The Dancers by Horton Foote (script)

THE DANCERS

Horton Foote

[Scene: The stage is divided into four acting areas: downstage left is the living room of INEZ and HERMAN STANLEY. Downstage right is part of a small-town drugstore. Upstage right is the living room Of ELIZABETH CREWS. Upstage left, the yard and living room of MARY CATHERINE DAVIS. Since the action should flow continuously from one area to the other, only the barest amount of furnishings should be used to suggest what each area represents. The lights are brought up on the drugstore, downstage right. Waitress is there. INEZ STANLEY comes into the drug store. She stands for a moment thinking. The waitress goes over to her.]

WAITRESS: Can I help you?

INEZ: Yes, you can if I can think of what I came in here for. Just gone completely out of my mind. I've been running around all day. You see, I'm expecting some company tonight. My brother Horace. He's coming on a visit.

[ELIZABETH CREWS and her daughter EMILY come into the drugstore. EMILY is about seventeen and very pretty. This afternoon, however, it is evident that she is unhappy.]

Hey...

ELIZABETH: We've just been by your house.

INEZ: You have? Hello, Emily.

EMILY: Hello.

ELIZABETH: We made some divinity' and took it over for Horace.

INEZ: Well, that's so sweet of you.

ELIZABETH: What time is he coming in?

INEZ: Six-thirty.

ELIZABETH: Are you meeting him?

INEZ: No-Herman. I've got to cook supper. Can I buy you all a drink?

ELIZABETH: No, we have to get Emily over to the beauty parlor.

INEZ: What are you wearing tonight, Emily?

ELIZABETH: She's wearing that sweet little net2 I got her the end of last summer. She's never worn it to a dance here.

INEZ: I don't think I've ever seen it. I'll bet it looks beautiful on her. I'm gonna make Horace bring you by the house so I can see you before the dance.

WAITRESS: Excuse me....

INEZ: Yes

WAITRESS: Have you thought of what you wanted yet? I thought I could be getting it for you.

INEZ: That's sweet, honey ... but I haven't thought of what I wanted yet. [To ELIZABETH and EMILY.] I feel so foolish, I came in here for something, and I can't remember what.

WAITRESS: Cosmetics?

INEZ: No ... you go on. I'll think and call you.

WAITRESS: All right. [She goes.]

INEZ: Emily, I think it's so sweet of you to go to the dance with Horace. I know he's going to be thrilled when I tell him.

ELIZABETH: Well, you're thrilled too, aren't you, Emily?

EMILY: Yes, ma'am.

ELIZABETH: I told Emily she'd thank me some day for not permitting her to sit home and miss all the fun.

EMILY: Mama, it's five to four. My appointment is at four o'clock.

ELIZBETH: Well, you go on in the car.

EMILY: How are you gonna get home?

ELIZBETH: I'll get home. Don't worry about me.

EMILY: OK. [She starts out.]

INEZ: 'Bye, Emily.

EMILY: 'Bye. [She goes on out.]

ELIZABETH: Does Horace have a car for tonight?

INEZ: Oh, yes. He's taking Herman's.

ELIZABETH: I just wondered. I wanted to offer ours if he didn't have one.

INEZ: That's very sweet-but we're giving him our car every night for the two weeks of his visit. Oh-I know what I'm after. Flowers. I have to order Emily's corsage for Horace. I came in here to use the telephone to call you to find out what color Emily's dress was going to be.

ELIZABETH: Blue.

INEZ: My favorite color. Walk me over to the florist.

ELIZABETH: All right.

[They go out as the lights fade. The lights are brought up downstage left on the living room Of INEZ STANLEY. HERMAN STANLEY and his brother-in-law, HORACE, come in. HERMAN is carrying HORACE's suitcase. HERMAN is in his middle thirties. HORACESE is eighteen, thin, sensitive, but a likable boy.]

HERMAN: Inez. Inez. We're here.

[He puts the bag down in the living room. INEZ comes running in from stage right.]

INEZ: You're early.

HERMAN: The bus was five minutes ahead of time.

INEZ: Is that so? Why, I never heard of that. [She kisses her brother.] Hello, honey.

HORACE: Hello, sis.

INEZ: You look fine.

HORACE: Thank you.

INEZ: You haven’t put on a bit of weight though.

HORACE: Haven't I?

INEZ: Not a bit. I'm just going to stuff food down you and put some weight on you while you're here. How's your appetite?

HORACE: Oh, it's real good. I eat all the time.

INEZ: Then why don't you put on some weight?

HORACE: I don't know. I guess I'm just the skinny type.

INEZ: How are the folks?

HORACE: Fine.

INEZ: Mother over her cold?

HORACE: Yes, she is.

INEZ: Dad's fine?

HORACE: Just fine.

INEZ: Oh, Herman, did you ask him?

HERMAN: Ask him what?

INEZ: Ask him what? About his tux.

HERMAN: No, I didn't....

INEZ: Honestly, Herman. Here we have him a date with the prettiest and most popular girl in Harrison and Herman says ask him what. You did bring it, didn't you, Bubber?

HORACE: Bring what?

INEZ: Your tux.

HORACE: Oh, sure.

INEZ: Well, guess who I've got you a date with. Aren't you curious?

HORACE: Uh. Huh.

INEZ: Well, guess.... [A pause.] He thinks.]

HORACE: I don't know.

INEZ: Well, just try guessing....

HORACE: Well ... uh ... [He is a little embarrassed. He stands trying to think. No names come to him,] I don't know.

INEZ: Emily Crews. Now isn't she a pretty girl?

HORACE: Yes. She is.

INEZ: And the most popular girl in this town. You know her mother is a very close friend of mine and she called me day before yesterday and she said I hear Horace is coming to town and I said yes you were and she said that the boy Emily is going with is in summer school and couldn't get away this week-end and Emily said she wouldn't go to the dance at all but her mother said that she had insisted and wondered if you'd take her....

HORACE: Her mother said. Does Emily want me to take her?

INEZ: That isn't the point, Bubber. The point is that her mother doesn't approve of the boy Emily is in love with and she likes you . . .

HORACE: Who likes me?

INEZ: Emily's mother. And she thinks you would make a very nice couple.

HORACE: Oh. [A pause.] But what does Emily think?

INEZ: Emily doesn't know what to think, honey. I'm trying to explain that to you. She's in love.

HORACE: Where am I supposed to take her to?

INEZ: The dance.

HORACE: But, Inez, I don't dance well enough.... I don't like to go to dances ... yet ...

INEZ: Oh, Horace. Mother wrote me you were learning.

HORACE: Well ... I am learning. But I don't dance well enough yet.

INEZ: Horace, you just make me sick. The trouble with you is that you have no confidence in yourself. I bet you can dance.

HORACE: No, I can't....

INEZ: Now let's see. [INEZ goes to the radio and turns it on. She comes back to him] Now, come on. Show me what you've learned....

HORACE: Aw, sis...

HERMAN: Inez. Why don't you let the boy alone?

INEZ: Now you keep out of this, Herman Stanley. He's my brother and he's a stick. He's missing all the fun in life and I'm not going to have him a stick. I've sat up nights thinking of social engagements to keep him busy every minute of these next two weeks-I've got three dances scheduled for him. So he cannot dance. Now come on, dance with me.... [He takes her by the arm awkwardly. He begins to lead her around the room.] Now, that's fine. That's just fine. Isn't that fine, Herman?

HERMAN: Uh. Huh.

INEZ: You see all you need is confidence. And I want you to promise me you'll talk plenty when you're with the girl, not just sit there in silence and only answer when you're asked a question.... Now promise me.

HORACE: I promise.

INEZ: Fine. Why, I think he dances real well. Don't you, Herman?

HERMAN: Yes, I do. Just fine, Inez.

INEZ: Just a lovely dancer, all he needs is confidence. He is very light on his feet. And he has a fine sense of rhythm-why, brother, you're a born dancer -

[HORACE is smiling over the compliments, half wanting to believe what they say, but then not so sure. He is dancing with her around the room as the lights fade. They are brought up on the area upstage right. EMILY CREWS is in her living room. She has on her dressing gown. She is crying. ELIZABETH, her mother, comes in from upstage right.]

ELIZABETH: Emily.

EMILY: Yes, ma’am.

ELIZABETH: Do you know what time it is?

EMILY: Yes, ma’am.

ELIZABETH: Then why in the world aren't you dressed?

EMII.Y: Because I don't feel good.

ELIZABETH: Emily ...

EMILY: I don't feel good ... [She begins to cry.] Oh, Mother. I don't want to go to the dance tonight. Please, ma’am, don't make me. I'll do anything in this world for you if you promise me ...

ELIZABETH: Emily. This is all settled. You are going to that dance. Do you understand me. You are going to that dance. That sweet, nice brother of Inez Stanley's will be here any minute....

EMILY: Sweet, nice brother. He's a goon. That's what he is. A regular goon. A bore and a goon....

ELIZABETH: Emily ...

EMILY: That's all he is. Just sits and doesn't talk. Can't dance. I'm not going to any dance or any place else with him and that's final.

[She runs out stage right.]

ELIZABETH: Emily ... Emily ... You get ready this minute ... [The doorbell rings. Yelling.] Emily ... Emily ... Horace is here. I want you down those stairs in five minutes ... dressed.

[She goes out stage left and comes back in followed by HORACE, all dressed up. He has a corsage box in his hand.]

Hello, Horace.

HORACE: Good evening.

ELIZABETH: Sit down, won't you, Horace? Emily is a little late getting dressed. You know how girls are.

HORACE: Yes, ma’am.

[He sits down. He seems a little awkward and shy.]

ELIZABETH: Can I get you something to drink, Horace?

HORACE: No, ma’am.

[A pause.] Elizabeth is obviously very nervous about whether EMILY will behave or not.]

ELIZABETH: Are you sure I can't get you a coca-cola or something?

HORACE: No. Thank you.

ELIZABETH: How's your family?

HORACE: Just fine, thank you.

ELIZABETH: I bet your sister was glad to see you.

HORACE: Yes, she was.

ELIZABETH: How's your family? Oh, I guess I asked you that, didn't I?

HORACE: Yes, you did.

[Elizabeth keeps glancing off stage right, praying that EMILY will put in an appearance.]

ELIZABETH: I understand you've become quite an accomplished dancer. . . .

HORACE: Oh ... well ... I ...

ELIZABETH: Inez tells me you do all the new steps.

HORACE: Oh well. . .I ...

ELIZABETH: Excuse me. Let me see what is keeping that girl.

[She goes running off stage right. HORACE gets up. He seems very nervous. He begins to practice his dancing. He seems more unsure of himself and awkward.... We can hear ELIZABETH offstage knocking on EMILY'S door. At first HORACE isn't conscious of the knocking or the ensuing conversation and goes on practicing his dancing. When he first becomes conscious of what's to follow he tries to pay no attention. Then gradually he moves over to the far left side of the stage. The first thing we hear is ELIZABETH'S genteel tapping at EMILY's door. Then she begins to call, softly at first, then louder and louder.]

EMILY: Emily. Emily Crews. Emily Carter Crews.... [The pounding offstage is getting louder and louder.] Emily. I can hear you in there. Now open that door.

EMILY: [Screaming back.] I won't. I told you I won't.

ELIZABETH: Emily Carter Crews. You open that door immediately.

EMILY: I won't.

ELIZABETH: I'm calling your father from downtown if you don't open that door right this very minute.

EMILY: I don't care. I won't come out.

ELIZABETH: Then I'll call him. [She comes running in from stage right. HORACE quickly gets back to his chair and sits.] Excuse me, Horace.

[She crosses through the room and goes out upstage right. HORACE seems very ill at ease. He looks at the box of flowers. He is very warm. He begins to fan himself. ELIZABETH comes back in the room from upstage right. She is very nervous. But she tries to hide her nervousness in an overly social manner. ELIZABETH has decided to tell a fib.]

Horace, I am so sorry to have to ruin your evening, but my little girl isn't feeling well. She has a headache and a slight temperature and I've just called the doctor and he says he thinks it's very advisable that she stay in this evening. She's upstairs insisting she go, but I do feel under the circumstances I had just better keep her in. I hope you understand.

HORACE: Oh, yes ma’am. I do understand.

ELIZABETH: How long do you plan to visit us, Horace?

HORACE: Two weeks.

ELIZABETH: That's nice. [They start walking offstage left.] Please call Emily tomorrow and ask her out again. She'll just be heartbroken if you don't.

HORACE: Yes, ma’am. Good night.

ELIZABETH: Good night, Horace. [HORACE goes out. ELIZABETH calls out after him.] Can you see, Horace? [In the distance we hear HORACE answer.]

HORACE: Yes, ma’am.

ELIZABETH: Now you be sure and call us tomorrow. You hear? [She stands waiting for a moment. Then she walks back across stage to upstage right, screaming at the top of her voice.] Emily Carter Crews. You have mortified me. You have mortified me to death. I have, for your information, called your father and he is interrupting his work and is coming home this very minute and he says to tell you that you are not to be allowed to leave this house again for two solid weeks. Is that perfectly clear?

[She is screaming as she goes out upstage right. The lights are brought down. They are brought up immediately downstage right on the drugstore. It is hay an hour later HORACE comes in. He seats himself at the counter. He still has the box of flowers. The drugstore is deserted. A WAITRESS is up near the front with her arms on the counter. She keeps glancing at a clock. HORACE is examining a menu

HORACE: Can I have a chicken salad sandwich?

WAITRESS: We're all out of that.

HORACE: Oh.

[He goes back to reading the menu.]

WAITRESS: If it's all the same to you, I'd rather not make a sandwich. I'm closing my doors in ten minutes.

HORACE: Oh. Well, what would you like to make?

WAITRESS: Any kind of ice cream or soft drinks. [She looks up at the ice cream menu.] Coffee is all gone.

HORACE: How about a chocolate ice cream soda?

WAITRESS: O.K. Coming up. [She starts to mix the soda. She talks as she works.] Going to the dance?

HORACE: NO.

WAITRESS: The way you're all dressed up I thought for sure you were going.

HORACE: No. I was, but I changed my mind.

[MARY CATHERINE DAVIS comes in the drugstore from downstage right Somehow in her young head she has gotten the idea that she is a plain girl and in defiance for the pain of that fact she does everything she can to make herself look plainer.]

WAITRESS: Hello, Mary Catherine. Been to the movies?

MARY CATHERINE: Yes, I have.

[The WAITRESS puts the drink down in front of HORACE. He begins to drink.]

WAITRESS: What'll you have, Mary Catherine?

MARY CATHERINE: Vanilla ice cream.

WAITRESS: O.K. [She gets the ice cream. She talks as she does so.] There weren't many at the picture show tonight, I bet. I can always tell by whether we have a crowd in here or not after the first show. I guess everybody is at the dance.

MARY CATHERINE: I could have gone, but I didn't want to. I didn't want to miss the picture show. Emily Crews didn't go. Leo couldn't get home from summer school and she said she was refusing to go. Her mother made a date for her with some bore from out of town without consulting her and she was furious about it. I talked to her this afternoon. She said she didn't know yet how she would get out of it, but she would. She said she had some rights. Her mother doesn't approve of Leo and that's a shame because they are practically engaged.

WAITRESS: I think Emily is a very cute girl, don't you?

MARY CATHERINE: Oh, yes. I think she's darling.

[HORACE has finished his drink and is embarrassed by their talk. He is trying to get the WAITRESS's attention but doesn't quite know how. He finally calls to the WAITRESS.]

HORACE: Miss ...

WAITRESS: Yes?

HORACE: How much do I owe you?

WAITRESS: Twenty cents.

HORACE: Thank you.

[He reaches in his pocket for the money.]

WAITRESS: Emily has beautiful clothes, doesn't she?

MARY CATHERINE: Oh, yes. She does.

WAITRESS: Her folks are rich?

MARY CATHERINE: She has the prettiest things. But she's not a bit stuck up....

[He holds the money out to the WAITRESS.]

HORACE: Here you are.

WAITRESS: Thank you. [She takes the money and rings it up in the cash register. HORACE goes on out. WAITRESS shakes her head as he goes.] There's a goofy nut if I ever saw one. He's got flowers under his arm. He's wearing a tux and yet he's not going to the dance. Who is he?

MARY CATHERINE: I don't know. I never saw him before.

[The WAITRESS walks to the edge of the area and looks out. She comes back shaking her head. She sits on the stool beside MARY CATHERINE.]

WAITRESS: [While laughing and shaking her head.] I ought to call the Sheriff and have him locked up. Do you know what he's doing?

MARY CATHRINE. No. WHAT?

WAITRESS: Standing on the corner. Dancing back and forth. He’s holding his arm up like he’s got a girl and everything. Would it kill you? [Goes to the front and looks out.] To see him?

MARY CATHERINE: No. He's stopped.

WAITRESS: What's he doing?

MARY CATHERINE: Just standing there. Looking kind of lost.

[MARY CATHERINE comes back to the counter. She starts eating her ice cream again.]

WAITRESS: Well-it takes all kinds.

MARY CATHERINE: I guess so.

[She goes back to eating her ice cream. The lights are brought down. The lights are brought up on the area downstage left. The living room of the STANLEY. INEZ is there reading a book. HERMAN comes in.]

HERMAN: Hi, hon.

INEZ: Hello.... HERMAN. What's the matter with you? You look down in the dumps.

INEZ: No, I'm just disgusted.

HERMAN: What are you disgusted about?

INEZ: Horace. I had everything planned so beautifully for him and then that silly Emily has to go and hurt his feelings.

HERMAN: Well, honey, that was pretty raw, the trick she pulled.

INEZ: I know. But he's a fool to let that get him down. He should have just gone to the dance by himself and proved her wrong.... Why like I told him. Show her up. Rush a different girl every night. Be charming. Make yourself popular. But it's like trying to talk to a stone wall. He refused to go out any more. He says he's going home tomorrow. HERMAN. Where is he now?

INEZ: Gone to the movies.

HERMAN: Well, honey. I hate to say it, but in a way it serves you right. I've told you a thousand times if I've told you once. Leave the boy alone. He'll be all right. Only don't push him. You and your mother have pushed the boy and pushed him and pushed him.

INEZ: And I'm going to keep on pushing him. I let him off tonight because his feelings were hurt, but tomorrow I'm going to have a long talk with him.

HERMAN: Inez. Leave the boy alone.

INEZ: I won't leave him alone. He is my brother and I'm going to see that he learns to have a good time.

HERMAN: Inez ...

INEZ: Now you just let me handle this, Herman. He's starting to college next year and it's a most important time in his life. He had no fun in high school ...

HERMAN: Now. He must have had some fun....

INEZ: Not like other people. And he's not going through four years of college like a hermit with his nose stuck in some old book ... [She jumps up.] I'll never forgive Elizabeth for letting Emily behave this way. And I told her so. I said Elizabeth Crews. I am very upset ...

[She is angrily walking up and down as the lights fade. They are brought up downstage right on the drugstore area. The WAITRESS is there alone. MARY CATHERINE comes in from downstage right.]

WAITRESS: Did you go to the movies again tonight?

MARY CATHERINE: Uh-huh. Lila, do you remember when I was telling you about Emily's date and how she wouldn't go out with him because he was such a bore?

WAITRESS: Uh ...

MARY CATHERINE: Oh, I just feel awful. That was the boy sitting in here ...

WAITRESS: Last night ... ?

MARY CATHERINE: Yes. I went riding with Emily and some of the girls this afternoon and we passed by his sister's house and there sat the boy.

WAITRESS: Sh ... sh ... [She has seen HORACE come in to the area from downstage right. He comes to the counter. He seems very silent. He picks up a menu.] Back again tonight?

HORACE: Uh-huh.

WAITRESS: What'll you have?

HORACE: A cup of coffee....

WAITRESS: All out. We don't serve coffee after eight unless we happen to have some left over from supper time....

HORACE: Thanks. [He gets up.]

WAITRESS: Nothing else?

HORACE: NO, thanks.

[He goes over to the magazine rack. He picks up a magazine and starts looking through it. EMILY CREWS comes in from downstage right. She doesn't see HORACE She goes right over to MARY CATHERINE.]

EMILY: Leora and I were riding around the square and we saw you sitting here ...

[MARY CATHERINE points to HORACE. She turns around and sees him. EMILY looks a little embarrassed. He happens to glance up and sees her.]

HORACE: Hello, Emily.

EMILY: Hello, Horace.. . . Do you know Mary Catherine Davis?

HORACE: No. How do you do.

MARY CATHERINE: How do you do.

EMILY: I feel awfully bad about last night, Horace. My mother says that you know I wasn't really sick. I just wanted to tell you that it had nothing to do with you, Horace. It was a battle between me and my mother. Mary Catherine can tell you. I promised the boy I go with not to go with any other boys ...

HORACE: Oh, that's all right, I understand.

EMILY: You see, we've gone steady for two years. All the other boys in town understand it and their feelings are not a bit hurt if I turn them down. Are they, Mary Catherine?

MARY CATHERINE: NO.

EMILY: Mary Catherine is my best friend and she can tell you I'm not stuck up. And I would have gone, anyway, except I was so mad at my mother ...

MARY CATHERINE: Emily is not stuck up a bit. Emily used to date all the boys before she began going with Leo steadily.... Didn't you, Emily?

EMILY: Uh-huh. How long are you going to be here, Horace?

HORACE: Well, I haven't decided, Emily.

EMILY: Well, I hope you're not still hurt with me.

HORACE: No, I'm not, Emily.

EMILY: Well, I'm glad for that. Mary Catherine, can you come with us?

MARY CATHERINE: No, I can't, Emily. Velma came in after the first show started and I promised to wait here for her and we'd walk home together.

EMILY Come on. We can ride around and watch for her.

MARY CATHERINE: No. I don't dare. You know how sensitive Velma is. If she looked in here and saw I wasn't sitting at this counter she'd go right home and not speak to me again for two or three months.

EMILY: Velma's too sensitive. You shouldn't indulge her in it.

MARY CATHERINE: I'm willing to grant you that. But you all are going off to college next year and Velma and I are the only ones that are going to be left here and I can't afford to get her mad at me.

EMILY: OK. I'll watch out for you and if we're still riding around when Velma gets out, we'll pick you up.

MARY CATHERINE: Fine....

EMILY: 'Bye....

MARY CATHERINE: 'Bye....

EMILY: 'Bye, Horace.

HORACE: Good-bye, Emily. [She goes out downstage right.]

MARY CATHERINE: She's a lovely girl. She was my closest friend until this year. Now we're still good friends, but we're not as close as we were. We had a long talk about it last week. I told her I under stood. She and Eloise Dayton just naturally have a little more in common now. They're both going steady and they're going to the same college. [A pause.] They're going to Sophie Newcomb. Are you going to college?

HORACE: Uh-huh.

MARY CATHERINE: You are? What college?

HORACE: The University....

MARY CATHERINE: Oh. I know lots of people there. [A pause.] I had a long talk with Emily about my not getting to go. She said she thought it was wonderful that I wasn't showing any bitterness about it. [A pause.] I'm getting a job next week so I can save up enough money to go into Houston to Business School. I'll probably work in Houston some day. If I don't get too lonely. Velma Morrison's oldest sister went into Houston and got herself a job but she almost died from loneliness. She's back here now working at the Court House. Oh, well ... I don't think I'll get lonely. I think a change of scenery would be good for me.

[VELMA MORRISON comes in downstage right. She is about the same age as MARY CATHERINE. She is filled with excitement.]

VELMA: Mary Catherine, you're going to be furious with me. But Stanley Sewell came in right after you left and he said he'd never forgive me if I didn't go riding with him.... I said I had to ask you first. As I had asked you to wait particularly for me and that I knew you were very sensitive.

MARY CATHERINE: I'm very sensitive. You're very sensitive.... I have never in my life stopped speaking to you over anything.

[A car horn is heard off stage.]

Velma: Will you forgive me if I go?

MARY CATHERINE: Oh, sure.

[Velma goes running out.]

VELMA: Thank you.

[She disappears out the door.]

MARY CATHERINE: I'm not nearly as close to Velma as I am to Emily. I think Emily's beautiful, don't you?

HORACE: Yes. She's very pretty.

MARY CATHERINE: Well, Lila's going to kill us if we don't stop holding her up. Which way do you go?

HORACE: home

MARY CATHERINE: I go that way, too. We can walk together.

HORACE: O.K. [Go out of the area.]

MARY CATHERINE: Good night, Lila.

WAITRESS: Good night.

[They continue walking out downstage left as the lights fade. The lights are brought up on the living room of the CREWS' house. ELIZABETH CREWS is there, crying. EMILY comes in.]

EMILY: Mother, what is it? Has something happened to Daddy?

ELIZABETH: No. He's in bed asleep.

EMILY: Then what is it?

ELIZABETH: Inez blessed me out and stopped speaking to me over last night. She says we've ruined the boy's whole vacation. You've broken his heart, given him all kinds of complexes and he's going home tomorrow....

EMILY: But I saw him at the drugstore tonight and I had a long talk with him and he said he understood ...

ELIZABETH: But Inez doesn't understand. She says she'll never forgive either of us again.

[She starts to cry.]

EMILY: Oh, Mother. I’m Sorry. . .

ELIZABETH: Emily, if you'll do me one favor. I promise you I'll never ask another thing of you again as long as I live. And I will never nag you about going out with Leo again as long as I live....

EMILY: What is the favor, Mother?

ELIZABETH: Let that boy take you to the dance day after tomorrow....

EMILY: Now, Mother ...

ELIZABETH: Emily. I get down on my knees to you. Do me this one favor ... [A pause.] Emily ... Emily ... [She is crying again.]

EMILY: Now, Mother, please. Don't cry. I'll think about it. I'll call Leo and see what he says. But please don't cry like this.... Mother ... Mother.

[She is trying to console her as the lights fade. The lights are brought up on upstage left. It is MARY CATHERINE's yard and living room. Music can be heard in the distance. HORACE and MARY CATHER INE come walking in downstage left, go up the center of the stage until they reach the upstage area.]

MARY CATHERINE: Well, this is where I live.

HORACE: In that house there?

MARY CATHERINE: Uh-huh. [A pause.]

HORACE: Where is that music coming from?

MARY CATHERINE: The Flats....

HORACE: What's the Flats?

MARY CATHERINE: I don't know what it is. That's just what they call it. It's nothing but a bunch of barbecue restaurants and beer joints down there and they call it the Flats. There used to be a creek running down there that they called Willow Creek but it's all dry now. My father says when he was a boy, every time the river flooded, Willow Creek would fill up. The river doesn't overflow any more since they took the raft5 out of it. I like to come out here at night and listen to the music. Do you like to dance . . . ?

HORACE: Well ... I ...

MARY CATHERINE: I love to dance.

HORACE: Well ... I don't dance too well.

MARY CATHERINE: There's nothing to it but confidence.

HORACE: That's what my sister says . . .

MARY CATHERINE: I didn't learn for the longest kind of time for lack of confidence and then Emily gave me a long lecture about it and I got confidence and went ahead and learned. Would you like to come in for a while?

HORACE: Well ... if it's all right with you....

MARY CATHERINE: I'd be glad to have you.

HORACE: Thank you.

[They go into the area. MARY CATHERINE'S father TOM DAVIS, is seated there in his undershirt. He works in a garage.]

MARY CATHERINE: Hello, Daddy.

TOM: Hello, baby.

MARY CATHERINE: Daddy, this is Horace.

TOM: Hello, son.

HORACE: Howdy do, sir. [They shake hands.]

MARY CATHERINE: Horace is Mrs. Inez Stanley's brother. He's here on a visit.

TOM: That's nice. Where's your home, son?

HORACE: Flatonia.

TOM: Oh, I see. Well, are you young people going to visit for a while?

MARY CATHERINE: Yes, sir.

TOM: Well, I'll leave you then. Good night.

MARY CATHERINE: Good night, Daddy.

HORACE: Good night, sir. [He goes out upstage left.] What does your father do?

MARY CATHERINE: He works in a garage. He's a mechanic. What does your father do?

HORACE: He's a judge.

MARY CATHERINE: My father worries so because he can't afford to send me to college. My mother told him that was all foolishness. That I'd rather go to business school anyway.

HORACE: Had you rather go to business school?

MARY CATHERINE: I don't know. [A pause.] Not really. But I'd never tell him that. When I was in the seventh grade I thought I would die if I couldn't get there, but then when I was in the ninth, Mother talked to me one day and told me Daddy wasn't sleeping at nights for fear I'd be disappointed if he couldn't send me, so I told him the next night I decided I'd rather go to business school. He seemed relieved. [A pause.]

HORACE: Mary Catherine. I ... uh ... heard you say a while ago that you didn't dance because you lacked confidence and uh ... then I heard you say you talked it over with Emily and she told you what was wrong and you got the confidence and you went ahead ...

MARY CATHERINE: That's right....

HORACE: Well ... It may sound silly and all to you ... seeing I'm about to start my first year at college ... but I'd like to ask you a question....

MARY CATHERINE: What is it, Horace?

HORACE: How do you get confidence?

MARY CATHERINE: Well, you just get it. Someone points it out to you that you lack it and then you get it....

HORACE: Oh, is that how it's done?

MARY CATHERINE: That's how I did it.

HORACE: You see I lack confidence. And I ... sure would like to get it....

MARY CATHERINE: In what way do you lack confidence, Horace? ...

HORACE: Oh, in all kinds of ways. [A pause.) I'm not much of a mixer6...

MARY CATHERINE: I think you're just mixing fine tonight.

HORACE: I know. That's what's giving me a little encouragement. You're the first girl I've ever really been able to talk to. I mean this way....

MARY CATHERINE: Am I, Horace ... ?

HORACE: Yes.

MARY CATHERINE: Well, I feel in some ways that's quite a compliment.

HORACE: Well, you should feel that way. [A pause.] Mary Catherine...

MARY CATHERINE: Yes, Horace?

HORACE: I had about decided to go back home tomorrow or the next day, but I understand there's another dance at the end of the week ...

MARY CATHERINE: Uh-huh. Day after tomorrow.

HORACE: Well ... I ... don't know if you have a date or not ... but if you don't have ... I feel if I could take you ... I would gain the confidence to go ... I mean ...

MARY CATHERINE: Well, Horace ... You see ...

HORACE: I know I'd gain the confidence. My sister is a swell dancer and she'll let me practice with her every living minute until it's time for the dance. Of course I don't know if I could learn to jitterbug by then or rumba or do anything fancy, you understand, but I know I could learn the fox trot and I can waltz a little now ...

MARY CATHERINE: I'm sure you could.

HORACE: Well, will you go with me?

MARY CATHERINE: Yes, Horace. I'd love to....

HORACE: Oh, thank you, MARY CATHERINE: I'll just practice night and day. I can't tell you how grateful Inez is going to be to you.... Mary Catherine, if we played the radio softly could we dance now?

MARY CATHERINE: Why certainly, Horace.

HORACE: You understand I'll make mistakes....

MARY CATHERINE: I understand....

[She turns the radio on very softly.]

HORACE: All right.

MARY CATHERINE: Yes....

[He approaches her very cautiously and takes her in his arms. He begins awkwardly to dance. MARY CATHERINE is very pleased and happy.]

Why, you're doing fine, Horace. Just fine.

HORACE: Thank you, Mary Catherine. Thank you. [They continue dancing. HORACE is very pleased with himself although he is still dancing quite awkwardly. The lights fade. The lights are brought up on the area downstage left. It is early next morning. Inez is there reading. HORACE comes in whistling. He seems brimming over with happiness.]

INEZ: What are you so happy about?

HORACE: I'm just happy.

INEZ: Wait until you hear my news and you'll be happier.

HORACE: Is that so?

INEZ: Miss Emily has seen the light.

HORACE: What?

INEZ: She has succumbed.

HORACE: What do you mean?

INEZ: She has crawled on her knees.

HORACE: She's crawled on her knees? I don't get it....

INEZ: She has eaten dirt.

HORACE: Sister, what's this all about?

INEZ: Last night around ten o'clock she called in the meekest kind of voice possible and said, Inez, I've called up to apologize to you. I have apologized to Horace in the drugstore. Did she?

HORACE: Uh. Huh.

INEZ: And now I want to apologize to you and to tell you how sorry I am I behaved so badly....

HORACE: Well. Isn't that nice of her, Inez?

INEZ: Wait a minute. You haven't heard the whole thing. And then her highness added, tell Horace if he would like to invite me to the dance to call me and I'd be glad to accept. And furthermore, Elizabeth called this morning and said they were leaving for Houston to buy her the most expensive evening dress in sight. Just to impress you with.

HORACE: Oh ... [He sits down on a chair.]

INEZ: Brother. What is the matter with you? Now are you gonna start worrying about this dancing' business all over again? You are the biggest fool sometimes. We've got today and tomorrow to practice.

HORACE: Inez ...

INEZ: Yes?

HORACE: I already have a date with someone tomorrow....

INEZ: You do?

HORACE: Yes. I met a girl last night at the drugstore and I asked her.

INEZ: What girl did you ask?

HORACE: Mary Catherine Davis.. . .

INEZ: Well, you've got to get right out of it. You've got to call her up and explain just what happened.

HORACE: But, Inez ...

INEZ: You've got to do it, Horace. They told me they are spending all kinds of money for that dress. I practically had to threaten Elizabeth with never speaking to her again to bring this all about. Why, she will never forgive me now if I turn around and tell her you can't go.... Horace. Don't look that way. I can't help it. For my sake, for your sister's sake you've got to get out of this date with Mary Catherine Davis ... tell her ... tell her ... anything ...

HORACE: O.K. [A pause. He starts out.] What can I say?

INEZ: I don't know, Horace. [A pause.] Say ... well just tell her the truth. That's the best thing. Tell her that Emily's mother is your sister's best friend and that Emily's mother has taken her into Houston to buy her a very expensive dress ...

HORACE: What if Mary Catherine has bought a dress ...

INEZ: Well, she can't have bought an expensive dress....

HORACE: Why not?

INEZ: Because her people can't afford it. Honey, you'll be the envy of every young man in Harrison, bringing Emily Crews to the dance.... Why, everybody will wonder just what it is you have ...

HORACE: I'm not going to do it.

INEZ: Horace ...

HORACE: I don't want to take Emily, I want to take Mary Catherine and that's just what I'm going to do.

INEZ: Horace ...

HORACE: My mind is made up. Once and for all....

INEZ: Then what am I gonna do? [She starts to cry.] Who's gonna speak to Elizabeth? She'll bless me out putting her to all this trouble. Making her spend all this money and time ... [She is crying loudly now.] Horace. You just can't do this to me. You just simply can't....

HORACE: I can't help it. I'm not taking Emily Crews

INEZ: Horace ...

HORACE: I am not taking Emily Crews.

[He is firm. She is crying as the lights fade. The lights are brought up on the upstage left area. MARY CATHERINE'S father is seated there. He is in his undershirt. In the distance dance music can be heard. MRS. Davis comes in from stage left.]

MRS. DAVIS: Don't you think you'd better put your shirt on, Tom? Mary Catherine's date will be here any minute.

TOM: What time is it?

MRS DAVIS. Nine o'clock.

TOM: The dance has already started. I can hear the music from here.

MRS. DAVIS: I know. But you know young people, they'd die before they'd be the first to a dance. Put your shirt on, Tom.

TOM: O.K.

MRS. DAVIS: As soon as her date arrives we'll go.

TOM: 0. K.

[MARY CATHERINE comes in from stage left. She has on an evening dress and she looks very pretty.]

MRS. DAVIS: Why, Mary Catherine. You look lovely. Doesn't she look lovely, Tom?

TOM: Yes, she does.

MRS. DAVIS: Turn around, honey, and let me see you from the back. [She does so.] Just as pretty as you can be, Mary Catherine.

MARY CATHERINE: Thank you.

[HORACE comes in downstage left in his tux with a corsage box. He walks up the center of the stage to the upstage left area.]

That's Horace. [She goes to the corner of the area.] Hello, Horace.

HORACE: Hello, Mary Catherine.

MARY CATHERINE: You've met my mother and father.

HORACE: Yes. I have. I met your father the other night and your mother yesterday afternoon.

MRS. DAVIS: Hello, Horace.

TOM: Hello, son.

MRS. DAVIS: Well, we were just going. You all have a good time tonight.

HORACE: Thank you.

MRS. DAVIS: Come on, Tom.

TOM: All right. Good night and have a nice time.

MARY CATHERINE: Thank you, Daddy. [They go out stage left. HORACE hands her the corsage box. She takes it and opens it.] Oh, thank you, Horace. Thank you so much. [She takes the flowers out.] They're just lovely. Will you pin them on for me?

HORACE: I'll try. [He takes the corsage and the pin. He begins to pin it on.] Will about here be all right?

MARY CATHERINE: Just fine. [He pins the corsage on.] Emily told me about the mix-up between your sister and her mother. I appreciate your going ahead and taking me anyway. If you had wanted to get out of it I would have understood. Emily and I are very good friends ... and ...

HORACE: I didn't want to get out of it, Mary Catherine. I wanted to take you.

MARY CATHERINE: I'm glad you didn't want to get out of it. Emily offered to let me wear her new dress. But I had already bought one of my own.

HORACE: It's very pretty, Mary Catherine.

MARY CATHERINE: Thank you. [A pause.] Well, the dance has started. I can hear the music. Can't you?

HORACE: Yes.

MARY CATHERINE. Well, we'd better get going...

HORACE: All right. [They start out.] Mary Catherine. I hope you don't think this is silly, but could we practice just once more ...

MARY CATHERINE: Certainly we could....

[They start to dance. HORACE has improved although he is no FRED Astaire. They are dancing around and suddenly HORACE breaks away.]

HORACE: Mary Catherine. I'm not good enough yet. I can't go. I'm sorry. Please let's just stay here.

MARY CATHERINE: No, Horace. We have to go.

HORACE: Please, Mary Catherine ...

MARY CATHERINE: I know just how you feel, Horace, but we have to go. [A pause.] I haven't told you the whole truth, Horace. This is my first dance, too....

HORACE: It is?

MARY CATHERINE: Yes. I've been afraid to go. Afraid I wouldn't be popular. The last two dances I was asked to go and I said no.

HORACE: Then why did you accept when I asked you?

MARY CATHERINE: I don't know. I asked myself that afterwards. I guess because you gave me a kind of confidence. [A pause. They dance again.] You gave me confidence and I gave you confidence. What's the sense of getting confidence, Horace, if you're not going to use it?

[A pause. They continue dancing.]

HORACE: That's a pretty piece.

MARY CATHERINE: Yes, it is.

[A pause. They dance again. HORACE stops.]

HORACE: I'm ready to go if you are, Mary Catherine.

MARY CATHERINE: I'm ready. [They start out.] Scared?

HORACE: A little.

MARY CATHERINE: So am I. But let's go.

HORACE: O. K.

[They continue out the area down the center of the stage and off downstage right as the music from the dance is heard.]