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Mammy Doesn't Live Here Any More

New World A-Coming

Mammy Doesn't Live Here Any More

Jun 18 1944







CAST:

ANNOUNCER

NARRATOR

1ST WOMAN (1 line)

MAN (1 line)

2ND WOMAN (1 line)

MARTHA, the Negro domestic

JUNIOR

MOTHER

FATHER

MR. RICHARDS

MRS. RICHARDS

CHARLIE, Martha's son


NOTE: This transcript includes some material from the published script (entitled "The Negro Domestic") in brackets.








MUSIC: THEME 


ANNOUNCER: With the sweep and fury of the resurrection--


MUSIC: ACCENT


ANNOUNCER: --there's a "New World a-Coming"!


MUSIC: THEME FILLS A PAUSE ... THEN IN BACKGROUND


ANNOUNCER: Today, and every Sunday at this hour, WMCA, in cooperation with the City-Wide Citizen's Committee on Harlem, brings you a series of vivid programs dramatizing the inner meaning of Negro life, based on the prize-winning bestseller "New World A-Coming" by Roi Ottley. Featuring Georgette Harvey, well-known character actress and star of the stage and radio; Eric Roberts, recently featured in the motion pictures "Watch on the Rhine" and "North Star"; and as narrator, one of the outstanding actors in America, Canada Lee.


MUSIC: UP AND OUT


NARRATOR: If there's one thing that irritates Negroes today -- it is the "mammy" legend, often romanticized in song and story. Yes, of course, the mammy did exist -- once. For at least two centuries she was an institution of the Old South. Even now -- here and there -- one can be found. But today the Old South as we knew it is disappearing and mammy is rapidly passing away with it. Today, mammy has become largely a fiction -- a museum piece of slavery days. Yes, it's true that mammy -- the epitome of the patient, contented slave -- doesn't live here any more! Yet you'll still hear some people saying--


1ST WOMAN: Why, Old Sarah? She's really one of us. She thinks more of us -- almost -- than we do of ourselves. 


MAN: (SOUTHERN ACCENT) Why, suh! We cherish Julia. She's a black diamond. Been in our family for many years. (WITH A CHUCKLE) And can she cook! Why, someday they'll need a wafflemaker in heaven, and we'll lose her. 


2ND WOMAN: (SOUTHERN ACCENT) The old deah! There isn't a thing she wouldn't do for me. And the best of it is that, no matter what or how much she does, she never seems to get sick. 


NARRATOR: While such people exalt mammy verbally, they often don't seem to understand that she has developed strong feelings about her role as a servant -- about her own identity -- and particularly about her own race. It is this development that has lately caused conflicts between Negro servants and their white employers. Well, take, for example, the experiences of a Negro domestic in the home of Mr. and Mrs. Frederick Millburn. Her name is Martha Howard.


MUSIC: FOR AN INTRODUCTION ... THEN BEHIND MARTHA--


MARTHA: (NARRATES) Yes, I'm Martha Howard. I worked for the Millburns for ten years. Ever since Junior was born. The Millburns were like most folks -- nice people. And Junior -- I watched him grow up just like my own boy, who is now in the army. (CHUCKLES) I liked little Junior, and I think he liked me. He was a good boy, bright, quick, smart as most children are, well behaved, a little gentleman. [I came to work for the Millburns in the depression, when it was awfully hard to get a job. (QUICKLY ADDS) Of course, it isn't like that now . . . with war work and such . . . nowadays.] In all fairness, if you asked the Millburns, I think they would say that I did my work well [-- and when I say work, that's exactly what I mean.] I was called on to do all sorts of things -- like, for instance, whenever Junior was sick, I would be the one to look after him. [The last time he was sick was just a few weeks ago ...] 


SOUND: DOOR OPENS AND SHUTS


JUNIOR: Good morning, Martha. 


MARTHA: (CHEERFUL) Well, good morning, Junior. How you feelin', son? 


JUNIOR: Oh, I feel fine. 


MARTHA: Well now, let me put these shades up an' see.  


SOUND: SHADES RAISED


MARTHA: Mm hm. Yes, you do look better. I guess you'll be ready to get up tomorrow. 


JUNIOR: (DISAPPOINTED) Tomorrow? Not today? 


MARTHA: Another day in bed, son, and your cold will be gone completely. 


JUNIOR: Okay, if you say so. Is mother up yet? 


MARTHA: Yes, she just had her breakfast. She'll be in in a minute. (NEW TONE) Here now, let me fix that pillow back o' your head. 


SOUND: DOOR OPENS 


MOTHER: Good morning, son. 


JUNIOR: Good morning, mother. Martha says I'll be all right by tomorrow. 


MARTHA: Yes, ma'am. He's gettin' along fine. 


MOTHER: Well, I think by tomorrow you'll be well enough to go back to school. Oh, Martha, I don't know what we'd do without you. Did you get enough sleep last night? 


MARTHA: Oh, yes, ma'am. I only got up twice during the night to get him some water. 


MOTHER: Well, if you're not too tired, you'd better go out and do the shopping now. I'll stay here with Junior. 


MARTHA: Yes, ma'am.


MOTHER: Oh, Martha, we're having special friends coming to dinner for tomorrow night; I'd like everything to be just right. The Richards are coming for dinner and bridge. 


MARTHA: Yes, ma'am. I'll do my best. Oh, I remember that Mr. Richards likes apple pie. 


MOTHER: (AMUSED, IMPRESSED) Yes, he does! 


JUNIOR: [(CUTS IN) Martha, before you go, will you bring me my breakfast, please? 


MOTHER: I'll get you your breakfast, darling. Martha has other things to do.] And, oh, Martha, don't forget to give the house an extra-special cleaning today. Dust the bookshelves, and wash the woodwork, and vacuum-clean all the rugs. (STARTS FADING) And, oh, Martha, make sure you polish the silver.


MUSIC: TRANSITION ... THEN BEHIND MARTHA--


MARTHA: (NARRATES) Now that day was pretty much like any other. Days got so that one just ran into another -- washing, cooking, shopping, doin' around the house. The next day didn't seem any different -- except for one thing. [That morning I got a letter from my boy Charlie, in the army. It was a letter telling me that he'd got a furlough an' he was 'specially comin' in that night to see me. I got all choked up -- as 'most any mother would -- when I thought about it. I must have read it about a dozen times. That same day] I was in the kitchen workin' an' thinkin', when Junior came in. At first, I didn't hear him--


SOUND: CLATTER OF PANS, POTS, DISHES


JUNIOR: Martha? (NO ANSWER) Martha? Martha! What are you thinkin' about? 


MARTHA: Oh, Junior, I was just lost in thought. 


JUNIOR: About what, Martha? 


MARTHA: Oh, I got a letter this morning from my boy Charlie. 


JUNIOR: (EXCITED) Charlie? In the army? 


MARTHA: Yes. He's comin' here tonight. He's got a furlough. 


JUNIOR: Where's he been fightin'? 


MARTHA: Well, now, he hasn't been fightin' yet. He's just finishing his basic training. But I guess he'll be goin' overseas 'most any day now.


JUNIOR: Where is he goin', Martha? 


MARTHA: Well, child, I'm sure he don't know that hisself. 


JUNIOR: Gosh, I wish I could be a soldier! 


MARTHA: Good lord, this war'll be over long before that, I hope. (REFLECTIVE) Hmm. That's one reason why Charlie's in a uniform. So you won't have to go when you grow up. 


JUNIOR: I wish I could see him. Is he an officer? 


MARTHA: No, Junior. He's only a private.


JUNIOR: Will I be awake when he comes here? 


MARTHA: I don't know. Depends on what time his train gets in. 


JUNIOR: I'd like to see him --  even if he gets here when I'm sleeping. 


MARTHA: Well, we'll have to ask your mother about that. You know you've got to get up in time for school in the morning. 


JUNIOR: I'll ask mom right away. [I want to see Charlie. 


MARTHA: (SMILING) Seems like only yesterday he was no bigger than you -- runnin' around in short pants -- I can hardly believe he's old enough to be in the army.]


JUNIOR: (WITH GREAT ENTHUSIASM) I'm gonna join the Air Corps when I grow up. I'm gonna get in an airplane and I'm gonna go (MIMICS MACHINE GUN FIRE) "ah-ah-ah-ah-ah"! All the Nazis and Japs in the sky! I'll dive right into 'em! I'll zoom up and then I'll circle 'round--! I'll get every one of 'em! 


MARTHA: (CHUCKLES) Yes, I believe you would. And get a chestful of medals, too. (SOBER) But your poor mother. I hope she's spared the things I go through each time I think of something happening to Charlie. (SHOOS HIM AWAY) All right now, you go on an' let me finish my work. I gotta get this dinner ready on time for your mother's friends. 


MUSIC: TRANSITION ... THEN BEHIND MARTHA--


MARTHA: (NARRATES, CHUCKLES) He sure was a bright little fellow -- an' always knew what was goin' on. An' what he didn't know, he tried to find out. Well, that night, Mr. and Mrs. Richards from up the street came to dinner. Everything had gone on smoothly. And when they got to the dessert -- the apple pie -- Mr. Richards was feelin' fine. 


SOUND: DINNER TABLE BACKGROUND (UTENSILS, PLATES, ET CETERA)


MR. RICHARDS: (LAUGHS HEARTILY) Oh, by golly, Millie, that was certainly a fine piece of pie. 


MOTHER: Did you really like it, John? 


MR. RICHARDS: Ha ha! Like it? Why, that's the best pie I've had in years. That cook of yours is sure wonderful. 


MOTHER: I guess we're pretty lucky that we still have Martha. 


MRS. RICHARDS: We've got a girl like her, too. 


MOTHER: Really, Diana? 


MRS. RICHARDS: Why, you've never in your life tasted fried chicken like she makes it. We wouldn't part with her for the world. 


MOTHER: I don't blame you. The way things are, it's terribly hard to find good servants these days. 


FATHER: Yes, the war industries gobble 'em all up. You never know when they'll skip off, you know. 


MOTHER: Why, Frederick, we don't have to worry about that! Martha's happy here with us. And Junior loves her almost as much as he does me. 


FATHER: (LIGHTLY) Well, if he does, it's because he sees more of her than he does of you, darling. 


THE RICHARDS: (BOTH CHUCKLE)


MOTHER: (CHUCKLES) Now, Frederick--


FATHER: (MORE SERIOUS) Well, I think you spoil Martha, really. 


SOUND: DOORBELL RINGS


FATHER: Now who in the world could that be? Are you expecting anyone else this evening? 


MOTHER: Oh, my goodness! Yes, I forgot all about it. 


FATHER: Well, who is it? 


MOTHER: Martha's son Charlie -- the one who's in the army. He got a furlough and wrote her that he was coming here tonight to see her. 


JUNIOR: (RUSHES IN, EXCITED) Mother, mother, mother! Guess who's here?! Guess who's here?! 


MOTHER: Why, Junior, what are you so excited about? 


JUNIOR: Charlie's here, mother! In a uniform and everything! 


MOTHER: Hush, darling, lower your voice. There's no need to shout. 


JUNIOR: (COMPLYING) Yes, mother. (HUSHED) And you know what, daddy?


FATHER: Uh, what, Junior?


JUNIOR: He's got wings on his sleeve! He's in the Air Corps! 


FATHER: (UNCONVINCING) Well, uh-- Well, that's fine.


MRS. RICHARDS: (CHUCKLES) Why, Junior, do you think you'll be able to sleep tonight with all this excitement? 


MR. RICHARDS: I guess Junior wouldn't mind being in the Air Corps himself. Now, would you, Junior, huh? 


JUNIOR: Who, me? Yes, sir! I wanna to be a pilot -- when I'm old enough. 


MR. RICHARDS: (CHUCKLES)


MOTHER: Frederick, I think it would be nice if we invited Martha and her son into the living room while we're having our coffee. I think it would be a nice thing to do, don't you? 


FATHER: (HESITANT) Er-- Well, darling--


JUNIOR: (EAGER) I'll ask them to come in, mother. I'll bring them in. 


FATHER: (QUICKLY) Er, uh, Junior--? 


JUNIOR: Yes, dad? 


FATHER: Er-- Well, never mind. Go ahead. 


JUNIOR: Okay, dad! 


FATHER: Well, I guess that sort of breaks up our bridge game for this evening. 


MOTHER: Frederick, I don't think so. 


FATHER: I'm sorry, John. 


MR. RICHARDS: Oh, that's all right. Forget about it. 


MRS. RICHARDS: (LIGHTLY) Of course. Besides, I don't see how you could get out of it with Junior being so persistent.


MR. RICHARDS: (CHUCKLES)


MOTHER: Well, shall we go into the living room? 


MR. RICHARDS: Sure.


FATHER: Yes, let's do that.


MR. RICHARDS: We don't mind not playing bridge.


MUSIC: TRANSITION


MOTHER: Charles, would you like another cup of coffee? 


CHARLIE: Oh, no, thank you, Mrs. Millburn. 


MOTHER: So, you're in the Air Corps, eh, Charles? 


CHARLIE: Yes, ma'am. And I've just been accepted for further training at the flying school. 


JUNIOR: Boy, that's swell! Isn't it, dad? 


FATHER: Uh, Charlie, uh -- you mean the ground crew, don't you?


CHARLIE: Oh, why, no, sir. As a pilot, sir. 


FATHER: Aren't the qualifications pretty stiff?


CHARLIE: Yes, sir. But I just made it. I was very lucky that I completed two years of college before I went into the service. That helped plenty, I'll tell ya. 


FATHER: (UNCONVINCING) Well, er-- Well, that's fine. 


JUNIOR: Mother, one of the boys in our school-- One of the older boys--


MOTHER: Junior, your father's talking. It isn't polite to interrupt. 


JUNIOR: I'm sorry. (QUICKLY) But, mother, the Air Corps wants lots of boys. 


FATHER: (PATRONIZING) Well, Charlie, I guess you're learning a whole lot in the army. Negroes are getting opportunities for the first time, I hear. 


CHARLIE: Yes, sir, they are. 


FATHER: You seem to be doing well. I hope you'll make the most of your opportunities. I suppose your people have their own training grounds and divisions. 


CHARLIE: Well, sir-- Well, that's one thing about the army that none of us likes. Especially when they say that this is a war for democracy. That kind of treatment -- Negro this and white that -- it doesn't seem fair to us, but-- Well, I guess that'll all be reckoned with in the future. 


MOTHER: How do you mean that, Charles? 


CHARLIE: Well, Mrs. Millburn, you see, when you're in the army -- and you fight for something -- you fight for something that's right. That's the reason why I think we're fighting this war -- for things that are right. Everybody in a uniform takes a chance on giving up his life. Negro soldiers are not different. We believe we're fighting for something that's right. And we don't think we ought to be separated on any 'count. 


MOTHER: I see what you mean, Charles. 


CHARLIE: [And] I think there's some headway being made, too. 


MOTHER: Yes, Charles, go on. 


CHARLIE: Well-- Well, you see, in a few months, if I make the grade, I'll be in a flier's uniform. That's a little headway, I think. There were no Negro fliers in the last war. 


JUNIOR: Gosh, Charlie, I wish I were flying with you! 


MRS. RICHARDS: (ARCHLY) Now, Junior, you know you can't do that. 


JUNIOR: Why, Mrs. Richards? 


MRS. RICHARDS: Well, it's - just not done, that's all.


MOTHER: (CAREFULLY) I think, Junior, what Mrs. Richards means is that you're not old enough to be in a uniform. Only boys who are in the army can fly army planes. 


JUNIOR: Well, gosh, I hope when I'm old enough to get in the army they'll let me fly with Charlie. 


MOTHER: (QUICKLY) Well, perhaps someday. (CHANGES THE SUBJECT) Martha, you've been quiet all evening. You've hardly said a word. 


MARTHA: (QUIETLY MOVED) I'm just so glad to see Charlie -- I guess there's just nothing to say. 


FATHER: Junior, I think you ought to get to bed now, don't you? It's [long] past your bedtime. 


JUNIOR: Must I go so early, dad? 


FATHER: Well, yes, Junior, I think so. 


MARTHA: Come on, boy, I'll take you upstairs. 


JUNIOR: Okay, Martha. 


MARTHA: And, Charlie? 


CHARLIE: Yes, ma?


MARTHA: You can wait for me in my room. 


CHARLIE: Okay.


MARTHA: I'll be down in a little while. 


SOUND: SCENE ENDS WITH THE FOLLOWING LINES OVERLAPPING ONE ANOTHER--


MOTHER: Charles, you must come and see us again before you go away.


CHARLIE: [Mr. Millburn . . . Mrs. Millburn . . . Mr. and Mrs. Richards . . . Thank you for everything.] Thank you very much and goodnight.


FATHER: Good night, Charlie.


MRS. RICHARDS: Good night.


MR. RICHARDS: Pleasure meeting you.


MUSIC: TRANSITION ... THEN BEHIND MARTHA--


MARTHA: (NARRATES) I took young Junior upstairs and put him to bed -- opened the windows -- pulled the shades down -- said good night to him -- closed the door softly behind me and started down the stairs toward my room. On the way down, I heard Mrs. Richards talking loudly. What she was saying gave me a start. 


MRS. RICHARDS: (ACIDLY) Well, my dear, your son certainly seemed interested in your cook's son. 


MOTHER: Oh, that's quite natural. All young boys idolize soldiers in uniform. 


MRS. RICHARDS: Yes, but he doesn't seem to realize that your cook's son is a Negro! 


MOTHER: Diana, I don't think there's anything to fear in that. Martha's a Negro, but she's also an American woman -- and the mother of a very intelligent boy who'd be a credit to any parent.


MRS. RICHARDS: Well, I wouldn't encourage that kind of relationship in my home. 


MR. RICHARDS: Oh, come now, dear, what difference does it make? (CHANGES THE SUBJECT) Well, come on, let's play some bridge, huh? What do you say, Fred? 


FATHER: (UNHAPPY) All right, I'll get the cards and score pad. 


SOUND: SCENE FADES OUT ... TRANSITIONAL PAUSE


MARTHA: (NARRATES) I was hurt by what Mrs. Richards had said. I guess it was more than that -- I was stunned. In the ten years that I had been working in the [Millburns'] home, this was the first time that I had ever heard any talk about color. I walked into my room and found my boy waiting for me -- my own boy -- in uniform. He noticed at once that something was wrong, but I got around that all right. I didn't let on what I had heard. That night, Charlie slept at my mother's home, and we arranged to see each other sometime during the next day. I guess I would have forgotten the whole thing except that next morning, when I went upstairs, I happened to pass Junior's room and heard Mr. Millburn talking to Junior. I've always known that Mr. Millburn was concerned with what neighbors said and thought, but I never dreamed that he would take so seriously what Mrs. Richards had said the night before. [Again, I didn't mean to listen . . . but he was harpin' on that color question again.]


FATHER: Now, Junior, naturally, we are very fond of Charlie, but he-- Well, he's not like us, you know. 


JUNIOR: I know, dad. Perhaps not. Maybe we're all a little different, but they say everybody should get a chance in democracy. We talked about it in school.


FATHER: Well, that's not exactly what I mean. It's just this. (AWKWARD) Um-- Well, your skin is white, whereas Charlie's is, uh, is dark. 


JUNIOR: Does that make any difference? 


FATHER. Well-- Does it?


JUNIOR: Well, does it? 


FATHER: (CLEARS THROAT) Well, Junior, it means that Charles is, uh-- Well, he's a very good, he's a very nice person, but, uh-- Well, he's not white. And therefore not in the same class. 


JUNIOR: You mean because his skin is a different color?


FATHER: Yes, Junior. 


JUNIOR: Dad, are you sure? 


FATHER: Well, certainly I'm sure. Color makes a lot of difference. 


JUNIOR: Gee, it just doesn't make sense.


FATHER: Well, let me put it this way, son. (GROPING FOR WORDS) Er-- Well, how would you like it, if, um-- If I took Martha to the movies tonight? 


JUNIOR: (INTERESTED) What's playin'? ...


FATHER: (SLIGHT GROAN) Now, what difference does that make? If I took a Negro to the movies, we would be ostracized by polite society. Nobody would play with you any more. 


JUNIOR: Do you really think so, dad? 


FATHER: Well, yes, I think so! People would say I had a son who was being brought up wrong. 


JUNIOR: Is there any law which says people with dark skins are not equal to people with white skins? 


FATHER: (QUIETLY) Er-- Well, it's practically a law. 


JUNIOR: (INSISTENT) Yes, but it isn't really a law, is it? 


FATHER: (HARSH) Why, Junior, I'm not going to argue with you! I want you to understand what I've said to you. Do you understand? 


JUNIOR: (GLUM) No, dad. 


MUSIC: TRANSITION ... THEN IN BG, OUT AT [X]


MARTHA: (NARRATES) When they came out of the room, I lowered my head so our eyes wouldn't meet and walked past them. Junior said-- 


JUNIOR: (GLOOMY) Hello, Martha. 


MARTHA: (NARRATES) I don't know whether I answered him or not. [I was all choked up, incensed.] I knew there was only one thing to do. I tried to calm myself, keep my head about me, but it was no use, my head was spinning like a top. This whole thing happened so sudden -- I couldn't believe it! When I got to my room, I packed up my things and then walked into Mrs. Millburn's room. She was talkin' on the phone-- [X]


MOTHER: (INTO PHONE) Why, of course, Jean. We'd love to have you and Bill come for dinner. ... Oh, think nothing of it. Just a minute, dear, someone came into the room. (TO MARTHA) What is it, Martha? 


MARTHA: I'll wait, Mrs. Millburn, till you're finished. 


MOTHER: Why, Martha, you look so-- What's happened? 


MARTHA: I'm leavin', Mrs. Millburn. 


MOTHER: (AMAZED) Leaving? 


MARTHA: I can't work in this house a minute longer. 


MOTHER: What? My goodness! This is terrible! What's come over you, Martha?


MARTHA: Nothin' -- 'cept I'm leavin', Mrs. Millburn. 


MOTHER: Wait just a minute. (INTO PHONE) Jean darling, I'll call you back in a few minutes ... No, no, it's all right ... Yes, in a very few minutes.


SOUND: HANGS UP PHONE 


MOTHER: Now, Martha, what's all this about? 


MARTHA: It's somethin' I can't repeat. I don't want to talk about it. I came to get my money for a week's work. I just can't work here no more! 


MOTHER: Martha, you just can't leave this way after ten years. What's happened? Whatever it is, I'll straighten it out. 


MARTHA: I'm afraid you can't straighten this out, Mrs. Millburn. 


MOTHER: I have no idea what you're talking about! 


MARTHA: Ask Mr. Millburn -- he can tell you. Or talk to your son -- Junior will tell you.


MOTHER: Wait a second. 


SOUND: MOTHER OPENS DOOR


MOTHER: (CALLS) Frederick! Frederick! 


FATHER: (OFF) Yes, Millicent? 


MOTHER: (CALLS) Come up here, please! 


FATHER: (OFF) All right, I'm coming. (BEAT, CLOSER) What's up, Millicent? 


MOTHER: Frederick, what did you say to Martha? 


FATHER: Martha?


MOTHER: Martha says she's leaving. 


FATHER: Leaving? Why? 


MARTHA: I've worked for you for ten years -- to the day. I never got too much pay. I came here in the depression 'cause I couldn't do no better. I stayed on and did my work -- and you all seemed to like me. 


MOTHER: Why, we do, Martha, we do! We're very fond of you. 


MARTHA: Workin' here, I couldn't look after my own son right. I gave you most of my time -- day and night -- whenever you asked me to do extra things like that dinner last night -- and even when you didn't ask me. I wasn't in love with the work -- but I tried to do a good day's work an' not complain. 


MOTHER: And we're perfectly satisfied with you, Martha.


MARTHA: I always liked your boy. He's a good boy. I treated him like I did my own. 


MOTHER: And he loves you, too, Martha. 


MARTHA: But after what I just heard Mr. Millburn tell your boy -- I don't belong here! 


FATHER: You--? You heard what I told Junior? 


MARTHA: Only by accident. I was coming up the stairs, the door was open. (LOW, BITTER) Anyway, I'm glad to know how you feel. 


MOTHER: What did you tell Junior, Frederick? 


MARTHA: You had nothin' against me, Mr. Millburn, but the things you told your son only helps to turn his mind against me an' my race -- people who've done nothin' wrong to you.


FATHER: I - I only tried to show him-- To try to explain to him-- Well, you know, Martha-- 


MARTHA: Yes, I know, Mr. Millburn. An' I'm sorry for you because you're teachin' your own flesh and blood to have prejudice. 


MOTHER: Martha, I wish you'd reconsider what you're doing. I'm sure Mr. Millburn meant no harm. Why, where will you go if you leave here? 


MARTHA: Oh, I don't need to worry about that. There's plenty of places for me to go. 


MOTHER: Well, I wish you wouldn't do anything hasty. (NEW TONE) Why don't you take the rest of the day off, Martha? Think it over before you make any decisions.


MARTHA: I couldn't have any respect for myself if I didn't do just what I'm doin' now. 


MOTHER: Then you've definitely made up your mind about leaving? 


MARTHA: Yes. 


MOTHER: Well, while you say goodbye to Junior, I'll make out your check. 


MARTHA: No, Mrs. Millburn. I'd rather not see him now. 


MOTHER: Why, he'll feel terrible when he learns that you've gone without saying goodbye. 


MARTHA: Some other time, maybe. (LOW, BITTER) But I don't want to interfere with what his father said.


FATHER: I - I'm terribly sorry, Martha. 


MUSIC: TRANSITION ... THEN BEHIND MARTHA--


MARTHA: (NARRATES) I never really explained to Charlie why I left the Millburns. I figured he was in the army -- and soon enough he'd be over there fighting for the things we believed in. I didn't want him to get bitter because he had enough to worry about right now. I think he must have known, though, that something was wrong. You can't fool bright young people. And even if I must say it myself, Charlie is a bright boy. I told him that I wanted a job in a war plant, that I wanted to be part of this war, too. And, as a matter of fact, about a week later I got a job in a parachute factory, sewing parachutes. Then one afternoon -- it was Sunday after church -- I came home to my newly-rented house and, well-- (LAUGHS) Who do you think was sitting on my doorstep? 


JUNIOR: Hello, Martha. 


MARTHA: Why, Junior, bless your heart. Did you come 'way up here to see me? 


JUNIOR: Yes, Martha, I did. 


MARTHA: Does your mother know you're here? 


JUNIOR: Yes, she does -- an' father does, too! 


MARTHA: Your father? 


JUNIOR: Dad took back what he said. 


MARTHA: And your mother -- what did she say? 


JUNIOR: Mother felt very bad. I think they both did. Gee, mother hasn't been able to get anyone in the house to stay with us. 


MARTHA: Maybe 'cause it's such hard work being a servant. Awfully hard sometimes. Now, since I got my job in the parachute factory, I get more time for myself. And I make more money, too. Isn't that good? 


JUNIOR: It sure is. I'm glad for you. Martha, you look so nice in that blue dress. 


MARTHA: You like it, Junior? 


JUNIOR: I sure do. 


MARTHA: Well, come on inside and let me show you my own house.


JUNIOR: May I?


MARTHA: Sure. (POINTEDLY) In my house, friends are always welcome.


MUSIC: FINISH ... THEN IN BACKGROUND


ANNOUNCER: "New World A-Coming" is written by Roi Ottley and is based on Mr. Ottley's book by the same name. The program is produced and directed by Mitchell Grayson. John Velasco assisted. Original music by James Lazito was conducted by Bill Wirges. The theme song was composed by Duke Ellington. 


Members of the cast included Georgette Harvey, well-known character actress and star of the stage and radio; Eric Roberts, recently featured in the motion pictures "Watch on the Rhine" and "North Star"; and as narrator and Charlie the soldier, one of America's outstanding actors, Canada Lee. Others in the cast were Ethel Everett, Lurene Scott, Ralph Bell and Sanford Bickart.


If you'd like to attend a broadcast of "New World A-Coming," you may obtain tickets by addressing your request to Station WMCA, Sixteen Fifty-Seven Broadway, New York, Nineteen, New York.


Lee James speaking. This was a public service feature of Station WMCA.


MUSIC: TAG, FOR A FINISH


SOUND: APPLAUSE ... TILL END

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