One-Act Play Collections - Book 14, Part 2 - Free Audiobooks

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(00:00):
History is Mystery by Arthur Wing Pinero.
This is a LibriVox recording allLibriVox recordings are in the
public domain for more information or to volunteer,
please visit librivox.org. Characters mr.
Owens Silverdale of silver. Taels Academy for Young Ladies

(00:22):
read by Trisha. Gee, John Royal read by Thomas
Peter, Joel, a farm laborer, read by son of the Exiles.
Nancy Butterworth, a widow, readby Sonia.
Hester her daughter read by EJ Lavery.

(00:44):
Stage directions. Read by Larry Wilson.
Time the present see the dairy in stable yard of Nance
Butterworth's Farm on the right,the exterior, or the stable with
a half door, leading into it below the door down stage, a
stack of straw and some straw litter above the door, a

(01:06):
three-legged stool in the centerof stage, a small pump with the
handle towards the right againstthe pump a basket.
Bottom upwards covered with a horse cloth.
On the left and open shed under which are some wooden benches
with buttertubs on them. Milk cans, Etc, standing about

(01:27):
at the further end of the shed, a small door leading to interior
of dairy downstage left outside the shed, a small table and
stool on the table is a scrubbing brush and under it and
iron, pale opening up the stage,right and left with Hedgerow,
and Meadow and view of distant country at back, the whole scene

(01:48):
to be quaint, and old-fashioned and is right as possible.
At rise of curtain. Joel is discovered asleep on
stool up, right? Joel is an Old Farm laborer with
straggling gray hair and a withered face.
Where's a dirty Spock? Frock.
Worsted stockings and very large.
Heavy boots. John Royal enters from up the

(02:09):
stage left carrying some harnessover his shoulders.
He is a fine strapping. Young fellow wearing no coat a
very white shirt, breeches and leather gaiters.
He crosses over to stable and sees Joel.
On shaking, Joel. Joel.
Oh boy. A mirror.
Rouse yourself, man. You are always sleeping about

(02:31):
the place like a cat in The Sun.Music ceases.
Mrs. Butterworth, will send a mill, pillage your head.
If she catches you, you're all arising boy.
I don't care for that. The mrs.
Tony is harder than any Milk Pail oily ever come across.

(02:53):
Don't cross into stable door, I'll get to work and get to
work. You know, what enough for the
mistress's, daughter is coming home from school today and
everything is to be made as neatas a new PIN or not a going to
do another stroke till I of that.
A glass of the aisle boy noise perishing for a glass of Yale.

(03:15):
I'm ashamed of you. You'd best beer be ashamed of
yourself wall. You're right.
Oh yeah, we've been on Powers from a nice 17 year and you've
been here less nor week. When your ride 17-year of mouths

(03:35):
bar were stung. You'll be doomed.
Glad of a glass of Yale. So get in the stable and do your
work, you're a new and on the farm and I'm not proud of your
acquaintance. Thank you for nothing.
Joel goes into stable, right? Joel comes down.

(03:58):
It's a boy's toy. I ain't got no patience with
them and thinks too much a, keeping his shirtsleeves clean.
Its own basket Center work and dirt always go alongside always
say, there's no Farm labor of attend.

(04:21):
Loyal. Rounders dirty as oi'm closing,
his eyes though, I should like the wash meself out with a
class. They yo, yo, what's his head
against pump and doses? Nats Butterworth, inter's,
upstage left carrying a wooden pillow under her arm.

(04:42):
She is a tidy looking woman of about 40 dressed in a neat.
Print dress coming down to her ankles and showing a clumsy pair
of hobnail boots. She wears a bib apron and her
sleeves are turned up over her elbows.
Her manner is sour and harsh. She comes down to table and puts
her pale upon it Nancy and Joel sleeping bless my soul and body.

(05:08):
There's that lazy honks dozing again.
Take scrubbing, brush from tableand throws it to Joel.
Get up, you lazy Vagabond, Joel Rises, where's my scrubbing?
Brush on my chest, mrs. Returning it to her.
What do you mean by sleeping about the yard to the very pigs

(05:29):
blush. It, you, you rob a poor Widow,
by taking her money, and eating a vital and all you do for it is
to get better with a mouthful. All the world, like the poor box
at the church, he under let themknow what an idol Thief.
You are, 410 my round. Oh, your tunnel, reach that far,
without your stirring, to tell them, that's raising her pale,

(05:53):
threateningly, what oil? Not to see Vee.
I'm well-nigh, dyin for a glass of Yale.
You will die before you get it out of me.
Do you know what today is Oh boy.
So Freud a and do you know who'scoming back to the farm this

(06:14):
very day after being away, ever?So many long months.
Oh boy. No, my baby, my daughter has
stir that you're not fit to livein the same world with.
Well, we came into the world of for so that sir look out
first-come. First-served is my model.

(06:38):
And on a day like this, you think of nothing but are
swelling, you are not a man. Yes, I am.
And I have been one for 50 yearsold, more, your heart's made of
pewter and your Bloods made of beer and your brains are nothing
but hops. So get out of my sight or here

(06:59):
will be tainted with you and notfit for my baby to breathe.
John appears at the stable door.Well if your daughter takes off
the remover there'll be a toy t-bill conversation going on
here. Abouts, get out Joel, do what
you have to do and don't be rude.

(07:21):
You mind your own business, John, Royal to Joel, Joel,
you've got to go to the railway to fetch up, my baby and her
boxes. So keep your eye on the clock.
For it's nearly our now. Oil, keep moiety on the clock.
I am dead on that job slouches. Our Fab left was.

(07:43):
So when I losing my temper with the Vagabond, she takes iron
pale from under table and goes to pump.
John steps forward and works thehandle for her.
You're very polite, young man a deal too polite for a good
Workman. She takes the iron pill to table
and commences to scrub the wooden pale vigorously, so we

(08:05):
say that Mrs. Butterworth. I hope I shall please you in the
long run. I'm a new hand on a farm guy and
you're a bit of a mystery to me.You're the first man I ever took
without a character, where you came from heaven above knows,
but I'll give the devil East. You, you've been in my house for
days and you haven't stolen anything as yet.

(08:28):
No. Not even a kind word from you.
Hey don't you be too quick? Young man is sharp tongue is an
edge tool and makes ugly scratches.
All right. You're right.
They're advancing should I do? You're scrubbing for you.
Nay not you. You'll soil, your hands.

(08:51):
John. Looks at his hands.
They are white enough. Still don't fret yourself.
John seats himself by the pump takes out a short ready, loaded
clay pipe lights, it had smokes complacently.
I guess you were a Clark or writer or a nothing at all.
Before you came to this part of the country, a John puffing, the

(09:13):
smoke. Maybe you've not worked with
your hands, that's clear. Perhaps not like enough, your
heads, not over strong like enough, perhaps you got into
some scrape that drove you out of your own part of the country.
Perhaps, so I clean scrape or a dirty one.

(09:37):
Who knows? Hi, who knows.
Nance angry at his coolness. What brought you into this
country? Looking for work.
It's not many farmers. It would take a man without
knowing his story. That's true.
What led you to my farm? John Rising Cooley?

(10:00):
Well, they told me you had such a hard heart and a bit of tongue
that she were glad enough to find a stranger would work for
you manse, dropping her scrubbing, brush did day.
I they did well he don't call that twerking.
Do you smoking a beast eclipse? Best black as your own history.
Maybe haven't you got a job to do?

(10:22):
I'm adding some harness but I haven't finished it.
Why don't you finish it? Because my back aches your back
aches. Your back is Broad and big
enough. Well the bigger the back, the
more there is of it to ache. Their biggest Puttin for losing

(10:43):
my temper or into the stable door?
Should I put the trap to to bring your daughter up from the
station? No she'd walk and Joe will lift
her boxes but she has traveled along distance and maybe tired.
You look here. I want no hints from you or any
like you. My daughter is my private

(11:05):
business. She's not part of the farm for
you or any man or woman on the farm.
To bother your head about my baby is, all I have left in the
world that is precious. And I don't allow his soul to
metal between me and her Joel enters it back from left or
we've been keeping moisture on the clock.

(11:27):
Um, Trina will be there in a quarter of an hour.
Should I go with Jordan and lendhim?
A hand of the boxes? No, supposing.
They are too heavy from to carrythen.
Drop them. You finish your job John going
into stable. Did I see please do as you're

(11:48):
told exit John into stable Nancytakes up the pale.
She has been scrubbing to Joel. You get down to the station as
fast as your legs can take you without so much.
As a drop of Yale, that's going up to the dairy door, under the
shed left. If you try, you can have a basin

(12:10):
of skin. mmmmmm milk you can water it there's the pump exit
carrying wooden pill into Dairy right well if there's a clawsome
on that's put on and downtrod issee agricultural labor willing
off towards left lure here's a suit a black coming through the

(12:34):
gate is much like old mother Charlie's Raven there's anything
Eversource or why it looks like a possum.
If he preaches to me or you'll hit him over the head with a
rake. Mr. Owen Silverdale.
Intercept stage, right? He is a young man dressed in a

(12:57):
clerical style, neatly in black and is Sleek in appearance and
meek and manner. He wears an eyeglass and carries
a book under his arm and a smallumbrella.
In his hand, his men are is effectively Bland Silverdale to
Joel. I say my man is this
Butterworth's farm boy, this is but worse Farm Is it really is

(13:23):
Miss Hester at home? No, she ain't.
Isn't she really when can I see her?
Well, is a general rule when youtake that glass out of your
voice? Should think?
I tell you, she ain't a gnome. Where is Mrs?
Butterworth in the dairy really?Um, will you fetch her?

(13:50):
Know why? Mmm.
Damn, before you will all leave.God job that I'm dead on.
So good morning, goes up to right.
And then turns round to Silverdale.
Boys say mr. Pastor you or teetotal?
Uh, no, no more. And oi aren't you really?

(14:15):
Wow. Lookie here oil not deceive you
or him dropping for a glass of Yale.
Now you've ended me in a job that I'm dead on and I feel more
oily inclined to drink your health coming down right center.
Really kindly hold that gives book to Joel and that gives

(14:41):
umbrella. I will search for a shilling.
Anke Silverdale producing the shelling and holding it up for
Joel's inspection. I have found one, taking
umbrella a book from Joel. Thank you so much.
I understand that you are in need of a little refreshment.
My friend had you been very civil.

(15:04):
I would have bestowed upon you asmall donation but you have
behaved, so excessively rudely that I should not give you a 12
part of this Schilling though. Your bucolic.
It's dependent upon the ACT. Returning chilling to pocket.
Must you really go Jewel. Looks at him and blank
astonishment, and indignation and then walks off.

(15:27):
Upstage right Silverdale lookinground.
Now, where is Hester's mother? I wonder going to stable door
knocking. Is anyone here?
John appears at the door. Couldn't do anything for you.
You really can I want to see. Mrs. Butterworth.

(15:49):
John 14:2 dairy door. I think you'll find her in the
dairy under I'm missing myself. If you'll excuse me retires into
stable. Thank you very much
thoughtfully, looking in the direction of John Deere me.
I fancy. I've seen that face.
How strange where could it have been?

(16:12):
Let's comes out of dairy meat. He's over Del Hello.
Who are you? And what do you want?
I think I have the pleasure of addressing Mrs. Butterworth, I'm
Nance Butterworth and you are onmy premises, really.
My name is Silverdale Owen. Silverdale my sister Martha and

(16:34):
I are the principles of silver Dale's Academy for Young Ladies,
at Shrewsbury, at which, your daughter Hester has been a
promising, pupil for the last three years.
I may consider myself a friend of your daughters.
Does he lie holding out his hand?
How are you? Men's putting her hands behind

(16:56):
her? Your bill is paid, isn't it?
Oh. Do you want to leave a tractor?
Something. Not at all.
I have lately had occasion to distribute the prizes at our
Academy holding up a book. Now, your daughter left school
rather suddenly without availingherself of a He'll reward of

(17:16):
Merit, a small volume of domestic.
Poems, a prize for Good Conduct,finding myself, in this part of
the country. I have given myself the pleasure
of placing it in her hands. It's a pity.
You bother yourself. Not at all.
I am. I may say a little attached to
your daughter. Hey, as the phrase goes, I have

(17:40):
a sneaking kindness for hastur. Hey, I'll be bound.
It's a sneaking one. You are really a little harsh.
Mrs. Butterworth. I am a bachelor, so I should
hope. And if you have any charity and
Goodwill towards poor creatures of my sex year remains.

(18:01):
So really, I think I should makea fairly good husband Nance
advancing towards him, stop a bit.
I don't know that. I White see your drift.
What is it? My dear Mrs. Butterworth, your
open-hearted candor is quite refreshing.

(18:22):
I am exceedingly fond of your daughter.
Now, I understand you. You say, my plane talk is
refreshing. If so, you shall have a regular
Feast of it. Look you're here mr.
Silva tongue or whatever your name is my daughter is all that
is left to me out of a heartbeatalive.

(18:43):
I've I know what marriage is. I've had a wretched experience
of it with a drunken cruel husband.
And I mean, to spare, my Hester,the same fate or any chance of
it. She's my baby.
These are the only arms she shall ever fly to and she shall
remain my baby till her mother'sput under the ground.

(19:04):
You really say? So dear me, I I really say.
So as for the rubbishing book, you can give It to her if you
like and then you can pick off about your business or may help
you find your head in the Beehive going up stage.
Thank you. Very much is Hester at home.

(19:27):
Hello man. How should she be?
But we're expecting her by the midday train and so you won't
have long to wait, you know, sheleft her school only yesterday
and it's a really Journey from Shrewsbury.
They tell me, 150 miles or more.Left school only yesterday, do
you really say? So, I left school Only

(19:49):
Yesterday, is there anything strange in that, that you stand
there. Staring like a puppy with its
eyes. New opened left school Only
Yesterday, um, well talking to you isn't scrubbing, the dairy
breaks. You can take a walk over the
farm. You'll find the pigs at the
bottom of the kitchen ground. They ought to be glad to see

(20:11):
you. Goes into Dairy left Silverdale,
puzzled left school only yesterday, really not but I
happen to know Hester. Quitted, the academy exactly six
weeks ago. Hmm.
How strange, what has Hester been doing?
For the last six weeks? A, I don't think my shrewish

(20:34):
friend. The female farmer is quite as
cute as she thinks herself. I'll take a little stroll.
As he is going up left, John appears leaning over the stable
door and calls to him. I beg your pardon.
Do you carry a watch Silverdale left back turning round?

(20:55):
I really think I do referring tohis watch.
It is 12:45. Thank you to himself.
Joe's should be back from the station now, retires into the
stable. Bless me.
Where have I seen that face somewhere?
I am sure the odor of mystery mingles with the perfume of hey

(21:19):
upon Butterworth's, Farm Hester unknown to her Pleasant
sweet-tempered mother leaves School, six weeks ago and
returns to her home today. There are six weeks to be
accounted for Miss Hester and tome, six weeks, bless me.
What a great deal of Mischief can be done in six weeks.

(21:43):
Looking at the book, he carries a prize for Good Conduct.
Good Conduct a hmm, really now goes off, uplift pondering, Joel
appears, upstage from right struggling under the weight of a
heavy box, and carrying also a bandbox and parcel, he places

(22:04):
the luggage on the ground of stage Center.
Joel wiping his forehead. This is AD Roy's job.
I've ever put my hands into al-salam ever airs the baggage,
but also implicit avoid know where the gal is goes to the

(22:25):
dairy door and calls. Always say mrs.
Dance comes out. Well, where's the child?
All you more leader turned. If I know the train adenine, the
station, 10 minutes or more. When oh he got there and there

(22:46):
was nothing on the platform. But that liar luggage.
What you fool? You were late.
You're right there. Mrs. But oil not the CV or he
was Will noid roid up for a glass of Yale soy just dropped
into the pig and Aaron mr. Runs on from upstate, right?

(23:11):
She is a very pretty girl dressed in a neat.
Travelling dress. With a straw hat and little
Cape. She carries a traveling bag
here. I am mother.
Did you think you had lost me? She goes to Nance who puts her
arms, fondly round her and kisses her My baby.
Joel coming down, right? No, he went down to the station

(23:36):
to fetch your Miss St. Both the train come in a bit.
Too early and missed me Hester. Kissing Joel.
Alright Joel, how are you givinghim the traveling bag?
Take that bag Joel, it's full ofpretty presents for everybody.
Joel takes bag goes up stage andsits on box at back.

(23:59):
Manse putting her hand on History shoulders and looking at
her baby baby. You're too smart and gaudy for
the life you have to lead, you are a woman now has stir and no
longer school. Girl, and the woman is of little
use in this Farm till she can turn her sleeves over elbows and

(24:19):
do a man's work. For half a man's pay, and I'll
do that mother and I'll never tired.
My work, rough or easy. It's all rough.
Baby for such as we are the world is a pool, my child in
which the poor folks, struggle and splash and eat each other
for subsistence like the fishes to the surface of the pool is

(24:41):
frozen over into a sheet of clear, smooth ice for the rich
to skate on and the great folks Glide about over the heads of
the poor without a fall or stumble.
Great. Folks have their miseries to
sometimes just as the squires daughter broke through the ice
at the Mill. Pond last winter and got a
ducking. That was because she had a man's

(25:02):
arm round her waist. And the eyes wouldn't pay.
The to never have a man's arm around.
You has said and you'll come to no Mischief.
So off with your final, his child and say goodbye to your
lady's life mr. Taking off her hat and cloak.
I hate an easy life mother, she dresses up the pump with her hat

(25:23):
and cloak. There that is all that is left
of Hester. It's a fine lady.
And now I am nothing but your little farm girl mother dear and
don't wish to be anything better.
Look, I shake hands with the fine lady and regret that
pressure of circumstances. Renders it necessary that we

(25:44):
should terminate our acquaintance.
She shakes the pump handle warmly That is like my baby but
take off those wretched gloves for, I hate the sight of them.
Hester takes off her gloves. Your mother never wore gloves.
No, your grandmother before her come and sit down mother.

(26:06):
Let's take stool from left and in doing so turns her back upon
Hester for a moment. Esther his taken off her gloves
and suddenly looks at her left hand aside, oh my wedding ring
Let's have turning. What's the matter baby?
Esther snatches the ring from her hand and impulsively flings

(26:28):
it through the open stable door,nothing mother.
I've torn my glove, that's all. And no lost neither Hester sits
on the basket Center nansen stool by her left.
Now Joel empty. The lucky bag of the pretty
presents. Joel comes down, bringing this
tool from up the stage right sits and opens bag.

(26:52):
Dip, your hand in Joel. Here's a pretty thing, and a
very pretty thing. And who's the owner of this?
Pretty thing? Joel dips.
His hand in the bag and pulls other babies shoe tied up with
blue ribbon. What's that Joe Hester taking it
from Joel? It's a, it's a purse mother, a

(27:15):
new style, something like a baby's shoe, you see, you put
the money in there and then tie it up with a blue ribbon.
I I think I'll unpack the bag Jewel, slips, the shoe, into the
bosom, of her dress. They it's a job or him dead on

(27:36):
takes out a book and hands it toHester, it's a church service
for you mother giving it her. Thank you my dear.
So it's a so pity the edges thatguilt.
The words are bright enough, anddon't want no gilding Turning
over the leaves. You've been reading.
It has stood like a good girl. He is a leaf turned down.

(27:59):
Oh yes I was looking at it in the train Ned's sternly.
Yes them my girl races. Yes mother.
Do you know you have turned downa leave at the marriage service
or mother have I don't study that my girl for it's the only

(28:19):
part of the book that's dangerous for the unwary.
Why they call it a marriage service for me?
It was a marriage slavery since but some people are happy, when
they are married, they were smiling faces because they're
ashamed to own their bed. Bar again just as a fish swims

(28:42):
about for years and years with an old hook in his gullet, he
met plink and Gulp and flip his tail.
But the hooks in his inside all the time, I am and he never
forgets the bright Summer's morning when he swallowed it.
I swallowed your father, my dearand an uncomfortable sort of a
dose. He was, what did he do?

(29:04):
Mother why he drank be a knockdown Skittles have his time
and drink more beer, and knock down his wife, the other half,
but he's dead and gone. And I mustn't say a word against
him, but if ever there was a Brute out of a style or a
kennel, he was one. Shutting up the book sharply

(29:24):
there. Thank you for the gift my pet
and we won't look at a marriage service anymore but book in her
pocket Rises now Joel what else have you in the bag?
Oh, you'll see Miss St. He dips his hand in the bag and
produces an infant feeding bottle.

(29:45):
The bottle has no tube and is inthe shape of a flask good
gracious. What?
It's that that all this moist Soul, it's as much like a baby's
ball as anything or any ever sore that?
Oh, that's my travelling flask for a long journey.

(30:08):
It holds Brandy pale. Brandi always should see or
Sherry or milk or anything refreshing.
Joel puts it to his lips. Well, ol oily know.
Where's It's mighty, weak refreshment?
Put it back, Joel, what is next?Joel produces a huge pair of

(30:32):
slippers. Those are for you.
Joel to wear after your work is over.
I don't know whether they are your size but they will stretch
more trouble. Oi aged necessity or you'll whip
them. Their shoes is very afternoon.
In with a glossy a 0. What is next?

(30:53):
Joel takes out a pipe case and holds it up.
That is a pipe for Gem. Landon the stable lad in the
first place. Jam lending, never smoked in the
second. I turned him neck and crop of
the farm four days ago. For being Saucy, it will do with
a man in his place. Is there a man in the stable

(31:14):
Nan's calling? John John, Royal.
John appears it. Stable door.
I am here. This is my daughter Hester and
she has brought a present for a man that's gone.
You can have it if you don't care for another man's leavings
taking hat and Cape off pump. John comes out of stable and

(31:36):
holds out his hand for the pipe.Yeah, sometimes mothers kind and
doesn't mean to be hard. John, there's the pipe with my
best. Wishes, John taking the pipe.
Thank you, Miss Esther. And I smoked it, I think of you
and now YouTube man, get that box into the house and up the

(31:57):
stairs Hester. You must be dying for some
vittles. I'd rather wait mother I want
Look at the horses, send John back to show me over the Stables
very well. Come along men, Lance goes off
uplift, followed by Joel and John with the Boxes Etc.

(32:17):
Esther after watching them off, thank heaven for a moment's
relief. Takes you out and kisses it
earnestly? Where is my memory?
How imprudent I am? Dear little shoe, what a Pity it
is that I should have to tell such great big fibs about such a
soft innocent little. Woolen thing is you And now,

(32:41):
where is my wedding ring? I must hide it in some secure
place looking round. Poor dear wedding ring.
I am so. Sorry.
Where could I have thrown you? I remember in the stable,
supposing a horse has swallowed it.
How married, he'll feel she opens stable door and goes into

(33:02):
staple closing door after her. Mr. Owens Silverdale appears at
the back from left, The vision of a traveling trunk in a
bandbox leads me to suspect thatthe prodigal has returned.
Dear girl, I quite long to see her.
Mr. Sabe in the stable. Oh dear.

(33:23):
Oh dear. What should I do?
Silverdale, listening, really? That sounds like a woman in
tears. A long association with an
academy for young ladies. Renders, the sound quite
familiar to me. History comes out of the stable
crying. She does not see Silverdale who
is up the stage. Oh dear me.

(33:47):
I can't find it and I'm a mouse.Two miserable girl.
Why did I throw it away with herhandkerchief to her eyes.
Leaning, unstable door, a prettyring like pretty ring.
Silver Del comes quietly down faster.
Dear touches her, with umbrella,Esther turns, and confronts him

(34:10):
with dismay. Oh mr.
Silverdale Silverdale holding uphis hand gushingly.
How are you, mr. Sobbing, I'm very, I'm very Not
at all. Well, so for Dell taking her

(34:31):
hand, my poor little sweetheart Hester.
Releasing her hand, Mr. Silver Dale, what are you doing at our
farm? Have you seen mother?
Yes, a few minutes ago, a Charming woman, your mother
really Charming. So honestly outspoken and with
such an absorbing trust in you, it quite seems to have swallowed

(34:54):
up her faith in other people. Pistor, coming down right center
nervously. I hope my School Fellows are
quite well, mr. Silverdale quite well.
Mary, Manders had measles when Ileft.
Is she better much better? I really thought it one time

(35:14):
that she had transferred. The ailment to me, which would
have been unfortunate. I have never had the measles,
indeed, mr. Silverdale, no.
Have you have you? You have I what?
Mr. Silverdale had them had which mr.
Silverdale the measles. Oh mr.

(35:36):
Silver deal. What brings you here?
Principally to see you. Oh no really why be astonished?
You know how fond I have been ofyou for months and months and I
am such a faithful man where I love.
I stick like a plaster For Better or For Worse.

(35:57):
Go away from this place. Please, mr.
Silverdale, I have told you often and often that I don't
like you that I won't like you as that I can't be bothered with
you. I'm not a flirt know if I
thought. So I could not reconcile it to
my conscience to pay my addresses to you pointed to

(36:18):
stool Right Center. Sit down.
You must be so tired. No, I'm not tired.
Yes, you are. Are you have come a long
journey? No, I have only been a little
distance to visit a friend. Really, I think you are making a
mistake. My dear, your mother tells me.

(36:39):
You have just arrived from Shrewsbury.
Oh, she sits helplessly. So for Dell coming close to her
and looking down upon her when you left school, my dear Hester
six weeks ago. Oh dear.
Oh dear six weeks ago, you quitted the academy very

(37:01):
suddenly and before the expiration of the term to visit
your mother who you stated was on well so hastily did you leave
us that you robbed me of my privilege of presenting you on
the day, following a little RiseHolding Out book, a volume of
sweet. Domestic poems, a prize for Good

(37:23):
Conduct, well, mr. Silverdale to bring you.
This little book is one of the objects of my visit.
Esther starting up. Oh, give it to me and go away
please. So I will dear Hester when you
prove to one of the principles of your establishment that this

(37:43):
reward of Merit has not been forfeited.
Added a so I will when you have accounted to me for your actions
during the last six weeks. Mr. Sits again hopelessly I
can't it is no business of yoursand every man should mind his
own business. It is my business because I like

(38:04):
you so much and I want to know how it is that a young girl?
I am fond of leaves School unknown to her mother six weeks
ago and only arrives home today.If you like me, why do you
harass me? So, because you won't love me in
return. You always were an obstinate,
girl, Hester. And I mean to break, you be kind

(38:28):
to me, say one, pretty weird to me.
And you can bury the last six weeks and make your mother
innocently walk over there, grave.
But if you refuse me this favor,I'll split upon you.
I'll show your Pleasant voiced soft-hearted mother.
That you have been deceiving On her and I'll turn every blade of
grass in that Meadow into a lashfor your pretty little

(38:52):
shoulders. Do you hear?
I'll love you. If you'll let me and I'll plague
you if you won't mr. Rising and looking at him, you
know I won't love you. How could any woman in her
senses? Love a mean little man like you.
So I really am a mean little man.

(39:13):
A very well, I'll fetch your dear Mother.
He is going, she follows him. Oh, I didn't mean to make you
angry. Don't split upon me, mr.
Silverdale, don't split upon me.Oh, I can split upon you then.
Can I? Yes, I confess I am deceiving

(39:35):
mother for a little while only for a little while.
I did leave the academy six weeks ago and I have only come
home today, but don't tell Talesout of school.
Don't you do a thing that every girl in my class would have cut
their tongue out rather than be guilty of.
I'll not tell Tales if you'll befriends with me, that's all I

(39:58):
want. Hester.
Histor right-center taking his hand.
Thank you. Dear mr.
Silverdale. Thank you.
Loving You. Hester is really my only fault
so kiss and make it up kiss and make it up.
Yes. We've had a bit of a rowdier,
haven't we kiss and make it up as true pointed to the book and

(40:23):
silver Dale's hand? Oh I see you want to rob me of
my prize for Good Conduct and put it on your own shelf.
Rousing herself look here, I once box your ears at Shrewsbury
Silverdale raises his hand to his ear.
Yes you remember it. That's the side.

(40:43):
If you ask me to kiss you I'll box the other side or what is
better. I'll get somebody else to do it.
Enter John Royal and Joel at back John comes down right Joe
left. You're a sneak that blabs and
tells tales and you are the worst of sneaks because your

(41:05):
spiteful two girls. To John John Royal you are my
mother's servant and as such youare bound to protect my mother's
daughter pointing to Silverdale that person has been rude to me.
You are a big man and I know a lot of strong words tell him
what I think of him do stop a bit.

(41:29):
If there's gonna be any blood spill, the missus would like to
be in order to join. Oh Mozart.
Uplift then rules has he John advances to Silverdale?
Looks him up and down and then snatches his umbrella from him
and flings it away sir. You have been removed, he

(41:50):
snatches book from him and flings it away with enroute.
Have you sir at the present moment?
I am not prepared, I really am not for a muscular encounter,
allow me to call your attention to the fact that you have Cast
Away that young. Ladies prize for Good Conduct
John Center. Raising his fists he has reptile

(42:14):
has to write laying her hand. Upon John's arm, don't strike
him, he has to sing tenor. In the choir at she was very on
the Sunday, afternoons, Nan centers, followed by Joel left,
Nance comes down left center. Now then what's the matter here?
A car is the matter. Here, a fellow that is rude to

(42:35):
ladies and who wants to be kicked out.
If there's any kicking out of myplace, I do it.
So you fold back, John Royal Don't goes up to stable door and
leans on it. No then Schoolmaster.
What's your tail out with it? Don't listen to him.
Mother don't listen to him. I will be listened to because I

(42:59):
am here as a representative of Truth and right Mrs.
Butterworth, I have some painfulCommunications to make to you,
be seated Nats, it's on stool left, and has their own stool
right? Silverdale on basket Center,
Joel, stands up left. These communications relate to

(43:20):
your daughter who I hope in. Passing will continue her
studies. In geography, always her weak
point your daughter. I regret to say Mrs. Butterworth
has not deserved, well of the academy for young ladies at
Shrewsbury. What do I care for that?
Let my child. Please me, and she does her

(43:41):
Duty. The school was my baby servant.
Not her master and was hired to wait on her.
Really then of course, we are reduced to the simple question.
Has the child done? Its duty to its mother Esther
right aside to Silverdale, oh, have pity on me, please, mr.

(44:02):
Silverdale Silence. Has your daughter, Hester who's
English, grammar? I may remark will require
careful. Watching has I am pained to have
to say, brought discredit upon her school?
What might shiet brought discredit?

(44:23):
My child. Pray.
Hear me out. The real object of my visit.
I have hitherto concealed from you.
I have traveled many weary milesto Endeavour to persuade your
daughter, who I trust by the, bywill continue her pianoforte,
practice to persuade your daughter, to confess everything
to you. This she has refused to do and

(44:47):
for the credit and Unfair name and fame of the Academy.
I am compelled to reveal all Hester starting up.
He doesn't tell the truth. Mother don't listen to him
silence Hester, Hester sit again.
Mrs, Butterworth. When did your daughter arrived
home within the last hour? You know, that well enough men.

(45:11):
And when did she quit our Academy?
Yesterday, have you any proof ofthat proof against my child?
Yes, really proof. I've her own word.
Hello. Letters written to me from
Shrewsbury. The last came the day before
yesterday, taking it from the bosom of her dress.

(45:36):
Here it is. What does she say about leaving
school Nance? Takes her?
Spectacles out of her pocket. Put them on and reads.
I leave school on Tuesday morning and she'll my glasses
are dull and I can't see throughhim.
And in letter to Silverdale you read it shall I really certainly

(46:03):
hmm. You must really watch her
handwriting too many flourishes.Reading, I leave school on
Tuesday morning and shall be with you if everything is well
on Wednesday, how I long to see you and my dear home, all the
joints. Here are so fat and underdone.

(46:23):
So on returning letter to Nance now.
Mrs, Butterworth, I think I can open your eyes still a bit
before you speak. Don't you say more nor less than
the truth? I'm a bit soft hearted about my
baby. I am hard as this stones to
everything else in the world, and if you speak against her, I

(46:46):
shall have to be hard to her. To be careful laying her hand on
her heart, or you'll hurt me. You really pain me
notwithstanding, I am compelled to tell you dear Mrs.
Butterworth, that Hester, finally quitted the academy more
than six weeks ago, more than six weeks ago.

(47:10):
So what has she been doing? Where has she been since?
Ah, that is a little mystery butI fancy Mother.
Dear, I can tell you be silent. The silver dowel.
Well, sir, I really fancy. I can furnish a slight clue on
two occasions during the last 18months.

(47:33):
I have met your daughter at a spot about three miles from the
academy. A place called the lime trees
walking arm-in-arm with a young gentleman, the same men, each
time, the same person. I was not seen by them, and I
kept the circumstance to myself.What's it your duty to the

(47:54):
parent of a child to do that? I don't know really, but I held
my tongue for the good of the academy and for the sake of the
young ladies to whom I am attached Nance.
Rising Hester mother. Won't you listen to me?
Yes. When you answer my questions?

(48:15):
Tell me when did you leave your school?
The school that I've scraped my money together to pay for Six
weeks ago, or a little more and did the schoolmasters.
See you in the place called the lime trees.
Walking with a young gentleman. Yes, mother.
I daresay. He did, you were walking with a

(48:38):
young gentleman there. Yes, mother.
I was Silverdale shrugs, his shoulders and Crosses right?
Lance to Joel Joel. These misses, Fetch the small
tin box that stands under the window seat in the Parlor,
please mrs. Goes off.

(48:59):
Left has two rising and going todance.
What are you going to do mother?I'm going to start you afresh in
life, a long way from where I am, or where I shall ever be
goes into left corner. No, no mother.
You mustn't. Send me away till I've told you
everything. Crossing to Nance.

(49:23):
Pointing to Silver Dental. This fellow is a sneak and a
coward. He would have been a sweetheart
of mine, but I've hated the sight of him and I've told him.
So I boxed his ears once in the playground before all the girls.
And he owes me a grudge for it and wants to pay me out.
You can say but what he has toldthe truth and I don't want you

(49:44):
near me anymore. You don't know that I've done
wrong. I know that you've deceived me
on your own showing. I know that you've told me lie
upon lie mother. If you let me kneel to you as I
used to do when I was a little girl, I'll tell you all my
faults. I don't want to know them.

(50:06):
I know that something has come between you and me and whatever
it is. It has erupted child of its
mother and a mother of a child for you.
And I shall part this very day. I'll not leave you.
I will be your baby as I have always been.
I came home to tell you everything, but I knew I had

(50:27):
been wrong and I was going to tell you slowly a word a day as
it were, so that I shouldn't hurt you, more than I could help
her sister tries to embrace Lance, who shakes her off, and
Crosses to table left eye. You came home to fool me but you
shan't do it. Right crosses left to table.

(50:48):
Joel enters from left carrying asmall tin box.
He comes down between Hester anddance.
Joel coming down Center and giving box to Nets.
Ears, the books, mrs. Nancy takes it and places it on
table left, she takes a bunch ofkeys from her pocket.
A proceeds to open it. Esther season trolls.

(51:11):
Arm, Joel, I want to speak to you, she leads, Joel down,
write, and speak to him in an undertone Silverdale crosses to
Nance. This is a most unfortunate
Affair. It really is need I wait I that

(51:31):
you need Silverdale goes up. I'll have something to say to
you by and by Hester aside to Joel dear Joel, you've known me
ever since I was a little Mite of a girl, don't you remember
Joel. You used to nurse me.
Oh, yeah, and more, oh, Larry, you were, I'm heavier, still?

(51:53):
Now Joel especially about the heart but you like me.
Don't you way? Of course, I do.
You give me a kiss, a little oilback and I'll give you another
if you'll do me. Service.
Dear, Joel run as fast as your legs can carry you to Old mrs.

(52:14):
Charlie's, you know, the Little Red Cottage near the railway
station with the raven and a cage outside.
The door, say that you come fromme Hester.
And that you are to bring back an answer taking baby shoe from
the bosom of her dress and kissing it.
Take this, she'll recognize it and mind bring back an answer.

(52:37):
Will you run Joel from my sake for the sake of the child you
have dandled on your knee? Oh, your will run Misty or your
employee will Lloyd drop for a glass of Yale.
He goes off, hastily upright. Nance left who has opened the
box and taken out of it. A small old pocketbook and a

(52:59):
little bag of money Esther. Yes.
Mother. Before we part, I want to give
you this money. It's all I have and I'm sorry,
it's so little. There are some banknotes in the
pocketbook and a little gold, and silver in the canvas bag.
And now, you can go put your hand in the tin box and takes

(53:21):
out a little faded paper packet.Look.
He's the ringleader of yours cutoff when you were a baby.
My baby is here. Slight pause sitting at table.
The packet drops from her hand, and she sits on stool left and

(53:41):
covers her face with her hands. No mother.
I'll not take a penny of your money for.
I don't want for means to keep me or to help you mother.
I'm I'm married. Nancy looks up.
That's races. Your you married.

(54:04):
I've been married more than a year Mother Nats sits again.
It was very wrong, but I fell inlove frightfully and I knew you
would never consent and we both felt that we couldn't live
without each other. Who is he?
He's a gentleman mother, huh? But he has a small income large

(54:27):
enough to maintain us and to defray any little incidental
expense. And he's so good-looking and
affectionate Lance clinching, her hands.
I should like to have him near me now.
What is he? He's, he's nothing.
He was in the Civil Service. That's what he learned his

(54:50):
Samantha's. I suppose.
And he came down, Shrewsbury wayto fish.
I'll be bound. He did.
And I chanced to be on the banksof the same stream and in
leaning over the water to see myface.
I swept and put my foot in it. Hi, you've put your foot.
In it and he would insist on my taking off my wet shoe and he

(55:13):
would dry it with his pocket-handkerchief and he would
make me wear his big clumsy bootall the way home and then we
laughed because it was so funny.Oh dear, it might have happened
to anybody goes out. Left-center.
Silverdale at back leaning on the pump.
Mrs. Butterworth. That's not my name and you've

(55:35):
just heard me say. So, pardon me.
But where's your wedding ring? Ring has stirred.
Looks at her left hand. What do you mean?
I see Mrs. Butterworth doesn't wear a wedding ring but I
suppose. It's all right.
Where is your wedding ring? Esther dismayed.

(55:55):
I-i've lost it? Lost it.
Oh dear. Oh dear, that's really very
singular. John comes down right center
holding the ring in his hand. Yes, it is.
He threw it to me into the stable that caught it.
Hester running to him. Uh, Jack Deere, John putting his

(56:19):
arms around her. My darling histor good.
Gracious. Me Nats starts up what?
Mr. Taking John's hand. This mother dear.
This is the gentleman. I have married.
John Royal is my husband Silverdale aside.

(56:41):
I thought I recognized the man'sface.
And that's the fellow I saw under the lime trees at
Shrewsbury. Yes, Mrs. Butterworth.
I am to blame for everything. Believe me.
Well, next uses that, I'm a goodhusband and she'll always remain
one. What do you wedding ring on his
daughters finger? There is your wedding ring

(57:03):
Hester. Never take it from your hand
again. Dear What have you come here for
to triumph over me? I don't think that when the time
arrived for my wife to return home, I came to you that you
might get accustomed to the sight of me and perhaps find out
that I am not the worst fellow in the world.

(57:25):
It was Hester's plan and I hope it is not altogether field.
Crosses to Nance come mother look on the bright side of
things. You should not lose your
daughter own such as I am. You shall gain me at work
honestly for you don't put my money into your land and make
butter is for I'm a model for the county met John Royal.

(57:48):
If I wouldn't give my daughter to you you may be sure I won't
sell her. That's it.
Our past Li wide apart. Joel enters it back right.
Carrying an infant. He comes down right here you are
Miss St. O ye brought the answer mr.

(58:09):
Snatches the baby from him and kisses it Hester timidly to
Nance, gradually going to her mother.
John and I have got a baby it isfour weeks old and is so
intelligent. He's a boy mother and we are
going to make him a farmer coming to Nance.

(58:31):
Will you look at him before we leave?
You just one little look mother.Mother she kneels and places,
the child are Nance's lab Silverdale aside it back.
Hmm. The young lady has accounted to
me for the interval of 6 weeks. I really think that I can be of

(58:52):
no further use. So I will go quietly.
He goes off it back right unobserved Nan's looks at the
baby and then kisses it. Hey, he's a fine boy.
Mr. Kneels down finances side and the two women Rock the baby

(59:12):
and kiss it alternately. He's so good to Mother.
He never cries at least very seldom.
See my dimple in his chin mother.
Nancy looking at Hester High, he's got your eyes too baby but
I'm doubtful about his nose. It's still Rising.

(59:35):
It's John's nose, isn't it? John John rubs his nose Mother.
Dear, if we are to go. Will you give baby back to me
that we may take him away holding out her arms.
Nance hugging the baby. Hey, I can't give him up.

(59:55):
I'm hard and cruel and sour, butI can't let my baby's baby go.
History putting her arm round dances neck on her left.
Then are we to stay Mother by John and you where's that?
Schoolmaster chip. John and Joel look round for

(01:00:17):
Silverdale. Hi.
He's gonna goes up stage and looks left Joel who has been
sitting right? Oh we soar the looking more,
Yuri any sneaked off? Music.
Well, better to go quietly, we think of him as an ugly dream, a

(01:00:39):
nightmare that we wake up in themorning to forget his sister, do
you forgive me? Of course, mother goes to her.
John, John comes to her on her, right to John.
Do you forgive me? John bending down and kissing

(01:00:59):
her, of course, mother no more mystery children.
No, then I'm a disagreeable cross-grained, happy old woman.
But when this baby grows up to be a man, he shall never.
Guess what I have been for, I'llmake him believe that I'm the
kindest lovingest, best grandmother in the world.

(01:01:24):
The curtain Falls slowly. End of Hester's Mystery by
Arthur Wing Pinero. Sweet and Twenty by Floyd down,
this is a LibriVox recording. All LibriVox.

(01:01:47):
Recordings are in the public domain for more information or
to volunteer, please visit librivox.org.
Cast of characters Helen egertonthe young woman, read by Jen
Brodeur George Brooke. The young man read by Mike

(01:02:11):
mental. Akos the agent read.
By Todd the guard, read by Trisha G, narrator, read by
Kelly Taylor. Sweet and Twenty a comedy in
one, act by Floyd Dell. Scene or corner of the Cherry

(01:02:38):
Orchard on the Country Place of the late mr.
Barkley now on sale and open forinspection to prospective
buyers, the Cherry Orchard. Now in full bloom is a very
pleasant place, there is a greenpainted rustic, bench beside the
path. This scene can be effectively

(01:03:01):
produced on a small stage by a backdrop.
Painted a blue-green color with a single conventionalized Cherry
Branch painted crossed it and 23leaved screens masking.
The wings painted in blue green with a spray of cherry blossoms.

(01:03:23):
A young girl dressed in a light summer, frock and carrying a
parasol drifts in from the back.She sees the bench comes over to
it and sits down with an air of petulant weariness.
A handsome, young man enters from the right.
He stopped short in Surprise, onseeing the Charming stranger who

(01:03:47):
LOLs upon the bench, he takes off his hat.
Oh, I beg your pardon. Oh you needn't, I have no right
to be here, either he coming down to her.
Now, what do you mean by that? I thought perhaps you were
playing truant as I am playing truant.
I was looking at the house, you know?

(01:04:08):
And I got tired and ran away. Well, tell the truth.
So did I, it's dull work. Isn't it?
Hyphen upstairs and down for twohours that Family Portrait
Gallery. Finished me.
It was so old, and Gloomy and dead that I felt as if I were
dead myself, I just had to do something.
I wanted to jab my parasol through the window pane.

(01:04:32):
I understand just how the suffragettes felt, but I was
afraid of shocking. The agent, he is such a Meek
little man, and he seemed to think so, well of me.
If I had broken the window, I would have shattered his ideals
of Womanhood to I'm afraid. So, I just slipped away quietly
and came here. I've only been there half an

(01:04:52):
hour. We I've only been in the
basement. That's why our tours of
inspection. Didn't bring us together sooner,
I've been cross-examining the furnace.
Do you understand? Furnaces, he sits down beside
her. I don't do you like family
portraits. I hate them.
What do the family portraits go with the house?

(01:05:14):
No, thank heaven. They've been bequeathed to the
Metropolitan Museum of Horrors. I understand they're valuable
historical. Early early, colonial Governors
and all that sort of stuff. But there is someone with me
who, who takes a deep interest in such things, he frowning at a
sudden memory. Hmm, didn't I see you at that

(01:05:37):
real estate office in New York yesterday?
Yes, he was with me then he compassionately.
I thought I remembered seeing you with with him.
She cheerfully. Isn't he just the sort of man
who Be interested in family portraits, he confused.

(01:05:57):
Well, since you asked me. I hope that's all right.
Tubby's a deer in spite of his funny, old ideas.
I like him very much. He gulping the pill.
Yes. He's so anxious to please me and
buying this house I suppose. It's all right.
To have a house, but I'd like tobecome acquainted with it

(01:06:18):
gradually. I'd like to feel that there was
always some Corner left to Explore some mystery saved up
for a rainy day tubby, can't understand that.
He drags me everywhere explaining how we'll keep this
and change that Dormer windows here and perhaps a new Wing
there. I suppose you've been rebuilding

(01:06:40):
the house to know. Merely decided to turn that
Sunny, South room into a study. It would make a very pleasant
place to work, but if you reallywant to place, I'd hate to take
it away from you. I was just going to say that if
you really wanted it I'd withdraw it was Tubby's idea to
buy it. You know?
Not mine. You do want it, don't you?

(01:07:02):
I can't say that. I do.
It's so infernally big but Mariathinks I ought to have it.
Explanatorily Maria. Is she gently.
She's the one who is interested in furnaces?
I understand I saw her with you at the real estate office
yesterday. Well, Well furnaces are

(01:07:23):
necessary. I suppose there is a pause which
she breaks suddenly. Do you see that be Abby?
He follows her gaze up to a cluster of blossoms?
Yes, they're affectionately. The Rascal.
There he goes. Their eyes.
Follow the Flight of the be across the orchard.

(01:07:47):
There is a silence in which Maria and tubby drift into the
limbo of forgotten things alone,together beneath the blossoms.
A spell seems to have fallen upon them.
She tries to think of something to say and at last succeeds have

(01:08:09):
you heard the story of the people who used to live here?
No. Why in ancient was telling us
it's quite romantic. And rather sad.
You see the man that built this house was in love with a girl.
He was building it for her as a surprise, but he had neglected
to mention to her that he was inlove with her.

(01:08:30):
And so in Peak she married, another man though she was
really in love with him. The news came just when he had
finished the house. He shut it up for a year or two.
But eventually married someone else and they lived here for 10
years. Most unhappy.
Only then they went abroad and the house was sold.

(01:08:51):
It was bought curiously Enough by the husband of the girl.
He had been in love with. They lived here till they died
hating each other to the end. The agent says it gives me the
Shivers to think of that house haunted by the memories of
wasted love which of us. I wonder will have to live in
it. I don't want to she prosaically.

(01:09:13):
Oh, don't take it. So seriously as all that if one
can Live in a house where there's been an unhappy
marriage. Why good Heavens?
Where is one going to live most marriages?
I fancy are unhappy a bitter Philosophy for one so nonsense
but listen to the rest of the story.
The Most Interesting part is about this very Orchard really.

(01:09:37):
Yes, this Orchard. It seems was here before the
house was it was part of an Old Farm where he and she the
unhappy lovers, you know. No stopped one day while they
were out driving and asked for something to eat.
The farmer's wife was busy but she gave them each a glass of
milk and told them, they could eat all the cherries they

(01:09:59):
wanted. So they picked a hat full of
cherries and ate them sitting ona bench like this one.
And he fell in love with her anddidn't tell her.
So she glances at him in along his self-possession has
vanished. He Is pale and frightened but

(01:10:19):
there is a desperate look in hiseyes as if some unknown power
were forcing him to do somethingvery rash in short.
He seems like a young man who has just fallen in love she
hastily so you see this Orchard is haunted to.
I feel it. I seem to hear the ghost of that

(01:10:42):
old time lover whispering to me.She provocatively.
Why indeed, what does he say? He says I was a coward.
You must be bold. I was silent.
You must speak out. She mischievous lie.
That's very curious because thatold lover isn't dead at all.

(01:11:05):
He's a baronet or something. In England, he earnestly his
youth is dead and it is his you that speaks to me she quickly
you must To believe all that ghost, tell you.
Oh, but I must for they know theFolly of Silence, the bitterness
of cowardice. The circumstances were slightly

(01:11:27):
different weren't they? He stubbornly?
I don't care. She soberly, you know, perfectly
well, it's no use. I can't help that please.
You simply mustn't, it's disgraceful, what's disgraceful?
She confused what you are going to.
To say he simply only that I love you, what is their

(01:11:52):
disgraceful about that? It's beautiful, it's wrong, it's
inevitable. Why inevitable can't you talk
with a girl and a Cherry Orchardfor half an hour without falling
in love with her? Not, if the girl is you but why
is specially me? I don't know.
Love is a mystery. I only know that I was destined

(01:12:12):
to love you. How can you be?
So sure because you have changedthe world, Or me it's as though
I had been groping about in the dark and then sunrise and
there's a queer feeling here. He puts his hand on his heart.
To tell the honest truth, there's a still queer feeling in
the pit of my stomach. It's a gone feeling.

(01:12:33):
If you must know and my knees are weak, I know.
Now why menus to fall on their knees when they told the girl
they loved her, it was because they couldn't stand up.
And there's a feeling in my feetas though, I were walking on air
and she faintly that's enough and I could die for you and be
glad at the chance. It's perfectly absurd, but it's

(01:12:54):
absolutely true. I've never spoken to you before
in heaven. Knows I may never get a chance
to speak to you again but I'd never forgive myself.
If I didn't say this to you. Now, I love you.
Love you, love you. Now, tell me I'm a Fool.
Tell me to go anything. I've said my say, Why don't you
speak? I have nothing to say except

(01:13:18):
except that I well almost inaudibly, I feel some of those
symptoms myself. He triumphantly, you love me.
I don't know. Yes, perhaps then kiss me.
She doubtfully. No kiss me.
She tormented lie. Oh, what's the use?

(01:13:41):
I don't know. I don't care.
I only know that we love each other.
She after a moment's hesitation desperately, I don't care
either. Hi, I do want to kiss you.
She does. He is the first to awake from
the Ecstasy. It is wicked.

(01:14:01):
She absently his it but o Heavenkiss me again.
She does darling. You suppose, anyone is likely to
come this way? No, he speculatively, your
husband is probably still in ThePortrait Gallery.
My husband drawing away. What do you mean thoroughly

(01:14:22):
awake? Now, you didn't think she jumps
up. And laughs convulsively, he
thought poor old. Toby was my husband.
He starting up at her bewildered.
Why isn't he your husband? She scornfully.
No, he's my uncle. Your uh, yes, of course.

(01:14:44):
Indignantly do you suppose? I would be married to a man
that's fat and bald. And 40 years old, he distressed.
I, I beg your pardon, I Did think so just because you saw me
with him how ridiculous it was asilly mistake but the things you
said you spoke. So realistically about marriage

(01:15:07):
kid was your marriage. I was speaking about with Hasty
compunction, how I make your my marriage, he rises, good heavens
and to whom pray, did you think I was married a light Dawning to
Maria? Why Maria is my aunt?
Yes, of course. How stupid?
You could have me. Let's get this straight.

(01:15:28):
Are you married to anybody? Certainly not as if I would let
anybody make love to me. If I were now don't put on airs.
You did something quite as improper.
You kissed a married man. I didn't it's the same thing.
You thought I was married but you aren't no, I'm not married
and and you're not married. The logic of the situation

(01:15:53):
striking him all of the sudden. In fact, he pauses rather
alarmed. Yes.
In fact well there's no reason in the world.
Why we shouldn't make love to each other.
She equally startled, why that'sso then then shall we?
She sitting down and looking Doom your early at her toes.

(01:16:18):
Oh not. If you don't want to he
adjusting himself to the situation.
Well, under the circumstances. Stances.
I suppose I ought to begin by asking you to marry me.
She languidly with a provoking glance.
You don't seem very anxious to he feeling at a disadvantage.

(01:16:39):
It isn't that but well she lightly well what Dash it all?
I don't know your name she looking at him with wild
curiosity. That didn't seem to stop you a
while ago. He do Good lie.
Well then will you marry me? She promptly know, he surprised.

(01:17:02):
No. Why do you say that?
She coolly? Why should I marry you?
I know nothing about you. I've known you for less than an
hour. He sardonically that fact didn't
seem to keep you from kissing me.
Besides, I don't like the way you go about it.
If you would propose the same way you made love to me.
Maybe I'd accept you. All right, dropping on one knee

(01:17:25):
but Before her beloved an awkward pause.
Now I can't do it. He gets up and distractedly dust
off his knees with his handkerchief.
I'm very sorry. She was calm inquiry perhaps
it's because you don't love me anymore.
He fretfully, of course I love you.
She coldly. But you don't want to marry me.

(01:17:49):
I see not at all. I do want to marry you but well,
marriage is a serious. Matter now, don't take offense,
I only meant that. Well, he starts again, we are in
love with each other and that's the important thing.
But as you said we don't know each other, I've no doubt that
when we get acquainted, we will like each other better still but

(01:18:12):
we've got to get acquainted first.
She Rising you're just like tubby buying a house.
You want to know all about it? Well I warned you that you'll
never know all about me so you needn't try he.
Actually, it was your suggestion.
She impatiently. Oh, all right.
Go ahead and cross examine me ifyou like I'll tell you to begin

(01:18:34):
with that. I'm perfectly healthy and
there's no TB insanity or socialism in my family.
What else do you want to know? He hesitantly?
Why did you put socialism in? Oh, just for fun.
You aren't a socialist, are you?Yes earnestly.
Do you know what socialism is she innocently?

(01:18:55):
To the same thing as Anarchy, isn't it?
He gently, no, at least not my kind.
I believe in Municipal ownershipof street cars and all that sort
of thing. I'll give you some books to
read. Well, I never write and
streetcars so I don't care whether their Municipal e owned
or Not by the way, do you dance?No, you must learn right away.

(01:19:19):
I can't bother to teach you myself but I know where you can
get private lessons and become really good in a month.
It it is stupid not to be able to dance.
He as if he had tasted quiet on I can see myself doing the Tango
Kerr. The Tango went out long ago.
My dear, he was great decision. Well, I won't learn to dance.

(01:19:41):
You might as well know that to begin with and I won't read your
old books on socialism. You might as well know that to
begin with come come. This will never do.
You see my dear? It's simply that I can't dance
and there's no use for me to tryto learn.
Anybody can learn Hi. I've made expert dancers out of
the awkwardest, men, but you see.
I have no inclination toward dancing, it's out of my world

(01:20:03):
and I've no inclination toward Municipal ownership, hits out of
my world. It ought not to be out of the
world of any intelligent person.She turning her back on him, all
right? If you want to call me stupid,
he turning and looking away, meditatively, it appears that we
have very few tastes in common. She tapping her foot, so, It

(01:20:25):
seems, if we married, we might be happy for a month.
Perhaps they remain standing with their backs to each other
and then the old story Quarles. I never could bear.
Quarrels, an unhappy marriage. She realizing it.
Oh, he hopelessly turning towards her.

(01:20:46):
I can't marry you. She recovering quickly and
facing him with a smile. Nobody asked you sir.
She said he Gesture of finality.Well, there seems to be no more
to say she sweetly except goodbye.
He verbally goodbye. Then he holds out his hand, she

(01:21:08):
taking it goodbye, he taking herother hand.
After a pause helplessly, goodbye, she drawing in his
eyes. Goodbye, they cling to each
other and are presently lost in a passionate embrace.
As he breaks loose stamps away, then turns to her dammit.

(01:21:31):
All we do. Love each other.
She wiping her eyes. What a Pity that is.
The only taste we have in common.
You suppose. That is enough.
I wish it were a month of Happiness.
Yes, and then wretchedness. No.
Never, we mustn't do it. I suppose not come.
Let's control ourselves. Yes, let's they take hands

(01:21:54):
again. He with an effort.
I wish you happiness. I-i'll go to Europe for a year,
try to forget me. I shall be married when you get
back. Perhaps, I hope it's somebody
that's not bald and fat and forty.
Otherwise and you for goodness sake.
Marry a girl. That's very young and very, very

(01:22:15):
pretty that will help we mustn'tprolong this.
If we stay together another minute, then go, I can't go.
You must darling. You must do if He would only
come along. They are leading towards each
other dizzy upon the brink of another kiss.
When somebody does come, a shortmild-looking man in a derby hat.

(01:22:38):
There is an odd gleam in his eyes, the Intruder startled.
Excuse me. They turn and stare at him, but
their hands. Cling fast to each other.
She faintly the agent, the agentin despair.
Accents too late. Too late.

(01:22:59):
No, just in time too late. I say I will go.
He turns no stay. What's the use?
It has already begun. What good can I do now?
I'll show you what good you can do.
Now, come here, the agent approaches.

(01:23:20):
Can you unloose my hands from those of this young woman, the
young woman haughtily release Seeing herself and walking away.
You needn't trouble. I can do it myself.
Thank you. It was utterly beyond my power
to the agent. Will you kindly take?
Hold of me and move me over there.
The agent. Propels him away from the girl.

(01:23:40):
Thank you at this distance. I can perhaps make my farewell
in a seemingly and innocuous manner young man.
You will not say farewell to that young lady for 10 days and
perhaps never What we today havearranged it all who has arranged
what you, aunt Miss Brooke and to the young woman?

(01:24:05):
Your uncle mr. Edgerton, the young people turn
and stare at each other. In amazement Edgerton, are you
Helen Edgerton and are you George Brooke?
Your aunt. And uncle have just discovered
each other up at the house and they have arranged for you all.

(01:24:25):
To take dinner together tonight and then go to attend a house
party at mr. Edgerton's place on Long Island
grimly. The reason of all, this will be
playing to you. They want you two to get
married, then we're done for. We'll have to get married now
whether we want to or not what just to please them.

(01:24:48):
Hi shan't. Do it, George gloomily?
You don't know my Aunt Maria andToby will try to bully me.
I I was but I won't do it no matter what he says, pardon what
may seem an impertinence missed.But is it really true that you
don't want to marry this young man Helen flaming the I suppose

(01:25:11):
because you saw me in his arms. Oh I want to all right.
But the agent mildly. Then what seems to be the
trouble? I owe you explain to him George.
She goes to Ooh, the bench and sits down.
Well it's this way as you may have, deduced from what you saw,

(01:25:31):
we are madly in love with each other Helen from the bench but
I'm not madly in love with Municipal ownership.
That's the chief difficulty. Know the chief difficulty is
that I refuse to entertain even a platonic affection for the
Tango Helen irritably. I told you the Tango had gone
out long ago. Well then the mushy shh, stupid.

(01:25:54):
And there you have it. No doubt.
It seems ridiculous to you the agent Gravely.
No, not at all. My boy, I've known marriage to
go to smash on far less than that.
When you come to think of it, our taste for dancing and a
taste for municipal ownership stand at the two ends of the

(01:26:16):
Earth away. From each other, they represent
two different ways of taking life.
And if two people who live in the same house, can't agree on
those two things. They disagree on 10,000 things
that came up every day, and what's the use for two different

(01:26:36):
kinds of beings to try to live together, it doesn't work, no
matter how much love there is between them, George, rushing up
to him in Surprise, and gratification and shaking his
hand. Only, then you are our friend,
you will help us not to get married.
Your aunt is very set on it and your uncle to miss.

(01:27:02):
We must find some way to get outof it or they'll have us cooped
up together in that house beforewe know it rising and coming
over to the agent. Can't you think of some scheme?
Perhaps I can and perhaps I can't.
I'm a bachelor myself Miss and that means that I've thought of

(01:27:23):
many a scheme to get out of marriage.
Myself, Helen outraged, you old scoundrel.
Oh, it's not so bad as you may think Miss.
I've always gone through the marriage ceremony to please
them, but that's not what I callmarriage.
And what do you call marriage? Yes, I'd like to know marriage.

(01:27:45):
My dear friend is Iniquitous Arrangement devised by the Devil
Himself for driving, all the love out of the hearts of
lovers. They start out as much in love
with each other, as you two are today and they end by being a
sick of the sight of each other.As you two will be twenty years,

(01:28:08):
hence, if I don't find a way of saving you alive out of the
devil's own trap. It's not lack of love, that's
the trouble with marriage, it's marriage itself.
And when I say marriage, I don'tmean promising to love honor and

(01:28:29):
obey for richer for poorer in sickness and in health.
Till death. Do you part?
That's only human nature to wishand to attempt and it might be
done if it weren't for the iniquitous arrangement of
marriage, George Puzzled. But what is the iniquitous
arrangement, that's the trouble.If I tell you, you won't believe

(01:28:55):
me. You'll go ahead and try it out
and find out what all the unhappy ones have found out
before you listen to me? My children, did you ever go on
a picnic? He looks from one to the other
they stand astonishment and silent.

(01:29:16):
Of course you have. Everyone has there is an
instinct in us which makes us goback to the ways of our Savage.
Ancestors to gather about a firein the forest to cook meat on a
pointed stick and eat it with our fingers.
But how many books would you right here?

(01:29:36):
Young man, if you had to go backto the campfire, everyday, for
your lunch, And how many new dancers, would you invent if you
lived eternally in the picnic stage of civilization?
No, the picnic is incompatible with everyday living as
incompatible as marriage, but, but marriage is the nest.

(01:30:00):
Building Instinct turned by the Devil Himself into an
institution to hold the human soul in Chains.
The hold of marriage is told in the old riddle.
Why do birds and their nest agree?
Because if they don't, they'll fall out.
That's it. Marriage is a nest.

(01:30:22):
So small that there is no room in it for disagreement.
No, it may be all right for birds to agree, but human beings
are not built that way. They disagree and home becomes a
little hell or else they do agree at the expense of the

(01:30:42):
souls Freedom stifled in one or both.
Yes but tell me. Yes there is the nest building
Instinct. You feel it both of you if you
don't now you will as soon as you are.
Married. If you are fools, you will try
to live all your lives in a lovenest, and you will imprison your

(01:31:05):
souls within it. And the devil will laugh Helen
to George. I'm beginning to be afraid of
him. So am I if you are wise you will
build yourselves a little Nest secretly in the woods away from
civilization and you will run away together to that Nest
whenever you are in the mood. I Nest so small that it will

(01:31:30):
hold only two beings and one thought the thought of love, and
then you will come back refreshed to civilization, where
every soul is different from every other Soul.
You will let each other alone. Forget each other.
Then do your own work in peace? Do you understand?

(01:31:52):
He means we should occupy separate sides of the house I
think or It's that we should live apart or only see each
other on weekends. I'm not sure which the agent
passionately. I mean, that you should not
stifle love with civilization nor encumber civilization with
love. What have they to do with each
other? You think you want a fellow

(01:32:14):
student of Economics? You are wrong.
You think you want a dancing partner?
You are mistaken. You want a revelation of the
glory of the universe Helen too.George confidentially.
It's blithering nonsense of course.
But it was something like that awhile ago.
George bewildered lie. Yes.

(01:32:36):
When we knew it was our first kiss and thought it was to be
our last, the agent fiercely, a kiss is always the first kiss.
And the last or it is nothing Helen conclusively.
He's quite mad. Absolutely mad.
Of course I am mad, but He turned suddenly and subsides as

(01:32:59):
a man in a guards, uniform enters.
Here you are. Thought you'd given us the slip,
did you to the others escaped from the Asylum.
He did a week ago and got a job here.
We've been hunting them, high and low come along now, George
recovering with difficulty the power of speech?

(01:33:20):
Well, what's the matter with himmatter with him?
He went crazy. He did reading the works of
Bernard. Da and if he wasn't in the
insane asylum, he'd be in jail. He's a bigamist.
He is he married 14 women, but none of them would go on the
witness stand against him said he was an Ideal Husband, they

(01:33:41):
did 14 of them but otherwise he's perfectly harmless.
Come now, the agent pleasantly perfectly harmless.
Yes, perfectly harmless. He is Led Out.
Out, that explains it all. Yes.
And yet I feel there was something in what he was saying.

(01:34:02):
Well, how are we going to get married or not?
We've got to decide that before we Face my uncle and your aunt,
of course, we'll get married. You have your work and I mine.
And well, if we do then you can't have that Sunny South room
for a study. Hi wanted for a nursery.
The nursery. Yes babies.
You know good heavens. curtain and of Sweet and Twenty by Floyd

(01:34:32):
do Heirs of slavery, a little drama of today by Catherine
Tillman, this is a LibriVox recording all LibriVox
recordings are in the public domain for more information or
to volunteer, please visit librivox.org.

(01:34:56):
Dramatis personae, hero. A negro youth.
Attired as an American citizen, read by Thomas Peter.
Father Time, an old man leaning on his staff with an Hour Glass
in his hand read by Alan mapstone.

(01:35:16):
History, a tall beautiful woman and a robe of purple velvet with
a crown upon her head and an Aladdin's lamp in her left hand
Red by the story, Girl. Miriam Jewish Maiden in national
costume read by Trisha. G Gladiator.

(01:35:37):
A Greek in a Greek Garb read by Andrew gones.
Virginia a made in ancient attire read by TJ Burns
Anglo-Saxon Digger, a man and workman's Garb of early English
period yoke around his neck and Spade.
In one hand, read by son of the Exiles, Slave woman a beautiful

(01:36:03):
negro woman in a costume of Rich.
Fantastic colors. Red by of IE power.
See a slender girl, a robe of delicate, pink and green flowers
in her hair and a scroll in her.Left hand read by Kelly Taylor.

(01:36:26):
Art a girl in dark, Crimson robecream colored girl.
And Roses, which she carries in her left hand Red by Sonia.
Chorus of singing girls. White robes with long flowing
sleeves, breathes upon their heads read by devorah Allen.
Stage directions, read by David Purdy, Heirs of slavery, a

(01:36:51):
little drama of today. Seen a beautiful wood.
A rustic seat appears in the background.
Soft music is heard in the distance, enter hero, tired out
with life and color blind in men.
I'll rest me in the shade of this attractive Glenn and think

(01:37:13):
what brought me to this restful place.
Lace. And of the woes of my unhappy
race, born of a race of slaves, my father, paid our Ransom and
as Freeman made and when great Lincoln signed the black man
free we northward came to breathe, true Liberty and upward

(01:37:36):
ever have we struggled since ourworld of snarling, critics to
convince man's Merit are no colors.
It depends and here and there wefound.
Some honest friends up from the depths and studious nights.
I've come. No louder claims proclaimed.

(01:37:58):
My welcome home, The Little Children Cry.
Me on the street and taunting words, my tingling ears must
greet in Marketplace and courts and all byways the Negro Hater
dams. My Gates of praise In every way
our fool is thought, would teachmanhood in the highest forms

(01:38:21):
above the Negroes reach. Then, why should I contend when
all seems vain? I'm down?
Why struggle sort of rise. Again, my staked, my Hue, my
race all keep me back from equalchance with others, On Life's
track. Hero sinks down on seat and

(01:38:44):
falls asleep. Enter father time.
Hope blooded youth must have some time to cool.
I'll patients have with this misguided fool, and flank his
spirits. With his story wine till lights,
upon his struggling, Soul shall shine.

(01:39:07):
Time stamps on ground enter history, history, their
glittering, Torchlight of the age.
My I do, whims must for the timing gauge show to this youth
of Sonny Afric race, what other nations have been made to face.

(01:39:30):
Discouraged by his seeming sad young fate, teach him himself at
proper Worth to rate, disadvantages proudly to despise
and to the utmost Heights in spite of all to rise.
For I have been are since existed man.

(01:39:54):
And in before and I know his race can prove for the world
despite Right there? Lowly birth of one blood hath.
God made all nations of the earth thy.
Wish, my law. Oh, Father Time man's history in

(01:40:14):
every climb. I keep alone and he shall see
some other Heirs of slavery. History, rubs lamp, enter
Miriam. Upon the Nile.
We have laid are pretty boy. Our little Moses of our hearts.
The Joy o woe to us proud Egypt's daily scorned.

(01:40:37):
Oh whoa, that are in Israelite was born, abused and scourged
with backs kept raw. We now must make bricks without
straw. Miriam goes out weeping, enter
Gladiator. Alas that I a freedom-loving.
Greek must now of shamefully, ignominious Peak Rome's,

(01:41:02):
wretched slave I at Nero's behest must stake my life.
Strength against strength, must test.
Mid seems of Slaughter. All my days are sped.
When shall I reach the Realms ofthe Dead?
The gods attend my unpropitious life, and Grant this day may
end, it's bloody strife. Gladiator goes out, enter

(01:41:27):
Virginia. A Slave.
Save over Venus here, I'm Marcusis slave.
Oh, dark the hour that birth unto me gave.
Oh, Father, Hast Virginia's cries to hear o Hasty and

(01:41:50):
relieve Virginia's nameless fear.
Virginia rushes out. Enter Saxon nice Norman, Yoke,
the Anglo-Saxon bend their arms,their lives upon their Lords,
depend said to relate for Roczenequal, all the value of the life

(01:42:13):
of an unhappy thrall. Oh gone.
My children. Gone.
And I am left alone all auctioned off for gold.
Make hearses deep Untold fall on.
This slavery's curse at marked that tears me from my own apart.

(01:42:34):
Slave woman goes out weeping enter Posey.
I inspired song of Miriam's heart when Jordans Waters rolled
apart. I guided David's gracious song
and dwelt with patient jobs for long from classic heels of

(01:42:54):
Greece and Rome Homer and sappho's strains have calm in
England Shakespeare's. So I filled till he, the passing
years had stilled law. Longfellow and Whittier.
Well, I loved their poet Hearts,get strong, I moved and I have

(01:43:18):
not forgotten the the Negroes hearts of minstrel.
See shall ring with strength throughout the land till all
crowned by Poets stand. Posie remains standing over
here. 0, enter art, who scattersroses over hero, as she speaks.

(01:43:42):
Egypt to Rome and mighty Greece.The fabled land of Golden
Fleece. Their marble pillars, temples
Grand despairing, Joy of every land, the painting of Old
Masters great. The Works of men, ancient and
late argue to Art, inspiring love and now die, Petty, fears

(01:44:04):
remove, I love thy bright, warm hearted race and high overall
diet. Name shall Trace art steps
behind Posey. Enter chorus of singing.
Girls, who form a circle around here.
Oh, and chant brows too long. Have you laid and aroused for

(01:44:31):
those? I'll leave hero starts up and
Young's. And Faith.
I've had a long and curious dream for it somehow to me.
In sleep. Did seem, I saw Semitic slaves
news. How my drool Romans and Greeks,

(01:44:53):
I saw in slavery, school and much.
Do I despise my child, your speech, if we to loftiest
Heights aspire to reach, we mustboth toil and suffer Tis the
way. All nations Concord.
The heated Fray Allen and Douglas Shane my sorry plight to

(01:45:15):
st. And do mass star.
My gloomy night resolved. Am I know little part to play
Upon Our Night. Must Dawn a fair day.
I'll do my best proving where I can, despite his skin.
A man is butter, man. Curtain Falls end of Heirs of

(01:45:40):
slavery. A little drama of today by
Catherine Tillman.

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One-Act Play Collections - Book 14, Part 2

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