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    Machinal by Sophie Treadwell

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    16K просмотров48 страниц

    Machinal PDF

    Загружено:

    Emily A
    Machinal by Sophie Treadwell

    Авторское право:

    © All Rights Reserved
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 48
    al MACHINAL & SOPHIE TREADWELL oe —— ‘America between the wars. Among her assignments involving Ruth Sayder, ay, had murdered her Tienda wa campulging ‘was the sensational ‘who with her lover, Judd Tn and gone to the elect hire Out ofthis came NACHINAL, a power expesonist drama about the depend hell ofa loveless marrage status of women and the living I Successfully premiered on Broadway in 1928 with lark Gable as the Tover, the play was seen in London two years later, provoked a sensation in gely forgotten until revivals in New York and London in the 1990s, This volume is published Blongside the 1993 produ the Royal National Theatre starring Fiona Shaw and directed by ‘Stephen Daldry This a play written in anger. In the dead init ‘wasteland of male society ~ it seems to ask cert” Nicholas Wrig certain women, at least, to resort to WP A Selection of Other Volumes in this Series eat vaca anne mae Sac a || eed we (CHURCHILL: SHORTS Sat CLOUD NINE =e cece rows we Siem cieammameda || |sccenmaeare cee a Te yk moet a een aan tt ee FROM BOTH HIPS ee te ere HOWIE THE ROOKIE TABLE “MADE IN CHINA, beste itaeea ANNA KARENINA AFTER THE DANCE THE CLEARING ‘THE BROWNING VERSION MEG ergo: memerae WAR AND PEACE FRENCH WITHOUT TEARS: moe eee Sa et Diane Samuels JUST THE THREE OF US = ee oe eae SOPHIE TREADWELL MACHINAL N ROYAL NATIONAL THEATRE London, NICK HERN BOOKS London ANNick Hern Book Machine pls ia tis eiton fn Grer tain in 1993 a5 a paperback original Join by the Royal National Theat, London nd Nick Hern Books Linsted, 1 Lardee Road, London W3 7ST Reprinted 1998, 1999, 2008, 2002, 2003 ‘Machina copyright © 1993 by the Roman Cuhalic Church ofthe Diocese of Toesoe Fron cover photo of Fona Shaw inthe 1993 Royal National Theate production by Mark Dovet Typese by County Seting, Woodchurch, Kent TN26 3TB ‘Pred and bound n Great Britain by Cox & Wyman Lid, Reading, Berkshire ACIP catalogue record for this book is avaiable hom he Bish Library ISBN 185459 2114 Produce ofBroadnay bythe New Yor Shakespeare Festiva: ose Pap, producer ‘caUTION Machi sally protested under he Copyright Laws of the United Stats of Armesca and al ther counties ofthe Bere snd Universal Copyright Conventions. Allright whatever treet reserved. Request orepaduce he text in whole or in par shouldbe aes vo the publisher. Applications for’ formance any mediom or for waslaton io ay language Sould be adessd to Mathew Els, be Roman Catholic Church ofthe Dice of Tucson, PO Bex 31, 192 South Stone Road, Tuco, Argon 85702-0091, USA. Machina ws fst performed in Gest Britain as The Life ‘Machine in 191.1 was fist performed in Briain ier is ‘rgin tide in 1993 onthe Lyulion stage ofthe Royal National ‘Theatre wit the following cas and production team. Previews fram October: Pest right 15 October. EPISODE ONE: TO BUSINESS ‘Adding Clk Bu Watis Fring Cee June Dike Stnogreper Lym Fre ‘Telephone Gi Matas Zeer George Jones Join Woodvine Young Woman Fla Sw Fiona Shaw Mother Sane Watson Garbage Man ‘ce Wal Woman ‘Yeenne Nicolson Boy. Timetiy Mattos ‘Young Man Davis Bak lones oat Jateue Grier Woman Riche Power Max Mice Brogan wie Cae Hamer Hisband Michsel Bor Singer Sur ons EPISODE THREE: HONEYMOON George Hones ‘etn Woodvine Belboy. “Timothy Matthews Young Worn ona Shaw EPISODE FOUR: MATERNAL Nine Lyon Fat Young Woman Bim shen (George Hones Jen Woodvine Decor Crisp Rony EPISODE FIVE: PROHIBITED rst Man Cares Hinds Second Man Colin Stiton Manat Bar ope Soman Boy at Bar ‘Timothy Mathews vi MACHINAL, Man at Bar ‘Woman at Bar ‘Telephone Git ‘Young Worn ‘Man Being Bar Git Man EPISODE SIX: INTIMATE Man ‘Young Woman EPISODE SEVEN: DOMESTIC George H Jones ‘Young Woman EPISODE EIGHT: THE LAW Bult Clerk (Cour Reporter Jodge Delene Lawyer Fist Reporter Seoond R Youre Woman Prosecution Lawyer Third Reponer [EPISODE NINE: A MACHINE Priest Singer Jailer Young Woman Mazon Barber 1 Barber? Fist Guerd Second Guard Director Setings ‘Contames Music Movemen: Dialect Couch ‘Company Voice Work Michael Brogan Rectel Power Matilde Ziegler ‘ona Shaw ‘Mareus Hout Hast Herison Michael Bou (Ciaran Hinds ions Shaw Jot Woodvine ions Shaw ‘Ase Wali Divid Holdaway David Bacfones Allan Michell ‘Maree Heath asl Benzing Fiona Shaw ‘Lymn Feigh Bil Wallis David Holdaway Alse Walls Cursopher Rozye ‘Stephen Dsity lan MacNeil (Clare Mitcelt Rick Fisher Stephen Warbeck Quinny Secks Joan Washington Passy Rodenburg Introduction Machinal isthe mest famous work of Sophie Treadwell 3 playuright, journals, novels, producer and sometime ator and ‘irector who was born and ase in California. She began writing plays and ating at the University of California frm which she [radiated in 1906, Treadwell hoped tobe 2 performer ut er ‘Snstage carer was Limited oa brief sin in vaudeville and ‘ceastonal dramatic roles, usually inher own works. Like many ‘American women playurighisof het generation she was tained {sa repo, and inher esy years she covered everything fom ‘hearieal premieres to baseball games for the San Francisco Bulletin Treadwell soon became 4 espeted journalist woes sccomplishments included an ‘undercover series on homeless ‘women, an exclusive interview with Mexican evolulonary Pancho Vila, a European our asa war reporter during World (Wat One, and year ats spcil correspondent in Meso during World War Two "As Nancy Wyrm records in her dissertation on Treadwell he playwright had along and extraordinary life. Although she $ulfered from debilitating ilinesses (with symptoms resembling ‘hose atribted to Helen in Machina) she was an indefaigabe ‘worker and raveler. Her joumeystirouphot the world were Sometimes the ingpiration for her play, whose settings extend [rom Moscow to Meco. Treadwell was maried fer two decades ‘nil his death o journalist Wiliam O. MeGoshan, ba she retained her own name and carer and olin msinsind a resdence Separate from his. A member of he feminist Lucy Stone League, ‘She marched in favor of women's suffrage and wrote about Seciely's oppression of women, She ercasonally produced and ‘even directed her own work arare accomplishment inthe male dominated world of the American commercial hee. nthe ‘course of her carer Treadwell - who ded in 1970 st the age ‘of 64~ completed hundreds of newspaper stores, four novels tnd more than try plays, seven of whch appested on New ‘York sage, “Treadvel’s early work include Gring, based on het ‘experiences in Menlo, and O Migtingle, 3 comedy about 2 ‘Stage stuck young woman that Treadwell hesll co produce. She wrote Machinal (he term is French for'mectanial or “autematl), the play for which she fs best remembered today, in 1928 Loosely based on the sensational murder tl of RU Snyder and Tudd Gray, Machinal wes aerial sucess, en for vill MACHINAL, 91 performances in New York, and was chosen by Bums Mantle for his volume The Best Plays of 1928-29. Reviewers compared the work fevoraly to Teodore Desc’ Ar American Traged) In theme end Elmer Rice's The Adding Machine in technique. ‘Brooks Atkinson of The New Yor Times ~ wo was nigued by Machinal tht he reviewed the prodaction wice~ called ‘@ oiumph of individual dsincdon gleaming wit inane beauty. an uniting, measured rama sch as we ae not lel ose again” Machina was even nuded ine Times era splay hatin hundred years. sould tl be vil and ‘ivid "1981 the drama premiered in London uncer the tle The Life Machine. Although some reviewers were offend by he pliy'ssenual content the London Times etc ha no such [robem and considered all tut the lat scene exprestive ae ‘eau clean-cut" Machina! tad is preset Giumph in Ras, ‘where it cojoyed along rn at Moscow's Kamcmy Theatre before ‘ouring the provinces television adaptation was aired in the ‘United States in 1956, anda revival with choreography by Sophie Masiow was performed sf yeas Ine. ‘Machina ses expressionist techniques to crete a parable shout un orinar young woman’ who ives ns ected, tattle world Treadwell takes Helen trough he stages of « End of modem Everywoman: workin a boring office, mariage to ‘boss who offers her mani! serarty (he's Viee President Af course he's decent her mother isi), motherhood hat oppress hr ands lover who sbandon ex. Te expressionist form fa characters, reptve dialogue sd action, numerots sort scenes, harsh audio effec, confusion of ier and outer rely he eit meaner ering ec of ne woman who ats an impersonal set song mine?” “Treadwell tacks capialisn for puting even state relalonships onan econcm fecing, bat ber rtqus extends {o ecology, medcin, lw, mothethood th pres, romance AGoeludng «speakeasy tht closely rsembies scontporsry Singles bu) and even clin, is recognizably feminist ciique 2 wel: the audience looks tough Heler's eyes understands the ‘evens rom hee perspective Trouphout he ne snes ~ pets chong the ine months of gestation ~ Treadwell shows her Protagonist confoning a plans of male characters wih the Powe to decrmine be Ile. Again snd again Helen complains claustrophobia, «modi of enrapment tat runs 2 common thred through the plays of such female conempersies of Treadwell as Susan Glapel, Zon Gale, Gora Dough Johnson and Lilian Heliman "Treadwell never had another success comparable to Macha ugh the conned rag sos fay ft ‘amy years. Closest in theme and syle o Machinal is ie ‘xprestionst For Saxophone which rele besvlyon misc dance INTRODUCTION ix tod he woes of unseen characte to el te sof note Yousg worn tapped manage of convenience Her mors Bio include Planes in he Dus bed on tie of ter Edgar Allan Pos igh, an unproduce rama about eighteen cetary emis Mary Weltonera a Hope fora Harvest an Auabogapiel play expen prio and ewonetal desevcton mheaave Cairns Embiseres by he earn, {eeepuon of Harve, Tesdvel pressed no more ply on he New Yor sagen 9) very sume eur Hope fora Hares {pesto the nine re Org ean Nathan ered ak “Drenthe best of our American] women playrighs al immeasurably sho of he mak of orb meine’ ease ‘women by are’ ack compete objectives Sona enjoyed by tht male counterpart Kwa nev en ‘phe of cones dat Sop Tene too tone er mara roa, ‘Unfrnatly, most ofthe standard histories of drs in the United Stats revel similar ates and Treadwell rly es Imo tan eine or two if shew skrowiedged ara vey graced TieeMachinais er only tung work he cacy i ‘hic ea er iy fl obvialy hase odo wih et fencer hess pluyrihs sueress sia fs) ano ‘Machina ting dicot of worl raed by men The caret ‘hoe and theneal retin Treavell and fachinl a he Ute Sts pry deo emi efor to wre women tack into the thestrid story from wiih hy ave buen eae ba it tio ster rom the fat tht Machina's nivere i uncomforbly ike our own The cacophony of urten sands haus each scene i remaably sir, wile Machina'srepetive Galop, ‘oven of ch, foreshadows the wrt of playwrights ie Semel Becket, Hal Pinter and ce ak Rich ety ‘observed David Mamet As ou ives became evermore ‘echanited an tndardzed the ary of on lone individ ‘ceking to mae et voles herd prow in eleva. Jus as tnely isthe may Helen =e Tretwel boll ison financial ‘cart witout surfing her dren 1 anol er ov body tndahip ber own fur, wold i whch women's power oso rains soveey line Juin E- Barlow State University of New York at Albany EPISODE I To Business EPISODE IT At Home EPISODE i EPISODE IV Maternal EPISODE V Prohibits [EPISODE VI Intimate EPISODE VII Domestic EPISODE VIN The Law EPISODE IX'A Machine ‘The Plot isthe story of « woman who murders her husband - an comdinary young woman, any woman. ‘The Plan iso tel this tory by showing the different phases of life thal de woman comes in canact With nin none of which she finde any place, any peace. The worn is exentialy sot tender, andthe life around her is exsetally hard, mechanized. Busines, ‘home, mariage, having cil, seking pleasure ~ all are dificult for her mechanical, nerve nagging. Only nan ili love does she find anything wil ie int Tor her, and when she ones Othe ‘esperate effort o win re (oi agin isber undoing. “The sory is told in nine scenes. Inthe dialogue ofthese scenes ‘there the autem to calch the tun of our common ety speech its brassy sound its wick of repo, et "Then here is, also the use of many dfferet sounds chosen primarily for ter inherent emotional effect tee rveing, pit Chanting, « Negro singing jazz band, ct), but consibuing 5019 ‘he cretion of backgrouns, n atmonphee, ‘The Hope iso create stage production dt will have ‘tl,* and atthe same ime, by the trys ow innate drama, bythe der ‘esr of i telling, By the vary ud ulckchangingnoss of is ‘Scene, andthe eeitemea! of is sounds, to erate an intresting iy ‘Seenlcally his pay ie planned tobe handled in two base sts (or ‘mone st with fwo backs) “Tae fist division ~ the first Four Episodes ~ needs an entrance atone side, anda back having «door ad large window. The door gives, in Episode | ~t0 Vie President's ofics, Episole 2 Aniner apartment cour. Episode 3~ Window of «dance casino opposite. Episode 4 Stel girders. (OT those, only the casino window is Jmportant Sky could be used fr the eers) ii MACHINAL ‘The second division —the lst Five Episodes ~has he same side Episode 5, window is masked by elecie pian, Episode 6, window is disclosed sidewalk ouside). Episode 7; window is eurtained. Episode 8, window is masked ty Judge's bench Episode 9, window is closed (ky ouside). ‘Theresa change of funiture, and props foreach episode — only senting, fll of character. For Episode 9, tbe rom is closed in from te sides, and tee is a place with bars a3 door i it pt straight eros stage down frm (bck far enough to leave a cleat assageway infront of i). Lighting concecrated and intense. Light and shadow ~ bright Tigh and darkness. ~ This daess, already in the scene, grows an blacks out the ight fr dak stage when the scene changes ae made mange Vos: Corse inte Background Her tt Use: ‘alsnor a8 ‘Boyd oi ‘lian wn Wate ‘Asana and Wite ‘Rado Announcer ANoge Singer Mechanlcal Ofstage Sounds “Asma jzz bn ‘Abandorgen Steel riveting “Telegraph instuments ‘Acroplane engine Mechanleal Onstage Sounds ‘Office Machines (pewter, telephones, ete) Elecrie piano, (Characters: inthe Background Seen, Not Heard (Seen of teas se Le rough indo oF oor ‘Couples of mea and women dancing ‘AWoman ina battzobe ‘A Woman in a wheelchair ‘Arse with «covered basin ‘ANure with «bay ‘The feet of men and women pasting inthe sest EPISODE ONE ‘To Business Scene: an office: a switchboard, fling cabinet adding machine, ‘ypewriter and able, manifold machine. Sounds: office machines: ypewriters, adding machine, manifold telephone bells, baer. (Character and their machines "A YOUNG WOMAN (ppewrte) ‘A STENOGRAPHER (gpenrier) ‘AFFILING CLERK (ing cabin! and maniflé) ‘AN ADDING CLERK (adding machine) ‘TELEPHONE OPERATOR (witchboard) JONES Before the curtain ‘Sounds of machines going. The continue throughout the scene, ‘and accompany the YOUNG WOMAN's thoughts after the ‘cone i blacked out. Ath ris ofthe curtain “Allthe machines are disclosed and ll he characters wth he ‘xception of the YOUNG WOMAN (Of these characters, the YOUNG WOMAN, going any day ‘w any business. Ordinary. The confusion of her own nner ‘ought, emotions, desires, dreams cus her af from any ‘actual adjusiment tothe routine of work. She gets trough this ‘outine with avery small surface of her consciousness. She is ot homely and she tno prety. Shes preoccupled with herself with her person. She has well kept hands, and a trick of constantly arranging her hair over her ears. ‘The STENOGRAPHER isthe faded, ecient woman office worker. Drying, dried. The ADDING CLERK is her male counterpart. The FILING CLERK is aboy not grown, callow adolescence. The TELEPHONE GIRL, youn, cheap and amorous. Lights come upon office scene. Two desks right and let. 2 MACHINAL, ‘Telephone booth back right center. Filing cabinet back of Center. Adding machine back eft enter [ADDING CLERK (in he monotonous voice of his monotonous ‘hugh a hs adding machine. 2490, 28,76, 12, 36842, 1, 116,37, 804,23 172,982. FILING CLERK (i the same way ~ at his ling desk, Accounts — ‘A. Bonds ~B, Contacts ~C. Data. Exrings ~E- ‘STENOGRAPHER (nthe same way ~ lef). Dear Sir in e~ yur leuer recent ate ~wil state ~ TELEPHONE GIRL. Hello - Helo H. Jones Company, 00d morning ~ ello bello - George H les Company 00d ‘morning ~ belo. FILING CLERK. Market ~M. Notes -N. Output ~O, Profits — =! (Sudden) Whai's the matter with Q? ‘TELEPHONE GIRL. Mater with it~ Mr.J.~ Me K wants you~ ‘What you mean mater? Mace with what? FILING CLERK. Mater wih TELEPHONE GIRL Well- whats? Spring 1725? FILING CLERK. mating yh TELEPHONE OIL. WELL? FILING CLERK. Noting et witht TELEPHONE ORL Well FLING CLERK. Lok t A Loot. Whats mater with? TELEPHONE GIRL An’ popul, HelloHello Gorge LEPHONE GIRL A pr Helo-Helo- Gorge FILING CLERK. Hat og! Wi a's? ADDING CLERK. Hast peo? STENOORAPHER Has i Halts TELEPHONE ORL. ast got? FILING CLERK. Hat op! Mpa pleased) On ale- sue hgow eho see? {ith Chega, teach wt diferent icon) Yo ede Net FILING CLERK. Doyo eh? STENOGRAPHER. Seite mal. TELEPHONE GIRL. dona EPISODEONE 3 [STENOGRAPHER. Well prety near al! ‘TELEPHONE GIRL, What aumber do you want? Wrong number Helo ~ hello - George Hones Compan. Helo, ello = 'STENOGR APHER. Memeorandum ~ stention Mr. Smith — conference of = ADDING CLERK. 125 ~83 3/4 72 ~908 ~34~ I~ 28593, FILING CLERK. Repor -R,Siles~$, Trade -T ‘TELEPHONE GIRL. Stt~! Yes, Mr. J.~?No~ Miss A sin'tin yet Tl el her, J. — just the mite she get i 'STENOGRAPHER. She's late agin, bub? ‘TELEPHONE GIRL. Ou with her sweetie lastnight, huh? FILING CLERK. Hot do. ADDING CLERK. She sin't gota sweetie: STENOGRAPHER. How do you know’) [ADDING CLERK. Ino. FILING CLERK. Hot dog. ADDING CLERK. Shelves alone with er mother. TELEPHONE GIRL. Spring 1876? Hello - Spring 1876, Spring! Hello, Spring 1876? 1876! Wrong number! Hello! Hello! ‘STENOGRAPHER. Director's meeting sem anual report cx FILING CLERK. Shipments ~ Sales ~ Schedules ~ ADDING CLERK. She doesn't belong ina office. TELEPHONE GIRL. Who does? STENOGRAPHER. do! ADDING CLERK. You sid itt FILING CLERK. Hot og! ‘TELEPHONE GIRL. Hello hallo George H ones Company — ‘ello bello STENOGRAPHER. I'm efficent, She's ineliciet, FILING CLERK. She'sineticient ‘TELEPHONE GIRL. She's gotJ going. 'STENOGRAPHER. Going? ‘TELEPHONE GIRL. Going and coming. FILING CLERK. Hot do. 4 MACHINAL Enter JONES. JONES. Goo moming, everybody TELEPHONE GIRL. Good morning. FILING CLERK. Good moming. [ADDING CLERK. Good morning. 'STENOGRAPHER. Good morning, Mr. JONES. Miss A. isn't in yer? TELEPHONE GIRL. Not yet, Mr. FILING CLERK. Not yet [ADDING CLERK. Not yet STENOORAPHER. She's ate. JONES. jst wanted he to take a eter SSTENOGRAPHER. I'l take the ltr JONES. One thing a time and that done wel, ADDING CLERK (essing). Dove well. 'STENOGRAPHER. I'l finish it ater. JONES. Hew othe line. ADDING CLERK. Hew tthe ine. ‘STENOGRAPHER. Then I'll hur. JONES. Haste makes waste, [ADDING CLERK. Waste ‘STENOGRAPHER. But if you're in hurry JONES. I'm never ina hurry — That's how I get ead! (Laughs They all laugh) First know you're rght~then 0 abead [ADDING CLERK. Ahead, JONES (to TELEPHONE GIRL). When Mis A. comes in ell her ‘want ero tke leer. (Turns to goin then) I's important. TELEPHONE GIRL (making a note). Miss A. — important. JONES (starts up~ ther). And 1 don't want to be disubed. ‘TELEPHONE GIRL. You're in conference? JONES. I'm in conference. Turns ~ then) Unless its AB of TELEPHONE GIRL. Of course A.B. EPISODE ONE JONES (starts turns again; attempts to be faction) Tell Mise ‘Ate ery bird atees the moma, Eur JONES. ‘TELEPHONE GIRL. Th carly worm gets caught ADDING CLERK. He's caught ‘TELEPHONE GIRL, Hooked, ADDING CLERK. Inthe pan. FILING CLERK. Hot dog. ‘STENOGRAPHER. We beg leave to announce - Enter YOUNG WOMAN. Goes behind telephone boot io desk right. [STENOGRAPHER. You're Ist! FILING CLERK. You're late, ADDING CLERK. You're late. 'STENOGRAPHER. And yesterday! FILING CLERK. The day before. ADDING CLERK. And the day before. 'STENOGRAPHER. You'll oe your job, ‘YOUNG WOMAN. Not ‘STENOGRAPHER. No? Workers exchange glance. ‘YOUNG WOMAN. Lean’! STENOGRAPHER, Can't? Same busines. FILING CLERK. Rent ~ bills -installmens- misellaneous, ADDING CLERK. A dolla ten ninety-five 3.40 ~ 35 - 12.60 'STENOGRAPHER. Then why are you late? ‘YOUNG WOMAN. Why’? 'STENOGRAPHER. Excuse! ADDING CLERK. Excuse! FILING CLERK. Excuse, ‘TELEPHONE GIRL. Excuse it, pease. ‘STENOGRAPHER. Why? s 6 MACHINAL YOUNG WOMAN. The subway? TELEPHONE GIRL. Long distance? FILING CLERK. Ol stuff! [ADDING CLERK. That stl! STENOGRAPHER. Stalled? YOUNG WOMAN. No = [STENOGRAPHER. What? YOUNG WOMAN. Ihad to get out! [ADDING CLERK. FILING CLERK. Out? [STENOGRAPHER. Out where? ‘YOUNG WOMAN. nthe sir! [STENOGRAPHER. Ait? YOUNG WOMAN, All those bodies presig FILING CLERK. Hot dog! YOUNG WOMAN. beh would ein! Thad get out in be FILING CLERK. Give her the a. [ADDING CLERK. Fre ar — ‘STENOGRAPHER. Hot sit. YOUNG WOMAN. Like I'm dying. ‘STENOGRAPHER. Sams thing yesterday. (Pause) And the dry ‘elo ‘YOUNG WOMAN. Yes~ what am gong odo? ADDING CLERK. Take tai (They laugh) FILING CLERK. Call cop! TELEPHONE GIRL. MJ. wants you. ‘YOUNG WOMAN. Me? TELEPHONE GIRL. You! YOUNG WOMAN (rises). Me J STENOGRAPHER. Mr ‘TELEPHONE OIRL. He's bellowing for you! EPISODE ONE 7 ‘YOUNG WOMAN gives last pat to her hair— goes off into door ~ back 'STENOGRAPHER (afer er). Get it just righ. FILING CLERK. She's always doing that to her hair. ‘TELEPHONE GIRL. It gives line ~ it gives line ~ FILING CLERK. Hotdog. ADDING CLERK. She's asic. 'STENOGRAPHER. She's inefficient. FILING CLERK. She's ineficint 'STENOGRAPHER. Mr J.knows she's inefficient [ADDING CLERK. 46 23-84-2-2-2- 1492-678. ‘TELEPHONE GIRL. Hello hello ~ George H, Jones Company — ‘ello= Mi. Jones He's in conference, 'STENOGRAPHER (sarcastic). Conference! [ADDING CLERK. Conference. FILING CLERK. Hotdog! ‘TELEPHONE GIRL. Do you think he'll merry her? ADDING CLERK. I she'll have hi 'STENOGRAPHER. Ifshe'll have him! FILING CLERK. Do you think shel have him’? ‘TELEPHONE GIRL How much oes he ge? ADDING CLERK. Plenty ~ 5,000 10,600 ~ 15,000 ~ 20,000 ~ 25,000. [STENOGRAPHER, And plenty put aw. ADDING CLERK. Gus Prefered - 4's tel ~ 5's oll 6s FILING CLERK. Hotdog. 'STENOGRAPHER. Will she hve hin? Will she have im? This. ‘agreemetl entered into pary of te first pan ~ pany of be sScond part il be ave he? ‘TELEPHONE GIRL. Well I’ hate 1 get into bo with him. (Faniliar melting voice) Hello ~hmhum - hum ~ burn bold the lie minute will you hum hur. (Profesional voice) Hel hello AB. just t minute Mr. AB.~ Mr-J.7 MAB. — {0 ahead, Mi AB (Meling voice) We were interred uh yah ~ hun ham 3 MACHINAL, ‘Enter YOUNG WOMAN - she gosto her chair, sts with folded hands FILING CLERK. That's all you over sy tos guy — 'STENOGRAPHER. Hum humo uh huh - (Negative) ‘TELEPHONE GIRL. That's ll you have to. (To phone) Hum ~ ham bara him hum STENOGRAPHER, Mostly barn hum. [ADDING CLERK. You've ssi it FILING CLERK. Hot dog. ‘TELEPHONE GIRL. Hum hum heh hum hurnburbuen ~ tonight? ‘She's gota date sho told me last right ~ uum ~ sr allright (Disconnect) Too bad any boy Ese’ ot = fend ~ but my gil rend’ goa date YOUNG WOMAN. You havea good time. ‘TELEPHONE GIRL. Big time. STENOGRAPHER. Small time. ADDING CLERK. bigtime on the small ime. TELEPHONE GIRL 1 ast you, btyou'be up your 'STENOGRAPHER. Neckers! ADDING CLERK. Peners! FILING CLERK. Sweet papas. TELEPHONE GIRL. Wan! 19 come? ‘YOUNG WOMAN. Can‘. TELEPHONE GIRL. Date? YOUNG WOMAN. My mothe. STENOGRAPHER. Wore? ‘TELEPHONE GIRL. Nags ello - George Hones Company — ‘Onhelo= ot 7 ‘YOUNG WOMAN st before her machine hands in lp, looking at tem. STENOGRAPHER. Why don't you get to work? ‘YOUNG WOMAN (dreaming). What? ‘ADDING CLERK. Work! ‘YOUNG WOMAN. Can't EPISODEONE 9 STENOORAPHER. Can't? YOUNG WOMAN. My machine's out of on. STENOORAPHER. Wel fx itl YOUNG WOMAN. I can't goto get somebody. STENOGRAPHER. Somebody! Somebody! Alvays somebody! ‘Here, sort the mail, then! 7 ‘YOUNG WOMAN (rises). Allright. STENOGRAPHER. Andhury! You're late. YOUNG WOMAN (sorting ltrs). George H. Jones snd ‘Company George H. Jones Ine. George H. Jones ~ STENOGRAPHER, You're aways at. ADDING CLERK. You'l lose your jb. ‘YOUNG WOMAN (hurrying). George H. Joes ~ George H. ‘Tones Personal ~ ‘TELEPHONE GIRL. Don't et ‘em gt your goa, kid ~tell'em ‘where to get off ‘YOUNG WOMAN. What? ‘TELEPHONE GIRL. Ain't all se? ‘YOUNG WOMAN. What? ‘TELEPHONE GIRL. You and Mr J 'STENOGRAPHER. You nd the boss FILING CLERK. You and the big chet ADDING CLERK. You snd the big chess, ‘YOUNG WOMAN. Didhe tell you? ‘TELEPHONE GIRL I old you! ADDING CLERK. Itold you! [STENOGRAPHER. I don't believe it ADDING CLERK. 5,000 — 10,000 1,000. FILING CLERK. Hotdog. YOUNG WOMAN. No- it isnt 30. ‘STENOGRAPHER. Int it? YOUNG WOMAN. No. ‘TELEPHONE GIRL. Not ye. [ADDING CLERK. But soon 10 MACHINAL FILING CLERK. Hot dos. Enter JONES. ‘TELEPHONE GIRL (bus). George H. Jones Company -Hello~ Heo, STENOGRAPHER. Awaiting your answer— [ADDING CLERK. 5,000 ~ 10,000 ~ 15,000 ~ JONES (crossing 1o YOUNG WOMAN - puts hand on her ‘shoulder, all top and stare). That eset done? ‘YOUNG WOMAN. No. (She pulls away) JONES. What's the mater? STENOORAPHER. She hasnt stared. JONES. O.K.~ want to make some changes. YOUNG WOMAN. My machine's out of ode. JONES. OK. ~ se the one in my room. ‘YOUNG WOMAN. I'm sring te mal STENOGRAPHER (sarasi), One thing a tet JONES (retreating ~ goes back center, OK. (To YOUNG WOMAN) When you's finished (Starts Back 0 his room) STENOGRAPHER. Haste makes waste JONES (at door), O. ~ don't uy. sie, 'STENOGRAPHER. Hew tothe line! ‘TELEPHONE GIRL. He'shewing. FILING CLERK. Hot dog. ‘TELEPHONE GIRL. Why did you Minch, kid? ‘YOUNG WOMAN. Fin? ‘TELEPHONE GIRL. Did e pinch? ‘YOUNG WOMAN. Not ‘TELEPHONE GIRL. Then what? YOUNG WOMAN. Nothing! ~Jus his hand ‘TELEPHONE GIRL. Ob = just his hand ~ (Shakes her head doughy) Usin. legatve) Una Dectle) Nol Tel ‘STENOGRAPHER. If she does she's her ob. EPISODEONE 11 ADDING CLERK. Fired. FILING CLERK. The sack! TELEPHONE GIRL (on the defensive). And ishe doesn? [ADDING CLERK. She'll come 1 workin taxi! ‘TELEPHONE GIRL, Work? FILING CLERK. No work. STENOGRAPHER. No wony. [ADDINO CLERK. Breaks in bed STENOGRAPHER (sarcastic). Did Madame ing? FILING CLERK, Linch in bed! ‘TELEPHONE GIRL. A double bed! (In phone) Yes, Mr. J. (To ‘YOUNG WOMAN) J wants you. YOUNG WOMAN (stars 1 eto her fet but does’). Lesn't = I'm ready ~ In minute. (Sits staring ahead of her) ADDING CLERK. 5,000 ~ 1,000 1,000 - FILING CLERK. Prois~ plans purchase — 'STENOGRAPHER, Call your anton or price are Fixed. ‘TELEPHONE GIRL. Hello ~ hello ~ George H. Jones Company - ‘hello= ello ~ YOUNG WOMAN (hinting her houpht aloud to the subdued ‘accompaniment ofthe ofce sounds and voice). Mary me ‘ani to mary me ~ George . Jones ~ George H Jones snd ‘Company = Mis. George H Jones Mrs. George i. ones, Dear Madame ~ mary do you tke his man tobe our wedded husband ~ I~ to love honor and love Kisses — ‘no — [can't George H. Jones = How would you like to marty ‘ne ~ What do you say ~ Why Mr. Jones [= lt me look a your Hite mandy a sue rey Te tds “the bl ‘yur prety litle hands ~ George H. Jones - Fut hands- aby hands don't touch me pleat fat hand are never weary please don't -matriod~ all gis —moxt ile manied~ babies baby curs ite care ll vers sad ~ George Jones raght tin —bald ~ don't touch me please m0 can't ‘ust ~ somebody - something ~np ret ~ ms ret no est — ‘must rest = no rest— late today — yesterday ~ before Inte subway ~ ar ~ pressing — bodies pressing ~ bodies ~wembling “ar ~stop~ af =Iate~ job no job fed stealer ‘lock ~ alarm clock ~ alarm clack ~ uy ~ jo ~ ma ag ~ ‘ag nag~ ma hurry ~ jon job to rhoney — {nstalimens due -no money ~ money — George H. Jones ~ 12 MACHINAL money ~ Mis. George H. Jones — money —no work — 20 worry free! reat slop tl nine ~ slept ten ~ sep ll noon ‘ow you ke a good ret this morning ~ don't get il you ‘want o~ thank You ~oh hank you “oh don't = please don't touch me ~ [want orest~no rest eam goto eam ‘married ~ eam no ~yes— eam all ii moet gis —ma— ‘pa ma~all women ~most women "Tean't~-must= maybe — ‘must ~ somebody = something ma pa—ma-can I, ma? Tell ‘ne ma ~ something ~ somebody. The scene blacks out. The sounds ofthe ofice machines continue unl he Scene lights indo Episode To ~and he ‘fice sounds become the sound of 2 radio afte, BPISODE TWO At Home ‘Scone: ahtchen: table, chairs, plates and food, garbage can, a Pair of rabber gloves, The door atthe back now opens on a all ~ {he window, onan apartment house cour Sounds: buszer, radio (voice of announcer; masc and singer). Characters "YOUNG WOMAN MOTHER Outside voices: characters heard but not sen "AJANITOR ABABY ‘A MOTHER and a SMALL BOY ‘A YOUNG BOY and YOUNG GIRL. HUSBAND anda WIFE ‘ANOTHER HUSBAND and a WIFE Arie: YOUNG WOMAN and MOTHER eating ~ rao of ‘age ~radio stops ‘YOUNG WOMAN, Ma I wantiotalko you MOTHER. Aren't you esting « potato? ‘YOUNG WOMAN. No, MOTHER. Why not? YOUNG WOMAN. I don't wanton. MOTHER. Tha's no resson. Here! Take one YOUNG WOMAN. I don't want it MOTHER. Potatoes go wit stew —here! YOUNG WOMAN. Ms, I don't want it MOTHER. Want it Takei! 14 MACHINAL, ‘YOUNG WOMAN. But I~ ob, slight Takes it~ then) Ma, 1 want io ask you something. MOTHER. Eat your pouto ‘YOUNG WOMAN (takes abite- then) Ma, there's something I ‘Want oask you something importaat. (MOTHER. leit mealy? ‘YOUNG WOMAN. Salright Ma ~ell me. [MOTHER Three pounds for 2 quarer. YOUNG WOMAN. Ma tell me — (Buzzer) [MOTHER (her dl voce brightening). There's the gebage. (Coes 1 door - or dumbwaier~ opens i. Sip radio.) JANITOR'S VOICE (aftage}- Garbage MOTHER (pleased ~ busy). Allright. (Gets garbage can ~ puts it ‘out YOUNG WOMAN wasup and down.) What's the matte YOUNG WOMAN. Nothing. MOTHER. Tha jumping up from the table every night the garbage ‘scolecte! You at ike youre ea ‘YOUNG WOMAN. Ma, doall women ~ MOTHER. appa you tink you ge fer anyig so ‘common! Welle me tell you, my lay, tat t's a ery Important par of ie ‘YOUNG WOMAN. Iknow, but, Ma f908— [MOTHER Iit weren't for gubage cans where would we be? ‘Where would we all be? Living i th thats what! FAQ: | should thnk you'd be glad! I should thine you'd be gratefull, YOUNG WOMAN. Ob, Ma! MOTHER. Well, se you? YOUNG WOMAN. Am I what? MOTHER Glad! Grateful. YOUNG WOMAN. Yee! ‘MOTHER. You don't ct ike itt ‘YOUNG WOMAN. Ob, Ma, don't tk! [MOTHER You just said you wanted otk. YOUNG WOMAN. Well now =I want o think goto think. [MOTHER Aren't you going to finish your potato? EPISODETWO 15, YOUNG WOMAN. Ob, Ma! MOTHER. Is there anything the mater wid i? ‘YOUNG WOMAN, No= |MOTHER, Then why don't you Bish if? YOUNG WOMAN, Because I dont wat MOTHER, Why dea't you? YOUNG WOMAN. Ob, Me! Let me sone! [MOTHER Well, you've goto et! I you don't est — ‘YOUNG WOMAN. Ma! Don't nag! MOTHER. Nag! Just because Ir to Jak ou for you ~ apt Just ‘because I uy to care for you~ nig! Why, you faven't sense semua! Wha would become of Jou det kom if Opitage— a sound of window opening al hase of Sods con introagh be court widow at tebe WOMAN'S VOICE. Jotny -Johnny ~come in ow! ‘A SMALL BOY'S VOICE. On, WOMAN'S VOICE. I's geting cold A SMALL BOY'S VOICE. Oh, WOMAN'S VOICE. You herd me! (Sound of window slamming) YOUNG WOMAN. I'm grownup, Ma. MOTHER. Grown up! What do you mean by that? YOUNG WOMAN, Nothing much -1guss.(Offitage sound of ‘baby ering. MOTHER rises, caters dishes) Lets at do the dishes right away, Ma, Lars tak -T gots, [MOTHER Well Tcant lk wih dry dishes around ~ you may beable to bat (Clttorng ~ catering) ‘YOUNG WOMAN. Mat Liste! Listen! ~ There's man wants to mary me (MOTHER (stops catering ~ sts). What man? ‘YOUNG WOMAN. He says he fell in love with my hands. MOTHER. In ove! Is that beginning again! [thought you were ‘overt Offtage BOY's voice —whisles ~ GIRL voice answers BOY'S VOICE, Come on xt. 16 MACHINAL, GIRL'S VOICE. Cen". BOY'S VOICE. Nobody'l se you GIRLS VOICE. Lean’, BOY'S VOICE. I's dark pow ~ come on. ‘GIRL'S VOICE. Well — jus for mins. ‘BOY'S VOICE. Meet you round the corner. ‘YOUNG WOMAN. I otto get married, Ma, MOTHER. What do you mesn? YOUNG WOMAN. Iota, [MOTHER You baven's got in wouble, have you? YOUNG WOMAN. Don’t ak ike thst! MOTHER. Wel, you say you gto get married — what do you ‘YOUNG WOMAN. Notting. MOTHER. Answer me! YOUNG WOMAN. All women get marie, don't they? MOTHER. Nonsense! YOUNG WOMAN. You got married, did't you? MOTHER. Yes, dit Ofttage voices WOMAN'S VOICE. Where you going? MAN'S VOICE. Ou. WOMAN'S VOICE. You were out last ight MAN'S VOICE. Was I? WOMAN'S VOICE. You're always going out. MAN'S VOICE. Am!? WOMAN'S VOICE, Where you going? MAN'S VOICE. Out End ofofstage vices, MOTHER. Whois he? Where did you come 1 know him? YOUNG WOMAN. In the office (MOTHER. In the ofice! ‘YOUNG WOMAN. t's Mt. EPISODETWO 17 MOTHER. Mr.J.? ‘YOUNG WOMAN. The Vice President. MOTHER. Vice-President! His income must be - Does be know you've gots mother to suppor? ‘YOUNG WOMAN. Yes. MOTHER. What does he say? YOUNG WOMAN. Allright. MOTHER. How soon you going to marry him? YOUNG WOMAN. I'm not going to. MOTHER. Not going to! YOUNG WOMAN. No! I'm not going to. MOTHER. But you just sid — YOUNG WOMAN. I'm ot going to, MOTHER. Are you cazy? YOUNG WOMAN. can't, Mal I can't MOTHER. Way cant you? YOUNG WOMAN. [don’t love him. MOTHER. Love! - what does tat amount o! Wil itclothe you? ‘Will it feed you? Will pay the ils? ‘YOUNG WOMAN. No! But t's real jut the sre! [MOTHER Rest! ‘YOUNG WOMAN. It is't~ what can you count on in ie? [MOTHER. Iie you what you cn cout on! You can count hat ‘you've goto est and ieep and getup and put elothes on your Beck an take "em of again ~ tat you goto get old ~ and that you goto de. That's what you ean count on! All the rests in ouread! ‘YOUNG WOMAN. But Ma —dia't you love Pa? MOTHER. [suppose I did— I doa'thnow ~ I've forgten ~ what ‘ference dove it make —n0W? ‘YOUNG WOMAN. But then! ~ oh Ma ll me! MOTHER. Tell you what? ‘YOUNG WOMAN, About al that love! Offtage voces WIFE'S VOICE. Don't 18 MACHINAL HUSBAND'S VOICE. What's te mater ~don' you want me to iis you? \WIFE'S VOICE. Not ike that HUSBAND'S VOICE. Like wha? (WIFE'S VOICE. That sil is! HUSBAND'S VOICE. Silly kiss? WIFE'S VOICE. Yoa look so silly oh Iimow what's coming he you loki tt “aie ite Bat ca End of oftae voices. ‘MOTHER. He's a decent man, inthe? ‘YOUNG WOMAN. [don't know. How should Iknow ~ yet (MOTHER He's 2 Vice-President ~ ofcourse he's decent ‘YOUNG WOMAN. I don't care whether he's decent or no won't mary him (MOTHER. But you just said you wanted wo marry ~ ‘YOUNG WOMAN. Not him, MOTHER. Who? ‘YOUNG WOMAN. I don't ow ~1 don't know ~ haven't found him yet MOTHER. You talk like you'r eazy! ‘YOUNG WOMAN. Oa, Me — tel met -MOTHER. Tel you what? ‘YOUNG WOMAN. Tellme ~(Words suddenly pouring out) ‘Your skin oughin' io curl ought it~ when he ust comes near you ought if? Thar's wrong, ni You dont get over that, ‘do you ~ ever, do you or do fou? How isi, Ma ~€o you? MOTHER. Do you what? ‘YOUNG WOMAN. Do you get ued to, it —so after awhile it

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