Overview
- Female: 1
- Male: 1
Context
Hennie and Moe are in love with each other, but they’d drop dead before admitting it to the other one. Instead, they constantly needle at each other, each provoking the other instead of just saying how they feel. Here, Moe gets on Hennie’s case for marrying Sam Feinschreiber, a sweet pushover of a man, when it’s clear who she really should be married to.
Both these characters speak with New York accents.
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Moe: (advancing into the room) That your husband?
Moe: Maybe he’s a nurse you hired for the kid—it looks it—how he tends it. A guy comes howling to your old lady every time you look cross-eyed. Does he sleep with you?
Hennie: Don’t be so wise!
Moe: (indicating newspaper) Here’s a dame strangled her hubby with wire. Claimed she didn’t like him. Why don’t you brain Sam with an axe some night?
Hennie: Why don’t you lay an egg, Axelrod?
Moe: I laid a few in my day, Feinschreiber. Hard-boiled ones too.
Hennie: Yeah?
Moe: Yeah. You wanna know what I see when I look in your eyes?
Hennie: No.
Moe: Ted Lewis playing the clarinet—some of those high crazy notes! Christ, you coulda had a guy with some guts instead of a cluck stands around boilin’ baby nipples.
Hennie: Meaning you?
Moe: Meaning me, sweetheart.
Hennie: Think you’re pretty good.
Moe: You’d know if I slept with you again.
Hennie: I’ll smack your face in a minute.
Moe: You do and I’ll break your arm. (Holds up paper) Take a look. (Reads) “Ten-day luxury cruise to Havana.” That’s the stuff you coulda had. Put up at ritzy hotels, frenchie soap, champagne. Now you’re tied down to “Snake-Eye” here. What for? What’s it get you? . . . a 2 x 4 flat on 108th Street . . . a pain in the bustle it gets you.
Hennie: What’s it to you?
Moe: I know you from the old days. How you like to spend it! What I mean! Lizard-skin shoes, perfume behind the ears. . . . You’re in a mess, Paradise! Paradise—that’s a hot one—yah, crazy to eat a knish at your own wedding.
Hennie: I get it—you’re jealous. You can’t get me.
Moe: Don’t make me laugh.
Hennie: Kid Jailbird’s been trying to make me for years. You’d give your other leg. I’m hooked? Maybe, but you’re in the same boat. Only it’s worse for you. I don’t give a damn no more, but you gotta yen makes you—
Moe: Don’t make me laugh.
Hennie: Compared to you I’m sittin’ on top of the world.
Moe: You’re losing your looks. A dame don’t stay young forever.
Hennie: You’re a liar. I’m only twenty-four.
Moe: When you comin’ home to stay?
Hennie: Wouldn’t you like to know?
Moe: I’ll get you again.
Hennie: Think so?
Moe: Sure, whatever goes up comes down. You’re easy—you remember—two for a nickel—a pushover! (Suddenly she slaps him. They both seem stunned.) What’s the idea?
Hennie: Go on . . . break my arm.
Moe: (As if saying “I love you”) Listen, lousy.
Hennie: Go on, do something!
Moe: Listen——
Hennie: You’re so damn tough!
Moe: You like me. (He takes her)
Hennie: Take your hand off! (Pushes him away) Come around when it’s a flood again and they put you in the ark with the animals. Not even then—if you was the last man!
Moe: Baby, if you had a dog I’d love the dog.
Hennie: Gorilla! (Exits)
Odets, Clifford, “Awake and Sing!,” Waiting for Lefty and Other Plays, Grove Press, p. 68-69.
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