LAURA (Rescues the cup and saucer)

 

 

It's not that anniversary.

 

 

(TOM looks at her wondering. Seeing that she has interested him, she moves towards him)

 

 

Let me take your coat.

 

 

 

 

TOM (Definitely)

 

 

I can't --

 

 

 

 

LAURA

 

 

I know. You can't stay. But . . .

 

 

(She comes up behind him and puts her hand on his shoulders to take off his coat. He can hardly stand her touch. She gently peels his coat from him and stands back to look at him)

 

 

How nice you look!

 

 

 

 

TOM (Disarranging his hair or tie)

 

 

Put me in a blue suit and I look like a kid.

 

 

 

 

LAURA

 

 

How did you know I liked this flower?

 

 

 

 

TOM

 

 

You mentioned it.

 

 

 

 

LAURA

 

 

You're very quick to notice these things. So was he.

 

 

 

 

TOM (After a moment, his curiosity aroused)

 

 

Who?

 

 

 

 

LAURA

 

 

My first husband. That's the anniversary.

 

 

 

 

TOM

 

 

I didn't know.

 

 

 

 

LAURA (Sits in her chair)

 

 

Mr. Reynolds doesn't like me to talk about my first husband. He was, I'd say, about your age. How old are you, Tom?

 

 

 

 

TOM

 

 

Eighteen . . . tomorrow.

 

 

 

 

LAURA

 

 

Tomorrow . . . We must celebrate.

 

 

 

 

TOM

 

 

You'd better not make any plans.

 

 

 

 

LAURA

 

 

He was just your age then.

 

 

(She looks at him again with slight wonder)

 

 

It doesn't seem possible now, looking at you . . .

 

 

 

 

TOM

 

 

Why, do I look like such a child?

 

 

 

 

LAURA

 

 

Why no.

 

 

 

 

TOM

 

 

Men are married at my age.

 

 

 

 

LAURA

 

 

Of course, they are. He was. Maybe a few months older. Such a lonely boy, away from home for the first time . . . and . . . and going off to war.

 

 

(TOM looks up inquiringly)

 

 

Yes, he was killed.

 

 

 

 

TOM

 

 

I'm sorry . . . but I'm glad to hear about him.

 

 

 

 

LAURA

 

 

Glad?

 

 

 

 

TOM

 

 

Yes. I don't know . . . He sounds like someone you should have been married to, not . . .

 

 

(Stops)

 

 

I'm sorry if I . . .

 

 

(Stops.)

 

 

 

 

LAURA (After a moment)

 

 

He was killed being conspicuously brave. He had to be conspicuously brave, you see, because something had happened in training camp . . . I don't know what . . . and he was afraid the others thought him a coward . . . He showed them he wasn't.

 

 

 

 

TOM

 

 

He had that satisfaction.

 

 

 

 

LAURA

 

 

What was it worth if it killed him?

 

 

 

 

TOM

 

 

I don't know. But I can understand.

 

 

 

 

LAURA

 

 

Of course you can. You're very like him.

 

 

 

 

TOM

 

 

Me?

 

 

 

 

LAURA

 

 

(Holding out the coffee cup)

 

 

Before I finish it all?

 

 

(TOM comes over and takes a sip from his side of the cup)

 

 

He was kind and gentle, and lonely.

 

 

(TOM turns away in embarrassment at hearing himself so described)

 

 

We knew it wouldn't last . . . We sensed it . . . But he always said, "Why must the test of everything be its durability?"

 

 

 

 

TOM

 

 

I'm sorry he was killed.

 

 

 

 

LAURA

 

 

Yes, so am I. I'm sorry he was killed the way he was killed . . . trying to prove how brave he was. In trying to prove he was a man, he died a boy.

 

 

 

 

TOM

 

 

Still he must have died happy.

 

 

 

 

LAURA

 

 

Because he proved his courage?

 

 

 

 

TOM

 

 

That . . . and because he was married to you.

 

 

(Embarrassed, he walks to his coat which she has been holding in her lap)

 

 

I've got to go.

 

 

 

 

LAURA

 

 

Tom, please.

 

 

 

 

TOM

 

 

I've got to.

 

 

 

 

LAURA

 

 

It must be a very important engagement.

 

 

 

 

TOM

 

 

It is.

 

 

 

 

LAURA

 

 

If you go now, I'll think I bored you, talking all about myself.

 

 

 

 

TOM

 

 

You haven't.

 

 

 

 

LAURA

 

 

I probably shouldn't have gone on like that. It's just that I felt like it . . . a rainy spring night . . . a fire. I guess I'm in a reminiscent mood. Do you ever get in reminiscing moods on nights like this?

 

 

 

 

TOM

 

 

About what?

 

 

 

 

LAURA

 

 

Oh, come now . . . there must be something pleasant to remember, or someone.

 

 

(TOM stands by the door beginning to think back, his raincoat in his hand, but still dragging on the floor)

 

 

Isn't there? . . . Of course there is. Who was it, or don't you want to tell?

 

 

 

 

TOM (After a long silence)

 

 

May I have a cigarette?

 

 

 

 

LAURA (Relieved that she has won another moments delay)

 

 

Yes. Of course.

 

 

(Hands him a box, then lights his cigarette.)

 

 

 

 

TOM

 

 

My seventh-grade teacher.

 

 

 

 

LAURA

 

 

What?

 

 

 

 

TOM

 

 

That's who I remember.

 

 

 

 

LAURA

 

 

Oh.

 

 

 

 

TOM

 

 

Miss Middleton . . .

 

 

 

 

LAURA

 

 

How sweet.

 

 

 

 

TOM (Drops the raincoat again, and moves into the room)

 

 

It wasn't sweet. It was terrible.

 

 

 

 

LAURA

 

 

At that time, of course . . . Tell me about her.

 

 

 

 

TOM

 

 

She was just out of college . . . tall, blonde, honey-colored hair . . . and she wore a polo coat, and drove a convertible.

 

 

 

 

LAURA

 

 

Sounds very fetching.

 

 

 

 

TOM

 

 

Ever since then I've been a sucker for girls in polo coats.

 

 

 

 

 

 

LAURA (Smiling)

 

 

I have one somewhere.

 

 

 

 

TOM

 

 

Yes, I know.

 

 

(He looks at her.)

 

 

 

 

LAURA

 

 

What happened?

 

 

 

 

TOM

 

 

What could happen? As usual I made a fool of myself. I guess everyone knew I was in love with her. People I like, I can't help showing it.

 

 

 

 

LAURA

 

 

That's a good trait.

 

 

 

 

TOM

 

 

When she used to go on errands and she needed one of the boys to go along and help carry something, there I was.

 

 

 

 

LAURA

 

 

She liked you too, then.

 

 

 

 

TOM

 

 

This is a stupid thing to talk about.

 

 

 

 

LAURA

 

 

I can see why she liked you.

 

 

 

 

TOM

 

 

I thought she . . . I thought she loved me. I was twelve years old.

 

 

 

 

LAURA

 

 

Maybe she did.

 

 

 

 

TOM

 

 

Anyway, when I was in eighth grade, she got married. And you know what they made me do? They gave a luncheon at school in her honor, and I had to be the toastmaster and wish her happiness and everything . . . I had to write a poem . . .

 

 

(He quotes)

 

 

"Now that you are going to be married, And away from us be carried, Before you promise to love, honor and obey, There are a few things I want to say."

 

 

(He shakes his head as they both laugh)

 

 

From there on it turned out to be more of a love poem than anything else.

 

 

 

 

LAURA (As she stops laughing)

 

 

Puppy love can be heartbreaking.

 

 

 

 

TOM

 

 

(The smile dying quickly as he looks at her. Then after what seems like forever)

 

 

I'm always falling in love with the wrong people.

 

 

 

 

LAURA

 

 

Who isn't?

 

 

 

 

TOM

 

 

You too?

 

 

 

 

LAURA

 

 

It wouldn't be any fun if we didn't. Of course, nothing ever comes of it, but there are bittersweet memories, and they can be pleasant.

 

 

(Kidding him as friend to friend, trying to get him to smile again)

 

 

Who else have you been desperately in love with?

 

 

 

 

TOM (He doesn't answer. Then he looks at his watch)

 

 

It's almost nine . . . I'm late.

 

 

(Starts to go.)

 

 

 

 

LAURA (Rising)

 

 

I can't persuade you to stay?

 

 

(TOM shakes his head, "no")

 

 

We were getting on so well.

 

 

 

 

TOM

 

 

Thanks.

 

 

 

 

LAURA

 

 

In another moment I would have told you all the deep, dark secrets of my life.

 

 

 

 

TOM

 

 

I'm sorry.

 

 

(He picks up his coat from the floor.)

 

 

 

 

LAURA

 

 

(Desperately trying to think of something to keep him from going)

 

 

Won't you stay even for a dance?

 

 

 

 

TOM

 

 

I don't dance.

 

 

 

 

LAURA

 

 

I was going to teach you.

 

 

(She goes over to the phonograph and snaps on the button.)

 

 

 

 

TOM (Opens the door)

 

 

Some other time . . .

 

 

 

 

LAURA

 

 

Please, for me.

 

 

(She comes back.)

 

 

 

 

TOM (After a moment he closes the door)

 

 

Tell me something.

 

 

 

 

LAURA

 

 

Yes?

 

 

(The record starts to play, something soft and melodic. It plays through to the end of the act.)

 

 

 

 

TOM

 

 

Why are you so nice to me?

 

 

 

 

LAURA

 

 

Why . . . I . . .

 

 

 

 

TOM

 

 

You're not this way to the rest of the fellows.

 

 

 

 

LAURA

 

 

No, I know I'm not. Do you mind my being nice to you?

 

 

 

 

TOM (Shakes his head, "no")

 

 

I just wondered why.

 

 

 

 

LAURA (In a perfectly open way)

 

 

I guess, Tom . . . I guess it's because I like you.

 

 

 

 

TOM

 

 

No one else seems to. Why do you?

 

 

 

 

LAURA

 

 

I don't know . . . I . . .

 

 

 

 

TOM

 

 

Is it because no one else likes me? Is it just pity?

 

 

 

 

LAURA

 

 

No, Tom, no, of course not . . . It's, well . . . it's because you've been very nice to me . . . very considerate. It wasn't easy for me, you know, coming into a school, my first year. You seemed to sense that. I don't know, we just seem to have hit it off.

 

 

(She smiles at him.)

 

 

 

 

TOM

 

 

Mr. Reynolds knows you like me.

 

 

 

 

LAURA

 

 

I suppose so. I haven't kept it a secret.

 

 

 

 

TOM

 

 

Is that why he hates me so?

 

 

 

 

LAURA

 

 

I don't think he hates you.

 

 

 

 

TOM

 

 

Yes, he hates me. Why lie? I think everyone here hates me but you. But they won't.

 

 

 

 

LAURA

 

 

Of course they won't.

 

 

 

 

TOM

 

 

He hates me because he made a flop with me. I know all about it. My father put me in this house when I first came here, and when he left me he said to your husband, "Make a man out of him." He's failed, and he's mad, and then you came along, and were nice to me . . . out of pity.

 

 

 

 

LAURA

 

 

No, Tom, not pity. I'm too selfish a woman to like you just out of pity.

 

 

 

 

TOM

 

 

(He has worked himself up into a state of confusion, and anger, and desperation)

 

 

There's so much I . . . there's so munch I don't understand.

 

 

 

 

LAURA (reaches out and touches his arm)

 

 

Tom, don't go out tonight.

 

 

 

 

TOM

 

 

I've got to. That's one thing that's clear. I've got to!

 

 

 

 

LAURA (Holds up her arms for dancing)

 

 

Won't you let me teach you how to dance?

 

 

 

 

TOM

 

 

(Suddenly and impulsively he throws his arms around her, and kisses her passionately, awkwardly, and then in embarrassment he buries his head in her shoulder)

 

 

Oh, God . . . God.

 

 

 

 

LAURA

 

 

Tom . . . Tom . . .

 

 

(TOM raises his face and looks at her, and would kiss her again)

 

 

No, Tom . . . No, I . . .

 

 

(At the first "No," TOM breaks from her and runs out the door halfway up the stairs. Calling)

 

 

Tom! . . . Tom!

 

 

(TOM stops at the sound of her voice and turns around and looks down the stairs. LAURA moves to the open door)

 

 

Tom, I . . .

 

 

(The front door opens and two of the mountain-climbing boys, PHIL and PAUL come in, with their packs.)

 

 

 

 

PHIL (Seeing TOM poised on the stairs)

 

 

What the hell are you doing?

 

 

(TOM just looks at him)

 

 

What's the matter with you?

 

 

(He goes on and up the stairs.)

 

 

 

 

TOM

 

 

What are you doing back?

 

 

 

 

PAUL

 

 

The whole bunch is back. Who wants to go mountain climbing in the rain?

 

 

 

 

BILL (Outside his study door)

 

 

Say, any of you fellows want to go across the street for something to eat when you get changed, go ahead.

 

 

(PHIL and PAUL go up the stairs past TOM. BILL goes into his own room, leaving door open)

 

 

Hi.

 

 

(He takes off his equipment and puts it on the floor.)

 

 

 

 

LAURA (Has been standing motionless where TOM has !eft her)

 

 

Hello.

 

 

 

 

BILL (Comes to her and kisses her on the cheek)

 

 

One lousy week-end a year we get to go climbing and it rains.

 

 

(Throws the rest of his stuff down)

 

 

The fellows are damned disappointed.

 

 

 

 

LAURA (Hardly paying any attention to him)

 

 

That's too bad.

 

 

BILL (Going up to alcove)

 

 

I think they wanted me to invite them down for a feed. But I didn't want to. I thought we'd be alone. Okay?

 

 

(He looks across at her.)

 

 

 

 

LAURA (She is listening for footsteps outside)

 

 

Sure.

 

 

(BILL goes out through alcove. LAURA stoops and picks up the raincoat which TOM has dropped and hides it in the cabinet by the fireplace.)

 

 

 

 

BILL

 

 

(Appears in door momentarily wiping his hands with towel)

 

 

Boy it really rained.

 

 

(He disappears again. LAURA sadly goes to the door and slowly and gently closes it. When she is finished, she leans against the door, listening, hoping against hope that TOM will go upstairs. When TOM sees the door close, he stands there for a moment, then turns his coat collar up and goes down the hall and out. Off stage as TOM starts to go down the hall)

 

 

We never made it to the timberline. The rain started to come down. Another hour or so and we would have got to the hut and spent the night, but the fellows wouldn't hear of it . . .

 

 

(The door slams. LAURA turns away from the study door in despair. Still off stage)

 

 

What was that?

 

 

 

 

LAURA

 

 

Nothing . . . Nothing at all.

 

 

 

 

BILL

 

 

(Enters and gets pipe from mantelpiece)

 

 

Good to get out, though. Makes you feel alive. Think I'll go out again next Saturday, alone. Won't be bothered by the fellows wanting to turn back.

 

 

(He has settled down in the chair intended for TOM. The school bells start to ring nine. BILL reaches out his hand for LAURA. Standing by the door, she looks at his outstretched hand, as the lights fade, and

 

 

THE CURTAIN FALLS

 

 

 

 

 

 

 

 

 

 

ACT THREE

 

 

The time is late the next afternoon.

 

 

As the curtain rises, TOM is in his room. His door is shut and bolted. He is lying on his back on the bed, staring up at the ceiling.

 

 

 

 

RALPH (He is at the phone)

 

 

Hello, Mary . . . Ralph . . . Yeah, I just wanted you to know I'd be a little delayed picking you up . . . Yeah . . . everyone was taking a shower over here, and there's only one shower for eight guys . . . No it's not the same place as last night . . . The tea dance is at the Inn . . .

 

 

(He suddenly looks very uncomfortable)

 

 

Look, I'll tell you when I see you . . . Okay . . .

 

 

(Almost whispers it)

 

 

I love you . . .

 

 

(STEVE, RALPH's sidekick, comes running in from the outside. He's all dressed up and he's got something to tell)

 

 

Yeah, Mary. Well, I can't say it over again . . . Didn't you hear me the first time?

 

 

(Loud so she'll hear it)

 

 

Hi, Steve.

 

 

 

 

STEVE

 

 

Come on, get off. I got something to tell you.

 

 

 

 

RALPH

 

 

Mary -- Mary, I'll get there faster if I stop talking now. Okay? Okay. See you a little after four.

 

 

(He hangs up)

 

 

What the hell's the matter with you?

 

 

 

 

STEVE

 

 

Have you seen Tom?

 

 

 

 

RALPH

 

 

No.

 

 

 

 

STEVE

 

 

You know what the hell he did last night?

 

 

 

 

RALPH

 

 

What?

 

 

 

 

STEVE

 

 

He went and saw Ellie.

 

 

 

 

RALPH

 

 

Who are you bulling?

 

 

 

 

STEVE

 

 

No, honest. Ellie told Jackson over at the kitchen. Everybody knows now.

 

 

 

 

RALPH

 

 

What did he want to go and do a thing like that for?

 

 

 

 

STEVE

 

 

But wait a minute. You haven't heard the half of it.

 

 

RALPH

 

 

Listen, I gotta get dressed.

 

 

(Starts upstairs.)

 

 

 

 

STEVE (On their way up the stairs)

 

 

The way Ellie tells it, he went there, all the hell dressed up like he was going to the dance, and . . .

 

 

(They disappear up the stairs. BILL after a moment, comes in the hall, and goes quickly up the stairs. He goes right into AL and TOM'S main room without knocking. We then hear him try the handle of TOM's bedroom door. TOM looks at the door defiantly and sullenly.)

 

 

 

 

BILL (Knocks sharply)

 

 

Tom!

 

 

(Rattles door some more)

 

 

Tom, this is Mr. Reynolds. Let me in.

 

 

 

 

TOM

 

 

I don't want to see anyone.

 

 

 

 

BILL

 

 

You've got to see me. Come on. Open up! I've got to talk to the Dean at four, and I want to speak to you first.

 

 

 

 

TOM

 

 

There's nothing to say.

 

 

 

 

BILL

 

 

I can break the door down. Then your father would have to pay for a new door. Do you want that? Are you afraid to see me?

 

 

(TOM after a moment, goes to the door and pulls back the bolt. BILL comes in quickly)

 

 

Well.

 

 

(TOM goes back and sits on the bed. Doesn't look at BILL)

 

 

Now I've got to have the full story. All the details so that when I see the Dean . . .

 

 

 

 

TOM

 

 

You've got the full story. What the hell do you want?

 

 

 

 

BILL

 

 

We don't seem to have the full story.

 

 

 

 

TOM

 

 

When the school cops brought me in last night they told you I was with Ellie Martin.

 

 

 

 

BILL

 

 

That's just it. It seems you weren't with her.

 

 

 

 

TOM (After a moment)

 

 

What do you mean?

 

 

 

 

BILL

 

 

You weren't with her. You couldn't be with her. Do you understand what I mean?

 

 

 

 

TOM (Trying to brave it out)

 

 

Who says so?

 

 

 

 

BILL

 

 

She says so. And she ought to know.

 

 

(TOM turns away)

 

 

She says that you couldn't . . . and that you jumped up and grabbed a knife in her kitchen and tried to kill yourself . . . and she had to fight with you and that's what attracted the school cops.

 

 

 

 

TOM

 

 

What difference does it make?

 

 

 

 

BILL

 

 

I just wanted the record to be straight. You'll undoubtedly be expelled, no matter what . . . but I wanted the record straight.

 

 

 

 

TOM (Turning on him)

 

 

You couldn't have stood it, could you, if I'd proved you wrong?

 

 

 

 

BILL

 

 

Where do you get off talking like that to a master?

 

 

 

 

TOM

 

 

You'd made up your mind long ago, and it would have killed you if I'd proved you wrong.

 

 

 

 

BILL

 

 

Talking like that isn't going to help you any.

 

 

 

 

TOM

 

 

Nothing's going to help. I'm gonna be kicked out, and then you're gonna be happy.

 

 

 

 

BILL

 

 

I'm not going to be happy. I'm going to be very sorry . . . sorry for your father.

 

 

 

 

TOM

 

 

All right, now you know. Go on, spread the news. How can you wait?

 

 

 

 

BILL

 

 

I won't tell anyone . . . but the Dean, of course.

 

 

 

 

TOM

 

 

And my father . . .

 

 

 

 

BILL

 

 

Perhaps . . .

 

 

 

 

TOM (After a long pause)

 

 

And Mrs. Reynolds.

 

 

 

 

BILL (Looks at TOM)

 

 

Yes. I think she ought to know.

 

 

(He turns and leaves the room. Goes through the sitting room and up the stairs, calling "Ralph." TOM closes the door and locks it, goes and sits down in the chair.)

 

 

 

 

LAURA

 

 

(As BILL goes upstairs to RALPH, she comes into the master's study. She is wearing a wool suit. She goes to the cupboard and brings out TOM's raincoat. She moves with it to the door. There is a knock. She opens the door)

 

 

Oh, hello, Mr. Lee.

 

 

 

 

HERB (Coming in, he seems for some reason rather pleased)

 

 

Hello, Laura.

 

 

 

 

LAURA

 

 

Bill isn't in just now, though I'm expecting him any moment.

 

 

 

 

HERB

 

 

My train was twenty minutes late. I was afraid I'd missed him. We have an appointment with the Dean in a few minutes . . .

 

 

 

 

LAURA (Is coolly polite)

 

 

Oh, I see.

 

 

 

 

HERB

 

 

Have I done something to displease you, Laura? You seem a little . . .

 

 

(HERB shrugs and makes a gesture with his hands meaning cool.)

 

 

 

 

LAURA

 

 

I'm sorry. Forgive me. Won't you sit down?

 

 

 

 

HERB

 

 

I remember that you were displeased at my leaving Tom in school a week ago. Well, you see I was right in a sense. Though, perhaps being a lady you wouldn't understand.

 

 

 

 

LAURA

 

 

I'm not sure that I do.

 

 

 

 

HERB

 

 

Well, now, look here. If I had taken Tom out of school after that scandal with Mr. . . . uh . . . what was his name?

 

 

 

 

LAURA

 

 

Mr. Harris.

 

 

 

 

HERB

 

 

Yes. If I'd taken Tom out then, he would have been marked for the rest of his life.

 

 

 

 

LAURA

 

 

You know that Tom will be expelled, of course.

 

 

 

 

HERB

 

 

Yes, but the circumstances are so much more normal.

 

 

 

 

LAURA (After looking at him a moment)

 

 

I think, Mr. Lee, I'm not quite sure, but I think, in a sense, you're proud of Tom.

 

 

 

 

HERB

 

 

Well.

 

 

 

 

LAURA

 

 

Probably for the first time you're proud of him because the school police found him out of bounds with a . . .

 

 

 

 

HERB

 

 

I shouldn't have expected you to understand. Bill will see what I mean.

 

 

(BILL starts down the stairs.)

 

 

 

 

LAURA

 

 

Yes. He probably will.

 

 

(BILL comes in the room.)

 

 

 

 

HERB

 

 

Bill.

 

 

 

 

BILL

 

 

Hello, Herb.

 

 

(HERB looks from LAURA to BILL. Notices the coldness between them.)

 

 

 

 

BILL

 

 

I was just up seeing Tom.

 

 

 

 

HERB

 

 

Yes. I intend to go up after we've seen the Dean. How is he?

 

 

 

 

 

 

BILL

 

 

All right.

 

 

 

 

HERB (Expansive)

 

 

Sitting around telling the boys all about it.

 

 

 

 

BILL

 

 

No, he's in his room alone. The others are going to the tea dance at the Inn. Laura . . .

 

 

(Sees LAURA is leaving the room)

 

 

Oh, Laura, I wish you'd stay.

 

 

(LAURA takes one step back into the room.)

 

 

 

 

HERB

 

 

I was telling your wife here, trying to make her understand the male point of view on this matter. I mean, how being kicked out for a thing like this, while not exactly desirable, is still not so serious. It's sort of one of the calculated risks of being a man.

 

 

(He smiles at his way of putting it.)

 

 

 

 

BILL (Preparing to tell HERB)

 

 

Herb?

 

 

 

 

HERB

 

 

Yes, Bill. I mean, you agree with me on that, don't you?

 

 

 

 

BILL

 

 

Yes, Herb, only the situation is not exactly as it was reported to you over the phone. It's true that Tom went to this girl Ellie's place, and it's true that he went for the usual purpose. However . . . however, it didn't work out that way.

 

 

 

 

HERB

 

 

What do you mean?

 

 

 

 

BILL

 

 

Nothing happened.

 

 

 

 

HERB

 

 

You mean she . . . she wouldn't have him?

 

 

 

 

BILL

 

 

I mean, Tom . . . I don't know . . . he didn't go through with it. He couldn't.

 

 

(He looks at LAURA)

 

 

It's true. The girl says so. And when it didn't work, he tried to kill himself with a knife in the kitchen, and she struggled with him, and that brought the school cops, and that's that.

 

 

(LAURA turns away, shocked and moved. MR. LEE sits down in a chair bewildered)

 

 

I'm sorry, Herb. Of course the fact that he was with Ellie at her place is enough to get him expelled.

 

 

 

 

HERB

 

 

Does everyone know this?

 

 

 

 

BILL

 

 

Well, Ellie talks. She's got no shame . . . and this is apparently something to talk about.

 

 

 

 

LAURA (To Mr. Lee)

 

 

Do you still think it will make a good smoking-car story?

 

 

 

 

BILL

 

 

What do you mean?

 

 

 

 

HERB

 

 

Why did he do it? Before, maybe he could talk it down, but to go do a thing like this and leave no doubts.

 

 

 

 

LAURA

 

 

In whose mind?

 

 

 

 

BILL

 

 

Laura, please.

 

 

 

 

LAURA (Angry)

 

 

You asked me to stay.

 

 

 

 

BILL (Flaring back at her)

 

 

Well, now you've heard. We won't keep you.

 

 

 

 

LAURA (Knowing, without asking)

 

 

Why did you want me to hear?

 

 

 

 

BILL (Going to her)

 

 

I wanted you to know the facts. That's all. The whole story.

 

 

(LAURA stands in the alcove.)

 

 

 

 

HERB

 

 

Bill, Bill! Maybe thcre's some way of getting to this girl so she wouldn't spread the story.

 

 

 

 

BILL

 

 

I'm afraid it's too late for that.

 

 

 

 

HERB

 

 

I don't know. Some things don't make any sense. What am I going to do now?

 

 

 

 

LAURA (Re-entering)

 

 

Mr. Lee, please don't go on drawing the wrong conclusions!

 

 

 

 

HERB

 

 

I'm drawing no conclusions. This sort of thing can happen to a normal boy. But it's what the others will think . . . Added to the Harris business. And that's all that's important. What they'll think.

 

 

 

 

LAURA

 

 

Isn't it important what Tom thinks?

 

 

 

 

BILL

 

 

Herb, we'd better be getting on over to the Dean's . . .

 

 

 

 

HERB (Indicating upstairs)

 

 

Is he in his room?

 

 

 

 

BILL

 

 

Yes.

 

 

 

 

HERB

 

 

Packing?

 

 

 

 

BILL

 

 

No.

 

 

 

 

 

 

HERB

 

 

I told him to come to you to talk things over. Did he?

 

 

 

 

BILL

 

 

No.

 

 

 

 

HERB

 

 

What am I going to say to him now?

 

 

 

 

BILL

 

 

We're expected at four.

 

 

 

 

HERB

 

 

I know. But I've got to go up . . . Maybe I should have left him with his mother. She might have known what to do, what to say . . .

 

 

(He starts out)

 

 

You want to come along with me?

 

 

 

 

BILL (Moving to hall)

 

 

All right.

 

 

 

 

LAURA (Serious)

 

 

Bill, I'd like to talk with you.

 

 

 

 

BILL I'll be back.

 

 

(Goes with HERB to the landing. LAURA exits, taking off her jacket.)

 

 

 

 

HERB

 

 

Maybe I ought to do this alone.

 

 

 

 

BILL

 

 

He's probably locked in his bedroom.

 

 

(HERB goes up the stairs and inside the study. BILL stays in the hall. TOM, as he hears his father knocking on the bedroom door, stiffens. HERB tries the door handle.)

 

 

 

 

HERB (Off, in the study)

 

 

Tom . . . Tom . . . it's Dad.

 

 

(TOM gets up, but just stands there)

 

 

Tom, are you asleep?

 

 

(After a few moments, he reappears on the landing. He is deeply hurt that his son wouldn't speak to him)

 

 

I think he's asleep.

 

 

 

 

BILL (Making a move to go in and get TOM)

 

 

He can't be . . .

 

 

 

 

HERB (Stops)

 

 

Yes, I think he is. He was always a sound sleeper. We used to have to drag him out of bed when he was a kid.

 

 

 

 

BILL

 

 

But he should see you.

 

 

 

 

HERB

 

 

It'll be better later, anyhow.

 

 

(He starts down the stairs, troubled, puzzled.)

 

 

 

 

BILL

 

 

I'll go right with you, Herb.

 

 

(They re-enter the study, and BILL goes out through the alcove. HERB stays in the master's study.)

 

 

 

 

TOM (When his father is downstairs, he opens his bedroom door and faintly calls)

 

 

Dad?

 

 

(HERB looks up, thinking he's heard something but then figures it must have been something else. RALPH, STEVE and PHIL come crashing down the stairs, dressed for the tea dance, ad libbing comments about the girls at the dance. TOM closes his door. When they have gone, he opens it again and calls "Dad" faintly. When there is no response, he closes the door, and goes and lies on the bed.)

 

 

 

 

BILL (Re-entering)

 

 

Laura, I'm going to the Dean's now with Herb. I'm playing squash with the headmaster at five. So I'll see you at the dining room at six-thirty.

 

 

 

 

LAURA (Entering after him)

 

 

I wish you'd come back here after.

 

 

 

 

BILL

 

 

Laura, I can't.

 

 

 

 

LAURA

 

 

Bill, I wish you would.

 

 

 

 

BILL (Sees that there is some strange determination in LAURA'S face)

 

 

Herb, I'll be with you in a minute. Why don't you walk along?

 

 

 

 

HERB

 

 

All right . . . Good-bye, Laura. See you again.

 

 

 

 

BILL

 

 

You'll see her in a couple of days at the reunion.

 

 

 

 

HERB

 

 

I may not be coming up for it now . . . Maybe I will. I don't know. I'll be walking along. Good-bye, Laura. Tell Tom I tried to see him.

 

 

(He goes out.)

 

 

 

 

BILL

 

 

Now, Laura, what's the matter? I've got to get to the Dean's rooms to discuss this matter.

 

 

 

 

LAURA

 

 

Yes, of course. But first I'd like to discuss the boys who made him do this . . . the men and boys who made him do this.

 

 

 

 

BILL

 

 

No one made him do anything.

 

 

 

 

LAURA

 

 

Is there to be no blame, no punishment for the boys and men who taunted him into doing this? What if he had succeeded in killing himself? What then?

 

 

 

 

BILL

 

 

You're being entirely too emotional about this.

 

 

 

 

LAURA

 

 

If he had succeeded in killing himself in Ellie's rooms, wouldn't you have felt some guilt?

 

 

 

 

BILL

 

 

I?

 

 

 

 

LAURA

 

 

Yes, you.

 

 

 

 

BILL

 

 

I wish you'd look at the facts and not be so emotional about this.

 

 

 

 

LAURA

 

 

The facts! What facts! An innocent boy goes swimming with an instructor . . . an instructor whom he likes because this instructor is one of the few who encourage him, who don't ride him . . . And because he's an off-horse, you and the rest of them are only too glad to put two and two together and get a false answer . . . anything which will let you go on and persecute a boy whom you basically don't like. If it had happened with Al or anybody else, you would have done nothing.

 

 

 

 

BILL

 

 

It would have been an entirely different matter. You can't escape from what you are . . . your character. Why do they spend so much time in the law courts on character witnesses? To prove this was the kind of man who could or couldn't commit such and such a crime.

 

 

 

 

LAURA

 

 

I resent this judgment by prejudice. He's not like me, therefore, he is capable of all possible crimes. He's not one of us . . . a member of the tribe!

 

 

 

 

BILL

 

 

Now look, Laura, I know this is a shock to you, because you were fond of this boy. But you did all you could for him, more than anyone would expect. After all, your responsibility doesn't go beyond --

 

 

 

 

LAURA

 

 

I know. Doesn't go beyond giving him tea and sympathy on Sunday afternoons. Well, I want to tell you something. It's going to shock you . . . but I'm going to tell you.

 

 

 

 

BILL

 

 

Laura, it's late.

 

 

 

 

LAURA

 

 

Last night I knew what Tom had in mind to do.

 

 

 

 

BILL

 

 

How did you know?

 

 

 

 

LAURA

 

 

I heard him making the date with Ellie on the phone.

 

 

 

 

BILL

 

 

And you didn't stop him? Then you're the one responsible.

 

 

 

 

LAURA

 

 

Yes, I am responsible, but not as you think. I did try to stop him, but not by locking him in his room, or calling the school police. I tried to stop him by being nice to him, by being affectionate. By showing him that he was liked . . . yes, even loved. I knew what he was going to do . . . and why he was going to do it. He had to prove to you bullies that he was a man, and he was going to prove it with Ellie Martin. Well . . . last night . . . last night, I wished he had proved it with me.

 

 

 

 

 

 

BILL

 

 

What in Christ's name are you saying?

 

 

 

 

LAURA

 

 

Yes, I shock you. I shock myself. But you are right. I am responsible here. I know what I should have done. I knew it then. My heart cried out for this boy in his misery . . . a misery imposed by my husband. And I wanted to help him as one human being to another . . . and I failed. At the last moment, I sent him away . . . sent him to . . .

 

 

 

 

BILL

 

 

You mean you managed to overcome your exaggerated sense of pity.

 

 

 

 

LAURA

 

 

No, it was not just pity. My heart in its own loneliness . . . Yes, I've been lonely here, miserably lonely . . . and my heart in its loneliness cried out for this boy . . . cried out for the comfort he could give me too.

 

 

 

 

BILL

 

 

You don't know what you're saying.

 

 

 

 

LAURA

 

 

But I was a good woman. Good in what sense of the word? Good to whom . . . and for whom?

 

 

 

 

BILL

 

 

Laura, we'll discuss this, if we must, later on . . .

 

 

 

 

LAURA

 

 

Bill! There'll be no later on. I'm leaving you.

 

 

 

 

BILL

 

 

Over this thing?

 

 

 

 

LAURA (After a moment)

 

 

Yes, this thing, and all the other things in our marriage.

 

 

 

 

BILL

 

 

For God's sake, Laura, what are you talking about?

 

 

 

 

LAURA

 

 

I'm talking about love and honor and manliness, and tenderness, and persecution. I'm talking about a lot. You haven't understood any of it.

 

 

 

 

BILL

 

 

Laura, you can't leave over a thing like this. You know what it means.

 

 

 

 

LAURA

 

 

I wouldn't worry too much about it. When I'm gone, it will probably be agreed by all that I was an off-horse too, and didn't really belong to the clan, and it's good riddance.

 

 

 

 

BILL

 

 

And you're doing this . . . all because of this . . . this fairy?

 

 

 

 

LAURA (After a moment)

 

 

This boy, Bill . . . this boy is more of a man than you are.

 

 

 

 

BILL

 

 

Sure. Ask Ellie.

 

 

 

 

LAURA

 

 

Because it was distasteful for him. Because for him there has to be love. He's more of a man than you are.

 

 

 

 

BILL

 

 

Yes, sure.

 

 

 

 

LAURA

 

 

Manliness is not all swagger and swearing and mountain climbing. Manliness is also tenderness, gentleness, consideration. You men think you can decide on who is a man, when only a woman can really know.

 

 

 

 

BILL

 

 

Ellie's a woman. Ask Ellie.

 

 

 

 

LAURA

 

 

I don't need to ask anyone.

 

 

 

 

BILL

 

 

What do you know about a man? Married first to that boy . . . again, a poor pitiable boy . . . You want to mother a boy, not love a man. That's why you never really loved me. Because I was not a boy you could mother.

 

 

 

 

LAURA

 

 

You're quite wrong about my not loving you. I did love you. But not just for your outward show of manliness, but because you needed me . . . For one unguarded moment you let me know you needed me, and I have tried to find that moment again the year we've been married . . . Why did you marry me, Bill? In God's name, why?

 

 

 

 

BILL

 

 

Because I loved you. Why else?

 

 

 

 

LAURA

 

 

You've resented me . . . almost from the day you married me, you've resented me. You never wanted to marry really . . . Did they kid you into it? Does a would-be headmaster have to be married? Or what was it, Bill? You would have been far happier going off on your jaunts with the boys, having them to your rooms for feeds and bull sessions . . .

 

 

 

 

BILL

 

 

That's part of being a master.

 

 

 

 

LAURA

 

 

Other masters and their wives do not take two boys always with them whenever they go away on vacations or weekends.

 

 

 

 

BILL

 

 

They are boys without privileges.

 

 

 

 

LAURA

 

 

And I became a wife without privileges.

 

 

 

 

BILL

 

 

You became a wife . . .

 

 

(He stops.)

 

 

 

 

LAURA

 

 

Yes?

 

 

 

 

BILL

 

 

You did not become a wife.

 

 

 

 

LAURA

 

 

I know. I know I failed you. In some terrible way I've failed you.

 

 

 

 

BILL

 

 

You were more interested in mothering that fairy up there than in being my wife.

 

 

 

 

LAURA

 

 

But you wouldn't let me, Bill. You wouldn't let me.

 

 

 

 

BILL (Grabbing her by the shoulders)

 

 

What do you mean I wouldn't let you?

 

 

 

 

LAURA (Quietly, almost afraid to say it)

 

 

Did it ever occur to you that you persecute in Tom, that boy up there, you persecute in him the thing you fear in yourself?

 

 

(BILL looks at her for a long moment of hatred. She has hit close to the truth he has never let himself be conscious of. There is a moment when he might hurt her, but then he draws away, still staring at her. He backs away, slowly, and then turns to the door)

 

 

Bill!

 

 

 

 

BILL (Not looking at her)

 

 

I hope you will be gone when I come back from dinner.

 

 

 

 

LAURA (Quietly)

 

 

I will be . . .

 

 

(Going towards him)

 

 

Oh, Bill, I'm sorry. I shouldn't have said that . . . it was cruel.

 

 

(She reaches for him as he goes out the door)

 

 

This was the weakness you cried out for me to save you from, wasn't it . . . And I have tried.

 

 

(He is gone)

 

 

I have tried.

 

 

(Slowly she turns back into the room and looks at it)

 

 

I did try.

 

 

(For a few minutes she stands stunned and tired from her outburst. Then she moves slowly to TOM'S raincoat, picks it up and turns and goes out of the room and to the stair-landing. She goes to the boy's study door and knocks)

 

 

Tom.

 

 

(She opens it and goes in out of sight. At TOM's door, she calls again)

 

 

Tom.

 

 

(TOM turns his head slightly and listens. LAURA opens TOM'S door and comes in)

 

 

Oh, I'm sorry. May I come in?

 

 

(She sees she's not going to get an answer from him, so she goes in)

 

 

I brought back your raincoat. You left it last night.

 

 

(She puts it on chair. She looks at him)

 

 

This is a nice room . . . I've never seen it before . . . As a matter of fact I've never been up here in this part of the house.

 

 

(Still getting no response, she goes on. TOM slowly turns and looks at her back, while she is examining something on the walls. She turns, speaking)

 

 

It's very cozy. It's really quite . . .

 

 

(She stops when she sees he has turned around looking at her)

 

 

Hello.

 

 

 

 

TOM (Barely audible)

 

 

Hello.

 

 

 

 

LAURA

 

 

Do you mind my being here?

 

 

 

 

TOM

 

 

You're not supposed to be.

 

 

 

 

LAURA

 

 

I know. But everyone's out, and will be for some time . . . I wanted to return your raincoat.

 

 

 

 

TOM

 

 

Thank you.

 

 

(After a pause he sits up on the bed, his back to her)

 

 

I didn't think you'd ever want to see me again.

 

 

 

 

LAURA

 

 

Why not?

 

 

 

 

TOM

 

 

After last night. I'm sorry about what happened downstairs.

 

 

 

 

LAURA (She looks at him a while, then)

 

 

I'm not.

 

 

 

 

TOM (Looks at her. Can't quite make it out)

 

 

You've heard everything, I suppose.

 

 

 

 

LAURA

 

 

Yes.

 

 

 

 

TOM

 

 

Everything?

 

 

 

 

LAURA

 

 

Everything.

 

 

 

 

TOM

 

 

I knew your husband would be anxious to give you the details.

 

 

 

 

LAURA

 

 

He did.

 

 

(She stands there quietly looking down at the boy.)

 

 

 

 

TOM

 

 

So now you know too.

 

 

 

 

LAURA

 

 

What?

 

 

 

 

TOM

 

 

That everything they said about me is true.

 

 

 

 

LAURA

 

 

Tom!

 

 

 

 

TOM

 

 

Well, it is, isn't it?

 

 

 

 

LAURA.

 

 

Tom?

 

 

 

 

TOM

 

 

I'm no man. Ellie knows it. Everybody knows it. It seems everybody knew it, except me. And now I know it.

 

 

 

 

LAURA (Moves towards him)

 

 

Tom . . . Tom . . . dear.

 

 

(TOM turns away from her)

 

 

You don't think that just because . . .

 

 

 

 

TOM

 

 

What else am I to think?

 

 

 

 

LAURA (Very gently)

 

 

Tom, that didn't work because you didn't believe in it . . . in such a test.

 

 

 

 

TOM (With the greatest difficulty)

 

 

I touched her, and there was nothing.

 

 

 

 

LAURA

 

 

You aren't in love with Ellie.

 

 

 

 

TOM

 

 

That's not supposed to matter.

 

 

 

 

LAURA

 

 

But it does.

 

 

 

 

TOM

 

 

I wish they'd let me kill myself.

 

 

 

 

LAURA

 

 

Tom, look at me.

 

 

(TOM shakes his head)

 

 

Tom, last night you kissed me.

 

 

 

 

TOM

 

 

Jesus!

 

 

 

 

LAURA

 

 

Why did you kiss me?

 

 

 

 

TOM (Turns suddenly)

 

 

And it made you sick, didn't it? Didn't it?

 

 

(Turns away from her again.)

 

 

 

 

LAURA

 

 

How can you think such a thing?

 

 

 

 

TOM

 

 

You sent me away . . . you . . . Anyway, when you heard this morning it must have made you sick.

 

 

 

 

LAURA (Sits on edge of bed)

 

 

Tom, I'm going to tell you something.

 

 

(TOM won't turn)

 

 

Tom?

 

 

(He still won't turn)

 

 

It was the nicest kiss I've ever had . . . from anybody.

 

 

(TOM slowly turns and looks at her)

 

 

Tom, I came up to say good-bye.

 

 

(TOM shakes his head, looking at her)

 

 

I'm going away . . . I'll probably never see you again. I'm leaving Bill.

 

 

(TOM knits his brows questioning)

 

 

For a lot of reasons . . . one of them, what he's done to you. But before I left, I wanted you to know, for your own comfort, you're more of a man now than he ever was or will be. And one day you'll meet a girl, and it will be right.

 

 

(TOM turns away in disbelief)

 

 

Tom, believe me.

 

 

 

 

TOM

 

 

I wish I could. But a person knows . . . knows inside. Jesus, do you think after last night I'd ever . . .

 

 

(He stops. After a moment, he smiles at her)

 

 

But thanks . . . thanks a lot.

 

 

(He closes his eyes. LAURA looks at him a long time. Her face shows the great compassion and tenderness she feels for this miserable boy. After some time, she gets up and goes out the door. A moment later she appears in the hall door. She pauses for a moment, then reaches out and closes it, and stays inside.

 

 

TOM, when he hears the door close, his eyes open. He sees she has left his bedroom. Then in complete misery, he lies down on the bed, like a wounded animal, his head at the foot of the bed.

 

 

LAURA in a few moments appears in the bedroom doorway. She stands there, and then comes in, always looking at the slender figure of the boy on the bed. She closes the bedroom door.

 

 

TOM hears the sound and looks around. When he sees she has come back, he turns around slowly, wonderingly, and lies on his back, watching her.

 

 

LAURA, seeing a bolt on the door, slides it to. Then she stands looking at TOM, her hand at her neck. With a slight and delicate movement, she unbuttons the top button of her blouse, and moves towards TOM. When she gets alongside the bed, she reaches out her hand, still keeping one hand at her blouse. TOM makes no move. Just watches her.

 

 

LAURA makes a little move with the outstretched hand, asking for his hand. TOM slowly moves his hand to hers.)

 

 

 

 

LAURA

 

 

(Stands there holding his hand and smiling gently at him. Then she sits and looks down at the boy, and after a moment, barely audible)

 

 

And now . . . nothing?

 

 

(TOM's other hand comes up and with both his hands he brings her hand to his lips.)

 

 

 

 

LAURA (Smiles tenderly at this gesture, and after a moment)

 

 

Years from now . . . when you talk about this . . . and you will . . . be kind.

 

 

(Gently she brings the boy's hands toward her opened blouse, as the lights slowly dim out . . . and . . .

 

 

 

 

THE CURTAIN FALLS

 

 

THE END