Masks, with Jim's beast, Tides, Among the lions, The reason, The house: one act plays of contemporary lifeMiddleton, George
General
Masks, with Jim's beast, Tides, Among the lions, The reason, The house: one act plays of contemporary life
Middleton, George
American drama -- 20th century; One-act plays, American
Your humor isn’t inspiring. I’ve heard that brilliant retort before.
TOM
Certainly. You wrote it yourself; but you stole it from Molière. If
I had your memory I’d be witty, too.
GRANT
(_Looking about_)
I don’t seem to see Mrs. Robinson very clearly.
TOM
She says you never did. Come to think of it, she’s no longer Mrs.
Robinson.
GRANT
Oh, I forgot. In THE LONELY WAY you divorced her.
TOM
Marie and I haven’t been on speaking terms since; but _after_ she
saw THE SAND BAR she simply insisted on coming here.
GRANT
Well, I’ll be happy to hear her grievance, too.
TOM
(_Ominously_)
You won’t think us so amusing when we are through with you.
GRANT
As a dramatist, I admire your talent for suspense. (_Calling_) Come
in, Mrs. Robinson.
TOM
(_Correcting him_)
Case. Mrs. Pendleton Case. You’ve also forgotten that in THE LONELY
WAY you made her marry him.
GRANT
To be sure. But in THE SAND BAR I made her stay with you.
TOM
Yes. That’s one of her grievances.
GRANT
Come in, Mrs. Case.
(GRANT _watches_ MARIE _come slowly from behind the curtains,
into the light. Then he sees a handsome woman of thirty-five,
bien soignée to the last degree. Yet somehow to_ GRANT _her
manner is an assumption she has acquired and not inherited.
Beneath her vivid personality, her unrestrained moods glitter
with force if not heat. But now she eyes him steadily with
the greatest contempt. She wears a magnificent opera cloak,
clutched close to her. She carries a small hand bag._
_Though_ MARIE _and_ TOM _are aware of each other’s presence,
they never address each other; they speak to each other
through_ GRANT _as though they existed only in him_.)
GRANT
Do sit down.
TOM
Oh, Marie will sit down. Don’t worry.
(_Before she sits she carelessly throws her cloak over the
same chair that_ GRANT _had previously thrown his coat. She
stands revealed in a beautiful evening gown. It seems to
proclaim to_ GRANT _her daring and contempt for conventions_.)
MARIE
After what I’ve just heard I don’t know whether it’s worth while to
waste words on a creature like you.
GRANT
(_Very politely throughout_)
Your husband seems to have succeeded in doing it.
TOM
Her husband? Don’t try to saddle her off on me. Once was enough.
MARIE
It’s only our contempt for you, Mr. Williams, that finds us two
together.
GRANT
To be sure. I keep forgetting.
(MARIE _takes a cigarette out of the hand bag_; GRANT _offers
her a light_.)
Permit me.
(_She glares at him and refuses it. As she searches her hand
bag for a match, a small pistol accidentally falls to the
floor._ GRANT _quickly picks it up and hands it to her. She
replaces it. He offers her another light, which she sullenly
accepts._)
MARIE
I wouldn’t accept anything from you, only, in my haste, I forgot
my matches. (_She crosses one knee over the other and puffs._)
Brr--it’s cold here.
TOM
(_Bluntly_)
She wants a drink.
GRANT
Public-domain text, read in full here on John Shaqi.
Masks, with Jim's beast, Tides, Among the lions, The reason, The house: one act plays of contemporary life — John Shaqi
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