
$2.75Tea and Sympathy----------------A PLAY BYROBERT ANDERSON"Restores our theatre to an art again . . . Apoignant drama about the helplessness ofthe individual in opposition to the mass . . .An uncommonly discerning study of character,stamped with the originality of a talented writer. . . Mr. Anderson has written a troubled idyllwith a light touch and a wealth of understanding."BROOKS ATKINSON, New York Times"Tea and Sympathy rates with the best in ourtheatre . . . A tender, luminous and illuminatingdrama of youth."JOHN CHAPMAN, New York Daily News"A triumph . . . The last few minutes, delicateand difficult to act, held the audience inthe longest breathless silence I ever recallseeing in a theatre."WILLIAM HAWKINS, New York World-Telegram & Sun"A moving and effective drama, with a sensitivefeeling for character. Mr. Anderson and his playare valuable additions to the season."RICHARD WATTS, New York PostJacket illustration by Clifford Strohl AssociatesRandom House, New YorkTea and Sympathyby Robert AndersonCOPYRIGHTED AS AN UNPUBLISHED WORK, 1953,BY ROBERT WOODRUFF ANDERSONCOPYRIGHT, 1953, BY ROBERT ANDERSONAll rights reserved under International and Pan-American CopyrightConventions. Published in New York by Random House, Inc., andsimultaneously in Toronto, Canada, by Random House of Canada,Limited.Second PrintingCAUTION: Professionals and amateurs are hereby warned that TEA ANDSYMPATHY, being fully protected under the copyright laws of the UnitedStates, the British Empire including the Dominion of Canada, and allother countries of the Copyright Union, is subject to royalty. All rightsincluding professional, amateur, motion picture, recitation, lecturing,public reading, radio and television broadcasting, and the rights oftranslation into foreign languages, are strictly reserved. Particularemphasis is laid on the question of readings, permission for which mustbe obtained in writing from the Author's representative. All inquiriesshould be addressed to the Author's representative, Liebling-Wood,551 Fifth Avenue, New York 17.Photographs by Slim AaronsMANUFACTURED IN THEUNITED STATES OF AMERICAThis is forPHYLLISwhose spirit is everywherein this play and in my life.AUTHOR'S NOTEI would like to record here my tremendous debt of gratitude to thosepersons who helped bring Tea and Sympathy so glowingly alive on stage.It is perhaps not a good selling point for a published volume of a playto say that a playwright writes a play for the theater, for the actors,the director, the designer. But he does. And when he is as brilliantlyserved by these artists as I have been, he feels a miracle has beenbrought to pass.It is not often, I think, that a playwright can say of his produced play,this is the way I wanted it. This is the way I dreamed it would be. I cansay it. And I can say it because of the devotion to this play of so manycreative and wonderful people.R.A.TEA AND SYMPATHY was first presented by the Playwrights'Company, in association with Mary K. Frank, at the EthelBarrymore Theatre, New York City, on September 30, 1953,with the following cast:(IN ORDER OF APPEARANCE)LAURA REYNOLDS Deborah KerrLILLY SEARS Florida FriebusTOM LEE John KerrDAVID HARRIS Richard MidgleyRALPH Alan SuesAL Dick YorkSTEVE Arthur SteuerBILL REYNOLDS Leif EricksonPHIL Richard FranchotHERBERT LEE John McGovernPAUL Yale WexlerDirected by Elia KazanSetting and lighting by Jo MielzinerClothes designed by Anna Hill Johnstone
SCENES
Act One
A dormitory in a boys' school in New England.
Late afternoon of a day early in June.
Act Two
Scene I. Two days later.
Scene II. Eight-thirty Saturday night.
Act Three
The next afternoon.
ACT ONE
The scene is a small old Colonial house which is now being used as a dormitory in a boys' school in New England.
On the ground floor at stage right we see the housemaster's study. To stage left is a hall and stairway which leads up to the boys' rooms. At a half-level on stage left is one of the boys' rooms.
The housemaster's study is a warm and friendly room, rather on the dark side, but when the lamps are lighted, there are cheerful pools of light. There is a fireplace in the back wall, bookcases, and upstage right double doors leading to another part of the house. Since there is no common room for the eight boys in this house, there is considerable leniency in letting the boys use the study whenever the door is left ajar.
The boy's bedroom is small, containing a bed, a chair and a bureau. It was meant to be Spartan, but the present occupant has given it a few touches to make it a little more homelike: an Indian print on the bed, India print curtains for the dormer window. There is a phonograph on the ledge of the window. The door to the room is presumed to lead to the sitting room which the roommates share. There is a door from the sitting room which leads to the stair landing. Thus, to get to the bedroom from the stairs, a person must go through the sitting room.
As the curtain rises, it is late afternoon of a day early in June. No lamps have been lighted yet so the study is in a sort of twilight.
Upstairs in his room, TOM LEE is sitting on his bed playing the guitar and singing softly and casually, the plaintive song, "The Joys of Love" . . . TOM is going on eighteen.
He is young and a little gangling, but intense. He is wearing faded khaki trousers, a white shirt open at the neck and white tennis sneakers.
Seated in the study listening to the singing are LAURA REYNOLDS and LILLY SEARS. LAURA is a lovely, sensitive woman in her mid to late twenties. Her essence is gentleness. She is compassionate and tender. She is wearing a cashmere sweater and a wool skirt. As she listens to TOM'S singing, she is sewing on what is obviously a period costume.
LILLY is in her late thirties, and in contrast to the simple effectiveness of LAURA'S clothes, she is dressed a little too flashily for her surroundings. . . . It would be in good taste on East 57th Street, but not in a small New England town. . . . A smart suit and hat and a fur piece. As she listens to TOM singing, she plays with the martini glass in her hand.
TOM (Singing)
The joys of love Are but a moment long . . . The pains of love Endure forever . . .
(When he has finished, he strums on over the same melody very casually, and hums to it intermittently.)
LILLY (While TOM is singing)
Tom Lee?
LAURA
Yes.
LILLY
Doesn't he have an afternoon class?
LAURA
No. He's the only one in the house that doesn't.
LILLY (When TOM has finished the song)
Do you know what he's thinking of?
LAURA (Bites off a thread and looks up)
What do you mean?
LILLY
What all the boys in this school are thinking about. Not only now in the spring, but all the time . . . Sex!
(She wags her head a little wisely, and smiles.)
LAURA
Lilly, you just like to shock people.
LILLY
Four hundred boys from the ages of thirteen to nineteen. That's the age, Laura. (Restless, getting up) Doesn't it give you the willies sometimes, having all these boys around?
LAURA
Of course not. I never think of it that way.
LILLY
Harry tells me they put saltpeter in their food to quiet them down. But the way they look at you, I can't believe it.
LAURA
At me?
LILLY
At any woman worth looking at. When I first came here ten years ago, I didn't think I could stand it. Now I love it. I love watching them look and suffer.
LAURA
Lilly.
LILLY
This is your first spring here, Laura. You wait.
LAURA
They're just boys.
LILLY
The authorities say the ages from thirteen to nineteen . . .
LAURA
Lilly, honestly!
LILLY
You sound as though you were in the grave. How old are you?
LAURA (Smiling)
Over twenty-one.
LILLY
They come here ignorant as all get out about women, and then spend the next four years exchanging misinformation. They're so cute, and so damned intense.
(She shudders again.)
LAURA
Most of them seem very casual to me.
LILLY
That's just an air they put on. This is the age Romeo should be played. You'd believe him! So intense! These kids would die for love, or almost anything else. Harry says all their themes end in death.
LAURA
That's boys.
LILLY
Failure; death! Dishonor; death! Lose their girls; death! It's gruesome.
LAURA
But rather touching too, don't you think?
LILLY
You won't tell your husband the way I was talking?
LAURA
Of course not.
LILLY
Though I don't know why I should care. All the boys talk about me. They have me in and out of bed with every single master in the school -- and some married ones, too.
LAURA (Kidding her)
Maybe I'd better listen to them.
LILLY
Oh, never with your husband, of course.
LAURA
Thanks.
LILLY
Even before he met you, Bill never gave me a second glance. He was all the time organizing teams, planning Mountain Club outings.
LAURA
Bill's good at that sort of thing; he likes it.
LILLY
And you? (LAURA looks up at LILLY and smiles) Not a very co-operative witness, are you? I know, mind my own business. But watch out he doesn't drag his usual quota of boys to the lodge in Maine this summer.
LAURA
I've got my own plans for him. (She picks up some vacation folders.)
LILLY
Oh really? What?
LAURA
"Come to Canada" . . . I want to get him off on a trip alone.
LILLY
I don't blame you.
LAURA (Reflecting)
Of course I'd really like to go back to Italy. We had a good time there last summer. It was wonderful then. You should have seen Bill.
LILLY
Look, honey, you married Bill last year on his sabbatical leave, and abroad to boot. Teachers on sabbatical leave abroad are like men in uniform during the war. They never look so good again.
LAURA
Bill looks all right to me.
LILLY
Did Bill ever tell you about the party we gave him before his sabbatical?
LAURA
Yes. I have a souvenir from it. (She is wearing a rather large Woolworth's diamond ring on a gold chain around her neck . . . She now pulls it out from her sweater.)
LILLY
I never thought he'd use that Five-and-Dime engagement ring we gave him that night. Even though we gave him an awful ribbing, we all expected him to come back a bachelor.
LAURA
You make it sound as though you kidded him into marrying.
LILLY Oh, no, honey, it wasn't that.
LAURA (With meaning) No, it wasn't. (LAURA laughs at LILLY.)
LILLY
Well, I've got to go. You know, Bill could have married any number of the right kind of girls around here. But I knew it would take more than the right kind of girl to get Bill to marry. It would take something special. And you're something special.
LAURA
How should I take that?
LILLY
As a compliment. Thanks for the drink. Don't tell Harry I had one when you see him at dinner.
LAURA
We won't be over to the hall. I've laid in a sort of feast for tonight.
LILLY
Celebrating something?
LAURA
No, just an impulse.
LILLY
Well, don't tell Harry anyway.
LAURA
You'd better stop talking the way you've been talking, or I won't have to tell him.
LILLY
Now, look, honey, don't you start going puritan on me. You're the only one in this school I can shoot my mouth off to, so don't change, baby. Don't change.
LAURA
I won't.
LILLY
Some day I'm going to wheedle out o{ you all the juicy stories you must have from when you were in the theater.
LAURA
Lilly, you would make the most hardened chorus girl blush.
LILLY (Pleased)
Really?
LAURA
Really.
LILLY
That's the sweetest thing you've said to me in days. Good-bye. (She goes out the door, and a moment later we hear the outside door close.)
LAURA (Sits for a moment, listening to TOM'S rather plaintive whistling. She rises and looks at the Canada vacation literature on the desk, and then, looking at her watch, goes to the door, opens it, and calls up the stairway)
Tom . . . Oh, Tom.
(The moment TOM hears his name, he jumps from the bed, and goes through the sitting room, and appears on the stairs.)
TOM
Yes?
LAURA
(She is very friendly with him, comradely)
If it won't spoil your supper, come on down for a cup of tea.
(TOM goes back into his room and brushes his hair, then he comes on down the stairs, and enters the study. He enters this room as though it were something rare and special. This is where LAURA lives.)
LAURA (Has gone out to the other part of the house. Comes to doorway for a moment pouring cream from bottle to pitcher)
I've iust about finished your costume for the play, and we can have a fitting.
TOM
Sure. That'd be great. Do you want the door open or shut?
LAURA (Goes off again)
It doesn't make any difference.
(TOM shuts the door. He is deeply in love with this woman, though he knows nothing can come of it. It is a sort of delayed puppy love. It is very touching and very intense. They are easy with each other, casual, though he is always trying in thinly veiled ways to tell her he loves her. LAURA enters with tea tray and sees him closing the door. She puts tray on table)
Perhaps you'd better leave it ajar, so that if some of the other boys get out of class early, they can come in too.
TOM (Is disappointed)
Oh, sure.
LAURA (Goes off for the plate of cookies, but pauses long enough to watch TOM open the door the merest crack. She is amused. In a moment, she re-enters with a plate of cookies)
Help yourself.
TOM
Thanks.
(He takes a cookie, and then sits on the floor, near her chair.)
LAURA
Are the boys warm enough in the rooms? They shut down the heat so early this spring, I guess they didn't expect this little chill.
TOM
We're fine. But this in nice. (He indicates low fire in fireplace.)
LAURA (Goes back to her sewing)
I heard you singing.
TOM
I'm sorry if it bothered you.
LAURA
It was very nice.
TOM
If it ever bothers you, just bang on the radiator.
LAURA
What was the name of the song? It's lovely.
TOM
It's an old French song . . . "The Joys of Love" . . .
(He speaks the lyric)
The joys of love Are but a moment long, The pain of love Endures forever.
LAURA
And is that true? (TOM shrugs his shoulders) You sang as, though you knew all about the pains of love.
TOM
And you don't think I do?
LAURA
Well . . .
TOM
You're right.
LAURA
Only the joys.
TOM
Neither, really. (Teapot whistles off stage.)
LAURA
Then you're a fake. Listening to you, one would think you knew everything there was to know. (Rises and goes to next room for tea) Anyway, I don't believe it. A boy like you.
TOM
It's true.
LAURA (Off stage)
Aren't you bringing someone to the dance after the play Saturday?
TOM
Yes.
LAURA
Well, there.
TOM
You.
LAURA (Reappears in doorway with teapot)
Me?
TOM
Yes, you're going to be a hostess, aren't you?
LAURA
Yes, of course, but . . .
TOM
As a member of the committee, I'm taking you. All the committee drew lots . . .
LAURA
And you lost.
TOM
I won.
LAURA (A little embarrassed by this)
Oh. My husband could have taken me.
(She sits down again in her chair.)
TOM
He's not going to be in town. Don't you remember, Mountain Climbing Club has its final outing this weekend.
LAURA
Oh, yes, of course. I'd forgotten.
TOM
He's out a lot on that kind of thing, isn't he? (LAURA ignores his probing) I hope you're not sorry that I'm to be your escort.
LAURA
Why, I'll be honored.
TOM
I'm supposed to find out tactfully and without your knowing it what color dress you'll be wearing.
LAURA
Why?
TOM
The committee will send you a corsage.
LAURA
Oh, how nice. Well, I don't have much to choose from, I guess my yellow.
TOM
The boy who's in charge of getting the flowers thinks a corsage should be something like a funeral decoration. So I'm taking personal charge of getting yours.
LAURA
Thank you.
TOM
You must have gotten lots of flowers when you were acting in the theater.
LAURA
Oh, now and then. Nothing spectacular.
TOM
I can't understand how a person would give up the theater to come and live in a school . . . I'm sorry. I mean, I'm glad you did, but, well . . .
LAURA
If you knew the statistics on unemployed actors, you might understand. Anyway, I was never any great shakes at it.
TOM
I can't believe that.
LAURA
Then take my word for it.
TOM (After a moment, looking into the fire, pretending to be casual, but actually touching on his love for LAURA)
Did you ever do any of Shaw's plays?
LAURA
Yes.
TOM
We got an assignment to read any Shaw play we wanted. I picked Candida .
LAURA
Because it was the shortest?
TOM (Laughs)
No . . . because it sounded like the one I'd like the best, one I could understand. Did you ever play Candida?
LAURA
In stock -- a very small stock company, way up in Northern Vermont.
TOM
Do you think she did right to send Marchbanks away?
LAURA
Well, Shaw made it seem right. Don't you think?
TOM (Really talking about himself)
That Marchbanks sure sounded off a lot. I could never sound off like that, even if I loved a woman the way he did. She could have made him seem awfully small if she'd wanted to.
LAURA
Well, I guess she wasn't that kind of woman. Now stand up. Let's see if this fits.
(She rises with dress in her hands.)
TOM (Gets up)
My Dad's going to hit the roof when he hears I'm playing another girl.
LAURA
I think you're a good sport not to mind. Besides, it's a good part. Lady Teazle in The School For Scandal .
TOM (Puts on top of dress)
It all started when I did Lady Macbeth last year. You weren't here yet for that. Lucky you.
LAURA
I hear it was very good.
TOM
You should have read a letter I got from my father. They printed a picture o{ me in the Alumni Bulletin , in costume. He was plenty peeved about it.
LAURA
He shouldn't have been.
TOM
He wrote me saying he might be up here today on Alumni Fund business. If he comes over here, and you see him, don't tell him about this.
LAURA
I won't . . . What about your mother? Did she come up for the play?
(She helps him button the dress.)
TOM
I don't see my mother. Didn't you know?
(He starts to roll up pants legs.)
LAURA
Why no. I didn't.
TOM
She and my father are divorced.
LAURA
I'm sorry.
TOM
You needn't be. They aren't. I was supposed to hold them together. That was how I happened to come into the world. I didn't work. That's a terrible thing, you know, to make a flop of the first job you've got in life.
LAURA
Don't you ever see her?
TOM
Not since I was five. I was with her till five, and then my father took me away. All I remember about my mother is that she was always telling me to go outside and bounce a ball.
LAURA (Handing him skirt of the d?ess)
You must have done something before Lady Macbeth. When did you play that character named Grace?
TOM (Stiffens)
I never played anyone called Grace.
LAURA
But I hear the boys sometimes calling you Grace. I thought . . . (She notices that he's uncomfortable) I'm sorry. Have I said something terrible?
TOM
No.
LAURA
But I have. I'm sorry.
TOM
It's all right. But it's a long story. Last year over at the movies, they did a revival of Grace Moore in One Night of Love . I'd seen the revival before the picture came. And I guess I oversold it, or something. But she was wonderful! . . . Anyway, some of the guys started calling me Grace. It was my own fault, I guess.
LAURA
Nicknames can be terrible. I remember at one time I was called "Beany." I can't remember why, now, but I remember it made me mad.
(She adjusts the dress a little)
Hold still a moment. We'll have to let this out around here.
(She indicates the bosom)
What size do you want to be?
TOM
(He is embarrassed, but rather nicely, not obviously and farcically. In his embarrassment he looks at LAURA's bosom, then quickly away)
I don't know. Whatever you think.
LAURA (She indicates he is to stand on a small wooden footstool)
I should think you would have invited some girl up to see you act, and then take her to the dance.
TOM (Gets on stool)
There's nobody I could ask.
LAURA (Working on hem of dress)
What do you mean?
TOM
I don't know any girls, really.
LAURA
Oh, certainly back home . . .
TOM
Last ten years I haven't been home, I mean really home. Summers my father packs me off to camps, and the rest of the time I've been at boarding schools.
LAURA
What about Christmas vacation, and Easter?
TOM
My father gets a raft of tickets to plays and concerts, and sends me and my aunt.
LAURA
I see.
TOM
So I mean it when I say I don't know any girls.
LAURA
Your roommate, Al, knows a lot of girls. Why not ask him to fix you up with a blind date?
TOM
I don't know . . . I can't even dance. I'm telling you this so you won't expect anything of me Saturday night.
LAURA
We'll sit out and talk.
TOM
Okay.
LAURA
Or I could teach you how to dance. It's quite simple.
TOM (Flustered)
You?
LAURA
Why not?
TOM
I mean, isn't a person supposed to go to some sort of dancing class or something?
(He gets down from footstool.)
LAURA
Not necessarily. Look, I'll show you how simple it is.
(She assumes the dancing position)
Hold your left hand out this way, and put your right hand around my --
(She stops, as she sees him looking at her)
Oh, now you're kidding me. A boy your age and you don't know how to dance.
TOM
I'm not kidding you.
LAURA
Well, then, come on. I had to teach my husband. Put your arm around me.
(She raises her arms.)
TOM (Looks at her a moment, afraid to touch this woman he loves. Then to pass it off)
We better put it off. We'd look kind of silly, both of us in skirts.
LAURA
All right. Take it off, then. No, wait a minute. Just let me stand off and take a look . . .
(She walks around him)
You're going to make a very lovely girl.
TOM
Thank you, ma'am . . .
(He kids a curtsy, like a girl, and starts out of his costume. MR. HARRIS, a good-looking young master, comes in the hallway and starts up to Tom's room. On the landing, he knocks on Tom's door.)
LAURA
I wonder who that is?
TOM
All the other fellows have late afternoon classes.
LAURA (Opens the door wider, and looks up the stairs)
Yes? Oh, David.
HARRIS (Turns and looks down the stairs)
Oh, hello, Laura.
LAURA
I just was wondering who was coming in.
(TOM proceeds to get out of the costume.)
HARRIS
I want to see Tom Lee.
LAURA
He's down here. I'm making his costume for the play.
HARRIS
I wonder if I could see him for a moment?
LAURA
Why yes, of course. Tom, Mr. Harris would like to see you. Do you want to use our study, David? I can go into the living room.
HARRIS
No, thanks. I'll wait for him in his room. Will you ask him to come up?
(He opens the door and goes in.)
LAURA (Is puzzled at his intensity, the urgency in his voice. Comes back in the study)
Tom, Mr. Harris would like to see you in your room. He's gone along.
TOM
That's funny.
LAURA
Wait a minute . . . take this up with you, try it on in front of your mirror . . . see if you can move in it . . .
(She hands him skirt of costume)
When Mr. Harris is through, bring the costume back.
TOM (Anxious over what HARRIs wants to see him about)
Yeah, sure.
(He starts out, then stops and picks up a cookie. He looks at her lovingly)
Thanks for tea.
LAURA
You're welcome.
(TOM goes to the door as HARRIS turns to the desk. He stands in the door a moment and looks at her back, then he turns and shuts the door and heads upstairs. HARRIS has come into TOM's bedroom, and is standing there nervously clenching and unclenching his hands.)
TOM (Off stage, presumably in the study he shares with his roommate)
Mr. Harris?
(LAURA wanders off into the other part of the house after looking for a moment at the Canada vacation material on the desk.)
HARRIS
I'm in here.
TOM (Comes in a little hesitantly)
Oh. Hello, sir.
(HARRIS closes the door to the bedroom. TOM regards this action with some nervousness.)
HARRIS
Well?
TOM
(Has dumped some clothes from a chair to his bed. Offers chair to HARRIS)
Sir?
HARRIS
What did you tell the Dean?
TOM
What do you mean, Mr. Harris?
HARRIS
What did you tell the Dean?
TOM
When? What are you talking about, sir?
HARRIS
Didn't the Dean call you in?
TOM
No. Why should he?
HARRIS
He didn't call you in and ask you about last Saturday afternoon?
TOM
Why should he? I didn't do anything wrong.
HARRIS
About being with me?
TOM
I'm allowed to leave town for the day in the company of a master.
HARRIS
I don't believe you. You must have said something.
TOM
About what?
HARRIS
About you and me going down to the dunes and swimming.
TOM
Why should I tell him about that?
HARRIS (Threatening)
Why didn't you keep your mouth shut?
TOM
About what? What, for God's sake?
HARRIS
I never touched you, did I?
TOM
What do you mean, touch me?
HARRIS
Did you say to the Dean I touched you?
TOM (Turning away from HARRIS)
I don't know what you're talking about.
HARRIS
Here's what I'm talking about. The Dean's had me on the carpet all afternoon. I probably won't be reappointed next year . . . and all because I took you swimming down off the dunes on Saturday.
TOM
Why should he have you on the carpet for that?
HARRIS
You can't imagine, I suppose.
TOM
What did you do wrong?
HARRIS
Nothingl Nothing, unless you made it seem like something wrong. Did you?
TOM
I told you I didn't see the Dean.
HARRIS
You will. He'll call for you. Bunch of gossiping old busybodies! Well . . .
(He starts for the door, stops, turns around and softens. He comes back to the puzzled TOM)
I'm sorry . . . It probably wasn't your fault. It was my fault. I should have been more . . . discreet . . . Good-bye. Good luck with your music.
(TOM hasn't understood. He doesn't know what to say. He makes a helpless gesture with his hands. HARRIS goes into the other room on his way out. Three boys, about seventeen, come in from the downstairs hall door and start up the stairs. They're carrying books. All are wearing sports jackets, khaki or flannel trousers, white or saddle rubber-soled shoes.)
AL
I don't believe a word of it.
RALPH (He is large and a loud-mouthed bully)
I'm telling you the guys saw them down at the dunes.
AL (He is TOM'S roommate, an athlete)
So what?
RALPH
They were bare-assed.
AL
Shut up, will you? You want Mrs. Reynolds to hear you?
RALPH
Okay. You watch and see. Harris'll get bounced, and I'm gonna lock my room at night as long as Tom is living in this house.
AL
Oh, dry up!
RALPH
Jeeze, you're his roommate and you're not worried.
HARRIS (Comes out the door and starts down the stairs)
Hello.
(He goes down stairs and out.)
AL
Sir.
RALPH
Do you believe me now? You aren't safe. Believe me.
STEVE (He is small, RALPH'S appreciative audience. He comes in the front door)
Hey, Al, can I come in watch Mrs. Morrison nurse her kid?
RALPH
You're the loudest-mouthed bastard I ever heard. You want to give it away.
STEVE
It's time. How about it, Al?
AL (Grudgingly)
Come on.
(TOM hears them coming, and moves to bolt his door, but STEVE and RALPH break in before he gets to the door. He watches them from the doorway. STEVE rushes to the bed and throws himself across it, looking out the window next to the bed. RALPH settles down next to him.)
AL (To TOM as he comes in)
Hi. These horny bastards.
STEVE
Al, bring the glasses.
(AL goes into sitting room.)
RALPH
Some day she's going to wean that little bastard and spoil all our fun.
STEVE
Imagine sitting in a window . . .
TOM (Has been watching this with growing annoyance)
Will you guys get out of here?
RALPH (Notices TOM for the first time)
What's the matter with you, Grace?
TOM
This is my damned room.
RALPH
Gracie's getting private all of a sudden.
TOM
I don't want a lot of Peeping Toms lying on my bed watching a . . . a . . .
STEVE
You want it all for yourself, don't you?
RALPH
Or aren't you interested in women?
AL (Comes back in with field glasses)
Shut up!
(Looks out window, then realizes TOM is watching him. Embarrassed)
These horny bastards.
STEVE (Looking)
Geeze!
RALPH (A bully, riding down on TOM)
I thought you were going to play ball with us Saturday.
TOM
I didn't feel like it.
RALPH
What did you feel like doing, huh?
AL
Will you shut up?
STEVE
Hey, lookit.
(Grabs glasses from AL. AL leaves room.)
TOM (Climbing over STEVE and RALPH and trying to pull the shade)
I told you to get out. I told you last time . . .
RALPH (Grabbing hold of TOM, and holding him down)
Be still, boy, or she'll see, and you'll spoil everything.
TOM
Horny bastard. Get out of here.
RALPH
Who are you calling a horny bastard?
(He grabs hold of TOM more forcefully, and slaps him a couple of times across the face, not trying to hurt him, but just to humiliate him. STEVE gets in a few pokes and in a moment, it's not in fun, but verging on the serious)
You don't mean that now, boy, do you . . . Do you, Grace?
(He slaps him again.)
AL (Hearing the scuffle, comes in and hauls RALPH and STEVE off TOM)
Come on, come on, break it up. Clear out.
(He has them both standing up now, TOM still on the bed.)
RALPH
I just don't like that son of a bitch calling me a horny bastard. Maybe if it was Dr. Morrison instead of Mrs. Morrison, he'd be more interested. Hey, wouldn't you, Grace?
(He tries to stick his face in front of TOM, but AL holds him back.)
AL
Come on, lay off the guy, will you? Go on. Get ready for supper.
(He herds them out during this. When they have left the room, TOM gets up and goes to bureau and gets a handkerchief. He has a bloody nose. He lies down on the bed, his head tilted back to stop the blood.)
AL (In doorway)
You all right?
TOM
Yeah.
(RALPH and STEVE go up the stairway singing in raucous voices, "One Night of Love." The downstairs outside door opens, and BILL REYNOLDS enters the hall with a student, PHIL. BILL is LAURA'S husband. He is large and strong with a tendency to be gruff. He's wearing gray flannel trousers, a tweed jacket, a blue button-down shirt. He is around forty.)
BILL
Okay, boy, we'll look forward to --
(He notices RALPH still singing. He goes to the bend in the stairs and calls)
Hey, Ralph. . . . Ralph!
RALPH (Stops singing up out of sight)
You calling me, Mr. Reynolds, sir?
BILL
Yeah. Keep it down to a shout, will you?
RALPH
Oh, yes, sir. Sorry, I didn't know I was disturbing you, Mr. Reynolds.
BILL (Comes back and talks with PHIL at the bend in the stairway)
Phil, you come on up to the lodge around . . . Let's see . . . We'll open the lodge around July first, so you plan to come up say, July third, and stay for two weeks. Okay?
PHIL
That'll be swell, sir.
BILL
Frank Hocktor's coming then. You get along with Frank, don't you? He's a regular guy.
PHIL
Oh, sure.
BILL
The float's all gone to pieces. We can make that your project to fix it up. Okay?
PHIL
Thanks a lot, Mr. Reynolds. (He goes on up the stairs.)
BILL
See you.
(He comes in and crosses to phone and starts to call.)
LAURA (Off stage)
Tom?
(BILL looks around in the direction of the voice, but says nothing.)
LAURA (Comes on)
Oh, Bill. Tom was down trying on his costume. I thought . . . You're early.
BILL
Yes. I want to catch the Dean before he leaves his office.
(LAURA goes up to him to be kissed, but he's too intent on the phone, and she compromises by kissing his cheek)
Hello, this is Mr. Reynolds. Is the Dean still in his office?
LAURA
What's the matter, Bill?
BILL
Nothing very pretty. Oh? How long ago? All right. Thanks. I'll give him a couple of minutes, then I'll call him home.
(Hangs up)
Well, they finally caught up with Harris.
(He goes into the next room to take off his iacket.)
LAURA
What do you mean, "caught up" with him?
BILL (Off stage)
You're going to hear it anyhow . . . so . . . last Saturday they caught him down in the dunes, naked.
LAURA (Crosses to close door to hall)
What's wrong with that?
BILL (Enters and crosses to fireplace and starts to go through letters propped there. He has taken off his jacket)
He wasn't alone.
LAURA
Oh.
BILL
He was lying there naked in the dunes, and one of the students was lying there naked too. Just to talk about it is disgusting.
LAURA
I see.
BILL
I guess you'll admit that's something.
LAURA
I can't see that it's necessarily conclusive.
BILL
With a man like Harris, it's conclusive enough.
(Then casually)
The student with him was --
LAURA (Interrupting)
I'm not sure I care to know.
BILL
I'm afraid you're going to have to know sooner or later, Laura. It was Tom Lee.
(TOM rises from bed, grabs a towel and goes out up the stairs. LAURA just looks at BILL and frowns.)
BILL
Some of the boys down on the Varsity Club outing came on them . . . or at least saw them . . . And Fin Hadley saw them too, and he apparently used his brains for once and spoke to the Dean.
LAURA
And?
BILL
He's had Harris on the carpet this aftemoon. I guess he'll be fired. I certainly hope so. Maybe Tom too, I don't know.
LAURA
They put two and two together?
BILL
Yes, Laura.
LAURA
I suppose this is all over school by now.
BILL
I'm afraid so.
LAURA
And most of the boys know.
BILL
Yes.
LAURA
So what's going to happen to Tom?
BILL (Takes pipe from mantelpiece and cleans it)
I know you won't like this, Laura, but I think he should be kicked out. I think you've got to let people know the school doesn't stand for even a hint of this sort of thing. He should be booted.
LAURA
For what?
BILL
Look, a boy's caught coming out of Ellie Martin's rooms across the river. That's enough evidence. Nobody asks particulars. They don't go to Ellie's rooms to play Canasta. It's the same here.
LAURA (Hardly daring to suggest it)
But, Bill . . . you don't think . . . I mean, you don't think Tom is . . .
(She stops. BILL looks at her a moment, his answer is in his silence)
Oh, Bill!
BILL
And I'm ashamed and sorry as hell for his father. Herb Lee was always damned good to me . . . came down from college when I was playing football here . . . helped me get into college . . . looked after me when I was in college and he was in law school . . . And I know he put the boy in my house hoping I could do something with him.
(He dials number.)
LAURA
And you feel you've failed.
BILL
Yes.
(He pauses)
With your help, I might say.
(Busy signal. He hangs up.)
LAURA
How?
BILL
Because, Laura, the boy would rather sit around here and talk with you and listen to music and strum his guitar.
LAURA
Bill, I'm not to blame for everything. Everything's not my fault.
BILL (Disregarding this)
What a lousy thing for Herb.
(He looks at a small picture of a team on his desk)
That's Herb. He was Graduate Manager of the team when I was a sophomore in college. He was always the manager of the teams, and he really wanted his son to be there in the center of the picture.
LAURA
Why are you calling the Dean?
BILL
I'm going to find out what's being done.
LAURA
I've never seen you like this before.
BILL
This is something that touches me very closely. The name of the school, its reputation, the reputation of all of us here. I went here and my father before me, and one day I hope our children will come here, when we have them. And, of course, one day I hope to be headmaster.
LAURA
Let's assume that you're right about Harris. It's a terrible thing to say on the evidence you've got, but let's assume you're right. Does it necessarily follow that Tom --
BILL
Tom was his friend. Everyone knew that.
LAURA
Harris encouraged him in his music.
BILL
Come on, Laura.
LAURA
What if Tom's roommate, Al, or some other great big athlete had been out with Harris?
BILL
He wouldn't have been.
LAURA
I'm saying what if he had been? Would you have jumped to the same conclusion?
BILL
It would have been different. Tom's always been an off-horse. And now it's quite obvious why. If he's kicked out, maybe it'll bring him to his senses. But he won't change if nothing's done about it.
(LAURA turns away. BILL starts to look over his mail again)
Anyway, why are you so-concerned over what happens to Tom Lee?
LAURA
I've come to know him. You even imply that I am somewhat responsible for his present reputation.
BILL
All right. I shouldn't have said that. But you watch, now that it's out in the open. Look at the way he walks, the way he sometimes stands.
LAURA
Oh, Bill!
BILL
All right, so a woman doesn't notice these things. But a man knows a queer when he sees one.
(He has opened a letter. Reads)
The bookstore now has the book you wanted . . . The Rose and The Thorn . What's that?
LAURA
A book of poems. Do you know, Bill, I'll bet he doesn't even know the meaning of the word . . . queer.
BILL
What do you think he is?
LAURA
I think he's a nice sensitive kid who doesn't know the meaning of the word.
BILL
He's eighteen, or almost. I don't know.
LAURA
How much did you know at eighteen?
BILL
A lot.
(At the desk he now notices the Canada literature)
What are these?
LAURA
What?
BILL
These.
LAURA
Oh, nothing.
BILL (He throws them in wastebasket, then notices her look)
Well, they're obviously something.
(He takes them out of wastebasket.)
LAURA (The joy of it gone for her)
I was thinking we might take a motor trip up there this summer.
BILL (Dialing phone again)
I wish you'd said something about it earlier. I've already invited some of the scholarship boys up to the lodge. I can't disappoint them.
LAURA
Of course not.
BILL
If you'd said something earlier.
LAURA
It's my fault.
BILL
It's nobody's fault, it's just -- Hello, Fitz, Bill Reynolds -- I was wondering if you're going to be in tonight after supper . . . Oh . . . oh, I see . . . Supper? Well, sure I could talk about it at supper. . . . Well, no, I think I'd better drop over alone. . . . All right. I'll see you at the house then . . . Good-bye.
(LAURA looks at him, trying to understand him. BILL comes to her to speak softly to her. Seeing him come, she holds out her arms to be embraced, but he just takes her chin in his hand.)
BILL
Look, Laura, when I brought you here a year ago, I told you it was a tough place for a woman with a heart like yours. I told you you'd run across boys, big and little boys, full of problems, problems which for the moment seem gigantic and heartbreaking. And you promised me then you wouldn't get all taken up with them. Remember?
LAURA
Yes.
BILL
When I was a kid in school here, I had my problems too. There's a place up by the golf course where I used to go off alone Sunday afternoons and cry my eyes out. I used to lie on my bed just the way Tom does, listening to phonograph records hour after hour.
(LAURA, touched by this, kneels at his side)
But I got over it, Laura. I learned how to take it.
(LAURA looks at him. This touches her)
When the headmaster's wife gave you this teapot, she told you what she tells all the new masters' wives. You have to be an interested bystander.
LAURA
I know.
BILL
Just as she said, all you're supposed to do is every once in a while give the boys a little tea and sympathy. Do you remember?
LAURA
Yes, I remember. It's just that . . .
BILL
What?
LAURA
This age -- seventeen, eighteen -- it's so . . .
BILL
I know.
LAURA
John was this age when I married him.
BILL
Look, Laura . . .
LAURA
I know. You don't like me to talk about John, but . . .
BILL
It's not that. It's . . .
LAURA
He was just this age, eighteen or so, when I married him. We both were. And I know now how this age can suffer. It's a heartbreaking time . . . no longer a boy . . . not yet a man . . . Bill? Bill?
BILL (Looks at her awkwardly a moment, then starts to move off)
I'd better clean up if I'm going to get to the Dean's for supper. You don't mind, do you?
LAURA (Very quietly)
I got things in for dinner here. But they'll keep.
BILL (Awkwardly)
I'm sorry, Laura. But you understand, don't you? About this business?
(LAURA shakes her head, "No." BILL stands over her, a little put out that she has not understood his reasoning. He starts to say something several times, then stops. Finally he notices the Five-and-Dime engagement ring around her neck. He touches it)
You're not going to wear this thing to the dining hall, are you?
LAURA
Why not?
BILL
It was just a gag. It means something to you, but to them . . .
LAURA (Bearing in, but gently)
Does it mean anything to you, Bill?
BILL
Well, it did, but . . .
(He stops with a gesture, unwilling to go into it all.)
LAURA
I think you're ashamed of the night you gave it to me. That you ever let me see you needed help. That night in Italy, in some vague way you cried out . . .
BILL
What is the matter with you today? Me crying out for help.
(He heads for the other room. A knock on study door is heard.)
BILL
It's probably Tom.
(LAURA goes to door.)
HERB (This is HERBERT LEE, TOM'S father. He is a middle-sized man, fancying himself a man of the world and an extrovert. He is dressed as a conservative Boston businessman, but with still a touch of the collegiate in his attire -- button-down shirt, etc.)
Mrs. Reynolds?
LAURA
Yes?
BILL (Stopped by the voice, turns)
Herb! Come in.
HERB (Coming in)
Hiya, Bill. How are you, fella?
BILL (Taking his hand)
I'm fine, Herb.
HERB (Poking his finger into BILL'S chest)
Great to see you.
(Looks around to LAURA)
Oh, uh . . .
BILL
I don't think you've met Laura, Herb. This is Laura. Laura, this is Herb Lee, Tom's father.
HERB (Hearty and friendly, meant to put people at their ease)
Hello, Laura.
LAURA
I've heard so much about you.
HERB (After looking at her for a moment)
I like her, Bill. I like her very much.
(LAURA blushes, and is a little taken aback by this. To LAURA)
What I'd like to know is how did you manage to do it?
(Cuffing BILL)
I'll bet you make her life miserable . . . You look good, Bill.
BILL
You don't look so bad yourself.
(He takes in a notch in his belt.)
HERB
No, you're in shape. I never had anything to keep in shape, but you . . . You should have seen this boy, Laura.
LAURA
I've seen pictures.
HERB
Only exercise I get these days is bending the elbow.
LAURA
May I get you something? A drink?
HERB
No, thanks. I haven't got much time.
BILL
You drive out from Boston, Herb?
HERB
No, train. You know, Bill, I think that's the same old train you and I used to ride in when we came here.
BILL
Probably is.
HERB
If I don't catch the six-fifty-four, I'll have to stay all night, and I'd rather not.
BILL
We'd be glad to put you up.
HERB
No. You're putting me up in a couple of weeks at the reunion. That's imposing enough.
(There is an awkward pause. Both men sit down)
I . . . uh . . . was over at the Dean's this afternoon.
BILL
Oh, he called you?
HERB
Why, no. I was u'p discussing Alumni Fund matters with him . . . and . . . Do you know about it?
BILL
You mean about Tom?
HERB
Yes.
(Looks at LAURA.)
BILL
Laura knows too.
(He reaches for her to come to him, and he puts his arm around her waist.)
HERB
Well, after we discussed the Fund, he told me about that. Thought I ought to hear about it from him. Pretty casual about it, I thought.
BILL
Well, that's Fitz.
HERB
What I want to know is, what was a guy like Harris doing at the school?
BILL
I tried to tell them.
HERB
Was there anyone around like that in our day, Bill?
BILL
No. You're right.
HERB
I tried to find the guy. I wanted to punch his face for him. But he's cleared out. Is Tom around?
LAURA
He's in his room.
HERB
How'd he get mixed up with a guy like that?
BILL
I don't know, Herb . . .
HERB
I know. I shouldn't ask you. I know. Of course I don't believe Tom was really involved with this fellow. If I believed that, I'd . . . well, I don't know what I'd do. You don't believe it, do you, Bill?
BILL
Why . . .
(Looks at LAURA.)
HERB (Cutting in)
Of course you don't. But what's the matter? What's happened, Bill? Why isn't my boy a regular fellow? He's had every chance to be since he was knee-high to a grasshopper -- boys' camps every summer, boarding schools. What do you think, Laura?
LAURA
I'm afraid I'm not the one to ask, Mr. Lee.
(She breaks away from BILL.)
HERB
He's always been with men and boys. Why doesn't some of it rub off?
LAURA
You see, I feel he's a "regular fellow" . . . whatever that is.
HERB
You do?
LAURA
If it's sports that matter, he's an excellent tennis player.
HERB
But Laura, he doesn't even play tennis like a regular fellow. No hard drives and cannon-ball serves. He's a cut artist. He can put more damn twists on that ball.
LAURA
He wins. He's the school champion. And isn't he the champion of your club back home?
(TOM comes down the stairs and enters his bedroom with the costume skirt and towel.)
HERB
I'm glad you mentioned that . . . because that's just what I mean. Do you know, Laura, his winning that championship brought me one of my greatest humiliations? I hadn't been able to watch the match. I was supposed to be in from a round of golf in time, but we got held up on every hole . . . And when I got back to the locker room, I heard a couple of men talking about Tom's match in the next locker section. And what they said, cut me to the quick, Laura. One of them said, "It's a damn shame Tom Lee won the match. He's a good player, all right, but John Batty is such a regular guy." John Batty was his opponent. Now what pleasure was there for me in that?
BILL
I know what you mean.
HERB
I want to be proud of him. My God, that's why I had him in the first place. That's why I took him from his mother when we split up, but . . . Look, this is a terrible thing to say, but you know the scholarships the University Club sponsors for needy kids . . .
BILL
Sure.
HERB
Well, I contribute pretty heavily to it, and I happened to latch on to one of the kids we help -- an orphan. I sort of talk to him like a father, go up to see him at his school once in a while, and that kid listens to me . . . and you know what, he's shaping up better than my own son.
(There is an awkward pause. Upstairs TOM has put a record on the phonograph. It starts playing now.)
BILL
You saw the Dean, Herb?
HERB
Yes.
BILL
And?
HERB
He told me the circumstances. Told me he was confident that Tom was innocently involved. He actually apologized for the whole thing. He did say that some of the faculty had suggested -- though he didn't go along with this -- that Tom would be more comfortable if I took him out of school. But I'm not going to. He's had nothing but comfort all his life, and look what's happened. My associates ask me what he wants to be, and I tell them he hasn't made up his mind. Because I'll be damned if I'll tell them he wants to be a singer of folk songs.
(TOM lies on the bed listening to the music.)
BILL
So you're going to leave him in?
HERB
Of course. Let him stick it out. It'll be a good lesson.
LAURA
Mightn't it be more than just a lesson, Mr. Lee?
HERB
Oh, he'll take some kidding. He'll have to work extra hard to prove to them he's . . . well, manly. It may be the thing that brings him to his senses.
LAURA
Mr. Lee, Tom's a very sensitive boy. He's a very lonely boy.
HERB
Why should he be lonely? I've always seen to it that he's been with people . . . at camps, at boarding schools.
BILL
He's certainly an off-horse, Herb.
HERB
That's a good way of putting it, Bill. An off-horse. Well, he's going to have to learn to run with the other horses. Well, I'd better be going up.
LAURA
Mr. Lee, this may sound terribly naive of me, and perhaps a trifle indelicate, but I don't believe your son knows what this is all about. Why Mr. Harris was fired, why the boys will kid him.
HERB
You mean . . .
(Stops.)
LAURA
I'm only guessing. But I think when it comes to these boys, we often take too much knowledge for granted. And I think it's going to come as a terrible shock when he finds out what they're talking about. Not just a lesson, a shock.
HERB
I don't believe he's as naive as all that. I just don't. Well . . .
(He starts for the door.)
BILL (Takes HERB'S arm and they go into the hall)
I'm going over to the Dean's for supper, Herb. If you're through with Tom come by here and I'll walk you part way to the station.
HERB
All right.
(Stops on the stairs)
How do you talk to the boys, Bill?
BILL
I don't know. I just talk to them.
HERB
They're not your sons. I only talked with Tom, I mean, really talked with him, once before. It was after a Sunday dinner and I made up my mind it was time we sat in a room together and talked about important things. He got sick to his stomach. That's a terrible effect to have on your boy . . . Well, I'll drop down.
(He takes a roll of money from his pocket and looks at it, then starts up the stairs.)
BILL (Coming into his study)
Laura, you shouldn't try to tell him about his own son. After all, if he doesn't know the boy, who does?
LAURA
I'm sorry.
(BILL exits into the other part of the house, pulling off his tie. HERB has gone up the stairs. Knocks on the study door. LAURA settles down in her chair and eventually goes on with her sewing.)
AL (Inside, calls)
Come in.
(HERB goes in and shuts the door.)
HERB (Opens TOM'S bedroom door and sticks his head in)
Hello, there.
TOM (Looks up from the bed, surprised)
Oh . . . Hi . . .
HERB
I got held up at the Dean's.
TOM
Oh.
(He has risen, and attempts to kiss his father on the cheek. But his father holds him off with a firm handshake.)
HERB
How's everything? You look bushed.
TOM
I'm okay.
HERB (Looking at him closely)
You sure?
TOM
Sure.
HERB (Looking around room)
This room looks smaller than I remember.
(He throws on light switch)
I used to have the bed over here. Used to rain in some nights.
(Comes across phonograph)
This the one I gave you for Christmas?
TOM
Yeah. It works fine.
HERB (Turns phonograph off)
You're nearer than I was. My vest was always behind the radiator, or somewhere.
(Sees part of dress costume)
What's this?
TOM (Hesitates for a moment. Then)
A costume Mrs. Reynolds made for me. I'm in the play.
HERB
You didn't write about it.
TOM
I know.
HERB
What are you playing?
(Looks at dress.)
TOM
You know The School For Scandal . I'm playing Lady Teazle.
HERB
Tom, I want to talk to you. Last time we tried to talk, it didn't work out so well.
TOM
What's up?
HERB
Tom, I'd like to be your friend. I guess there's something between fathers and sons that keeps them from being friends, but I'd like to try.
TOM (Embarrassed) Sure, Dad.
(He sits on the bed.)
HERB
Now when you came here, I told you to make friends slowly. I told you to make sure they were the right kind of friends. You're known by the company you keep. Remember I said that?
TOM
Yes.
HERB
And I told you if you didn't want to go but for sports like football, hockey . . . that was all right with me. But you'd get in with the right kind of fellow if you managed these teams. They're usually pretty good guys. You remember.
TOM
Yes.
HERB
Didn't you believe me?
TOM
Yes, I believed you.
HERB
Okay, then let's say you believed me, but you decided to go your own way. That's all right too, only you see what it's led to.
TOM
What?
HERB
You made friends with people like this Harris guy who got himself fired.
TOM
Why is he getting fired?
HERB
He's being fired because he was seen in the dunes with you.
TOM
Look, I don't --
HERB
Naked.
TOM
You too?
HERB
So you how what I'm talking about?
TOM
No, I don't.
HERB
You do too know. I heard my sister tell you once. She warned you about a janitor in the building down the street.
TOM (Incredulous)
Mr. Harris . . . ?
HERB
Yes. He's being fired because he's been doing a lot of suspicious things around apparently, and this finished it. All right, I'll say it plain, Tom. He's a fairy. A homosexual.
TOM
Who says so?
HERB
Now, Tom --
TOM
And seeing us on the beach . . .
HERB
Yes.
TOM
And what does that make me?
HERB
Listen, I know you're all right.
TOM
Thanks.
HERB
Now wait a minute.
TOM
Look, we were just swimming.
HERB
All right, all right. So perhaps you didn't know.
TOM
What do you mean perhaps?
HERB
It's the school's fault for having a guy like that around. But it's your fault for being a damned fool in picking your friends.
TOM
So that's what the guys meant.
HERB
You're going to get a ribbing for a while, but you're going to be a man about it and you're going to take it and you're going to come through much more careful how you make your friends.
TOM
He's kicked out because he was seen with me on the beach, and I'm telling you that nothing, absolutely nothing . . . Look, I'm going to the Dean and tell him that Harris did nothing, that --
HERB (Stopping him)
Look, don't be a fool. It's going to be hard enough for you without sticking your neck out, asking for it.
TOM
But, Dad!
HERB
He's not going to be reappointed next year. Nothing you can say is going to change anyone's mind. You got to think about yourself. Now, first of all, get your hair cut.
(TOM looks at father, disgusted)
Look, this isn't easy for me. Stop thinking about yourself, and give me a break.
(TOM looks up at this appeal)
I suppose you think it's going to be fun for me to have to live this down back home. It'll get around, and it'll affect me, too. So we've got to see this thing through together. You've got to do your part. Get your hair cut. And then . . . No, the first thing I want you to do is call whoever is putting on this play, and tell them you're not playing this lady whatever her name is.
TOM
Why shouldn't I play it? It's the best part in the play, and I was chosen to play it.
HERB
I should think you'd have the sense to see why you shouldn't.
TOM
Wait a minute. You mean . . . do you mean, you think I'm . . . whatever you call it? Do you, Dad?
HERB
I told you "no."
TOM
But the fellows are going to think that I'm . . . and Mrs. Reynolds?
HERB
Yes. You're going to have to fight their thinking it. Yes.
(TOM sits on the bed, the full realization of it dawning.)
RALPH (Sticks his head around the stairs from upstairs, and yells)
Hey, Grace, who's taking you to the dance Saturday night? Hey, Grace!
(He disappears again up the stairs.)
HERB
What's that all about?
TOM
I don't know.
(LAURA, as the noise comes in, rises and goes to door to stop it, but AL comes into the hall and goes upstairs yelling at the boys and LAURA goes back to her chair.)
HERB (Looks at his watch)
Now . . . Do you want me to stay over? If I'm not going to stay over tonight, I've got to catch the six-fifty-four.
TOM
Stay over?
HERB
Yes, I didn't bring a change of clothes along, but if you want me to stay over . . .
TOM
Why should you stay over?
HERB (Stung a little by this)
All right. Now come on down to Bill's room and telephone this drama fellow. So I'll know you're making a start of it. And bring the dress.
TOM
I'll do it tomorrow.
HERB
I'd feel better if you did it tonight. Come on. I'm walking out with Bill. And incidentally, the Dean said if the ribbing goes beyond bounds . . . you know . . . you're to come to him and he'll take some steps. He's not going to do anything now, because these things take care of themselves. They're better ignored . . .
(They have both stared out of the bedroom, but during the above HERB goes back for the dress. TOM continues out and stands on the stairs looking at the telephone in the hall.)
HERB (Comes out ole the study. Calls back)
See you Al. Take good care of my boy here.
(Starts down stairs. Stops)
You need any money?
TOM
No.
HERB
I'm lining you up with a counselor's job at camp this year. If this thing doesn't spoil it.
(Stops)
You sure you've got enough money to come home?
TOM
Yes, sure. Look Dad, let me call about the play from here.
(He takes receiver off hook.)
HERB
Why not use Bill's phone? He won't mind. Come on.
(TOM reluctantly puts phone back on hook)
Look, if you've got any problems, talk them over with Bill -- Mr. Reynolds. He's an old friend, and I think he'd tell you about what I'd tell you in a spot.
(Goes into master's study)
Is Bill ready?
LAURA
He'll be right down. How does the costume work?
TOM
I guess it's all right, only . . .
HERB
I'd like Tom to use your phone if he may -- to call whoever's putting on the play. He's giving up the part.
LAURA
Giving up the part?
HERB
Yes. I've . . . I want him to. He's doing it for me.
LAURA
Mr. Lee, it was a great honor for him to be chosen to play the part.
HERB
Bill will understand. Bill!
(He thrusts costume into LAURA'S hand and goes off through alcove)
Bill, what's the number of the man putting on the play. Tom wants to call him.
(LAURA looks at TOM who keeps his eyes from her. She makes a move towards him, but he takes a step away.)
BILL (Off stage)
Fred Mayberry . . . Three-two-six . . . You ready, Herb?
HERB (Off stage)
Yes. You don't mind if Tom uses your phone, do you?
BILL
Of course not.
HERB (Comes in)
When do you go on your mountain-climbing weekend, Bill?
BILL (Comes in)
This weekend's the outing.
HERB
Maybe Tom could go with you.
BILL
He's on the dance committee, I think. Of course he's welcome if he wants to. Always has been.
HERB (Holding out phone to TOM)
Tom.
(TOM hesitates to cross to phone. As LAURA watches him with concern, he makes a move to escape out the door)
Three-two-six.
(TOM slowly and painfully crosses the stage, takes the phone and sits.)
BILL
Will you walk along with us as far as the dining hall, Laura?
LAURA
I don't think I feel like supper, thanks.
BILL (Looks from her to TOM)
What?
HERB
I've got to get along if I want to catch my train.
(TOM dials phone.)
BILL
Laura?
(LAURA shakes her head, tight-lipped.)
HERB
Well, then, good-bye, Laura . . . I still like you.
LAURA
Still going to the Dean's, Bill?
BILL
Yes. I'll be right back after supper. Sure you don't want to walk along with us to the dining hall?
(LAURA shakes her head.)
TOM
Busy.
HERB (Pats his son's arm)
Keep trying him. We're in this together. Anything you want?
(TOM shakes his head "no")
Just remember, anything you want, let me know.
(To LAURA)
See you at reunion time . . . This'll all be blown over by then.
(He goes.)
BILL
Laura, I wish you'd . . . Laura!
(He is disturbed by her mood. He sees it's hopeless, and goes after HERB, leaving door open.)
TOM (At phone)
Hello, Mr. Mayberry . . . This is Tom Lee . . . Yes, I know it's time to go to supper, Mr. Mayberry . . . (Looks around at open door. LAURA shuts it) but I wanted you to know . . . (This comes hard) I wanted you to know I'm not going to be able to play in the play . . . No . . . I . . . well, I just can't.
(He is about to break. He doesn't trust himself to speak.)
LAURA (Quickly crosses and takes phone from TOM)
Give it to me. Hello, Fred . . . Laura. Yes, Tom's father, well, he wants Tom -- he thinks Tom is tired, needs to concentrate on his final exams. You had someone covering the part, didn't you? . . . Yes, of course it's a terrible disappointment to Tom. I'll see you tomorrow.
(She hangs up. TOM is ashamed and humiliated. Here is the woman he loves, hearing all about him . . . perhaps believing the things . . . LAURA stands above him for a moment, looking at the back of his head with pity. Then he rises and starts for the door without looking at her. RALPH and STEVE come stampeding down the stairway.)
RALPH (As he goes)
Okay, you can sit next to him if you want. Not me.
STEVE
Well, if you won't . . . why should I?
RALPH
Two bits nobody will.
(They slam out the front door. TOM has shut the door quickly again when he has heard RALPH and STEVE start down. Now stands against the door listening.)
AL
(Comes out from his door, pulling on his jacket. Calls)
Tom . . . Tom!
(Getting no answer, he goes down the stairs and out.)
LAURA
Tom . . .
TOM (Opens the study door)
I'll bet my father thinks I'm . . .
(stops.)
LAURA
Now, Tom! I thought I'd call Joan Harrison and ask her to come over for tea tomorrow. I want you to come too. I want you to ask her to go to the dance with you.
TOM (Turns in anguish and looks at her for several moments. Then)
You were to go with me.
LAURA
I know, but . . .
TOM
Do you think so too, like the others? Like my father?
LAURA
Tom!
TOM
IS that why you're shoving me off on Joan?
LAURA (Moving towards him)
Tom, I asked her over so that we could lick this thing.
TOM (Turns on her)
What thing? What thing?
(He looks at her a moment, filled with indignation, then he bolts up the stairs. But on the way up, PHIL is coming down. TOM feels like a trapped rat. He starts to turn down the stairs again, but he doesn't want to face LAURA, as he is about to break. He tries to hide his face and cowers along one side going up.)
PHIL
What's the matter with you?
(TOM doesn't answer. Goes on up and into the study door. PHIL shrugs his shoulders and goes on down the stairs and out. TOM comes into his own bedroom and shuts the door and leans against the doorjamb. LAURA goes to the partly opened door. Her impulse is to go up to TOM to comfort him, but she checks herself, and turns in the doorway and closes the door, then walks back to her chair and sits down and reaches out and touches the teapot, as though she were half-unconsciously rubbing out a spot. She is puzzled and worried. Upstairs we hear the first few sobs from TOM as the lights dim out, and
THE CURTAIN FALLS
ACT TWO
Scene I
The scene is the same.
The time is two days later.
As the curtain rises, AL is standing at the public telephone fastened to the wall on the first landing. He seems to be doing more listening than talking.
AL
Yeah . . .
(He patiently waits through a long tirade)
Yeah, Dad. I know, Dad . . . No, I haven't done anything about it, yet . . . Yes, Mr. Hudson says he has a room in his house for me next year . . . But I haven't done anything about it here yet . . . Yeah, okay, Dad . . . I know what you mean . . .
(Gets angry)
I swear to God I don't . . . I lived with him a year, and I don't . . . All right, okay, Dad . . . No, don't you call. I'll do it. Right now.
(He hangs up. He stands and puts his hands in his pocket and tries to think this out. It's something he doesn't like.)
RALPH (Comes in the house door and starts up the steps)
Hey, Al?
AL
Yeah?
RALPH
The guys over at the Beta house want to know has it happened yet?
AL
Has what happened?
RALPH
Has Tom made a pass at you yet?
AL (Reaches out to swat RALPH)
For crying out loud!
RALPH
Okay, okay! You can borrow my chastity belt if you need it.
AL
That's not funny.
RALPH (Shifting his meaning to hurt AL)
No, I know it's not. The guys on the ball team don't think it's funny at all.
AL
What do you mean?
RALPH
The guy they're supposed to elect captain rooming with a queer.
AL (Looks at him for a moment, then rejects the idea)
Aw . . . knock it off, huh!
RALPH
So you don't believe me . . . Wait and see.
(Putting on a dirty grin)
Anyway, my mother said I should save myself for the girl I marry. Hell, how would you like to have to tell your wife, "Honey, I've been saving myself for you, except for one night when a guy -- "
(AL roughs RALPH up with no intention of hurting him)
Okay, okay. So you don't want to be captain of the baseball team. So who the hell cares. I don't, I'm sure.
AL
Look. Why don't you mind your own business?
RALPH
What the hell fun would there be in that?
AL
Ralph, Tom's a nice kid.
RALPH
Yeah. That's why all the guys leave the shower room at the gym when he walks in.
AL
When?
RALPH
Yesterday . . . Today. You didn't hear about it?
AL
No. What are they trying to do?
RALPH
Hell, they don't want some queer looking at them and --
AL
Oh, can it! Go on up and bury your horny nose in your Art Models magazine.
RALPH
At least I'm normal. I like to look at pictures of naked girls, not men, the way Tom does.
AL
Jeeze, I'm gonna push your face in in a --
RALPH
Didn't you notice all those strong man poses he's got in his bottom drawer?
AL
Yes, I've noticed them. His old man wants him to be a muscle man, and he wrote away for this course in muscle building and they send those pictures. Any objections?
RALPH
Go on, stick up for him. Stick your neck out. You'll get it chopped off with a baseball bat, you crazy bastard.
(Exits upstairs. AL looks at the phone, then up the way RALPH went. He is upset. He throws himself into a few push-ups, using the bannisters. Then still not happy with what he's doing, he walks down the stairs and knocks on the study door.)
LAURA (Comes from inside the house and opens the door)
Oh, hello, Al.
AL
Is Mr. Reynolds in?
LAURA
Why, no, he isn't. Can I do something?
AL
I guess I better drop down when he's in.
LAURA
All right. I don't really expect him home till after supper tonight.
AL (Thinks for a moment)
Well . . . well, you. might tell him just so's he'll know and can make other plans . . . I won't be rooming in this house next year. This is the last day for changing, and I want him to know that.
LAURA (Moves into the room to get a cigarette)
I see. Well, I know he'll be sorry to hear that, Al.
AL
I'm going across the street to Harmon House.
LAURA
Both you and Tom going over?
AL
No.
LAURA
Oh.
AL
Just me.
LAURA
I see. Does Tom know this?
AL
No. I haven't told him.
LAURA
You'll have to tell him, won't you, so he'll be able to make other plans.
AL
Yes, I suppose so.
LAURA
Al, won't you sit down for a moment, please?
(AL hesitates, but comes in and sits down. Offers AL a cigarette)
Cigarette?
(Reaches for one automatically, then stops)
No, thanks. I'm in training.
(He slips a pack of cigarettes from his shirt pocket to his trousers pocket.)
LAURA
That's right. I'm going to watch you play Saturday afternoon.
(AL smiles at her)
You're not looking forward to telling Tom, are you, Al?
(AL shakes his head, "No")
I suppose I can guess why you're not rooming with him next year.
(AL shrugs his shoulders)
I wonder if you know how much it has meant for him to room with you this year. It's done a lot for him too. It's given him a confidence to know he was rooming with one of the big men of the school.
AL (Embarrassed)
Oh . . .
LAURA
You wouldn't understand what it means to be befriended. You're one of the strong people. I'm surprised, Al.
AL (Blurting it out)
My father's called me three times. How he ever found out about Harris and Tom, I don't know. But he did. And some guy called him and asked him, "Isn't that the boy your son is rooming with?" . . . and he wants me to change for next year.
LAURA
What did you tell your father?
AL
I told him Tom wasn't so bad, and . . . I'd better wait and see Mr. Reynolds.
LAURA
Al, you've lived with Tom. You know him better than anyone else knows him. If you do this, it's as good as finishing him so far as this school is concerned, and maybe farther.
AL (Almost whispering it)
Well, he does act sort of queer, Mrs. Reynolds. He . . .
LAURA
YOu never said this before. You never paid any attention before. What do you mean, "queer?"
AL
Well, like the fellows say, he sort of walks lightly, if you know what I mean. Sometimes the way he moves . . . the things he talks about . . . long hair music all the time.
LAURA
All right. He wants to be a singer. So he talks about it.
AL
He's never had a girl up for any of the dances.
LAURA
Al, there are good explanations for all these things you're saying. They're silly . . . and prejudiced . . . and arguments all dug up to suit a point of view. They're all after the fact.
AL
I'd better speak to Mr. Reynolds.
(He starts for the door.)
LAURA
Al, look at me.
(She holds his eyes for a long time, wondering whether to say what she wants to say.)
AL
Yes?
LAURA (She decides to do it)
Al, what if I were to start the rumor tomorrow that you were . . . well, queer, as you put it.
AL
No one would believe it.
LAURA
Why not?
AL
Well, because . . .
LAURA
Because you're big and brawny and an athlete. What they call a top guy and a hard hitter?
AL
Well, yes.
LAURA
You've got some things to learn, Al. I've been around a little, and I've met men, just like you -- same setup -- who weren't men, some of them married and with children.
AL
Mrs. Reynolds, you wouldn't do a thing like that.
LAURA
No, Al, I probably wouldn't. But I could, and I almost would to show you how easy it is to smear a person, and once I got them believing it, you'd be surprised how quickly your . . . manly virtues would be changed into suspicious characteristics.
AL (Has been standing with his hands on his hips. LAURA looks pointedly at this stance. AL thrusts his hands down to his side, and then behind his back)
Mrs. Reynolds, I got a chance to be captain of the baseball team next year.
LAURA
I know. And I have no right to ask you to give up that chance. But I wish somehow or other you could figure out a way . . . so it wouldn't hurt Tom.
(TOM comes in the hall and goes up the stairs. He's pretty broken up, and mad. After a few moments he appears in his room, shuts the door, and sits on the bed, trying to figure something out.)
AL (As TOM enters house)
Well . . .
LAURA
That's Tom now.
(AL looks at her, wondering how she knows)
I know all your footsteps. He's coming in for tea.
(AL starts to move to door)
Well, Al?
(AL makes a helpless motion)
You still want me to tell Mr. Reynolds about your moving next year?
AL (After a moment)
No.
LAURA
Good.
AL
I mean, I'll tell him when I see him.
LAURA
Oh.
AL (Turns on her)
What can I do?
LAURA
I don't know.
AL
Excuse me for saying so, but it's easy for you to talk the way you have. You're not involved. You're just a bystander. You're not going to be hurt. Nothing's going to happen to you one way or the other. I'm sorry.
LAURA
That's a fair criticism, Al. I'm sorry I asked you . . . As you say, I'm not involved.
AL
I'm sorry. I think you're swell, Mrs. Reynolds. You're the nicest housemaster's wife I've ever ran into . . . I mean . . . Well, you know what I mean. It's only that . . .
(He is flustered. He opens the door)
I'm sorry.
LAURA
I'm sorry, too, Al.
(She smiles at him. AL stands in the doorway for a moment, not knowing whether to go out the hall door or go upstairs. Finally, he goes upstairs, and into the study door. LAURA stands thinking over what AL has said, even repeating to herself, "I'm not involved." She then goes into the alcove and off.)
AL (Outside TOM'S bedroom door)
Tom?
(TOM moves quietly away from the door)
Tom?
(He opens the door)
Hey.
TOM
I was sleeping.
AL
Standing up, huh?
(TOM turns away)
You want to be alone?
TOM
No. You want to look. Go ahead.
(He indicates the window.)
AL
No, I don't want to look, I . . .
(He looks at TOM, not knowing how to begin . . . He stalls . . . smiling)
Nice tie you got there.
TOM (Starts to undo tie)
Yeah, it's yours. You want it?
AL
No. Why? I can only wear one tie at a time.
(TOM leaves it hanging around his neck. After an awkward pause)
I . . . uh . . .
TOM
I guess I don't need to ask you what's the matter?
AL
It's been rough today, huh?
TOM
Yeah.
(He turns away, very upset. He's been holding it in . . . but here's his closest friend asking him to open up)
Jesus Christ!
(AL doesn't know what to say. He goes to TOM'S bureau and picks up his hairbrush, gives his hair a few brushes)
Anybody talk to you?
AL
Sure. You know they would.
TOM
What do they say?
AL (Yanks his tie off)
Hell, I don't know.
TOM
I went to a meeting of the dance committee. I'm no longer on the dance committee. Said that since I'd backed out of playing the part in the play, I didn't show the proper spirit. That's what they said was the reason.
AL (Loud)
Why the hell don't you do something about it?
TOM (Yelling back)
About what?
AL
About what they're saying.
TOM
What the hell can I do?
AL
Geez, you could . . .
(He suddenly wonders what TOM could do)
I don't know.
TOM
I tried to pass it off. Christ, you can't pass it off. You know, when I went into the showers today after my tennis match, everyone who was in there, grabbed a towel and . . . and . . . walked out.
AL
They're stupid. Just a bunch of stupid bastards.
(He leaves the room.)
TOM (Following him into sitting room)
Goddamn it, the awful thing I found myself . . . Jesus, I don't know . . . I found myself self-conscious about things I've been doing for years. Dressing, undressing . . . I keep my eyes on the floor . . .
(Re-enters his own room)
Geez, if I even look at a guy that doesn't have any clothes on, I'm afraid someone's gonna say something, or . . . Jesus, I don't know.
AL (During this, AL has come back into the room, unbuttoning his shirt, taking it off, etc. Suddenly he stops)
What the hell am I doing? I've had a shower today.
(He tries to laugh.)
TOM (Looks at him a moment)
Undress in your own room, will ya? You don't want them talking about you too, do you?
AL
No I don't.
(He has said this very definitely and with meaning.)
TOM (Looks up at his tone of voice)
Of course you don't.
(He looks at AL a long time. He hardly dares say this)
You . . . uh . . . you moving out?
AL (Doesn't want to answer)
Look, Tom, do you mind if I try to help you?
TOM
Hell, no. How?
AL
I know this is gonna burn your tail, and I know it sounds stupid as hell. But it isn't stupid. It's the way people look at things. You could do a lot for yourself, just the way you talk and look.
TOM
You mean get my hair cut?
AL
For one thing.
TOM
Why the hell should a man with a crew cut look more manly than a guy who --
AL
Look, I don't know the reasons for these things. It's just the way they are.
TOM (Looking at himself in bureau mirror)
I tried a crew cut a coupla times. I haven't got that kind of hair, or that kind of head.
(After a moment)
Sorry, I didn't mean to yell at you. Thanks for trying to help.
AL (Finds a baseball on the radiator and throws it at TOM. TOM smiles, and throws it back)
Look, Tom, the way you walk . . .
TOM
Oh, Jesus.
AL (Flaring)
Look, I'm trying to help you.
TOM
No one gave a goddamn about how I walked till last Saturday!
AL (Starts to go)
Okay, okay. Forget it.
(He goes out.)
TOM (Stands there a few moments, then slams the baseball into the bed and walks out after AL into sitting room)
Al?
AL (off)
Yeah?
TOM
Tell me about how I walk.
AL (In the sitting room)
Go ahead, walk!
TOM (Walks back into the bedroom. AL follows him, wiping his face on a towel and watching TOM walk. After he has walked a bit)
Now I'm not going to be able to walk any more. Everything I been doing all my life makes me look like a fairy.
AL
Go on.
TOM
All right, now I'm walking. Tell me.
AL
Tom, I don't know. You walk sort of light.
TOM
Light?
(He looks at himself take a step.)
AL
Yeah.
TOM
Show me.
AL
No, I can't do it.
TOM
Okay. You walk. Let me watch you. I never noticed how you walked.
(AL stands there for a moment, never having realized before how difficult it could be to walk if you think about it. Finally he walks)
Do it again.
AL
If you go telling any of the guys about this . . .
TOM
Do you think I would? . . .
(AL walks again)
That's a good walk. I'll try to copy it.
(He tries to copy the walk, but never succeeds in taking even a step)
Do you really think that'll make any difference?
AL
I dunno.
TOM
Not now it won't. Thanks anyway.
AL (Comes and sits on bed beside TOM. Puts his arm around TOM's shoulder and thinks this thing out)
Look, Tom . . . You've been in on a lot of bull sessions. You heard the guys talking about stopping over in Boston on the way home . . . getting girls . . . you know.
TOM
Sure. What about it?
AL
You're not going to the dance Saturday night?
TOM
No. Not now.
AL
You know Ellie Martin. The gal who waits on table down at the soda joint?
TOM
Yeah. What about her?
AL
You've heard the guys talking about her.
TOM
Come On, Come on.
AL
Why don't you drop in on Ellie Saturday night?
TOM
What do you mean?
Al
Hell, do you want me to draw a picture?
TOM (With disgust)
Ellie Martin?
AL
Okay. I know she's a dog, but . . .
TOM
So what good's that going to do? I get caught there, I get thrown out of school.
AL
No one ever gets caught. Sunday morning people'd hear about it . . . not the Dean . . . I mean the fellows. Hell, Ellie tells and tells and tells . . . Boy, you'd be made!
TOM
Are you kidding?
AL
No.
TOM (With disgust)
Ellie Martin!
AL (After a long pause)
Look, I've said so much already, I might as well be a complete bastard . . . You ever been with a woman?
TOM
What do you think?
AL
I don't think you have.
TOM
So?
AL
You want to know something?
TOM
What?
AL
Neither have I. But if you tell the guys, I'll murder you.
TOM
All those stories you told . . .
AL
Okay, I'll be sorry I told you.
TOM
Then why don't you go see Ellie Martin Saturday night?
AL
Why the hell should I?
TOM
You mean you don't have to prove anything?
AL
Aw, forget it. It's probably a lousy idea anyway.
(He starts out.)
TOM
Yeah.
AL (Stops.)
Look, about next --
(Stops)
TOM
Next year? Yes?
AL
Hap Hudson's asked me to come to his house. He's got a single there. A lot of the fellows from the team are over there, and . . . well . . .
(He doesn't look at TOM.)
TOM
Sure, sure . . . I understand.
AL
Sorry I didn't tell you till now, after we'd made our plans. But I didn't know. I mean, I just found out about the . . . the opening.
TOM
I understand!
AL (Looks up at last. He hates himself but he's done it, and it's a load off his chest)
See ya.
(He starts to go.)
TOM (As AL gets to door)
Al . . .
(AL stops and looks back. Taking tie from around his neck)
Here.
AL (Looks at tie, embarrassed)
I said wear it. Keep it.
TOM
It's yours.
AL (Looks at the tie for a long time, then without taking it, goes through the door)
See ya.
(TOM folds the tie neatly, dazed, then seeing what he's doing, he throws it viciously in the direction of the bureau, and turns and stares out the window. He puts a record on the phonograph.)
BILL
(Comes in to the study from the hall, carrying a pair of shoes and a slim book. As he opens his study door, he hears the music upstairs. He stands in the door and listens, remembering his miserable boyhood. Then he comes in and closes the door)
Laura.
(Throws shoes on floor near footstool.)
LAURA (Off stage, calling)
Bill?
BILL
Yes.
LAURA (Coming in with tea things)
I didn't think you'd be back before your class. Have some tea.
BILL
I beat young Harvey at handball.
LAURA
Good.
BILL
At last. It took some doing, though. He was after my scalp because of that D minus I gave him in his last exam.
(Gives her book)
You wanted this . . . book of poems.
LAURA (Looks at book. Her eyes shift quickly to the same book in the chair)
Why yes. How did you know?
BILL (Trying to be very offhand about it)
The notice from the bookstore.
LAURA
That's very nice of you.
(She moves towards him to kiss him, but at this moment, in picking some wrapping paper from the armchair, he notices the duplicate copy.)
BILL (A little angry)
You've already got it.
LAURA
Why, yes . . . I . . . well, I . . .
(BILL picking it up . . . opens it)
That is, someone gave it to me.
(BILL reads the inscription)
Tom knew I wanted it, and . . .
BILL
(Looks at her, a terrible look coming into his face. Then he slowly rips the book in two and hurls it into the fireplace)
Damn!
LAURA
Bill!
(BILL goes to footstool and sits down and begins to change his shoes)
Bill, what difference does it make that he gave me the book? He knew I wanted it too.
BILL
I don't know. It's just that every time I try to do something . . .
LAURA
Bill, how can you say that? It isn't so.
BILL
It is.
LAURA
Bill, this thing of the book is funny.
BILL
I don't think it's very funny.
LAURA (Going behind him, and kneeling by his side)
Bill, I'm very touched that you should have remembered. Thank you.
(He turns away from her and goes on with his shoes)
Bill, don't turn away. I want to thank you.
(As she gets no response from him, she rises)
Is it such a chore to let yourself be thanked?
(She puts her hands on his shoulders, trying to embrace him)
Oh, Bill, we so rarely touch any more. I keep feeling I'm losing contact with you. Don't you feel that?
BILL (Looking at his watch)
Laura, I . . .
LAURA (She backs away from him)
I know, you've got to go. But it's just that, I don't know, we don't touch any more. It's a silly way of putting it, but you seem to hold yourself aloof from me. A tension seems to grow between us . . . and then when we do . . . touch . . . it's a violent thing . . . almost a compulsive thing.
(BILL is uncomfortable at this accurate description of their relationship. He sits troubled. She puts her arms around his neck and embraces him, bending over him)
You don't feel it? You don't feel yourself holding away from me until it becomes overpowering? There's no growing together any more . . . no quiet times, just holding hands, the feeling of closeness, like it was in Italy. Now it's long separations and then this almost brutal coming together, and . . . Oh, Bill, you do see, you do see.
(BILL suddenly straightens up, toughens, and looks at her. LAURA repulsed, slowly draws her arms from around his shoulders.)
BILL
For God's sake, Laura, what are you talking about?
(He rises and goes to his desk)
It can't always be a honeymoon.
(Upstairs in his room, TOM turns off the phonograph, and leaves the room, going out into the hall and up the stairs.)
LAURA
Do you think that's what I'm talking about?
BILL
I don't know why you chose a time like this to talk about things like . . .
LAURA
. . . I don't know why, either. I just wanted to thank you for the book . . .
(Moves away and looks in book)
What did you write in it?
BILL (Starts to mark exam papers)
Nothing. Why? Should I write in it? I just thought you wanted the book.
LAURA
Of course . . . Are you sure you won't have some tea?
(She bends over the tea things.)
BILL
Yes.
LAURA (Straightening up, trying another tack at returning to normality)
Little Joan Harrison is coming over for tea.
BILL
No, she isn't.
(LAURA looks inquiringly)
I just saw her father at the gym. I don't think that was a very smart thing for you to do, Laura.
LAURA
I thought Tom might take her to the dance Saturday. He's on the committee, and he has no girl to take.
BILL
I understand he's no longer on the committee. You're a hostess, aren't you?
LAURA
Yes.
BILL
I've got the mountain-climbing business this weekend. Weather man predicts rain.
LAURA (Almost breaks. Hides her face in her hands. Then recovers)
That's too bad.
(After a moment)
Bill?
BILL
Yes?
LAURA
I think someone should go to the Dean about Tom and the hazing he's getting.
BILL
What could the Dean do? Announce from chapel, "You've got to stop riding Tom. You've got to stop calling him Grace?" Is that what you'd like him to do?
LAURA
No. I suppose not.
BILL
You know we're losing Al next year because of Tom.
LAURA
Oh, you've heard?
BILL
Yes, Hudson tells me he's moving over to his house. He'll probably be captain of the baseball team. Last time we had a major sport captain was eight years ago.
LAURA
Yes, I'm sorry.
BILL
However, we'll also be losing Tom.
LAURA
Oh?
BILL (Noting her increased interest)
Yes. We have no singles in this house, and he'll be rooming alone.
LAURA
I'm sorry to hear that.
BILL (He turns to look at her)
I knew you would be.
LAURA
Why should my interest in this boy make you angry?
BILL
I'm not angry.
LAURA
You're not only angry. It's almost as though you were, well, jealous.
BILL
Oh, come on now.
LAURA
Well, how else can you explain your . . . your vindictive attitude towards him?
BILL
Why go into it again? Jealous!
(He has his books together now. Goes to the door)
I'll go directly from class to the dining hall. All right?
LAURA
Yes, of course.
BILL
And please, please, Laura . . .
(He stops.)
LAURA
I'll try.
BILL
I know you like to be different, just for the sake of being different . . . and I like you for that . . . But this time, lay off. Show your fine free spirit on something else.
LAURA
On something that can't hurt us?
BILL
All right. Sure. I don't mind putting it that way. And Laura?
LAURA
Yes?
BILL
Seeing Tom so much . . . having him down for tea alone all the time . . .
LAURA
Yes?
BILL
I think you should have him down only when you have the other boys . . . for his own good. I mean that. Well, I'll see you in the dining hall. Try to be on time.
(He goes out. LAURA brings her hands to her face, and cries, leaning against the back of the chair. AL has come tumbling out of the door to his room with books in hand, and is coming down the stairs. Going down the hall)
You going to class, Al?
AL
Hello, Mr. Reynolds. Yes I am.
BILL (As they go)
Let's walk along together. I'm sorry to hear that you're moving across the street next year.
(And they are gone out the door.)
TOM
(Has come down the stairs, and now stands looking at the hall telephone. He is carrying his coat. After a long moment's deliberation, he puts in a coin and dials)
Hello, I'd like to speak to Ellie Martin, please.
(LAURA has moved to pick up the torn book which her husband has thrown in the fireplace. She is smoothing it out, as she suddenly hears TOM'S voice in the hall. She can't help but hear what he is saying. She stands stock still and listens, her alarm and concern showing on her face)
Hello, Ellie? This is Tom Lee . . . Tom Lee. I'm down at the soda fountain all the time with my roommate, Al Thompson . . . Yeah, the guys do sometimes call me that . . . Well, I'll tell you what I wanted. I wondered if . . . you see, I'm not going to the dance Saturday night, and I wondered if you're doing anything? Yeah, I guess that is a hell of a way to ask for a date . . . but I just wondered if I could maybe drop by and pick you up after work on Saturday . . . I don't know what's in it for you, Ellie . . . but something I guess. I just thought I'd like to see you . . . What time do you get through work? . . . Okay, nine o'clock.
(LAURA, having heard this, goes out through the alcove. About to hang up)
Oh, thanks.
(He stands lot a moment, contemplating what he's done, then he slips on his jacket, and goes to the study door and knocks. After a moment, he opens the door and enters.)
LAURA (Coming from the other room with a plate of cookies)
Oh, there you are. I've got your favorites today.
TOM
Mrs. Reynolds, do you mind if I don't come to tea this afternoon?
LAURA
Why . . . if you don't want to . . . How are you?
(She really means this question.)
TOM
I'm okay.
LAURA
Good.
TOM
It's just I don't feel like tea.
LAURA
Perhaps, it's just as well . . . Joan can't make it today, either.
TOM
I didn't expect she would. She's nothing special; just a kid.
LAURA
Something about a dentist appointment or something.
TOM
It wouldn't have done any good anyway. I'm not going to the dance.
LAURA
Oh?
TOM
Another member of the committee will stop around for you.
LAURA
What will you be doing?
TOM
I don't know. I can take care of myself.
LAURA
If you're not going, that gives me an easy out. I won't have to go.
TOM
Just because I'm not going?
LAURA (In an effort to keep him from going to ElIie)
Look, Tom . . . now that neither of us is going, why don't you drop down here after supper, Saturday night. We could listen to some records, or play gin, or we can just talk.
TOM
I . . . I don't think you'd better count on me.
LAURA
I'd like to.
TOM
No, really. I don't want to sound rude . . . but I . . . I may have another engagement.
LAURA
Oh?
TOM
I'd like to come. Please understand that. It's what I'd like to do . . . but . . .
LAURA
Well, I'll be here just in case, just in case you decide to come in.
(LAURA extends her hand)
I hope you'll be feeling better.
TOM (Hesitates, then takes her hand)
Thanks.
LAURA
Maybe your plans will change.
(TOM looks at her, wishing they would; knowing they won't. He runs out and down the hall as the lights fade out on LAURA standing at the door.)
CURTAIN
SCENE II
The time is eight-forty-five on Saturday night.
In the study a low fire is burning. As the curtain rises, the town clock is striking the three quarter hour. LAURA is sitting in her chair sipping a cup of coffee. The door to the study is open slightly. She is waiting for TOM. She is wearing a lovely but informal dress, and a single flower. In his room, TOM listens to the clock strike. He has just been shaving. He is putting shaving lotion on his face. His face is tense and nervous. There is no joy in the preparations. In a moment, he turns and leaves the room, taking off his belt as he goes.
After a moment, LILLY comes to the study door, knocks and comes in.
LILLY
Laura?
LAURA
Oh, Lilly.
LILLY
(Standing in the doorway, a raincoat held over her head. She is dressed in a low-cut evening gown, which she wears very well)
You're not dressed yet. Why aren't you dressed for the dance?
LAURA (Still in her chair)
I'm not going. I thought I told you.
LILLY (Deposits raincoat and goes immediately to look at herself in mirror next to the door)
Oh, for Heaven's sake, why not? Just because Bill's away with his loathesome little mountain climbers?
LAURA
Well . . .
LILLY
Come along with us. It's raining on and off, so Harry's going to drive us in the car.
LAURA
No, thanks.
LILLY
If you come, Harry will dance with you all evening. You won't be lonely, I promise you.
(LAURA shakes her head, "no")
You're the only one who can dance those funny steps with him.
LAURA
It's very sweet of you, but no.
LILLY (At the mirror)
Do you think this neck is too low?
LAURA
I think you look lovely.
LILLY
Harry says this neck will drive all the little boys crazy.
LAURA
I don't think so.
LILLY
Well, that's not very flattering.
LAURA
I mean, I think they'll appreciate it, but as for driving them crazy . . .
LILLY
After all I want to give them some reward for dancing their duty dances with me.
LAURA
I'm sure when they dance with you, it's no duty, Lilly. I've seen you at these dances.
LILLY
It's not this . . . (Indicating her bosom) it's my line of chatter. I'm oh so interested in what courses they're taking, where they come from and where they learned to dance so divinely.
LAURA (Laughing)
Lilly, you're lost in a boys' school. You were meant to shine some place much more glamorous.
LILLY
I wouldn't trade it for the world. Where else could a girl indulge in three hundred innocent flirtations a year?
LAURA
Lilly, I've often wondered what you'd do if one of the three hundred attempted to go, well, a little further than innocent flirtation.
LILLY
I'd slap him down . . . the little beast.
(She laughs and admires herself in mirror)
Harry says if I'm not careful I'll get to looking like Ellie Martin. You've seen Ellie.
LAURA
I saw her this afternoon for the first time.
LILLY
Really? The first time?
LAURA
Yes. I went into the place where she works . . . the soda shop . . .
LILLY
You!
LAURA
Yes . . . uh . . . for a package of cigarettes.
(After a moment she says with some sadness)
She's not even pretty, is she?
LILLY (Turns from admiring herself at the tone in LAURA'S voice)
Well, honey, don't sound so sad. What difference should it make to you if she's pretty or not?
LAURA
I don't know. It just seems so . . . they're so young.
LILLY
If they're stupid enough to go to Ellie Martin, they deserve whatever happens to them. Anyway, Laura, the boys talk more about Ellie than anything else. So don't fret about it.
LAURA (Arranges chair for TOM facing fireplace. Notices LILLY primping)
You look lovely, Lilly.
LILLY
Maybe I'd better wear that corsage the dance committee sent, after all . . . right here.
(She indicates low point in dress)
I was going to carry it -- or rather Harry was going to help me carry it. You know, it's like one of those things people put on Civil War monuments on Decoration Day.
LAURA
Yes, I've seen them.
LILLY (Indicating the flower LAUnA iS wearing)
Now that's tasteful. Where'd you get that?
LAURA
Uh . . . I bought it for myself.
LILLY
Oh, now.
LAURA
It's always been a favorite of mine and I saw it in the florist's window.
LILLY
Well, Harry will be waiting for me to tie his bow tie.
(Starts towards door)
Will you be up when we get back?
LAURA (Giving LILLY her raincoat)
Probably not.
LILLY
If there's a light on, I'll drop in and tell you how many I had to slap down . . . Night-night.
(She leaves. LAURA stands at the closed door until she hears the outside door close. Then she opens her door a bit. She takes her cup of coffee and stands in front of the fireplace and listens.)
TOM
(As LILLY goes, he returns to his room, dressed in a blue suit. He stands there deliberating a moment, then reaches under his pillow and brings out a pint bottle of whisky. He takes a short swig. It gags him. He corks it and puts it back under the pillow)
Christ, I'll never make it.
(He reaches in his closet and pulls out a raincoat, then turns and snaps out the room light, and goes out. A moment later, he appears on the stairs. He sees LAURA'S door partly open, and while he is putting on his raincoat, he walks warily past it.)
LAURA
(When she hears TOM's door close, she stands still and listens more intently. She hears him pass her door and go to the front door. She puts down the cup of coffee, and goes to the study door. She calls)
Tom?
(After some moments, TOM appears in the door, and she opens it wide)
I've been expecting you.
TOM
I . . . I . . .
LAURA (Opening the door wide)
Are you going to the dance, after all?
TOM (Comes in the door)
No . . . You can report me if you want. Out after hours. Or . . .
(He looks up at her finally)
Or you can give me permission. Can I have permission to go out?
LAURA (Moving into the room, says pleasantly)
I think I'd better get you some coffee.
TOM (At her back, truculent)
You can tell them that, too . . . that I've been drinking. There'll be lots to tell before --
(He stops)
I didn't drink much. But I didn't eat much either.
LAURA
Let me get you something to eat.
TOM (As though convincing himself)
No. I can't stay!
LAURA
All right. But I'm glad you dropped in. I was counting on it.
TOM (Chip on shoulder)
I said I might not. When you invited me.
LAURA
I know.
(She looks at him a moment. He is to her a heartbreaking sight . . . all dressed up as though he were going to a prom, but instead he's going to Ellie . . . the innocence and the desperation touch her deeply . . . and this shows in her face as she circles behind him to the door)
It's a nasty night out, isn't it?
TOM
Yes.
LAURA
I'm just as glad I'm not going to the dance.
(She shuts the door gently. TOM, at the sound of the door, turns and sees what she has done)
It'll be nice just to stay here by the fire.
TOM
I wasn't planning to come in.
LAURA
Then why the flower . . . and the card? "For a pleasant evening?"
TOM
It was for the dance. I forgot to cancel it.
LAURA
I'm glad you didn't.
TOM
Why? (He stops studying the curtains and looks at her.)
LAURA (Moving into the room again)
Well, for one thing I like to get flowers. For another thing . . .
(TOM shakes his head a little to clear it)
Let me make you some coffee.
TOM
No. I'm just about right.
LAURA
Or you can drink this . . . I just had a sip.
(She holds up the cup. TOM looks at the proferred coffee)
You can drink from this side.
(She indicates the other side of the cup.)
TOM
(Takes the cup, and looks at the side where her lips have touched and then slowly turns it around to the other and takes a sip)
And for another thing?
LAURA
What do you mean?
TOM
For one thing you like to get flowers . . .
LAURA
For another it's nice to have flowers on my anniversary.
TOM
Anniversary?
LAURA
Yes.
TOM (Waving the cup and saucer around)
And Mr. Beynolds on a mountain top with twenty stalwart youths, soaking wet . . . Didn't he remember?
LAURA (Rescues the cup and saucer)
It's not that anniversary.
(TOM looks at her wondering. Seeing that she has interested him, she moves towards him)
Let me take your coat.
TOM (Definitely)
I can't --
LAURA
I know. You can't stay. But . . .
(She comes up behind him and puts her hand on his shoulders to take off his coat. He can hardly stand her touch. She gently peels his coat from him and stands back to look at him)
How nice you look!
TOM (Disarranging his hair or tie)
Put me in a blue suit and I look like a kid.
LAURA
How did you know I liked this flower?
TOM
You mentioned it.
LAURA
You're very quick to notice these things. So was he.
TOM (After a moment, his curiosity aroused)
Who?
LAURA
My first husband. That's the anniversary.
TOM
I didn't know.
LAURA (Sits in her chair)
Mr. Reynolds doesn't like me to talk about my first husband. He was, I'd say, about your age. How old are you, Tom?
TOM
Eighteen . . . tomorrow.
LAURA
Tomorrow . . . We must celebrate.
TOM
You'd better not make any plans.
LAURA
He was just your age then.
(She looks at him again with slight wonder)
It doesn't seem possible now, looking at you . . .
TOM
Why, do I look like such a child?
LAURA
Why no.
TOM
Men are married at my age.
LAURA
Of course, they are. He was. Maybe a few months older. Such a lonely boy, away from home for the first time . . . and . . . and going off to war.
(TOM looks up inquiringly)
Yes, he was killed.
TOM
I'm sorry . . . but I'm glad to hear about him.
LAURA
Glad?
TOM
Yes. I don't know . . . He sounds like someone you should have been married to, not . . .
(Stops)
I'm sorry if I . . .
(Stops.)
LAURA (After a moment)
He was killed being conspicuously brave. He had to be conspicuously brave, you see, because something had happened in training camp . . . I don't know what . . . and he was afraid the others thought him a coward . . . He showed them he wasn't.
TOM
He had that satisfaction.
LAURA
What was it worth if it killed him?
TOM
I don't know. But I can understand.
LAURA
Of course you can. You're very like him.
TOM
Me?
LAURA
(Holding out the coffee cup)
Before I finish it all?
(TOM comes over and takes a sip from his side of the cup)
He was kind and gentle, and lonely.
(TOM turns away in embarrassment at hearing himself so described)
We knew it wouldn't last . . . We sensed it . . . But he always said, "Why must the test of everything be its durability?"
TOM
I'm sorry he was killed.
LAURA
Yes, so am I. I'm sorry he was killed the way he was killed . . . trying to prove how brave he was. In trying to prove he was a man, he died a boy.
TOM
Still he must have died happy.
LAURA
Because he proved his courage?
TOM
That . . . and because he was married to you.
(Embarrassed, he walks to his coat which she has been holding in her lap)
I've got to go.
LAURA
Tom, please.
TOM
I've got to.
LAURA
It must be a very important engagement.
TOM
It is.
LAURA
If you go now, I'll think I bored you, talking all about myself.
TOM
You haven't.
LAURA
I probably shouldn't have gone on like that. It's just that I felt like it . . . a rainy spring night . . . a fire. I guess I'm in a reminiscent mood. Do you ever get in reminiscing moods on nights like this?
TOM
About what?
LAURA
Oh, come now . . . there must be something pleasant to remember, or someone.
(TOM stands by the door beginning to think back, his raincoat in his hand, but still dragging on the floor)
Isn't there? . . . Of course there is. Who was it, or don't you want to tell?
TOM (After a long silence)
May I have a cigarette?
LAURA (Relieved that she has won another moments delay)
Yes. Of course.
(Hands him a box, then lights his cigarette.)
TOM
My seventh-grade teacher.
LAURA
What?
TOM
That's who I remember.
LAURA
Oh.
TOM
Miss Middleton . . .
LAURA
How sweet.
TOM (Drops the raincoat again, and moves into the room)
It wasn't sweet. It was terrible.
LAURA
At that time, of course . . . Tell me about her.
TOM
She was just out of college . . . tall, blonde, honey-colored hair . . . and she wore a polo coat, and drove a convertible.
LAURA
Sounds very fetching.
TOM
Ever since then I've been a sucker for girls in polo coats.
LAURA (Smiling)
I have one somewhere.
TOM
Yes, I know.
(He looks at her.)
LAURA
What happened?
TOM
What could happen? As usual I made a fool of myself. I guess everyone knew I was in love with her. People I like, I can't help showing it.
LAURA
That's a good trait.
TOM
When she used to go on errands and she needed one of the boys to go along and help carry something, there I was.
LAURA
She liked you too, then.
TOM
This is a stupid thing to talk about.
LAURA
I can see why she liked you.
TOM
I thought she . . . I thought she loved me. I was twelve years old.
LAURA
Maybe she did.
TOM
Anyway, when I was in eighth grade, she got married. And you know what they made me do? They gave a luncheon at school in her honor, and I had to be the toastmaster and wish her happiness and everything . . . I had to write a poem . . .
(He quotes)
"Now that you are going to be married, And away from us be carried, Before you promise to love, honor and obey, There are a few things I want to say."
(He shakes his head as they both laugh)
From there on it turned out to be more of a love poem than anything else.
LAURA (As she stops laughing)
Puppy love can be heartbreaking.
TOM
(The smile dying quickly as he looks at her. Then after what seems like forever)
I'm always falling in love with the wrong people.
LAURA
Who isn't?
TOM
You too?
LAURA
It wouldn't be any fun if we didn't. Of course, nothing ever comes of it, but there are bittersweet memories, and they can be pleasant.
(Kidding him as friend to friend, trying to get him to smile again)
Who else have you been desperately in love with?
TOM (He doesn't answer. Then he looks at his watch)
It's almost nine . . . I'm late.
(Starts to go.)
LAURA (Rising)
I can't persuade you to stay?
(TOM shakes his head, "no")
We were getting on so well.
TOM
Thanks.
LAURA
In another moment I would have told you all the deep, dark secrets of my life.
TOM
I'm sorry.
(He picks up his coat from the floor.)
LAURA
(Desperately trying to think of something to keep him from going)
Won't you stay even for a dance?
TOM
I don't dance.
LAURA
I was going to teach you.
(She goes over to the phonograph and snaps on the button.)
TOM (Opens the door)
Some other time . . .
LAURA
Please, for me.
(She comes back.)
TOM (After a moment he closes the door)
Tell me something.
LAURA
Yes?
(The record starts to play, something soft and melodic. It plays through to the end of the act.)
TOM
Why are you so nice to me?
LAURA
Why . . . I . . .
TOM
You're not this way to the rest of the fellows.
LAURA
No, I know I'm not. Do you mind my being nice to you?
TOM (Shakes his head, "no")
I just wondered why.
LAURA (In a perfectly open way)
I guess, Tom . . . I guess it's because I like you.
TOM
No one else seems to. Why do you?
LAURA
I don't know . . . I . . .
TOM
Is it because no one else likes me? Is it just pity?
LAURA
No, Tom, no, of course not . . . It's, well . . . it's because you've been very nice to me . . . very considerate. It wasn't easy for me, you know, coming into a school, my first year. You seemed to sense that. I don't know, we just seem to have hit it off.
(She smiles at him.)
TOM
Mr. Reynolds knows you like me.
LAURA
I suppose so. I haven't kept it a secret.
TOM
Is that why he hates me so?
LAURA
I don't think he hates you.
TOM
Yes, he hates me. Why lie? I think everyone here hates me but you. But they won't.
LAURA
Of course they won't.
TOM
He hates me because he made a flop with me. I know all about it. My father put me in this house when I first came here, and when he left me he said to your husband, "Make a man out of him." He's failed, and he's mad, and then you came along, and were nice to me . . . out of pity.
LAURA
No, Tom, not pity. I'm too selfish a woman to like you just out of pity.
TOM
(He has worked himself up into a state of confusion, and anger, and desperation)
There's so much I . . . there's so munch I don't understand.
LAURA (reaches out and touches his arm)
Tom, don't go out tonight.
TOM
I've got to. That's one thing that's clear. I've got to!
LAURA (Holds up her arms for dancing)
Won't you let me teach you how to dance?
TOM
(Suddenly and impulsively he throws his arms around her, and kisses her passionately, awkwardly, and then in embarrassment he buries his head in her shoulder)
Oh, God . . . God.
LAURA
Tom . . . Tom . . .
(TOM raises his face and looks at her, and would kiss her again)
No, Tom . . . No, I . . .
(At the first "No," TOM breaks from her and runs out the door halfway up the stairs. Calling)
Tom! . . . Tom!
(TOM stops at the sound of her voice and turns around and looks down the stairs. LAURA moves to the open door)
Tom, I . . .
(The front door opens and two of the mountain-climbing boys, PHIL and PAUL come in, with their packs.)
PHIL (Seeing TOM poised on the stairs)
What the hell are you doing?
(TOM just looks at him)
What's the matter with you?
(He goes on and up the stairs.)
TOM
What are you doing back?
PAUL
The whole bunch is back. Who wants to go mountain climbing in the rain?
BILL (Outside his study door)
Say, any of you fellows want to go across the street for something to eat when you get changed, go ahead.
(PHIL and PAUL go up the stairs past TOM. BILL goes into his own room, leaving door open)
Hi.
(He takes off his equipment and puts it on the floor.)
LAURA (Has been standing motionless where TOM has !eft her)
Hello.
BILL (Comes to her and kisses her on the cheek)
One lousy weekend a year we get to go climbing and it rains.
(Throws the rest of his stuff down)
The fellows are damned disappointed.
LAURA (Hardly paying any attention to him)
That's too bad.
BILL (Going up to alcove)
I think they wanted me to invite them down for a feed. But I didn't want to. I thought we'd be alone. Okay?
(He looks across at her.)
LAURA (She is listening for footsteps outside)
Sure.
(BILL goes out through alcove. LAURA stoops and picks up the raincoat which TOM has dropped and hides it in the cabinet by the fireplace.)
BILL
(Appears in door momentarily wiping his hands with towel)
Boy it really rained.
(He disappears again. LAURA sadly goes to the door and slowly and gently closes it. When she is finished, she leans against the door, listening, hoping against hope that TOM will go upstairs. When TOM sees the door close, he stands there for a moment, then turns his coat collar up and goes down the hall and out. Off stage as TOM starts to go down the hall)
We never made it to the timberline. The rain started to come down. Another hour or so and we would have got to the hut and spent the night, but the fellows wouldn't hear of it . . .
(The door slams. LAURA turns away from the study door in despair. Still off stage)
What was that?
LAURA
Nothing . . . Nothing at all.
BILL
(Enters and gets pipe from mantelpiece)
Good to get out, though. Makes you feel alive. Think I'll go out again next Saturday, alone. Won't be bothered by the fellows wanting to turn back.
(He has settled down in the chair intended for TOM. The school bells start to ring nine. BILL reaches out his hand for LAURA. Standing by the door, she looks at his outstretched hand, as the lights fade, and
THE CURTAIN FALLS
ACT THREE
The time is late the next afternoon.
As the curtain rises, TOM is in his room. His door is shut and bolted. He is lying on his back on the bed, staring up at the ceiling.
RALPH (He is at the phone)
Hello, Mary . . . Ralph . . . Yeah, I just wanted you to know I'd be a little delayed picking you up . . . Yeah . . . everyone was taking a shower over here, and there's only one shower for eight guys . . . No it's not the same place as last night . . . The tea dance is at the Inn . . .
(He suddenly looks very uncomfortable)
Look, I'll tell you when I see you . . . Okay . . .
(Almost whispers it)
I love you . . .
(STEVE, RALPH's sidekick, comes running in from the outside. He's all dressed up and he's got something to tell)
Yeah, Mary. Well, I can't say it over again . . . Didn't you hear me the first time?
(Loud so she'll hear it)
Hi, Steve.
STEVE
Come on, get off. I got something to tell you.
RALPH
Mary -- Mary, I'll get there faster if I stop talking now. Okay? Okay. See you a little after four.
(He hangs up)
What the hell's the matter with you?
STEVE
Have you seen Tom?
RALPH
No.
STEVE
You know what the hell he did last night?
RALPH
What?
STEVE
He went and saw Ellie.
RALPH
Who are you bulling?
STEVE
No, honest. Ellie told Jackson over at the kitchen. Everybody knows now.
RALPH
What did he want to go and do a thing like that for?
STEVE
But wait a minute. You haven't heard the half of it.
RALPH
Listen, I gotta get dressed.
(Starts upstairs.)
STEVE (On their way up the stairs)
The way Ellie tells it, he went there, all the hell dressed up like he was going to the dance, and . . .
(They disappear up the stairs. BILL after a moment, comes in the hall, and goes quickly up the stairs. He goes right into AL and TOM'S main room without knocking. We then hear him try the handle of TOM's bedroom door. TOM looks at the door defiantly and sullenly.)
BILL (Knocks sharply)
Tom!
(Rattles door some more)
Tom, this is Mr. Reynolds. Let me in.
TOM
I don't want to see anyone.
BILL
You've got to see me. Come on. Open up! I've got to talk to the Dean at four, and I want to speak to you first.
TOM
There's nothing to say.
BILL
I can break the door down. Then your father would have to pay for a new door. Do you want that? Are you afraid to see me?
(TOM after a moment, goes to the door and pulls back the bolt. BILL comes in quickly)
Well.
(TOM goes back and sits on the bed. Doesn't look at BILL)
Now I've got to have the full story. All the details so that when I see the Dean . . .
TOM
You've got the full story. What the hell do you want?
BILL
We don't seem to have the full story.
TOM
When the school cops brought me in last night they told you I was with Ellie Martin.
BILL
That's just it. It seems you weren't with her.
TOM (After a moment)
What do you mean?
BILL
You weren't with her. You couldn't be with her. Do you understand what I mean?
TOM (Trying to brave it out)
Who says so?
BILL
She says so. And she ought to know.
(TOM turns away)
She says that you couldn't . . . and that you jumped up and grabbed a knife in her kitchen and tried to kill yourself . . . and she had to fight with you and that's what attracted the school cops.
TOM
What difference does it make?
BILL
I just wanted the record to be straight. You'll undoubtedly be expelled, no matter what . . . but I wanted the record straight.
TOM (Turning on him)
You couldn't have stood it, could you, if I'd proved you wrong?
BILL
Where do you get off talking like that to a master?
TOM
You'd made up your mind long ago, and it would have killed you if I'd proved you wrong.
BILL
Talking like that isn't going to help you any.
TOM
Nothing's going to help. I'm gonna be kicked out, and then you're gonna be happy.
BILL
I'm not going to be happy. I'm going to be very sorry . . . sorry for your father.
TOM
All right, now you know. Go on, spread the news. How can you wait?
BILL
I won't tell anyone . . . but the Dean, of course.
TOM
And my father . . .
BILL
Perhaps . . .
TOM (After a long pause)
And Mrs. Reynolds.
BILL (Looks at TOM)
Yes. I think she ought to know.
(He turns and leaves the room. Goes through the sitting room and up the stairs, calling "Ralph." TOM closes the door and locks it, goes and sits down in the chair.)
LAURA
(As BILL goes upstairs to RALPH, she comes into the master's study. She is wearing a wool suit. She goes to the cupboard and brings out TOM's raincoat. She moves with it to the door. There is a knock. She opens the door)
Oh, hello, Mr. Lee.
HERB (Coming in, he seems for some reason rather pleased)
Hello, Laura.
LAURA
Bill isn't in just now, though I'm expecting him any moment.
HERB
My train was twenty minutes late. I was afraid I'd missed him. We have an appointment with the Dean in a few minutes . . .
LAURA (Is coolly polite)
Oh, I see.
HERB
Have I done something to displease you, Laura? You seem a little . . .
(HERB shrugs and makes a gesture with his hands meaning cool.)
LAURA
I'm sorry. Forgive me. Won't you sit down?
HERB
I remember that you were displeased at my leaving Tom in school a week ago. Well, you see I was right in a sense. Though, perhaps being a lady you wouldn't understand.
LAURA
I'm not sure that I do.
HERB
Well, now, look here. If I had taken Tom out of school after that scandal with Mr. . . . uh . . . what was his name?
LAURA
Mr. Harris.
HERB
Yes. If I'd taken Tom out then, he would have been marked for the rest of his life.
LAURA
You know that Tom will be expelled, of course.
HERB
Yes, but the circumstances are so much more normal.
LAURA (After looking at him a moment)
I think, Mr. Lee, I'm not quite sure, but I think, in a sense, you're proud of Tom.
HERB
Well.
LAURA
Probably for the first time you're proud of him because the school police found him out of bounds with a . . .
HERB
I shouldn't have expected you to understand. Bill will see what I mean.
(BILL starts down the stairs.)
LAURA
Yes. He probably will.
(BILL comes in the room.)
HERB
Bill.
BILL
Hello, Herb.
(HERB looks from LAURA to BILL. Notices the coldness between them.)
BILL
I was just up seeing Tom.
HERB
Yes. I intend to go up after we've seen the Dean. How is he?
BILL
All right.
HERB (Expansive)
Sitting around telling the boys all about it.
BILL
No, he's in his room alone. The others are going to the tea dance at the Inn. Laura . . .
(Sees LAURA is leaving the room)
Oh, Laura, I wish you'd stay.
(LAURA takes one step back into the room.)
HERB
I was telling your wife here, trying to make her understand the male point of view on this matter. I mean, how being kicked out for a thing like this, while not exactly desirable, is still not so serious. It's sort of one of the calculated risks of being a man.
(He smiles at his way of putting it.)
BILL (Preparing to tell HERB)
Herb?
HERB
Yes, Bill. I mean, you agree with me on that, don't you?
BILL
Yes, Herb, only the situation is not exactly as it was reported to you over the phone. It's true that Tom went to this girl Ellie's place, and it's true that he went for the usual purpose. However . . . however, it didn't work out that way.
HERB
What do you mean?
BILL
Nothing happened.
HERB
You mean she . . . she wouldn't have him?
BILL
I mean, Tom . . . I don't know . . . he didn't go through with it. He couldn't.
(He looks at LAURA)
It's true. The girl says so. And when it didn't work, he tried to kill himself with a knife in the kitchen, and she struggled with him, and that brought the school cops, and that's that.
(LAURA turns away, shocked and moved. MR. LEE sits down in a chair bewildered)
I'm sorry, Herb. Of course the fact that he was with Ellie at her place is enough to get him expelled.
HERB
Does everyone know this?
BILL
Well, Ellie talks. She's got no shame . . . and this is apparently something to talk about.
LAURA (To Mr. Lee)
Do you still think it will make a good smoking-car story?
BILL
What do you mean?
HERB
Why did he do it? Before, maybe he could talk it down, but to go do a thing like this and leave no doubts.
LAURA
In whose mind?
BILL
Laura, please.
LAURA (Angry)
You asked me to stay.
BILL (Flaring back at her)
Well, now you've heard. We won't keep you.
LAURA (Knowing, without asking)
Why did you want me to hear?
BILL (Going to her)
I wanted you to know the facts. That's all. The whole story.
(LAURA stands in the alcove.)
HERB
Bill, Bill! Maybe thcre's some way of getting to this girl so she wouldn't spread the story.
BILL
I'm afraid it's too late for that.
HERB
I don't know. Some things don't make any sense. What am I going to do now?
LAURA (Re-entering)
Mr. Lee, please don't go on drawing the wrong conclusions!
HERB
I'm drawing no conclusions. This sort of thing can happen to a normal boy. But it's what the others will think . . . Added to the Harris business. And that's all that's important. What they'll think.
LAURA
Isn't it important what Tom thinks?
BILL
Herb, we'd better be getting on over to the Dean's . . .
HERB (Indicating upstairs)
Is he in his room?
BILL
Yes.
HERB
Packing?
BILL
No.
HERB
I told him to come to you to talk things over. Did he?
BILL
No.
HERB
What am I going to say to him now?
BILL
We're expected at four.
HERB
I know. But I've got to go up . . . Maybe I should have left him with his mother. She might have known what to do, what to say . . .
(He starts out)
You want to come along with me?
BILL (Moving to hall)
All right.
LAURA (Serious)
Bill, I'd like to talk with you.
BILL I'll be back.
(Goes with HERB to the landing. LAURA exits, taking off her jacket.)
HERB
Maybe I ought to do this alone.
BILL
He's probably locked in his bedroom.
(HERB goes up the stairs and inside the study. BILL stays in the hall. TOM, as he hears his father knocking on the bedroom door, stiffens. HERB tries the door handle.)
HERB (Off, in the study)
Tom . . . Tom . . . it's Dad.
(TOM gets up, but just stands there)
Tom, are you asleep?
(After a few moments, he reappears on the landing. He is deeply hurt that his son wouldn't speak to him)
I think he's asleep.
BILL (Making a move to go in and get TOM)
He can't be . . .
HERB (Stops)
Yes, I think he is. He was always a sound sleeper. We used to have to drag him out of bed when he was a kid.
BILL
But he should see you.
HERB
It'll be better later, anyhow.
(He starts down the stairs, troubled, puzzled.)
BILL
I'll go right with you, Herb.
(They re-enter the study, and BILL goes out through the alcove. HERB stays in the master's study.)
TOM (When his father is downstairs, he opens his bedroom door and faintly calls)
Dad?
(HERB looks up, thinking he's heard something but then figures it must have been something else. RALPH, STEVE and PHIL come crashing down the stairs, dressed for the tea dance, ad libbing comments about the girls at the dance. TOM closes his door. When they have gone, he opens it again and calls "Dad" faintly. When there is no response, he closes the door, and goes and lies on the bed.)
BILL (Re-entering)
Laura, I'm going to the Dean's now with Herb. I'm playing squash with the headmaster at five. So I'll see you at the dining room at six-thirty.
LAURA (Entering after him)
I wish you'd come back here after.
BILL
Laura, I can't.
LAURA
Bill, I wish you would.
BILL (Sees that there is some strange determination in LAURA'S face)
Herb, I'll be with you in a minute. Why don't you walk along?
HERB
All right . . . Good-bye, Laura. See you again.
BILL
You'll see her in a couple of days at the reunion.
HERB
I may not be coming up for it now . . . Maybe I will. I don't know. I'll be walking along. Good-bye, Laura. Tell Tom I tried to see him.
(He goes out.)
BILL
Now, Laura, what's the matter? I've got to get to the Dean's rooms to discuss this matter.
LAURA
Yes, of course. But first I'd like to discuss the boys who made him do this . . . the men and boys who made him do this.
BILL
No one made him do anything.
LAURA
Is there to be no blame, no punishment for the boys and men who taunted him into doing this? What if he had succeeded in killing himself? What then?
BILL
You're being entirely too emotional about this.
LAURA
If he had succeeded in killing himself in Ellie's rooms, wouldn't you have felt some guilt?
BILL
I?
LAURA
Yes, you.
BILL
I wish you'd look at the facts and not be so emotional about this.
LAURA
The facts! What facts! An innocent boy goes swimming with an instructor . . . an instructor whom he likes because this instructor is one of the few who encourage him, who don't ride him . . . And because he's an off-horse, you and the rest of them are only too glad to put two and two together and get a false answer . . . anything which will let you go on and persecute a boy whom you basically don't like. If it had happened with Al or anybody else, you would have done nothing.
BILL
It would have been an entirely different matter. You can't escape from what you are . . . your character. Why do they spend so much time in the law courts on character witnesses? To prove this was the kind of man who could or couldn't commit such and such a crime.
LAURA
I resent this judgment by prejudice. He's not like me, therefore, he is capable of all possible crimes. He's not one of us . . . a member of the tribe!
BILL
Now look, Laura, I know this is a shock to you, because you were fond of this boy. But you did all you could for him, more than anyone would expect. After all, your responsibility doesn't go beyond --
LAURA
I know. Doesn't go beyond giving him tea and sympathy on Sunday afternoons. Well, I want to tell you something. It's going to shock you . . . but I'm going to tell you.
BILL
Laura, it's late.
LAURA
Last night I knew what Tom had in mind to do.
BILL
How did you know?
LAURA
I heard him making the date with Ellie on the phone.
BILL
And you didn't stop him? Then you're the one responsible.
LAURA
Yes, I am responsible, but not as you think. I did try to stop him, but not by locking him in his room, or calling the school police. I tried to stop him by being nice to him, by being affectionate. By showing him that he was liked . . . yes, even loved. I knew what he was going to do . . . and why he was going to do it. He had to prove to you bullies that he was a man, and he was going to prove it with Ellie Martin. Well . . . last night . . . last night, I wished he had proved it with me.
BILL
What in Christ's name are you saying?
LAURA
Yes, I shock you. I shock myself. But you are right. I am responsible here. I know what I should have done. I knew it then. My heart cried out for this boy in his misery . . . a misery imposed by my husband. And I wanted to help him as one human being to another . . . and I failed. At the last moment, I sent him away . . . sent him to . . .
BILL
You mean you managed to overcome your exaggerated sense of pity.
LAURA
No, it was not just pity. My heart in its own loneliness . . . Yes, I've been lonely here, miserably lonely . . . and my heart in its loneliness cried out for this boy . . . cried out for the comfort he could give me too.
BILL
You don't know what you're saying.
LAURA
But I was a good woman. Good in what sense of the word? Good to whom . . . and for whom?
BILL
Laura, we'll discuss this, if we must, later on . . .
LAURA
Bill! There'll be no later on. I'm leaving you.
BILL
Over this thing?
LAURA (After a moment)
Yes, this thing, and all the other things in our marriage.
BILL
For God's sake, Laura, what are you talking about?
LAURA
I'm talking about love and honor and manliness, and tenderness, and persecution. I'm talking about a lot. You haven't understood any of it.
BILL
Laura, you can't leave over a thing like this. You know what it means.
LAURA
I wouldn't worry too much about it. When I'm gone, it will probably be agreed by all that I was an off-horse too, and didn't really belong to the clan, and it's good riddance.
BILL
And you're doing this . . . all because of this . . . this fairy?
LAURA (After a moment)
This boy, Bill . . . this boy is more of a man than you are.
BILL
Sure. Ask Ellie.
LAURA
Because it was distasteful for him. Because for him there has to be love. He's more of a man than you are.
BILL
Yes, sure.
LAURA
Manliness is not all swagger and swearing and mountain climbing. Manliness is also tenderness, gentleness, consideration. You men think you can decide on who is a man, when only a woman can really know.
BILL
Ellie's a woman. Ask Ellie.
LAURA
I don't need to ask anyone.
BILL
What do you know about a man? Married first to that boy . . . again, a poor pitiable boy . . . You want to mother a boy, not love a man. That's why you never really loved me. Because I was not a boy you could mother.
LAURA
You're quite wrong about my not loving you. I did love you. But not just for your outward show of manliness, but because you needed me . . . For one unguarded moment you let me know you needed me, and I have tried to find that moment again the year we've been married . . . Why did you marry me, Bill? In God's name, why?
BILL
Because I loved you. Why else?
LAURA
You've resented me . . . almost from the day you married me, you've resented me. You never wanted to marry really . . . Did they kid you into it? Does a would-be headmaster have to be married? Or what was it, Bill? You would have been far happier going off on your jaunts with the boys, having them to your rooms for feeds and bull sessions . . .
BILL
That's part of being a master.
LAURA
Other masters and their wives do not take two boys always with them whenever they go away on vacations or weekends.
BILL
They are boys without privileges.
LAURA
And I became a wife without privileges.
BILL
You became a wife . . .
(He stops.)
LAURA
Yes?
BILL
You did not become a wife.
LAURA
I know. I know I failed you. In some terrible way I've failed you.
BILL
You were more interested in mothering that fairy up there than in being my wife.
LAURA
But you wouldn't let me, Bill. You wouldn't let me.
BILL (Grabbing her by the shoulders)
What do you mean I wouldn't let you?
LAURA (Quietly, almost afraid to say it)
Did it ever occur to you that you persecute in Tom, that boy up there, you persecute in him the thing you fear in yourself?
(BILL looks at her for a long moment of hatred. She has hit close to the truth he has never let himself be conscious of. There is a moment when he might hurt her, but then he draws away, still staring at her. He backs away, slowly, and then turns to the door)
Bill!
BILL (Not looking at her)
I hope you will be gone when I come back from dinner.
LAURA (Quietly)
I will be . . .
(Going towards him)
Oh, Bill, I'm sorry. I shouldn't have said that . . . it was cruel.
(She reaches for him as he goes out the door)
This was the weakness you cried out for me to save you from, wasn't it . . . And I have tried.
(He is gone)
I have tried.
(Slowly she turns back into the room and looks at it)
I did try.
(For a few minutes she stands stunned and tired from her outburst. Then she moves slowly to TOM'S raincoat, picks it up and turns and goes out of the room and to the stair-landing. She goes to the boy's study door and knocks)
Tom.
(She opens it and goes in out of sight. At TOM's door, she calls again)
Tom.
(TOM turns his head slightly and listens. LAURA opens TOM'S door and comes in)
Oh, I'm sorry. May I come in?
(She sees she's not going to get an answer from him, so she goes in)
I brought back your raincoat. You left it last night.
(She puts it on chair. She looks at him)
This is a nice room . . . I've never seen it before . . . As a matter of fact I've never been up here in this part of the house.
(Still getting no response, she goes on. TOM slowly turns and looks at her back, while she is examining something on the walls. She turns, speaking)
It's very cozy. It's really quite . . .
(She stops when she sees he has turned around looking at her)
Hello.
TOM (Barely audible)
Hello.
LAURA
Do you mind my being here?
TOM
You're not supposed to be.
LAURA
I know. But everyone's out, and will be for some time . . . I wanted to return your raincoat.
TOM
Thank you.
(After a pause he sits up on the bed, his back to her)
I didn't think you'd ever want to see me again.
LAURA
Why not?
TOM
After last night. I'm sorry about what happened downstairs.
LAURA (She looks at him a while, then)
I'm not.
TOM (Looks at her. Can't quite make it out)
You've heard everything, I suppose.
LAURA
Yes.
TOM
Everything?
LAURA
Everything.
TOM
I knew your husband would be anxious to give you the details.
LAURA
He did.
(She stands there quietly looking down at the boy.)
TOM
So now you know too.
LAURA
What?
TOM
That everything they said about me is true.
LAURA
Tom!
TOM
Well, it is, isn't it?
LAURA.
Tom?
TOM
I'm no man. Ellie knows it. Everybody knows it. It seems everybody knew it, except me. And now I know it.
LAURA (Moves towards him)
Tom . . . Tom . . . dear.
(TOM turns away from her)
You don't think that just because . . .
TOM
What else am I to think?
LAURA (Very gently)
Tom, that didn't work because you didn't believe in it . . . in such a test.
TOM (With the greatest difficulty)
I touched her, and there was nothing.
LAURA
You aren't in love with Ellie.
TOM
That's not supposed to matter.
LAURA
But it does.
TOM
I wish they'd let me kill myself.
LAURA
Tom, look at me.
(TOM shakes his head)
Tom, last night you kissed me.
TOM
Jesus!
LAURA
Why did you kiss me?
TOM (Turns suddenly)
And it made you sick, didn't it? Didn't it?
(Turns away from her again.)
LAURA
How can you think such a thing?
TOM
You sent me away . . . you . . . Anyway, when you heard this morning it must have made you sick.
LAURA (Sits on edge of bed)
Tom, I'm going to tell you something.
(TOM won't turn)
Tom?
(He still won't turn)
It was the nicest kiss I've ever had . . . from anybody.
(TOM slowly turns and looks at her)
Tom, I came up to say good-bye.
(TOM shakes his head, looking at her)
I'm going away . . . I'll probably never see you again. I'm leaving Bill.
(TOM knits his brows questioning)
For a lot of reasons . . . one of them, what he's done to you. But before I left, I wanted you to know, for your own comfort, you're more of a man now than he ever was or will be. And one day you'll meet a girl, and it will be right.
(TOM turns away in disbelief)
Tom, believe me.
TOM
I wish I could. But a person knows . . . knows inside. Jesus, do you think after last night I'd ever . . .
(He stops. After a moment, he smiles at her)
But thanks . . . thanks a lot.
(He closes his eyes. LAURA looks at him a long time. Her face shows the great compassion and tenderness she feels for this miserable boy. After some time, she gets up and goes out the door. A moment later she appears in the hall door. She pauses for a moment, then reaches out and closes it, and stays inside.
TOM, when he hears the door close, his eyes open. He sees she has left his bedroom. Then in complete misery, he lies down on the bed, like a wounded animal, his head at the foot of the bed.
LAURA in a few moments appears in the bedroom doorway. She stands there, and then comes in, always looking at the slender figure of the boy on the bed. She closes the bedroom door.
TOM hears the sound and looks around. When he sees she has come back, he turns around slowly, wonderingly, and lies on his back, watching her.
LAURA, seeing a bolt on the door, slides it to. Then she stands looking at TOM, her hand at her neck. With a slight and delicate movement, she unbuttons the top button of her blouse, and moves towards TOM. When she gets alongside the bed, she reaches out her hand, still keeping one hand at her blouse. TOM makes no move. Just watches her.
LAURA makes a little move with the outstretched hand, asking for his hand. TOM slowly moves his hand to hers.)
LAURA
(Stands there holding his hand and smiling gently at him. Then she sits and looks down at the boy, and after a moment, barely audible)
And now . . . nothing?
(TOM's other hand comes up and with both his hands he brings her hand to his lips.)
LAURA (Smiles tenderly at this gesture, and after a moment)
Years from now . . . when you talk about this . . . and you will . . . be kind.
(Gently she brings the boy's hands toward her opened blouse, as the lights slowly dim out . . . and . . .
THE CURTAIN FALLS
THE END
Robert Anderson, born in New York in 1917, was graduated from PhillipsExeter and from Harvard, where he earned his M.A. in 1940. During thewar, while serving as an officer in the Navy, he wrote his first play,Come Marching Home. Another of his plays, Love Revisited, was put onat the Westport (Conn.) summer theatre in 1950 and All Summer Long wasdone successfully at the Arena Theatre in Washington, D.C., in 1953. Onthe day that his Broadway hit, Tea and Sympathy, opened in New Haven,he was made a member of the Playwrights' Company.Mr. Anderson has also taught playwriting courses at the American TheatreWing. He and his wife Phyllis live in a Basement apartment in GreenwichVillage, where -- in addition to writing plays -- he does adaptationsfor radio and television.RANDOM HOUSEPublishers of THE MODERN LIBRARY & THE AMERICAN COLLEGE DICTIONARY457 Madison Avenue o New York 22, N.Y.Printed in U.S.A.RANDOM HOUSEBOOKS ON [logo] THE DRAMAIn the past, Random House has published the texts of more outstandingplay successes than all the other trade publishers in America combined.The following is only a partial list of the celebyated dramatists whoseplays are published in the United States under the Random House imprint:Eugene O'Neill,Lindsay and Crouse, Kaufman and Hart, S.N. Behrman,Sidney Kingsley, John van Druten, Joshua Logan, F. Hugh Herbert andRodgers and Hammerstein.The big, comprehensive theater annual, Recent Random House Play Hitsedited by John Chapman, features read-ing versions of the twelve leading plays ($2.75 each)of the season -- plus stimulating essayson off-Broadway activities by George THE GOLDEN APPLEFreedley and on the London season by by John LatoucheC.B. Mortlock; profiles of the drama-and Jerome Morosstists; cast listings; awards; reading list;etc. ANNIVERSARY WALTZby Jerome ChodorovTHEATER '54$5.00 KISMETby Charles LedererThe story of the American theater from and Luther Davis1820 to the present is now available in arichly illustrated, definitive volume by THE SOLID GOLD CADILLACLloyd Morris. Stars of the stage, glamour by George S. Kaufmangirls and gallery gods, famous dramatists and Howard Teichmannand producers -- all play their part inthis colorful book. ONDINEby Jean GiraudouxAdapted by Maurice ValencyCURTAIN TIME$5.00 THE REMARKABLE MR. PENNYPACKERby Liam O'BrienOne of the most important publicationson the Random House drama list is a THE PRESCOTT PROPOSALSsuperb edition of The Complete Greek by Howard Lindsay andDrama, in two sturdy volumes, boxed. It Russel Crousecontains forty-seven plays, in authorita-tive translations, with a complete glossary. SABRINA FAIRby Samuel TaylorTHE COMPLETE GREEK DRAMA PICNIC2 vols., boxed $8.50 by William Inge--------------------------------------------------------------------------Play hits of the new season will be published by Random Houseat frequent intervals. Your bookseller will be glad to keep you posted.RANDOM HOUSE o NEW YORK

