Screenplay

» by Jay Cocks.
Based on the novel by Edith Wharton.
[Transcript]

PART - I

[At the Theatre in the evening. Newland Archer enters the box.
Steps to the front, joining the company of several men, including
Larry Lefferts and Sillerton Jackson. Larry looks at stage
through pearl opera glasses. Then he swings his opera glasses
away from the stage and toward another box. He sees the figure of
a woman entering a box across the way. Although the woman,
silhouetted against candles, is still indistinct and mysterious
to us, he recognizes her and reacts with controlled surprise]

LEFFERTS
Well.

JACKSON
I didn't think the Mingotts would have tried it on.

LEFFERTS
Parading her at the opera like that. Sitting her next to May
Welland. It's all very odd.

JACKSON
Well, she's had such an odd life.

LEFFERTS
Will they even bring her to the Beauforts' ball, do you suppose?

JACKSON
If they do, the talk will be little else.

[Archer looks at his companions in the box with just a suggestion
of impatience. Then he turns and leaves]

[Archer goes to the box where May Welland is]

ARCHER
May. Mrs. Welland. Good evening.

MRS. WELLAND
Newland. You know my niece Countess Olenska.

[Archer bows with the suggestion of reserve. Countess Olenska
replies with a nod. Newland sits beside May and speaks softly]

ARCHER
I hope you've told Madame Olenska.

MAY
(teasing)

What?

ARCHER
That we're engaged. I want everybody to know. Let me announce it
this evening atthe ball.

MAY
If you can persuade Mamma. But why should we change what is
already settled?

[Archer has no answer for this that is appropriate for this time
and place. May senses his frustration and adds, smiling. . . ]

MAY
But you can tell my cousin yourself. She remembers you.

ELLEN
(Countess Olenska)

I remember we played together. Being here again makes me remember
so much.

[She gestures out across the theatre]

ELLEN
I see everybody the same way, dressed in knickerbockers and
pantalettes.

[Archers sits beside her]

ELLEN
You were horrid. You kissed me once behind a door. But it was
your cousin Vandy,the one who never looked at me, I was in love
with.

ARCHER
Yes, you have been away a very long time.

ELLEN
Oh, centuries and centuries. So long I'm sure I'm dead and
buried, and this dearold place is heaven.

[As they end, the voice of the narrator fades up]

[In another box, Mrs. Julius Beaufort
(Regina)
draws up her opera cloak about her shoulders. As she does this
and leaves the box, we hear. . . ]

NARRATOR
It invariably happened, as everything happened in those days, in
the same way. Asusual, Mrs. Julius Beaufort appeared just before
the Jewel Song and, again as usual,rose at the end of the third
act and disappeared. New York then knew that, ahalf-hour later,
her annual opera ball would begin.

[Street outside the theatre
(14th Street)
at night. A line of carriages drawn up in front of the Academy
of Music. Mrs. Beaufort climbs in a carriage at the front of the
line and drives away]

NARRATOR
Carriages waited at the curb for the entire performance. It was
widely known in NewYork, but never acknowledged, that Americans
want to get away from amusement evenmore quickly than they want
to get to it.

[Ballroom at the Beaufort House]

NARRATOR
The Beauforts' house was one of the few in New York that
possessed a ballroom. Sucha room, shuttered in darkness three
hundred and sixty-four days of the year, wasfelt to compensate
for whatever was regrettable in the Beaufort past. ReginaBeaufort
came from an old South Carolina family, but her husband Julius,
who passedfor an Englishman, was known to have dissipated habits,
a bitter tongue andmysterious antecedents. His marriage assured
him a social position, but notnecessarily respect.

[Ballroom at the Beaufort House during the ball. An orchestra
plays and dancers swoop by. Archer enters and hands his cape and
hat to a servant, greets another guest and accepts several pair
of dancing gloves. Archer climbs the stairs and greets Regina
Beaufort]

NARRATOR
The house had been boldly planned. Instead of squeezing through a
narrow passage toget to the ballroom one marched solemnly down a
vista of enfiladed drawing roomsseeing from afar the many-candled
lusters reflected in the polished parquetry andbeyond that the
depths of a conservatory where camellias and tree ferns arched
theircostly foliage over seats of black and gold bamboo. But only
by actually passingthrough the crimson drawing room could one see
"Return of Spring," themuch-discussed nude by Bougeureau, which
Beaufort had had the audacity to hang inplain sight. Archer had
not gone back to his club after the Opera, as young menusually
did, but had walked for some distance up Fifth Avenue before
turning back inthe direction of the Beauforts'. He was definitely
afraid that the family might begoing too far and would bring the
Countess Olenska. He was more than everdetermined to "see the
thing through," but he felt less chivalrously inclined todefend
the Countess after their brief talk at the opera.

[Archer enters the ballroom. The first man he sees is Larry
Lefferts, deep in conversation with an attractive young woman]

NARRATOR
On the whole, Lawrence Lefferts was the foremost authority on
"form" in New York. On the question of pumps versus patent-
leather Oxfords, his authority had never beendisputed.

[Archer continues through the party. Holding court and amusing a
group of older women is Sillerton Jackson]

NARRATOR
Old Mr. Sillerton Jackson was as great an authority on "family"
as Lawrence Leffertswas on "form. "In addition to a forest of
family trees, he carried a register ofthe scandals and mysteries
that had smouldered under the unruffled surface ofsociety for the
past fifty years.

[Archer continues moving throught he party. Julius Beaufort
crosses in front him, conversing with a guest]

GUEST
(in mid-discussion)

But I didn't see you there this evening. Madame Nilsson was in
such splendid voice.

BEAUFORT
(snide)

The usual splendor, I'm sure.

NARRATOR
Julius Beaufort had speedily made a name for himself in the world
of affairs. Hissecret, all were agreed, was the way he carried
things off. His social obligationsand the rumors that perpetually
swirled around him, all were borne easily beforehim.

[May Welland is surrounded by gleeful friends who are obviously
reacting to her engagement announcement. Archer and May are in
another room behind a tall screen of ferns and camellias. Archer
kisses May's hand]

MAY
You see, I told all my friends. Just as you asked.

ARCHER
Yes, I couldn't wait. Only wish it hadn't had to be at a ball.

MAY
Yes, I know. But after all, even here we're alone together aren't
we?

ARCHER
Always. The worst of it is. . .

[He takes a quick look around the room
no one's nearby]

ARCHER
. . . that I want to kiss you and I can't.

[He does it anyways which pleasure and surprises May. They walk
to a sofa, which affords a bit of privacy, and sit]

MAY
Did you tell Ellen, as I asked you?

ARCHER
No. I didn't have the chance after all.

MAY
She's my cousin, if others know before she does. . . It's just
that she's been away forso long that she's rather sensitive.

ARCHER
Of course I'll tell her, dearest. But I haven't seen her yet.

MAY
She decided not to come at the last minute.

ARCHER
At the last minute?

MAY
She was afraid her dress wasn't smart enough. We all thought it
was so lovely, butshe asked my aunt to take her home.

ARCHER
Oh well.

[Archer smiles, May smiles back. They get up and go back to the
ballroom to dance]

[In a sitting room the next day. Mrs. Manson Mingott is admiring
a large thick sapphire set in invisible claws]

MRS. MINGOTT
Very handsome. Very liberal. In my time a cameo set in pearls was
thought to besufficient.

MRS. WELLAND
It's the new setting. Of course it shows the stone beautifully,
but it looks bareold-fashioned eyes.

MRS. MINGOTT
I hope you don't mean mine, my dear. I like all the novelties.
But it's the handthat sets off the ring, isn't it, my dear Mr.
Archer? My hands were modeled inParis by the great Rochee. He
should do May's.

[She reaches out for May's hand]

MRS. MINGOTT
Her hand is tempered. It's these modern sports that spread the
joints. But theskin is white.
(staring straight at Archer)

And when's the wedding to be?

MRS. WELLAND
(a little flustered)

Oh. . .

ARCHER
(jumping in)

As soon as ever it can. If only you'll back me up, Mrs. Mingott.

MRS. WELLAND
(recovering)

We must give them time to know each other a little better, mamma.

MRS. MINGOTT
Know each other? Everybody in New York has always known
everybody. Don't wait tillthe bubble's off the wine. Marry them
before Lent. I may catch pneumonia anywinter now, and I want to
give the wedding breakfast.

NARRATOR
Mrs. Manson Mingott was, of course, the first to receive the
required betrothalvisit. Much of New York was already related to
her, and she knew the remainder bymarriage or by reputation.
Though brownstone was the norm, she lived magisteriallywithin a
large house of controversial pale cream-colored stone, in an
inaccessiblewilderness near the Central Park.

NARRATOR
The burden of her flesh had long since made it impossible for her
to go up and downstairs. So with characteristic independence she
had established herself on theground floor of her house. From her
sitting room, there was an unexpected vista ofher bedroom.

NARRATOR
Her visitors were startled and fascinated by the foreignness of
this arrangement,which recalled scenes in French fiction. This
was how women with lovers lived inthe wicked old societies. But
if Mrs. Mingott had wanted a lover, the intrepidwoman would have
had him too.

NARRATOR
But she was content, at this moment in her life, simply to sit in
a window of hersitting room, waiting calmly for life and fashion
to flow northward to her solitarydoors, for her patience was
equalled by her confidence.

[Archer, May and Mrs. Welland are saying their goodbyes as they
get ready to leave. Ellen Olenska and Julius Beaufort enter as
they leave]

MRS. MINGOTT
Beaufort!This is a rare favor.

BEAUFORT
Unnecessarily rare, I'd say. But I met Countess Ellen in Madison
Square, and shewas good enough to let me walk home with her.

MRS. MINGOTT
This house will be merrier now that she's here. Push up that
tuffet. I want a goodgossip.

[Ellen looks at Archer with a questioning smile]

ARCHER
(laughing shyly)

Of course you already know. About May and me. She scolded me for
not telling youat the opera.

ELLEN
Of course I know. And I'm so glad. One doesn't tell such news
first in a crowd.

[Ellen hols her hand out to Archer]

ELLEN
Good-bye. Come and see me some day.

[Outside the Mingott House. Archer follows May and her mother
into their waiting carriage]

MRS. WELLAND
It's a mistake for Ellen to be seen parading up Fifth Avenue with
Julius Beaufort atthe crowded hour. The very day after her
arrival.

[The carriage pulls away from the curb]

[Dining Room at the Archer House in the evening. Archer is having
dinner with his mother Adeline, sister Janey and Sillerton
Jackson]

NARRATOR
Mrs. Archer and her daughter Janey were both shy women and
shrank from society. Butthey liked to be well informed of its
doings.

JACKSON
(in the midst of holding forth)

Certain nuances escape Beaufort.

MRS. ARCHER
Oh, necessarily. Beaufort is a vulgar man.

ARCHER
Nevertheless, no business nuances escape him. Most of New York
trusts him with itsaffairs.

MRS. ARCHER
My grandfather Newland always used to say to mother, "Don't let
that fellow Beaufortbe introduced to girls. "But at least he's
had the advantage of associating withgentlemen. Even in England,
they say. It's all very mysterious.

NARRATOR
As far back as anyone could remember, New York had been divided
into two great clans. Among the Mingotts you could dine on
canvasback duck, terrapin and vintage wines. At the Archers, you
could talk about Alpine scenery and "The Marble Faun" but receive
tepid Veuve Cliquot without a year and warmed-up croquettes from
Philadelphia.

JANEY
And the Countess Olenska. . . was she at the ball too?

MRS. ARCHER
I appreciate the Mingotts wanting to support her, and have her at
the opera. Iadmire their esprit de corps. But why my son's
engagement should be mixed up withthat woman's comings and goings
I don't see.

JACKSON
Well, in any case, she was not at the ball.

MRS. ARCHER
At least she had that decency.

[Jackson glances at the portraits of the Archer family
antecedents on the wall, and fixes on one of a well-fed, slightly
flush older man. He looks over at Archer, who is watching him
with bemused understanding]

JACKSON
(can't resist)

Ah, how your grandfather appreciated a good meal, Newland.

JANEY
I wonder if she wears a round hat or a bonnet in the afternoon.
The dress she woreto the opera was so plain and flat. . .

MRS. ARCHER
Yes, I'm sure it was in better taste not to go to the ball.

ARCHER
I don't think it was a question of taste, mother. May said the
countess decided herdress wasn't smart enough.

MRS. ARCHER
Poor Ellen. We must always remember what an eccentric bringing-up
Medora Mansongave her. What can you expect of a girl who was
allowed to wear black satin at hercoming-out ball?

JANEY
It's odd she should have kept such an ugly name as Ellen when she
married the Count. I should have changed it to Elaine.

ARCHER
Why?

JANEY
I don't know. It sounds more. . . Polish.

MRS. ARCHER
It certainly sounds more conspicuous. And that can hardly be what
she wishes.

ARCHER
(argumentative)
Why not? Why shouldn't she be conspicuous if she chooses? She
made an awfulmarriage, but should she hide her head as if it were
her fault? Should she goslinking around as if she'd disgraced
herself? She's had an unhappy life, but thatdoesn't make her an
outcast.

JACKSON
I'm sure that's the line the Mingotts mean to take.

ARCHER
I don't have to wait for their cue, if that's what you mean, sir.

MRS. ARCHER
(trying to cool things out)
I'm told she's looking for a house. She means to live here.

JANEY
I hear she means to get a divorce.

ARCHER
I hope she will.

[In the study at the Archer House. Jackson and Archer light up
cigars]

JACKSON
There are the rumors, too.

ARCHER
I've heard them. About the secretary?

JACKSON
He helped her get away from the husband. They say the Count kept
her practically aprisoner.
(shrugs)
Certainly, the Count had his own way of life.

ARCHER
You knew him?

JACKSON
I heard of him at Nice. Handsome, they say, but eyes with a lot
of lashes. When hewasn't with women he was collecting china.
Paying any price for both, I understand.

ARCHER
Then where's the blame? Any one of us, under the same
circumstances, would havehelped the Countess, just as the
secretary did.

JACKSON
He was still helping her a year later, then, because somebody met
them livingtogether at Lausanne.

ARCHER
(reddening slightly)
Living together? Well why not? Who has the right to make her life
over if shehasn't? Why should we bury a woman alive if her
husband prefers to live withwhores?

JACKSON
Oh, it's hardly a question of entombment. The Countess is here,
after all. Or doyou believe that women should share the same
freedoms as men?

ARCHER
(with some force)
I suppose I do. Yes, I do.

JACKSON
Well, apparently Count Olenski also takes a similarly modern
view. I've never heardof him lifting a finger to get his wife
back.

[Montage. Of heavy vellum envelopes, written in beautiful
calligraphy, being passed from hand to hand and delivered on
silver plates; of invitations being drawn from the envelopes]

NARRATOR
Three days later, the unthinkable happened. Mrs. Manson Mingott
sent outinvitations summoning everyone to a "formal dinner. "Such
an occasion demanded themost careful consideration. It required
the appropriate plate. It also called forthree extra footmen, two
dishes for each course and a Roman punch in the middle. The
dinner, New York read on the invitation, was "to meet the
Countess Olenska. "And New York declined.

[Drawing room at the Archer house during the day]

MRS. ARCHER
"Regret. ""Unable to accept. "Without a single explanation or
excuse. Even someof our own. No one even cares enough to conceal
their feeling about the Countess. This is a disgrace. For our
whole family. And an awful blow to Catherine Mingott.

NARRATOR
They all lived in a kind of hieroglyphic world. The real thing
was never said ordone or even thought, but only represented by a
set of arbitrary signs. These signswere not always subtle, and
all the more significant for that. The refusals weremore than a
simple snubbing. They were an eradication.

MRS. ARCHER
Don't tell me all this modern newspaper rubbish about a New York
aristocracy. Thiscity has always been a commercial community, and
there are not more than threefamilies in it who can claim an
aristocratic origin in the real sense of the word. Even dear Mr.
Welland made his money in enterprise. So.
(looking at them with resolution)
We will take up this matter with the van der Luydens.

[She starts for the door]

MRS. ARCHER
You should come with me, Newland. Louisa van der Luyden is fond
of you, and ofcourse it's on account of May we're doing this.

ARCHER
Of course.

MRS. ARCHER
If we don't all stand together, there'll be no such thing as
society left.

[in the Drawing room at the van der Luyden House. Henry and
Louisa van der Luyden are sitting with Newland and his mother]

HENRY
And all this, you think, was due to some intentional interference
by. . .

ARCHER
. . . Larry Lefferts, yes sir. I'm certain of it.

LOUISA
But why?

ARCHER
Well. Excuse me but. . .

LOUISA
Please, go on.

ARCHER
Larry's been going it harder than usual lately. Some service
person in theirvillage or someone, and it's getting noticed.
Whenever poor Gertrude Leffertsbegins to suspect something about
her husband, Larry starts making some greatdiversionary fuss to
show how moral he is. He's simply using Countess Olenska as
alightning rod.

LOUISA
Extraordinary.

HENRY
Not at all, my dear, I'm afraid.

MRS. ARCHER
We all felt this slight on the Countess should not pass without
consulting you.

HENRY
Well, it's the principle that I dislike. I mean to say, as long
as a member of awell-known family is backed by that family, it
should be considered final.

LOUISA
It seems so to me.

HENRY
So with Louisa's permission. . . and with Catherine Mingott's, of
course. . . we aregiving a little dinner for our cousin the Duke
of St. Austrey, who arrives next weekon the Russia. I;m sure
Louisa will be glad as I am if Countess Olenska willlet us
include her among our guests.

[In the hallway and drawing room at the van der Luyden House]

NARRATOR
The occasion was a solemn one and the Countess Olenska arrived
rather late. Yet sheentered without any appearance of haste or
embarrassment the drawing room in whichNew York's most chosen
company was somewhat awfully assembled.

[Servants open the drawing room doors for Ellen. Henry and Louisa
van der Luyden bring Ellen around the room making introductions.
]

[In the dining room at the van der Luyden House]

NARRATOR
The van der Luydens stood above all the city's families. They
dwelled in a kind ofsuper-terrestrial twilight, and dining with
them was at best no light matter. Dining there with a Duke who
was their cousin was almost a religious solemnity. TheTrevenna
George II plate was out. So was the van der Luyden Lowestoft,
from theEast India Company, and the Dagonet Crown Derby. When the
van der Luydens chose,they knew how to give a lesson.

[In the drawing room at the van der Luyden House. Ellen Olenska
is having a conversation with the Duke as Archer watches. Ellen
then gets up and approaches Archer]

NARRATOR
It was not the custom in New York drawing rooms for a lady to get
up and walk awayfrom one gentleman in order to seek the company
of another. But the Countess didnot observe this rule.

ELLEN
I want you to talk to me about May.

ARCHER
You knew the Duke before?

ELLEN
From Nice. We used to see him every winter. He's very fond of
gambling and used tocome to our house a great deal. I think he's
the dullest man I ever met. But he'sadmired here. I suppose he
must seem the very image of traditional Europe. Can Itell you,
though. . .
(mock conspiratorial)
. . . what most interests me about New York? It's that nothing
has to be traditionalhere. All this blind obeying of tradition. .
. somebody else's tradition. . . isthoroughly needless. It seems
stupid to have discovered America only to make it acopy of
another country. Do you suppose Christopher Columbus would have
taken allthat trouble just to go to the opera with Larry
Lefferts?

ARCHER
(laughs)
I think if he knew Lefferts was here the Santa Maria would never
have leftport.

ELLEN
And May. Does she share these views?

ARCHER
If she does, she'd never say so.

ELLEN
Are you very much in love with her?

ARCHER
As much as a man can be.

ELLEN
Do you think there's a limit?

ARCHER
If there is, I haven't found it.

ELLEN
Ah, it's really and truly a romance, then. Not in the least
arranged.

ARCHER
Have you forgotten? In our country we don't allow marriages to be
arranged.

ELLEN
Yes, I forgot, I'm sorry, I sometimes make these mistakes. I
don't always rememberthat everything here is good that was. . .
that was bad where I came from.

ARCHER
I'm so sorry. But you are among friends here, you know.

ELLEN
Yes, I know. That's why I came home.

[May and her mother enter the room]

ELLEN
You'll want to be with May.

ARCHER
(looking at the men around May)
She's already surrounded. I have so many rivals.

ELLEN
Then stay with me a little longer.

ARCHER
Yes.

[They are interrupted by Henry van der Luyden and a guest]

HENRY
Countess, if I may. Mr. Urban Dagonet.

[Archer gets up to leave and Ellen holds her hand out to him]

ELLEN
Tomorrow then. After five. I'll expect you.

ARCHER
Tomorrow.

[Louisa joins Archer]

LOUISA
It was good of you to devote yourself to Madame Olenska so
unselfishly, dearNewland. I told Henry he really must rescue you.
I think I've never seen Maylooking lovelier. The Duke thinks her
the handsomest woman in the room.

[In the drawing room at Ellen's house the next day. Archer is
waiting for Ellen to return]

MAID
Verra, verra.

[A carriage with Julius Beaufort and the Countess arrives and the
Countess gets out and enters the house]

ELLEN
Do you like this odd little housoe? To me it's like heaven.

ARCHER
(reaching for the right compliment)
You've arranged it delightfully.

ELLEN
Yes. Some of the things I managed to bring with me. Little pieces
of wreckage. Atleast it's less gloomy than the van der Luydens',
and not so difficult to be alone.

ARCHER
(smiles)
I'm sure it's often thought the van der Luydens' is gloomy,
though I've never heardit said before. But do you really like to
be alone?

ELLEN
As long as my friends keep me from being lonely.

[She sits near the fire and motions him to sit in an armchair
near where he's standing]

ELLEN
I see you've already chosen your corner. This is the hour I like
best, don't you?

ARCHER
I was afraid you'd forgotten the hour. I'm sure Beaufort can be
very intriguing.

ELLEN
He took me to see some houses. I'm told I must move, even though
this street seemsperfectly respectable.

ARCHER
Yes, but it's not fashionable.

ELLEN
Is fashion such a serious consideration?

ARCHER
Among people who have nothing more serious to consider.

ELLEN
And how would these people consider my street?

ARCHER
(lightly, disparagingly)
Oh, well, fleetingly, I'm afraid. Look at your neighbors.
Dressmakers. Birdstuffers. Cafe owners.

ELLEN
(smiling)
I'll count on you to always let me know about such important
things.

ARCHER
The van der Luydens do nothing by halves. All New York laid
itself out for you lastnight.

ELLEN
It was so kind. Such a nice party.

[Archer wants to impress on her the importance of the van der
Luydens' gesture]

ARCHER
The van der Luydens are the most powerful influence in New York
society. And theyreceive very seldom, because of cousin Louisa's
health.

ELLEN
Perhaps that's the reason then.

ARCHER
The reason?

ELLEN
For their influence. They make themselves so rare.

[Her observation intrigues him.

ELLEN
But of course you must tell me.

ARCHER
No, it's you telling me.

ELLEN
Then we can both help each other. Just tell me what to do.

ARCHER
There are so many people already to tell you what to do.

ELLEN
They're all a little angry with me, I think. For setting up for
myself.

ARCHER
Still, your family can advise you. . . show you the way.

ELLEN
Is New York such a labyrinth? I thought it was so straight up and
down, like FifthAvenue, with all the cross-streets numbered and
big honest labels on everything.

ARCHER
Everything is labeled. But everybody is not.

ELLEN
There are only two people here who make me think they can help
and understand. Youand Mr. Beaufort.

ARCHER
(reacts to mention of Beaufort)
I understand. Just don't let go of your old friends' hands so
quickly.

ELLEN
Then I must count on you for warnings, too.

ARCHER
All the older women like and admire you. They want to help.

ELLEN
Oh, I know, I know. But only if they don't hear anything
unpleasant. Does no onehere want to know the truth, Mr. Archer?
The real loneliness is living among allthese kind people who only
ask you to pretend.

[She puts her hands to her face and sobs. Archer goes to her
quickly, bending over her]

ARCHER
No, no, you musn't. Madame Olenska. Ellen.

ELLEN
No one cries here, either? I suppose there's no need to.

[On the street near a florist shop. Archer is walking home from
Ellen's and enters the flower shop]

FLORIST
Oh, Mr. Archer, good evening. We didn't see you this morning,
and weren't surewhether to send Miss Welland the usual. . .

ARCHER
The lilies-of-the-valley, yes. We'd better make it a standing
order.

[He notices a cluster of yellow roses]

ARCHER
And those roses. I'll give you another address.

[He draws out a card and places it inside the envelope, on which
he starts to write Ellen's name and address. He stops and removes
his card and hands the clerk an empty envelope]

ARCHER
They'll go at once?

[At the aviary the next day]

MAY
It's wonderful to wake every morning with lilies-of-the-valley in
my room. It'slike being with you.

ARCHER
They came late yesterday, I know. Somehow the time got away from
me.

MAY
Still, you always remember.

ARCHER
I sent some roses to your cousin Ellen, too. Was that right?

MAY
Very right. She didn't mention it at lunch today, though. She
said she'd gottenwonderful orchids from Mr. Beaufort and a whole
hamper of carnations from CousinHenry van der Luyden. She was so
very delighted. Don't people send flowers inEurope?

[Later in the aviary]

MAY
Well, I know you do consider it a long time.

ARCHER
Very long.

MAY
But the Chivers were engaged for a year and a half. Larry
Lefferts and Gertrudewere engaged for two. I'm sure Mama expects
something customary.

ARCHER
Ever since you were little your parents let you have your way.
You're almosttwenty-two. Just tell your mother what you want.

MAY
But that's why it would be so difficult. I couldn't refuse her
the very last thingshe'd ever ask of me as a little girl.

ARCHER
Can't you and I just strike out for ourselves, May?

MAY
(laughing lightly)
Shall we elope?

ARCHER
If you would.

MAY
You do love me, Newland. I'm so happy.

ARCHER
Why not be happier?

MAY
I couldn't be happier, dearest. Did I tell you I showed Ellen the
ring you chose? She thinks it's the most beautiful setting she
ever saw. She said there was nothinglike it in the rue de la
Paix. I do love you, Newland. Everything you do is sospecial.

[Inside the dining room at the Letterblair House that night]

LETTERBLAIR
Countess Olenska wants to sue her husband for divorce. It's been
suggested that shemeans to marry again, although she denies it.

ARCHER
I beg your pardon, sir. But because of my engagement, perhaps one
of the othermembers of our firm could consider the matter.

LETTERBLAIR
But precisely because of your prospective alliance. . . and
considering that severalmembers of the family have already asked
for you. . . I'd like you to consider thecase.

ARCHER
It's a family matter. Perhaps, it's best settled by the family.

LETTERBLAIR
Oh their position is clear. They are entirely, and rightly,
against a divorce. ButCountess Olenska still insists on a legal
opinion. But really, what's the use of adivorce? She's here, he's
there and the whole Atlantic's between them. As thingsgo,
Olenski's acted generously. He's already returned some of her
money withoutbeing asked. She'll never get a dollar more than
that. Although I understand sheattaches no importance to the
money, other than the support it provides for MedoraManson.
Considering all that, the wisest thing really is to do as the
family says. Just let well enough alone.

ARCHER
I think that's for her to decide.

[In the library at the Letterblair House]

LETTERBLAIR
Have you considered the consequences if the Countess decides for
divorce?

ARCHER
Consequences for the Countess?

LETTERBLAIR
For everyone.

ARCHER
I don't think the Count's accusations amount to anything more
than vague charges.

LETTERBLAIR
It will make for some talk.

ARCHER
Well I have heard talk about the Countess and her secretary. I
heard it even beforeI read the legal papers.

LETTERBLAIR
It's certain to be unpleasant.

ARCHER
Unpleasant!

LETTERBLAIR
Divorce is always unpleasant. Don't you agree?

ARCHER
Naturally.

LETTERBLAIR
Then I can count on you. The family can count on you. You'll use
you influenceagainst the divorce?

ARCHER
I can't promise that. Not until I see the Countess.

LETTERBLAIR
I don't understand you, Mr. Archer.

[Archer pulls out one of his cards and starts to write a message
on the back]

LETTERBLAIR
Do you want to marry into a family with ascandalous divorce suit
hanging over it?

ARCHER
I don't think that has anything to do with the case.

[Archer finishes the note]

ARCHER
Can someone take this for me, please. To the Countess.

[In the foyer at Ellen's house. Ellen and Julius Beaufort enter
from the drawing room]

BEAUFORT
Three days at Skuytercliff with the van der Luydens? You'd better
take your fur anda hot water bottle.

ELLEN
Is the house that cold?

BEAUFORT
No, but Louisa is. Join me at Delmonicos Sunday instead. I'm
having a nice oystersupper, in your honor. Private room,
congenial company. Artists and so on.

ELLEN
That's very tempting. I haven't met a single artist since I've
been here.

ARCHER
I know one or two painters I could bring to see you, if you'd
allow me.

BEAUFORT
Painters? Are there any painters in New York?

ELLEN
(smiling)
Thank you. But I was really thinking of singers, actors,
musicians. Dramaticartists. There were always so many in my
husband's house.
(to Beaufort)
Can I write tomorrow and let you know? It's too late to decide
this evening.

BEAUFORT
Is this late?

ELLEN
Yes, because I still have to talk business with Mr. Archer.

BEAUFORT
Oh. Of course, Newland, if you can persuade the Countess to
change her mind aboutSunday, you can join us too.

[In the drawing room at Ellen's house]

ELLEN
You know painters, then? You live in their milieu?

ARCHER
Oh, not exactly.

ELLEN
But you care for such things?

ARCHER
Immensely. When I'm in Paris or London I never miss an
exhibition. I try to keepup.

ELLEN
I used to care immensely too. My life was full of such things.
But now I want tocast off all my old life. . . to become a
complete American and try to be likeeverybody else.

ARCHER
You'll never be like everybody else.

ELLEN
Don't say that to me, please. I just want to put all the old
things behind me.

ARCHER
I know. Mr. Letterblair told me.

ELLEN
Mr. Letterblair?

ARCHER
Yes, I've come because he asked me to. I'm in the firm.

ELLEN
You mean it's you who'll manage everything for me? I can talk to
you? That's somuch easier.

ARCHER
Yes. . . I'm here to talk about it. I've read all the legal
papers, and the letterfrom the Count.

ELLEN
It was vile.

ARCHER
But if he chooses to fight the case, he can say things that might
be unpleas. . . mightbe disagreeable to you. Say them publicly,
so that they could be damaging evenif. . .

ELLEN
If?

ARCHER
Even if they were unfounded.

ELLEN
What harm could accusations like that do me here?

ARCHER
Perhaps more harm than anywhere else. Our legislation favors
divorce. But oursocial customs don't.

ELLEN
Yes. So my family tells me. Our family. You'll be my cousin soon.
And you agreewith them?

ARCHER
If what your husband hints is true, or you have no way of
disproving it. . . yes. Whatcould you possibly gain that would
make up for the scandal.

ELLEN
My freedom. Is that nothing?

ARCHER
But aren't you free already? It's my business to help you see
things just the waythe people who are fondest of you see them,
all your friends and relations. If Ididn't show you honestly how
they judge such questions, it wouldn't be fair of me,would it?

ELLEN
No. It wouldn't be fair. Very well. I'll do as you wish.

ARCHER
I do. . . I do want to help you.

ELLEN
You do help me.

[Archer stands up]

ELLEN
Good night, cousin.