PICNIC was first produced by The at the Music Box Theatre, New ‘was directed by Joshua Logan, Jo Mielziner. The cast was as PICNIC ACT I The action of the play is lad on the porches and in the ‘yards of two small bouses that sit close beside each otber ina small Kansas town. The houses themseles are bum- ble duoellings, built with no other pretension than to pro- vide shelter for their occupants, but their occupants are women who bave worked bard to Reep up an appearance, 40 the houses, although they may need a coat of paint, are kept tidy, and there are colorful sip-covers on the porch furniture and lush flower beds at tbe edge of the porches. Surrounding the bouses are clusters of beavy foliage from the trees and a stretch of green lau that levels back, fad- ing into the horizon. It i a homey scene, marred only by 4 sign, band-painted, tacked to one of the thin litle col- tumns on the porch of the house at R: ROOMERS. ‘The two-story house at R. belongs to Mrs. Flo Owens, ‘widow lady of about forty, who lives there with ber too young daughters, Madge and Mile. The audience sees only a section of the bouse, from the doorstep and front door extending to the back door, a porch lining all of the house that wwe See. There are windows in the house's sec- cond story, one of these windows, U. Sis the window to Madge’s room. The porch is raised slightly above the ‘round, and two long, sballow steps ise from the ground tp to the porch p. s. R. Near these steps are matches and ‘an open pack of cigarettes. Directly beyond the steps a screen door leads from the porch into the front of the hhouse—this is the frout door. On the porch x. of the steps is a beach chair, 1. of the steps om the porch is an armchair, and against the wall of the house, a little us. ‘on the porch is a bench covered in some brigbt flowered 5: sali ginning to ripen. Dew is stil on the countryside and mist rises from the earth in the distance. Far off, the whistle of 4 train is beard coming to town. Jt is a bappy promising sound. A factory whistle blows, a dog barks and a mo- ‘ment later Mrs. Potts appears on ber porch. She stops, looks off t., motions to someone to follow ber, and then goes down the steps to the door of the shed as Hal Carter appears on the porch carrying a trash barrel on bis shoul. der. Hal is an exceedingly handsome youth, dressed in Tshirt, dungarees and cowboy boots. Mrs. Potts opens the shed door and disappears inside. Hal looks around bim for a moment. Then be goes down the steps to the tree stump, puts bis right foot up on the stump, takes the barrel off bis sboulder and rests it on his knee while be takes a breath. Mrs. Potts returns from the shed with a leaf rake which she leans against the u. s. comer of the shed as she speaks. put il MRS. POTTS. (1. of Hal.) You just had a big breakfast. Wouldn't you like to rest a while before you start to work? HAL. Work’s good for my digestion, Mam. (He looks away, con- cemed.) MRS. POTTS. Now, stop being embarrassed because you asked for breakfast. That's nothing, HAL. I never done it before. ‘MRS. POTTS. What's the difference? You probably never had cherry pie for breakfast before either! HAL. That’ right, Mam, I didn’t. (Mrs. Potts starts out 1—p. s. of shed. Hal puts'the barrel on bis shoulder and starts afier ber, She stops and turns to bim.) MRS. POTTS. You're going to be awfully hot working in that jacket. HAL. My shirts awful dirty, Mam. ‘MRS. POTTS. I'l wash it while you're burning the trash. HAL. I sure would like to feel clean. (He looks around, worried.) ‘Would anybody object? MRS. POTTS. Of course not! You're a man! What’s the differ- fence? (She laughs and goes of b. s. 1., Hal following her. Mille Owens enters the porch from the kitchen of the bouse at x. She is 4 girl of sixteen and wears a denim shirt, dungarees and sneakers, 7 TINT THE ntl ieMile bors & and mones more grabbing ber cap from a on tht le ofthe ep and ges « ge af ber biding place by the step and lights in from alley u. , throws a paper parks bis bike u. x. of the alley gate and bim crosses down to the c. of the lawn, looking up at Madge Owens’ window. Bomber slams the 4 on the porch, trying to MILLIE. Hey, Crazy, you want to knock the house down? BOMBER. I don't hear you. Bomber crosses to steps, rigbt foot up.) im talkin’ to you, Goon- face! MILLIE. Chumping up and poising berself for a figbt. Bomber jumps back just out of reach.) You ornery bastard, take that back! BOMBER Listen he! She sft 3 ma! MILLIE. (Goes after bim with doubled fits) you, you ‘omery bastard! I'll kill you! Comber ducks the first blow which is aimed at bis bead and takes the rest om bis arms as be jeers.) BOMBER. Lookit Mrs. Tar-zan! Lookit Mrs. Tar-zan! MADE. (Comes on to porch fom front door. She is eighteen and very beautiful. She is drying ber bair with a towel. be sits on the orc comer.) Who's making all this noise? (Bomber looks up seeing Madge and the fight stops) BOMBER. (Crosses to Madge.) Hi, Madge! MADGE. Hi, Bomber. BOMBER. I ‘hope I didn’t wake you, Madge, or bother you or anything. (Millie crosses u. to paper which Bomber threw on hhot-rod—radio and everything. I get it every Friday night. (Millie crosses n, sits. om chair in c. of yard, opens paper as she crosses.) MADGE. I'm not one of those girls that jump in a hot-rod every time you boys turn a corner and honk. MILLIE. Alan Seymour sends her flowers every time they go out, 8 BOMBER. (Jo Madge.) I can't send you flowers, Baby—but I can send you! MILLIE. Listen to him braggin’. BOMBER. (Squat at Madge's 1. on step.) Lemme pick you up some night after Seymour brings you home. MADGE. That wouldn't be fair to Alan, would it? We go steady. MILLIE. (Jo Bomber.) Don’t you know what “steady” means, stupid? BOMBER. (Ignoring Mile.) 1 seen you riding around in his like you was a Duchess. (He turns away to c. Hal enters from b. L. and gets rake from the shed.) Why do good looking girls have to be so stuck on themselves? MADGE. Clumps up, furious.) Pm not stuck on myself! You take that back, Bomber Gutzel! BOMBER. (Turning back to ber.) Lemme pick you up some night! MADGE. (Walks u. to kitchen door, disgusted.) Bomber! BOMBER. (Following ber.) We'll get some cans of beer — MILLIE. Why don't you leave her alone! (Madge crosses D. on porch to front door, Bomber following. Hal, growing interested, Teans rake against trellis and ambles to .) BOMBER. (Grabbing Madge's arm) Aw, c'non, Madge! Give a guy a break! HAL. (Jo Bomber. Crosses to €.) On your way, lover boy! BOMBER. (Crosses. to meet Hal.) Who're you? HAL, (Smiling.) What's that matter? 'm bigger'n you are. Bomber realizes this is true, and after a moment of indecision, starts off hurriedly.) MILLIE. (Calling after Bomber.) Go peddle your papers! Ok— ok—ok—ok—ok! (Bomber crosses uc. to bicycle and quickly rides off n.alley. Hal watches bim go then tums to Mili. Madge sits om porch, feet on C. of top step.) HAL. Hey, kid, got a smoke? MILLIE. (Taking out cigarette.) You workin’ for Mrs. Potts? HAL. GFeeling pockets for matches.) Yeah, 'm doin’ a few odd jobs around the yard. MILLIE. (lands bim matches.) She give you breakfast? HAL. Embarrassed about it.) Yah. MADGE. (Disapprovingly.) Millie! HAL. (Turning to Madge—quick smile.) Hi. MADGE. (Returning smile.) Hi. 9FLO. (Comes out of front door onto porch, carrying am evening dress on which she works during the following scene and a sewing basket and Madge’s manicure set. She crosses to armchair and puts dress om it. Puts sewing basket on floor next to cbair, Returns to cand gives Madge manicure set, wbo places it on floor where sbe sits, Then she sees Hal. As Flo enters, Millie puts out ber cigarette ‘on ber bee.) Young man, this is my house and these are my HAL. (Turns and crosses to €. as Flo speaks:) They are? FLO. (She nods.) Is there something you want? HAL. Just loaf’, Mam. FLO. Ths rs buny dy for ws. You beter rn lene HAL. It's your house, lady. (Crosses 1. to shed, turns to Flo.) ‘You're their mother? (Flo nods. Hal sbakes bis bead in admiration and soalks off to Mrs. Potts’ yard through door of shed, taking rake with bim which leans against trellis.) FLO. (When Hal is off sbe crosses D. 1.) Has Helen Potts taken ‘him breakfast FLO. Tm going to speak to her abut the way se takes in every Tom, Dic Face -MADGE. He wasn't doing any FLO. I bet he'd like to. (Crosses to armecbair on porch and picks up dress.) Have you called Alan this morning? MADGE. No, I haven’t had time. MILLIE. He's coming by pretty soon to take us swimming. FLO. (Jo Madge.) Tell him they're expecting a big crowd at the park this evening, so he'd better use his father’s influence at the City Hall to reserve a table. Oh, and tell him to get one down by th ee, er fos Dahm MADGE. He'll think I'm bein FLO. Alan doesn’t mind if a woman’s bossy. (Sits in armcbair and starts work on dress. A train whistle in the distance off 1.) MADGE. Whenever T hear that train coming into town, I always get a feeling of excitement . . . in here. (Hugging ber stomach.) MILLIE. Whenever I hear it, 1 tell myself some day I'm going to ‘gct on that train and I'm going to go to New York. FLO. That train only goes as far as Tulsa. 10 MILLIE. Well, in Tulsa I could catch another train. MADGE. I always wonder, maybe some wonderful person is get- ting off here, just by accident, and he'll come into the dime store for something and see me behind the counter, and he'll study me very strangely and then decide I'm just the person they're looking for in Washington to carry on an important job in the Espionage Department. (She puts iowel over face below eyes.) Or maybe he ‘wants me for some great medical experiment! FLO. Those things don’: happen in dime stores. (Mile rustles ber aber.) Madge — (Ste wants to get rid of Milli.) Millie, would ‘you take the milk in, please? (Millie lowers paper, looks’ at ber ‘mother, rises slowly and crosses tu.) MILLIE. (As she exits into kitchen with milk.) Awwww . (Madge turns away D. % drying bair.) FLO. (After a moment) Did you and Alan have a good time on ‘your date last night? MADGE. Uh-huh, FLO. What'd you do? (She continues to work on dress.) MADGE. (Frying to acoid the cross questioning.) We went over to his house and played some of his classical records. FLO. (After a pause.) Then what'd you do? MADGE. Drove over to Cherryvale and had some barbecue. FLO, (A bard dueston task.) Madge, does Alan ever «= - make MADGE. When we drive over to Cherryvale we always park the car by the river and get real romantic. FLO. Do you let him kiss you? After all, you've been going to- gether all summer. MADGE. Of course I et him. FLO. Does he ever want to go beyond kissing? MADGE. (Embarrassed) Mom! FLO. T'm your mother, for heaven's sake! These things have talked about. Does he? eae MADGE. Well . . . yes FLO. Does Alan get mad if you . . . won't? MADGE. No. FLO. (Jo herself, puzzled.) He doesn’t . . . MADGE. He doesn’t get mad. FLO. Do you like it when he kisses you? MADGE. Yes. unFLO. You don't sound very enthusiast. MADGE, Alan said he'd try to find you a date for the picnic MADGE: What do you expect me to do—pass out every time tonight. ‘Ab pats bs aoe around sc? MILLIE. 1 don't want Alan asking any ofthese razy boys in town, FLO. No, you don't have to pass out. But it seems to me you could to take me anywhere. at least—— MADGE. Beggars can’t be choosers! MADGE. (Turning to ber.) What? MILLIE. You shut wp. FLO. (She rises.) Hold this dress up in front of you. (Madge FLO. (Pinning up bem.) Madge, that was mean. There'll be danc- rises, bolds dress. lo sits U. L. of ber m beach chair and continues ing at the pavilion tonight. Millie should have a date, too. (She work.) Madge, it'd be awfully nice to be married to Alan. You'd moves D. 1. a bit and looks at hem line.) hhave charge accounts at all the stores—automobiles—trips. You'd MADGE. If she wants a date, why doesn’t she dress up and act, be invited by all his friends to parties in their homes and at the a te MILLIE, *Cause Ym gonna dress and act the way I want to, and MADGE. (Uncomfortably.) Mom, I don't feel right with those if you don’t like it you know what you can do! ae MADGE. Always complaining because she doesn't have. any FLO. What do you mean? You're just as good as they are. My end, but she sls so bad people don't want to Be neat het! father was in the State Legislature and my mother’s family was, Fo covers Madge’s mouth. Madge gives dress to Flo and picks = stint MADGE. (She gives dress to Flo and crosses 1. to c.) I know, MELB de at Mom, but all of Alan's friends talk about colleges and trips t0 da! Madge is the pretty one—but she's so dumb BaropeT feel left out, a they almost had to bum the schoolhouse down to get her ot oft FLO. You've just got to get over those feelings. Now, Alan will be coor FO" Yee ot tr te ings Now ln wilbe—Y_ILLIE Ohi You never wove adit thd tes like the picnic tonight. You - ara crpcnsHe he pni teih. better get busy TO, (Cross to the stops) Who's Jumpin’ Jeter? a ee ; Feaches history. Kids call him veause FLO. Madge, 2 prety girl doesn’t have long—just a few years prety gids in his cues make Hit so Jano, He oa dean ‘when she’s the equal of kings and can walk out of a shanty like Madge ll dhe west tis room end. oishe Coc hasta his ad vein place with » dig hte whl spends don't know what Tl do fT dont pas ity making her happy. MADGE. Mom, she's making that ; MADGE. (Turning away.) 1 suppose, but — MILLIE. Like fun 1 am! You cole : 's MADE ‘Tr y) TOF Ogg MILIEU fn at Yo it cn ss Mi Src that chance, she might just as well throw all her prettness away. FLO. Millie! sore MADGE. I'm only eighteen. MADGE. You are a goon! then cto and hn Try (Casing beso Madge fecal ang eater esas pee ee twbo bolds it against ber again. Flo stuats in front of ber. Milie ke that back or kl oe ot follows to Porch) You centers from front door with sketch pad and charcoal, looks al new FLO. Milli! Madge! (She puts dress on porch armbai SLics: ! Dts dress on porch armchair and runs an then ole on of steps.) U.S. after girls.) Girls! Girls! Stop it! What will the neighbors MILLIE. Everyone around here gets to dress up and go places say! (Millie grabs Madge's bair and pulls it. Madge swats Millie except me. (Looking off m. sketching) with towel. Mile les ber go. Madge crosses to shed door.) 12 18‘MILLIE. Nobody's gonna call me a goon and get by with it! FLO. You called her worse names! MILLIE. Ie doesn't hurt what names I call her! She's pretty, ‘names don't bother her at all! (Sbe storms off porch through front ‘ear tears.) FLO. Poor Mili! (Crosses. to armchair and picks up dress) (Crosses x. to below ©. chair i yard.) That's all | hear "Poor Mili,” and poor Millie won herself a scholarship for four whole years of caller! FLO. A girl like Millie can need confidence in other ways. MADGE" Mem? FLO. Yes2 MADGE Do you love Mlle more than me? MADGE. Why doy if you di do you act as if you did? FO. (cae 2% ‘ Madge—sis on stump, takes Madge's hands) Madge! Madge, liten to me! You were the frst born. Your father thought te sun rose and set in you. He used to carry You on his shoulder forthe neighborhood to see. But when Mile we different. FLO. They were just . . . different. Your father wasn't home such of the time then. He'd found . . . other things. The night Millie was born he was with a bunch of his wild friends at the ‘02d house. MADGE: Was he sry? FLO. Yes. He was always sorry. And I always forgave (roses ton ¢) Our life was a succession of fights and endear- ments MADGE. Anyway, you loved him. FLO. Whae rest moe than let ep roe aPPY. (She looks at Maige for a moment and then crosses to U. of Madge and ffs ber bai 1 belp it dry.) MADGE. Mom - FLO. Yes? MADGE. What good is it to be pretty? FLO. Cooke at’Mge pualed) Well... pretty things are ‘rare im this life. MADCE. But what they? FLO. Wall ne age ike fowers and sunsets and “4 rubies . . . (She tries to turn Madge's face to ber. Madge pulls sway.) and pretty girls, too . . they're like billboards telling us that life is good. MADGE. Bat where do I come in? FLO. (tt ber x) What do you mean? MADGE. Maybe I get tired being looked at FLO. Madge! Don’t talk so selfish! MADGE. I don’t care if I am selfish, I's no good just to be pretty It’s no good! HAL, (Comes in from 2s. Pots yard. 1, jacket in bond) ‘Mam, is it all right if I start a fie? FLO. (Not paying attention, sill concerned about Madge.) What? (She Tooks up, sees that Hel is bare chested. She steps to t. of Madge shielding Hal from view.) HAL. The nice lady said it’s a hot enough day already and maybe you'd object. How about it, Mam—mind a litle fire? (Madge manages a look past lo at Hal.) FLO. (She is cold towards bim.) No, I don't mind HAL. (Hands bis jacket on shed door, closes door.) I didnt think you would. (He is suddenly conscious of bis bare chest. He covers bis chest modestly with bis bands and walks off D. 1.) FLO. (Crosses to Ut. of stump, looking after Hal.) He's got no shame! He just moves right in whether you want him to or not! MADGE. I knew you wouldn't like him when I first saw him. FLO. De you? MADGE. I don't like him or distike him. 1 just wonder what he’s Tike. FLO. I know what he's like. (Rosemary Sydney comes out of front «door of the bouse, wearing a dressing goum and carrying a jar of face cream and a band mirror.) ROSEMARY. Anyone mind if an old maid schoolteacher joins theie company? FLO. "Morning, Rosemary. (Crosses x. to armcbair) ROSEMARY. Mail come yet? (Madge crosses to x. edge of steps, sits on porch and picks up manicure set.) FLO. No mail today. I's Labor Day. (Flo picks up dress and crosses to chair c. in yard during next speech.) ROSEMARY. I forgot. I thought I might be gettin’ a letter from that man I met at the high school picnic last spring. (A bawdy laugh. She sits on porch comer, starts to cream face) Been 15smoke. (Rises, looks 1.) having hher leaves burned. Smells kind of and crosses to b. of stump. Hal enters be ying a large basket of clothes.) MRS. POTTS. Rot “of FLO. (Calling back, a noise like an oul, ‘She bands dress to Madge ‘who exits by front door.) Hoooo? MESAROTTS. Are you going to be using the clthesine this ‘morning? FEO. No. (ies, Potts tums, signals to Hal and starts off. 1.) HAL. (To Rosemary.) Hi. ROSEMARY. (Surprised, self-conscious.) How ya do? (al Starts out b. 1.) NOICE, (Offstage from Mrs. Pots bouse) Helen! Helen! POTTS. (Stops.) Vm gout the clothes, Mama. Pl be right back. (She and Hal exit v. 1. Mile stare sketching again.) FLO. None of “em will take her. She's too mene Flo. jumetines 1 think she keeps the boy's name jst to defy the pid lady. (The car stops and the door slams. Rosemary exces porch comer.) 7MILLIE. (Putting down ber book.) Hi, Alan! Qumps up, starts to kitchen door.) Oh, boy! I'm gonna get my suit! FLO. (Calling after Millie.) See if Madge is decent. (Alan enters D. in front of Flo's house. Millie exis into kitchen) Good ‘morning, Alan! ALAN. (Jo. of steps.) "Morning, Mrs. Owens . . . Miss Sydney. From MARY. Hallo. (Sbe sis om porch comer. Hs. Pots enters rom D1. hurriedly.) MRS. POTTS Hel, Alan, ALAN. Hello, MRS. POTTS. Have you girls sten the handsome young man I've ot working for me? (Sits om stump.) FLO. tien Pas fee 7 sp igi al sox of raf . ott, I wish you' in all sorts of riff-raf! (Aan crosses and its on bea chee MRS. POTTS. He is rif-rafl. He's been to several colleges FLO. Colleges—and he begs for breakfast! MRS. POTTS. He's working for his breakfast! Alan, he said he {new you at the University. I told him you might be by, ALAN. Who? (Hille dasbes on through kitchen deor vith bath ing suit rolled up in towel) MILLIE (Crosesb. to comer of bouse) Hey, Alan. We going Ain ofp dat Madge FLO. ‘Alan, why don’t you go up and see Madge? Just call from the bottom of the stairs HAN. Okay: (Goes out front door, calling.) Hey, Delilah! lic puts towel om porch tof circ. and follows vlan FLO, Milt Mie tus, cought jus inside front door, Ho si- nas for ber to come out. Millie does so, puling ber bat ony fo, fas, dsqutediy—then croses D, sits step facing R—picks ap book and begins to read) (After a moment.) It’s so hot and sil this time of Fir neetn i 8 this way 1d welcome a goed cyclone - even if it blew everything away. FLO. Hm... not me. 18 wa MRS. POTTS. (Cooking off at Mal.) Look at him lift that wash tub as if i was so much tissue paper! VOICE. (Offstage from Mes. Dott’ house.) Helen! Helen! ‘MRS. POTTS. I'm visting Flo, Mama. You don't need me, FLO. What did you feed him MRS. POTTS, Biscuits, FLO. Helen Potts—you went to all that trouble? MRS. POTTS. He was so hungry. I gave him ham and eggs and all the jot cafes he could drink. Then he saw a piece of chery pie in the fcebox and he wanted that, too! ROSEMARY. (Causbs bawdy.) Sounds to me like Mrs. Potts has herself a new boy friend! ROSAOTTS. (Gets up, inured) 1 don’ think thas very fanny. FOSEMARY. (Rises—crosses to 8 of €. chair) Shoot, Mrs Por, 1m jast a tease. DIRS. POTTS. (Stil touchy.) 1 could sit on my own porch, bet 1 FLO, Sees Madge and Alon, signals Rosemary tobe quiet, points ‘PMadge and Alan.) Look’ Bride and groom! (To Madge) Fog docs it fel, Madge? (Coughs at ber unconscious joke) Troan he dress? Grosses to U. 1. of stump.) MADGE. (Crossing to ber motber, stands facing upstage.) 1 love it; Mom, except its a litle tight right back here, MRS. POTTS. Isn't Madge the pretty one! ALAN. (Suats L. of Mile.) What are you reading, Mile? MILLIE, Turns to bim, holding book open for bim'to see) The Ballad of the Sad Cafe. l’s wonderful! (Alan looks at boci: oth FOSEMARY, (Shocked) Good Lord, Mrs. Owens, you lt your ‘daughter read filthy books like that? FLO. (Worried.) Filthy? ROSEMARY. Everyone in itis some sort of degenerate! MILLIE. That's not so! ROSEMARY. It was banned from the library! 19ALAN. What do you mean “oh, that! Ist that what 1 loaned ‘you a hundred bucks for? HAL. Sure, Seymour. ALAN. (Crosses to C.) Well, what happened? HAL. Things just dida’t work out, that’s all, ALAN’ I teed to warn you, Hal. Every yaar some talent scout Promised screen tests to all the big athletes sae RMOrY of i immensely be crosses to sump, puts foot oe Array Lacing Ly sbeaking as be crosses) it was real crass ALAN (Crosses to Hal) Did they give you aty line ie read? HAL. Yah, that part went okay. It was my tect, ALAN. Your teeth? HAL: Yah! Out there, you gotta have a certain kind of teeth or shey can use you. Don’t ask me why. (Foot do of stump tee wee Aut This babe sid they'd have to pul all my teth and pve ‘me new ones, so naturally —— ALAN, Wait a minute. What babe? Lar he babs that got me the screen test. She was't a babe ex- actly. She was kinda beat up—but not bad. ALAN, Usha, (Alan crases to seps—Plal sits om stump, em barrassed, leans fart, pulls a blade of grass) Wher seen ing here? HAL. I came to see you. 2 ALAN. Yeah? Why? RAL Well, you see, after Hollywood I took a job on a ranch in Neads Seymour, yoda been proud of me. In bed every sight Tey Stretches) up every morning at six. No liquor ne bake HAL ‘Well Seymour, I was gonna tat I got rolled Ce rises, twms chair to fae v. x in bis embarrassment) HAL: Yeah, and by two babes. See — (Ile crosses u. ¢-—ooks “iar fr S885 RO one, crosses D-—squats on v. lawn nowt ts Alan, who crossed and sat on porch omer.) See—I was gonna fitcvhike down to Texas to try my luck. I gota: far 2¢ Phos wihen two babes pull up in this big yellow convertible And ie he babe slams on the brakes and she holler, “Get in, sted” | got in. Seymour, it was crazy. They had a shakerful of murine pete there in the ear! (A screen door slams off U. Land Mee 2ets aPbears om ber porch followed by Mille. Mes. Pots cans HAL. (Crosses 1. to shed.) Any more work, Mam? MRS. POTTS. No. I feel more than paid forthe breakfast Thc, (OPENS shed door, puts rake inside, closes door), Spose there's any place I could wash up? MILLIE: We got a shower in the basement. Come on, ll show rg Polts exits into kitchen. Hal crosses to Ue, lawn ALAN. (Crosses to intercept Hal.) He'll be there in a minute. (Millie exits into kitchen. Alan turns to Hal.) Okay, so they had a shakerful of martinis right in the car! HAL (Takes Alen. to Mes, Bots’ rallng—leons on ring, Alan at bis x) And one of these babes was smokin’ the weed! ALAN, (Crosses 8. to lawn c.) Nothing like that ever happens to me! (Jurns.) Well—go on with the ‘story —— HAL. (Embarrassed.) ‘Seymour, you wouldn't believe it, the things those two babes started doin’ to me. ALAN. Were they good looking? HAL. What do you care? 23ALAN. Makes the story more interesting. Tell me what you did ‘exactly. HAL. Wel, you know me, Seymour. 'm an agreeable guy. ALAN. Sure. HAL. So when they took me to this tourist cabin, | said, “Okay, sir, iT gota pay forthe ride" Well—Gle sbrugs and turns ‘toy. you know, they musta thoughe 1 was King Kong. ALAN. You mean . . . both of them? ALAN. (Crosses n. to c. lawn.) Golly! HAL. Then I said, “Okay, girls, the party’s over—Iet’s get gon’.” ‘Then this dame on the weed, she sticks a gun in my back. She says, “This party’s goin’ on tll we say its over, Buck!” You'da thought she was Humphrey Bogart! ALAN. What happened? HAL. Finally I passed out! (Alan crosses to steps and sits.) And when I woke up, the dames were gone and so was my two hundred bucks! (Crosses D. n. to porch corner.) 1 went to the police and they wouldn't believe me—they said my story was wishful think- ing! How d’ya like that! (Crosses to uc. lawn.) ALAN. Mmm. (Crosses p. C.) Vm telling you, Seymour, women are gettin’ ‘Wel, that did it. (Sits ¢—ties down, bead 1.) Then I , what’s'a poor bastard like me ever gonna do. don’t sound to me like you'd had such a bad life. 1 got thinking of you, Seymour, at school—how you sua i i Yah. Never cut classes... understood the lectures . Sits up.) took notes! (Alan laughs) What's so funny? ALAN. The one authentic hero the University had, and he envied me! HAL. Yah! Big hero, but just between the goal posts. Seymour, 2 off the ALAN. Gee, Hal, I'm avefully sorry to hear that. HAL. ‘the funeral. They had to bury him in Pauper’s Row. ALAN. What about the filing station? ~ Oh, he left it to me in his will, bt the old lady wanted i s0 bad she was gonna have him declared insane. So I let her have it. Who needs it? ALAN. Yeah, When did you get into town? HAL. This morning, on a freight. ALAN. Why didn’t you come to see me right away? HAL. dias want to wall into your palatial manson lookin Tike a ALAN. That woulda’t have made any difference. z 2 HAL. (Sits up.) Oh, something in a nice office where I can wear a tie... and have a sweet litle secretary . . . and talk over the telephone about enterprises and . . . things. (Alan walks of stump. Hal rises—crosses to D. c.) Pve always HAL. Yah! That's something I gotta learn. Patience! (Hal tums DR. Mrs. Potts enters from Flo's kitchen.) ALAN. Mrs. Pots, Sinclair is hiring new men, aren't they? MRS. POTTS. Yes, Alan. Carey wants a hundred men for the Pipeine ALAN. How about the pipeline, Hal? 25realizes be bas said the wrong tbing. He goes to join Mile. Alon leading Madge to bis 1. Millie crosses p. to 0. s, klcben post.) ‘crosses L. to Madge.) | want you to meet Madge. ROSEMARY. Girls, we better get a hustle on. (Rosemary crosses MADGE. Oh, we've met already. That is, we sao each other. D. to R. of steps. Irma crosses to porch edge above steps. Christine HIAL. Yah, we saw each other. ‘crosses L. and D. to L. of porch comer.) ALAN. (Jo Madge.) Hal notices every beautiful gir. (He gives ee (Jo Irma.) Tell them about what happened in New tance kick) York, IRMA. (The center of attention.) I went to the Stork Club! ALAN. Well, you're the most bes irl i . How did you get to the Stork Club? (Jo Hal.) The Chamber of Commerce voted her Queen of Nee. IRMA. See, there was this fellow in my Educational Statistics aoa chase ROSEMARY. I Rew there was a man init. MILLIE. (Cenes b@ IRMA. Now, girl! It was nothing serious. He was just a good spelled backwards. sport, tha’s all. We made a bet that the one who made the lowest Memo Nag’®7” Yea they have a big coronation ceremony MILLIE. Madge had to st through the whole ceremony till hey Put a crown on her head. HAL. (mpressed.) Yah? MADGE-T gt avfully red tee eS The Xemses Cy Star ran color photographs in ‘heir Sunday magazine. MADGE. Everyone expected me to get real conceited, but I didn’t, (Crosses D. L. to shed.) HAL You didn't? to Madge.) Say, Hal, would MILLIE. Well, it be pretty hard to get conceited about those talking to Madge.) Say, aa pictures. (Crosses D. to D. x. laion, makes a face) MADGE ‘The color got blurred and they printed my mouth right lo, Les ask the young man on the pica, Hid be in the middle of my forehead. eee creat ow port) HAL. (Sympathetic. Gee, that’s 100 bad. roses ane MILLIE. (Picks up towel) Come en — (She bls him in the Young man, (Milie jumps down. Hal moves to x TAL reat rimming. ace you tothe cr py Jeng edad asdeyretirl ered ls’ your sister goin’ with ws? es goes el ise MILLIE. No, Madge has to cook lunch. step.) Neewollah. Neewollah is Hallowe'en PERELEEFEL E27 EF Fa Hite tafe oe tit 2 HAL. Do you mean she cooks? Picnic: ie MILLIE, Sure! Madge cooks and sews and does all those this (Leans on ts klchen porch post) Gee, Mam, 1 dott that women do. Come on. (She punches bim. Hal sduats down es aight me women Position of racing start) POTTS. Nonsense. A picnic’s no fun without lots and lots HAL: On your markt : MILLIE. (Getting into similar position.) Pam on my mark. \. Hal! (Hal crosses p. to p. c. lawn, Alan crosses to bim, HAL. Get sett 28 BEEBE ZI 29FLO. Maybe you're right. Come on, Helen. (As she and Mrs. Potts go off:) Ob, dear, why can’t things be simple? (Mrs. Potts ‘exits into kitchen—Flo follows ber. Alan crosses to corner of Porch.) just abead of Millie who bas just gone through the gate, Hla races ALAN. Madge, Fm sorry I have to go back to school this fall. les SF ee of her asd the foot Sing se bay Dad's idea. MILLIE. Hey, that’s no fair! (Pal and Millie are gone.) MADGE ‘(Croses to 1. of stump.) Yn sure of that. FLO. (Rises) Alon! ALAN. (Crosses to below c. chair.) What? Wasn't Dad nice last ALAN. (Crosses to L. of ©. chair in yard.) Yes? night while I was out fixing the drinks? ; FLO. (Crosses to €.) How did a boy like him get into college? MADGE. Oh, yes, he’s always very nice to me—very polite. He ‘ALAN. On 2 football scholarship. ‘explained how sorry he was you had to go away. aoGe ALAN. Are you sorry? ALAN. He made a spectacular record in alittle high school down MADGE. Of course. (Sits om stump.) There'll be lots of pretty : gies ae college, f ALAN. (Sits on c. chair.) Honestly, Madge, my entire four years never found a girl | liked. MADGE I don’t believe that. ALAN. It’s true. They're all so affected, if you wanted a date with them you had to call them a month in advance. MADGE Really? ALAN. ‘Madge, it’s sort of hard for me to say this, but I honestly never believed that a girl like you could care for me. MADGE. (Touched.) Alan... ALAN. I. ~ Thope you do care for me, Madge. (He kisses ber. ‘Hal enters v. R, stops when be sees them and puts 1. foot on step.) HAL. Hey, Seymour . . . (Madge and Alan break apart abruptly. ‘She crosses to shed. He turns to Hal.) ALAN. What's the matter, Hal? Can't you stand to see anyone ‘else kiss a pretty girl? HAL. What the hell, Seymour . . . ALAN. Hal, will you watch your language! . P MADGE. Alan! It’s all right. ee eee er hero eal HAL. Y'm sorry. (Beckons Aan to bim.) Neco oe eee, Ta are ALAN, (Crossing to bim.) wits the trouble? (Madge walks POTTS. No— vay to U. L lawn, sensing that Hal wants to talk privately.) FLO. Oh, no, Alan—not if you . . . Does he drink? HAL. Look, Seymour, T never been on a picnic. ALAN. Not even when you were a kid? HAL. No. ALAN. Why, that’s impossible! Everybody's been on a picnic. 31 FEEHAL. Not me. T wouldn't go on picnics. 1 was too busy shooting or stealing milk bottles. SREANT You tent onthe sak fre nthe fraternity, dda you? HAL. Yeah, and you know what they turned out to be. ‘ALAN. Well, Mrs. Potts’ picnic won't be quite as primitive. HAL. Thae’s what I mean. I wouldn't know how to behave in front of all these . . «women. ALAN, Sure you would. HAL. But, Seymour, these are... nice women. What if 1 say the wrong word or what if my stomach growls—or— ALAN. You're 2 psycho! Run along—V'l be there in a minute, (Gal starts out p. R. Alan crosses U, to UR lawn. Hal stops.) HAL. Hey, hurry it up, will you? (He exits . n. an stops, looks tack at Hal in disgust then crosses to Uc. lawn.) ALAN. Pll see you tonight, Madge. MADGE. All right, Alan. ‘ALAN. (He takes ber bands.) Madge, after we have supper to- night maybe you and I can get away from the others and take 3 boat out on the river. MADGE. All right, Alan. ALAN. I want to see if you Took real in the moonlight. ‘MADGE. Alan! Don’t say that! ALAN. Why? I don't care if you're real or not. You're the most beautiful thing I ever saw. MADGE, Jot the sume 'm real (45 Alan sat ks ber, we bear soe bats ofan axtomobie bor off) HAL. (Offstage .) Hey, Seymour—get cota your pants! (lain Jo of rhated. Madge cost oc lacn, watches tem 4s they drive away, waving to them.) FLO. Qnside house.) Madge! Come on in, deat! MADGE. All right, Mom. (As sbe stars in kitcben door, we bear 4 train whistle in the distance. Madge bears it and leans against . 5. kitchen porch post, looking off b. t listening to the whistle.) CURTAIN ACT It 1s late fleroon, the same day. The seni begin to set and fills the atmosphere with radiant orange. Whee the Curtain goes up, Millie is in the front doorway, hold- ing the screen door open. She bas permitted herself to tess up ad eat @ becoming fone aed vee te — belp feeling a little strange. She is quite ttrctie. Pano mac con Be beard ofits te past Ms ote howe and Mie ae foe ee for a moment. ‘Then she begins to sway to the music and in a moments dencng a Stange, sponte dan the porch and yard. Te mus ape sadder ee ae, lie's mood is broken. She rushes upstage and calls off 1. MILLIE. Don’t quit now, Erie! (She cannot bear Erie's Mah? (Madge enters from kitchen. Mili wns to Madge) Tnck waiting for the rest of the band to practi "e out at the park tonight. Come TIADGE: I don't know why you couldn't have helped ws in the MILLIE. (Cightty, giving ber version of Mad ren fr et fe bie betes MADGE. (Crosses D-—sits €. chair in yard.) 1 had potato salad ad stuff dhe egs ad male tee doc bonne batter sandwiches. Puts ber fee! up on stump.) MILLIE, On very aflced ant. She crosses. 10. tof stump.) Thad to + and dust : Sy) ad ‘my limbs with powder MADCE: Did yeu can out the bath ub? ILLIE. Yes, 1 cleaned out the kath tub. (She becomes grew) Madge, fw do Tak? New tell me he tat fou look very pretty. | always knew you could. MILLIE. I feel sorta funny. oe 3MADGE. You look wonderful in the dress. You can have it if you want to. MILLIE. Thanks. (A pause.) Madge, bow do you talk to boys? MADGE. (Takes feet down.) Why, you just talk, silly. MILLIE. How d'ya think of things to say? MADGE. I don’t know. You jast say whatever comes into your head. MILLIE. Supposing nothing ever comes into my head? MADGE. You talked with him all right this morning. MILLIE. (Moves close to stump.) But now I've got a date with him, and it’s different? MADGE. You're crazy. MILLIE. (Crosses to x. of Madge.) 1 think he's a big show-off (urns to Madge.) You should have seen him this morning on the high diving board. He did real graceful swan dives, and a two and a half gainer, and a back fip . . . the kids stood around clapping. He just ate it up. MADGE. Ger mind eseubere) 1 think Yl pant my temas to night and wear sandals. MILLIE. And he was braggin’ all ateroon how he used to be a deep-sea diver off Catalina Island. MADGE. Honest? MILLIE. And he says he used to make hundreds of dollars doin’ parachute jumps out of 2 balloon. (She crosses to L. of porch corner.) Do you believe it? MADGE. I don’t see why not. MILLIE. You never hear Alan bragging that way. MADGE. Alan never jumped out of a balloon. MILLIE. (Sits on porch comer.) Madge, I think he's... er... irl crazy, too. MADGE. You think every boy you see is something horrible. MILLIE. Alan took us into the Hi Ho for cokes and there was a ‘tang of girls in the back booth—Juanita Badger and her gang. (Madge groans at bearing this name.) When they saw him, they started gigeling and tec-hecing and saying all sorts of crazy things. ‘Then Juanita Badger comes up to me and whispers, “l think he's the cutest thing I ever saw.” Is he, Madge? MADGE. (Not willing 1o go overboard.) I wouldn't say he was “the cutest thing I ever saw.” MILLIE. Juanita Badger’s an old floozy. She sits in the back row 4 ing unconcern.) MADGE. Why ask me all the questions? You're supposed the smart one. “ ~ wr ‘MILLIE. Not when it comes to boys. I'm absolutely ignorant. FLO. (Coming out of kitchen to lawn c.) Now I tll my f0t two beautiful > an MILLIE. (Embarrassed. Be quit, Mom! (Crosses v. 10 u. of Madge.) Doesn't Mile look pretty, BO. of Madge.) Doesn't Mile look pretty, MADGE. When she isn’t picking her nose. FLO. Madge! (Crosses to u. of Millie on porch corer) She doesn't want anyone to be pretty but her. MILLIE. You're just saying Vm pretty because you're my Mom. FLO. (Ceans down patting ber shoulders fondly.) Does that keep from being true? Run over and show Helen Pots how nice you MILLIE. (Crosses to c. lawn and announces berself with broad estures and loud voice.) Here comes Mille Owens, the grest beauty ofall times! Be prepared to swoon when you see her! ¢She limbs up over the side of Mrs. Pots’ porch and disappears) FLO. (Sits on armcbair on porch, leans back. exhausted.) What- ‘ver possessed me to let Helen Potts ask that young hoodlun tp take Millie om the picnic? MADGE Hal? FLO. Yes, Hal, or whatever his name is. He left in bathroom black as dirt ee stop to it. MADGE. I'm not going to be a wet blanket. FLO. (Changing he Subject.) Well, you'd better start getting dressed, darling. And don't spend the whole evening ‘admiring yourself inthe miror 35-MADGE. (Rises, crosses to shed.) Mom, don't make fun of me. like I had a brand-new outfit, (Furious at the thougbt,) But no- FLO. (Crosses to above stump.) Madge, you shouldn't object £0 body said anything all afternoon! being kidded when it's well meant. (CHRISTINE. I's so chic. MADGE. Ie just seems that when I'm looking in the mirror that's IRMA. (This soothes Jrma a bit and sbe beams. But now there is the only way I can prove to myself Ym alive «a aiokwoard pause when no one can think of any more to say.) FLO. Alive? Well... we better run along, Christine. (She crosses u. t0 ¢. MADGE. Yes. Lots of the time I wonder if I really exis. lawn.) Rosemary has a date. (Turns to Rosemary.) We'll come FLO. Madge! You puzzle me. (Irme enters from p. R. followed by for you in the morning. Don’t be late. (She goes upstage and bby Christine and Rosemary, returning feom: their afternoon party. twats above the alley gate for Cristne.) They are exhausted and bored.) CHRISTINE, (Crossing to 1. of Rosemary, putting out ber band.) IRMA. We've brought home your wayward gil, Mrs. Owens! Girl, I want to tell you in one afternoon I feel I've known you my (Madge crosses u. on Mrs. Potts steps and sits on steps, to avoid whole life. the teachers) ROSEMARY. (Shaking bands}) I look upon you as an old friend FLO. (Turning from Madde.) Oh, helo. Have a nice party? already. IRMA. (Crosses to c.) It wasn't a real party. Each girl paid for CHRISTINE. (Overjayed.) Aw... hher own lunch. Then we played bridge all afternoon. (Christine ROSEMARY. (As Christine and Jrma go off alley and out tt. 1.) stands below n. comer of steps. Rosemary crosses tu, pus bat and Good-bye, girls! (As teachers disappear, Rosemary sits in arm- jacket on bench, moves to above arm:bair on porch.) chair.) FLO. Food’s good at the hotel, isn’t ie? FLO. (Jo Rosemary.) What time's Howard coming by? (Madge IRMA. Not very. (Christine crosses to lean on arm of beach ‘us across to front door.) chair.) But they serve it to you nice, with honest-to-goodness nap ROSEMARY. Pretty soon. kins. Lord, I hate paper napkins! (Flo sits on stump. Irma scrapes MADGE. (Turning.) Mom, is there any hot water? some gravy off ber bodice. Silence.) FLO. You'll have to go see, darling CHRISTINE. had a French fried pork chop. Mostly fat. What'd MADGE. Miss Sydney, would you mind terribly if I used some you girs have? of your Shalimar? ROSEMARY. (Witbout enthusiasm.) 1 had the stuffed peppers. ROSEMARY. Help yourself! IRMA. (Disquicted.) | had the Southern fried chicken. MADGE. Thanks. (She goes inside) CHRISTINE. Linda Sue Breckenridge had pot roast of veal. Him! ROSEMARY. Madge thinks too much about the boys, Mrs. ‘There was only one litle hunk of meat in it, All we girls at her Owens. table made her call the waiter and complain. FLO. (Disbelieving.) Madge? (The conversation is stopped by the ROSEMARY. (Moves to D. of front door.) Well, should hope so! excited entrance of Mrs. Potts from her porch steps. She is fol IRMA. Good for you! (There is a pause.) I thought by now some- lowed by Mille who carries another cake. Mrs. Potts crosses to ‘one might have noticed my new dees. lawn. Millie follows to her 1. Flo crosses to Millie, .) ROSEMARY. I was going to say something, kid, and then I... MRS. POTTS. It’s a miracle, that’s what it is! T never knew uh... Millie could look so pretty. I's just like a movie I saw once with IRMA. Remember that satin-back crepe I had last year? Betty Grable... of was it Lana Turner? Anyway, she played ROSEMARY. Don’t tell me! the part of a secretary to some very important business man. She CHRISTINE. My goodness! ‘wore glasses and did her hair real plain and men didn’t pay any IRMA. Mama remodelled it for me while I was at Columbia. I feel notice to her at all. Then one day she took off her glasses and her 36 37= ‘boss wanted to marry her right away! Now I tell Millie—all the boys are going to fallin love with ROSEMARY. Mille have a date tonight? FLO. Yes, 'm sorry to say. MRS, POTTS. Why, lo! ROSEMARY. Who is he, Millie? Tell your Aunt Rosemary. MILLIE. Hal. ROSEMARY. Who? FLO. The young man over at Helen’s tured out to be a friend of Alan’s. ROSEMARY. Oh, bim! (Millie exits into kitchen carrying cake.) FLO. Helen, have you gone to the trouble of baking another cake? MRS. POTTS. An old lady like me, if she wants any attention from the young men on a picnic, all she can do is bake a cake! I feel sort of excited, Flo. I think we plan picnics just to give our- selves an excuse . . . to let something thrilling and romantic hap- pen to us— FLO. Such as what? ‘MRS, POTTS. I don’t know. That’s what's so exciting MADGE. (Bursting out the front door, furious.) Mom! Millie makes me furious! Every time she takes a bath, she fills up the whole bathtub. Now there isn't any hot water at all. FLO. You should have thought of it earlier. ROSEMARY. (Hears Howard's car drive up and stop off x. Sbe moves excitedly to R. edge of steps.) es him! I's him! MRS. POTTS. (Crosses u. fo U1. lawn, loks off x.) Who? Oh, i's Howard. Hello, Howard! ROSEMARY. (Sitting down again in armebair.) If he's been drinking, V'm not going out with him. (Howard Bevans enters from alley . He wears a panama bat, caries a lighted cigar and is in bis sbirtsleeves. Madge crosses t. to shed.) HOWARD. (As be comes through alley gate.) Howdy, Indies. ‘Mrs. Owens — FLO. Hello, Howard. (Mrs. Potts crosses p, sits on stump.) HOWARD: (Crosses v. to 1. of Rosemary) You sure look nice, Rosemary. ROSEMARY. (Her tone of voice must tell a man sbe is inde- pendent of bim.) Seems to me you might tave left your coat on. HOWARD. Sill too darn hot, even if itis September. (Turns to La step.) Good evening, Madge. 38 MADGE. Hi, Howard, FLO. How are things over in Cherryvale, Howard? HOWARD. Good business. Back to school and everybody buying. FLO. When business is good, it's good for everyone. MILLIE. (Comes out of kitchen, crosses shyly to R. of Howard.) Hi, Howard! HOWARD. (Jo Flo, making a discovery.) Hey, Milles a good lookin’ kid. I never realized it before. (Flo sits in c. chair in yard.) MILLIE. (Leaning over Flo, apprebensive.) Mom, what time did the fellows say they'd be here? FLO. At fiverthirty. You've asked me a dozen times. (A sound of approaching automobiles.) FLO. (Looking off R) It’s Alan! He’s brought both cars! (Millie ‘uns into the bouse through front door. Rosemary crosses to R. edge of steps.) MRS. POTTS. One of these days you'll be riding around in that big Cadillac. (Alan enters from p. R.—crosses to Flo.) ALAN, Everyone ready? Gloward crest. on porch, of ‘ermcbair.) FLO. Come sit down, Alan. ROSEMARY. The more the mersier! ALAN. I brought both cars. Hal's parking the Ford. (Tbe other ‘car is beard stopping with a squeal of brakes.) The trunk in the Cadillac won't hold everything. Whatever's left over, Hal and Millie can drive out in the Ford. (Jo Madge, who is now siting up on Mes. Pots’ porch rating.) Hi, Beautiful! MADGE. Hi, Alan! ALAN. (Calling off x.) Hal! FLO. Is he a careful driver, Alan? (This question does not get answered. Hal comes running on D. ., tugging uncomfortably at the shoulders of bis jacket. He crosses to Alan's HAL. Hey, Seymour! (Now he notices the crowd, realizes be was too noisy, and is more quiet) Look, Seymour, Fn a big man, Vm a lot huskier than you are. I can’t wear your jacket. ALAN. Then take it off. (tal does.) ‘MRS. POTTS. Yes, I like to sce a man comfortable. HAL, (Witb a broad smile of total confidence.) 1 never could 39‘tailor made. (He gives the coat to Alan and then swings bis arms in appreciation of their new freedom. Mrs. Potts is admiring, the other women speculative.) ALAN. (Clapping bim on shoulder.) Hey .. . uh. . . Hercules, you've met Mrs. Owens — HAL. (Crosses below Alan to Flo.) Oh, she’s the mother! ALAN. —And I believe you met Mes. Potts this morning. HAL. (Crosses above to Mes. Potts’ 1.—squats down—arms around ber shoulders.) Oh, she’s my best girl! HAL. (Expansioely, at though making an announcement of public interest.) This litle lady, she took pity on me when I was prac- tically starving. (Rises, moves La step.) Tram into some hard luck con my way here. Some characters robbed me of every cent | had. You see, ROSEMARY. (Offering ber band.) Yes, I'm an old-maid school- teacher. HAL. (With unviecessary earnestness.) I have every respect for schoolteachers, Mam. Is a lotta hard work and not much pay. Rosemary cannot decide whetber or not this is a compliment) ALAN. (Crosses u. to Howard.) And this is Howard Bevans, Hal. Hal crosses u—to L. of Howard.) Mr. Bevans is a friend of Miss Sydney. HOWARD. (As they shake bonds.) I run a little shop over in Cherryvale. Notions, novelties and school supplies. You and Alan drive over sometime and get acquainted. (Mille enters from front door and stands on the porch, elaborately pretending to be non- her affectionately. Howard steps p. ‘onto lawn. Hal turns to the others, arm around Millie.) You folks MILLIE. (Breaking avay, sitting on R. end of top step.) Cut it out! HAL. What'sa matter, kid? Think V'm snowin’ you under? (Gives ber a playful push, rises to above steps on porch. Jo the whole group.) 1 wouldn't admit this to many people, but she does a jack- Innife almost as good as me! (Realizes that this sounds bragging $2 goes on to explain.) Oh, you see, 1 was diving champion on the ‘West Coast, so 1 know what Pm talking about! (This remark is a failure, too, and Hal admits as much by holding bis nose and tak ing a flying leap onto the steps, sitting beside Millie. Rosemary sits on porch 1. of armcbair. Howard next to ber at corner of orch.) FLO. (fer a moment.) Madge, you should te getting dressed, ALAN. Go on upstairs and get beautiful for us. MADGE, Mom, can I wear my new dress? FLO. No. I made you that dress to save for dances this fall. Co on, Madge. MADGE. I will in a minute. ROSEMARY. (Jo Hal.) Where'd you get those boots? HAL. I guess maybe I ought to apologize for the way I look. But ‘you see, those characters I told you about made off with all my clothes too. And I went to the police — (lan steps toward ‘Hal, wbo realizes be is on the wrong subject and stops.) MRS. POTTS. What a pity! HAL. You see, the reason I broughe the subject up was I just didn't want you folks to think you were associatin’ with a bum. (He covers bis face, embarrassed.) Oh, what the hell's the use! MRS. POTTS. Clothes don’t make the man. FLO. Helen, is your mother taken care of? ‘MRS. POTTS. Yes, Flo. Ive got a baby sitter for her. FLO. Come on, Helen, lets start packing the baskets. (She goes through kitchen door. Mrs. Potts rises to D. of stump but Hal's story fascinates ber and she stops and turns.) HAL. (Jo Mrs. Potts) Sec, Mam, my old man left me these boots ‘when he died. ROSEMARY. (Ompisbly.) That all he left you—just 2 pair of boots? HAL. He gave me these boots and he said, “Son, the man of the hhouse needs a pair of boots ‘cause he’s gotta de a lot of kickie’.” Ore feints a kick at Mile. She flinces. He laughs goodnaturedty ) And he made up a litle poem. a“Your wages all are spent. ‘The landlord wants his rent. You go to your woman for solace, And she Ml you fl ormen” (Mss, Potts laughs—sits on stump.) He says, “Son, ‘times when the only thing you got to be proud of isthe fact you're 1a man. (Rises—crosses to ¢.) So wear your boots and people can hhear you comin’, and keep your fits coubled up so they'll know ‘you mean business when you get there” (Clenches bis fits, then telaxes with a laugh—looks round.) My old man, he was a corker! (Oe crosses u. on lawn D. c:) ALAN. (Laughing.) Hal's always so shy of people before he meets them. (Sits in armcbair.) Then you cant keep HAL. (Laughing, agreeing with Alan) Yeah! (He tums, sees ‘Madge up on Mrs. Potts’ porch railing.) Hil MADGE. Hit HOWARD. What line of business you in, son? HAL. (Crosses p., turns ¢. chair in yard to face v. x) Sir, Pm about to enter the oil business. (He sits on the chair. c. stage.) HOWARD. Oh! : HAL. (Leans back.) You see, while my old man was no aristo- cratic millionaire or anything, he had some very important friends who were very big men... in their own way. One of them wanted me to take a positon with this oil company down in Texas, bot — ALAN. Onterrupting.) Dad and I have found a place for Hal on the pipeline, HAL. Gee, Seymour, I think you oughta let me tell the story. ALAN. After all, Hal, these people aren't interested in your life HAL. Yeah. (Deflated, lets chair dows, slumps low. Then begins uietly.) So F've decided to start in from the very bottom. (A Dause.) There's lots more important things in this life than money. 1 guess F've learned that much. (A pause.) But I certainly do ap- preciate this opportunity, (Rises.) and i’ all due to Seymour and his old... father. (Sits abruptly, embarrassed at bis near mis- take MES. POTTS. (Completely emabured?) | think that’s wondefl! HOWARD. It’s a good business town. A young man can go far. HAL. (Regaining confidence.) Sir, 1 intend to go far. 2 ROSEMARY. A young fellow just coming to town, he’s gotta be good mixer. MRS. POTTS. Wouldn't it be nice if he could join the Country Club and play golf? (Hal likes this idea, be sits forward.) ALAN. Oh, he won't be able to afford that. (Hal nods in agree- tment, sits back, deflated.) ROSEMARY. The bowling team’s a rowdy game! (This sounds good to Hal.) MRS. POTTS. And there's a young men’s Bible class at the Baptist Church. Hal gives a litle frown. Flo enters from the kitchen, crosses to r. lawn.) FLO, Madge! Are you stil here? MADGE. (Running across to the front door.) If everyone will pardon me, I'l get dressed. (She goes inside.) FLO. (Crosses fo. ¢. aon.) It’s about time. ALAN. (Calling after Madge.) Hurry it up, will you, Delilah? MILLIE. You oughta see the way Madge primps. She uses about six kinds of face cream and dusts herself all over with powder, and rubs perfume underneath her ears to make her real mysteri- fous. It takes her half an hour— (She stops, confused.) She won't be ready for hours. FLO. Come on, Helen. (Crosses to p. x. laum.) Alan, we're going to need a man to chip the ice and put the baskets in the car. (Mrs. Potts crosses to kitchen door and exits) HAL. (Rising.) Tl help you, Mam. FLO. No, thank you. Alan—if you don't mind? (al sts. Alan crosses to u. of Hal. Flo crosses to kitchen door.) ALAN. Mind your manners, Hal. (He crosses u., bolds kitchen ddoor open for Flo.) MILLIE. (Running up to corner of bouse.) Mom! FLO. (Comes back to Millie.) Why don't you show the young man your drawings? MILLIE. (Crosses to beach chair, turns to Hal) Wanta see my an? HAL. You mean to tell me you can draw pictures? (Millie gets ber sketch pad from under beach chair. Flo exits to kitchen. Alan follows ber. Kitchen porch tigbt, kitchen light, front porch light, parlor light, all go on.) MILLIE. (Crosses to Hal, opens pad to a sketch, bands pad to ‘Hal.) That's Mrs. Potts “8HAL. Cmpressed.) Looks just like her. MILLIE I just love Mrs. Potts. When I go to heaven, 1 expect ‘everyone to be just like her. HAL. Hey, kid, wanta draw me? MILLIE. (Jakes pad.) Well, Pil try. HAL. I had a job as a model once. (Getting up on the stump.) ‘They made me pose raw in front of a whole class. (Strikes a pose.) How's this? (Millie shakes ber bead.) That's okay. 1 got plenty more. (Sits on stump in another pose) Okay? MILLIE. Why don’t you just try to look natural? HAL. Gee, that’s hard. Ge thinks a moment, then bends way over {0 ground, shakes himself slowky straightens up, resting bis elbows ‘easily on bis thighs, bead erect. Mille begins to sketch. Rosemary, becoming conscious of the briliant sunlight from z., turns to look into it) ROSEMARY. Howard, look at that sunset! HOWARD. (Turns to look.) Pretty, isn't it? ROSEMARY. That’s the most flaming sunset I ever did see. HOWARD. If you painted that in a picture, no one'd believe you. ROSEMARY. It's like the daylight didn’t wart to end, isn't it? HOWARD. (Not fully aware of what she means) Oh... 1 don't know. ROSEMARY. Like the daytime was gonna put up a big scrap and maybe set the world on fire... to keep night-time from creepin’ on. HOWARD. Ub-huh . . . I think I see what you mean there. Uh- buh HAL. (As Millie sketches bim be starts thitking out loud.) You ‘know, there comes a time in a guy’s life when he’s gotta setle down . . . quit rolling around like a pinball. ROSEMARY. No, Howard, if Milice going to be here, I don't ‘think there ought to be any drinking. HAL, (Jurus) Whats that? ROSEMARY. Nothing. HAL. (Jo Millie) Hey, kid, what'd you do this afternoon? MILLIE. Read a book. HAL. You read a whole book in one afternoon? MILLIE, Sure. Hold still. HAL. f'm a son of a gun. What was it about? MILLIE. Well, i’s kind of hard to explain, it's just the way you “ and sad and amused— HAL, Yeah . . . sure. (After a moment proudly.) 1 used to go with 2 giel once who read books. She joined the Book of the-Month lub and they had her readin’ books all the time! She wouldn't any more than finish one book than they'd send her another! (Howard rises and crosses U. to alley gate.) ROSEMARY. Where you goin’, Howard? HOWARD. I'll be right back, Honey. (le exits n. alley. Rose- mary follows him tou. porch chair and kneels on cbait, and watches bim wile he is of.) HAL. (As Millie bands bim the sketch.) Not bad. (Admiring it) 1 sure do admire people who are artistic. Can I keep it? MILLIE, Sure. (Rises, takes pad, stops, shyly.) I write poetry, too. ve written poems Fve never shown to a fiving soul. HAL. No kidding. ROSEMARY. (Calling off to Howard.) Howard, leave that bottle right where itis! (Mile tears sketch out of pad.) HAL. Gumps up, crosses u, to Uc. lawn.) Did she say “bottle”? ROSEMARY. (Coming down to Hal.) He's been down to the hhotel, buying bootleg whiskey off those good-for-nothing. porters! (She crosses to R. lawn.) HOWARD. (Coming back from alley x, bolding out a bottle, to Hal's x.) Young man, maybe you'd like a swig ofthis. HAL. Hot damn! (ie takes the bottle, takes a swig.) ROSEMARY. Howard, put that away. (Hal crosses ., puts 1. foot con stump, takes a drink. Howard crosses D. to D.¢. lawn.) HOWARD. Mill's not gonna be shocked if she sees someone take a drink, Are you, Millie? MILLIE. Gosh, no! (She gives the sketch to Hal. Hal looks at it, folds it, puts it in bis pocket.) ROSEMARY. (Crosses to below steps.) What if someone'd come bby and tell the school board? Pd lose my job quick as you ean say Jack Robinson, HOWARD. Who's gonna see you, Honey? Everyone in town’s at the picnic. ROSEMARY. (Crosses to €.) I don’t care. Liquor’s against the Jaw in this state, and a person oughta abide by the law. (Jo Hal.) Isn’t that what you say, young fellow? 45RY, Beginning to melt) Howard, you oughta be Ros Right! Otoward tums back io Rosemary ROSEMARY. Now, Mili, don't you tll ay of the kids at MILLIE. (Disgusted at Being then for «chit BEC ll at am rnd te ane “Anyone coming? (Crosses u. to p. of front door.) HOWARD. (Looks around.) Coast is clear. (Cre mary, gives ber the bottle) sera fe HOWARD. Millie, my girl, Pd tke to of ? afraid your old Indy ase Ned. O€*T YOU one, but Tn oc Jy is Mam doe know won't hurt her! (She reaches fr Ole grabs the bottle fst) No, kid. You lay of ! Crosses u. to 1. of tree. He takes a drink) 8 Of the sut Tee ART, (Callie Som oitage 3.) Howard, come help mc EPMARD. You go, Mili. She don't see no snake. (Mile oes 08% 1) Drink wp (As Hl takes antber deink be es fa % go on in Madge's window. Howard follows Hal's gaze.) Look at hher there, powdering her arms. 1 was in love with a pretty girl like her once. You know, every time I come over here I look forward just to seein’ her. | tell myself, “Bevans, old boy, you can look at that all you want, but you couldn't touch it with a ten-foot pole.” HAL. Vm glad Seymour's got such a nice babe—'cause he's my badd iy. HOWARD. Seymour's a young pup. He'll go off to schoo! soon and forget all about her. HAL. Gee, I don't see how anyone could forget ber. HOWARD. Look at her, putting lipstick on that cute kisser. They tell me every boy in town has been on the make for that since she was old enough to go to Sunday School. Seems to me, when the good Lord made a gil as prety as she is, He did it for 4 reason, and it's about time she found out what that reason is, te gets an idea.) Look, son, if you're agonixn’, | know a couple of girls down at the hotel HAL. Thanks a lot but you see, I never had to pay for it HOWARD. | think that’s a very fine attitude. (Rasemary enters . L. followed by Mille.) ROSEMARY. (Crosses to €.) Lord, I thought I was going to faint! MILLIE. (Ceans against trellis 1.) Ie was just a piece of garden hose ROSEMARY. (Suspiciously.) What've you two been talking about? HOWARD. Talkin’ about the weather, Honey. ROSEMARY. I bet. MILLIE. (Seeing Madge in the window, crosses to R. ¢. lawn.) Hey, Madge, why don’t you charge admission? (Madge’s curtains close) ROSEMARY. (Sits c. chair.) Shoot! When I was a giel I was just as good looking as she is! (Music begins to play off.) HOWARD. OF course you were, Honey. ROSEMARY. (Taking the bottle.) If my father had ever caught ‘me showing off in front of a window he'd have tanned me with a razor strap. (She takes a drink) HOWARD. ‘Course, Honey. ROSEMARY. "Cause he was a God-fearing man, MILLIE. Listen, Miss Sidney, it's Ernie Higgins and his Happiness 7Boys. (She crosses up to u. c. lawn.) Hey, hit it, Ernie! (She crosses to L. of porch corner.) ROSEMARY. (Rises, banding bottle to Howard, begins to sway rapturously.) Lord, 1 love that music! Come dance with me, Howard! HOWARD. Honey, I'm no good at danci ROSEMARY. Thats just what you menfolis tell yourselves to get cout of it. (Turns to Millie.) Come dance with me, Millie! (She pulls Millie up onto the porch and they push the chairs out of the ‘way. Howard sits on stump and starts drinking. Hal begins to dance by bimself,sensuously—facing the shed.) MILLIE. I gotta lead! (Rosemary and Millie dance togetber in a trim, automatic way that keeps time to the music but litle else. Both women seem to show a litle arrogance in dancing together, 4s though boasting to the men oftheir independence. Their rbytbm is accurate but uninspired. Howard looks up at them) HOWARD. S'posin’ Hal and I did that. ROSEMARY. Go ahead for all I care (Howard rises, puts the bottle by the tee, taps Hal on the shoulder. Hel turns and Howard holds out bis arms ceremoniously. Hal turns, twists away in ex- aggerated shyness then takes Howard's bands and they start danc- ing togetber, Hal giving bis own clown's version of a coy female, Rosemary is irritated by this. She and Millie stop dancing and swatch. Wal and Howard circle over to c. Rosemary crosses L to them and grabs Howard's shoulder.) Stop it! HOWARD. | thought we were doin’ very nicely. (Rosemary grabs ‘Howard and pulls bim up on the porch where they dance. Hal Dicks up c. chair and puts it up out of the way.) HAL. Hey, Millie! Come and dance with me! MILLIE. Well . . . I never danced with boys. HAL, Honest? MILLIE. T always have to lead. HAL. Just relax and do the steps I do. Come on and try. (They dance together but Millie bas an awkward feeling of uncertainty that shows in ber dancing. Howard, dancing with Rosemary, bas been cutting up.) ROSEMARY. (Stops, pushes bim off) Quit clowning, Howard, and dance with me. HOWARD. Honey, you don’t get any fun out of dancing with me. Rosemary and Howard begin to dance again) 48 MILLIE. (Stops and says to Heal:) Am I too bad? HAL, Naw! You just need a litle practice. (They begin again, dancing 1. to below stump.) ROSEMARY. (She is dencing with Howard but ber words are ‘meant for Hal.) Lord, I love to dance. At school, kids all called sme the Dancin’ Fool. Went somewhere dancin’ every night! (Mrs. Potts enters from kitchen, crosses to. chair.) MRS. POTTS. (Watching) I can't stay in the kitchen while there’s dancing! (She turns C. chair and sts watching. Alan enters from kitchen wearing an apron. He watches Mile then signals to Flo off stage) HAL. (Stops 1. of stump to deliver the needed instructions, foot ‘on stump.) Now look, kid, you gotta remember J7m the man, and the man always leads in everything. (Millie nods. Hal takes her again and they begin to circle faster and faster, c. stage. AS they dance, Flo enters from kitchen and stands on back porch next to Alan. They both swatch approvingly.) MRS. POTTS. You're doing fine, Millie! MILLIE. (Her head back as sbe is whirled around.) 1 feel like Rita Hayworth! (Flo and Alan go into the kitchen. Mille and Hal Stop turning and do jitterbug. HAL. You're doin’ great, kid! ROSEMARY. One night I went dancin’ at a big Valentine party. danced so hard 1 swooned! That’s when they called me the Dancin’ Fool. HAL, (Stops dancing for a moment.) Fl show you a new step, Kid. 1 learned this in L. A. Try it. (He nimbly executes a some” swbat more intricate step.) MRS. POTTS. Isn't he graceful? MILLIE. Gee, that looks hard. HAL. Takes a litle time. Give it a try! (Millie tries to doit, but it is 100 much for ber.) MILLIE. (Giving up. She crosses». x. below steps.) Y'm sorry, but that one’s just too hard. HAL. The hell with it! Ole runs to tree, picks up the whiskey bottle and takes a drink, putting tbe bottle back on Mrs. Potts steps. He crosses D., beckoning to Milli.) Look, kd, if you learn this step you'll be the sharpest kid in town. (Hie places ber far and does a step back and forth below stump.) MILLIE. (Observing closely) Yah . . . but... 9HAL. Real loose, see? You give it a little of this. . and give it a litle of this. (Now the music changes to a slower, more sen- suous rhythm. Hal and Millie stop dancing and listen to it.) ROSEMARY, Howard, this isthe way to dance! HOWARD. Sure! (Hal starts to do the same step to the slow tbythm and Millie tries to imitate bim.) MILLIE, Gee, I hope I can get it! (Madge enters from front door, swearing ber new dress. She looks ravishing. She watches Hal and Mile.) HOWARD. You sure look pretty, Madge. MADGE. Thank you, Howard. HOWARD. Madge, would you like a litle dance? (Madge ac- cepts, and they dance togetber on the porch, Rosemary is dancing by berself om the porch, upstage, end does not notice them. Millie continues to attempt step Hal is doing.) MRS. POTTS. (Sees Madge and Howard dancing.) More dancers! ‘We've turned the backyard into a ballroom! ROSEMARY. (Dances down to Howard and claims bim from ‘Madge.) Thought you couldn't dance. (Madge goes down into the ‘yard and watches Hal and Mili.) MRS. POTTS. (Jo Mage.) The young man is teaching Mille a new step MADGE. I've been trying to teach it to Alan. (She tries the step herself and does it as well as Hal. She is far D. 5.) MRS. POTTS. Look, everyone! Madge can do it, too! HAL, (Turns around and sees Madge dancing.) Hey! (He starts to dance toward ber. She begins also. The otbers all stand riveted 4s they watch Madge and Hal dance to each otber, go through a slow graceful jiterbug routine at c. and then dance to far L. where they continue to dance a conventional step, close together, for- detting the otbers completely.) MRS. POTTS. It’s like they were made to dance together, isn’t it? (This remark breaks the spell. Millie moves to Mars. Pots steps ‘and sits quietly in the background.) ROSEMARY. Can’t you dance that way? HOWARD. Me? No. ROSEMARY. Then keep out of my way! (Rosemary dances by berself, kicking ber legs in the air. Millie takes an occasional drink {from the whiskey bottle during the following scene, unobserved by 50 the others.) 1 danced so hard one night, I swooned! Right in the center of the ballroom! HOWARD. Rosemary's got pretty legs, hasn't she? ROSEMARY. Can't you men talk about anything but women’s ? TOWARD. 1 jo ote they had ood ape. ROSEMARY. How would you like it if we women went around talkin’ "bout your legs all the time? HOWARD. (Ready to be a sport, stands and lifts bis trousers to bis knees.) All right! There’s my legs if you wanta talk about ‘them. ROSEMARY. (She explodes with laugbter.) Never saw anything ‘so ugly. Men’s big hairy legs! (Crosses p. off steps.) Never saw anything so ugly! (Rosemary goes over to Hal, who is still danc- jing with Madge.) Young man, let’s see your legs. (She pushes them apart. They are both startled.) HAL. (Concerned with Madge, is startled) Huh? ROSEMARY. We passed a new rule here tonight, Every man heres gotta show his legs. (She pulls Hat's x. trouser leq out of the boot.) HOWARD. (Crosses p. to below steps.) Honey, he’s got on boots. ROSEMARY. Olay, then he’s gotta dance with me. I may be an ‘old maid schoolteacher, but | can keep up with you. Come on, ‘cowboy! (Madge retreats to the side as Rosemary pulls Hal to ber. ‘He dances with her.) | used to have a boy friend was a cowboy. Met him out in Colorado, He was in love with me ‘cause I was an older woman and had some sense. (They tum.) Took me up in ‘the mountains once and proposed. Wanted me to marry him right there on the mountain top. Said God'd be our preacher, the moon cour best man. Ever hear such talk? Didja? Didja? (Hal pulls away {rom ber.) Where you goin’? You gota dance with me! (Rosemary holds on desperately.) HAL. Mam, I guess I just don’t feel like dancing. ROSEMARY. I can keep up with you! I can keep up with you! HOWARD. Rosemary! Rosemary! (He tries to pull ber away from Hal as Rosemary bolds onto Wat's shirt collar. As Howard breaks ber loose from Hal she rips the whole side out of Hal's shirt.) He’s dancing with Madge. They're young people. (Madge crosses to Hal—belps bim tuck in torn sbirt tail.) stROSEMARY. (Stunned by Hal's rejection.) Young? What do you mean, they're young? MILLIE, (A groan.) Oh, P'm sick! MRS. POTTS. (Rising.) Milli! MILLIE. (Crossing towards the kitchen.) 1 wanna die! 1 wanna ie! al quickly moves c. chair up agsnst side of Potts’ steps and stands L, of Madge and Millie.) MADGE. Mile! HOWARD. What‘d the litle Dickens do? Get herself tight? HAL, Take it easy, kid. ROSEMARY. I suppose that's something wonderful—they’re young. MADGE. (Arm around Millie.) Let’s go inside, Milli. MILLIE. (Turning on Madge and pusbing ber off. Hal catches ‘Madge before sbe falls.) 1 hate you! MADGE. turt) Mile! MILLIE. (Sobbing, she crosses to kiichen door.) Madge is the pretty one . . .. Madge is the pretty one. (She goes inside) MRS, POTTS. Mille! (She follows ber in. Howard crosses to bot tle on Mrs. Potts’ steps.) MADGE. (Crosses . R. to below steps) Mom is going to be furious. HOWARD. (Examining the bottle, turns to others.) She must have had several good snifters. (Hal crosses slowly to Madge) ROSEMARY. (Pointing a finger at Hal. She bas found vengeance. She crosses to p.c. lawn.) I's all bis fault, Howard. ROSEMARY, (Jo Hal, defiantly and accusingly.) Millie was your date. You shoulda been looking after her. But you were too busy making eyes at Madge. ROSEMARY. . . . and you're no betier than he is, Madge. You should be ashamed. MADGE. Miss Sidney! FLO. (lies out on the kitchen porch in a fury.) Who fed whiskey to my Millie? ROSEMARY. He did, Mrs. Owens! It's all his fault! (Flo glares ‘at Hal.) MADGE. (Crosses u. on steps.) Mother, that’s not so! 52 HOWARD. (Jrying to straighten things out.) Mes. Owens, it was this way — FLO. My Millie is too young to be drinking whiskey! ROSEMARY. Oh, he'd have fed her whiskey and taken his pleas- ture with the child and then skidaddled! HOWARD. Now listen, everyone. Lets — ROSEMARY. I know what I'm doing, Howard! (Back at Hal) You been stomping around here in those boots like you owned the place, thinking every woman you saw was gonna fall madly in love. ‘But here's one woman who didn’t pay you any mind, (Sbe stum- bles v. off the lawn v. ¢:) HOWARD. The boy hasn't done anything, Mrs. Owens! ROSEMARY. Aristocratic millionaire, my foot! You wouldn't know an aristocratic millionaire if he spit on you. You're just a piece of Arkansas white trash! And braggin’ about your father! And I'l bet he wasn't any better'n you are! I'l bet you lose that job before your two weeks is up. HOWARD. None of us saw Millie drink the whiskey! ROSEMARY. You think just ‘cause you're young you can push Yhe ‘old folks aside. You'll end your life in a gutter and i'l serve you right, “cause the gutter’s where you came from and the gutter’s where you belong — (During ibis she crosses to Hal and shouts the last right in bis face. Howard crosses to ber quickly.) HOWARD. (Grabs Rosemary, covering ber mouth.) Rosemary, shut your mouth! (He pulls ber away to far 1.) MRS. POTTS. (Comes out of kitchen.) Millie's going to be per- fectly all right, Flo. Alan held her head and let her be sick. She's going to be perfectly all right now. (Alan and Millie enter from keitchen. He bas bis arm around ber.) FLO. (A general announcement.) I want it understood that there's to be no more drinking on this picnic. HOWARD. It was all my fault, Mrs. Owens. My fault. MRS. POTTS. Here's Millie now, good as new. And we're all go: ing on the picnic and forget it. (lo crosses to Milli.) ALAN. (Quick to accuse Hal.) Hal, what happened? FLO. (Jo Alan.) Alan, Millie will come with us. ALAN. Sure, Mrs. Owens. Hal, I told you not to drink! FLO. Madge, why did you wear your new dress? MADGE. I don’t know. I just put it on 53FLO. Go upstairs and change, this minute. I mean it! You come with Rosemary and Howard! (Madge runs inside front door.) MRS. POTTS. Let’s go. All the tables will be taken. FLO. Alan, help me with Mille. Millie, darling, are you feeling better? (Flo and Millie go off alley x.) MRS, ALAN. Oh, Mr. Bevans, will you tell Madge Il see her out there. Gte exits alley x) MRS. POTTS. —I mean our car. Ob, deat. (Was. Potts follows the otbers off alley n. We hear the Cadillac dive off. Hal is sitting silent and beaten on the edge of the porch. Howard and Rosemary are by the shed) HOWARD. (Crosses u. for the bottle.) Anything you say, dear. ROSEMARY. I wanta go for a ride, Howard. 1 want to drive into Fea pe ep mel sey le the car, through alley x, Howard following. Howard's car dri away. Hal starts to rise. Madge comes out front door. She is swearing another dress. Hal quickly sits again, She sits on the bench ‘on the porch and finally speaks in a gentle voice.) MADGE. Don’t feel bad. Women like Miss Sydney make me dis- ‘machine. I'm a bum! There’s just no place in the world for a guy tke me. MADGE. I know how you feel. Millie's so smart and talented. 1 Bet to feeling so jealous of her and worthless when I try to be Ii hher. Then I tell myself that I'm not Millie—m mei And I feel los better. HAL, Pm me. MADGE. Sure! HAL. Sure. Bat what’s that? MADGE, (Rises—crosses to u. t. of Hal.) Well, you're very en- tertaining, 1 mean . . . I think you say all sorts of witty things. ‘And you're a wonderful dancer. HAL. What good’s dancin’? MADGE. Oh, I can tell a lot about a boy by dancing with him. HAL, You can? MADGE. Some boys, even though they're very smart, when they take a girl in their arms to dance, they're kind of awkward and she feels sort of uncomfortable. HAL. She does? MADGE. (She sits at bis L.) But when you took me in your arms to dance, I had the most wonderful feeling you knew exactly ‘where you were going and 1 could follow every step of the way. So you're not so bad. I don’t care what you say. HAL. Oh, yeah? (le turns to face ber.) Look, kid, lemme level with you. When I was fourteen I spent a year in a reform school. How do you like that? MADGE. What for? HAL. 1 stole a guy's motorcycle. Yeah, I stole it. I got no excuses. | stole it “cause 1 wanted to get on the damn thing and go so far ‘away, so fast, that nothin’ would ever catch up with me. MADGE. Sure, HAL. Then my old lady went to the authorities. “I've done every: thing 1 can withthe boy,” she says. “I ean't do another thing with him.” So off I go to the damn reform school, And the old lady's real happy ‘cause my Dad's always loaded and she's got a new boy: friend and Y'm in the way. MADGE. (She turns away.) Gee . . HAL. Well, there you are. And I never told anybody about that— ‘ot even Seymour—‘cause Seymour's Seymour and I'm . . . me. So if you want to get sick or run inside and lock your door or 35faint . . . go ahead. I ain’t gonna stop you 'cause— (Madge suddenly kisses him. After the kiss be looks at her a moment.) Gee, baby, you come out here on the porch lookin’ like a pretty litle dol, but you're a real woman, aren't you? MADGE. I want to be. HAL, You are. MADGE. Am 1? (Now Hal kisses ber. After @ moment Madge breaks away and soalks over near Mrs. Potts’ steps. Hal follows to ber R., turns ber to bim.) We gotta go on the picnic. ‘we? There's other places bolds out bis band to ber. After 4 moment she gives bim ber hand and they walk off slowly to. ACT It Scene 1 Nis after midnight. A great barvest moon shines in the sky, a deep, murky blue. The moon is swollen and full and casts a pale light on the scene below. The ligbt on Flo's porch is burning. A stick lies on the lawn at R. near the porch. Off 8. we bear Howard's Chevrolet chugging to 4 stop by the bouse, then Howard and Rosemary come on R. through alley, Rosemary first. Wearly, a groggy de- bression having set in, she makes ber way to the doorstep ‘and drops there, sitting on porch comer. Howard enters duickly as she sis. He crosses D. to B.C. lawn. Sbe seems Preoccupied at first and ber responses to Howard are mere grunts. HOWARD. Here we are, Honey. Right back where we started from. ROSEMARY. (Her mind elsewhere.) Uhh. HOWARD. (Sits at her 1. on porch edge.) You were awful nice to.me tonight, Rosemary. ROSEMARY: Us HOWARD. Do you think Mrs. Owens suspects anything? ROSEMARY. I don't care if she does. HOWARD. (Rises, crosses 1. 10 C) A business man’s gotta be ‘careful of talk. And afterall, you're a schoolteacher. (Fumbling to get away.) Well, 1 guess I better be getin’ back to Cherryvale, | gotta open up the store in the morning. (Crosses to her.) Good night, Rosemary. Good night. (te kisses her check.) Maybe I should say, good morning. (He starts off crosses to U. C. lawn) ROSEMARY. (Just coming 1.) Where you goin’, Howard? HOWARD. (Crosses D. a bit.) Honey, I gotta get home. ROSEMARY. You can’t go off and leave me HOWARD. (Crosses p. to D.c. lawn.) Honey, talk sense, 7ROSEMARY. You can't ‘That's sense. HOWARD. ( little neroous:) Honey, be reasonable. ROSEMARY. Take me with you. HOWARD. What people say? ROSEMARY. (Almost vicious.) To bell with what peopled say! HOWARD. (Shocked—tooks around to see if this is overbeard.) Honey! ROSEMARY. What'd people say if I thumbed my nose at them? ‘What'd people say if I walked down the stret and showed ‘em my pink panties? What do I care what people say? HOWARD. (Crosses. to x. of stump.) Honey, you're not your- self tonight, ROSEMARY. Yes | am. 'm more myself than I ever was. Take ‘me with you, Howard. If you don’t, I don't know what I'l do with myself. I mean it HOWARD. (Crosses to ber, leans over her.) Now look, Honey, ‘you better go upstairs and get some sleep. You gotta start school in the morning. We'l talk allthis over Saturday. ROSEMARY. (Grabs bis arms.) Maybe you won't be back Sat- urday. Maybe you won't be back ever agai. HOWARD. Pulling away a step.) Rosemary, you know better than that. ROSEMARY. (Front) Then what's the next thing in store for ime? To be nice to the next man, then the next... till there's no one left to care whether I'm nice to him or not. Til Pm ready for the grave and don't have anyene to take me there. HOWARD. (Crosses to. ridge.) Now, Rosemary! ROSEMARY. (Cooking bim in the eyes) You can let that hap- pen to me, Howard. HOWARD. I don’t understand. When we first started going to- ‘ether, you were the best sport I ever saw, always god for a laugh, ROSEMARY. I cant laugh any more. HOWARD. (Starts u. s) We'll talk it over Saturday. ROSEMARY. We'll talk it over noe. HOWARD. (Stops, crosses p,, sits on stump. Squieming.) Well Honey {80 off without me. Not after tonight. ROSEMARY. (Cooking at bim.) You said you were gonna marry me, Howard. You said when I got back from my vacation, you'd 58 HOWARD. Honey, I've had an awful busy summer and... ROSEMARY. Where's the preacher, Howard? Where is he? HOWARD. Rosemary, I'm 42 years old. A person forms certain ways of livin’, then one day it's too late to change. ROSEMARY. (Rises, crosses 1o c:) Pm no spring chicken either. Maybe I'm a litle older than you think 7 am. I've formed my ways, too. But they can be changed. (Turns, crosses R. 10 steps.) ‘They gotta be changed. It’s no good livin’ like this, in rented rooms, meetin’ a bunch of old maids for supper every night, then comin’ back home alone. HOWARD. (Rises, crosses to C) 1 know how its, Rosemary. My life's no bed of roses either. ROSEMARY. (Turning to bm.) Then why don’t you do some- thing about ie2 HOWARD. I figure .. there's some bad things about every ie ROSEMARY. There's to0 much bad about mine. Each year, 1 keep tellin’ myself, i the last. Somethingll happen. Then nothing ever does . . except I get a litle crazier all the time. HOWARD. (opelessty.) Well. - ROSEMARY. A well’ a hole in the ground, Howard. HOWARD. I wasn't tryin’ to be funny, Rosemary. ROSEMARY. All this time you just been leadin’ me on. HOWARD. (Vebement.) Rosemary, tha’s not s01 Ive not been trying to lead you on. ROSEMARY. I'd like to know what else you calli HOWARD. Well .. . can’t we talk about it Saturday? 'm dead tired and I got a busy week ahead, and». . ROSEMARY. (Runs to im, embraces bim desperately.) You gotta marry me, Howard, HOWARD. (Jortured:) Well . . 1 can't marry you now. ROSEMARY. (Looking at bim.) You can be over here in the ‘morning. ROSEMARY. You gotta marry me. HOWARD. What'll you do about your job? ROSEMARY. Encouraged.) Alvah Jackson can take my place till they get someone new from the agency. HOWARD. Pil have to pay Fred Jenkins to take care of the store for a few days, 59ROSEMARY. Then get him. HOWARD. (Turns away p. 1.) Well... ROSEMARY. I'l be waitin’ for you in the morning, Howard. HOWARD. (After 4 moment's troubled thought crosses to D. L. of steps.) No. I'm not gonna marry anyone that says, “You gotta marry me, Howard” I'm not gonna. (He is silent. Rosemary stares at bim. Slowly Howard reconsiders.) Mf a woman wants me to marry her . . . she could at least say “please.” ROSEMARY. (Beaten and humble.) Please marry me, Howard. HOWARD. Well . . . you got to give me time to think it over. ROSEMARY. Oh, God! Please marry me, Howard, Please. . . (She sinks to ber knees) Please . . « please « HOWARD. (Turns) Rosemary, don’t! (le goes to ber, li up) Honey, you go get some slep. P'l call you in the morning. ROSEMARY. I won't sleep a wink, Howard, till I hear. (He lifts ber gently to ber feet. She crosses to steps al R—U. on top step.) Good night, Howard. HOWARD. Pll eall you frst thing. (Crosses to ber—squcezes ber band.) ROSEMARY. Good night. HOWARD. ‘Night, Rosemary. (Crosses u. c. lawn.) ROSEMARY. (Holding in ber tears.) Please call. HOWARD. (Turning back a step.) Vl call. (te starts again.) ROSEMARY. Please call. HOWARD. (Stops.) I will, Rosemary. 1 will. (Starts.) ROSEMARY. Please call. HOWARD. (Stops.) Honey, don’t worry. ROSEMARY. Good night. HOWARD. Good night. He is gone out alley R. As we bear Howard's car drive off. Rosemary silently looks up at the sky. Then she turns and goes silently into the house, turning off the Porch light. The stage is empty and quiet for a few moments. Then wwe bear Alan's Ford drive up and stop off beyond Mrs. Potts’ bbouse. The car door slams. Then Hal enters through alley 1, ‘comes on quietly to 1. of stump. He looks around, then turns an beckons) HAL. Okay. (Mage enters from alley t touches bim—be re- sponds. She passes bim to D. x. of stump.) Til take the car back £0 where we were and get a little sleep. I can’t go back to Seymour's house now. 60 ‘MADGE. No. HAL. I didn’t even think of Seymour “xl just this second. MADGE. I don't think ether of us thought much about anything. (Sbe looks toward bim and then R. again.) HAL. (Gently, with deepest intimacy.) Are you al right, baby? MADGE, (Slowly.) Yes. . . Fm all right. HAL. Will |... . see you tomorrow? MADGE. I don’t know. HIAL. 1 almost forgot. I start a new job this morning. MADGE. I have to be at the dime store at nine. HAL. What time you through? MADGE. Six. HAL. Will I see you? MADGE. I don’t know. HAL, Well . . . I guess I better be going. MADGE. I guess so. HAL. (le starts—turns back suddenly.) Baby, how you goin’ to handle your mother? MADGE. I don’t know. HAL. Oh... MADGE. (Touching bis shoulder.) Don’t worry. HAL, (Ble takes ber band, She pulls it aay. We crosses n. below ber to C., turns back to her, 1. foot on stump, takes ber band. His head is down.) Baby, you don’t mind goin’ with a guy who's workin’ on the pipeline, do you? MADGE. Don't be silly. HAL (Looking up.) Pim really happier with a job like that, one 1 can really handle, than I would be pretendin’ to be a big-shot. MADGE. It can have just as much future as any other kind of job. HAL. (As though be just realized it, taking both ber bands.) Sure. Ay gets spoiled if es good fetal payer or smethig: He thinks he can expect his whol fe tobe bigtime, but» (Like «sigh of relief.) Gee, Pom lucky I met you. | feel fine. down through the clouds in your parachute, landia’ solid on round, and the old world feels pretty good to my feet again. laughs, then looks at ber, takes ber by soaist) Baby, cryin’? (Their forebeads togetber.) MADGE. Just a litle. (There are tears in ber eyes.) HAL, Why? MADGE. I don’t know. aHAL. (A lump in-bis throat.) You almost got me doin’ it. MADGE. It’s not ’cause I'm unhappy, really. HAL. Same here. Pm not unhappy. MADGE. (Pulls ivey to.) Tes just that — HAL, (Crosses to ber 1.—band on her arm.) Baby, kiss me good ‘and kisses bim on the mouth. The kiss is extended. Then 's bands become nervous. They fidget at bis sides and finally begin to find their way around her. He pulls away then begins to ose ground again—fnally embraces ber fiercely. For a moment Scenz 2 ‘early the next merning. Millie sts on the door- step, smoking her after-bredkfast cigarete. Flo comes out Jront door almost immediately. She is a near-bysterical ow. She bas not even taken the time to dress, and wears a long robe over ber night dress. FLO. (Sits in armchair on porch.) Madge has still got her door locked. I holler in but I can’t get her to answer. I can’t understand why I didn’t hear her come in lastnight. I was sitting right there. I thought I was awake. MILLIE. I bet I know what FLO. (Vindictive.) You don't know anything, Millie Owens! And if anyone should say anything to you, you just — 2 nis I MRS. POTTS. (Comes out of ber bouse on ber porch.) Is Madge all right? FLO. (Suspiciously.) What do you mean? MRS. POTTS. (Comes down steps.) I just mean, did she get home all righe? FLO. Of course she got home all right! She told me everything! Mrs. Potts crosses top. w. lawn.) It seems that hoodlum just abducted her! She finally had to fight him off and walk home. The next time you take in tramps, Helen Potts, I'll thank you to keep them on your side of the yard! MRS. POTTS. Have you heard from Alan? FLO. No. MRS. POTTS. Where's the young man? FLO. 1 know where he should be—in the penitentiary! And that’s where he's going if he shows up around here again! (Rosemary centers from front door.) ROSEMARY. (In front doorway.) Has anyone seen Howard? FLO. Howard? MRS. POTTS. (Surprised.) Why, no, Rosemary! ROSEMARY. (Nervous and uncertain—comes out om porch) He said he might be around this morning. (Starts in—stops) ‘Mrs. Potts, Vm . . . er . . . storing my summer clothes in the attic. ~ . . Could you help me a minute? MRS. POTTS. OF course, Rosemary. (She looks at Flo, then starts infront door) ROSEMARY. (Darting back inside front door.) Besides, Pd like someone to talk to. FLO. She's been running around the house all morning like a chicken with its head cut off. Something's up! (She crosses to Millie, gives a litle signal 10 Mille to keep quiet about Madge ) Millie! (She exits through front door. Now we bear the voices of Jrma and Christine, coming by for Rosemary.) IRMA. (Coming on from t. alley.) Girl, I hope Rosemary is ready. I promised the principal that I'd be there early to help with registration. (She crosses D. to R. €. lawn.) CHRISTINE. (Follows Tema on from alley, stops att. lawn.) How do I look, Irma? IRMA. It’s a cute dress. Let me fx it in the back. (Irma adjusts the bang of the dress as Christine turns ber back.) 8CHRISTINE. I think a teacher should dress up first day of school, to give the students 2 good first impression. IRMA. (Crosses to porch.) Good morning, Millie! (Christine fol- ows to u. L. of armcbair.) MILLIE. Hi, ; _ IRMA. (Opens front door.) Is Rosemary ready? MILLIE. Go on up if you want to. (Irma starts in front door and is stopped by Christine saying:) a CHRISTINE, (To Millie.) We missed sesing Madge on the picnic last night. (Millie does not answer.) IRMA. (Gives Christine a significant look.) Come on, Christine. (They go inside front door. Bomber rides on, from 1. alley, gets off bis bicycle, throws a paper on Mes. Potts’ steps, then on Flo's back porch. Then he climbs up on Mrs. Potis’ porch so be can ‘Madge! MILLIE. You shut up, crazy. BOMBER. Qumps down—crosses p. ¢) My brother seen ’em under the bridge. Alan Seymour was lookin’ for ’em all cover town. I knew she liked guys. (He sees Alan approaching off beyond the Owens house, and leaves quickly out t. alley.) MILLIE. (ot aware that lan is epproachng) Some dy Tim really gonna kill that ornery bastard. (lan enters D. n. She turns sees bim.) Hi, Alan! Madge got home all right. She finaly hhad to walk all the way. (Alan crosses 1. to €. Millie rises, crosses 1 to D. L. of steps.) ALAN. Hal drove her home. Could I see her, Millie? MILLIE. (Crosses u. to R. C. lawn. Calls up to Madge's window.) Madge! Alan’s here! (Back to Alan.) Ie probably take her a few ‘minutes. ALAN. Sure. (Crosses and sits on porch comer.) MILLIE. (She sits on the stump facing him.) 1 liked you, Alan. Didn't you know it? ALAN. (With some surprise.) Like me? MILLIE. (Nods her bead.) It’s awfully hard to show someone you like them, isn’t it? ‘ALAN. (With just a little bitterness.) Its easy for some people. MILLIE. (Jurns away.) It makes you feel like such a sap. I don’t know why. R 1 always “ ALAN, (Crosses to her R. Rather touched.) 1... . Y'm glad you like me, Millie. MILLIE. I don’t expect you to do anything about it. 1 just wanted to tell you. (Howard comes bustling on tbrough the gate, from R. alley, very upset. He addresses Mille.) HOWARD. (Jo 0. c. loon.) I got to see Rosemary. Is she up in hher room? MILLIE. Hi, Howard. (Rises, crosses D. 1. of stump. Alan crosses U. by Mes, Potts’ steps.) HOWARD. (Just one thing on bis mind. Crosses .) Ub . . . Vd like to see her, please. I think she's expecting me. (Crosses U. on porch to front door.) MILLIE. (Crosses fo €.) You better holler at the bottom of the stairs— (Howard is about to go in the front door, but turns back at this: “cause all the others are up there, too. HOWARD. The others? MILLIE. Mrs. Potts and Miss Kronkite and Miss Schoenwalder. HOWARD. Oh. I was gonna telephone her but then I thought I better come over, because you see, this is the beginning of my ‘busy season and — ROSEMARY. (Calling from inside house.) Howard! HOWARD. Huh? ROSEMARY. (Inside, to all the women.) He's here! (We bear a jorful babble of women’s voices from inside. Howard gives one last pitiful look at Millie, then goes in front door. Millie follows him in and Alanis left alone in the yard. After a moment, Madge ‘comes out tbe kitchen door.) MADGE. (By bench.) Hello, Alan. (er face is sad and sbe looks a little guilty.) ALAN. (Very moved by seeing ber.) Madge! MADGE. I... Fm awfully sorry. ALAN. (Crosses m.) Madge, whatever happened . . . it wasn't your fault. I know what Hal's like when he's . . - But lve got (Crosses D. 1. to D. L. of stump.) MADGE. (Crosses to bim.) Alan? What do you mean? ALAN. I dida’t feel like telling your mother about it yesterday, but at school I spent half of my life getting him out of jams. I knew he'd had a few tough breaks, and I tried to feel sorry for 65him. But this is the thanks I get. There’s no use pampering him any more. MADGE. (Concemed, but trying not to show it.) Where is he? | mean is he allright? ALAN. Don't worry about Hal! He's all right. And Til take it on myself to offer you his official good-bye! MADGE. (Turning quickly to bim. This is a jolt to ber.) Good-b —? Is he gone? FLO. (Running out kitchen door. Madge crosses to shed door.) Madge! (nd noticing Alan forthe fist time. She crosses to D. L. of stump.) Alan, I didn’t know you were here! (Mrs. Potts comes burrying out of the front door excited and smiling.) MRS, POTTS. Flo! Flo! (Hrs. Pots is followed closely by Irma, Christine, Rosemary and Howard. Millie comes out of the kitchen door carrying two boxes of rice. Howard and Rosemary, sbe on the 1, be carrying two suitcases, cross down to porch steps and stand, sbe clinging to bis arm. Jrma crosses p. to R. of Howard as Mrs Potts crosses v. to R. of steps and Christine crosses D. 10 1. of Rosemary. They are all talking happily except for Howard, who looks bewildered, and Millie, who just looks. Millie bas a bandful of tice which she throws on the engaged couple. She bands the to boxes to Christine wobo hands one to Irma, Irma pours some rice into Mrs. Potts’ bands and while they continue chattering, rma, Christine and Mrs. Potts throw handfuls of rice over Howard and Rosemary. Millie crosses u. to upstage kitchen post and watches from there. Rosemary swears a beautiful going-cwoay outfit) AD £7B.: IRMA. May all your troubles be litle ones! CHRISTINE. You're getting a wonderful girl, Howard Bevan: IRMA. Rosemary's getting a fine man! CHRISTINE. They don’t come any better than Rosemary! ‘MRS, POTTS. Be happy! IRMA. May all your troubles be litle ones! MRS. POTTS. Be happy forever and ever! IRMA. (Crosses p. to top step, D. R. of Rosemary.) Girl! Are you ‘wearing something old? ROSEMARY. An old pair of nylons but they're as good as new. CHRISTINE. And that's 2 brand new outfit she’s got on. Rose- mary, are you wearing something blue? I don't see it! 66, ROSEMARY. (Daringly.) And you're not genna! Ob, but I don't hhave anything to borrow! MRS. POTTS. Here! (Rosemary, Irma, Christine and Howard swatch Mrs, Potts as sbe looks for something.) FLO. Madge, you give Rosemary something to borrow. [ell mean good luck for you. Go on, Madge! (She takes Alan's arm and pulls im towards the steps with ber.) Rosemary, Madge has something for you to borrow! MADGE. (Crossing to the group by steps.) You can borrow my handkerchief, Miss Sydney. ROSEMARY. Thank you, Madge. (She takes the bandkercbief.) Isn't Madge pretty, girls?’ (Hal enters D. 1. from Mrs. Potts’ yard and, unseen by anyone, bides in the woodshed, closing the door art way. He is barefooted) IRMA and CHRISTINE. Oh, yes! Yes, indeed! (Madge turns and leaves the group, going towards Mrs. Potts’ house. She sees Hal closing the door. He signals to ber to be quiet, and closes the door. Madge turns quickly 10 see if anyone bas seen bim, then sits on the stump.) ROSEMARY. (During the above.) A girl as prety as Madge can sail through life without a care! This all happened so fast 1 just can't believe it! (Alan turns from the group to join Madge. Fo then turns and crosses towards Madge. Rosemary follows Flo.) Mrs. Owens, Heft my hot-water bottle inthe closet and my curlers are in the bathroom. You and the girls can have them. ! stored the rest of my things in the attic. (Looks at Howard.) Howard and TM come and get ’em after we setle down. Cherryvale’s not $0 far away. We can be good friends, same as before. FLO. | hate to bring this up now, Rosemary, but you didn’t give tus much notice. Don’t you know anyone who 1 could rent the oom to? IRMA. (Crosses to Rosemary.) Didn't you tell her about Linda ?IRMA. No! I never did! Who- CHRISTINE. No! Never! I fever heard of such a thing! wouldn't! I never heard of such a thing! Twenty cents! CHRISTINE. No! Never! I wouldn't! I never heard of such a thing! Twenty cents! ROSEMARY. Irma, you tell Linda Sue to get in touch with Mrs. Owens. FLO. Thank you, Rosemary. (Rosemary tums and looks at How: ard adoringly.) HOWARD. Rosemary, we better hurry. I still have to pick up the license. ROSEMARY. (Embracing Irma and Christine who cross to ber.) Good-bye, girls! We've had some awfully jolly times together! Flo motions to Madge, telling ber to get up and prepare to say good-bye. Madge rises. Howard turns to Mrs. Potts as Rosemary crosses to Alan and Madge. Millie crosses D. 10 D. m. lawn.) MRS, POTTS. Good-bye, Howard. ROSEMARY. (Pushing Madge's bead down on Alan's shoulder ) 1 know you're both going to be just as happy as Howard and I will be. (Rosemary turns and crosses w. to Ms. Potts. lo speaks duickly to Alan.) FLO. Alan, will you help with the bags. (Alan burriedly takes one of the suitcases from Howard who is crossing to c.) ROSEMARY. You've been 2 HOWARD. (Jo lan) A ‘wonderful friend, Mrs. Potts. man’s gotta get married some- MRS. POTTS. I wish you alltime. sorts of happiness, Rosemary. ALAN. Of course. ROSEMARY. (Embracing ber.) HOWARD. And folle’d rather Millie, you're going to be a do business with a married famous author some day and man. Tl be so proud I knew you! MILLIE. Thanks, Miss Sydney. No one speaks for a moment. Finally Howard tums to Rose- mary.) HOWARD. All set? ROSEMARY. And rarin’ to go! (A sudden thougbt) But where ate we goin’? HOWARD. (After an awkward pause.) 1 got a cousin, He and his wife run a tourist camp in the Ozarks, but I don't know ‘whether — ROSEMARY. Oh, I love the Ozarks! (She grabs Howard's arm and pulls bim off lley x. Alan carries the suitcase of after them. Irma, Christine, Mrs. Potts and Millie follow tem, all towing tice and calling after them.) ALL, (As they go off alley R) The Ozarks are lovely this time of year! Be happy! May all your troubles be litle ones! You're getting a wonderful girl! You're getting a wonderful man! FLO. (Crosses to Madge.) Madge, you've just got to talk to me! ‘What happened last night, Madge? You haven't told me a word! (Madge does not answer.) ROSEMARY. (Off x) Mrs. Owens, aren't you going to say good: bye? FLO. (Calling.) 1 will in a minute! (Back to Madge) What did ‘Alan say? Was he upset? MADGE. I don’t know, Mom. ALAN. (Appearing in the alley x.) Mrs. Owens! FLO. (Crosses to c. Madge follows to ber 1.) Now don’t budge from this poe unl get back bring An sigh back, (She starts off.) MRS. POTTS. (Appearing in alley.) Come on, thought she'd do it! (Flo and Mrs. Potts go off alley x.) MADGE. (As Hal opens the shed door, she crosses. to meet bim UL 1. of stump. They crouch down. She bolds bis arms.) Hal! ‘What happened? HAL. Baby, I'm in a bad jam! Seymour had his old man set the ‘cops on my tail! MADGE. Honest? How did you get away? HAL. I had to knock one of the cops cold and swim the river! MADGE. Oh! What can you do? = HAL. I can get out of town. There’ a freight train by pretty ve got to give up that job before I even get started. MADGE. Ob, Hal. (Offstage we bear good-byes being and Howard s Cheorolet driving away. Alan and Flo 1. Madge and Hal rise.) FLO. Alan! (Sbe crosses D. 1. to Madge.) ALAN. (Crosses . to 0. C:) What are you doing HAL. (Crossing to Alen.) You lied, kid! You told ‘swiped your lousy car and that was a lousy lie, kid! °ALAN, What'd you expect me to do? You beter get out of town if you know what's good for you. HAL. I'l go when I'm ready. ALAN, No, you won't. (Shooing Hal.) You're going now! (Hrs. Potts appears in alley n., comes D. by porch. Mile comes in alley R,, stands near kitchen door. rma and Christine come in alley 8, stand by gate.) HAL. (Throwing Alan off to.) Now, look, Seymour, 1 don’t want to fight with you. You're the only friend I ever had. ALAN. I'm not your friend any more. You saw another pretty girl and you had to add her to your list! HAL. That’s not sot (Madge runs to post of the porch by kitchen Flo to ber 1. Alan springs at Hal's throat but ‘Hal breaks the hold. Alon grabs bim again but Hal swings bim around and pins bis arms bebind bim, throwing bim to bis knees.) ALAN. Let go of me! Let go of me! HAL. (Forces Alan to bis knees.) You've had enough, kid! (ile releases Alan, who is in tears. Alan pulls bimself up and crosses {to Mas. Potts’ stairs where be lies on the steps, bing bis shame ) FLO. (Crossing 1. to D. 1. of stump.) Alan, are you al right? MILLIE, (Dashing across ber patb—to trellis) Mom! Don’t! HAL. (Goes to Madge who bas come v. by porch.) Gee, Baby, 1 ‘guess everything’s changed now. MADGE. Where are you going? HAL. Tl can it to Tulsa in a couple of hours. They give me a jb there at the Hotel Mayo, hoppin’ bells. Baby, would you come ‘with me? Run upstairs and grab some things. (Flo crosses p10 ¢ during tis, slowly, fearfully.) FLO. (Calls softly) Madge! HAL. T know it sounds crummy, but they always let me use a Title room, and we could share it. (Madge does not answer) 1 could save my dough and maybe we could buy a little house or a farm even. Come on, Baby. (Mage pulls her band atoay from bis and turns m.) Is this as far as it goes? Is this as far as it ever goes with me? (Now we beara police siren off n. Hal nuns up to commer of house, x. of front door, looking ffx. Mili runs R. up steps to Jar x. on porch. Flo runs to Madge. Irma and Christine ext bur. tiedly by 1. alley. Hal runs down to Madge, arabs ber band and pulls ber away from Flo to C. on the run.) Baby, kiss me good-bye! (Madge breaks away from bim to D. 1. of stump a5 Hal continues 70 U, to UC. lawn and we bear a train whistle of an approaching freight. Hal looks off at the train and then runs b. to R., looking at Madge, whose back is tumed to him. Flo runs to D. 1. of steps.) Baby, I gotta go! You love me, don't you? MADGE. What good is it if Ido? HAL. (Beseeching.) Look, Baby, I'm a poor bastard, and 1 gotta claim what's mine! And you're mine, Baby! thing 1 ever had—ever! Baby, kiss me good-bye! . tou. of stump. Madge turns and throws herself into bis arms ‘and they kiss violently. The train whistle is beard loudly, very close now. Hal breaks the kiss and holding her bands, looking down into ber face.) 1 fel like a freak to say this, but—I love you! CHe pulls bimself away, runs up to comer of Kitchen porch, holding the post, glances off at the train, looks back at Madge once more.) Good-bye! (le turns and says this as be leaps the fence and dashes off alley n. Mrs. Potts exits D.n. as we bear police siren ‘approach and stop off R., door slam. Madge crosses D. 1. stum- blinaty to shed door) MADGE, (Stumbles t. to shed.) Oh, Mom! FLO. Why did this have to happen to you? MADGE. I do love him! 1 dot FLO. Madge, I hope that’s not so! MADGE. Why dida'e I know it before he was gone? Why dida’t someone tell me? ‘MILLIE. He got on the train. (Train wbistle is beard in distance) MADGE. (A cry of deep regret. Crosses R. to steps) Oh... ‘now I'l never see him again. FLO. (Crosses to Madge's 1.) Madge, believe me, that’s for the best. MADGE. Oh, no, Mom. . . no! FLO. (olds Madge.) At least you didn’t marry him. MADGE. (Holding Flo's bands tight around ber.) 1 would have « « « [would have. Oh, Mom, what ean you do with the love you feel? Whereis there you can take it? FLO. (Beaten and defeated) I... 1 never found out. (Madge throws off Flo and goes into the bouse through front door, crying. Mrs. Potts retums b. x, carrying Hal's boots. She puts them on the porch by the beach chair.) MRS. POTTS. The police found these on the river bank. (She sees Flo looking after Madge.) Flo! nmALAN. (Rises, comes down Ms. Potts’ stairs to bottom step.) Girls have always liked Hal. Months after he lft the fraternity, they stil called. “Is Hal there?” “Does anyone know where Hal's gone?” Their voices always sounded so forlorn FLO. (Crosses u. to €) Ain ame aad fave supper tonight. Tl make all the things you like—sweet potato pie — ALAN. (Cross. sao stn) F Be gone, Mes. Owens FLO. Gone? ALAN. (Crosses r. to p. tof steps) Dad's been wanting me to ‘take him up to Michigan on a fishing trp. ve been stalling him, bat now I— FLO. You'll be back before you go to school, won't you? ‘ALAN. Vil be back Chrismas, Mrs. Owes FLO. Christmas! Alan, go inside and say good-bye to Madge! ‘ALAN. Madge is beatiful. Did I think I eould spend the rest of ‘my life just looking at her? . Alan, see her one mare time! IALAN. Gis mind nae ap) Not Tbe ack Chriemas. 1 stop in and . . . say hello. Pe rams off. ®) FLO. (A cry of loss —She crosses. to of steps.) Alan MILLIE, Running" to u. of beach chair) Good-bye, Alan! (Sbe waves.) Good-bye, Alan! (Mrs. Potts crosses 1. to below stump.) FLO, (In flat voice.) Mili, youl be late for school MILLIE. Gee, I almost forgot. Picks up ber notebook from beach chair. Crosses t0 tof steps) Tim never going to fallin love. MRS. POTTS. Wait till you're 2 litle older, Millie git, before ‘you say that. MILLIE. When 1 get out of college Ii ging to New York, and Pil write novels that shock people right out oftheir senses. Pl become so great and famous... Vil never have to fallin love. FLO. You be just as great and famous 25 you want to be. Now 0 on to school. (Mille stars out sobs R. of steps.) BOY'S VOICE. (Off x) Hey, Goon gil! MILLIE. (Looking off x) Poopdeck McCollough! He thinks he’s so smart FLO. and lt him think 5 BOYS VOICE: Cop 2) Hey, Coe gil! Come Kis me! 1 wanna be sick! Ha! Ha! Ha! MILLIE. If he thinks he can get by wit hat, he's erazy! (Cooks ‘around for a weapon, rans ub on loon, fads a stick by porch, n runs down to comer of porch, stops, looks at the stick, changes ber mind, throws the stick down disdainfully and as she exits gracefully.) See you this evening. (Mille exits D. R.) FLO. (After a moment.) Helen, you liked the young man, didn’t you? MRS. POTTS. With jist Mama and me in the house Pd got so used to things as they were—occasionally 2 hairpin on the floor and the smell of Mama’s medicines. Then he walked through the door and clomped through the tiny rooms as if he was still ‘outdoors. There was a man in the house, and it seemed good. FLO. I know, but — MRS. POTTS. And that reminded me, I'm a woman. And that seemed good, too. (Flo turns away abruptly. Madge enters from front door. She bas changed ber dress, carries a coat and a small suitcase) MADGE. Mom! FLO. (Without turning.) You'd better hurry, darling. You don't want to be late to work. MADGE. Mom, please dn' et mad, I'm not doing this for spite support you. And when he does have a job he'll spend all his ‘money on drink! I know! And after a while there'll be other women! MADGE. I guess you don’t love someone because he's perfect, 7FLO. (Sinking down on ber knces:) Darling, even if you do love him, try to forget it! Try! MADGE. (Pulls away.) It's no use, Mom. (We bear the sound of «@ bot-rod off rx) FLO. Oh, God! Oh, God! (The bot-rod slows down close off. ‘and we bear some boys yelling to Madge.) BOYS’ VOICES. Hey, Madge! Hi, Beautiful! Come on, get in! Yeah, come on, Madge! MRS. POTTS. (Crosses t. and up to u. 1. lawn.) Who are those boys? MADGE. Some of the gang in their hot-rods—just kids. (She crosses quickly to €. and U.to gate. Fo runs up along porch call. ing ber.) FLO. Madge! Madge! (Madge stops, puts down bag, coat and bat, crosses to Mrs. Potts and embraces ber, br eyes filling with tears) MADGE. Mrs. Potts, take care of Mom for me, will you? (She turns and looks at Flo who is weeping bitterly. She crosses to Flo swbo stands on the porch edge. Madge and Flo embrace) Vil writ, ‘Mom. Mom, don't worry. I've got some money T've been saving and there are lots of jobs in Tulsa. I can always work. (lo still looks bitterly unbappy. Madge puts ber bead adainst ber.) Oh, ‘Mother! Tell Mille 1 never meant it all those times I said I hated her. Tell her I've always been very proud that I had such a smart sister. (She pulls away from Flo who holds her bands untit both their arms are outstretched and Madge bas to pul bard to break sway. Madge looks at ber mother for a moment then crosses, Dicks up ber things and walks determinedly off x. alley. Flo runs 40 the gate in a frenzy.) FLO. Helen! Helen! could 1 stop her? (Mrs. Potts grabs Flo's ‘arm and stops ber as she reaches the gate.) ‘MRS. POTTS. Could anyone have stopped you, Ho? FLO. (Turns and looks at Mrs. Pots for along moment.) There are so many things I wanted to tell her! MRS. POTTS. Let her learn them for herself, Flo. VOICE. (Off 1.) Helen! MRS. POTTS. All right, Mama. (She pats Flo encouraginaly, ‘urns and starts toward ber bouse ) CURTAIN 4 OI Ox ~* 75 Scene DESO "PICNIC”