course.
( pause )
Yes. Yes. Thatâs a fine way to put it. I wouldnât have thought of putting it that way, Mr. Fuller, but itâs true. As you say, itâs a morality that transcends morality. That doesnât mean I held anything back. I tried to be as frank and open with you as I knew how, and even now Iâve got nothing sensational to add to what I told you. That is, nothing that makes for any kind of conclusive thoughtsââ
( pause )
Noâof course, I agree with you that you never can be conclusive on this kind of thing. But my wife and I put our heads together â¦
( On this , JANE appears on the staircase. She is wearing a dressing gown, and as DAVID speaks, she continues down, halting near the bottom and watching him, almost frozen. )
⦠and we couldnât help but agree that Agronsky could very well be a Red. You put the pieces together, and it seems to be a reasonable conclusion, anyway, thatâs how it seemsââ
( pause )
Yes, Iâd be fairly definite on it. Naturally, he never told me so. If he had, I would have broken clean. As it is we had practically stopped seeing each other. I couldnât stomach his philosophyââ
( pause )
YesâI want to co-operate. Any time you say.
( pause )
Good night to you, sir.
( DAVID replaces the phone and turns, seeing JANE. They stare at each other. Then DAVID shrugs and lights another cigarette. JANE walks across the room, never taking her eyes off DAVID , until she is opposite the vestibule and facing him. When she speaks, however, her voice is very calm, yet with an undertone of tension. )
JANE Do you feel better now, David?
( DAVID refuses to meet her eyes. He puffs his cigarette. )
Cleansed?
( He walks to the piano, grinding the cigarette into an ash tray. Now his hack is to her. He turns sharply to her, yet remains silent. )
Purified, David? You shouldnât raise your voice when -you purify yourself. I wouldnât have heard you if you werenât so afraid your friend might miss something you said.
DAVID For Christâs sake, Jane, leave me alone! I did it. Thatâs all. I did what I thought was right.
JANE ( with a note of pity in her voice) You didnât think it was right, David.
DAVID How do you know what I thought? Youâre so God damn righteous! You canât be wrong. But whatever I do is wrong.
JANE Noâthatâs not so.
DAVID You said yourself nothing I said or did would keep them from thinking whatever they wanted to think about Agronsky.
JANE Sure I said that.
DAVID Then what difference does it make?
JANE ( shaking her head ) My God, David, are you really asking me that?
DAVID Well, itâs done.
JANE After Agronsky got you the, job. I know what it is to be frightened, David. Iâve been frightened too, believe meââ
DAVID ( breaking in ) Stop preaching at me! Iâm not a child that I have to be preached at this way!
JANE Youâre not a child, David.
DAVID Why do you have to keep beating at it? Itâs done, isnât it?
JANE Sure itâs done, David. Sure itâs done.
( She goes toward the stairs. )
Good night, David.
The curtain falls for the end of Act I
ACT II
Scene One
The time is early afternoon of the following day. The place is the office of AUSTIN CARMICHAEL in the Treasury Department. This is a fair-sized office, neither very modern nor rich in its furnishings, but with the substantial and well-kept air of a government office occupied by a moderately important executive. The desk is mahogany: the walls are the insipid green preferred so often in Washington. The floor is covered by a grey carpet, and at either side of the desk, which is stage right, cattycorner, are two leather-upholstered chairs. A broad window with Venetian blinds backs the stage, and at one side of it, a water cooler. A leather couch and two straight-back chairs complete the furnishings. A framed picture of the President on the wall at