Tag: Management

  • [Solved] Reflection

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    For this final discussion: – Identify the top three concepts or skills you learned in this course that you believe will be the most useful to you in your current or future professional career or education. How are these important to someone in the field of health care management? – Provide at least …

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    Assignment Prompt & Instructions

    For this final discussion:
    – Identify the top three concepts or skills you learned in this course that you believe will be the most useful to you in your current or future professional career or education. How are these important to someone in the field of health care management?
    – Provide at least one specific example to support your response.
    **Introduction – Quality Management Systems and Tools**
    **Quality Management Techniques**
    **Time Value of Money and Discounted Cash Flow Analysis**
    Be sure to respond to at least one of your classmates' posts. Cite any resources used.

  • [Solved] journal

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    In this **400-500 word** journal entry, you will reflect on how the experience of migration, and the borders that shape it, transform both personal identity and cultural expression. After engaging with the assigned readings, videos, and artworks by Guillermo Gómez-Peña, Shirin Neshat, Jacob Lawrence…

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    Assignment Prompt & Instructions

    In this **400-500 word** journal entry, you will reflect on how the experience of migration, and the borders that shape it, transform both personal identity and cultural expression. After engaging with the assigned readings, videos, and artworks by Guillermo Gómez-Peña, Shirin Neshat, Jacob Lawrence, and Kour Pour, respond to the following:
    ### **Tasks**
    ### **Journal Questions** **(respond to** _**all**_ **in your entry):**
    1. Choose **two artists** from the materials (e.g., Gómez-Peña, Neshat, Lawrence, Pour).
    – How do they visualize or perform the experience of crossing—or living within—borders?
    – What strategies do they use (style, symbolism, media, voice) to express inclusion, exclusion, displacement, or transformation?
    – **Be specific. I will not accept broad summaries of the artworks. Cite the exact place in the text or describe a particular facet of a painting that illuminates the borderlands concept.**
    2. Connect at least one of the artists to **Gloria Anzaldúa’s** concept of the borderlands.
    – How does their work echo or expand on Anzaldúa’s ideas of contradiction, hybridity, and identity?
    – **Be specific.**
    3. Reflect personally:
    – Which artwork or performance resonated most with you and why?
    – How did it help you think differently about borders, not just geographically, but in terms of culture, gender, or language?

  • [Solved] wrap up

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    – Read and discussed Anzaldúa and Gómez-Peña – Watched contemporary performance art by Gomez-Pena and film by Shirin Neshat – Viewed paintings by Jacob Lawrence and Kour Pour – Shared personal reflections on borders in your life – _**Reflected**_. ### **Task – A Time to Reflect** **Instructions**: I…

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    Assignment Prompt & Instructions

    – Read and discussed Anzaldúa and Gómez-Peña
    – Watched contemporary performance art by Gomez-Pena and film by Shirin Neshat
    – Viewed paintings by Jacob Lawrence and Kour Pour
    – Shared personal reflections on borders in your life
    – _**Reflected**_.
    ### **Task – A Time to Reflect**
    **Instructions**: In a short paragraph (3–5 sentences), reflect on your experience in this module. (5 points for answering each prompt.)
    – Which idea, reading, or artwork challenged your thinking the most?
    – What questions do you still have about cultural identity and marginal spaces?

  • [Solved] Projw8

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    – ## Proj585-w8.docx **## Proj585-w8.docx** Course Project: Final Project Plan (Due Week 8) The deliverable this week is the Course Project: Final Project Plan. Integrate the additional outline sections into your Course Project: Introductory Project Plan, including all revisions you have made since …

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    – ## Proj585-w8.docx

    **## Proj585-w8.docx**

    Course Project: Final Project Plan (Due Week 8)

    The deliverable this week is the Course Project: Final Project Plan.

    Integrate the additional outline sections into your Course Project: Introductory Project Plan, including all revisions you have made since your last submission. Then rename the document to Course Project: Final Project Plan on the title page. Your sections will need to address these topics based on the project option you choose.

    A sample outline of the new sections that must be included in the Course Project: Final Project Plan is listed.

    PROJ585 Final Project Plan Outline

    Project Organization and Plan

    Team Structure

    Project Organization Type and Reason for Choice

    Project Resources: People required, hardware and software required, and special resources and tools (if required)

    Agile Methodology

    Describe the agile toolkit you choose to use: scrum, kanban, lean development, crystal, or extreme programming (XP), and so on.

    Explain how the selected agile methodology can benefit the project.

    Change, Quality, and Communications Management Plan

    Change Management: Discuss the change management process (What is the overall process for change management?) as well as change management methodology (Who is responsible and can authorize changes?).

    Quality Management: Include a quality assurance plan. Update your quality assurance plan by adding at least 10 items in your project that are sensitive to quality (such as user interfaces of the application, CPU consumption, memory overflow, security leak, contents of user manual, etc.). Be sure to describe the validation criteria you plan to use to ensure the quality.

    Project Communications Plan: Present a stakeholder communications management (note all stakeholders and list how, when, and what to communicate).

    References Page

    For each of the Course Project: Final Project Plan sections, provide the following information.

    Describe each section in sufficient detail to address the requirements of that section.

    Deliverable

    The content of the submissions should be at least 10 pages long (excluding the title page, table of contents, and other supporting items) and be in a project plan format.

    **## Proj585-w8.docx**

    Course Project: Final Project Plan (Due Week 8)

    The deliverable this week is the Course Project: Final Project Plan.

    Integrate the additional outline sections into your Course Project: Introductory Project Plan, including all revisions you have made since your last submission. Then rename the document to Course Project: Final Project Plan on the title page. Your sections will need to address these topics based on the project option you choose.

    A sample outline of the new sections that must be included in the Course Project: Final Project Plan is listed.

    PROJ585 Final Project Plan Outline

    Project Organization and Plan

    Team Structure

    Project Organization Type and Reason for Choice

    Project Resources: People required, hardware and software required, and special resources and tools (if required)

    Agile Methodology

    Describe the agile toolkit you choose to use: scrum, kanban, lean development, crystal, or extreme programming (XP), and so on.

    Explain how the selected agile methodology can benefit the project.

    Change, Quality, and Communications Management Plan

    Change Management: Discuss the change management process (What is the overall process for change management?) as well as change management methodology (Who is responsible and can authorize changes?).

    Quality Management: Include a quality assurance plan. Update your quality assurance plan by adding at least 10 items in your project that are sensitive to quality (such as user interfaces of the application, CPU consumption, memory overflow, security leak, contents of user manual, etc.). Be sure to describe the validation criteria you plan to use to ensure the quality.

    Project Communications Plan: Present a stakeholder communications management (note all stakeholders and list how, when, and what to communicate).

    References Page

    For each of the Course Project: Final Project Plan sections, provide the following information.

    Describe each section in sufficient detail to address the requirements of that section.

    Deliverable

    The content of the submissions should be at least 10 pages long (excluding the title page, table of contents, and other supporting items) and be in a project plan format.

  • [Solved] Business Finance – Management last assignment

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    Need done by tommorow \ IMG_5270.png](https://www.sweetstudy.com/files/img-5270-png-10324219 "IMG_5270.png") \ IMG_5268.png](https://www.sweetstudy.com/files/img-5268-png "IMG_5268.png") \ IMG_5269.png](https://www.sweetstudy.com/files/img-5269-png-10324223 "IMG_5269.png") \ IMG_5272.png](ht…

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    Need done by tommorow
    \
    IMG_5270.png](https://www.sweetstudy.com/files/img-5270-png-10324219 "IMG_5270.png")
    \
    IMG_5268.png](https://www.sweetstudy.com/files/img-5268-png "IMG_5268.png")
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    IMG_5269.png](https://www.sweetstudy.com/files/img-5269-png-10324223 "IMG_5269.png")
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    IMG_5272.png](https://www.sweetstudy.com/files/img-5272-png "IMG_5272.png")
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    IMG_5273.png](https://www.sweetstudy.com/files/img-5273-png "IMG_5273.png")
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    IMG_5275.png](https://www.sweetstudy.com/files/img-5275-png "IMG_5275.png")

  • [Solved] innovative technology mid

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    \ Innovativetechnologyinbusinessmid.pdf](https://www.sweetstudy.com/files/innovativetechnologyinbusinessmid-pdf "Innovativetechnologyinbusinessmid.pdf")

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    \
    Innovativetechnologyinbusinessmid.pdf](https://www.sweetstudy.com/files/innovativetechnologyinbusinessmid-pdf "Innovativetechnologyinbusinessmid.pdf")

  • [Solved] Reflection

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    One of the main goals of this course is to encourage you to think of yourself as a writer. Writing seems straightforward: just type out your thoughts. By now, you've probably come to realize it's not that easy. For this discussion, consider one of the following: 1. How would you describe your writin…

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    Assignment Prompt & Instructions

    One of the main goals of this course is to encourage you to think of yourself as a writer. Writing seems straightforward: just type out your thoughts. By now, you've probably come to realize it's not that easy. For this discussion, consider one of the following:
    1. How would you describe your writing ability at this point?
    2. What would you like to work on as you continue to develop as a writer?
    ## **Response Guidelines**
    Read the posts of your peers and respond to at least one other learner. Please make sure your response is substantive.

  • [Solved] 1-1 Discussion: Economic and Financial Situations

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    share an economic or financial situation that has stood out to you. What interested you most about your chosen situation? Why are financial skills valuable in sport organizations?

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    Assignment Prompt & Instructions

    share an economic or financial situation that has stood out to you. What interested you most about your chosen situation? Why are financial skills valuable in sport organizations?

  • [Solved] 3.1

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    Read the assigned readings below before proceeding with this assignment. You should always take notes as you work through the content, perhaps using a [note-taker like this oneLinks to an external site.](https://docs.google.com/document/d/1W4esysAweh8Y4mqnp6PEOr-h8jskxQBa-15oEfjuPhk/edit?usp=sharing…

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    Assignment Prompt & Instructions

    Read the assigned readings below before proceeding with this assignment. You should always take notes as you work through the content, perhaps using a [note-taker like this oneLinks to an external site.](https://docs.google.com/document/d/1W4esysAweh8Y4mqnp6PEOr-h8jskxQBa-15oEfjuPhk/edit?usp=sharing). Save your notes in a dedicated folder for this class.
    – ["Media"Links to an external site.](https://openbooks.library.umass.edu/introwgss/chapter/media/ "Link") from Introduction to Women, Gender, and Sexuality Studies by Kang et al.
    – ["The Bechdel Test for Women in Movies"Links to an external site.](https://www.youtube.com/watch?v=bLF6sAAMb4s) (video)
    – ["The Good Wife"](https://cerritos.instructure.com/courses/95162/files/12466726?wrap=1 "TheGoodWife.EBSCO-FullText-05_22_2025.pdf") [Download "The Good Wife"](https://cerritos.instructure.com/courses/95162/files/12466726/download?download_frd=1) by Morgan Jerkins
    ### **Media Part 1: Mass Media (TV and Film)**
    The stories we grow up with play a huge part in how we see ourselves and the world, and how we see ourselves _in_ the world. As an elder millennial, TV and movies of the 90s had an immense impact on my worldview–with all the [Lisa SimpsonsLinks to an external site.](https://simpsons.fandom.com/wiki/Lisa_Simpson), [Jessie SpanosLinks to an external site.](https://savedbythebell.fandom.com/wiki/Jessie_Spano) and [Kat StratfordsLinks to an external site.](https://en.wikipedia.org/wiki/10_Things_I_Hate_About_You) that I gravitated to in a media landscape where most female characters couldn't pass Kelly Sue DeConnick's ["sexy lamp test"Links to an external site.](https://www.upworthy.com/i-dont-know-about-you-but-i-prefer-my-strong-female-characters-to-pass-the-sexy-lamp-test "Link") and most movies didn't pass the Bechdel test. In other words, it was a mass media landscape full of female characters without _agency_, but with a few very strong female characters developed in response.
    Above is a photo of comic book writer Kelly Sue DeConnick with a quote defining what she calls the "sexy lamp test": "If you can take a female character out and replace her with a sexy lamp and your plot still functions, then f*ck you."
    These days, our media experiences are highly siloed by algorithms and personalized streaming recommendations, so there aren't as many shows/movies with such a wide audience, with everyone seemingly watching the same things. Now, there are many more options for people to see _themselves_ represented, which is great progress! Yet, these silos may make it likelier that viewers will gravitate _only_ to stories in which they already see themselves, perhaps limiting the scope of empathy that TV/movies have the opportunity to provide.
    #### **Representation Matters**
    If you can remember any character from TV and film, or even a video game or a book, who had an impact on you, then you know the power of representation. Representation matters. It's important for all of us to see ourselves represented (and represented positively, and with complexity) in the stories of our culture.
    Here's a famous example of the lasting impact of media representation: Actress Whoopi Goldberg expressed this when she famously told the story about Nichelle Nichols as Uhura on _Star Trek_ in the 1960s. Whoopi explained that she saw someone who looked like her on TV, and that was when she knew she could be anything she wanted.
    If embedded images are not showing up for you, view the [image of Uhura and Whoopi on this Google DocLinks to an external site](https://docs.google.com/document/d/1S8ES5Xp0-QADTqvYxh_rAeFlENiU1fxLViYL6sAQpKc/edit?usp=sharing)
    When Nichelle Nichols portrayed Lieutenant Uhura on _Star Trek_ beginning in 1966, it was a truly groundbreaking role. Just two years before this, racial segregation was legal in the U.S., yet the show portrayed a racially diverse utopian future that included a Black woman in a leadership role.
    ![Nichelle Nichols as Uhura in Star Trek](https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fthestrawfeminist.files.wordpress.com%2F2013%2F05%2Fuhura.jpg&f=1&nofb=1)
    However, Nichols  considered leaving the show to pursue her dream of performing on Broadway, but she was famously persuaded to stay on the show by Dr. Martin Luther King Jr himself, who argued that Nichols was doing the work of the Civil Rights movement by continuing to portray the character. Nichols talks about the experience in this video; watching it is optional:
    https://youtu.be/UBMwmTslVZE
    A few years ago, comedian Leslie Jones [famously told Whoopi GoldbergLinks to an external site.](https://www.youtube.com/watch?v=cfk0AUvQEaU&feature=youtu.be) of [being influencedLinks to an external site.](https://time.com/4407975/leslie-jones-whoopi-goldberg-the-view/) by _her_ work–and it's very similar to how Goldberg was impacted by Nichols. Representation matters, and the impact of change has a snowball effect!
    #### **Objectification**
    In examining gendered portrayals in film, it's helpful to consider **objectification**–which is exactly what it sounds like: making someone into an object rather than a subject, a person. Often, female characters in media are objectified by being overly sexualized; they exist in media to look pretty and serve as _objects_ of desire for male characters, and for the perspective of the (heterosexual, usually white) **male gaze.**
    In Kelly Sue DeConnick's "sexy lamp test," above, what she illustrates is that female characters are often portrayed as _objects_, rather than full human _subjects_ with _agency_ of their own.
    Of course, we live in an intersectional world, so there is a racialized component to this concept as well.
    ##### **Kang et al describe objectification as follow:**
    "cutting apart their bodies with the camera frame and re-crafting their bodies through digital manipulation in order to create feminized bodies with characteristics that are largely unattainable by the majority of the population. Kilbourne shows how advertising often values the body types and features of white women—having petite figures and European facial features—while often exoticizing women of color by putting them in 'nature' scenes and animal-print clothing that are intended to recall a pre-civilizational past. The effect of this is to cast women of color as animalistic, savage creatures—a practice that has historically been used in political cartoons and depictions of people of color to legitimate their subjugation as less than human. In addition, media depict the world from a masculine point of view, representing women as sex objects."
    #### **The Male Gaze**
    Objects are _passive_, so objectification is often discussed alongside the concepts of **the male gaze**–being gazed at (or looked at), rather than _doing_ the gazing, is also _passive_–a characteristic traditionally associated with femininity.
    **The male gaze** is a term stemming from visual arts to explain the way in which women in visual media are often presented in a way that appeals to a (heterosexual, usually white) male perspective.
    Kang et al. describe the male gaze as follows: "This kind of framing, what Laura Mulvey called the **male gaze,** encourages men viewers to see women as objects and encourages women to see themselves as objects of men’s desire; the male gaze is thus a heterosexual male gaze."
    For an example, consider the two images below that portray gazing vs. being the _object_ of someone else's gaze. Batman on the left looks straight into the camera. He is centered in the frame, and he looks strong and powerful. We see him looking at us, the viewers, and we can see that he has determination and strength. Batman on the right is portrayed the way female superheroes have often historically been portrayed: he is presented as an object to be looked at, rather than as a subject with goals and desires of his own. His costume is impractical for fighting crime, instead showing off his body to viewers. The leaning, off-center stance makes him look like he could easily fall over, rather than grounding himself for strength or preparing to take action. Batman on the left exhibits active _agency_–the ability to make things happen, to be the catalyst of the action. Batman on the right, while probably perfectly capable of active agency, is _presented_ in a way that centers the _viewers'_ desires, rather than his own. Thus, he is presented as a passive recipient of the viewers' gaze, rather than looking like he is preparing to take action.
    If embedded images are not showing up for you, find the [Batman images on this Google Doc.Links to an external site.](https://docs.google.com/document/d/170URrLmPkoVHjM2cLxQABpxcd98gtcK4XPM2nggOQIA/edit?usp=sharing)
    ## ![2 versions of Batman](https://cerritos.instructure.com/courses/43609/files/2345941/preview)
    ### **Hegemonic Masculinity and Emphasized Femininity**
    The male gaze thus reinforces **gender expectations**, or what we could call **hegemonic masculinity** and **emphasized femininity**. Kang et al describe how we internalize messages about gender and sexuality from Disney films and other media representations from our childhood.
    They also note that: "specifically, [these media portrayals] teach children to value **hegemonic masculinity** and **emphasized femininity**. Hegemonic masculinity refers to a specific type of culturally-valued masculinity tied to marriage and heterosexuality and patriarchal authority in the family and workplace, and maintains its privileged position through subordinating other less dominant forms of masculinity (i.e., dominance over men of lower socioeconomic classes or gay men). Emphasized femininity, meanwhile, refers to a compliance with the normative ideal of femininity, as it is oriented to serving the interests of men (Connell 1987)."
    In reinforcing these gender expectations, media representations can also influence our understanding of sex and sexuality through **sexual scripts**, or cultural guidelines about how people are "supposed" to think and feel in regard to sex (as in sex acts and sexual desire). You'll learn more about **sexual scripts** in a later lecture.
    #### **Symbolic Annihilation**
    With the camera lens focused on the (white, heterosexual) **male gaze**, identities who don't suit that narrative are often left out completely–or portrayed only through the lens of the male gaze. Kang et al call this "symbolic annihilation."
    They note that: "Symbolic annihilation refers to how social groups that lack power in society are rendered absent, condemned, or trivialized through mass media representations that simultaneously reinforce dominant ideologies and the privilege of dominant groups. For example, as we argued earlier, gay and lesbian, as well as transgender and disabled characters in mass media are often few and when they are present they are typically stereotyped and misrepresented."
    ##### **Media Recommendations**
    This is optional, but if you'd like, share a movie or TV show that you believe positively portrays gender or defies stereotypes of a particular group. Write a few words about why you like it.
    You can share on [this PadletLinks to an external site.](https://padlet.com/MF22/media-recommendations-xju1ndgj8mtp "Link")(again, this is optional):
    ### **Media Part 2: Social Media**
    These days, the media landscape is heavily influenced by social media, even for those who don't use it, as it influences which TV shows and films become popular (and even which news stories get traction). It has even become a form of entertainment on its own, with many of us experiencing entertainment primarily as a solitary experience on our phones, rather than the shared experience of watching TV or a movie together, and that solitary experience is particularly tailored for each user, as algorithms feed us content to keep our attention as long as possible.
    It is difficult to analyze gender on social media in a class like this, as trends move fast and users experience it differently based on their age and other factors. However, the "trad wife" trend has become so popular that it has made its way outside of social media and into the culture.
    Reflect on how the article, " [The Good Wife,"](https://cerritos.instructure.com/courses/95162/files/12466726?wrap=1 "TheGoodWife.EBSCO-FullText-05_22_2025.pdf") [Download The Good Wife,"](https://cerritos.instructure.com/courses/95162/files/12466726/download?download_frd=1) illustrates how the trad wife trend reinforces **emphasized femininity** and **hegemonic masculinity**.
    ### **Key Terms/Concepts**
    As you move through the course, take notes on your copy of the [Key Terms/Concepts spreadsheetLinks to an external site.](https://docs.google.com/spreadsheets/d/187ZgAIZ0i-py2nOcdzYeJYYg3zMegXrzSafwZyg1POw/edit?usp=sharing).
    #### **Key Terms/Concepts in this lecture or readings:**
    – objectification
    – the male gaze
    – hegemonic masculinity
    – emphasized femininity
    – symbolic annihilation
    ### **Engage in Discussion**
    #### **First Post – Due Wednesday**
    Answer **one** of the questions below in a response of 200 words or more. Make sure to use the key terms in your analysis.
    1. **Consider a character you've observed and analyze their portrayal of gender.** It can be a character from a TV show, a movie, or even a video game, comic book, or book. Apply at least one of the key terms from this lecture in your analysis. For example, you could discuss how a character was portrayed for the male gaze (or challenged it by exhibiting agency), or how a character was or was not objectified. Other examples: You could discuss how a male character challenged hegemonic masculinity by being portrayed outside of traditional masculine expectations, or how his portrayal reinforced them. Or, you could discuss how an LGBTQ+ character's portrayal did or did not challenge symbolic annihilation. You'll need to _describe_ the character and be _specific_ about _how_ the character illustrates the concept you are analyzing.
    2. **Choose a social media trend you've observed, like trad wife, or another trend you've noticed or come across. Discuss how this trend does or does not reinforce hegemonic masculinity and/or emphasized femininity, or gender expectations more generally.** (It's ok if the trend doesn't have a name; you can just describe what you've noticed. For example, I have a young child, and I've noticed a trend where moms portray boys as rambunctious and girls as quiet and well-behaved.) Be specific in describing _what you see_ and _how the concept applies_.

  • [Solved] Business management

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    – ## publication.pdf **## publication.pdf** Comedies | Dramas | Playwrights | Cast-Size TRIFLES a play in one-act by Susan Glaspell The following one-act play is reprinted from . Susan Glaspell. New York: Frank Shay, 1916. It is now in the public domain and may therefore be performed without roya…

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    – ## publication.pdf

    **## publication.pdf**

    Comedies | Dramas | Playwrights | Cast-Size

    TRIFLES
    a play in one-act

    by Susan Glaspell

    The following one-act play is reprinted from . Susan Glaspell. New York:
    Frank Shay, 1916. It is now in the public domain and may therefore be performed
    without royalties.

    CHARACTERS

    GEORGE HENDERSON, County Attorney

    HENRY PETERS, Sheriff

    LEWIS HALE, A neighboring farmer

    MRS. PETERS

    MRS. HALE

    COUNTY ATTORNEY: This feels good. Come up to the fire, ladies.

    MRS PETERS: I'm not—cold.

    SHERIFF:
    Now, Mr Hale, before we move things about, you explain to

    Mr Henderson just what you saw when you came here yesterday morning.

    COUNTY ATTORNEY: By the way, has anything been moved? Are things just as you left
    them yesterday?

    SHERIFF: It's just the same. When it dropped below zero last night I
    thought I'd better send Frank out this morning to make a fire for us—no use getting
    pneumonia with a big case on, but I told him not to touch anything except the stove—and
    you know Frank.

    COUNTY ATTORNEY: Somebody should have been left here yesterday.

    SHERIFF: Oh—yesterday. When I had to send Frank to Morris Center for that man who
    went crazy—I want you to know I had my hands full yesterday. I knew you could get back
    from Omaha by today and as long as I went over everything here myself—

    COUNTY ATTORNEY: Well, Mr Hale, tell just what happened when you came here
    yesterday morning.

    1 of 9

    HALE: Harry and I had started to town with a load of potatoes. We came along the road
    from my place and as I got here I said, I'm going to see if I can't get John Wright to go in
    with me on a party telephone.' I spoke to Wright about it once before and he put me off,
    saying folks talked too much anyway, and all he asked was peace and quiet—I guess
    you know about how much he talked himself; but I thought maybe if I went to the house
    and talked about it before his wife, though I said to Harry that I didn't know as what his
    wife wanted made much difference to John—

    COUNTY ATTORNEY: Let's talk about that later, Mr Hale. I do want to talk about that, but
    tell now just what happened when you got to the house.

    HALE: I didn't hear or see anything; I knocked at the door, and still it was all quiet inside.
    I knew they must be up, it was past eight o'clock. So I knocked again, and I thought I
    heard somebody say, 'Come in.' I wasn't sure, I'm not sure yet, but I opened the door—
    this door and there in that
    rocker— sat Mrs Wright.

    COUNTY ATTORNEY: What—was she doing?

    HALE: She was rockin' back and forth. She had her apron in her hand and was kind of—
    pleating it.

    COUNTY ATTORNEY: And how did she—look?

    HALE: Well, she looked queer.

    COUNTY ATTORNEY: How do you mean—queer?

    HALE: Well, as if she didn't know what she was going to do next. And kind of done up.

    COUNTY ATTORNEY: How did she seem to feel about your coming?

    HALE: Why, I don't think she minded—one way or other. She didn't pay much attention. I
    said, 'How do, Mrs Wright it's cold, ain't it?' And she said, 'Is it?'—and went on kind of
    pleating at her apron. Well, I was surprised; she didn't ask me to come up to the stove, or
    to set down, but just sat there, not even looking at me, so I said, 'I want to see John.' And
    then she—laughed. I guess you would call it a laugh. I thought of Harry and the team
    outside, so I said a little sharp: 'Can't I see John?' 'No', she says, kind o' dull like. 'Ain't he
    home?' says I. 'Yes', says she, 'he's home'. 'Then why can't I see him?' I asked her, out of
    patience. ''Cause he's dead', says she. 'Dead?' says I. She just nodded her head, not
    getting a bit excited, but rockin' back and forth. 'Why—where is he?' says I, not knowing
    what to say. She just pointed upstairs—like that I got
    up, with the idea of going up there. I walked from there to here—then I says, 'Why, what
    did he die of?' 'He died of a rope round his neck', says she, and just went on pleatin' at
    her apron. Well, I went out and called Harry. I thought I might—need help. We went
    upstairs and there he was lyin'—

    COUNTY ATTORNEY: I think I'd rather have you go into that upstairs, where you can
    point it all out. Just go on now with the rest of the story.

    HALE: Well, my first thought was to get that rope off. It looked …
    … but Harry, he went up to him, and he said, 'No, he's dead all right, and we'd

    better not touch anything.' So we went back down stairs. She was still sitting that same
    way. 'Has anybody been notified?' I asked. 'No', says she unconcerned. 'Who did this,
    Mrs Wright?' said Harry. He said it business-like—and she stopped pleatin' of her apron.
    'I don't know', she says. 'You don't know?' says Harry. 'No', says she. 'Weren't you
    sleepin' in the bed with him?' says Harry. 'Yes', says she, 'but I was on the inside'.
    'Somebody slipped a rope round his neck and strangled him and you didn't wake up?'
    says Harry. 'I didn't wake up', she said after him. We must 'a looked as if we didn't see
    how that could be, for after a minute she said, 'I sleep sound'. Harry was going to ask her
    more questions but I said maybe we ought to let her tell her story first to the coroner, or
    the sheriff, so Harry went fast as he could to Rivers' place, where there's a telephone.

    COUNTY ATTORNEY: And what did Mrs Wright do when she knew that you had gone for
    the coroner?

    HALE: She moved from that chair to this one over here
    and just sat there with her hands held together and looking down. I got a feeling

    that I ought to make some conversation, so I said I had come in to see if John wanted to

    2 of 9

    put in a telephone, and at that she started to laugh, and then she stopped and looked at
    me—scared, I
    dunno, maybe it wasn't scared. I wouldn't like to say it was. Soon Harry got back, and
    then Dr Lloyd came, and you, Mr Peters, and so I guess that's all I know that you don't.

    COUNTY ATTORNEY: I guess we'll go upstairs first—and then out to
    the barn and around there, You're convinced that there was nothing
    important here—nothing that would point to any motive.

    SHERIFF: Nothing here but kitchen things.

    COUNTY ATTORNEY: Here's a nice mess.

    MRS PETERS: Oh, her fruit; it did freeze, She
    worried about that when it turned so cold. She said the fire'd go out and her jars would
    break.

    SHERIFF: Well, can you beat the women! Held for murder and worryin' about her
    preserves.

    COUNTY ATTORNEY: I guess before we're through she may have something more
    serious than preserves to worry about.

    HALE: Well, women are used to worrying over trifles.

    COUNTY ATTORNEY: And yet, for all their
    worries, what would we do without the ladies?

    Dirty towels!
    Not much of a housekeeper, would you

    say, ladies?

    MRS HALE: There's a great deal of work to be done on a farm.

    COUNTY ATTORNEY: To be sure. And yet I know there are
    some Dickson county farmhouses which do not have such roller towels.

    MRS HALE: Those towels get dirty awful quick. Men's hands aren't always as clean as
    they might be.

    COUNTY ATTORNEY: Ah, loyal to your sex, I see. But you and Mrs Wright were
    neighbors. I suppose you were friends, too.

    MRS HALE: I've not seen much of her of late years. I've not been in
    this house—it's more than a year.

    COUNTY ATTORNEY: And why was that? You didn't like her?

    MRS HALE: I liked her all well enough. Farmers' wives have their hands full, Mr
    Henderson. And then—

    COUNTY ATTORNEY: Yes—?

    MRS HALE: It never seemed a very cheerful place.

    COUNTY ATTORNEY: No—it's not cheerful. I shouldn't say she had the homemaking
    instinct.

    MRS HALE: Well, I don't know as Wright had, either.

    COUNTY ATTORNEY: You mean that they didn't get on very well?

    3 of 9

    MRS HALE: No, I don't mean anything. But I don't think a place'd be any cheerfuller for
    John Wright's being in it.

    COUNTY ATTORNEY: I'd like to talk more of that a little later. I want to get the lay of
    things upstairs now.

    SHERIFF: I suppose anything Mrs Peters does'll be all right. She was to take in some
    clothes for her, you know, and a few little things. We left in such a hurry yesterday.

    COUNTY ATTORNEY: Yes, but I would like to see what you take, Mrs Peters, and keep
    an eye out for anything that might be of use to us.

    MRS PETERS: Yes, Mr Henderson.

    MRS HALE: I'd hate to have men coming into my kitchen, snooping around and
    criticising.

    MRS PETERS: Of course it's no more than their duty.

    MRS HALE: Duty's all right, but I guess that deputy sheriff that came out to make the fire
    might have got a little of this on. Wish I'd thought of that
    sooner. Seems mean to talk about her for not having things slicked up when she had to
    come away in such a hurry.

    MRS PETERS:
    She had bread set.

    MRS HALE:
    She was going to put this in there,

    It's a
    shame about her fruit. I wonder if it's all gone. I think
    there's some here that's all right, Mrs Peters. Yes—here;
    this is cherries, too. I declare I believe that's the only one.

    She'll feel awful bad
    after all her hard work in the hot weather. I remember the afternoon I put up my cherries
    last summer.

    MRS PETERS: Well, I must get those things from the front room closet,
    You coming with me,

    Mrs Hale? You could help me carry them.

    MRS PETERS: My, it's cold in there.

    MRS HALE: Wright was close. I think maybe that's why she kept so
    much to herself. She didn't even belong to the Ladies Aid. I suppose she felt she couldn't
    do her part, and then you don't enjoy things when you feel shabby. She used to wear
    pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in
    the choir. But that—oh, that was thirty years ago. This all you was to take in?

    MRS PETERS: She said she wanted an apron. Funny thing to want, for there isn't much
    to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural.
    She said they was in the top drawer in this cupboard. Yes, here. And then her little shawl
    that always hung behind the door. Yes, here it is.

    4 of 9

    MRS HALE: Mrs Peters?

    MRS PETERS: Yes, Mrs Hale?

    MRS HALE: Do you think she did it?

    MRS PETERS: Oh, I don't know.

    MRS HALE: Well, I don't think she did. Asking for an apron and her little shawl. Worrying
    about her fruit.

    MRS PETERS:
    Mr Peters says it looks bad for her. Mr Henderson is awful

    sarcastic in a speech and he'll make fun of her sayin' she didn't wake up.

    MRS HALE: Well, I guess John Wright didn't wake when they was slipping that rope
    under his neck.

    MRS PETERS: No, it's strange. It must have been done awful crafty and still. They say it
    was such a—funny way to kill a man, rigging it all up like that.

    MRS HALE: That's just what Mr Hale said. There was a gun in the house. He says that's
    what he can't understand.

    MRS PETERS: Mr Henderson said coming out that what was needed for the case was a
    motive; something to show anger, or—sudden feeling.

    MRS HALE: Well, I don't see any signs of anger around
    here,

    It's wiped to here,

    Wonder how they are finding
    things upstairs. I hope she had it a little more red-up up there. You know, it seems kind of
    sneaking. Locking her up in town and then coming out here and trying to get her own
    house to turn against her!

    MRS PETERS: But Mrs Hale, the law is the law.

    MRS HALE: I s'pose 'tis, Better loosen up your things, Mrs Peters.
    You won't feel them when you go out.

    MRS PETERS: She was piecing a quilt.

    MRS HALE: It's log cabin pattern. Pretty, isn't it? I wonder if she was goin' to quilt it or just
    knot it?

    SHERIFF: They wonder if she was going to quilt it or just knot it!

    COUNTY ATTORNEY: Frank's fire didn't do much up
    there, did it? Well, let's go out to the barn and get that cleared up.

    MRS HALE: I don't know as there's anything so strange, our takin' up our
    time with little things while we're waiting for them to get the evidence.

    I don't see as it's anything to laugh
    about.

    MRS PETERS: Of course they've got awful important things on their
    minds.

    5 of 9

    MRS HALE: Mrs Peters, look at this one. Here, this is the one
    she was working on, and look at the sewing! All the rest of it has been so nice and even.
    And look at this! It's all over the place! Why, it looks as if she didn't know what she was
    about!

    MRS PETERS: Oh, what are you doing, Mrs Hale?

    MRS HALE: Just pulling out a stitch or two that's not sewed very good.
    Bad sewing always made me fidgety.

    MRS PETERS: I don't think we ought to touch things.

    MRS HALE: I'll just finish up this end. Mrs
    Peters?

    MRS PETERS: Yes, Mrs Hale?

    MRS HALE: What do you suppose she was so nervous about?

    MRS PETERS: Oh—I don't know. I don't know as she was nervous. I sometimes sew
    awful queer when I'm just tired.

    Well I must get these things wrapped up. They may be
    through sooner than we think, I wonder where I
    can find a piece of paper, and string.

    MRS HALE: In that cupboard, maybe.

    MRS PETERS: Why, here's a bird-cage, Did she have
    a bird, Mrs Hale?

    MRS HALE: Why, I don't know whether she did or not—I've not been here for so long.
    There was a man around last year selling canaries cheap, but I don't know as she took
    one; maybe she did. She used to sing real pretty herself.

    MRS PETERS: Seems funny to think of a bird here. But she must have
    had one, or why would she have a cage? I wonder what happened to it.

    MRS HALE: I s'pose maybe the cat got it.

    MRS PETERS: No, she didn't have a cat. She's got that feeling some people have about
    cats—being afraid of them. My cat got in her room and she was real upset and asked me
    to take it out.

    MRS HALE: My sister Bessie was like that. Queer, ain't it?

    MRS PETERS: Why, look at this door. It's broke. One hinge is
    pulled apart.

    MRS HALE: Looks as if someone must have been rough with it.

    MRS PETERS: Why, yes.

    MRS HALE: I wish if they're going to find any evidence they'd be about it. I don't like this
    place.

    MRS PETERS: But I'm awful glad you came with me, Mrs Hale. It would be lonesome for
    me sitting here alone.

    MRS HALE: It would, wouldn't it? But I tell you what I do wish, Mrs
    Peters. I wish I had come over sometimes when she was here. I—

    —wish I had.

    MRS PETERS: But of course you were awful busy, Mrs Hale—your house and your
    children.

    6 of 9

    MRS HALE: I could've come. I stayed away because it weren't cheerful—and that's why I
    ought to have come. I—I've never liked this place. Maybe because it's down in a hollow
    and you don't see the road. I dunno what it is, but it's a lonesome place and always was.
    I wish I had come over to see Minnie Foster sometimes. I can see now—

    MRS PETERS: Well, you mustn't reproach yourself, Mrs Hale. Somehow we just don't
    see how it is with other folks until—something comes up.

    MRS HALE: Not having children makes less work—but it makes a quiet house, and
    Wright out to work all day, and no company when he did come in. Did you know John
    Wright, Mrs Peters?

    MRS PETERS: Not to know him; I've seen him in town. They say he was a good man.

    MRS HALE: Yes—good; he didn't drink, and kept his word as well as most, I guess, and
    paid his debts. But he was a hard man, Mrs Peters. Just to pass the time of day with
    him— Like a raw wind that gets to the bone,

    I should think she would 'a wanted a bird. But what do you suppose went with it?

    MRS PETERS: I don't know, unless it got sick and died.

    MRS HALE: You weren't raised round here, were you?
    You didn't know—her?

    MRS PETERS: Not till they brought her yesterday.

    MRS HALE: She—come to think of it, she was kind of like a bird herself—real sweet and
    pretty, but kind of timid and—fluttery. How—she—did—change.

    Tell you what, Mrs
    Peters, why don't you take the quilt in with you? It might take up her mind.

    MRS PETERS: Why, I think that's a real nice idea, Mrs Hale. There couldn't possibly be
    any objection to it, could there? Now, just what would I take? I wonder if her patches are
    in here—and her things.

    MRS HALE: Here's some red. I expect this has got sewing things in it.
    What a pretty box. Looks like something somebody would give you. Maybe her

    scissors are in here. Why—
    There's something wrapped up in this

    piece of silk.

    MRS PETERS: Why, this isn't her scissors.

    MRS HALE: Oh, Mrs Peters—it's—

    MRS PETERS: It's the bird.

    MRS HALE: But, Mrs Peters—look at it! It's neck! Look at its neck! It's all—
    other side to.

    MRS PETERS: Somebody—wrung—its—neck.

    COUNTY ATTORNEY: Well
    ladies, have you decided whether she was going to quilt it or knot it?

    MRS PETERS: We think she was going to—knot it.

    COUNTY ATTORNEY: Well, that's interesting, I'm sure. Has the
    bird flown?

    7 of 9

    MRS HALE: We think the—cat got it.

    COUNTY ATTORNEY: Is there a cat?

    MRS PETERS: Well, not now. They're superstitious, you know. They leave.

    COUNTY ATTORNEY:
    No sign at all of anyone having come from the outside. Their own rope. Now let's go up
    again and go over it piece by piece. It would have to have been
    someone who knew just the—

    MRS HALE: She liked the bird. She was going to bury it in that pretty box.

    MRS PETERS: When I was a girl—my kitten—there was a boy took a
    hatchet, and before my eyes—and before I could get there—
    If they hadn't held me back I would have—

    —hurt him.

    MRS HALE: I wonder how it would seem never to have had
    any children around, No, Wright wouldn't like the bird—a thing that sang. She
    used to sing. He killed that, too.

    MRS PETERS: We don't know who killed the bird.

    MRS HALE: I knew John Wright.

    MRS PETERS: It was an awful thing was done in this house that night, Mrs Hale. Killing
    a man while he slept, slipping a rope around his neck that choked the life out of him.

    MRS HALE: His neck. Choked the life out of him.

    MRS PETERS: We don't know who killed him. We don't know.

    MRS HALE: If there'd been years and years of nothing,
    then a bird to sing to you, it would be awful—still, after the bird was still.

    MRS PETERS: I know what stillness is. When we
    homesteaded in Dakota, and my first baby died—after he was two years old, and me with
    no other then—

    MRS HALE: How soon do you suppose they'll be through, looking for the
    evidence?

    MRS PETERS: I know what stillness is. The law has got to punish
    crime, Mrs Hale.

    MRS HALE: I wish you'd seen Minnie Foster when she wore a
    white dress with blue ribbons and stood up there in the choir and sang.

    Oh, I wish I'd come over here once in a while! That was a crime! That was a
    crime! Who's going to punish that?

    MRS PETERS: We mustn't—take on.

    MRS HALE: I might have known she needed help! I know how things can be—for
    women. I tell you, it's queer, Mrs Peters. We live close together and we live far apart. We
    all go through the same things—it's all just a different kind of the same thing,

    If I was you, I wouldn't tell her her
    fruit was gone. Tell her it ain't. Tell her it's all right. Take this in to prove it to her. She—
    she may never know whether it was broke or not.

    MRS PETERS:

    8 of 9

    My, it's a good thing the men couldn't hear us. Wouldn't they
    just laugh! Getting all stirred up over a little thing like a—dead canary. As if that could
    have anything to do with—with—wouldn't they laugh!

    MRS HALE: Maybe they would—maybe they wouldn't.

    COUNTY ATTORNEY: No, Peters, it's all perfectly clear except a reason for doing it. But
    you know juries when it comes to women. If there was some definite thing. Something to
    show—something to make a story about—a thing that would connect up with this strange
    way of doing it—

    HALE: Well, I've got the team around. Pretty cold out there.

    COUNTY ATTORNEY: I'm going to stay here a while by myself, You
    can send Frank out for me, can't you? I want to go over everything. I'm not satisfied that
    we can't do better.

    SHERIFF: Do you want to see what Mrs Peters is going to take in?

    COUNTY ATTORNEY: Oh, I guess they're not very dangerous things the ladies have
    picked out.

    No, Mrs Peters doesn't need supervising. For that matter, a sheriff's wife is
    married to the law. Ever think of it that way, Mrs Peters?

    MRS PETERS: Not—just that way.

    SHERIFF: Married to the law. I just want you
    to come in here a minute, George. We ought to take a look at these windows.

    COUNTY ATTORNEY: Oh, windows!

    SHERIFF: We'll be right out, Mr Hale.

    COUNTY ATTORNEY: Well, Henry, at least we found out that she was not
    going to quilt it. She was going to—what is it you call it, ladies?

    MRS HALE: We call it—knot it, Mr Henderson.

    CURTAIN

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    TRIFLES
    a play in one-act

    by Susan Glaspell

    The following one-act play is reprinted from . Susan Glaspell. New York:
    Frank Shay, 1916. It is now in the public domain and may therefore be performed
    without royalties.

    CHARACTERS

    GEORGE HENDERSON, County Attorney

    HENRY PETERS, Sheriff

    LEWIS HALE, A neighboring farmer

    MRS. PETERS

    MRS. HALE

    COUNTY ATTORNEY: This feels good. Come up to the fire, ladies.

    MRS PETERS: I'm not—cold.

    SHERIFF:
    Now, Mr Hale, before we move things about, you explain to

    Mr Henderson just what you saw when you came here yesterday morning.

    COUNTY ATTORNEY: By the way, has anything been moved? Are things just as you left
    them yesterday?

    SHERIFF: It's just the same. When it dropped below zero last night I
    thought I'd better send Frank out this morning to make a fire for us—no use getting
    pneumonia with a big case on, but I told him not to touch anything except the stove—and
    you know Frank.

    COUNTY ATTORNEY: Somebody should have been left here yesterday.

    SHERIFF: Oh—yesterday. When I had to send Frank to Morris Center for that man who
    went crazy—I want you to know I had my hands full yesterday. I knew you could get back
    from Omaha by today and as long as I went over everything here myself—

    COUNTY ATTORNEY: Well, Mr Hale, tell just what happened when you came here
    yesterday morning.

    1 of 9

    HALE: Harry and I had started to town with a load of potatoes. We came along the road
    from my place and as I got here I said, I'm going to see if I can't get John Wright to go in
    with me on a party telephone.' I spoke to Wright about it once before and he put me off,
    saying folks talked too much anyway, and all he asked was peace and quiet—I guess
    you know about how much he talked himself; but I thought maybe if I went to the house
    and talked about it before his wife, though I said to Harry that I didn't know as what his
    wife wanted made much difference to John—

    COUNTY ATTORNEY: Let's talk about that later, Mr Hale. I do want to talk about that, but
    tell now just what happened when you got to the house.

    HALE: I didn't hear or see anything; I knocked at the door, and still it was all quiet inside.
    I knew they must be up, it was past eight o'clock. So I knocked again, and I thought I
    heard somebody say, 'Come in.' I wasn't sure, I'm not sure yet, but I opened the door—
    this door and there in that
    rocker— sat Mrs Wright.

    COUNTY ATTORNEY: What—was she doing?

    HALE: She was rockin' back and forth. She had her apron in her hand and was kind of—
    pleating it.

    COUNTY ATTORNEY: And how did she—look?

    HALE: Well, she looked queer.

    COUNTY ATTORNEY: How do you mean—queer?

    HALE: Well, as if she didn't know what she was going to do next. And kind of done up.

    COUNTY ATTORNEY: How did she seem to feel about your coming?

    HALE: Why, I don't think she minded—one way or other. She didn't pay much attention. I
    said, 'How do, Mrs Wright it's cold, ain't it?' And she said, 'Is it?'—and went on kind of
    pleating at her apron. Well, I was surprised; she didn't ask me to come up to the stove, or
    to set down, but just sat there, not even looking at me, so I said, 'I want to see John.' And
    then she—laughed. I guess you would call it a laugh. I thought of Harry and the team
    outside, so I said a little sharp: 'Can't I see John?' 'No', she says, kind o' dull like. 'Ain't he
    home?' says I. 'Yes', says she, 'he's home'. 'Then why can't I see him?' I asked her, out of
    patience. ''Cause he's dead', says she. 'Dead?' says I. She just nodded her head, not
    getting a bit excited, but rockin' back and forth. 'Why—where is he?' says I, not knowing
    what to say. She just pointed upstairs—like that I got
    up, with the idea of going up there. I walked from there to here—then I says, 'Why, what
    did he die of?' 'He died of a rope round his neck', says she, and just went on pleatin' at
    her apron. Well, I went out and called Harry. I thought I might—need help. We went
    upstairs and there he was lyin'—

    COUNTY ATTORNEY: I think I'd rather have you go into that upstairs, where you can
    point it all out. Just go on now with the rest of the story.

    HALE: Well, my first thought was to get that rope off. It looked …
    … but Harry, he went up to him, and he said, 'No, he's dead all right, and we'd

    better not touch anything.' So we went back down stairs. She was still sitting that same
    way. 'Has anybody been notified?' I asked. 'No', says she unconcerned. 'Who did this,
    Mrs Wright?' said Harry. He said it business-like—and she stopped pleatin' of her apron.
    'I don't know', she says. 'You don't know?' says Harry. 'No', says she. 'Weren't you
    sleepin' in the bed with him?' says Harry. 'Yes', says she, 'but I was on the inside'.
    'Somebody slipped a rope round his neck and strangled him and you didn't wake up?'
    says Harry. 'I didn't wake up', she said after him. We must 'a looked as if we didn't see
    how that could be, for after a minute she said, 'I sleep sound'. Harry was going to ask her
    more questions but I said maybe we ought to let her tell her story first to the coroner, or
    the sheriff, so Harry went fast as he could to Rivers' place, where there's a telephone.

    COUNTY ATTORNEY: And what did Mrs Wright do when she knew that you had gone for
    the coroner?

    HALE: She moved from that chair to this one over here
    and just sat there with her hands held together and looking down. I got a feeling

    that I ought to make some conversation, so I said I had come in to see if John wanted to

    2 of 9

    put in a telephone, and at that she started to laugh, and then she stopped and looked at
    me—scared, I
    dunno, maybe it wasn't scared. I wouldn't like to say it was. Soon Harry got back, and
    then Dr Lloyd came, and you, Mr Peters, and so I guess that's all I know that you don't.

    COUNTY ATTORNEY: I guess we'll go upstairs first—and then out to
    the barn and around there, You're convinced that there was nothing
    important here—nothing that would point to any motive.

    SHERIFF: Nothing here but kitchen things.

    COUNTY ATTORNEY: Here's a nice mess.

    MRS PETERS: Oh, her fruit; it did freeze, She
    worried about that when it turned so cold. She said the fire'd go out and her jars would
    break.

    SHERIFF: Well, can you beat the women! Held for murder and worryin' about her
    preserves.

    COUNTY ATTORNEY: I guess before we're through she may have something more
    serious than preserves to worry about.

    HALE: Well, women are used to worrying over trifles.

    COUNTY ATTORNEY: And yet, for all their
    worries, what would we do without the ladies?

    Dirty towels!
    Not much of a housekeeper, would you

    say, ladies?

    MRS HALE: There's a great deal of work to be done on a farm.

    COUNTY ATTORNEY: To be sure. And yet I know there are
    some Dickson county farmhouses which do not have such roller towels.

    MRS HALE: Those towels get dirty awful quick. Men's hands aren't always as clean as
    they might be.

    COUNTY ATTORNEY: Ah, loyal to your sex, I see. But you and Mrs Wright were
    neighbors. I suppose you were friends, too.

    MRS HALE: I've not seen much of her of late years. I've not been in
    this house—it's more than a year.

    COUNTY ATTORNEY: And why was that? You didn't like her?

    MRS HALE: I liked her all well enough. Farmers' wives have their hands full, Mr
    Henderson. And then—

    COUNTY ATTORNEY: Yes—?

    MRS HALE: It never seemed a very cheerful place.

    COUNTY ATTORNEY: No—it's not cheerful. I shouldn't say she had the homemaking
    instinct.

    MRS HALE: Well, I don't know as Wright had, either.

    COUNTY ATTORNEY: You mean that they didn't get on very well?

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    MRS HALE: No, I don't mean anything. But I don't think a place'd be any cheerfuller for
    John Wright's being in it.

    COUNTY ATTORNEY: I'd like to talk more of that a little later. I want to get the lay of
    things upstairs now.

    SHERIFF: I suppose anything Mrs Peters does'll be all right. She was to take in some
    clothes for her, you know, and a few little things. We left in such a hurry yesterday.

    COUNTY ATTORNEY: Yes, but I would like to see what you take, Mrs Peters, and keep
    an eye out for anything that might be of use to us.

    MRS PETERS: Yes, Mr Henderson.

    MRS HALE: I'd hate to have men coming into my kitchen, snooping around and
    criticising.

    MRS PETERS: Of course it's no more than their duty.

    MRS HALE: Duty's all right, but I guess that deputy sheriff that came out to make the fire
    might have got a little of this on. Wish I'd thought of that
    sooner. Seems mean to talk about her for not having things slicked up when she had to
    come away in such a hurry.

    MRS PETERS:
    She had bread set.

    MRS HALE:
    She was going to put this in there,

    It's a
    shame about her fruit. I wonder if it's all gone. I think
    there's some here that's all right, Mrs Peters. Yes—here;
    this is cherries, too. I declare I believe that's the only one.

    She'll feel awful bad
    after all her hard work in the hot weather. I remember the afternoon I put up my cherries
    last summer.

    MRS PETERS: Well, I must get those things from the front room closet,
    You coming with me,

    Mrs Hale? You could help me carry them.

    MRS PETERS: My, it's cold in there.

    MRS HALE: Wright was close. I think maybe that's why she kept so
    much to herself. She didn't even belong to the Ladies Aid. I suppose she felt she couldn't
    do her part, and then you don't enjoy things when you feel shabby. She used to wear
    pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in
    the choir. But that—oh, that was thirty years ago. This all you was to take in?

    MRS PETERS: She said she wanted an apron. Funny thing to want, for there isn't much
    to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural.
    She said they was in the top drawer in this cupboard. Yes, here. And then her little shawl
    that always hung behind the door. Yes, here it is.

    4 of 9

    MRS HALE: Mrs Peters?

    MRS PETERS: Yes, Mrs Hale?

    MRS HALE: Do you think she did it?

    MRS PETERS: Oh, I don't know.

    MRS HALE: Well, I don't think she did. Asking for an apron and her little shawl. Worrying
    about her fruit.

    MRS PETERS:
    Mr Peters says it looks bad for her. Mr Henderson is awful

    sarcastic in a speech and he'll make fun of her sayin' she didn't wake up.

    MRS HALE: Well, I guess John Wright didn't wake when they was slipping that rope
    under his neck.

    MRS PETERS: No, it's strange. It must have been done awful crafty and still. They say it
    was such a—funny way to kill a man, rigging it all up like that.

    MRS HALE: That's just what Mr Hale said. There was a gun in the house. He says that's
    what he can't understand.

    MRS PETERS: Mr Henderson said coming out that what was needed for the case was a
    motive; something to show anger, or—sudden feeling.

    MRS HALE: Well, I don't see any signs of anger around
    here,

    It's wiped to here,

    Wonder how they are finding
    things upstairs. I hope she had it a little more red-up up there. You know, it seems kind of
    sneaking. Locking her up in town and then coming out here and trying to get her own
    house to turn against her!

    MRS PETERS: But Mrs Hale, the law is the law.

    MRS HALE: I s'pose 'tis, Better loosen up your things, Mrs Peters.
    You won't feel them when you go out.

    MRS PETERS: She was piecing a quilt.

    MRS HALE: It's log cabin pattern. Pretty, isn't it? I wonder if she was goin' to quilt it or just
    knot it?

    SHERIFF: They wonder if she was going to quilt it or just knot it!

    COUNTY ATTORNEY: Frank's fire didn't do much up
    there, did it? Well, let's go out to the barn and get that cleared up.

    MRS HALE: I don't know as there's anything so strange, our takin' up our
    time with little things while we're waiting for them to get the evidence.

    I don't see as it's anything to laugh
    about.

    MRS PETERS: Of course they've got awful important things on their
    minds.

    5 of 9

    MRS HALE: Mrs Peters, look at this one. Here, this is the one
    she was working on, and look at the sewing! All the rest of it has been so nice and even.
    And look at this! It's all over the place! Why, it looks as if she didn't know what she was
    about!

    MRS PETERS: Oh, what are you doing, Mrs Hale?

    MRS HALE: Just pulling out a stitch or two that's not sewed very good.
    Bad sewing always made me fidgety.

    MRS PETERS: I don't think we ought to touch things.

    MRS HALE: I'll just finish up this end. Mrs
    Peters?

    MRS PETERS: Yes, Mrs Hale?

    MRS HALE: What do you suppose she was so nervous about?

    MRS PETERS: Oh—I don't know. I don't know as she was nervous. I sometimes sew
    awful queer when I'm just tired.

    Well I must get these things wrapped up. They may be
    through sooner than we think, I wonder where I
    can find a piece of paper, and string.

    MRS HALE: In that cupboard, maybe.

    MRS PETERS: Why, here's a bird-cage, Did she have
    a bird, Mrs Hale?

    MRS HALE: Why, I don't know whether she did or not—I've not been here for so long.
    There was a man around last year selling canaries cheap, but I don't know as she took
    one; maybe she did. She used to sing real pretty herself.

    MRS PETERS: Seems funny to think of a bird here. But she must have
    had one, or why would she have a cage? I wonder what happened to it.

    MRS HALE: I s'pose maybe the cat got it.

    MRS PETERS: No, she didn't have a cat. She's got that feeling some people have about
    cats—being afraid of them. My cat got in her room and she was real upset and asked me
    to take it out.

    MRS HALE: My sister Bessie was like that. Queer, ain't it?

    MRS PETERS: Why, look at this door. It's broke. One hinge is
    pulled apart.

    MRS HALE: Looks as if someone must have been rough with it.

    MRS PETERS: Why, yes.

    MRS HALE: I wish if they're going to find any evidence they'd be about it. I don't like this
    place.

    MRS PETERS: But I'm awful glad you came with me, Mrs Hale. It would be lonesome for
    me sitting here alone.

    MRS HALE: It would, wouldn't it? But I tell you what I do wish, Mrs
    Peters. I wish I had come over sometimes when she was here. I—

    —wish I had.

    MRS PETERS: But of course you were awful busy, Mrs Hale—your house and your
    children.

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    MRS HALE: I could've come. I stayed away because it weren't cheerful—and that's why I
    ought to have come. I—I've never liked this place. Maybe because it's down in a hollow
    and you don't see the road. I dunno what it is, but it's a lonesome place and always was.
    I wish I had come over to see Minnie Foster sometimes. I can see now—

    MRS PETERS: Well, you mustn't reproach yourself, Mrs Hale. Somehow we just don't
    see how it is with other folks until—something comes up.

    MRS HALE: Not having children makes less work—but it makes a quiet house, and
    Wright out to work all day, and no company when he did come in. Did you know John
    Wright, Mrs Peters?

    MRS PETERS: Not to know him; I've seen him in town. They say he was a good man.

    MRS HALE: Yes—good; he didn't drink, and kept his word as well as most, I guess, and
    paid his debts. But he was a hard man, Mrs Peters. Just to pass the time of day with
    him— Like a raw wind that gets to the bone,

    I should think she would 'a wanted a bird. But what do you suppose went with it?

    MRS PETERS: I don't know, unless it got sick and died.

    MRS HALE: You weren't raised round here, were you?
    You didn't know—her?

    MRS PETERS: Not till they brought her yesterday.

    MRS HALE: She—come to think of it, she was kind of like a bird herself—real sweet and
    pretty, but kind of timid and—fluttery. How—she—did—change.

    Tell you what, Mrs
    Peters, why don't you take the quilt in with you? It might take up her mind.

    MRS PETERS: Why, I think that's a real nice idea, Mrs Hale. There couldn't possibly be
    any objection to it, could there? Now, just what would I take? I wonder if her patches are
    in here—and her things.

    MRS HALE: Here's some red. I expect this has got sewing things in it.
    What a pretty box. Looks like something somebody would give you. Maybe her

    scissors are in here. Why—
    There's something wrapped up in this

    piece of silk.

    MRS PETERS: Why, this isn't her scissors.

    MRS HALE: Oh, Mrs Peters—it's—

    MRS PETERS: It's the bird.

    MRS HALE: But, Mrs Peters—look at it! It's neck! Look at its neck! It's all—
    other side to.

    MRS PETERS: Somebody—wrung—its—neck.

    COUNTY ATTORNEY: Well
    ladies, have you decided whether she was going to quilt it or knot it?

    MRS PETERS: We think she was going to—knot it.

    COUNTY ATTORNEY: Well, that's interesting, I'm sure. Has the
    bird flown?

    7 of 9

    MRS HALE: We think the—cat got it.

    COUNTY ATTORNEY: Is there a cat?

    MRS PETERS: Well, not now. They're superstitious, you know. They leave.

    COUNTY ATTORNEY:
    No sign at all of anyone having come from the outside. Their own rope. Now let's go up
    again and go over it piece by piece. It would have to have been
    someone who knew just the—

    MRS HALE: She liked the bird. She was going to bury it in that pretty box.

    MRS PETERS: When I was a girl—my kitten—there was a boy took a
    hatchet, and before my eyes—and before I could get there—
    If they hadn't held me back I would have—

    —hurt him.

    MRS HALE: I wonder how it would seem never to have had
    any children around, No, Wright wouldn't like the bird—a thing that sang. She
    used to sing. He killed that, too.

    MRS PETERS: We don't know who killed the bird.

    MRS HALE: I knew John Wright.

    MRS PETERS: It was an awful thing was done in this house that night, Mrs Hale. Killing
    a man while he slept, slipping a rope around his neck that choked the life out of him.

    MRS HALE: His neck. Choked the life out of him.

    MRS PETERS: We don't know who killed him. We don't know.

    MRS HALE: If there'd been years and years of nothing,
    then a bird to sing to you, it would be awful—still, after the bird was still.

    MRS PETERS: I know what stillness is. When we
    homesteaded in Dakota, and my first baby died—after he was two years old, and me with
    no other then—

    MRS HALE: How soon do you suppose they'll be through, looking for the
    evidence?

    MRS PETERS: I know what stillness is. The law has got to punish
    crime, Mrs Hale.

    MRS HALE: I wish you'd seen Minnie Foster when she wore a
    white dress with blue ribbons and stood up there in the choir and sang.

    Oh, I wish I'd come over here once in a while! That was a crime! That was a
    crime! Who's going to punish that?

    MRS PETERS: We mustn't—take on.

    MRS HALE: I might have known she needed help! I know how things can be—for
    women. I tell you, it's queer, Mrs Peters. We live close together and we live far apart. We
    all go through the same things—it's all just a different kind of the same thing,

    If I was you, I wouldn't tell her her
    fruit was gone. Tell her it ain't. Tell her it's all right. Take this in to prove it to her. She—
    she may never know whether it was broke or not.

    MRS PETERS:

    8 of 9

    My, it's a good thing the men couldn't hear us. Wouldn't they
    just laugh! Getting all stirred up over a little thing like a—dead canary. As if that could
    have anything to do with—with—wouldn't they laugh!

    MRS HALE: Maybe they would—maybe they wouldn't.

    COUNTY ATTORNEY: No, Peters, it's all perfectly clear except a reason for doing it. But
    you know juries when it comes to women. If there was some definite thing. Something to
    show—something to make a story about—a thing that would connect up with this strange
    way of doing it—

    HALE: Well, I've got the team around. Pretty cold out there.

    COUNTY ATTORNEY: I'm going to stay here a while by myself, You
    can send Frank out for me, can't you? I want to go over everything. I'm not satisfied that
    we can't do better.

    SHERIFF: Do you want to see what Mrs Peters is going to take in?

    COUNTY ATTORNEY: Oh, I guess they're not very dangerous things the ladies have
    picked out.

    No, Mrs Peters doesn't need supervising. For that matter, a sheriff's wife is
    married to the law. Ever think of it that way, Mrs Peters?

    MRS PETERS: Not—just that way.

    SHERIFF: Married to the law. I just want you
    to come in here a minute, George. We ought to take a look at these windows.

    COUNTY ATTORNEY: Oh, windows!

    SHERIFF: We'll be right out, Mr Hale.

    COUNTY ATTORNEY: Well, Henry, at least we found out that she was not
    going to quilt it. She was going to—what is it you call it, ladies?

    MRS HALE: We call it—knot it, Mr Henderson.

    CURTAIN

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