Little Women Page #8

MRS. MARCH

You're right, Jo. I think it would be a good idea for both your

sakes. Now come to bed dear. I'll talk to father about it. If he

agrees, we'll write to Mrs. Kirke. Good night.

JO:

Good night, Marmee.

(01:
21:52) **

(in New York) **

(01:
21:58) **

MRS. KIRKE

Now, my dear, I think I've told you everything. And it shall be a

great load off my mind knowing the children are safe with you.

I'm very busy, so I'll have Mamie show you to your room. Mamie!

I've given you a little inside room. It's all I have. But it has

a table, and you can use it for your writing.

JO:

That's good.

MRS. KIRKE

Mamie! You must come down here some after dinner and be sociable.

I promised your mother I wouldn't let you get homesick. And I've

only the most refined people in my house. Mamie!

MAMIE:

Here I am, Mrs. Kirke.

MRS. KIRKE

Oh, Mamie. This is Miss Josephine. Will you take her up to her

room and find the children.

MAMIE:

Yes. Ma'am.

MRS. KIRKE

I'll see you later, my dear.

MAMIE:

Ah, right this way, please. Children, children. They ain't a bad

lot, but all my stars, they take a deal o' handling. Minnie.

Kitty. You heard me. Come on out. I know where you are.

(01:
23:08) **

CHILDREN:

(Scream)

TINA:

He's gonna get me. He's gonna get me. Eat Mamie, don't eat my

baby.

(01:
23:25) **

MAMIE:

Professor. Professor.

PROFESSOR:

Oh. Oh, I beg your pardon, please. I'm so sorry.

MAMIE:

This is Miss. Josephine. What's got you in charge now. And this

is Professor Bhaer.

PROFESSOR:

How do you do?

JO:

How do you do?

TINA:

I want to play some more.

PROFESSOR:

Oh, that is for Miss Josephine to say. But I'm afraid we

frightened her already.

JO:

Oh, no. But I didn't expect to meet a grizzly bear in the upper

hall.

PROFESSOR:

Ha, ha, ha, yes. Oh, no, no, Mamie, wait, wait. The back is too

young to carry such a heavy load. Come on, children, let's play

soldiers. Tina, you're the general. You are the captain, and here

lieutenant. Forward, march. So we sing the chorus, from Atlanta

to the sea, while we are marching to the linen closet.

MAMIE:

Oh, he's such a lovely man. I know he must have been a gentleman

sometime or other. But he's as poor as a church mouse now.

JO:

What does he do?

MAMIE:

Oh, he's_che's a professor, see. You know, learns 'em how they

talk in foreign countries. I don't know what good it does 'em

when they're livin' right here.

(01:
23:25) **

(01:
23:25) 1:26:24 **

PROFESSOR:

Oh, oh, good evening, my little friend. Good evening.

JO:

Please don't stop. It was beautiful. I've heard you play it often

and wanted to ask you what it was. I'd so like to send it to my

little sister.

PROFESSOR:

"Nur wer die Sehnsucht kennt." The words are by Goethe. Do you

speak German? Oh, well, then I better give it to you in English.

Let me see now. Ah, "Nur wer die Sehnsucht kennt" Yah, yah, yah.

"Only who knows what longing is can know what I suffer."

""weiŸA_Awas ich leide"_@ "Alone and parted far from joy and

gladness. My senses fail. Burning fire devours me".

JO:

My senses fail. A burning fire devours me. I know how he felt.

PROFESSOR:

Tchaikovsky did also. That's why he wrote this beautiful heart-

breaking music.

JO:

Oh, if only I could write something like that. Something splendid

that would set other hearts on fire.

PROFESSOR:

That is genius. Ah, you wish to write, my little friend?

JO:

Yes, that's my longing. I've sold two stories already since I've

been here.

PROFESSOR:

Oh, that's very good. I like to read them. May I?

JO:

Oh, would you? I'd so like to know your opinion.

PROFESSOR:

Oh, I would be very happy. You have that ardent spirit, right? I

like that.

JO:

Oh, what shall I ask for at the music shop?

PROFESSOR:

"Nur wer die Sehnsucht kennt".

JO:

"Nur wer die_c"

PROFESSOR:

"Sehnsucht"

JO:

"Sehnsucht"

PROFESSOR:

Haha. I think I better write it down for you. Oh, no. Here is a

teacher without pencil?

JO:

Oh, let me sew that button for you, before you lose it.

PROFESSOR:

Oh, no. I sew on buttons. I, I _c

JO:

Not very well, evidently.

PROFESSOR:

Well,

(in the nursery) **

(01:
29:24) **

JO:

Who was Goldilocks? A little girl?

TINA:

Yes.

JO:

And she_c

TINA:

And she_c

JO:

_cwent into their house.

TINA:

_cwent into their, into their house.

JO:

_cand saw three chairs.

TINA:

_cand saw three chairs.

JO:

_cthree chairs.

TINA:

_cthree chairs. One was a baby one. One was the Daddy one. And

one was the Mommy one.

JO:

Uh huh. So she sat down in the big one.

TINA:

And it was too hard and she_c

MAMIE:

Miss Josephine, you're to go down to the parlor right away.

Someone to see you.

JO:

Who is it?

MAMIE:

I can't tell you. It's a surprise.

JO:

All right, children, that'll be all for today. Now run along and

wash your hands and faces for tea.

TINA:

I'll tell you the story tomorrow.

JO:

All right. Who is it, Mamie?

MAMIE:

I can't tell you. It's a surprise. Is these some of your new

stories? Oh, they look creepier than Duke Storber. Can I read

them?

JO:

Yes, if you want to.

MAMIE:

"The Priest of the Coventries" or "the Secret of a Guilty Heart"

by Josephine March.

(Down in the parlor) **

(01:
30:43) **

JO:

Then it's true. Amy.

AMY:

Darling.

JO:

Oh, ma_c

AUNT MARCH:

Now, Josephine.

JO:

Oh, I'm so glad to see you.

AUNT MARCH:

Sit down here.

JO:

Tell me everything.

AUNT MARCH:

We can't stop now. We've got to get to the shipping office 'fore

it closes.

JO:

Shipping office, Aunt March? Europe?

AUNT MARCH:

Taking Amy with me. Well, maybe you can go next time.

JO:

Next time? Well, tell me, um, is Meg all right and, and Mummy and

father? And how's my Beth?

AMY:

She's better again but she isn't rosy as she used to be.

JO:

Oh, my poor Beth. Why doesn't she get strong? And, and Laurie?

AMY:

Why didn't you see them when they were here? He and his

grandfather have been in Europe for weeks.

JO:

Laurie in New York? And didn't come to see me?

AUNT MARCH:

I'm sure you can't blame him. After the way you picked up and

trotted off without so much as saying good bye to any of us. I

think you've treated everybody shamefully. Come along, Amy.

AMY:

Oh, Jo, dear. I, I wish it were you. I know how you've always

longed to go.

JO:

Oh, no, darling. It's your award. You've always done sweet things

to please Aunt March, and think of all the wonderful things

you're going to see. The 'Turner's, and 'LaFiero's, and

'Leonardo's.

AUNT MARCH:

Amy, you seem to forget waiting cabs cost money. That's the

trouble with folks who never had anything. Easy come, easy go. Be

right back, Josephine.

JO:

Good bye, darling.

(01:
33:04) **

PROFESSOR:

Miss Josephine, Miss Josephine.

JO:

Yes, Professor Bhaer.

PROFESSOR:

I have read your stories, and I would like to return them to you.

Will you please come in?

JO:

Ah, yes. Thank you. Did you like them?

PROFESSOR:

Well, Miss March, I must be honest. I was disappointed. Why do

you write such artificial characters, such, such artificial

plots, villains, murderers, and, and, and such women? Why don't

you write a_c?

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