Lois Achimovich > plays >
ACT ONE SCENE ONE MAINE 1926
Maine, the summer home of Elizabeth Marbury. Carlotta stands on middle level looking into the distance. Agnes downstage on deck with Elizabeth. Baby carriage near them.
Agnes It's so unfair. (Pause)
Oh, I just want to lie here and never move again.
Elizabeth Kids are tough. They'll get over it.
Agnes They'll be heartbroken.
Elizabeth The boy's mother can see to it. And you can send your daughter to a summer camp or something.
Agnes They've just arrived and he wants to send them away. Why couldn't he make up his mind before we left Bermuda?
Elizabeth He can't stand 'children in squads', not even his own.
Agnes It's only for a month, Elizabeth. How can I send them away?
I want the little ones to know the older ones. Little Shane spends so much time alone—he's growing into a solitary like his father.
I want the children here. All of them!
Elizabeth Don't fuss, Agnes, it's so suburban.
Agnes Fuss. Did you say fuss? I only see Barbara on vacations. He insists that she live with my parents. I've given up writing for him. I won't give up any more. I'm not a puppet!
Elizabeth Oh, can it, Agnes! What do you want? He used to be such a hellraiser. He's given up drinking—and that's a damned miracle!
(Exit Carlotta)
Agnes And I'm supposed to be grateful for that?
Elizabeth He's a pussy cat now!
Agnes He flies off the handle all the time!
Elizabeth He's an artist!
Agnes And so possessive! He actually said to me—just after Shane was born—'Remember: I am your first born son!'
And I thought he was joking!
Elizabeth OK so I'm biased. I'm his agent. I want him to write. Babies screaming and kids fighting—he can't stand all that.
Agnes All that! All that is life, Elizabeth!
Elizabeth Oh, really.
Eugene (voice) Hey, is anybody up there? Hello! (Pause)
Agnes Is that Eugene?
Eugene (voice) Will somebody get me a towel?
Elizabeth Come up on the deck and get it yourself!
Agnes What's he doing here?
Elizabeth Did he hear us?
Agnes I don't care whether he heard us or not. What's he doing here?
Elizabeth Catch! I don't know.
Eugene (entering) What's that? Something about life. Life's a tragedy, hurrah!
Ah. Hello, darling.
That was grand! Not as good as the ocean but not bad! Must be a mile or more across that lake. My whole body's vibrating.
Elizabeth Shivering to death more like! (She exits)
Carlotta! Carlotta! We have company.
Eugene Forgiven your evil man?
(Eugene holds out towel to Agnes, who pauses, then takes it.)
Agnes You really try my patience, Eugene.
(She begins to dry his hair. Elizabeth re-enters)
Agnes (to Elizabeth) So Carlotta's staying on?
Eugene She better be staying—I'm taking her boating this afternoon.
Elizabeth Oh. She never goes near the water—she can't swim.
Eugene Well, I've persuaded her.
(Enter Carlotta , with tea for Agnes and Elizabeth and hot chocolate for Eugene)
Carlotta I'm afraid he has. Hello, Agnes, how are you?
Eugene Ah, hot chocolate! Wonderful!
Carlotta Hello, Eugene. Almost on time. (Gives him chocolate)
Look at you—you're blue. It can't be sensible to chill your body so. Aren't you consumptive?
Eugene Call me a reformed drunk, an insomniac, the carrier of a few million malaria bugs—but not consumptive! The sanatorium fixed that—they recommend cold, and intense exercise—the mortification of the flesh! I need the cold. It makes me feel alive.
(Carlotta begins to serve tea.)
I tried to swim to the moon once. When I was drunk. Damned near made it too, but Agnes came after me in a rowboat and hauled me aboard.
Agnes So you're staying on, Carlotta?
Elizabeth I don't know what I'd do without her. She's my pearl of great price. I'd like to keep her forever. She's so beautiful and so efficient—everything runs smoothly. You know I want to adopt her.
Agnes You're not serious.
Elizabeth Yes indeed. I wrote her mother about it. I have no heirs and I love her. My little treasure! She has become my nearest and dearest. Unfortunately she seems to have lost interest in me.
The servants find her a hard taskmaster, but I just love her to death!
Carlotta Nothing upsets a home so much as quarrelsome servants.
(To Agnes) Eugene says you're writing a new play together.
Agnes That's not strictly true—he writes, I offer constructive criticism.
Carlotta How wonderful!
Agnes We worked together on 'Welded' and it was a terrible flop. Disastrous houses. Disastrous reviews.
Eugene Disastrous production!
Agnes Oh, Gene!
Carlotta Oh , I do love the theatre. I rarely perform any more, what with this and that. But I maintain an interest. I just read and read and read my eyes out. (Pause) I just read all of de Maupassant.
Agnes Well! Then you must read Strange Interlude and give us your opinion. It's about a woman who needs the love of three men to feel whole...
Eugene While her own love goes to another—her son.
Carlotta Three men! Good lord!
Eugene It's a common weakness.
Elizabeth Weakness.
Eugene Sure. A woman who's unable to find satisfaction in just one man.
Agnes Gene thinks she should need nothing else, not children, not friends, not anything.
Elizabeth Let me get this straight. You're saying that a woman is weak—weak – if she doesn't devote herself to one man?
Eugene That's right. It's her destiny. Sure. You've read Freud.
Elizabeth Anatomy is destiny , right?
Agnes Eugene believes that a couple should enough for each other.
Carlotta Well, I'm sure the new play will be a hit, and hugely successful.
Eugene We could do with it at the moment, with all the offspring. (To Agnes) Have you told them?
Agnes No.
Elizabeth Maybe it's the man who needs to be worshipped.
Eugene (To Agnes) Why not?
Elizabeth Maybe it could be written from the point of view of one of the men?
Eugene I want the older children sent home.
Agnes Can we leave this till later, Gene?
Eugene I can't work with them around!
Elizabeth Stop it, you two! (Silence)
Eugene Sorry. I'm sorry. About now I could use a drink! Giving up booze is like getting over leprosy. You feel so normal with nothing to be normal about. You miss playing solitaire with your scales.
Elizabeth Oh, Eugene!
Eugene When I was drinking , I'd live for weeks in the no-man's land between the DTs and reality. Just me and my phantoms. Now they're gone—what's left? A void.
And when I'm writing , it's worse. One part of me fiddles while Rome burns. The other perishes in the flames, a martyr giving birth to the soul of an idea. Half of me is the author of the next play, tearing his hair out as he watches the other half play the lead, distorting the theme with many strange grimaces.
Believe me, from moment to moment , this poor fool can't tell whether it's farce or tragedy, so perverse a spirit is his star.
Elizabeth All this self flagellation—it's quite unnecessary.
Eugene I know that, but I whip myself anyway—and Agnes and the children. Sometimes I don't know how you put up with me.
Agnes I wonder myself.
Eugene Those years on Skid Row. Damned near killed me. Drunken brawls in every flea-bitten bar from New York to Buenos Aires. I've met 'em all. Crazy radicals. Failed artists. Lost souls on their way to hell. And yet – sometimes, sometimes, I feel that's the only real living I've ever done.
Carlotta Really, you're depressing us all. Write something with a happy ending.
Eugene Are there any happy endings in life? (pause)
Agnes I think I'll take the baby home now.
Elizabeth Stay, Agnes, and keep me company. And you (to Eugene) -off with you—try to forget all that sturm and drang and relax for once.
Agnes I must be get back to the cottage—the older two are on their own.
Carlotta I'll return in time to fix you a drink, Elizabeth.
Goodbye Agnes. (exits)
Eugene Darling. The children? Please.
I need to have free rein with my work. Right, Bess?
Elizabeth Leave me out of it. I prefer my dramas on the stage.
Eugene You're so stubborn.
Agnes Me stubborn?
Eugene I'm not asking much, for God's sake.
Agnes I've given enough, Eugene. I'm not giving up any more.
Eugene It was a mistake to bring the older two.
Agnes They haven't even seen us since Easter.
Eugene I don't care if they haven't seen us since the Civil War—I can't work with them around. It's as simple as that!
Agnes Not to me.
Eugene Then go back with them! Just remember‚ I don't work, we none of us eat!
Elizabeth Stop it , you two. You're like a couple of alley cats.
Eugene Sorry Bess , it's nothing. Just a spat. I'll see you round six.
(Exit. Agnes moves to watch them go.)
Elizabeth Have a drink before you go , dear.
She's very beautiful, isn't she? (Pause)
Eugene says she has eyes like his mother.
(Lights down)
ACT ONE SCENE TWO THE BOATSHED
Carlotta Maine is so beautiful in the summer. Not a ripple on the lake. I could stay here forever.
Eugene It's soporific, predictable. I like crags and cliffs and surf pounding on the rocks.
Carlotta Perhaps one can appreciate both.
Eugene All this seems like an apology for living. (Pause)
Carlotta Do you think me a fool? You disagree with everything I say.
Eugene The mysterious Carlotta Monterey—a dramatic role here, a public appearance there, and no-one knows anything about her.
Carlotta I don't want to talk about the past.
Eugene The past is always more interesting than the present or the future.
Carlotta Mine has not been an easy life, Eugene.
Eugene Miss California, rich husbands, success as an actress?
Carlotta I spent most of my childhood in boarding schools. My parents had no affection for each other and separated early. I was pushed around all the time. No-one will ever push me around again.
Eugene Elizabeth tells me your real name is Hazel Tharsing.
Carlotta That name is an accident of birth. I am Carlotta Monterey.
Eugene She also says you considered entering a convent.
Carlotta What else did she say ?
Eugene My mother wanted to join a convent too. They told her to think about it for a couple of years—then she fell in love with my father. She never lost her desire for the cloister.
Carlotta I was attracted to the habit, the music, the rituals—the theatre of it. But I married, had a child and that was the end of that. I still say my rosary every night.
Eugene A child?
Carlotta She lives with my mother in California.
When I was first on Broadway, way back in 1915, I was told I would never be a good actress till I became a mother.
Eugene Why 'Carlotta'? Spanish, Mexican, gypsy?
Carlotta My ancestors are Danish, German and Dutch.
Why Carlotta? Because I have the mixed blood of those different nationalities at war inside me.
Because I'm always vacillating between extremes and never choosing the middle course.
Because I feel a call to the primitive, the wild and the elemental in nature and in art.
Then at times I crave the very reverse, the exquisite, the ultra-refined... (laughs).
I'm like a living pendulum swinging between two natures.
There. Now you know.
You're not to think me morbid or abnormal. I have a whole-some an interest in life. I enjoy fighting for my place in the world. (Pause)
Will you take me boating now?
Eugene Watch your step on the boards—they're wet.
(Lights down. Exit Eugene and Carlotta. Music)
ACT ONE SCENE THREE CARLOTTA'S APARTMENT
(Lights up. Carlotta's apartment in New York. Eugene and Carlotta talking ,
she dressed in evening gown, he in ill-fitting suit.)
Carlotta It's been heaven catching up on all the Broadway news. Thank you for spending so much time with me. I see so few theatre folk since I've given up the stage.
Eugene You certainly live in style, Carlotta.
Carlotta I have an annuity. From a deceased aunt. I can live comfort- ably and enjoy spoiling my friends from time to time.
Eugene I need to get back to Bermuda. My work's stagnant. I keep looking over my shoulder at the critics who panned the last play.
Carlotta Pay them no mind.
Eugene I thought I was saying something important about American marriage, but they thought......
Carlotta What would they know?
Eugene (laughing). Aggie and I put our heart and soul into it—and they damned it to hell.
Carlotta You need protection from these people. Agnes would agree with me about that.
Eugene You think so? She's fair, I suppose. But sometimes she sides with them. I need her to defend me right or wrong.
Ah,we can't agree. We end up yelling at each other.
And I don't know how to work around children either.
I crave a neat life with a pattern—I'd like to own ten walled acres in Siberia with a flock of Siberian wolf-hounds to guard them and layers of broken glass on the walls.
Carlotta Good lord, Eugene! Let's not spoil our visit. I have a little surprise for you. Wait there! Don't peek! (Collects a fur-lined coat with fur collar, obviously expensive, with a fur hat) Look! (Eugene sits dumbfounded for a while, not knowing whether to be grateful or embarrassed)
Hush! Don't say anything.
Eugene They're worth a fortune.
Carlotta Put them on. Let me see. You look splendid.
Eugene I can't accept this.
Carlotta I do as I choose with my money.
Eugene No-one has ever given me anything like this before.
Carlotta Take them. Please.
Eugene How can I thank you?
Carlotta Just write me from time to time.
Eugene Write you? I need you, Carlotta.
Carlotta You have everything a man could possibly want!
Eugene Agnes hangs on and on as if there's still something between us. I want to be with you.
Carlotta You said you were going back.
Eugene It will take time to get out of my marriage.
Carlotta Eugene. You must go back. You must be sure before you take a step like this.
Eugene I need you. I'm sure I could do good work, my best work with your help.
Carlotta Your work must come first. Before everything.
But yes. Yes. Together we could do matchless things.
(Pause. They kiss.)
Eugene Will you wait? It will take time.
Carlotta Dear Eugene, I'll be here. I'll always be here.
Eugene It won't be easy.
Carlotta Don't, darling, don't. Everything will turn out -just as we planned.
(Lights down)
ACT ONE SCENE FOUR THE LETTERS
(Eugene on stage alone. Wave sounds and foghorn)
Eugene Dear Carlotta,
My soul is a blank cell of loneliness and longing, longing for you, my love... God has turned his back and gone away and all the prison is darkness. I ask myself what I have now in exchange for my old life at sea. Oh, there's fame and money and a family and security and ease and flowers in the front yard. But it's not enough" my old self says.
You seem so far away. I'm in a helpless fog.
But I know "the sun will come soon."
(He moves to area where Agnes is sitting. Spotlight up)
Eugene I thought you realised.
Agnes No, no, I didn't. How could I?
Eugene Wasn't it obvious?
Agnes I thought you were amused.
Eugene It's not the end for us.
Agnes Did you sleep with her?
Eugene No.
Agnes You expect me to believe that?
I could see she was flirting with you. Bess said she flirts with everyone. I wish you hadn't told me.
Eugene I had to.
Agnes I had no idea. I had no idea.
Eugene There can be no deceit between us.
Agnes What? No, no, of course not. (pause)
Well, what now?
Eugene What do you mean?
Agnes What are you going to do?
Eugene Why, stay here with you and work like hell.
Agnes You say that as if....... (he makes as if to embrace her) No, don't!
Eugene I'm going to work and swim and do my best to be a husband. Be reasonable, Agnes.
Agnes You're sure we are what you want?
Eugene Stop saying "we"! You still talk as though you and the children are a package.
Agnes Of course I do. They're our children.
Eugene I married you.
Agnes You're their father!
Eugene I don't need them. I need you! Only you. A man and a woman should need each other. I should be enough.
Agnes I don't know what to say.
Eugene Sometimes I think you don't love me at all.
Agnes I've given up a daughter for you. What more do you want?
Eugene You're only happy when the house is full of people.
Agnes I should be able to have something outside us. We should be able to have both!
Eugene Do you really want this marriage?
Agnes Stop! I can't stand it.! You're driving me crazy!
Eugene I'm sorry. Let's try. Let's try to love each other completely—blot everyone out—even Carlotta.
(He embraces her)
Spotlight on Carlotta writing.
Carlotta Dear Agnes,
Thank you for writing. Your friendly letter was much appreciated. I think of you and Gene and Shane often and envy you your life of ease and sunshine and blue water. But although we are not all so fortunate, we fill our lives with other things. I hear all the music I can and read my eyes out!
This holiday season gives me the blue devils beyond belief—why God knows—for I have no happy Christmases to remember!
I hope one day to be as splendid as you are and that's saying a lot.
Agnes "I think of you and Gene and Shane"—funny she doesn't mention Oona, like she's forgotten the baby.
Eugene in spotlight Hey, old buddy,
Be a good chap and use the enclosed twenty five dollars to buy Carlotta the biggest box of flowers you can find.
Agnes is fine, so are the heirs. And it's good to be home again. Lucky I left when I did, for I love her and them and my home—nothing would ever take their place—but oh Christ, there are other things—on the other side of the hills.
Carlotta in spotlight My God, Bess, someone just delivered a box of flowers the size of a coffin.
Eugene By the way, please don't "understand" in your letters—they are read not only by me!
Since I've been back in Bermuda, I've been shot into the sky and blown about like a cloud. Only my shadow moves down here on the earth, where there are houses and people that live in them. I'm working on, though my spirit is flagging.
Spotlight on Agnes writing
Agnes Dear Mother,
I will be there as soon as possible. I do hope father holds on till then. It is hard to leave Eugene as you know and we've had our ups and downs lately.
Eugene Dear Agnes,
You've only been gone a few hours and already I miss you. God, how I need you! I feel a sense of deep peace and permanence now in our relationship. I love you! For over nine years I've loved you—and you alone!
Agnes Dear Eugene,
Father is fading fast. I can't bear to watch him deteriorate. I will be home soon.
Eugene Dear Saxe,
It's grand down here and Aggie and the kids are good to be with again—and the sea. It's a bit lonely though, and I feel isolated at times now that everyone we know who was the slightest bit intelligent or amusing has blown for the season.
Thanks for the articles—grand stuff—should help the cautious Theatre Guild bunch to come to a favourable decision about the scripts.
I especially like the comment that I have "stormed and conquered life, a Laocoon who has strangled his serpents, a Prometheus who has shooed away all his vultures'.
He's wrong, of course. My vultures are still flapping around.
Agnes Dear Mother,
We are happy again now. Eugene is returning to New York for the production of Strange Interlude. He wants us all to go, but I've persuaded him that our funds won't stretch that far.
Jimmie and Patti Light have been staying here. Patti is very beautiful. She looks a lot like Carlotta.
Eugene Dear Agnes,
The ship is now a day away from you. I feel deeply at peace and have a fresh faith to carry us together through the rest of our lives...
In the meantime, don't worry about anything... I'm hardly liable to be caught in any emotional storms again.
Eugene Dear Agnes,
I have been in New York one day and wish I never came. I had a premonition about this trip... and I tell you again, you made a mistake! It is not good to force me to be lonely and homeless under the most unfortunate conditions when I'm sick into the bargain.
Agnes Dear Eugene,
I am very distressed by your letter—please come back soon. If you insist, I'll come there and open up Brook Farm again, but it really will cost the earth. This is not an excuse, it's a fact!
Eugene Dear Agnes,
It seems that we manage things in the exact way to make everything turn out wrong—and this fall's mess certainly draws the prize. You must have framed it up with the idea of becoming a widow.
P.S. Forgive this. But I do feel sick and despondent.
Agnes Dear Eugene,
The place is as silent and still as death and I'm completely isolated from life—Please do anything you want to do, everything that will make you happy or give you pleasure—it is necessary for you to try and get some enjoyment that will compensate for drinking.
This does not mean that I'm trying to force you into a love affair!
Eugene Dear Agnes,
I saw Carlotta last night—she had just returned from a rest cure at Baden-Baden. She remarked how thin and badly I looked compared to when she last saw me. She was quite right...
Every time I sit alone in this stuffy room, I'm overcome by bitterness and a feeling that something is all wrong—that you sacrifice me to your own desires and convenience. It isn't your work—it isn't economy... maybe you have a lover.
I'm not well. I'm lonely. I love you.
That's the whole in a nutshell.
Agnes Dear Eugene,
If that's how you feel, I'll pick up and arrive in New York, kids and all, and then we'll see how that will work. Remember your conversation with me when you told me you wanted to divorce me—remember the days of silent dislike and hatred on your part... Do you think I can forget all that? You love me and need me now, yes, because you're bored and lonely, but that speedily deteriorates into an intense irritation as soon as we've been together two weeks.
I've got a little pistol loaded in the drawer—pity I've lost the key... I think I'd end it right now—tonight...
I'm glad Carlotta's nerves are gone.......
Do you think she would be interested in taking charge here at Spithead? If so, tell her I've given up the job. She is certainly much more beautiful than I.
Eugene Dear Agnes,
Your decision to stay in Bermuda is undoubtedly wise. Forgive my morbid notions of feeling abused. I've seen Carlotta a few times... She's damned nice to me and I've enjoyed being with her... but that's all of it from both sides.
Darling, I wish you were here, but don't come! It would break us entirely just now with the bankroll so low.
(Carlotta joins him)
Why don't you go out and enjoy yourself? Please don't think that I would have any objections. Much love,
Eugene Dear Agnes,
It's nearly Christmas and you say nothing about your plans. Please feel free to do as you wish without concern for me. You've tortured your last torture as far as I'm concerned.
Face the truth. You don't love me any more.
Kiss the children for me. I hope they like their presents. I love them more than you give me credit for. But what do you understand of me, or I of you.
Agnes Eugene, dear, I understand, stop. Will come stop. If you need to work out a relationship with anyone else do so stop. Love.
Spotlight on Eugene (with Carlotta leaning against him)
Eugene Dear Agnes,
You do not understand. I love someone else most deeply and she, me. You have your freedom and a permanent home at Spithead, and above all you will have your chance of marry- ing someone else who will love you and bring you happiness.
We must act like decent human beings and avoid publicity. I know how I would act in your place—how I would force my- self to act, even if I loved you and your decision crushed me.
Agnes (reads inscription in copy of "Marco Millions")
"To my dear Agnes,
You have been a golden bird singing beside a black river—the river of a man's life."
Only two months ago, Eugene.
(Agnes closes the book. Lights down.)
ACT ONE SCENE FIVE THE DEPARTURE
(Ship and sea sounds. Lights up on Carlotta dressed as in the last scene)
Carlotta I boarded the ship early to avoid the press... I was stuck in that stuffy cabin all day, waiting, waiting. I couldn't even go up on deck for some air. He slipped aboard through third class. So late, and not a word of apology. All he said was "Hello, here I am"—there was no 'thank you' or 'I love you' or anything, and here I was, risking my reputation!
Then he stood looking out the porthole, with tears rolling down his face. "It's a terrible thing", he said , "to leave behind so many you love, everything that means anything to you."
I could have strangled him!
"Well, Carlotta", I said to myself, "you've certainly let yourself in for it this time."
(Lights down. Spotlight on Agnes, looking tired and dressed in different style
from last scene. Flashbulbs ignite every now and then. Agnes addresses
audience as if it is a press conference. She holds up her hand. Silence.)
Agnes We have decided to give legal form to the separation in our lives which has existed for over two years.....
I have tried to give my husband the freedom he said was necessary for his dramatic success. Perhaps, from the standpoint of dramatic art , the experiment may have been a success ; matrimonially , it's been a disaster.
(pause)
This illusion of freedom- so long maintained by the male sex, particularly by the artistic male- is very much just that—an illusion. (pause) The only way to give a man the freedom he wants is to open the door to captivity.
(Bulbs flash. Agnes protects her eyes.)
Yes, as far as I know he's still in Europe.
A lady friend? There's no need to make Gene or anyone else unnecessarily unhappy.
(Bulbs flash)
Please, I can't say more. It's a condition of our divorce agreement that I do not speak about our lives together.
(She gets up to leave.)
My plans? My plans. To go back to Bermuda with the children and try to put my life together, I suppose.
(Lights down. Music to indicate passage of time, new country)
Spotlight on Carlotta I'll be so sad to leave France. And Paris! I love Paris—it's my city.
I'm dreading the voyage.
To tell the truth, I hate the sea!
And Shanghai? Dear God in heaven!
But Gene loves adventure and he says we must go. And I must follow my lover, no matter what. (Pause)
We're always – always together – but sometimes I feel –so alone.
(She calls off-stage)
Gene! Gene, dear, may I come to your bed tonight?
Lights down.
ACT ONE SCENE SIX
(Outside Shanghai bar. O'Neill, drunk. Action takes place in spot.)
Eugene Hey.... (banging on the door)
You can't shut now! It's only nine o'clock, damn you!
Whadda you expect? Shanghai's British. Trust the British to put the curse of dullness on everything they touch. (more banging)
Lemme in , goddamn you!
(Eugene makes as if to go back into the bar, taking roll of notes out of his
pocket, dropping some)
Hell! What a dive!
(He punches the door, then leans against it.)
Where's the damn hotel at?
Gotta get back to the hotel
Nope. Can't go back there. Won't let me in.
Gone. Ooh, ooh.
Vamoosed. Flown the coop.
I don't give a damn.
Telling me what I can and can't do. Can't drink. Can't play roulette.
"I'm not letting an old whore talk to me like that."
(He punches the air, staggers, legs fold and starts to cry.)
I been a son of a bitch, a real son of a bitch. Beautiful woman. Two kids. Shane and Oona. Great kids. Shane writes all the time. I miss him so much, you know how it is, you got kids, right? It tears you up in here. I been a bastard. Gotta picture of Agnes and the kids right here. (Takes out photo)
Beautiful woman.
Lookit! Son of a bitch that's what I been.
I'll get it from the Old Guy up there for this.
(He staggers to his feet, puts picture away.)
"Life's a tragedy, hurrah!"
Jamie always said that. My big brother. Dead in a goddamn sanitorium for drunks. Only forty-five.
(To audience)
C'm 'ere. At his funeral, nothin' to dress him in—some bastard had stole all his clothes. Somethin' obscene about that. They dressed him in a half suit—no back—it's true—keep it for paupers so they look all spruced up to meet their maker, an' whip it off at the last moment. Somethin'...obscene about that. Somethin' disgusting.
Missed the funeral.(pause) On a bender.
Agnes took care of it. Hell of a woman. She went to the funeral then came to New York to pull me out of some dive. Hell of a woman.
Poor, funny, miserable ole Jamie. Buried beside his natural born enemy—my father—and his true love, my sainted mother.
He didn't die of the drink, nah. We're cursed. There's a curse on the O'Neills. The curse of the misbegotten.
(O'Neill begins to sob. Enter Carlotta into dimlight. She stands behind Eugene
who is at first oblivious of her presence)
Carlotta I'll never, never forgive you.
If the press find out... I hardly dare think.
Eugene Carlotta?
Carlotta A whole week, Eugene. How could you?
Eugene (sees her) Oh, darling , oh, God bless you. I'm sorry. Forgive me. I love you forever.
Carlotta Look at the state you're in.
Eugene Forgive me! I'll be a good'un in future—do my damnedest best to! A million kisses, blessed one.
Carlotta You struck me, Eugene.
Eugene Fell off the wagon somewhat.
Carlotta You hit me, Eugene.
Eugene I won't do it again. I promise. Take me home.
Carlotta Don't you ever, ever do that again.
Eugene (bristling) I said I won't.
Carlotta Listen to me carefully, Eugene. Next time, so help me, I'll leave you in the gutter. No more of this, Eugene. I mean it.
(Eugene hesitates)
Eugene No, Carlotta, no more. (Lights down.)
ACT ONE SCENE SEVEN CASA GENOTTA
(1932 Casa Genotta. The O'Neill's house on Sea Island, off the coast of
Georgia—exotic artifacts on wall. Carlotta is seated, sorting letters at a desk.
She separates one letter from the rest and burns it in an ashtray. Enter
Freeman)
Carlotta You must ring to let us know you are coming. You've been told about the bell.
(Servant advances and heels click on boards)
AndI can't stand people clattering around. You are required to wear rubber soles.
What do you want?
Servant There's a Mr Commins at the door.
Carlotta Oh no!
Servant He says you 're expecting him.
Carlotta I told him tomorrow at the earliest. How inconvenient. You'd better show him in. There's no need to disturb the Master.
(Servant exits. Carlotta picks up ashtray and empties the contents into the
waste paper basket, smooths her dress, ready for the visitor. Enter Saxe)
Saxe. Darling, how are you?
Saxe This Georgia heat's really something. How do you handle it? You look terrific as usual.
Carlotta Why thank you , darling. I'm terribly busy. The house requires constant attention.
Saxe It's a mansion! You must need an army to look after it.
Carlotta I designed it myself.
Saxe (looking round) Lovely, lovely.
Carlotta Thank you, Saxe. We like it. Eugene leaves everything to me, of course, and the servants are impossible.
You're early.
Saxe Yes, I know, but something 's come up. I have to see him today and get back to New York.
Carlotta You don't seem to understand Saxe. We're not ready for you.
Saxe Carlotta, I have to see him immediately.
Carlotta He's working hard on the most wonderful play. He can't be disturbed. Are you familiar with the work of Nazimova?
Saxe No.
Carlotta Gene and I are considering her for the part of Elsa. There's lots for and lots against. So few actresses feel anything under their skins. They're so artificial. Jane Cowl I have always loathed. Nazimova knows what to love and to suffer means—even if her hair does become disarrayed in the process.
Saxe Uhuh. (Pause)
Carlotta It's not the children, is it? I won't have them disturbing his work.
Saxe No, it's not the children. I really must speak with him.
Carlotta We've had letters from the principal about Shane. I had to put a stop to that. He can't expect Eugene to drop everything and go down to Florida just because the boy isn't putting his mind to his studies.
Saxe I heard he's very unhappy.
Carlotta Who told you that? Agnes? (Pause) Well, we're all unhappy in one way or another, aren't we? I had to spend my childhood in convents and I wasn't happy, I can tell you, but I made the most of it and it built my character. He needs to work hard and make his father proud of him.
(Eugene enters)
Eugene Saxe! You ole son of a gun!
Saxe It's been too long, Gene.
Eugene How's Dorothy and the kids? Hell, I'm sure lonely for you city folks.
Saxe Hey, you look good ,too—put on some condition. New York just isn't the same without you.
Eugene The air' s great down here—and I can swim every day. Hard on Carlotta though.
Carlotta You know I'll do anything to help you in your work.
He writes the plays, I do everything else.
Eugene My , it's grand to see you. How come you're so early? (Pause)
Carlotta (leaving) Sit down, Saxe, I'll get you some iced tea.
Saxe Thanks Carlotta, I could use it. How does a boy from Boston handle this heat?
Eugene The news hounds leave us alone. I can watch the sea from my study.
Saxe Listen, I'm here on business. I have to get back to New York.
Eugene What's up?
Saxe Your publishers are going bankrupt.
Eugene You're not serious.
Saxe I certainly am.
Eugene I'll be wiped out!
Saxe I've already taken action for you. I had to—I couldn't get you on the phone.
Eugene Why in hell not?
Saxe You were working.
Eugene Oh. Why....? Oh.
Saxe I contacted the chief stockholders. About the outstanding royalties. I said I'd tell the press that you were changing publishers if they didn't give me a cheque within 24 hours.
Don't waste time getting it into the bank.
(Eugene looks at cheque in disbelief)
You'll need to take further action. I know I'm going outside my bounds as editor, but you must to change publishers. Liveright's is too unstable.
Eugene Can I do that?
Saxe Of course you can. It's either that or go down with them.
Eugene So—what do I do?
Saxe Go for Random House. They'll jump at the chance of signing you. Bait for other writers, you know how it goes..
Eugene Sure—sure—whatever you say.
Saxe And even your flops on stage turn big dollars in print.
Just stand firm on the contract—I'd insist on a flat royalty of 20% and a ten thousand dollar advance on signing.
Eugene Ten thousand? You think they'll go that high?
Saxe Well, there's the Pulitzer, and the film contracts pending. Sure they'll go for it!
Eugene I'll put it in writing tonight. Hell, Saxe, how lucky can I be? You've saved my skin again!
Say, what are you going to do now?
Saxe I don't know. Stay on till the end, I suppose. Go down with the ship. I'll find something. You know me.
Eugene You're the best damn editor in town. You're coming with me to the firm I choose.
(Carlotta enters with Freeman carrying sandwiches and iced tea. She
supervises then he leaves)
I'll make it part of the contract. I need you on board – and you're a gift to any publisher.
Saxe Well, sure, I'd like to go with you. If it pans out—well, great!
Eugene Looks like Liveright's is going under. Saxe is sorting it out for me. We've got to bank this immediately.
I'll have to change publishers, too. He's given me some ideas.
Carlotta We'll look them over ourselves, of course.
Eugene It's a bit hard from this distance.
Carlotta They can put in a proposal and come visit us down here.
Saxe Just remember—timing is crucial—the sooner, the better.
Eugene Carlotta's got a good business head, Saxe. I trust her judgement.
Saxe Whatever you say.
Carlotta You and I can discuss this later, Gene.
I want to talk about ' Days without End'. You've read it?
Saxe Yeah. You both understand the urgency of this matter.
Carlotta Certainly. I said I'll take care of it.
Saxe I had the draft of 'Ah,Wilderness' typed up. What a great little script!
Carlotta I want to know what you think of our play.
Eugene (laughing) Bit of froth. Won't come to anything.
Saxe I think it works.
Carlotta What about 'Days without End'? It's a much more important piece. Saxe.
Saxe Well...... it's only a first draft.
Eugene (laughs) There were five first drafts. I've changed the ending five times. Come on, tell us what you think. I can take it.
Saxe Well to be quite honest, –I thought it your worst play yet. (pause)
Some of the ideas are fine. The central character having an alter ego no-one else can see, well, that's interesting. Opens up all sorts of possibilities for staging. And – er –the early stuff about the marriage, that's good, that's fine. But all the religious symbolism—and the ending—John redeemed in front of the cross. It's sentimental, maudlin, just – doesn't work.
Eugene Damn! I write a happy ending—you say it's maudlin!
Saxe "Ah. Wilderness!" has a happy ending. And that works.
Carlotta It's possible, I suppose, that you might be wrong.
Saxe Sure it is.
Carlotta Perhaps some of the symbolism escapes you, with your Jewish background?
Eugene Hey, Carlotta. Saxe is his usual honest self.
Carlotta But he's totally misunderstood what it's about.
Saxe Fine. Then tell me how you see it?
Carlotta We knew there would be prejudice against the theme. Religion, especially Catholicism, on Broadway!
Saxe The religion itself is not the problem.
Carlotta But it's part of Gene's heritage. If he denied that, he would be false to himself. He's only just coming to terms with his spirituality through our relationship. Naturally it's evident in his work.
Saxe But what's it about? It seems to me to be the old Faust theme done rather badly.
Carlotta It is about a great love, marred by the infidelity of the man, which results in the wife becoming sick unto death. She is brought back by her all-consuming love for her husband. He is then able to resolve his evil impulses and receive the grace of God. But it is the woman's love that is central, not the religion. Isn't that so, Gene?
I do hope the critics are not as narrow in vision as you, Saxe, since we're being honest.
Saxe I hope so, too, Carlotta.(Pause)
Carlotta I' ll deal with this. (Indicates cheque) See you both at dinner.
Eugene Thank you. (He kisses her. She exits)
She can't help it, Saxe, she's devoted to my plays.
Saxe Especially this one.
Eugene You know what's ironic? I wrote the scenario way back when I was married to Agnes! Carlotta was the Other Woman. Yet she sees herself as the rightful and original wife, the wronged woman in the script.
Saxe To tell the truth, Gene, I couldn't work out what it was about.
Eugene (seriously) I certainly don't see it the way Carlotta does. I mean, he's totally dependent on his wife—mother—goddess figure and longs for total unity—which he can't have. Naturally he hates her for it. My mother kept coming to mind as I wrote it—always doped out on morphine that I could never reach her.
Do you see ?
Saxe I see it's very important to you. But it's still a bad play.
Eugene Damn you. The audience will decide. It'll be a hit and you'll eat your goddamn words.
Saxe Fine.
Eugene Tell me about New York. You've seen the heirs?
Saxe Eugene Jr sends his love. He's confused at not hearing from you. Are you mad at him?
Eugene (bitterly) My children are unbelievably hard-hearted. They don't understand how busy I am. And they never bother to write.
Saxe He says he writes all the time and you never reply.
Eugene That's a lie! I haven't heard from him in months. All any of them want to do is take, take, take, just like Agnes. Without Carlotta's income, we'd go bust.
Saxe Maybe I could take a letter back for him.
Eugene No. Carlotta does all the letter writing for us. And she's hopp-ing mad at them for the way they treat me. Tell 'em that! I wish everyone would leave me alone!
I'm going down to the sea.
Saxe Don't be like that!
Eugene Leave me be. It's my last solace. (Eugene exits. Lights dim.)
Saxe (addressing the audience.)'Days Without End' lasted only 57 performances. It was described by one critic as "Drivel without End".
'Ah, Wilderness' was described as 'an evening of slyly superfine delight'. 'a story of much charm and truth'.
It ran for 289 performances and was the hit of the 1933 Broadway season.
END ACT ONE.
ACT TWO SCENE ONE TAO HOUSE 1941
(California. Eugene on cane lounge, writing.)
Carlotta This is perfect. I hope we never have to sell this house.
Eugene Who else would want a room for 8000 books—or 300 pairs of shoes?
Carlotta Gene? Those posters of your father as the Count of Monte Cristo. I know you think it's amusing to have them in the bathhouse, but they're of historical value now. They should be in frames in the hall. A little respect wouldn't go astray. Not having a family has made me touchy about such things. After all, he acted with Booth
Eugene (simultaneously).............he acted with Booth.
Carlotta Well, he did. There's no getting away from it. I wish I'd seen him. 6000 performances. "The world is mine!" And it was. He had the theatre at his feet. I wish I'd known him. I might have called him father. Father.
Eugene Dear Saxe,
I'm shelving the Cycle plays for a while, perhaps forever. I've lost interest. Five years work and almost nothing to show for it. Two may interest you eventually but the others are just....blind alleys.
Carlotta This has to be the most beautiful view in California. God knows I've worked hard enough for it. It's impossible to get decent tradesmen these days. They're all communists and Roosevelt's encouraging them with their unions and such.
Eugene I have done with the idea of salvation through the love of a woman. Carlotta is so good to me and yet sometimes... while she is building more stately mansions, I'm struggling with my demons, and the demon in my love for her.
Carlotta What will we do with Blemie's room and his little doggie bed and the bath with its own dear little taps? It was all ready for him to move in. I do miss him terribly, Eugene, he was always so much more loving and grateful than any of the children.
Eugene Carlotta and I are more and more cut off from the world. She seems fine—she doesn't rip at herself like I do. She is happy to care for me, type my manuscripts, keep the world at bay. I am loved, cossetted..... and so melancholy I can hardly bear it.
Carlotta I'm so glad we moved west, Eugene, it's been worth all the trouble.
My god, sightseers already! Why can't they leave us alone?
Eugene So I have put the Cycle aside and am trying a couple of other stories. One is about my family. I'm not sure I can bear to write it. The other is a story of failed pipe dreams—and into it I will weave the tale of a man I read about once. He murdered his wife in her sleep.
Carlotta Gene? Did you take the binoculars?
Eugene Afterwards he showed no remorse. In court he said he did it to save her. In my play he will kill her because she keeps forgiving him and he cannot bear the guilt any longer......
Carlotta I've a good mind to call the police.
Eugene The Bridegroom cometh and he is Death.
Carlotta It's outrageous. The amount we pay in taxes and they can't even keep the rabble away. Sea Island at least had the advantage that they could only spy on us from the air.
Eugene Hurry out west, Saxe, I want you to take a script of the new play back with you—and I miss you, you son of a gun.
Carlotta I just won't be able to relax until they finish that boundary wall.
Eugene There's no one here to talk to in these god-forsaken hills.
Carlotta Gene, are you listening to me?
Eugene Uhuh.
Carlotta Gene! Don't just grunt at me.
Eugene What were you saying?
Carlotta You huddle up in the study half the day and ignore me the rest of the time. Gene, are you bored with me?
Eugene I might be at that. Especially when you nag.
Carlotta I just want to be talked to like a human being. Is that too much to ask?
Eugene I'm dropping the Cycle for a while—I have another play, a couple of plays, that keep coming to mind.
Carlotta That's five years' work!
Eugene You don't have to tell me that.
Carlotta At least publish the scripts.
Eugene Not now.
Carlotta Gene.
Eugene No. (pause)
Carlotta I worked on those plays too. I've ruined my eyes trying to read your scribble—and you're dropping them, just like that. We need the money, for heaven's sake!
Eugene No. I don't want them published or performed. And you must destroy them if anything happens to me.
Carlotta 'Touch of the Poet' is a wonderful play—it couldn't miss.
Eugene They're all experimental. Unfinished. I've moved on now.
Carlotta Experimental? That's years and years of work!
Eugene Promise or I'll destroy the damned things right now!
Carlotta Can't we even discuss it? You could get them published anywhere....
Eugene Swear you will destroy them if anything happens to me.
Carlotta That's so insulting! I've always done exactly what you said about your scripts—and everything else for that matter.
Eugene Seems to me you do pretty much what you want.
Carlotta How can you say that? I've given up everything for you. This is a far cry from Fifth Avenue. (Door bell chimes)
Eugene In New York, it' s too noisy, in Georgia, it's too hot. Here, there are too many people. What in God's name will satisfiy you?
Carlotta A little appreciation might not go astray.
Eugene Most women would give their eye teeth for what you have , Carlotta.
Carlotta It's my money has supported us through the hard times and do I get any thanks?
Eugene Oh, it's thanks you want!
Carlotta I want some recognition! (Bell again)
Eugene I married you, didn't I? Some people think that amounts to recognition.
Carlotta I haven't got any friends.
Eugene You never had any friends.
Carlotta You're despicable.
Eugene You're right. I am. I am.
Forgive me, darling. I'm tired, preoccupied. I need to sleep. (Carlotta exiting) I'm sorry.
(to audience) 'So am I isolate,
Inviolate,
Untouchable,
Bitterest of all, ungivable.
Unable to bestow,
break from my solitude
A lonely gift,
Myself.
Oh, I have tried to scream!
Give pain a voice!
Make it a street singer
Acting a pantomime of tragic song,
To beg the common copper of response :
An ear
To hear.'
(Carlotta returns on highest level with Myrtle and Jane, showing them the view)
Carlotta .......and I almost called the police!
Myrtle Carlotta, you are a caution!
Oh, Jane. Oh look, isn't this gorgeous!
Carlotta Of course, Eugene had to have a pool.
And did you notice the Chinese calligraphy at the door? Tao means "the right way of life". And the little walkway was designed to wind because the Chinese say evil travels in a straight line. I've tried to make everything as serene as possible. An artist must have perfect serenity. Just a moment.
Darling! Darling!
Just wait here. (She goes to lower level and speaks to Eugene)
Myrtle's here to see the house. Eugene! Did you want to say hello?
Eugene Is Jane with her?
Carlotta Yes. (She calls) Come on in.
That ought to put a smile on your face.
Myrtle This is absolutely wonderful. The view is stunning. How are you, Gene?
Jane We're not disturbing you, are we?
Eugene Not at all. How are you, young lady?
Jane Just fine. I told Momma you'd be working and (we should call first)
Eugene It's great to see some happy young faces around here.
Myrtle Well thank you, I'm sure!
Jane You're sure we're not intruding.
Eugene No, no, come see the view. Reckon we could see the ocean on a clear day. And you must have a look at this new phono- graph thing I got me. Better than Rosie, my player piano. She's pretty good but doesn't compare with these newfangled....... (their voices fade as they become absorbed in conversation.)
Myrtle Ah, simply wonderful. You must be so happy here. So peaceful. No-one to disturb you at all.
Carlotta, are you alright? Are you ill? What is it?
Carlotta Oh, nothing. Eugene and I had a spat.
Myrtle A lover's quarrel. It will pass in a minute. Oh, darling, you're the happiest couple I know, and now with this house, you have it made.
Carlotta It cost a fortune and he's so stupid about money. We've come to rely on my income and that's even....oh, well, even that's (pause) unreliable.
Myrtle What do you mean? A secret? Oh, I'm snooping. Excuse me.
Carlotta Myrtle, you're my only friend out here.
Myrtle Oh, Carlotta, how bad can it be?
Carlotta You don't understand. An old friend of mine has passed away.
Myrtle Oh, my dear, I am sorry.
Carlotta A dear, dear friend.
Myrtle Do I know her?
Carlotta Him. A gentleman. I haven't seen him in ten, twelve years maybe.
Myrtle Is it the funeral? Do you need help...
Carlotta No, nothing like that. There's a problem with the will. I have an annuity. From my old friend. Who's just passed away. He said in the will my money should continue, but his heirs want to stop it.
Myrtle Some friend, Carlotta. Wish I had a friend like that!
Carlotta Don't make fun, Myrtle. We were very close at one time.
Myrtle Oh.
Carlotta He had a great deal of respect for me. I knew him before I met Eugene. When I went to Europe with Eugene, I explained how he needed me to help him with his work and that only I could help him..... and my friend understood completely.
Myrtle Sure he did.
Carlotta He was a man of the world , Myrtle.
Myrtle Uhuh.
Carlotta If there's to be a court case, I'm terrified of what Eugene might do. He thinks the money comes from an aunt.
Myrtle Why don't you tell him the truth? (pause) Right.
Don't worry about it, Carlotta. It would embarrass the heirs as much as you, if it came out in court.
Carlotta Maybe. But it's all so tawdry. Eugene's working so hard. It could kill him, he's so frail. Neither of us could stand the publicity.
Myrtle Does it matter if you don't have the money?
Carlotta Everyone thinks we're rich. Huh! We rely on my money, though Eugene would hate to admit it. We still pay alimony to Agnes—it's not even tax deductible. Our income is so erratic,—we just lost $19,000 on the stock exchange just last week.Anyway, I don't see why I shouldn't have my money, that's what my friend wanted.
(Phonograph starts playing "Alexander's Rag Time Band"loudly , Eugene dances
enthusiastically with Jane. Music stops.)
Sit down, dear. Don't exhaust yourself.
Eugene I have a mild tremor, Carlotta. I'm not dying.
Carlotta Nevertheless, people will blame me for not taking care of you. Every time he gets sick, they think I'm neglecting him.
Eugene Don't fuss!
Carlotta We're very close. Closer than any couple I know. I'd be happy with him even if we lived in a tent.
Jane What woman wouldn't? (Pause)
Myrtle Now, Eugene, I wanted to ask you. I heard you refused to talk over the radio to our boys in the Pacific.
Eugene War' s so pointless- it's like killing the same man over and over and he turns out to be you.
Myrtle Still you could do your bit.
Eugene Talking to a lot of people I've never met to pep them up?
Not my style. If they asked me, I'd recommend they open the whorehouses to GIs at 5 cents a lay.
Myrtle C'mon, Carlotta, it's a joke.
Eugene What the heck. My brother had a whore to keep him company when he took mother's body back to Boston on a train.
Carlotta He wants to put that in a play. It's horrible!
Eugene Come on, Myrtle, let's see what we can find to liven things up. Something to sing.
Myrtle What about this one. How does it go?
"Oh, the Frigidaire will never replace the iceman".
Eugene I say, I say, I say—the landlord calls upstairs to his wife—"Has the iceman come yet?"
Myrtle "No, but he's breathing hard"
Eugene and Myrtle Boom-boom!
Eugene Play Bedelia. I love that.
(Eugene and Myrtle sing and dance as it plays. Carlotta draws Jane aside.)
Carlotta Jane, could I have a word? Eugene needs so much typing and you're so efficient.The arthritis in my back is getting worse and I wondered whether.......
Jane Of course, Mrs. O'Neill. I'd love to! Please let me help.
Carlotta I'm sure Eugene would be grateful. Let me talk to him and we'll let you know. It's lovely to have young people around. My Cynthia helps out with the typing occasionally, but.......
Jane Cynthia?
Carlotta My daughter. She lives right here in California.
Jane I didn't know that. And Mr. O'Neill's children?
Carlotta Jane! Don't pry!
Eugene What is it?
Carlotta Jane asked about the children. We don't like to talk about them. They're all a great disappointment to us. We had high hopes for Oona, but this pursuit of fame and fortune is so ungracious. Debutante of the Year. Parties at the Stork Club. So vulgar! Eugene wrote and gave her a piece of his mind. He told her it would be better if she were a nurse or an aircraft technician or something useful.
Eugene She was a fine young lady when we last saw her.
Carlotta They've all wasted their talents.
Eugene Eugene's done well at Yale. He's a brilliant classics scholar.
Carlotta He's got the qualifications but the way he drinks! Oh, my! And Shane? He's lazy, plain and simple.
We told them not to visit come see us again till they learn how to behave. You can't go through life expecting........
Eugene Carlotta, show the ladies the rest of the house now.
Myrtle Oh, we were just warming up.
Carlotta The Master needs to work now.
Myrtle Never mind, there'll be other times! You must come see us.
Jane Goodbye. Mr. O'Neill. This has been such a pleasure.
Eugene Thank you for coming.
Jane, just a moment. I have a present for you.
(Eugene writes in a book and gives it to her.)
Jane (reading aloud) 'To Janie—from one about to order a tent, June '41.'
(The women exit as lights go down.)
ACT TWO SCENE TWO TAO HOUSE
(Half light. Eugene in dressing-gown.)
Eugene 'But something was born wrong.
The voice
Strains toward a sob.
Begins and ends in silence.
How can they hear
That cry denied utterance?
Or see,
Staring at me,
Whose eyes are blindly silent.
For seemingly
I am a quiet man
Unmoved,
Objective,
Without much feeling
Hiding within a crevice
Of the mind.
How can they see the tear,
Born dry and never shed,
Or pity the dream?
Oh well, I will dream anew:
I will hope
There is communion
Among the dead.'
(Carlotta comes on in dressing-gown. Snap spot as she turns on light.)
Carlotta Gene, please, get some sleep. (pause)
You must get some sleep, dear.
Eugene I cant.
Carlotta Leave it be.
Eugene I can't. I want you to promise. Not to release it.
Carlotta Please go to bed.
Eugene Until twenty-five years after my death.
Carlotta Your tremor' s worse when you don't sleep.
Eugene Carlotta.
Carlotta I'm here. I'll always be here.
Eugene Too many people would be hurt. Don't publish the script. Promise.
Carlotta Whatever you say , Eugene. It's late. We both need sleep.
Eugene Promise me.
Carlotta I promise. Go to sleep now.
Do you want me to stay with you tonight?
Eugene Yes. No. No, go, I'll be fine.
(Lights down.)
ACT TWO SCENE THREE SAN FRANCISCO
(1944 An attractive apartment overlooking San Francisco Bay. Eugene and Saxe talk
while Jane is seen typing on another level.)
Eugene Look at Alcatraz across the bay. I'd rather be there, I might learn something.
Saxe 'Iceman's a great play. Let me get a producer in New York.
And 'Long Day's Journey'—a masterpiece.
Eugene You haven't let them read that?
Saxe Of course not. But we need scripts like that, Gene.
Eugene Ah, what's to write now? My obituary?
'Eugene O'Neill—There's something to be said for being dead'.
Saxe You can't go on writing and getting nothing on stage.
(Enter Jane with papers. Eugene checks them.)
You're so perverse! Then publish , for God's sake.
'Moon for the Misbegotten'? Finished?
Eugene Final typing.
Saxe Great! Let's do that!
Eugene No. There's a war on.
Saxe Then publish.
Eugene People don't need a tragedy in the middle of this mess.
Saxe I don't believe this!
Eugene I'm old. I can be as stubborn as I like.
Jane He's fitter than he makes out. He can still do the Turkey Trot, believe me!
Eugene She's engaged to a boring Army dentist, but we have a tryst in the next life.
Jane Oh, is this the latest?
Eugene We're coming back as seagulls.
Jane I thought we were going to Russia to live it up on the royalties they haven't paid you.
Eugene No, I like my new idea. I'll whirl around and catch fish and bring them back while you sit preening yourself on a rock way out in the ocean.
Jane See you tomorrow. (Kisses Eugene on cheek)
Bye now , Mr. Commins. (exit Jane)
Saxe My pleasure, Jane. (pause)
Eugene One of the few people to get through the armed guard.
Saxe Ahuh. Listen, for the last time, please reconsider. You'll be forgotten if you don't release something.
Eugene You think I care about that?
Saxe Yes I do.
Eugene Well, you're wrong. I'm writing for myself now. I don't give a damn what they think.
Saxe Then publish. What have you got to lose? Come back to New York. Let's get these plays on stage. Come home, Gene.
Eugene Home? More stately mansions—such big, safe, lonely places. But home? What's that?
My life is—an exhausted horrible apathy. (pause)
Jane cheers me up.
Saxe You're not serious about this girl?
Eugene I'm in love with her.
Saxe Gene!
Eugene Can't be helped. God knows, she's the only person I see apart from my nurse.
Saxe Think what you're doing.
Eugene Carlotta rewrites my letters, discourages visitors, nags all the time. I don't know how long I can stand it.
Saxe Then come back east and see your old friends.
She's a child—you're 56 years old!
Eugene And on my last legs, that's what you mean. You think I don't know that?Hey, ever been to a columbarium? Place where you bury the dead to the tune of bird songs and gentle waterfalls. We visited one to celebrate my birthday. You couldn't hear yourself talk for canaries singing and fountains hissing.I swear to God, I'll live forever, just to spite those damned canaries. (pause)
Oh you can publish 'The Iceman' and 'Moon' , if it means so damn much to you.
Saxe You mean it?
Eugene But not Long Day's Journey.
Saxe Fine. Fine.
Eugene Not for twenty—five years after my death. The children.
Saxe Gene, I know this!
Eugene It's too.......personal. Not that they give me the same consideration.
Saxe Oona calls me now and then. She seems very happy with Chaplin.
Eugene She's had all the wrong sort of publicity, like a second rate actress of the floosie variety.
Saxe That's harsh, Gene.
Eugene I could have warned her against every blunder she's made, but no, she wouldn't listen. Oh, they've all messed up their lives.
Saxe Shane 's a hero. He saw action
Eugene Saw action?
Saxe With submarines off Africa.'An able bodied seaman, just like my old man' is what he told me. How come you don't know?
Eugene I've told you, they never write.
Saxe That's not what I hear. (Enter Carlotta)
Eugene Hello, my dear, we were wondering where you were. You left us alone for a whole ten minutes.
Carlotta Your cab's waiting , Saxe.
Saxe Thank you, Carlotta.
Carlotta I want to speak to you.
Eugene Saxe is just leaving. Don't treat him to an O'Neill-style showdown.
Saxe Come and see us out east.
Carlotta If we ever go. I loathe California. I've always loathed it. He keeps hanging on and on.
Saxe We all miss you and want you to come back, so just say the word.
Carlotta I can't say the Word. He says the Word. And the Word is We're Staying!
Saxe You're sadly missed, both of you. (Exit Saxe)
Carlotta What was that crack supposed to mean?
Eugene How much did you hear?
Carlotta I heard you're in love with that little trollop.
Eugene It's nothing . Just an old man's fantasies.
Carlotta Nothing? Then why do you kiss her on the mouth? Why do you shut the study door when she visits and stay in there for hours? Even the maid thinks it's improper. A man of your age! It's disgusting.
Eugene I can't stand the isolation any longer.
Carlotta I'm here constantly, waiting on you hand and foot and you call that isolation.
Eugene What do you call it? You intercept my mail, insult my friends, you lock us away from everyone.
Carlotta I deal with the mail. I stop people from interrupting you. That's how you wanted it, Eugene.
Eugene I know, I know. But it's too barren now. Let's open up just a little.
Carlotta You don't want friends, you want other women. Every day I hear the music going in there. You dance with her and hold her. Now I'm old, I'm no use. You're a nasty, dirty, senile, old man!
Eugene What about you? A woman who tells me she was left an annuity of $14,000 by a rich aunt, when it is actually payment for services rendered to an elderly lover.
Carlotta Who told you?
Eugene I drove down to see your mother when you were away in Georgia.
Carlotta That was years ago.
Eugene She's quite a gal, your mother.
Carlotta You've known for years,
Eugene Not quite the fine lady you made her out to be. We played a little poker, smoked the odd cigar.
Carlotta ......just waiting for the right time to punish me.
Eugene She told me a thing or two about you. Maiden aunt, indeed. You've been a high-class whore all your life.
Carlotta You are despicable, spying on me like that.
Eugene Your whole life's an act.
Carlotta You don't deserve the devotion I've given you. What a waste! One day, when I'm found dead with slashed wrists, the world will know about you.
Eugene Knowing you, the scene will be nothing if not dramatic.
Carlotta I'm leaving you, you bastard. See how you manage without me. (She turns to walk away)
Eugene Come back here! (She starts to walk, he catches her arm.)
Carlotta Stay away from me or so help me I'll kill you.
Eugene You would too.
Carlotta I said stay away. (grabs a paper knife from the table).
Eugene You'll pay for this.
Carlotta (screaming) Get away!
Eugene You won't need to kill yourself. I'll do it for you.
(He spins her around and punches her. She falls to the ground. Lights down.
He exits. Lights up on Carlotta. She speaks to the audience as she draws up an
injection. At some point in the speech she injects herself.)
Carlotta I won't tell anyone. I'll say I fell down. That's all. He'd be carried away to an asylum like his brother.
"You'll pay for this". "You'll pay for this." What is it I'm supposed to have done?
He's got a loaded gun in his room. Don't think I haven't considered blowing my brains out. Or his.
I know what he wants. To shelve me. For Jane. Alone in that room all the time. I know what they're doing.
We'll make up. We always do.
I'll get him for this. Not now. But soon.
His babies. His scripts. He'll suffer, the way I've suffered...
Swear you won't tell. Swear it.
We'll get back to New York. Everything will be fine. I'll have all my friends back. I'll be the toast of Broadway. Like always. Everyone will want to be seen with Carlotta Monterey!
(Lights down.)
ACT TWO SCENE FOUR APARTMENT NEW YORK CITY
(Saxe, Eugene and Carlotta in the latters' New York apartment some months
later. Carlotta is staring out the window.)
Saxe You must have stored them separately before you moved to New York. They'll be in another trunk.
Eugene No. They were in the trunk when we packed.
Saxe Then they must be here somewhere.
Eugene There's no point. They've gone.
Saxe This is terrible. So much work. Such loss.
Carlotta, where are they ? (pause) Were they in the trunk?
Carlotta If Eugene says so. His mind's deteriorating. They're....... misplaced.
Eugene You can't misplace a wad of paper this big. There were five or more scripts. They've been removed!
Carlotta Have they? Then find them.
Saxe Carlotta. May I look in your room?
Carlotta You mean in my private things. You mean my underwear.
Saxe Yes. We've looked everywhere else.
Carlotta (laughs) Why should I mind? I have no privacy, I have to share a bedroom for the first time in my marriage. And you think I care if you look at my lingerie? Nothing's sacred. Go ahead.
Saxe Thank you. (He exits to bedroom)
Carlotta (calling) Have a good look! Perhaps if you rifled through my shoes. Or my hats? Maybe the dirty linen?
Eugene Where are they? (pause) You've taken them.
Carlotta Don't be absurd.
Eugene You'll pay for this. (Saxe returns)
Carlotta What? No luck?
Saxe (returning) Are there copies?
Eugene No.
Saxe Oh, God.
Eugene I need to take something and go to bed. I'll decide what to do tomorrow. Or maybe I'll just go out and get drunk!
Where are the others?
Saxe Still at Random House. Ready for publication.
Eugene Register them, seal them up and put them in a top security vault. I want to know they'll be safe if anything happens to me. (exit Eugene)
Carlotta What's he mean? What's he doing?
Saxe Ensuring the safety of the unpublished scripts—and copyright too, I suppose, in case anything happens to him.
Carlotta That comes to me, doesn't it?
Saxe I don't know, Carlotta, it depends on his will.
Carlotta He told me. If he dies, they're mine. No-one better double- cross me on this one.
Saxe Carlotta, this is the whole cycle. Ten years work.
Carlotta Don't tell me how much work they were! I lived it, goddamn you! He won't have them published, let alone performed. We can starve as far as he's concerned.
Saxe Even if they're not published. they're of great historic value.
Carlotta I don't have them.
Saxe Carlotta, I beg you!
Carlotta For once in your life , Saxe, mind your own goddamned business.
Saxe Oh. this is terrible. I'm sorry. I'll go now. (he exits)
Eugene (returning) Hold it! I'm coming with you.
(turning to Carlotta) We'll go have a few drinks, old buddy!
Carlotta Gene!
Eugene Damn you, Carlotta. Damn you to hell.
(Lights down)
ACT TWO SCENE FIVE HOSPITAL ROOM, NEW YORK CITY
(1948 New York. Spotlight on Eugene in a hospital bed, on a platform slightly
raised to simulate upper floor, arm in a sling. Eugene Junior, now a man of
about forty, sitting on bed. Through this scene Eugene keeps trying to light
cigarettes, but doesn't succeed. He refuses help from Eugene Jr.)
Eugene Jr. Jesus Dad , you'll burn the place down! Look at you! You can't live alone. Come home with me. Shane's back now.... We could all go to my place in Woodstock...
Eugene Shane? He can't even look after himself.
EugeneJr. He's distraught.
Eugene He's just a hophead. They had no furniture, no running water.
Eugene Jr. For God's sake, it was an accident, the coroner said.
Eugene The name's cursed.
Eugene Jr. Same old Irish shite. I sure hope you haven't said that to Shane.
Eugene Don't you bring him here! I won't even see him. Carlotta said they neglected that baby.
Eugene Jr. What would she know? Why do you listen to her? She's so conservative she thinks Roosevelt was a radical.
Dad, you can't go back with her. Stay in New York with me.
Shane really needs you.... we need you.
Eugene I've done all I can. I sent him and Cathy to the house in Bermuda for a break......
Eugene Jr. You did? I thought Agnes paid.....
Eugene And what did they do? Sold all the furniture—even the ceiling heaters. Wrecked the place. It's the end with him. Got to stand on his own two feet.
Eugene Jr. He doesn't know how, father.
Eugene He better learn. I had to. Agnes should stop bailing him out. The Bermuda disaster was all her idea.
EugeneJr. Where will you go when you leave the hospital?
Eugene Guess I'll be a bachelor again. Carlotta won't have me. Not after this bender. I'm sure paying for it now. (Indicates his arm)
Eugene Jr. Live with me. I'll look after you.
Eugene If she'll have me back, I'm going.
Eugene Jr. She's destroying you. Look at you. For God's sake, give her up.
Eugene Can't live without her, son.
Eugene Jr. She stole your scripts... you can't forgive that.
Eugene I've got them back. They're safe. I can't do without her. You never stayed married long enough to get what I mean.
Eugene Jr. Thank God for that! Listen, Dad, listen to me. Iceman is the biggest thing to hit Broadway in ten years. Everyone wants to meet you. We can hit the town together. I've seen you with your friends at a ball game , singing round the piano. You come alive. We care for you.
Eugene She cares me. No one else would. Agnes wouldn't stand for it.
Eugene Jr. Yeah, well, you'll pay for it with your life.
Eugene Yes, it looks that way. But I might die quicker without her. Next time it might be my neck.
Eugene Jr. I'm begging you.
Eugene I got nothing left to give you, son. I'm an empty old man.
(pause. Lights begin to go down.)
Dearest Carlotta, (Exit Eugene Jr. during the following.)
This is the 20th anniversary of our being together. You have been life to me and the greatest beauty and joy and without you I am nothing. I love you, I am yours. Don't leave me.
Lights down
ACT TWO SCENE SIX HOSPITAL, NEW YORK CITY
(Carlotta in same hospital, lower level. Paces around, dials phone.)
Carlotta Mr Commins, please. Carlotta O'Neill. No, I can't, it's urgent.
Yes, Carlotta O'Neill.
Saxe? Carlotta. In the hospital. Just keeping an eye on him. All the hangers on are coming out of the woodwork now. Ah, let him sweat.
Listen—some scripts have been removed. Was it you?
What do you mean,' don't ask you'? I've got a right to know. They were safe with me! He misplaced them, that's all.
They're half mine! He willed them to me. I put as much effort into them as he did, I want to know where they are.
Don't give me the brush-off, you son-of-a-bitch, I've got enough on you to send you to prison for years, to prison, do you hear me, where you belong. You tell me where they are.
You crook, you Jew bastard. Hitler never killed enough of your kind! (Hangs up, then roams the room.)
He's had detectives tailing me ever since we came here. He's threatened to get gangsters to kill me. I wouldn't mind being killed—it's being beaten up that scares me. All these sordid tales go on in his brain.
But wouldn't it be wonderful if something strange and horrible could happen to me? What a great third act that would be! The final play is being written in his imagination. I should commit suicide or he should kill me or something.
I wish I believed in hell! It would help.
He'll have to crawl on his knees over broken glass before I'll forgive him this time.
(She examines her arm veins. Lights fade on her as lights go up on Eugene in
hospital bed)
Eugene For the love of God, forgive and come back. You are all I have in life. I'm sick and will surely die without you. You do not want to murder me, I know, and a curse will be on you for your remaining days.
I love you and I always will. Please, darling!
(Lights down)
ACT TWO SCENE SEVEN SAXE'S OFFICE, NEW YORK CITY
(Sept. 1950. Saxe and Eugene Jr. in Saxe's office. Eugene Jr is drunk and unkempt.)
Eugene Jr. Yeah, yeah, well what I see is a weekly program. Radio. With yours truly as host. Book reviews, comment, state of the arts—that kind of stuff. It'll sell here in New York , then all over. All I need is five or six publishers to sponsor me and I said to myself, good ole Saxe, he's just the guy to help me with that, being in the game and all. What do you think?
Saxe Not bad. There may be some interest from publishers.
Eugene Jr. Tried to ask the old man. Can't get through as usual.
Saxe I hear he's not well, Eugene.
Eugene Jr. Yeah, so? What do ya think?
Saxe Didn't you have a bit of a problem with some other program? (pause) Adolphe Menjou?
Eugene Jr. Oh, that! That was on TV. Hell of a joke. Got a great laugh. He had just won the best dressed man award. I turned up as worst dressed. Audience loved it—sponsors hated it. Typical. 'S not a problem, babe.
Please, Saxe, I gotta get some money. My job at the college is on the line. I 'll lose the house at Woodstock if I can't get the loan endorsed. But I can't get to him. As usual. I have to make some money real quick. The house is all I've got, man, it means everything to me.
Saxe I can't help you get through to him.
Eugene Jr. Why in hell not?
Saxe I can't.
Eugene Jr. You're his editor, damn it! (Pause)
Saxe I haven't spoken to him in over two years.
Eugene Jr. Even you.
Saxe Listen. I'll do what I can. About the publishers. But I really think the best thing you can do is go back to teaching.
Eugene Jr. Don't you understand? I want to be an actor. Or have my own show. Be somebody!
Saxe You're well known in your field, Eugene.
Eugene Jr. Nah. I haven't come up to expectations. He thinks we all let him down. What's a man supposed to do?
Saxe Stop drinking , Eugene, do yourself a favor.
Eugene Jr. Why should I? No bastard does me a favor. So you don't like the radio idea. Think it stinks, right? We're all failures—that's what he thinks. Me , Shane , Oona , we all done him wrong. Our big mistake was being born at all. 'Scuse me , world, sorry for intruding. I know about the play, Saxe. This family is cursed. No-one gets out of here alive.
Saxe I know what you've been through. But you got it made if you want to take what's offering. Go back to what you know.
Eugene Jr Got it made? Sure , I got it made!
No! No, leave it, Saxe. Leave it. I'll be fine.
(He walks away from Saxe as the light fades on Saxe who is making phone calls)
If I live through this one, I'm a man of iron.
(Saxe is obviously not getting a answer and becomes more anxious. E. Jr. removes a
half-drunk bottle of whiskey from one pocket and a knife from the other.)
Never let it be said of O'Neill that he failed to empty a bottle! Ave Atque Vale!
(He drinks the rest of the whiskey and light snaps off. A telephone is heard
ringing as lights go down slowly on Saxe who tries another number. Finally the
telephone rings in the dark and light comes up on Eugene Jr.'s body, upside down
and naked on the stairs, with blood coming from his wrists and ankles.
Lights come up slowly on Eugene and Carlotta who look drugged. The ringing fades
as storm sounds start.)
ACT TWO SCENE EIGHT MARBLEHEAD NECK, BOSTON
(Eugene and Carlotta sit in a darkened room with a storm raging
outside. Carlotta is rocking and looks drugged. The following dialogue cannot be
heard but is spoken, drowned out by storm sounds. Eugene prowls around,
becoming more and more agitated.)
Eugene I can't stand this any longer. I can't stand you any longer.
He goes back and forward speaking to Carlotta who does not respond.
Eugene I can't stand it. Where's my coat? Where's my coat goddann you!
(He makes as if to leave, turns and glares at Carlotta, who responds first with
confusion, then fear.)
Carlotta No! Where are you going? Don't go! Take me with you! No!
(She holds on to him desperately. He pushes her hard and walks out. The storm
sounds temporarily rise then fall as a door slams. Carlotta becomes more distressed
and begins a high-pitched keening cry. Her voice is now audible.)
Carlotta Don't leave me!
(Like a trapped animal she moves around the stage, peers into the darkness.
Storm noises louder.)
Gene! Gene!
(She shuts door then moves to centre stage.)
Come back!
(Iris spot contracts to her face)
Don't leave me here alone! The air is full of people!
(Lights down)
ACT TWO SCENE NINE HOSPITAL ROOMS, BOSTON
(Lights up, Eugene in hospital bed)
Eugene She was up to the gills in bromide. I'd had enough. I just walked out of the house in my shirt sleeves, into the blizzard. Didn't get far before I tripped and heard my leg crack. I knew it was broken. I lay there for a long time calling Carlotta. Eventually she opened the door. Then she looked at me mockingly and said these words—I will never forget them......
'How the mighty have fallen! Where's your greatness now, little man.' Then she closed the door.
Spotlight Carlotta
Carlotta It was a bitter night so I made sure he was all bundled up and warm when he went out for some air. He'd only been gone a little while when I heard a sound—like a kitten in the bushes—I love animals. So I went out and found Eugene lying in the snow. I asked him if he could get up, what was wrong...
Then the ambulance came. I hadn't ordered an ambulance. There was something going on. Something wicked. "Where are you taking my husband?", I asked. "To the hospital", they said. They just took him. They didn't even ask me whether it was all right or anything. I was afraid. I put on my heavy coat and started to walk. Then.... I don't remember. I woke up in this room with bars on the windows and a nurse said to me "Open your eyes, you're safe. Don't worry".
(Light down on Carlotta)
Spotlight Patrolman Snow (reading from his notes)
Snow On the following evening, that's Tuesday the 6th, I was making my rounds on foot and came upon Mrs O'Neill in a fur coat. I saw right away there was something wrong with her. She said 'My husband's in the hospital. I must see my husband." I told her to go back inside but she said 'I'm not going back to that house. I'm never going back in there. The air is full of people.'
I called a patrol car and we showed her that the house was empty but she still wouldn't stay so I called the doctor and we took her to the hospital.
(Light down on Patrolman. Spotlight on Carlotta)
Carlotta He says I'm crazy. That I'm sick. That I should have an attorney appointed. For my own good.
I'm not crazy, he is. He's threatened to kill me—the servants will tell you. He leaned over the bed one night and said "I'm going to smash your skull and all the blood will run down your face".
What am I doing in a mental hospital? That son-of-a-bitch psychiatrist never even examined me. 'The beautiful Carlotta Monterey,' he says, 'You are young and beautiful. You must forget your husband and start a new life for yourself.' He said the sight of me made Gene upset. He even had the nerve to kiss my hand. 'Don't play me for a fool, you worm', I told him, 'You want to put me away for ever. I have friends. I have money. I'll sue you for everything you've got.'
My doctor told me 'File for separate support and charge him with cruel and abusive treatment. Then he might think better of it and drop the guardianship petition.'
What a joke—I've looked after him for twenty years and HE takes out a guardianship petition. I'll sue him for conspiracy. The press will love it. I'll sue them all—Gene, his attorney and the psychiatrist, who put me here.
Soon he'll beg me to come back to the living death of my marriage. As he always does. And I will. As I always do.
But this time my rights in the will will be perfectly clear.
(Lights down. Exit Carlotta)
ACT TWO, SCENE TEN HOSPITAL ROOM, NEW YORK
(Spotlight Eugene in hospital with Saxe, surrounded by flowers and boxes of
candy.)
Eugene She would have let me die, Saxe, out there in the cold. She would have let me die!
Saxe Our house in Princeton is nearly finished. You can have a permanent nurse. You can stay with us.
Eugene I can't afford....
Saxe What's to afford?
Eugene My plays are forgotten. Not worth a nickel.
Saxe Bunkum.
Eugene God, if I'd used all the money I've spent on my wives to open a string of whorehouses, I'd have had a lot more fun and be a rich man today.
Saxe You have money! And remember 'Moon' will be published soon.
Eugene Won't make a million from that, Saxe. Let's face it, my plays are passe.
Saxe The later plays are magnificent, Gene. They'll be produced for years to come.
Eugene Well, I gotta find some other way to support myself.
Carlotta must be hard up. She tried to sell our story to Time magazine. They wouldn't take it. Said it was too sad. (laughs)
Ain't that something? (Nurse enters with medication)
Here's my guardian angel. 'Come and be Sweet to Me, Kid'.
Saxe Well, what about it?
Eugene What?
Saxe You know what I mean. (pause)
(Eugene takes the medication)
Eugene Tell you the honest to God's truth, Saxe, I want to go back to Carlotta. If she'll have me. I already sent a message to her. It's too late, pal. See ya round.
(He turns away from Saxe, takes the medication and looks out into the night.
Exit nurse.)
Goodbye, old moon, fall out of the sky, I don't need you anymore
(Saxe in despair. Lights down. Exit Saxe)
ACT TWO SCENE ELEVEN HOTEL ROOM BOSTON
(Hotel Shelton, Boston. May 1951. Carlotta offer him papers to sign,
which he reads aloud.)
Eugene 'I desire to be buried in a burial lot with my wife and I authorise my executrix to purchase such a lot and erect a simple stone thereon....'
(Eugene signs form)
'I designate Carlotta O'Neill as my executrix and sole heir. I purposely exclude from any interest under this will, my son, Shane O'Neill, and my daughter, Oona O'Neill Chaplin, and I exclude their issue now and hereafter born'
'Hotel Shelton, Boston, May 28th, 1951.'
(Eugene signs that form)
Eugene And the script of 'Moon for the Misbegotten'.
'To Carlotta, my beloved wife, whose love I could not possibly live without, in a spirit of the humblest gratitude for her love which has forgiven my recent shameful conduct toward her
Your Gene, Sweetheart.'
(He signs)
Carlotta Thank you, my darling.
(Lights down)
ACT TWO SCENE TWELVE HOTEL ROOM, BOSTON
(The same. Eugene, looking frail, tearing up scripts. There is a box next to him
full of scripts and a large pile already torn up. He continues for some time as
Carlotta enters.)
Carlotta My God!
(He ignores her and becomes more violent in the tearing. She falls to her
knees and rummages through the torn pile.)
Stop! It's like tearing up children.
Do you have to be so pig-headed? Stop! No!
(She tries to pull a script out of his hand. He lifts his fist weakly, but she gets
the script.)
Eugene Give it to me! No-one else is going to finish a play of mine.
(She holds the script to her)
Give it to me, Carlotta. They'll die with me.
Set them alight.
Carlotta No!
Eugene Set them alight. Get rid of them.
Carlotta You're still punishing me. Right to the end.
Eugene No, Carlotta, this has nothing to do with you. Please do as I ask.
Carlotta No.
(Eugene slowly extracts a packet of matches from his pocket and tries to light one,
dropping a lighted match into his lap. He tries again. Eventually, Carlotta gets the
waste paper basket, sets light to the papers. They both watch the flames. Telephone
rings. He falls back on the pillows, exhausted.)
Carlotta Why can't they leave us alone?
Hello. Yes. Who is it?
It's Saxe. Are you up to talking to him?
(Eugene)
Put him through.
(Light up on Saxe)
Saxe Hello? Carlotta? I had to call. Everyone wonders... how is he?
Carlotta Very weak. He can't talk long.
(Carlotta hands the phone to Eugene who listens, smiles and nods.)
Eugene Yes. Sure. Carlotta is taking good care of me. Say hello to everyone,- Russel, Langner, Sherlee—you know, the old crowd.
Saxe Dorothy sends her love and Anne, Aronberg, Sherlee—everyone. Russel's here with me. Is there anything we can do? Gene?
(As Saxe speaks, Eugene slowly drops arm holding phone and begins to sob.
Carlotta picks it up)
Carlotta He can't speak any longer, he is too tired. That's the truth, Saxe! I'm taking good care of him. I don't leave him alone for an instant. And I just paid his hospital bill,—seventeen thousand dollars. And five thousand to the Theatre Guild. We're penniless.
The doctor said I needed a rest in the hospital, but Gene said—'no, she is my wife and she promised to stay with me for better or worse. Her place is here. If she dies, well, let her die'—and he meant it!
Saxe Doesn't he want to see any of us?
Carlotta No, he doesn't—and no priests either.
Saxe Did he get any of the letters?
Carlotta Of course he did!
Saxe Please let me know if there's anything I can do. Anything at all.
Carlotta There's nothing anyone can do. (Carlotta hangs up. Pause)
Eugene (groaning) I need more sedative.
Carlotta It's not time yet.
Eugene Oh, God, take me, I can't stand this life any more. Let me blot it out for a few hours.
I'm hooked. I know I'm hooked. The lower doses don't work any more. Oh God, put me out of my misery.
Carlotta And what about my misery? My life is hell too, you know, stuck here with you, in poverty, with nothing to look forward to. And you sit there burning years of work. Years and years of work.
Eugene Don't get upset.
Carlotta And no more talk of suicide. Another threat to jump out the window and I'll open it for you and dust the sill into the bargain.
Eugene No, my dear, it's over. No need for that. I'm done for. Born in a hotel room—dying in a hotel room—a helpless baby. You're my Mama now (desperately holds her hand against his face).
Carlotta No, Eugene (trying to withdraw). I'm Carlotta, not your Mama. (Now pulling away in horror)
Eugene You're my Mama, you're my Mama now.
(A spot stays on Eugene hanging on to Carlotta's hand as she pulls away
stricken,—both motionless. Light up on Saxe)
Saxe Eugene O'Neill died on November 27th, 1953. Three years later, 'Long Day's Journey into Night' was the dramatic hit of the Broadway season. There was only mild scattered criticism about his widow releasing the script against his wishes.........
(Lights down slowly.)
END
New: 14 September, 2022 | Now: 14 September, 2022