Booth Tarkington · aftercurtain

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Clarence

Writer · Play · 1919

A great deal of the dialogue centers on Clarence's mysterious background, which comes out bit by bit. Even his surname isn't known until late in the play. Act I (The anteroom of Mr. Wheeler's private office, New York.) Mrs. Martyn suggests Mr. Wheeler might want to see a young soldier in the waiting room. At first Mr. Wheeler demurs, but as his wife, son, daughter, and daughter's governess parade through the waiting room baying out their complaints, he realizes it might be politic to offer the young doughboy a job to keep him quiet. Mr. Wheeler is impressed that Clarence could drive mules in the Army without learning to swear, thinking this may be the fellow to ride herd on his family. Mrs. Martyn, unable to hear Clarence through Cora's chattering, has recorded his surname as "Smun". All that the family knows about the plainly ailing Clarence is that he was discharged for his liver. (Curtain) Act II (Living room of Mr. Wheeler's home, Englewood, New Jersey. Daytime, three weeks later) Clarence now acts as general handyman at the Wheeler home, as well as secretary to Mr. Wheeler, since he is plainly well educated. He has grown healthier and stands straight, but still wears his uniform for lack of civilian clothes. Della and Rosie admire his husband potential, while Dinwiddie can't decide whether Clarence is domestic staff or a professional man. Violet is beset with suitors: first Bobby, then Hubert Stem, and now Clarence who shyly seeks her company. Cora is distraught when she learns Hubert was using her as a stalking horse to draw the protective Violet to him. Clarence frustrates Hubert's attempt to woo Violet then calms Mrs. Wheeler's unwarranted jealousy over Mr. Wheeler and Violet. But Violet doesn't want Clarence to pursue her, and requests he keep his distance. Della has now abandoned her designs on Bobby and switched to Clarence, as does Cora. When Clarence's army backpay arrives, he buys a new suit and used saxophone, and leads Cora and Dinwiddie into an impromptu parade. (Curtain) Act III (Same, that evening.) Della spars with a jealous Dinwiddie, then startles Bobby by comparing him unfavorably to Clarence. She reveals Clarence used to work in a "lavatory". Violet still refuses Clarence's tenative approaches, but is reconciled with Mrs. Wheeler. Cora asks Clarence what was wrong with his liver, to which he replies he was shot in it. "At Château-Thierry?" asks Mrs. Wheeler, to which he answers "During training". Violet, Bobby, and Mr. Wheeler cannot agree on Clarence's last name, offering Moon, Smart, and Smun respectively. Hubert Stem now brings a newspaper clipping about an Army deserter named "Charles Short". Clarence frustrates him by obtuseness, but reacts angrily when accused of being Charles Short. Mr. Wheeler tries to calm him, explaining they know so little about him. Clarence shouts that all you have to do is look him up in Who's Who, as he is the expert on Coleoptera. The situation is defused when Dinwiddie reports a plumbing emergency. Clarence exits to stop the flooding while Mr. Wheeler calls for a dictionary. (Curtain) Act IV (Same, the next morning.) The Wheeler family bickers after breakfast, Bobby and Cora endlessly sniping and aggravating Mr. Wheeler. Only Mrs. Wheeler remains calm. The crux of the matter is they can't remember the word Clarence told them. They also can't find a Clarence in Who's Who under any of the surnames they thought were his. Clarence explains to Della that he worked in a laboratory, not a lavatory, but she doesn't know the difference. Violet comes down with her suitcase and hat. She is leaving, but is surprised when Clarence says he is too. While they are alone Clarence explains that he is an entomologist, and has re-applied for his old job. He expects a letter that morning confirming the re-appointment. He overwhelms Violet with his confidence in planning their future; she is swept along in the tide. The letter arrives for C. Smith, Esq., provoking astonishment among everyone. The Who's Who is re-consulted and reveals his doctorate and other impressive credentials. Violet and Clarence depart, while the miffed Cora, frustrated in love again, swallows and says softly "Oh, Clarence". (Curtain)

Poldekin

Writer · Play · 1920

This synopsis is compiled from contemporaneous newspaper and magazine reviews. Act I (An apartment in a Russian city.) The setting shows signs of struggle from outside; flames flicker dimly through glassless windows and holes in the walls. From time to time shots are heard: singly, a few together, then in bursts. Podoff has gathered the others to discuss their upcoming mission to America. To hone their language skill, they have agreed to speak only English among themselves. Maria serves them tea; Poldekin has joined the group solely to see no harm comes to her. They discuss the mission, though Poldekin's enthusiasm seems more nuanced than the others ideological fervor. He punctures their assertions about Bolshevism with dry wit. They regard him as an amiable halfwit, and so assign him an easy task: printing propaganda tracts when they reach New York. (Curtain) Act II (Backyard of a New York City tenement.) The group's members have taken separate rooms in a tenement filled with immigrants from many countries. They meet in the backyard, and continue to speak in English, since Poldekin points out it is the least understood language among the building's inhabitants. Poldekin annoys everyone by asking the same question repeatedly: What is America? He confounds his colleagues proposals by pointing out the inherent difficulties, and thwarts any suggestion that Maria carry out her task to assassinate an official. Having heard about baseball, he asks Pinsky to take him to see it. Pinsky, who pretends to be indifferent, agrees. (Curtain) Act III (Same as Act II.) Poldekin reports back to the group on baseball, but his appreciation of it draws rebukes from his colleagues. The others try to convince Blanche to join their cause. Being a social outcast, who names the geraniums in her flower-box after lovers, they feel she should be an easy convert. But Blanche isn't eager to give up what little she has to state ownership. She rejects their arguments, and the commotion draws the attention of Welch. He plys Endechieff with a vile concoction he calls a Brunswick cocktail, and the tipsy bolshevik soon turns tipster. Poldekin realizes he has embraced the idea of America in preference to Bolshivik theory; as he does so, the act ends with a Decoration Day parade, only the flags of which are glimpsed over the top of the tenement fence as they go by to stirring music. (Curtain) Act IV (An apartment in the same tenement.) The police have picked up Endechieff, who fingers the others. They are all brought to Poldekin's apartment. The police intend to charge them with distributing seditious literature. However, they find that instead of Bolshevik propaganda, Poldekin has printed copies of the Declaration of Independence and the US Constitution. Welch and the police are stymied; they release the whole group from arrest and depart. Poldekin argues with the others that America is better run than their own revolution. Maria is convinced, some of the others are swayed. Nicolai is more upset with Poldekin than with Endechieff. He pulls out a pistol and shoots Poldekin. In the original ending of the play, Poldekin dies at this point, with Blanche afterward placing a small American flag on his chest. Tarkington's revised ending has Poldekin only slightly wounded, and he survives to marry Maria. (Curtain)

Rose Briar

Writer and Lyrics · Play · 1922

The play was never published; this synopsis is compiled from contemporaneous newspaper and magazine reviews. Act I (Interior of Restaurant Pompadeur Caberet, at night.) This is a high class establishment with socially prominent customers. The set shows a small orchestra and "stage on a stage", which consists of risers leading to a series of open archways with curtain screens. Patrons, waiters, and entertainers swirl about the floor between numbers. The Valentines are there, along with Paradee. He is attentive to Mrs. Valentine, who misunderstands his sympathetic manner for romantice interest. She ignores her husband, who displays nervous behavior indicating emotional upset. Miss Nicely performs an interesting solo dance to music. Both men are momentarily diverted, Valentine to the music and Paradee to the girl. Later, Rose Briar appears on the risers in ornate Court of Versailles costume, singing Give Me That Rose (Madame Pompadour), and Valentine perks up. She returns in a simpler outfit to sing Love and the Moon, and Valentine is noticeably affected. Mrs. Valentine gets an idea; she summons her lawyer Mr. Little, and he, with the caberet managers, tell Rose she must go to Mrs. Valentine's country home that weekend if she wants to keep her job. (Curtain) Act II (Drawing room of Mrs. Valentine's home, the next weekend afternoon.) Rose now learns from Mr. Little what is expected of her: to lure Mr. Valentine into a compromising situation, so Mrs. Valentine can obtain a divorce. The reporter Miss Sheppard and Crecelous are present to testify to any unseemly behavior. At first Rose goes along with it; Valentine means nothing to her and she needs her job. But with time she conceives a dislike for Mrs. Valentine. She also realizes that Paradee isn't really interested in Mrs. Valentine, while Mr. Valentine's neurotic behavior is all due to Mrs. Valentine's coldness to him. Rose decides to compete with Mrs. Valentine for Paradee. (Curtain) Act III (Same as Act II, that evening.) Paradee now becomes the target of two battling women. Rose makes fun of Mrs. Valentine's proclivity for baby talk and incessant claims of persecution, but also helps clear up her mistaken impression of Mr. Valentine's infidelity. Eventually Paradee falls for his former love Rose, and Mrs. Valentine reconciles with her husband. (Curtain)

Seventeen

Original novel · Play · 1917

In a small Indiana town, seventeen-year-old Willie Baxter falls for visiting Lola Pratt and tries to impress her as an adult. His schemes, including borrowing his father's dress suit, are repeatedly thwarted by his family and friends, and he eventually recognizes that his infatuation is one-sided.

The Country Cousin

Writer · Play · 1917

Act I (Mrs. Howitt's sitting room in Centerville, a June morning in 1916.) Mrs. Howitt is worried, her mood impacting her daughter Eleanor. Sam Williams bursts in, declaring his future prospects as senator or congressman, and insisting he'll need a wife to back him. Eleanor is unimpressed and Mrs. Howitt cautionary. When cousin Nancy arrives, Mrs. Howitt sends Eleanor and Sam on a fake errand. Mrs. Howitt asks Nancy to deal with Stanley, her ex-husband, who is in town and wants to drag Eleanor off to New York. Stanley had dissipated Mrs. Howitt's inheritance before their divorce; she is sure he has similar designs on his daughter's money. When the doorbell rings, Mrs. Howitt scampers away to hide, while Nancy admits George Reynolds, who drove Stanley from New York to Ohio. The two clash, for George is a terrible snob who barely acknowledges Ohio, while Nancy is a state booster. But Nancy persuades Mrs. Howitt to let Eleanor to see her father, and he convinces the girl to go with him to New York. (Curtain) Act II (Terrace of Villa, an afternoon in August 1916.) Cyril Kinney dances with Eleanor to music from a gramophone, while Stanley Howitt, Jane Kinney, and Athalie Wainwright watch and converse by a low wall. Maud Howitt and Pruitt enter, bringing word of Nancy Price's arrival. Nancy is given veiled insults and excluded from conversations, but remains equable. When George arrives they spar lightly over wicker suitcases, surreys instead of motor cars, and pictures of Washington crossing the Delaware in Ohio homes. Nancy laughs at George's patronym, saying George Washington beats George III. When asked if she likes anyone in New York, Nancy mentions the Italian gardener, who discussed his family with her. But Maud whispers to Stanley that Nancy has questioned servants about their salaries and how many people are employed there. Maud excludes Nancy from going with the rest to Archie's yacht, and they all dance in a line as they exit the villa. Left behind, Nancy is mistaken for Maud Howitt by Blake when he brings the brooch. Eleanor had bought it for Maud, giving Stanley a signed blank check. Nancy learns from Blake that it cost $25,000, not the thousand Eleanor was told. Nancy keeps the brooch after giving Blake a receipt. She is then told by Pruitt that George will be eating dinner with her; he stayed behind to read in the library. (Curtain) Act III (Interior of Villa, the same evening.) The yacht-goers straggle back to the villa. Cyril has flirted with Maud and received a blow from Archie, who loudly proclaims no one should touch his girl. Eleanor is woozy from champagne and the shock of realizing the blatant affair of her step-mother. Pruitt tells Stanley and Maud about the messenger, and they at once guess what has happened. After sending Eleanor to bed, they threaten Nancy with arrest, citing the case of Maud's former maid who stole a trifle. Stanley and Maud conspire to keep Nancy away from Eleanor for the remainder of the night. (Fast Curtain) Act IV (Same as Act III, the next morning.) Stanley and Maud force Eleanor to confront Nancy over the brooch. They have spent the night coaching her what to say. Nancy slips the brooch to Eleanor, and defies the Howitts to do anything about it. The scheme backfires when George summons Sam Wilson from another room. The spell is broken for Eleanor, and she defies Stanley and Maud, saying she'll return home to Ohio with Sam. Eleanor begs Nancy's forgiveness; she has told Stanley and Maud they may keep the brooch and stay at the villa for a short time. George tells Nancy he's going to the training camp at Plattsburgh. He asks whether she might love him if he fights hard. She replies, "Everyone will!". (Curtain)

The Intimate Strangers

Writer · Play · 1921

The humor revolves around the complicated family relationship, which is only partially revealed during the course of the play, and the competition between Isabel and Florence. William Ames was on a vacation when he was stranded at an isolated station north of Utica, New York, by a storm that washed out a bridge and communication lines. Also stranded is Isabel Stuart. Though they noticed each other on the train, they didn't speak until marooned at the station. When the play begins, they had been at the station for ten hours, with their only company the station master's brother-in-law, who has since departed. Act I (Interior of a railway station in upstate New York. A night in April.) The Station Master enters the darkened station to find Ames sleeping on a bench. Through exposition, it appears Ames and Isabel, who is sitting on a trunk on the platform, haven't spoken for hours. Isabel shared her lunch with Ames, but the Station Master confirms there is no prospect of further food, nor any information on when the railway will resume operation. During their isolation Ames had told Isabel of his dislike for flighty young women. The more experienced Isabel found it easy to lead Ames on by feigning an older age, and eventually Ames confesses an attraction for her. But Florence arrives in a burst of energy; she had Johnnie drive her forty miles at night to pick up Isabel at the station. Naturally, she fixates on Ames, who despite his aversion to flappers, finds her fascinating. The foursome depart the station for Isabel's home. (Curtain) Act II (Living room of Isabel's farm home, the next morning.) Aunt Ellen questions Henry about everyone's whereabouts. Florence comes in from an early morning horseback ride, while Mattie announces Johnnie. Florence tries to get Ames to stay another day with a fake telegram scheme, while Isabel gives Johnnie some pointers on women. Florence maneuvers Ames into changing her slippers for tennis shoes, then leaves to play tennis with Johnnie. Isabel uses the break to buffalo Ames by showing him a lot of old family daguerrotypes and implying she knew the folks in them personally. Florence later asks Ames to put the slippers back on her. She then seizes Ames and makes him dance to music from a vocalion. But Johnnie has gotten wise, and when Isabel feigns a lame foot, he pointedly puts slippers on her feet. The scene ends as Florence whirls Ames, amazed that both he and Johnnie are so concerned about Isabel. (Curtain) Act III (Same, late afternoon to early evening.) Mattie pretends to search for the family bible for Aunt Ellen, but Isabel had given her instructions not to find it. Mattie also wipes off the year on an inscription dedicating a cabinet to Isabel on her 15th birthday. Isabel enters and spars with Aunt Ellen over the missing bible, which has all of their birthdates in it. The latter leaves after being told another bible is upstairs. Ames wanders in from searching, having been primed by Mattie about the missing bible, but not where it can be found. Mattie also obligingly leaves ajar the cabinet door with the inscription inside. Isabel resumes her limp upon Ames' entrance, eventually drawing his attention to the antique cabinet, which she claims was new when given to her. Aunt Ellen plays a waltz on the piano, to which Johnnie and Isabel dance. When Ames comes in, he sweeps Isabel away from Johnnie, as Ellen continues playing. Ames accuses Isabel of mocking him, but she points to the family bible which she had brought into the room. It is open to the page that discloses her father married his second wife at age 65, after which Isabel was born. They are joined in the waltz by Johnnie and Florence, as Ames mutters to Isabel, "You infant". (Curtain)

The Man from Home

Writer · Play · 1907

At intervals throughout the play the mandolins and guitarist are heard playing The Fishermen's Song, usually off stage. During the opening of Act III an unseen orchestra softly plays an aria from Pagliacci, the music coming through the open doors of the conservatory at the rear of the salon. Act I (The terrace of the Hotel Regina Margherita in Sorrento. Morning.) Exposition between Mariano and Ribiere identifies the main characters and their relationships. The Earl, his son, Lady Creech, Ethel, Hoarce, and Hélène form one party. The Grand Duke has met Pike at a hotel in Naples and is bringing him along to Sorrento. Hawcastle and Hélène discuss their latest venture, the capture of Ethel and Hoarce's money through promised matrimony. News of an escaped Russian convict alarms Hélène, but Hawcastle assures her it cannot be Ivanoff. Almeric confirms Ethel has accepted him. Hawcastle tells Hoarce the "settlement" will be £150,000. Hoarce acquiesces in order to appear worldly, though this is Ethel's entire estate. Mariano explains a commotion from the village is the arrival of Herr von Gröllerhagen and his American friend. The Earl's party dismiss the German as common and the American as gauche. Ethel and Hoarce are embarrassed by their countryman, and horrified to learn he is Ethel's guardian. Pike, in turn, is astonished at the settlement and Ethel's choice of fiancé. (Curtain) Act II (The hotel's entrance garden. Afternoon.) Pike, working on the engine of Doc's auto, ignores Hoarce's protests. Pike has refused to discuss a settlement with Hawcastle. Pike sends Doc for some clean rags, which amuses him. Lady Creech is seen peering out a second story window, spying on Pike. Ivanoff appears on the garden wall and begs Pike's help. With the reluctant help of Doc, Pike is able to convince the carabinieri that Ivanoff is a chauffeur. Mariano expedites matters by secretly revealing Doc's real identity to the carabinieri. Ivanoff tells his story to Pike and Doc. Doc allows Ivanoff to stay in his suite of rooms, but is troubled. Lady Creech steals away to tell Hawcastle what she has seen. Pike and Ethel argue about the settlement. A letter from England that Pike hoped would dissuade her fizzles out but does let Ethel know Pike is fond of her. Hawcastle now confronts Pike: approve the settlement or face Italian justice for aiding a fugitive. (Curtain) Act III (A private salon in the hotel. Evening.) Pike discusses the situation with Doc about Ivanoff and Hawcastle's threat. He apologises for getting him into this situation. Doc is unconcerned; he has already had Ribiere take steps about which he doesn't tell Pike yet. Pike calls Ivanoff into the room to give him the situation. Doc leaves on an errand of his own outside. Ivanoff notices his silver cigarette box and vodka bottle and realizes Doc is really Russian. He and Pike look out the window to see Doc speaking with the carabinieri, who salute him. Ivanoff panics, but Mariano enters to announce Lady Creech. Pike dismisses Ivanoff, but Lady Creech isn't fooled. She repeats Hawcastle's threat, but Pike has a sudden epiphany about the Earl, Hélène, and Ivanoff. He summons Ethel to the salon, and commands her to stay no matter what. Ethel agrees, and when her brother, the English party and the Cometesse arrive, she resists their demands to leave. Pike forces Hawcastle to repeat his threat in front of Ethel. He then summons Ivanoff, who recognizes his wife and Glenwood in Hélène and the Earl. Hélène is terrified of her husband and Hawcastle alarmed. He urges Almeric to go for the police, but Doc enters and announces the carabinieri have been dismissed. When Hawcastle challenges him, Ribiere identifies Doc as the Grand Duke Vasili, who has arranged a pardon for Ivanoff. Pike is stymied when Ethel still stands by Almeric; she has given her promise. (Curtain) Act IV (Same as Act I. Morning.) Hélène has already gone. Hawcastle urges Almeric to keep after Ethel, as he prepares to flee in fear of a now free Ivanoff. Lady Creech reveals Ethel has wept upon hearing Ivanoff's tale. Ethel also had Pike give Ivanoff a large sum of money. As porters load his carriage, Hawcastle rushes out. Grand Duke Vasili now takes his leave of Ethel and Pike, praising the latter and signaling to the girl he knows where her heart is drifting. Ivanoff then comes to thank Ethel; he will go to London to teach languages and serve as a reproach to Hawcastle. As Ethel is still determined to honor her promise, Pike grants her request for the settlement. Hoarce is angry, but Ethel seems happy. However, Almeric blights it all by congratulating Ethel for "buying off the convict". She repudiates her promise on his opinion of her venality. Most of all she is angry with Pike for acquiescing now, and not earlier. But as she berates him, she realizes he has acknowledged her right to choose the life she wants. Slowly she enters the hotel, and soon the sound of her playing the piano and singing Sweet Genevieve, Pike's favorite song, drifts through the open door. Pike is staggered, then as a man in a dream, goes towards the music. (Curtain)

The Wren

Writer · Play · 1921

The setting is an old New England farmhouse on the coast near Ogunquit, Maine. The farmhouse's ground floor interior walls have been removed to leave a large open area, with a double door entry in the center stage back wall. Through the open doors may be seen an exterior veranda, the bay, and another cape. Act I (Interior of Cap'n Olds Place. A spring afternoon.) Cap'n Olds wheels himself in from the veranda, but gets stuck until Mrs. Freehart gives him a push. They are surprised by the unexpected arrival of Mr. Frazee. He asks Seeby for a room separate from that of his wife. Seeby stops Francis and the Captain from beleaguering Frazee with gossip about his wife and Roddy. When they do come in from a morning supposedly devoted to painting, their relationship is betrayed by identical daisy chains of flowers around their necks. Clara Frazee is surprised to find her husband waiting. She portrays Roddy as Seeby's beau when Frazee is around, only to flirt with Roddy when he is not. Seeby, meanwhile, realizes Roddy hasn't done any serious painting since Clara arrived. (Curtain) Act II (Same, that evening.) Francis and Mrs. Freehart go out walking together in the evening. Clara has encouraged Roddy to take Seeby for a walk and play up to her, to mislead Mr. Frazee. Clara plays the piano for Roddy when he and Seeby return. Seeby intervenes by calling Francis to bring his guitar. Seeby sings The Nightingale while Francis plays and backs her vocals. Mr. Frazee appears and asks Seeby to have his bill ready tomorrow morning, when he will leave... with his wife. Clara objects and pursues him back to his room. Seeby then has words with Roddy, who is hopeless when Clara is present. Seeby accuses him of leading her on last season and tonight. Roddy protests his sincerity, but is nonplussed when Frazee tells him Clara makes a habit of these liaisons with bohemian types. Frazee then tells Clara that Roddy cannot afford to keep her; Francis has told him that Roddy stays at Cap'n Olds Place at half-rates. (Curtain) Act III (Same, the next morning.) The next morning Francis bears the brunt of Seeby's displeasure with his gossiping. Roddy confesses to Clara that he has been living off the sale of two paintings since last year, and cannot afford to take her anywhere. Clara realizes she better return with her husband, who understands her and can indulge her need for occasional flings. Seeby sends Roddy out to do some painting, rejecting his request to come along with him. Francis, the Captain, and Mrs. Freehart watch out a window as Roddy makes off alone with his paint gear and lunch box. They tell Seeby how lonely he looks now. After a moment she runs out the door, while the old folks watch amazed at her volte-face. (Curtain)

Tweedles

Writer · Play · 1922

Act I (Mrs. Albergone's Antiquity Shop. A Saturday summer afternoon.) Mrs. Ricketts tries to pump Mrs. Albergone about Julian Castlebury's purchase of Bristol glass three weeks ago. Why did he leave his purchase there instead of taking it home? The stoic shopkeeper is not obliging but does admit to having a waitress for the Tea Terrace, her niece Winsora. From her, Mrs. Ricketts learns Julian visits his glass collection daily. When Julian enters the shop, he smiles at Winsora but abruptly tries to leave when Mrs. Ricketts hails him. He has turned down her invitation to go motoring, and doggedly declines to explain his sudden interest in collectible glass. Julian departs; his parents now enter the shop. Mrs. Ricketts draws their attention to the glass collection that Julian purchased. She tricks Winsora into leaving to look up a price. Alone with the Castleburys, Mrs. Ricketts suggests Julian should go motoring rather than hang around a tea room waitress. Mr. Castlebury is concerned, but Mrs. Castlebury recognizes the widow as the greater danger to her son. Later, Julian returns to pester Winsora, speaking aimlessly about the glass, while Winsora expects him to broach another subject. Mrs. Albergone tells Julian to take his glass away, but he cannot until Monday. Constable Philemon Tweedle, who calls the shop's antiques "queeriosities", cautions Julian to stay away from Winsora, his deterrence lessened by a bonhomie fueled by confiscated liquor. Adam Tweedle also warns Julian to stay away; the young man puzzles and alarms Adam by his indifference to local public opinion. (Curtain) Act II (Same as Act I. Sunday, dinner time.) The Tweedles and Mrs. Albergone have just finished dinner. Adam reads a bible passage, aimed at Winsora, about preserving the family name. They are astonished when Julian comes knocking at the closed shop door. He seems impervious to increasingly hostile suggestions to leave, his one and only concern to see Winsora. Challenged to be fair, Adam agrees to let Winsora talk to Julian alone in the shop. Julian is unable to vocalize his feelings, so their conversation goes in circles, both sensing the other's affection. Julian's circumlocution continues when Adam returns, but he finally confesses his intentions. Adam is angry, but he is not prone to physical violence. When Julian's parents arrive, Adam invites them to confer with Julian, his sister and Winsora. Adam misunderstands Mr. Castlebury's talk of family position and social prominence; he assumes the summer visitors are admitting their son is not worthy of an alliance with the exalted Tweedle family. Worse, Mr. Castlebury reveals Julian's struggle at prep school and withdrawal from college after freshman year. Adam is delighted to inform them of Winsora's graduating high school with honors and completing a year at college. Though Adam and the Castleburys hold the same views on the young couple, the latter are too mortified to speak at his assumption of social superiority. They exit, leaving Julian struggling to get Winsora to understand him. When she suggests he cares only for the Bristol glass and not her, he lifts the chest containing it and smashes it on the floor. "It is you I care about" he tells her. (Curtain) Act III (Same as Act I. Monday morning.) The industrious Mrs. Albergone is delighted at the arrival of Monday morning after an enforced Sunday idleness. Winsora's mood is less clear; pensive and winsome, certainly, but her aunt wonders will she break into joyful laughter as she did last night? Constable Philemon has confiscated a small picnic basket from Mrs. Ricketts, which clinks when moved. His efforts to "destroy" this contraband render him benign and loquacious towards Julian. He reveals the sharp practitioners and blackguards of Tweedle family history, including a Revolutionary War traitor. Philemon mentions how Mrs. Albergone, after enduring a loveless first marriage, adored her second husband, Capt. Albergone, whose portrait hangs in the shop. Julian uses this information to put Adam on the defensive, and recites a litany of errant Castlebury ancestors to further show how foolish family pride can be. Julian now asks permission to take Winsora for a walk, but she speaks up for herself: "You're asking the wrong person, ask me" she tells Julian. Mr. Castlebury and Adam, now reconciled to the inevitable, confer as the young couple stroll out together. (Curtain)

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