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Title: All God's chillun got wings and welded
Author: Eugene O'Neill
Release date: January 29, 2026 [eBook #77808]
Language: English
Original publication: New York: Boni and Liveright, 1924
Credits: Richard Tonsing, Tim Lindell, and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.)
*** START OF THE PROJECT GUTENBERG EBOOK ALL GOD'S CHILLUN GOT WINGS AND WELDED ***
ALL GOD’S CHILLUN GOT WINGS
_and_
WELDED
BY
EUGENE O’NEILL
[Illustration: Black-and-white emblem showing a stylized globe or
circular seal with the letters “B & L” at the top and irregular dark
shapes suggesting continents, rendered in a rough, high-contrast, inked
style.]
BONI AND LIVERIGHT
PUBLISHERS :: :: NEW YORK
_Copyright, 1924, by_
BONI & LIVERIGHT, INC.
_Printed in the United States of America_
_NOTE_
_All rights reserved including that of translation into foreign
languages. All acting rights, both professional and amateur, including
motion picture rights, are reserved in the United States, Great Britain
and all countries of the Copyright Union by the author._
_In their present form these plays are dedicated to the reading public
only and no performance may be given without special arrangement with
the author’s agent._
CONTENTS
PAGE
ALL GOD’S CHILLUN GOT WINGS 13
WELDED 81
ALL GOD’S CHILLUN GOT WINGS
CHARACTERS
JIM HARRIS
MRS. HARRIS, _his mother_
HATTIE, _his sister_
ELLA DOWNEY
SHORTY
JOE
MICKEY
_Whites and negroes_
SCENES
ACT I
SCENE I—A corner in lower New York. Years ago. End of an afternoon in
Spring.
SCENE II—The same. Nine years later. End of an evening in Spring.
SCENE III—The same. Five years later. A night in Spring.
SCENE IV—The street before a church in the same ward. A morning some
weeks later.
ACT II
SCENE I—A flat in the same ward. A morning two years later.
SCENE II—The same. At twilight some months later.
SCENE III—The same. A night some months later.
ACT I
ACT ONE
SCENE ONE
SCENE—_A corner in lower New York, at the edge of a colored district.
Three narrow streets converge. A triangular building in the rear,
red brick, four-storied, its ground floor a grocery. Four-story
tenements stretch away down the skyline of the two streets. The
fire escapes are crowded with people. In the street leading left,
the faces are all white; in the street leading right, all black.
It is hot Spring. On the sidewalk are eight children, four boys
and four girls. Two of each sex are white, two black. They are
playing marbles. One of the black boys is_ JIM HARRIS. _The little
blonde girl, her complexion rose and white, who sits behind his
elbow and holds his marbles is_ ELLA DOWNEY. _She is eight. They
play the game with concentrated attention for a while. People
pass, black and white, the Negroes frankly participants in the
spirit of Spring, the whites laughing constrainedly, awkward in
natural emotion. Their words are lost. One only hears their
laughter. It expresses the difference in race. There are street
noises—the clattering roar of the Elevated, the puff of its
locomotives, the ruminative lazy sound of a horse-car, the hooves
of its team clacking on the cobbles. From the street of the whites
a high-pitched, nasal tenor sings the chorus of “Only a Bird in a
Gilded Cage.” On the street of the blacks a Negro strikes up the
chorus of: “I Guess I’ll Have to Telegraph My Baby.” As this
singing ends, there is laughter, distinctive in quality, from both
streets. Then silence. The light in the street begins to grow
brilliant with the glow of the setting sun. The game of marbles
goes on._
WHITE GIRL—[_Tugging at the elbow of her brother._] Come on, Mickey!
HER BROTHER—[_Roughly._] Aw, gwan, youse!
WHITE GIRL—Aw right, den. You kin git a lickin’ if you wanter. [_Gets up
to move off._]
HER BROTHER—Aw, git off de eart’!
WHITE GIRL—De old woman’ll be madder’n hell!
HER BROTHER—[_Worried now._] I’m comin’, ain’t I? Hold your horses.
BLACK GIRL—[_To a black boy._] Come on, you Joe. We gwine git frailed
too, you don’t hurry.
JOE—Go long!
MICKEY—Bust up de game, huh? I gotta run! [_Jumps to his feet._]
OTHER WHITE BOY—Me, too! [_Jumps up._]
OTHER BLACK GIRL—Lawdy, it’s late!
JOE—Me for grub!
MICKEY—[_To_ JIM HARRIS.] You’s de winner, Jim Crow. Yeh gotta play
tomorrer.
JIM—[_Readily._] Sure t’ing, Mick. Come one, come all! [_He laughs._]
OTHER WHITE BOY—Me too! I gotta git back at yuh.
JIM—Aw right, Shorty.
LITTLE GIRLS—Hurry! Come on, come on! [_The six start off together. Then
they notice that_ JIM _and_ ELLA _are hesitating, standing awkwardly and
shyly together. They turn to mock._]
JOE—Look at dat Jim Crow! Land sakes, he got a gal! [_He laughs. They
all laugh._]
JIM—[_Ashamed._] Ne’er mind, you Chocolate!
MICKEY—Look at de two softies, will yeh! Mush! Mush! [_He and the two
other boys take this up._]
LITTLE GIRLS—[_Pointing their fingers at_ ELLA.] Shame! Shame! Everybody
knows your name! Painty Face! Painty Face!
ELLA—[_Hanging her head._] Shut up!
LITTLE WHITE GIRL—He’s been carrying her books!
COLORED GIRL—Can’t you find nuffin better’n him, Ella? Look at de big
feet he got! [_She laughs. They all laugh._ JIM _puts one foot on top of
the other, looking at_ ELLA.]
ELLA—Mind yer own business, see! [_She strides toward them angrily. They
jump up and dance in an ecstasy, screaming and laughing._]
ALL—Found yeh out! Found yeh out!
MICKEY—Mush-head! Jim Crow de Sissy! Stuck on Painty Face!
JOE—Will Painty Face let you hold her doll, boy?
SHORTY—Sissy! Softy! [ELLA _suddenly begins to cry. At this they all
howl._]
ALL—Cry-baby! Cry-baby! Look at her! Painty Face!
JIM—[_Suddenly rushing at them, with clenched fists, furiously._] Shut
yo’ moufs! I kin lick de hull of you! [_They all run away, laughing,
shouting, and jeering, quite triumphant now that they have made him,
too, lose his temper. He comes back to_ ELLA, _and stands beside her
sheepishly, stepping on one foot after the other. Suddenly he blurts
out_:] Don’t bawl no more. I done chased ’em.
ELLA—[_Comforted, politely._] T’anks.
JIM—[_Swelling out._] It was a cinch. I kin wipe up de street wid any
one of dem. [_He stretches out his arms, trying to bulge out his
biceps._] Feel dat muscle!
ELLA—[_Does so gingerly—then with admiration._] My!
JIM—[_Protectingly._] You mustn’t never be scared when I’m hanging
round, Painty Face.
ELLA—Don’t call me that, Jim—please!
JIM—[_Contritely._] I didn’t mean nuffin’. I didn’t know you’d mind.
ELLA—I do—more’n anything.
JIM—You oughtn’t to mind. Dey’s jealous, dat’s what.
ELLA—Jealous? Of what?
JIM—[_Pointing to her face._] Of dat. Red ‘n’ white. It’s purty.
ELLA—I hate it!
JIM—It’s purty. Yes, it’s—it’s purty. It’s—outa sight!
ELLA—I hate it. I wish I was black like you.
JIM—[_Sort of shrinking._] No you don’t. Dey’d call you Crow, den—or
Chocolate—or Smoke.
ELLA—I wouldn’t mind.
JIM—[_Somberly._] Dey’d call you nigger sometimes, too.
ELLA—I wouldn’t mind.
JIM—[_Humbly._] You wouldn’t mind?
ELLA—No, I wouldn’t mind. [_An awkward pause._]
JIM—[_Suddenly._] You know what, Ella? Since I been tuckin’ yo’ books to
school and back, I been drinkin’ lots o’ chalk ‘n’ water tree times a
day. Dat Tom, de barber, he tole me dat make me white, if I drink
enough. [_Pleadingly._] Does I look whiter?
ELLA—[_Comfortingly._] Yes—maybe—a little bit——
JIM—[_Trying a careless tone._] Reckon dat Tom’s a liar, an’ de joke’s
on me! Dat chalk only makes me feel kinder sick inside.
ELLA—[_Wonderingly._] Why do you want to be white?
JIM—Because—just because—I lak dat better.
ELLA—I wouldn’t. I like black. Let’s you and me swap. I’d like to be
black. [_Clapping her hands._] Gee, that’d be fun, if we only could!
JIM—[_Hesitatingly._] Yes—maybe——
ELLA—Then they’d call me Crow, and you’d be Painty Face!
JIM—They wouldn’t never dast call you nigger, you bet! I’d kill ’em! [_A
long pause. Finally she takes his hand shyly. They both keep looking as
far away from each other as possible._]
ELLA—I like you.
JIM—I like you.
ELLA—Do you want to be my feller?
JIM—Yes.
ELLA—Then I’m your girl.
JIM—Yes. [_Then grandly._] You kin bet none o’ de gang gwine call you
Painty Face from dis out! I lam’ ’em good! [_The sun has set. Twilight
has fallen on the street. An organ grinder comes up to the corner and
plays “Annie Rooney.” They stand hand-in-hand and listen. He goes away.
It is growing dark._]
ELLA—[_Suddenly._] Golly, it’s late! I’ll git a lickin’!
JIM—Me, too.
ELLA—I won’t mind it much.
JIM—Me nuther.
ELLA—See you going to school tomorrow?
JIM—Sure.
ELLA—I gotta skip now.
JIM—Me, too.
ELLA—I like you, Jim.
JIM—I like you.
ELLA—Don’t forget.
JIM—Don’t you.
ELLA—Good-by.
JIM—So long. [_They run away from each other—then stop abruptly, and
turn as at a signal._]
ELLA—Don’t forget.
JIM—I won’t, you bet!
ELLA—Here! [_She kisses her hand at him, then runs off in frantic
embarrassment._]
JIM—[_Overcome._] Gee! [_Then he turns and darts away, as_
[_The Curtain Falls_]
ACT ONE
SCENE TWO
SCENE—_The same corner. Nine years have passed. It is again late
Spring at a time in the evening which immediately follows the hour
of_ SCENE ONE. _Nothing has changed much. One street is still all
white, the other all black. The fire escapes are laden with
drooping human beings. The grocery store is still at the corner.
The street noises are now more rhythmically mechanical,
electricity having taken the place of horse and steam. People
pass, white and black. They laugh as in_ SCENE ONE. _From the
street of the whites the high-pitched nasal tenor sings: “Gee, I
Wish That I Had a Girl,” and the Negro replies with “All I Got Was
Sympathy.” The singing is followed again by laughter from both
streets. Then silence. The dusk grows darker. With a spluttering
flare the arc-lamp at the corner is lit and sheds a pale glare
over the street. Two young roughs slouch up to the corner, as
tough in manner as they can make themselves. One is the_ SHORTY
_of_ SCENE ONE; _the other the Negro_, JOE. _They stand loafing. A
boy of seventeen or so passes by, escorting a girl of about the
same age. Both are dressed in their best, the boy in black with
stiff collar, the girl in white._
SHORTY—[_Scornfully._] Hully cripes! Pipe who’s here. [_To the girl,
sneeringly._] Wha’s matter, Liz? Don’t yer recernize yer old fr’ens?
GIRL—[_Frightenedly._] Hello, Shorty.
SHORTY—Why de glad rags? Goin’ to graduation? [_He tries to obstruct
their way, but, edging away from him, they turn and run._]
JOE—Har-har! Look at dem scoot, will you! [SHORTY _grins with
satisfaction_.]
SHORTY—[_Looking down other street._] Here comes Mickey.
JOE—He won de semi-final last night easy?
SHORTY—Knocked de bloke out in de thoid.
JOE—Dat boy’s suah a-comin’! He’ll be de champeen yit.
SHORTY—[_Judicially._] Got a good chanct—if he leaves de broads alone.
Dat’s where he’s wide open. [MICKEY _comes in from the left. He is
dressed loudly, a straw hat with a gaudy band cocked over one
cauliflower ear. He has acquired a typical “pug’s” face, with the added
viciousness of a natural bully. One of his eyes is puffed, almost
closed, as a result of his battle the night before. He swaggers up._]
BOTH—Hello, Mickey.
MICKEY—Hello.
JOE—Hear you knocked him col’.
MICKEY—Sure. I knocked his block off. [_Changing the subject._] Say.
Seen ’em goin’ past to de graduation racket?
SHORTY—[_With a wink._] Why? You int’rested?
JOE—[_Chuckling._] Mickey’s gwine roun’ git a good conduct medal.
MICKEY—Sure. Dey kin pin it on de seat o’ me pants. [_They laugh._]
Listen. Seen Ella Downey goin’?
SHORTY—Painty Face? No, she ain’t been along.
MICKEY—[_With authority._] Can dat name, see! Want a bunch o’ fives in
yer kisser? Den nix! She’s me goil, understan’?
JOE—[_Venturing to joke._] Which one? Yo’ number ten?
MICKEY—[_Flattered._] Sure. De real K. O. one.
SHORTY— [_Pointing right—sneeringly._] Gee! Pipe Jim Crow all dolled up
for de racket.
JOE—[_With disgusted resentment._] You mean tell me dat nigger’s
graduatin’?
SHORTY—Ask him. [JIM HARRIS _comes in. He is dressed in black, stiff
white collar, etc.—a quiet-mannered Negro boy with a queerly-baffled,
sensitive face._]
JIM—[_Pleasantly._] Hello, fellows. [_They grunt in reply, looking over
him scornfully._]
JOE—[_Staring resentfully._] Is you graduatin’ tonight?
JIM—Yes.
JOE—[_Spitting disgustedly._] Fo’ Gawd’s sake! You _is_ gittin’
high-falutin’!
JIM—[_Smiling deprecatingly._] This is my second try. I didn’t pass last
year.
JOE—What de hell does it git you, huh? Whatever is you gwine do wid it
now you gits it? Live lazy on yo’ ol’ woman?
JIM—[_Assertively._] I’m going to study and become a lawyer.
JOE—[_With a snort._] Fo’ Chris’ sake, nigger!
JIM—[_Fiercely._] Don’t you call me that—not before them!
JOE—[_Pugnaciously._] Does you deny you’s a nigger? I shows you——
MICKEY—[_Gives them both a push—truculently._] Cut it out, see! I’m
runnin’ dis corner. [_Turning to_ JIM _insultingly._] Say, you! Painty
Face’s gittin’ her ticket tonight, ain’t she?
JIM—You mean Ella——
MICKEY—Painty Face Downey, dat’s who I mean! I don’t have to be perlite
wit’ her. She’s me goil!
JIM—[_Glumly._] Yes, she’s graduating.
SHORTY—[_Winks at_ MICKEY.] Smart, huh?
MICKEY—[_Winks back—meaningly._] Willin’ to loin, take it from me! [JIM
_stands tensely as if a struggle were going on in him._]
JIM—[_Finally blurts out._] I want to speak to you, Mickey—alone.
MICKEY—[_Surprised—insultingly._] Aw, what de hell——!
JIM—[_Excitedly._] It’s important, I tell you!
MICKEY—Huh? [_Stares at him inquisitively—then motions the others back
carelessly and follows_ JIM _down front_.]
SHORTY—Some noive!
JOE—[_Vengefully._] I gits dat Jim alone, you wait!
MICKEY—Well, spill de big news. I ain’t got all night. I got a date.
JIM—With—Ella?
MICKEY—What’s dat to you?
JIM—[_The words tumbling out._] What—I wanted to say! I know—I’ve
heard—all the stories—what you’ve been doing around the ward—with other
girls—it’s none of my business, with them—but she—Ella—it’s
different—she’s not that kind——
MICKEY—[_Insultingly._] Who told yuh so, huh?
JIM—[_Draws back his fist threateningly._] Don’t you dare—! [MICKEY _is
so paralyzed by this effrontery that he actually steps back_.]
MICKEY—Say, cut de comedy! [_Beginning to feel insulted._] Listen, you
Jim Crow! Ain’t you wise I could give yuh one poke dat’d knock yuh into
next week?
JIM—I’m only asking you to act square, Mickey.
MICKEY—What’s it to yuh? Why, yuh lousy goat, she wouldn’t spit on yuh
even! She hates de sight of a coon.
JIM—[_In agony._] I—I know—but once she didn’t mind—we were kids
together——
MICKEY—Aw, ferget dat! Dis is _now_!
JIM—And I’m still her friend always—even if she don’t like colored
people——
MICKEY—_Coons_, why don’t yuh say it right! De trouble wit’ you is
yuh’re gittin’ stuck up, dat’s what! Stay where yeh belong, see! Yer old
man made coin at de truckin’ game and yuh’re tryin’ to buy yerself
white—graduatin’ and law, for Hell’s sake! Yuh’re gittin’ yerself in
Dutch wit’ everyone in de ward—and it ain’t cause yer a coon neider.
Don’t de gang all train wit’ Joe dere and lots of others? But yuh’re
tryin’ to buy white and it won’t git yuh no place, see!
JIM—[_Trembling._] Some day—I’ll show you——
MICKEY—[_Turning away._] Aw, gwan!
JIM—D’you think I’d change—be you—your dirty white——!
MICKEY—[_Whirling about._] What’s dat?
JIM—[_With hysterical vehemence._] You act square with her—or I’ll show
you up—I’ll report you—I’ll write to the papers—the sporting
writers—I’ll let them know how white you are!
MICKEY—[_Infuriated._] Yuh damn nigger, I’ll bust yer jaw in! [_Assuming
his ring pose he weaves toward_ JIM, _his face set in a cruel scowl_.
JIM _waits helplessly but with a certain dignity_.]
SHORTY—Cheese it! A couple bulls! And here’s de Downey skoit comin’,
too.
MICKEY—I’ll get yuh de next time! [ELLA DOWNEY _enters from the right.
She is seventeen, still has the same rose and white complexion, is
pretty but with a rather repelling bold air about her._]
ELLA—[_Smiles with pleasure when she sees_ MICKEY.] Hello, Mick. Am I
late? Say, I’m so glad you won last night. [_She glances from one to the
other as she feels something in the air._] Hello! What’s up?
MICKEY—Dis boob. [_He indicates_ JIM _scornfully_.]
JIM—[_Diffidently._] Hello, Ella.
ELLA—[_Shortly, turning away._] Hello. [_Then to_ MICKEY.] Come on,
Mick. Walk down with me. I got to hurry.
JIM—[_Blurts out._] Wait—just a second. [_Painfully._] Ella, do you
hate—colored people?
MICKEY—Aw, shut up!
JIM—Please answer.
ELLA—[_Forcing a laugh._] Say! What is this—another exam?
JIM—[_Doggedly._] Please answer.
ELLA—[_Irritably._] Of course I don’t! Haven’t I been brought up
alongside—Why, some of my oldest—the girls I’ve been to public school
the longest with——
JIM—Do you hate me, Ella?
ELLA—[_Confusedly and more irritably._] Say, is he drunk? Why should I?
I don’t hate anyone.
JIM—Then why haven’t you ever hardly spoken to me—for years?
ELLA—[_Resentfully._] What would I speak about? You and me’ve got
nothing in common any more.
JIM—[_Desperately._] Maybe not any more—but—right on this corner—do you
remember once——?
ELLA—I don’t remember nothing! [_Angrily._] Say! What’s got into you to
be butting into my business all of a sudden like this? Because you
finally managed to graduate, has it gone to your head?
JIM—No, I—only want to help you, Ella.
ELLA—Of all the nerve! You’re certainly forgetting your place! Who’s
asking you for help, I’d like to know? Shut up and stop bothering me!
JIM—[_Insistently._] If you ever need a friend—a true friend——
ELLA—I’ve got lots of friends among my own—kind, I can tell you.
[_Exasperatedly._] You make me sick! Go to—hell! [_She flounces off. The
three men laugh._ MICKEY _follows her_. JIM _is stricken. He goes and
sinks down limply on a box in front of the grocery store._]
SHORTY—I’m going to shoot a drink. Come on, Joe, and I’ll blow yuh.
JOE—[_Who has never ceased to follow every move of_ JIM’S _with angry,
resentful eyes_.] Go long. I’se gwine stay here a secon’. I got a lil’
argyment. [_He points to_ JIM.]
SHORTY—Suit yerself. Do a good job. See yuh later. [_He goes,
whistling._]
JOE—[_Stands for a while glaring at_ JIM, _his fierce little eyes
peering out of his black face. Then he spits on his hands aggressively
and strides up to the oblivious_ JIM. _He stands in front of him,
gradually working himself into a fury at the other’s seeming
indifference to his words._] Listen to me, nigger: I got a heap to
whisper in yo’ ear! Who is you, anyhow? Who does you think you is? Don’t
yo’ old man and mine work on de docks togidder befo’ yo’ old man gits
his own truckin’ business? Yo’ ol’ man swallers his nickels, my ol’ man
buys him beer wid dem and swallers dat—dat’s the on’y diff’rence. Don’t
you ‘n’ me drag up togidder?
JIM—[_Dully._] I’m your friend, Joe.
JOE—No, you isn’t! I ain’t no fren o’ yourn! I don’t even know who you
is! What’s all dis schoolin’ you doin’? What’s all dis dressin’ up and
graduatin’ an’ sayin’ you gwine study be a lawyer? What’s all dis fakin’
an’ pretendin’ and swellin’ out grand an’ talkin’ soft and perlite?
What’s all dis denyin’ you’s a nigger—an’ wid de white boys listenin’ to
you say it! Is you aimin’ to buy white wid yo’ ol’ man’s dough like
Mickey say? What is you? [_In a rage at the other’s silence._] You don’t
talk? Den I takes it out o’ yo’ hide! [_He grabs_ JIM _by the throat
with one hand and draws the other fist back_.] Tell me befo’ I wrecks
yo’ face in! Is you a nigger or isn’t you? [_Shaking him._] Is you a
nigger, Nigger? Nigger, is you a nigger?
JIM—[_Looking into his eyes—quietly._] Yes. I’m a nigger. We’re both
niggers. [_They look at each other for a moment._ JOE’S _rage vanishes.
He slumps onto a box beside_ JIM’S. _He offers him a cigarette._ JIM
_takes it._ JOE _scratches a match and lights both their cigarettes_.]
JOE—[_After a puff, with full satisfaction._] Man, why didn’t you
’splain dat in de fust place?
JIM—We’re both niggers. [_The same hand-organ man of_ SCENE ONE _comes
to the corner. He plays the chorus of “Bonbon Buddie,” the “Chocolate
Drop.” They both stare straight ahead listening. Then the organ man goes
away. A silence._ JOE _gets to his feet_.]
JOE—I’ll go get me a cold beer. [_He starts to move off—then turns._]
Time you was graduatin’, ain’t it? [_He goes_, JIM _remains sitting on
his box staring straight before him as_
[_The Curtain Falls_]
ACT ONE
SCENE THREE
SCENE—_The same corner five years later. Nothing has changed much. It
is a night in Spring. The arc-lamp discovers faces with a
favorless cruelty. The street noises are the same but more
intermittent and dulled with a quality of fatigue. Two people
pass, one black and one white. They are tired. They both yawn, but
neither laughs. There is no laughter from the two streets. From
the street of the whites the tenor, more nasal than ever and a bit
drunken, wails in high barber-shop falsetto the last half of the
chorus of “When I Lost You.” The Negro voice, a bit maudlin in
turn, replies with the last half of “Waitin’ for the Robert E.
Lee.” Silence._ SHORTY _enters. He looks tougher than ever, the
typical gangster. He stands waiting, singing a bit drunkenly,
peering down the street._
SHORTY—[_Indignantly._] Yuh bum! Ain’t yuh ever comin’? [_He begins to
sing: “And sewed up in her yeller kimona, She had a blue-barreled
forty-five gun, For to get her man Who’d done her wrong.” Then he
comments scornfully._] Not her, dough! No gat for her. She ain’t got de
noive. A little sugar. Dat’ll fix her. [ELLA _enters. She is dressed
poorly, her face is pale and hollow-eyed, her voice cold and tired._]
SHORTY—Yuh got de message?
ELLA—Here I am.
SHORTY—How yuh been?
ELLA—All right. [_A pause. He looks at her puzzledly._]
SHORTY—[_A bit embarrassedly._] Well, I s’pose yuh’d like me to give yuh
some dope on Mickey, huh?
ELLA—No.
SHORTY—Mean to say yuh don’t wanter know where he is or what he’s doin’?
ELLA—No.
SHORTY—Since when?
ELLA—A long time.
SHORTY—[_After a pause—with a rat-like viciousness._] Between you’n me,
kid, you’ll get even soon—you’n all de odder dames he’s tossed. I’m on
de inside. I’ve watched him trainin’. His next scrap, watch it! He’ll
go! It won’t be de odder guy. It’ll be all youse dames he’s kidded—and
de ones what’s kidded him. Youse’ll all be in de odder guy’s corner. He
won’t need no odder seconds. Youse’ll trow water on him, and sponge his
face, and take de kinks out of his socker—and Mickey’ll catch it on de
button—and he won’t be able to take it no more—‘cause all your
weight—you and de odders—’ll be behind dat punch. Ha ha! [_He laughs an
evil laugh._] And Mickey’ll go—down to his knees first—[_He sinks to his
knees in the attitude of a groggy boxer._]
ELLA—I’d like to see him on his knees!
SHORTY—And den—flat on his pan—dead to de world—de boidies singin’ in de
trees—ten—out! [_He suits his action to the words, sinking flat on the
pavement, then rises and laughs the same evil laugh._]
ELLA—He’s been out—for me—a long time. [_A pause._] Why did you send for
me?
SHORTY—He sent me.
ELLA—Why?
SHORTY—To slip you this wad o’ dough. [_He reluctantly takes a roll of
bills from his pocket and holds it out to her._]
ELLA—[_Looks at the money indifferently._] What for?
SHORTY—For you.
ELLA—No.
SHORTY—For de kid den.
ELLA—The kid’s dead. He took diphtheria.
SHORTY—Hell yuh say! When?
ELLA—A long time.
SHORTY—Why didn’t you write Mickey——?
ELLA—Why should I? He’d only be glad.
SHORTY—[_After a pause._] Well—it’s better.
ELLA—Yes.
SHORTY—You made up wit yer family?
ELLA—No chance.
SHORTY—Livin’ alone?
ELLA—In Brooklyn.
SHORTY—Workin’?
ELLA—In a factory.
SHORTY—You’re a sucker. There’s lots of softer snaps fer you, kid——
ELLA—I know what you mean. No.
SHORTY—Don’t yuh wanter step out no more—have fun—live?
ELLA—I’m through.
SHORTY—[_Mockingly._] Jump in de river, huh? T’ink it over, baby. I kin
start yuh right in my stable. No one’ll bodder yuh den. I got influence.
ELLA—[_Without emphasis._] You’re a dirty dog. Why doesn’t someone kill
you?
SHORTY—Is dat so! What’re you? They say you been travelin’ round with
Jim Crow.
ELLA—He’s been my only friend.
SHORTY—A nigger!
ELLA—The only white man in the world! Kind and white. You’re all
black—black to the heart.
SHORTY—Nigger-lover! [_He throws the money in her face. It falls to the
street._] Listen, you! Mickey says he’s off of yuh for keeps. Dis is de
finish! Dat’s what he sent me to tell you. [_Glances at her
searchingly—a pause._] Yuh won’t make no trouble?
ELLA—Why should I? He’s free. The kid’s dead. I’m free. No hard
feelings—only—I’ll be there in spirit at his next fight, tell him! I’ll
take your tip—the other corner—second the punch—nine—ten—out! He’s free!
That’s all. [_She grins horribly at_ SHORTY.] Go away, Shorty.
SHORTY—[_Looking at her and shaking his head—maudlinly._] Groggy!
Groggy! We’re all groggy! Gluttons for punishment! Me for a drink. So
long. [_He goes. A Salvation Army band comes toward the corner. They are
playing and singing “Till We Meet at Jesus’ Feet.” They reach the end as
they enter and stop before_ ELLA. THE CAPTAIN _steps forward_.]
CAPTAIN—Sister——
ELLA—[_Picks up the money and drops it in his hat—mockingly._] Here. Go
save yourself. Leave me alone.
A WOMAN SALVATIONIST—Sister——-
ELLA—Never mind that. I’m not in your line—yet. [_As they hesitate,
wonderingly._] I want to be alone. [_To the thud of the big drum they
march off._ ELLA _sits down on a box, her hands hanging at her sides.
Presently_ JIM HARRIS _comes in. He has grown into a quietly-dressed,
studious-looking Negro with an intelligent yet queerly-baffled face._]
JIM—[_With a joyous but bewildered cry._] Ella! I just saw Shorty——
ELLA—[_Smiling at him with frank affection._] He had a message from
Mickey.
JIM—[_Sadly._] Ah!
ELLA—[_Pointing to the box behind her._] Sit down. [_He does so. A
pause—then she says indifferently._] It’s finished. I’m free, Jim.
JIM—[_Wearily._] We’re never free—except to do what we have to do.
ELLA—What are you getting gloomy about all of a sudden?
JIM—I’ve got the report from the school. I’ve flunked again.
ELLA—Poor Jim.
JIM—Don’t pity me. I’d like to kick myself all over the block. Five
years—and I’m still plugging away where I ought to have been at the end
of two.
ELLA—Why don’t you give it up?
JIM—No!
ELLA—After all, what’s being a lawyer?
JIM—A lot—to me—what it means. [_Intensely._] Why, if I was a Member of
the Bar right now, Ella, I believe I’d almost have the courage to——
ELLA—What?
JIM—Nothing. [_After a pause—gropingly._] I can’t explain—just—but it
hurts like fire. It brands me in my pride. I swear I know more’n any
member of my class. I ought to, I study harder. I work like the devil.
It’s all in my head—all fine and correct to a T. Then when I’m called
on—I stand up—all the white faces looking at me—and I can feel their
eyes—I hear my own voice sounding funny, trembling—and all of a sudden
it’s all gone in my head—there’s nothing remembered—and I hear myself
stuttering—and give up—sit down—— They don’t laugh, hardly ever. They’re
kind. They’re good people. [_In a frenzy._] They’re considerate, damn
them! But I feel branded!
ELLA—Poor Jim.
JIM—[_Going on painfully._] And it’s the same thing in the written
exams. For weeks before I study all night. I can’t sleep anyway. I learn
it all, I see it, I understand it. Then they give me the paper in the
exam room. I look it over, I know each answer—perfectly. I take up my
pen. On all sides are white men starting to write. They’re so sure—even
the ones that I know know nothing. But I know it all—but I can’t
remember any more—it fades—it goes—it’s gone. There’s a blank in my
head—stupidity—I sit like a fool fighting to remember a little bit here,
a little bit there—not enough to pass—not enough for anything—when I
know it all!
ELLA—[_Compassionately._] Jim. It isn’t worth it. You don’t need to——
JIM—I need it more than anyone ever needed anything. I need it to live.
ELLA—What’ll it prove?
JIM—Nothing at all much—but everything to me.
ELLA—You’re so much better than they are in every other way.
JIM—[_Looking up at her._] Then—you understand?
ELLA—Of course. [_Affectionately._] Don’t I know how fine you’ve been to
me! You’ve been the only one in the world who’s stood by me—the only
understanding person—and all after the rotten way I used to treat you.
JIM—But before that—way back so high—you treated me good. [_He smiles._]
ELLA—You’ve been white to me, Jim. [_She takes his hand._]
JIM—White—to you!
ELLA—Yes.
JIM—All love is white. I’ve always loved you. [_This with the deepest
humility._]
ELLA—Even now—after all that’s happened!
JIM—Always.
ELLA—I like you, Jim—better than anyone else in the world.
JIM—That’s more than enough, more than I ever hoped for. [_The organ
grinder comes to the corner. He plays the chorus of “Annie Laurie.” They
sit listening, hand in hand._] Would you ever want to marry me, Ella?
ELLA—Yes, Jim.
JIM—[_As if this quick consent alarmed him._] No, no, don’t answer now.
Wait! Turn it over in your mind! Think what it means to you! Consider
it—over and over again! I’m in no hurry, Ella. I can wait months—years——
ELLA—I’m alone. I’ve got to be helped. I’ve got to help someone—or it’s
the end—one end or another.
JIM—[_Eagerly._] Oh, I’ll help—I know I can help—I’ll give my life to
help you—that’s what I’ve been living for——
ELLA—But can I help you? Can I help you?
JIM—Yes! Yes! We’ll go abroad where a man is a man—where it don’t make
that difference—where people are kind and wise to see the soul under
skins. I don’t ask you to love me—I don’t dare to hope nothing like
that! I don’t want nothing—only to wait—to know you like me—to be near
you—to keep harm away—to make up for the past—to never let you suffer
any more—to serve you—to lie at your feet like a dog that loves you—to
kneel by your bed like a nurse that watches over you sleeping—to
preserve and protect and shield you from evil and sorrow—to give my life
and my blood and all the strength that’s in me to give you peace and
joy—to become your slave!—yes, be your slave—your black slave that
adores you as sacred! [_He has sunk to his knees. In a frenzy of
self-abnegation, as he says the last words he beats his head on the
flagstones._]
ELLA—[_Overcome and alarmed._] Jim! Jim! You’re crazy! I want to help
you, Jim—I want to help——
[_The Curtain Falls_]
ACT ONE
SCENE FOUR
SCENE—_Some weeks or so later. A street in the same ward in front of
an old brick church. The church sets back from the sidewalk in a
yard enclosed by a rusty iron railing with a gate at center. On
each side of this yard are tenements. The buildings have a stern,
forbidding look. All the shades on the windows are drawn down,
giving an effect of staring, brutal eyes that pry callously at
human beings without acknowledging them. Even the two tall, narrow
church windows on either side of the arched door are blanked with
dull green shades. It is a bright sunny morning. The district is
unusually still, as if it were waiting, holding its breath._
_From the street of the blacks to the right a Negro tenor sings in
a voice of shadowy richness—the first stanza with a contented,
childlike melancholy_—
Sometimes I feel like a mourning dove,
Sometimes I feel like a mourning dove,
I feel like a mourning dove.
_The second with a dreamy, boyish exultance_—
Sometimes I feel like an eagle in the air,
Sometimes I feel like an eagle in the air,
I feel like an eagle in the air.
_The third with a brooding, earthbound sorrow_—
Sometimes I wish that I’d never been born,
Sometimes I wish that I’d never been born,
I wish that I’d never been born.
_As the music dies down there is a pause of waiting stillness.
This is broken by one startling, metallic clang of the
church-bell. As if it were a signal, people—men, women,
children—pour from the two tenements, whites from the tenement to
the left, blacks from the one to the right. They hurry to form
into two racial lines on each side of the gate, rigid and
unyielding, staring across at each other with bitter hostile eyes.
The halves of the big church door swing open and_ JIM _and_ ELLA
_step out from the darkness within into the sunlight. The doors
slam behind them like wooden lips of an idol that has spat them
out._ JIM _is dressed in black._ ELLA _in white, both with extreme
plainness. They stand in the sunlight, shrinking and confused. All
the hostile eyes are now concentrated on them. They become aware
of the two lines through which they must pass; they hesitate and
tremble; then stand there staring back at the people as fixed and
immovable as they are. The organ grinder comes in from the right.
He plays the chorus of “Old Black Joe.” As he finishes the bell of
the church clangs one more single stroke, insistently dismissing._
JIM—[_As if the sound had awakened him from a trance, reaches out and
takes her hand._] Come. Time we got to the steamer. Time we sailed away
over the sea. Come, Honey! [_She tries to answer but her lips tremble;
she cannot take her eyes off the eyes of the people; she is unable to
move. He sees this and, keeping the same tone of profound, affectionate
kindness, he points upward in the sky, and gradually persuades her eyes
to look up._] Look up, Honey! See the sun! Feel his warm eye lookin’
down! Feel how kind he looks! Feel his blessing deep in your heart, your
bones! Look up, Honey! [_Her eyes are fixed on the sky now. Her face is
calm. She tries to smile bravely back at the sun. Now he pulls her by
the hand, urging her gently to walk with him down through the yard and
gate, through the lines of people. He is maintaining an attitude to
support them through the ordeal only by a terrible effort, which
manifests itself in the hysteric quality of ecstasy which breaks into
his voice._] And look at the sky! Ain’t it kind and blue! Blue for hope.
Don’t they say blue’s for hope? Hope! That’s for us, Honey. All those
blessings in the sky! What’s it the Bible says? Falls on just and unjust
alike? No, that’s the sweet rain. Pshaw, what am I saying? All mixed up.
There’s no unjust about it. We’re all the same—equally just—under the
sky—under the sun—under God—sailing over the sea—to the other side of
the world—the side where Christ was born—the kind side that takes count
of the soul—over the sea—the sea’s blue, to——. Let’s not be late—let’s
get that steamer! [_They have reached the curb now, passed the lines of
people. She is looking up to the sky with an expression of trancelike
calm and peace. He is on the verge of collapse, his face twitching, his
eyes staring. He calls hoarsely_:] Taxi! Where is he? Taxi!
[_The Curtain Falls_]
ACT II
ACT TWO
SCENE ONE
SCENE—_Two years later. A flat of the better sort in the Negro
district near the corner of Act One. This is the parlor. Its
furniture is a queer clash. The old pieces are cheaply ornate,
naïvely, childishly gaudy—the new pieces give evidence of a taste
that is diametrically opposed, severe to the point of somberness.
On one wall, in a heavy gold frame, is a colored photograph—the
portrait of an elderly Negro with an able, shrewd face but dressed
in outlandish lodge regalia, a get-up adorned with medals, sashes,
a cocked hat with frills—the whole effect as absurd to contemplate
as one of Napoleon’s Marshals in full uniform. In the left corner,
where a window lights it effectively, is a Negro primitive mask
from the Congo—a grotesque face, inspiring obscure, dim
connotations in one’s mind, but beautifully done, conceived in a
true religious spirit. In this room, however, the mask acquires an
arbitrary accentuation. It dominates by a diabolical quality that
contrast imposes upon it._
_There are two windows on the left looking out in the street. In
the rear, a door to the hall of the building. In the right, a
doorway with red and gold portières leading into the bedroom and
the rest of the flat. Everything is cleaned and polished. The dark
brown wall paper is new, the brilliantly figured carpet also.
There is a round mahogany table at center. In a rocking chair by
the table_ MRS. HARRIS _is sitting. She is a mild-looking,
gray-haired Negress of sixty-five, dressed in an old-fashioned
Sunday-best dress. Walking about the room nervously is_ HATTIE,
_her daughter_, JIM’S _sister, a woman of about thirty with a
high-strung, defiant face—an intelligent head showing both power
and courage. She is dressed severely, mannishly._
_It is a fine morning in Spring. Sunshine comes through the
windows at the left._
MRS. HARRIS—Time dey was here, ain’t it?
HATTIE—[_Impatiently._] Yes.
MRS. H.—[_Worriedly._] You ain’t gwine ter kick up a fuss, is you—like
you done wid Jim befo’ de weddin’?
HATTIE—No. What’s done is done.
MRS. H.—We mustn’t let her see we hold it agin’ her—de bad dat happened
to her wid dat no-count fighter.
HATTIE—I certainly never give that a thought. It’s what she’s done to
Jim—making him run away and give up his fight——!
MRS. H.—Jim loves her a powerful lot, must be.
HATTIE—[_After a pause—bitterly._] I wonder if she loves Jim!
MRS. H.—She must, too. Yes, she must, too. Don’t you forget dat it was
hard for her—mighty, mighty hard—harder for de white dan for de black!
HATTIE—[_Indignantly._] Why should it be?
MRS. H.—[_Shaking her head._] I ain’t talkin’ of shoulds. It’s too late
for shoulds. Dey’s o’ny one should. [_Solemnly._] De white and de black
shouldn’t mix dat close. Dere’s one road where de white goes on alone;
dere’s anudder road where de black goes on alone——
HATTIE—Yes, if they’d only leave us alone!
MRS. H.—Dey leaves your Pa alone. He comes to de top till he’s got his
own business, lots o’ money in de bank, he owns a building even befo’ he
die. [_She looks up proudly at the picture._ HATTIE _sighs
impatiently—then her mother goes on_.] Dey leaves me alone. I bears four
children into dis worl’, two dies, two lives, I helps you two grow up
fine an’ healthy and eddicated wid schoolin’ and money fo’ yo’ comfort——
HATTIE—[_Impatiently._] Ma!
MRS. H.—I does de duty God set for me in dis worl’. Dey leaves me alone.
[HATTIE _goes to the window to hide her exasperation. The mother broods
for a minute—then goes on._] The worl’ done change. Dey ain’t no
satisfaction wid nuffin’ no more.
HATTIE—Oh! [_Then after a pause._] They’ll be here any minute now.
MRS. H.—Why didn’t you go meet ’em at de dock like I axed you?
HATTIE—I couldn’t. My face and Jim’s among those hundreds of white
faces—— [_With a harsh laugh._] It would give her too much advantage!
MRS. H.—[_Impatiently._] Don’t talk dat way! What makes you so proud?
[_Then after a pause—sadly._] Hattie.
HATTIE—[_Turning._] Yes, Ma.
MRS. H.—I want to see Jim again—my only boy—but—all de same I’d ruther
he stayed away. He say in his letter he’s happy, she’s happy, dey likes
it dere, de folks don’t think nuffin’ but what’s natural at seeing ’em
married. Why don’t dey stay?
HATTIE—[_Vehemently._] No! They were cowards to run away. If they
believe in what they’ve done, then let them face it out, live it out
here, be strong enough to conquer all prejudice!
MRS. H.—Strong? Dey ain’t many strong. Dey ain’t many happy neider. Dey
was happy ovah yondah.
HATTIE—We don’t deserve happiness till we’ve fought the fight of our
race and won it! [_In the pause that follows there is a ring from back
in the flat._] It’s the door bell! You go, Ma. I—I—I’d rather not. [_Her
mother looks at her rebukingly and goes out agitatedly through the
portières._ HATTIE _waits, nervously walking about, trying to compose
herself. There is a long pause. Finally the portières are parted and_
JIM _enters. He looks much older, graver, worried._]
JIM—Hattie!
HATTIE—Jim! [_They embrace with great affection._]
JIM—It’s great to see you again! You’re looking fine.
HATTIE—[_Looking at him searchingly._] You look well, too—thinner
maybe—and tired. [_Then as she sees him frowning._] But where’s Ella?
JIM—With Ma. [_Apologetically._] She sort of—broke down—when we came in.
The trip wore her out.
HATTIE—[_Coldly._] I see.
JIM—Oh, it’s nothing serious. Nerves. She needs a rest.
HATTIE—Wasn’t living in France restful?
JIM—Yes, but—too lonely—especially for her.
HATTIE—[_Resentfully._] Why? Didn’t the people there want to
associate——?
JIM—[_Quickly._] Oh, no indeedy, they didn’t think anything of that.
[_After a pause._] But—she did. For the first year it was all right.
Ella liked everything a lot. She went out with French folks and got so
she could talk it a little—and I learned it—a little. We were having a
right nice time. I never thought then we’d ever want to come back here.
HATTIE—[_Frowning._] But—what happened to change you?
JIM—[_After a pause—haltingly._] Well—you see—the first year—she and I
were living around—like friends—like a brother and sister—like you and I
might.
HATTIE—[_Her face becoming more and more drawn and tense._] You
mean—then——? [_She shudders—then after a pause._] She loves you, Jim?
JIM—If I didn’t know that I’d have to jump in the river.
HATTIE—Are you sure she loves you?
JIM—Isn’t that why she’s suffering?
HATTIE—[_Letting her breath escape through her clenched teeth._] Ah!
JIM—[_Suddenly springs up and shouts almost hysterically._] Why d’you
ask me all those damn questions? Are you trying to make trouble between
us?
HATTIE—[_Controlling herself—quietly._] No, Jim.
JIM—[_After a pause—contritely._] I’m sorry, Hattie. I’m kind of on edge
today. [_He sinks down on his chair—then goes on as if something forced
him to speak._] After that we got to living housed in. Ella didn’t want
to see nobody, she said just the two of us was enough. I was happy
then—and I really guess she was happy, too—in a way—for a while. [_Again
a pause._] But she never did get to wanting to go out any place again.
She got to saying she felt she’d be sure to run into someone she
knew—from over here. So I moved us out to the country where no tourist
ever comes—but it didn’t make any difference to her. She got to avoiding
the French folks the same as if they were Americans and I couldn’t get
it out of her mind. She lived in the house and got paler and paler, and
more and more nervous and scarey, always imagining things—until I got to
imagining things, too. I got to feeling blue. Got to sneering at myself
that I wasn’t any better than a quitter because I sneaked away right
after getting married, didn’t face nothing, gave up trying to become a
Member of the Bar—and I got to suspecting Ella must feel that way about
me, too—that I wasn’t a _real man_!
HATTIE—[_Indignantly._] She couldn’t!
JIM—[_With hostility._] You don’t need to tell me! All this was only in
my own mind. We never quarreled a single bit. We never said a harsh
word. We were as close to each other as could be. We were all there was
in the world to each other. We were alone together! [_A pause._] Well,
one day I got so I couldn’t stand it. I could see she couldn’t stand it.
So I just up and said: Ella, we’ve got to have a plain talk, look
everything straight in the face, hide nothing, come out with the exact
truth of the way we feel.
HATTIE—And you decided to come back!
JIM—Yes. We decided the reason we felt sort of ashamed was we’d acted
like cowards. We’d run away from the thing—and taken it with us. We
decided to come back and face it and live it down in ourselves, and
prove to ourselves we were strong in our love—and then, and that way
only, by being brave we’d free ourselves, and gain confidence, and be
really free inside and able then to go anywhere and live in peace and
equality with ourselves and the world without any guilty uncomfortable
feeling coming up to rile us. [_He has talked himself now into a state
of happy confidence._]
HATTIE—[_Bending over and kissing him._] Good for you! I admire you so
much, Jim! I admire both of you! And are you going to begin studying
right away and get admitted to the Bar?
JIM—You bet I am!
HATTIE—You must, Jim! Our race needs men like you to come to the front
and help—— [_As voices are heard approaching she stops, stiffens, and
her face grows cold._]
JIM—[_Noticing this—warningly._] Remember Ella’s been sick! [_Losing
control—threateningly._] You be nice to her, you hear! [MRS. HARRIS
_enters, showing_ ELLA _the way. The colored woman is plainly worried
and perplexed._ ELLA _is pale, with a strange, haunted expression in her
eyes. She runs to Jim as to a refuge, clutching his hands in both of
hers, looking from_ MRS. HARRIS _to_ HATTIE _with a frightened
defiance_.]
MRS. H.—Dere he is, child, big’s life! She was afraid we’d done
kidnapped you away, Jim.
JIM—[_Patting her hand._] This place ought to be familiar, Ella. Don’t
you remember playing here with us sometimes as a kid?
ELLA—[_Queerly—with a frown of effort._] I remember playing marbles one
night—but that was on the street.
JIM—Don’t you remember Hattie?
HATTIE—[_Coming forward with a forced smile._] It was a long time
ago—but I remember Ella. [_She holds out her hand._]
ELLA—[_Taking it—looking at_ HATTIE _with the same queer defiance_.] I
remember. But you’ve changed so much.
HATTIE—[_Stirred to hostility by_ ELLA’S _manner—condescendingly_.] Yes,
I’ve grown older, naturally. [_Then in a tone which, as if in spite of
herself, becomes bragging._] I’ve worked so hard. First I went away to
college, you know—then I took up post-graduate study—when suddenly I
decided I’d accomplish more good if I gave up learning and took up
teaching. [_She suddenly checks herself, ashamed, and stung by_ ELLA’S
_indifference_.] But this sounds like stupid boasting. I don’t mean
that. I was only explaining——
ELLA—[_Indifferently._] I didn’t know you’d been to school so long. [_A
pause._] Where are you teaching? In a colored school, I suppose. [_There
is an indifferent superiority in her words that is maddening to_
HATTIE.]
HATTIE—[_Controlling herself._] Yes. A private school endowed by some
wealthy members of our race.
ELLA—[_Suddenly—even eagerly._] Then you must have taken lots of
examinations and managed to pass them, didn’t you?
HATTIE—[_Biting her lips._] I always passed with honors!
ELLA—Yes, we both graduated from the same High School, didn’t we? That
was dead easy for me. Why I hardly even looked at a book. But Jim says
it was awfully hard for him. He failed one year, remember? [_She turns
and smiles at_ JIM—_a tolerant, superior smile but one full of genuine
love_. HATTIE _is outraged, but_ JIM _smiles_.]
JIM—Yes, it was hard for me, Honey.
ELLA—And the law school examinations Jim hardly ever could pass at all.
Could you? [_She laughs lovingly._]
HATTIE—[_Harshly._] Yes, he could! He can! He’ll pass them now—if you’ll
give him a chance!
JIM—[_Angrily._] Hattie!
MRS. HARRIS—Hold yo’ fool tongue!
HATTIE—[_Sullenly._] I’m sorry. [ELLA _has shrunk back against_ JIM.
_She regards_ HATTIE _with a sort of wondering hatred. Then she looks
away about the room. Suddenly her eyes fasten on the primitive mask and
she gives a stifled scream._]
JIM—What’s the matter, Honey?
ELLA—[_Pointing._] That! For God’s sake, what is it?
HATTIE—[_Scornfully._] It’s a Congo mask. [_She goes and picks it up._]
I’ll take it away if you wish. I thought you’d like it. It was my
wedding present to Jim.
ELLA—What is it?
HATTIE—It’s a mask which used to be worn in religious ceremonies by my
people in Africa. But, aside from that, it’s beautifully made, a work of
Art by a real artist—as real in his way as your Michael Angelo.
[_Forces_ ELLA _to take it_.] Here. Just notice the workmanship.
ELLA—[_Defiantly._] I’m not scared of it if you’re not. [_Looking at it
with disgust._] Beautiful? Well, some people certainly have queer
notions! It looks ugly to me and stupid—like a kid’s game—making faces!
[_She slaps it contemptuously._] Pooh! You needn’t look hard at me. I’ll
give you the laugh. [_She goes to put it back on the stand._]
JIM—Maybe, if it disturbs you, we better put it in some other room.
ELLA—[_Defiantly aggressive._] No. I want it here where I can give it
the laugh! [_She sets it there again—then turns suddenly on_ HATTIE
_with aggressive determination_.] Jim’s not going to take any more
examinations! I won’t let him!
HATTIE—[_Bursting forth._] Jim! Do you hear that? There’s white
justice!—their fear for their superiority!——
ELLA—[_With a terrified pleading._] Make her go away, Jim!
JIM—[_Losing control—furiously to his sister._] Either you leave here—or
we will!
MRS. H.—[_Weeping—throws her arms around_ HATTIE.] Let’s go, chile!
Let’s go!
HATTIE—[_Calmly now._] Yes, Ma. All right. [_They go through the
portières. As soon as they are gone_, JIM _suddenly collapses into a
chair and hides his head in his hands_. ELLA _stands beside him for a
moment. She stares distractedly about her, at the portrait, at the mask,
at the furniture, at_ JIM. _She seems fighting to escape from some
weight on her mind. She throws this off and, completely her old self for
the moment, kneels by_ JIM _and pats his shoulder_.]
ELLA—[_With kindness and love._] Don’t, Jim! Don’t cry, please! You
don’t suppose I really meant that about the examinations, do you? Why,
of course, I didn’t mean a word! I couldn’t mean it! I want you to take
the examinations! I want you to pass! I want you to be a lawyer! I want
you to be the best lawyer in the country! I want you to show ’em—all the
dirty sneaking; gossiping liars that talk behind our backs—what a man I
married. I want the whole world to know you’re the whitest of the white!
I want you to climb and climb—and step on ’em, stamp right on their mean
faces! I love you, Jim. You know that!
JIM—[_Calm again—happily._] I hope so, Honey—and I’ll make myself
worthy.
HATTIE—[_Appears in the doorway—quietly._] We’re going now, Jim.
ELLA—No. Don’t go.
HATTIE—We were going to, anyway. This is your house—Mother’s gift to
you, Jim.
JIM—[_Astonished._] But I can’t accept—— Where are you going?
HATTIE—We’ve got a nice flat in the Bronx—[_with bitter pride_] in the
heart of the Black Belt—the Congo—among our own people!
JIM—[_Angrily._] You’re crazy—I’ll see Ma—— [_He goes out._ HATTIE _and_
ELLA _stare at each other with scorn and hatred for a moment, then_
HATTIE _goes_. ELLA _remains kneeling for a moment by the chair, her
eyes dazed and strange as she looks about her. Then she gets to her feet
and stands before the portrait of_ JIM’S _father—with a sneer_.]
ELLA—It’s his Old Man—all dolled up like a circus horse! Well, they
can’t help it. It’s in the blood, I suppose. They’re ignorant, that’s
all there is to it. [_She moves to the mask—forcing a mocking tone._]
Hello, sport! Who d’you think you’re scaring? Not me! I’ll give you the
laugh. He won’t pass, you wait and see. Not in a thousand years! [_She
goes to the window and looks down at the street and mutters._] All
black! Every one of them! [_Then with sudden excitement._] No, there’s
one. Why, it’s Shorty! [_She throws the window open and calls._] Shorty!
Shorty! Hello, Shorty! [_She leans out and waves—then stops, remains
there for a moment looking down, then comes back into the room suddenly
as if she wanted to hide—her whole face in an anguish._] Say! Say! I
wonder?—No, he didn’t hear you. Yes, he did, too! He must have! I yelled
so loud you could hear me in Jersey! No, what are you talking about? How
would he hear with all kids yelling down there? He never heard a word, I
tell you! He did, too! He didn’t want to hear you! He didn’t want to let
anyone know he knew you! Why don’t you acknowledge it? What are you
lying about? I’m not! Why shouldn’t he? Where does he come in to—for
God’s sake, who is Shorty, anyway? A pimp! Yes, and a dope-peddler, too!
D’you mean to say he’d have the nerve to hear me call him and then
deliberately——? Yes, I mean to say it! I do say it! And it’s true, and
you know it, and you might as well be honest for a change and admit it!
He heard you but he didn’t want to hear you! He doesn’t want to know you
any more. No, not even him! He’s afraid it’d get him in wrong with the
old gang. Why? You know well enough! Because you married a—a—a—well, I
won’t say it, but you know without my mentioning names! [ELLA _springs
to her feet in horror and shakes off her obsession with a frantic
effort_.] Stop! [_Then whimpering like a frightened child._] Jim! Jim!
Jim! Where are you? I want you, Jim! [_She runs out of the room as_
[_The Curtain Falls_]
ACT TWO
SCENE TWO
SCENE—_The same. Six months later. It is evening. The walls of the
room appear shrunken in, the ceiling lowered, so that the
furniture, the portrait, the mask look unnaturally large and
domineering._ JIM _is seated at the table studying, law books
piled by his elbows. He is keeping his attention concentrated only
by a driving physical effort which gives his face the expression
of a runner’s near the tape. His forehead shines with
perspiration. He mutters one sentence from Blackstone over and
over again, tapping his forehead with his fist in time to the
rhythm he gives the stale words. But, in spite of himself, his
attention wanders, his eyes have an uneasy, hunted look, he starts
at every sound in the house or from the street. Finally, he
remains rigid, Blackstone forgotten, his eyes fixed on the
portières with tense grief. Then he groans, slams the book shut,
goes to the window and throws it open and sinks down beside it,
his arms on the sill, his head resting wearily on his arms,
staring out into the night, the pale glare from the arc-lamp on
the corner throwing his face into relief. The portières on the
right are parted and_ HATTIE _comes in_.
HATTIE—[_Not seeing him at the table._] Jim! [_Discovering him._] Oh,
there you are. What’re you doing?
JIM—[_Turning to her._] Resting. Cooling my head. [_Forcing a smile._]
These law books certainly are a sweating proposition! [_Then,
anxiously._] How is she?
HATTIE—She’s asleep now. I felt it was safe to leave her for a minute.
[_After a pause._] What did the doctor tell you, Jim?
JIM—The same old thing. She must have rest, he says, her mind needs
rest—— [_Bitterly._] But he can’t tell me any prescription for that
rest—leastways not any that’d work.
HATTIE—[_After a pause._] I think you ought to leave her, Jim—or let her
leave you—for a while, anyway.
JIM—[_Angrily._] You’re like the doctor. Everything’s so simple and
easy. Do this and that happens. Only it don’t. Life isn’t simple like
that—not in this case, anyway—no, it isn’t simple a bit. [_After a
pause._] I can’t leave her. She can’t leave me. And there’s a million
little reasons combining to make one big reason why we can’t. [_A
pause._] For her sake—if it’d do her good—I’d go—I’d leave—I’d do
anything—because I love her. I’d kill myself even—jump out of this
window this second—I’ve thought it over, too—but that’d only make
matters worse for her. I’m all she’s got in the world! Yes, that isn’t
bragging or fooling myself. I know that for a fact! Don’t you know
that’s true? [_There is a pleading for the certainty he claims._]
HATTIE—Yes, I know she loves you, Jim. I know that now.
JIM—[_Simply._] Then we’ve got to stick together to the end, haven’t we,
whatever comes—and hope and pray for the best? [_A pause—then
hopefully._] I think maybe this is the crisis in her mind. Once she
settles this in herself, she’s won to the other side. And me—once I
become a Member of the Bar—then I win, too! We’re both free—by our own
fighting down our own weakness! We’re both really, truly free! Then we
can be happy with ourselves here or anywhere. She’ll be proud then! Yes,
she’s told me again and again, she says she’ll be actually proud!
HATTIE—[_Turning away to conceal her emotion._] Yes, I’m sure—but you
mustn’t study too hard, Jim! You mustn’t study too awfully hard!
JIM—[_Gets up and goes to the table and sits down wearily._] Yes, I
know. Oh, I’ll pass easily. I haven’t got any scarey feeling about that
any more. And I’m doing two years’ work in one here alone. That’s better
than schools, eh?
HATTIE—[_Doubtfully._] It’s wonderful, Jim.
JIM—[_His spirit evaporating._] If I can only hold out! It’s hard! I’m
worn out. I don’t sleep. I get to thinking and thinking. My head aches
and burns like fire with thinking. Round and round my thoughts go
chasing like crazy chickens hopping and flapping before the wind. It
gets me crazy mad—’cause I can’t stop!
HATTIE—[_Watching him for a while and seeming to force herself to
speak._] The doctor didn’t tell you all, Jim.
JIM—[_Dully._] What’s that?
HATTIE—He told me you’re liable to break down too, if you don’t take
care of yourself.
JIM—[_Abjectly weary._] Let ’er come! I don’t care what happens to me.
Maybe if I get sick she’ll get well. There’s only so much bad luck
allowed to one family, maybe. [_He forces a wan smile._]
HATTIE—[_Hastily._] Don’t give in to that idea, for the Lord’s sake!
JIM—I’m tired—and blue—that’s all.
HATTIE—[_After another long pause._] I’ve got to tell you something
else, Jim.
JIM—[_Dully._] What?
HATTIE—The doctor said Ella’s liable to be sick like this a very long
time.
JIM—He told me that too—that it’d be a long time before she got back her
normal strength. Well, I suppose that’s got to be expected.
HATTIE—[_Slowly._] He didn’t mean convalescing—what he told me. [_A long
pause._]
JIM—[_Evasively._] I’m going to get other doctors in to see
Ella—specialists. This one’s a damn fool.
HATTIE—Be sensible, Jim. You’ll have to face the truth—sooner or later.
JIM—[_Irritably._] I know the truth about Ella better’n any doctor.
HATTIE—[_Persuasively._] She’d get better so much sooner if you’d send
her away to some nice sanitarium——
JIM—No! She’d die of shame there!
HATTIE—At least until after you’ve taken your examinations——
JIM—To hell with me!
HATTIE—Six months. That wouldn’t be long to be parted.
JIM—What are you trying to do—separate us? [_He gets to his
feet—furiously._] Go on out! Go on out!
HATTIE—[_Calmly._] No, I won’t. [_Sharply._] There’s something that’s
got to be said to you and I’m the only one with the courage——
[_Intensely._] Tell me, Jim, have you heard her raving when she’s out of
her mind?
JIM—[_With a shudder._] No!
HATTIE—You’re lying, Jim. You must have—if you don’t stop your ears—and
the doctor says she may develop a violent mania, dangerous for you—get
worse and worse until—Jim, you’ll go crazy too—living this way. Today
she raved on about “Black! Black!” and cried because she said her skin
was turning black—that you had poisoned her——
JIM—[_In anguish._] That’s only when she’s out of her mind.
HATTIE—And then she suddenly called me a dirty nigger.
JIM—No! She never said that ever! She never would!
HATTIE—She did—and kept on and on! [_A tense pause._] She’ll be saying
that to you soon.
JIM—[_Torturedly._] She don’t mean it! She isn’t responsible for what
she’s saying!
HATTIE—I know she isn’t—yet she is just the same. It’s deep down in her
or it wouldn’t come out.
JIM—Deep down in her people—not deep in her.
HATTIE—I can’t make such distinctions. The race in me, deep in me, can’t
stand it. I can’t play nurse to her any more, Jim,—not even for your
sake. I’m afraid—afraid of myself—afraid sometime I’ll kill her dead to
set you free! [_She loses control and begins to cry._]
JIM—[_After a long pause—somberly._] Yes, I guess you’d better stay away
from here. Good-by.
HATTIE—Who’ll you get to nurse her, Jim,—a white woman?
JIM—Ella’d die of shame. No, I’ll nurse her myself.
HATTIE—And give up your studies?
JIM—I can do both.
HATTIE—You can’t! You’ll get sick yourself! Why, you look terrible even
as it is—and it’s only beginning!
JIM—I can do anything for her! I’m all she’s got in the world! I’ve got
to prove I can be all to her! I’ve got to prove worthy! I’ve got to
prove she can be proud of me! I’ve got to prove I’m the whitest of the
white!
HATTIE—[_Stung by this last—with rebellious bitterness._] Is that the
ambition she’s given you? Oh, you soft, weak-minded fool, you traitor to
your race! And the thanks you’ll get—to be called a dirty nigger—to hear
her cursing you because she can never have a child because it’ll be born
black——!
JIM—[_In a frenzy._] Stop!
HATTIE—I’ll say what must be said even though you kill me, Jim. Send her
to an asylum before you both have to be sent to one together.
JIM—[_With a sudden wild laugh._] Do you think you’re threatening me
with something dreadful now? Why, I’d like that. Sure, I’d like that!
Maybe she’d like it better, too. Maybe we’d both find it all simple
then—like you think it is now. Yes. [_He laughs again._]
HATTIE—[_Frightenedly._] Jim!
JIM—Together! You can’t scare me even with hell fire if you say she and
I go together. It’s heaven then for me! [_With sudden savagery._] You go
out of here! All you’ve ever been aiming to do is to separate us so we
can’t be together!
HATTIE—I’ve done what I did for your own good.
JIM—I have no own good. I only got a good together with her. I’m all
she’s got in the world! Let her call me nigger! Let her call me the
whitest of the white! I’m all she’s got in the world, ain’t I? She’s all
I’ve got! You with your fool talk of the black race and the white race!
Where does the human race get a chance to come in? I suppose that’s
simple for you. You lock it up in asylums and throw away the key! [_With
fresh violence._] Go along! There isn’t going to be no more people
coming in here to separate—excepting the doctor. I’m going to lock the
door and it’s going to stay locked, you hear? Go along, now!
HATTIE—[_Confusedly._] Jim!
JIM—[_Pushes her out gently and slams the door after her—vaguely._] Go
along! I got to study. I got to nurse Ella, too. Oh, I can do it! I can
do anything for her! [_He sits down at the table and, opening the book,
begins again to recite the line from Blackstone in a meaningless rhythm,
tapping his forehead with his fist._ ELLA _enters noiselessly through
the portières. She wears a red dressing-gown over her night-dress but is
in her bare feet. She has a carving-knife in her right hand. Her eyes
fasten on_ JIM _with a murderous mania. She creeps up behind him.
Suddenly he senses something and turns. As he sees her he gives a cry,
jumping up and catching her wrist. She stands fixed, her eyes growing
bewildered and frightened._]
JIM—[_Aghast._] Ella! For God’s sake! Do you want to murder me? [_She
does not answer. He shakes her._]
ELLA—[_Whimperingly._] They kept calling me names as I was walking
along—I can’t tell you what, Jim—and then I grabbed a knife——
JIM—Yes! See! This! [_She looks at it frightenedly._]
ELLA—Where did I——? I was having a nightmare—— Where did they go—I mean,
how did I get here? [_With sudden terrified pleading—like a little
girl._] Oh, Jim—don’t ever leave me alone! I have such terrible dreams,
Jim—promise you’ll never go away!
JIM—I promise, Honey.
ELLA—[_Her manner becoming more and more childishly silly._] I’ll be a
little girl—and you’ll be old Uncle Jim who’s been with us for years and
years—— Will you play that?
JIM—Yes, Honey. Now you better go back to bed.
ELLA—[_Like a child._] Yes, Uncle Jim. [_She turns to go. He pretends to
be occupied by his book. She looks at him for a second—then suddenly
asks in her natural woman’s voice._] Are you studying hard, Jim?
JIM—Yes, Honey. Go to bed now. You need to rest, you know.
ELLA—[_Stands looking at him, fighting with herself. A startling
transformation comes over her face. It grows mean, vicious, full of
jealous hatred. She cannot contain herself but breaks out harshly with a
cruel, venomous grin._] You dirty nigger!
JIM—[_Starting as if he’d been shot._] Ella! For the good Lord’s sake!
ELLA—[_Coming out of her insane mood for a moment, aware of something
terrible, frightened._] Jim! Jim! Why are you looking at me like that?
JIM—What did you say to me just then?
ELLA—[_Gropingly._] Why, I—I said—I remember saying, are you studying
hard, Jim? Why? You’re not mad at that, are you?
JIM—No, Honey. What made you think I was mad? Go to bed now.
ELLA—[_Obediently._] Yes, Jim. [_She passes behind the portières._ JIM
_stares before him. Suddenly her head is thrust out at the side of the
portières. Her face is again that of a vindictive maniac._] Nigger!
[_The face disappears—she can be heard running away, laughing with cruel
satisfaction._ JIM _bows his head on his outstretched arms but he is too
stricken for tears_.]
[_The Curtain Falls_]
ACT TWO
SCENE THREE
SCENE—_The same, six months later. The sun has just gone down. The
Spring twilight sheds a vague, gray light about the room, picking
out the Congo mask on the stand by the window. The walls have
shrunken in still more, the ceiling now barely clears the people’s
heads, the furniture and the characters appear enormously
magnified. Law books are stacked in two great piles on each side
of the table._ ELLA _comes in from the right, the carving-knife in
her hand. She is pitifully thin, her face is wasted, but her eyes
glow with a mad energy, her movements are abrupt and spring-like.
She looks stealthily about the room, then advances and stands
before the mask, her arms akimbo, her attitude one of crazy
mockery, fear and bravado. She is dressed in the red
dressing-gown, grown dirty and ragged now, and is in her bare
feet._
ELLA—I’ll give you the laugh, wait and see! [_Then in a confidential
tone._] He thought I was asleep! He called, Ella, Ella—but I kept my
eyes shut, I pretended to snore. I fooled him good. [_She gives a little
hoarse laugh._] This is the first time he’s dared to leave me alone for
months and months. I’ve been wanting to talk to you every day but this
is the only chance—— [_With sudden violence—flourishing her knife._]
What’re you grinning about, you dirty nigger, you? How dare you grin at
me? I guess you forget what you are! That’s always the way. Be kind to
you, treat you decent, and in a second you’ve got a swelled head, you
think you’re somebody, you’re all over the place putting on airs, why,
it’s got so I can’t even walk down the street without seeing niggers,
niggers everywhere. Hanging around, grinning, grinning—going to
school—pretending they’re white—taking examinations——[_She stops,
arrested by the word, then suddenly._] That’s where he’s gone—down to
the mail-box—to see if there’s a letter from the Board—telling him—— But
why is he so long? [_She calls pitifully._] Jim! [_Then in a terrified
whimper._] Maybe he’s passed! Maybe he’s passed! [_In a frenzy._] No!
No! He can’t! I’d kill him! I’d kill myself! [_Threatening the Congo
mask._] It’s you who’re to blame for this! Yes, you! Oh, I’m on to you!
[_Then appealingly._] But why d’you want to do this to us? What have I
ever done wrong to you? What have you got against me? I married you,
didn’t I? Why don’t you let Jim alone? Why don’t you let him be happy as
he is—with me? Why don’t you let me be happy? He’s white, isn’t he—the
whitest man that ever lived? Where do you come in to interfere? Black!
Black! Black as dirt! You’ve poisoned me! I can’t wash myself clean! Oh,
I hate you! I hate you! Why don’t you let Jim and I be happy? [_She
sinks down in his chair, her arms outstretched on the table. The door
from the hall is slowly opened and_ JIM _appears. His bloodshot,
sleepless eyes stare from deep hollows. His expression is one of crushed
numbness. He holds an open letter in his hand._]
JIM—[_Seeing_ ELLA—_in an absolutely dead voice_.] Honey—I thought you
were asleep.
ELLA—[_Starts and wheels about in her chair._] What’s that? You got—you
got a letter——?
JIM—[_Turning to close the door after him._] From the Board of Examiners
for admission to the Bar, State of New York—God’s country! [_He finishes
up with a chuckle of ironic self-pity so spent as to be barely
audible._]
ELLA—[_Writhing out of her chair like some fierce animal, the knife held
behind her—with fear and hatred._] You didn’t—you didn’t—you didn’t
pass, did you?
JIM—[_Looking at her wildly._] Pass? Pass? [_He begins to chuckle and
laugh between sentences and phrases, rich, Negro laughter, but
heart-breaking in its mocking grief._] Good Lord, child, how come you
can ever imagine such a crazy idea? Pass? Me? Jim Crow Harris? Nigger
Jim Harris—become a full-fledged Member of the Bar! Why the mere notion
of it is enough to kill you with laughing! It’d be against all natural
laws, all human right and justice. It’d be miraculous, there’d be
earthquakes and catastrophes, the seven Plagues’d come again and
locusts’d devour all the money in the banks, the second Flood’d come
roaring and Noah’d fall overboard, the sun’d drop out of the sky like a
ripe fig, and the Devil’d perform miracles, and God’d be tipped head
first right out of the Judgment seat! [_He laughs, maudlinly
uproarious._]
ELLA—[_Her face beginning to relax, to light up._] Then you—you didn’t
pass?
JIM—[_Spent—giggling and gasping idiotically._] Well, I should say not!
I should certainly say not!
ELLA—[_With a cry of joy, pushes all the law books crashing to the
floor—then with childish happiness she grabs_ JIM _by both hands and
dances up and down_.] Oh, Jim, I knew it! I knew you couldn’t! Oh, I’m
so glad, Jim! I’m so happy! You’re still my old Jim—and I’m so glad!
[_He looks at her dazedly, a fierce rage slowly gathering on his face.
She dances away from him. His eyes follow her. His hands clench. She
stands in front of the mask—triumphantly._] There! What did I tell you?
I told you I’d give you the laugh! [_She begins to laugh with wild
unrestraint, grabs the mask from its place, sets it in the middle of the
table and plunging the knife down through it pins it to the table._]
There! Who’s got the laugh now?
JIM—[_His eyes bulging—hoarsely._] You devil! You white devil woman!
[_In a terrible roar, raising his fists above her head._] You devil!
ELLA—[_Looking up at him with a bewildered cry of terror._] Jim! [_Her
appeal recalls him to himself. He lets his arms slowly drop to his
sides, bowing his head._ ELLA _points tremblingly to the mask_.] It’s
all right, Jim! It’s dead. The devil’s dead. See! It couldn’t
live—unless you passed. If you’d passed it would have lived in you. Then
I’d have had to kill you, Jim, don’t you see—or it would have killed me.
But now I’ve killed it. [_She pats his hand._] So you needn’t ever be
afraid any more, Jim.
JIM—[_Dully._] I’ve got to sit down, Honey. I’m tired. I haven’t had
much chance for sleep in so long—— [_He slumps down in the chair by the
table._]
ELLA—[_Sits down on the floor beside him and holds his hand. Her face is
gradually regaining an expression that is happy, childlike and pretty._]
I know, Jim! That was my fault. I wouldn’t let you sleep. I couldn’t let
you. I kept thinking if he sleeps good then he’ll be sure to study good
and then he’ll pass—and the devil’ll win!
JIM—[_With a groan._] Don’t, Honey!
ELLA—[_With a childish grin._] That was why I carried that knife
around—[_she frowns—puzzled_]—one reason—to keep you from studying and
sleeping by scaring you.
JIM—I wasn’t scared of being killed. I was scared of what they’d do to
you after.
ELLA—[_After a pause—like a child._] Will God forgive me, Jim?
JIM—Maybe He can forgive what you’ve done to me; and maybe He can
forgive what I’ve done to you; but I don’t see how He’s going to
forgive—Himself.
ELLA—I prayed and prayed. When you were away taking the examinations and
I was alone with the nurse, I closed my eyes and pretended to be asleep
but I was praying with all my might: O God, don’t let Jim pass!
JIM—[_With a sob._] Don’t, Honey, don’t! For the good Lord’s sake!
You’re hurting me!
ELLA—[_Frightenedly._] How, Jim? Where? [_Then after a pause—suddenly._]
I’m sick, Jim. I don’t think I’ll live long.
JIM—[_Simply._] Then I won’t either. Somewhere yonder maybe—together—our
luck’ll change. But I wanted—here and now—before you—we—I wanted to
prove to you—to myself—to become a full-fledged Member—so you could be
proud—— [_He stops. Words fail and he is beyond tears._]
ELLA—[_Brightly._] Well, it’s all over, Jim. Everything’ll be all right
now. [_Chattering along._] I’ll be just your little girl, Jim—and you’ll
be my little boy—just as we used to be, remember, when we were beaux;
and I’ll put shoe blacking on my face and pretend I’m black and you can
put chalk on your face and pretend you’re white just as we used to
do—and we can play marbles—only you mustn’t all the time be a boy.
Sometimes you must be my old kind Uncle Jim who’s been with us for years
and years. Will you, Jim?
JIM—[_With utter resignation._] Yes, Honey.
ELLA—And you’ll never, never, never, never leave me, Jim?
JIM—Never, Honey.
ELLA—’Cause you’re all I’ve got in the world—and I love you, Jim. [_She
kisses his hand as a child might, tenderly and gratefully._]
JIM—[_Suddenly throws himself on his knees and raises his shining eyes,
his transfigured face._] Forgive me, God—and make me worthy! Now I see
Your Light again! Now I hear Your Voice! [_He begins to weep in an
ecstasy of religious humility._] Forgive me, God, for blaspheming You!
Let this fire of burning suffering purify me of selfishness and make me
worthy of the child You send me for the woman You take away!
ELLA—[_Jumping to her feet—excitedly._] Don’t cry, Jim! You mustn’t cry!
I’ve got only a little time left and I want to play. Don’t be old Uncle
Jim now. Be my little boy, Jim. Pretend you’re Painty Face and I’m Jim
Crow. Come and play!
JIM—[_Still deeply exalted._] Honey, Honey, I’ll play right up to the
gates of Heaven with you! [_She tugs at one of his hands, laughingly
trying to pull him up from his knees as_
[_The Curtain Falls_]
WELDED
A Play in Three Acts
CHARACTERS
MICHAEL CAPE
ELEANOR OWEN, _his wife_
JOHN DARNTON
A WOMAN
ACT I
SCENE—The Capes’ apartment.
ACT II
SCENE I—Library, Darnton’s home
SCENE II—A room
ACT III
SCENE—Same as Act I
ACT I
ACT ONE
SCENE—_The Capes’ studio apartment on Fifty-ninth Street, New York
City—a large room with a high ceiling. In the rear there is a
balcony with a stairway at center leading down to the studio
floor. This balcony is the second story of the apartment, on which
are situated the bedrooms, bathroom, etc. The section of the
studio beneath the balcony is used as a dining room. The studio
proper is a combination of tasteful comfort with the
practicability of a workroom. Well-filled bookcases line the
walls. There is a typewriting table with a machine on it, a big
desk, a reading and writing table with books, magazines, etc. Easy
chairs, a chaise longue, rugs, etc._
_It is about eleven-thirty. The room is in darkness except for the
reading lamp on the table. The chaise longue has been pulled up
within the circle of light and_ ELEANOR _is lying back on this,
reading from a manuscript. She is a woman of thirty. Her figure is
tall, with the lithe lines of nervous strength. Her face, with its
high, rather prominent cheek-bones, lacks harmony; but each
feature is in itself arresting. It is dominated by passionate,
blue-gray eyes, restrained by a high forehead from which the mass
of her dark brown hair is combed straight back. The first
impression of her whole personality is one of charm, partly
innate, partly imposed by years of self-discipline. The motions of
her body are free and sure. Each movement is a complete reason for
itself. The low notes of her voice are disturbing. She is
something of every character she has ever played, of every woman
one has ever met._
_She reads, puts the script down, and her lips move as if she were
memorizing. She hesitates, frowns, utters an exclamation of
annoyance, looks at the script, finally flings it on the table
with a sigh of irritation at her mistakes, gets up, lights a
cigarette, resumes her former position, starts to take up the
script again but instead, with a sudden impulse which has
something in it of girlish embarrassment, picks up a letter from
the table. This she opens and reads, an expression of delight and
love coming over her face. She kisses the letter impulsively—then
gives a gay laugh at herself. She lets the letter fall on her lap
and stares straight before her, lost in a sentimental reverie._
_The door at right, underneath the balcony, is noiselessly opened and
Cape appears. He is thirty-five, tall and dark. His unusual face
impresses one. It is older and wiser than he, a harrowed
battlefield of super-sensitiveness, the features at war with one
another though the general effect is of a handsome face. He has
the forehead of a thinker, the eyes of a dreamer, the nose and
mouth of a sensualist. One feels a powerful imagination tinged
with somber sadness—a driving force of creation which can be
sympathetic and cruel at the same time. His manner is
extraordinarily nervous and self-conscious. He is never at ease,
is always watching himself. There is something tortured about him.
Yet at moments he can be astonishingly boyish and outpouring. His
body is gracefully made but his nervousness gives his movements an
uncoördinated quality. One feels perpetual strain about him, a
passionate tension, a self-protecting and intellectually arrogant
defiance of life and his own weakness, a deep need to love and be
loved, for a faith in which to relax._
_He has a suitcase, hat, and overcoat which he sets inside on the
floor by wall to rear of door, glancing toward his wife, trying
not to make the slightest noise. But she suddenly becomes aware of
some presence in the room, starts nervously, then turns boldly to
face it. She gives an exclamation of delighted astonishment when
she sees_ CAPE _and jumps up to meet him as he strides toward
her_.
ELEANOR—Michael!
CAPE—[_With a boyish grin._] You’ve spoiled it, Nelly; I wanted a kiss
to announce me. [_They are in each other’s arms. He kisses her
tenderly._]
ELEANOR—[_Kissing him—joyfully._] This is a surprise!
CAPE—[_Straining her in his arms and kissing her passionately._] Own
little wife!
ELEANOR—Dearest! [_They look into each other’s eyes for a long moment._]
CAPE—[_Tenderly._] Happy?
ELEANOR—Yes, yes! Why do you always ask? You know. [_She kisses him
again and nestles her face against his shoulder._]
CAPE—[_Pressing her to him._] Darling!
ELEANOR—[_Suddenly pushing him to arms’ length—with a happy laugh._]
It’s positively immoral for an old married couple to act this way. [_She
leads him by the hand to the chaise longue._] And you must explain. You
wrote not to expect you till the end of the week. [_She sits down._] Get
a cushion. Sit down here. [_He puts a cushion on the floor beside the
chaise longue and sits down._] Tell me all about it.
CAPE—[_Notices the letter lying on the floor._] Were you reading my
letter? [_She nods. He gives a happy grin._] Do you mean to say you
still read them over—after five years of me?
ELEANOR—[_With a tender smile._] Oh—sometimes.
CAPE—[_Kissing her hand._] Sweetheart! [_Smiling._] What were you
dreaming about when I intruded?
ELEANOR—Never mind. You’re enough of an egotist already. [_Her hand
caressing his face and hair._] I’ve been feeling so lonely—and it’s only
been a few weeks, hasn’t it?—but it’s seemed—ages. [_She laughs._] How
was everything in the country? [_Suddenly kissing him._] Oh, I’m so
happy you’re back. [_With mock severity._] But ought I? Have you
finished the fourth act? You know you promised not to return until you
did.
CAPE—This afternoon!
ELEANOR—That’s splendid!
CAPE—When I wrote you last it was dragging damnably—then suddenly
everything cleared and there was nothing to do but write like the devil.
[_With smiling elation._] From then on it rode me unmercifully to the
finish!
ELEANOR—You’re sure you didn’t force it—[_with a tender smile at
him_]—because you were lonely, too?
CAPE—[_With a sudden change in manner that is almost stern._] No. I
wouldn’t—I couldn’t—— You know that.
ELEANOR—[_Her face showing a trace of hurt in spite of herself._] I was
only fooling. [_Then rousing herself as if conquering a growing
depression._] Tell me about the last act. I’m terribly anxious to hear
what you’ve done.
CAPE—[_Enthusiastically._] It’s _real_, Nelly! You’ll see when I read
you—— The whole play has power and truth, I know it! And you’re going to
be marvelous! I could see you in it every second I was writing! It’s
going to be the finest thing we’ve ever done!
ELEANOR—[_Kissing him impulsively._] Dear! I love you for saying “we.”
But the “we” is you. I only—[_with a smile of ironical self-pity_]—act a
part you’ve created.
CAPE—[_Impetuously._] Nonsense! You’re an artist. Each performance of
yours has taught me something new. Why, my women used to be—death masks.
But now I flatter myself they’re as alive as you are—[_with a sudden
grin_]—at least, when you play them, Wonderful! [_He kisses her hand._]
ELEANOR—[_Her eyes shining with excited pleasure._] You don’t know how
much it means to have you talk like that! Oh, I’m going to work so hard
on this play, Michael! I’ve been studying the first three acts——
[_Impetuously._] You’ve simply got to read me that last act right now!
CAPE—[_Jumping to his feet eagerly._] All right. [_He walks toward his
bag—then stops when he is half-way and, hesitating, turns slowly and
comes back. He bends down and lifts her face to his and kisses her
tenderly, looking into her eyes—with a loving smile, slowly._] No, on
second thoughts, I won’t read it now.
ELEANOR—[_Disappointed—but tenderly._] Oh. Why not, dear?
CAPE—[_With a smile._] Because——
ELEANOR—[_Smiling._] Plagiarist!
CAPE—Because I’ve been hoping for this night as our own. Let’s forget
the actress and playwright. Let’s just be—us—lovers.
ELEANOR—[_With a tender smile—musingly._] We _have_ remained lovers—in
spite of marriage—haven’t we?
CAPE—[_With a grin._] Fights and all.
ELEANOR—[_With a little frown._] We don’t fight so much.
CAPE—[_Frowning himself._] Too much.
ELEANOR—[_Forcing a smile._] Perhaps that’s the price.
CAPE—[_With a wry smile._] Don’t grow fatalistic—just when I was about
to propose reform.
ELEANOR—[_Smiling—quickly._] Oh, I’ll promise to be good—if you will.
[_Gently reproachful._] Do you think I enjoy fighting with you?
[_Intensely._] Don’t you realize how it destroys me?
CAPE—[_With deep seriousness._] Then let’s resolve—once and for all—to
refuse to wound each other again—— [_With passion._] It’s wrong, Nelly.
It’s evil! We love too deeply.
ELEANOR—Ssshh! We promise, dear.
CAPE—[_Kissing her; then, hesitatingly._] We’ve been taking each other
too much for granted. That may do very well with the earthly loves of
the world—but ours has a God in it! And when the worshipers nod, the God
deserts their shrine. [_He suddenly laughs with awkward
self-consciousness._] I’m afraid that sounds like preaching. [_He
suddenly pulls her head down and kisses her impulsively._] But you
understand! Oh, Nelly, I love you—love you with all my soul!
ELEANOR—[_Deeply moved._] And I love you, Michael—always and forever!
[_They sit close, she staring dreamily before her, he watching her
face._]
CAPE—[_After a pause._] What are you thinking?
ELEANOR—[_With a tender smile._] Of the first time we met—at rehearsal,
remember? I was thinking of how mistakenly I had pictured you before
that. [_She pauses—then frowning a little._] I’d heard such a lot of
gossip about your love affairs.
CAPE—[_With a wry grin._] You must have been disappointed if you
expected Don Juan. [_A pause—then forcing a short laugh._] I also had
heard a lot of rumors about your previous—— [_He stops abruptly with an
expression of extreme bitterness._]
ELEANOR—[_Sharply._] Don’t! [_A pause—then she goes on sadly._] It was
only our past together I wanted to remember. [_A pause—then with a trace
of scornful resentment._] I was forgetting your morbid obsession——
CAPE—[_With gloomy irritation._] Obsession? Why——? [_Then determinedly
throwing off this mood—reproachfully forcing a joking tone._] We’re not
“starting something” now, are we—after our promise?
ELEANOR—[_Impulsively kissing him and straining her arms around him._]
No, no—of course not! Dearest!
CAPE—[_After a pause—a bit awkwardly._] But you guessed my desire, at
that. I wanted to dream with you in our past—to find together in our old
love—a new faith——
ELEANOR—[_Smiling—a bit mockingly._] Another Grand Ideal for our
marriage?
CAPE—[_Frowning._] Don’t mock.
ELEANOR—[_Smiling teasingly._] But you’re such a relentless idealist.
You needn’t frown. That was exactly what drew me to you in those first
days. [_Earnestly._] I had lost faith in everything. Your love saved me.
Your work saved mine. [_Intensely._] I owe you myself, Michael! [_She
kisses him. Then she goes on intensely._] Do you remember—our first
night together?
CAPE—[_Kissing her hand—tenderly reproachful._] Do you imagine I
could’ve forgotten?
ELEANOR—[_Continuing as if she hadn’t heard._] The play was such a
marvelous success! I knew I had finally won recognition—through your
work. I loved myself! I loved you! You came to me—and my whole being
strained out—— [_More and more intensely._] Oh, it was beautiful
madness! I found and lost myself, I began living in you. I wanted to die
and become you!
CAPE—[_Passionately._] And I, you!
ELEANOR—[_Softly._] And do you remember the dawn creeping in—and how we
began to discuss our future? [_He kisses her hand. She exclaims
impulsively._] Oh, I’d give anything in the world to live those days
over again!
CAPE—[_Smiling reproachfully._] Why? Hasn’t our marriage kept the spirit
of that time—with a growth of something deeper—finer——
ELEANOR—Yes,—but—— Oh, you know what I mean! It was revelation, then—a
miracle out of the sky.
CAPE—[_Insistently._] But haven’t we realized the ideal we conceived of
our marriage—— [_Smiling but with deep earnestness nevertheless._] We
approached our wedding extremely cautiously, if you’ll remember, even
after months of successful living together. Not for us the convenient
sanction, the family rite. We swore to have a true sacrament—our own—or
nothing! Our marriage must be a consummation of creative love, demanding
and combining the best in each of us! Hard, difficult, guarded from the
commonplace, kept sacred as the outward form of our deep, inner harmony!
[_With an awkward sense of having become rhetorical he adds
self-mockingly._] We’d tend our flame on an altar, not in a kitchen
range! [_He forces a grin—then abruptly changing again, with a sudden
fierce pleading._] It has been what we dreamed, hasn’t it, Nelly?
ELEANOR—[_Thoughtfully._] Our ideal was difficult—for human beings. But
even when we’ve hurt each other most cruelly—I’ve always known——
CAPE—[_Putting his arms about her and straining her to him._] We must
learn to love even the things we hate in each other. We must accept each
other wholly, as we are, as we must become!
ELEANOR—[_Sadly._] Sometimes I think we have loved too
intensely—demanded too much of each other. Now there’s nothing left but
that something which can’t give itself. And I blame you for this—because
I can neither take more nor give more—and you blame me! [_She smiles
tenderly._] And then we fight!
CAPE—[_Excitedly._] Then let’s be proud of our fight! It’s the penalty
of a love that strives to surpass itself—by regaining unity. It began
with the splitting of a cell a hundred million years ago into you and
me, leaving an eternal yearning to become one life again.
ELEANOR—[_Kissing him passionately._] At moments—we do.
CAPE—Yes! Yes! [_He kisses her—then intensely._] You and I—year after
year—together—forms of our two bodies coalescing into one form; rhythm
of our separate lives beating against each other, forming slowly the one
rhythm—the life of Us—our life created by us—outside, beyond, above!
[_With sudden furious anger._] God, what I feel of the truth of this—the
beauty!—but how can I express it?
ELEANOR—[_Kissing him._] I understand.
CAPE—[_Straining her to him with fierce passion._] Oh, My Own, My
Own—and I your own—to the end of time! I love you! I love you!
ELEANOR—[_Returning his kisses._] I love you!
CAPE—[_With passionate exultance._] Why do you regret our first days?
Their fire still burns in us—but deeper—more sacred. Don’t you feel
that? [_Kissing her again and again._] My Own! My Own! I have become
you! You have become me! One heart! One blood! Ours! [_He pulls her to
her feet and kisses her._] My wife!——Come!
ELEANOR—[_Almost swooning in his arms._] My lover—yes—— My lover——
CAPE—Come! [_With his arms around her he leads her to the stairway. As
they get to the foot, there is a noise from the hall. She hears it,
starts, seems suddenly brought back to herself._ CAPE _is oblivious and
continues up the stairs. She stands swaying, holding on to the banister
as if in a daze. At the top_, CAPE _turns in surprise at not finding
her, as if he had felt her behind him. He looks down passionately,
stretching out his arms, his eyes glowing._] Come!
ELEANOR—[_Weakly._] Ssshh! A moment—— Listen!
CAPE—[_Bewilderedly._] What? What is it?
ELEANOR—Ssshh—Listen—Someone—— [_She speaks in an unnatural, mechanical
tone. A knock comes at the door. She gives a sort of gasp of relief._]
There.
CAPE—[_Still bewilderedly as if something mysterious were happening that
he cannot grasp._] What—what——? [_Then as she takes a slow, mechanical
step toward the door—with tense pleading._] Nelly! Come here! [_She
turns to look at him and is held by his imploring eyes. She sways
irresolutely toward him, again reaching to the banister for support.
Then a sharper knock comes at the door. It acts like a galvanic shock on
her. Her eyes move in that direction, she takes another jerky step_,
CAPE _stammers in a fierce whisper_.] No! Don’t go!
ELEANOR—[_Without looking at him—mechanically._] I must.
CAPE—[_Frantically._] They’ll go away. Nelly, don’t! Don’t! [_Again she
stops irresolutely like a hypnotized person torn by two conflicting
suggestions. The knock is repeated, this time with authority, assurance.
Her body reacts as if she were throwing off a load._]
ELEANOR—[_With a return to her natural tone—but hysterically._]
Please—don’t be silly, Michael. It might be—something important. [_She
hurries to the door._]
CAPE—[_Rushing down the stairs—frantically._] No! No! [_He just gets to
the bottom as she opens the door. He stands there fixed, disorganized,
trembling all over._]
ELEANOR—[_As she sees who it is—in a relieved tone of surprise._] Why,
hello, John. Come in! Here’s Michael. Michael, it’s John. [DARNTON
_steps into the room. He is a man of about fifty, tall, loose-limbed, a
bit stoop-shouldered, with iron-gray hair, and a long, gaunt, shrewd
face. He is not handsome but his personality compels affection. His eyes
are round and childlike. They seem to understand sorrow without ever
having known it. They see everyone with understanding, they never judge.
The whole man has the quality of steadfastness. You feel he will always
be there, unchanged, unchangeable, always serene and kindly, a cool rock
for the fevered. He has no nerves. His voice is low and calming. He is
dressed negligently but in expensive tweed._]
DARNTON—[_Shaking Eleanor by the hand._] Hello, Nelly. I was on my way
home from the theater and I thought I’d drop in for a second. Hello,
Michael. When’d you get in? Glad to see you back. [_He comes to him and
shakes his hand which_ CAPE _extends jerkily, as if in spite of himself,
without a word_.]
ELEANOR—[_After a glance at her husband—in a forced tone._] We’re so
glad you’ve come. Sit down.
DARNTON—[_He becomes aware of the disharmonious atmosphere his
appearance has created._] I can’t stay a second. [_To_ CAPE.] I wanted
some news of the big play. I thought Nelly’d probably have heard from
you. [_He slaps_ CAPE _on the back with jovial familiarity_.] Well,
how’s it coming?
CAPE—[_In a frozen tone._] Oh,—all right—all right.
ELEANOR—[_Uneasily._] Won’t you have a cigarette, John? [_She takes the
box from the table and holds it out to him._]
DARNTON—[_Taking one._] Thanks, Nelly. [_He half-sits on the arm of a
chair. She holds out a light to him._] Thanks.
ELEANOR—[_Nervously._] Why don’t you sit down, Michael? [_He doesn’t
answer. She goes to him with the cigarettes._] Don’t you want a
cigarette? [CAPE _stares at her with a hot glance of scorn. She recoils
from it, turning quickly away from him, visibly shaken. Without
appearing to notice_, DARNTON _scrutinizes their faces keenly, sizing up
the situation_.]
DARNTON—[_Breaking in matter-of-factly._] You look done up, Michael.
CAPE—[_With a guilty start._] I—I—I’m tired out.
ELEANOR—[_With a forced air._] He’s been working too hard. He finished
the last act only this afternoon.
DARNTON—[_With a grunt of satisfaction._] Glad to hear it—mighty glad.
[_Abruptly._] When can I see it?
CAPE—In a day or so—I want to go over——
DARNTON—All right. [_Getting to his feet._] Well, that’s that. I’ll run
along.
ELEANOR—[_Almost frightenedly._] Do stay. Why don’t you read us the last
act now, Michael?
CAPE—[_Fiercely._] No! It’s rotten! I hate the whole play!
DARNTON—[_Easily._] Suffering from the reaction. This play’s the finest
thing you’ve done. [_He comes to_ CAPE _and slaps him on the back
reassuringly_.] And it’s the biggest chance the lady here has ever had.
It’ll be a triumph for you both, wait and see. So cheer up—and get a
good night’s rest. [CAPE _smiles with bitter irony_.] Well, good-night.
[CAPE _nods without speaking_, DARNTON _goes to the door_, ELEANOR
_accompanying him_.] Good-night, Nelly. Better start on your part—only
don’t you overdo it, too. [_He pats her on the back._] Good-night.
ELEANOR—Good-night. [_She closes the door after him. She remains there
for a moment staring at the closed door, afraid to turn and meet_ CAPE’S
_fiercely accusing eyes which she feels fixed upon her. Finally, making
an effort of will, she walks back to the table, avoiding his eyes,
assuming a careless air._]
CAPE—[_Suddenly explodes in furious protest._] Why did you do that?
ELEANOR—[_With an assumed surprise but with a guilty air, turning over
the pages of a magazine._] Do what?
CAPE—[_Tensely, clutching her by the arm._] You know what I mean!
[_Unconsciously he grips her tighter, almost shaking her._]
ELEANOR—[_Coldly._] You are hurting me. [_A bit shamefacedly_, CAPE
_lets go of her arm. She glances quickly at his face, then speaks with a
kind of dull remorse._] I suppose I can guess—my going to the door?
CAPE—He would have gone away—— [_With anguish._] Nelly, why did you?
ELEANOR—[_Defensively._] Wasn’t it important you should see John?
CAPE—[_With helpless anger._] Don’t evade! [_With deep feeling._] I
should think you’d be ashamed.
ELEANOR—[_After a pause—dully._] Perhaps—I am. [_A pause._] I couldn’t
help myself.
CAPE—[_Intensely._] You should have been oblivious to everything!
[_Miserably._] I—I can’t understand!
ELEANOR—That’s you, Michael. The other is me—or a part of me—I hardly
understand myself.
CAPE—[_Sinking down on a chair, his head in his hands._] After all we’d
been to each other tonight—! [_With bitter despondency._] Ruined
now—gone—a rare moment of beauty! It seems at times as if some jealous
demon of the commonplace were mocking our love—— [_With a violent
gesture of loathing._] Oh, how intolerably insulting life can be! [_Then
brokenly._] Nelly, why, why did you?
ELEANOR—[_Dully._] I—I don’t know. [_Then after a pause she comes over
and puts her hand on his shoulder._] Don’t brood, dear. I’m sorry. I
hate myself. [_A pause. She looks down at him, seeming to make up her
mind to something—in a forced tone._] But—why is it gone—irrevocably—our
beautiful moment? [_She strokes his hair._] We have the whole night——
[_He stares up at her wonderingly. She forces a smile, half turning
away._]
CAPE—[_In wild protest._] Nelly, what are you offering me—a sacrifice?
Please!
ELEANOR—[_Revolted._] Michael! [_Then hysterically._] No, forgive me!
I’m the disgusting one! Forgive me! [_She turns away from him and throws
herself on a chair, staring straight before her. Their chairs are side
by side, each facing front, so near that by a slight movement each could
touch the other, but during the following scene they stare straight
ahead and remain motionless. They speak, ostensibly to the other, but
showing by their tone it is a thinking aloud to oneself, and neither
appears to hear what the other has said._]
CAPE—[_After a long pause._] More and more frequently. There’s always
some knock at the door, some reminder of the life outside which calls
you away from me.
ELEANOR—It is so beautiful—and then—suddenly I’m being crushed. I feel a
cruel presence in you paralyzing me, creeping over my body, possessing
it so it is no longer my body—then grasping at some last inmost thing
which makes me me—my soul—demanding to have that, too! I have to rebel
with all my strength—seize any pretext! Just now at the foot of the
stairs—the knock on the door was—liberation. [_In anguish._] And yet I
love you! It’s because I love you! If I am destroyed, what is left to
love you, what is left for you to love?
CAPE—I’ve grown inward into our life. But you keep trying to escape as
if it were a prison. You feel the need of what is outside. I am not
enough for you.
ELEANOR—Why is it I can never know you? I love you—and you’re strange. I
try to know you and I can’t. I desire to take all of you into my heart,
but there is a great alien force—— I hate that unknown power in you
which would destroy me. [_Pleadingly._] Haven’t I a right to myself as
you have to yourself?
CAPE—You fight against me as if I were your enemy. Every word or action
of mine which affects you, you resent. At every turn you feel your
individuality invaded—while at the same time you are jealous of any
separateness in me. You demand more and more while you give less and
less. And I have to acquiesce. Have to? Yes, because I love you. I
cannot live without you! You realize that! You take advantage of it
while you despise me for my helplessness! [_This seems to goad him to
desperation._] But look out! I still have the strength to——! [_He turns
his head and stares at her challengingly._]
ELEANOR—[_As before._] You insist that I have no life at all outside
you. Even my work must exist only as an echo of yours. You hate my need
of easy, casual associations. You think that weakness. You hate my
friends. You are jealous of everything and everybody. You would wall me
in——[_Resentfully._] I have to fight. You are too severe. Your ideal is
too inhuman. Why can’t you understand and be generous—be just! [_She
turns to meet his eyes, staring back with resentful accusation. They
look at each other in this manner for a long moment._]
CAPE—[_Averting his eyes and addressing her directly in a cold,
sarcastic tone._] Strange—that Darnton should pop in on us suddenly like
that.
ELEANOR—[_Resentfully._] I don’t see anything strange about it.
CAPE—It’s past twelve——
ELEANOR—You’re in New York now.
CAPE—[_Sharply._] I’m quite aware of that. Nevertheless——
ELEANOR—[_Shortly._] He explained. Didn’t you hear him? He wanted news
of the play and thought I might have a letter——
CAPE—That’s just the point. He had no idea he would find me here.
ELEANOR—[_About to fly at him, checks herself after a pause, coldly._]
Why shouldn’t he come to see me? He’s the oldest friend I’ve got. He
gave me my first chance and he’s always helped me since. I owe whatever
success I’ve made of my acting to his advice and direction.
CAPE—[_Stung—sarcastically._] Oh, undoubtedly!
ELEANOR—I suppose you think I ought to have said it’s to you I owe
everything?
CAPE—[_Dryly._] I’d prefer to say it was to yourself, and no one else.
[_After a pause—attempting a casual tone._] Has he been in the habit of
calling here while I’ve been gone? [_Hurriedly._] Don’t misunderstand
me. I’m merely asking a question.
ELEANOR—[_Scornfully._] Oh! [_A pause. She bites her lips—then coldly._]
Yes, he’s been here once before. [_Mockingly._] And after the theater,
too! Think of that!
CAPE—[_Sneeringly._] The same insatiable curiosity about my play?
ELEANOR—[_Angrily._] Michael! [_A pause—then scornfully._] Don’t tell me
you’re becoming jealous of John again!
CAPE—[_Meaningly._] Again. That’s just it.
ELEANOR—[_Springing from her chair—excitedly._] This is insufferable!
[_Then calming herself with an effort—with a forced laugh._] Please
don’t be so ridiculous, Michael. I’ll only lose my temper if you keep
on. [_Then suddenly she makes up her mind and comes to him._] Please
stop, dear. We’ve made up our minds not to quarrel. Let’s drop it. [_She
pats his head with a friendly smile._]
CAPE—[_Impulsively takes her hand and kisses it._] All right. Forgive
me. I’m all unstrung. His breaking in on us like that—— [_He relapses
into frowning brooding again. She sits down, this time facing him, and
looks at him uneasily._]
ELEANOR—[_After a pause—rather irritably._] It’s too absolutely silly,
your being jealous of John.
CAPE—I’m not jealous of him. I’m jealous of you—the perverse something
in you that repulses our love—the stranger in you.
ELEANOR—[_With a short laugh._] I should think after five years——
CAPE—[_Unheeding._] And what makes me hate you at those times is that I
know you like to make me jealous, that my suffering pleases you, that it
satisfies some craving in you—for revenge!
ELEANOR—[_Scornfully._] Can’t you realize how absurd you are? [_Then
with a forced placating laugh._] No, really, Michael, it would be
funny—if it weren’t so exasperating.
CAPE—[_After a pause—somberly._] You mentioned our years together as
proof. What of the years that preceded?
ELEANOR—[_Challengingly._] Well, what of them?
CAPE—By their light, I have plausible grounds for jealousy in Darnton’s
case. Or don’t you acknowledge that?
ELEANOR—I deny it absolutely!
CAPE—Why, you’ve told me yourself he was in love with you for years,
that he once asked you to marry him!
ELEANOR—Well, did I marry him?
CAPE—But he still loves you.
ELEANOR—Don’t be stupid!
CAPE—He does, I tell you!
ELEANOR—If you had any sense you’d know that his love has become purely
that of an old friend. And I refuse to give up his friendship for your
silly whims.
CAPE—[_After a pause in which they each brood
resentfully—sarcastically._] You were a shining exception, it appears.
The other women he helped could hardly claim he had remained—merely
their friend.
ELEANOR—[_Vehemently._] It’s a lie! You’re repeating low Broadway
scandal. And even if it were true, you’d find it was they who offered
themselves.
CAPE—[_Significantly._] Ah! [_Then after a pause._] Perhaps because they
felt it necessary for their careers.
ELEANOR—[_Dryly._] Perhaps. [_Then after a pause._] But they discovered
their mistake, then. John isn’t that type.
CAPE—[_Suddenly._] Why do you act so jealous—of those others?
ELEANOR—[_Flushing angrily._] I don’t. It’s your stupid imagination.
CAPE—Then why lose your temper?
ELEANOR—Because I resent your superior attitude that John had to bribe
women to love him. Isn’t he as worthy of love—as you are?
CAPE—[_Sarcastically._] If I am to believe your story, you didn’t think
so.
ELEANOR—[_Irritably._] Then let’s stop arguing, for heaven’s sake! Why
do you always have to rake up the past? For the last year or so you’ve
begun to act more and more as you did when we first lived
together—jealous and suspicious of everything and everybody!
[_Hysterically._] I can’t bear it, Michael!
CAPE—[_Ironically._] You used to love me for it then.
ELEANOR—[_Calming herself._] Well, I can’t endure it now. It’s too
degrading. I have a right to your complete faith. [_Reaching over and
grasping his hands—earnestly._] You know I have in your heart of hearts.
You know I love you, that there can never be anyone but you. Forget the
past. It wasn’t us. For your peace—and mine, Michael!
CAPE—[_Moved—pressing her hands._] All right. Let’s stop. It’s only that
I’ve thought I’ve felt you drawing away——! Perhaps it’s all my
super-sensitiveness—— [_Patting her hand and forcing a smile._] Let’s
talk of something else. [_Cheerfully—after a pause._] You can’t imagine
how wonderful it’s been up in the country. There’s just enough winter in
the air to make one energetic. No summer fools about. Solitude and work.
I was happy—that is, as happy as I ever can be without you.
ELEANOR—[_Withdrawing her hands from his with a quick
movement—sarcastically._] Thanks for that afterthought—but do you expect
me to believe it? When you’re working I might die and you’d never know
it.
CAPE—[_Amused but irritated._] There you go! You denounce my jealousy,
but it seems to me your brand of it is much more ridiculous.
ELEANOR—[_Sharply._] You imagine I’m jealous of your work? You—you
flatter yourself!
CAPE—[_Stung—bitingly._] It’s an unnatural passion certainly—in your
case. And an extremely ungrateful passion, I might add!
ELEANOR—[_Losing her temper completely._] You mean I ought to be
grateful for—— I suppose you think that without your work I——
[_Springing to her feet._] Your egotism is making a fool of you! You’re
becoming so exaggeratedly conceited no one can stand you! Everyone
notices it!
CAPE—[_Angrily._] You know that’s untrue. You only say it to be mean. As
for my work, you’ve acknowledged a million times——
ELEANOR—If I have—but please remember there are other playwrights in the
world!
CAPE—[_Bitingly._] You were on the stage seven years before I met you.
Your appearance in the work of other playwrights—you must admit you were
anything but successful!
ELEANOR—[_With a sneer of rage._] And I suppose you were?
CAPE—Yes! Not in your Broadway sense, perhaps, but——
ELEANOR—You’re contemptible! You know that’s the very last thing you can
say of me. It was exactly because I wasn’t that kind—because I was an
artist—that I found it so hard!
CAPE—[_Unheeding._] My plays had been written. The one you played in
first was written three years before. The work was done. That’s the
proof.
ELEANOR—[_Scathingly._] That’s absurd! You know very well if it hadn’t
been for John, you——
CAPE—[_Violently._] Nonsense! There were other managers who——
ELEANOR—They didn’t want your work, you know it!
CAPE—[_Enraged._] I see what you’re driving at! You’d like to pretend I
was as much dependent on Darnton as you were! [_Trembling all over with
the violence of his passion._] I should think you’d be ashamed to boast
so brazenly—to me!—of what he had done for you!
ELEANOR—Why should I be ashamed of my gratitude?
CAPE—To drag that relationship out of the past and throw it in my face!
ELEANOR—[_Very pale—tensely._] What relationship?
CAPE—[_Incoherently, strangled by his passion._] Ask anyone—here—to
Forty-second Street! [_Then suddenly with anguished remorse._] No, no! I
don’t mean that! [_Torturedly._] Wounds! Wounds! For God’s sake, let’s
stop!
ELEANOR—[_Trembling with rage._] I’ll never forget you said that! You
cur!
CAPE—[_Stung—in a passion again at once._] Cur? Because I resent that
man’s being here—late at night—when I was away? I would be a cur if I
didn’t! Oh, I don’t mean I suspect you—now——
ELEANOR—[_Viciously._] What noble faith! Maybe you’re going to discover
I don’t deserve it!
CAPE—[_Unheeding._] But there was scandal enough about you and him, and
if you had any respect for me——
ELEANOR—I’ve lost it now!
CAPE—You wouldn’t deliberately open the way——
ELEANOR—[_Tensely._] So you believe—that gutter gossip? You think I——?
Then all these years you’ve really believed——? Oh, you mean hypocrite!
CAPE—[_Stung—bitingly._] Don’t act moral indignation! What else could I
have thought? When we first fell in love, you confessed frankly you had
had lovers—not Darnton but others——
ELEANOR—[_Brokenly—with mingled grief and rage._] I was an idiot! I
should have lied to you! But I thought you’d understand—that I’d been
searching for something—that I needed love—something I found at last in
you! I tried to make you see the truth—the truth!—that those experiences
had only served to make me appreciate you all the more when I found you!
I told you how little these men had meant to me. I tried to convince you
that in the state of mind I had been in it had no significance either
one way or the other, and that such an attitude is possible for a woman
without her being base. I thought you understood. But you didn’t, you’re
not big enough for that! By your own experiences in the past you had
made sex a degradation to yourself—and physical virtue the highest
virtue in women! [_With a gesture of loathing._] Always the physical! As
if there could be only one attitude toward it for women!
CAPE—[_Angrily protesting._] What has all this silly generalizing to do
with us? You forget that when we conceived the ideal of our marriage we
_both_ agreed that unfaithfulness would be the unpardonable sin—not
because we regarded it as a crime in itself but because it was a symbol
of our separate weak attitudes toward love in the past,—a sin against
love, do you hear?—our love which we wished to make unique, beautiful,
finer than other loves!
ELEANOR—[_With a wild ironical laugh._] Words! Now I know why the women
in your plays are so wooden! You ought to get down on your knees and
thank me for breathing life into them!
CAPE—[_Furiously._] Good God, how dare you criticize creative work,
actress!
ELEANOR—[_Violently._] You deny that I create——? Perhaps if I’d consent
to give up the stage, have children and a home, take up knitting—— [_She
laughs wildly._] I’d be safe then, wouldn’t I?—reliable, guaranteed not
to—— [_Her face seems suddenly to congeal._] So you think that I was
Darnton’s mistress—that I loved him—or do you believe I just sold myself
for a career?
CAPE—[_In agony._] No, no! For God’s sake, stop! I may have thought you
once loved——
ELEANOR—[_Frozenly._] Well, it was—that—just that! When he first engaged
me—I’d heard the gossip—I thought he expected—and I agreed with
myself—it meant nothing to me one way or the other—nothing meant
anything then but a chance to do my work, live my life—yes, I agreed—but
you see he didn’t, he didn’t agree. He loved me but he saw I didn’t love
him—that way—and he’s a finer man than you dream!
CAPE—[_Hoarsely._] You’re lying! [_Bewilderedly._] I can’t believe——
ELEANOR—[_Fiercely._] Oh, yes you can! You want to! You do! And you’re
glad! It makes me seem a lower creature than you thought, but you’re
glad to know it just the same! You’re glad because now you can really
believe that—nothing ever happened between us! [_She stares into his
eyes and seems to read some confirmation of her statement there, for she
cries with triumphant bitterness._] It’s true! You can’t deny it!
CAPE—[_Wildly._] No! You devil, you, you read thoughts into my mind!
ELEANOR—[_With wild hysterical scorn._] It’s true! How can I love you?
How could I ever love you?
CAPE—[_Clutching her in his arms fiercely._] Stop! Stop! You do love me!
[_He kisses her frantically. For a moment she submits, appears even to
return his kisses in spite of herself._ CAPE _cries triumphantly_.] You
do! [_She suddenly pushes him away and glares at him at arms’ length.
Her features are working convulsively. Her whole tortured face expresses
an abysmal self-loathing, a frightful hatred for him._]
ELEANOR—[_As if to herself—in a strangled voice._] No! You cannot
crush—my loathing! [_Her face becomes deadly calm. She speaks with
intense, cold hatred._] Don’t kiss me. I despise you! I love him. He
was—my lover—when you were away!
CAPE—[_Stares dumbly into her eyes for a long moment—hoarsely, in
agony._] You lie! You lie! You only want to torture——
ELEANOR—[_Deathly calm._] It’s true! [CAPE _stares at her another
second—then, with a snarl of fury like an animal’s he seizes her about
the throat with both hands. He chokes her, forcing her down to her
knees. She does not struggle but continues to look into his eyes with
the same defiant hate. At last he comes to himself with a shudder and
steps away from her. She remains where she is, only putting out her hand
on the floor to support herself._]
CAPE—[_In a terrible state, sobbing with rage and anguish._] Gone! Dead!
All our beauty gone! Oh, how I hate you! And you don’t love him! You
lie! You did this out of hatred for me! You dragged our ideal in the
gutter—with delight! [_Wildly._] And you pride yourself you’ve killed
it, do you, you actress, you barren soul? [_With savage triumph._] But I
tell you only a creator can really destroy! [_With a climax of frenzy._]
And I will! I will! I won’t give your hatred the satisfaction of seeing
our love live on in me—to torture me! I’ll drag it lower than you! I’ll
stamp it into the vilest depth! I’ll leave it dead! I’ll murder it—and
be free! [_Again he threatens her, his hands twitching back toward her
neck—then he rushes out of the door as if furies were pursuing him,
slamming it shut behind him._]
ELEANOR—[_With a cry of despair._] Michael! [_She stops as hatred and
rage overpower her again—leaps up and runs to the door—opens it and
screams after him violently._] Go! Go! I’m glad! I hate you. I’ll go,
too! I’m free! I’ll go—— [_She turns and runs up the stairs. She
disappears for a moment, then comes back with a hat and coat on and,
hurrying down the stairs again, rushes out leaving the door open behind
her._]
[_The Curtain Falls_]
ACT II
ACT TWO
SCENE ONE
SCENE—_Library of_ JOHN DARNTON’S _home in Connecticut, an hour or so
from the city. The room is spacious, furnished in excellent taste.
The rear wall is lined with bookshelves. On the wall above the
shelves are hung framed photographs of stage-sets. A door is in
the rear, toward right. A grand piano at left of door. Near it a
round table with a bronze lamp. A smaller table with another lamp
is in the left corner. In the right corner a big cushioned chair
and an expensive Victrola. In the right wall, French windows
opening on a porch. In the left wall, an open fireplace in which
logs are burning. Before the fireplace, a double couch facing left
and right. The lamp in the left corner is the only one lit. Over
the fireplace, a framed, enlarged portrait study of_ ELEANOR,
_evidently taken some years before_.
_As the curtain rises_, JOHN DARNTON _is discovered. He is sitting
in front of the fireplace, lost in an apathetic dream. His body is
bent over wearily, the shoulders bowed, his long arms resting on
his knees, his hands dangling. He sits on the extreme edge in the
exact middle of the big couch, and this heightens the sense of
loneliness about him, of a man growing old among dreams which
become profitless as he feels the lack of a love that could
understand and share them._
_Suddenly he starts as the sound of a motor comes from the
driveway. The car is heard driving up; it stops before the front
door; its door is slammed, it drives off; a ringing of the
doorbell sounds from somewhere back in the house._ DARNTON _has
gotten up, gone toward the door in the rear, exclaiming irritably
as the bell continues to ring_—All right, damn it! Who the
devil——? [_He is heard opening the front door—in blank
amazement._] Nelly! [_Then her voice in a strained, hysterical
pitch._] John! I—— [_The rest is lost incoherently. Then his voice
soothingly._] Come in by the fire! Come in. [_He follows her into
the room. Her face is pale, distraught, desperate. She comes
quickly to the couch and flings herself down in one corner,
staring into the fire. He stands nearby uncertainly, watching her.
His face holds a confused mixture of alarm, tenderness,
perplexity, passionate hope._]
DARNTON—You’re shivering. Come closer to the fire.
ELEANOR—[_With a startled movement._] No—I—I’m warm. [_A pause. He waits
for her to speak, not knowing what to think. She gradually collects
herself. Memory crowds back on her and her face twitches with pain which
turns to hatred and rage. She becomes conscious of_ DARNTON’S _eyes,
forces this back, her face growing mask-like and determined. She looks
up at_ DARNTON _and forces the words out slowly_.] John—you said, if
ever—— You once said I might always come——
DARNTON—[_His face lights up for a second with a joy that is
incongruously savage—at once controlling this—simply._] Yes, Nelly.
ELEANOR—[_A bit brokenly now._] I hope—you meant that.
DARNTON—[_Simply._] Yes, I meant it.
ELEANOR—I mean—that you still mean it——?
DARNTON—[_Forcing an awkward smile._] Then—now—forever after, amen—any
old time at all, Nelly. [_Then overcome by a rush of bewildered
joy—stammering._] Why—you ought to know——!
ELEANOR—[_Smiling tensely._] Would I still be welcome if I’d come—to
stay?
DARNTON—[_His voice quivering._] Nelly! [_He starts toward her, then
stops—in a low, uncertain voice._] And Michael?
ELEANOR—[_With an exclamation of pain._] Don’t! [_Quickly recovering
herself—in a cold, hard voice._] That’s—dead! [DARNTON _lets a held-back
breath of suspense escape him_. ELEANOR _stammers a bit hysterically_.]
Don’t talk of him! I’ve forgotten—as if he’d never lived! Do you still
love me? Do you? Then tell me! I must know someone——
DARNTON—[_Still uncertain, but coming nearer to her—simply._] You knew
once. Since then—— My God, you’ve guessed, haven’t you?
ELEANOR—I need to hear. You’ve never spoken—for years——
DARNTON—There was—Michael.
ELEANOR—[_Wildly, putting her hands up to her ears as if to shut out the
name._] Don’t!
DARNTON—You loved him.
ELEANOR—[_Intensely._] I hate him! And he hates me! [_She shudders—then,
driven by a desperate determination, forces a twisted smile._] Why do
you stand there? Are you afraid? I’m beginning to suspect—perhaps,
you’ve only imagined you loved me——
DARNTON—Nelly! [_He seizes one of her hands awkwardly and covers it with
kisses—confusedly, with deep emotion._] I—— You know—— Don’t joke—— You
know I love you!
ELEANOR—[_With the same fixed smile._] You must put your arms around
me—and kiss me—on the lips——
DARNTON—[_Takes her in his arms awkwardly and kisses her on the
lips—with passionate incoherence._] Nelly! I’d given up hoping—I—I can’t
believe—— [_She submits to his kisses with closed eyes, her face like a
mask, her body trembling with revulsion. Suddenly he seems to sense
something disharmonious—confusedly._] But you—you don’t care for me.
ELEANOR—[_Still with closed eyes—dully._] Yes. [_With a spurt of
desperate energy she kisses him wildly several times, then sinks back
again closing her eyes._] I’m so tired, John—so tired!
DARNTON—[_Immediately all concern._] You’re trembling all over. I’m an
idiot not to have seen—— Forgive me. [_He puts his hand on her
forehead._] You’re feverish. You’d better go to bed, young lady, right
away. Come. [_He raises her to her feet._]
ELEANOR—[_Wearily._] Yes, I’m tired. [_Bitterly._] Oh, it’s good to be
loved by someone who is unselfish and kind—after all the hate——
DARNTON—Ssshh! [_Forcing a joking tone._] I’m cast for the Doctor now.
Doctor’s orders: don’t talk, don’t think, sleep. Come, I’ll show you
your room.
ELEANOR—[_Dully._] Yes. [_As if she were not aware of what she is doing,
she allows him to lead her to the door at right, rear. There she
suddenly starts as if awakening—frightenedly._] Where are we going?
DARNTON—[_With gentle bullying._] You’re going upstairs to bed.
ELEANOR—[_With a shudder—incoherently._] No, no! Not now—no—wait—you
must wait—— [_Then calming herself and trying to speak
matter-of-factly._] I’d rather stay up and sit with you. I must have
gotten chilled. I want to sit by the fire.
DARNTON—[_Worriedly, but giving in to her at once._] All right. Whatever
suits you. [_They go back to the fire. She sits in a chair which he
pushes near it. He puts a cushion in back of her._] How’s that?
ELEANOR—[_With a wan, grateful smile._] You’re so kind, John. You’ve
always been kind. You’re so different—— [_She checks herself, her face
growing hard, and stares into the fire._ DARNTON _watches her face.
There is a long pause._]
DARNTON—[_Finally—in a gentle tone._] Nelly, don’t you think it’d help
if you told me—everything that’s happened?
ELEANOR—[_With a shudder._] No! It was all horror—and hatred—and
disgust! [_Wildly resentful._] Why do you make me remember? I’ve come to
you. Why do you ask for reasons? [_With a harsh laugh._] Are you
jealous—of him?
DARNTON—[_Quietly._] I’ve always envied Michael.
ELEANOR—If you’d seen him tonight, you wouldn’t envy him. You’d despise
him as I do. He is mean and contemptible! He makes everything as low as
he is! He went away threatening, boasting he would——[_Hysterically._]
Why do you make me think of him? I hate him, I tell you! I want to be
yours—yours! [_She throws herself into his arms._]
DARNTON—[_Straining her to him—with awkward passion._] Nelly! Yes—yes—
[_Under his kisses her face again becomes mask-like, her body rigid, her
eyes closed._ DARNTON _suddenly grows aware of this. He stares down at
her face, his own growing bewildered and afraid. He stammers._] Nelly!
What is it?
ELEANOR—[_Opening her eyes—in alarm._] What——?
DARNTON—[_With a sigh of relief._] You gave me a scare. You were like a
corpse.
ELEANOR—[_Breaks away from him and bends over the fire with her
trembling hands spread out to it._] I—I’m so cold. I believe I do feel
ill. I’ll go to bed. [_She moves toward the door._]
DARNTON—[_Uneasily—with a forced heartiness._] Now you’re talking sense.
Come on. [_He leads the way into the hall. She goes as far as the
doorway—then stops. A queer struggle is apparent in her face, her whole
body, as if she were fighting with all her will to overcome some
invisible barrier which bars her way._ DARNTON _is watching her keenly
now, a sad foreboding coming into his eyes. He steps past her back into
the room, saying kindly but with a faint trace of bitterness._] It’s the
first door upstairs on your right—if you’d rather go alone. [_He walks
still further away, then turns to watch her, his face growing more and
more aware and melancholy._]
ELEANOR—[_Vaguely._] No—you don’t understand—— [_She stands swaying,
reaching out her hand to the side of the doorway for support—dully._]
The first door to the right—upstairs?
DARNTON—Yes.
ELEANOR—[_Struggles with herself, confused and impotent, trying to
will—finally turns to_ DARNTON _like a forlorn child_.] John. Can’t you
help me?
DARNTON—[_Gravely._] No—not now when I do understand. You must do it
alone.
ELEANOR—[_With a desperate cry._] I can! I’m as strong as he! I do!
[_This breaks the spell which has chained her. She grows erect and
strong. She walks through the doorway._]
DARNTON—[_With a triumphant exclamation of joy._] Ah! [_He strides
toward the doorway—then stops as he notices that she also has stopped at
the bottom of the stairs, one foot on the first stair, looking up at the
top. Then she wavers and suddenly bolts back into the room, gropingly,
her face strained and frightened._ DARNTON _questions her with fierce
disappointment_.] What is it? Why did you stop?
ELEANOR—[_Forcing a twisted smile—wildly._] You’re right. I must be
feverish. [_Trying to control herself—self-mockingly._] Seeing spooks,
that’s pretty far gone, isn’t it? [_Laughing hysterically._] Yes—I swear
I saw him—standing at the head of the stairs waiting for me—just as he
was standing when you knocked at our door, remember? [_She laughs._]
Really, it was too ridiculous—so plain——
DARNTON—Ssshh! [_Glancing at her worriedly._] Won’t you lie down here?
Try and rest.
ELEANOR—[_Allowing him to make her comfortable on the couch before the
fire._] Yes. [_Her eyes glance up into his bewilderedly._]
DARNTON—[_After a long pause—slowly._] You don’t love me, Nelly.
ELEANOR—[_Pitifully protesting._] But I do, John! I do! You’re kind!
You’re unselfish and fine! I do love you!
DARNTON—[_With a wry smile._] That isn’t me. You don’t love me.
ELEANOR—[_Desperately defiant, leaps to her feet._] I do! [_She takes
his face between her hands and bringing her own close to it, stares into
his eyes. He looks back into hers. She mutters fiercely between her
clenched teeth._] I do! I do love you! [_For a long moment they remain
there, as she brings her face nearer and nearer striving with all her
will to kiss him on the lips. Finally her eyes falter, her body grows
limp, she turns away and throws herself on the couch in a fit of
abandoned sobbing._]
DARNTON—[_With a sad smile._] You see?
ELEANOR—[_Her voice muffled—between sobs._] But I—want to! And I will—I
know—some day—I promise!
DARNTON—[_Forcing a light tone._] Well, I’ll be resigned to wait and
hope then—and trust in your good intentions. [_After a pause—in a
calming, serious tone._] You’re calmer now? Tell me what happened
between you and Michael.
ELEANOR—No! Please!
DARNTON—[_Smiling but earnestly._] It’ll relieve your mind, Nelly—and
besides, how can I help you otherwise?
ELEANOR—[_After a pause—with resigned dullness._] We’ve quarreled, but
never like this before. This was final! [_She shudders—then suddenly
bursts out wildly._] Oh, John, for God’s sake don’t ask me! I want to
forget! We tore each other to pieces, we destroyed one another! I
realized I hated him! I couldn’t restrain my hate! I had to crush him as
he was crushing me! [_After a pause—dully again._] And so that was the
end.
DARNTON—[_Tensely, hoping again now—pleadingly._] You’re sure, Nelly?
You’re sure your love is dead——
ELEANOR—[_Fiercely._] I hate him!
DARNTON—[_After a pause—earnestly._] Then stay here. I think I can help
you forget. Never mind what people say. Make this your home—and maybe—in
time—— [_He forces a smile._] You see, I’m already starting to nurse
along that crumb of hope you gave. [_She is looking down, preoccupied
with her own thoughts. He looks at her embarrassedly, then goes on
gently, timidly persuasive._] I don’t mind waiting. I’m used to it. And
I’ve been hoping ever since I first met you—eight years ago, isn’t it?
[_Forcing a half laugh._] I’ll admit when you married him the waiting
and hoping seemed excess labor. I tried to fire them—thought I had—but
when you came tonight—there they were right onto the job again! [_He
laughs—then catching himself awkwardly._] But hell! I don’t want to
bother you now. Forget me. Will you stay here and rest up—treat this as
your house? That’s the point.
ELEANOR—[_In a bland, absent-minded tone which wounds him._] You’re so
kind, John. [_Then following her own line of thought, she breaks out
savagely._] I told him I’d been your mistress while he was away!
DARNTON—[_Amazed._] Nelly!
ELEANOR—I had to tell that lie! He was degrading me! I had to revenge
myself!
DARNTON—But certainly he could never believe——
ELEANOR—[_With fierce triumph._] Oh, I made him believe! [_Then dully._]
Then—he went away. He said he would kill our love as I had—worse——
[_With a twisted smile._] That’s what he’s doing now. He has gone to one
of those women he lived with before—— [_Laughing harshly._] No! They
wouldn’t be vile enough—for his beautiful revenge on me! He has a
wonderful imagination. Everyone acknowledges that! [_She laughs with
wild bitterness—this is transformed into a frenzy of rage._] Oh, how I
loathe him! [_Then in agony._] My God, why do I think——? Help me, John!
Help me to forget—to love you!
DARNTON—[_After a pause—with a sad, bitter helplessness._] You mean—to
hate him! Help you—to revenge yourself! But don’t you realize I
can’t—you can’t—because—I see this damn clear now so don’t deny
it!—because you still love him!
ELEANOR—[_Fiercely._] No! [_After a pause—brokenly._] Don’t! I know! I
hate myself for loving him! I hate him because I love him! [_She sobs
heart-brokenly._]
DARNTON—[_After a pause, as her sobbing grows quieter—sadly._] Go home.
ELEANOR—No! [_After a pause, brokenly._] He hates me.
DARNTON—[_With a grim smile._] Because he loves you.
ELEANOR—He’ll never come back now.
DARNTON—[_With bitter humor._] Oh, yes he will; take my word for it. I
know—because I happen to love you, too.
ELEANOR—[_Faintly._] And do you—hate me?
DARNTON—[_After a pause—with melancholy self-disgust._] No. I’m too
soft. That’s why you’ve always liked me and never loved me.
[_Bitterly._] I ought to hate you! Twice now you’ve treated my love with
the most humiliating contempt—— Once, years ago, when you were willing
to endure it as the price of a career—again tonight, when you try to
give yourself out of hate and love—love!—for him! [_In sudden furious
revolt._] Christ! What am I, eh? [_Then checking his anger and forcing a
wry smile._] I think your treatment has been rather hard to take,
Nelly—and even now I’m not cured, at that! [_He laughs harshly and turns
away to conceal his real hurt._]
ELEANOR—[_With deep grief._] Forgive me.
DARNTON—[_As if to himself—reassuringly._] Still—I would have been the
poorest slave. I couldn’t have fought you like Michael. Perhaps, deep
down, I’m glad——
ELEANOR—Don’t say that! If I could have loved you—if I could love you
now—I’d be happy.
DARNTON—You’d have grown to despise a slave long ago. [_Then bluntly._]
You’d better go home right away.
ELEANOR—[_Dully._] Even if he has——
DARNTON—[_Brusquely._] You know you’ve got to—no matter what!
ELEANOR—How can I have faith? And how can I ever make him believe I lied
about you? How can he ever trust me about us—here—tonight?
[_Miserably._] Oh, don’t you see how impossible——!
DARNTON—[_Impatiently._] But evidently you must. Face the truth in
yourself. Must you—or mustn’t you?
ELEANOR—[_After a moment’s defiant struggle with herself—forlornly._]
Yes. [_After a pause, with a gesture toward the door and a weary, beaten
smile._] Upstairs—if I could have gone—I’d have been free. But he’s
trained me too well in his ideal. And I love him. From the depths of my
humiliation I love him! [_Despairingly._] But when I think of what he’s
doing, of what he will do to crush——! I hate him! I hate him so terribly
that——! [_She stops, trembling with passion, her face convulsed—then,
shrugging her shoulders, fatalistically._] It’s broken me. I’m no longer
anything. So what does it matter how weak I am? Let him win. [_A slight
pause._] I begin to know—something. [_With a sudden queer, exultant
pride._] I love him! But my love for him is my own, not his! My love for
him he can never possess! It is _my_ own! It is _my_ life! [_She turns
to_ DARNTON _determinedly_.] I must go home now.
DARNTON—[_Wonderingly._] Good. I’ll drive you back. [_He starts for the
door._]
ELEANOR—[_Suddenly grasping his arm._] Wait. [_Affectionately._] I was
forgetting you—as usual. How can you forgive me? What can I do——?
DARNTON—[_With a wry smile._] Forget, Nelly. Remember me as a manager.
Study your part; help Michael; and we’ll all three be enormously
successful! [_He laughs mockingly._]
ELEANOR—[_Tenderly._] I’ll always believe Fate should have let me love
you, instead.
DARNTON—[_With the same wry smile._] While I begin to suspect that in a
way I’m lucky—to be heart-broken. Our might-have-beens are more
enjoyable—as dreams, eh? [_With a laugh._] Curtain! You’ll want to go
upstairs and powder your nose. There’s no angel with a flaming sword
there now, is there? [_He points to the doorway._]
ELEANOR—[_With a tired smile._] No. [_She goes to the doorway. He
follows her. They both stop there for a moment instinctively and smile
forlornly at each other._]
DARNTON—[_Impulsively._] One question: That time you stood here and
called to me for help—if I could have given you a push, mental, moral,
physical——?
ELEANOR—[_Smiling._] Might-have-beens, John! [_Then earnestly._] You
didn’t because you couldn’t. It wouldn’t have helped, anyway. The angel
was here. [_She touches her breast._]
DARNTON—[_With a sigh._] Thanks. That saves me a life-long regret.
ELEANOR—[_Earnestly—gripping his right hand in hers and holding his
eyes._] There must be no regrets—ever—between old friends.
DARNTON—[_Gripping her hand in turn._] No, I promise, Nelly. [_Then,
letting her hand drop and turning away to conceal his emotion—forcing a
joking tone._] After all, friendship is sounder, saner—more in the
picture for my type, eh?
ELEANOR—[_Absent-minded again now—vaguely._] I don’t know. [_Then
briskly._] We must hurry. I’ll be right down. [_She goes out and up the
stairway in the hall._]
DARNTON—[_Stares up after her for a second, then smiling grimly._] Well,
business of living on as usual. [_He passes his arm here and there in
the open doorway as if he were a magician—with bitter irony._] You
see—nothing there! Invisible cobwebs—cast-iron cobwebs! [_He laughs
harshly._] Catching title for a play. I’ll tell Michael! [_He laughs
again—checks himself—then walks out, calling up the stairs._] I’m going
to get the car, Nelly.
[_The Curtain Falls_]
ACT TWO
SCENE TWO
SCENE—_A dingy bedroom in a Sixth Avenue “bed house.” In the rear,
center, a door leading into the hall. A chair to left of door. In
the left corner, a washstand with bowl, pitcher, towels, etc. In
the left wall, center, a small window with a torn dark shade
pulled down. On the right, a bed. A filthy threadbare carpet on
the floor. Ugly wall paper, dirty, stained, criss-crossed with
match-strokes._
_When the curtain rises, the room is in darkness except for a
faint glow on the window shade from some street lamp. Then the
door is opened and a woman’s figure is silhouetted against the
dim, yellow light of the hall. She turns and speaks to someone who
is following her. Her voice is heavy and slow with the strong
trace of a foreign intonation, although the words are clearly
enough defined._
WOMAN—Got a match? [_A man’s figure appears behind hers. He fumbles in
his pockets, hands her a match without speaking. She strikes it on the
wall, lights the gas jet near the door. The room is revealed in sordid
detail in the tarnished yellow light. The_ WOMAN _is fairly young. Her
face, rouged, powdered, penciled, is broad and stupid. Her small eyes
have a glazed look. Yet she is not ugly—rather pretty for her bovine,
stolid type—and her figure is still attractive although its movements
just now are those of a tired scrubwoman’s. She takes off her coat,
hangs it on a hook, then goes to a mirror on the wall over the
washstand, and removes her hat._
_The man is_ MICHAEL CAPE. _He is bare-headed, his hair disheveled, his
eyes wild, his face has a feverish, mad expression. He stands in the
doorway watching each movement of the_ WOMAN’S _with an unnatural
preoccupied concentration_.]
WOMAN—[_Having removed her hat and put it on the washstand, turns to him
impatiently._] Ain’t you comin’ in? [_He starts and nods stupidly,
moving his lips as if answering but not making a sound._] Come in! Shut
the door. [_He does so and locks it mechanically—then looks from her
around the room with a frightened, puzzled glance as if he were aware of
his surroundings for the first time._]
WOMAN—[_Forcing a trade smile—with an attempt at lightness._] Well, here
we are, dearie. [_Then with a sigh of physical weariness as she sits on
the side of the bed._] Gawd, I’m tired! My feet hurt fierce! I been
walkin’ miles. I got corns, too. [_She sighs again, this time with a
sort of restful content._] It’s good ‘n’ warm in this dump, I’ll hand it
that. [_A pause._] I’d gave up hope and was beatin’ it home when you
come along. [_A pause during which she takes him in calculatingly._]
How’d you lose your hat? [_He starts, passes a trembling hand through
his hair bewilderedly but does not answer. A pause—then the_ WOMAN
_sighs and yawns wearily—bored_.] Can’t you say nothin’? You was full
enough of bull when you met me. Gawd, I thought you’d get us both
pinched. You acted like you was crazy. Remember kissing me on the corner
with a whole mob pipin’ us off?
CAPE—[_With a start—evidently answering some train of thought in his
mind—with a wild laugh._] Remember? [_He sinks on the chair with his
head in his hands. There is a pause._]
WOMAN—[_Insinuatingly._] Goin’ to stay all night? [_He glances up at her
stupidly but doesn’t answer. The_ WOMAN _insists dully_.] Say, you got
ear-muffs on? I ast you, d’you wanta stay all night?
CAPE—[_After a moment’s groping, nods emphatically again and again,
swallowing hard several times as if he were striving to get control of
his voice—finally blurts out in a tone of desperation._] Yes—yes—of
course!—Where else would I go?
WOMAN—Home. [_Indifferently._] That’s where most of ’em goes—afterwards.
CAPE—[_With a sudden burst of wild laughter._] Ha-ha-ha. Home! Is that
your private brand of revenge—to go with men with homes? I congratulate
you! [_He laughs to himself with bitter irony—then suddenly deadly
calm._] Yes, I have a home, come to think of it—from now on Hell is my
home! I suspect we’re fellow-citizens. [_He laughs._]
WOMAN—[_Superstitiously._] You oughtn’t to say them things.
CAPE—[_With dull surprise._] Why?
WOMAN—Somep’n might happen. [_A pause._] Don’t you believe in no God?
CAPE—I believe in the devil!
WOMAN—[_Frightened._] Say! [_Then after a pause, forcing a smile._] I’m
wise to what’s wrong with you. You been lappin’ up some bum hooch.
CAPE—[_Jerkily._] No. I’m not drunk. I thought of that—but—it’s evasion.
[_Wildly._] And I must be conscious—fully conscious, do you
understand?—of what I do! I will this act as a symbol of release—of the
end of all things! [_He stops, shuddering. She looks at him stolidly. A
pause. He presses his hands to his forehead._] My brain burns up!
[_Suddenly striking his head with both fists—in a frenzy._] Stop
thinking, damn you! Stop! [_Then after a pause—dully._] How long——? What
time is it?
WOMAN—Little after two, I guess.
CAPE—[_Amazed._] Only that? [_She nods._] Only two hours since——? [_A
pause._] I remember streets—lights—dead faces—— Then you—your face alone
was alive for me, alive with my deliverance! That was why I kissed you.
You shall avenge me!
WOMAN—[_Looking at him queerly._] Say, you talk nutty. Been dopin’ up on
coke, I bet you.
CAPE—[_With an abrupt exclamation._] Ha! [_He stares at her with
unnatural intensity._] You seem to take it quite casually that men must
be either drunk or doped—otherwise——! Marvelous! You,—you are the last
depth—— [_With a strange, wild exultance, leaps to his feet._] You are
my salvation! You have the power—and the right—to defile beauty and
murder love! You can satisfy hate and exhaust it! Will you let me kiss
you again? [_He strides over to her._]
WOMAN—[_In a stupid state of bewilderment, feeling she has been insulted
but not exactly knowing by what or how to resent it—angrily, pushing him
away._] No! Get away from me! [_Then afraid she may lose his trade by
this rebuff._] Aw, all right. Sure you can. [_Making a tremendous
visible effort he kisses her on the lips, then shrinks back with a
shudder and forces a harsh laugh. She stares at him and mutters
resentfully._] O’ny don’t get so fresh, see? I don’t like your line of
talk. [_He slumps down on the chair again, sunk in a somber stupor. She
watches him. She yawns. Finally she asks insinuatingly._] Ain’t you
gettin’ sleepy?
CAPE—[_Starting—with wild scorn._] Sleep! Do you think I——? [_Staring at
her._] Oh—I see—you mean, what did I come here for?
WOMAN—[_In same tone._] It’s gettin’ late.
CAPE—[_Dully, with no meaning to his question—like an automaton._] A
little after two?
WOMAN—Yes. [_She yawns._] You better let me go to bed and come yourself.
CAPE—[_Again staring at her with strange intensity—suddenly with a queer
laugh._] How long have you and I been united in the unholy bonds
of—bed-lock? [_He chuckles sardonically at his own play on words._]
WOMAN—[_With a puzzled grin._] Say!
CAPE—Ten thousand years—about—isn’t it? Or twenty? Don’t you remember?
WOMAN—[_Keeping her forced grin._] Tryin’ to kid me, ain’t you?
CAPE—Don’t lie about your age! You were beside the cradle of love, and
you’ll dance dead drunk on its grave!
WOMAN—I’m only twenty-six, honest.
CAPE—[_With a wild laugh._] A fact! You’re right. Thoughts keep alive.
Only facts kill—deeds! [_He starts to his feet._] Then hate will let me
alone. Love will be dead. I will be as ugly as the world. My dreams will
be low dreams. I’ll “lay me down among the swine.” Will you promise me
this, you?
WOMAN—[_Vaguely offended—impatiently._] Sure, I’ll promise anything.
[_She gets up to start undressing. She has been pulling the pins out of
her hair and, as she rises, it falls over her shoulders in a peroxided
flood. She turns to him, smiling with childish pride._] D’you like my
hair, kid? I got a lot of it, ain’t I?
CAPE—[_Laughing sardonically._] “O love of mine, let down your hair and
I will make my shroud of it.”
WOMAN—[_Coquettishly pleased._] What’s that—po’try? [_Then suddenly
reminded of something she regards him calculatingly—after a pause,
coldly._] Say, you ain’t broke, are you? Is that what’s troubling you?
CAPE—[_Startled—then with bitter mockery._] Ha! I see you’re a practical
person. [_He takes a bill from his pocket and holds it out to
her—contemptuously._] Here!
WOMAN—[_Stares from the bill to him, flushing beneath her rouge._] Say!
I don’t like the way you act. [_Proudly._] I don’t take nothin’ for
nothin’—not from you, see!
CAPE—[_Surprised and ashamed._] I’ll leave it here, then. [_He puts it
on top of the washstand and turns to her—embarrassedly._] I didn’t
mean—to offend you.
WOMAN—[_Her face clearing immediately._] Aw, never mind. It’s all right.
CAPE—[_Staring at her intently—suddenly deeply moved._] Poor woman!
WOMAN—[_Stung—excitedly._] Hey, none of that! Nix! Cut it out! I don’t
stand for that from nobody! [_She sits down on the bed angrily._]
CAPE—[_With unnatural intensity._] Do you know what you are? You’re a
symbol. You’re all the tortures man inflicts on woman—and you’re the
revenge of woman! You’re love revenging itself upon itself! You’re the
suicide of love—of my love—of all love since the world began!
[_Wildly._] Listen to me! Two hours ago—— [_Then he beats his head with
both clenched hands—distractedly._] Leave me alone! Leave me alone, damn
you! [_He flings himself on the chair in a violent outburst of dry
sobbing._]
WOMAN—[_Bewilderedly._] Say! Say! [_Then touched, she comes to him and
puts her arms around his shoulders, on the verge of tears herself._] Aw,
come on, kid. Quit it. It’s all right. Everything’s all right, see. [_As
his sobbing grows quieter—helpfully._] Say, maybe you ain’t ate nothin’,
huh? Maybe soup’d fix you. S’posin’ I go round the corner, huh? Sure,
all I got to do is put up my hair——
CAPE—[_Controlling hysterical laughter—huskily._] No—thanks. [_Then his
bitter memories rush back agonizingly. He stammers wildly._] She
confessed—with hate! She was proud of her hate! She was proud of my
torture. She screamed: “I hate you! I’ll go too.” Go where? Did she go?
Yes, she must——! Oh, my God! Stop! Stop! [_He springs up, his face
distorted, and clutches the_ WOMAN _fiercely in his arms_.] Save me,
you! Help me to kill this beauty which she defiled! Help me to gain the
peace which is the death of love. [_He kisses her again and again
frenziedly. She submits stolidly. Finally with a groan he pushes her
away, shuddering with loathing, and sinks back on the chair._] No! I
can’t—I can’t!
WOMAN—[_Wiping her lips with the back of her hand—a vague comprehension
coming into her face—scornfully._] Huh! I got a hunch now what’s eatin’
you. [_Then with a queer sort of savage triumph._] Well, I’m glad one of
youse guys got paid back like you oughter!
CAPE—[_With dull impotent rage._] I can’t! I love her! [_As if he were
defying himself by this confession._] Yes, I still love her! And I
can’t! I only hate because I love—I’m the weaker. Our love must live on
in me. There is no death for it. There is no freedom—while I live.
[_Struck by a sudden thought._] Then, why——? [_A pause._] An end of
loathing—in a second, peace—no wounds, no memories—sleep!
WOMAN—[_With a shudder._] Say, you’re beginning to give me the creeps.
CAPE—[_Startled—with a forced laugh._] Am I? Well, never mind. [_He
shakes his head as if to drive some thought from his mind and forces a
trembling, mocking smile._] That’s over. The great temptation, isn’t it?
I suppose you’ve known it. But also the great evasion. Too simple for
the complicated,—too weak for the strong, too strong for the weak. One
must go on, eh?—even wounded, on one’s knees—if only out of curiosity to
see what will happen—to oneself. [_He laughs harshly and turns with a
quick movement toward the door._] Well, good-by, and forgive me. It
isn’t you, you know. You’re the perfect death—but I’m too strong, or
weak—no, merely I’m myself—and that myself can’t, you understand—can’t!
So, good-by. [_He goes to the door._]
WOMAN—[_Frightenedly._] Say! What’re you goin’ to do?
CAPE—Go on in the dark.
WOMAN—You better beat it home, that’s what.
CAPE—[_Violently._] No! [_Then bitterly._] I came home once tonight——
WOMAN—[_Wearily._] Aw, forget it. She’s your wife, ain’t she?
CAPE—How do you know? [_He comes back to her, curiously attracted._]
WOMAN—[_Cynically._] Aw, I’m wise. Stick to her, see? You’ll get over
it. You can get used to anything, take it from me!
CAPE—[_In anguish._] Don’t! But it’s true—it’s the insult we all swallow
as the price of life. [_Rebelliously._] But I——!
WOMAN—[_With a sort of forlorn chuckle._] Oh, you’ll go back, aw right!
Don’t kid yourself. You’ll go back no matter what, and you’ll learn to
like it. Don’t I know? You love her, don’t you? Well, then! There’s no
use buckin’ that game. Go home. Kiss and make up. Ferget it. It’s easy
to ferget—when you got to! [_She finishes up with a cynical, weary
scorn._]
CAPE—[_Very pale—stammering._] You—you make life despicable.
WOMAN—[_Angrily._] Say! [_Then with groping, growing resentment._] I
don’t like your talk! You’ve pulled a lot of bum cracks
about—about—never mind, I got you, anyhow! You ain’t got no right——
What’d you wanter pick me up for, anyway? Wanter just get me up here to
say rotten things? Wanter use me to pay her back? Say! Where do I come
in? Guys go with me ‘cause they like my looks, see?—what I am,
understand?—but you, you don’t want nothin’. You ain’t drunk, neither!
You just don’t like me. And you was beatin’ it leavin’ your money
there—without nothin’. I was goin’ to let you then, I ain’t now. [_She
suddenly gives him a furious push which sends him reeling back against
the wall._] G’wan! Take your lousy coin and beat it! I wouldn’t take
nothin’, nor have nothin’ to do with you if you was to get down on your
knees!
CAPE—[_Stares at her—an expression comes as if he were seeing her for
the first time—with great pity._] So—it still survives in you. They
haven’t killed it—that lonely life of one’s own which suffers in
solitude. [_Shamefacedly._] I should have known. Can you forgive me?
WOMAN—[_Defensively._] No!
CAPE—Through separate ways love has brought us both to this room. As one
suffering, lonely human being to another, won’t you——?
WOMAN—[_Struggling with herself—harshly._] No!
CAPE—[_Gently._] Not even if I ask it on my knees? [_He kneels before
her, looking up into her face._]
WOMAN—[_Bewildered, with hysterical fierceness._] No! Git up, you——!
Don’t do that, I tell you! Git up or I’ll brain yuh! [_She raises her
fist threateningly over his head._]
CAPE—[_Gently._] Not until you——
WOMAN—[_Exhaustedly._] Aw right—aw right—I forgive——
CAPE—[_Gets up and takes her face between his hands and stares into her
eyes—then he kisses her on the forehead._] Sister.
WOMAN—[_With a half sob._] Nix! Lay off of me, can’t you?
CAPE—But I learned that from you.
WOMAN—[_Stammering._] What?—loined what? [_She goes away from him and
sinks on the bed exhaustedly._] Say, you better beat it.
CAPE—I’m going. [_He points to the bill on the washstand._] You need
this money. You’ll accept it from me now, won’t you?
WOMAN—[_Dully._] Sure. Leave it there.
CAPE—[_In the same gentle tone._] You’ll have to give it to him in the
morning?
WOMAN—[_Dully._] Sure.
CAPE—All of it?
WOMAN—Sure.
CAPE—Or he’d beat you?
WOMAN—Sure. [_Then suddenly grinning._] Maybe he’ll beat me up,
anyway—just for the fun of it.
CAPE—But you love him, don’t you?
WOMAN—Sure. I’m lonesome.
CAPE—Yes. [_After a slight pause._] Why did you smile when you said he’d
beat you, anyway?
WOMAN—I was thinkin’ of the whole game. It’s funny, ain’t it?
CAPE—[_Slowly._] You mean—life and love?
WOMAN—Sure. You got to laugh, ain’t you? Sure! You got to loin to like
it!
CAPE—[_This makes an intense impression on him. He nods his head several
times._] Yes! That’s it! That’s exactly it! That goes deeper than
wisdom. To learn to love the truth of life—to accept it and be
exalted—that’s the one faith left to us! [_Then with a tremulous
smile._] Good-by, I’ve joined your church. I’m going home.
WOMAN—[_With a grin that is queerly affectionate._] Sure. That’s the
stuff. Close your eyes and your feet’ll take you there.
CAPE—[_Impressed again._] Yes! Yes! Of course they would! They’ve been
walking there for thousands of years—blindly. However, I’ll keep my eyes
open—— [_He smiles back at her affectionately._] ——and learn to like it!
WOMAN—[_Grinning._] Sure. Good luck.
CAPE—Good-by. [_He goes out, closing the door after him. She stares at
the door for a moment, listening to his footsteps as they die out down
the stairs. Then she takes a comb from her bag and, going to the mirror,
starts to comb her hair. She is preoccupied and her hand suddenly
stops._]
WOMAN—[_Confusedly._] Say——? [_She stares at herself with a
vaguely-troubled, ruminating stolidity. Then with a sigh she goes on
combing her hair._]
[_The Curtain Falls_]
ACT III
ACT THREE
SCENE—_Same as Act One, the_ CAPES’ _apartment, about five o’clock the
same morning. The door to the hall is still open, the reading lamp
alight, everything exactly as at the close of_ ACT ONE.
ELEANOR _is standing by the table, leaning her back against it,
facing the door, her whole attitude strained, expectant but
frightened, tremblingly uncertain whether to run and hide from, or
run forward and greet_ CAPE, _who is standing in the doorway. For
a long, tense moment they remain fixed, staring into each other’s
eyes with an apprehensive questioning. Then, as if unconsciously,
falteringly, with trembling smiles, they come toward each other.
Their lips move as if they were trying to speak. When they come
close, they instinctively reach out their hands in a strange
conflicting gesture of a protective warding off and at the same
time a seeking possession. Their hands clasp and they again stop,
searching each other’s eyes. Finally their lips force out words._
ELEANOR—[_Penitently._] Michael!
CAPE—[_Humbly._] Nelly! [_They smile with a queer understanding, their
arms move about each other, their lips meet. They seem in a forgetful,
happy trance at finding each other again. They touch each other
testingly as if each cannot believe the other is really there. They act
for the moment like two persons of different races, deeply in love but
separated by a barrier of language._]
ELEANOR—[_Rambling tenderly._] Michael—I—— Dearest—I was afraid——
CAPE—[_Stammering._] Nelly—it’s so good!—I thought—my own—you’d gone——
[_They stare at each other—a pause._]
ELEANOR—[_Beginning to be aware—a bit bewilderedly, breaking away from
him with a little shiver—stupidly._] I feel—there’s a draught, isn’t
there?
CAPE—[_Becoming aware in his turn—heavily._] I’ll shut the door. [_He
goes and does so. She walks to her chair and sits down. He comes and
sits beside her. They are now side by side as in Act One. A pause. They
stare ahead, each frowningly abstracted. Then each, at the same moment,
steals a questioning side glance at the other. Their eyes meet, they
look away, then back, they stare at each other with a peculiar dull
amazement, recognition yet non-recognition. They seem about to speak,
then turn away again. Their faces grow sad, their eyes begin to suffer,
their bodies become nervous and purposeless. Finally_ CAPE _exclaims
with a dull resentment directed not at her but at life_.] What is—it?
[_He makes a gesture of repulsing something before him._]
ELEANOR—[_In his tone._] I don’t know.
CAPE—[_Harshly._] A moment ago—there—— [_He indicates where they had
stood in an embrace._] We knew everything. We understood!
ELEANOR—[_Eagerly._] Oh, yes!
CAPE—[_Bitterly._] Now—we must begin to think—to continue going on,
getting lost——
ELEANOR—[_Sadly._] It was happy to forget. Let’s not think—yet.
CAPE—[_Grimly._] We’ve begun. [_Then with a harsh laugh._] One must
explain. Thinking explains. It eliminates the unexplainable—by which we
live.
ELEANOR—[_Warningly._] By which we love. Sssh! [_A pause._]
CAPE—[_Wonderingly—not looking at her._] You have learned that, too?
ELEANOR—[_With a certain exultance._] Oh, yes, Michael—yes! [_She clasps
his hand. A pause. Then she murmurs._] Now—we know peace. [_Their hands
drop apart. She sighs._]
CAPE—[_Slowly._] Peace isn’t our meaning.
ELEANOR—[_Suddenly turns and addresses him directly in a sad,
sympathetic tone._] You’ve something you want to ask me, Michael?
CAPE—[_Turns to her with an immediate affirmative on his lips, checks it
as he meets her eyes, turns away—a pause—then he turns back humbly._]
No.
ELEANOR—[_Her head has been averted since he turned away—without looking
at him._] Yes.
CAPE—[_Decisively._] No, Nelly. [_She still keeps her head averted.
After a pause he asks simply._] Why? Is there something you want to ask
me?
ELEANOR—No. [_After a pause—with a trace of bitter humor._] I can’t be
less magnanimous than you, can I?
CAPE—Then there is something——?
ELEANOR—Haven’t you something you want to tell?
CAPE—[_Looks at her. Their eyes meet again._] Yes—the truth—if I can.
And you?
ELEANOR—Yes, I wish to tell you the truth. [_They look into each other’s
eyes. Suddenly she laughs with a sad self-mockery._] Well, we’ve both
been noble. I haven’t asked you; you haven’t asked me; and yet—— [_She
makes a helpless gesture with her hands. A pause. Then abruptly and
mechanically._] I’ll begin at the beginning. I left here right after you
did.
CAPE—[_With an involuntary start._] Oh! [_He checks himself._]
ELEANOR—[_Her eyes reading his—after a pause—a bit dryly._] You thought
I’d stayed here all the time? [_Mockingly._] Waiting for you?
CAPE—[_Wounded._] Don’t! [_After a pause—painfully._] When I found
you—perhaps I hoped——
ELEANOR—[_Dully._] I had only been back a few minutes. [_After a
pause._] Was that why you seemed so happy—there——? [_She points to the
spot where they had stood embraced._]
CAPE—[_Indignantly._] No, no! Don’t think that! I’m not like that—not
any more! [_Without looking at her he reaches out and clasps her hand._]
ELEANOR—[_Looks at him—after a pause, understandingly._] I’m sorry——
CAPE—[_Self-defensively._] Of course, I knew you must have gone, you’d
have been a fool to stay. [_Excitedly._] And it doesn’t matter—not a
damn! I’ve gotten beyond that.
ELEANOR—[_Misunderstanding—coldly._] I’m glad. [_A pause. She asks
coldly._] Shall I begin again?
CAPE—[_Struggling with himself—disjointedly._] No—not unless—I don’t
need—— I’ve changed. That doesn’t matter. I—[_With a sudden twisted
grin._] I’m learning to like it, you see.
ELEANOR—[_Looks at him, strangely impressed—a pause—slowly._] I think I
know what you mean. We’re both learning.
CAPE—[_Wonderingly._] You——? [_She has turned away from him. He turns to
stare at her._]
ELEANOR—[_After a pause, taking up her story matter-of-factly._] I went
to John.
CAPE—[_Trying with agony to take this stoically—mumbling stupidly._]
Yes—of course—I supposed——
ELEANOR—[_In the same mechanical tone._] He drove me back here in his
car. He predicted you’d be back any moment, so he went right home again.
CAPE—[_A wild, ironical laugh escapes his control._] Shrewd—Ha!
ELEANOR—[_After a pause—rebukingly._] John is a good man.
CAPE—[_Startled, turns and stares at her averted face—then miserably
humble, stammers._] Yes, yes—I know—I acknowledge—good—— [_He breaks
down, cursing pitiably at himself._] God damn you!
ELEANOR—Oh!
CAPE—Not you! Me! [_Then he turns to her—with fierce defiance._] I love
John!
ELEANOR—[_Moved, without looking at him reaches and clasps his hand._]
That—is beautiful, Michael. [_A pause._]
CAPE—[_Begins to frown somberly—lets go of her hand._] It’s hard—after
what you confessed——
ELEANOR—[_Frightenedly._] Ssshh! [_Then calmly._] That was a lie. I lied
to make you suffer more than you were making me suffer. [_A pause—then
she turns to him._] Can you believe this?
CAPE—[_Humbly._] I want to believe——
ELEANOR—[_Immediately turning away—significantly._] Oh!
CAPE—[_Fiercely—as if to himself._] I will believe! But what difference
does it make—believing or not believing? I’ve changed, I tell you! I
accept!
ELEANOR—I can’t be a lie you live with!
CAPE—[_Turning to her resentfully._] Well, then—— [_As if she were
goading him to something against his will—threateningly._] Shall I tell
you what happened to me?
ELEANOR—[_Facing him defiantly._] Yes. [_He turns away. Immediately her
brave attitude crumbles. She seems about to implore him not to speak._]
CAPE—[_After a pause—hesitatingly._] You said that years ago you had
offered yourself—to him—— [_He turns suddenly—hopefully._] Was that a
lie, too?
ELEANOR—No.
CAPE—[_Turns away with a start of pain._] Ah. [_A pause. Suddenly his
face grows convulsed. He turns back to her, overcome by a craving for
revenge—viciously._] Then I may as well tell you I—— [_He checks himself
and turns away._]
ELEANOR—[_Defensively—with feigned indifference._] I don’t doubt—you
kept your threat.
CAPE—[_Glares at her wildly._] Oho, you don’t doubt that, do you? You
saw I’d changed, eh?
ELEANOR—I saw—something.
CAPE—[_With bitter irony._] God! [_A pause._]
ELEANOR—[_Turning on him doggedly as if she were impersonally impelled
to make the statement._] I want to tell you that tonight—John and
I—nothing you may ever suspect—— [_She falters, turns away with a bitter
smile._] I only tell you this for my own satisfaction. I don’t expect
you to believe it.
CAPE—[_With a wry grin._] No. How could you? [_Then turning to
her—determinedly—after a pause._] But it doesn’t matter.
ELEANOR—I wanted revenge as much as you. I wanted to destroy—and be free
of our love forever!
CAPE—As I did.
ELEANOR—[_After a pause—simply._] I couldn’t.
CAPE—[_Turns and stares at her—a pause—then he asks wonderingly,
eagerly._] Why couldn’t you? Tell me that.
ELEANOR—[_After a pause—simply._] Something stronger.
CAPE—[_With a passionate triumph._] Love! [_With intense pleading._]
Nelly! Will you believe that I, too——? [_He tries to force her eyes to
return to his._]
ELEANOR—[_After a pause—looking before her—sadly._] You should have been
generous sooner.
CAPE—It’s the truth, Nelly! [_Desperately._] I swear to you——!
ELEANOR—[_After a pause—wearily._] We’ve sworn to so much.
CAPE—Everything is changed, I tell you! Something extraordinary happened
to me—a revelation!
ELEANOR—[_With bitter cynicism._] A woman?
CAPE—[_Wounded, turns away from her._] Don’t. [_Then after a pause—with
deep feeling._] Yes—she was a woman. And I had conceived of her only as
revenge—the lowest of the low!
ELEANOR—[_With a shudder._] Ah!
CAPE—[_With feeling._] Don’t judge, Nelly. She was—good!
ELEANOR—[_With another shudder._] Not her! You!
CAPE—[Desperately.] I tell you I——! [_He checks himself helplessly. She
gives no sign. Then he asks sadly._] If you can think that, how could
you come back?
ELEANOR—[_Stammering hysterically._] How? How? [_Bursting into tears._]
Because I love you! [_Then turning on him fiercely as if defying him._]
I love you! I love you!
CAPE—[_Starting up from his chair and trying to take her in his
arms—exultantly._] Nelly!
ELEANOR—[_Pushing him away—violently._] No! I didn’t come back to you! I
came back to my love which is mine—mine! It conquered me, not you!
Something in me—myself—not you! [_She stares him in the eyes defiantly,
triumphantly._]
CAPE—[_Gently._] It doesn’t matter. [_After a pause._] Did I come back
to you?
ELEANOR—[_Taken aback, turning away._] No, I suppose—— [CAPE _stares at
her uncertainly, then sits down in his chair again_.]
CAPE—[_After a pause, looking before him—assertively, as if taking a
pledge._] But I have faith!
ELEANOR—[_Wearily._] Now—for a moment.
CAPE—No!
ELEANOR—Yes. We shall believe—and disbelieve. We are—that.
CAPE—[_Protestingly._] Nelly! [_For a time they both sit staring bleakly
before them. Suddenly he turns to her—desperately._] If there is nothing
left but—resignation!—what use is there?
ELEANOR—I know I love.
CAPE—[_Bitterly—beginning to work himself into a passion._] How can we
endure having our dream perish in this?
ELEANOR—Have we any choice?
CAPE—[_Intensely._] No! It’s not Fate! Fate lives—moves on! We are
merely victims of our dead selves. [_He seems to collect all his forces
and turns on her with a fierce challenge._] We can choose—an end!
ELEANOR—[_Shudders instinctively as she reads his meaning._] Michael!
[_A pause—then looking into his eyes—as a calm counter-challenge._]
Yes—if _you_ wish.
CAPE—[_With passionate self-scorn._] We! We have become ignoble.
ELEANOR—As _you_ wish. [_She again accents the you._]
CAPE—I?
ELEANOR—I accept. I can live—or I can die. [_A pause—gently._] I love
you. You must not suffer too much. [_She reaches out her hand and clasps
his comfortingly._] It is I who have changed most, Michael. [_Then she
speaks sadly but firmly as if she had come to a decision._] There is
only one way we can give life to each other. We must redeem our love
from ourselves!
CAPE—[_Sharply._] How?
ELEANOR—By releasing each other.
CAPE—[_With a harsh laugh._] Are you forgetting we tried that once
tonight?
ELEANOR—With hate. This would be because we loved.
CAPE—[_Violently._] Don’t be a fool! [_Controlling himself—forcing a
smile._] Forgive me. [_Excitedly._] But, my God, what solution——?
ELEANOR—It will give you peace for your work—freedom——
CAPE—Nonsense!
ELEANOR—I will continue to love you. I’ll work for you! We’ll no longer
stand between each other. Then I can really give you my soul and possess
yours. [_Rising to her feet in a pitch of dreamy enthusiasm._] Oh,
Michael, isn’t that a finer love than the old?
CAPE—[_Controlling himself with difficulty._] You’re talking rot!
ELEANOR—[_Hurt._] Michael!
CAPE—You’re mad! [_Then, suddenly glaring at her suspiciously._] Why did
you come back? Why do you want to go? What are you hiding behind all
this?
ELEANOR—[_Wounded._] Your faith? You see?
CAPE—[_Brokenly._] I—I didn’t mean—— [_Then after a struggle with
desperate bitterness._] Well—I accept! I love you enough for that. Go—if
you want to!
ELEANOR—[_Hurt._] Michael! It isn’t—— [_Then determinedly._] But even if
you misunderstand, I must be strong for you!
CAPE—[_Almost tauntingly._] Then go—go now if you can—if you’re strong
enough. [_Harshly._] Let me see you act nobility! [_Then suddenly
remorseful, catching her hand and covering it with kisses._] No! I love
you! Go now before—— Do whatever seems good. Be strong! Be free! I—I
cannot!
ELEANOR—[_Brokenly._] We can try—— [_She bends down swiftly and kisses
his head, turns away quickly._] Good-by.
CAPE—[_In a strangled voice._] Good-by. [_He sits in anguish, in a
tortured restraint. She grabs her cloak from the chair, goes quickly to
the door, puts her hand on the knob—then stops as tense as he. Suddenly
he can stand it no longer, he leaps to his feet and jumps toward the
door with a pleading cry._] Nelly! [_He stands fixed as he sees her
before the door as if he had expected to find her gone. She does not
turn but remains staring at the door in front of her. Finally she raises
her hand and knocks on the door softly—then stops to listen._]
ELEANOR—[_In a queer far-away voice._] No. Never again. “Come out.”
[_She opens the door and turns to_ CAPE _with a strange smile_.] It
opens inward, Michael. [_She closes it again, smiles to herself and
walks back to the foot of the stairway. Then she turns to face_ CAPE.
_She looks full of some happy certitude. She smiles at him and speaks
with a tender weariness._] It must be nearly dawn. I’ll say good-night
instead of good-by. [_They stare into each other’s eyes. It is as if now
by a sudden flash from within they recognized themselves, shorn of all
the ideas, attitudes, cheating gestures which constitute the vanity of
personality. Everything, for this second, becomes simple for
them—serenely unquestionable. It becomes impossible that they should
ever deny life, through each other, again._]
ELEANOR—[_With a low tender cry as if she were awakening to maternity._]
Michael!
CAPE—[_Passionately sure of her now—in a low voice._] Nelly! [_Then
unable to restrain his triumphant exultance._] You’ve failed!
ELEANOR—[_Smiling at him simply._] Yes. Again. [_Smiling dimly at
herself._] My acting—didn’t convince me.
CAPE—We’ve failed!
ELEANOR—Are we weak? [_Dreamily._] I’m happy.
CAPE—Strong! We’ve passed through! We can live again!
ELEANOR—[_With a strange dreamy exultance._] We love!
CAPE—[_Exultantly—but as if testing her, warningly._] But we’ll hate!
ELEANOR—[_In her same tone._] Yes!
CAPE—And we’ll torture and tear, and clutch for each other’s souls!
ELEANOR—[_Nodding her head in a simple emphasis of agreement._] Yes.
CAPE—We’ll have to strive on for perfect union—fight each other—fail
again—blame each other—fail and hate again—[_he raises his voice in
aggressive triumph_]—but!—fail and hate _with pride_—with joy!
ELEANOR—[_Exulted by his exultation rather than by his words._] Yes!
CAPE—_Our_ life is to bear together our burden which is our goal—on and
up!
ELEANOR—[_Dreamily._] Your dream.
CAPE—Above the world, beyond its vision—our height—our love—our meaning!
ELEANOR—[_Her eyes fixed on him—passionately._] My love!
CAPE—[_Half-sobbing as the intensity of his passion breaks the spell of
his exultation._] Oh, Nelly, Nelly, I want to say so much that I feel
but I can only stutter like an idiot! [_He has fallen on his knees
before her._]
ELEANOR—[_Intensely moved—passionately._] Like an angel! My lover! I
know! [_She bends over and kisses him._]
CAPE—[_Straining passionately for expression._] Listen! Often I wake up
in the night—terrified—in a black world, alone in time—a hundred million
years of darkness. I feel like crying out to God for mercy because life
lives! Then instinctively I seek you—my hand touches you! You are
there—beside me—alive—with you I become a whole, a truth! Life guides me
back through the hundred million years to you. It reveals a beginning in
unity that I may have faith in the unity of the end! [_He bows his head
and kisses her feet ecstatically._] I love you! Forgive me all I’ve ever
done, all I’ll ever do.
ELEANOR—[_Brokenly._] No. Forgive me—my child, you! [_She begins to sob
softly._]
CAPE—[_Looking at her—gently._] Why do you cry?
ELEANOR—Because I’m happy. [_Then with a sudden tearful gayety._] You be
happy! You ought to be! Isn’t our future as hard as you could wish?
Haven’t we your old dreams back again?
CAPE—Deeper and more beautiful!
ELEANOR—[_Smiling._] Deeper and more beautiful! [_She ascends the stairs
slowly._] Come! [_She reaches the top of the stairway and stands there
looking down at him—then stretches out her arms with a passionate,
tender gesture._] Come!
CAPE—[_Leaping to his feet—intensely._] My Own!
ELEANOR—[_Dreamily._] Love—and sleep. [_With deep, passionate
tenderness._] My lover!
CAPE—My wife! [_His eyes fixed on her he ascends. As he does so her arms
move back until they are stretched out straight to right and left,
forming a cross._ CAPE _stops two steps below her—in a low, wondering
tone_.] Why do you stand like that?
ELEANOR—[_Her head thrown back, her eyes shut—slowly, dreamily._]
Perhaps I’m praying. I don’t know. I love.
CAPE—[_Deeply moved._] I love you!
ELEANOR—[_As if from a great distance._] We love! [_He moves close to
her and his hands reach out for hers. For a moment as their hands touch
they form together one cross. Then their arms go about each other and
their lips meet._]
[_The Curtain Falls_]
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
● Typos fixed; non-standard spelling and dialect retained.
● Enclosed italics font in _underscores_.
● Images without captions use HTML alt text.
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