Index     I     II-1     II-2     III

ACT TWO
SCENE 1

SCENE: The same.

TIME: 8:30. Two hours after the fall of the first act curtain.

AT RISE: AUSTIN and MONICA are discovered at the gate-legged table, finishing dinner, MONICA dallies with a dessert. AUSTIN watches her, wondering what to say.

AUSTIN—[Finally] Will you have some more coffee?

MONICA—No, thanks.

[There is another pause.]

AUSTIN—[Mournfully] It's—it's jolly to be sitting here and eating like this.

MONICA—[Mechanically] Isn't it?

AUSTIN—It is for me, anyway. [As she says nothing.] I suppose you're—bored.

MONICA—Why, I'm not.

AUSTIN—I wish I knew how to amuse you, Monica.

MONICA—You're a dear, Austin. You're far too nice for me.

AUSTIN—Too nice for you. . . .

MONICA—You are, really. You're a great man. And awfully modest and nice. I'm just a restless little nobody who doesn't mow what she wants.

AUSTIN—You're fairly certain about what you don't want—

MONICA—I'm afraid I know what I want too, Austin.

AUSTIN—I wish I were fluent, like Storey. I wish I could talk, like Storey.

MONICA—What would you say?

AUSTIN—I'd tell you I love you.

MONICA—But you've told me that. And I've told you that I don't admire your choice.

AUSTIN—I know.

[There is a pause.]

MONICA—There's no reason why we can't be friends.

AUSTIN—That's like telling a starving man—there's no reason he can't look at the food in a baker's window.

MONICA—Why, Austin, you're brilliant tonight.

AUSTIN—[Emboldened by his success] I feel that if I could find the words—Somewhere there must be the words that would say what I feel for you. And once you knew what I feel, I feel you would love me.

MONICA—[Half -listening] I wonder—

AUSTIN—Yes. I feel that. What I say to you is banal, trite. I have no gift of speech. I know it. I—I'm dumb.

MONICA—[Touched, patting his hand] You are a dear, Austin. I'm very fond of you.

AUSTIN—Last night you said—you never wanted to see me again.

MONICA—[Rising, walking about the room] Last night? I was tired, upset—

AUSTIN—You said—

MONICA—Please, Austin, don't talk to me any more about last night.

AUSTIN—[Meekly] All right, Monica. [One of those pauses.] Would you—would you like to go to a theatre?

MONICA—No. Thank you.

AUSTIN—Storey says Gertrude Lawrence—

MONICA—I've seen her.

AUSTIN—We could go to the opera. My mother has a box—

MONICA—Not tonight, Austin, thanks. Storey said he'd telephone, didn't he?

AUSTIN—Did he?

MONICA—I think he did. [A pause, MONICA lights a cigarette. Walks about restlessly.]

AUSTIN—I believe Storey's dining with Mrs. Frayne.

MONICA—Is he?

AUSTIN—Yes.

MONICA—Austin?

AUSTIN—Yes?

MONICA—Do you like Mrs. Frayne?

AUSTIN—Yes. I think she's a lovely woman. Don't you?

MONICA—She probably was.

AUSTIN—I wonder—will Storey marry her?

MONICA—I've no idea.

AUSTIN—I think she's in love with him.

MONICA—Why not?

AUSTIN—I think it would be a good match. Don't you?

MONICA—How can I tell?

AUSTIN—Storey sees her every day.

MONICA—Can't we really find anyone to talk about except Storey?

AUSTIN—Well, you're so keen about him.

MONICA—What makes you think that?

AUSTIN—Aren't you?

MONICA—I despise him.

AUSTIN—But last night—

MONICA—Last night doesn't matter. Today does.

AUSTIN—[Very happy] Then you—!

MONICA—I despise him. [She slumps into the chair near the tabouret where STOREY has put the check KENDALL has given him.]

AUSTIN—Then perhaps—[He moves toward her uncertainly, pauses, does not know what to say. She is lost in a dream, does not hear him.] Then perhaps—

MONICA—Perhaps what?

AUSTIN—If there's no one else—I mean if you're not in love with Storey—or anyone else—perhaps—

MONICA—[Almost in tears] Please, Austin—be a darling and don't—don't make love to me.

AUSTIN—I can't help it. Isn't it awful? I can't make love to you—and I don't know what else to talk about.

MONICA—Talk to me—talk to me about evolution.

AUSTIN—But you said you preferred the Garden of Eden.

MONICA—To—primeval chaos. Yes. Don't you? Isn't a nice garden full of wild flowers better than a lot of—slime?

AUSTIN—[Distressed] But the Bible isn't true.

MONICA—What of it? Adam and Eve were such a nice couple.

AUSTIN—I can't see the use in talking about anything—that isn't true.

MONICA—[With a sigh] That shuts out so many subjects.

Austin [Hesitating] Did you—did you get the—my—the article I sent you?

MONICA—Oh, yes, thanks! How awfully clever you are!

AUSTIN—[Greatly flustered, blushing] Oh—it was just—that's what I've been working on a good deal lately—a new method of separating radium—

MONICA—[Gently] Of course I don't pretend to have understood it—

AUSTIN—That's the trouble—unless you know the vocabulary of science it doesn't mean much—like giving the score of a symphony to a person who can't read it.

MONICA—I know. I'm terribly ignorant, Austin.

AUSTIN—You think what I do is awfully dull, don't you? If you'd come with me sometimes to the laboratory—I'd like to show you—it's really awfully interesting—it's exciting.

MONICA—Oh, for you!

AUSTIN—No, for anybody—Monica, I wish you'd let me read you something—

MONICA—From your article?

AUSTIN—No. From a book I've brought you.

MONICA—Oh! Thank you, Austin. What's the book?

AUSTIN—[Producing it] It's by Bertrand Russell—

MONICA—[A bit let down] Oh!

AUSTIN—You know who he is, don't you?

MONICA—[Doubtfully] Well, I've heard of him.

AUSTIN—Well, he's just one of the greatest men alive, that's all.

MONICA—[Touched by his eagerness; she pats his arm] Is he, Austin?

AUSTIN—I came across this passage the other day—I marked it—I thought—the minute I read it—"I must get this for Monica!"

MONICA—[Peering over at book] "Mysticism and Logic." What a nice title! Ordinarily you'd never think of putting those two together, would you? [But her thoughts wander off to STOREY.]

AUSTIN—They're a lot of essays—this one's about mathematics. [Reading] "Mathematics, rightly viewed, possesses not only truth but supreme beauty—a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exultation, the sense of being more than man, which is the touchstone of the highest excellence is to be found in mathematics as surely as in poetry." [The cadence of AUSTIN'S voice, his profound sincerity and the beauty of the passage itself affect MONICA—as a bit of sad music might. She is quite rapt. But AUSTIN feels suddenly unsure.] Interesting, isn't it?

MONICA—Oh, yes! Do go on!

AUSTIN—"Remote from human passions, remote even from the pitiful facts of nature, the generations have gradually created an ordered cosmos, where pure thought can dwell as in its natural home, and where one, at least, of our nobler impulses can escape from the dreary exile of the actual world." [He stops a moment to look at her and finds her eyes full of tears.]

AUSTIN—Monica! You're crying!

MONICA—I wish I could do that!

AUSTIN—What?

MONICA—Escape from the dreary exile of the actual world.

AUSTIN—Aren't you happy, Monica?

MONICA—Not very. Why don't you marry somebody else, somebody worthy of you?

AUSTIN—Whom?

MONICA—That awfully clever girl. You know, that girl I met you with. You told me she was a research chemist. What's a research chemist?

AUSTIN—A person who engages in chemical research.

MONICA—Oh!—Well, why don't you marry her, Austin? She seemed awfully nice.

AUSTIN—She is nice.

MONICA—And I suppose she adores you.

AUSTIN—Yes. She does like me.

MONICA—There you are!

AUSTIN—[Shaking his head] No.

MONICA—Why not?

AUSTIN—For one thing—she knows too much for me.

MONICA—Ho! Vain!

AUSTIN—She wears woolen stockings.

MONICA—Ah, Austin, you are a funny man. [Looking at him closely.] I believe you're quite serious. You've no sense of humour, Austin. Sometimes—it's delicious.

AUSTIN—I prefer you, Monica.

MONICA—For a man who lives by his brain—you're awfully illogical, Austin.

AUSTIN—I know I am. I've tried to reason you—out of my—consciousness. I can't do it.

MONICA—Well, I'm as stupid as you are. Stupider.

AUSTIN—Why?

MONICA—For—loving him.

AUSTIN—Loving whom?

MONICA—Storey.

AUSTIN—Storey!

MONICA—Of course. Who else?

AUSTIN—[Altogether bewildered] But—but you just said—you despised him.

MONICA—[Helplessly] Oh, Austin—[She covers her face with her hands.]

AUSTIN—I don't understand you at all, Monica.

MONICA—You really shouldn't try, Austin—[She gets up, her dress catches in the tabouret, overturning it. He rights it, picking up the check and papers.]

AUSTIN—[Picking up the things] How careless Storey is—leaving a check lying around like this.

MONICA—A check? Didn't know he had a check.

AUSTIN—Five hundred dollars for a story.

MONICA—Five hundred! Why, he didn't tell me. Let me see it. [She takes check, looks at it and sees MRS. FRAYNE'S signature. Her fingers clutch over it. Casually.] How do you know he got it for a story?

AUSTIN—He told me. I asked him whether he needed money.

MONICA—He did, of course!

AUSTIN—He said he didn't—because he'd just had this check.

MONICA—[Bitterly, crumpling the check] The highest bidder!

AUSTIN—[Alarmed] Here, what are you doing—?

MONICA—I'm sorry.

[She returns check to him, he straightens it, refolds it neatly. Can't help seeing the name, looks at MONICA, whose eyes do not meet his. Puts check back.]

AUSTIN—Well—why not?

MONICA—I think it's—beastly.

AUSTIN—As they'll probably marry soon—I don't see any harm in it.

MONICA—[Passionately] They shan't marry!

AUSTIN—Monica—do you want to marry Storey yourself?

MONICA—Storey's in love with me.

AUSTIN—He isn't. He told me so.

MONICA—When?

AUSTIN—Just before you came.

MONICA—He lied.

AUSTIN—Why should he lie? I asked him to tell me the truth.

MONICA—He did lie. You wait. You'll see.

AUSTIN—He wouldn't take money from Mrs. Frayne—like this—if—

MONICA—You're naive, Austin.

AUSTIN—I don't understand. I don't understand Storey. Why he should lie—

MONICA—She's trying to buy him.

AUSTIN—[A little bitterly] He seems willing to sell.

MONICA—He has no character. Not an ounce. No backbone—

AUSTIN—And yet—you want him.

MONICA—Yes. Worse luck—

AUSTIN—I wish I'd never met you, Monica.

MONICA—[Snapping up the check again] Money! Money, Austin! [Abruptly] I'm through with him.

AUSTIN—I should think you'd have more—pride.

MONICA—I'm off him for life. I swear it, Austin. Try me. Test me.

AUSTIN—How do you mean?

MONICA—Make love to me. Do something. You'll see.

AUSTIN—You know, Monica, I—I'm crazy about you. I don't have to tell you—

MONICA—Propose to me.

AUSTIN—You know how I feel.

MONICA—Are your intentions honourable?

AUSTIN—What do you mean?

MONICA—You still want to marry me, don't you?

AUSTIN—Of course. What else?

MONICA—I accept.

AUSTIN—Monica! Really?

MONICA—Yes.

AUSTIN—You'll—marry me?

MONICA—[Suddenly colourless] If you like, Austin.

AUSTIN—[Overjoyed, advancing toward her] Monica! Can I—can't I—?

MONICA—[Drawing away] No, Austin—!

AUSTIN—I mean—can I tell everybody?

MONICA—Oh! Of course. Why not?

AUSTIN—I'll try to make you happy, Monica.

MONICA—[With an impulse to cry] Thanks, Austin.

[The doorbell rings.]

AUSTIN—I wonder who that is.

MONICA—Must be Storey.

AUSTIN—And Mrs. Frayne.

[There is a knock on the inside door.]

STOREY—[Off] It's only me. [He comes in.] Thought I'd warn you.

AUSTIN—Hello, Storey!

STOREY—Hello, Archimedes. Well, Miss Grey—[MONICA turns her back on him and walks up-stage.] Nice dinner?

AUSTIN—Fine.

STOREY—Kendall and I dined at the Colony. [Looking from one to the other.] What are you depressed about? Eh?

AUSTIN—We're not depressed. That is—I'm not.

STOREY—Well, you act like it. What's the matter, Monica?

AUSTIN—[As MONICA turns away] Monica's just accepted me.

STOREY—Really? No—really?

AUSTIN—[Doubtfully] That's what she said.

STOREY—Splendid. I congratulate you, Austin. I congratulate you both. Austin—mind if I kiss the bride? [He turns to kiss her.]

MONICA—[Fiercely] Don't come near me!

STOREY—What's the matter?—Austin—

AUSTIN—She's a little upset—who wouldn't be?

STOREY—Well!

AUSTIN—Where's Mrs. Frayne?

STOREY—Gone home to dress. Too bad Monica's in such a singular mood. Kendall wants us to go on a party.

MONICA—I want to go home. Austin, take me home.

STOREY—Oh, come now, Monica, be a sport. Now you're finally engaged to Austin— that's all the more reason to celebrate. You both run along and dress and we'll all meet here at eleven o'clock. Go to that new coloured cabaret in Harlem. Kendall's sending champagne—

MONICA—I don't want her champagne.

STOREY—Because you haven't tasted it. I had some at dinner. Marvelous.

MONICA—I tell you I don't want to go.

STOREY—Austin, exert your new-found authority. Make her behave.

AUSTIN—If she wants to go home—

STOREY—That's a bad way to start, Austin. If you begin by giving her her own way she'll bully you all your life.

MONICA—[Bitterly] Yes, Austin, listen to him. Do what he tells you. The authority! The philosopher. Knows everything. Tells everybody what to do, how to behave—

STOREY—Of course. My own behaviour is so bad I can point the path of righteousness to other people. The drunkard lecturing on temperance—

[There is a pause. AUSTIN'S conquest has not made him happy, MONICA stands still, undecided, trembling with anger, storey alone remains imperturbable. He rather enjoys the situation.]

AUSTIN—Guess we'll go home—

STOREY—The truth is, children, I'm a little tight. Ever get drunk, Austin?

AUSTIN—Once. Long time ago.

STOREY—Remember how it felt?

AUSTIN—Like mal de mer.

STOREY—Must have been bad stuff. Wait till you taste Kendall's champagne. It gives you ultimate sight, ultimate comprehension—

AUSTIN—And a head in the morning.

STOREY—But isn't it worth it? Wonderful illusions of grandeur—

AUSTIN—What's the good of illusions?

STOREY—Make reality bearable.

MONICA—[Suddenly] I think they make it more difficult.

AUSTIN—Well, Monica—

MONICA—[To STOREY] Pay our respects to Mrs. Frayne. Tell her we're grateful for her invitation but that we can't take advantage of her hospitality tonight.

STOREY—For pity's sake, Monica, stop talking like an etiquette-book.

AUSTIN—Monica's right. It would be better—

STOREY—Oh, come now. Have a heart, both of you.

MONICA—I don't see why you want us when you have Mrs. Frayne.

STOREY—Of course I want you. I feel gay tonight!

MONICA—Be gay with Mrs. Frayne!

STOREY—Be nice, now, Monica. I've a peculiar feeling about tonight—that it's a sort of valedictory, a sort of farewell. . . . After tonight, things won't be the same, life won't be the same.

AUSTIN—[Gloomily] I hope not.

STOREY—You know what I mean — you and Monica'll getmarried . . . and, I hope, Kendall and I. We'll be stolid, married people. We'll get old. We'll change. We'll drift apart—am I getting sentimental? Well, why not? Be nice, Monica, for once—

MONICA—[Defiantly] All right!

STOREY—You're a dear.

AUSTIN—[Worried] If you're tired, Monica—

MONICA—No, I've decided. I'm in great spirits now, Storey. All excited. Come on, Austin. [She runs out.]

AUSTIN—[Shaking his head] I don't understand her.

STOREY—If you did—you'd disown her. . . . Come back soon. I'll be lonely.

[AUSTIN goes out. In a moment MONICA thrusts her head inside the door and speaks in a loud whisper.]

MONICA—I'll be right back.

STOREY—Don't you dare. [She makes a face at him and disappears. After a moment he goes to window in the left wall to watch for their departure. He feels a sense of loss for MONICA. Is worried by this mood. Goes to the telephone.] Regent 2772—please yes —hello—Mrs. Frayne please—Mr. Storey—hello, Kendall?—what're you doing?—nearly
finished?—I want you to come sooner, I'm lonely—want to see you—am I?—unusually what?—oh, ardent—I don't know—feel funny tonight—in the grip of a peculiar emotion—I don't know—when you come I'll describe it to you—by the way, Monica and Austin Lowe're engaged—they've just left—yes, I want consolation—[The doorbell rings.] Excuse me—what did you say? [The doorbell rings again.] There's someone at the door—I've no idea—do come as soon as you can, will you, Ken?—And don't forget the champagne. 'Bye, dear. [He hangs up, rushes to door, disappears, returns, following MONICA.] What did you do this for? [It is obvious that STOREY is a little frightened; he is very fond of her just now.]

MONICA—I persuaded Austin—as he lives uptown and I live down—to let me go home alone.

STOREY—You're crazy.

MONICA—I wanted to see you alone—to warn you—

STOREY—Suppose Austin saw you.

MONICA—It can't be helped.

STOREY—But it's cruel. You just told him you'd marry him.

MONICA—I had a moment of hating you, of utterly despising you.

STOREY—Go right away. I warn you.

MONICA—I saw that check.

STOREY—What check?

MONICA—Mrs. Frayne's for five hundred dollars. Is that your monthly stipend? Or is it weekly?

STOREY—Monica, go away. I've got to dress.

MONICA—[Aware of her hold on him] What's the matter, Storey? [She stands very close to him.] What's the matter?

STOREY—[Seizing her in his arms] Little darling . . .

[He kisses her passionately.]

MONICA—You do love me, don't you, Storey? It's me you love.

STOREY—This isn't very nice, Monica. It's not at all nice.

MONICA—But, Storey, there's no reason in the world why we shouldn't. We're neither of us married or anything—

STOREY—Austin!

MONICA—Oh, Austin!

STOREY—Kendall.

MONICA—Oh, Kendall!

STOREY—I feel funny about Austin. He's—so—helpless. He's so—in love with you.

MONICA—What about me?

STOREY—When you came in just now and told me you were engaged I felt a quick pain.

MONICA—[Delighted] Did you?

STOREY—I felt suddenly as if nothing could ever make you up to me.

MONICA—You didn't look it. You seemed to take it—quite casually.

STOREY—I'm glad you came back. I want to tell you now. I do love you. . . .

MONICA—Tell me. . . .

STOREY—You're rare and exquisite, precious.

MONICA—You're always laughing at me.

STOREY—I know.

MONICA—Make love to me, Storey.

STOREY—I never really forget you. You're never out of my mind. Your gaiety, your sadness, your lovely youth. Your dear laughter—when you laugh it's like the beginning of the world, before sorrow and death came—

MONICA—Darling.

STOREY—I am old, dearest one.

MONICA—Old! You're not.

STOREY—I am. There's someone else inside me—a second man—a cynical, odious person, who keeps watching me, who keeps listening to what I say, grinning and sophisticated, horrid. ... He never lets me be—this other man. . . .

MONICA—Kill him.

STOREY—I can't kill him. He'll outlive me.

MONICA—[Nestling to him] I'll kill him for you.

STOREY—You can't. Even now he's looking at me. He's mocking me. He's saying: "You damn fool, talking nonsense to this girl—pretending you want her above everything. You're making love to her because words come easily to you. But really you wouldn't get up early in the morning for her. You like to touch her because she's young and firm and lovely. . . ."

MONICA—Don't, Storey.

STOREY—"You wouldn't mind having her but after that—"

MONICA—Storey, listen, darling. I know you're fine and decent.

STOREY—He hears you say: "I'm fine and decent." And he says: "The illusion of an adolescent, of a love-struck girl. . . ."

MONICA—I'll beat him, Storey — I'll beat him.

STOREY—I wish you could, honey.

MONICA—I just needed to know that you love me — tell me it again. Let me hear you say it again.

STOREY—I love you.

MONICA—The way you said it before.

STOREY—I'm afraid I can't now.

MONICA—Storey. . . .

STOREY—You see how capricious I am.

MONICA—But you just said it. And when you did I knew it was true.

STOREY—It probably was — then.

MONICA—A minute ago!

STOREY—[Lightly] A minute, a year, a century—what's the difference?

MONICA—But, Storey, I must believe in your love for me. I must!

STOREY—Why?

MONICA—Because I've got to believe in something. And if you don't love me—what is there?

STOREY—My dear child. You—baby!

MONICA—Don't turn me down, Storey.

[There is a pause. STOREY considers.]

STOREY—I want you to go away—and marry Austin—and don't come back to see me alone again—ever.

MONICA—I won't. I tell you I won't.

STOREY—But don't you understand? I'm crazy about you. Do you think I'm made of wood?

MONICA—Why don't you take me, Storey?

[A pause, he is nonplussed.]

STOREY—My God, child. . . .

MONICA—I'd rather you married me but if you don't want to—well—

STOREY—Won't you allow me one shred of decency? I want to be loyal to Austin. I want to protect you—

MONICA—I don't want to be protected. Besides, it's all a pose. You want to marry Kendall Frayne so you can have lots of money.

STOREY—What's the use?

MONICA—It's true. You talk about decency. With that check lying there. . . . You ought to be ashamed, Storey.

STOREY—I'm not in the least ashamed. . . .

MONICA—You're just one of those men who goes around eating fine dinners and having a good time — a parasite, Storey.

STOREY—That's what everybody's trying to be in one way or another. Mine's as good as any.

MONICA—Instead of escaping from all this life and—and fighting your own battles with me by your side to help you.

STOREY—[Accompanying himself on the piano] Sounds like a popular song. [Hums] "With me by your side to help you—"

MONICA—For pity's sake, Storey, how did you get this way? You couldn't have been always like this!

STOREY—Oh, no. I went through the idealistic stage. I used to sit in a garret and believe in Socialism. I used to commit realistic fiction and moonlit poetry. I dreamed—

MONICA—I want to bring back those dreams.

STOREY—Why? What for?

MONICA—You must have been lovely then, Storey. . . .

STOREY—Oh, I was! Lovely!

MONICA—[Hurt] Storey!

STOREY—Lovely. I dressed badly and followed the Cults. It didn't take me long to find out how easy it is to starve on Idealism. I had facility and there was a ready market for facility. I got five thousand dollars for writing a white-washed biography of a millionaire sweatshop owner. That started me. ... I took the money and went to Italy—and I had a very good time.

MONICA—But, Storey—you must believe in something—don't you ever regret—don't you ever wish—?

STOREY—Regret? No. Not in the least. Why should I? I'd do it all over again.

MONICA—I can see that horrid second man in your eyes now laughing. . . .

STOREY—[Rather gently] You amuse him.

MONICA—You wait! I'm going to beat him—in spite of you.

STOREY—[Swayed for a moment, by the possibility] He's got a terrific start on you, Monica.

MONICA—[Very confident now] Trust me. Leave him to me. . . . [Whispering] We'll be happy yet, sweetheart!

STOREY—[Taking her in his arms] God knows I've done my best . . . ! [Their embrace lasts several seconds. The doorbell rings, STOREY, a bit grimly.] Lucky for you, young lady—

MONICA—Don't go.

STOREY—Got to. Run home and dress—go upstairs and out through my bedroom.

MONICA—[To stairs] All right. But I'm not worried about Kendall now. I'm not worried about anything—

[The doorbell rings insistently. She runs upstairs and disappears, storey exits to open the door. For a moment the stage is deserted.]

STOREY—[Off] Oh, from Mrs. Frayne? Thank you!

[He returns, carrying a hamper of champagne. He puts it on the table. Lifts the cloth covering the bottles. There is a note addressed to him. He takes it out of the envelope.]

STOREY—[Reading] For a good time for all . . .

[For a moment this symbol of KENDALL'S generosity makes him hate himself. . . . The curtain slowly falls.]

CURTAIN

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