Intimate Strangers-Booth Tarkington

Summary

Podcast Summary: "Intimate Strangers" – Booth Tarkington

Podcast: King Arthur
Host: Joseph Comyns Carr
Episode: Intimate Strangers – Booth Tarkington
Date: August 5, 2026
Main Performers: Amanda Friday, Alan Mapstone, Todd, Matteo Bracic, Jen Broda, Adrian Stevens, Wayne Cook, Sonia, Michelle Eaton

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Overview

This episode delivers a staged reading of Booth Tarkington’s play Intimate Strangers (Act One through Three), a gentle, wryly humorous character drama about chance meetings, age, romance, generational contrast, and the subtleties of human nature. Set in early 20th-century rural America, the story follows William Ames and Isabel Stuart, two middle-aged strangers stranded overnight in an isolated train station whose encounter grows from awkwardness and irritation to mutual trust and budding affection. Their bond is tested and illuminated as the play shifts to Isabel's home, introducing her irrepressible great-niece Florence, family, and comic misunderstandings about age and romance.

The production is true to the original's interplay of wit, vulnerability, and nostalgia for a vanishing gentility, with memorable characterizations and sharply observed dialogue.

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Key Discussion Points & Plot Breakdown

ACT ONE: The Railway Station — Chance Encounter

Setting & Situation (00:59–06:14)

• The curtain rises on a dark, rural railway station after a storm. Trains are delayed by downed wires and a washed-out bridge.
• William Ames and the Station Master introduce the scene: Ames, urbane but weary, stranded after an unproductive hunting trip; the Station Master dry, practical, explaining the isolation and lack of supplies.

Ames & Isabel’s Meet Cute (09:28–20:55)

• Ames is joined in his limbo by Ms. Isabel Stuart, a composed, lovely woman stranded on her own journey.
• Their interaction is awkward: food is scarce, and Isobel has a lunch basket, prompting comedy over who should eat and why.
• Notable Dialogue:
  • “We got just three eggs in two days from 17 hens...” – Station Master (13:19)
  • “You lost your temper and declined to sit in the same room with me. Rather than do that, you went out in the night air and sat two hours on a baggage truck.” – Ames to Isabel (23:00)

Negotiating Food and Manners (21:26–32:26)

• A debate of etiquette and gender roles over a single egg and a sandwich: each insists the other take it; mock accusations of selfishness and stubbornness.
• Isabel’s amusing anecdotes and deft teasing show early rapport.
• Quote: “The most romantic woman isn’t so romantic as the least romantic man.” – Isabel (135:31)

A Wistful Connection in an Unlikely Place (33:01–65:07)

• As warmth kindles and food is finally shared, their teasing and confessions turn frank and intimate.
• They talk of loneliness, change, charm, and their impressions of each other; a tentative romance emerges, shades of regret and hope in both.
• Notable exchange:
  • Ames: “You’ve shown me you are the old fashioned, perfect kind of woman I thought had disappeared. Well, I found you. I don’t want to let you go.” (54:21)
  • Isabel: “I know what I say sounds very sleepy and I am almost asleep. But my mind, you know... My mind’s working just as clearly as ever.” (63:59)

Arrival of the Next Generation (67:34–77:00)

• At dawn, Florence—a vibrant, bobbed-hair “new American girl”—arrives with Johnny, breaking the intimate spell and reasserting youth, energy, and comic contrast.

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ACT TWO: Isabel’s Country House – Family, Generations, Comic Rivalries

Morning After: Family Dynamics (83:03–93:18)

• Isabel’s household: Aunt Ellen, the reliable yet fretful domestic, Mattie the maid, and the spirited Florence.
• Johnny White emerges as a well-meaning young suitor to Florence, resenting her flirtatious focus on Ames.

Generational Teasing—Who’s Old, Who’s Young? (93:18–101:16)

• Multiple playful riffs on age: Florence’s “old men,” Aunt Ellen lamenting modern dance, Isabel and Johnny sparring about age gaps in affection.
• Isabel on the unfairness of men loving 19-year-olds at any age: “We can’t stay 19, much as we want to please you.” (101:26)

Florence’s Schemes and a Fabricated Telegram (109:11–150:06)

• Florence attempts to engineer Ames’ stay (faking a telegram), furthering comic confusion.
• The household’s chaos around who is related to whom, slippers gone missing, and Aunt Ellen’s increasing agitation about manners.

Romantic Hesitation, Physical Comedy, and Reflection (119:08–156:11)

• Ames, pressured by Florence, assists her with her shoes amid more “Aunt” confusion.
• Isabel, sewing, and Ames trade significant glances, gently sparring over romance, age, and the secrets kept by “old furniture and daguerreotypes.”
• Notable moments:
  • Their mutual awkwardness and Isabel’s clever avoidance of revealing her age.
  • The climactic scene: dance lessons (and missteps), Isabel faking a limp, and Ames reflecting on the generational shift (“It seems to me you’re rather extraordinary yourself, my dear.” – 117:35).

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ACT THREE: Age, Romance, and the Family Bible

The Elusive Family Bible (159:07–169:55)

• Isabel’s age and family history become the talk of the house with the missing family Bible (which records everyone’s birth dates).
• Isabel’s elaborate “game” to hide her actual age from Ames and family.

Ames’ Growing Discombobulation (170:13–182:34)

• Ames, increasingly anxious, searches the house for the Bible, his feelings for Isabel now tangled with curiosity.
• Isabel teases, misdirects, and ultimately exposes the absurdity of obsessing over women’s ages.

Confessions, Resignations & A Semi-Resolution (182:45–223:31)

• True feelings surface. Isabel and Ames discuss the significance of age and romance, the burdens of loneliness, and the fear of being too late for love.
• Isabel: “We’re like Portia’s caskets, we women. And the men come to choose without knowing what they’ll find... A woman past 28 is a thousand. I’ll show him only lead.” (213:13)
• Isabel finally admits her affection, and in a scene of symbolic reassurance, offers Ames the chance to discover her “real” age in the Bible, but he declines; their connection, built on affection not digits, is cemented.
• The final tableau: an old-fashioned waltz, the “old” couple dancing, Florence and Johnny left to gaze in confusion, signifying the persistent, mysterious nature of love and generational misunderstanding.

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Notable Quotes & Memorable Moments

• Food & Gender, Early Charm
  • “You made it personal when you lost your temper.”
    — William Ames (22:50)
  • “A woman can live on her nerves.”
    — Isabel Stuart (26:31)
• On Age & Romance
  • “Let’s call a man as old as he behaves toward a woman.”
    — Isabel Stuart (42:16)
  • “The most romantic woman isn’t so romantic as the least romantic man.”
    — Isabel Stuart (135:31)
  • “A woman past 28 is a thousand... I’ll show him only lead.”
    — Isabel Stuart (213:13)
• On the Generations & Modern Youth
  • “Can a brazen little hussy in breeches with a flask of homemade gin in her hip pocket have any charm?”
    — William Ames (43:50)
• Meta-Humor & Warmth
  • “You do make me selfish.”
    — William Ames, accepting Isabel’s muff for a pillow (62:07)
  • “If you see me dancing, it is the sign that I have forgotten how old I am.”
    — Isabel Stuart, dancing at the end (216:24)

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Timestamps for Key Segments

• Opening, Stranded at Station: 00:59–09:28
• Ames & Isabel’s First Connection: 20:55–32:34
• Night-long Conversation and Near-Proposal: 33:01–65:07
• Florence’s Arrival, Youthful Disruption: 67:34–77:00
• Home Life: Family Banter & Romantic Comedy: 83:03–156:11
• Ames & Isabel, Detours, and The Family Bible: 159:07–182:34
• Final “Reveal” and Dance: 209:08–223:31

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Tone and Style Notes

• Language: Literary, pointed, and decorous, often playful and gently ironic, especially in Isabel’s elliptical, flirtatious responses.
• Atmosphere: Warm with undercurrents of sadness, yearning, and humor. Nostalgia for “old” values and rituals (courtship, meals, dances), contrasted by the briskness and modernity of Florence’s generation.
• Performances: The actors capture the subtlety of Booth Tarkington’s social comedy and emotional honesty, making the shifting power dynamics and generational contrasts both comic and moving.

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Conclusion

"Intimate Strangers" is a witty and touching exploration of unexpected connection, aging, and the unanswerable questions of love and identity. Through sharp, authentic banter and a joyfully nostalgic tone, Booth Tarkington’s play—here brought to life by the King Arthur podcast ensemble—reaches across generations to ask: What does it mean to be truly known? Is age a secret, an obstacle, or simply part of the dance?
A rewarding listen both for its literary craft and its insights into human relationships across time.

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End of Summary

Transcript

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[Narrator]

code fitness act one of intimate strangers by Booth Tarkington this is a Librivox recording. All Librivox recordings are in the public domain. For more information or to volunteer, please visit Librivox.org dramatis personae the Station Master

[Station Master]

read by Alan Mapstone William Ames, read

[Isabel Stuart]

by Todd Isabel Stewart read by Matteo

[Florence Stuart]

Bracic Florence read by Jen Broda Johnny

[Johnny White]

White read by Adrian Stevens Henry read

[Aunt Ellen]

by Wayne Cook Aunt Ellen read by

[Stage Directions / Additional Narration]

Avay Mattie read by Sonia Stage Directions

[Narrator]

read by Michelle Eaton the intimate strangers Act 1 scene the Rise of the curtain discloses a darkness complete except for an oblong of faintly luminous blue. This is a large window and one or two stars are seen through the upper panes. After a moment a door upright is opened and a man enters carrying a lantern. He pushes a switch button near the door and two bulbs shaded by green painted tin come to life right centre. Two other bulbs, left centre, take on similar life simultaneously. These lights hang by wires from the ceiling. The interior revealed is that of a small railway station, a weigh station at an obscure junction in the country. The walls are wainscoted in wood to a height of 4ft. Above that is plaster painted a tan brown. In the right wall, halfway up, is the ticket window with a little shelf, the up and down sliding inner panel of the window closed up to this in right wall is a door. In the back wall Upright is another door, that which has admitted the man with the lantern. Centre in the rear wall is the window. There is a stove left with a pipe running to the left wall. The only decorations are some printed posters giving notice of changes in train schedules, a navy recruiting poster, a warning concerning forest fires, a penny in the slot weighing machine against the rear wall, and no smoking. There is a clock on right wall. It has stopped at 17 minutes after 6. The furniture consists of four or five wooden benches with iron legs, the feet screwed to the floor. These benches are set in rigid rows facing front, one straight behind the other. Upon the front one is seen a small lunch basket, closed but not strapped, and a very small thermos bottle. Several traveling bags, a couple of guns in cases and a trout fishing outfit are there also. The man with the lantern is the station master, ticket agent, telegraph operator, baggage man and janitor. But he wears no uniform except a cap. He is elderly and smooth shaven. His clothes are elderly too, though not shabby. A dark old overcoat with the collar turned up. His rubber boots are heavy with muddied clay and his trousers are tucked into the tops of them. He goes casually near the clock, looks at it, grunts thoughtfully, goes outright, returns with a plain wooden seated chair once painted yellow, places it under the clock. He moves the hands around to 1024, consulting his watch as he does so. Then he winds the clock. As the winding begins, there is the sound of an annoyed yawn from the apparently empty benches. A man has been lying at full length on the bench, second from front, and until now, as he slowly sits up, has been invisible. He is somewhere in the early 40s, but not yet well preserved looking. People of 60 would speak of him as a young man. People of 16 would of course think him of an advanced age. He is urban, intelligent looking, a man of the world, very attractive. His clothes are of an imported texture, pleasant for travel, and he has on a soft hat and a lightweight overcoat. The station master, having wound the clock, looks at him.

[Station Master]

Been asleep, I expect.

[Narrator]

Gets down from chair Ames, passing a gloved hand over his eyes.

[William Ames]

I have not.

[Narrator]

He looks at the station master drowsily.

[William Ames]

Hmm. You're. You aren't the same one, are you?

[Narrator]

He states this as an interesting discovery. It is not a question.

[Station Master]

I'm not the same one. What?

[William Ames]

You aren't the same station master that was here this afternoon?

[Station Master]

He ain't no station master. He's my brother in law.

[Narrator]

Starts with chair.

[Station Master]

Oh, he just spelled me today. I was teaming.

[William Ames]

I thought he seemed to be an

[Narrator]

amateur station master moving right with the chair to return it to the room offright how he means. What did you say?

[William Ames]

He seemed bashful about giving any information. I mean information.

[Station Master]

He ain't got no information to give.

[William Ames]

Never did have he struck me in that light. Particularly about trains.

[Station Master]

Well, right tonight I ain't much better myself. The wires are all down after them storms the bridge at Millersville. Washed out on one road and they was a big freight smash on the other one. My brother in law says he told you that much.

[William Ames]

Yes, he did tell me that much.

[Station Master]

Well, the Lord Almighty couldn't tell you much more till them wires start working again.

[Narrator]

He moves to go off right with the chair, then turns back.

[Station Master]

Where'd you say you was aiming to get to?

[William Ames]

Well, New York, eventually. I have a place there with a bed in it and food.

[Station Master]

New York. You gotta get from here down to Ukatee first, then change for Albany.

[William Ames]

Yes, I know, I know. I made a mistake in coming round by this junction. I ought to have walked.

[Narrator]

Station master with a short laugh.

[Station Master]

I reckon you'd have got there pretty near as soon. Maybe. These here hurricanes got train service in this whole section. Just about disorganized. They say it's sunspots. I dunno if tis or not, though.

[Narrator]

Exits right with his chair. Ames rises and goes to the window. He looks out toward left. After a moment he goes to the door upright, opens it. Steps just outside the door but remains in view. Then speaks to someone invisible and apparently at a little distance off left. Ames hesitating.

[William Ames]

Don't you think this is pretty foolish?

[Narrator]

He waits a moment for an answer. None is heard. He speaks louder.

[William Ames]

I say, I think this is. Don't you think yourself this is pretty foolish? I'm sure you can hear me, you know.

[Narrator]

He waits again.

[William Ames]

Ah.

[Narrator]

He seems about to address further remarks to the invisible person. But decides not to do so. And with a somewhat baffled and puzzled air, comes in, closes the door. Sits on first bench, murmuring rather crossly.

[William Ames]

Well, all right.

[Narrator]

Moves lunch basket a little centre of bench. The station master returns from the room. Off right. He speaks as he enters.

[Station Master]

Nary a single click from my telegraph instrument.

[Narrator]

He refers to room off right. Then he comes over and looks at the luggage on the front bench.

[Station Master]

See you been gunning.

[William Ames]

What?

[Station Master]

See you been fishing and gunning up in the woods.

[William Ames]

Yes, I been up at a lodge in the woods. That's how I happened to be here. Getting out of the woods.

[Narrator]

Station master examining the guns.

[Station Master]

Have any luck? No. If you'd have shot anything or caught any fish, you'd have done well by yourself to bring it along. You could have built a fire and cooked it. Anyways.

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[Narrator]

Aims roused to earnestness.

[William Ames]

See here, your brother in law told me there was absolutely no food in this neighborhood.

[Station Master]

He was right. They ain't.

[William Ames]

But my Lord, the people in this neighborhood have to live on something.

[Station Master]

Ain't no people in this neighborhood except me and my brother in law's families.

[William Ames]

Well, even you and your brother in law have to eat, don't you?

[Narrator]

My hens ain't laying sits on front bench centre.

[Station Master]

We got just three eggs in two days from 17 hens.

[William Ames]

I suppose you used all three eggs.

[Narrator]

Station Master with a dry laugh.

[Station Master]

I suppose we did. Among seven children we had nine potatoes left and about four slices of bacon. That's all we had for supper. And we won't have no breakfast at all unless the northbound train gets through. April's an awful scanty Month in this country. And I expect supplies today myself. You ain't the only one them sunspots been fooling with.

[William Ames]

I suppose that's as good an explanation as any for a train over 11 hours late. Sunspot.

[Narrator]

Station master looking in the lunch basket.

[Station Master]

Why, you got food there right now? Good food.

[William Ames]

One chicken sandwich and one hard boiled egg left over from a light lunch. A very light lunch.

[Station Master]

Well, why don't you eat?

[William Ames]

Isn't mine.

[Narrator]

Pushes basket to station master.

[Station Master]

Oh.

[Narrator]

He nods. Glances up off left and nods again as if understanding.

[Station Master]

Well, waiting for trains does get people kind of pettish with each other.

[Narrator]

Rises and moves right. Glances off left.

[Station Master]

I noticed your wife still is sitting on that baggage truck out yonder.

[William Ames]

She isn't my wife.

[Station Master]

Oh, your lady, I mean. She's still setting out yonder. I see.

[Narrator]

Ames rather bothered. Shakes his head, mutters, she isn't my lady. He gets up and goes to the window.

[Station Master]

Well, excuse me. My brother in law, he took her and you for married.

[Narrator]

Ames comes down left.

[Station Master]

He told me you and her had kind of a spat just before he left here this evening. But of course a man has got a right to quarrel with other women. Well, as his wife.

[Narrator]

Ames slightly annoyed with himself for being annoyed by this report of the station master's brother in law.

[William Ames]

The lady and I were hardly quarreling,

[Station Master]

to tell you the truth.

[Narrator]

Crosses left.

[Station Master]

My brother in law ain't got sense enough to tell the difference between a couple that's quarreling and a couple that's just kind of starting to make up to each other.

[Narrator]

Sits left end of front bench.

[William Ames]

The lady and I weren't doing either. I never saw her before I got on the train this morning.

[Station Master]

Well, that often happens. I've known plenty of perfectly respectable people to do it too. You might say it's nature.

[William Ames]

What is?

[Station Master]

Why, for strange couples to get talking to each other and so on on a train.

[William Ames]

I didn't speak to this lady on the train.

[Narrator]

He goes up left and comes right down again.

[William Ames]

In fact, we didn't speak to each other till we'd been moping about this God forsaken station for an hour. Then as there wasn't anything else in the world in sight but mud and your brother in law. And she didn't need to guess. Very hard to guess. I was hungry. She offered to share her lunch basket with me and we naturally got to talking.

[Station Master]

Well, sir, a person can get mighty well acquainted with anybody in about 10 hours. Talking?

[William Ames]

We haven't been talking for the last two hours.

[Station Master]

Got acquainted at noon. And quit speaking already.

[William Ames]

Rises chuckles oh no, she still speaks. At least she nodded to show me that you heard me the last time I spoke to her.

[Narrator]

He is grimly humorous here, but does not smile.

[Station Master]

Well, sir, it's funny. Some people don't more than say how de do. They can't neither of em hardly stand a word the other one says crosses right. I should think she'd be chilly out there by this time, though.

[Narrator]

Ames looks at the station master earnestly.

[William Ames]

You seem to be a man of unusual experience.

[Station Master]

Unusual, I guess, if you think that.

[Narrator]

You ain't married, Ames muttering no, and

[William Ames]

not likely to be.

[Station Master]

Look out, mister. No man in a spat with a lady ain't safe. Where's she bound for?

[William Ames]

I think she said a stationed about 30 or 40 miles from here. Amity.

[Station Master]

Amity? She's worse off' n you are.

[William Ames]

No, that's impossible.

[Station Master]

Amity's on the branch line. Everything's blown to hell down that way. Creeks over the rails and all.

[William Ames]

Isn't there any way of getting a motor car rises?

[Station Master]

Not with the telephone lines down like they are. I don't reckon no car could get through them roads neither.

[William Ames]

Yeah, so your brother in law said.

[Narrator]

A clicking is heard off Right.

[William Ames]

Isn't that your telegraph instrument indicating right.

[Narrator]

Station master jumping up.

[Stage Directions / Additional Narration]

So tis going right.

[Station Master]

That means they got the wire up again at Logan's station. Well, now we'll see what's what. Maybe.

[Narrator]

Exits Right. Leaving the door open, the telegraph instrument can be heard clicking. Ames listens at the open door right a moment. Then he goes to the door upright, opens it and speaks off as before.

[William Ames]

I think you'd better come in now, Ms. Stuart.

[Narrator]

In response, a thrillingly lovely voice is heard, though the words are not necessarily discernible. However, what Ms. Stuart says is. I'm quite comfortable here, thank you.

[William Ames]

I really think you'd better come in. There may be some news of your train or mine.

[Narrator]

This seems to mean more to Ms. Stuart than have his previous appeals. Her voice is heard again. Oh, she is evidently approaching.

[William Ames]

That's better. Do come in and be sensible.

[Narrator]

Her voice is heard once more before she appears. A faint amusement and protest are audible in it. Sensible, my dear sir. He holds the door open for her as she appears and comes down. Then he follows. She is of a lovely and charming presence. One is aware of that instantly, though she is pretty thoroughly muffled in furs and veils. And one becomes even more aware of it as she pushes up the veil from her face. As she comes in, a muff is held in her Left hand.

[Isabel Stuart]

My dear sir, I think maybe I could be more sensible. If the news turns out to be of my train, could you stand its being about my train instead of yours? Mr. Ames.

[Narrator]

Comes down right. She has gone toward the lunch basket.

[William Ames]

If mine came first, you'd be relieved of me.

[Narrator]

At upper end of benches left.

[Isabel Stuart]

Yes, so I should.

[Narrator]

She lifts the lid of the lunch basket closed by the station master.

[Isabel Stuart]

Oh, you haven't eaten the sandwich. Nor the egg either.

[Narrator]

As if in reproachful surprise.

[William Ames]

Certainly not.

[Narrator]

Comes down left. Ms. Stuart lifting a hard boiled egg from the basket daintily in a gloved hand.

[Isabel Stuart]

Didn't you even nibble at it?

[Narrator]

She looks at him, not at the egg.

[William Ames]

I did not.

[Isabel Stuart]

Are you sure?

[William Ames]

I'm not in the habit of nibbling things, Ms. Stuart.

[Narrator]

With a hint of suspicion and severity.

[Isabel Stuart]

You're sure. I knew a bishop once who used to steal little bits of icing off icing cakes. He'd slip out in the kitchen on baking days when no one was looking. And then he'd deny it.

[William Ames]

I'm not a bishop. Please.

[Isabel Stuart]

How could I tell? I've only known you.

[Narrator]

She glances at the clock.

[Isabel Stuart]

10 hours and 30 some minutes. And this is the first time you've mentioned that you're not a bishop. Why didn't you eat this egg?

[William Ames]

You know perfectly well why I didn't.

[Isabel Stuart]

But I thought you would if I left you alone with it. I've left you alone with it on purpose. Two hours, I'm afraid. You're stubborn.

[William Ames]

More personalities.

[Isabel Stuart]

Well, doesn't the question of what one eats have to be rather personal?

[William Ames]

I think you made it personal when you lost your temper.

[Isabel Stuart]

When I lost my temper? Ho ho ho ho.

[Narrator]

But you did, coming toward her.

[William Ames]

You lost your temper and declined to sit in the same room with me. Rather than do that, you went out in the night air and sat two hours on a baggage truck.

[Narrator]

Turns away to left.

[Isabel Stuart]

Please. Listen, Mr. Ames. Your name is Ames, isn't it?

[Narrator]

There is a stronger hint of humour in her voice.

[William Ames]

You seemed to have no doubt of it before you lost your Mr. Ames.

[Isabel Stuart]

Let's put it this way. I lost your temper. As for me, it seems at least you ought to distinguish between a loss of temper and a sense of injury.

[William Ames]

Yes, I had a sense of injury

[Isabel Stuart]

when we found there was only one egg and one sandwich left for dinner and no other food in reach. I said.

[William Ames]

You distinctly said it wouldn't be enough for two.

[Isabel Stuart]

Yes, that's what I distinctly said. It really isn't enough for one, is It.

[William Ames]

Need I explain again? I had no intention of asking to share it with you.

[Isabel Stuart]

No, don't explain again. When I said there wasn't enough for

[William Ames]

two, I meant it was yours. And you meant you wanted it all. Naturally.

[Narrator]

Ms. Stuart indignantly.

[Isabel Stuart]

Oh.

[William Ames]

What I minded was your thinking I expected any of it.

[Isabel Stuart]

When I said there wasn't enough for two, I meant I expected to eat all. All of it. Did I?

[William Ames]

Why, of course.

[Narrator]

Ms. Stuart, after drawing an indignant breath, puts egg in basket.

[Isabel Stuart]

Now, before I go out for two hours more on the baggage truck, will you please ask that man if there is any news of my train?

[William Ames]

Certainly.

[Isabel Stuart]

Thank you.

[William Ames]

Don't mention it.

[Narrator]

Goes to door. Right. And speaks off.

[William Ames]

What do they wire you about?

[Narrator]

Station master voice off. Right.

[Station Master]

Nothing yet about no passenger traffic.

[Narrator]

Aims turning toward Miss Stewart.

[William Ames]

He says, there's nothing yet.

[Narrator]

Ms. Stuart sinking upon the front bench.

[Isabel Stuart]

Oh.

[Narrator]

She sighs with exasperation. Sits on front bench.

[Isabel Stuart]

You said there was news.

[William Ames]

There will be in a few minutes. Now the wire's working well.

[Isabel Stuart]

Do you still pretend not to understand?

[Narrator]

Understand what comes down right.

[Isabel Stuart]

That, of course, I meant. Men need more sustenance than women. And of course, when I said there wasn't enough food for two, I meant I didn't want any. That is, I did want it, certainly. But I wouldn't touch it because. Because you're a man and ought to have it all.

[Narrator]

Ames, in an earnestly interested voice.

[William Ames]

Do you honestly mean that?

[Narrator]

He sits on the bench right of Ms. Stuart, looking at her with great earnestness.

[Isabel Stuart]

Why, of course.

[William Ames]

Are you serious?

[Isabel Stuart]

Why, of course I'm serious.

[William Ames]

You really wanted me to eat it all?

[Isabel Stuart]

Certainly.

[William Ames]

I thought you were warning me your hospitality was over when it came to one egg and one sandwich.

[Narrator]

Ms. Stuart, glancing at the clock 10

[Isabel Stuart]

hours and 37 minutes. You certainly ought to know me well enough to understand better than that.

[William Ames]

You honestly mean I ought to eat it all because I'm a man?

[Isabel Stuart]

Of course. It hurts a man a great deal more not to indulge himself than it does a woman. When there is only a little of anything. It ought to always be given to the man.

[William Ames]

Because he's the more selfish?

[Isabel Stuart]

No, because he has to have his strength. A woman can live on her nerves.

[William Ames]

So you think the woman ought to give up the food to the man?

[Narrator]

This is serious on his part and appears to be serious on hers. Though one cannot always be sure when she is serious. There is a mysteriousness about her. We won't really know her for a considerable time.

[Isabel Stuart]

I think she'd better. If she didn't, she might be mistreated.

[Narrator]

Ames frowning.

[William Ames]

So her unselfishness is only self preservation,

[Narrator]

is it, Ms. Stuart with a twinkle?

[Isabel Stuart]

No. She wants to preserve them both. If the Indians come, the man will have to do most of the fighting. If the waters rise, he'll have to build a raft. If it gets very chilly, she glances at the stove, he'll have to build a fire.

[Narrator]

Ames following her glance.

[William Ames]

It is very chilly.

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[William Ames]

I wonder.

[Narrator]

He rises and goes to the door, right? Calls off.

[William Ames]

How about a fire in that stove?

[Narrator]

Station master off. Right.

[Station Master]

It's fixed if you want to light it.

[William Ames]

All right.

[Narrator]

He crosses to the stove, producing a match, which he lights and places within the door of the stove. In a moment a rosy glow comes from the door of the stove, which opens toward the right. He watches it, and the lady inscrutably watches him.

[Isabel Stuart]

It is a new experience.

[Narrator]

She loosens her furs as the glow grows stronger from the stove.

[William Ames]

My lighting a fire for you, Ms.

[Narrator]

Stuart, indicating the lunch basket.

[Isabel Stuart]

No. To see a man making such A fuss about eating when he's starving.

[Narrator]

Ames returning to her, he smiles.

[William Ames]

Suppose we divide it.

[Isabel Stuart]

You might have thought of that before.

[William Ames]

I might? Why? It was you that said.

[Isabel Stuart]

Have you a pocket knife with a very clean blade.

[Narrator]

He hands his knife to her. With a blade open.

[Isabel Stuart]

Yes. I thought you looked like a man who would have. I'll do the dividing and you'll do the choosing.

[Narrator]

He sits end of bench. She cuts the egg so that the two parts are anything but equal. The smaller part is about a fifth of the egg. She cuts the sandwich in the same uneven way.

[Isabel Stuart]

There. Choose.

[William Ames]

Thanks.

[Narrator]

He takes the small bit of egg and the tiny fragment of the sandwich.

[Isabel Stuart]

Well, eat them.

[Narrator]

He does. So he. His portions vanish as if hardly realised as they pass. Meanwhile she is cutting the egg and the sandwich again. Ames as he swallows the two small bits together.

[William Ames]

Thanks. Aren't you?

[Isabel Stuart]

Oh yes. I'm only.

[Narrator]

She offers the newly divided portions here.

[William Ames]

Oh no, I've had my share.

[Isabel Stuart]

That was a test to see how you'd choose. Now it's a fair division.

[William Ames]

No, I really.

[Narrator]

He takes off his overcoat and sits on the bench near her.

[Isabel Stuart]

Don't let's be ridiculous anymore. I imagine neither of us has much right to behave like a child of 10. Or 19 for that matter. Here.

[Narrator]

She insists upon his taking what she offers.

[William Ames]

It doesn't seem fair.

[Narrator]

He accepts what is offered and eats.

[William Ames]

Murder. But I am hungry.

[Isabel Stuart]

And there's still some coffee in the thermos. Didn't you know it?

[Narrator]

She pours it in the cap cup of the bottle as she speaks, turning the bottle upside down to get the last.

[William Ames]

No. Is there some coffee left? My my.

[Narrator]

She puts the cup in his hand.

[William Ames]

Coffee.

[Isabel Stuart]

Yes. That is lucky.

[Narrator]

She puts the remaining bit of egg upon the remaining bit of sandwich.

[Isabel Stuart]

Here, this is yours too. To go with the coffee. Eat it.

[Narrator]

He does so before he thinks.

[Isabel Stuart]

That's it.

[William Ames]

Oh lovely. A whole mouthful at once.

[Narrator]

He finishes the coffee in a gulp then starts that was yours. Rises.

[Isabel Stuart]

No, no it wasn't.

[William Ames]

Why? It was.

[Narrator]

He goes back of bench to centre.

[William Ames]

Have you given me all the coffee too?

[Narrator]

He shakes the thermos bottle and turns it upside down.

[William Ames]

Well by George. Did you do that to escape mistreatment?

[Isabel Stuart]

No, it was just the way I was brought up.

[Narrator]

Goes left and throws paper napkins etc into stove.

[William Ames]

You were brought up to make a

[Isabel Stuart]

man be selfish about food and when he thinks he's sick. Yes. That was the old fashioned way of bringing girls up, wasn't it?

[William Ames]

I thought that went out a long

[Isabel Stuart]

Time ago it prevailed in my girlhood, you see.

[William Ames]

Well, that couldn't have been very long ago, Ms. Stuart.

[Narrator]

Putting the thermos bottle in the basket and closing the lid. She smiles faintly.

[Isabel Stuart]

No. Hasn't the stationmaster any news for us yet?

[Narrator]

The station master answers for himself. Enters right as she speaks, carrying his lantern and a bucket of coal. Goes left back of benches and down to stove.

[Station Master]

Not very good I reckon. Least not as you'd think. You won't get no train for Amity tonight.

[Narrator]

Ms. Stewart disturbed. But she has usually somewhere a little humour left for her own misfortune.

[Isabel Stuart]

Not tonight.

[Station Master]

No ma'. Am. And so fur as I know, not before noon or maybe 3, 4, 5 o' clock in the afternoon tomorrow.

[Isabel Stuart]

Will there be any food in this part of America tomorrow?

[Narrator]

Station master pouring some coal into the stove.

[Station Master]

Not that I know of now.

[Isabel Stuart]

Good gracious.

[Station Master]

How about my train number 21? If she don't get no later, she'll be due by 8 or 9 in the morning. Is there a diner on her number 21? A diner. My gosh.

[Narrator]

He sets the coal bucket down by the stove with a bang and puts shovel full of coal in stove.

[William Ames]

Isn't there a buffet, Mister?

[Station Master]

They's a caboose, that's all.

[Narrator]

Oh, my Station master buttoning his overcoat and moving toward right.

[Station Master]

There's more coal in yonder if you need it.

[Narrator]

Ms. Stewart looking at him incredulously.

[Isabel Stuart]

Where are you going?

[Narrator]

She jumps up, continuing instantly.

[Isabel Stuart]

Mr. Ames, you'd better ask him where he's going.

[Station Master]

Me? Why you ask me yourself where you think I'm going. I'm going home to bed.

[Narrator]

You are Rises.

[Station Master]

Yes, M. I gotta sleep same as anybody else.

[William Ames]

What? Why you can't.

[Station Master]

Why I ain't got anything more to do round here till just before 21's due. I'll be back by 7:30 in the morning though.

[William Ames]

But this lady, where's she gonna sleep?

[Narrator]

Station master disclaiming responsibility.

[Station Master]

I couldn't tell you.

[William Ames]

What about your house?

[Narrator]

Can't she Station master looking at Ms.

[Station Master]

Stuart in the first place, how would she get through the mud?

[Narrator]

Shows his boots. Dried mud to the knee.

[William Ames]

Why, why we could take her on the baggage truck.

[Narrator]

This he thinks is a real idea. Ms. Stuart graciously no thank you.

[Station Master]

No room for her if she got there. No way to mate none either.

[William Ames]

What about your brother in law's house?

[Station Master]

Bout the same as me. Him and his wife and two children's in one room and the other five children's in the other.

[Isabel Stuart]

No thank you.

[William Ames]

Well, but good heavens.

[Isabel Stuart]

Never mind.

[Narrator]

It's all right, Ames turning back to the station master.

[William Ames]

Well, but look here, mister, you can

[Station Master]

make yourself comfortable enough. It's nice and warm here now. And night, Judy, when they ain't no trains running. Why, that ain't part of my job. I got a heavy day tomorrow and I need sleep. Good night, lady.

[Narrator]

He goes out briskly upright. Ms. Stuart goes to stove left.

[William Ames]

Well, good heavens.

[Narrator]

He goes up nervously, opens the door, steps out and calls after the station master. Listen, you see here Station master outside.

[Station Master]

Good night.

[William Ames]

But see here.

[Narrator]

There is no response and after a few moments Ames closes the door. Much disturbed. Ms. Stewart stands near the stove, observes him, then laughs faintly.

[Isabel Stuart]

Don't worry about me. I'm an old traveller. We can be comfortable enough. It is warm now.

[William Ames]

Ill I'll go take a nap later on.

[Narrator]

The baggage truck jerks his head toward up left.

[Isabel Stuart]

How absurd. I nearly froze out there, even in these her furs.

[William Ames]

But what's to be done?

[Isabel Stuart]

Nothing. When railroads break down, passengers can't travel, can they?

[William Ames]

I ought to be able to think of something to do.

[Isabel Stuart]

Well, for one thing, now that all the officials have gone, I don't think you need to bother about that sign any longer.

[Narrator]

She points to no smoking.

[Isabel Stuart]

Don't you usually smoke after dinner?

[Narrator]

She laughs on the word dinner with a glance at the lunch basket and then sits again, throwing back her fur coat.

[William Ames]

Oh, thanks.

[Narrator]

He brings forth a cigarette case.

[William Ames]

But that won't be of much use, will it?

[Isabel Stuart]

Well, what else useful can you think of?

[William Ames]

I can't think of a thing.

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[Grainger Announcer]

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[Isabel Stuart]

Neither can I. So

[Narrator]

she laughs faintly, crosses to left centre and sits on front bench.

[Isabel Stuart]

So where are your matches?

[Narrator]

Ames produces a box of matches, then makes a gesture as if to offer her his cigarette case.

[William Ames]

Ah, do you, Ms. Stuart?

[Narrator]

Shaking her head.

[Isabel Stuart]

No, I still stick to the way I was brought up.

[Narrator]

She takes off her heavy coat, not rising.

[William Ames]

No. Is there still an old fashioned woman left in America?

[Isabel Stuart]

Yes. Left is the word. Leftover. How leftover old maids are, aren't they?

[William Ames]

Old bachelors are, that's what I am.

[Narrator]

Lights his cigarette, adding grimly, an old bachelor.

[William Ames]

And perhaps an older one than I look too. A little, that is.

[Isabel Stuart]

What's the matter? How many times you've seen the earth go round the sun? That's all we mean when we say a year, isn't it? Our ages ought to be reckoned another way. Not in these foolish years.

[William Ames]

What other way do you suggest?

[Isabel Stuart]

Well, let's call a man as old as he behaves toward a woman.

[William Ames]

Then how old will you call a

[Isabel Stuart]

woman as old as she makes men behave toward her.

[William Ames]

Well, if I'm as old as I behave nowadays towards women, I'm dead.

[Narrator]

Ms. Stuart smiling.

[Isabel Stuart]

But what's the matter with the women you know?

[Narrator]

Ames laughs ruefully and walks about as he speaks.

[William Ames]

Well, most of those I did know are so married and raising children I hardly ever see em at all. And I just can't stand the new generation.

[Isabel Stuart]

Yes, there is a new American girl.

[Narrator]

I've got one myself, Ames staring.

[William Ames]

You have?

[Isabel Stuart]

I'm bringing up an orphan niece. Or she's bringing me up, it's hard to say which. In fact, I'm bringing up two orphan nieces.

[Narrator]

She smiles at a thought.

[Isabel Stuart]

Only one of them belongs to the new generation, though. You don't like these new young things then?

[William Ames]

Great Lord, no. They smoke and drink and wear men's clothes and short hair.

[Isabel Stuart]

Well, boys Clothes are better for the outdoor things they do nowadays, aren't they?

[William Ames]

That may be, but they've given up a great thing to get this new liberty I hear they talk about.

[Isabel Stuart]

What great thing did they give up?

[William Ames]

Charm.

[Isabel Stuart]

You haven't met a charming one.

[William Ames]

There aren't any. How can a brazen little hussy in breeches with a flask of homemade gin in her hip pocket have any charm?

[Isabel Stuart]

Ah, but she can, because she has youth, and youth is charm. Don't you care for the youth you

[Narrator]

see in a young girl, Ames, sitting down by her?

[William Ames]

I'll tell you what I care for. I care for the graces I used to see in the girls I grew up with.

[Isabel Stuart]

You're sure it wasn't really their youth that gave them the graces?

[William Ames]

I can show you what I care for. Tomorrow we'll be moving miles and miles apart.

[Isabel Stuart]

Will we? I'm afraid you think more of this railroad system than I do.

[William Ames]

I'm serious. Probably after tomorrow morning, we'll never see each other again.

[Isabel Stuart]

Why, I feel as if you were my most intimate friend. Lifelong. After we finished Italy, wasn't it? Two hours you talked about religion.

[William Ames]

What I'm trying to show you.

[Isabel Stuart]

Yes, I forgot.

[William Ames]

I had a temptation to tell you something that would show you.

[Isabel Stuart]

Why, you could tell me anything. I couldn't stop you.

[Narrator]

Her gesture indicates the surrounding isolation.

[William Ames]

Then I will. I'll tell you what I thought about you. When I got on that little junk line train this morning. I hadn't expected to see anybody looking like you getting on at one of these way stations.

[Isabel Stuart]

I'm a farmer, you know. I have a farm down near Amity. I've been away to see about a new tenant for part of the land. Oh, I don't mean to stop you. Go on.

[William Ames]

When you got on the train, I thought, there. There's a lady. When these new generation girls get on a train, I usually think, there, there's a rowdy.

[Isabel Stuart]

You must have met some strange ones.

[William Ames]

I haven't met any. Just hearing and looking at them is enough for me. But when I looked at you. Well, I'm going to talk as sentimentally as I feel just for once in my life.

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[Isabel Stuart]

Still aiming.

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[William Ames]

When I looked at you I caught a a perfume of sweeter days. Yes, better days than this. And I'll go ahead. Now I'm started. I'm hungry as a bear in spite of your giving me all your lunch. And I did feel really cross during our quarrel. But I'm glad the sunspots. He thought it was sunspots. I'm glad they've given me this chance to know you.

[Isabel Stuart]

My dear man, you don't know an earthly thing about me.

[William Ames]

Oh yes I do. There are some people you know all about in a little while.

[Isabel Stuart]

All about?

[William Ames]

Good gracious, no, not all. You don't know all the lovely things about em. But you do know there aren't any things that aren't lovely. You're one of those Transparently perfect things, Ms. Stewart.

[Isabel Stuart]

What?

[Narrator]

Ames rises and goes a little to the right.

[William Ames]

You are. And that's all there is to it.

[Isabel Stuart]

And only to think of it.

[Narrator]

Ames turning to her rather sharply to think of what?

[Isabel Stuart]

So much praise bought by one hard boiled egg and a sandwich.

[William Ames]

Well, some of it is for that, if you want to know, seemed a little thing. But it showed that when you were hungry yourself, you'd force your last bit of food on a stranger.

[Isabel Stuart]

A stranger? Why, by this time I know you better than I do my most intimate friend, Mr. Ames.

[Narrator]

Ames sits then, pacing up and down and Going on with his thought.

[William Ames]

I kept looking at you on the train though you didn't know it.

[Isabel Stuart]

I was brought up always not to know it.

[William Ames]

I kept looking at you and I

[Narrator]

Miss Stuart quoting him, I said to

[Isabel Stuart]

myself there's a woman I hate to be cast away in a desert junction with.

[William Ames]

I said to myself there's the first woman I've seen in a long time. I'd like to know how long a time? Well, since this new type came in.

[Isabel Stuart]

I'm afraid you wouldn't approve of my

[William Ames]

niece if you're bringing her up. I don't believe she'd be the new type.

[Isabel Stuart]

Oh yes she is. It doesn't matter who brings em up. They get it from one another.

[William Ames]

Well, let's forget the new type just

[Narrator]

now, Ms. Stuart smiling alright.

[William Ames]

I'd rather keep to what I feel about you.

[Narrator]

Ms. Stuart nodding smilingly well, keep to it. It began promisingly Ames coming toward her a little way.

[William Ames]

I will. I'll speak out. As a man gets older most of his friends marry off or they die off. It's the same thing so far as he's concerned.

[Isabel Stuart]

Yes, I know it is.

[William Ames]

Well, a man gets pretty lonely.

[Isabel Stuart]

Men always seem to think that so singular.

[William Ames]

All I meant to say is she yawns. It's been a great thing for me to have a woman's companionship for a day.

[Isabel Stuart]

Well, it seems to be going on.

[William Ames]

I wish.

[Isabel Stuart]

Yes.

[Narrator]

She conceals a yawn by turning away quickly. She doesn't wish to yawn. She is interested but she is beginning to be really threatened by drowsiness. He does not perceive this and the symptoms are so far very slight.

[William Ames]

Of course you don't know anything about me except today I do a little. How?

[Isabel Stuart]

Why you said your name was William Ames. I supposed you were the William Berry Ames that the papers say is so remarkable. Remarkable's the word they always use.

[Narrator]

Ames frowning.

[William Ames]

I'm not much in newspapers and isn't it obvious I'm not remarkable?

[Isabel Stuart]

Oh yes, I've seen it any number of times. Mr. William Barry Ames still playing remarkable polo.

[William Ames]

That's my uncle rises. It's still remarkable that he plays polo at 66. Remarkable because he's 66. They always use the word remarkable about elderly people.

[Narrator]

And you thought Ms. Stuart a little disturbed? Hastily. Im so sorry Ames somewhat upset you

[William Ames]

thought I was that old man?

[Isabel Stuart]

Oh, I never heard he was quite 66.

[William Ames]

So you didn't see how I could be quite 66.

[Narrator]

Mr. Stuart hastily with apparent seriousness in placating him.

[Isabel Stuart]

But wouldn't it be wonderful if you were to be 66 and look only.

[William Ames]

What age do I look?

[Isabel Stuart]

Oh, let's not go into that. It might become mutual.

[William Ames]

I can't get over it. You thought I was my uncle.

[Isabel Stuart]

You must tell him about it and then tell me sometimes if it upsets him. Him too.

[Narrator]

Ames mollified sometime.

[William Ames]

You think we might see each other again after tomorrow?

[Isabel Stuart]

Why not? If you think it would be pleasant. I should be.

[Narrator]

She is caught by a yawn and conceals it imperfectly.

[Isabel Stuart]

I should be very glad, Ames.

[Narrator]

Sadly.

[William Ames]

Oh, you're sleepy.

[Isabel Stuart]

I'm not. I'm interested. I'm interested in everything you've been saying. I was never more interested in my life.

[William Ames]

Honestly.

[Isabel Stuart]

Since at least it's been quite a time since I've had as cheering things said to me as you've been saying. I like it.

[William Ames]

Could you stand some more?

[Isabel Stuart]

I think so.

[William Ames]

Then do let me see you again after tomorrow. Will you?

[Isabel Stuart]

Yes.

[William Ames]

Could I come to Amity to see you sometime?

[Isabel Stuart]

Why, I think so.

[William Ames]

Could I come before long?

[Isabel Stuart]

If you like.

[William Ames]

I think I should like it more than I've ever liked anything in my life.

[Isabel Stuart]

Why, that's. That's saying quite a great deal, isn't it?

[William Ames]

I can't help it. It's the way I feel.

[Isabel Stuart]

Yes, but these pleasant, quieter years you say you have arrived at. Haven't you learned more caution?

[William Ames]

More caution than what?

[Isabel Stuart]

Than to say quite so much as you just did and to an unknown woman.

[William Ames]

I tell you, you're not unknown. You've shown me. Yes. Just in the way you fed me. If you like, yes. And in the dear, pretty way you took this being cast away with me here. You've shown me you are the old fashioned, perfect kind of woman I thought had disappeared. Well, I found you. I don't want to let you go. My life has been getting so confoundedly lonely, I. Well, why not?

[Isabel Stuart]

I don't know. You're a little indefinite, perhaps.

[William Ames]

It's a long time since I felt like this. And the reason I'm lonely's because 15 or so years ago I didn't speak when something like this came over me. Instead I went away to think it over and another man spoke first, Ms.

[Narrator]

Stuart with a humour that fights with drowsiness and an inclination to take him seriously.

[Isabel Stuart]

You needn't be afraid of that now. Farming means a very retired life with me. No one else will speak while you retire to think it over.

[Narrator]

She closes her eyes for a moment.

[William Ames]

I don't want to think it over at all. Listen, do I seem to you the sort of man you could like pretty well?

[Narrator]

Ms. Stuart looking up quickly.

[Isabel Stuart]

Oh, I think so.

[Narrator]

She closes her eyes for a moment again Ames so impulsively as to be almost explosive.

[William Ames]

Well, if you'll let me hope, something might come out of it. I'll be any kind of man you want me to be.

[Narrator]

Ms. Stewart opening her eyes quickly.

[Isabel Stuart]

Aren't you a little susceptible, Mr. Ames?

[William Ames]

Does it look like it to still be a bachelor at my age?

[Isabel Stuart]

But it struck me you were almost proposing to me just then.

[William Ames]

Well, I was. I am.

[Aunt Ellen]

Almost.

[William Ames]

Almost or quite? Just as you like, Ms. Stuart.

[Narrator]

Ms. Stuart smiling a little.

[Isabel Stuart]

Perhaps it had better be almost if

[William Ames]

it's to be that way. Almost a proposal. Is there any chance of your almost

[Narrator]

thinking of it, Ms. Stuart gently and smiling?

[Isabel Stuart]

Why, I might almost think of it sometime.

[Narrator]

Again the symptoms of drowsiness overtake her. Ames remorsefully.

[William Ames]

You are sleepy.

[Isabel Stuart]

I'm not.

[Narrator]

Ames rising.

[William Ames]

I ought to be ashamed trying to keep you awake with a proposal of marriage.

[Narrator]

As he speaks, he places a satchel on the end of bench and rolls his overcoat over it for a pillow.

[Isabel Stuart]

Was that all you made it for? To keep me awake?

[William Ames]

You know better. Here, lie down. I'll cover you over.

[Isabel Stuart]

I won't take your overcoat. You'll need it. The satchel's a good enough pillow.

[William Ames]

No, it isn't. Lie down.

[Isabel Stuart]

Take your overcoat away or I'll sit up all night. I will take it away.

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[Stage Directions / Additional Narration]

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[Isabel Stuart]

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[Stage Directions / Additional Narration]

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[Isabel Stuart]

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[William Ames]

All right?

[Isabel Stuart]

When you lie down yourself, put your overcoat over you, will you?

[William Ames]

If I need it?

[Isabel Stuart]

No. Promise me.

[William Ames]

I will.

[Narrator]

Ms. Stuart, lying down with her cheek against the satchel.

[Isabel Stuart]

Ah. That's.

[Johnny White]

Ah.

[Narrator]

She sighs with satisfaction. Ames gently covers her over with her fur coat and stole. Then he discovers her muff.

[William Ames]

Here. This is a better pillow.

[Narrator]

He places it under her head.

[Isabel Stuart]

Thank you. You're very kind.

[Narrator]

She is silent, then says sleepily, I knew you were.

[William Ames]

Knew I was what kind? Who wouldn't be?

[Narrator]

He goes to the stove. Ms. Stuart with her eyes shut.

[Isabel Stuart]

I had to be up at 4 o' clock and drive 17 miles to get my train. I'd rather stay awake and listen to you. You'll forgive me for being so sleepy, won't you?

[Narrator]

Ames turns the damper on stove, smiling as he looks round.

[William Ames]

Yes, I'll forgive you.

[Narrator]

He takes his overcoat and spreads it on the second bench, puts a suit case for a pillow. Ms. Stuart, in a sweet drowsy voice with her eyes closed, certainly didn't seem

[Isabel Stuart]

appreciative going almost to sleep when you were almost proposing. But I do appreciate it very much, you dear thing.

[William Ames]

I wasn't almost proposing. I was all proposing and you know it.

[Isabel Stuart]

Well, it's very nice of you, I think. I'm glad you were, but.

[William Ames]

But what?

[Isabel Stuart]

We don't need a light, do we? If you leave the stove door open.

[Narrator]

Ames goes up and snaps off the switch.

[William Ames]

There.

[Narrator]

A rosy glow from the stove door crosses the benches, falling upon the recumbent lady.

[Isabel Stuart]

There. That's better.

[Narrator]

Ames goes to the second bench.

[Isabel Stuart]

You'll put your overcoat over you?

[William Ames]

Yes.

[Isabel Stuart]

What have you got for a pillow?

[William Ames]

It's all right.

[Isabel Stuart]

A suitcase.

[William Ames]

It's plenty.

[Narrator]

Ms. Stuart, without opening her eyes or lifting her head, pulls the muff from beneath her cheek and lets her cheek rest on the satchel. Then, not otherwise moving, she swings the muff behind her to him.

[William Ames]

What's that for?

[Isabel Stuart]

Your pillow. Take it.

[William Ames]

I won't.

[Isabel Stuart]

You will.

[William Ames]

Of course I won't.

[Isabel Stuart]

You Will

[William Ames]

you do make me selfish.

[Narrator]

He takes the pillow, places it and sits on the second bench, preparing to lie down and pull his overcoat over him. Ms. Stuart, in a very sleepy murmur.

[Isabel Stuart]

I'm sorry. I thought you were your uncle.

[Narrator]

She is lying on her right side and she lifts her left hand over the back of the bench to him. The rest of her not moving. He takes it reverently, kisses it lightly. She brings the hand back and puts it under her cheek.

[Isabel Stuart]

I only thought so because the paper said he was so remarkable.

[William Ames]

I don't mind that.

[Narrator]

Now lies down on second bench.

[Isabel Stuart]

It would be too bad if you met some pretty, very young thing after. After it was too late. Most men care more for early youth than they do for

[William Ames]

then. They do for what?

[Isabel Stuart]

And they do for anything. Is the muff alright for a pillow?

[William Ames]

I never had such a pillow before.

[Isabel Stuart]

Aren't you sleepy too?

[William Ames]

Yes. The truth is I am. It seems strange when I feel so much that's new to me to be sleepy.

[Isabel Stuart]

Oh no. We aren't a young couple at a college dance getting engaged.

[William Ames]

No, of course not. But aren't we.

[Narrator]

Almost rises and looks at her over the back of bench.

[Isabel Stuart]

I think you must go to sleep now.

[William Ames]

Yes, I will.

[Narrator]

He stretches himself on the bench.

[Isabel Stuart]

Are you at all sure?

[William Ames]

Yes, I am.

[Isabel Stuart]

I know what I say sounds very sleepy and I am almost asleep. But my mind, you know.

[William Ames]

Yes.

[Isabel Stuart]

My mind's working just as clearly as ever. And I keep thinking you've said all this so. So suddenly. Perhaps you are a little susceptible. Perhaps when you see some pretty young thing, you'll. You're.

[William Ames]

No, I won't.

[Narrator]

Ms. Stuart. Dreamily, in a soft, almost contented voice and smiling a little.

[Isabel Stuart]

Perhaps not.

[William Ames]

May I say just one last thing to you? It seems foolish, but it would be pretty lovely to me if you'd let me say it.

[Isabel Stuart]

Say what?

[William Ames]

May I say to you? Good night, dear.

[Isabel Stuart]

I believe you might say it.

[William Ames]

Good night, dear.

[Narrator]

Her left hand goes up again. His own hand is seen above the back of the bench, clasping it. Then she returns it to her cheek.

[Isabel Stuart]

Good night, dear.

[Narrator]

There is quiet. The act drop descends for a few seconds and rises. Everything is as it was, except that the rosy glow from the stove has paled and a grey light shows outside the window. The clock marks 5:45. The light outside the window grows a little stronger. Distant trees just coming into new leaf on muddy hills are revealed there. An April landscape. The light continually grows stronger throughout the whole scene. A girl's voice is barely heard shouting in the distance. Hello there. Hello there. Then, after a pause, a stamping is heard on the platform outside, as though someone stamped mud from his shoes. A quick, sharp tread is heard. The knob of the door upright is fumbled. Then the door is opened and a girl of 19 enters. She is distractingly pretty in spite of it may be partly because of her general style and costume. She wears a soft sport hat, beneath which her thick bobbed hair is additionally coquettish. She has on a short overcoat, knickerbockers, green stockings and high lace shoes, the latter covered with mud, which has also splashed her stockings. She comes in briskly and goes down left, then halts short with a breathed exclamation as she sees the two sleepers. Well, for the love of Mike. This in a husky whisper. She stares. A light snoring comes from the second bench. She looks long at the first bench, smiles, then controls a tendency to laughter. Then she moves back to the second bench and looks at Ames. After this contemplation, she speaks again in the husky whisper. Pretty good looking old bird, if you do snore. The snoring stops with a little snort. Ames coughs, waking himself suddenly. He sits up dazed, and stares at the girl. She chokes down an increasing tendency to mirth during their scene. Ames confused.

[William Ames]

Oh, how do you do?

[Narrator]

The girl. Florence.

[Florence Stuart]

Shh. Don't wake Aunt Isabel.

[Narrator]

After this. They both speak in husky whispers.

[William Ames]

Who?

[Florence Stuart]

My aunt.

[Narrator]

She gestures widely to Ms. Stuart.

[Florence Stuart]

My aunt Isabel. Don't you know her?

[Narrator]

Ames rises and looks at Ms. Stuart.

[William Ames]

Yes, indeed.

[Florence Stuart]

Well, I should think so. I'm her niece.

[Narrator]

Florence aims conventionally, but in a whisper.

[William Ames]

I'm glad to.

[Narrator]

Shakes hands.

[Florence Stuart]

A man and I've been all night trying to get here in a car. He's back in the woods with it now, trying to get it out of a mud hole. We've had a hell of a night.

[William Ames]

I beg your pardon.

[Florence Stuart]

It really was. Are you an old friend of hers?

[William Ames]

I hope to be.

[Narrator]

Rubbing his face and eyes with his hands.

[Florence Stuart]

We'll take you with us when he gets the car out of the mud. No use to wake her up till it comes.

[William Ames]

No. It's cold, isn't it?

[Narrator]

Florence pointing to the stove.

[Florence Stuart]

You might make the fire up if you can do it without waking her.

[William Ames]

I only need to turn the draught. I got up about 2 o' clock and put on some coal.

[Narrator]

Florence, as he moves toward the stove.

[Florence Stuart]

Cigarette?

[William Ames]

What?

[Florence Stuart]

Got a cigarette?

[William Ames]

Oh.

[Narrator]

He hands her his case. She takes one light. He lights a match and holds it for her. She smiles at him. With brazen coquetry, her hand on his as she lights the cigarette from the match.

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[Florence Stuart]

She makes a fuss about my smoking. Don't tell her, will you?

[Narrator]

She smiles again, her face not far from his. He looks thoughtful.

[William Ames]

No.

[Narrator]

The fire begins to pick up.

[Stage Directions / Additional Narration]

Florence turns to Ames suddenly.

[Florence Stuart]

How long you known her?

[William Ames]

What?

[Florence Stuart]

How long have you known my aunt Isabel?

[William Ames]

Yesterday?

[Narrator]

Florence suddenly overcome with mirth. She lifts both hands in a gesture of oh go way and choking with laughter, slaps him with her two palms upon the shoulders. She is unable to control herself. She convulses, leaning against him, then clapping both hands over her mouth, runs spluttering to upright. At the door. She checks herself, speaks back to him huskily.

[Florence Stuart]

I'll see if he's got the car out of the mud.

[Narrator]

Laughter breaks from her as she runs out of the door upright. Ames is bothered and a little fascinated. He glances at Isabel, then goes slowly to the door, upright, looks out. He comes down, goes near the stove and stands frowning thoughtfully. Isabelle murmurs. She opens her eyes. They fall upon Ames without expression. Then she smiles slowly and speaks.

[Isabel Stuart]

I'm awake.

[Narrator]

Ames starts.

[William Ames]

Good morning.

[Isabel Stuart]

Good morning. What time Is it?

[William Ames]

It's daylight. Did you sleep well?

[Isabel Stuart]

Yes. Did you?

[William Ames]

Yes, I did.

[Isabel Stuart]

I was trying to stay asleep but I thought. Was the station master here just now?

[William Ames]

No, it was your niece.

[Isabel Stuart]

What?

[Narrator]

She stretches her hand to him. He comes quickly and takes her hand. She rises.

[Isabel Stuart]

You don't mean it.

[William Ames]

Somehow she found out you were here. She's been all night trying to get a car here, she said.

[Isabel Stuart]

Why the dear thing. Where'd she go?

[Narrator]

Ames moving toward the door upright with her.

[William Ames]

She went to see if the door

[Narrator]

is flung open by Florence returning.

[Florence Stuart]

It's coming.

[Narrator]

Comes down. Right.

[Isabel Stuart]

Florence. How'd you find me?

[Narrator]

They go to each other and embrace.

[Florence Stuart]

We telephoned all over the world where the wires weren't down. And this was the only place you could be.

[Isabel Stuart]

Florence, this is Mr. Aim, right?

[Florence Stuart]

Oh, we've had quite a chat. We'd better take him home with us, hadn't we?

[Narrator]

Goes back of first bench to centre. Isabel turning to Ames with a little tremulous self consciousness at which she smiles herself.

[Isabel Stuart]

Will you?

[William Ames]

Ah, you're very kind. I?

[Florence Stuart]

Why of course we're not going to leave you here. It's only a 40 mile drive and we won't get stuck by daylight. You'll never see breakfast in this hole.

[William Ames]

Well, as you're so kind, of course you're coming.

[Florence Stuart]

We'll make him, won't we Aunt Isabel?

[Isabel Stuart]

I hope so.

[Narrator]

Aims awkwardly to Florence.

[William Ames]

Well, since you're so hospitable.

[Narrator]

Florence slaps him on shoulder.

[Florence Stuart]

Hospitable nothing. We don't see a new man person twice a year in our neck of the woods. Except Johnny White and we're used to him. I made the poor kid drive me, Aunt Isabel.

[Narrator]

She runs to the door and calls out Yay, Johnny.

[Isabel Stuart]

Brazen hussies in boys breeches. Wasn't that what you call them?

[William Ames]

Oh, but she's different. She's your niece.

[Isabel Stuart]

Yes. My great niece.

[William Ames]

What? I beg your pardon.

[Isabel Stuart]

I forgot to tell you. She isn't my niece precisely. She's my great niece. Florence's father.

[Narrator]

Wasn't Ames rather dazed but trying to conceal it.

[William Ames]

Your she's your great niece. Oh yes.

[Narrator]

A young man appears in the doorway with Florence. Florence enters first and goes back of first bench to centre looking at Ames.

[Isabel Stuart]

Come in, Johnny.

[Narrator]

He does so. He is a boy of about 20 dressed for motoring and heavily stained with mud and grease. He carries a woman's fur coat over his arm. He smiles vaguely as he comes to take Isabel's hand. She goes on.

[Isabel Stuart]

It was lovely of you to Drive all night through the mud to find me.

[Narrator]

Johnny grinning vaguely.

[Johnny White]

Well, Florence wanted me to.

[Isabel Stuart]

And we all do what Florence wants. Yes, this is Mr. Ames, Mr. White.

[Narrator]

Johnny goes to centre behind first bench, tosses coat to Florence and shakes hands as she goes on.

[Isabel Stuart]

If you'll help us get our bags in the car.

[Johnny White]

Yes, indeed.

[Narrator]

He picks up the bags, getting both arms full. Florence with a sweet smile gives the coat to Ames to hold for her. Isabel continuing smilingly.

[Isabel Stuart]

We ought to be home by seven and there'll be food, Mr. Ames, won't that be?

[Narrator]

She checks herself as she sees the care with which he is putting Florence into her coat and goes to Johnny, left centre. She hands him her own coat, still smiling.

[Isabel Stuart]

Johnny dear, if you'll.

[Narrator]

Johnny drops bags and holds coat for Isabel.

[Johnny White]

Yes indeed, Ms. Stuart.

[Narrator]

Florence to Ames right centre.

[Florence Stuart]

I think you're a rogue.

[Narrator]

Ames laughing consciously and rather uncomfortable.

[William Ames]

What nonsense.

[Isabel Stuart]

Now, if we can get the things into the car.

[Narrator]

Johnny and Ames pick up the bags and lunch basket. Ames gets into his overcoat. Isabelle goes on.

[Isabel Stuart]

I think you'll have to let me sit by you, Johnny going home? I think you'll drive better.

[Johnny White]

Yes'm glad to have you.

[Isabel Stuart]

Are we all ready?

[Narrator]

Johnny goes out upright with bags.

[Johnny White]

Yes'm.

[Narrator]

Florence to Ames.

[Florence Stuart]

Do you think you can entertain me for 40 miles? I do.

[Narrator]

She runs out. Ames right centre.

[William Ames]

This is very kind of you to take me in this way. I. Are you coming, Isabel?

[Narrator]

Left centre, starts as if to go out, then stops and looks about her wistfully, yet smiling a little.

[Isabel Stuart]

I just wanted to remember what this room looks like by daylight. Things change.

[Narrator]

So then she takes his arm and starts up left.

[Isabel Stuart]

I'll take your arm just till we get to the car. Then you'll have Florence.

[Narrator]

As they go slowly up, she continues cheerfully.

[Isabel Stuart]

Yes, I forgot to mention it last night. Yes, she is my great niece. It wasn't her father who was my brother, you see.

[Narrator]

It wasn't Isabel cheerfully as they reach a point near the door and pause.

[Isabel Stuart]

No, it was her grandfather.

[Narrator]

Isabelle takes a last rather wistfully smiling look about the room as she speaks a little absently. Ames trying not to speak feebly.

[William Ames]

Her grandfather was.

[Narrator]

Florence enters door, takes Ames arm with both of her hands.

[Florence Stuart]

Aren't you coming? You're going to sit with me, you know.

[William Ames]

Well, I.

[Narrator]

He is rather bewildered and Florence pulls him out through door. Johnny enters door and offers his arm to Isabel.

[Isabel Stuart]

Thank you, Johnny.

[Narrator]

Both exit curtain. End of Act 1.

[Stage Directions / Additional Narration]

Act two of the Intimate Strangers by Booth Tarkington. This is a librivox Recording All Librivox recordings are in the public domain. For more information or to volunteer, please visit Librivox.org Act 2 An Interior A living room and sun room combined of the house at Ms. Stuart's farm. It is a cheerful apartment in imaginative but quiet taste. The sun room does not so much open out of the living room as form part of it, the upper part as an ample sort of alcove. Very simple pilasters against the living room wall upright and up left mark the lower corners of the sun room, giving the opening somewhat the effect of a very wide doorway or entrance from each of these. The sun room walls, which consist principally of French windows and extend a little distance up and the living room walls extend to right and to left thence down to front. Two of the French windows of the sun room are practicable doors, one upright and one up left. The back of the sun room consists mainly of three French windows through which there is a glimpse of trees just coming into young April leaf. This is only a glimpse however, as the windows, which are all oblong and without half moons or arches at the top, are prettily curtained with figured or embroidered linen. The woodwork of the sun room is apple green. The living room walls are done in a rather warm shade of tan. There is a fireplace with a tod Hunter type of simple mantel right centre and over it on the wall a large old fashioned mirror with gilt frame. Opposite the fireplace, left are double doors. There is a phonograph in the sun room upright, the view of which is obscured by plants and there is a baby grand piano in the corner of the living room up left a closed cabinet stands against the upright wall of the living room opposite the piano. The furniture is all comfortable, pleasant to the eye and not new blue figured chintzes and easy upholstery. There is a short blue velvet davenport or sofa right center near the fireplace and at its right elbow a very dark green console table. There is a wire flower stand with potted flowers up center in the sun room two old fashioned chairs and a rag carpet medallion on the floor. There are side lights in both living room and sun room with shaded bulbs. There are some sprays of apple blossoms in a jar on the piano. The morning sunshine is bright outside the sunroom windows and the place is cheerful but not eye murdering with light. The fire is burning left and facing it is an old lady for she is undeniably both and with her cap and old fashioned gown rather suggests Whistler's portrait of his mother. She is Dainty but rather fretful. A youngish middle aged man on his knees is rubbing the hearth and brass fender with a rag. He is a house servant in working clothes wearing a great old blue apron, his dark trousers and waistcoat. His shirt sleeves are rolled up and he has omitted a collar and tie. The old lady is Florence's Aunt Ellen. Aunt Ellen in armchair by fireplace wishing him to continue a narration.

[Aunt Ellen]

Well and then after they had their

[Stage Directions / Additional Narration]

breakfast, well he went to sleep leaning

[William Ames]

on the mantelpiece and then she had me take him up to bed in the big room.

[Aunt Ellen]

Our having a gentleman visitor. It's quite exciting.

[William Ames]

Yes'm.

[Aunt Ellen]

Is he going to stay over to night with us?

[Narrator]

No Mum, he said he had to

[Isabel Stuart]

get the noon train at Glinton on the main line.

[William Ames]

I got to drave him over.

[Narrator]

She says.

[Aunt Ellen]

Would you consider him a very nice

[Stage Directions / Additional Narration]

looking gentleman, Henry well to me he

[William Ames]

looks more like a man that's kinder.

[Narrator]

Got somethin laying heavy on his mind

[Aunt Ellen]

like I should think she'd have been dead.

[William Ames]

No Mum, she went over to the empty tenant's house in the buckboard.

[Aunt Ellen]

She's a very remarkable woman, Henry.

[Stage Directions / Additional Narration]

She says this slowly and with a kind of placid emphasis, as if she has said it to the same listener many times before.

[William Ames]

Yes, Ms. Ellen.

[Stage Directions / Additional Narration]

Florence is heard outside. Off up right Henry.

[Florence Stuart]

Henry Whoa there.

[Narrator]

Henry crosses to Centre.

[William Ames]

It's Ms. Florence. She went off horseback for her sleep.

[Stage Directions / Additional Narration]

Florence enters upright. She is dressed in riding clothes, breeches, boots waist, a short coat and a dark straw hat. She has a riding crop in her hand, yet there is a daintiness about her. Florence as she enters.

[Florence Stuart]

Henry don't you want to ride Tim down to the barn for me?

[Stage Directions / Additional Narration]

Henry going up obediently.

[William Ames]

Yes'm.

[Stage Directions / Additional Narration]

Florence coming down.

[Florence Stuart]

Hello Aunt Ellen.

[Stage Directions / Additional Narration]

Henry exits upright.

[Florence Stuart]

Had your breakfast? Where's Mr. Ames?

[Stage Directions / Additional Narration]

SHE FLINGS herself in a chair right of table left with one knee over its arm. Aunt Ellen frowning at the posture.

[Aunt Ellen]

I haven't met him. Henry tells me. He's resting.

[Florence Stuart]

Poor thing. He's a right natty old berry though. Aunt Ellen.

[Stage Directions / Additional Narration]

Aunt Ellen shuddering slightly.

[Aunt Ellen]

Won't you sometimes speak English, Florence?

[Florence Stuart]

None of my friends'd understand me if I did.

[Stage Directions / Additional Narration]

Florence is always lighter than she is rough and her tone of voice is prettier than the words she says.

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[Stage Directions / Additional Narration]

An electric bell rings faintly off left.

[Florence Stuart]

That's Johnny. I told him to clean up and come over and shoot some tennis.

[Stage Directions / Additional Narration]

Aunt Ellen frowning.

[Aunt Ellen]

When were you last in bed, Florence?

[Florence Stuart]

When'd you think I was? Why, night before last.

[Stage Directions / Additional Narration]

She giggles.

[Florence Stuart]

Same as Aunt Isabel.

[Narrator]

We won't discuss Florence with a suppressed chuckle.

[Florence Stuart]

No, I guess we better not.

[Aunt Ellen]

But you, after being out in an automobile all night with this young Mr.

[Florence Stuart]

White hunting aunt Isabel.

[Stage Directions / Additional Narration]

She goes on at once with amused slyness.

[Florence Stuart]

What do you think of Aunt Isabel's conduct? Aunt Ellen I have told you I

[Aunt Ellen]

never discuss Aunt Isabel.

[Stage Directions / Additional Narration]

One of the double doors left opens and a middle aged woman steps in. She is neat and responsible looking, but more of the housekeeper type than a maid. Her name is Mattie. She speaks immediately.

[Mattie]

It's Mr. White.

[Stage Directions / Additional Narration]

Florence, not rising, turns her head and calls loudly toward the door.

[Florence Stuart]

Come on in, Johnny.

[Stage Directions / Additional Narration]

Aunt Ellen annoyed.

[Aunt Ellen]

Florence, please.

[Florence Stuart]

If Aunt Isabel can't reform me, you can't. Aunt Ellen. Johnny, come ahead in.

[Stage Directions / Additional Narration]

Johnny enters left, passing Mattie, who goes out left at once, closing the door. Johnny wears an old Norfolk jacket, a flannel shirt, white flannel trousers, and tennis shoes. He carries a racket in a shabby case under his arm and has a

[Narrator]

cap in his hand.

[Stage Directions / Additional Narration]

He speaks in a grieved tone as he enters.

[Johnny White]

You said you'd be ready for. How d' ye do Miss Helen?

[Stage Directions / Additional Narration]

This is a brief parenthesis to Aunt Ellen. And he goes on immediately to Florence.

[Johnny White]

You expect to shoot tennis in boots?

[Stage Directions / Additional Narration]

Florence rising.

[Florence Stuart]

Oh, I'll change you pretty near dead for sleep.

[Johnny White]

Me bet you are.

[Florence Stuart]

I'll bet you $10 I can go till day after to morrow.

[Johnny White]

Never close your eyes.

[Florence Stuart]

Yes, nor my mouth either.

[Johnny White]

I lose.

[Florence Stuart]

I'll show you how sleepy I am.

[Stage Directions / Additional Narration]

She is at the victriola in the sun room and as she speaks she releases a lively dance record and turns down extending her arms.

[Aunt Ellen]

Florence, do you have to dance all the time?

[Stage Directions / Additional Narration]

Florence seizing upon Johnny.

[Florence Stuart]

Absolutely. Come on.

[Stage Directions / Additional Narration]

They begin to dance a very modern dance.

[Aunt Ellen]

And that poor gentleman trying to get some rest upstairs.

[Florence Stuart]

It's time for the old kid to come down. I want to talk some more to him.

[Stage Directions / Additional Narration]

Johnny as they go on dancing.

[Johnny White]

Done up was he? Well take men that age. They can't do as much as if

[Florence Stuart]

no think he's some three year old. That was a pretty rough trip we brought em.

[Johnny White]

Hark. I believe you'd flirt with George Washington if you got a chance.

[Florence Stuart]

Hush up and get off my foot.

[Stage Directions / Additional Narration]

Aunt Ellen shudders.

[Johnny White]

Your Aunt Isabel was listening to you the whole way too. She didn't look to me as if she thought much of your style either.

[Florence Stuart]

Can't you dance without talkin'? What do you think this is, a chautauqua?

[Stage Directions / Additional Narration]

Aunt Ellen. She has put on a pince, Nez, and looks at them sourly over her shoulder.

[Aunt Ellen]

It certainly isn't dancing, is it?

[Florence Stuart]

I never could remember. Aunt Ellen. Was it you or Grandma that walked a minuet with Alexander Hamilton?

[Aunt Ellen]

It was my great grandmother.

[Florence Stuart]

I guess she'd have been shocked enough if she'd ever seen you dancing when you were young.

[Stage Directions / Additional Narration]

Aunt Ellen rising angrily, shocked at my dancing.

[Aunt Ellen]

At the waltz, the polka, the schottische.

[Florence Stuart]

Oh, don't get so upset.

[Stage Directions / Additional Narration]

She is a little irritated and speaks flippantly but she keeps on dancing.

[Aunt Ellen]

Shame on you.

[Florence Stuart]

What for?

[Aunt Ellen]

To dance yourself in that manner and say any one would be shocked at my dancing. And for saying I might have danced with Alexander Hamilton.

[Florence Stuart]

Why wasn't he nice?

[Station Master]

Shame.

[Florence Stuart]

Oh, do sit down.

[Stage Directions / Additional Narration]

It is a tiff. And they speak sharply and quickly.

[Aunt Ellen]

Indeed I shall not stand up.

[Florence Stuart]

Then.

[Aunt Ellen]

Gosh, I will retire from the room.

[Florence Stuart]

Oh, I apologize. Golly.

[Stage Directions / Additional Narration]

Henry enters upright, leaving the door open. Henry as he enters she's back. Florence with gloomy scorn to Aunt Ellen.

[Florence Stuart]

Now I suppose you'll tell her all about it.

[Aunt Ellen]

I shall not. Excuse me.

[Stage Directions / Additional Narration]

Exits left.

[Florence Stuart]

Oh my God.

[Stage Directions / Additional Narration]

She flings herself in a chair right of table left.

[Florence Stuart]

I wish.

[Stage Directions / Additional Narration]

Johnny looking off upright and gloomily nodding in that direction to check Florence, who is about to continue speaking.

[Johnny White]

Hark. You'd better hush up if you don't want her to.

[Stage Directions / Additional Narration]

He means if Florence doesn't want Isabel to perceive that there's been a row. Florence checks out herself. Isabelle outside upright.

[Isabel Stuart]

Henry.

[William Ames]

I'm waiting.

[Stage Directions / Additional Narration]

Isabelle enters cheerily upright in the sun room. She wears a driving coat over her dress, driving gloves and a pretty little hat as she comes in. Her air is brisk as of one fresh from driving on a cool morning. And she speaks as she comes down, beginning to Henry, interrupting herself to greet Johnny and then reverting to Henry.

[Isabel Stuart]

Henry. How do you do? Johnny White. Henry, I want you to drive Mr. Ames to the train.

[Narrator]

Yes, you already told me.

[Isabel Stuart]

Let him know in plenty of time to start but, well, not too much time. Not so that he'll have to wait a long while at the station.

[Stage Directions / Additional Narration]

With the significance of her own thought, the Ames has had a great deal of station waiting lately.

[William Ames]

No, Mum.

[Stage Directions / Additional Narration]

Exit up left. Isabel. She turns to Florence as Henry goes out upright. Florence's attitude and look are of a brooding sort. Isabel's glance rests momentarily upon her, but she speaks to Johnny.

[Isabel Stuart]

Johnny White. Why is this lady so gloomy?

[Stage Directions / Additional Narration]

Johnny shakes his head briefly. What's the matter to Florence?

[Isabel Stuart]

Where's your Aunt Ellen? Hasn't she come down yet?

[Florence Stuart]

Oh yes, she was here.

[Stage Directions / Additional Narration]

Isabel comprehending cheerfully.

[Isabel Stuart]

Oh, I see. What was it about?

[Florence Stuart]

She didn't like it because. Why? I was only making fun of old fashioned dancing. Everything old fashioned is so funny, isn't it?

[Isabel Stuart]

I used to say that to my grandmother. Did you apologise?

[Florence Stuart]

Yes, I did.

[Isabel Stuart]

Did you say I apologize? Golly.

[Johnny White]

Why, Ms. Stuart, how do you guess? Florence said that when you live with

[Isabel Stuart]

them, Johnny, you get to know their habits. Do you know what she's thinking now?

[Stage Directions / Additional Narration]

She puts her hand on Florence's shoulder. Florence still being seated. Johnny shaking his head.

[Johnny White]

No, I certainly don't.

[Isabel Stuart]

She's wondering why people are always so queer when they get older.

[Johnny White]

Well, she might ask Mr. Ames about that. He must be anyway pretty near something way long over 30 or something, isn't he, Ms. Stuart?

[Isabel Stuart]

Yes, I'm afraid he must be almost that near the end. But still I rather doubt if she will ask Mr. Ames about it. Johnny. No, hardly.

[Stage Directions / Additional Narration]

She crosses centre, smiling to him as he grins in rueful comprehension.

[Florence Stuart]

Oh, I like old men.

[Stage Directions / Additional Narration]

She comes out of her brooding fit as she rises.

[Florence Stuart]

Don't you think Mr. Ames is terribly intriguing?

[Isabel Stuart]

Intriguing?

[Johnny White]

No.

[Isabel Stuart]

I think he seems honest. Well, quite honest at least.

[Florence Stuart]

But he has such a distinguished looking face.

[Isabel Stuart]

Well, he has an uncle who's distinguished. That is, he's always spoken of as remarkable because he plays polo at 66. The uncle, I mean. Florence. Of course.

[Florence Stuart]

This man's a man that really interests me. I think from his looks, he has the power to think. Very few people have the power to think in this world, you know, Aunt Isabel.

[Isabel Stuart]

Oh, yes. Fewer and fewer every day.

[Stage Directions / Additional Narration]

It's quite natural for turning unexpectedly to Johnny.

[Isabel Stuart]

Have you the power to think? Johnny White Nome.

[Johnny White]

You know what she means, don't you?

[Florence Stuart]

Never mind, Isabel.

[Stage Directions / Additional Narration]

In an impressed whisper to Johnny.

[Isabel Stuart]

She's thinking.

[Florence Stuart]

Aunt Isabel. I really would like him to stay over a day or so.

[Isabel Stuart]

He said he had to go on to New York at noon. I'm afraid he made quite a point of it.

[Stage Directions / Additional Narration]

Florence rises and crosses centre.

[Florence Stuart]

Oh, well, you know, men always can stay if they want to.

[Isabel Stuart]

That's why it's better not to urge them. They may only make it clearer they don't want to.

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[William Ames]

If people knew what I know, lives could be saved.

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Like how there are some things I simply can't see on my route.

[Stage Directions / Additional Narration]

The other day, a car tried to

[Grainger Announcer]

sneak past me and ends up right

[William Ames]

in my blind spot.

[Grainger Announcer]

I turn slowly so accident avoided. But no car should be in the blind spot or 40,000 pound bus.

[William Ames]

It's our roads, it's our safety.

[Stage Directions / Additional Narration]

Visit www.sharetherodesafely.gov Florence at the door.

[Florence Stuart]

Oh, Mr. Ames might change his mind later.

[Stage Directions / Additional Narration]

Crosses to door left.

[Isabel Stuart]

Before you begin with that, dear, could you please first go and apologize to your Aunt Ellen?

[Florence Stuart]

Oh, all right.

[Isabel Stuart]

Try it without a golly.

[Florence Stuart]

All right, I'll go and kid her to death.

[Stage Directions / Additional Narration]

Exit left. Isabel turns to Johnny sitting on sofa.

[Narrator]

Right.

[Isabel Stuart]

Don't you seem to intrigue Florence at all, Johnny?

[Johnny White]

No, she just takes a notion.

[Isabel Stuart]

You mean she just gets this way?

[Johnny White]

Yes'm. When there's somebody around, she's fixing to make em get mush over her. You've noticed that, haven't you, Ms. Stuart?

[Isabel Stuart]

I fancy I may have. Just possibly.

[Johnny White]

Then she rubs that power to think business all over me because the faculty found out I wasn't intellectual or something, so I had to abandon my college career.

[Stage Directions / Additional Narration]

Isabel sitting on the sofa and concealing a tendency to laugh.

[Isabel Stuart]

Come on. I see you want to say something more to me.

[Stage Directions / Additional Narration]

Johnny swallowing sits on sofa left of Ms. Stuart.

[Johnny White]

Yes'm. Ms. Stuart, you're a woman that's had a good many men go mush over you. So with your experience, why, the truth is, I may not have all the brains in the world, but she hasn't either. But she gets these fits when she thinks she has. And what I want to say is simply why? You know how it is. When there's some new man around, she treats me more like a door mat than a person.

[Isabel Stuart]

I understand you perfectly, Johnny. Go ahead.

[Johnny White]

I just wanted to say so because you've had probably more experience of life than I've had. No doubt.

[Isabel Stuart]

How long do you expect to feel this way about her, Johnny?

[Johnny White]

Johnny swallowing well, if everything turns out all right. Though it doesn't look so much like it right now. But if it does, and she finds out I'm her. Well, her real mate, as it were, why, I expect to go on and on with her and on and on and on.

[Stage Directions / Additional Narration]

And he seems to be going on, though, slowing down.

[Isabel Stuart]

On and on and on until you're just any age. Oh, 28 or even 29, maybe.

[Johnny White]

Yes'm, indefinitely.

[Isabel Stuart]

Suppose you were past 30, Johnny. Suppose like Mr. Ames, you were even. Well, whatever age we'll say Mr. Ames is.

[Johnny White]

What age? Me, I guess probably I'll be sitting around somewhere if I was alive.

[Isabel Stuart]

But you'd still like Florence to be about 19, wouldn't you?

[Johnny White]

Well, about the way she looks now. Yes'm. That's a good deal.

[Stage Directions / Additional Narration]

Why, I like her the way she looks Isabel smiling.

[Isabel Stuart]

It isn't fair, is it, ma'?

[William Ames]

Am?

[Isabel Stuart]

You see, when you're 20, you like us to be 19, and when you're 50, you're apt to like us to be 19. Well, we can't manage it, you see, we can't stay 19, much as we want to please you.

[Stage Directions / Additional Narration]

Johnny smiles.

[Johnny White]

Oh well, I guess I'd feel just the same about Florence if she was a thousand.

[Stage Directions / Additional Narration]

Isabel looking at him quickly.

[Isabel Stuart]

Would you?

[Stage Directions / Additional Narration]

If she were a thousand, Johnny laughing a little ruefully.

[Johnny White]

I guess I would.

[Stage Directions / Additional Narration]

As if he'd probably have to.

[Isabel Stuart]

You think so?

[Johnny White]

Well, if I did, I guess then she'd know what sort of man I am.

[Isabel Stuart]

Yes, she ought to.

[Johnny White]

And she'd see how I really feel about her.

[Stage Directions / Additional Narration]

Isabel smiling quickly.

[Isabel Stuart]

Yes, so she would. It's quite an idea.

[Stage Directions / Additional Narration]

Rises, Johnny, rises.

[Johnny White]

Course, I don't think anything come her the way she acts over this Mr. Ames. For one thing, I believe he'd have too much sense.

[Isabel Stuart]

Do you? You can never be sure of that, Johnny.

[Johnny White]

Well, she begged him a lot to stay over till to morrow and he said he couldn't. Just like he did when you asked him, Ms. Stuart.

[Isabel Stuart]

Yes, that looks intelligent of him if he sticks to it and goes.

[Johnny White]

And anyhow, he only said one personal thing to her all the time and it was a kind of joke.

[Isabel Stuart]

He did say a personal thing to her.

[Johnny White]

It was when you went to hurry the cook with breakfast, Mr. Ames asked Florence. Oh, well, it wasn't so frightful personal.

[Isabel Stuart]

What was it, Johnny?

[Johnny White]

Well, she said she supposed she'd be as old as her grandfather before she got any breakfast. And he asked her if she knew how old her grandfather was.

[Isabel Stuart]

He did. He asked her that. What did she tell him?

[Johnny White]

She didn't know. Do you think that was pretty personal? I don't see why.

[Isabel Stuart]

Yes, I believe I do. I believe I think it was quite personal indeed. Asking her how old her grandfather was.

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[Isabel Stuart]

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[William Ames]

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[Grainger Announcer]

I dropped 65,000 miles in my bus each year.

[William Ames]

If people knew what I know, lives could be saved.

[Grainger Announcer]

Like how? There are some things I simply can't see on my route.

[Stage Directions / Additional Narration]

The other day a car tried to

[Grainger Announcer]

sneak past me and ends up right

[William Ames]

in my blind spot.

[Grainger Announcer]

I turn slowly so accident avoided.

[William Ames]

But no car should be in the

[Grainger Announcer]

blind spot or 40,000 pound bus.

[Stage Directions / Additional Narration]

It's our roads.

[William Ames]

It's our safety.

[Stage Directions / Additional Narration]

Visit www.sharetherodesafely.gov Matty enters left. Isabel quickly on her entrance.

[Isabel Stuart]

What is it?

[Mattie]

The gentleman. I heard him staring round. You said to let you know. Yes, I think he's comin down.

[Isabel Stuart]

Mattie, it seems to me you told me once you didn't think this was a becoming hat.

[Mattie]

No, ma'.

[Johnny White]

Am.

[Mattie]

You asked me and I says I never could like it on you, ma'. Am.

[Isabel Stuart]

Good gracious, you might be right.

[Stage Directions / Additional Narration]

She hurries away up through the sun room and off up left.

[Johnny White]

Didn't hear Ms. Florence stirin around or anything, did you, Matty?

[Stage Directions / Additional Narration]

With a glance toward where Isabel departed.

[Mattie]

Yes, sir. She's changin her things again too.

[Stage Directions / Additional Narration]

Going to exit left, Johnny rather sharply as she opens the door.

[Johnny White]

Will you ask her how long she

[Stage Directions / Additional Narration]

thinks I He is checked by an approach seen through the open door, mutters o and turns right. Ames enters right, passing Matty who waits for him to pass then exit right. Ames has changed his clothes for tweeds. He looks freshened but preoccupied Ames in greeting.

[William Ames]

Ah, Mr. White. Haven't you been to bed at all?

[Stage Directions / Additional Narration]

Johnny smiling no.

[Johnny White]

Do you get rested up some?

[Stage Directions / Additional Narration]

They shake hands, Ames crossing to the fire, right?

[William Ames]

Oh yes, quite a bit. I suppose our two comrades aren't down yet. Ms. Steward must be pretty much exhausted.

[Johnny White]

I'm afraid she doesn't act like it. Right after you went up to bed, she drove off to one of her farms on business.

[Stage Directions / Additional Narration]

Sits right of table left, she did,

[Johnny White]

driving herself in a buckboard.

[William Ames]

Why, I declare.

[Johnny White]

Oh, Ms. Stuart's considered a pretty remarkable woman, you know.

[Stage Directions / Additional Narration]

Ames, struck by this, frowned somewhat thoughtfully.

[William Ames]

She is. She's considered remarkable.

[Stage Directions / Additional Narration]

Johnny shaking his head seriously.

[Johnny White]

Yes, indeed. She's the most remarkable of her family.

[William Ames]

I feel myself rather at a loss. I seem to be here soso unexpectedly as it were, and such and such a. A stranger. I'm rather confused about the family. Ms. Stuart's father and mother, I take it, aren't living collie.

[Johnny White]

No, I dunno.

[Stage Directions / Additional Narration]

When they died, Ames set back a little.

[William Ames]

A considerable time ago, I suppose.

[Johnny White]

Well, yes.

[Stage Directions / Additional Narration]

Must have been Ames rather wistfully yet, trying to Sound careless and casual.

[William Ames]

You don't remember them, I take it?

[Johnny White]

Me? Golly, no.

[William Ames]

Ah, the present family then.

[Johnny White]

It's just Ms. Stuart and Ms. Alan Stuart and Florence.

[William Ames]

Ms. Ellen Stuart I haven't met sits on sofa.

[Johnny White]

She's Florence's aunt.

[William Ames]

Her aunt?

[Johnny White]

Yes. I. I always get mixed up on relations too.

[Stage Directions / Additional Narration]

He sits on the small of his back crossing his legs and decides to try a wicked shot.

[Johnny White]

I don't know how old my grandfather was when he died any more' n Florence did hers.

[Stage Directions / Additional Narration]

Ames unconscious of the effort just made.

[William Ames]

It seems to me that last night Ms. Stuart spoke of two orphan nieces she was bringing up.

[Johnny White]

Bringing up Florence is one, but Ms. Stuart couldn't ha meant she was bringing Ms. Ellen up. She's about a hundred or a hundred and ten maybe. Anyhow, she must be around sixty.

[William Ames]

I must have been mistaken then. There are just these three ladies in the family.

[Johnny White]

Three's all they do need a man around.

[William Ames]

Ah, yes, it would ah, seems so.

[Stage Directions / Additional Narration]

They look at each other with some coldness. Florence is heard singing off left.

[Johnny White]

This uncommon needs more' n one the way she acts lately.

[Stage Directions / Additional Narration]

Florence enters left singing till she gets into the room. Then she stops suddenly. She wears a most becoming tennis costume but accompanies it with white high heel slippers. She has a pair of white tennis shoes in one hand and a racket and a net bag of tennis balls in the other. There are five or six balls, not all. New. Ames rises and goes a little to right. Florence crosses to centre, back of table to Ames.

[Florence Stuart]

Oh, you're here too.

[Johnny White]

So am I here too.

[William Ames]

I'm glad you didn't know it if that's why you kept on singing.

[Stage Directions / Additional Narration]

Florence going over to him.

[Florence Stuart]

I told you in the car you were a quick worker.

[Stage Directions / Additional Narration]

She doesn't smile.

[Florence Stuart]

I've taken a frightful fancy to you, Johnny.

[Stage Directions / Additional Narration]

Before Ames can speak, one of the

[Johnny White]

mail service aviators had to land in their back meadow here last month. She pulled that on him before his wheels touched ground.

[Florence Stuart]

I didn't.

[Johnny White]

You did. You had to holler to make him hear it.

[Stage Directions / Additional Narration]

Florence turning seriously to Ames for sympathy.

[Florence Stuart]

These boys nowadays, they think life's nothing but jazz. In this life people meet a girl, but so often they don't see. She probably has thoughts other people couldn't think. I have to lead two lives, one outdoors with mere adolescence. But the other that's a life apart. You understand what I mean, don't you, Ames smiling?

[William Ames]

I think so.

[Florence Stuart]

I thought you would. That's why you intrigue me so. You're A great kid.

[Stage Directions / Additional Narration]

She slaps him on arm.

[Johnny White]

Oh listen.

[Stage Directions / Additional Narration]

Florence glances at him.

[Florence Stuart]

Mr. Ames, don't you believe that very few people in this life have the power to really think?

[Stage Directions / Additional Narration]

Johnny sliding to the floor from his chair.

[Johnny White]

Oh, Mike.

[Stage Directions / Additional Narration]

Florence annoyed, turning.

[Florence Stuart]

Cut the rough stuff, you caterpillar.

[Stage Directions / Additional Narration]

Johnny rising to his knees and seeming to paddle with his racket at the tennis shoes in her hand.

[Johnny White]

You going to wear four shoes at the same time? Centipede.

[Stage Directions / Additional Narration]

Florence sitting.

[Florence Stuart]

I never can bear to put flat shoes on till the last minute.

[Stage Directions / Additional Narration]

And then she removes one slipper.

[Florence Stuart]

It's so tiresome getting em on.

[William Ames]

May I help you?

[Florence Stuart]

Oh, if you would.

[Johnny White]

Oh, that's why you brought em.

[Stage Directions / Additional Narration]

I see Florence giving him a cold quick glance. But speaking to Ames, he kneels before her.

[Florence Stuart]

It's outrageous of me to let you take so much trouble.

[Stage Directions / Additional Narration]

Then leaning toward him, she speaks softly.

[Johnny White]

Oh my.

[Stage Directions / Additional Narration]

He goes out of the picture, stepping out upright.

[Florence Stuart]

Mr. Ames, please stay over till to morrow. I ask you to.

[William Ames]

You're very kind. I couldn't let your aunt think I'm so vacillating. You see, I told her I had to be in New York this evening.

[Florence Stuart]

But you just said you had to go, didn't you? Because you wanted to be polite about making an unexpected visit.

[William Ames]

Yes, something like that. But after telling your aunt that I couldn't stay.

[Florence Stuart]

But aren't there any reasons you'd like to stay?

[William Ames]

Yes, there are.

[Florence Stuart]

Then I'll fix it for you. I'll say you sent a wire to New York letting em know you reached here. And I'll write a message on one of our telegraph blanks to you. It will be the answer from New York telling you there isn't a reason for you to leave.

[Stage Directions / Additional Narration]

She is pleased with her idea, Ames laughing, but a little nervous over her idea.

[William Ames]

Oh no, I will.

[Florence Stuart]

I'll have a man bring it in. Don't you spoil it.

[William Ames]

I couldn't.

[Florence Stuart]

Yes, you could. And when my telegraph comes, if you give me away.

[Stage Directions / Additional Narration]

She is interrupted by Johnnie's return. Johnnie has been just beyond the threshold upright, looking off outdoors, and now comes in and down a few steps.

[Johnny White]

I got it, Florence.

[Stage Directions / Additional Narration]

She checks Ames, who is about to expound his prize protest. Hush to Johnny.

[Florence Stuart]

You got what?

[Johnny White]

Got a wish I just made.

[Stage Directions / Additional Narration]

He points to door up left, then claps his hand over his mouth as if undesirous the lady entering should hear him. He is facing that way. Isabel enters up left in the sun room. She has taken off her hat and coat, is in a very pretty morning dress and carries some work in her hand. A work bag. She comes in looking at Johnny, who has his hand over his mouth.

[Isabel Stuart]

What's the matter, Johnny White?

[Stage Directions / Additional Narration]

He jerks his head toward Ames and Florence, who are downright centre for an instant Isabelle lets it be seen that she is the least bit taken aback.

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[William Ames]

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[Stage Directions / Additional Narration]

She immediately smiles as if pleased.

[Isabel Stuart]

Oh.

[Stage Directions / Additional Narration]

She comes down as she speaks.

[Isabel Stuart]

Your shoes are too large again, dear.

[Stage Directions / Additional Narration]

Ames looking up at Isabel with a little embarrassment.

[William Ames]

Ah, she. I was helping her to change.

[Stage Directions / Additional Narration]

Isabel smiling.

[Isabel Stuart]

You were?

[William Ames]

That is, I am. She mentioned some difficulty in, ah, doing it herself and I. I should think you would.

[Isabel Stuart]

Who wouldn't? And who wouldn't make it as long as possible too.

[Stage Directions / Additional Narration]

She turns to a chair, left centre. Ames rising.

[William Ames]

It's done.

[Stage Directions / Additional Narration]

As he has taken off Florence's second slipper. He has unconsciously put it under his arm where it still is.

[Isabel Stuart]

Is it already?

[Stage Directions / Additional Narration]

Johnny sharply to Florence.

[Johnny White]

Come on here.

[Florence Stuart]

All right, I'm coming.

[Stage Directions / Additional Narration]

What's the hurry, Johnnie? Florence goes up as he speaks. Johnnie has gone down to the sofa she has occupied and has picked up the bag of tennis balls. He immediately goes up after Florence. He calls out betcha dollar I beat

[Johnny White]

yer to the tennis court.

[Stage Directions / Additional Narration]

Both rush for the door. Upright. He swings her back upright. Florence strikes at him with her racket. Florence giggling as she runs after him.

[Florence Stuart]

No fair. You gotta start.

[Stage Directions / Additional Narration]

Isabel is looking at Ames, who is standing still in some embarrassment near the fireplace, unconscious of the slipper under his arm. He is looking up at the departing couple. The other slipper is on the seat of Florence's chair.

[Isabel Stuart]

Aren't they extraordinary, Mr. Ames?

[Stage Directions / Additional Narration]

Ames turns.

[Isabel Stuart]

Aren't they extraordinary, these young things? Not tidy though. She's left her slippers on the sofa,

[Stage Directions / Additional Narration]

glancing at the slipper, then again at him. She begins to sew some lace into cambric, Ames still embarrassed and not catching this.

[William Ames]

It seems to me you're rather extraordinary yourself, my dear.

[Stage Directions / Additional Narration]

He pauses an instant, then hastily lady, so that his phrase is My dear lady Isabel.

[Narrator]

As if a little suspiciously, I do you think so?

[Isabel Stuart]

In what way?

[William Ames]

Sleeping a few hours on a wooden bench, motoring 40 miles of mud hills, then driving off in a buckboard instead of collapsing.

[Stage Directions / Additional Narration]

Isabel looking at him.

[Isabel Stuart]

Oh, a country life keeps people quite robust. It's remarkable.

[Stage Directions / Additional Narration]

Then looking at her work.

[Isabel Stuart]

As I said, though, I'm afraid Florence is untidy.

[Stage Directions / Additional Narration]

So sometimes with a little gesture toward the slipper.

[Isabel Stuart]

You see where she's left that pair of slippers?

[Stage Directions / Additional Narration]

Ames glancing at it absently.

[William Ames]

Pair? Ah, there's only one.

[Stage Directions / Additional Narration]

Isabel bending her head over her work.

[Isabel Stuart]

So could you find the other sits

[Stage Directions / Additional Narration]

right of table left.

[William Ames]

Oh, certainly.

[Stage Directions / Additional Narration]

He glances absently about, then realizes with a start that the slipper is under his arm. She seems oblivious of everything except her lace making. He hastily puts the slipper under the chair, straightens up and looks at her again. She seems as before he stoops looking about.

[William Ames]

Ah, I think it's under the. Oh, yes, here it is.

[Stage Directions / Additional Narration]

He puts it with the other one and comes to centre.

[Isabel Stuart]

Will you set them on the hearth, please?

[William Ames]

Certainly.

[Isabel Stuart]

Then it'll be easy to find them if she comes back soon to have them put on again.

[William Ames]

Oh, y.

[Stage Directions / Additional Narration]

He begins to say oh, yes, but checks himself uncomfortably. He places shoes at fire place, then goes to right centre and is conscious of them as rather damnatory. And a pause follows in which he glances back and down at them twice.

[Isabel Stuart]

I'm sorry you felt you couldn't stay over till tomorrow, but since you insisted

[Stage Directions / Additional Narration]

you couldn't, inquiringly as if giving him a chance to alter his mind.

[William Ames]

I'm afraid I ought to get back.

[Stage Directions / Additional Narration]

Isabel, with a submissive nod, regretted.

[Isabel Stuart]

Very well. I've arranged for you to go.

[William Ames]

Ah, thank you.

[Stage Directions / Additional Narration]

Moving toward her.

[William Ames]

Is that lace you are making?

[Isabel Stuart]

Do you like it?

[Stage Directions / Additional Narration]

Ames putting on a pair of glasses rather hastily looking at the lace and as hastily slipping the glasses back into his waistcoat pocket again as he speaks.

[William Ames]

It's very lovely. Yes. You must have remarkable eyes to do

[Stage Directions / Additional Narration]

that, Isabel, after a look at him.

[Isabel Stuart]

Yes, my eyes are quite good.

[Stage Directions / Additional Narration]

Using quite to mean rather as elderly people speak of pleasant faculties still remaining.

[William Ames]

Is it a. What they call a doyley?

[Stage Directions / Additional Narration]

Isabel glancing at him thoughtfully.

[Isabel Stuart]

I wonder if I oughtn't to make a little cap of it.

[William Ames]

A captain.

[Isabel Stuart]

Don't you think it's a pretty fashion? A lace cap on the head?

[William Ames]

You mean like the Breton peasant woman?

[Isabel Stuart]

No, I was thinking of our grandmothers.

[Stage Directions / Additional Narration]

But Isabel, letting it touch her hair a moment.

[Isabel Stuart]

Would you like me in it?

[Stage Directions / Additional Narration]

Her tone is Entirely natural. As if she considered the possibility seriously. Ames trying not to be at all flustered.

[William Ames]

Of course I should like you in anything.

[Isabel Stuart]

Are you sure you would?

[William Ames]

Why, how can you ask me, Isabel?

[Isabel Stuart]

Working as sure as you were last night.

[William Ames]

Yes, indeed.

[Isabel Stuart]

And would you like me in a cab?

[William Ames]

Well, wouldn't it seem a little.

[Isabel Stuart]

Do you mean you think it would seem a little premature?

[William Ames]

Decidedly. I.

[Stage Directions / Additional Narration]

Breathlessly correcting himself.

[William Ames]

Of course it would.

[Isabel Stuart]

I meant you mustn't flatter me too much.

[William Ames]

Flatter you?

[Stage Directions / Additional Narration]

Isabel smiling I'll keep off the cap

[Isabel Stuart]

as long as I can. Really, there's no excuse for caps now. I suppose women used to wear them because in those days there were so few supplies.

[William Ames]

Supplies?

[Isabel Stuart]

Yes, like imports from Paris. And besides, they didn't approve of them. Poor things.

[William Ames]

Pardon me? Who didn't approve of what?

[Isabel Stuart]

Our grandmothers didn't approve of accomplishing marvels with cosmetics. You know the miracles they do to faces nowadays.

[William Ames]

Miracles?

[Isabel Stuart]

It's remarkable. No, there's no excuse for a woman to wear a cap these days. Not till she has to just absolutely

[Stage Directions / Additional Narration]

give up then at her work.

[Isabel Stuart]

Don't you think so?

[William Ames]

Oh. Oh, yes.

[Isabel Stuart]

Oh, it's just struck me I ought to be entertaining you, aren't I? But we haven't any family photograph album.

[William Ames]

What a lucky family.

[Isabel Stuart]

I could show you some daguerreotypes, though. Yes.

[Stage Directions / Additional Narration]

Rising suddenly upon a thought.

[Isabel Stuart]

You ought to see some of our heirlooms.

[Stage Directions / Additional Narration]

She gives him a fleeting, faint smile and leaving her work on the table, goes to the closed cabinet against the wall upright, Opens the doors and brings forth an old mahogany case. She brings this down to the table, left centre. Opens it. Takes out a folding daguerreotype.

[William Ames]

Daguerreotypes?

[Isabel Stuart]

Yes. We don't show them to every visitor, of course. Sit down.

[Stage Directions / Additional Narration]

She hands him the daguerreotype.

[Isabel Stuart]

There. You like my father Ames?

[Stage Directions / Additional Narration]

Rather touched, yet rather apprehensive.

[William Ames]

Is that your father? He must have been a very fine looking man. Is that a stock he's wearing?

[Isabel Stuart]

Yes. I think stocks were so becoming. Didn't you?

[Stage Directions / Additional Narration]

Handing him another daguerreotype?

[Isabel Stuart]

That's my Aunt Margaret, father's sister at 91. We all live very long on my father's side.

[William Ames]

Ah. Very intelligent face.

[Isabel Stuart]

Daguerreotypes have a charm, haven't they? I wonder people stopped taking them.

[William Ames]

I don't think I ever saw any daguerreotypes taken much after the Civil War.

[Isabel Stuart]

No, I don't think I have either.

[Stage Directions / Additional Narration]

Handing him another.

[Isabel Stuart]

That's my Uncle Charles in his uniform.

[William Ames]

He was a Colonel in the Civil War?

[Isabel Stuart]

Oh no, in the Mexican War.

[Stage Directions / Additional Narration]

Ames more disturbed but concealing it fairly well.

[William Ames]

Ah, he must have been a very fine looking man.

[Isabel Stuart]

Yes, indeed.

[Stage Directions / Additional Narration]

She smiles as she hands him another

[Isabel Stuart]

Here is one of a little girl that is a young girl. Does anything about her strike you as familiar?

[Stage Directions / Additional Narration]

Ames looking at her, not at the daguerreotype and trying to conceal a foreboding.

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[Isabel Stuart]

Yes. See if you don't guess who it is.

[William Ames]

Who is it?

[Stage Directions / Additional Narration]

He looks at it, then suddenly looks closer, starts slightly, draws his head back from it, staring incredulously.

[Isabel Stuart]

Can't you guess who it is?

[William Ames]

Why it can't.

[Stage Directions / Additional Narration]

He looks apprehensively to her and back again with painfully growing conviction.

[Isabel Stuart]

Why can't it?

[William Ames]

Isn't it your mother, Isabel?

[Stage Directions / Additional Narration]

In a tone that smilingly chides him for being so slow.

[Isabel Stuart]

No.

[William Ames]

Why there weren't any taken after. Why it couldn't be.

[Isabel Stuart]

Oh, but this girl, you see, she was only a child. Really.

[William Ames]

Oh yes, that's all she was. I see. She wasn't.

[Isabel Stuart]

No. Not over 16 or 17? No. Don't you see any resemblance? Well, it's charming enough to It's a sister of mine.

[William Ames]

It is your sister?

[Isabel Stuart]

Yes. She was quite a lot older than I am and married a missionary and they were lost in a typhoon.

[William Ames]

Oh, I'm sorry.

[Isabel Stuart]

Oh, it was quite a time ago.

[Stage Directions / Additional Narration]

She smiles and puts the pictures back in the box there.

[Isabel Stuart]

I just wanted to see if you'd see the resemblance. I won't put you through all the others.

[Stage Directions / Additional Narration]

She takes up her work and sits again as she speaks.

[William Ames]

Thank you. Thank you for showing them to me.

[Stage Directions / Additional Narration]

He rises, wipes his forehead hastily and moves toward the fireplace, taking out his cigarette case.

[William Ames]

Thank you. May I smoke here?

[Stage Directions / Additional Narration]

She nods. I I crosses to console table right centre, lights cigarette. Isabel cheerfully and working Daguerreotypes and things

[Isabel Stuart]

like that bring back such dear old times to us, don't they?

[William Ames]

I suppose they they do, of course.

[Stage Directions / Additional Narration]

He takes out two cigarettes.

[William Ames]

Yes, they do. Bring them back.

[Stage Directions / Additional Narration]

She gives him a glance and bends over her work.

[Isabel Stuart]

Where are the snows of yesteryear? Yes, but where are the yesteryears themselves? The wind has blown them all away. Do you remember when all the young men made New Year's calls and all the girls and their mothers kept open house those dear, jolly old times.

[William Ames]

Oh, yes, indeed. I've heard they.

[Isabel Stuart]

Even politics seemed simpler then. It was easier when we let men do all that for us. Though they did get so many things wrong, poor things.

[William Ames]

Oh, I don't know. We elected Roosevelt and.

[Isabel Stuart]

Yes, but if women had voted when Mr. Tilden ran against Hayes and Wheeler, you surely don't believe there'd have been all that excitement over the election, do you?

[William Ames]

I don't.

[Isabel Stuart]

You know, that was a terrible thing

[William Ames]

about Tilden and Hayes and Wheeler.

[Isabel Stuart]

Don't you think it was?

[William Ames]

Yes, I suppose it. Oh, yes, it was.

[Isabel Stuart]

Of course, my poor father used to get excited over that to the day of his death.

[William Ames]

Oh, your father did?

[Isabel Stuart]

Well, I thought it was wrong, too.

[Stage Directions / Additional Narration]

He stares at her again, perplexed. She sews.

[William Ames]

You are.

[Isabel Stuart]

What?

[William Ames]

Nothing. That is, I had nothing in mind to say, Isabel.

[Stage Directions / Additional Narration]

Musing, smiling.

[Isabel Stuart]

I suppose my father felt it so much because he knew Mr. Tilden. I never met him.

[Stage Directions / Additional Narration]

As if she had met others like him.

[Isabel Stuart]

But I should like to see Mr. Cleveland's expression if he could see women voting. Or General Harrison's.

[William Ames]

General Harrison's expression. Do you mean Harrison who was president in 18.

[Isabel Stuart]

Yes, President Benjamin Harrison. Good gracious. I didn't mean his grandfather, President William Henry Harrison, who was president in 1840 or something.

[William Ames]

No, no, I knew you didn't mean him.

[Isabel Stuart]

Well, no.

[Stage Directions / Additional Narration]

She sews and takes up the theme as if musing absently.

[Isabel Stuart]

Most of them used to be generals before they ran for president, didn't they?

[William Ames]

You mean like General Harrison?

[Isabel Stuart]

Yes, General Harrison. General Garfield.

[William Ames]

Oh, yes.

[Isabel Stuart]

And most of all, General Grant.

[William Ames]

Yes, General Grant.

[Stage Directions / Additional Narration]

Isabel laughing absently as she sews.

[Isabel Stuart]

We'd hardly remember him, of course.

[Stage Directions / Additional Narration]

She looks up at him as if disquieted by a thought, though she smiles nervously.

[Isabel Stuart]

You. You never did see him, did you?

[Stage Directions / Additional Narration]

As if diplomatically, getting at his age.

[William Ames]

General Grant? No.

[Stage Directions / Additional Narration]

Isabel. As if relieved, smiling a little, as if at an absurdity as she looks back at her work.

[Isabel Stuart]

Of course, I suppose not.

[William Ames]

No, I never did.

[Stage Directions / Additional Narration]

She looks up at him innocently, carelessly. Then seems to become aware of something unusual in his look at her.

[Isabel Stuart]

What is it?

[William Ames]

I. Nothing.

[Isabel Stuart]

Oh, yes, I can tell. You're thinking about something that bothers you. At least. You looked as if you were puzzling about something, weren't you?

[William Ames]

Indeed I wasn't. Not at all.

[Isabel Stuart]

I'm sure you are wondering about something, Jack.

[William Ames]

No, I'm not. Not about anything at all.

[Isabel Stuart]

Yes, but you are. I wonder if I know what you're

[Stage Directions / Additional Narration]

wondering about Ames too quickly sits on

[William Ames]

sofa no, no, you don't. That is, I mean to say you don't, because I'm not. So you couldn't.

[Isabel Stuart]

But I think I do indeed.

[William Ames]

You're mistaken. I'm not wondering about anything. Not about anything.

[Isabel Stuart]

Aren't you even wondering anything about me?

[William Ames]

No, no, certainly not.

[Narrator]

Rises nothing at all.

[William Ames]

That is, I'm not wondering. Of course I'm thinking about you.

[Isabel Stuart]

What are you thinking about me?

[William Ames]

You're nothing. Nothing at all.

[Stage Directions / Additional Narration]

Isabel nodding I see.

[Isabel Stuart]

You're thinking about me, but you aren't thinking anything in particular about me.

[William Ames]

Yes.

[Isabel Stuart]

No, I understand perfectly.

[William Ames]

No, but you don't.

[Isabel Stuart]

Yes. You meant yes and no, didn't you?

[William Ames]

Well, I.

[Isabel Stuart]

Of course you don't. That clears it all up, you see. Yes and no. Smiling I'm glad you made it so plain.

[William Ames]

But what. What was it I made plain?

[Isabel Stuart]

What you were thinking about me. It's perfectly natural you would wonder a little about that too.

[William Ames]

But I didn't. I assure you I didn't wonder.

[Isabel Stuart]

How could you help wondering about what you're wondering about?

[William Ames]

But I'm not. Indeed I'm not.

[Stage Directions / Additional Narration]

Isabel laughing why, of course you are.

[Isabel Stuart]

You're wondering just how romantic I am. That's what you're wondering.

[Stage Directions / Additional Narration]

Ames much relieved sits oh.

[William Ames]

Oh, well, perhaps I was wondering a little about that. Yes, I admit it. You are romantic. You.

[Isabel Stuart]

You say I was when I was a child.

[William Ames]

What were you romantic about then?

[Isabel Stuart]

When I was a child?

[William Ames]

Yes. What did you find to be romantic about? What, in a general way, I mean.

[Isabel Stuart]

Oh, well, I suppose the same things you were being romantic about at the same time, that is. About the same time, I suppose.

[Stage Directions / Additional Narration]

She does not smile Ames Smiling nervously trying to be easy.

[William Ames]

Oh, yes.

[Isabel Stuart]

I think there was a great romantic influence upon the whole country about that time, don't you think?

[William Ames]

Just about then, yes.

[Isabel Stuart]

I think what did it was the world's fair.

[William Ames]

You do? Well, there was the San Francisco fair and the St. Louis one and the. The one at Buffalo and. Yes. Wasn't there one once in Chicago In. In.

[Isabel Stuart]

Yes. And one in Philadelphia in 1876.

[William Ames]

But I meant. Which was the one you meant made everybody so romantic?

[Stage Directions / Additional Narration]

Isabel easily as she sews again.

[Isabel Stuart]

I was speaking of the one when I was a child.

[William Ames]

Oh, yes, that one.

[Stage Directions / Additional Narration]

Isabel looking up innocently I know what

[Isabel Stuart]

you're trying to do.

[William Ames]

Why, we were just talking along. I wasn't trying totoo to.

[Isabel Stuart]

Why, yes, you were.

[William Ames]

No, no, I.

[Isabel Stuart]

Yes, you keep on trying to find out how Romantic? I still am.

[William Ames]

Oh, well.

[Isabel Stuart]

Oh, I don't mean that I'm as romantic as you are, Mr. Ames. The most romantic woman isn't so romantic as the least romantic man.

[William Ames]

What?

[Isabel Stuart]

It's very simple. You see, men don't get older.

[William Ames]

Men don't?

[Isabel Stuart]

No, they don't. They don't get older and they stay young and romantic.

[Stage Directions / Additional Narration]

Florence outside.

[Florence Stuart]

Mr. Ames.

[Isabel Stuart]

Mr. Ames, don't they stay romantic?

[William Ames]

Well, I. I.

[Isabel Stuart]

For instance, when you're interested in anyone, don't you prefer to be alone with them?

[William Ames]

Yes, I do. I am. We are.

[Stage Directions / Additional Narration]

Florence outside.

[Florence Stuart]

Mr. Ames.

[Isabel Stuart]

Mr. Ames, doesn't she mean you?

[William Ames]

Oh, yes, your charming little niece.

[Isabel Stuart]

Charming? Yes.

[William Ames]

Oh, that doesn't mean that I like all of them. I believe I mentioned that last night.

[Isabel Stuart]

Yes, I believe you did.

[William Ames]

But there is something about this one that.

[Isabel Stuart]

Yes.

[William Ames]

Yes, indeed. She's your.

[Stage Directions / Additional Narration]

Florence outside.

[Florence Stuart]

Mr. Ames. Mr. Ames.

[Isabel Stuart]

She's calling you, isn't she?

[William Ames]

So it seems.

[Isabel Stuart]

Hadn't you better.

[William Ames]

Yes. I'll just tell her. Perhaps I'd better.

[Isabel Stuart]

Yes, do.

[William Ames]

Yes. Yes.

[Stage Directions / Additional Narration]

I goes up centre, looking off right. Florence outside.

[Florence Stuart]

Mr. Ames.

[Stage Directions / Additional Narration]

Isabelle rises and goes to left centre. Listens for a second and then crosses to door left.

[William Ames]

Just a moment. Your aunt and I. Oh, have you finished your game?

[Stage Directions / Additional Narration]

Isabel exits door left. Florence outside.

[Florence Stuart]

Im coming.

[William Ames]

She's coming.

[Stage Directions / Additional Narration]

Turns and stares at Isabel's vacant chair. Goes up centre, looks off left. Goes to door down left and looks off. Well, I. Florence enters upright. Florence has her racket, but not the net of balls.

[Florence Stuart]

I knocked all the balls as far as I could in the shrubbery. He has to hunt till he finds em. Then I ran and fixed about the telegram.

[William Ames]

Oh, no, I really can't.

[Florence Stuart]

Don't worry. If you don't like it when it comes, you can just say it isn't important and tear it up, can't you?

[William Ames]

I suppose so.

[Florence Stuart]

Attaboy.

[Stage Directions / Additional Narration]

Ames nervously pacing up and down left.

[William Ames]

But I.

[Florence Stuart]

Is anything bothering you?

[Stage Directions / Additional Narration]

She sits on sofa, right?

[William Ames]

Why, of course not.

[Florence Stuart]

Did Aunt Isabel say.

[William Ames]

She said. She said. I understood her to say that she wasn't your aunt exactly.

[Florence Stuart]

No, she's my great aunt.

[William Ames]

Yes, so she said. Why, of course, there are a great many young great aunts.

[Florence Stuart]

Young great aunts. I don't see how they could be.

[William Ames]

I meant comparatively, like your Aunt Isabel.

[Florence Stuart]

Oh. I suppose Aunt Ellen knows how old Aunt Isabel is. But you know how some women are.

[William Ames]

You mean these miracles?

[Florence Stuart]

No, I mean they don't usually tell. I don't see why people get so sensitive about things like that. I Tell anybody that wants to know what I am. I'm 19. I don't care. Golly.

[William Ames]

Well, it's a subject I'm interested in. Always been interested in. I mean. I mean in a general way, of course.

[Florence Stuart]

What you gettin at? Do you always do this when you're alone with people? Talk about other women and their ages?

[William Ames]

No, no indeed I don't.

[Florence Stuart]

If you're so anxious about it, why, I'm on right confidential terms with Aunt Isabel and I could ask her right out. How.

[William Ames]

No, you mustn't think of such a thing. You really mustn't.

[Florence Stuart]

I won't. That is, I won't if you're nice to me. Don't I intrigue you any?

[William Ames]

Do. Don't you see how much you do?

[Florence Stuart]

I never had a chance at a man of experience. You wouldn't ever think that I suffer terribly, would you?

[Stage Directions / Additional Narration]

Do sits on sofa left of Florence.

[Florence Stuart]

I suffer fearfully.

[William Ames]

What from?

[Florence Stuart]

Well, from thoughts. I suffer because nobody understands em. So I can't tell em. I don't know what makes me tell you all these things like this.

[Stage Directions / Additional Narration]

Smiles at him trustingly.

[Florence Stuart]

But it's nice our getting intimate this way, isn't it? Do you remember where you left my slippers?

[William Ames]

Bubba Wallace here from 2311 Racing.

[Ryan Seacrest]

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[William Ames]

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[Stage Directions / Additional Narration]

Next time you're stuck in the slow lane.

[William Ames]

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[Ryan Seacrest]

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[William Ames]

Your slippers.

[Florence Stuart]

Will you see, please? I thought maybe you'd be so awfully kind as to.

[Stage Directions / Additional Narration]

She sweetly lets the inference be made as she projects a foot.

[William Ames]

I rather think your aunt said she was coming back.

[Florence Stuart]

Don't you remember what you did with them?

[William Ames]

I think I put them.

[Stage Directions / Additional Narration]

Florence looking about.

[Florence Stuart]

They haven't been taken out, have they?

[William Ames]

I don't think so. I didn't see anyone.

[Florence Stuart]

Why, there they are on the hearth.

[William Ames]

Oh yes, so they are.

[Florence Stuart]

Would it be too outrageous of me to.

[William Ames]

Oh, no, indeed.

[Stage Directions / Additional Narration]

Rises and starts left.

[Florence Stuart]

No, over there.

[Stage Directions / Additional Narration]

Ames crosses to fireplace, gets slippers. Ames glancing apprehensively left.

[William Ames]

I'll be only too delighted.

[Stage Directions / Additional Narration]

He kneels Florence as he helps her to exchange the tennis shoes for the slippers.

[Florence Stuart]

My, it's a relief to be with a man that understands the deeper side of life. A few minutes now and then.

[William Ames]

I'm glad you like it.

[Florence Stuart]

Is that all? Couldn't you make it any stronger? Don't you think I'm a grand little thing?

[Stage Directions / Additional Narration]

She bends toward him, apparently earnest. Ames smiling wanly.

[William Ames]

I do.

[Florence Stuart]

You do what?

[William Ames]

I do indeed.

[Stage Directions / Additional Narration]

Johnny enters upright with the net of tennis balls.

[Florence Stuart]

Attleboy. You are sure?

[Stage Directions / Additional Narration]

You do indeed, Johnny. Upright centre.

[Johnny White]

Why don't you try the lady with a pair o nines, Mr. Ames? We've got a good stock of nine Bs on the top shelf in the storeroom.

[Stage Directions / Additional Narration]

Aunt Ellen enters left. She comes in rather quickly. Her expression is gracious, but she is astonished to find Ames on his knees before Florence. She halts sharply, speaks quickly and at once turns to go out indignantly. By the way she has come.

[Aunt Ellen]

Excuse me.

[Stage Directions / Additional Narration]

Turns back left.

[William Ames]

Oh.

[Stage Directions / Additional Narration]

He would rise, but Florence checks him my other slipper.

[William Ames]

But I.

[Stage Directions / Additional Narration]

He sees Isabel through open door. Left. Rising.

[William Ames]

Oh, gracious.

[Stage Directions / Additional Narration]

Isabel enters left. Isabel smilingly and smoothly as she enters.

[Isabel Stuart]

Ellen, dear, I've been looking for you to meet Mr. Ames.

[Stage Directions / Additional Narration]

Laughing commiseratingly, she comes to them.

[Isabel Stuart]

Poor Florence. Is she having trouble with her new slippers again?

[Stage Directions / Additional Narration]

Isabelle points to tennis shoe Ames has under his arm. He immediately throws it on sofa.

[Isabel Stuart]

I'm afraid you'll think we're terrible people to make use of our visitors, Mr. Ames.

[Stage Directions / Additional Narration]

Ames, who has risen.

[William Ames]

Oh, no, not at all. Not at all. Indeed.

[Isabel Stuart]

I'm afraid we do, though. You'll make up your mind never to come here again.

[Stage Directions / Additional Narration]

With a gesture indicating.

[Narrator]

Ellen.

[Isabel Stuart]

I think I told you I wanted you to meet my other.

[Stage Directions / Additional Narration]

She is speaking with inconsequent cheerfulness and tapers the sound off as he turns towards Ellen. Isabel smilingly nodding toward Ellen.

[Isabel Stuart]

Ellen, Dear, this is Mr. Ames.

[William Ames]

Ah. Ah.

[Stage Directions / Additional Narration]

He bows.

[Isabel Stuart]

How do you do, Mr. Ames? Ellen is my other niece.

[William Ames]

Your other. How do you do?

[Stage Directions / Additional Narration]

With a blank expression, he makes an inarticulate sound and stands in an instantaneously arrested attitude.

[Isabel Stuart]

Now you know my whole family. My niece and my great niece. They're both the greatest comfort to me.

[William Ames]

Oh, yes, thank you.

[Stage Directions / Additional Narration]

Isabel lightly turning from him.

[Isabel Stuart]

And Florence, if you finish with the. The footwear.

[Stage Directions / Additional Narration]

Ellen sits by the table, left centre.

[William Ames]

Oh, yes, we've finished.

[Stage Directions / Additional Narration]

Isabel sunnily including Johnny and speaking as if she were trying to think of something entertaining for them.

[Isabel Stuart]

Then wouldn't. Wouldn't you three like to. Wouldn't you three like to dance or something?

[William Ames]

What?

[Isabel Stuart]

You must all go right on entertaining yourselves. Just as if we weren't here. We love to look on, don't we, Ellen?

[Stage Directions / Additional Narration]

Aunt Ellen, with a glance toward Florence's feet.

[Aunt Ellen]

Yes.

[Stage Directions / Additional Narration]

When they behave, sits left of table. Isabel sits right of table. Isabel laughing to Ellen on this, then at once speaking to the other group.

[Isabel Stuart]

Can't you think of anything to amuse yourselves?

[Stage Directions / Additional Narration]

Then, as with a quick afterthought, not seriously said yet perhaps meant.

[Isabel Stuart]

You don't mind our being here, do

[Stage Directions / Additional Narration]

you, Florence jumping up.

[Florence Stuart]

Of course not. Turn on that record. Yes.

[Isabel Stuart]

Music, Johnny.

[Stage Directions / Additional Narration]

Johnny goes up Aunt Ellen grimly to Isabel, who is taking her seat by the table.

[Aunt Ellen]

But they don't dance. They only waggle. It's fearful.

[Stage Directions / Additional Narration]

Johnny pauses.

[Isabel Stuart]

Oh, but they do love it so. They mustn't be disappointed. To the others, she doesn't really mind. You can dance.

[Stage Directions / Additional Narration]

She sits, taking up her work.

[Florence Stuart]

Attaboy.

[Stage Directions / Additional Narration]

She seizes Ames's hand.

[William Ames]

I don't know these new dances.

[Isabel Stuart]

She'll teach you. Music, Johnny.

[Stage Directions / Additional Narration]

Johnny turns on the records. Florence forcing, aims to dance.

[Florence Stuart]

Come on. I never heard of a man that couldn't dance with me. Ouch.

[Stage Directions / Additional Narration]

She hops, her foot slightly injured, but keeps on dancing. Ames as she cries out.

[William Ames]

Murder.

[Stage Directions / Additional Narration]

Isabel under cover to him. He is close to her.

[Isabel Stuart]

Walk. Just walk. That's all you need to do.

[Stage Directions / Additional Narration]

He does better upon this.

[Isabel Stuart]

That's it. Just walk.

[Stage Directions / Additional Narration]

Florence to Ames.

[Florence Stuart]

Isn't it divine?

[Stage Directions / Additional Narration]

Henry enters upright. Isabel indulgently to Aunt Ellen.

[Isabel Stuart]

Isn't it delightful to see them so happy?

[Stage Directions / Additional Narration]

Henry comes down to Isabel. He has a folded telegraph blank in his hand. She observes him.

[Isabel Stuart]

Isn't it time for Mr. Ames's train, Henry?

[Johnny White]

No, mum.

[Stage Directions / Additional Narration]

He shows the blank.

[Isabel Stuart]

Oh, something for me.

[Stage Directions / Additional Narration]

She rises and extends her hand for the blank. Florence seeing this.

[Florence Stuart]

Oh, murder.

[Stage Directions / Additional Narration]

They stop dancing left centre. Isabel as Henry hands her the blank.

[Narrator]

What is it, Henry?

[Stage Directions / Additional Narration]

As Isabel examines the blank.

[William Ames]

I don't rightly know, Mum.

[Narrator]

I was told about it in such a hurry.

[Stage Directions / Additional Narration]

He glances nervously at Florence.

[Narrator]

I may not have got my instructions.

[Isabel Stuart]

Just exactly your instructions. Oh, this isn't really a telegram. No. There's no envelope and date. And it's written in such a bad backhand that I can hardly.

[Johnny White]

Oh.

[Stage Directions / Additional Narration]

She speaks as though with a sudden revelation, comprehending, and glances quickly at Florence.

[Isabel Stuart]

Oh, I see.

[Stage Directions / Additional Narration]

Rises.

[Isabel Stuart]

I don't think it's for me, Henry.

[Stage Directions / Additional Narration]

Hans. Telegram to Henry.

[Florence Stuart]

Here, let me.

[Stage Directions / Additional Narration]

She comes to the rescue, seizes the blank, hands it sweet. Swiftly to Ames, who stands dismayed.

[Florence Stuart]

You see, Mr. Ames wired his partners from here and so this must be from them. Of course. It's a telegram, isn't it Mr. Ames?

[Stage Directions / Additional Narration]

Isabel gently, insistent Is it Mr. Ames?

[William Ames]

I can't read.

[Isabel Stuart]

Is a difficult handwriting.

[Stage Directions / Additional Narration]

She knows it is Florence's hand, though somewhat discontinued, disguised Florence taking the blank

[Florence Stuart]

hastily I can read most any hand. Why yes, it's perfectly plain. It says no business in the office today. If you wish to remain where you are. No reason whatever for returning to New York. Signed Witherspoon and Ames. He told me himself he had a partner named Witherspoon.

[Stage Directions / Additional Narration]

Johnny stops phonograph Isabel to Ames oh,

[Isabel Stuart]

then it is a real telegram.

[Stage Directions / Additional Narration]

She knows of course it isn't Ames as Florence turns quickly toward him why it ah.

[William Ames]

Seems to be.

[Isabel Stuart]

Oh, then you'll.

[Stage Directions / Additional Narration]

You'll stay if he stays? It appears that he stays upon Florence's

[William Ames]

urgence why I. I. Mr. Ames won't

[Isabel Stuart]

be going to the station. Henry.

[Stage Directions / Additional Narration]

Henry exits up left Florence has carelessly set the blank upon the table after reading it, her fingers resting upon it but Aunt Ellen draws it away to look at it Florence turning as if to reclaim it. Aunt Ellen rather excitedly but there isn't even an envelope.

[Aunt Ellen]

It isn't a real telegram. The writing's queer but it looks exactly like Florence.

[Stage Directions / Additional Narration]

She finishes the word but Isabelle cuts her off loudly on floor pushing the bell button on left wall Tyler redick

[Ryan Seacrest]

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[Isabel Stuart]

Chumba Casino Music Johnny, isn't it lovely? Now you can dance all day.

[Stage Directions / Additional Narration]

She turns to centre as she speaks and limps suddenly and says oh.

[Narrator]

Oh.

[Stage Directions / Additional Narration]

As if in pain. Johnny has started the vocalion at her first word. It plays softly Florence has seized Ames's hand with a jubilant hooray as the music starts but they pause as Aunt Ellen speaks what's the matter with you?

[Isabel Stuart]

Nothing. Oh.

[Stage Directions / Additional Narration]

She limps again, Johnny coming down anxiously

[Johnny White]

what is the matter, Ms. Stuart?

[Isabel Stuart]

Nothing. I'm afraid I sat a little too long on a baggage truck in a cold wind last night, that's all. It's nothing.

[Florence Stuart]

Oh, rheumatism. That's nothing.

[Stage Directions / Additional Narration]

She retains ames hand moves as if to begin dancing. Mattie enters left her right hand behind her aims plaintively to Florence Just a he means just a moment but breaks away from Florence and crosses to centre to speak to Isabel.

[William Ames]

I hope it's nothing very no, no it isn't.

[Isabel Stuart]

It. It's just a. Just a touch. You mustn't stop dancing.

[Stage Directions / Additional Narration]

Florence crosses to centre, takes Ames up centre to dance. Johnny taking Isabel's arm decisively.

[Johnny White]

I'll look after you, Ms. Stuart. I'd prefer to.

[Stage Directions / Additional Narration]

He gives Florence a bitter look.

[Isabel Stuart]

Thank you, Johnny.

[Stage Directions / Additional Narration]

To Matty.

[Isabel Stuart]

Did you find them, Matty?

[Mattie]

You don't want to put them on here, do you?

[Isabel Stuart]

No.

[Stage Directions / Additional Narration]

Well, as if to go out left.

[Johnny White]

Put what on?

[Isabel Stuart]

Nothing.

[Stage Directions / Additional Narration]

Matty bringing her hand from behind her showing an old pair of rather large flat black slippers. Not displaying them pointedly to audience them.

[Mattie]

I don't mind lending them to you.

[Stage Directions / Additional Narration]

But Isabelle quickly checking her.

[Isabel Stuart]

I thought perhaps they might help me.

[Stage Directions / Additional Narration]

But not, not not now and here she means the scene is hurried. Johnnie taking the slippers.

[Johnny White]

Why not? Why, certainly. You let me put em on for you, Ms. Stuart. I'd prefer to. I'd very much prefer to. Here, you better lie down.

[Stage Directions / Additional Narration]

He is conducting her to the sofa, her limp increasing a little.

[Isabel Stuart]

Do you think I'd better lie down, Johnny?

[Stage Directions / Additional Narration]

Johnny severely to Mattie.

[Johnny White]

Why don't you fix these pillows for her?

[Stage Directions / Additional Narration]

Isabelle lies down. Mattie hastily obeys the suggestion.

[Johnny White]

She's all tired out and I guess she's had enough to make anybody tired.

[Stage Directions / Additional Narration]

He takes off her slippers.

[William Ames]

What is the matter, Ms. Stuart?

[Johnny White]

Why, she's been made awful tired and she's got rheumatism and everything.

[Isabel Stuart]

Oh no, not quite.

[Stage Directions / Additional Narration]

Johnny to Matty.

[Johnny White]

Put that wrap over her.

[Stage Directions / Additional Narration]

Ames starting to stoop to fix her slippers. Won't you let me, Isabel stopping him.

[Isabel Stuart]

Oh no, you must go on dancing.

[Stage Directions / Additional Narration]

But I Ames stares all the time incredulously at Isabell so does Aunt Ellen across the left.

[Isabel Stuart]

Im so much trouble.

[Stage Directions / Additional Narration]

Johnny pointing to the slippers.

[Isabel Stuart]

Aren't they awful, Johnny?

[Stage Directions / Additional Narration]

As he puts them on numb they're not.

[Johnny White]

I prefer em myself. I very much prefer em.

[Stage Directions / Additional Narration]

He puts her other slippers defiantly under his arms.

[Johnny White]

You just lie back and rest, Ms. Stuart. I'll look after you.

[Isabel Stuart]

Thank you, Johnny.

[Stage Directions / Additional Narration]

She lies on sofa head at right of sofa facing centre.

[Florence Stuart]

Louder, Matty.

[Stage Directions / Additional Narration]

Mattie opens Vocalion to its loudest. Florence seizes Ames and they dance.

[Johnny White]

If you can rest with all this going on.

[Stage Directions / Additional Narration]

Ames and Florence dance over to left front of table, go around table and come to centre.

[Isabel Stuart]

That's right, that's right.

[Stage Directions / Additional Narration]

Referring to the dance.

[Isabel Stuart]

Isn't it lovely to see the young people so happy?

[Stage Directions / Additional Narration]

Ames and Florence start to whirl around in centre. Ames looks at Isabel Isabel as if beating time saying 1 2, 1 2.

[Narrator]

Curtain.

[Stage Directions / Additional Narration]

This final scene will have to be worked out carefully in rehearsal, beginning slowly and the sequence as shown here may need altering. When it is worked out, the effect is to bring the curtain down not on a curtain line, but upon a scene of movement and sound conveying the situation.

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[William Ames]

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[Florence Stuart]

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[Isabel Stuart]

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[William Ames]

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[Florence Stuart]

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[Ryan Seacrest]

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[Stage Directions / Additional Narration]

Johnny is only earnest and indignantly sympathetic with Isabel here, but the appearance of things is both gentlemen are anxious about Isabel and that Florence is amazed. End of Act 2. Act three of the Intimate Strangers by Booth Tarkington this is a Librivox recording. All Librivox recordings are in the public domain. For more information or to volunteer, please visit Librivox.org Act 3 Scene the scene is the same interior shown in the second act. The time is late in the afternoon, toward evening of the same day. The outdoor light seen through the sun room windows has a rosier amber than in the second act, a forerunning of the approaching sunset. But the stage is still bright with light discovered. Aunt Ellen, as in Act 2, sits by the fireplace, which sends out a warm glow. She is crocheting. Mattie, on hands and knees, is facing the cabinet upright. The doors of the cabinet are partly open, revealing shelves of old boxes, old ornaments of various kinds, small vases, silver porringers, etc. Two or three old pistols, rolled papers, old and tied with red ribbon, some old books. Mattie is pawing carefully among these apparently puzzled scene to be played quietly and inconsequently. Rather quickly Mattie discovered rubbing the inside of the left door of the cabinet. Aunt Ellen comes down centre.

[Mattie]

It certainly ain't here, Ms. Alan, but

[Aunt Ellen]

that's where it ought to be. Did she tell you to scrape that date off?

[Mattie]

I wasn't to say, Ms. Allen. Anyway, it's only half the date was to be scraped off.

[Aunt Ellen]

It's very singular, but the rest of it is more singular.

[Stage Directions / Additional Narration]

Isabel enters left.

[Aunt Ellen]

Did you ask Aunt Isabel?

[Isabel Stuart]

Did she ask me what, Ellen?

[Stage Directions / Additional Narration]

She limps to Santa.

[Aunt Ellen]

Oh, the poor thing. She's Limping worse. It's very singular.

[Isabel Stuart]

What is?

[Aunt Ellen]

It's very singular. The family Bible's missing.

[Isabel Stuart]

Oh, is that all?

[Stage Directions / Additional Narration]

Isabel limps to sofa.

[Aunt Ellen]

Is that all? Do you realize the date of my birth is written in that Bible?

[Stage Directions / Additional Narration]

Isabel sits on sofa lightly.

[Isabel Stuart]

Oh, yes. Yours is there too, isn't it? I've always thought fathers were an inconsiderate class of men. When they have a baby, they only think of themselves. They go and write down the date in a Bible. Even when the baby's a girl, they don't stop to think.

[Stage Directions / Additional Narration]

Aunt Ellen looking at her with an approach to suspicion.

[Aunt Ellen]

What is the matter with you?

[Isabel Stuart]

Do you think something does seem the matter with me? Do you really?

[Stage Directions / Additional Narration]

She is pleased with the idea that something may really be the matter with.

[Narrator]

With her.

[Aunt Ellen]

You haven't got upset this way for quite a long while now. But it certainly isn't the first time, is it, Mattie?

[Stage Directions / Additional Narration]

Isabel has her lace with her and begins to work. Aunt Ellen doesn't turn her head to make this inquiry, but continues her crocheting.

[Florence Stuart]

No, ma'.

[Mattie]

Am, it happens every time. She has a shooter. Last one was that Philadelphia man. Widower. She half killed him. Horseback ridin'. And before him that awful youngish one from Buffalo. And then that old one.

[Stage Directions / Additional Narration]

Isabel quickly to check Mattie's list of suitors.

[Isabel Stuart]

Never mind the old one, Ellen. There's another Bible upstairs.

[Aunt Ellen]

But I'm used to reading my daily chapter from this one.

[Isabel Stuart]

Don't you suppose you'd find much the same ideas in both of them, Aunt Isabel? Yes, Ellen.

[Aunt Ellen]

I suppose you treat me like a child because I'm only your niece.

[Isabel Stuart]

Ellen, have I ever taken advantage of my position as your aunt?

[Aunt Ellen]

A great many people have very little respect for nieces. And as I'm only your half niece,

[Isabel Stuart]

as you're only my half niece, you only have half as much respect for me as you ought to have.

[Aunt Ellen]

I don't pretend to fathom your purpose in concealing the Bible from me.

[Stage Directions / Additional Narration]

Isabel shaking her head.

[Isabel Stuart]

Oh, I'm not sure that nieces ought to be allowed to look at all the pictures in any old family Bible. But of course I don't admit I did hide it.

[Stage Directions / Additional Narration]

Aunt Ellen incensed, becoming stately as she goes. Left.

[Aunt Ellen]

I decline to be treated like a child.

[Stage Directions / Additional Narration]

She exits. Left.

[Isabel Stuart]

She's on. She's what?

[Mattie]

She knows the Good Book never walked out o there by itself.

[Stage Directions / Additional Narration]

Isabel turning eagerly in her chair.

[Isabel Stuart]

Did you do just what I told

[Narrator]

you to do, Matty?

[Stage Directions / Additional Narration]

With a gesture to a chair Left centre. She tells it quickly without acting?

[Mattie]

Yes, ma'. Am. I waited till he was settin in here alone a bit ago. So I come in and begun to look around and. And I says to myself, like the way you told me. Well, that's funny, I says, talkin to myself. It's funny where sech a thing as that could get to a great big ol family Bible, I says. What you say was missin, he says. So I says, Excuse me. It's nothing. Only the family Bible. We always kept it in here with

[Stage Directions / Additional Narration]

a gesture to the cabinet, so I

[Mattie]

know it must be around somewhere, I says. Well, he jumped right up. My goodness, he says. Let me help you look for it, he says.

[Isabel Stuart]

Yes, Matty. Did he look all over the room?

[Mattie]

He pretty near took up the floor. Then he went out in the hall and looked under the stairs and under everything else. Maybe somebody's usin it for just a while, he says. And they'll bring it back here when they got it. Well, I says, I put this in myself. You didn't tell me to. Well, I says, they might bring it back here. Yes, or somebody might've put it up in the attic. In the attic? He says. I hardly got time to go up there, though, I says. I do take a terrible interest in Bibles, he says. Do you think there is any objection to my goin up in the attic to see? He says. Oh, no, sir, I says.

[Isabel Stuart]

None at all.

[Mattie]

Somebody might a put it there, as you say, he says. They often do, he says. And if you think Ms. Stuart wouldn't mind. Oh no, I says. I know she wouldn't. You just go ahead, I says.

[Isabel Stuart]

Mattie. And he did.

[Mattie]

Yes, ma', am. I reckon he's still up there.

[Isabel Stuart]

On the whole he seems quite excited about it then.

[Mattie]

Well, I never see a man show so much energy trying to find a good book.

[Isabel Stuart]

We all ought to be glad this has happened, Mattie.

[Mattie]

Why ought we?

[Isabel Stuart]

We ought to be glad to have such a religious man in the house.

[Stage Directions / Additional Narration]

Mattie dryly going left.

[Mattie]

Yes, ma'.

[Narrator]

Am.

[Mattie]

I must say I don't blame you for hiding it with all your ages and the family scandal rolled out in it.

[Isabel Stuart]

What scandal?

[Mattie]

About your poor father, ma'. Am.

[Isabel Stuart]

Good gracious, Mattie. It isn't a scandal for a man to marry a second time.

[Mattie]

Yes, ma'.

[Florence Stuart]

Am.

[Mattie]

At his terrible age it was.

[Isabel Stuart]

Well, I never reproached him for it because I shouldn't have been born if he hadn't. Have you seen my other case of needles?

[Narrator]

Maddie rises.

[Mattie]

No, ma'. Am. What I don't understand is why you wanted him to know it was missing.

[Stage Directions / Additional Narration]

She hopes to be told.

[Isabel Stuart]

No, that's very true. You don't understand that.

[Mattie]

Matty.

[Stage Directions / Additional Narration]

Matty opening the door to go out.

[Mattie]

No, ma'. Am.

[Isabel Stuart]

When he comes down. Oh, there's that case of needles.

[Stage Directions / Additional Narration]

She sees it on the table, left centre, and steps toward it. Matty warningly.

[Florence Stuart]

Shh.

[Mattie]

He is down.

[Isabel Stuart]

Down where?

[Stage Directions / Additional Narration]

She abandons her intention of getting the needles, though she is near them. She turns and goes quickly back with almost no lameness, to the sofa and resumes her work. Mattie stares, astonished.

[Mattie]

I thought you were slimping this afternoon.

[Isabel Stuart]

Sh. I am. It comes and goes. Is he there?

[Narrator]

Matty?

[Stage Directions / Additional Narration]

Peering out of the door and looking back, whispering.

[Mattie]

He's looking under the hall. Sophy again.

[Stage Directions / Additional Narration]

She coughs, steps back and Ames enters left. Ames comes in quickly with the frown of a person intent on a serious search. His eye is on the cabinet and he has come into the room to go there. He checks himself at sight of Isabel by the fire. Mattie observes them both with interest.

[William Ames]

Oh. Oh. How do you do, Isabel?

[Narrator]

Working.

[Isabel Stuart]

How do you do?

[William Ames]

I hope you're better.

[Stage Directions / Additional Narration]

He glances at the cabinet.

[Isabel Stuart]

Oh yes. It comes and goes, you know.

[Stage Directions / Additional Narration]

Touches her knee.

[William Ames]

No, I don't. I've never had it so far.

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[Stage Directions / Additional Narration]

Isabelle rising and looking about.

[Isabel Stuart]

Not so far.

[William Ames]

Are you looking for something?

[Isabel Stuart]

Yes. I had it a little while ago too. It's stupid of me.

[Stage Directions / Additional Narration]

Rises, aims eagerly, quickly hoping she means the Bible.

[William Ames]

Can't you remember where you put it? Did you have it in here?

[Isabel Stuart]

Yes.

[Stage Directions / Additional Narration]

She moves slowly and her lameness is now somewhat more apparent. Mattie, kept by her curiosity at the door, observes her with enlarging eyes and an opening mouth. Isabel goes on.

[Isabel Stuart]

Yes, I'm sure I had it in here. If I could only think where I put it.

[William Ames]

Let me look. You really shouldn't move about much.

[Stage Directions / Additional Narration]

I'm afraid he is already looking about.

[Isabel Stuart]

You're so kind it is a little bothersome at times.

[Stage Directions / Additional Narration]

There is a faint sound, like a choke from Mattie. Not mirth, but a moral amazement. Isabel turns toward her at this.

[Isabel Stuart]

That's all, Mattie. I shan't want you for anything more.

[Mattie]

Yes, ma'. Am.

[Stage Directions / Additional Narration]

Exits left. Isabel concentrating.

[Isabel Stuart]

If I could only think. It seems to me I left it somewhere over on this side of the room.

[Stage Directions / Additional Narration]

The left side?

[William Ames]

I hardly think so.

[Stage Directions / Additional Narration]

He glances behind a large wall chair.

[William Ames]

I already have looked all over this.

[Stage Directions / Additional Narration]

Crosses to left to lower end of table.

[Isabel Stuart]

Why, there it is on the table all the time.

[William Ames]

On the table.

[Stage Directions / Additional Narration]

Isabel pointing to the little case of needles.

[Isabel Stuart]

Yes. Just where I left it, of course.

[Stage Directions / Additional Narration]

He picks it up.

[William Ames]

This. Is this what you mean?

[Mattie]

Yes.

[Isabel Stuart]

My needles. What did you think I meant?

[William Ames]

I. I didn't know exactly.

[Isabel Stuart]

Then what were you looking for?

[William Ames]

I was looking for your needles, too. I didn't know they were what you wanted, I mean to say. But I wanted to find them if you were looking for them.

[Isabel Stuart]

I see. You didn't know you were looking for them, but you were. I'll take them, please.

[William Ames]

Oh, yes.

[Stage Directions / Additional Narration]

He hands them to her.

[Isabel Stuart]

Thank you.

[Stage Directions / Additional Narration]

She has stretched out her arm to take the needles, looking at him gravely. Something in her look arrests him and he unconsciously retains his grasp of the little red case, so that for a moment or two their fingers are almost in contact upon it. Their eyes meet and her expression for that moment becomes one of an almost revealed mockery. He starts slightly. The mockery deepens and she laughs. What are you laughing at, Isabel turning to go back to sofa.

[Isabel Stuart]

It was so peculiar. You're looking for something without knowing what you were looking for for.

[Stage Directions / Additional Narration]

She changes to a sudden little gasp.

[Isabel Stuart]

Oh.

[William Ames]

Are you in considerable pain?

[Stage Directions / Additional Narration]

Comes to her.

[Isabel Stuart]

It just comes and goes. Oh. Oh.

[Stage Directions / Additional Narration]

She laughs again, gasps again, laughs once more as she goes to the chair.

[William Ames]

Won't you lean on me?

[Isabel Stuart]

Oh, no.

[William Ames]

Can't I get you something?

[Stage Directions / Additional Narration]

Isabel sinking into sofa.

[Isabel Stuart]

No, there isn't any in the house.

[Stage Directions / Additional Narration]

Ames coming toward her.

[William Ames]

I'm so sorry.

[Stage Directions / Additional Narration]

Isabel smiling.

[Isabel Stuart]

It's gone now. It comes and goes. That is, comes, but it does go. You know, like most other things in the world.

[Stage Directions / Additional Narration]

Looking up at him charmingly, wistfully, for a moment, I must say.

[William Ames]

Your eyes.

[Isabel Stuart]

Yes, my eyes. I think I remember your speaking of them this morning.

[William Ames]

Your eyes.

[Stage Directions / Additional Narration]

Isabel looking back at her work.

[Isabel Stuart]

Ah. What were you going to say about them?

[William Ames]

I was going to say. I was going to say. Don't you think you ought to get advice about using them for such fine work?

[Isabel Stuart]

They've held out so well. I think now they'll last my time. Do you have any trouble with yours?

[William Ames]

I oh no. I use glasses sometimes for very fine print.

[Isabel Stuart]

I'm so sorry.

[Stage Directions / Additional Narration]

Ames laughing nervously.

[William Ames]

Oh, it isn't because of my age,

[Stage Directions / Additional Narration]

he means to say, but cuts it off.

[William Ames]

I mean, it just happened.

[Isabel Stuart]

I know. Even very young people get these little astigmatisms. They don't mean anything.

[William Ames]

There's something I haven't had a chance to explain to you.

[Isabel Stuart]

Please don't explain anything, especially if it's about a telegram.

[William Ames]

But that telegram.

[Stage Directions / Additional Narration]

Wasn't Isabel declining to listen?

[Isabel Stuart]

No, no. Poor man. You had to stay, didn't you?

[William Ames]

I wanted to, of course.

[Isabel Stuart]

What have you been doing for the last hour or so?

[Stage Directions / Additional Narration]

I He unconsciously looks upward, thinking of the attic.

[William Ames]

I've just been looking about.

[Stage Directions / Additional Narration]

He goes to the cabinet upright. Mattie has left one of the doors ajar.

[William Ames]

You have so many interesting things.

[Stage Directions / Additional Narration]

He quickly and surreptitiously opens the door wider as he speaks and takes a hurried survey of that half of the shelves revealed by the open door. Isabel turns her head only a little and applies herself to her work. She knows what he is doing without looking directly at him.

[Isabel Stuart]

Florence was with you?

[William Ames]

No, she went fishing in your brook with young Mr. White.

[Stage Directions / Additional Narration]

He wishes to open the other door of the cabinet.

[Isabel Stuart]

Fishing?

[Stage Directions / Additional Narration]

She turns her head and he moves down away from the cabinet with apparent carelessness.

[Isabel Stuart]

Did she wear her rubber boots?

[William Ames]

Her rubber boots? I don't know. I don't know what her footwear was. I'm really not in the boot and shoe business. I'm a lawyer.

[Stage Directions / Additional Narration]

Isabel consolingly as she rises.

[Isabel Stuart]

She won't be gone long.

[Stage Directions / Additional Narration]

She goes toward up left as she speaks.

[Isabel Stuart]

Im so glad you changed your mind about them.

[William Ames]

About them?

[Stage Directions / Additional Narration]

Isabel nearing the door up left.

[Isabel Stuart]

Yes. About the new generation. The brazen little hussies. You frightened me last night about them.

[William Ames]

Why? How'd I frighten you?

[Isabel Stuart]

Why, I was afraid you mightn't like my great niece under the circumstances, you see. Well, well, that would have been too bad, wouldn't it?

[Stage Directions / Additional Narration]

She gives him a glance of quick smiling mockery over her shoulder and passes out of the door up left. He stares after her, perplexed, passes his hand hurriedly over his brow, then goes to the cabinet, opens its other door and stoops to look within. Isabel re enters down left, having gone out only to see if he would go to the cabinet. She sees him there as she comes in.

[Isabel Stuart]

I'm afraid.

[Stage Directions / Additional Narration]

Ames turns to her.

[Isabel Stuart]

I'm Afraid I left my work here.

[Stage Directions / Additional Narration]

She comes down toward Wright Ames embarrassed, moving hastily away from the cabinet.

[William Ames]

I was your work. Let me find it for you.

[Stage Directions / Additional Narration]

In his nervousness, he goes to the table left centre to look for it.

[Isabel Stuart]

Oh, no, don't bother. I think I left it on the sofa.

[Stage Directions / Additional Narration]

She reaches the chair. Yes, she sits on sofa.

[Isabel Stuart]

I think I'll stay here after all. If you're sure I won't be interrupting you.

[William Ames]

Interrupting me? Why, I'm not doing anything. What in the world do you mean?

[Isabel Stuart]

You spoke of our having interesting things. I didn't want to interrupt your looking at them.

[William Ames]

Oh.

[Stage Directions / Additional Narration]

A puzzled oh, that's what you meant, is what he expresses.

[Isabel Stuart]

I noticed you were interested in that cabinet.

[William Ames]

Yes, so I was.

[Stage Directions / Additional Narration]

He goes to it and completes his investigation.

[William Ames]

Yes, indeed.

[Stage Directions / Additional Narration]

He sees that the Bible is not there and adds in a blank.

[William Ames]

Yes, it's a very interesting old piece.

[Isabel Stuart]

Do you think so?

[William Ames]

I'm not an expert on periods, but I'd call it a very fine, quaint old piece.

[Stage Directions / Additional Narration]

Isabel, with a little too much serenity.

[Isabel Stuart]

Yes. They had it made for a present to me on my 15th birthday.

[William Ames]

Oh. Oh, I see. It's a reproduction. It was made for you. Your 15th birthday?

[Isabel Stuart]

Yes. It had an inscription with a date on it.

[Stage Directions / Additional Narration]

Ames trying to conceal his sudden great interest.

[William Ames]

It had an inscription with the. Where?

[Stage Directions / Additional Narration]

He looks quickly over the top and sides of the cabinet as he speaks.

[William Ames]

Where's there any da. Where's there any inscription? I don't see an inscription.

[Isabel Stuart]

I think it's inside the door on the left.

[Stage Directions / Additional Narration]

Ames swinging the door open instantly and putting on his glasses.

[William Ames]

On the left. Yes. It says, to Isabel Stuart on her 15th birthday, June 13.

[Stage Directions / Additional Narration]

He begins the reading rapidly, but slows up and looks more and more closely at the inscription, which is in small gilt letters. And the concluding words are slow with bafflement.

[William Ames]

Fifteenth birthday, June 13th. That's all it says. The rest seems to have been, er. Scraped off.

[Stage Directions / Additional Narration]

Isabel lightly.

[Isabel Stuart]

Oh, that was only the year they gave it to me. I suppose the figures have been worn off with time. Do you think it's an interesting piece of cabinet making?

[Stage Directions / Additional Narration]

Ames blankly giving up the figures.

[William Ames]

Yes, very. A very interesting piece indeed, I should say.

[Isabel Stuart]

Have you ever noticed how disappointing most fine, quaint old pieces are when you come to look inside of them?

[William Ames]

Yes, that's true. They often are.

[Stage Directions / Additional Narration]

Glances at cabinet.

[Isabel Stuart]

We try to do better with that one. We keep relics in it. Daguerreotypes, all sorts of things. The family Bible. And.

[Stage Directions / Additional Narration]

And then, as by a casual thought.

[Isabel Stuart]

Oh, Mattie tells me it's missing, by the way. She said you were so kind about it.

[William Ames]

She did? She said.

[Stage Directions / Additional Narration]

Isabel smiling gratefully.

[Isabel Stuart]

She said you helped her look for it.

[William Ames]

Oh, that was nothing. Nothing at all.

[Isabel Stuart]

She said you were so kind.

[William Ames]

Oh, no, not at all.

[Isabel Stuart]

It's a little thing, of course, to stop and help a servant like that. But it's the little things that show our characters. We learn that in Sunday school, don't we? It was so thoughtful of you to stop and help poor Mattie like that.

[William Ames]

Oh, no, you mustn't praise me for it. It was nothing at all.

[Stage Directions / Additional Narration]

Isabel smiling wistfully and observing him as if rather wondering.

[Isabel Stuart]

Do you think you seem a little different today from last night?

[William Ames]

Oh, no, not at all.

[Isabel Stuart]

Don't you notice it?

[William Ames]

Why, no, of course not. Not at all.

[Isabel Stuart]

Last night you were. Well, you were quite fluent. But all day you've hardly said anything except, oh, no, not at all. Of course not. Or nothing. Oh, nothing at all.

[William Ames]

Oh, no, not at.

[Stage Directions / Additional Narration]

That is to say, I. Isabel rises sympathetically.

[Isabel Stuart]

Is it because you can't think of anything else to say?

[William Ames]

Oh, no, not at. No, no, it isn't because of that. Not at. Not a bit.

[Isabel Stuart]

You do seem to be thinking. I can see you're doing that. But why don't you tell me what you're thinking?

[William Ames]

Because I'm really not.

[Isabel Stuart]

You're not thinking?

[William Ames]

No. Not about anything?

[Isabel Stuart]

I mean, is it something you won't tell me or something you can't tell me?

[William Ames]

It's nothing. It's nothing at. Nothing whatever. Nothing whatever.

[Isabel Stuart]

Can't you think of anything else to say?

[William Ames]

Why, yes, of course. Of course I can. Anything at all.

[Stage Directions / Additional Narration]

Anything goes around table and crosses to left centre.

[Isabel Stuart]

You don't think I've changed since last night, do you? You aren't disappointed in me, are you?

[William Ames]

Why, of course I'm not. Not at. Certainly not. Why, no, not.

[Isabel Stuart]

Not at all. Certainly not. And you haven't changed, have you?

[William Ames]

Why, no, not it.

[Stage Directions / Additional Narration]

Isabel going nearer to him reproachfully.

[Isabel Stuart]

Not at all. Why, of course not. Not at all. Nothing whatever.

[William Ames]

What on earth do you mean, why?

[Isabel Stuart]

That's what you were going to say, wasn't it? You haven't changed, have you?

[William Ames]

Why, of course not. Not at. No, I wouldn't.

[Isabel Stuart]

That's all I meant. You wouldn't. When you've done a thing, you're the sort of man that stands by it no matter what.

[Stage Directions / Additional Narration]

Ames astounded. Breaking out.

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[William Ames]

I believe you're making fun of me.

[Isabel Stuart]

Why, of course I'm not. Not at all.

[William Ames]

But you say one thing and you seem to mean something else. And you seem to mean one thing and you say another. No wonder I can't say anything. But not at all and nothing at all.

[Stage Directions / Additional Narration]

Cross is right.

[Isabel Stuart]

But don't you see? I'm just trying to get us better acquainted with each other. I think we ought to be, don't you?

[William Ames]

I should think it would be a good thing. Yes, indeed.

[Isabel Stuart]

Let me see. I've told you why I never married. Isn't there something in particular? Isn't there something else you'd like to know? Can't you think of anything at all

[Stage Directions / Additional Narration]

at each one of these interrogatories? He seems about to speak, then checks himself and dumbly shakes his head.

[Isabel Stuart]

She insists, you're sure there isn't anything?

[Stage Directions / Additional Narration]

She comes down closer, facing him. He shakes his head again.

[Isabel Stuart]

And you feel profoundly happy.

[William Ames]

Yes, indeed.

[Isabel Stuart]

I believe that's the noblest effort I ever heard any man make.

[Stage Directions / Additional Narration]

Emotion chokes her. A very little bit effort, Isabel covering her emotion by speaking quickly. But her voice shakes a little. She goes up centre.

[Isabel Stuart]

Yes, it was. But don't be afraid, Mr. Ames. I really didn't expect you to be different from other men. You've done your best and you shall have your reward.

[William Ames]

What reward, Isabelle?

[Stage Directions / Additional Narration]

A little chokingly as she looks out upright.

[Isabel Stuart]

I think Johnny White's bringing it. I think it's a message.

[Stage Directions / Additional Narration]

She turns aside with some pathos.

[William Ames]

What message?

[Stage Directions / Additional Narration]

Johnny enters gloomily upright. He wears an old knickerbocker suit, rough muddy shoes, and he leaves an old rod and basket near the door. He comes down centre and looks coldly at Ames. Johnny, with a movement of his head to upright, speaks to Ames deliberately.

[Johnny White]

She's a. She's sittin out on a limb of a willow tree that sticks out over the water and she wants you to

[Stage Directions / Additional Narration]

come and look at her, Ames frowning,

[William Ames]

who's sitting on a limb and wants me to come and look at her.

[Johnny White]

Her?

[William Ames]

Her.

[Johnny White]

I expect you know, I mean Florence by this time, Mr. Ames.

[William Ames]

She sent you for me.

[Johnny White]

She got herself out on this limb and she looked over and took a look at herself in the water. Then she well, I Do look right cunning out here, don't I? Are we going to do any fishing? I asked her. Then she said, I wish Mr. Ames were here. What for? To look at you on that limb. I asked her. I'll go get him for you. Don't let him know I sent for him. She told me. No, I won't. I told her he wouldn't even guess when he comes out and looks at you that you want him to. Oh, no, he wouldn't. That limb she's sitting on, it's pretty old and it might not hold her up too long. So don't you guess. You'd better go, Mr. Eames.

[William Ames]

I.

[Isabel Stuart]

Yes, please do.

[Stage Directions / Additional Narration]

Aims a little sharply to Johnny.

[William Ames]

I think it would be much better if you'd go back and get her down from that limb and go ahead with your fishing.

[Stage Directions / Additional Narration]

Mr. White turns away to write.

[Johnny White]

Fishing? She never meant that kind. I think you'd better go because from what I know of her, she'll sit there either till you come and see how cunning she looks or else falls in the water.

[Isabel Stuart]

Won't you please go and bring her in?

[William Ames]

Oh, certainly.

[Stage Directions / Additional Narration]

If you ask me, he goes abruptly upright.

[Isabel Stuart]

Of course, I don't mean for you to hurry back with her.

[William Ames]

Thank you.

[Stage Directions / Additional Narration]

Exits upright. Isabel looks after him rather pathetically.

[Johnny White]

She's. She's going to get him, Miss Stuart.

[Stage Directions / Additional Narration]

Isabel, turning down blankly, sits right of table left. Johnny comes down centre.

[Isabel Stuart]

What?

[Johnny White]

She's made up her mind. And there's just one thing my life's taught me, and that is when a girl like her really starts after an older man, well, you know she's going to make him lift her down from that tree.

[Isabel Stuart]

Oh, yes, certainly, Johnny.

[Stage Directions / Additional Narration]

With a sudden change coming to her solemnly.

[Johnny White]

Ms. Stuart, I'd like to see a great deal more of you in the. In the future, as it were, than we have in.

[William Ames]

In the past.

[Johnny White]

As. As it were.

[Isabel Stuart]

Why, what are you talking about, Johnny?

[Johnny White]

What I've been thinking. Why, you take a person's whole character, especially you take a woman's character. And no matter what's the difference between her age and some younger man that thinks a lot of her character age because she's settled down and quit her foolishness the way you have, Miss Stuart. Well, it's the difference between a character like that and one that's got to make a collection of every old man she sees, no matter what his age is. So what? I mean, why this being used just for a messenger boy. I'd better cure myself and get over it. And the best way'd be to find some character I could look up to and get a sacred feeling about Isabel.

[Stage Directions / Additional Narration]

Incredulous.

[Isabel Stuart]

Do you mean me, Johnny?

[Johnny White]

Yes'm. That's why I'd like to see more of you in the future.

[Isabel Stuart]

Were will you, Johnny White? What are you up to?

[Johnny White]

Well, you've read Henry Esmond. Or have you?

[Isabel Stuart]

Yes.

[Johnny White]

Well, he had that sacred feeling. The way a younger man does about a woman. Some older than he was, wasn't he?

[Stage Directions / Additional Narration]

Didn't he, Isabel? She jumps up.

[Isabel Stuart]

You funny, funny boy. You think you'll make Florence jealous.

[Johnny White]

Nome. I don't care much whether she is or not. Not much. I mean it.

[Stage Directions / Additional Narration]

Isabel laughing.

[Isabel Stuart]

You mean you're a little cross with her for a few minutes till she brings you around.

[Johnny White]

Noam. I mean it. I expect it would do her good. Do you see the way she looked at me when I said I preferred to this morning? But what are meaners about you?

[William Ames]

Well, why?

[Johnny White]

I mean it.

[Isabel Stuart]

You don't mean you've got a sacred feeling about me, Johnny White?

[Johnny White]

Well, there aren't many people understand. But I'd like to think I've got a kind of sacred feeling about you instead of just a messenger boy. Because I look up to you. Because you're so different from her.

[Stage Directions / Additional Narration]

Won't you let me, Isabel laughing but rather touched.

[Isabel Stuart]

What nonsense.

[Johnny White]

Yes, but won't you. You know how she acts.

[Stage Directions / Additional Narration]

Won't you let me, Isabel? With amused indulgence, putting her arm lightly, affectionately round his shoulders.

[Isabel Stuart]

Why, yes, if you want to, you dear thing.

[Stage Directions / Additional Narration]

Florence enters briskly upright just on the moment, but halts abruptly. She wears a fishing costume of a most effective kind.

[Johnny White]

I do want to.

[Stage Directions / Additional Narration]

He takes her other hand. Florence laughing rather loudly with some disquiet of mind.

[Florence Stuart]

Well, of all the foolish sights. What are you two doing?

[Stage Directions / Additional Narration]

Johnny, giving her a very short glance over his shoulder, speaks very gently and solemnly to Isabel.

[Johnny White]

Let's sit over there.

[Stage Directions / Additional Narration]

He means the sofa across the room. They are left centre. He leads her. Isabel is controlling amusement, but is rather tenderly pleased and touched by Johnny's absurdity. Isabel as they move toward right.

[Isabel Stuart]

Where is Mr. Ames?

[Florence Stuart]

He's bringing my fishing traps.

[Johnny White]

What is the lean on me? I prefer it.

[Florence Stuart]

Is Aunt Isabel's rheumatism worse?

[Johnny White]

Oh, no, no, it isn't lameness.

[Stage Directions / Additional Narration]

He looks continually at Isabel.

[Florence Stuart]

Then what is it, Isabel?

[Stage Directions / Additional Narration]

As they reach the sofa.

[Isabel Stuart]

Did you want me to sit here with you, Johnny?

[Johnny White]

Yes, let's sit here. This is the place I meant.

[Stage Directions / Additional Narration]

They sit.

[Florence Stuart]

Well, of all the foolish looking people I ever saw.

[Stage Directions / Additional Narration]

She is moving up centre as if to go out, but stops as Johnny speaks, then goes down right to chair below fireplace.

[Johnny White]

She couldn't understand. It's the difference in your character. She couldn't ever understand.

[Stage Directions / Additional Narration]

Isabel covers her mouth with her hand and clenched kerchief. Florence puzzled and beginning to be annoyed.

[Florence Stuart]

What are you two? It really was a little queer, Aunt Isabel.

[Isabel Stuart]

What was queer, dear?

[Stage Directions / Additional Narration]

Florence laughing rather uncomfortably.

[Florence Stuart]

Why? To walk in here and find you locked in an embrace with Johnny White.

[Stage Directions / Additional Narration]

Isabelle choking down her amusement.

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[Isabel Stuart]

Oh dear. Did you see that, Florence?

[Stage Directions / Additional Narration]

Florence still laughing thinly.

[Florence Stuart]

And after last night. Well, I guess the less said about that the better.

[Isabel Stuart]

Yes, indeed, dear.

[Florence Stuart]

It seems to me your conduct is certainly open to interpretation.

[Isabel Stuart]

Yes, Lawrence, I'm afraid I'm a wild thing.

[Florence Stuart]

Why you've got poor Mr. Ames so upset. He isn't normal.

[Isabel Stuart]

Isn't he?

[Florence Stuart]

I happened to be on the branch of a tree and he just said to come down and go in the house. You were worrying about me, did he? I don't believe you want anybody to be nice to me. You just want to flirt with every man in the world yourself.

[Stage Directions / Additional Narration]

Starts upright.

[Isabel Stuart]

But I don't know em all.

[Stage Directions / Additional Narration]

She couldn't understand Florence very sharply as this repetition goads her. I couldn't understand what comes back downright.

[Johnny White]

Did you ever read Henry Esmond?

[Florence Stuart]

No, I didn't.

[Stage Directions / Additional Narration]

Sits on arm of arm chair.

[Johnny White]

I expect not. You aren't intellectual, particularly, Florence. It's by William Makepeace Thackeray.

[Florence Stuart]

Well, what o that?

[Johnny White]

Oh, nothing. Only he was kinder. Carried away with a light weight for a while. This William Makepeace was no Henry Esmond was. It didn't last very long. Some novels are a good deal like Life to Isabel, she couldn't understand.

[Stage Directions / Additional Narration]

Are you in earnest, Johnny ignoring her?

[Johnny White]

If she lived to be a hundred, she couldn't understand, could she?

[Stage Directions / Additional Narration]

Isabel whimsically, gently to him.

[Isabel Stuart]

I don't believe she could.

[Stage Directions / Additional Narration]

Ames enters upright, carrying Florence's rods and basket. Florence stung.

[Florence Stuart]

No. Well, if I do live to be a hundred, I hope I'll understand how to behave at that age.

[Stage Directions / Additional Narration]

Ames turns to go out again, right, as if to avoid a family scene, saying I beg your pardon, Isabel seeing him.

[Isabel Stuart]

Oh, don't go, Mr. Ames.

[Stage Directions / Additional Narration]

Ames comes down centre.

[Isabel Stuart]

It's nothing.

[Stage Directions / Additional Narration]

Johnny to Florence.

[Johnny White]

Aren't you ashamed any me for saying

[Florence Stuart]

if I live to be a hundred, I hope I'll know better than to let mere adolescence talk much to me? Golly no.

[Stage Directions / Additional Narration]

Isabel to Ames.

[Isabel Stuart]

I'm afraid she means her great aunt.

[Florence Stuart]

I should say I do. Why, last month There was a three times widower hanging around. He wasn't four minutes under 80 and a week before that it was a child about 19. Last night it was Mr. Ames and now it's Johnny White. And they began with a fond embrace. I saw it.

[Stage Directions / Additional Narration]

Isabel to Ames.

[Isabel Stuart]

Yes, she did.

[Florence Stuart]

Sometimes she doesn't act more' n 16.

[Stage Directions / Additional Narration]

Crosses right back of sofa. Isabel rises there.

[Isabel Stuart]

Mr. Ames, you have me.

[William Ames]

I beg your pardon?

[Isabel Stuart]

My portrait drawn by my great niece. I flirt with three times widowers and with children of 19. And with you and with children. Johnny White. And Johnny. And I began with a fond embrace to finish it. I'm a hundred years old and I'm 16 years old. So there my friend. You know me.

[Stage Directions / Additional Narration]

She curtseys to him and moves rather quickly toward the door. Left limping a little. Johnny quickly with a movement toward her.

[Johnny White]

Won't you come back and sit here

[Stage Directions / Additional Narration]

some more, Isabel checking him, smiling.

[Isabel Stuart]

No, not now. But you can run home and change your clothes and come back to dinner.

[Johnny White]

Can I?

[Isabel Stuart]

Yes, you can. I'll be waiting for you, Johnny White.

[Stage Directions / Additional Narration]

She gives Ames a little sudden bob of a nod which seems to daze him and exits quickly left. Ames sits blankly right of table left. Florence Wright.

[Florence Stuart]

Well, of all the darn conduct I ever in my life.

[Johnny White]

Of course it's mysterious to you. You couldn't even be expected to understand.

[Stage Directions / Additional Narration]

Goes up centre. Florence coming a step toward him, irritated.

[Florence Stuart]

What is the matter with you?

[Stage Directions / Additional Narration]

Follows Johnny up centre.

[Johnny White]

Nothing you'd be able to under.

[Florence Stuart]

Stop it. If you say that to me again.

[Johnny White]

I want to say just one last thing to you.

[Florence Stuart]

Oh, you do, do you?

[Johnny White]

It's simply just only this hark. A man really does like to have somebody to look up to.

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[Florence Stuart]

Well, you don't have to be silly about everybody you look up to, do you, Johnny?

[Stage Directions / Additional Narration]

With a pleasant thought about it and the manner assuming that his thought is beyond her.

[Johnny White]

Well, I don't know. I might. Why yes. Yes, I think a man might feel a good deal that way.

[Florence Stuart]

What?

[Johnny White]

Excuse me. I think that's about all I care to say for the time being.

[Stage Directions / Additional Narration]

He goes up and gets his rods and basket.

[Florence Stuart]

Why, you darned little Johnny.

[Stage Directions / Additional Narration]

With easy superior carelessness. But not smiling.

[Johnny White]

I may see you later in the evening for a moment or so, if I have time.

[Stage Directions / Additional Narration]

Near door upright.

[Florence Stuart]

Why, you just told her you're coming back too.

[Johnny White]

To dinner. Yes, yes, I said I may see you across the table or somewhere. Probably thanking you for your kind attention. I beg to remain, etc. Etc.

[Stage Directions / Additional Narration]

Exits upright without smiling. Start to dim outside lights.

[Florence Stuart]

Why you.

[Stage Directions / Additional Narration]

Then turns indignantly to Ames. Comes down centre.

[Florence Stuart]

Did you ever know any other girl that had an aunt like my aunt?

[Stage Directions / Additional Narration]

Ames shaking his head seriously.

[William Ames]

No, no, I never did.

[Stage Directions / Additional Narration]

Florence gesturing to the door of Johnnie's exit.

[Florence Stuart]

Why even that poor little child. It's terrible. What do you think about her?

[William Ames]

What do I. I don't know. I don't know. I don't know anything about her. Not a single thing.

[Florence Stuart]

Well, I think I know one thing about her.

[William Ames]

You're her niece and you think you know one thing about her?

[Florence Stuart]

I believe she's been a coquette from the day she was born.

[William Ames]

From the day she was.

[Stage Directions / Additional Narration]

He jumps up sharply.

[William Ames]

Have you happened to see the family Bible?

[Florence Stuart]

What family Bible?

[William Ames]

Your family's the one they keep in here.

[Florence Stuart]

Well, for heaven's sake, what would I be doing with it?

[William Ames]

I don't know.

[Florence Stuart]

What do you want it for?

[William Ames]

What do I want it for?

[Stage Directions / Additional Narration]

He recovers himself.

[William Ames]

I wanted to see if it's a first edition. I collect first editions.

[Florence Stuart]

You collect first editions of the Bible?

[William Ames]

Why, no.

[Florence Stuart]

I thought not.

[Stage Directions / Additional Narration]

Sits on sofa.

[Florence Stuart]

Mr. Ames, do you believe an older man's feelings for a younger woman is deeper than a younger woman's feeling for an older man?

[William Ames]

I don't know.

[Florence Stuart]

Won't you sit here?

[William Ames]

Very well.

[Stage Directions / Additional Narration]

Sits on sofa left of Florence.

[Florence Stuart]

Before I settle down or anything, I think I ought to have the experience of a serious affair with some older man.

[Stage Directions / Additional Narration]

Start to dim the stage lights here very slowly. Oh, Florence giving him a lovely smile.

[Florence Stuart]

Oh dear. I wish I had my slippers instead of these.

[Stage Directions / Additional Narration]

She holds up her booted feet plaintively, Ames rising nervously.

[William Ames]

Oh, I think you look very well in boots.

[Stage Directions / Additional Narration]

Florence frowning they're so heavy.

[Florence Stuart]

I do wish I had my.

[Stage Directions / Additional Narration]

She is interrupted by the opening of the door. Left Mattie enters there bringing a pair of pretty patent leather slippers. Florence staring.

[Florence Stuart]

Well, for heaven's sake. Just as I was saying I wanted em.

[Stage Directions / Additional Narration]

Ames sees the slippers in Matty's hand, turns and strides hurriedly up to the sun room. Florence goes on how in the she checks herself and at a thought speaks decisively.

[Florence Stuart]

MATTY. That's no mere coincidence.

[Stage Directions / Additional Narration]

Matty bringing the slippers and setting them on the floor before FLORENCE no, ma'.

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[Mattie]

Your Aunt Isabel told me to listen at the door.

[Florence Stuart]

What?

[Stage Directions / Additional Narration]

Ames turns sharply and stares at Mattie. Matty going on casually.

[Mattie]

Your Aunt Isabel told me to listen at the door till I heard you begin talking about changing your footwear and. And then to bring them in for you.

[Florence Stuart]

She told you to listen at the yes, ma'.

[Mattie]

Am. She says to be perfectly honourable and pay no attention till I heard the words slippers. And she says the rest of the conversation wouldn't be worth my while anyway.

[Stage Directions / Additional Narration]

Exits left. Florence frowning, puzzled, stares thoughtfully at the closing door, then turns front.

[Florence Stuart]

Well, if that isn't queer.

[William Ames]

No, it's no queerer than anything else coming down right.

[Florence Stuart]

Well, after all, now that my slippers

[William Ames]

are here, I don't think I'd. I don't think I'd better.

[Stage Directions / Additional Narration]

Florence rising, concentrating disapprovingly.

[Florence Stuart]

Well, what do you think?

[William Ames]

Nothing.

[Stage Directions / Additional Narration]

He goes up to the sun room. The light outside has grown rosier and inside it is a little darker. The glow from the fireplace brightens. Aunt Ellen enters left. She has changed her dress for a dark silk which has a suggestion of state about it.

[Aunt Ellen]

FLORENCE do you consider that an appropriate costume for the drawing room?

[Florence Stuart]

It ain't one.

[Aunt Ellen]

Ain't.

[Johnny White]

Ain't.

[Florence Stuart]

No, it ain't. It ain't a drawing room. It's a living room. If people can't be young again anyhow, they can be modern.

[Stage Directions / Additional Narration]

Aunt Ellen turning to go out again left.

[Aunt Ellen]

I will withdraw from the room until you.

[Stage Directions / Additional Narration]

Florence picking up her slippers.

[Florence Stuart]

Murder, don't go. I apologize. Gosh, I apologize. Without the gosh, I'm going. Oh, Murder, I'm tired.

[Isabel Stuart]

Tired?

[Aunt Ellen]

Why, you haven't been doing anything compared to your Aunt Isabel.

[Stage Directions / Additional Narration]

Florence going slowly and wearily up left with a gloomy sigh.

[Florence Stuart]

It seems to me as if I just spent my life dressing. It's all so savourless.

[Stage Directions / Additional Narration]

Suddenly she begins to sing brightly, breaks into a skip, calls back sweetly.

[Florence Stuart]

See you later.

[Stage Directions / Additional Narration]

William exits up left skipping and singing. Ames is surprised. Aunt Ellen looks after Florence disapprovingly, very slightly shaking her head.

[Aunt Ellen]

You must overlook it, William. Good gracious. I mean.

[Stage Directions / Additional Narration]

She corrects herself hastily.

[Aunt Ellen]

Mr. Ames.

[William Ames]

Oh, don't bother.

[Aunt Ellen]

She belongs to a very different generation from the one you and I grew

[Stage Directions / Additional Narration]

up with Ames right centre set aback by her. You and I? Ah, yes, yes indeed, Aunt Ellen, going slowly toward right.

[Aunt Ellen]

You and I were taught a very different behaviour toward our elders.

[William Ames]

Yes, the. The previous generations had a very different training, though this one certainly has charm too. I wonder how many of us though, can remember just what we were like in our own youth.

[Stage Directions / Additional Narration]

Aunt Ellen somewhat surprised.

[Aunt Ellen]

Why, I recall my own perfectly.

[William Ames]

That's remarkable.

[Stage Directions / Additional Narration]

He changes the word to remarkably with a slight vocal struggle in the midst of it.

[William Ames]

Pleasant. Your aunt Ms. Stewart does too. And about public events she remembers wonderfully. We were reminiscing this morning all about Hayes and Wheeler and Samuel J. Tilden. Do you happen to remember that campaign,

[Stage Directions / Additional Narration]

Aunt Ellen looking at him over her shoulder. She is touching some music sheets on the piano.

[Aunt Ellen]

Why of course.

[William Ames]

Well, she said she thought it was a terrible thing, Hayes and Wheeler not getting elected.

[Aunt Ellen]

They were elected. Anybody that says they weren't is a. A despicable Democrat.

[William Ames]

Oh, I think they were myself. I only wondered. I wasn't just able to recall what year that campaign was.

[Aunt Ellen]

It was in 1876. The same year as the Philadelphia Exposition.

[William Ames]

In 1876. Oh yes, it was a historical reference. I see.

[Aunt Ellen]

Historical. I went to that exposition myself, Ames.

[Stage Directions / Additional Narration]

He looks at his watch with another feeble murmur of plaintive laughter.

[William Ames]

I'm afraid I. I suppose I'd better be. Yes, I suppose I'd better.

[Stage Directions / Additional Narration]

He goes awkwardly left and glances upward, thinking of going to his room upstairs.

[William Ames]

I'd better. I suppose I'd better make a.

[Stage Directions / Additional Narration]

At the door.

[William Ames]

Well, I.

[Aunt Ellen]

Yes.

[Stage Directions / Additional Narration]

Ames wiping his forehead hurriedly.

[William Ames]

Well, thank you. Ah.

[Stage Directions / Additional Narration]

Exit dazedly left. Aunt Ellen sits at the piano and begins to play rather softly. She has a fine touch and plays with feeling. The light outdoors is the final rosiness of sunset. The firelight sends forth a broad rosy glow, but the rest of the scene is darkened as she plays through an old fashioned melody.

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[Stage Directions / Additional Narration]

and conditions 21 she has played about a dozen bars when a figure enters up left in the sun room. It is Isabel, but she is not distinctly seen. The glow up beyond the sun room windows is behind her and it is not until she reaches the table left centre that the firelight falls upon her. She has changed her dress for another, suggesting a gayer smartness than that previously worn in the actual she still suggests the slight lameness. She is carrying a large and heavy old book. When she reaches the table, the firelight falls on her and we should get a gleam of jewels. She opens the Bible upon the table and lets it remain open. Aunt Ellen, as Isabel reaches the table.

[Aunt Ellen]

Is that you, Isabel?

[Stage Directions / Additional Narration]

She does not turn her head.

[Isabel Stuart]

Yes, go on playing, dear.

[Stage Directions / Additional Narration]

She crosses to the fireplace using her cane and sits gazing into the fire. There is a pause, the piano continuing, and then their talk goes on through the playing.

[Aunt Ellen]

My old tunes are better than Florence's, aren't they? I think music was best of all in my day.

[Isabel Stuart]

No, it was best in my day.

[Aunt Ellen]

No, I think it began to fall off by the time you came along. Music was best when my day was the best.

[Stage Directions / Additional Narration]

Isabel sits in arm chair at fireplace.

[Isabel Stuart]

Florence will say that some day music is best in each one's day. What a pleasant thing that is that we all of us see afterward that our first youth was best.

[Aunt Ellen]

It isn't pleasant to see anything afterward.

[Isabel Stuart]

Well, then we can always look forward to something, can't we, Aunt Ellen?

[Stage Directions / Additional Narration]

Struck by this.

[Aunt Ellen]

Oh.

[Stage Directions / Additional Narration]

Her hands pause on the keys and she glances round for a moment at Isabel.

[Aunt Ellen]

Oh, I understand what you mean. He was in here a while ago trying to find out. You know what I mean.

[Isabel Stuart]

He didn't ask you, though.

[Aunt Ellen]

No. You can see he'd be nice under any circumstances.

[Isabel Stuart]

Nice? Why, he's the bravest man I've ever seen. He's too plucky to withdraw some remarks he made to me last night.

[Stage Directions / Additional Narration]

Aunt Ellen plays a bar or two. Then gravely I wonder if I oughtn't

[Aunt Ellen]

to stop calling you Aunt Isabel.

[Isabel Stuart]

Why, I am your aunt.

[Aunt Ellen]

My half aunt.

[Isabel Stuart]

Isn't that plenty?

[Aunt Ellen]

I've always liked calling you Aunt Isabel for one reason. Nobody'd think I'm too old to be alive while I've still got an aunt. But it mightn't be consistent now.

[Isabel Stuart]

Why mightn't it?

[Stage Directions / Additional Narration]

Aunt Ellen, very seriously not playing for the moment.

[Aunt Ellen]

Well, if anything should happen, I really shouldn't know how to begin calling Mr. Ames Uncle William.

[Isabel Stuart]

Never mind, dear. It won't happen.

[Stage Directions / Additional Narration]

Aunt Ellen stops playing and turns.

[Aunt Ellen]

I never could call Mr. Ames uncle.

[Stage Directions / Additional Narration]

She is very serious.

[Isabel Stuart]

You might call him nephew.

[Stage Directions / Additional Narration]

Rises pooh. She plays softly.

[Isabel Stuart]

Why not? Isn't Florence what all men want? Think of Father. Mother was only 19 or so when he married her and he was 65.

[Aunt Ellen]

Poor grandfather's weakness in marrying a girl as your mother was oughtn't to be.

[Stage Directions / Additional Narration]

She plays again. Isabel sits on sofa yes, but there it is.

[Isabel Stuart]

We're like Portia's caskets, we women. And the men come to choose without knowing what they'll find. Silver and gold. That's first youth. And it ought to have been written of that. Silver and gold. Who chooses me shall choose what every man desires. But if any man comes to choose me, well, A woman Past 28 is a thousand. I'll show him only lead.

[Aunt Ellen]

I never heard before of a woman that teased a man to make him think she was older than she was. And if it isn't to make him feel better when he finds out.

[Isabel Stuart]

No, I've just told you why.

[Aunt Ellen]

Oh, you can give all the pretty reasons you want to, but I know you thought you'd test him and you've been punishing him for even daring to wonder how old you are.

[Stage Directions / Additional Narration]

Isabel rises to protest.

[Aunt Ellen]

Oh I and he's beginning to suspect. Think how pretty dancing was in my day.

[Stage Directions / Additional Narration]

She begins to play an old waltz.

[Isabel Stuart]

They were pretty, the old waltzes, Aunt

[Stage Directions / Additional Narration]

Ellen, her memory of the music faltering.

[Aunt Ellen]

How did that go there?

[Stage Directions / Additional Narration]

She tries to remember by singing it.

[Isabel Stuart]

La la la.

[Stage Directions / Additional Narration]

Isabel rising.

[Isabel Stuart]

No, it's this.

[Stage Directions / Additional Narration]

She hums it and beats time, moving a few waltz steps but keeping to a hint of her lameness.

[Isabel Stuart]

Yes, that's it.

[Stage Directions / Additional Narration]

She hums and begins to waltz slowly in the same manner as before. Isabel falls a little and a little more into the spirit of the waltz, never wholly abandoning the hint of lameness. The waltz time is rather slow but quickens a little and almost imperceptibly. Isabel moves in and out of the firelight glow as she dances and her scarf floats following her. Johnny White enters at the door left and stands looking on without surprise. Isabel sees him but only nods and continues. He wears a dinner coat.

[Johnny White]

Don't you want a partner?

[Stage Directions / Additional Narration]

Isabel coming toward him.

[Isabel Stuart]

Johnny White, do you know the old waltz?

[Johnny White]

Yes'm.

[Stage Directions / Additional Narration]

Without losing her step she lets her left hand fall lightly upon his shoulder. He catches her step and they dance the waltz. Time is now a little quicker and Aunt Ellen plays it with great pleasure. Isabel dances with a greater abandon until she has almost forgotten the hint of lameness. The sun room is so dark that the opening of the door up left is unperceived. Ames, who has changed to a dinner coat, enters there and stands dumbfounded. Florence enters just behind him and comes forward. Florence, exclaiming loudly, crosses to upright above fireplace.

[Florence Stuart]

Well, for heaven's sake. What are you doing now?

[Stage Directions / Additional Narration]

Isabel startled as she sees Ames.

[Isabel Stuart]

Oh.

[Stage Directions / Additional Narration]

She at once remembers her lameness. They stop dancing downright. Isabel goes to centre. Johnny stays downright below fireplace.

[Isabel Stuart]

I. I'm afraid I forgot myself for the moment.

[Florence Stuart]

I.

[Isabel Stuart]

You oughtn't have tempted me, Johnny. It might be dangerous.

[Stage Directions / Additional Narration]

Ames striding down to her.

[William Ames]

Will you dance with me, Isabel?

[Stage Directions / Additional Narration]

Isabel, a little breathless.

[Isabel Stuart]

What?

[William Ames]

Will you dance with me, Isabel?

[Stage Directions / Additional Narration]

Isabel looks at him incredulously.

[Isabel Stuart]

Dance with you, Mr. Ames?

[William Ames]

Yes, I remember the old Walters.

[Isabel Stuart]

But perhaps you don't realize how old they are or how lame I am.

[William Ames]

I don't care. Won't you dance with me?

[Isabel Stuart]

Yes.

[Stage Directions / Additional Narration]

She puts her left arm on his shoulder as she did with Johnny, and with a much more pronounced lameness than before. And in very slow time they begin to waltz. Aunt Ellen playing softly as they dance.

[Isabel Stuart]

So you and I are in the fashion again. They say everybody dances all the time nowadays.

[William Ames]

I don't know anything except when I saw you dancing I wanted to dance with you. I do.

[Isabel Stuart]

Do you? No matter how slowly?

[William Ames]

Yes, I do.

[Isabel Stuart]

But Florence would like to dance with you again.

[William Ames]

What nonsense.

[Stage Directions / Additional Narration]

Isabel suddenly radiant.

[Isabel Stuart]

Can't you play any faster than that, Ellen? Why don't you turn the lights up, Florence?

[Stage Directions / Additional Narration]

Aunt Ellen plays suddenly with greater spirit. Florence snaps on the lights and is revealed to be laughing inextinguishably. Florence slapping Johnny's back with her other hand in her extreme jocosity.

[Florence Stuart]

My, but those old fashioned dances are funny.

[Stage Directions / Additional Narration]

Don't they look crazy, Isabel happily calling to her.

[Isabel Stuart]

Do we?

[Stage Directions / Additional Narration]

She discards her lameness entirely. During the next few measures the two dance like happy experts of 18. They look at each other like lovers. Florence ceases to laugh and becomes mystified. So does Johnny. They stare with their mouths open. Finally Florence speaks with the emphasis of complete puzzlement.

[Florence Stuart]

Well, just look at em. Lookin at each other.

[Stage Directions / Additional Narration]

Johnny grinning but speaking indignantly to her.

[Johnny White]

Ain't you got any sense?

[Stage Directions / Additional Narration]

Aunt Ellen lifts her left hand from the keys in a passionate gesture, not ceasing to play with her right as her back is obliquely to front and right. Her left hand is toward Florence and Johnny. Florence inquiring poignantly the meaning of the gesture.

[Florence Stuart]

What?

[Stage Directions / Additional Narration]

Aunt Ellen repeats the passionate gesture. Florence is more mystified and also somewhat petulant.

[Florence Stuart]

Will I?

[Stage Directions / Additional Narration]

Johnny seizes her hand and drags her quickly off upright. Isabel not stopping.

[Isabel Stuart]

I'm afraid we must stop. No, I mustn't wear you out upon this.

[Stage Directions / Additional Narration]

Without looking at them, Aunt Ellen abruptly stops playing in the Middle of a measure she does not look at them at all, but goes quickly up and straight off, left without turning. They are unconscious of her and seem even unconscious that the piano has stopped or that they have ceased to dance. They have come to a halt directly up of the table, left, centre and close by it, looking at each other. Ames speaking angrily. The instant they and the music stop.

[William Ames]

I want to tell you just this. You've been mocking me every second since we first met in that God forsaken railway station.

[Isabel Stuart]

No.

[William Ames]

You have. Every instant.

[Isabel Stuart]

Never. Never once. Never. Never.

[William Ames]

You were at it half the day yesterday and as much of the night as you could stay awake and all day to day. But it won't do.

[Isabel Stuart]

When did you decide I was mocking you?

[William Ames]

I thought so all day. But I knew it when I saw you dancing with that boy.

[Isabel Stuart]

Do you mind my dancing with the boys?

[William Ames]

No, I'm not jealous. But it came over me. You've just mocked me.

[Isabel Stuart]

Can't you imagine a woman's being a little nervous about one man's knowing how often the earth's gone round the sun since she was born?

[William Ames]

Am I the one man?

[Isabel Stuart]

That's why women are afraid of everybody's knowing. It might reach the one man. That's the reason a woman cares about her age. He might care.

[Stage Directions / Additional Narration]

She touches the open Bible on the table.

[Isabel Stuart]

Look, Mr. Ames. I'll turn my back while you're looking.

[Stage Directions / Additional Narration]

She walks away from him slowly. Ames puts one hand on bible, but keeps looking at Isabel. Isabel as he does this.

[Isabel Stuart]

On the left hand page you'll find all of Papa's descendants by his first wife. On the right hand page you'll see where the poor old darling married again such a heathenish time afterward.

[William Ames]

That's what I thought. That's why I was looking for your Bible.

[Isabel Stuart]

Underneath is where you'll find me. How have you found me?

[Stage Directions / Additional Narration]

Yes, I have Cloes's Bible.

[Isabel Stuart]

Oh, you didn't look.

[Stage Directions / Additional Narration]

Ames crosses to Isabel, holds out his arms as if to embrace her.

[William Ames]

Let's sit by the fire, shall we?

[Stage Directions / Additional Narration]

Crosses right. He touches the switch key and the only light is the firelight. She sits slowly on sofa looking up at him and he takes a chair nearby. Then Florence is heard laughing gaily off up left. And a moment later she is heard again. Florence affecting reproach. Off up left.

[Florence Stuart]

All right for you, Johnny White. I'll tell your mother on you.

[Isabel Stuart]

The fire is pleasant even in April, isn't it?

[William Ames]

Yes. Do you think you could say to me Good night, dear, without the good night?

[Isabel Stuart]

I think I could. If you're sure you don't mind. Anything you didn't see in the Bible, dear you infant.

[Stage Directions / Additional Narration]

Ames takes her hand, kisses it, and then lifts her hand to his cheek. Isabel gives a little exclamation of delight.

[Isabel Stuart]

Oh.

[Narrator]

Curtain.

[Stage Directions / Additional Narration]

End of Act 3. End of the Intimate Strangers by Booth Tarkington.

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