Ay fix dat up all right.     18   
  ANNA—[Suspiciously.] Fix what up?     19   
  CHRIS—[Not seeming to have heard her question—sadly.] You vas vaiting, you say? You vasn’t vaiting for me, Ay bet.     20   
  ANNA—[Callously.] You’d win.     21   
  CHRIS—For dat Irish fallar?     22   
  ANNA—[Defiantly.] Yes—if you want to know! [Then with a forlorn laugh.] If he did come back it’d only be ’cause he wanted to beat me up or kill me, I suppose. But even if he did, I’d rather have him come than not show up at all. I wouldn’t care what he did.     23   
  CHRIS—Ay guess it’s true you vas in love with him all right.     24   
  ANNA—You guess!     25   
  CHRIS—[Turning to her earnestly.] And Ay’m sorry for you like hell he don’t come, Anna!     26   
  ANNA—[Softened.] Seems to me you’ve changed your tune a lot.     27   
  CHRIS—Ay’ve been tanking, and Ay guess it vas all my fault—all bad tangs dat happen to you. [Pleadingly.] You try for not hate me, Anna. Ay’m crazy ole fool, dat’s all.     28   
  ANNA—Who said I hated you?     29   
  CHRIS—Ay’m sorry for everytang Ay do wrong for you, Anna. Ay vant for you be happy all rest of your life for make up! It make you happy marry dat Irish fallar, Ay vant it, too.     30   
  ANNA—[Dully.]Well, there ain’t no chance. But I’m glad you think different about it, anyway.     31   
  CHRIS—[Supplicatingly.] And you tank—maybe—you forgive me sometime?     32   
  ANNA—[With a wan smile.] I’ll forgive you right now.     33   
  CHRIS—[Seizing her hand and kissing it—brokenly.] Anna lilla! Anna lilla!     34   
  ANNA—[Touched but a bit embarrassed.] Don’t bawl about it. There ain’t nothing to forgive, anyway. It ain’t your fault, and it ain’t mine, and it ain’t his neither. We’re all poor nuts, and things happen, and we yust get mixed in wrong, that’s all.     35   
  CHRIS—[Eagerly.] You say right tang, Anna, py golly! It ain’t nobody’s fault! [Shaking his fist.] It’s dat ole davil, sea!     36   
  ANNA—[With an exasperated laugh.] Gee, won’t you ever can that stuff? [CHRIS relapses into injured silence. After a pause ANNA continues curiously.] You said a minute ago you’d fixed something up—about me. What was it?     37   
  CHRIS—[After a hesitating pause.] Ay’m shipping avay on sea again, Anna.     38   
  ANNA—[Astounded.] You’re—what?     39   
  CHRIS—Ay sign on steamer sail to-morrow. Ay gat my ole yob—bo’sun. [ANNA stares at him. As he goes on, a bitter smile comes over her face.] Ay tank dat’s best tang for you. Ay only bring you bad luck, Ay tank. Ay make your mo’der’s life sorry. Ay don’t vant make yours dat way, but Ay do yust same. Dat ole davil, sea, she make me Yonah man ain’t no good for nobody. And Ay tank now it ain’t no use fight with sea. No man dat live going to beat her, py yingo!     40   
  ANNA—[With a laugh of helpless bitterness.] So that’s how you’ve fixed me, is it?     41   
  CHRIS—Yes, Ay tank if dat ole davil gat me back she leave you alone den.     42   
  ANNA—[Bitterly.] But, for Gawd’s sake, don’t you see, you’re doing the same thing you’ve always done? Don’t you see—? [But she sees the look of obsessed stubbornness on her father’s face and gives it up helplessly.] But what’s the use of talking. You ain’t right, that’s what. I’ll never blame you for nothing no more. But how you could figure out that was fixing me——!     43   
  CHRIS—Dat ain’t all. Ay gat dem fallars in steamship office to pay you all money coming to me every month vhile Ay’m avay.     44   
  ANNA—[With a hard laugh.] Thanks. But I guess I won’t be hard up for no small change.     45   
  CHRIS—[Hurt—humbly.] It ain’t much, Ay know, but it’s plenty for keep you so you never gat go back——     46   
  ANNA—[Shortly.] Shut up, will you? We’ll talk about it later, see?     47   
  CHRIS—[After a pause—ingratiatingly.] You like Ay go ashore look for dat Irish fallar, Anna?     48   
  ANNA—[Angrily.] Not much! Think I want to drag him back?     49   
  CHRIS—[After a pause—uncomfortably.] Py golly, dat booze don’t go vell. Give me fever, Ay tank. Ay feel hot like hell. [He takes off his coat and lets it drop on the floor. There is a loud thud.]     50   
  ANNA—[With a start.] What you got in your pocket, for Pete’s sake—a ton of lead? [She reaches down, takes the coat and pulls out a revolver—looks from it to him in amazement.] A gun? What were you doing with this?     51   
  CHRIS—[Sheepishly.] Ay forgat. Ain’t nutting. Ain’t loaded, anyvay.     52   
  ANNA—[Breaking it open to make sure—then closing it again—looking at him suspiciously.] That ain’t telling me why you got it?     53   
  CHRIS—[Sheepishly.] Ay’m ole fool. Ay gat it vhen Ay go ashore first. Ay tank den it’s all fault of dat Irish fallar.     54   
  ANNA—[With a shudder.] Say, you’re crazier than I thought. I never dreamt you’d go that far.     55   
  CHRIS—[Quickly.] Ay don’t. Ay gat better sense right avay. Ay don’t never buy bullets even. It ain’t his fault, Ay know.     56   
  ANNA—[Still suspicious of him.] Well, I’ll take care of this for a while, loaded or not. [She puts it in the drawer of table and closes the drawer.]     57   
  CHRIS—[Placatingly.] Throw it overboard if you vant. Ay don’t care. [Then after a pause.] Py golly, Ay tank Ay go lie down. Ay feel sick. [ANNA takes a magazine from the table. CHRIS hesitates by her chair.] Ve talk again before Ay go, yes?     58   
  ANNA—[Dully.] Where’s this ship going to?     59   
  CHRIS—Cape Town. Dat’s in South Africa. She’s British steamer called Londonderry. [He stands hesitatingly—finally blurts out.] Anna—you forgive me sure?     60   
  ANNA—[Wearily.] Sure I do. You ain’t to blame. You’re yust—what you are—like me.     61   
  CHRIS—[Pleadingly.] Den—you lat me kiss you again once?     62   
  ANNA—[Raising her face—forcing a wan smile.] Sure. No hard feelings.     63   
  CHRIS—[Kisses her—brokenly.] Anna lilla! Ay—[He fights for words to express himself, but finds none—miserably—with a sob.] Ay can’t say it. Goodnight, Anna.     64   
  ANNA—Good-night. [He picks up the can of beer and goes slowly into the room on left, his shoulders bowed, his head sunk forward dejectedly. He closes the door after him. ANNA turns over the pages of the magazine, trying desperately to banish her thoughts by looking at the pictures. This fails to distract her, and flinging the magazine back on the table, she springs to her feet and walks about the cabin distractedly, clenching and unclenching her hands. She speaks aloud to herself in a tense, trembling voice.] Gawd, I can’t stand this much longer! What am I waiting for anyway?—like a damn fool! [She laughs helplessly, then checks herself abruptly, as she hears the sound of heavy footsteps on the deck outside. She appears to recognize these and her face lights up with joy. She gasps:] Mat! [A strange terror seems suddenly to seize her. She rushes to the table, takes the revolver out of drawer and crouches down in the corner, left, behind the cupboard. A moment later the door is flung open and MAT BURKE appears in the doorway. He is in bad shape—his clothes torn and dirty, covered with sawdust as if he had been grovelling or sleeping on barroom floors. There is a red bruise on his forehead over one of his eyes, another over one cheekbone, his knuckles are skinned and raw—plain evidence of the fighting he has been through on his “bat.” His eyes are bloodshot and heavy-lidded, his face has a bloated look. But beyond these appearances—the results of heavy drinking—there is an expression in his eyes of wild mental turmoil, of impotent animal rage baffled by its own abject misery.]     65   
  BURKE—[Peers blinkingly about the cabin—hoarsely.] Let you not be hiding from me, whoever’s here—though ’tis well you know I’d have a right to come back and murder you. [He stops to listen. Hearing no sound, he closes the door behind him and comes forward to the table. He throws himself into the rocking-chair—despondently.] There’s no one here, I’m thinking, and ’tis a great fool I am to be coming. [With a sort of dumb, uncomprehending anguish.] Yerra, Mat Burke, ’tis a great jackass you’ve become and what’s got into you at all, at all? She’s gone out of this long ago, I’m telling you, and you’ll never see her face again. [ANNA stands up, hesitating, struggling between joy and fear. BURKE’S eyes fall on ANNA’S bag. He leans over to examine it.] What’s this? [Joyfully.] It’s hers. She’s not gone! But where is she? Ashore? [Darkly.] What would she be doing ashore on this rotten night? [His face suddenly convulsed with grief and rage.] ’Tis that, is it? Oh, God’s curse on her! [Raging.] I’ll wait ’till she comes and choke her dirty life out. [ANNA starts, her face grows hard. She steps into the room, the revolver in her right hand by her side.]     66   
  ANNA—[In a cold, hard tone.] What are you doing here?     67   
  BURKE—[Wheeling about with a terrified gasp.] Glory be to God! [They remain motionless and silent for a moment, holding each other’s eyes.]     68   
  ANNA—[In the same hard voice.] Well, can’t you talk?     69   
  BURKE—[Trying to fall into an easy, careless tone.] You’ve a year’s growth scared out of me, coming at me so sudden and me thinking I was alone.     70   
  ANNA—You’ve got your nerve butting in here without knocking or nothing. What d’you want?     71   
  BURKE—[Airily.] Oh, nothing much. I was wanting to have a last word with you, that’s all. [He moves a step toward her.]     72   
  ANNA—[Sharply—raising the revolver in her hand.] Careful now! Don’t try getting too close. I heard what you said you’d do to me.     73   
  BURKE—[Noticing the revolver for the first time.] Is it murdering me you’d be now, God forgive you? [Then with a contemptuous laugh.] Or is it thinking I’d be frightened by that old tin whistle? [He walks straight for her.]     74   
  ANNA—[Wildly.] Look out, I tell you!     75   
  BURKE—[Who has come so close that the revolver is almost touching his chest.] Let you shoot, then! [Then with sudden wild grief.] Let you shoot, I’m saying, and be done with it! Let you end me with a shot and I’ll be thanking you, for it’s a rotten dog’s life I’ve lived the past two days since I’ve known what you are, ’til I’m after wishing I was never born at all!     76   
  ANNA—[Overcome—letting the revolver drop to the floor, as if her fingers had no strength to hold it—hysterically.] What d’you want coming here? Why don’t you beat it? Go on! [She passes him and sinks down in the rocking-chair.]     77   
  BURKE—[Following her—mournfully.] ’Tis right you’d be asking why did I come. [Then angrily.] ’Tis because ’tis a great weak fool of the world I am, and me tormented with the wickedness you’d told of yourself, and drinking oceans of booze that’d make me forget. Forget? Divil a word I’d forget, and your face grinning always in front of my eyes, awake or asleep, ’til I do be thinking a madhouse is the proper place for me.     78   
  ANNA—[Glancing at his hands and face—scornfully.] You look like you ought to be put away some place. Wonder you wasn’t pulled in. You been scrapping, too, ain’t you?     79   
  BURKE—I have—with every scut would take off his coat to me! [Fiercely.] And each time I’d be hitting one a clout in the mug, it wasn’t his face I’d be seeing at all, but yours, and me wanting to drive you a blow would knock you out of this world where I wouldn’t be seeing or thinking more of you.     80   
  ANNA—[Her lips trembling pitifully.] Thanks!     81   
  BURKE—[Walking up and down—distractedly.] That’s right, make game of me! Oh, I’m a great coward surely, to be coming back to speak with you at all. You’ve a right to laugh at me.     82   
  ANNA—I ain’t laughing at you, Mat.     83   
  BURKE—[Unheeding.] You to be what you are, and me to be Mat Burke, and me to be drove back to look at you again! ’Tis black shame is on me!     84   
  ANNA—[Resentfully.] Then get out. No one’s holding you!     85   
  BURKE—[Bewilderedly.] And me to listen to that talk from a woman like you and be frightened to close her mouth with a slap! Oh, God help me, I’m a yellow coward for all men to spit at! [Then furiously.] But I’ll not be getting out of this ’till I’ve had me word. [Raising his fist threateningly.] And let you look out how you’d drive me! [Letting his fist fall helplessly.] Don’t be angry now! I’m raving like a real lunatic, I’m thinking, and the sorrow you put on me has my brains drownded in grief. [Suddenly bending down to her and grasping her arm intensely.] Tell me it’s a lie, I’m saying! That’s what I’m after coming to hear you say.     86   
  ANNA—[Dully.] A lie? What?     87   
  BURKE—[With passionate entreaty.] All the badness you told me two days back. Sure it must be a lie! You was only making game of me, wasn’t you? Tell me ’twas a lie, Anna, and I’ll be saying prayers of thanks on my two knees to the Almighty God!     88   
  ANNA—[Terribly shaken—faintly.] I can’t, Mat. [As he turns away—imploringly.] Oh, Mat, won’t you see that no matter what I was I ain’t that any more? Why, listen! I packed up my bag this afternoon and went ashore. I’d been waiting here all alone for two days, thinking maybe you’d come back—thinking maybe you’d think over all I’d said—and maybe—oh, I don’t know what I was hoping! But I was afraid to even go out of the cabin for a second, honest—afraid you might come and not find me here. Then I gave up hope when you didn’t show up and I went to the railroad station. I was going to New York. I was going back——     89   
  BURKE—[Hoarsely.] God’s curse on you!     90   
  ANNA—Listen, Mat! You hadn’t come, and I’d gave up hope. But—in the station—I couldn’t go. I’d bought my ticket and everything. [She takes the ticket from her dress and tries to hold it before his eyes.] But I got to thinking about you—and I couldn’t take the train—I couldn’t! So I come back here—to wait some more. Oh, Mat, don’t you see I’ve changed? Can’t you forgive what’s dead and gone—and forget it?     91   
  BURKE—[Turning on her—overcome by rage again.] Forget, is it? I’ll not forget ’til my dying day, I’m telling you, and me tormented with thoughts. [In a frenzy.] Oh, I’m wishing I had wan of them fornenst me this minute and I’d beat him with my fists ’till he’d be a bloody corpse! I’m wishing the whole lot of them will roast in hell ’til the Judgment Day—and yourself along with them, for you’re as bad as they are.     92   
  ANNA—[Shuddering.] Mat! [Then after a pause—in a voice of dead, stony calm.] Well, you’ve had your say. Now you better beat it.     93   
  BURKE—[Starts slowly for the door—hesitates—then after a pause.] And what’ll you be doing?     94   
  ANNA—What difference does it make to you?     95   
  BURKE—I’m asking you!     96   
  ANNA—[In the same tone.] My bag’s packed and I got my ticket. I’ll go to New York to-morrow.     97   
  BURKE—[Helplessly.] You mean—you’ll be doing the same again?     98   
  ANNA—[Stonily.] Yes.     99   
  BURKE—[In anguish.] You’ll not! Don’t torment me with that talk! ’Tis a she-divil you are sent to drive me mad entirely!    100   
  ANNA—[Her voice breaking.] Oh, for Gawd’s sake, Mat, leave me alone! Go away! Don’t you see I’m licked? Why d’you want to keep on kicking me?    101   
  BURKE—[Indignantly.] And don’t you deserve the worst I’d say, God forgive you?    102   
  ANNA—All right, Maybe I do. But don’t rub it in. Why ain’t you done what you said you was going to? Why ain’t you got that ship was going to take you to the other side of the earth where you’d never see me again?    103   
  BURKE—I have.    104   
  ANNA—[Startled.] What—then you’re going—honest?    105   
  BURKE—I signed on to-day at noon, drunk as I was—and she’s sailing to-morrow.    106   
  ANNA—And where’s she going to?    107   
  BURKE—Cape Town.    108   
  ANNA—[The memory of having heard that name a little while before coming to her—with a start, confusedly.] Cape Town? Where’s that. Far away?    109   
  BURKE—’Tis at the end of Africa. That’s far for you.    110   
  ANNA—[Forcing a laugh.] You’re keeping your word all right, ain’t you? [After a slight pause—curiously.] What’s the boat’s name?    111   
  BURKE—The Londonderry.    112   
  ANNA—[It suddenly comes to her that this is the same ship her father is sailing on.] The Londonderry! It’s the same—Oh, this is too much! [With wild, ironical laughter.] Ha-ha-ha!    113   
  BURKE—What’s up with you now?    114   
  ANNA—Ha-ha-ha! It’s funny, funny! I’ll die laughing!    115   
  BURKE—[Irritated.] Laughing at what?    116   
  ANNA—It’s a secret. You’ll know soon enough. It’s funny. [Controlling herself—after a pause—cynically.] What kind of a place is this Cape Town? Plenty of dames there, I suppose?    117   
  BURKE—To hell with them! That I may never see another woman to my dying hour!    118   
  ANNA—That’s what you say now, but I’ll bet by the time you get there you’ll have forgot all about me and start in talking the same old bull you talked to me to the first one you meet.    119   
  BURKE—[Offended.] I’ll not, then! God mend you, is it making me out to be the like of yourself you are, and you taking up with this one and that all the years of your life?    120   
  ANNA—[Angrily assertive.] Yes, that’s yust what I do mean! You been doing the same thing all your life, picking up a new girl in every port. How’re you any better than I was?    121   
  BURKE—[Thoroughly exasperated.] Is it no shame you have at all? I’m a fool to be wasting talk on you and you hardened in badness. I’ll go out of this and lave you alone forever. [He starts for the door—then stops to turn on her furiously.] And I suppose ’tis the same lies you told them all before that you told to me?    122   
  ANNA—[Indignantly.] That’s a lie! I never did!    123   
  BURKE—[Miserably.] You’d be saying that, anyway.    124   
  ANNA—[Forcibly, with growing intensity.] Are you trying to accuse me—of being in love—really in love—with them?    125   
  BURKE—I’m thinking you were, surely.    126   
  ANNA—[Furiously, as if this were the last insult—advancing on him threateningly.] You mutt, you! I’ve stood enough from you. Don’t you dare. [With scornful bitterness.] Love ’em! Oh, my Gawd! You damn thick-head! Love ’em? [Savagely.] I hated ’em, I tell you! Hated ’em, hated ’em, hated ’em! And may Gawd strike me dead this minute and my mother, too, if she was alive, if I ain’t telling you the honest truth!    127   
  BURKE—[Immensely pleased by her vehemence—a light beginning to break over his face—but still uncertain, torn between doubt and the desire to believe—helplessly.] If I could only be believing you now!    128   
  ANNA—[Distractedly.] Oh, what’s the use? What’s the use of me talking? What’s the use of anything? [Pleadingly.] Oh, Mat, you mustn’t think that for a second! You mustn’t! Think all the other bad about me you want to, and I won’t kick, ’cause you’ve a right to. But don’t think that! [On the point of tears.] I couldn’t bear it! It’d be yust too much to know you was going away where I’d never see you again—thinking that about me!    129   
  BURKE—[After an inward struggle—tensely—forcing out the words with difficulty.] If I was believing—that you’d never had love for any other man in the world but me—I could be forgetting the rest, maybe.    130   
  ANNA—[With a cry of joy.] Mat!    131   
  BURKE—[Slowly.] If ’tis truth you’re after telling, I’d have a right, maybe, to believe you’d changed—and that I’d changed you myself ’til the thing you’d been all your life wouldn’t be you any more at all.    132   
  ANNA—[Hanging on his words—breathlessly.] Oh, Mat! That’s what I been trying to tell you all along!    133   
  BURKE—[Simply.] For I’ve a power of strength in me to lead men the way I want, and women, too, maybe, and I’m thinking I’d change you to a new woman entirely, so I’d never know, or you either, what kind of woman you’d been in the past at all.    134   
  ANNA—Yes, you could, Mat! I know you could!    135   
  BURKE—And I’m thinking ’twasn’t your fault, maybe, but having that old ape for a father that left you to grow up alone, made you what you was. And if I could be believing ’tis only me you——    136   
  ANNA—[Distractedly.] You got to believe it, Mat! What can I do? I’ll do anything, anything you want to prove I’m not lying!    137   
  BURKE—[Suddenly seems to have a solution. He feels in the pocket of his coat and grasps something—solemnly.] Would you be willing to swear an oath, now—a terrible, fearful oath would send your soul to the divils in hell if you was lying?    138   
  ANNA—[Eagerly.] Sure, I’ll swear, Mat—on anything!    139   
  BURKE—[Takes a small, cheap old crucifix from his pocket and holds it up for her to see.] Will you swear on this?    140   
  ANNA—[Reaching out for it.] Yes. Sure I will. Give it to me.    141   
  BURKE—[Holding it away.] ’Tis a cross was given me by my mother, God rest her soul. [He makes the sign of the cross mechanically.] I was a lad only, and she told me to keep it by me if I’d be waking or sleeping and never lose it, and it’d bring me luck. She died soon after. But I’m after keeping it with me from that day to this, and I’m telling you there’s great power in it, and ’tis great bad luck it’s saved me from and me roaming the seas, and I having it tied round my neck when my last ship sunk, and it bringing me safe to land when the others went to their death. [Very earnestly.] And I’m warning you now, if you’d swear an oath on this, ’tis my old woman herself will be looking down from Hivin above, and praying Almighty God and the Saints to put a great curse on you if she’d hear you swearing a lie!    142   
  ANNA—[Awed by his manner—superstitiously.] I wouldn’t have the nerve—honest—if it was a lie. But it’s the truth and I ain’t scared to swear. Give it to me.    143   
  BURKE—[Handing it to her—almost frightenedly, as if he feared for her safety.] Be careful what you’d swear, I’m saying.    144   
  ANNA—[Holding the cross gingerly.] Well—what do you want me to swear? You say it.    145   
  BURKE—Swear I’m the only man in the world ivir you felt love for.    146   
  ANNA—[Looking into his eyes steadily.] I swear it.    147   
  BURKE—And that you’ll be forgetting from this day all the badness you’ve done and never do the like of it again.    148   
  ANNA—[Forcibly.] I swear it! I swear it by God!    149   
  BURKE—And may the blackest curse of God strike you if you’re lying. Say it now!    150   
  ANNA—And may the blackest curse of God strike me if I’m lying!    151   
  BURKE—[With a stupendous sigh.] Oh, glory be to God, I’m after believing you now! [He takes the cross from her hand, his face beaming with joy, and puts it back in his pocket. He puts his arm about her waist and is about to kiss her when he stops, appalled by some terrible doubt.]    152   
  ANNA—[Alarmed.] What’s the matter with you?    153   
  BURKE—[With sudden fierce questioning.] Is it Catholic ye are?    154   
  ANNA—[Confused.] No. Why?    155   
  BURKE—[Filled with a sort of bewildered foreboding.] Oh, God, help me! [With a dark glance of suspicion at her.] There’s some divil’s trickery in it, to be swearing an oath on a Catholic cross and you wan of the others.    156   
  ANNA—[Distractedly.] Oh, Mat, don’t you believe me?    157   
  BURKE—[Miserably.] If it isn’t a Catholic you are——    158   
  ANNA—I ain’t nothing. What’s the difference? Didn’t you hear me swear?    159   
  BURKE—[Passionately.] Oh, I’d a right to stay away from you—but I couldn’t! I was loving you in spite of it all and wanting to be with you, God forgive me, no matter what you are. I’d go mad if I’d not have you! I’d be killing the world— [He seizes her in his arms and kisses her fiercely.]    160   
  ANNA—[With a gasp of joy.] Mat!    161   
  BURKE—[Suddenly holding her away from him and staring into her eyes as if to probe into her soul—slowly.] If your oath is no proper oath at all, I’ll have to be taking your naked word for it and have you anyway, I’m thinking—I’m needing you that bad!    162   
  ANNA—[Hurt—reproachfully.] Mat! I swore, didn’t I?    163   
  BURKE—[Defiantly, as if challenging fate.] Oath or no oath, ’tis no matter. We’ll be wedded in the morning, with the help of God. [Still more defiantly.] We’ll be happy now, the two of us, in spite of the divil! [He crushes her to him and kisses her again. The door on the left is pushed open and CHRIS appears in the doorway. He stands blinking at them. At first the old expression of hatred of BURKE comes into his eyes instinctively. Then a look of resignation and relief takes its place. His face lights up with a sudden happy thought. He turns back into the bedroom—reappears immediately with the tin can of beer in his hand—grinning.]    164   
  CHRIS—Ve have drink on this, py golly! [They break away from each other with startled exclamations.]    165   
  BURKE—[Explosively.] God stiffen it! [He takes a step toward CHRIS threateningly.]    166   
  ANNA—[Happily—to her father.] That’s the way to talk! [With a laugh.] And say, it’s about time for you and Mat to kiss and make up. You’re going to be shipmates on the Londonderry, did you know it?    167   
  BURKE—[Astounded.] Shipmates— Has himself——    168   
  CHRIS—[Equally astounded.] Ay vas bo’sun on her.    169   
  BURKE—The divil! [Then angrily.] You’d be going back to sea and leaving her alone, would you?    170   
  ANNA—[Quickly.] It’s all right, Mat. That’s where he belongs, and I want him to go. You got to go, too; we’ll need the money. [With a laugh, as she gets the glasses.] And as for me being alone, that runs in the family, and I’ll get used to it. [Pouring out their glasses.] I’ll get a little house somewhere and I’ll make a regular place for you two to come back to,—wait and see. And now you drink up and be friends.    171   
  BURKE—[Happily—but still a bit resentful against the old man.] Sure! [Clinking his glass against CHRIS’.] Here’s luck to you! [He drinks.]    172   
  CHRIS—[Subdued—his face melancholy.] Skoal. [He drinks.]    173   
  BURKE—[To Anna, with a wink.] You’ll not be lonesome long. I’ll see to that, with the help of God. ’Tis himself here will be having a grandchild to ride on his foot, I’m telling you!    174   
  ANNA—[Turning away in embarrassment.] Quit the kidding, now. [She picks up her bag and goes into the room on left. As soon as she is gone BURKE relapses into an attitude of gloomy thought. CHRIS stares at his beer absent-mindedly. Finally BURKE turns on him.]    175   
  BURKE—Is it any religion at all you have, you and your Anna?    176   
  CHRIS—[Surprised.] Vhy yes. Ve vas Lutheran in ole country.    177   
  BURKE—[Horrified.] Luthers, is it? [Then with a grim resignation, slowly, aloud to himself.] Well, I’m damned then surely. Yerra, what’s the difference? ’Tis the will of God, anyway.    178   
  CHRIS—[Moodily preoccupied with his own thoughts—speaks with somber premonition as ANNA re-enters from the left.] It’s funny. It’s queer, yes—you and me shipping on same boat dat vay. It ain’t right. Ay don’t know—it’s dat funny vay ole davil sea do her vorst dirty tricks, yes. It’s so. [He gets up and goes back and, opening the door, stares out into the darkness.]    179   
  BURKE—[Nodding his head in gloomy acquiescence—with a great sigh.] I’m fearing maybe you have the right of it for once, divil take you.    180   
  ANNA—[Forcing a laugh.] Gee, Mat, you ain’t agreeing with him, are you? [She comes forward and puts her arm about his shoulder—with a determined gaiety.] Aw say, what’s the matter? Cut out the gloom. We’re all fixed now, ain’t we, me and you? [Pours out more beer into his glass and fills one for herself—slaps him on the back.] Come on! Here’s to the sea, no matter what! Be a game sport and drink to that! Come on! [She gulps down her glass. Burke banishes his superstitious premonitions with a defiant jerk of his head, grins up at her, and drinks to her toast.]    181   
  CHRIS—[Looking out into the night—lost in his somber preoccupation—shakes his head and mutters.] Fog, fog, fog, all bloody time. You can’t see vhere you vas going, no. Only dat ole davil, sea—she knows! [The two stare at him. From the harbor comes the muffled, mournful wail of steamers’ whistles.]


[The Curtain Falls]

III. The First Man   
Characters   
     
CURTIS JAYSON
MARTHA, his wife
JOHN JAYSON, his father, a banker
JOHN, JR., his brother
RICHARD, his brother
ESTHER (MRS. MARK SHEFFIELD), his sister
LILY, his sister
MRS. DAVIDSON, his father’s aunt
MARK SHEFFIELD, a lawyer
EMILY, JOHN JR.’S wife
RICHARD BIGELOW
A MAID
A TRAINED NURSE
 
TIME—The Present

III. The First Man   
Act I   
Living-room in the house of Curtis Jayson, Bridgetown, Conn.—an afternoon in early Fall   
     
SCENE—Living-room of CURTIS JAYSON’S house in Bridgetown, Conn.      1   
  A large, comfortable room. On the left, an arm-chair, a big open fireplace, a writing desk with chair in far left corner. On this side there is also a door leading into CURTIS’S study. In the rear, center, a double doorway opening on the hall and the entryway. Bookcases are built into the wall on both sides of this doorway. In the far right corner, a grand piano. Three large windows looking out on the lawn, and another armchair, front, are on this right side of the room. Opposite the fireplace is a couch, facing front. Opposite the windows on the right is a long table with magazines, reading lamp, etc. Four chairs are grouped about the table. The walls and ceiling are in a French gray color. A great rug covers most of the hardwood floor.      2   
  It is around four o’clock of a fine afternoon in early fall.      3   
  As the curtain rises, MARTHA, CURTIS and BIGELOW are discovered. MARTHA is a healthy, fine-looking woman of thirty-eight. She does not appear this age for her strenuous life in the open has kept her young and fresh. She possesses the frank, clear, direct quality of outdoors, outspoken and generous. Her wavy hair is a dark brown, her eyes blue-gray. CURTIS JAYSON is a tall, rangy, broad-shouldered man of thirty-seven. While spare, his figure has an appearance of rugged health, of great nervous strength held in reserve. His square-jawed, large-featured face retains an eager boyish enthusiasm in spite of its prevailing expression of thoughtful, preoccupied aloofness. His crisp dark hair is graying at the temples. EDWARD BIGELOW is a large, handsome man of thirty-nine. His face shows culture and tolerance, a sense of humor, a lazy unambitious contentment. CURTIS is reading an article in some scientific periodical, seated by the table. MARTHA and BIGELOW are sitting nearby laughing and chatting.      4   
     
  BIGELOW—[Is talking with a comically worried but earnest air.] Do you know, I’m getting so I’m actually afraid to leave them alone with that governess. She’s too romantic. I’ll wager she’s got a whole book full of ghost stories, superstitions, and yellow-journal horrors up her sleeve.      5   
  MARTHA—Oh, pooh! Don’t go milling around for trouble. When I was a kid I used to get fun out of my horrors.      6   
  BIGELOW—But I imagine you were more courageous than most of us.      7   
  MARTHA—Why?      8   
  BIGELOW—Well, Nevada—the Far West at that time—I should think a child would have grown so accustomed to violent scenes——      9   
  MARTHA—[Smiling.] Oh, in the mining camps; but you don’t suppose my father lugged me along on his prospecting trips, do you? Why, I never saw any rough scenes until I’d finished with school and went to live with father in Goldfield.     10   
  BIGELOW—[Smiling.] And then you met Curt.     11   
  MARTHA—Yes—but I didn’t mean he was a rough scene. He was very mild even in those days. Do tell me what he was like at Cornell.     12   
  BIGELOW—A romanticist—and he still is!     13   
  MARTHA—[Pointing at CURTIS with gay mischief.] What! That sedate man! Never!     14   
  CURTIS—[Looking up and smiling at them both affectionately—lazily.] Don’t mind him, Martha. He always was crazy.     15   
  BIGELOW—[To CURT—accusingly.] Why did you elect to take up mining engineering at Cornell instead of a classical degree at the Yale of your fathers and brothers? Because you had been reading Bret Harte in prep. school and mistaken him for a modern realist. You devoted four years to grooming yourself for another outcast of Poker Flat. [MARTHA laughs.]     16   
  CURTIS—[Grinning.] It was you who were hypnotized by Harte—so much so that his West of the past is still your blinded New England-movie idea of the West at present. But go on. What next?     17   
  BIGELOW—Next? You get a job as engineer in that Goldfield mine—but you are soon disillusioned by a laborious life where six-shooters are as rare as nuggets. You try prospecting. You find nothing but different varieties of pebbles. But it is necessary to your nature to project romance into these stones, so you go in strong for geology. As a geologist, you become a slave to the Romance of the Rocks. It is but a step from that to anthropology—the last romance of all. There you find yourself—because there is no further to go. You win fame as the most proficient of young skull-hunters—and wander over the face of the globe, digging up bones like an old dog.     18   
  CURTIS—[With a laugh.] The man is mad, Martha.     19   
  BIGELOW—Mad! What an accusation to come from one who is even now considering setting forth on a five-year excavating contest in search of the remains of our gibbering ancestor, the First Man!     20   
  CURTIS—[With sudden seriousness.] I’m not considering it any longer. I’ve decided to go.     21   
  MARTHA—[Starting—the hurt showing in her voice.] When did you decide?     22   
  CURTIS—I only really came to a decision this morning. [With a seriousness that forces BIGELOW’S interested attention.] It’s a case of got to go. It’s a tremendous opportunity that it would be a crime for me to neglect.     23   
  BIGELOW—And a big honor, too, isn’t it, to be picked as a member of such a large affair?     24   
  CURTIS—[With a smile.] I guess it’s just that they want all the men with considerable practical experience they can get. There are bound to be hardships and they know I’m hardened to them. [Turning to his wife with an affectionate smile.] We haven’t roughed it in the queer corners for the last ten years without knowing how it’s done, have we, Martha?     25   
  MARTHA—[Dully.] No, Curt.     26   
  CURTIS—[With an earnest enthusiasm.] And this expedition is what you call a large affair, Big. It’s the largest thing of its kind ever undertaken. The possibilities, from the standpoint of anthropology, are limitless.     27   
  BIGELOW—[With a grin.] Aha! Now we come to the Missing Link!     28   
  CURTIS—[Frowning.] Darn your Barnum and Bailey circus lingo, Big. This isn’t a thing to mock at. I should think the origin of man would be something that would appeal even to your hothouse imagination. Modern science believes—knows—that Asia was the first home of the human race. That’s where we’re going, to the great Central Asian plateau north of the Himalayas.     29   
  BIGELOW—[More soberly.] And there you hope to dig up—our first ancestor?     30   
  CURTIS—It’s a chance in a million, but I believe we may, myself—at least find authentic traces of him so that we can reconstruct his life and habits. I was up in that country a lot while I was mining advisor to the Chinese government—did some of my own work on the side. The extraordinary results I obtained with the little means at my disposal convinced me of the riches yet to be uncovered. The First Man may be among them.     31   
  BIGELOW—[Turning to MARTHA.] And you were with him on that Asian plateau?     32   
  MARTHA—Yes, I’ve always been with him.     33   
  CURTIS—You bet she has. [He goes over and puts his hand on his wife’s shoulder affectionately.] Martha’s more efficient than a whole staff of assistants and secretaries. She knows more about what I’m doing than I do half the time. [He turns toward his study.] Well, I guess I’ll go in and work some.     34   
  MARTHA—[Quietly.] Do you need me now, Curt?     35   
  BIGELOW—[Starting up.] Yes, if you two want to work together, why just shoo me——     36   
  CURTIS—[Puts both hands on his shoulders and forces him to his seat again.] No. Sit down, Big. I don’t need Martha now. [Coming over to her, bends down and kisses her—rather mockingly.] I couldn’t deprive Big of an audience for his confessions of a fond parent.     37   
  BIGELOW—Aha! Now it’s you who are mocking at something you know nothing about. [An awkward silence follows this remark.]     38   
  CURTIS—[Frowning.] I guess you’re forgetting, aren’t you, Big? [He turns and walks into his study, closing the door gently behind him.]     39   
  MARTHA—[After a pause—sadly.] Poor Curt.     40   
  BIGELOW—[Ashamed and confused.] I had forgotten——     41   
  MARTHA—The years have made me reconciled. They haven’t Curt. [She sighs—then turns to BIGELOW with a forced smile.] I suppose it’s hard for any of you back here to realize that Curt and I ever had any children.     42   
  BIGELOW—[After a pause.] How old were they when——?     43   
  MARTHA—Three years and two—both girls. [She goes on sadly.] We had a nice little house in Goldfield. [Forcing a smile.] We were very respectable home folks then. The wandering came later, after—It was a Sunday in winter when Curt and I had gone visiting some friends. The nurse girl fell asleep—or something—and the children sneaked out in their underclothes and played in the snow. Pneumonia set in—and a week later they were both dead.     44   
  BIGELOW—[Shocked.] Good heavens!     45   
  MARTHA—We were real lunatics for a time. And then when we’d calmed down enough to realize—how things stood with us—we swore we’d never have children again—to steal away their memory. It wasn’t what you thought—romanticism—that set Curt wandering—and me with him. It was a longing to lose ourselves—to forget. He flung himself with all his power into every new study that interested him. He couldn’t keep still, mentally or bodily—and I followed. He needed me—then—so dreadfully!     46   
  BIGELOW—And is it that keeps driving him on now?     47   
  MARTHA—Oh, no. He’s found himself. His work has taken the place of the children.     48   
  BIGELOW—And with you, too?     49   
  MARTHA—[With a wan smile.] Well, I’ve helped—all I could. His work has me in it, I like to think—and I have him.     50   
  BIGELOW—[Shaking his head.] I think people are foolish to stand by such an oath as you took—forever. [With a smile.] Children are a great comfort in one’s old age, I’ve tritely found.     51   
  MARTHA—[Smiling.] Old age!     52   
  BIGELOW—I’m knocking at the door of fatal forty.     53   
  MARTHA—[With forced gaiety.] You’re not very tactful, I must say. Don’t you know I’m thirty-eight?     54   
  BIGELOW—[Gallantly.] A woman is as old as she looks. You’re not thirty yet.     55   
  MARTHA—[Laughing.] After that nice remark I’ll have to forgive you everything, won’t I? [LILY JAYSON comes in from the rear. She is a slender, rather pretty girl of twenty-five. The stamp of college student is still very much about her. She rather insists on a superior, intellectual air, is full of nervous, thwarted energy. At the sight of them sitting on the couch together, her eyebrows are raised.]     56   
  LILY—[Coming into the room—breezily.] Hello, Martha. Hello, Big. [They both get up with answering “Hellos.”] I walked right in regardless. Hope I’m not interrupting.     57   
  MARTHA—Not at all.     58   
  LILY—[Sitting down by the table as MARTHA and BIGELOW resume their seats on the lounge.] I must say it sounded serious. I heard you tell Big you’d forgive him everything, Martha. [Dryly—with a mocking glance at BIGELOW.] You’re letting yourself in for a large proposition.     59   
  BIGELOW—[Displeased but trying to smile it off.] The past is never past for a dog with a bad name, eh, Lily? [LILY laughs. BIGELOW gets up.] If you want to reward me for my truthfulness, Mrs. Jayson, help me take the kids for an airing in the car. I know it’s an imposition but they’ve grown to expect you. [Glancing at his watch.] By Jove, I’ll have to run along. I’ll get them and then pick you up here. Is that all right?     60   
  MARTHA—Fine.     61   
  BIGELOW—I’ll run, then. Good-by, Lily. [She nods. BIGELOW goes out rear.]     62   
  MARTHA—[Cordially.] Come on over here, Lily.     63   
  LILY—[Sits on couch with MARTHA—after a pause—with a smile.] You were forgetting, weren’t you?     64   
  MARTHA—What?     65   
  LILY—That you’d invited all the family over here to tea this afternoon. I’m the advance guard.     66   
  MARTHA—[Embarrassed.] So I was! How stupid!     67   
  LILY—[With an inquisitive glance at MARTHA’S face but with studied carelessness.] Do you like Bigelow?     68   
  MARTHA.—Yes, very much. And Curt thinks the world of him.     69   
  LILY—Oh, Curt is the last one to be bothered by anyone’s morals. Curt and I are the unconventional ones of the family. The trouble with Bigelow, Martha, is that he was too careless to conceal his sins—and that won’t go down in this Philistine small town. You have to hide and be a fellow hypocrite or they revenge themselves on you. Bigelow didn’t. He flaunted his love-affairs in everyone’s face. I used to admire him for it. No one exactly blamed him, in their secret hearts. His wife was a terrible, straitlaced creature. No man could have endured her. [Disgustedly.] After her death he suddenly acquired a bad conscience. He’d never noticed the children before. I’ll bet he didn’t even know their names. And then, presto, he’s about in our midst giving an imitation of a wet hen with a brood of ducks. It’s a bore, if you ask me.     70   
  MARTHA—[Flushing.] I think it’s very fine of him.     71   
  LILY—[Shaking her head.] His reform is too sudden. He’s joined the hypocrites, I think.     72   
  MARTHA—I’m sure he’s no hypocrite. When you see him with the children——     73   
  LILY—Oh, I know he’s a good actor. Lots of women have been in love with him. [Then suddenly.] You won’t be furious if I’m very, very frank, will you, Martha?     74   
  MARTHA—[Surprised.] No, of course not, Lily.     75   
  LILY—Well, I’m the bearer of a message from the Jayson family.     76   
  MARTHA—[Astonished.] A message? For me?     77   
  LILY—Don’t think that I have anything to do with it. I’m only a Victor record of their misgivings. Shall I switch it going? Well, then, father thinks, brother John and wife, sister Esther and husband all think that you are unwisely intimate with this same Bigelow.     78   
  MARTHA—[Stunned.] I? Unwisely intimate—? [Suddenly laughing with amusement.] Well, you sure are funny people!     79   
  LILY—No, we’re not funny. We’d be all right if we were. On the contrary, we’re very dull and deadly. Bigelow really has a villainous rep. for philandering. But, of course, you didn’t know that.     80   
  MARTHA—[Beginning to feel resentful—coldly.] No, I didn’t—and I don’t care to know it now.     81   
  LILY—[Calmly.] I told them you wouldn’t relish their silly advice. [In a very confidential, friendly tone.] Oh, I hate their narrow small-town ethics as much as you do, Martha. I sympathize with you, indeed I do. But I have to live with them and so, for comfort’s sake, I’ve had to make compromises. And you’re going to live in our midst from now on, aren’t you? Well then, you’ll have to make compromises, too—if you want any peace.     82   
  MARTHA—But—compromises about what? [Forcing a laugh.] I refuse to take it seriously. How anyone could think—it’s too absurd.     83   
  LILY—What set them going was Big’s being around such an awful lot the weeks Curt was in New York, just after you’d settled down here. You must acknowledge he was—very much present then, Martha.     84   
  MARTHA—But it was on account of his children. They were always with him.     85   
  LILY—The town doesn’t trust this sudden fond parenthood, Martha. We’ve known him too long, you see.     86   
  MARTHA—But he’s Curt’s oldest and best friend.     87   
  LILY—We’ve found they always are.     88   
  MARTHA—[Springing to her feet—indignantly.] It’s a case of evil minds, it seems to me—and it would be extremely insulting if I didn’t have a sense of humor. [Resentfully.] You can tell your family, that as far as I’m concerned, the town may——     89   
  LILY—Go to the devil. I knew you’d say that. Well, fight the good fight. You have all my best wishes. [With a sigh.] I wish I had something worth fighting for. Now that I’m through with college, my occupation’s gone. All I do is read book after book. The only live people are the ones in books, I find, and the only live life.     90   
  MARTHA—[Immediately sympathetic.] You’re lonely, that’s what, Lily.     91   
  LILY—[Drily.] Don’t pity me, Martha—or I’ll join the enemy.     92   
  MARTHA—I’m not. But I’d like to help you if I could. [After a pause.] Have you ever thought of marrying?     93   
  LILY—[With a laugh.] Martha! How banal! The men I see are enough to banish that thought if I ever had it.     94   
  MARTHA—Marriage isn’t only the man. It’s children. Wouldn’t you like to have children?     95   
  LILY—[Turning to her bluntly.] Wouldn’t you?     96   
  MARTHA—[Confused.] But—Lily——     97   
  LILY—Oh, I know it wasn’t practicable as long as you elected to wander with Curt—but why not now when you’ve definitely settled down here? I think that would solve things all round. If you could present Father with a grandson, I’m sure he’d fall on your neck. He feels piqued at the John and Esther families because they’ve had a run of girls. A male Jayson! Aunt Davidson would weep with joy. [Suddenly.] You’re thirty-eight, aren’t you, Martha?     98   
  MARTHA—Yes.     99   
  LILY—Then why don’t you—before it’s too late? [MARTHA, struggling with herself, does not answer. LILY goes on slowly.] You won’t want to tag along with Curt to the ends of the earth forever, will you? [curiously.] Wasn’t that queer life like any other? I mean, didn’t it get to pall on you?    100   
  MARTHA—[As if confessing it reluctantly.] Yes—perhaps—in the last two years.    101   
  LILY—[Decisively.] It’s time for both of you to rest on your laurels. Why can’t Curt keep on with what he’s doing now—stay home and write his books?    102   
  MARTHA—Curt isn’t that kind. The actual work—the romance of it—that’s his life.    103   
  LILY—But if he goes and you have to stay, you’ll be lonesome—[meaningly] alone.    104   
  MARTHA—Horribly. I don’t know what I’ll do.    105   
  LILY—Then why—why? Think, Martha. If Curt knew—that was to happen—he’d want to stay here with you. I’m sure he would.    106   
  MARTHA—[Shaking her head sadly.] No. Curt has grown to dislike children. They remind him of—ours that were taken. He adored them so—he’s never become reconciled.    107   
  LILY—If you confronted Curt with the actual fact, he’d be reconciled soon enough, and happy in the bargain.    108   
  MARTHA—[Eagerly.] Do you really think so?    109   
  LILY—And you, Martha—I can tell from the way you’ve talked that you’d like to.    110   
  MARTHA—[Excitedly.] Yes, I—I never thought I’d ever want to again. For many years after they died I never once dreamed of it—. But lately—the last years—I’ve felt—and when we came to live here—and I saw all around me—homes—and children, I—— [She hesitates as if ashamed at having confessed so much.]    111   
  LILY—[Putting an arm around her—affectionately.] I know. [Vigorously.] You must, that’s all there is to it! If you want my advice, you go right ahead and don’t tell Curt until it’s a fact he’ll have to learn to like, willy-nilly. You’ll find, in his inmost heart, he’ll be tickled to death.    112   
  MARTHA—[Forcing a smile.] Yes, I—I’ll confess I thought of that. In spite of my fear, I—I’ve—I mean—I—— [She flushes in a shamed confusion.]    113   
  LILY—[Looking at her searchingly] Why, Martha, what— [Then suddenly understanding—with excited pleasure.] Martha! I know! It is so, isn’t it? It is!    114   
  MARTHA—[In a whisper.] Yes.    115   
  LILY—[Kissing her affectionately.] You dear, you! [Then after a pause.] How long have you known?    116   
  MARTHA—For over two months. [There is a ring from the front door bell in the hall.]    117   
  LILY—[Jumping up.] I’ll bet that’s we Jaysons now. [She runs to the door in the rear and looks down the hall to the right.] Yes, it’s Esther and husband and Aunt Davidson. [She comes back to MARTHA laughing excitedly. The MAID is seen going to the door.] The first wave of attack, Martha! Be brave! The Young Guard dies but never surrenders!    118   
  MARTHA—[Displeased but forcing a smile.] You make me feel terribly ill at ease when you put it that way, Lily. [She rises now and goes to greet the visitors, who enter. MRS. DAVIDSON is seventy-five years old—a thin, sinewy old lady, old-fashioned, unbending and rigorous in manner. She is dressed aggressively in the fashion of a bygone age. ESTHER is a stout, middle-aged woman with the round, unmarked, sentimentally-contented face of one who lives unthinkingly from day to day, sheltered in an assured position in her little world. MARK, her husband, is a lean, tall, stooping man of about forty-five. His long face is alert, shrewd, cautious, full of the superficial craftiness of the lawyer mind. MARTHA kisses the two women, shakes hands with MARK, uttering the usual meaningless greetings in a forced tone. They reply in much the same spirit. There is the buzz of this empty chatter while MARTHA gets them seated. LILY stands looking on with a cynical smile of amusement. MRS. DAVIDSON is in the chair at the end of table, left, ESTHER sits by MARTHA on couch, MARK in chair at front of table.] Will you have tea now or shall we wait for the others?    119   
  ESTHER—Let’s wait. They ought to be here any moment.    120   
  LILY—[Maliciously.] Just think, Martha had forgotten you were coming. She was going motoring with Bigelow. [There is a dead silence at this—broken diplomatically by SHEFFIELD.]    121   
  SHEFFIELD—Where is Curt, Martha?    122   
  MARTHA—Hard at work in his study. I’m afraid he’s there for the day.    123   
  SHEFFIELD—[Condescendingly.] Still plugging away at his book, I suppose. Well, I hope it will be a big success.    124   
  LILY—[Irritated by his smugness.] As big a success as the brief you’re writing to restrain the citizens from preventing the Traction Company robbing them, eh Mark? [Before anyone can reply, she turns suddenly on her aunt who is sitting rigidly on her chair, staring before her stonily like some old lady in a daguerreotype—in a loud challenging tone.] You don’t mind if I smoke, Aunt? [She takes a cigarette out of case and lights it.]    125   
  ESTHER—[Smiling.] Lily!    126   
  MRS. DAVIDSON—[Fixes LILY with her stare—in a tone of irrevocable decision.] We’ll get you married, young lady, and that very soon. What you need to bring you down to earth is a husband and the responsibility of children. [Turning her glance to MARTHA, a challenge in her question.] Every woman who is able should have children. Don’t you believe that, Martha Jayson? [She accentuates the full name.]    127   
  MARTHA—[Taken aback for a moment but restraining her resentment—gently.] Yes, I do, Mrs. Davidson.    128   
  MRS. DAVIDSON—[Seemingly placated by this reply—in a milder tone.] You must call me aunt, my dear. [Meaningly.] All the Jaysons do.    129   
  MARTHA—[Simply.] Thank you, aunt.    130   
  LILY—[As if all of this aroused her irritation—in a nervous fuming.] Why don’t the others come, darn ’em? I’m dying for my tea. [The door from the study is opened and CURT appears. They all greet him.]    131   
  CURTIS—[Absent-mindedly.] Hello, everybody. [Then with a preoccupied air to MARTHA.] Martha, I don’t want to interrupt you—but——    132   
  MARTHA—[Getting up briskly.] You want my help?    133   
  CURTIS—[With the same absent-minded air.] Yes—not for long—just a few notes before I forget them. [He goes back into the study.]    134   
  MARTHA—[Seemingly relieved by this interruption and glad of the chance it gives to show them her importance to CURT.] You’ll excuse me for a few moments, all of you, won’t you? [They all nod.]    135   
  MRS. DAVIDSON—[Rather harshly.] Why doesn’t Curt hire a secretary? That is no work for his wife.    136   
  MARTHA—[Quietly.] A paid secretary could hardly give the sympathy and understanding Curt needs, Mrs. Davidson. [Proudly.] And she would have to study for years, as I have done, in order to take my place. [To LILY.] If I am not here by the time the others arrive, will you see about the tea, Lily——?    137   
  LILY—[Eagerly.] Sure. I love to serve drinks. If I were a man, I’d be a bartender—in Mexico or Canada.    138   
  MARTHA—[Going toward the study.] I’ll be with you again in a minute, I hope. [She goes in and shuts the door behind her.]    139   
  ESTHER—[Pettishly.] Even people touched by a smattering of science seem to get rude, don’t they?    140   
  MRS. DAVIDSON—[Harshly.] I have heard much silly talk of this being an age of free women, and I have always said it was tommyrot. [Pointing to the study.] She is an example. She is more of a slave to Curt’s hobbies than any of my generation were to anything but their children. [Still more harshly.] Where are her children?    141   
  LILY—They died, Aunt, as children have a bad habit of doing. [Then meaningly.] However, I wouldn’t despair if I were you. [MRS. DAVIDSON stares at her fixedly.]    142   
  ESTHER—[Betraying a sudden frightened jealousy.] What do you mean, Lily? What are you so mysterious about? What did she say? What——?    143   
  LILY—[Mockingly.] Mark, your frau seems to have me on the stand. Can I refuse to answer? [There is a ring at the bell. LILY jumps to her feet excitedly.] Here comes the rest of our Grand Fleet. Now I’ll have my tea. [She darts out to the hallway.]    144   
  ESTHER—[Shaking her head.] Goodness, Lily is trying on the nerves. [JAYSON, his two sons, JOHN and DICK, and JOHN’S wife, EMILY, enter from hallway in rear. JAYSON, the father, is a short, stout, baldheaded man of sixty. A typical, small-town, New England best-family banker, reserved in pose, unobtrusively important—a placid exterior hiding querulousness and a fussy temper. JOHN JUNIOR is his father over again in appearance, but pompous, obstrusive, purse-and-family-proud, extremely irritating in his self-complacent air of authority, emptily assertive and loud. He is about forty. RICHARD, the other brother, is a typical young Casino and country club member, college-bred, good looking, not unlikable. He has been an officer in the war and has not forgotton it. EMILY, JOHN JR.’S wife, is one of those small, mouse-like women who conceal beneath an outward aspect of gentle, unprotected innocence a very active envy, a silly pride, and a mean malice. The people in the room with the exception of MRS. DAVIDSON rise to greet them. All exchange familiar, perfunctory greetings. SHEFFIELD relinquishes his seat in front of the table to JAYSON, going to the chair, right front, himself. JOHN and DICK take the two chairs to the rear of table. EMILY joins ESTHER on the couch and they whisper together excitedly, ESTHER doing most of the talking. The men remain in uncomfortable silence for a moment.]    145   
  DICK—[With gay mockery.] Well, the gang’s all here. Looks like the League of Nations. [Then with impatience.] Let’s get down to cases, folks. I want to know why I’ve been summoned here. I’m due for tournament mixed-doubles at the Casino at five. Where’s the tea—and has Curt a stick in the cellar to put in it?    146   
  LILY—[Appearing in the doorway.] Here’s tea—but no stick for you, sot. [The MAID brings in tray with tea things.]    147   
  JOHN—[Heavily.] It seems it would be more to the point to inquire where our hostess——    148   
  JAYSON—[Rousing himself again.] Yes. And where is Curt?    149   
  LILY—Working at his book. He called Martha to take notes on something.    150   
  ESTHER—[With a trace of resentment.] She left us as if she were glad of the excuse.    151   
  LILY—Stuff, Esther! She knows how much Curt depends on her—and we don’t.    152   
  EMILY—[In her quiet, lisping voice—with the most innocent air.] Martha seems to be a model wife. [But there is some quality to the way she says it that makes them all stare at her uneasily.]    153   
  LILY—[Insultingly.] How well you say what you don’t mean, Emily! Twinkle, twinkle, little bat! But I’m forgetting to do the honors. Tea, everybody? [Without waiting for any answer.] Tea, everybody! [The tea is served.]    154   
  JAYSON—[Impatiently.] Stop fooling, Lily. Let’s get to our muttons. Did you talk with Martha?    155   
  LILY—[Briskly.] I did, sir.    156   
  JAYSON—[In a lowered voice.] What did she say?    157   
  LILY—She said you could all go to the devil! [They all look shocked and insulted. LILY enjoys this, then adds quietly.] Oh, not in those words. Martha is a perfect lady. But she made it plain she will thank you to mind your own business.    158   
  ESTHER—[Volubly.] And just imagine, she’d even forgotten she’d asked us here this afternoon and was going motoring with Bigelow.    159   
  LILY—With his three children, too, don’t forget.    160   
  EMILY—[Softly.] They have become such well-behaved and intelligent children, they say. [Again all the others hesitate, staring at her suspiciously.]    161   
  LILY—[Sharply.] You’d better let Martha train yours for a while, Emily. I’m sure she’d improve their manners—though, of course, she couldn’t give them any intelligence.    162   
  EMILY—[With the pathos of outraged innocence.] Oh!    163   
  DICK—[Interrupting.] So it’s Bigelow you’re up in the air about? [He gives a low whistle—then frowns angrily.] The deuce you say!    164   
  LILY—[Mockingly.] Look at our solider boy home from the wars getting serious about the family honor! It’s too bad this is a rough, untutored country where they don’t permit dueling, isn’t it, Dick?    165   
  DICK—[His pose crumbling—angrily.] Go to the devil!    166   
  SHEFFIELD—[With a calm, judicious air.] This wrangling is getting us nowhere. You say she was resentful about our well-meant word to the wise?    167   
  JAYSON—[Testily.] Surely she must realize that some consideration is due the position she occupies in Bridgetown as Curt’s wife.    168   
  LILY—Martha is properly unimpressed by big frogs in tiny puddles. And there you are.    169   
  MRS. DAVIDSON—[Outraged.] The idea! She takes a lot upon herself—the daughter of a Wild Western coal-miner.    170   
  LILY—[Mockingly.] Gold miner, Aunt.    171   
  MRS. DAVIDSON—It makes no difference—a common miner!    172   
  SHEFFIELD—[Keenly inquisitive.] Just before the others came, Lily, you gave out some hints—very definite hints, I should say——    173   
  ESTHER—[Excitedly.] Yes, you did, Lily. What did you mean?    174   
  LILY—[Uncertainly.] Perhaps I shouldn’t have. It’s not my secret. [Enjoying herself immensely now that she holds the spotlight—after a pause, in a stage whisper.] Shall I tell you? Yes, I can’t help telling. Well, Martha is going to have a son. [They are all stunned and flabbergasted and stare at her speechlessly.]    175   
  MRS. DAVIDSON—[Her face lighting up—joyously.] A son! Curt’s son!    176   
  JAYSON—[Pleased by the idea but bewildered.] A son?    177   
  DICK—[Smartly.] Lily’s kidding you. How can she know it’s a son—unless she’s a clairvoyant.    178   
  ESTHER—[With glad relief.] Yes, how stupid!    179   
  LILY—I am clairvoyant in this case. Allah is great and it will be a son—if only to make you and Emily burst with envy among your daughters.    180   
  ESTHER—Lily!    181   
  EMILY—Oh!    182   
  JAYSON—[Testily.] Keep still for a moment, Lily, for God’s sake. This is no subject to joke about, remember.    183   
  LILY—Martha told me. I know that.    184   
  JAYSON—And does Curt know this?    185   
  LILY—No, not yet. Martha has been afraid to tell him.    186   
  JAYSON—Ah, that explains matters. You know I asked Curt some time ago—and he said it was impossible.    187   
  EMILY—[With a lift of her eyebrows.] Impossible? Why, what a funny thing to say.    188   
  SHEFFIELD—[Keenly lawyer-like.] And why is Martha afraid to tell him, Lily?    189   
  LILY—It’s all very simple. When the two died years ago, they said they would never have one again. Martha thinks Curt is still haunted by their memory and is afraid he will resent another as an intruder. I told her that was all foolishness—that a child was the one thing to make Curt settle down for good at home here and write his books.    190   
  JAYSON—[Eagerly.] Yes, I believe that myself. [Pleased.] Well, this is fine news.    191   
  EMILY—Still it was her duty to tell Curt, don’t you think? I don’t see how she could be afraid of Curt—for those reasons. [They all stare at her.]    192   
  ESTHER—[Resentfully.] I don’t, either. Why, Curt’s the biggest-hearted and kindest——    193   
  EMILY—I wonder how long she’s known—this?    194   
  LILY—[Sharply.] Two months, she said.    195   
  EMILY—Two months? [She lets this sink in.]    196   
  JOHN—[Quickly scenting something—eagerly.] What do you mean, Emily? [Then as if he read her mind.] Two months? But before that—Curt was away in New York almost a month!    197   
  LILY—[Turning on EMILY fiercely.] So! You got someone to say it for you as you always do, Poison Mind! Oh, I wish the ducking stool had never been abolished!    198   
  EMILY—[Growing crimson—falteringly.] I—I didn’t mean——    199   
  JOHN—[Furiously.] Where the honor of the family is at stake——    200   
  LILY—[Fiercely.] Ssshh, you empty barrel! I think I hear—— [The door from the study is opened and MARTHA comes in in the midst of a heavy silence. All the gentlemen rise stiffly. MARTHA is made immediately self-conscious and resentful by the feeling that they have been discussing her unfavorably.]    201   
  MARTHA—[Coming forward—with a forced cordiality.] How do you do, everybody? So sorry I wasn’t here when you came. I hope Lily made proper excuses for me. [She goes from one to the other of the four latest comers with “So glad you came,” etc. They reply formally and perfunctorily. MARTHA finally finds a seat on the couch between EMILY and ESTHER.] I hope Lily—but I see you’ve all had tea.    202   
  LILY—[Trying to save the situation—gayly.] Yes. You can trust me an understudy for the part of hostess any time.    203   
  MARTHA—[Forcing a smile.] Well, I’m glad to know I wasn’t missed.    204   
  EMILY—[Sweetly.] We were talking about you—at least, we were listening to Lily talk about you.    205   
  MARTHA—[Stiffening defensively.] About me?    206   
  EMILY—Yes—about how devoted you were to Curt’s work. [LILY gives her a venomous glance of scorn.]    207   
  MARTHA—[Pleased but inwardly uneasy.] Oh, but you see I consider it my work, too, I’ve helped him with it so long now.    208   
  JAYSON—[In a forced tone.] And how is Curt’s book coming, Martha?    209   
  MARTHA—[More and more stung by their strained attitudes and inquisitive glances. Coldly and cuttingly.] Finely, thank you. The book will cause quite a stir, I believe. It will make the name of Jayson famous in the big world outside of Bridgetown.    210   
  MRS. DAVIDSON—[Indignantly.] The name of Jayson has been——    211   
  JAYSON—[Pleadingly.] Aunt Elizabeth!    212   
  LILY—Aunt means it’s world famous already, Martha. [Pointing to the sullen JOHN.] John was once a substitute on the Yale Freshman soccer team, you know. If it wasn’t for his weak shins he would have made the team, fancy!    213   
  DICK—[This tickles his sense of humor and he bursts into laughter.] Lily wins! [As his brother glares at him—looking at his watch.] Heavens, I’ll have to hustle! [Gets to his feet.] I’m due at the Casino. [Comes and shakes MARTHA’S hand formally.] I’m sorry I can’t stay.    214   
  MARTHA—So glad you came. Do come in again any time. We keep open house, you know—Western fashion. [She accentuates this.]    215   
  DICK—[Hurriedly.] Delighted to. [He starts for the door in rear.]    216   
  LILY—[As if suddenly making up her mind.] Wait a second! I’m coming with you——    217   
  DICK—Sure thing—only hurry, darn you! [He goes out.]    218   
  LILY—[Stops at the door in rear and catching MARTHA’S eye, looks meaningly at the others.] Phew! I need fresh air! [She makes an encouraging motion as if pummeling someone to MARTHA, indicating her assembled family as the victim—then goes out laughing. A motor is heard starting—running off.]    219   
  ESTHER—[With a huge sigh of relief.] Thank goodness, she’s gone. What a vixen! What would you do if you had a sister like that, Martha?    220   
  MARTHA—I’d love her—and try to understand her.    221   
  SHEFFIELD—[Meaningly.] She’s a bad ally to rely on—this side of the fence one day, and that the next.    222   
  MARTHA—Is that why you advised her to become a lawyer, Mr. Sheffield?    223   
  SHEFFIELD—[Stung, but maintaining an unruffled front.] Now, now, that remark must be catalogued as catty.    224   
  MARTHA—[Defiantly.] It seems to be in the Bridgetown atmosphere. I never was—not the least bit—in the open air.    225   
  JAYSON—[Conciliatingly.] Oh, Bridgetown isn’t so bad, Martha, once you get used to us.    226   
  JOHN—It’s one of the most prosperous and wealthy towns in the U. S.—and that means in the world, nowadays.    227   
  EMILY—[With her sugary smile.] That isn’t what Martha means, you silly. I know what she’s thinking about us, and I’m not sure that I don’t agree with her—partly. She feels that we’re so awfully strict—about certain things. It must be so different in the Far West—I suppose—so much freer.    228   
  MARTHA—[Acidly.] Then you believe broad-mindedness and clean thinking are a question of locality? I can’t agree with you. I know nothing of the present Far West, not having lived there for ten years, but Curt and I have lived in the Far East and I’m sure he’d agree with me in saying that Chinese ancestor worship is far more dignified than ours. After all, you know, theirs is religion, not snobbery. [There is a loud honking of an auto horn before the house. MARTHA starts, seems to come to a quick decision, and announces with studied carelessness.] That must be Mr. Bigelow. I suppose Lily told you I had an engagement to go motoring with him. So sorry I must leave. But I’m like Lily. I need fresh air. [She walks to the study door as she is talking.] I’ll call Curt. [She raps loudly on the door and calls.] Curt! Come out! It’s important. [She turns and goes to the door, smiling fixedly.] He’ll be out when he’s through swearing. [She goes out, rear.]    229   
  JOHN—[Exploding.] Well, of all the damned cheek!    230   
  ESTHER—She shows her breeding, I must say.    231   
  EMILY—[With horror.] Oh, how rude—and insulting.    232   
  MRS. DAVIDSON—[Rising rigidly to her feet.] I will never set foot in this house again!    233   
  JAYSON—[Jumping up to restrain her—worriedly.] Now, Aunt Elizabeth, do keep your head! We must have no scandal of any sort. Remember there are servants about. Do sit down. [The old lady refuses in stubborn silence.]    234   
  SHEFFIELD—[Judiciously.] One must make allowances for one in her condition, Aunt.    235   
  JAYSON—[Snatching at this.] Exactly. Remember her condition, Aunt [testily] and do sit down. [The old lady plumps herself down again angrily.]    236   
  EMILY—[In her lisp of hidden meanings.] Yes, the family mustn’t forget—her condition. [The door from the study is opened and CURT appears. His face shows his annoyance at being interrupted, his eyes are preoccupied. They all turn and greet him embarrassedly. He nods silently and comes slowly down front.]    237   
  CURTIS—[Looking around.] Where’s Martha? What’s the important thing she called me out for?    238   
  ESTHER—[Forcing gaiety.] To play host, you big bear, you! Don’t you think we came to see you, too? Sit down here and be good. [He sits on sofa.]    239   
  EMILY—[Softly.] Martha had to leave us to go motoring with Mr. Bigelow.    240   
  ESTHER—[Hastily.] And the three children.    241   
  CURTIS—[Frowning grumpily.] Hm! Big and his eternal kids. [He sighs. They exchange meaning glances. CURT seems to feel ashamed of his grumpiness and tries to fling it off—with a cheerful smile.] But what the deuce! I must be getting selfish to grudge Martha her bit of fresh air. You don’t know what it means to outdoor animals like us to be pent up. [He springs to his feet and paces back and forth nervously.] We’re used to living with the sky for a roof— [Then interestedly.] Did Martha tell you I’d definitely decided to go on the five year Asian expedition?    242   
  ESTHER—Curt! You’re not!    243   
  EMILY—And leave Martha here—all alone—for five years?    244   
  JAYSON—Yes, you can’t take Martha with you this time, you know.    245   
  CURTIS—[With a laugh.] No? What makes you so sure of that? [As they look mystified, he continues confidentially.] I’ll let you in on the secret—only you must all promise not to breathe a word to Martha—until to-morrow. To-morrow is her birthday, you know, and this is a surprise I’ve saved for her. [They all nod.] I’ve been intriguing my damnedest for the past month to get permission for Martha to go with me. It was difficult because women are supposed to be barred. [Happily.] But I’ve succeeded. The letter came this morning. How tickled to death she’ll be when she hears! I know she’s given up hope. [Thoughtfully.] I suppose it’s that has been making her act so out-of-sorts lately.    246   
  JAYSON—[Worriedly.] Hmm! But would you persist in going—alone—if you knew it was impossible for her——?    247   
  CURTIS—[Frowning.] I can’t imagine it without her. You people can’t have any idea what a help—a chum—she’s been. You can’t believe that a woman could be—so much that—in a life of that kind—how I’ve grown to depend on her. The thousand details—she attends to them all. She remembers everything. Why, I’d be lost. I wouldn’t know how to start. [With a laugh.] I know this sounds like a confession of weakness but it’s true just the same. [Frowning again.] However, naturally my work must always be the first consideration. Yes, absolutely! [Then with glad relief.] But what’s the use of rambling on this way? We can both go, thank heaven!    248   
  MRS. DAVIDSON—[Sternly.] No. She cannot go. And it is your duty——    249   
  CURTIS—[Interrupting her with a trace of impatience.] Oh, come! That’s all nonsense, Aunt. You don’t understand the kind of woman Martha is.    250   
  MRS. DAVIDSON—[Harshly.] The women I understand prefer rearing their children to selfish gallivanting over the world.    251   
  CURTIS—[Impatiently.] But we have no children now, Aunt.    252   
  MRS. DAVIDSON—I know that, more’s the pity. But later——    253   
  CURTIS—[Emphatically.] No, I tell you! It’s impossible!    254   
  MRS. DAVIDSON—[Grimly.] I have said my last word. Go your own road and work your own ruin.    255   
  CURTIS—[Brusquely.] I think I’ll change my togs and go for a walk. Excuse me for a second. I’ll be right down again. [He goes out, rear.]    256   
  EMILY—[With her false air of innocence.] Curt acts so funny, doesn’t he? Did you notice how emphatic he was about it’s being impossible? And he said Martha seemed to him to be acting queer lately—with him, I suppose he meant.    257   
  ESTHER—He certainly appeared put out when he heard she’d gone motoring with Big.    258   
  JAYSON—[Moodily.] This dislike of the very mention of children. It isn’t like Curt, not a bit.    259   
  JOHN—There’s something rotten in Denmark somewhere. This family will yet live to regret having accepted a stranger——    260   
  SHEFFIELD—[Mollifyingly—with a judicial air.] Come now! This is all only suspicion. There is no evidence; you have no case; and the defendant is innocent until you have proved her guilty, remember. [Getting to his feet.] Well, let’s break up. Esther, you and I ought to be getting home. [They all rise.]    261   
  JAYSON—[Testily.] Well, if I were sure it would all blow over without any open scandal, I’d offer up a prayer of thanks.


[The Curtain Falls]

III. The First Man   
Act II   
Curtis’ study—morning of the following day   
     
SCENE—CURTIS JAYSON’S study.      1   
  On the left, forward, a gun rack in which are displayed several varieties of rifles and shotguns. Farther back, three windows looking out on the garden. In the rear wall, an open fireplace with two leather arm-chairs in front of it. To right of fireplace, a door leading into the living-room. In the far right corner, another chair. In the right wall, three windows looking out on the lawn and garden. On this side, front, a typewriting table with machine and chair. Opposite the windows on the right, a bulky leather couch, facing front. In front of the windows on the left, a long table with stacks of paper piled here and there on it, reference books, etc. On the left of table, a swivel chair. Gray oak bookcases are built into the cream rough plaster walls which are otherwise almost hidden from view by a collection of all sorts of hunter’s trophies, animal heads of all kinds. The floor is covered with animal skins—tiger, polar bear, leopard, lion, etc. Skins are also thrown over the backs of the chairs. The sections of the bookcase not occupied by scientific volumes have been turned into a specimen case for all sorts of zoological, geological, anthropological oddities.      2   
  It is mid-morning, sunny and bright, of the following day.      3   
  CURTIS and BIGELOW are discovered. CURTIS is half-sitting on the corner of the table, left, smoking a pipe. BIGELOW is lying sprawled on the couch. Through the open windows on the right come the shouts of children playing. MARTHA’S voice joins in with theirs.      4   
     
  BIGELOW—Listen to that rumpus, will you! The kids are having the time of their lives. [He goes to the window and looks out—delightedly.] Your wife is playing hide and seek with them. Come and look.      5   
  CURTIS—[With a trace of annoyance.] Oh, I can see well enough from here.      6   
  BIGELOW—[With a laugh.] She seems to get as much fun out of it as they do. [As a shriek comes from outside—excitedly.] Ah, Eddy discovered her behind the tree. Isn’t he tickled now! [He turns back from the window and lights a cigarette—enthusiastically.] Jove, what a hand she is with children!      7   
  CURTIS—[As if the subject bored him.] Oh, Martha gets along well with anyone.      8   
  BIGELOW—[Sits on the couch again—with a sceptical smile.] You think so? With everyone?      9   
  CURTIS—[Surprised.] Yes—with everyone we’ve ever come in contact with—even aboriginal natives.     10   
  BIGELOW—With the aboriginal natives of Bridge-town? With the well-known Jayson family, for example?     11   
  CURTIS—[Getting to his feet—frowning.] Why, everything’s all right between Martha and them, isn’t it? What do you mean, Big? I certainly imagined—but I’ll confess this damn book has had me so preoccupied——     12   
  BIGELOW—Too darn preoccupied, if you’ll pardon my saying so. It’s not fair to leave her to fight it alone.     13   
  CURTIS—[Impatiently.] Fight what? Martha has a sense of humor. I’m sure their petty prejudices merely amuse her.     14   
  BIGELOW—[Sententiously.] A mosquito is a ridiculous, amusing creature, seen under a microscope; but when a swarm has been stinging you all night——     15   
  CURTIS—[A broad grin coming over his face.] You speak from experience, eh?     16   
  BIGELOW—[Smiling.] You bet I do. Touch me anywhere and you’ll find a bite. This, my native town, did me the honor of devoting its entire leisure attention for years to stinging me to death.     17   
  CURTIS—Well, if I am to believe one-tenth of the family letters I used to receive on the subject of my old friend, Bigelow, they sure had just cause.     18   
  BIGELOW—Oh, I’ll play fair. I’ll admit they did—then. But it’s exasperating to know they never give you credit for changing—I almost said, reforming. One ought to be above the gossip of a town like this—but say what you like, it does get under your skin.     19   
  CURTIS—[With an indulgent smile.] So you’d like to be known as a reformed character, eh?     20   
  BIGELOW—[Rather ruefully.] Et tu! Your tone is sceptical. But I swear to you, Curt, I’m an absolutely new man since my wife’s death, since I’ve grown to love the children. Before that I hardly knew them. They were hers, not mine, it seemed. [His face lighting up.] Now we’re the best of pals, and I’ve commenced to appreciate life from a different angle. I’ve found a career at last—the children—the finest career a man could have, I believe.     21   
  CURTIS—[Indifferently.] Yes, I suppose so—if you’re made that way.     22   
  BIGELOW—Meaning you’re not?     23   
  CURTIS—Not any more. [Frowning.] I tried that once.     24   
  BIGELOW—[After a pause—with a smile.] But we’re wandering from the subject of Martha versus the mosquitoes.     25   
  CURTIS—[With a short laugh.] Oh, to the deuce with that! Trust Martha to take care of herself. Besides, I’ll have her out of this stagnant hole before so very long—six months, to be exact.     26   
  BIGELOW—Where do you think of settling her then?     27   
  CURTIS—No settling about it. I’m going to take her with me.     28   
  BIGELOW—[Surprised.] On the Asian expedition?     29   
  CURTIS—Yes. I haven’t told her yet but I’m going to to-day. It’s her birthday—and I’ve been saving the news to surprise her with.     30   
  BIGELOW—Her birthday? I wish the children and I had known—but it’s not too late yet.     31   
  CURTIS—[With a grin.] Thirty-nine candles, if you’re thinking of baking a cake!     32   
  BIGELOW—[Meaningly.] That’s not old—but it’s not young either, Curt.     33   
  CURTIS—[Disgustedly.] You talk like an old woman, Big. What have years to do with it? Martha is young in spirit and always will be. [There is a knock at the door and MARTHA’S voice calling: “May I come in, people?”] Sure thing! [BIGELOW jumps to open the door and MARTHA enters. She is flushed, excited, full of the joy of life, panting from her exertions.]     34   
  MARTHA—[Laughing.] I’ve had to run away and leave them with the governess. They’re too active for me. [She throws herself on the couch.] Phew! I’m all tired out. I must be getting old.     35   
  CURTIS—[With a grin.] Big was just this minute remarking that, Martha. [BIGELOW looks embarrassed.]     36   
  MARTHA—[Laughing at him.] Well, I declare! Of all the horrid things to hear——     37   
  BIGELOW—[Still embarrassed but forcing a joking tone.] He—prevaricates, Mrs. Jayson.     38   
  MARTHA—There now, Curt! I’m sure it was you who said it. It sounds just like one of your horrid facts.     39   
  BIGELOW—And how can I offer my felicitations now? But I do, despite your husband’s calumny. May your shadow never grow less!     40   
  MARTHA—Thank you. [She shakes his proffered hand heartily.]     41   
  BIGELOW—And now I’ll collect my flock and go home.     42   
  CURTIS—So long, Big. Be sure you don’t mislay one of your heirs!     43   
  BIGELOW—No fear—but they might mislay me. [He goes. CURT sits down on couch. MARTHA goes to the window right, and looks out—after a pause, waving her hand.]     44   
  MARTHA—There they go. What darlings they are! [CURTIS grunts perfunctorily. MARTHA comes back and sits beside CURT on the couch—with a sigh.] Whoever did say it was right, Curt. I am getting old.     45   
  CURTIS—[Taking one of her hands and patting it.] Nonsense!     46   
  MARTHA—[Shaking her head and smiling with a touch of sadness.] No. I feel it.     47   
  CURTIS—[Puts his arms around her protectingly.] Nonsense! You’re not the sort that ever grows old.     48   
  MARTHA—[Nestling up to him.] I’m afraid we’re all that sort, dear. Even you. [She touches the white hair about his temples playfully.] Circumstantial evidence. I’ll have to dye it when you’re asleep some time—and then nobody’ll know.     49   
  CURTIS—[Looking at her.] You haven’t any silver threads. [Jokingly.] Am I to suspect——?     50   
  MARTHA—No, I don’t. Honest, cross my heart, I wouldn’t even conceal that from you, if I did. But gray hairs prove nothing. I am actually older than you, don’t forget.     51   
  CURTIS—One whole year! That’s frightful, isn’t it?     52   
  MARTHA—I’m a woman, remember; so that one means at least six. Ugh! Let’s not talk about it. Do you know, it really fills me with a queer panic sometimes?     53   
  CURTIS—[Squeezing her.] Silly girl!     54   
  MARTHA—[Snuggling close to him.] Will you always love me—even when I’m old and ugly and feeble and you’re still young and strong and handsome?     55   
  CURTIS—[Kisses her—tenderly.] Martha! What a foolish question, sweetheart. If we ever have to grow old, we’ll do it together just as we’ve always done everything.     56   
  MARTHA—[With a happy sigh.] That’s my dream of happiness, Curt. [Enthusiastically.] Oh, it has been a wonderful, strange life we’ve lived together, Curt, hasn’t it? You’re sure you’ve never regretted—never had the weest doubt that it might have been better with—someone else?     57   
  CURTIS—[Kisses her again—tenderly reproachful.] Martha!     58   
  MARTHA—And I have helped—really helped you, haven’t I?     59   
  CURTIS—[Much moved.] You’ve been the best wife a man could ever wish for, Martha. You’ve been—you are wonderful. I owe everything to you—your sympathy and encouragement. Don’t you know I realize that? [She kisses him gratefully.]     60   
  MARTHA—[Musing happily.] Yes, it’s been a wonderful, glorious life. I’d live it over again if I could, every single second of it—even the terrible suffering—the children.     61   
  CURTIS—[Wincing.] Don’t. I wouldn’t want that over again. [Then changing the subject abruptly.] But why have you been putting all our life into the past tense? It seems to me the most interesting part is still ahead of us.     62   
  MARTHA—[Softly.] I mean—together—Curt.     63   
  CURTIS—So do I!     64   
  MARTHA—But you’re going away—and I can’t go with you this time.     65   
  CURTIS—[Smiling to himself over her head.] Yes, that does complicate matters, doesn’t it?     66   
  MARTHA—[Hurt—looking up at him.] Curt! How indifferently you say that—as if you didn’t care!     67   
  CURTIS—[Avoiding her eyes—teasingly.] What do you think you’ll do all the time I’m gone?     68   
  MARTHA—Oh, I’ll be lost—dead—I won’t know what to do. I’ll die of loneliness—[yearning creeping into her voice] unless——     69   
  CURTIS—[Inquisitively.] Unless what?     70   
  MARTHA—[Burying her face on his shoulder—passionately.] Oh, Curt, I love you so! Swear that you’ll always love me no matter what I do—no matter what I ask——     71   
  CURTIS—[Vaguely uneasy now, trying to peer into her face.] But, sweetheart——     72   
  MARTHA—[Giving way weakly to her feelings for a moment—entreatingly.] Then don’t go!     73   
  CURTIS—[Astonished.] Why, I’ve got to go. You know that.     74   
  MARTHA—Yes, I suppose you have. [Vigorously, as if flinging off a weakness.] Of course you have!     75   
  CURTIS—But, Martha—you said you’d be lonely unless—unless what?     76   
  Martha—Unless I— [She hesitates, blushing and confused.] I mean we—oh, I’m so afraid of what you’ll—hold me close, very close to you and I’ll whisper it. [She pulls his head down and whispers in his ear. A look of disappointment and aversion forces itself on his face.]     77   
  CURTIS—[Almost indignantly.] But that’s impossible, Martha!     78   
  MARTHA—[Pleadingly.] Now don’t be angry with me, Curt—not till you’ve heard everything. [With a trace of defiance.] It isn’t impossible, Curt. It’s so! It’s happened! I was saving it as a secret—to tell you to-day—on my birthday.     79   
  CURTIS—[Stunned.] You mean it—is a fact?     80   
  MARTHA—Yes. [Then pitifully.] Oh, Curt, don’t look that way! You seem so cold—so far away from me. [Straining her arms about him.] Why don’t you hold me close to you? Why don’t you say you’re glad—for my sake?     81   
  CURTIS—[Agitatedly.] But Martha—you don’t understand. How can I pretend gladness when— [Vehemently.] Why, it would spoil all our plans!     82   
  MARTHA—Plans? Our plans? What do you mean?     83   
  CURTIS—[Excitedly.] Why, you’re going with me, of course! I’ve obtained official permission. I’ve been working for it for months. The letter came yesterday morning.     84   
  MARTHA—[Stunned.] Permission—to go with you——     85   
  CURTIS—[Excitedly.] Yes. I couldn’t conceive going without you. And I knew how you must be wishing——     86   
  MARTHA—[In pain.] Oh!     87   
  CURTIS—[Distractedly—jumping to his feet and staring at her bewilderedly.] Martha! You don’t mean to tell me you weren’t!     88   
  MARTHA—[In a crushed voice.] I was wishing you would finally decide not to go—to stay at home.     89   
  CURTIS—[Betraying exasperation.] But you must realize that’s impossible. Martha, are you sure you’ve clearly understood what I’ve told you? You can go with me, do you hear? Everything is arranged. And I’ve had to fight so hard—I was running the risk of losing my own chance by my insistence that I couldn’t go without you.     90   
  MARTHA—[Weakly and helplessly.] I understand all that, Curt.     91   
  CURTIS—[Indignantly.] And yet—you hesitate! Why, this is the greatest thing of its kind ever attempted! There are unprecedented possibilities! A whole new world of knowledge may be opened up—the very origin of Man himself! And you will be the only woman——     92   
  MARTHA—I realize all that, Curt.     93   
  CURTIS—You can’t—and hesitate! And then—think, Martha!—it will mean that you and I won’t have to be separated. We can go on living the old, free life together.     94   
  MARTHA—[Growing calm now.] You are forgetting—what I told you, Curt. You must face the fact. I cannot go.     95   
  CURTIS—[Overwhelmed by the finality of her tone—after a pause.] How long have you known—this?     96   
  MARTHA—Two months, about.     97   
  CURTIS—But why didn’t you tell me before?     98   
  MARTHA—I was afraid you wouldn’t understand—and you haven’t, Curt. But why didn’t you tell me before—what you were planning?     99   
  CURTIS—[Eagerly.] You mean—then—you would have been glad to go—before this had happened?    100   
  MARTHA—I would have accepted it.    101   
  CURTIS—[Despairingly.] Martha, how could you ever have allowed this to happen? Oh, I suppose I’m talking foolishness. It wasn’t your seeking, I know.    102   
  MARTHA—Yes it was, Curt. I wished it. I sought it.    103   
  CURTIS—[Indignantly.] Martha! [Then in a hurt tone.] You have broken the promise we made when they died. We were to keep their memories inviolate. They were to be always—our only children.    104   
  MARTHA—[Gently.] They forgive me, Curt. And you will forgive me, too—when you see him—and love him.    105   
  CURTIS—Him?    106   
  MARTHA—I know it will be a boy.    107   
  CURTIS—[Sinking down on the couch beside her—dully.] Martha! You have blown my world to bits.    108   
  MARTHA—[Taking one of his hands in hers—gently.] You must make allowances for me, Curt, and forgive me. I am getting old. No, it’s the truth. I’ve reached the turning point. Will you listen to my side of it, Curt, and try to see it—with sympathy—with true understanding— [With a trace of bitterness.]—forgetting your work for the moment?    109   
  CURTIS—[Miserably.] That’s unfair, Martha. I think of it as our work—and I have always believed you did, too.    110   
  MARTHA—[Quickly.] I did, Curt! I do! All in the past is our work. It’s my greatest pride to think so. But, Curt, I’ll have to confess frankly—during the past two years I’ve felt myself—feeling as if I wasn’t complete—with that alone.    111   
  CURTIS—Martha! [Bitterly.] And all the time I believed that more and more it was becoming the aim of your life, too.    112   
  MARTHA—[With a sad smile.] I’m glad of that, dear. I tried my best to conceal it from you. It would have been so unfair to let you guess while we were still in harness. But oh, how I kept looking forward to the time when we would come back—and rest—in our own home! You know—you said that was your plan—to stay here and write your books—and I was hoping——    113   
  CURTIS—[With a gesture of aversion.] I loathe this book-writing. It isn’t my part, I realize now. But when I made the plans you speak of, how could I know that then?    114   
  MARTHA—[Decisively.] You’ve got to go. I won’t try to stop you. I’ll help all in my power—as I’ve always done. Only—I can’t go with you any more. And you must help me—to do my work—by understanding it. [He is silent, frowning, his face agitated, preoccupied. She goes on intensely.] Oh, Curt, I wish I could tell you what I feel, make you feel with me the longing for a child. If you had just the tiniest bit of feminine in you—! [Forcing a smile.] But you’re so utterly masculine, dear! That’s what has made me love you, I suppose—so I’ve no right to complain of it. [Intensely.] I don’t. I wouldn’t have you changed one bit! I love you! And I love the things you love—your work—because it’s a part of you. And that’s what I want you to do—to reciprocate—to love the creator in me—to desire that I, too, should complete myself with the thing nearest my heart!    115   
  CURTIS—[Intensely preoccupied with his own struggle—vaguely.] But I thought——    116   
  MARTHA—I know; but, after all, your work is yours, not mine. I have been only a helper, a good comrade, too, I hope, but—somehow—outside of it all. Do you remember two years ago when we were camped in Yunnan, among the aboriginal tribes? It was one night there when we were lying out in our sleeping-bags up in the mountains along the Tibetan frontier. I couldn’t sleep. Suddenly I felt oh, so tired—utterly alone—out of harmony with you—with the earth under me. I became horribly despondent—like an outcast who suddenly realizes the whole world is alien. And all the wandering about the world, and all the romance and excitement I’d enjoyed in it, appeared an aimless, futile business, chasing around in a circle in an effort to avoid touching reality. Forgive me, Curt. I meant myself, not you, of course. Oh, it was horrible, I tell you, to feel that way. I tried to laugh at myself, to fight it off, but it stayed and grew worse. It seemed as if I were the only creature alive—who was not alive. And all at once the picture came of a tribeswoman who stood looking at us in a little mountain village as we rode by. She was nursing her child. Her eyes were so curiously sure of herself. She was horribly ugly, poor woman, and yet—as the picture came back to me—I appeared to myself the ugly one while she was beautiful. And I thought of our children who had died—and such a longing for another child came to me that I began sobbing. You were asleep. You didn’t hear. [She pauses—then proceeds slowly.] And when we came back here—to have a home at last, I was so happy because I saw my chance of fulfillment—before it was too late. [In a gentle, pleading voice.] Now can you understand, dear? [She puts her hand on his arm.]    117   
  CURTIS—[Starting as if awaking from a sleep.] Understand? No, I can’t understand, Martha.    118   
  MARTHA—[In a gasp of unbearable hurt.] Curt! I don’t believe you heard a word I was saying.    119   
  CURTIS—[Bursting forth as if releasing all the pent-up struggle that has been gathering within him.] No, I can’t understand. I cannot, cannot! It seems like treachery to me.    120   
  MARTHA—Curt!    121   
  CURTIS—I’ve depended on you. This is the crucial point—the biggest thing of my life—and you desert me!    122   
  MARTHA—[Resentment gathering in her eyes.] If you had listened to me—if you had even tried to feel——    123   
  CURTIS—I feel that you are deliberately ruining my highest hope. How can I go on without you? I’ve been trying to imagine myself alone. I can’t! Even with my work—who can I get to take your place? Oh, Martha, why do you have to bring this new element into our lives at this late day? Haven’t we been sufficient, you and I together? Isn’t that a more difficult, beautiful happiness to achieve than—children? Everyone has children. Don’t I love you as much as any man could love a woman? Isn’t that enough for you? Doesn’t it mean anything to you that I need you so terribly—for myself, for my work—for everything that is best and worthiest in me? Can you expect me to be glad when you propose to introduce a stranger who will steal away your love, your interest—who will separate us and deprive me of you! No, no, I cannot! It’s asking the impossible. I am only human.    124   
  MARTHA—If you were human you would think of my life as well as yours.    125   
  CURTIS—I do! It is our life I am fighting for, not mine—our life that you want to destroy.    126   
  MARTHA—Our life seems to mean your life to you, Curt—and only your life. I have devoted fifteen years to that. Now I must fight for my own.    127   
  CURTIS—[Aghast.] You talk as if we were enemies, Martha! [Striding forward and seizing her in his arms.] No, you don’t mean it! I love you so, Martha! You’ve made yourself part of my life, my work—I need you so! I can’t share you with anyone! I won’t! Martha, my own! Say that you won’t, dear? [He kisses her passionately again and again.]    128   
  MARTHA—[All her love and tenderness aroused by his kisses and passionate sincerity—weakening.] Curt! Curt! [Pitiably.] It won’t separate us, dear. Can’t you see he will be a link between us—even when we are away from each other—that he will bring us together all the closer?    129   
  CURTIS—But I can’t be away from you!    130   
  MARTHA—[Miserably.] Oh, Curt, why won’t you look the fact in the face—and learn to accept it with joy? Why can’t you for my sake? I would do that for you.    131   
  CURTIS—[Breaking away from her—passionately.] You will not do what I have implored you—for me! And I am looking the fact in the face—the fact that there must be no fact! [Avoiding her eyes—as if defying his own finer feelings.] There are doctors who——    132   
  MARTHA—[Shrinking back from him.] Curt! You propose that—to me! [With overwhelming sorrow.] Oh, Curt! When I feel him—his life within me—like a budding of my deepest soul—to flower and continue me—you say what you have just said! [Grief-stricken.] Oh, you never, never, never will understand!    133   
  CURTIS—[Shamefacedly.] Martha, I— [Distractedly.] I don’t know what I’m saying! This whole situation is so unbearable! Why, why does it have to happen now?    134   
  MARTHA—[Gently.] It must be now—or not at all—at my age, dear. [Then after a pause—staring at him frightenedly—sadly.] You have changed, Curt. I remember it used to be your happiness to sacrifice yourself for me.    135   
  CURTIS—I had no work then—no purpose beyond myself. To sacrifice oneself is easy. But when your only meaning becomes as a searcher for knowledge—you cannot sacrifice that, Martha. You must sacrifice everything for that—or lose all sincerity.    136   
  MARTHA—I wonder where your work leaves off and you begin. Hasn’t your work become you?    137   
  CURTIS—Yes and no. [Helplessly.] You can’t understand, Martha!…    138   
  MARTHA—Nor you.    139   
  CURTIS—[With a trace of bitter irony.] And you and your work? Aren’t they one and the same?    140   
  MARTHA—So you think mine is selfish, too? [After a pause—sadly.] I can’t blame you, Curt. It’s all my fault. I’ve spoiled you by giving up my life so completely to yours. You’ve forgotten I have one. Oh, I don’t mean that I was a martyr. I know that in you alone lay my happiness and fulfillment in those years—after the children died. But we are no longer what we were then. We must, both of us, relearn to love and respect—what we have become.    141   
  CURTIS—[Violently.] Nonsense! You talk as if love were an intellectual process— [Taking her into his arms—passionately.] I love you—always and forever! You are me and I am you. What use is all this vivisecting? [He kisses her fiercely. They look into each other’s eyes for a second—then instinctively fall back from one another.]    142   
  MARTHA—[In a whisper.] Yes, you love me. But who am I? There is no recognition in your eyes. You don’t know.    143   
  CURTIS—[Frightenedly.] Martha! Stop! This is terrible! [They continue to be held by each other’s fearfully questioning eyes.]


[The Curtain Falls]

III. The First Man   
Act III   
The same—three o’clock in the morning of a day in early spring of the next year   
     
SCENE—Same as Act II.      1   
  As the curtain rises, JAYSON is discovered sitting in an armchair by the fireplace, in which a log fire is burning fitfully. He is staring into the flames, a strained, expectant expression on his face. It is about three o’clock in the morning. There is no light but that furnished by the fire which fills the room with shifting shadows. The door in the rear is opened and RICHARD appears, his face harried by the stress of unusual emotion. Through the opened doorway, a low, muffled moan of anguish sounds from the upper part of the house. JAYSON and RICHARD both shudder. The latter closes the door behind him quickly as if anxious to shut out the noise.      2   
     
  JAYSON—[Looking up anxiously.] Well?      3   
  RICHARD—[Involuntarily straightening up as if about to salute and report to a superior officer.] No change, sir. [Then, as if remembering himself, comes to the fireplace and slumps down in a chair—agitatedly.] God, Dad, I can’t stand her moaning and screaming! It’s got my nerves shot to pieces. I thought I was hardened. I’ve heard them out in No Man’s Land—dying by inches—when you couldn’t get to them or help—but this is worse—a million times! After all, that was war—and they were men——      4   
  JAYSON—Martha is having an exceptionally hard ordeal.      5   
  RICHARD—Since three o’clock this morning—yesterday morning, I should say. It’s a wonder she isn’t dead.      6   
  JAYSON—[After a pause.] Where is Curt?      7   
  RICHARD—[Harshly.] Still out in the garden, walking around bareheaded in the cold like a lunatic.      8   
  JAYSON—Why didn’t you make him come in?      9   
  RICHARD—Make him! It’s easy to say. He’s in a queer state, Dad, I can tell you! There’s something torturing him besides her pain——     10   
  JAYSON—[After a pause.] Yes, there’s a lot in all this we don’t know about.     11   
  RICHARD—I suppose the reason he’s so down on the family is because we’ve rather cut her since that tea affair.     12   
  JAYSON—He shouldn’t blame us. She acted abominably and has certainly caused enough talk since then—always about with Bigelow——     13   
  RICHARD—[With a sardonic laugh.] And yet he keeps asking everyone to send for Bigelow—says he wants to talk to him—not us. We can’t understand! [He laughs bitterly.]     14   
  JAYSON—I’m afraid Curt knows we understand too much. [Agitatedly.] But why does he want Bigelow, in God’s name? In his present state—with the suspicions he must have—there’s liable to be a frightful scene.     15   
  RICHARD—Don’t be afraid of a scene. [With pitying scorn.] The hell of it is he seems to regard Bigelow as his best friend. Damned if I can make it out.     16   
  JAYSON—I gave orders that they were always to tell Curt Bigelow was out of town and couldn’t be reached. [With a sigh.] What a frightful situation for all of us! [After a pause.] It may sound cruel of me—but—I can’t help wishing for all our sakes that this child will never——     17   
  RICHARD—Yes, Dad, I know what you’re thinking. It would be the best thing for it, too—although I hate myself for saying it. [There is a pause. Then the door in rear is opened and LILY appears. She is pale and agitated. Leaving the door open behind her she comes forward and flings herself on the lounge.]     18   
  JAYSON—[Anxiously.] Well?     19   
  LILY—[Irritably, getting up and switching on the lights.] Isn’t everything gloomy enough? [Sits down.] I couldn’t bear it upstairs one second longer. Esther and Emily are coming down, too. It’s too much for them—and they’ve had personal experience. [Trying to mask her agitation by a pretense at flippancy.] I hereby become a life-member of the birth-control league. Let’s let humanity cease—if God can’t manage its continuance any better than that!     20   
  RICHARD—[Seriously.] Second the motion.     21   
  JAYSON—[Peevishly.] You’re young idiots. Keep your blasphemous nonsense to yourself, Lily!     22   
  LILY—[Jumping up and stamping her foot—hysterically.] I can’t stand it. Take me home, Dick, won’t you? We’re doing no good waiting here. I’ll have a fit—or something—if I stay.     23   
  RICHARD—[Glad of the excuse to go himself—briskly.] That’s how I feel. I’ll drive you home. Come along. [ESTHER and EMILY enter, followed by JOHN.]     24   
  LILY—[Excitedly.] I’ll never marry or have a child! Never, never! I’ll go into Mark’s office tomorrow and make myself independent of marriage.     25   
  ESTHER—Sssh! Lily! Don’t you know you’re shouting? And what silly talk!     26   
  LILY—I’ll show you whether it’s silly! I’ll——     27   
  RICHARD—[Impatiently.] Are you coming or not?     28   
  LILY—[Quickly.] Yes—wait—here I am. [She pushes past the others and follows RICHARD out rear. ESTHER and EMILY sit on couch—JOHN on chair, right rear.]     29   
  ESTHER—[With a sigh.] I thought I went through something when mine were born—but this is too awful.     30   
  EMILY—And, according to John, Curt actually says he hates it! Isn’t that terrible? [After a pause—meaningly.] It’s almost as if her suffering was a punishment, don’t you think?     31   
  ESTHER—If it is, she’s being punished enough, Heaven knows. It can’t go on this way much longer or something dreadful will happen.     32   
  EMILY—Do you think the baby——     33   
  ESTHER—I don’t know. I shouldn’t say it but perhaps it would be better if——     34   
  EMILY—That’s what I think.     35   
  ESTHER—Oh, I wish I didn’t have such evil suspicions—but the way Curt goes on—how can you help feeling there’s something wrong?     36   
  JAYSON—[Suddenly.] How is Curt?     37   
  EMILY—John just came in from the garden. [Turning around to where JOHN is dozing in his chair—sharply.] John! Well I never! If he isn’t falling asleep! John! [He jerks up his head and stares at her, blinking stupidly. She continues irritably.] A nice time to pick out for a nap, I must say.     38   
  JOHN—[Surlily.] Don’t forget I have to be at the bank in the morning.     39   
  JAYSON—[Testily.] I have to be at the bank, too—and you don’t notice me sleeping. Tell me about Curt. You just left him, didn’t you?     40   
  JOHN—[Irritably.] Yes, and I’ve been walking around that damned garden half the night watching over him. Isn’t that enough to wear anyone out? I can feel I’ve got a terrible cold coming on——     41   
  ESTHER—[Impatiently.] For goodness sake, don’t you start to pity yourself!     42   
  JOHN—[Indignantly.] I’m not. I think I’ve showed my willingness to do everything I could. If Curt was only the least bit grateful! He isn’t. He hates us all and wishes we were out of his home. I would have left long ago if I didn’t want to do my part in saving the family name from disgrace.     43   
  JAYSON—[Impatiently.] Has he quieted down, that’s what I want to know?     44   
  JOHN—[Harshly.] Not the least bit. He’s out of his head—and I’d be out of mine if a child was being born to my wife that——     45   
  JAYSON—[Angrily.] Keep that to yourself! Remember you have no proof. [Morosely.] Think all you want—but don’t talk.     46   
  EMILY—[Pettishly.] The whole town knows it, anyway; I’m sure they must.     47   
  JAYSON—There’s only been gossip—no real scandal. Let’s do our united best to keep it at that. [After a pause.] Where’s Aunt Elizabeth? We’ll have to keep an eye on her, too, or she’s quite liable to blurt out the whole business before all comers.     48   
  ESTHER—You needn’t be afraid. She’s forgotten all about the scandalous part. No word of it has come to her out in the country and she hasn’t set foot in town since that unfortunate tea, remember. And at present she’s so busy wishing the child will be a boy, that she hasn’t a thought for another thing. [The door in the rear is opened and MARK SHEFFIELD enters. He comes up to the fire to warm himself. The others watch him in silence for a moment.]     49   
  JAYSON—[Impatiently.] Well, Mark? Where’s Curt?     50   
  SHEFFIELD—[Frowning.] Inside. I think he’ll be with us in a minute. [With a scornful smile.] Just now he’s ’phoning to Bigelow. [The others gasp.]     51   
  JAYSON—[Furiously.] For God’s sake, couldn’t you stop him?     52   
  SHEFFIELD—Not without a scene. Your Aunt persuaded him to come into the house—and he rushed for the ’phone. I think he guessed we had been lying to him——     53   
  JAYSON—[After a pause.] Then he—Bigelow will be here soon?     54   
  SHEFFIELD—[Drily.] It depends on his sense of decency. As he seems lacking in that quality, I’ve no doubt he’ll come.     55   
  JOHN—[Rising to his feet—pompously.] Then I, for one, will go. Come, Emily. Since Curt seems bound to disgrace everyone concerned, I want it thoroughly understood that we wash our hands of the whole disgraceful affair.     56   
  EMILY—[Snappishly.] Go if you want to! I won’t! [Then with a sacrificing air.] I think it is our duty to stay.     57   
  JAYSON—[Exasperated.] Sit down. Wash your hands indeed! Aren’t you as much concerned as any of us?     58   
  SHEFFIELD—[Sharply.] Sshh! I think I hear Curt now. [JOHN sits down abruptly. All stiffen into stony attitudes. The door is opened and CURT enters. He is incredibly drawn and haggard, a tortured, bewildered expression in his eyes. His hair is dishevelled, his boots caked with mud. He stands at the door staring from one to the other of his family with a wild, contemptuous scorn and mutters.]     59   
  CURTIS—Liars! Well, he’s coming now. [Then bewilderedly.] Why didn’t you want him to come, eh? He’s my oldest friend. I’ve got to talk to someone—and I can’t to you. [Wildly.] What do you want here, anyway? Why don’t you go? [A scream of MARTHA’S is heard through the doorway. CURT shudders violently, slams the door to with a crash, putting his shoulders against it as if to bar out the sound inexorably—in anguish.] God, why must she go through such agony? Why? Why? [He goes to the fireplace as MARK makes way for him, flings himself exhaustedly on a chair, his shoulders bowed, his face hidden in his hands. The others stare at him pityingly. There is a long silence. Then the two women whisper together, get up and tiptoe out of the room, motioning for the others to follow them. JOHN does so. SHEFFIELD starts to go, then notices the preoccupied JAYSON who is staring moodily into the fire.]     60   
  SHEFFIELD—Sstt! [As JAYSON looks up—in a whisper.] Let’s go out and leave him alone. Perhaps he’ll sleep.     61   
  JAYSON—[Starting to follow SHEFFIELD, hesitates and puts a hand on his son’s shoulder.] Curt. Remember I’m your father. Can’t you confide in me? I’ll do anything to help.     62   
  CURTIS—[Harshly.] No, Dad. Leave me alone.     63   
  JAYSON—[Piqued.] As you wish. [He starts to go.]     64   
  CURTIS—And send Big in to me as soon as he comes.     65   
  JAYSON—[Stops, appears about to object—then remarks coldly.] Very well—if you insist. [He switches off the lights. He hesitates at the door uncertainly, then opens it and goes out. There is a pause. Then CURT lifts his head and peers about the room. Seeing he is alone he springs to his feet and begins to pace back and forth, his teeth clenched, his features working convulsively. Then, as if attracted by an irresistible impulse, he goes to the closed door and puts his ear to the crack. He evidently hears his wife’s moans for he starts away—in agony.]     66   
  CURTIS—Oh, Martha, Martha! Martha, darling! [He flings himself in the chair by the fireplace—hides his face in his hands and sobs bitterly. There is a ring from somewhere in the house. Soon after there is a knock at the door. CURTIS doesn’t hear at first but when it is repeated he mutters huskily.] Come in. [BIGELOW enters. CURT looks up at him.] Close that door, Big, for God’s sake!     67   
  BIGELOW—[Does so—then taking off his overcoat, hat, and throwing them on the lounge comes quickly over to CURT.] I got over as soon as I could. [As he sees CURT’S face he starts and says sympathetically.] By Jove, old man, you look as though you’d been through hell!     68   
  CURTIS—[Grimly.] I have. I am.     69   
  BIGELOW—[Slapping his back.] Buck up! [Then anxiously.] How’s Martha?     70   
  CURTIS—She’s in hell, too——     71   
  BIGELOW—[Attempting consolation.] You’re surely not worrying, are you? Martha is so strong and healthy there’s no doubt of her pulling through in fine shape.     72   
  CURTIS—She should never have attempted this. [After a pause.] I’ve a grudge against you, Big. It was you bringing your children over here that first planted this in her mind.     73   
  BIGELOW—[After a pause.] I’ve guessed you thought that. That’s why you haven’t noticed me—or them—over here so much lately. I’ll confess that I felt you— [Angrily.] And the infernal gossip—I’ll admit I thought that you—oh, damn this rotten town, anyway!     74   
  CURTIS—[Impatiently.] Oh, for God’s sake! [Bitterly.] I didn’t want you here to discuss Bridgetown gossip.     75   
  BIGELOW—I know, old man, forgive me. [In spite of the closed door one of MARTHA’S agonized moans is heard. They both shudder.]     76   
  CURTIS—[In a dead, monotonous tone.] She has been moaning like that hour after hour. I shall have those sounds in my ears until the day I die. Nothing can ever make me forget—nothing.     77   
  BIGELOW—[Trying to distract him.] Deuce take it, Curt, what’s the matter with you? I never thought you’d turn morbid.     78   
  CURTIS—[Darkly.] I’ve changed, Big—I hardly know myself any more.     79   
  BIGELOW—Once you’re back on the job again, you’ll be all right. You’re still determined to go on this expedition, aren’t you?     80   
  CURTIS—Yes. I was supposed to join them this week in New York but I’ve arranged to catch up with them in China—as soon as it’s possible for us to go.     81   
  BIGELOW—Us? You mean you still plan to take——     82   
  CURTIS—[Angrily aggressive.] Yes, certainly! Why not? Martha ought to be able to travel in a month or so.     83   
  BIGELOW—Yes, but—do you think it would be safe to take the child?     84   
  CURTIS—[With a bitter laugh.] Yes—I was forgetting the child, wasn’t I? [Viciously.] But perhaps— [Then catching himself with a groan.] Oh, damn all children, Big!     85   
  BIGELOW—[Astonished.] Curt!     86   
  CURTIS—[In anguish.] I can’t help it—I’ve fought against it. But it’s there—deep down in me—and I can’t drive it out. I can’t!     87   
  BIGELOW—[Bewildered.] What, Curt?     88   
  CURTIS—Hatred! Yes, hatred! What’s the use of denying it? I must tell someone and you’re the only one who might understand. [With a wild laugh.] For you—hated your wife, didn’t you?     89   
  BIGELOW—[Stunned.] Good God, you don’t mean you hate—Martha?     90   
  CURTIS—[Raging.] Hate Martha? How dare you, you fool! I love Martha—love her with every miserable drop of blood in me—with all my life—all my soul! She is my whole world—everything! Hate Martha! God, man, have you gone crazy to say such a mad thing? [Savagely.] No. I hate it. It!     91   
  BIGELOW—[Shocked.] Curt! Don’t you know you can’t talk like that—now—when—     92   
  CURTIS—[Harshly.] It has made us both suffer torments—not only now—every day, every hour, for months and months. Why shouldn’t I hate it, eh?     93   
  BIGELOW—[Staring at his friend’s wild, distorted face with growing horror.] Curt! Can’t you realize how horrible——     94   
  CURTIS—Yes, it’s horrible. I’ve told myself that a million times. [With emphasis.] But it’s true!     95   
  BIGELOW—[Severely.] Shut up! You’re not yourself. Come, think for a moment. What would Martha feel if she heard you going on this way? Why—it would kill her!     96   
  CURTIS—[With a sobbing groan.] Oh, I know, I know! [After a pause.] She read it in my eyes. Yes, it’s horrible, but when I saw her there suffering so frightfully—I couldn’t keep it out of my eyes. I tried to force it back—for her sake—but I couldn’t. I was holding her hands and her eyes searched mine with such a longing question in them—and she read only my hatred there, not my love for her. And she screamed and seemed to try to push me away. I wanted to kneel down and pray for forgiveness—to tell her it was only my love for her—that I couldn’t help it. And then the doctors told me to leave—and now the door is locked against me—— [He sobs.]     97   
  BIGELOW—[Greatly moved.] This is only your damned imagination. They put you out because you were in their way, that’s all. And as for Martha, she was probably suffering so much——     98   
  CURTIS—No. She read it in my eyes. I saw that look in hers—of horror—horror of me!     99   
  BIGELOW—[Gruffly.] You’re raving, damn it!    100   
  CURTIS—[Unheeding.] It came home to her then—the undeniable truth. [With a groan.] Isn’t it fiendish that I should be the one to add to her torture—in spite of myself—in spite of all my will to conceal it! She will never forgive me, never! And how can I forgive myself?    101   
  BIGELOW—[Distractedly.] For God’s sake, don’t think about it! It’s absurd—ridiculous!    102   
  CURTIS—[Growing more calm—in a tone of obsession.] She’s guessed it ever since that day when we quarreled—her birthday. Oh, you can have no idea of the misery there has been in our lives since then. You haven’t seen or guessed the reason. No one has. It has been—the thought of it.    103   
  BIGELOW—Curt!    104   
  CURTIS—[Unheeding.] For years we had welded our lives together so that we two were sufficient, each to each. There was no room for a third. And it was a fine, free life we had made—a life of new worlds, of discovery, of knowledge invaluable to mankind. Isn’t such a life worth all the sacrifice it must entail?    105   
  BIGELOW—But that life was your life, Curt——    106   
  CURTIS—[Vehemently.] No, it was her life, too—her work as well as mine. She had made the life, our life—the work, our work. Had she the right to repudiate what she had built because she suddenly has a fancy for a home, children, a miserable ease! I had thought I was her home, her children. I had tried to make my life worthy of being that to her. And I had failed. I was not enough.    107   
  BIGELOW—Curt!    108   
  CURTIS—Oh, I tried to become reconciled. I tried my damnedest. I tried to love this child as I had loved those that died. But I couldn’t. And so, this being estranged us. We loved as intensely as ever but it pushed us apart. I grew to dread the idea of this intruder. She saw this in me. I denied it—but she knew. There was something in each of us the other grew to hate. And still we loved as never before, perhaps, for we grew to pity each other’s helplessness.    109   
  BIGELOW—Curt! Are you sure you ought to tell anyone this?    110   
  CURTIS—[Waving his remark aside.] One day, when I was trying to imagine myself without her, and finding nothing but hopelessness—yet knowing I must go—a thought suddenly struck me—a horrible but fascinating possibility that had never occurred to me before. [With feverish intensity.] Can you guess what it was?    111   
  BIGELOW—No. And I think you’ve done enough morbid raving, if you ask me.    112   
  CURTIS—The thought that came to me was that if a certain thing happened, Martha could still go with me. And I knew, if it did happen, that she would want to go, that she would fling herself into the spirit of our work to forget, that she would be mine more than ever.    113   
  BIGELOW—[Afraid to believe the obvious answer.] Curt!    114   
  CURTIS—Yes. My thought was that the child might be born dead.    115   
  BIGELOW—[Repelled—sternly.] Damn it, man, do you know what you’re saying? [Relentingly.] No, Curt, old boy, do stop talking. If you don’t I’ll send for a doctor, damned if I won’t. That talk belongs in an asylum. God, man, can’t you realize this is your child—yours as well as hers?    116   
  CURTIS—I’ve tried. I cannot. There is some inexorable force in me——    117   
  BIGELOW—[Coldly.] Do you realize how contemptible this confession makes you out? [Angrily.] Why, if you had one trace of human kindness in you—one bit of unselfish love for your wife—one particle of pity for her suffering——    118   
  CURTIS—[Anguished.] I have—all the love and pity in the world for her! That’s why I can’t help hating—the cause of her suffering.    119   
  BIGELOW—Have you never thought that you might repay Martha for giving up all her life to you by devoting the rest of yours to her?    120   
  CURTIS—[Bitterly.] She can be happy without me. She will have this child—to take my place. [Intensely.] You think I would not give up my work for her? But I would! I will stay here—do anything she wishes—if only we can make a new beginning again—together—alone!    121   
  BIGELOW—[Agitated.] Curt, for God’s sake, don’t return to that! Why, good God, man—even now—while you’re speaking—don’t you realize what may be happening? And you can talk as if you were wishing——    122   
  CURTIS—[Fiercely.] I can’t help but wish it!    123   
  BIGELOW—[Distractedly.] For the love of God, if you have such thoughts, keep them to yourself. I won’t listen! You make me despise life!    124   
  CURTIS—And would you have me love life? [The door in the rear is opened and JAYSON enters, pale and unnerved. A succession of quick, piercing shrieks is heard before he can close the door behind him. Shuddering.] My God! My God! [With a fierce cry.] Will—this—never—end!    125   
  JAYSON—[Tremblingly.] Sh-h-h, they say this is the crisis. [Puts his arm around CURT.] Bear up, my boy, it will soon be over now. [He sits down in the chair BIGELOW has vacated, pointedly ignoring the latter. The door is opened again and EMILY, ESTHER, JOHN and SHEFFIELD file in quickly as if escaping from the cries of the woman upstairs. They are all greatly agitated. CURT groans, pressing his clenched fists against his ears. The two women sit on the lounge. MARK comes forward and stands by JAYSON’s chair, JOHN sits by the door as before. BIGELOW retreats behind CURT’S chair, aware of their hostility. There is a long pause.]    126   
  ESTHER—[Suddenly.] She has stopped— [They all listen.]    127   
  JAYSON—[Huskily.] Thank God, it’s over at last. [The door is opened and MRS. DAVIDSON enters. The old lady is radiant, weeping tears of joy.]    128   
  MRS. DAVIDSON—[Calls out exultantly between sobs.] A son, Curt—a son. [With rapt fervor—falling on her knees.] Let us all give thanks to God!    129   
  CURTIS—[In a horrible cry of rage and anguish.] No! No! You lie! [They all cry out in fright and amazement: “CURT”! The door is opened and the NURSE appears.]    130   
  NURSE—[Looking at CURTIS in a low voice.] Mr. Jayson, your wife is asking for you.    131   
  BIGELOW—[Promptly slapping CURT on the back.] There! What did I tell you? Run, you chump!    132   
  CURTIS—[With a gasp of joy.] Martha! Darling, I’m coming—— [He rushes out after the NURSE.]    133   
  BIGELOW—[Comes forward to get his hat and coat from the sofa—coldly.] Pardon me, please. [They shrink away from him.]    134   
  EMILY—[As he goes to the door—cuttingly.] Some people seem to have no sense of decency!    135   
  BIGELOW—[Stung, stops at the door and looks from one to the other of them—bitingly.] No, I quite agree with you. [He goes out, shutting the door. They all gasp angrily.]    136   
  JOHN—Scoundrel!    137   
  JAYSON—[Testily—going to MRS. D., who is still on her knees praying.] Do get up, Aunt Elizabeth! How ridiculous! What a scene if anyone should see you like that. [He raises her to her feet and leads her to a chair by the fire. She obeys unresistingly, seemingly unaware of what she is doing.]    138   
  ESTHER—[Unable to restrain her jealousy.] So it’s a boy.    139   
  EMILY—Did you hear Curt—how he yelled out “No”? It’s plain as the nose on your face he didn’t want——    140   
  ESTHER—How awful!    141   
  JOHN—Well, can you blame him?    142   
  EMILY—And the awful cheek of that Bigelow person—coming here——    143   
  ESTHER—They appeared as friendly as ever when we came in.    144   
  JOHN—[Scornfully.] Curt is a blind simpleton—and that man is a dyed-in-the-wool scoundrel.    145   
  JAYSON—[Frightenedly.] Shhh! Suppose we were overheard!    146   
  EMILY—When Curt leaves we can put her in her proper place. I’ll soon let her know she hasn’t fooled me, for one. [While she is speaking MRS. D. has gotten up and is going silently toward the door.]    147   
  JAYSON—[Testily.] Aunt Elizabeth, where are you going?    148   
  MRS. D.—[Tenderly.] I must see him again, the dear! [She goes out.]    149   
  ESTHER—[Devoured by curiosity—hesitatingly.] I think I—come on, Emily. Let’s go up and see——    150   
  EMILY—Not I! I never want to lay eyes on it.    151   
  JOHN—Nor I.    152   
  ESTHER—I was only thinking—everyone will think it funny if we don’t.    153   
  JAYSON—[Hastily.] Yes, yes. We must keep up appearances. [Getting to his feet.] Yes, I think we had better all go up—make some sort of inquiry about Martha, you know. It’s expected of us and—— [They are all standing, hesitating, when the door in the rear is opened and the NURSE appears, supporting CURT. The latter is like a corpse. His face is petrified with grief, his body seems limp and half-paralyzed.]    154   
  NURSE—[Her eyes flashing, indignantly.] It’s a wonder some of you wouldn’t come up—here, help me! Take him, can’t you? I’ve got to run back! [JAYSON and SHEFFIELD spring forward and lead CURT to a chair by the fire.]    155   
  JAYSON—[Anxious.] Curt! Curt, my boy! What is it, son?    156   
  EMILY—[Catching the NURSE as she tries to go.] Nurse! What is the matter?    157   
  NURSE—[Slowly.] His wife is dead. [They are all still, stunned.] She lived just long enough to recognize him.    158   
  EMILY—And—the baby?    159   
  NURSE—[With a professional air.] Oh, it’s a fine, healthy baby—eleven pounds—that’s what made it so difficult. [She goes. The others all stand in silence.]    160   
  ESTHER—[Suddenly sinking on the couch and bursting into tears.] Oh, I’m so sorry I said—or thought—anything wrong about her. Forgive me, Martha!    161   
  SHEFFIELD—[Honestly moved but unable to resist this opportunity for Latin—solemnly.] De mortuis nil nisi bonum.    162   
  JAYSON—[Who has been giving all his attention to his son.] Curt! Curt!    163   
  EMILY—Hadn’t the doctor better——    164   
  JAYSON—Shhh! He begins to recognize me. Curt!    165   
  CURTIS—[Looking around him bewilderedly.] Yes. [Suddenly remembrance comes and a spasm of intolerable pain contracts his features. He presses his hands to the side of his head and groans brokenly.] Martha! Gone! Dead! Oh! [He appeals wildly to the others.] Her eyes—she knew me—she smiled—she whispered—forgive me, Curt,—forgive her—when it was I who should have said forgive me—but before I could—she—— [He falters brokenly.]    166   
  EMILY—[Looking from one to the other meaningly as if this justified all their suspicions.] Oh!    167   
  CURTIS—[A sudden triumph in his voice.] But she loved me again—only me—I saw it in her eyes! She had forgotten—it. [Raging.] Never let me see it! Never let it come near me! It has murdered her! [Springing to his feet.] I hate it from the bottom of my soul—I will never see it—never—never—I take my oath! [As his father takes his arm—shaking him off.] Let me go! I am going back to her! [He strides out of the door in a frenzy of grief and rage. They all stand transfixed, looking at each other bewilderedly.]    168   
  EMILY—[Putting all her venomous gratification into one word.] Well!


[The Curtain Falls]

III. The First Man   
Act IV   
Same as Act I—three days later   
     
SCENE—Same as Act I. It is afternoon of a fine day three days later. Motors are heard coming up the drive in front of the house. There is the muffled sound of voices. The MAID is seen going along the hall to the front door. Then the family enter from the rear. First come JAYSON and ESTHER with MRS. DAVIDSON—then LILY, DICK and SHEFFIELD—then JOHN and his wife. All are dressed in mourning. The only one who betrays any signs of sincere grief is MRS. DAVIDSON. The others all have a strained look, irritated, worried, or merely gloomy. They seem to be thinking “The worst is yet to come.”      1   
     
  JAYSON—[Leading MRS. D., who is weeping softly, to the chair at left of table—fretfully.] Please do sit down, Aunt. [She does so mechanically.] And do stop crying. [He sits down in front of table. ESTHER goes to couch where she is joined by EMILY. MARK goes over and stands in back of them. DICK and JOHN sit at rear of table. LILY comes down front and walks about nervously. She seems in a particularly fretful, upset mood.]      2   
  LILY—[Trying to conceal her feelings under a forced flippancy.] What ridiculous things funerals are, anyway! That stupid minister—whining away through his nose! Why does the Lord show such a partiality for men with adenoids, I wonder.      3   
  JAYSON—[Testily.] Sshhh! Have you no respect for anything?      4   
  LILY—[Resentfully.] If I had, I’d have lost it when I saw all of you pulling such long faces in the church where you knew you were under observation. Pah! Such hypocrisy! And then, to cap it all, Emily has to force out a few crocodile tears at the grave!      5   
  EMILY—[Indignantly.] When I saw Curt—that’s why I cried—not for her!      6   
  JAYSON—What a scene Curt made! I actually believe he wanted to throw himself into the grave!      7   
  DICK—You believe he wanted to! Why, it was all Mark and I could do to hold him, wasn’t it, Mark? [SHEFFIELD nods.]      8   
  JAYSON—Intolerable! I never expected he’d turn violent like that. He’s seemed calm enough the past three days.      9   
  LILY—Calm! Yes, just like a corpse is calm!     10   
  JAYSON—[Distractedly.] And now this perfectly mad idea of going away to-day to join that infernal expedition—leaving that child on our hands—the child he has never even looked at! Why, it’s too monstrously flagrant! He’s deliberately flaunting this scandal in everyone’s face!     11   
  JOHN—[Firmly.] He must be brought to time.     12   
  SHEFFIELD—Yes, we must talk to him—quite openly, if we’re forced to. After all, I guess he realizes the situation more keenly than any of us.     13   
  LILY—[Who has wandered to window on right.] You mean you think he believes—Well, I don’t. And you had better be careful not to let him guess what you think. [Pointing outside.] There’s my proof. There he is walking about with Bigelow. Can you imagine Curt doing that—if he thought for a moment——     14   
  DICK—Oh, I guess Curt isn’t all fool. He knows that’s the very best way to keep people from suspecting.     15   
  ESTHER—[Indignantly.] But wouldn’t you think that Bigelow person— It’s disgusting, his sticking to Curt like this.     16   
  SHEFFIELD—Well, for one, I’m becoming quite resigned to Bigelow’s presence. In the first place, he seems to be the only one who can bring Curt to reason. Then again, I feel that it is to Bigelow’s own interest to convince Curt that he mustn’t provoke an open scandal by running away without acknowledging this child.     17   
  LILY—[Suddenly bursting forth hysterically.] Oh, I hate you, all of you! I loathe your suspicions—and I loathe myself because I’m beginning to be poisoned by them, too.     18   
  EMILY—Really, Lily, at this late hour—after the way Curt has acted—and her last words when she was dying——     19   
  LILY—[Distractedly.] I know! Shut up! Haven’t you told it a million times already? [MRS. DAVIDSON gets up and walks to the door, rear. She has been crying softly during this scene, oblivious to the talk around her.]     20   
  JAYSON—[Testily.] Aunt Elizabeth! Where are you going? [As she doesn’t answer but goes out into the hall.] Esther, go with her and see that she doesn’t——     21   
  ESTHER—[Gets up with a jealous irritation.] She’s only going up to see the baby. She’s simply forgotten everything else in the world!     22   
  LILY—[Indignantly.] She probably realizes what we are too mean to remember—that the baby, at least, is innocent. Wait, Esther. I’ll come with you.     23   
  JAYSON—Yes, hurry, she shouldn’t be left alone. [ESTHER and LILY follow the old lady out, rear.]     24   
  DICK—[After a pause—impatiently.] Well, what next? I don’t see what good we are accomplishing. May I run along? [He gets up restlessly as he is speaking and goes to the window.]     25   
  JAYSON—[Severely.] You will stay, if you please. There’s to be no shirking on anyone’s part. It may take all of us to induce Curt——     26   
  SHEFFIELD—I wouldn’t worry. Bigelow is taking that job off our hands, I imagine.     27   
  DICK—[Looking out of the window.] He certainly seems to be doing his damnedest. [With a sneer.] The stage missed a great actor in him.     28   
  JAYSON—[Worriedly.] But, if Bigelow should fail——     29   
  SHEFFIELD—Then we’ll succeed. [With a grim smile.] By God, we’ll have to.     30   
  JAYSON—Curt has already packed his trunks and had them taken down to the station—told me he was leaving on the five o’clock train.     31   
  SHEFFIELD—But didn’t you hint to him there was now this matter of the child to be considered in making his plans?     32   
  JAYSON—[Lamely.] I started to. He simply flared up at me with insane rage.     33   
  DICK—[Looking out the window.] Say, I believe they’re coming in.     34   
  JAYSON—Bigelow?     35   
  DICK—Yes, they’re both making for the front door.     36   
  SHEFFIELD—I suggest we beat a retreat to Curt’s study and wait there.     37   
  JAYSON—Yes, let’s do that—come on, all of you. [They all retire grumblingly but precipitately to the study, closing the door behind them. The front door is heard opening and a moment later CURT and BIGELOW enter the room. CURT’S face is set in an expression of stony grief. BIGELOW is flushed, excited, indignant.]     38   
  BIGELOW—[As CURT sinks down on the couch—pleading indignantly.] Curt, damn it, wake up! Are you made of stone? Has everything I’ve said gone in one ear and out the other? I know it’s hell for me to torment you at this particular time but it’s your own incredibly unreasonable actions that force me to. I know how terribly you must feel but—damn it, man, postpone this going away! Face this situation like a man! Be reconciled to your child, stay with him at least until you can make suitable arrangements——     39   
  CURTIS—[Fixedly.] I will never see it! Never!     40   
  BIGELOW—How can you keep repeating that—with Martha hardly cold in her grave! I ask you again, what would she think, how would she feel—If you would only consent to see this baby, I know you’d realize how damnably mad and cruel you are. Won’t you—just for a second?     41   
  CURTIS—No. [Then raging.] If I saw it I’d be tempted to— [Then brokenly.] No more of that talk, Big. I’ve heard enough. I’ve reached the limit.     42   
  BIGELOW—[Restraining his anger with difficulty—coldly.] That’s your final answer, eh? Well, I’m through. I’ve done all I could. If you want to play the brute—to forget all that was most dear in the world to Martha—to go your own damn selfish way—well, there’s nothing more to be said. You will be punished for it, believe me! [He takes a step toward the door.] And I—I want you to understand that all friendship ceases between us from this day. You are not the Curt I thought I knew—and I have nothing but a feeling of repulsion—good-by. [He starts for the door.]     43   
  CURTIS—[Dully.] Good-by, Big.     44   
  BIGELOW—[Stops, his features working with grief and looks back at his friend—then suddenly goes back to him—penitently.] Curt! Forgive me! I ought to know better. This isn’t you. You’ll come to yourself when you’ve had time to think it over. The memory of Martha—she’ll tell you what you must do. [He wrings CURT’S hand.] Good-by, old scout!     45   
  CURTIS—[Dully.] Good-by. [BIGELOW hurries out, rear. CURT sits in a dumb apathy for a while—then groans heart-brokenly.] Martha! Martha! [He springs to his feet distractedly. The door of the study is slowly opened and SHEFFIELD peers out cautiously—then comes into the room, followed by the others. They all take seats as before. CURT ignores them.]     46   
  SHEFFIELD—[Clearing his throat.] Curt——     47   
  CURTIS—[Suddenly.] What time is it, do you know!     48   
  SHEFFIELD—[Looking at his watch.] Two minutes to four.     49   
  CURTIS—[Impatiently.] Still an hour more of this!     50   
  JAYSON—[Clearing his throat.] Curt—— [Before he starts what he intends to say, there is the sound of voices from the hall. ESTHER and LILY help in MRS. DAVIDSON to her former chair. The old lady’s face is again transformed with joy. ESTHER joins EMILY on the couch. LILY sits in chair—front right. There is a long, uncomfortable pause during which CURT paces up and down.]     51   
  MRS. DAVIDSON—[Suddenly murmuring aloud to herself—happily.] He’s such a dear! I could stay watching him forever.     52   
  JAYSON—[Testily.] Sshhh! Aunt! [Then clearing his throat again.] Surely you’re not still thinking of going on the five o’clock train, are you, Curt?     53   
  CURTIS—Yes.     54   
  SHEFFIELD—[Drily.] Then Mr. Bigelow didn’t persuade you——     55   
  CURTIS—[Coldly and impatiently.] I’m not to be persuaded by Big or anyone else. And I’ll thank you not to talk any more about it. [They all stiffen resentfully at his tone.]     56   
  JAYSON—[To CURT—in a pleading tone.] You mustn’t be unreasonable, Curt. After all we are your family—your best friends in the world—and we are only trying to help you——     57   
  CURTIS—[With nervous vehemence.] I don’t want your help. You will help me most by keeping silent.     58   
  EMILY—[With a meaning look at the others—sneeringly.] Yes, no doubt.     59   
  ESTHER—Sshhh, Emily!     60   
  JAYSON—[Helplessly.] But, you see, Curt——     61   
  SHEFFIELD—[With his best judicial air.] If you’ll all allow me to be the spokesman, I think perhaps that I— [They all nod and signify their acquiescence.] Well, then, will you listen to me, Curt? [This last somewhat impatiently as CURT continues to pace, eyes on the floor.]     62   
  CURTIS—[Without looking at him—harshly.] Yes, I’m listening. What else can I do when you’ve got me cornered? Say what you like and let’s get this over.     63   
  SHEFFIELD—First of all, Curt, I hope it is needless for me to express how very deeply we all feel for you in your sorrow. But we sincerely trust that you are aware of our heartfelt sympathy. [They all nod. A bitter, cynical smile comes over LILY’S face.]     64   
  ESTHER—[Suddenly breaking down and beginning to weep.] Poor Martha! [SHEFFIELD glances at his wife, impatient at this interruption. The others also show their irritation.]     65   
  EMILY—[Pettishly.] Esther! For goodness sake! [CURT hesitates, stares at his sister frowningly as if judging her sincerity—then bends down over her and kisses the top of her bowed head impulsively—seems about to break down himself—grits his teeth and forces it back—glances around at the others defiantly and resumes his pacing. ESTHER dries her eyes, forcing a trembling smile. The cry has done her good.]     66   
  SHEFFIELD—[Clearing his throat.] I may truthfully say we all feel—as Esther does—even if we do not give vent— [With an air of sincere sympathy.] I know how terrible a day this must be for you, Curt. We all do. And we feel guilty in breaking in upon the sanctity of your sorrow in any way. But, if you will pardon my saying so, your own course of action—the suddenness of your plans—have made it imperative that we come to an understanding about certain things—about one thing in particular, I might say. [He pauses. CURT goes on pacing back and forth as if he hadn’t heard.]     67   
  JAYSON—[Placatingly.] Yes, it is for the best, Curt.     68   
  ESTHER—Yes, Curt dear, you mustn’t be unreasonable.     69   
  DICK—[Feeling called upon to say something.] Yes, old man, you’ve got to face things like a regular. Facts are facts. [This makes everybody uneasy.]     70   
  LILY—[Springing to her feet.] Phew! it’s close in here. I’m going out in the garden. You can call me when these—orations—are finished. [She sweeps out scornfully.]     71   
  JAYSON—[Calling after her imperiously.] Lily! [But she doesn’t answer and he gives it up with a hopeless sigh.]     72   
  CURTIS—[Harshly.] What time is it?     73   
  SHEFFIELD—You have plenty of time to listen to what I—I should rather say we—have to ask you, Curt. I promise to be brief. But first let me again impress upon you that I am talking in a spirit of the deepest friendliness and sympathy with you—as a fellow-member of the same family, I may say—and with the highest ideals and the honor of that family always in view. [CURT makes no comment. SHEFFIELD unconsciously begins to adopt the alert keenness of the cross-examiner.] First, let me ask you, is it your intention to take that five o’clock train to-day?     74   
  CURTIS—[Harshly.] I’ve told you that.     75   
  SHEFFIELD—And then you’ll join this expedition to Asia?     76   
  CURTIS—You know that.     77   
  SHEFFIELD—To be gone five years?     78   
  CURTIS—[Shrugging his shoulders.] More or less.     79   
  SHEFFIELD—Is it your intention to return here at any time before you leave for Asia?     80   
  CURTIS—No!     81   
  SHEFFIELD—And your determination on these plans is irrevocable?     82   
  CURTIS—Irrevocable! Exactly. Please remember that.     83   
  SHEFFIELD—[Sharply.] That being your attitude, I will come bluntly to the core of the whole matter—the child whose coming into the world cost Martha her life.     84   
  CURTIS—[Savagely.] Her murderer! You are right! [They all look shocked, suspicious.]     85   
  SHEFFIELD—[Remonstratingly but suspiciously.] You can hardly hold the child responsible for the terrible outcome. Women die every day from the same cause. [Keenly.] Why do you attribute guilt to the child in this case, Curt?     86   
  CURTIS—It lives and Martha is gone—But, enough! I’ve said I never wanted it mentioned to me. Will you please remember that?     87   
  SHEFFIELD—[Sharply.] Its name is Jayson, Curt—in the eyes of the law. Will you please remember that?     88   
  CURTIS—[Distractedly.] I don’t want to remember anything! [Wildly.] Please, for God’s sake, leave me alone!     89   
  SHEFFIELD—[Coldly.] I am sorry, Curt, but you cannot act as if you were alone in this affair.     90   
  CURTIS—Why not? Am I not alone—more alone this minute than any creature on God’s earth?     91   
  SHEFFIELD—[Soothingly.] In your great grief. Yes, yes, of course. We all appreciate—and we hate to— [Persuasively.] Yes, it would be much wiser to postpone these practical considerations until you are in a calmer mood. And if you will only give us the chance—why not put off this precipitate departure—for a month, say—and in the meantime——     92   
  CURTIS—[Harshly.] I am going when I said I was. I must get away from this horrible hole—as far away as I can. I must get back to my work for only in it will I find Martha again. But you—you can’t understand that. What is the good of all this talking which leads nowhere?     93   
  SHEFFIELD—[Coldly.] You’re mistaken. It leads to this: Do you understand that your running away from this child—on the very day of its mother’s funeral!—will have a very queer appearance in the eyes of the world?     94   
  EMILY—And what are you going to do with the baby, Curt? Do you think you can run off regardless and leave it here—on our hands?     95   
  CURTIS—[Distractedly.] I’ll give it this home. And someone—anyone—Esther, Lily—can appoint a nurse to live here and— [Breaking down.] Oh, don’t bother me!     96   
  SHEFFIELD—[Sharply.] In the world’s eyes, it will appear precious like a desertion on your part.     97   
  CURTIS—Oh, arrange it to suit yourselves—anything you wish——     98   
  SHEFFIELD—[Quickly.] I’ll take you at your word. Then let us arrange it this way. You will remain here a month longer at least——     99   
  CURTIS—No!    100   
  SHEFFIELD—[Ignoring the interruption.] You can make plans for the child’s future in that time, become reconciled to it——    101   
  CURTIS—No!    102   
  JAYSON—[Pleadingly.] Curt—please—for all our sakes—when the honor of the family is at stake.    103   
  DICK—Yes, old man, there’s that about it, you know.    104   
  CURTIS—No!    105   
  EMILY—Oh, he’s impossible!    106   
  SHEFFIELD—Perhaps Curt misunderstood me. [Meaningly.] Be reconciled to it in the eyes of the public, Curt. That’s what I meant. Your own private feelings in the matter—are no one’s business but your own, of course.    107   
  CURTIS—[Bewilderedly.] But—I don’t see— Oh, damn your eyes of the public!    108   
  EMILY—[Breaking in.] It’s all very well for you to ignore what people in town think—you’ll be in China or heaven knows where. The scandal won’t touch you—but we’ve got to live here and have our position to consider.    109   
  CURTIS—[Mystified.] Scandal? What scandal? [Then with a harsh laugh.] Oh, you mean the imbecile busy-bodies will call me an unnatural father. Well, let them! I suppose I am. But they don’t know——    110   
  EMILY—[Spitefully.] Perhaps they know more than you think they do.    111   
  CURTIS—[Turning on her—sharply.] Just what do you mean by that, eh?    112   
  ESTHER—Emily! Shhh!    113   
  JAYSON—[Flurriedly.] Be still, Emily. Let Mark do the talking.    114   
  SHEFFIELD—[Interposing placatingly.] What Emily means is simply this, Curt: You haven’t even been to look at this child since it has been born—not once, have you?    115   
  CURTIS—No, and I never intend——    116   
  SHEFFIELD—[Insinuatingly.] And don’t you suppose the doctors and nurses—and the servants—have noticed this? It is not the usual procedure, you must acknowledge, and they wouldn’t be human if they didn’t think your action—or lack of action—peculiar and comment on it outside.    117   
  CURTIS—Well, let them! Do you think I care a fiddler’s curse how people judge me?    118   
  SHEFFIELD—It is hardly a case of their judging—you. [Breaking off as he catches CURT’S tortured eyes fixed on him wildly.] This is a small town, Curt, and you know as well as I do, gossip is not the least of its faults. It doesn’t take long for such things to get started. [Persuasively.] Now I ask you frankly, is it wise to provoke deliberately what may easily be set at rest by a little—I’ll be frank—a little pretense on your part?    119   
  JAYSON—Yes, my boy. As a Jayson, I know you don’t wish——    120   
  ESTHER—[With a sigh.] Yes, you really must think of us, Curt.    121   
  CURTIS—[In an acute state of muddled confusion.] But—I—you—how are you concerned? Pretense? You mean you want me to stay and pretend—in order that you won’t be disturbed by any silly tales they tell about me? [With a wild laugh.] Good God, this is too much! Why does a man have to be maddened by fools at such a time! [Raging.] Leave me alone! You’re like a swarm of poisonous flies.    122   
  JAYSON—Curt! This is—really—when we’ve tried to be so considerate——    123   
  JOHN—[Bursting with rage.] It’s an outrage to allow such insults!    124   
  DICK—You’re not playing the game, Curt.    125   
  EMILY—[Spitefully.] It seems to me it’s much more for Martha’s sake, we’re urging you than for our own. After all, the town can’t say anything against us.    126   
  CURTIS—[Turning on her.] Martha’s sake? [Brokenly.] Martha is gone. Leave her out of this.    127   
  SHEFFIELD—[Sharply.] But unfortunately, Curt, others will not leave her out of this. They will pry and pry—you know what they are—and——    128   
  EMILY—Curt couldn’t act the way he is doing if he ever really cared for her.    129   
  CURTIS—You dare to say that! [Then controlling himself a bit—with scathing scorn.] What do know of love—women like you! You call your little rabbit-hutch emotions love—your bread-and-butter passions—and you have the effrontery to judge——    130   
  EMILY—[Shrinking from him frightenedly.] Oh! John!    131   
  JOHN—[Getting to his feet.] I protest! I cannot allow even my own brother——    132   
  DICK—[Grabbing his arm.] Keep your head, old boy.    133   
  SHEFFIELD—[Peremptorily.] You are making a fool of yourself, Curt—and you are damned insulting in the bargain. I think I may say that we’ve all about reached the end of our patience. What Emily said is for your own best interest, if you had the sense to see it. And I put it to you once and for all: Are you or are you not willing to act like a man of honor to protect your own good name, the family name, the name of this child, and your wife’s memory? Let me tell you, your wife’s good name is more endangered by your stubbornness than anything else.    134   
  CURTIS—[Trembling with rage.] I—I begin to think—you—all of you—are aiming at something against Martha in this. Yes—in back of your words—your actions—I begin to feel— [Raging.] Go away! Get out of this house—all of you! Oh, I know your meanness! I’ve seen how you’ve tried to hurt her ever since we came—because you resented in your small minds her evident superiority—    135   
  EMILY—[Scornfully.] Superiority, indeed!    136   
  CURTIS—Her breadth of mind and greatness of soul that you couldn’t understand. I’ve guessed all this, and if I haven’t interfered it’s only because I knew she was too far above you to notice your sickening malice——    137   
  EMILY—[Furiously.] You’re only acting—acting for our benefit because you think we don’t——    138   
  CURTIS—[Turning on her—with annihilating contempt.] Why, you—you poor little nonentity! [John struggles to get forward but Dick holds him back.]    139   
  EMILY—[Insane with rage—shrilly.] But we know—and the whole town knows—and you needn’t pretend you’ve been blind. You’ve given the whole thing away yourself—the silly way you’ve acted—telling everyone how you hated that baby—letting everyone see——    140   
  JAYSON—Emily! [The others are all frightened, try to interrupt her. CURT stares at her in a stunned bewilderment.]    141   
  EMILY—[Pouring forth all her venom regardless.] But you might as well leave off your idiotic pretending. It doesn’t fool us—or anyone else—your sending for Bigelow that night—your hobnobbing with him ever since—your pretending he’s as much your friend as ever. They’re all afraid of you—but I’m not! I tell you to your face—it’s all acting you’re doing—just cheap acting to try and pull the wool over our eyes until you’ve run away like a coward—and left us to face the disgrace for you with this child on our hands!    142   
  ESTHER—[Trying to silence her—excitedly.] Emily! Keep still, for Heaven’s sake! [The others all utter exclamations of caution, with fearful glances at CURT.]    143   
  EMILY—[Becoming exhausted by her outburst—more faintly.] Well, someone had to show him his place. He thinks he’s so superior to us just because—telling us how much better she was than— But I won’t stand for that. I’ve always had a clean name—and always will—and my children, too, thank God! [She sinks down on the couch exhausted, panting but still glaring defiantly at CURT.]    144   
  CURTIS—[An awareness of her meaning gradually forcing itself on his mind.] Bigelow! Big? Pretending he’s as much my friend— [With a sudden gasp of sickened understanding.] Oh! [He sways as if he were about to fall, shrinking away from EMILY, all horror.] Oh, you—you—you—filth!    145   
  JOHN—[His fists clenched, tries to advance on his brother.] How dare you insult my wife! [He is restrained, held back by his remonstrating father and DICK.]    146   
  MRS. DAVIDSON—[As if suddenly coming out of a dream—frightenedly.] What is the matter? Why is John mad at Curt?    147   
  CURTIS—[His hands over his eyes, acting like a person stricken with a sudden attack of nausea, weakly.] So—that’s—what has been in your minds. Oh, this is bestial—disgusting! And there is nothing to be done. I feel defenseless. One would have to be as low as you are— She would have been defenseless, too. It is better she is dead. [He stares about him—wildly.] And you think—you all think——    148   
  ESTHER—[Pityingly.] Curt, dear, we don’t think anything except what you’ve made us think with your crazy carrying-on.    149   
  CURTIS—[Looking from one to the other of them.] Yes—all of you—it’s on your faces. [His eyes fix themselves on his aunt.] No, you don’t—you don’t——    150   
  MRS. DAVIDSON—I? Don’t what, Curtis? My, how sick you look, poor boy!    151   
  CURTIS—You—don’t believe—this child——    152   
  MRS. DAVIDSON—He’s the sweetest baby I ever saw [proudly] and Jayson right to the tips of his toes.    153   
  CURTIS—Ah, I know you— [Looking around at the others with loathing and hatred.] But look at them— [With a burst of fierce determination.] Wait! I’ll give you the only answer—— [He dashes for the door in rear, shakes off his father and DICK, who try to stop him, and then is heard bounding up the stairs in hall. DICK runs after him, JAYSON as far as the doorway. ESTHER gives a stifled scream. There is a tense pause. Then DICK reappears.]    154   
  DICK—It’s all right. I saw him go in.    155   
  JAYSON—[Frightenedly.] But—good God—he’s liable—why didn’t you follow him?    156   
  DICK—The doctor and nurse are there. They would have called out, wouldn’t they, if——    157   
  MRS. DAVIDSON—[Getting angrier and angrier as her puzzlement has grown greater—in a stern tone.] I understand less and less of this. Where has Curtis gone? Why did he act so sick? What is the matter with all of you?    158   
  ESTHER—Nothing, Aunt dear, nothing!    159   
  MRS. DAVIDSON—No, you’ll not hush me up! [Accusingly.] You all look guilty. Have you been saying anything against Curtis’ baby? That was what Curtis seemed to think. A fine time you’ve picked out—with his wife not cold in her grave!    160   
  JAYSON—Aunt!    161   
  MRS. DAVIDSON—I never liked that woman. I never understood her. But now—now I love her and beg her forgiveness. She died like a true woman in the performance of her duty. She died gloriously—and I will always respect her memory. [Suddenly flying into a passion.] I feel that you are all hostile to her baby—poor, little, defenseless creature! Yes, you’d hate the idea of Curtis’ having a son—you and your girls! Well, I’ll make you bitterly regret the day you—— [She plumps herself down in her chair again, staring stubbornly and angrily before her.]    162   
  EMILY—[Spitefully.] I fear it will be necessary to tell Aunt——    163   
  JAYSON—Sshh! You have made enough trouble with your telling already! [Miserably.] It should never have come to this pass. Curt will never forgive us, never!    164   
  ESTHER—[Resentfully to EMILY.] See what not holding your tongue has done—and my children will have to suffer for it, too!    165   
  SHEFFIELD—[Severely.] If Emily had permitted me to conduct this business uninterruptedly, this would never have occurred.    166   
  EMILY—That’s right! All pick on me! Cowards! [She breaks down and sobs.]    167   
  DICK—[From the doorway. Coming back into the room.] Sstt! Here he comes!    168   
  CURTIS—[Reenters. There is a look of strange exultation on his face. He looks from one to the other of them. He stammers.] Well—my answer to you—your rotten world—I kissed him—he is mine! He looked at me—it was as if Martha looked at me—through his eyes.    169   
  ESTHER—[Voicing the general relief. Joyfully.] Oh, Curt! You won’t go now? You’ll stay?    170   
  CURTIS—[Staring at her, then from one to another of the rest with a withering scorn.] Ha! Now you think you have conquered, do you? No, I’m not going to stay! Do you think your vile slander could influence me to give up my work? And neither shall you influence the life of my son. I leave him here. I must. But not to your tender mercies. No, no! Thank God, there still remains one Jayson with unmuddled integrity to whom I can appeal. [He goes to MRS. DAVIDSON.] I will leave him in your care, Aunt—while I am gone.    171   
  MRS. DAVIDSON—[Delighted.] It will be a great happiness. He will be—the one God never granted me. [Her lips trembling.] God has answered my prayer at last.    172   
  CURTIS—I thank you, Aunt. [Kisses her reverentially.]    173   
  MRS. DAVIDSON—[Pleased but morally bound to grumble at him.] But I cannot approve of your running away like this. It isn’t natural. [Then with selfish haste, fearing her words may change his mind and she will lose the baby.] But you always were a queer person—and a man must do faithfully the work ordained for him.    174   
  CURTIS—[Gladly.] Yes, I must go! What would I be for him—or anyone—if I stayed? Thank God, you understand. But I will come back. [The light of an ideal beginning to shine in his eyes.] When he is old enough, I will teach him to know and love a big, free life. Martha used to say that he would take her part in time. My goal shall be his goal, too. Martha shall live again for me in him. And you, Aunt, swear to keep him with you—out there in the country—never to let him know this obscene little world. [He indicates his relatives.]    175   
  MRS. DAVIDSON—Yes, I promise, Curtis. Let anyone dare——! [She glares about her. The noise of a motor is heard from the drive. It stops in front of the house.]     176   
  CURTIS—I must go. [He kisses his aunt.] Teach him his mother was the most beautiful soul that ever lived. Good-by, Aunt.    177   
  MRS. DAVIDSON—Good-by, Curtis! [Without looking at the others, he starts for the door, rear. They all break out into conscience-stricken protestations.]    178   
  JAYSON—[Miserably.] Curt! You’re not leaving us that way?    179   
  ESTHER—Curt—you’re going—without a word! [They all say this practically together and crowd toward him. JOHN and EMILY remain sullenly apart. CURT turns to face them.]    180   
  LILY—[Enters from the rear.] You’re not going, Curt?    181   
  CURTIS—[Turning to her.] Yes. Good-by, Lily. [He kisses her.] You loved her, didn’t you? You are not like— Take my advice and get away before you become— [He has been staring into her face. Suddenly he pushes her brusquely away from him—coldly.] But I see in your face it’s too late.    182   
  LILY—[Miserably.] No, Curt—I swear——    183   
  CURTIS—[Facing them all defiantly.] Yes, I am going without a word—because I cannot find the fitting one. Be thankful I can’t. It would shrivel up your souls like flame. [He again turns and strides to the door.]    184   
  JAYSON—[His grief overcoming him.] My boy! We are wrong—we know—but—at least say you forgive us.    185   
  CURTIS—[Wavers with his back towards them—then turns and forces the words out.] Ask forgiveness of her. She—yes—she was so fine—I feel she—so you are forgiven. Good-by. [He goes. The motor is heard driving off. There is a tense pause.]    186   
  LILY—Then he did find out? Oh, a fine mess you’ve made of everything! But no—I should say “we,” shouldn’t I? Curt guessed that. Oh, I hate you—and myself! [She breaks down.]    187   
  [There is a strained pause during which they are all silent, their eyes avoiding each other, fixed in dull, stupid stares. Finally, DICK fidgets uncomfortably, heaves a noisy sigh, and blurts out with an attempt at comforting reassurance:]    188   
  DICK—Well, it isn’t as bad as it might have been, anyway. He did acknowledge the kid—before witnesses, too.    189   
  JAYSON—[Testily.] Keep your remarks to yourself, if you please! [But most of his family are already beginning to look relieved.]


[The Curtain Falls]