Act III

by Susan Glaspell

　　In the greenhouse, the same as Act I.ANTHONY is bedding small plants where the Edge Vine grew. In theinner room the plant like caught motion glows as from a lightwithin. HATTIE, the Maid, rushes in from outside.

　　ANTHONY: (turning angrily) You are not what thisplace—

　　HATTIE: Anthony, come in the house. I'm afraid. Mr Archer, Inever saw him like this. He's talking to Mr Demming—somethingabout Mrs Archer.

　　ANTHONY: (who in spite of himself is disturbed by heragitation) And if it is, it's no business of yours.

　　HATTIE: You don't know how he is. I went in the roomand—

　　ANTHONY: Well, he won't hurt you, will he?

　　HATTIE: How do I know who he'll hurt—a person'swhose—(seeing how to get him) Maybe he'll hurt MrsArcher.

　　ANTHONY: (startled, then smiles) No; he won't hurt MissClaire.

　　HATTIE: What do you know about it?—out here in the planthouse?

　　ANTHONY: And I don't want to know about it. This is a veryimportant day for me. It's Breath of Life I'm thinking oftoday—not you and Mr Archer.

　　HATTIE: Well, suppose he does something to Mr Demming?

　　ANTHONY: Mr Demming will have to look out for himself, I am atwork.

　　(resuming work)

　　HATTIE: Don't you think I ought to tell Mrs Archerthat—

　　ANTHONY: You let her alone! This is no day for her to bebothered by you. At eleven o'clock (looks at watch) shecomes out here—to Breath of Life.

　　HATTIE: (with greed for gossip) Did you see any of themwhen they came downstairs last night?

　　ANTHONY: I was attending to my own affairs.

　　HATTIE: They was all excited. Mr Edgeworth—he went away.He was gone all night, I guess. I saw him coming back just as themilkman woke me up. Now he's packing his things. He wantedto get to Mrs Archer too—just a little while ago. But shewon't open her door for none of them. I can't even get in to do herroom.

　　ANTHONY: Then do some other room—and leave me alone inthis room.

　　HATTIE: (a little afraid of what she is asking) Is shesick, Anthony—or what? (vindicating herself, as he givesher a look) The doctor, he stayed here late. But she'd lockedherself in. I heard Mr Archer—

　　ANTHONY: You heard too much! (he starts for the door, to makeher leave, but DICK rushes in. Looks around wildly, goes tothe trap-door, finds it locked)

　　ANTHONY: What are you doing here?

　　DICK: Trying not to be shot—if you must know. This is theonly place I can think of—till he comes to his senses and Ican get away. Open that, will you?Rather—ignominious—but better be absurd than bedead.

　　HATTIE: Has he got the revolver?

　　DICK: Gone for it. Thought I wouldn't sit there till he gotback, (to ANTHONY) Look here—don't you get the idea?Get me some place where he can't come.

　　ANTHONY: It is not what this place is for.

　　DICK: Any place is for saving a man's life.

　　HATTIE: Sure, Anthony. Mrs Archer wouldn't want Mr Demmingshot.

　　DICK: That's right, Anthony. Miss Claire will be angry at you ifyou get me shot. (he makes for the door of the innerroom)

　　ANTHONY: You can't go in there. It's locked. (HARRY rushes infrom outside.)

　　HARRY: I thought so! (he has the revolver. HATTIEscreams)

　　ANTHONY: Now, Mr Archer, if you'll just stop and think, you'llknow Miss Claire wouldn't want Mr Demming shot.

　　HARRY: You think that can stop me? You think you can stop me?(raising the revolver) A dog that—

　　ANTHONY: (keeping squarely between HARRY and DICK)Well, you can't shoot him in here. It is not good for the plants.(HARRY is arrested by this reason) And especially not today.Why, Mr Archer, Breath of Life may flower today. It's years MissClaire's been working for this day.

　　HARRY: I never thought to see this day!

　　ANTHONY: No, did you? Oh, it will be a wonderful day. And howshe has worked for it. She has an eye that sees what isn't right inwhat looks right. Many's the time I've thought—Here the formis set—and then she'd say, 'We'll try this one', and ithad—what I hadn't known was there. She's like that.

　　HARRY: I've always been pleased, Anthony, at the way you'veworked with Miss Claire. This is hardly the time to stand thereeulogizing her. And she's (can hardly say it) things youdon't know she is.

　　ANTHONY: (proudly) Oh, I know that! You think I couldwork with her and not know she's more than I know she is?

　　HARRY: Well, if you love her you've got to let me shoot thedirty dog that drags her down!

　　ANTHONY: Not in here. Not today. More than like you'd break theglass. And Breath of Life's in there.

　　HARRY: Anthony, this is pretty clever ofyou—but—

　　ANTHONY: I'm not clever. But I know how easy it is to turn lifeback. No, I'm not clever at all (CLAIRE has appeared and islooking in from outside), but I do know—there are thingsyou mustn't hurt, (he sees her) Yes, here's Miss Claire.

　　(She comes in. She is lookingimmaculate.)

　　CLAIRE: From the gutter I rise again, refreshed. One does, youknow. Nothing is fixed—not even the gutter, (smilinglyto HARRY and refusing to notice revolver or agitation)How did you like the way I entertained the nerve specialist?

　　HARRY: Claire! You can joke about it?

　　CLAIRE: (taking the revolver from the hand she has shocked tolimpness) Whom are you trying to make hear?

　　HARRY: I'm trying to make the world hear that (pointing)there stands a dirty dog who—

　　CLAIRE: Listen, Harry, (turning to HATTIE, who is overby the tall plants at right, not wanting to be shot but not wantingto miss the conversation) You can do my room now, Hattie.(HATTIE goes) If you're thinking of shooting Dick, you can'tshoot him while he's backed up against that door.

　　ANTHONY: Just what I told them, Miss Claire. Just what I toldthem.

　　CLAIRE: And for that matter, it's quite dull of you to have anyidea of shooting him.

　　HARRY: I may be dull—I know you think I am—but I'llshow you that I've enough of the man in me to—

　　CLAIRE: To make yourself ridiculous? If I ran out and hid myhead in the mud, would you think you had to shoot the mud?

　　DICK: (stung out of fear) That's pretty cruel!

　　CLAIRE: Well, would you rather be shot?

　　HARRY: So you just said it to protect him!

　　CLAIRE: I change it to grass, (nodding to DICK) Grass. IfI hid my face in the grass, would you have to burn the grass?

　　HARRY: Oh, Claire, how can you? When you know how I loveyou—and how I'm suffering?

　　CLAIRE: (with interest) Are you suffering?

　　HARRY: Haven't you eyes?

　　CLAIRE: I should think it would—do something to you.

　　HARRY: God! Have you no heart? (the door opens. TOMcomes in)

　　CLAIRE: (scarcely saying it) Yes, I have a heart.

　　TOM: (after a pause) I came to say good-bye.

　　CLAIRE: God! Have you no heart? Can't you at least wait tillDick is shot?

　　TOM: Claire! (now sees the revolver in her hand that isturned from him. Going to her) Claire!

　　CLAIRE: And even you think this is so important? (carelesslyraises the revolver, and with her left hand out flat, tells TOMnot to touch her) Harry thinks it important he shoot Dick,and Dick thinks it important not to be shot, and you think Imustn't shoot anybody—even myself—and can't any of yousee that none of that is as important as—where revolverscan't reach? (putting revolver where there is no Edge Vine)I shall never shoot myself. I'm too interested in destruction tocut it short by shooting. (after looking from one to the other,laughs. Pointing) One—two—three. You-love-me. Butwhy do you bring it out here?

　　ANTHONY: (who has resumed work) It is not what this placeis for.

　　CLAIRE: No this place is for the destruction that can getthrough.

　　ANTHONY: Miss Claire, it is eleven. At eleven we are to go inand see—

　　CLAIRE: Whether it has gone through. But how can wego—with Dick against the door?

　　ANTHONY: He'll have to move.

　　CLAIRE: And be shot?

　　HARRY: (irritably) Oh, he'll not be shot. Claire canspoil anything.

　　(DICK steps away from the door; CLAIREtakes a step nearer it.)

　　CLAIRE: (halting) Have I spoiled everything? I don't wantto go in there.

　　ANTHONY: We're going in together, Miss Claire. Don't youremember? Oh (looking resentfully at the others) don't letany little thing spoil it for you—the work of all thosedays—the hope of so many days.

　　CLAIRE: Yes—that's it.

　　ANTHONY: You're afraid you haven't done it?

　　CLAIRE: Yes, but—afraid I have.

　　HARRY: (cross, but kindly) That's just nervousness,Claire. I've had the same feeling myself about making a record inflying.

　　CLAIRE: (curiously grateful) You have, Harry?

　　HARRY: (glad enough to be back in a more usual world)Sure. I've been afraid to know, and almost as afraid of having doneit as of not having done it.

　　(CLAIRE nods, steps nearer, then again pullsback.)

　　CLAIRE: I can't go in there. (she almost looks at TOM)Not today.

　　ANTHONY: But, Miss Claire, there'll be things to see today wecan't see tomorrow.

　　CLAIRE: You bring it in here!

　　ANTHONY: In—out from its own place? (she nods)And—where they are? (again she nods. Reluctantly he goesto the door) I will not look into the heart. No one must knowbefore you know.

　　(In the inner room, his head a little turnedaway, he is seen very carefully to lift the plant which glows fromwithin. As he brings it in, no one looks at it. HARRY takesa box of seedlings from a stand and puts them on the floor, thatthe newcomer may have a place.)

　　ANTHONY: Breath of Life is here, Miss Claire.

　　(CLAIRE half turns, then stops.)

　　CLAIRE: Look—and see—what you see.

　　ANTHONY: No one should see what you've not seen.

　　CLAIRE: I can't see—until I know.

　　(ANTHONY looks into the flower.)

　　ANTHONY: (agitated) Miss Claire!

　　CLAIRE: It has come through?

　　ANTHONY: It has gone on.

　　CLAIRE: Stronger?

　　ANTHONY: Stronger, surer.

　　CLAIRE: And more fragile?

　　ANTHONY: And more fragile.

　　CLAIRE: Look deep. No—turning back?

　　ANTHONY: (after a searching look) The form is set. (hesteps back from it)

　　CLAIRE: Then it is—out. (from where she stands sheturns slowly to the plant) You weren't. You are.

　　ANTHONY: But come and see, Miss Claire.

　　CLAIRE: It's so much more than—I'd see.

　　HARRY: Well, I'm going to see. (looking into it) I neversaw anything like that before! There seems somethingalive—inside this outer shell.

　　DICK: (he too looking in and he has an artist's manner of ahand up to make the light right) It's quite new in form.It—says something about form.

　　HARRY: (cordially to CLAIRE, who stands apart) Soyou've really put it over. Well, well,—congratulations. It'sa good deal of novelty, I should say, and I've no doubt you'll havea considerable success with it—people always like somethingnew. I'm mighty glad—after all your work, and I hope itwill—set you up.

　　CLAIRE: (low—and like a machine) Will youall—go away?

　　(ANTHONY goes—into the other room.)

　　HARRY: Why—why, yes. But—oh, Claire! Can't you takesome pleasure in your work? (as she stands there very still)Emmons says you need a good long rest—and I think he'sright.

　　TOM: Can't this help you, Claire? Let this be release.This—breath of the uncaptured.

　　CLAIRE: (and though speaking, she remains just asstill)

　　Breath of the uncaptured?

　　You are a novelty.

　　Out?

　　You have been brought in.

　　A thousand years from now, when you are but a form too longrepeated,

　　Perhaps the madness that gave you birth will burst again,

　　And from the prison that is you will leap pent queernesses

　　To make a form that hasn't been—

　　To make a person new.

　　And this we call creation, (very low, her head not comingup)

　　Go away!