Masks, with Jim's beast, Tides, Among the lions, The reason, The house: one act plays of contemporary life — John Shaqi
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
Well, if we’re ever going to see that ancient jewelry before we’re
as old as it is, I suppose we’d better try and find it.
MRS. MORROW
But I’ll have to tell Jim I came especially to see his beast: he’ll
want to know what it looks like, the poor dear!
(ELIZABETH LIVINGSTON _enters. She is a woman of such an
indefinite age that she must be past her early thirties.
Handsome, well-groomed and yet a bit hectic, her secret
is that she is a born intriguanté and likes to see men
feverish._
_She sees_ HOOD: _he sees her: the two women catch this
exchange of glances, though_ HOOD _instantly resumes reading
and_ BESS _goes quickly to the case opposite not to betray
she is there to meet_ HOOD.
_The two women exchange significant glances._ HOOD _looks up
and catches_ MRS. MORROW _eyeing him through her lorgnette.
He rises in question._)
MRS. MORROW
(_To cover it_)
I beg pardon. Do _you_ happen to know where they keep the ancient
jewelry?
HOOD
(_Politely_)
I think it’s to the right.
MRS. VAN DYKE
But that’s what the other man said.
HOOD
Have you tried the long hall?
MRS. MORROW
But _which_ hall?
HOOD
(_Obviously trying to get rid of them_)
The very _furthest_ hall.
MRS. MORROW
Oh.... (_She turns to_ MRS. VAN DYKE.) The very furthest hall, he
said. (_Aside to her as they turn_) I’m afraid we’re _de trop_. I’m
sure it’s....
MRS. VAN DYKE
I thought so, too; and with a different tame robin this time. (_As
she turns and looks at the_ BRONTOSAURUS.) I’m glad I won’t look
like Jim’s beast when I’m dead.
MRS. MORROW
Well, dear, we’ll never be found in a museum at any rate.
MRS. VAN DYKE
(_As they go up_)
I don’t know. I’m most dead already.
(MRS. MORROW _gives a look at_ BESS _through her lorgnette.
They go out obviously gossiping about her._
HOOD _takes a step to see they have gone. Then he turns
tensely._)
HOOD
Bess!
BESS
Oh, Bob!
HOOD
Dearest!
BESS
Be careful. Somebody may see us. I’m sure those women....
HOOD
(_With extravagant expression_)
I’d like the whole world to see us. I can’t stand this much longer.
Bess, I want you.
BESS
I know. Sh!
(SARAH _comes from out of aisle, goes out of sight, obviously
to clean another aisle. But she has seen them and gives a
knowing smile as though such rendezvous were not unusual._)
HOOD
It can’t go on like this.
BESS
Aren’t you satisfied with what we’ve already had?
HOOD
(_Unconsciously playing up to the situation_)
I want all or nothing--the _you_ all the world has, too. I....
BESS
Yes? Say it. I like to hear you say it.
HOOD
I want you to be my wife. (_Intensely_) Bess! Bess! Will you?
BESS
Give me time to think.
HOOD
But it can’t go on like this ... having me meet you in strange
places ... always being afraid. Bess, you love me, don’t you?
BESS
Oh, Bob!
HOOD
You’ve never loved anybody before as you love me?
BESS
Oh, no; you’re so fine and strong and....
HOOD
Public-domain text, read in full here on John Shaqi.
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