TOMMY ep, Ill play the wedding march on the xylop, one. t PAUL, What have we got for dinner? I'm hyfgry. CURTAIN acT I ‘SCENE 2: Late the same night. The house is in darkness save for a light im the hall, An accordion is heard off stage ®., shen ‘suddenly a good loud BANG! from the cellar. Somewhere in the nether regions, one of the Sycamores is still at work. 'As the accordion player finishes she song the sound of a key in i: the onter door. The voices of ALICE and TONY drift through. STIR T -aaice. (Off stage.) could see them dance every night of the week. think they're marvelous. ONY. They are, aren't they? But of course just walking inside any theatre gives me a thrill ALicE. (As they come into sight in allway.) Well, it’s been so lovely, Tony, I hate to have it over. TONY. Oh, is it over? Do I have to go right away? ‘aLice. Notif you don'r want to. TONY. Idon't. ‘auics, Would yon like a cold drink? ‘Tony. Wonderful. (ALICE pauses to switch on lights.) ‘ALICE. I'll sce what's in the icebox. Want to come along? ‘Tony. I'd follow you to the ends of the earth. auice, (Af door.) Oh just the kitchen is enough. (Chey exit through kitchen door. A passe, and the lights go on.) ‘tony. Why, | like it. You've done it very simply, haven't you? ‘auice. Yes, we didn't know whether to do it Empire or Neo- Grecian. TONY. So you settled for Frigidaire. ‘auice, Yes, it's 50 easy to live with. (They return. ALICE crosses to table, She is carrying two glasses, TONY, a bottle of ginger ale and bottle opener.) Lucky you're noc hungry, Mr. K. An icebox full of coun flakes. That gives you a rough idea of the Sycamores. (TONY fellows down to table.) 27 : TON iytony, (Working away with the opener.) Of course, why they make these bottle openers for Singer midgets I never did . . . (As bottle opens.) Allover my coat. ‘nce, (As she hands bim a glass.) Vl ake mine in a glass, if you don’t mind. TONY. (Pouring.) There you are. A foaming beaker. (Pours his own.) AucE, Anyhow, it’s cold. TONY. (Ar ALICE sits R. of the table.) Now if you'll please be seated, I'd like to offer a toast. Auice. We are seated. TONY. Miss Sycamore (He raises his glass on high.) . - . t0 you. Avice, Thank you, Me. Kirby. (Lifting her own glass.) To you. (She drinks and puts glass down.) Tony. You know something? auc. What? TONY, (Puts his glass down and sighs bappily.) 1 wouldn't trade one minute of this evening for . . . all the rice ia China. Auice. Really? Tony. Cross my heart. auice, (A litile sigh of contentment, Then shyly.) Is there smch rice in China? TONY. Terrific. Didn’t you read “The Good Earth"? (She laughs. They are sitent for a moment, He sighs and looks at his watch.) ‘Well, I suppose I ought to go. atic. Is it very late? tony. (Looks at bis watch.) Very. (ALice gives a little nod. Time doesn’t matter.) 1 don’t want t0 go. ‘ALICE. I don’e want you to. TONY, All right, I won't. (Sits L. of table. Silence again.) When do you get your vacation? ‘ALICE. Last two weeks in August. ‘TONY. I might take mine then, too. auice. Really? ‘ony. What are you going to do? auice. I don't know. J hadn’r thought much about it. ‘TONY. Going away, do you think? ‘auice, I might not. I like che city in the summer time. TONY. I do too. ALICE, But you always go, “> Maine, don't you? TONY. That's right. (Rises.) Un ‘ut I'm sure I would like the 28 You y acity in the summer time, if —— Oh, you know what I mean, Alice. Td love it if you were here. auice, Well—-it'd be nice if you were here, Tony. (Rises and crosses tor.) ‘Toy. You know what you're saying, don't you? auice, What? ‘TONY. That you'd rather spend the summer with me than anybody else. auice. (Bark to Tony.) Was 1? ‘TONY. (Crossing few steps x.) Well, how would you feel about—the winter? ‘Auicb. (Seeming to weigh the matter, Tarns to Tony.) Yes, Vd— like that too. TONY. (Tremulons.) Then there's spring and autumn. If you could —see your way clear about those, Miss Sycamore? (Crossing f0 auice.) auice. (Again a little pause.) Lmight. ‘Tony, | guess that’s the whole year. We haven't forgotten any- thing, have we? ALICE, No. TONY, Well, then ——— (Another pause; their eyes meet. TONY, aris to embrace usc. And at this moment, PENNY is heard from stairway. TONY crosses to back of GRANDPA'S chair.) PENNY. (Off stage.) Js that you, Alice? What time is it? (She tomes into room, wrapped in a bathrobe.) Oh! (In sudden embar- tasment.) Excuse me, Mr. Kirby. 1 had no idea—that is, 1—(She ‘Tenses the situation.) 1 dida’c mean to interrupt anything. ‘ony. Not at all, Mrs. Sycamore. auice. (Quietly) No, Mother. PENNY. I juse came down for a manuscript—(Fumbling at ber desk.) -—then you can go right ahead. Ab, here it is. “Sex Takes @ Holiday.” Well—good night, Tony. tony. Good night, Mrs. Sycamore. penny, Oh, I think you can call me Penny, don’t you, Afice? At least I hope 50. (W7 ith a little laugh she vanishes up stairs.) (TONY tums back to ALice. Before PENNY'S rippling laugh quite dies, BANG! from the cellar. TONY jumps.) ‘tony, What's that? ALICE, (Quietly. She crosses 10 below table.) It's all right, Tony That's father. Tony. Oh-—this time of night? (Coming DS.) 29 it's true about the summer, i 1One) 3 lyusc, (Ominously—turns fo TONY.) Any time of aught. Any time Of day. (She stands silent.) (In the pause, TONY gazes at ber fondly.) Tony, (Crossing so auice.) You know, you're more beautiful, tore lovely, more adorable than anyone else in the whole world. LICE. (AS be starts 1o embrace ber, she backs away.) Don't, Tony. Tony, What? (As ALICE shakes her bead.) My dear, just because your mocher . . . all mothers are like that, Alice, and Penny's 2 darling. You sec I'm even calling her Penny. ‘uice. I don't mean that, (She faces bim squarely—crosses 10 TONY.) Look, Tony, this is something I should have said a tong time ago, but I didn't have the courage. (Turns away.) 1 tet enyself be swept away because . . . [loved you so. tony. (Crosses to atic.) Darling! ‘tice No, wait, Tony. I want to make it clear to you. Listen, you're Of a different world . . . a whole different kind of people. Ob T don't mean money or socially . . . that's coo silly. But your family ged mine . . . it just wouldn't work, Tony. It just wouldn't work. (auice crosses 10 R. below TONY.) ST oF (The sogad of the outer door closing.) in hallway off stage.) Allright, have it youc way. (As 1 voice, TONY crosses 10 1.) She can'c dance. That's all that money . . . because she can’t dance, eps to R:) .) Well, I don't call chat dancing what she iNechway followed by Bp.) Ob, hello! How Myer bat on desk.) (auice takes a fi EssiB. (Still not in auice. Te was fine, Bssie. tony. Wonderful. ep. (Following into room after tony. Hello. sssig. Look, what do you people “Astaire and Ginger Rogers. Do you thi (Crossing over to TONY.) Tony. Why yes. I always thought so. gssit, What does she do anyhow? (Crossing # you're Fred Astaire, and I'm Ginger Rogers. ( TONY.) auice. Essie, please! 2 Ba and 1 just saw Fred he can dance, Mr. Kirby? ony.) Now look, ‘herself close to 30“TON 7 NY. (PAUL places TONY'S chair.) Thank you. (A glance af dinner lable) Nope en nor Weeping yes Fae ae Gaanora. No, a0. Have a tomata? (He sitt, also PAL.) Tory. No, thank you, PENNY, (Producing canty filled shall, crosses to tony) How about 4 piece of candy? row, (Eyeing the container.) Ali—no, thanks. (DE PIINA again steps forward.) PENNY, Oh, I forgot to introduce Mr, De Pinna. This is Me, De Pinna, Mr. Kitby. (Am exchange of “How do you do's”) DE PINKA, Wasn't reading about your Father in the newspaper the thes day? Didn't he get indicted or something? Tony. (Smiting,) Hardly thae. He just testified before the Securi- ties Commission, DE PENA. Oh, PENNY (Shurply.) Yes. of course. Fp aaace tenet mere cco ay nee ak ste a4 0 MUR UE ELE YE HE OW addressing wow. Drawing forward ber desk chair, she sils.)—~ Alice has often told us what a lovely man your father is. Tony. (Siting 1. of table.) Well, V know Father couldn't get along withour Alice. She knows mote about the business than any ofus sssmm, You're awful young Me. Kirby, aren't you, to be vice-presi- dent of a big place like hat? von. Well, you know whar thit means, vice president, AILT have is adesk with my name oa it. PENNY. Is that all? Don’t you gee any selary? Tony. (Iith a laugh.) Well, a liule. Mose than I'm worth, fea afraid. (ox vuuna tights pipe.) PENNY. Now you're just being modest. nario. Sousuds kind af dull wo me—Wall Street. Do you like it? TONY, Well, the hours are shote. And I haven't been there very long, Gaanpra, Just out of college, huh? ‘ory. Weil, Thmocked around (ora while first, Just sort of had fun, Grampa. What did you do? Travel? ‘ony. For a while. Then I wens to Cambridge for a year. caanwea. (Nadding.) England. ToNY, That's right. Granopa, Sey, what's an English commencement like? any? : Tony loR2rony. Ob, very impressive caareora. They ate, buh? -rony. Anyhow, now the fun’s over, and-— I'm facing tbe world. paneer, Well, you've cextainly got a good start, Mr vi resident, and a rich father. youy, Well, thar’s bardly my (auk vanny. (Brightly.) So aow 1 sappose you'te all ceady to settle down and—get martied. PAUL. Come now, Peony, I'm sure Mr. Kiely knows his own wind. gana, J wasn't making up bis mind for bim—w49 1, Mr. Kirby’ TONY. That's quie all right, Mrs, Sycamore. man, (To the others.) You see? ruiz. You prastn't rush bin, Mother. vaay. Well, all 1 meant was he's bound to get ‘married, (ALICE dante dawen shaies 6 and ssunoose the WrOne gil gecs hia? (tbe descenting mise mercifully comes 12 roNv's rescue at thit ve ement. Her voice is beard from stairs. SONY 118et-) suce. Well, here fam, a sision ta blue. (She comes into the 100m vied very lovely indead.) Apparently you've fhad time to get a> quaioted. (ess18 4 ep mag tises. Alsa PAUL.) Sinny, (Rises and pasbes chair back.) ‘Oh, yes, indeed. We were jos having a delighafal elk abouc love ard macnage Hirer, Oh, dear. (She turns so TONY. BHEBA enters.) Vea sorry. 1 ame down as fase as T could. ony. I dida’e mind in che least. Tomas. (Eaters wx. bringing + platter of diced watermelon.) Dama those files in the Kircher. (ALICE locks af PENNY and back to tony.) Gh, Miss Alice, yo took beautiful “Where you going? Luce, (Making the best of 3.) Vim going out Kheba. Manna. (Noticing ToNY--teoks af im) ‘Stepping, buh? (ihe door bell sounds. aMBBA puts platier OF table and crosses fo ball door.) pssip, That must be ‘Kolenkhov. Buren. (Ureosily. She crossati0 Un) t ahink we'd better go, Tomy. ony, (Grossing to desk) All right. (Before shey can escape, howewer, BONNE emarges from kitcben ue. bearing tray.) vjonaun, Geandpa, you tke crear o¥ rou com fakes? 1 foXBe: “Tony of Z