The Early Ayn Rand

BLOND GIRL: [She is one of the last to leave. She hesitates, whispering tentatively:] Lanny...

LANGLEY: Out! All of you! [She exits. The stage is empty but for LANGLEY surveying dazedly the havoc of his studio. There is a knock at the door] Out, I said! Don't want any of you! [The knock is repeated. He walks to the door, throws it open. KAY GONDA enters. She stands looking at him without a word. He asks impatiently:] Well? [She does not answer] What do you want?

KAY GONDA: Are you Dwight Langley?

LANGLEY: Yes.

KAY GONDA: I need your help.

LANGLEY: What's the matter?

KAY GONDA: Don't you know?

LANGLEY: How should I know? Just who are you?

KAY GONDA: [After a pause] Kay Gonda.

LANGLEY: [Looks at her and bursts out laughing] So? Not Helen of Troy? Nor Madame Du Barry? [She looks at him silently] Come on, out with it. What's the gag?

KAY GONDA: Don't you know me?

LANGLEY: [Looks her over contemptuously, his hands in his pockets, grinning] Well, you do look like Kay Gonda. So does her stand-in. So do dozens of extra girls in Hollywood. What is it you're after? I can't get you into pictures, my girl. I'm not even the kind to promise you a screen test. Drop the racket. Who are you?

KAY GONDA: Don't you understand? I am in danger. I have to hide. Please let me stay here for the night.

LANGLEY: What do you think this is? A flop house?

KAY GONDA: I have no place to go.

LANGLEY: That's an old one in Hollywood.

KAY GONDA: They will not look for me here.

LANGLEY: Who?

KAY GONDA: The police.

LANGLEY: Really? And why would Kay Gonda pick my house to hide in of all places? [She starts to open her handbag, but closes it again and says nothing] How do I know you're Kay Gonda? Have you any proof?

KAY GONDA: None, but the honesty of your vision.

LANGLEY: Oh, cut the tripe! What are you after? Taking me for a... [There is a loud knock at the door] What's this? A frame-up? [Walks to door and throws it open. A uniformed POLICEMAN enters. KAY GONDA turns away quickly, her back to the others]

POLICEMAN: [Good-naturedly] 'Evening. [Looking about him, helplessly] Where's the drunken party we got a complaint about?

LANGLEY: Of all the nerve! There's no party, officer. I had a few friends here, but they left long ago.

POLICEMAN: [Looking at KAY GONDA with some curiosity] Between you and me, it's a lotta cranks that call up complaining about noise. As I see it, there's no harm in young people having a little fun.

LANGLEY: [Watching curiously the POLICEMAN'S reaction to KAY GONDA] We really weren't disturbing anyone. I'm sure there's nothing you want here, is there, officer?

POLICEMAN: No, sir. Sorry to have bothered you.

LANGLEY: We are really alone here — [Points to KAY GONDA] — this lady and I. But you're welcome to look around.

POLICEMAN: Why, no, sir. No need to. Good night. [Exits]

LANGLEY: [Waits to hear his steps descending the stairs. Then turns to KAY GONDA and bursts out laughing] That gave the show away, didn't it, my girl?

KAY GONDA: What?

LANGLEY: The cop. If you were Kay Gonda and if the police were looking for you, wouldn't he have grabbed you?

KAY GONDA: He did not see my face.

LANGLEY: He would have looked- Come on, what kind of racket are you really working?

KAY GONDA: [Stepping up to him, in full light] Dwight Langley! Look at me! Look at all these pictures of me that you've painted! Don't you know me? You've lived with me in your hours of work, your best hours. Were you lying in those hours?

LANGLEY: Kindly leave my art out of it. My art has nothing to do with your life or mine.

KAY GONDA: Of what account is an art that preaches things it does not want to exist?

LANGLEY: [Solemnly] Listen. Kay Gonda is the symbol of all the beauty I bring to the world, a beauty we can never reach. We can only sing of her, who is the unattainable. That is the mission of the artist. We can only strive, but never succeed. Attempt, but never achieve. That is our tragedy, but our hopelessness is our glory. Get out of here!

KAY GONDA: I need your help.

LANGLEY: Get out!!