Screenplay

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

PART - III

[In Boston the next day. Archer is in a park watching a painter.
He turns and through the morning sun, see a woman seated a little
way in front of him on a bench. Ellen looks up and Archer is
beside her]

ELLEN
(startled)
Oh.
(now smiling)
Oh.

ARCHER
I'm here on business. Just got here, actually. You're doing your
hair differently.

ELLEN
Only because the maid's not with me. She stayed back in
Portsmouth. I'm only herefor two days, it didn't seem worth. . .

ARCHER
You're travelling alone?

ELLEN
(sly)
Yes. Why, do you think it's a little dangerous?

ARCHER
(smiling)
Well, it's unconventional.

ELLEN
I suppose it is. I hadn't thought of it. I've just done something
so much moreunconventional. I've refused to take back money that
belonged to me.

ARCHER
Someone came with an offer?

[She nods]

ARCHER
What were the conditions?

ELLEN
(simply)
I refused.

ARCHER
(pressing)
Tell me the conditions.

ELLEN
Nothing unbearable, really. Just to sit at the head of his table
now and then.

ARCHER
And he wants you back, at any price?

ELLEN
Well, it's a considerable price. At least it's considerable for
me.

ARCHER
So you came to meet him.

[She stares, then laughs suddenly]

ELLEN
My husband? Here? No, of course not. He sent someone.

ARCHER
(very careful now)
His secretary?

ELLEN
Yes. He's still here, in fact. He insisted on waiting. In case I
changed my mind. They told you at the hotel I was here?

[He nods but says nothing]

ELLEN
You haven't changed, Newland.

ARCHER
(intense)
I had changed, till I saw you again.

ELLEN
Please don't.

ARCHER
Just give me the day. I'll say anything you like. Or nothing. I
won't speakunless you tell me to. All I want is some time with
you. All I want is to listento you. I want to get you away from
that man. Was he coming to the hotel?

ELLEN
At eleven. Just in case. . .

ARCHER
Then we must leave now. It's been a hundred years since we've
met.

ELLEN
Where will we go?

ARCHER
Where?

[He's stumped
emotion has gotten in the way of foresight. He seems addled for
a moment. She smiles at him]

ELLEN
Somewhere cool, at any rate.

ARCHER
We'll take the steamboat down to Point Arley. There's an inn.

ELLEN
I'll have to leave a note at the hotel.

[He pulls a note-case from his pocket]

ARCHER
Write it here. I have the paper. . . you see how everything's
predestined? . . . andthis. . . have you seen these. . . the new
stylographic pen. . .

[He hands her the case and pulls out a fountain pen]

ARCHER
Just steady the case on your knee, and I'll get the pen going in
a second. . .

[He bangs the hand holding the pen against the back of the bench]

ARCHER
It's like jerking down the mercury in a thermometer. Now try.

[He hands her then and she writes the note]

[At the Parker House Hotel in Boston]

ARCHER
Shall I take it in?

ELLEN
I'll only be a moment.

[Archer waits for her. Archer sees a man dressed in a distinctly
European fashion. The man doesn't notice Archer but he seems
familiar]

[At the Inn. Archer and Ellen are sitting at a table outside]

ELLEN
Why didn't you come down to the beach to get me the day I was at
Granny's?

ARCHER
Because you didn't turn around. You didn't know I was there. I
swore I wouldn'tcall you unless you looked around.

ELLEN
But I didn't look on purpose.

ARCHER
You knew?

ELLEN
I recognized the carriage when you drove in. So I went to the
beach.

ARCHER
To get as far away from me as you could.

ELLEN
As I could. Yes.

ARCHER
Well you see, then. It's no use. It's better to face each other.

ELLEN
I only want to be honest with you.

ARCHER
Honest? Isn't that why you always admired Julius Beaufort? He was
more honest thanthe rest of us, wasn't he? We've got no
character, no color, no variety. I wonderwhy you just don't go
back to Europe.

ELLEN
I believe it's because of you.

ARCHER
Me? I'm the man who married one woman because another one told
him to.

ELLEN
You promised not to say those things today.

ARCHER
I can't keep that promise.

ELLEN
And what about May? What does May feel? That's the thing we've
always got to thinkof, by your own showing.

ARCHER
My showing?

ELLEN
Yes, yours. Otherwise everything you taught me would be a sham.

ARCHER
If you're using my marriage as some victory of ours, then there's
no reason on earthwhy you shouldn't go back. You gave me my first
glimpse of a real life. Then youasked me to go on with the false
one. No one can endure that.

ELLEN
I'm enduring it.

ARCHER
You too? All this time, you too?

[She doesn't reply]

ARCHER
What's the use? We can't be like this. When will you go back?

ELLEN
I won't. Not yet. Not as long as we both can stand it.

ARCHER
This is not a life for you.

ELLEN
It is. As long as it's part of yours.

ARCHER
And the way I live. . . my life. . . how can it be part of yours?

ELLEN
Don't. . . don't be unhappy.

ARCHER
You won't go back? You won't go back?

ELLEN
I won't go back.

[On the street in New York. Archer is about to enter his office
building as a man approaches him. He is the same man that he saw
outside the Parker House in Boston]

RIVIERE
(French accent)
It's Mr. Archer, I think?

ARCHER
Yes?

RIVIERE
My name is Reviere. We dined together in Paris last year.

ARCHER
Oh yes. I'm sorry I didn't quite recall. . .

RIVIERE
Quite alright. I had the advantage. I saw you yesterday in
Boston.

[Archer is taken aback by this]

[In Archer's office]

ARCHER
I still do not understand why we're speaking.

RIVIERE
I came her on Count Olenska's behalf because I believed. . . in
all good faith. . . thatit would be best for the Countess to
return to him. I met her in Boston and toldher all the Count had
said. She did me the kindness of listening carefully. Butshe's
changed, Monsieur.

ARCHER
(a tinge of jealous suspicion)
You knew her before?

RIVIERE
I used to see her in her husband's house. The Count would never
have trusted mymission to a stranger.

ARCHER
This change. . .

RIVIERE
It may only have been my seeing her for the first time as she is.
As an American. And if you're an American of her kind. . . of
your kind. . . things are accepted incertain other societies, or
at least put up with for the sake of. . . convenience. . . these
things become intolerable. She made her marriage in good faith.
It was afaith that the Count could not share, and could not
understand. So her faith wasshattered. And it was only coming
back here. . . coming home. . . that restored it. Returning to
Europe would mean a life of some comfort. And considerable
sacrifice. And also, I would think, no hope. I will fulfill my
obligation to the Count andmeet with the family. I will tell them
what he wishes and suggests for theCountess. But I ask you,
Monsieur, to use you own influence with them. I. . . I begyou. .
. with all the force I'm capable of. . . not to let her go back.

[Archer looks at him with astonishment. Riviere's eyes fix
momentarily on Archer, then look around the room. Archer extends
his hand]

ARCHER
Thank you.

[In the dining room at Mrs. Archer's House that evening. Janey,
Mrs. Archer, Newland and May, Mrs. Welland and Sillerton
Jackson are having a traditional Thanksgiving dinner]

MRS. ARCHER
Well, Boston is more conservative than New York. But I always
think it's a saferule for a lady to lay aside her French dresses
for one season. When Old Mrs. Baxter Pennilow died, they found
her standing order - forty-eight Worth dresses -still wrapped in
tissue paper. When her daughters left off their mourning they
worethe first lot to the Symphony without looking in advance of
the fashion.

NARRATOR
He had written to her once in Washington. Just a few lines,
asking when they wereto meet again. And she wrote back
"Not yet. "

JANEY
I think it was Julius Beaufort who started the new fashion by
making his wife clapher new clothes on her back as soon as they
arrived. I must say, it takes allRegina's distinction not to look
like. . .

JACKSON
(helpfully)
Her rivals?

JANEY
. . . like that Annie Ring.

MRS. ARCHER
Careful, dear.

JANEY
Well, everybody knows.

JACKSON
Indeed. Beaufort always put his business around. And now that his
business is gonethere are bound to be disclosures.

MAY
Gone? Is it that bad?

JACKSON
As bad as anything I've ever heard of. Most everybody we know
will be hit, one wayor another.

[In the library of the Archer House]

JACKSON
Very difficult for Regina, of course. And it's a pity. . . it's
certainly a pity. . . that Countess Olenska refused her husband's
offer.

ARCHER
Why, for God's sake?

JACKSON
Well. . . to put it on the lowest ground. . . what's she going to
live on now?

ARCHER
Now. . . !

JACKSON
Well, I mean now that Beaufort. . .

ARCHER
What the hell does that mean, sir?

JACKSON
(continuing tranquilly)
Most of her money's invested with Beaufort, and the allowance
she's been gettingfrom the family is so cut back. . .

ARCHER
She has something, I'm sure.

JACKSON
Oh I would think a little. Whatever remains after sustaining
Medora. But I knowthe family paid close attention to Monsieur
Riviere and considered the Count's offervery closely. Everyone
hopes the Countess herself might simply see that livinghere, on
such a small margin. . .

ARCHER
If everyone would rather she be Beaufort's mistress than some
decent fellow's wife,you've all gone about it perfectly. She
won't go back.

JACKSON
That's your opinion, eh? Well no doubt you know. I suppose she
might still softenCatherine Mingott, who could give her any
allowance she chooses. But the rest ofthe family has no
particular interest in keeping Madame Olenska here. They'llsimply
let her find her own level.

ARCHER
(pause)
Shall we go up and join my mother?

[In the Archer House hallway. May and Archer arrive home and the
servants take their coats. Archer and May climb the staircase to
the second floor of their house. The lamp that May holds throws
deep long shadows on the wall]

ARCHER
The lamp is smoking again. The servants should see to it.

MAY
I'm sorry.

ARCHER
I may have to go to Washington for a few days.

MAY
When?

ARCHER
Tomorrow. I'm sorry, I should have said something before.

MAY
On business?

ARCHER
On business, of course. There's a patent case coming up before
the Supreme Court. I just got the papers from Letterblair. It
seems. . .

MAY
Never mind. I'm sure it's too complicated. I have enough trouble
managing thislamp. But the change will do you good. And you must
be sure to go and see Ellen.

[Does she know? He thinks she might]

[In the Archer House. The maid brings a note to Archer and May]

ARCHER
(indicating lamp)
Do something about this, will you, Agnes?

[The maid takes the still smoking lamp, and gives him her lamp.
May looks up from the note]

MAY
Granny's had a stroke.

[In the bedroom at the Mingott House. The servants are carrying
Mrs. Mingott out on a heavy chair]

MRS. MINGOTT
A stroke!I told them all it was just an excess of Thanksgiving.
Dr. Bencomb actedmost concerned and insisted on notifying
everyone as if it were the reading of mylast testament. But I
won't be treated like a corpse when I'm hardly an invalid.

[The servants proceed to carry her to the drawing room]

MRS. MINGOTT
You're very dear to come. But perhaps you only wanted to see what
I'd left you.

MAY
Granny, that's shocking!

[The servants set Mrs. Mingott down in the drawing room in her
accustomed spot]

MRS. MINGOTT
It was shock that did this to me. It's all due to Regina
Beaufort. She came herelast night, and she asked me. . .

[As she talks, Archer creates the image in his mind. . . ]

MRS. MINGOTT
. . . she had the effrontery to ask me. . . to back Julius. Not
to desert him, she said. To stand behind our common lineage in
the Townsend family. I said to her, "Honor'salways been honor,
and honesty's always been honesty, in Manson Mingott's house,
andwill be 'till I'm carried out feet first. "And then. . . if
you can believe it. . . shesaid to me. . . "But my name, Auntie.
My name's Regina Townsend. "And I said, "Yourname was Beaufort
when he covered you with jewels, and it's got to stay Beaufort
nowthat he's covered you with shame. "

[Back to the drawing room as Mrs. Mingott finishes her story]

MRS. MINGOTT
So I gave out. Simply gave out. Now family will be arriving from
all overexpecting a funeral and they'll have to be entertained. I
don't know how many notesBencomb sent out.

ARCHER
If there's any way we can help. . .

MRS. MINGOTT
Well, my Ellen is coming. I expressly asked for her. She arrives
this afternoon onthe train. If you could fetch her. . .

ARCHER
Of course. If May will send the brougham, I can take the ferry.

MAY
(the slightest pause)
There, you see, Granny. Everyone will be settled.

[Archer and May are leaving Mrs. Mingott's house and entering
their carriage]

MAY
I didn't want to worry Granny. But how can you meet Ellen and
bring her back if youhave to go to Washington yourself this
afternoon?

ARCHER
I'm not going. The case is off. Postponed. I heard from
Letterblair this morning.

MAY
Postponed? How odd. Mama had a note from him this morning as
well. He wasconcerned about Granny but he had to be away. He was
arguing a big patent casebefore the Supreme Court. You said it
was a patent case, didn't you?

ARCHER
Well, that's it. The whole office can't go. Letterblair decided
to go thismorning.

MAY
Then it's not postponed?

[The blood rises in Archer's face]

ARCHER
No. But my going is.

[At the train station]

NARRATOR
He knew is was two hours by ferry and carriage from the
Pennsylvania terminus inJersey City back to Mrs. Mingott's. All
of two hours. And maybe a little more.

[Archer sees Ellen among the disembarking train passengers and
motions to her]

ARCHER
You didn't expect me today?

ELLEN
No.

ARCHER
It was Granny Mingott who sent me. She's much better. I nearly
went to Washingtonto see you. We would have missed each other.

[Archer helps Ellen into the carriage]

ARCHER
Did you know. . . I hardly remembered you.

ELLEN
Hardly remembered?

ARCHER
I mean. . . I mean it's always the same. Each time I see you. You
happen to me allover again.

ELLEN
Oh yes. I know, I know. For me too.

[Later in the journey]

ARCHER
Your husband's secretary came to see me. The day after we met in
Boston.

[She seems surprised]

ARCHER
You didn't know?

ELLEN
No. But he told me he had met you. In Paris, I think.

ARCHER
Ellen. . . I have to ask you. Just one thing.

ELLEN
Yes?

ARCHER
Was it Riviere who helped you get away after you left your
husband?

ELLEN
Yes. I owe him a great debt.

ARCHER
(quietly)
I think you're the most honest woman I ever met.

ELLEN
(slight smile)
No. But probably one of the least fussy.

ARCHER
Ellen, We can't stay like this. It can't last.

ELLEN
What?

ARCHER
Our being together and not being together. It's impossible.

ELLEN
You shouldn't have come today.

[Suddenly, she turns and flings her arms around him, pressing him
close, kissing him passionately. He returns all her feeling. She
suddenly draws away, silent and motionless to the corner of the
carriage]

ARCHER
Don't be afraid. Look, I'm not even trying to touch your sleeve.
Being like thisisn't what I want. I need you with me. I can even
just sit still, like this, andlook at you.

ELLEN
I think we should look at reality, not dreams.

ARCHER
(desperate)
I just want us to be together.

ELLEN
I can't be your wife, Newland. Is it your idea I should live with
you as yourmistress?

ARCHER
I want. . . somehow I want to get away with you. Find a world
where words like thatwon't exist.

ELLEN
Oh my dear. . . whare is that country? Have you ever been there?
Is there anywhere wecan be happy behind the backs of people who
trust us?

ARCHER
I'm beyond caring about that.

ELLEN
No, you're not!You've never been beyond that. I have. I know what
it looks like. A lie in every silence. It's no place for us.

[He looks at her, dazed. Then he reaches for the small cab bell
that signals orders to the coachman. The coach pulls up and
Archer gets out]

ELLEN
Why are we stopping? This isn't Granny's.

ARCHER
No. I'll get out here. You were right. I shouldn't have come
today.

[He closes the door]

[In the library at the Archer House that night. Archer is reading
a book and May is embroidering a soft cushion]

MAY
What are you reading?

ARCHER
Oh, a history. About Japan.

MAY
Why?

ARCHER
I don't know. Because it's a different country.

MAY
You used to read poetry. It was so nice when you read it to me.

[He gets to his feet]

ARCHER
I need some air.

[He goes to the window and opens it and leans out into the cold]

MAY
Newland!You'll catch your death.

ARCHER
Catch my death. Of course.

NARRATOR
But then he realized, I am dead. I've been dead for months and
months. Then itoccurred to him that she might die. People did.
Young people, healthy people, did. She might die, and set him
free.

[May sees him looking at her]

MAY
Newland?

[He walks to her and touches her head]

ARCHER
Poor May.

MAY
Poor? Why poor?

ARCHER
Because I'll never be able to open a window without worrying you.

MAY
I'll never worry if you're happy.

ARCHER
And I'll never be happy unless I can open the windows.

MAY
In this weather?

[On the street at Ellen's house. Ellen is coming down the front
steps toward a waiting carriage. As she approaches the carriage
door, Archer steps out of the shadows]

ARCHER
I have to see you. I didn't know when you were leaving again.

ELLEN
I'm due at Regina Beaufort's. Granny lent me her carriage.

ARCHER
With all that's happened, you're still goinig to see Regina
Beaufort?

ELLEN
I know. Granny says Julius Beaufort is a scoundrel. But so is my
husband, and thefamily still wants me to go back to him.

[Two figures , illuminated by the glowing street lamps but still
a little indistinct in the blowing snow, are walking down the
street toward Ellen and Archer]

ARCHER
But you won't go back?

ELLEN
No. Granny's asked me to stay and help care for her. But I think
it's me she meansto help. She said I've lived too long locked up
in a cage. She's even seen to myallowance.

[The two figures draw nearer, then discretely cross to the other
side of the street. As they pass under the streetlight we
recognize one of the two men
Larry Lefferts. Archer and Ellen see them and draw a little
closer to the sheltering shadow of the carriage]

ARCHER
You won't need my help if you have Granny's.

ELLEN
I will still need your help. If I stay, we will have to help each
other.

ARCHER
I have to see you. Somewhere we can be alone.

ELLEN
(smiles)
In New York?

ARCHER
Alone. Somewhere we can be alone. There's the art museum in the
park. Half pasttwo tomorrow. I'll be at the door.

[At the Art Museum]

ARCHER
You came to New York because you were afraid.

ELLEN
Afraid?

ARCHER
Of my coming to Washington.

ELLEN
I promised Granny to stay in her house because I thought I would
be safer.

ARCHER
Safer from me?

[She bends her head]

ARCHER
Safer from loving me?

ELLEN
(pause)
Shall I come to you once, and then go home?

[He doesn't answer. She gets up and starts out. He catches her by
the arm]

ARCHER
Come to me once, then.

[They look at each other almost like enemies]

ARCHER
(pressing)
When? Tomorrow?

ELLEN
(hesitating)
The day after.

[She moves away down the long gallery. He follows her]

ELLEN
No. Don't come any farther than this.

[She hurries to the gallery door, turns, then leaves]

[In the library at the Archer House that night. Archer is at his
desk. An envelope addressed to Ellen is near him; his pen is
poised over a piece of vellum on which he is writing an address
for their rendezvous. A key, to go with the address, is ready to
be sealed in the envelope as he looks up, slightly startled as
May enters, a little agitated]

MAY
I'm sorry I'm late. You weren't worried, were you?

[He sweeps the key, envelope and address into his desk drawer
before she is near enough to notice]

ARCHER
Is it late?

MAY
Past seven. I stayed at Granny's because cousin Ellen came in. We
had a wonderfultalk. She was so dear. Just like the old Ellen.
And Granny's so charmed by her. You do see, though, why sometimes
the family has been annoyed? Going to see ReginaBeaufort in
Granny's carriage. . .

[Archer gets up, annoyed at the same old prattle]

ARCHER
Aren't we dining out?

[He starts past her, and she moves forward, almost impulsively.
She throws her arms around him and presses her cheek to his]

MAY
You haven't kissed me today.

[At the Theatre]

NARRATOR
It was the custom, in old New York, for brides to appear in their
wedding dressduring the first year or two of marriage. But May,
since returning from Europe, hadnot worn her bridal satin until
this evening.

[Archer enters the box and leans over to May]

ARCHER
My head's bursting. Don't tell anyone, but please come home with
me.

[May looks at him, then whispers to her mother. Mrs. Welland
whispers an excuse to her companion, Mrs. van der Luyden, as May
rises and leaves with her husband]

[In the library at the Archer House]

MAY
Shouldn't you rest?

ARCHER
My head's not as bad as that. And there's something important I
have to tell youright away. May. . . There's something I've got
to tell you. . . about myself. . . MadameOlenska. . .

MAY
(interrupting)
Oh, why should we talk about Ellen tonight?

ARCHER
Because I should have spoken before.

MAY
Is it really worthwhile, dear? I know I've been unfair to her at
times. Perhaps weall have. You've understood her better than any
of us, I suppose. But does itmatter, now that it's all over?

ARCHER
Over? How do you mean, over?

MAY
Why, since she's going back to Europe so soon. Granny approves
and understands. She's disappointed, of course, but she's
arranged to make Ellen financiallyindependent of the Count. I
thought you would have heard today at your offices.

[He stares at her, not really seeing her. There is uncomfortable
silence]

ARCHER
It's impossible.

MAY
Impossible? Certainly she could have stayed here, with Granny's
extra money. But Iguess she's given us up after all.

ARCHER
How do you know that?

MAY
From Ellen. I told you I saw her at Granny's yesterday.

ARCHER
And she told you yesterday?

MAY
No. She sent me a note this afternoon. Do you want to see it?

[May moves to the desk and pulls the note from a small pile of
mail on the desk]

MAY
I thought you knew.

[She hold out the note and he takes it]

ELLEN
"May dear, I have at last made Granny understand that my visit to
her could be nomore than a visit, and she has been as kind and
generous as ever. She sees now thatif I return to Europe I must
live by myself. I am hurrying back to Washington topack up, and I
sail next week. You must be very good to Granny when I'm gone. .
. asgood as you've always been to me. If any of my friends wish
to urge me to change mymind, please tell them it would be utterly
useless. "

ARCHER
Why did she write this?

MAY
I suppose because we talked things over yesterday.

ARCHER
What things?

MAY
I told her I was afraid I hadn't been fair to her. I hadn't
always understood howhard it must have been here. I knew you'd be
the one friend she could always counton. And I wanted her to know
that you and I were the same. In all our feelings.
(more slowly)
She understood why I wanted to tell her this, I think she
understands everything.

[She takes one of his cold hands and presses it quickly to her
cheek]

MAY
My head aches, too. Good night, dear.

[In the dining room at the Archer House]

NARRATOR
It was, as Mrs. Archer said to Mrs. Welland, a great event for
a young couple togive their first dinner, and it was not to be
undertaken lightly. There was a hiredchef, two borrowed footmen,
roses from Henderson's, Roman punch and menus ongilt-edged cards.
It was considered a particular triumph that the van der
Luydens,at May's request, stayed in the city to be present at her
farewell dinner for theCountess Olenska.

[Everyone is seated at the table. Ellen is to Archer's left]

NARRATOR
He guessed himself to have been, for months, the center of
countless silentlyobserving eyes and patiently listening ears. He
understood that, somehow, theseparation between himself and the
partner of his guilt had been achieved. And heknew that now the
whole tribe had rallied around his wife. He was a prisoner in
thecenter of an armed camp.

JANEY
Regina's not well at all, but that doesn't stop Beaufort from
devoting as much timeto Annie Ring. . .

[Archer turns to Ellen]

ARCHER
Was the trip from Washington very tiring?

ELLEN
The heat in the train was dreadful. But all travel has its
hardships.

ARCHER
Whatever they may be, they're worth it. Just to get away.

[She can't reply]

ARCHER
I mean to do a lot of travelling myself soon.

[Ellen's face trembles. To rescue the moment, he leans toward a
man sitting across from him]

ARCHER
Philip, what about you? A little adventure? A long trip? Are you
interested? Athens and Smyrna and maybe Constantinople. Then as
far East as we can go.

PHILIP
Possibly, possibly.

MRS. VAN DER LUYDEN
But not Naples, Dr. Bencomb says there's a fever.

ARCHER
There's India, too.

PHILIP
You must have three weeks to do India properly.

[In the library at the Archer House. After dinner, the men are
gathered in several groups, all smoking cigars]

LEFFERTS
Beaufort may not receive invitations anymore, but it's clear he
still maintains acertain position.

PHILIP
Horizontal, from all I've heard.

LEFFERTS
(indignant)
If things go on like this, we'll be seeing our children fighting
for invitations toswindlers' houses and marrying Beaufort's
bastards.

JACKSON
Has he got any?

[Laughter from the group]

GUEST
Careful, there, gentlemen. Draw it mild, draw it mild.

[Archer manages a small smile but is still distracted. Van der
Luyden approaches him]

VAN DER LUYDEN
Have you ever noticed? It's the people who have the worst cooks
who are alwaysyelling about being poisoned when they dine out.
Lefferts used to be a little moreadept, I thought. But then,
grace is not always required. As long as one knows thesteps.

[In the drawing room at the Archer House. May is sitting on a
sofa next to Countess Olenska. May sees Archer and her eyes are
shining as she gets up. As soon as she is on her feet, Mrs. van
der Luyden beckons Ellen to join her across the room. Ellen goes
slowly toward Mrs. van der Luyden and another woman joins them.
Archer watches this ritual as if it were an elaborate rehearsal
for a firing squad]

NARRATOR
The silent organization which held this whole small world
together was determined toput itself on record. It had never for
a moment questioned the propriety of MadameOlenska's conduct. It
had never questioned Archer's fidelity. And it had neverheard of,
suspected, or even conceived possible, anything at all to the
contrary. From the seamless performance of this ritual, Archer
knew that New York believed himto be Madame Olenska's lover. And
he understood, for the first time, that his wifeshared the
belief.

[In the front hall. Archer is helping Ellen with her cloak]

ARCHER
Shall I see you to your carriage?

[She turns to him as Mrs. van der Luyden steps forward]

MRS. VAN DER LUYDEN
(casual)
We are driving deal Ellen home.

[Ellen offers her hand to Archer]

ELLEN
Good-bye.

ARCHER
Good-bye. But I'll see you soon in Paris.

ELLEN
Oh. . . if you and May could come. . .

[In the library at the Archer House. May is at the doorway]

MAY
It did go off beautifully, didn't it.

ARCHER
Oh. Yes.

MAY
May I come in and talk it over?

ARCHER
Of course. But you must be very sleepy.

MAY
No. I'm not. I'd like to be with you a little.

ARCHER
Fine.

[They sit in separate chairs near the fire]

ARCHER
(pause)
Since you're not tired and want to talk, there's something I have
to tell you. Itried the other night.

MAY
Oh yes, dear. Something about yourself?

ARCHER
About myself, yes. You say you're not tired. But I am. I'm tired
of everything. I want to make a break. . .

MAY
You mean give up the law?

ARCHER
Well, maybe. To get away, at any rate. Right away. On a long
trip. Go somewherethat's so far. . .

MAY
How far?

ARCHER
I don't know. I thought of India. Or Japan.

[She stands up and walk toward him]

MAY
As far as that? But I'm afraid you can't, dear. . .
(unsteady voice)
. . . not unless you take me with you. That is, if the doctors
will let me go. . . butI'm afraid they won't.

[He stares at her, his eyes nearly wild]

MAY
I've been sure of something since this morning and I've been
longing to tell you. . .

[She sinks down in front of him, puts her face against his knee]

ARCHER
Oh.

MAY
You didn't guess?

ARCHER
No. Of course, I mean, I hoped, but. . .

[He looks away from her]

ARCHER
(quietly)
Have you told anyone else?

MAY
Only Mama, and your mother. And Ellen. You know I told you we'd
had a long talkone afternoon. . . and how wonderful she was to
me.

ARCHER
Ah.

MAY
Did you mind my telling her, Newland?

ARCHER
Mind? Why should I? But that was two weeks ago, wasn't it? I
thought you said youweren't sure till today.

MAY
(face flushed)
No. I wasn't sure then. But I told her I was. And you see. . .

[She looks up at him, moving closer]

MAY
I was right.

[She is very close to him now, expecting to be kissed. Her eyes
are wet with VICTORY. Newland is speechless. He desperately
looks around the room]

NARRATOR
It was the room in which most of the real things of his life had
happened. Theireldest boy, Theodore, too delicate to be taken to
church in midwinter, had beenchristened there. It was here that
Ted took his first steps. And it was here thatArcher and his wife
always discussed the future of all their children. Bill'sinterest
in archaeology. Mary's passion for sport and philanthropy.
Ted'sinclinations toward "art" that led to a job with an
architect, as well as someconsiderable redecoration. It was in
this room that Mary had announced herengagement to the dullest
and most reliable of Larry Lefferts' many sons. And itwas in this
room, too, that her father had kissed her through her wedding
veilbefore they motored to Grace Church. He was a dutiful, loving
father, and afaithful husband. When May died of infectious
pneumonia after nursing Bill safelythrough, he had honestly
mourned her. The world of her youth had fallen into piecesand
rebuilt itself without her ever noticing. This hard bright
blindness, herincapacity to recognize change, made her children
conceal their views from her, justas Archer concealed his. She
died thinking the world a good place, full of lovingand
harmonious households like her own. Newland Archer, in his fifty-
seventh year,mourned his past and honored it.

[a telephone rings and Archer picks it up. At 57, his face shows
the evidence of a full life behind him]

ARCHER
Yes? Hello?

OPERATOR
Chicago wants you.

TED
Dad?

ARCHER
Ted?

TED
I'm just about finished out here, but my client wants me to look
at some gardensbefore I start designing.

ARCHER
Fine. Where?

TED
Europe. I'll have to sail next Wednesday on the Mauretania.

ARCHER
And miss the wedding?

TED
Annie will wait for me. I'll be back on the first and our
wedding's not 'till thefifth.

ARCHER
(affectionate)
I'm surprised you remember the date.

TED
Well, I was hoping you'd join me. I'll need you to remind me of
what's important. What do you say? It will be our last father and
son trip.

ARCHER
I appreciate the invitation, but. . .

TED
Wonderful. Can you call the Cunard office first thing tomorrow?

[In the Bristol Hotel room in Paris. Archer is sitting on a divan
near the window, looking out. Ted is with him]

TED
I'm going out to Versailles with Tourneur. Will you join us?

ARCHER
I thought I'd go to the Louvre.

TED
I'll meet you there later, then. Countess Olenska is expecting us
at half-pastfive.

ARCHER
(stunned)
What?

TED
Oh, didn't I tell you. Annie made me swear to do three things in
Paris. Get herthe score of the last Debussy songs. Go to the
Grand Guignol. And see MadameOlenska. You know she was awfully
good to Annie when Mr. Beaufort sent her over tothe Sorbonne.
Wasn't the Countess friendly with Mr. Beaufort's first wife
orsomething? I think Mrs. Beaufort said that she was. In any
case, I called theCountess this morning and introduced myself as
her cousin and. . .

ARCHER
You told her I was here?

TED
Of course. Why not? She sounds lovely. Was she?

ARCHER
Lovely? I don't know. She was different.

[At the Louvre in Paris]

NARRATOR
Whenever he thought of Ellen Olenska, it had been abstractly,
serenely, like animaginary loved one in a book or picture. She
had become the complete vision of allthat he had missed.

ARCHER
(whispering)
But I'm only fifty-seven.

[At Tuiileries in Paris. Ted and Archer, deep in conversation,
walk through the great gardens on their way to Madame Olenska's]

TED
Did Mr. Beaufort really have such a bad time of it, when he
wanted to remarry? Noone wanted to give him an inch.

ARCHER
Perhaps because he had already taken so much.

TED
If anyone remembers anymore. Or cares.

ARCHER
Well, he and Annie Ring did have a lovely daughter. You're very
lucky.

TED
We're very lucky, you mean.

ARCHER
Yes, that's what I mean.

TED
So considering how that all turned out. . . and considering all
the time that's goneby. . . I don't see how you can resist.

ARCHER
Well, I did have some resistance at first to your marriage, I've
told you that. . .

TED
No, I mean resist seeing the woman you almost threw everything
over for. Only youdidn't.

ARCHER
(cautious)
I didn't.

TED
No. But mother said. . .

ARCHER
Your mother?

TED
Yes. The day before she died. She asked to see me alone,
remember? She said sheknew we were safe with you, and always
would be. Because once, when she asked youto, you gave up the
thing you wanted most.

ARCHER
She never asked me.

[On the rue du Bac in Paris]

NARRATOR
After a little while he did not regret Ted's indiscretion. It
seemed to take aniron band from his heart to know that, after
all, someone had guessed and pitied. . . And that it should have
been his wife moved him inexpressibly.

TED
The porter says it's the fifth floor. It must be the one with the
awnings.

[They both look toward an upper balcony, just above the horse-
chestnut trees in the square]

TED
It's nearly six.

[Archer sees an empty bench under a tree]

ARCHER
I think I'll sit a moment.

TED
Do you mean you won't come?

[Archer shrugs]

TED
You really won't come at all?

ARCHER
I don't know.

TED
She won't understand.

ARCHER
Go on, son. Maybe I'll follow you.

TED
But what will I tell her?

ARCHER
(as he sits)
Don't you always have something to say?

TED
I'll tell her you're old-fashioned and you insist on walking up
five flights insteadof taking the elevator.

ARCHER
(pause)
Just say I'm old-fashioned. That should be enough.

[Ted gives his father a look of affectionate exasperation, then
crosses the square and goes into the building. Archer watches him
go. Then he looks up at the windows on the fifth floor. A curtain
moves, briefly, then falls back i