ALLIE MAYO
And hold the sand for things behind them. They save a wood that guards
a town.
MRS. PATRICK
I care nothing about a woods to guard a town. This is the
outside--these dunes where only beach grass grows, this outer shore
where men can’t live. The Outside. You who were born here and who die
here have named it that.
ALLIE MAYO
Yes, we named it that, and we had reason. He died here [_Reaches her
hand toward the closed door_] and many a one before him. But many
another reached the harbor! [_Slowly raises her arm, bends it to make
the form of the Cape. Touches the outside of her bent arm._] The
Outside. But an arm that bends to make a harbor--where men are safe.
MRS. PATRICK
I’m outside the harbor--on the dunes, land not life.
ALLIE MAYO
Dunes meet woods and woods hold dunes from a town that’s shore to a
harbor.
MRS. PATRICK
This is the Outside. Sand. [_Picking some of it up in her hand and
letting it fall on the beach grass._] Sand that _covers_--hills of sand
that move and cover.
ALLIE MAYO
Woods. Woods to hold the moving hills from Provincetown.
Provincetown--where they turn when boats can’t live at sea. Did you
ever see the sails come round here when the sky is dark? A line
of them--swift to the harbor--where their children live. Go back!
[_Pointing._] Back to your edge of the woods that’s the _edge of the
dunes_.
MRS. PATRICK
The edge of life. Where life trails off to dwarfed things not worth a
name.
[_Suddenly sits down in the doorway._
ALLIE MAYO
Not worth a name. And--meeting the Outside!
[_Big with the sense of the wonder of life._
MRS. PATRICK
[_Lifting sand and letting it drift through her hand._] They’re what
the sand will let them be. They take strange shapes like shapes of
blown sand.
ALLIE MAYO
Meeting the Outside. [_Moving nearer; speaking more personally._] I
know why you came here. To this house that had been given up; on this
shore where only savers of life try to live. I know what holds you on
these dunes, and draws you over there. But other things are true beside
the things you want to see.
MRS. PATRICK
How do you know they are? Where have you been for twenty years?
ALLIE MAYO
Outside. Twenty years. That’s why I know how brave _they_ are.
[_Indicating the edge of the woods. Suddenly different._] You’ll not
find peace there again! Go back and watch them _fight_!
MRS. PATRICK
[_Swiftly rising._] You’re a cruel woman--a hard, insolent woman! I
knew what I was doing! What do you know about it? About me? I didn’t
_go_ to the Outside. I was left there. I’m only--trying to get along.
Everything that can hurt me I want buried--buried deep. Spring is
here. This morning I _knew_ it. Spring--coming through the storm--to
take me--take me to hurt me. That’s why I couldn’t bear--[_She looks
at the closed door_] things that made me know I feel. You haven’t felt
for so long you don’t know what it means! But I tell you, Spring is
here! And now you’d take _that_ from me--[_Looking now toward the edge
of the woods_] the thing that made me know they would be buried in my
heart--those things I can’t _live_ and know I feel. You’re more cruel
than the sea! “But other things are true beside the things you want
to see!” Outside. Springs will come when I will not know that it is
spring. [_As if resentful of not more deeply believing what she says._]
What would there be for me but the Outside? What was there for you?
What did you ever find after you lost the thing you wanted?
ALLIE MAYO
I found--what I find now I know. The edge of life--to hold life behind
me--
[_A slight gesture toward MRS. PATRICK._
MRS. PATRICK
[_Stepping back._] You call what you are life? [_Laughs._] Bleak as
those ugly things that grow in the sand!
ALLIE MAYO
[_Under her breath, as one who speaks tenderly of beauty._] Ugly!
MRS. PATRICK
[_Passionately._] I have _known_ life. I have known _life_. You’re like
this Cape. A line of land way out to sea--land not life.
ALLIE MAYO
A harbor far at sea. [_Raises her arm, curves it in as if around
something she loves._] Land that encloses and gives shelter from storm.
MRS. PATRICK
[_Facing the sea, as if affirming what will hold all else out._]
Outside sea. Outer shore. Dunes--land not life.
ALLIE MAYO
Outside sea--outer shore, dark with the wood that once was
ships--dunes, strange land not life--woods, town and harbor. The line!
Stunted straggly line that meets the Outside face to face--and fights
for what itself can never be. Lonely line. Brave growing.
MRS. PATRICK
It loses.
ALLIE MAYO
It wins.
MRS. PATRICK
The farthest life is buried.
ALLIE MAYO
And life grows over buried life! [_Lifted into that; then, as one who
states a simple truth with feeling._] It will. And Springs will come
when you will want to know that it is Spring.
[_The CAPTAIN and BRADFORD appear behind the drift of sand. They have
a stretcher. To get away from them MRS. PATRICK steps farther into
the room; ALLIE MAYO shrinks into her corner. The men come in, open
the closed door and go in the room where they left the dead man. A
moment later they are seen outside the big open door, bearing the
man away. MRS. PATRICK watches them from sight._
MRS. PATRICK
[_Bitter, exultant._] Savers of life! [_To ALLIE MAYO._] You savers of
life! “Meeting the Outside!” Meeting--[_But she cannot say it mockingly
again; in saying it, something of what it means has broken through,
rises. Herself lost, feeling her way into the wonder of life._] Meeting
the Outside!
[_It grows in her as slowly._
(CURTAIN)
* * * * *
WOMAN’S HONOR
A COMEDY IN ONE ACT
* * * * *
First Performed by the Provincetown Players, April 26, 1918
MR. FOSTER, _The Lawyer_ JUSTUS SHEFFIELD
GORDON WALLACE, _The Prisoner_ CLARK BRANYON
BOY MURRAY COOPER
THE SHIELDED ONE } { MARJORY LACEY
THE MOTHERLY ONE } { DOROTHY UPJOHN
THE SCORNFUL ONE } The { IDA RAUH
THE SILLY ONE } Women { NORMA MILLAY
THE MERCENARY ONE } { ALICE MACDOUGAL
THE CHEATED ONE } { SUSAN GASPELL
WOMAN’S HONOR
SCENE: _A room in the sheriff’s house which is used for conferences.
At the rear is a door into the hall, at the left a door leads to
an adjoining room. There is also a door at the right, going to the
corridor which connects this house with the jail._
_LAWYER and PRISONER are found in heated conversation. The prisoner,
an attractive young man, is seated, and has just turned away from the
LAWYER, irritated._
LAWYER
Do you know that murder is no laughing matter?
PRISONER
Well, was I laughing?
LAWYER
[_Shoots it at him._] Where were you on the night of October 25?
[_PRISONER sits like one who never means to speak again._] Your silence
shields a woman’s honor. Do you know what’s going to be said of you?
You’re going to be called old-fashioned! [_A worried look flits over
the prisoner’s face._] A man will not tell where he is because it
involves a woman’s honor! How quaint! [_In a different voice._] Say, do
you think she’s worth it?
[_PRISONER rises angrily._
Yes, get red in the face, I should think you would. Blush. Blush for
shame. Shame of having loved a woman who’d let a man face death to
shield her own honor!
PRISONER
You don’t know what you’re talking about.
LAWYER
It’s just like a woman, the cowards. That’s what I most despise in
women. Afraid they won’t be looked upon as the pure noble sensitive
souls they spend their lives trying to make us believe they are.
Sickening!
PRISONER
There are things you don’t understand.
LAWYER
Oh, yes, I do. I suppose she’s got a husband. I suppose he’d divorce
her. Then she wouldn’t be asked out to tea quite so often. Good
Lord--die for something real!
PRISONER
You and I have different ideals, Mr. Foster. There are things we don’t
discuss.
LAWYER
There are things we have to discuss. If you insist upon this romantic
course, then at least we will have to get something out of _that_.
PRISONER
What do you mean?
LAWYER
Simply that public feeling has got to swing toward you or the jury
will say you murdered Erwalt. If we can’t have an alibi, let us by all
means have a hero!
PRISONER
[_Outraged._] Have you given out a story to the newspapers?
LAWYER
[_Drawing paper from his pocket._] Very delicately done. “A life for a
life.” Isn’t that moving? “While Gordon Wallace languishes in his cell,
some woman is safe in a shielded home. Charged with the murder of John
Erwalt, young Wallace fails to cut his chain of circumstantial evidence
with an alibi. Where was Gordon Wallace on the night of October 25?
He maintains a dogged silence. Behind that silence rests a woman’s
honor”--and so on, at some length.
PRISONER
You had no right to give out a story without my consent!
LAWYER
Oh, yes, I have. If I can’t get your consent for saving your life,
then, my young friend, I shall save it without your consent. Pardon my
rudeness.
PRISONER
How will this save it?
LAWYER
How little romantic young men know the romantic sex. Wives--including,
I hope, jurors’ wives--will cry, “Don’t let that chivalrous young
man die!” Women just love to have their honor shielded. It is very
touching to them.
PRISONER
Mr. Foster, I tell you again, I dislike your attitude toward women!
Laugh at me if you will, but I have respect and reverence for women.
I believe it is perfectly true that men must guard them. Call me a
romantic young fool if it pleases you, but I have had a mother--a
sister--sweetheart. Yes, I am ready to die to shield a woman’s honor!
[_As he says this the door slowly opens and a woman steps in._
SHIELDED ONE
No! You shall not!
[_Quite taken aback, the men stand looking at her. She has breeding,
poise--obviously she has stepped out of a world where women are
shielded. She maintains a front of her usual composure, but there
is an intensity--an excitement--which indicates she is feeling
some big new thing. LAWYER looks from her to the PRISONER, who is
staring at the WOMAN._
LAWYER
[_To WOMAN._] Oh--you’ve come?
SHIELDED ONE
[_Firmly, but with emotion._] I have come.
PRISONER
I don’t understand.
LAWYER
You were not willing to let him die?
SHIELDED ONE
No.
LAWYER
Good. This young man--[_He pauses, embarrassed, for it does not seem a
thing to say to this lady_] was with you on the night of October 25?
SHIELDED ONE
Yes.
PRISONER
Why, no I wasn’t.
LAWYER
There is no use, Gordon, in trying to keep the lady from doing what she
has apparently determined to do.
SHIELDED ONE
No. You cannot keep me from doing what I have determined to do.
LAWYER
For my part, I respect you for it. Then you are prepared to testify
that on the night of October 25 Gordon Wallace was with you from twelve
o’clock midnight till eight next morning?
SHIELDED ONE
[_A little falteringly, yet fervent._] Yes.
LAWYER
Was with you--continuously?
SHIELDED ONE
Yes.
LAWYER
Your name is--?
[_He takes out his note-book._
PRISONER
[_In distress._] Don’t give him your name! He’ll use it! I tell you
this is all a mistake. I don’t know this lady. I never saw her before.
[_To the WOMAN._] You mustn’t do this!
SHIELDED ONE
[_Proudly, and with relief._] I _have_ done it!
LAWYER
And as I said, madam, I greatly respect you for doing it. You are, if I
may say so, unlike most of your sex. Now--your name?
SHIELDED ONE
[_This is not easy for her._] Mrs. Oscar Duncan.
LAWYER
And Mrs. Duncan you live at--? [_A noise in the hall._] I fear some one
is coming in. Will you just step in here?
[_He shows her into the room at the left. They hear the corridor door
open and turn. A woman is coming in--rather plump, middle-aged--a
pleasant, motherly looking woman. She looks from the LAWYER to the
PRISONER, moves to get a better look at the young man, who becomes
nervous under this scrutiny; then she seems to have it straight in
her mind, nods pleasantly._
MOTHERLY ONE
[_Cheerily._] Good morning.
LAWYER
Good morning.
MOTHERLY ONE
[_To PRISONER._] Good morning.
PRISONER
[_Not cheerily._] Good morning.
MOTHERLY ONE
There was no one out there, so I just walked right in. [_LAWYER nods._]
I thought you might be glad to see me.
LAWYER
Oh--we are. [_To GORDON._] Aren’t we?
MOTHERLY ONE
I suppose I am in the right place.
LAWYER
Well, it is the right place for some things.
MOTHERLY ONE
Is it the place to tell the truth about Gordon Wallace?
LAWYER
It seems to be.
MOTHERLY ONE
[_Very cheerfully._] Well, then, on the night of October 25 that young
man--[_Steps for a better look at the PRISONER_] _this_ young man--was
with me.
LAWYER
From twelve o’clock midnight until eight next morning?
MOTHERLY ONE
[_Placidly._] From twelve o’clock midnight till eight next morning.
[_She takes a muffler from her bag and sits down and begins to knit._
LAWYER
Was with you--continuously?
MOTHERLY ONE
Oh, certainly--continuously.
[_She knits serenely on._
LAWYER
Well--Gordon.
MOTHERLY ONE
[_Pleasantly._] It seems that mufflers get longer and longer. [_Looking
up at LAWYER._] Doesn’t it?
LAWYER
Why--perhaps they do. But--you are willing to leave your name and
address?
MOTHERLY ONE
Certainly, I’m willing to leave my name and address. What else would
I be here for? Oh--but could I use the telephone first. [_Rises._] It
will be better to let them know that I’ll probably be late getting home
for lunch.
LAWYER
[_Is about to open door of the room in which the SHIELDED ONE is
waiting._] No--there’s some one in there. Here [_Going to the door at
the other side of the room_], I’ll show you how to get through to the
jail phone.
MOTHERLY ONE
The jail! But we’ll soon have you out of jail.
[_She goes, giving the young man an encouraging smile. The LAWYER
steps out with her. The young man hears the rear door opening--this
door into the hall has a slight squeak--starts nervously, looks
around to see a young woman come in. In a keen, cool amused way
she is staring at him. He turns away, petulantly hitching his
chair. She moves where she can see him better, takes from her bag a
newspaper picture, looks from it to him. He turns, sees what she is
doing; she smiles at him. He looks like one at bay. Enter LAWYER.
Sees what is going on, smiles._
LAWYER
On the night of October 25--?
SCORNFUL ONE
[_To LAWYER._] I understand that down here a man is about to die for a
woman’s honor.
LAWYER
He had some such thing in mind.
SCORNFUL ONE
[_To LAWYER._] Now you can’t get away with that. Sorry to upset your
plans, but the death seems uncalled for. On the night of October
25--Gordon Wallace was with me.
LAWYER
From twelve o’clock midnight till eight next morning?
SCORNFUL ONE
From twelve o’clock midnight until eight next morning.
LAWYER
[_Rather feebly._] Con-tinuously?
SCORNFUL ONE
[_In an offhand voice._] Continuously.
LAWYER
Well--well, Gordon, I begin to understand why you hesitated to tell the
truth about that momentous night. Rise and thank the lady, Gordon; it
would seem the least you could do would be to rise and--
[_As he is saying this to GORDON, in rushes a fussily dressed
hysterical woman and throws her arms around the LAWYER’S neck._
SILLY ONE
Darling! I cannot let you die for me!
LAWYER
[_Trying to free himself._] Pardon me, madam, but--
SILLY ONE
Gordon! You call me madam after that night together. Oh my beloved,
when I think of those hours I lay in your arms--
LAWYER
Pardon me, but you never lay in--
SILLY ONE
I know. Ah--I understand. You pretend not to know me. You would die to
shield me--but you shall not! You cannot escape me!
LAWYER
[_Still unsuccessful in freeing himself._] Apparently not. But permit
me to tell you, you are making a mistake.
SILLY ONE
No! I am _not_ making a mistake! You shall not die for me.
LAWYER
I really don’t intend to--if I can help it.
SILLY ONE
Love is so beautiful. So ennobling! [_Overcome with emotion, loosens
her hold._] When I think of that night--October 25--
[_Sinks into a chair._
LAWYER
[_After settling his collar._] Well, Gordon, have you a choice?
[_Pause._] You see you didn’t understand women as well as you thought.
PRISONER
[_Fiercely._] Neither did you!
[_The SHERIFF’S BOY comes in._
BOY
While I was over at the bank, women came.
LAWYER
Yes, I know.
BOY
[_Looking at the two women in the room._] But more women. [_PRISONER
starts in terror._] Six women are out there.
PRISONER
Don’t let them in!
LAWYER
Tell the ladies we shall not need them. Thank them for coming. [_BOY
goes out. To PRISONER._] Well, come now. What shall we do with this
embarrassment of--generosity? You see dying for a woman’s honor isn’t
as easy as you might think. It even looks as though there were a sort
of conspiracy against it.
PRISONER
I’m not going to be made a fool of.
LAWYER
Are you sure you can help it?
[_The BOY comes back, looking worried._
BOY
Some of those women won’t go away. I don’t know what to do with them.
LAWYER
No, it’s not a matter the young can cope with.
[_He goes out with the BOY. The amused young WOMAN sits looking the
PRISONER over, to his embarrassment and final irritation._
SCORNFUL ONE
So you were thinking of dying for a woman’s honor. [_He says nothing._]
Now do you think that’s a very nice way to treat the lady? [_He turns
away petulantly._] Seems to me you should think of _her_ feelings. Have
you a right to ruin her life?
PRISONER
[_Startled into speech._] _Ruin_ her life?
SCORNFUL ONE
Why certainly. A life that somebody has died for is practically a
ruined life. For how are you going to think of it as anything but--a
life that somebody has died for? [_She pulls her chair to a more
confidential angle._] Did it ever strike you as funny that woman’s
honor is only about one thing, and that man’s honor is about everything
but that thing? [_After waiting for the answer which does not come._]
Now woman’s honor means woman’s virtue. But this lady for whom you
propose to die has no virtue.
PRISONER
[_Springing up._] Please be careful what you say.
SCORNFUL ONE
I’m being very careful. I’m thinking it out just as carefully as I can.
The night of October 25, or at some time previous to that, she lost
her virtue, and you propose to die to keep us from knowing about this
loss. Now, it _has_ happened, hasn’t it? On the night of October 25,
from twelve o’clock midnight till eight next morning continuously she
lost her virtue. You aren’t dying to keep her virtuous. I fancy few
lives have been laid upon that altar. But you’re dying to keep us from
knowing she is what she is. Dear me, it seems rather sad.
SILLY ONE
[_Controlling her tears._] It is noble beyond words.
SCORNFUL ONE
There’s where you’re going to get your approbation.
[_The MOTHERLY ONE now returns from her telephoning. She looks at the
SILLY WOMAN, then at the SCORNFUL ONE--these two stand looking one
another up and down._
SCORNFUL ONE
[_In her amused manner._] Can it be that we are two souls with but a
single thought?
MOTHERLY ONE
[_In her mothering voice._] Perhaps we are two hearts that beat as one.
[_They stand there a moment not knowing what to do; then, still
uncertainly, they sit down, stealing glances at one another.
Finally the SCORNFUL ONE smiles._
SCORNFUL ONE
We might draw lots.
SILLY ONE
Love conquereth all things.
SCORNFUL ONE
Even the female brain.
MOTHERLY ONE
I wonder why you others came.
SCORNFUL ONE
Why did you come?
MOTHERLY ONE
Oh, I have children of my own. I thought, he’s just a nice boy,
and probably she’s just some nice girl afraid of her mother. And I
thought--well, now what an awful pity to let him die, or even spend
a lot of time in prison. I said to myself, it would be just like a
lot of men to fuss around about a woman’s honor and really let it
hurt somebody. So I decided--well, I’ll go. What harm can it do me?
[_Resumes her knitting._] You see, I’m in the habit of trying to save
lives. I do nursing--practical nursing--and I didn’t happen to be on
a case just now, so I thought--well, I’ll just take this case. Some
of the folks I nurse for may be shocked--but good sensible nurses
aren’t so easy to get. Of course my children may be upset about it--but
they’re awful nice children, and when they’re a little older probably
they’ll be pleased to think their mother didn’t want a nice boy to die.
[_Drops her knitting._] I wonder if _she_ will come.
[_Looks at the other two with new interest._
SCORNFUL ONE
I wonder.
SILLY ONE
“She” is here.
SCORNFUL ONE
Oh, it’s not you. You thought it was the lawyer you were with. Anyway,
people who do things don’t make so much fuss about them.
MOTHERLY ONE
[_Whose interest has not been diverted._] I think she will have to come.
[_The door of the room into which the SHIELDED ONE was shown opens
quietly and without the others being aware of it the SHIELDED ONE
is standing in the doorway, bringing with her that sense of the
ordered protected life out of which she has stepped._
SCORNFUL ONE
I’m sure I don’t see how she could ever think of staying away. I hate a
coward.
MOTHERLY ONE
Some women think a great deal about their honor. I think usually it’s
women who aren’t very well--or who haven’t much else to take up their
time.
[_Impulsively the SHIELDED ONE steps forward as if to speak. Hearing
her, they turn, and in their interest rise and stand looking at
her._
MOTHERLY ONE
Oh--you’ve come?
[_The PRISONER, who to get away from the women gives the impression
of being crowded into a corner, also turns and rises._
PRISONER
[_To SHIELDED ONE, rather crossly._] Please go _away_!
SCORNFUL ONE
O-h.
PRISONER
Can’t you see there is no need for your staying?
SHIELDED ONE
[_Quietly._] There _is_ need of it.
[_She sits down, the other women still surveying her._
MOTHERLY ONE
It’s true we aren’t all needed. Who will be best--? [_To SCORNFUL
ONE._] Tell me, why are you here?
SCORNFUL ONE
Well, you see for myself I haven’t any honor to worry about, and
haven’t had for some time. So I thought, if the sacrifice of a woman’s
honor is going to save, a man’s life, let me, who have none, nobly
sacrifice mine.
MOTHERLY ONE
What do you mean, you haven’t had any honor for some time?
SCORNFUL ONE
Oh, I haven’t had my honor around with me since I was seventeen.
MOTHERLY ONE
[_Kindly._] Do you miss it?
SCORNFUL ONE
Well--yes; sometimes when I’m tired I might like to slump back
into it. You see honor camouflages so many things--stupidity,
selfishness--greed, lust, avarice, gluttony. So without it you’re
almost forced to be a decent sort--and that’s sometimes wearing. [_In
another voice._] But I’ll tell you why I’m really here! When men begin
to sob around about woman’s honor they get my goat. That lawyer--he
thought he was going to get away with it. Why, woman’s honor would have
died out long ago if it hadn’t been for men’s talk about it.
MOTHERLY ONE
I suppose it really has to be kept up, as long as it gives men such
noble feelings.
SCORNFUL ONE
That man--the one when I was seventeen--_he’s_ that sort. He would be
of course. Why, this instant his eyes would become “pools of feeling”
if any one were to talk about saving a woman’s honor. [_Under her
breath._] Gee!
MOTHERLY ONE
[_With a diffident glance at the SHIELDED ONE._] If she _is_ here, she
must be feeling quite upset. If she cares enough about her honor to
have held back this long--it can’t be easy to let it go.
SCORNFUL ONE
She’ll be better off without it.
MOTHERLY ONE
I don’t know. You see, she’s had it quite a while. She’s used to it. I
was thinking--
[_The door opens and a brisk young woman dressed in cheap,
up-to-the-minute clothes darts in. All turn and look at
her, continue to stare. Something in this scrutiny becomes
disconcerting._
MERCENARY ONE
While he was busy with the other women--I just slipped by. Is this--?
[_Sees the young man, now huddled in terror._
SCORNFUL ONE
Sit down and wait your turn.
MERCENARY ONE
Are all of you ahead of me?
SCORNFUL ONE
Your number seems to be five.
[_Number five sits down; a pause in which they continue to look at
her in this unusual way--she finally rather indignantly settles
her coat, her hat, assuring herself nothing is the matter with her._
MOTHERLY ONE
You look young for this.
MERCENARY ONE
Well, if you’ll excuse my saying so, the same objection can’t be made
to some of you.
SCORNFUL ONE
What are you here for?
MERCENARY ONE
Oh, I guess I’m here for about the same reason all of you are here.
MOTHERLY ONE
But we are here for different reasons.
MERCENARY ONE
Say, what are you tryin’ to put over on me? Suppose I think you’re here
for your health? Or out of kindness? Or to show your great beauty?
Hard-_ly_. Anybody not feeble-minded could dope out why you’re sitting
here like owls.
SCORNFUL ONE
Well--why?
MERCENARY ONE
Oh, not for _money_, of course.
[_She has horrified them all._
MOTHERLY ONE
I’m sorry you said that.
SILLY ONE