A Tree Grows in Brooklyn
[A]
A short montage of current newspaper headlines fades in:
INVASION JITTERS
HEAVY CASUALTIES EXPECTED
ITALIAN FOOTHOLD THREATENED
Over these comes a woman's voice:
VOICE
One small paragraph in this morning's
news of death, and blood, and tears
-- and a sudden wave of nostalgia
swept over me. I found myself
remembering sharply the Brooklyn of
my childhood. And why? The paragraph
had nothing to do with me, nor even
with Brooklyn. It told of an American
soldier in Italy, a Texas boy. They
were in danger of being swept into
the sea, when the soldier took from
his pocket a small box and spilled
its contents on the Italian earth.
"That's dirt from Texas," he said.
"Now I'm standing on Texas soil,
let's see them push me off it." As
simple as that, but infinitely deep.
For that single moment I could not
understand why it should take me
back to Brooklyn. And then I knew.
In the end, that is the true thing
for which men so bravely die -- not
the pretentious phrases, but for
that place which is their own, where
grew their roots. It makes no
difference where the place is. Most
families have their roots in soil;
we Nolans drove our roots down
through the cement of the Brooklyn
sidewalks -- like the occasional
miraculous tree -- but no matter.
It is all the same. Saturdays were
the same, for children in Brooklyn
or in Texas -- we were free -- free
from school. There was never
anything finer than the beginning
of a Saturday in Brooklyn.
Over this, the headlines dissolve first to the Williamsburg
Bridge, and then back through views of modern Brooklyn into
the Brooklyn streets of a generation ago. We see horse-drawn
beer trucks; the swinging doors of a saloon; a street
sweeper; bedding piled on fire escapes; a wooden cigar-store
Indian; the tree near the Nolan tenement and finally the
Nolan street and tenement.
This dissolves to the NOLAN KITCHEN. It is early Saturday
morning. Katie and Francie are finishing cleaning up the
breakfast dishes. Neeley is struggling in from the hall with
Katie's scrubbing pail and cloths and mop. He sets them down
inside the door.
KATIE, the mother of the family, is in her early thirties,
still young enough to be quick and alive to life. She is
attractive, but is always so busy that she never has time to
pay much attention to herself. The flat is a small one, on
the second floor back, sparsely furnished, but its
spotlessness reflects Katie's passion for cleanliness.
FRANCIE, her daughter, is about thirteen. She is a rather
quiet child. She has inherited from Johnny, her father, a
sensitiveness and an imagination that make her by far the
more difficult problem in parenthood for the Nolans.
NEELEY is a year younger, and is completely a normal,
healthy boy. He is much more Katie's child, while Francie
was born with something of both of them.
NEELEY
(setting down
the bucket)
Is that all, mom, can we go now?
KATIE
Not so loud, Neeley, you want to
wake papa?
NEELEY
(much quieter,
to Francie)
Gosh, ain't you through with them
ole dishes yet?
KATIE
She'll only be a minute. My, I wish
you was as anxious to get going on
a school morning as on a Saturday.
FRANCIE
(wiping the dishes)
Papa was late last night.
KATIE.
I was dead asleep when he come in,
I guess.
FRANCIE
He says if people didn't like to
make speeches so much at dinners,
waiters could spend more time with
their families.
KATIE
Wasn't much of a job, I guess. Them
club dinners don't tip much.
FRANCIE
(finishing)
Is that all, mama?
KATIE
Yes, yes, go on, and I'll do the
rest.
(she indicates the
sack Neeley has
dragged out)
Don't look like you got much in
there this week.
NEELEY
One of these days Mrs. Gaddis is
goin' to throw away that ole wash
boiler of hers. Carney will pay us
plenty for the copper bottom off of
that.
KATIE
He won't pay you any more than he
has to. You watch him on the
weighin'.
NEELEY
(in a hurry)
Yes'm. Good-bye, mom.
KATIE
Parents ought to have a day that's
like Saturday for kids. Maybe if I
start in the lower hall and scrub
my way up today it'll make somethin'
special out of it. Keep an eye on
him now, Francie.
FRANCIE
Yes, mama.
NEELEY
Aw, come on.
Their exit has been a scramble of getting their coats on,
and hardly being able to wait to get outdoors. When the door
slams behind them, Katie looks after them a second with a
little smile, half-envious of their childhood. Then she
starts to get her implements together to begin her day's
work as janitress, and the scene dissolves to Francie and
Neeley pulling their sack of junk along the crowded street.
The street is alive and vital with activity, but Francie and
Neeley pay no attention to it.
NEELEY
Well, he was silly to stay down
there that long. I'd've kicked and
kicked that ole whale's stomach good,
so he'd have got sick right off. I
wouldn't have waited like Jonah did.
(to a passing boy)
Hi, Snozzy.
SNOZZY
(matter-of-factly)
Hi yourself and see how you like it.
This brief exchange of courtesy is quite routine. Neeley
stops suddenly as he sees something about to happen down
the street.
NEELEY
There she comes!
From their angle we see a big garbage wagon swing around a
corner. Four boys are waiting matter-of-factly, and just as
the wagon swings around the corner, they throw a chunk of
wood under its rear wheels. It makes the truck take quite a
bump, and shakes off some of its cargo. The boys are on
this like a shot to redeem anything of value. The driver
yells back at them and they shriek answering derision.
CHORUS OF BOYS
Aw, go chase your self. It's a free
country, ain't it? Stick in the mud,
and so's your ma. It's a free
country.
One of the boys shies a can at the driver. The wagon goes on
and the brief exchange is over. Neeley and Francie make no
effort to horn in on the other kids' beat, but watch with a
detached interest.
NEELEY
They done good today.
Neeley and Francie start on down the street. At that moment
a man passes, takes the last cigarette out of a package and
throws the empty package into the gutter. Francie and Neeley
dive for it. So does another boy. The Nolan teamwork shows
long practice. Francie dives onto the other boy, and they go
down together while Neeley retrieves the package. The boy
scrambles up, ready for battle, but thinks better of it when
he sees there are two of them.
BOY
(saving his dignity)
Aw, rag pickers! Rag pickers!
He beats it. Francie picks up the junk sack. Neeley
separates the tinfoil from the paper. Neeley then becomes
fascinated as he drops the paper through the grating into
the sewer.
NEELEY
You know somethin'. I bet she goes
clear down to the river.
FRANCIE
(joining him)
Maybe clear to the ocean -- maybe
clear over to foreign climes.
(Neeley lust gives
her a "You're nuts"
look; and she adds
matter-of-factly:)
It stinks awful, don't it?
NEELEY
Yeah.
FRANCIE
I bet that's the worst stink in the
whole world, don't you?
NEELEY
I don't know. I can't remember
everything I smell.
They pick up their sack and move on; the view moving with
them.
NEELEY
You know what, I'm goin' to get a
job cleanin' up over to the fights.
Skinny's cousin's doin' that and
you'd ought to see alla stuff he
finds -- joolry and pocketbooks and
alla candy he can eat.
FRANCIE
Thou talkest very big.
NEELEY
You talk crazy.
FRANCIE
I do not. I talk like God talks.
NEELEY
How do you know how God talks?
FRANCIE
Well, it's in the Bible, and I guess
it's His Bible isn't it, and so
that's the way He talks.
NEELEY
Aw, you talk crazy.
Neeley changes the subject rather than admit defeat. They
have reached an old stable which carries the sign "CARNEY'S,
GOOD PRICES FOR JUNK." Beyond them, inside the old barn,
CARNEY can be seen weighing out the junk that some of the
children have brought in. Neeley stops Francie and addresses
her with male authority.
NEELEY
Now look, stand on the same side as
him when he weighs it so's he can
reach you; and don't forget to stand
there after he pays you, you forgot
that last time, and a penny's a
penny, ain't it?
FRANCIE
Well, I guess I know it is.
NEELEY
(triumphantly)
Well, all right then.
As Francie starts dragging the sack inside, a boy who has
sold his junk comes out past them. "Rag pickers, rag
pickers!" he jeers. But Neeley passes this insult, being
more interested in watching Francie.
Francie drags the sack in and gets next in line. Carney is
paying off the kid who preceded her, counting pennies into
his hand.
KID
(starting to protest)
Look--
CARNEY
(interrupting)
Shut your trap. I say what things
weigh around here. Who's next?
The kid subsides and goes out. Francie moves up.
CARNEY
(seeing her)
Oh, hello, little girl.
Francie gives him a mechanical smile in answer. His manner
is somehow different with girls. He dumps out the contents
of the junk sack, starts to sort and weigh them.
Francie shoots a look at Neeley. He motions her to edge
closer. And as she obeys, Carney finishes the weighing.
CARNEY
You done pretty good. Nine cents.
He counts the pennies into her hand. Francie stays there.
Carney chuckles a little and reaches out and pinches her
cheek. Having done this, he brings forth another penny.
Francie's hand is out immediately. -- Neeley is well-
satisfied.
CARNEY
And there you are, an extra penny
because you're a nice little girl.
The very matter-of-factness of all this is somehow worse
than if it were an ordeal to Francie. The moment she has the
penny, she runs out and joins Neeley. His manner is
approving.
NEELEY
That's better. Gosh, I wisht Carney
liked to pinch boys.
FRANCIE
Nine, and my pinchin' penny. That's
five for us, and five for the bank.
NEELEY
Now wait a minute. The pinchin'
penny don't count, it's yours by
rights.
FRANCIE
Well, I don't know, Neeley, if you
got somethin' it counts, don't it?
NEELEY
Sure it don't. Look, half what we
get for the junk is for the bank,
that's what mama says, ain't it?
FRANCIE
Well, yes, but--
NEELEY
Well, we didn't get that penny for
junk, we got it for pinchin', so
it's yours, so there ain't use in
talkin' any more about it.
FRANCIE
Well--
NEELEY
Anyway that leaves nine, don't it,
and now you tell me how we're goin'
to divide nine in half, go ahead.
FRANCIE
Well, we could put--
NEELEY
You can't do it, not without
splittin' a penny in two, and then
it wouldn't be any good. So we got
an extra penny, and by rights it's
mine, cause you already got one.
FRANCIE
But Neeley, mama said--
NEELEY
All right, wisenheimer, you show me
how to split a penny!
FRANCIE
Well, I guess-- Well, maybe the next
time it don't come even the bank
gets it--
NEELEY
Sure, ain't that just what I been
sayin'. And that leaves eight --
two more for me, two for you, and
four for the bank.
(Francie divides
the pennies)
You see, it comes out just right. I
don't see why you got to be so dumb.
He leads the way as they start on down the street, while
other children come up with some junk.
FRANCIE AND NEELEY
(as scornfully as
they were yelled at)
Rag pickers! Rag pickers!
As they go on down the street the scene dissolves to the
exterior of CHEAP CHARLIE'S, a neighborhood store, one of
the places where the boys hang out. -- Francie and Neeley
come down the street, kicking a little block of wood down
the sidewalk, and trying to keep it on the sidewalk. The
game automatically ceases as they come to the door of the
shop.
NEELEY
Now wait a minute! Don't go in like
you was with me.
FRANCIE
Well, hurry up then.
Neeley swaggers in and in a moment Francie follows him into
CHEAP CHARLIE'S. Neeley joins some boys before a form of
punchboard, the prizes hung on the wall -- a few good ones
-- a catcher's mitt, a pair of roller skates, a doll. This
is the sort of place that is the forerunner to the poolhall
where the boys will hang out when they are older. One of
the boys puffs a cigarette self-consciously. -- Francie
lingers near the cash register. -- One of the boys has just
taken a chance on the board and is opening the envelope.
CLAMOR OF VOICES
Fourteen! A pencil! It's a gip!
Looka the sucker thinks he can win
somep'n! Gimme a drag, Red. Get
away, I got dibs on butts.
Neeley dives for the board immediately and pulls a number.
NEELEY
Twenty-six!
(he looks at the board)
A penwiper!
CHEAP CHARLIE
Prize or candy, mister?
NEELEY
Candy -- a lickorish whip.
Charlie hands him one, which Neeley wraps around his wrist.
Charlie starts toward the register to wait on Francie, but
keeps an eye on the boys.
BOYS
It's a gip! Aw, there ain't no
numbers for them good prizes!
CHEAP CHARLIE
(as he passes them)
All of life's a gamble, gentlemen,
you never win if you don't keep on
takin' chances.
(coming to Francie)
What's yours, young lady?
FRANCIE
(counting out five
pennies onto the
counter)
Change to a nickel, please.
CHEAP CHARLIE
Well, I'll get fat on that kind of
business.
But he grudgingly takes the pennies and gives her a nickel
from the cash register. She slips out without answering, and
Cheap Charlie looks after her a second before he starts back
to the boys.
Francie hurries down the street. A group of girls are
playing pottsie -- a form of hopscotch -- on some marked-out
squares on the sidewalk. Francie has to pass near them.
GIRLS
Hi, Francie. How much did you get?
Want to play, Francie?
FRANCIE
(hurrying past them)
I can't. I'm in a hurry.
This dissolves to a FIVE AND TEN CENT STORE, where Francie
is seen wandering languidly down an aisle. She is in the
midst of the beauty of the world. Her longing to be here is
not at all the desire for acquisition; there is nothing
wistful or envious about her. Being here is complete
fulfillment. She pauses a time or two to look at or touch
something as if she were in fairyland. -- A floorwalker
observes her curiously. -- Unaware of him, she continues
to look her way down the counter. She is fascinated by a
pile of colored bathing caps and picks one up tentatively.
A salesgirl steps up and Francie puts it down quickly. --
The floorwalker steps up to her.
FLOORWALKER
Do you want something, young lady?
FRANCIE
(with great dignity,
opening her hand to
display the nickel)
I'm merely looking, thank you. I got
a right. I got money.
Her confidence that the money justifies her being there is
complete. She goes on her way. Her attitude rather than the
nickel defeats the floorwalker. He looks after her as she
stops again to look at something and then moves on
unhurriedly to the door.
Francie emerges from the store replete with the fulfillment
of the adventure. She gives a deep and happy sigh, then
starts down the street. She has only gone a few feet when a
fragrance strikes across her dream world and penetrates to
her healthy child's stomach. The stomach wins hands down
over the dream. Her manner changes completely as she turns
to the window and sees the candy. She looks at it for a
moment and goes in.
Inside the CANDY STORE, Francie presses close to the case to
make her important choice. The proprietor comes up.
FRANCIE
(deciding)
Three cents worth of peppermint
drops, please.
The proprietor isn't particularly pleased by the magnitude
of the sale but reaches for a sack as the scene dissolves
to the STREET. The bag of candy in one hand, her mouth full
of peppermint, Francie is absorbedly trying to avoid
stepping on the cracks in the sidewalk.
FRANCIE
(to herself)
Step on a crack, break your
mother's back.
She pauses to readjust the peppermint drop in her mouth.
You don't chew these, and if you suck them just right they
last longer. In the midst of this process of careful
adjustment, she hears the shrill yelling of some boys, and
looking off she sees a CAR TRACK where Neeley and a gang of
boys are putting a tin can on the track so that the
streetcar will smash it. -- Francie comes into the scene and
watches.
BOYS
(seeing the car
approaching)
Here she comes! Cheese it!
They tear to the sidewalk. -- The streetcar rolls over the
tin can without a tremor. -- The boys emerge cautiously, as
though they had done something very daring.
BOYS
That ole can's mashed good and flat.
Boy, did you see the look on that
motorman's face. That ole car came
near jumpin' the track, I bet.
They retrieve the can and study it.
FRANCIE
(from the sidewalk)
Neeley, we got to go home.
The boys turn. They are aware of her for the first time.
Neeley is in a spot, in being told what to do by a mere
girl.
NEELEY
(uncomfortably)
Beat it.
FRANCIE
(firmly)
Mama said.
BOYS
(derisively)
Mama said! Go on, we don't want no
skirts around! Look who's got to do
what his mama said!
Neeley is definitely in a spot. Keyed by the situation, one
of the boys gets a new idea. He staggers as if drunk.
BOY
(walking drunkenly)
Look at me, I'm Neeley's old man.
There is laughter. Both Nolans stiffen. They are together
now. Neeley unwinds what is left of the licorice whip and
gives it to Francie to hold.
NEELEY
(ready for battle)
Do that again!
BOY
Do what? -- Auggie pushed me.
NEELEY
Go on, I dare you.
AUGGIE
He didn't say nothin'. It's a free
country, ain't it?
NEELEY
I never said it wasn't.
FIRST BOY
Then the sidewalk's free, too!
NEELEY
I guess what I'm standin' on is
mine while I'm standin' on it.
AUGGIE
Then I guess what he's standin' on
is his.
FIRST BOY
Sure, and I can do what I want to on
it.
NEELEY
Well, let him come over on my piece
and say somethin', I dare him.
BOY
Well, who wants your old piece?
NEELEY
Well then, don't talk like you was
on my piece.
BOY
Well, who wants to.
NEELEY
Well, all right, then.
This procedure doesn't make much sense but it seems to
satisfy the immediacies. Neeley is victorious. With a lordly
air he walks over to Francie and takes back his licorice
whip and starts to wind it around his arm again.
NEELEY
(to Francie)
Come on.
They start down the sidewalk together and the scene
dissolves to the TENEMENT HALL as Francie and Neeley come up
the stairs to where Katie, their mother, is on her knees
beside a bucket, scrubbing the floor.
KATIE
Heaven's sake, is it that late
already? I'll have to leave these
stairs go till later.
She gets to her feet.
FRANCIE
(showing the pennies)
Four cents.
KATIE
Pretty good. Dump the bucket, Neeley.
NEELEY
(tentatively)
Mama, can I--
KATIE
No. Bring the bucket and dump it.
(starting up
the stairs)
It's the day for the insurance
collector. I don't want him to catch
me lookin' like this.
They go up the stairs, Neeley struggling with the bucket.
They pass a blowzy woman going down with a basket on her
arm.
WOMAN
Hot, ain't it?
KATIE
Yes, but Christmas'll be here before
you know it.
WOMAN
I got enough troubles without
thinkin' about that.
They go on down the hall toward the flats at the back.
Neeley disappears into the lavatory to dump the bucket. --
Katie stops at the door to search for their key. A boy,
HENNY GADDIS, comes out of the door across the hall.
KATIE
How's your sister today, Henny?
HENNY
(matter-of-factly)
Poorly, thank you.
Just as he answers, Neeley comes up with the bucket. His
answer means so little to him that almost simultaneously
Henny kicks the bucket out of Neeley's hand. It clatters to
the floor. Henny beats it and Neeley gives chase.
Katie unlocks the door just as Flossie, Henny's sister,
appears in the doorway. She is pathetically thin, with dark,
luminous eyes; and is dressed unlike any other occupant of
the tenement in a soft, feminine dress. She is very
conscious of the dress as she smiles shyly at them.
KATIE
Why, hello, Flossie dear.
FLOSSIE
Hello, Mrs. Nolan.
(then, shyly)
Don't -- don't you notice somethin'?
KATIE
(not getting it)
Why, seems to me you look mighty
well. Much better, don't she,
Francie?
FLOSSIE
No, I don't, I don't--
This is not what she wanted to hear. She slams the door shut
quickly. The sound of coughing can be heard. Katie stares at
the door for a second without understanding and then unlocks
her own door and goes in.
The NOLAN KITCHEN as Katie and Francie enter: The kitchen is
the most used room of the flat. -- They cook and eat and
live here. It is bare but clean and neat. It has an iron
stove. A fire escape can be seen past the window. Beyond
this we get a glimpse of the scraggly tree in the yard.
KATIE
(as she crosses
to the bedroom)
Heat up the coffee while I fix up.
Francie starts to make the fire. Neeley appears in the
doorway, triumphantly, with Henny meekly carrying the bucket.
He sets it down inside the kitchen.
NEELEY
(victoriously)
That's better.
Neeley pushes Henny outside and shuts the door. Being always
hungry, Neeley starts to look for something to fill in until
dinner is ready and finds a few crumbs in a cracker box on
the table. As he does so, he sees the four pennies where
Francie has put them down. He stares at them a moment, and
an idea takes shape in his mind.
NEELEY
Mom!
KATIE
(from the bedroom)
Yes, Neeley.
NEELEY
(craftily)
Mom, if there was a rule about
somethin', that doesn't mean you
couldn't do somethin' else once in a
while, I mean if it was important,
does it?
KATIE
(offscene)
No, Neeley.
NEELEY
If it was important, I mean, people
could change their minds about
somethin', and it's all right, ain't
it?
KATIE
(still offscene)
Yes, I guess so.
NEELEY
Well, mom, I was just thinkin', you
know I never smoke cigarettes
because you said I mustn't, even if
some of the fellers make fun of me.
I don't but, it's been kinda hot
lately, and--
KATIE
(interrupting, quite
pleasant about it)
Neeley, you cannot have any of those
pennies to buy an ice-cream cone.
They go in the bank, same as usual.
Neeley gives this a quick, startled reaction. How in the
world did Katie know what he was trying to do before he
really got to his point? It is a distinct letdown. --
Francie, busy at the stove, smiles at his reaction.
KATIE
(from another room)
Bring 'em in here, Neeley.
Dutifully Neeley picks them up and starts for the other
room, and the scene cuts to the BEDROOM, which is small,
with a lumpy double bed and an old bureau with a wall
mirror. Katie is primping before the mirror, and you have to
be rather careful to look in the right place or it will
distort. Neeley enters with the pennies. Katie goes to the
closet, and Neeley follows her. -- The closet contains very
little in the way of clothes. The condensed milk can, used
as a bank, is nailed to the floor.
KATIE
Half of everything we get goes into
the bank. That's the way it is, and
that's the way it's going to stay.
Now put 'em in there.
NEELEY
(obeying)
Gosh, I bet we got about a hundred
dollars in that ole bank by now!
Katie comes out of the closet and returns to the mirror.
KATIE
(dryly)
Nine's more like it.
There is a sound outside of a limb of a tree splitting. At
this the scene cuts to the KITCHEN where Francie has turned
from the stove in time to see the limb outside the window
sway and disappear from view.
FRANCIE
Mama -- they're cutting the tree!
Neeley tumbles into the kitchen followed by Katie carrying
her hairbrush. They crowd behind Francie at the window to
look out.
Looking out the window from their angle, we see two men
sawing the limbs off the tree. Katie stares at it a moment.
KATIE
Oh, that's too bad, it was kind of
pretty there, and the birds sittin'
in it sometimes like they do.
FRANCIE
Papa loved that tree.
KATIE
(abruptly)
Oh, quit moonin' over it, it got in
the way of the washing. A tree ain't
goin' to put no pennies in the bank.
She starts for the bedroom. Francie is mildly bewildered by
this sudden change. Katie is a little sorry for her
abruptness, but before she can say anything there is a
knock on the door.
KATIE
It's Mr. Barker. Get out the saucer
and give it a wipe. I think there's
matches in it.
(then, as a small
apology for her
outbreak)
If -- if you want you can stay in
the room while he's here.
Katie hurries back into the bedroom. Francie gets the saucer
out, sets it down, and then hurries to the door to admit Mr.
Barker. Mr. Barker is a kindly enough little man, rather
old, but with the soul of a busybody. He is an important
visitor, since in making his collections he sees almost
everyone, and is a sort of newspaper for the neighborhood
gossip. Consequently the Nolans treat him with their best
manners.
FRANCIE
(with her best
book-manners)
How do you do, Mr. Barker. Mama is
temporarily detained, but will join
you directly.
Neeley gives her a withering look.
MR. BARKER
You got manners right out of a book,
Francie.
(to Katie as
she enters)
And company or no company, Mrs.
Nolan always looks the lady. You
should see some of my people, even
ladies with husbands that work
steady--
He stops, realizing this is not a very good point to
bring up. Katie stiffens a little.
KATIE
(with dignity)
Won't you come in the parlor and
have a cup of coffee.
MR. BARKER
That I will, and your hospitality is
very kind, Mrs. Nolan.
They start for the parlor. Mr. Barker bows gallantly for
Katie to precede him through the door. She pauses to take
some coins out of an old cup on a shelf. Francie
automatically starts to get the cup of coffee.
The PARLOR is dark, small, and stuffy. It is seldom used.
The couch that serves as Francie's bed is under the window.
-- Katie and Mr. Barker are followed by Neeley. Mr. Barker
seats himself in the best chair, and takes out his fountain
pen to write the receipts. He talks steadily.
MR. BARKER
(cheerfully)
Well, old man Gentry's off to jail
again.
KATIE
That's too bad.
MR. BARKER
(hurriedly)
But she's keepin' up his insurance
just the same.
KATIE
And here's ours -- ten cents for me,
ten for Mr. Nolan, a nickel for each
of the children.
MR. BARKER
And you'll never regret it. A fine
funeral for every member of the
family, heaven forbid.
He is busy writing the receipts as Francie appears with the
cup of coffee and can of condensed milk. Mr. Barker accepts
it and pours the condensed milk lavishly. -- The Nolan
family watch fascinated as he continues to pour the milk.
-- Mr. Barker finally ceases pouring, and the Nolans are
relieved. He talks steadily as he does this.
MR. BARKER
Thank you, Francie. And your weekly
receipts, Mrs. Nolan.
(he gives them to her)
Now there's one party, not far from
here, I wouldn't like to say who,
that didn't get no receipts this
week. And not naming any names, I
will say that it's a family that the
Angel of Death has marked on its
invitation list, heaven forbid.
NEELEY
Henny says his sister's got one leg
in the grave.
KATIE
Neeley!
MR. BARKER
It'll mean Potter's Field, most
likely. Well, that's what people
get, wastin' good money to give her
dresses instead of insurance,
dresses that'll last longer than she
will. It all depends on what folks
thinks is important.
FRANCIE
But papa says that sometimes--
KATIE
That's right, Mr. Barker, it all
depends on what folks think is
important.
MR. BARKER
And how is Mr. Nolan, is he working
or not working, some tell me one
thing, some another -- I don't
listen.
KATIE
Mr. Nolan bein' a singing waiter, Mr.
Barker, and what you might call an
artist, his work don't come steady
like other peoples'. But I'm sure
you'll remember, when you talk to
folks, that the Nolans have always
paid their insurance on the dot.
Francie gives her mother an admiring look for this defense
of Johnny.
MR. BARKER
(retreating)
You surely don't think I'd go around
spreadin' gossip about my clients,
Mrs. Nolan?
KATIE
Oh, sure not. How is my mother, Mr.
Barker?
MR. BARKER
In the prime, Mrs. Nolan, fine as
can be, she says to tell you she'll
be over tonight the same as usual.
(then, with relish)
And I trust you're happy with the
news about your sister.
Katie is instantly alert. It is quite evident that here is
news she does not know, but she does not like to admit it.
KATIE
Just which news do you mean, Mr.
Barker?
MR. BARKER
Well, it must be she's savin' it to
surprise you with tonight when the
family's all here together.
KATIE
(apprehensively)
I'd take it kindly if you told me
what you mean.
MR. BARKER
(warming to his work)
Well, I trot around the same as usual
to collect her weekly dime, and what
do you think happens -- well, sir,
she gives me two dimes.
(he pauses for effect)
Yessir, she's done it again, she's
got herself a brand-new husband,
and--
KATIE
(startled)
Oh, no!
She breaks off abruptly. It is none of Mr. Barker's business
that Sissy had never been divorced from her last spouse. The
children are fascinated. Mr. Barker is in his element.
Katie's worry about the marriage will make a fine story
indeed.
MR. BARKER
Well, now, I suppose you mean about
her still bein' married. I don't
mind sayin' the same thought
occurred to me. But I'm sure it must
be all right, she must have made
some arrangement, but--
KATIE
I'm quite sure she did, Mr. Barker,
I'm sure that--
NEELEY
(fascinated)
Does she call this one Bill, too?
His question makes Katie sharply aware of the presence of
the children. They shouldn't be hearing such a discussion.
KATIE
You children run along now, and do
the marketing. Take some money from
the cup--
NEELEY
Aw, but mom! I want to hear about
Aunt Sissy!
KATIE
Take the money and get a five-cent
soup bone off of Hassler's; don't
get the chopped meat from him
though, he grinds it behind closed
doors, and heaven only knows. Go to
Werner's for the meat, get round
steak chopped, ten cents worth, and
don't let him give it to you off the
plate. Take an onion with you and
ask him to chop it in. And don't
forget, just at the last, to ask for
a piece of suet to fry it with.
During this domestic discussion, Mr. Barker does a little
snooping. He tries, with his finger, to see if there is any
dust on the table, and is disappointed when there is none.
Then he moves a small hassock with his foot and is delighted
to discover, as he suspected, that it covers a hole in the
carpet. The Nolans are unaware of this.
FRANCIE
He won't always do that, mama, he--
KATIE
Tell him your mother said. And then
go for the bread.
NEELEY
It's Saturday, mom, can we--
KATIE
All right, all right. Ask for a nice
pie, not too crushed, and go on now
and do it.
FRANCIE
(reluctant to go)
Mama, we know Aunt Sissy's been
married before.
NEELEY
Sure, I can remember two Uncle Bills.
KATIE
That's nothing for you to talk
about; go on now and get things
done.
Reluctantly they leave. Katie turns back to Mr. Barker.
KATIE
You got no right, Mr. Barker, to be
carryin' tales about my sister as
though there was somethin' wrong.
She's funny some ways, maybe, but
she wouldn't do nothin' wrong. So
I'd like it if you didn't talk to
anybody about it like it was.
MR. BARKER
(lying, of course)
Strike me dead if I'd ever think of
mentionin' it to anybody but you.
KATIE
(dryly)
Yeah, sure, I know.
(she sits down)
Well, you might as well go on and
tell me what you do know. No point
in my bein' the only one that don't
hear it.
MR. BARKER
(eagerly starting
his story)
Well--
The scene dissolves to WERNER'S BUTCHER SHOP, with Francie
and Neeley in front of the counter. Werner is waiting on
them.
WERNER
Ten cents worth of round steak. You
want it ground?
FRANCIE
No.
WERNER
You're sure now? Wasn't twenty
minutes ago I ground that whole
plateful fresh.
FRANCIE
No, thank you.
Werner takes some chunks of meat out of the case and starts
to wrap them.
FRANCIE
Oh, I forgot. My mother wants it
ground.
WERNER
(giving her a
dirty look)
You don't tell me!
The children make no answer. He gives an angry exclamation
and gives up -- starts to grind the meat. Francie reaches
timidly across the counter with her onion.
FRANCIE
Mama said to chop up this onion in it.
WERNER
Oh, she did!
But he takes the onion angrily and puts it in the grinder
with the meat. He starts again to wrap the ground product.
At this point Francie takes a deep breath and blurts out the
last instructions.
FRANCIE
And-a-piece-of-suet-to-fry-it-with-
mama-said.
Werner stands for a moment as though turned to stone.
WERNER
Sweet jumpin' Christopher!
But he takes the piece of suet and puts it on top of the
meat as he folds the paper around it. The Nolans have won.
This dissolves to HASSLER'S BUTCHER SHOP. Neeley is peering
through the window to watch Francie, on the inside, make her
purchase. He is taking pains to keep himself and the package
of ground meat out of sight.
Inside the BUTCHER SHOP, Hassler, a kindly man, is
exhibiting a husky-looking soup bone before he wraps it up
for Francie.
HASSLER
Ain't that a beauty, though? Now you
tell your mama when she cooks it,
tell her to take the marrow out and
spread it on a piece of bread for
you. That's good, and you need to
get some meat on your bones.
(he laughs at this
joke as he slaps the
package down)
And here.
(he slices off a thin
slice of liverwurst and
offers it to Francie)
Do me a favor -- try this and see if
you think it's all right for my
customers.
He is "thin-make" covering up a good deed and Francie knows
it. She takes the slice of liverwurst and tastes it.
FRANCIE
Yes, sir.
HASSLER
Well, that's fine. Now you finish
that before you get home. How's
your papa?
FRANCIE
He's fine, sir!
Francie exits, Hassler smiling after her.
Outside the butcher shop, Francie joins Neeley and they
start down the street. She breaks the piece of liverwurst in
two and gives Neeley half. He wolfs it.
NEELEY
Free?
FRANCIE
(moved by the kindliness
of the world)
He made out he wanted me to tell him
did it taste all right.
(she blurts out
with sudden passion:)
I wish we could buy all our meat
from Hassler's. I wish he didn't
grind his meat behind closed doors.
NEELEY
Well, you don't have to bawl about
it.
Francie isn't really crying, but she could.
This dissolves to the exterior of LOSHER'S BAKERY and STALE
BREAD STORE. A sign reads "NOT QUITE FRESH BREAD, 2 LOAVES
FOR 5¢." A long queue is waiting patiently for the doors to
open. The scene moves to the bakery window next door where
Francie and Neeley, meat packages tucked under their arms,
are gazing longingly into the window at a huge chocolate
cake on display.
FRANCIE
You know, mama thinks we don't know
anything.
NEELEY
(getting the
drift at once)
Yeah, she acts like we were kids or
somethin'.
(they edge along to
a platter of cream
puffs and stare)
I bet she has a fight with Aunt
Sissy tonight.
FRANCIE
It's got something to do with men
who like Aunt Sissy too much.
NEELEY
Papa says we'd ought to make
everybody like us.
FRANCIE
I guess maybe ladies shouldn't.
(then, thoughtfully)
Maybe Aunt Sissy wouldn'ta changed
husbands so much if any of her
babies had lived. She's crazy about
babies.
NEELEY
Look who's talkin' about babies! A
lot you know!
FRANCIE
I know as much as you do!
NEELEY
You don't know nothin'.
FRANCIE
You think you're so smart. Boys make
me sick!
NEELEY
Well, what do ya think girls make
people, you think--
But there is a sudden interrupting shout from the crowd as
the stale bread store door is thrown open and the people
push forward.
Francie and Neeley, their argument forgotten at once, adjust
their packages and stalk toward the entrance. Their eyes
flash with the light of battle, like a fighter advancing
across the ring to engage his opponent.
At the entrance the crowd is pressing forward. A kid dashes
out of nowhere to the head of the line and worms his way
through the door. This seems to be the signal for the
disappearance of all semblance of order. Neeley fights his
way in; Francie follows through the hole made by him. The
crowd is storming the counter behind which two harassed
clerks dole out the bread and collect the money.
AD LIBS
Two loaves! I was first! Four loaves!
Quit shovin'!
Neeley squirms, pushes, fights his way to the counter;
Francie is right behind him.
NEELEY
Six loaves.
FRANCIE
And a pie not too crushed!
This dissolves to the NOLAN KITCHEN where the children are
just dumping their packages onto the table. This marks the
end of their chores, and the beginning of that part of the
day which is theirs. Katie examines the bread.
KATIE
This bread's fine. I wouldn't be
surprised if it wasn't more'n three
days old.
NEELEY
Is that all, Mom? Can we go now?
KATIE
Yes -- you're free.
Neeley bolts for his room and Francie for the parlor, while
Katie starts to put the things away. In a moment Neeley
reappears with a baseball glove, and heads for the door.
Francie emerges more quietly with a library book.
KATIE
Where's the fire?
NEELEY
(on his way)
There's a Dodgers scout around.
He disappears and the door bangs behind him.
KATIE
(to Francie)
Where you goin'?
FRANCIE
Oh, no place much.
KATIE
Well, don't go dream walkin'
crossin' the streets.
Francie is gone too, and as Katie smiles after them the
scene dissolves to the exterior of the PUBLIC LIBRARY.
It's a rather small library, but it has dignity. Francie
hurries down the street, her attitude and pace changing as
she arrives. She stops a moment, then starts slowly and
reverently to mount the shallow steps as the scene dissolves
through to the interior. Francie enters into the hush of the
room, the door closing soundlessly behind her and she
advances to the librarian's desk. A few people are reading
at the tables or are at the stacks.
At the desk she offers her book. The librarian takes the
card, stamps it mechanically, returns it without once
looking at her. Francie meantime has reverently touched the
blue bowl with yellow flowers and the polished desk. Now
she takes her card and almost tiptoes to the shelves. The
librarian stacks the returned book; we see it is by
Browning.
FRANCIE, passing the shelves, lingers at the C's. Then she
turns dutifully to the B's, runs her finger through the
Brownings, and chooses the volume which comes next. She
goes back to the desk.
At the desk, she offers the B book. The librarian stamps
mechanically, then notices the title: Burton's Anatomy of
Melancholy, and for the first time looks curiously at
Francie.
LIBRARIAN
Burton's Anatomy of Melancholy! Are
you sure you want this?
FRANCIE
Yes, ma'am.
LIBRARIAN
Don't you think it's a trifle over
your head?
FRANCIE
Yes, ma'am -- I mean, yes, ma'am.
LIBRARIAN
Well, why did you select it?
FRANCIE
Well, I -- I read all the authors
that far, all the ones that begin
with A and then the B authors up to
Burton. It's next.
LIBRARIAN
You don't mean you're trying to read
your way straight through the
library?
FRANCIE
Yes, ma'am.
LIBRARIAN
But a book like that, you'll only be
confused and--
FRANCIE
Please, I want to go on, through the
alphabet -- I want to get to know
everything in the world.
The librarian stares at her a moment. It is evident that
Francie means it.
LIBRARIAN
Well, all right.
(she marks the book --
then before she hands
it to Francie she adds:)
Only -- look, do something for me,
will you -- take another one too --
here, Lavender and Old Lace -- just
for fun. It's Saturday. I'll have a
headache thinking about you wrestling
with The Anatomy of Melancholy all
weekend. Will you?
FRANCIE
(smiling shyly)
Yes, ma'am.
The librarian marks the book and Francie starts out with it,
the librarian smiling after her.
This dissolves to the YARD of the NOLAN TENEMENT in the
afternoon. The tree, shorn of its limbs, stands like a
scarecrow. A man is mounted on a ladder retying the
clotheslines. Women hang from the windows giving free advice
and gossiping.
WOMEN
A little to the left, Mrs.
Crackenbox! You think I want for Mrs.
Wittely's baby-clothes to drip on my
good sheets? Why don't you try oil of
cloves? Nothin' won't make her stop,
she's cuttin' her teeth. Didja hear
old man Hammerslaw taken out last
night? They'd oughta make the stairs
wider or the coffins narrower ...
Mixed with this are the sounds of a baby crying and the
shouts of kids.
The camera moves steadily past this bedlam and up to the
second-floor rear fire-escape outside the Nolan window, to
discover Francie, completely oblivious to all the noise,
eating peppermints and having "fun" crying pleasurably over
the sorrows of her book. The bedlam continues over her but
she hears nothing. She comes to a pausing place where it is
just too beautiful to go on, closes the book, and sits
reveling in its tragedy -- but managing to take another
peppermint through the tears. -- Suddenly her head lifts as
she hears singing, faint at first, then stronger. It is her
father's voice, singing "Molly Malone." As soon as she is
sure, she is galvanized into action and scrambles toward the
kitchen.
The KITCHEN: Francie rushes to the door and throws it open
as the singing comes closer. She gets it open before the
last line is finished, and Johnny, her father, is revealed.
This is a game of long-standing, to try to get the door open
before he finishes the last line. Johnny holds out his arms
and Francie flings herself into them joyfully.
FRANCIE
I won. I won!
Johnny laughs and holds her for a moment. Johnny is nice-
looking, debonair. He is a free soul who could give and take
superb happiness if only the world contained no economic
problems, no responsibilities beyond the joy of living. It
isn't so much that he shirks the responsibilities of a
family man, as that he simply cannot cope with them. He is
man enough to be bitterly ashamed of his weakness, but not
quite man enough to overcome it. The truth is that Johnny
has never quite grown up. His charm and his gift of play
are something like those of a child. His moods are
extravagant and volatile, like a child's. He wears the only
suit he possesses -- a shabby Tuxedo, badge of his trade,
with it a derby, jauntily worn. At the moment he is in a
very high mood because he has a job for tonight, so that
momentarily he feels more like the head of his house than
he ordinarily does.
JOHNNY
Well now, I wouldn't be so sure o'
that if I was you.
FRANCIE
But I did, I got it open before you
finished, that's the rules!
JOHNNY
But I come up one flight two steps
at a time before I remembered. Don't
that make a difference?
FRANCIE
No sir, the rules--
JOHNNY
And in a manner of speakin', you
never stopped me at all, because my
heart kept right on singin'.
FRANCIE
Oh, papa, you're joking.
JOHNNY
Well, maybe I'll let you get away
with winnin' this time, Prima Donna.
(looking around)
And where's your beautiful mama?
FRANCIE
Finishing the halls. She must be up
on the top floor or she'd have heard
you.
Unconsciously and almost imperceptibly, Johnny relaxes. He
is instinctively more at ease with Francie than with Katie.
JOHNNY
Well, in that case you'd better be
gettin' busy. Why aren't you layin'
out my clothes?
FRANCIE
You're always makin' fun, papa, you
know you haven't any more clothes.
JOHNNY
What's this, then?
FRANCIE
A tie.
JOHNNY
What's this?
FRANCIE
A dickey.
JOHNNY
And this?
FRANCIE
An apron.
JOHNNY
Them's clothes, aren't they? And
you'd better be gettin' that apron
ironed.
FRANCIE
Oh, papa, you've got a job for
tonight?
JOHNNY
(savoring his
good news)
Do you see the palm o' that hand?
That's right where I got the world,
tonight.
FRANCIE
Where is it, papa?
JOHNNY
Klommer's -- big wedding party.
There'll be lots of tips.
FRANCIE
Singing or waiting?
JOHNNY
Both.
FRANCIE
Oh, Papa, maybe tonight will be it,
maybe he'll he there, the impresario,
and he'll hear you and put you on
the stage.
JOHNNY
Why not, ain't I the Brooklyn
thrush? Only if that's the case,
hadn't you better be gettin' that
apron ironed?
FRANCIE
I'll have it in a jiffy, papa. And
the coffee's on.
JOHNNY
That's my Prima Donna.
(then, teasing her)
"I've got a lassie, a bonny, bonny
lassie, She's as fair as -- as--"
He pretends not to remember.
FRANCIE
(fussed)
Oh, papa, I can't sing.
JOHNNY
Come on, you're holdin' up the
singin'.
FRANCIE
(shyly)
"As fair as the flowers in the dell--"
JOHNNY
Better singin' I never heard.
FRANCIE
(shyly)
I love to iron for you, papa.
JOHNNY
(pouring the coffee
and bringing it down
to the table)
You know, a day like this is like
somebody givin' you a present,
everything just right. I wonder how
did folks get on before coffee was
invented. Ah, the world would be a
fine place if--
(he gets away from
this thought as
quickly as possible)
Prima Donna, do you know you're
gonna make a mighty nice wife for
somebody some day.
FRANCIE
Oh, papa!
JOHNNY
(teasing)
And pretty, too -- that is if your
nose don't grow crooked.
FRANCIE
Could it really -- honest?
JOHNNY
Ah, it's the prettiest nose in
Brooklyn.
FRANCIE
Oh, papa, it isn't!
JOHNNY
Who says it isn't? You just tell me
who says so and I'll take care of
him.
FRANCIE
Papa, you're crazy.
JOHNNY
You know somethin' else, you ain't
gonna be ironin' like that no more
when that impresario comes around.
Things are gonna be different around
here, you wait and see.
FRANCIE
Yes, papa.
JOHNNY
What's the wish you wish the most,
when our ship comes sailin' in?
FRANCIE
(not looking at him)
It already came true.
JOHNNY
What was it, baby?
(she irons, and
won't look at him)
Come on, tell me now.
FRANCIE
I -- I wished when you came home
today, you wouldn't be -- sick.
JOHNNY
(moved)
Who told you to call it sick, baby?
(then, trying to
get away from this)
Ah, now, you shouldn't be wastin'
wishes like that; you ought to be
savin' them for a silk dress or
somethin'. Haven't you got a better
wish than that?
FRANCIE
(hesitantly)
Well--
JOHNNY
Come on.
FRANCIE
I wish mama won't be too mad with
Aunt Sissy.
JOHNNY
What about Aunt Sissy?
FRANCIE
She's gone and got herself a new
husband again.
JOHNNY
(laughing)
No! If there ain't a woman for you
-- If one husband don't suit her,
she keeps right on lookin' for the
best. Uh -- what did your mama say?
FRANCIE
Well -- she didn't like it.
JOHNNY
Yeah, I wouldn't be surprised.
FRANCIE
Couldn't you -- sort of say
something to mama, not to be too
mad.
JOHNNY
Why, sure I could, Prima Donna --
and I will.
FRANCIE
Oh, thank you, papa.
JOHNNY
Now ain't you got a real wish -- one
just for you?
FRANCIE
Well -- did you see it, papa?
JOHNNY
What?
FRANCIE
Out the window -- our tree, they've
killed it.
He crosses to the window, and she follows.
JOHNNY
(looking out)
Well, look at that now.
FRANCIE
(fiercely)
They didn't have any right to kill
it, did they, papa?
JOHNNY
(sensing how serious
it is with her)
Wait a minute now, they haven't
killed it. Why, they couldn't kill
that tree!
FRANCIE
Honest?
JOHNNY
Why sure, baby. Now look, don't you
tell me that tree's goin' to lay
down and die that easy. You look at
that tree, see where it's comin'
from -- right up out of the cement.
Didn't anybody plant it, it didn't
ask the cement could it grow, it
just couldn't help growin' so much
it pushed that ole cement right out
of the way. When you're bustin' with
somethin' like that, can't anybody
stop it. Like that little ole bird,
listen to him--
(he imitates a bird)
He don't ask nobody can he sing. He
don't take no lessons, he's just so
full of singin' it's got to bust out
someplace. Why, they could cut that
tree way down to the ground and the
root'd shove up some place else in
the cement. Just you wait until next
Spring, and you'll see, Prima Donna.
(their eyes meet and
Francie's worry is
laid to rest)
Well, now, this ain't earnin' the
family bread.
(he gets his hat and
brushes it carefully
with his sleeve)
Haven't you got one little wish
that's just for you?
FRANCIE
No, papa I -- I just --
JOHNNY
Just what?
FRANCIE
I just love you so much, papa!
She clings to him, tightly. Johnny holds her.
JOHNNY
(gently, moved)
Well, what do you know. Listen, if I
get a lot of tips tonight, you know
what I'm gonna do? I'm gonna put two
bucks on a horse I know runnin'
Monday. I'll win ten, then I'll put
the ten on another horse. If I use
my head and have any luck, maybe I'll
run it up to five hundred. Then you
know what I'm gonna do?
FRANCIE
What, papa?
JOHNNY
I'm gonna take you on a trip, just
you and me, on a regular train.
Maybe we'll go down South, and see
where the cotton grows. You know,
"Down where the cotton blossoms
blow."
To make her laugh, he does a little step with this.
JOHNNY
(very gently)
You're a nice girl, baby. Come on,
we better go tell your mama the news
about my job.
He puts his derby on at a rakish angle, and Francie gives
him the package with the apron. They go out together. -- We
then see them in the HALL. Johnny is feeling very good
indeed, and he deliberately turns on the charm as he calls
up the stairs.
JOHNNY
(calling)
Anybody seen Johnny Nolan's wife?
He starts gayly up, Francie looking after him, adoringly,
and the scene cuts to the UPPER HALL where Katie is on her
knees on the stairs, scrubbing her way down. She is slightly
apprehensive as she looks down quickly.
KATIE
Johnny! You all right?
JOHNNY
(coming up the stairs)
And why wouldn't I be, married to
the most beautiful woman in
Williamsburg, Brooklyn?
KATIE
(relieved)
You're shoutin' it so, they'll hear
you over to Manhattan.
JOHNNY
Don't you get fresh with me tonight!
Happens I'm workin' at Klommer's --
big weddin' party.
Katie is pleased in a maternal way, but values the news for
what it is -- a one-night job -- whereas to Johnny it
changes the complexion of his world and ought to change her
world. To Katie his enthusiasms are an old, and now a
somewhat humorous, story; her humor is a necessary defense
against disappointments.
KATIE
I thought you was kinda extra dressy!
Well, looks like you won't get home
before the sun comes up.
JOHNNY
The later the better; the more tips
the more fine silk stockings for my
wife's pretty legs.
KATIE
(smiling)
Silk stockin's is just what I need.
She turns away to go on working. A man comes up the stairs
past them and a couple of tenants look out from their doors
to see what's going on. An audience always inspires Johnny.
JOHNNY
Just a minute, Mrs. Nolan. Don't you
think you better kiss me for luck?
KATIE
The whole house is lookin'!
JOHNNY
Who cares!
(But he draws her back,
then speaks softly:)
This is the best job I had in a
couple a months. Maybe I'll get
more, from tonight.
He puts his arm around her. She pretends to be out of
patience with him, but she is pleased. None of the other
women in the tenement get treated like this by their
husbands.
KATIE
You better get on then, good jobs
don't wait--
JOHNNY
A job's no good without you kiss me.
She lets him kiss her, and is warmed in spite of herself.
Then she gives him a playful push, and speaks almost
ruefully.
KATIE
Well, you still got a way with you,
Johnny Nolan! Go on now, before you
know it those folks at the weddin'
will be an old married couple.
JOHNNY
Before you know it, I won't go at
all. Theirs ain't the only weddin'
that counts.
KATIE
(smiling)
Put your hat on now and get out of
here before somebody else cops that
job!
He puts his hat on jauntily, grins, and comes to the head
of the stairs. But he catches Francie's eye fixed on him
from the bottom. He turns back to Katie, outwardly jaunty
but actually a bit awkward.
JOHNNY
(hesitantly)
Oh -- Francie tells me Sissy's gone
and done it again. Don't -- I mean,
maybe he's a nice fellow -- don't be
too hard on her, huh?
KATIE
(dryly)
They've all been nice fellows. Beat
it now, Johnny.
A little lamely, Johnny turns away. He is glad to have this
over with. His jauntiness returns. He tips his hat to Katie
elaborately.
JOHNNY
That's just a sample, Madam. If you
like my stock, drop me a card and
I'll be around again.
Katie has to smile. Johnny starts down the stairs,
pretending to be aware for the first time of his small
audience. He tips his hat again.
JOHNNY
Oh -- evening, folks.
At the foot of the stairs Francie, delighted by the whole
scene, slips her hand into his and accompanies him proudly.
-- The view moves with them and "picks up" Flossie Gaddis,
still in her pretty dress, shy and wistful in her doorway.
When she sees him, she starts to smile. Johnny stops.
JOHNNY
Well, will you look at our beautiful
princess tonight, in a brand new
gown.
FLOSSIE
(shyly, but infinitely
pleased)
It's made out of silk.
JOHNNY
Why, let's see. Silk! Why, don't you
tell me that -- that dress is made
out of flower petals and birds' wings
and a little old piece of cloud.
Anybody could tell that!
Flossie laughs softly, and it is beautiful to see. Johnny
laughs too, pats her head and starts on. -- Francie's
reaction marks her worship of this father of hers. The scene
moves on again as they go on down the stairs. They pass two
old ladies who are standing in the doorway. On the door is a
sign: Piano and Vocal.
JOHNNY
(tipping his hat)
Evening Miss Lizzie, Miss Maggie.
THE MISSES TYNMORE
We wish you well, Mr. Nolan.
JOHNNY
Thank you, ladies. Evening, Mr.
Spencer.
MR. SPENCER
(going up stairs)
Working tonight, Johnny?
JOHNNY
Sure, big weddin' party.
They pass through the front door and on to the street.
We get a glimpse of Katie looking down for a moment after
Johnny. Her face shows the mixture of her feelings. She
sighs a little and turns back to work.
The STREET: Johnny and Francie come down the front steps,
and what is, to her, a small triumphal march, continues.
She holds onto his arm and is enormously proud. A couple of
young girls are sitting on the steps.
JOHNNY
(tipping his hat again)
Good evening, young ladies.
GIRLS
Good evening, Mr. Nolan.
They giggle, a little flirtatiously. Johnny is unaware but
Francie gives them a look. Her head goes higher and she
holds tighter to Johnny's arm.
FRANCIE
What did mama say about Aunt Sissy?
JOHNNY
Don't you worry -- it'll be all
right. Your Aunt Sissy's a fine
woman, Francie.
Suddenly he stops at the window of the hardware shop as they
pass it.
JOHNNY
Look at all the things they got. No
use talkin', some day I'm gonna get
you them skates.
FRANCIE
(maternally)
Mama said not to be late, papa.
JOHNNY
God invented time, Prima Donna, and
whenever He invents somethin'
there's always plenty of it.
(moving down the window)
Look at them knives!
FRANCIE
(gravely)
Mama says time is money.
JOHNNY
Well, I guess maybe He wasn't
worryin' about money right then.
FRANCIE
(a little worried)
There's your car, papa.
JOHNNY
(looking, and
grinning at her)
Might as well catch it, I guess.
He kisses her quickly and goes toward the car. Francie calls
"goodbye" after him and stands watching anxiously.
Johnny swings onto the car just as it starts to move on. He
smiles back, then tips his hat with a fine flourish to
Francie.
Nobody but papa has ever yet tipped his hat to her. She is
so proud her eyes glisten suspiciously. Her concern is gone
and nothing is left but worship. She waves till the car is
out of sight. And the scene fades out.
[B]
The NOLAN KITCHEN fades in. It is evening. First we see
FRANCIE setting the table but more concerned with reading
her book, which is open on the table. Then the scene pulls
back to reveal Neeley washing at the sink, and Katie
transferring the food from the stove to the table.
KATIE
Now tomorrow this bread'll make up
real nice with a sauce of ketchup
and coffee. Use soap, Neeley. Monday
we'll slice it and fry it in bacon
fat and -- Francie, you're not
listening, put up that book.
FRANCIE
(obeying)
Yes mama ... bacon fat.
KATIE.
Supper's ready.
She and Francie sit while Neeley, having splashed his face
with water, dries it with a dish towel, looking over
longingly.
NEELEY
Oh boy, we won't have to play no
North Pole this week! Hey! Am I
hungry!
He comes to the table, starts wolfing his food standing up.
KATIE
And when weren't you?
FRANCIE
Mama.
KATIE
Yes, Francie.
FRANCIE
(dreamily)
What does white mean?
KATIE
Just white, I guess. What do you
mean, what does it mean? Neeley, sit
down at your place.
He sits down.
FRANCIE
Well, what do girls always wear it
for when they get married, and when
they're confirmed, and when they
graduate -- why does it always have
to be white?
KATIE
I don't know, somebody just started
it I guess. Lots of things like that.
FRANCIE
Will I have a white dress when I
graduate?
KATIE
We'll see. Neeley'll probably need
shoes by then.
FRANCIE
But mama.
KATIE
Talk to him about it. If you can get
him to quit always comin' through
his soles ...
FRANCIE
Just because he's a boy ...
(she changes; right
out of her book)
All right, mama. I will gladly do
without so my little brother can be
happy with new shoes.
NEELEY
Little brother my eye, you--
KATIE
That'll do.
(to Francie)
You read too much.
The door suddenly bursts open and Aunt Sissy comes in -- but
she gives the impression of blowing in, like a fresh breeze.
She is a couple of years older than Katie, lively,
completely natural, looks not unlike a street-walker, but is
actually a simple, direct, earthy woman. She carries some
magazines.
SISSY
Well, hey, everybody!
THE CHILDREN
(with cries of delight)
Aunt Sissy, Aunt Sissy! What did you
bring us, Aunt Sissy?
They fly into her arms and she embraces them warmly,
magazines, and all.
SISSY
I brung myself, chickabiddies, ain't
that enough! Oh -- and a couple
magazines from the dentist's -- what
does he need 'em for -- or me either,
I can't read like my eddicated
little niece here! --
(Francie takes the
magazines, Sissy
looks at Katie)
Hello, Katie my darlin'!
KATIE
(a little stiffly)
Good evening, Sissy.
SISSY
(getting the fact
that there's a
chill on)
Well, you look fine, Katie.
KATIE
Yes, I look fine.
SISSY
(with rueful humor)
Who spilled the beans -- oh, that's
right, I forgot it was old Barker's
day here. Where's Johnny? I was
kinda countin' on him to be in my
corner!
KATIE
Oh, sure, you and Johnny.
SISSY
(abruptly putting
her arms around Katie)
Aw, look Katie, I didn't tell you
because I wanted to bring Bill
around, but I couldn't, he's home
sleepin', he's a milkman, see ... Ah
listen, you're goin' to wish me
happiness, ain't you?
KATIE
Naturally I wish you happiness --
this time, too.
SISSY
Oh, golly -- can't you just skip to
the place where you forgive me.
You're goin' to before you're
through, you know I'll get around
you in the end. Why can't you just
be human now and get it over with?
KATIE
(laughing in spite
of herself)
Well, I'll say that much, there
ain't anybody in the world like you
to get around a person -- unless
it's Johnny. You better sit down,
you're in time for pie.
SISSY
Now that's more like it, that's my
kid sister talkin'. Just coffee for
me. I gotta get home soon and make
breakfast for Bill.
NEELEY
Breakfast? At night?
SISSY
Yeah, ain't it a riot. We sleep all
day with the shades pulled down to
keep out the sun and the windows
shut to keep out the noise. It's
fun, you don't live like nobody
else.
KATIE
(dryly)
No, you sure don't.
SISSY
Easy on the whip, kid. Ah, wait'll
you meet my Bill -- you and him
will--
NEELEY
Wouldn't you marry nobody that they
wasn't named Bill, Aunt Sis?
KATIE
She mightn't remember 'em if they
wasn't.
SISSY
(laughing)
Oh, Bill's got some other name --
Steve I think it is -- but I always
like Bill. A good man's name with no
stuck-up about it. Ah, like I say,
you'll be crazy about him, Katie.
KATIE
Yeah ... but the question is, how'll
him and you get along?
(genuinely troubled)
It's wrong, Sissy, it's ... I mean,
the other ones, and--
SISSY
What's wrong about it? The others
was wrong. What's right about keepin'
on with a guy when you don't love
each other any more?
KATIE
But it ain't just as easy as that,
it--
FRANCIE
(earnestly - dreamily)
I think Aunt Sissy is right about
when love is dead.
KATIE
(to Sissy)
Now look what you started. It ain't
anything to talk about in front of
them. Every time you come around you
fill their heads with--
SISSY
All right, kids, you go on
downstairs awhile. Your mama's got a
spankin' up her sleeve, and she
ain't gonna feel right till she
gives it to somebody. Might as well
get it over with.
Neeley and Francie start out. Francie turns at the door, a
little worried about her aunt and mother.
SISSY
You don't want to frown like that,
snuggle-pup. The fellows don't go
for that at all.
Her grin is contagious and Francie is relieved. She follows
Neeley out. Sissy turns back to Katie with a grin.
SISSY
All right, kid, let's have it, the
works. I'm a disgrace, you don't
know what you're goin' to do with
me, you can't hardly face the
neighbors with what they must be
sayin', I'm old enough to know
better. -- Go on, get it all off
your chest, and then we can make up
and forget about it.
KATIE
That's right, talk your way out of
it, and you probably will, too. What
did mama say?
SISSY
Oh, you know mama, she don't say
much, but--
KATIE
Yeah, I know.
(imitating her mother)
"Sissy is bad only where the men are
concerned, but she is good in the
heart."
(her smile dies)
But that ain't it. You make me
ashamed, Sissy. Folks got a right to
talk, and the kids are bound to hear.
It ain't right for them. And you can
get in trouble. You ain't real sure
what happened, and there's laws
about things like that.
SISSY
Look, Katie, so help me, this time
it's for keeps. I ain't even goin'
to look at another guy. And as for
the last one, he can't be alive, or
I'd have heard from him. I been
pretty good. Seven years is a long
time for me to wait around, not
bein' married -- they said seven
years was all you had to wait, and
I waited. Where would I get the
money for a divorce?
KATIE
(Sissy is hopeless)
Well, for the life of me, I don't
know what you've talked yourself
into -- but I got a feelin' it ain't
right.
SISSY
(on the level)
Look, kid, all I know is, it can't
be wrong, or I couldn't feel like I
do about it. I'm dumb, sure -- but
I know this much, if I feel bad
about somethin', it's wrong, and if
I feel good, it's right. Ah, you
couldn't get it, Katie, you got all
the breaks I never had -- you got
the kids, and you got a guy you're
clear overboard about. You're lucky.
KATIE
(with a touch
of bitterness)
Yeah, I'm that, all right.
SISSY
Sure, you are. And that makes all
the difference. You got somethin' to
stick to, you--
KATIE
(with a sudden flare
she didn't know was
in her)
All right, and where does crazy over
somebody get you! It don't put no
pennies in the bank, it don't buy no
clothes for the kids to go to school
-- maybe you got it better, not
stickin' to one man. I wish I wasn't
crazy over him sometimes--
SISSY
Hey, Katie--
KATIE
(unconsciously
her voice rises)
--And I won't have the kids takin'
after him either, him and those
dreamy ways I used to think so much
of -- not if I got to cut it right
out of their hearts!
There is a pause that means a lot. Katie hadn't the least
intention of saying that. Sissy stares at her. It is the
first knowledge Sissy has had that there was something
deeply wrong between Katie and Johnny.
SISSY
Hey, kid, what're you sayin?
KATIE
Nothing, I--
SISSY
Yes you are, you're sayin' plenty.
What's happened between you and
Johnny?
KATIE
I don't know what I'm sayin'. I
don't know what come over me.
SISSY
Well, look, hon, we better find out.
Sure, we got somethin' to talk about
now.
KATIE
No, I don't want--
SISSY
Uh-uh, you're the kid sister, you
listen now. Look, you was awful
crazy about Johnny -- Don't tell me,
I seen you: it was like every woman
wants to be with a guy.
KATIE
Yeah, I know, but--
SISSY
All right, maybe Johnny didn't turn
out just like you figured; sure he
drinks and all, and you're the one
has had to make most of the livin'.
But everybody's got somethin'. And
you wasn't crazy about Johnny
because he was goin' to be a banker.
It was on account of-- well, how he
laughed, and how he could talk about
things, and -- and how you felt walkin'
down the street holdin' on to him and
havin' other women look at you -- and
the way he had of sayin' hello to
everybody like -- like he was givin'
away somethin'. That's what you was
crazy about, and that ain't changed;
I don't know, them things couldn't
change in Johnny, not even if he
tried, he's just -- different. And
that's what you was crazy over. If
there's been any changin', maybe
it's you, kid. You still got all you
was crazy over, ain't you?
KATIE
(moved, looking
away from Sissy)
Yeah, I--
SISSY
Then you thank your lucky stars for
what you got, Katie Nolan, and take
the rest along with it. And take it
from me, you got a lot, and don't
think you haven't.
There is a pause. Sissy really means it. And it has moved
Katie enough to make her very near tears, but she would not
show this for anything in the world. She manages a little
grin.
KATIE
I might've known, startin' out to
take you apart, I'd wind up with
you workin' me over.
It is as close as she can come to acknowledging in words the
truth of what Sissy has said. But their eyes meet, and there
is a nice moment between them. These two sisters like one
another at that moment as well as they have in a long time.
SISSY
Nice goin' -- You're a nice girl,
Katie.
The warmth between them holds as the scene dissolves to the
NOLAN TENEMENT BUILDING: First we see NEELEY, bent over with
his hands on his knees, playing he's an infielder. He's
playing all by himself. He throws a small ball against the
wall, feels it as it bounces back to him and tags out an
imaginary runner on second base. He's very intent on all
this. Evidently there's some question about the decision.
Neeley speaks to the imaginary umpire with righteous anger.
NEELEY
Aw, he was out a mile, I tell you.
Don't give me that -- well, that's
better.
Evidently he wins the argument with the umpire, because he
is mollified and returns to his fielding position. The
camera pulls back to reveal the front of the tenement just
as Sissy emerges from the front door. Francie is sitting
quietly on one of the doorsteps fingering a pair of roller
skates. A man and his wife are on the steps higher up, and
Sissy has to step over them to get down.
SISSY
(cheerfully)
Don't stir yourself, Pal.
She steps over him with a grin. He grins in answer. The wife
recognizes Sissy.
SHEILA'S MOTHER
(stiffly)
We better go in, Alfred.
Sissy gets it but doesn't care. Francie looks up eagerly,
and Neeley quits his hall game to come over to Aunt Sissy.
NEELEY
How'd you come out, Aunt Sissy?
SISSY
(grinning)
No decision. It was a draw.
(she smiles at them)
Ah, your mom's bark is worse than
her bite -- you know. Look, tell me
somethin', when papa's home, I bet
him and mama laugh a plenty, don't
they -- you know, like they always
did.
NEELEY
Sure, pop can make anybody laugh
when he wants to, except when he's
drunk.
FRANCIE
Sick, Neeley, mama says to call it.
NEELEY
(returning to
his ball game)
Okay, sick then. Funny, he ain't
like other guys when he gets that
way, he gets all quiet.
(he tags another
runner)
That'll teach you to steal a base
on, I guess.
FRANCIE
(to Sissy)
Mama kind of doesn't want to,
sometimes, but after a while mostly
she does.
SISSY
Sure, I'll tell you somethin' you
can do for me; do all the laughin'
you can -- you know, keeps everybody
healthy.
NEELEY
Okay.
FRANCIE
(quoting from
a book again)
Laughter is the singing of the
angels.
SISSY
You're a funny kid, head full of all
them things, kind of like your pop.
NEELEY
She tells lies like pop, too.
FRANCIE
(quickly)
He doesn't tell lies.
NEELEY
Well, I don't know what you'd call
it, he--
SISSY
(averting war)
Hey, time out, I've had enough
battlin' to last me today.
(then to change
the subject)
Where'd you get the skates?
FRANCIE
Oh, they aren't ours. Papa said he
was going to get us some though.
NEELEY
Aw, he didn't mean it, he just said
that and I'd like to know what you
call that if it ain't lies.
FRANCIE
He did so mean it, Neeley Nolan.
SISSY
Easy, now.
(to Francie)
Kind of like your papa, don't you,
lamb?
FRANCIE
He does mean it, doesn't he, Aunt
Sissy?
SISSY
Sure he means it, hon, he means it
-- every word. Only -- well,
sometimes things, you know, happen.
But it kind of ain't his fault, he--
(realizing she is
becoming more and
more involved she
changes the subject)
I tell you what -- let's make out
Johnny gave you them skates like he
said, and they're yours, it won't
hurt nobody.
FRANCIE
But Aunt Sissy, we couldn't, it--
SISSY
No sense things standing around and
nobody using them.
She starts to strap the skates on. Neeley leaves his ball
game to come over for this new excitement.
NEELEY
Hey, can I put 'em on next?
SISSY
All right, now. Take it easy.
Francie laughs in high enjoyment as Sissy steadies her. The
front door of the tenement flies open and the little girl,
who is the owner of the skates, shows up.
SHEILA
Hey, you come back here with my
skates. Mama!
SISSY
It's all right honey, we ain't gonna
hurt 'em.
Sheila's mother appears. She's the woman who was sitting on
the step.
SHEILA
Ma, they stole my skates.
The child's father appears in the doorway. The woman
advances down the steps.
SHEILA'S MOTHER
You bring them back. You put them
kids up to it, you--
SISSY
(facing her)
Easy now, nobody's hurt. I only
borrowed 'em.
SHEILA'S FATHER
(mildly)
She isn't going off with them, Effie,
just--
SHEILA'S MOTHER
(to her husband)
Don't you take up for that woman like
that, you--
SISSY
(smiling at the husband)
You poor little guy, you got to put
up with that all the time?
The clamor of the argument has brought forth other neighbors.
WOMAN
(horning in)
Ask her whose husband she'd like to
borrow.
SHEILA
(to Francie)
My mother says your aunt's got dyed
hair.
NEELEY
(belligerently)
Yeah!
A KID
Hey, the cop!
The hubbub ceases. McShane, a rather young and nice looking
cop, comes in.
MCSHANE
Come on, break it up, break it up
now, take it easy.
SISSY
(smiling full at him)
Well. I'm sure glad you come along,
handsome. You look like you ought to
be able to whip a bunch of women
into line.
MCSHANE
(making no response
to her impertinence)
That's fine, but maybe somebody
better tell me what all the
excitement's about.
SHEILA'S MOTHER
She tried to steal my little girl's
skates.
WOMAN
She tried to vamp her husband.
FRANCIE
We only borrowed them for just a
minute, honest.
SISSY
That's right, there wasn't nobody
using 'em, and a little fun and
frolic on a Saturday never hurt
anybody. I'll bet you know all about
that, don't you?
MCSHANE
It's kind of you to ask, but I'm
afraid I don't, lady.
SISSY
(studying him)
You mean it, too, don't you. Yeah, I
should've known you weren't the type.
That's kind of nice, handsome.
SHEILA'S MOTHER
If you think you're goin' to get out
of it makin' eyes at the law--
SHEILA
Your aunt's goin' to the station
house, your aunt's goin' to the
station house!
Bedlam breaks loose again. It is at this point that Katie
comes but the door and hurries forward.
KATIE
Officer, please.
(as she comes up to him)
This lady's my sister. She didn't
mean any harm, I'm sure she didn't.
MCSHANE
(studying her a
moment -- impressed)
Sure, and it doesn't look to me like
any harm's been done.
(to the crowd)
Clear the streets now, all of you.
His tone is authoritative, and the crowd starts to disperse.
MCSHANE
(turning to Katie)
I'll see you ladies to your door.
SISSY
(with a grin)
Thanks, handsome.
KATIE
(in reproof)
My sister is always trying to be
funny, officer, she doesn't mean
anything by it.
(they pause
at the door)
I'd like you to know this is the
first time my family ever got into
any trouble on the streets--
(looking at Sissy)
and I'll see it don't happen again.
MCSHANE
I guess I know a lady when I meet
one, ma'am -- My name is McShane and
I'm glad I could be of service to
you, ma'am.
He turns and goes.
SISSY
(grinning)
He sure took a shine to you, Katie.
KATIE
Go on!
(fussed)
Who'd look at me?
SISSY
He would.
KATIE
(in an odd mood for
a moment -- looking
at her hands)
Funny, you kind of forget sometimes
that you're a woman.
FRANCIE
He wasn't going to arrest us, mama.
Aunt Sissy talked him out of it. And
we got to skate on 'em anyway,
didn't we, Aunt Sissy?
This makes Katie look at Francie. Francie has evidently
enjoyed the excitement from the adventure, and this
disturbs Katie.
KATIE
You go on down the street and tell
Sheila and her mama you're sorry
now, Francie.
FRANCIE
Do I have to, mama?
Katie doesn't answer, and Francie starts reluctantly down
the street. Katie watches her go a minute, and then turns
back to look at Sissy levelly.
KATIE.
I don't like sayin' what I'm goin'
to, Sissy.
SISSY
(ruefully)
Oh, golly, are we off again?
KATIE
You're the only sister I got, but--
I don't care for myself, what people
think about you, only-- I got the
kids to worry over, and if I don't
do it nobody else will. You're bad
for 'em, Sissy, you got Francie in
trouble right on the street. You --
you might even make 'em trouble at
school.
SISSY
(very quietly)
What is it you're tryin' to say,
kid?
KATIE
Sissy, I'm askin' you not to come
around any more. My mind's made up,
and don't try changin' it with any
more of that soft talk.
SISSY
I won't, Katie, not if you mean it.
But let's keep on talkin' about
you. Soft's one thing, kid, but--
bein' too hard is another.
KATIE
(flaring)
All right, it ain't nice to be hard,
but my children are goin' to be
somebody if I got to turn into
granite rock to make 'em!
Sissy studies her for a long moment. Their eyes hold. Katie
doesn't yield.
SISSY
(with a funny
little smile)
I kind of wish you hadn't said that,
kid.
(she turns)
So long, Katie. I'll give your love
to Bill.
She goes. Katie stares after her. Some of the inflexibility
leaves as she watches Sissy go. She is bewildered, mixed up
with the inner conflict; she turns abruptly to go into
the tenement.
The scene dissolves to the NOLAN KITCHEN at night. First the
cover of a Gideon Bible in Neeley's hands comes into view,
then the scene pulls back to reveal Neeley, ready for bed,
reading aloud. Francie sits near, holding a volume of
Shakespeare. Katie is remaking a dress of hers for Francie.
Grandma Rommely sits quietly listening. Grandma Rommely is
of Austrian peasant stock, old, given much to silence. She
has a faraway look, and nods occasionally while she listens
to this reading, which is very important to her. It is a
good thing.
NEELEY
(reading)
"--and Nahor lived nine and twenty
years and begat Terah, and Nahor
lived after he begat Terah an
hundred and nineteen years." -- boy,
that's older'n Grandma, ain't it? --
"and begat sons and daughters" --
Okay, that's the end of the page.
FRANCIE
(reading immediately)
"And dreaming night will hide our
joys no longer, I would not from
thee. Cressida: 'Night hath been too
brief.' Troilus: 'Beshrew the witch
with venomous'"--
NEELEY
(interrupting,
disgusted)
Aw, that ain't even English.
FRANCIE
It is so. Shakespeare wrote the best
English of anybody.
NEELEY
All right then you tell me what it
means, you're so smart.
FRANCIE
I didn't say I know what it means, I
said I liked it.
KATIE
That'll do, now.
NEELEY
Okay, but I bet you don't know what
it means either.
KATIE
Maybe not, but I know it's good for
you.
FRANCIE
(resuming her reading)
"'Beshrew the witch'" --
NEELEY
(grumbling to himself)
She don't know what it means, mom
don't know what it means, Grandma
can't even read, and gosh knows I
don't know--
FRANCIE
Mama, I can't read if he--
NEELEY
--Just wastin' time every night
readin' stuff nobody knows what it's
all about.
KATIE
Well, it ain't as bad as that, I get
some of it. That about nights is too
brief, that means short, and
goodness knows they are, and the
days too.
(she measures the dress
against Francie as she
speaks)
Hold still a minute. Now listen,
Aunt Sissy brought us that Bible
from Sheepshead Bay, and papa blew
in all his tips one time on that
Shakespeare because Grandma said
they was the greatest books and we
should read a page every night. So
we ain't gonna waste 'em. And I
don't know, sometimes it does seem
kinda foolish but -- I guess it gets
you somewhere, might help you find a
job someday, you can't tell.
Her defense of the custom winds up a little lamely, but it
is the best she can muster. None of them notices Grandma
until she speaks abruptly.
GRANDMA ROMMELY
This reading will not stop. I say
this thing.
This is said quietly, but with so much determination that
all three turn toward her. She is completely immobile as she
tries to gather words, which are difficult for her.
GRANDMA ROMMELY
In the steerage we come, to this new
land, your grandfather and I. Hard
we work, but there is something we
look for that we do not find. So
this is not different, I think, from
that old country. And then I watch
my children, and then their children.
And then I know, when I am old, I
know. In that old country, the child
can rise no higher than his father's
state. But here, in this place, the
children need not to walk out their
lives in the shoes of their elders.
And this has to do something with
the learning which is here free for
all people. This is the thing, that
with this learning each one is free
to go so far as he is good to make
of himself. This way each child can
be better than the parent, and this
is the true way things grow better.
This, to me who am old, is the great
wonder of this country, in this way
to be free. I have missed this thing,
and I have let my children miss it,
but this shall not be so for my
children's children. This reading
will not stop.
Probably never before has Grandma Rommely put so many words
together. She is lost in them, almost transfigured, there
is deep strength behind her feeling. The others are silent,
a little awed by the unaccustomed speech. The argument about
the reading is ended forever.
GRANDMA ROMMELY
And you, Katie. It is not just for
the job. You do not think well
about this, nor about what you do
with your sister. You have forgotten
to think with your heart. There is a
coldness growing in you, Katie.
She has finished; and she retires inside herself again,
settling back in her chair. There is a pause, and there is
definitely nothing more to say. It has had an effect on
Katie. Francie looks from one to the other. -- Finally
Katie's eyes leave her mother and meet Francie's. Katie
nods. Francie resumes the reading.
FRANCIE
"'Beshrew the witch! with venomous
wights she stays
As tediously as--'"
Katie's eyes go back to her mother. The old lady does not
look at her, but nods again, almost imperceptibly. It is
good. But her words, coming on top of Sissy's, have shaken
Katie.
The scene dissolves to a STREET late at night. It is
practically deserted. The shadowy figure of Johnny, carrying
a couple of paper bags, comes down the street from the
carline. He is singing "Call Me Up Some Rainy Afternoon"
to himself. Thereupon the scene cuts to the NOLAN PARLOR
where Francie is on her couch under the window. The faint
sound of Johnny's singing awakens her. Her face lights up.
She looks out the window. Then, in her nightgown, she
scurries for the kitchen.
In the KITCHEN Katie is asleep with her head on her sewing
on the table as Francie enters. Francie is startled at
seeing her mother there. As she hesitates, Katie stirs and
lifts her head. The sound of the singing is closer as Johnny
comes up the stairs. -- Katie's and Francie's eyes meet and
there is a sense of understanding between these two who
wait. Instinctively Katie's hands start to fix her hair.
FRANCIE
He's all right, mama. I don't think
he's sick.
The singing approaches the door. True to their game, Francie
goes to open it before the song finishes. The open door
reveals Johnny and his paper bags. There is a second of
relief for both women when they're sure he is sober.
FRANCIE
Papa!
JOHNNY
Well, what do you know, if it isn't
my beauty.
(he is a little
surprised at seeing
Katie still up)
Hey! What're you doing up this time
of night?
KATIE
(a little awkwardly)
Oh, I made up my mind to sit up for
you. But I guess I ain't used to the
hours, any more.
Johnny sets his bags on the table. Katie resumes adjusting
her hair.
JOHNNY
Leave it, it's nice.
KATIE
(pleased)
Go on. What you got in them bags?
Francie, the coffee.
FRANCIE
(going to light
the stove)
Is it something to eat, papa?
JOHNNY
And what else, with me comin' from a
grand banquet?
(and he empties
the bags)
French rolls, a whole half of
lobster from the shores of Maryland,
caviar all the way from sunny far
off Russia, fried oysters, cheese--
from -- from the mountain fastnesses
of la belle France.
KATIE
What do you know about the mountain
fastnesses of France?
FRANCIE
Is it better comin' from there, papa?
JOHNNY
Supposed to be mighty good.
(looking at Katie)
But comin' home like this -- I know
that's good.
KATIE
(a little awkwardly)
Well, let's eat it, no reason we
shouldn't have a party of our own.
Abruptly Katie turns from setting the table and, without
explanation, disappears into the bedroom. At the same time a
very sleepy Neeley appears from the other bedroom.
NEELEY
I'm hungry.
KATIE
(from the bedroom)
Is that all you got to say to your
papa?
NEELEY
Hello, papa.
He starts immediately pulling a chair up to the table.
JOHNNY
(laughing)
His stomach's like the Irish sea, no
bottom to it.
Katie reappears, shy and pretty, her hair arranged and held
in place by a tortoise shell comb. Johnny looks at her,
moved.
FRANCIE
Mama, your wedding comb!
KATIE
(a little shy at
her own sentiment)
Well, ain't this a kind of wedding
party.
JOHNNY
(pulling out a
chair, playing
up to the mood)
You bet it is. I wish I could've
swiped some champagne.
(then, as he
meets her eyes)
No, I don't, coffee's better.
Francie brings the coffee to the table and sits down next to
her father. Neeley is already eating.
JOHNNY
(looking at Katie;
teasing)
Only will you look at who's tellin'
me I don't know about the mountain
fastnesses of France.
KATIE
(looking down, fussed)
Oh, that.
JOHNNY
Yeah, that -- imagine you forgettin'.
KATIE
Well, I didn't, not exactly, only
that was a while back and--
JOHNNY
(to the children)
What do you think of havin' a mama
that'd forget where we went on our
honeymoon.
FRANCIE
Did you really go there, mama?
KATIE
Of course not, papa's joking.
JOHNNY
Sure we did -- or just the same as.
We spent our honeymoon in a school,
was as big as a palace, and--
KATIE
(interrupting)
We just worked there nights,
cleanin', the both of us. It was
right here in Brooklyn, before you
was born.
JOHNNY
Well, that wasn't what you said then.
You mean to tell me, when we was
havin' our supper all alone there,
and I used to pull down them maps and
take the teacher's pointer and pick
out the places we'd pretend we was
that night -- you mean to tell me we
really wasn't there? You mean you
forgot that sunny France was where we
liked the best, and all the laughin'
we done there, and you goin' to sit
right there and tell me we wasn't
even there?
He is making arrant love to her with this. Katie is stirred.
KATIE
(finding this
rather trying)
Yeah. I guess we kind of was, at
that.
JOHNNY
And you're askin' how I know about
the mountain fastnesses of France.
I'm ashamed of you, Katie Nolan.
Francie has been watching this between her father and mother;
she doesn't quite understand the mood between them, but she
is fascinated.
FRANCIE
Wasn't there anybody in the school
but you, papa?
JOHNNY
No sir, we--
KATIE
(interrupting)
Your papa better quit talkin', he'll
have you believin' you was in France
too.
FRANCIE
No, talk some more, papa--
NEELEY
What's this here stuff?
JOHNNY
Caviar, that's fish eggs come all
the way from Russia.
NEELEY
(appalled)
Fish eggs!
JOHNNY
(as he and Katie laugh)
Tell the truth, I never could get
the idea myself why they like it,
except it's hard to get and costs a
lot.
FRANCIE
And that makes it good, papa?
NEELEY
What about the Russians -- it ain't
hard for them to get -- do they like
it?
JOHNNY
(to Katie)
Can you tie that, ain't we got the
smartest kids?
FRANCIE
Papa, talk some more, tell us about
the party tonight, don't leave out
anything.
JOHNNY
Oh, that can wait.
(he lays three
dollars before Katie)
How's that?
KATIE
Three dollars! That's good wages.
JOHNNY
(jingling his pocket)
Good tips, too.
FRANCIE
Papa, start. Was there music? Did
they dance?
JOHNNY
Aw, your mama's got no time for all
that.
KATIE
(softly, not
looking at him)
You -- you could tell me. You used
to.
Johnny starts uncertainly at first, watching Katie. Neeley
continues to eat. Francie listens to her father with her
elbows on the table.
JOHNNY
Well, it was pretty swell. Klommer's
best room, all fixed with white
flowers -- flowers on the table, on
the chandeliers, even on the floor.
There was a big horseshoe table, and
lots of people, and right in front
was a big tall wedding cake, must
have been two feet high.
NEELEY
Why didn't you bring home some of
that?
KATIE
Was the bride pretty?
JOHNNY
Well, she was maybe not so young,
but--
Johnny cannot spoil a moment like this with the truth.
Everything must be perfect, so he improves on the bride a
little.
JOHNNY
Sure, she was awfully pretty, in
that blue dress and all. She had
diamonds on her hands and even in
her ears so she kind of glittered,
and when she walked her clothes
swished, kind of. Well, sir, the
champagne flowed like water, and
the smell of it got all mixed with
the flowers and the powder the
ladies wore and it was like a
wonderful new kind of perfume,
made you feel good just to smell it.
FRANCIE
(with a little
shiver of delight)
And did you sing for them, papa?
JOHNNY
Sure thing, I was comin' to that. I
got three encores for "My Wild
Irish Rose," and -- everybody
clapped and clapped so I did "Irish
Eyes Are Smiling" four times.
KATIE
It must have been awful nice.
JOHNNY
It was all right. And when it was
time to cut the wedding cake the
band played "Kiss Me Again" and she
put her arms around him and boy, did
he look scared!
NEELEY
What was he scared of papa?
JOHNNY
Huh?
KATIE
You kids ask too many questions. Go
on, you heard the story, go back to
bed now, it must be three o'clock.
NEELEY
(matter-of-factly)
I got a bellyache.
KATIE
Lay on your right side.
NEELEY
(kissing her)
Goodnight, mom.
KATIE
Goodnight, Neeley.
FRANCIE
(a little stiff --
not kissing Katie)
Goodnight, mama.
KATIE
Goodnight, Francie.
(laughing awkwardly)
Francie's kind of mad at me because
Sissy made a scene of herself out on
the street and I -- I told her to
stay away.
FRANCIE
Papa--
KATIE
Run along now, both of you.
Both of the kids start to obey. The small incident has
broken the perfection of the evening, and this disturbs
Johnny.
FRANCIE
Goodnight, papa.
(kissing him,
then whispering)
Was -- was there an impresario
there?
JOHNNY
Not tonight there wasn't, Prima
Donna. Come here.
(awkwardly)
You got no call to be mad at your
mama, Francie, she -- she always got
a reason for what she does.
Johnny means this. Unaccustomed to reproof from Johnny, even
as gentle as this is, has its effect on Francie. She
hesitates, then goes over and kisses her mother with some
restraint. Katie, who is feeling more deeply than she has
felt in a long time, holds her close for a moment. Suddenly
Francie flings her arms around her mother, and they are very
close for a moment.
FRANCIE
(in a completely
different tone)
Goodnight, mama.
Francie hurries into her room and shuts the door. Her going
makes a little awkward moment between Johnny and Katie, who
are left alone, each lost in his own thoughts.
KATIE
(after another
little pause)
Johnny. What else happened at the
party -- tell me.
JOHNNY
Well, it was nice like I said it
was, awful nice -- the bride all
dressed up and all, and--
But he cannot get going again. And Katie hasn't really heard.
KATIE
(interrupting)
Johnny.
JOHNNY
Yeah.
KATIE
Do you think-- I mean, have I-- well,
changed a lot-- you know.
JOHNNY
(misunderstanding
-- quickly)
Changed, why, she couldn't hold a
candle to you. She wasn't so hot, I
just said that, for the kids. No
sir, you're--
KATIE
(interrupting)
No, I mean -- am I gettin', you know,
hard?
She is troubled, inarticulate. Johnny is bewildered.
JOHNNY
Why, where'd you get hold of an idea
like that, hard?
KATIE
I don't know, I don't want to be,
but-- well, there's the kids and all,
I want to do what's good for them--
and maybe sometimes--
JOHNNY
Aw, baby, don't talk like that. Why,
you know something, you're prettier
than you ever was. I could near
tellin' it to the whole party
tonight-- hey, you ought to see my
bride that's waitin' home for me.
(softly, looking
straight at her)
And you was waitin'. That was --
nice, Katie, it was -- like it used
to be.
KATIE
You -- you told about the party nice,
Johnny. I -- I should've waited up
more, I guess.
JOHNNY
Aw, it ain't your fault, baby, you
workin' like you do.
(he touches the comb)
I -- I wish I'd bought you the rest
of that set when we was married, the
man said it came all the way from
Spain.
KATIE
What else was there to it? You ain't
told me for a long time.
JOHNNY
There was two little side combs and
a locket on a chain.
KATIE
And a bracelet, you said.
JOHNNY
You know what, I'm gonna look up
that man some day and get you the
rest of that set.
Johnny is deeply moved. This is the closest that he and
Katie have been in a long time. If things were entirely
right between them, most of all if they were entirely right
between Johnny and himself, this is the moment in which he
would take her in his arms. Subconsciously, both of them
know it. They enjoyed perfection, when they were young
together, as closely perhaps as people come to it. Life
together, when they were young, was very right between them.
This day has moved Katie to an instinctive reach back toward
that old perfection, which they have not felt in a long time.
This is what she is subconsciously asking from Johnny. And
subconsciously he realizes this. And because of his
failures, he has not quite the feeling of this perfection,
this completeness, to give her. This feeling is taut between
them for a moment. And then Johnny feels instinctively the
necessity of talking a little more, to try to reassure
himself, to try to build with his words something more of
reassurance that everything is all right within him. This
very feeling is an acknowledgment that he no longer has that
perfection to offer her. So, with his words, they go past
the perfect moment. Katie senses this. There is a desperate
need in her for Johnny to take her in his arms, without any
more words, as he would do if their world were right. She is
trying to hold on to this moment, not to let it get by, when
after a moment she speaks.
KATIE
That's nice, Johnny, but--
JOHNNY
(eagerly, working
himself into believing)
Ain't no buts about it, I mean it.
Things are goin' to be different
around here, you -- you got no
business workin' like you do.
KATIE
I don't mind the work, I--
JOHNNY
No sir, I ain't goin' to have it.
Look at them pretty hands, they got
no business bein' in water all the
time. I'm goin' to change a lot of
things. I'm goin' to quit the
drinkin' too. And just to show you,
here's my tip money, you can--
KATIE
No, Johnny, the tips are yours --
you take all a man's money, it ain't
right.
JOHNNY
(accepting this a
shade too easily)
Well, there's a dime anyway. I -- I
had to take a nickel out of the bank
for carfare, you can put a dime back.
But I'm goin' to keep at 'em down at
union headquarters and make 'em get
me jobs. Tonight's the beginning of
somethin' new, Katie -- you believe
me, don't you, Katie?
KATIE
(wanting to)
Sure, Johnny, sure I do.
JOHNNY
I'll be singin' all over Brooklyn
and maybe Manhattan too. Have you
heard Johnny Nolan sing, they'll say.
Yes sir, our luck's turned, and some
day--
KATIE
(from her heart)
Ah, stop it, Johnny, stop it, stop
talkin'!
He looks at her, hurt, amazed. Katie has had all she can
stand. It isn't any good, it's phony.
KATIE
(bitterly)
Talkin' like that only makes it
worse! We ain't got a chance, who
are we tryin' to kid!
There is a long pause. The truth that has been torn from
Katie is the last thing either of them wanted to face -- it
is the sort of thing people try the hardest to keep from
facing. But it is here. All Johnny's desperate effort to kid
himself dies within him. He stares out the window. He could
not possibly look at Katie in this moment.
JOHNNY
(very quietly)
Yeah. That's right, sure, who am I
tryin' to kid.
Katie feels sorry for him, for them both, but there is no
use in weakening -- you can no longer evade the hard truth.
KATIE
I didn't go to hurt you, but it's
the truth, I can't change it,
Johnny.
JOHNNY
Yeah, and I can tell you somethin'
else, too. All that baloney about
the encores tonight -- that was just
because they was a little drunk and
feelin' good. I wasn't so hot.
KATIE
(dry and hard)
No use talkin' like that, it won't
help any.
JOHNNY
I don't know, as long as we're on
the truth, let's keep lookin' at it.
I'm the one ought to be kicked out,
not Sissy. I got a wife and kids and
I don't take care of 'em, I don't
know why. I didn't want the kids
when they come, but I love 'em --
how could you help it -- sure, I
love 'em a lot, but I just can't
seem to turn into a hard-workin'
man to take care of 'em. What sense
does that make, all I want to do is
sing, I don't know why. And I guess
that's right, I ain't ever goin' to
be able to change it. Sure, you're
right, who am I tryin' to kid.
This comes so quietly from Johnny that it is frightening.
For the first time in his life he has faced himself. Katie
made him do it, even if she did not intend to. They have
both faced him. So these two will never again feel quite the
same about one another. What he has said is bitterly true,
there is no answer to it. -- Katie slowly picks up some of
the dishes from the table, as though she would take them to
the sink. But even lifelong habit is no good, and she sets
them back on the table.
KATIE
(dully)
We better get some sleep.
JOHNNY
(without turning)
Yeah.
Katie stands helplessly a moment, and then starts toward the
bedroom. Johnny doesn't move.
In the PARLOR Francie is lying on her bed beside the window,
illumined by the faint moonlight. She is awake, staring at
the ceiling, as if feeling a presentiment about the next
room. Outside the window stands the Tree in the backyard,
bereft of most of its branches, but stark and strong in the
moonlight. The scene fades out.
[C]
MCGARRITY'S SALOON fades in, in the early morning. It is a
small corner saloon. Next to a big free lunch sign is a
cigar store with a wooden cigar store Indian. -- McGarrity,
the proprietor, is just finishing sweeping the sidewalk.
PASSING MAN
Morning, Mac.
McGarrity waves in answer and goes inside. -- The place is
deserted except for Johnny, who is sitting at a table, head
down on his arms at a table. Before him is a whiskey glass
and a litter of cigarettes. McGarrity studies him
compassionately, then goes over and shakes him gently by the
shoulder.
MCGARRITY
Seven o'clock, Johnny, better be
goin' home.
Johnny raises his head wearily. He has not been asleep. And
he is not as drunk as he would like to be, although he has
tried hard to drink enough so that he would stop thinking.
JOHNNY
(wearily)
Sure, sure, home.
(singing)
"Home is where the heart is--"
He pulls himself to his feet and moves somewhat uncertainly
to the bar. Automatically, McGarrity goes behind the bar,
and just as automatically wipes the polished surface.
JOHNNY
(tonelessly)
Write nice songs about it, don't
they, Mac?
MCGARRITY
Sure, Johnny.
JOHNNY
I sing 'em good, too, don't I, Mac?
MCGARRITY
Sure, Johnny, sure.
JOHNNY
Don't just sure me like that, Mac.
You're wrong about somethin', you
don't know it, but you're wrong. I'm
not ever goin' home any more.
MCGARRITY
Sure you are, Johnny, you got a
mighty nice family to go home to.
JOHNNY
You don't get it. I'm goin' there,
I'm gonna walk down the same street,
I'm gonna turn in the same door, and
there'll be my nice family, but I
won't ever be goin' home again. Give
me a drink, Mac.
MCGARRITY
I don't get you, boy.
JOHNNY
Sure you don't, I don't get it
either. I pretty near did, sittin'
there thinkin' about it. Listen, Mac,
listen good now.
(singing)
"Maxwellton's braes are bonnie,
where early fa's the dew--"
(stopping)
What did you hear, Mac?
MCGARRITY
You always sing good, if that's what
you mean.
JOHNNY
If that's what I mean I don't know
what I mean. What good is singing --
you feel somethin', but there ain't
nobody hears what you feel. It's no
good -- she used to hear, but not
any more. So I won't ever be goin'
home again. I hate singin'. I
should've been tendin' bar like you.
Don't ever sing, Mac.
McGarrity studies Johnny closely. He knows Johnny is in pain
about something, but he isn't quite sure what.
MCGARRITY
(polishing the bar)
Lots of angles to it, boy. You
wouldn't be any good tendin' bar.
You're a funny fellow, Johnny.
JOHNNY
Sure, sure, I'm funny. I want a
drink, Mac.
MCGARRITY
I don't know if I'd trade with you
-- a poet that can't write, that's
bad. But it takes all kinds of
people, maybe some of 'em just
wasn't meant to make a livin'. And
maybe I would trade, at that. And
now you better get home to that nice
family, your missus will be worryin'.
JOHNNY
(flaring up)
All right, it's the nicest family in
the world, you think I don't know
that. Give me a drink, I said.
MCGARRITY
Easy, Johnny, easy.
(he sets out a drink)
Have one on the house.
JOHNNY
(bitterly)
Sure, that's better, and I'll sing
for it, that's what I'll do, I'll
sing for it.
McGarrity studies Johnny compassionately as Johnny pours the
drink. Johnny's bitterness toward life, and most of all his
hatred for himself and what he is, is at its peak.
The scene dissolves to the NOLAN TENEMENT as Francie emerges
with pencil box and books, starting out for school. In a
moment the door bursts open and Neeley emerges, always a
little late. He has his books in a strap. As he joins her,
Neeley starts to rip off the tie he is supposed to wear to
school.
FRANCIE
Neeley Nolan, you stop that.
NEELEY
Aw, I don't want to wear no old tie,
it's--
FRANCIE
(maternally)
Mama said.
NEELEY
Aw, go chase yourself.
But he submits to her mothering as she starts to pull the
tie back into place. Suddenly they hear a clamor off scene
-- and we then see what they see: Johnny, drunk and unsteady,
is just coming around the corner surrounded by a swarm of
derisive kids. Johnny pays no attention to them.
THE KIDS
Just pickle my bones in alcohol.
He's stiffer than a goat, look how he
walks.
Francie and Neeley run to their father. Francie pushes her
way to him and tries to take his arm.
FRANCIE
(fiercely)
You leave him alone! Papa -- come
on, let's go home, let's hurry, papa.
Johnny tries uncertainly to smile, but he is pretty far gone.
NEELEY
(to the kids)
You leave him alone or I'll bust you
one.
The kids pay no attention. Neeley socks one of them and a
fight is on. Francie tries desperately to help Johnny toward
their door.
McShane enters from across the street, and breaks up the
fight.
MCSHANE
(to the kids)
Come on now, quit it -- quit it or
I'll run you in. Beat it now.
The kids break and beat it, still yelling derisively.
Francie and Neeley remain and McShane turns back to them.
MCSHANE
Now, my lad, where do you live?
FRANCIE
(fiercely)
I'll take him home, he's my father.
MCSHANE
I expect you'd best be gettin' on to
school, hadn't you? I'll look after
him for you.
(Francie hesitates)
Don't you worry, he ain't in any
trouble, I'll take good care of him.
This the building?
FRANCIE
(nodding)
Second floor back. If -- if you talk
to him, he -- he's always all right
and you'll--
MCSHANE
Don't you fret a minute.
(he takes Johnny's arm)
Come on now -- we'll make it, lad.
Johnny gives him a blurred look but submits to being led up
the steps, and as Francie stands looking after them,
miserable, the scene dissolves to the TENEMENT HALL where
McShane helps Johnny toward the Nolan door. Johnny only
half-coherently tries to sing.
JOHNNY
"When Irish eyes are smiling--"
MCSHANE
Quiet, now, quiet does it.
JOHNNY
Got to sing, don't you, very
important, and she'll hear you, but
you got to sing ju-u-st right, so
she can get the door open first,
very important.
MCSHANE
All right, sing then, if it eases
what's hurtin' you.
JOHNNY
"When Irish eyes are smiling--"
The noise causes a couple of neighbors, who open their doors,
to look out. McShane knocks at the Nolan door, and Katie
appears, just ready to start her morning's janitor work.
McShane is surprised to see her.
KATIE
Johnny!
Scarcely noticing McShane, she starts to help Johnny into
the kitchen. McShane helps. -- The scene cuts to the KITCHEN
as they get Johnny into a chair at the table. McShane
studies Katie, who is busy with Johnny.
MCSHANE
I -- I didn't -- I didn't expect to
see you, ma'am. Is there anything I
can do?
KATIE
He's my husband, I can take care of
him.
(to Johnny)
It's all right now, Johnny, I'll get
you a nice cup of coffee.
JOHNNY
(blurred)
Nice cup of coffee, nice cup of
coffee.
Katie goes to the stove. McShane stands awkwardly for a
moment.
MCSHANE
I just wanted to tell you, the
gentleman wasn't makin' no trouble,
just -- needed a little help.
Katie stops pouring the coffee to look at him. She is
instinctively defensive about Johnny, so her look is
antagonistic at any intrusion into their family troubles.
MCSHANE
(awkwardly)
If -- if there's anything I can do,
ma'am--
Katie comes over and puts the coffee down in front of Johnny.
KATIE
There, Johnny, drink it.
(then, turning to McShane)
If you wasn't new on the beat, Mr.
McShane, you'd know Johnny never
makes trouble -- and you'd know the
whole Nolan family don't need
anybody's help, and -- and I'd thank
you very much, Mr. McShane, to mind
your own business.
Her eyes meet his squarely.
MCSHANE
(after a moment)
Sure -- Mrs. Nolan.
He turns and goes, closing the door behind him. Katie turns
to Johnny.
Out in the HALL, McShane pauses a moment beside the door and
looks back toward the room a little ruefully. He sure caught
hell. He grins in admiration, then starts down the stairs.
The scene dissolves to the PUBLIC SCHOOL. The school yard is
swarming with children. The bell is ringing, and the
youngsters start to form lines to march in. This dissolves
to the EIGHTH GRADE CLASSROOM. The view is focused on one
group and then moves past the intent, struggling faces of
other children as they recite in unison, with a curious
cadence with which poetry is scanned.
KIDS
"Beau-ty is truth truth beau-ty that
is all Ye know on earth and all ye
need to know."
The camera comes to Neeley, and then Francie; then pulls
back to reveal a classroom so crowded that some of the
children have to sit in the aisles in chairs without desks.
The teacher, MISS TILFORD, middle-aged, and tired, is at the
blackboard, marking off with chalk the metric divisions of
the lines which are written on the board. Miss Tilford is
repeating it with them.
MISS TILFORD
(as they finish)
Now, who knows the name of the meter?
(looking at the class;
Francie's hand is up)
Frances Nolan?
FRANCIE
(standing up)
Yes, but--
MISS TILFORD
You can't "know but." You either
know or you don't know.
FRANCIE
I know it's iambic pentameter, five
metric feet, with a long syllable
coming after a short one, but-- I
only meant to say-- I was thinking
about the words, what they mean,
and I wondered--
MISS TILFORD
You don't have to know the words,
Frances, only the meter. And we're
late now for our arithmetic. The
class will get their arithmetic
books.
She moves to the desk. There is a general rustle in the
class as the exchange of books is made. Francie sits down
slowly.
MISS TILFORD
(opening her book)
Now then! The farmer has a hundred
and sixty-nine apples in a barrel.
He wants to divide them into equal
piles, with as many apples in each
pile as there are piles of apples.
How would he go about it?
(as there is no
answer, she goes on)
What method would he use -- What is
the latest process we've been
studying?
FRANCIE
(with hand raised)
Miss Tilford--
MISS TILFORD
Yes, Frances.
FRANCIE
(rising)
If beauty is truth and that's all ye
need -- I mean all you need to know
-- Then that means it's the most
important thing, and if a man -- I
mean somebody -- spent all their
time just trying to live like that
-- Well it's hard to put, but no
matter what else he did, then --
then --
She falters, feeling strongly what she wants to say, but
unable to say it. Neeley knows what she is getting at.
MISS TILFORD
Then what, Frances?
FRANCIE
(lamely)
Then -- it would be all right,
wouldn't it -- I guess.
MISS TILFORD
I'm afraid I haven't the slightest
idea what you're talking about,
Frances, but I do know we're
disrupting the arithmetic! Now,
class! Square root! Does no one
remember square root!?
As Francie sits down, deeply humiliated, the scene dissolves
to the CLASSROOM while the children are filing past a doctor
and a nurse, who examine briefly the head of each child,
looking for lice. As they finish, the children are free to
leave. Francie and Neeley are in line. The doctor is
examining a boy, and indicates for the nurse to look.
DOCTOR
Report to your principal and give
him this card.
The boy goes on with the card nonchalantly, but as he leaves
some kids who successfully passed the examination, jeer:
KIDS
Mickey's lousy, Mickey's lousy!
Neeley, next in line, submits indifferently, and dashes to
his cronies as soon as the doctor murmurs "All right."
Francie steps up. She offers her head, enduring the
examination as a necessary evil, but clearly knowing it
is not necessary in her case. Miss Tilford, checking the
line, observes her.
DOCTOR
All right.
He has turned to the next child and misses Francie's
scornful glance -- as much as to say "I know that" -- but
Miss Tilford sees it, and suddenly feels a compunction.
MISS TILFORD
(as Francie passes her)
Frances...
FRANCIE
Yes, Miss Tilford?
MISS TILFORD
Er -- maybe I was a little too
abrupt with you this morning -- I
mean, you are a smart girl and --
it's just that you must learn to
stick to the point and not go
wandering off the subject.
FRANCIE
Yes, Miss Tilford.
MISS TILFORD
If you'll do that, you needn't worry
about passing.
FRANCIE
I wasn't worrying about--
(giving up; meekly)
Yes, Miss Tilford, thank you, Miss
Tilford.
As she wanders out, completely lost, the scene dissolves to
the SCHOOLYARD. Neeley has waited for Francie and they are
now walking across the yard toward the gate. Francie is
vaguely troubled.
NEELEY
How should I know if they knew you
was talkin' about him. I don't see
what for you want to talk so much
anyway. Pop was just a little drunk,
that don't hurt nobody.
(he breaks off as
he sees something
offscene)
Hey, look!
We then see SISSY, from their angle, waiting at the corner
for them. She waves. -- The children stop short in a
quandary.
NEELEY
What'll we do? We ain't supposed to
talk to her.
FRANCIE
(troubled)
I don't know--
(she has an idea)
Neeley, that's all they said, we
was only supposed not to talk to
her.
Neeley's face brightens. Francie hurries toward Sissy and
Neeley follows.
Sissy embraces them both, and doesn't notice their silence.
SISSY
Chickabiddies! I couldn't stand it
no longer! I just had to get a peek.
Man alive, you both look good enough
to eat!
NEELEY
Gee, it's--
Francie shakes her head warningly. Sissy doesn't notice.
SISSY
Well, how are you anyway?
(no answer --
Francie stares at
her miserably)
Tell me all about it, how's things
at home?
(there's a
miserable
silence)
Well, you're not lettin' me get a
word in edgewise. Oh -- I catch!
You ain't allowed to talk to me,
huh?
(they nod -- she
laughs and hugs
them)
Well, you do just like your mama
said. But there ain't nobody said
anything about me talkin' to you,
is that it?
(they nod and
shake their
heads in happy
confusion)
Smart enough for lawyers, the both
of you! Well, let's see, you can nod
and shake and make faces, can't you
... How's Katie?
(they nod)
And your papa?
(they hesitate, then
nod uncertainly)
Not workin' much?
(they shake their
heads sadly)
Well, don't you worry, he will.
(they nod; then
tentatively)
Any sign of the ice meltin' in my
direction yet?
(they shrug and Sissy
sighs humorously)
Guess I'll have to tell Bill you
still got scarlet fever, he's kinda
wonderin'... Oh, well. And how's
school?
There is a divided opinion on this. Neeley's shrug implies
that it's okay enough, but to hell with it. But the question
has revived Francie's problem, and her shake of the head is
troubled. Sissy's interest centers on her.
SISSY
What's wrong, ain't you doin' good?
(Francie shakes
her head)
Well ... got in any trouble?
(there is a
confused shrug)
Teacher mean to you?
(there's a division
of opinion -- a half-
hearted negative from
Francie, a nod from
Neeley. Sissy is
puzzled)
I don't get it, lamb, somethin's
troubling you, maybe I ain't askin'
the right questions.
Francie looks at her miserably, wanting terribly to talk to
Sissy, to someone, about it. For a moment the scene is at an
impasse. Then Francie has an idea.
FRANCIE
Neeley.
(he looks at her)
Neeley, Aunt Sissy wants to know if
it's because the teacher's mean to
us.
NEELEY
Sure she is, she--
Francie touches his arm, shakes her head, indicates that he
is to talk to her, not Sissy. The great light dawns on
Neeley.
NEELEY
Oh -- was you speakin' to me,
Francie? Why yes, Francie. I'd say
that teacher was pretty mean,
wouldn't you, Francie? I'd say all
teachers was pretty mean, Francie.
FRANCIE
(as Sissy grins at
this subterfuge)
Well, Neeley, I wouldn't say that
she was mean, exactly. That isn't
what we mean, Neeley, is it?
NEELEY
Ain't it, Francie?
FRANCIE
No, what we mean is, Neeley,
school's to learn things in, that's
what it's for, isn't it, and if you
got questions--
NEELEY
Well now, look, Francie -- if you
mean all that talkin you did about
pop, then I don't know--
FRANCIE
Neeley Nolan, you don't understand
anything. You got to know things, if
they're important, that's what
school's for, isn't it? It's just if
she'd tell you things, not just the
meter but what they mean, that's what
teachers ought to do -- Isn't it,
Neeley?
NEELEY
(giving up)
Well, Francie, maybe you know what
you're talkin' about, but if you ask
me, you just talk but don't say
nothin'.
FRANCIE
But, Neeley--
SISSY
(gently)
It's all right, lamb. I can't say I
could draw a map of it, but I get
some of it.
(she draws
Francie to her)
You quit worryin' about it, hon, and
run along home. Maybe your old Aunt
Sissy can do somethin' about it.
(she hugs them
both tightly)
Look, maybe it's just as well if you
don't say nothin' at home about
seein' me -- you know, it ain't lyin'
as long as nobody asks you.
NEELEY
(lightly)
I guess we can't help it, Francie,
if people listen to us in the street.
He is off like a shot, calling to a group of boys. Francie
smiles gratefully into Sissy's eyes. Sissy watches after her
a moment, and then her face hardens. Nobody is going to make
Francie suffer because of her father's weakness, or for any
other reason, whatever it may be. She starts toward the
school.
The scene dissolves to a CLASSROOM. Sissy is standing
belligerently in front of a bewildered Miss Tilford's desk.
SISSY
(belligerently)
What I'm sayin' is, whatever it is
you're teachin' the other kids that
Francie ain't gettin' -- I ain't
gonna have it!
MISS TILFORD
But I assure you that your daughter
is being taught exactly the same as
the other children. If you could
just tell me what it is that you
mean--
SISSY
(interrupting; humbly)
Look, lady. I don't know myself what
we're talkin' about. I ain't very
smart, I guess you seen that. But
somethin's eatin' that kid, and
she's a good kid and don't you hold
out nothin' on her, don't you teach
the other kids nothin' she ain't
gettin', or--
(confused)
Well, you see that you do like I
said.
(she attempts
belligerence again)
Or I'll call a cop, and that ain't
kiddin' either. I used to be married
to one!
With this last lame threat she stalks out, leaving Miss
Tilford shaking her head in relief as though at a lunatic
who hasn't affected her at all.
The scene dissolves to the NOLAN KITCHEN where we get a
close view of the Sunday funny paper spread on the floor.
The text is the Katzenjammer Kids. This dissolves to a full
view of the kitchen to show Neeley sprawled on the floor
with the funny paper. Francie is quietly staring out the
window, preoccupied, drumming on it idly. Katie enters from
the hall, with a few clothes over her arm that she has just
brought in from the line to be ironed. She stops abruptly
when she doesn't see Johnny in the room. Her question
carries quick, instinctive apprehension that Johnny may have
gone out to get drunk again.
KATIE
Where's your papa, did he go out?
NEELEY
No'm, he--
Johnny appears from the bedroom. He has heard.
JOHNNY
(with quiet bitterness)
No, he didn't go out.
KATIE
Oh. I thought--
JOHNNY
(quietly)
I ain't goin' to McGarrity's, if
that's what you mean.
(to Francie)
Them's fine compositions -- they
read nice, Prima Donna.
FRANCIE
(absently)
Thank you, papa.
Johnny has the compositions in his hand. He goes over to the
table and puts them down. He isn't looking at Katie. This
Sunday is a hard day for Johnny. With what has happened
between him and Katie, it is very difficult to be shut in
these small quarters with his family, with something dead
between them. Life is at low ebb for Johnny. He picks up a
piece of the newspaper and studies it absently, to avoid
looking at Katie. Katie studies him for a second. She, too,
is aware of the tension, but life has to go on. She puts the
clothes into her work basket and starts to mend some of them.
There is a little silence.
NEELEY
(quite unaware
of all this)
Pop, why don't the Katzenjammer Kids
talk plain English?
JOHNNY
Supposed to make it funny, I guess.
KATIE
Francie, you been staring out that
window for half an hour. Can't you
make up your mind to do something?
FRANCIE
What shall I do?
KATIE
You used to like to do