Long Day's Journey into Night (Yale Nota Bene)

Free Long Day's Journey into Night (Yale Nota Bene) by Eugene O'Neill, Harold Bloom

Book: Long Day's Journey into Night (Yale Nota Bene) by Eugene O'Neill, Harold Bloom Read Free Book Online
Authors: Eugene O'Neill, Harold Bloom
glass on the table beside him — sharply.
    Why is that glass there? Did you take a drink? Oh, how can you be such a fool? Don’t you know it’s the worst thing?
    She turns on Tyrone.
    You’re to blame, James. How could you let him? Do you want to kill him? Don’t you remember my father? He wouldn’t stop after he was stricken. He said doctors were fools! He thought, like you, that whiskey is a good tonic!
    A look of terror comes into her eyes and she stammers.
    But, of course, there’s no comparison at all. I don’t know why I—Forgive me for scolding you, James. One small drink won’t hurt Edmund. It might be good for him, if it gives him an appetite.
    She pats Edmund’s cheek playfully, the strange detachment again in her manner. He jerks his head away. She seems not to notice, but she moves instinctively away.
JAMIE
    Roughly, to hide his tense nerves.
    For God’s sake, let’s eat. I’ve been working in the damned dirt under the hedge all morning. I’ve earned my grub.
    He comes around in back of his father, not looking at his mother, and grabs Edmund’s shoulder.
    Come on, Kid. Let’s put on the feed bag.
    Edmund gets up, keeping his eyes averted from his mother. They pass her, heading for the back parlor.
TYRONE
    Dully.
    Yes, you go in with your mother, lads. I’ll join you in a second.
    But they keep on without waiting for her. She looks at their backs with a helpless hurt and, as they enter the back parlor, starts to follow them. Tyrone’s eyes are on her, sad and condemning. She feels them and turns sharply without meeting his stare.
MARY
    Why do you look at me like that?
    Her hands flutter up to pat her hair.
    Is it my hair coming down? I was so worn out from last night. I thought I’d better lie down this morning. I drowsed off and had a nice refreshing nap. But I’m sure I fixed my hair again when I woke up.
    Forcing a laugh.
    Although, as usual, I couldn’t find my glasses.
    Sharply.
    Please stop staring! One would think you were accusing me—
    Then pleadingly.
    James! You don’t understand!
TYRONE
    With dull anger.
    I understand that I’ve been a God-damned fool to believe in you!
    He walks away from her to pour himself a big drink.
MARY
    Her face again sets in stubborn defiance.
    I don’t know what you mean by “believing in me.” All I’ve felt was distrust and spying and suspicion.
    Then accusingly.
    Why are you having another drink? You never have more than one before lunch.
    Bitterly.
    I know what to expect. You will be drunk tonight. Well, it won’t be the first time, will it—or the thousandth?
    Again she bursts out pleadingly.
    Oh, James, please! You don’t understand! I’m so worried about Edmund! I’m so afraid he—
TYRONE
    I don’t want to listen to your excuses, Mary.
MARY
    Strickenly.
    Excuses? You mean—? Oh, you can’t believe that of me! You mustn’t believe that, James!
    Then slipping away into her strange detachment—quite casually.
    Shall we not go into lunch, dear? I don’t want anything but I know you’re hungry.
    He walks slowly to where she stands in the doorway. He walks like an old man. As he reaches her she bursts out piteously.
    James! I tried so hard! I tried so hard! Please believe—!
TYRONE
    Moved in spite of himself—helplessly.
    I suppose you did, Mary.
    Then grief-strickenly.
    For the love of God, why couldn’t you have the strength to keep on?
MARY
    Her face setting into that stubborn denial again.
    I don’t know what you’re talking about. Have the strength to keep on what?
TYRONE
    Hopelessly.
    Never mind. It’s no use now.
    He moves on and she keeps beside him as they disappear in the back parlor.
CURTAIN

Act Two, Scene Two
     
    SCENE
    The same, about a half hour later. The tray with the bottle of whiskey has been removed from the table. The family are returning from lunch as the curtain rises. Mary is the first to enter from the back parlor. Her husband follows. He is not with her as he was in the similar entrance after breakfast

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