PICNIC DRAMATISTS PLAY SERVICE INC.the summer sweet... Shakespeare Sonnet 94 SOUND EFFECT RECORD. [Dramatists Play Service cam furaish a special yound effect record {for ue in connection with the production ofthis play. This ree- ord contains the numerous sound effects needed for production, Sd sella at $9.50, which price includes packing and shipping.PICNIC was first produced by The Theatre Guild and Joshua Logan. Howano Bavane, friend of 2 ‘The action of the play takes place in a small Kanses town in the Flo Owens and Helen Potts. i i £ Acr I Labor Day, early morning. ‘Aer It Same day, jast before sunset. ‘Aer I Scanm 1: Early next morning, before daylight. ‘Senymn 2: Later the same morning, after sunrise. PICNIC ACT ‘The action of the play a laid ow tbe porcbes and in the door extending to the back doo house that we see. There are 1 ond story, one of these windo | ‘Mae's room, The porch round, and two I up to the porch v. an open pack of cigarmaterial, u, $. on the porch another screen door leads to ichen. By the kitcher door a shelf is attached rs, Potts’ woodsh back of the stage w chair. L. of the chair is an old tree stump. To L. can be seen the back entrance to the house of Mrs. Heten Potts, ber but older widow tady, who leails up the side of porch which extends along the u, s. side of the Just the beginning of this porch can be seem, the itocked by the house. The house's entrance is offstage and is reached from this porch. 0. $. is a woodsbed at- tached to rs. Potts’ house by the roof. This woodshed (separated from the yard by a tr extends to the extreme D. s, edge of the set. The space between the woodshed and house forms a narrow passageway lead: ing to the rest of Mrs. Potts property. A roush wooden door leads from the yard into this passageway. This is re~ ferred to as the “shed door.” When "the porct ‘means ‘Ho's porch, Mrs. Polts' po designated as such, oes up it is early mo stage is empty. 3t bas just begun to edae the green {i brown, The scene bas the color of 6 goes down the steps to the door of the shed as Hal Ca appears om tbe porch carrying a trash barrel on der. Hal is an exceedingly bandsome you dungarees and cowboy boots, door and disappears inside, bim for moment, Then be goes dow tree stump, puts bis right foot barrel off bis sboulder and 1: takes a breath, Mrs. Potts r leaf rake which she shed as she speaks, hhad a big breakfast, Woul fart to work? ‘Mam. (He looks away, con- :. POTTS. Now, stop being embarrassed because you asked for breakfast. That ‘you're burning the trash ike to feel clean. (He looks around, worried.) ‘Would anybody MRS. POTTS. hs and goes off 1¢ porch from the kites of sixteen and wears a denim shi 7nail by the of ber biding pI rides in from by the step and brows a paper ley gate and bim crosses down to the c. of the lav Owens window. Bomber slams the paper ucceeds.) down? 1 break a window you" to €) Go back to ’s no fun lookin’ jomber crosses to steps, BOMBER, (Crosses to Madge. MADGE. Hi, Bomber. BOMBER. I hope I didn't wake you, Madge, or bother you or (Millie crosses u, to paper which Bomber threw om MADGE. Of course not. BOMBER, Hey, Madge, 2 bunch of us guys are chipy hhot-rod-—radio and everything. [ get it every Friday night, (Hfillie crosses b,, sits on chair in c. of yard, opens paper as she crosses.) MADGI 1e 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 bitn brag BOMBER, (Squat at Madge's L. om step.) Lemme pick you up Some night after Seymour brings you bore MADGE. That wouldn't be far to Alan, would it? We go steady. (Jo Bomber.) Don’t you know what “steady” means, (gnoring Millie.) { seen you riding around in his ike you was a Duchess. (He turns away to c. Hal enters from p. 1. and gets rake from the shed.) Why do good lool girls have to be so stuck on themselves? rot stuck on myself! You take MADGE. (‘Walks t. to Well get some cans of beer you leave her alone! (Madge crosses D. on porch to front door, Bomber fol interested, feans rake against trellis and amb BOMBER, (Grabbing Madge's arm.) Aw, emon, Madge! uy a brea HAL, (Zo Tomber, Crosses toc) On your way, lover boy! edu ite is true, and after a moment of indecision, fer Bomber.) Go peddle your papers! Ok— ‘ok—ok—ok—ok! (Bomber crosses u. c, to bicycle and quickly rides off 8. alley, Hal watches him go then turns to Millie, Madge 5 om porch, feet on c. of top step.) HAL, Hey, kid, got a smoke? if out cigarette.) You workin’ for Mrs. Potts? ig pockets for matches) Yeah, I'm doin’ a few odd wand the yard. Hands him matches.) She give you breakfast? Embarrassed about it) Yab. (Disepprovinaty.) Mili ing to Macdge—qu MADGE. (Returning sm smile.) HEHAL. (Turning u. 1, to himself.) FLO. (Comes out of front door onto porch, carrying an evening dress on which she works during the following scene and a sewing basket and Madge's manicure set. She erosses to armebair and puls dress on it. Puts sewing basket on floor next to chair. Retu «6, and gives Madge manicure set, who places it on floor where she sits, Then she sees Hal. As Flo enters, Mite puts out ber cigarette ‘on her heel.) Young man, this is my house and these are my daughters, HAL. (Jurns and crosses to €, as Flo speaks.) They are? FLO. (She nods.) Is there something you want? HAL. Just loafin, Mam. FLO. This is a busy day for us. You better run along. HAL. It’s your house, lady. (Crosses 1. to shed, turns to, Plo.) You're their mother? (Blo nods. Hal shakes and walks off to Mrs. Potts’ yard through door of sbed, taking rake with ich leans against trellis.) FLO. (When Hol is off she crosses p. 1.) Has Helen Potts taken jn another tramp? MADGE. I don’t see why he’s a tramp just because Mrs. Potts gave him breakfast. FLO. I'm going to speak to her about the way she takes in every Tom, Dick and Harry! MADGE. He wasn't doing any harm. FLO. I bet he'd like to, (Crosses to armchair on porch and picks tup 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, s0 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 the river, close to a Dutch oven. 'm being bossy. ‘a woman's bossy. ( Whenever I hear that ing of excitement . . MILLIE. Whenever T hear it, I tell myself some day I'm going to ‘get 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 MADGE. [ always wonder, maybe some wonderful person is get- ing off here, just by accident, and he'll come into the dime store for something and see me behind the counter, and hell study me and then decide I'm just the person they're looking gton to carry on an important job in the Espionage Department. (She puts towel over face below eyes.) Or maybe he wants me for some great medical experiment! FLO. Those things don’t happen in dime stores. (Millie rustles ber paper.) Madge — (She wants to get rid of Milli.) Millie, would ‘you take the milk in, please? (Millie lowers paper, Tooks' at ber mother, rises slowly and crosses U) MILLIE. (As she exits into Kitchen with milk) Awwwws (Madge turns asoay b, m. drying baie) FLO. (After a moment.) Did you and Alan have a good time on sork on dress.) ing.) We went over to his house and played some of his classical records. FLO. (fer a pause.) Then what'd you do? MADGE. Drove over to Cherryvale and had some barbecue, FLO, (A bard question to ask.) Madge, does Alan ever... make love? 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 t0- gether all summer, MADGE. Of course I lee him, FLO. Does he ever want to go beyond kissing? MADGE. (Enbarrassed.). Mom! FLO. I'm your mother, for heaven's sake! These things have to be talked about, Does he? FLO. (Jo herself, puzzled.) He doesn't . . . MADGE, He doesn’t get mad. FLO. Do you like it when he kisses you? MADGE. Yes. "FLO. You don’t sound very enthusiastic. MADGE. What do you expect me to do—pass ont every time ‘Alan puts his arm around me? FLO. No, you don't have to pass out. But it seems to me you could at east —— MADGE, (Turing to ber at? dress up in front of you. (Madge fof ber in beach chair and continues nice to be married to Alan. ¢ stores—automobiles—trips. You'd 10 parties in their homes and at the work.) Madge, MADGE. (Uncomfortably.) Mom, 1 don’t feel right with those people FLO, What do you mean? You're just as good as they are. My father was in the State Legislature and my mother’s family was MADGE, (Sbe gives dress to lo and crosses 1. toc.) T know, Mom, but all of Alan's friends talk about colleges and Europe, I feel lef out to get over those feel a few weeks, There wo Now, Alan will be bbe many more doesn't have Tong—just a few ye walle out of a shanty 1 1 doting husband who'll spend his suppose, but — young and pretty. If she loses sketch pad and charcoal, looks al new R. edge of steps) Everyone around here gets to dress up and go places except me. (Cooking off sketching.) 12 MADGE, Alnn sided try to Bd you a die forthe poi tonight. MILLIE, I don’t want Alan asking any of chese erazy boys i town to take me anywhere. MADGE, Beggars can’t be choosers! shut up. FLO. (inning up bem. ine.) MADGE. If she wants a date; why doen't she dressup and act cent? MILLIE, ’Cause I'm gonna dress and act the way I want to, and if you don’t like it you know what you ean do! MADGE. Always complaining because she doesn’t have any friends, but she smells so bad people don’t want to be near her! Glo covers Madge's mouth. Madge gives dress to Flo and picks up ber towel.) FLO. Madge! MILLIE they almost Madge is the pretty one—but she's so dumb to burn the schoolhouse down to get her out of it! of Your never would have graduated been for Jumpin’ Jeter. FLO. (Crosses to the steps.) Who's Jumpin’ Jeeter? MILLIE, Teaches history. Kids cal pretty girls in his MADGE. Mom, she’s making that up. MILLIE. Like fun I am! You couldn't even pass Miss Sydney's course in shorthand and you have ¢o work in the dime store! udge who sbricks and lows to porch.) You porch armchair and runs ‘What will the neighbors ‘Madge swats Millie shed door) grabs Madge's ‘Millie lets ber go,MILLIE. Nobody's gonna call me a goon and get by wit FLO. You called her worse names! Te doesn't hurt what names 1 call her! She's pretty, (Sbe storms off porch through front MADGE. Do you love Millie more than me? FLO, Of course not! MADGE. Why do you act as if you did? FLO. (Crosses to t. of Madge—sits on stump, takes Madge’s ‘you on his shoulder for the neighborhood to see. But when came things were different. MADGE. How? FLO, They were just . . . different. Your father wasn't home much 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 road house, MADGE, Was he sorry? FLO. Yes. He was always sorry. And I always forgave hit (Crosses to R, €.) Our life was a succession of fights and endear- you loved him. aes 2 lot more than love to keep people happy. (She looks at Madge for a moment and then crosses to U. of Madge and fufs ber bair to bel it dry.) MADGE, Mom . FLO. Yes? MADGE. What good is it to be prety? FLO. (Cooks at Madge—puzzled) Wall... fe what good are they? preity thing + pretty things are like flowers and sunsets and (She te to tam Madge’ Jace to br. Mage pulls and prety git like billboards ‘with bis bands and walks off D. 1. FLO, (Crosses to u. 1. of ry shame moves right MADGE. I knew you vw: FLO, Do you? MADGE. I don’t like him or dislike hi ike, FLO. 1 know what he’ door of tbe house, wearing ¢ dressing gown face cream and a hand mirror.) ROSEMARY, Anyone mind their company? FLO. ’Morning, Rosemary, (Crosses r. 0 armchai ROSEMARY. Mail come yet? (Madge crosses e set.) It’s Labor Day. (Flo picks up dress and rd during next spec wonder what he's comes out of front nd carrying a jar of an old schoolteacher last spring. (A bawdy ‘corner, starts to cream face.) Been 1smarry me ever since, A nice fellow and a peck of fun, don't have time for any of 'em when they start gettin’ serious FLO. independem ie wan: ders onto porch from kitchen, reading a book, Sbe sits on porch edge at R. c.) ROSEMARY. chair €.) 1 don’ Gee whiz! I go. swimming every re on half as much as he does now. FLO. Look at the way he's ROSEMARY. Who d at bim, Madge and FLO. (To Rosemary.) What's that you're rubbing in? ROSEMARY, Ponsella Three-Way Tissue Cream. Makes a good base for your makeup. FLO. There ‘woman who got skin ROSEMARY. Harrie - «she got ahold of some darn near took her skin of. leprosy! (She fooks off at Hal, then turns sway agcin.) MILLIE. Madge, how do you do your right hand? MADGE. If you were nice to people, maybe people would do something nice for you. ROSEMARY. (Crosses to ¢) You got a beau, MILLIE. Noi fingernails Fal enters be- bind ber carrying MRS. POTTS. Fla! >. (Calling back, a noise like an owl, She bands dress to Madge who exits By front door) Hoo? MRS. ROTTS. Are you going to be using the clothesline this ‘morning? FLO. No. (Mrs. Potts turns, signals to Hal and starts off D. .) HAL, (Jo Rosemary.) Hi ROSEMARY. (Surprised, self-conscious) How d'ya do? (Ital starts out D. 1.) VOICE, (Offstage t. from Airs. Potts’ house.) Hetent Helen! MRS. POTTS. (Stops.) I'm hanging out the clothes, Mama. Pll be right back, (She and Hal exit p. L, Millie starts sket FLO, (Jo Rosemary—crosses to chair C.) Poor Helen! She told ‘me sometimes she has to get up three times a night to take her ‘mother to the bathroom. (Sits) ROSEMARY. Why doesn’t she put her in an Old Ladies’ Home? FLO. None of “em will take her. She's too mean, large basket of clotbes.) ROSEMARY. She must be mean . . . if that story you told me is true, FLO. It is true! Helen and the Potts boy ran off and got married. Helen's mother caught her that very day and had che marrage annulled! (The sound of an approaching car is beard off) ROSEMARY. She's Mrs. Pots in name only FLO. Sometimes I thik she keeps the boy's name just to defy the old lady. (The car stops and the door slams, Rosemary crosses to porch corner, 7i.) You bet. FLO. Alan, wity don you go up and see Madge? Just call rom the bottom of the stars. ALAN, Okay. (Goes out front door, (Mlilie puts towel on porch u. of chair c. and yen erases B,, sits step facing R—| book and begins to read.) ROSEMARY. Do you think Alan’s FLO. I hadn't thought much about under ber eap visor. Rosema Madge? MRS. POTTS. (Cooking off at Hol.) Look at him life that wash tub as if it was so much tssue paper! VOICE. (Offstage from Mrs, Potts’ house.) Helen! Helen! MRS, POTTS. I'm visiting Flo, Mama. You don’t need me. FLO. What did you feed him? ink. Then he saw a pice of chercy pie in the icebox and he wanted ROSEMARY. (Laughs baw. herself a new boy friend! MRS, POTTS. (Gets ROSEMARY, ( Vm just a teas MRS. POTTS. (Sil foucby.) 1 could si hate for the neighbors to see me there here where there's young people coming and going. (Madge and Alan come out togetber, Madde ins ber new dress, They march out brand im band in a mock ceremony as though they were going down the aisle ond stand on top step, Madge at x.) ROSEMARY, (Crosses fo irs, Polls) Mrs. Pots, ifT said any- thing to offend you— FLO. (Sees Madge and does it feel, Madge? ( dress? Rosemary creses to U, MADGE. (Crossing to ber m 5 at ber unconscious joke.) I mean the of stump.) stands facing upstage. right back here. pretty one! .) What are you reading, holding book opens for bir t ‘wonderfull (Alan Fooks at book with ROSEMARY. (Shocked) Good Lord, Mrs, Owens, you let your daughter read fichy books lke that? FLO. (Worried.) Fi ROSEMARY. Bveryoni some sort of degenerate! ROSEMARY. It was banned from the library! 19MRS. POTTS. I don’ FLO, (Crosses to Millie) Mille, give me that book! (Alan rises. holds onto book tightly.) ty.) No! (Hl pulls book away from Millie.) ALAN. Mrs. Owens, that book is on the reading list at college. FLO, What's a person to believe? (Millie takes the book from Fro.) ROSEMARY, Wel morals! (Alilie and FLO. those college professors don’t have any shake bands.) Crosses to €. chair—sits) Where Millie comes by her never know MADGE, (4s Flo inspects ber dress.) Some of the pictures she has over her bed scare me. MILLIE, Those pictures are by Picasso, and he's a great arts. MADGE. A woman with seven eyes. Very prety MILLIE. (Delivering ber altimation) Pictures don't have to be pretty! (A sudden explosion from Mrs. Potts’ backyard off Millie crosses to L. of steps. Alan crasses to, Fl, As, Pots vise. Rosemary near shed door.) ) Stay here! He must have had a gun! VOICE, (Offstage from Mrs. Potts’ bouse.) Helen! Helen! lding Mrs. Potts' arm.) Don't go aver there, Helen! 40 go Soon anyway! (Mrs. Potts breaks away and runs off. L.) MRS, POTTS. (Off t.) What happened out here, ye HAL. (Off 1.) Gee, 1 don’t know, Mam, I just the whole thing went up, ALAN. (As be looks off 1.) Say, that guy looks like — No, it couldn't be ROSEMARY. Isn't that a shame? She'll have to do her whole wash over again. MRS. POTTS, (Off 1.) Well, was that botde in it? HAL. (Off 1) Yeah, I geuss so, (Mrs, Potts enters from D, t. ‘Flo and the others look at her expectant.) MRS. POTTS. I was 2 bad gid. FLO, What is it, Helen? MRS, POTTS. I'threw a new bottle of cleaning fluid into the trash this morning ng man? this stuf’ and 20 FLO. (Patting ber affectionately.) Helen Potts, you're (She turns, crosses R. to front door.) Come on, Madge, that dress. (Mauige goes in front door, Rosemary starts to front door, Mrs. Potts beckons to Mille who crosses t. toward ber.) ROSEMARY. Good Lord, I've got to be getting dressed, (She exits through front door.) MRS. POTTS. Millie, come help me. The young man ran into the clothesline trying to get away. (She and Hille exit v. 1.) FLO. Alan, Madge will be right down, Would you wait down hhere? (lian dashes to porch, holds front door as Fie goes in.) ALAN. Oh, sure. MRS. POTTS, (Off) You go ahend young man. Wel ae care HAL. (Off 1.) Gee, 'm awful sorry, Mam, mean to— MRS. POTTS. (Off 1.) ‘That's all right. will help me. (Hal backs om from p. 1. during this and Alan, hearing the voice, turns And stares at Hal unbelicoingly but finally be is convinced.) ALAN. (With a roar.) It HAL. (Tuas and, also with a roar.) Kid! (le leaps up to c. lawn where Alan meets bim and they clasp hands in an enthusiast shake.) The lady said you'd be around! 's nish 1 was comin’ to see you! ALAN. (Suddenfy.) How's the old outboard motor? HAL, You wanta ride? ALAN. All gassed up? (Hal makes the sound of a motor, then nnods to Alan, who pantomimes winding starting rope around Hal's bead, pulls rope, Mal makes noise of motor starting, Alan jus brows legs around Hal's waist, grabs Hal's nose steering bim like an outboard motor d ) Ahoy, Brothers, who's Winkin’, ‘Hal dumps Alan to bis feet at bis R. They are both roaring with laughter. Alan flops down on the steps, Hal crosses to D. 1, of stump.) HAL. That used to wake up the whole damn fraternity! ALAN. The last time T saw you, you were on your way to Holly- ‘wood to became a movie hero. HAL. Oh, that! aALAN. What do you mean “oh, that bey Foreign Legion. ids down bis legs to gave me a big hat ALAN. Yeah? Why? HAL, Well, you see, after Nevada. Seymour, you'da been ten, (Stretches) up every morning at six. No 1 saved up two Inundred bucks! pay me back, bed every night 1or—no babes. 1 Se€5 nO one, crosses D—sduats on D. R, lawn next to crossed and off u. 1. and ts ‘Aes, Potts carries a large chocolate cake.) MRS, POTTS, Oh, you boys talking over old times? M me ice the cake. (She crosses to Flo's kitchen door, door for ber.) HAL, (Crosses 1. to shed.) Any more work, Mam? MRS, POTTS, No. I feel mote than paid for the breakfast. HAL. (Opens shed door, puts rake inside, closes door.) S'pose there's any place I could wash up? IE. We got a shower in the basement. Come o: crosses to U. helped opens show awn.) be there in minute ms to Hal.) Okay, so they had ) And one of these babes was smokin’ the weed! started doin s00d looking? you care? 2ALAN. Makes the story more interesting. Tell me what you did exaely HAL. Well, you know me, Seymour, I'm an agreeable guy. ALAN. Sure, HAL. So when they took me to this tourist eabin, | said, “Okay, girls, iF [gotta pay for the ride —” Well—CHe shrugs and turns sway.) you know, they musta thought I was King Kong. ALAN. You mean . . . botb of them? HAL. Sure ALAN. (Crosses R. to © lauon) Golly! ‘on till we say i's over, Buck!” You'da thought she was Humphrey Bogart! ALAN. What happened? (lan crosses to ©. steps and sits) And you, Seymour, women are gettin’ ts C—Hies down, bead 1.) Then I ike me ever gonna do. me like you'd had such a bad life. inking of you, Seymour, at school—how you always had things under contro. ALAN, Me? Hi ALAN, Why do you feel you're any worse than everybody else? HAL. (Lies down, bead 1.) Maybe Pl tll you some day. ALAN. Your father drinks. So what? It happens in the best of families TIAL, He died in jail, Seymour, the last time they scraped him up of the sidewalk. ALAN. Gee, Hal, I'm awfully sorry to hear that HL, The old lady wouldn't even come across with the dough for the funeral. They had to bury him in Pauper’s Row. ALAN. What aboue the filling station? HAL. 1 but the old lady wanted it 10 bad she was gonna have him declared insane. So [let her have it, Who needs ie? ALAN. Yeah. When did you g HAL, This morning, on a freight ALAN. Why dida’t you come to see me right away? HAL. I didn’t want to walk into your palatial mansion Tookia’ like a bum ALAN. That woulda't have made any diference HAL. I wanted to pick up some change and buy a new shirt, 1 was hoping maybe you and your old man, between you, might fix ime up with a job, ALAN. What kind of a job, Hal? HAL, What kinda jobs you got? ALAN. What did you have in mind? (0 town? HAL. (Sits h, something in a nice office where I can wear a tie and talk over r 8. (lan walks away to D. 1. of stump. Hal rises—erosses to D. c) had the 1 juse had the chance, 1 could set the whole world on fre ALAN. (Reasonably.) Maybe you could, Hal. (Jurns to Hal.) Bat forthe time being you've got to be content to work hard and be pat HAL, Yah! That's something I gota learn. Patiencet Ota! turns . RDirs. Potis enters from Flo's Kitchen.) ALAN. Mes, Pots, Sinclaie is hiring new men, aren't they? MRS, POTTS. Yes, Alan. Carey wants a hundred men for the Pipeline. ALAN, How about the pipeline, Hal? 2Alan, He does HAL. Great... great, (He shakes bands wi is into. kitchen ) to Mrs. Potts, looks at her, kisses her, then ‘Where's that shower! MRS, POTTS. (1. of bench on porch) Isn't he a nice young man? (Rosemary enters from front door in a brand new outfit, a Jall suit and an elaborate bat.) ROSEMARY. Is this a private party 'm crashing? MRS, POTTS. (Crosses 0, to above armchair.) My, you're dressed ROSEMARY, (To n,m. of door) *S my new fi Kansas City, Paid $22.50 for the hat MRS. POTTS. You school teachers do have nice things. (Crosses , to beach chair.) ROSEMARY. And do: em, either, (Crosses. to b. of door, Flo enters from howl of devilled eggs and a spaon.) FLO. Be here for lunch today, Rosemary? (Crosses p. to u, of ave to ask anybody when we wanta get ‘with home party down at the idge for the new girls on the faculty. (Madge ich? Pve gota million things to do MADGE, It would’e kill Millie if she ever did any cooking FLO. No, but it might Kill the rest of us. (Sbe sits in armcbai. Now we bear the voices of Srma Kronite and Christine Schoen wwalder, off. ., who are coming by for Rosemary. They think it paring for tem.) Yo fun! ROSEMARY. (‘With s:) What're you saying each other like eager 1a crosses D, to C. Rose crosses to D. 1. lawn.) mary crosses to ber. Chr IRMA. Rosemary Sy ROSEMARY. Irma Krot low was your vacation? 26 never get that Masters. Pm not going CHRISTINE, (Shyly.) She's been dow to ©.) IRMA. mone’ plac sary, they sha b ROSEMARY. How do porch and introduces ber IRMA. Been a hot summer, Mrs, Ovens? FLO. Terrible MRS, POTTS. Delighted to know you, Ch fhands) Welcome back, la ROSEMARY. (Taking Christine to Fo.) And this is Mrs. Owens, Christine Shoenwalder. (As Flo and Christine greet each otber, ‘Mrs. Potts. Irma crosses to porch) 12. (They shake Irma crosses 10 Mrs. Potts, greets her Irma is now left of Hrs, Potts, Cl is below front door.) 1g now, Madge? FLO. (Murriety.) Yes, Madge took a job dos summer just to keep busy. CH ‘engaged in a mack fisht, Millie p locking. Hi bare-chested and the sight of him is a great shock 10 the ladies. ‘Mrs, Polts crosses to n. of Flo) Why, when did he —? ALAN, (Crosses fo Hal and Mille.) Hal! Hal! Millie! (le finally boxing and as be leads Mal down to 1. of Flo.) Mrs. like you to mect a friend of mine—Hal Carter. Hal is a fraternity brother. MRS, POTTS. (Nudging Flo.) See? FLO, (Stunned) Fraternity brother, re it) Well, any friend of Alan's if the best of She offers ber HAL. (As he takes her hand.) Thanks, Mam. Glad to make your acquaintance. ALAN. Hal, don’t you have a shire? MRS. POTTS. I washed it and: HAL. Yeah, it was all sweaty. (The 7realizes he has said the wrong thing. He goes to join Millie, Alan ‘we better get a hustle on. (Rosemary cr D. to R. of steps. ch edge above steps. Ci crosses 1. and D, to L. of porch corner.) CHRISTINE, (Jo Irma.) Tell them about what happened in New ALAN. (Wha has been talking to Madge.) Say, Hal, would you Tike to go swimming? HAL. Why nor? le’s ask the young man on th (She crosses u. to 1 of bench on pord jumps doion, Hal moves to R. picnic at the park toni the young people. You come, too, and be an escort for HAL, Picnic? yen porch post.) Gee, Mam, I don’t ’s right me bargin’ in this way. MRS. POTTS. Nonsense. A pioic’s no fun without lots and lots of young people. ALAN Hal! (Hal crosses p. to D.C, lawn. Alan crosses to bim, 6 leading Madge to bis t. T want you to meet Madge MADGE. Oh, we've metal HAL, Yah, we saw each other fo Madge) Hal notes every atl gi. Oe gees fal ick.) lie crosses D. to D. $. kitchen post.) dy. That is, we saw each other. ALAN, Well, you're the most beautiful girl in town, aren't you? (Jo Hal.) The Chamber of Commerce voted her Queen of Nee~ wollsh Inst year, HAL, What? MILLIE, (Crosses b. a step.) Neewollah, Neewollah is Hallowe'en spelled backwards. MRS. POTTS. Every year they have a big coronation ceremony in Memorial Hall MILLIE. Madge had to sit through the whole ceremony til they ppat a crown on her head. HAL. Ompressed.) Yah? MADGE. [ got awfully tired. MRS. POTTS. The Kansas City Star ran color photographs in their Sunday magazine. MADGE. Everyone expected me to get real conceited, but I (Crosses to shed) 3 be prey hard to get concsted about tose pictures. (Crosses 0. to. x Tavon, makes a face.) MADGE. The color goo blared and they printed my mouth right HAL. (Sympatbetic) Ge, ta’ oo bad. MILLIE. (Picks up towel) ‘Come on —— (She bits bi inthe yout the a, HAL. Isn't your sister goi MILLIE. No, Madge has to cook lunch. HAL. Do you mean she cooks? MILLIE, Sure! Madge cooks and sews and does ‘on. (She punches him, Hal squats down in MILLIE. (Get HAL, Get set! into similar position.) I'm on my mark. 29the porch post bead of off ahead of her and she follows mt.) MILLIE. Hey, that’s no fair! (Bal and Millie are gone.) FLO, Rises.) Alan! ALAN. (Crosses to t. of ¢. chair in yard.) Yes? FLO. (Crosses to c.) How did a bo ALAN. On a football scholarship. FLO. Oh ALAN, He made a spectacular record kansas. FLO. But a fraternity! Dor La Maybe yy. And Hal like him get into college? have been All-American — MRS. POTTS, (Delighted). All-American! ALAN. —if he'd only studied. (Puts t. foot on stump.) But 1 know what you're thinking, Mrs. Owens. FLO. How did the other boys fee! about him? Was he popular? ALAN. They didn’t like him, Mrs. Owens, They were pretty rough on him, (Jakes foot down.) When be came around, every ‘man on that campus seemed to bristle. When I first met him 1 couldn't stand the way he bragged and swaggered and posed all dover the place, and then 1 found out he’s done most of the things he says he's di nus character! FLO. Do you ALAN. Yes. ld. me some of the things was peetty typical. ALAN. Oh... not really. He like to withdraw your invitation, MRS. POTTS. No— FLO. Oh, no, Alan—not if you . . . Does he drink? ALAN. A Tittle. (Irving to minimize, He crosses to 1. of Blo) Mrs, Owens, Hal pays attention to me. I'll see he behaves. «Mrs. Owens, if you'd FLO. Maybe you're right. Come on, Helen. (As she and irs, off.) Oh, dear, why can't things be simple? (Mrs, Potts exits into itchen—Blo follows her. Alan crosses to corner of porch.) ‘ALAN. Madge, I'm sorry I have to go back to school this fall. Ie Dad’ ides. MADGE. (Crosses to of stump.) I'm sure of that ALAN. (Crosses to below c. chair.) What? Wasn't Dad nice lst right while I was out fixing the drinks? MADGE. Oh, yes, he's always very nice to me—very polite. He ‘explained how sorry he was you had to go away. ALAN. Are you sorry? MADGE. OF course. (Sits on stump.) There'll be lots of prety girls at college ALAN. (Sits om ¢. chair.) Honestly, Madge, my entive four years never found a MADGE, I don't believe that. ALAN. It’ true. They're all so affected, if you wanted a date with them you had to call them a month ia advance MADGE. Really? ‘ALAN. Madge, i's sort of hard for me to say this, but I honestly MADGE. (Joucbed.) Alan . . . ALAN. I. . . Thope you do care for me, Madge. (He kisses ber. ‘Hel enters v. ., stops when he sees them and puts t. foot on step.) HAL. Hey, Seymour... (Madge and Alan break apart abruptly, She crosses to shed. Tle turns to Fal.) ‘ALAN. What’ the matter, Hal? Can't you stand to see anyone clse kiss a pretty gil? HAL, What the hell, Seymour . . ALAN. Hal, will you watch your language! MADGE. Alan! Ie’ all right. HAL, Pim sorry. (Beckons Alan to bin.) ALAN, (Crossing to bim.) What's the trouble? (Madge walks awey to UL. Jon, sensing that Hal wants to talk privately.) HAL. Look, Seymour, I... I never been on a pi ALAN. Not even when you were a kid? HAL. No. ALAN. Why, that’s impossible! Everybody's been on a picnic.HAL. Not me. I woulda’t go on picnics. I was too busy shooting craps or stealing milk bottles. the fraternity, didn't you? HAL. But, Seymour, these are . . . nice women. What if I say the wrong word or what ALAN. You're a psy’ (Hal starts out v. ALAN. Il ce you tonight, Madge. MADE, Allright, Alan ALAN, GHe takes her bands.) Madge, after we have supper t- hight maybe you and T ean get away from the others and take a MADGE. All right, Alan. ALAN. I want to see if you look real in the moonlight. if you're real or not, You're the most beautiful thing I ever saw. MADGE. Just the same, I'm real. (As Alan starts to kiss ber, we bear several blasts of an automobile born off R.) HAL. (Ofistage r.) Hey, Seymour—get the lead outa your pants! (Alan goes off, iritated. Madge crosses to c, lawn, swatches them distance. Madge bears it and leans against b. S. kitchen porch post, looking off DL. listening to the whistle.) CURTAIN 32 The sun is beginning radiant orange, When front doorway, hold- ing the screen door open. She bas permitted herself to ‘dress up" and wears a becoming, feminine dress in she cannot belp feeling a porch and yard. The music stops su fie's mood is broken. She rushes upstage MILLIE. Don't quit now, Exe! (She conot bear Erie's reply.) Huh? (Badge enters from kitchen. Mile urns to Madge.) Erie's waiting for the rest of the band to practice. They're going to play ‘out at the park tonight MADGE I don't know why you coulda have helped us inthe tchen diving her version of the sopbisticated belle.) the ball, MADGE. (Crosses o—sits ¢. chair in yard.) I had to make the potato salad and stuff the eggs and make three dozen bread-and- butter sandwiches. (Puts her feet up om stump.) MILLIE. (In a very affected accent. She crosses D, to tu, 1. of had to bathe . . . and dust my limbs with powder . cleaned out the bath tub. (She becomes very self- how do I look? Now tell me the truth. MADGE. You look very pretty, I always knew you could, MILLIE. I feel sorta funny. 33MADGE. You look svonderful in the dress. You can have it if your want to. MILLIE, Thanks. (4 pause.) Madge, how do you talk to boys? MADGE. (Takes feet down.) Why, you just talk, silly MILLIE, How d’ya think of things to say? MADGE. 1 don’t know. You just say whatever comes into your 1g ever comes into my head? him allright this morning, MILLIE. (Moves close to stump.) But now Pve got a date with him, and it’s different) MADGE. You're crazy. MILLIE (Turns to Madge) You should have seen him ing on the high diving board. He did real graceful swan dives, and a tivo and a half gainer, and a back flip... the kids stood around clapping. He just ate MADGE. Ger mind night and wear sandals. MILLIE, And he was braggin’ all afternoon 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 a balloon. (She crosses to L. of porch comer) Do you believe it? MADGE. 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 commer.) Madge, I think he’s . .. er « girl crazy, too. MADGE. You think every boy you see is something horrible. MILLIE. Alan toot the Hi Ho for cokes and there was a gang_of girls in the back booth—Jranita Badger and her gang. (Madge aroans at bearing this name.) When they saw him, they started giggling and tee-heeing and saying all sorts of erazy things ‘Then Juanita Badger comes up to me and the cutest thing I ever saw.” Is he, Madge? MADGE. (Not wiling to go ovrbomd) 1 woukis sy he was thing Hever saw." MILLIE. Juanita Badgers an old foozy. She 34 ink I'l paint my toenails t0 the back row picking her nase, to U. of Millie on porch commer.) She ) Does that keep over and show Helen Potts how nice you Helen Potts ask that young hoodlum to ‘on the picnic? ver his name is. He left every towel in the tbe a) wet blanket. .) Wall, you'd better start getting ‘And don’t, spend the whole evening admiring 35MADGE, (Rises, crosses to shed.) Mom, don’t make fun of me. FLO. (Crosses to above stump.) Madge, you should’ object to really exis. from o, f, followed ig from their afternoon party Have a nice party? IRMA. (Crosses to nt’ a real party. Each girl paid for hher own lunch. Then we played bridge all afternoon. (Christine uds below R. corner of steps. Rosemary crosses ts, puls bat and jacket on Bench, moves to above armchair on porch.) FLO. Food’s good at the IRMA, fean on arm of beach with henest-to-goodness nap- ‘on stump. Irma scrapes gravy off ber bodice. Silence.) INE. I had a French-fried pork chop. Mosly fat, What'd vda Sue Breckenridge had pot roast of veal. Him! ‘There was only one litle hunk of ment wwe girls at her table made her call the waiter and complain. ROSEMARY. (Moves to D. of front door.) Well, I should hope so! IRMA. Good for you! (There is « pause.) {thought by now some- fone might have noticed my new dress ROSEMARY. I was going to say something, kid, and then T . uh. IRMA. Remember thats: ROSEMARY. Don't tell me! CHRISTINE, My goodne: IRMA. Mama remodelled it for me while I was at Columbia. I feel 36 back crepe I had last year? like I had a brand-new outfit. (Furious at the thought.) But no- body said anys ‘out ber band.) 've known you my look upon you as an old friend FLO. (Jo Rosemary.) What time's Howard coming by? (Madge runs across to front door.) ROSEMARY. Pretty soon, MADGE. (Jurning.) Mom, is there any hot water? FLO. You'l have to go see, darling MADGE. Miss Sydney, would you mind terribly if I used some of your Shalimar? ROSEMARY. Help yourself! MADGE. Thanks. (She goes inside.) ROSEMARY. Madge thinks ton much about the boys, Mrs. Owens FLO, (Dish i.) Madge? (The conversation is stopped by the excited from her porch steps, She is fol lowed by ies another cake. rasses to ©. lawn, Millie follows to ber 1. Flo evosses to Mile, 1.) never knewHoward. ings over in Cherryvale, Howard? 1s. Back to schoal and everybody 's good for everyone. boss wanted to marry her right ava boys are going to fallin love wit be have a date tonight? FLO. The young man over at of Alan's ROSEMARY. Oh, hina (2 FLO. Helen, have you gone MRS, POTTS. An old lady: from the young men on a selves an excuse pen to FLO, Such as what? se days you'll be riding around in that from p. R—erosses to Flo.) ly? Howard crosses u. om porch, u. of 1g. Whatever’ ly to n. edge of steps. rd, (Jo Madge, wha is now sitting MRS. POTTS. (Crosses U. to UL. L ‘Alan's 8) se crowd, realizes be was ‘ma big man, Pm ‘your jacket crosses ©. (Crosses p. to 1. of Rosemary.) to see a man comfortable. tal confidence.) 1 never could HOWARD. L. a step.) Good evening, Madge. 38ly starving. (Rises, moves L. a step.) I rani robbed me of every cent I had You see, these two characters — Crosses to Rosemary—brings ber toc) Rosemary Sydney, Hal. (Hal crosses to them.) Miss Sydney teaches shorthand and typing in the local high school ROSEMARY. (Offering her band.) Yes, Ven’a9 old-eaid school- teacher, HAL. (With unnecessary have every respect for Rosemary cannot decide whe ALAN. (Crosses u, to Howard.) (Ola crosses us—tot,of Howard) Mr. Bevans MILLIE. (Breaking away, siting on R. end of top step.) Cut it out! HAL. Whae'sa matter, kid? Think I'm snowin’ you under? (Gives her 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 i champion on the bis remark is a on porch 1. of ber at corner of porcb.) FLO. (After a moment) Madge, you should be getting dressed ALAN, Go on upsta for us fo Hal.) Where'd you get those boots? HAL, T guess maybe 1 ought to apologize for the 1 yout see, those characters HAL. You see, the reason I brought the subj want you fe covers bis face, embarrasse MRS, POTTS. Clothes don’t make the man, FLO. Helen, is your mother taken care of? MRS. POTTS. Yes, Flo. I've got a baby sitter fo FLO. Come on, Helen, le’s start packing the ugh kitchen door. Mrs. HIAL, He gave me these boots and he sid, “Son, the man ofthe se needs a pair of Boots ‘cause he's gotta do a lot of le feints a kick at Mille. She finches. He laughs goodnal ‘And he made up a little poem. “1“Your wages all are spent. ‘The landlord wants his rent. ‘You go to your woman for solace, And she fils you flla torm (Mrs, Potts laughs—sits on stump.) He says, times when the only thing you got to be proud of isthe fact you're 8 man, (Rises—crosses to ¢.) So wear your boots and people can hhear you comin’, and keep your fists doubled up so the you mean business when you gee ther.” telaxes with a faugh—looks round.) My old man, he wa: (te crosses u. on lawn .c.) ALAN, (Laugh them. (Sits ina iways so shy of people before he mt )) Then you can’t keep He tums, sees HOWARD. What Line of business yo HAL. (Crosses p., tuins c. chair in yard to face ». ®) about to enter the oil business. (He si HOWARD. Ob! HAL, (Loans back.) You see, while my old man was no aristo cratic millionaire or anything, be had some very important friends Who were very big men... in their own way, wanted me ote 2 this off company down in Texas, — ALAN, (Interrupting.) Dad and 1 have found a place for the pipeline. ROSEMARY, A young fellow just coming to town, he's gota be a good mixer. MRS. POTTS, Woulda’s ‘Club and play golf? ALAN. Ob, he won't be able to afford that. (Hal nods in agree- ment, sits back, deflated.) ROSEMARY. The bowling team’s a rowdy game! (This sounds ood to Hal.) MRS. POTTS, And there's @ young men’s Bible class a the Bap Church. Gal gives a litle frown, Flo enters from the kitchen, crosses to R, Lown.) FLO, Madge! Are you stil here? MADGE. (Running across to the front door.) If everyone will pardon me, Fil get dressed. (She goes inside) FLO, (Crosses fo b,c. lawn.) I'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 pow and rubs perfume underneath her ears to make her real mysteri ces her half an hour— (She stops, confused.) Ske tbe ready for hours, LO. Come on, Helen. (Crosses to Dr, lawn.) Alan, we're going (0 chip the ice and put the bas FLO. No, thank you. Alan—if you don't mind? (Hal sits. Alon ‘crosses to U. R. of Hal. Blo crosses to kitchen door) to comer of house.) Mom! LO. (Comes back to Why don't you show the young ‘man your drawings? MILLIE. (Crosses to beach chai wns to Hal.) Wanta see my beach ebair. lo porch tight, ki ) osses to Hal, opens pad to a sketch, bands pad to Mrs. Potts. apose.) Okay? to look natural? ben bends way over resting bis elbows isto sketch. Rosemary, from R., turns to look isto look.) Petey, isn't it? ‘That's the most flaming sunset I eveg did see. ou painted HOWARD, don’t know. ROSEMARY. Like the daytime was gonna pnt up a big scrap and maybe set the world on fire . . . to keep night-time from creepin’ HOWARD, Un‘nch . . Think I see what you mean there. Uh- HAL. (As Billie sketches bim be st know, there comes a time in a guy’ down... quit rolling around ROSEMARY. No, Howard, i think there ought to be any drinking HAL. (Turns,) What's that? ‘Kid, what'd you do this afternoon? book: in one afternoon? “4 feel when you read it—kind of warm inside and sad and amused— all at the same time. HAL, Yeah... sure. (After a moment proudly.) 1 used to go he Book-of-the-Month they had her readiw’ books ime! She wouldn't any more than finish one book than they'd send her another! (Howard rises and crosses u. to alley date.) ROSEMARY. Where you goin’, Howard? HOWARD. I'll be right back, Honey. (He exits a, alley. Rose- mary follows bim to tc porch chair and kneels on cbair, and watches him white be is off) HAL. (As Mille bands him the sketch.) Not bad. (Adn T sure do admire people who are artistic. Can I keep ILLIE, Sure. (Rises, takes pad, stobs, shyly.) I write poetry, too. ve written poems Pve never shown to a living soul. HAL, No kidding ROSEMARY, (Calling off to Howard.) Howard, leave that botle right where ut of pad) HAL. lumps up, crosses, to u. c.lawm.) Did she soy hotel, buying bootleg whiskey of (Se crosses to. lawn.) HOWARD. (Coming back from alley n, bolding ‘Hat's x) Young man, maybe y. lot dama! (He takes the SEMARY. Howard, put that away. (Hal crosses, ik. Howard crosses. to D.C. fawn.) it in bis pocket:) (Crosses to b by and tell the school board: Jack Robinson. HOWARD. Who's gonna see you, Honey? Everyone in town's at the picnic. ROSEMARY. (Crosses to care, Liquor’s agai in this state, and a person oughta abide by the law. (Jo Hal.) Isn't that what you say, young fellow? 5HAL. Ob, sure! A person oughta abide by the law. (He hands the bottle to Howard.) HOWARD. Here, Honey. ROSEMARY. (Crosses to below steps.) No, Howard, 'm not gonna touch a drop. HOWARD. One litle drink won't hurt you. ROSEMARY. I said “no” and I mean “no.” HOWARD. Come on, Honey, have one little drink just for me, (Bumps ber witb bis knee.) ROSEMARY. (Beginning to melt.) Howard, you oughta be ashamed of yourself HOWARD. Gnnocent.) | don’t see why. ROSEMARY. I guess { know why you want me HOWARD. Now, Honey, that’s not s0. 1 ju have a good time like the rest of us. (To Mal, crosses t. to €) Schoolteachers gotta right to live. Right? HAL, Right! Goward turns back to Rosemary.) ROSEMARY. Now, Mill, don’t you tell any of the kids at school. MILLIE, (Disgusted at being taken for a chi Fal puts arm around ) What do you take 2. of front door: (Crosses u. ther! (She reacbes for le grabs the botlle first.) No, kid. You lay off the stuf! (Crosses u, to 1, of tree. He takes a drink) ROSEMARY, (Caling from offtge 1.) Howard, come kelp met I sce a snake! HOWARD. You go, off B. L.) Drink up. ( ake. (Millie goes drink, be sees a light 0 oF in Madae's window. Howard follows Hat's gaze.) Look at hher there, powdering her arms. I was in love wi ji hhee once. You know, every time | come over her just to seein’ her, 1 tell myself, “Bevans, old bey, you can lo iat all you want, but yout couldn't tou ten-foot pol HAL, I'm glad Seymour's got such a nice babe—'cause he’s my buddy. HOWARD. Seymour’s a young pup. Hell go off to school soon HAL. Gee, I don't see how anyone could forget ber. fon that cute kisser. as pretty as sh ime she found out son, if you're ago iow see, I never had to pay fori a very Bne attitude, (Rosemary enters was going just a piece of garden * about the weather, Honey. LIE. (Seeing Madge in the window, crosses to R. €. lawn.) Madge, why don’t you charge admission? (Madge's curtains Shoot! When 1 was a git! L was just Basic begins to play off 1.) rap, (She takes a drink) (OWARD. "Course, Honey. {OSEMARY. *Cause he was a God-fearing man, MILLIE. Listen, Miss Sidney, i's Ernie Higgins and his HappinessBoys. (She crosses up to u. c. lawn.) Hey, hit it, Ernie! (She ‘crosses b. to L. of porch corner.) ROSEMARY. (Rises, banding bottle to Howard, begins to sway tapturously.) Lord, I love that music! Come dance with me, Howard! HOWARD, Honey, I'm no good at dancin’. way, Howard sits on stump and dance by himself, sensuously—fa MILLIE. I gotta lead trim, automatic way Both women seem as though boasting fs accurate but w HOWARD. S'po: ROSEMARY. by thet ng bis own clown's version of a coy female, by this, She and stop dancing and losemary crosses 1. 10 WARD hao we were dl very nel. Rasemary gab steps I do. Come on and try. (They 18 an awkward feeling of uncertainty that shows in ber dancing. Howard, dancing with Rosemary, bas OSE tps, pushes bim off) Quit clowning, Howard, HOWARD. Honey, you don't get any fun out of dancing with me. Rosemary and Howard begin to dance again) 8 MILLIE. (Stops and says to Mal:) Am I too bad? HAL. Naw! You just need a litle practice. (They begin again, dancing to bel ROSEMARY. (She is di meant for Hal.) Lore ig with Howard but ber words are wearing an apron. He watches Mi ‘Flo off stage.) HAL. (Stops 1. of stump to deliver the needed ‘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 watch approvingly. MRS. POTTS, You're doing fine, ‘pen, Millie and Hal ROSEMARY. One night [ went dancin’ at a big Valentine party. 1 danced so hard I swooned! That's when they called me the Dancin’ too much for ber.) ing up. She crosses 0, r. below steps) T'm sorry, bat le and takes «drink, putting tl steps. He crosses p,, beckoning to Millie.) Look, kid if you learn this step you'll be the sharpest kid in town. (Bte places ber fart. and does a step back and forth below stump.) MILLIE. (Observing closely.) Yah « ”HAL. Real loose, see? You give it a little of this... and give it a litle of e music changes to a slower, more sen suous royths, Hal and Mille stop dancing and listen to it) ROSEMARY. Howar HOWARD. Su rhythm and sbind. She watches Hal and Mili.) HOWARD. You sure look pretty, Madge MADGE. Than you, Howard, HOWARD. Madge, ‘wor We've turned the backyard ROSEMARY. (Dances MRS. POTTS, (Jo Madge.) ‘The young man new step, MADGE. I've been trying to tench it to Alan, (She tries the step berself and does it as well as Hol. She is far D. 5.) MRS. POTTS. Look, everyone! Madge can do it, too! HAL. (Turns around and sees Madge dancing.) Hey! (He starts +. She begins also, The others all stand riveted 4s they watch Madge and Hal dance to each olber, go through a exh then dance to far. where ate to dance a conventional step, close together, for ig the otbers completely.) MRS. POTTS. It’s like they were made to dance together, isn’t ie? (This remark breaks the spell. Millie moves to Ars. Potts’ 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 herself, kicking ber legs in the air. Mille takes an occasional drink from the whiskey bottle during the following scene, unobserved by 50 sd they had a good shape. fow would you like it iF we women went around lege all the time? udy to be a sport, stands and lifts bis trousers to ‘There's my legs if you wanta talk about ‘ean keep up to the side as Ros to have a boy ‘once and proposed, Wanted me ¢o marry him 1e mouintain top. Said Gad'd be our pres the whole side out of Hat's 1g people. (AtadgeROSEMARY. (Stunned by Hal's vejection.) Young? What do you ‘mean, they're young? MILLIE. (A groar.) (Crossing towards the kilcben.) I wanna die! 1 wanna (Hal quickly moves c. chair up against side of Potts’ steps and stands L, of Madge and Mile.) MADGE, Mile! HOWARD, Whae the HAL. Take it easy, kid ROSEMARY. T suppose that’s something wonderful—they're ‘young. MADGE, (rm around Milli.) Le MILLIE. Turning on Madge a ‘Madge before she falls) V hate you! MADGE. Curt) Mi MILLIE, (Sobbing, she crosses to kitchen door. pretty one Dickens do? Get herself tight? to below steps.) Mom is going to be bottle, turns to others.) She must have Gal crosses slowky to Madge.) Hal. She bas found vengeance trad several good ROSEMARY, (Poi She crosses to 0, C, la. HOWARD, Now, Honey . ROSEMARY. (Jo Hal date. You shoulda been loo making eyes at Madge. HOWARD. Honey: ROSEMARY. .... and you're no better than he is, Madge, You should be ashamed. MADGE. Miss Sidney! the kitchen porch in a fury.) Who fed whiskey 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. (Trying to straighter this way — bet he wasn’t any better'n you are! Pl bet you lose that b before your two weeks is up. tus saw Millie drink the in a gutter ani where you came from and the gutter’s belong — (During tis she crosses to Hal and shouts in bis face. Howard crosses to ber quickly.) /ARD. (Grabs Rosemary, covering ber mouth.) Rosemary, your mouth! (He pulls ber away to far t.) s going to be per- er be sick, She's enter from MRS. POTTS. (Comes out of kitchen.) Mil Flo, Alan held her head and fectly all ight now. (Alan and i (Quick to accuse Hal 0. (Jo Alan) Alan, Millie will come LAN. Suze, Mrs. Owens. Hal, I told you not to dri! (0. Madge, why did you wear your new dress? MADE. Idon’t nove. I jast put i on. 3FLO. Go and change, with Rosemary and F MRS. POTTS. Let’s go, All the tables FLO. Alan, better? (lo minute, I mean it! You come front door.) e taken, ing, are you feeling see her out there. HOWARD. You gotta remember, men have got feclings, too— same as women, (To Hal, crosses to above stump.) Don’t pay any attention to her, young man. She didn’t mean ROSEMARY. I' don’t want t0 go on the picnic, HAL. What's the use, Baby? She saw through me like an X-ray sé machine, I'm a bum! There's just no place in the world for @ guy like me. MADGE. I know how you feel. Milie's so smart and talented, 1 get to feeling so jealous of her and worthless when I try to be like ‘myself that I'm not Millie—I'm me! And 1 feel HAL, Sure, But whae’s chat? MADGE, (Rises—crosses to u. 1. of Hal.) Well, you're very en 1 think you say all sorts of wiey things had the most wonderful feeling you knew exactly were you were going and I coul ‘you're not so bad. I don’ uy’s motorcycle, Yea, st ranted to get on the damn that nothin’ would ever eatch up wit got no excuses ‘and go so far zuse my Dad’s always loaded and she’s got a new boy in the way INDGE, (She turns away.) Gee here you are. And I never told anybody about ven Seymour—eause Seymour's Seymour and T'm . ick or run inside and lock your door or 35faint... go ahead. 1 ain't gonna stop you ‘cause — (Madge suddenly kisses him. After the kiss be fooks at ber mom Gee, baby, you come out here on the porch lookin’ litle dol, but you're @ real woman, aren't you? MADGE I wane to be HAL, You are, MADGE Am 12 (Now Hal hisses ber. jfter @ moment Madge breaks away and walks over near Mes. Pots’ steps. Hal follows in.) We gotta go on the pienie. so many people. (Oe pulls ber to then goes upstage and looks off . and around, He tus 0 Madge ond bolds out bis band to her After @ moment sbe gives bim ber band and they walk off slowly to gether through alley R.) ‘CURTAIN 56 ACT I SCENE 1 IL is after midnight. A great barvest moon sbi te porch. Off & 4 slop by the house, then Howard and Rosemary come on R. through alley, Rosemary fist. Wearity, a grogay de. pression having set in, she makes her way to the doorstep and drops there, sitting on porch corner. Howard enters quickly as she sits Ble crosses D. to D.¢, lawn. She seems preoccupied at frst and ber responses to Howard are smere grunts IOWARD. Here we are, Honey, Right back where we started MARY. (Her mind elsewhere.) Uh. WARD, (Sits at her t. on porch edge.) You were awful nice tonight, Rosemary. EMARY. Uh. ARD. Do you think Mrs. Owens suspects anything? MARY. I don’t eare if she does, ses, crosses L. 10 €) A business man’ morning. (Crosses to Oe kisses her check) Maybe | good morning, (Ble starts off crosses to WC. au.) ‘Where you goin’, Howard? WARD. (Crosses p. a bit) Honey, i gota get home IARY. You cant go off and leave me. WARD. (Crosses D. to D.¢. Javan) Honey, talk sense, 7ROSEMARY. You can’t go off without me. Not after tonight. That's sense HOWARD. (4 ROSEMARY. Ta HOWARD. Whae'd peo ), Honey, be reasonab you. say? ROSEMARY. ( To bell with what people'd say! HOWARD. is overbeard.) Honey! ROSEMARY. What'd people say if 1 thumbed my nose at them? walked down the street and showed ’em my care what people say? IOWARD. (Crosses p. 10 n. of stump.) Honey, you're not your self tonight ROSEMARY. Yes I am. Y'm more for the grave and dor HOWARD. (Crosses L. to ¢. ridge.) Now, Rosen: Tet that hap- ‘t understand. When we first started going to- gether, you were the best sport I ever saw, alway’ good for a laugh. ROSEMARY. Taugh any more. HOWARD, (Starts u, 5.) We'll alk it over Saturday. ROSEMARY. We'l . HOWARD. (Stops, crosses p., sits on stump. Squirming.) Well Honey... 1. ROSEMARY. (Cooking at him.) You said you were gonna marry se, Howard. You said when T got back from my vacation, you'd be waitin’ with ehe preacher 38 HOWARD. Honey, I've had an awful busy summer and . foward? Where is he? Rosemary, then one day it’s t crosses to c.) Maybe T'm a litle older than you But they can be changed. ( ‘be changed. [e's no good chicken either. formed my WARD. (Rises, crosses to C.) 7 know how itis, Rosemary. My ’s no bed of roses either. (Jurning to bim.) Then why don't you do some- «there's some bad things about every mine. Each year, 1 ex nothing ing to lead you on. like to know what else your ca . can't we talk about it Saturday? Pm dead and I got a busy week ahead, and . . ISEMARY. (Runs to him, embraces him desperately.) You gotta ime, Howard. NWARD. (Jortured.) Well. . 1 can’t marry you now. MARY. (Cooking at him.) You can be over here in the WARD. Sometimes you're unreasonable. ;EMARY. You gotta marry me. WARD. Whae'l you do about your job? EMARY. (Encouraged) Alvah Jackson cin take my place they get Someone new from the agency. WARD. I'l have to pay Fred Jenkins to take care of the store a few days 59Fa moment's troubled thought crosses to D. 1. jonna marry anyone that says, “You gotta marry me, F'm not gonna, (le is Rosemary stares at bim, Slowly Howard reconsiders) If 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 over, ROSEMARY. Oh, God! Please marry me, Howard, Plea (be sinks to er knees) Please . . please . HOWARD, (Jurns.) Rosemary, don’t! le goes to hs up.) Honey, you go get some sleep. Ill call you in the moi ROSEMARY. I won't sleep a wink, Howard, till I hear. Ce lifts Her gently to her feet. Se crosses to steps at R—U. on top step.) Good ight, Howard, HOWARD. Ill call you first thing. (Crosses to her—s(ueezes ber band.) ROSEMARY. Good night. HOWARD, ’Night, Rosemary. (Crosses u. ¢. lawn) ROSEMARY, (Holding in ber tears) Please cal HOWARD. (Jurning back a step.) PM call. (He ROSEMARY, Please HOWARD. (Stops) I will, Rosemary. will. (Starts) ROSEMARY. Please eal HOWARD. (Stops) Honey, don't worry. ROSEMARY, Good night. HOWARD. Good night. (He is gone out alley x. As we bear ‘Howard's car drive off. Rosemary silenity looks up at the sky. Then she turns and goes silently into off the Dorch light. The stage is empty and quiet fora few moments, Then we bear Alan's Ford drive up and stob off beyond Hrs. Pot bbouse. The car door stayns. Then Hal enters through al ‘comes on quietly to 1, of stump. He looks around, then tu beckons) HAL, Okay. (Madge enters from alley 1, touches bim—be re shonuls, She passes bim to D. of stump.) Tl take che car back to rhore we were and get litle sleep I ant go back to Seymours ose now. ts again.) 60 see you tomorrow? new job this morning, |ADGE. I have to be at the dime store at nine, HAL, What time you through? guess | better be going. \ADGE. I guess so. (Ge starts—turns back suddenly.) Baby, how you goin’ to (He takes ber band, She pulls it away, He crosses x, below turns back. 10 ber, t. foot on stum} down.) Baby, you don't mind goin’ fon the pi |ADGE. Don’t be (Cooking up.) can have jast as much future as any other kind of job. AL. (As though be just realized it, taking botb ber bands.) Sure. 1y gets spoiled if he's a good foothall player or someth s he can expect his whole life to be big-time, but f relief.) Gee, Fm lucky I met you. I fet fine. Like comin’ frough the clouds in your parachute, landin* solid on the old world feels pretty good to my feet again. (He then tooks at ber, takes ber by waist) Baby, are you ir foreheads together.) (here are tears in ber eyes.) MADE. T don’t know. 6HAL. (4 lump in bis throat) You almost got me doin’ it MADGE, It’s not ’cause Pm unhappy, realy, ay to c.) It’s just that — HAL. (Crosses to her L—hand on ber arm.) Baby, kiss me good aight, MADGE, Jed just start things all over again. HAL. W. kiss me good keep my hands at my side, See? iss you. (Tenderly she takes bis face in ber on the mouth. The kiss is extended, Then nnds become neroous. They fidget at bis sides and finally begin to find their way around her. He pulls away then begins fose ground aguin—finally embraces her fercely. For a m their pasion is revived. Then Madge tears herself away from bim, and. runs inside the front door, Hal stands looking after ber, breatiess. The stage darkens until we cannot see bim.) CURTAIN Acr mit Scene 2 Ik is very early the next morning, Mile sits on the door- slep, smoking ber after breakfast cigarette. Flo comes out front door almost immediately. She is a near-bysterical woman now, She bas riot even taken the time to dress, and wears a tong robe over ber night dress FLO. (Sits in armebair on porch.) Madge has still got her door locked. I holler in but I can’t get her to answer, I ean’t understand why I didn't hear her come in last night, I was sitting right there thought I was awake, MILLIE. I bet I know what happened, FLO. (Vindictive.) You don’t know anything, Millie Owenst And if anyone should say anything to you, you just — a ispiciously.) What do you MRS. POTTS, (Comes down steps. 1) It seems that hoodlum just abducted her! She finally had to fight him off and walk home. The No. POTTS. Where's the young man? now where he should be—in the penitentiary! And that’s hhe shows up around here again! (Rosemary it door) SS, POTTS, OF eourse, Rosemary. (She ooks at door) SEMARY. (Derting back inside front door.) B to keep quiet about Madde.) tbrouab front door. Now we bear the morning Rosemary is 0 help with , stops at L. . lawn.) 'sa cute dress, Let me fix it in the back, (Irma adjusts ng of the dress as Christine turns ber back.) 8HRI ld dress up fist day of school, to give the students a good first impression. IRMA, (Crosses to porch.) Good morning, Mi lows to Ut. of armchair.) MILLIE (Opens front door) Is Rosemary ready? ff you want to. (Irma starts in front door and ine saying:) INE, (To Mile.) We missed seeing Madge on the picnic last night. (Millie does not answer.) IRMA. (Gives Christine a signifcant took.) Come on, Chi (They 40 inside front door. Bomber rides on. off bis bicycle, throws a paper on Mss. Pots’ steps, back porch, Then he climbs up on rs. Potts’ porch so be can Took across into Madge's room.) BOMBER. Hey, Madge! Wanta go dancin’? Let me be next, Madge! MILLIE. You shut up, erazy. BOMBER. (Jumps. down—crosses D. ¢.) My brother seen ’em Parked under the bridge. Alan Seymour was lookin’ for ‘em all over town. 1 knew she liked guys. (He sees Man approaching off beyond the Owens house, and leaves quickly out 1. alley.) MILLIE. (Not aware that Alan is approaching.) Some day I'm really gonna kill that ornery bastard, (Alan enters D. R. She turns and sees bin.) Hi, Alan! Madge got home all right. She nally had to walk all the way. (Alan crosses t. 10 C. Mille rises, crosses 1 t0 D. L. of steps.) ‘ALAN, Hal drove her home. Could 1 sce he MILLIE, (Crosses U. to R. ¢. lan. Calls up ige's window.) Madge! Al's ee! (sk to an) take her a few ‘ALAN Sie: (City byl lop Brevi) MILLIE. (She sits on the stamp facing him) 1... 1 slways liked you, i ALAN. (With some surprise) Like me? MILLIE. Tes awfully hard to show someone ‘you like ALAN. ness.) IU easy for some people MILLIE. 5 you feel like such a sap, { don't ot ALAN, (Crosses fo ber R, Rather foucbed.) 1 like me, Millie. MILLIE. I dont expect you to do anything about i tell you. (Howard comes busting on through the date, from n ley, very upsel. He adresses Milli.) HOWARD. (Jo D. €. lawn.) I got co see Rosemary. Is she up in her room? MILLIE, Hi, Howard. (Rises, crosses. L. of stamp. Alan crosses va to see her, please. I think she's expecting me. (Crosses u. om rch t0 front door.) IE, (Crasses to c) You better holler at the bottom of the {s about to go in the front door, but turns back is) “cause all the others are up there, too. IOWARD. The others? IE. Mrs, Potts and Miss Kronkite and Miss Schoenwalder DWARD. Ob. I was gonna telephone her but then I thought 1 come over, Because you see this is the beginning of my 5050. A. 19D. tof stump) MADGE. (Croses to im.) Alan? What do you mean? ALAN, I didet fel like telling your mother sbout ie yesterday, but a school I spent balf of my life getting him out of jams. 1 knew he'd had a few tough breaks, and | tried to feel sorry for 65‘him, But this is the thanks I get. There's no use pampering him any more MADGE, (Concerned, but trying not to show it.) Where is he? ight? ALAN, Don’t worry about Hal! He's allright. And Fl take it on myself to offer you his oficial good-bye! MADGE, (Turning quickly to him, ‘his i a jolt to ber) Good: —? Is he gone? tchen door. Madge crosses to shed door.) lan for the first time. She crosses to D. 1. hurrying MRS, POTTS. Flo! Flo! (Hrs. Christine, Rosemary and Howard ng two suileases, cross down to porch steps and sta jing to bis arm. Irma crosses p. to R. of Howard as Mrs. crosses D. to R. of stebs and Christine crosses . to 1. of Rosemary. They ae ll talking happily except for Howard, who looks bewildered, and who just looks. ile has a handful of rice which she throws on the engaged couple. She bands the two boxes to Christine who bands one to Tema. Irma pours some rice into Mrs, Potts hands and while they continue chattering, Irma, Christine and Mrs. Potts throw handfuls of rice over Howerd and Rosemary. Mille crosses u. to upstage kitchen post and watches from there, Rosemary wears a beautiful going-away outfit.) AD £1B.: IRMA. May all your troubles be litle ones! CHRISTINE. You're getting a wonderful gitl, Howard Bevans! IRMA, Rosemary's getting a fine mant 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 b. fo top step, p. R. of Rosemary.) Giell Are you ‘wearing something old? ROSEMARY. /An old pair of nylons but they're as good as nev. CHRISTINE, And that’s a brand new outft she’s got on, Rose- mary, are you wearing something blue? I don't see it! 66 ROSEMARY, (Dari hhave anything to borr MRS. POTTS. Here! (Rosemary, Jrma, Christine and Howard swatch Mrs, Potts as sbe looks for something.) FLO. Madge, you give Rosemary something to borrow. Ifll mean luck for you. Go on, Madge! (She takes Alan's arm and him towards the steps with ber.) Rosemary, Madge has something for you to borrow! MADGE. (Crossing to the group by steps.) You can borrow my ‘And you're not gonna! Oh, but 1 don’t ige. (She takes the handkerchief, fs D. L. from Mrs. Potts yard the woodshed, closing the door Madge pretty, gil unseen by anyone, SEMARY, (During the above.) A girl as pretty as Madge can through life without a care! This all happened so fast | believe it! (Alan turns from the group t0 join Madge. Flo ums and crosses towards Madge. Rosemary follows Flo.) ft my hot-water bottle in the closet and my eurlers in the attic. (Looks at Howard.) Howard and ‘come and get ‘em after we settle down, Cherryvale’s not so way. We can be good friends, same as before. hate to bring this up now, Rosemary, bu A. (Crosses to Resema Breckenridge? IARY. Oh, yes! Linda Sue Breckenridge—she’s the sewing Diido’t you tell her about Linda IA. And she's a darling gilt sEMARY, She and Mrs. Bendix had a fight, Mrs, Bendix to charge her twenty cents for her orange juice in the ig and none of us girls ever paid more’n fifteen, Did we, 7IRMA. No! I never CHRISTINE. No! Never! 1 ever heard of such a wouldn't! I never heard of such Jing! Twenty cents! never heard of such a ROSEMARY. Irma, you tell Linda Sue to g Owens FLO. Thank you, Rosemary. (Rosemary turns and looks at ard adoringly.) HOWARD. Rosemary, we beter hurry. 1 sill ave to pick up the license. ROSEMARY. (Embracing Irma and Cl Good We've (Flo motions to Madge, good-bye. Madge rises, Howard turns to Mrs. Potts as Rosemary crosses to Alan and Madge. Millie crosses B. 10 D. R fawn.) MRS. POTTS. Good-bye, Howard, ROSEMARY. (Pushing Madge's head down on Alan's shoulder.) now you're both going to be just as happy as Howard and 1 be, (Rosemary turns and crosses n, to Hrs. Potts. Blo speaks ‘quickly to FLO. Alan, will you help with the bags. (Alan burriedly takes one of the suitcases jrom Howard who is erossing to c.) ROSEMARY. You've been a HOWARD. (Jo Alan) A wonderful f MRS. PO’ sorts of happiness, Rosemary. ROSEMARY. (Embracing ber.) you're going t0 be a famous author some day and be so proud T knew you! MILLIE, Thanks, Miss Sydney (No one speaks for a moment. Finally Howard turns to Rose- mary.) HOWARD. All set? ROSEMARY, And rarin’ to go! (A sudden thougl are we goin’? HOWARD. (ifter an awkward pause.) 1 got a cou 68 touch with Mrs ow: 1e who cross to ber.) ly times together! and prepare to say a married But where He and hhis 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 alley R. Alan carries the suitcase off after them. and Millie follow them, all throwing ALL. (As they go off alley n.) The Ozarks are lovely of year! Be happy! May all your troubles be getting a wonderful girl! You're geting a wonde; FLO. (Crosses to Madge.) Madge, you've just got to talk to me! night, Madge? You haven't told me a word! nswer.) ROSEMARY. (Off) Mrs. Owens, aren’t you going to say good: ! Back to Madge, 1) Mrs. Owens! ber 1.) Now don’t budge ‘bring Alan right back. (Sbe MRS. POTTS. (Appearing in alley.) Come on, Flo! I never (Blo and Mrs. Potts go off alley shed door, she crosses L. ey crouch down. She bolds bis MADGE. Oh! What can you do? n. There's a freight train by pretty soon. Pve got to give up that job before I even get started. MADGE Oh, Hal, (Offstage we bear good-byes being shouted and Howard's Cheorolet driving away. Alan and Flo enter alley . Madge and Hal rise.) FLO. Alan! (She crosses D. 1. to Madge.) ALAN. (Cr HAL, (Crossing to lan.) You swiped your lousy car and that was a lousy li @ told the cops T id!ALAN, What'd you expect me to do? You better get out of town if you know what's good for you. HAL. Til go when I'm ready. ALAN. No, you won't. (Shoving Hal.) You're going now! Potts appears in alley x, comes D. by porch. Mi by gate.) HAL. (Throwing Alan off to R) Now, look, Seymi ith you. You'ee the only friend { eve ALAN, Let go of mie HAL, (Forces MILLIE, (Dashing across ber path— HAL. (Goes to Madge who has come b. by porch.) Gee, Baby, | guess everything's changed now. farm even, Come on, Baby. ‘and furns m2) Is this as far ‘with me? ow we bear a far mon porch. Flo runs to Madge. Irma and Christine exit ur riedly by L, alley. Hal runs down to Madge, drabs ber band and pulls ber away from Flo to c. on the run.) Baby, kiss me good-bye! (Badge breaks away from bim to D. L. of stump as Hal continues 7 to uc. fawn and we bear a train whistle of an approaching Freight. Hal Tooks off atthe train and then runs D. to %, looking at Madge, whose back is turned to im. Blo runs to DL. of steps) Baby; I gotta go! You love me, don’t you? MADE. What good is it if do? HAL. (Beseecbing.) Look, Baby, I'm a poor bastard, and I gota claim what's mine! And you're mine, Baby! You're the only real thing T ever had—ever! Baby, kiss me good-bye! He crosses. of stump, Madge tums and throws hers ‘ey kiss violently, The train whistle i be se now, Hal breaks the Riss and holding ber clown into er face you! CHe pulls binself away, runs up to corner of fi ding the post, glances off a the train, ooks back ") Good-bye! (He turns and says this as be leaps D, Ras we bear ingly to shed door.) MADGE, (Stumble. to shed) Oh, Mom! FLO. Why did this have to happen 0 you? MADGE, I do love him! I do! FLO, Madge, I hope that’s not so! MADGE, Why didn't I know i before he was gone? Why didnt best MADGE. Oh, no, Mom . . . not FLO, (olds Madge.) At least you didn’t macry hi. MADGE, (Holding ‘Ho's hands tight around ber.) T would have have. Ob, Mom, shat ean you do with the love you is there you can take it? FLO. (Beaten and defeated.) rows off Flo and goes it rs, Polls returns D. Rc 1 porch by the beach ck MRS, POTTS. The police found these on the river bank. (She sees Hlo looking after Madge.) Flo! 7 I never found out. (Madge ibe house through front door, erying. ying Hal's boots. She puts them onruns down to corner of porch, stops, looks at the stick, changes rows the stick down disdainfully and as sbe exits EiRS. POTTS. Wih jst Mama and me inthe hose fd got so used to things as they were—occasionally a hairpin on the floor + « and the smell of Mama's medicines. Then by FLO. (Without turning.) You'd better hurry, darling. You don't ‘want to be late to work. MADGE. Mom, please don’t get mad, I'm not doing this for spite but — FLO. (Jums) Madge! MADGE. I'm going to Tulss, Mom. FLO. What? MADGE. I know how you feel, but 1 don't know what else to do. ss 10 steps.) Madge—Alan’s coming back at Christ- going to take you to the dance at the Country forget the whole thing and — MADGE. My bus leaves in a few minutes, Mo FLO. Maybe you think you love him now, but in a few years you'll hate the day he set foot on our porch! MADGE. He needs me, Mom. FLO, He needs you because he’s no goo support you. And when he does have a j money on drink! I know! And after a. wi women! MADGE. I guess you don't love someone because he's perfect. nFLO, (Sinking down on ber knees.) Darling, even if you do love him, ty to forget it! Try! MADGE. (Pulls away.) I?s no use, Mom. (We bea 4 bot-rod off R.) FLO. Oh, God! Oh, God! (The bot-rod slows down close off m and we bear some boys yelling to Madde.) BOYS’ VOICES. Hey, Madge! Hi, Beautiful! Come on, get in! Yeah, come on, Madge! MRS. POTTS. (Crosses L. and wp to ut. lawn.) Who are those boys? MADGE. Some of the gang in their hot-rv ‘rosses quickly to ¢. and u. to gate. Flo runs ing ber.) FLO. Madge! Madge! (Madge stops, puts dow crosses to Mrs. Potts and embraces ber; her ey MADGE, Mrs. Potts, take eare of Mom for me, will you? 32 sound of their arms are oustetcbed and Madge bas to pull bard to break sway. Madge looks at ber motber for a moment tben crosses U, bings and walks determinedly off r. alley. Fo runs arm and stops ber as she reaches MRS. POTTS. Could anyone hav FLO. (urns and looks at Mrs ace so many things I wanted to tel MRS, POTTS. Let her learn them for herself, lo, VOICE, (Off 1.) Helen! MRS. POTTS. All right, Mama. (She pats ‘Ho encouraging, turns and stats toward ber bouse ) CURTAIN ™ ausy “PICNIC”PROPERTY PLOT Acr I needles and thread (Plo), dress for Madge ie) Af back offstage) howl with deviled eggs (mayonnaise) and wooden mi (Fe) Act It Set Sketchpad and charcoal under beach chaie on porch 76 ‘Aer IlScaxe 4 Set Stick by porch m. Sires ‘Clothing left on Close front door Scans 2 Check: Position of stick Sets (Open front door Milk botle by bench (as in Act D Off: Bicycle with bell and newspaper bag Bomber) Folded newspapers (2) (Bomber) Shopping bag. (Christine) ‘Manila envelope (Irma) Looseleaf notebook (Millie) ‘School textbook (Millie) 2 suitcases (Howard) 4 suitcase (Madge) Hat and coat (Madge) Handkerchief (Madge) Nora: After curtain get Hal's boots and place at entrance ».